FH Mini 11 - Score Tactics

[0:00] Hey folks, it's Jesse, the founder of MaxFun. Since we postponed our annual MaxFun drive

[0:06] in mid-March, we have gotten a lot of questions about if and when we'd be rescheduling it.

[0:10] And honestly, we've been asking ourselves the same thing. Well, now we have an answer for you.

[0:16] The 2020 MaxFun drive will start on July 13th. That's coming up soon. We decided to have the

[0:22] drive now because it's always brought a lot of joy and excitement to our community and certainly to

[0:28] us. And to be totally honest, it's also the main source of income for some of our hosts.

[0:33] Like pretty much everything right now, this year's drive is going to be a little different.

[0:37] We'll still be bringing you very special episodes, fun community activities, premium thank you gifts,

[0:43] but we also know it's a weird time and for some folks, a really difficult one.

[0:47] Some people are in a position to become new or upgrading members. Others can't right now. And

[0:52] that is okay. We'll have ways for you to support MaxFun at every level, including some ways that

[0:58] won't cost you anything. We're also going to run the drive for four weeks instead of two. We didn't

[1:03] think it was a good time to be rushing anybody and having a longer drive lets us be a little more

[1:08] low-key in our drive pitch. It also gives us more time to do fun stuff like the weekly live streams

[1:15] we'll be putting on for charity throughout the drive. Most importantly, we want the 2020 MaxFun

[1:20] drive to highlight all the ways we support each other and our communities. We also want to show

[1:25] how grateful we are to you for making this possible. We're also going to run the drive for four weeks

[1:28] all the work that we do possible. Stay safe. We'll see you July 13th for the MaxFun drive.

[1:34] Hey, baby, we're back. Hey, better than ever. Hey, movie babies. Hey, baby beds. Hey,

[1:47] who loves you, baby? Oh, cool. It's me.

[1:51] Man, telly survivalist for diners club. No, no, telly survivalist, like you first said.

[1:57] Savirus.

[1:58] Selly Savirus, which is what, a punk name?

[2:01] Yeah.

[2:02] That's Selly Savalas' roller derby name.

[2:06] Oh, wow.

[2:08] It's weird that he just used his own name as a variant.

[2:12] It's like if CCH Pounder had her roller derby name be CCH Pound Her.

[2:18] Not even necessary, just Pounder.

[2:20] Already works.

[2:21] Yep.

[2:22] Okay.

[2:23] Keep all that in.

[2:26] This is one of those minis that we do, guys, between full episodes where we talk about...

[2:32] And who are we?

[2:33] And what is this?

[2:34] Okay.

[2:34] Well, yep.

[2:36] Return to first principles.

[2:37] You got me.

[2:38] This is The Flophouse.

[2:40] Normally we talk about a bad movie, but on off weeks we talk about whatever our heart desires.

[2:47] I'm Dan McCoy.

[2:49] I'm Stuart Wellington.

[2:50] I'm Elliot Kalin.

[2:52] So, Dan, you're saying this is one of those minis.

[2:54] And today we're going to be talking all about the most famous mini of all.

[2:59] That's right.

[3:00] Mini-me.

[3:01] The history of mini-me.

[3:02] And what's great is this mini-me episode that's a mini is brought to you by Mini's Bar,

[3:08] a bar that I am one of the owners of.

[3:11] And we just added some new menu items, including locally sourced Frankfurters.

[3:17] That sounds great.

[3:19] If you are in Sunset Park, Brooklyn, and need a Frankfurter, you can go to Mini's Bar,

[3:23] the sponsor of this episode.

[3:24] This mini episode about mini-me and Mini Coopers.

[3:27] I'm glad we could, yeah, line up minis to be a sponsor because previously we'd been approached

[3:33] by Maxi Pads, and we all thought that would be very confusing to have that be the sponsor

[3:37] for a mini.

[3:38] Or Max L Tapes.

[3:40] I wanted to call it The Flophouse Max L Maxi Mini, but I was shouted down, shouted down

[3:45] at the Flophouse Town Council meeting.

[3:47] So anyway, Mini-me, where she was also known, Mini Pearl, was one of the great comedians

[3:52] of the Grand Ole Opry.

[3:53] Right.

[3:54] She was one of the great comedians of the Grand Ole Opry, appearing there.

[3:54] She's been on the TV show Hee Haw over decades.

[3:56] Famous for her hat with a price tag hanging from it, which is funny, I don't know why,

[4:01] for some reason.

[4:02] She also ran a series of chicken restaurants.

[4:04] Chicken, you say?

[4:06] Well, yes.

[4:06] Come with me on a magic journey through the lives of our favorite poultry.

[4:10] The story of chicken begins millions of years ago with dinosaurs.

[4:14] Yes, Dan?

[4:15] So Elliot's clearly reading from something, which means one of two things.

[4:20] Either knowing what our topic would be.

[4:24] He instead decided to start off with this bit that he had planned and he had notes for.

[4:29] Or, for some reason, he had already been looking at Mini Pearl's Wikipedia page and decided

[4:35] to read off of it.

[4:36] Both wrong.

[4:36] I looked it up after I introduced the concept, and that's just how good I am at reading things

[4:42] and then saying them as if I'm remembering them.

[4:43] Now, when it comes to chickens, I'm reading from something called my memory.

[4:47] You'd mentioned dinosaurs.

[4:49] Can we get back to that?

[4:50] Dinosaurs.

[4:52] Dinosaurs.

[4:52] The year was 1990.

[4:54] 1990 or so, and a little show called Dinosaurs was about to premiere on, let's say, ABC.

[4:59] The story of Earl Sinclair, Baby Sinclair, and some other dinosaurs whose names I don't

[5:04] remember at the moment, it taught the world that, yes, you could do a Simpsons ripoff

[5:10] with animatronic dinosaurs, but it would not last as long as The Simpsons.

[5:13] The Simpsons still growing strong in its 57th season, while Dinosaurs has long since gone

[5:19] extinct.

[5:19] For Flophouse News, I'm Elliot Kalin.

[5:22] Dan, back to you.

[5:23] Thank you.

[5:23] It would be hard to overstate how hot the room is that I'm in right now.

[5:27] So, it's not that you can't do this shit, but you just weigh how valuable it is.

[5:33] Just, like, put it on, like, think of your good friend, Dan McCoy, and how...

[5:39] Who's wilting like a sandwich in the sun.

[5:41] Yeah, and just think about whether it's worth it or not.

[5:44] That's such a sad play, like a sandwich in the sun.

[5:46] Now, Dan, here's the thing that I would find interesting, is that I've now contributed

[5:52] no less than, I think, $1,000.

[5:53] 13 ideas for what this episode could be about, and you've done nothing but complain.

[5:57] But here's what we're actually going to talk about.

[5:59] Well, because we decided ahead of time, you asshole.

[6:03] We're going to talk about music and movies.

[6:08] I mean, I think scores more specifically, probably, although I don't care.

[6:11] Not the strip club slash steakhouse scores.

[6:14] No, but like...

[6:15] No, but...

[6:16] Well, this episode will be coming out a week roughly after, or a little bit less than a week,

[6:22] after the passing of Ennio Morricone, one of the great, great, great, great film scorists,

[6:27] and certainly someone whose work meant a lot to me throughout my life growing up.

[6:32] And so we were like, what about movie scores?

