Doug, honey,
you wouldn't hurt me, would you, sweetheart?
Sweetheart, be reasonable. After all,
we're married.
Consider that a divorce.
That was your wife?
What a bitch.
It's Two Dads, One Movie. It's the podcast where two middle-aged dads sit around
and shoot the shit about the movies of the 80s and 90s. Here are
your hosts, Steve Follow and Nick Briana. Hello,
everybody. Welcome to another episode of Two Dads, One Movie. I'm Steve. And I'm
Nick. Today we are continuing our march through Janu Arnie with
Total Recall, the 1990 film starring Arnold
Schwarzenegger, Sharon Stone, and Rachel Ticotin. And I'm not positive if I'm
pronouncing that actress's name correctly, but that's how I'm gonna say it today. Looks pretty
correct. Yeah, not far off. Before we jump in and get started, I just wanna
remind everybody, hey, do you wanna get ahold of us? Do you wanna talk to
the two dads? Do you wanna involve yourselves more deeply with us?
Back off, it's okay, we're both married, you can't get that close. There's that.
But you can go to twodads1movie.com, that's the number two and the number one.
There you can explore all of our episodes. There's a way to travel through the
movies we've covered and connect, oh, this one connects to that one with that actor
or that composer, whatever. You can explore all this stuff, check out a bunch of
stats, see how we stack up against Roger Ebert and Gene Siskel,
for example, and other cool stuff. So check out twodads1movie.com yeah,
it's a. Super fun site, everyone, and I'm kind of generally anti-website, and I
really, really like this one. It's easy to get around in this, Lots of fun
little trivia bits on there. I like it a lot. Yeah, you can sign up
for an account in order to leave comments and do some of that stuff,
and there'll be more features, like being able to mark your favorite episodes and stuff
like that coming soon. But you also don't have to. If you just want to
check it out and poke around, you are welcome to do so. So check that
out. Okay, total recall. So this is the second movie
we've talked about, directed by Paul Verhoeven, isn't it? Yeah, that's right. We saw him
in Starship Troopers earlier, which was a great episode worth checking out.
Yeah, he's always making some interesting stuff for us. Absolutely. One of,
I think we've talked about it before, one of both of us, our favorite directors
of the era, just kind of like really had a lot of interesting things to
say. So Nick was your pick for our January
Arnie month. So talk to me a little bit just in general about your history
with Total Recall and why you picked it for us. Yeah,
so this was early 90s Arnie.
At the peak of his powers. This is definitely one I enjoyed
on cable after the fact. I wouldn't have seen this in the theater, but I
probably saw it in the mid 90s. I think this was a Cable to Scrambler
classic. There you go. And we had mentioned before, a friend that both of us
knew in high school, his family had a Cable to Scrambler. So we would get
to watch pay-per-views, but he would also have these awesome VHS tapes of
these kind of movies, and we'd just watch them over and over. Perfect. So this
one, I mean, it's fun to do an Arnie impression from it. There's lots of
goofy stuff. There's lots of actual cool stuff. This really
just has a lot for you. And the concept of it is
very neat. Absolutely, yeah. I think it is a truly original concept. As are,
we'll get into where the story came from, but this is an adaptation of a
Philip K. Dick short story. And when you tackle
a Philip K. Dick story for the screen, you are certainly provided
with a very interesting premise and a very interesting setting.
And so I think Verhoeven and the screenwriters really took
that and ran with it, and I think, did some interesting stuff.
I think I'm probably in the same boat as you when it comes to Total
Recall, originally seeing it, yeah, probably in high school sometime,
possibly a rental or, yeah, on cable or something.
We had HBO, so good chance that I just watched it one late evening
when I was supposed to be, quote, in bed asleep, not downstairs
watching HBO. But, yeah, I just have always loved this movie for a long time.
There are so many pieces of it that have become sort of cultural,
kind of like before memes existed, there were things from this movie, right?
Totally. That were basically proto memes. It is. And people would
recognize elements of this film even if they've never seen it. Yes, all three of
them. Cool, all right, let's jump into the
facts on Total Recall. All right, Total Recall was
released on June 1st, 1990 with an R rating and a running time of 113
minutes. Directed by, as we mentioned before, Paul Verhoeven,
written by Ronald Shusett, Dan O'Bannon, and Gary Goldman from the short
story by Philip K. Dick. Starring Arnold Schwarzenegger, Rachel Teichotin and
Sharon Stone. On the scores tip, Rotten Tomatoes 81%,
nice solid fresh score from Rotten Tomatoes and a 7.5 from IMDb.
So this is a well regarded, very respectable, yeah, well regarded movie in general.
Siskel and Ebert however, split decision from those two. Roger Ebert
our homie with the big thumbs up. Gene Siskel the putts with a big thumbs
down. Don't understand it. Still don't understand it Gene. All right, some awards.
It was nominated for two Oscars in
1991. So two regular competitive Oscars. It was nominated for Best Sound, and it was
nominated for Best Sound Effects Editing. It didn't win either of those. One of the
reasons it didn't win that or any other Oscars that year is this movie was
up against another Arnold Schwarzenegger film. Okay. Terminator 2.
Yikes. So-- Tough competition. Yeah. So this
film, however, did win a Special Achievement Award for
Visual Effects, which is not the same as, like, the Best Visual Effects Oscar,
but it's like a way for the Academy to-- Hey, we also wanna make sure
we point out that there are particular reasons were saying this movie was great in
this category as well. And specifically for this, it was the combination of computer generated
graphics, which were brand new at the time. Yeah. Makeup effects,
puppets, all kinds of different stuff that all blended together at different places in the
movie. And that's why the Academy decided to, you know,
basically recognize it with that Special Achievement Award. Is that something they do often?
Do you know if that, like, it's at their discretion every year if they decide,
like, okay, we really want to make sure this thing gets something even. Though I
think so. I think a lot of times they're not on the televised Oscars thing.
It's like they always talk about the technical award. Or whatever, come a different time.
And sometimes during the telecast, they will run down a few of the winners from
that real quickly. So I think it's that kind of thing. I don't know if
it's an every year deal, or if it's like, hey, when we see something
we want to call out that doesn't get nominated for one of the main awards,
we'll do it. I think it's kind of the idea. Or it's more specifically for
like, oh, it's not just that it's for special effects or visual effects, it's for
this specific effect it did, or like it. Was revolutionary in some way.
Exactly. It raised the art form somehow. And so for this, it mentioned specifically the
combination of practical physical and computer effects. Very cool. It did, however, win two
1991 Saturn Awards, which we actually see the Saturn Awards show up fairly often.
It's like the Academy of science fiction and horror
or whatever. It's its own thing, but it's specifically around sci-fi and horror movies.
So this won best science fiction film and best costumes
at the '91 Saturn Awards. On a budget of $65
million, which, yeah, it looks like it on screen. They squeezed every
penny out of that they could. It earned 261 million at the box office for
four times its budget. Making it an undeniable smash hit.
Absolutely. Those are the facts on Total Recall. Okay.
All right, man. You wanna kick us off? Yeah, let's kick us off. And this
is one that kind of kicks us off in a weird. And I did wanna
point out at the beginning, it says the producers are Mario
Kassar and Andrew Vajna. I always pronounced
it a certain way, but I think it's like Vajna or something like that.
But they're all over these action films of the
'80s. Their fingerprints are all over the lesser ones. You know,
this is one of their marquee projects. If it wasn't Ridley Scott or James Cameron
or that kind of thing, it was these guys, right? Yeah, yeah. So we
start off basically with two people that are outside on what
appears to be Mars. And they're- Red Planet. Red Planet. They're in their space suits
and they have these kind of glass face protecting helmets and everything. And they look
like they're just kind of going for a hike just to walk it around out
there, right? Checking out the sites. It's like when you go to the Grand Canyon,
what else are you gonna do? You just look at it. Just have a peek
and just stand there on definitely solid ground that's never gonna crumble
from beneath your feet. Oh, no. So one of them slips
and falls down, and we see that this is Arnold Schwarzenegger. And immediately
he falls face shield first onto a rock that breaks it. So the air's,
he's like, Ah, wow, great Arnie noises. From the beginning, and this is some of
the best culturally permeating stuff
from the film, is the effect of the eyeballs popping out as he's
outside on Mars and he's freaking out, his face is changing. Really good effect.
And then, you know, kind of quickly, he wakes up from this as it gets
very intense, and it had been a dream, and, you know, he's laying there in
bed with his wife, Sharon Stone. Right. Lori is her name, and Doug
Quaid is Arnold Schwarzenegger's character. And yeah, I think this is, you know,
so much of our love of Arnold Schwarzenegger
in latter years comes from people doing impressions of Arnold Schwarzenegger. Yeah. And the whole,
like, Arnie in distress, I feel like there's more of that in this movie than
maybe any others. Oh, yeah. So the whole, like, kind of sounds that he makes.
It's like all over this. It's so distinct.
Yeah, it's really wonderful.
Yeah. And of course, Laurie is jealous because he's dreaming about being
on Mars, and she's like, Was that woman there? Yeah. Because he
apparently has this recurring dream. And it's a brunette,
specifically Sharon Stone being a blonde. Like, there's a comment about it was a brunette,
and she knows it's not her. I also just want to say, Probably goes without
saying, Sharon Stone looks amazing in this movie. This is peak Sharon Stone
time. She's gorgeous. The way that she, as an
actress, the way that she interacts with him is so good as you
get to know more about these characters and what their relationship actually is, because she's
not only being a good actress herself, she's playing a good actress. Right? In a
lot of ways where it's like the character has to be acting, and it's like
that's not the easiest thing to do, and she does a fantastic job. No,
and she, you know, in a lot of ways, like, blows everybody off the screen
in this movie. She is the most, probably the most skilled actor that we're seeing
a lot of. Of actors. Yeah, it's pretty much her. And Marshall
Bell is great in other things. We'll get to him later, but he doesn't really
have much to do in this movie. So it's sort of like-- Is that co-helming?
