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Three words: Great Great Movie.
Our second Tony Scott/Denzel Washington movie in a series of five. We swap out Man on Fire’s cartel and BHBs with Chris Pine and a runaway train. And you know what? It’s amazing. Because it turns out a train with no brakes is a TRAIN WITH NO BRAKES. It’s a movie so timeless that we’re embarrassed for all the other movies, forever.
Is this movie just a metaphor about our stunning mortality in the face of impending death? Probably not. Is this a movie with a ton of literal helicopters all over the place? In a word: YES. It’s time for us all to be the Ned in somebody’s life, and hop in our truck, needlessly peel out, and tell someone you love about 2010’s Unstoppable.
Joe’s Back of the Box
When a train carrying explosive cargo is accidentally sent speeding along the main line with no one on board, only Frank and Will (Denzel Washington and Chris Pine) can stop it. They must find a way to work together as the train barrels towards the last stop. This Tony Scott classic will keep you glued to your seat. This runaway train is a runaway hit for sure…
The REAL Back of the Box
This is a very tight film from Tony Scott. He reverts at times to his editing tricks and fast cuts but for the most part he plays it straight with this movie and it works. Denzel Washington and Chris Pine work well together as the odd couple that must come together and save the day. There are some real collisions and fun action sequences throughout. Color me pleasantly surprised by this movie.
Note: This transcript has been auto-generated, so… You know… It’s not our fault.
Greg: Joe in the movie we watched this week. A train is out of control and two people have to come in and save the day. What in your life is out of control?
Joe: It’s probably work related. Right now I’m trying to think of a there’s no funny answer to it, unfortunately. Oh, yeah, that’s what. That’s what mine is. What about you? What’s beating out of control in your life?
Greg: You know, I kind of feel like I’m on this podcast train and it’s never going to stop. But my issue here is I never wanted to.
Joe: That’s right. So why would it?
Greg: I think that is the unofficial sequel to unstoppable, this podcast and my life.
Joe: That’s right. The conversation that needs to happen about all the greatest movies.
Greg: Absolutely. All right, let’s get to the show.
Joe: Let’s do it.
Joe: I’m more. Colson.
Greg: Working together today, I train 1206.
Joe: This ain’t training and training. They just give you an F out here. You get killed.
Clip: We have an unmanned train rolling into a highly populated area with no air brakes.
Clip: Yeah. Number six, number six. What’s up? There’s an unmanned train on the northbound track. It’s under power. It’s coming straight at us. Who we worried about in terms of cargo.
Clip: Eight freight cars of hazardous chemicals. We’re not just talking about a train. We’re talking about a missile the size of the Chrysler Building.
Greg: It gets worse.
Clip: I got 150 students coming in at some field trip on track 16. Close your eyes if you want it. You got a real knack for inspiring confidence. Yeah, that.
Greg: In 2010, Tony Scott and Denzel Washington and Chris Pine teamed up to make a movie called unstoppable.
Joe: A movie that has people you’ve seen in other movies. And Rosario Dawson, that’s really the only Rosario I really am the only other on the other person. And then lots of other people that are like character actors and everything else you’ve ever seen.
Greg: Absolutely. Oh, T.J. Miller.
Joe: Yeah.
Greg: But otherwise you’re right. A film full of that, guys. That’s guy. How do you. What’s the plural of that guy?
Joe: Yeah, that guy.
Greg: And Rosario Dawson. Yeah. This is a movie that you had not seen before. So this is always a bizarre moment for our show. Great bad movies is unstoppable. A great bad movie.
Joe: I’m on the fence about it being a great, bad movie. It might just be a great movie. I thoroughly enjoyed this movie, and I went in with expectations of a great bad movie. Yeah, and a Tony Scott movie. Tony Scott, Denzel Washington dream team. Right.
Greg: And their fifth movie together.
Joe: Yeah. And what I got was a really tight movie start to finish. Yeah. That felt you know, it had its Tony Scott moment. So within one second of the opening of the movie you go, oh, Tony Scott directed this because it’s like shaky slow motion cut cut cut. But then he starts doing that tells the story. And then at the end he does not know how to end the movie.
Joe: And so we just have like here’s what happened to the characters at the end. But in between that, you have a really fun story with good characters and, you know, a runaway train. It was awesome. So I really enjoyed it. You love this movie, so I do. Let me pose that question to you, Greg Swineherd. Is this a great bad movie?
Greg: Joe, I think this might be great. Great movies. All right, let’s get to the show. All right.
Joe: Let’s get into it.
Greg: I don’t know what to do for great, great movies. I have no idea. I guess we just treat it the way we usually do. In 2010, Tony Scott made a masterpiece. In fact, his last movie that he ever made before he tragically passed away. Denzel Washington, Chris Pine, Rosario Dawson and many other that guy’s and T.J. Miller starred in unstoppable.
Greg: This is a movie that is just so much better than it should be. Tony Scott himself read the script for this and said it was speed on speed, and I think he just said the F word. No, he said, well, comma, F-word then. That’s how he described this movie after he read the script and decided to make it.
Greg: This is his fifth movie with Denzel Washington, and we will for sure. We have gotten to Man on Fire already, but Crimson Tide, I don’t.
Joe: Know, 100% will do that. We have, Quentin Tarantino. Ghost helped ghost write that movie, so I will definitely get into that.
Greg: Okay, okay.
Joe: I haven’t seen deja vu.
Greg: We’re for sure getting to deja vu. And the year before this movie came out. The taking of Pelham 123. Was made by this pair. The crew called this movie The Taking of Pelham 4 or 5 six. And what else is in there? We’ve got the so Crimson Tide. Man on fire. Deja vu. Taking of Pelham 123 and unstoppable.
Greg: That’s on fire.
Joe: Nice. I’ll definitely get I mean, Tony Scott will make multiple appearances within our podcast as he is a master at making these kinds of movies. This is of his movies, if I can think of his probably his titles, like I wanted more of this, I actually wanted. I usually I’m always like, you can cut 20 minutes out of most movies.
Joe: Yeah, I wanted like 15 more minutes. I wanted to stretch it out a little bit, I think. And I will maybe never say this again, but like, what if Michael Bay had directed this? Like, he would have drawn out some of the tension in the scenes a little bit more. We got the backstory. We kind of get into it real quick, but there were moments where they could have expanded it.
Joe: They had Rosario Dawson, then the person who’s with her, who’s from the the audit firm or whatever he’s doing there like that. Related. They could have expanded their scenes. Like, I feel like there’s a director’s cut that’s out there that’s two hours long and I wouldn’t pay to see it and it would be awesome.
Greg: Inspector Werner. So you’re talking about. Yeah, just the guy who seems to know everything.