[6:36] Let's talk about something we don't talk about a lot on the podcast when it comes to movies,

[6:41] is the music that's in the movies.

[6:44] So take it away.

[6:46] The year was 1929, and people wanted sound in their movies.

[6:50] Unfortunately...

[6:51] Unfortunately, there was only one way to do it.

[6:53] Hire someone to just stand next to the screen and talk all the dialogue and all the music.

[6:59] Flash forward to 1972, when The Godfather was sweeping the Oscars full of music.

[7:05] Yes, Dan?

[7:05] Speaking of people talking next to the screen, I can't remember whether I've mentioned this before,

[7:10] but one of the writers at The Daily Show currently is a man named Joe Opio, who is from Uganda.

[7:18] And he was telling me about how...

[7:21] In Uganda, they will often have, when they have movies from other lands, other places,

[7:30] they will have someone standing next to the screen translating it for them rather than having subtitles,

[7:36] but they will often just make something up if they think the movie is too boring,

[7:40] or they'll just throw in shout-outs to their family and friends,

[7:44] and it sounded like the most awesome way to watch a movie.

[7:46] I mean, it's a great job to have.

[7:48] I don't know if it's such a great way to see the movie,

[7:51] but they used to...

[7:52] I know with silent movies...

[7:53] No, no, no, I think Christopher Nolan said that's the ideal way to watch all of his movies,

[7:56] either that or while you're playing a video game.

[7:59] You're not truly watching a film unless it's shot on film,

[8:02] and there's a man next to the screen telling you about his family,

[8:06] and maybe just making shit up because he doesn't know the actual dialogue.

[8:09] But I know that, like in Japan for silent movies decades ago,

[8:14] they used to have someone standing next to the screen who would explain the movie as it was going on,

[8:17] because Akira Kurosawa's brother used to do that, apparently.

[8:19] Yeah.

[8:20] Yeah.

[8:21] The other big thing that Joe told me is just how popular Baby's Day Out is in other countries,

[8:25] because...

[8:25] It's huge.

[8:26] It's an enormous movie.

[8:27] Yeah, because you don't need to understand the English language

[8:31] to understand what's going on in Baby's Day Out.

[8:33] Well, there is no country, there's no human culture

[8:37] in which babies are expected to go out on their own without adults.

[8:41] So every single human culture finds the idea hilarious of a baby having a day out,

[8:46] whereas Ferris Bueller's Day Off, in many countries,

[8:49] Ferris Bueller's are not expected.

[8:50] Mm-hmm.

[8:50] They have to work because of the very luxurious, some would say,

[8:54] welfare systems that they have for Ferris Bueller's.

[8:56] So like Ferris Bueller's Day Off in America, it's like a day off for a Ferris Bueller?

[9:01] That's crazy.

[9:02] They have to work.

[9:02] But in Switzerland or, you know, Luxembourg, they're like,

[9:05] of course our Ferris Bueller's don't have to work.

[9:07] Every day is a day off.

[9:08] This movie is ludicrous.

[9:09] Mm-hmm.

[9:10] Okay.

[9:11] So we've learned a lot about scores today.

[9:14] So what are some of your guys' favorite movie composers or scores?

[9:19] Yeah.

[9:20] So when you say movie scores, we're not talking about like a movie like Space Jam, for instance,

[9:25] where there's an athletic event being played and there's a score up on the screen.

[9:29] Very good question.

[9:30] We're talking about the music that is being played throughout the movie.

[9:33] In the background of a movie like Space Jam, which has jam in the title.

[9:37] So it's either got some poppin' tunes or they're going to put some jelly in there.

[9:41] And I assume that much like my record collection, we're going to be nerdy and separate out soundtracks and scores.

[9:50] Uh-huh.

[9:51] We're not just going to spend the whole time talking about the Judgment Night soundtrack,

[9:55] which pioneered combining two great tastes, rap and hip-hop artists and metal artists at the same time.

[10:02] Mm-hmm.

[10:03] So, Dan, how would you define a soundtrack versus a score?

[10:07] This is something I've been trying to explain to Sammy vis-a-vis the film Newsies, but you explain it.

[10:11] A soundtrack is...

[10:13] Actually, let me go wake him up.

[10:16] Hold on.

[10:16] Let me go wake him up and bring him in here so he can hear this.

[10:18] Okay.

[10:20] A soundtrack is typically, without lyrics, it is orchestral.

[10:25] Or if they have human voices, it's sort of a choral situation that underscores the action of the film.

[10:32] It's played under the action of the movie.

[10:33] I mean, I guess soundtracks are as well.

[10:36] But they aren't like...

[10:37] They're typically written for the film in a way that, like, soundtracks are usually a collection of pop songs.

[10:44] Although, you know, like, that's not even necessarily always the case since Quentin Tarantino...

[10:49] Quentin Tarantino repurposes, for instance, old scores of other people's movies to be his score, which is like a whole other thing.

[10:57] So, the answer...

[10:58] So, for this, let's talk about music originally written to underscore scenes in movies.

[11:05] And then we'll count them for the movies that they were originally written for.

[11:08] So, for example, Take Control by Bobby Brown.

[11:11] Yes, exactly.

[11:12] Exactly.

[11:13] Yeah.

[11:13] The perfect example.

[11:14] Mm-hmm.

[11:15] There's a number of those in the Ghostbusters canon.

[11:19] To answer your question, Elliot, for me, number one with a bullet is Bernard Herrmann.

[11:25] Okay.

[11:26] That's who I would probably say, too.

[11:28] I think his Vertigo score is possibly my favorite score written for a movie.

[11:32] Yes.

[11:33] I think that movie doesn't really work as well without that music.

[11:36] And I think that might be his best overall score in the sense of, like, all of the cues are pretty great.

[11:45] I mean, Psycho also is very, very good.

[11:49] Weirdly, my favorite...

[11:50] Yeah, I think I would say the music to Psycho is very, very good.

[11:53] No, no, I was just going to say, weirdly, my favorite...

[11:53] Stuart, check out Dan over here.

[11:55] Wow.

[11:55] Dan is nagging the score.

[11:58] My favorite...

[11:59] I was just going to say, my favorite single cue from Bernard Herrmann is the main title from North by Northwest, even though...

[12:07] Yeah, that's a great song, too.

[12:08] I don't necessarily...

[12:09] Yeah, like, I would hold other full scores above that movie.

[12:14] But that song was so good that it was included in the trailer, as music in the trailer, for...

[12:19] Ants, written by previous mini-guest and maxi-guest, Chris Weitz.

[12:23] Okay.

[12:24] Because I remember when that movie came out being like, this is a weird choice for the Ants trailers, the North by Northwest music.

[12:29] But I guess it's an adventure.

[12:30] But also, like, I used to...

[12:33] I love the moment at the end of Citizen Kane where, spoiler alert, the sled's going up in flames.

[12:39] And the music starts out low, and it's getting bigger and bigger.

[12:43] And then it cuts to the chimney with the black smoke pouring out of it.

[12:46] And it's like, bomb, bomb.

[12:48] Bomb, bomb, bomb, bomb, bomb, bomb.

[12:52] And it's very powerful to me.

[12:53] That was good music.

[12:54] Mm-hmm.

[12:55] And a great scene.

[12:56] Iconic, some would say.

[12:57] Yeah.

[12:58] What do you got to say, Stu?

