WEBVTT

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You've beaten my giant, which means you're exceptionally strong. So you could have

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put the poison in your own goblet, trusting on your strength to save you.

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So I can clearly not choose the wine in front of you. But you've

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also bested my Spaniard, which means you must have studied.

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And in studying, you must have learned that man is mortal. So you would have

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put the poison as far from yourself as possible. So I can clearly not choose

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the wine in front of me. You're trying to trick me into giving away something.

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It won't work. It has worked! You've given everything away! I know where

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the poison is! Then make your choice. I will, and I choose— What in

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the world can that be? What? Where?

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I don't see anything. Oh, well, I, I could have sworn I saw something.

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No matter.

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What's so funny? I'll tell you in a minute. First,

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let's drink. Me from my glass, And you from

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yours.

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You guessed wrong. You only think I

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guessed wrong. That's what's so funny. I switched glasses when your

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back was turned. Ha ha! You fool! You fell victim to one of the classic

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blunders. The most famous is never get involved in a land war

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in Asia, but only slightly less well known is this:

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never go in against a Sicilian when death is

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on the line.

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It's Two Dads One Movie. It's the podcast where two middle-aged dads

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sit around and shoot the shit about the movies of the '80s and '90s.

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Here are your hosts, Steve Paulo and Mick Briana.

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Hello everybody, welcome to another episode of 2 Dads 1 Movie. I'm Steve.

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And I'm Nic. And today we are talking about the 1987 fantasy

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romance adventure classic. And when I say classic,

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sometimes I kind of facetiously tongue-in-cheek use

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the term class— It's not a classic in the basketball sense of the word.

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Exactly. It's not that kind of classic. It's a classic in the holy shit,

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it's actually a classic sense. We're going to talk about The Princess Bride today,

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and this was my pick for us. And this is one

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of those movies like there there's there's some some element from this movie like runs

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through every part of my like childhood and young adulthood. So so the

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fact that Andre the Giant is in it, I was such a big WWF fan

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as a kid. I was into Macho Man Randy Savage, so a little bit after

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Andre's kind of height, right? Like really, you know, obviously we were once once it

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got really big, Andre was kind of on the downside of his wrestling career anyway.

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I mean, yeah, this movie came he was so well known. Absolutely. This movie.

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We were like 7 years old, give or take, and he was already basically retired

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from wrestling at that point. So I remember a little bit of Andre the Giant,

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but I just— I knew him as wrestling, and there was that element. And then,

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you know, I don't think I saw this movie first thing, you know, like when

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it came out or whatever, but like would've been fairly quickly on TV somewhere.

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We had HBO when I was a kid, so maybe it was on that.

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Yeah. Whatever it was. But it was definitely something I would've seen like before I

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was 10 for the first time. And then, you know, just everything

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about it, like the lines, the quotability, like all this stuff. And then when I

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got into theater in high school, this is another one of those movies that was

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just like catnip for theater kids. Oh, for sure. For sure. Yeah, it's insane.

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Everybody quoting it and like all this stuff. I knew people who would like dressed

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up as the Man in Black for Halloween and stuff like that. And it just

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kind of like into college and doing theater stuff in college. Like this just really

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was a thing that was like somehow always part of my life for probably 15

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years consistently, you know, until I was like a full adult. And then I was

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like, oh, I could go back and visit it. But like for a long time,

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this movie just occupied so many spaces and so many categories

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for me. It's just, it's one of my favorites. And I think it's the kind

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of movie that folks our age, a little bit older and a little bit younger,

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like really kind of gravitate towards. I've never met anyone who has

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seen this movie and hated it. Now, yeah, they may be out there, and I've

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met people who don't care either way, very ambivalent, but I've never met

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anybody that hated this movie. What's your experience with The Princess Bride? Yeah, so,

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uh, I actually— I agree. I feel that

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this is like universal, uh,

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positive approval rating, right? You can say about so few, uh,

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pieces of art or things in general, right, that people generally love.

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Uh, I actually didn't get into this one. I don't remember seeing it until

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probably, uh, high school or after. Uh, so I never saw

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this as a kid. My stupid, uh, no, no VCR, no cable,

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uh, log cabin that I lived in. It was just, uh,

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us kids and my dad typing up his manifesto. Oh boy. Um,

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so yeah, I didn't see this until later, but I do remember being like,

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oh damn, this is really funny. And again, the Andre the Giant thing—

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psyched to see him in it. Um, and, uh, and, and it

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became kind of a part of the discourse, and I understood, like, it's very

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commonly referenced, certain parts of it, which we'll get to. Yeah. Uh, and it's

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one, yeah, that you're gonna find common ground with almost anybody

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our age by bringing up this movie. I think so. Yeah, I think it's pretty—

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it's a pretty standard kind of thing. What about transferring this to your kids?

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Do you feel like— have you been able to do that successfully? You've shown them?

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Yeah, both my kids have seen it. My daughter's 8, my son is 12.

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I think, I think they saw it for the first time when they were 6

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and 10. And my daughter Ellie still refers to the movie as Princess

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Buttercup. So like, I wanna watch Princess Buttercup. Nice. And she's asked for it before.

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And like, you know, for neither of them, it's, look, she's way more into K-pop

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Demon Hunters and The Descendants than some of these Disney adjacent

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sort of movies about, I don't know, it's like the Queen of Hearts kid or

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something. I don't know, she's into all this stuff that like, I don't understand.

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That's fine 'cause she's a kid and I'm a grownup and I shouldn't understand everything

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she's into. But this is still one that she does kind of refer back to

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and be like, Dad, can we watch Princess Buttercup? And like, we've watched it a

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couple times. Like my son didn't get into it as much. I don't

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know, it just didn't like tickle his fancy. But like, you know, I think that

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it's a movie that was very easy choice for me to say, yeah, yeah,

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this is an early one that I'll show to my kids. Yeah. You know,

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it's like, now, right now, by the way, right now my son is 12.

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He's like so into Indiana Jones, it's crazy. Like he thinks Raiders of the Lost

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Ark is like the greatest movie of all time. Beautiful. So I'm clearly doing something

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right as a father there. And my daughter is now begging me to show her

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Gremlins because I told her I saw Gremlins when I was 4. And she was

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like, well, if you could take it at 4, I can take it at 8.

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I'm like, honey, I couldn't take it at 4. That was the whole point.

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We'll see where that goes. But yeah, she's expecting to see Gremlins. Maybe for Christmas,

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sweetie. Yeah, right, exactly. That's awesome. Yeah, I've definitely

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watched this with my daughter a couple times, and yeah, at an early

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age, like a five-year-old could enjoy this movie. Like the visuals of it, like you

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don't have to understand every bit of dialogue, and it is the classic thing that

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works on like several points, several levels, right? As a kid

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who doesn't understand how funny like hippopotamic landmass,

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right? That kind of stuff is. And as an adult who like enjoys

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the banter and like the the irony and all this stuff. So yeah,

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it's been fun. Oh yeah. Yeah, so that's my history with The Princess

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Bride. All right, man, let's jump into the facts on The Princess Bride. The film

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The Princess Bride was released on September 25th, 1987 with a PG rating

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and a running time of 98 minutes, directed by the late,

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great Rob Reiner and written by William Goldman from

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his own novel. He adapted his own novel for this. Real quick,

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just before we jump further into this, William Goldman is like one of my sort

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of heroes in screenwriting. I remember when I was in high school, I got a

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copy of his book. I think it was called like Tales from the Hollywood Screenwriter,

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or no, Adventures in the Screen Trade. And it was all about his

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journey from kind of like, you know, writing novels, whatever, into writing screenplays. And he

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ended up writing the screenplay for like the Arnold Schwarzenegger Running Man, or no,

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Marathon Man, sorry, not the Running Man. He wrote the Marathon Man. Marathon Man

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is a running man. It's like a square rectangle set subset type thing, right?

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And he wrote this, he wrote a handful of, you know, he's written a lot

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of great stuff. And it's just somebody that I've always kind of looked up to.

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You know, and just been a bit of a hero of mine from a writing

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standpoint. And I have the novel at home. Yeah, we've got that too. It's a

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cool— our friend gave us this great

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looking, like beautiful copy of it. And like, yeah, we still got that one.

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I had hoped that it was actually going to be The Princess Bride by S.

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Morgenstern and just the thing, but like the novel, right, is still framed like

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the movie, you know, kind of thing. Anyway, okay,

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the film stars Cary Elwes, Robin Wright, Mandy Patinkin, and Andre the

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Giant. With a 93% Rotten Tomatoes score, this was obviously

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critically well received. It's got an 8.0 on

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IMDb, one of the few movies— Elite. Yeah, covering that 8 level, that's huge.

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And 2 thumbs up, no surprise, from the homies Siskel and Ebert. Quite a bit

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of awards action on this, but a lot of it around music.

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So at the 1988 Oscars, it only got one nomination, didn't win,

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but it got a nomination for Best Original Song, the sort of theme that plays,

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you know, near the beginning when the grandpa's telling the story about Buttercup and Westley.

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And then also at the end, over the end credits, it's called Storybook Love by

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Willie DeVille. It was nominated but did not win. Willie DeVille, great name.

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Yeah, and then at the 1988 Grammys,

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composer Mark Knopfler, who was

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in Dire Straits, I believe, the frontman of Dire Straits, was the composer here.

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So he was nominated for, did not win,

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Best Album That Was an Original Score for Film or Television, but it

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did get nominated. In '88, at the WGA Awards,

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Goldman was nominated, did not win for Best Adapted Screenplay.

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The film was added to the National Film Registry in 2016. And actually, back in

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'88, one of the kind of areas where it did actually win some awards was

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at our— one of our favorites, the Saturn Awards, the sort of, okay, fantasy,

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sci-fi, horror, etc. It won Best Fantasy Film and also Best

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Costumes. And then Robin Wright was nominated but did not win for

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Best Actress, and Goldman was nominated but did not win for Best Writing. So lots

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of awards activity. At the box office though,

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not really a big hit. Yeah. On a $16 million

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budget, which in 1987 is like pretty substantial, but you can see the sets they

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had to build all this, like, you know, so much going on in this movie.

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It pulled in $30.9 million, which is just under twice what it

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cost, which, you know, we call a disappointment. Not a flop outright, but definitely

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a disappointment, because movies tend to have to make back double their money just to

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get, you know, because the theaters take half of the ticket sales. So if you're

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not getting that, then even, you know, the production company's not getting even what they

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put into it. So yeah. I guess, like, how do you promote this movie at

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that time? Like, who's the draw? Like, you show Andre the Giant in the

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trailer. Like, Cary Elwes is not famous yet. Robin Wright's appearing for the first time.

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You could say from the director of Spinal Tap,

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you know. But that, that's like not what you're going for with this movie.

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So it would have been a really hard movie to like figure out how to

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get in front of people. Yeah. So that does make sense to me.

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And then the, the renaissance that it's had since then totally makes sense.

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Home video and, and, you know, obviously being on, on like cable

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and stuff when we were kids, and the fact that it required very little editing

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to get to television. It's a true solid PG, even the

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like sort of blood and violence of it. When you look at other PG films

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of the '80s, it's so mild. Compared to a Star Wars or something like that.

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Yeah, exactly. Just anything like that. So, so even though we got a couple of

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good sword fights and a few injuries, like nothing wild, right? It really is quite

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safe. And so, yeah. So yeah, this movie really survived on its like longevity.

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And like I said, it has— I mean, there's really kind of no denying whether

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you like it or not. This movie is clearly a touchpoint generationally.

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Yeah, I think for kind of the youngest part of Gen X to the older

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parts of the millennials, like, like we're all just kind of way into this movie.

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In one way or another, it's very solid. So, okay.

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Yeah, how are we starting off here, Steve? So we start off with a little

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video game baseball. Yes, and it looks like Atari, maybe. I mean, it's kind of

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a joystick. He had a joystick, but it looked like a little too fancy for

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old Atari. But being that this was '87, maybe like an Atari ST. 2600?

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No, the 2600 didn't have graphics that good. So I had a 2600, but it

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could have been an Atari ST, which played a little more like a computer that

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you attached to your television. I didn't recognize this game. It wasn't the any— I

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had the any aspect. This wasn't RBI. This wasn't Bases Loaded. This wasn't Baseball Stars.

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Like, I'm not sure which one it was exactly. But yeah, little Fred Savage is

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playing. First Fred Savage appearance. Yeah. Hello, Fred Savage. There you go.

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He's playing video game baseball. His mom comes in and he's like, oh, you know,

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how you feeling? No, I'm still sick and everything. And I wanted to comment real

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quick. I never— I've never thought of this movie as a Christmas movie. But if

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you see, there's a few places on the wall where it's like he made like

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a Santa Claus thing, like probably in school and brought it home with like the

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little cotton balls for a beard, you know? And then— He's got the snowman like

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behind his bed. Exactly. And then like out the window, you can see the neighbor

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across the street has Christmas lights on their house. Okay. So it's clearly Christmas time.

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Wherever they are. It doesn't tell us where this place is, but like, so it's

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Christmas time and his grandfather's coming over to read him a story or like whatever

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he wants to give you a gift. Yeah, right. So Peter Falk, who plays Columbo,

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right? Yeah, famous for that. That— no, just one more thing I was thinking,

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you know, Columbo kind of stuff. Comes in, gives the boy a gift.

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He unwraps it. It's a book. And boy, it's like— Classic look of disappointment.

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So disappointed. Books ranked just above socks, right?

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When you were a kid. I mean, I'll be honest, I was a ready book

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nerd. Sure. But like, we're talking about the average Steve, not Not a couple intellectual

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elites like us, but the average dumb shit that's listening to this.

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No, but like the average person out there as a kid, you're not psyched.

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You're not psyched. Even though I loved books, I'd still rather have a video game

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when I was that age. So yeah, totally understood. But basically he says,

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this is the book I read. You know, my father read to me when I

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was sick. I read it to your father when he was sick. And now I'll

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read it to you. Yeah. And he's like, oh, you know what? What is this?

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Like, oh, well, you know, it's got fencing. He's like, does it have sports in

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it? And he's like, oh, fencing, which is like the one thing that's sort of

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a sport. Right, right. The rest of it is like other stuff. But still,

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he's not lying. Grandpa is quick on his feet spinning this. Yeah, yeah, for sure.

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And I will say, young Fred Savage rocking a Walter Payton jersey. We gotta call

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out the jerseys that we see. He's got the— that must— they must be near

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Chicago, I just realized, because there's also a Fridge Perry poster. Yeah. On the wall

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behind him. So this kid's a Bears fan for sure. He knows all the words

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to Super Bowl Shuffle for sure. Exactly.

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Um, um, yeah, so the, the story begins, right? And we're talking about,

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you know, uh, there is a farm boy. Yep. Right, named Wesley.

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That's right. And, uh, and he works for, uh, Buttercup,

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or I guess he works for Buttercup's parents. Yeah,

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he works at the farm. She lives at the farm. She orders him around,

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basically. Right. And, you know, it's showing her like she

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orders him to do something. As you wish, as you wish,

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right? And he's explaining that, you know, when he was saying as you wish,

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he was really saying I love you. So you see them exchanging these glances,

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and it's very cute, but it moves very quickly, right? To just establish that,

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well, he couldn't marry her because he didn't have any money. No money. So he

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had to go on a journey. Try to make his fortune. He had to go

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figure out how to do that. Right. But he had to leave her behind.

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Like, you know, there's no ASVAB. You can't go and just like take a test

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and be told where to go. Yeah, yeah. So he's gotta go figure it out.

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And so, you know, she says like, what if I never see you again?

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He goes, well, this is true love. Like, you can't— like, not even death can

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stop true love. It can only delay it, right? But unfortunately, we are

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told Buttercup receives word that, you know, the ship that Westley is on is attacked

14:37.666 --> 14:41.512
by the Dread Pirate Roberts. And the Dread Pirate Roberts never takes any prisoners.

14:41.608 --> 14:45.186
That is a known fact. And therefore she has every reason to believe Westley

14:45.202 --> 14:48.651
is now dead. And she just kind of, you know, idly says off into the

14:48.667 --> 14:52.341
distance, I will never love again. Yeah. Fast forward 5

14:52.841 --> 14:56.047
years, she's engaged now to marry Prince Humperdinck,

14:56.672 --> 15:00.250
uh, who is— True dipshit. I mean, he's playing the Billy Zane role

15:00.523 --> 15:04.180
in this movie, which we've seen Billy Zane play in Titanic, and then Billy Zane

15:04.229 --> 15:07.726
not play in Tombstone, 'cause it was the sheriff in Tombstone who was the Billy

15:07.758 --> 15:10.948
Zane role there. That's right. But yeah, I love this guy's hateable face.