No, no, no. That's, that, oh, he is actually really good. That's Ronnie Cox.
No, I was thinking Marshall Bell is Kaito, George and Kaito is
Marshall Bell. Oh, okay. He's great in other things, but in this, he was,
yeah. There's actually a lot of Starship Troopers connections. We'll get to those as well.
As we see them. But yeah, there's that. And yes, Ronnie Cox, who was
in Robocop, the head of that corporation, in that movie is now the head of
like Mars mining in this movie. And of course there's also Lieutenant Bogumil in
the Beverly Hills cop movies as well. So Ronnie Cox is great as well in
this. But back to like the kind of moment in the movie where we're at,
Doug has woken up, basically convinces Laurie, oh, it's no big deal, you know,
I'm the only one that you love, that I love is you, you know,
whatever, gives her some cheesy ass lines and they make out and
make love or whatever. And we don't get to see it all. But, hey,
you know, her nips are out. There is a nip very early. So you get
an eyeball pop and a nip pop within the first, like, 3 minutes of this
film. Very related to each other. Yeah. Yeah. And it's funny.
So so he turns on the TV. They have this kind of like wall window
view. Right. And it's the whole wall. So she clicks it and we see that
it's just a projection or whatever. And there's like this news story, you know,
kind of scary action news about all the turmoil going on on
Mars and terrorists are demanding their freedom and all this stuff. And then Quaid is
just like, Let's move to Mars. It's like.
This reminds me of everyone who's like, Aw, like, Hey, let's move to
this shitty place. You get a cheap house. Yeah, yeah, exactly. Yeah, but then you're
there. Yeah, did you see that there's that horrible serial killing that happened down in
the Bayou in Louisiana? Yeah, but a big house down there is like 200 grand.
We could go and we could live in a big house down there. Yeah,
there's that. And then I love too that this news report that he's watching,
Verhoeven, obviously, like, he does it in Robocop as well, but it's like a signature
for him, 'cause all throughout Starship Troopers, right, is all of the, like, fed news
or whatever, the fed net stuff. And it's the same thing. The amount of horrifically
graphic violence just being live streamed on the newscast is like mind boggling.
Yeah. When you don't stop and realize, like it is only one or two steps
past the reality of news, especially in the 80s and 90s, they showed
us stuff that they wouldn't now. They were much more permissive. Well, now it's on
YouTube. Well, there's that. Yeah. Unfortunately. Yeah. You still have access to it, but it's
not on like Dennis Richmond isn't presenting it to you. Exactly. It's not news
at 10 or whatever showing us these horrible things. So we get a very graphic,
in fact, the cops or whatever they are, they're sort of security forces that are
quelling the terrorist outrage or outbreak are also, you know, telling the camera, you know,
shut down, get the fuck out of here, you know, whatever kind of thing.
But yeah, apparently Doug's response to this is, that looks like a good place
to live, like whatever. He doesn't seem to give,
like, does he like the adventure? Does he think there's opportunity?
Like, he doesn't explain it at all. He's clearly obsessed. And she even said when
he wakes up and he says, you know, I was dreaming, it was a dream,
it was on Mars again. He goes, yeah. And it's like, you're obsessed. This is
becoming an obsession. Yeah, he is clearly. There's a comment, I think,
on the news about, you know, the main thing that's happening on Mars
is they're mining this substance called terbinium, which is, you know,
the war effort depends on it. And they're not really talking about where the war
effort exists. I think there's supposed to be just kind of a blanket war effort.
Like there is now, just like there's always one. There are subtle references to like
the northern sector and the southern sector. I get the sense that it's
sort of a, the countries or former countries of the northern hemisphere and the southern
hemisphere of the earth are at war with each other in some way is what
it sounds like, and that this turbinium product is essential
to whatever kind of weapons manufacturing that they're doing.
Maybe it's like copper, he just needs a ton of it for his stuff,
right? So there's that. But yeah, she basically
tells him, no, we shouldn't move to Mars. That would be a bad idea.
And they also, on the news, I think they mentioned that Kwato
and the terrorists are basically the group that's trying to trying to thwart this effort.
They're like the rebel group on Mars. And we're setting up a very classic,
you know, one man's terrorist is another man's freedom fighter sort of setup.
And that's quite deliberate, obviously. It's kind of Verhoeven shtick in a lot of ways
is that kind of commentary. And then we set that
up. We then follow Doug as he leaves to go to work. I want to
pause real quick to say, I think I had the jacket he's wearing. It's like
a green, almost kind of bomber style with the brown corduroy or leather
collar. I think this is leather. Mine might have been corduroy, but it looked very
similar to that sort of olive green. With the brown collar was just standard,
like 80s-90s jacket. I think it had almost the same one. Mine would have been
much smaller, however, because I was like, you know, 12 or something.
Yeah. Hard to find a 12-year-old the size of a Pete Schwarzenegger.
No, thank God. That would be weird. So he gets on the
subway train. Oh, he goes through that x-ray machine. That's our first
glimpse of that, which is really cool. And this is, again, something that stood out
forever to everybody who watched this, you walk through the security screen and
it's a full x-ray. So they're just watching your skeleton walk through there. Very cool
and not dissimilar to what we have now, although I think those
guards were trained in some sort of way and we don't do that anymore.
There's no training. Just cool to see how this world
exists. And then when he's on the subway, there's screens everywhere. So that's another thing
that's basically how it is now, that was this kind of imagined dystopian
future then. Exactly. So we made it. Yeah, right. We got there, everybody.
Yay. So he's on the subway train and there's just TV screens
showing ads and one of them is for a company called Recall, which is R-E-K-A-L-L,
not spelled like the title of the movie, but basically advertising the ability to go
on vacation with a brain implant, essentially. They will put
memories in your head so that you will have the memory
of having gone on some fantastic two-week two week long vacation without actually doing it
and for significantly less cost and whatever else, which I have
like no, like there's a lot of movies where we even dystopian sort of future
movies where there's like pretty cool tech where you're like, well, I could live in
that horrible dystopia if I had that cool tech. This is not one of those.
I have never had any interest in like, that sounds like cool. I wish I
could do that. That sounds like the worst. There's no way you don't wake up
with like cognitive dissonance and like, and like your brain is just fighting with this
with the reality of knowing you went to the recall place and
then constantly questioning, well, which memories did they put and which ones were real?
It would be constantly a problem. But wouldn't they, do you think they would even
erase your memory of going to the recall place? Your new memory would
be, I went to the airport and went on this trip. That's the thing that
bugs me out, is that even in a world where you didn't go to recall,
you're surrounded by people who are convinced by all this shit that you know for
a fact is not real. So it's just like this, this schizophrenic,
crazy ass environment. And they didn't dig into that aspect of it too much.
But the, the implications of this are very interesting. And, like, it opens
your mind to this, like, whole new idea of a world. It's really cool.
I need to go back. I need to find that Philip K. Dick short story
that, that influenced this because I have a feeling he talked, he probably wrote
way more about that as a concept and, and the ramifications
of it other, rather than this overarching story about Mars. Like, I get the sense
because It's when you base off a short story. I mean, like Blade Runner was
based off a short story that really was just about androids and replicants. They call
them replicants or whatever. Not so much the whole story of Decker and everything.
Yeah. You know what I'm saying? So it's probably a similar thing where the I
bet you dick dove way further into the ramifications of this
fake memory and what that does to you kind of thing. But I digress.
But everyone in his life is against it. So, I mean, this is something that,
you know, Harry's, he's At his job, which is a strong guy job,
which is just jackhammering stuff all day. Construction, I guess. Great. I mean,
perfect job for Arnie to have in a film. He should be that in everything.
And his buddy, Joey Tribbiani's dad, is there to say,
Harry. That's a terrible idea when he's like, Hoo do the recall?
Yeah, yeah, a guy went there, got lobotomized. Like, don't do it, you know,
kind of thing. Yeah, and they're really, you know, against him. And then the next
scene is basically him showing up at the recall's office. And he already had an
appointment. Like, he's asked me about it, but they were expecting him. Like, this isn't,
you know. Honestly, this is how I operate. I'm like, hey, do you think it's
a good idea if I get a new car and the keys are jingling in
my pocket already? I love that when he goes in here real
quick. So at the time I'm watching this movie with my wife and. And she's
painting her fingernails, which she hates doing because it's just, you know, whatever. So she
always puts it off. So she's doing it. And then this scene comes on where
he walks in the recall office and the receptionist there. Oh, yeah. Some kind of,
like, magical fingernail palette where she dips this stylist into it and touches her nails.
And they change color. My wife just looks up and she goes, Son of a
bitch! See, that is tech that we should have,
right? I guess it would be like implants on your nails. It would almost be
like little LED screens. Like little screens. Exactly. Yeah, something like that. Yeah,
so initially he talks to, I think it's Bob, is the name of the
guy that he-- the sales guy. Sales guy at Recall. He sits down with him,
he chats, and he's like, Hey, where are you thinking you want to go?
How about this? How about that? Whatever. He goes, I want to go to Mars.
And immediately the guy's like, Nah, come on,
Mark. Whatever. So he's already trying to steer him away. So we've had his wife
say, you're obsessed with Mars. It would be a terrible idea to move there.
He's had his buddy at work, Harry, tell him, no,
no, don't fuck with your brain, pal. It's not worth it. The whole deal.
