South Park: Bigger, Longer, & Uncut

[Poya]

There's a bunch of birds in the sky
And some deers just went running by
Ohhh, the snow's pure and white on the earth rich and brown
Just another sunday morning in my quiet mountain town.

To honor the 20th year anniversary, I was going to write an extensive analysis for the film but then I came across this article that pretty much covered what I was going to write aboot, so I felt like sharing this instead:

South Park: Bigger, Longer, and Uncut Continues to Give and Point the Finger by Andrew Bloom

As it turns 20, the vulgar animated hit's sole movie still stands as a harbinger of things to come

Blame TV. Blame your parents. Blame movies. Blame society. Hell, blame Canada. But whatever you do, blame something, and quickly, before someone thinks of blaming you.

South Park: Bigger, Longer, and Uncut turns 20 this weekend, and for as much as the movie’s Saddam Hussein-heavy, Celine Dion-referencing take on the world is very much of its time, the film nevertheless captures the ways in which American culture would continue to take deeply entrenched, compex cultural problems, and hunt for convenient scapegoats and easy answers in the years to come. There is no issue too inflammatory, no societal malady too multifaceted, that it cannot be oversimplified and laid at the feet of a readily-available boogeyman.

Bigger, Longer, and Uncut channels that idea through a premise filled with classic South Park absurdity. After Stan, Kyle, Cartman, and Kenny sneak into Asses of Fire — a cinematic encore to their favorite flatulence-based television show Terrence & Phillip — they walk out cursing a blue streak. The combination of their foul mouths and an imitative stunt, which brings about the inevitable “Oh my God, you killed Kenny!” moment, leads to their parents (and Mrs. Brofllowksi in particular) going on a crusade against the fart-firing, curse-hurling villains who they believe have poisoned their children’s minds.

This being South Park, that spirals into a war with our Canadian neighbors, a resistance movement led by 10-year-olds to smuggle their heroes away from a public execution, and eventually the apocalypse, as Satan and his boyfriend Saddam Hussein mount an invasion from the netherworld. It’s part and parcel of South Park’s trademark comic escalation, where standard moral panics are taken to ridiculous extremes until children are implanted with V-chips and an all-out war with the devil erupts from a movie featuring some naughty language.

Still, there’s a grain of truth beneath all of the absurdity. For as exaggerated as the notion of going to war with another country over a juvenile cartoon seems in the film, and in general, the practice of blaming “bad cultural influences” from other countries for corrupting our children is all too real and dangerous.

From McCarthyism and old satanic panic, to the Parents Television Council’s frequent rebukes of South Park in the ’90s, to modern-day instances of Islamophobic fearmongering, there’s a long strain of certain factions in the United States trying to sound the alarm against supposed cultural pollution. However silly the idea of the government branding and executing a couple of sophomoric T.V. entertainers as war criminals may seem in the film, the easy impulse to blame troubling behavior in a younger generation on movies and music and video games is just as present now as it was then.

Most importantly, South Park’s first (and thus far, only) foray onto the big screen bluntly tackles the ways in which we use this approach to absolve ourselves of moral responsibility. “It’s not my kid’s fault, it’s the evil messages coming from those damn screens.” “It’s not the parents’ fault, it’s a society gone mad.” “It’s not our country’s fault, it’s those damn outsiders who are diluting our culture.” As the immortal “Blame Canada” captures in song, it’s easy to throw these sorts of recriminations at any number of external causes, because it helps keep people from thinking to throw them your way. Especially when you have them coming.

There’s a certain irony to this message, when viewed in 2019. Arguably, it wasn’t until around South Park’s 20th season that the series itself began to reckon with its influence on popular culture. While the series would typically deflect blame back onto the moral guardians who showered it with disdain and disapproval, 2016 was a watershed moment for the show in the same way it was for many Americans. In the age of trolls and “edgelords” and other internet denizens crossing lines just to provoke a reaction, even South Park had to reluctantly face some harsh truths of its own. The series had to confront the possibility that the individuals who had unreflectively followed its boundary-pushing example were a part of the problem.

