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Unveiling 'The Shadow': A Journey into 90s Nostalgia with Russell Mulcahy · Cinema Yūgen

• 0:00
  G'day. That's right. It's that time again. Time for Cinema Yuga.
• 0:08
  Music.
• 0:15
  Yes, welcome back. Little Yuga night Cinema Yuga.
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  And you host Kent Hill, classic episode request fan, requested classic Russell Mulcahy.
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  Okay, he joins me to talk about The Shadow.
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  The sun is shining, but the ice is slippery.
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  The Alec Baldwin-led shadow film from the 90s, back before comic films were
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  the order of the day. Few and far between.
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  One of the good ones remembered, fondly remembered, I hope. I certainly enjoyed it.
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  Great cast. Aside from Baldwin, you had the likes of Sir Ian McKellen.
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  Tim Curry Penelope Ann Miller Great
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  cast John Lone Of course from The Last Emperor Playing Khan Yes my Khan.
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  Yeah great flick Love The Shadow And loved chatting with Russell About The Shadow
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  So here it is That classic episode requested Cinema Eugenites Kent Hill Me talking with The V.
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  Russell Mulcahy about The Shadow.
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  What evil works in the hearts of men? The Shadow and Russell Mulcahy knows. G'day, Russell.
• 1:38
  Very good to be back, Steve. Fantastic. Yeah, it's fantastic.
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  And it's a fantastic movie. Just been re-released here down under by Umbrella. A beautiful DVD.
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  Sorry, not DVD. Blu-ray release.
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  And you get to see the shadow in its most beautiful high-definition quality
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  the thing that that made me think russell when the release was announced and
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  i always look for i'm a bit of an extra features kind of guy there's never been
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  many extra features like because you've never,
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  we we chatted about this briefly before when i asked you if you'd done a commentary
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  track for the movie you haven't have you no we never did one for the shadow.
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  There was one for Resident Evil and Highland and uh,
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  But, uh, no, no, The Shadow Week didn't do one. Okay. Well, that's good. I'm not sure why.
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  I'm not sure why. That's all right. Well, who knows? Maybe, maybe they'll do
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  a, uh, you know, some sort of special release later when it hits,
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  uh, when it hits, uh, an anniversary and, uh, and then they might do something.
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  But this, uh, The Shadow falls into a category of,
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  of wonderful films and they're the comic book films of
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  the 90s among them like dark man doll
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  man vampirell the guyver the ah
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  geez what's his name the hoff played nick fury in in a in a in a a version of
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  nick fury the hoff albert pence captain american men in black judge dread dick
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  tracy the joel schumacher batman movies the phantom the Ninja Turtles,
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  the Crow, Tank Girl, Blade, Spawn,
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  Barbed Wire, Rocketeer.
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  All, all, all, all, wow, wow. Yeah.
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  All the wonderful variety of the genre. Yeah, so I mean, yeah.
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  So, I mean, we look, we look at the age we live in now, Russell,
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  with comic book movies everywhere, you know, I mean, it's not a new thing,
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  they're just a different kind of comic movie, yeah?
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  I think so. I mean, I think from the title that you just laid out.
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  You notice that there was a great variety in the material and also there's a
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  great variety of the style.
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  Some darker than others, some more sort of colourful, a bit dangerous.
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  Yeah, so there was a different sort of different styles because there were so
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  many different varieties, like Dick Tracy to Darkman to The Phantom.
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  Yeah. Yeah. All very different. And a couple of great directors,
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  great Australian directors in there, directing some of these movies yourself. Yeah, Alex Biles.
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  Yeah, Simon. My English friend director, Steve Barron. Yeah. Yeah. Simon Winsor.
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  Simon Winsor. Yeah. Sam Raimi. I mean, we're going to use America now,
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  but yeah, it's a really great desire that I know and it's really talented,
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  you know, just a great bunch of talent there.
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  Yeah. So let's talk about the people that work with you behind the camera.
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  Starting, because I'm biased, starting with the writer, David Koepp,
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  David Koepp, a very, very talented writer and director too in his own right.
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  What was it like to work with David, who really has a flair for those kind of pitches?
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  Yeah, he was wonderful. I think he just...
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  I think the film before this was The Death Becomes Her. Right, right.
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  Yeah, so... And then he obviously cut his teeth on the second Jurassic Park,
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  in the second unit sequence when the T-Rex came to San Diego.