Joe: Yeah. And a person you’ve seen in lots of shows that you can’t put your finger on. Oh. That guy. Yeah, but the bad guys in this.
Greg: Totally. Yeah, they got it down to what, 98 minutes. There’s only one spot where I feel like oh they clearly just lopped out part of the movie. And it’s where the train is moving. And then instantly it’s no longer moving. And they’re checking something out. Like how long does it take to stop this train. Yeah. This is before they get to the runaway train.
Joe: Yeah. I mean, there are a few places where it can veer into great bad movie land. Yeah, one is just Tony Scott’s inability to have an ending to a movie. It could have totally easily with a slight montage. Yeah. Instead of doing like so-and-so, he does, like, writes the script on. It’s kind of like Man on Fire, where they’re just like, oh, and then they capture the bad guy and everything’s over like, just show him going home and being married with a kid over a couple of years and show Denzel Washington this character, show Ned’s character and Joe the loser who let the train get away working at a fast food restaurant.
Joe: Cut the credits. You know, instead of telling us that, like, it just it was so funny to me that, you know, I like the timeline that they have on the press conference. Like, that was very fast after they stopped the train. And then, like all the press are there and the FBI and everyone’s like. So those are the little moments where Tony’s guys is like, come on, you can end the movie slightly differently than just telling us what happened.
Joe: But other than that, it’s awesome. So it’s a really good movie.
Greg: Do we ever see Chris Pine reunite with his wife and his kid?
Joe: Yeah. She comes to the press conference and gives him a hug or.
Greg: Okay, so they do say hi.
Joe: Yeah, they say hi. And then they apparently have another kid and are happily married.
Greg: Right. We find that out in the closing credits. Oh. That’s funny. Denzel Washington never speaks to his daughters in person. It’s always over the phone at the end of the movie. They’re kind of like 20ft away giggling and dancing.
Joe: Yeah.
Greg: Because Rosario Dawson kissed Denzel Washington on the cheek. I guess they captured that moment. Yeah. And so now we can end the film.
Joe: I mean, and I would say the opening scene when the train gets away as a little slapstick, and that actor who’s you’ve seen in lots of things was in. My name is Earl. And. Right. Other stuff. And that was like, looks completely different. It’s like in shape. And then but that was a little like over the top. And the rest of the movie is perfect.
Joe: So yeah, we’re in uncharted territory here.
Greg: Tony Scott, I listen to a little bit of his commentary because I own this movie.
Greg: He said he really was trying to find his as many laughs and smiles as he could, because he wanted it to get as intense as possible as the movie went on. So I think he was trying to milk that opening. TJ Miller is a comedian. It’s the same Ethan, so please play something like that. The guy from My Name is Earl, I guess when he was in scenes.
Greg: Well, it was an interesting experience for all of these people to film a movie with Tony Scott. And we should get into why that is in this movie. The camera almost never is. Still, it is almost always just swooping, flying all over the place, which I’ve said before, I sat in the Man and Fire episode. I really struggled with Tony Scott during a part of the 90s, and the OTS that just didn’t quite get it.
Greg: I thought it was just getting a little bit comical. Then I saw this movie and it was kind of like, well, I’m back on board. Tony Scott can make as many movies as he wants, and I’m going be interested because this movie is just infinitely interesting and it doesn’t deserve to be for any reason. And even if the camera wasn’t moving the way it is, I think I would still be interested.
Greg: But he is somehow able to make mistakes and increase the velocity and the tension of the movie as it goes. It just keeps ratcheting up. And that’s apparently what he told his editor. Like, we just we’re just going to ratchet up the entire time and it will just never give the audience a chance to breathe. That was kind of his whole plan.
Joe: And what’s interesting is I didn’t even really notice how much the camera was moving because I was expecting kind of man on fire, and you kind of get a brief moment of that in the beginning was just kind of slow motion. And so this was like, I thought, he’s dialing it back. Wow. You’re right. It doesn’t ever stop moving.
Joe: But I was like, it’s not as pronounced as it was in Man on Fire in some of his other movies where it feels like it’s like a I’m going to have 300 cuts every minute. Yeah.
Greg: The opening in this movie is really just the train, but it is at half the frames per second, as usual. It’s like 12 frames per second. It’s like original Disney animation, and it’s just making the train look as scary as possible. I think that was all there they were doing. Every time they cut to a different view of the train, there’s some new animal noise that apparently the train is making as well.
Greg: Which just made me laugh so hard every time they did it.
Joe: Yeah, the Foley editing on the opening credits is pretty spectacular.
Greg: So it’s needlessly noisy.
Joe: Yeah, I feel like we need to add in. And he does this in Man on Fire of like the sepia toned or the different color stories for foreign countries.
Greg: Yeah.
Joe: So we need the same thing for rural communities and the United States, where it’s kind of washed out and like it’s always, you know, fall or winter. So it’s always cold and like.
Greg: Yeah, that.
Joe: Is such a trope that, you know, opens on an island where the Chris Pine in a, in a pickup truck, it’s like you could not get any more. Okay, we’re working class. Like working class color story is what this is. It was perfect.
Greg: Seemingly like stalking a little girl. Do we recognize that the girl is his daughter in the beginning, or is it just like, why is he staring at you? Smiling? He seems joyful because the little girl seems joyful. I don’t know, there’s probably you reading of that scene, but I didn’t get it.
Joe: It’s a little problematic, and they don’t really go into a lot of detail on that. They we kind of get the story in the train. Right.
Greg: And there are basically like two scenes where they speak about anything other than the train.
Joe: Yeah.
Greg: And the second time they have like a little exposition fest, it is hysterically interrupted by Rosario Dawson radioing in to give some information about the train that they’re trying to catch up to.
Joe: Find a new friend. You pulled a.
Greg: Gun on a.
Clip: Cop, Frank. Frank. 777 just past milepost 61.
Joe: Thank you Connie.
Greg: But you want to hear that? Made me laugh so hard. The camera just never stops moving. But the action in this movie is so analog.
Joe: I appreciated that greatly. You know, there’s a couple moments of, like, CGI where you can see where they’re doing it.
Greg: And where was that.
Joe: When they’re coming in, like going around that corner at the end and like things are falling off. But for the most part and I appreciate like actual crashes of the train and then there’s a bad scene where they have the helicopter and the other. It was like, that’s beautiful. I love a good action sequence, so I appreciated the actual, as you say, analog action sequences.
Greg: Yeah, I mean, this movie is basically just a train rolling down the tracks.
Joe: And then we got to stop it.
Greg: Yeah. And you can’t stop it. And yet it’s filmed in a way. It’s so tense, it makes me wonder how many hundreds of things if we got on a piece of paper, how many hundreds of things can we write down, like trains? That would make an amazing movie. Like one of the best movies of 2010 was Just Train.