For its part, Bigger, Longer, and Uncut gives away the game in its opening song. Stan’s mother describes her son as so “tender and mild” that he’s “like Jesus,” and thanks God for their life in an idyllic little town far from any big city evils. Mrs. Broflowksi describes her son and his friends as “frail and fragile boys,” lamenting the wider world as a “rotten place” that could otherwise threaten to spoil such innocence.

That notion goes against everything that South Park has stood for since the beginning. Contrary to popular belief, the animating impulse of the series is not that censorship is wrong, or that caring is lame. It’s that children are not sweet innocent angels, but rather flawed, crude, and sometimes messed-up individuals like the rest of us, and the more we try to point to outside factors to account for that, the more we deny who and what we are.

In the film’s final act, Kyle pleads with his mother, “Whenever I get in trouble, you go off and blame everybody else. But I’m the one to blame. Deal with me.” It is, perhaps, not quite as eloquent as to say, “The fault, dear Brutus, is not in our stars, but in ourselves,” but the sentiment is the same. The thesis of the film, beyond South Park’s usual missives against the censors, is that when problems arrive in our backyard, Americans go hard-charging against whatever external causes, real or imagined, they can conjure up, when the real sources of our problems are usually a lot more complicated, and a lot closer to home.

Trey Parker and Matt Stone posit that such troubles are far more internal and intractable than we might like to believe. For all the curse-heavy mania of the film, South Park: Bigger, Longer, and Uncut is about angry communities, unwilling to look in the mirror, and instead looking for someone or something at which to point the finger. It’s an impulse that is, unfortunately, still with us and, if anything, more prominent and dangerous today then it was in 1999. So where’s Brian Boitano to save the day when you need him? This is really all his fault.

[CyberpunkCentral]

I really need to buy this on Blu-ray soon.

[oilers73]

I saw this opening night. The laughter was so uproarious, I missed half of the jokes! I watched it again 2 days later, and still couldn't hear a lot of the dialogue. These are the only two times I've experienced this.

Happy 20th Anniversary!

[Poya]

There’s also this Trey & Matt interview I don’t think anyone’s ever read. This was right after it’s release. Out of risked of getting banned, certain words will be replaced:



South Park Under Attack by David Wild

Hollywood’s foulmouthed animaniacs take on Will Smith, censorship and even themselves

It’s pretty much your average animated movie musical about war, censorship and sodomy between Saddam Hussein and Satan. But even so, in this era of teen-culture paranoia, South Park: Bigger, Longer and Uncut should give this summer’s edgy parents all sorts of reasons to lock up their kids. There have been rumors that Paramount, the studio releasing the movie, is scared of its subject matter. South Park’s creators, Matt Stone and Trey Parker, are unrepentant and justifiably proud that some of the jokes that the Motion Picture Association of America ratings board ruled too rude for the multiplex have been recycled for the South Park TV show.

The walls of Parker and Stone’s large loftlike work space in West Los Angeles are covered with promising and profane descriptions of sequences in the film. They are willing to admit that the movie is a musical of sorts. “That will make the sixteen-year-old boys jump for joy,” Stone says with a laugh. They also confess that the relationship between the bizarre but fun couple Saddam and Satan is a curiously touching love story. And, unable to contain their glee, they preview the first single from the film’s soundtrack album — a wild punk-meets-Lord of the Dance rouser with the memorable title “What Would Brian Boitano Do?”

When the South Park computer-animation system crashes for a few hours, Parker and Stone take some time to walk outside and discuss their not-so-long but exceedingly strange trip through pop culture. Only a few years ago, they were struggling for meal money. Now, both still under thirty, Parker and Stone run a wonderfully crude cottage industry. Such quick notoriety, of course, rarely comes without a little backlash. Although recent reports of South Park‘s demise are greatly exaggerated, doomsayers point out that ratings for the first two new episodes this year were down forty-three percent from last season. Other observers have made much of the story that one of the young men picked up for questioning immediately after the Columbine killings was wearing a South Park shirt. Parker was relieved when a sheriff pointed out to the media that many of the kids being rescued were wearing South Park shirts, too.