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  Right, right, right. And so he cut his teeth directly on that,
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  which is a wonderful film.
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  Right. He was great to work with, full of energy, and we both sort of became
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  in sync with the tonality of the script.
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  It was a very imperial piece with fantasy mixed in, and it was great to say.
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  And also, there was a wonderful sort of dark flint of humor that ran through it. Right, right.
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  And he did very good at that. Yeah, like that, like every time they meet,
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  the whole thing about the tie, you know, and he says, you know, where do you get the tie?
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  You know, he goes off from, what was it? Brooks Brothers.
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  Oh, Brooks Brothers. Yeah, Brooks Brothers. And he says, is that Midtown? He's like, yeah.
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  But it's like... Yeah, they had a conversation about the destruction of New York.
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  Yeah. And also they had a conversation about where to buy your tie.
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  Yeah. Yeah, and that sort of lightness on the top, mixed in with the darkness
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  throughout the film, which I thought was quite appealing.
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  Yeah, it brings to mind that scene. Always when I hear that little banter between
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  them, it brings to mind...
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  Scene did you ever see james ivory's surviving picasso with anthony hopkins
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  oh yes yes yes yes you know how that american god the american art dealer comes to buy a painting and,
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  picasso keeps telling him or anthony hopkins keeps telling him that he likes his necktie,
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  and finally he says i really like that necktie and he says will be my pleasure
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  to give it to you and he just takes his tie off and and when he's walking out
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  when he's walking out his back right Yeah,
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  when he's walking out, the wife says to him, you gave him your tie,
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  and he's like, I know, and he's grabbing his chest, I have a pain,
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  like right here, you know, like,
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  because he just sort of messed with him for like an hour, and great stuff.
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  But anyway, yeah, so David kept great blood.
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  The wonderful, sort of the illustrious, luminous Jerry Goldsmith doing this.
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  Oh, my God. What was it like to go on the Jerry Goldsmith experience?
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  Well, it was, as you imagine, just an incredible treat to work with someone
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  who just admire so much their talent and their body of work,
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  and then to work with them,
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  and then the journey to sit down with you, watching your film,
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  and you can see you tapping his fingers,
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  and And he creates this wonderful score.
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  And then he signed a bit of music for me. Oh, that's cool. And it's like,
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  oh, this is very gold for me. Yeah.
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  It's one of those dreams come through. Oh, yeah.
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  So what, a page from the score of The Shadow or just a... You just signed...
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  Yeah. Oh, that's cool. Yeah.
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  Yeah, a little spider. That's awesome. you've got that you've got that framed
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  in your office somewhere no doubt on the wall or something like that yeah yeah
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  so yeah that's awesome that's awesome,
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  But, you know, you just think, oh, my God, great scores of, like, Star Trek.
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  Oh, yeah. All these wonderful things that he did.
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  And then when you hear him sort of put busy on your own film, it's like, wow.
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  So you can't very much. I always think a film is a collaboration talent.
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  Oh, yeah. And he's just another notch in the film to life.
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  Yeah. Well, I mean, the score is always... It's like the DP, everything.
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  The score is always the ice cream on the sundae, though at the end of the movie
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  it kind of fills in the gaps.
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  Well, yes. Well, it's more the heartbeat.
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  Yes, right, right. The heartbeat pumping the blood through the creature.
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  And sometimes the heartbeat can be very soft and indetectable and sometimes it can be raging. Yes.
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  And, you know, and talents like Joe Goldman, when you see it in the world,
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  you're unhealthy, which it's, yeah.
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  So what, just briefly, when you watch your, the cut of the film for you the
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  first time, that's sort of, that's the composer, well, that was his process
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  just to watch it and you see him sort of,
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  do you suggest stuff to him or do you just let him watch it and take it in and
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  then he goes away and starts writing music or something like that.
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  We shouldn't have a chat, and then we watch the film together with no music. No music, right.
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  Some composers act like temp school. Right, right.
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  So give them an idea, a nice general idea, where you sort of feel the music going.
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  Did you have a temp? Joey, for example, and another.
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  Yeah, Joe, for example, and Alan Silvestri, who did Rick Astray,
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  want to see the film, no music. Right.
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  And they can see from the story, from the drama, from the acting,
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  from the editing, and the scenes.
