WEBVTT - Netflix’s Hit Man is 2024's best film. Plus, a Richard Linklater deep dive 0:00:07.910 --> 0:00:10.700 Hey, I'm Usman Farooqi and this is the drop a 0:00:10.700 --> 0:00:13.160 culture show from the Sydney Morning Herald and The Age, 0:00:13.160 --> 0:00:15.170 where we dive into the latest in the world of 0:00:15.170 --> 0:00:18.110 pop culture and entertainment. I'm here with Mel Schembri and 0:00:18.110 --> 0:00:19.940 Thomas Mitchell. How are you guys doing? 0:00:19.970 --> 0:00:24.259 We're here with birthday boy Thomas Mitchell. Big day. Wearing 0:00:24.260 --> 0:00:26.360 his new birthday boy jacket. 0:00:26.870 --> 0:00:28.730 Thank you. Is that. Is that a birthday jacket? You 0:00:28.730 --> 0:00:30.200 look very handsome. Yes. 0:00:30.230 --> 0:00:32.120 Some fresh gear. It's like, you know, when you get 0:00:32.120 --> 0:00:33.710 stuff for your birthday, you just wear all of the 0:00:33.710 --> 0:00:35.570 new stuff at once. I thought I would do that 0:00:35.690 --> 0:00:37.310 just to get it out of the way. And I 0:00:37.310 --> 0:00:38.990 knew that I would have this exact conversation with Mel. 0:00:38.990 --> 0:00:40.010 As soon as I walked in. 0:00:40.010 --> 0:00:43.400 He walked in with a birthday glow, his new jacket on. 0:00:43.400 --> 0:00:45.200 You're just having a great day, aren't you? 0:00:45.229 --> 0:00:47.150 So far, so good. Yes. 0:00:47.150 --> 0:00:50.600 Thank you for coming in on both your birthday and 0:00:50.600 --> 0:00:53.270 your week of leave. Very much appreciated. 0:00:53.270 --> 0:00:57.620 It's it's a pleasure. Always happy to talk with you guys. Uh, 0:00:57.620 --> 0:01:00.440 and yeah, it feels pretty good so far. Sadly, though, 0:01:00.440 --> 0:01:01.850 I did like, as much as I woke up and 0:01:01.850 --> 0:01:03.530 I was like, this is great. I'm having a great time. 0:01:03.530 --> 0:01:06.080 One of my first thoughts was like, I will never 0:01:06.080 --> 0:01:08.750 be on the SMH young novelists list now. 0:01:08.750 --> 0:01:10.820 Uh, 35 and under. So you could still. Yeah. So 0:01:10.819 --> 0:01:11.150 this is it. 0:01:11.900 --> 0:01:13.640 This is your last year. You've got to write the book. 0:01:13.640 --> 0:01:14.720 You've got 12 months. 0:01:14.720 --> 0:01:16.760 All right. Well the work begins today guys. 0:01:16.760 --> 0:01:18.290 I mean, you've still got the Miles Franklin and the 0:01:18.290 --> 0:01:21.260 Booker to aim for, so don't feel too disheartened. 0:01:21.260 --> 0:01:25.039 It's not the only significant event today. We recording this 0:01:25.040 --> 0:01:29.990 on Wednesday, which is the morning of the best sporting 0:01:29.990 --> 0:01:32.899 event of the year, game one of State of Origin. 0:01:32.900 --> 0:01:35.900 By the time this comes out on Thursday, we will 0:01:35.900 --> 0:01:39.440 either be devastated or ecstatic and honestly, probably most likely 0:01:39.440 --> 0:01:42.860 devastated as as Blues fans. But how are you guys feeling? 0:01:42.860 --> 0:01:45.050 You nervous? You're excited. You're full of dread. 0:01:45.230 --> 0:01:46.790 Well, I was just curious. Mel, what do you think 0:01:46.790 --> 0:01:49.040 about the new halves combination for the Blues? And also 0:01:49.040 --> 0:01:50.780 obviously McGuire coming in for Fittler? 0:01:50.780 --> 0:01:53.990 Okay, you've hit me with a hard question. I you 0:01:53.990 --> 0:01:56.870 know I love sport, rugby league. I was into it 0:01:56.870 --> 0:01:58.970 when I was younger because my dad was a huge 0:01:58.970 --> 0:02:01.400 Bulldogs fan, and I don't know if I've ever told 0:02:01.400 --> 0:02:05.150 you this story. I actually wrote Braith Anasta, the first 0:02:05.150 --> 0:02:06.770 fan mail he ever received. 0:02:06.770 --> 0:02:08.090 I think you've told us this story on the podcast. 0:02:08.090 --> 0:02:10.940 On the like. Yeah. So that is my like all 0:02:10.940 --> 0:02:15.679 of my, all of my knowledge of NRL is based 0:02:15.680 --> 0:02:18.620 from like the 90s. So I'm or the early 2000 0:02:18.620 --> 0:02:19.790 best era to be honest. If you want to talk 0:02:19.790 --> 0:02:24.649 about Luke Bert Hindmarsh magic. Yeah, yeah yeah. Daryl Halligan 0:02:24.650 --> 0:02:27.230 I think was he in the Bulldogs. Yeah. Good. Good kicker. 0:02:27.230 --> 0:02:29.840 Oh you know that's I can talk about that but 0:02:29.840 --> 0:02:33.290 current latrine Latrell Mitchell but. 0:02:33.380 --> 0:02:35.720 Uh latrine Mitcham. He didn't get picked sadly. 0:02:35.720 --> 0:02:37.790 I don't think there were any bunnies in this squad 0:02:37.790 --> 0:02:38.450 are there. It's not. 0:02:38.450 --> 0:02:41.360 Good. No. Probably fair, though, to be honest. Osborne, I 0:02:41.360 --> 0:02:43.160 know that breaks your heart, but, uh, look, I would 0:02:43.160 --> 0:02:46.250 say lots of my rugby league friends have been, uh, 0:02:46.250 --> 0:02:49.579 not very enthusiastic, but I walked past our esteemed colleague 0:02:49.580 --> 0:02:53.390 Andrew Webster, um, rugby league journalist, legend. And he said 0:02:53.389 --> 0:02:57.019 to me with a wink in his eye, Blues by four. So, wow. 0:02:57.020 --> 0:02:57.679 Let's see. 0:02:57.680 --> 0:02:59.450 You heard it here first. Well, actually, by the time 0:02:59.450 --> 0:03:01.160 you hear this, it will be last and you will 0:03:01.160 --> 0:03:02.420 know what will have happened. Yeah. 0:03:02.660 --> 0:03:03.709 Queensland by 60. 0:03:03.740 --> 0:03:06.560 Thomas, I know you'll be watching you at home with 0:03:06.560 --> 0:03:08.510 the family tonight. Are you going to be out and about? 0:03:08.630 --> 0:03:10.640 Uh, no, I'm going to stay at home. Uh, just 0:03:10.639 --> 0:03:12.920 like my wife's gonna cook a meal and then. Yeah, 0:03:12.919 --> 0:03:15.260 watch the game, and it'll be all very wholesome. 0:03:15.260 --> 0:03:15.770 And. Will you have a. 0:03:15.770 --> 0:03:18.890 Cake as I scroll through the Forbes 30 under 30? 0:03:18.889 --> 0:03:21.230 Just with absolute hate in my eyes. And, Mel. 0:03:21.230 --> 0:03:23.899 You know, you said you don't really follow, uh, NRL 0:03:23.900 --> 0:03:26.180 very closely, but will you be watching the game? 0:03:26.300 --> 0:03:28.190 I reckon I'll have it on in the background, because 0:03:28.190 --> 0:03:30.200 it does amuse me when I watch it. And the 0:03:30.200 --> 0:03:33.410 state of origin, I feel, is very heightened tension, which 0:03:33.410 --> 0:03:35.360 I enjoy. So I think I'll, uh, I'll keep an 0:03:35.360 --> 0:03:36.020 eye on it. 0:03:36.350 --> 0:03:38.630 We, we haven't actually mentioned, but just in case people 0:03:38.630 --> 0:03:41.900 think this is like a paid for bit by our employer. 0:03:42.110 --> 0:03:45.050 So the game is on nine, which is the company that, um, 0:03:45.050 --> 0:03:47.540 that owns our paper as well. We're not saying it 0:03:47.540 --> 0:03:50.570 because of that reason, but I thought in case people 0:03:50.570 --> 0:03:52.940 pulled me up on it, I should just acknowledge that, uh, 0:03:52.940 --> 0:03:54.080 just in case. 0:03:54.080 --> 0:03:56.630 I watch nine most nights anyway, just because the programming 0:03:56.630 --> 0:03:59.570 is great, the content is amazing. And also it's like, 0:03:59.570 --> 0:04:00.650 what else would you watch? 0:04:00.650 --> 0:04:03.230 You're not getting that pay rise, dude. Uh, look, today 0:04:03.230 --> 0:04:04.910 on the show, we're going to be talking about one 0:04:04.910 --> 0:04:08.180 of our most anticipated film releases of the year. It's 0:04:08.180 --> 0:04:10.130 hit man. And we're also going to be talking about 0:04:10.130 --> 0:04:13.460 the work of its director, Richard Linklater. I think, fair 0:04:13.460 --> 0:04:16.820 to say, someone who means a lot to all of us, 0:04:16.820 --> 0:04:19.580 particularly during formative periods of our lives when some of 0:04:19.580 --> 0:04:22.700 his biggest films were released. But before we get to 0:04:22.700 --> 0:04:24.860 Hit Man and Linklater, it's a bit of news that 0:04:24.860 --> 0:04:27.529 I wanted to unpack with you guys. When you guys 0:04:27.529 --> 0:04:31.520 were at school, what sound did they use to signify 0:04:31.520 --> 0:04:34.250 the beginning of the school day? 0:04:35.600 --> 0:04:38.450 Bring. Melanie actually went to the same school, by the way, 0:04:38.450 --> 0:04:39.830 just for those listening. Yeah. 0:04:39.830 --> 0:04:41.150 So you should be able to answer this. 0:04:41.480 --> 0:04:43.070 I'm going to throw to you. Well Mel was like 0:04:43.070 --> 0:04:45.080 much I mean this also won't surprise anyone. Mel was 0:04:45.080 --> 0:04:47.420 much more into school. Um, she was. 0:04:47.420 --> 0:04:48.950 The school into the school bell. 0:04:48.950 --> 0:04:51.020 Yeah, but you just, like, I can't remember, basically. So 0:04:51.020 --> 0:04:51.979 I'm sure you. Was it just like. 0:04:51.980 --> 0:04:54.170 A standard bell or do they play some sort of. 0:04:54.170 --> 0:04:54.950 You know, it was just. 0:04:54.950 --> 0:04:55.580 A standard bell. 0:04:55.580 --> 0:04:57.860 Right? Yeah. Yeah. I don't think there was anything fancy. 0:04:57.860 --> 0:05:00.650 Weirdly enough, at my school in year six, they played 0:05:00.650 --> 0:05:05.930 Coldplay's yellow, uh, to signify, which is like pretty hectic, um, 0:05:05.930 --> 0:05:09.440 pretty like downer of a song to signify the start. 0:05:09.440 --> 0:05:11.960 I don't know what teacher was having a midlife crisis 0:05:11.960 --> 0:05:13.790 and was like, this is how we all kind of 0:05:13.790 --> 0:05:17.390 too young to really understand what the significance or, you know, 0:05:17.390 --> 0:05:20.480 the depressive nature of that song. But really odd in hindsight. 0:05:20.480 --> 0:05:22.040 It would have been better if they'd played The Scientist 0:05:22.040 --> 0:05:24.680 and you all walked backwards into the room like I didn't. 0:05:24.680 --> 0:05:26.960 Even know this was a thing. I thought they were standardized. 0:05:26.960 --> 0:05:28.489 I didn't know you could just play a song. I 0:05:28.490 --> 0:05:30.890 would have campaigned for that as part of the SK. 0:05:31.339 --> 0:05:33.680 Yeah. Got another angry letter from the cubby coat. 0:05:34.370 --> 0:05:37.940 Well, this week there's been a story that is at 0:05:37.940 --> 0:05:42.529 the juncture of the primary education system and music in particular, 0:05:42.529 --> 0:05:45.469 hip hop music. Uh, a school in Ramsgate, which I 0:05:45.470 --> 0:05:48.260 believe is like your guy's part of town. 0:05:48.260 --> 0:05:50.599 Yeah, that's. I live, like one suburb over, and it's 0:05:50.600 --> 0:05:53.390 basically the local primary school for us. And I can 0:05:53.390 --> 0:05:57.049 confirm that the Sanssouci like, kind of private Facebook group 0:05:57.050 --> 0:05:59.420 for the area has been, like, lit up the past 0:05:59.420 --> 0:06:00.140 24 hours. Wow. 0:06:00.140 --> 0:06:02.390 All right, well, let's let's talk about what is going on. 0:06:02.390 --> 0:06:05.929 So that school has also been using a song to 0:06:05.930 --> 0:06:08.779 mark the beginning of the school day. It uses different songs, 0:06:08.779 --> 0:06:12.710 but lately they've been playing a track by indigenous rapper Birdz. 0:06:12.710 --> 0:06:16.339 The song is called Bagelen Bargain. It was released in 2021. 0:06:16.339 --> 0:06:18.560 That year it came number 30 in the hottest 100, 0:06:18.560 --> 0:06:21.170 so it's like a fairly popular song. 0:06:22.529 --> 0:06:25.050 Hey, patiently waiting for someone I ain't never seen before. 0:06:25.080 --> 0:06:27.120 They say he's a captain of men. But they believe 0:06:27.120 --> 0:06:27.960 in our love. 0:06:28.440 --> 0:06:31.200 From the land of the white sky. He's self-righteous a 0:06:31.200 --> 0:06:34.740 murder without license. Oh, with the spirit I'm the nicest 0:06:34.740 --> 0:06:35.969 thinkin that I might just. 0:06:35.970 --> 0:06:36.870 Wait till night. 0:06:37.050 --> 0:06:40.589 One parent, though, was not very happy about the choice 0:06:40.589 --> 0:06:43.289 of song. He went on to GB and said he 0:06:43.290 --> 0:06:46.380 thought that this was inappropriate to play to children because 0:06:46.380 --> 0:06:50.820 of the way it discussed colonisation, and white people in particular. 0:06:50.850 --> 0:06:53.520 The song was actually written as part of a documentary 0:06:53.520 --> 0:06:57.210 examining the anniversary of Captain Cook's arrival in Australia, and 0:06:57.210 --> 0:07:00.779 it's written from the specific perspective of a Butchulla warrior 0:07:00.779 --> 0:07:04.409 standing on K'gari Island, formerly known as Fraser Island, witnessing 0:07:04.410 --> 0:07:08.250 cook and the colonists sail past. The language that got 0:07:08.250 --> 0:07:11.220 this parent particularly upset was a reference to Cook and 0:07:11.220 --> 0:07:16.230 British colonists as white devils. This became a big political 0:07:16.230 --> 0:07:18.780 issue when the Education Minister in New South Wales weighed 0:07:18.780 --> 0:07:22.170 in and said the song's lyrics were, quote, very concerning, 0:07:22.170 --> 0:07:22.560 it's very. 0:07:22.560 --> 0:07:25.440 Concerning and I'm going to have to ask the department 0:07:25.500 --> 0:07:30.390 to obviously come back to me on what has happened here, because, 0:07:30.390 --> 0:07:32.670 I mean, we've been really consistent. I've been really consistent. 0:07:32.670 --> 0:07:36.840 Schools are not places for things like that. Anything that 0:07:36.840 --> 0:07:39.510 creates any sort of division we can't have in our schools. 0:07:39.510 --> 0:07:42.510 So I'm going to have to get onto this ASAP. 0:07:42.540 --> 0:07:43.290 This morning. 0:07:43.620 --> 0:07:47.010 The department apologised for any distress caused by the playing 0:07:47.010 --> 0:07:50.490 of this song and has counselled the Ramsgate principal over 0:07:50.490 --> 0:07:54.630 their song selection, their playlist making abilities. The New South 0:07:54.630 --> 0:07:57.930 Wales premier, Chris Minns, said he didn't believe any kind 0:07:57.930 --> 0:08:00.990 of rap was appropriate for schools and the opposition leader 0:08:00.990 --> 0:08:03.570 in New South Wales, Mark Speakman, said he didn't want 0:08:03.570 --> 0:08:08.640 young children exposed to what he described as inflammatory hip hop. 0:08:08.880 --> 0:08:12.390 Now it's a fair bit going on, uh, with this one. 0:08:12.390 --> 0:08:16.980 To me, it immediately felt like the latest chapter in 0:08:16.980 --> 0:08:20.190 what feels like a pretty big moral panic of a 0:08:20.190 --> 0:08:23.010 hip hop happening right now in Australia, particularly in New 0:08:23.010 --> 0:08:25.560 South Wales. We've talked about it a bunch on the show. 0:08:25.560 --> 0:08:28.440 The Easter show has banned the playing of hip hop 0:08:28.440 --> 0:08:31.590 after some violent incidents there. One for the drill rap 0:08:31.590 --> 0:08:33.690 group that we've spoken about a fair few times, have 0:08:33.690 --> 0:08:36.179 announced the national tour. The one city that they're not 0:08:36.179 --> 0:08:39.270 playing in is Sydney. There still seems to be this 0:08:39.270 --> 0:08:43.090 kind of fear or this association. Of hip hop music 0:08:43.090 --> 0:08:45.939 with violent incidents. This is interesting because it's slightly different. 