Greg: I guess they did plane with Gerard Butler a couple years ago, and it wasn’t bad, but it wasn’t train.
Joe: No. What could be train? Yeah.
Greg: No, no it couldn’t. Nothing’s going to be as good as train. It makes me embarrassed for every other movie. That’s what this movie does. Why is every movie not this good? And I mean, it’s the culmination of Tony Scott working forever and working with the same people. He worked with, the same editor. I think the whole time. But yeah, helicopters filming everything, constantly swooping.
Joe: I like it. And what’s interesting is I’m so I guess I’m so used to Tony Scott films, I didn’t even notice. I felt like it was him, like restrained Tony Scott. That’s what I thought it was. Yeah, I love it when he goes for it too. So yeah, I kind of am in the tank for him as just he makes these kind of movies.
Joe: He knows what he’s doing. He’s got a strong hand. I almost felt like also that Chris Pine and Denzel Washington are almost like in a one act play, because they’re just for the most of the movie, just in one location together. Yeah. And then the action is happening kind of all around them until the end, when they finally catch up to the train.
Joe: Right now, the only other thing that I’m remembering now that I think is, was the most hilarious part of this movie to me is they have the field trip with the kids.
Greg: Yeah.
Joe: And the nonprofit that the person was was the most specific nonprofit ever for train safety. And in my head, as a nonprofit person, I was like, there’s no way that that nonprofit is sustainable in any.
Greg: Way that’s going to have to become for profit at some point.
Joe: Yeah, it’s going to have to be a mission change. You’re gonna have to add this in, like there’s no way that there’s enough funding out there for train safety.
Greg: Train safety.
Clip: Welcome to the Railroad Safety Campaign. We’re a not for profit program designed to educate young people like yourself about railway safety tanks. Settle down.
Joe: Yeah, and those kids are far too excited about train safety. But they got to ride a train and that it’s like there’s no way also that those kids are going to get hurt. That was a little yeah, yeah. Raised attention. This isn’t, you know, not a Quentin Tarantino movie. This is a Tony Scott film.
Greg: So and this actually this is based on true events. But it was in Ohios kind of like in rural Ohio where this train did this for like 66 miles. But Tony Scott moved it to Pennsylvania so that it could be going through towns.
Joe: Yeah. And reading this synopsis of that, it really they follow it pretty closely. There’s, you know, some movies are they’re inspired by true Story and it’s yeah, one little thing happened and then the rest is fiction. But really a lot of what, how they stop the train and, you know, how it even got rolling and all the, some of the plot points were that on.
Greg: So yeah.
Joe: Kudos to him for that. I mean, cause I usually like everyone should read those with like a grain of salt of like, oh, true story. Okay. Parts of it may have been the jumping off point, but usually it’s pretty much a section right after that.
Greg: The quote that I read said, obviously it’s been amped up to be a more entertaining movie, but it’s close enough that it does deserve the Inspired by True Events moniker at the beginning. Before we get going on this, why don’t we? You know, somebody hasn’t seen this movie. Let’s give them a bit of a synopsis. It’s time for the back of the box.
Joe: So this is, you know, Classic Days and Blockbuster Video. You pick it up, you read the back of the box. This is what it’s saying.
Joe: It’s the back of the box. When a train carrying explosive cargo was accidentally sent speeding along the mainline with no one on board, only Frank and, well, Denzel Washington and Chris Pine can stop it. They must find a way to work together as a train barrels towards the last stop. This Tony Scott classic will keep you glued to your seat.
Joe: This runaway train is a runaway hit, for sure, but that’s my back of the box.
Joe: Very proud of myself on that last line. I’m not going to lie.
Greg: It always surprises me how realistic they sound like. Oh yeah, that is exactly what they would say.
Joe: There’s a part of me that feels like I could go into business writing synopsis for these.
Greg: If you could get a time machine, you would not do anything other than go back to, you know, I don’t know what year did this start? 1980, you know, and just have a thriving career back at the box writing. So that’s the blockbuster back of the box. Let’s what’s the honest back of the box?
Joe: This one isn’t going to be as near as funny to me, but it’s because I like this movie too much. It’s better when I don’t like the movies are there much less. But anyway, this is a very tight film from Tony Scott. He referred to times to his editing tricks and fast cuts, but for the most part plays it straight with this movie and it works.
Joe: Denzel Washington and Chris Pine work well together as The Odd couple that must come together and save the day. There’s some real collisions and fun action sequences throughout. Color me pleasantly surprised with this movie. So yeah, it’s it’s not funny. Sorry everyone. If you’re expecting like hilarity on that.
Greg: Well, I guess that’s the episode where I guess we’re never any talk about what’s powering the train. Do that.
Joe: Now.
Greg: Also, jeeps on trains doesn’t exist in this film. We don’t know where this train is and have eyes on it. Yeah, that can’t be the case. In 2010. There must have been GPS on trains.
Joe: Yeah, it’s got to be.
Greg: But since none of us are train conductors, who cares? Let’s go as low technology as possible.
Greg: They’re like flip phones. You were in this movie which I adore and no one can possibly tell you where the train is unless Neb can get in this truck. Guy by the name of Lou Temple playing Ned. He just gets in his truck and has to drive everywhere and eventually saves the day. We all need a Ned.
Joe: We all do need a nap. Ned steals every scene he’s in.
Greg: I mean, do you think we just need to open our eyes? Joe? Is Ned, like, standing right behind us right now?
Joe: Maybe.
Greg: Do we have Ned’s everywhere? Just trying to help us out in our lives.
Joe: I think so, I think we just need to open our hearts to Ned and everything. I’ll be good.
Greg: I mean, I’m hoping once I look back there, whoever my net is also has a ponytail. Because his hair is incredible in this film. So I just feel like this movie made something out of nothing except that trains are super scary, you know? I mean, people say a couple times you will die working on a train if you don’t know what you’re doing.
Greg: So I feel like I should have prepared a list of things that are boring that we could also make great, unstoppable movies out of with just kind of this kind of master class of like, shot construction music and editing. Yeah. And acting. I mean, Denzel Washington, is incredible in this movie. Chris Pine also really good.
Joe: Yeah, I would say the biggest stretch for me, and I was thinking about this as I was watching a Denzel Washington can never be the everyman. He’s got like too much gravitas and he just don’t believe it. That was the other piece. And he doesn’t he doesn’t kind of play that role in this. But that’s kind of what they’re going for, you know.