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  They can feel the scenes. And the flow of the scenes and what comes before and what comes after.
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  And I was watching the film, but also Joe, the next week, and he's actually
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  one seat across the aisle.
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  And so he liked it to aspire in it and you just see his hand moving like a conductor,
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  very softly, with one finger.
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  And I'm going, oh my god, I love that thing.
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  So you can see the tentoes that he was working out as he watched it.
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  It was like, he wasn't even aware of moving, but the hand with the finger was just like...
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  Yeah, she was clearly the one watching. That's beautiful.
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  That's kind of how you... And then at the end we'd have a chat.
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  Yeah, so it's kind of how you imagine Mozart might have been,
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  you know, just naturally gifted enough to sit there and watch it and he's already
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  got it sort of figured out in his head and then he just goes away and makes the magic.
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  Yeah, and even if you look like the Rookerman, And like Elton,
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  Elton was very much of a tattoo with Lewis. Right, oh, yeah.
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  He could get the Lewis and he could just like see the music when he read the Lewis.
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  So, yeah, it's a special art, it's a special talent, it's a special genius.
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  Oh. It's a genius, really. Yeah, and it must have been just incredible to see it.
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  See it where most of us are seeing it from documentaries or photographs,
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  you've been in the room and probably...
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  Listen to a live Jerry Goldsmith conducting the score to the shadow, which is, yeah.
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  I mean, yeah. I mean, yeah, he doesn't do much of that.
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  I mean, that would be extraordinary to see the whole, you know,
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  do the own and do the subject and then see the shadow for the whole of the ball would be special.
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  Yeah, yeah, with the live. Yeah, I like that new sort of platform for movies,
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  like with the actual score being played by an orchestra at the front.
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  It's very reminiscent of the old silent flickers where the guy would play the
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  organ in the corner, you know.
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  But of course on a much more grandiose scale.
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  Next person on the list is Steve Burnham, who was very much De Palma's man behind
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  the camera for a lot of De Palma's pitches.
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  What was your experience like with him as the director of photography?
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  He was great. He was great. He was also very popular with the producer of Mark
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  Brickman. Right, right, right.
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  Mark Brickman. Yeah. And so he worked on Carl Lee's White, which he had used to work.
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  So I guess, yeah, because Marty had worked with Brian Palmer.
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  I mean, you know, Carl Lee's White. Yeah.
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  I think he fell more into the film.
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  The idea was to give it very much that sort of 40s, 30s, 40s look.
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  Right, right, yeah. So, yeah.
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  So he very much, he has that sort of lovely glossy studio look.
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  Yeah, yeah. I mean, it's a... It's a master.
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  Yeah. I mean, when I think of the shadow, the, the, the closest film in, in its period that I, I,
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  associate it next to, well, there's two films actually, is The Rocketeer and
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  Dick Tracy, which are very beautifully photographed.
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  Stylistically beautiful comic books, you know, because it captures not only
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  the flavor of the period that you're going for, but the flavor of the comic
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  book, which made it notorious or famous,
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  depending, you know.
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  No, I agree. Actually, I really enjoyed The Rockets 2.
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  It's quite a special film, I think. And it did well, but it's worth watching again.
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  Oh, yeah. It's got, I mean, again, like The Shadow, it's got some beautiful
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  direction by Joe Johnston and a great script by the boys, Danny,
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  and sadly, Paul is dead now, Paul DeMio.
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  And again James Horner
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  you know doing what he does best yeah
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  and just yeah well I mean it's it's a it's a good time like the shadow it's
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  a good time at the movies and you know but just beautiful stuff so let's let's
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  let's dip in really quickly you work with Stan Winston on the effects the Stan
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  Winston experience, how was that?
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  Always good. Yeah. And thanks for doing that.
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  We also used RGA, who did a lot of work on The Predator. Right.
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  So, yeah, so that was...
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  I always wanted... I mean, I actually wanted more effects in the film. Right.
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  And so that was, you know, little battle with the producers sometimes.
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  Just trying to get more in there so luckily
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  we got the night to come alive I wasn't
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  going to think I wanted the night to become giant but
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  it worked I mean the effects were fun oh yeah yeah and they like the transfer
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  is really sharp for this new blu-ray so it does yeah no it's really good it
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  is It's a very beautiful... They've done a very nice job.
