Heat (Part 5)

Heat (1995) Part 5: The Final Showdown & Why the Ending Divides Fans! 

It’s the epic finale of Heat (1995)! Join The Director’s Charity Network for Part 5 of our Michael Mann deep dive with host Ryan and guest Scott. We break down the last 34 minutes, from Ashley Judd’s heartbreaking betrayal to the controversial airport shootout. Plus, hear bonus takes from Craig, Doug, Sully, and Scott on the iconic bank heist!
 

We wrap up Heat with a critical look at its divisive ending, where Al Pacino and Robert De Niro face off in a visually stunning but narratively flawed climax. Scott critiques the unrealistic plot holes, while we praise Mann’s gorgeous cinematography. The episode ends with a montage of thoughts on the legendary bank heist shootout from previous guests, highlighting its raw intensity and influence.

Creators and Guests

Host

Ryan Rebalkin

Guest

Scott Kraushaar

What is The Director's Chair Network?

Join Ryan and many featured guests and other hosts as they break down and review a variety of directors and their films!
So far, this podcast has featured films from Edward Zwick, John Hughes, Brian De Palma, and Michael Mann.
Soon, we will feature Edgar Wright, Sam Peckinpah, Paul Verhoeven, and David Fincher!

:00
Hey everyone, before we start part five, the final part of our heat coverage, I
0:05
just want to remind everyone or not remind or tell you, I want to inform you that the end of the episode uh is the
0:13
four hosts that were not there for part four, i.e. the uh famous street shootout
0:20
sequence. So, we have Craig, Doug,
0:25
Sullie, and of course Scott. they share their thoughts on that scene. So, stick
0:30
around right after the episode ends for that montage of their thoughts. They're about two minutes each of the each one
0:37
of these hosts expressing their thoughts on that street sequence. So, again, the the order will be Craig, Doug, Sully,
0:44
then Scott, and then the episode's over and the movie's over. And stick around for the next episode, which will be the
0:51
insider with myself and Craig. Enjoy part five with my co-host Scott.
0:57
[Music]
1:03
[Applause] [Music] [Applause]
1:18
[Applause]
1:26
Good day and welcome to part five, the final part of the heat coverage on this
1:31
season of the Michael Man films on the director's chair network. I am your host Ryan and I have with me returning guest
1:39
co-host not of the Michael Man season thus far, but uh Mr. Scott, you join me
1:44
for Ed's Wick. Remind me, we did we did The Siege and we did Defiance.
1:51
That's right. Yeah. Two two great films. So, we watched Defiance. I think both of us watched Defiance for the first time together.
1:56
For the first time. Yeah. And yeah, you were great, of course. And Edwick was a blast to discuss. And this season, of course,
2:02
we're discussing Michael Man. And and many consider many, not everyone, but many consider heat to be his opus.
2:10
Magnus. Is that the word? Did I get that? Yeah. Magnum opus. PS. That one. Whatever that Latin phrase is.
2:16
His big might be my masterpiece to quote Tarantino. Yeah. Yeah. This is his big one. certainly his most I think commercially
2:23
successful one though actually he had some other big ones with of course Collateral Tom Cruz is a big one but
2:28
this is a big film both in the lexicon of films and shootouts and heist and acting and all that stuff it's one
2:34
everyone seems oh Michael man does that film so we're going to wrap up our final thoughts on this film and you
2:41
specifically requested to be on part five I asked Scott I said Scott have you been listening to the other parts yet
2:46
and he goes no I want to kind of come in cold and I don't want to be yeah and I get that. It's not a slick cuz I I love
2:53
the show. So, I was like, you know what? If I'm going to be on, I have a bit of a different take it above the ending and I
2:58
didn't want to be influenced by anyone else's. And then I thought once I do mine, I'll listen to you when you wrote put the whole thing. All five are out
3:04
and I'll listen to them in succession so I could enjoy every everyone's take on them. Yeah, everyone's had a great unique and
3:11
different take and it's actually going to be quite fun to hear it all together when people do hear it all together. You
3:16
did though ask to come on last for this film because you might have a take that's not as
3:23
favorable as maybe other takes have been now because you haven't listened to it. I just want to let you know
3:28
they've been fair throughout. Like I'm a pretty fair person so I will offer critiques where and I so I've offered
3:34
mine throughout the parts but I did tell the listeners that I have a co-host coming on that's going to shite all over
3:39
this film and he's not taking a [ __ ] on the film. It's just taking a [ __ ] on the ending and
3:45
Oh, the Oh, the ending in particular. The the way Yeah. The way he ends the film. Yes. Okay. So, we'll get to that.
3:50
Okay, fair enough. Okay, maybe I over uh over Well, yes, it's okay. They're going to hate me. The the pitchforks and torches
3:57
are out. Are you also covering LA Takedown, which this is the remake of?
4:03
Well, Craig and I talked about that in the first episode cuz he had seen it and I I haven't seen it. So, I just asked him straight out and I trust Craig
4:09
because I've worked with him for so long. I was like, "Is it worth watching?" He goes, "Nah." He He actually said it's not really It's
4:15
like an overextended It was a TV pilot. like it's an hour and a half TV show and
4:21
he said it's not really worth it's an interesting piece of you know history of the idea that it's that it he took the
4:27
ideas from that failed TV pilot and made it into a feature length film if Craig says it's not even that great to watch I
4:33
don't think no have you seen it what I have seen is I've seen you can go on YouTube and find them and they've been on Instagram reels
4:39
and all the other places right but someone has put together the there's the scene that you've already covered with Pacino Der like the scene when we were
4:47
young enough to remember when that was brought up. That was like the thing cuz Dairo and Pacino hadn't been on screen together before and the two big
4:53
heavyweights, you know, especially uh in crime, not actually sharing the screen together. Yeah, they've been in Godfather 2 together, but they were
4:59
never on screen together, right? And so that was like the big, you know, everyone was like couldn't wait for this, right? And that was going to be
5:04
their big moment, which it is an amazing moment. They show a side by side of two guys doing the same scene from LA
5:11
Takedown and then Dairo Bacino and saying the difference in acting. So, same material, but when you have two
5:17
actors and even Michael Man as a more seasoned course, six years later, more seasoned director,
5:24
uh, well, he was kind of seasoned at that point, but getting the right guys to to deliver the words. I think they
5:30
use it sometimes for acting classes to show the difference between, hey, here's two guys who, you know, they were actors and did the best they could. But, when
5:37
you have, you know, this is the difference between, hey, I'm an actor and, hey,
5:42
these are actors, kind of thing. And it's a great comparison to see how the same lines are delivered and how much
5:47
more powerful did Ouchino deliver them compared to the two gentlemen who did it in 1989. So
5:53
I have not seen that. I I got to check that out. And yeah, it's not a slight on those two poor TV actors.
5:59
But the reality is it's just like anything sports, movies,
6:04
people in the job force, some people just better at the job and it would be bad for them if they saw
6:09
them like these guys suck who delivered. we did way better. When they look at them, it's like, oh, it's Michael Jordan and the Kobe Bryant doing. It's like,
6:15
yep, okay, we're good. We did it. A lot of people play basketball and a lot of people claim to be actors and actresses, but at the end of the day,
6:21
there's only so many Daeneros and Pacinos. And there's a reason why they're they're cast as, you know, DiCaprio and
6:27
all these there's a reason why they're casts in these big productions that have a lot of money behind it because you're
6:33
putting all this money and effort. You don't want to get somebody who just ham and eggs, right? You want to get
6:39
Okay. Uh, actually, I'm going to check that out. Thanks for bringing that up. I did not know that side by side existed. Okay. So, what's your overall fandom of
6:46
Michael Man as a director, his films? Have you seen all his films? The majority of them. Do you are you familiar with them? I have seen quite a
6:52
lot of them. Obviously, I think which is what you've been doing uh with this new series that you do. I think this movie
7:01
introduced people who did not know who Michael Man was to who Michael Man was. a fandom started after Heat and
7:07
continued on to his later films and then people went back and saw Thief and slipping my mind but he did
7:13
the original Manhunter and Manhunter like people went back and found those movies and realized
7:18
oh okay he's been doing this a lot longer so I got into Michael Man because of this
7:23
film and then became a huge fan and then went back and saw his other movies you know
7:29
preheat that you know pre yeah preheat there's there's a it's fun to fun to use these words at preheated Michael Man's
7:37
career. Yeah. And then supposedly, I mean, I think he's what, 89 now? Oh, he's not that old. I think he's 70
7:44
something or All right. Well, he's about to apparently his next film that he's putting together is Heat 2. That's
7:49
supposed to be his last Well, I heard rumors about that. Oh, is that also Ben Kaibashed as well?
7:54
Well, no, I don't think it's been Kai Bos. I think it's just been It hasn't been officially not happening.
8:01
That sounds weird. You know what I I know he said that it was his next one, but I think Val Kilmer's death, although Val Kilmer even you had to recast. It's
8:09
a recast and that's okay. I mean, that's happened before where so much time has passed. Uh, and this is where you have
8:16
not you you Scott, but listeners, this is what I always tell people like they're just they're characters. We're
8:22
not casting Robert Dairo or Val Kilmer's charact
8:28
because they're supposed to jump forward. So, it's supposed to be from that book. They do. It's a prequel and prequel. Yeah.
8:35
Yeah. So, you'd have to recast anyways younger actors to play. Even if they did a sequel right away with a prequel
8:41
storyline, you'd have to cast younger actors. Well, well, they did it in the Godfather, especially
8:50
the very young Brando. So, you could see how Michael Corleó's father, Mr. Corley, Don Corleó,
8:56
where he came from, how he made it from Sicily, and nobody batted enough for No. Well, cuz it was cuz it's Dairo.
