And so when he says that he wants to put his key into her ignition, what he's actually saying is he wants to put his penis into her vagina and turn it like he would turn the key into an ignition, hence ignition the remix.

Was that not clear?

I feel like that was, I feel like that subtext was hidden for a long time.

It's a, it's a nuanced meaning that most people don't pick up on in that song.

There's no nuance there, my man.

Like none.

Now, usually I don't do this, but...

This is junk food cinema.

Hi, this is Dick Miller. Hi, this is Dick Miller.

You're listening to Junk Food Cinema on Film School Rejects.

Who were these guys? Who are these guys? Welcome to junk food cinema, everybody, and the finale of our first film by prominent director series all January long, because January is long and now it is over,

so we've arrived at the end, like most things do. But with today's director, the end isn't

necessarily always at the end, and we'll get to that in just a moment. But first, I want to let you

know that this is in fact junk food cinema, which is the cult and exploitation film cast right

here on film school rejects. We are celebrating the underappreciated, the

unloved, and in today's case, both of those. Both of those actual things, appreciated and loved.

But I am your host, Brian Salisbury, and I'm joined by my friend and co-host, novelist slash

screenwriter, and Mr. Blonde himself.

I guess in the color spectrum of my life, you would be Mr. Blonde, and that is C. Robert Cargill.

Yeah, I'm just now realizing that we're, you know, we're breaking all of our rules.

Well, yeah, but, but, you know, it's, uh, I was just thinking, I was like, oh, it is January.

Why didn't we do Tommy Lee Jones month?

...