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  Unlike... Sometimes they buff it a little bit, but they did a really nice job
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  in bringing this one to Blu-ray.
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  I mean, it does... In some shots, of course, as always, I think it belies some of the...
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  A little, a little. It dates them a little, but not significantly,
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  because if you're enjoying the movie, you're not really paying attention to
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  the quality of the map lines and all that sort of crap in the background.
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  You know, you should be enjoying the story.
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  Yeah, it was sort of on the borderline.
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  It was still early-ish city.
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  They didn't really have water down that well, So there's a number of effects
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  that were still being tested, you know, and CG now is flawless. Yeah.
• 17:53
  It really is. I mean, they've totally got hair down, water down, fire. Yeah.
• 18:00
  Yeah. Awesome. But no, I mean, but like I think... But then I, yeah.
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  I started making films like Rageback and Highlander.
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  Right, right. It made way before CG. So a lot of my learning and craft basically
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  smoke and mirrors. Oh, yeah.
• 18:19
  Doing everything more practically, more theatrically.
• 18:23
  Yeah, that's still the beauty of those movies is there is an art to it.
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  There's not just a computer to fix it. There's an art to it.
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  And a lot of people are sort of going back and trying to do more things practically
• 18:40
  because actually sort of they test you more to do it practically in that,
• 18:45
  you know, it's easy enough to sort of throw any CG effect in. Yeah.
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  But to try to sort of create it and trick and be clever, it's a lot more work. Right, right.
• 18:57
  But just tripping back to that moment, it harkens to mind.
• 19:05
  You did a, there was a documentary, I know you don't like to talk about Highlander 2.
• 19:10
  I'm not talking about Highlander 2, but there's a documentary on...
• 19:12
  Oh, no, no, we don't talk about that.
• 19:14
  No, no, no, no, there's... But there's a documentary on one of the releases
• 19:18
  of Highlander 2 where you talk about...
• 19:21
  You did the big, there's a big street shot and it was all practical whether,
• 19:25
  whether Chris Christoph flies around on a flying skateboard or whatever it was.
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  And you, it just reminds me of the comment you made when you were asked about
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  that in the documentary, you said, I had to almost go back to my music video
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  and a chewing gum and popsicle sticks and, and just, you know,
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  hope the magic work. Oh, absolutely.
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  Yeah. I mean, yeah, it was just, it was guys there on the set running,
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  pulling on a rope and, And you shoot some scenes at 6 frames seconds,
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  some at 12, 11, 15, whatever.
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  We would just like shoot a shot and go, let's shoot this at 11 frames seconds or something.
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  And, you know, there was only a few actions.
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  I mean, there was one, yeah, sometimes the rope would get caught up because
• 20:10
  they had to go behind it and start getting set and 20 guys pulling it.
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  And once it got stuck and the crystal oxen was flying fast. and he goes,
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  stop dead, and he sort of spout another cork.
• 20:25
  It looks horrific, doesn't it? Oh, it does. Yeah, it looks phenomenal.
• 20:31
  For something that is, like they say now, the purely analog way of filmmaking,
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  it's quality second to none, second to none.
• 20:41
  And just talking about craft, that kind of craft, briefly,
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  relating to one of the scenes, the mirror maze ending of
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  the shadow i read once i read once that
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  during the filming of this a similar type of scene
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  in enter the dragon the cinematographer made
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  this mirrored piece to sit
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  in front of the camera and had only a tiny little square for the iris of the
• 21:06
  camera to see through so that you couldn't see the so that you couldn't see
• 21:10
  the camera and the operator in the mirrors is that is that the same technique yes yeah yeah yeah.
• 21:22
  They're complicated to shoot, but that is a very common technique to use.
• 21:30
  It's you've got a very small hole for the lens to look through.
• 21:34
  It's so small that from 15 feet away or whatever, you don't notice it. Right, right, yeah.
• 21:41
  And so you can actually sort of do a pan around the room without being seen.
• 21:47
  Yeah, and hide that, yeah. Because I just thought that was like,
• 21:50
  you watch those scenes, you think, how do you not, how do you hide everyone,
• 21:55
  you know, behind the camera?
• 21:58
  And then I thought, you know, it just makes sense. It was so genius.
• 22:02
  Just use a mirror and. Yeah, yeah, yeah.
• 22:06
  But also, yeah, you don't have all this movie. You have one guy or you have a mirror in both heads.