15:11.365 --> 15:15.354
They really nail it. He really is so wonderfully spoofed in Shrek.

15:15.915 --> 15:19.921
Yes. Oh my God. Whatever the Lord Farquaad or whatever, like, is he—

15:20.421 --> 15:23.686
he dresses like Humperdinck. Like, they dress him in the same kind of red puffy-shouldered

15:24.186 --> 15:26.746
thing. So yeah, so Humperdinck's a complete asshole, but basically he has the right to

15:27.246 --> 15:30.512
pick a bride from any of the subjects throughout the kingdom. Uh, that we see

15:31.012 --> 15:33.812
that both his parents, the king and queen, are very old. I mean, Humperdinck himself—

15:34.312 --> 15:36.184
this is always the weird thing with like movies from the '80s— everybody to me

15:36.684 --> 15:40.070
looks older than they're supposed to be. Because they have haircuts that we only ever

15:40.570 --> 15:44.370
saw on like our parents, so we just transfer that to being like an older

15:44.870 --> 15:47.130
person. I'm sure this man— they're supposed— I mean, I don't— we never hear an

15:47.630 --> 15:50.810
age, but I would guess they're trying to say the dude's like 25 or something,

15:51.310 --> 15:54.590
and Buttercup's like in her early 20s or whatever. You know, she and Wesley fell

15:55.090 --> 15:57.310
in love as teenagers, I would guess, right? Yeah. So it's just 5 years later,

15:57.810 --> 16:01.230
but this dude's got a perm like he, you know, just works the

16:01.730 --> 16:04.930
front desk at the local orthodontist. Like, it looks really— Yeah, yeah, he's definitely got

16:05.430 --> 16:07.630
a little soul glow in his medicine cabinet. Uh, but it is funny the way

16:08.130 --> 16:11.929
that they cast things generally, it is like a grandparent

16:12.089 --> 16:15.711
and, and a grandchild. Like, that's how they look visually. Yeah. Oh,

16:15.791 --> 16:18.963
absolutely. It's very strange. Yeah. Because yeah, the parents, the, the king and queen,

16:18.995 --> 16:22.248
are old as hell. Like, the king looks like he's 100. He's got this wiry

16:22.280 --> 16:25.805
beard. They really did, uh, they really made him. And this movie,

16:26.110 --> 16:29.715
like, from the beginning, the entire time, the scenery is just unbelievable.

16:29.955 --> 16:33.593
So just as something that you have on, it's great to watch. Like,

16:33.641 --> 16:37.471
sometimes people don't like putting on certain movies for their kids because it's like flashing

16:37.568 --> 16:41.405
lights or annoying music or whatever. This is a 100% non-annoying movie

16:41.421 --> 16:44.263
that your kids can enjoy. It's clean and it's— and it's— yeah, you're right,

16:44.328 --> 16:46.913
like everything is beautiful. It's all, you know, some of it— so much of it

16:47.413 --> 16:49.161
is out in nature. And even the places where they clearly had to build a

16:49.661 --> 16:52.051
set, there's a handful of set pieces that were clearly not on location, wherever,

16:52.356 --> 16:55.648
they look gorgeous and outdoors and natural and kind of— they did a

16:56.148 --> 16:59.292
really wonderful job with it. Um, so basically we hear, you know, one of

16:59.792 --> 17:02.086
the few things that Buttercup actually brings her joy at all because, you know,

17:02.102 --> 17:05.694
she has this hole in her heart where Westley was, is riding her horse.

17:05.758 --> 17:08.803
Like, she has a horse, she goes riding. So this one day she goes out

17:09.303 --> 17:12.699
riding and she is stopped by 3 people. These people are Vizzini,

17:12.811 --> 17:16.819
played by Wallace Shawn, Inigo, played by Mandy Patinkin, and Fezzik,

17:16.883 --> 17:20.890
played by Andre the Giant. And Vizzini tells her, we are but 3 lost circus

17:21.390 --> 17:24.802
performers. Is there a town nearby? And she goes, no, there's nothing for miles.

17:25.074 --> 17:28.649
Then there will be no one to hear you scream. You know, so they're kidnapping

17:28.665 --> 17:31.358
the princess. And he, Wallace Shawn, I mean,

17:31.646 --> 17:35.494
just unbelievable. And what a, what a, like, career and life that

17:35.994 --> 17:39.343
guy's had, because he could have spent his life making a ton of money just

17:39.843 --> 17:43.528
being typecast as like some wisecracking like shithead in like

17:43.592 --> 17:47.120
big budget movies. But I feel he's like a playwright. He has like a super

17:47.620 --> 17:50.824
interesting, uh, life and everything. He's a writer, a playwright, a stage actor,

17:50.952 --> 17:53.518
you know. He got into— I think he even got into directing, you know,

17:53.534 --> 17:56.677
whatever. So yeah, I mean, Wallace Shawn has had some amazing— and, and an essayist

17:57.177 --> 17:59.194
as well. I think he's got like books of just prose essays. Like, really,

17:59.226 --> 18:02.001
the guy is a dynamo as far as like the different things that he's done.

18:02.337 --> 18:06.282
Uh, unbelievable in this. I mean, it makes— it takes this role to like such

18:06.782 --> 18:10.339
another level between like the lisp and the, the vocabulary

18:10.355 --> 18:13.803
and the sneeringness of his voice. It is just really, really great,

18:13.819 --> 18:17.106
right? And during this time, like, him and the other 2 are kind of like

18:17.186 --> 18:20.971
bickering back and forth, right? And calling each other names. It's, it's— yeah,

18:21.195 --> 18:24.402
what is it? The best one is, uh, uh, uh, Vizzini refers

18:24.902 --> 18:29.022
to Fezzik, Andre the Giant, as a hippopotamic landmass. Now, I've never Heard

18:29.038 --> 18:32.428
hippopotamus turned into an adjective. Yeah, but that does sound like what it would

18:32.928 --> 18:35.449
be. Hippopotamic. Fantastic. Yeah, really good.

18:36.429 --> 18:39.642
Um, you remember, uh, in high school we had a teacher, Mr. Hoover?

18:39.819 --> 18:43.096
Yes. Okay, Mr. Hoover, history teacher, like one of the

18:43.177 --> 18:46.487
all-time fun teachers. And one of the things, uh, that he was obsessed

18:46.987 --> 18:50.487
with was Andre the Giant. Okay, so, and Andre the Giant had died a couple

18:50.987 --> 18:54.070
years before that, and anytime somebody in the class— he would talk about Andre

18:54.118 --> 18:56.978
the Giant, someone who said Andre the Giant's dead. And he would say, yeah,

18:56.994 --> 19:00.351
I know he's no longer popular. And then we'd just like go on on it.

19:00.463 --> 19:03.226
So shout out Mr. Hoover. I love that bit. That was a good one.

19:03.435 --> 19:06.406
Did he ever do like an Andre the Giant impression or anything? Like talk like

19:06.906 --> 19:09.940
Andre the Giant? I think he was more just Mr. Hoover. I was in Strobel's

19:10.440 --> 19:12.510
AP class junior year, so I never had Hoover. He did the best. He had

19:13.010 --> 19:15.659
this little like Casio keyboard and he would just like rip these like,

19:16.269 --> 19:20.397
uh, little tunes out and then he would record himself and then play it backwards.

19:20.847 --> 19:23.994
and listen to that and then try to say the backwards thing and see if

19:24.494 --> 19:27.189
you could play it backwards and have it sound forwards. I love it. All-time,

19:27.269 --> 19:31.396
all-time life bit guy, Mr. Hoover. Um, so yeah, so they've,

19:31.524 --> 19:34.864
they've kidnapped, uh, Buttercup, right? And they're on the boat and they're,

19:35.153 --> 19:37.786
they're heading off. They're heading off, and before they can fully head off though,

19:37.867 --> 19:40.115
Inigo and Fezzik have to rhyme with each other for a little bit, which is

19:40.131 --> 19:43.358
really, really wonderful. And ends with, you know, Vizzini telling

19:43.406 --> 19:45.879
them, stop it now, I mean it! And Andre just goes,

19:46.080 --> 19:49.340
Anybody want a peanut? And I just like— I will say anybody want a peanut

19:49.840 --> 19:53.010
in that voice really good for any, any time it comes close to being reasonable.

19:53.560 --> 19:57.360
Yeah. Or appropriate. Seriously, anytime I can. Even to the peanut-free kids

19:57.860 --> 20:00.080
here at your son's school.

20:00.220 --> 20:03.740
Yeah, it's really good, good banter between these. I like

20:04.240 --> 20:07.900
that it establishes the relationship. And I guess the purpose is Vizzini saying that they're

20:08.400 --> 20:11.280
trying to like— they're being paid to do this because to start a war.

20:11.780 --> 20:13.920
Start a war. Exactly. They've been hired to start a war. It's a very prestigious

20:14.420 --> 20:16.120
line of work with a long and storied history or whatever he says. And so

20:16.620 --> 20:20.317
they have Rip off like a piece of— so the country they're in

20:20.817 --> 20:23.033
is called Florin. These are all made up, obviously. Although, funny enough, I do want

20:23.533 --> 20:25.989
to mention this: they made up the names of the countries Florin and Guilder,

20:26.005 --> 20:29.218
who are the sworn enemies, and where the war is

20:29.718 --> 20:32.110
supposed to start. Those are currencies. Oh yeah, they are. You're right. Oh wow.

20:32.833 --> 20:36.335
But I was thinking that while those countries were made up, we are also clearly

20:36.368 --> 20:41.011
within the real world because there are references to Greenland and Spain and

20:41.511 --> 20:44.449
a handful of other countries that actually exist. Yeah, yeah. Which I think is interesting.

20:44.497 --> 20:47.590
So Oh, and Sicily, 'cause he calls himself a Sicilian. That's right.

20:48.090 --> 20:50.930
So yeah, so there's like real places, but then also these fake ones that are

20:51.430 --> 20:54.750
somewhere in Europe, right? And basically, yeah, Vizzini says like, we've been hired

20:55.250 --> 20:58.470
to start a war. They tear off a piece of fabric from the, you know,

20:58.970 --> 21:01.210
an army soldier of Guilder and, you know, whatever, put it on the horse and

21:01.710 --> 21:04.090
send the horse back. And the horse, I guess, knows, it's like a homing pigeon,

21:04.590 --> 21:07.590
it'll go back to the castle, right? Classic false flag. Exactly,

21:08.090 --> 21:12.210
false flag attack, basically. So they go out into the boat and they're heading off

21:12.710 --> 21:14.670
to, you know, wherever they're going. And Vizzini's basically saying like, we're gonna kill this

21:15.170 --> 21:18.614
guy, This girl so that when she's found on the Gilder frontier,

21:18.807 --> 21:21.825
like his suspicions, the prince's suspicions will be confirmed and it'll start the war.

21:22.355 --> 21:25.710
And he's like talking just about how genius he is and how perfect the plan

21:26.210 --> 21:29.804
is and how great you know there's no right. And he keeps saying it's inconceivable,

21:29.884 --> 21:33.111
right? And Inigo is sitting on the back of the boat and he's like,

21:33.175 --> 21:36.402
you know, would anybody be following us? It's inconceivable somebody would be

21:36.902 --> 21:39.388
following. And he keeps bringing it up. I just look back and there is someone

21:39.436 --> 21:41.957
there. And I like where he says.

21:42.480 --> 21:45.390
I wonder if he's using the same wind we're using.

21:46.850 --> 21:50.790
And he says, yeah, right. Vizzini constantly keeps saying inconceivable, inconceivable, right? So the morning—

21:51.290 --> 21:54.630
oh, oh no, we can't skip over. They're in, uh, eel-infested waters, right?

21:55.130 --> 21:58.310
And this is great. They talk about the shrieking eels. And so Buttercup jumps out

21:58.810 --> 22:00.290
of the boat. She's like, I don't know where she's gonna swim. We can't see

22:00.790 --> 22:03.510
land anywhere. They really do seem to be in the middle of nowhere, right?

22:04.010 --> 22:05.930
Whether this is a sea, a lake, or an ocean, whatever it is, it's big

22:06.430 --> 22:08.450
and they're in the middle of it. And, but she jumps out to try to

22:08.950 --> 22:11.838
get away and Vizzini's like, you know, So if you come back now, like,

22:12.240 --> 22:14.343
we'll pull you back in. I promise no harm will come to you, which I

22:14.568 --> 22:17.924
can't— there's no reason to believe him. But, you know, I doubt you'll get the

22:18.424 --> 22:22.018
same offer from the Eels. No. And so this Vizzini impression has

22:22.098 --> 22:25.631
really taken off, folks. I wish this was a video podcast.

22:25.711 --> 22:29.243
My man is killing it right now. Sorry, Steve. I've been watching this movie for

22:29.581 --> 22:33.033
decades. So, but anyway, so I love it because this is a point where we

22:33.113 --> 22:36.790
cut back to the sort of the conceit of the storytelling.

22:37.290 --> 22:40.990
Yeah. Because the eel starts like charging at Buttercup, and then the movie

22:41.490 --> 22:44.950
sort of cuts back to Grandpa and Fred Savage, right, talking. It's like,

22:45.450 --> 22:48.090
you know, he goes like, I want you to know she does not get eaten

22:48.590 --> 22:52.210
by the eels at this time. And he's like, what? You seem worried, so I

22:52.710 --> 22:54.870
just want you to know, like, yeah, she's okay. No, no, Grandpa, I'm all right,

22:55.370 --> 22:57.390
just keep going. And he starts— and I love this little moment where he starts

22:57.890 --> 23:01.190
reading and it's repeating. So, oh, she jumps in the water, the eels are

23:01.690 --> 23:03.990
there. And he goes, no, Grandpa, you, you got this part already, like, skip ahead,

23:04.490 --> 23:06.967
you got it, you got it. He goes, oh, Oh, I'm so sorry. Oh,

23:07.207 --> 23:10.496
what'd I do? I lost my place in the book. Like,

23:10.752 --> 23:14.474
it's such a Columbo moment for this character. They really did just

23:14.490 --> 23:17.217
have him be Columbo. I love it, man. Uh, but anyway,

23:17.313 --> 23:20.682
basically they get— I guess the boat gets close enough that Fezzik

23:21.182 --> 23:24.580
is able to just punch an eel out cold and grab Buttercup and bring

23:24.596 --> 23:27.852
her back into the boat. Uh, those eels are good, like, creepy fake

23:27.964 --> 23:31.349
monsters. They're really good. So many of the, like, practical— because it's all practical

23:31.849 --> 23:33.920
effects in this, there's nothing that's CGI. This is all before all that. So all

23:34.420 --> 23:37.480
of it is like vinyl suits and mechanical things and puppets and all that stuff,

23:37.980 --> 23:40.560
and it all looks like good. It all holds up. Yeah. Uh, we'll get to

23:41.060 --> 23:43.640
some of the stuff later. Some of the puppets. Yeah, I'm thinking about one specifically.

23:44.120 --> 23:47.140
Yeah. But you know, so there's— so basically they're able to pull Buttercup back in,

23:47.640 --> 23:49.420
and you know, Vizzini's like, I bet you'll think you're brave. And you know,

23:49.920 --> 23:52.050
she's like, only compared to some. You know, she's got to dig in her dig-in.

23:52.300 --> 23:55.680
So she's trying to stay cool, you know, and, and, and strong and everything.

23:55.700 --> 23:59.336
Uh, kind of cut to morning. We can see that it's like sunrise coming And

23:59.352 --> 24:02.415
that boat that Inigo was pointing out has definitely gotten closer. Yeah,

24:02.463 --> 24:05.542
a ton of distance, right? Um, and they,

24:05.751 --> 24:09.375
uh, they, they arrive now at the Cliffs of Insanity. Exactly. And, uh,

24:09.455 --> 24:12.485
there's this big rope that they climb up, and the way that they do it

24:12.646 --> 24:16.206
is Fezzik just throws everybody on his back. So he's carrying 3 people

24:16.574 --> 24:20.006
and making good-ass time. I mean, I'm thinking about climbing the rope in gym

24:20.022 --> 24:22.363
class. All I could do is hang there till I got a boner, and then

24:22.863 --> 24:24.817
I had to get off there. Like, I never got anywhere on that thing.