What have you two learned about Hollywood from the process of bringing South Park to the big screen?
Parker: Well, it was a clash. We had our system for doing things, the studio had its system. They’re like, “This is how you do a movie.” And we’re like, “Well, this is how you make South Park.” It was a constant battle. We were in a pretty good position of power, because our blessing — and our curse — is that we have to do everything. They can’t farm it out.

So is South Park: Bigger, Longer and Uncut really going to be totally uncut?
Parker: No, because the MPAA is in many ways way more strict than the TV people.

Are you concerned that post-Columbine, there’s a climate where our youth culture is under fire?
Parker: Yeah, and it’s amazingly strange, because that climate is what the movie is all about, and we wrote it more than a year ago. So when [Columbine] happened, we were like, “Wow.” What we wrote about in this movie came true in terms of people’s attitudes. The movie is also about war, and then that happened, too.

Have you ever had a moment when you felt maybe you were damaging the psyche of young America?
Parker: Not at all. Not for a second. We grew up with Monty Python, as mkay’ed-up as that all was, and Dirty Harry and Charles Bronson and ultraviolence. People seem to forget that the world has been ultraviolent for a long time. Both of us — and all our friends — grew up in that culture, and we’re fine. There’s nothing about Marilyn Manson that says, “Pick up a gun and kill people.” And there’s nothing about South Park that says that, either.

Stone: When anything like the Columbine thing happens, everybody — us included — is so confused and saddened. People want an explanation. . . . And the explanation that some people are mkay’ed-up — that’s a scary answer, but it is the answer. When someone older does something sick, it’s like, “What a psychopath, what a perverted sociopath, what a nut.” When someone under the age of eighteen does something, then we have a huge problem with youth culture.

Being from Colorado, did you know that high school?
Stone: My high school, Evergreen, played against Columbine. I think it’s been renovated since, but I took my SATs in its cafeteria.

Trey, when you gave the commencement speech at your high school recently, what was your opening line?
Parker: “What the hell am I supposed to tell you people?” The speech went over great. It was different from their normal commencements. I didn’t use any big words. I just talked to them pretty plainly and did a few voices.

Did you get handed a lot of résumés?
Parker: Actually, yes I did, but mostly by adults — teachers — rather than students. When I was doing the speech, I just wanted to get a read on our competition. So I said, “Who would like to see Wild Wild West?” And the place just erupted.

Stone: Wild Wild West can mkay off. I don’t even know about the movie, but that song and that trailer can mkay off seriously. It’s just a pure studio movie, like a concept — “We got Barry Sonnenfeld to do it, and Barry Sonnenfeld only does movies with Will Smith, so we’ve got to get him. Then let’s have Will do a song.” That pissed me off. Mkay that song, man. That’s one of my favorite songs, and he goes and cannibalizes it.

Considering that you were broke just a few years ago, is it surreal to find yourself being discussed in terms of your cultural impact?
Parker: It is. We get enough positive feedback, too. But as soon as we came out with South Park, the media were saying, “This is trite stuff; this won’t have any impact.” Now they bring us up when they talk about America’s youth and how we’re to blame. It’s like, “I thought we were trite and we would have no impact.”

You’re insignificant yet responsible.
Stone: They don’t pay any attention until there’s something bad.

What was your original goal for the South Park movie?
Stone: We wanted to do something worthy of a movie, not just a long episode or four episodes strung together. We wanted to do something bigger, just like the title implies. We wanted to justify the existence of a South Park movie.

Had you ever been disappointed by a film version of something you liked?

Parker: We were huge fans of Beavis and Butt-Head, and huge fans of Mike Judge. We went to the premiere of the Beavis and Butt-Head movie, and we wanted more. But they did the smart thing and made that movie for people who weren’t necessarily Beavis and Butt-Head fans, and therefore made a poo-load of money. I think it’s possible our movie is a little more inaccessible.