• 22:12
  Right, yeah. And the mirror just hides the thing. Yeah, no, I was just curious
• 22:16
  if that was still in vogue when you did that sequence.
• 22:21
  Yes, and then obviously we used some green screen with two characters so we
• 22:25
  could crack the mirrors and explode mirrors and whatever.
• 22:28
  So it's a combination of real and, yeah.
• 22:32
  Yeah, it's like your second movie that ends with the hero.
• 22:37
  It's your second movie that ends with the hero and a lot of shattering glass
• 22:41
  as he feels the quickening, if you will. Oh, that's... Yeah,
• 22:46
  I didn't think about that.
• 22:47
  You also need to express it with the Highlander and me. Yeah.
• 22:51
  Yeah. Because it's like, I thought, wow, Russell likes to shower his heroes in exploding glass.
• 23:00
  Yeah, you know, I never thought of that again. It was like, you know,
• 23:06
  it's an interesting observation. Yeah.
• 23:08
  It's like, I forget which other... Someone interviewed Kurosawa or something
• 23:13
  like that, and they said, do you love rain? Because in a lot of his movies...
• 23:18
  There's there's this thunderstorms and a lot of
• 23:21
  rain and he said you know my movies really
• 23:24
  well i forget who it was someone interviewed kurosawa i forget
• 23:27
  it's on that there's a documentary on the
• 23:30
  uh well there was a documentary on the dvd release of ron which has the making
• 23:34
  of ron and it was made by that filmmaker chris marker who made uh larger tay
• 23:40
  and it's a wonderful all right It's a wonderful kind of expose of Kurosawa filming Ran,
• 23:49
  which must have been incredible to sit and watch.
• 23:52
  Someone would watch someone, even like if I was on the set of one of your movies,
• 23:57
  I'd be, you know, people say a movie set's kind of boring.
• 24:01
  I always am fascinated. I could sit and watch people make movies for days.
• 24:05
  As much as watching movies, I could watch people making movies for days.
• 24:09
  I think it's fascinating.
• 24:11
  But yeah so let's next time I'm down there shooting I'll definitely invite you
• 24:18
  oh okay cool I won't make any noise I just want to sit and watch I'll carry,
• 24:23
  I'll carry drinks or chips or whatever it is.
• 24:29
  No no we'll give you a chair give me a chair oh
• 24:33
  that's beautiful thank you that would be so cool but that would be awesome really
• 24:40
  but let's let's let's get to the cast before we wrap up alec alec the ball alec
• 24:47
  the baldwin what was it like directing the man who plays donald trump on saturday night live.
• 24:55
  Oh goody that i tell you what they need to do a whole like a feature-length
• 24:58
  movie and he plays donald trump like an awkward bio i agree i agree yeah yeah
• 25:04
  yeah you know you know he he's just uh It was just amazing.
• 25:10
  Because this was kind of when Alec Baldwin was Alec Baldwin,
• 25:18
  like big marquee Alec Baldwin, you know.
• 25:22
  Yeah. Wasn't it? Because he'd done Hunt for the Red October and all that by then. Yeah.
• 25:28
  Yes, exactly, exactly. And which he took over from Sam Neill, yeah? Yeah, yeah.
• 25:36
  Did you take over the character?
• 25:39
  Well, I've heard a lot of different stories, so I don't know.
• 25:42
  Well, that was one of the two. He took over one of the characters.
• 25:46
  Yeah, yeah, no, it's... Anyway, yeah, Alex is extraordinary.
• 25:52
  He has to work with from anywhere from the first meeting to the read-through,
• 25:58
  to rehearsals, just very giving, very smart.
• 26:03
  Yeah, I can't say it was a bad thing.
• 26:06
  It was a joy to collaborate with him, and it really is a collaboration with Alex.
• 26:12
  And he's very giving with other actors too.
• 26:15
  The whole set is all with Benelope and John and Tim Curry.
• 26:24
  Oh, yeah, dude, Tim Curry.
• 26:27
  And I mean, forgetting, not forgetting Alec, but including Alec, what a massive cast.
• 26:36
  Penelope Ann Miller, when she came into this movie, she had just been directed
• 26:40
  by Richard Attenborough, then Brian De Palma, then yourself.
• 26:44
  She did, I think she did Chaplin, then she did Carlito's Way,
• 26:47
  and then she did The Shadow.
