Untouchables - Canada Border Scene

The Untouchables (1987): De Palma’s Epic Canada Border Scene! 

Join host Craig and guest Dan as they dive into the thrilling Canada border scene from Brian De Palma’s 1987 masterpiece The Untouchables! We break down the heart-pounding action, stellar performances, and De Palma’s meticulous geography in this fictional yet iconic sequence. From crowd-pleasing moments to Dan’s theater memories, this episode is a love letter to De Palma’s craft. 

We analyze the Canada border ambush from The Untouchables, where Eliot Ness (Kevin Costner) and his team, alongside Canadian Mounties, take on Capone’s men. We explore Charles Martin Smith’s hero moment, Sean Connery’s gritty tactics, and De Palma’s knack for clear action geography. Dan shares stories of screening the film as a projectionist in 1987, including a run-in with The Hooters!

Creators and Guests

Host

Craig Cohen

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!

0:00
well what's the matter can't you talk
0:01
with a gun in your mouth you're not to
0:03
prove your methods
0:06
yeah well you're not from Chicago hello
0:09
and welcome back and this episode is
0:13
really uh another unique one in the
0:15
sense that I'm talking with somebody
0:17
that I've known for a while and I
0:19
haven't formally podcasted with and
0:21
we're also talking about a movie we've
0:23
talked about already and a movie I'm
0:24
sure we're going to talk about a lot
0:25
more based on the feedback I've been
0:28
getting from potential guests so I'd
0:29
like to welcome my friend Dan to the
0:31
show dan welcome thank you very much
0:33
Craig this is this is an honor and and
0:35
just a lot of fun to be discussing this
0:38
this particular great piece of film uh
0:41
making with you yeah so uh as you know
0:44
on the second episode we talked uh the
0:46
church scene from The Untouchables we
0:48
are back in the Untouchables and we're
0:50
going to be talking about an epic epic
0:53
scene uh which we'll get
0:55
to and Dan I'm glad we were able to
0:58
finally sit here and chat because I know
1:00
we've been sort of online friends for a
1:02
while and we never had the opportunity
1:04
to podcast together and this show has
1:06
made that possible so uh definitely I'm
1:10
really excited we were able to make that
1:11
happen so Dan before we get too into
1:14
things do you want to sort of just give
1:17
paint a little picture of your DAPA
1:20
history
1:21
that's it's a it's it's really the
1:23
untouchables is a really interesting
1:25
part of that because
1:28
prior to
1:30
87 I had
1:33
definitely
1:34
seen some Depalma films but mostly they
1:39
were just one and done i had seen Carrie
1:44
once i had seen Dress to Kill once i had
1:48
se I and I guess maybe Scarface was kind
1:53
of
1:54
in heavy rotation in cable so that was
1:57
the one that I had probably seen the
2:00
most but in in a lot of ways and I don't
2:02
want to get in a whole side tangent here
2:04
like kind of consider
2:07
Scarface an outlier in in Dealma uh to
2:11
some extent there are definitely some
2:13
diplomatisms in there but that was the
2:16
one I probably had seen the most but I
2:19
didn't really get dressed to kill you
2:21
know I was major into you know the the
2:24
the 70s and ' 80s slashers at the time
2:28
and I saw of course the you know the
2:31
poster for Dress to Kill and I was
2:33
looking for it and I was
2:35
like you know it didn't quite scratch my
2:37
itch for you know a true slasher but of
2:41
course I've grown to love it over the
2:42
years but um Carrie was it definitely
2:47
cre creeped me out as a I probably saw
2:49
it pretty young and to be honest with
2:51
you Craig it was probably the
2:54
innate femininity of it that kind of was
2:59
alien to me that was that made it seem a
3:02
little I you know not that's scary kind
3:05
of scary you know and things like that
3:07
that yeah I not to not to slow you down
3:10
because you're saying some great stuff
3:11
here but I got to tell you when I
3:14
started this podcast I hadn't seen or
3:17
watched Carrie in a really really long
3:19
time and I wasn't really interested in
3:22
watching it probably for similar reasons
3:24
i just remember not you know not feeling
3:27
entirely comfortable with the movie and
3:30
it's since become one of my favorite
3:32
films and I've watched it a bunch of
3:34
