BLADE RUNNER 2049 FULL REVIEW WITH SPOILERS!

David and David discuss Blade Runner 2049 and the original Blade Runner starring Harrison Ford.

Hosted by DAVID B. ANDERSON and DAVID LAWLER
Written by DAVID B. ANDERSON and DAVID LAWLER
Produced by DAVID LAWLER
Edited by DAVID LAWLER

WATCHED by Alex Saltz

IN YOUR ARMS by Nicolai Heidlas Music https://soundcloud.com/nicolai-heidlas
Creative Commons — Attribution 3.0 Unported— CC BY 3.0
http://creativecommons.org/licenses/b…
Music promoted by Audio Library https://youtu.be/tkYNuH1UrSY

PETER AND THE WOLF by Sergei Prokofiev

MAIN TITLES by Vangelis
© Warner Music UK, Ltd. A Warner Music Group

© Frequent Wire, David Lawler and David B. Anderson copyright 2018 for all original vocal and audio content featuring David Anderson, David Lawler and selected guests each episode. This podcast, “David & David & Gene & Roger: A Siskel & Ebert Podcast” is not affiliated with Tribune Entertainment, the PBS Television Network, the estates of Roger Ebert and/or Gene Siskel, Warner Bros., Tandem Productions, The Blade Runner Partnership, Alcon Entertainment, Scott Free Productions, Bud Yorkin Productions, Sean Young, and Columbia Pictures. Any and all images, audio clips, and dialogue extracts are the property of their respective copyright owners. This blog and podcast was created for criticism, research, and is completely nonprofit, and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107. It is not an official product, and it should not be sold nor bought; this is intended for private use, and any public broadcast is not recommended. All television, film, and music clips appear under Fair Use as well.

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Vintage Cable Box: “Twice Upon A Time, 1983”

Vintage-Cable-Box-Cover-Image

“Do I get the job, or should we move right onto the shark infested waters test?”

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Twice Upon A Time, 1983 (Lorenzo Music), Warner Bros.

There are strange creatures that appear at night when you sleep. The strange creature bring you sweet dreams. Sometimes those strange creatures, the Figmen of Imagination, are thwarted or subverted by evil creatures from the Murkworks (usually dark-winged birds) that bring you nightmares. Of course because this is a “war” story, the Murkworks are locked in a never-ending battle with the Figmen for domination of the night-time world. The leader of Murkworks, Synonamess Botch (a bizarre hedonistic variation on Salvador Dali), abducts Greensleeves of the Figmen. He sends a message back to Din, the sub-dimensional city that exists between the worlds of reality and fiction.

While on garbage detail after being punished by the Rushers of Din, All-Purpose-Animal Ralph (the voice of Lorenzo Music) and his Harpo-esque sidekick, Mumford, come across Greensleeves’ message. His niece, aspiring actress Flora Fauna plays the part of damsel-in-distress for Bosch’s nightmares. Bosch convinces Ralph and Mum to steal the mainspring from something called a Cosmic Clock. Ralph and Mum do not know that the Cosmic Clock controls all of time … everywhere, thus any alterations will affect the Universe. After liberating the spring from the Cosmic Clock, time freezes. A free-land Fairy Godmother commissions superhero Rod Rescueman, an egotistical muscle-head who spends more time washing his cape than rescuing people, but he is interested in the pretty Flora.

Watching this movie as a kid, I was mesmerized by the animation, which was a mixture of Yellow Submarine (the poster art of Klaus Voorman) and Terry Gilliam’s work for Monty Python’s Flying Circus, as well as black & white live-action sequences. I couldn’t follow the convoluted plot, but I enjoyed the (largely) improvised performances of the actors, and remember this was before the advent of “retro-scripting” in later animated works like Dr. Katz, Home Movies, Archer, and Bob’s Burgers. David Fincher and Henry Sellick were among the crew of talented animators who made this movie.

TWICE UPON A TIME, 1983, (c)Warner Bros.
TWICE UPON A TIME, 1983, (c)Warner Bros.

Two versions of this film exist: one with unaltered “adult” language, and the other a “sanitized” version – safe for kids personally approved by the director, John Korty. Korty preferred the “kid” version because it would, presumably, have a wider release at the time. He would be wrong on both counts, as Alan Ladd’s company (which released Twice Upon A Time) was nearing bankruptcy. The Ladd Company was (right up there with Cannon) a defining force in early eighties cinema, producing the titles Outland, Night Shift, Chariots of Fire, Blade Runner, and Once Upon a Time in America.

John Korty animated short films for Sesame Street, and worked for Lucasfilm. George Lucas co-produced Twice Upon A Time and used his influence to get a release for the movie. I saw the original cut of the film and snickered at the off-color dialogue. While younger children would not understand most of the adult humor, the movie was most definitely made for kids, but adults could enjoy it too. When Korty learned HBO had aired the “adult” version of the movie, he threatened lawsuits. Later, the cleaned-up version of the movie was substituted, but fans of the movie noticed the changes, and complained. This was an unusual case of mandated censorship, very much in the way George Lucas tends to alter his work (incidentally some of Lucas’ work appears in the movie via Ibor, the robot-gorilla with a television screen for a head – he shows scenes from Star Wars and Raiders of the Lost Ark).

Some thirty years later, the film holds up. In fact, in my advanced years I can actually follow the plot. The film tends to only be available in truncated form, clocking in at a slender one hour and fifteen minute running time. I have a VHS version of the film that runs five minutes longer. I don’t understand the discrepancy, because this release appears to be Korty’s approved version of the film. In addition my version of the movie contains a song by Michael McDonald, which I have been unable to verify with other releases of the film, which contain only his sister, Maureen’s songs. Perhaps there is a third version of the film.

Our first cable box was a non-descript metal contraption with a rotary dial and unlimited potential (with no brand name – weird). We flipped it on, and the first thing we noticed was that the reception was crystal-clear; no ghosting, no snow, no fuzzy images. We had the premium package: HBO, Cinemax, The Movie Channel, MTV, Nickelodeon, CNN, The Disney Channel, and the local network affiliates. About $25-$30 a month.  Each week (and sometimes twice a week!), “Vintage Cable Box” explores the wonderful world of premium Cable TV of the early eighties.