[12:59] Yeah, I mean, to be honest, like, it's been so long since I've watched a Hitchcock movie, I can't really comment on...

[13:09] Oh, no, I just meant, you know, who you like as a...

[13:12] I mean, he also wrote the music for Citizen Kane, Taxi Driver, It's Alive, lots of movies.

[13:16] Obviously, obviously, Gundam.

[13:18] And to my head, I'm going to say Richard Band, the composer of Re-Animator, Castle Freak, and...

[13:24] And Brother of Charles Band, right?

[13:25] Yeah, and Brother of Charles Band, the producer of those movies.

[13:27] It adds, you know, like a whimsical carnival nature to otherwise horrifying movies.

[13:34] I think he also probably did the music for, like, the Puppet Master movies.

[13:39] I don't know, like...

[13:41] I feel like it's unfair because he has Band in his name.

[13:43] Of course he's going to be good at music.

[13:48] He did the score for The Thing, so I think it would be remiss not to mention John Carpenter,

[13:56] who I feel like his scores are very much, I don't know, like the template of what I want in movies and my life.

[14:06] Yeah, I love the Carpenter sound, and it's funny, like, you know, like the...

[14:13] John Carpenter's movies were so influential for...

[14:18] Kind of a group of filmmakers that would have grown up near to the same time as us.

[14:25] So we are now, like, going through that thing.

[14:28] Like, when I was a kid, everything nostalgic was geared towards what boomers wanted.

[14:33] And so, like, everything would have, like, these oldies Motown songs and their thing or whatever.

[14:39] Like in Cocktail, where the cool bartender keeps getting up on the fucking bar and dancing to, like, Moany Moany and shit.

[14:46] Yeah.

[14:46] Or, like, this is...

[14:48] I had to...

[14:49] I recently found myself on 4th of July night explaining to Sammy what the California Raisins were.

[14:54] Oh, yeah.

[14:55] Because we were watching a Capital Fourth, and The Temptations were performing, and he loved it.

[15:00] And there was a song where it was like, oh, yeah, when I was a kid, this was a California Raisins song.

[15:03] And I had to explain to him, okay, so it started as an ad for just raisins, just for the idea of raisins.

[15:10] And they were claymation raisins that, of course, sang I Heard It Through the Grapevine.

[15:14] But then they had their own TV show where they just sang different Motown hits.

[15:18] And Danielle was like, I never really understood what the California Raisins were.

[15:22] And the more I tried to explain it, the less it made sense to me.

[15:24] It was like some sort of, like, Kabbalistic mystery, where the more I tried to put words to it,

[15:29] the more it just turned into coils of smoke between my fingers, and I couldn't grab hold.

[15:33] But I never put two and two together.

[15:36] That's boomer stuff.

[15:36] They're singing songs that boomers grew up with.

[15:38] California Raisins, I couldn't explain it, but they certainly feel racist.

[15:43] There's something about it that's probably racist, and I can't...

[15:48] I can't figure out exactly what it is, yeah.

[15:50] But to finish the thought...

[15:52] I mean, they originally were the California Racist.

[15:55] And then they said, can we just make it Raisins instead?

[15:57] Yeah, not very marketable.

[15:59] Well, it was from the Racism Council.

[16:02] Sure.

[16:03] Try it, won't you?

[16:05] To finish the thought that got derailed by California Raisins talk somehow.

[16:08] Yeah, yeah, boomer stuff.

[16:09] When we were growing up, people wanted boomer stuff.

[16:11] Yes, but now I feel like, now that we are middle-aged men, people are catering to our nostalgia.

[16:18] And so you've seen this group of new movies that have these synthwave soundtracks.

[16:25] These soundtracks that were influenced by John Carpenter, influenced by Tangerine Dream and Wang Chung.

[16:32] And during the first wave of that, I was like, oh, great, this is my stuff.

[16:36] Like The Guest or Drive or It Follows.

[16:41] But the more every director does that to push my buttons or to satisfy their own...

[16:47] Love of that stuff, the more I'm like, oh, I feel so pandered to.

[16:51] I feel dirty.

[16:52] I don't like it anymore.

[16:53] There's an episode of Stranger Things where at the end, they play the Bangles version of Hazy Shade of Winter during the credits.

[17:00] And I really reacted to it because I love that version of that song.

[17:04] And it was like, I mean, the original version is great, too.

[17:06] And I was getting mad because I was like, television show, I am not reacting to you.

[17:10] I am reacting to this song right now.

[17:12] You did not earn this.

[17:13] But it's interesting you guys talk about that.

[17:15] I was trying to think earlier today about...

[17:17] I was trying to come up with a list of who are my favorite film composers because Morricone is certainly possibly the top, but at least in the top three or two.

[17:27] Him and Bernard Herrmann are very right up there.

[17:31] I was trying to think of who else.

[17:32] And there were a lot of composers where I could think of individual movies of theirs that I loved, but I didn't love their whole oeuvre.

[17:39] And then there are guys like John Williams where his work is so...

[17:44] When it's good, it's the best.

[17:46] And when it's not good...

[17:47] When it's not good, it feels like somebody imitating John Williams.

[17:50] But then he's able to...

[17:51] And he doesn't experiment much.

[17:53] And he used to experiment years and years ago more.

[17:55] But you guys want to hear the names I came up with?

[17:58] Sure.

[17:58] Is it just Danny Elfman written in increasingly larger font?

[18:02] Mm-hmm.

[18:03] I mean, Danny Elfman is on there, certainly.

[18:04] Because at his best, he's like...

[18:07] Danny Elfman is one of those guys where, like, when Beetlejuice and stuff like that was coming out and Batman, it was probably like, who is this guy?

[18:16] And then he just kind of...

[18:17] He kind of kept playing in that color tone and other people took it up.

[18:20] But, like, that Tales from the Crypt theme is amazing, you know?

[18:23] Like, the Nightmare Before Christmas music I love, but...

[18:27] Also, I really like his, like, maximalism, too, because I remember, like, a story about how, like, when he was asked to do the Simpsons thing, he was...

[18:36] They were like, just make it a theme, like, you're going to think this is the greatest show I've ever seen.

[18:40] Like, just, like...

[18:42] And he's like...

[18:42] He did it.

[18:43] Like, he's, like, absolutely adding crazy elements to this music.

[18:47] To the music.

[18:47] The fact that it opens with, like, a heavenly chorus saying the name of the show.

[18:53] Yeah.

[18:54] But, like, so those guys, like, Franz Waxman and Max Steiner are two, like, old, old composers.

[19:03] I'm not familiar. Yeah. Oh, okay.

[19:04] Max Steiner did the music for King Kong and, like, and Akira, I'm going to pronounce it wrong, but Ifyukube, who did the Godzilla, the first couple of Godzilla movies.

[19:14] And, like, that main Godzilla theme is so amazing to me.

[19:17] And, like, I don't love all of Jerry Goldsmith's work, but, like, he did Gremlins and he did Planet of the Apes, and those are both fantastic.

[19:24] And Poltergeist is a great score, too.

[19:26] I don't know the Poltergeist score that well.

[19:27] Is that where they're like, watch out, it's a ghost?

[19:30] I think that's the one that goes...

[19:32] That's sort of like...

[19:33] That one?

[19:40] Okay, I don't know.

[19:41] Now we've got a new ringtone.

[19:43] Yeah, just that.

[19:44] And...

[19:46] And...