24:25.089 --> 24:28.220
I, I didn't have enough blood. blood circulating anywhere but my arms to even have

24:28.720 --> 24:32.480
that happen at that point. It was a nightmare. Um, so,

24:32.980 --> 24:36.200
uh, so there's this great scene of, you know, they're climbing up and now they

24:36.700 --> 24:39.750
can see the figure behind them is this guy who's in this very Zorro-like,

24:39.980 --> 24:43.680
you know, man in black, black mask, black cape, or black, uh,

24:44.180 --> 24:47.560
clothing, whatever. He's got like a bandana and a mask on, so he's completely covered

24:48.060 --> 24:51.040
except for like his mouth, basically. Yeah. Uh, and he's, he's gaining on him.

24:51.540 --> 24:54.320
Yeah. But they're able to make it to the top before he does, right?

24:54.820 --> 24:56.180
And Vizzini's able— he cuts the rope from their end, so the rope falls,

24:56.680 --> 25:00.019
but Man in Black has been able to hold on to the cliffs or

25:00.519 --> 25:03.081
whatever. And so Vizzini says, like, you know, wait till he reaches the top and

25:03.581 --> 25:05.662
then kill him, you know. And so, and then they— but they go off with

25:05.870 --> 25:09.525
Fezzik and Buttercup, and Vizzini goes the other way. So now Inigo's like pacing,

25:09.557 --> 25:11.417
you know, and he's like, yeah, you know what I love it? He says like,

25:11.721 --> 25:14.703
he's like, I will have to fight him left-handed. And he goes, you know what

25:15.203 --> 25:17.989
a hurry we're in? And it's like, it's the only way I can be satisfied.

25:18.694 --> 25:21.644
Right hand would go too quick, you know. And so he's like practicing or whatever,

25:21.692 --> 25:23.808
and he finally is kind of like— I'm not gonna do the voice the whole

25:24.308 --> 25:26.886
time, don't worry. But he's— no, I was just fantasizing. My all-time dream for this

25:27.386 --> 25:31.022
podcast is for us to get a copyright strike strike of you doing an

25:31.522 --> 25:34.650
impression. That sounded so real.

25:34.731 --> 25:37.939
All-time dream. We get sued by Wallace Shawn

25:38.036 --> 25:41.827
because you used my audio without my permission.

25:45.160 --> 25:48.841
It's weird, he didn't ad for our podcast, funnily enough.

25:49.470 --> 25:52.780
Next week on 2 Dads 1 Movie, The Princess Bride. It's inconceivable

25:53.280 --> 25:53.959
that you won't enjoy this episode.

25:57.588 --> 26:01.345
Okay, all right, so, so basically Inigo's getting impatient

26:01.361 --> 26:03.465
and he calls down to him and he says like, could you hurry up?

26:03.754 --> 26:06.306
And the man in black is like, uh, this is not as easy as it

26:06.419 --> 26:09.533
looks. Like, like, I'm doing my best here, you know? Um, and he's like,

26:09.550 --> 26:11.316
well, I could throw you the rope, but I don't think you could trust me

26:11.816 --> 26:13.660
since I'm just waiting to kill you. He goes, yeah, that, that puts a damper

26:14.160 --> 26:17.304
on things, sorry. But then Inigo looks down— Their dynamic is— It's so good.

26:17.722 --> 26:21.735
So good, my God. It's just, they're so, uh, equals in honor.

26:22.110 --> 26:24.580
Yes. Or something like that, you know? So he looks at him and he says,

26:25.080 --> 26:27.700
you know, I swear on the name of my father, Diego Montoya, you will reach

26:28.200 --> 26:30.250
the top alive. You know, and he's like, throw me the rope. Like, I'm good.

26:30.260 --> 26:32.940
That was enough. I'll get up there. And so, you know, he gets up,

26:33.440 --> 26:34.600
he even lets him kind of chill for a bit. They talk for a little

26:35.100 --> 26:38.300
bit and we get Inigo's backstory. He basically tells, you know, the man in black,

26:38.800 --> 26:42.440
as we're referring to at this point, about his father, who's a swordsmaker, who had

26:42.940 --> 26:45.800
a 6-fingered man come and request a sword. And, you know, that's the sword he

26:46.300 --> 26:48.370
has. It's like, this is the father. And, you know, it's gorgeous. It's beautiful.

26:48.530 --> 26:51.942
like everything that's a fence— not a fencing foil, it's like a thin saber or

26:52.442 --> 26:54.634
something, whatever. Yeah, but it's gorgeous. And the Man in Black says, I've never seen

26:55.134 --> 26:57.438
its equal, it's amazing. And he like even hands it to the guy he's about

26:57.938 --> 26:59.473
to, you know, fight to the death, like, here, take a look at this thing.

26:59.521 --> 27:03.110
Because to do anything with it at that point would be dishonorable. Exactly.

27:03.687 --> 27:07.356
Um, yeah, so, and the 6-fingered man refused to pay his

27:07.388 --> 27:11.090
father what he owed for the sword. And, uh, you know, when his father

27:11.378 --> 27:14.294
protested, tried to get paid for it, he killed him. Right?

27:14.374 --> 27:18.170
So this is the guy that Inigo Montoya is on the search for his entire

27:18.670 --> 27:22.350
life. The purpose of basically his existence is finding the Six-Fingered Man.

27:22.850 --> 27:25.530
Yeah, he left him with a couple of scars on his cheeks. Extra added digit,

27:26.030 --> 27:29.010
this doesn't fit, missing or art— if we had a hashtag that was wrong number

27:29.510 --> 27:32.560
of extremities— That could work. Then that could work. That could work, but no.

27:33.030 --> 27:36.330
Not that there's anything wrong to our six-fingered community, our six-fingered listeners

27:36.830 --> 27:39.770
out there, you know, shit happens. I also wouldn't want to denigrate the Six-Fingered Man

27:40.270 --> 27:43.770
by including it because of artificial, you know, as part of that. That's not artificial,

27:44.270 --> 27:47.580
he was born that way. No. So, um, so he says, yeah, he's been studying

27:48.080 --> 27:50.500
fencing for 20 years, hunting this man down. He can't find him, like, whatever,

27:51.000 --> 27:52.620
you know, because he asks, you know, the man, like, do you happen to have

27:53.120 --> 27:55.800
6 fingers on your right hand? No, I don't, you know. And, um, and so

27:56.300 --> 27:57.720
he's like, yeah, man, this is all I've been doing is studying. He's like,

27:58.220 --> 28:00.560
well, you must be really good. He's like, yeah, I'm all right. So then we

28:01.060 --> 28:04.820
get like this wonderful, like, 3, 3 and a half minute long duel. It's excellent.

28:05.320 --> 28:09.760
I mean, it's so entertaining. And this again is just like no

28:10.260 --> 28:13.600
effects. This is no camera tricks. This is actors having fucking

28:14.100 --> 28:17.905
chops. This is guys who study theatrical sword fighting for years and years before,

28:18.098 --> 28:21.656
you know, did stage plays and all this shit with wooden swords forever. Like,

28:22.041 --> 28:25.327
it looked awesome. Yeah, it was great. And we don't always use wooden swords.

28:25.407 --> 28:28.244
Like, I was actually in a production in high school where we had real steel

28:28.292 --> 28:31.578
broadswords for a Scottish play. It didn't— we didn't

28:31.658 --> 28:34.383
end up actually performing on stage. We did rehearsals for weeks and weeks and weeks

28:34.883 --> 28:38.503
and weeks, and a few people were not careful enough with their swords that

28:38.631 --> 28:41.580
the director, Mr. Kornfield, was like, we can't put this on, we're gonna have to

28:42.080 --> 28:45.890
cancel the performances, and because people are not being safe enough. And it's

28:46.390 --> 28:48.940
like, it's the Scottish play. There's a lot of fighting and killing in that play.

28:48.950 --> 28:50.890
Yeah, yeah, yeah. And so, you know, there's that. And I played a character that

28:51.390 --> 28:54.210
died early. Banquo dies early. And there was a point where, like, I think I

28:54.710 --> 28:58.010
was dead on stage and somebody walked past me with their sword, but the point

28:58.510 --> 29:01.270
was just, they were just pointing it down, like walking with it. And it got—

29:01.770 --> 29:05.150
Just like scraped you. Felt like inches from, did not touch me, but felt very

29:05.650 --> 29:07.910
close. And I think I yelped and it was like, well, the dead body is

29:08.410 --> 29:10.290
now yelping. That's not, we need to figure out what's going on here. And that

29:10.790 --> 29:13.140
was when I, yeah, that got real close, you know? So we didn't end up

29:13.640 --> 29:17.130
doing it, but I did do a lot of swordplay rehearsal choreography, which was fun.

29:17.140 --> 29:20.370
Remember when swords in school were our biggest problem,

29:20.479 --> 29:23.720
folks? That's why we love the '80s and '90s. This was like '97, I think.

29:23.760 --> 29:27.380
Yeah. So anyway. Awesome. So great fight. And then there's

29:27.880 --> 29:30.640
a point where, you know, because we've been told Inigo is right-handed, we'll be fighting

29:31.140 --> 29:33.020
with his left hand. He then reveals that to the Man in Black. He says,

29:33.520 --> 29:35.280
you know, I gotta say, you're better than me, but I have a secret that

29:35.780 --> 29:38.780
you don't know. I'm not left-handed. So he switches to his right hand and it

29:39.280 --> 29:42.340
starts beating. He goes, you are amazing. You're wonderful. He's like,

29:42.840 --> 29:45.479
I should hope so. For 20 years. Or whatever. And he goes, but I know

29:45.979 --> 29:49.395
something you don't know. What's that? I am also not left-handed. And so then now

29:49.427 --> 29:52.637
they're both fighting with their dominant hands. It's just so good. There's a moment where

29:53.137 --> 29:56.088
like a really— I mean, obviously this is a set, you know, clearly, but a

29:56.588 --> 29:59.876
really conveniently placed vine, I guess it's supposed to be, or tree

30:00.376 --> 30:03.792
branch or something that he does a flip off of. He does the amazing work.

30:03.936 --> 30:07.547
I wrote that down. There's a Gymkhana-style bar just

30:08.047 --> 30:11.561
randomly placed in the middle of the scene. I really But that punctuated

30:11.642 --> 30:15.273
it. Yeah, yeah. And it ends with the Man in Black knocks

30:15.773 --> 30:18.792
out Inigo Montoya. He, you know, is in the position where he can kill him,

30:18.808 --> 30:22.665
but instead— and throughout the movie we get a lot of like the lightest

30:23.165 --> 30:26.184
clunks on the head that result in like a knockout in one blow. There's definitely

30:26.684 --> 30:29.398
a very not light one later we'll get to. But, uh, but yeah, no,

30:29.414 --> 30:31.647
basically he says, you know, kill me, make it quick, you know. And everybody's like,

30:31.663 --> 30:34.540
well, I'd sooner destroy a stained glass window, you know, like, no. And so he

30:35.040 --> 30:37.687
just knocks him out and runs off after Fezzik. So that, that kind of— so

30:38.187 --> 30:41.379
now the man in black has defeated Inigo, right? He defeated the swordsman, right,

30:41.444 --> 30:44.750
with his fencing, and it's time to move on. Uh,

30:45.136 --> 30:48.763
okay, so now he, uh, he's running up after,

30:48.828 --> 30:52.263
uh, after Fezzik, and yeah, and Fezzik is

30:52.616 --> 30:56.212
tasked with, all right, you stay here, you're gonna take— you're

30:56.712 --> 30:59.422
gonna face this guy down, right? Right. And he's gonna just take a rock,

30:59.438 --> 31:02.793
like basically hide behind something and clock him over the head with a rock.

31:02.906 --> 31:05.891
And he's like, this is not very honorable, right? I'm gonna do it. Yeah,

31:06.020 --> 31:09.609
please, please. Please. What do you want me to do? When he comes around

31:10.109 --> 31:12.304
the bend, you pick up a rock, you hide behind something, and you smack him

31:12.804 --> 31:15.518
in the head with the rock your way. My way? Not very sportsmanlike.

31:17.545 --> 31:20.585
And it's true, it's not. So when the Man in Black arrives, Vizzini has run

31:20.682 --> 31:23.932
off with Buttercup, Fezzik is hiding. The Man in Black comes to where these big,

31:24.012 --> 31:27.343
big boulders, these big stone boulders are sitting, you know, whatever. And a rock like

31:27.407 --> 31:30.849
flies past his head and, you know, explodes against the other rock. And,

31:31.124 --> 31:33.467
and, and Fezzik says, you know, I didn't have to miss. He's like, yeah,

31:33.628 --> 31:36.449
I, I believe you, like, you know, whatever. whatever. And he's like, let's put our

31:36.465 --> 31:39.576
weapons down. No rocks, no swords, no tricks. Let's just fight.

31:39.896 --> 31:43.424
Yeah, hand to hand. Which, like, good Lord, how do you fight a man

31:43.440 --> 31:47.209
like that? Because the few scenes in this movie where it shows Andre

31:47.289 --> 31:51.105
the Giant's hand compared to, like, any other reference is unbelievable.

31:51.218 --> 31:53.671
It's really cool. There's a great little story from, like, kind of behind the scenes

31:54.171 --> 31:57.375
from the thing at several points during the filming, but I think especially the final

31:57.391 --> 32:00.326
nighttime scenes, uh, when they're rescuing Buttercup near the end.

32:00.599 --> 32:04.527
Because it was nighttime, they're filming Robin Wright kept complaining of getting cold.

32:05.153 --> 32:07.943
Andre would just walk over to her and like place his hand like gently on

32:07.975 --> 32:10.957
top of her head. And he did it for Cary Elwes too. And later in

32:11.006 --> 32:13.812
an interview, years later, Cary said it was like having like a hot water bottle

32:14.312 --> 32:16.217
on your head. Like, it was amazing. Made you feel better, got rid of a

32:16.717 --> 32:20.146
headache. It was like warmed your whole body up just having this enormous paw just

32:20.646 --> 32:22.407
resting on top of your head. Nice. And they were— and it was big enough

32:22.907 --> 32:24.988
to be a hat for any of them. Like, yeah, yeah, so enormous, you know.

32:25.373 --> 32:28.404
Uh, it sounds like Andre was like the coolest dude to be on a set

32:28.904 --> 32:32.130
with and just the nicest, Nicest guy to like be involved with. I hear everyone—

32:32.630 --> 32:35.690
yeah, people have good experiences with him. And he apparently loved being in this movie

32:36.190 --> 32:39.550
because his comment was, nobody's— nobody looks at me. Yeah, I'm not the

32:40.050 --> 32:42.930
center of attention in anything, right? Just here, which I enjoy. You know, it's like

32:43.430 --> 32:46.010
you got to think about a guy who spent his entire life being the center

32:46.510 --> 32:49.270
of attention in any place he's ever been, right? To be somewhere where he's allowed

32:49.770 --> 32:52.970
to be somewhat tertiary, right? It must have been— he's just part of

32:53.470 --> 32:55.870
the crew. It's not like, look at the freak. One of the guys. Yeah,

32:56.370 --> 33:00.120
exactly. As he's fighting the man in black, he's asking him about his mask.

33:00.620 --> 33:03.790
He's like, "Oh, why are you wearing the mask? Acid? Like, did his face get

33:04.290 --> 33:08.550
burned or whatever?" Man in black here, crazy. He says, "It's terribly comfortable.

33:09.050 --> 33:11.630
I predict everyone will be wearing them in the future." So he kind of predicted

33:12.130 --> 33:15.430
COVID. Did we predict COVID? I think it might be well, except he said they

33:15.930 --> 33:18.650
were fashionable, which that's true. Certainly not why we wore them, but I'll give it

33:19.150 --> 33:22.870
to him. Twenty four. Yeah. So this is a this is a great fight here.

33:23.370 --> 33:26.030
But of course, the quickness of the man in black is able to take out

33:26.530 --> 33:30.030
Fezzik and. You know, now he's defeated 2 of the 3.

33:30.530 --> 33:33.570
He's on his way to Buttercup. Fezzik even says like, uh, it's hard because I've

33:34.070 --> 33:37.310
been fighting groups. You use different moves when you're fighting, you know, half a dozen

33:37.810 --> 33:40.370
men versus when you're fighting just one. Do the Haggar from Final Fight, like the

33:40.870 --> 33:44.490
double-handed spin fist thing. That move always got me in trouble.

33:44.990 --> 33:46.950
I tried using it way too much. But yeah, um, so yeah, so he knocks

33:47.450 --> 33:49.450
him out. He says, you know, I don't envy you the headache you'll have when

33:49.950 --> 33:53.360
you wake up. Sleep well, dream of large women, and runs off.

