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All the right movies. 
Now that brain that you gave me,

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was it Hans Dellbrooks? 
No good. 

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00:00:16,800 --> 00:00:23,160
Would you mind telling me whose 
brain I did put in? 

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00:00:23,720 --> 00:00:28,120
And you won't be angry. 
I will not be angry. 

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00:00:29,040 --> 00:00:33,680
Abby someone, Abby someone Abby 
who? 

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00:00:34,000 --> 00:00:38,760
Abby normal. 
Abby normal. 

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00:00:39,240 --> 00:00:40,960
I'm almost sure that was the 
name. 

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00:00:42,040 --> 00:00:50,120
Are you saying that I put an 
abnormal brain into a 7 1/2 foot

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00:00:50,200 --> 00:01:01,160
long, 54 inch wide gorilla? 
A brilliant young surgeon 

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inherits his famous 
grandfather's Transylvanian 

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00:01:03,720 --> 00:01:06,440
estate. 
Soon, Frederick Frankenstein 

12
00:01:06,440 --> 00:01:10,000
falls foul of the nonsensical 
Ravens of a lunatic mind and 

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00:01:10,000 --> 00:01:14,160
brings a dead mute back to life.
An incredibly big mute. 

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00:01:14,680 --> 00:01:17,520
Mel Brooks and Gene Wilder's 
lovingly crafted parody of the 

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Universal Frankenstein films 
became one of the funniest films

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ever made. 
An imperfect homage that taught 

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Hollywood you can salute the 
genre and skewer it in the same 

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breath. 
My name is Luke and joining me 

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00:01:28,760 --> 00:01:33,400
for a roll in the hay, Westie. 
I was going to make espresso. 

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And Matt? 
Popped the candle back. 

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All the right movies are in 
Transylvania, raising the 

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00:01:40,320 --> 00:01:44,240
platform and giving our creation
life. 

23
00:02:03,600 --> 00:02:06,120
Hi everyone, welcome to All the 
Right Movies, a podcast on 

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00:02:06,120 --> 00:02:08,720
classic and hit films that is 
only interested in the 

25
00:02:08,720 --> 00:02:10,639
preservation of life. 
Lovely. 

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00:02:11,000 --> 00:02:13,240
We're telling the story of 
Hollywood one film at a time, 

27
00:02:13,240 --> 00:02:15,640
and on today's show we've got 
one of the greatest comedy 

28
00:02:15,640 --> 00:02:18,720
movies ever made. 
It's definitely up there, yeah. 

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A record holding comic 
juggernaut. 

30
00:02:21,840 --> 00:02:24,520
So we have the set of games at 
the ready, just in case it gets 

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a little too exciting. 
Absolutely. 

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00:02:26,480 --> 00:02:27,760
Yeah, I'll be normal. 
Stand by. 

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Set again now before we have a 
nice quiet chick about even 

34
00:02:38,520 --> 00:02:45,080
Frankenstein. 
Yes, here is a chance for you to

35
00:02:45,080 --> 00:02:47,400
throw the switch and join the 
secret world of all the right 

36
00:02:47,400 --> 00:02:49,680
movies by becoming a patron of 
the show. 

37
00:02:49,920 --> 00:02:51,360
Lovely. 
Yes indeed. 

38
00:02:51,560 --> 00:02:53,960
Now, if this is your first time 
with us, a very warm welcome. 

39
00:02:54,000 --> 00:02:56,800
Hello, the show that you're 
listening to is our flagship 

40
00:02:56,800 --> 00:03:00,240
podcast, out every two weeks and
only the most recent 20 episodes

41
00:03:00,240 --> 00:03:03,080
are on general release. 
The rest sit in our patron 

42
00:03:03,080 --> 00:03:06,760
archive and there are now well 
over 100 episodes in there. 

43
00:03:07,160 --> 00:03:08,800
First Under the Seams. 
Absolutely. 

44
00:03:09,200 --> 00:03:11,880
We also produce 2 brand new 
shows every month, exclusive 

45
00:03:11,880 --> 00:03:13,800
patrons. 
The Watch List is our movie 

46
00:03:13,800 --> 00:03:16,880
review show where we cover new 
releases as they come out, and 

47
00:03:16,880 --> 00:03:19,160
Double Feature is the show where
we cover 2 films that haven't 

48
00:03:19,160 --> 00:03:21,240
quite earned their place on the 
main show yet. 

49
00:03:21,560 --> 00:03:24,760
Yes, all opinion based, No 
research, just the three of us 

50
00:03:24,760 --> 00:03:26,360
riffing on a couple of films 
that we love. 

51
00:03:26,760 --> 00:03:29,080
Yes, definitely. 
A great format, so check that 

52
00:03:29,080 --> 00:03:32,240
out. 
For full access to all of that, 

53
00:03:32,240 --> 00:03:34,920
go to patreon.com/all the Right 
Movies. 

54
00:03:35,120 --> 00:03:37,880
All support us on Apple Podcasts
and Spotify for the main show, 

55
00:03:38,120 --> 00:03:40,800
and YouTube and Patreon for 
everything we've ever made. 

56
00:03:41,120 --> 00:03:43,800
Yes, absolutely. 
Quite a tomb we have in there. 

57
00:03:45,360 --> 00:03:46,560
All the original props are in 
there. 

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00:03:49,400 --> 00:03:52,320
OK, so back to the show. 
Why are we talking about Young 

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00:03:52,320 --> 00:03:55,160
Frankenstein now? 
This was my pick. 

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00:03:55,680 --> 00:03:58,920
So it's a film that I always 
like to put never loved. 

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That is until we covered it on 
our double feature show when we 

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00:04:02,200 --> 00:04:04,720
talked about this and Blaze and 
saddles a few years. 

63
00:04:04,720 --> 00:04:07,880
Back, yeah. 
A great show and the film just 

64
00:04:07,880 --> 00:04:09,800
clicked with me. 
While it was the overwhelming 

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00:04:09,800 --> 00:04:12,400
winner for the show, for good 
reason all all three of us 

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picked it. 
Yes, we did, yeah. 

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00:04:14,080 --> 00:04:15,440
And that's why we're talking 
about it now. 

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I just loved everything about it
on that rewatch. 

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00:04:18,640 --> 00:04:20,519
I was looking for an excuse to 
watch it again. 

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And honestly, once we wrapped on
that show, I was looking forward

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to doing a deep dive into the 
film immediately. 

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00:04:26,000 --> 00:04:27,520
Right? 
So this has been a quite long 

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00:04:27,520 --> 00:04:30,000
time coming. 
I think it really is one of the 

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greatest comedy films ever made.
It's gag after gag, it's 

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incredible set design, homage to
the classic Universal horror 

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tales of the 30s, and it 
includes, for my money, one of 

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the greatest comedy 
performances. 

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Wilder's Frederick Frankenstein 
is one of the best. 

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Yeah, it's. 
Incredible. 

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So incredibly excited about this
one. 

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Now, Westie, you've said a dirty
word in your time, haven't you? 

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00:04:51,040 --> 00:04:54,080
One or two, I mean, wouldn't 
hold that against his, let's be 

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00:04:54,120 --> 00:04:57,320
honest. 
But yeah, I mean, this, this is 

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a this is just a great film. 
Again, I've become more and more

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fond of it as the years have 
gone on. 

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And just like you, I think it's 
just it was that double feature 

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episode that made us sit up. 
It existed, but I just thought 

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another pastiche on 
Frankenstein. 

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I look at the front cover of the
DVD and I think, can I be 

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00:05:12,000 --> 00:05:13,160
bothered to sit through this 
one? 

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It's about Brooks film, but it's
so much more than that. 

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It's just it's a real 
appreciation of the period, a 

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real appreciation of the genre. 
It's a very intelligent film. 

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I think the comedy lands exactly
where it needs to. 

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It's very considered, very 
carefully thought through. 

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00:05:26,640 --> 00:05:30,440
It's definitely my favorite Mel 
Brooks film out of all 11 of 

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00:05:30,440 --> 00:05:32,840
them I think I've seen. 
And I think it's because it's 

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00:05:32,840 --> 00:05:34,840
the least Mel Brooks of all the 
Mel Brooks films. 

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And I think that's probably to 
its benefit and to his benefit 

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as well because he's this is a 
real collaboration with Gene 

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Welder. 
And I think this is very much a 

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Gene Wilder film is just as much
as Mel Brooks. 

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It's very, very funny. 
It's very, very well paced. 

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I don't think there's a minute 
where I'm not entertained and 

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there's certainly not a minute 
where I have to wait for the 

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00:05:52,800 --> 00:05:54,680
next laugh. 
I think they're just the lined 

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00:05:54,680 --> 00:05:56,360
up beautifully, the lined up 
perfectly. 

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00:05:56,600 --> 00:05:58,440
And I think if you're an 
appreciation of cinema, 

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especially the Universal 
Hollywood era, then this one's 

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00:06:01,720 --> 00:06:04,200
definitely up there as an 
appreciation, definitely up 

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00:06:04,200 --> 00:06:05,720
there as a great film. 
But yeah, I mean, there's so 

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00:06:05,720 --> 00:06:07,240
many things to talk about with 
this I'm. 

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I'm really looking forward. 
To it yeah. 

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It's going to be great. 
Yeah. 

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00:06:09,840 --> 00:06:13,000
Be great, yeah. 
And Matt darling. 

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Yeah. 
Surprised Love me. 

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00:06:16,600 --> 00:06:21,640
Love me. 
Why are we talking about you and

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Frankenstein that? 
Well, I've been aware of this 

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one from a kid really, because 
there's one my parents watched a

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lot and watching it as a kid, 
it's very different watching it 

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as an adult, like as a kid, it 
was to say, all right, I 

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understand this character. 
I know what Frankenstein's 

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monster is, so that's great. 
And it looks like the old iconic

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00:06:37,920 --> 00:06:39,880
creature and that's great. 
Some of the jokes that they did 

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go over me head as a kid, I was 
more into the kind of slapstick 

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00:06:42,760 --> 00:06:44,760
stuff. 
Effing With Ego is really funny,

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00:06:45,000 --> 00:06:47,480
but it is one where the more you
come back to it, the more of the

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00:06:47,480 --> 00:06:50,320
jokes you get and the funniest 
gets and it's just always was 

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being up there for me. 
I think it deserves its status. 

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00:06:52,720 --> 00:06:55,240
As he said, it's a double 
feature winner, quite rightly. 

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00:06:55,240 --> 00:06:56,920
I mean, I think probably said 
this when we did it. 

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00:06:56,920 --> 00:06:59,880
It's just got a level of 
sophistication that Blason 

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00:06:59,880 --> 00:07:02,400
Saddles doesn't have. 
And I think as Wesley says, I 

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think a lot of that's down to 
Gene Wyler. 

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00:07:04,200 --> 00:07:06,640
So we'll get in all of that and 
it should just be an absolute 

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00:07:06,640 --> 00:07:09,360
battle of us to get into. 
Yes, yes, it certainly will. 

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00:07:09,360 --> 00:07:10,760
I can't wait for this one. 
Yeah. 

138
00:07:10,840 --> 00:07:13,240
Yeah, definitely. 
So Young Frankenstein was Co 

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written by Gene Wilder and Mel 
Brooks, based on Mary Shelley's 

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00:07:16,200 --> 00:07:19,240
legendary 19th century novel and
directed by Brooks himself, 

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produced by Michael Gruskov for 
Gruskov Fincher Films and 

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00:07:22,440 --> 00:07:25,360
distributed by 20th Century Fox 
in the theaters on the 15th of 

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00:07:25,360 --> 00:07:28,600
December 1974. 
Shot exclusively on sets of Fox 

144
00:07:28,600 --> 00:07:32,240
Studios in LA, it stars Gene 
Wilder as the good doctor, and 

145
00:07:32,240 --> 00:07:35,240
he's supported by Madeleine 
Kahn, Marty Feldman, Terry Garr,

146
00:07:35,240 --> 00:07:37,880
Peter Boyle, Cloris Leachman and
Kenneth Mars. 

147
00:07:38,120 --> 00:07:40,480
Wow, Yeah, what a what a cast. 
Incredible. 

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00:07:40,560 --> 00:07:42,080
Cast. 
Yeah, we're headed to the 

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00:07:42,080 --> 00:07:44,840
classroom with one doctor, 
Frederick Frankenstein, who is 

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00:07:44,840 --> 00:07:47,440
teaching a master class in the 
central nervous system and 

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00:07:47,440 --> 00:07:49,880
getting incredibly annoyed by 
one of his students. 

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00:07:50,400 --> 00:08:03,480
The beginning 
We opened with a long, drawn out

153
00:08:03,480 --> 00:08:06,720
credit sequence slowly pushing 
into Castle Frankenstein, where 

154
00:08:06,720 --> 00:08:09,320
some of Baron von Frankenstein's
personal effects are taken from 

155
00:08:09,320 --> 00:08:11,200
his tomb. 
A glorious transition. 

156
00:08:11,200 --> 00:08:14,000
And we're with the brilliant 
surgeon Frederick Frankenstein 

157
00:08:14,560 --> 00:08:16,920
Wester, you're starting us off. 
Yeah, how good are the titles 

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00:08:16,920 --> 00:08:19,240
before I get into this? 
Incredible. 

159
00:08:19,360 --> 00:08:22,040
How good is that 20th Century 
Fox logo as well? 

160
00:08:22,240 --> 00:08:24,360
Absolutely amazing. 
Sets the tone lovely. 

161
00:08:24,360 --> 00:08:26,800
The music's absolutely brilliant
over the opening titles. 

162
00:08:27,200 --> 00:08:30,480
But this is still, I mean, apart
from Raiders, I think this is 

163
00:08:30,480 --> 00:08:33,039
probably one of my favourite 
introductions to character ever.

164
00:08:33,320 --> 00:08:37,400
I just absolutely love how 
straight while there is playing 

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00:08:37,400 --> 00:08:40,080
this and it's just all the 
information is coming out of 

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00:08:40,080 --> 00:08:44,360
this very scientific, you know, 
the medulla oblongata, just the 

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00:08:44,360 --> 00:08:47,400
way he pronounces things, it's 
just automatically funny. 

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00:08:47,560 --> 00:08:49,880
And we've got this, you know, 
this jumped up kid who's played 

169
00:08:49,880 --> 00:08:53,480
by Danny Goldman who just stands
up and he's got Frankenstein. 

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00:08:53,720 --> 00:08:57,160
He turns around to Frankenstein 
that close up and he spins 

171
00:08:57,160 --> 00:09:00,800
around and it's a beautiful kind
of soft focus and that classic 

172
00:09:00,800 --> 00:09:02,600
light. 
And he's just straight away, you

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00:09:02,600 --> 00:09:04,000
know exactly where you are with 
it. 

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00:09:04,160 --> 00:09:06,400
But Danny Goldman's great. 
I mean he's such a Dick, but 

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00:09:06,680 --> 00:09:09,280
he's so so brilliant. 
But he's the voice of Brainy 

176
00:09:09,280 --> 00:09:12,160
Smurf from The Smurfs. 
He did like really 30 odd 

177
00:09:12,160 --> 00:09:14,640
episodes of it all. 
I know that voice from 

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00:09:14,640 --> 00:09:16,760
somewhere. 
Wow. 

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00:09:17,000 --> 00:09:19,080
As we're going, he's asking the 
questions and we talked about 

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00:09:19,080 --> 00:09:20,720
the nervous system, we're 
talking about the brain, we're 

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00:09:20,720 --> 00:09:22,880
talking about really intense 
things, and it's still pretty 

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00:09:22,880 --> 00:09:24,160
funny. 
And then the Wheeling Mr. 

183
00:09:24,160 --> 00:09:28,040
Hilltop, and you think with the 
the little tap, with the gong. 

184
00:09:28,200 --> 00:09:30,800
And I just love that. 
It's just so unnecessarily funny

185
00:09:31,200 --> 00:09:33,680
and it just wheels him in and 
you just think, well, what 

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00:09:33,680 --> 00:09:34,840
what's going to happen with this
guy? 

187
00:09:34,840 --> 00:09:37,280
And he stood up and he's like, 
raise, raise your left knee. 

188
00:09:37,320 --> 00:09:40,240
That comes up. 
And then you just have this real

189
00:09:40,880 --> 00:09:43,800
runoff from Wilder where he's 
just rattling off all of this 

190
00:09:43,800 --> 00:09:47,200
dialogue and it's so incredibly 
introgate and he's just so 

191
00:09:47,200 --> 00:09:48,960
believable. 
Is this really urgent? 

192
00:09:48,960 --> 00:09:50,480
Who knows what he's talking 
about? 

193
00:09:50,720 --> 00:09:52,760
And it's like he's almost 
forgetting to be funny. 

194
00:09:52,840 --> 00:09:55,200
And then all of a sudden you get
you filthy rock and yellow son 

195
00:09:55,200 --> 00:10:00,000
of a bitch. 
Where's that come from, Mr. 

196
00:10:00,640 --> 00:10:04,000
Hilltop his face and it didn't 
work and you just again and then

197
00:10:04,000 --> 00:10:06,160
he's just straight back to 
playing it straight and bunk the

198
00:10:06,160 --> 00:10:08,680
reaction, the nerve impulse and 
then he's like your mother 

199
00:10:08,680 --> 00:10:12,320
grabbing bastard and then again 
comes from absolutely no way 

200
00:10:12,600 --> 00:10:14,840
just them two moments. 
Absolutely fantastic. 

201
00:10:14,840 --> 00:10:17,520
The wheel Hilltop out he's don't
forgive him an extra dollar. 

202
00:10:17,520 --> 00:10:20,920
Love that little line. 
Just so so brilliant. 

203
00:10:20,920 --> 00:10:23,040
And he just and then he's 
answering the questions he's 

204
00:10:23,040 --> 00:10:25,400
winding up and then you just get
one of the most Gene Wilder 

205
00:10:25,400 --> 00:10:27,120
moments in the film, I think for
me. 

206
00:10:27,120 --> 00:10:29,400
And he's got hit it hard and 
know exactly what you're going 

207
00:10:29,400 --> 00:10:32,600
with this character and just 
this really explosive moment 

208
00:10:32,600 --> 00:10:35,800
when he's talking about his his 
relationship with Frankenstein 

209
00:10:36,120 --> 00:10:39,200
and he's a kook and he's just 
starting to scream and he picks 

210
00:10:39,200 --> 00:10:42,040
that scalpel up and you know 
something's going to be going 

211
00:10:42,040 --> 00:10:44,520
wrong with it. 
And he's just got over the top 

212
00:10:44,520 --> 00:10:46,840
and lost his mind. 
And the only thing that concerns

213
00:10:46,840 --> 00:10:50,120
me is the preservation of life. 
And it's great into the leg. 

214
00:10:50,120 --> 00:10:53,600
And I buckle every time that 
goes in there because it's that.

215
00:10:53,760 --> 00:10:57,720
And he just looks and he's like,
and he takes his hand. 

216
00:10:57,880 --> 00:10:59,680
You think that's not stuck. 
It takes down but it's just. 

217
00:10:59,800 --> 00:11:01,320
It's just stuck. 
In his thigh. 

218
00:11:01,480 --> 00:11:04,640
Hand back, right and then the 
leg goes back over just just 

219
00:11:06,960 --> 00:11:09,240
continues and it's like class 
dismissed. 

220
00:11:11,720 --> 00:11:13,840
It's just, it's great. 
It's hilarious. 

221
00:11:13,840 --> 00:11:17,080
I love that he really sticking 
to this Frankenstein bit. 

222
00:11:17,080 --> 00:11:19,480
Even when he's got a scalpel in 
his thigh, he's still not. 

223
00:11:20,600 --> 00:11:25,920
He's not budging. 
Hearts and kidneys are tinker 

224
00:11:25,920 --> 00:11:31,560
toys, are you? 
Talking about the worm or the 

225
00:11:31,560 --> 00:11:37,640
spaghetti? 
Well, actually there's a lovely 

226
00:11:37,640 --> 00:11:40,240
little reference buried in this 
scene, and as you've just 

227
00:11:40,240 --> 00:11:42,960
mentioned it, there was the 
Frederick mentions, an 

228
00:11:42,960 --> 00:11:45,760
experiment by Darwin where a 
worm was preserved in fluid 

229
00:11:45,760 --> 00:11:47,920
until it came to life. 
Yeah, it's not a fictional 

230
00:11:47,920 --> 00:11:49,520
reference. 
It's actually mentioned in Mary 

231
00:11:49,520 --> 00:11:52,320
Shelley's foreword to her novel 
Frankenstein, Right. 

232
00:11:52,480 --> 00:11:55,320
And the Darwin in question is 
Erasmus Darwin, who was the 

233
00:11:55,320 --> 00:11:58,600
grandfather of the much more 
ballyhooed Charles Darwin, 

234
00:11:59,240 --> 00:11:59,960
Right? 
OK. 

235
00:12:00,400 --> 00:12:03,080
This is in real world which. 
Makes it funny though. 

236
00:12:03,320 --> 00:12:06,320
Doesn't make it funny. 
The level of detail, no, it 

237
00:12:06,320 --> 00:12:10,040
really isn't to the humor. 
So he's got the will, he knows 

238
00:12:10,040 --> 00:12:12,280
he's got an inheritance to score
for, so he sets off on this 

239
00:12:12,280 --> 00:12:16,200
train journey and it's he when 
we get, I think, 2 of the finest

240
00:12:16,200 --> 00:12:19,520
comic support and performances 
I've ever seen in my life, I 

241
00:12:19,520 --> 00:12:22,400
mean one after another. 
I mean, first of all, Madeleine 

242
00:12:22,400 --> 00:12:24,280
Khan. 
When is she not the best thing 

243
00:12:24,360 --> 00:12:25,920
in the film? 
That answer's. 

244
00:12:25,920 --> 00:12:28,080
Never. 
She's always the best thing in 

245
00:12:28,080 --> 00:12:32,000
NFL and she's used sparingly 
here, but it's like Mel Brooks 

246
00:12:32,000 --> 00:12:33,840
uses her like she's a hand 
grenade. 

247
00:12:33,840 --> 00:12:37,960
He just lobs her intra scene and
she just explores and takes 

248
00:12:38,000 --> 00:12:39,680
everything with it and just 
dominates. 

249
00:12:39,680 --> 00:12:44,640
I mean, this scene, Tafa de 
Darlene, even as a kid when I 

250
00:12:44,640 --> 00:12:47,240
didn't understand what Tafa was,
I still found that line funny 

251
00:12:47,240 --> 00:12:50,320
because she makes it funny. 
But the dialogue between them 

252
00:12:50,320 --> 00:12:52,640
when they're saying goodbye, 
it's so deliberately like, 

253
00:12:52,680 --> 00:12:55,720
overwrought and saccharine. 
But that's because she will then

254
00:12:55,720 --> 00:12:58,200
undercut it beautifully. 
You know, how can I say in a few

255
00:12:58,200 --> 00:13:00,440
minutes what has taken me a 
lifetime to understand? 

256
00:13:00,800 --> 00:13:04,440
Won't you try? 
All right, you've got it, Mr. 

257
00:13:10,600 --> 00:13:12,400
Poorly. 
And that you've got it, Mr. 

258
00:13:12,400 --> 00:13:15,360
That's always a good thing of 
it's amazing after the other is.

259
00:13:15,360 --> 00:13:17,200
It's like, not the lips, not the
hair, not the lips. 

260
00:13:17,440 --> 00:13:21,240
Every time you go, don't forget 
all the nails just end up 

261
00:13:21,240 --> 00:13:24,000
rubbing elbows with each other. 
That's the only thing that can 

262
00:13:24,000 --> 00:13:26,440
touch. 
Yeah, a great moment at the end 

263
00:13:26,440 --> 00:13:28,360
of that scene as well, when 
she's just when all the steam 

264
00:13:28,360 --> 00:13:33,440
kicks off from the It's just 
that it's amazing that Madeline 

265
00:13:33,440 --> 00:13:35,800
Khan ended up playing Elizabeth,
but the original plan was for 

266
00:13:35,800 --> 00:13:38,160
Khan to play Inga. 
She changed her mind during the 

267
00:13:38,160 --> 00:13:40,080
casting process and went for 
Elizabeth instead. 

268
00:13:40,600 --> 00:13:42,920
Yeah, she, I mean, she's used 
barely like you said, Matt, but 

269
00:13:43,000 --> 00:13:45,360
she's incredible. 
She's love it when the conductor

270
00:13:45,360 --> 00:13:47,600
shouting all aboard and she's 
like, oh, there's that horrid 

271
00:13:47,600 --> 00:13:48,760
man again. 
Yeah. 

272
00:13:50,640 --> 00:13:53,040
Doing his job. 
Yeah, just doing this job. 

273
00:13:54,160 --> 00:13:56,920
I love that she dodges an air 
kiss as well. 

274
00:13:57,160 --> 00:13:59,080
Yeah. 
Really nervous. 

275
00:13:59,080 --> 00:14:04,400
Yeah. 
And when Frederick is travelling

276
00:14:04,400 --> 00:14:06,520
from America to Transylvania, 
are you over? 

277
00:14:06,520 --> 00:14:08,080
He's an American couple 
bickering. 

278
00:14:08,520 --> 00:14:10,840
And then in the very next scene 
on the train to Europe, 

279
00:14:11,240 --> 00:14:13,800
Frederick, he's a couple having 
the exact same conversation, 

280
00:14:13,800 --> 00:14:15,640
word for word, but this time 
it's in German. 

281
00:14:15,880 --> 00:14:18,080
Yeah, I. 
Mean you wouldn't know that if 

282
00:14:18,080 --> 00:14:20,360
you didn't speak German, no? 
Definitely not. 

283
00:14:20,840 --> 00:14:23,120
But but America to Transylvania 
on train. 

284
00:14:24,040 --> 00:14:25,760
That is, that is always 
hilarious. 

285
00:14:25,760 --> 00:14:26,920
It's just the way they do it, 
though. 

286
00:14:26,920 --> 00:14:28,960
It's like New York. 
Anyone in New York, people in 

287
00:14:28,960 --> 00:14:30,400
New York, that's like 
Transylvania. 

288
00:14:31,040 --> 00:14:35,320
Transylvania. 
Pennsylvania next day. 

289
00:14:35,320 --> 00:14:38,440
Yeah, Amazing. 
It's just like camera doesn't 

290
00:14:38,440 --> 00:14:40,160
move, the frame doesn't move at 
all. 

291
00:14:40,800 --> 00:14:44,720
For the long, long train 
journey, Brooks used stock night

292
00:14:44,720 --> 00:14:46,680
travel shot for the American 
exteriors. 

293
00:14:46,680 --> 00:14:50,120
But for the Transylvanian leg, 
Brooks wanted like a stark black

294
00:14:50,480 --> 00:14:52,600
leafless trees and low hand and 
fog. 

295
00:14:52,600 --> 00:14:55,520
But no stock footage of that 
kind existed, obviously. 

296
00:14:56,120 --> 00:14:59,040
So the built one production 
designer Dale Hennessy conceived

297
00:14:59,040 --> 00:15:02,640
of a forest set 40 feet deep and
100 feet long. 

298
00:15:02,880 --> 00:15:05,960
That's incredible he didn't 
scrimp on the production design.

299
00:15:06,280 --> 00:15:08,760
Not at all, for what? 
Like, that must be about a 

300
00:15:08,760 --> 00:15:11,160
minute's worth of footage. 
Yeah, well, the layer, the Dolly

301
00:15:11,160 --> 00:15:14,360
track parallel to it and under 
crank the camera to 8 frames per

302
00:15:14,360 --> 00:15:16,680
second. 
The Dolly grip ran along the 

303
00:15:16,680 --> 00:15:18,960
track. 
The result, when projected at 24

304
00:15:18,960 --> 00:15:21,880
frames per second, was a 30 mile
an hour landscape, but the 

305
00:15:21,880 --> 00:15:24,800
actual footage was only 12 feet 
long, which gave them around 8 

306
00:15:24,800 --> 00:15:28,000
seconds. 
So to get more footage, they 

307
00:15:28,000 --> 00:15:30,840
placed a large tree trunk at the
start and the end of the Dolly 

308
00:15:30,840 --> 00:15:33,040
track. 
Both were close to the lens, so 

309
00:15:33,040 --> 00:15:35,360
as the tree trunk filled the 
screen, that just repeated the 

310
00:15:35,360 --> 00:15:37,000
footage. 
It looks legit. 

311
00:15:37,400 --> 00:15:39,600
It totally does, yeah. 
Yeah, you don't notice any 

312
00:15:39,600 --> 00:15:40,600
break? 
Obviously it's. 

313
00:15:40,600 --> 00:15:42,360
Great. 
Now and then you get to the end 

314
00:15:42,360 --> 00:15:45,000
of this journey, which is the 
this other comic performance, I 

315
00:15:45,000 --> 00:15:46,840
mean, this introduction of Marty
Feldman. 

316
00:15:47,720 --> 00:15:50,800
The great thing about it is it's
perfectly set up as an absolute 

317
00:15:50,800 --> 00:15:53,960
moment of actual horror because 
you've got the billowing fog and

318
00:15:53,960 --> 00:15:57,880
smoke, that sound of something 
like scraping towards Frederick 

319
00:15:57,880 --> 00:16:00,640
and that slope pushing on his 
face, the crash of lightning. 

320
00:16:00,840 --> 00:16:02,760
It's a proper like universal 
horror moment. 

321
00:16:02,760 --> 00:16:05,960
It's a brilliant introduction. 
But then it's he got and there's

322
00:16:05,960 --> 00:16:08,600
this two moments of genius here.
I mean the conversation to get 

323
00:16:08,600 --> 00:16:12,360
into over Frederick pronounced 
at Frankenstein, which he got 

324
00:16:12,360 --> 00:16:14,680
really takes umbrage at and you 
know he does. 

325
00:16:15,320 --> 00:16:16,680
Frederick tries to calm down. 
Also. 

326
00:16:16,680 --> 00:16:19,360
You must be eager. 
No, that's I go he. 

327
00:16:20,480 --> 00:16:23,280
Just digs his heels in. 
But they told me he was eager. 

328
00:16:23,760 --> 00:16:24,880
They were wrong then, weren't 
they? 

329
00:16:25,320 --> 00:16:28,160
I mean that line he. 
Tried to get that into 

330
00:16:28,160 --> 00:16:30,400
conversation as often as I can 
to say who gets it. 

331
00:16:30,520 --> 00:16:32,120
I just love, love that little 
bit. 

332
00:16:32,320 --> 00:16:33,400
They were wrong then, weren't 
they? 

333
00:16:33,680 --> 00:16:35,560
And like, that's it. 
That's the end of conversation 

334
00:16:35,800 --> 00:16:38,320
done. 
And then the second bit was when

335
00:16:38,320 --> 00:16:41,520
Frederick gives him that kind of
friendly clap on the back, but 

336
00:16:41,520 --> 00:16:43,240
he hits somebody. 
Just makes that, like, dull 

337
00:16:43,240 --> 00:16:45,760
thud. 
Yeah, it's really awkward. 

338
00:16:45,800 --> 00:16:48,720
And Frederick says I don't mean 
to embarrass you, but I'm a 

339
00:16:48,720 --> 00:16:51,080
rather brilliant surgeon. 
Perhaps I could help you with 

340
00:16:51,080 --> 00:16:52,720
that hump. 
What hump? 

341
00:16:56,560 --> 00:16:57,960
Right end of that conversation 
as well. 

342
00:16:57,960 --> 00:17:00,640
And is it just the straight 
face? 

343
00:17:00,960 --> 00:17:03,160
What hump? 
It's just when he's just been 

344
00:17:03,160 --> 00:17:04,880
challenging the script. 
Just Do you say Frederick? 

345
00:17:04,960 --> 00:17:05,880
No. 
Yeah. 

346
00:17:05,880 --> 00:17:08,040
Well, why did you say? 
Frederick, Frederick Funke. 

347
00:17:08,040 --> 00:17:13,000
It's great. 
Yeah. 

348
00:17:14,440 --> 00:17:17,960
And obviously the the Walk This 
Way gag is is a classic. 

349
00:17:18,319 --> 00:17:20,000
Classic. 
Yeah, it's an old vaudeville 

350
00:17:20,000 --> 00:17:22,440
joke, which Brooks thought was a
bit crap in the edit, but he 

351
00:17:22,440 --> 00:17:24,520
kept it in after test audiences 
loved it. 

352
00:17:25,119 --> 00:17:26,560
It's great. 
Yeah, you need it. 

353
00:17:26,920 --> 00:17:30,360
So that gag also has one of the 
most surprising real world 

354
00:17:30,360 --> 00:17:32,960
legacies. 
In 1974, Aerosmith were 

355
00:17:32,960 --> 00:17:35,400
recording their album Toys in 
the Attic and hit the creative 

356
00:17:35,400 --> 00:17:36,400
form. 
We know where this is going. 

357
00:17:36,400 --> 00:17:43,560
We know where this is going. 
Run DNC saw the film Aerosmith 

358
00:17:43,560 --> 00:17:45,920
recording Toys in the Attic 
creative all one night during 

359
00:17:45,920 --> 00:17:48,600
the sessions, most of the band 
minus guitarist Joe Perry, 

360
00:17:48,600 --> 00:17:50,960
because he probably would have 
talked about a bit to say, the 

361
00:17:50,960 --> 00:17:53,520
cinema nearby for a break. 
The film playing was Young 

362
00:17:53,520 --> 00:17:55,560
Frankenstein. 
Yeah, so when they got back to 

363
00:17:55,560 --> 00:17:58,400
the studio, Perry said the rest 
of the band were already thrown 

364
00:17:58,400 --> 00:18:00,600
lines from the film back and 
forth and laughing about the 

365
00:18:00,600 --> 00:18:02,720
moment. 
Marty Feldon tells Wilder to 

366
00:18:02,720 --> 00:18:05,840
Walk This Way, and so was their 
producer Jack Douglas, who said 

367
00:18:05,840 --> 00:18:08,240
that Walk This Way might be a 
great title for a song. 

368
00:18:09,080 --> 00:18:11,600
Yeah, I mean, it is. 
I mean, it was a hit in two 

369
00:18:11,600 --> 00:18:13,800
decades, two different decades. 
Yeah. 

370
00:18:14,240 --> 00:18:16,120
It's a great time. 
So I'm picking up where 

371
00:18:16,120 --> 00:18:19,400
Frederick makes his way to the 
castle he's left the train 

372
00:18:19,400 --> 00:18:22,440
station with. 
I go firstly, what is Inga 

373
00:18:22,440 --> 00:18:24,160
doing? 
Just silent in the freezing 

374
00:18:24,160 --> 00:18:27,080
cold, not making a sound at the 
back of that horse and cart. 

375
00:18:27,840 --> 00:18:31,360
Having fun rolling NZ. 
Here. 

376
00:18:31,360 --> 00:18:38,480
Would you like a rolling here? 
It's fun, yeah. 

377
00:18:38,480 --> 00:18:46,520
And they set the benchmark for 
what expect between Frederick 

378
00:18:46,600 --> 00:18:49,800
and Inga's relationship. 
It's one innuendo laden remark 

379
00:18:49,800 --> 00:18:52,920
after another all the way 
through 1 overtly obvious sexual

380
00:18:52,920 --> 00:18:55,880
reference after another. 
It's laid on immediately that 

381
00:18:55,880 --> 00:18:57,640
these two will be doing the bad 
thing later. 

382
00:18:57,960 --> 00:19:00,680
Yeah, and it's just great fun. 
Yeah, it is great fun. 

383
00:19:00,720 --> 00:19:03,400
She just lays it on really thick
that she wants to sleep with 

384
00:19:03,400 --> 00:19:04,200
them. 
She's having a. 

385
00:19:04,200 --> 00:19:07,160
Great time though in this film 
she's having a wonderful she 

386
00:19:07,160 --> 00:19:09,160
just lights up the screen every 
time she's on it's. 

387
00:19:09,440 --> 00:19:11,000
Oh, she's incredible. 
Terry Garr. 

388
00:19:11,000 --> 00:19:13,360
So, so funny. 
So with Madeline Khan playing 

389
00:19:13,360 --> 00:19:15,920
Elizabeth, that opened the door 
for Terry Guard play Inga. 

390
00:19:16,200 --> 00:19:18,280
She had originally auditioned 
for Elizabeth. 

391
00:19:18,720 --> 00:19:21,240
She'd done multiple callbacks 
for it before being told that 

392
00:19:21,240 --> 00:19:23,000
Khan had decided to take it 
after all. 

393
00:19:23,280 --> 00:19:26,160
Bruce asked if she could come 
back and read for Inger instead.

394
00:19:26,280 --> 00:19:28,600
But with one catch. 
Inger was German. 

395
00:19:28,600 --> 00:19:30,840
Could God do a German accent by 
tomorrow? 

396
00:19:34,200 --> 00:19:37,440
Well, she didn't panic because 
by an absolute fluke, she 

397
00:19:37,440 --> 00:19:40,000
happened to be part of the Sonny
and Cher Comedy Hour at the 

398
00:19:40,000 --> 00:19:42,600
time, right? 
The wig stylist on the show was 

399
00:19:42,600 --> 00:19:46,040
German, so Gar spent about an 
hour just chatting to her Megan 

400
00:19:46,040 --> 00:19:48,760
Small to soaking up the rhythms 
and the vowel sounds. 

401
00:19:49,320 --> 00:19:51,240
By the time she left the 
dressing room, she said she 

402
00:19:51,240 --> 00:19:55,280
walked outgoing. 
My God this weak weighs 40 lbs. 

403
00:19:58,360 --> 00:20:00,240
Boom. 
Done. 

404
00:20:00,560 --> 00:20:03,240
That's all you need. 
But she also had a slight figure

405
00:20:03,240 --> 00:20:05,520
problem. 
As she put it, she'd realised, 

406
00:20:05,520 --> 00:20:08,000
reading the script that the part
of anger was, in her words, 

407
00:20:08,360 --> 00:20:12,120
really all about boobs, and she 
had a slight problem in that 

408
00:20:12,120 --> 00:20:14,600
department, but wasn't about let
her get in her way. 

409
00:20:14,600 --> 00:20:17,520
So when she turned up to the 
audition the next day, she was 

410
00:20:17,520 --> 00:20:19,840
wearing a fuzzy pink sweater 
with the bra stuffed with 

411
00:20:19,840 --> 00:20:22,560
several pairs of socks, and 
Brooks gave her the part on the 

412
00:20:22,560 --> 00:20:28,200
spot. 
So then on the way to the 

413
00:20:28,200 --> 00:20:31,200
castle, something that Brooks 
does all the way through this 

414
00:20:31,200 --> 00:20:34,320
film, build an atmosphere and 
tension with gag after gag on 

415
00:20:34,320 --> 00:20:36,400
top of it as well. 
The dry eyes creating this 

416
00:20:36,400 --> 00:20:38,280
unsettling classic horror movie 
setting. 

417
00:20:38,280 --> 00:20:39,920
The howl of a wolf in the 
distance. 

418
00:20:40,120 --> 00:20:43,440
Then this ludicrous werewolf, 
their wolf gag. 

419
00:20:43,920 --> 00:20:46,440
Yeah, that's great. 
Then castle. 

420
00:20:46,760 --> 00:20:48,440
Yeah. 
Why are you talking like that? 

421
00:20:48,720 --> 00:20:53,240
I thought you want me to. 
You know that wolf owls are Mel 

422
00:20:53,240 --> 00:20:55,920
Brooks. 
Yeah, crazy. 

423
00:20:56,360 --> 00:20:58,360
Couldn't keep himself. 
No, you couldn't. 