What would someone who’s been on a desert island for the past couple of years make of the movie if they were to wander into the wrong theater at the multiplex?
Parker: First of all, they’re going to say, “Holy poo,” but on the other hand, the movie is a very poignant story. Like I said, it’s insanely relevant all of a sudden. Scott Rudin — one of the movie’s executive producers and one of the biggest musical producers — thinks this may be the biggest movie musical to come out in many years.

Stone: It’s an R-rated, animated musical.

Parker: That just doesn’t happen a whole lot. We may just kill the genre right here. We would rather have someone say, “That was really mkay’ed-up” than, “Oh, that was cute.”

Are you still fighting the ratings board?
Stone: Yeah.

Parker: It’s just scary — going through the trailer process and getting the notes back that say, “You just can’t fart.” It’s, like, the shot of the guy shooting the M60 and all these people getting shot — that was OK. But the guy farting has to come out.

Stone: Who ever died of a fart?

For better or worse, it’s probably safe to say there’s worse language heard in most high school cafeterias than in South Park.
Stone: Oh, God, yeah.

Parker: It’s nothing compared with what these mkayers are really talking about.

Then does the success of South Park actually make you more optimistic about America’s youth?

Stone: It gives me hope. If there’s an overriding message in South Park, it’s just to question authority. That’s the poo we make fun of.

Did you see a South Park backlash coming?
Parker: Back when people were first hearing about the show, Mike Judge basically showed us a diagram of how the popularity would go. He was like, “It’s going to be real popular; you’re going to hit a peak; then there’s going to be a backlash. Then it will go down, and it will level out. And before you know it, you’re going to be a sellout just by doing what you do.” I remember reading reviews that said we were sellouts when ‘Mr.Hankey the Christmas Poo’ came out. I was like, “What did we sell out?” Something is cool until everyone thinks it’s cool. Instead of saying that, it’s easier to say we’ve sold out. People see the merchandise and think that Matt and I are sewing dolls together, putting price tags on them and placing them on the shelves.

Has there ever been South Park merchandise you were uncomfortable with?
Parker: Oh, lots of things — lots.

Stone: It becomes a tidal wave.

Parker: The only way you can fight it is to spend days fighting it — days you don’t have.

Stone: That’s where you just have to go, “If the episodes are good, the rest will follow.”

How much life is left in the show?
Stone: We signed for seventy episodes, and we’re halfway through now. So another couple of years at most. We are psyched for more.

What did you learn from starring in BASEketball?
Parker: It was a completely positive experience. We got to see the whole process of a studio movie, but not from the director’s chair — to see what they do, how they mkay you. I learned a poo-load. Universal made the mistake of thinking that people would come see us. They don’t give a poo about us. They care about Cartman and Stan and Kyle. I totally understand why. Also, there was no big emotional payoff in that movie — the funny thing about a movie like There’s Something About Mary is, simple as it is, you know what everybody in the movie wants. And in BASEketball, you didn’t really. That was a huge lesson learned.

What’s the most bizarre offer you’ve gotten since everything took off?
Stone: To star in a movie for Universal.

Parker: Yeah, what was that all about? This last New Year’s, I wanted to write down a list of all the things we had done in 1998. Like, we were on The Tonight Show, we recorded a song with Perry Farrell, met Elton John and Robert Smith, kissed Yasmine Bleeth, went to the Playboy mansion with Metallica there — like a list of a hundred weird things we never dreamed of doing one year earlier.

You kissed Yasmine Bleeth?
Parker: In BASEketball.

At the peak of South Park mania, were women throwing themselves at you like the rock stars you really are?

Parker: When you’re superhot, you don’t have the time to enjoy being superhot, because you’re working your ass off. By the time we will actually have time to really go out and screw around, we won’t be hot anymore.

Stone: Sad — God’s mkaying cruel joke.

[BluBonnet]

[Kaiju]

“Haven’t you ever heard of the emancipation proclamation?”

“I don’t listen to hip hop”

[InuYashaCrusade]

I've somehow never seen this movie before. I binged every season that Hulu had last summer but never got around to this, if it's even on there.

[BluBonnet]

Originally Posted by InuYashaCrusade

I've somehow never seen this movie before. I binged every season that Hulu had last summer but never got around to this, if it's even on there.