33:53.950 --> 33:57.103
Um, so yeah, so 2 out of 3 are down, Yep. And, uh, or we're

33:57.603 --> 34:00.854
back at the prince now, right? Oh, that's right. So they're on the trail a

34:00.870 --> 34:04.396
little bit behind, and it's, uh, and it's Humperdinck, and it's a Christopher Guest

34:04.896 --> 34:08.451
character playing Count Rugan, right? He's kind of his— who's the lieutenant?

34:08.788 --> 34:12.554
Uh, his sidekick, right? And the prince is like doing CSI at

34:13.054 --> 34:15.664
the scene of the sword fight, which is really funny, you know, by like sniffing

34:15.696 --> 34:18.821
a footprint he can tell exactly like what they were doing at the

34:19.321 --> 34:22.476
time. And, uh, so this is a good scene here. And, um,

34:22.668 --> 34:26.354
2 men dueled, they're both masters. The loser went

34:26.854 --> 34:29.127
that way, while the winner ran— it's like, how would you know which one was

34:29.159 --> 34:33.485
the winner and the loser? It's so

34:33.678 --> 34:36.450
dumb. So now, now the man in black,

34:37.091 --> 34:40.312
yeah, is with Vizzini here. Yes. So, so he was— so Vizzini is sitting

34:40.360 --> 34:43.853
at like a little, little rock, whatever, like a table, and he's got like wine

34:43.901 --> 34:47.347
and like cheese, I think, or something. Like a little, little, little cheese and meat

34:47.411 --> 34:51.540
plate, a little picnic going. And Buttercup's there with a blindfold. So she

34:52.040 --> 34:53.880
can't see and he's got a knife to her throat and is basically like,

34:54.100 --> 34:57.940
please move forward if you'd like to kill her, kind of thing. And they

34:58.440 --> 35:01.720
basically decide, and he says, I can't, you must be trained because

35:02.220 --> 35:05.350
you beat my swordsman, you beat my giant,

35:06.020 --> 35:09.500
whatever, here we are, but I can't fight you physically and you're not— You

35:10.000 --> 35:12.580
bested my Spaniard, he says. You bested my Spaniard, that's a weird way to put

35:13.080 --> 35:16.300
it, but yes. But he's basically like, you can't compete with my brains and I

35:16.800 --> 35:19.905
can't compete with you physically. go away, like, we're done, or whatever.

35:20.473 --> 35:23.703
And, and he's like, oh, you're that smart? He goes, have you heard of Plato?

35:24.141 --> 35:26.053
Socrates? Morons.

35:27.760 --> 35:30.803
So they decide on a battle of wits. And, and the man in black is

35:30.835 --> 35:34.507
like, okay, like, I've got this, you know, smell it but don't touch,

35:34.539 --> 35:36.742
you know. And he sniffs, and I smell nothing. You know, that nothing you smell

35:36.790 --> 35:39.972
is iocane powder. Mm-hmm. It's a poison. And I'll put it in one

35:40.085 --> 35:42.656
cup, pour the wine, I'll put it in one cup, you pick, we both drink,

35:42.737 --> 35:45.711
and we see who is right and who is dead. Uh, and Vizzini loves this

35:46.211 --> 35:49.336
idea. He's like, this is fantastic. Yeah. So the Man in Black takes the cups

35:49.836 --> 35:51.615
and kind of— we don't, we don't see what he's doing with it, but he's

35:52.115 --> 35:54.149
like doing something. And he comes back and he's got the 2 cups and he

35:54.649 --> 35:57.053
puts them down. He's like, okay, here we go. Battle of wits has begun.

35:57.182 --> 36:00.615
Like, you pick, we drink, let's see what happens, right? And Vizzini is

36:00.711 --> 36:03.808
like stalling and like talking about how like, you know, like, well,

36:03.856 --> 36:06.824
clearly, you know, you, you've learned that man is mortal and you would leave the

36:07.324 --> 36:11.525
poison as far away from you as possible. So I cannot— clearly cannot

36:12.025 --> 36:12.200
I'm not choosing, the cop in front of me. And, you know, he keeps like

36:12.700 --> 36:14.440
all this back and forth, and the Man in Black even calls him out,

36:14.940 --> 36:18.660
dude, you're stalling. Yeah, yeah. Like, come on. And this is a great— all this

36:19.160 --> 36:22.960
dialogue here, and Wallace Shawn is just killing it here. Maybe the intro, I don't

36:23.460 --> 36:25.460
know what we use for the intro. This would be a decent choice. It's a

36:25.960 --> 36:28.140
candidate. I feel like it's this or To the Pain. I feel like those are

36:28.640 --> 36:31.080
the 2 best candidates, but we'll see what we end up choosing. But yeah,

36:31.580 --> 36:34.380
so there's this, and then he's like singing, and then he goes, Vizzini goes,

36:34.880 --> 36:37.820
oh my God, what is that? And the Man in Black turns, what?

36:38.070 --> 36:41.330
And Vizzini switches the cups. And when he comes back, he goes, oh, it must

36:41.830 --> 36:44.830
have been nothing. I thought I saw something. Oh well, okay, let's drink.

36:45.010 --> 36:48.410
And so they both drink, and the Man in Black goes, you chose wrong.

36:48.910 --> 36:51.330
And then Vizzini's like, you only thought I chose wrong, I switched their cups!

36:51.830 --> 36:54.740
He's so excited, right? He even says something about like— He's so proud of himself.

36:55.210 --> 36:58.610
You fell victim to one of the classic blunders, the most famous of which is

36:59.110 --> 37:02.150
never get involved in a land war in Asia, but only slightly less well-known is

37:02.650 --> 37:05.070
never go in against a Sicilian when death is on the line!

37:06.546 --> 37:09.833
And then he falls down dead. Fantastic stuff. RIP to

37:10.333 --> 37:13.600
one of the best characters we've seen, Mike, during the entire run of this

37:14.100 --> 37:17.719
podcast. Vizzini is a mascot waiting to happen.

37:17.768 --> 37:21.471
He should be the symbol of something. Yeah. There's just like, it's such a

37:21.535 --> 37:24.981
great villain character, even though he doesn't last all that long. I mean, Humperdinck's the

37:24.997 --> 37:29.534
real villain of this movie, but Vizzini is such a fun character. So basically,

37:30.512 --> 37:33.653
you know, it's now Man in Black. So Vizzini is dead, Fezzik and Inigo are

37:34.153 --> 37:36.443
dealt with. So now the Man in Black has Princess Buttercup, and, you know,

37:36.459 --> 37:40.590
she's like, oh, Humperdinck's gonna come for you. You know, like whatever. And she—

37:41.090 --> 37:42.590
the Man in Black is a stranger to her. Yeah, oh yeah, she has no

37:43.090 --> 37:46.230
idea. And he's not telling her who he is. Curious, yeah. But then they go

37:46.730 --> 37:48.770
for a while, and then we see— so they go for a bit, and then

37:49.270 --> 37:51.490
we see, we cut back to Humperdinck, and he's now gotten to where Fezzik and

37:51.990 --> 37:55.710
the Man in Black fought. And he says, someone has beaten a giant,

37:56.210 --> 37:58.570
you know, like the whole thing. And so he's like, you know, they're still on

37:59.070 --> 38:02.270
the trail. And as they're running, Buttercup and the Man in Black are running away,

38:02.670 --> 38:05.190
they stop and he says, catch your breath. And they're basically talking, and like,

38:05.690 --> 38:07.200
I'm not gonna get into all of it, but the breakdown is She's like,

38:07.310 --> 38:10.300
the man in black is like, uh, you know,

38:10.800 --> 38:13.600
you, you've never loved, or you, you know, you're not an honest person, like women

38:14.100 --> 38:15.640
lie, like all this stuff. And she goes, you have no idea what you're talking

38:16.140 --> 38:19.040
about. I've loved more than you could ever understand. He's like, bullshit. And that's when

38:19.540 --> 38:23.360
she goes, I know who you are. You're the Dread Pirate Roberts. And he's like,

38:23.860 --> 38:26.360
that's correct. Like, nice to meet your acquaintance, right? Yeah. And she's basically like,

38:26.860 --> 38:29.500
you killed my one true love. You know, you're a horrible person. I would never,

38:29.520 --> 38:31.960
you know, I, I will do anything I can to kill you, like blah,

38:32.460 --> 38:35.459
blah, all this stuff, right? And, you know, he's sort of like, well, what's such

38:35.959 --> 38:38.972
a big deal? And he tells this story of like, you know, a man who

38:39.472 --> 38:41.249
came to her and— or came to him when he captured them, was like,

38:41.378 --> 38:44.361
oh, like, you know, I've got this true love, you know, please don't kill me,

38:44.377 --> 38:47.650
like whatever. And he's like, you know, he said please, that was interesting. But basically

38:48.150 --> 38:51.772
they're having this conversation and then she is like, you know, you die,

38:52.045 --> 38:55.414
die, you know, you, you took from me everything I've ever loved, so now you

38:55.914 --> 38:58.494
need to die. And pushes him down a hill. Crazy tall hill.

38:58.542 --> 39:01.655
Huge, yeah, enormous hill. he's tumbling in ways that

39:01.687 --> 39:05.009
would break your neck. Almost assuredly he's yelling,

39:05.522 --> 39:09.679
as you wish, which is all it takes for her to recognize,

39:09.855 --> 39:13.739
oh, my sweet Westley. And then she just like tucks herself down

39:14.239 --> 39:18.040
the hill. She doesn't even take a couple cautious steps. She just fully like yoinks

39:18.540 --> 39:21.282
herself down. Doesn't try to slide down on her butt or anything. Just doesn't try

39:21.782 --> 39:24.925
to do the, uh, like the barrel roll tumble. It's straight somersault.

39:24.973 --> 39:27.812
It's like, again, folks, protect your Listen to Wu-Tang Clan,

39:27.908 --> 39:31.163
protect your neck. You know those big, uh, those big like beach ball

39:31.291 --> 39:34.160
things that are— you can get inside and they'll roll it down the hill?

39:34.433 --> 39:38.055
It looked like that, just, just like she didn't have the inflatable thing

39:38.104 --> 39:41.021
around her, which protects— it was crazy, dude. Um,

39:41.390 --> 39:44.981
yeah, so all-time fall, very funny. Really crazy tumble down the

39:45.481 --> 39:48.299
hill. Then when they get to the bottom of the hill, you know, he can

39:48.363 --> 39:51.200
pull his mask off and reveal who it is, and then they're kissing, right?

39:51.649 --> 39:55.224
And then we're— we snap back to the story, to Kevin Arnold,

39:55.336 --> 39:58.590
to, uh, Kevin Arnold. You're not wrong, you're not wrong. wrong,

39:59.090 --> 40:02.370
dude. That's— it looks good. Uh, to Fred Savage and, uh, and Columbo there.

40:02.660 --> 40:06.090
Yeah, yeah, reading the book. And Kevin Arnold and Columbo. That's who's the— Kevin Arnold

40:06.590 --> 40:09.670
and Columbo. Um, and he's like, ew,

40:10.170 --> 40:14.030
like, you know, he doesn't like the kissing. So Grandpa's

40:14.530 --> 40:16.790
got to be quick on his feet. Yeah, he's like, I want to hear about

40:17.290 --> 40:19.990
the fire swamp. Yeah, because he said like— because basically like in the story Wesley

40:20.490 --> 40:22.850
says like, oh, we're almost to the fire swamp, we'll be safe there. And she's

40:23.350 --> 40:26.300
kind of like, safe from the That doesn't sound right to me, but okay.

40:26.800 --> 40:29.700
And she's like, are you sure? And he goes, oh, she said, I think she

40:30.200 --> 40:32.660
said something like, will we even survive the firestorm? And he goes, you're only saying

40:33.160 --> 40:34.840
that because no one ever has. Like, come on. It's not a big deal.

40:35.340 --> 40:38.260
And it's like, he's very confident. He's like, we'll figure it out. But Humperdinck has

40:38.760 --> 40:41.360
lost track of them. It's a very kind of funny moment where it's like after

40:41.860 --> 40:45.180
they tumble down the hill, we see him later at the top of ostensibly the

40:45.680 --> 40:49.120
same hill, I guess. He goes, they've disappeared. Like, what? And they're like

40:49.620 --> 40:52.720
in the middle of this like wide open ravine. Like if you just look down

40:53.220 --> 40:55.906
in there, they're the only thing The greatest hunter who they say can track a

40:56.406 --> 40:59.834
falcon on a cloudy day can't look down into the ravine to see the people

41:00.334 --> 41:03.986
he's chasing. Against like light-colored rock. All black. And this dude, it's all against

41:04.486 --> 41:06.632
gray and green. Like, he would have stood out. And she's in like bright red,

41:06.712 --> 41:10.095
like robes, you know. Anyway, but so they head into the fire swamp. Yes.

41:10.239 --> 41:13.446
And the, the fire swamp is funny. So it's like, it doesn't

41:13.462 --> 41:16.876
look like, uh, like lava or magma, but what it has is these

41:16.973 --> 41:20.612
random like geysers of fire that shoot up out of the ground. Yeah.

41:21.061 --> 41:25.133
Um, and at one point, uh, Buttercup almost

41:25.633 --> 41:27.539
house gets hit by one. And as they go through it, the way that Wesley

41:27.571 --> 41:30.842
is just so casually avoiding it— it's like that Richard

41:31.342 --> 41:34.979
Pryor bit where he's doing an impression of like a Black guy like walking down

41:35.027 --> 41:38.363
the street and he sees a snake and he doesn't react big, he just goes,

41:38.395 --> 41:42.340
snake, and just like steps aside super quick. He was doing snake

41:42.840 --> 41:46.124
to all these, uh, these fire geysers in here. Flame spurts or something, I can't

41:46.624 --> 41:48.096
remember what they call them. They have some term for them. Yeah, yeah, yeah.

41:48.497 --> 41:51.490
And what he's saying, uh, in the story, because she's And she's like, okay,

41:51.990 --> 41:54.270
well, what about the Dread Pirate Roberts story? I thought you were dead. Yeah,

41:54.770 --> 41:57.670
you were supposed to be dead. And he's like, well, we actually became friends and

41:58.170 --> 42:01.230
blah, blah, blah. Yeah, 'cause basically the story that kind of he told her at

42:01.730 --> 42:03.850
the beginning before revealing who he was about like there being a kid who said,

42:04.350 --> 42:05.970
please don't kill me, true love, whatever. He's like, that's all true. That's what I

42:06.470 --> 42:08.940
told him. And he went, well, I've never had a valet before. I'll try it.

42:08.990 --> 42:12.410
I'll probably kill you in the morning. And he said for 5 years, he just

42:12.910 --> 42:15.410
every night would say, you know, good night, Westley. Nice job today. I'll probably kill

42:15.910 --> 42:17.670
you in the morning. You know, and it's like, and then he didn't. And then

42:18.170 --> 42:20.570
finally he admitted to Westley, Dread Pirate Roberts did, that he's not the original Dread

42:21.070 --> 42:24.550
Pirate Roberts. Roberts, that it's a title, that it gets handed

42:25.050 --> 42:26.970
down after you make enough money to kind of retire on. Like, there's no point

42:27.470 --> 42:30.830
in keeping doing it, so you hand it to somebody else. And he basically says,

42:31.330 --> 42:33.290
like, well, I'll hand it to you. So they, you know, went somewhere, got a

42:33.790 --> 42:36.370
whole new crew. The old Dread Pirate Roberts stayed on as the first mate and

42:36.870 --> 42:39.190
kept calling Wesley Roberts. So by the time the crew believed, it was like,

42:39.690 --> 42:42.190
oh, that's done. He is Dread Pirate Roberts now. And then he said, but now

42:42.690 --> 42:44.490
that I'm back and I found you and whatever, like, I'll hand it to somebody

42:44.990 --> 42:46.540
else. I'm not— I don't want to do it anymore. I'll live with you.

42:46.840 --> 42:50.532
Yeah. And so it was kind of a cool little story. They then are

42:50.548 --> 42:53.772
walking through, and, you know, Buttercup takes one step and just

42:54.141 --> 42:57.991
zips down through, you know, quicksand, but like— The quickest sand

42:58.491 --> 43:00.573
I've ever seen, yeah. And so Westley has to— he like finds a vine and

43:01.073 --> 43:03.508
like wraps himself around his waist, jumps in after her, and is able to climb

43:03.540 --> 43:07.133
them both out. We learn that's called lightning sand. And there's a great little moment

43:07.633 --> 43:10.791
here where as they are— after he's dived down in

43:10.839 --> 43:14.255
and they both have yet to surface, we see a couple of these enormous

43:14.352 --> 43:18.200
like rodents kind of walking around. that are, you know, they look like— Looking like

43:18.700 --> 43:22.191
Jimothy. Looking a lot like Jimothy, except 5 times bigger. Like really

43:22.207 --> 43:25.365
huge Jimothys. And, you know, but they kind of just

43:25.865 --> 43:29.725
sniff around and they walk off. Wesley pulls them back out, and as

43:29.741 --> 43:32.835
they continue kind of walking after they catch their breath, you know, he says to

43:33.335 --> 43:37.292
her, he's like, look, we've got this made. Like, you know, there's 3 well-known dangers

43:37.792 --> 43:41.123
of the fire swamp. There's a sound before the flame spurts, so we can avoid

43:41.623 --> 43:43.864
that. We now know what the lightning sand looks like, thank you for that.