9:03
Well, what I mean by that too, yes, this is incredible actor, but what I mean mean by that is it's a character. Like
9:09
Dairo is playing a character. Marlon Brandle is playing the same character played by two different actors. And I
9:14
don't know why people get really weird about that when you recast cuz are you a fan of the character or the actor? Now,
9:21
it's great when you enjoy the act. You get what I'm saying? Like Batman to me isn't just Michael Keaton. He can be your favorite. I get that. But I
9:28
actually enjoy the Batman character. But I would be lying if I said, "Oh, I hope they never do another Batman film
9:34
because I only like Michael K." Well, no. I actually really like the comic character. So, it's a character to me. I'm a comic nerd. So, comic Superman.
9:42
Yeah. Ex. Well, yeah. I'm Henryville is my favorite Superman. But keep going. I go see all the Superman's men's,
9:48
however you want to pluralize that, all the Superman movies because it's my one of my favorite comic book characters. So, I enjoy seeing how they're going to
9:55
represent it. Absolutely. So, I'm not one of those the Joker Guns doing or what's his name? Guns
10:00
doing it. Oh, that's going to suck. No, I'm actually I'm going to go check this out. See what his take on the character is because you're supporting the character.
10:07
I love Superman, too. And I'm going to see the Superman film. I don't think I'm going to see in the theater, but I'm looking forward to seeing it cuz I just
10:13
enjoyed the character. So, I get I say with James Bond. We can go on and on. So, anyways, regarding the Heat characters, this is my long way of
10:19
saying the Heat characters keep going with the characters, but you're just going to have different actors. Just the
10:25
reality of timeline of our life. Okay. All right. So, hopefully he does that. But Michael Man, I'm just getting his
10:30
age. Um, sorry. I think he's 70s something. I got it right. Oh, you're right. He's older than I
10:36
thought. He's 82. 82. So, great. So, you're a fan of Michael Man. You're not here to shine shine.
10:41
No, no, no. I'm just bugging. I just have an issue over the years has grown with the ending of this film and
10:46
another film that you'll talk about and I won't spoil, but another one of his films down the road. And it actually was
10:51
that film that started me rethinking the end of this film
10:56
and how I okay and you know what also going to film school and then learning how the sausage is made. It's not just me going this is
11:04
stupid. No, you know, it's not some like fanboy, you know, becoming a keyboard
11:10
commando being like this is dumb how I would have done it, you know. It's not that. No, you're allowed to have absolutely
11:15
have your thoughts. That's your right as a fan. I mean, I cover movies all the time. And it's okay to say, you know
11:20
what, I would have done something different. Doesn't mean it's the right thing. It's just that's your thing. You know, that's what you want. Yeah. Um,
11:25
well, I'll say this about the Heath as this is the wrap-up episode and we're going to show some scenes from the film that we covered for the last part. Of
11:32
course, it isn't a perfect film and I don't think Michael Man is a perfect director. What I like about him, this is
11:38
what it's been fascinating to watch Edward Zwick films, all of his filmography, then then diving into a completely
11:45
different director. But one I still enjoy the more I'm watching Michael Man films and now this is his fourth one. It
11:53
must be a fifth. Sorry, I keep seeing four. So, you did thief at this time, The Keep, Manhunter, Last Moheakans, and
11:59
Heat. And even with Last Moheakans, which is I don't want to spoil it cuz I'm going to
12:04
do it end of the series listing ranking, but I don't think it's going to be much of a surprise. Last weekend is my favorite film of his, but even
12:11
re-watching that film for this podcast, it occurred to me that Michael Man,
12:19
he is all about the shot. He has great shots.
12:24
He has great cinematic shots. And the end sequence of Lost Moheakans, that whole
12:31
kill sequence of the father and son. I mean, it's one of the best film sequences in film history.
12:36
But he has an odd editing style and he has a very
12:42
um I want to say jigsawish or I find his dialogue segways from scene to scene
12:50
very jarring. It's hard to explain. I feel like we're always switching.
12:55
Like even this film hits a very a very good point of this. Like we're doing this, we're doing this, we're doing this. I don't know. His segue editing is
13:01
kind of jarring. And I don't know how much of a storyteller he is. And I know
13:08
this is going to sound like what do you mean? Do you not like I do like it. I think he's aesthetically so fun to
13:13
watch. Mhm. And I just wonder what Edward Zwick would have done with this film. That's a
13:20
curious thought because I found with Edward Zwick stories they flow very
13:25
smoothly with the characters and every character is so knowable and I find with
13:31
this heat I watched it in five parts like I you haven't heard this yet but I said this to Katie I think in part four where I'm actually watching this film in
13:38
peace meal for every episode. I'm only watching 34 minutes at a time like you would with a miniseries
13:43
and it kind of works like that. So that's what I'm getting at. I feel like his movies are made for TV like viewing
13:50
like, okay, we just, you know what I mean? Like, hey, we just watched 34 minutes of film and that's episode one. Stay tuned. And I went into
13:57
the film like no problem going back into it because the transitions are so jarring sometimes that you can actually
14:03
put the movie down and go back to it. You didn't feel like you lost the flow. He is a unicorn in this time frame of
14:10
95. It is the renaissance, the beginning of the
14:16
independent era. I think he feels like an independent crime movie until we get to the end.
14:23
Well, I'll explain. True. He is a traditional director. Michael, man, that is cuz he starts in the 80s.
14:28
So, he is the tail end of the Hollywood brat, the new guys, the Spielbergs, the Copala, the Lucas, the Dealas, those
14:37
guys who reinvigorate and change what Hollywood is in the 70s. He is kind of
14:42
cut from the cloth of being also TV because he does do some TV stuff. He wrote for TV. He directs for TV. Many
14:48
people. Yeah. He did Miami Vice. He is playing in a brand new sandbox with older tools, but also still using the
14:55
newer tools. So, he still has a very standard way of making a movie. But I
15:01
think you made a great point. I don't think enough people give him credit. Like Denny Villanu Wave will get credit for his
15:07
directing, but also the shots they put together. It's beautiful. Right. Mhm. Michael Man does the exact especially I
15:13
mean like you said last Moakens his crime films when then he does cuz he was shooting on these new Sony ACs when AC
15:19
cameras first came out. So even though it's digital it felt like it was breathing the film that he was filming on and so when he does Miami Vice Miami
15:26
looks amazing under his lights when he does collateral. LA looks amazing under
15:32
looks amazing about the shot. It's beautiful but I don't think enough people realize that about Michael man. I
15:38
don't think enough people give him credit for how beautiful his actual movies look. They look great. They're so fun to look
15:44
at. Like you don't want to look at your phone, which you never should do. No, you don't want to look down. You want to see the shot. And we're going to
15:50
get into the ending, but just before I forget, in case I forget, but them running through the airport, all that
15:56
stuff. Okay, maybe I'm spoiling. I don't want to spoil your thoughts, so let me just say this.
16:02
Go ahead. But but what I'm getting at is the story is silly but it looks great
16:08
cuz you got planes flying overhead. Yes, we'll get into that's what I mean
16:13
about Michael Man. It looks great but it makes no sense. It's sometimes it's nonsensical cool looking sequences.
16:20
There you go. Even close-ups, no matter where they are, he makes every set look gorgeous.
16:26
He could make the worst ghetto look beautiful. I can't explain it. It's just
16:32
the way it's lit, the way he films, he just brings this quality that it feels like film. I know that sounds stupid,
16:39
but now that we shoot a lot in digital, you can almost feel the screen breathing. You can actually feel like
16:45
you're almost there. It's just something beautiful about the way he films. So, yeah, he's a great visual director for sure.
16:52
And a great example that is right at the beginning of our last 30 minutes of film is of course Ashley Jud. her character
16:59
is about to go out to the patio. It's a classic moment in the film where she's going to tell her husband, played by
17:05
Val, don't cops are here. The heat is here. The heat is here. And she does a great job of feeling heartbroken and sad
17:12
that she's saying goodbye to her husband, but to save him. And I suspect in the Heat 2 novel sequel, we see the
17:18
further adventures of him trying to probably get back to her is probably what we see in Now, when you first saw this, did you think she was going to give him the
17:24
signal to go away or were you not sure? cuz they'd had a really tumultuous relationship and I wasn't 100% sure if
17:30
she was going to blow him in or not. I don't remember my first thoughts. I don't remember. She did get that great
17:37
talking to by the cop played by Bubba Gump and he's trying to save her son Dominic
17:42
cuz otherwise he's going to be taken from her if she doesn't help them out. Yeah, but they can't take the kid away.
17:48
If he doesn't show up, it's not her fault. True. But if she doesn't help, like if he does show up, if she doesn't help
17:54
him, they're going to take the kid. So, I do love how Val's character does drive up in the most
18:00
This is This is a Miami Vice feel to it, right? This is Michael Man leaning into his Miami Vice days of And look at that
18:06
long shot. What a beautiful beautiful shot of him sitting there. And that's everyone in the background
18:11
waiting. That's a gorgeous shot right there. That really is. And those of you who aren't watching on the YouTube version,
18:17
you should just check out the just for some of the shots. The Aluccino. What a beautiful shot. The classic scene here, I keep saying
18:23
classic. I gota stop saying that. I mean, it is a classic film at this point. There's a whole movie made by Ben
18:28
Affle called The Town that literally is a love letter to Heat itself. Oh, and then also has Heat in it, which is a
18:34
fun little moment there. The movie Heat is actually being played by a character in the scene.
18:40
Ben Affleck will be featured on our director's chair network because we're doing actors who directed films seasons
18:47
as well. Oh, very nice. Yeah. So actors who aren't quote unquote known to be directors but have dabbled
18:52
and or done, you know, people like Ben Affleck, for example. Did you know that Dan Akroyd directed a film, for example?
18:58
I did not know that. Yeah, exactly. So, we're going to do kind of a a repeating do some George Clooney.
19:05
Exactly. That's right. You know, should they stay director or actor or both? Yeah. Okay. So, this is the scene that
19:12
we're talking about is Alpuccino's on the phone with the cops at Jud's apartment waiting for Kilmer to show up
19:17
or not. But you're right, it should just be him on the phone. It's a nothing moment, but Michael man makes something
19:22
of every shot. And it's so great to look at him right in front of the camera and the cops behind him sort of blurred out.
