How tall was King Kong? Find out on this week's episode covering THE STUNT MAN (1980)
Ricky, Ricky, Ricky! We're back with our first episode stalwart, Richard Rush!
We always knew we were going to return to the world of Rush, this time in his most notable film, THE STUNT MAN. Starring Peter O'Toole, Barbara Hershey, and Steve Railsback, this film tells a tale about a wanted felon who stumbles onto a film set and 'just begins working' as a stuntman, and everyone loves him.
As you might expect, there is a lot of 'Rush-isms' in this, for better or worse. But honestly, we wouldn't have it any other way! Remember, King Kong was only 3'6". It was the 'movie magic' that made him tall.
From King Kong to Chaos: A Cinematic Journey
Laura: I was trying to remember what he said. He keeps yelling, how. How tall was King Kong? Was it like 3 foot 5? I can't remember what he says.
Ryan: Yeah, it was like 3 foot 8.
Laura: Why isn't that a, uh, common information on the web that I can look up?
Ryan: I don't know. Because that's. Because that's the thing. It's in reference to movie magic. Is that. How big was King Kong? Well, he's, you know, he's 15ft in the movie, but in real life, when they're filming, um, him, he's only 3 foot 8.
Laura: So this is not the beginning of the podcast I need to look up.
Ryan: Well, that's why I'm trying to make it interesting now.
Laura: Well, hello there. Welcome to On the BiTTE the podcast that uncovers full frontal male nudity in cinema. My name is Laura and I am joined by my co host, Ryan.
Ryan: Do you know how tall King Kong was?
Laura: How tall?
Ryan: 3 foot 6 inches.
Laura: Wow.
Ryan: Yeah. He's not. He's not. Because he wouldn't be very terrifying in the movie if he was effectively like, a midget, a midget gorilla just kind of going around causing all sorts of trouble.
Laura: That's true. That is true.
Ryan: You'd also be wondering, like, why did they bring him back, like, from the island as well? He'd be like, huh, why is Feyrey.
Laura: So much taller than this?
Ryan: Yeah.
Laura: Won world.
Ryan: Yeah. Fair, like, Faye Ray actually fallen in love with the little gorilla. The little gorilla man.
Laura: Cute.
Ryan: So this line is a memorable example of how perceived reality can be manipulated in the movie world and serves as a reminder that not all things are. Oh, hold on. That things are not always as they appear.
Laura: And no film does it better than the 1980 satirical psychological Black comedy The Stunt Man directed by our boy, Richard Rush.
Ryan: Ricky Rush, the absolute madman.
Laura: Star filters?
Ryan: Yeah.
Laura: Split diopter.
Ryan: No.
Laura: Uh, the gorilla man.
Ryan: The gorilla. Um, no. He is obviously the director of Color of Night, if we remember that as well, which also suffers from some of the same stylistic.
Laura: You say suffer, I say thrive.
Ryan: Yeah. If you like yourself. If you like yourself. Lens flare transitions. Do you like star filters? Do you like soft focus?
Laura: Yes.
Ryan: Do you like, uh, split diopters?
Laura: Absolutely.
Ryan: Split diopters, I feel like, is a fine art and I feel like. Well, yeah, we don't like to say it, but obviously Brian De Palma does it an awful lot, but he's done some good ones. That's the issue is his films aren't so great, but his split diopter shots are actually pretty Cool. Um, there's a lot of soft focus stuff because I would say that I think the stuntman's not shot particularly well. Some like, to the point where some shots within the same scene do not look the same.
Laura: Yeah.
Ryan: Um, that paint scene, for example, is a very good example of that things. Yeah, even Barbara Herey looks like she's in a completely different place when you cut her in that scene is weird.
Laura: She probably was.
Ryan: Yeah, no, she probably was. Um, and they were like. Well, no, that's where she gets the most emotional. This is my favorite take. And it's like, yeah, there's a. There, there's some fucking. There's some. There's the not so movie magic in this film that's effectively about movie magic. Um, you know what he does? He commits one of the cardinal sins that I don't like is that there was a crash zoom in that scene where it's the paint scene as well. And he fucking, he cuts it out. But the problem is is he doesn't cut all of it, uh, out because you realize, like, you see like the last fraction of a second of the crash soonoo. Oh, in the edit of the cut. And I'm like, I'm like, well, why not use the crash zoom? You know what I mean? Like, there was a reason why you did it. I was like, use the crash zoom. Like, why wouldn't use the crash. Don't just insinu it. Like there was a tiny little slither of it where you're just like, oh, wow. There was a crash zoom there that I would have liked to have seen.
Laura: Wow.
Ryan: Awful, awful filmmaking.
Laura: I was watching some other'm trying to catch up on my Richard Rush, uh, this week because I don't think I watched any of his other films when we did our very first episode, which was Color of Night.
Ryan: Yeah. There's also not a lot of films either.
Laura: There's not a ton. He did a lot of motorcycle movies.
Ryan: Yeah. And if you want, if you want to really know about that stuff because we, you know, we tried to make a really good impression for our first episode. So we kind of did it over like two or three recording sessions and we researched the fuck out of
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Ryan: it to the point where it's like this micro. Welluse we were. We, uh. Yeah, we u. It was like this little micro. Microscopic. Look at this. Kind of rather mediocre.
Laura: Wrong, wrong, wrong, wrong.
Ryan: Like, it's kind of like, I love that movie. We looked at it so hard that I started to like it more because it felt like a Tragic like the tragic pursuit of a man who just couldn't get any fucking work basically.
Laura: You can really see at this point and seeing a couple other of his movies now where he was going, what he likes, he likes kind of this chaos. What is reality? Andeah he does it in at least 100% of the films I've seen of his, which are three.
Ryan: Yeah. And um, it's not like it's not even as if it's kind of. Well you could maybe refer to it's like fourth wall breaking. But this is kind of like this is a movie about movie and it really plays into. Because you're never 100% sure what is real, what is not real. Like what is the movie, what isn't the movie. So like a lot of that stuff is actually quite interesting. The thing like the thing about the stuntman and it's like I wantn. I wanted to love this film. It has a lot of really quite inherent issues that you can't really fix now. Um, but. But the thing is, is like this film has the potential to be like great. And I think there's a lot of. There's probably more sympathizers for this film um, than maybe some of these other stuff because there's. There's some real gems in this film.
