In_Search_of_Tomorrow_(2022)_BluRay_720p_(fzmovies.net)_2f265833cc78e68dd29e24aa824416d7.fa Movie Subtitles

1 00:01:33,760 --> 00:01:38,681 When I think of science fiction, I think of stories in any medium 2 00:01:38,848 --> 00:01:41,851 that tell us what we could be 3 00:01:42,435 --> 00:01:45,647 and warn us about where we're going. 4 00:01:47,690 --> 00:01:49,193 Every piece of science fiction 5 00:01:49,234 --> 00:01:53,238 that I enjoy works as pure entertainment, 6 00:01:53,655 --> 00:01:56,992 and it also works as a social commentary, 7 00:01:57,033 --> 00:02:00,537 philosophy or inspirational ideas. 8 00:02:02,038 --> 00:02:04,916 It was always a genre that carried with it 9 00:02:05,083 --> 00:02:08,753 a sense of taking the temperature of its own times. 10 00:02:09,838 --> 00:02:12,215 It's a ripe genre, it's full of interesting 11 00:02:12,841 --> 00:02:14,968 twists and offshoots. 12 00:02:16,286 --> 00:02:18,286 I can get you diseases. You'd like that, wouldn't you? 13 00:02:20,306 --> 00:02:23,893 There are so many sub-genres that are available to us 14 00:02:24,102 --> 00:02:26,771 and I think really give this kind of rich landscape. 15 00:02:27,981 --> 00:02:34,279 Science fiction storytelling exists from the beginning 16 00:02:34,737 --> 00:02:37,324 of film-making, and persists through 17 00:02:37,365 --> 00:02:38,867 two centuries. 18 00:02:40,535 --> 00:02:41,537 Images 19 00:02:41,578 --> 00:02:45,124 that we see in cinema today are built on images from movies 20 00:02:45,165 --> 00:02:48,877 like 2001, A Space Odyssey, Metropolis and Things to Come. 21 00:02:50,461 --> 00:02:51,839 In the '50s, 22 00:02:51,880 --> 00:02:55,634 sci fi was an extension of science, and science was all about the atom, 23 00:02:55,675 --> 00:02:58,387 and the atom was all about, they're going to blow us up 24 00:02:58,428 --> 00:03:01,764 or we're going to have a wonderful future because of our friend the atom. 25 00:03:05,018 --> 00:03:07,104 The people doing these science fiction films in the '80s, 26 00:03:07,145 --> 00:03:10,607 they cut their teeth on '50s sci fi, 27 00:03:11,024 --> 00:03:14,653 but what they did is they said, we love sci fi for what it represents. 28 00:03:14,694 --> 00:03:19,408 The post atomic scare that stimulated so many of these low budget Saturday 29 00:03:19,449 --> 00:03:21,034 matinee type movies. 30 00:03:21,075 --> 00:03:23,370 They really impacted us as children. 31 00:03:23,411 --> 00:03:27,832 But in a different way than films now in the '70s, 32 00:03:27,874 --> 00:03:32,503 films tend to be more socially conscious, more artistically presented. 33 00:03:32,879 --> 00:03:35,256 But let's take a B movie 34 00:03:35,840 --> 00:03:39,177 and just do it as though we're doing an art film, without a happy ending. 35 00:03:43,640 --> 00:03:47,852 The twist towards the dark, nihilistic sci fi, I think, was largely a response against 36 00:03:48,311 --> 00:03:52,523 technology, government, war, especially in the Vietnam era. 37 00:03:53,316 --> 00:03:55,736 A lot of those dystopian films 38 00:03:55,777 --> 00:03:59,573 were warning about global warming 39 00:03:59,614 --> 00:04:01,807 and the arms race. 40 00:04:01,848 --> 00:04:03,848 You maniacs! You blew it up! 41 00:04:07,038 --> 00:04:09,833 Things that I think made people feel very small 42 00:04:09,874 --> 00:04:12,961 and very out of control. And that seems to really be 43 00:04:13,002 --> 00:04:16,172 what science fiction is about until Star Wars. 44 00:04:20,718 --> 00:04:24,472 The whole tone of science fiction and films really changes 45 00:04:24,681 --> 00:04:27,475 with Lucas and Spielberg in the '70s and '80s, 46 00:04:27,517 --> 00:04:32,314 and it starts showing us the positive possibilities in our world 47 00:04:32,355 --> 00:04:35,692 as opposed to constantly warning us about all the ways we're messing up. 48 00:04:38,569 --> 00:04:40,489 Spielberg said, "Can't we go back to what 49 00:04:40,530 --> 00:04:43,324 "I grew up with, which is the beauty of sci fi and imagination? 50 00:04:43,700 --> 00:04:46,619 "Let's not dwell on the corrupting influence of technology." 51 00:04:53,751 --> 00:04:55,969 For the next decade or so across the '80s, 52 00:04:56,010 --> 00:04:59,057 that amalgamation of science, fiction, 53 00:04:59,757 --> 00:05:02,468 and fantasy, seemed to be the driving force. 54 00:05:04,387 --> 00:05:06,974 Science fiction became direct, 55 00:05:07,015 --> 00:05:09,600 straightforward, provocative, clear. 56 00:05:11,519 --> 00:05:16,066 Any idea that anybody had if you set it on another planet or 57 00:05:16,107 --> 00:05:19,777 set it in the future, set it in dystopia, you could get the money to do it. 58 00:05:21,696 --> 00:05:24,574 Now, sci fi was viable box office. 