EP. 374 — Oscar LIVE!

[00:00:00] Paul Scheer: The secret of comedy? Yelling with lots of accents. Kapeesh? We saw Oscar, so you know what that means.

[00:00:14] Music: [Intro Song]

[00:01:00] Paul Scheer: Hello people of Earth! And hello people of Toronto! We are back in Toronto with a classic Canadian film. The movie is called Oscar. It came out in 1991. IMDB describes this film as such: “A gangster attempts to keep the promise he made to his dying father that he would give up his life of crime and go straight.” Yeah, that sums it up. This is a movie based on a French farce. That’s true.

[00:01:51] Which was based on a play and wow. Budget was 35 million. First weekend it came out, made five. Worldwide gross, $23 million. Tagline of the movie” “In crime and comedy, timing is everything.” Also the lesser used. “It’s a comedy of criminal proportions.” We’re gonna break this down. This movie that feels longer than The Brutalist.

[00:02:35] A movie in which June said I have to take a nap in the middle of, and I agree. You do have to take a nap. This is a, this is definitely a two napper. So much goes on here. So many characters. And so much yelling. We’re gonna break it all down. But first, please welcome my co-host, Mr. Jason Mantzoukas!

[00:03:09] Jason Mantzoukas: What’s up, Jerks!? Let’s go. Let’s go, Massey Hall. You’re telling me I’m on the same stage that Joni Mitchell stood on. Let’s go! But a quick reminder. Go fuck yourself, Canada.

[00:03:34] Paul Scheer: Jason. Wow. This audience has never.

[00:03:42] Jason Mantzoukas: I’ll take it. I’ll take it. I’ll get you back. Don’t worry, Canada.

[00:03:48] Paul Scheer: Jason, I was shocked to learn at the end of this film that it was directed by John Landis.

[00:03:53] Jason Mantzoukas: Oh, I saw that at the beginning.

[00:03:55] Paul Scheer: Wow.

[00:03:55] Jason Mantzoukas: During the claymation song opening. Some of, some of the best acting in the movie is done by the Claymation character. Full stop.

[00:04:10] Paul Scheer: I wanna break down that Claymation scene because you spend so much money, but why keep it so small in the corner of the.

[00:04:18] Jason Mantzoukas: Crazy

[00:04:18] Paul Scheer: Why?

[00:04:19] Jason Mantzoukas: Everything about, I don’t understand anything in the decision making process that went into this movie. Also, dot dot dot where was Oscar?

[00:04:30] Paul Scheer: Where was Oscar? This is like waiting for Gedaux but dumber.

[00:04:35] Jason Mantzoukas: Yes. I it, I was. Flummoxed by the I thought for sure he was gonna show up in the third act.

[00:04:42] Paul Scheer: Nope.

[00:04:43] Jason Mantzoukas: Nope.

[00:04:43] Paul Scheer: And when is his name first uttered? About an hour into it.

[00:04:48] Jason Mantzoukas: So much so that when they said it, I was like, wait, one of these people is an Oscar?

[00:04:52] Paul Scheer: I thought for the entire time it, it was his name was Oscar Provolone.

[00:04:56] Jason Mantzoukas: Yeah, oh boy. Snaps. Oh boy. The names in the, oh boy. Oh, let’s get into it because this is, this fucking movie sucked.

[00:05:11] Paul Scheer: Now.

[00:05:11] Jason Mantzoukas: And we chose it just for you, idiots. This is what we think you like.

[00:05:20] Paul Scheer: A lot of you know that throughout our, how did this get made tour, we have not been joined by our regular co-host June Diane Raphael but tonight she is here. Please welcome June Diane Raphael!

[00:05:58] Jason Mantzoukas: June. June has died.

[00:06:01] Paul Scheer: Welcome, June. How are you?

[00:06:03] June Diane Raphael: I’m okay. How are you Paul?

[00:06:04] Paul Scheer: I’m well. Thank you for asking. The movie, Oscar, were you in the theater seeing this in 1991?

[00:06:11] June Diane Raphael: I have such a vague memory of seeing the VHS movie arrive with the blockbuster. In the blockbuster, you know, um, glass? Plastic.

[00:06:22] Jason Mantzoukas: Wait.

[00:06:23] Paul Scheer: Sure.

[00:06:23] Jason Mantzoukas: The glass, where, where did you live?

[00:06:26] June Diane Raphael: So it was sort of a luxury. A luxury blockbuster by me. Um, but I don’t think I saw it when it arrived. And I actually, while we were, while I was looking at this poster, I, I remember thinking that he was, that it was a Victor Victoria type of movie because he looks like he has so much blush on here and there’s something so striking about him.

[00:06:50] Jason Mantzoukas: He has so much blush on in the scene where his father keeps slapping him and that I thought they were making it look like his face was red from the the slaps.

[00:06:59] Paul Scheer: Yeah.

[00:06:59] Jason Mantzoukas: Not the case. He has it on throughout.

[00:07:01] June Diane Raphael: Yes.

[00:07:02] Paul Scheer: Now I will say. There was something about this movie that was really upsetting because it looks like they’re all going to a costume party that’s gangster themed. Like the costumes here seem comical.

[00:07:16] Jason Mantzoukas: Yeah.

[00:07:16] June Diane Raphael: Yeah.

[00:07:16] Paul Scheer: To the point where it’s like, I don’t understand. I guess what I should say is, is this a comedy?

[00:07:22] Jason Mantzoukas: Yes.

[00:07:22] Paul Scheer: I think some people knew it was, some people didn’t know it was, but I, it.

[00:07:28] Jason Mantzoukas: I think everybody but Sylvester Stallone knew it was a comedy.

[00:07:32] Paul Scheer: Okay.

[00:07:33] Jason Mantzoukas: That’s, they were all like, oh, we’re in a classic farce. Okay, cool. And he was like, I’m making The Godfather.

[00:07:40] June Diane Raphael: It’s so hard. ’cause I, I really believe that had, everyone just watched Marissa Tomei’s performance first and then just said, okay, let’s model the tone and tenor and like, let’s. Let’s kind of calibrate our own performance around this. We would have a very different movie.

[00:07:59] Jason Mantzoukas: Well, she’s in the overtly comedic movie. She’s moving at the right pace. For a movie like this to work, it has to be fast, and everybody else is slow.

[00:08:08] June Diane Raphael: Well, that’s gonna be hard. And that’s gonna be hard with Sly.

[00:08:11] Paul Scheer: That’s Yes, Sly is not a fast actor. Yeah. He, in a way, I was like, I kept on going, is he the straight man or is he funny? And he is neither because he doesn’t like he, he seems like he’s playing it cool.

[00:08:26] June Diane Raphael: Yeah.

[00:08:27] Paul Scheer: So he’s never really fully flustered, but there is a lot of yelling by him.

[00:08:32] June Diane Raphael: No, I will say, by the way, I liked this movie quite a bit, but I will say, sorry.

[00:08:38] Paul Scheer: Love that.

[00:08:39] June Diane Raphael: Sorry. I enjoyed it. Sorry.

[00:08:42] Paul Scheer: 12% on the tomato meter, June.

[00:08:43] June Diane Raphael: Yeah. I did have to take a nap. But put that aside. That doesn’t mean.

[00:08:48] Jason Mantzoukas: Because from enjoying it too much?

[00:08:50] June Diane Raphael: Yeah.

[00:08:50] Jason Mantzoukas: I mean, it’s so much fun. I gotta go down for a second.

[00:08:53] Paul Scheer: Overstimulated.

[00:08:54] June Diane Raphael: Take a break doesn’t mean I didn’t like it. But, um, I love a movie and a play. This felt like a play. This felt like this was an Oscar Wild play where a stranger or someone shows up in the beginning and an entire story unfolds and everyone gets woven in and it’s even crazier than we thought it was gonna be. And we threw the lens of Anthony or whatever. We start to realize,

[00:09:20] Paul Scheer: Angela.

[00:09:20] June Diane Raphael: This big giant. Angelo?

[00:09:24] Jason Mantzoukas: Wait, who are we talking about?

[00:09:25] Paul Scheer: Who are you talking about?

[00:09:26] June Diane Raphael: I’m talking about the accountant.

[00:09:27] Paul Scheer: Oh, Anthony.

[00:09:28] June Diane Raphael: Starring Ben Affleck.

[00:09:31] Jason Mantzoukas: That’s Anthony.

[00:09:32] Paul Scheer: That that is, yeah. Yeah.

[00:09:33] June Diane Raphael: Yeah, I’m talking about Anthony like through the he, once he arrives we know that things are, well start starting to happen.

[00:09:41] Jason Mantzoukas: What just landed on me? A Canadian bug just landed on me and I’m not into it at all.

[00:09:48] June Diane Raphael: Are we under attack from Canada?

[00:09:51] Jason Mantzoukas: What is this? Wow. This is what you’re up to, huh?

[00:09:54] June Diane Raphael: Just sending bugs after us.

[00:09:57] Jason Mantzoukas: Somebody what? Let a bunch of bugs out in the theater? Cool. Canada. Cool.

[00:10:02] Paul Scheer: Well, you, you will be, June, you’ll be happy to know. It was based on a 1958 stage play.

[00:10:07] Jason Mantzoukas: Yeah.

[00:10:08] Paul Scheer: Oh, that was then turned in.

[00:10:09] Jason Mantzoukas: It feels it’s a single location. Okay. It feels like a farce, like a open doors, closed doors. Oh no. There’s a secret daughter. Oh no.

[00:10:15] June Diane Raphael: Which I love, and when done well and about 42 minutes shorter, it’s, it could have been a huge success.

[00:10:23] Jason Mantzoukas: The person that you, you shouted out Marissa Tomei as the person who’s in the right movie. The on the other person I would say is Tim Curry.

[00:10:30] June Diane Raphael: Oh, absolutely.

[00:10:31] Jason Mantzoukas: Tim Curry. Tim Curry gets it.

[00:10:36] June Diane Raphael: And he always does.

[00:10:37] Jason Mantzoukas: He always does. He’s like, oh, we’re basically doing Rocky Horror for gangsters.

[00:10:41] June Diane Raphael: Yes.

[00:10:41] Paul Scheer: I mean, I thought he was doing like a version of Clue as well, like he knows how to do it. To your point, June. Uh, this is how Marisa Tomei got My Cousin Vizi. Vinny, sorry. This is how Marisa Tomei got My Cousin, Vinny, because the director.

[00:10:54] Jason Mantzoukas: I think you pronounce vizi.

[00:10:55] Paul Scheer: Vizi. My cousin Vizzy. Uh, because, uh, the director came on set, saw her, and was like, got it. She got the part.

[00:11:02] June Diane Raphael: Wow. I was wondering if it was before or after. Wow. Cool.

[00:11:06] Jason Mantzoukas: The other movie.

[00:11:07] June Diane Raphael: That’s cool.

[00:11:08] Jason Mantzoukas: The other movie I wanna shout out because it’s a, it’s so much more of a successful version of this, is Johnny Dangerously.

[00:11:15] Paul Scheer: Oh yeah.

[00:11:16] Jason Mantzoukas: Only a couple of fans of Johnny Dangerously.

[00:11:20] Paul Scheer: Johnny Dangerously is great.

[00:11:21] Jason Mantzoukas: Those are the old people. Gen X, represent.

[00:11:25] June Diane Raphael: Here’s what was missing, aside from pace, timing, energy.

[00:11:30] Jason Mantzoukas: Honestly.

[00:11:31] Paul Scheer: Costumes.

[00:11:31] Jason Mantzoukas: That 45 minutes, that 45 minutes you’re talking about could have been accounted for if everybody just sped up a little bit.

[00:11:37] June Diane Raphael: Yes. Here, but, but I do think there was one other thing that’s missing from this and, and those are the stakes for slaps. What is Slide’s name?