Laura: I should say what this movie is about by the way. It is starring Peter O'Toole as Eli Cross, Steve Rails Back as Cameron, our Stunt Man Art titular stuntman and Barbara Hershey as Nina. The tagline of this film is. Which is pulled from the movie. If God could do the tricks that we can do, he'd be a happy man.
Ryan: Yeah, that's a really good tagline.
Laura: Yeah, that's a great one.
Ryan: Yeah. I will say like there are some lines of dialogue in this movie. If sometimes the movie doesn't make an awful lot of sense. This is the. Yeah, there is some good lines of dialogue in this.
Laura: And the synopsis that I pulled from letterboxed is a fugitive stumbles onto a movie set just when they need a new Stunt Man takes the job as a way to hide out and falls for the leading lady while facing off with his manipulative director.
Ryan: Yeah, I mean its pretty.
Laura: Its his fault that the stuntman dies.
Ryan: It is. It's also, it's also super fucking odd. Like it's very weird like that.
Laura: I'm actually not sure because he was supposed to drive off the bridge.
Ryan: He was. Yeah, he was supposed to drive off the bridge. But I think, yeah, I think it was kind of like when you find that out in the story though, you're just like, oh, this guy's been manipulated. And he was never in any real trouble other than obviously for what we kind of find out later, his past as a. Because he was from Vietnam. So he's got a lot of PTSD stores.
Laura: He's not from Vietnam.
Ryan: Well, no, he went to Vietnam. Like he was a soldier in the Vietnam War. I think that's what I was.
Laura: He sure likes to bring that up, soldier boyy.
Ryan: Well, if he was Vietnamese instead, that would d be a lot more interesting, I think. Yeah, well, yeah, because the lead actor's not that compelling the one they picked anyway.
Laura: No, he, he really, uh, he really isn't.
Ryan: No. And that is an inherent problem that I think brings the film down a few notches because you've got Peter O'Toole and Barbara Hershey who are, you know, in the right m man. I mean, Barbara Hershey, that's the thing. Like, if you didn't have Peter Ro'tool in this movie, you've kind of just got a manic Barbara Hershey going around. And she's good because it's Barbara Hershey. But it's kind of like, yeah, like what she's getting. Like there's not a lot of meat on the bones with her character either. She's a little bit, she's a little bit two dimensional as much as she kind of really, really acts. But she's a little too dimensional because like, yeah, if they didn't have po tool in this, put in the beIN just it in the bin, like he's, he goes full tool this.
Laura: I probably will want to talk about him on that crane or whatever you call it for maybe 45 minutes. Butah there were other actors that wanted the part of Cameron, some of them being Martin Sheen, Chef Bridges, Ryan O Neil and Steve. Uh, Railsback was offered the part because Richard Rush saw
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Laura: his performance as Charles Manson of all people, in a miniries from 1976 called Helter Skelter.
Ryan: He's like, I think this is a, uh, this is a fundamental. You know what? Uh, like, the more we dig into the Richard Rush like pantheon, like, you can understand why certain, certain projects just aren't really given to him at a certain point. Like, if you lob up, like, because anyone, any one of those actors that you named would be better in this. I mean, I, I mean, I don't. Who would have been the best person for the role. I mean, Martin Sheen's good. I don't know if he like that he's.
Laura: Ryan O'Neill would have been.
Ryan: Ryan O'Neill would have Been perfectfect absolutely fucking perfect. And like Jeff Bridges, it would have been, it would have been incredibly tasty if Jeff is an it. But it's like you kind of like you think it, but you can see like what they were going for. But yeah, no, Ryan O'Neal, it would be like, like that would make this film legendary for me. That would fix so many of the problems, I think with the film.
Laura: I don't trust him as a character. I find him terrifying. But I think that's just because he's not amazing.
Ryan: You don't really know what he's thinking because he's not portraying it well enough.
Laura: I don't understand either why he seems to be so attractive to everybody.
Ryan: Mmm.
Laura: I don't get the sex appeal of that man.
Ryan: No, I don't get it. Even Peter O'Toole is, is close to jumping his bones at some point.
Laura: Keeps pulling him onto his la like.
Ryan: One to like, you know, becausez he's like, he's like. Because he doesn't say it obviously, but he's obviously sexually attracted to this man because of his dark nature and just it's that pool that he get. But the problem is, is like us as the audience. I'm like, Peter, I don't know what you're seeing in him. Like, I really don't see it.
Laura: Like he's running from the cops and you don't know what he did for a really long time.
Ryan: It takes forever. But the thing is, is like they, they push on you. The fact that he was in Vietnam, he was a Vietnam veteran. And the problem is, is it becomes a little bit of a, of uh, a cle in that he's just like, well, he went to Vietnam's. Obviously he came back scarred and damaged like many men did at that time. But the thing is'like how many fucking films have you seen with that exact same premise?
Laura: That's not, that's not what Scaren damaged him though. It was the.
Ryan: No, it's some separate.
Laura: Yeah, let me, let me just.
Ryan: But it's predicated on the fact that he was in the Vietnam War as well.
Laura: If he hadn't have gone away, this wouldn't have happened.
Ryan: Yeah, so it's a little, it is a little bit. And um, it is a little bit cliched in that regard.
Laura: I want to go back a little bit and talk about the origins of this film which is Based on the 1970 novel of the same name. Written by James Brodur and he had a Harvard classmate called Frederick Weismman who was initially attached to direct an adaptation of the book, but it just didnt really follow through. He ended up working a lot more in documentaries later on. Columbia Pictures had the rights to the novel and both Arthur Penn and Frois Truffau were considered as potential directors.
Ryan: That'd be fucking awesome. Amazing. Arthur Penn would be my, probably my pick for that because I think Tru is. Truau is probably better than this material, to be fair. Um, but no, I mean, Arthur Pen would be a really good, like a really good choice for this. I think Arthur Penn would have been perfect for this.
Laura: Richard Rush was offered the film based on the success of his 1970 film Getting Straight, which starred Elliot Gould.
Ryan: That's the Elliot Gould movie, right? With the mustache?
Laura: Yeah, G.H.
Ryan: Gould.
Laura: I've been watching a lot of Gould and so I keep calling it Elliot.
Ryan: I see four Kat Goulds.
Laura: Oh my God. Yes, it's Elliot Gould. Summer, you guys, I don't know if you knew that. I know Elliot Gould's not in this movie, but he might as well be. If he was, Holy mackerel.
