Mike's on. Hello, and welcome to The Studio Demands It's an exercise in creative thinking where we will challenge ourselves to conceptualize, pitch, and craft a film based on the stipulations of a hypothetical Hollywood overlord. We talk movies all the time. All the time. All the time.
T.C.:In particular, we complain about the choices made
Jim:All the time. By the
T.C.:movies that we have seen. And, of course, as any good nerd does, what do we do?
Jim:All the time.
T.C.:We automatically assume that we can do better, as any good nerd does, even with the demands and restrictions that clearly must have been put on a production.
Jim:Only explanation.
T.C.:Only explanation. I am T. C. De Witt, and joining me as always is my cohost, Jim. Do a Bjork impression, Burzelic.
Jim:I do not know how to do a Bjork impression. You did it.
T.C.:Don't you understand your cat? It's messed up up here. And Yes. Yes. It's very high pitched
Jim:and also kind of monotone.
T.C.:And then you talk and you have a weird thing.
Jim:Yes. Yes.
T.C.:Bjork is a funny character, isn't she?
Jim:Yes. Bjork's great.
T.C.:Yeah. You do a pretty good you don't you don't do a very good Bjork impression. I'm sorry to tell you. Well, screw you. Oh.
T.C.:Oh.
Jim:Fistocats now. Yeah. This is now a podcast of conflict.
T.C.:What sort of fighting style do you think Bjork uses?
T.C.:I'm going to punch you in the face.
T.C.:Is is is lack of just do an Andy Kaufman Lacka impression.
Jim:Oh, kinda. Yeah.
T.C.:Yeah. And just make it a little more high pitched.
Jim:Yeah. Yeah. And and there you go. That's a
T.C.:Do all Icelandic people sound like Bjork? Listeners, are you from Iceland? Please tweet at us, and I will read it like you are Bjork.
T.C.:I think your podcast is very offensive.
Jim:We do not all sound like Bjork.
T.C.:How's it going? It's going good. Yeah. Yeah. You what are you up to?
T.C.:What have been doing? What are what are you what are you all about?
Jim:No. Nothing. Off I've been I've been watching the I've been binge watching The Office.
T.C.:What's what's The The Office? The Office space. Yeah. The mic no. What's what is what
Jim:is The Office is an American sitcom Oh. Based on a British sitcom. Oh. It aired for a long time Mhmm. Mhmm.
Jim:Starring Steve Carell.
T.C.:Mhmm. I don't know who that is. He played This is a new character I'm trying out? Yeah. The guy who doesn't know.
Jim:The guy who doesn't know know things. No.
T.C.:Just I I know I know everything about The
Jim:Office. Okay.
T.C.:Exists in a in a vacuum Where where office never existed.
Jim:Oh, gotcha. So wait. So does that mean well, I guess we'd find we we would have to find out. Yeah. So Steve Carell, previous to The Office, was one of the correspondents on The Daily Show.
T.C.:Yeah. Great show. Great show. Stephen Colbert.
Jim:Stephen Stephen and Stephen?
T.C.:Is Stephen
Jim:Stephen Was
Jim:that the the what the what thing was called?
T.C.:The John Stewart era. Early John Stewart era Yep. Daily Show. Yeah. I I know Steve Carell.
T.C.:He's from The Daily Show. Yeah. He's he's doing a TV show now?
Jim:He's he he did. They're done. They're done with it now.
T.C.:He must be hilarious.
Jim:He is.
T.C.:Is he still doing comedies?
Jim:Sometimes. Nice. He also he also does dramas. Dramas.
T.C.:Yeah. I like to save my dramas from my mamas. Yeah. If The Office didn't exist
Jim:It just occurred to me that, like, drama and dramamine are so close together. You could refer to a to a boring drama as a dramamine. Ugh. Did you watch The Importance of Being Earnest? Oh, what a drama mean.
T.C.:Oh, gosh. It's drama. It was very I think No. That is very mean of you to say that my drama was mean. What?
T.C.:Dremman. Dremman. Well, also I lost it.
Jim:Also, I'm gonna I'm actually you. The importance of being earnest was a comedy.
T.C.:That's why that's how bad the production was.
Jim:Oh, I see.
T.C.:Yeah. Thank you. Whoo. Saved
Jim:it. I did not understand the joke because I am from Iceland.
T.C.:You you act actually, to me, that's that is something we predates the podcast, but but not by much is that that that realization of the the nerd. Like, if if being a nerd, being a geek, like, being a nerd, a
Jim:nerd Oh, yeah. Like like our our own our own
T.C.:A nation of nerd though.
Jim:The that is the motto.
T.C.:Yeah. Yeah. It's if our flag it would have a flag and and and on it would be the, you know, in Latin, actually.
Jim:Yeah. Actually is what is the, so you know how in jeopardy they have the you're supposed to say who or who or what is so and so for your answer?
T.C.:Right.
Jim:There's a show on dropout. I think the show is might actually be called I'm actually. It's a game show Okay. Where they make a statement, and the contestants need to point out what is wrong with the statement they made. And you're supposed to begin it by saying, actually.
Jim:And then you say, so I am now, I guess, dropping an ad for Oh, thank you. Thank you
T.C.:for the effort. This this episode is brought to you by
Jim:actually.
T.C.:Actually. That that's a it so it'd be like if I if
Jim:It's showing up in my Facebook feed, so that's why I know about it.
T.C.:The algorithm has you. Yep. It it so it'd be like, well
Jim:The algorithm cannot be explained.
T.C.:You must experience it for yourselves.
Jim:Please take this pill to understand Facebook.
T.C.:Try
Jim:oh god. How would
T.C.:What you
Jim:a nightmare. What a if the matrix is actually just Facebook. Oh.
T.C.:So when they they're gonna do that fourth matrix movie that's coming out soon. Yeah. And it's just going to be And the the bearded guy at
Jim:end is just what's his face?
T.C.:It's not it's it's not what Harry Harry Knowles from Ain't It Cool News?
Jim:No. The maker of Facebook.
T.C.:Oh, it's Mark Zuckerberg. Yeah.
Jim:Mark Mark Zuckerberg. Vis a vis in concordance.
T.C.:Vis a vis, and I blink here, and because he's inhuman. Gosh. Yeah. But I hope that whatever they do with the Matrix reboot, which why they wouldn't call it that would shock me since that is inherently Reloaded. Re revolutions rebooted.
T.C.:Right? I mean, it it's inherently a term that you could use for a computer program.
Jim:But because we use that for movies already, wouldn't that be too It'd be the
T.C.:Matrix rebooted the reboot of the it's a very long title. I I think that we're gonna do a little studio demands here because they are making this movie. Only one of the Witt Wittchowskis is directing. They actually have a different writing team involved. I hope it's set in 1999.
T.C.:I want The Matrix to still exist as 1999 and not the current what The Matrix would be if it was Twenty years later? Twenty. Yeah. Could could like okay. So, like, we it'd be it'd be Wreck it Ralph two or the emoji movie.
T.C.:It's like, Google and and Amazon and
Jim:know? So I I don't know. I know very little about about this. Is it a full on reboot?
T.C.:I I have no idea.
Jim:There's very little
T.C.:information at
Jim:this point. Okay.
T.C.:All I know is is Keanu's in it, Carrie Ann Moss is in it, and one of the Witt Wittchowskis is directing it.
Jim:So what would that even be about?
T.C.:I mean, we could we're doing a quick conceptualization here before we jump in today's episode.
Jim:A reboot makes the most sense, but they are also older. So the characters haven't rebooted.
T.C.:Characters are dead. You could. Neo and Trinity are dead. Spoiler.
Jim:Well, okay. So, I mean, do you do that and then you just use a bunch of the computer tech that's available now to de age them? Well, I mean,
T.C.:Kannery's is ageless. So And Carrie
Jim:Anne Moss actually isn't too far behind.
T.C.:Yeah. They're they're drinking the blood of babies.
Jim:Oh, man. I gotta get some of that Hollywood baby
T.C.:blood. I don't I I I'm where to go? Because Reload and Revolutions are honestly some of the biggest let down tentpole films that ever been have ever been made
Jim:Mhmm.
T.C.:In recent history. The the first Matrix is a incredible piece of cinema. It is it is one of the most important films of the past twenty years. Mhmm. To to follow with two mediocre sequels at best, And now to offer us a fourth one, god knows where they're gonna go with this.
Jim:Alright. Off the top of my head, you you your reboot is also a sequel. So Mhmm. Yes. What we learned from the original trilogy is that the universe gets reset.
T.C.:Right. It was the seventh or eighth iteration of the Matrix itself.
Jim:And it turns out it has continued being reset the last one or two times, though. The thing is the people in charge have rotated. Now Neo and Trinity. Trinity are are pretty much they're the ones who are resetting it.
T.C.:But they're dead. Trinity got a ship through her stomach, and and Neo is absorbed into into the Matrix. So I suppose you can bring
Jim:Is that what happened?
T.C.:I suppose you can bring
Jim:The last thing I remember happening to Trinity was she got killed and then Neo reached into her
T.C.:It's reloaded. That's the end of reloaded. At the end of revolutions
Jim:So basically, I remember the second movie.
T.C.:Second one. The second one, which was contingent upon the third one of whether or not the second one was good or bad. Yes. Was reloaded good or bad?
Jim:It was bad.
T.C.:We'll have to wait to see the third one. And we saw the third one. Yeah. So now And it was bad. It's bad.
T.C.:Yeah. Alright.
Jim:I do have friends that disagree with that. One in particular that I'm
T.C.:thinking of, he's wrong. Actually Yeah.
Jim:You're wrong.
T.C.:The the the thing is we we now we're we're way back. We're twenty years post Matrix world. Right? And now we are in a John Wick era of Keanu Reeves. So if you don't No.
T.C.:Okay. So I'm not asking for John Wick, Keanu Reeves fighting style in the matrix, but they're gonna have to do something innovative or scale back. I don't imagine they're gonna scale back.
Jim:Alright. I forgot they died. So I'm gonna ignore that for a second.
Jim:Okay.
Jim:And I'm gonna finish my pitch.
T.C.:Okay.