59 00:05:24,615 --> 00:05:28,745 And now the studios are throwing money at the genre 60 00:05:29,037 --> 00:05:31,873 and you're getting the best filmmakers and the best actors, 61 00:05:32,123 --> 00:05:34,959 and they have the funds to take you to other places. 62 00:05:35,084 --> 00:05:38,254 Sci fi truly came of age and exploded 63 00:05:38,463 --> 00:05:39,922 in the '80s. 64 00:05:57,774 --> 00:06:02,278 We are creating machines that mimic human behavior. 65 00:06:02,445 --> 00:06:05,073 The human body, human intelligence. 66 00:06:06,574 --> 00:06:10,037 In Saturn 3, you see the bio-mimicry of Hector, 67 00:06:10,078 --> 00:06:14,665 the machine taking on its human creator's ideas and psychopathy. 68 00:06:21,297 --> 00:06:25,843 Certainly, the way Saturn 3 was sold, leaned heavily on Alien, robots, science. 69 00:06:26,010 --> 00:06:29,598 All that kind of stuff, but it leaned even more heavily on Farrah Fawcett 70 00:06:29,639 --> 00:06:32,642 and that absolutely stunning smile of hers, in the fact that all of us 71 00:06:32,683 --> 00:06:35,019 were enamored of Farrah from Charlie's Angels. 72 00:06:36,187 --> 00:06:38,148 I had that poster, everybody had that poster. 73 00:06:38,189 --> 00:06:41,818 And the idea that Farrah Fawcett might be wearing something s***y or 74 00:06:41,859 --> 00:06:45,697 nothing at all, definitely g***t my young self out to see Saturn 3. 75 00:06:45,738 --> 00:06:48,349 The movie you g***t, however, was a completely different movie. 76 00:06:48,390 --> 00:06:50,373 You're quite an event in our lives. 77 00:06:50,414 --> 00:06:53,397 Well, I guess you don't get many drop-ins on Saturn 3. 78 00:06:53,438 --> 00:06:55,438 Hardly ever, especially not from earth. 79 00:06:55,623 --> 00:06:57,751 We are on a space station that is slick, 80 00:06:57,792 --> 00:07:01,754 and designed and shiny and colorful, and all the edges are smoothed out. 81 00:07:02,130 --> 00:07:04,800 All of the ideas that might have been initiated 82 00:07:04,841 --> 00:07:08,720 by Alien are gone by the time you get to the finished product of Saturn 3. 83 00:07:08,761 --> 00:07:11,722 We get to see Kirk Douglas naked a lot, 84 00:07:12,682 --> 00:07:15,476 but not Farrah Fawcett. 85 00:07:16,769 --> 00:07:18,813 That was kind of forward thinking. 86 00:07:18,854 --> 00:07:20,837 Doesn't it disgust you to be used by him? 87 00:07:20,878 --> 00:07:23,544 To be touched by an old man? Can't you feel the decay? 88 00:07:24,068 --> 00:07:26,905 The notion that he wanted to express his virility, 89 00:07:26,946 --> 00:07:29,449 that he's still a leading man, that he was still an action star. 90 00:07:31,159 --> 00:07:33,620 Kirk Douglas was very particular about that. About that in terms 91 00:07:33,661 --> 00:07:36,873 of the notion of men, of male movie stars and actors 92 00:07:36,914 --> 00:07:39,859 and the way that they should come off in film. 93 00:07:39,900 --> 00:07:40,900 Abort! 94 00:07:43,516 --> 00:07:45,516 Glad you didn't ask him to shake hands. 95 00:07:46,174 --> 00:07:47,551 It's a complicated film, you g***t 96 00:07:47,592 --> 00:07:50,720 you g***t Stanley Donen, the Singin' in the Rain director, directing 97 00:07:50,761 --> 00:07:54,056 this sort of science fiction opera with this crazy, oversexed robot. 98 00:07:54,680 --> 00:07:57,680 No! No! No! 99 00:07:58,519 --> 00:08:01,564 He's probably not the right director for that. 100 00:08:01,898 --> 00:08:05,485 The production designer, John Barry, he was probably the correct person. 101 00:08:05,526 --> 00:08:07,446 The scenario was based on his stories. 102 00:08:07,487 --> 00:08:12,033 But Kirk didn't like John and so g***t him fired and had Stanley Donen hired. 103 00:08:12,074 --> 00:08:15,454 So you have Kirk Douglas, who doesn't like John Barry. He gets rid of him. 104 00:08:15,495 --> 00:08:18,039 And then you have Stanley Donen, who doesn't like Harvey Keitel's voice. 105 00:08:18,080 --> 00:08:19,082 Now we have this weird 106 00:08:19,123 --> 00:08:22,877 sort of quasi British voice coming out of Harvey Keitel's face. 107 00:08:23,401 --> 00:08:25,401 Why won't you talk? 108 00:08:27,025 --> 00:08:29,025 Why not? What have I done wrong? 109 00:08:29,884 --> 00:08:32,179 All of these decisions just sort of led 110 00:08:32,220 --> 00:08:37,183 to something of a mess of a movie, except for Farrah Fawcett. 111 00:08:37,308 --> 00:08:38,393 Kudos to Farrah Fawcett 112 00:08:38,434 --> 00:08:40,686 for dealing with all those boys and what was going on there. 113 00:08:40,895 --> 00:08:42,647 It just didn't seem to connect 114 00:08:42,688 --> 00:08:46,400 with the bigger universe in the way that the Star Wars films had....