[19:47] It was weird, because I was, like, going through names, and then it was like, do I include Carl Stalling on this list?

[19:52] Because so much of the scores he wrote for Looney Tunes cartoons were just him slapping together songs that Warner Brothers had in its library.

[20:00] Let's take Powerhouse and play it wackier.

[20:02] There was...

[20:04] I was reading a book about him, and they were talking about how any time a character appeared wearing red or the color red, he would just put in Lady and...

[20:13] Like, it wasn't Lady in Red, the song we know, but another song about...

[20:16] And...

[20:17] And eventually the Looney Tunes directors were like, Carl, you cannot just go for a song that has a color in the title that's on screen.

[20:25] Like, that's too lazy.

[20:26] Like, you can't just use it for everything.

[20:28] Rocket Ship One, this is Mission Control. Come in.

[20:31] This is Rocket Ship One. Go ahead.

[20:34] Rocket Ship, what's your status on Max Fun Drive? Shouldn't we have seen it by now?

[20:39] Sorry about that, Mission Control. Turns out I miscalculated.

[20:42] Current projected ETA for Max Fun Drive is...

[20:47] July 13, but it looks different.

[20:49] It'll be for...

[20:52] Four weeks, so it's longer than expected, but all readings point to...

[20:57] Low key?

[20:57] Oh, that'll be good.

[20:59] But can you verify that there are still special gifts for new and upgrading monthly members?

[21:04] Verified.

[21:06] Sweet gifts for new and upgrading members, plus amazing new episodes and even special weekly livestreams for charity.

[21:12] Copy that.

[21:13] Rocket Ship, can you confirm ETA for Max Fun Drive?

[21:16] 90% probability of Max Fun Drive from July 13 to August 7.

[21:21] Did you say 90%?

[21:24] There were a couple of decimal places, and I might have carried a zero wrong.

[21:28] I'm just gonna pencil in July 13 to August 7. Mission Control out.

[21:32] Hey, I'm Bria Grant, an e-reader who loves spoilers and chocolate.

[21:42] And I'm Mallory O'Mara, a print book collector who will murder you if you spoil a book for me.

[21:46] And we're the host of Reading Glasses, a podcast designed to help you read better.

[21:51] Over the past few years, we've figured out why people read.

[21:54] Self-improvement.

[21:55] Escapism.

[21:56] To distract ourselves from the world burning down.

[21:58] And why they don't.

[22:00] Not enough time.

[22:01] Not knowing what to read.

[22:03] And being overwhelmed by the number on their TBR list.

[22:05] And we're here to help you with that.

[22:07] We will help you conquer your TBR pile while probably adding a bunch of books to it.

[22:12] Reading Glasses.

[22:13] Every week on MaximumFun.org.

[22:16] There's a movie that I'm trying to decide if I'm gonna recommend it on the podcast or not.

[22:22] Called Buck and the Preacher.

[22:24] That's a movie Sidney Poitier directed that stars him and Harry Belafonte and it's a western.

[22:28] And the movie is like, not quite all the way there, but the score is amazing.

[22:33] So are there any movies that you guys can think of where the score is better than the movie?

[22:38] Oh, man.

[22:40] Probably.

[22:41] Well, you know what I...

[22:42] Other than Hawk the Slayer.

[22:43] I...

[22:45] Where the score is...

[22:45] With Hawk the Slayer.

[22:46] The score, I would list to that as just regular music.

[22:48] I just happened to be looking at the Wikipedia entry for Elmer Bernstein when you asked that question.

[22:56] And, you know, like Elmer Bernstein, of course, did these wonderful sort of heavily theme-based scores for The Magnificent Seven and The Great Escape.

[23:12] Just like, just great scores.

[23:14] But then...

[23:16] Yeah.

[23:18] And for Great Escape, he did...

[23:19] Right?

[23:22] Yeah.

[23:22] Great, great stuff.

[23:23] It's a little too jaunty for a movie where people are escaping from a Nazi prisoner of war camp.

[23:30] It's a very jaunty theme.

[23:31] Well, but then...

[23:32] But I guess it's better than the original...

[23:34] The original theme he wrote for The Great Escape was even jauntier.

[23:37] It went, whatever happened to predictability?

[23:40] The milkman, the paperboy, the evening TV.

[23:43] I wanted to say, though, he had like this sort of...

[23:46] Sort of second life as a guy who scored comedies like Stripes and Ghostbusters and Airplane.

[23:56] And he kind of was tapped to do that because these directors rightfully sort of knew that it would be funnier to put a quote-unquote serious score to these movies.

[24:08] But he started on that track with...

[24:10] You asked about a movie where the score is better than the movie, and that's Animal House, which...

[24:16] You know, has a lot of unpleasant stuff in it.

[24:19] But Elmer Bernstein, like, I think it was great to hear him in all these comedies where he, like, lends this dignity that then can be undercut.

[24:28] Sorry, I was just looking up who wrote the score for Police Academy.

[24:33] Oh, who was it?

[24:34] I think it's Richard or Robert Folk.

[24:37] See, that score feels like someone trying to do an Elmer Bernstein knockoff.

[24:41] Yeah, yeah, yeah.

[24:42] When you were listing those, I was like...

[24:44] I feel like that theme music...

[24:46] That theme music has been so burned into my head from watching so many Police Academy movies as a kid.

[24:50] I'm surprised we haven't mentioned Johnny Greenwood yet.

[24:56] I feel like for somebody working currently, he's been putting out a lot of great stuff.

[25:01] And his stuff definitely elevates whatever he's putting the music onto, for sure.

[25:06] Yeah, I mean, otherwise, these Paul Thomas Anderson movies would be dog shit.

[25:10] They are...

[25:12] It's just...

[25:13] It's like, okay, let's take a bunch of people...

[25:16] A bunch of people yelling at each other, and a bunch of people just sitting, staring into space.

[25:19] Slap them together, photograph it beautifully, throw this Johnny Greenwood score, and there you got your movie.

[25:26] There's your PTA movie.

[25:27] What was his last movie?

[25:29] You're gonna get the internet angry at you.

[25:31] Phantom Thread.

[25:32] Oh, right.

[25:33] I have to...

[25:34] Guys, I like a lot of his movies.

[25:36] I don't like all of them.

[25:37] I was not...

[25:37] I've never been a big Mag Head.

[25:39] That's a Magnolia fan.

[25:40] Well, that's a bad movie.

[25:41] Yeah, the...

[25:43] But I gotta admit, I fell asleep during Phantom Thread.

[25:45] Phantom Thread, guys.

[25:46] Wow.

[25:47] Do I have to give away my movie snob card?

[25:48] No, I really love that one.

[25:50] Did you eat a weird omelet right before you fell asleep?

[25:52] Yeah, I did eat a weird omelet.

[25:56] But I kept waiting for the guy to be haunted by that thread that he killed.

[26:00] Uh-huh, yeah.

[26:00] That comes back to haunt him.

[26:01] Honestly, the most exciting part of the movie for me when he orders that huge breakfast.

[26:06] And I was like, how is he still gonna eat this whole breakfast?

[26:08] Oh, he's a hungry boy.

[26:09] Michael Giacchino, is that how you say his last name?

[26:13] Probably.

[26:15] I want to mention him.

[26:17] I feel like he's kind of like the new John Williams.

[26:19] He's, like, good at doing these big blockbuster films with a sense of playfulness.

