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UU: Let's do it.

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S1: Hey there. I'm Osman Farooqui and this is The Drop,

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S1: a culture show from the Sydney Morning Herald and The Age,

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S1: where we dive into the latest in the world of

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S1: pop culture and entertainment. I'm here with Thomas Mitchell and

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S1: Mel Kambouris. Mel, very special guest appearance from me this

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S1: week because you're on leave. You've been moving house. How's

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S1: it all going?

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S2: What an intro. Thank you. It's going well. Most of

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S2: the unpacking is completed, but I could not resist the

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S2: opportunity to go to yet another movie with Thomas Mitchell.

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S2: Three out of three we've gone to together. So, you know,

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S2: I had to come back for this one.

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S1: Why Keeping this going to the movie, train going. It's fun.

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S1: I'm really jealous of you guys. You send me a

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S1: selfie every time you go to the movies together. And

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S1: you did that with this film, Wes Anderson's Asteroid City

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S1: that we're going to be talking about. I also saw

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S1: this film, but I was all alone. I had no

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S1: one to take a selfie with.

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S2: That's so sad. Yeah, we got to sit next to

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S2: each other. We had the entire theater set to ourselves

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S2: and I'm kind of getting a grip around Thomas's habits.

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S2: I know. I let him down yesterday. He messaged me

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S2: about two minutes before we went in saying, Did you

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S2: get snacks? I was like, No, I didn't know. You didn't.

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S3: As well. Like, you're on holidays.

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S2: I should have got you snacks. But then we got

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S2: a cookie for Thomas. So he was happy. So yeah,

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S2: it's been a it was a macadamia one. You went

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S2: for it.

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S3: It was it was actually pretty funny. We were seeing

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S3: the movie in this, like, theater at, at a, you know,

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S3: the company putting it on for us. And we got

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S3: there and there was this huge spread, like amazing catering.

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S3: And then I was like, God, this seems like a

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S3: lot for us. And Mel was like, Oh, no. Like

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S3: they probably trying to make us feel really welcome. It

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S3: was like. Like slabs of lasagna and like, chicken. I'll

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S3: get you. As we know, I'm quite hungry, so I

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S3: was just about to get into it and I was like, Oh, no,

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S3: we're having like a team building thing. So if you

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S3: can just. No, not touch the lasagna. How's that? Well,

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S3: this is the worst day of my life.

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S1: My screening was at 930 in the morning, which is

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S1: an odd time to watch a movie. And, in fact,

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S1: the cinema was not open yet and had those, like,

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S1: shutters down. I had to, like, knock on the shutter

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S1: and say, Hey, I'm here for this. And like, oh,

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S1: you're the guy here to see Wes Anderson's film. And

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S1: I'm like, It makes me seem like a real weirdo.

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S1: I don't know what they knew the context to it

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S1: that I needed to watch it so I could talk

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S1: about it. Not because I'm some sort of freak that

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S1: just wants to watch this movie at 930 in the

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S1: morning all alone. I don't know what's going to say something,

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S1: make fun of me. And so did I.

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S2: I thought it was best just to let the alone

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S2: kind of sit.

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S3: I mean, of all the movies to see at 930

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S3: in the morning all alone, this is probably, I guess

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S3: it kind of fits. Like it's a strange film, really.

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S1: It is a strange film. So today on the Drop,

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S1: we're going to be talking about Wes Anderson and his

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S1: latest film, Asteroid City.

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S4: You're not here.

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S5: We're not there. The car exploded. Come get the girls.

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S5: I have to stay here with Woodrow. I'm not the.

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S6: Chauffeur. I'm the grandfather. Where are.

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S5: You? Asteroid City Farm, Route six mile 75.

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S7: Last Train Junior, Stargazers and Space Cadets. Each year we

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S7: celebrate Asteroid day commemorating September 23rd, 3007 BC, when the

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S7: arid Plains meteorite made Earth impact Bam, bam.

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S1: It's out this week. We have obviously seen it. We're

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S1: going to be talking about the film itself. We're kind

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S1: of fits within Wes's filmography more broadly and I guess

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S1: his work and impact over the years. And interestingly, you know,

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S1: his kind of resurgence thanks to TikTok. And we saw

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S1: a lot of kind of AI generated Wes Anderson memes

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S1: and videos this year. So there's a fair bit to

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S1: dig into. I feel like this movie I was thinking

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S1: about where to start with it because it is an

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S1: interesting one. Even though Wes has been known throughout his

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S1: career for a very specific and defined aesthetic style, he's

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S1: also been known for his stacked casts. Right? This is

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S1: the guy who puts a lot of big name, top

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S1: tier actors into his movies, but he's kind of seems

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S1: to be setting a challenge for himself with every movie. Like,

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S1: who else can I jam into this so that when

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S1: you are told who's in the new Wes Anderson joint,

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S1: you're like, Wow, that's amazing. That's everyone. I've got to

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S1: go see this movie. So I thought, Well, we could

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S1: start is actually just by acquiescing to the guy and

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S1: doing a bit of a roll call of who is

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S1: in Asteroid City because it's a lot of people.

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S3: Should we just talk about who's not in it? It

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S3: might be faster. Yeah.