• 26:49
  So that's some pretty lofty company. and then of course you've got Sir Ian McKellen
• 26:55
  like you mentioned the great oh my god Sir Ian McKellen yeah,
• 26:59
  absolutely we're happy I forget I mean people people we became very what's that
• 27:06
  people forget he's in this movie.
• 27:09
  I know I think you know what I think he forgot we became good friends with this
• 27:15
  film and I just saw him a couple of years ago I saw him down in Australia I saw him,
• 27:22
  perform and play at the City Opera House and went backstage and saw him again
• 27:27
  and just wonderful and he said, you know what,
• 27:30
  darling, I've never seen the film, which I got him upset, but he's just terrific.
• 27:38
  Oh, yeah, darling. And he became very, very good friends after doing that.
• 27:44
  I can only imagine, I'm yet to see, there's apparently a very good documentary
• 27:49
  where he He teaches acting or he talks about acting or the craft of acting.
• 27:53
  I forget the title. Oh yeah. Yeah. But I've heard it's, I haven't seen it,
• 27:57
  but I've heard it's very good looking forward to that one.
• 28:00
  You had a lot of marvelous Asian American actors, James Hong,
• 28:05
  Al Lung, Gerald Okamura, like the, the big trouble little Chinatown boys,
• 28:11
  you know, in the movie, which was,
• 28:14
  can I ask you one question?
• 28:15
  Russell has been burning a hole in my pocket for years.
• 28:19
  What? About the shadow. Not personal. Here you go. What is the joke that he tells you?
• 28:26
  That Alec Baldwin tells at the start. He says something in Mandarin or whatever it is.
• 28:33
  Do you know what he says? Oh, you know what? Oh, my God, you should have put
• 28:37
  me on that, right? Oh, okay.
• 28:39
  I've completely forgotten. Well, you'll have, I mean, I'll find out.
• 28:44
  All right, let's do it. We'll find out and you'll have to air that in.
• 28:48
  I'll go, yes, that was a joke.
• 28:49
  All right. I've completely forgotten. That's all right. I know it was funny. Okay.
• 28:53
  Was it something simple, though? Was it like a contemporary genre?
• 28:56
  Oh, yeah, it was very simple, very simple, very sharp. Okay, cool.
• 29:01
  That's all right. Well, if you think of it, I can always type it.
• 29:05
  That's so funny. No one's ever asked that, so that sort of set my mind. Okay, sorry.
• 29:12
  It's funny what sometimes very simple things can grab you and that will haunt
• 29:17
  you, like you said, put a hole in your pocket or whatever for you for years.
• 29:21
  Like, what was the joke? Yeah, yeah.
• 29:24
  That was amazing. I was talking about someone else, about the movie,
• 29:27
  and they put it in my head. They said, I wonder what that joke was.
• 29:31
  And I said, well, yeah, I mean, I said, I know they're all actors,
• 29:35
  and they're trained to laugh and cry on cue, but what if it was a genuine joke
• 29:40
  and people actually laughed?
• 29:41
  I mean, did they actually laugh? Was it actually ad-libbed, or was it in the
• 29:46
  script? Yeah, yeah, yeah, yeah, yeah, yeah.
• 29:47
  No, no, no. No, it was good, but oh my God, now we should prep me on that. Oh my God.
• 29:53
  Anyway. That's all right. Don't worry, don't worry, we'll get over it, we'll get over it.
• 29:57
  You'll think about it and... Find out.
• 30:00
  Yeah, and... It'll be our mission this week. All right, yeah.
• 30:06
  And listeners, look for the answer to that question. I'll type it in the little
• 30:11
  write-up underneath the... Yeah.
• 30:14
  So it'll be a hidden Easter egg if you actually read the article as well as
• 30:20
  listen to the wonderful interview. you but uh yeah just rushing through the
• 30:25
  rest of the great cast peter boyle my gosh love peter.
• 30:31
  Boyle joseph matt is it mayor or my i can't i don't know if it's mayor or my
• 30:36
  he's a british actor he plays the curator of the the museum oh yeah wonderful
• 30:42
  actor uh you got to work with the dad from ALF.
• 30:46
  Max Wright was his little sort of assistant.
• 30:49
  Ethan Bennett. Oh, I love that. Because I was a big fan of the show at the time. Right, yeah.