0:08:45.940 --> 0:08:48.910 It's not really about gang affiliations. It's an indigenous rapper 0:08:48.910 --> 0:08:52.569 talking about their perspective on colonization, and that being seen 0:08:52.570 --> 0:08:55.689 as being threatening to to some white parents, it seems. 0:08:55.690 --> 0:08:58.000 What did you guys make of this? What's the Facebook 0:08:58.059 --> 0:08:59.710 vibes on this one, Thomas? 0:09:00.100 --> 0:09:03.040 I mean, you can kind of imagine what vibes on 0:09:03.040 --> 0:09:06.640 like suburban Facebook groups typically are. Uh, you know, it's 0:09:06.640 --> 0:09:09.250 it basically is boomers kind of like up in arms 0:09:09.250 --> 0:09:11.590 about it. Uh, I don't know. For me, it's a 0:09:11.590 --> 0:09:15.099 kind of tricky one, I think, because, well, like, I 0:09:15.100 --> 0:09:18.400 guess like very firstly, I do find the playing of 0:09:18.400 --> 0:09:20.320 a song just a bit weird anyway, and you really 0:09:20.320 --> 0:09:22.870 open yourself up to like, these exact kind of problems 0:09:22.870 --> 0:09:25.870 where then you, like, accidentally trigger a culture war because of, 0:09:25.870 --> 0:09:29.200 like people disagreeing like I did. I have seen that elsewhere, 0:09:29.200 --> 0:09:30.940 like previous songs that they have used have been like 0:09:30.940 --> 0:09:32.800 we're all in This Together by Ben Lee, or they 0:09:32.800 --> 0:09:33.849 did Happy by Pharrell. 0:09:34.360 --> 0:09:34.840 Yeah, yeah. 0:09:34.840 --> 0:09:39.940 Like these are very different vibes. Like, I just think like. 0:09:39.940 --> 0:09:42.190 And I also do think the idea or the image 0:09:42.190 --> 0:09:45.040 of the Ramsgate principal being counselled by the Department of 0:09:45.040 --> 0:09:46.780 Education is very funny. Like, do they sit him in 0:09:46.780 --> 0:09:49.510 a room and, like, play this song like noise torture 0:09:49.510 --> 0:09:52.330 or something? But yeah, I don't know, like I, I 0:09:52.330 --> 0:09:55.030 kind of like I can, I can see why parents 0:09:55.030 --> 0:09:58.720 have complained. Not that I agree with like the complaint itself, 0:09:58.720 --> 0:10:00.550 but I mean, you play a rap song to a 0:10:00.550 --> 0:10:02.199 bunch of kids and you're going to annoy some parents, 0:10:02.200 --> 0:10:03.760 like it's just a reality. 0:10:03.760 --> 0:10:06.729 Yeah, I reckon it's less about hip hop and more 0:10:06.730 --> 0:10:09.850 about the the nature of the way that the artist 0:10:09.850 --> 0:10:13.570 is talking about colonization. I don't really comprehend how this 0:10:13.570 --> 0:10:17.650 song is so divisive. It's about indigenous sovereignty, the endurance 0:10:17.650 --> 0:10:21.130 of indigenous culture, questioning of terra nullius. It's about, um, 0:10:21.130 --> 0:10:23.679 it starts and ends with indigenous language, which has been 0:10:23.679 --> 0:10:28.390 recognized as important in preserving indigenous culture. And this is 0:10:28.390 --> 0:10:31.240 essentially what they should be talking about in history class. 0:10:31.240 --> 0:10:33.490 So I think rather than, you know, there should be 0:10:33.490 --> 0:10:36.190 a teaching moment for them to discuss all the concepts 0:10:36.190 --> 0:10:38.859 in this song. And then I was kind of thinking like, 0:10:38.860 --> 0:10:41.800 what song would be, you know, I was thinking of 0:10:41.800 --> 0:10:45.040 Australia's national songs in quotes like, what are the what 0:10:45.040 --> 0:10:48.460 are they going to play Men Down Under, like the anthem? Maybe. 0:10:48.460 --> 0:10:50.140 Maybe people want the school to start just with a 0:10:50.140 --> 0:10:51.910 rendition of the anthem every day. 0:10:51.910 --> 0:10:54.310 Yeah, I like, I reckon if, if I had to 0:10:54.309 --> 0:10:56.679 choose like a famous Australian song to really get me 0:10:56.679 --> 0:10:59.770 jazzed to go and do geography and like, please play 0:10:59.770 --> 0:11:02.979 this in the final edit like, whoa, Black Betty. Blam blam. 0:11:04.990 --> 0:11:10.660 Blam blam blam blam blam blam blam blam. Damn thing gone. Wow. 0:11:11.860 --> 0:11:14.110 That would fuckin bang. That would be amazing. Way to get. 0:11:14.110 --> 0:11:16.689 Jazz. I thought you were gonna pick Paul Kelly gravy song. 0:11:16.840 --> 0:11:18.699 No. Again, that's, like, too much of a but yeah, 0:11:18.700 --> 0:11:21.130 Black Betty that you're, like, going into class and you're, like, 0:11:21.130 --> 0:11:23.319 keen to learn Sweet Caroline. 0:11:23.320 --> 0:11:24.579 That could get the singing. 0:11:24.580 --> 0:11:26.740 I think one of the, one of the things that 0:11:26.740 --> 0:11:28.810 wasn't really emphasized as much in a lot of the 0:11:28.809 --> 0:11:31.120 reporting on this is the school, as you said, Thomas 0:11:31.120 --> 0:11:34.929 was playing like Happy and Ben Lee. But it's reconciliation 0:11:34.929 --> 0:11:36.760 Week at the moment, and I think they wanted to 0:11:36.760 --> 0:11:40.600 play an indigenous artist. And it's sort of interesting, isn't it? 0:11:40.600 --> 0:11:42.819 Because to your point, Mel, like on one hand, this 0:11:42.820 --> 0:11:44.800 is clearly not really about hip hop. Well, the dad's 0:11:44.800 --> 0:11:47.140 complaint wasn't I don't like rap music. It was I 0:11:47.140 --> 0:11:49.780 don't like the way that these artists are talk or 0:11:49.780 --> 0:11:52.450 this particular artist birds is talking about, you know, white 0:11:52.450 --> 0:11:56.439 people invading Australia, but it's like it's reconciliation. We're going 0:11:56.440 --> 0:11:58.599 to play indigenous artists, but it seems to be. Can't 0:11:58.600 --> 0:12:00.939 they just sing about nice things? Like, why does it 0:12:00.940 --> 0:12:03.760 need to be something that is actually about their experiences 0:12:03.760 --> 0:12:06.280 and livelihood? And I feel like that fits into a 0:12:06.280 --> 0:12:10.690 pretty like regular trope about the way that not just Australians, 0:12:10.690 --> 0:12:13.900 but like every kind of majority culture treats artists from 0:12:13.900 --> 0:12:16.479 marginalized backgrounds. It's like you can make music but don't 0:12:16.510 --> 0:12:19.060 actually talk about your experiences, because that's kind of confronting. 0:12:19.059 --> 0:12:22.000 But what I find even more strange about this, when 0:12:22.000 --> 0:12:24.040 the education minister is like schools should not be a 0:12:24.040 --> 0:12:27.970 place of division. I mean, schools are taught about colonization, 0:12:27.970 --> 0:12:31.810 like these things are discussed in primary schools. So there's 0:12:31.809 --> 0:12:34.030 like that side to it. And yeah, I agree with 0:12:34.030 --> 0:12:35.290 you that it's not really about hip hop, but it 0:12:35.290 --> 0:12:37.510 was very interesting how quickly the politicians made it about 0:12:37.510 --> 0:12:40.510 hip hop. Like Chris Minns and Mark Speakman, the opposition leader, 0:12:40.510 --> 0:12:43.360 were like, rap just doesn't belong in schools, which seems 0:12:43.360 --> 0:12:45.939 like a it seems such a bizarre sentence to say 0:12:45.940 --> 0:12:48.730 out loud. It feels like these guys understanding of hip 0:12:48.730 --> 0:12:50.980 hop is a little bit like in the past, hip 0:12:50.980 --> 0:12:55.720 hop has been the biggest genre of music ever. Like, 0:12:55.929 --> 0:12:58.660 it just is odd to me to say that does 0:12:58.660 --> 0:13:00.580 not belong in a school. This is what young people 0:13:00.580 --> 0:13:01.240 listen to. 0:13:01.240 --> 0:13:03.190 Yeah, it felt that felt like a just a weird 0:13:03.190 --> 0:13:05.950 kind of like drive by moment to have another crack 0:13:05.950 --> 0:13:08.110 at hip hop and be like, oh yeah, rap is bad. 0:13:08.110 --> 0:13:10.240 And it's like, man, now you're just embarrassing yourself. Like, 0:13:10.420 --> 0:13:13.240 had this been a song by Neil Finn that mentioned, like, 0:13:13.240 --> 0:13:16.240 you know, White Devil, would they like their furore be 0:13:16.240 --> 0:13:18.429 the same? Um, as I said, I do live in 0:13:18.429 --> 0:13:21.880 the area and it is an area of like pretty mixed, like, 0:13:21.880 --> 0:13:26.110 you know, backgrounds and stuff. Lots of Italians, lots of Greeks. Um, 0:13:26.110 --> 0:13:28.510 so yeah, it is interesting and like, you know, I've 0:13:28.510 --> 0:13:30.340 got lots of friends whose kids go to San Souci 0:13:30.340 --> 0:13:33.460 Public School and Ramsgate Public School and yeah, I'm perhaps 0:13:33.460 --> 0:13:35.290 maybe they should have done, like a Nick Skitz mix 0:13:35.290 --> 0:13:36.310 or something. Yeah. 0:13:36.910 --> 0:13:40.330 Skitz mix to welcome kids to school. That's wild. 0:13:40.750 --> 0:13:44.340 I think. Yeah. The linking to hip hop is completely insane, 0:13:44.340 --> 0:13:46.950 like part of a school's role should be to teach 0:13:46.950 --> 0:13:50.189 students how to understand modern media and pop culture, like 0:13:50.190 --> 0:13:53.190 giving them media literacy is a fundamental skill that we 0:13:53.190 --> 0:13:55.710 should teach in school, so to be like a whole 0:13:55.710 --> 0:13:58.589 genre is not appropriate is wild. 0:13:58.590 --> 0:14:00.390 But I just think as well the funny, like not 0:14:00.390 --> 0:14:02.609 funny but maybe sad thing and like, you know, we've 0:14:02.610 --> 0:14:04.679 already done the kind of non disclaimer, but it just 0:14:04.679 --> 0:14:06.840 feels like there's such a copy and paste pattern. Now 0:14:06.840 --> 0:14:08.970 for when stuff like this flares up, there's like an 0:14:08.970 --> 0:14:12.030 incident around something racial. And then like whoever is concerned, like, 0:14:12.030 --> 0:14:13.980 gets on the phone to Ben Fordham at two GB, 0:14:13.980 --> 0:14:16.020 which is obviously a really easy way to blast it 0:14:16.020 --> 0:14:18.390 out and trigger a culture war. Like it's become a 0:14:18.390 --> 0:14:20.130 I feel like every 2 or 3 weeks now, we're 0:14:20.130 --> 0:14:22.020 having a conversation about something like this, and it happens 0:14:22.020 --> 0:14:23.490 in the exact same way. Yeah. 0:14:23.490 --> 0:14:26.130 And I mean, like, you know, talkback radio, this has 0:14:26.130 --> 0:14:27.900 been a part of it for a long time. And 0:14:27.900 --> 0:14:30.330 this is how talkback radio works. There's a concerned citizen 0:14:30.330 --> 0:14:33.300 angry about an issue. It gets litigated like that's on 0:14:33.300 --> 0:14:35.400 one hand that's like sort of just like how it works. 0:14:35.400 --> 0:14:38.820 It's just interesting how quickly politicians buy into it. Like, 0:14:38.820 --> 0:14:41.010 I feel like there's a world in which politicians just say, 0:14:41.010 --> 0:14:43.140 that's a matter for the school. Or they say, like, look, 0:14:43.140 --> 0:14:46.830 maybe there's something about how we educate kids on colonization. 0:14:46.830 --> 0:14:48.869 But also, I'm the premier. I don't really want to 0:14:48.870 --> 0:14:51.090 talk about hip hop. Being played at a school like 0:14:51.090 --> 0:14:53.880 that just doesn't feel like it needs to go that 0:14:53.880 --> 0:14:56.670 big so quick. And to your point, it feels like 0:14:56.670 --> 0:15:00.120 that is happening regularly. But yeah, I mean, I don't 0:15:00.120 --> 0:15:02.370 really like it seems like this song is not going 0:15:02.370 --> 0:15:04.620 to be on the playlist of schools in New South Wales, 0:15:04.620 --> 0:15:06.450 and maybe they should go back to bells or whatever, 0:15:06.450 --> 0:15:08.070 but I don't want to name the school because I 0:15:08.070 --> 0:15:09.510 want to get this parrot in trouble. But like someone 0:15:09.510 --> 0:15:12.780 was telling me that they, their kids do a module on, uh, 0:15:12.780 --> 0:15:16.950 Briggs's January 26th, which is also a very like, intense 0:15:16.950 --> 0:15:20.040 song about the impacts of colonization on indigenous people. That's 0:15:20.040 --> 0:15:22.770 a very popular song. Birds was signed by Briggs to 0:15:22.770 --> 0:15:25.200 his label Bad Apples. Bird sort of sees himself in 0:15:25.200 --> 0:15:28.020 that sort of similar vein. So this is like a 0:15:28.020 --> 0:15:31.109 part of Australian music culture now, an indigenous culture. This 0:15:31.110 --> 0:15:33.210 is where a lot of indigenous artists are finding the 0:15:33.210 --> 0:15:35.400 space to tell their stories, that they've not really been 0:15:35.400 --> 0:15:37.530 allowed to tell for a very long time. So I 0:15:37.530 --> 0:15:39.090 kind of hope this doesn't turn into. 0:15:39.090 --> 0:15:39.330 A. 0:15:39.840 --> 0:15:42.930 Massive culture war about, well, rappers aren't allowed to talk 0:15:42.930 --> 0:15:46.140 about their views on colonization. That's offensive and divisive in Australia. 0:15:46.140 --> 0:15:48.510 This is kind of the point of their storytelling. 0:15:50.970 --> 0:15:54.560 Shoreline caught me coming. I cross my heart, I take 0:15:54.560 --> 0:16:10.050 it from me. My army ain't gonna wanna try. Oh, my. 0:16:19.090 --> 0:16:21.940 Okay, so one of the movies that I think all 0:16:21.940 --> 0:16:24.760 three of us have been very, very, very excited about 0:16:24.760 --> 0:16:28.120 comes out this Friday on Netflix. It's the latest film 0:16:28.120 --> 0:16:32.050 by Richard Linklater, probably best known for the before trilogy 0:16:32.050 --> 0:16:35.320 starring Ethan Hawke and Julie Delpy. He also directed school 0:16:35.320 --> 0:16:39.070 of Rock, Dazed and Confused, and Boyhood. Hitman is based 0:16:39.070 --> 0:16:42.520 on a true story written by journalist Skip Hollandsworth in 0:16:42.520 --> 0:16:46.510 The Texas Monthly magazine back in 2001. No. 0:16:47.050 --> 0:16:50.950 No, no, I don't buy it. What? You're not a hitman. 