43:43.928 --> 43:46.589
You know, because of your astute ability to find it, you know, we know what

43:47.089 --> 43:49.124
that looks like, we can avoid that. And then she goes, what about the ROUSs?

43:49.220 --> 43:51.982
And he goes, the rodents of unusual size? I don't think they exist.

43:52.287 --> 43:54.615
At which point he is jumped on by a rodent of unusual size and has

43:55.115 --> 43:58.437
to fight. Uh, this is one of the awesome

43:58.774 --> 44:01.809
combination puppet person in a suit scenes,

44:02.082 --> 44:05.341
you know, with this rodent attacking him and like rolling around this whole

44:05.357 --> 44:08.970
fight that we have. It is like a person in the, in the suit,

44:09.211 --> 44:13.016
and there aren't even that many like close-ups where it's like, you know, clearly just

44:13.516 --> 44:16.033
a puppet. Like, yep, this looks awesome. This looks great. I don't know that it

44:16.533 --> 44:19.466
ever was a puppet. I think the whole thing was done with a puppeteered mouth

44:19.723 --> 44:22.996
in the suit, I think. Okay, but I'm not positive. But there's a funny story

44:23.012 --> 44:26.477
though about the day they filmed this sequence. The guy who's in this— because there

44:26.977 --> 44:30.633
were 2, you know, little person actors used to do the suits

44:31.133 --> 44:32.654
for this, because there were at one point there's 2 of them on screen.

44:32.975 --> 44:35.141
Okay, but most of the time it's just one, and there's only one that actually

44:35.641 --> 44:38.478
attacks Wesley. So the actor who was in that suit was late that day to

44:38.978 --> 44:42.100
set. And Rob Reiner's like, what the fuck? Where is this guy? We don't exactly

44:42.600 --> 44:45.160
have other people we can just put in the suit. Like, this is— you know

44:45.660 --> 44:47.260
what I mean? Like, we don't have a replacement for this guy. It's a specific

44:47.760 --> 44:51.320
size. Very specific, you know? We need an actor of specific size. And there's

44:51.820 --> 44:54.780
2 stories as to why. Yeah. So there's the story I found on IMDb that

44:55.280 --> 44:57.540
sounds more like the official story, which is basically that he got pulled over for,

44:58.040 --> 45:01.600
like, speeding, and the officer did not believe his story that he is an actor,

45:02.100 --> 45:04.280
that he is on his way to set to play a rat for the day,

45:04.780 --> 45:06.580
and really he needs to go. And, like, all this stuff, and, like, just took

45:07.080 --> 45:10.443
forever to get him, like, through this traffic stop or something. Apparently the suit weighed

45:10.459 --> 45:14.082
50 pounds, by the way. It was all vinyl and stuff. Shoot. Enormous. The other

45:14.582 --> 45:18.410
story is a story Rob Reiner once told in an interview that he claimed at

45:18.910 --> 45:20.975
one time— I don't have like all the details here, but basically something along the

45:21.475 --> 45:24.710
lines of his story is that the actor was like arrested

45:25.207 --> 45:28.765
for burning down a kennel he owned in some kind

45:29.265 --> 45:32.196
of like potentially divorce or insurance-related brouhaha,

45:32.581 --> 45:36.075
and that Reiner and somebody else from the production had to go bail

45:36.123 --> 45:39.698
him out to get him to shoot that day. I— because that's not

45:39.730 --> 45:43.220
what happened, ended up on IMDb because there is an alternative story that is less

45:43.720 --> 45:46.820
fantastical. I kind of feel like it's probably more the speeding ticket thing. That is

45:47.320 --> 45:50.100
a story Rob Reiner told at one time. But also, you wouldn't want the public

45:50.600 --> 45:53.460
story about your children's movie to be like, oh yeah, you see that guy playing

45:53.960 --> 45:56.440
the little puppet? Yeah, he burned a bunch of dogs alive 'cause he was mad

45:56.940 --> 45:58.720
at his bitch wife. I don't think there was any dogs in the kennel.

45:59.220 --> 46:01.680
I do think it was like just the property, but that's the story that got

46:02.180 --> 46:05.900
told there. So very interesting stuff. Nice. So Wesley,

46:06.400 --> 46:09.220
he defeats this rodent of unusual size, right?

46:09.530 --> 46:12.571
Yeah, he like rolls him over to a flame spurt. Catches the rat on fire

46:13.071 --> 46:15.700
and then he's able to stab him, but he's gotten really gnawed up. Yeah,

46:15.765 --> 46:18.508
his shoulder's all bloody and like, so he definitely took some hits here. Yeah,

46:18.637 --> 46:22.504
this is his toughest fight so far. Yeah. Um, so the prince,

46:22.728 --> 46:25.809
uh, as they're like exiting the, uh, the fire swamp,

46:25.857 --> 46:28.681
right, the prince and his crew are kind of like right there.

46:28.761 --> 46:32.676
Yep. And, uh, and what Westley says to them, there's like what, 8 of them

46:33.176 --> 46:36.736
or whatever? And he's like, surrender now. And you know, he's offering them to surrender.

46:36.848 --> 46:38.854
Oh, you'll surrender to me? That's very nice of you. Yes, I think that's the

46:39.354 --> 46:42.719
right thing to do. And he's like, But yeah, so basically Buttercup looks

46:43.219 --> 46:45.589
around and sees that there are men with crossbows trained on Westley as well.

46:46.071 --> 46:49.326
Westley doesn't seem to be seeing them because he's looking straight at Humperdinck and Rugen.

46:49.839 --> 46:53.079
And so she says, if I go with you, if I give up

46:53.579 --> 46:55.147
and go with you, will you leave this man alive and get him back to

46:55.647 --> 46:57.505
his ship? Yeah. Like, do not kill him. And she tells him, look, I thought

46:57.537 --> 47:00.872
you were dead once and it almost killed me. So let's just get through this,

47:01.001 --> 47:04.577
get you home and whatever. Like, it'll be fine. You know, like, I couldn't live

47:04.625 --> 47:07.110
knowing you died and I couldn't help you. would have stopped it, right? It's like,

47:07.174 --> 47:10.861
fair, I get it. So Humperdinck grabs Buttercup

47:10.926 --> 47:14.292
onto his horse and rides off, but he whispers to Rugen, you know, we can

47:14.308 --> 47:16.809
hear, but apparently Westley and Buttercup can't. It's like, you know, when we leave here,

47:16.873 --> 47:19.342
you know, like, take him to the pit of despair or whatever, you know,

47:19.598 --> 47:22.051
to get tortured, right, kind of thing. And it's like, and he says,

47:23.045 --> 47:26.299
as you wish, or whatever. Rugen says something like, yeah, you know, it mocks what

47:26.331 --> 47:29.441
was just said. And this is a funny thing, you mentioned kind of

47:29.941 --> 47:33.161
like the knockout sort of punches with whatever Interesting story here.

47:33.546 --> 47:36.737
So Christopher Guest and Cary Elwes are filming the scene where Count Rugen has to

47:37.237 --> 47:41.131
knock Westley out with his sword, like the pommel of his sword, right? And apparently

47:41.179 --> 47:44.467
the first several, several takes, they weren't— obviously he's not really hitting him, it's a

47:44.627 --> 47:47.963
full— it's a metal sword, like whatever. But it just wasn't like—

47:48.463 --> 47:51.235
nobody was happy. Cary Elwes wasn't happy with it, Guest wasn't happy, Reiner wasn't happy.

47:51.523 --> 47:53.448
Nobody was happy the way it was coming out. It just didn't look right.

47:53.512 --> 47:56.511
So Elwes goes, all right, look, just try one time,

47:57.040 --> 47:59.415
just go ahead and Just go ahead and do it. I'll take one hit.

47:59.720 --> 48:01.534
Just go ahead and do it. And Christopher Guest is like, are you sure?

48:01.614 --> 48:04.278
And Rob Reiner is like, let me make sure we can clear this and we

48:04.778 --> 48:07.151
got the insurance. But yeah, okay, fine, go ahead, kind of thing. And Elvis is

48:07.651 --> 48:11.340
like, I'll do it. Let's just do one. And so Christopher Guest gave

48:11.840 --> 48:14.710
him one good walloping right on the head with the sword thing. Yeah.

48:15.080 --> 48:19.076
Knocked him out cold. He woke— Elvis woke up in the hospital in

48:19.188 --> 48:22.799
costume. And this is a day after, or a

48:23.299 --> 48:25.993
few days after, When he was filming the scene with Andre the Giant, Andre the

48:26.493 --> 48:29.283
Giant needed an ATV to get around set. He couldn't all these like hilly set,

48:29.364 --> 48:32.156
all these hilly locations. Oh yeah, yeah. He needed an ATV to help him around,

48:32.509 --> 48:35.912
and he was letting Keller Lewis play in the ATV, and is like something about

48:35.960 --> 48:39.170
like the gas pedal and something else. Like Lewis's foot got stuck and his toe

48:39.670 --> 48:43.391
broke, and and he hid it from Reiner for a while until they had

48:43.584 --> 48:45.959
the doctor. The scene in the firestorm, you can see Lewis limping a bit,

48:46.456 --> 48:49.538
and this is a broken toe. So he's gone to the doctor for the broken.

48:49.800 --> 48:53.690
A few days later, they're filming this scene with Guest and

48:54.190 --> 48:57.270
Elvis, and Guest hits Elvis and knocks him out cold. So, Elvis wakes up

48:57.770 --> 49:00.570
in the hospital, and the doctor is like, well, well, well, if it isn't Zorro

49:01.070 --> 49:03.130
again, 'cause of the way he's dressed. Second time he had to go to the

49:03.630 --> 49:06.930
hospital in costume in like a week. It's the cut that made

49:07.430 --> 49:09.690
the movie. Oh, that's crazy. The cut that made the movie is Elvis actually getting

49:10.190 --> 49:13.450
knocked unconscious by Christopher Guest. Jeez. Yeah. So, one of them was

49:13.950 --> 49:16.730
not a light tap. It really did work. Yeah. Wow.

49:17.230 --> 49:19.470
That's like— it's like a misdemeanor version of the Alec Baldwin thing, like to actually

49:19.970 --> 49:22.996
knock someone out. somebody out. Holy moly.

49:23.349 --> 49:27.010
But, uh, um, so, uh, so now Wesley

49:27.187 --> 49:30.591
kind of, uh, awakens and he's like chained to this table. He's in the pit

49:31.091 --> 49:34.830
of despair, um, with like the most in need of Carmex person I've

49:35.330 --> 49:38.732
ever seen in my life, right? Oh, Jesus Christ. Good,

49:39.246 --> 49:42.442
like, good to get that reaction out of us.

49:42.602 --> 49:45.958
Oh yeah, no, no. Albino, uh, this albino guy that's just,

49:46.006 --> 49:49.750
just the torturer. I believe the character is called just the Albino. I think Yeah,

49:50.250 --> 49:52.110
but I love because he goes, you know, Westley's like, where am I? And he

49:52.610 --> 49:54.540
starts off like, the pit of despair.

49:55.770 --> 49:59.110
You're in the pit of despair. Like he just had a frog in his throat.

49:59.150 --> 50:02.630
That's like one of my favorite little gags. Very nice.

50:03.130 --> 50:05.590
But yeah, so, so basically he says, why are you trying to cure me?

50:06.090 --> 50:08.070
Then he's, oh, well, the Count and the Prince really want everybody to be fully

50:08.570 --> 50:11.230
healthy when they're tortured. So we're gonna, we're gonna cure you first.

50:12.470 --> 50:15.474
So we get a scene now where it's like, oh, Oh yeah,

50:15.490 --> 50:18.959
Humperdinck's father dies. Yes, the king has died. So Humperdinck is now king,

50:19.007 --> 50:22.284
basically. And the wedding's about to happen, right? Because before, the last thing we

50:22.300 --> 50:25.303
heard is the wedding's like 10 days away or something, right? So, uh,

50:25.737 --> 50:29.254
so the wedding's about to happen and the queen is really

50:29.351 --> 50:33.028
like, you know, stressing out. It's like, fucking happening.

50:33.302 --> 50:36.851
I guess my true love didn't show up here. Yeah, so Princess Buttercup is

50:37.351 --> 50:40.786
essentially now Queen Buttercup. Yeah. And so she's like reintroduced to the populace. And so

50:40.834 --> 50:43.725
she walks out into this like square, you know, this crowd in this courtyard,

50:43.741 --> 50:47.070
and And there's this another kind of horrific-looking makeup person,

50:47.570 --> 50:51.090
but this ugly old crone, you know, yelling, boo, boo,

50:51.590 --> 50:53.570
like, you know, you have true love and you let him go, and all this

50:54.070 --> 50:56.950
stuff. And it turns out it was a nightmare. Right. It was just a dream.

50:57.250 --> 51:00.620
Because it's really funny, right? We cut back to Kevin Arnold and Columbo again,

51:00.670 --> 51:04.390
and he says, no, no, no, Grandpa, you got that wrong. She doesn't marry

51:04.890 --> 51:08.410
Humperdinck, she marries Wesley. And he goes, who's telling the story here? You want

51:08.910 --> 51:11.050
me to tell the story or you wanna tell the story? No, no, no,

51:11.550 --> 51:14.430
you're reading it wrong. Like, he's like really He like, he's like, what are you

51:14.930 --> 51:18.890
talking about? And so— I do love that with your kids, the experience of them

51:19.390 --> 51:22.570
being like too good for something. You're like, okay, whatever, I'll just proceed with it.

51:23.070 --> 51:25.710
And then you could tell that they're really interested in it. You're like, I got

51:26.210 --> 51:29.129
you, motherfucker. This is like, I still read to my 8-year-old daughter, uh, every night

51:29.629 --> 51:31.730
before bed. Like my son, it's like a way to say goodnight. He reads himself,

51:32.230 --> 51:33.850
whatever. But like my daughter, I still read to every night. And sometimes she picks

51:34.350 --> 51:36.130
the book, sometimes I do. And every once in a while I'll pick a book

51:36.630 --> 51:38.370
that's like, I used to read it to her, you know, when she was like

51:38.870 --> 51:41.550
3, right? Like a really old one, whatever. And she'll be kind of like,

51:41.590 --> 51:44.282
Well, all right. And then it's like, yeah, by the end of the book,

51:44.330 --> 51:47.968
she is like leaning over my shoulder to like look at the pictures more closely.

51:48.032 --> 51:50.404
And it's like way into it. And I'm like, yes, I told you. You still

51:50.452 --> 51:53.641
love Give a Mouse a Cookie. Don't fuck with me. Like, um,

51:53.705 --> 51:57.552
but yeah, so it was just a nightmare, you know?

51:57.792 --> 52:00.116
And it's just like, turns out, you know, it is 10 days away, like you

52:00.616 --> 52:03.562
said. And we hear Fred Savage's character's like, I see Grandpa. I told you.

52:03.642 --> 52:06.623
Like from like the voiceover. It's hilarious. Yeah.

52:06.783 --> 52:09.716
Um, and the prince, uh, is, is talking to his like chief,

52:09.828 --> 52:13.882
uh, security guy or whatever. right? And he's—

52:13.914 --> 52:17.279
he has a plan because he wants this war to start as well, right?

52:17.440 --> 52:20.853
So he wants to kill, uh, Buttercup and

52:20.885 --> 52:24.298
blame it on, uh, Gilder, right? Right. So, so what happens

52:24.330 --> 52:27.310
is Buttercup comes to him and says, uh, if you make me marry you,

52:27.326 --> 52:30.002
I'm gonna kill myself, just know that. And he goes, well, wait a minute,

52:30.018 --> 52:33.223
like, what if I send my 4 fastest ships, one in each direction? You write

52:33.723 --> 52:37.005
4 copies of a letter to, to, to Westley. I'll send my 4 fastest ships,

52:37.229 --> 52:40.341
one in each direction. The Dread Pirate Roberts is always ransacking ships this time of

52:40.841 --> 52:43.744
year. So like, he'll come and he'll get them, basically one of them. And if

52:44.244 --> 52:46.039
he comes back for you, fine, go be happy, I'll let you go. But if

52:46.055 --> 52:49.426
not, whatever. Because he knows the dude's in the Pit of Despair, right? Right.