Jim:And maybe you can salvage something from it. So the the universe has been rebooted, and for whatever reason, Neo and Trinity are alive and still around, and they're not getting reset.
Jim:Mhmm.
Jim:They are now, I guess, the caretakers of the matrix, if you will. Okay. Or they're the they're renegades, but they're not being reset. Actually, I think that that's more the direction I'm trying to go here. Because the way I'm imagining now is Neo, because he is getting older despite being the one, despite having this amazing power to manipulate the code Mhmm.
Jim:He's he's getting older. He can't anymore. He can't do it the way he used to. The the the code has evolved, and he has just aged.
T.C.:He can't control Twitter.
Jim:Yeah. And so what it ends up being is you you would do you do a story from Morpheus' point of view, except Neo is now the new Morpheus. Morpheus is gone, and Neo is the one trying to to Find the one. Yeah.
T.C.:Okay.
Jim:Find his replacement.
T.C.:I suppose Warner Brothers won't invest all this energy into another Matrix if they didn't think they could get more than one movie out of it. So having I didn't
Jim:even think of that. Yeah.
T.C.:I mean, that's the way studios work nowadays.
Jim:They don't they?
T.C.:They, yeah, they don't want just one one and done. Yeah. I I I watched The Dark Crystal just the other night.
Jim:Mhmm.
T.C.:I'd never actually seen it before. I watched the whole thing.
Jim:It was a beautiful film. From the era when they did just do single films
T.C.:and then we're done. Reading the trivia about it, Frank Oz was asked time and time again if there was gonna be a second one. And and him and he even before Jim sadly passed away, they were adamant that they would never make a sequel. They're like, no. It's we're done.
T.C.:We made the movie. That's it. We're not making a sequel. This is not a series. We're not gonna do it.
T.C.:You can have your books. You can have your comic books. There'll never be a cinematic sequel to this. And now you have Netflix, Age of Resistance, which, oddly enough, reading trivia on that, the production designer of Age of Resistance is the son of the original production designer who created the Gelflings and the Skullies, whatever the bad guys. So it's a it's a it's a son inheriting his father's
Jim:Nice. Career, basically. Dune style.
T.C.:But but but that that that was off point there. Just in terms of studios now don't think one and done. Sure. Think of the last big movie that that was just meant to be one movie. I can't think of one.
Jim:Just Inception.
T.C.:There were others Okay. Yes. Well well done.
Jim:After, but that was the first one
T.C.:that came Thank you for it. And I literally just watched that movie last week. How do we keep doing that, by the way? How do we keep ending up doing episodes where there I like, Goonies. I had just seen Goonies, and someone demanded Goonies.
T.C.:However, for this week, we did We we actually did prepare. We actually prepared for this week. So where where to begin? So we have our our ridiculous pile of of demands, and we have we well, we needed a demand for today and a studio to demand it. We have ourselves a growing pile of demands from our listeners, and you can submit a request over at studiodemandsit.com.
T.C.:You can submit an episode idea. You can come up with the name of your studio, movie, TV show, whatever, and and then, you know, challenge us to pitch and create a film that satisfies whatever demand crazy ass demands you might have. So this week, we we prepared. We actually because neither of us had seen the movie we were demanded to watch. Yeah.
T.C.:So in order to play fair for our our listeners, we decided, you know what? Let's let's do this. And seeing as Halloween, 'tis the season, we decided to to to do such things.
Jim:Do something a little more Halloween y.
T.C.:Halloween y. Now so let me see where I can find it here. Yeah. Funnily enough, we had another Eddie Murphy movie demand that we we will have to get to eventually. Yeah.
T.C.:So okay. So but but but but but Jim Vamp. No.
Jim:I was also looking for the thing.
T.C.:No. I I literally had it up just a moment ago. I did not.
Jim:Oh. Yeah. I think I found it. Is that the right studio? This is a good job.
Jim:I'm doing a really good job vamping. You're doing a
T.C.:terrible job here.
Jim:No. I said it was here we go.
T.C.:Yeah. Here we go. Fairly Contrived Studios. Why don't you tell us what the demand is?
Jim:Should
T.C.:I cut all that? What
Jim:no. I don't I don't know. It Okay.
T.C.:No? Okay. Good. I hope everyone got a drink while we were figuring out what the hell we're doing here, particularly because all of you know what we're doing today.
Jim:Jim, what do we got? So our friend Ben from Fairly Contrived Studios Mhmm. Wants us to bring us a version of Disney's The Haunted Mansion more positioned for success and, if possible, a multi movie series.
T.C.:See? It must be. It must be. Thank you, Ben, for that. And, yeah, a a Haunted Mansion film.
T.C.:And like I said, no one wants a one and done. Inception is the exception.
Jim:Well, not even. People want to know. People want more. I wouldn't say no. I'd watch that.
Jim:I'd watch I'd watch Inception into dreams some more.
T.C.:I mean, who knows? The next Christopher Nolan movie could very well be it won't be. So a a a Haunted Mansion film
Jim:Mhmm.
T.C.:And potentially set it up for a multi film series. Okay. Had you seen the Haunted Mansion?
Jim:I had not seen Haunted Mansion.
T.C.:This came out in an era around the time of Pirates of the Caribbean. When we were watching it, you were certain that this came out as a reaction to Pirates of the Caribbean.
Jim:I yeah.
T.C.:I remembered it correctly. So, actually, that it came out before Pirates of the Caribbean. So Disney pulled a hat trick of ride based films. Weirdly, they have more rides they could make movies of, but that's a different conversation. Yeah.
T.C.:They came out with the Country Bear Jamboree.
Jim:Which I I totally had wiped from my memory.
T.C.:Just look up the trailer, folks. It is it is horrible. It is it is it is a travesty. It was a different time. It's a I don't know what they were thinking.
T.C.:We're just talking about the Dark Crystal and the incredible feats of puppetry that are in the Dark Crystal and the Henson productions. The Country Bear Jamboree film is a nightmare. It is it is ripe for mystery science theater. It is bad. Yeah.
T.C.:So in my mind, that that's really sad because Country Bear Jamboree should have been like
Jim:a Hanna Barbera cartoon come to life. Sure. Which I mean they did later with Yogi Bear Ugh. Which I didn't see either. I when we discussed this that's what I remembered more was Yogi Bear.
Jim:I actually saw neither of those movies, but what I did
T.C.:see in the trailers.
Jim:What I did see is the production team that made Yogi Bear, they did a bonus thing. I think it's because it might have been by the same studio. Made the the the Jesse James movie that had come out, like, that same year.
T.C.:Oh, the the assassination of Jesse James by the coward Robert Ford.
Jim:Yes. I always forget that. I will never remember that title. Whoever I'm talking to will always remember it for me. So the the pivotal scene in that movie when Jesse James pretty much knows what's coming and he's, like, looking at a picture on the wall as the coward is behind him.
Jim:Mhmm.
Jim:It's this long drawn out quiet tense scene. The Yogi Bear team put in Yogi as as Jesse James And Boo Boo Boo as the the coward, and they do line for line in in yeah. In in Yogi and Boo Boo's voices. That's it. It's it's Boo Boo.
Jim:Are you doing with that gun? Kind of. Yeah.
T.C.:It's gonna have to kill you, Yogi.
Jim:It's quite the scene. Oh. That's what I remember. And despite not seeing Yogi Bear and knowing that it's probably awful Mhmm. That little tidbit makes me love it.
T.C.:That makes you happy that Yogi Bear exists. Yes. Well, I am glad that you have that for yourself. I have seen the Country Bear Jamboree because it came about in a time where I worked at a movie theater and built up films, literally physically had to build the reels together with my hands, and we had to watch the movies after we built them. Fun.
T.C.:So I had to watch the Country Bear Jamboree. Ugh. Then the Haunted Mansion came out. And just the trailer alone, I could see, yeah, I'm not gonna watch this garbage film. No.
T.C.:Thank you. Then Pirates of the Caribbean was gonna come out as the third film in the ride trilogy that Disney was creating. And we had Country Bear Jamboree. Ugh. We had Haunted Mansion.
T.C.:No. Thank you. So I went in with a certain expectation for Pirates of the Caribbean. Holy yeah. I was wrong.
T.C.:I love that movie. It is amazing. The first one. Yes. We could I could do a whole conversation about what they should have done with it.
Jim:Well, I I mean, I was fine with the second one as well. The third one I what what are we doing in this episode?
T.C.:We're kinda
Jim:talking about every other movie. It's The third the third one wasn't, in my opinion, fantastic enough.
T.C.:That's you know what? We will we will have to do an episode on the Pirates movies.
Jim:But We will must.
T.C.:We are in the middle of this trilogy. We are in the Haunted Mansion. Eddie Murphy just phoning it in. I could tell from the trailers alone. We have now seen this movie.
T.C.:We watched it together. We we we definitely watched it together.
Jim:Mhmm.
T.C.:And what are your thoughts on the film, Justin Joe? What's your just your review of the film as it exists?
Jim:In in a word, pedestrian.
T.C.:That's Right.
Jim:It I didn't think it was awful. No. No. No. It was just it was kinda forgettable.
Jim:Honestly, I kinda tuned out during the movie, at least as far as the plot was concerned. Like, I was fine with the the funny little anecdotes, like, oh, what ghosty thing is gonna happen now? And I sure like
T.C.:Wallace Sean? Yeah. Wallace Sean.
Jim:Mostly Wallace Sean, but like like, the supporting cast
T.C.:Terrence Stan.
Jim:Was was so much fun. Eddie like, you could I felt the scenes, especially Eddie Murphy scenes, were built in a way to let him riff. Mhmm. And then he just kinda wasn't. Yeah.
Jim:He just didn't really do it.
T.C.:It was as phoned in as I thought it was gonna be. Just this lazy, like Eddie Murphy is still to this day riding on the success of his eighties career.
Jim:It was a good eighties.
T.C.:It was an amazing eighties career to the point we were we are still thinking him of him as the eighties Eddie Murphy. He has had a longer career of garbage than of good.
Jim:I think you know what? I I think sort of the the cultural memory of him, I think you're right. Individually, that's not necessarily like, I thinking of non eighties Eddie Murphy stuff, I think there's a bunch of really good things. First, Mulan. I loved him in Mulan.