0:16:51.460 --> 0:16:57.000 You can't be. Mentally looking you up at nothing. It's 0:16:57.000 --> 0:16:58.200 like you don't even exist. 0:16:58.200 --> 0:16:59.940 I guess I'm just your fantasy. 0:17:02.030 --> 0:17:04.909 So what's the biggest difference between the real you and 0:17:04.910 --> 0:17:05.929 your occupation? 0:17:09.630 --> 0:17:12.690 By the way, my name is Gary Johnson, and I'm 0:17:12.690 --> 0:17:18.550 a fake hit man. The film is. 0:17:18.550 --> 0:17:22.480 Co-written by Linklater and Glen Powell, who was also the 0:17:22.480 --> 0:17:26.980 star of the film alongside Adria Arjona. The movie's about 0:17:26.980 --> 0:17:30.070 a part time undercover police officer in New Orleans who 0:17:30.070 --> 0:17:33.640 poses as a hit man to arrest people trying to 0:17:33.640 --> 0:17:37.420 hire him. Things get complicated for this pretend hit man 0:17:37.420 --> 0:17:40.030 when he meets a woman who tries to hire him 0:17:40.030 --> 0:17:42.850 to knock off her husband. Kind of takes the movie 0:17:42.850 --> 0:17:46.930 in a much more thrilling and, like, pretty damn sexy direction. 0:17:47.080 --> 0:17:49.540 It was really interesting watching this movie off the back 0:17:49.540 --> 0:17:53.980 of our conversation about 1999 movies, because I feel like this, 0:17:53.980 --> 0:17:56.680 from its premise to its execution, is exactly the kind 0:17:56.680 --> 0:18:00.520 of movie, sort of stylish, mid-budget drama rom com that 0:18:00.520 --> 0:18:02.350 we used to get heaps of back in the day, 0:18:02.350 --> 0:18:04.120 and we keep saying we want more of these kinds 0:18:04.119 --> 0:18:06.280 of films. I thought it was really, really great. I 0:18:06.280 --> 0:18:09.129 think it does a really interesting job at subverting your 0:18:09.130 --> 0:18:12.730 expectations of what a movie called hitman is going to 0:18:12.730 --> 0:18:15.130 be about. It's like not an action packed thriller, but 0:18:15.130 --> 0:18:18.909 it is still really entertaining and really fun. It's way 0:18:18.910 --> 0:18:23.409 more of an examination of ideas around identity, trying to 0:18:23.410 --> 0:18:26.320 find meaning and purpose in life, who we are as 0:18:26.320 --> 0:18:29.800 people versus what we project outwards to others. Add to 0:18:29.800 --> 0:18:32.740 that this kind of dash of sexy rom com vibes, 0:18:32.740 --> 0:18:36.160 courtesy of the very, very, very great performances by both 0:18:36.160 --> 0:18:38.350 Powell and Arjona. I think ultimately you just have. Yeah, 0:18:38.350 --> 0:18:41.169 like I said, a fun, exciting, thought provoking film. And 0:18:41.170 --> 0:18:45.010 my only wish with it is that. It was coming 0:18:45.010 --> 0:18:46.929 out in cinemas. I feel like this would be such 0:18:46.930 --> 0:18:49.540 a great film to watch with a group of people 0:18:49.540 --> 0:18:51.850 in a movie theater. I also think it would make 0:18:51.850 --> 0:18:53.979 a lot of money in a year where movies are 0:18:53.980 --> 0:18:56.889 otherwise struggling. But yeah, when it was playing at the 0:18:56.890 --> 0:18:59.740 film festival circuit getting rave reviews, big studios just didn't 0:18:59.770 --> 0:19:02.230 offer much up and Netflix snapped it up for a 0:19:02.230 --> 0:19:04.300 cool $20 million. So I want to talk to you 0:19:04.300 --> 0:19:06.370 guys about all of that a little bit later on. 0:19:06.369 --> 0:19:09.580 But initial takes on hitman. How'd you guys find it? 0:19:09.580 --> 0:19:13.270 I completely agree with you. I thought it was very funny, smart. 0:19:13.270 --> 0:19:16.450 It's a very tight film. It sweeps you up with 0:19:16.450 --> 0:19:19.750 its self-assuredness and it really carries you away. And there 0:19:19.750 --> 0:19:23.320 are continual plot shifts that are really surprising and keep 0:19:23.320 --> 0:19:26.169 you interested in the film the whole way through. Um, 0:19:26.170 --> 0:19:28.119 so I had a great time watching it. 0:19:28.119 --> 0:19:31.209 Yeah. Look, I really liked it too. Um, I will 0:19:31.210 --> 0:19:34.449 admit that my upon first watch I like it had 0:19:34.450 --> 0:19:37.090 a big weekend, and so I think I was watching 0:19:37.090 --> 0:19:40.179 it in the wrong frame of mind. So I enjoyed 0:19:40.180 --> 0:19:42.070 it as we kind of like, briefly discussed off air, 0:19:42.070 --> 0:19:44.379 but I was like, oh, okay. And then now having 0:19:44.380 --> 0:19:46.570 like sat back on it and also, I think kind 0:19:46.570 --> 0:19:49.090 of being in a bit of a Linklater headspace, I 0:19:49.090 --> 0:19:52.570 actually do really, really appreciate this movie. It's much cleverer 0:19:52.570 --> 0:19:55.240 than I was probably prepared for. Like, you know, like 0:19:55.240 --> 0:19:59.260 on a hungover Sunday evening. Um, I still have big 0:19:59.260 --> 0:20:01.389 question marks around Glen Powell, as you know, kind of 0:20:01.390 --> 0:20:03.490 the savior of the leading man. But I think in 0:20:03.490 --> 0:20:06.340 terms of like Linklater bringing his skill set and his, 0:20:06.340 --> 0:20:10.000 like thematic approach into a new, especially like the Netflix format, 0:20:10.000 --> 0:20:12.159 like he's he's kind of snuck in one of the 0:20:12.160 --> 0:20:14.950 most interesting films of the year, like onto a streaming 0:20:14.950 --> 0:20:16.900 platform that millions of people will watch. 0:20:16.900 --> 0:20:18.459 I think that's a really good way of putting it. 0:20:18.460 --> 0:20:20.980 I think the movie is so smart in how it 0:20:20.980 --> 0:20:24.220 rewards like a casual watch or a sort of more 0:20:24.220 --> 0:20:26.140 engaged watch. I think a lot of people can just 0:20:26.140 --> 0:20:29.320 watch this movie and see to hot people, like, be 0:20:29.320 --> 0:20:31.840 in this sort of fun, sexy film. But then the 0:20:31.840 --> 0:20:33.100 more you think about it and the more you watch, 0:20:33.100 --> 0:20:34.870 you're like, oh, this movie is really saying a lot 0:20:34.869 --> 0:20:36.790 of fascinating things about being at a certain stage in 0:20:36.790 --> 0:20:40.810 your life about, you know, this, this question of how 0:20:40.810 --> 0:20:43.510 do we create an image or an idea of ourselves 0:20:43.510 --> 0:20:45.850 and how does that sit with who we really are 0:20:45.850 --> 0:20:47.470 versus the person we want to be in different sorts 0:20:47.470 --> 0:20:50.290 of situations? I think, like, I want to talk about 0:20:50.290 --> 0:20:53.680 the Glen Powell thing because the movie does hinge on him. 0:20:53.680 --> 0:20:56.530 He's like the coward. He's the star. He's the driving 0:20:56.530 --> 0:21:00.130 force behind the movie. At the beginning. He's this kind 0:21:00.130 --> 0:21:03.910 of daggy uni lecturer moonlighting as an undercover cop. This 0:21:03.910 --> 0:21:05.500 is also a hilarious thing about America, where you can 0:21:05.500 --> 0:21:08.170 be a part time undercover cop while you're a. 0:21:08.770 --> 0:21:09.429 Because it's based on. 0:21:09.430 --> 0:21:10.180 A true story. 0:21:10.510 --> 0:21:10.780 Yeah, I. 0:21:10.780 --> 0:21:11.560 Know, I know what a. 0:21:11.680 --> 0:21:13.360 Only in America would they be like. Yeah, yeah. Once 0:21:13.359 --> 0:21:15.670 you're done. Like, you know, teaching philosophy. Can you come 0:21:15.670 --> 0:21:17.649 and moonlight as an undercover? So weird. 0:21:17.770 --> 0:21:18.280 I wish all. 0:21:18.280 --> 0:21:19.690 Cops knew philosophy. 0:21:20.920 --> 0:21:23.200 Um, probably something with, like, budget cuts. They can't afford 0:21:23.200 --> 0:21:25.689 full time police or something. Um, but, yeah, he has 0:21:25.690 --> 0:21:28.660 to adopt so many different personas in this movie, both as, like, 0:21:28.660 --> 0:21:30.520 the primary character, but also the conceit of the film 0:21:30.520 --> 0:21:34.390 being he disguises himself as different versions of a hit 0:21:34.390 --> 0:21:37.690 man to try to entrap or capture the people that 0:21:37.690 --> 0:21:41.260 that he's going after. I think he was awesome in this. 0:21:41.260 --> 0:21:44.440 Like I, we discussed this last week. I'm a big 0:21:44.440 --> 0:21:47.919 fan of Glen Powell. You know, he was discovered in 0:21:47.920 --> 0:21:49.810 a way by Richard Linklater as well. He cast him 0:21:49.810 --> 0:21:51.460 in Fast Food Nation, and then he got his big 0:21:51.460 --> 0:21:54.669 starring role in Everybody Wants Some, um, which I'm very 0:21:54.670 --> 0:21:56.050 keen to chat to you guys about. I did a 0:21:56.050 --> 0:21:58.899 bit of a Linklater rewatch over the past week, and 0:21:58.900 --> 0:22:00.640 that is such a great movie, and he's really good 0:22:00.640 --> 0:22:02.920 in it. He's in two of the biggest movies last 0:22:02.920 --> 0:22:05.710 couple of years, Top Gun Maverick and Anyone But You. 0:22:05.710 --> 0:22:07.600 This is a role which I think he gets to 0:22:07.600 --> 0:22:09.609 be a bit more interesting and also have a lot 0:22:09.609 --> 0:22:11.260 of fun. I thought he was awesome. What did you 0:22:11.260 --> 0:22:13.750 guys think Tom is? You still not totally convinced by 0:22:13.750 --> 0:22:15.459 the Powell hype machine? 0:22:15.460 --> 0:22:18.100 I am definitely not convinced. Also, I just think it's 0:22:18.100 --> 0:22:20.770 so funny because obviously we spoke about Glen Powell last week. 0:22:20.770 --> 0:22:22.750 That list, you know, The Hollywood Reporter list of ten, 0:22:22.750 --> 0:22:24.820 you know, hot new things in Hollywood. A friend of 0:22:24.820 --> 0:22:27.550 mine texted me afterwards because Osmond spoke at length about 0:22:27.550 --> 0:22:30.340 his admiration for Glen Powell. And a friend of mine 0:22:30.340 --> 0:22:32.290 texted me after I was like, I honestly thought you 0:22:32.290 --> 0:22:34.570 were talking about Glenn Close. Why is Osmond so obsessed 0:22:34.570 --> 0:22:36.790 with Glen Powell? And I was like, look, man, I 0:22:36.790 --> 0:22:38.500 couldn't agree with you more. I mean, that. 0:22:38.500 --> 0:22:40.480 Says more about you and your weird friends. Glen Powell 0:22:40.480 --> 0:22:42.790 is a big star. He's in twisters, which is one 0:22:42.790 --> 0:22:45.010 of the biggest movies of the year coming out this year. 0:22:45.040 --> 0:22:47.440 Now he is like, I mean, he, I, I know 0:22:47.440 --> 0:22:48.910 who he is. I don't get him in Glenn Close 0:22:48.910 --> 0:22:52.359 confused anymore. But I still just think, you know, he 0:22:52.359 --> 0:22:54.820 was good in this. I just I still just don't 0:22:54.820 --> 0:22:57.609 really get it from him. And, I mean, I am 0:22:57.609 --> 0:22:59.890 increasingly aware that I am in the minority, like, you know, 0:22:59.890 --> 0:23:01.719 who am I to tell Richard Linklater, who to put 0:23:01.720 --> 0:23:04.600 in his new great movie? But I just think the 0:23:04.600 --> 0:23:06.460 movie is good and his performance is still really good, 0:23:06.460 --> 0:23:08.679 but I still like, look at him and just find 0:23:08.680 --> 0:23:11.200 him not super engaging. When I think about the like 0:23:11.200 --> 0:23:13.300 leading men or women that I really love to watch 0:23:13.300 --> 0:23:15.280 and who I could watch, like really do anything, he 0:23:15.280 --> 0:23:16.870 does not fall into that category for me. 0:23:16.869 --> 0:23:18.850 I thought he was great in this, and he did 0:23:18.850 --> 0:23:20.980 co-write it with Richard Linklater as well. 0:23:20.980 --> 0:23:22.630 When it says he co-wrote it, is that is he 0:23:22.630 --> 0:23:24.159 like the Affleck in that situation? No, I. 0:23:24.160 --> 0:23:27.880 Don't think it's interesting because when you see Linklater's talked 0:23:27.880 --> 0:23:30.100 a bit about the story of the film coming together 0:23:30.100 --> 0:23:33.250 and he read that article. So Linklater is a Texas guy. He, 0:23:33.250 --> 0:23:36.220 you know, famously shoots and works and lives in Texas. 0:23:36.220 --> 0:23:38.350 A lot of his movies are set in Texas, and 0:23:38.350 --> 0:23:41.440 Texas is like a big character in his films. Uh, 0:23:41.440 --> 0:23:44.860 Powell's also from Texas, from Austin. But obviously different generation. 0:23:44.859 --> 0:23:46.450 And so Linklater is like, I got this call during 0:23:46.450 --> 0:23:49.210 the pandemic from Glen Powell. And he's like, hey, man, 0:23:49.210 --> 0:23:52.629 you've got to read this Texas Monthly article. And Linklater 0:23:52.630 --> 0:23:54.310 is like, yeah, I read that when you were like 0:23:54.310 --> 0:23:56.320 in grade six, like, what are you talking about, man? Like, 0:23:56.320 --> 0:23:57.820 this is like a very famous story from when you 0:23:57.820 --> 0:24:00.280 were a child and like, it's a pandemic and we 0:24:00.280 --> 0:24:01.719 just didn't really have anything to do. And so we 0:24:01.720 --> 0:24:04.300 spent a few years working around. And how did we 0:24:04.300 --> 0:24:07.030 take this true story? And then they ended up changing 0:24:07.030 --> 0:24:08.560 quite a few bits of it. So now when the 0:24:08.560 --> 0:24:10.840 movie opens, the title card is like, it's somewhat true 0:24:10.840 --> 0:24:12.250 because I took a fair few liberties to have a 0:24:12.250 --> 0:24:14.260 bit more fun. It does feel like he was a 0:24:14.260 --> 0:24:17.109 bit more like hands on with this. Um, but Mel, 0:24:17.109 --> 0:24:18.369 that was a bit of an aside. I cut you 0:24:18.369 --> 0:24:20.530 off as you were about to share your powers. As 0:24:20.530 --> 0:24:20.830 you're about. 0:24:20.830 --> 0:24:23.229 To character assassinate Glen Powell. Come with me. 0:24:23.230 --> 0:24:25.510 I thought he was really good in this. I thought 0:24:25.510 --> 0:24:30.100 he was very funny, and I thought his character was 0:24:30.100 --> 0:24:35.350 really good. The name Gary gave me so much joy. 0:24:35.350 --> 0:24:37.869 Like just the fact his name is Gary brought every 0:24:37.869 --> 0:24:40.660 time it was mentioned, it was kind of used humorously. 0:24:40.660 --> 0:24:41.050 And there's a. 0:24:41.050 --> 0:24:43.389 Gag about it, right? Where someone's like, your name's Gary's, like, 0:24:43.390 --> 0:24:44.290 I know, I know. 0:24:44.500 --> 0:24:44.890 Yeah. 0:24:45.490 --> 0:24:47.619 I thought that was very funny. There's this great shot 0:24:47.619 --> 0:24:51.580 early on where Glen Powell is in his home, and 0:24:51.580 --> 0:24:55.870 he's at this tiny table for one, because he lives alone. 0:24:55.869 --> 0:24:59.200 He drives a Honda Civic, and I love that he waters. 