Ryan: He wouldn't have been a good fit for it anyway. He would'two he could have been the director. Um, yeah, but then you don't have Pet Ro'tool. Pet Ro Toole has that flamboyancy that you're like. You're like Mooco. That's so good.
Laura: This was actually the last film that Rush did before he made Color of night in 1994 'a massive, massive gap. But we already said he hasn't done, uh, or didn't do a whole heck of a lot.
Ryan: Well, the whole thing, yeah, he hadn't done an awful lot, but like his career was on a trajectory where he was
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Ryan: getting, he was getting projects, you know, relatively consistently. I mean, R.E.M. remember saying that he was, he was, uh, set and was going to do, uh, a, ah, Batman instead of Tim Burton.
Laura: Right.
Ryan: You know, and I think, I think his Batman probably would have been pretty. It would have been pretty. It would have been decent. Would have been the fucking Su, obviously, but it would have been decent. And. But yeah, no, I think that he's. I think as a director he's got very specific ideas of what he wants to do and he's really stuck to his guns. But I think he's a perfect example of someone who, who kind of does things that he wants to do, but he doesn't, he doesn't work the system I think it's like the system is starting to kind of. They're wanting to do a certain thing and I don't think he's. He's sticking to his guns, but he just doesn't have that. He doesn't have the power of, say, like, I don't know, a scarese who does a very similar thing where he'll do a project for himself and then do a project for a studio, but it's still Scorsese. So, you know, I feel like with the Richard Rush story, the reason his career isn't the way that it probably should be is because of the choices he is making. For artistic integrity, I suppose, is what I would probably refer to as.
Laura: The stuntman is a perfect example of that. And as he likes to do for this film, he wrote an entirely different screenplay from the novel where every. So everyone in the book is crazy. That's how the novel goes. Everyone's nuts.
Ryan: Oay.
Laura: But in the screenplay that he wrote, everyone is sane in an insane world. Now, the studio had no idea what to do with it, and it was immediately put on hold because he did getting straight in 1970. This book came out in 1970. They're trying to make this movie in 1970. So it's like hot off the presses, ready. They're trying to get that traction and it's ready to go.
Ryan: There's definitely a feeling that this is. This is hinged very much at the time when it was trying to be made. And it never seems to get out.
Laura: Of that, uh, oh, it looks like 1970.
Ryan: It's 100% 1970, but it's not ye at all. It's not.
Laura: Rush ended up buying the film rights from Columbia and it just wasn't going anywhere. Like, it wasn't going anywhere. And at the same time Rush was shopping around the Stunt Man he was also shopping around One Flew over the Cuckoo's Nest, which he had optioned from Michael Douglas.
Ryan: Well, yeah, I mean, Michael Douglas at that time was, um. That's what he was doing.
Laura: Yeah.
Ryan: So, um. Um. Thank God that got in the hands of Myless form, because otherwise fing. Hell God no. Because he would have. He would have dived more into that. Like, that's perfect Richard Rush material. It's like that. That original Ken Kessy book. Because of all the other stuff. Because the stuff that obviously you don't see in the film, but you're reading the book. Yeah. I'm kind of thankful that the film is what it is, personally.
Laura: Yes. You know, so in 1976. There were several studios that were interested until Warner Brothers were about to release another film called the Stunt Man with no space between the words stuntman.
Ryan: Okay.
Laura: Eventually, under pressure from Russian and other people, there was another delay and the Warner Brothers film, the title was changed to Hooper. That film starring Burt Reynolds and Sally Field.
Ryan: Right. Okay.
Laura: And then Richard Rush had a heart attack in the autumn of 1979, which caused further additional delays.
Ryan: How inconvenient.
Laura: The film. It. When it was finally finished, couldnt find a distributor. It was eventually put out in a limited release. It was put out in just a few theaters. Then it ended up winning an award. So it went kind of wider. I think it was at the Montreal Film Festival. And they go, okay, maybe we can actually sell this. So it went a little bit wider. It didn't make any money. No one saw the film.
Ryan: Yeah.
Laura: Peter O'Toole said the film wasn't released. It escaped.
Ryan: Right. Okay.
Laura: Richard Rush also said that they couldn't figure out if it was a comedy, a drama, if it was a social satire, if it was an action adventure.
Ryan: He's the director, though. Like, he needs to figure that sh.
Laura: No, no, he said that. I apologize. He said the studios couldn't figure out what it was.
Ryan: Uh, I mean, that's also his fault.
Laura: And he said the answer is it's all of those things.
Ryan: Right. Well, that's not good marketing material, is it?
Laura: F. I know that you can make films nowadays. Maybe it wasn't as popular then to have such a mixed genre film.
Ryan: Yeah. But you can still put things into a bracket. I don't like this idea, and I've said it before, I don't like this idea that you is the person who's made the film. You have no way of explaining what it is. Like, you have to
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Ryan: do that in order to sell and pitch things. And I think it's a very pretentious, I would say, like it. Uh, you know, because I've. I've spoken to, you know, young filmmakers and stuff over my time, and folk could go on about like, well, you know, genres. Like. It's very inhibiting. It's like. No, it's not. It's like, ah, a. It's. It's sealed within the. The medium itself and storytelling in general. It's like, that's how you know where you. You. If you know what sort of book you want, you go to that section in the bookstore. You don't go to the nonescript section where all God knows of whatever what is on the shelves like this is just a good way of identifying what something is.
Laura: So I don't have a problem with that. I don't have. Because this film is a comedy, a drama, a social satire and an action adventure. It literally is all those things. He's not wrong. Then what is the overarching theme? And then that's just your genre. You know, I would say action adventure. That's probably what I would call it'that's. Um, probably the more.
Ryan: Because it's, it's a little bit more satirical as well.
Laura: Right.
Ryan: Like the way that it.
Laura: But there's not a satire section of the like movie store.
Ryan: No.
Laura: If we were gonna go rent a film.
Ryan: No.
Laura: So I would pick action movie. It's called the Stuntman. I mean, and it's more action y than it is funny.
Ryan: Like an. Yeah. Cuz it's not funny. Um, it's weird.
Laura: There's funn kn.
Ryan: It's, there's funny bits, but it's. It's kind of weird. So, you know.
Laura: Yeah, no, it is incredibly weird. The tone is strange, the acting is awkward.
Ryan: It's a bit like a fever dream.
Laura: It is. But that's his bread and butter, baby.