Joe: But he’s been around, you know, I was like, it’s not the everyman saving the day. He’s he’s ready for this. And that’s just I think Denzel Washington I give you cast somebody else in that role. Maybe it you can kind of get that a little bit more. But he’s not. That’s not his lane as an actor. He’s the heavy.
Joe: He’s the smartest guy in the room.
Greg: Basically he’s seen a few things and he has the wisdom.
Greg: Do you think that’ll be us when we’re old?
Joe: I hope so, yeah, but probably not. I mean, who can be Denzel Washington? But, you know, we can try. Aspire to be.
Greg: Absolutely. Yeah. You know, when these Chris Pines are just coming for our jobs. Typical nepotism. They charge less money.
Joe: Subtle shot at nepotism.
Greg: Total net. Bo, baby. This movie should have been called Nepo baby Abel’s. All right. I feel like I need to come up with one other boring thing. That this could be remote control cars. Sure. What if a remote control car got out of control.
Joe: Or like it? Just a crane that’s above, you know, building a building up above the city. That could be.
Greg: Cranes. Crane. Yeah.
Joe: Then the Dwayne The Rock Johnson have that in the skyscraper. Although I haven’t seen this paper, so.
Greg: Oh, we will get the skyscraper. We will return to great bad movies. Proper for the skyscraper from the director of San Andreas. So you’ll be super excited. Yeah, yeah.
Greg: The news plays a major role in this film, and the news footage of trains is the most exciting news footage that has ever been shot in history. I mean, this movie came out, you know, over a decade ago, and I don’t feel like the news has learned that the answer to anything is have an extremely needlessly low flying helicopter.
Greg: Yeah. Next to everything. And when you can not only are you shooting things with a needlessly low flying helicopter, you should also have another needlessly low flying helicopter in the shot that that helicopter is shooting.
Joe: Yeah that was a there’s a couple scenes where it’s distractingly close to the train.
Greg: And there’s one time where it seems like the helicopter is actually lower to the ground than the train itself. Yeah.
Joe: I know exactly the senior thinking about.
Greg: Lowest flying helicopters in history. And it’s just crazy trying to say something about the news like this is how annoying the news is in our lives. I don’t know, I heard Quentin Tarantino loves this movie and he was also good friends with Tony Scott, Tony Scott, we talked about this in Man on Fire, but Tony Scott made True Romance, which was Quentin Tarantino’s, I think his first script to get made.
Joe: Yeah.
Greg: Tony Scott read True Romance and Reservoir Dogs and said, I want to make Reservoir Dogs. And they said, oh, no, the writer wants to make that. And I said, okay, well, then I’ll make the other one. And he made True Romance instead. But Quentin Tarantino says the problem that Tony Scott had with this movie is once you have a helicopter in a shot, all of the other shots look boring without a helicopter.
Greg: So once he introduces the helicopter in this movie, it is in just about every shot in the film, which I think probably became a headache.
Joe: You know, not to Tony Scott. He loves helicopters and moving cameras.
Greg: So yeah.
Joe: I mean, are they the use of helicopters in this movie is pretty spectacular, not just by shooting from helicopters, but also plot points, whether the use helicopters or, you know, the scene where they’re trying to get the Navy Seal or whoever, right conductor on to the train and can’t do it, they can’t slow it down. And that was a fun scene.
Joe: But yeah, yeah, he definitely loves a helicopter. And there I just remember the scene where the like, the train’s going over a bridge and yeah, it looks like the helicopters flying under the bridge. It’s like, yeah, can’t be safe. Honestly.
Greg: And sometimes there are two helicopters in the shot and sometimes there are three helicopters in the shot. It just keeps going and keeps going. It’s really incredible. But what made me laugh so hard was how action filled the news was. And there’s actually Rosario Dawson was standing in front of a TV that had the news on it, and there was a helicopter right next to the plane in the news footage as well.
Greg: I was like, that’s just not how that would go at all. But I love it. Rosario Dawson said that this is 10 million pounds of terrain. It’s not bad. Oh, yeah. With me, when the drillers fail, like, how did that happen? And she said, that’s 10 million pounds of train. How do you think you’re going to derail that?
Greg: It just I’m still surprised at how captivating trains are. Yeah. Oh I wanted to say Tony Scott asked for more cameras for this movie. He promised to shoot less footage, less takes if he can have more cameras. And so the guy who is in My Name is Earl, which I have no idea how to pronounce his name, but it’s Ethan.
Greg: Sup, Lee? Maybe Ethan Lee. He one time was filming a scene, and Tony Scott just yelled at him. What on earth are you doing? And he was doing his scene, but he was also looking for where all the cameras were. It was a little game he played with himself while he was filming a scene, because he would have like 10 or 12 cameras rolling at once, like in and like bushes.
Greg: So he would like, start looking around to see where the cameras were to see if he could find them. Apparently, at one point he filmed 300 yards away with a Hubble telescope lens.
Greg: Just incredible.
Joe: Oh, they Tony Scott would do that. I remember when it was a there’s a movie in the 90s with Tony Scott. So I wonder about baseball. I think it’s got Robert De Niro and the fan. Yeah.
Greg: Wesley’s there’s that classic Snipes that’s classic.
Joe: That’s classic Snipes. Yeah. They’re talking about how he was using three cameras in a shot, and it was like shocking to everybody. So he’s just adds, Yvonne and I.
Joe: I don’t know if we’ll ever have a filmmaker like Tony Scott that wanted that many shots of everything. And probably now with all the digital cameras, you know, it’s not as expensive as they could. Probably. You can have him everywhere where, where the way drone cameras are, you know, it’ll be a lot less expensive than having helicopters do all of your swooping constantly.
Greg: Let’s make unstoppable, too. Let’s do it. I think you’re talking us into unstoppable to the guy who wrote the movie, Mark Bourne back. He heard about this thing and he had to describe it. He thought it was like a West Wing episode mixed with jaws. There’s like the bureaucracy happening, and then there’s, like, this big monster. And so he wrote it and it sold immediately.
Greg: Even like the president of Fox called him and said, it’s my favorite script. And then the guy who directed Flight Plan, I want to say, with Jodie Foster, was attached to it. And then Martin Campbell, the guy who did GoldenEye and Casino Royale, was attached to it, and then Denzel Washington gave it to Tony Scott. So why don’t you read this?
Greg: And they’re off to the races. But what happened was once Tony Scott was attached to it, he invited Mark back. By the way, the writer of Live Free of Die Hard. So we will probably be talking about him again. He was flown out to Pennsylvania, and Tony Scott had gotten the two guys that this movie is based on to come out to dinner with him and flown them out to Pennsylvania and bought them the most expensive steaks and the most expensive wine, and just wanted to create an atmosphere where they were going to have the most fun they’ve ever had in their lives.