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S1: I mean, there's like Wes Anderson favorites like Jason Schwartzman,

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S1: Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton. Then you've

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S1: got Scarlett Johansson, Tom Hanks, who seems to be taking

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S1: over the Bill Murray sort of a role. Bill Murray

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S1: has some complications in the acting world that Wes presumably

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S1: doesn't want to doesn't want to get into.

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S3: I wondered if that was the case because Bill Murray

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S3: obviously famously like every Wes Anderson movie and I and

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S3: that was essentially a Bill Murray shaped hole in the film.

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S3: And do you reckon they're just like, well, like, oh God,

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S3: he's cancer. We better get who else? Who else is

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S3: like around?

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S2: I believe publicly they said it was a scheduling issue

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S2: which could be a euphemism for. Yeah.

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S1: Yeah. I don't think Bill Murray's working that much at

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S1: the moment. We've also got Liev Schreiber, Rupert friend, Maya Hawke,

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S1: Steve Carell, Matt Dillon, Hong Chao, Willem Dafoe, Margot Robbie.

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S1: She's back. That's great. We just loved her and Bobby

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S1: a couple of weeks ago and here she is.

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S2: That was a great moment.

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S1: Tony Revolori, who made his debut in Wes Anderson's Grand

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S1: Budapest Hotel and Jeff Goldblum playing an alien. I don't

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S1: know how you guys reacted to because the credits kind

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S1: of come on at the start of the movie and

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S1: it tells you who's in it. And one of the

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S1: things that happens in the first like 30s is this

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S1: thing popping up saying Jeff Goldblum as the alien. I

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S1: was like, Well, okay, there's an alien in this movie.

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S3: Well, I was shocked because, like, wasn't it three years

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S3: ago that Richard Wilkins killed him off? So it's amazing

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S3: that not only is he back, but he's playing an alien.

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S3: So Jeff Goldblum, really, you know, talk about a resurgence.

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S2: Yeah, I feel like that must have been that's a

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S2: very tongue in cheek credit, right? Because he didn't there

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S2: were no lines for the alien, were there Now.

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S3: But you do see him as Jeff Goldblum at one point,

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S3: like backstage in the alien costume.

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S2: Oh, true, true, true.

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S1: Yeah. This is the structure of this movie is a

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S1: fascinating one that that I'm keen to talk to you

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S1: guys about before we finish on the cast. Three more

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S1: that we've kept in surprise because our faves from succession pretty,

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S1: pretty highly represented on this set. So Adrien Brody, he

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S1: plays a character called Schubert Green, who is a director

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S1: in this. Obviously he had a fantastic cameo in succession

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S1: a few seasons ago. Our guy Hugo Fish, Steven's little,

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S1: little thin necked Hugo.

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S2: We was so excited. That was on the turtle. That

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S2: was a great moment in the cinema, though. We were

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S2: shocked and happy.

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S3: The most excited I got throughout the whole film. Oh,

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S3: my God, it's Hugo. Yeah.

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S2: Like, did you see? Did you see?

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S1: He plays the detective. And my favorite Hope Davis, who

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S1: plays Sandy in succession, who plays like daughter Sandy, not

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S1: older wheelchair guy Sandy. Who does she play in this

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S1: Wes Anderson film? Thomas What's the name of her character?

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S3: She plays a character called Sandy, so I appreciate Wes

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S3: having a mini kind of succession universe crossover just to

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S3: make things easy and convenient.

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S1: Wes has watched succession, right? Like that's why Fisher Stevens

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S1: is in this film. That's what I hope David is

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S1: playing Sandy 100%. So I've referenced a couple of times

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S1: how complicated and multi-layered the plot of this film is.

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S1: Let's get into it before we kind of share our thoughts.

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S1: And we're going to keep this spoiler free as best

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S1: as we can. But essentially with Asteroid City, which is

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S1: his 11th film, it felt quite different to what we've

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S1: seen from Wes before. A lot more Metatextual I think

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S1: we've got these three different layers to this film. Essentially

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S1: the first point of entry we watch Bryan Cranston, he's

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S1: a narrator hosting a kind of anthology TV show that

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S1: seems like it's set in the 50s and he's telling

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S1: us a story. About the making of a play. This

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S1: play is written by Edward Norton's character, Conrad Earp. We

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S1: then kind of enter the second layer, which is the

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S1: writing of this play, as Edward Norton is trying to

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S1: figure out what the hell he's trying to say and

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S1: how the play comes together. The play is called Asteroid City.

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S1: It's a three act play and it's about a small

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S1: town in the middle of the desert named after a

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S1: meteor that hit that sort of region 5000 years ago.

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S1: We then enter the third layer of this film, which

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S1: is like the play within the TV show, within the film.

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S1: So we are now just like watching this play unfold.

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S1: But that's what the film Asteroid City is to us.

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S1: And all sorts of like folks are gathering and Asteroid

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S1: City Jason Schwartzman character seems to be like the main

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S1: primary protagonist here. Things start to get a little bit weird.

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S5: I don't like the way that guy looked at us.

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S5: The alien. How did he look like? We're doomed.