0:24:59.200 --> 0:25:01.929 He's like plants and he's feeds his fish before he 0:25:01.930 --> 0:25:04.390 has his own dinner. I just thought the character was 0:25:04.390 --> 0:25:08.140 really good. And as the hitman roles he takes on 0:25:08.140 --> 0:25:12.040 get progressively more and more insane, I thought they became 0:25:12.040 --> 0:25:14.980 funnier and funnier. And so I was won over by 0:25:14.980 --> 0:25:17.320 Glen Powell. I agree with you. Last week I wasn't 0:25:17.320 --> 0:25:19.990 sold on him as a as an actor, as a vibe. 0:25:19.990 --> 0:25:22.960 Now I'm completely on the Glen Powell train. 0:25:22.960 --> 0:25:25.270 Yeah, but this is the thing. I also said he's 0:25:25.270 --> 0:25:27.040 good in it and I thought he was he was 0:25:27.040 --> 0:25:28.659 good in it. But like is this. And because I 0:25:28.660 --> 0:25:30.189 think a lot of the narrative around this movie is 0:25:30.190 --> 0:25:32.560 that this is the star making role for Glen Powell. 0:25:32.560 --> 0:25:35.380 This is the Glen Powell project that's gonna like really like, 0:25:35.380 --> 0:25:37.330 you know, send him into the stratosphere. And I still 0:25:37.330 --> 0:25:40.359 just don't think it will. Like not because he was 0:25:40.359 --> 0:25:42.220 bad in it, but just because I don't know if 0:25:42.220 --> 0:25:44.800 he has that in him. Um, that's kind of my 0:25:44.800 --> 0:25:46.209 take on it. Even though I thought he was, like, 0:25:46.210 --> 0:25:48.820 funny and stuff. Like, it's not the same feeling I 0:25:48.820 --> 0:25:51.010 get when I was watching, like Prime Gosling or Prime 0:25:51.010 --> 0:25:52.480 Pitt or Prime DiCaprio. 0:25:52.480 --> 0:25:57.550 I think there's something about Powells performances, and his general 0:25:57.550 --> 0:26:01.090 sort of way of being is that it feels effortless 0:26:01.090 --> 0:26:03.670 when he's acting like it just sort of feels like 0:26:03.670 --> 0:26:07.150 he's just come in from backstage and he's just doing him, 0:26:07.150 --> 0:26:08.770 and maybe there's a bit of that that is like, 0:26:08.859 --> 0:26:10.960 he's not really going for it. He's not inhibiting something. 0:26:10.960 --> 0:26:12.850 But I think he kind of is. And I think 0:26:12.850 --> 0:26:15.580 in this movie he does play these different characters. It's 0:26:15.580 --> 0:26:18.669 almost like a movie that is clearly partly designed to 0:26:18.670 --> 0:26:20.920 let him show off his acting chops and not just 0:26:20.920 --> 0:26:23.230 be like the hunk that he was and anyone but 0:26:23.230 --> 0:26:25.690 you or the, you know, the fighter pilot and Top 0:26:25.690 --> 0:26:28.960 Gun Maverick. But yeah, I can. I understand what you're saying, Thomas, 0:26:28.960 --> 0:26:32.409 because you he doesn't feel like he's doing something like 0:26:32.410 --> 0:26:34.720 Brad Pitt or even like Ethan Hawke at their prime, 0:26:34.720 --> 0:26:37.840 where they're really seriously acting, and they've been to the 0:26:37.840 --> 0:26:40.030 Lee Strasberg acting school and they're going for it. And 0:26:40.030 --> 0:26:42.340 he's probably picking roles that are still a little bit 0:26:42.340 --> 0:26:44.500 within his comfort zone. He hasn't been pushed yet, but 0:26:44.500 --> 0:26:46.750 I feel like this is an example of his ability 0:26:46.750 --> 0:26:49.630 to really show off a wider range. And I think 0:26:49.630 --> 0:26:51.670 like the other thing about this film, and this goes 0:26:51.670 --> 0:26:54.760 to your point, Mel, about the way that he's character 0:26:54.760 --> 0:26:57.250 is so fleshed out, like we find out about his job, 0:26:57.250 --> 0:26:58.959 we find out about the car he drives. He's got 0:26:58.960 --> 0:27:01.660 these two cats. He has an ex-wife who comes in. 0:27:01.660 --> 0:27:04.000 This is a one hour and 55 minute movie. It's 0:27:04.000 --> 0:27:07.000 pretty tight, and you just don't get that kind of 0:27:07.000 --> 0:27:09.850 script writing or character building in so many films, particularly 0:27:09.850 --> 0:27:13.000 films on streamers, characters are just like two dimensional kind 0:27:13.000 --> 0:27:15.790 of cardboard cutouts. They play this role, whereas in this movie, 0:27:15.790 --> 0:27:17.890 every character, even characters that are just in it for 0:27:17.890 --> 0:27:20.380 a minute, you just get such a sense that they 0:27:20.380 --> 0:27:22.360 are real and have a real life, and they've reached 0:27:22.359 --> 0:27:24.250 this point in their career, and that's why they're doing X, Y, 0:27:24.250 --> 0:27:27.100 and Z. It's really remarkable how much it manages to 0:27:27.100 --> 0:27:27.730 pack in. 0:27:27.730 --> 0:27:30.909 Yeah, totally. And that is absolutely the joy of watching 0:27:30.910 --> 0:27:36.190 a Richard Linklater film is the dialogue is so incredible 0:27:36.190 --> 0:27:38.530 and touches on so much. It's a way of like, 0:27:38.530 --> 0:27:42.640 we don't speak like Richard Linklater's characters speak, but he 0:27:42.640 --> 0:27:45.459 still manages to make it seem authentic and real. And 0:27:45.460 --> 0:27:48.490 there are so many one liners in this that make 0:27:48.490 --> 0:27:51.940 you laugh out loud without feeling like they're a one 0:27:51.940 --> 0:27:55.119 liner joke. It's very subtly funny. 0:27:55.570 --> 0:27:57.550 So this movie is a bit of a two hander. 0:27:57.550 --> 0:28:01.060 The other main character, Adria Arjona, mentioned before, briefly. Had 0:28:01.060 --> 0:28:03.879 you guys seen her in anything before this film? 0:28:04.150 --> 0:28:06.219 No, literally never seen her before, ever. But it was 0:28:06.220 --> 0:28:07.810 like very much a quick Google to be like, what's 0:28:07.810 --> 0:28:09.580 she been in? She was very, very good. Yeah. 0:28:09.580 --> 0:28:11.950 I think this is definitely another star in the making. 0:28:11.950 --> 0:28:14.350 Yeah, she I only seen her in this movie six underground, 0:28:14.350 --> 0:28:16.119 which came out a few years ago and, and all 0:28:16.119 --> 0:28:17.440 the Star Wars show, which she's got like a small 0:28:17.440 --> 0:28:19.689 but pretty good role. She was awesome in this. And 0:28:19.690 --> 0:28:22.899 the chemistry between the two of them was like, off 0:28:22.900 --> 0:28:25.480 the charts. It reminded me of one of my favorite films, uh, 0:28:25.480 --> 0:28:29.260 out of Sight Soderbergh film with JLo and Clooney. And 0:28:29.260 --> 0:28:32.050 the way that it sort of they're on these opposing sides. 0:28:32.050 --> 0:28:34.390 It's like a romance that isn't supposed to happen, but 0:28:34.390 --> 0:28:37.270 it slowly starts to burn. And it does had a 0:28:37.270 --> 0:28:39.820 lot of those vibes in this film. Yeah, I think 0:28:39.820 --> 0:28:41.110 she totally killed it. Yeah, because. 0:28:41.110 --> 0:28:43.800 She really like for that specific character, you know. You 0:28:43.800 --> 0:28:46.350 have to really nail that. Like, is she playing him 0:28:46.470 --> 0:28:48.660 like up until the, you know, towards the end when 0:28:48.660 --> 0:28:50.940 it becomes clear what is going on. Like you're really 0:28:50.940 --> 0:28:53.760 not sure of her intentions. Um, and because, you know, 0:28:53.760 --> 0:28:57.300 Paul's character is so like, it's all kind of there. Um, 0:28:57.300 --> 0:28:59.220 I thought she was such a good foil for him. 0:28:59.220 --> 0:29:01.470 And just like the way, you know, she would like 0:29:01.470 --> 0:29:03.930 certain look, she would have or certain ways she would 0:29:03.930 --> 0:29:05.700 word stuff like, I feel like she really kept both 0:29:05.700 --> 0:29:09.360 audience and Paul's character. Like, what? What is her intention here? Yeah. 0:29:09.360 --> 0:29:12.510 She constantly managed to pull off that shape shifting sense. 0:29:12.510 --> 0:29:16.530 And there was always the playfulness was in there, miscommunications 0:29:16.530 --> 0:29:18.690 with each other. So you are always on the edge 0:29:18.690 --> 0:29:21.270 of your seat, but not in an uncomfortable way about 0:29:21.270 --> 0:29:24.300 who's playing who and where the film's going to go. 0:29:34.190 --> 0:29:36.440 We've talked a bit this year about the role of 0:29:36.440 --> 0:29:40.220 sex in cinema and, you know, movies like challenges being 0:29:40.220 --> 0:29:42.410 called like the sexiest movie in a while and bringing 0:29:42.410 --> 0:29:44.210 sex back to cinemas. And we talked about how there's 0:29:44.210 --> 0:29:47.240 like no actual real explicit sex scenes in that this movie, 0:29:47.240 --> 0:29:50.000 it's not really been sold as like a super sexy movie, 0:29:50.000 --> 0:29:52.640 but it feels, again, like a bit of a throwback 0:29:52.640 --> 0:29:55.580 to kind of sexy thriller in the 90s where there 0:29:55.580 --> 0:29:57.860 was like a bunch of sex and it just sort 0:29:57.860 --> 0:29:59.420 of is there, and it's normal for it to be there. 0:29:59.420 --> 0:30:02.480 And it, you know, makes sense in terms of the characters, 0:30:02.480 --> 0:30:05.090 arcs and whatever. I'm a bit surprised that they're not 0:30:05.090 --> 0:30:07.700 pushing like the rom com angle as much, because that 0:30:07.700 --> 0:30:10.520 is such a way to get people to watch a movie. 0:30:10.520 --> 0:30:13.280 But were you guys surprised by how steamy this kind 0:30:13.280 --> 0:30:13.670 of got? 0:30:14.150 --> 0:30:17.030 Look, I don't this will upset you because I know 0:30:17.030 --> 0:30:19.430 you guys probably loved the sex scenes. I thought it 0:30:19.430 --> 0:30:21.950 was a bit excessive. Not in terms of, like, don't make. 0:30:21.950 --> 0:30:22.700 Us sound like. 0:30:22.700 --> 0:30:25.700 14 year old boys. Well, like, have. 0:30:25.700 --> 0:30:28.100 You edited by saying it was important to the story 0:30:28.100 --> 0:30:28.310 and the. 0:30:28.310 --> 0:30:29.060 Characters? 0:30:29.180 --> 0:30:31.820 Why not? Because of the Graphicness or anything like that. 0:30:31.820 --> 0:30:35.150 There was just a lot of it that kind of 0:30:35.150 --> 0:30:37.310 felt like unnecessary. Like I almost got it after the 0:30:37.310 --> 0:30:39.860 first two moments of passion, and then it kept going 0:30:39.890 --> 0:30:42.380 and going and going, which I didn't mind, but I 0:30:42.380 --> 0:30:44.420 just didn't think it was really essential to the meet. 0:30:44.420 --> 0:30:48.470 Cute that this film actually is beneath the thriller angle 0:30:48.470 --> 0:30:50.300 of it. So I don't know. I think you could 0:30:50.300 --> 0:30:53.090 have cut some of that and you wouldn't have lost anything. Like, 0:30:53.270 --> 0:30:55.580 I just felt like the point was being hit home. Yes, 0:30:55.580 --> 0:30:57.590 we get it. These people have amazing chemistry over and 0:30:57.590 --> 0:30:58.730 over and over again. 0:30:58.760 --> 0:31:00.710 Are you saying Linklaters in his creepy era now? 0:31:01.100 --> 0:31:03.020 I don't think it's creepy. 0:31:03.020 --> 0:31:07.400 Like, I understand it's fun to watch, right? But, you know. Yeah, 0:31:07.400 --> 0:31:09.230 I think it was almost too much. 0:31:09.260 --> 0:31:10.820 I was fine with it. Um. 0:31:11.360 --> 0:31:11.570 But, you. 0:31:11.570 --> 0:31:14.270 Know, they're both, like, super hot Glen Powell, like, you know, 0:31:14.270 --> 0:31:16.790 hasn't like, you know, he's still been hitting the gym 0:31:16.790 --> 0:31:20.150 obviously post anyone, but he looks amazing. Uh, I really 0:31:20.150 --> 0:31:23.750 love her. And, um, was happy for them to be, like, 0:31:23.750 --> 0:31:26.000 nude on screen together. Also, I thought it was like, 0:31:26.000 --> 0:31:28.700 you know, all jokes aside, ha! Thomas is gross. But like, 0:31:28.700 --> 0:31:30.110 I did think it was kind of important to the 0:31:30.110 --> 0:31:32.060 characters because they then start to build in these, like, 0:31:32.060 --> 0:31:34.010 you know, there is there's this whole thing about the 0:31:34.010 --> 0:31:36.110 signing of the contract when they're like making, you know, 0:31:36.110 --> 0:31:37.790 these like rules within their relationship that are kind of 0:31:37.790 --> 0:31:41.150 related to sex and also the kind of strange framework 0:31:41.150 --> 0:31:42.980 they have to exist in because of the, you know, 0:31:43.070 --> 0:31:45.890 what's going on in the movie. Like everything played into 0:31:45.890 --> 0:31:48.020 the development of these two. So I thought it was 0:31:48.020 --> 0:31:50.330 like fun. And again, like especially off the back of, 0:31:50.360 --> 0:31:52.370 you know, we spoke a lot about sex last week 0:31:52.370 --> 0:31:55.460 because of the 1999 thing. This did feel like a throwback. 0:31:55.460 --> 0:31:57.890 And and yeah, I mean, it's just it's just part 0:31:57.890 --> 0:31:58.790 of the formula. Yeah. 0:31:58.790 --> 0:32:01.850 And they're kind of, you know, their, um, interactions, role 0:32:01.850 --> 0:32:05.660 play features pretty heavily. And I feel like that's not 0:32:05.660 --> 0:32:07.729 even the subtext. It's a subtext. And the text of 0:32:07.730 --> 0:32:10.370 the film is the roles that we all play in, 0:32:10.370 --> 0:32:12.650 in the world when we're going on a first date, 0:32:12.650 --> 0:32:15.200 when we're meeting someone, when we're at home versus at 0:32:15.200 --> 0:32:17.810 work and in the bedroom. And I feel like it. 0:32:17.840 --> 0:32:20.180 It's interesting that link light is like, no, we're going 0:32:20.180 --> 0:32:22.490 to go there. This is how, you know, like in 0:32:22.490 --> 0:32:26.330 some some scenes, we should say that Powell's character is 0:32:26.330 --> 0:32:29.240 an academic who lectures on like philosophy. And there are 0:32:29.240 --> 0:32:30.980 some scenes where they cut to him in the classroom 0:32:30.980 --> 0:32:33.860 and he's like, this is the point of the movie. 0:32:33.980 --> 0:32:36.830 You know, these ideas of Freudian ideas of, you know, 0:32:36.830 --> 0:32:38.510 the ID and the ego and the superego and whatever. 