Greg: And they were on the set every day, and Mark was on the side every day. And Tony Scott just said, take everything they say included in the script, all the ways they talk about the train, all of the vernacular. We want it all in the script. And the older guy who Denzel Washington was based on, his daughters worked at Hooters.
Greg: And so that’s why Denzel Washington’s daughters in this movie work at Hooters, which I thought, okay, no, this is a great bad movie because they probably just added Hooters because it’s a bad movie. No, it’s still a great, great movie because that’s actually just where that guy’s daughters worked.
Joe: So that’s awesome. I’m looking over Tony Scott’s films, and I remember a Crimson Tide, especially I talked to I have a friend of mine, I watched that with when I first watched, it was actually in the Navy. Oh, wow, he said on the submarine. All the stuff that they talk about is what happens on the ship. So they oh, wow.
Joe: But they would say, oh, XO is on the deck. And so and so with the captains. And so that is actually how it is on a ship at all times. So the reality of that moment was true to life. And so I actually was looking at his haul of the movies is DirecTV I guess maybe like 2 or 3 that I haven’t seen.
Joe: So we might just have to have a special category for Tony Scott on this show.
Greg: That’s yeah.
Joe: All time great director. You know, I feel like Renny Harlin might be in the running there, but I feel like Ronnie Scott’s like Renny Harlin wishes he was Tony Scott is kind of way I like. Yeah, absolutely.
Greg: Renny Harlin directed movie. Is that Tony Scott turned down probably. Yeah. That probably happened.
Joe: Yeah. One of the first notes I wrote down was like, it’s kind of it’s grittier than I expected. And so that’s how true to life. So I appreciated that about this movie.
Greg: I mean, it really does feel like, oh, this is the thing, make it happen. Nothing about this movie is outlandish in my mind. I guess maybe the action scene towards the end where the train is going around that corner and it leaves. It’s tipping over, but it doesn’t entirely tip over. But at that point I just did not care at all.
Joe: Yeah, I was in you had me at hello at that point.
Greg: So yeah, Chris Pine did all his own stunts in this movie and he jumped off some things. Yeah, he jumped off some moving things. It’s kind of amazing.
Joe: Yeah. That really his first big kind of movie. I remember when I first saw him, he’s kind of one of those. He was, he was that guy for a lot of movies until he kind of hit. Yeah, 7 or 8 years ago for me. So this is.
Greg: 2010. I think in 2008, he probably did some things that you would recognize. But the next year, 2009, he was in Star Trek, right? He was Captain Kirk, I think that had been filmed by the time he was cast in this movie.
Joe: He’s a pretty strong comedic actor to me.
Greg: Yeah. He is.
Joe: Had did you watch Dungeons and Dragons with him?
Greg: A little bit like the first couple scenes.
Joe: He is awesome in that. That movie is really fun. That’s a fun. Yeah.
Greg: Have you ever seen Game Night?
Joe: No.
Greg: It’s the same writers, directors. You got to watch game night. You’re going to look at night. Yeah. So I guess you said all kinds of stuff for the most part, Star Trek probably would have been where you would have heard of him. I mentioned that the camera is just constantly swooping around, flying by, and when it’s not swooping or flying by, it’s very shaky and like smashes zooming into people all the time.
Greg: I saw somebody talking about watching the monitors while they were filming this movie, and the different cameras were all just doing just the craziest stuff. There was like one where the guy was like, smash zooming in and out the whole time and shaking and like, could barely figure out where the focal point was, like it was just out of focus a lot of the time.
Greg: That made me laugh really hard. And then when the I mean, spoiler alert, we’re probably say we’re going to spoil unstoppable. Yeah.
Joe: They stopped the train.
Greg: At the end when the train is stoppable. Disappointing, by the way. Disappointing. And then it’s kind of like everybody’s happy. There’s still helicopters swooping around, by the way. Everyone can hear everyone else perfectly because these helicopters make zero noise as they’re swooping through, and they’re probably just kicking up dust in the everybody’s eyes constantly. Not a problem in this world.
Joe: Not a problem.
Greg: Maybe just in Pennsylvania in general, I don’t know. I don’t know how they live their lives. We’re on the West Coast and week. We don’t have like, helicopters zooming by our press conferences. But even when like, you know, everything’s okay and like, they can reunite with their family and get kissed on the cheek by Rosario Dawson still smash zooming all the time at the end of this movie.
Greg: Now that the action is over, we’re still doing it. That guy on that camera did not get a memo that we needed to stop that. That made me laugh really hard. Should we get to drinking games?
Joe: Yeah, let’s do it. So we have our stock drinking games. We just kind of mentioned one, but silent helicopter sort of. But the helicopters over a press conference that don’t make any noise. We don’t have a push in and in hands. We don’t. I am happy to say that when two people share a slow motion look in the middle of chaos, we do have that.
Joe: So we have Denzel Washington and Chris Pine after the train stops. Yep. They like, share a look like they’re standing five feet from each other, but they’re clearly like half a mile from each other. It is spectacular. Like chef’s kiss on that to me.
Greg: They had a moment.
Joe: They had a moment.
Greg: I did like that. The camera was sort of close to Chris Pine and he like shaking his hands above his head. And the camera is so, so tight on his face and it just goes up and like, films his hand for a minute and then comes back down to his face. I don’t know that they knew that he was going to do that.
Greg: And that’s why.
Joe: We don’t have, explosion with silent suffering. Although I might combine those two together. They’re very similar.
Greg: Do you think when the Navy Seals smashed through that windshield and kind of his unconscious, do you think he probably had a ring in the ear?
Joe: Probably.
Greg: Yeah. We didn’t hear it, but yeah, we’re assuming he did. Yeah. Okay.
Joe: Yeah. Opening credits scene where the title locks in place with a sound. Oh, yeah.
Greg: It’s like all sounds.
Joe: It’s all sound, but there’s, like a specially elevating train sound when the title comes through. So I appreciated that.
Greg: Interesting opening credits to this, by the way. They kind of like expand into place. I was trying to find like the narrative reason for that design choice. Nope. Just let’s give it a boing. I feel like that’s what Tony Scott said. Can the text somehow blowing into place?
Joe: Yeah. To me, the opening credits scene, I was like, okay, this is a Tony Scott film. Yeah, yeah. Instantly. Then he kind of put the brakes on a little bit, but that opening credits scene was perfect in every way.
Greg: It’s like a horror movie. It’s like a horror movie where we’re afraid of the train insult, like joyride. Remember that movie joyride? Yeah.
Greg: Where? Like where afraid of what was his name? Rusty nail, which was like a remake of duel, Steven Spielberg’s movie before jaws, where the a big truck was basically the shark.