times in the last couple months just
3:36
because we did an episode episode three
3:38
on it yeah but yeah one thing I will say
3:42
about Dress to Kill is you know one
3:45
thing that that The Palm is always good
3:47
at is like putting things on its sort of
3:50
uh you know turning it on its head you
3:52
know and I think like filmmakers like
3:54
Tarantino sort of have this thing where
3:56
like he made his slasher film and Death
3:58
Proof and like you watch it and you're
4:00
like well it's not a it's not a slasher
4:02
film per se but he used that template
4:06
and Deama's very much the same way and
4:08
and I think I believe I said it on the
4:10
carry episode like DeAma to me seemed
4:14
like and this is no slight against Deama
4:16
or uh or Hitchcock but it always seemed
4:19
to me like the Palama was like Hitchcock
4:21
if Hitchcock was able to do everything
4:23
he wanted to do exactly exactly i mean
4:26
yeah i I don't think it's fair to the
4:30
the people that say "Oh De Palma is just
4:34
a ri you know a a Hitchcock biter his
4:37
whole career." No because he he does
4:41
play in the same sandbox but he but he
4:44
does things he goes a little bit farther
4:46
in certain ways and a little weirder in
4:49
certain ways you know and and uh
4:51
everything so yeah and I mean I love I
4:53
love Hitchcock but I can say uh with
4:56
extreme confidence that Hitchcock could
4:59
not have made Carito's way right right
5:01
absolutely and that's another thing that
5:04
really draws me to DeAnma as a filmmaker
5:07
and it's one of the things I'm really
5:09
trying to present with this podcast is
5:12
Deama the dude is able to
5:15
do multiple genres and do them very well
5:18
which you know certain filmmakers
5:21
Spielberg for example because that's a
5:22
lot of that's a filmmaker a lot of
5:24
people will reference and I love
5:25
Spielberg as well but what was
5:27
Spielberg's big attempt at comedy 1941
5:31
and we all know how that went right
5:35
whereas Dama you know he he made a
5:37
handful of legitimate you know funny you
5:40
know successful from a filmm standpoint
5:43
comedies right and then you know again
5:46
it's just the the diversity of Deama's
5:50
filmography and the other thing and it
5:52
it might have just been coincidence or
5:55
just wonderful happen stance but Deama
5:58
never got pigeonholed like you make
6:01
Scarface and then all of a sudden you're
6:03
the Scarface guy and all you're doing is
6:05
making gangster films or Carrie you know
6:08
like how many Stephen King adaptations
6:11
can you do right and that's really the
6:14
remarkable thing about it so you kind of
6:17
said that Untouchables really was you
6:20
know the thing that got your attention
6:21
with the PAMA and I believe you're a
6:25
couple years older than me so you were
6:27
in the workforce when that came out
6:28
right absolutely um I'll be 55 this
6:31
summer so in June of
6:35
87 I was finishing my uh junior year of
6:41
high school yes and I
6:43
was from 1985 to 1989 i was a
6:48
projectionist
6:50
um usher at an AMC movie theater in
6:54
Virginia so this was right in the middle
6:57
of my years at the movie theater i got
7:01
to say that's probably the best four
7:03
years that you could have worked at a
7:05
movie theater
7:08
you know I'm glad to hear you say that
7:09
because I always felt that way you know
7:12
and it's it's a in those films that well
7:15
the particularly the films that were
7:18
went through our theater from those
7:20
years if I sat down with a piece of
7:23
paper I could pretty much within you
7:27
know over 75% accuracy just recite all
7:31
of the films that were released and
7:34
especially like any of the ones that I
7:35
actually built the prints It's like once
7:37
you do that and have a hands-on part
7:40
you'll never forget those those movies
7:43
and and Untouchables was right in the
7:46
center of that and I can tell you from
7:48
my experience a big crowd-pleaser i mean
7:54
multiple theaters in the We had a
7:57
multiplex and that was showing in two
8:01
theaters lot of sellouts stayed for like
8:04
most of the summer
8:06
you know things that you don't really
8:08
see in the theaters these days you know
8:10
no and it's also really unique in the
8:13
sense that I would say it's
8:16
probably not until Mission Impossible
8:20
did De Palama really do something that
8:22
was as crowd-pleasing and I would say