Ryan: Yeah, well, that's the thing. Once it. When the film opens and it's kind of like there's the top and they're honking at a dog and there's this buzzard and there's the apple, there's the helicopter that never goes away. Um, there's obviously the dinero tool using the helicopter.
Laura: Is it a crane? Is that what he's on? What is that called? That rig that he's on that he's always floating around on?
Ryan: Well, it's just a crane rig.
Laura: Okay. So he's on a crane'in the helicopter. The amount, uh, that they use that helicopter seems so expensive and so incredibly dangerous. I'm very afraid of helicopters. They're using that thing as if it's just. I, uh, honestly don't know. They're using it as if it's not a death trap.
Ryan: I would say that the director is probably a bit more of uh, like a maverick, you know, Like, I don't know who, who. Peter Ro Tool kind of fashioned that. That director on, but he based it.
Laura: On David Lean from the set of Lawrence of Arabia, also John Houston.
Ryan: Okay, okay.
Laura: U, um, and his wardrobe is based on Richard Rush's outfits.
Ryan: Okay.
Laura: Because he didn't know what to wear. He couldn't figure out what to wear.
Ryan: Oh, I see. Okay. All right. Well, you know, that makes. That makes sense. U. Um, yeah. So, I mean, I don't. Yeah, I love.
Laura: I'm sorry I to interrupt you, but I did love that opening scene. I love the dog licking his genitals and the cops. The dog growling, and the diner with the dog growling. And James Avery is in that opening diner sequence. Who is Uncle Phil from Fresh Prince of Bel Air.
Ryan: Huh? Huh? Yeah, he is. Yeah, fucking is.
Laura: I was like, is that uncle fucking Bel. It is. Wow, that was a treat.
Ryan: Or Shredder. Let. Let's be fair.
Laura: He plays Shredder.
Ryan: Did I die DY on Turtle Soup? Yes, he is the voice of Shredder from the Teenage Mutant Ninja Turtles cartoon.
Laura: God.
Ryan: Yes. We're talking about the same man, correct?
Laura: I think so. That's really cool, right?
Ryan: Yeah, that's.
Laura: I'm gonna type it in. Hopefully it's not too loud.
Ryan: Yes. No, we have. Well, no, there's an entire channel dedicated to the Teenage Green Ninja Turtles cartoon. Um, fucking love show. Yeah. Same guy. Told you. Told you. He did. Uh, yeahu. They did, uh, a few years ago because I think James Everort, uh, he's. He's, ah, he's dead now. Um, yeah, they did, like, a reunion of all the voices for the TMNT tv, uh, show, the old one. They're the original, uh, Gen one, uh, tmnt. But, yeah.
Laura: I've. I've looked up James Avery so much on my computer. It knows when I type James. It knows which James I want to talk about. Give me more info on James Avery, please.
Ryan: Yeah, yeah. But, yeah, so, I mean, there's there's the dog, there's the helicopter, there's this. There's a chase. Uh, there's handcuffs. Um, this is how we meet our main character. Um, and it. Yeah. And then it kind of ends up with,
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Ryan: obviously the car goes into the water, blah, blah, blah, blah, blah, blah. Um, and then he's basically convinced by Peter O'Toole to become a stuntman because they lost the other one.
Laura: Yeah. You know, very weird. I guess he's just. He didn't want to delay filming because they'd already had a lot of problems.
Ryan: Kind of nonsensical to the point where it's just like, yeah, just. Just be a stuntman. Like, that'be good, would, won't it?
Laura: Yeah.
Ryan: You know what I mean?
Laura: And I. I'm sorry. When they do that initial big stunt, right, the one that leads right into the penis scene, you're watching it because you go, okay, he's doing a stunt. He's thinking about doing the Stunt. He's practicing to do it. Okay, great. And then when they start doing it, this is when I realize that this film is insane. Because you wouldn't just shoot all of this material in one go if you're doing a stunt.
Ryan: Yeah. No, you.
Laura: This really crazy long stunt sequence where he's just fallen off of gutters, breaking through windows and falling through ceilings. And I'm like, what actually is happening right now? And then I go, okay.
Ryan: But the thing is, like, here we go. It's done that way to preserve the, you know, the consciousness of the audience that is watching the stunt man, as opposed to. Because the. The act of making movies. Because, you know, we've made a few. It's very laborious. It's very stoppy starty. Like, you don't want to put that. You don't want to kind of show that process in a film anyway, because it's fucking boring. And, um. But certainly. Yeah, the thing is, because we haven't even noted, like. Because they're making a war film.
Laura: Yeah.
Ryan: Like a German war film. And, like, no joke. Like, there's, like. There's iron crosses, there's. There's swastikas, all sorts of stuff. Like Barbara Hershey's character. Because at one point when they meet her, she's like, I am the movie. And, um, she's like the hair. Frau. Um. Of the piece. And she's got, like, an iron cross around her neck. And she. She's in. They depict her in, like, three different time periods or something. There's all sorts of weird, crazy, strange Nazi, German, Second World War bullshit going on. And, uh. Yeah, that's. That's the film they are depicting. So it's kind of like you're. Yeah. The film within the film, basically.
Laura: They never explicitly name the film during this movie, but you can see, um, on some of the crew'shirts it says Devil's Squadron.
Ryan: Right. Okay.
Laura: That's the name of the movie that they're making.
Ryan: And it's a weird. It's a weird thing. I think it's. Yeah. I mean, I'd hazard to say maybe the film they're making is more interesting than the film. Like the film that we're watching. Um.
Laura: I don't know about that.
Ryan: I don't know. Like, personally, it has a. It has a. Like a Dirty Dozen feel about it that I would have been into, potentially. Sam.
Laura: Um.
Ryan: Peck and Pa. Cross of Iron sort of feel to it.
Laura: Did you recognize the hotel that they were shooting around in this motion picture?
Ryan: Like, kind of, you're gonna basically remind me of exactly what that is though. Because there was a familiarity with it.
Laura: It's a black and white film about a couple boys in drag.
Ryan: Uh. Oh, some like a hwk. Right, okay, I see. Oh, when they get, uh. Because they get to Florida, right? Yeah, that's the same place.
Laura: The Hotel del Coronado.