And now even the salesman is not to Mars.
And here's the issue I have with some of that is that we are being--
we will get into this obviously as we go on through the episode, but we
are in a position where we are at the mercy of-- of Verhoeven and
the screenwriters about what is real and what isn't. And that's obviously a major question
of the whole movie. But if you try to find hints in the early parts
of the movie, I find it incongruous that Bob
at Recall gives a shit where
he wants to go. Do you know what I mean? Unless it's just cheap.
Yeah, that was the only thing I was thinking is the trip to Mars is
the equivalent of the two-day Carnival Cruise that just stays in the ocean and doesn't
even go anywhere. I got you. Those ultra budget things. But, yeah, your point is
totally taken because it's like, why would he give it? Yeah. But I guess,
I guess the, the idea of him just trying to get a higher commission or
sell a bigger thing would make some sense because he doesn't, he doesn't factor in
later in the same way Lori and Harry do later is kind of my point.
So. But we will get to that. Yeah.
So, so he basically, he offers them, you know. Yeah, you can go on a
regular vacation, but what's the same thing about every vacation you've ever been on?
It's you. So what we can offer is this thing called an ego trip where
you can select an alternate identity. And again, dude, this is frying your
brain even further. This is stabbing yourself in the head and then pushing a
button and whatever stabbed you opens and becomes an immersion blender and just starts scrambling
your entire brain, dude. I can't imagine, yeah, again, talking about
cognitive dissonance and knowing this or not knowing this. Are you supposed
to come back from this vacation where you were, he mentions
a secret agent as a possibility, but he mentions other possibilities as well, like a
rock star and different things, right?
You're, you're, you know, you're not actually secret agent. So what does your
psyche do about the memories that you have of having
been a secret agent? Right. It's just, does the memory includes,
like, a resolution to wrap up whatever your identity was for that length
of time? And what could that possibly be? Yeah. Like, I'm gonna also get the
memory of retiring from the Secret Service or whatever the hell it is. Like,
it's very strange. It's that the ego trip part, to me, seems the most
psychotically insane. It is piece of all of it. Yeah, it is. It's definitely a
fun idea. And so, you know, he basically, his selling point is, you know,
you get the girl, you kill the bad guys. I have this scenario.
It's great. You get the girl, you kill the bad guys, and you save the
entire planet. Right? Yeah. And then the, the assistant at the lab or
whatever, who's set to program the machine says, oh, that's a new one. Blue Sky
on Mars. Oh, okay. Before they put it in. Catch that.
Okay. Which I think informs, like, a lot of the A lot of the thing.
Yeah. So now he's hooked into the machine and we kind of get
this cool scene of his head in this really neat looking ultimate.
It's like Magneto's dentist chair or something like that.
It's a psychotic MRI machine. Yeah, it's crazy. It's crazy.
And he's freaking out and he's doing his noises. Yes. And we're getting some
nice Arnie noises here. Yeah, but things
go wrong quickly. They go wrong. And I'll just stop for a second.
I didn't catch the Blue Sky on Mars comment from her, and now I feel
like I'm more confident in the ending. So we'll get back to that.
But going I'm to come back to that because that's interesting. Yeah, yeah. All right.
So we cut away initially. Bob is talking to another potential client, trying to sell
them while his little video phone with no sound on,
the two scientists who are working with Doug are screaming into it, trying to get
the- Great effect. I really think that's super cool. Absolutely. And so they say
he's having, quote, a schizoid embolism, which boy, does that sound bad.
Like, I don't think that's a real thing, but that's bad. But that was focus
grouped. I mean, that is a nice sounding phrase. Yes, exactly.
So they shoot him with this, like, sedative super soaker,
like 58 times. Well, so they do it initially when he starts the process.
Yeah. And it affects him. Like, it really does affect him, the one thing.
And I counted, and it was eight shots in the leg. So eight
times whatever tranquilizer they gave him initially, they give him eight more of it.
Which is why he then passes out to the point that they're able to sort
of shove him into a cab because what they say is he keeps
talking about that they're coming to get him and like whatever. Covers the whole
thing. And Bob is even like, what are you talking about? That's just a secret
agent programming or whatever for the memory. And she goes, I haven't
loaded it yet. And that's an interesting thing because I think here's the first moment
where Verhoeven is making it clear that we should not feel
confident about what's real and what isn't. That to me is the first line that
is really like, okay, so which is it? And I
always want to say, oh, that's a good indication that it is
all in his head that it's not-- or excuse me, that he's really there.
He's really going, It's not part of the recall thing, except that everything from
the moment he takes, that he completes the whatever
design your own girlfriend segment kind of thing, we have to assume after that
it could just be the implanted memories. We don't have any reason to think that
it couldn't be for any reason. There's no clear divide. Between when it's
supposed to start. Yeah, it's really great. So the doctors
are freaking out. And this is, again, I mean, this is a
Verhoven thing. I think this is intentional of just showing,
like, the ridiculousness of these characters. But one of the doctors is like, he's actually
been to Mars. And then the guy's response is, use your head, you dumb bitch.
Why? It's like, why so aggro, dude? Ouch,
man. Yeah, so they threw him in the Johnny Cab. The Johnny Cab.
Once again, predicting the future. But I love
the level of detail that they put to give him, like,
silent film style facial expressions. Like, when he's making
these kind of, like, sarcastic eye rolls and stuff. I love that there's a robot
engineer who's like, you got to figure out how to make his eyes roll if
you say something annoying. It's like in this version of the future, Johnny Cab
just hired a bunch of former Disney Imagineers and were like, make these, like,
the ottery animatronics and, like, you know, the American Adventure or whatever. And it's like,
oh, okay. So just like really big and over the top. Yeah, yeah, yeah.
We need to make sure that the fake driver that definitely doesn't need to be
there for any reason is very emotive. We need a very emotive fake driver.
It'll make people feel more at home. It's definitely not Uncanny Valley at all.
No. You could have saved a fortune just having the inflatable autopilot
from airplane. Oh, yeah. Be the driver there. Much cheaper. Very hard
to blow out, though. Yeah, so he is heading home.
Well, he, So he wakes up in the Johnny Cab, and I think he asks
just to go home, right? Yeah. But before he can get up to his apartment,
he is stopped by Harry from work, and Harry
pulls a gun on him and is like, you, blabbed about Mars. You're in trouble
now. But he, oh my God, Doug just absolutely
destroys these people. So brutally, so quickly.
And this is something, I mean, I just literally wrote the note I wrote as
Snapping Necks. But there's part
of, so I wanted, like, real quick, I was going to take a little pause
here. 25 minutes in the episode, I don't care. I'm going to pause for a
second and say, we've talked about Verhoeven before. We've talked about Verhoeven as
a satirist, and I still believe that in general, all of Verhoeven's work has satirical
elements. I don't believe this is as clear-cut a satire as Starship Troopers or Robocop
are. I feel like those are both, like, much more clearly intending to satirize
particular pieces of, you know, political or social life.
This is more commentary, in my opinion. There's satirical commentary, but one
of the pieces of satirical commentary that the movie makes, in my
opinion, is the casting of Schwarzenegger in this role. The fact
that he is completely unconvincing as
a regular guy. And yet Hollywood has tried all his career
to show us ways in which, no, no, no, he's just a regular guy.
And then surprise, he's burly and can fight. It's like, yeah, we could see
the 28-inch biceps. We know who he is. Yeah, we get it.
So I think the I think that this fight and his reactions,
his sort of like, oh my God, I'm Jason Bourne, I didn't realize, sort of
reactions are part of Verhoeven's commentary about the way Hollywood treats
violence and the way Hollywood casts people. And I think it's an interesting- yeah,
interesting. I think that's a good point. And then, you know, these other guys that
he was killing seemed just kind of like regular Joe type guys. These weren't like,
you know, trained assassin type. No, and like Harry's overweight.
And like, you know, it's just like, yeah. Yeah, really cool scene.
So Quaid comes back to their apartment, And back at the apartment, Laurie is
doing this holographic tennis instructor thing, which is really
cool. Very cool. And he comes in freaking out, shutting off
all the lights and everything. He's like, Get down, get down. He's like, Look,
I have to tell. You, they tried to kill me,
but I killed them. And I don't know why I love so much the way
he says this. He's like, In Harry from work, he was the boss.
He was the boss. So she doesn't
believe him. She's basically just like, oh, you're being paranoid. And he goes, Is this
paranoid? Whatever. And he shows the blood on his hands. And he does go wash
up, but when he comes back, she's talking to him, I think. Or maybe he
doesn't wash up, but at one point he's talking to her and she's trying to
distract him because she looks over his shoulder and they have a ring cam or
whatever at the front door. And it's clear that Michael Ironside and his buddies
are showing up. And this is our first experience with his character
named Richter. But they are coming, and it's clear she recognizes who they are.
She is trying to get it so that Doug does not notice that people are
at the door, essentially. Right. And so, you know, when he realizes
it, he gives the clever girl kind of thing, which is like, we're gonna have
to. We're gonna make a clever girl. That's gotta be tagged too on the website,
because that's gonna come up a few times. But, yeah. And this is, I mean,
this is an excellent scene here. Yes. And Lori starts beating the out
of him. As we were talking about earlier, Sharon Stone so hot in this
movie and also. So, what would I ever get a recall of? If I could
get an accurate, vivid memory of Sharon Stone from that era beating the shit out
of me, dude, I would watch that baby back every night. See, I'd be more
interested in the first scene she was in, but, you know, this is good too.