Joe: Yeah, absolutely. I didn’t see a flashback to dialog. And this one, no crazy CGI. I gave this one, but there’s not crazy CGI. There’s a few moments in there, but not not a lot. Most of the stunt are done in reality, so I appreciated that.
Greg: But Tony Scott said the most difficult shoot he’s ever done for stunts.
Joe: Can see that.
Greg: But speaking of CGI though, when that one train derails and explodes, was that explosion fake?
Joe: I couldn’t tell, I mean, like it falls over. Maybe the enhanced explosion because it was a classic, you know, it falls over and then everything explodes instantly. So you can drink for that one. But you know, I, I’m not mad about that. The CGI in this film.
Greg: So I’m not mad about anything. Yeah. This is a great, great movie. Yeah.
Joe: Great bad shot. We don’t really have that. There’s there’s only one scene where they’re shooting at it, which actually happened. That one I was reading about the actual incident. They actually tried to do that. So they put that in the film. Wow. Are the streets inextricably wet? No, not in this one. We do have a give us the room moment and this.
Greg: Glorious.
Joe: It was awesome. I was so happy when that happened. And there’s like a big boardroom scene and then it’s like so-and-so, stay or give us the room. I was like, yes, awesome.
Greg: Did we ask everybody for the room before we started this episode?
Joe: No, we should have missed opportunity. I’m adding in color filters for third world countries, but color filters for.
Greg: Pennsylvania.
Joe: Rural Pennsylvania, bike working class film, you know, you know who the heroes are. So those are our stock ones. What, drinking game that you came up with in this one?
Greg: If anyone ever says, I’m going to extend to you my last ounce of goodwill and pretend this conversation never happened, take a drink. Okay.
Joe: Awesome. I feel like you have this one, too. But every time they use a flip phone in this film.
Greg: Oh, I don’t have that.
Joe: Every cell phone is a flip phone, and I feel like they make an effort to demonstrate how cool they are with their flip phones.
Greg: Oh, that’s a great one. I can’t believe I didn’t think of that any time they cut to a person in power playing golf in the movie. Take a drink.
Joe: Some I have every time Denzel Washington laughs in this film, which is not often, but yeah.
Greg: Okay, how about any time anyone says a distance, meaning like how far something is? How many train cars something is, how many feet something is. Every time there is a distance.
Joe: That person is drinking a lot.
Greg: Yes, actually, I need to follow up with the next one. Any time someone declares a speed of any kind, whether it’s the other train, how fast it’s going, or how fast you’re going, maybe an addendum to that would be another person every time they show you the speedometer, third person has to drink. So how about you?
Joe: My God, you’re drunk or you’re going to the AA like that? That’s a tough one. I have every time they say molten phenol, which was the explosive.
Greg: Yours are so much better than mine. Mine are all like things that happened once or a thousand times.
Greg: I’m going to say anytime they show the news.
Joe: That’s a good one. I have every time Ned burns rubber when he’s driving somewhere.
Joe: There’s literally no scene that he’s driving. Does he not speed around a corner or out of a parking lot? Right. Anywhere. It’s awesome.
Greg: And the cops at one point start flipping because they’re so poorly driving next to the train any time they show a helicopter on the news, which is a thing that never happens in real life. But in this movie, there’s apparently a low flying helicopter right next to the train at all times. Yeah, it’s on the news.
Joe: I have every time there’s a shot of someone or something in a rearview mirror, they do that because they’re going backwards. And there’s also, like Dennis, I was watching him on his flip phone through the, like, so much rearview mirror action in this film.
Greg: So wait, when’s he watching him on his flip phone?
Joe: He’s making the call to his brother about his case a couple different times. And then I was watching him in the rearview mirror in the.
Greg: Oh, that’s true, that’s true. Yeah. Okay. As you watch saying, anytime two helicopters are on the screen.
Joe: I have a sneaking suspicion of what I know the next one’s gonna be.
Greg: If at any time there are three helicopters on the screen. Those are two different people at this party. Yep.
Joe: The last one I have is every time Denzel knows something from his 28 years of experience. Like, so many times, that’s not going to fit because it’s, you know, it’s not that long. Right, sister? Yeah.
Greg: Okay. That is a standing Denzel Washington drinking game.
Joe: Yeah.
Greg: In my life, whether I’m talking about this show or not. Yeah. Okay. I have a couple more. Any time they show the empty cockpit of train seven, seven, seven.
Joe: Oh, that’s a good one.
Greg: Which happens a lot in this movie. And it’s effective every time. It’s like, yeah, we know nobody’s driving it. Why are you showing us? But every time it’s like, oh, that is creepy. That’s a creepy thing. There’s one towards the end of the movie where it’s like, we know. We know that this is not being driven by anybody an hour and 15 minutes in this movie.
Greg: But you know what? I’m still pretty captivated by looking at that. Yeah, apparently they were driving the train with a remote control. It was like a remote control car, almost sweet. Any time there’s a smash them.
Joe: That’s another one that you don’t like. That person. They’re drinking a lot.
Greg: Well, I’m guessing that this is somebody who probably played one of our drinking games the night before. It was going a little easy. And so they’re at this party drinking Gatorade. Yeah. You know, they gotta hydrate.
Joe: Yeah, absolutely.
Greg: And any time I couldn’t decide which one this is two different people. The first one is any time the train makes an animal noise. Yeah, but another thing that happens a lot in this movie, which is they cut back to the train and it’s like there’s an explosion, right? When they show, the train is like, but it’s like super loud.
Greg: Anytime they cut back to the train and kind of shock you with a loud noise every time they cut back to it. Just to show this is a scary thing. Yeah. That person has to take a train.
Greg: So cuts back to the train with a very loud noise.
Joe: That’s awesome.
Greg: Okay so the lightning round. You were saying there’s a chance we don’t need that because this is a great, great movie.
Joe: Yeah, I only really have three tropes in this, so I’m not going to read all the tropes that we have, but we kind of have a reluctant hero trope. It’s true. Odd couple, unlikely partnership, a little bit more kind of. And then kind of like the old old guy, new guy trope in there and then kind of one last job ish because we find out that Denzel Washington has been fired and but really, that’s it.
Joe: And it’s a great movie and not a classic action movie. So we don’t have a lot of those, but those are the ones that I noticed in this one.
Greg: So I think all of those were true to the story as well.
Joe: Yeah.
Greg: I’m not sure about the firing.
Joe: Yeah, I didn’t read that, but it could be I mean, that wouldn’t surprise me that they have they have the people on set.
Greg: So yeah, I heard something that alluded to something like that. So something like that was happening if it wasn’t explicitly happening. But I’m reading this book by William Goldman called adventures in the Screen Trade. He wrote, like Butch Cassidy and the Sundance Kid, All the President’s Men, Princess Bride, he kind of was a really big deal for a really long time.