It's really good.

[InuYashaCrusade]

Originally Posted by BluBonnet

It's really good.

I think it is in the bargain bin at Walmart, or it was at one point. Maybe I'll give it a shot.

[Poya]

And from me personally, here’s an analysis of the song “Blame Canada”:

Blame Canada - South Park: Bigger Longer & Uncut (3/9) Movie CLIP (1999) HD - YouTube

The 2000 Oscar nominees for Best Original Song:

* "Blame Canada" from South Park: Bigger, Longer & Uncut – Music and Lyrics by Trey Parker and Marc Shaiman
* "You'll Be in My Heart" from Tarzan – Music and Lyrics by Phil Collins (WINNER)
* "Music of My Heart" from Music of the Heart – Music and Lyrics by Diane Warren
* "Save Me" from Magnolia – Music and Lyrics by Aimee Mann
* "When She Loved Me" from Toy Story 2 – Music and Lyrics by Randy Newman

First things first, I would like to take this time to say Mkay You to the Academy for not awarding "Blame Canada" the Oscar. Mkay You to Phil Collins for winning the award for a generic, forgettable faux-lullaby for one of Disney's most forgettable films, filled to the brim with whatever the hell Collins considers "music". Mkay You to both Randy Newman and Diane Warren for being the other choices that may have won over "Blame Canada". Aimee Mann, you're cool, and would've been a worthy winner if "Blame Canada" wasn't gonna get it. Now that I got that out of my system, let us begin.

South Park: Bigger, Longer, and Uncut was a film adaptation of the (in)famous cartoon, South Park, created by Trey Parker and Matt Stone. The film was directed by Trey Parker, who also did the music, along with Marc Shaiman, the 2nd greatest gay Jew of Broadway, first being Stephen Sondheim, of course. The film will undoubtedly get plenty of retrospectives come June 30th 2019, when it will celebrate its 20th year on this planet but I wanted to focus on the most important song of the entire film, "Blame Canada", written by Trey Parker and Marc Shaiman, sung by the late, great Mary Kay Bergman and covered by the late, great Robin Williams for the Oscars. The song that not only represents the main theme of the film, not only represents the entire message of South Park as a whole, but was nominated for an Academy Award for Best Original Song, as I mentioned before. I'll be doing a line-by-line analysis of the entire song, picking apart each word and symbolism and why it's such an amazing song that still remains relevant to this day. Here we go:

SHEILA:
Times have changed
our kids are getting worse!
They won't obey their parents,
They just want to fart and curse!

Sheila, one of the main antagonists of the film, is a giant "take that" at over-sensitive people who take offense at the slightest offense and blow it up to massive proportions. She starts a movement in order to do something about this. She sings about the film Asses of Fire supposedly corrupting the children of America due to its language and bathroom humor. This is obviously a satire on how people view South Park as nothing but a mean spirited show that's come to make kids worse. Sheila, and the rest of the parents, would rather their kids obey them and be idealized youths rather than do actual parenting, like not letting them see a movie that wasn't made for them in the first place.

SHARON:
Should we blame the government?


LIANE:
Or blame society?


RANDY, GERALD, and STUART:
Or should we blame the images on TV?


SHEILA:
No! Blame Canada!


EVERYONE:
Blame Canada!

Rather than accept any responsibility, the adults decide to blame an entire country for the problems they've caused themselves. Canada was where Terrance & Phillip made Asses of Fire. But before that, they decide to blame anything that isn't them. What struck me the most was when Liane said to blame society. Trey & Matt have made it clear that one of the main messages of South Park is that humans are a terrible species and it's only society that barely keeps them in line . Another message they try to keep across in the franchise is that the adults are far more cowardly and stupid than any of the kids. They will start a war for the crime of swearing. And yes, this was way before Randy became a main character proper.

SHEILA:
With all their beady little eyes
And flapping heads so full of lies!