It doesn't last as long. Uh, so, like,
what the fuck is happening? Right, right. And he ends up in this shootout with
these guys, and he's fighting everyone off. Great scene of them, like, chasing each
other. Are they, this, the escalator thing? Right, so, not quite yet. Right, so she
tries shooting at him. He comes out or whatever, and he's, like, shooting at him,
and he has to, he, like, gets the gun away from her in the fight
and everything, whatever. And then he's able to, like, basically get away. And he's
running to the subway, basically. And so this is where Michael
Eisenstein and his buddies, Richter and his crew are, like, following him. And this is
where we get that cool thing again with the X-Ray where there's, like, he's going
through and he triggers the things. He's got a gun on him, so that gets
triggered. And then Richter and his boys are coming from one side with more
guns, but then the security people are coming from the other side to stop him
from continuing. And he has to jump through the x-ray
screen or whatever, which is amazing. And I think I might be getting it backwards,
but yeah, there's a point where he... Or no, no, that's when then they get
the escalator from there. And this is when... And I don't know how to feel
about this part, but Doug using a random passerby as a human shield is an
interesting choice for this character. I will say he did kind
of use every part of the human shield.
He only used one human shield. And he used
that guy for so long. So long.
That's true. But, yeah, I mean, that's not one thing. I love an escalator
chase. That's always worked so well for me. And in the shootout, and this is
a, this is a really great one. But, yeah, the human shield. I had a
note. Yeah. And then as they get to the top of the escalator and Richter
continues to fall, because now, now Quaid has killed several of, of his guys.
But Richter and Helm, his, his right-hand man who we saw in Toy Soldiers,
he is, is continuing after Quaid.
There's one little very verhovian moment as they get to the top of the escalator.
There's all these dead bodies everywhere because all passers by have been shot, all of
the like, you know, Richter's guys have been shot. I think he, Richter, instead of
stepping over a body, steps on one of his dead henchmen and the sound
it makes is so gross and squelchy. And when I saw that, I went,
oh, that's so verhoven. And Richter and
the other guy, the guy from Toy Soldiers, they're getting into the car to go
after him, basically. And they make a comment about like, you know, oh,
your wife. Because Richter and Lori are in the real relationship,
basically. Right. Right. In fight scenario. And Laurie was pretending to be Quaid's
wife, and he's like, oh, yeah, I'm sure your wife hated every
second. Like, basically making a joke, like, oh, I'm sure she hated that guy.
Yeah, right. Yeah. He's so ugly and out of shape.
And Richter gives us the title here. He does. It's like, because he's
like, does he remember? Because we get Cohagen, right, on the little
video phone. So that's Ronnie Cox's character is up on Mars, and he's obviously working
with Richter. He goes, what happened? Does he remember anything? He's like, no, not yet.
But it could be a matter of, it's only a matter of time. In another
hour, he could have total recall. So we get the title drop. So good.
Not quite welcome to the total recall, but, like. But, yeah, we get the title
drop there. And then they are going, so they have him bugged. They're able to
follow him. Helm has this little handheld scanner, right,
that is following him. And so he gets to
a hotel, right? Yep. And he goes into the hotel, and then he gets a
phone call. On the hotel thing. Is that right? Yeah.
So he gets a call, and it's like a video call or whatever. That's right.
Because they all are in this. Yeah. And it's, if you want to live,
don't hang up. That's right. And it's this kind of, you know, leather jacket looking
guy. Yeah. Who's like, look, you know, this is what you need to do.
You don't have a lot of time. I got this suitcase. I was told to
deliver this to you. You know, it's like, who were you? Oh, I used to
know you. Well, yeah. Like, who told you to give it to me? You did.
Yeah, exactly. Then it's kind of funny that he immediately bombs
down from the hotel room to the pay phone. Where there's the
briefcase, and this old lady is just, like, scooping it up, like, don't mind if
I do. And she's fighting him over it, and he Yanks it
away, and she's. Oh, in the meantime, sorry. One of the things the guy told
him to do, right, because there's a tracking Vice inside of his head, is wrap
a wet towel around your head. So he kind of has, like, a wet towel,
like, turban around his head, and he comes out, he steals
the suitcase from the lady, and she. We get a classic old. Fuck you,
asshole. And he turns around and does a very funny bow to her.
Yeah, it is very like, is it meant to be like Middle Eastern looking?
I was wondering if it was supposed to be. Right.
Not the best joke, but yeah. Not the best joke. It worked enough though.
And then one of my favorite tropes, and I'm really glad we get this.
What do you say when you get into a cab? The number one thing you
could say. You know, I'm not gonna, I think I'm just gonna get in and
yell, Drive! Yeah, just drive! Just drive! Right, go! Oh,
goddamn Johnny Cab. So good. And he ends up
having to actually rip the Johnny Cab driver guy out to get to work,
which is very funny. So then he's got this little joystick and he's like just
going in circles for a lot of it. Yeah. As Richter and Helm are both
running after him. Seems like everybody in this movie has either machine guns or automatic
pistols. Everything everyone is firing is very rapid fire. Yeah, yeah.
And so he's doing, you know, whatever. And then so he ends up
getting away. And going to this sort of like abandoned, almost like a construction site
or a quarry or something, I don't know what the hell it is. Just a
shoot out friendly location. Yeah, right, exactly. It's a lot of cement and a lot
of open space, not a lot of people. He gets there and he stops the
Johnny Cab and as he gets out and the Johnny Cab like asks him for
the fare, like says how much, how many credits the fare is and he was
like, you know, sue me or something like that. The Johnny Cab starts driving
after him, like it's gonna run him down, hits a cement wall
and explodes like a nuclear weapon. It is the biggest,
why is it a bomb? How is that powered? Yeah. Is it turbinium?
Really funny though. Yeah. 21 to kick a leg. Revenge on him.
They were just programmed. All cabs, this is what Waymos are gonna do. They are
programmed to run you down if you stiff them on the floor. Yeah, that's literally
how they're programmed. So the trick is get two facing each other, don't pay either
of them, and have them crash head on. This is cool.
When he gets up there, he finds a spot and he opens up the
suitcase and there's There's like cash, there's different IDs, there's weapons,
there's like some kind of mystery looking gun type thing, which we're not sure about.
And then there's like a watch that can make a hologram projection. That's the coolest.
That's the coolest. That projection watch thing is so neat. Really great.
And then, you know, the part of the briefcase is like a video screen
and it is him talking to him. That's right. And he's
saying, My name is Hauser. Hauser, yes. And, you know,
this is what's going on. Tell me what you're not. You are me, that whole
thing. But yeah, basically it's like you've got a bug in your head. You got
to use this thing. It's self-guiding, it says, but you basically have to shove this
as far up your nose as you can and then press the button or hold
the trigger. He says, when you hear the crunch, you're there, which is so
effective. Yeah, so bad. Yeah, so that thing
creeps up his nose, pulls out, and then the tracking device,
it's the size of, what would you say, a large marble or something?
Like a shooter marble, one of the big ones. Yeah, yeah. But then when it
comes out, it opens up, and then there's a much smaller actual device in there.
Right. Couldn't you put that in the face? Maybe it would have shorted out being
with the brain or something like in the juices. But really gnarly effect, once again,
a great practical effect of him yanking it out.
One of the uses of puppets, basically, it's like a puppet head that
they're pulling a thing out of. And one of the reasons for that special achievement
award was the puppetry used in this and many other close-ups of heads.
Yeah. Right. At the very beginning, actually, as his eyes were bugging out in the
dream on Mars, that was another puppetry thing. So really cool stuff. We'll see a
couple scenes. I am. So, yeah,
he, he gets this out. And basically, Hauser is saying, you know, get your ass
to Mars. Yeah. Get your ass to Mars. Get your ass to Mars. Get your
ass to Mars. Get your ass to Mars. Get your ass to Mars.
Richter and Co. Have found him in the meantime. Well, because once the bug comes
out, it's now no longer muffled by the towel on his head. So now it's
a clear signal again. So they're able to go right where he is. But he
can see them coming. They're, like, several floors down, and he's able to see them,
so he's able to stick the bug into a
piece of chocolate. And there's a bunch of rats. We've seen a bunch of rats
in this area, whatever. And of course, rats like food. So, you know, basically he's
able to get away. And then as Richter and Helm and the boys follow around,
Helm's still got that, that scanner, that sort of handled scanner, and just starts going
there. And they shoot in there. And then the thing moves there, there.
And he, like, seven or eight times. And finally it's like, stop. Like, stop saying
there. You're clearly wrong, you know? Yeah. But they end up realizing that there's,
yeah, like, the bug. On the floor, moving back and forth. It's. The rat is
dragging it around the room. And Richter decides, once he discovers that it's
just been a rat tricking them this whole time, he caps the rat in the
most blood splatters. Oh, it's so bad. It's really gross. It doesn't make any sense.
It's gonna be the biggest rat in the world. It's still not going to make
that much goo. So at this point, Quaid is getting his ass to Mars,
and he's in the Customs line, but I don't know where he is. I don't.
I don't understand his character. There's. Some old lady there for some reason.
Well, it's not that old. She looks like about a six foot four 45 year
old or something. Yeah. I feel like, yeah, she's credited as a weird character
name. But yeah, so the customs agent is asking this person,
how long will you be staying in Mars? Yeah, yeah, yeah. Two weeks.
Two weeks. And then there's some commotion and stuff,
and he asked her another question. The answer is not...
Did you bring. Any fruits or vegetables with you? Right. Two weeks.
It's like, and then I don't fully understand what's happening here.