Jim:Yep. Bowfinger.
T.C.:Yes. I
Jim:had another one. He got nominated for
T.C.:an Oscar for Dream Girls. I didn't see that one. Yeah.
Jim:So a personal favorite of mine, which I know lots of other people hate it, but I loved, absolutely loved, A Vampire in Brooklyn. That's I loved it so much.
T.C.:He he
Jim:gets shot and he goes, it it eats his little. That that's his that's his Romanian, I guess. I guess.
T.C.:That's his early era. I'm gonna play multiple characters in makeup and hair.
Jim:Oh, yeah. Yeah.
T.C.:But my my my overall feeling of Haunted Mansion is it either it felt like a film you could see on the Disney Channel, like a made for the Disney Channel movie, or a movie you should watch at Disneyland. Sure. That if you oh, you saw the Haunted Mansion? Go over here to the Haunted Mansion Theater and see today's screening of the Haunted Mansion. Just catch all the Easter eggs you just experienced on the ride.
Jim:Sure.
T.C.:That's that is the the extent
Jim:Or, like, something they sell in the gift shop to remember the ride.
T.C.:Yeah. It's it is not pedestrian is a great word for it. It's just very bland, very vanilla. And and now we have to somehow come up with a better film than what we got. I've tried not to think about it.
T.C.:We always try to to spend, like, spend our episodes conceptualizing on the spot.
Jim:Do Because
Jim:nothing nothing is better than listening to people go,
T.C.:what about this?
Jim:Maybe maybe this?
T.C.:That This is that is the whole point of our podcast.
Jim:It is. Well, that's what yeah. It was Don't tell him that. Did I sound sarcastic?
T.C.:You did not. I'm
Jim:sorry. That that wasn't
T.C.:I don't appreciate you making
T.C.:fun of me. So the what what is our studio demand here? Our studio demand is to just make a better Yeah. One that's more set up for success.
Jim:Interestingly enough, it's not framed as a failure. They want just want one that is more of a success.
T.C.:Or more of a a memorable film because I doubt you could find too many people who would be like,
Jim:Mansion. Yes. Mansion. They were realtors.
T.C.:Pirates of the Caribbean started a trend. Like, a Yeah. Pop cultural phenomenon was built around pirates.
Jim:I won't speak for you, but it's it's started a trend for myself, at least given the show. Anytime we talk about doing a Disney movie or doing a Disney ride movie
Jim:Mhmm.
Jim:I think we're almost any ride that you would come to me to say, make this into a movie, I'm gonna approach it honestly, and it's this this episode is gonna be no different. I'm gonna approach it thinking of pirates as my as my model, as my framework. That's exactly think the only one I wouldn't might be Country Bear Jamboree.
T.C.:Oh, jeez. How would you do no. No. No. No.
T.C.:No. No. No. We're not doing Country Bear Jamboree. But you are you are doing what a studio would do.
T.C.:Look at the success of something else. How do we replicate that? It's exactly what we did for our Lone Ranger episode. One of the earliest episodes we did for the series, and I still think of it fondly because we managed to find a way to to meet what we assume were the demands of Disney at the time Mhmm. And craft a film that met those demands and gave us something that was better.
Jim:I think the one we the the of the, like, three, I think, pitches we had in that episode, I think we liked the one that was least Disney, though.
T.C.:Yeah. The one well, once we were like, let's go to hell. Let's let's make this and then once we mapped that whole out, we were able pay it back. Go listen to the episode. It's great.
T.C.:So here's my question. Yes. Are we going to craft a Haunted Mansion in the year 02/2003, or are we gonna create a Haunted Mansion today? So there there's I don't the the demand was to to just create something that
Jim:Let's start my my initial idea is to to just start today.
T.C.:Okay. Because because if we were to do 2003, we'd have to put Eddie Murphy in it. And then if we have to put Eddie Murphy in it, then how
Jim:do we
T.C.:make it? How do we make a better movie? How do we make Eddie Murphy try? Right?
Jim:Sure.
T.C.:So, like, it that's that's where we're in. So Yeah. Do we wanna try to come up with something today, or do we wanna come up with one in 2003?
Jim:I think I have so I have sort of a singular concept
T.C.:Mhmm.
Jim:Which if you watch enough ghost movies and just story stuff in general might be a little played out. But I still like I still
T.C.:like it.
Jim:Let's But I think it would serve for either, actually.
T.C.:Let's let's let's start with there then, then. Whether this is 2003 or whether this is 2020, where are we at?
Jim:So initially, again so so I want to age it up a little. Haunted Mansion was a PG movie. Yes. Despite Eddie Murphy being the main character, it was right. They had kids, and we followed the kids.
Jim:It was very much a kids movie. Mhmm. They the the kids were the audience's window into the movie, really. Yeah. I want to age that up a little kind of the way pirates did.
Jim:And my framework is with ghost hunters.
T.C.:Okay.
Jim:And they hear about a mansion. And actually, what I want to do the big hurdle that I wanna introduce into this even even at PG 13 that might might be difficult to do with a Disney movie is I actually wanna introduce a really large ensemble cast
T.C.:Okay.
Jim:And have a bunch of them die.
T.C.:Okay. Alright. Well, I you you were on track to create something in the realm of goosebumps, but now you're asking for actual death here. So you're looking at PC 13.
Jim:It doesn't need to be grizzly. Doesn't need to necessarily be on on screen. Yeah.
T.C.:There's death in the Pirates of the Caribbean movies. And it's Sure. And it's very tame by what it could be by other people's standards.
Jim:And the reason I want that is because I want some of the characters to become ghosts themselves.
T.C.:Okay. That's fun. I like where you're going.
Jim:So Oh, yeah. That's good. Okay. So so I know that there's sort of a I don't know if there's a singular story to the Haunted Mansion or if there's a handful of different stories Will
T.C.:I just happen
Jim:to the ride?
T.C.:To have gone to Disneyland recently and reride the ride. Rerode the ridden.
Jim:Re yep. All those.
T.C.:Yep. Ridden rider.
Jim:Experienced the experience.
T.C.:Yes. I did.
T.C.:So there is there's a couple stories happening in it. In the first room you go in, there's four portraits on the wall. The room stretches, and the paint stretch and show you the four narratives that are inside the mansion. Unfortunately, it's almost it's it's technically Halloween time in Disneyland right now. And for Halloween to Christmas, they redo the entire Haunted Mansion based on Nightmare Before Christmas.
T.C.:So I didn't get to experience the actual narrative of the of the Haunted Mansion. I got the Nightmare Before Christmas version. K. So, unfortunately yeah. So, anyhow, the narrative, it is a New Orleans mansion that is haunted.
T.C.:I guess that's the at least your setting right there. It's set set in the Creole South.
Jim:Okay. Great. Sort of going so what I remember of the ride, that was actually my favorite part, is the the the pictures stretch and you get more of these seemingly very regal serious people's stories. Yeah. And they they they become a bit absurd and dangerous.
T.C.:Yeah. Oh, that guy's being hung. Yeah. Cool.
Jim:And I would wanna incorporate that into the narrative of the movie. I don't currently have any specific ideas, but if that could be the theme where it begins this way, we meet sort of these these big important ghosts maybe, like everyone's afraid of them and stuff like that. We learn about their story and maybe our characters kind of start, like they're they're serious people, but as as we get into the movie, we learn more about them, and and their character foibles land them in in danger that ultimately ends up making them ghosts that now live in this place.
T.C.:Okay. Oh, I okay. So so there's that. You're playing some good suits here.
Jim:Going along with that, that that that's our that's our characters. That's our living characters' motivations.
T.C.:Mhmm. They're they're ghost hunters for YouTube, and they're just investigating this haunted house. Sure. That's that's what you're saying is the motivations.
Jim:I mean, it doesn't have to be YouTube. It could be the Disney Channel.
T.C.:Okay. Of course.
Jim:Or or just for their own their own because because for the truth. Right? They're just haunting the truthness, maybe. But they they've been hearing about disappearances and murderer murders here at the at the house deaths at at the house for years and years. It's the most haunted place in all of Louisiana or something like that.
Jim:And, like, maybe we even get like, our opener, our cold open is a like, there there was a cold open in the the original Mhmm. And it was the backstory of the the bride. Yes.
T.C.:So we got to see the death Yeah. That the ghost is trying to avenge. Yeah. Yeah. The bride.
T.C.:Yeah.
Jim:If anything so maybe oh, to go along with that, may maybe it's a a my a cold open is a quick the the the four portraits of the the the four people. Mhmm. We start with them, and we just do a quick montage of kind of their life as a very serious person in this mansion. And then they die. And then they do something dangerous, and then they yeah.
Jim:And then they're dead, and then they're And we do that four times.
T.C.:Mhmm.
Jim:And that's that's our intro to the movie to kinda build up this place has a reputation. Many people die here and so forth.
T.C.:Okay.
Jim:So our ghost hunters come in. They do their ghost hunner y kinda stuff. Some of them die, and I don't have a third act. Okay. Well, I I Oh, I'm sorry.
Jim:The the the thing so from the ghosts point of view, the ghosts want out. Something is trapping them there. Maybe that's what our third act will be. But the so the other thing I remember about the ride and sticks with me is at the end, the ghosts wanting to go home with you.
T.C.:They escape with you. Yeah. You may have found a friend.
Jim:Yeah. So I I wanna I imagine the the the plot would be there'd be some ghosts who some ghosts who try to possess people to either get away with their with the bodies or just for shenanigans. Yeah. And then there are other ghosts which are quote unquote good guy ghosts that are like, you. No.
Jim:Don't go in there. I wanna help you, but I wanna make a deal. You gotta get me out of here.
T.C.:Okay. You That kinda thing. You've got a good you got some good groundwork here for for some excitement. If we have a group coming in, we have ghosts are trapped in the house for whatever reason. There's some sort of curse in the house.