Ryan: When they're on the. They're on the beach. Got you, got you. Nobody's perfect. Um. Um. Yeah. Okay. All right. Yeah. What? That is familiar, like that place. Yeah. Ca. Becausee they do make the point like petauos. Like why would you find palm trees in. In Germany? Yeah, it's like. Well, yeah, I mean, that's correct. Um, yeah. No, I mean, yeah, it's a. It's a fever dream up to this point. But we're in the. We're in. We're in the stunt. The big stunt. The real big stunt. Although it's not the biggest stunt, but is the big stunt and it leads us directly into the penis scene.
Laura: It's so incredibly chaotic. But very fun watching him do all these stunts. I like watching a good stunt.
Ryan: Yeah. And when he was training with the other guy, like the other stunt man.
Laura: Like, like the stunt coordinator, the stunt.
Ryan: Coordinator, basically, he's like explaining to him like what you should do, this is what you should do, blah blah, blah, blah blah. And he's like, he's like they're on the roof. And he goes, he's like, your mind can't be on snatch. It's got toa be on grabbing the gutter. And I thought that was funny. That made me
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Ryan: laugh.
Laura: I like that guy.
Ryan: Yeah. No, he was like a. No bullshit. Sort of like he, like he seemed like to have the perfect look and feel of someone who's been on film sets like all their fucking life. Yah. And it's just like. Yeah, like he's just like a man's man. He doesn't give a shit. He's like that, um, um. He's like that video of that Australian who. I don't if anyone's ever seen it, but like there he's at a cricket game and basically uh. I don't know what the equivalent is a. Of a fucking home running cricket. Because cricket'fucking boring is that they hits it out and the guy just. It's just a Australian man stands up, sunglasses's on mullet. He grabs the ball in the middle of the. Throws it back and then he just sits down, puts his leg up and then he has a draw from his, from his cigarette his dry. And it's fucking perfect. And it's all commentated on by the Australian, the Australian commentators. It's fucking genius. And that's what this stunt coordinator reminded me of.
Laura: Wow.
Ryan: Was a man's man.
Laura: I don't think I can even remember what the stunt entailed, but I know where it ends up.
Ryan: Yeah, it's pre. It's pretty wide because he's just, he's going along the roof. There's a lot of explosions, there's a lot of gunfire. There's a plane going on overhead. He's getting chased by other Germans. Um, and then he ends up on like what I would only refer to as like's either a flagpole or a. Or a uh, like a power line pole or something like that. Um, and it comes loose in comedy fashion. He ends up crashing through a few u. Uh, tar pollins. Is that what you would call them? Those things? Those things. Those uh, uh, awnings.
Laura: An awning.
Ryan: Right. That are on the side of the building. Um.
Laura: M. Mhm. Yes.
Ryan: And then he crashes through a skylight window.
Laura: Yes, that's what I'm talking about. And Whoa. Oh, whoopsie doodles. What did I fall into a brothel? Uh, he falls right in between two people that were having sex.
Ryan: Yeah. And they weren't in the process of having sex'just I'odling.
Laura: I think. Well, I think n nude canoodin.
Ryan: Well, it just kind of looks like they're all looking up at the skylight and they're just kind of side by side next to each other.
Laura: Well, they were soon covered in glass.
Ryan: They were. And then they were all covered in each other.
Laura: Eventually, well, they realize, oh boy, this guy's a bad guy. So in. They're still filming the movie, I assume in this weird way.
Ryan: Yes.
Laura: And Cameron, the stuntman and the soldier on the bed and the. And the brothel woman.
Ryan: Yeah.
Laura: Are kind of wrestling on the floor.
Ryan: It's weird. Jeah.
Laura: This is such a weird penis scene. Okay. This is about 52 minutes and 35 seconds into the movie. I've never seen a scene like this.
Ryan: And if you're awareird that's only about halfway into the film.
Laura: Oh my gosh. Yeah, that's true. The first stunt way too fucking. Is an hour in.
Ryan: Yeah, it's too long.
Laura: This movie is too long.
Ryan: Way too long.
Laura: Could it cut at least 30 minutes.
Ryan: At a lot of it. A lot of it could have been cut out.
Laura: Well, it's interesting because it's kind of a close shot Right. Of the Three people on the ground.
Ryan: Well, the main. That's not the shot though, because there's the wide shot from the skylight.
Laura: Okay. Yeah, I guess you can see it.
Ryan: That to me is like the main shot that substantiates our interesting.
Laura: Oh, I don't know about that.
Ryan: But'most clear because he's like fully in light and he's lying down face up. Uh, and you see it all there. Because I don't think with the wrestling. The wrestling'not particularly clear. You just get.
Laura: I watched it many times. It's closer and it's very clear. What I think is interesting about this part because it's close on the three people wrestling and the man who was the naked soldier that. We saw him through the skylight. Right?
Ryan: We did, yeah.
Laura: He hides his dick so he's kind of tumbling around on the floor.
Ryan: Yeah.
Laura: And he. I don't know how he knew or what was going on, but he like, you see everything pretty close. He's an actor, but he kind of grabs it and hides it.
Ryan: He does, yeah, he does hide it. It's odd when it s like the.
Laura: Bottom left corner of this screen because.
Ryan: It also makes you feel like they're wrestling on the ground. They're kind of doing like a katamari d matchi and um, like rolling up into a ball and like kind of crashing out through the. Through the front door. And um. Yeah, and then it's, you know, it's obviously a brothel. A lot of topless men, topless women, lots of drink going around.
Laura: Yeah.
Ryan: And there's a lot of sequences where. And then they undress him. They undress poor Cameron. And uh. Yeah, they kind enough. Not
00:35:00
Ryan: enough. Yeah, they keep his underwear on. Um, you know, they don't go to the. They don't go to the next level of just. You're committing full rape. Just a slight assault. Um, but U. Um, yeah, they're, uh. Because there's a few instances like that where he's like surrounded by men at points, you know, um, and. And being, ah, roughed up a little bit. But U. Uh, yeah, no, it's kind of. It's just such a weird thing because it's like within the fabric of obviously, the stuntman because, you know, you kind of get an idea that like, the po Tool is the director. He's into kind of weird stuff and doing weird things and doing very o. I mean, the whole film itself seems very. It's very odd, very distracting kind of. You're just not 100% sure what's kind of Going on?
Laura: No, you don't know. I mean that's kind of the interesting part of the film.
Ryan: Yeah.
Laura: Maybe not tackled very well, but its'okay still very interesting, but youe kind of.