Is something about the costume that Quaid is in short-circuiting
or malfunctioning because he doesn't have that wording recorded
in that voice? Or is he trying to get out now, realizing he's been
found out? It's hard to tell what's going on. But it's like... And Richter and
the crew had just kind of walked through there. So they walked right by him,
and they're about to go up an elevator. And then he's kind of like,
wait, this is too. Wait, why is that lady saying two weeks so much?
You're right. We better turn around. It's very strange, but she is causing a commotion.
Yeah, there's that. But end up with one of the coolest effects is, like,
he kind of unscrews side of the head of this woman, pulls it
open, and it. And it all separates. And there's Arnold underneath. Yeah. And it's a,
again, combination of, like, computer stuff and makeup and property. It's so neat.
And he's got the head.
In his hands then, and I think it just says catch,
right? Or something like that. I will give advice to any henchman
or security guard or anyone. If somebody just throws you a random thing and says
catch, like, step aside, don't hit it. Let it hit the ground. Let it go.
Oh my God. So it's a bomb, basically. It explodes. And the head looks
up at this guy who caught it. So now it's animated again somehow. It picks
up and says, Get ready for a surprise! You couldn't have programmed a couple
more canned answers to security guards in there. Yes or no.
Just have yes and no. Did you bring everybody fruits and vegetables? Nope.
Instead, get ready for a surprise. It's like, well, that's not a useful thing.
No, not at all. That only works for one thing. You need Hola,
Gracias. Come on, you need the basics. So Richter and his crew are like,
oh, there's Quaid. We're going after him. Get him! And there's this big gunfire,
but they're in an airlock. Right, so they're on Mars,
and they keep talking about the domes, right? Everything is in a dome because that
protects you from the lack of atmosphere and also shoves oxygen where
it needs to go. So yeah, all the gunfire ends up
breaking some of the dome because we later get several indications,
I don't know if I wrote them down specifically, but several characters in this movie
talk about how when Cohaegan had all of the domes built, they were cheap
as hell. They weren't good enough to keep out the solar rays. They break easily.
There's so many mutations of the people on the
planet. And also why a single bullet is enough to just completely destroy
all these. They weren't built to be like bulletproof or really sturdy. They're thin like
glass. They're really like the worst possible thing you can make it out of.
He's basically, he's like a slum lord who has built this like company town
for the people to work the mines and like the affiliated industry
that rises around it. I totally didn't pick up on the description of, oh,
like it's clicking now, but specifically because I was kind of thinking
like one bullet. Yeah. I wrote a note at one point about like,
hey, why aren't these domes like a little bit sturdier or whatever? And then it
was like after like the third person made some comment about Cohaegan being cheap.
Cheap and the domes being crappy. I went, oh, they're just deliberately shitty.
Yeah. And deliberately cheap and crappy. So that's why they have to be extra careful,
right? Because even later, one of the bad guys stops Richter from shooting because
it's like, hey, they're the. The Dome, it'll break, you'll kill us all kind of
thing. So it's definitely something that comes up over and over again. Yeah. Okay,
cool. Yeah. And. And this is a cool scene. I mean, anytime there's, like,
a pressurized situation that. That gets blown open, it's always cool with people getting sucked
out and everything. Very intense. And they're able to--
Like lock it down, basically. Yeah, they're able to-- Steel doors. All these doors come
down. And then Richter's immediately like, Open the door up!
And the guy's like, I can't. And he puts a gun to his face.
He's like, Open them up! And he's like, They're all connected! Which I feel
like was supposed to hit harder than it actually did, but I enjoyed it.
It was good. So Richter has to go visit Coghagen and sort of explain what's
going on. And Coghagen's like, I don't pay you to think. Like, don't think,
just do what you're told. That's sort of standard, like the boss knows better than
the henchman kind of thing. But yeah, so there's that. And then,
and now we're back to Doug, and he is in an area, and kind of,
he's being barked at by a couple of cab drivers. And so there's
one guy who we don't really get to know very well, but then the cab
driver that he ends up choosing is this guy, Benny. But initially, they're both sort
of like telling him, hey, where do you go? Where do you gotta go?
But he's where he needs to go right now. So he's at the Hilton,
the Mars Hilton, I guess is where it is, because he was told by Hauser
in the recording Go to the Hilton, use this ID, I don't remember which one,
Mr. Brewbaker. Brewbaker, right? Use that ID. Safe deposit. And sure
enough, there's a safe deposit box and a key to a suite under that name,
so he's now got a room to stay in. And then in the safe deposit
box, it's just a single flyer for, damn it, now I've got the name of
the resort. There you go, the last resort in Venusville. And Venusville is sort of
the red light district. And it says on the back, Ask for Melina. Molina.
Yep. And so, yeah. And. And he takes it and looks at
it and then writes the name Molina again next to it and sees that that's
his handwriting. So he's like, all right, I gotta go there. One thing about Cohan
real quick, because I know you'll appreciate this. He just has regular fish.
It shows him just eating regular ass fish. Yes. I was gonna write
down. I was. I saw that. I went, oh, another one with the fish tank.
Oh, but this is just goldfish. Like, this isn't sharks or, like, piranhas or
any other kind of Japanese fighting fish or whatever, so there's not. There isn't that
element to it, but. But we do, the Goldfish actually play a very nice little
metaphor later in the movie. But yeah, no, I noticed that, that it was just
regular fish, nothing special. Okay, so Quaid now,
he goes to this place in Venusville, Lake Red District area called the Last Resort.
And he's encountering different types of people. There's people
who have these really deformed faces who they're just being
referred to as freaks. And I think is what they keep calling them. Some of
them, yeah, the cab driver or whatever. Whatever is
pointing them out. And some of them say they have like psychic powers or whatever.
They get to this place, the Last Resort. I feel like this place is kind
of a cross between the Moss Eisley Cantina and the
Max from Saved by the Bell. It's like right down the middle of that.
It's got an early 90s vibe, even though it's meant to be far in the
future. Whatever this movie's supposed to take place in, like 2080 something, or whatever is
the original idea. Yeah, this to me is where the movie if you want
indications that this movie is actually a western in some ways, this is an indicator.
This is the saloon, right? Oh, totally. Standard western saloon,
brothel, whatever, just, you know, futurized. But you're right,
it's got that, it's almost too clean in some ways, right?
Like the Max, there's almost an element. Of it that's too-- yeah, it's like,
wait, nobody spilled ketchup there. But yeah.
And we get, again, one of the very iconic things about this
film that you know about, even if you've never seen it, seen it. We get
the. You want to have some fun? Yes. The girl opens up her shirt,
and she's got three titties. She does have three breasts. And. And all three of
them clearly are prosthetic. Like, it's not like they put an extra one in between
the actress's real chest. It's clearly, like, one big body suit. But, yeah,
I feel like I just found out Santa wasn't real.
But, yes, the triple titties are there. He doesn't really want to chat.
He asks the bartender for Molina. Yeah. Molina's like, well, yeah, the bartender's like,
well, Molina's. Real careful about who she talks to. She's got her regulars, whatever,
and she'll like me, you know, whatever. And so this is where we meet Marshall
Bell and Dean Norris's characters. And they're both in Starship Troopers, as you mentioned.
Marshall Bell plays George and Dean Norris plays Tony. And Tony is
another mutant. He's got, like, almost like part of his forehead is, like, folded over
one of his eyes. Like an eyepatch. It's very gashy looking, weird face
and head on Tony. I didn't place him as Dean Norris until I was,
like, looking at the cast going into this because I know Dean Norris obviously.
Yeah. Good for him showing up in Verhoeven films. A.S. Schrader on
Mars. Oh, yeah.
So because of this melee and
stuff, I think Cohan has declared martial law in at least that
sector of Mars. And maybe across the whole planet. But at least where the people
who don't matter live, it's martial law. They call it sector G or something,
which I'm assuming A is where all the rich people live. Yeah. By the time
you get to G, you've gone down a few levels, you know? Right. It's kind
of what it feels like. And. And now we've got Quaid. He's back in his
hotel room, and. And he's got. He's got a visitor. Yes.
So it's a doctor claiming to be from recall. I don't remember his name,
to be honest with you, but he comes in and he's like, you know,
hey, you're not really here. I'm not really here.
You're still sitting at recall in, like, the little,
you know, whatever you had, the schizoid. Nothing is real,
but you need to listen to me or whatever. He's like, well,
why should I listen to you? And he goes, well, here. And so Lori then
comes in. So she door opens and it's Lori and she's like, Doug,
I'm not really here. I'm at recall with you. They just put me in here
so I could help you realize you need to come back, do all this stuff.
And they kind of talk about if you take this pill, you'll wake
back up or whatever and come out of this whole thing. And he's like,
you know, he's super sus. He's like, I don't, why should I believe you like
this? And he goes, well, what if this doesn't matter? I could shoot you right
now. And the doctor's like, well, that doesn't matter to me. Because yes, I'm not
here. But it will matter to you. Because if you kill me, you will never
have another opportunity to come out. Your subconscious will never let you realize
that this is just a dream that you're not really here. And you'll never get
home. And you'll never get home to your wife. You'll never get home to your
life and whatever. Like you'll just be in this thing forever until you're killed here
or whatever. And it looks like he's gonna buy it.
Yeah, he's ready to buy it. It's kind of like, okay, takes the pill from
him. And I like to present it to him as, take this pill as a
symbol of your desire to come. That's right, yeah, yeah, yeah. Sometimes I take a
pill as a symbol of my desire to get an erection. That also works.
But yeah, so he's ready to take it and he's kind of looking
back and forth at the doctor. Yeah, and then he sees a single bead
of sweat. And those beads of sweat are always snitching on him. If it really
didn't matter to that guy, he wouldn't be standing there sweating with a gun to
his head. And so he blows him away. Yeah, great scene.