19:29
It's a beautiful shot of a moment where it's just a guy on the phone waiting for an answer. That's all this is. But it
19:35
looks great. It's a tense moment that he's playing up to us cuz we've already had moments where she's cheating on him.
19:41
Things are not going well and we're not 100% sure when you first see the movie if she's going to give him up or not.
19:47
And he's cut his hair. Yeah. Or took off the wig. Yeah. Took off the wig. I just re was
19:52
watching his documentary Val and it made me think about, you know, how he had gotten to later life with after the
19:57
tracheotomy. But the way he's able to grimace with the face to show that he's still in pain from being shot in the
20:03
shoulder. This is gradea acting right here in in what's considered a
20:09
supporting role. This is why he ends up being so good in obviously Tombstone
20:15
and Tombstone was before this. So Val's riding high right now and he sure is able to play
20:21
the sick injured person like he did throughout the film in Tombstone to be having TB here being shot just like I
20:27
said he has that perfect grimace on his face. You can see the way he's moving his body like it's injured still but I
20:33
just love how his character dries up in the fanciest car. What I don't understand this is there's some holes
20:39
everywhere in this film. Well, this is also 95. I also like to try point people out that technology. We have to always try to turn our brains up
20:45
to the technology we have to what we have back then. So there is some way that back then you could get away with a
20:50
few things that you can't get away with. Well, no, there's that. But talk about the why would he drive up in the craziest, fanciest, nicel looking car?
20:56
Like it looks like he just robbed the bank to buy this car. Well, I don't think he thinks she's
21:03
betray like she has kind of betrayed him until she does the hand. That's when he realizes. So, there's a double sadness
21:09
in the look he's about to give. Oh, sadness is realizing he has to walk away from her and also knowing that somehow
21:15
she's been gotten to by the police and has kind of almost betrayed him a little bit.
21:21
There might be a sadness that he realizes it's because of him and his gambling problem, too. Like, there's a combination of the world settling on his
21:27
shoulders in this moment that yeah, you may have survived this horrible event or
21:33
the aftermath of this event, right? But there's going to be large ramifications for the rest of however
21:39
long your life is after it. I just find it funny because in this moment, his character doesn't know the
21:44
cops are there. And this I love how he parks. It's just so convenient that he happens to park at that part where they
21:51
can make eye contact. What happens if you parked the other side of the building and walked around the building? You never It's just funny how he
21:58
I'm not worried then about my end here because I'm feeling good. Like I'm like I'm glad that you're I was worried about Oh, dude. I I see
22:04
I think one of the reasons I didn't want you to I I was like worried. I was like if I listen to it and everyone is just giving nothing but glowing reviews
22:09
they're going to think what who brought this bald [ __ ] on on the show does [ __ ] all over this stuff.
22:15
I found in a lot of these Michael Man films when you start looking at he is so full of plot holes
22:21
but it looks great and this movie had a few moments especially again at the end where it's like a lot of things could have been uh mitigated or figured out or
22:29
the inability of cops to watch a prisoner. It's really odd. It's to serve the story for cool moments, but it
22:35
doesn't work in real life at all. That's what makes it sometimes hard to And look, I'm not like, "Oh, it has to be
22:41
realistic." Well, no, I know, not realistic. I'm not saying that, but you can't have a combination of a street
22:46
fight that we mentioned before. I think Kate and I brought this up, how they are just laying arsenal up and down the
22:52
streets with, you know, civilians. They're just robbing a bank. Let them go. Like we talked about how
22:57
they should have just followed them. Just follow them. them chasing them on foot and that whole thing was unnecessary. All they had to do is stay
23:02
in their unmarked police cars, let them get in their car and put a helicopter on top and tail the car. That's it. And
23:08
everyone civilians are free and safe. Nobody gets hurt. Just But you know why they didn't do that, Scott? Cuz it's not
23:14
cool. Yeah. You have to have a cool shootout. Some movies nowadays have had they how
23:22
do I properly say this? They blow their wad early like they have their climax happens at the beginning of the last
23:29
third and then it now has to get to an ending where we feel good about it and it peters a lot and we have scenes add
23:36
in that honestly you don't need like I will admit as a tarino fan Jango and
23:41
chain is a bit like that. It's like sometimes it's like oh we've made it to where we need to be but then
23:46
we got to separate them to bring them back together again which is what we didn't need. We have them. They're there. We climax it here. We end it here
23:53
with everyone's here. If they're going to get away, then they should get away. If they're going to get killed, they should get killed here. There's no need
23:59
to have this these great moments and then separate them to bring them back together again by using a bunch of convoluted
24:05
pl you know, plot devices to suddenly, oh, now we're back together again. Val smiles nice and big cuz at this
24:11
moment he's like, oh, she's forgiven me. She's here for me. So, that's a great smile from Val. You can thumbnail that. All you girls up there for the handsome
24:17
man, Val Kilmer. And then she's going to give the signal like, "Nope, do not come up here." And then the pain on his and
24:24
her face realizing this is goodbye. At least for now. Again, I haven't read read Heat 2, the novel that Michael Man
24:30
wrote, but I suspect we're going to see them together somehow in part two. I love that they have a signal, and I
24:35
love how their facial expressions change as they know what's going on. He notices she's not happy and he gets worried and
24:42
then he notices her face is sad and then she does the hand and then he's like I love that this is a person who stuck
24:49
to what Neil McCauley said, right? Neil says if you see the heat coming around the corner, you got to be willing to walk away in 30 seconds. And he does
24:55
exactly turns around, hey man, there's many place to eat around here. You know, again, it's convenient there's a basketball game going on. Look, I get
25:02
it, right? But this is a movie sometimes. But yeah, it does have its unfortunate things
25:08
sometimes. Okay, so this is a Alpuccino moment. Uh, you don't get a very big Alpuccino
25:13
moments in this movie or sorry, in your segment. This is one of them kind of. This is the only one in the last 30
25:19
minutes was a little bit Alpacino, but of course we had the, you know, the big ass and give me all you got moments.
25:25
I love he is overacting, but yet it's glorious. Like is it it's weird to say
25:32
there's just something about it. It just brings something to his character now when he does it for every movie like like all right after a while becomes
25:38
like a thing he does but in Heat a guy who's always on the razor's edge chasing these people down put point and they
25:44
just were shot at by a military onslaught earlier that day there is something about the way he reacts and
25:51
responds I enjoy some of the movies he does it in it's not necessary right but for this movie it does feel like this is
25:58
who Hannah is and who he would be as he's always always on the hunt and that
26:04
he's just, you know, as he said that one, you got to be right there on the edge. You know, he always has that little thing with his girlfriend or his
26:10
wife. So, it is Bacino, but something about him doing it in heat. It's supposed to be in heat. May not need to
26:16
be always incentive woman other stuff he does, but at least in heat, it feels genuine for the character of Hannah.
26:23
Okay. So, here he does one little one little moment for your segment. Neil is gone.
26:31
Bam. flying like a bird. I just That was it.
26:37
It's great. It's fantastic. It's fantastic. I just love it cuz I don't think the script says bam. Like I don't think the
26:43
script says bam, does it? Probably not. Most likely not. But it works, right? Cuz he just does know when
26:50
to bring it up and bring it back down. You know, like when in that one scene you've already covered when he's singing, I get to feel it. Like you're
26:57
just it's just this guy. It's the one of the best roles I think Mino has done, but it is one of the ones where like you
27:03
can go like this guy will yell like the great ass like you know he like he's you know obviously you've already talked
27:08
about it but he's completely ad libing this and you can tell because even in the way he does it he's almost
27:14
going to say he doesn't know what he's about to say but then he kind of goes into great ass you know it looks like he was going to say big ass but
27:20
yeah apparently the actor didn't know he was going to do that. Um, yeah. In Gazeria. Yeah.
27:26
But the only thing he took from his wife's ex-husband's home after he finds out she cheats on her is the TV. I just
27:31
love that. He's coming hauling ass up to the stoplight and then just it's like, you know what? [ __ ] this TV.
27:39
Just just kicks it out into the street. Again, this is just cool looking shots. This moment of him kicking the TV out to
27:46
the street people, I guess they are. And I like how they're kind of like, "Oh, cool. TV."
27:51
Yeah. But then the TV just falls apart like it's made out of eggshells when it hits the pavement. But and they're like,
27:58
"Hey, come on, man. That's not good. We could have used that. We could have sold that for something."
28:03
They just leave it there. Uh, so he gets to his hotel and when he gets to his hotel after a long day of work, and I
28:09
will say also, El's chewing of his gum the last half hour of this film is annoying. I really wish the director
28:14
told him, "Don't chew gum." He's chewing gum here. He's chewing gum in the hospital. I don't know if it's the same stick of gum, but he is chewing.
28:21
chewing, chewing, and literally chewing the scene, chewing gum. I find it annoying. I guess that was a character
28:27
choice. I think some of it is a way for him to break the anxiety of his day. The
28:33
more he chews, the more it helps him relieve the tension of the day. And then this is a tough scene. And this
28:39
is for me the start of where then the movie
28:44
kind of starts to sidetrack, not with her trying to take her life, but how everything is kind of reacted to
28:50
afterwards. It feels like we're winding down on the film. He's gone. Neil's gone. It's over with. We did our best
28:56
shot. He's like, "You were good, motherfucker." You know what I mean? Like he does the whole thing and then he
29:01
shows up here and we realize this little side story that is well done by Natalie Portman
29:06
as a young girl. I mean, she's in The Professional and she's in Heat and she kills both of those early roles.
