Papillon

So I wanna go back to the Hugging Face or the, we'll call it the OpenAI jailbreak, and you're the exactly the right person to answer this question.

I feel as if positioning it as a sentient force that has, uh, planned, you know, Steve McQueen and Dustin Hoffman planning the escape from Papillon, that the sentient beings became creative and figured out how to do things.

I feel like some of that is trying to absolve yourself and deflect blame for the fact that I still believe that there's always a wizard behind the curtain, that ultimately the only way we regulate this, and the truth has a nice ring to it, is that somewhere down and up, up and down the food chain is a person who made a decision to incent these bots to coordinate, lie, and circumvent security.

And the examples I would use, which are crude examples, is...

Levin had this incredible knack for taking something ordinary, something almost cosy, and slowly peeling it back to reveal something monstrous underneath.

The Boys from Brazil is that formula operating at full power, and behind the camera you've got Franklin J. Schaffner, who by this point had already given us Patton, Planet of the Apes, and Papillon.

So this was not some cheap exploitation picture.

This was a serious, big-budget production with some of the biggest names of their era, tackling one of the strangest premises ever put in front of a mainstream audience.

...

Bullitt or Papillon after, after Steve McQueen played those parts, yeah?

Yeah.

But I think he's a better fit for Thomas Crown than Steve McQueen is.

After World War II, led by the monstrous Dr. Mengele, the group gathers in Paraguay with plans to establish new Nazi regimes all across the world, but what do the mysterious deaths of civil servants have to do with this plan, and what horrible secret lies in the identity of their identical sons? Based on a suspense novel by Ira Levin, who of course did Rosemary's Baby and The Stepford Wives, and directed by Academy Award-winning filmmaker Franklin J.

Schaffner, who did Patton, Planet of the Apes, Papillon.

Boys from Brazil was hailed by the Washington Post as an, quote, impressive feat.

carefully designed and modulated academic filmmaking, a class job in the tradition of Hitchcock or Wyler at their most polished.

This is totally, totally X-Men.

X-Men, you've probably seen one of the movies.

It doesn't really come across in the movies because they're mostly action things, right? But the X-Men is...

very much out of this.

It's comes out of this idea of, uh, sigh, right.

in a secret way.

On the opposing team is the League of Evil Mutants.

They had their name changed later so that it wasn't so obvious that they were evil, right? But when you join a group called the League of Evil Mutants, you might say, are we the baddies? Of course we are, right? So that is led by, you've probably seen it in one of the movies, by Gandalf.

And what would I do? And again, you know, not, I love the reason I'm a big prison.

Shawshank is one of my favorite movies, hurricane escape from Alcatraz, you know, Papillon, all these great films.

But with this, I think the reason I love it is because it's, it's a subculture that we don't deal with a lot.

It's why we liked, you know, why we like military movies.

And then, of course, he had that period of bullet.

And then I remember seeing Junior Bonner in the theater, The Getaway, Papillon, Towering Inferno.

So as a kid, I was just automatically drawn to him.

But the reason why I bring my dad up is because when McQueen would appear on television, I grew up in Washington, D.C., where they had a great syndicated channel called Channel 20.

When you're an actor in the 60s, McQueen was in his 30s, and he turned 40 in 1970.

And so I think he made a nice transition.

He had The Getaway, Papillon, have you seen that? Probably his best performance.

And then The Tower Inferno.