And Quaid, he ends up getting caught because they've
got other guys here. And he's cuffed and everything, and they're
ready to-- he seems kind of screwed, but then Molina
comes in with a gun, and there's a great fight between her and Lori,
where they're both wearing pants. Pant suits, right? Which is a. I like a nice
pantsuit brawl, you know? Yeah. So,
yeah, really good, satisfying fight. Great to see her come through. And then, you know,
she's finally put in the position where Lori's like, come on, Doug, we're married.
Yeah, yeah, yeah, exactly. Blows her away. Consider the divorce. Consider that the
divorce. Also, I'll say, Richter, before all that happens, he is on the video call
with Lori after they've sort of, like, you.
The fight has started and before Molina comes to rescue Quaid.
And he, Richter, on the video screen, does the
Sean Archer face off face wipe on the little video screen.
And I was like, Ooh, I caught you. I got you. Look at that.
So I guess now we have to have a face wipe tag and tag
just these two. Yeah, well, there might be another face wipe.
Really good. And Benny the cab driver is waiting for them
now. So we get kind of a cool chase through the tunnels. Like during this
whole thing, they're these big, like super scary looking,
like boring machines that are just tunnel drilling. Like it's all these drills
in all these different directions. So that's a hazard that they're avoiding. And those can
also be weaponized against the people as well. So that's a good kind of like
monster in this film. Yeah, absolutely. And it kind of made me think when I
saw it, it made me think of a little bit of they live and the
whole like bulldozer coming to like the shantytown or whatever. Right. And it's
like it felt very much like that because they really are are much more prevalent
in the lower income sort of areas. Yes. Right. They're not near the airport or
the spaceport, and they're not near where Cohaegan is. Right. And it seems like a
lot of these little areas of this sort of town or whatever you want to
call it are just dug out of the ground, like out of the mountain or
whatever it might be. They mentioned several times a pyramid mine that is not far
from where they are, and it's this enormous mountain or whatever.
But yeah, so there are those things. So Quaid has to go escape.
He finds Benny. Benny takes him to the last resort. So it's Molina. Molina and
Quaid and Benny all going to the last resort and being pursued by Richter's or
by Kohagen's men. They get into the last resort and Tony immediately
recognizes, you know, Molina's like, Tony, you know, he goes, they don't hesitate.
There is a secret little passageway. I love that move. So good. They let all
three of them through, shut the passageway, and immediately, like, a table and chairs gets
put in front of it. So it's just another table and chairs or whatever.
And there's this whole sequence where Richter is
now, like, where'd they go? Yeah. Where' they go? And the
three tittied prostitute is the first one to be like, I don't know what you're
talking about. He just shoots her right in the head. No hesitation. And he turns
to this little person, dwarf prostitute, and is like, maybe you
remember. Oh, my God. And. And he's,
you know, as they decide, like, all right, we have everything we
need. He just says, kill them all to the, you know, the. His guys.
So they're just taking out everyone. But the folks at the Last Resort are holding
their own. They've got their own weapons. They're shooting a bunch of people. There's a
lot of carnage on both sides. And then Cohaegan calls Richter from the, or Richter
calls in from the car, whatever Cohaegan says, pull out. Oh, that's right. Pull out.
Yeah. He's like, but we know where they are. We've got them. No, pull out.
Don't think, just do what I told you. That whole thing, right? So they leave
the sector and all of the big fans that pump air into
the area turn off. And this is Cohaegan's plan basically is
like, if you don't, if Quaid doesn't turn himself in, whatever, we're just gonna
let everybody in this sector die. It's probably hundreds and hundreds of people, but they're
all, they're the scraps from Demolition Man, right? They're the part of society that
the rich do not care about. Right. And they're not even necessarily the mine workers.
No, they're like, these are just the. Bartenders and institutes and
all kinds of stuff that they don't care.
So they're in the depths of the tunnels now,
and they're being taken somewhere, and Ben Benny,
they encountered, you know, talking to the mutant, the resistance guys, and they're
kind of like Benny, like, why should we trust this guy? Yeah, yeah, yeah.
And he pulls like a fake hand off and unfolds this really cool looking,
like, almost tentacle prong, alien looking hand. And he's a mutant.
I'm one of you. Yeah, right. He's a good one. Like, we're with him.
Really good. Yeah. And then so then George, the Marshall
Bell character, were brought to him and he talks about how, you know, Queto is
gonna wanna see you. Or whatever, but he keeps-- this is what I found interesting.
In this reality, right? Molina knows Quaid
as Hauser. Hauser is the previous version
of Schwarzenegger's character, Quaid, that the
Quaid character believes-- he believes he's
Quaid because Cohaagen wiped his mind to sort of eliminate Hauser,
right? So George and Molina and all these and Tony, they should
all know him as Hauser. Molina calls him Hauser over and over again.
Yeah. Quaid every time he talks to him. I don't know if that was
a mistake or if that's. Or does he know what he knows himself as
best or. Yeah, that's weird. Because it's like they don't, they have not talked at
all. George and Quaid. And George immediately refers to his Quaid, even though Melina probably
would have introduced him as Hauser. Right, right. So it's just weird. I found it
odd that George calls him Quaid and not Hauser. I don't know. Again, I don't
know if that was just sort of like a, the script supervisor took a piss
break or whatever and just didn't notice while that was happening or what, but,
like, something, something is off there for me. We have too many names. Going on.
I will also say, if you're making up names, you got Quaid, Cohaegan, and Quato.
It's kind of like they're going to blend together a little bit. Yeah, for sure.
So Quato appears. Yes. George goes
to talk to Quaid alone, and Quato arrives. Basically, he unbuttons his shirt.
Quato is emerging from his belly. Right.
Has a really funny voice. Yeah. I will say,
I love when I catch random lines from movies that are sampled
in music. Oh, okay. Yeah. Yeah. And there's the first
thing that Cuatto says. He's like, A man is defined by his action, not his
memory. Right. Open your mind. His line where he says, A man is defined
by his. It's in the Royce da 5'9 song,
My Friend, which is about his dick. But that's definitely
there. It says, A man is defined by his. And then it goes, boy,
you're going. You'Re going, you're going. So I want to shout that out. I want
to shout out Royce da 5'9. 5'9 for that too. Deep cut. Yeah, you know,
that's good. I'm full of deep cuts. But he, Cuanto has to say, Open your
mind. He says it like, Open your mind. And he says
like 10 times. He repeats himself like 10 friggin times. And Cuanto does,
I mean, 1990s, great for the 90s. Looks a little goofy, but it's okay.
It's one of the effects. It doesn't show them too much. It's one of the
effects that like had to be the way it is to make this character how
they designed it, right? I mean, they did kind of as best they could,
but it is one of the effects that doesn't hold up quite as well as
some of the others. Really is very rubber puppet kind of idea.
I do like the effect, though, that Marshall Bell plays when quato is active
is that George is in, like, a trance. Yes. It's almost like there's not enough
blood in this body to, like, power both of them at once. Right.
So when quato is active, George is basically a zombie. He's like, he's practically in
a coma. Yeah. Yeah. He's just there to be the life support system for quato,
you know? And then. And then when it goes back, he. George kind of comes
to. It's an interesting thing. And, you know, the way that Marshall Bell plays it
is great. Maybe that's the deep allegory for Royce the Five Nines penis as well.
There's so much blood I just pass out. Not enough to run both heads.
Yeah, so he kind of gives him a view,
like a vision into like this, the pyramid mine. Well, the idea is this
quato reactor thing. Yeah, it's quato reading quaid's or Hauser's memory.
It's supposed to be one of the locked memories inside quaid's mind that has been
quote, erased. But Quato's powers are, no, I'll help you access that.
And then he can see it at the same time. So now Quato sees it
because Hauser was there with Cohaegan when they were
talking, so he saw it. So now Quato knows that that exists. And Quato,
because he's a psychic and a genius basically, knows what it's for. And that's the
sort of important piece, because at that moment,
through the walls come those, you were talking about those drilling tank things,
whatever they are. Those mobile drills combusting through the walls,
Bad guys running out, shooting everybody up, the whole resistance getting
destroyed. George gets shot, or yeah, George initially gets shot,
but Quato is still alive until Richter comes and puts one through in his head.
And this is like not good, right? And Benny flips on them. Benny flips,
that's right. Benny is working for Cohagen and turns on him
and is part of the reason why they were able to find their way to
this base or whatever. But Molina and Quade escape or
start running at least and are trying to get down some scaffolding
or whatever at one point. And this is where Richter is about to shoot at
them. Right. Cuz he's still pissed at Lori instead. Molina killed Lori. Actually,
Quaid killed Lori. But regardless, they killed Lori and he's pissed. So he goes to
shum and Helm has to stop him. He's like, dude, if you. You're going to
kill us all if that glass breaks. Cuz they're right kind of on the outside
almost of the. One of the domes. Yeah. And it looks, I mean, there's so
many people inside that area. That's not a small window to close off. Exactly.
That's. That's. That's right. That's not something that's going to. Be, yeah,
those around the spaceport, there were those metal sheets that
went down. There's no way. It's a huge sort of exterior dome.
They get captured and Cohagen tells Richter, you got to bring them back. You can't
kill them. Like, I need them. And so, yeah, so they get knocked out and
then wake up in Cohagen's or something. But, yeah, we get Cohagen talking to Quaid
and tells him, Thanks so much. Yep. Hauser planned
this with me. But, you know, we needed you to do this because there's no
way that the resistance would have trusted Hauser. Yep. You know, with his actual
memory. So thanks so much for doing this. You are the reason quo and the
resistance are dead. And Molina's like, I believed you, like, whatever. And, quaid, still like,
dude, I don't know what this guy's talking about. This is still not reality as
far as I'm able to tell. Yeah. And it's.