29:12
It's supposed to be a more dramatic moment than Michael Man allows it to be as we get to the end. This is just
29:18
filler so we can get Neil and him back together. It feels like we're tying up the ends, right? So, okay, we thought
29:25
Charlene was going to be the reason we catch them. She tells Chris, "Don't come." That's a heartbreaking. He gets
29:30
away and she has to now live with the fact that, okay, I'm never going to see him again. If he doesn't get caught,
29:36
this is decade or so before they could ever see each other again because she's going to be watched for a while until something happens, right? They're going
29:41
to keep an eye and tabs on her forever and she may have to then be moved for witness protection kind of thing. So
29:48
that may be the last time she legitimately sees him. So that's tied that end up. And now we get here. So now
29:54
Pacino realizes he had his shot and they didn't get him. And that's just the way
29:59
it goes. And it's disappointing. Now we're going to wind this up by like, "Oh crap." Finding out the importance of
30:06
maybe not chasing something all the time because he thinks her father's dead beat. And now he realizes that she came
30:13
to him in a very strange way, but she felt comfortable doing it there. that someone would actually care that she died and it would be him. And then we
30:20
ruin this moment. We're going to move forward to where now we're going to wrap up Neil and it should be good to go.
30:25
He's going to go to the airport. But this is where we then sidet track into Hollywood has got to end the film making
30:30
everyone feel good about it. This is where the for me the wheels come off. We're tying this up. We're ending this
30:36
film. It may not be the big exciting shootout we had about 30 40 minutes ago,
30:41
but at the end of the day, this is how life will work sometimes. Sometimes crimes get committed and people get away and sometimes they don't. And then this
30:49
is where you think, okay, we're going to wrap up the Hannon story. Then we'll jump to Neil. We'll wrap it up and they're going to fly off and that's game
30:55
done. You know, it's like, wow, that's the reality of life. Why I think they did this just for
31:00
Alpuccino's character is to show that him and his wife, his third wife, though
31:07
they had that, you know, infidelity issue, I think we're led to believe they just might work it out. But I think that's supposed to make us feel good
31:13
about his character that it shows that he is a good man. Even though he focuses on the job, even though he tells her in
31:18
the hospital like it's still my job, I am who I chase and all this stuff. The fact that he took care of the daughter
31:23
was there took her to the hospital and he was there for her and the daughter played by Natalie trusts him and loves
31:30
him. I think this is to show that he's not old cop that that he's agreed. Agreed. This is what it's
31:35
supposed to be showing. This is where we feel it's angling towards we're like he's gonna take her to the hospital
31:40
whether she lives or dies. Well, look, it's 95 still, she's gonna live because that's just man's sensibilities. He's
31:47
not the independent director yet where this girl is dead and then, you know, you know, a big to-do happens, but
31:54
it would have been too much to have her die at this part of the film. It's just that I too too depressing. The cuts are
32:00
superficial. I don't think they're as deep as maybe as she maybe would have want. I'm not going to speak about suicide attempts and things like that.
32:06
But she's a 14-year-old girl. I mean, she's passed out. She bled out, but the
32:12
water was still pink. It wasn't all red, which indicates it probably superficial cutting. Cutting on the legs, cutting on
32:17
the wrist. People have done that where they cut. It's called cutting. They're bleeding. So, she's passed out, but she
32:24
could have been there for 3 hours. So, after 3 hours or so, sure. And when I first saw this scene that somebody was
32:30
in the hotel because the director Michael Man shows you the lighted door open and I thought, "Oh, is Dairo's
32:36
character?" They kicked the shite out of him. But it was actually wasn't until the reveal of the tub like, "Oh, yeah, Natalie's in there."
32:43
Clearly Natalie knew he was there, her character. So, which means she went home and asked about him and the mom had to
32:48
tell her that they're not together, whatever, and he's gone to a hotel or whatever. So, she probably was pissed at the mom and went there because the only
32:55
thing she felt stable because as we learn later here in this scene, the mom is is just as clueless as the real dad.
33:01
She's not very good with taking care of this kid. She's all upset about not
33:06
having her braids and everything ready. And the mom's just kind of like, "Look, don't worry about your dad's going to be like, this child is almost an
33:12
inconvenience to both of the real parents." The only person who really does seem to give a [ __ ] is Aluccino's
33:18
character, which is why she goes to him. So that's kind of like the subcontext in the scene that after you watch it enough
33:23
times, you start to pick up. But there's clearly in the stuff that we don't see been an argument between mom and
33:28
daughter where she finds out that he's no longer there cuz there's no other reason she would have found the hotel. She would have had to known that they're
33:34
not together and he's gone to stay in hotel. Maybe she called around or called one of the friends or whatever to find out where he was. But that's how he's
33:41
able to find her. There's a little hole you can fill in without having to technically have it signpost and have to
33:46
have a whole 27 minute scene about those two fighting. I do love how Alpacino's character when he brings in Natalie and he knows all
33:54
the doctor lingo just go. I need this. I need the stat like Al, you're a cop.
33:59
Settle down. Maybe cuz he's bending a nut. Maybe you know kind of thing. I know. He's like this is what I need.
34:05
Okay, but there's another chance for him to yell. There's another chance for him to yell. I got a doctor. Here's Dr. Pacino to the actual medical
34:12
professionals. Yes. Hey. Hey. I know what I'm doing here. I'm sleeping at a holiday in over here. Let's go. A doctor here.
34:18
There's your mom. Okay. Calm down. You shot any drugs? No.
34:25
All right. I want you to get a trauma surgeon down here and a vascular surgeon. I think she cut both arteries. Also, I can hardly feel her pulse. Her
34:32
pressure is way down. So is her respiration. So, you got to innovate her. Okay. You're a trained first aer because
34:39
you're of military service, right? And I am too. Now, he did do some good things. This is what he did good is he gave a
34:46
report. He gave a report of that's good. He gave a report of all of his findings. Look, low heart rate, low pulse,
34:52
whatever like that. But I just love how he's like, "But you got to give her this. Give her that that." Okay. Well, you're going to have to innovate. All
34:58
right. Yeah. You got to innovate. You got to innovate because it's a big word. You got to innovate. Innovator. Goddamn it. Somebody give me
35:05
a gabuccino. Somebody give me an Alpuccino with a cappuccino. I just love it.
35:10
He is great. He is great. But he sells it. As a younger movie go, when we saw this, we're able to let it slide because
35:16
it's Aluccino, right? We're kind of like, hey, it works. Uh, here we go. We're coming to this. Oh, yeah.
35:23
Beginning of the end for me right here. But go ahead. Okay. Right now, we're everything's good. John Voy's character with the horrible mullet
35:29
just told Dairo. And see that's that's for me where you don't like John Boyd's character the
35:35
whole time has basically been kind of like is it worth this kind of heat? He's a very like, hey, there's plenty of
35:42
times for us to get other heist done. Once they feel the heat was on them and they went to that whatever silver deposit place, whatever, and they decide
35:47
to walk cuz that dude hits the truck and they walk away and
35:54
then they talk about this job that the bank job and he's like, "Look, if you want another job, you you know, you
35:59
don't need to." He was like, you know, brother takes the heat off cuz he's starting to tell about how handed this and all that stuff. They had that big moment in the car, right? He and then
36:05
he's like, you know, he didn't keep Chris because he's like, hey, it's a free country. So, he's all about like, you look, go do your thing. Get out of
36:12
it. There is no need for him at all to tell him, hey, your out is here. Oh, by
36:18
the way, if you need to go find Wayne, here's where he is. There no reason at
36:24
all except we need to bring Pacino and Dairo back because we didn't tie it up at the end and because we can't let this
36:31
end with the bad guy winning. So, because we're still playing in 1980s
36:36
movie fair the way we're still playing like all like the good guys always win. Find a really
36:42
any movies outside of Empire Strikes Back in the 80s where the bad guys, the supposed bad guys are technically the v
36:48
victors within the film. It's very rare, especially from the 80s. The '9s would change that a lot. Usual suspects, the
36:55
bad guy wins, gets away with it. You're like, so um technically seven, the bad
37:00
guy wins. The bad guy wins the day. Yeah, he completes what he was trying to do. He won. So, there's a lot of movies
37:06
where the bad guys are are I wouldn't say bad guys, but we now have gray characters, right? So, we're living in a
37:12
world of gray characters. The person that we are all rooting for in this film is not Albuccino and his
37:18
cops. We have all been rooting for Dairo and his crew cuz they're the first
37:24
people we meet and we watch them and we watch that first robbery and we love
37:29
them. We hate Wayne. Of course, we all want to see Wangor die, but at the same time, he's not worth going after after
37:36
what we've just been through. Not at all. Especially now that Dairo's finally convinced this girl to leave
37:42
with him. He goes against every single thing he said he would do.
37:47
Yeah. Just because it's convenient at the end of the film. And then if you want me to believe cuz he falls in love with a girl
37:53
he slept with once cuz they talked over like one. Like, come on. Stop. Stop judging Amy. Come on, man. Don't judge. I'm not saying she's a bad
38:00
person. I'm just saying that this is I mean, we're not it. I'm not buying that there's a sudden romance. I mean, they had sex once. All
38:07
right. There's some lust. Good for him. He's not lonely anymore. But at the same time, you're going to throw away everything since this was your last job
38:13
and you're retiring. All of that to go after some mullet that you have enough money at this point. You can call in a
38:19
favor and get him killed later on. You don't need to do this. And he does not need to tell you where he is at all.
38:26
But he does. But he because this is where we're going to wrap this up and once we get to the ending part I'll
38:32
explain why it just doesn't work because it's set up in something you cover with someone else when they sit down at the
38:37
coffee table. Right. Well, no, you're right. Cuz he says we you got to be ready to drop the heat. So, not only does he not drop the
38:44
or get away from the heat, he actually enters the furnace. He goes right into the heat. Goes right into lion's den. Yep.
38:50
Yeah. Mhm. It does show that if you're a white man in a suit, you can literally walk in anywhere. If you're a white guy in a
38:56
suit, you can walk into any place unasked a question. Exactly. Or a ladder. You just walk in someplace. No
39:03
one asks you a question. Well, I understand he gets like a concier suit down here. And he's already
39:08
wearing kind of a suit. Is there really that much difference between the suit he's wearing and the concier? I think he puts on the security suit. I
39:14
think that's what that has. Yeah. Or something like that. So, he looks like he's security. So, when he knocks on the door and pulls But again, was he
39:21
planning on pulling the fire alarm to start with? I think he must have been. But if he's trying to do this without
39:28
without attracting more heat, he does exactly what he's I mean,
39:33
once he sees the Here's the thing. Yeah. Once he sees the shotgun right there in that scene, the moment you just kind of
39:38
flipping through, this is when he goes, "If you see the heat, you turn away 30 seconds."