[00:11:46] Paul Scheer: Snaps.

[00:11:47] June Diane Raphael: Snap. Snaps.

[00:11:48] Paul Scheer: But by the way, he could be called Slaps. ‘Cause he does threaten with a lot of slaps.

[00:11:53] Jason Mantzoukas: Snaps Provolone.

[00:11:54] June Diane Raphael: Provolone. I think all was missing and could have made this a great fun movie. What, what maybe was some different actors too in certain parts. But if he, the entire time, if we really understood that he’s struggling to stay on the straight and narrow that he is, it’s an internal conflict and he wants so badly to, to, you know, be a standup guy and not be a criminal.

[00:12:22] And that is not present.

[00:12:25] Jason Mantzoukas: Not at all.

[00:12:26] Paul Scheer: No.

[00:12:26] June Diane Raphael: We hear it is and we hear, don’t call me boss. Sorry boss. But other than that refrain, which happens probably 50 times, we don’t ever feel the comedy of him. Like trying not to.

[00:12:40] Jason Mantzoukas: Well, they don’t allow it because the timeframe the movie takes place in is one day.

[00:12:45] June Diane Raphael: Yeah. Really a morning, ’cause the bankers are arriving at noon.

[00:12:48] Jason Mantzoukas: Yes, you’re right.

[00:12:49] Paul Scheer: So this movie is a movie that takes place in real time.

[00:12:53] Jason Mantzoukas: Yeah.

[00:12:53] June Diane Raphael: Yeah.

[00:12:54] Paul Scheer: This is, I mean, because he gets up a little before nine, the bankers are arriving at 11. I think this movie is real time.

[00:13:03] June Diane Raphael: They coming.

[00:13:03] Jason Mantzoukas: Stallone thinks he’s making Andre Rube live, I think.

[00:13:10] Paul Scheer: The thing that made me like lean in, but also took me outta the movie was that Stallone, seemed to be Stallone from 1991 and everyone around him is doing, I’m from the 1930s. Ah, you, you know.

[00:13:24] Jason Mantzoukas: Yeah, you mugs shut up, you mugs.

[00:13:26] Paul Scheer: And it was really weird because he had no affect.

[00:13:30] Jason Mantzoukas: Sorry, i’m so sorry to interrupt. Are we allowed to say mugs?

[00:13:33] Paul Scheer: Here? I don’t.

[00:13:34] Jason Mantzoukas: Are we cool to say mugs, Canada?

[00:13:41] Paul Scheer: I just think that that was such an odd choice that he was not doing anything. And then the accountant also seemed to be pretty modern as well, but then everybody else around them was nothing but in like, full on, like, oh my gosh, my company has a retreat. It’s a murder mystery. We all have to play along with these actors.

[00:14:05] Jason Mantzoukas: Everybody else in the movie is a murderer, like a, a powerhouse? I mean the, the, the, the cast is

[00:14:11] Paul Scheer: Chaz Palminteri.

[00:14:12] Jason Mantzoukas: Chaz Palminteri, Peter Riegert, Don Amichi, Kurtwood Smith, Clarence Bodaker, himself. William Atherton’s in this movie, uh, Tim Curry, Marissa Tomei. I mean, it’s a, everybody is a home run hitter. And, and Stallone is like, shut up, shut up, shut up. Slow down. Everybody, slow down. Meet me. Where I am.

[00:14:39] June Diane Raphael: There’s also, one of the things I found fascinating about his work in this is there’s no increased frustration as this goes on.

[00:14:49] Paul Scheer: No.

[00:14:49] June Diane Raphael: There’s no, nothing builds toward the way he starts when he’s irritated. He woke up before 9:00 AM which also I was like, you’re planning on being a legitimate banker? Like you gotta get up earlier.

[00:15:00] Paul Scheer: Like that’s, what is he doing?

[00:15:02] Jason Mantzoukas: There’s such a thing as banker’s hours.

[00:15:03] June Diane Raphael: You gotta get up earlier. Let’s start there. But he’s irritated. He’s the same level of irritation in that moment as he is in the third act, when the bags have been switched out 12 times.

[00:15:17] Jason Mantzoukas: I mean, at some point, get a new bag.

[00:15:20] June Diane Raphael: Put a sticker on it, or tie a scarf around it.

[00:15:24] Jason Mantzoukas: Or every time you exchange bags, take a peek.

[00:15:27] Paul Scheer: Yeah.

[00:15:29] Jason Mantzoukas: How about, how about you deserve to lose it all if you refuse to just take a peek, peek that bag.

[00:15:37] June Diane Raphael: Peak it when it leaves, and peak it when it arrives.

[00:15:41] Jason Mantzoukas: Double peak. Twin. Twin peaks.

[00:15:47] Paul Scheer: Now, I will say that the line that really jumped out at me was when someone said, keep in mind it’s 1931. Like why would you ever say that to a human in 1931? Because they need to justify that Marissa Tomei is having sex out of marriage. Like now keep in mind it’s 1931. This is odd. Should have been like winking at the camera. Get it? Weird times.

[00:16:18] Jason Mantzoukas: I felt. Did anybody else feel like that first scene, uh, with Marissa Tomei and Stallone, where she is giving him the lie that she is pregnant in order to hopefully be able to marry her, her love? The never seen Oscar.

[00:16:34] June Diane Raphael: Um, wait, so Oscar, just quickly, so who was the man who showed up at the very end at the wedding?

[00:16:38] Paul Scheer: Oscar. That’s Oscar.

[00:16:41] Jason Mantzoukas: That’s Oscar.

[00:16:42] Paul Scheer: Yeah.

[00:16:42] June Diane Raphael: That’s Oscar?

[00:16:43] Jason Mantzoukas: Oh, okay. Forget it.

[00:16:45] June Diane Raphael: You were saying you didn’t see him either?

[00:16:47] Paul Scheer: No, I saw him. I was saying, but like he just shows up for a, like there’s no.

[00:16:52] Jason Mantzoukas: It’s inconsequential.

[00:16:54] Paul Scheer: Right.

[00:16:54] June Diane Raphael: Of course. But that is Oscar.

[00:16:56] Paul Scheer: Yes.

[00:16:57] Jason Mantzoukas: Yes.

[00:16:57] June Diane Raphael: Okay.

[00:16:59] Paul Scheer: But you would think that Oscar, you would think that the name Oscar would be said from the beginning, like it’s dropped in.

[00:17:05] Jason Mantzoukas: It would’ve been fine if he was referenced if it wasn’t the title of the movie.

[00:17:10] June Diane Raphael: Of course.

[00:17:10] Paul Scheer: Right.

[00:17:10] Jason Mantzoukas: That’s what’s strange. It’s fine if he’s just absent the whole time and then shows up at the end. But for it to be the title of the movie tells me this person has true significance.

[00:17:19] Paul Scheer: I originally called this movie The Banker’s Dilemma.

[00:17:23] Jason Mantzoukas: On what Planet does Stallone, knowing everything we know about Stallone, allow himself to be in a movie where the name on the movie is not his character.

[00:17:32] June Diane Raphael: Wild.

[00:17:33] Paul Scheer: I, I believe that he thought, and I’m Oscar, because he didn’t read the script, and I think that he is walking through the movie going, wait, what?

[00:17:43] Jason Mantzoukas: You’re telling me I’m not oscar? Whoa, whoa. What is this?

[00:17:47] Paul Scheer: I’m Oscar. I’m a, hey.

[00:17:50] Jason Mantzoukas: Why am I talking about Oscar? I’m Oscar.

[00:17:53] Paul Scheer: This movie.

[00:17:54] June Diane Raphael: I guess I was a little confused though when, when Marissa Tomei, who again, I was obsessed with her, her performance, but she didn’t look 18 years old.

[00:18:02] Paul Scheer: No.

[00:18:02] June Diane Raphael: Unless I, you know that, that was a little troubling. But.

[00:18:07] Paul Scheer: It’s 1931.

[00:18:08] June Diane Raphael: It is 1931 after all.

[00:18:09] Jason Mantzoukas: Yes. 18 year olds looked like 31 because their life expectancy was so short.

[00:18:14] June Diane Raphael: Of course. Of course. But when she talks to him in that first scene, this is where I was getting turned around. She does say she’s in love with Anthony though.

[00:18:25] Jason Mantzoukas: No, no. She just says she’s in love. He, it is a spoken.

[00:18:28] June Diane Raphael: Oh, so that’s a miscommunication. She thinks her, she thinks he’s talking about Oscar.

[00:18:33] Jason Mantzoukas: Yep.

[00:18:34] Paul Scheer: That’s classic farce.

[00:18:34] June Diane Raphael: That’s farce.

[00:18:35] Jason Mantzoukas: And he thinks he’s.

[00:18:36] June Diane Raphael: That’s farce.

[00:18:37] Jason Mantzoukas: Yes.

[00:18:37] Paul Scheer: And that’s farce. And that might be the t-shirt at this point.

[00:18:42] Jason Mantzoukas: Did you feel like in that scene, didn’t you feel like in that scene they had romantic chemistry? This is like the second movie.

[00:18:50] June Diane Raphael: That was crazy.

[00:18:52] Jason Mantzoukas: Stallone and his daughter have overtly romantic chemistry.

[00:18:57] Paul Scheer: There was a moment when she goes, look at me, and she opens up her nightgown.

[00:19:02] June Diane Raphael: Wild.

[00:19:02] Paul Scheer: Now he’s like, don, no, but he never takes his eyes off of her. He has his eyes on her the entire, he’s like, no, no, no, no.

[00:19:12] Jason Mantzoukas: And I feel like they were like, I feel like Landis was like, cut. Sly, you gotta not look right at her. All right. All right. Beautiful. All, let’s, let’s go again. Let’s go again.

[00:19:21] Paul Scheer: Beautiful girl.

[00:19:22] Jason Mantzoukas: She beautiful. Beautiful. No, no, no, no, no, no, no.

[00:19:26] Paul Scheer: And she’s beautiful girl. She showing me her body. I have to respect it.

[00:19:29] Jason Mantzoukas: To be fair, it’s Marissa Tomei. Like I couldn’t take my eyes off the screen. I was like, can I stare at this forever?

[00:19:39] June Diane Raphael: She’s so wonderful. But also I did have to question like, is she okay? And has she, has she legit an actor as a character? And is she, is, has she been literally locked? Is this the room? Has she been locked in this room?

[00:19:57] Paul Scheer: It feels like he’s not letting her out, but she also is a good girl because. I mean, again, I don’t know what’s going on.

[00:20:06] June Diane Raphael: How do you define a good girl?

[00:20:07] Jason Mantzoukas: Yeah, it’s you that’s just rolled her out. She is a good girl. As if that is a, is that a phrase you used?

[00:20:17] Paul Scheer: Keep in mind.

[00:20:18] Jason Mantzoukas: She’s a good girl.

[00:20:19] Paul Scheer: Keep in mind it’s 1931.

[00:20:23] Jason Mantzoukas: So she only does hand stuff.

[00:20:26] Paul Scheer: But no, but she doesn’t seem to be like, she, she’s so wide-eyed and innocent. Like she wants to do all this fun stuff. She’s not misbehaving like she is very content to be locked in that room. She wants out of the room, but she’s not like sneaking around, I guess. She’s sneaking around.

[00:20:43] Jason Mantzoukas: She’s sneaking around. She’s fucking Oscar.

[00:20:44] Paul Scheer: Hey, but Oscar seems to be in the army.

[00:20:46] Jason Mantzoukas: Yes. Oscar has left. Yeah.

[00:20:47] Paul Scheer: Oscar has left for a walk. If he’s returning from the army. Oscar has been gone for a long time.

[00:20:54] June Diane Raphael: Yeah. I, I don’t think she’s actually having sex with Oscar.