Greg: He wrote this book in 1982, and he talked about how life is full of movie moments that are so cheesy, you can’t put them in true stories, so you have to take all kinds of things out of movies because people are like, there’s no way that’s such a movie moment. And it’s like, no, this actually happened. But we had to take it out because it was unbelievable, he said.
Greg: That happens all the time in True Stories. It’s interesting. All right, let’s get to some important questions that okay, you know, someone has to ask. And so it might as well be us Joe did this movie hold up then.
Joe: I think so.
Greg: I guess you don’t know. This is the first time you’ve seen it.
Joe: Yeah. First time I think I was. I posed to you. I did hold up.
Greg: Then it did hold up then. In fact, I remember I want to say maybe it was somebody at the New York Times was talking about their favorite movies of 2010, and one of the movies they listed was unstoppable. And they said, it turns out that you can’t beat a train with no brakes. A train with no brakes is a train with no brakes.
Greg: And I had no idea that that’s what I needed in 2010. But apparently I did this. Tony Scott movie was amazing, which, I felt very seen by the New York Times in that article. Does it hold up now?
Joe: Yeah, absolutely. 100% surprising. But yeah, I was ready for a Tony Scott action movie. All the tricks. And this movie has. Awesome.
Greg: Do they sell the good guy?
Joe: Yeah, they don’t really need to. Denzel Washington, this is a good guy. And Chris finds the new guy. And there’s that trope in there of their relationship, which you can kind of track the arc of pretty easily old guy test the new guy, new guy kind of test the old guy. Then they work together and solve the problem.
Joe: They don’t need to sell them. And anyway.
Greg: For me, the selling of the good guy, it would be like Rosario Dawson saying, don’t you know who Frank is? He’s the greatest person that’s ever worked in this train yard. That would be their job.
Joe: Yeah, so they don’t really do that.
Greg: So this is a class you’re selling because it’s a great, great movie. And after he shows it, they don’t just tell us do they sell the bad guy?
Joe: I mean, they sell the train hard as the bad guy.
Greg: So they do sell the bad guy. Yes. 100% can’t get away from that. Does it deserve a sequel?
Joe: I would say no, just because it would be really hard to put those two in the same situation again and and have it at all believable.
Greg: How does the same thing happen to the same guy twice? They can’t pull it. They had to.
Joe: Yeah, exactly.
Greg: Does it deserve a prequel?
Joe: No. Absolutely not. Get out of here with that question.
Greg: Absolutely. Okay. Why is there romance in this movie? This is an interesting question.
Joe: Yeah. I mean, there’s not a lot of romance in this movie. I appreciate that they kind of give it for Chris Pine’s character, and we get a little bit of backstory. It’s a little kind of gritty part of the story. Yeah. So I appreciate that. Kind of gives Chris Pine’s character some depth that maybe you’re not quite sure if he’s good or not.
Joe: So that’s kind of why they put it in there.
Greg: So he is trying to get back together with his wife and his daughter. There’s a restraining order placed against him because he thought that his wife was texting with a friend of theirs who’s a cop, and he threatens the cop while there’s like, a gun on the dashboard or something.
Greg: The restraining order seemed like a stretch. Yeah, in the story that he was telling. But then we find out that she wasn’t texting with a guy friend. She was texting with his sister in law.
Joe: I don’t know. That was a little convoluted for me.
Greg: Right?
Joe: The story. So I guess. Why is there romance in this movie? There shouldn’t be as like, all enters into this question.
Greg: Right? Let’s see. Are we bad people for loving this movie?
Joe: And no, this is one of the few exceptions. This is a good movie. It’s a great movie. Watch this.
Greg: Here’s the difference in our important questions with an episode of great, great movies. The question is, are we great people for loving this movie?
Joe: Yes, absolutely. We are great.
Greg: 100%. Yeah. All right. Very important question. Considering this podcast was started years ago under the auspices of becoming a music podcast, which still makes me laugh because we talked about records for five minutes and then Fast and Furious film for two hours.
Joe: Yeah.
Greg: What album is this movie, Joe?
Joe: This was a tough one, and I’ll be honest, I didn’t put as much thought into it. I probably should have. I kind of went with unexpected albums that came out. So you weren’t really expecting it to be as good as it was. So I have Gnarls Barkley, Sane Elsewhere, which kind of 2006. The song crazy came out and like everyone, I love that song.
Joe: And then I got the album based on that song and the album really start to finish is awesome.
Greg: Really good.
Joe: Total surprise. Unexpected talk about an odd couple coming together. If you said Danger Mouse and Cee-Lo green, not many people knew them and that just blew up. And so that’s kind of where I have this album. What album is this for you?
Greg: Okay, so here’s where I was coming from with this. This movie could have been made 100 years ago and could have been this good. Assuming there are helicopters invented, then I need to go back to whenever helicopters were invented. But this movie, it’s so shocking how simple it is in its premise, but it’s so effective in the stakes are real, but it’s railroads.
Greg: I mean, it’s like the oldest technology in history. So I was trying to find a record that could have come out any time in the last 60 years and been what it was in the first record that came to mind for me was that first Ray LaMontagne record that was big gossip in the grain.
Joe: I’m not familiar with that. I had to check it out.
Greg: When we were recording great, great movies. Do we need to ask the question how could this movie be fixed? I feel like you had some ideas.
Joe: I have minor ideas around the ending of this movie. I really do feel like you could have added like 10 or 15 minutes more, so you would have had more of Rosario Dawson and that person, more of kind of building the tension towards the end. I’m not a big fan of Michael Bay at all, but I do feel like he is able to stretch a moment so that you really like it, just like amps it up every single step.
Joe: So kind of the ending of it and then also showing the ending instead of telling the ending, whatever my preference on on this. But those are minor quibbles because it’s a tight 98 minutes as goes by really fast. And I felt like there was more in those scenes that they probably left on the cutting room floor that could have been added in.
Joe: I did have a thought of if they made this movie 30 years ago, who I’d want to see in it.
Greg: Okay, hit me.
Joe: I want James Caan in the Denzel Washington role and Denzel Washington as 30 years younger as a younger person.
Greg: Gosh, that’s perfect. I will accept that. That is 100% accurate. And I can’t believe I didn’t think of it. I was so enthralled with this movie that I had zero notes, no notes, no need for a remake, and no ways that I would fix it. I just was so surprised at how much I loved this movie. This is the movie that brought back Tony Scott for me.