39:44
That is when he's supposed to turn around. He should know that, you know what? It's not worth it. This is not worth it. Well, he already knows the cops are
39:50
there. That's what I understand. It's not like he's waiting. Well, he knows right then and there, like he probably has a good idea they're there, but right then and there he knows
39:56
that they're looking, that they're waiting for him. And that is all he should need to turn around and be like, you know what? No,
40:03
there'll be an opportunity later on in life to catch up to Wangro
40:08
to get Wangro. Is that clerk behind the counter? Is that a cop? Well, how does the cop know how to check
40:14
people in? It's part of the ruse that we have to sometimes put I guess put it aside our knowledge. But apparently this
40:22
undercover cop is now also really good at checking people in in the hotel knowing all their procedures. So
40:28
because really undercover cuz this guy looks at Dairo's character walking through the lobby like I don't
40:34
know what that guy walked with a suit. I'm not too sure. So this is what we have to do, right? So for that moment you have to suspend your
40:40
belief. Two things. One, we have to believe that he's a cop. So, if we believe he's a cop and is able to figure
40:45
out how to check people in, then he doesn't know who's actually on staff as security. That's how he can walk by him.
40:50
Not to me. It's confusing. Why does the concierge dude care who walked around the lobby? There's tons of people walk around the lobby. Why did stick out? I
40:57
don't understand what that shot was even shot. What was the story there? The story is to let us know that Neil has decided to break all rules cuz one guy
41:05
who he should have killed earlier and should have tracked down a long time ago.
41:11
They let go and got his crew killed. But at the same time, he got away with millions of dollars.
41:16
Well, this is pre- everything has a camera. He is going to get on a plane and get out of there and live in the
41:22
non-extradition country and that'll be it. He's good to go. Bye. Fire alarm causes so much panic in this
41:29
hotel. Oh, I don't understand. I've been in buildings with like sometimes people just don't even leave. But why does
41:35
everyone actually act like the building has been hit by the uni bomber? Their reaction is so chaotic. Fire trucks,
41:43
police cars, helicopters, and the hotel is full of people. There are people
41:48
fully dressed for the day running, but they're running like Godzilla is in the hotel. Why the panic?
41:54
The only thing I can think of is I didn't check it. Was there a major fire in a hotel at some point in LA where
41:59
people are now like it's like the boogeyman story where it's like we got to get out of here like this has happened before. My question is is how
42:06
does Aluccino make it from the hospital? Yeah, I know.
42:11
In time to get to the hotel. Well, I mean I get in that chopper, but where's that
42:16
landing? Did they just land on the roof? I don't know what the timings. I love how he runs down the stairs here. shows
42:22
how accurate. How does he know that that means Neil's that they've got Neil? Has anyone even said Neil's here?
42:28
No, there's been no indication that Neil's there. That's what I don't understand. So, the fire alarm's been rung by Neil. He's
42:33
there. Yes, he's about to kill Wangro. And the one cop who sees the assault
42:39
gets knocked out. So, he doesn't alert other cops that Wangro went running to find out what's going on. Don't they
42:44
have a radio or a phone they can call down to the desk? His back is turned. Doesn't see Daener's character. He's just looking out the
42:50
window. So Wingro comes over here. Wingro doesn't know that he doesn't know that there's an actual cops watching his room. He just thinks he's going to hide
42:56
out in this hotel. So the cops are watching his room. Fair. Mhm. They know what Dairo's character looks
43:02
like. Mhm. They should. And they should have known the minute a fire alarm is pulled.
43:08
Well, they should have called down. They have a radio. Like they've got a guy down the front desk. They should have called immediately. But no one has said, "Hey, the fire
43:15
alarm's been rung in the building where we're watching Wing Girl. It's got to be connected." But we never see that dialogue. And that's what I mean. Why
43:21
the cops are cops in the in the delivery area thinking that if anyone can sneak
43:26
in, where would you sneak in? You'd sneak in through the back. There's not a policeman. This is what I mean.
43:32
It all looks cool. It's all chaotic. Cool. But it doesn't make sense. The
43:37
human behavior here is so out of character for humans. Like I don't understand how anyone is acting. Fire
43:43
alarms. Okay. Walk out the hallways. This kind of sucks. But there's like please fire chaos running. Why are they
43:50
acting like Godzilla's in the hallway? The biggest problem is and why I think we both are have an issue towards the
43:56
end of this film is the meticulous attention to detail that the first
44:02
twothirds of this film pays. Obviously the shootout, one of the greatest shootouts and action scenes ever filmed
44:09
in history. Yes, there there are some holes there and I totally agree with you on that. But what I love about it is
44:14
there is a lot of attention to detail through this whole beginning twothirds of the movie. We are getting into the
44:20
nitty-gritty between the police work and how professional thieves actually try to
44:26
negotiate against each other. That's why it is such a great movie to me is the first twothirds. I love it. What hurts
44:33
it is then suddenly at the end we suddenly go, "Ah, this is how we want to
44:38
end it." Just like Neil, they walk away from everything they have told us they're going to do or this is about
44:44
just so we can get some ending that. Okay, so now we're going to get Wangro killed. So now we all feel, okay, good.
44:49
Neil did what he wanted to do. He avenged his buddies, but he's a bad guy. So we got to make sure the good guys win
44:55
still. Otherwise, grandma and grandpa won't be able to sleep at night without locking the door and having two shotguns in the bed. It's the old Hollywood way.
45:03
And then that's why this movie at this point starts to come off the tracks because we have spent over two hours
45:09
with them going on a ride which has felt like man this is locked in and then all
45:14
a sudden like let's just end it this way and that is why it becomes so frustrating and I think a lot of people
45:21
if they really were honest with themselves you love the movie up through the shootout after the shootout it
45:27
really starts to go maybe even a few minutes after when he finds out why it happens and he goes and we find Danny
45:32
Treyo That stuff's still pretty good. Even maybe even up to Chris being told that he's got to leave. After that, it's
45:38
now we've got to tie this movie up and make everyone go home feeling like the good guys won. But everyone still feels good that Neil got his comeuppance for
45:44
Wangro. It makes zero sense of why the people in it are doing what they're doing and how
45:51
they're getting to where they're getting after we've just I mean they they were
45:56
up in a rooftop cuz they went to a dinner and they had stuff everywhere and all a sudden it's like well we don't need to put any cops blocking anywhere.
46:02
It's insane how this movie just suddenly they just at the end forget everything they've built for us and just said we're
46:08
going to end it this way. It's what is frustrating if you start to put a critical eye to it. If you just want to
46:14
sit here eat popcorn and don't care and you're happy with that end, then you know what? I have no problem with that either. But it is hard to sit and
46:20
critique a film properly and not notice the glaring ball being dropped at the
46:25
end of this film after everything that they did to set this film up and start to deliver it to us, which was
46:31
meticulous. Meticulously done. It's almost a masterass in how to do a film
46:36
until you get to the end. It's almost like Michael Man said, "Someone else can direct the end. I'm going to go home. I think I did a pretty good job with the
46:42
shootout. I'm done. You guys end it how you want." Oh, yeah. Sure. Why? Interesting. Okay.
46:47
Let's watch the This is a fun scene cuz we all hate Wangro as a viewer. So despite I'm so glad he gets killed but at the
46:54
same like I said as a having a fun time. You have Wangro in that awful mullet.
46:59
That's what I mean. It's not worth it and it doesn't make sense with Daeniro's character everything he's done which
47:04
could just be part of the story with the shows that even though he follows the heat advice by leaving his
47:11
girl behind but goes into the very furnace itself. That's the wrong time to
47:16
suddenly realize what you should and shouldn't have done. Oh, he's just blinded by revenge. I guess at the end day you going to say
47:21
he's blinded by revenge. Yeah.
47:26
[Music] Security, there's a fire on three. We have to evacuate all floors. I can't
47:33
leave here. [Music]
47:43
Look, why don't we just talk about this a bit, huh, brother?
47:55
There's no need to open the door at all. Yeah, there just isn't. I like that Wingra gets killed. As a person who hated
48:01
Wingra throughout the whole movie, I'm glad he gets killed. But I think there was a better way that we could have had
48:06
that happen without ruining the end of this film and going through this whole dog and pony show where
48:11
the guy who's supposed to be watching the door, the cop, like you said, he's out. He's just look at the window. He's like he's Bruce Willis in Die Hard
48:19
looking for the fire trucks to come up. You know, like when he's Yeah, he's really fascinated. That's the I feel like he's reenacting
48:25
that scene for us in this in this part. That's what I mean. He's looking at the chaos outside. That's that shouldn't exist. Just people leaving a building. I
48:31
don't know why the cop is so enamored by police trucks and cars. Like you dude, you are emergency personnel. You
48:37
shouldn't be so fascinated by the roundup of people. And he should be focusing on his job watching Wangro. But
48:44
anyways, the comes in. We'll play this sequence cuz it's a great kill.
48:49
[Music]
48:54
He's here on 17. Look at me. Look at me.
49:04
Look at me.
49:13
[Applause]
49:20
The cop says before the killing of Wangro, the cop actually goes on his walking and says he's here on 17.
49:27
Number one, do they have cops on every floor? Like you should have to say what floor you're on because
49:33
like you're on the 17. He's here on floor 17 where we've been for the last week. Well, yeah, you don't. There's
49:40
that. But what I also found funny was how do they know it's him? He never sees
49:45
him clearly. All he sees is the door's been busted down. It could be any any one of Wayne Girl's enemies. The idea
49:51
that he's here who? Yeah. How come the other guy had to leave and not use
49:56
the same walkie to find out what's going on with this alarm? And on top of that, we still haven't
50:03
been shown that Pacino's character's been alerted that Dairo's character is here, even though he's acting already.
50:09
We talked about this in one of the other parts. I can't remember exactly which scene it was, but there was events that the cops did that was out of sequence.