[26:26] Like, he's got a little more of the zany.

[26:29] He's like John Williams plus, like, a touch of the zany.

[26:31] And I really like his scores in general.

[26:34] Yeah, obviously, the greatest score ever written is still the theme for Chopping Mall.

[26:39] I don't think that gets enough credit.

[26:45] That's also a nice trim 80-minute movie, so as soon as it's over, you just spin that fucking thing back up again, you know?

[26:51] No, but there's one big problem with that movie.

[26:53] It's like a Grindcore record.

[26:55] What?

[26:55] There's one big problem with that movie.

[26:56] Not a lot of chopping.

[26:58] Yeah, I mean, it's robots blasting people.

[27:01] There's no chopping in that mall.

[27:03] Where's the chopping, I say?

[27:05] I'd be remiss.

[27:08] I forgot I'm watching a movie that Quincy Jones did the score for, and he did a bunch of good scores.

[27:12] His score for the Anderson tapes is really weird and neat.

[27:15] The Superfly score is a really, really great score.

[27:18] Well, that's a great score.

[27:19] Well, that's one I was wondering, does that count as a score?

[27:21] Because a bunch of it is made up of pop songs, but they were written for the movie, right?

[27:25] They were written for the movie, yeah.

[27:26] And, you know, a lot of it is songs, a lot of it is instrumental.

[27:29] I think, yeah, I would call it a score.

[27:30] Well, like this, because the song Superfly itself is a great song.

[27:35] Yeah.

[27:36] And, like, Pusher Man's a really good song.

[27:37] But that's not Quincy Jones who did that.

[27:42] No, no, that's, who is that?

[27:44] That's Curtis Mayfield.

[27:45] Curtis Mayfield, yeah.

[27:46] Okay.

[27:46] For a second, I was very worried that you thought it was the same guy.

[27:49] No.

[27:50] And rather than just a similar-ish sounding sound in some ways.

[27:55] What's really funny is, so I looked up best movie composers on Google, and a bunch of the regular faces come up.

[28:00] John Williams, Hans Zimmer, Danny Elfman with a ghoulish smile, and Ian Marconi and all these other people.

[28:06] And then suddenly, in the middle of scrolling through these pictures, who shows up but Johann Sebastian Bach?

[28:12] Interesting.

[28:13] What films did he work on?

[28:14] Yeah, yeah.

[28:15] Well, also, then you start seeing directors pop up in there.

[28:20] I did the same thing.

[28:21] And you got Steven Spielberg suddenly, and Christopher Nolan.

[28:26] And it's like, uh, I mean.

[28:29] Well, Christopher Nolan, I think he did create Whom.

[28:33] I think that was probably, he wrote that, I think.

[28:35] Yeah.

[28:36] Here's Tchaikovsky, another one of the great film composers, Peter Tchaikovsky.

[28:41] Mm-hmm, yep.

[28:42] I wanted to mention, I...

[28:45] A couple that I'm seeing coming up here that I didn't think of before is Henry Mancini and Carter Burwell,

[28:52] who does a lot of the Coen Brothers music.

[28:55] He's a fantastic composer.

[28:56] Oh, yeah, and here's Lalo Schifrin, who, I guess, he's best known for his TV work,

[29:01] but he did the score for Kelly's Heroes, and it's a really fun score,

[29:06] aside from having the single maybe worst theme song I've ever heard in a movie that I like.

[29:11] Yeah.

[29:11] Because the title song, which is not called Kelly's Heroes, it's called, like,

[29:15] Burning Bridges or Burn Your Bridges.

[29:16] It's a terrible song.

[29:17] It's so bad.

[29:18] And don't they, like...

[29:19] But the rest of the score is good.

[29:19] Don't they, at the end of that movie, play the song with, like, sort of, like, jolly, like,

[29:25] photos of the actors and their roles?

[29:27] Like, even, like, people who are, like, assholes in the movie, they're like...

[29:29] Yeah, well, it's just showing them enjoying themselves.

[29:31] Yeah.

[29:31] Because it's got a happy ending, because they get the gold.

[29:34] Yeah.

[29:35] I would say the score experience that struck me the most

[29:44] was when I watched...

[29:44] I went and saw Crank 2 in the movie theater,

[29:47] and the score for that was done by Mike Patton,

[29:51] the, you know, vocalist of many rock bands,

[29:56] including Faith No More,

[29:58] and he has done so many different things.

[30:01] And it is so perfectly unpleasant to exactly match the content of Crank 2.

[30:09] Oh, yeah.

[30:10] I mean, speaking of scores that are there to sort of disquiet and stress

[30:14] you out rather than anything else,

[30:16] I like the John Bryan score for Punch Drunk Love a lot,

[30:21] which has a lot of, like, just, like, thumping as Adam Sandler runs around.

[30:26] Yeah.

[30:27] A lot of thumping and tinkling.

[30:28] And I want to mention...

[30:31] That was the name of his album, Thumping and Tinkling, Volume 3.

[30:34] When I mention Mike Patton, I also want to...

[30:37] He, one of his various bands, Fantomas, put out a record.

[30:44] It's like a super group band.

[30:46] But they put out a record called The Director's Cut,

[30:47] which is just, like, remixes of classic movie and horror movie themes and stuff like that.

[30:52] If you're a fan of that sort of thing, I'd recommend checking it out.

[30:56] It's cool.

[30:56] I just thought of one, too.

[30:58] Audrey and I watched Anatomy of a Murderer just recently,

[31:01] right before it went off the Criterion channel,

[31:04] because she had never seen it.

[31:05] And that has Duke Ellington music as the score.

[31:09] And that was kind of like...

[31:11] I feel like there's this period in Hollywood where they're suddenly like,

[31:13] Oh, yeah.

[31:14] We could put jazz in a movie.

[31:16] How does that be the score?

[31:18] Because Sweet Smell of Success has a similar kind of feel to the score, and it's great.

[31:22] But Sweet Smell of Success is an Elmer Bernstein score, right?

[31:25] Yeah, but it's a very, like, jazzy take on an Elmer Bernstein.

[31:28] I guess that's true.

[31:30] Well, it's because they were...

[31:31] Look, they were going after the boomers of that day, I guess.

[31:36] The World War II generation who were like,

[31:38] Whatever happened to the jazz I grew up with?

[31:40] I want to hear that in my movies.

[31:42] And someday...

[31:44] Sammy, I guess his generation, it'll be like,

[31:48] I want to see movies where the score is all TikTok lip-syncing.

[31:51] That'll really be pandering to them.

[31:54] And then eventually, when his kids are older,

[31:57] it'll be a lot of movies where all the music is played with, like,

[32:01] logs being thumped against boulders because society will have collapsed.

[32:05] Oh, okay.

[32:06] That's where we're heading?

[32:07] What'll happen is when he has kids, society will have collapsed,

[32:11] and then it'll rebuild itself again.

[32:13] But they'll be making all these movies.

[32:14] And they'll be like,

[32:15] You know how we get those kids who grew up in the bad times?

[32:18] Yeah.

[32:18] Is we'll use just all natural instruments because that's what they're used to

[32:22] instead of the music that the aliens brought with us when they rebuilt our society.

[32:26] Because the alien music, you know, is all going to be like...

[32:28] With a lot of steel drum for some reason, inexplicably.

[32:37] Even though you don't see any of the bith in the band,

[32:41] Figrin Dan and the Modal Nodes playing a steel drum.