424
00:20:58,480 --> 00:21:00,200
No. 
Then they see the castle in the 

425
00:21:00,200 --> 00:21:03,040
distance and I got a point. 
There it is. 

426
00:21:03,480 --> 00:21:06,920
And then cut to this macabre 
looking structure and then he 

427
00:21:06,920 --> 00:21:08,400
goes home. 
That's. 

428
00:21:10,360 --> 00:21:12,920
Brilliant. 
In that one word, he's able to 

429
00:21:12,920 --> 00:21:14,680
convey such affection with this 
place. 

430
00:21:14,760 --> 00:21:17,000
Great delivery. 
Wonderful juxtaposition with the

431
00:21:17,000 --> 00:21:19,880
visual of the crashing Thunder 
and the dramatic music queue 

432
00:21:20,280 --> 00:21:23,640
home. 
Massive influence on Robert I 

433
00:21:23,640 --> 00:21:30,080
guess this film. 
Loves it And finally, one of the

434
00:21:30,080 --> 00:21:33,960
most juvenile gags in the film, 
in any film, and it's glorious. 

435
00:21:34,120 --> 00:21:34,720
It's. 
Wonderful. 

436
00:21:34,720 --> 00:21:37,400
It's amazing though, yeah. 
I go knocks at the door. 

437
00:21:37,400 --> 00:21:39,520
Frederick. 
What knockers? 

438
00:21:40,800 --> 00:21:50,040
Oh, thank you. 
It's his placement as well. 

439
00:21:50,040 --> 00:21:51,760
She's halfway carrying out of 
the back. 

440
00:21:51,760 --> 00:21:54,000
Yeah, yeah, it's just spilling 
out already. 

441
00:21:54,000 --> 00:21:55,480
Yeah, it's so. 
Funny, she says. 

442
00:21:55,800 --> 00:21:56,560
Thank you. 
What he says. 

443
00:21:57,120 --> 00:22:02,440
You're welcome. 
The guy wasn't scripted, 

444
00:22:02,440 --> 00:22:04,360
according to Wilder. 
Brooks just told him on the day 

445
00:22:04,360 --> 00:22:06,240
when you lift her out of the 
card, look at the knockers and 

446
00:22:06,240 --> 00:22:08,400
say what knockers? 
Yeah, yeah. 

447
00:22:10,520 --> 00:22:11,960
It lands. 
It's crazy. 

448
00:22:11,960 --> 00:22:14,600
Totally lands. 
So we're finally a Castle 

449
00:22:14,600 --> 00:22:17,280
Frankenstein. 
I wonder who will be inside the 

450
00:22:17,280 --> 00:22:23,400
door? 
Housekeeper Frau Blue her opens 

451
00:22:23,400 --> 00:22:26,600
the door and they keep with the 
setting is an unsettling sight. 

452
00:22:27,040 --> 00:22:29,600
We're talking about Victor's 
first night in the castle and 

453
00:22:29,600 --> 00:22:31,680
finding his grandfather's 
laboratory. 

454
00:22:32,320 --> 00:22:34,720
Nice. 
Firstly, another classic Brooks 

455
00:22:34,720 --> 00:22:36,960
gag. 
The reaction the horses have to 

456
00:22:36,960 --> 00:22:40,200
Frau Blucher's name is glorious.
Yeah. 

457
00:22:40,600 --> 00:22:43,280
The story Brooks initially told 
Cloris Bleachman was that her 

458
00:22:43,280 --> 00:22:46,760
character's name was close to 
the German word for glue, right?

459
00:22:46,760 --> 00:22:50,320
So getting that kind of reaction
to that word from a horse is a 

460
00:22:50,360 --> 00:22:53,040
hilarious deep cut. 
Wow, that is a deep cut that. 

461
00:22:53,280 --> 00:22:56,640
Is good, yeah. 
But years later, Leachman said 

462
00:22:56,640 --> 00:22:58,800
she still wasn't sure whether 
Brooks was joking or not, or 

463
00:22:58,800 --> 00:23:00,720
whether he was genuinely 
misinformed. 

464
00:23:00,720 --> 00:23:03,760
Because the actual German word 
for clue is clever, right? 

465
00:23:03,880 --> 00:23:09,640
And when we go inside, the music
blows up and we see this, the 

466
00:23:09,640 --> 00:23:13,000
majesty of this castle. 
An incredible set. 

467
00:23:13,160 --> 00:23:16,560
If you go back and watch the 
1931 Frankenstein, this looks 

468
00:23:16,560 --> 00:23:18,200
like the same set. 
It does, yeah. 

469
00:23:18,400 --> 00:23:20,960
That's the kind of attention to 
detail that you'd be forgiven 

470
00:23:20,960 --> 00:23:23,160
for thinking that Mel Brooks 
wasn't really bothered about in 

471
00:23:23,160 --> 00:23:25,280
his work. 
Yeah, but this is incredible. 

472
00:23:25,480 --> 00:23:28,680
Oh yeah, and the production 
design on Young Frankenstein was

473
00:23:28,680 --> 00:23:31,000
Dale Hennessy. 
He created the sets on Fox's 

474
00:23:31,000 --> 00:23:35,600
Stage 5 near Century City, LA. 
It was 15,000 square feet with 

475
00:23:35,600 --> 00:23:39,760
walls 35 foot high. 
The reception hall alone had 15 

476
00:23:39,760 --> 00:23:43,520
foot doors and a fireplace that 
measured 6 feet by 10, and the 

477
00:23:43,520 --> 00:23:46,480
total bill for the sets came to 
$400,000. 

478
00:23:46,880 --> 00:23:49,080
They didn't scrimp on it, they 
chose as well. 

479
00:23:49,360 --> 00:23:51,440
Oh, definitely, yeah. 
Brooks described the castle as 

480
00:23:51,440 --> 00:23:54,360
looking like it was made from 
sweat and stone, like it was in 

481
00:23:54,360 --> 00:23:56,680
the mountains where mist had 
settled on the surface, leaving 

482
00:23:56,680 --> 00:24:00,000
it all wet. 
You get that atmosphere, yeah. 

483
00:24:00,200 --> 00:24:02,080
And then you've got the moment 
where blue car is leading them 

484
00:24:02,080 --> 00:24:04,160
up the stairs. 
Brooke said it was one of the 

485
00:24:04,160 --> 00:24:07,000
hardest scenes to shoot, which 
is quite strange if you watch 

486
00:24:07,000 --> 00:24:08,520
it. 
Not technically, but because 

487
00:24:08,520 --> 00:24:11,080
Gene Wilder found it hilarious. 
When Inga says that the 

488
00:24:11,080 --> 00:24:14,440
staircase could be treacherous, 
Leachman said it should turn to 

489
00:24:14,440 --> 00:24:16,680
deliver. 
The line should see Wilders face

490
00:24:16,680 --> 00:24:19,680
just split in two, laughing. 
That needed 15 takes to get it. 

491
00:24:20,040 --> 00:24:22,360
Wow. 
Yeah, Leachman said that 

492
00:24:22,360 --> 00:24:25,320
everything she did in the film 
just tickled Jean to bits. 

493
00:24:25,520 --> 00:24:27,920
Yeah, absolutely. 
It's when she says follow the 

494
00:24:27,920 --> 00:24:32,080
candles and the candles aren't. 
Even. 

495
00:24:32,480 --> 00:24:39,360
Lit follows the candles. 
And then we're upstairs in 

496
00:24:39,360 --> 00:24:42,040
Frederick's room, and it all 
becomes stranger still. 

497
00:24:42,160 --> 00:24:45,520
Cloris Leachman is incredibly 
measured and methodical in her 

498
00:24:45,520 --> 00:24:48,440
delivery, offering the good 
doctor a Brandy. 

499
00:24:48,720 --> 00:24:54,400
Some warm milk, perhaps? 
No, thank you very much, 

500
00:24:55,000 --> 00:24:57,960
Ovaltine. 
And while it takes that long 

501
00:24:57,960 --> 00:25:01,200
pause before snapping at her, 
nothing. 

502
00:25:02,160 --> 00:25:06,800
Thank you. 
I'm a little tired and I will 

503
00:25:06,800 --> 00:25:10,280
say goodnight, goodnight. 
Goodnight. 

504
00:25:12,920 --> 00:25:16,000
That vom milk dialogue was 
improvised by Cloris Leishman as

505
00:25:16,000 --> 00:25:17,040
well. 
Oh nice. 

506
00:25:17,560 --> 00:25:19,920
No, that's great stuff. 
It's so, so funny. 

507
00:25:20,320 --> 00:25:23,920
Yeah, so after a bizarre dream, 
we'll hear some music. 

508
00:25:24,040 --> 00:25:26,240
It's behind the bookcase. 
So. 

509
00:25:26,760 --> 00:25:29,240
He gets to investigate. 
I mean, this moment between the 

510
00:25:29,240 --> 00:25:32,320
two of them, I mean, this is 
just some great slapstick, some 

511
00:25:32,320 --> 00:25:36,680
great physical comedy and just 
just really great use of the set

512
00:25:36,680 --> 00:25:38,800
and just really great use of the
detail of the set. 

513
00:25:39,560 --> 00:25:41,040
Oh, it's like, you know, you've 
got to reach for the right 

514
00:25:41,040 --> 00:25:44,000
device or something like that. 
He goes and pulls the book out 

515
00:25:44,400 --> 00:25:46,400
and. 
Nothing happens yet. 

516
00:25:47,000 --> 00:25:49,840
Slowly puts it back. 
They will try the candle and 

517
00:25:49,840 --> 00:25:52,320
then when that candle comes out 
and the whole book is spins and 

518
00:25:52,320 --> 00:25:54,760
he spins with it and obviously 
it's over ramped and it's speed 

519
00:25:54,760 --> 00:25:56,240
up and that just adds to it as 
well. 

520
00:25:57,120 --> 00:25:59,320
Like this whole sequence, I was 
watching it and I was going, 

521
00:25:59,680 --> 00:26:01,880
Spielberg seen this, and he's 
just putting all of this at 

522
00:26:01,880 --> 00:26:02,960
last. 
Week. 

523
00:26:03,880 --> 00:26:05,640
The rats are in there. 
There's all that, you know, 

524
00:26:05,640 --> 00:26:07,120
coming down with the candle and 
following. 

525
00:26:07,120 --> 00:26:10,400
It's just all kind of very, very
just rang a little bell with me,

526
00:26:10,400 --> 00:26:13,080
but it's like put the candle 
back. 

527
00:26:13,600 --> 00:26:15,360
And then when I heard that, that
was a really funny line. 

528
00:26:15,360 --> 00:26:17,920
But then it reminds us a temple 
to doom when it's like we are 

529
00:26:17,920 --> 00:26:19,360
going to. 
Die. 

530
00:26:21,200 --> 00:26:23,600
How much of this is going to 
take on? 

531
00:26:23,600 --> 00:26:25,680
This is absolute genius. 
I'm just taking this and this is

532
00:26:25,680 --> 00:26:26,960
where we're going to get the 
comedy from. 

533
00:26:27,240 --> 00:26:29,920
But it's absolutely fantastic. 
When he gets the idea, just 

534
00:26:29,920 --> 00:26:31,480
block the bookcase with his 
body. 

535
00:26:33,240 --> 00:26:35,440
Why do that? 
I thought this guy's a genius, 

536
00:26:35,720 --> 00:26:38,000
but it's just it's a perfect cut
because you see him working 

537
00:26:38,000 --> 00:26:40,640
towards it, you see where it's 
going to hit, and then it hits. 

538
00:26:40,840 --> 00:26:44,160
And I almost wish this had cut a
little bit later, but then it 

539
00:26:44,160 --> 00:26:46,040
cuts back a while and it's still
really funny. 

540
00:26:46,040 --> 00:26:47,400
Yeah. 
It's just just rushing it and 

541
00:26:47,400 --> 00:26:50,240
put all your weight behind it. 
And she goes round and she 

542
00:26:50,240 --> 00:26:51,840
repeats the line, put the candle
back. 

543
00:26:52,240 --> 00:26:54,880
And then that's. 
Great, I love her running push 

544
00:26:54,880 --> 00:26:57,520
on the bookcase. 
Yeah, that's good with all of 

545
00:26:57,520 --> 00:26:59,120
our weight. 
Then she just gets then softly, 

546
00:26:59,120 --> 00:27:01,160
kind of pushes it a little bit. 
It's just really funny. 

547
00:27:01,160 --> 00:27:04,200
It just spins around. 
It's just that use of the set as

548
00:27:04,200 --> 00:27:05,840
well as grey. 
But then when we actually see 

549
00:27:05,840 --> 00:27:08,360
where they're walking down and 
we're like what's this set just 

550
00:27:08,360 --> 00:27:11,640
left from 1931 and it's just got
cobwebs in it. 

551
00:27:11,640 --> 00:27:14,240
And now with just with I've just
put a camera, they can't believe

552
00:27:14,240 --> 00:27:15,800
we found this. 
Well, might as well make Young 

553
00:27:15,800 --> 00:27:17,280
Frankenstein. 
That's how it feels. 

554
00:27:17,440 --> 00:27:19,720
And it starts getting really 
kind of deep because you just, 

555
00:27:19,720 --> 00:27:21,640
you forget about that moment of 
slapstick and you're in this 

556
00:27:21,640 --> 00:27:23,840
place and you have to take it 
seriously because it is so 

557
00:27:23,840 --> 00:27:27,040
believable. 
And you see in like 1 year dead,

558
00:27:27,160 --> 00:27:30,960
six months dead, 3 months dead, 
freshly dead. 

559
00:27:30,960 --> 00:27:33,320
And then it's I go and he says 
bow. 

560
00:27:33,920 --> 00:27:41,840
But it's just that that initial 
bike blast from Feldman when 

561
00:27:41,840 --> 00:27:43,560
he's just bang and it's just 
that jump scare. 

562
00:27:43,600 --> 00:27:45,720
You expect some music in there 
and it's totally flat. 

563
00:27:45,720 --> 00:27:47,240
They don't have any music 
whatsoever. 

564
00:27:48,120 --> 00:27:50,520
It's the same ego, he says. 
I go Frederick. 

565
00:27:52,720 --> 00:27:54,160
Back and forth. 
They're both getting the names 

566
00:27:54,160 --> 00:27:55,800
wrong because it's just that 
kind of a moment. 

567
00:27:56,000 --> 00:27:59,240
There's that bit when they are 
coming down the stairs and he's 

568
00:27:59,240 --> 00:28:01,640
trying to comfort Inga. 
It's just a rat. 

569
00:28:02,320 --> 00:28:09,280
Filthy slimy, right? 
That's wonderful. 

570
00:28:10,000 --> 00:28:11,760
I really like to say that. 
It is. 

571
00:28:12,120 --> 00:28:15,160
So the follow the music, and 
then this is a moment in 

572
00:28:15,160 --> 00:28:17,520
Wesley's kind of touching out 
already, but it's when he 

573
00:28:17,520 --> 00:28:20,560
realizes the level of detail 
that's gone on here, that the 

574
00:28:20,560 --> 00:28:24,040
amount of money they've spent on
a comedy is spoof comedy as 

575
00:28:24,040 --> 00:28:27,400
well, and how it shot through 
with the love of the genre that 

576
00:28:27,400 --> 00:28:29,360
it's spoofing. 
Because the music's incredible. 

577
00:28:29,600 --> 00:28:33,280
It's really spindingly, but it's
that slow pullback that reveals 

578
00:28:33,280 --> 00:28:37,160
all that cobwebbed equipment 
with that, you know, kind of 

579
00:28:37,160 --> 00:28:39,760
imaginary dialogue from 
Frederick's ancestors playing 

580
00:28:39,760 --> 00:28:41,560
off at the top. 
It's such an incredible shot. 

581
00:28:41,560 --> 00:28:44,600
I mean, not the first time I've 
said this all will be seen, but 

582
00:28:44,600 --> 00:28:46,720
it's a moment where if you 
didn't know this was a comedy 

583
00:28:46,720 --> 00:28:49,880
somehow because there's no jokes
in this little bit, you'd think 

584
00:28:49,880 --> 00:28:51,600
this was a genuine universal 
horror. 

585
00:28:52,080 --> 00:28:54,120
Yeah. 
That was definitely done in the 

586
00:28:54,120 --> 00:28:56,320
30s because it looks like it. 
But then obviously you get some 

587
00:28:56,320 --> 00:28:59,120
wonderful dialogue he between 
Frederick and Igor. 

588
00:28:59,360 --> 00:29:01,480
What a filthy mess. 
I don't know. 

589
00:29:01,480 --> 00:29:03,600
Little paint, few flowers, 
couple of old pillows. 

590
00:29:05,000 --> 00:29:07,840
Just so funny. 
Yeah, Thor Pillows has read. 

591
00:29:07,840 --> 00:29:09,720
That just tickles me for some 
reason. 

592
00:29:09,720 --> 00:29:11,520
It's so good, Yeah. 
So it's so. 

593
00:29:11,520 --> 00:29:14,240
Specific. 
It's a really specific thing. 

594
00:29:14,440 --> 00:29:15,880
Like what? 
How would he know what a throw 

595
00:29:15,880 --> 00:29:16,680
pillow is? 
Exactly. 

596
00:29:16,760 --> 00:29:19,280
Yeah, yeah, yeah. 
Living in that place. 

597
00:29:24,240 --> 00:29:27,240
And then they find the reading 
room and I just love how Wilder 

598
00:29:27,240 --> 00:29:30,160
he is, so delightfully hammy 
throughout this scene. 

599
00:29:30,440 --> 00:29:32,080
Like so dramatic when he finds 
something. 

600
00:29:32,200 --> 00:29:38,840
Look at this in the books called
How I Did It by Victor, and it 

601
00:29:38,840 --> 00:29:41,360
just ends on that one way. 
So deranged. 

602
00:29:41,360 --> 00:29:44,960
Inga and Ego have fallen asleep 
because he's so enraptured in 

603
00:29:44,960 --> 00:29:46,640
the spoken. 
He's in that heavy breathing, 

604
00:29:47,080 --> 00:29:50,560
he's gone through it all. 
It could work. 

605
00:29:51,600 --> 00:29:53,480
Wide eyed Wilder. 
Hello. 

606
00:29:53,640 --> 00:29:56,280
Yeah. 
Plays out such a straight face 

607
00:29:56,280 --> 00:29:58,680
to balance all the comedy out, 
but then you just get that punch

608
00:29:58,680 --> 00:30:01,720
in of the gag at the end of that
picture of his grandfather 

609
00:30:01,800 --> 00:30:04,840
looking, like, delighted. 
Yeah. 

610
00:30:05,080 --> 00:30:07,760
Amazing. 
That's great. 

611
00:30:08,320 --> 00:30:11,040
So good. 
We talked about the authenticity

612
00:30:11,040 --> 00:30:12,680
of it. 
Brooks and his team wanted the 

613
00:30:12,680 --> 00:30:16,760
lab to feel exactly like the 
1931 original, and during pre 

614
00:30:16,760 --> 00:30:18,760
production they made an 
incredible discovery. 

615
00:30:19,080 --> 00:30:21,480
The man who had designed and 
built all of that original 

616
00:30:21,480 --> 00:30:24,240
equipment was still alive. 
His name was Kenneth Strick 

617
00:30:24,240 --> 00:30:25,840
Faden. 
He was in his 70s. 

618
00:30:25,920 --> 00:30:28,560
He was living in Santa Monica, 
basically just down the road. 

619
00:30:29,040 --> 00:30:32,040
Not only was he alive, he had 
kept the entire lot in his 

620
00:30:32,040 --> 00:30:33,240
garage. 
Incredible. 

621
00:30:33,680 --> 00:30:36,320
Yeah, Brooks went over to see 
him strickfard and showed Brooks

622
00:30:36,320 --> 00:30:38,120
the gear. 
He flipped a switch and the 

623
00:30:38,120 --> 00:30:41,080
whole thing fired up exactly as 
it had on the Universal Sound 

624
00:30:41,080 --> 00:30:43,760
stages in 1931. 
Just kept it all turned on in 

625
00:30:43,760 --> 00:30:45,960
his garage. 
Amazing how big's his fucking 

626
00:30:45,960 --> 00:30:50,480
garage. 
After more than 4 decades 

627
00:30:50,480 --> 00:30:52,320
sitting in the garage, the 
equipment still worked. 

628
00:30:52,320 --> 00:30:53,760
Wonderful. 
Wonderful. 

629
00:30:53,920 --> 00:30:55,560
Incredible. 
And then a wonderful touch by 

630
00:30:55,560 --> 00:30:58,280
Brooks here, because he not only
made a deal to rent the 

631
00:30:58,280 --> 00:31:01,120
equipment, he gave Strict Faden 
the screen credit he'd never 

632
00:31:01,120 --> 00:31:03,160
officially received on the 
original Frankenstein. 

633
00:31:03,600 --> 00:31:05,880
Wow. 4 decades just sitting in 
the garage. 

634
00:31:05,880 --> 00:31:07,920
I couldn't even find me 
headphones this morning. 

635
00:31:10,440 --> 00:31:13,040
Strict Fadden didn't just hand 
over the props and disappear, he

636
00:31:13,040 --> 00:31:15,320
came on the set himself. 
He was present throughout the 

637
00:31:15,640 --> 00:31:19,280
laboratory chute, operating his 
own equipment, bringing his 43 

638
00:31:19,280 --> 00:31:22,480
year old creations back to life.
He also designed and built brand

639
00:31:22,480 --> 00:31:24,440
new pieces specifically for this
film. 

640
00:31:24,440 --> 00:31:27,800
Wow, so good. 
Incredible, Brooke said. 

641
00:31:27,800 --> 00:31:30,880
They basically wouldn't have a 
film without that equipment. 

642
00:31:30,880 --> 00:31:32,120
Yeah. 
Definitely wouldn't, yeah. 

643
00:31:32,360 --> 00:31:34,000
It wouldn't have worked. 
It wouldn't have worked. 

644
00:31:34,320 --> 00:31:37,240
At all So dramatic wait and 
Hollywood history all rolled 

645
00:31:37,240 --> 00:31:40,160
into one hilarious first act of 
Young Frankenstein. 

646
00:31:40,640 --> 00:31:45,120
Amazing. 
The director. 

647
00:31:47,920 --> 00:31:50,240
The first outing for the 
legendary Mel Brooks on our 

648
00:31:50,240 --> 00:31:52,200
classic show Not Before Time as 
well. 

649
00:31:52,560 --> 00:31:55,640
This was the 4th film of his 
directorial career following The

650
00:31:55,640 --> 00:31:58,000
Producers, The 12th Stairs and 
Blazing Saddles. 

651
00:31:58,560 --> 00:32:03,280
He also Co created a classic TV 
show Get Smart Yes, so he kept 

652
00:32:03,280 --> 00:32:06,040
himself busy. 
He Co wrote this film but first 

653
00:32:06,080 --> 00:32:08,400
his work as director on Young 
Frankenstein. 

654
00:32:08,400 --> 00:32:10,360
Westie. 
I think he does a wonderful job 

655
00:32:10,440 --> 00:32:12,720
as a director on this because he
knows exactly what his 

656
00:32:12,720 --> 00:32:15,360
influences were. 
You can tell that these hearts 

657
00:32:15,360 --> 00:32:17,600
in the right place here. 
It's not just his brain, and I 

658
00:32:17,600 --> 00:32:20,600
think a lot of the brain is 
Wilder and a lot of the heart is

659
00:32:20,600 --> 00:32:23,680
Mel Brooks. 
He brings a lot of like just a 

660
00:32:23,680 --> 00:32:26,640
real love of the genre, I think.
I think he saw the 1931 

661
00:32:26,640 --> 00:32:28,440
Frankenstein. 
He's five years old and went to 

662
00:32:28,440 --> 00:32:29,880
theatre to watch it with his 
brother. 

663
00:32:29,880 --> 00:32:31,880
It's like something, but from 
when you're 5, you've got to 

664
00:32:31,880 --> 00:32:34,200
have a real love of it. 
All of the techniques that they 

665
00:32:34,200 --> 00:32:36,280
use, they move the camera. 
It's for a reason. 

666
00:32:36,400 --> 00:32:37,760
You move the camera. 
It's on a Dolly track. 

667
00:32:37,760 --> 00:32:40,240
They'll just go for a push and 
they don't just use a push and 

668
00:32:40,240 --> 00:32:42,560
use a zoom lens. 
There's some very Brooks moments

669
00:32:42,560 --> 00:32:44,920
in it, but I don't know if 
that's down to the right now, 

670
00:32:44,920 --> 00:32:46,280
whether that's down to the 
direction. 

671
00:32:46,280 --> 00:32:49,360
But I think Marty Feldman takes 
a lot of the Brooks kind of 

672
00:32:49,360 --> 00:32:52,480
carrot day breaks the 4th wall. 
He has them little slapstick 

673
00:32:52,480 --> 00:32:55,040
moments, but I think he plays it
better than Brooks ever could. 

674
00:32:55,040 --> 00:32:57,760
If I go, it wouldn't have worked
out all. 

675
00:32:57,760 --> 00:32:59,080
It would have just been the 
Metal Brook show. 

676
00:32:59,080 --> 00:33:01,760
And I think it's really great 
that he's not in the film and 

677
00:33:01,760 --> 00:33:04,240
concentrates on the direction 
with the all the other actors 

678
00:33:04,240 --> 00:33:06,280
because he can give them his 
full attention. 

679
00:33:06,560 --> 00:33:07,760
And that's what I feel he does 
here. 

680
00:33:07,760 --> 00:33:09,080
It doesn't feel like he's 
distracted. 

681
00:33:09,080 --> 00:33:11,480
It feels like he's completely 
focused on the characters. 

682
00:33:11,840 --> 00:33:13,480
He's completely focused on what 
he's button on. 

683
00:33:13,480 --> 00:33:16,160
The screen is even completely 
focused on the transitions. 

684
00:33:16,160 --> 00:33:18,920
I mean, there's an iris in, iris
out, there's wipes, there's 

685
00:33:18,920 --> 00:33:21,760
fades, everything that would 
have been used in the Universal 

686
00:33:21,760 --> 00:33:23,520
Era. 
There's even a love heart as 

687
00:33:23,520 --> 00:33:24,640
well, isn't there? 
That's a. 

688
00:33:25,280 --> 00:33:27,440
Little play on that iris. 
It's like, well, how you're 

689
00:33:27,440 --> 00:33:29,040
going to do an iris in, but just
make it funny. 

690
00:33:29,040 --> 00:33:31,280
How do you make it Mel Brooks? 
And it just feels like he's got 

691
00:33:31,280 --> 00:33:33,400
a stamp on this, but it doesn't 
feel like it's permanent. 

692
00:33:33,400 --> 00:33:35,080
Mark. 
I scribbled all over it with Mel

693
00:33:35,080 --> 00:33:37,440
Brooks initials on it. 
It just feels like it's part of 

694
00:33:37,440 --> 00:33:39,400
a collaboration, which is why I 
really love it. 

695
00:33:39,880 --> 00:33:41,360
There is some Brooks moments in 
there. 

696
00:33:41,520 --> 00:33:43,200
There's a little bit of 
slapstick. 

697
00:33:43,200 --> 00:33:45,560
There's a little bit of, you 
know, you can tell with bits of 

698
00:33:45,560 --> 00:33:47,400
his in the script that needed to
be put in there. 

699
00:33:47,800 --> 00:33:50,240
He tries to make a little bit 
more clever sometimes and I 

700
00:33:50,240 --> 00:33:52,120
think while I pull the bang 
goes, no, this needs to be 

701
00:33:52,120 --> 00:33:55,120
stupid, but seriously stupid. 
And there's that moment in it. 

702
00:33:55,120 --> 00:33:58,080
I think he does a great job of 
directing it because this is his

703
00:33:58,080 --> 00:34:01,000
inspiration as a director and he
gets to do it for real. 

704
00:34:01,240 --> 00:34:03,800
Yeah, incredible stuff. 
You can see that he's got a lot 

705
00:34:03,800 --> 00:34:06,520
of real love for this. 
Massive love of the period, 

706
00:34:06,520 --> 00:34:08,960
massive love of the genre. 
It's just so, so good. 

707
00:34:09,120 --> 00:34:11,400
Yeah, very similar. 
I mean, I think sometimes Brooks

708
00:34:11,400 --> 00:34:14,239
spoofs something because he just
wants to take the piss out of 

709
00:34:14,239 --> 00:34:16,000
it. 
I don't think that's the case. 

710
00:34:16,000 --> 00:34:18,400
Yeah, I think not at all. 
As we said, if he can somehow 

711
00:34:18,400 --> 00:34:20,719
disregard the jokes and just 
look at kind of very small 

712
00:34:20,719 --> 00:34:23,880
snippets from a purely visual 
standpoint, you'd easily believe

713
00:34:23,880 --> 00:34:26,360
this came back from the 
Universal without doubt. 

714
00:34:27,040 --> 00:34:29,040
Yeah, easy. 
Yeah, Yeah, definitely. 

715
00:34:29,199 --> 00:34:32,000
Like Wesley mentioned that the 
edits and the wipes, I mean, I 

716
00:34:32,000 --> 00:34:35,440
think that slight hiss they have
on the audio because audio 

717
00:34:35,440 --> 00:34:37,320
recording back then was a lot 
more primitive. 

718
00:34:37,600 --> 00:34:41,480
That's such an intricate little 
detail, but he's put it in there

719
00:34:41,960 --> 00:34:44,040
and you know, we've mentioned 
the lab equipment. 

720
00:34:44,040 --> 00:34:45,719
Brooks doesn't find any of that 
funny. 

721
00:34:45,840 --> 00:34:48,480
He knows what's funny and that's
obviously in here, but he 

722
00:34:48,480 --> 00:34:50,719
doesn't find those films as a 
genre funny. 

723
00:34:50,880 --> 00:34:53,800
He completely respects the craft
that went into them and he wants

724
00:34:53,800 --> 00:34:56,639
to pay a tribute to it. 
So we know he's funny and all 

725
00:34:56,639 --> 00:34:59,040
that is on display here. 
Word play, visual Galax, 

726
00:34:59,040 --> 00:35:01,680
slapstick, but it's all really 
disciplined. 

727
00:35:01,800 --> 00:35:04,520
And I think, you know, not for 
the first time, compare this to 

728
00:35:04,520 --> 00:35:06,600
Blaze and Saddles, which 
obviously came out the same 

729
00:35:06,600 --> 00:35:08,080
year. 
So it's a very fair comparison. 

730
00:35:08,480 --> 00:35:10,320
Oh yeah. 
I don't get a sense from that 

731
00:35:10,320 --> 00:35:12,320
that Brooks loves Westerns that 
much. 

732
00:35:12,600 --> 00:35:14,720
No, I think he's angry with 
them, quite frankly. 

733
00:35:14,720 --> 00:35:17,080
Yeah, yeah, yeah. 
Angry just wanted to take the 

734
00:35:17,080 --> 00:35:18,920
piss. 
And you know that that is a 

735
00:35:18,920 --> 00:35:21,520
funny film, but it's all over 
the place at the same time. 

736
00:35:21,720 --> 00:35:24,640
This one is really tight and 
it's got a discipline and a 

737
00:35:24,640 --> 00:35:27,040
certain reference to it and that
just makes it all more 

738
00:35:27,040 --> 00:35:29,400
effective. 
Yeah, I mean, I'm the same as 

739
00:35:29,400 --> 00:35:31,000
you guys. 
Unlike as usual approach to 

740
00:35:31,000 --> 00:35:33,840
direct, and this is really is an
outlier in the Brooks Canon. 

741
00:35:34,720 --> 00:35:36,960
There are no wings at the 
camera, not really. 

742
00:35:37,200 --> 00:35:41,240
No outrageous cameos, not too 
many outrageous sight gags. 

743
00:35:41,400 --> 00:35:43,760
I go be in the biggest of them 
all, obviously. 

744
00:35:43,960 --> 00:35:46,680
Yeah, The reason that this hits 
better than anything in his 

745
00:35:46,680 --> 00:35:49,920
career is because he plays it 
straight, and that's what all 

746
00:35:49,920 --> 00:35:51,960
the best comedies do. 
If you look at the likes of 

747
00:35:52,040 --> 00:35:55,120
Airplane, it's a ludicrous film,
but it's played straight. 

748
00:35:55,200 --> 00:35:59,000
Yeah, when we talked about 
Ghostbusters, it's an amazing 

749
00:35:59,000 --> 00:36:02,440
comedy, but it looks serious and
you've got serious talent behind

750
00:36:02,440 --> 00:36:04,360
the camera. 
Turn the volume down and they 

751
00:36:04,360 --> 00:36:07,160
look like dramatic films. 
Yeah, American Werewolf Another.

752
00:36:07,160 --> 00:36:08,640
One American Werewolf. 
Absolutely. 

753
00:36:08,680 --> 00:36:10,560
Yeah. 
And comedy in these situation 

754
00:36:10,560 --> 00:36:13,200
plays so much differently, more 
impactful, just better. 

755
00:36:13,560 --> 00:36:16,360
Looking at those opening 
credits, how dramatic, how drawn

756
00:36:16,360 --> 00:36:20,640
out, lofty music creating an 
unsettling atmosphere before 

757
00:36:20,640 --> 00:36:23,000
transitioning to Castle 
Frankenstein, which visualizes 

758
00:36:23,000 --> 00:36:25,520
what we've already heard. 
Then the jokes just sit on top 

759
00:36:25,520 --> 00:36:27,760
of this atmosphere and love for 
the genre. 

760
00:36:28,000 --> 00:36:30,400
Yeah, I think you can tell 
Brooks has taken this seriously 

761
00:36:30,400 --> 00:36:32,080
with the talent that he had 
behind the camera. 

762
00:36:32,360 --> 00:36:35,880
Real legends in their field 
lovingly restoring a bygone era.

763
00:36:36,200 --> 00:36:38,840
This point will come up again 
and again, I'm sure, as we talk.

764
00:36:38,840 --> 00:36:42,000
And we'll get into the crew as 
we go for costume designer 

765
00:36:42,000 --> 00:36:44,360
recruited Dorothy Jenkins, a 
legend. 

766
00:36:44,720 --> 00:36:47,040
Yeah, She was the first ever 
recipient of an Oscar for 

767
00:36:47,040 --> 00:36:50,200
costume design for her work on 
Joan of Arc in 1948. 

768
00:36:50,520 --> 00:36:52,720
She also worked on prestige 
pictures like The 10 

769
00:36:52,720 --> 00:36:55,800
Commandments, The Music Man, The
Sound of Music and True Grit. 

770
00:36:56,040 --> 00:36:57,040
Incredible. 
Yeah. 

771
00:36:57,040 --> 00:36:59,160
Great stuff. 
Described by Brooks as one of 

772
00:36:59,160 --> 00:37:02,200
the best costume designers that 
ever worked in Hollywood, he 

773
00:37:02,200 --> 00:37:04,680
gave a complete freedom with two
stipulations. 

774
00:37:05,160 --> 00:37:07,680
Firstly, the costumes had a look
like they could have been pulled

775
00:37:07,680 --> 00:37:10,720
out of Universal's wardrobe 
department in 1931. 

776
00:37:11,000 --> 00:37:14,320
And secondly, this is classic 
Brooks designed the female leads

777
00:37:14,320 --> 00:37:17,080
costumes to short as much 
cleavage as they were allowed. 

778
00:37:18,280 --> 00:37:19,440
Yeah. 
Classic Brooks the. 

779
00:37:19,440 --> 00:37:22,000
Mixer wildest colour pops open 
at some point whenever. 

780
00:37:22,280 --> 00:37:26,280
That's amazing. 
Yeah, it's so funny. 

781
00:37:27,520 --> 00:37:30,680
In the cleavage thing, I mean, 
it wasn't just pure titillation.

782
00:37:30,680 --> 00:37:33,320
It's a nod to how pre code 
Hollywood dressed its women. 

783
00:37:33,320 --> 00:37:35,800
Yeah. 
So even by honouring the genre 

784
00:37:35,800 --> 00:37:38,080
and treating it with reverence, 
he's still able to crowbar a few

785
00:37:38,080 --> 00:37:41,080
gags in there. 
So behind the camera, serious 

786
00:37:41,080 --> 00:37:43,720
dramatic talent and in front of 
the camera, serious comedic 

787
00:37:43,720 --> 00:37:45,760
talent. 
A wonderful balance and act 

788
00:37:45,760 --> 00:37:47,800
which I think Brooks gets just 
right. 

789
00:37:48,040 --> 00:37:50,440
Yes, spot on. 
From a directing point of view, 

790
00:37:50,600 --> 00:37:52,560
I could do without those crash 
zooms. 

791
00:37:53,080 --> 00:37:56,760
And I go brick in the 4th wall. 
Yeah, but those are classic Mel 

792
00:37:56,760 --> 00:37:58,320
Brooks. 
So you know what you expect. 

793
00:37:58,320 --> 00:37:59,080
Really. 
Yeah. 

794
00:37:59,080 --> 00:38:02,200
But what he does here is bring 
restraint, reverence and 

795
00:38:02,200 --> 00:38:05,440
maturity, and in doing so 
creates, I think we all agree, 

796
00:38:05,440 --> 00:38:07,960
his best work by a distance. 
Definitely. 

797
00:38:08,320 --> 00:38:11,600
Few film makers had a better 
1974 than Mel Brooks. 

798
00:38:11,600 --> 00:38:14,040
He kicked the year off with the 
release of Blazing Saddles in 

799
00:38:14,040 --> 00:38:16,720
February, and he closed it out 
with Young Frankenstein in 

800
00:38:16,720 --> 00:38:18,360
December. 
And the idea for Young 

801
00:38:18,360 --> 00:38:20,360
Frankenstein started on the set 
of Blazing Saddles. 

802
00:38:20,720 --> 00:38:22,000
More of that on the writing 
section, no. 

803
00:38:22,400 --> 00:38:24,280
Yes, of course. 
Yes, we'll get right into that. 

804
00:38:24,560 --> 00:38:26,360
Definitely. 
What's different about this film

805
00:38:26,360 --> 00:38:28,720
compared to other Mel Brooks 
films is that the great man 

806
00:38:28,720 --> 00:38:30,320
doesn't appear on screen 
himself. 

807
00:38:30,440 --> 00:38:33,560
He Co wrote the film with Gene 
Wilder, and Wilder insisted that

808
00:38:33,560 --> 00:38:36,320
Brooks not play a part in the 
film because he had a tendency 

809
00:38:36,320 --> 00:38:39,200
to break the 4th wall even when 
he didn't mean to, just by 

810
00:38:39,200 --> 00:38:41,680
virtue of being Mel Brooks. 
Yeah, exactly. 

811
00:38:41,800 --> 00:38:43,680
Yeah. 
Wilder wanted Young Frankenstein

812
00:38:43,680 --> 00:38:45,720
to be played straight with no 
wings to the audience. 

813
00:38:45,800 --> 00:38:48,520
So the deal was if Brooks stayed
off camera, Wilder would do it. 

814
00:38:48,840 --> 00:38:51,160
Brooks couldn't keep himself out
entirely though. 

815
00:38:51,160 --> 00:38:53,880
As you mentioned earlier, he 
does play the werewolf, 

816
00:38:53,880 --> 00:38:57,720
werewolf, werewolf. 
He plays werewolf for the stars.

817
00:38:59,320 --> 00:39:03,640
He pops up as a villager near 
the end and he is the voice, the

818
00:39:03,640 --> 00:39:06,760
voice of the noise of the 
screaming cat during the dart 

819
00:39:06,760 --> 00:39:07,240
scene. 
That's. 

820
00:39:07,600 --> 00:39:08,760
Right. 
Yeah, Amazing. 

821
00:39:11,000 --> 00:39:12,000
Nice. 
I'm a little tired. 