[00:20:57] Paul Scheer: She’s not.

[00:20:58] June Diane Raphael: And I don’t think that makes her a good girl or not a good girl. I just think that’s a fact.

[00:21:02] Paul Scheer: It makes a very good girl, a very good girl.

[00:21:07] Jason Mantzoukas: Oh, please don’t let that be the T-shirt.

[00:21:11] Paul Scheer: I’m a very good girl.

[00:21:15] Jason Mantzoukas: With your face.

[00:21:19] Paul Scheer: Um, no, but I get, but like, I, like, she doesn’t seem to be driving him crazy. Like if in the, in the world of like the Tony Danza movie of like, she’s outta control. Like he, she seems like she is abiding by the house rules.

[00:21:32] June Diane Raphael: Rules, yeah.

[00:21:33] Paul Scheer: Um, and that’s also equally weird. But I, I, I, where I think this movie also goes off on tangents is when Stallone wants to like add his own jokes in. I wrote one joke that he said that I was so confused by. He said, your pimples will clear up.

[00:21:53] June Diane Raphael: I wrote, yeah.

[00:21:54] Paul Scheer: After you date that guy.

[00:21:55] Jason Mantzoukas: His pimples will clear up.

[00:21:57] June Diane Raphael: No, the guy’s pimples.

[00:21:57] Jason Mantzoukas: The guy’s pimples will clear up after he spends time with her.

[00:22:01] June Diane Raphael: Yeah.

[00:22:01] Paul Scheer: What does that mean?

[00:22:02] Jason Mantzoukas: I dunno, she’s gonna fuck the pimples right off him. Like, and also, I don’t know, asking for a friend, does that work?

[00:22:10] Paul Scheer: Like, I didn’t even understand like, does he equate like oily skin or combination skin with the lack of sex? Like I.

[00:22:17] June Diane Raphael: Combination.

[00:22:18] Paul Scheer: Or was like, I don’t even know if he was.

[00:22:20] Jason Mantzoukas: Keep in mind. It’s 1931.

[00:22:21] Paul Scheer: Right.

[00:22:23] Jason Mantzoukas: Acne was different back then.

[00:22:25] Paul Scheer: But that like, to me feels like a Stalloneism. And the whole movie has these, these Stalloneisms iss, like when he is having breakfast, like this big gangster, not a gangster anymore, but banker. He’s making waffles. He’s eating waffles with peanut butter, which seemed not like a cool thing. Like not a ma like, oh, this mafia boss has waffles for breakfast.

[00:22:48] Just seem weird to me. I feel like, I feel like, but he’s like, he’s funny. Waffles are funny. He doesn’t have. Waffles are like weird pancakes. Like I feel like he was like, that was his choice. Like I feel like, I don’t know.

[00:23:02] Jason Mantzoukas: Well his, all of his, all of his joke stuff too. ‘Cause he is got bits with Chaz Palminteri and Peter Riegert, who are his kind of right hand man.

[00:23:09] And they keep pulling guns on people. And, and the whole, his whole bit is, he’s going legit. He’s gonna become a banker. He promised his dad on his dad’s deathbed that he wouldn’t be a gangster anymore. That he was gonna go straight. Right? And then they keep pulling guns out and it’s this thing where he should be like, Hey, what are you doing? Get that gun outta. Oh, and then he’s got another one. This guy’s got a gun. Ba ba boop beep. And instead if you pull out a gun for me.

[00:23:30] Paul Scheer: Yeah.

[00:23:33] Jason Mantzoukas: Whoa. What did I say? No guns. What is this gun? It’s slow. It’s so slow. There’s no rat ta ta dialogue except for the people who are doing it, who stand out because he sounds like what you’re saying, modern in his Stallone. But everybody else is doing crazy screwball comedy.

[00:23:59] Paul Scheer: Well, let’s look at, uh, scene five. Scene five is probably the best version of Stallone doing his rat. Tat tat. This is like the who’s on first routine with Chaz Palminteri.

[00:24:11] Movie Audio: Snaps. Are you sure there was cash in that bag?

[00:24:14] Yeah. Little Andy stole it.

[00:24:17] If little Andy stole it, then he’s got it.

[00:24:19] No, you block head. He stole it. Then he gave it back to me.

[00:24:21] Why did he give it back to you?

[00:24:23] To buy back the jewels.

[00:24:24] What Jewels?

[00:24:24] The jewels he stole from me.

[00:24:26] He stole jewels from you too?

[00:24:27] Yeah. So he can marry my daughter.

[00:24:28] Lisa.

[00:24:29] Not Lisa, Theresa.

[00:24:30] How come nobody’s never met this daughter Theresa?

[00:24:32] Because she’s not my daughter. Capish?

[00:24:35] Yeah. Your daughter’s not your daughter. And the cash that used to be the jewels is now underwear.

[00:24:40] Now you got.

[00:24:41] I got it. I don’t even know what I’m talking about.

[00:24:49] Jason Mantzoukas: That should be a blast to watch. You know, like in Johnny Dangerously, if that was Michael Keaton.

[00:24:56] Paul Scheer: Yeah.

[00:24:56] Jason Mantzoukas: And Chazz Palminteri. Come on, electric. Come on.

[00:24:59] Paul Scheer: But no.

[00:25:00] Jason Mantzoukas: But no.

[00:25:01] June Diane Raphael: One, one note. One note, I have.

[00:25:03] Jason Mantzoukas: Single, one single note.

[00:25:05] June Diane Raphael: I wish because, because Nora, the maid’s, um, bag is sort of, it’s turned over and all of her stuff comes out multiple times in the movie.

[00:25:16] I wish it was just a bunch of underwear.

[00:25:20] Paul Scheer: Yeah.

[00:25:21] June Diane Raphael: Instead, like really big granny panty style underwear instead, it was just like a bunch of slips and all sorts.

[00:25:28] Paul Scheer: It felt like laundry.

[00:25:29] Jason Mantzoukas: Stockings.

[00:25:30] June Diane Raphael: And stockings. Yeah.

[00:25:32] Paul Scheer: The one bank pervert though.

[00:25:33] June Diane Raphael: Oh, I love that moment.

[00:25:35] Jason Mantzoukas: Love that moment.

[00:25:36] June Diane Raphael: Love that moment.

[00:25:37] Jason Mantzoukas: There’s a bunch of jokes that work. It’s just that Slys not involved in any of ’em.

[00:25:44] Paul Scheer: Why will he be taking underwear? This is not his underwear.

[00:25:47] Jason Mantzoukas: When Stallone, the, the, the moment that I know Stallone put in this movie

[00:25:51] Paul Scheer: Yeah.

[00:25:51] Jason Mantzoukas: Is the moment where he’s so put upon, he strikes a Christ on the cross pose on the mantle of his mansion. Like, oh, I can’t catch a break. I was like, what the fuck is this guy up to? Oh, I’m like, Christ on the cross.

[00:26:13] Paul Scheer: What was going on with the lighting in his office? He seemed to have an office that had like a purple hue.

[00:26:22] June Diane Raphael: A hue, yeah.

[00:26:23] Paul Scheer: Uh, to it that just seemed. Not like any other room in the house.

[00:26:29] June Diane Raphael: When we went into that office, I was like, oh, that’s just his office, right? Like that’s just his personal office that we’re shooting in. The actors.

[00:26:39] Paul Scheer: We couldn’t get Stallone on set today we’re gonna go to his house.

[00:26:42] June Diane Raphael: We gotta go to him.

[00:26:44] Jason Mantzoukas: I didn’t know you guys were coming.

[00:26:47] Paul Scheer: We’ll do a scene. What? Who is it? I’m mad.

[00:26:53] Jason Mantzoukas: The joke. One of the jokes that I genuinely liked was the Chaz Palmenteri weapons dump.

[00:26:58] June Diane Raphael: Me too.

[00:26:58] Paul Scheer: Great.

[00:26:59] June Diane Raphael: Love that.

[00:26:59] Jason Mantzoukas: We’ve seen it in other movies too, but it works great here. When he pulls out a literal bomb that is ticking, I was like, give me this all day, every day. A shot with no humans in it. Just heightening hilarious objects.

[00:27:16] Paul Scheer: Poison. A mace. Like a bear trap, a mini gun. But there is like this whole movie, and again, I guess I understand it’s a farce. We have to get confused by it, but it seems like the movie is angry that it can’t figure out the plot. Like, like a farce supposed to be fun. Like, oh my gosh, I can’t believe that that person walked in. Yeah. This movie is like, oh, why is that person walking in on this scene? Like if it does feel like you’re trying to wrestle control in a bad way.

[00:27:47] June Diane Raphael: It’s so true because in I, I think in a perfect farce, like we should actually not lose control of the bags in the way that we were forced to lose track of the bags. Because Nora’s coming. She’s going. Now the chauffeur’s here, now he’s gone.

[00:28:04] Paul Scheer: The bags are often taken off screen.

[00:28:06] June Diane Raphael: That’s what I’m saying.

[00:28:07] Paul Scheer: We don’t eveven see it.

[00:28:08] June Diane Raphael: Uh, right. Like we don’t see when they’re removed. So it, it was so difficult to enjoy.

[00:28:16] Jason Mantzoukas: And, and also it’s difficult to enjoy because what’s fun about a farce is how out of control the lead character is.

[00:28:25] June Diane Raphael: Yeah.

[00:28:25] Jason Mantzoukas: The events of the, uh, the events of the movie are happening to them at such a clip. Each behind each door is an another person who wants to complicate his life more and more and more. Right? And what’s fun is watching that person, if it’s Kevin Klein or if it’s something just be, uh, completely underwater. It’s no fun to watch Sly underwater because he doesn’t want to be there. He’s like, I need this to stop right now. He’s, he, you’re right. He’s mad and he, he wants.

[00:28:56] June Diane Raphael: He’s big mad. He’s big mad.

[00:28:57] Jason Mantzoukas: To be in control too much.

[00:28:59] June Diane Raphael: Yeah.

[00:29:00] Jason Mantzoukas: He’s a bad boy. Not a good girl.

[00:29:04] Paul Scheer: That is true. Bad boy. Bad boy, with a good girl. Um. This like idea that he’s going straight. I’m also lost on that plot. Like, I mean, yes, I get that he’s going straight, but to buy a bank, is he buying a bank?

[00:29:20] June Diane Raphael: He’s trying to get on the board of the bank.

[00:29:23] Jason Mantzoukas: Yeah.

[00:29:23] June Diane Raphael: He just wants a seat on the board. It doesn’t.

[00:29:26] Jason Mantzoukas: He wants to be legit.

[00:29:27] Paul Scheer: He wants to be in the room where it happens.

[00:29:29] June Diane Raphael: Yeah, but what, what I think you’re getting to, which I was confused by as well. Well is, but what next? Like, so you have a seat on the board, you open up an account there with your money that I guess is dirty money. How do you plan on generating more revenue in the future? Like there doesn’t, I couldn’t get a handle on what his.

[00:29:52] Paul Scheer: Right. He didn’t seem to have, yeah.

[00:29:52] Jason Mantzoukas: It does seem like he is going straight, legit. He’s not like, oh, and, and my guys will keep the business going in the background or something. He’s not like the king or something like that. Right. But he also, the movie, actually the movie’s just not, doesn’t have enough time to get us there. Even though we in, it’s.

[00:30:09] Paul Scheer: It’s almost two hours.

[00:30:09] Jason Mantzoukas: Inexplicably. Yeah. We inexplicably cut to a scene inside the bank. One of the only out of the house scenes is in the bank boardroom where it’s like, um, uh, William Atherton and the White Shadow and a bunch of other people are there and they, and they’re talking about like, oh, do we want him to be at the bank? Do we want his dirty money? Or blah, blah blah. And I’m like, why are we part of this decision? This doesn’t help us at all.