It's really, you know, this is the big flip here, and he's. Now he's blamed
for everything. He. Nobody trusts him or. Anything. And at the meantime,
the oxygen is running out in the planet. So we're kind of- well,
especially in. That sector G, wherever Last Resort is. Yeah, in that area. And we're
shown like all these poor people just like really slumped over. Like it's
really rough. It's bad. So I think what they're doing is they're putting Quaid back
into kind of the recall type machine to restore him back to normal or whatever
their plan is. They're basically gonna put back Hauser's memories and personality and whatever else
to make him Hauser again. And then also they're going to put Melina in the
other one and basically turn her into his obedient sort
of supplicant or whatever, like somebody who just will do whatever he wants kind
of thing. Yeah. And so he's restrained in this
machine. Or before, I think maybe right as he's
about to be restrained, Richter says, Is he going to remember this? Nope. And the
doctor says no. And he punches him in the face. See you at the party.
But sure enough, Quaid is able to pull the entire
part of the chair apart. He's a strong guy.
I'll give it to him. It's like an 18-inch screw that's holding this thing in,
and he pulls it out, and then he jams the bolt into the neck
of one of the doctors. It's so brutal. I mean-- It's one of the more
brutal kills in the movie, I think. I think it is. It's rough. Real bad,
but awesome. And again, so positively Verhoeven.
But yeah, he's able to get out and-- and get
and kill all these like scientists or whatever in that room and help Melina out
of hers. Now she's been in the thing longer. So I don't know if like
we're supposed if there's much to think about, but I always, when I was thinking,
I thought to myself, oh, I wonder if she's further along whatever sort of change
they were trying to enact in her. Oh yeah. He would have been because she
was in the machine longer. I don't know, like maybe not, maybe it doesn't matter,
but that's something I. Thought of when I was watching it. No, that's important.
Yeah, if she was more like groggy or lost some memory,
Yeah. So, oh, and at this point in the scramble,
they kick the fish bowl over. So we have the fish suffocating,
like flipping around on the ground, and then it cuts to the
people running out of air. Yep, very, very, very, a little,
maybe hamfisted of an allegory or metaphor, but again,
Verhoeven, not really known for subtlety. It's not
really his thing, is subtlety. So this was very on
the nose for them. That way. But, yeah, so they, they do Escape. And so
then cohagen green lights Quaid. He, he tells Richter, like, go ahead and kill him.
Like, I, I wanted Hauser back, but this is not care of that. Yeah.
Like, we got to end this. So, so kill him. But before quato died,
real quickly, we need to go back because before quato was killed, he told Quaid,
go turn on the reactor. It's how you save Mars. Yes. And the reason that
the reactor was never turned on, we hear cohagen in, like, the, the flashback,
and I think even one other time, is that the turbinium that they're mining
is what powers the reactor. And the scientists are like, this could cause
a chain reaction that would activate and therefore deplete all the turbinium
on the planet. It could make the mining impossible, which is why Kogan's like,
it could never happen then. But what apparently Quato is able, what either
Quaid remembers from Hauser's memories or Quato put in his head,
I'm not sure which, he later says, a little bit ahead, but not too far,
that there is a glacier underneath the reactor, the reactors
will go and heat that up. They'll push down into it and heat it up
using the terbium, and that will cause the atmospheric sort of oxygen to escape
from these glaciers and fill the sky basically, or whatever, right? This is the idea.
So he knows, or at least believes he knows, what this
will do and the effect it'll have and how it would be able to save
the planet, essentially. Yeah, that's good to
know. And I mean, this is like an ultra complicated thing, and they We spend
like the minimum amount of time, but that's okay because the more explanation,
the more questions we have. But we get a basic, like turn the reactor on.
That's great. Glaciers melt, oxygen goes in there. All right, good enough. Saves our
problem. Exactly, right. Everybody can breathe, we're good.
So they're going down to the reactor and they're in the tunnels.
And Benny has gotten inside one of those gnarly drill
machines. And he's basically coming after them. Like he's got them pinned
basically up against the wall. Hey Quaid, screw you, right? Or did he say screw
you? I don't know, I just wrote down screw you. This is what happens.
So Benny's closing in on them.
Quaid picks up this kind of manual jackhammer type device
and he starts drilling into the fluid hoses and stuff in this machine.
And he's drilling through that stuff and he finally gets through so the machine seizes
up. It's all the motor oil. Right before they're about to get crushed
by it. And then he pops in from the side. That's right. Miraculously guesses exactly
where Benny's supposed to be. Oh, no, no. There's an indication on the side that
says, like operator only. It literally shows you where the operator
is on the outside of the tank or whatever, yeah. So he just goes,
it's a perfect target. He goes right there, and that's when he goes, Hey,
Benny, screw you! Screw you! And he just,
oh man. Oh my God. Really nice, really nice. And then
Benny's done them a huge favor, because he's busted through the wall to the reactor.
So now they're going there, and of course, this quote, Reacting, whatever, the way it's
built, it's like, there's a narrow footbridge across the whole thing that is like
700 feet up above the glacier. There was this ridiculous
catwalk that they have to go down. And I love this line. It's basically like,
I think she, Molina asks Quaid, will this
reactor save things or will this help or work or whatever she says?
Because his response is, if we turn it on in time, then they casually
start walking across. It's like, maybe run, maybe run. If you have time,
well, you're not gonna have that much time if you're just like, traipsing across the
catwalk. Go run, dude. That looks like you have like a thousand yards to go.
Like it's so big. Yeah, you gotta sprint across. I'm more afraid
of heights than I am of the planet dies.
Jesus. So then this reactor, when they're down
in there, it's a very shootout friendly environment once again.
Plenty of columns, right? Plenty of places to hide. And we remember that Quaid from
earlier here has the Holograms watch. So I think.
I don't think it shows us quite exactly what he's doing.
No, but there's a scene where Quaid is standing there, and then he's all of
a sudden surrounded by rixter's guys who are just blasting at
him, and he's just standing there laughing like a billion Predators. That's right. Yes.
Right. He's just doing.
So, you know, now they're fighting against the Hologram. He's up able to take some
of them. Because of that. Right, so yeah, so that happens. They're shooting at the
hologram, they're obviously not hitting anything, and then he comes around the corner and blows
a bunch of them away. How did none of Cohagen's guys shoot each other?
They're all pointing at each other. They're all pointing at each other. They're all in
a circle shooting. They should all be dead. First of all,
that's a terrible thing to do even if your target is actually present, because you're
still astray is terrible idea. Right, where you don't want it to go. But the
fact that that's a hologram and all the bullets should be going straight through to
whatever the Like, is he that much taller than all of them that they were
shooting at his head and therefore over each other's heads? That would be pretty dumb.
But maybe that's what's going on. You gotta go for center of mass, guys.
Come on. I know. Yeah, that definitely bugged me. That definitely bugged me.
So he ends up on this big
elevator, fighting with Richter. Yeah, yeah, yeah, yeah. Right. Yep. Which we
love. We love some Michael Ironside. Absolutely. Love that.
And this is a great, a great scene of them fighting. And ultimately,
what does he throw him off the side as the elevator's hitting the, getting to
the floor? He's like pinning him down as. Yeah, like where the elevator
is, it's from a big open area where it starts with no walls. It's just
because it's a platform to where it's now going into, like, you know,
a, a chute. It's about the size of the elevator cab.
So when he's hanging off the end, he's basically. Getting his
head gets kind of taken off or something. I don't know exactly what we see,
but he gets crushed, right? Isn't that like-- yeah, well, and his arms get crushed.
Oh, that's right. It's his arms. And you know we love it on Two Dads,
one movie. We got a couple of arms pulled off.
We will be tagging this movie with missing or artificial limbs. Absolutely.
And then we get Quaid holding both of the arms in his hand,
and he goes, See you at the potty, Richter. And he just kind of like
hucks them off the elevator. He tosses them. Oh, my God. So good. So,
Richter's dead. And then now we're up to where
there's this trigger thing. There's this circle with this
funny looking hand print in it. And it's a four-fingered--
It looked like. Benny's hand would have fit perfectly. Maybe, yeah. Pretty close. It also
reminded me, for whatever reason, very much of the whole Fifth Element, where there was
that hand print thing that would come a few years later. But yeah, so there's
that. But Cohagen's there. Cohagen is basically trying to convince him, like,
no, no, you don't do it. Like, you can't do this. And then there
is a bomb.
Now, I don't remember exactly how this works. There's, like, a grenade or a bomb
that, like, blows up part of the wall. Right. So there's a bomb that blows
out part of the wall. And then we have the scene of everyone, you know,
about to get sucked out once again. And the people that are holding on,
it's kind of Molina, Quaid and Cohagen. Yeah. Cohagen ends up
getting sucked outside as they're kind of holding on. Quaid is trying to trying to
climb towards the handprint activator thing.
There's like a rope record or whatever that he's able to kind of crawl across
to get towards it. And he is
able to hit the thing and start that reaction. But then he and Molina both
lose their grips and fly out into the still atmosphereless
outdoors of Mars, rolling down this big hill, the big mountain that
they're whatever, and kind of coming to rest of the where, you know, we'd saw
just like Quaid at the very beginning, Cohaegan has get the whole bulge
eyes kind of thing happening to him. And that starts happening to Molina and Quaid
as well. Yes. It really,
once again, the effect is awesome of them like suffocating,
almost dying. I like that you just fully returned to normal after that. So this
is, I want to talk about this. So, so my take on it is that
Cohaegan did not die. I don't think we ever see him die. We just see
him struggle. Willing to breathe out in the atmosphere less Outdoors.