822
00:39:12,400 --> 00:39:16,800
Nice grouping. 
And he wanted to pay homage to 

823
00:39:16,800 --> 00:39:20,480
the great Universal Frankenstein
movies of the 30s, specifically 

824
00:39:20,760 --> 00:39:25,200
1931's Frankenstein and 1935's 
Bride of Frankenstein, both of 

825
00:39:25,200 --> 00:39:26,920
which were directed by James 
Whale. 

826
00:39:27,400 --> 00:39:30,000
But he also took inspiration 
from the sequels Son of 

827
00:39:30,000 --> 00:39:33,960
Frankenstein from 1939, and 
Ghost of Frankenstein, which was

828
00:39:33,960 --> 00:39:36,000
1942. 
Yeah, yes. 

829
00:39:36,520 --> 00:39:38,720
He had so much reverence for 
those films that he also 

830
00:39:38,720 --> 00:39:41,080
provides the voice of Victor 
Frankenstein. 

831
00:39:41,080 --> 00:39:44,000
We mentioned it earlier, Mimic 
and the dialogue from the 1931 

832
00:39:44,080 --> 00:39:46,600
Frankenstein film, right? 
He plays that completely 

833
00:39:46,600 --> 00:39:48,000
straight as it. 
I he does, yeah. 

834
00:39:48,320 --> 00:39:51,080
So Brooks, history of the source
material goes all the way back. 

835
00:39:51,080 --> 00:39:53,880
As I mentioned, he was five 
years old in 1931 when he first 

836
00:39:53,880 --> 00:39:56,360
saw Boris Karloff in 
Frankenstein, and he was 

837
00:39:56,360 --> 00:39:59,000
absolutely petrified. 
Well, you know, five years old. 

838
00:39:59,000 --> 00:40:01,160
Five years old. 
Yeah, that's going to happen. 

839
00:40:01,680 --> 00:40:03,960
So much so that he asked his 
mother if they could shut the 

840
00:40:03,960 --> 00:40:06,400
window by the fire escape in 
their Brooklyn apartment. 

841
00:40:06,520 --> 00:40:08,480
He was convinced the monster was
going to come through the window

842
00:40:08,480 --> 00:40:11,960
and eat him. 
Yeah, classic. 

843
00:40:12,040 --> 00:40:15,280
He told this story about 
something that his mother said. 

844
00:40:15,280 --> 00:40:17,680
Incredible parent. 
She thought about it for a 

845
00:40:17,680 --> 00:40:20,000
moment and then walked him 
through the whole journey, step 

846
00:40:20,000 --> 00:40:21,800
by step. 
She said the monster lives in 

847
00:40:21,800 --> 00:40:24,280
Romania. 
Romania isn't near the ocean, so

848
00:40:24,280 --> 00:40:25,920
he's got a long way to get to a 
boat. 

849
00:40:26,400 --> 00:40:29,280
He'll need money for passage. 
He might not have any on account

850
00:40:29,280 --> 00:40:31,560
of being a monster, possibly not
having any pockets. 

851
00:40:31,960 --> 00:40:34,440
Even if he managed to get on a 
boat and might dock in Miami, 

852
00:40:34,440 --> 00:40:36,680
not in New York. 
And even if it docked in New 

853
00:40:36,680 --> 00:40:38,680
York, he wouldn't know the 
subway system. 

854
00:40:39,040 --> 00:40:41,360
And if he made it to Brooklyn, 
he wouldn't know what street 

855
00:40:41,360 --> 00:40:43,480
they lived on. 
And even if he found the street,

856
00:40:43,600 --> 00:40:46,280
the people on the 1st floor had 
their windows open, so if he was

857
00:40:46,280 --> 00:40:50,520
hungry, he'd eat them first. 
Brilliant. 

858
00:40:51,680 --> 00:40:53,600
So you're safe I. 
Wonder where he's got his 

859
00:40:53,600 --> 00:40:58,640
storytelling the buildings from?
The original plan was for Young 

860
00:40:58,640 --> 00:41:00,280
Frankenstein to be a Columbia 
picture. 

861
00:41:00,600 --> 00:41:03,000
Brooks had a deal in place for 
1.9 million. 

862
00:41:03,000 --> 00:41:05,160
Contracts were signed and hands 
were shaken. 

863
00:41:05,160 --> 00:41:07,440
Done deal. 
The wheels came off though, as 

864
00:41:07,440 --> 00:41:10,600
Brooks was on his way out. 
He leaned back into the office 

865
00:41:10,600 --> 00:41:13,640
and then just casually dropped 
in that he was planning to film 

866
00:41:13,640 --> 00:41:16,240
it in black and white to honour 
the tradition of the Universal 

867
00:41:16,240 --> 00:41:18,600
movies. 
And according to Brooks, what 

868
00:41:18,600 --> 00:41:22,240
followed was a herd of Jews 
chasing him down the hall, 

869
00:41:22,240 --> 00:41:23,680
telling him that there was no 
way there. 

870
00:41:24,000 --> 00:41:25,520
Was a brief attempt at a 
compromise. 

871
00:41:25,520 --> 00:41:28,080
Columbia said they'd shoot on 
colour stock and screen it in 

872
00:41:28,080 --> 00:41:30,720
black and white important 
markets like New York, Chicago, 

873
00:41:30,720 --> 00:41:34,240
LA, then run it in colour in 
other places, for example, like 

874
00:41:34,240 --> 00:41:37,520
Peru, who had just got colour TV
and movies right, Right. 

875
00:41:37,680 --> 00:41:40,280
Brooks's instinct was that this 
was a bit of a stitch of waiting

876
00:41:40,280 --> 00:41:41,840
to happen. 
He didn't interest them not to 

877
00:41:41,840 --> 00:41:44,000
flip everything the colour as 
soon as the camera stopped 

878
00:41:44,000 --> 00:41:46,880
rolling, so he said no. 
Columbia said the deal was off 

879
00:41:47,160 --> 00:41:49,560
and they were left floundering. 
Fortunately, had a willing 

880
00:41:49,560 --> 00:41:52,560
partner waiting in the wings. 
Alan Ladd Junior had just taken 

881
00:41:52,560 --> 00:41:56,640
over a 20th Century Fox Brooks's
producer Michael Kruskov, knew 

882
00:41:56,640 --> 00:41:58,880
from their days as agents 
together in London. 

883
00:41:58,880 --> 00:42:02,720
So the script went over to Fox 
the same night Lad rang back and

884
00:42:02,720 --> 00:42:04,760
said it absolutely should be 
made in black and white. 

885
00:42:04,760 --> 00:42:05,680
Amazing. 
He said. 

886
00:42:05,680 --> 00:42:08,640
The budget should be bigger, 
maybe 2.2 million or 2.4 

887
00:42:08,640 --> 00:42:10,000
million. 
So they were back on track. 

888
00:42:10,360 --> 00:42:11,600
Incredible. 
Yeah. 

889
00:42:11,720 --> 00:42:13,000
That's the kind of turn around 
you want. 

890
00:42:13,440 --> 00:42:15,840
Exactly, just someone completely
agreeing and then giving you 

891
00:42:15,840 --> 00:42:21,520
more money. 
And that decision turned out to 

892
00:42:21,520 --> 00:42:23,600
be the start of a very long 
relationship. 

893
00:42:23,600 --> 00:42:26,680
As part of the deal, Brooks 
signed A5 year contract with Fox

894
00:42:27,000 --> 00:42:29,560
in the studio went on to release
a string of his films. 

895
00:42:29,840 --> 00:42:33,480
Silent movie, High Anxiety, 
History for the World Part 1, 

896
00:42:33,560 --> 00:42:35,960
and Robin Hood, Men in Tights 
all came out of that 

897
00:42:35,960 --> 00:42:37,000
arrangement. 
Wow. 

898
00:42:37,000 --> 00:42:39,080
Wonderful. 
It worked out for Ladd as well. 

899
00:42:39,080 --> 00:42:41,720
Young Frankenstein took 86 mil 
at the box office and it played 

900
00:42:41,720 --> 00:42:44,120
a big part in him being promoted
to president of Fox. 

901
00:42:44,440 --> 00:42:45,920
Yeah, brilliant. 
In 1976. 

902
00:42:45,920 --> 00:42:48,760
From there, lad ended up green 
light and over 300 films, 

903
00:42:48,960 --> 00:42:50,880
including Star Wars, Alien and 
Blade Runner. 

904
00:42:51,120 --> 00:42:52,200
Wow. 
Good business. 

905
00:42:52,840 --> 00:42:55,240
Incredible. 
And now it's time to introduce 

906
00:42:55,240 --> 00:42:57,520
our first question from an ATRM 
patron. 

907
00:42:58,360 --> 00:43:00,640
That's one of the benefits. 
If you become a patron of all 

908
00:43:00,640 --> 00:43:02,760
the right movies, you can ask us
questions for the films we're 

909
00:43:02,760 --> 00:43:04,600
talking about. 
And the first one comes from 

910
00:43:04,600 --> 00:43:06,000
Isabel Shaw. 
Hi, Isabel. 

911
00:43:06,080 --> 00:43:07,360
Hi, Isabel. 
Hello, Isabel. 

912
00:43:07,560 --> 00:43:09,840
Isabel, clearly a big fan of 
your Young Frankenstein? 

913
00:43:09,840 --> 00:43:12,560
She asks. 
Every year my husband and I sit 

914
00:43:12,560 --> 00:43:15,240
down to watch Life of Brian on 
Christmas night and Young 

915
00:43:15,240 --> 00:43:18,280
Frankenstein on Hogmanay. 
Now Hogmanay is New Year's Eve 

916
00:43:18,280 --> 00:43:20,880
in Scotland for people outside 
of the UK. 

917
00:43:21,280 --> 00:43:22,120
Yes, indeed. 
Nice. 

918
00:43:22,520 --> 00:43:24,800
Isabel said. 
Do any of you have any film 

919
00:43:24,800 --> 00:43:27,440
watching traditions? 
What films and when and why? 

920
00:43:27,640 --> 00:43:30,040
Thanks for all your work. 
If you read this out, please say

921
00:43:30,040 --> 00:43:32,720
hi to my husband Andy. 
Well, hello, Andy. 

922
00:43:32,880 --> 00:43:33,800
Hello, Andy. 
As well. 

923
00:43:34,080 --> 00:43:35,960
Big shout outs thanks to the 
question. 

924
00:43:35,960 --> 00:43:39,520
Isabel as well. 
Westie over the youth first Sulu

925
00:43:39,520 --> 00:43:41,680
in The Shining every Sunday, but
on top of that. 

926
00:43:45,000 --> 00:43:46,520
Sunday. 
Fun day, man, every day. 

927
00:43:47,040 --> 00:43:48,960
No, I mean, Christmas is a 
classic, isn't it? 

928
00:43:48,960 --> 00:43:50,560
It's always the same. 
It's just a Wonderful Life and 

929
00:43:50,560 --> 00:43:52,360
Scrooged. 
And then I try to fit in Lord of

930
00:43:52,360 --> 00:43:54,400
the Rings around Christmas 
because that's when it came out 

931
00:43:54,400 --> 00:43:55,920
and always seems quite 
Christmassy to me. 

932
00:43:55,920 --> 00:43:58,240
So over the Christmas period 
I'll put that on. 

933
00:43:58,640 --> 00:44:01,040
If it's snowing, I have to watch
The Shining. 

934
00:44:01,240 --> 00:44:01,960
Right. 
Nice. 

935
00:44:01,960 --> 00:44:04,320
If it's snowing outside, it has 
to be done and I just put a 

936
00:44:04,320 --> 00:44:08,320
jumper on and stare out the 
fucking window shining on one 

937
00:44:08,320 --> 00:44:09,840
side. 
I'm doing that every single 

938
00:44:09,840 --> 00:44:11,720
time. 
Coming back from the pub was a 

939
00:44:11,960 --> 00:44:13,840
classic tradition. 
Doesn't happen as much now, but 

940
00:44:13,840 --> 00:44:16,240
when I was younger, like mid 
20s, it would always be like 

941
00:44:16,240 --> 00:44:20,080
Predator, Highlander, Point 
Break Commando, Die Hard, Any of

942
00:44:20,080 --> 00:44:22,440
them would just be on summer's 
day. 

943
00:44:22,600 --> 00:44:25,880
I've got this thing where if 
it's a really sunny day and if 

944
00:44:25,880 --> 00:44:27,840
I've got a couple of hours, like
if I'm getting ready to go out 

945
00:44:27,840 --> 00:44:30,520
somewhere or whatever else. 
It's such a weird thing, but I 

946
00:44:30,520 --> 00:44:35,360
watch BMX Bandits and I don't 
know, it just reminds us of 

947
00:44:35,360 --> 00:44:38,360
being a kid and it being sunny 
outside and it just like I 

948
00:44:38,360 --> 00:44:40,160
wasn't allowed to play out at a 
certain time that I have to 

949
00:44:40,160 --> 00:44:41,280
finish your dinner or whatever 
else. 

950
00:44:41,280 --> 00:44:43,280
And I watch beam experiments now
go out and play after that. 

951
00:44:43,640 --> 00:44:45,760
And it just really reminds us 
that gives us that feeling. 

952
00:44:45,920 --> 00:44:48,880
And then recently I've got this 
tradition the way if I get any 

953
00:44:48,880 --> 00:44:50,960
new gear. 
So I'm a photographer by trade. 

954
00:44:50,960 --> 00:44:53,280
So if I buy anything new the 
first time I got like me on 

955
00:44:53,280 --> 00:44:55,320
camera and bought it for myself.
When I started my own business, 

956
00:44:55,320 --> 00:44:58,680
which was like 1520 years ago, I
watched 7. 

957
00:44:58,720 --> 00:45:01,240
When I opened my first camera, 7
was on. 

958
00:45:01,920 --> 00:45:04,200
And I just have that in my head 
of like looking through all the 

959
00:45:04,200 --> 00:45:05,640
menus and seven was on in the 
background. 

960
00:45:05,640 --> 00:45:07,640
And then every time I get a new 
bit of kit, no matter what it 

961
00:45:07,640 --> 00:45:09,240
is, I have to put 7 on before 
open it. 

962
00:45:09,680 --> 00:45:10,640
Right. 
Wow. 

963
00:45:10,840 --> 00:45:12,560
Very. 
Superstition. 

964
00:45:12,960 --> 00:45:15,200
I think so, yeah, kind of. 
It's just very, very comforting 

965
00:45:15,200 --> 00:45:17,480
to have that on. 
It's normally like the library 

966
00:45:17,480 --> 00:45:19,560
moment when like he's going to 
the library. 

967
00:45:19,560 --> 00:45:21,840
It's a houses for culture. 
And then I know it's it's around

968
00:45:21,840 --> 00:45:22,880
that bit. 
Yeah. 

969
00:45:22,880 --> 00:45:28,440
And then any Sunday, anything. 
Everything on. 

970
00:45:29,400 --> 00:45:31,840
The Sunday yeah, I put the D100 
on the laptop and then watch 

971
00:45:31,840 --> 00:45:34,760
Zulu on the main telly, but turn
the sound down on Zulu and then 

972
00:45:34,760 --> 00:45:39,680
turn the D100 black and white on
the laptop and watch 2 of once. 

973
00:45:40,360 --> 00:45:42,640
No, you still don't believe I do
that, but I definitely. 

974
00:45:45,960 --> 00:45:48,560
Yeah, I came round to get 
something from you a few months 

975
00:45:48,560 --> 00:45:51,080
ago and it was just casually the
D under on the. 

976
00:45:52,640 --> 00:45:57,120
Background. 
That over to you. 

977
00:45:57,480 --> 00:46:00,760
I mean, yes, some similar again 
obviously Christmas is a big 

978
00:46:00,760 --> 00:46:04,120
one, but outside the specific 
Christmas films, it's Lord of 

979
00:46:04,120 --> 00:46:06,520
the Rings for me as well. 
That's definitely only really 

980
00:46:06,520 --> 00:46:09,960
watched in December for me, 
usually probably 2-3 days before

981
00:46:09,960 --> 00:46:12,240
Christmas itself. 
I think that's when it came out 

982
00:46:12,240 --> 00:46:15,320
at the cinema. 
Source managed me that also that

983
00:46:15,520 --> 00:46:18,400
period between Christmas, New 
Year, I have to watch where 

984
00:46:18,400 --> 00:46:23,040
Eagles there at some point that 
week off work where Eagles there

985
00:46:23,040 --> 00:46:24,760
is going on at some point. 
Brilliant. 

986
00:46:25,360 --> 00:46:28,360
Then I think during the summer 
I've just always associated the 

987
00:46:28,360 --> 00:46:31,640
original indie trilogy with 
summer holidays, so I'll watch 

988
00:46:31,640 --> 00:46:34,640
those across the summer months. 
And I mean obviously Jaws 

989
00:46:34,640 --> 00:46:38,440
because of July the 4th and the 
other one I always watch every 

990
00:46:38,440 --> 00:46:42,000
summer has to be the burbs 
because that just reminds me of 

991
00:46:42,120 --> 00:46:43,800
the six week summer holiday as a
kid. 

992
00:46:44,280 --> 00:46:47,000
Late nights. 
Late nights rent the burbs, late

993
00:46:47,000 --> 00:46:48,920
nights the burbs was on 
constantly. 

994
00:46:49,480 --> 00:46:51,720
I put that on. 
I can like smell the barbecue in

995
00:46:51,720 --> 00:46:53,520
the freshly cut grass. 
It's amazing. 

996
00:46:54,160 --> 00:46:55,800
Superb. 
And then the other one, once it 

997
00:46:55,800 --> 00:46:59,560
starts to go kind of dark 
evenings again and not Halloween

998
00:46:59,560 --> 00:47:01,400
as such. 
Maybe morning, November. 

999
00:47:01,480 --> 00:47:04,240
Shutter Island has to be our 
time, yeah? 

1000
00:47:04,280 --> 00:47:06,640
Yeah, I love it. 
Fantastic. 

1001
00:47:06,640 --> 00:47:09,480
Yeah, Well, I think we've 
clearly all got these little 

1002
00:47:09,480 --> 00:47:12,720
traditions and starting 
chronological order from the top

1003
00:47:12,720 --> 00:47:16,600
of the year onwards. 
Wonderful, obviously. 

1004
00:47:17,000 --> 00:47:18,280
Yeah, yeah. 
Don't miss any out. 

1005
00:47:18,760 --> 00:47:20,920
Good Friday. 
I'm skipping ahead a few months.

1006
00:47:20,920 --> 00:47:23,640
Good Friday, Good Friday 
morning, it's Ben Hur. 

1007
00:47:23,640 --> 00:47:25,320
Or at least some of it. 
Right. 

1008
00:47:26,760 --> 00:47:30,720
Yeah, Cherry race and that's it 
on the afternoon, always longer 

1009
00:47:30,720 --> 00:47:32,840
Friday without feel, start to 
finish. 

1010
00:47:32,840 --> 00:47:34,840
Always. 
Yeah, Easter morning is 

1011
00:47:34,840 --> 00:47:37,520
unusually reserved for Easter 
Parade. 

1012
00:47:37,760 --> 00:47:40,440
Oh, OK, right. 
Which is a great film. 

1013
00:47:40,680 --> 00:47:43,240
Right, OK. 
And then every Friday the 13th, 

1014
00:47:43,240 --> 00:47:44,880
obviously it's one of the Friday
the 13th. 

1015
00:47:46,240 --> 00:47:48,040
The Burbs is a summer film for 
me. 

1016
00:47:48,040 --> 00:47:49,960
Matt. 
Halloween gets fired up on 

1017
00:47:49,960 --> 00:47:52,880
Halloween, naturally. 
Christmas is where it all goes 

1018
00:47:52,880 --> 00:47:54,680
crazy and it's really 
prescriptive. 

1019
00:47:54,720 --> 00:47:57,280
Christmas vacation on Christmas 
Tree Day when we put the 

1020
00:47:57,280 --> 00:47:59,720
Christmas tree up. 
Black Christmas on the night 

1021
00:47:59,720 --> 00:48:03,040
time. 
Yeah, the snowman on Christmas 

1022
00:48:03,040 --> 00:48:04,480
Eve. 
Morning, Meet me in Saint Louis.

1023
00:48:04,640 --> 00:48:07,120
Die Hard plays in the afternoon,
then Scrooge on the night time. 

1024
00:48:07,120 --> 00:48:10,840
It's crazy. 
And that's like every has to be 

1025
00:48:10,880 --> 00:48:12,120
those, otherwise something's 
wrong. 

1026
00:48:16,280 --> 00:48:17,760
And that's a great question, 
Isabel. 

1027
00:48:17,760 --> 00:48:19,560
Thank you very much. 
That was a great. 

1028
00:48:20,000 --> 00:48:20,560
Question. 
Yeah. 

1029
00:48:20,920 --> 00:48:23,280
And that wraps us up on Mel 
Brooks as director on Young 

1030
00:48:23,280 --> 00:48:26,840
Frankenstein, a film which he 
said is the best he's ever made,

1031
00:48:27,040 --> 00:48:30,520
although you also said it's only
his third funniest behind Blaze 

1032
00:48:30,520 --> 00:48:32,480
and Saddles and The Producers. 
Disagree. 

1033
00:48:32,880 --> 00:48:35,160
Yeah, I disagree with the second
comment, but I totally agree 

1034
00:48:35,160 --> 00:48:38,480
with the first. 
Yeah, certainly his most 

1035
00:48:38,480 --> 00:48:40,160
accomplished. 
Oh, A. 100%. 

1036
00:48:40,280 --> 00:48:44,360
By far. 
The cast. 

1037
00:48:47,640 --> 00:48:50,560
A who's who of 70s comedic 
talent In Young Frankenstein, 

1038
00:48:50,560 --> 00:48:53,440
we're talking about the good 
Doctor, his trusty sidekick and 

1039
00:48:53,440 --> 00:48:56,680
his creation, starting with an 
outstanding turn from Gene 

1040
00:48:56,680 --> 00:48:59,160
Wilder, who'd established 
himself as a solid screen force 

1041
00:48:59,160 --> 00:49:01,560
from the likes of Bonnie and 
Clyde, The producers and of 

1042
00:49:01,560 --> 00:49:03,320
course. 
Willy Wonka and the Chocolate 

1043
00:49:03,320 --> 00:49:04,120
Factory. 
Yes. 

1044
00:49:04,160 --> 00:49:07,520
Yes, Matt, it's over to you. 
I mean, I think in general, he's

1045
00:49:07,520 --> 00:49:09,720
really underappreciated as an 
actor. 

1046
00:49:09,880 --> 00:49:12,240
And I think it might be that 
curse where if he's seen 

1047
00:49:12,240 --> 00:49:14,920
primarily as a comic actor, 
people don't appreciate the 

1048
00:49:14,920 --> 00:49:16,800
range and the quality of the 
work you do. 

1049
00:49:16,800 --> 00:49:19,600
But for some to go from the 
likes of, as you said, Willy 

1050
00:49:19,600 --> 00:49:22,560
Wonka, which is such a 
definitive performance of that 

1051
00:49:22,560 --> 00:49:25,600
character, yeah, to then the 
films he makes in the 80s with 

1052
00:49:25,600 --> 00:49:28,600
Richard Pryor and then all these
collaborations with Brooks, he 

1053
00:49:28,600 --> 00:49:29,880
was incredible. 
Yeah. 

1054
00:49:29,880 --> 00:49:32,720
And I think he gets talked about
more with nostalgia, culture 

1055
00:49:32,720 --> 00:49:34,400
confection, which is 100% 
correct. 

1056
00:49:34,400 --> 00:49:37,400
But I think he should be talked 
about is a real chameleon of an 

1057
00:49:37,400 --> 00:49:40,360
actor as well because he never 
did the same thing twice. 

1058
00:49:40,360 --> 00:49:43,960
There wasn't a Gene Wilder 
persona that he used in this 

1059
00:49:43,960 --> 00:49:45,560
films to come back to again and 
again. 

1060
00:49:45,920 --> 00:49:48,360
It was always a complete 
understanding of of the 

1061
00:49:48,360 --> 00:49:49,720
character and what it needed to 
be. 

1062
00:49:49,720 --> 00:49:52,280
And that's where you get here. 
And it's such a clever 

1063
00:49:52,280 --> 00:49:55,160
understanding of the type of 
performance this needs to be 

1064
00:49:55,520 --> 00:49:59,200
because the mannerisms, the 
pomposity, the deliberately 

1065
00:49:59,200 --> 00:50:02,560
slightly hammy approach to the 
dialogue, it's exactly the type 

1066
00:50:02,560 --> 00:50:06,240
of performance you do get in the
1940s in this genre because that

1067
00:50:06,240 --> 00:50:08,800
was the style back then. 
It was very theatrical. 

1068
00:50:08,800 --> 00:50:11,000
It wasn't very not realistic. 
And that's what he nails. 

1069
00:50:11,400 --> 00:50:13,440
We know he can do comedy because
that's in his blood. 

1070
00:50:13,680 --> 00:50:16,640
But this is the level above 
that, like as a contemporary 

1071
00:50:16,640 --> 00:50:19,640
actor, to adjust your 
performance or feels like it 

1072
00:50:19,640 --> 00:50:21,720
really could have come straight 
out of the 40s. 

1073
00:50:22,160 --> 00:50:23,640
Just saying. 
That's true brilliance, and 

1074
00:50:23,640 --> 00:50:26,480
that's what Wilder is here. 
Yeah, I think it's nothing short

1075
00:50:26,480 --> 00:50:28,520
of sensational. 
I think really is. 

1076
00:50:28,520 --> 00:50:29,960
I mean, I don't think this is 
hyperbole. 

1077
00:50:29,960 --> 00:50:32,240
It's one of the great comic 
performances of the silk 

1078
00:50:32,240 --> 00:50:34,760
radiation that ever has been. 
Yeah, definitely. 

1079
00:50:34,760 --> 00:50:37,200
He has it all. 
Such a deft touch of delivery 

1080
00:50:37,200 --> 00:50:39,920
and screen presents. 
But it's the little details that

1081
00:50:39,920 --> 00:50:40,680
I love. 
Yeah. 

1082
00:50:40,680 --> 00:50:45,120
When Elizabeth arrives and he 
introduces, this is Elizabeth my

1083
00:50:45,120 --> 00:50:54,120
financier, my fiance. 
Or his reaction when he's trying

1084
00:50:54,120 --> 00:50:56,400
to get in the sack with 
Elizabeth when she shows him 

1085
00:50:56,520 --> 00:50:59,560
when she just shows up and she 
just completely blocks him and 

1086
00:50:59,560 --> 00:51:01,320
he Mumbles his way out of that 
room. 

1087
00:51:01,360 --> 00:51:02,640
The big ones. 
Bye. 

1088
00:51:07,760 --> 00:51:11,000
I don't think it really gets 
noted that near the end that 

1089
00:51:11,080 --> 00:51:14,880
Frederick has just had sex with 
Inga by raising the platform and

1090
00:51:14,880 --> 00:51:19,240
when Elizabeth arrives 5 minutes
later he's trying to get 

1091
00:51:19,240 --> 00:51:25,360
straight in there as well. 
A very virile man. 

1092
00:51:25,520 --> 00:51:28,520
Yeah, yeah, brilliant. 
So Brooks gave Wilder pointers 

1093
00:51:28,520 --> 00:51:30,880
throughout the shoot because he 
knew Wilder eventually one of 

1094
00:51:30,880 --> 00:51:34,280
the directors own films one day,
Woman in Red, obviously classic 

1095
00:51:34,720 --> 00:51:37,360
Brooks would do something on 
set, then turn Wilder and say 

1096
00:51:37,360 --> 00:51:39,440
something like say what I have 
to do there because I didn't 

1097
00:51:39,440 --> 00:51:41,280
shoot the close up earlier. 
Don't do that. 

1098
00:51:41,440 --> 00:51:43,720
And while I look at him and ask 
who you're talking to, and 

1099
00:51:43,720 --> 00:51:47,200
Brooks would say you. 
When you're directing, it sounds

1100
00:51:47,200 --> 00:51:49,680
like Frederick reckons. 
We're. 

1101
00:51:49,840 --> 00:51:52,960
Talking, Talking to you. 
While the would make his 

1102
00:51:52,960 --> 00:51:56,040
directorial debut a year later 
with The adventures of Sherlock 

1103
00:51:56,040 --> 00:51:59,560
Holmes's Smarter brother. 
Yeah, didn't really RIP up 

1104
00:51:59,560 --> 00:52:01,320
trees, that one. 
Not really, no, no. 

1105
00:52:01,320 --> 00:52:04,400
Not so much, but he did go on to
have a decent directorial 

1106
00:52:04,400 --> 00:52:05,800
career. 
Yeah, he did, yeah. 

1107
00:52:06,120 --> 00:52:08,920
And Wilder wanted to wear 
mustaches Frederick, but Brooks 

1108
00:52:08,920 --> 00:52:11,640
hated the idea. 
So they shot the same scene two 

1109
00:52:11,640 --> 00:52:14,880
ways, one with it, one without. 
Brooks watched both back and 

1110
00:52:14,880 --> 00:52:17,600
admitted Wilder was right. 
The Tash stayed in and Brooks 

1111
00:52:17,600 --> 00:52:20,400
said Gene has never looked more 
handsome than when he was 

1112
00:52:20,400 --> 00:52:21,840
playing Young Doctor 
Frankenstein. 

1113
00:52:23,120 --> 00:52:25,040
I agree. 
Yeah, great, Tash. 

1114
00:52:25,320 --> 00:52:27,200
Yeah. 
By the last day of shoot, Wilder

1115
00:52:27,200 --> 00:52:30,560
was still pitching Brooks new 
scenes, whole sequences that he 

1116
00:52:30,560 --> 00:52:32,760
wanted to add. 
Brooks had to sit them down and 

1117
00:52:32,760 --> 00:52:34,800
say, Gene, it's over. 
It's got a beginning, the middle

1118
00:52:34,800 --> 00:52:35,880
and end. 
It's beautiful. 

1119
00:52:36,240 --> 00:52:38,720
And Wilde buried his face in his
hands and said, Mel, I don't 

1120
00:52:38,720 --> 00:52:40,240
want to go home. 
I want to stay here. 

1121
00:52:40,240 --> 00:52:42,000
This is the happiest time of my 
life. 

1122
00:52:42,880 --> 00:52:43,480
Wonderful. 
That's. 

1123
00:52:44,200 --> 00:52:46,200
Great. 
I mean, nobody said that Young 

1124
00:52:46,200 --> 00:52:49,080
Frankenstein was the best film 
he'd ever made as well, even 

1125
00:52:49,080 --> 00:52:50,920
considering Willy Wonka. 
Yeah, right. 

1126
00:52:51,120 --> 00:52:52,840
Yeah, Yeah. 
So outstanding. 

1127
00:52:52,840 --> 00:52:54,920
Doesn't cut it for Gene Wilder 
here. 

1128
00:52:54,920 --> 00:52:57,440
And comic master class as 
Frederick Frankenstein, 

1129
00:52:57,800 --> 00:53:02,480
Definitely. 
Next up, a British comic who 

1130
00:53:02,480 --> 00:53:05,520
built his reputation from his 
own TV shows of the 60s and 70s.

1131
00:53:05,960 --> 00:53:08,520
An iconic turn from Marty 
Feldman, as I go. 

1132
00:53:08,800 --> 00:53:12,680
And Feldman is an unusual man. 
It's very much so. 

1133
00:53:12,800 --> 00:53:15,200
Very much so. 
And quite the conundrum, because

1134
00:53:15,200 --> 00:53:18,560
he hadn't been in too many more 
movies of Naughty after this and

1135
00:53:18,920 --> 00:53:20,800
he hadn't been in many. 
You've only been in a couple 

1136
00:53:20,800 --> 00:53:22,840
before. 
Died quite young though, didn't 

1137
00:53:22,840 --> 00:53:24,600
he? 
He did die quite young, you're 

1138
00:53:24,600 --> 00:53:27,640
right, yes, But it is a shame 
that we didn't see more of him 

1139
00:53:27,640 --> 00:53:29,960
because he's he's wonderfully 
bananas. 

1140
00:53:30,200 --> 00:53:34,200
He very much in keeping with the
surrealist comedy of of Monty 

1141
00:53:34,200 --> 00:53:35,960
Python. 
I think he's from that mould. 

1142
00:53:35,960 --> 00:53:38,360
Yeah, yeah, yeah, definitely. 
He's always at hand with the 

1143
00:53:38,360 --> 00:53:40,880
skier than quip or a known wink 
to the audience. 

1144
00:53:40,880 --> 00:53:45,040
Again, something I kind of could
do without, but that wouldn't be

1145
00:53:45,040 --> 00:53:46,560
a Mel Brooksville if it didn't 
happen. 

1146
00:53:46,560 --> 00:53:48,360
Well, exactly. 
Yeah, but what I find most 

1147
00:53:48,360 --> 00:53:50,760
interesting about filming is is 
his physicality. 

1148
00:53:50,920 --> 00:53:54,800
He looks like you could pick him
up with one hand, slither around

1149
00:53:54,800 --> 00:53:57,360
the place. 
He doesn't look quite human, in 

1150
00:53:57,360 --> 00:54:00,080
the nicest possible way. 
Yeah, yeah, yeah. 

1151
00:54:00,200 --> 00:54:01,840
I mean his outfit doesn't really
help you don't see. 

1152
00:54:02,120 --> 00:54:03,760
Much of it's. 
Like a shadow, isn't he? 

1153
00:54:03,760 --> 00:54:05,120
Yeah, just. 
A shadow like himself. 

1154
00:54:05,120 --> 00:54:07,760
Yeah, yeah, yeah. 
And that really fits the 

1155
00:54:07,760 --> 00:54:11,280
character of Igor, fits the 
setting, the narrative, his 

1156
00:54:11,280 --> 00:54:14,520
place in the world, when he sat 
down next to the monster, when 

1157
00:54:14,520 --> 00:54:16,480
they're talking about the Abby 
normal brain. 

1158
00:54:17,040 --> 00:54:20,000
So he doesn't have any arms. 
He's that thin. 

1159
00:54:20,160 --> 00:54:22,120
Yeah, yeah. 
And there's an absolute Peach of

1160
00:54:22,120 --> 00:54:24,080
a scene when Elizabeth first 
arrives at the castle. 

1161
00:54:24,080 --> 00:54:27,120
All four actors and in the scene
are on top form when Frederick, 

1162
00:54:27,200 --> 00:54:29,480
introducing Elizabeth, is his 
financier. 

1163
00:54:29,480 --> 00:54:33,120
It's ludicrous. 
Elizabeth's absolute disgust. 

1164
00:54:33,120 --> 00:54:37,760
And I go, darling, surprise, 
love me. 

1165
00:54:40,360 --> 00:54:44,720
But it's absolutely incredible. 
The bit where Frederick tells I 

1166
00:54:44,720 --> 00:54:47,200
got to get the bags. 
Any replies? 

1167
00:54:47,200 --> 00:54:49,520
OK, you take the bland and I'll 
take the one with the toilet. 

1168
00:54:52,760 --> 00:54:55,680
The minute Feldman delivered 
that line, the whole cast went 

1169
00:54:55,680 --> 00:54:58,160
take after take. 
Just uproarious laughter. 

1170
00:54:58,440 --> 00:55:01,320
Unsurprising when he's biting 
away at the mink around. 

1171
00:55:04,080 --> 00:55:06,840
Hilarious when she whacks him 
over the head with a purse as 

1172
00:55:06,840 --> 00:55:08,160
well. 
Yeah, really good. 

1173
00:55:08,280 --> 00:55:11,080
Feldman's line of comedy might 
not be to everybody's tastes, 

1174
00:55:11,280 --> 00:55:13,560
but I think he really puts his 
own stamp on this character. 

1175
00:55:13,680 --> 00:55:16,240
The film would have been less of
an identity without him in the 

1176
00:55:16,240 --> 00:55:18,040
cast. 
Oh yeah, Like you said, if that 

1177
00:55:18,040 --> 00:55:20,440
was Brooks playing this, it just
wouldn't work. 

1178
00:55:20,760 --> 00:55:22,920
Not at all, no. 
And he's got a part to play in 

1179
00:55:22,920 --> 00:55:25,040
the majority of the funniest 
moments in the film. 

1180
00:55:25,040 --> 00:55:27,640
Oh. 100%, yeah. 
He really, really makes a 

1181
00:55:27,640 --> 00:55:29,880
difference here. 
So there was only ever one 

1182
00:55:29,880 --> 00:55:32,240
choice for Eagle and Wild. 
I had written the part with 

1183
00:55:32,240 --> 00:55:35,440
Marty Feldman in mind and as 
soon as Feldman was offered it, 

1184
00:55:35,440 --> 00:55:36,960
he just took it straight away, 
obviously. 

1185
00:55:36,960 --> 00:55:38,800
Of course he did. 
Yeah, yeah, it would have been 

1186
00:55:38,840 --> 00:55:40,760
material he's been given. 
Yeah, he's. 

1187
00:55:41,120 --> 00:55:43,160
Probably looked at it thinking I
can add loads to this. 

1188
00:55:43,160 --> 00:55:45,440
Yes, yes, yeah, yeah. 
And he does. 

1189
00:55:45,640 --> 00:55:48,200
And he really does. 
And one thing that often gets 

1190
00:55:48,200 --> 00:55:50,840
asked about Feldman in this film
is how he achieved that book. 

1191
00:55:50,840 --> 00:55:54,080
I'd look and the truth is that 
as a child he had Graves' 

1192
00:55:54,120 --> 00:55:57,440
disease, but the surgery he had 
to correct it went wrong and 

1193
00:55:57,440 --> 00:55:59,240
suddenly left his eyes 
permanently like that. 

1194
00:55:59,400 --> 00:56:01,840
Wow. 
Brooks called filming the most 

1195
00:56:01,840 --> 00:56:04,160
delicious and the most 
frustrating actor that he'd ever

1196
00:56:04,160 --> 00:56:06,440
worked with. 
He said his time was completely 

1197
00:56:06,440 --> 00:56:08,880
separate from the rhythm of 
everybody else on set. 

1198
00:56:09,040 --> 00:56:10,920
So funny. 
Brooks's instruction to the 

1199
00:56:10,920 --> 00:56:14,480
camera operator was very simple.
When Marty's talking, don't take

1200
00:56:14,480 --> 00:56:17,200
it upon yourself just to cut. 
Keep the camera rolling. 

1201
00:56:17,400 --> 00:56:20,040
And the scene where this paid 
off best is the dinner scene 

1202
00:56:20,040 --> 00:56:21,920
where Angus is, you've hardly 
touched your food. 

1203
00:56:22,480 --> 00:56:25,480
And Feldman then delivers this 
slide about never forgetting 

1204
00:56:25,480 --> 00:56:27,400
what his father said when at 
times like this. 

1205
00:56:28,120 --> 00:56:30,400
And then just go silent for a 
long time, just leaves it 

1206
00:56:30,400 --> 00:56:32,920
hanging in the air. 
And Brooke said it actually felt

1207
00:56:32,920 --> 00:56:34,600
like an hour. 
Yeah, because there's a cut, 

1208
00:56:34,600 --> 00:56:36,400
isn't there? 
There's a cut in the in the 

1209
00:56:36,440 --> 00:56:37,240
edit. 
Yeah, yeah. 

1210
00:56:37,520 --> 00:56:39,200
I would have loved a little bit 
more time on that. 

1211
00:56:39,200 --> 00:56:40,600
Yeah, a little bit more time, a 
little bit. 

1212
00:56:40,600 --> 00:56:41,480
More. 
It would have been great. 