[00:30:34] June Diane Raphael: And, and yeah. They hate poor people. And this is, it was a long scene, wasn’t it?

[00:30:40] Jason Mantzoukas: Oh yeah. To, to give us what the inner workings of the bank? So that when they show up, we’re like, oh, it’s the hateful bankers that we saw earlier.

[00:30:51] Paul Scheer: Who also are trying to screw him over. I mean, again, it’s overcomplicating a plot that’s super simple, which is the one day he’s gotta be relaxed. He’s stressed out.

[00:31:03] June Diane Raphael: Yeah.

[00:31:03] Paul Scheer: That doesn’t happen at all.

[00:31:06] Jason Mantzoukas: It, it, the threat being that, oh no, he has to settle all of his business before the bankers come is not present at all. Like, I don’t.

[00:31:14] Paul Scheer: What does he have to do?

[00:31:15] Jason Mantzoukas: The ticking clock is not.

[00:31:17] June Diane Raphael: What what should have happened is he should have. Dr. Pool and all he.

[00:31:23] Jason Mantzoukas: Incredible.

[00:31:24] June Diane Raphael: He should have been obsessed with looking legit, acting legit, having a family that looked legit, having his employees look legit so that when they arrive at 11:00 AM again, the movie, the movie actually must speed up somewhere because, no, I guess it is in real time.

[00:31:41] ‘Cause it’s just before nine. Yeah. But he should have been obsessed with appearances and making sure that he looks like a person who could have a board seat at this bank.

[00:31:52] Jason Mantzoukas: And what if there was like a newspaper person or someone who could hold him accountable?

[00:31:57] June Diane Raphael: Great.

[00:31:57] Jason Mantzoukas: Who would be around, but nobody was doing that. Everybody in the movie until the bankers arrive are part of his inner circle.

[00:32:04] Paul Scheer: But who he is nervous about having around is an accountant. Thank you, Ben Affleck. Uh, who is very nicely, everyone’s nicely dressed. It doesn’t look like a bunch of mob guys coming in the house. If he wanted that, he should have kicked all those goons out of the house earlier in the day.

[00:32:21] June Diane Raphael: But who would wake him up?

[00:32:24] Paul Scheer: Well, I guess that’s true. I mean, you know, like that. But there’s nothing wrong in the house. Like his wife is in the house, this accountant in the house, his daughter’s in the house. And then this other very well dressed daughter is in the house in another room.

[00:32:37] June Diane Raphael: I think she was, see that was her costumes will haunt me because

[00:32:42] Jason Mantzoukas: I don’t think she’s supposed to be well dressed.

[00:32:44] June Diane Raphael: I don’t, I, Paul, but I, but And you said very well dressed. Yes. So I actually think she is meant to look like a peasant person.

[00:32:55] Jason Mantzoukas: Yeah. She’s, she’s supposed to look like a, like a normal person.

[00:32:58] Paul Scheer: Got it. Okay.

[00:32:59] Jason Mantzoukas: And Marissa Tomei is, I believe, yeah. Supposed to be like.

[00:33:03] Paul Scheer: Got it.

[00:33:03] June Diane Raphael: She is essentially like a street urchin.

[00:33:06] Paul Scheer: Got it.

[00:33:06] Jason Mantzoukas: So, but she, her name’s Theresa?

[00:33:08] June Diane Raphael: Yeah.

[00:33:09] Jason Mantzoukas: Theresa is trash.

[00:33:10] Paul Scheer: Yeah. Okay.

[00:33:11] Jason Mantzoukas: Yeah.

[00:33:12] Paul Scheer: That’s the shirt. But Theresa being trash to me is interesting because Theresa meets this accountant who is very well todo and goes, oh yeah, my dad is Provolone, but the accountant works for Provolone.

[00:33:27] June Diane Raphael: That’s just a coincidence.

[00:33:29] Paul Scheer: But doesn’t ever, has never seen this man. And like he is a notorious gangster mobster in Chicago.

[00:33:39] Jason Mantzoukas: But wait, you’re saying she should know who he is?

[00:33:41] Paul Scheer: No. Oh, well, yes. Well, I won’t even get into that.

[00:33:45] Jason Mantzoukas: She says she names him because she sees him in the newspaper.

[00:33:47] Paul Scheer: Yes, but I’m talking about the accountant should. Oh, I guess.

[00:33:51] June Diane Raphael: He does know him though.

[00:33:52] Paul Scheer: He does know him. But it just seems to me that if you’re the accountant for this man who has one daughter.

[00:33:59] June Diane Raphael: You would know.

[00:33:59] Paul Scheer: You would know that that daughter is.

[00:34:01] June Diane Raphael: Unless that daughter is trapped up in a room.

[00:34:03] Paul Scheer: Okay.

[00:34:03] Jason Mantzoukas: Just Rapunzel style. Doesn’t she even say Rapunzel?

[00:34:06] June Diane Raphael: I think so.

[00:34:07] Jason Mantzoukas: Something like that.

[00:34:08] Paul Scheer: So she really is. Now, it’s a darker movie that I’m really disturbed by.

[00:34:12] June Diane Raphael: That’s what I’m saying. She seems to be trapped up there.

[00:34:15] Paul Scheer: She’s like flowers in the attic.

[00:34:16] June Diane Raphael: That’s why. That’s why when she presents.

[00:34:18] Jason Mantzoukas: Wait, flowers in the Attic, she’s not having incest with anybody.

[00:34:20] June Diane Raphael: But is she because. But is she.

[00:34:22] Jason Mantzoukas: Oh, with With Stallone?

[00:34:24] June Diane Raphael: Because the way she presents her body to him like it’s a gift.

[00:34:28] Jason Mantzoukas: Yeah.

[00:34:29] June Diane Raphael: Is very crazy. It’s very Flowers in the attic.

[00:34:33] Paul Scheer: I didn’t realize that that was what Flowers in the Attic was about.

[00:34:39] Jason Mantzoukas: What did you think it was about?

[00:34:41] Paul Scheer: I thought it was about a bunch of kids who were trapped in an attic.

[00:34:45] Jason Mantzoukas: Did you read it?

[00:34:47] Paul Scheer: No. My mom.

[00:34:48] Jason Mantzoukas: Oh, okay.

[00:34:48] Paul Scheer: My mom, my mom read it and she’s like, you gotta read this book. You gotta read this book.

[00:34:56] Jason Mantzoukas: The story started as like a, a trifle of misunderstanding and then the reveal was chilling.

[00:35:06] June Diane Raphael: I’m so glad you didn’t read it.

[00:35:09] Paul Scheer: My mom’s like, it’s a good book. You gotta read it. And I, and I was like.

[00:35:12] Jason Mantzoukas: It’s got a lot of good ideas in it.

[00:35:16] Paul Scheer: It was more awkward, now knowing that, because I didn’t have any brothers or sisters, I guess I just had to go fuck myself. But I always remember that image. Okay, so, got it. Check. The movie is about.

[00:35:31] June Diane Raphael: But I think that what you’re confused about with Theresa is her clothes were so white and crisp. Um.

[00:35:40] Jason Mantzoukas: Her bonnet, especially.

[00:35:41] June Diane Raphael: Her bonnet that she did, I, I know we were meant to see her as a street urchin, and I did, but the costumes were really confusing. I do think she should have played more urchin, like she should have been made a stronger choice.

[00:36:03] Paul Scheer: Knock, knock, knock at this rich gangsters house. She’s like, Hey, anyway, let me tell you what I did. So I told this guy that you’re my dad. What does she want from that? Like what does she even want from like, what is he gonna do?

[00:36:17] Jason Mantzoukas: He’s also has no, um, nobody is really scared of him. He is Al Capone.

[00:36:24] June Diane Raphael: Not for real.

[00:36:24] Jason Mantzoukas: He is like a, he, they refer to him numerous times as, as a murderer, as like a, a gangster. He is capable of extreme violence, but yet everybody treats him like he’s the ineffectual dad in a sitcom.

[00:36:38] June Diane Raphael: Yeah, that’s, he’s like the mayor of the block.

[00:36:44] Jason Mantzoukas: He’s block mayor.

[00:36:46] Paul Scheer: But yeah, that’s why the opening scene is funny. ’cause he is never, he never seems violent. The only thing that you can, you can kind of pull over is like at one point they’re like, I came over your house on Valentine’s Day. Wait, he did say he came over on Valentine’s Day and that’s when he met his daughter. So wait, how is that street urchin in the house on Valentine’s Day?

[00:37:08] Jason Mantzoukas: Wait, hang on.

[00:37:08] June Diane Raphael: So, Anthony,

[00:37:09] Jason Mantzoukas: Hang on.

[00:37:09] June Diane Raphael: Anthony met his daughter on Valentine’s Day?

[00:37:11] Paul Scheer: On Valentine’s day.

[00:37:13] Jason Mantzoukas: Anthony says he met.

[00:37:14] Paul Scheer: Anthony. Oh, at a speakeasy.

[00:37:16] June Diane Raphael: Speakeasy.

[00:37:16] Jason Mantzoukas: An after hours speakeasy.

[00:37:19] Paul Scheer: She, that urchin got in there?

[00:37:22] Jason Mantzoukas: Anybody can get in his speakeasy.

[00:37:25] Paul Scheer: Not the urchins. You wanna keep them out. They don’t got no money.

[00:37:31] Jason Mantzoukas: Somehow the urchin has to be the shirt. I mean, it’s got, I, I mean, this has gotta be the most we’ve said urchin ever.

[00:37:39] Paul Scheer: She’s dressed, she’s dressed like the urchin.

[00:37:40] Jason Mantzoukas: Wait, who? Who? We got an urchin?

[00:37:43] Paul Scheer: She’s over there.

[00:37:44] Jason Mantzoukas: Where? Where’s the urchin?

[00:37:47] Paul Scheer: Uh, you’re obscured by the pole, but yeah. Oh, there, you’re there.

[00:37:52] June Diane Raphael: Oh yeah, I see her. I see her.

[00:37:55] Jason Mantzoukas: Where? Where’s the urchin?

[00:37:57] Paul Scheer: Right there. Go ahead. Stand up again. Stand up. She’s right there. Stand up.

[00:37:59] Jason Mantzoukas: Urchin. Oh.

[00:38:00] June Diane Raphael: Oh, she looks great.

[00:38:01] Jason Mantzoukas: Nice. Give it up for the urchin.

[00:38:03] June Diane Raphael: She looks great.

[00:38:03] Jason Mantzoukas: Thank you. You didn’t know I had a flashlight, Canada.

[00:38:13] June Diane Raphael: I really wish. Now, maybe there was a scene. I did have to speed things up at the end because you hid my makeup bag in the room and I couldn’t find it for 15 minutes.

[00:38:24] Jason Mantzoukas: I’ll step out for a moment.

[00:38:25] Paul Scheer: I thought I was helping you out. I took your makeup bag outta your.

[00:38:28] June Diane Raphael: You unpacked my bag without my consent and then I frantically was looking for things.

[00:38:32] Jason Mantzoukas: I love that you refer to that as hiding things.

[00:38:36] Paul Scheer: Literally put it.

[00:38:37] Jason Mantzoukas: He unpacked for you while you were napping and you’re like, you hid my makeup bag. I got a frantic message from June being like, is there makeup anywhere around at the theater or any place?

[00:38:48] Paul Scheer: Literally put it in the bathroom on her side. So you would have it in there so you could get.

[00:38:52] June Diane Raphael: I didn’t look in the bathroom ’cause I hadn’t unpacked yet. So why would it, why would I even look in there? I was taking everything out.

[00:39:00] Paul Scheer: Try to be helpful.