T.C.:Some of these ghosts want to escape for nefarious reasons, and the good ghosts want to resolve whatever's happening in the house, whether they have to stay there for eternity before they
Jim:can move on. Well, maybe actually, I well, maybe maybe we one of our main character ghosts does that. I'm imagining the others just wanna get out. And if that just means I latch onto you as you walk out of this place Mhmm. I'm free, and I'm good with that.
T.C.:So so our maybe we like, our lead ghost are basically the the caretaker of the house is is and let's make this mansion way bigger than it is in the movie we saw, way bigger than the Haunted Mansion itself. Let's make this a freaking estate. Like, I want a giant estate for the this whole thing to be played out on. We could even have a roller coaster movement in it.
Jim:In the original movie, it was a whole estate.
T.C.:It had it had Well, it had the graveyard in the back. Yeah.
Jim:Well, and that graveyard literally went on for, like, two or three hills
T.C.:in the background. So this is a giant estate.
Jim:Ever we only ever saw a little bit of it.
T.C.:Which is why it felt like a TV movie because we
Jim:Yeah. We
T.C.:saw so little
Jim:Mhmm.
T.C.:Of the house. So our our main character, like, our main character is coming in to investigate the ghosts, and we have a main ghost character who is basically the the the overseer of kinda keeping everyone in check. The one everyone goes to, he's the landlord of sorts. Like, hey.
T.C.:You know, I went into the kitchen the other day.
T.C.:You know ghost cook was being a real well, you know better than to go in the kitchen after midnight. If you wanna get food, you talk just talk to me and I'll talk to he's the one guy that everyone the one ghost
Jim:keeps the house organized?
T.C.:Keeps everything organized. There are bad ghosts in the house. There are good ghosts in the house. And he's He's
Jim:not the original caretaker, though. Imagine the original caretaker is probably the the big evil guy
T.C.:Sure. Sure. Yeah.
Jim:Who's who is trapping everyone. Who cursed everyone.
T.C.:Yeah. But it's basically the the the young, you know, late teens, early twenties
Jim:Of course. Cool character who Yep. Our Will Turner ghost.
T.C.:Yeah. Yeah. Yes. Or or, you know so mixing these human characters with the ghost characters, I like the idea of of crossing over that that characters get sucked into the bad world and bag and ghosts wanna go or the dead world, and ghost characters wanna go into human world.
Jim:So maybe maybe they don't necessarily die when a ghost goes and possesses a body. It kicks the other person's weirdo. Sort of. And so now we get some of our our living characters are now ghosts, and they're like, oh, no. We need to figure out a way to stop my body from leaving.
T.C.:You're you're playing with and so we have CG version of of this young character chasing after his live action or her live action self, which offers a lot of good acting challenges, which could offer a fair bit of action and comedy.
Jim:Mhmm.
T.C.:You're you're playing in a realm of the Goosebumps movies that have been very successful and a little bit of the Jumanji success that has been successful in terms of body swap and and and people being out of, like, the body swap anymore you can get. And I Disney has already delved deeply very successfully into the land of the dead with Coco. So audiences are going to, I think, are much more accepting are going to be much more accepting of something that's a little dark. We're not we're not getting grizzly. This is not an r rated movie.
T.C.:We're not gonna see blood and guts. No. But having a character die and crossover in some capacity or another to have to go on this adventure is fine. I think people are gonna accept this. We we're looking at a light PG 13 and not a hard PG 13.
T.C.:No f bombs in this. No blood in this. Yep. And it's a matter of, okay. How do I get myself how do how does this character get back to the real world?
T.C.:How does the the caretaker keep main like, maintain the order of the house? If the bad ghosts are trying to escape, how do we stop them? There's a number of plots that can all circle around each other, all set in this location
Jim:Mhmm.
T.C.:That I think offer some good excitement, some good humor, some good opportunities for the actors. Visuals, the the visual calls to the ride in Mhmm. The Eddie Murphy version of the movie are super obvious. Yeah.
Jim:If you
T.C.:know the ride, here it is. Here's literally showing it.
Jim:Prop. Yeah.
T.C.:In Pirates of the Caribbean, those references are much subtler.
Jim:That that's the route I would wanna go.
T.C.:The the more the most obvious nod to the ride in the first movie is when the dog is sitting there with a key in its mouth, and they're and the three prisoners, like
Jim:Sure.
T.C.:Yep. Yep. Literally from the ride. Mhmm. But all the other references
Jim:There there's a there's a couple others. When I forget the name of the first mate. Gibbs. Gibbs. When Gibbs is sleeping.
Jim:I think it was
T.C.:he's sleeping with the pigs. Yes. Yeah. So there's so there's some but I think that the the the overall production design of Pirates of the Caribbean is so good that it's not as clean and Disney like we saw in Eddie Murphy Haunted Mansion. So any calls we're gonna do for the ride now, like the Jennifer Tilly played the woman's the Yeah.
T.C.:The Lolita, Lolita,
Jim:Loretta. Psychic in the ball. Yeah.
T.C.:I don't we can have a reference to that. I don't want her to be a character. I don't want that is that is a very clear obvious draw, like, pull from the the ride. Honestly, I think I know how
Jim:it incorporates. So I'm having a couple ideas how to franchise this.
T.C.:Oh,
Jim:cool. So so it starts it starts with just a couple teases that maybe we can build something in, like, maybe this franchise will span time. Right? Because the idea is the mansion's been here for a long time. Mhmm.
Jim:We're just being introduced with this contemporary group of ghost hunters. Maybe there's something about the the Haunted Mansion, and at some point, they see other living people who look to be out of time.
T.C.:Okay. Other others other people have come to the house and been drawn in and and stuck there.
Jim:Possibly. Basically, what I'm suggesting is by entering the house, you're entering a timeless place. So you run into someone who was here one hundred years ago. Oh. Likely before they even died and got stuck in the house, if they even did.
Jim:So the idea is after this movie so I imagine at the end of this movie, a bunch of our characters get away. One at least one person, probably just one person, sacrifices themself. Their ghost ends up staying here in the mansion to help everyone else escape.
T.C.:To stay with the caretaker. Yeah. Because I'm gonna imagine this caretaker, he's he or she has has committed themselves to protecting this house and protecting the ghosts.
Jim:Well, if not if not becoming the new caretaker. I imagine if if there's if there's a malevolence in the house
T.C.:Mhmm.
Jim:At some point, they will eliminate our beloved caretaker.
T.C.:Yeah.
Jim:And that will throw things into chaos, and thus, our new main character will have to, quote unquote, give up the ghost and become the new caretaker.
T.C.:Okay. Good. I I that's that's a good sacrifice for that's a good noble sacrifice. It's a good way to have an actor come in and out and then someone who can carry on to the next film and be your one character who is in the next movie.
Jim:Sure. So And so my idea being something where it's it's, quote, unquote, timeless
Jim:Mhmm.
Jim:The next movie takes place a hundred years earlier. Okay. Another group of investigators. This time, a media well, I guess we could have a psychic in this one as well. Mhmm.
Jim:But a medium comes to do a seance Oh. There or something like that. Right? A hundred years ago is what? The 09/1919?
Jim:That that's the perfect time. When mediums were kind of really really
T.C.:big. Post frontier America.
Jim:And and they run into the ghost of the the person from the first one.
T.C.:Because once you become a ghost, you transcend time and space?
Jim:That that's sort of that's what I'm suggesting. Okay. That's that's what kind of allows us because then we can sort of have this this flux of who and when ghosts are manifesting, why there are so many in this Okay.
T.C.:So that's something state? That can be sprinkled in as a subtle little thing in the first movie and something to explore in that. I think I have it. Okay. Good.
Jim:That's also why we can have madam Zola or whatever her
T.C.:name was. Yeah.
Jim:We can have the ball, and they see a medium through it who's who's trying to talk to them. Mhmm. But it's because she was doing a seance a hundred years ago.
T.C.:Okay. So a little bit of something to play. I like that. I and I I have an idea for
Jim:So that way in the second movie Okay. We get the scene where she's talking into this ball, and she sees
T.C.:these people. You listen. You teenagers. Why aren't you fighting in the war? Okay.
T.C.:Let's take a quick break here. We've we've been going for a bit. So let's take a quick break here. I have an idea that I wanna pitch at you for for another sequel. Because I think Okay.
T.C.:If the idea is to franchises, I like it.
Jim:I I also have a way to pivot this to put Eddie Murphy in it Oh. Because we have to do it sixteen years ago.
T.C.:Okay. Well, we'll be right back. Take a quick, let's hear here's an ad from Six Five Media ad. Do it. Hi there.
T.C.:I'm David. And I'm Kate. And we're the hosts of another Zelda podcast.
Commercial:There are so many good podcasts out there, and some of them in particular concern the Legend of Zelda.
T.C.:That's right, Kate. And we are another one of them. We that is actually the name of our show, another Zelda podcast.
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T.C.:Yeah. We do deep dives on game design and production aspects of the different Zelda games.
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T.C.:That's right. Alright. We will see you there.
Jim:Okay. Bye.
T.C.:Okay. We're back. Oh. We're literally right back.
Jim:Oh, we're right back.
T.C.:Everyone everyone, we are actually back faster than it doesn't matter. Okay.
Jim:So Transcending time and space?
T.C.:I I I you really came up with something great here. And I'm I there's some fun to be had here. If if it's simply a matter of these people going into the house, the ghosts trying to escape, trying to keep some ghosts there, the sacrifice of the caretaker character to, so that one of the ghost hunters has to stay, like, sacrifice himself and stay behind. Yeah. We we think of the action set pieces.
T.C.:We go through the ride and figure out what we wanna Mhmm. Do calls to. And, yeah, you have your your ninety minute movie there. There's a lot of fun to be had there. I think if we if we are on the if we take it as seriously as Pirates of the Caribbean, if it looks like the Goosebumps films, if it has the same sort of excitement and and energy as the the recent Jumanji films.
T.C.:Mhmm. Yeah. This is this is gonna do pretty well. I feel like this is it's Disney. You cast it right.
T.C.:You get some young care young actors that we can't name because what do we know? We're old men. And and, yeah, you have you a good recipe for success here. Yeah. And now you your suggestion that you can travel for time and space to get a hundred years earlier to
Jim:Or or even more. Let right? Like, go another hundred years before that. That's 1819.