Ryan: Meant to make your own assumptions about it, you know. Why is Barbara Hershey basically in makeup for 90% of her scenes where shes s playing an old woman andff no.
Laura: Regard whatsoever to her costume? If I was her handler or working on her costume or her makeup, I'd be absolutely furious. Like why are you filthy? Why are you always so dirty? Yeah, keep your wig on. You're supposed to shoot a scene. Get it together. You're professional.
Ryan: Yeah. And she's also like I like we've mentioned before, she'kind of, she's kind of manic. But then she also ends up falling in love with Cameron. So I'm just not too hundred percent sure how believable the whole thing is.
Laura: Well, she's fully unhinged.
Ryan: Yeah, she is fully unhinged.
Laura: When I first saw this movie, I thought that you saw Cameron's penis. And that's like about an hour, six minutes and 40 seconds. It's when he and Nina are making sweet, sweet love.
Ryan: Yeah, but I just don't think you see it.
Laura: You don't.
Ryan: Cause he does the same thing where he kind of like he does his absolute best to tuck it backwards.
Laura: Bush.
Ryan: You do see the bush, but you.
Laura: Don'T see the base.
Ryan: Yeah, you don't see the base, but.
Laura: Yeah, he's coming out of the bed. But I do want to point the base all about the base.
Ryan: Hate my fucking self.
Laura: I really did. Well, I did want to point out how absolutely horrifying his o face is. It is so close on his face and he looks like he's having a full stroke. If I had that man on top of me, I would cry.
Ryan: It's not as bad as the color of night sex scenes where everything's a little bit wet and then it's soaking wet. And obviously when Bruce Willis comes, you know, he does that gro. He does that groan that he's known for. Like he just jumped out of a window. Like he just jumped out of, out of the building, out the Nakatomi Plaza. Like sounds like.
Laura: I feel like Cameron might have made a noise. And it was probably just like a.
Ryan: Little like by the time like after, after the dick scene ends, I'm kind of in and out of the movie and looking at my phone and stuff because, um, I'm um. Yeah, it doesn't hold my attention particularly well.
Laura: But what does hold your attention is that absolute maniac of a scene where you finally find out what Cameron did to go to jail and'the paint. And he's screaming. He is. I've probably said the word unhinged 15 times during this episode.
Ryan: Twy'hair off.
Laura: It's like, okay, he's fucking crazy.
Ryan: He's mental.
Laura: I feel like he is actually dangerous human being.
Ryan: He is. But it's like, it's like I couldn't see the distinction between, like, he's like. He's like fucking crazy. And then Barba, her, she still finds him attracted. Like, I don't really understand it.
Laura: Yeah, he's explaining about his attempted murder.
Ryan: Charge because he's just, he's taking it too far. Like, as an actor, he's taking it to a place where you're just kind of like, well, there's no, there's no understanding in this potential moral dilemma. It sounds as though you caught your wife cheating at, uh, a fucking ice cream store.
Laura: Yeah.
Ryan: With this man. And you're like, you're like, well, I did a lot of killing in Vietnam, so I'm gonna kill this guy by fucking twisting his head off. And it's.
Laura: But he didn't even try to do that, right? Didn't he punch him and then he, like, fell in some ice cream?
Ryan: I mean, who knows? Because it's like there's an attempted murder. So I don't know how attempted murder back then works. That, uh, could be a case of like, he came in with a weapon. He's like, I'm gonna kill you. And that's about as far as it went. That's attempted murder, I think.
Laura: I think that is. But he, I. I do believe he punched him and he fell some ice cream and he almost suffocated. And then he got frostbite and the tip of his nose had to get cut off or something. That's what happened. Which is very funny. What is also very strange about this, this scene, uh, with the paint confession scene is that, uh, when
00:40:00
Laura: Nina starts laughing. Okay. So you imagineuse he is screaming and he's throwing paint and he's breaking things. And when she starts cut. It's weird.
Ryan: It starts cutting through it a little bit. You would imagine you're also confused as that. Well, what he. Hold on. Um. Were you listening to the same conversation I was listening to Barbara?
Laura: What you would imagine is that that would break the tension of the scene to where she's laughing. She. Because it is a funny story, but he's on a Completely different plane of existence at this point. Like, he is off the rails.
Ryan: He'he's going full when he really probably should have come to about half full to try and help us understand him a little bit because s real. There's a real darkness about him that we've kind of seen through the course of the movie. And you're kind of like, well, what you.
Laura: It's just weird that he doesn't also start laughing because he goes, why are you laughing? And she keeps laughing. I go, he's gonna, he's gonna murder her. I thought it was gonna go somewhere.
Ryan: Else because he's gonna twist your head off.
Laura: He's gona twist your head off.
Ryan: Yeah, I really.
Laura: It was just an odd. I don't think that scene came together as well as it could have because they both should have been giggling together in the paint. But he goes extra for extra long.
Ryan: And he goes, it's too extra. Like it doesn't make any sense. It's like he just was just like, well, this is going to be my scene and this is my acting potential. And it just kind of, it just. You're like, you're like, yeah, but you didn't really think about it, did you? You kind of didn't really think about, like, the emotional arc you were going toa try and depict here and also think that's a lot. That's a Richard Rush problem too. He should have figured that one out. Uh, because it's probably one of the worst edit scenes in the movie.
Laura: There are scenes also where you can, you know, it's. If a character turns their heads the left, when it cuts back to them, they're turning it the other direction.
Ryan: Oh, it'awful There was a couple of.
Laura: Those where I go, oh, yeah, on.
Ryan: No, it's not good because you've kind of gotten into the habit of it, you know, of it cutting together, you know, relatively smoothly. And, you know, there's some, there's some stylistic choices that I feel like are used, but then they're not, they're not repeated and they're not kind of fed through the film, uh, like gradually. So when they do happen, you're like, oh, fuck. So you're kind of a little bit startled by it because it kind of has this feel of like. Well, this is kind of like a classical Hollywood thing with a bunch of weird shit in it. And there's no real, like, to me, there's no real kind of conducive vision to the whole thing. Um, it's a little bit, it's a little bit messy, but it's like, it's so close. It's so fucking close to being really fucking good. And it just kind of shits the bed a little bit. And I'm still scratching on my head as to like, well, why didn't he. And it might be just because it's Richard Rush.