1213
00:56:41,800 --> 00:56:45,120
But then eventually Wilder 
cracks and asks, well, what did 

1214
00:56:45,120 --> 00:56:47,360
he say in Feldman's supply? 
What the hell are you doing in 

1215
00:56:47,360 --> 00:56:49,280
the bathroom day and night? 
Why don't you get out of there? 

1216
00:56:49,280 --> 00:56:51,480
Give someone else a chance. 
Yeah. 

1217
00:56:53,200 --> 00:57:00,280
Full that whole potato, yeah, 
that's that makes it because it 

1218
00:57:00,320 --> 00:57:02,120
says it's funny, but it's just 
that. 

1219
00:57:03,240 --> 00:57:05,320
He's thinking about what he's. 
Thinking about what he's. 

1220
00:57:05,960 --> 00:57:07,600
It's got nothing to do with 
anything. 

1221
00:57:07,880 --> 00:57:10,920
Yeah, it's in hearts back, like 
his dad telling him to finish 

1222
00:57:10,920 --> 00:57:13,240
his dinner and just like the 
child that he's being, like he's

1223
00:57:13,240 --> 00:57:15,680
not allowed to cook his food 
unless his mom does it for him. 

1224
00:57:15,760 --> 00:57:18,360
All of these things going 
through my head of like just the

1225
00:57:18,360 --> 00:57:20,600
whole potato in his mouth still.
Hilarious. 

1226
00:57:21,120 --> 00:57:23,160
That's great. 
Brooke said afterwards he asked 

1227
00:57:23,160 --> 00:57:25,640
the camera operator why he 
hadn't cut, and the operator 

1228
00:57:25,640 --> 00:57:28,320
said he was on the verge and he 
didn't want to waste under the 

1229
00:57:28,320 --> 00:57:31,240
100 feet of film on silence. 
But thankfully he held on. 

1230
00:57:31,440 --> 00:57:33,200
Brooks called the moment a 
diamond. 

1231
00:57:33,560 --> 00:57:36,240
Definitely. 
Love that moment. 

1232
00:57:36,280 --> 00:57:39,400
Feldman also brought one of the 
film's best running visual gags 

1233
00:57:39,400 --> 00:57:42,160
to the table himself. 
The script with him had a hump 

1234
00:57:42,160 --> 00:57:45,040
in it, but it was Feldman's idea
that the hump would move 

1235
00:57:45,040 --> 00:57:47,240
position from scene to scene 
without anybody ever 

1236
00:57:47,240 --> 00:57:52,160
acknowledging. 
And he just did it without 

1237
00:57:52,160 --> 00:57:55,400
anybody known and only realized 
a few days later. 

1238
00:57:55,400 --> 00:57:56,800
And Mel Brooks said, well, 
that's genius. 

1239
00:57:57,480 --> 00:57:59,640
I mean, it's just the spirit of 
the comedy. 

1240
00:57:59,720 --> 00:58:02,680
That is without getting the OK 
from Mel Brooks. 

1241
00:58:02,720 --> 00:58:04,120
Exactly. 
It's just the goal of it. 

1242
00:58:04,120 --> 00:58:06,240
I mean, if you're on that set 
and they're bringing in 

1243
00:58:06,240 --> 00:58:09,520
originals props and they're 
bringing in or 2.2 million 

1244
00:58:09,600 --> 00:58:11,960
budget and you're right in the 
middle of it and you're fucking 

1245
00:58:11,960 --> 00:58:14,880
around with your prop on your 
back just because you can. 

1246
00:58:15,280 --> 00:58:17,080
That's that's why you're so 
funny. 

1247
00:58:17,160 --> 00:58:19,240
It is, yeah. 
It takes a lot of balls. 

1248
00:58:19,560 --> 00:58:21,880
The line what hump as well. 
That was all his, Brooke said. 

1249
00:58:21,880 --> 00:58:26,960
It was the funniest line in the 
film, so bringing improv and 

1250
00:58:26,960 --> 00:58:30,560
imperfections to the screen. 
Feldman as Igor is a great foil 

1251
00:58:30,560 --> 00:58:33,160
to Wild as Frankenstein. 
Oh yes, he's wonderful. 

1252
00:58:35,800 --> 00:58:37,520
Finally, the man playing the 
creation. 

1253
00:58:37,640 --> 00:58:40,080
The tallest one in his class. 
A mute. 

1254
00:58:40,440 --> 00:58:45,320
An incredibly big mute at this 
point, Boyle had been in movies 

1255
00:58:45,320 --> 00:58:48,560
since the mid 60s, most notably 
Endure, The Candidates and The 

1256
00:58:48,560 --> 00:58:51,400
Friends of Eddie Coyle, and now 
we have the chance to flex his 

1257
00:58:51,400 --> 00:58:55,400
comedic muscles over the USD. 
He's just so good in this. 

1258
00:58:55,560 --> 00:58:57,960
What a role to play. 
You know, it's exactly what the 

1259
00:58:57,960 --> 00:59:00,080
blueprint is. 
He's seen these earlier films. 

1260
00:59:00,400 --> 00:59:03,080
He knows for a fact he's going 
to have to work incredibly hard 

1261
00:59:03,120 --> 00:59:05,960
to get any kind of impact on the
screen, especially compared with

1262
00:59:05,960 --> 00:59:08,240
everyone else he's acting 
against, acting with, or should 

1263
00:59:08,240 --> 00:59:10,680
I say. 
And you just really need 

1264
00:59:10,680 --> 00:59:13,520
somebody who's got that great 
physical presence and is 

1265
00:59:13,520 --> 00:59:18,120
prepared to play the foil, 
prepared to play the dumb person

1266
00:59:18,120 --> 00:59:20,640
in the room to make everyone 
else look better. 

1267
00:59:21,120 --> 00:59:23,760
He's basically setting up gags 
for people to knock down. 

1268
00:59:23,920 --> 00:59:26,520
And he does it every single 
scene that he's in. 

1269
00:59:26,640 --> 00:59:29,880
He's absolutely fantastic. 
And he's perfect for the role 

1270
00:59:30,120 --> 00:59:32,600
because you need someone like 
Peter Boyle, who has this 

1271
00:59:32,600 --> 00:59:36,360
incredible way of just Landon 
dialogue where it has this depth

1272
00:59:36,360 --> 00:59:38,600
and it has this real meaning. 
The only watch of his wizard and

1273
00:59:38,600 --> 00:59:42,000
taxi driver. 
And he has when he just slaps 

1274
00:59:42,000 --> 00:59:45,160
home, he's got these stories, 
but they have such this 

1275
00:59:45,160 --> 00:59:47,000
reverence in this like depth to 
them. 

1276
00:59:47,400 --> 00:59:49,680
And I really think that's why 
you're custom because without 

1277
00:59:49,680 --> 00:59:52,960
that speech at the end where he 
has part of the brain, where he 

1278
00:59:52,960 --> 00:59:55,840
becomes eloquent, where he 
convinces everybody that, you 

1279
00:59:55,840 --> 00:59:58,400
know, this man's a genius and 
now I can be the man that I 

1280
00:59:58,400 --> 01:00:00,400
needed to be in it. 
That's not funny. 

1281
01:00:00,720 --> 01:00:04,400
That really lands in a warm way.
It's really hard to really like 

1282
01:00:04,400 --> 01:00:06,520
for Furman. 
And it's it's his performance 

1283
01:00:06,520 --> 01:00:08,680
that does that. 
And it's his performance all the

1284
01:00:08,680 --> 01:00:11,040
way through the film that sells 
that last moment. 

1285
01:00:11,240 --> 01:00:12,720
I mean the physical comedy that 
he brings. 

1286
01:00:12,960 --> 01:00:15,320
With the height that he's on 
these platform shoes and it's 

1287
01:00:15,320 --> 01:00:19,040
just funny again. 
And he's genuinely scary in some

1288
01:00:19,040 --> 01:00:21,720
moments because you think he's 
genuinely just lost it. 

1289
01:00:21,720 --> 01:00:25,320
He's genuinely, you know, 
threatening, really good stature

1290
01:00:25,320 --> 01:00:26,960
and then delivers the eloquence 
at the end. 

1291
01:00:26,960 --> 01:00:29,400
I don't think anyone else could 
really have replaced him, to be 

1292
01:00:29,400 --> 01:00:31,040
honest. 
I think he's tragically 

1293
01:00:31,040 --> 01:00:32,840
overlooked at how good he is in 
this film. 

1294
01:00:33,120 --> 01:00:35,480
I agree. 
I agree, not just from a comedic

1295
01:00:35,480 --> 01:00:38,120
point of view either. 
Yeah, just just excellent. 

1296
01:00:38,200 --> 01:00:40,640
Just his. 
Comedy just comes, can only come

1297
01:00:40,640 --> 01:00:42,040
from his physicality. 
Exactly. 

1298
01:00:42,040 --> 01:00:43,280
It's incredible. 
Yeah. 

1299
01:00:43,280 --> 01:00:46,320
Brooks went to Boyle after a 
recommendation from Wilder's 

1300
01:00:46,320 --> 01:00:48,080
agent. 
But it's seen the original 

1301
01:00:48,080 --> 01:00:50,520
Frankenstein when he was about 
12 years old, and he said that 

1302
01:00:50,520 --> 01:00:54,080
it terrified him, obviously, as 
everybody else, definitely. 

1303
01:00:54,520 --> 01:00:56,400
So when it came to playing the 
Monster, he didn't feel the need

1304
01:00:56,400 --> 01:00:58,240
to go back to watch the Karloff 
version. 

1305
01:00:58,240 --> 01:01:01,040
The performance was already 
there, lodged in his memory from

1306
01:01:01,040 --> 01:01:03,760
being 12. 
Yeah, so his approach, he played

1307
01:01:03,760 --> 01:01:07,480
the monster as a baby, big and 
ugly and scary, but freshly 

1308
01:01:07,480 --> 01:01:09,760
born, still trying to make sense
of the world given the 

1309
01:01:09,760 --> 01:01:11,720
performance. 
A strange tenderness which 

1310
01:01:11,920 --> 01:01:14,240
definitely works like an 
innocence to it, really works as

1311
01:01:14,240 --> 01:01:15,120
well. 
Very much. 

1312
01:01:15,600 --> 01:01:18,440
The look of the monster came 
from make up mastermind William 

1313
01:01:18,440 --> 01:01:21,200
Tuttle, who'd previously worked 
on The Wizard of Oz and Singing 

1314
01:01:21,200 --> 01:01:24,440
in the Rain And then challenge. 
Was that the 1931 version had 

1315
01:01:24,440 --> 01:01:27,600
bolts in the neck, but Brooks 
didn't want to use those because

1316
01:01:27,600 --> 01:01:30,480
he was where you've copyright 
complications with Universal. 

1317
01:01:30,840 --> 01:01:33,320
So Total came up with what 
Brooks called a stroke of 

1318
01:01:33,320 --> 01:01:35,720
genius, a zipper instead. 
Yeah. 

1319
01:01:36,000 --> 01:01:38,480
You don't think that he's 
missing the bolts when you're 

1320
01:01:38,480 --> 01:01:39,680
watching this? 
Film. 

1321
01:01:39,760 --> 01:01:42,120
I honestly put that in my mind 
when I think. 

1322
01:01:43,560 --> 01:01:46,760
The big technical decision Total
made was actually to borrow from

1323
01:01:46,760 --> 01:01:49,720
Jack Pearce, the original 1931 
Frankenstein makeup artist. 

1324
01:01:50,080 --> 01:01:52,880
He made Peter Boyle's monster 
face green because in black and 

1325
01:01:52,880 --> 01:01:56,200
white, green reads as dead on 
skin in the way that nothing 

1326
01:01:56,200 --> 01:01:57,560
else really does. 
Right. 

1327
01:01:57,560 --> 01:02:00,320
It's a lot flatter this. 
There's a lot less contrast, 

1328
01:02:00,360 --> 01:02:03,360
which is why Dwight Kubrick made
the table Green and Doris Range 

1329
01:02:03,360 --> 01:02:04,520
love. 
Brilliant. 

1330
01:02:04,600 --> 01:02:05,160
That's right. 
Yeah. 

1331
01:02:05,600 --> 01:02:09,680
Boyle wore 6 inch platform boots
to increase his height to 6 foot

1332
01:02:09,800 --> 01:02:11,640
8 inches. 
That's big, lad. 

1333
01:02:11,880 --> 01:02:15,800
And underneath all of that, 
Boyle wore about 125 lbs of 

1334
01:02:15,800 --> 01:02:19,080
padding, plus prosthetics, 
including a bulging forehead. 

1335
01:02:19,400 --> 01:02:21,840
The next tip and hem stitching 
on the left temple. 

1336
01:02:21,880 --> 01:02:24,920
This resulted in five hours in 
the makeup chair every morning. 

1337
01:02:24,920 --> 01:02:27,760
And Brooks said Boyle stop 
complaining the moment he saw 

1338
01:02:27,760 --> 01:02:29,400
what those will look like in the
dailies. 

1339
01:02:29,800 --> 01:02:32,160
Brilliant. 
Yeah, they do look great. 

1340
01:02:32,320 --> 01:02:34,320
Yeah. 
I love how hollow his chest 

1341
01:02:34,320 --> 01:02:36,640
feels when Gene Hackman is 
banging on it. 

1342
01:02:37,280 --> 01:02:39,040
Yeah, yeah, yeah. 
Gene Wilder is doing the same. 

1343
01:02:39,120 --> 01:02:41,000
Yeah. 
Yeah, the other thing that 

1344
01:02:41,000 --> 01:02:42,880
happened to Boyle on this film 
changed his life. 

1345
01:02:43,120 --> 01:02:45,640
While he was on set in full 
monster makeup, he was 

1346
01:02:45,640 --> 01:02:48,320
introduced to Rolling Stone 
reporter called Lorraine 

1347
01:02:48,320 --> 01:02:50,920
Alterman, who came in to 
interview Brooks. 

1348
01:02:51,600 --> 01:02:54,400
Boyle asked her out then and 
there, monster face and all, and

1349
01:02:54,440 --> 01:02:57,920
she said yes. 
They got married in 1977 and 

1350
01:02:57,920 --> 01:02:59,520
stayed married for the rest of 
his life. 

1351
01:02:59,800 --> 01:03:02,880
The wedding had a notable best 
man because Lorraine was best 

1352
01:03:02,880 --> 01:03:07,200
friends with Yoko Ono. 
John Lennon was being a Boyle's 

1353
01:03:07,200 --> 01:03:08,360
best man. 
Wow. 

1354
01:03:08,760 --> 01:03:09,920
Amazing. 
Yeah. 

1355
01:03:10,680 --> 01:03:13,120
Boyle later said of Lennon that 
the two of them were both 

1356
01:03:13,120 --> 01:03:15,520
seekers of the truth, looking 
for a quick way to 

1357
01:03:15,520 --> 01:03:17,160
enlightenment. 
Yeah, I love that. 

1358
01:03:17,160 --> 01:03:19,040
Aren't we all? 
Unbelievable. 

1359
01:03:19,040 --> 01:03:21,080
Yeah. 
Brilliant. 

1360
01:03:21,160 --> 01:03:23,320
And that's the cast. 
Not forgetting the incredible 

1361
01:03:23,320 --> 01:03:26,200
talents of Terry Garr, Cloris 
Leachman and Madeline Khan. 

1362
01:03:26,200 --> 01:03:28,520
And Tennis Mars. 
Yes, Absolutely. 

1363
01:03:28,520 --> 01:03:30,840
Combined with Wilder, Feldman 
and Boyle to make one of the 

1364
01:03:30,840 --> 01:03:32,680
greatest comedy ensembles in 
cinema. 

1365
01:03:33,080 --> 01:03:41,200
Yeah. 
All the right movies. 

1366
01:03:41,200 --> 01:03:43,600
We'll be right back. 
Thank you for supporting us by 

1367
01:03:43,600 --> 01:03:45,520
listening to the sponsors for 
this episode. 

1368
01:03:46,760 --> 01:03:48,360
Thank you for listening to our 
sponsors. 

1369
01:03:48,360 --> 01:03:53,920
And now it's back to the show. 
The middle. 

1370
01:03:56,760 --> 01:03:59,640
With the pull of his family 
business too powerful to resist.

1371
01:03:59,960 --> 01:04:03,440
Destiny, Destiny, Noah's Gibb. 
And that for me as Frederick 

1372
01:04:03,440 --> 01:04:06,720
executes his grandfather's work.
And I'm starting off here with 

1373
01:04:06,720 --> 01:04:08,920
the exhumation of a recent 
criminal. 

1374
01:04:09,000 --> 01:04:12,080
In the scene before, there's a 
great match cut of Igor's drawn 

1375
01:04:12,080 --> 01:04:15,200
of the monster swinging to the 
swinging of the body of the 

1376
01:04:15,200 --> 01:04:18,720
hanged Man in the same great. 
And it's a scene which is 

1377
01:04:18,720 --> 01:04:23,360
remarkably similar to that which
opens the 1931 Frankenstein 

1378
01:04:23,360 --> 01:04:25,040
movie. 
It's basically the same thing. 

1379
01:04:25,920 --> 01:04:28,920
Frederick and I go make a night 
work of digging the coffin up. 

1380
01:04:28,920 --> 01:04:31,200
But the setting is great. 
It's really authentic. 

1381
01:04:31,720 --> 01:04:33,640
None of this looks like it's a 
set in LA. 

1382
01:04:33,960 --> 01:04:35,160
No. 
Not at all. 

1383
01:04:35,400 --> 01:04:39,040
And Brooks had bought white 
handkerchiefs for the crew, and 

1384
01:04:39,040 --> 01:04:41,960
this was something he'd started 
doing on his second film, The 12

1385
01:04:41,960 --> 01:04:45,120
Chairs, where there was so much 
laughter on set he couldn't get 

1386
01:04:45,120 --> 01:04:47,080
a take. 
Sophie, Young Frankenstein. 

1387
01:04:47,080 --> 01:04:50,720
He bought 200 of them and told 
anyone not in the scene to shove

1388
01:04:50,720 --> 01:04:53,240
one in their mouth the moment 
they felt themselves about to 

1389
01:04:53,240 --> 01:04:55,240
crack. 
So he said he was shooting this 

1390
01:04:55,240 --> 01:04:57,520
graveyard scene where Feldman 
delivers this line. 

1391
01:04:57,640 --> 01:05:00,960
It could be raining, and then a 
load of rain immediately comes 

1392
01:05:00,960 --> 01:05:03,040
pouring down. 
Great. 

1393
01:05:03,040 --> 01:05:04,680
It could be worse. 
It could be raining straight 

1394
01:05:04,680 --> 01:05:05,800
down. 
I absolutely love that. 

1395
01:05:05,800 --> 01:05:07,800
Yeah. 
So Brooks turned around at that 

1396
01:05:07,800 --> 01:05:10,280
moment and saw a sea of white 
handkerchiefs in the mouths of 

1397
01:05:10,280 --> 01:05:12,560
the entire crew. 
And he said to himself, I've got

1398
01:05:12,560 --> 01:05:14,920
myself a hid here. 
Yeah, so confident. 

1399
01:05:14,920 --> 01:05:17,760
Right after that, he rang up 
Alan Ladd Junior at Fox and he 

1400
01:05:17,760 --> 01:05:21,200
said don't play it safe, spend 
some money on advertising and 

1401
01:05:21,200 --> 01:05:23,800
you'll make it back. 
Yeah, confidence. 

1402
01:05:23,800 --> 01:05:26,280
I love it, Love it. 
And following this scene, 

1403
01:05:26,680 --> 01:05:30,080
there's such an incredibly funny
moment where Agora and Frederick

1404
01:05:30,080 --> 01:05:32,080
drop the coffin and the body 
breaks loose. 

1405
01:05:32,680 --> 01:05:35,120
Before they can get it back 
together, the local constable 

1406
01:05:35,120 --> 01:05:37,040
comes sniffing around asking 
questions. 

1407
01:05:37,480 --> 01:05:41,800
And this is all about Gene 
Wilder as a comic force of 

1408
01:05:41,800 --> 01:05:44,960
nature, working with a dead 
body's arm sticking out as a 

1409
01:05:44,960 --> 01:05:49,360
prop the police has. 
If he needs a hand, no thanks. 

1410
01:05:49,640 --> 01:05:56,720
Have one, Have one. 
That's the least funny bit as 

1411
01:05:56,760 --> 01:05:59,520
well. 
To make it all seem normal, 

1412
01:05:59,520 --> 01:06:01,760
Frederick stretches out his left
hand. 

1413
01:06:01,800 --> 01:06:03,600
Mimic on the dead hand. 
Yeah. 

1414
01:06:03,600 --> 01:06:06,400
Then he starts to casually pick 
up the nails on the fingers of 

1415
01:06:06,400 --> 01:06:08,880
the dead. 
That's just comic timing of the 

1416
01:06:08,880 --> 01:06:09,840
highest order. 
That's. 

1417
01:06:09,840 --> 01:06:10,640
Unbelievable. 
Yeah. 

1418
01:06:10,720 --> 01:06:12,960
And then when he reaches out for
the handshake, Why? 

1419
01:06:12,960 --> 01:06:15,960
You're chilled to the bone. 
A nice won't fire would be a 

1420
01:06:15,960 --> 01:06:19,520
thing for you. 
Yes, yes, a little nip from the 

1421
01:06:19,520 --> 01:06:20,920
old button wouldn't be too bad 
either. 

1422
01:06:20,920 --> 01:06:22,480
Then he slaps both hands 
together. 

1423
01:06:22,720 --> 01:06:29,720
That's the chicken. 
Index me that every single time.

1424
01:06:29,920 --> 01:06:31,440
The ticket. 
Yes, the ticket. 

1425
01:06:31,520 --> 01:06:34,520
Yes, Robin. 
Is smashing his foot off the 

1426
01:06:34,600 --> 01:06:36,080
ground right? 
Move. 

1427
01:06:38,320 --> 01:06:39,760
Oh, wow. 
I mean, that is just a comic 

1428
01:06:39,760 --> 01:06:42,120
master class. 
Physicality, delivery, prop 

1429
01:06:42,120 --> 01:06:43,840
work, reactions. 
Yeah. 

1430
01:06:44,080 --> 01:06:45,360
Comic genius. 
Yeah. 

1431
01:06:45,480 --> 01:06:47,920
Two, like two or three shots as 
well in the whole scene. 

1432
01:06:47,920 --> 01:06:49,640
Yeah, that's it. 
Two or three angles. 

1433
01:06:50,360 --> 01:06:52,440
No thanks, Have one. 
I have one. 

1434
01:06:56,480 --> 01:06:58,960
And then we go from this to the 
actual same way. 

1435
01:06:58,960 --> 01:07:00,760
He's going to try and bring this
creature to life. 

1436
01:07:00,800 --> 01:07:04,640
And seeing all that equipment 
sparking and working, that's 

1437
01:07:04,640 --> 01:07:06,920
incredible. 
I mean, and that short waves 

1438
01:07:06,920 --> 01:07:09,680
winched up into the skies. 
That's horrible. 

1439
01:07:10,080 --> 01:07:12,440
The electricity. 
It's astonishing how well our 

1440
01:07:12,440 --> 01:07:15,400
place is like an actual horror 
moment from Frankenstein. 

1441
01:07:15,400 --> 01:07:17,600
I mean, yeah, wildest speech 
here. 

1442
01:07:17,600 --> 01:07:20,600
You know, we shall command the 
thunders and penetrate into the 

1443
01:07:20,600 --> 01:07:23,720
very womb of impervious nature 
herself. 

1444
01:07:23,720 --> 01:07:26,920
Like, genuinely, that works. 
Like it's a proper. 

1445
01:07:26,920 --> 01:07:29,360
Automatic moment. 
You totally forget a laugh in 

1446
01:07:29,360 --> 01:07:31,360
this whole sequence. 
Oh yeah, totally place. 

1447
01:07:31,360 --> 01:07:33,000
It's so straight, it's so 
effective. 

1448
01:07:33,120 --> 01:07:35,760
But then it's so effective 
because it can not stick to how 

1449
01:07:35,760 --> 01:07:38,800
hilarious the other bits are. 
I mean, I got getting down from 

1450
01:07:38,800 --> 01:07:43,000
the roof in the split second. 
I understand, I understand. 

1451
01:07:43,000 --> 01:07:46,040
Why are you shouting and you 
just didn't you? 

1452
01:07:46,640 --> 01:07:48,720
And then he just leaves it 
because he can't talk to that. 

1453
01:07:49,240 --> 01:07:50,280
He can't. 
Make sense? 

1454
01:07:50,320 --> 01:07:53,560
Of course I did, yeah. 
And then this conversation with 

1455
01:07:53,560 --> 01:07:55,040
Ingas was saying it's all double
on time. 

1456
01:07:55,040 --> 01:07:57,320
Just elevate me. 
No idea. 

1457
01:07:57,920 --> 01:08:00,320
Yes, yes, raise the platform. 
Aussie platform. 

1458
01:08:00,320 --> 01:08:05,800
Oh, that. 
Yeah, yes, probably one-on-one, 

1459
01:08:05,800 --> 01:08:08,360
but it's so funny. 
Terry goes amazing in this 

1460
01:08:08,360 --> 01:08:09,200
scene. 
She's. 

1461
01:08:09,240 --> 01:08:11,960
Incredible. 
And then you just get elevated 

1462
01:08:11,960 --> 01:08:13,880
obviously. 
And like I say, it's amazing how

1463
01:08:13,880 --> 01:08:18,040
long this scene actually plays 
out it, you know, it probably 

1464
01:08:18,040 --> 01:08:20,319
goes for the resurrection. 
I mean even the dialogue like 

1465
01:08:20,760 --> 01:08:23,279
throw the third switch, not the 
third. 

1466
01:08:23,279 --> 01:08:26,680
Switch. 
That's really funny, but it's 

1467
01:08:26,680 --> 01:08:29,279
the effects, it's the music, 
it's the sound effects as well, 

1468
01:08:29,279 --> 01:08:31,560
the production design. 
It all just comes together so 

1469
01:08:31,560 --> 01:08:34,279
well in this scene and obviously
it doesn't work. 

1470
01:08:34,439 --> 01:08:36,120
And the come back down and 
Frederick saw. 

1471
01:08:36,479 --> 01:08:40,880
We will accept this with quite 
dignity and grace. 

1472
01:08:41,279 --> 01:08:44,160
It gives it 2 seconds and then 
starts laying into the creature 

1473
01:08:44,160 --> 01:08:45,399
like the toddler having a 
tantrum. 

1474
01:08:45,600 --> 01:08:48,120
I don't want to live, I do not 
want to live. 

1475
01:08:50,000 --> 01:08:53,160
The classic books Ego break in 
the 4th wall quite dignity and 

1476
01:08:53,160 --> 01:08:56,560
grace. 
And also during the scene, 

1477
01:08:56,600 --> 01:09:00,640
Brooks decided to use genuine 
500,000 Volt electrical 

1478
01:09:00,640 --> 01:09:02,520
discharges, basically real 
lightning. 

1479
01:09:03,160 --> 01:09:06,120
Wow, it was too dangerous for a 
bit about the lie still under 

1480
01:09:06,120 --> 01:09:07,720
that. 
So makeup man Total made a 

1481
01:09:07,720 --> 01:09:11,000
fiberglass cast of his face and 
shoulders to use as a dummy. 

1482
01:09:11,479 --> 01:09:14,120
Inside the fiberglass, Total hid
what he called secret 

1483
01:09:14,120 --> 01:09:19,000
ingredients, things that 
resemble brains, skull and teeth

1484
01:09:19,120 --> 01:09:22,240
with self-contained lights 
inside them that can be pulsed 

1485
01:09:22,279 --> 01:09:24,080
open down with the dimmer. 
Fantastic. 

1486
01:09:24,479 --> 01:09:26,279
Yeah. 
When the special effects team 

1487
01:09:26,279 --> 01:09:29,760
through the switches, the arc 
started jumping just two feet 

1488
01:09:29,760 --> 01:09:33,760
from Wilder and grew in size and
power until half a million volts

1489
01:09:33,760 --> 01:09:36,479
were genuinely crackling through
the air around. 

1490
01:09:37,120 --> 01:09:38,479
Him just insane. 
Isn't. 

1491
01:09:38,720 --> 01:09:41,120
Wilder was safe, but only 
because his distance from the 

1492
01:09:41,120 --> 01:09:43,680
electrode was always greater 
than that of the dummies 

1493
01:09:43,680 --> 01:09:46,840
distance from it, meaning the 
electricity would automatically 

1494
01:09:46,840 --> 01:09:48,880
jump to the closest object every
time. 

1495
01:09:49,359 --> 01:09:51,240
Wow. 
I mean, I wouldn't be confident 

1496
01:09:51,240 --> 01:09:53,399
in that happening to be honest. 
With you Not at all. 

1497
01:09:53,399 --> 01:09:55,880
And as this is the most dramatic
sequence in the film, it feels 

1498
01:09:55,880 --> 01:09:58,520
right to ask our second Atrm 
patron question. 

1499
01:09:58,520 --> 01:10:00,800
This one is from Caleb Bailey. 
Hello, Caleb. 

1500
01:10:00,880 --> 01:10:01,960
Hi, Caleb. 
Hi Caleb. 

1501
01:10:02,200 --> 01:10:04,280
Caleb says hi guys. 
I love the show. 

1502
01:10:04,400 --> 01:10:08,200
Thank you very much. 
He says We all know this is a a 

1503
01:10:08,200 --> 01:10:11,640
farce funny on purpose. 
So my question is, are there any

1504
01:10:11,640 --> 01:10:14,640
quote UN quote serious horror 
movies that just make you guys 

1505
01:10:14,640 --> 01:10:16,720
laugh every time you watch? 
He said. 

1506
01:10:16,720 --> 01:10:19,000
I watched Hellraiser with my 
daughter when she was very 

1507
01:10:19,000 --> 01:10:21,200
young. 
Best parent ever, right? 

1508
01:10:21,280 --> 01:10:26,800
Well yes, we've all been there. 
And he said all she did was 

1509
01:10:26,800 --> 01:10:28,760
laugh at the little guy with the
chattering teeth. 

1510
01:10:29,400 --> 01:10:32,240
Thanks. 
Keep up the good work gentlemen.

1511
01:10:32,240 --> 01:10:34,080
PS Any plans on doing 
Hellraiser? 

1512
01:10:35,800 --> 01:10:37,600
Not right now. 
Not right now. 

1513
01:10:37,880 --> 01:10:40,600
No, not on the radar. 
No, not really, no. 

1514
01:10:41,400 --> 01:10:44,320
Yes, yes, dear me, Caleb. 
Now that is a bold parental 

1515
01:10:44,320 --> 01:10:46,760
move. 
It is Hellraiser especially. 

1516
01:10:46,760 --> 01:10:48,680
Yeah, yeah. 
Yeah I've re watched it in the 

1517
01:10:48,680 --> 01:10:51,560
last year or so and it is it 
isn't pretty. 

1518
01:10:51,920 --> 01:10:53,000
No, it's not. 
It's grim. 

1519
01:10:53,400 --> 01:10:56,160
It's not at all, no. 
Please don't show her the 

1520
01:10:56,160 --> 01:10:58,480
sequel. 
Some very peculiar imagery in 

1521
01:10:58,480 --> 01:10:59,960
that. 
Very much so, yeah. 

1522
01:11:00,280 --> 01:11:03,720
A great question though, and I 
think there are many films that 

1523
01:11:03,720 --> 01:11:06,160
if you didn't live through them 
as a child they might be a bit 

1524
01:11:06,160 --> 01:11:07,320
laughable. 
Yeah. 

1525
01:11:07,920 --> 01:11:10,120
I've heard certain people say 
that number on Elm Street's 

1526
01:11:10,120 --> 01:11:12,400
funny. 
They are obviously insane. 

1527
01:11:13,280 --> 01:11:14,920
Yeah. 
The films that led to mind for 

1528
01:11:14,920 --> 01:11:18,160
me, firstly, Fred, the 13th Part
3, the 3D one. 

1529
01:11:18,920 --> 01:11:20,680
Yeah, it's ludicrous. 
Yeah. 

1530
01:11:21,320 --> 01:11:24,240
I think it's in the run of the 
Worst Friday sequel, really. 

1531
01:11:24,240 --> 01:11:25,720
Pretty much guaranteed. 
Yeah, right. 

1532
01:11:25,760 --> 01:11:28,240
I don't know, I've got a 
different. 10 Really. 

1533
01:11:28,240 --> 01:11:29,200
Which one? 
Just next. 

1534
01:11:29,600 --> 01:11:31,760
Takes Manhattan. 
Oh, right, yes, of course. 

1535
01:11:32,360 --> 01:11:35,200
Yeah, of course. 
Yeah. 

1536
01:11:35,520 --> 01:11:38,040
He doesn't take Manhattan, He 
just arrives. 

1537
01:11:38,680 --> 01:11:41,000
In Manhattan and. 
Then grounds into sewer. 

1538
01:11:41,400 --> 01:11:45,080
But for Part 3, any opportunity 
to lunge at the camera with any 

1539
01:11:45,080 --> 01:11:48,640
old object is taken full 
advantage of for the 3D effect. 

1540
01:11:48,640 --> 01:11:51,960
It looks horrible, but the 
characters are so infuriatingly 

1541
01:11:52,000 --> 01:11:53,960
annoying. 
The acting is laughable and the 

1542
01:11:53,960 --> 01:11:57,320
protagonist biker gang are 
insanely non threatened. 

1543
01:11:57,560 --> 01:12:00,320
One of them ends up having a 
wonderful time at a rope swing 

1544
01:12:00,320 --> 01:12:01,360
for example. 
Yeah. 

1545
01:12:02,480 --> 01:12:05,320
A wonderful time. 
She does. 

1546
01:12:06,600 --> 01:12:09,400
And I'm also going to say The 
Howling, another film that we 

1547
01:12:09,400 --> 01:12:12,680
talked about, feature. 
Yeah, there are some moments of 

1548
01:12:12,680 --> 01:12:15,240
genuine terror in that film, the
Open and being one of them. 

1549
01:12:15,720 --> 01:12:17,840
But it's the monster 
transformation, the big 

1550
01:12:17,840 --> 01:12:21,680
centerpiece, which was undercut 
some months later when American 

1551
01:12:21,680 --> 01:12:23,960
Werewolf came out. 
And now it all just looks a 

1552
01:12:23,960 --> 01:12:26,960
little bit too silly. 
It's a bit the animated bit. 

1553
01:12:27,600 --> 01:12:31,680
Yeah, Oh my God, the animated 
bit is horrible. 

1554
01:12:31,840 --> 01:12:34,280
Yeah, forgot about that. 
I didn't. 

1555
01:12:36,320 --> 01:12:38,240
The firing and stuff. 
Yeah, yeah. 

1556
01:12:38,960 --> 01:12:41,640
Oh God, yeah. 
And finally, John Carpenter's 

1557
01:12:41,640 --> 01:12:44,440
Christine. 
Yeah, I have a lot of affection 

1558
01:12:44,440 --> 01:12:47,080
for the film, but the central 
premise, the killer car, it's. 

1559
01:12:48,080 --> 01:12:49,840
Crap. 
It's great on the page, but 

1560
01:12:49,840 --> 01:12:51,840
yeah, visualizing that it 
doesn't really work. 

1561
01:12:51,840 --> 01:12:53,080
Yeah. 
No, it's not great. 

1562
01:12:53,160 --> 01:12:54,520
No. 
What about you, Matt? 

1563
01:12:54,800 --> 01:12:57,160
Yeah, I mean, interesting you 
mentioned Christine, because I 

1564
01:12:57,160 --> 01:13:00,120
think Stephen King Saul 
attempted being a director with 

1565
01:13:00,280 --> 01:13:01,960
maximum OverDrive. 
Maximum. 

1566
01:13:02,000 --> 01:13:04,000
OverDrive. 
Oh boy, that didn't age well. 

1567
01:13:04,160 --> 01:13:06,400
Like. 
Cocaine. 

1568
01:13:06,400 --> 01:13:08,880
It's. 
A hell of a drug. 

1569
01:13:09,680 --> 01:13:13,520
That was definitely his period. 
You know, don't open the old can

1570
01:13:13,520 --> 01:13:15,600
of worms again. 
But a lot of poltergeist is 

1571
01:13:15,720 --> 01:13:18,080
quite silly, let's face it. 
Yeah. 

1572
01:13:18,160 --> 01:13:21,720
Fair enough. 
And then in the sense of, I 

1573
01:13:21,720 --> 01:13:24,120
don't know if it is supposed to 
be funny and it's a brilliant 

1574
01:13:24,120 --> 01:13:26,720
film and one we've covered, but 
I will just always think of that

1575
01:13:26,720 --> 01:13:30,760
moment in Texas Chainsaw when 
Franklin's kicking off 

1576
01:13:30,760 --> 01:13:33,200
downstairs because they've all 
left him in his wheelchair. 

1577
01:13:34,400 --> 01:13:37,600
He does that, but it's when he 
goes to wheel out and he's in 

1578
01:13:37,600 --> 01:13:40,320
the mood. 
He jabs his hand against the 

1579
01:13:40,320 --> 01:13:42,160
door. 
If you just start sobbing. 

1580
01:13:42,200 --> 01:13:47,560
Quietly. 
I always laugh and I feel 

1581
01:13:47,560 --> 01:13:49,720
horrible. 
That's just too funny. 

1582
01:13:49,880 --> 01:13:51,440
That is funny. 
Amazing. 

1583
01:13:51,600 --> 01:13:55,480
Yeah, that's what you've ever 
been A Dick made. 

1584
01:13:55,760 --> 01:13:59,280
Oh. 
My God on film. 

1585
01:14:01,560 --> 01:14:02,680
Wonderful. 
What about you? 

1586
01:14:02,680 --> 01:14:05,080
Was he? 
I mean, yeah, there's a few 

1587
01:14:05,080 --> 01:14:07,960
crossovers, but I do always find
the end of Nightmare on Arm 

1588
01:14:07,960 --> 01:14:09,280
Street. 
When you go through that window,

1589
01:14:09,280 --> 01:14:10,920
I kind of help but chuckle a 
little bit. 

1590
01:14:11,000 --> 01:14:13,640
Yeah, I know that's. 
Pretty funny and it's nice 

1591
01:14:13,640 --> 01:14:16,200
because it's been such an 
intense move on that. 

1592
01:14:16,280 --> 01:14:18,360
That's just when you watch it 
with other people, like you said

1593
01:14:18,360 --> 01:14:20,880
at the top, look, if you haven't
lived with these films, then you

1594
01:14:20,880 --> 01:14:23,600
can't be laughable. 
I mean, Poltergeist, I've got 

1595
01:14:23,600 --> 01:14:27,000
Jason Takes Manhattan Friday the
13th 8, which is always going to

1596
01:14:27,000 --> 01:14:29,560
be funny, isn't it? 
But to me, I mean the one that I

1597
01:14:29,560 --> 01:14:33,160
think is unintentionally funny 
and everyone finds it funny and 

1598
01:14:33,160 --> 01:14:35,560
I think it's more of a comedy 
now, is the Wicker Man remake 

1599
01:14:35,560 --> 01:14:37,640
with Nick Cage. 
Right. 

1600
01:14:37,840 --> 01:14:44,080
And he's like, not the bee. 
I have not seen it because it 

1601
01:14:44,080 --> 01:14:45,400
got such bad. 
Reviews. 

1602
01:14:46,760 --> 01:14:49,880
It's so unintentionally funny. 
I think a lot of people don't 

1603
01:14:49,880 --> 01:14:52,640
like being scared and look for 
the humour which overpowers fear

1604
01:14:53,240 --> 01:14:55,600
and if they if they go, oh 
that's really funny that there 

1605
01:14:55,640 --> 01:14:58,000
is a little bit of them that 
might just be a little just 

1606
01:14:58,000 --> 01:15:01,000
trying to avoid being scared. 
Trying to find yeah. 