0:32:38.510 --> 0:32:40.820 That is what we're discussing. And maybe that was like 0:32:40.820 --> 0:32:43.040 a little bit too hand-holding, but it kind of worked 0:32:43.040 --> 0:32:46.250 for me. And, and I think it it helped you. 0:32:46.280 --> 0:32:48.110 It probably nudged you a bit. Maybe there are some 0:32:48.110 --> 0:32:50.719 rule philosophy heads that are like, I just didn't need that. 0:32:50.720 --> 0:32:52.400 I got it. But I think for the kinds of 0:32:52.400 --> 0:32:53.600 people who are going to be watching this on a 0:32:53.600 --> 0:32:56.060 Sunday afternoon on Netflix or whatever, it helps push you 0:32:56.060 --> 0:32:59.270 into thinking about those themes of the film, those themes 0:32:59.270 --> 0:33:02.870 of identity and who we are and who we try 0:33:02.870 --> 0:33:05.120 to be, which have been part of Linklater's work for, 0:33:05.120 --> 0:33:08.330 for since day one, basically. And there's this opening scene 0:33:08.330 --> 0:33:11.360 where one of his students lays out, I think, Linklater's thesis, 0:33:11.360 --> 0:33:14.570 she's like, you know, this quote that you've just recited 0:33:14.570 --> 0:33:16.700 is about seizing the day, making the most of life, 0:33:16.700 --> 0:33:19.190 just going for it. And that is a part of like, 0:33:19.190 --> 0:33:21.440 Dazed and Confused. It's a part of Everybody Wants Some. 0:33:21.440 --> 0:33:23.420 It's part of this movie. But it was also really 0:33:23.420 --> 0:33:28.670 interesting because this constant thematic focus on you can create 0:33:28.670 --> 0:33:30.770 your own version of yourself. You can be whoever you 0:33:30.770 --> 0:33:32.060 want to be. Do you want to be a hitman? 0:33:32.060 --> 0:33:33.020 Do you want to be a teacher? Do you want 0:33:33.020 --> 0:33:35.360 to be a sort of like, you know, a gangster, 0:33:35.360 --> 0:33:36.650 a hitman? Do you want to be a kind of 0:33:36.650 --> 0:33:39.080 nerdier one? Do you want to be this country bumpkin? 0:33:39.470 --> 0:33:42.800 It just felt not disconnected from current conversations we're having 0:33:42.800 --> 0:33:45.920 in society about identity, and whether it's set for you, 0:33:45.920 --> 0:33:48.500 or whether you get to choose who you are in 0:33:48.500 --> 0:33:51.320 terms of your sexuality, your gender identity, whatever. And it 0:33:51.320 --> 0:33:54.260 was interesting hearing Richard Linklater on a New York Times 0:33:54.260 --> 0:33:57.020 podcast be like, yeah, no, that's exactly what I was 0:33:57.020 --> 0:33:58.760 trying to get across. Like, I think it's one of 0:33:58.760 --> 0:34:02.510 the most fascinating bits of our current moment that we've 0:34:02.510 --> 0:34:05.450 trying to have the conversation around you. You are who 0:34:05.480 --> 0:34:07.730 you tell people you are. And that's what I wanted 0:34:07.730 --> 0:34:09.469 to do with the movie. I found that a really 0:34:09.469 --> 0:34:10.460 fascinating part of it. 0:34:10.460 --> 0:34:13.520 Yeah, I think that's so true. And it's probably worth noting, too. 0:34:13.520 --> 0:34:18.200 It does where these philosophical underpinnings very lightly. Like on 0:34:18.200 --> 0:34:20.600 one hand, you can imagine this being studied in a 0:34:20.600 --> 0:34:23.239 philosophy class, but you could also watch this and not 0:34:23.239 --> 0:34:26.240 really consider it at all, like it doesn't feel heavy handed. 0:34:26.239 --> 0:34:30.020 And as well as an assessment on the mutability of 0:34:30.020 --> 0:34:34.650 the self, an ongoing interest of philosophers, I. Really sold 0:34:34.650 --> 0:34:37.469 this as a take on cinema as well, because it's 0:34:37.469 --> 0:34:42.120 really in deliberate dialogue with films about hitman and the 0:34:42.120 --> 0:34:46.050 fantasy of cinema. And as the self is unravelling, so 0:34:46.080 --> 0:34:49.560 is the cinematic role of the hitman, because there are 0:34:49.560 --> 0:34:54.080 really deliberate. Jokes or winks to things like John Wick 0:34:54.080 --> 0:34:57.680 and Pulp Fiction and Leon the Professional, the killer, Leroy, Texas. 0:34:57.680 --> 0:34:59.719 They all kind of are snuck in there, and the 0:34:59.719 --> 0:35:03.259 different hitman plots and the different hitman characters are really 0:35:03.260 --> 0:35:05.420 played with. And so I thought, as much as a 0:35:05.420 --> 0:35:08.120 film about individuality and the self, this was a film 0:35:08.120 --> 0:35:09.710 about cinema. Yeah. 0:35:09.710 --> 0:35:11.300 And it's funny because I, you know, I think we've 0:35:11.300 --> 0:35:14.719 obviously all been like deep in, in Linklater land and, 0:35:14.719 --> 0:35:16.190 you know, this is a guy who, when he was 0:35:16.190 --> 0:35:19.880 getting his start in film, was seeing 650 films a year, 0:35:19.880 --> 0:35:24.080 which is like that's like near farooqi levels of cinema numbers. 0:35:24.080 --> 0:35:25.250 He's posting up, man. That's crazy. 0:35:25.370 --> 0:35:26.660 Like, but like he would go and see three and 0:35:26.660 --> 0:35:28.399 four films a day and he talks about, you know, 0:35:28.400 --> 0:35:31.160 like in I think the same New York Times interview 0:35:31.160 --> 0:35:33.020 he talks about, oh, look, people are always kind of 0:35:33.020 --> 0:35:35.840 heralding the death of cinema and, and it's always under 0:35:35.840 --> 0:35:37.970 attack from everything, you know, like, as it has been 0:35:37.969 --> 0:35:39.859 for years and years and years. But I did think 0:35:39.860 --> 0:35:42.230 that was interesting too, because like the hitman genre has 0:35:42.230 --> 0:35:44.900 gone through so many kind of different changes and I 0:35:44.900 --> 0:35:46.489 would say has been in a bit of a like 0:35:46.489 --> 0:35:48.259 there's been a renaissance of it off the back of 0:35:48.260 --> 0:35:50.480 like the John Wick's and stuff, but there's so many 0:35:50.480 --> 0:35:53.660 like kind of funny and like sharp observations, you know, 0:35:53.660 --> 0:35:55.280 in this film, even at the very start, there's like 0:35:55.280 --> 0:35:57.290 a lot of voiceover from power. But he talks about 0:35:57.290 --> 0:35:59.270 how like everyone thinks there are all these hitmen out there, 0:35:59.270 --> 0:36:00.950 but like, no one actually knows any because they don't 0:36:00.950 --> 0:36:03.080 really exist. And I just thought that was like very, 0:36:03.080 --> 0:36:05.270 very funny kind of getting in, you know, I guess 0:36:05.270 --> 0:36:07.910 a bit of Linklaters like thoughts on, on like cinema 0:36:07.910 --> 0:36:09.710 and the changing nature of it, but also like this 0:36:09.710 --> 0:36:12.620 whole concept of the hitman that we're so obsessed with 0:36:12.620 --> 0:36:14.810 in pop culture. But like, is it something we've just 0:36:14.810 --> 0:36:16.219 kind of created for ourselves? 0:36:16.219 --> 0:36:18.500 Yeah, I love that read on the movie. And it 0:36:18.500 --> 0:36:22.790 is sort of this acknowledgement in a way, of this 0:36:22.790 --> 0:36:25.670 trope that is like driven cinema since the 50s. But 0:36:25.670 --> 0:36:27.140 I think even earlier, I think some of the first, 0:36:27.140 --> 0:36:32.780 like hitmen genres and films were in the 30s. Linklaters like, I'm, 0:36:32.780 --> 0:36:36.350 I'm reflecting on what this era was when cinema was 0:36:36.350 --> 0:36:39.140 great and I'm sort of like stripping it apart and 0:36:39.140 --> 0:36:42.560 being like, this is all bullshit and lies and everything 0:36:42.560 --> 0:36:45.050 that you grew up thinking is real is based on 0:36:45.050 --> 0:36:47.180 movies telling you stuff, and that's not really what's going on. 0:36:47.180 --> 0:36:49.040 There's even this montage at the start of the movie. 0:36:49.040 --> 0:36:51.680 I love when films just break the fourth wall like Babylon, 0:36:51.680 --> 0:36:53.310 the ending of Babylon, where it's just like a two 0:36:53.310 --> 0:36:56.299 minute montage of every big film going back 100 years 0:36:56.300 --> 0:36:57.680 is one of my favorite things I've ever seen in 0:36:57.680 --> 0:37:00.590 a movie theater. I cried and I clapped. Um, and 0:37:00.590 --> 0:37:02.270 then he does it to Stewart. He's just, like, literally 0:37:02.270 --> 0:37:06.290 referencing the history of hitmen in cinema's hitmen. Feels like 0:37:06.290 --> 0:37:08.509 a weird word to say, the plural of hitman. But 0:37:08.510 --> 0:37:10.490 I was going to ask you guys why. Why is 0:37:10.489 --> 0:37:12.140 this renaissance happening like it was last year? We were 0:37:12.140 --> 0:37:14.420 talking about the killer. It's funny to have a movie 0:37:14.420 --> 0:37:17.120 called The Killer by like, David Fincher, one of the 0:37:17.120 --> 0:37:19.070 biggest directors who came out of that indie movement in 0:37:19.070 --> 0:37:21.920 the 90s. Linklater another one coming out of that, using 0:37:21.920 --> 0:37:25.490 the idea of a hitman to explore these bigger questions 0:37:25.489 --> 0:37:27.650 about the way the world works. Because we talk about 0:37:27.650 --> 0:37:29.509 the killer. That's not really a movie about a hitman, 0:37:29.510 --> 0:37:31.549 that's a movie about being a gig worker in the 0:37:31.550 --> 0:37:34.010 modern capitalist world. This movie is not really about being 0:37:34.010 --> 0:37:35.780 a hitman. It's about being a guy in his like, 0:37:35.780 --> 0:37:38.420 40s trying to figure out where the hell he's at. 0:37:38.420 --> 0:37:41.420 What is it about that kind of character that makes 0:37:41.420 --> 0:37:43.790 it so ripe for these sorts of interrogations. 0:37:43.790 --> 0:37:44.150 I. 0:37:44.150 --> 0:37:46.910 Guess, where, like, I don't know, we're now more than 0:37:46.910 --> 0:37:48.500 ever kind of similar to what we were just talking 0:37:48.500 --> 0:37:50.300 about in terms of identity. I feel like we're very 0:37:50.300 --> 0:37:53.750 much all like, kind of fixated or obsessed or forced 0:37:53.750 --> 0:37:56.090 into thinking about, like, you know, the self. And so 0:37:56.090 --> 0:37:58.370 like the our sense of self and who we are 0:37:58.370 --> 0:37:59.930 in the modern world. And that's such a different thing 0:37:59.960 --> 0:38:02.029 to so many people. And it feels like for lots 0:38:02.030 --> 0:38:03.830 of people, you know, the rules are changing on who 0:38:03.830 --> 0:38:06.350 we are or who we can be or what identity is. 0:38:06.380 --> 0:38:08.629 And maybe because like a hit man at its purest 0:38:08.630 --> 0:38:11.120 form is like someone who is paid to take someone 0:38:11.120 --> 0:38:14.120 else out. It feels like a big kind of like, um, 0:38:14.120 --> 0:38:16.760 you know, like an easy way to represent a conversation 0:38:16.760 --> 0:38:19.430 around that. Like, I don't know, it is funny that, 0:38:19.430 --> 0:38:21.469 you know, these important directors who do grapple with a 0:38:21.469 --> 0:38:23.840 lot of these big themes seem to be revisiting it 0:38:23.840 --> 0:38:25.969 and revisiting it like, I don't know, will we get 0:38:25.969 --> 0:38:27.650 some kind of weird, I don't know, like You're a 0:38:27.650 --> 0:38:30.230 Hit Man by Baz Luhrmann, like some kind of fantastic 0:38:30.230 --> 0:38:32.630 musical number or you guys, you. 0:38:32.630 --> 0:38:33.740 Guys have a hired a hit man? 0:38:34.610 --> 0:38:36.439 Not recently. 0:38:37.219 --> 0:38:38.900 But it is one. 0:38:39.590 --> 0:38:41.180 You would actually be quite good. You'd be the. 0:38:41.210 --> 0:38:43.550 Yeah, go under the radar. I'd have the Glenn Powell 0:38:43.550 --> 0:38:44.450 kind of. Yeah. 0:38:44.450 --> 0:38:47.150 You would. Yeah. No one no one ever suspects you. 0:38:47.150 --> 0:38:47.840 That's right. 0:38:48.320 --> 0:38:49.700 Have you ever hired a hitman? 0:38:50.660 --> 0:38:53.060 Uh, not at this stage, but I won't rule it out. 0:38:53.060 --> 0:38:53.450 You guys are. 0:38:53.450 --> 0:38:55.970 Being so cagey. I feel like there's a very straightforward answer. 0:38:55.969 --> 0:38:56.510 To say. 0:38:56.510 --> 0:38:59.210 No, I don't know any. I've not heard one, and 0:38:59.210 --> 0:39:01.790 I wouldn't. You're like, I don't want to rule it out. Yeah, but. 0:39:01.790 --> 0:39:02.509 You're on the record. 0:39:02.510 --> 0:39:05.359 Saying, I would definitely not commit this crime. 0:39:05.360 --> 0:39:07.339 Yeah, but I mean, like, you don't really want to, like, 0:39:07.340 --> 0:39:09.710 admit it to the person that you've hired them for. 0:39:09.739 --> 0:39:11.450 Gotcha, gotcha, gotcha. Okay. I mean. 0:39:11.480 --> 0:39:14.720 Don't you think the hitman embodies the state of the 0:39:14.719 --> 0:39:20.150 modern individual? That alienation? It's a it's a solo. I mean, 0:39:20.150 --> 0:39:21.950 I'm thinking this is the spot, but work with me here. 0:39:21.950 --> 0:39:22.430 This is what you were. 0:39:22.430 --> 0:39:23.870 After when I answered and you went. We got to 0:39:23.870 --> 0:39:24.410 wait till. Mel. 0:39:24.410 --> 0:39:26.240 Yeah, yeah, it's a solo job. 0:39:26.239 --> 0:39:29.239 It's a very lonely job, isn't it? It's a job 0:39:29.239 --> 0:39:33.259 where you are a body for hire by a corporation 0:39:33.260 --> 0:39:36.020 or a person that you're often not have any links 0:39:36.020 --> 0:39:39.620 with any kind of personal responsibility between which many of 0:39:39.620 --> 0:39:41.570 us feel like in the modern workplace. And it's a 0:39:41.570 --> 0:39:44.960 very violent job. I think it's probably come back into 0:39:44.960 --> 0:39:47.779 fashion because The Hitman is something we can all relate 0:39:47.780 --> 0:39:50.330 to in our contemporary society. 0:39:50.330 --> 0:39:53.030 I wonder whether part of it is also these directors, 0:39:53.030 --> 0:39:55.339 at this stage in their lives, see a little bit 0:39:55.340 --> 0:39:58.790 of themselves in these characters. I think someone like Fincher, 0:39:58.790 --> 0:40:02.330 who has made these like really fascinating, independent, wacky movies, 0:40:02.330 --> 0:40:05.330 but has also worked in the commercial world and made 0:40:05.330 --> 0:40:07.190 ads and sort of, you know, done big studio features 0:40:07.190 --> 0:40:09.259 as well. I feel like he was putting a lot 0:40:09.260 --> 0:40:11.360 of himself in that character, like even to the point 0:40:11.360 --> 0:40:14.090 where at the start of that movie where Fassbender is 0:40:14.090 --> 0:40:16.669 looking down the scope of the gun and he's just 0:40:16.670 --> 0:40:18.710 talking about, I've got to get that shot. You've got 0:40:18.710 --> 0:40:20.660 to get the framing right on that shot. Get the 0:40:20.660 --> 0:40:22.700 zoom right, you've got to get fuck, I missed the 0:40:22.700 --> 0:40:25.160 shot like that. Just feels like you could, word for word, 0:40:25.160 --> 0:40:28.100 make that about a director making a movie. And I, 0:40:28.100 --> 0:40:31.160 you know, it's often about, like, adopting, entering a new world, 0:40:31.160 --> 0:40:34.490 like creating new characters, figuring it out as you go along, 0:40:34.489 --> 0:40:37.550 like improvising all that sort of stuff is feels like 0:40:37.550 --> 0:40:39.859 the language directors use. So I think maybe at this 0:40:39.860 --> 0:40:42.259 point they're kind of also making movies about themselves a 0:40:42.260 --> 0:40:43.190 little bit potentially. 