[00:39:01] Jason Mantzoukas: I wish this movie had had bodies. I wish Stallone’s guys were killing people. There were bodies in rooms, so they had to keep moving bodies and not just bags. The it, the movie doesn’t heighten.

[00:39:14] June Diane Raphael: That’s a great idea.

[00:39:15] Jason Mantzoukas: Right, right? That’s what the, the movie. The movie needed stakes and there was no stakes for anybody. No. Like the idea that, I loved that he says that the suit makers are killers and that Anthony believes the suit makers are killers.

[00:39:29] Paul Scheer: Yeah.

[00:39:29] Jason Mantzoukas: That’s funny.

[00:39:30] June Diane Raphael: That was a funny sequence.

[00:39:32] Jason Mantzoukas: I loved it. And then they’re playing the PF four handed piano. I was like, I don’t know why, but this is working.

[00:39:37] June Diane Raphael: I loved it.

[00:39:37] Jason Mantzoukas: So much better than the rest of the movie.

[00:39:39] June Diane Raphael: Yep.

[00:39:40] Paul Scheer: Now I will say, the other part while Tim Curry was great. I have nothing bad to say about Tim Curry at all.

[00:39:48] The ex the, uh, elocution scene was flawed in my opinion because Stallone doesn’t really get it. Like when he gets it, it’s still going like that.

[00:39:59] June Diane Raphael: That was, was I totally agree. He just said it.

[00:40:03] Paul Scheer: Right.

[00:40:04] June Diane Raphael: He didn’t articulate anything.

[00:40:06] Paul Scheer: No. Right. Repeated, repeated it. Repeat the words.

[00:40:09] June Diane Raphael: Right. No, you’re so right. Cause then it made me think is that the exercise?

[00:40:15] Paul Scheer: Well that was the thing.

[00:40:16] June Diane Raphael: To just hear a phrase and repeat it.

[00:40:18] Paul Scheer: Well, that’s what I was like. He, because he should have almost had like a hoity-toity British accent or something.

[00:40:23] Jason Mantzoukas: Stallone should have.

[00:40:24] Paul Scheer: Yeah, yeah, yeah. But he just, now you said something like that.

[00:40:28] Jason Mantzoukas: Well, Tim Curry’s also doing, he’s like rolling his Rs like and ready and I’m like, is Stallone ever gonna do this? It makes me feel like, and it’s not the case, but that Tim Curry’s character is like, just stealing money from Stallone. Is like, I would believe that.

[00:40:45] June Diane Raphael: That’s funny.

[00:40:46] Jason Mantzoukas: Tim Curry was a con man. Let Tim Curry be a con man who’s conning him out of money. Pop up, but make everybody have like duplicitous motives.

[00:40:54] Paul Scheer: But that’s a scene like when you’re the director, like, we didn’t get it. Let’s cut that scene.

[00:40:58] Jason Mantzoukas: Landis?

[00:40:58] Paul Scheer: Yeah, Landis. Let’s cut that scene out because it does, like he doesn’t appear any different? He doesn’t appear any different.

[00:41:06] June Diane Raphael: No.

[00:41:06] Paul Scheer: He doesn’t approach the bankers.

[00:41:07] June Diane Raphael: He’s just able to hear the phrase

[00:41:09] Paul Scheer: And repeat it.

[00:41:10] June Diane Raphael: And repeat it back, so, which makes me want to see a sequel that’s just at that elocution school that he starts.

[00:41:19] Jason Mantzoukas: I or I wanna see like, I would like a sequel that is just Tim Curry, like out in Europe. Where is he going? Belgium.

[00:41:26] June Diane Raphael: Great.

[00:41:27] Jason Mantzoukas: Like Tim Curry’s character Doctor. Yes. Doctor. What’s his name in Brussels?

[00:41:30] June Diane Raphael: Pool.

[00:41:31] Paul Scheer: Dr. Tim.

[00:41:31] Jason Mantzoukas: Dr. Pool.

[00:41:33] Paul Scheer: Let’s go out to the audience. Let’s see what the audience has to say about this film.

[00:41:36] Jason Mantzoukas: Careful. Careful, Paul.

[00:41:40] Paul Scheer: Hi. How are you? Hi. What’s your name?

[00:41:42] Audience Member: My name’s Samaya.

[00:41:43] Paul Scheer: Okay, i’ll hold the microphone, Samaya. Alright, so Samaya, uh, what’s your question?

[00:41:48] Audience Member: My question is that, um, seeing this film and seeing the elocution scenes between Dr. Poole and Angelo, would this film work better as like a, My Fair Lady scenario and we just focus on that?

[00:42:02] June Diane Raphael: I’m so sorry. Repeat it one more time. As a what?

[00:42:04] Jason Mantzoukas: What scenario?

[00:42:05] Paul Scheer: A My Fair Lady scenario.

[00:42:06] Jason Mantzoukas: Oh, a my, yes, exactly. Yes. It could be a My Fair Lady.

[00:42:08] Paul Scheer: Wouldn’t work. It wouldn’t.

[00:42:09] June Diane Raphael: My Fair Lady.

[00:42:11] Jason Mantzoukas: Rain in Spain. Right.

[00:42:13] June Diane Raphael: Well, it, I think the movie kind of wants to be that, where he should be going through a full transformation makeover. This is a makeover movie.

[00:42:21] Paul Scheer: Yes, but the difference, but.

[00:42:24] Jason Mantzoukas: The differe is Stallone. Okay. Sorry.

[00:42:27] Paul Scheer: Oh, okay. I was gonna say the difference with this movie is that in My Fair Lady, she’s putting on the, that kind of voice and then she gets to her normal voice. Here Stallone is not losing that voice.

[00:42:39] Jason Mantzoukas: Well, Stallone, not only is he not losing that voice, I don’t think Stallone wants his character to change at all.

[00:42:45] Paul Scheer: Right.

[00:42:46] Jason Mantzoukas: I think he wants him to be the same. I don’t think, because it’s almost like the Matthew McConaughey quote, which is like, I don’t play bad guys who become good. I become, I play good guys who become great.

[00:42:57] Paul Scheer: Wow.

[00:42:58] Jason Mantzoukas: Real quote, real quote. And that’s, I feel like with Stallone, I don’t think can, can occupy a character who needs to be different because that, that tells him.

[00:43:08] June Diane Raphael: That’s vulnerable.

[00:43:09] Jason Mantzoukas: That tells him the original character is wrong.

[00:43:12] Paul Scheer: Right.

[00:43:12] Jason Mantzoukas: And I don’t think Stallone plays guys who are wrong.

[00:43:14] Paul Scheer: The new Prime minister of Canada’s here.

[00:43:16] June Diane Raphael: Oh, great.

[00:43:20] Jason Mantzoukas: Congratulations on your elect, on your recent election victory.

[00:43:23] Audience Member: It’s, it’s a Fanucci.

[00:43:24] Paul Scheer: Okay. I love it.

[00:43:25] Audience Member: It, it’s a Fanucci.

[00:43:26] Paul Scheer: A fan. Oh, it’s a Fanucci..

[00:43:29] Jason Mantzoukas: It’s a Fanucci.

[00:43:31] Paul Scheer: I love this.

[00:43:32] Jason Mantzoukas: He went, he went to Fanucci.

[00:43:35] Paul Scheer: Alright.

[00:43:35] Audience Member: Thanks boss. Thanks boss.

[00:43:37] Paul Scheer: Hey, not boss, Mr. What does he, uh, alright, so what’s your, what’s your question?

[00:43:43] Audience Member: Alright, so John Landis originally wanted to either Al Pacino or Danny DeVito to play Snaps, but I read that Sylvester Stallone considers this his second worst performance after Stop, or My Mom Will Shoot.

[00:43:57] Paul Scheer: Got it.

[00:43:57] Audience Member: Which he was tricked into signing onto by Arnold Schwartzenegger. So my question to you is, would this have been better movie, like a little bit more straight with Pacino or DeVito or if Stallone got back and tricked Schwartzenegger to be the lead full Mickey Blue eyes now?

[00:44:15] Paul Scheer: Now, first of all, great, great question. I do think that Schwarzenegger would actually deliver a better movie than this.

[00:44:25] June Diane Raphael: Oh, I think so too.

[00:44:26] Jason Mantzoukas: Schwarzenegger. Arnold is funny.

[00:44:28] Paul Scheer: Yeah.

[00:44:29] Jason Mantzoukas: Full stop. And Stallone is not, and I love, there’s so many Stallone movies I love, but none of them are funny. He doesn’t have a light touch. And ironically, Arnold, for as much bulk and heft as he is, has a genuine light touch. It can have a genuine light touch of things.

[00:44:44] Paul Scheer: Uh, and just to add a little detail to your detail, Al Pacino was in pre-production on this movie until Dick Tracy offered him $20 million, like peace and walked out. And then they had to frantically cast Stallone. So.

[00:44:58] Jason Mantzoukas: By the way, that would’ve been, I would’ve loved Pacino in this. There, there’s this, the setup for this movie is good. The, it’s not a, it’s, the concept is not flawed. The execution is flawed.

[00:45:07] Paul Scheer: And just one more detail on top of that. The original movie was announced in 1978 with Danny DeVito. This is 1990.

[00:45:14] Jason Mantzoukas: So wait, 78 with DeVito?

[00:45:16] Paul Scheer: Yes.

[00:45:16] Jason Mantzoukas: So that’s like very, that’s like Cuckoo’s Nest DeVito. I mean, that’s pre taxi. Yeah, that’s, or no, that’s just at taxi. Okay.

[00:45:23] Paul Scheer: Hi sir, how are you? What’s your name?

[00:45:25] Audience Member: Jeremy.

[00:45:26] Paul Scheer: What’s your question?

[00:45:27] Audience Member: Um, as an accounting teacher, um, I didn’t get any of it, but, um, I’m wondering little Anthony, I think his name is the accountant, he consistently steals $50,000 or 50,000 worth of jewels every like 15 minutes and he’s not really scared to tell a gangster or reform gangster at all. And then how many more times has he stolen money? He hasn’t even told them yet. He has all these scams and he’s like.

[00:45:56] Jason Mantzoukas: This is a real accountant’s question.

[00:45:59] Paul Scheer: Well, the scams didn’t seem to be stealing jewels. The scams seem to be like cooking the books a little bit.

[00:46:06] June Diane Raphael: I guess.

[00:46:06] Jason Mantzoukas: No, no. He’s got the bag of jewels.

[00:46:08] June Diane Raphael: He, yeah. I guess I, I have a question for you. Why did he convert to jewels?

[00:46:17] Paul Scheer: Yeah. Do you tell your clients to convert to jewels?

[00:46:22] Audience Member: Well, I have students. I don’t have clients.

[00:46:24] Paul Scheer: Okay, got it.

[00:46:25] Jason Mantzoukas: Should we be moving to a jewel based economy?

[00:46:28] June Diane Raphael: Yeah. I know we’re off crypto, but.

[00:46:30] Paul Scheer: Now this movie would, would posit that it’s complicated because people could grab your bag of jewels and then you’re done.

[00:46:36] Jason Mantzoukas: Now here’s the question. Oh, this actually, this is perfect for you. Right now ’cause we’re in such turmoil, right? Especially where, where, where we’re from. Like should we be moving more towards a jewel based economy or a women’s underwear based economy? I know, I know where I come down. I know where I come down, but I wanna hear an expert’s opinion. You better say underwear.

[00:47:06] Audience Member: It depends how liquid is the?

[00:47:10] Jason Mantzoukas: This guy gets it.

[00:47:16] Paul Scheer: Alright.

[00:47:17] Jason Mantzoukas: Yeah. My, my money’s soaking wet. I got 300 bucks sopping, wet bucks.

[00:47:27] June Diane Raphael: This is such a small detail, but was anyone else disturbed that that giant bag of jewels just had just one, one flat layer of jewels on the bottom? Like I didn’t know why we weren’t opening it up to like a light from within with this giant, like all of these jewels everywhere.