T.C.:I I I want to I wanna build up there. Okay. Because you we do
Jim:have So real quick. Just because it it it doesn't take too much. So if it has to be in 2003
T.C.:Mhmm.
Jim:I think I crib another thing from Pirates of the Caribbean, which is Eddie Murphy is a realtor, and this is a property he has been trying to sell. Yeah. It's haunted. No one wants it. And he is now somehow cursed and attached to this place.
Jim:He keeps bringing people to try to sell it, and the ghosts keep killing them. And he's he's he's caught in this this place where he can't he needs to get rid of this this property.
T.C.:Yeah.
Jim:But he also has to feed the the these ghosts for some reason.
T.C.:Oh, okay.
Jim:The the way captain Jack Sparrow had to had to give Davy Jones a 100
T.C.:souls. Right.
Jim:I'm imagining Eddie Murphy, for some reason, has to do something similar. So he's like, it's it's more it's more the equivalent of he has to bring them here, and it's not that he's killing them. It's that if they wander this certain place
T.C.:It's their fault.
Jim:Yeah. And he gets he can give all like, don't go there. Don't do that.
T.C.:I I feel like that works, and that could work in the the recent one as well. Like, he convinced the ghost hunters to get there. It gives him a little bit he's more of an antagonist in this story than the protagonist.
Jim:What I actually while while we were doing this, I also thought of that I think I like even more, although it changes it from our beloved caretaker getting eliminated and our new character taking their role. Mhmm. We we would need to actually build out that caretaker more, cast Eddie Murphy as that caretaker.
T.C.:As the caretaker?
Jim:I love the idea of him not being the exasperated person who's like, ghosts everywhere. Oh my god. But instead, he is a ghost who's telling every you do this. Get you go over there. Stop doing that.
Jim:You're And and and
T.C.:can get peak Eddie Murphy, if you can get him to cut loose, giving him that cool confidence of this caretaker character who's basically a mentor to the other character, young, That could
Jim:living kids, you get out of here. You have lives to live. You shouldn't be here.
T.C.:Yeah. Well, get out of with you. Like, just having him go off on yelling at ghosts and yelling at the kids and just
Jim:But getting scared of the evil ghosts
T.C.:who live
Jim:in that part of the great day.
T.C.:I'll forget. Do not go in the kitchen.
Jim:How many times do I have
T.C.:to tell you this? Like, I think that given him the yeah. Yeah. And if it's a a matter of, like, placating his ego and and not having him phone it in, The fact that he would get to do this all on green screen might be in his favor. Right?
T.C.:Maybe. Might be in his oh, that I I saw the caretaker as a young, cool character that the care the the humans could like, the living characters could tattoo, but, you know, there might be something in Eddie Murphy playing that role.
Jim:Play you're right. Oh, I know why that works. Because he was he was the the voice he was the main character on the the claymation show, The PJs. So you're just imagining He's just the super from that. That is
T.C.:Eddie, the PJs was one of your passion projects that nobody likes while we're giving you a second chance.
Jim:I liked it, Eddie.
T.C.:Okay. Your idea of of transcending time and space, that's a big complicated thing to ask people to understand. It's not for us. We get it.
Jim:Right. Big ol' nerds. For the
T.C.:general audience to try to explain, okay, this character died a hundred years ago, but they exist now, and you died a hundred years later, but you can also talk to them there. There's a little bit of explanation. So I think the entire second film should be literally about that plot device. Sure. And here's where I'm gonna here's here's how I'm going to create so if our our main caretaker character, right
Jim:Mhmm.
T.C.:Who is now from the first movie and now he's a ghost in the second one, or she, I I hate to genderize, if they are still the character who can ask questions, they are not fully familiar. They're the audience analog where they get to say, what does this mean? What does this mean? And people get to explain it to him. So the premise of the second movie that would allow him to him or her to explore this time traveling elements Mhmm.
T.C.:Here is some it's a new curse on the house that is drawing all the ghosts who have ever escaped back. So the house is getting filled by all these ghosts who managed to escape, good or bad, and the bad ones are ticked that they are now being drawn back to you. There's some sort of of conduit that's dragging all the ghosts who escaped back.
Jim:Okay.
T.C.:So not ghosts who have gone on, because one of the one of the elements here is that you can you can move on to the next life.
Jim:On you.
T.C.:But it's just escaping the house and being and haunting someone.
Jim:Attaching to visitors who leave.
T.C.:And this could be a way to bring back a character or two from the first movie if they are investigating a spirit in Alaska that is like, what the? And they're they're like, we're we're losing ghosts. They're getting drawn back here. We don't have to do that. But if the studio's like, you have to bring back your main cast from the first one, that's the contrivance that I would create
Jim:Okay.
T.C.:To bring them back. But they just happen to be investigating a ghost that is sucked back to this house. So now the the main character is like, why is this happening? Why are all these characters coming back? So now I have to explore other facets of this house, including the time element of it Mhmm.
T.C.:In order to explain this new curse, to solve why this is happening, to let some of these ghosts go free. And and your bad guys can now be ghosts who have returned, who are ticked, and team up to basically trash the house. Like Sure. That I don't have much more than that, but just this is great. I I I think this first movie, we've got something.
T.C.:This is this is great. I we could write this.
Jim:I think so. Yeah.
T.C.:The second one, we could have some more fun with it by Mhmm. By playing with we could have Bill and Ted rules. We could have Back in Future two rules. We could
Jim:have all kinds I think the easiest way to explain the the wibbly wobbly time stuff Yeah. Is time loops. Just that phrase. It doesn't
T.C.:It's a time loop. Yeah.
Jim:It's time loops.
T.C.:And you know what?
Jim:But they don't actually go in a singular yeah. They loop all all sorts of different ways.
T.C.:We don't we hardly have to why are we why are we wasting our time trying to figure this out? The biggest movie of all time is a time travel movie. People people understand. Time loops. Yeah.
T.C.:You mean like Avengers Endgame? Yes. Exactly like Avengers Endgame brought to you by Disney.
Jim:Yes.
T.C.:I mean, hell, even having a ghost cameo from Paul Rudd just doing some callback to an Ant Man line from Endgame would be enough for people to go, I see what you did there. That was cheap, but I accept it because it's Paul Rutts. I that second movie would be much more delving into different areas and del different eras and different areas of
Jim:Of the of the estate. Of the
Jim:mansion. Yeah.
Jim:Of the
T.C.:Haunted Mansion. And and getting to see origins of other ghosts throughout time. Yeah. A hundred years ago, we could see the madam Zolo. We should look up her name.
T.C.:It starts with an l.
Jim:Tilly. Jennifer Tilly.
T.C.:Jennifer Tilly. Madam Jennifer Tilly. Yeah. That's right. So, yeah, that's could be exciting.
T.C.:That's got some big action set pieces into it. It's gotta I mean, stop. Figure out what the curse is and solve it. I don't have an answer for you. But
Jim:So I I as far as, like, breaking down, like, what new direction each movie goes into, would time be easier to do for a second one or would space? Because I think I think that would be where you go then either after time or after so what I mean by that is our characters either at either in spirit form or living form discover or maybe we could even incorporate in the first one why why why not just put it all there as well. There are parts of the mansion that shouldn't be. Like, this hall is way longer and leads to a very spooky wing that you can't see from the outside. And when I look outside, all I I see a carriage house that is not there normally, but it's a ghost carriage house.
T.C.:Kemper Center in Kenosha. Yeah. With the with the room windows that don't exist.
Jim:Yeah. Our our entire audience is familiar with your reference.
Jim:I hope so.
T.C.:I think we say that for the third movie because I think if our first movie is limited to is is is restricted to the home and the estate and we explore these characters and and the the mechanics of the ghost world in the house. The second movie Is about the past? We're we're drawing from the past. We're drawing characters back to the house. We get to explore that.
T.C.:The third movie, we literally cross to the other side. Okay. The gateway opens, and now there's now it's a matter of we have to close the gateway. So if the second movie is drawing people back to the house for some element of a curse, maybe one of the villains is the third villain like, third movie villain that, like, open the conduit between the wall between worlds. Mhmm.
T.C.:And now it's it's it's a matter of we get to now leave the house and explore the other side. And and so, like So
Jim:now now I'm trying to think of who or what the what the villain slash villains would be. So why is this place a death magnet? Why is this place a ghost magnet?
T.C.:That'd be
Jim:something they What if something or someone is literally so scary that death won't come here?
T.C.:Okay. So why oh, okay. So, like, it's a it's a place where spirits can go, but they can't cross to the other side because the death won't collect? Yeah. So then the
Jim:question That's the first idea. That that might not work. That just, you know, spitballing here.
T.C.:Well, okay. If Louisiana we're we're delving into Louisiana and Creole past and the the the Haitian and the Jamaican, like, voodoo past of that era, being respectful to the culture, of course. I don't I'm not trying to be old school Hollywood disrespectful to voodoo culture. Sure. The curse just being a curse I mean, it's it's as simple as why is why is the gold curse why is Cortez's gold cursed in the curse of the black pearl?
T.C.:Oh, they stole it from a bunch of Native American Indians, and they said, we curse your gold. That's it. Sure. The second movie is Davy Jones is a spirit collector.
Jim:Uh-huh.
T.C.:And that's it. That's the contriven like, that is the contrivance of the second movie. He is he collects men for his ship, and they have to serve a number of years before they can escape.
Jim:Okay.
T.C.:And the third movie is a mess. So our first villain in Haunted Mansion, the first Haunted Mansion, which the Haunted Mansion, the first Haunted Mansion, which you know what?
Jim:I think that's actually that's a joke that I think only you and I get. It's from a a there there's a website that I'm gonna explain this joke now. Oh, please. There's a there's a website that you showed me where you can it asks you what it asks it it it I'm doing a terrible job of explaining. It ranks It's a tournament style.
Jim:It's a tournament style rank ranking site for Marvel movie for the the the Marvel movies that have come out to find out. It it it posits which one do you wanna watch right now. Yes. That's always and then you choose between two, and then you answer, like, 50 questions. And then at the end, it tells you in order from top to bottom what your favorite Marvel movies are.