1607
01:15:01,000 --> 01:15:03,240
Trying to find humour and it's I
think there is a lot of that. 

1608
01:15:03,560 --> 01:15:05,480
So going off that theory killer,
I think your daughter might have

1609
01:15:05,480 --> 01:15:07,920
actually been petrified of 
Hellraiser and just laughing at 

1610
01:15:07,920 --> 01:15:10,840
that guy with the charities just
to try and mask some kind of 

1611
01:15:11,320 --> 01:15:13,760
pain that was happening there. 
So there might be fear, you 

1612
01:15:13,760 --> 01:15:15,360
never know. 
But I mean, that is fair enough.

1613
01:15:15,560 --> 01:15:17,520
But there is that to to take 
into account as well. 

1614
01:15:17,520 --> 01:15:21,280
There is a very, very fine line 
between terrified and hilarious.

1615
01:15:22,760 --> 01:15:24,600
A great question, Caleb. 
Thank you very much. 

1616
01:15:24,640 --> 01:15:28,320
Yes, thank you so much and. 
Now that Frederick's experiment 

1617
01:15:28,320 --> 01:15:31,000
is over, it's over to West of 
you on the introduction of 

1618
01:15:31,000 --> 01:15:33,200
another weird and wonderful 
character. 

1619
01:15:33,480 --> 01:15:35,880
Another weird, wonderful, 
another beautiful introduction 

1620
01:15:35,880 --> 01:15:38,080
of a character as well. 
I mean, this is just an absolute

1621
01:15:38,080 --> 01:15:42,200
master class from Kenneth Mars. 
New plays, Inspector Kemp, 

1622
01:15:42,360 --> 01:15:45,440
there's only one man who can who
we can count on for this moment.

1623
01:15:45,880 --> 01:15:48,560
And just an eye patch with a 
monocle over the top. 

1624
01:15:48,560 --> 01:15:50,160
That's enough. 
But a? 

1625
01:15:51,000 --> 01:15:55,160
But a hand, an arm that just is 
just needs punching into space 

1626
01:15:55,160 --> 01:15:57,960
and he uses it so well. 
It's just that when he just 

1627
01:15:57,960 --> 01:16:00,920
lighten that cigar just by 
punching his arm in a different 

1628
01:16:00,920 --> 01:16:04,600
mood, like in a different 
situations, and it just moulds 

1629
01:16:04,600 --> 01:16:06,320
it's. 
Such a rigmarole isn't? 

1630
01:16:06,320 --> 01:16:08,720
It it's a rigmarole, but it's 
fucking unreal. 

1631
01:16:08,720 --> 01:16:10,880
It's like that. 
That's worth the scene just for 

1632
01:16:10,880 --> 01:16:12,800
that bit, but that's just. 
Choreography. 

1633
01:16:12,960 --> 01:16:15,040
It's incredible. 
It's just so well done, just the

1634
01:16:15,040 --> 01:16:20,360
way he turns it round to dip his
finger in the cup, fire out. 

1635
01:16:20,360 --> 01:16:23,080
That's it's just so Doctor 
Strangelove. 

1636
01:16:23,120 --> 01:16:24,680
Yes, it is. 
It just reminds me. 

1637
01:16:24,680 --> 01:16:26,760
It's very sellers in that 
performance. 

1638
01:16:27,400 --> 01:16:30,920
But it's just the the dialogue, 
the way that's played in that. 

1639
01:16:30,920 --> 01:16:33,720
I mean, I'm watching Allo Allo 
and I think the French policeman

1640
01:16:33,720 --> 01:16:36,040
of Allo Allo takes a lot from 
this guy. 

1641
01:16:37,520 --> 01:16:40,480
He's pronunciation of things and
it's just I mean, you don't 

1642
01:16:40,600 --> 01:16:43,200
still. 
I've seen this film about, I 

1643
01:16:43,200 --> 01:16:46,280
don't know, over double figures.
I'd say it right easily, and I 

1644
01:16:46,280 --> 01:16:47,240
still haven't got a fucking 
clue. 

1645
01:16:47,240 --> 01:16:48,440
I don't know. 
What he's saying? 

1646
01:16:48,600 --> 01:16:51,000
And then the opening spiel that 
he's got, he says he's walking 

1647
01:16:51,000 --> 01:16:52,120
down. 
And I think that's totally 

1648
01:16:52,120 --> 01:16:54,800
intentional and that's fine. 
But the bits that we do pay 

1649
01:16:54,800 --> 01:16:56,560
attention to are really, really 
footsteps. 

1650
01:16:56,560 --> 01:16:58,160
Footsteps. 
Footsteps, footsteps, footsteps.

1651
01:16:58,960 --> 01:17:01,680
That's absolutely fine, you 
know, it's brilliant, doesn't 

1652
01:17:01,680 --> 01:17:04,040
take you out the film, even 
though he's completely bizarre. 

1653
01:17:04,920 --> 01:17:07,280
Completely. 
Totally, totally off the wall, 

1654
01:17:07,280 --> 01:17:09,240
but it really, really works. 
For some reason. 

1655
01:17:09,240 --> 01:17:11,040
I still haven't got a clue how 
to pull this off. 

1656
01:17:11,040 --> 01:17:13,800
It's just an incredible, 
incredible character both of the

1657
01:17:13,800 --> 01:17:16,560
wall and they know exactly what 
they're doing and that pay off. 

1658
01:17:17,080 --> 01:17:20,480
You know, I'll pay them a little
visit, which have a nice quiet 

1659
01:17:21,920 --> 01:17:26,240
and that iris in it's that iris 
in that absolutely slams it for 

1660
01:17:26,240 --> 01:17:29,120
me because it's just perfect in 
right here. 

1661
01:17:29,120 --> 01:17:31,000
We'll go. 
This introduction is fantastic. 

1662
01:17:31,200 --> 01:17:34,760
It's obvious. 
OK, pay a visit to the good 

1663
01:17:34,760 --> 01:17:38,600
doctor. 
Have a nice quiet. 

1664
01:17:44,360 --> 01:17:50,720
You should have done this soon. 
Oh, that's great. 

1665
01:17:50,880 --> 01:17:53,280
And Kenneth Mars had already 
worked with Brooks on The 

1666
01:17:53,280 --> 01:17:56,680
Producers in 1968. 
So when Young Frankenstein came 

1667
01:17:56,680 --> 01:17:59,200
around, Brooks offered him 
Inspector Camp without much of 

1668
01:17:59,200 --> 01:18:01,800
an audition process. 
But there was one thing he 

1669
01:18:01,800 --> 01:18:04,680
wanted to play with him first. 
Yeah, Bruce called Mars and 

1670
01:18:04,680 --> 01:18:07,360
asked very seriously. 
If you earn an eye patch and 

1671
01:18:07,360 --> 01:18:09,560
you've got a monocle on top of 
the eye patch, brilliant. 

1672
01:18:09,560 --> 01:18:11,400
Is that too much? 
Mars said. 

1673
01:18:11,480 --> 01:18:13,200
Of course not, Brooks said. 
Good. 

1674
01:18:13,200 --> 01:18:14,880
Yeah, hired. 
The monocle was actually 

1675
01:18:14,880 --> 01:18:17,440
magnetized, holding it in place 
over the eye patch as well. 

1676
01:18:17,440 --> 01:18:18,440
Fantastic stuff. 
Yeah. 

1677
01:18:18,440 --> 01:18:19,960
It's that too much? 
Of course not. 

1678
01:18:19,960 --> 01:18:20,840
Of course not. 
Boom. 

1679
01:18:21,040 --> 01:18:23,200
Straight in. 
Can you be German tomorrow? 

1680
01:18:23,240 --> 01:18:28,520
Yes. 
Initially, Brooks had Dustin 

1681
01:18:28,520 --> 01:18:32,080
Hoffman in place to play the 
part of Franz in The Producers, 

1682
01:18:32,080 --> 01:18:33,040
right? 
Right. 

1683
01:18:33,200 --> 01:18:34,920
Yeah. 
But he dropped out to star 

1684
01:18:34,920 --> 01:18:37,360
opposite Brooks's wife and 
Bancroft in The Graduate. 

1685
01:18:37,640 --> 01:18:39,720
Made Dustin Hoffman a star, made
him who he is. 

1686
01:18:39,720 --> 01:18:40,400
Yeah. 
Yeah, sure. 

1687
01:18:40,400 --> 01:18:42,880
Great choice. 
Kenneth Mars filled Hoffman 

1688
01:18:42,880 --> 01:18:45,400
shoes for the part of lead kind 
in the Producers. 

1689
01:18:45,400 --> 01:18:46,080
Producers. 
Yeah. 

1690
01:18:46,440 --> 01:18:49,000
And Brooks later said that if he
got his first choice of Hoffman 

1691
01:18:49,000 --> 01:18:51,680
and the producers, Hoffman would
almost certainly have played 

1692
01:18:51,680 --> 01:18:53,680
Kemp in Young Frankenstein. 
Right. 

1693
01:18:54,040 --> 01:18:58,400
Can you imagine? 
It would have. 

1694
01:18:58,480 --> 01:19:00,280
Been good change in Hollywood 
history that. 

1695
01:19:00,440 --> 01:19:03,360
Is absolutely, I could see it, 
but it's like I love Mars in 

1696
01:19:03,360 --> 01:19:05,600
this. 
I wouldn't change it for the 

1697
01:19:05,600 --> 01:19:06,800
world. 
Definitely not. 

1698
01:19:07,080 --> 01:19:10,120
And in this scene, the five 
previous Universal Frankenstein 

1699
01:19:10,120 --> 01:19:13,080
films are referenced when the 
elder said this Tough nightmares

1700
01:19:13,080 --> 01:19:16,160
from five times before. 
This is reference to 

1701
01:19:16,160 --> 01:19:18,480
Frankenstein, Bride of 
Frankenstein, Son of 

1702
01:19:18,480 --> 01:19:21,880
Frankenstein, The Ghost of 
Frankenstein, and Frankenstein 

1703
01:19:21,880 --> 01:19:23,680
Meets the Wolfman. 
Brilliant. 

1704
01:19:24,000 --> 01:19:25,560
It knows its history. 
It does. 

1705
01:19:25,880 --> 01:19:28,760
Yeah, definitely, yeah. 
So Frankenstein's activities 

1706
01:19:28,760 --> 01:19:32,400
haven't gone unnoticed on 
Inspector Kemp will be paying a 

1707
01:19:32,400 --> 01:19:34,480
visit to the good doctor. 
Very nice. 

1708
01:19:37,200 --> 01:19:39,320
As far as Frederick is 
concerned, his creation has 

1709
01:19:39,320 --> 01:19:42,080
failed and he's pretty upset 
about it, but he soon finds out 

1710
01:19:42,080 --> 01:19:45,640
that it's alive. 
We're talking about that moment 

1711
01:19:45,640 --> 01:19:48,640
before a visit from Kemp, and 
then the monster is set free. 

1712
01:19:48,920 --> 01:19:53,760
And I'm starting off here and, 
and this is, I mean, this is 

1713
01:19:53,760 --> 01:19:57,120
Wilder on Absolute top form. 
Yes. 

1714
01:19:57,680 --> 01:20:00,160
Starts off with two beautiful 
moments at the dinner table 

1715
01:20:00,160 --> 01:20:03,360
where he's all forlorn about the
experiment not working and his 

1716
01:20:03,360 --> 01:20:05,760
reaction when Inca says you 
haven't even touched the food. 

1717
01:20:06,040 --> 01:20:08,360
Like a petulant child, he jams 
his hands and food. 

1718
01:20:08,360 --> 01:20:10,200
There, now I've touched it 
happy. 

1719
01:20:10,960 --> 01:20:14,160
My God. 
My God, that's so funny. 

1720
01:20:14,880 --> 01:20:16,840
And then when they're talking 
into dessert and Frederick 

1721
01:20:16,840 --> 01:20:20,520
explains what the dessert is to 
Agor, and there's a murmur from 

1722
01:20:20,520 --> 01:20:23,000
the monster, which Frederick 
mistakes, there's a sound coming

1723
01:20:23,000 --> 01:20:26,280
from I go, oh, do you like it? 
Who are you talking to? 

1724
01:20:26,600 --> 01:20:28,640
To you. 
You made a yummy sound. 

1725
01:20:38,440 --> 01:20:41,880
That delivery is irresistible, 
and it's uniquely Gene Wilder. 

1726
01:20:42,720 --> 01:20:44,720
And he's another uniquely Wilder
moment. 

1727
01:20:44,840 --> 01:20:50,800
His reaction to seeing the 
monster, Oh, it's alive. 

1728
01:20:51,360 --> 01:20:54,720
And then stand back and he 
subtly approaches the body. 

1729
01:20:55,080 --> 01:21:03,360
Hello there, he tries to whisper
through the corner of his mouth.

1730
01:21:03,680 --> 01:21:06,960
It's a sedative, ready, and the 
reaction of Peter Boyles 

1731
01:21:06,960 --> 01:21:09,080
magnificent. 
Just his eyes alone darting from

1732
01:21:09,080 --> 01:21:11,400
one side to the other is like 
what the fuck? 

1733
01:21:14,000 --> 01:21:16,920
And this is just gag after gag. 
All different types. 

1734
01:21:16,920 --> 01:21:20,000
Physical performances, funny 
lines for comedic grades, 

1735
01:21:20,000 --> 01:21:23,240
bouncing off each other as the 
monster strangles Frederick as 

1736
01:21:23,240 --> 01:21:26,560
he does his charades act. 
Feldman jumping up and down when

1737
01:21:26,560 --> 01:21:29,800
he thinks that said a dirty word
is what Frederick is trying to 

1738
01:21:29,800 --> 01:21:31,920
act out. 
I mean, what the fuck? 

1739
01:21:32,360 --> 01:21:36,600
He said a dirty word. 
Jumping up and down and the fall

1740
01:21:36,600 --> 01:21:41,120
said to give thing but before 
ink gets it right. 

1741
01:21:41,480 --> 01:21:48,920
Sedative on the newsy. 
It's absolutely crazy. 

1742
01:21:49,200 --> 01:21:52,800
On the noisy, yeah. 
Said it gave. 

1743
01:21:52,840 --> 01:21:55,120
That's insane. 
And Brooke said the charades 

1744
01:21:55,120 --> 01:21:57,800
moment was one of the hardest 
scenes to shoot because nobody 

1745
01:21:57,800 --> 01:22:00,280
could keep a straight face. 
And he gave Boyle the 

1746
01:22:00,280 --> 01:22:02,240
instruction. 
You've really got to strangle 

1747
01:22:02,240 --> 01:22:04,360
him. 
But despite Brooks's insistence 

1748
01:22:04,360 --> 01:22:07,040
for Boyle to hurt Wilder, Wilder
just kept laughing. 

1749
01:22:07,040 --> 01:22:10,520
And they kept blowing takes. 
Yeah, I mean, it's absolute 

1750
01:22:10,520 --> 01:22:11,880
chaos. 
Yeah. 

1751
01:22:12,120 --> 01:22:16,520
But the funniest thing about 
this whole sequence, God, I 

1752
01:22:16,520 --> 01:22:19,520
can't believe it exists. 
This when Frederick says I go 

1753
01:22:19,520 --> 01:22:23,280
down to have a little chat with 
him and he's delicate demeanor, 

1754
01:22:23,280 --> 01:22:27,760
he totally suck as I go in. 
Provides a safe environment for 

1755
01:22:27,760 --> 01:22:31,320
him to be honest with him. 
And then he pounces some ears 

1756
01:22:31,320 --> 01:22:33,360
and would you sit down for a 
moment? 

1757
01:22:34,200 --> 01:22:36,600
No, no up here. 
Thank you. 

1758
01:22:36,760 --> 01:22:41,200
Thank you. 
That brain you give me, was it 

1759
01:22:41,200 --> 01:22:45,240
Hans tell Brooks no. 
Good, good, good. 

1760
01:22:47,240 --> 01:22:52,240
Would you mind telling me whose 
brain I did put in? 

1761
01:22:52,680 --> 01:22:55,440
And you won't be. 
I will not be angry. 

1762
01:22:55,720 --> 01:22:57,480
It's the not. 
I will not. 

1763
01:22:59,040 --> 01:23:01,320
He doesn't even allow him to 
finish this sentence. 

1764
01:23:01,680 --> 01:23:04,240
Fantastic. 
Then the Abbey normal guy. 

1765
01:23:04,240 --> 01:23:06,040
I'm almost certain that's what 
it said. 

1766
01:23:06,640 --> 01:23:08,520
Yeah, Abbey normal. 
Be normal. 

1767
01:23:09,880 --> 01:23:12,280
And then it ends with him 
throttling. 

1768
01:23:12,280 --> 01:23:17,600
I go and then I go gone to the. 
Cherry And it reminds you of 

1769
01:23:17,600 --> 01:23:19,400
that moment when I go drop the 
brakes. 

1770
01:23:19,400 --> 01:23:22,320
He just, he was like frightened 
of himself in the mirror. 

1771
01:23:22,560 --> 01:23:24,960
Yeah. 
The only reason he's fucked all 

1772
01:23:24,960 --> 01:23:27,240
this? 
Yeah, that's great. 

1773
01:23:27,880 --> 01:23:29,560
That's where I go. 
Steals the brain. 

1774
01:23:29,560 --> 01:23:32,480
It's a lift from the 31 
Frankenstein film. 

1775
01:23:32,640 --> 01:23:34,920
If you watch that scene back in 
the original, it's really 

1776
01:23:34,920 --> 01:23:38,400
difficult to take seriously now.
Yeah, it is really difficult. 

1777
01:23:38,400 --> 01:23:40,960
Yeah, so the brain, the ego 
steals the one in the jar 

1778
01:23:40,960 --> 01:23:43,720
labeled Hans Dellbrook, 
scientist and St. 

1779
01:23:44,200 --> 01:23:47,640
There was a real Hans Dellbrook.
He was a 19th century German 

1780
01:23:47,640 --> 01:23:50,560
military historian and a 
professor at the University of 

1781
01:23:50,560 --> 01:23:53,120
Berlin. 
Again, just authenticity. 

1782
01:23:53,560 --> 01:23:57,000
Scientist and St. 
Yeah, you put that on my phone. 

1783
01:23:57,040 --> 01:24:00,640
Decided that. 
Wesley, Scientist. 

1784
01:24:00,640 --> 01:24:03,920
Insane. 
Wonderful. 

1785
01:24:04,520 --> 01:24:07,040
And just to finish off the 
scene, a thud at the door. 

1786
01:24:07,240 --> 01:24:09,800
Frederick must wash up. 
He's got to look normal and his 

1787
01:24:09,800 --> 01:24:14,640
collar and type in pings open. 
Oh yeah, that's absolutely 

1788
01:24:14,640 --> 01:24:17,840
insane. 
How on earth did they get away 

1789
01:24:17,840 --> 01:24:19,800
with that? 
We have to look absolutely 

1790
01:24:19,800 --> 01:24:23,560
normal. 
Yeah, we've got to behave 

1791
01:24:23,560 --> 01:24:25,680
normally. 
It's that cut as well, straight 

1792
01:24:25,680 --> 01:24:28,200
from next. 
I'm going into when Ken visits 

1793
01:24:28,200 --> 01:24:30,560
the castle and you've got that 
one words that we've got to 

1794
01:24:30,560 --> 01:24:33,720
behave normally and then he's 
like monsters. 

1795
01:24:36,040 --> 01:24:37,400
Transitions. 
Amazing. 

1796
01:24:37,520 --> 01:24:41,040
It's so funny. 
It's straight in there. 

1797
01:24:41,680 --> 01:24:44,480
I just love where Kemp's just 
using his arm to slam it against

1798
01:24:44,520 --> 01:24:46,480
the door. 
It's like constantly using it. 

1799
01:24:46,480 --> 01:24:48,520
But I mean, this sequence is so 
brilliant. 

1800
01:24:48,520 --> 01:24:50,200
The back and forth between the 
two of them. 

1801
01:24:50,720 --> 01:24:53,240
I mean, how many gags can you 
get out of a dartboard? 

1802
01:24:53,240 --> 01:24:56,920
And five darts, 8 darts, or 
however many there is. 

1803
01:24:56,960 --> 01:25:00,440
It's absolutely unprecedented 
how funny this is because it's 

1804
01:25:00,440 --> 01:25:03,280
so subtle. 
And, you know, he throws them 

1805
01:25:03,280 --> 01:25:04,920
and all land where they need to 
land. 

1806
01:25:05,160 --> 01:25:08,240
And then Kemp goes up, pulls 
them all out, jams them in his 

1807
01:25:08,240 --> 01:25:13,080
arm to carry them back for no 
real reason, and then just finds

1808
01:25:13,080 --> 01:25:15,360
out that he's got that. 
You know, Frederick's got his 

1809
01:25:15,360 --> 01:25:18,480
back turned. 
So then he uses it to run back, 

1810
01:25:18,920 --> 01:25:28,840
stick them, and then goes he's. 
Grouping. 

1811
01:25:29,000 --> 01:25:32,400
Nice grouping and spits his 
water out. 

1812
01:25:32,840 --> 01:25:34,720
Nice group and that's absolutely
brilliant. 

1813
01:25:35,080 --> 01:25:37,720
And then he's just keeps hitting
them with all of these kind of 

1814
01:25:38,120 --> 01:25:41,480
accented ends of sentences that 
just is just a bit of gibberish 

1815
01:25:41,480 --> 01:25:43,440
and it's just bang. 
And then he he misses. 

1816
01:25:43,960 --> 01:25:47,480
And because you are a franker. 
Scene, excuse me? 

1817
01:25:47,640 --> 01:25:49,800
And it's just straight and then 
he just every time he's just 

1818
01:25:49,800 --> 01:25:53,000
Jarred and misses. 
And if you just watch this again

1819
01:25:53,000 --> 01:25:55,600
and again and again, you'll find
something new every single time.

1820
01:25:56,240 --> 01:26:00,000
First one misses the dartboard 
and then you've got the second 

1821
01:26:00,000 --> 01:26:01,400
one goes out of the window, I 
think. 

1822
01:26:01,400 --> 01:26:04,760
And then the third one, he's got
the dart backwards when he 

1823
01:26:04,760 --> 01:26:07,800
throws it at the cat and so it's
backwards anyway and then spins 

1824
01:26:07,800 --> 01:26:09,680
around so it hits the cup. 
But you know that it's not going

1825
01:26:09,680 --> 01:26:11,800
to stab the cat because he's 
throwing it backwards. 

1826
01:26:11,800 --> 01:26:14,000
So there's even that if they're 
going to say, oh, you've harmed 

1827
01:26:14,000 --> 01:26:16,120
something and it seems. 
There's. 

1828
01:26:16,120 --> 01:26:18,760
Even that playfulness to it, 
then they're going out the 

1829
01:26:18,760 --> 01:26:20,520
window. 
Then one goes behind him and he 

1830
01:26:20,520 --> 01:26:24,520
loses it and he goes forward. 
Just that last one is it goes 

1831
01:26:24,520 --> 01:26:25,840
behind him and then goes to 
throw it again. 

1832
01:26:25,880 --> 01:26:29,200
It's like, how many gags can you
get out of a set of darts? 

1833
01:26:29,680 --> 01:26:35,880
And then that grown gag works 
again and that strip, and we're 

1834
01:26:35,880 --> 01:26:37,840
not tired of that yet at all. 
That's good. 

1835
01:26:37,840 --> 01:26:41,000
You could put that through all 
day, but it's just the perfect 

1836
01:26:41,000 --> 01:26:42,360
setup. 
And they're going through the 

1837
01:26:42,360 --> 01:26:45,360
window and you forget about it. 
And then Kemp leaves and there's

1838
01:26:45,360 --> 01:26:47,320
just that close and there's just
a dog. 

1839
01:26:47,600 --> 01:26:50,800
And then it comes out and you 
think, oh, that's the funny bit.

1840
01:26:50,800 --> 01:26:52,600
It's just in his helmet. 
It comes out and it's like, no, 

1841
01:26:52,600 --> 01:26:55,280
it's in the front tyre, it's in 
the back tyre and it's in the 

1842
01:26:55,280 --> 01:27:00,640
fucking spare tyre. 
So they can't even change. 

1843
01:27:02,960 --> 01:27:05,240
And it's if that's not enough 
for boots, he's like, I'm just 

1844
01:27:05,240 --> 01:27:06,800
going to do a push in on that 
tire. 

1845
01:27:06,800 --> 01:27:08,720
Yeah, as it as it leaves. 
He didn't. 

1846
01:27:08,800 --> 01:27:10,680
Get it? 
Not leaving it to the audience 

1847
01:27:10,680 --> 01:27:12,680
to get this whatsoever as the 
car drives off. 

1848
01:27:12,680 --> 01:27:15,360
I am absolutely going to punch 
in on that fucking deal. 

1849
01:27:15,880 --> 01:27:18,080
And you get the whole thing and 
then you get a lovely fate of 

1850
01:27:18,080 --> 01:27:19,920
Black. 
Brilliant between the two of 

1851
01:27:19,920 --> 01:27:21,360
them. 
And absolute comedy was the 

1852
01:27:21,360 --> 01:27:23,440
class. 
I mean, the universe is smiling 

1853
01:27:23,440 --> 01:27:25,600
on this whole production, isn't?
It, it really is. 

1854
01:27:25,640 --> 01:27:27,880
Everything's coming together. 
It really is. 

1855
01:27:28,040 --> 01:27:30,240
It's a beautiful thing. 
We're talking about all these 

1856
01:27:30,240 --> 01:27:32,360
brilliant actors who all get 
their moments to shine. 

1857
01:27:32,360 --> 01:27:35,400
I think the next scene is all 
about Cloris Leachman. 

1858
01:27:35,880 --> 01:27:40,400
She's amazing in this moment. 
Where they've confronted her 

1859
01:27:40,560 --> 01:27:43,680
about setting the monster free 
and how dangerous it is, and she

1860
01:27:43,680 --> 01:27:46,720
goes, not this one. 
He's as gentle as a lamb got to 

1861
01:27:46,720 --> 01:27:49,880
him, jumping off the table and 
lunging after everyone. 

1862
01:27:50,120 --> 01:27:52,440
Yeah. 
But the wonderful thing about 

1863
01:27:52,440 --> 01:27:55,240
the scene is how she plays that 
violin because it's great. 

1864
01:27:55,360 --> 01:27:58,440
It's been established. 
And it makes total logical sense

1865
01:27:58,440 --> 01:28:01,040
that she's been playing it all 
along because it calms the 

1866
01:28:01,040 --> 01:28:03,080
monster down. 
So you totally believe that she 

1867
01:28:03,080 --> 01:28:05,840
would have it in her position. 
And you know, she does use it 

1868
01:28:05,840 --> 01:28:06,920
here. 
Calm down. 

1869
01:28:06,920 --> 01:28:10,500
But it's then how she uses it in
the rest of the scene to under 

1870
01:28:10,500 --> 01:28:14,680
score every dramatic accusation 
that Frederick goes to death. 

1871
01:28:15,200 --> 01:28:17,160
And she's I mean, she's 
shrieking by the end. 

1872
01:28:17,200 --> 01:28:20,480
And each stab of that violin 
gets more and more OTT. 

1873
01:28:20,760 --> 01:28:22,800
It was you who played that music
in the middle of the night. 

1874
01:28:22,960 --> 01:28:25,920
Yes. 
That was your cigar smoldering 

1875
01:28:25,920 --> 01:28:27,240
the ashtray. 
Yes. 

1876
01:28:28,040 --> 01:28:29,320
And you would look to where? 
Yes. 

1877
01:28:29,320 --> 01:28:33,560
Say it. 
He was my boyfriend. 

1878
01:28:34,160 --> 01:28:37,880
Just the way she builds up to 
that, shrieking it by the end. 

1879
01:28:37,880 --> 01:28:42,040
Yes, she is so wonderfully 
audacious scene. 

1880
01:28:42,440 --> 01:28:45,640
Yeah, brilliant. 
If Victor was Frau Bluhur's 

1881
01:28:45,760 --> 01:28:48,880
boyfriend, how fucking old does 
that make Frau Blue? 

1882
01:28:52,280 --> 01:28:58,080
Doesn't matter. 
Floris Leachman went into this 

1883
01:28:58,080 --> 01:29:01,360
film without any instruction. 
Her hair, makeup and costume 

1884
01:29:01,360 --> 01:29:04,640
were worked out on day one. 
She also never done a German 

1885
01:29:04,640 --> 01:29:07,440
accent before and nobody thought
coach her through one. 

1886
01:29:07,440 --> 01:29:09,640
But now you cannot tell like 
you. 

1887
01:29:09,880 --> 01:29:10,960
Can't. 
No, not at all. 

1888
01:29:11,480 --> 01:29:14,120
She basically went around the 
set asking anybody, excuse me, 

1889
01:29:14,120 --> 01:29:15,880
do you know a German accent at 
all? 

1890
01:29:16,840 --> 01:29:18,760
Three or four people said that 
they did. 

1891
01:29:18,920 --> 01:29:21,360
But the most useful one in the 
end was Mel Brooks, his own 

1892
01:29:21,360 --> 01:29:23,000
mother, who was on set at the 
time. 

1893
01:29:23,200 --> 01:29:24,880
Right. 
She got her closest to the 

1894
01:29:24,880 --> 01:29:26,360
accent that ended up on the 
film. 

1895
01:29:26,880 --> 01:29:28,280
It's great. 
Yeah. 

1896
01:29:28,600 --> 01:29:29,520
Fantastic. 
Yeah. 

1897
01:29:29,520 --> 01:29:32,040
Hilarious. 
So the monster is set free the 

1898
01:29:32,040 --> 01:29:35,120
first of three or four times 
that that happens in the film. 

1899
01:29:35,680 --> 01:29:38,720
Yeah, absolutely. 
But it makes for a tense and 

1900
01:29:38,720 --> 01:29:40,760
hilarious final act. 
Yes, it really does. 

1901
01:29:44,120 --> 01:29:48,400
The crew. 
As mentioned, there's still a 

1902
01:29:48,400 --> 01:29:51,280
crew on Young Frankenstein. 
The cinematography and music are

1903
01:29:51,280 --> 01:29:53,400
coming up. 
Firstly, it's the written word 

1904
01:29:53,400 --> 01:29:55,480
by Mel Brooks and Gene Wilder on
the screenplay. 

1905
01:29:55,720 --> 01:29:58,440
This was their third movie 
collaboration, but the first 

1906
01:29:58,440 --> 01:30:00,920
time they had written together, 
based of course on Mary 

1907
01:30:00,920 --> 01:30:03,880
Shelley's legendary Frankenstein
novel from 1818. 

1908
01:30:04,840 --> 01:30:07,560
My thoughts on the right now are
what follows on from what I was 

1909
01:30:07,560 --> 01:30:08,800
saying about Brooks as a 
director. 

1910
01:30:08,800 --> 01:30:11,960
Really, this isn't an outlier in
his body of work because it's a 

1911
01:30:11,960 --> 01:30:14,320
lot more subtle than most films 
he's worked on. 

1912
01:30:15,040 --> 01:30:17,760
Now you're thinking, how can 
exploding bow ties and charades 

1913
01:30:17,760 --> 01:30:19,680
weren't being strangled by a 
monster? 

1914
01:30:19,680 --> 01:30:23,160
Be subtle. 
But compared to the pour 

1915
01:30:23,160 --> 01:30:25,840
everything into the mix approach
that he usually takes, there's 

1916
01:30:25,840 --> 01:30:28,000
an awful lot of restraint here, 
Yeah. 

1917
01:30:28,000 --> 01:30:29,920
There is, yeah. 
And I think that comes from a 

1918
01:30:29,920 --> 01:30:33,240
combination of Brooks's 
scattergun gag, a second style, 

1919
01:30:33,680 --> 01:30:36,280
and wild is more measured 
narrative approach. 

1920
01:30:36,640 --> 01:30:38,520
You 2 said it already. 
Yeah, yeah. 

1921
01:30:38,720 --> 01:30:45,960
Wild is pulling the reins. 
It doesn't hurt that they've got

1922
01:30:45,960 --> 01:30:49,160
one of the greatest novels ever 
written as a backbone as well, 

1923
01:30:49,160 --> 01:30:51,040
of course. 
Yeah, but unlike Blues and 

1924
01:30:51,040 --> 01:30:54,000
saddles, which is hilarious, 
this has got a lot more room to 

1925
01:30:54,000 --> 01:30:57,080
breathe and tell a story and to 
marvel in the production design 

1926
01:30:57,080 --> 01:31:00,760
or linger on a music queue. 
Saddle throws in a gag every 5 

1927
01:31:00,760 --> 01:31:02,080
seconds. 
If you didn't like that one, 

1928
01:31:02,080 --> 01:31:04,240
there'll be 1 coming soon that 
you'll love, and you'll forget 

1929
01:31:04,240 --> 01:31:07,680
about the ones that you didn't. 
But here there's more spaced out

1930
01:31:07,840 --> 01:31:09,800
and they're more methodical, 
meaning they have to be 

1931
01:31:09,800 --> 01:31:12,240
memorable for the whole thing to
land as a comedy. 

1932
01:31:12,440 --> 01:31:15,240
Because there's not not as many 
of them, even though there is 

1933
01:31:15,240 --> 01:31:17,560
still loads. 
They come thick and fast, but 

1934
01:31:17,560 --> 01:31:20,360
the big moments live longer in 
the memory for me because they 

1935
01:31:20,360 --> 01:31:22,960
are written better. 
Yeah, there are a few that I 

1936
01:31:22,960 --> 01:31:25,120
could do without. 
By the little boy at the 

1937
01:31:25,120 --> 01:31:28,880
Transfanian train station 
offering a shine that doesn't 

1938
01:31:28,880 --> 01:31:29,880
land for me. 
No. 

1939
01:31:30,120 --> 01:31:31,280
No at all. 
No. 

1940
01:31:31,360 --> 01:31:33,400
Take it out. 
Yeah, there are others that 

1941
01:31:33,400 --> 01:31:36,520
don't land for me as well, but 
on the whole, Wilder and Brooks 

1942
01:31:36,760 --> 01:31:38,480
nail them. 
Really nail them. 

1943
01:31:38,640 --> 01:31:41,240
They're putting on the Ritz 
moment, the blind man scene, the

1944
01:31:41,240 --> 01:31:43,760
monster awakens scene, the 
classroom scene at the start. 

1945
01:31:43,760 --> 01:31:47,160
They're big, funny moments with 
loads of little comic gems 

1946
01:31:47,200 --> 01:31:49,560
underneath. 
Yeah, just shimmering away. 

1947
01:31:49,720 --> 01:31:52,600
Yeah, yeah. 
A case of less is more here for 

1948
01:31:52,600 --> 01:31:54,440
me, even though it's a gag a 
second. 

1949
01:31:54,600 --> 01:31:56,880
Yeah. 
Great comedy, great restraint in

1950
01:31:56,880 --> 01:31:57,840
the writing. 
Yes. 

1951
01:31:58,200 --> 01:32:00,640
I think the thing for me is if 
you do contrast this to Blaze 

1952
01:32:00,640 --> 01:32:04,600
and Saddles, Brooks Co wrote 
that with four other people and 

1953
01:32:04,600 --> 01:32:08,480
you can tell there's five voices
all competing in that film to 

1954
01:32:08,480 --> 01:32:11,360
get their voice heard, to get 
their jokes and get their point 

1955
01:32:11,360 --> 01:32:14,560
across in Brooks is shouting 
across all of them, but there's 

1956
01:32:14,560 --> 01:32:17,600
only two voices here. 
The other voice is someone who 

1957
01:32:17,600 --> 01:32:20,720
actually came with the idea 1st 
and then got Brooks involved. 

1958
01:32:21,040 --> 01:32:24,800
So it's very harmonious in that 
sense, like the direction 

1959
01:32:24,800 --> 01:32:28,120
there's a discipline and it does
feel like you've exactly said 

1960
01:32:28,120 --> 01:32:30,120
it. 
Wilder can rein Brooks back in a

1961
01:32:30,120 --> 01:32:33,240
way that no one else could on 
saddles or anything else. 

1962
01:32:33,640 --> 01:32:35,840
This isn't Brooks with some 
other people. 

1963
01:32:36,160 --> 01:32:38,920
This is Wilder and Brooks 5050 
it. 

1964
01:32:39,240 --> 01:32:42,280
I mean, obviously there are 
silly moments, but it could get 

1965
01:32:42,320 --> 01:32:44,880
really silly. 
And when it does nothing, that's

1966
01:32:44,880 --> 01:32:46,680
Wilder's influence pulling it 
back. 

1967
01:32:47,080 --> 01:32:49,720
I think there are moments where 
Wilder let's Brooks have a 

1968
01:32:49,720 --> 01:32:52,720
couple of gags here and there 
that he's maybe not keen on. 

1969
01:32:53,040 --> 01:32:54,880
And I think you'd honestly, you 
can tell those because they have

1970
01:32:54,880 --> 01:32:57,880
the scenes that Wilder isn't in.
And that's as my take on it. 

1971
01:32:58,520 --> 01:33:01,120
But I do think when you compare 
it to Blair's and Saddles, I 

1972
01:33:01,120 --> 01:33:04,480
just feel that this is much more
about these two finding a 

1973
01:33:04,480 --> 01:33:06,920
harmonious balance between what 
they both want this to be. 

1974
01:33:07,960 --> 01:33:10,320
Yeah, I totally agree. 
I think the the word that 

1975
01:33:10,320 --> 01:33:12,480
springs to mind when I think 
about the writing on this is 

1976
01:33:12,480 --> 01:33:14,200
respect. 
I think they've got a massive 

1977
01:33:14,200 --> 01:33:17,080
amount of respect for each other
and a massive amount of respect 

1978
01:33:17,080 --> 01:33:18,760
for what they can each bring to 
the project. 

1979
01:33:18,760 --> 01:33:22,000
And both of you have said really
I think Wilders position can't 

1980
01:33:22,000 --> 01:33:24,280
be understated. 
I think to be able to rein Mel 

1981
01:33:24,280 --> 01:33:29,880
Brooks in at this point in 74 
that is that is a big way to be 

1982
01:33:29,880 --> 01:33:32,680
able to do that and to even 
convince him and not to be in 

1983
01:33:32,680 --> 01:33:35,480
his film. 
It's a massive thing just to do 

1984
01:33:35,560 --> 01:33:37,000
that. 
You can see the influence that 

1985
01:33:37,000 --> 01:33:39,640
he's got and then that comes to 
some gags being put forward and 

1986
01:33:39,640 --> 01:33:42,520
maybe not, but I think it's 
they've got a real respect. 

1987
01:33:42,520 --> 01:33:44,360
And the I think they both 
totally understand what they 

1988
01:33:44,360 --> 01:33:46,760
want from the finished film 
because it is a pleasure to 

1989
01:33:46,760 --> 01:33:48,400
watch and it does flow really 
well. 

1990
01:33:48,400 --> 01:33:51,560
And it does have those moments 
where it knows exactly what the 

1991
01:33:51,560 --> 01:33:54,480
tone is and knows exactly when 
to ramp that up to comedy and 

1992
01:33:54,480 --> 01:33:56,960
knows exactly when to ramp it up
the heart and knows exactly when

1993
01:33:56,960 --> 01:33:59,480
to ramp it up to to fear in some
places. 