[00:47:49] It was like just one layer.

[00:47:51] Paul Scheer: And also how do you get that amount of like, he must have gone to a lot of different jewelry. I don’t know. It just didn’t seem like a great way to convert. I don’t know. Money is always good.

[00:48:01] Jason Mantzoukas: It’s 1931.

[00:48:03] Paul Scheer: Well, that’s true.

[00:48:04] June Diane Raphael: So you gotta remember that.

[00:48:05] Jason Mantzoukas: The banks, the banks, there’s been a run on the banks.

[00:48:08] Paul Scheer: Your name, your question.

[00:48:09] Audience Member: Uh, hi, my name is Brian. Um, so I have one question and one sort of observation. The question is, is the original stage play has a lot of similarities as far as the plot points are concerned, but a lot of differences, particularly with the characters. The main one being that there is no mob angle, and Provolone is a soap salesman.

[00:48:27] So could this movie have.

[00:48:28] Jason Mantzoukas: Is his name?

[00:48:29] Audience Member: Possibly been worse if he played it like they were in the original play, that if you were a soap salesman?

[00:48:37] Jason Mantzoukas: Huh? I mean the stakes would be a lot lower. Um.

[00:48:40] June Diane Raphael: It’s so hard ’cause I mean, he sort of was playing it as a soap salesman. Like there was no real threat to him, you know, off coming off of him. And it never felt like he was really going to hurt anyone or suppressing those instincts.

[00:48:57] Jason Mantzoukas: So if he, so did you read the play?

[00:49:00] Audience Member: Uh, yes. I actually read the play two days ago for a theater company I’m a part of. We’re considering doing it as a production next season.

[00:49:05] Jason Mantzoukas: Wait, what?

[00:49:06] Paul Scheer: Wow. That

[00:49:08] June Diane Raphael: I love it.

[00:49:09] Paul Scheer: Is Commitment, Toronto. What It seems like it could be a funny play. I mean, the French farce is a, is a real hit.

[00:49:17] Audience Member: Uh, yeah, the play is actually quite funny. It’s also a lot longer than the movie, which means everybody will have to commit to speaking fast. Uh, another big difference was the Tim Curry character. He is a personal masseuse.

[00:49:29] Jason Mantzoukas: Okay, okay, that’s fine.

[00:49:31] Paul Scheer: Well, so it’s 1930. Soap business is good for soap salesman.

[00:49:35] Jason Mantzoukas: So, but is there, so if there isn’t the gangster element, it it’s just the farce of the mistaken daughters and so forth because there isn’t a going straight?

[00:49:44] Audience Member: Um, correct.

[00:49:45] Jason Mantzoukas: Okay, got it.

[00:49:46] June Diane Raphael: But what is he trying to accomplish during the day?

[00:49:48] Audience Member: Nothing.

[00:49:51] Paul Scheer: Now that is a play.

[00:49:54] Jason Mantzoukas: So everybody here. Toronto. It sounds like it’s gonna be up soon.

[00:49:59] June Diane Raphael: Yeah.

[00:50:00] Jason Mantzoukas: You guys are gonna have an opportunity.

[00:50:02] June Diane Raphael: God, I, I would love if How Did This Get Made just started a, a production shingle where we just produced plays based on the movies.

[00:50:11] Jason Mantzoukas: By, by the way. Yeah.

[00:50:14] June Diane Raphael: Interesting.

[00:50:15] Jason Mantzoukas: Even, even if we, I don’t know, and maybe he could answer it even if we were to do a stage reading of the play.

[00:50:22] June Diane Raphael: Of the play and the play should be quite different in the same way.

[00:50:26] Jason Mantzoukas: Yeah.

[00:50:27] June Diane Raphael: It’s a soap salesman. Like it’s not a one-to-one.

[00:50:29] Jason Mantzoukas: We’ll talk, you know what, let’s, we’ll talk to Stallone.

[00:50:31] June Diane Raphael: Yeah, yeah, yeah.

[00:50:32] Jason Mantzoukas: We’ll talk to.

[00:50:32] June Diane Raphael: We’ll see if we get something going.

[00:50:34] Paul Scheer: Alright.

[00:50:34] Jason Mantzoukas: This I wanna say, Paul, wherever you are, this theater is gorgeous.

[00:50:38] Paul Scheer: Um, I am up in the mid balcony.

[00:50:44] Jason Mantzoukas: That’s right. Mid balcony is that what you call it here? Mid balcony. You don’t call it the Mez?

[00:50:50] Paul Scheer: Tech. Technically.

[00:50:51] Jason Mantzoukas: Uhoh. Uhoh.

[00:50:53] Paul Scheer: We, we had this debate before the show started. Technically seats were on sale for the balcony. That is the gallery above us.

[00:51:01] Jason Mantzoukas: That’s the gallery?

[00:51:03] Paul Scheer: Above us is the gallery.

[00:51:05] Jason Mantzoukas: Wait a second. So for maybe the first time in history, we have gallery monsters. Wow. Absolutely terrifying.

[00:51:19] Paul Scheer: Balcony versus gallery. That might be the shirt as well.

[00:51:22] Jason Mantzoukas: Yeah.

[00:51:22] Paul Scheer: Alright. Your name, your question.

[00:51:25] Audience Member: Hi, my name is Emily and I actually did some research and I managed to find, and it’s gonna follow with the question.

[00:51:32] Paul Scheer: Okay.

[00:51:32] Audience Member: Um, Globe and Mail and the New York Times had an article in November of 1990.

[00:51:38] Fire Guts, part of Universal Studio. One of the few films that was shooting at the time was this film and their, and their publicist said, we lost 21 vintage cars, the camera equipment, props, and every bit of wardrobe. Was this a hit?

[00:51:59] Paul Scheer: Okay, I know this story. Yes. The security guard who was in charge of the old cars set a fire at Universal to steal the cars.

[00:52:14] He was arrested for that. But it, the production had to shoot like shut down for two weeks as they had to rebuild everything for this movie.

[00:52:23] June Diane Raphael: Wow. So that explains his office in the movie.

[00:52:27] Jason Mantzoukas: They were, they were only left with purple lights.

[00:52:30] June Diane Raphael: Yeah.

[00:52:32] Paul Scheer: I want to point out.

[00:52:33] June Diane Raphael: That’s fascinating.

[00:52:33] Paul Scheer: We have three balcony monsters and their three balcony monsters. Get this camera, look at this. Yeah.

[00:52:37] Jason Mantzoukas: What they have what? Balcony monster shirts?

[00:52:39] Paul Scheer: Yeah.

[00:52:39] Jason Mantzoukas: Oh yeah.

[00:52:39] Paul Scheer: All them together. Alright.

[00:52:40] June Diane Raphael: This is, oh, fantastic.

[00:52:41] Jason Mantzoukas: Great.

[00:52:42] Paul Scheer: Go over here.

[00:52:42] Jason Mantzoukas: And soon enough we’ll have gallery monster shirts, hopefully.

[00:52:47] Paul Scheer: Alright. Alright. You feel like you got something? Come on over here. You come on. All right. I saw the two hands waving, which sometimes in the states means stay away, but I feel like in Canada there’s more passion or, yes. What’s your name? What’s your question?

[00:53:00] Audience Member: Hi there. I’ve actually been gifted a mafia name.

[00:53:03] Paul Scheer: Okay.

[00:53:04] Audience Member: So my name is The Fist. Lindsay, The Fist.

[00:53:07] Paul Scheer: You’ve been gifted that by whom?

[00:53:10] Audience Member: Um, a coworker of mine who is not of Italian descent.

[00:53:13] Paul Scheer: Okay.

[00:53:13] Audience Member: I’m of Italian descent. I’m here with my kini over here.

[00:53:16] Paul Scheer: Love it.

[00:53:17] June Diane Raphael: Oh wow.

[00:53:18] Paul Scheer: I’m also of Italian descent.

[00:53:20] Audience Member: Awesome.

[00:53:20] June Diane Raphael: It is a, you know what, it is a good question though. I mean, I. I, or an interesting topic, like I don’t know if you are, if you give someone their name, do you? Or is it like.

[00:53:33] Jason Mantzoukas: I don’t think you choose it.

[00:53:34] June Diane Raphael: Like the Pope.

[00:53:35] Jason Mantzoukas: I don’t, wait, what do you mean? Like a conclave?

[00:53:37] June Diane Raphael: Well, like he, well yeah, he chooses his own name.

[00:53:40] Jason Mantzoukas: No, I think it is, I think in those situations like gangster, I think it’s given to you usually.

[00:53:46] June Diane Raphael: Okay, got it.

[00:53:46] Jason Mantzoukas: As a, you know, like a big guy cut off gets called tiny or whatever, you know?

[00:53:50] Paul Scheer: Right. So if you cut off people’s pinkies, they call ’em Pinky.

[00:53:53] Jason Mantzoukas: Yeah. So, so super quick question. Lindsay. How’d you get The Fist? Gotta ask ’cause you’re in the balcony. So we all.

[00:54:01] Paul Scheer: She says, I can’t tell you. You won’t tell us. Um, okay. What, uh, do you have a question?

[00:54:08] Audience Member: I have two small questions. One is for June. Um, what did you think about the wedding gowns at the end? I wanted to get your opinion on those.

[00:54:15] June Diane Raphael: So, of course, uh. At the end, I was searching for my makeup bag. Okay. So.

[00:54:21] Paul Scheer: Behind you June.

[00:54:22] June Diane Raphael: I didn’t, I’m sorry.

[00:54:23] Paul Scheer: Behind you.

[00:54:24] June Diane Raphael: Oh, oh, I love them. Oh, I love them.

[00:54:31] Jason Mantzoukas: They look great.

[00:54:32] June Diane Raphael: Yeah. I think they look amazing.

[00:54:35] Jason Mantzoukas: Oh, we don’t wear spats anymore.

[00:54:38] Paul Scheer: Why would you?

[00:54:38] June Diane Raphael: I mean, I have to say Marissa Tomei, and I know she’s been in other time periods and she always looks, she looks amazing right now, but this, there is something about her in 1931 where she, boy she this, man. Yeah. Is this an era she can wear?

[00:54:55] Jason Mantzoukas: Yeah. She, it’s, it’s, it’s very compelling. Yeah. It’s her in this and it’s marching.

[00:54:59] June Diane Raphael: It’s incredible.

[00:55:00] Jason Mantzoukas: Martin and Miller’s Crossing, come on.

[00:55:03] June Diane Raphael: Yeah.

[00:55:04] Paul Scheer: Okay. Your second question.

[00:55:05] Audience Member: Did you guys notice how the only song they played was the Barber of Seville?

[00:55:10] Jason Mantzoukas: Yeah.

[00:55:10] Audience Member: Like the Aria and then the trailer was the Overture?

[00:55:13] Jason Mantzoukas: Yeah.

[00:55:14] Paul Scheer: I don’t understand how that connects any opera people here. That would be like, is that thematically a choice?

[00:55:21] Jason Mantzoukas: Oh yes.

[00:55:22] Paul Scheer: Oh, hold on, on we, let me go over.

[00:55:24] Jason Mantzoukas: Do you have an opera singer?

[00:55:24] Paul Scheer: Lemme go over.

[00:55:25] Jason Mantzoukas: Is there an opera singer here?

[00:55:26] Paul Scheer: Who said yes? Stand. Wait, stand up.

[00:55:28] Jason Mantzoukas: Is the little claymation guy here?

[00:55:29] Paul Scheer: Alright. The little claymation guy. Uh, this is actually really upsetting. He killed one of the California raisins. Been in jail for, I think since 1994.

[00:55:45] Jason Mantzoukas: He was one of those people that Landis used a lot, and I think he was in the helicopter.