50:15
Like they reacted on information that they hadn't received yet. This what I mean by bad editing. Y this is another bad edit where they
50:22
should have had this happen right now. Sure. And then Pacino's pager goes off.
50:29
Yeah. But if they do that, he doesn't get there in time. I don't care how many helicopters he takes. Well, there already are police vehicles here and
50:35
there's police vehicles here and there's helicopters here. But what I'm getting at is that would have made more sense.
50:41
Yep. Had they said he's here, then his pager goes off at the hospital, then he leaves. But he's already left. As of
50:48
right now with the film events, Pacino's already headed towards the hospital. So why is the cop announcing the cop should
50:54
have already told that cop, hey, just so you know, Pacino's on his way? Cuz he knows Dao's there. Like, who knows who
51:00
right now? It's like, hey, someone ordered a BLT. They got his name wrong. He's here. He's here. He's sprinted down
51:06
the stairs. BLT is the code word. And then of course he sees him through a crowd. Look it. There is movie.
51:13
This is what I mean by the crowd. This is what I mean by the crowd. Why is the crowd so chaotic? Look at the how many
51:19
people are pouring out of them. But why is there police with shotguns? Why aren't the police there? There's no way.
51:25
The police are there because they think that this is probably So the fire has to show up regardless,
51:32
right? But the police are there because Wayne's there. Wayne's there. They show because they think that maybe
51:38
he may have been pulling something and I'm not sure why Buchino looks down there and sees a car seat with a girl
51:44
and goes that's his How does he know that's Deniro's girlfriend? He doesn't I because
51:49
do we know have they ever been introduced to Daeniro's character? He has no idea.
51:54
So it could just be a panicked woman in a car. Yeah. This is the same thing that happens this
52:00
moment here of Dao comes out think I just killed Wayne girl. Big happy smile. I'm not going to go live my life with judging Amy moment. And this is the same
52:07
thing Val's character did when he saw his woman. Like he was happy for a second. I'm going to be with my woman.
52:12
And both men get [ __ ] blocked by their own events. How we got here is ridiculous. I agree. How we got to this
52:19
moment is ridiculous. However, the acting that Daeniro does, even
52:24
though the the setup is horrible. Mhm. We talked about how good these actors
52:29
are. They were given a horrible like how we got here, like all the events like it's not their fault. But Dairo's acting
52:36
of like, oh, my life's about to change. I've got to dump this girl. The heat is here. And he follows his advice that he
52:42
should have always followed. But when he does follow it here, his facial expression, watch it right now, is
52:48
actually just it's called acting, folks. How he changes like Der almost looks
52:53
like a different person.
53:03
How either of them saw each other from this distance is beyond me. Yeah. How they saw each other from that
53:10
far. Yeah. But how he looks at her, how he looks afraid and he's like, crap, I got to go. I got to dump judging Amy.
53:17
And then he looks at her one last time like, I I can't. I got to go. And she's like, you son of a [ __ ]
53:26
You're really leaving me. However, the fire truck did block their way. They could have got in the car, but
53:31
Yeah. How was he going to get out of there with all this commotion in the car anyways?
53:37
Yeah. He parked way too close to the vents. Yeah. So, he runs away in the foot chase. Now,
53:44
this is the rest of the film. So, you can talk with Andy now cuz the rest of the film, it's a foot chase. That's all it is.
53:50
If you don't want to hear this part because you think what I'm going to say is going to be an [ __ ] That's fair.
53:56
However, this is where the fall apart happens. I've never seen Al run so much in a film. He's Tom Cruz running in this film
54:02
literally with a shotgun, which is slows him down. Yeah, you have to suspend simply because there's right now Dairo's already got a
54:08
head start on him. Chino stopped to see which way he went, grabbed a shotgun and
54:14
Dairo has got a way ahead of him. How Dairo doesn't just stop right there, wait from the corner of the hill and
54:19
shoot him. This is where this ending really falls apart for me. But it looks good. That's the point.
54:24
The problem with this ending is it was set up how this movie should have ended. Even if we can sidetrack the
54:29
ridiculousness of them getting back together at this point, the coffee shop scene together is how the movie ends,
54:36
how they're supposed to. They both say that they can do nothing else except
54:41
this and they will die doing so. They have both just literally walked away from the two most important things in
54:47
their lives because of their stupidity and ego of having to either be a cop and
54:52
be a crook. He walked away from a girl who was going to give him a normal life cuz he had to be a dumbass. He left the
54:58
one person in his life who actually cared about him, that being Pacino, because he has to just track this guy
55:05
down. He just has to get this guy. This movie should end with them both dead.
55:10
Because what we're going to get is the most ridiculous circumstances of a shootout ever. And it absolutely ruins
55:18
this film for me. And many times I will turn it off before we get to this point so I don't actually get mad at this. The
55:24
ridiculous, as we're going to get into in a second. one, how is he caught up to him already? Unless he is Tom, you know,
55:30
he's he's he's already behind him and he's carrying a shotgun, which adds weight to your run. Look at the plane. The plane shot.
55:37
I mean, it looks beautiful. Like, don't get me wrong, that's a well shot sequence. I'm not taking that away from it.
55:43
But now we hear he is he's Neil is going to have the drop on him every minute of this and could have killed him at any
55:48
time. At any time. And we've seen how good Neil is at at this.
55:54
Pacino is dead duck. He runs through this completely not the way a cop should
55:59
go through something like this. He should have run up to that wall, hugged the wall, and then tactically looked
56:05
both sides and make sure he could even enter that way. He just runs through. Da could have just been sitting outside, shot him, and killed him instantly and
56:11
made it to the plane without the girl. Now, he's going to stand behind these these little barriers. And there's a
56:18
reason he's doing it this way. He's putting his back to the runway lights because the runway lights are extremely
56:24
extremely bright. However, Pacino, our hero, is going to run fullon into the
56:30
runway lights. Like literally, he's just standing out there in the clear. There's no protection. He's doing everything a
56:36
cop should not do because he just has to capture him. So, if we're not going to have him be killed because apparently
56:42
man doesn't believe in that. See the shot here? But Chino is dead.
56:47
Dead. He doesn't find any cover. He is dead. He's looking into the lights as well. So, how man's going to end this
56:54
for us is make us believe that one, Dairo is waiting for the lights to come on. He
57:00
knows it's going to blind him. He's going to get perfect sight of Pacino's character if he's in his line of sight.
57:07
He's going to be able to take him out. But no, the lights will come on and some Auccino is going to be able to not
57:12
instantly be blinded by the lights, see a shadow, turn to the right, fire off
57:19
around without seeing it, just in the direction he thinks the shadow is. Not only does he get the shot off, he hits
57:25
McCauley dead center of his chest. Callie gets See, look at the lights. Look at the lights. Look how bright that
57:32
is. Yep. And now he's backing up to get behind there because he knows if he enters that alley and he sees him, he's
57:38
dead. He knows this, right? This is why it sets up. So the next time the lights
57:43
come on and you'll watch it go back and forth. Neil is listening for the plane. He's listening for a plane to land when
57:50
the next time it comes on. So he hears it and so he gets ready instead of just edging around that corner to shoot him,
57:56
which is what most people would have done and he would have done. He's got him dead to rights, but he decides to
58:02
then step out further for some reason. Apacino is going to just wildly fire a shot and then look straight into lights
58:08
at McCauley as he's falling backwards and hit him like four more times. Not once bothered by the lights. McCauley
58:14
doesn't get up a single shot and we have to have the movie end. So, the bad guy loses and the good guy has won. Look at
58:22
him step out there. He has no cover. Neil could have popped out right now and just shot at him and he is dead. Even
58:28
without the lights, he is dead. He is zero cover. He's just waiting for the lights to come
58:34
on. Here's how I would have been okay with it, right? They both shoot. They both die. They
58:40
both collapse and die away from each other. Overhead shot. The two of them bleeding out. Doing exactly what they
58:47
said they would have done. Both dying alone. Both doing something stupid. They could have both been alive, but they had
58:52
to continually be who they were and not walk away from it. And so, they both died. I would have been happy with that. I'd have been okay with all the other
58:58
[ __ ] we just went through, but for Pacino to be not in a position of
59:03
advance. Here it comes. And and we're going to slow it down. He's not looking. He takes
59:09
a step out. Oh, we see a shadow. I'm just going to just knows ex got him. Just knows exactly where to shoot. His
59:16
eyes are just focused. The lights don't bother him. Not a blink. Amazing. Amazing.
59:21
Callie gets off nothing. Now, this shot should have been both of them dead. That's how the film ends. No, the two of them then bleeding out. I
59:27
would have been fine with that. That's how the movie was set up by Michael Man to end is that these two gentlemen were
59:32
going to die squaring off against one another. Okay, we have to end it with the good guys
59:37
winning. We get this awful [ __ ] ending that is just crystallized by the
59:43
most ridiculous ridiculous shot ever. It is absolutely
59:49
insane that that's how this ends. Told you I'm never going back. Told you I'm never going back. Yeah, great. And he should be dead.
59:58
Yeah, you did. He had him dead to right 700 times. Well, they hold hands. They He holds his hand while he dies.