8:25
Untouchables is even more so because
8:29
with Mission Impossible you were
8:30
adapting a you know sort of rebooting or
8:33
reintroducing a TV show concept and for
8:37
as much as that sort of series has
8:39
turned into what it's turned into that
8:41
first movie is a tight little spy film
8:44
oh yeah yeah with some set pieces
8:46
whereas I think
8:48
here everything about the Untouchables
8:50
is epic right the cinematography the
8:54
score the performances amazing yes yeah
8:57
so I I could totally see that playing
8:59
well with audiences so was your first
9:01
time seeing this movie like building the
9:03
if if I remember correctly Dan knowing
9:05
some people that have worked in theaters
9:07
you would put the print together and you
9:08
would wa would you watch it the night
9:09
before yes but it would there was it was
9:12
myself and probably three other
9:15
uh projectionists who were trained to
9:18
build print so I don't think that I
9:20
built that particular one but I showed
9:22
up every Thursday night for the uh for
9:24
the crew watch for sure
9:27
and you know we'd sneak a few beverages
9:29
into because it was just us you know
9:32
after hours and I knew nothing about
9:34
this film going into it i didn't even
9:36
know it was a I mean if you told me the
9:39
name Brian Dealma I would have
9:40
recognized it but I did not associate oh
9:43
a new DeAlma film coming out you know it
9:46
was just we're going to watch
9:46
Untouchables all right you know I know
9:49
who Kevin Cosner is you know it was pre
9:51
pre-dances with Wolves but post
9:53
Silverado and you know um and everything
9:56
so yeah you had to be pretty tuned in to
9:59
know Cosner he was by no means uh I
10:03
guess was No Way Out was No Way Out
10:04
already out by then maybe
10:07
i'm I'm not sure because I remember when
10:10
I when when I was looking up this movie
10:13
when we first talked about it I know
10:16
that the Palama had to get advice from
10:18
other filmmakers that had worked with
10:20
Cosner before and they were like "Yeah
10:22
you know this guy's got a rocket on his
10:24
back you know you should get on you know
10:26
before he gets too far into the
10:27
stratosphere right?"
10:29
And you think back of the especially of
10:32
those years of the well he's in a
10:34
resurgence now the first wave of Cosner
10:37
success when he you know the whole thing
10:40
with him showing up in the Madonna movie
10:42
what a what a nerd you know oh yeah
10:44
doesn't he say need or something yeah
10:47
neato or something and uh how perfect
10:50
for Elliot Ness you
10:52
know a straight a straight arrow boy
10:55
scout you know yeah so I do know that
10:59
there's a a really really cool uh story
11:02
around working at your theater there but
11:04
I do want to get into the scene before
11:06
we we get into that that story i would
11:08
like really want to hear but we're going
11:10
to be talking about the sort of the the
11:12
the Canada sequence for lack of a better
11:14
word mhm as we know this movie is more
11:18
fiction than truth and this entire
11:20
sequence is fiction but it's damn good
11:23
film making and uh effective film making
11:25
and epic film making and I would say I
11:29
didn't count the amount of guns on
11:31
screen and Scarface has a lot of guns in
11:33
it but I think in terms of scope this
11:36
might be the grandest action scene Dama
11:38
ever did it's amazing it's it's great
11:41
and and just I have to comment like one
11:44
of the
11:44
things thank god that Palma always
11:49
has putting a good show up on the screen
11:52
in his in his mind like you know his one
11:54
of his first that was in the the
11:56
documentary his documentary where he
11:58
talked about well the way in the book
12:01
Carrie she just clutches her Yep chest
12:03
and falls that's exciting yes yeah uhhuh
12:08
yeah yeah so he knows yeah especially
12:09
with all the religious overtones in
12:11
Carrie it's like how can you not go for
12:14
that imagery exactly so to set up the
12:17
scene a little bit Ness and his team get
12:20
wind of a deal that's going to be going
12:22
down capone's team's going to be
12:24
purchasing alcohol on the Canada side
12:27
and transporting it into the United
12:29
States so it's a cooperative effort
12:32
between the Canadian Mounties and Ness
12:35
and his team where they're going to bust