[00:55:50] June Diane Raphael: Jason.

[00:55:54] Jason Mantzoukas: Okay. Interesting reaction, Canada.

[00:55:58] June Diane Raphael: Jason

[00:55:59] Jason Mantzoukas: To the death of a Claymation character?

[00:56:03] Paul Scheer: Yes. Uh.

[00:56:04] Jason Mantzoukas: You guys, you guys are too touchy, eh? I’m sorry. You fucking idiots.

[00:56:12] Paul Scheer: Alright, so you are our resident opera expert. You can just take that. You don’t have to justify that you are, you’re not. But I’m calling you our opera expert. How is it thematically tied?

[00:56:23] Audience Member: Well, I actually am the opera administrator for UFT. YUniversity of Toronto.

[00:56:28] Jason Mantzoukas: Yes.

[00:56:29] Audience Member: So, yeah. I worked anyway, so.

[00:56:32] Jason Mantzoukas: Hold on, hold on, hold on. Start talking again. You were getting an applause break that you talked through.

[00:56:38] Audience Member: Yeah. No, no, no. I, uh, I, I work, I, I actually just started that job, but anyway, I was a stage manager on opera. So the Barber of Seville, that’s the Bugs Bunny. The fi, that’s what that is. Right? So that’s like one of the most famous like opera, like Bal, like the boof, right? And so that premise is that this guy wants, uh, Count Amma Vira.

[00:56:59] Amma, Viva, sorry, wants to marry this woman. But he has to pretend to be a piano, like a voice teacher, to then go in and trick the guy who, who is in charge of her. Like that’s his ward. That.

[00:57:13] Paul Scheer: Because she’s a good girl.

[00:57:14] Audience Member: Because she’s a good girl. She’s such a good girl, girl.

[00:57:17] Jason Mantzoukas: I like it less when Paul says it in the audience.

[00:57:22] Audience Member: But yeah, she’s such a good girl that she’s like, yeah, whatever. I guess I have to marry the man who’s like my dad, sort of. So it’s very much like the, the vibes of like Sylvester Stallone and Barolo want to fuck their daughter or their ward.

[00:57:37] Paul Scheer: And that’s from an opera person.

[00:57:40] Jason Mantzoukas: Wow. Great work, great work. Support the U of T Opera. Maybe you can combine with his play company and you guys can do an operatic version of the, that is this movie.

[00:58:03] Paul Scheer: Alright.

[00:58:03] Jason Mantzoukas: We’ll produce it.

[00:58:04] June Diane Raphael: That could be something.

[00:58:06] Paul Scheer: Alright. Yes, you have uh, some notes. What do you have?

[00:58:07] Audience Member: Okay, so first of all, has anyone you knew, anyone noticed how Stallone can’t say his own last name?

[00:58:15] Paul Scheer: Provolone.

[00:58:15] Audience Member: Provolone. Um.

[00:58:17] June Diane Raphael: I thought you meant stallone. I was like, oh, wow. Really?

[00:58:22] Paul Scheer: I’ve never heard him say that either.

[00:58:24] Audience Member: Uh, did anyone also clock, uh, all of the things that mea Tomei wanted to do?

[00:58:30] Paul Scheer: I love that list. That’s a funny list.

[00:58:31] Jason Mantzoukas: Do you have that list?

[00:58:32] Audience Member: I do. Swim in the English Channel, shop in Paris, lay on a beach in Honolulu, ride a Zeppelin, uh, attend a Rudy Valley show, go to an African safari, run with the Bulls in Spain, climb in the Empire, the Empire State Building, and go to an opium den in Chinatown.

[00:58:49] Paul Scheer: That was my favorite one.

[00:58:51] Jason Mantzoukas: I love, I loved the Opium Den one too. That was, I was like, oh, maybe she’s not a dot.dot. Good girl, after all.

[00:59:00] Paul Scheer: She didn’t know. So now, uh, your name, your question.

[00:59:03] Audience Member: Lisa.

[00:59:04] Paul Scheer: Okay. And what’s your question?

[00:59:05] Audience Member: Um, at the beginning we learned that the maid is running off to like get married and then towards the end we find out that the maid that has brought, brought in, um, to replace the other one is like the mother of the daughter. So after the wedding, do you think she becomes their maid?

[00:59:23] June Diane Raphael: That’s such a great question.

[00:59:25] Paul Scheer: Yeah.

[00:59:26] June Diane Raphael: Because she does need to work. Like I, he’s no longer playing child support or maybe he’s paying like back child support for what he didn’t pay pay for.

[00:59:35] Jason Mantzoukas: He just found out he didn’t know.

[00:59:36] Paul Scheer: Yeah. He never paid child support.

[00:59:38] June Diane Raphael: Okay. First of all, I know he didn’t know, but she did raise Theresa on her own.

[00:59:45] Jason Mantzoukas: Oh yeah.

[00:59:45] June Diane Raphael: For 18 years. He’s gotta pay up.

[00:59:48] Jason Mantzoukas: Oh yeah. Well it definitely seems like, it definitely seems like he is not, he is interested in her being his daughter. He’s not trying to like get rid of her.

[00:59:58] June Diane Raphael: Yes. He’s not trying to disown her. And I think he did, well, he didn’t give her her own wedding.

[01:00:07] Jason Mantzoukas: The, the movie couldn’t support two weddings.

[01:00:09] June Diane Raphael: That’s true. That’s true. But yeah, it’s such a great question. ’cause I really would love to see a world in which she’s no longer working as a maid. Certainly not as his maid.

[01:00:21] Jason Mantzoukas: I don’t, I don’t think she will be. I don’t think she will be, because I think she is now his. Okay, wait a minute.

[01:00:29] Paul Scheer: His ex lover.

[01:00:31] Jason Mantzoukas: He could well, yes, but also, hi, her daughter has now married the accountant.

[01:00:36] June Diane Raphael: Yes.

[01:00:36] Jason Mantzoukas: Okay. Okay. God damnit. I don’t even care about this movie.

[01:00:39] June Diane Raphael: Well, but I guess the question is, at the end of the movie, while I was looking for my makeup bag, does he, does he go back to a life of crime or is?

[01:00:49] Paul Scheer: Yes.

[01:00:50] June Diane Raphael: Okay.

[01:00:51] Jason Mantzoukas: Oh, he does.

[01:00:51] June Diane Raphael: That’s, I’m actually glad to hear that because that means that I feel like she’s not going back to maid’s work. That he’s hopefully going to support her.

[01:01:02] Jason Mantzoukas: I think so.

[01:01:02] June Diane Raphael: Great. That great. I think that’s, I think that’s in the cards.

[01:01:04] Paul Scheer: But she gets killed in the crossfire during a very violent, I don’t wanna get into it, but, there was an issue. They, they think that he’s in the car, they kill her. Sad.

[01:01:12] Jason Mantzoukas: Kurt, kurt Wood Smith shoots her in the head.

[01:01:16] Paul Scheer: Well, obviously we had opinions about this movie, but there are people out there with a different opinion. Is now time for second opinions.

[01:01:26] Audience Member: Hi, I am Piper.

[01:01:27] Paul Scheer: Hi Piper.

[01:01:29] Audience Member: One.

[01:01:29] Jason Mantzoukas: Piper, no!

[01:01:31] Audience Member: I knew it. I did.

[01:01:32] Jason Mantzoukas: I got, I gotta.

[01:01:34] Audience Member: Piper, no.

[01:01:35] Jason Mantzoukas: I’m sorry. Piper, I interrupted you.

[01:01:37] Audience Member: That’s okay. That’s okay. 1, 2, 3, 4, 5. That’s a many stars that I give this ride. You’ve got Angelo, Anthony, Connie, Sophia cans just going straight. And a child bride named Lisa. Dr. Pool and his nicely rounded dip thongs, Quito butler ring, and Nora accents. All wrong. A little of Therea telling lies. A little bit of math that goes awry. A couple dangling particles in your face. A little bit of yelling out of place. A little bit of Oscar at the end. A whole lot of snapping at your friends. A little bit of accents gone all wrong. A little bit of my second opinion.

[01:02:21] Paul Scheer: Yes!

[01:02:23] Jason Mantzoukas: Great work.

[01:02:25] Paul Scheer: Wow. Nailed. Yeah, absolutely. Toronto.

[01:02:30] Jason Mantzoukas: That was a great one.

[01:02:32] Paul Scheer: What a great way to end it.

[01:02:33] Jason Mantzoukas: I feel like on three, we can all say Piper, no. Right? Yeah. 1, 2, 3, Piper. No, I loved it. I loved it. Those were great songs. Some of the songs I didn’t recognize. Uh, I assume they’re all tragically hip songs. We don’t know their songs, but I know Sloan.

[01:03:00] Paul Scheer: You all did fantastic. I saw Lou Bega perform at the Hard Rock Live. He did five songs. Three of them were Mambo number five, not a joke,

[01:03:13] Jason Mantzoukas: I was gonna say where they mambos one through five.

[01:03:16] Paul Scheer: I wish. He opened with Mambo number five. Got a great response, did another song, didn’t really do well, then did Mambo number five, then left a stage and came out in Enco with Mambo number five. And I gotta tell you, each time it got better and better. All right. These are reviews from Amazon. There are 3,175 reviews on Amazon. Hold on to your butts. When I tell you 87% are five star reviews.

[01:03:49] From Celeste Sky Cop. She writes back in 2014. Title “I hate Sly, but I love this movie.”

[01:04:01] “I hate Sly, but I love this movie. I first saw it in the theater on a date and I didn’t even notice my date had gotten sick and gone to the bathroom for most of the movie. It is a cute plot with intricate dialogue. My family quotes lines from it all the time. Five stars.”

[01:04:22] Jason Mantzoukas: Can you imagine being so. Like so obsessed. So in enthralled with this movie that you didn’t notice your date, abandoned you for the bathroom.

[01:04:32] Paul Scheer: Rough stuff. Uh, but now they have four kids and they’re very happy. Rachel W titles her review “A classic that’s so highly quotable.” This is written back in 2023.

[01:04:45] “This movie is a family favorite. I’m not sure why it’s not more well known. The dialogue is fantastic. And Alyssa Milano, Sylvester Stallone and Tim Curry are an absolute delight.”

[01:05:05] Jason Mantzoukas: Incredible.

[01:05:07] Paul Scheer: “This movie is the reason that my siblings and I have told each other for years, shut up your face, Mussolini. The design and the costumes also make this appealing to watch. There’s no bad language or nudity making it a great choice for family movie night. I’ll never get tired of this movie. Five Stars.”

[01:05:29] Jason Mantzoukas: Wow.

[01:05:32] Paul Scheer: High Tower in 20.

[01:05:35] Jason Mantzoukas: Wait. From police academies?

[01:05:36] Paul Scheer: Yes.

[01:05:37] Jason Mantzoukas: Whoa.

[01:05:38] Paul Scheer: Pretty cool.

[01:05:39] Jason Mantzoukas: It’s super cool.

[01:05:40] Paul Scheer: In 2022 writes, this, all of it is bullet points, by the way.

[01:05:46] “This is unlike anything Sylvester Stallone has ever done and it’s marvelous. The plot, although adult content, is engaging, star, studded cast, impressive. Family and I enjoyed it while keeping up with the characters. There is slapstick, clever, situational, ironic humor throughout the entire movie. The time slash era is authentic. It seems like the cast has a mesmerizing chemistry. I’ve seen this movie 10 times and I still laugh out loud. Surprisingly funny, very well done film and definitely re watchable. My family. And I love this movie, five stars.”

[01:06:36] Jason Mantzoukas: Wow.

[01:06:39] Paul Scheer: Um, this one is the one I want to end on from Joseph Boldness in 2020. He writes,

[01:06:48] “If you haven’t seen this, you should. It’s a comedy primarily in word play and scene play.”