1994
01:33:59,480 --> 01:34:02,720
Because some of these moments 
are genuinely heartfelt and 

1995
01:34:02,720 --> 01:34:05,040
genuinely scary if you just 
watch them for the two or three 

1996
01:34:05,040 --> 01:34:06,440
minutes that the meant to be 
played out. 

1997
01:34:06,880 --> 01:34:08,720
There's some really, really 
great beats in there. 

1998
01:34:09,000 --> 01:34:12,840
There's some really good satire 
and really good nods back to 

1999
01:34:12,840 --> 01:34:14,880
classic Hollywood, especially 
the university. 

2000
01:34:14,880 --> 01:34:18,480
I mean, the train station 
goodbye is possibly the ultimate

2001
01:34:18,480 --> 01:34:21,360
parody of that period of 
anything. 

2002
01:34:21,360 --> 01:34:24,200
You know the femme fatale and 
you've got the the hero going 

2003
01:34:24,200 --> 01:34:26,480
off and the trade. 
Brief encounter that. 

2004
01:34:26,800 --> 01:34:28,280
Kind of thing. 
Casablanca. 

2005
01:34:28,280 --> 01:34:29,720
Casablanca. 
It's got all. 

2006
01:34:29,760 --> 01:34:31,720
Of them elements in it, that tip
of the cap. 

2007
01:34:31,720 --> 01:34:32,920
But it's always like, you know 
what? 

2008
01:34:32,920 --> 01:34:35,000
They're just so preoccupied with
the look. 

2009
01:34:35,000 --> 01:34:37,600
They always looked perfect, but 
that was never put forward from 

2010
01:34:37,600 --> 01:34:39,880
the female characters. 
And it gives female characters a

2011
01:34:39,880 --> 01:34:43,640
real platform, especially mid 
70s, because no one was going to

2012
01:34:43,640 --> 01:34:46,680
put female characters in there 
to be funny on their own accord.

2013
01:34:47,080 --> 01:34:48,760
They're always bouncing off 
somebody else. 

2014
01:34:48,760 --> 01:34:50,160
So they're always there. 
It just be pretty. 

2015
01:34:50,160 --> 01:34:52,760
I mean, they are there for that 
reason, but they do take the 

2016
01:34:52,760 --> 01:34:55,120
piss out with that as well. 
They're just to bring that to 

2017
01:34:55,120 --> 01:34:57,280
the forefront and go, yeah, oh, 
how many nails? 

2018
01:34:57,280 --> 01:34:58,840
I mean, here you can't do, you 
can't do this. 

2019
01:34:58,840 --> 01:35:00,400
You can't do just the riff on 
it. 

2020
01:35:00,640 --> 01:35:01,720
And then they're dealing with 
it. 

2021
01:35:01,720 --> 01:35:03,280
And this. 
I just think there's a respect 

2022
01:35:03,280 --> 01:35:05,920
between these two as writers, 
but there's also a respect for 

2023
01:35:05,920 --> 01:35:07,840
every single person that they've
cast in this film. 

2024
01:35:08,560 --> 01:35:11,200
It's a beautiful blueprint for 
them to build on and they've 

2025
01:35:11,200 --> 01:35:13,200
built on it perfectly. 
It's not too high that it 

2026
01:35:13,200 --> 01:35:15,240
topples, it's just perfect to 
watch. 

2027
01:35:15,560 --> 01:35:17,640
Yeah, Lords of Positives there 
in the right. 

2028
01:35:17,680 --> 01:35:19,960
Definitely. 
So, as mentioned before, the 

2029
01:35:19,960 --> 01:35:22,640
idea for the film started on the
set of Blazing Saddles. 

2030
01:35:22,680 --> 01:35:25,880
Brooke said that one day during 
filming, he invited Gene Wilder 

2031
01:35:25,880 --> 01:35:28,600
into his trailer for some 
pineapple and cottage cheese. 

2032
01:35:28,800 --> 01:35:31,880
Unusual control? 
Yeah, Wilder was scribbling on a

2033
01:35:31,880 --> 01:35:34,840
legal pad, which piqued Brooks's
interest, and Wilder told him 

2034
01:35:34,840 --> 01:35:37,160
the concept for the film. 
Yeah, Brooks was reluctant 

2035
01:35:37,160 --> 01:35:39,280
because there'd been so many 
Frankenstein movies. 

2036
01:35:39,280 --> 01:35:42,040
But Wilder said that what if the
grandson of Doctor Frankenstein 

2037
01:35:42,040 --> 01:35:44,880
wanted nothing to do with the 
family whatsoever, ashamed of 

2038
01:35:44,880 --> 01:35:47,400
all the wackos that came before 
him, just trying to make it as a

2039
01:35:47,400 --> 01:35:49,600
serious, respected scientist in 
his own right. 

2040
01:35:49,920 --> 01:35:51,320
And Brooks thought that was 
funny. 

2041
01:35:51,440 --> 01:35:53,360
He said, Gene, you can't write 
this alone. 

2042
01:35:53,600 --> 01:35:55,400
You need a genius like me to 
write it with you. 

2043
01:35:55,640 --> 01:35:57,600
And if I like it, maybe I'll 
direct. 

2044
01:35:58,080 --> 01:36:00,600
Brilliant. 
It's really, yeah. 

2045
01:36:00,720 --> 01:36:02,720
He asked Wyler if he had any 
money on him. 

2046
01:36:02,960 --> 01:36:06,960
Wilder said he had $57. 
Brooke said it's a start and 

2047
01:36:06,960 --> 01:36:09,800
pocketed it as a down payment 
with the agreement that he 

2048
01:36:09,800 --> 01:36:12,200
direct if you like. 
But the two of them came up with

2049
01:36:12,360 --> 01:36:15,400
amazing $57. 
So the two of them started 

2050
01:36:15,400 --> 01:36:17,920
working on the script in the 
evening, said Wilder's Bungalow 

2051
01:36:17,920 --> 01:36:20,720
at the Hotel Bel Air. 
After their day's work on 

2052
01:36:20,720 --> 01:36:23,480
Blazing Saddles had wrapped, 
Brooke said they wrote over Earl

2053
01:36:23,480 --> 01:36:26,760
Grey tea and English digestive 
biscuits, doing rewrite after 

2054
01:36:26,760 --> 01:36:29,120
rewrite on each scene until they
were happy with it. 

2055
01:36:29,360 --> 01:36:30,840
Brilliant. 
You can tell that they've 

2056
01:36:30,840 --> 01:36:32,640
written it to within an inch of 
it. 

2057
01:36:32,640 --> 01:36:34,160
Oh, yeah, yeah. 
Definitely. 

2058
01:36:34,160 --> 01:36:36,680
Like Brooks, Wilder's connection
to the material was personal. 

2059
01:36:36,920 --> 01:36:39,360
At first, he didn't really know 
why he was drawn to it, but 

2060
01:36:39,360 --> 01:36:42,480
later realized that from a young
age, he'd seen the 1931 film and

2061
01:36:42,480 --> 01:36:45,480
was terrified of it. 
Of course, he saw all four of 

2062
01:36:45,480 --> 01:36:48,040
the Universal Frankenstein 
movies between the ages of about

2063
01:36:48,040 --> 01:36:49,680
8:00 and 10:00, and they stayed 
with him. 

2064
01:36:49,880 --> 01:36:52,120
So when he came to writing on 
Frankenstein, what he really 

2065
01:36:52,120 --> 01:36:54,560
wanted after all these years was
a happy ending. 

2066
01:36:54,840 --> 01:36:57,440
He wanted to take the thing that
scared him and rewrite. 

2067
01:36:58,120 --> 01:37:00,120
Right. 
OK, yeah, and Wilder and Brooks 

2068
01:37:00,120 --> 01:37:02,960
maintained A harmonious 
relationship, but they did blew 

2069
01:37:02,960 --> 01:37:05,320
up once the two of them were 
working on the film that 

2070
01:37:05,320 --> 01:37:08,680
Wilder's apartment one day got 
into a row and Brooks had a full

2071
01:37:08,680 --> 01:37:11,480
screaming fit before storming 
out. 10 minutes later, though, 

2072
01:37:11,560 --> 01:37:14,200
the phone rang at Wildest Place,
and it was Brooks on the event. 

2073
01:37:14,280 --> 01:37:17,120
He asked Wilder who was that 
madman you had in your house and

2074
01:37:17,120 --> 01:37:19,280
advised him that it was 
dangerous to have crazy people 

2075
01:37:19,280 --> 01:37:21,400
around. 
Wilder recognizes as a Mel 

2076
01:37:21,400 --> 01:37:23,600
Brooks apology. 
And they were fine from then on 

2077
01:37:23,600 --> 01:37:26,840
in. 
That's a great story, So the 

2078
01:37:26,840 --> 01:37:30,000
best writing that Brooks and 
Wilder ever did, helped in no 

2079
01:37:30,000 --> 01:37:33,040
small part by Shelley's classic 
novel and James Wales's classic 

2080
01:37:33,040 --> 01:37:38,480
movies. 
Next is the dramatic music for 

2081
01:37:38,480 --> 01:37:41,640
Young Frankenstein composed by 
John Morris, a frequent 

2082
01:37:41,640 --> 01:37:44,480
collaborator with Brooks whose 
relationship goes all the way 

2083
01:37:44,480 --> 01:37:47,200
back to TV and Broadway 
productions of the 50s and 60s 

2084
01:37:47,400 --> 01:37:50,560
and all the way up to Brooks's 
Life Stinks in the early 90s. 

2085
01:37:51,560 --> 01:37:54,160
Matt John Morris's music for the
film. 

2086
01:37:54,160 --> 01:37:57,240
What do you think? 
Superb stuff, very harmonious. 

2087
01:37:57,240 --> 01:38:00,200
I mean, harmonious is the word. 
I would describe the film 

2088
01:38:00,200 --> 01:38:02,800
because everything music, 
cinematography, production 

2089
01:38:02,800 --> 01:38:06,240
design, no one doesn't 
understand what the job is here.

2090
01:38:06,600 --> 01:38:09,000
No one is given freeway and to 
do what they want and bring 

2091
01:38:09,000 --> 01:38:10,480
something really personal to the
table. 

2092
01:38:10,560 --> 01:38:13,480
There are strict boundaries of 
what they can do here because of

2093
01:38:13,480 --> 01:38:15,960
the nature of the film. 
But that's a challenge in and of

2094
01:38:15,960 --> 01:38:18,320
itself, because there's some 
elements of the film that aren't

2095
01:38:18,320 --> 01:38:20,360
being spoofed. 
Like the special effects aren't 

2096
01:38:20,360 --> 01:38:23,040
there to be laughed at, they're 
there to look exactly how they 

2097
01:38:23,040 --> 01:38:25,640
were and they still work as, you
know, a piece of drama. 

2098
01:38:25,960 --> 01:38:27,080
And it's the same with the 
music. 

2099
01:38:27,080 --> 01:38:30,360
There's nothing contemporary but
create a score that would be fit

2100
01:38:30,360 --> 01:38:34,760
in actual film starring Boris 
Karloff or Bela Lugosi and make 

2101
01:38:34,760 --> 01:38:36,640
it fit. 
And that's exactly why you've 

2102
01:38:36,640 --> 01:38:39,320
got here. 
It's mimicry, but it also can't 

2103
01:38:39,320 --> 01:38:41,120
sound like mimicry, and it 
doesn't. 

2104
01:38:41,680 --> 01:38:44,720
It's an original imitation and 
that's incredibly hard to do. 

2105
01:38:44,960 --> 01:38:46,280
Yes, it is. 
Yeah. 

2106
01:38:46,520 --> 01:38:47,800
What are your thoughts on it 
Westie? 

2107
01:38:47,960 --> 01:38:50,240
Yeah, I mean, it's it's exactly 
the same as Matt's really. 

2108
01:38:50,240 --> 01:38:52,760
I think it's got a really 
romantic feel to the whole 

2109
01:38:52,760 --> 01:38:55,160
thing. 
It feels like these are just 

2110
01:38:55,200 --> 01:38:57,720
outtakes from the older films 
that they didn't use. 

2111
01:38:58,480 --> 01:39:00,720
They've. 
Just they've, they've taken them

2112
01:39:00,720 --> 01:39:03,000
and just went, oh, we've found 
these as well as we've found all

2113
01:39:03,000 --> 01:39:05,040
these and we'll just rehash 
these. 

2114
01:39:05,280 --> 01:39:09,160
It's got that much of A tone, 
but it also has quite a quite a 

2115
01:39:09,160 --> 01:39:11,640
modern feel for the 70s. 
I think it just, it feels 

2116
01:39:11,640 --> 01:39:13,520
cleaner. 
It feels like it's been recorded

2117
01:39:13,520 --> 01:39:16,280
with better equipment. 
It feels like the technology was

2118
01:39:16,280 --> 01:39:18,640
there and it's just got this 
real clean feel to it. 

2119
01:39:18,640 --> 01:39:21,080
But it does it just matches what
you see on the screen so 

2120
01:39:21,080 --> 01:39:23,640
perfectly. 
It's used in the film when it is

2121
01:39:23,640 --> 01:39:28,000
used is perfect because it just,
it really accentuates and really

2122
01:39:28,000 --> 01:39:29,920
backs up everything that you're 
seeing on the screen. 

2123
01:39:29,920 --> 01:39:32,760
There's some really beautiful 
bursts of music and then 

2124
01:39:32,760 --> 01:39:34,520
nothing. 
The opening credits are 

2125
01:39:34,520 --> 01:39:36,480
fantastic. 
Closing credits are fantastic. 

2126
01:39:36,880 --> 01:39:39,360
I think there's just so many 
different ideas and different 

2127
01:39:39,360 --> 01:39:40,840
themes running through this 
whole film. 

2128
01:39:41,120 --> 01:39:44,000
It gives it that variety, same 
as you see in between the comedy

2129
01:39:44,200 --> 01:39:46,040
and the tragedy. 
I think you've got that in the 

2130
01:39:46,040 --> 01:39:47,880
music as well. 
It really is a wonderful, 

2131
01:39:47,880 --> 01:39:49,280
wonderful piece of work from 
John Morris. 

2132
01:39:49,960 --> 01:39:52,200
Yeah, I agree. 
Yeah, Yeah, it's a hat, Rick. 

2133
01:39:52,200 --> 01:39:56,320
I think it's like a great one of
the great quiet weapons that the

2134
01:39:56,320 --> 01:39:57,680
film has. 
Yeah, definitely. 

2135
01:39:57,680 --> 01:39:59,160
That's that's a good way to 
describe it, yeah. 

2136
01:39:59,360 --> 01:40:01,880
I think it would have been very 
easy to write a comedy score for

2137
01:40:01,880 --> 01:40:04,360
a comedy film. 
Wink at the audience, undercut 

2138
01:40:04,360 --> 01:40:06,760
every gag. 
Certainly that's what Mel Brooks

2139
01:40:06,760 --> 01:40:09,320
has done in the future. 
Yeah, that's a safer way to do 

2140
01:40:09,320 --> 01:40:10,680
it. 
It is, yeah. 

2141
01:40:10,800 --> 01:40:13,520
But he doesn't do any of that. 
And I know that he would have 

2142
01:40:13,560 --> 01:40:16,280
been given that instruction by 
Mel Brooks as well, of course. 

2143
01:40:16,840 --> 01:40:19,520
But he treats Young Frankenstein
exactly the way that Steiner or 

2144
01:40:19,520 --> 01:40:23,120
Waxman would have treated a 1935
Universal horror picture, for 

2145
01:40:23,120 --> 01:40:25,720
example. 
Full orchestra, lush strings, 

2146
01:40:25,720 --> 01:40:27,080
brass when the mood calls for 
it. 

2147
01:40:27,200 --> 01:40:30,560
No irony whatsoever. 
And that main theme, it's, it's 

2148
01:40:30,560 --> 01:40:33,640
just a perfect example of it. 
The soul violin, plaintive 

2149
01:40:33,640 --> 01:40:36,600
romantic, like you said, Westie,
the kind of melody that 

2150
01:40:36,600 --> 01:40:40,520
genuinely could have rolled out 
of the universe lot 40 years 

2151
01:40:40,520 --> 01:40:42,640
earlier. 
Like you said, it's that's the 

2152
01:40:42,640 --> 01:40:45,720
tone of the whole film. 
Before a single line of dialogue

2153
01:40:45,720 --> 01:40:48,520
is spoken, it's going to be a 
love letter played straight, 

2154
01:40:48,600 --> 01:40:50,320
mirror and all. 
The crew work as well. 

2155
01:40:50,440 --> 01:40:52,920
Yeah, and I think it's bigger 
than just nostalgia. 

2156
01:40:52,920 --> 01:40:55,880
The score does the heavy lifting
of the films actual themes. 

2157
01:40:56,120 --> 01:40:59,000
It carries the loneliness of the
monster, the grandeur of the 

2158
01:40:59,000 --> 01:41:02,360
family legacy, the romance with 
Inga and the tenderness 

2159
01:41:02,360 --> 01:41:05,640
underneath all of it, big and 
bold, quietly heartbreaking. 

2160
01:41:05,880 --> 01:41:08,200
I think it's the secret 
ingredient for me. 

2161
01:41:08,440 --> 01:41:11,520
Yeah, it's really, really great.
Definitely elevates the film. 

2162
01:41:12,400 --> 01:41:15,000
The centrepiece of Morris's 
score in this film is that main 

2163
01:41:15,000 --> 01:41:17,800
theme, the Transylvania lullaby 
we all know the one. 

2164
01:41:17,800 --> 01:41:21,400
Mournful, melodic, stunningly 
beautiful perform straight as a 

2165
01:41:21,400 --> 01:41:23,160
die. 
It's the heart of the entire 

2166
01:41:23,160 --> 01:41:25,640
film, yeah. 
And Brooks gave Morris a 

2167
01:41:25,640 --> 01:41:29,240
conceptual brief, not a tune. 
He told him this is a horror 

2168
01:41:29,240 --> 01:41:30,920
film. 
Basically, in writing, scary 

2169
01:41:30,920 --> 01:41:32,800
music would to be totally 
inappropriate. 

2170
01:41:33,120 --> 01:41:35,560
The score isn't about the 
horror, it's about the monster. 

2171
01:41:35,800 --> 01:41:39,160
So write me the most beautiful 
Eastern European lullaby you can

2172
01:41:39,520 --> 01:41:42,040
that's going to become the heart
of the monster that'll be his 

2173
01:41:42,040 --> 01:41:44,680
childhood, Morris understood 
instantly. 

2174
01:41:44,680 --> 01:41:47,160
Because, as he later put it, 
Bruce always goes for the 

2175
01:41:47,160 --> 01:41:50,160
emotional centre of something. 
Nice, they've got a good working

2176
01:41:50,160 --> 01:41:51,480
relationship. 
Definitely. 

2177
01:41:51,480 --> 01:41:53,240
I mean, you take this score and 
put it over it. 

2178
01:41:53,240 --> 01:41:55,160
Make a horror film and put this 
score over the top of it. 

2179
01:41:55,240 --> 01:41:56,480
It works. 
Totally works. 

2180
01:41:56,480 --> 01:41:59,440
Absolutely. 
After Morris died in 2018, 

2181
01:41:59,440 --> 01:42:01,400
Brooks summed it all up 
perfectly. 

2182
01:42:01,400 --> 01:42:03,160
He said he was my emotional 
right arm. 

2183
01:42:03,480 --> 01:42:06,320
Music tells you what to feel, 
and he knew what I wanted you to

2184
01:42:06,320 --> 01:42:07,720
feel. 
Oh, wonderful. 

2185
01:42:07,800 --> 01:42:08,440
Beautiful. 
Yeah. 

2186
01:42:08,560 --> 01:42:10,080
Need a hand, John? 
No, I've got one. 

2187
01:42:10,080 --> 01:42:12,160
I. 
Have one, I have one. 

2188
01:42:15,720 --> 01:42:18,720
So a fitness score for a movie 
drenched in 30s monster movie 

2189
01:42:18,720 --> 01:42:21,280
nostalgia, matching the visuals 
perfectly. 

2190
01:42:21,440 --> 01:42:26,040
Definitely. 
Finally, a cinematographer who'd

2191
01:42:26,040 --> 01:42:30,080
been in the biz since the 40s, 
Gerald Hirschfeld Wesley, It's 

2192
01:42:30,080 --> 01:42:32,160
over to you, love. 
Hirschfeld work in this. 

2193
01:42:32,160 --> 01:42:36,280
It's so, so good. 
Arthur Edison, who did 

2194
01:42:36,280 --> 01:42:38,960
Frankenstein in 1931, who was 
the DP on that? 

2195
01:42:38,960 --> 01:42:43,400
John J Mescal was the DP on 
Bride of Frankstein in 1935. 

2196
01:42:43,560 --> 01:42:45,640
And those two were the main 
sources of inspiration. 

2197
01:42:45,800 --> 01:42:48,120
And to get them to and say it 
right, well, I'm going to do 

2198
01:42:48,120 --> 01:42:51,400
this in 1974. 
Most labs had stopped processing

2199
01:42:51,400 --> 01:42:52,840
black and white film stock at 
this point. 

2200
01:42:53,600 --> 01:42:56,000
I mean, he's using diffusion on 
the lenses here. 

2201
01:42:56,000 --> 01:42:58,120
This was shot on the Panavision 
standard prime. 

2202
01:42:58,120 --> 01:43:00,800
So they put a lot of diffusion 
on it, get that soft focus look,

2203
01:43:00,800 --> 01:43:02,920
especially on the close-ups, 
which is very, very much 

2204
01:43:02,920 --> 01:43:05,680
universal. 
The camera was made in 1967, 

2205
01:43:05,680 --> 01:43:07,080
right? 
So it was fairly new at the 

2206
01:43:07,080 --> 01:43:09,800
time. 
It was a Panda vision PSRR 200, 

2207
01:43:10,000 --> 01:43:13,440
which was lighter, and it was 
easier to kind of move around to

2208
01:43:13,440 --> 01:43:15,200
the earlier camera. 
So it was quite a modern look. 

2209
01:43:15,200 --> 01:43:17,960
I mean, to give you some idea, 
Star Wars was shot on that 

2210
01:43:17,960 --> 01:43:20,600
camera, Empire Strikes Back, 
Butch Cassidy and the Sundance 

2211
01:43:20,600 --> 01:43:23,720
Clear, close Encounters, Live 
and Let's Die, right? 

2212
01:43:24,160 --> 01:43:26,920
So you've got these really 
punchy, really colourful, really

2213
01:43:26,920 --> 01:43:29,720
energetic films and they take 
that kind of equipment and then 

2214
01:43:29,720 --> 01:43:33,320
bring it back down with his use 
of lighting, his use of 

2215
01:43:33,320 --> 01:43:37,120
blogging, his use of framing is 
just so classic and so 

2216
01:43:37,120 --> 01:43:38,920
methodical and so well thought 
through. 

2217
01:43:38,920 --> 01:43:42,680
And I think it was almost too 
good that I think Brooks would 

2218
01:43:42,680 --> 01:43:46,000
have just went, is this a comedy
or is this just so straight? 

2219
01:43:46,280 --> 01:43:49,120
I think it might have been too 
good at that point because it 

2220
01:43:49,120 --> 01:43:51,440
really, really sells this film 
for me. 

2221
01:43:51,440 --> 01:43:53,800
It really does. 
The word by Hirschfeld cannot be

2222
01:43:53,800 --> 01:43:56,400
understated by anything. 
The writing can be spot on. 

2223
01:43:56,760 --> 01:43:59,720
You can get all the right props.
You can have the absolute set 

2224
01:43:59,720 --> 01:44:02,200
and spend 2.2 million. 
But if you are not lighting that

2225
01:44:02,200 --> 01:44:04,360
right, if you're not shooting 
that right, if you're not doing 

2226
01:44:04,360 --> 01:44:06,200
that, like I said, you know the 
train goodbye. 

2227
01:44:06,200 --> 01:44:09,520
If you're not back like that and
making that smoke work and just 

2228
01:44:09,520 --> 01:44:11,560
having them strips of light 
coming through on the male 

2229
01:44:11,560 --> 01:44:12,760
character and the female 
character. 

2230
01:44:12,760 --> 01:44:15,400
If you're not sitting with them 
in the bed at the end at the, 

2231
01:44:15,520 --> 01:44:18,000
you know, the climax of the 
film, for the want of a better 

2232
01:44:18,000 --> 01:44:20,560
phrase, but they're sat and 
there's just that beautiful 

2233
01:44:20,560 --> 01:44:23,080
strip of light that's just 
highlighting just that moment 

2234
01:44:23,080 --> 01:44:25,320
that you need the monster. 
The way that that's lit, it's 

2235
01:44:25,320 --> 01:44:26,760
low down to make them look 
taller. 

2236
01:44:26,760 --> 01:44:30,160
There's all of these different 
techniques and all of this is 

2237
01:44:30,160 --> 01:44:32,200
brought. 
He's just having an absolute 

2238
01:44:32,200 --> 01:44:34,720
headache. 
But that's what makes the film 

2239
01:44:34,720 --> 01:44:37,680
work because it's so seriously 
shot. 

2240
01:44:37,960 --> 01:44:40,320
It's so beautifully shot. 
It's so well lit. 

2241
01:44:40,320 --> 01:44:43,360
It's so well thought through. 
That's what makes it funny 

2242
01:44:44,320 --> 01:44:45,920
because the humour comes through
that. 

2243
01:44:45,920 --> 01:44:48,760
And if it wasn't serious and if 
it wasn't shot by a genius and 

2244
01:44:48,760 --> 01:44:51,760
knew exactly what he was doing 
and he's not parodying anything.

2245
01:44:52,160 --> 01:44:55,120
He's not, he's not parody. 
He's shooting this as serious as

2246
01:44:55,120 --> 01:44:57,880
if he's going to shoot, you 
know, another like the third in 

2247
01:44:57,880 --> 01:45:01,840
the Frankenstein series. 
You know, given this type of 

2248
01:45:02,080 --> 01:45:05,440
assignment to have that I would 
on the back of my mind thinking 

2249
01:45:05,920 --> 01:45:07,120
I'm just parodying something 
here. 

2250
01:45:07,120 --> 01:45:09,160
I'm not really making anything 
new or anything fresh. 

2251
01:45:09,160 --> 01:45:13,760
But he's elevated to a salute. 
Classic films and made a comedy 

2252
01:45:13,760 --> 01:45:15,680
out of it. 
It's astonishing work it. 

2253
01:45:16,040 --> 01:45:16,960
Really is. 
Yeah. 

2254
01:45:17,000 --> 01:45:20,400
Such a class act. 
The depth and texture of the set

2255
01:45:20,400 --> 01:45:23,000
and the location are brought to 
life by Hirschfeld. 

2256
01:45:23,000 --> 01:45:26,280
I think these places feel real, 
to feel lived in. 

2257
01:45:26,480 --> 01:45:29,320
It really feels like this is his
shot to make a universal horror 

2258
01:45:29,320 --> 01:45:31,880
movie. 
Brooks and Wilder can take care 

2259
01:45:31,880 --> 01:45:33,280
of the guys. 
I don't think Hirschfeld's 

2260
01:45:33,280 --> 01:45:35,520
bothered about that at all. 
He wants to make this look and 

2261
01:45:35,520 --> 01:45:38,440
feel and act like a classic 
gothic horror movie like. 

2262
01:45:38,440 --> 01:45:40,200
Exactly. 
Yeah, he should not have gone 

2263
01:45:40,200 --> 01:45:42,800
this hard. 
No, he didn't need to. 

2264
01:45:43,280 --> 01:45:45,880
No. 
And he does all of that by 

2265
01:45:45,880 --> 01:45:47,320
utilizing I think all of the 
frame. 

2266
01:45:47,320 --> 01:45:49,440
There is no wasted inch. 
Brooks went big on the 

2267
01:45:49,440 --> 01:45:52,320
production design like we said 
and Hirschfeld really basks in 

2268
01:45:52,320 --> 01:45:54,120
it. 
I think particularly like I 

2269
01:45:54,120 --> 01:45:56,160
said, neither start when 
Frederick enters the castle. 

2270
01:45:56,160 --> 01:45:59,360
The scale and the authenticity 
is is breath taken in that wide 

2271
01:45:59,360 --> 01:46:00,440
shot. 
Yeah, yeah. 

2272
01:46:01,760 --> 01:46:04,000
And the lab scenes, everything 
in sharp focus. 

2273
01:46:04,000 --> 01:46:07,280
It just feels legit, of course, 
because you you know, the maze 

2274
01:46:07,280 --> 01:46:08,960
and crew work and 10 strick 
fins. 

2275
01:46:08,960 --> 01:46:12,160
Electric genius, but Herschel 
makes it look and feel like a 

2276
01:46:12,160 --> 01:46:15,640
real working lab. 
And to shoot black and white, 

2277
01:46:15,760 --> 01:46:17,440
that's doing so much of the 
heavy lifting. 

2278
01:46:17,600 --> 01:46:20,960
Every shadow, every shaft of 
light through a castle window, 

2279
01:46:20,960 --> 01:46:23,960
every smoke filled forest. 
Herschfeld treats them with the 

2280
01:46:23,960 --> 01:46:26,480
reverence of someone who 
genuinely wants to be making the

2281
01:46:26,480 --> 01:46:29,400
30s monster picture rich 
contrast. 

2282
01:46:29,400 --> 01:46:31,800
The blacks are deep and you get 
those classic gothic 

2283
01:46:31,800 --> 01:46:34,800
compositions, figures framed in 
doorways, light and carving of 

2284
01:46:34,800 --> 01:46:36,680
the sky, faces half lit by 
candles. 

2285
01:46:36,920 --> 01:46:39,120
I mean, it's classic stuff, but 
it really is. 

2286
01:46:39,480 --> 01:46:41,640
It's classical stuff. 
Beautiful work. 

2287
01:46:41,960 --> 01:46:44,480
It's classical stuff, but it's 
really refined. 

2288
01:46:44,920 --> 01:46:47,240
It really is. 
Yeah, I mean, it's perfect. 

2289
01:46:47,280 --> 01:46:50,680
It is absolutely deliberate. 1 
needs to be the frame and the 

2290
01:46:50,680 --> 01:46:53,520
use of slow push insurance, very
deliberate camera moves. 

2291
01:46:53,880 --> 01:46:56,760
Like I love that opening where 
it moves in and around the 

2292
01:46:56,760 --> 01:47:00,360
coffin to get that force with 
the that's amazing. 

2293
01:47:00,360 --> 01:47:03,200
But it's not done too fast 
because I would take you out of 

2294
01:47:03,200 --> 01:47:05,240
it. 
And then to perfectly replicate 

2295
01:47:05,240 --> 01:47:08,200
the light and the use of 
candles, use of torches, use of 

2296
01:47:08,200 --> 01:47:12,120
shadows, that bit when Frederick
and I go escaping through the 

2297
01:47:12,120 --> 01:47:14,040
streets with a coffin. 
You know, I've said this one, 

2298
01:47:14,040 --> 01:47:16,480
talk about Brooks and the film 
in general, but take out the 

2299
01:47:16,480 --> 01:47:18,560
jokes. 
If you didn't know, you'd be 

2300
01:47:18,560 --> 01:47:21,120
convinced you're actually 
watching a Frankenstein film 

2301
01:47:21,520 --> 01:47:24,400
series intent from the 30s. 
That's how good this looks. 

2302
01:47:24,960 --> 01:47:28,000
Yeah, it really does. 
Hirschfeld came to the project 

2303
01:47:28,000 --> 01:47:30,680
pretty much by chance. 
He just turned down another 

2304
01:47:30,680 --> 01:47:34,200
film, which remains nameless, 
that he had a bad feeling about,

2305
01:47:34,480 --> 01:47:37,200
and he was sitting at home with 
no follow up work lined up when 

2306
01:47:37,200 --> 01:47:39,520
Brooks called him in for an 
interview the very next day. 

2307
01:47:39,720 --> 01:47:42,400
Yeah, Hirschfeld walked into the
room expecting kind of a 

2308
01:47:42,400 --> 01:47:45,360
technical conversation, but 
instead Brooks immediately 

2309
01:47:45,360 --> 01:47:48,760
started winding him up about 
inventing fake errors in films 

2310
01:47:48,760 --> 01:47:51,040
Hirschfeld had shot. 
So he asked, for example, 

2311
01:47:51,040 --> 01:47:54,400
whether the white tub in Diary 
of a Mad Housewife had been 

2312
01:47:54,400 --> 01:47:56,680
overbright. 
Hirschfeld took the criticism 

2313
01:47:56,680 --> 01:47:59,680
seriously at 1st and got more 
and more upset before he 

2314
01:47:59,680 --> 01:48:03,120
realized there isn't a bathtub 
in Diary of a Mad Housewife. 

2315
01:48:06,080 --> 01:48:09,480
So Hirschfeld eventually fired 
back with one more derogatory 

2316
01:48:09,480 --> 01:48:11,240
remark about my work, and I'll 
leave. 

2317
01:48:11,480 --> 01:48:13,920
And the two of them broke up 
laughing and we're on the same 

2318
01:48:13,920 --> 01:48:16,000
wavelength immediately. 
Lovely. 

2319
01:48:16,160 --> 01:48:18,960
And what's interesting is that 
Brooks actually studied 

2320
01:48:18,960 --> 01:48:21,920
Hirschfeld's work very closely, 
closely enough to fabricate 

2321
01:48:21,920 --> 01:48:23,880
believable sounded errors. 
Yeah, exactly. 

2322
01:48:23,920 --> 01:48:24,720
That's amazing. 
Yeah. 

2323
01:48:25,000 --> 01:48:29,000
By 1973, Hirschfeld had built up
ACV that was an unusually strong

2324
01:48:29,000 --> 01:48:31,600
bridge between dramatic black 
and white work like Fail Safe in

2325
01:48:31,600 --> 01:48:34,760
64 and prestige colour 
naturalism like Diary of a 

2326
01:48:34,760 --> 01:48:38,200
Madhousewife, Child's Play, The 
Lou Met film, not the 80s horror

2327
01:48:38,200 --> 01:48:43,440
film Chucky. 
Yeah, this was exactly the kind 

2328
01:48:43,440 --> 01:48:47,160
of dual track technical 
experience a 1974 black and 

2329
01:48:47,160 --> 01:48:51,440
white pastiche of a 1931 horror 
film was going to need as far as

2330
01:48:51,440 --> 01:48:52,560
Brooks was concerned. 
Yeah. 

2331
01:48:52,720 --> 01:48:54,880
Initially, though, Hirschfeld 
pushed back on the black and 

2332
01:48:54,880 --> 01:48:57,600
white photography. 
He suggested to open the film in

2333
01:48:57,600 --> 01:49:00,160
black and white for the 
Transylvanian sequences, then 

2334
01:49:00,160 --> 01:49:02,880
segue into colour once the story
moves to modern day. 

2335
01:49:02,880 --> 01:49:07,000
And it was, it was, and Bruce 
held firm, and Hirschfeld came 

2336
01:49:07,000 --> 01:49:09,840
around to it within a few days 
of seeing the dailies. 

2337
01:49:10,040 --> 01:49:13,240
Yet the black and white wasn't 
just appropriate, it was 

2338
01:49:13,280 --> 01:49:16,680
actively making the film better.
Absolutely. 

2339
01:49:17,000 --> 01:49:19,080
True, yeah. 
It's about texture and about 

2340
01:49:19,080 --> 01:49:21,560
depth. 
Isn't over any. 100% But there 

2341
01:49:21,560 --> 01:49:24,160
was a light problem. 
Mid shoot, Brooks pulled 

2342
01:49:24,160 --> 01:49:26,920
Hirschfeld aside and said that 
he wasn't happy with the look of

2343
01:49:26,920 --> 01:49:29,040
the film. 
But this made Hirschfeld erupt. 

2344
01:49:29,360 --> 01:49:31,880
You and Jean Screamie 
Frankenstein and Bride of 

2345
01:49:31,880 --> 01:49:35,600
Frankenstein, before we started,
you said remind me of the look 

2346
01:49:35,600 --> 01:49:37,400
of the originals, and that's 
where I'm giving you. 

2347
01:49:37,400 --> 01:49:39,880
Brooks argued that he wanted to 
satirize the look of the 

2348
01:49:39,880 --> 01:49:41,640
original films. 
Hirschfeld swab. 

2349
01:49:41,640 --> 01:49:44,920
This was never explained to him,
but Wilder back his argument up.

2350
01:49:45,120 --> 01:49:47,640
Now there you go. 
To get over this little issue, 

2351
01:49:47,640 --> 01:49:50,560
Hirschfeld brightened close up 
so the comedy would read on. 

2352
01:49:50,560 --> 01:49:54,480
The actor's face is easy, but 
kept the wide shots Moody James 

2353
01:49:54,480 --> 01:49:56,320
Wheel style. 
He also got the production 

2354
01:49:56,320 --> 01:49:59,560
designer to repair the cavernous
30 foot sets in light the tones 

2355
01:49:59,560 --> 01:50:01,720
to help bounce the light off. 
Yeah, right. 

2356
01:50:01,720 --> 01:50:03,840
Yeah. 
He also had a supervised changes

2357
01:50:03,840 --> 01:50:06,560
in the fall labs black and white
processing mid shoot because 

2358
01:50:06,560 --> 01:50:09,080
they hadn't processed like you 
said Wesley a black and white 

2359
01:50:09,080 --> 01:50:10,920
film in years and they didn't 
know how to do it. 

2360
01:50:12,320 --> 01:50:14,360
Yeah, that's dead. 
Don't do that anymore. 

2361
01:50:14,600 --> 01:50:18,440
Yeah, and Castle Frankenstein 
had no electricity except in the

2362
01:50:18,440 --> 01:50:21,760
lab, which meant Hirschfeld had 
to like most of the film, as if 

2363
01:50:21,760 --> 01:50:25,200
every room was being illuminated
by oversized fireplaces, 

2364
01:50:25,400 --> 01:50:29,480
candelabras and wall torches. 
The wall torches and fireplaces 

2365
01:50:29,480 --> 01:50:32,760
were piped with propane gas and 
then plastered over to look like

2366
01:50:32,760 --> 01:50:35,480
2 foot thick stonework. 
Real logs in the fireplaces were

2367
01:50:35,480 --> 01:50:38,360
a fire hazard which you couldn't
control, so the production used 

2368
01:50:38,360 --> 01:50:40,720
concrete logs. 
The flickering firelight effect 

2369
01:50:40,720 --> 01:50:44,280
bouncing on walls and faces was 
created by silk strips of fabric

2370
01:50:44,280 --> 01:50:47,560
fluttering in front of out of 
camera lamps, with brightness 

2371
01:50:47,560 --> 01:50:48,920
raised and lowered on the 
dimmer. 

2372
01:50:49,200 --> 01:50:51,200
Chris, I mean, you just take for
granted, don't you? 

2373
01:50:51,200 --> 01:50:53,360
But it's so technically 
proficient. 

2374
01:50:53,360 --> 01:50:54,440
Yeah. 
And intricate. 

2375
01:50:54,600 --> 01:50:56,440
All of this work so integrate. 
Yeah. 

2376
01:50:56,720 --> 01:50:59,320
Each candle in the film was a 
hollow aluminium pipe with a 

2377
01:50:59,320 --> 01:51:03,200
real wax candle stuck on top and
a 100 Watt projection bulb 

2378
01:51:03,200 --> 01:51:05,600
concealed in an open slot just 
below the candle. 

2379
01:51:06,160 --> 01:51:08,840
An electric wire ran up the 
actor's sleeves and down their 

2380
01:51:08,840 --> 01:51:11,240
trouser leg to a hidden dimmer 
off stage. 