12:37
them uh I guess as soon as they get on
12:39
the American side right right and the
12:41
and the can the Canadians are not going
12:43
to act until they're you know signal to
12:47
and everything yeah yeah so there is one
12:50
pre sort of action moment I wanted to
12:53
talk about and I think it's a great
12:55
Elliot Nest character moment and it's
12:58
when the Mounty says um what knowledge
13:01
or information is half the battle that
13:02
old G.I joe saying and uh Ness says
13:05
something to the effect of "Well forget
13:08
half the battle what about the whole
13:09
battle?" Right and I think that's a
13:13
really really good character moment
13:15
because it really sort of defines like
13:17
with Ness it's all about that end result
13:21
exactly yeah and the Connory character
13:24
you know helping him grapple with
13:28
you know what does he say you know how
13:30
far are you willing willing to go for
13:32
this you know end result you know does
13:35
the means just you know justify the ends
13:39
yeah yeah does the ends justify the
13:41
means i have that reversed but but Yes
13:44
yeah yeah so uh for whatever reason the
13:48
Canadians jumped the gun uh and uh they
13:52
I think they're sort of played a little
13:53
bit for laughs
13:55
oh the the bounties definitely came off
13:57
as the like sort of keystone cops of
14:00
this of this movie but then we get a a
14:03
whole sequence where Capone's team
14:06
realizes there's an ambush in place they
14:09
position their cars on the bridge to
14:11
create a barrier and then Ness and his
14:14
team are very focused on making sure
14:16
that nobody escapes garcia gets
14:19
dispatched garcia is one of the coolest
14:20
characters in this whole movie i can't
14:22
wait to do a real a scene where he's
14:24
really featured but it's really not his
14:27
sequence cuz he's tasked with taking out
14:29
a a car and he gets shot and this is
14:32
where we get to see the Oscar Wallace
14:34
character played by Charles Martin Smith
14:36
as sort of his hero moment which is so
14:39
cool cuz he's this nerdy nerdy
14:41
accountant first of all I I've always
14:45
huge American Graffiti fan always love
14:49
Charles Martin Mury Starman i mean I I
14:52
love that Depalma cast him and I love
14:54
that he got this big moment
14:58
oh and Buddy Holly story too yeah yeah
15:00
yeah so uh it's great to see that um
15:03
sort of non uh you know action guy have
15:06
his action moment where he sees one of
15:08
his comrades shot and then once he knows
15:13
that he's okay he reacts and he get sort
15:15
of gets caught up in the moment and
15:16
there's some great gunplay and then even
15:18
some physical action where he uses the
15:21
butt of the gun to take somebody out
15:23
one other thing I noticed about this and
15:26
one thing you can say about sort of
15:27
technology today and we're both old
15:29
enough to remember when you watched
15:31
movies on 27in TVs on VCRs but one thing
15:35
I did notice uh with this 4K
15:37
presentation of the movie is everybody's
15:40
riding their horses even Connory and
15:43
those little details matter and I have
15:46
no idea you know at what at what point
15:48
Deama got involved in saying
15:51
"Okay here's how much of the horse
15:53
you're going to ride Sean and then the
15:55
stunt guy will take over." But it's
15:57
clear that the four of them are riding
15:59
together and I I think the way they
16:02
approached the bridge um the composition
16:05
of that shot is great but the other
16:07
thing I really like and I've talked
16:09
about this and I'll repeat myself a lot
16:10
on this show is the geography of dama
16:14
action sequences oh yes you're never at
16:16
a loss for where things are occurring
16:19
and it shows how important just giving a
16:23
in planning is as opposed to trying
16:25
to figure something out in the editing
16:27
room exactly you I mean even with that
16:31
wide expanse Montana standing in for
16:34
Canada border by the way yeah which is
16:36
beautiful beautiful but you still in
16:38
your mind okay the shack where they were
16:40
waiting is right down there you know you
16:42
you can you can you can still remember
16:44
where it is in terms of where they're at
16:47
you know in the in this big setting and
16:49
everything like that yeah and and that's
16:51
the great thing about DAMA action scenes
16:53