• 30:55
  It was terrific, yeah. Big dad from ALF, yeah. There's a great,
• 30:58
  I mean, the character actors in this movie,
• 31:02
  My goodness, Jonathan Winters is the police captain.
• 31:07
  Goodness, who else have we got?
• 31:09
  I forget the bloke's name. I think it was Gerald. Was it Gerald Avery?
• 31:14
  Oh, I can't think of him. He played the switchboard operator,
• 31:18
  you know, the big vacuum switchboard operator.
• 31:20
  Oh, right, yes, the guy on the screen. Yeah, he's been a lot.
• 31:25
  He's got William Bowden. Yeah, yeah, he does, yeah. Yeah, or HP Lovecraft.
• 31:30
  But, yeah, but... Oh, yeah, exactly. Yeah, my memory of his name has just gone out the window.
• 31:36
  But, yeah, there's a marvellous cast, marvellous, a lot of people behind the scenes.
• 31:40
  My final question, because I've kept you longer than I'd hoped,
• 31:44
  Russell, but thank you for being a sport.
• 31:46
  My final question is, in this age of great comic book films,
• 31:51
  if you're making The Shadow again tomorrow, not literally,
• 31:56
  but soon, that asked you to do The Shadow with today's, all the toys and the
• 32:04
  tropes of today's comic book movies, would you do it? And who would be The Shadow?
• 32:13
  I probably would. It would be
• 32:15
  different. I think we'd approach it a little differently for these times.
• 32:21
  Probably got a little darker, darker and sharper. and, I mean,
• 32:26
  I would even say don't even do it, period.
• 32:29
  I think we just reinvent it, basically.
• 32:32
  The Fastcast, oh, my God.
• 32:35
  I would read that choice. I would ask for a suggestion. Okay,
• 32:39
  right. Do you have one? Ah, The Shadow.
• 32:44
  Probably, probably Tom Hiddleston. Ah, interesting.
• 32:50
  I'd like to see I'd like to see him do a bit more than he's done I reckon he's got the chops,
• 32:57
  Right, right, right. I particularly liked it when... Yeah, I mean, I...
• 33:02
  Yeah, I particularly liked it when he played bloke who wrote Great Gatsby. Jeez.
• 33:07
  Fitzgerald, Scott Fitzgerald. He played Scott Fitzgerald in Woody Allen's Midnight
• 33:12
  in Paris, and I thought he was brilliant.
• 33:14
  I thought he was a better actor than he is in the Marvel movies.
• 33:18
  Not that the Marvel movies are terrible, but I just think sometimes these people
• 33:22
  have a bit more in their quiver than they're allowed to shiver.
• 33:26
  Sure. Yeah. Yeah.
• 33:29
  Very good. Very good. No, it's really, yeah.
• 33:32
  Well, yeah, you always see reinvention of franchises or, you know, so it could happen.
• 33:40
  Totally. Never know. You never know your luck in a big city,
• 33:44
  certainly not in Hollywood.
• 33:46
  Yes, only the shadow knows.
• 33:49
  Only the shadow knows. The sun is shining, but the ice is slippery.
• 33:53
  My guest has been Russell Mulcahy. Thank you.
• 33:56
  Russell, for being a good sport and putting up with me rambling for far too long.
• 34:00
  We've been talking about the shadow. It's out on Blu-ray here in Australia.
• 34:06
  You probably get it already in Blu-ray in America, but the Blu-ray over here
• 34:09
  is a beautiful addition put up by Umbrella Entertainment.
• 34:13
  Go check it out and find out.
• 34:17
  Thank you, Russell. Good on you, mate. Cheerio. Yes, Russell Mulcahy,
• 34:22
  great bloke. We had a couple of chats during the podcasting them softly days.
• 34:30
  And yeah, we also did an interview about his other film, Ricochet,
• 34:34
  which I believe is getting a nice re-release 4K.
• 34:38
  I believe in the full aspect ratio, first time in the full aspect ratio, which will be awesome.
• 34:46
  Russell Mulcahy, he's a great bloke, the shadow. Check the links in the description.
• 34:52
  And as always, my little Eugenites, thank you for listening to us on Spotify
• 34:58
  or wherever you choose to listen to your favorite podcasts.
• 35:01
  I'm Ken Hill, and until next time, you've been listening to Cinema Zero Game.
• 35:11
  Music.