Laura: He actually went to a university and did a chat with some film students and he had asked some people, you know, oh, raise your hand if you've seen this movie of mine or this movie of mine. You know, maybe half of the class that's rough raised. Yeah, whoops. Half of their class maybe raised their hand when he said, have you seen Color of Night? And he goes, what about the stuntman? And maybe like three people raised their hands and he's like, oh, that's a bummer. Because I think this is one of his favorite films. Like a big, big labor of love.
Ryan: I again, it like, it feels like this film has the potential and it just, it kind of just doesn't. It just doesn't get there for me. And I can understand ca becausez it seems like there's a lot of passion put into it. I mean, it's a little bit indulgent, which also kind of illustrates that maybe there's passion into this. But it's also. Yeah, it's also just. It just, it just, it. It uh, thins that line, man. Threads that line. And it just doesn't. Just doesn't do it all the way. It's a real shame. It's probably the. Probably one of the most disappointing films with Coverards because it could have been so good, right? Like so good. But it just, it doesn't, it just doesn't get there and there's no way to fix it.
Laura: Maybe we can recut it.
Ryan: A recut wouldn't work because you have to take, uh, out. You have to take out the lead actor. He's one of the main problems.
Laura: Well, reshoot his scenes.
Ryan: What, like they did with Arrested Development when they re released it on Netflix. Fuck that. Where they put fucking, um, uh, shit. I keep on it. He played the fawns in Happy Days. Yes, yes, he's in there. And they green screen him and they put him in that room and it looks fucking terrible because everyone hated that season of fucking Arrested Development was just focused on one character per episode.
Laura: Was Henry Winkler.
Ryan: Henry Winkler. There you go. Yeah. Awful awfuling stuff. And that's kind of what. Yeah, that's kind of what this is. You'd have to basically, you'd have to read.
Laura: Yeah, just redo the movie.
Ryan: You'have to redo the whole fucking film. And it's like it kind of lives and breeds and
00:45:00
Ryan: dies effectively in this time period as well. Like, it wouldn't, it wouldn't work today because you've got like the film that, uh, the fall guy or whatever. It's kind of like the same sort of thing.
Laura: It's not, um.
Ryan: Who knows? But anyway, it's, um, not the same type ofeah. Whatever.
Laura: It's a good movie.
Ryan: Yeah, to me is the same thing.
Laura: You haven't seen it.
Ryan: I. I don't stop seeing things that are gonna make me.
Laura: I only have one more thing that I want to say about the movie. U why did Cameron look just like Jason Vhees when he came out of the water after escaping the sunken car?
Ryan: Uh, I don't know. Is that an actual question or.
Laura: Yes.
Ryan: Okay.
Laura: You didn't notice that. Anyway, for those of you who'watched the film, I think youl ll recognize it'a full on Jason Voorhees'like coming out of the lake. Very weird.
Ryan: Okay, okay.
Laura: But it was striking to me.
Ryan: Yeah, But Friday the 13th, that, that first. From the first movie, like from the Spoiler alert, by the way, if you haven't seen Friday the 13th, but obviously the zombie child Jason Voorhees jumps out of the water at the very end of that movie. Is that no stuntman predates it, doesn't it? Because isn't Friday the 13?
Laura: So I guess Jason Bor is doing, uh, Cameron potentially.
Ryan: I mean, we're gonna find that out. I'm gonna figure it out right now because I think Friday the 13th came out in 19. Uh, uh, the first one at least came out in 19.
Laura: Uh, uh, wasn't it 80?
Ryan: 1980? Yeah, it came out in 1980. Uh, we just don't know the d. We don't know the date. We're not going to know the day. The day is goingna be awful. Oh, wait, hold on. Here it is. So Release date was May 9th for Friday the 13th. That's when you could release a horror movie and it would still be super successful even if it was coming out during the summer. And then, yeah, we have the stuntman who K was 1980, but that's a.
Laura: More troubling one because it wasn't really released very widely.
Ryan: No, I think it predates it then. So I think it predates it because it came out in June 27 of the same year.
Laura: Yeah, but they, so they're hand in hand.
Ryan: Well, one is good and one isn't.
Laura: Wow.
Ryan: So there you go.
Laura: Well, that isn't what the Academy thought because it was nominated for three awards, one being Best Actor in a Leading role for Peter O'Toole, best director Dicky Rush, and Best Writing Screenplay Based on Material from Another Medium, none of which they won, but it's just nice to be nominated.
Ryan: Yeah, but remember back then, like, do you remember the films that were nominated in like, 1974? No. You only remember the winners. Exactly. There you go.
Laura: I don't remember those either.
Ryan: Yeah, I don't know what was the winner of 74?
Laura: Well, this didn't come out in 74. Is that just for fun?
Ryan: Uh, it was a reference. It was just a reference. M sorry, it just to make sense and you're fucking taking a shit out of me.
Laura: And if you guys didn't. If you were wondering what the title of the film. Yes. The titular line was said, uh, several times. The Stunt Man. Thank you very much.
Ryan: Yeah.
Laura: You want to go into our ratings?
Ryan: Yeah, let's just get into it. You can go first.
Laura: Okay. So based on visibility and context, it can have like a. Ah, three, because visibility isn't great, but it's. I mean, the context is just fine. I do find it funny that he hit it. I don't. There's no reason for that scene to be in the movie though, at all. Just for a comic relief'sake because, uh, it doesn't need to be there, but it'fine all the same. Lots of boobs in that scene.
Ryan: Ye.
Laura: But I do think they missed the mark because if you'renna have nude men in a brothel and then what is the reasoning for taking off Cameron's clothes but not fully? What was the point of any of that? Why crowds surf the man and get him naked, but like, not fully get him naked and then giggle at him. It was very strange.
Ryan: Yeah.
Laura: If you're doing it, it's a humiliation factor. I don't think it's very funny to see a guy in his boxer shorts. No, it's not funny to see him naked either. I mean, m. Maybe it is, but if that's the thing you're going to do, if you're doing it for comic relief, then do the whole thing.
Ryan: Yeah, no, I get you.
Laura: Why not?
Ryan: I get you.
Laura: And in terms of the film, I also gave it a three because I really like lens flares and a star filter and split diopters and Perot toole ever so elegantly floating into almost every single scene on that crane?
Ryan: Yeah. No,
00:50:00
Ryan: it looks ridiculous.
Laura: People will just come out of the sky on that thing. Its bonkers. Love it. Love this film. I'm sorry, I don't love this film. I love Peter O'Toole in this film.
Ryan: Yeah, yeah. Because have you even.