is you're never lost and apparently
16:57
that's harder to do than than we know
17:00
because not many people do it you know i
17:02
mean a lot of times you'll just get
17:04
these close cuts and quick action and
17:06
you have no idea what the geography is
17:10
is there any particular moment in this
17:12
sort of bridge scene that you wanted to
17:13
to highlight well just to go back to and
17:16
I remember this because I when it was
17:19
playing and I didn't have any other
17:23
pressing things i would it was one of
17:25
the many films I would just stand in the
17:26
back of the of the theater to watch the
17:29
audience reactions during I mean it was
17:31
big cheers big cheers it's kind of
17:34
ironic because this is a big I mean
17:38
there's some there's some deaths and
17:39
some shooting going on but it was a it
17:41
was a big crowd-pleasing part you know
17:43
and one of the biggest
17:45
was after his hero moment Charles Martin
17:48
Murphy when he ducks down and takes
17:51
himself a swig of whiskey that was
17:53
always a big a big crowd-pleaser for
17:55
sure yeah no and and that gets back to
17:57
the sense of humor that that Deama has
17:59
right and of course that's a moment that
18:01
was written by David Mamemoth uh
18:03
actually I don't know i have no idea it
18:04
could have been an improv right right it
18:06
wouldn't put it I I wouldn't be
18:08
surprised if Mamemoth had scripted that
18:10
based on you know what I know about him
18:11
as a writer but I think the other thing
18:13
that really helps this scene is the um
18:16
Maronei score oh amazing yes i mean this
18:20
is one of those scenes and I know if you
18:22
go on on YouTube you can find like epic
18:25
movie scenes without the score and it
18:27
really shows you how important every
18:30
element is you know the visuals are
18:31
important but at the same time the sound
18:33
design and the score are equally as
18:35
important and this is a very Hollywood
18:37
score it might be the Palama's most
18:39
Hollywood score it's great and you know
18:42
they're on horseback it would not sound
18:45
out of place on an epic western or or
18:48
something like that you know yeah so I
18:51
don't know if we talked about this
18:52
offline or not but part of this sequence
18:55
we have the bridge sequence and then did
18:57
do you want to pivot and talk about the
19:00
the shacks portion of this scene well
19:03
that's what I a little bit because of
19:06
the audience reaction and that was one
19:07
of the things I was going to talk about
19:09
is that um
19:12
so some of the some of some of the
19:15
tactics that were employed um by uh by
19:20
Jimmy by by the the the hardened Chicago
19:23
cop
19:25
um even though it's gristly in a way
19:28
that was it was the laughs were huge for
19:31
that one they were not they were not
19:32
shocked by that the audiences at all
19:34
they thought it was great yeah well well
19:37
I think it's funny too because Ness is
19:39
forced to kill somebody pretty much that
19:42
uh he doesn't speak English uh no and I
19:46
don't know whether or not that's part of
19:47
the confusion or if that guy was just he
19:51
was guns blazing until he dropped am I
19:53
correct that that ended was that
19:55
supposed to be one of Capone's either
19:58
brothers or close relatives that
20:00
character oh you know I I believe you're
20:02
right yeah he might have been yeah uhhuh
20:04
right right yeah so we have a dead body
20:07
right and and it's dead well yeah and
20:10
this is like sort of akin to like you
20:12
know like what's that rule like when you
20:13
show a gun you know by the third time
20:16
you the gun's got to be used i think the
20:19
great thing about this sequence is
20:20
they're inter they're interrogating
20:22
Capone's bookkeeper right to get
20:24
information and he's not going to give
20:25
it up because he knows what kind of
20:28
person Capone is and as Jimmy is Yeah as
20:32
Juny's doing what he does I think as
20:35
viewers we jump ahead and realize what's
20:38
about to happen that he's going to use
20:40
his dead body as a prop to show this
20:42
bookkeeper that they mean business and
20:45
he's going to kill somebody in cold
20:46
blood that's already dead that's right
20:48
because the bookkeeper can't turn around
20:50
and see see what's going on be you know
20:53
what the previous thing was yeah yeah he