[32:43] But there's a lot of steel.

[32:44] There's a lot of steel drum all of a sudden.

[32:45] A whole steel drum solo, basically.

[32:47] Where's the steel drums?

[32:48] That's what they should have added in the special edition.

[32:50] I want to see me a bith playing a steel drum.

[32:52] Yeah.

[32:53] You know, what I enjoyed about that the most was,

[32:56] like, Stuart was in there doing his sort of usual bit

[32:59] where, like, he just sort of continually agrees to Elliot as he goes on a long riff.

[33:04] And he's now standing with me.

[33:06] And, but as soon as he started, you know, singing that jizz music.

[33:12] Jizz wailing music.

[33:14] Yeah.

[33:14] Just to, uh, perked up.

[33:17] Like, he got a little happier.

[33:18] Because it's a great song, guys.

[33:21] Yeah.

[33:21] Every, and I don't know why it didn't win best song at the Academy Awards that year.

[33:25] I'm going to find out what did win instead of cantina band theme.

[33:29] Uh-huh.

[33:30] Uh, yes.

[33:32] It's ironic that, and it's ironic that years later, Max Rebo won best song.

[33:38] Uh-huh.

[33:38] With him and Cy Snoodles and Droopy McCool.

[33:40] Not as good a song, but I guess by then people's ears had gotten used to it.

[33:44] Mm-hmm.

[33:45] Yep.

[33:45] People had gotten used to that style of, uh, Tatooine, Tatooine music.

[33:49] Yeah.

[33:50] I mean, Tatooine is really where, it's really where all the, the hot sounds of the universe

[33:54] are coming out of.

[33:55] Because it's like, uh, it's like, um, like Jamaica in the 60s and 70s.

[34:00] It's kind of, and 50s even.

[34:01] It's like the place where people are just kind of playing the music that's in their

[34:05] blood, you know, in their bones.

[34:06] It's from real life experience and it's not like studio polished stuff.

[34:09] And that's how you can get these hot new street bands like Figrin to Anne and the Modal Nodes

[34:14] and.

[34:14] And, uh, the Max Rebo band, you know?

[34:16] Yeah, that all makes sense.

[34:18] And of course, the other thing is they're all built around, they're all built around

[34:21] strong band leaders who bring a singular voice to it.

[34:24] Figrin to Anne, Max Rebo.

[34:26] I'm sure there are other examples that I don't have at my fingertips at the moment, but you

[34:30] know, like, uh, maybe there's a Hoth band that, you know, the Wampa and the other Wampas.

[34:36] I mean, there, there is a, there is a band named Hoth.

[34:39] They're a, uh, black metal band, uh, and.

[34:42] But they don't exist in the Star Wars.

[34:44] They don't exist in the Star Wars canon universe, right?

[34:45] I mean, I, I think they might've talked about them in one of the comic books.

[34:49] Okay.

[34:51] Fair, fair.

[34:52] So anyway, original song in, uh, uh, that year was 1978.

[34:56] Looks like the, uh, we, the winner for original song was You Light Up My Life.

[35:02] Oh, by Max Rebo.

[35:05] By me.

[35:06] It was by Max.

[35:06] It was Max Rebo's cover of You Light Up My Life.

[35:08] Yeah.

[35:09] Yeah.

[35:09] Yeah, that makes sense.

[35:11] That makes sense.

[35:12] Uh, beating the, beating, uh, Max Rebo.

[35:14] Nobody does it better from The Spy Who Loved Me.

[35:16] So, oh, wow.

[35:18] I love that movie.

[35:19] Mm-hmm.

[35:19] And Someone's Waiting for You from The Rescuers.

[35:22] Oh, okay.

[35:23] Uh.

[35:24] A movie that I did not remember there being a song in.

[35:26] Nope.

[35:27] Uh, one of the things.

[35:29] And also, Candle on the Water from Pete's Dragon.

[35:31] I remember that one.

[35:32] Disney had two songs.

[35:34] Yeah.

[35:34] In the original song category.

[35:36] I'll be your candle on the water.

[35:39] That's how that song goes.

[35:40] Anyway, Stuart, you've been trying to say something for a long time.

[35:42] Oh, yeah, Stuart, are you here?

[35:44] Uh, yeah, yeah, yeah.

[35:45] Uh, I was talking to a buddy who's, uh, my buddy Harry, who's a real, uh, score freak.

[35:51] And a Bigfoot.

[35:52] Yeah, and a Bigfoot.

[35:54] And he, uh, we were talking about how it seems like a studio like A24 seems to be, uh, I

[36:02] don't know if it's on a studio level or it's just they're giving their filmmakers more

[36:06] control, but it seems like there's, there's a lot of non-traditional composer choices,

[36:11] whether it's like Uncut Gems.

[36:14] It's where you get, uh, where they got somebody from the like electronic music scene, uh, as

[36:20] well as other examples that don't immediately come to mind.

[36:24] Um, and I think that's, I think that's kind of interesting to go in a non-traditional

[36:29] route.

[36:29] Do you guys have any thoughts or would you rather it just be stuffy old guys composing

[36:35] in front of a giant orchestra?

[36:36] Uh, no, I, I, I like, I like it when that happens.

[36:41] I mean, I think that it's a continuation of something that started.

[36:44] Kind of to happen with, um, even earlier.

[36:47] I mean, like Danny Elfman and, uh, you know, started out in Oingo Boingo and, uh, like,

[36:53] cause there's, you got someone like Mark Mothersbaugh from Devo, who's like been a composer

[36:58] for years now, like, uh, doing a lot of Wes Anderson stuff among other things.

[37:03] And Rugrats.

[37:04] And Rugrats.

[37:05] Yes.

[37:05] Uh, I was going to say that and I'm like, is that a real fact?

[37:08] Like, is my brain playing tricks on me?

[37:11] It is a real fact.

[37:12] Yeah.

[37:12] That'd be really funny.

[37:14] It's like he did write the music for Rugrats, but it was classified as not a real fact.

[37:17] It was like, mm, doesn't rise to the level of importance to be a real fact.

[37:22] Yeah.

[37:23] But I do like, uh, getting new sounds into movies.

[37:27] Cause, uh, you know, like you get this, I feel like everything has been dominated, at

[37:33] least in Hollywood movies, by this kind of swoony romantic sound for forever.

[37:38] And like, like we talked about the music in Hawk the Slayer and one of the things I loved

[37:42] about that was just how different it was from, uh, what we would get in a fantasy movie now,

[37:50] just because like everything has been so codified.

[37:52] It's like, yeah, why not have a movie that has a soundtrack that's kind of like disco-y

[37:59] prog rock spaghetti Western version of fantasy music?

[38:04] I don't know.

[38:04] Yeah.

[38:06] Throw it all together.

[38:07] Why not?

[38:07] There's lots of great types of music out there.

[38:09] Throw them in your movie.

[38:09] Choose whichever kind you want.

[38:11] Make it just a lot of eerie.

[38:12] Screeps and scrapes or make it like a lush orchestral thing or jazz it up.

[38:17] All Shane Rattles.

[38:17] Yeah.

[38:18] Just, or make it that, that hot jizz wailing sound that's coming out of Tatooine these

[38:22] days.

[38:22] You know, I was trying to think, I felt bad that so many of our names that we were mentioning

[38:27] were, you know, the same type of, the same type of, uh, like older white gentlemen or

[38:34] younger white gentlemen.