Laura: I don't love this film.
Ryan: Did you rate the film?
Laura: I gave it a three.
Ryan: Uh, you gave it a three. Sorry. I'm hinged into the best picture winners this all the time.
Laura: We do this all the time.
Ryan: Well, the winner of who won Knight, who won against them what, in 1980?
Laura: Well, I'would it be 81?
Ryan: Well, I'm in, uh, I'm only in the best picture nominees just now because I was wanting to look up. Well, what, what were the nominees in? 74. And it's fucking insane. I mean, Francis Ford Coppola, uh, was nominated for two films in 74 for Best Picture. He won for Godfather Part 2, but he also had the conversation that year.
Laura: Oh, yeah, nice.
Ryan: And he was nominated twice. Chinatown was also in.
Laura: I find a little bit more interesting that actually aligns with this particular year is the fact that Peter O'Toole lost to Robert De Niro in Raging Bull.
Ryan: Yeah. No surprises.
Laura: They are okay.
Ryan: Yeah.
Laura: And what else do we have? Hold on. What was it director going?
Ryan: Well, Scorsese didn't win, so it would have been, um, in 1980. Would.
Laura: O. I don't know. Uh, do you think you can actually.
Ryan: Ricky Rush and then Martin Scorsese were there. What did he lo to 1980? Wasn't roling jophy or something, was it wasn't for like.
Laura: No, all that.
Ryan: It wasn't all that jazz. No, no. Right. What was it then?
Laura: Ordinary People. Uh, Robert Redford.
Ryan: O. Yeah, whatever. All right.
Laura: And I'm trying to get down. I know this is taking long.
Ryan: Was all that jazz that year?
Laura: I don't see it in here.
Ryan: Don't see it. Yeah, maybe not. I maybe wrong.
Laura: Oh, and, uh, it lost against Ordinary People for screenplay, uh, as well.
Ryan: Well, there you go, Orry.
Laura: People was a. You go big, big winner.
Ryan: Yeah, you think about. I mean, yeah, I think about the best picture winners and the best picture nominees of the 1970s. I mean, this's kind of is. Is relatively unmatched. I mean, Christ, even the Towering inferno was in 1974 as well. Uh, Erwin Allen movie about the burning building, uh, that was nominated for best picture. So, um, yeah, I guess I can get into my ratings for the scene and stuff. This scene is a fucking farce. A fever dream, crazy thing. And I Mean, it definitely plays into the themes of the film and what's real, what's not real. And obviously it's playing into the mindset of like the main character and stuff like that. I like this scene an awful lot because it's like a war film that then turns into this and it's fing mania. Total chaos.
Laura: Yeah.
Ryan: And I mean, I like it just purely on the basis that it is total chaos because I love the chaos of things like this. Um, um. But obviously though, there's certain factors. Obviously the man who were seeing his, his, his, his penis and stuff, he's like covering up. He's doing this, he's doing that and all these sorts of things. And it's for us not to see as much as we see. It would be kind of weird because of how chaotic and crazy this is. Because to us, like, this isn't particular, this isn't particularly standard. It doesn't usually happen like this, you know, the sense of chaos and things. Because I would liken, you know, that level of chaos. I mean it's done far, far better. But like uh, the Steve McQueen, uh, Hunger movie, like that is incredibly chaotic when things like then that movie start to kind of kick off. But it all kind of has like a, you know, a grounding that actually makes sense and it has that, you know, a perfect emotional lift to it that I don't think the stunt man actually ever reaches at any point. But I guess that's, you know, for that scene, I mean, I guess like at best a three. And I give it maybe a little bump because of like the context of, of it within the court, you know, within the, you know, the framework of the film itself. So it gets maybe a little bit of a bump there, but is incredibly brief. Um, but you know, I think it's memorable to a certain extent now certainly when we come to the film, the film I doc relatively quite harshly and that it's, it had the potential to be like a four star film or a four and a half star film, but it's just not in the hands of someone who's able to do that. And I like the fact that he really likes this movie and he was, he was really keen on this film and he really put. It puts a lot of love into this film. But like certain fucking choices that he's made, like his main character, so,
00:55:00
Ryan: so underwhelming and he can't act against Pet O'Toole, he cannot act against Barbara Hershey and even some of the bit part players in this. He just Looks like, uh, he just looks. He looks so incredibly underwhelming and his character arc is awful. He's not able to communicate that well to us within the course of the story. And that, to me, is a fundamental problem. Like, get away from, like, this. Some of the sty, like the questional stylistic choicesuz I'm like, I'm all for like, yeah, if you weren't making a movie and you're fucking giving money to do it, go fucking crazy with it, like, I don't care. But it's just like the story just, it gets led away from him. Um, you don't have a compelling lead character and all the elements are there to make something fantastic, and it just kind of shits the bed because of those two fundamental problems. And also, it's just way too long. It's way too long to substantiate your interest in it. And also, I feel like in terms of the story, like, it just kind of doesn't lead to anything particularly special, like the intrigue, the mystery, you know, I mean, one of the scenes is the cops come in and they're trying to figure it out and that. And there's. They're like, well, here's this very heavily edited, um, section of how the car ends up in the water. And they're like, well, I guess that solves the case. It's like, okay, all right, perfect. So, uh, quite a few leaps in logic. A lot of the fever dreamy stuff is cool, but it's like, just a lot of it doesn't really make sense. So unfortunately it gets two and a half. It's like straight down the middle. And the disappointment is that it could have been so, so, so much better.
Laura: Yeah, I want a thousand dollars for that scene, man.
Ryan: I don't care. By then, I really don't care. I'm like, why do you deserve it? Uh, he's exactly.
Laura: He's ridiculous. Hundred dollars. Woohoo.
Ryan: Yeah. I'm like, okay, whatever.
Laura: Well, thank you guys for going on this beautiful Richard Rush journey with us. Uh, as always, it's a real treat. And make sure to follow us on Instagram if you still have instagram. Were @onh the beat b I T T E. Were also on letterboxed. You can find us all. You can find us on there. If you went to our Instagram.
Ryan: Yeah, to quote the movie, Id say it looks fancy.
Laura: You can also rate and review the podcast. Make sure its good because otherwise why youre doing that. Dont be mean. And, uh, we will see you next time coming to you from Wonderland. And I have been. Laura.
Ryan: Movie magic. Excellent movie magic.
Laura: Bye.
00:57:46