52:49.490 --> 52:52.781
He knows he's not out there. Um, and then that's when we see him and

52:53.281 --> 52:55.943
Rugen talking at one point, and he's like, you know, I have a wedding to

52:55.991 --> 52:59.154
plan, a fiancée to kill, and a war to start. Like, I'm so busy,

52:59.218 --> 53:01.770
I can't do this other stuff. And, you know, they kind of joke about it.

53:02.669 --> 53:06.249
And then, uh, basically this is when Rugen goes

53:06.361 --> 53:10.049
to to use the machine on Wesley. Yes. Okay, before we get—

53:10.549 --> 53:13.015
before we get to the whole like— Oh yeah, yeah. So he goes into the

53:13.515 --> 53:15.629
Pit of Despair and he tells Wesley about the machine and he's like, it's suction.

53:16.142 --> 53:19.509
And instead of sucking like water or air, whatever, it sucks— it sucks

53:20.009 --> 53:22.539
life out of you. You know, it's like, we've never done this before, so we're

53:23.039 --> 53:25.537
just gonna do one. Which is like, this is really the first— we know it's

53:26.037 --> 53:28.504
not the first time because I think he must have meant it's Wesley's first time

53:28.552 --> 53:31.614
on it because the albino said like, they really want you to be healthy when

53:32.114 --> 53:34.308
they do this kind of thing, you know. Um, and so they put it to

53:34.404 --> 53:37.710
1 out of 50. And we see all these like machinery things, the water

53:38.210 --> 53:40.710
goes and all this stuff, and Wesley just starts screaming and he's like, ah,

53:41.210 --> 53:43.650
you know. And I love— he's— Rugan's basically like, I'm writing a book. So he

53:44.150 --> 53:46.950
goes like, like, so tell me how you feel, and remember, this is posterity,

53:47.450 --> 53:50.610
so please give me details, you know, whatever it is. Like,

53:51.110 --> 53:53.530
it's just very funny. But he's just— he just whimpers. Like, it really looks like

53:54.030 --> 53:56.830
it must hurt. He's got like suction cups on his head, his chest, his stomach.

53:57.330 --> 54:00.110
So it must just be— I, I always thought— turns you off from those like

54:00.610 --> 54:03.750
suction cup massage things. That's— see, this thing, this movie, when people— when I found

54:04.250 --> 54:05.270
out cupping was a thing, I was like, people hook themselves up to the machine

54:07.122 --> 54:10.268
Like voluntarily? I thought this was like a bad thing. Like, what the fuck?

54:10.333 --> 54:13.624
So, so there's that. And this is when then Humperdinck— we cut

54:14.124 --> 54:16.850
away and Humperdinck calls his chief enforcer in. It's basically this like, you know,

54:17.075 --> 54:20.254
there, there's a rumor that Guilder has agents in the Thieves' Forest and they're going

54:20.286 --> 54:23.513
to like attack on the wedding night. So like clear the Thieves' Forest,

54:23.721 --> 54:26.450
add 60, you know, make it 60 men at the front gate. You know,

54:26.771 --> 54:29.998
you're in charge, blah blah blah. And he's like, yeah, okay, no problem. So he's

54:30.498 --> 54:33.739
like planting the seeds for this, this, uh, this plan that he has.

54:34.740 --> 54:37.240
Right, so he's gonna kill her. To start the war. And make it seem like

54:37.740 --> 54:40.160
he killed her. Blame it on Guilder. Exactly, 'cause the whole Vizzini thing fell through.

54:40.660 --> 54:43.320
Like, he did— that didn't happen the way he wanted it to. So, uh,

54:43.820 --> 54:47.420
and now we're, uh, we're back with, uh, Fezzik. Well, we're back with Inigo,

54:47.920 --> 54:50.660
I think, at first. So he's in the Thieves' Forest in some bar, drunk.

54:51.160 --> 54:52.940
Right. Right, and then a guy shows up and is like, you gotta get outta

54:53.440 --> 54:56.560
here. And he's basically saying, like, you know, Vizzini said if we get broken up

54:57.060 --> 54:58.520
or we get split up, go back to the beginning. Well, this is where we

54:59.020 --> 55:00.560
got the job, so this is the beginning. So I'm gonna be here till Vizzini

55:01.060 --> 55:03.914
gets here. 'Cause he doesn't know Vizzini's dead. Right. Um, and then that's when,

55:04.091 --> 55:06.275
you know, the, the kind of like soldier guy is like, well, I'm gonna get

55:06.775 --> 55:09.745
the brute squad. And that's when Fezzik shows up and goes, Inigo,

55:11.078 --> 55:14.756
you're alive! So they're reunited,

55:14.772 --> 55:18.482
which is great. Yeah, it's great to see them together. And Fezzik kind

55:18.982 --> 55:22.144
of like nursing a very drunk Inigo back to health with some

55:22.417 --> 55:25.758
delicious looking soup. I saw that, I was like, hunks of vegetables,

55:25.790 --> 55:28.665
fucking good. Really? I like, I like a thicker broth with my stew, but it

55:29.165 --> 55:31.430
was It was nice. It looked good for that era too. That's true. Most of

55:31.930 --> 55:34.510
the time they're eating gruel and slop. If you're lucky, there's like a parsnip and

55:35.010 --> 55:37.770
something. This looked legit, like carrots and potatoes and stuff. It looked nice. And then

55:38.270 --> 55:41.230
he's doing the, uh, not boiling obviously, but like hot water, cold water,

55:41.730 --> 55:44.130
hot water, cold water to try to wake him up or whatever. So, uh,

55:44.630 --> 55:46.930
and this was good. This could have been like a montage in a different type

55:47.430 --> 55:50.610
of movie of just Andre the Giant like snapping him back into shape.

55:50.970 --> 55:54.710
They made it quick though. So, uh, so Buttercup,

55:55.210 --> 55:58.710
uh, now is back and she discovers that— she probably suspected this anyway— that

55:59.210 --> 56:02.670
Humperdinck never sent those ships. Like like he had no intention to try to

56:03.170 --> 56:05.910
like follow through with good faith on like her getting in contact. Yeah, because it's

56:06.410 --> 56:09.070
like, it's like the day of the wedding and, and, you know, he says,

56:09.570 --> 56:12.070
uh, something to her about like, oh my, I've heard most— are you not happy?

56:12.570 --> 56:13.610
And she's like, what reason do I have to be happy? He's like, well,

56:14.110 --> 56:16.150
I've heard— I hear brides generally are on their wedding day. And she goes,

56:16.650 --> 56:19.410
well, I'm not getting married tonight because Wesley's gonna come. And he says something like,

56:20.230 --> 56:23.410
uh, after the wedding, our, you know, we'll,

56:23.910 --> 56:25.670
we'll go here, we'll go to the docks or the Marine, whatever, and our,

56:26.170 --> 56:29.320
our— my entire armada will accompany us on our honeymoon. And she goes,

56:29.710 --> 56:32.770
well, all but— not every ship, all but the 4 you sent,

56:33.270 --> 56:36.590
right? Mm-hmm. Oh, right. Yes. Yeah, naturally, not those 4.

56:37.090 --> 56:38.470
Like, you know, and so that's— yeah, she basically calls him out like, dude,

56:38.970 --> 56:40.790
you're an asshole, but he's still gonna come for me. And she— and he's like,

56:41.290 --> 56:43.730
you're a fucking child, like, you don't know what you're talking about. And now he's

56:44.230 --> 56:47.590
so enraged that he goes to the Pit of Despair and runs

56:48.090 --> 56:50.750
up to the machine and is basically like— Wesley's still strapped to it, and he

56:51.250 --> 56:54.010
basically says like, you've loved so much, I bet this will hurt you more than

56:54.510 --> 56:56.720
anybody could ever be hurt. And he pushes the thing all the way up Yeah.

56:57.220 --> 57:00.740
And even Rugen is like, not to 50! Like, he's like, don't do that.

57:01.020 --> 57:04.220
And it's just like— and but then this screaming that he does now is so

57:04.720 --> 57:07.420
loud you can hear it at the castle. I mean, he's underground, right, is the

57:07.920 --> 57:10.100
whole idea. Yeah. But he can kind of— Rugen should have suggested that it goes

57:10.600 --> 57:13.720
up to 51. That's right. That's one joke they whiffed on in this,

57:14.220 --> 57:16.600
uh— Because Reiner and Guest together— Yeah, seriously. They're both there for you. But anyway,

57:17.100 --> 57:20.240
uh, but yeah, so everybody— we see all these people reacting at the castle,

57:20.740 --> 57:23.080
in the thieves' forest, in the town. Yeah, they can hear his scream is just

57:23.580 --> 57:27.071
like echoing through the entire land. The entire world, basically. Yeah, so Inigo and Fezzik

57:27.571 --> 57:30.668
are both like— I think Inigo says something like, my heart made that scream when

57:30.700 --> 57:33.847
my father died. Like, that is the man in black. Like, let's go get him.

57:34.778 --> 57:38.022
But they don't know where he is exactly, right? And Inigo and Fezzik— he's like

57:38.166 --> 57:41.795
using, uh, he's using his sword to guide him like

57:42.295 --> 57:45.970
a divining rod. Exactly right. So the sword is leading the way, and then

57:46.470 --> 57:49.004
it just ends up kind of getting plunked into the side of a tree in

57:49.504 --> 57:51.861
like a funny way. And he's like, huh, well, this is fucking stupid. And then

57:51.893 --> 57:55.626
the secret door opens up in this tree trunk. The secret door that is

57:56.203 --> 57:59.344
really obvious from a distance. Like, when you look at

57:59.844 --> 58:03.094
the trees grow, the first scene it doesn't look— but then when it shows them

58:03.594 --> 58:05.625
from far away, oh my God, it's very funny. It looks so like a door.

58:05.754 --> 58:08.750
But anyway, they do find it. They run down in there. They find the Man

58:08.798 --> 58:11.859
in Black, you know, who they don't know as Westley. They just know him as

58:12.359 --> 58:14.968
the Man in Black. But they find him and, you know, he's dead. Like,

58:14.984 --> 58:18.590
he's not breathing. And, and, and he goes like, Grab him. Look,

58:18.718 --> 58:21.268
we're gonna take him to Miracle Max, right? Maybe Miracle Max can help us.

58:21.605 --> 58:25.149
And when we find out he's dead, we get we get a cut back to

58:25.374 --> 58:28.517
Columbo and and Kevin. Yes, saying he's

58:29.017 --> 58:32.350
dead, right? You know, the kid's like really concerned. He's like, "Hey, yeah, shut up,

58:32.366 --> 58:35.974
kid. I'm not done yet." Well, and he says like, "Wait a minute. Who who

58:36.215 --> 58:39.519
kills Humperdinck?" He goes, "What? At the end, somebody's got to kill Humperdinck. Who kills

58:39.567 --> 58:43.047
Humperdinck? Humperdinck does not die at the end of this story. He he lives." So

58:43.547 --> 58:47.140
he What kind of story is this, Grandpa? Like, he's super pissed about it.

58:47.640 --> 58:51.560
Like, he's so angry. He's like, yeah, maybe we should stop reading. You got excited.

58:52.060 --> 58:54.140
Maybe you should go. No, no, no, no, no, no, no, keep reading, keep reading,

58:54.640 --> 58:58.140
Grandpa. Please, please, please. So they go to Miracle Max's

58:58.640 --> 59:01.800
place, knocking on the door, and it's Billy Crystal plays Miracle Max, who's so much

59:02.300 --> 59:05.540
fun. And he basically first is just like, you know, leave me alone. No,

59:06.040 --> 59:09.140
like, the son's— or the king's rotten son fired me. Like, you know, I don't

59:09.640 --> 59:13.310
do miracles anymore, all this that. stuff. And, uh, and he basically says like,

59:13.810 --> 59:17.170
uh, well, you know, hey, like, this is really important. Uh,

59:17.670 --> 59:20.030
you know, okay, fine, come in, whatever. He says— I can't remember exactly what he

59:20.530 --> 59:23.970
tells him outside the door because once they get inside, he says like, you know,

59:24.470 --> 59:28.070
this is, uh, it's a very noble cause, sir. Like, you know, his wife,

59:28.570 --> 59:31.530
he's got kids, they're, they're starving. And he goes, oh, aren't you a terrible liar?

59:31.990 --> 59:34.950
So he's like, okay, let's find out what your friend has to say. And he

59:35.450 --> 59:37.892
goes, what do you mean? He's dead. No, no, no, no, he's He's only mostly

59:37.908 --> 59:41.311
dead. Mostly dead is somewhat alive. Yeah.

59:42.081 --> 59:45.307
Uh, and again, I mean, this is, this is Billy Crystal coming in

59:45.807 --> 59:49.303
like a soccer sub, like full energy, and he gives you like real good

59:49.803 --> 59:52.095
shit for like 5 minutes. It, it was a lot more than that too.

59:52.143 --> 59:56.236
So I got a little story I've got. So Crystal apparently ad-libbed every

59:56.736 --> 01:00:00.489
single bit of this because he also ad-libbed an additional, by some accounts, 6 or

01:00:00.989 --> 01:00:04.806
7 hours worth of stuff on set. It took forever to film this scene,

01:00:05.127 --> 01:00:08.415
partly because— so Rob Reiner had to leave because he was laughing too

01:00:08.915 --> 01:00:12.871
much. Mandy Patinkin— actually, the only injury Mandy Patinkin suffered on

01:00:12.967 --> 01:00:16.831
set for The Princess Bride was a bruised rib from trying

01:00:17.331 --> 01:00:20.646
to hold in his laughter so hard during this scene. He ended up bruising

01:00:20.742 --> 01:00:23.932
his own rib somehow. Wow. Cary Elwes,

01:00:24.044 --> 01:00:27.154
in a couple of the shots, is laughing as the corpse, and therefore they couldn't

01:00:27.654 --> 01:00:30.424
use those. Nice. Like, Crystal is just so on top of this shit, apparently,

01:00:30.456 --> 01:00:34.270
and like doing period-specific jokes. One of the ones that The movie,

01:00:34.770 --> 01:00:37.710
of course, is like, you know, like a nice MLT sandwich— mutton, lettuce, and tomato—

01:00:38.210 --> 01:00:40.570
where the mutton is nice and lean and the tomatoes are so perky. I love

01:00:41.070 --> 01:00:42.860
it. Like, you know, it's just like— but like, the idea of a mutton,

01:00:42.870 --> 01:00:46.630
lettuce, and tomato sandwich is hilarious. Like, yeah. And so, yeah, but apparently this was

01:00:47.130 --> 01:00:50.000
kind of a beast of a scene to film because Crystal is so funny.

01:00:50.470 --> 01:00:54.070
Um, but yeah. And it's a great gag to have somebody who's like— who's speaking

01:00:54.570 --> 01:00:58.110
like, you know, a guy from that time just like thrown in

01:00:58.610 --> 01:01:01.970
this makeup and existing. But like also with the thickest New York accent like

01:01:02.470 --> 01:01:06.182
ever. Yeah. Really fantastic. Yeah, so he says

01:01:06.455 --> 01:01:09.244
he gets his bellows and he basically is like, "If I blow, I'm gonna blow

01:01:09.260 --> 01:01:12.402
bellows into his lungs and he'll be able to tell us. You know, so hey

01:01:12.611 --> 01:01:15.721
buddy, what do you got to stick around for? What do you got worth living?"

01:01:15.977 --> 01:01:20.706
He presses on his chest and he goes, "True love." And

01:01:20.947 --> 01:01:23.143
and he goes like, "Dude, you heard him. You heard him. He said true love."

01:01:23.191 --> 01:01:26.990
He goes, "No, no, no. He said to blave, which means to bluff. So what?

01:01:27.039 --> 01:01:29.523
You probably were gambling." And then he like whatever. And that's when his wife,

01:01:29.539 --> 01:01:32.685
played by Carol King, runs. Out the back. Liar! Liar!

01:01:33.376 --> 01:01:37.552
Yeah, and that was— that, that is such a brilliant

01:01:37.568 --> 01:01:41.536
escalation because like the Billy Crystal was already giving us enough energy, and then

01:01:41.744 --> 01:01:45.519
like Carole King, uh, coming in just takes it

01:01:46.019 --> 01:01:48.603
to the next level. And she is off the charts. She's amazing as well.