2381
01:51:11,520 --> 01:51:14,920
Right, so when an actor passed 
by the camera, they had to 

2382
01:51:14,920 --> 01:51:19,320
rotate the candle in their hand 
made walk so the bulbs open side

2383
01:51:19,320 --> 01:51:22,680
switch from facing inward 
lighting their face to facing 

2384
01:51:22,680 --> 01:51:25,600
outward, lighting the wall. 
Herschfeld said that the trick 

2385
01:51:25,600 --> 01:51:29,280
candle was a touchy affair that 
required a few extra takes. 

2386
01:51:29,800 --> 01:51:31,760
Yeah, it would have, yeah. 
It looks great. 

2387
01:51:31,840 --> 01:51:33,360
Yeah. 
Halfway through the picture, 

2388
01:51:33,360 --> 01:51:36,160
Brooks ran into Hirschfeld in 
the lunch line and said, Jerry, 

2389
01:51:36,160 --> 01:51:38,000
I'm glad I didn't fire you 4 
weeks ago. 

2390
01:51:38,480 --> 01:51:41,000
Hirschfeld smiled and thought to
himself, Mel, you're lucky I 

2391
01:51:41,000 --> 01:51:44,040
didn't quit 4 weeks ago. 
Brilliant. 

2392
01:51:44,560 --> 01:51:47,360
And we're lucky he didn't as 
well, because John Morris, Ken 

2393
01:51:47,360 --> 01:51:50,200
Strick, Fayden, Dale Hennessy, 
Dorothy Jenkins and William 

2394
01:51:50,200 --> 01:51:52,840
Tuttle all deserve their place 
in the spotlight for bringing a 

2395
01:51:52,840 --> 01:51:54,760
beautiful balance and weight to 
this film. 

2396
01:51:55,000 --> 01:51:57,040
Oh, definitely. 
Outstanding crew were. 

2397
01:51:57,520 --> 01:52:02,320
Unbelievable. 
The end. 

2398
01:52:05,040 --> 01:52:07,680
With the monster on the loose, 
he visits a little girl and took

2399
01:52:07,680 --> 01:52:10,720
her away safely into bed. 
A lovely call back to the 1931 

2400
01:52:10,720 --> 01:52:14,640
film, Yeah, before smashing his 
way into an old, lonely blind 

2401
01:52:14,640 --> 01:52:17,720
man's house for soup, wine and 
cigars. 

2402
01:52:18,840 --> 01:52:26,280
Cigars over the USD? 
What a moment, what a moment. 

2403
01:52:26,280 --> 01:52:28,840
I think there's this and putting
on the Ritz that people remember

2404
01:52:28,840 --> 01:52:31,240
the most about this film. 
I certainly do. 

2405
01:52:31,240 --> 01:52:37,600
Anyway, what the fuck is Gene 
Hackman doing in here off the 

2406
01:52:37,600 --> 01:52:40,360
back of the French Connection? 
The hardest man in Hollywood, 

2407
01:52:40,720 --> 01:52:42,560
and he just wants to try his 
hand at this. 

2408
01:52:42,600 --> 01:52:46,000
I always forget he's in this 
until he looks up. 

2409
01:52:46,640 --> 01:52:49,520
Even when he's looking down, I'm
thinking, oh, yeah, it's Gene 

2410
01:52:49,520 --> 01:52:50,480
Hackman. 
Of course it is. 

2411
01:52:51,080 --> 01:52:54,360
A visitor, is all I ask. 
It starts so, so good. 

2412
01:52:55,000 --> 01:52:57,960
He's just excellent, isn't he? 
He's just excellent. 

2413
01:52:57,960 --> 01:53:02,000
And it really sets us like this 
is years and years and years 

2414
01:53:02,000 --> 01:53:04,120
before Tenenbaums. 
But I say so much of that 

2415
01:53:04,120 --> 01:53:07,960
performance in very much it's so
like you said, delivery just 

2416
01:53:07,960 --> 01:53:09,120
sees delivery. 
It's always there. 

2417
01:53:09,120 --> 01:53:11,440
It's just the speed that he does
things. 

2418
01:53:11,880 --> 01:53:14,320
So the monster turns up and he's
like, what's your name? 

2419
01:53:14,320 --> 01:53:16,760
I didn't get that. 
That's. 

2420
01:53:16,880 --> 01:53:20,320
So good, That's so good. 
I didn't get that. 

2421
01:53:21,160 --> 01:53:27,160
It's just. 
Hackman, isn't it? 

2422
01:53:27,280 --> 01:53:29,200
What's your name? 
I didn't get that. 

2423
01:53:30,240 --> 01:53:32,680
It's it's fucking excellent. 
Why? 

2424
01:53:32,800 --> 01:53:36,320
Would he get it? 
He's right next to him. 

2425
01:53:36,640 --> 01:53:39,160
I didn't know you're mute. 
And it's like just not really. 

2426
01:53:39,280 --> 01:53:41,560
But he's just like trying to 
make everything harmonious and 

2427
01:53:41,560 --> 01:53:45,240
just trying to make this whole 
scene work when it cuts that 

2428
01:53:45,240 --> 01:53:47,560
wide shot. 
His performance on them wide is 

2429
01:53:47,560 --> 01:53:51,120
just absolutely 2nd and on. 
And how many gags can you fit 

2430
01:53:51,120 --> 01:53:53,160
into like 4 minutes, 3-4 
minutes? 

2431
01:53:53,960 --> 01:53:56,480
It's just relentless. 
And it's just his delivery. 

2432
01:53:56,480 --> 01:53:59,600
So, I mean, spilling that soup, 
That's hilarious. 

2433
01:53:59,600 --> 01:54:02,840
Just carrying. 
Yeah. 

2434
01:54:04,040 --> 01:54:06,120
And it's just the next, like, 
some wine with your soup. 

2435
01:54:06,120 --> 01:54:08,160
And there's pouring the wine. 
Yeah. 

2436
01:54:08,160 --> 01:54:10,080
He's like, wait. 
And then it's like, well, a 

2437
01:54:10,080 --> 01:54:12,600
toast. 
And he just smashes the cup. 

2438
01:54:16,520 --> 01:54:18,320
And then he brings out the 
cigars. 

2439
01:54:18,600 --> 01:54:21,880
And it's like, I've saving these
cigars. 

2440
01:54:22,040 --> 01:54:24,760
And it's that little delivery 
doesn't need to go that hard. 

2441
01:54:24,760 --> 01:54:26,840
Like I've said, it's so, so 
brilliant. 

2442
01:54:26,840 --> 01:54:29,840
I've been saving these and just 
these little bits of dialogue 

2443
01:54:29,840 --> 01:54:32,600
and like I'll show you, fires 
our friend and lights it boils 

2444
01:54:32,600 --> 01:54:34,640
got his thumb out, so he 
mistakes his thumb for the 

2445
01:54:34,640 --> 01:54:35,760
cigar. 
Brilliant. 

2446
01:54:36,160 --> 01:54:38,720
And he's just when he goes, 
don't inhale into the tip close.

2447
01:54:38,800 --> 01:54:41,120
I love that. 
Just giving them advice. 

2448
01:54:41,120 --> 01:54:43,640
Don't inhale till the tip close.
It's like, well, how do you know

2449
01:54:43,640 --> 01:54:45,400
that the tips going to glory of 
your blind. 

2450
01:54:45,520 --> 01:54:48,240
Man like. 
All of these, the depth to this 

2451
01:54:48,240 --> 01:54:50,760
performance is absolutely 
brilliant, but lightning is 

2452
01:54:50,760 --> 01:54:52,800
still on fire. 
And like I've said about Boyle, 

2453
01:54:52,800 --> 01:54:56,360
like his performance here, his 
time in here, that the length, 

2454
01:54:56,360 --> 01:54:59,720
the time he waits and he does 
this little move that I've just 

2455
01:54:59,720 --> 01:55:01,920
watched it again this afternoon 
and it's so good. 

2456
01:55:01,920 --> 01:55:04,040
He's thumbs on fire and he's 
staring at it and he goes. 

2457
01:55:05,840 --> 01:55:09,880
He just enjoys it for like a 
split second. 

2458
01:55:10,640 --> 01:55:17,360
He goes and then blows it out 
and then just start screaming. 

2459
01:55:17,720 --> 01:55:21,280
It's absolutely fantastic. 
That's him out the door and it's

2460
01:55:21,280 --> 01:55:23,880
like, come back, come back. 
That was going to make espresso.

2461
01:55:24,480 --> 01:55:27,120
Still got this. 
You got wonderful performance 

2462
01:55:27,120 --> 01:55:30,000
from Hackman. 
So nuanced, so brilliant, so out

2463
01:55:30,000 --> 01:55:31,880
of character. 
For him to come in and do this, 

2464
01:55:32,480 --> 01:55:35,520
what a scene this is. 
It's so, so funny. 

2465
01:55:35,880 --> 01:55:39,280
There's a nice bit of history 
playing out here because Peter 

2466
01:55:39,280 --> 01:55:41,760
Boyle was offered the role of 
Popeye Doyle. 

2467
01:55:41,960 --> 01:55:42,920
Yes, that's. 
Right. 

2468
01:55:42,920 --> 01:55:45,440
And he didn't take it because he
faced A backlash from his 

2469
01:55:45,440 --> 01:55:47,720
performance in Jaw and he didn't
want to play like this. 

2470
01:55:47,720 --> 01:55:50,360
Kind of like bigoted Andy. 
That's right, yeah. 

2471
01:55:50,360 --> 01:55:53,160
Gene Hackman came in, so the two
of them sharing this scene is 

2472
01:55:53,160 --> 01:55:55,040
really special. 
Yeah, this was in Bride of 

2473
01:55:55,040 --> 01:55:57,640
Frankenstein wasn't where he 
visits the blind man, that's all

2474
01:55:57,640 --> 01:55:58,280
that's. 
Right. 

2475
01:55:58,280 --> 01:56:00,840
Who's playing the violin? 
Yeah, it's like it is kind 

2476
01:56:00,840 --> 01:56:02,400
nearly shot for shot, the intro 
of it. 

2477
01:56:02,600 --> 01:56:05,520
But the way that this is played 
up is so, so brilliant. 

2478
01:56:05,880 --> 01:56:08,400
Yeah, it is. 
Yeah, that's saving Bride is 

2479
01:56:08,400 --> 01:56:11,240
crazy because they end up being 
great mates and they do end up 

2480
01:56:11,240 --> 01:56:13,880
smoking cigars together and talk
and then. 

2481
01:56:14,600 --> 01:56:16,320
Yeah. 
So yeah, like you're saying, 

2482
01:56:16,320 --> 01:56:19,640
Shane Hackman, 1974 Oscar 
winner, three times nominated, 

2483
01:56:19,800 --> 01:56:22,720
top of his game. 
Yeah, what's he doing in this? 

2484
01:56:23,200 --> 01:56:24,040
It's crazy. 
So. 

2485
01:56:24,120 --> 01:56:26,480
Pleased he's in it. 
Well, the reason he's in is 

2486
01:56:26,480 --> 01:56:29,360
because of tennis, because 
Hackman and Wilder were 

2487
01:56:29,360 --> 01:56:32,280
occasional tennis partners, and 
Hackman heard about the film 

2488
01:56:32,280 --> 01:56:34,800
through their games together. 
He told Wilder he'd been wanting

2489
01:56:34,800 --> 01:56:37,560
to try a comedy for a while and 
he basically begged for a part, 

2490
01:56:38,040 --> 01:56:40,480
and he actually said he'd play 
the blind hermit for free if it 

2491
01:56:40,480 --> 01:56:42,840
bent he got to do it. 
Which, of course, is exactly 

2492
01:56:42,840 --> 01:56:45,200
what he ended up doing. 
Yeah, allegedly he didn't get 

2493
01:56:45,200 --> 01:56:47,840
paid for it. 
But he isn't like I was saying 

2494
01:56:47,840 --> 01:56:50,520
this, the wide shot seemed to be
quite well played out, but there

2495
01:56:50,520 --> 01:56:52,080
seems to be a little bit 
something wrong with the 

2496
01:56:52,080 --> 01:56:53,880
close-ups. 
And I think that's due to there 

2497
01:56:53,880 --> 01:56:56,840
was some reshoots required due 
to make up continuity issues. 

2498
01:56:56,840 --> 01:56:58,920
Hackman wasn't available for 
those. 

2499
01:56:58,920 --> 01:57:01,240
So for example, the hand spill 
in the soup is Brooks. 

2500
01:57:01,280 --> 01:57:03,680
So I think there would have been
a couple more of them close-ups 

2501
01:57:03,680 --> 01:57:06,800
where it's it's Brooks involved.
Yeah, Peter Boyle wore a 

2502
01:57:06,800 --> 01:57:10,120
protective cup during this 
moment to protect his vital 

2503
01:57:10,120 --> 01:57:12,240
areas. 
Yeah, just fair enough. 

2504
01:57:12,240 --> 01:57:15,000
Just just. 
Make it cold, yeah. 

2505
01:57:15,760 --> 01:57:18,120
Yeah, just make it cold. 
Dry, I thought as I mean. 

2506
01:57:18,200 --> 01:57:21,600
Yeah, yeah. 
The the final line is just so, 

2507
01:57:21,600 --> 01:57:23,000
so funny. 
I was going to make espresso. 

2508
01:57:23,160 --> 01:57:25,600
Yeah, it is the bit that 
everyone remembers Hackman 

2509
01:57:25,600 --> 01:57:28,920
screaming like, where are you 
going before tenderly saying I 

2510
01:57:28,920 --> 01:57:31,640
was going to make espresso. 
That line was an ad Lib by 

2511
01:57:31,640 --> 01:57:33,680
Hackman and everyone just fell 
about laughing with it. 

2512
01:57:34,960 --> 01:57:37,040
Yeah. 
And the reason the scene fits to

2513
01:57:37,040 --> 01:57:40,320
blacks or abruptly straight 
after is because Hackman could 

2514
01:57:40,360 --> 01:57:42,480
only deliver that line once 
without breaking. 

2515
01:57:42,840 --> 01:57:45,920
Everyone felt about laughing. 
No choice, but he used the first

2516
01:57:45,920 --> 01:57:47,000
take. 
Oh, amazing. 

2517
01:57:47,160 --> 01:57:48,400
Even Hackman could pull it 
together. 

2518
01:57:48,440 --> 01:57:51,640
Yeah, yeah. 
Such a special scene, though. 

2519
01:57:51,640 --> 01:57:54,240
Yeah, super. 
And after the monster smashes 

2520
01:57:54,240 --> 01:57:57,000
down the blind man's door, he's 
left to roam the streets, 

2521
01:57:57,360 --> 01:57:59,800
following the lonesome sound of 
the violin that he loves so 

2522
01:57:59,800 --> 01:58:01,200
much. 
But it's a trap, and he's 

2523
01:58:01,200 --> 01:58:03,360
knocked out yet again by 
Frederick Inger. 

2524
01:58:03,360 --> 01:58:06,360
And I go, and there's a 
beautiful scene where the 

2525
01:58:06,360 --> 01:58:08,320
monster is chained open. 
Frederick is doing the 

2526
01:58:08,320 --> 01:58:11,240
honourable thing. 
He's going in there because love

2527
01:58:11,240 --> 01:58:13,520
is the only thing that can save 
that creature. 

2528
01:58:15,120 --> 01:58:18,440
He gives explicit instructions 
not to open the door, even at 

2529
01:58:18,440 --> 01:58:21,640
the cost of his own life. 
But as soon as that monster 

2530
01:58:21,640 --> 01:58:24,920
wakes up he turns his tail and 
is pleading at the door 

2531
01:58:24,920 --> 01:58:30,080
whispering like let me out, get 
me the hell out of here and open

2532
01:58:30,080 --> 01:58:32,440
the God damn door I'll kick a 
rotten heads in. 

2533
01:58:33,760 --> 01:58:35,320
You don't know a joke when you 
hear 1 SO. 

2534
01:58:39,440 --> 01:58:42,360
When that doesn't work, he 
appeals to the monsters need for

2535
01:58:42,360 --> 01:58:46,640
love and he starts off so 
beautifully there's at least 7 

2536
01:58:46,640 --> 01:58:49,840
seconds of silence while he's 
thinking on his feet and then 

2537
01:58:51,160 --> 01:58:58,720
hello handsome and the cuts to 
pollute is that classic thing of

2538
01:58:58,720 --> 01:59:01,240
looking around the room for the 
the handsome person that he's 

2539
01:59:01,240 --> 01:59:02,600
speaking. 
About Brilliant. 

2540
01:59:03,240 --> 01:59:04,680
Brilliant. 
You're a good looking fellow, 

2541
01:59:04,680 --> 01:59:07,920
you know that. 
And then Wilder goes on this 

2542
01:59:07,920 --> 01:59:12,040
outrageous speech about 
jealousy, The Olympian ideal and

2543
01:59:12,040 --> 01:59:15,560
that the monster isn't evil. 
Frederick cradling his face in 

2544
01:59:15,560 --> 01:59:18,920
his hands, kissing his 
extraordinary big forehead. 

2545
01:59:19,680 --> 01:59:22,720
And this is the two sides of 
Wilder that is evident 

2546
01:59:22,720 --> 01:59:25,640
throughout the film. 
He's able to easily portray like

2547
01:59:25,640 --> 01:59:30,040
this tender whisper right next 
to absolute wide eyed mania. 

2548
01:59:30,040 --> 01:59:32,560
Yeah. 
When he's talking about showing 

2549
01:59:32,560 --> 01:59:34,880
everybody that he can walk, that
they're going to make the 

2550
01:59:34,880 --> 01:59:37,880
greatest single contribution to 
science since the creation of 

2551
01:59:37,880 --> 01:59:39,840
fire. 
Look at Peter Boyle's face in 

2552
01:59:39,840 --> 01:59:42,000
that moment. 
He's completely puzzled by 

2553
01:59:42,000 --> 01:59:44,200
what's going on. 
He stopped crying, and his eyes 

2554
01:59:44,200 --> 01:59:46,040
are just looking around, like, 
what the fuck? 

2555
01:59:49,240 --> 01:59:52,760
And it finished the scene of 
Wilder really, really tops out 

2556
01:59:52,920 --> 01:59:56,200
when he's screaming that his 
name is Frankenstein, not 

2557
01:59:56,200 --> 01:59:57,120
Frankenstein. 
Yeah. 

2558
01:59:57,560 --> 02:00:00,360
And you can see the vein in his 
forehead bulging. 

2559
02:00:00,680 --> 02:00:03,600
He's shouting so hard. 
Absolute conviction in that 

2560
02:00:03,600 --> 02:00:04,600
performance. 
Yeah. 

2561
02:00:05,120 --> 02:00:07,600
And there's another performance 
with conviction coming right 

2562
02:00:07,600 --> 02:00:09,160
after this. 
Isn't that right, man? 

2563
02:00:09,600 --> 02:00:12,960
There certainly is. 
I mean, this scene, this musical

2564
02:00:12,960 --> 02:00:17,160
performance, like one of the 
incredible things about the 

2565
02:00:17,160 --> 02:00:20,440
scene, maybe the most, is that 
this is defined that song 

2566
02:00:20,440 --> 02:00:22,080
forever. 
I mean. 

2567
02:00:22,600 --> 02:00:26,400
This song is written by Irvin 
Berlin, one of the greatest ever

2568
02:00:26,400 --> 02:00:29,560
songwriters. 
One of his signature songs, and 

2569
02:00:29,560 --> 02:00:33,400
you cannot do a proper straight 
face rendition of that song. 

2570
02:00:33,400 --> 02:00:36,400
Now, you can't do it because you
can try, but people will just be

2571
02:00:36,400 --> 02:00:41,600
expecting you to go in the 
middle of it or they'll do it 

2572
02:00:41,600 --> 02:00:44,040
and put you off. 
That's how good this scene is. 

2573
02:00:44,200 --> 02:00:47,200
And when it comes along, it's so
unexpected because it is that 

2574
02:00:47,200 --> 02:00:50,120
cliched Frankenstein moment 
where Frankenstein is going to 

2575
02:00:50,120 --> 02:00:52,760
demonstrate how this creature is
intelligent and it's not a 

2576
02:00:52,760 --> 02:00:54,520
monster. 
So how's he going to do that 

2577
02:00:54,520 --> 02:00:56,280
here? 
Oh, right, the song and dance. 

2578
02:00:56,280 --> 02:00:58,840
No, but is it? 
I mean, it just comes out of 

2579
02:00:58,840 --> 02:01:01,520
nowhere. 
Everyone in that theatre is so 

2580
02:01:01,520 --> 02:01:05,320
like enraptured and on edge as 
to what they're going to see in,

2581
02:01:05,320 --> 02:01:08,200
I mean, wild in this because 
Frederick is so pompous and 

2582
02:01:08,200 --> 02:01:12,160
pretentious as ever until he 
says, may I now present a 

2583
02:01:12,160 --> 02:01:16,560
cultured, sophisticated man 
about town and then straight 

2584
02:01:16,560 --> 02:01:20,120
into it. 
Like then straight into it and 

2585
02:01:20,120 --> 02:01:22,960
the creature, I mean, it just 
goes from stomping on the floor 

2586
02:01:22,960 --> 02:01:26,880
to being surprisingly light on 
his feet at times and getting 

2587
02:01:26,880 --> 02:01:28,720
in. 
And I love that moment when 

2588
02:01:28,720 --> 02:01:31,720
Frederick just chucks him under 
the chin because he's so proud 

2589
02:01:31,720 --> 02:01:33,240
of him, like. 
You. 

2590
02:01:33,360 --> 02:01:39,640
I love him. 
And it's all going so well in 

2591
02:01:39,640 --> 02:01:42,280
the audience loving until that 
bull breaks and the creature 

2592
02:01:42,280 --> 02:01:44,600
starts freaking out. 
But like, how quickly does that 

2593
02:01:44,600 --> 02:01:47,520
audience turn on him though? 
Oh, we're not having it now. 

2594
02:01:47,800 --> 02:01:49,320
We'll love new. 
Like 10 seconds ago. 

2595
02:01:49,320 --> 02:01:51,160
And where did we get the 
cabbages from? 

2596
02:01:52,440 --> 02:01:54,040
Like just don't bring the 
cabbages. 

2597
02:01:54,160 --> 02:01:58,400
In case of crap, yeah, just. 
Stage dive into the audience. 

2598
02:02:00,320 --> 02:02:01,880
It's where Wilder just keeps 
going. 

2599
02:02:02,240 --> 02:02:08,120
Yeah, yeah, with the cane. 
Maybe look stupid. 

2600
02:02:09,400 --> 02:02:12,800
Maybe look like a fool. 
Yeah, I mean, in terms of 

2601
02:02:12,800 --> 02:02:14,760
comedy, it's as iconic as it 
gets and for good. 

2602
02:02:14,760 --> 02:02:17,120
Reason superb. 
Oh, it's amazing. 

2603
02:02:18,360 --> 02:02:20,560
Yeah. 
But unbelievably, Brooks didn't 

2604
02:02:20,560 --> 02:02:22,480
want to put this sequence in the
film. 

2605
02:02:22,480 --> 02:02:24,920
It's crazy. 
Wilder wrote it into the script 

2606
02:02:24,920 --> 02:02:27,280
really early. 
Brooks read it, and he was 

2607
02:02:27,280 --> 02:02:29,560
absolutely horrified. 
He thought it was just far too 

2608
02:02:29,560 --> 02:02:30,840
silly. 
I mean, this is Mel Brooks 

2609
02:02:30,840 --> 02:02:33,920
saying this is far too silly. 
Yeah, his pitch back to Wilder 

2610
02:02:33,920 --> 02:02:36,560
was this, but saluting. 
Mary Shelley was saluting. 

2611
02:02:36,560 --> 02:02:39,800
James Whale was saluting 
Universal Pictures, sweating 

2612
02:02:39,800 --> 02:02:42,200
stones, castles, lightning 
laboratories. 

2613
02:02:42,200 --> 02:02:45,080
If we have the monster sing and 
dance, it'll just become silly 

2614
02:02:45,080 --> 02:02:47,360
and tear the whole tone of the 
pitcher in half. 

2615
02:02:48,120 --> 02:02:49,280
I can understand where he's 
coming. 

2616
02:02:49,280 --> 02:02:50,880
From on the page it would have 
seen that way. 

2617
02:02:50,880 --> 02:02:53,880
Definitely. 
But Wilder understandably fought

2618
02:02:53,880 --> 02:02:56,280
him really hard on it. 
According to him, he argued for 

2619
02:02:56,280 --> 02:02:58,520
about 20 minutes until he was 
red in the face. 

2620
02:02:58,520 --> 02:03:01,040
And then suddenly Brooks just 
said, OK, it's in. 

2621
02:03:01,040 --> 02:03:03,080
And Wilder said, why did you put
me through that? 

2622
02:03:03,080 --> 02:03:05,800
And Brooks, his reply was 
because I wasn't sure if he was 

2623
02:03:05,800 --> 02:03:07,960
right or not. 
But I knew if you didn't fight 

2624
02:03:07,960 --> 02:03:10,920
for it, it'd be wrong. 
And if you really argued, I knew

2625
02:03:10,920 --> 02:03:13,080
it was right. 
And Brooks has actually told 

2626
02:03:13,080 --> 02:03:16,600
that story slightly differently.
In his version, he made a deal 

2627
02:03:16,600 --> 02:03:18,920
with Wilder. 
We'll shoot it, but when you see

2628
02:03:18,920 --> 02:03:21,840
it cut together with the rest of
the film and the dailies, you'll

2629
02:03:21,840 --> 02:03:24,080
want to cut it yourself. 
So they shot it. 

2630
02:03:24,080 --> 02:03:26,240
And of course, when Brooks 
watched the dailies, he 

2631
02:03:26,240 --> 02:03:28,600
immediately knew it was the best
scene in the entire film. 

2632
02:03:29,760 --> 02:03:32,800
He said he later apologized 
profusely the Wilder on opening 

2633
02:03:32,800 --> 02:03:34,600
night. 
Yeah, great. 

2634
02:03:35,080 --> 02:03:37,320
When filming the scene, they had
no idea what the monster was 

2635
02:03:37,320 --> 02:03:38,880
going to do for the actual 
lyrics. 

2636
02:03:38,880 --> 02:03:41,000
Bowl had to make a decision in 
the moment. 

2637
02:03:41,280 --> 02:03:42,840
Yeah. 
And what came out of his mouth 

2638
02:03:42,840 --> 02:03:49,520
was that that's so funny. 
It never feels to get a laugh 

2639
02:03:49,520 --> 02:03:53,400
from me that a confident man 
about town. 

2640
02:03:53,400 --> 02:03:58,920
And that's his singing voice. 
And knowing how funny the scene 

2641
02:03:58,920 --> 02:04:02,280
was, Brooks reportedly warned 
the extras that anyone who'd 

2642
02:04:02,280 --> 02:04:04,000
broken a laughter would be 
arrested. 

2643
02:04:04,440 --> 02:04:07,280
Arrested. 
Not fire arrested. 

2644
02:04:09,960 --> 02:04:12,440
So instead of presenting A 
cultured, sophisticated man 

2645
02:04:12,440 --> 02:04:15,200
about town, Frederick's 
experiment is in tatters and the

2646
02:04:15,200 --> 02:04:18,120
monster is captive yet again. 
Yet again. 

2647
02:04:21,280 --> 02:04:24,560
The final stretch of the film 
sees Frederick's financier 

2648
02:04:25,200 --> 02:04:29,680
financier Elizabeth show up 
unannounced before being taken 

2649
02:04:29,680 --> 02:04:32,040
by the monster who has escaped 
yet again. 

2650
02:04:32,760 --> 02:04:35,120
And we're riding the terrain 
right to the end as Frankenstein

2651
02:04:35,120 --> 02:04:37,680
and his monster trade certain 
assets. 

2652
02:04:37,760 --> 02:04:40,520
Shall we say yes? 
Over to you first man. 

2653
02:04:40,720 --> 02:04:44,120
Yeah, I mean, I said in the 
writing, I think there's moments

2654
02:04:44,120 --> 02:04:46,760
in this film that are definitely
more Mel Brooks than Gene 

2655
02:04:46,760 --> 02:04:50,080
Wilder, and this is 100% one of 
them. 

2656
02:04:50,080 --> 02:04:53,200
The creature's got Elizabeth. 
It's maintenance move on her so 

2657
02:04:53,200 --> 02:04:55,560
I can really medicine. 
She's initially terrified, as 

2658
02:04:55,560 --> 02:04:58,480
she would be, until she realizes
what he's packing. 

2659
02:04:59,040 --> 02:05:03,080
And it's like, yes, Mel, I get 
it, he's got an enormous French 

2660
02:05:03,080 --> 02:05:05,320
Tucker. 
Yes, that's the level you're 

2661
02:05:05,320 --> 02:05:07,120
going for. 
That tends to be his level a lot

2662
02:05:07,120 --> 02:05:09,000
of the time. 
And it's moment, I'll be honest,

2663
02:05:09,120 --> 02:05:11,800
it doesn't really land for me 
all that well compared to 

2664
02:05:11,800 --> 02:05:13,320
everything else, which is really
clever. 

2665
02:05:13,560 --> 02:05:17,080
What rescues it though is again 
just how good Madeline Khan is. 

2666
02:05:17,080 --> 02:05:20,280
I mean she can make any scene 
funny, like when that violin 

2667
02:05:20,280 --> 02:05:22,720
strikes up in the distance and 
having the post coital 

2668
02:05:22,720 --> 02:05:26,560
cigarettes and he goes off 
towards it like her reaction. 

2669
02:05:26,640 --> 02:05:29,400
You men are all alike, 7 or 8 
quick ones, you know, with the 

2670
02:05:29,400 --> 02:05:31,960
boys to boss to brag. 
You better keep your mouth shut.

2671
02:05:32,440 --> 02:05:34,640
Oh, I think I love him. 
Just. 

2672
02:05:35,960 --> 02:05:38,240
Tawdi rescues this scene for me.
She does. 

2673
02:05:38,560 --> 02:05:40,640
Yeah. 
Yeah, she was a trained singer 

2674
02:05:40,640 --> 02:05:43,240
with a great ear for music and 
probably have a room to make 

2675
02:05:43,240 --> 02:05:45,440
some of her own choices on the 
musical moment. 

2676
02:05:45,920 --> 02:05:48,680
The big song, the song a 
character sings after an 

2677
02:05:48,680 --> 02:05:50,640
encounter with the monster or 
during the Incarnate of the 

2678
02:05:50,640 --> 02:05:53,040
Morrison, was originally going 
to be cheek to cheek. 

2679
02:05:56,600 --> 02:05:58,360
It was. 
Khan pushed for Our Sweet 

2680
02:05:58,360 --> 02:06:01,200
Mystery of Life instead, 
specifically because she wanted 

2681
02:06:01,200 --> 02:06:03,960
a song that opened with an AH 
sound. 

2682
02:06:04,880 --> 02:06:09,560
Right, which makes it funny. 
It does. 

2683
02:06:09,560 --> 02:06:11,720
Yeah, yeah, yeah. 
And then after this, into the 

2684
02:06:11,720 --> 02:06:14,720
moment where the monster is 
lured back to the castle, 

2685
02:06:15,040 --> 02:06:19,920
knocked out clean again, chained
up again, but this time with the

2686
02:06:19,920 --> 02:06:23,720
plan to equalize the imbalance 
in his cerebral spinal fluid. 

2687
02:06:24,040 --> 02:06:27,160
And he'll be as right as rain. 
Another scene which looks 

2688
02:06:27,160 --> 02:06:29,680
incredibly authentic. 
Ken Strick Faden's gizmos and 

2689
02:06:29,680 --> 02:06:32,320
gadgets doing backflips and 
electricity bouncing around them

2690
02:06:32,560 --> 02:06:35,280
with Angle furiously flicking 
switches and turning knobs. 

2691
02:06:35,560 --> 02:06:37,920
It may be a little confusing 
what's actually happening here 

2692
02:06:37,920 --> 02:06:42,320
on 1st Watch, 2nd, 3rd, 4th, 5th
Watch, but it looks incredible. 

2693
02:06:42,320 --> 02:06:45,520
Yeah, and it's great to see 
Inspector Kemp for one more 

2694
02:06:45,520 --> 02:06:49,840
scene, bursting through the door
with some angry villages using 

2695
02:06:49,840 --> 02:06:52,960
his wooden arm as a battery 
around and ruining the equipment

2696
02:06:57,720 --> 02:06:59,880
put the monster stuffs into 
their tracks with. 

2697
02:07:01,040 --> 02:07:02,680
Who are you? 
I am the monster. 

2698
02:07:02,800 --> 02:07:04,320
Yes, yes, I can see you are the 
monster. 

2699
02:07:07,160 --> 02:07:09,520
But he's got this really 
articulate speech about love and

2700
02:07:09,520 --> 02:07:13,040
loneliness and his creator. 
And with that, Kemp's former 

2701
02:07:13,040 --> 02:07:15,120
sharpness is completely 
blundered. 

2702
02:07:15,360 --> 02:07:18,080
This has been his task. 
This is his job. 

2703
02:07:18,280 --> 02:07:21,000
And as soon as the monster 
starts talking, all of that's 

2704
02:07:21,000 --> 02:07:22,720
forgotten. 
Immediately. 

2705
02:07:24,160 --> 02:07:28,040
He offers his hand in friendship
and it's an obvious gag, but 

2706
02:07:28,040 --> 02:07:30,960
it's a really hilarious moment 
when the monster pulls it off 

2707
02:07:30,960 --> 02:07:32,360
and that popping the sound 
effect. 

2708
02:07:33,240 --> 02:07:41,480
Oh shit, to the lumber yard. 
During the transference scene, 

2709
02:07:41,480 --> 02:07:43,640
the monster becomes an 
articulate thinker. 

2710
02:07:44,080 --> 02:07:46,840
This was more in line with Mary 
Shelley's original novel than 

2711
02:07:46,840 --> 02:07:49,400
the Universal films. 
In the book, the monster is 

2712
02:07:49,400 --> 02:07:51,280
articulate and can read and 
write. 

2713
02:07:51,560 --> 02:07:54,920
Yeah, I think he also asks 
Frankenstein to make him a mate 

2714
02:07:54,920 --> 02:07:57,400
as well. 
Yeah, which is where the the 

2715
02:07:57,400 --> 02:07:59,240
premise for Bride of 
Frankenstein comes from. 

2716
02:07:59,440 --> 02:08:02,800
Yeah, so that's pretty much it. 
And we're at the end of the film

2717
02:08:02,920 --> 02:08:05,640
and we have, you know, the 
monster becomes an articulate 

2718
02:08:05,640 --> 02:08:09,040
thinker. 
So what Frederick going to 

2719
02:08:09,040 --> 02:08:10,800
become? 
We shall see. 

2720
02:08:10,960 --> 02:08:12,920
What could he possibly have got 
from the monster? 

2721
02:08:12,920 --> 02:08:16,320
I wonder, and I wonder if this 
is Mel Brooks input because what

2722
02:08:16,320 --> 02:08:18,360
a strange way to end the film. 
But it is great. 

2723
02:08:18,520 --> 02:08:22,120
It's just very strange that the 
lady said, we've had all of 

2724
02:08:22,120 --> 02:08:25,960
these really wonderful moments. 
And I feel like Wilde has got to

2725
02:08:25,960 --> 02:08:28,080
the point now where he's like, 
you know, what I've said, what 

2726
02:08:28,080 --> 02:08:31,280
I've wanted to say, I've pulled 
this off, let Mel have the last 

2727
02:08:31,640 --> 02:08:33,760
three minutes of the film or 
whatever else. 

2728
02:08:33,880 --> 02:08:37,560
It all feels a little bit tacked
on, you know, keep the hat on 

2729
02:08:37,560 --> 02:08:40,080
type of thing. 
It's just we've lost all of this

2730
02:08:40,200 --> 02:08:42,680
intelligence that we've built up
all the way through the film. 

2731
02:08:42,800 --> 02:08:45,160
It just seems to be like, oh, 
we'll just tape this on the end 

2732
02:08:45,160 --> 02:08:48,800
of it then, you know, and that 
push in right at the end of the 

2733
02:08:48,800 --> 02:08:50,680
eyes just seems a little bit 
last minute. 

2734
02:08:50,680 --> 02:08:52,800
That doesn't seem planned at 
all, it seems. 

2735
02:08:52,800 --> 02:08:55,240
Does feel a little less. 
I think it's quite unsettling. 

2736
02:08:55,240 --> 02:08:57,840
I think it's probably the most 
scary moment in the film. 

2737
02:08:57,920 --> 02:08:59,960
Yeah, you're right. 
It feels sloppy. 

2738
02:09:00,040 --> 02:09:02,360
It feels really sloppy 
considering what we've been 

2739
02:09:02,360 --> 02:09:05,080
through and how we thought 
through and how precise 

2740
02:09:05,080 --> 02:09:06,840
everything has been up until 
that moment. 

2741
02:09:07,000 --> 02:09:09,200
I do love that cut. 
Do I go sitting on the roof 

2742
02:09:09,200 --> 02:09:11,840
playing that massive horn thing?
That's really funny. 

2743
02:09:11,840 --> 02:09:14,320
That's brilliant. 
I would just like to have end on

2744
02:09:14,320 --> 02:09:16,360
that. 
Like you could imply that 

2745
02:09:16,360 --> 02:09:18,680
without them getting into bed 
and then, you know, that just 

2746
02:09:18,680 --> 02:09:20,160
goes a little bit too far for 
me. 

2747
02:09:20,160 --> 02:09:23,080
But cut to the fire. 
Her singing, wonderful. 

2748
02:09:23,120 --> 02:09:26,320
That's great. 
You know, it's, it does work on 

2749
02:09:26,320 --> 02:09:29,680
on certain levels, but it's not 
the level that we've been used 

2750
02:09:30,400 --> 02:09:31,760
to. 
Yeah, you know what I mean. 

2751
02:09:32,200 --> 02:09:35,360
I'm not wild about this at all. 
They've left the back door open 

2752
02:09:35,440 --> 02:09:37,880
I think a little bit and it's 
just the breeze has got in and 

2753
02:09:37,880 --> 02:09:40,280
it's, it's not, it's not as 
comfortable as I have been 

2754
02:09:40,280 --> 02:09:44,320
throughout the whole film. 
It is fine, but it feels like 

2755
02:09:44,320 --> 02:09:47,960
something I could have written 
and I didn't want to feel like 

2756
02:09:47,960 --> 02:09:49,440
that. 
Yeah, yeah, I know what you 

2757
02:09:49,440 --> 02:09:51,920
mean. 
And Madeline Khan's Elizabeth in

2758
02:09:51,920 --> 02:09:55,160
the final reveal in a wedding 
nightgown with a vertical white 

2759
02:09:55,160 --> 02:09:59,600
St. towering beehive wig, is a 
homage to Elta Lanchester's 

2760
02:09:59,600 --> 02:10:01,480
bride Frankenstein. 
Yeah, yeah. 

2761
02:10:01,800 --> 02:10:04,440
Yeah. 
And I think that her performance

2762
02:10:04,440 --> 02:10:06,720
goes rescuer, to be honest, 
because she's. 

2763
02:10:06,720 --> 02:10:11,680
Going to slip us off yeah, it's 
all good. 

2764
02:10:11,760 --> 02:10:14,280
That was really funny I would 
have preferred to just end on 

2765
02:10:14,280 --> 02:10:14,960
that, to be honest. 
I. 

2766
02:10:15,360 --> 02:10:17,920
Would Yeah. 
So Frederick and Inga are 

2767
02:10:17,920 --> 02:10:19,960
together at last. 
The Monster and Elizabeth are 

2768
02:10:19,960 --> 02:10:22,280
together, but for how long? 
Considering his lack of 

2769
02:10:22,440 --> 02:10:25,960
equipment, we don't know. 
A satisfying, weird, rappable 

2770
02:10:25,960 --> 02:10:28,360
classic comedy. 
It's a weird end of. 