Greg: By the way. I was out for quite a while. Post. The fan is probably was the fan enemy of the state. And then I watched maybe some of Domino movies. I’m out. Yeah, yeah, I loved enemy of the state. I think it was maybe the fan that soured me a little bit, and also was not the biggest True Romance fan.
Greg: Maybe we should watch True Romance sometime.
Joe: That’s one that I wonder if it holds up for me. Like, I love that movie when it came out. Yeah, and I haven’t seen it in easily 25 years and it’s there are pieces of him from that era that remind me of Guy Ritchie, where I went back and watch snatch not too long ago, and it was like, I remember loving it at 25, and that way I was the exact target audience for that movie.
Joe: I watched it again, and there are parts that I love and I think are really clever. And then you watch it again. You go, oh, there are no women in this. Yeah. All that are. Yeah. Interesting.
Greg: And write.
Joe: The story. There are pieces of it that are fine, but it just doesn’t hold up right under any kind of scrutiny. So I feel like some of Tony Scott’s films from that era also are like, you know, the fan is not a great movie. Yeah. You know, anyway, this have been so long since I’ve seen that name of the state, I don’t remember it well enough to have an opinion about it.
Joe: I don’t think I’ve seen Domino.
Greg: I think for me it was spy game. I was very disappointed by Spy Game in 2001 with Robert Redford and Brad Pitt. And that movie on paper should be my favorite movie. Some of my favorite movies of all time are Robert Redford, you know, espionage movies like Three Days of the Condor. And I just thought it his editorial choices just did not fit with the kind of movie I think I wanted it to be.
Greg: And then I saw, a little bit of Man on Fire and was out and then a little bit of Domino and then was out. Oh, and a little bit of taking of Pelham 123, and the first taking of Pelham 123. The original is one of my favorite movies. It’s so good. And I just thought I’ve had it with Tony Scott and Unstoppable brought me back.
Greg: But also, if you look at the movies that were coming out kind of mid 90s to the mid aughts, it was a little tough to tell who the leaders of the overexposed footage quick editing pack was. You know, like Tony Scott, Michael Bay, Oliver Stone, Robert Rodriguez. They were all kind of like fighting for the same trophy. You know, looking back, I think Tony Scott was the winner, and I trust him more than I trust those other directors.
Greg: Now I’m more willing to go back and watch his stuff than I am.
Joe: There’s yeah, I feel like there’s a lot of people also copying his style in that time period. Yeah, yeah, kind of copying almost the true romance, gritty bad guy kind of Guy Ritchie and that. Yeah, they’re fair amount of movies that feel like they all could have been made by the same person or copying that style. And I do feel like Tony Scott does it better than than most.
Joe: And I’m not a Michael Bay fan at all. I find his movies heartless and drawn out. Yeah, and I like Oliver Stone stuff, especially in the early 90s. Yeah, I feel like there were a lot of movies I had, like big ensemble cast that could have been directed by Tony Scott. Yeah, they were using a lot of his camera tricks and stuff like that.
Joe: Yeah, and that just doesn’t work as well. Yeah, something that’s special. And even though he kind of has some misses here and there, I do appreciate him more as as I’ve gotten older and I’ve gone back to watch some of those movies where it just doesn’t work. And I do feel like Guy Ritchie’s in that category to me.
Joe: He’s kind of in the Michael Bay category for me now. He just does not ever have interesting women in his movies. And they’re just kind of one note to me.
Greg: The great the last important question that we have, Joe, is to rate the movie. And typically we’ll do is this a great bad movie? Good bad movie. Okay. Bad movie. I think we’re just declaring this a great, great movie. That’s what I’m declaring it.
Joe: I think this is a great, great movie.
Greg: I’ve been watching this movie for years now, and I own it. And I’m surprised every single time that I watch this movie that it it works as well as it does.
Joe: Yeah, it’s a great movie. It’s a good story. Well done. It’s fun. It’s not a long movie. It’s everything you’d want in a movie. You know what’s going to happen. That’s the beauty of these movies. Like, I think that when you know the stakes and you have to watch a movie and you know exactly how it’s going to go, and yet you’re still riveted by it, that’s the sign of a great movie.
Joe: And someone who knows how to tell a story the right way. There’s a lot of times a you watch a movie and you go, I know exactly what’s going to happen. I know there’s the story and the tropes and all of that, and you kind of check out, but this is not that. Like, I could have told you the character arcs that are going to happen and all of that, and they all happen.
Joe: But I was still in and at different moments, tensely watching, like, how are they going to do this? It’s it’s there’s something about being in the hands of a good filmmaker that really that you can know the outcome and still feel the tension of the moment. And I feel like that’s what this movie is 100%.
Greg: All right. Well, Joe, we did it.
Joe: Yeah, we had the conversation that needed to be had about unstoppable.
Greg: And hey, listen, this has been great, but there’s a red truck driving really quickly right outside my window. I think I need to jump out the window into the back of this truck.
Joe: Yeah, I gotta go see if Soul Asylum was available and if we can get Runaway Train on the soundtrack for this movie, because I feel like I missed opportunity right now.
Greg: 100% like a cop without a mustache. Missed opportunity. Don’t even worry about it, because I need to go take the place of an older, wiser person at work because I have a lower salary and my uncle owns the company.
Joe: Oh, that’s interesting I’ve got to go have a conversation with the server in a diner who hates everything about me. So that’s what I’m up to.
Greg: You know what kind of a similar day for me? I need to go and try and figure out why a restraining order was appropriate in the plot of a movie I watched last night.
Joe: Oh. That’s interesting. Anyway, I’ve got to go start the world’s most specific nonprofit about train safety. So I’ll be.
Greg: Back. Okay, that actually is great because you know what? There is actually a younger person here in the room with me that I think is going to take my job here at the show, because we won’t have to pay them as much money.
Joe: Yeah. That tracks I got to go check out a coaster that’s on the track right now and is, running away free from us.
Greg: At least it isn’t powered. So you got that going for you. That checks out, because I’ve got this new game that I do in this room where I try to find all the cameras that have been placed in this room while I record a podcast.
Joe: That’s awesome. Good luck with that. I’ve got to go because I’ve got a poll out on every time I drive somewhere and burn rubber around every corner.
Greg: Got to do some netting, is what I’m hearing you say.
Joe: Yeah, that.
Greg: Is totally fine, because you know who I’ve got on the phone right now is director Christopher Nolan, who claims that the movie unstoppable is one of his favorite films.
Joe: Oh, interesting. Interesting. I have to go have a press conference where Ned steals the scene. So.
Greg: Okay, that’s great, because I’m going to this overdub session because we actually couldn’t hear any of the dialog that people said, well, the three helicopters were flying over them.
Joe: I am out of things. I’m going to go do for that.
Greg: See you soon.
Joe: See you soon.