1:00:03
I know. I I know. I look at I look This is the drama of Hollywood because they had respect for each other. But
1:00:09
yes, this is where it ruins it for me. We talked about it a little bit during
1:00:15
the dinner scene, I think, a little bit of them having to have equal dialogue and all this stuff. Even though it's quote unquote Daener's character that
1:00:21
dies. Alpuccino's there to hold his hand. They're both top tier actors. This is
1:00:26
Pacino saying you're just as much of an actor as I am. Bobby, we're brothers and actors. It's I know it's it's art life
1:00:33
ruins this movie for me because it's such a brilliant scene of them at the coffee shop and they you know if you
1:00:39
watch enough movies are always made to and if they're really well done the writer will write it so
1:00:46
that you're given hints of what's going to come because it's sprinkled throughout the story so that you aren't
1:00:52
surprised when it happens. Once you watch them enough you know how it is. You know you watch your favorite movie 100 times you start to realize oh this
1:00:58
is how this is going to work. this is how these plot threads are going to come together. Oh, he said this. This is what's probably going to end up happening. For this movie to then just
1:01:05
end, there's no reason that movie ends the way it ends. Zero reason. That upsets me because it makes us as the
1:01:13
movie going audience like we're stupid. Yes, the first twothirds of this film are a masterpiece, but I always give
1:01:20
this four out of five stars because of the ending. The ending keeps this from being an ultimate masterpiece because
1:01:26
just like Neil, it does not stay true to what it said it was at the end. It ruins the end. And the end is even more
1:01:33
ridiculous when you sit there and watch it in the context of what's happening. There is zero reason Aluccino isn't
1:01:39
killed seven times before he even gets to shoot him. And then he wildly fires off around because he knows where a
1:01:44
shadow is. Crazy. Like he knows the angle of the shadow to just turn enough to fire. And Neil, what
1:01:51
is he waiting for? Is he going to step out, do a spin, and then shoot? Like, what is he waiting to shoot for? So,
1:01:57
again, I don't want to say I hate, but it's I think what makes it frustrating is how good of the of a movie it truly
1:02:04
is for the most of it. And then for it to just suddenly end so poorly,
1:02:09
a movie can be judged on its beginning and its end. If it has a great beginning, great ending, sometimes the stuff in the middle, we can overlook if
1:02:14
we feel like that beginning and ending married each other and we feel like, yes, I feel good about how this movie
1:02:20
went. Sometimes you go through a movie and it's muddles in the middle, you know, here and there. You're like, "All right, we probably got to cut this and
1:02:26
that." But when it ends strong and it starts strong, you're sucked into the story. When it ends poorly, you feel
1:02:33
like you have wasted 2 hours and 30 something minutes of your time for it to end with the good guy always winning.
1:02:41
And that's the disappointing thing. And then when you rewatch it, it doesn't hold up because how much cinema has
1:02:46
moved forward since that time, especially because of the 90s. And even in the um 70s there, the good guys
1:02:52
didn't always win. And that was what I liked. I want true stories. If they're both have to die, if we can't let Neil
1:02:58
get away, fine. They both die doing what they said they were going to do. And they're the ultimate alphas for each
1:03:04
other. They're the ultimate predator prey for each other. They take each other out. They both die alone having
1:03:10
been stupid and not realizing that their so-called ethos is what got them both killed in that moment, but instead we
1:03:17
just get the happy ending where hey feel good everybody got the bad guy but we're good to go. Everyone go home and thanks
1:03:23
we'll see you again in collateral kind of thing. So sure. All right. Awesome. The old fair points and I'm not disagreeing with you
1:03:29
in that sense of well we talked about how we got here. How we got here was a little bit silly. I didn't even consider
1:03:35
the shootout, the lighting and the angle. I didn't even consider all that stuff. Again, I was watching the aesthetic of it. So, I mean,
1:03:42
it's shot beautifully. It is shot beautifully. It's a beautifully shot bad ending cuz it looks gorgeous. It is
1:03:47
gorgeously shot. They do a great job of making that runway and the airport look. I mean, it's beautiful. It's amazing.
1:03:52
Michael Man's really good at setting up the beautiful shot. If you could just sometimes correlate the story line uh
1:03:58
with it would be perfect. Okay, before we close, uh, where can people find you?
1:04:05
My big show is the Church of Tarantino, where I talk all adnauseium about Tarantino, and I am as critical on him
1:04:12
as I am on others, so I don't want to think it's just me blowing smoke up his ass. I have been very critical of him.
1:04:17
You can find me at the Church of QT Pod on all the socials except for X. And then I also am lucky enough to have been
1:04:24
allowed by Mr. Rebel to be on his other network, that being the last of the action heroes. and I do two shows, both
1:04:31
with my buddy Steve. We do men of action. And in season two of that new venture, we are finishing up putting two
1:04:38
sequels of action genre against one another in a specific genre of action to
1:04:43
see if they deserve to be a sequel and which one's the better one. And then we have a year to go. We're almost there.
1:04:49
We are finishing up our dropping a Bruce. We have one more year to go. We are going through all 40
1:04:55
as we call them STDs straight to demand movies from his career. It has been a
1:05:00
slog, but it has been a fun journey and it's a little sad. I think I've told just melancholy to watch one of your
1:05:06
heroes now that you know what he has. I mean, besides the movies not being great, but to watch
1:05:11
him actually you can see the aphasia now where we are, it's it's really bad. And you start to wonder if he was taken
1:05:17
advantage of as well as there's a new documentary coming out on who's the head of Marvel, uh Stan Lee, where the last
1:05:22
couple years he was really abused by some of the people. Oh, yes, that's right. Yeah. Y so I wonder how much of that is also true of
1:05:29
Mr. Worlds being put in some of these films where he you can clearly tell he should not be there. It's not good. So
1:05:35
yeah, that's where you can find him at the Last of Action Podcast Network for those two and then Church of Tarantino Church of QT Vad.
1:05:41
Awesome. Thank you so much Scott. Thank you for having me again. I appreciate it. At the end of the day, this is a fun fantastic film. It uh reinvigorated I
1:05:49
think a realistic firefights in movies. at grounded movies when it comes to like
1:05:54
heists and bank robberies. We know Christopher Nolan borrowed a lot of his film making from this film that grounded
1:06:01
in realism. The aesthetic was gritty. It brought that gridness back to movies
1:06:06
which the '8s really kind of yeah destroyed. Yeah. This is a 70s film in the '90s and it's a great film. We love
1:06:13
it but it's not perfect and that's you know everyone can say love love love but at the end of the day it's still good to
1:06:18
kind of break things apart. All right. Thank you so much. Thank you. Thank you so much for coming on for part
1:06:24
one. But I want you to share your fandom and thoughts on the the classic shootout scene at the end of the end of
1:06:31
this movie. What are your thoughts on that sequence? It's an absolute masterclass in film
1:06:38
making. I think it's also incredibly influential. I know Christopher Nolan
1:06:44
was inspired by it. if you watch the beginning of the Dark Knight. Yeah, for sure. And I believe he's gone on
1:06:49
record saying it that he used heat as an inspiration for that that sequence. But I think the one thing that is really
1:06:57
worth noting in this sequence is Michael Man's insistence that it sounds the way
1:07:03
it would sound. I was watching this movie the other night before we sat down to podcast about it.
1:07:11
My wife indicated how annoyed she was with how loud it was. Oh, nice. That's the best part. That's
1:07:17
the best part. And I was like, that's a point of the scene and the movie is one thing to watch an action scene with with guns in
1:07:25
it, but in this scene, you hear it and you feel it. And it definitely adds weight to the sequence.
1:07:35
And it also illustrates the power that everybody is holding in their hands. I
1:07:41
don't think a movie before Heat had really
1:07:46
delivered that without sounding like a cartoon. Like we've always had
1:07:52
cartoon type gunshots in movies or gunshots that don't match the gun that's being fired. But man's insistent that
1:07:59
every gun that's heard, it's the actual gun sounding the way it's supposed to
1:08:05
sound with live ammunition because even what like dummy ammunition is going to sound different.
1:08:10
Y so to get that power and you definitely feel it. If the scene wasn't shot that
1:08:16
way, it wouldn't feel the way that it does. The bulk of that sequence, there's no
1:08:23
music. That's right. Yeah. And that's also a masterful choice because you get this
1:08:29
silence that is interspersed with just huge booms. It definitely helps sell the
1:08:38
way everybody's acting and reacting. It again it's just
1:08:44
man's desire for authenticity really really took this sequence to
1:08:50
another level. It's probably the sequence everybody that talks about this film
1:08:56
thinks of when you think of the movie Heat. It's either going to be this sequence or the diner sequence,
1:09:02
of course. And I would say the I I haven't yet recorded that sequence with
1:09:08
my co-host regarding the shootout. I'm sure I'm going to share my thoughts there, but I have a theory as you were
1:09:15
talking about why there's no music, just off the top of my head. Couple reasons. one because it just wants Michael wants
1:09:20
the scene to feel more realistic like we're witnessing the shootout that we're there. We're supposed to be a little bit scared like we're not hiding behind the
1:09:27
musical score. Oh, this isn't a movie anymore. We're in the fight. We're in the firefight. So, it feels more raw and
1:09:33
we're like we're not Yeah, this feels unsafe as a viewer almost. We're not protected by the score. I think the
1:09:39
other thing that there's no scores because Michael man wants us to feel our
1:09:45
own feelings about it because music will direct your feelings. Do you feel scared? Does you feel tense? Do you feel
1:09:52
excited? There's no this is how you're going to feel when this guy goes down or that guy goes down or whatever it might
1:09:57
be. Like you're just going to watch this and whatever you take, you take. I'm directing the scene, but I'm not going
1:10:02
to direct how you're going to feel about it with any kind of cues. You just take take it. Yeah. No, that's a good point.
1:10:10
Yeah. All right. Well, thanks for coming on for this segment. All right. Thanks a lot, Craig. Oh, you got it.