[01:07:00] Jason Mantzoukas: I think. I think that’s everything.

[01:07:05] Paul Scheer: “As opposed to slapstick nonsense and gutter level humor. Fricking funny movie, five stars. “

[01:07:16] Jason Mantzoukas: Wait, you don’t like, you don’t like gutter level humor. Fricking funny movie?

[01:07:21] Paul Scheer: You also don’t like slapstick, but you like word play. Interesting. Um, and that is what people think of Oscar, which I will tell you many people DM’d, instagram storied. I don’t know what they’re talking about. This movie’s good. And then I was like, oh no, did we pick something terrible? And then I was like, I watched it. I was like, no, no, no. We’re right. You’re all wrong.

[01:07:45] Jason Mantzoukas: Don’t, Paul, don’t underestimate that our audience are fucking idiots.

[01:07:52] June Diane Raphael: Now, I said it before and I’ll say it again ’cause I know you’re gonna ask us. I did enjoy a lot of this movie. I did enjoy this movie.

[01:08:00] Paul Scheer: And you could say the same thing for Thanksgiving dinner. You have Turkey and it makes you tired and you fall asleep. But you enjoyed Thanksgiving. This movie gave you.

[01:08:09] June Diane Raphael: Well, I don’t eat meat.

[01:08:10] Paul Scheer: Well, okay, sure. But I’m just saying in the general sense you were, you were just tired, but you got back into it pretty easily.

[01:08:16] June Diane Raphael: I just had to take a quick nap.

[01:08:19] Jason Mantzoukas: Yeah. Yeah. You gotta, sometimes like it’s exhausting to be so immersed in a time period. To be like, i’m in the 1930s so powerfully.

[01:08:28] June Diane Raphael: Honestly. I had to relocate myself ’cause I was scared I’d go insane.

[01:08:32] Jason Mantzoukas: You had, you had a draft of laudnum and you went to sleep. Okay. All right. I see where you’re at, Canada.

[01:08:41] Paul Scheer: I feel for Stallone, because I also am a huge Stallone fan. I like.

[01:08:47] June Diane Raphael: You are.

[01:08:47] Paul Scheer: I do. I like the stuff that he does, but I feel like he’s trying so hard to be funny and I feel like I see it a lot and I feel like these are the jokes that work with his friends who don’t tell him Sly, that’s not a joke. The pimple thing, like no one tells them no. And then you get occasionally stuff like this, you get moments like that in Tulsa King too, which I also love. Mm-hmm. Uh, and.

[01:09:12] Jason Mantzoukas: And you see it in the recent Sylvester Stallone scripted movie, A Working Man starring our favorite Jason Statham.

[01:09:20] Paul Scheer: So whatever’s happened there, I did some research on this. He has just gifted Statham his old movies.

[01:09:27] June Diane Raphael: Wow.

[01:09:27] Paul Scheer: He’s like, you make this, you make this. Like everything is now like he’s getting secondhand Stallone.

[01:09:33] Jason Mantzoukas: Incredible, by the way, incredible. Because he can pull it off. Statham’s legit funny.

[01:09:38] Paul Scheer: Yeah.

[01:09:39] June Diane Raphael: But I, I’m sort of with you. I mean, we, we, we went on a Rocky tear this past summer.

[01:09:44] Paul Scheer: Yes.

[01:09:45] June Diane Raphael: You and I.

[01:09:45] Paul Scheer: Not a, we didn’t go on a Rocky tear.

[01:09:48] Jason Mantzoukas: Rocky, the movies.

[01:09:48] Paul Scheer: Rocky, the movies, the Rocky, the movie.

[01:09:49] Jason Mantzoukas: You guys were not in a rocky tear.

[01:09:53] June Diane Raphael: No. Rocky movie. No, we weren’t. We weren’t. And I have such a spot in my heart for him. I really, really do. And I, I, yeah. Not every moment works. And of course his pace should be different and all that’s true. That remains true. That’s always gonna be true. But if you can get past all of that, I swear, if you can do some work audience like you can, so asking him to do everything if you can work a little harder.

[01:10:24] Paul Scheer: You can appreciate. If you can look at this movie and recast it and rehear it differently, you can really appreciate it.

[01:10:31] June Diane Raphael: Yeah.

[01:10:31] Paul Scheer: Okay.

[01:10:33] June Diane Raphael: Yeah.

[01:10:34] Jason Mantzoukas: It’s tough. This one’s tough. ’cause I think what you’re saying, June, I agree with, which is that there is something inherently watchable and interesting about Stallone, even if he’s not necessarily pulling off the tone that this movie requires. It’s too long, it’s too slow. But they do such a good job of rounding out everybody else. Cause there are jokes in here. That Like when Reigert says, when Peter Reigert says the Duke of Ellington.

[01:10:58] Paul Scheer: Yeah.

[01:10:59] Jason Mantzoukas: Funny. It’s a funny joke.

[01:11:00] Paul Scheer: Funny line.

[01:11:01] Jason Mantzoukas: There’s jokes in here that are funny when the, when one person’s reading a Time Magazine and the other person’s reading Huey magazine, I was like, give me a subscription to Huey Magazine all day, every day I read it for the articles.

[01:11:15] June Diane Raphael: But, and again, the whole sequence with the brothers and Nicholas and they’re looking at the paper and saying that he, this was our work. Loved it.

[01:11:22] Jason Mantzoukas: It’s so funny that they’re proud of the man has been murdered in their suit.

[01:11:27] June Diane Raphael: Yes.

[01:11:27] Jason Mantzoukas: That they’re famous.

[01:11:28] June Diane Raphael: It’s hilarious. Now one, one thing I will say, I know we’re so focused on Sly, but I did feel like Nicholas was a bit miscast as the accountant.

[01:11:37] Paul Scheer: I did too.

[01:11:38] Jason Mantzoukas: Oh, whoa.

[01:11:38] June Diane Raphael: They put a set of glasses on him. I’m sorry, Nicholas Anthony.

[01:11:41] Jason Mantzoukas: Yeah. Yeah.

[01:11:42] June Diane Raphael: He put a set of glasses on him, but he’s a big strapping man and I feel like you wanted that guy to be a little bit more.

[01:11:50] Jason Mantzoukas: He seemed like a leading man, which confused me.

[01:11:52] June Diane Raphael: Very much so.

[01:11:52] Jason Mantzoukas: Yeah.

[01:11:52] June Diane Raphael: And you want him to be scared of these two tiny men.

[01:11:56] Jason Mantzoukas: Yes. Harry Shearer being one of them.

[01:11:59] June Diane Raphael: Exactly.

[01:12:00] Paul Scheer: Love that. My favorite part of the movie was when he pulled out the, uh, the chicken leg as a gun.

[01:12:07] June Diane Raphael: Oh, good. Great. These are great moments, guys.

[01:12:10] Jason Mantzoukas: But I will say, if you wanna see again, a lot of these same ideas executed better, it’s Johnny Dangerously. Every day.

[01:12:17] June Diane Raphael: Say, I gotta go see that. I’ll go see that.

[01:12:19] Jason Mantzoukas: Amy. Amy Heckerling, right?

[01:12:20] Paul Scheer: Yes.

[01:12:20] Jason Mantzoukas: Yeah.

[01:12:21] Paul Scheer: Yeah, it’s a good, it’s a, that was, yes. See it Now. What do we wanna plug? Jason, what are you telling people you’re up to?

[01:12:28] Jason Mantzoukas: Taskmaster. Let’s go. Let’s go. Taskmaster Uk. I’m on it. Season 19. It’s airing right now. Episode two just aired. It’s all up now. Go, go there. Watch it on YouTube. Uh, or here, you might even be able to watch it on something else. I don’t know. But if you’re, uh.

[01:12:49] Paul Scheer: It’s here. I was looking at it on YouTube. I, I saw that popped up on my YouTube today.

[01:12:53] Jason Mantzoukas: Great. It’s on YouTube. Watch it, comment. Get involved. These fuckers need to hear about it.

[01:13:03] Paul Scheer: June, what do you got?

[01:13:04] June Diane Raphael: Oh gosh. Well, the, I, I’m in a new movie, which Paul and I just saw. It’s not coming out till the first weekend of August, but it is called Weapons. It’s the follow up for Zach Cregger’s new movie.

[01:13:14] Paul Scheer: So good.

[01:13:15] June Diane Raphael: It’s so good. Also coming out the same weekend. With another movie. I am, I am in Freaky Friday 2.

[01:13:23] Jason Mantzoukas: Oh yeah. So that’ll be a fun weekend.

[01:13:28] Paul Scheer: Uh, my book just came out in paperback, Joyful Recollection of the Trauma with 20 extra pages. Uh, if you take a picture of that barcode, I could send you a personalized copy of it, but you have to pay for it. Uh, but if you’ve read the book on my website, there are all these, uh, special features, videos, pictures, and everything like that.

[01:13:45] And then every Monday on YouTube, Rob Huebel and I host a show called The Dark Web. Thank you. We go deep into the web to find the weirdest stuff like Sizzler training videos. And, uh, oh my gosh. The, yeah, it’s a lot of stuff. We find a bunch of stuff. 20 minutes. It’s free every single week.

[01:14:04] Jason Mantzoukas: June, I feel like we need to come up with a Barb Inheimer style name for Weapons. Weapons and Freakier Friday. So people know that they, so, so, so people can like, uh, telegraph that they’re gonna see both. It’s a double feature. We can.

[01:14:18] June Diane Raphael: Yes, it is a double feature.

[01:14:19] Jason Mantzoukas: We can, we’ll figure out some sort of, uh, whatever clumsy thing for that. Uh, right now let’s all stop and think about it. Freaky weapons. Weapon Friday.

[01:14:32] Paul Scheer: Friday Weapons. Fre. Freaky. Freaky fre.

[01:14:36] June Diane Raphael: Free is freaky.

[01:14:38] Jason Mantzoukas: Fre of of things.

[01:14:39] June Diane Raphael: Freaky weapons. I freak know.

[01:14:42] Jason Mantzoukas: Weapons Friday. Very Americans.

[01:14:45] June Diane Raphael: On Friday.

[01:14:49] Paul Scheer: Thank you. We love being here. Thank you everybody for coming out!

[01:15:03] What a great show. And we are, once again, back in Canada this weekend. That’s right. We’ll be in Vancouver on Saturday, July 12th. It’s our apology tour to Canada. We have not been back in a very, very long time, and we’re doing two in one summer. But here’s the thing, if you bought tickets for, How Did This Get Made in Vancouver, check the location.

[01:15:23] We originally were gonna do the show at the Queen Elizabeth Theater, but we moved down the block to the Vogue Theater. Your tickets should be updated, but just make sure that you are going to the Vogue Theater, not the Queen Elizabeth Theater. Your tickets and everything should be updated, but just in case you didn’t check your email, I’m here to tell you it’s the Vogue Theater July 12th.

[01:15:42] I’ll be doing a big book signing after the show, and if you’re like, oh, Paul, I want my book signed and I’m not in Vancouver, don’t worry about it, just go to my website and we will support indie bookstores by letting you get anything you want inscribed in my book with me signing it, I guess it’s just called signing a book.

[01:16:00] Anyway, just go to PaulScheer.com and you can do that right there. Um, once again, a big thank you to everybody who helps make this show happen. Our producers, Codi Fischer, Scott Sonne, Molly Reynolds, and our amazing movie, picking Producer, Avaryll Halley, our sound engineers, Casey Holford and Jared O’Connell.

[01:16:15] And people, if you’re not watching The Dark Web on YouTube, what are you doing? Check it out. Me, Rob Huebel, the dankest, the darkest, the silliest dumb shit on the internet. Bye for now. Peace.