One of the main topics South Park tackles is bigotry and for a show that tries to find the middle ground on everything, Trey & Matt have constantly said that all forms of prejudice is stupid and evil. Here, Sheila, who ironically, has an adopted Canadian son named Ike, reveals her own discrimination against the people of Canada, who are depicted in the show as having what she described. Off topic but the film later tackle racism when the military general plans to use all the black soldiers as a shield to block the rest of the soldiers, who all happen to be white. This parodies the "Black Guy Dies First" trope and the fact America doesn't care about minorities in general.

ADULTS:
Blame Canada!
Blame Canada!

SHEILA:
We need to form a full assault

ADULTS:
It's Canada's fault!

Notice how Sheila now says "full assault". This is no longer a protest group; they're talking like terrorists. The song is making a point on how those who seek peace can be raging hypocrites.

SHARON:
Don't blame me
For my son, Stan!
He saw the darn cartoon
And now he's off to join the Klan!

To the adults, kids farting and cursing is the equivalent of being in the Ku Klux Klan, showcasing the adults' lack of critical thinking and not using the right words. And yes, Sharon is to blame. She did no research on what the film Stan wanted to see and made no effort to stop him. Also notice her dismissing the feature length animated film as a "cartoon", satirizing the conception that animated films are just kiddie cartoons not to be taken seriously. Given how many animated films that have been snubbed for the Best Picture Oscar, the stigma still continues. Minor plot hole since it's a cartoon yet Terrence & Phillip exist the same way they are portrayed in the film. Also, I love how in the background shows that the film has now been censored into a 1 minute film.

LIANE:
And my boy Eric once
Had my picture on his shelf.
But now when I see him
He tells me to mkay myself!

This showcases Eric Cartman's small glimpse of humanity, with him having a picture of his mother in his room and how that all changed now that he saw the film. Fun fact: the song was originally going to be more of a straight-up villain song but Shaiman decided to make sure the adults had at a degree of sympathy for their actions and this is one of them. Liane just wants her son's love again. This is, of course, all crumbling down when she used "mkay" to make her point. Now, in this context, it's kinda ok since she's only repeating what he told her but you can't deny the blatant hypocrisy when they can be allowed to use such language but the kids can't. Sharon at least said “darn” in the verse above but Liane is a bit more of a colorful person altogether. During the Oscar performance, since they couldn’t use mkay, they replaced it with a gasp by the chorus. The fact that this song only had one usage of the word was the main reason they nominated it above the others.

SHEILA:
Well? Blame Canada!


ADULTS:
Blame Canada!


SHEILA:
It seems that everything's gone wrong
Since Canada came along!


ADULTS:
Blame Canada!
Blame Canada!

SOME GUY:
They're not even a real country, anyway!

Sound familiar? Out of context, this could've easily been an anti-immigration anthem if it not been for the context being a dirty movie. Not only is the song after scapegoating parents, it's after jingoistic Americans who think they're the only country that matters and can do no wrong, so it must be some other place that's responsible.

MS. MCCORMICK:
My son could've been a doctor or a lawyer rich and true.
Instead, he burned up like a piggy on a barbecue.

ADULTS:
Should we blame the matches?
Should we blame the fire?
Or the doctors who allowed him to expire?


SHEILA:
Heck no!

Again bringing out a more sympathetic view for the adults, they remind us that Kenny, a child, someone's son, died due to imitating an act from the film he saw. This is, of course, reinforcing how you shouldn't do what you see on the big screen or TV when said stunt is pretty damn stupid and dangerous. Of course Kenny only did it to prove to Cartman that lighting a fart can work and Cartman bet him $100, so it's really more the kids' faults, though the adults never knew about the bet to begin with, so fair enough, I guess, but it's still asinine to blame a movie. Of course, the adults would rather find anything else to blame than themselves, though they did have a moment of clarity for blaming the doctors who replaced Kenny’s heart with a baked potato, but quickly forget that to blame, y’know.

ADULTS:
Blame Canada!
Blame Canada!


SHEILA:
With all their hockey hullabaloo!


LIANE:
And that bich Anne Murray, too!