T.C.:Based on the quiz you just took.
Jim:Yeah. And in it, it lists the Thor movies as Thor, the first Thor, Thor two, the the second Second Thor. Yeah. And so we always say that now. So Haunted Mansion, the first Haunted Mansion.
Jim:And now you are in our inside joke.
T.C.:So the next time you're discussing a film that has a sequel, refer to them as literally the number of movie that they are. So you don't say Thor the Dark World. You say Thor to the second Thor. So Haunted Mansion, the first Haunted Mansion, the villain are the villains are the ghosts trying to escape. They have possessed bodies
Jim:Oh, sure.
T.C.:And are trying to get out.
Jim:And Okay. So our first villains are are more are more shenanigans level Yeah. Type one. There's
T.C.:yeah. You did say that there's a big evil caretaker that no one want, like, the overseer of it.
Jim:So Yeah.
T.C.:That they will have to cross paths with to to resolve the film in
Jim:some capacity. If I need to flesh that out right now, which I'm doing, it's a spirit that maybe is more hinted at as something that is sleeping. Mhmm. And and our Eddie Murphy character is like, hey. Stop playing around there.
Jim:You don't wanna wake that one up.
T.C.:Do not do not go in the basement.
Jim:Yeah. Because it turns out it it like like, we can allude to it being almost otherworldly. Like, oh, it's not even a normal spirit. Yeah. It turns out it is.
Jim:It's just super evil.
Jim:Mhmm.
Jim:But we're not gonna find that out until the third movie.
T.C.:So then yes. So the first movie is just shenanigan spirits taking over bodies trying to escape. About the level of shenanigans of, like, spaced invaders or the fair to die, Earthscumb. Why, of all movies, was that the one that I came to?
Jim:I saw that in the movie It's no
T.C.:one knows what that movie is. Let me the shit.
Jim:And I remember as
T.C.:a kid, I loved it. Oh my god. I loved it as a kid too. But oh my gosh. Why did that of all the movies that pop in my
Jim:head idea why that one
T.C.:popped here. That is gonna be we're gonna turn on YouTube later. It's something the matrix is doing something to us right now. The level of shenanigans of Goosebumps, the level of shenanigans of the Jumanji. I'm I'm using those two like a studio would to say we need that success.
T.C.:We need that money. The second movie with the time traveling element and sucking the spirits back to the house, now we got some ticked off ghosts. Yes. We could bring back some bad guy from the first movie, but I would rather each movie have a different cast of villains. Mhmm.
T.C.:I don't wanna make the mistake of forcing a real hard trilogy here.
Jim:Sure.
T.C.:We do have some continuing story between the three. Mhmm. But I would really like to do this where the studio will see it as a trilogy.
Jim:It's it's and not serial.
T.C.:Yes. I I want something in the realm of the original Indiana Jones. They don't need to know that. We will just write them that way, and the connections will seem really obvious to them, but it'll be more subtle.
Jim:The connections are our main characters. Yeah. We are we are watching their progressing story, but the plots themselves
T.C.:Are are separate. Yes. So then the second movie is spirits who've been long gone who are now back and ticked off. So there's some history between, you know, when if some wild Bill Hickok, Jesse James ghost comes back and one of the the older spirits who hangs out with the caretaker from the first movie and the second movie is like, oh, crap. It's the old we we definitely gotta keep away from him.
Jim:You know? That's a really fun voice, but that plot is reminds me a lot is pretty much the plot of house two, the second story.
T.C.:I thank you. I don't know what
Jim:that is. It ends with two ghosts dueling out on a on the street.
T.C.:They don't have to be cowboys. I'm just saying, like, having spirits come back
Jim:to him. It just it reminded you said Jesse James, Gunslingers, and I've been wanting to reference house two second You know, I referenced at least ten minutes.
T.C.:I Oh, really? And I referenced Space Invaders of all movies. So then our third movie villain is whoever has broken the broken the door between realities. And then they've they're the ones that have to
Jim:Well, they're they're I I imagine that they are the original curse. Okay. Whether whether they they caused the curse or whether they are the one who is cursed.
T.C.:The oh, and this is what I would do for your third film because it's all about actors asking for more money in the long run. The closing the gateway lifts the entire curse from the house. All spirits are are sent onto the other side. Good or bad, the way the third movie ends ends the haunted mansion. There will it is now just a mansion.
T.C.:In the end, it is this house is clear. Like But we Thinking like
Jim:a studio, I don't know that I'm completely on board with
T.C.:Studio, let me tell you, I'm not ending this franchise. I'm just ending this trilogy because what you do is post credit Stinger, which all the Pirates of Caribbean movies have. Just saying. Post credit Stinger, one of or two of your ghosts who get away halfway through the third film after everything is are set everything is said and done, miss their chance to cross over. And so they go and haunt a new place.
T.C.:And that is your setup for a new location with a new cast of characters for a fourth, fifth, sixth, or whatever have you film. So we we complete the trilogy of these characters, this caretaker, any friends we wanna carry on through the three films, the curse through the three movies. Everyone gets to cross to the other side at the end. But we do have that little bit of, oh, but wait. There's always more ghosts and always more mansions to haunt.
T.C.:I'm I'm tentatively into that. Okay. Your your your eyes are narrowed. Your heads tilted back. I'm not sure about
Jim:I'm because the the the nature of of the of the IP is tied to this location. Mhmm. And suggesting doing a different location, I'm I'm a little wary on. Like, I like, I I think that don't know if that breaks the rules or not. I'm I'm I'm kind of okay with it.
Jim:Okay.
T.C.:So I yeah. I I okay. I if you're making me go here, I will give you the premise for a fourth film where it's a new location that these ghosts decide to haunt and and run amok.
Jim:Okay.
T.C.:Okay. So, basically, start of a new trilogy. I don't know where we're gonna go for this. It's a new mansion that one of the original characters from the first movie who was very minor Uh-huh. Has built a replica to make money as an amusement park ride of a haunted mansion, and then our shenanigan run ghosts show up and haunt it.
T.C.:So now you have a new location that has tons of references to the ride because it's literally an attraction piece that is now haunted.
Jim:You, with that one, have nuked the fridge.
T.C.:Oh, yes. Well, that's, that's where the franchise would start faltering anyway. So why not be the if if you're gonna make a quadology, you make your fourth one the worst. So you're welcome, America. You're welcome, Hollywood.
Jim:You did this to yourself.
T.C.:You asked for this. I'm I'm good with that trilogy. Good. I I mean, I I don't wanna do four of these. If they're gonna pay me to do it, I'll come up with something.
T.C.:There's four home allowance. Okay. So okay. Are we have we crafted some are we meeting the demands of
Jim:I I believe I I think this is more positioned to succeed, And I believe that it is we made two more movies. I don't know if we we didn't really leave it open to continue.
T.C.:Yeah.
Jim:But I'm there there's there's little things we can do in there that that definitely could. Like, yeah. Like, the ghost the ghosts are given their opportunity to move on. Given three movies of meeting a bunch of different ghosts, and not all of them are gonna. Yeah.
Jim:So those would be sort of your your your cast that would go into the next movie. If you if if you were to not change locations as you suggested, these would be the the, what, the 10 ghosts that stayed behind in the mansion as it is now, and maybe go start gathering again. We don't have the curse anymore.
T.C.:And it doesn't
Jim:actually need be there there are. There are new curses to be had, and and we haven't I don't know if we're cheating by not coming up with the actual McGuffin, like, the actual curse is.
T.C.:Right.
Jim:It doesn't even necessarily have to be a specific a character with agency that that did the curse or or has the curse. It could just be the land itself, like something on the line. And so they don't lift the curse. They merely do something to free everyone from it temporarily. Right.
Jim:Yeah. I I That that is that is less satisfying. Right? Like, you wanna save the world at the end of Mhmm. At the end of your story.
T.C.:Whether we send ghosts to heaven or hell or the good place or the bad place in the end. Yeah. That's how the trilogy ultimately will will have its big climactic showdown conclusion here. Here's here's here's somewhere something to to discuss here. Because we we are
Jim:Oh, yeah. What if in so at the end, it's less it it becomes a place that isn't sucking in spirits and and condemning people. Mhmm. It this is a little this is kinda cheesy. It becomes a ghost hotel
Jim:Oh.
Jim:If you will. So
T.C.:You didn't like my amusement park where you go with ghost hotels? Yeah. Yeah. Yes. Continue.
T.C.:Continue.
Jim:So the the remaining ghosts, basically, they they stay there, and other ghosts from wherever Visit. Come come well, this this is where they come to to live. Mhmm. To convalesce. Mhmm.
Jim:Right? And so that's why we will once again get 1,000 go 999 ghosts.
T.C.:Yeah. I okay. But I
Jim:I But it's it right. The the the context is different. It's it's no longer restless spirits, and they're attacking people, and it's now ghosts hanging out Yeah. Having a good time.
T.C.:I okay. I can see either either your ending working where it's a happily ever after, but there's still ghosts, or I I am more apt to the the house is clean Sure. That everyone
Jim:So here's why I'm not, because the ride is still gonna exist. Alright. And if your movie ends with the house empty Mhmm. Why should I go see the ride? I already got the story.
T.C.:That is thinking like a studio right there.
Jim:Damn you.
T.C.:Curse you, Jim. Curse you to live in a mansion.
Jim:To forever come with movie concepts.
T.C.:I mean, you're No. Here's my question. The action set pieces. In the Eddie Murphy Haunted Mansion Mhmm. The only section of the movie that I was engaged in was when they go into the crypt, down into the through the graveyard into the crypt.
T.C.:They have to find the key. Mhmm. They drop the key, and then the ghosts and the and the basic zombies are crawling out of the wall while the little girl has to swim through the muck. Sure. That's the excite most exciting part of the movie.
T.C.:Mhmm. What sort of action do we get in something like the movie We've Crapped?
Jim:That's a good question. I think let's see. What can we do? Because I I
T.C.:do have a reference point that I think we can draw from. I have been referencing Goosebumps, but I think Night at the Museum might be more Okay. In the realm of the action we could ask for.
Jim:Okay. I'm I can think of two set pieces that the the original Haunted Mansion kinda uses, and then, honestly, another movie did the ballroom really well.