[38:34] And I just wanted to mention that there are lots of other movies that have great music.

[38:39] I just don't know the names of the people who did them.

[38:41] Like.

[38:42] There's a song from, uh, the Indian movie Zanjir that I was trying to, I was trying to

[38:47] explain it to Sammy the other day.

[38:49] There's a song called Chakuturyan Tezcaralo that is, that I love and it plays in my head

[38:54] all the time, but I do not know who wrote it, but the music in that movie, I like a

[38:58] lot and I could look it up, but, um, actually, why don't I look it up?

[39:03] Okay.

[39:03] Hold on a second.

[39:04] I realized I have the computer right in my hands.

[39:06] Hold on.

[39:06] You're really getting the, uh, internal monologue from Elliot tonight.

[39:10] No, it was the, it was the Indian composing duo.

[39:12] It was the composing duo of Kalyanji and Ananji.

[39:14] Yeah.

[39:15] So, uh.

[39:16] I can't, I can't see Elliot's hands, but I'm assuming that his hands break into a bunch

[39:20] of tiny little metal fingers like the, uh, computer guys in Ghost in the Shell.

[39:25] Mm-hmm.

[39:26] Exactly.

[39:26] Well, it's, or it's, it's a lot like Minority Report where I'm just like moving things around

[39:31] in front of me with my, with my special gloves and my hologram screen.

[39:35] Yep.

[39:35] Um, but the hard thing of that is when your kids run in and they start poking around on

[39:41] your hologram screen and moving everything around, it's like, oh, my God, I'm going to

[39:42] be moving everything around.

[39:42] And you're like, oh, I had that organized just the way I liked it.

[39:45] Oh, no.

[39:45] Future crimes.

[39:46] Oh, no.

[39:47] Now Tom Cruise is guilty.

[39:48] Ah, oh, boy.

[39:50] Take his eyes out.

[39:51] Well, guys.

[39:52] So, what was, so what happened in that movie, guys?

[39:54] Which one?

[39:54] What do you mean?

[39:55] Minority Report.

[39:56] Why did he shoot that guy again?

[39:57] Oh, Max von Sydow's the bad guy.

[39:59] You're right.

[39:59] Never mind.

[39:59] Uh, so I just wanted to say, uh, you know, in the, uh, like, let's, let's, let's keep

[40:05] it a mini this time.

[40:06] Let's keep it a mini.

[40:07] We don't have a guest.

[40:08] We're three guys who love movies, but don't necessarily know a lot.

[40:12] We don't know a lot about movie scores.

[40:13] Talking about movie scores.

[40:15] We know, I would say we know more than the average person and much, much, much, much

[40:20] less than someone who really pays close attention to scores.

[40:23] Yep.

[40:23] Uh, so I just, you know, let's, let's close it up.

[40:26] Let's close up the old mini bag.

[40:28] Wait, but we haven't even talked about the movie, The Score, which I assume has music

[40:31] in it.

[40:32] That's, I think he's right.

[40:34] The movie where, uh, was it like, like Marlon Brando said something, it was like Frank Oz,

[40:39] like, like, like I'm not one of your puppets.

[40:41] You can't.

[40:42] Stick your hand up my ass and manipulate me.

[40:44] I think that's exactly what he said.

[40:46] But the weird thing is Frank Oz then did exactly that and proved him wrong.

[40:50] Yeah.

[40:50] And much of that movie, uh, Marlon Brando's performance is Frank Oz using Marlon Brando's

[40:55] body like a puppet with his hand up his rear.

[40:58] Okay.

[40:58] Well, on that note, let's, uh, sign off guys.

[41:01] Uh, thanks for being with us.

[41:03] Uh, next week we'll be back with, uh, an actual movie.

[41:07] Uh, we, I think we decided we can start talking about what the movies are.

[41:12] Yeah, we can say something.

[41:13] Keep being at a damn secret all the time.

[41:15] Uh, we're going to be talking about Artemis Fowl.

[41:19] That's the next one, right?

[41:20] Artemis Fowl.

[41:21] Artemis Fowl.

[41:22] It's a children's movie about a kid who is the, what, the son of the goddess Artemis

[41:29] and a bird.

[41:29] Uh, I can only assume.

[41:31] I haven't seen it.

[41:32] I haven't seen it.

[41:33] I know it's based on a book.

[41:34] Uh, and I think that book is, uh, Team of Rivals.

[41:39] Yep.

[41:39] Mm-hmm.

[41:40] It's, uh, To the Lighthouse.

[41:42] To the Lighthouse.

[41:42] Yep.

[41:43] Yeah.

[41:43] It's a, it's a kid's adaptation of To the Lighthouse.

[41:46] That would be an interesting movie.

[41:51] And I think it would go a little something like this.

[41:53] From Walt Disney Pictures comes the story of a family, a very special family.

[41:59] Ah, time works differently here at the Lighthouse house.

[42:03] Aw, Dad, are we ever going to get to that lighthouse?

[42:06] Oh, so many things are happening in our life, but the house remains.

[42:10] Mm-hmm.

[42:11] It's a heartwarming movie.

[42:12] It's a heartwarming classic for families of all ages.

[42:14] See, I would-

[42:15] Walt Disney Pictures presents To the Lighthouse, starring, uh, probably Colin Firth.

[42:20] Colin Firth, Emily Blunt, probably.

[42:23] Probably Emily Blunt, and also the lighthouse revoiced by Josh Gad.

[42:28] Yeah, well, that's the thing.

[42:29] I was, I was saying that you gotta anthropomorphize the lighthouse.

[42:32] Mm-hmm.

[42:32] That's, that's number one.

[42:33] That's the number one note I would give you when you deliver the script to me, uh, Mr. Disney.

[42:40] Mm-hmm.

[42:41] Mm-hmm.

[42:41] You're Walt Disney, right?

[42:42] I am Walt Disney.

[42:42] Well, I, they unfroze me, put me on, uh, you know, uh, like, they chose a terrible body

[42:48] to put me on.

[42:49] I gotta say this.

[42:49] Lumpy, aging rapidly, uh, but I'm back.

[42:53] I'm back, guys.

[42:54] Yeah, well, you shouldn't have chosen the wrong copy, dude.

[42:56] To bust up some unions.

[42:57] What?

[42:58] You should have chosen the cup of a carpenter, man.

[43:01] Yeah, that's true.

[43:02] Yeah, instead of that, instead of that gold thing that you picked up.

[43:04] That was foolish of you.

[43:05] Just the most golden cup.

[43:07] Oldest trick in the book.

[43:09] He's like, hmm.

[43:10] If this was a carpenter's son in ancient Judea, he probably had a pretty bangin' cup.

[43:16] His cup was probably glitzed the fuck out.

[43:18] So, Mr. Disney, I don't want to make this any longer than it has to be.

[43:21] I know you're a busy man, your head's sewn onto another man's body, and we have to finish

[43:25] up this mini, but I thought I might just throw out to you my first draft, really, of the

[43:30] song The Lighthouse sings, that Josh Gad sings in the To The Lighthouse family feature adaptation.

[43:36] Okay.

[43:37] Shut up.

[43:40] Shut up, okay.

[43:40] Life can be a little lonely when you're a lighthouse sittin' on a rock.

[43:45] You sit there all by yourself, you're only starin' inside you at the clock.