In my head Canon, Molina and Quaid are
outside for not long enough to have permanent disfiguration from it.
Okay, so they do sort of just as air pressure and everything normalizes around them,
the bulginess and everything just kind of recedes. Okay, that's obviously because we see them.
We know that happens. In my head Canon, this movie, though, Cohagen lives and is
now a mutant. Oh, so he now has to live as deformed.
Formed, you know, sort of thing without cool psychic powers. It's just, he's just a
freak. In my head canon, that's the deal. A mutant who can only tell the
present. Exactly right. Yeah, so during
this scene of them struggling, we've got this cool steam coming up from the glacier
and the reactor, and then, you know, all these clouds in the
sky, thunder and lightning. And the sky
turns blue because, as we all know, on Earth, the blue sky comes from why
the fuck is it blue on Mars? So I think the idea,
and I'm stretching here a bit, is that what this eruption
is doing is providing Mars with an atmosphere it didn't have at all, right?
It's not just that there isn't oxygen, it's that on the surface of Mars you
are essentially inside the vacuum of space, essentially, right? Slightly different because of gravity,
but like that's the idea and that's why it has that effect on people and
they can't breathe there. So I think the idea here is that the
atmosphere is being generated. So there is now not just oxygen,
but an actual atmosphere for the whole planet. So air pressure and everything else is
normalized. And I think that there really wasn't an easy way to define
that or display that other than a blue sky. Yeah. You know, and I think
that's kind of just, yeah, I guess it would. At least be red for a
long time. And then if those rains really picked up, I guess maybe it would
turn blue. I don't know. But it is a little strange, but that's like,
you know, clearly the It's like, oh, it's got an atmosphere now. You can go
hiking that hill you want to hike in Mars now, you can just walking around.
You don't have to wear a spacesuit anymore. Yeah. Yeah.
And that's kind of how we ended, right? We got
Molina and Quaid, and they have saved the day in Mars.
Saved the planet. He got the girl. He saved the planet.
Just like the guy at Recall said. That's right. Yeah. And that's
total Recall. Yes, it is. And now I've got to remember I said something about,
I'm going to come back to that. Yeah. Now I can't remember what the hell
it was. Oh, man. But it was something at the
recall stuff. Not the Blue Sky on Mars part. Yes,
that's what it was. Sorry, that's what it was. Yes. So I want to comment
on that because that's something I hadn't thought of before. Because I have
always, when I've watched this movie, taken it to be that what we witnessed
is his memories. That he went to recall. They are just memories. He's really married
to Laurie. Whatever. And then if something went wrong, then it went wrong,
whatever. Like, you know, that this is all still
sort of, he essentially he's comatose and lobotomized every call. That's what I've always
believed is real. However, it's definitely not clear that that's the case.
It's certainly easy to argue that it's the other way around. But I think that
the reason I'm now set on that being reality is the scientists talking
specifically where we can feel pretty confident it is before he's taken because
they haven't hit him with the first dose of the drink. They haven't put him
into the machine yet. They're just loading the program. Program. And she says, Blue Sky
on Mars, that's a new one. Yeah. So this is a new thing for him.
This is new for them. They don't do this that often. And so, in my
opinion, it is all like the real Douglas Quaid
is married to the real Lori Quaid, and he is now a
comatose lobotomized person. So he'll never be normal. Jack Nicholson and one
flew over the cuckoo's nest right now. He's exactly. He's just okay. A vegetable.
Interesting. That's, that's. My official take on how I think the reality of the movie
is, is that nothing in the movie actually occurred. It is 100% this ego trip
that he was put on. Yeah. So I believe that it's also a trip,
but I'm also kind of inclined to just think that after that he wakes
up disappointed in recall and has to go down back to his shitty
life being married to hot ass Sharon Stone. Who he killed in this memory.
Yes, that is. That's why I think he's just lobotomized. Oh, actually.
Yeah, that's interesting because if he's killing people that he knows, like if
you're on a secret agent adventure and you're just killing random
bad guys, whatever, you're not going to be that effective when you wake up.
But if you're okay, yeah, you know, I'll go towards that. I'm sure I'm
going to revisit this at some point, but I like that theory. But I think
we both probably agree this is probably not the actual events that happened.
Like he's not trying to tell us this is reality. No, no, no. It's too
connected to the recall. Right. Again, That's nothing. my take is that nothing
in it really occurred. But I think there is a way to argue that,
oh, no, no, no, that's all real. Not a memory at all.
He does, you know, basically take everything at face value.
He was Hauser. You know, co-hagen did try
to, you know, do all this stuff, and it was all, you know what I'm
saying? Like, you could take it as all reality. And the fact that it was
like, you know, Laurie was in it and Harry was in it, and all this
stuff happened at Recall was simply the fact, like, things really did go
wrong. You know what I mean? Like, it's. So you could take it that way.
And I think that, that I, I, you know, would be inclined to think that
again, except. Well, that makes it more interesting to think about, too, because if it's
just like, oh, it's all a dream and he's fine, that's not as, not as.
I like the idea that he's a turnip. Yeah. All right,
well, this was, and this was my selection for
Januarny, so I'll go ahead and rate it. Go for Yeah, it had been a
few years since I'd seen this, but I really,
like, the experience of watching it, I think,
isn't quite as good as the experience of thinking about it and talking about it.
Because there's elements of this movie that I would imagine in
other scenarios and stuff, and that's really cool, specifically Three Titty Lady.
But there's parts of the movie that drag a
little bit that aren't, so it's not a perfect movie for me, But this
is a great Arnie performance in the middle of his prime. Sharon Stone
is great. Yeah, I think Michael Ironside, we always
love to see him. We always like to check off some of our classic tags.
Yeah. Yeah. And there's not a lot to dislike about this
film. I think nothing's distractingly bad. So I'm
going to go ahead and give this one a four out of five total recall.
That's that's the official rating of Nick is the four and
I definitely if you haven't seen it, why are you listening to this
podcast? Put this at the beginning. See the movie and then come back and join
us. But for sure, really fun. Some great Arnie and a great addition to
January this year. Completely agree with you, actually, in almost all ways.
You know, big verhoven fan. I know you are as well. Again, this is
not as clean a satire as some of his other movies, but it still has
a lot of commentary, a lot of stuff about corporate greed over the common
good. And again, one man's terrorist is another man's Freedom Fighter like that whole concept.
There's so much, you know, the, the rich literally selling oxygen to the poor.
Like, I mean, there's so much great commentary in it. So it's very verhovenesque
and, and, and the over-the-top violence is part of that aesthetic.
And again, I think I mentioned earlier, but I think the casting of Schwarzenegger in
this role in particular, because this would have, in some ways,
would have made way more sense with an every
man like Bruce Willis or something like a Harrison Ford. Harrison Ford. Yeah.
Something like that, where it's like, yeah, action hero, don't get wrong, but not
looking like Arnie or Stallone or Dolph Lundgren or something
like that. So the casting of Schwarzenegger in this, first of all, obviously helped
get it made. This anytime you can get a guy like that associated with your
picture, it's getting made. But I think it was Verhoeven making a comment about the
way that American entertainment views heroism
and violence and all this kind of stuff. It's very interesting to me. I'm just
a big fan of that kind of crap. So I'm also a four out of
five on Total Recall. Very enjoyable film. Yeah, I don't think it's perfect in any
way. There's lots of it that, you know, is just kind of like a little,
a little ham fisted or over the top or, you know, hitting you over the
head with it a bit. Some of the effects don't quite hold up, but most
of them are really great, especially the, the stuff involving puppets is generally very good.
You know, we mentioned quatos, maybe not the most convincing today as it was,
you know, as, as convincing today as it was then, but it's fantastic stuff.
So eight out of 10 from the two dads on Total Recall.
And that's where we are with that one. And we got some more January coming.
Yeah, you got a pick coming out next, Steve. What are we getting hit with
next in January? So this is great. So I'm super excited. We're going to go
a couple years further into Arnold Schwarzenegger's career. Still in his prime,
still putting butts in seats. He's still at the height of things for himself.
I think anything from the mid 80s, at least through the mid 90s, right?
That was Arnold's time. Yeah. So this one's from 1994. And as
it turns out, it's a repeat for several people involved.
We have seen movies, Arnold Schwarzenegger, obviously we're doing this, but also like
Terminator 2. We've seen a couple movies already with Jamie Lee Curtis. She stars
in this next movie as well. And then I love it, we just realized,
and this was something I updated on the website recently, this will be the third
movie that we do that has been written in part by James Cameron.
Okay. Cameron, we all know, was a screenwriter
credited on Terminator 2: Judgment Day, but as it turns out,
has now made claims, and it seems like nobody's disagreeing, that he was a
massively important writer on Point Break, which his wife at the
time, Kathryn Bigelow, was directing, and he is credited as a producer.
And Cameron apparently created the ex-presidents as the gang.
He created that and wrote the both of the skydive scenes.
So completely important. And, you know, so this will be the third
Cameron written picture that we cover. We're going to do True Lies,
Schwarzenegger, Jamie Lee Curtis, Tom Arnold in one of the few roles I enjoy
Tom Arnold in. It's good Arnold. Very good. Tom Arnold. Arnold and Arnold. Tom and
Schwarzenegger. But that's what we're going to watch next week. We're going to watch True
Lies. Oh, can't wait, dude. Great pick. That's a wrap. So if
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Once again, this has been Total Recall, another episode of Two Dads,
One Movie. I'm Steve. And I'm Nick. Thank you so much for listening and we'll
catch you next week. Thanks,