20:55
just hears a discussion and then he
20:57
hears a gunshot and then of course he
20:58
gives it all up
21:00
just a a a remarkable sequence in a
21:03
movie that's full of remarkable
21:05
sequences it's funny I have at least one
21:08
more recording scheduled around the
21:10
Untouchables and we're not at a loss for
21:14
scenes to talk about i know you had a
21:15
couple of scenes you suggested but I
21:18
wouldn't be surprised Dan if this ends
21:20
up being the movie that I covered the
21:24
most amount of scenes from we'll see
21:26
we'll see so you were working at the
21:29
theater in ' 87 and you said um offline
21:32
that the theater was in proximity to uh
21:35
an arena yeah so my theater was called
21:38
the AMC Coliseum 4 which was in Hampton
21:42
Virginia u in the
21:44
Tidewater um Newport News Virginia Beach
21:47
Norfolk area it's all sort of one
21:49
megalopouloolis uh connected by bridges
21:52
and waterways and and plenty of military
21:55
bases etc and the coliseum is a pretty
21:58
famous venue i I know I have grateful
22:02
Yeah i have quite a few dead bootlegs
22:04
exactly exactly and speaking that was a
22:07
sweet span of years for the dead also
22:11
that I mean not to get into it but that
22:13
spring 89
22:15
um warlocks 89 into 90 I mean right up
22:19
till until Brent died i mean right man
22:22
they were they were cooking there's some
22:23
great great Yep i was those and the and
22:27
the Washington DC RFK ones as well oh
22:30
wow is that the one that's on um uh that
22:34
big DVD set they put out i think so yeah
22:37
like recently i have been listening to
22:39
it re recently so Oh my goodness that's
22:41
offline i'm going to have to talk to you
22:43
about the dead because I got on the bus
22:45
way too late absolutely i I will be glad
22:49
to so So you're near Hampton Coliseum so
22:52
you had several encounters with
22:55
Absolutely fans that were coming through
22:56
town to and on their off day they would
22:58
watch a movie exactly so my theater was
23:01
actually adjacent connected to the
23:04
Sheridan where if they were staying
23:07
overnight almost all of the artists
23:09
would stay there and not surprisingly
23:12
they're bored on tour and if they have
23:14
an opportunity to catch a a film many of
23:18
them did so and when we talking we're
23:21
talking about the u the
23:24
untouchables the one of the days that it
23:28
was a matinea obviously because they had
23:30
a show uh but the band the Hooters um
23:33
were there and when I say they were
23:36
watching the film Craig they were the
23:39
only ones left just watching the credits
23:41
after everyone else had fall filed out
23:43
and they were um they it had been out a
23:46
couple of weeks and they hadn't had a
23:48
chance to see it yet and they were just
23:50
over the moon as I found out later
23:52
because they're a Philly band i live
23:53
near Philly now yeah
23:55
um they are very astute in film and all
24:01
sorts all sorts of music and and the
24:03
arts and they were big to Palma fans cuz
24:05
they're all because he shares their
24:08
Philadelphia roots and you know they
24:10
were they even talked that that day we
24:12
sat in after the film and chatted for
24:15
probably 15 minutes and and they were
24:17
talking on and on about Blowout which I
24:19
don't know if I had seen Blowout at that
24:21
time yeah uh but they were big fans of
24:24
that and they they just loved this they
24:26
thought the score was over the was
24:28
incredible and interesting because their
24:31
name comes from what is it the melodica
24:34
or whatever they called it a hooter of
24:37
but which I think Moricone kind of uses
24:40
that in in some of the parts of the
24:42
score you know oh wow yeah um but they
24:46
were great um
24:48
uh got us some they were on tour with
24:50
Brian Adams at the time got us some
24:52
tickets for for the show and that was I
24:54
always associate the Untouchables with
24:57
with that with them and and talking to
25:00
them about that no that that's a such a
25:03
that's such a cool me memory to have
25:05
associated with that movie i think the
25:07
only time I ever watched a movie with a
25:09
famous person was
25:11
um Crocodile Dundy 2 me and my brother
25:14
were the only ones in the theater with
25:17
Jean Shallot um I don't know if you if
25:19
you remember Jean Shout or not um and