01:01:48.748 --> 01:01:52.024
And, and, you know, he says like, be quiet, witch. She's like, I'm not a

01:01:52.524 --> 01:01:53.871
witch, I'm your wife. And after what I just heard, I don't know if I

01:01:54.371 --> 01:01:58.950
want to be that anymore. And so they're arguing until finally Inigo points out,

01:01:59.450 --> 01:02:04.330
this guy's in love with Humperdinck's bride. If you save him, you will make—

01:02:04.830 --> 01:02:07.470
he will stop Humperdinck's wedding. Right. That gets Miracle Max's attention. He's like, whoa,

01:02:07.970 --> 01:02:12.150
whoa, whoa, whoa, I help him and Humperdinck suffers? It was humiliations

01:02:12.650 --> 01:02:15.330
galore, you know? Okay, I'm on the job. You know, so he just does it,

01:02:15.830 --> 01:02:19.130
right? You know, and this pill they make for him, they call it a pill,

01:02:19.270 --> 01:02:22.530
but good God, if it doesn't look as big as like the largest prune in

01:02:23.030 --> 01:02:26.490
the world and with something solid inside. For sure, yeah. Not something you could swallow.

01:02:26.990 --> 01:02:30.250
It's like a walnut with a shell on it. It's really crazy how

01:02:30.750 --> 01:02:33.390
enormous it is. And then they coat it in chocolate so that it'll go down,

01:02:33.890 --> 01:02:36.920
which makes it even larger. Yeah, exactly. But, you know, I could see how that,

01:02:37.130 --> 01:02:39.310
I guess, make it go down easier. But they warn them, you got to wait

01:02:39.810 --> 01:02:41.790
at least 15 minutes for full potency. Don't give it to them right away.

01:02:42.510 --> 01:02:46.250
But, you know, they're on, they're on a schedule. So they get to the castle.

01:02:46.750 --> 01:02:49.710
Yeah. And they're kind of like above the parapet somehow, whatever, looking down towards the

01:02:50.210 --> 01:02:53.310
castle courtyard. And, uh, they go ahead and give him the pill. They give him

01:02:53.810 --> 01:02:56.990
the necromancy edible. Yeah, right. It's like to wake you up from

01:02:57.490 --> 01:03:01.390
death. Uh, the world's best, uh, methamphetamine. And so,

01:03:01.890 --> 01:03:03.810
you know, he kind of wakes up, but initially can only move his head.

01:03:04.310 --> 01:03:05.930
And he's like, where am I? Who are you? What's going on? I'll fight you,

01:03:06.430 --> 01:03:09.550
and whatever. So they explain the whole thing to him. And basically like, you know,

01:03:10.050 --> 01:03:12.450
Buttercup's gonna get married to Humperdinck in about half an hour. There's 60 men at

01:03:12.950 --> 01:03:15.830
the front gate. We don't have a plan. We need your help. And he's like,

01:03:16.330 --> 01:03:19.130
well, what do we have? And Inigo says, we have my steel, we have Fezzik's

01:03:19.630 --> 01:03:22.130
brawn, and we have your brains. We're screwed. Like, I couldn't— if I had a

01:03:22.630 --> 01:03:25.330
month to plan, maybe. And he goes like, if only we had a wheelbarrow.

01:03:25.830 --> 01:03:28.090
And he goes, where'd that wheelbarrow that albino had? He's like, oh, I've got it

01:03:28.590 --> 01:03:30.330
over here. He goes, well, why didn't you list that among our assets? What I

01:03:30.830 --> 01:03:34.070
wouldn't give for a Holocaust cloak. And he goes, what about

01:03:34.570 --> 01:03:37.130
this one? And he's like, gotta use it. Oh, now we're good. Now with a

01:03:37.630 --> 01:03:41.230
wheelbarrow and a cloak, fuck, we're in business, boys. Like, you know. And what was

01:03:41.730 --> 01:03:45.270
the thing about that cloak? It was like fireproof or something? I guess, because they

01:03:45.770 --> 01:03:48.710
light it on fire and it doesn't hurt Fezzik. So yeah, I'm not really sure

01:03:49.210 --> 01:03:52.250
what exactly the point, but it looked like just a big thick coat that you

01:03:52.750 --> 01:03:53.910
could kind of like, you know, if you like— I don't know if you ever

01:03:54.410 --> 01:03:56.350
had friends. I had a lot of friends, of course, who liked playing with Bic

01:03:56.850 --> 01:03:59.890
lighters when I was younger. Uh, and I had a friend of mine, I had—

01:04:00.390 --> 01:04:02.090
was wearing like a, like a pea coat or a fob coat, some kind of

01:04:02.100 --> 01:04:05.340
wool thing, and he like lit the lint off the back and

01:04:05.840 --> 01:04:08.580
it like went up my back. Oh shit. Like sitting in like a coffee shop

01:04:09.080 --> 01:04:12.020
in Walnut Creek. Nice. Wild. And he put it out, puts it out real quick.

01:04:12.520 --> 01:04:15.720
Shout out La Scala. Yes, it was, it was La Scala. And, and, and sure

01:04:16.220 --> 01:04:19.180
enough, it was like, it went out quickly, but it goes up so fast and

01:04:19.680 --> 01:04:21.340
I didn't feel it. I couldn't feel anything. It was just, you know, it was

01:04:21.840 --> 01:04:24.060
a thick coat and it was just burning the outside of it momentarily. So I

01:04:24.560 --> 01:04:26.860
guess the idea being maybe if this thing is thick enough, it just won't— it

01:04:27.360 --> 01:04:30.280
doesn't have to burn for very long. Right, right. We just need the special effects.

01:04:30.380 --> 01:04:34.401
Exactly. Yeah, and they manage a practical effect much like the people making

01:04:34.433 --> 01:04:37.642
this film have managed some wonderful ones. And they've got, uh,

01:04:37.866 --> 01:04:41.252
everybody kind of stacked up, or, uh, he's on the,

01:04:41.797 --> 01:04:44.894
the wheelbarrow, right? Andre Fezzik is on the wheelbarrow. He's on it. And then

01:04:44.942 --> 01:04:48.937
behind them, Inigo is both pushing the wheelbarrow and kind of holding Westley

01:04:48.953 --> 01:04:52.066
up, sort of. It's a little weird, but they light him up and it's like,

01:04:52.082 --> 01:04:55.355
you know, he's basically pretending— he's saying that I'm the Dread Pirate Roberts,

01:04:55.515 --> 01:04:59.350
who nobody's seen. Like, nobody— or nobody has lived to tell anybody

01:04:59.366 --> 01:05:02.767
else about. Exactly. He takes no prisoners and takes no survivors or whatever.

01:05:02.800 --> 01:05:05.861
that kind of thing. And so he says, you know, Dread Pirate Roberts is here

01:05:06.361 --> 01:05:09.292
for your souls. I love that line.

01:05:09.580 --> 01:05:12.626
Meanwhile, the wedding has begun. And let me tell you something, I have

01:05:13.126 --> 01:05:16.537
officiated 3 weddings in my life. I was very honored

01:05:17.037 --> 01:05:20.224
to do so a few times. And I'd always thought that I

01:05:20.288 --> 01:05:23.671
wanted to mimic this officiant and never

01:05:24.171 --> 01:05:27.823
did. I never felt like the people I was marrying would vibe

01:05:27.839 --> 01:05:30.163
with it. You know what I mean? Yeah, yeah. But like the whole thing of

01:05:30.663 --> 01:05:34.203
like, marriage, marriage is what brings us together today,

01:05:34.700 --> 01:05:37.571
just very funny. Yeah, I wish I'd done it in somebody's wedding. No, I've had

01:05:38.071 --> 01:05:40.749
that suggested to me before because I've done a bunch of weddings as well.

01:05:41.007 --> 01:05:44.185
And yeah, I've not dropped that one, but that has come up. It like—

01:05:44.685 --> 01:05:47.111
it's made a rough draft for sure. I think I did the same thing with

01:05:47.143 --> 01:05:51.449
the same consideration with the marriage, the wedding vows at the end of Spaceballs.

01:05:51.867 --> 01:05:54.850
You know, today we gather together today for the act of holy moly.

01:05:57.920 --> 01:06:01.214
But anyway, so the wedding has begun, but now there's this commotion outside

01:06:01.714 --> 01:06:04.830
with with Fezzik, and all the guys are freaking out, the guards, they all start

01:06:05.330 --> 01:06:08.150
running away. And this is when, you know, Humperdinck kind of signals to Rugen like,

01:06:08.650 --> 01:06:12.130
hey man, go check it out. Take care of this. Meanwhile, continuing with the thing,

01:06:12.630 --> 01:06:16.090
with the wedding, and they do scare everybody off. Everybody but that chief enforcer

01:06:16.590 --> 01:06:18.550
gets scared off. And so they kind of corner him and it's like, give me

01:06:19.050 --> 01:06:21.790
the key, you know? And it's like, he's like, I don't have a key.

01:06:22.290 --> 01:06:26.190
He's like, Fezzik, tear his arms off. Oh, you mean this key? But then

01:06:26.690 --> 01:06:30.397
Humperdinck gets so eager to get the marriage official that he just yells at

01:06:30.897 --> 01:06:33.603
the officiant, like, say man and wife. Man and wife. Man and the wife.

01:06:33.683 --> 01:06:37.194
So he does. And they're like, okay. He's like, cool, we're married. And they go,

01:06:37.274 --> 01:06:40.897
and they like, that's it. They go off. Meanwhile, Westley and

01:06:41.397 --> 01:06:45.048
Fezzik and Inigo are now inside the castle trying to find Humperdinck, Buttercup,

01:06:45.129 --> 01:06:48.286
whoever. And Westley is still, they're still weak and

01:06:48.786 --> 01:06:52.038
abusing him for the most part. Like, they're, they get, Fezzik's gonna

01:06:52.538 --> 01:06:55.067
carry him around. Interestingly, I think we forgot 'cause I was telling the story of

01:06:55.567 --> 01:06:58.754
Elwes getting knocked out when Westley and Rugen were confronting each other or whatever,

01:06:58.770 --> 01:07:02.655
and Rugen knocked knocks out Westley, Westley notices the 6th finger

01:07:02.703 --> 01:07:05.047
on his right hand and says, oh, you have a— I've noticed you have a

01:07:05.547 --> 01:07:08.082
6th finger on your right hand. Somebody was looking for you. So then when he

01:07:08.582 --> 01:07:12.401
comes to, uh, Westley is able to tell Inigo that Rugen is the

01:07:12.901 --> 01:07:14.778
6-fingered man. I found the guy. Yeah, exactly. I know who it is. This is

01:07:14.810 --> 01:07:18.583
who you're looking for. So now Inigo's on his own mission, right? Like, Westley's here

01:07:19.083 --> 01:07:21.842
to save Buttercup and stop the wedding. Fezzik's here to help however he can.

01:07:21.891 --> 01:07:25.262
And Inigo is looking for Rugen to end him. So they

01:07:25.762 --> 01:07:29.013
are running through the castle. Inigo fights off a couple of

01:07:29.513 --> 01:07:32.700
guys. Hugely outnumbered. And yeah, Inigo's like one swipe with

01:07:33.200 --> 01:07:36.403
the sword. It's really nice. Which gets Rugen to bolt back. And this is— oh,

01:07:36.467 --> 01:07:39.433
and this was the first edition of Inigo's, you know,

01:07:39.449 --> 01:07:42.222
hello, my name is Inigo Montoya. You killed my father.

01:07:42.719 --> 01:07:45.637
Prepare to die. Yeah. And, you know, he says it several,

01:07:45.685 --> 01:07:48.891
several, several times. Rugen has to yell at him to stop saying it.

01:07:48.971 --> 01:07:51.279
But he's like chasing him through the whole castle.

01:07:52.090 --> 01:07:56.299
And I think basically, like, the key is Rugen,

01:07:56.315 --> 01:07:59.617
we see, like, he runs downstairs and he pulls a knife out of his boot.

01:07:59.666 --> 01:08:01.252
Like, he already had a sword in his hand, but he pulls a knife out

01:08:01.752 --> 01:08:04.406
of his boot. So then when he's in, like, a dining room, Inigo comes around

01:08:04.906 --> 01:08:08.029
the corner and Rugen throws the knife, like, into his gut, basically. Gets him right

01:08:08.529 --> 01:08:12.110
in the stomach. And, you know— Cheap shot, but also an incredible

01:08:12.159 --> 01:08:14.502
level of skill to be able to do that. Wonderful throw.

01:08:15.067 --> 01:08:17.459
Dart-like, Ted Lasso darts kind of throw at that point.

01:08:17.850 --> 01:08:21.410
And he starts mocking him, like, oh, you spent all this time looking for

01:08:21.910 --> 01:08:26.230
me only to fail now. Yeah. That's the saddest thing I've ever heard, you know.

01:08:26.730 --> 01:08:29.990
But Inigo, you know, pulls the dagger from his gut and gets

01:08:30.490 --> 01:08:34.330
back into, you know, hello, my name is Inigo Montoya. You killed my father.

01:08:34.830 --> 01:08:38.120
Prepare to die. And finally corners him and is like, you know, offer me everything.

01:08:38.370 --> 01:08:40.470
Yeah. What can you offer me? He's all, I'll offer you money, I'll offer you

01:08:40.970 --> 01:08:43.050
this. And he goes, offer me all I want and more. He's like, you and

01:08:43.550 --> 01:08:45.757
I are have even. it. He's like, I want my father back, you son of

01:08:46.257 --> 01:08:50.037
a bitch. This is really— I mean, Mandy Patinkin's a fantastic actor,

01:08:50.085 --> 01:08:53.627
but I love him as Inigo Montoya. Oh man, it's so much fun. It's a

01:08:53.756 --> 01:08:57.426
great character. Oh man. Yeah, and he's such like a serious actor in

01:08:57.475 --> 01:09:00.969
so much stuff, so it's really fun to see him just goofing it up here.

01:09:01.065 --> 01:09:04.448
Absolutely. Uh, yeah, so Inigo Montoya takes care

01:09:04.512 --> 01:09:07.670
of business here. Um, at this

01:09:07.702 --> 01:09:10.603
point, uh, my, my wife Jeannie was saying how,

01:09:11.068 --> 01:09:14.723
uh, Wesley's mustache is killing her. She's like, I can't deal

01:09:14.755 --> 01:09:18.039
with it. It's too small, it looks like an eyebrow. It's bad, it's not

01:09:18.539 --> 01:09:21.359
good, it's not good. And it doesn't look that bad when he's got the mask

01:09:21.859 --> 01:09:25.169
on, but all this time post-mask, it's like, yeah, it doesn't work.

01:09:25.599 --> 01:09:28.279
He's got great hair though, I will give Cary Elwes fantastic hair in this movie,

01:09:28.779 --> 01:09:32.639
I'm very jealous. Yeah, yeah. But basically we follow Buttercup back to her

01:09:33.139 --> 01:09:35.919
room, or I guess the bridal suite or whatever they call it, the honeymoon suite

01:09:36.419 --> 01:09:39.859
or something. And she pulls a dagger out of this box and is ready to

01:09:40.359 --> 01:09:43.599
stab herself in the chest. And Westley from off screen, 'cause we haven't seen that

01:09:44.099 --> 01:09:46.890
he's in the room, says, you know, there's a short surprise 5 perfect breasts in

01:09:47.390 --> 01:09:49.630
the world. I'd hate to ruin yours, you know, whatever. And she's, oh my God,

01:09:50.130 --> 01:09:52.770
it's you! You know, I thought you were dead or something. And, and, you know,

01:09:53.270 --> 01:09:55.170
he— she kind of picks his head up like, why aren't you hugging and holding

01:09:55.670 --> 01:09:58.350
me? And he's like, I can't, like, be careful please. Yeah. She drops his head

01:09:58.850 --> 01:10:01.990
back and it's clear like he has still not got his strength, you know.

01:10:02.490 --> 01:10:06.090
And, uh, and, you know, basically Humperdinck shows up and,

01:10:06.590 --> 01:10:08.770
and, and is like, you know, okay, well, I'm here to kill you. All right,

01:10:09.270 --> 01:10:12.210
you're both dead. Yep. Well, I'm definitely gonna kill you and then I'll deal with

01:10:12.710 --> 01:10:15.770
her, like, whatever, you know. So he's like, And that's when Westley says, no to

01:10:16.270 --> 01:10:20.067
the pain! And he goes, I'm not familiar with that phrase. What does that

01:10:20.115 --> 01:10:23.001
mean exactly? And he goes on and on about, like, cutting out your tongue and

01:10:23.501 --> 01:10:25.919
cutting out your eyes and doing this and cutting off your nose and all this

01:10:26.419 --> 01:10:28.372
stuff. And then finally, I do love the part— I love, though, is that Humperdinck

01:10:28.872 --> 01:10:30.425
at the end goes, and then my ears, I get it. And he goes,

01:10:30.521 --> 01:10:34.674
no, those you keep so that every cry of every screaming

01:10:34.786 --> 01:10:38.442
babe that sees you, every woman who goes, my God, what is that thing?