[43:51] Oh, when are they gonna get to me, the lighthouse?

[43:55] When are they gonna get over here to the lighthouse?

[43:59] When am I gonna see?

[44:00] When am I gonna be?

[44:02] When they gonna get to me?

[44:04] And so, imagine there's also like a lot of goofy stuff happenin' on screen, you know?

[44:08] Uh, I would, I...

[44:09] Oh, life has a lighthouse.

[44:10] Oh, life has a lighthouse.

[44:10] A lighthouse seems like it'd be grand.

[44:12] Life has a lighthouse.

[44:14] Hey, give me a hand.

[44:15] I bring the ships safely into port, but you know I want more.

[44:23] Oh, it's an I want song.

[44:25] I see.

[44:25] When are they gonna get to the lighthouse?

[44:27] I really want them to get to me.

[44:31] When are they gonna get to the lighthouse?

[44:34] I've got the light that will help them see.

[44:37] It's so crazy that L.A.

[44:40] had this whole thing written out before the episode.

[44:42] I will, you know, I can...

[44:43] This whole episode was just a long wind to get to finally get to my To the Lighthouse song.

[44:47] Elliot was dropping little seeds for me to set them up.

[44:49] Mm-hmm.

[44:50] I can, I can hear...

[44:52] I, you know, I think Peebo Bryson will be glad to do the, uh...

[44:56] The, the, the pop version.

[44:59] I do have a, I mean, there's some meter problems.

[45:01] The part that I was most confused about, though...

[45:03] It's a first draft, Dan.

[45:04] It's a first draft.

[45:05] So, he's looking inside himself at the clock because...

[45:09] Yeah, because he's a big guy.

[45:09] Yeah, because he's a building.

[45:10] Because he's a building.

[45:11] And the clock is inside.

[45:11] Okay.

[45:11] Yeah.

[45:12] Okay.

[45:12] There's no clock in the sky unless you count the sun, nature's clock.

[45:15] I guess.

[45:16] Which I do.

[45:18] I guess all that checks out.

[45:19] So, anyway, so then they're trying to get to the lighthouse.

[45:22] The family, they're dealing with deaths.

[45:23] They've got to get...

[45:24] They decide to go to the lighthouse, and that's when, of course, the, uh, the villain, the

[45:27] waves that are keeping them from the lighthouse, that's when they have their song.

[45:30] Mm-hmm.

[45:31] The motion of this ocean, the devotion I feel for stopping this family.

[45:39] Mm-hmm.

[45:39] The lighthouse.

[45:40] That lighthouse.

[45:42] He thinks he's so great.

[45:45] Oh, I just really hate that lighthouse.

[45:48] But what do I want?

[45:50] This ocean here, unlike my water, it's not very clear.

[45:56] The ocean is me, but what can I see?

[46:00] Very Nightmare Before Christmas over here.

[46:02] It is very Nightmare Before Christmas, now that I think about it.

[46:04] And it's a second I Want song, which is interesting.

[46:06] I mean, I don't think the villain usually gets one of those.

[46:09] But...

[46:10] It's just like Walt Disney's Everybody Wants Some.

[46:12] Okay.

[46:13] It is...

[46:15] I realized at a certain point that it was just a Jack Skellington song.

[46:19] I'm the master of fright and a demon of night.

[46:23] That kind of stuff.

[46:24] I gotta say, for a composer that I love so much as a film composer, I do not much like

[46:34] the songs to that movie, because they all do...

[46:38] Like, I feel like...

[46:39] From his pop music days, he's forgotten how to write a normal song that just kind of has

[46:44] a melody and goes...

[46:45] You're saying that the musical about the skeleton man was too spooky?

[46:49] No, but I'm saying that there's not really much of a melody to any of the songs.

[46:55] They are like that.

[46:56] They're like, but how will I do this thing?

[47:00] I must get an idea now!

[47:04] It's in the grand Gilbert and Sullivan light operetta tradition.

[47:08] There's some...

[47:09] I find...

[47:09] I find Sally's song very beautiful.

[47:13] There must be something in the wind.

[47:16] That one.

[47:17] There's good stuff in there.

[47:18] There's a tragedy at hand, and though I'd like to stand by him...

[47:24] Luckily, it's paired with some world-class animation.

[47:28] I mean, it looks beautiful.

[47:29] You can't keep your eyes off that screen, you know?

[47:31] What about, Dan, what about the part where they go, this is Halloween, this is Halloween.

[47:36] That's a year-round song.

[47:37] That's barely a melody.

[47:39] I like Oogie Boogie's song.

[47:41] I think that's a good one.

[47:43] Okay, yeah, that's a good...

[47:44] I mean, there's lots of good songs in it.

[47:46] There's good stuff in there.

[47:47] I just expected more out of Danny Elfman.

[47:49] Danny, I expected more out of you.

[47:51] Wow.

[47:52] Danny Spider-Man Elfman.

[47:53] That's what he's best known for.

[47:55] Danny, if you're listening, I like all the songs in it.

[47:59] I think you're doing great.

[48:00] I mean, you were doing great.

[48:02] When did that movie come out?

[48:03] 27 years ago or so?

[48:04] Danny, if you're listening, I immediately take everything back I said about you.

[48:08] I feel very...

[48:09] Very embarrassed, and I'm sorry, and I love you.

[48:12] You've done great work.

[48:13] I mean, Dan, you have to admit, you've got to give him credit.

[48:14] The guy is an elf.

[48:15] He has to jump from piano key to piano key because he's so tiny.

[48:18] Just to eke out a simple tune.

[48:21] And on the subject of composers, I just want to do a quick shout-out to my buddy, Jonathan Hartman,

[48:26] who just composed the theme music that is used in all of the video content put out by Games Workshop,

[48:36] my former employer, the people who make Warhammer.

[48:39] Okay, guys.

[48:40] That was really nice.

[48:41] You guys don't sound nearly fucking impressive.

[48:43] I am so goddamn hot and sweaty right now, and we tried to end this thing, or I did, 15 minutes ago.

[48:51] Yeah, Dan, you tried to deny the world my original operetta musical based onto The Lighthouse.

[48:57] You know what?

[48:57] There's great stuff that happened.

[48:58] Great stuff.

[48:59] But now let's...

[49:00] But now we should let you go because you're visibly melting.

[49:03] This is a lovely mini brought to you by Minnie's Bar, the home of the locally sourced Frankfurters.

[49:07] And if you have any other questions about...

[49:07] And if you have any other questions about Minnie Pearl or Minnie Me, please send them

[49:12] to Dan McCoy, courtesy of The Flophouse, at Dan's house.

[49:15] Okay.

[49:16] Visit MaximumFun.org, our network, for other great shows, rate, review, subscribe, all

[49:26] that internet stuff.

[49:27] Thank you for being here with us.

[49:29] Just don't like radar singing.

[49:31] Yeah.

[49:31] Thank you to Jordan Cowling for editing this nonsense for The Flophouse.

[49:37] I've been Dan McCoy.

[49:39] I'm Stuart Wellington.

[49:40] I'm Elliot Kalin.

[49:42] Mr. Walt Disney, call me.

[49:43] Nighty-night.

[49:45] MaximumFun.org.

[49:53] Comedy and culture.

[49:54] Artist owned.

[49:55] Audience supported.

FH Mini 11 - Score Tactics

Transcript

Description