0:40:43.190 --> 0:40:45.049 Yeah. But I mean, with that being said, Linklater in 0:40:45.050 --> 0:40:46.759 some ways would be an awful hitman because it took 0:40:46.760 --> 0:40:49.580 him fucking 12 years to make boyhood. It's like really 0:40:49.580 --> 0:40:52.339 putting in the hard yards, like to make his, you know, 0:40:52.340 --> 0:40:54.080 his official kill. I suppose. 0:40:54.080 --> 0:40:55.399 You got to bide your time to make a good. 0:40:55.430 --> 0:40:56.150 Hit. Exactly. 0:40:56.180 --> 0:40:57.800 Osman, have you ever hired a hitman? 0:40:57.800 --> 0:41:00.049 I've never hired a hitman. See? Easy to. 0:41:00.050 --> 0:41:01.730 Say. Be a lot cooler if you did. 0:41:02.840 --> 0:41:03.470 So. 0:41:03.469 --> 0:41:06.470 Very quickly. Want to talk about this question of where 0:41:06.469 --> 0:41:09.050 this movie is being released and where most people will 0:41:09.050 --> 0:41:10.940 watch it. And I feel. I feel a bit conflicted 0:41:10.940 --> 0:41:13.250 about this because we all love cinema. We love going 0:41:13.250 --> 0:41:15.229 to the cinema. The movies are having a tough time 0:41:15.230 --> 0:41:18.650 this year. I think this film could be like a 0:41:18.650 --> 0:41:21.230 box office success if it was released in theaters. It 0:41:21.230 --> 0:41:24.410 just feels like it has that energy. It's short, you know, 0:41:24.410 --> 0:41:26.000 like a lot of different people can come into it 0:41:26.000 --> 0:41:29.090 from different levels, as we've discussed. But on the other hand, 0:41:29.090 --> 0:41:32.569 like Netflix is massive, so this movie will probably get 0:41:32.570 --> 0:41:35.480 seen by more people, by being on the biggest streamer 0:41:35.480 --> 0:41:38.090 in the world than it would if it was just 0:41:38.090 --> 0:41:41.120 in the movie theater. But sometimes I wonder, like, you know, 0:41:41.120 --> 0:41:43.339 something like anyone but you. When a movie is released 0:41:43.340 --> 0:41:46.040 in the theaters, it creates this huge buzz. So even 0:41:46.040 --> 0:41:48.500 if you don't see it, then, like you, Thomas, you 0:41:48.500 --> 0:41:49.969 know that it's a big feature. You know, people are 0:41:49.969 --> 0:41:51.500 going to see it. Then it hits streaming a couple 0:41:51.500 --> 0:41:53.660 of months later and it has this second life. I 0:41:53.660 --> 0:41:55.489 kind of feel like that's how this movie could have worked. 0:41:55.489 --> 0:41:57.290 But am I just like in my head about this 0:41:57.290 --> 0:41:59.000 stuff because I think about box office too much? Do 0:41:59.000 --> 0:42:00.650 you guys think it matters where people end up seeing 0:42:00.650 --> 0:42:01.280 this film? 0:42:01.580 --> 0:42:03.830 No, I kind of tend to agree. I think this 0:42:03.830 --> 0:42:06.440 film and like the message will get diluted because it 0:42:06.440 --> 0:42:09.649 just is exclusively on Netflix in much the same way. Like, 0:42:09.650 --> 0:42:11.330 you know, as I admitted at the top of this, 0:42:11.330 --> 0:42:13.250 like when I watched it, I was like a bit 0:42:13.280 --> 0:42:15.170 hungover and stuff, and I was like, okay, this is 0:42:15.170 --> 0:42:17.360 like a fun Netflix movie. But I do think a 0:42:17.360 --> 0:42:20.089 lot of people will probably like, digest it in that way. 0:42:20.090 --> 0:42:22.069 Whereas if it was at the movies and then when 0:42:22.070 --> 0:42:23.719 you've got it as like, you know, a Linklater film, 0:42:23.719 --> 0:42:26.300 he doesn't make heaps of movies. It would kind of 0:42:26.300 --> 0:42:28.850 like become more an event to people and then like, 0:42:28.850 --> 0:42:30.230 it gets a bit of buzz around it, and then 0:42:30.230 --> 0:42:32.660 by the time it hits streaming, it's like already got, 0:42:32.660 --> 0:42:34.880 you know, it's kind of trajectory. Whereas the fact that 0:42:34.880 --> 0:42:37.040 it's just going to like Land on Netflix this Friday, 0:42:37.040 --> 0:42:39.440 I don't know, like I think some people will be like, oh, 0:42:39.440 --> 0:42:41.930 it's like another Netflix movie, like, you know, one of 0:42:41.930 --> 0:42:44.120 the Ryan Reynolds ones, or like, it's just going to 0:42:44.120 --> 0:42:47.090 be it could like accidentally end up in that category, 0:42:47.090 --> 0:42:48.080 which is a shame. 0:42:48.080 --> 0:42:50.690 Yeah. I think like increasingly in the future, we're going 0:42:50.690 --> 0:42:52.400 to see the types of films that have a cinema 0:42:52.400 --> 0:42:55.460 release versus the type that have a streamer release really 0:42:55.460 --> 0:42:59.930 polarized to me. This film was made for Netflix. The plotting, 0:42:59.930 --> 0:43:04.700 the shots, the pacing, all of it felt right for Netflix. Yes, 0:43:04.700 --> 0:43:06.440 it would have been great in terms of the box 0:43:06.440 --> 0:43:08.930 office to get more people into the cinemas to see it, 0:43:08.930 --> 0:43:11.330 but I think it works really well as a Netflix 0:43:11.330 --> 0:43:14.029 at home movie, and I also think it's a huge 0:43:14.210 --> 0:43:17.390 benefit for the film that so many people are going 0:43:17.390 --> 0:43:18.560 to be able to see it, and I think it's 0:43:18.560 --> 0:43:20.270 going to cut through in a much bigger way than 0:43:20.270 --> 0:43:22.190 it would have if it had just been at the cinema, 0:43:22.190 --> 0:43:24.950 because we'll be all able to talk about it, access 0:43:24.950 --> 0:43:25.640 it and see it. 0:43:25.640 --> 0:43:27.560 But don't you think when people because like, because like 0:43:27.560 --> 0:43:30.170 Netflix movies have become such a like kind of genre 0:43:30.170 --> 0:43:33.169 unto themselves, people will like watch it with already I guess, 0:43:33.170 --> 0:43:34.759 an idea of what it is in mind and then 0:43:34.760 --> 0:43:37.009 maybe miss, I guess, like some of the best parts 0:43:37.010 --> 0:43:39.230 of the movie or miss what the movie really is saying. 0:43:39.230 --> 0:43:41.330 Well, potentially it sets the bar too low for the film, 0:43:41.330 --> 0:43:44.210 which it will then over exceed expectations, particularly having a 0:43:44.210 --> 0:43:47.870 name like Linklater attached to a film. Maybe it's about rebranding, 0:43:47.870 --> 0:43:50.220 or maybe that's what Netflix is doing. Rebranding what? A 0:43:50.219 --> 0:43:52.560 Netflix film is by getting a great director and a 0:43:52.560 --> 0:43:53.370 quality film. 0:43:53.370 --> 0:43:55.080 I wonder what he thinks. I haven't really seen anything, 0:43:55.080 --> 0:43:55.770 but he thinks. 0:43:55.770 --> 0:43:58.739 He's not particularly impressed with the situation. It's sort of 0:43:58.739 --> 0:44:01.560 funny because Netflix is his sugar daddy here, but he's like, 0:44:01.560 --> 0:44:03.780 we took it to these, uh, film festivals, I think 0:44:03.780 --> 0:44:07.650 premiered at Venice. It got a huge reaction. And the 0:44:07.650 --> 0:44:09.839 studio is just like weren't interested in it, which feels 0:44:09.840 --> 0:44:12.060 like a massive miss from them when everything else is 0:44:12.060 --> 0:44:14.400 sort of failing to launch right now. Why wouldn't they? 0:44:14.400 --> 0:44:17.069 I think the movie cost $11 million and Netflix bought 0:44:17.070 --> 0:44:19.110 it for $20 million, which is not a crazy amount 0:44:19.110 --> 0:44:21.660 of money. And he's trying to tell people to watch 0:44:21.660 --> 0:44:23.640 because I think in the US it's getting a couple 0:44:23.640 --> 0:44:25.649 of weeks in theaters. He's like, please try and watch 0:44:25.650 --> 0:44:28.320 it there. It's like, good on him for like taking 0:44:28.320 --> 0:44:30.930 the Netflix bag and then also saying, go to movie 0:44:30.930 --> 0:44:33.900 theaters and watch this. Don't watch this at home. I yeah, 0:44:33.900 --> 0:44:35.460 I guess I just hope that people watch it. I 0:44:35.460 --> 0:44:37.710 think I think there's a risk. I mean, the killer 0:44:37.710 --> 0:44:40.379 was like a top tier movie by a top tier 0:44:40.410 --> 0:44:45.509 director that didn't really, like become a phenomenon on Netflix. Mank, which, 0:44:45.510 --> 0:44:47.069 you know, the movie that I always talk about. 0:44:47.610 --> 0:44:48.510 Is also like just. 0:44:48.510 --> 0:44:50.160 An awesome movie that is sitting there on Netflix. So 0:44:50.160 --> 0:44:52.500 there's a there is there is like a world in 0:44:52.500 --> 0:44:55.350 which this doesn't hit. But I think unlike those movies, 0:44:55.350 --> 0:44:59.279 which are pretty self-serious and a bit darker, you can 0:44:59.280 --> 0:45:01.710 see the title card of this, right? Like Glen Powell 0:45:01.710 --> 0:45:04.410 and Adria Arjona and they're they're like kissing or whatever. 0:45:04.410 --> 0:45:06.480 And people are like, fuck yeah, let's go. 0:45:06.480 --> 0:45:09.719 Smells like, oh, yuck. Like what they really should have 0:45:09.719 --> 0:45:12.000 done is like, it should have been the reverse situation 0:45:12.000 --> 0:45:14.310 for this and for Guy like for guy belongs straight 0:45:14.310 --> 0:45:16.500 on Netflix. And this if had they given this maybe 0:45:16.500 --> 0:45:17.820 if they fucking shot it on the Harbour Bridge I 0:45:17.820 --> 0:45:19.890 don't know. But like if they, if they had given 0:45:19.890 --> 0:45:22.469 this like the big, you know, studio push that fall 0:45:22.469 --> 0:45:25.410 guy got like the quality. It feels like it's the 0:45:25.410 --> 0:45:25.859 wrong way around. 0:45:25.860 --> 0:45:27.570 Yeah. I thought a lot about the fall guy when 0:45:27.570 --> 0:45:29.550 I was watching this. And before when you were talking 0:45:29.550 --> 0:45:32.279 about Powell not being a Ryan Gosling, I kind of 0:45:32.280 --> 0:45:34.529 think he could be a Ryan Gosling and Ryan Gosling's 0:45:34.530 --> 0:45:36.960 so-called funny era. Like, I could see Glen Powell being 0:45:36.960 --> 0:45:38.520 in Barbie, being in fall Guy. 0:45:38.520 --> 0:45:40.980 Yeah, it's crazy that they paid like $180 million to 0:45:40.980 --> 0:45:42.779 make fall Guy. And no one's like, should we, like, 0:45:42.780 --> 0:45:46.140 outbid Netflix by $2 million and have, like, a very 0:45:46.140 --> 0:45:49.680 cheap $11 million movie that could make $150 million? 0:45:50.070 --> 0:45:52.739 Yeah, I think all the signs are in place that 0:45:52.739 --> 0:45:55.770 this will hope will take off on Netflix. It's getting 0:45:55.770 --> 0:45:58.890 really great. Early reviews. The Glen Powell is a man 0:45:58.890 --> 0:46:03.570 of the moment, not Glenn Close. And yeah, and Richard 0:46:03.570 --> 0:46:05.340 Linklater is a huge name who doesn't put out a 0:46:05.340 --> 0:46:08.430 stack of films. So it will be really interesting if 0:46:08.430 --> 0:46:10.620 this doesn't cut through because yeah, I think that will 0:46:10.620 --> 0:46:12.930 be something we should revisit because if it doesn't make 0:46:12.930 --> 0:46:15.120 it through, it will be saying something. 0:46:15.180 --> 0:46:16.649 If it doesn't make it through, we should just like 0:46:16.650 --> 0:46:17.910 pack up the podcast and. 0:46:17.910 --> 0:46:18.900 How it. 0:46:18.900 --> 0:46:21.450 Is so funny though, like having obviously thinking about Linklater 0:46:21.450 --> 0:46:24.000 so much, like we talked about, um, you know, funny 0:46:24.000 --> 0:46:26.219 IMDb back catalogs last week. He's got like when you 0:46:26.219 --> 0:46:29.100 look at his collection of films, they're quite odd altogether, 0:46:29.100 --> 0:46:30.060 like in a row. Yeah. 0:46:30.060 --> 0:46:32.910 Let's have the Linklater conversation, because I don't think we've 0:46:32.910 --> 0:46:35.250 really talked about it much on the podcast. And like 0:46:35.250 --> 0:46:36.780 I said, I was doing a bit of a rewatch. 0:46:36.780 --> 0:46:39.480 I'm like, wow, low key. Maybe like my second favorite 0:46:39.480 --> 0:46:43.020 director after Soderbergh. It is such a fascinating and diverse. 0:46:43.020 --> 0:46:45.750 And like you said, Tom's weird filmography. His most recent 0:46:45.750 --> 0:46:49.170 film before this is this animated feature, Apollo ten and 0:46:49.170 --> 0:46:51.779 a half, which is like also has Glen Powell in it. 0:46:51.780 --> 0:46:55.650 It's about like a kid watching the space race is. 0:46:55.980 --> 0:46:57.510 I haven't seen it. I don't know if you guys 0:46:57.510 --> 0:47:01.760 have seen it, but. It throughout our probably most formative years, 0:47:01.760 --> 0:47:05.270 like the late 90s, the early 2000, Linklater was making 0:47:05.270 --> 0:47:08.690 either these like coming of age or very existential and 0:47:08.690 --> 0:47:12.169 like movies that philosophy borrows. Like you, Thomas at uni 0:47:12.200 --> 0:47:14.719 probably loved to watch and like talk to girls about. 0:47:14.719 --> 0:47:18.020 And just like has in hindsight made some of the 0:47:18.020 --> 0:47:21.050 best movies you know, in the past like 50 years. 0:47:21.200 --> 0:47:24.200 What were your relationships like to. To his work either 0:47:24.200 --> 0:47:25.700 either growing up or now. 0:47:26.340 --> 0:47:28.740 I talked about before sunset on a lot of first dates, 0:47:28.739 --> 0:47:31.380 if I'm being honest. Um, just as a way of 0:47:31.380 --> 0:47:34.050 getting that in there. No, I like and I rewatched 0:47:34.050 --> 0:47:35.969 that movie last night. I know it has become a 0:47:35.969 --> 0:47:38.040 kind of like, you know, almost a punchline for a 0:47:38.040 --> 0:47:42.060 certain type of person. It's still a great movie. I like, I, 0:47:42.060 --> 0:47:43.860 I think one of the, one of the movies I 0:47:43.860 --> 0:47:46.110 remember crying in quite openly was boyhood. Like, I thought 0:47:46.110 --> 0:47:49.230 that was an incredible feat of filmmaking. Like, I still 0:47:49.230 --> 0:47:51.180 reckon I could watch that movie and be, like, kind 0:47:51.180 --> 0:47:53.700 of messed up by it. Um, but then, but then, like, 0:47:53.700 --> 0:47:56.490 school of Rock is a fucking hilarious studio comedy, like 0:47:56.489 --> 0:48:00.060 with Jack black, probably in his best role. Like, it's. Yeah, 0:48:00.060 --> 0:48:02.759 I mean, it is funny, like thinking back about it, 0:48:02.760 --> 0:48:04.740 I would say he's like, in my kind of top, 0:48:04.980 --> 0:48:07.500 top five directors of all time. Like, he he has 0:48:07.500 --> 0:48:09.480 a beautiful kind of collection of work. And also I 0:48:09.480 --> 0:48:11.040 think and I think this might be true for both 0:48:11.040 --> 0:48:14.250 of you, his specific style, his like, so, you know, 0:48:14.250 --> 0:48:15.900 like the way he kind of picks up threads of 0:48:15.900 --> 0:48:17.640 conversations that you have in real life and puts them 0:48:17.640 --> 0:48:19.799 in movies, and it just feels so natural. Like that's 0:48:19.800 --> 0:48:21.360 very much the type of thing we're all into. We're 0:48:21.360 --> 0:48:23.370 all like, obviously big talkers. And so I just like 0:48:23.370 --> 0:48:26.460 love how well he captures the human condition. And yeah, um, 0:48:26.460 --> 0:48:28.920 I don't know, Before Sunrise trilogy, it's all just kind 0:48:28.920 --> 0:48:29.760 of there for me. 0:48:29.790 --> 0:48:34.440 Yeah. I also love the the boldness of the vision. 