Jim:Mhmm.
Jim:I Ready Player One was a pretty mediocre movie, and I don't have too much love for it.
T.C.:Yeah.
Jim:But they did a really awesome ghost ballroom scene.
T.C.:Oh, for for The Shining. Yeah. Yes.
Jim:Right. I thought I thought that was a reference to the Haunted Mansion. They're in The Shining, and then they go into the the room where there's a bunch of ghosts all dancing, and they have to get to the the one person who's
Jim:No.
T.C.:I will
Jim:Not I thought that am I am I wrong? Am I am I misappropriating the reference or miss Allison's reference?
T.C.:Didn't I didn't think of that, but now that you've said it, like, I wonder if that was a reference. There's so many references in that movie anyway. I hadn't considered that. So so, anyway, the ballroom sequence you you wanna draw from that.
Jim:I I would like to. To to me, that that that's one of the the kind of big it's one it's one of the big memorable moments of the ride. Mhmm. And I think that that would be something you'd wanna do. Like, the and actually and that's the thing.
Jim:Ready Player One, if I remember right, that's what they kinda did. They they kinda did what I'd wanna do. What what kind of action scene do you do during a big dance when everyone's doing? Doing something hits the ground and no one's aware, so they're kicking a thing around and our main characters
T.C.:Oh, yeah. Yeah.
Jim:The thing.
T.C.:Get it. Get it. Get it. Okay.
Jim:Fair enough.
T.C.:Except with gold. I think you could have a roller coaster scene. I think that there could be a mine cart race situation. I mean, we're we're on an estate. We can go underground as far as we want.
T.C.:There's the crypts. There's the graveyard. Mhmm. The the ride itself is very slow moving. There's a couple of, I don't know, twists and turns, but it's a very slow ride.
T.C.:We would create a roller coaster ride in the film itself just to I mean, Pirates of the Caribbean is a very slow ride as well, and the movie is very exciting.
Jim:Yes.
T.C.:So having kicking something around the ballroom sequence, that's pretty good. Oh.
Jim:Oh. The other one is the graveyard, which the original Haunted Mansion had a a a few decent establishing shots of the graveyard, like passing through. Oh, there's those ghosts doing that thing, and there's those doing that thing. But they were all just kinda hanging out. Nothing really happened there.
T.C.:If you just observe them as you go through. I got I got your big final sequence.
Jim:Okay.
T.C.:Whoever your big ghost villain is that they're trying to stop Sure. They have to chase him through the house Mhmm. And he keeps jumping through all the main characters. Okay. So they're they're they're basically kinda Ghostbuster contain him situation.
T.C.:Right? Sure. But every time they kinda get ahold of the of the bad guy, they jump into another character. So all your actors get to play the villain at some point where and whoever your actor playing the villain is, if they are as, you know, bonkers off the wall like a big caricature of a person, to have them jumping around through the main characters could be very funny, very exciting. We're blasting through the house, going back to all the rooms we've visited, seeing all the ghosts we've already seen.
T.C.:That could be your big final sequence before whatever the final head butting showdown is. But having having that, like, jump. Oh, and we got my scatteries over to now. I'm over here.
Jim:We gotta do that. So
Jim:so, honestly, the way I'm kind of imagining this this whole franchise feeling and it it was it was a little more grown up than than I think where we would actually position this.
T.C.:Mhmm.
Jim:But I imagine a lot of this looking like and feeling like the frighteners. I love the frighteners. Yeah. Yeah. Between the the people, the the the living interacting with the the the ghosts
T.C.:Certainly.
Jim:And and all that back to the way the ghosts interact with each other.
T.C.:They're very green like they they look like the ghosts of the Haunted Mansion. Yeah. That is a very good yeah. Reference to that.
Jim:Except except right, like, times 10, whereas Frighteners had, what was it, three sidekick ghosts Right. And then two villain ghosts.
T.C.:Mhmm.
Jim:Like, would have 120.
T.C.:No. 999.
Jim:999. Yes.
T.C.:Maybe not that many. But, yeah, having having a frighteners, yeah, it's a little more I think it's is that r? I don't know if it is or not, but it's definitely hard. Yeah. It's it's definitely an adult movie.
Jim:Well, right, like Jeffrey Combs gets his head shot off. That's how he becomes a ghost. It's a hilarious scene. He's standing there, and then a shotgun takes his head off, and then his ghost head is there, and he just goes, oh.
T.C.:Oh, Peter Jackson pre Lord of the Rings, Michael j Facht.
Jim:That's it. No. Peter Jackson produced it.
T.C.:Oh, okay. I always thought he directed it. Mecca's Woah. Directed it. I how could I not know that?
T.C.:For shame. I need to take down my Back in
Jim:the Future poster. Now I feel like I'm wrong.
T.C.:I that that that I'm I'm You got me you need me to vamp over here.
Jim:Real confident.
T.C.:I I like I like this. I like the idea of this Haunted Mansion trilogy. I think there's some fun to be had here. There's a lot of cool opportunities for sight gags, references to the movie. Part of the part of the trouble here is that we are containing it within a very close, closed quarters situation.
T.C.:And and that you know, Pirates of the Caribbean gets to explore all over the the ocean and or all over The Caribbean. Lone Ranger gets to go all over the West. This, we are on an estate. But like I said, I want this to be huge. I want this Night at the Museum works really well, and it all takes place in in the New York Museum Sure.
T.C.:In the Smithsonian. So having it bottled like, the the reason the Eddie Murphy one feels so small and TV like is because the sets looked amazing, but it it felt like a TV set. It didn't feel like a an actual living, breathing building that I could walk into. It felt like, oh, that's a really good set. Yeah.
T.C.:And and to create an estate for this first movie that we then explore through a trilogy with new rooms that that are that are like the freaking TARDIS and like, how is this ballroom so big?
Jim:Yeah.
T.C.:Yeah. That will give us so much more place to explore. Like, don't go in the basement. What's up with the basement? Don't go in the attic.
T.C.:What's up with the attic? Like, having having having a a terrarium in in the house somewhere that's a a forest. Having the grave the graveyard in the back. And then also going through time to explore different areas of the house too is also fascinating.
Jim:Yeah. This feels you know, I don't care. Feels a bunch like house two, second story. I love that movie.
T.C.:Well, you're the only one who's ever seen that movie, so I think we're safe.
Jim:Okay. You you I was I was wrong. They are reversed. Peter Jackson did direct, and Robert Zemeckis produced.
T.C.:Well He's the exec okay. He's actually producing. I can leave my Back to the Future poster up, but that is a a great team up. Frighteners. Yeah.
T.C.:The the aesthetic of Frighteners is great here.
Jim:Yeah.
T.C.:Cool. Well, what what what else what else are we we diving in here? We can't really talk about casting. I do think you have a great idea about putting Eddie Murphy in the first one. Mhmm.
T.C.:If we could get him to come
Jim:Well, honestly, he he could he could if we don't if we keep that character like, if we don't kill him Mhmm. As the before we cast Eddie Murphy, my suggestion was to to kill that character. If we keep that character and Eddie Murphy's there, Eddie Murphy can be in all of them as that character.
T.C.:I I do like the idea that the character the main character's protagonist sacrifices themself to become the new overseer of the mansion. Like, I like that idea. That was a really good idea. Sure. But you're not wrong that if Eddie Murphy gets to cross over to the other side, but calling calling upon him for the second for a cameo, having him come return to fight in the third, yeah, we could still keep him around.
T.C.:But the putting him in there as What about
Jim:so I I again, I still really like him as that character who's who's who's just kinda like who runs the he's the ghost that runs the show. Right. I I like that. But what if we change it? What if he's sort of the the main ghost trying to get out?
Jim:So then by the end of the first movie, he doesn't get out. So that's why he's in the second one still trying to
T.C.:I do things. I like where you're going with it, but I don't think Eddie Murphy's the right actor for a role like that.
Jim:Because because, basically, what I'm I'm I'm I'm trying to imagine him as this franchise's captain Jack.
T.C.:I don't think he could do it. I don't think he could pull that off. I see I I I hear you, but I don't just looking at Eddie Murphy's career, looking at what he's willing to do and what he's willing not to do, I feel like giving him a really big role in the first one as the Obi Wan Kenobi character who's running the house and passes that torch, and then giving him Alec Guinness level cameos for the second and the third one. Lots of information in that one. But I don't I don't know if he has the ability to do what Johnny Depp did.
Jim:I believe in you, Eddie.
T.C.:I'm so I'm sorry, Eddie.
Jim:I I I also believe he listens to our podcast.
T.C.:So I I'm sorry? Call call me. I will write you a movie. Or you call us. You tell us if you want to be in three movies, Eddie.
T.C.:Because the stew being able to sell the movie with Eddie Murphy on the first one
Jim:Yeah.
T.C.:Just to lay the groundwork And depending on the success of the film would determine whether or not we keep him around.
Jim:Not trying to pander to a celebrity listener who's probably not even listening anyway. But trying Wait. He's not? I I'm playing I'm toying with your emotions.
T.C.:Oh, yeah.
Jim:So, like, at that time, he he had the star power to to carry the the making of that movie and and and stuff. Mhmm. So that's obvious that that's that's not obvious, but that that is kinda how that got made. I guess, what kind of star power does Eddie Murphy carry now?
T.C.:I don't think he does. I don't think I mean, he has a Netflix movie coming out this month. Like, he's he his star has fallen. He is not the eighties Eddie Murphy.
Jim:But That's actually a whole other conversation. Someone who has is being in a Netflix movie, is having Netflix movies, is that the sign like like, is that the equivalent of a made for TV movie or a direct to video?
T.C.:Fair enough.
Jim:Or is that the new up and cut? Like yeah. That's a whole other that's a whole that's
Jim:a whole
T.C.:other podcast. That's a whole another conversation. Yeah. And I'm willing to just jump over to this real quick and and why I would turn my nose up at saying Eddie Murphy's doing a Netflix movie. Yes.