2771
02:10:28,360 --> 02:10:30,080
It's a weird. 
End of Yeah. 

2772
02:10:30,160 --> 02:10:33,400
Yeah, satisfying for Inga. 
Yes, she's very satisfied. 

2773
02:10:33,400 --> 02:10:39,360
Yes, clearly somebody satisfied.
Yeah, reception and awards. 

2774
02:10:41,880 --> 02:10:43,880
The first cut of Young 
Frankenstein was a fairly 

2775
02:10:43,880 --> 02:10:46,120
serious problem. 
Brooks screened a rough cut on 

2776
02:10:46,120 --> 02:10:48,760
the Fox lot that ran over 2 
hours and 20 minutes. 

2777
02:10:49,040 --> 02:10:51,800
The audience were restless, the 
laps were patchy, and Brooks 

2778
02:10:51,800 --> 02:10:55,840
knew he had a lot of work to do.
And Brooks closed that showing 

2779
02:10:55,840 --> 02:10:59,120
by saying, ladies and gentlemen,
you've just seen a two hour and 

2780
02:10:59,120 --> 02:11:02,760
20 minute failure in less than 
three weeks or you're back here 

2781
02:11:02,760 --> 02:11:04,800
to see a 95 minute smash It 
movie. 

2782
02:11:05,040 --> 02:11:07,000
And then he locked himself in 
the cutting room with this 

2783
02:11:07,000 --> 02:11:08,680
editor, John Howard. 
Wow. 

2784
02:11:08,920 --> 02:11:11,720
What Brooks realized in there 
was that the film actually had 

2785
02:11:11,720 --> 02:11:14,960
too much comedy in it, joke 
after joke after joke with no 

2786
02:11:14,960 --> 02:11:17,640
breathing room. 
So he started cutting you, 

2787
02:11:17,640 --> 02:11:20,360
removed the weaker jokes and 
spaced out the moments where he 

2788
02:11:20,360 --> 02:11:23,240
wanted the audience to relax. 
He said it was about getting the

2789
02:11:23,240 --> 02:11:25,360
rhythm of the movie right. 
Absolutely. 

2790
02:11:25,440 --> 02:11:26,520
Yeah. 
For the best. 

2791
02:11:26,560 --> 02:11:28,880
Yeah, definitely. 
He didn't do all the editing 

2792
02:11:28,880 --> 02:11:30,640
work in a single month of the 
Fox lot. 

2793
02:11:30,640 --> 02:11:33,280
He took the rough cut to 
multiple cities, ran four or 

2794
02:11:33,280 --> 02:11:36,280
five different test screenings, 
took notes after each one. 

2795
02:11:36,280 --> 02:11:38,880
So the process was edit screen, 
edit screen, edit screen, edit 

2796
02:11:38,880 --> 02:11:40,280
screen until he tightened the 
write up. 

2797
02:11:40,360 --> 02:11:41,000
Right. 
Good. 

2798
02:11:41,040 --> 02:11:42,920
Yeah. 
Young Frankenstein was made for 

2799
02:11:42,920 --> 02:11:47,160
2.78 million. 
It opened in mid-december 1974, 

2800
02:11:47,160 --> 02:11:50,080
in the same week as The Tower, 
Inferno and The Godfather Part 

2801
02:11:50,080 --> 02:11:53,920
2, and it cleaned up. 
The final domestic gross was 

2802
02:11:53,960 --> 02:11:57,760
86.2 million. 
Really, really good. 

2803
02:11:58,280 --> 02:12:01,520
Massive. 
And this made 1974 a unique year

2804
02:12:01,520 --> 02:12:03,600
for Mel Brooks and for Hollywood
in general. 

2805
02:12:03,960 --> 02:12:06,800
Blazing Saddles came out in 
February, Young Frankenstein 

2806
02:12:06,800 --> 02:12:09,320
came out in December. 
So within a single calendar 

2807
02:12:09,320 --> 02:12:12,880
year, he had two films finished 
in the top five with the US box 

2808
02:12:12,880 --> 02:12:18,640
office, Blazing Saddles at #1 
with $119.6 million and Young 

2809
02:12:18,640 --> 02:12:22,560
Frankenstein and #4 with, as 
we've said, $86.2 million. 

2810
02:12:22,760 --> 02:12:24,760
Wow, hot property Brooks. 
Yeah. 

2811
02:12:25,240 --> 02:12:28,360
Yeah, hot property. 
This is the first, and today the

2812
02:12:28,360 --> 02:12:31,240
last time that a director has 
had two films in the top five 

2813
02:12:31,240 --> 02:12:32,600
box office hits in the same 
year. 

2814
02:12:32,760 --> 02:12:33,760
Wow. 
Oh really? 

2815
02:12:33,760 --> 02:12:34,640
Wow. 
That's impressive. 

2816
02:12:34,840 --> 02:12:36,880
Can't see that huge done again, 
no. 

2817
02:12:37,080 --> 02:12:39,640
Surely not, no. 
I was stunned when I read that. 

2818
02:12:39,640 --> 02:12:42,240
I mean, that is a real record 
breaker. 

2819
02:12:42,280 --> 02:12:43,280
Yeah, it really is. 
Yeah. 

2820
02:12:43,880 --> 02:12:46,360
Spiegelberg doing Jurassic Park 
and Schindler's List in the same

2821
02:12:46,360 --> 02:12:47,480
year. 
Yeah, it is. 

2822
02:12:47,480 --> 02:12:49,320
Yeah. 
I mean, that is the greatest 

2823
02:12:49,320 --> 02:12:51,360
achievement ever as far as I'm 
concerned in. 

2824
02:12:51,440 --> 02:12:53,640
Yeah, Yeah. 
But Schindler's List, I came, I 

2825
02:12:53,640 --> 02:12:56,360
think it got pipped by Mrs. 
Doubtfire, so it wasn't in the 

2826
02:12:56,360 --> 02:12:57,960
top five. 
Yeah, wow. 

2827
02:12:58,680 --> 02:13:01,720
Amazing. 
The film was very well received 

2828
02:13:01,720 --> 02:13:05,120
critically and that right Matt. 
It was Pauline Kael, in her 

2829
02:13:05,120 --> 02:13:08,680
review, said the movie works 
because it has the Mary Shelley 

2830
02:13:08,680 --> 02:13:11,440
story to lean on. 
We know that the monster will be

2831
02:13:11,440 --> 02:13:14,280
created and will get loose, and 
Brooks makes a leap up as a 

2832
02:13:14,280 --> 02:13:17,320
director because although the 
comedy doesn't build, he carries

2833
02:13:17,320 --> 02:13:20,120
the story through. 
Absolutely agreed, Pauline. 

2834
02:13:20,720 --> 02:13:23,200
Yeah, definitely. 
And Vincent can be right in the 

2835
02:13:23,200 --> 02:13:26,640
New York Times, said Mel Brooks.
Funniest, most cohesive comedy 

2836
02:13:26,640 --> 02:13:28,240
to date. 
It will be misleading to 

2837
02:13:28,240 --> 02:13:31,800
describe Young Frankenstein is 
astoundingly witty, but it's a 

2838
02:13:31,800 --> 02:13:34,520
great deal of lowbrow fun of the
sort that Mister Brooks 

2839
02:13:34,520 --> 02:13:36,680
specialises in. 
He certainly does that. 

2840
02:13:36,880 --> 02:13:39,080
Yeah. 
And finally, our man in the 

2841
02:13:39,080 --> 02:13:42,240
fields, Roger Ebert. 
What do you think he gave Young 

2842
02:13:42,240 --> 02:13:47,280
Frankenstein out of four chaps? 
4 Let's say he loved it. 3 1/2. 

2843
02:13:47,800 --> 02:13:51,800
3 1/2 Matt out of the park. 
Oh, love it. 4 out of four. 

2844
02:13:52,320 --> 02:13:55,720
Just like that, Ebert said. 
Mel Brooks is at home with Young

2845
02:13:55,720 --> 02:13:58,040
Frankenstein, his most 
disciplined and visually 

2846
02:13:58,040 --> 02:14:00,560
invented film. 
It also happens to be very 

2847
02:14:00,560 --> 02:14:02,920
funny. 
Yes, parody films and comedies 

2848
02:14:02,920 --> 02:14:05,360
don't generally fare well at the
Academy Awards, but you know 

2849
02:14:05,400 --> 02:14:06,920
Frankenstein punched above its 
weight. 

2850
02:14:07,040 --> 02:14:10,080
It received 2O nominations. 
Best adapted screenplay for 

2851
02:14:10,080 --> 02:14:11,920
Brooks and Wilder and Best 
Sound. 

2852
02:14:12,400 --> 02:14:14,000
Right. 
Great production design. 

2853
02:14:14,000 --> 02:14:17,040
Nothing costume design, nothing 
cinematography. 

2854
02:14:17,040 --> 02:14:19,120
Photography, yeah. 
Yeah. 

2855
02:14:19,560 --> 02:14:22,960
And it did pick up nominations 
at the 1975 Golden Globes. 

2856
02:14:23,400 --> 02:14:26,240
Clovis Leachman was nominated 
for Best Actress in Musical or 

2857
02:14:26,240 --> 02:14:30,600
Comedy for Foul Blue, Her and 
Madeline Khan nominated for Best

2858
02:14:30,600 --> 02:14:32,840
Supporting Actress. 
Sadly, neither one. 

2859
02:14:33,200 --> 02:14:35,720
Slightly odd thing about that is
those nominations that can 

2860
02:14:35,760 --> 02:14:37,840
actually has more screen time 
than Leachman. 

2861
02:14:38,000 --> 02:14:40,120
Leachman is not lead, really, is
she? 

2862
02:14:40,280 --> 02:14:41,840
No, not at all. 
Not at all. 

2863
02:14:42,240 --> 02:14:44,840
In 2000, the American Film 
Institute ranked Young 

2864
02:14:44,840 --> 02:14:48,920
Frankenstein #13 on the list of 
100 Funniest American Films of 

2865
02:14:48,920 --> 02:14:52,360
All Time, and in 2003 the film 
was inducted at the Library of 

2866
02:14:52,360 --> 02:14:54,520
Congress National Film Registry.
Amazing. 

2867
02:14:54,640 --> 02:14:57,320
Yeah, so all that still 
impressing people. 

2868
02:14:58,720 --> 02:15:02,280
And now it has 95% from critics 
on Rotten Tomatoes and 92% from 

2869
02:15:02,280 --> 02:15:04,520
audiences, and eight out of 10 
on IMDb. 

2870
02:15:04,520 --> 02:15:06,520
It's a high score. 
For big numbers. 

2871
02:15:07,160 --> 02:15:09,240
So I don't think any of us are 
surprised that it didn't sweep 

2872
02:15:09,240 --> 02:15:11,200
the Oscars. 
But with a decent bit of Academy

2873
02:15:11,200 --> 02:15:13,760
recognition, positive reviews, 
and being a box office 

2874
02:15:13,760 --> 02:15:16,920
blockbuster, Young Frankenstein 
was a success on all fronts. 

2875
02:15:17,280 --> 02:15:25,600
Yes, sequels and influence. 
No sequels to Young 

2876
02:15:25,600 --> 02:15:27,800
Frankenstein, but following the 
success of his Broadway 

2877
02:15:27,800 --> 02:15:30,120
adaptation of The Producers, 
Brooks adapted Young 

2878
02:15:30,120 --> 02:15:32,160
Frankenstein for the stage in 
2007. 

2879
02:15:32,400 --> 02:15:34,720
It wasn't the cultural 
juggernaut that The Producers 

2880
02:15:34,720 --> 02:15:37,400
turned out to be, but it had a 
respectable run and picked up 3 

2881
02:15:37,400 --> 02:15:40,640
Tony nominations as well. 
Yeah, but in the years since its

2882
02:15:40,640 --> 02:15:43,360
release, where have you seen 
Young Frankenstein's influence? 

2883
02:15:43,440 --> 02:15:46,240
What do you think its legacy is?
The movie that is not the stage 

2884
02:15:46,240 --> 02:15:47,160
show, of course. 
Yes. 

2885
02:15:47,200 --> 02:15:49,760
Of course, a short conversation 
that wouldn't. 

2886
02:15:51,440 --> 02:15:53,600
I don't know, I. 
Don't know. 

2887
02:15:54,920 --> 02:15:57,120
Matt, your thoughts? 
I mean, there's just so many 

2888
02:15:57,120 --> 02:15:59,800
iconic moments in this that have
become its legacy. 

2889
02:15:59,800 --> 02:16:02,440
The blind hermit scene, putting 
on the ribs, obviously. 

2890
02:16:02,440 --> 02:16:05,240
I mean, that turned up in The 
Bride, the Maggie Gyllenhaal 

2891
02:16:05,240 --> 02:16:08,360
film from earlier this year, 
really referencing that. 

2892
02:16:08,880 --> 02:16:11,760
And I think it's one that really
established Mel Books as the 

2893
02:16:11,760 --> 02:16:13,360
modern day master of this. 
Boo for me. 

2894
02:16:13,760 --> 02:16:16,240
Blazing Saddles is part of that 
as well, of course, but 

2895
02:16:16,800 --> 02:16:19,240
everything follows on from this.
You don't have this. 

2896
02:16:19,240 --> 02:16:21,280
You don't have airplane, You 
don't have airplane, you don't 

2897
02:16:21,280 --> 02:16:24,360
have the Naked Gun, you know, 
And I think that's probably its 

2898
02:16:24,360 --> 02:16:26,200
biggest legacy. 
This is how you do a spoof. 

2899
02:16:26,520 --> 02:16:29,440
And I think also one that really
struck me just the last time I 

2900
02:16:29,440 --> 02:16:32,840
watched it, that scene, the 
charade scene, like the bit 

2901
02:16:32,840 --> 02:16:35,080
after that when he sits, I got 
down to talk to him. 

2902
02:16:35,440 --> 02:16:39,080
I will not be angry. 
That really struck me as, like, 

2903
02:16:39,080 --> 02:16:43,760
Basil Faulty and Manuel, really 
lazy man. 

2904
02:16:43,760 --> 02:16:45,400
Well, for smacking him over the 
head. 

2905
02:16:45,400 --> 02:16:46,639
Yeah. 
Yeah, that's a really. 

2906
02:16:46,639 --> 02:16:48,240
Good call. 
That's good call, yeah. 

2907
02:16:48,719 --> 02:16:52,600
Yeah, and there's another link 
from Pythons to Melrose, Mel 

2908
02:16:52,600 --> 02:16:55,840
Brooks to Pythons. 
Yeah, yeah, yeah. 

2909
02:16:55,840 --> 02:16:59,120
I mean, I can see some massive 
influence since, and I think the

2910
02:16:59,120 --> 02:17:03,120
likes of The Rocky Horror 
Picture Show that came out 75 as

2911
02:17:03,120 --> 02:17:05,480
real elements of this, 
especially the musical numbers 

2912
02:17:05,480 --> 02:17:07,879
put into it. 
Steve Martin got a hold of this.

2913
02:17:07,879 --> 02:17:10,879
You've got like the Man with two
brains that came out in 1983. 

2914
02:17:11,200 --> 02:17:13,280
I think it's. 
Very much influenced by this. 

2915
02:17:13,639 --> 02:17:15,520
And I see lots of this in 
Beetlejuice. 

2916
02:17:16,080 --> 02:17:20,200
I see right through it. 
It's very, very similar in that 

2917
02:17:20,200 --> 02:17:22,600
kind of respect. 
And then we had science, 

2918
02:17:22,600 --> 02:17:26,600
obviously a massively favorite. 
I mean, Mel Brooks made this 

2919
02:17:26,600 --> 02:17:28,240
work. 
He went back in and he recutted 

2920
02:17:28,240 --> 02:17:30,559
and he made it work. 
But the start of this, they 

2921
02:17:30,559 --> 02:17:32,440
wanted to make something because
they loved it. 

2922
02:17:33,120 --> 02:17:34,639
That's the message. 
Yeah, really. 

2923
02:17:35,080 --> 02:17:36,200
Yeah, absolutely. 
Yeah. 

2924
02:17:36,200 --> 02:17:39,040
I think the legacy, the film is 
huge and I think it works on a 

2925
02:17:39,040 --> 02:17:41,080
few levels. 
I think the it's the gold 

2926
02:17:41,080 --> 02:17:44,520
standard for genre parody. 
It's it's in the conversation of

2927
02:17:44,520 --> 02:17:46,920
one of the greatest anyone 
making a comedy that 

2928
02:17:46,920 --> 02:17:49,400
affectionately sends up a 
specific style of film making. 

2929
02:17:49,400 --> 02:17:51,040
They're all working from this 
blueprint. 

2930
02:17:51,120 --> 02:17:52,920
Yeah. 
The trick of playing it 

2931
02:17:52,920 --> 02:17:55,520
completely straight, treating 
the genre with reverence, 

2932
02:17:55,520 --> 02:17:57,760
letting the comedy grow out of 
the seriousness rather than 

2933
02:17:57,760 --> 02:18:00,920
fighting against it. 
That lesson is everybody's been 

2934
02:18:00,920 --> 02:18:02,080
studying ever since. 
Yeah. 

2935
02:18:02,760 --> 02:18:05,559
It also give us Gene Wilder, the
director a year later. 

2936
02:18:05,680 --> 02:18:07,799
Like we said, he did the 
adventures that Sherlock Holmes,

2937
02:18:07,799 --> 02:18:10,559
the Smarter brother featured 
Marty Feldman and Madeleine 

2938
02:18:10,559 --> 02:18:12,480
Khan. 
Basically the Young Frankenstein

2939
02:18:12,480 --> 02:18:15,200
gang reassembled. 
He went on to direct The World's

2940
02:18:15,200 --> 02:18:16,920
Greatest Love, then Haunted 
Honeymoon. 

2941
02:18:17,040 --> 02:18:20,160
Similar kind of thing in 86, 
again with Feldman. 

2942
02:18:20,520 --> 02:18:22,719
Mixed results on that one. 
None of them really hit the 

2943
02:18:22,719 --> 02:18:24,760
heights of Young Frankenstein, 
but you can absolutely trace 

2944
02:18:24,920 --> 02:18:27,160
Wilders direct and career back 
to what he learned watching 

2945
02:18:27,160 --> 02:18:30,559
Brooks on this set. 
Yes and also I really believe 

2946
02:18:30,559 --> 02:18:33,280
this is not tongue in cheek. 
I think it's one of the great 

2947
02:18:33,280 --> 02:18:36,559
cinematic adaptations of the 
Frankenstein story. 

2948
02:18:37,400 --> 02:18:38,600
Yeah, yeah. 
I don't see why not. 

2949
02:18:38,600 --> 02:18:40,480
Yeah. 
Yeah, I don't disagree with that

2950
02:18:40,480 --> 02:18:40,959
at all. 
Yeah. 

2951
02:18:40,959 --> 02:18:44,639
It's in the conversation of the 
19311 and Brad of Frankenstein. 

2952
02:18:44,639 --> 02:18:46,600
They put this in there with them
too. 

2953
02:18:46,879 --> 02:18:49,240
I don't think any, but anything 
else since comes close. 

2954
02:18:49,559 --> 02:18:50,200
No. 
Fair enough. 

2955
02:18:50,320 --> 02:18:52,240
No. 
So a legacy is strong now as 

2956
02:18:52,240 --> 02:18:54,400
it's ever been. 
Young Frankenstein will always 

2957
02:18:54,400 --> 02:18:56,799
be in the conversation of best 
comedy ever made. 

2958
02:18:57,120 --> 02:18:58,160
Yeah. 
It's up there, yeah. 

2959
02:19:01,680 --> 02:19:06,280
All the right movies ranking. 
Finally, it's time to rate Young

2960
02:19:06,280 --> 02:19:08,280
Frankenstein and score it out of
10. 

2961
02:19:08,639 --> 02:19:10,240
And I'm starting off here. 
It was my choice. 

2962
02:19:10,240 --> 02:19:13,719
I'm going to go Here comes. 
I was always excited to return 

2963
02:19:13,719 --> 02:19:15,879
back to this one, and I'm so 
pleased that we did. 

2964
02:19:16,160 --> 02:19:18,559
It's a film with a great 
production story with such 

2965
02:19:18,559 --> 02:19:21,240
reverence for what came before 
it, and it's often overlooked 

2966
02:19:21,240 --> 02:19:24,799
for the talent working behind 
the camera to really make the 

2967
02:19:24,799 --> 02:19:27,639
film what it is. 
It's full of some of the best 

2968
02:19:27,639 --> 02:19:29,280
comedy that Hollywood's ever 
produced. 

2969
02:19:29,280 --> 02:19:31,680
It's got one of the best comedy 
casts ever assembled. 

2970
02:19:32,160 --> 02:19:35,240
I'd argue it is the greatest 
comedy cast ever assembled. 

2971
02:19:36,200 --> 02:19:38,959
It's got one of the greatest 
comic performances ever in Gene 

2972
02:19:38,959 --> 02:19:40,959
Wilder, and it's Mel Brooks's 
best film. 

2973
02:19:41,280 --> 02:19:43,879
I mean, these things are 
stacking up here. 

2974
02:19:45,760 --> 02:19:47,760
I do have a few nickels. 
There are a couple of gags that 

2975
02:19:47,760 --> 02:19:49,800
don't land for me. 
There are a few too many nodes 

2976
02:19:49,800 --> 02:19:52,320
to the camera. 
I'm also not wholly satisfied 

2977
02:19:52,320 --> 02:19:54,960
with the notion that the monster
get away with the sexual attack 

2978
02:19:54,960 --> 02:19:56,880
because he's packing a lot of 
heat in the power zone. 

2979
02:19:57,560 --> 02:19:59,760
That leaves a bad taste. 
Fair enough. 

2980
02:20:00,440 --> 02:20:04,080
So it's not a perfect 10, but 
it's very close. 9.5 out of 10 

2981
02:20:04,080 --> 02:20:05,240
for me. 
Nice. 

2982
02:20:05,760 --> 02:20:08,600
Just for what it represents, 
what it is, it's legacy. 

2983
02:20:08,720 --> 02:20:09,560
Yeah. 
Incredible. 

2984
02:20:09,600 --> 02:20:11,080
Yeah. 
Wesley, what about you? 

2985
02:20:11,440 --> 02:20:14,080
I mean, I'm very, very similar. 
There's just so much of this 

2986
02:20:14,080 --> 02:20:16,600
film that I absolutely adore. 
I just think it's just a 

2987
02:20:16,600 --> 02:20:20,360
wonderful achievement from two 
of the greats of of the time. 

2988
02:20:20,360 --> 02:20:24,840
And even now I think it really 
is the special film it really is

2989
02:20:24,840 --> 02:20:27,280
want to watch and I can watch it
with, you know, me kids and they

2990
02:20:27,280 --> 02:20:30,120
love it. 
I love it and at all ages can 

2991
02:20:30,120 --> 02:20:32,600
get away with this. 
But like you look, I do have 

2992
02:20:32,600 --> 02:20:35,560
some issues to, you know, the 
the last kind of 20 minutes of 

2993
02:20:35,560 --> 02:20:38,840
the film does seem to tend to 
lose a little bit of pace and it

2994
02:20:38,840 --> 02:20:41,720
does kind of seem to lose its 
way and unravel slightly towards

2995
02:20:41,720 --> 02:20:44,000
that. 
And, you know, I kind of get 

2996
02:20:44,000 --> 02:20:45,520
lost with that. 
And I get to that moment 

2997
02:20:45,520 --> 02:20:48,400
especially like, you know, when 
after we get that really 

2998
02:20:48,400 --> 02:20:50,960
eloquent speech from Peter 
Boyle, when to get that eloquent

2999
02:20:50,960 --> 02:20:53,080
sweet speech from the monster, I
just feel like I want to hit 

3000
02:20:53,080 --> 02:20:54,680
rewind and go back to the start 
and watch it again. 

3001
02:20:54,680 --> 02:20:58,400
Yes, that point. 
And for that reason, it's not 

3002
02:20:58,400 --> 02:20:59,760
going to be a perfect 10 for me 
either. 

3003
02:20:59,760 --> 02:21:02,400
But it is also very close. 
It's it's up there. 

3004
02:21:02,400 --> 02:21:04,400
It's a nine for me. 
It's a wonderful, wonderful 

3005
02:21:04,400 --> 02:21:07,160
film. 
Yeah, absolutely is. 

3006
02:21:07,160 --> 02:21:08,800
Yeah, great score, Max. 
What about you? 

3007
02:21:09,520 --> 02:21:11,200
All singing from the same hymn 
sheet here. 

3008
02:21:11,200 --> 02:21:12,960
Really. 
I've always had a real love for 

3009
02:21:12,960 --> 02:21:14,520
this. 
It absolutely tickles my funny 

3010
02:21:14,520 --> 02:21:17,120
bone. 
It takes a very specific genre 

3011
02:21:17,120 --> 02:21:19,640
of horror that I love and it 
gets so much humour out of it. 

3012
02:21:19,960 --> 02:21:22,160
But at the same time it's not 
taking the piss out of it 

3013
02:21:22,520 --> 02:21:24,480
because if that's all I was 
doing, I just don't think I 

3014
02:21:24,480 --> 02:21:29,320
would like this at all. 
But the way it looks, the 

3015
02:21:29,320 --> 02:21:32,200
production design, they are all 
on point and there's real 

3016
02:21:32,200 --> 02:21:34,680
tightness to the story and the 
performances. 

3017
02:21:35,120 --> 02:21:37,240
I simply don't get in any of the
Mel Brooks film. 

3018
02:21:37,240 --> 02:21:40,280
It's definitely his best film 
and Gene Wilder needs so much 

3019
02:21:40,280 --> 02:21:42,560
credit for what he does on 
screen and what he does on the 

3020
02:21:42,560 --> 02:21:45,720
page as well. 
But it is the same issue that 

3021
02:21:45,720 --> 02:21:47,360
you guys have. 
We've just talked about it. 

3022
02:21:47,640 --> 02:21:49,840
By the end, the jokes stopped 
landing. 

3023
02:21:50,120 --> 02:21:52,360
They were a bit cringy, they 
were a bit off. 

3024
02:21:52,440 --> 02:21:54,840
And I think what it comes down 
to is I don't think Mel Brooks 

3025
02:21:54,840 --> 02:21:56,480
really knows how to end the 
film. 

3026
02:21:57,160 --> 02:21:59,640
Plays and saddles just. 
Certainly doesn't with saddles. 

3027
02:22:00,320 --> 02:22:02,760
Well, no. 
Breaks of 4th wall collapses 

3028
02:22:02,760 --> 02:22:07,360
into nonsense in this one, ends 
with a Dick joke because what he

3029
02:22:07,360 --> 02:22:10,040
thinks is funny and it's just a 
little bit of a let down 

3030
02:22:10,040 --> 02:22:11,600
considering how good the rest of
it is. 

3031
02:22:11,960 --> 02:22:14,720
So for me it is the only issue 
that sticks out. 

3032
02:22:14,720 --> 02:22:19,640
So this one brings it out just a
little bit to a 9.5. 9.5 as 

3033
02:22:19,640 --> 02:22:22,280
well. 
Wow, very, very close in all 

3034
02:22:22,280 --> 02:22:23,360
three scores there. 
Yeah. 

3035
02:22:24,040 --> 02:22:25,280
Yeah. 
Our 4th and final score comes 

3036
02:22:25,280 --> 02:22:26,880
from our trusted Patreon 
community. 

3037
02:22:27,360 --> 02:22:29,400
Some mini reviews to start us 
off with. 

3038
02:22:29,640 --> 02:22:34,400
First comes from Matt Walters. 
Matt says has to be a 10 for the

3039
02:22:34,400 --> 02:22:36,400
songs. 
The Thumb on fire. 

3040
02:22:36,400 --> 02:22:39,080
Put the candle back and let's 
face it, even the role in the 

3041
02:22:39,080 --> 02:22:42,440
hair joke works. 
Homage and parody its finest. 

3042
02:22:42,600 --> 02:22:44,480
And Gene Wilder's hair is 
extraordinary. 

3043
02:22:44,480 --> 02:22:47,480
Yes, it is on permanent rotation
in my house when I was a kid and

3044
02:22:47,480 --> 02:22:49,040
I still know all the words. 
Yeah. 

3045
02:22:49,400 --> 02:22:52,760
Nice grouping. 
Yes, very nice match. 

3046
02:22:53,240 --> 02:22:54,920
Very nice. 
We have to mention Hackman as 

3047
02:22:54,920 --> 02:22:56,280
well. 
It's all in the jeans, isn't? 

3048
02:22:59,520 --> 02:23:03,200
It Next up Steve says I saw 
Young Frankenstein and Blazing 

3049
02:23:03,200 --> 02:23:05,440
Saddles in the theatre on their 
release in 74. 

3050
02:23:05,440 --> 02:23:08,440
Yes I'm that old. 
Both great films but Young 

3051
02:23:08,440 --> 02:23:11,480
Frankenstein with Leachman 
Feldman and got adding the extra

3052
02:23:11,480 --> 02:23:14,040
touches put it in my favorite 
comedy of all time. 

3053
02:23:14,440 --> 02:23:17,000
What knockers nice. 
Thank you Steve. 

3054
02:23:17,480 --> 02:23:19,880
Thank you, Steve. 
Thanks Steve. 

3055
02:23:20,920 --> 02:23:27,080
It's a nice piece this. 
Is a nice piece. 

3056
02:23:27,280 --> 02:23:30,960
This is a nice piece and our 
third review comes from Shazza 

3057
02:23:31,240 --> 02:23:34,000
and Shazza says I think this is 
Shazza's favorite film of all 

3058
02:23:34,000 --> 02:23:36,880
time. 
She says 10 times the length of 

3059
02:23:36,880 --> 02:23:39,560
Westies lists when answering 
Patreon questions. 

3060
02:23:39,880 --> 02:23:44,280
My all time #1 fave and most 
watched film Blow her. 

3061
02:23:45,040 --> 02:23:49,680
They are called the films. 
Great excellent great excellent 

3062
02:23:49,680 --> 02:23:53,840
scores. 
Three 10s on the spin so woof. 3

3063
02:23:53,840 --> 02:23:57,320
full marks from the period 
Imperial community and overall. 

3064
02:23:57,480 --> 02:24:01,240
80 RM Peter and Scoffy and 
Frankenstein was What do you 

3065
02:24:01,280 --> 02:24:03,760
think, fellas? 
Could it be a 10 from there 

3066
02:24:03,760 --> 02:24:05,120
could. 
Be high could be an app. 

3067
02:24:05,120 --> 02:24:08,040
I'm going to say A9. 
I'll stick to 10. 

3068
02:24:08,040 --> 02:24:13,200
I'll take a punt on it. 
Matt, what knockers it is 10. 

3069
02:24:13,200 --> 02:24:16,560
Oh, wow. 
Yeah, 10, a perfect 10 for your 

3070
02:24:16,600 --> 02:24:18,600
Frankenstein. 
Amazing, amazing. 

3071
02:24:18,760 --> 02:24:21,840
Everybody has got so much 
affection for this film, 

3072
02:24:21,880 --> 02:24:23,280
considering the comments. 
Yeah. 

3073
02:24:23,760 --> 02:24:26,680
And with all scores combined, 
that gives Young Frankenstein. 

3074
02:24:26,920 --> 02:24:29,680
Hey, whopping 38 out of 40. 
Wow. 

3075
02:24:30,800 --> 02:24:32,520
Can you believe it? 
Yeah, it's a big one. 

3076
02:24:32,920 --> 02:24:35,040
Brilliant stuff. 
Didn't expect that, no. 

3077
02:24:36,720 --> 02:24:38,480
Wow. 
And that is US done with Young 

3078
02:24:38,480 --> 02:24:40,280
Frankenstein. 
But we will be back in two 

3079
02:24:40,280 --> 02:24:42,160
weeks. 
Next on the show, it's John 

3080
02:24:42,160 --> 02:24:44,440
Westie and Matt's. 
They'll be talking about Alfred 

3081
02:24:44,440 --> 02:24:48,040
Hitchcock's absolute classic 
Stonewall Cycle. 

3082
02:24:48,280 --> 02:24:50,240
Yeah, lovely. 
There we go for that one. 

3083
02:24:50,440 --> 02:24:52,240
Wow. 
Yeah, get your shower curtains 

3084
02:24:52,240 --> 02:24:55,160
drawn in your motels booked. 
Yeah, that'll be brilliant. 

3085
02:24:55,320 --> 02:24:57,520
Yeah. 
Before that though, our studio 

3086
02:24:57,520 --> 02:25:00,280
head and directors chair parents
can hear the three fellas next 

3087
02:25:00,280 --> 02:25:02,800
week on Double Feature, where 
we're shining the light on the 

3088
02:25:02,800 --> 02:25:05,000
brilliant work of 
cinematographer Greg Fraser, 

3089
02:25:05,400 --> 02:25:09,360
specifically his work on June 
and The Batman, two huge modern 

3090
02:25:09,360 --> 02:25:12,040
visual achievements. 1 episode 
3. 

3091
02:25:12,040 --> 02:25:13,880
Great guys, bound to be 
brilliant. 

3092
02:25:14,040 --> 02:25:18,080
Well, we'll see. 
That would be fantastic if I can

3093
02:25:18,120 --> 02:25:21,240
shut up for 5 minutes. 
I don't think I'll be honest, 

3094
02:25:21,360 --> 02:25:23,160
I'll just send a. 
Couple of notes you'll be there 

3095
02:25:23,160 --> 02:25:23,560
in. 
Spirit. 

3096
02:25:23,560 --> 02:25:24,840
I'll be there in spirit. 
Body. 

3097
02:25:25,040 --> 02:25:27,080
Yeah, feet up. 
I'll be banging around about 

3098
02:25:27,080 --> 02:25:28,520
that one for a while. 
That's fine. 

3099
02:25:29,000 --> 02:25:30,840
And Speaking of which, if you 
want to hear that double feature

3100
02:25:30,840 --> 02:25:33,880
episode, head to patreon.com/all
the Right Movies and join the 

3101
02:25:33,880 --> 02:25:36,760
Patron community. 
You'll get the full back outlog 

3102
02:25:36,760 --> 02:25:39,360
of this show beyond the most 
recent 20 episodes, plus the 

3103
02:25:39,360 --> 02:25:42,320
watch list for new releases and 
double feature for the films 

3104
02:25:42,320 --> 02:25:45,200
we're not quite ready to bring 
on the main show yet. 

3105
02:25:45,320 --> 02:25:48,760
However, Just Young Frankenstein
was a former winner of that 

3106
02:25:48,760 --> 02:25:50,760
show. 
Indeed, the format works. 

3107
02:25:51,080 --> 02:25:54,680
It does there are over 200 
episodes across all of our 

3108
02:25:54,680 --> 02:25:58,360
formats, 2 brand new shows every
month, so well worth your time 

3109
02:25:58,360 --> 02:25:59,840
and money. 
Yes, definitely. 

3110
02:26:00,040 --> 02:26:02,480
And before we go a very exciting
announcement. 

3111
02:26:02,480 --> 02:26:06,400
We do have a book coming out in 
September that is all the right 

3112
02:26:06,400 --> 02:26:09,720
movies, the stories and secrets 
behind the making of 25 iconic 

3113
02:26:09,720 --> 02:26:11,960
films. 
It's, it's finally available for

3114
02:26:11,960 --> 02:26:15,520
pre-order and you can find that 
on Amazon, Barnes and Noble, 

3115
02:26:15,520 --> 02:26:19,120
Waterstones, Indigo, independent
book shops, books-a-million, 

3116
02:26:19,120 --> 02:26:22,360
bookshop.org and wherever you 
buy your books. 

3117
02:26:22,760 --> 02:26:24,560
As I said, due at the start of 
September. 

3118
02:26:24,560 --> 02:26:27,640
So get your pre-order in now and
avoid any pre Christmas 

3119
02:26:27,640 --> 02:26:29,560
disappointment I'm sure. 
Yeah, definitely, yeah. 

3120
02:26:30,040 --> 02:26:31,840
Banger. 
Incredibly proud of that one. 

3121
02:26:31,880 --> 02:26:35,440
Yes, wonderful, wonderful stuff.
25 absolute classic films as 

3122
02:26:35,440 --> 02:26:36,680
well. 
Yeah, bangers. 

3123
02:26:36,800 --> 02:26:39,120
Yeah. 
And also, if you do like the 

3124
02:26:39,120 --> 02:26:41,720
podcast and you've heard us 
talking about this before, but 

3125
02:26:41,720 --> 02:26:45,240
if you could leave us a review 
five stars on whatever podcast 

3126
02:26:45,240 --> 02:26:48,560
platform that you listen to us, 
that would be much appreciated. 

3127
02:26:48,560 --> 02:26:50,120
Absolutely. 
I mean, if you've listened this 

3128
02:26:50,120 --> 02:26:54,160
far, it must be 5 stars it. 
Must be and this this episode 5 

3129
02:26:54,160 --> 02:26:55,920
stars. 
Yeah, of course, of course. 

3130
02:26:55,920 --> 02:26:58,160
Come on. 
You can also find us across all 

3131
02:26:58,160 --> 02:26:59,840
the usual social media 
platforms. 

3132
02:27:00,000 --> 02:27:02,600
Tell us what you made of Young 
Frankenstein, your favorite gag,

3133
02:27:02,600 --> 02:27:04,920
your favorite Brooks film, or 
just tell us what knockers in 

3134
02:27:04,920 --> 02:27:06,920
the timeline and tackle us in. 
Why not we? 

3135
02:27:06,920 --> 02:27:08,880
Always love that from you. 
Absolutely, yeah. 

3136
02:27:09,280 --> 02:27:11,320
And as ever, we're on social 
media around the clock. 

3137
02:27:11,320 --> 02:27:14,200
We're on X, Blue Sky Threads, 
Instagram, TikTok, Our making of

3138
02:27:14,200 --> 02:27:17,560
movie threads go up on X and 
Blue Sky researched much like 

3139
02:27:17,560 --> 02:27:21,440
our podcasts, absolutely 
thoroughly deep dives with an 

3140
02:27:21,440 --> 02:27:23,600
inch of their lives, with all 
the information coming from at 

3141
02:27:23,600 --> 02:27:25,960
least three sources or from the 
mouths of the cast and crew. 

3142
02:27:26,200 --> 02:27:28,040
Exactly. 
So don't forget to check them 

3143
02:27:28,040 --> 02:27:30,800
and everything we do is on all 
the right movies.com. 

3144
02:27:30,960 --> 02:27:33,240
Sure is. 
And that just about wraps us up 

3145
02:27:33,240 --> 02:27:35,880
on Young Frankenstein. 
We're off to put the candle 

3146
02:27:35,880 --> 02:27:37,760
back. 
We don't need a hand. 

3147
02:27:38,560 --> 02:27:42,080
Have one. 
Have one already, we've had a 

3148
02:27:42,080 --> 02:27:49,280
nice quiet. 
Thanks so much. 

3149
02:27:50,160 --> 02:27:50,920
Thanks guys. 
We'll see you. 

3150
02:27:50,920 --> 02:27:52,040
For Psycho in two weeks. 
Oh. 

3151
02:27:52,440 --> 02:27:54,000
Yeah, we'll all go a little 
margin page. 

3152
02:27:54,440 --> 02:27:56,320
To the lumby yard. 
To the lumby yard. 

3153
02:28:16,480 --> 02:28:20,600
Need a hand? 
No thanks, Have one.