0:48:34.440 --> 0:48:37.410 Shooting the Before Sunrise films over such a long period 0:48:37.410 --> 0:48:40.800 of time. Boyhood over 12 years. The film he's working 0:48:40.800 --> 0:48:43.440 on now, I think is over 20 years. Right? Yeah. 0:48:43.440 --> 0:48:45.719 Merrily We Roll Along into Sondheim musical that I think 0:48:45.719 --> 0:48:48.930 is like set over 20 years. But he's like, he's cast, uh, 0:48:48.930 --> 0:48:53.040 Paul Mescal and he's going to film them over 20 years. Um, 0:48:53.040 --> 0:48:54.870 and I think the story, Merrily We Roll Along is 0:48:54.870 --> 0:48:59.339 sort of in reverse chronological order. So it's a fascinating project. 0:48:59.340 --> 0:49:01.890 I kind of am very interested to see if it 0:49:01.890 --> 0:49:03.690 works out. But he did it with boyhood. 0:49:03.719 --> 0:49:06.569 Yeah, exactly. And he'll be 80 by the time he 0:49:06.570 --> 0:49:09.810 finishes that. It does add something different and interesting to 0:49:09.810 --> 0:49:13.650 the films when you're getting these snapshots over time. I 0:49:13.650 --> 0:49:17.730 love his style. I think he's really interested in the 0:49:17.730 --> 0:49:21.090 fleeting moments, and it's kind of reflected in the plotlessness 0:49:21.090 --> 0:49:23.640 of a lot of these films, or even the subjects 0:49:23.640 --> 0:49:26.250 like Dazed and Confused, which are these teenagers kind of 0:49:26.250 --> 0:49:29.580 moving around. So whether he's in his more sentimental or 0:49:29.580 --> 0:49:35.610 funny phase, that interest in moments of time and coincidences 0:49:35.610 --> 0:49:38.880 and what can be and isn't and could be that 0:49:38.880 --> 0:49:41.370 runs through them all. And I really like that. 0:49:41.370 --> 0:49:44.670 Yeah, it's interesting how his films either like set on 0:49:44.670 --> 0:49:47.609 one day like the before trilogy or days confused or 0:49:47.610 --> 0:49:51.029 like over the space of decades. He's very interesting how 0:49:51.030 --> 0:49:54.149 he can, like, use time in that way. And I 0:49:54.150 --> 0:49:56.100 don't think it's cringe. Thomas, to say you like the 0:49:56.100 --> 0:49:58.770 before trilogy. I think maybe people made fun of people 0:49:58.770 --> 0:50:01.170 like us in uni, because we tried maybe to turn 0:50:01.170 --> 0:50:04.919 every first date into that experience. Um, but they're really good. 0:50:04.920 --> 0:50:07.950 And particularly the second one before Sunset. It's like ten 0:50:07.950 --> 0:50:10.890 years on, Ethan Hawke and Julie Delpy had more of 0:50:10.890 --> 0:50:13.620 a role in writing it. This is like just around 0:50:13.620 --> 0:50:17.010 the time or just after Ethan Hawke's separation from Uma Thurman. 0:50:17.010 --> 0:50:20.760 So there's so much like personal conflict poured into that, 0:50:20.760 --> 0:50:24.000 and it is super entertaining and super interesting and super 0:50:24.000 --> 0:50:28.530 thought provoking. I really love his kind of autobiographical cool, 0:50:28.530 --> 0:50:32.640 like dudes rock films like Dazed and Confused, which is 0:50:32.640 --> 0:50:35.700 McConaughey's breakout. Like, that is an awesome movie. And then 0:50:35.700 --> 0:50:37.440 a movie that I hadn't watched, believe it or not, 0:50:37.440 --> 0:50:41.310 until this weekend, is it's called, like, the spiritual successor 0:50:41.310 --> 0:50:44.100 to Daisy, confused, Everybody Wants Some. Dazed and confused is 0:50:44.100 --> 0:50:47.340 set in the 70s in Texas. This is set in 1980, 0:50:47.340 --> 0:50:50.730 and it's like a character very loosely based on Linklater, 0:50:50.730 --> 0:50:53.310 who goes to college on a baseball scholarship, and it's 0:50:53.310 --> 0:50:55.470 just set. Over the course of five days. He moves 0:50:55.469 --> 0:50:57.779 into this frat house and it's just before class starts. 0:50:57.780 --> 0:51:01.290 And it's there's a lot of echoes of this film 0:51:01.290 --> 0:51:04.980 in hitman, where it's about a young kid being exposed 0:51:04.980 --> 0:51:07.379 to these new ideas, these new kinds of music, new 0:51:07.380 --> 0:51:09.600 fashion styles, and trying to figure out who he is, like, 0:51:09.600 --> 0:51:11.520 who am I in this new world? I've come from 0:51:11.520 --> 0:51:13.500 this small town. Am I a punk? Like, that was 0:51:13.500 --> 0:51:15.719 kind of fun, but I'm actually like a country guy. 0:51:15.719 --> 0:51:17.970 I'm going to the Soul Train kind of disco nights. 0:51:17.969 --> 0:51:20.790 I want to like, meet girls. But what version of 0:51:20.790 --> 0:51:22.800 myself do I show off to do that, to kind 0:51:22.800 --> 0:51:24.810 of get all of those ideas and what is just 0:51:24.810 --> 0:51:27.510 like a teen comedy and kind of like a stoner 0:51:27.510 --> 0:51:30.450 comedy is really, really impressive. Um, and then he also 0:51:30.450 --> 0:51:32.609 has this other dynamic. I don't know if you guys 0:51:32.610 --> 0:51:36.390 have seen Bernie, the Jack black film. There's a really funny, 0:51:36.390 --> 0:51:40.140 interesting movie that is also based on a Skip Hollingsworth article. Uh, 0:51:40.140 --> 0:51:42.150 the guy who wrote the Hit man story about a 0:51:42.150 --> 0:51:45.870 real story about a funeral, uh, like Undertaker who ends 0:51:45.870 --> 0:51:49.620 up murdering a very wealthy older woman and taking her money. 0:51:49.830 --> 0:51:52.050 And it's very funny, and it's very, like, kind of 0:51:52.050 --> 0:51:55.230 dark in certain ways. And I feel like with Hit Man, 0:51:55.230 --> 0:51:56.910 what he's done. This is I promised you guys the 0:51:56.910 --> 0:51:59.969 grand unified theory of Linklater. I think. I think with 0:51:59.969 --> 0:52:03.390 Hit Man, he's taken the sort of fun vibe stuff 0:52:03.390 --> 0:52:07.410 that is always talked about independence and identity and what 0:52:07.410 --> 0:52:09.720 it means to be human. And he's merged it with 0:52:09.719 --> 0:52:12.900 the kind of more crime focused, like, how does America 0:52:12.900 --> 0:52:15.840 really work? Like, what are the systems that operate, and 0:52:15.840 --> 0:52:18.180 why do certain Americans do these things? And how do 0:52:18.180 --> 0:52:20.339 people end up on wrong sides of lawyers, brought them 0:52:20.340 --> 0:52:23.040 together in what is a pretty tight little package in 0:52:23.040 --> 0:52:25.140 this film. And I don't know if Merrily We Roll 0:52:25.140 --> 0:52:26.880 Along will ever come. Often. I don't know how many 0:52:26.880 --> 0:52:29.700 more movies he makes, but if this is like his, 0:52:29.700 --> 0:52:31.799 you know, putting it all in there and it's like 0:52:31.800 --> 0:52:33.719 his peak, it's a pretty fucking good peak for him 0:52:33.719 --> 0:52:34.890 to to go out on. 0:52:34.890 --> 0:52:37.410 Yeah. It's such a shame that he cast Paul Mescal though. 0:52:38.010 --> 0:52:41.399 I mean of all people. Yeah it is, it is 0:52:41.400 --> 0:52:44.160 like it's a very impressive kind of career. And you 0:52:44.160 --> 0:52:46.080 know he I think what you said he'll be in 0:52:46.080 --> 0:52:48.629 his 80s by the time he finishes. Um, and you know, 0:52:48.630 --> 0:52:50.819 there is obviously he's been doing the press rounds to 0:52:50.820 --> 0:52:53.069 promote this and he's talked about how like, oh, but 0:52:53.070 --> 0:52:55.680 I'd love to be making movies until, you know, I'm 0:52:55.680 --> 0:52:58.109 in I'm in my 90s, which is very impressive. But 0:52:58.110 --> 0:53:00.540 it is funny, like talking about obviously this obsession with 0:53:00.540 --> 0:53:03.690 identity and everything. And even now, like in his whatever, 0:53:03.690 --> 0:53:06.060 he must be in his 60s now and he's making 0:53:06.060 --> 0:53:09.000 films still exploring that concept. And he spoke about in 0:53:09.000 --> 0:53:11.730 an interview that I read recently like, well, like, do 0:53:11.730 --> 0:53:13.680 you I think the interview asked him, do you find 0:53:13.680 --> 0:53:15.540 that you're still searching for your identity? He's like, oh, look, 0:53:15.540 --> 0:53:17.760 to be honest, I think I've probably found it. And like, really, 0:53:17.760 --> 0:53:19.740 that is like I'm a film director, like I am 0:53:19.739 --> 0:53:22.500 my most myself on set. And do you think then 0:53:22.500 --> 0:53:25.620 if you look at like the Linklater filmography as a whole, 0:53:25.620 --> 0:53:28.200 like he's trying to tell us that you can eventually 0:53:28.200 --> 0:53:30.180 find who you are, are we supposed to find who 0:53:30.180 --> 0:53:31.799 we are or it doesn't really matter. And you can 0:53:31.800 --> 0:53:34.109 keep trying on new things, even into your 60s and 0:53:34.110 --> 0:53:35.250 70s and 80s. 0:53:35.250 --> 0:53:38.520 Yeah, I think that was the hit man. Kind of 0:53:38.520 --> 0:53:40.770 ended at the point that you can be whoever you 0:53:40.770 --> 0:53:45.060 want consistently, and remaking yourself is part of the experience 0:53:45.060 --> 0:53:47.819 of human life, that we're constantly coming of age. And 0:53:47.820 --> 0:53:50.790 the idea that you have to be one thing always 0:53:50.790 --> 0:53:54.300 and that you're not going to change. I think it 0:53:54.300 --> 0:53:57.450 was questioning that because as we as we've seen Glen 0:53:57.450 --> 0:53:59.759 Powell's complete transition over the course of the film, I 0:53:59.760 --> 0:54:02.489 think the end result is, yeah, you can be whoever 0:54:02.489 --> 0:54:03.240 you want to be. 0:54:03.239 --> 0:54:05.580 So that means I'm 35 today. I can cut this 0:54:05.580 --> 0:54:06.810 like it's like a do a refresh. 0:54:06.810 --> 0:54:08.430 Yeah, yeah. Who do you want to be? You're a 0:54:08.430 --> 0:54:09.989 denim jacket, dude. Now, I know. 0:54:09.989 --> 0:54:13.620 Maybe I might become like the bookish guy of the pod. 0:54:13.650 --> 0:54:16.500 I will become like the philosopher. Maybe we can do 0:54:16.500 --> 0:54:18.600 a switch up like a Freaky Friday. 0:54:18.600 --> 0:54:19.739 I'm excited to embody my. 0:54:19.980 --> 0:54:20.430 Every. 0:54:20.430 --> 0:54:23.400 Every episode. We should just reinvent our personalities. In honor 0:54:23.400 --> 0:54:27.120 of Richard Linklater. That's a very beautiful, uh, summation ummul 0:54:27.150 --> 0:54:30.180 of the the way that he's been in dialogue. This 0:54:30.180 --> 0:54:32.069 movie's in dialogue with a lot of his earlier films. 0:54:32.070 --> 0:54:35.219 If I had to hitman esque put a gun to 0:54:35.219 --> 0:54:38.310 your guys heads and say, tell me your favorite ever 0:54:38.310 --> 0:54:41.370 film by Richard Linklater, what would you say? 0:54:41.969 --> 0:54:45.180 Um, I, I'm going to say Before Sunrise. I still 0:54:45.180 --> 0:54:49.290 love it. I think about it a lot. It's the 0:54:49.290 --> 0:54:52.710 way it's this epic film, but it's told so intimately. 0:54:52.710 --> 0:54:54.540 And I don't know if you remember, there's this scene 0:54:54.540 --> 0:54:56.790 when Ethan Hawke and Julie Delpy, they put on a 0:54:56.790 --> 0:54:59.219 record and it's a Kath Bloom song, and it's this 0:54:59.219 --> 0:55:01.590 really long shot, and they're kind of looking at each 0:55:01.590 --> 0:55:04.050 other and then looking away, and it's so awkward, but 0:55:04.050 --> 0:55:07.920 it's so much possibility and potential. There's all this unspoken 0:55:07.920 --> 0:55:11.040 ness in the silence. I, I think I know, as 0:55:11.040 --> 0:55:12.839 we were saying before, that, you know, it's now got 0:55:12.840 --> 0:55:14.580 a reputation of being a bit naff and it's a 0:55:14.580 --> 0:55:18.270 bit of a punch line sometimes, but I still think 0:55:18.270 --> 0:55:21.780 it's a really spellbinding film that manages to do it 0:55:21.780 --> 0:55:24.300 without being treacly, sentimental. 0:55:24.630 --> 0:55:26.850 Yeah, I mean, yeah, it's an amazing series and kind 0:55:26.850 --> 0:55:29.520 of Osmond like you touched on before, it really made it. Okay. Um, 0:55:29.520 --> 0:55:31.799 in my broker years to just make dates where you 0:55:31.800 --> 0:55:34.560 just walked around for hours and it, it made it 0:55:34.560 --> 0:55:36.450 less cheap and more kind of romantic. But you were broke. 0:55:36.450 --> 0:55:38.190 Because you kept flying them to Vienna. I think that 0:55:38.190 --> 0:55:38.759 was the problem. 0:55:41.100 --> 0:55:43.920 Very good. Uh, I also love those films, but I 0:55:43.920 --> 0:55:46.259 would go with boyhood. Um, I remember being really, like, 0:55:46.260 --> 0:55:49.290 really properly blown away by the first time I saw that. And, 0:55:49.290 --> 0:55:52.529 you know, I was a boy once. Um, and, and 0:55:52.530 --> 0:55:54.510 so I think it like, it did really speak to 0:55:54.510 --> 0:55:56.700 me and just like, you know, I love films about 0:55:56.700 --> 0:55:59.400 family dynamics. I thought the in terms of a feat 0:55:59.400 --> 0:56:02.820 of filmmaking, it was so impressive. Um, Ethan Hawke, obviously 0:56:02.940 --> 0:56:05.400 such a long time Linklater collaborator, was incredible in that. 0:56:05.400 --> 0:56:08.129 And so was Patricia Arquette. Uh, yeah. I think, you know, 0:56:08.130 --> 0:56:12.209 it's we don't get many pieces of art that really, like, 0:56:12.210 --> 0:56:15.750 go so deep into helping us think about these things. Um, 0:56:15.750 --> 0:56:18.270 just the pure like effort he put into it really, like, 0:56:18.270 --> 0:56:20.279 takes you on that journey. And yeah, boyhood for me 0:56:20.280 --> 0:56:21.660 will always be an important film. 0:56:22.020 --> 0:56:24.330 Great recommendations. I think I got to go with Dazed 0:56:24.330 --> 0:56:27.360 and Confused, his second film. It's just like the amount 0:56:27.360 --> 0:56:31.080 of stars in that movie Ben Affleck, Parker Posey, Matthew McConaughey. Like, 0:56:31.080 --> 0:56:34.980 it's crazy. And it's just like, what happens? Nothing. But 0:56:35.010 --> 0:56:37.350 is it fun? Is it awesome? Do you think a 0:56:37.350 --> 0:56:40.950 little bit about, like, being nostalgic for a time that 0:56:40.950 --> 0:56:42.990 you never lived through? Like, that's the crazy thing about 0:56:42.989 --> 0:56:45.030 that movie. I want to go back to the 70s 0:56:45.030 --> 0:56:47.040 and my American high school and just drive around with 0:56:47.040 --> 0:56:49.469 my friends and, you know, just hang out and smoke 0:56:49.469 --> 0:56:51.270 weed and drink beer and play pool. I never fucking 0:56:51.270 --> 0:56:52.740 did that. I didn't live in America in the 70s. 0:56:52.739 --> 0:56:55.350 But he makes you want to do that in a 0:56:55.350 --> 0:56:58.080 way that is genuinely beautiful and very funny. And it's awesome. 