25:22
I'm gonna have to ask my brother when
25:24
we're done recording because he
25:26
ackned uh and God I I I I wish I
25:30
remembered my brother's got a much
25:31
better memory than me but yeah did he
25:33
did he wrinkle his gigantic mustache at
25:35
you
25:36
but your story is much better um I can't
25:39
imagine how cool it is seeing it was um
25:41
it was just the two main singer
25:44
songwriters the um Eric Bazilian and Rob
25:47
Heman and this it's like we're I'm
25:50
jealous you got such a cool job it's
25:52
like um come on
25:54
guys thank you but um but this like if I
25:58
could just hang out and watch movies all
26:00
day I would love that is what they said
26:02
but yeah well yeah especially I mean if
26:05
you think about it you know I mean V you
26:07
know V VHS was big back then but um it
26:11
was still costly and I'd imagine you
26:13
know bringing you know you could only
26:14
bring a certain amount of movies on a
26:15
bus with you whereas nowadays you have
26:18
access to anything you want to watch so
26:21
6 months for the release and Yeah yeah
26:23
yeah super super cool discussion here is
26:27
there anything you want to sort of talk
26:28
about this sequence overall before we
26:31
wrap things up i pretty much the main
26:33
thing um Craig that I would remember is
26:35
what a crowdleasing sequence this was
26:40
and it's kind of interesting because it
26:43
it feels like a triumphant ending but
26:45
then the film takes pretty dark turns
26:48
right after that you know and everything
26:50
and I will say this
26:52
because we me and the all of the crew
26:55
loved loved that that movie and because
26:59
it was just so the dialogue was so great
27:02
as happens whenever you're in a
27:04
workplace
27:06
you start using the lines in the
27:08
workplace back and forth uh to each
27:10
other so of and of course we had a Jimmy
27:13
on on the crew you know yeah and and it
27:17
was his break time take a break Jimmy
27:21
get out of town yeah so I I do hope that
27:24
this is not not the last time that we
27:26
podcast together absolutely um I hope we
27:29
can come on and talk about more DAPA um
27:31
in the future and I know that you're not
27:34
currently podcasting but you did have a
27:35
podcast do you want to tell people a
27:37
little bit about that it's on indefinite
27:39
hiatus if myself and and hopefully my
27:42
partner free up some schedule to come
27:45
back it's called Artifact we're here in
27:47
Delaware it's primarily about music but
27:52
we go bleed over
27:54
into music centric films and um I had
27:58
just funny enough last week reposted a
28:02
uh an episode we did about the film uh
28:05
Over the Edge from 1979
28:08
uh where we had interviewed uh the
28:10
screenwriter Charlie Hos um who had
28:13
worked um with Joe Joe Dante and and and
28:17
um with uh Tim Hunter a couple of times
28:20
so if you could Craig post the I'll I'll
28:22
provide the link to that and please
28:24
check it out and we're hoping to come
28:25
back with new content in the future yes
28:28
yeah i mean that's awesome like I said
28:30
I'll include all relevant links but I
28:32
mean you talked to some pretty heavy
28:34
hitters we try we tried i mean I might I
28:38
can't take the credit my my uh my
28:40
partner um Matt has been in the music
28:42
business as a venue owner and a musician
28:45
for many years from Virginia also and
28:48
and he had a lot of contacts and and we
28:50
were we were really really lucky it was
28:52
a great time doing this we're just so
28:54
busy yeah no that that's the one thing
28:57
about life man it it gets in the way and
28:59
uh you know we all sort of just you know
29:01
we all podcast for different reasons but
29:03
at the end of the day it's all about
29:04
having fun uh but you know sadly we have
29:07
to take care of business too dan this
29:10
was such a fun discussion i um and again
29:12
you have an open invitation to come back
29:14
and talk to PMA anytime you want i would
29:17
love to it's been a lot of fun for me as
29:19
well Craig thank you for the time all
29:21
right excellent we'll talk soon take
29:23
care
29:25
hi
29:27
you're great you were great thanks for
29:29
having us that was really generous we
29:32
Thanks for coming we thought it was neat
29:34
neat really neat yeah no one's ever
29:36
described it quite that way hi okay a
29:39
fun ride