1:10:15
All right, Doug. So, now, uh, Craig has just shared his thoughts on the shootout
1:10:20
of, uh, of Heat's final battle with the, of course, the guns. It's the famous
1:10:25
scene. We heard his thoughts. I want We're at the part, sorry, we're at the part of part five where we're discussing
1:10:31
that now. I've inserted this into that uh talk. So, people want to know, Doug, what are your thoughts on that? Of
1:10:37
course, the big shootout at the end of Heat. Well, at the risk of rehashing like
1:10:43
things about the actual shootout, um I I don't want to beat a dead horse. It's a
1:10:48
fantastic scene. Um the one the a couple things I want to point out is first the
1:10:54
few times you mentioned like the shootout at the end of the movie, there's actually after the shootout
1:11:00
there's like an hour of movie left. Yeah, it's true. Do you realize that? Yeah. I mean, it's the it's the escape, you know, the the
1:11:07
getaway of of the people involved. So, it's it's remarkable because that's
1:11:13
technically the climax of the movie, right? One would think. Yeah. Yeah. Often we always say it's at
1:11:19
the end because it I don't know why it feels that way, but it seems like it does. Yeah. It it seems like that's that's the
1:11:25
the end of it, but there's so much after the shootout to, you know, to be
1:11:31
watched. So, don't think that the shootout is is all that that stands because there's so much left. Um, but I
1:11:39
don't know if if Craig touched upon or or if any of your future guests will touch upon matter. You just say what you got to
1:11:44
say. It's all good. The um there was there was an actual real life shootout. It it it it
1:11:52
in my weird world view I thought happened before this and I thought that he modeled he modeled this this
1:12:00
scene after this North Hollywood shootout but actually the North Hollywood shootout occurred in 1997
1:12:07
two years. That's right. I remember that being talked about if I is that what you're saying? I remember like this this is
1:12:12
like a movie. Yeah. Yes. Exactly. But the there was two bank robbers armed to the teeth and
1:12:19
armored. They were head to toe in Kevlar and um it was a bank robbery um the uh
1:12:27
LAPD that this occurred in North Hollywood. It was a 44-minute shootout all throughout the streets of Los
1:12:34
Angeles, North Hollywood, and um where actually the police were not only outgunned, they had to go to
1:12:40
neighborhood gun stores to rearm themselves because they didn't they didn't have enough ammo or weapons to
1:12:47
combat these guys. These guys were armed to I forgot about this. I did forget. I mean, it's coming back to me now, but
1:12:52
that's funny. Good for bringing that up. Yeah. Yeah. Now did there's actually a pretty good like real life movie um after it
1:13:00
Mario von Peebles is in it. It's I mean the movie's okay but it it shows like a real life account of it and it's pretty
1:13:06
accurate but um it's called not it's called not heat. It's
1:13:12
called not it's called 40 44 minutes but no it's called reheat.
1:13:20
I love it. But after um after these guys were um eventually dispatched, I I
1:13:26
forgot how long the shootout lasted, it was like hours hours that these guys were just marching throughout the streets just firing thousands of rounds
1:13:34
of ammunition. They um when they investigated the shootout, uh what they found in the VCR player was a tape of
1:13:40
the movie Heat. That's right. So So the the I guess the common belief is these guys engineered the shootout
1:13:47
after watching Heat. You know what I mean? So, I mean there there's it's possible there there's no evidence
1:13:53
to prove that, but I mean the the similarities are are, you know,
1:13:59
pretty extensive. Yeah. Interesting. But that's I mean that's Yeah. I otherwise that that shootout scene, you
1:14:05
know, when they pull up in the the middle of the street is is incredible. I And this this time in 1995
1:14:13
is like you see you it's not just a shootout between the cops and the the bad guys. you see a lot of collateral
1:14:19
damage like bystanders getting getting picked off and stuff like that which I mean nowadays in use of force
1:14:26
situations you're not supposed to engage in anything that can harm bystanders blah blah blah but yeah that's I mean
1:14:34
that's great great fantastic fantastic freaking movie scene though
1:14:39
wow yeah very well very well said yeah thanks for sharing and good reminder about that I you're right you know it's funny it wasn't brought up when I was
1:14:46
talking to Craig and maybe their host cuz they're not going to hear your breakdown, right? So maybe they'll bring it up. But good good job. And I remember
1:14:53
that making the news feeds back then. And you're right, it was after but you could also argue because he came
1:14:59
out 95 that should have took out they could have just been it was a very popular movie to rent at the time regardless. So they could renting the
1:15:05
film anyways. But yeah. Yeah. I don't know why for some reason I thought that that Heat was was kind of
1:15:11
made after that and they used that shoot out as Michael Man film already like way ago
1:15:18
for TV movies. Yeah. Yes. Yeah. I in my limited research I did find that out but yeah
1:15:24
Craig said it's not worth watching. He said he said it's an interesting experience to watch in the sense of like
1:15:30
sure you can watch it but it's nothing like the movie. Yeah. Mhm. Yeah. All right. Thanks. Thank you so
1:15:36
much. That was awesome. And on to the next host. Now, my thoughts on the overall uh bank
1:15:42
heist are that it's just it not only delivers on what you've been
1:15:47
asking for this whole time, but for lack of a better just emphasis, just it gives
1:15:54
you the adrenaline rush that the characters are feeling. So, it's more than just we the audience are rewarded
1:15:59
with what we've been waiting to see this whole time. uh you know, we've had all these other,
1:16:05
you know, side penultimate heist attempts and things gone wrong, but I I
1:16:12
think for the actual heist itself, like the finale, I I think the reason it is just instilled in film historians and
1:16:21
audiences alike is just uh because of a few different key
1:16:27
factors. And uh Michael Mann was on the director's chair for Robert Rodriguez's
1:16:32
Lray Network show. It's now defunct, but uh from about 2017 2018, he had Michael
1:16:38
Man on there and Rodriguez brings up a good point how
1:16:43
Brian Eno's uh score is going and then just totally stops.
1:16:50
uh you know as soon as V Kilmer's character Chris is you know made and
1:16:55
opens fire on the detectives of the Vice Squad and yeah the music just stops
1:17:02
and uh kudos to everybody in the background all the stunt people all the extras all
1:17:08
the backup camera shots we're actually seeing
1:17:13
uh just all the mayhem unfold but everyone's reacting and
1:17:19
it just has a better just just more again just the emphasis to detail. You
1:17:25
you don't feel like anybody's, you know, needlessly getting attacked or anything. And it helps that the
1:17:32
characters have a co the cops are going to uphold this
1:17:37
and altogether just seeing again just this realistic gunfire and the sound
1:17:44
echoes just like it would in real life. So, it just that much emphasis on the
1:17:51
detail just really just captivates us. And Andy McNab, apparently a Bravo uh
1:17:57
20, the real life uh British special forces guy, oversaw
1:18:03
some of this. And yeah, you definitely you're you're seeing everything again
1:18:09
like much like we talked about uh uh uh Dennis Hayes, you know, Willman
1:18:16
character just meets a tragic end. So, we're both
1:18:21
equal parts, you know, just energized, horrified, you know, it it's it's a war movie in LA
1:18:28
all of a sudden. And it just is stellar because you know now we can
1:18:35
root for either character and we're both wowed at either side. You know that there's there's tragedies on both sides
1:18:42
of the law too. So that makes it even more both equal parts haunting and
1:18:48
visceral. Just very emotional and uh altogether we just really just we
1:18:54
can't take our eyes off the screen. It is impossible. It doesn't matter how many times you watch this. You could
1:19:00
even not be a fan of this movie and you cannot take your eyes off this this and nothing else matters right now watching
1:19:05
this awesome shootout. And again, you know, it's just so rare to
1:19:11
just have blockbuster movies like this just grab you and make you almost jump out of
1:19:17
your seat. You can't believe what you're watching. It's again, the attention to detail is so electrifying. So,
1:19:26
thank you all for letting me hop on this part of the chat. And
1:19:32
again, you know, just delight being on the show just cuz again, Ryan's just
1:19:37
killing it here with the details. He puts the D in detail for that matter, right? Peace.
1:19:44
The firefight, in my opinion, is maybe the single greatest action scene ever
1:19:49
committed to film due to the fact of the tactical awareness of it. I'm sure
1:19:54
you've covered the Marine saying how amazing of a magazine change Val
1:20:00
Kilmer's character did. If you haven't seen that, there is plenty of stuff out there where Valk will talk about that where Marine saw
1:20:07
this in the theater and he did it as tactically proficient as he possibly could. Wow. The fact that Michael Man uses nothing
1:20:13
but production audio. So that is all the blanks being fired. That's not added in. That is He was saying that he could not recreate
1:20:19
the sound of bullets echoing in a canyon of the skyscrapers like he could if he did it real. So all of the audio you
1:20:27
hear in that scene is all on location, which I can only imagine what that was like for people living in LA. Do you
1:20:33
hear that during that set? Well, I mean that scene is just I think that's why he is the movie it is. The robbery scenes
1:20:39
are unbelievable. They're spectacular. People have been trying to recreate those for forever in their films. No one
1:20:46
has come close. We watch that first one where they knock over the truck and you think, "This is the best it's going to
1:20:51
get." And then it's like, "No, hold my beer. Wait till we get to the bank robbery." And it's gorgeous. It's amazing. As a military person and former
1:20:59
military policeman, the tactical awareness of the group doing it is unbelievable. The way they move, fire,
1:21:05
and move, it's covering fire move. It's just so well done. It's seeing it in the
1:21:10
theater. It really is that theatrical experience that you need to see. It's great at home and you can have a home theater that's good. But I'm telling you
1:21:16
right now, if you didn't see it in the theater, you just really don't know how much better of a movie or of a scene, I
1:21:22
should say, that is when you get to see it live. And I wonder how much of that scene helped movies like even Saving
1:21:29
Private Ryan when it did the landing of D-Day. I wonder how much that helped to inform like, oh, we really can stretch
1:21:35
the bounds of this because we're fans of 80s action. It's a lot of explosions and ridiculousness. This is completely
1:21:42
anti-80s. This is how action a realistic action scene should be filmed. And every
1:21:48
single bank robbery movie since this has always tried to have its own heat scene. Watch
1:21:54
them all. Whether it's Den of Thieves, whether it's the town, they all have a moment where there's a shootout, but and
1:21:59
they're good, but none of them none of them compare to this moment. If there's a scene he goes down for and like if
1:22:05
Michael man when he lays down and closes his eye for last time, he can be like, I shot that scene of he in the middle of
1:22:12
downtown LA where people are firing blanks and it looks unbelievably real. So hats off to Mr. Man. That is an
1:22:18
amazing achievement in cinema for what he did with this scene. [Music]
1:22:30
[Applause] Heat
1:22:43
up here.
1:22:53
[Applause]
1:23:10
[Music] Heat up here.
1:23:20
[Music]
1:23:38
Heat up
1:23:43
here. [Music]
1:23:51
Heat up
1:24:11
here.
1:24:16
Heat. [Applause] [Music]