0:56:58.080 --> 0:57:01.950 And watching that next to everybody wants some. I just 0:57:01.950 --> 0:57:03.660 think you're not gonna have a better four hours than, 0:57:03.660 --> 0:57:04.529 than doing that. 0:57:04.530 --> 0:57:06.600 Yeah, I agree, and there are so many great scenes 0:57:06.600 --> 0:57:09.120 in Dazed and Confused, the kind of whole conversation about, 0:57:09.120 --> 0:57:11.580 is it Barbara Bush that they have? Yeah, yeah. 0:57:11.580 --> 0:57:12.420 Yeah, yeah. 0:57:13.110 --> 0:57:14.790 It's uh, it's a great film. 0:57:14.790 --> 0:57:16.890 Yeah. And he gave us McConaughey, which is really like 0:57:16.890 --> 0:57:18.150 the gift that keeps on giving. 0:57:18.150 --> 0:57:22.350 Absolutely. Um, okay, so time to wrap up the show 0:57:22.350 --> 0:57:25.900 with our Impress Your Friend segment. We'll. We recommend something 0:57:25.900 --> 0:57:29.650 we watched listen to read otherwise consumed in the wake 0:57:29.650 --> 0:57:32.860 of culture. I'll go first. It's a cheat because I 0:57:32.860 --> 0:57:35.770 have been very both busy and ill and have just 0:57:35.770 --> 0:57:39.310 watched Richard Linklater films for the past week, so mine 0:57:39.310 --> 0:57:40.870 is a theme that we've referenced a couple of times 0:57:40.870 --> 0:57:43.510 on this podcast. It's an interview that Richard Linklater did 0:57:43.510 --> 0:57:46.689 with The New York Times for their The Interview podcast. 0:57:46.690 --> 0:57:49.300 It's a really interesting format. They basically do this big 0:57:49.300 --> 0:57:52.810 interview with a personality that chalerm and the God on 0:57:52.810 --> 0:57:54.760 a couple of weeks ago, and then they check back 0:57:54.760 --> 0:57:56.590 in with that person, like a few days later after 0:57:56.590 --> 0:58:00.460 something's happened and just get their delayed reactions to the 0:58:00.460 --> 0:58:02.620 things that they talked about. It's a really interesting format. 0:58:02.620 --> 0:58:05.590 It's a cool interview series, and the Linklater one is 0:58:05.590 --> 0:58:08.110 just like, really wonderful. Even if you haven't seen the 0:58:08.110 --> 0:58:10.390 film yet, it's great, but I think it reaches like 0:58:10.390 --> 0:58:12.550 another depth of meaning when you've seen the film and 0:58:12.550 --> 0:58:14.830 you understand what he's talking about, what he's trying to do. 0:58:14.830 --> 0:58:16.000 So that's my rec. 0:58:16.000 --> 0:58:18.490 Yeah, it's really cool in that interview. Exactly that how 0:58:18.490 --> 0:58:20.410 it works. Because he asks him a question I think 0:58:20.410 --> 0:58:22.540 specifically about, like, do you still enjoy movies in the 0:58:22.540 --> 0:58:24.460 same way as you did back in your era, when 0:58:24.460 --> 0:58:26.650 you would watch 600 a year? And he gives a 0:58:26.650 --> 0:58:28.840 kind of, you know, an answer in the first interview, 0:58:28.840 --> 0:58:30.490 and then when they catch up a few days later, 0:58:30.490 --> 0:58:31.750 he kind of comes to him and he's like, hey, 0:58:31.750 --> 0:58:34.090 I really like, you know, sat on that question and 0:58:34.090 --> 0:58:36.220 I feel like I didn't give the question the answer 0:58:36.220 --> 0:58:37.810 it deserves. So like, I love how they do that 0:58:37.810 --> 0:58:40.000 kind of split interview and like, you kind of get 0:58:40.000 --> 0:58:42.100 like a different sense of the person a few days later. 0:58:42.100 --> 0:58:42.460 And I also. 0:58:42.460 --> 0:58:45.040 Think Richard Linklater in all these interviews, just comes across 0:58:45.040 --> 0:58:47.200 as a great guy. And Dennis and I were talking 0:58:47.200 --> 0:58:49.780 earlier about how his whole aesthetic, he kind of seems 0:58:49.780 --> 0:58:52.570 like the guy who should be a sound engineer at. Yeah, 0:58:52.780 --> 0:58:55.240 at a gig. Yeah, yeah, he's just none of the 0:58:55.240 --> 0:58:58.450 pretension of an auteur, which, you know, sometimes is fun, 0:58:58.450 --> 0:59:01.360 but he just seems like a good human, too. 0:59:01.360 --> 0:59:01.690 Yeah. 0:59:01.720 --> 0:59:04.270 No, he seems like a cool guy. I'm into him, obviously. 0:59:05.230 --> 0:59:07.690 Um. Thomas, what have. 0:59:07.690 --> 0:59:09.790 You got for us? Uh, my one, this is actually 0:59:09.790 --> 0:59:11.440 this one you can impress your friends with next week 0:59:11.440 --> 0:59:13.900 when this comes out, but it's actually the new standard. 0:59:13.930 --> 0:59:17.320 Everything must go from Hannah Einbinder from hacks. Now, look, 0:59:17.320 --> 0:59:18.880 I would say hacks. I don't know about you guys, 0:59:18.880 --> 0:59:21.370 but everyone in my circle is, like, really watching and 0:59:21.370 --> 0:59:22.570 loving season three. 0:59:22.660 --> 0:59:23.410 Absolutely. Yeah. 0:59:23.410 --> 0:59:25.570 It's like, you know, season three can be a tricky 0:59:25.570 --> 0:59:27.850 time for comedy shows. I feel like hacks is like 0:59:27.850 --> 0:59:30.640 leveled up again. It's just been renewed for season four, 0:59:30.640 --> 0:59:33.400 which you can watch on Stan. Um, I haven't seen 0:59:33.400 --> 0:59:35.740 her do stand up before. Um, I got sent the screener. 0:59:35.740 --> 0:59:38.860 It's very, very funny. She talks, you know, about her faith, 0:59:38.860 --> 0:59:42.310 her obviously, her sexuality, her family. You know, her parents 0:59:42.310 --> 0:59:45.070 went to, like, insane lengths, you know, kind of doing these, 0:59:45.070 --> 0:59:47.770 you know, like, rituals and recommendations to try and have 0:59:47.770 --> 0:59:49.390 a boy. And they had her and she tells some 0:59:49.390 --> 0:59:51.460 really funny stories about that. She's kind of having a 0:59:51.460 --> 0:59:54.070 moment right now anyway. But that's, uh, Everything Must Go, 0:59:54.070 --> 0:59:57.520 which hits binge, uh, on Thursday, June 13th. But I'm 0:59:57.520 --> 0:59:59.140 telling you now, it will impress your friends when you 0:59:59.140 --> 1:00:00.730 watch them and tell them to watch it, too. 1:00:00.760 --> 1:00:02.530 She plays Ava on Hacks. 1:00:02.530 --> 1:00:04.689 Yes, she plays Ava, the young, kind of like comic. 1:00:04.690 --> 1:00:06.910 Yes, she's very good. And you've also been reading a 1:00:06.910 --> 1:00:08.980 book that we talked about on the pod when you 1:00:08.980 --> 1:00:10.030 were away? Yes. 1:00:10.030 --> 1:00:13.270 All fours by Miranda July. Fuck me. It's amazing. But 1:00:13.270 --> 1:00:15.100 not only that. Oseman, I've been meaning to tell you this. 1:00:15.100 --> 1:00:18.280 I am reading Mel's copy, which has been like, oh my. 1:00:18.280 --> 1:00:19.570 God, dog eared. There's notes in. 1:00:19.570 --> 1:00:23.680 There. Oh my God, the underlining is so revealing. Um, also, 1:00:23.680 --> 1:00:25.570 there's like all these I need like a legend to 1:00:25.570 --> 1:00:28.240 read it because, like, there's like arrows here and then 1:00:28.240 --> 1:00:31.030 like squiggles here and then like, must revisit. It's like, 1:00:31.030 --> 1:00:33.730 so stressful to read Mel's notes. She's having like, as 1:00:33.730 --> 1:00:35.830 I get deeper into the book, she's having like, a breakdown. 1:00:35.830 --> 1:00:36.220 This is. 1:00:36.220 --> 1:00:37.030 Why I did not. 1:00:37.030 --> 1:00:39.130 Want to give you this book. Why can you can 1:00:39.130 --> 1:00:39.400 you pass. 1:00:39.400 --> 1:00:40.120 It on to me when you're. 1:00:40.120 --> 1:00:40.630 Done, please? 1:00:40.630 --> 1:00:43.540 No, no. Yes. This is like the inner workings. 1:00:43.540 --> 1:00:45.760 But to your credit, Mel, and to your defense, rather, 1:00:45.760 --> 1:00:47.890 I should say you were interviewing Miranda July. Right? So 1:00:47.890 --> 1:00:50.590 presumably this was like note taking, or is it just 1:00:50.590 --> 1:00:53.410 something you do, like you're reading Little Women and you're like, 1:00:53.410 --> 1:00:55.630 God damn, that fucking line. 1:00:55.630 --> 1:00:57.010 Has never hit harder. 1:00:57.310 --> 1:00:59.890 The fact you picked little women, I mean, I've got 1:00:59.890 --> 1:01:03.250 to give you I've got to give you credit for that. Uh, no, 1:01:03.250 --> 1:01:05.170 it was in preparation for the interview. That's not my 1:01:05.170 --> 1:01:07.840 normal reading habit. But you are right, I do have. 1:01:07.840 --> 1:01:10.180 I have worked out such a good system that you 1:01:10.180 --> 1:01:13.150 really do need a legend to understand what the different signs, 1:01:13.150 --> 1:01:15.340 symbols and things mean. 1:01:15.340 --> 1:01:17.260 There's a lot going on. But the book, uh, you've 1:01:17.260 --> 1:01:19.240 obviously read it. Uh, Osman. It's amazing. Lots of people 1:01:19.240 --> 1:01:20.620 I know are reading it. Um, so I don't need 1:01:20.620 --> 1:01:22.060 to recommend it to anyone because I feel like it's 1:01:22.060 --> 1:01:25.570 out there. But yes. Um, as someone who's often considered myself, 1:01:25.570 --> 1:01:29.080 you know, worthy of working at a Hertz rental car service, 1:01:29.080 --> 1:01:30.610 I really I really enjoy it. 1:01:30.730 --> 1:01:33.850 Nice one. Um, Mel. Lucky last. What have you. 1:01:33.850 --> 1:01:34.300 Got? 1:01:34.300 --> 1:01:37.240 Well, if I got to do the Glenn Powell switcheroo 1:01:37.240 --> 1:01:39.700 and kind of had my time again, I often think 1:01:39.700 --> 1:01:43.180 I would love to be an art historian or an 1:01:43.180 --> 1:01:45.790 art curator, so I often read a lot of books 1:01:45.790 --> 1:01:48.430 about art. The one I've read at the moment is 1:01:48.430 --> 1:01:51.460 called The Story of Art Without Men. It's by Katy Hessel, 1:01:51.490 --> 1:01:54.520 who was at the Sydney Writers Festival just recently. She's 1:01:54.520 --> 1:01:57.040 an art historian, a presenter, she's a curator. She's got 1:01:57.040 --> 1:02:00.010 this great Instagram page, um, and a podcast called The 1:02:00.010 --> 1:02:03.610 Great Women Artists. She's done a history of Western art 1:02:03.610 --> 1:02:07.480 movements from the 1500s to the 2020s. It's a really 1:02:07.480 --> 1:02:11.620 nicely engaging, like it's very readable. It's not an austere 1:02:11.620 --> 1:02:14.110 art history book, and it's kind of a response to 1:02:14.110 --> 1:02:16.630 the classic chronicle, The Story of Art. It was published 1:02:16.630 --> 1:02:19.900 in 1950, and it was only recently updated to include 1:02:19.900 --> 1:02:23.710 one woman in it. So it's almost a response to that. Wow. 1:02:23.710 --> 1:02:26.660 It's a beautiful book. My own. Issue is its hardback 1:02:26.930 --> 1:02:29.870 gloss pages. It is so heavy. I'm like working out 1:02:29.870 --> 1:02:31.880 every time I read it. Or at least are there like. 1:02:31.880 --> 1:02:32.570 Pictures of. 1:02:32.570 --> 1:02:34.130 Art in it? Is it like pretty inside? 1:02:34.130 --> 1:02:36.380 There are. It's very pretty. Lots of pictures to keep 1:02:36.380 --> 1:02:37.100 you engaged. Did you know. 1:02:37.280 --> 1:02:41.210 That in 1989, less than 5% of the artists in 1:02:41.210 --> 1:02:44.690 the modern art sections of British galleries are women, but 85% 1:02:44.690 --> 1:02:46.340 of the nudes were women. 1:02:46.730 --> 1:02:50.720 Wow. I didn't know that specific statistic, but it makes 1:02:50.720 --> 1:02:51.380 it stacks up. 1:02:51.500 --> 1:02:53.780 That I read that in a review I just pulled 1:02:53.780 --> 1:02:55.580 up of this book, so it sounds very interesting. 1:02:55.580 --> 1:02:58.550 That's actually Osman keeps a blog about statistics around nudes. 1:03:00.680 --> 1:03:03.170 Well, I will uh, this one. I haven't made notes 1:03:03.170 --> 1:03:05.780 in it because I preserved the sanctity of this art. 1:03:05.810 --> 1:03:08.330 Hard copy books. I feel like you can't. Like it feels. 1:03:08.330 --> 1:03:09.200 That feels wrong. 1:03:09.200 --> 1:03:10.760 Yes. And can I just say it would not be 1:03:10.760 --> 1:03:13.250 a book recommendation without me discussing the cover? It's been 1:03:13.250 --> 1:03:15.890 sitting on Mel's desk. This cover will look hectic on 1:03:15.890 --> 1:03:19.010 your Instagram. It's big and yellow with like blocky text. 1:03:19.010 --> 1:03:21.050 It's a very cool cover. So yeah, even if you 1:03:21.050 --> 1:03:22.850 want to buy it but not read it or you 1:03:22.850 --> 1:03:25.160 get bored by it, it's definitely worth, um, posting about. 1:03:25.160 --> 1:03:27.620 Yeah, you can impress your friends without actually having to 1:03:27.620 --> 1:03:28.160 do any work. 1:03:28.160 --> 1:03:28.610 We need to. 1:03:28.610 --> 1:03:31.340 Add a section to this, which is just what Tomas 1:03:31.340 --> 1:03:34.190 recommends for you to post on your Instagram without having 1:03:34.190 --> 1:03:35.209 consumed to just seem. 1:03:35.210 --> 1:03:37.040 Cool. Exactly. 1:03:37.430 --> 1:03:38.060 Sorry my love. 1:03:38.120 --> 1:03:40.340 Mel and Thomas take it Thomas, have a great rest 1:03:40.340 --> 1:03:42.170 of your birthday. Up the blues. 1:03:42.170 --> 1:03:43.850 Yes thank you. I will let you know what my 1:03:43.850 --> 1:03:44.810 new identity is. 1:03:44.810 --> 1:03:45.950 Happy birthday, big T! 1:03:49.780 --> 1:03:52.840 This episode of The Drop was produced by Kai Wong. 1:03:52.870 --> 1:03:55.060 If you enjoyed listening to today's episode of The Drop, 1:03:55.060 --> 1:03:57.580 make sure to follow us in your favorite podcast app. 1:03:57.580 --> 1:03:59.710 Leave us a review or better yet, share the episode 1:03:59.710 --> 1:04:02.500 with a friend. I'm Osman Farooqui. See you next week!