01:10:38.714 --> 01:10:42.001
Will ring forever in your perfect ears. And Humperdinck's

01:10:42.501 --> 01:10:44.877
like, stands and goes, I think you're bluffing. And he goes, I might be,

01:10:45.054 --> 01:10:48.444
pig. Vomitous mass. Like, I might not—

01:10:48.653 --> 01:10:52.445
I might not have the, you know, strength to stand. Or— and he gets up,

01:10:52.542 --> 01:10:55.354
right? All the strength he can muster, he stands up, points his sword, just says,

01:10:55.418 --> 01:10:58.680
drop your sword. And Humperdinck the coward does

01:10:58.712 --> 01:11:01.925
and like runs over to the, you know, chair. Buttercup ties him up.

01:11:02.327 --> 01:11:05.509
And then when Westley falls, he goes, I knew it! I knew you were bluffing!

01:11:05.557 --> 01:11:07.822
It's like, bro, you are tied to a chair. Yeah. Like, you can't do shit

01:11:08.322 --> 01:11:11.404
now. Dude, does not matter if you were right. Like, that is over.

01:11:13.280 --> 01:11:16.124
So Fezzik calls up to them, right? And he's shown up.

01:11:16.847 --> 01:11:19.739
They look out the window and he's down there with 4 white horses for them

01:11:20.239 --> 01:11:22.663
to all escape for. He's like, oh, one for each of us. Like, I saw

01:11:22.680 --> 01:11:26.196
these sitting here, one for each of us. Yeah. He's like,

01:11:26.341 --> 01:11:28.987
4 in case we find the lady. Hello, lady.

01:11:31.100 --> 01:11:33.862
Inigo Montoya is like, I don't know what to do with my life. I've been

01:11:34.362 --> 01:11:37.210
in the revenge business. business for so long. Like, I, I don't even know how

01:11:37.710 --> 01:11:41.610
to live, right? What's my purpose now? So, uh, yeah, it's— and then

01:11:42.110 --> 01:11:45.390
of course we get Westley and Buttercup. Yep. Big kiss at the end.

01:11:45.890 --> 01:11:49.250
Well, and Westley— It's described. Yeah, and Westley tells Inigo, like, you'd make a great

01:11:49.750 --> 01:11:52.870
Dread Pirate Roberts. So I think they're debating, he'll do the handoff, right? He'll be

01:11:53.370 --> 01:11:56.010
the next Dread Pirate Roberts. And, and then, yeah, there's like, you know, uh,

01:11:56.510 --> 01:11:59.350
Columbo's voiceover is like, you know, there have been 5 kisses that were voted the

01:11:59.850 --> 01:12:03.210
most passionate, the most pure. This one left them all behind. You know, and it's

01:12:03.710 --> 01:12:07.170
like the greatest kiss ever kind of thing. And even Fred Savage's character,

01:12:07.670 --> 01:12:10.630
he doesn't mind the kissing now. It's okay, it's cool. He's happy about the end

01:12:11.130 --> 01:12:14.130
of the story. 'Cause the good people, it's the good people kissing, they win.

01:12:14.630 --> 01:12:18.530
The good triumphed over evil, like the whole deal. But yeah, that's The

01:12:19.030 --> 01:12:22.570
Princess Bride. That's it. And before it ends, we have Fred

01:12:23.070 --> 01:12:25.990
Savage saying like, hey, Grandpa, you can come back and read to me another time.

01:12:26.410 --> 01:12:28.690
So it's like he made that connection. Tomorrow, he says tomorrow, please come back and

01:12:29.190 --> 01:12:32.035
read to me. You don't even seem sick today, motherfucker. You're gonna be back at

01:12:32.068 --> 01:12:35.417
school tomorrow. Maybe it's Christmas break. And also, you're like 12. You should

01:12:35.450 --> 01:12:38.433
be able to read. Do you not read? I read it to you once.

01:12:38.481 --> 01:12:40.896
You're already aware how to pronounce these names. Again, I go,

01:12:41.717 --> 01:12:45.516
that is The Princess Bride.

01:12:45.565 --> 01:12:48.803
Fantastic. All right, um, well, I'll go first with my rating. Yeah. Um,

01:12:49.448 --> 01:12:52.172
we— when we started this podcast, I think the first time that I ever gave

01:12:52.188 --> 01:12:55.478
out a 5, uh, out of 5 to a movie was The Fugitive. I think

01:12:55.978 --> 01:12:58.271
episode 6 or 7, something right around there. And I made the comment at the

01:12:58.771 --> 01:13:01.978
time that I cannot ask for anything this movie doesn't give me. Yeah.

01:13:02.042 --> 01:13:05.284
That was sort of my bar for like perfection in the sense of 5 out

01:13:05.316 --> 01:13:07.964
of 5. And in the sense that within 5 out of 5, there's still a

01:13:08.464 --> 01:13:12.474
range and a spectrum of movies that make 5 out of 5. But the

01:13:12.538 --> 01:13:16.390
core for me is still, can I reasonably ask this movie to

01:13:16.486 --> 01:13:20.049
do or be anything that it's not? Yeah. Like already, you know, is there

01:13:20.178 --> 01:13:23.529
anything about it I would longer, shorter, more of this, less of that, anything like

01:13:24.029 --> 01:13:27.345
that. And The Princess Bride, like The Fugitive, and I don't know, like The Thing,

01:13:27.393 --> 01:13:30.438
and like a few other movies kind of in this category, is to me a

01:13:30.583 --> 01:13:34.045
perfect movie in that it delivers on everything it

01:13:34.545 --> 01:13:37.540
promises. It does not require, you know,

01:13:37.652 --> 01:13:40.762
anything to be cut or anything to be added to be as good as it

01:13:41.262 --> 01:13:44.705
can be. It really comes together in every sense. Great dialogue,

01:13:44.769 --> 01:13:48.040
quotable bits, wonderful characters, great action, the sequences in

01:13:48.072 --> 01:13:51.359
and all of the sort of like the way one scene moves to another in

01:13:51.859 --> 01:13:55.337
a very causal fashion. There's so many things about it that work basically perfectly.

01:13:55.593 --> 01:13:58.319
And this is all a very long-winded way for me to say Princess Bride is

01:13:58.819 --> 01:14:01.607
a 5 out of 5. If I could give it 5.5, I would. Of the

01:14:02.107 --> 01:14:04.718
movies we've covered, I think this literally would be, if I had to rank them

01:14:04.815 --> 01:14:07.942
all in 70, you know, 1 to 79, 'cause it's our

01:14:08.442 --> 01:14:11.390
79th episode, this would be in like the top 3 for me. Nice. I think

01:14:11.890 --> 01:14:14.261
for sure. So I am an easy, clear 5 out of 5. out of 5,

01:14:14.678 --> 01:14:18.112
uh, on The Princess Bride. What about you, Nic? Um, yeah, I mean, this is

01:14:18.208 --> 01:14:22.155
awesome. And the way that you describe it, I think, is perfect in that,

01:14:22.781 --> 01:14:26.198
uh, yeah, I don't know what I would do, like what single role I

01:14:26.230 --> 01:14:29.616
would recast, what, uh, bit I would cut, what piece

01:14:30.116 --> 01:14:33.322
of scenery looks like crap, what effect or stunt looks bad. Like,

01:14:33.531 --> 01:14:37.237
yeah, there's not a thing in this that distracts from it just being like

01:14:37.737 --> 01:14:41.810
a very enjoyable, like easy kind of relaxing watch that

01:14:42.310 --> 01:14:46.125
will give you a lot of laughs too. Um, it's great

01:14:46.625 --> 01:14:50.104
to see Andre the Giant, and, uh, it's too bad. I feel like if he

01:14:50.152 --> 01:14:54.050
was maybe like 10, 15 years younger, like born 10 or 15 years

01:14:54.162 --> 01:14:57.788
later, he would have been an enormous star. It just didn't seem to cross.

01:14:57.852 --> 01:15:01.670
Like when WWF really got big, he wasn't quite physically

01:15:01.766 --> 01:15:04.108
able to do the stuff he was in like the late '70s.

01:15:04.814 --> 01:15:08.247
Um, but yeah, I mean, Mandy Patinkin, Wallace Shawn,

01:15:08.279 --> 01:15:11.457
2 of my favorite Like, just like human

01:15:11.489 --> 01:15:15.213
beings, like to hear about their their lives outside of the art and everything.

01:15:15.357 --> 01:15:19.081
So good. Carrie Elwes is just like underrated

01:15:19.594 --> 01:15:23.687
as an actor overall. I feel like he should be in more stuff, and but

01:15:23.832 --> 01:15:26.464
I mean he has been in a lot of excellent stuff. Yeah, I don't know

01:15:26.480 --> 01:15:29.674
how to not give this one a five either. I mean, like I said,

01:15:29.690 --> 01:15:33.285
I didn't grow up with it. This isn't like my number one like movie

01:15:33.382 --> 01:15:36.576
that I'm nostalgic for, but I think I gave Home

01:15:36.672 --> 01:15:40.184
Alone a five, and that was. A bump because of, you know, nostalgia,

01:15:40.376 --> 01:15:43.133
and also a movie that works very well. But I think in the same vein,

01:15:43.198 --> 01:15:46.211
it's like, yeah, if I'm giving you a list of a few movies that you

01:15:46.711 --> 01:15:49.802
could show to anyone of any age and like get an agreeable crowd

01:15:49.834 --> 01:15:53.280
for, like, this is way up there. Yeah, perfect movie. Great movie. 10 out of

01:15:53.780 --> 01:15:55.509
10 from the 2 dads. And I will say, I think you mentioned it,

01:15:55.525 --> 01:15:57.512
but like, yeah, a lot of times we'll be, we'll be real honest when we

01:15:58.012 --> 01:16:00.879
have legit like nostalgia bumps where we know we're giving a movie a bump because

01:16:00.895 --> 01:16:06.473
the nostalgia— no nostalgia bump here. My 5 is certainly 100% based

01:16:06.973 --> 01:16:08.416
Based off of just watching it yesterday, you know, two days ago, and remembering everything,

01:16:08.465 --> 01:16:10.838
and that's judging it as is. Like there's no bump going on here. This is

01:16:11.338 --> 01:16:15.121
a pure, unaltered five

01:16:15.621 --> 01:16:19.029
out of five for me. So, but not fortified five. Exactly. I will say I

01:16:19.142 --> 01:16:22.181
was a four and a half, but your Wallace Shawn impression did push it to

01:16:22.213 --> 01:16:24.698
a five for me. We would have had words if you were under five on

01:16:25.198 --> 01:16:27.472
this. I would I would have really asked you to defend that decision. Ten out

01:16:27.972 --> 01:16:30.927
of ten of the two dads, as it should be. The Princess Bride, one of

01:16:31.427 --> 01:16:34.100
just. the one— like I said, one of the defining movies of our generation in

01:16:34.600 --> 01:16:37.200
so many ways, and really so important to so many people, and so much fun

01:16:37.700 --> 01:16:40.040
to watch. That's the other thing too, is a lot of times great movies like

01:16:40.540 --> 01:16:43.720
The Silence of the Lambs, another 10 out of 10 we gave, fantastic movie.

01:16:44.220 --> 01:16:47.199
I can't just sit down and watch that any old time. And you can't dip

01:16:47.699 --> 01:16:50.140
in like 3/4 of the way through and still get something out of it.

01:16:50.640 --> 01:16:53.380
Like with this one, you could be like, all right, you can only catch 10

01:16:53.880 --> 01:16:56.060
random minutes of The Princess Bride, do you still want to do it? It's like,

01:16:56.560 --> 01:16:59.069
yeah, probably. Doesn't— I don't care which 10 Yeah, they don't have to be sequential,

01:16:59.390 --> 01:17:02.469
right? You give me 10 1-minute clips, I'll probably still enjoy it, you know?

01:17:02.534 --> 01:17:05.468
Like, so, all right, so that's, that's The Princess Bride. We're a 10 out of

01:17:05.500 --> 01:17:08.692
10. Uh, Nic, you are picking our next movie. Where are we going for next

01:17:09.192 --> 01:17:12.541
week? Uh, so next week, uh, you know, uh, what we like to

01:17:13.041 --> 01:17:16.695
do, a little change of pace and everything. And this one actually, this is

01:17:16.791 --> 01:17:19.790
one that I wanted to get on the pod at some point, but we were,

01:17:19.918 --> 01:17:22.949
uh, requested this film, uh, by one of our listeners.

01:17:23.142 --> 01:17:26.497
Matt DeLuna. Shout out to Matt. Nice. Who, uh, who said that he's a

01:17:26.997 --> 01:17:29.725
big Kurt Russell head like you and I both are. Absolutely. And one of the

01:17:30.225 --> 01:17:32.760
movies that was very big, uh, that he used to watch with his dad and

01:17:33.260 --> 01:17:37.480
they would quote back and forth and stuff was 1997's Breakdown.

01:17:37.593 --> 01:17:40.852
Okay. So we've got Kurt Russell, we've got,

01:17:41.029 --> 01:17:44.368
uh, J.T. Walsh, we've got M.C. Gainey, we've got all

01:17:44.417 --> 01:17:47.467
these like that guy kind of character actors and, uh,

01:17:47.772 --> 01:17:51.460
different change of pace. But yeah, this is a kind of action thriller from the

01:17:51.960 --> 01:17:54.580
late '90s that I remember seeing in the theater. It was playing at the theater

01:17:55.080 --> 01:17:57.400
I worked at, so I saw it a bunch, saw it on tape and everything.

01:17:58.040 --> 01:18:01.080
So, uh, 1997's Breakdown. So I look forward to that next week.

01:18:01.300 --> 01:18:03.720
Have you seen this one? I have not. In fact, I had not even heard

01:18:04.220 --> 01:18:06.880
of it until we got that email. And in fact, I thought that email— when

01:18:07.380 --> 01:18:09.580
I read it, I went, that's a really funny way to spell Backdraft. Why are

01:18:10.080 --> 01:18:13.020
you saying that? That's so weird. Oh, Breakdown's a whole different movie, also starring Kurt

01:18:13.520 --> 01:18:17.010
Russell. Good to know. So yeah, no, I've never seen it. Going in blind,

01:18:17.510 --> 01:18:20.140
you know, I went out totally blind. I think I saw a one-sentence synopsis,

01:18:20.530 --> 01:18:23.810
you know, basically, yeah, car breaks down, wife goes missing, guy's got to hunt for

01:18:24.310 --> 01:18:26.350
her. You know, that's all I really know. It's just obviously it's in that thriller

01:18:26.850 --> 01:18:30.150
category, which I got to say, after the first attempt by you to

01:18:30.650 --> 01:18:32.970
introduce me to a thriller kind of fell a little flat with Pacific Heights,

01:18:33.170 --> 01:18:35.510
you've been killing it. I've been loving it. Started with the worst one. Well,

01:18:36.010 --> 01:18:38.070
but you know, I've been loving The River Wild, Cape Fear, Sleeping with the Enemy.

01:18:38.570 --> 01:18:41.675
Like, I like all these movies. Real good thrillers. Turns out thriller is

01:18:41.707 --> 01:18:44.662
one of my favorite genres, and I didn't even really know. So there you go.

01:18:45.401 --> 01:18:49.160
So yeah, so next week we will watch Breakdown starring Kurt Russell. That's a

01:18:49.660 --> 01:18:52.244
wrap. If you like what you hear, please consider heading over to Apple or Spotify

01:18:52.744 --> 01:18:55.665
and leaving us a 5-star review. It helps new folks find the show. Be sure

01:18:56.165 --> 01:18:59.327
to check out our website at twodads1movie.com. That's the number 2 and the number 1.

01:18:59.761 --> 01:19:03.070
There you can explore the movies we've covered, sign up for our newsletter, The Rewind,

01:19:03.086 --> 01:19:06.187
and even get sneak previews of upcoming episodes. Once again, this has This has been

01:19:06.687 --> 01:19:10.050
The Princess Bride, another episode of 2 Dads 1 Movie. I'm Steve. And I'm Nic.

01:19:10.163 --> 01:19:12.151
Thank you so much for listening. We'll catch you next week. Thanks,