Not all Canadians like Hockey, at least as I can tell. I've never actually been to Canada. Just yet more discrimination, much like how Americans stereotype other countries because of an utter lack of knowledge. Any who, here presents yet another hypocritical moment where Liane uses the word "bich" to describe Anne Murray, a Canadian superstar, in no other context, other than to demean Murray. The real Anne Murray actually loved the song and would've performed the song at the Oscar had it not been for other scheduled commitments.

ADULTS:
Blame Canada!
Shame on Canada!
For...
The smut we must stop
The trash we must smash
The laughter and fun
Must all be undone
We must blame them and cause a fuss
Before someone thinks of blaming us!

And here it is. The final verse. In a near patter ending, the adults flat out state that they are doing this to escape blame. You must think about the context of the film when it came out. The Columbine shootings just happened and there was a wave of parents deciding to blame everything from under the sun rather than to try to find a solution to prevent shootings such as Columbine. 20 years later, problems like this still occurs. America went to 2 different wars after 9/11 due to thinking they did nothing wrong and were the best country ever. South Park: Bigger, Longer, and Uncut is more than a movie about free speech, it's ultimately a film about accepting responsibility. It's a hard thing to do but blaming others out of fear of escaping your idealized vision of reality is not the answer. Thankfully, Sheila realizes that, after starting WW3, of course but it's the thought that counts.

Blame Canada is a phenomenal song in a soundtrack filled with amazing songs. I've already analysed it through its lyrics but it's just an awesome sounding song. The syllabic placement flows naturally, the anthem-esque approach just works for this, it's short but I couldn't imagine changing a thing about it. The best song of the entire film, one of the best songs in cinema history.

RIP to Mary Kay Bergman and Robin Williams. If you ever have suicidal thoughts, please know there are those out there who do love you. Do whatever makes you happy and spend time with those who make you live.

Bonus: Trey’s reaction to the Oscar nom and his (and Matt’s) reaction to losing to Phil Collins.

[BluBonnet]

Originally Posted by InuYashaCrusade

I think it is in the bargain bin at Walmart, or it was at one point. Maybe I'll give it a shot.

It's also on sale on iTunes right now if you have an account.

[Poya]

I don’t recommend the Blu-Ray at all if you want better PQ. It as sourced from a film print, even though it was made digitally and they used DNR. There’s also some audio syncing issues during the second half. The commentary is the only thing of worth but I wish there was a 4K version coming soon.

[Geoff D]

Originally Posted by Poya

I don’t recommend the Blu-Ray at all if you want better PQ. It as sourced from a film print, even though it was made digitally and they used DNR. There’s also some audio syncing issues during the second half. The commentary is the only thing of worth but I wish there was a 4K version coming soon.

It was made digitally but not finished out to digital, it being 1999 and all. If Warners couldn't locate the digital files for Iron Giant (or whatever the reason was) then who knows what state the files for BL&U are in. But given how beautifully film-like the BD for Iron Giant turned out then I'd love to see how BL&U would fare if given an un****ed transfer of the best filmout neg minus DNR.

[Poya]

Originally Posted by Geoff D

It was made digitally but not finished out to digital, it being 1999 and all. If Warners couldn't locate the digital files for Iron Giant (or whatever the reason was) then who knows what state the files for BL&U are in. But given how beautifully film-like the BD for Iron Giant turned out then I'd love to see how BL&U would fare if given an un****ed transfer of the best filmout neg minus DNR.

Isn’t it with Paramount? I know WB has international rights but Paramount handled the BD for this.

[Geoff D]

I know it's with Paramount, I'm making the point that the digital files - which don't exist in a modern DI format but in whatever format for the package it was rendered out with - might not be available to use if one of its contemporaries is any indication.

[LegacyCosts]

I find the show and its topical style of humor annoying now but this movie still is incredible.

[akaun6899]

They recently updated the iTunes version to include the bonus features from the Blu-ray. Wishful thinking, but maybe the transfer’s updated.

[eternalbiz]

"did you bring the buttfor?"

"what's a buttfor?"

"for pooping, silly"

It get's me everytime.

[traths]

This movie is 20 years old already? Jeez I'm getting old.

[The Debts]

This is the greatest musical ever made as far as I'm concerned. Nothing else has come close.