T.C.:You're right. This is a much longer conversation, but my thesis about Netflix films is that they're always like, the good ones are good, but there's always something about them that makes me go, yeah. That wouldn't do well in theaters. Yeah. Like, there's always just, okay, Sandra Bullock.
T.C.:This is a cool concept. It's like The Quiet Place, but you can't see it. Something's Something's missing
Jim:something's off.
T.C.:That says, yeah. This wouldn't have done good in theaters done well in theaters. So that's why I turned my nose up at saying it.
Jim:I I just don't And we yeah. We've had that. Right? We can we can do that with every every one of the movies I that we've seen.
T.C.:The the chance for a young cast to be the draw here is more important than having Eddie Murphy have a star vehicle for three films. Okay. I'm saying he is the big name draw that you get for this first one.
Jim:Mhmm.
T.C.:Much like Johnny Depp was for Jack Sparrow.
Jim:Mhmm.
T.C.:Who the heck is Keira Knightley? Who the heck is Orlando Bloom? Right? Sure. It was Johnny Depp.
T.C.:You sell the movie on him. And then they made the mistake
Jim:Sort of. I actually think the first movie was sold on a ensemble of stars, and Johnny Depp wasn't actually any bigger than any of the others. Okay. And then Captain Jack was so impressive.
T.C.:They made the mistake of building the entire franchise around him.
Jim:Kind of. Yeah.
T.C.:Again, another conversation to be had later. So I I I feel like Eddie Murphy's your name for this first one. Depending on the success of it, we'll let we'll we will TBD if we keep him around. Because we can build that character to stay or write him out. I am more inclined to say, get him out of there because then every like, the second movie, you could draw in, you know, some other no offense, has been or some other larger name as your okay.
T.C.:Like Sure. Because because Pirates of the Caribbean has done sorta done that where they're
Jim:Well, their their main their villain Is always somebody. Yeah. Yeah.
T.C.:So you have Billy Bill Nye. You have
Jim:Jeffrey Rush.
T.C.:Jeffrey Rush. You have Javier Barton. Javier breakdown
Jim:was in the fifth one.
T.C.:So Ian Ian McShane. Ian McShane. For the fourth. Yep. So, yeah, so the second and third movie, we we could draw in another celebrity to play a bay play a big in the second one, another to play in the third one.
T.C.:Yeah. Casting is tough because you you talked about this off mic that we don't often cast these movies. Yeah. And I think that's that is a a safe thing to do because Sure. Especially something like this.
T.C.:This is a perfect vehicle for a younger cast. We just don't know I'm not gonna cast Ty Sheridan in this. Screw that guy. He's he's he's the most vanilla vanilla. But he's a young guy I can think of.
T.C.:What's what's Sansa Stark doing? No. Don't don't no. She's also very vanilla. Let's there are stars out there we're not thinking of that could be in this.
T.C.:Yeah. And so that's why I don't I don't feel compelled to cast, at least in this situation.
Jim:And we didn't necessarily create we we we haven't crafted strong characters. Like like like, oh, this is this is the ghost that does this. And I totally imagine
T.C.:So and so playing this. Yeah. I I guess the last thing I'd say is, like, is there anyone you could imagine directing this?
Jim:Peter Jackson.
T.C.:Peter Jackson. You know what? Yeah. I think Peter Jackson has thrived in his career on his films that feel like indie films, his films that feel small. Lord of the Rings is the most expensive Sure.
T.C.:Student film ever made. And King Kong is a failure because he just he had he had all the money in the world to do whatever he wants. Mortal engines was not what it could have been. I think Peter Jackson Mortal
Jim:engine was that I think that was another one he just produced.
T.C.:Oh, you're right. Yes. Yes. He did did just produce Mortal Legends. But I think giving Peter Jackson
Jim:But those are also giant, epic, sweeping stories. This is something
T.C.:that This is a scary ghost.
Jim:This big. Right? It's a it's a it's a trilogy, and it's across an estate that is larger on the inside. Mhmm. But it's not it's not world world spanning.
T.C.:Yeah. So it it Peter Jackson's not a not a bad choice.
Jim:I I just I would choose Peter for most things.
T.C.:As would I. Meet the feebles. The I think, Shazam. Who directed Shazam?
Jim:Oh, that could be that could be okay.
T.C.:The the director of Shazam did Lights Out. So he already had he has a horror background. Sure. And he's also proven himself with an ensemble cast of a lot of fun Mhmm. With cartoonish.
Jim:A a a more family friendly movie. Right? It's it's sort of the marriage of those two.
T.C.:Yeah. So
Jim:So, like like, as far as casting directors, I I feel bad because I'm more familiar with the names of sort of the the big giant The stars and Spielberg
T.C.:and Tarantino. So, like, David f Samberg is the director of Lights Out and Shazam. I think he's proven himself capable of horror. He's proven himself capable of fun family entertainment. He's proven himself care capable of a big budget.
T.C.:I think he you wrote him in something like this. I think this is right on. Right in this?
Jim:Who I think could nail the comedy element? Who? I don't remember his specific name. I feel bad. But Lonely Island.
Jim:Those guys.
T.C.:Like Kiva, Goldsmith, and Yeah. Yeah. Oh my god. Oh, no. You're it's
Jim:a little it's a I think it becomes a little more absurd Right. And a little more comedic with that. You you'd
T.C.:be risking it turning into a Lonely Island production. You are not wrong. Okay. Jor Jorma, Takome, what are that? Samberg and Akiva, they're that's a great trio of comedian comedians capable of, you know, we got Hot Rod, look at Pop Star,
Jim:but Yeah.
T.C.:I don't know if they're
Jim:It would be little too off the wall? Yeah.
T.C.:But at the same time, that that would be that would yield a very funny movie.
Jim:Again, like I said, I the the the the really big, really hot ones, James Gunn. James Gunn could do it.
T.C.:Yeah. He's busy. He's busy. They're putting him in charge of DC at this point and the Marvel Cinematic. You know what?
T.C.:I don't think we need to worry about casting a a director on this. The script alone I'll do it.
Jim:You know what? You know what? Jim Burzelic I'll do it.
T.C.:Is directing this. You have a background in horror house movies.
Jim:I do.
T.C.:Please watch Misfit Heights available on Please. Yeah. Please? Vimeo?
Jim:It's on Vimeo. It's on Amazon. It's on iTunes. It's on iTunes.
T.C.:So please check it out. Misfit Heights directed written and directed
Jim:my movie.
T.C.:Written written by Dan Grzoviak And and Jimmy. Bruce Elak. Yep. And directed by Jim. And produced by Dan.
T.C.:Okay. Enough plug in there.
Jim:Go through the whole thing.
T.C.:I think we have exhausted the Haunted Mansion at this point.
Jim:I think so.
T.C.:I Ben I
Jim:hope so.
T.C.:Ben, I hope that we have succeeded in giving you not just a good Haunted Mansion movie, but the potential for a multi picture series. I would I would I would write this with you. I would have yeah.
Jim:Yeah. I I believe this this was fairly contrived.
T.C.:Oh, good. Thank you. That was the name of your studio, and we've contrived up a very good contrivance for you. So, yeah, let's let's wrap it up there. Anyone listening, if you have any thoughts on this, we would love to hear from you folks.
T.C.:Absolutely. We we we love the engagement we've been getting in terms of people offering up demands, but we'd love to hear more reactions from you. You can hit me up on Twitter at t c's big head.
Jim:You can hit me up at on Twitter at Tubac Waxon.
T.C.:You can also find us
Jim:real real big, real popular.
T.C.:Really? It's you can't miss it. You can also find us at studiodemandsitdotcom..com. You can find us on Instagram and Twitter as well for Facebook,
Jim:I think.
T.C.:I believe I believe you are correct. So yeah. So so let's hear some reactions. Let's hear some thoughts on what we've done here. Did we miss something?
T.C.:Is there a perfect casting choice we're we're not hearing here?
Jim:We leave a big set piece of the Haunted Mansion out?
T.C.:Yeah. For you for you lovers of Disneyland, is there something that we we didn't quite hit that you think, oh, how did you miss that?
Jim:Or do or do you want us to elaborate on something we did? Yeah. Do We would love to. Like I said, oh, there should be a ballroom scene, and then we did nothing with that.
T.C.:No. You made a whole set piece out
Jim:of it.
T.C.:They're chasing
Jim:the thing. Sort of. We we didn't incorporate yes. This is hey. Let's grab that thing.
Jim:It's it's
T.C.:the device they're gonna use to capture the bad guy.
Jim:There you go.
T.C.:Yep. The Ghostbuster device. Yep. But yeah. So let's let's studiodemandsit.com.
T.C.:You could submit your own demand to us, TV show, movie, what have you. Please subscribe to us on Apple Apple Podcast, Google Play, and and yeah. So a huge shout out to Six Five Media for giving us this platform. Please go check out another Zelda podcast. You can watch the Top Hat Balloon show if you wanna watch some ridiculous comedy.
T.C.:And some new shows in the work for 2020 that we will be adding to the roster very soon. But, yeah, that is it. That that is it. Hurray. How do you feel?
Jim:I I feel I feel good. Good. I we we went into this episode, and I was all like, I don't know. And then we came out of the episode feeling like, yeah. Yeah.
T.C.:This this was a new way to do this because there's another movie on our has been demanded us that we're like Yeah. Alright. We're gonna have to rewatch that.
Jim:Watch that tonight.
T.C.:We might even watch it tonight. So thank you everyone for listening. We will be back again soon with another demand. I am T. C.
T.C.:De Witt. I am Jim Burzelic. And that's it. That's the end of the Oh, what does what does she say at the end of the just come again. No.
T.C.:Oh, yeah. No. No. No. See you.
T.C.:See you. See real. 1,000,000 serve. That's all. That's all, folks.
T.C.:Yeah. Yeah. Good. Good impression that you're still that's the most good thing.
Jim:That's all, folks.
Jim:Okay. So my impression is actually really spot on. You just need to see it because my hands are up in the air.
T.C.:Right.
Jim:And that's key. Everyone knows Bjork's hands are always in the air.
T.C.:It's all about the physicamtage.
Jim:Back.
Leota:Be sure to bring your death certificate. If you decide to join us, make your final arrangements now. We've been dying to have you.