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S8: Maybe we are.

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S9: I've just been born the president. How long can they

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S9: keep us in Asteroid city?

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S10: Legally, the world will never be the same.

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S1: Jeff Goldblum's alien appears. The town gets put in quarantine.

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S1: And it's one of these classic Wes Anderson films where, like,

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S1: a lot happens, but not really anything happens. It is

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S1: a wacky film. I feel like the three of us

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S1: have pretty different views on it, actually, which I'm really

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S1: excited about because sometimes when we all agree, it can

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S1: get boring for us and it can get boring for listeners,

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S1: but this one might be a little bit more spicy.

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S1: What did you guys make of this unusually structured Wes

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S1: Anderson feature?

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S3: Yeah, I've been thinking a lot about how to answer

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S3: this question, and I think the best way I can

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S3: explain it is this. Like, I went to visit my

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S3: dad recently and it was like 7 or 8:00 in

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S3: the morning and he was like lying on the lounge,

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S3: eating a Cubano sandwich and watching a YouTube documentary about

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S3: like the making of The Godfather. And I was like,

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S3: Is everything okay here? And then without like missing a beat,

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S3: he was like, I'm just doing things for me now.

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S3: And like that to me is where Wes Anderson is at.

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S3: He's in he's like breakfast, Cubano era. He's just like

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S3: doing things for Wes. He has gone full Wes Anderson Like,

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S3: I don't think he gives a fuck anymore. And like

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S3: walking out of that center, I was like, There are

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S3: things I kind of like about this movie and I

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S3: like Wes Anderson, but I just think he's gone so

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S3: self-indulgent and like, he basically doesn't care if the audience

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S3: is on board or not. He's got such Wes sycophants that, yeah,

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00:10:30,380 --> 00:10:33,650
S3: he's just smashing that Cubano and and doing his thing.

222
00:10:33,650 --> 00:10:36,200
S2: What about it did you find particularly self-indulgent?

223
00:10:36,320 --> 00:10:37,939
S1: So before we get to that, a Cubano is like

224
00:10:37,940 --> 00:10:39,180
S1: a Cuban sandwich. Like. Yeah.

225
00:10:39,559 --> 00:10:41,990
S3: Yeah, yeah. Great. Yeah. Which is delicious.

226
00:10:42,010 --> 00:10:44,060
S1: When I'm just visualizing your dad lying on the couch

227
00:10:44,059 --> 00:10:45,890
S1: watching this. I want to know exactly. Yeah.

228
00:10:45,890 --> 00:10:47,990
S3: And I and I love a Cubano, but at 7:00

229
00:10:47,990 --> 00:10:50,870
S3: in the morning, that's like a big. That's a big choice.

230
00:10:50,870 --> 00:10:51,830
S2: That's a warning sign.

231
00:10:51,830 --> 00:10:54,229
S3: Yeah. Yeah, that's a cry for a delicious cry for help.

232
00:10:54,230 --> 00:10:56,870
S1: Yeah, but yeah, like, like, like Melo's like I'm keen on,

233
00:10:56,870 --> 00:10:59,000
S1: on what you mean by how he leaned into the

234
00:10:59,000 --> 00:11:00,320
S1: self-indulgence here with this one.

235
00:11:00,320 --> 00:11:02,630
S3: Well, everyone knows that his movies, like, aren't very accessible.

236
00:11:02,630 --> 00:11:04,730
S3: You don't go and see a Wes Anderson film and

237
00:11:04,730 --> 00:11:07,730
S3: expect for it to kind of be like easy to

238
00:11:07,730 --> 00:11:08,450
S3: figure out.

239
00:11:08,570 --> 00:11:10,189
S2: It's not the bear. No, exactly.

240
00:11:10,730 --> 00:11:13,010
S3: I mean, don't even compare it to the bear. But

241
00:11:13,010 --> 00:11:17,059
S3: like this, even like even French Dispatch, which was pretty weird,

242
00:11:17,059 --> 00:11:21,440
S3: or Grand Budapest, which was probably his most commercial ish recently,

243
00:11:21,440 --> 00:11:23,989
S3: but like this one, it just felt like, you know,

244
00:11:23,990 --> 00:11:26,660
S3: it was still tackling some of the classic Wes Anderson

245
00:11:26,660 --> 00:11:30,140
S3: themes of like grief and love and death and creativity.

246
00:11:30,140 --> 00:11:33,110
S3: But it just felt so in, you know, like there

247
00:11:33,110 --> 00:11:36,230
S3: was so much kind of like so much layering and

248
00:11:36,230 --> 00:11:38,150
S3: so much like trying to figure out what was going

249
00:11:38,150 --> 00:11:42,320
S3: on and like, style over substance. And I just felt

250
00:11:42,320 --> 00:11:46,130
S3: like it'll be absolutely lapped up by the Wes Anderson

251
00:11:46,130 --> 00:11:48,890
S3: sycophants who were like, Oh, everything he does is amazing.

252
00:11:48,890 --> 00:11:53,450
S3: But I think especially in the context of having really

253
00:11:53,450 --> 00:11:58,610
S3: enjoyed the Bobby Oppenheimer phenomenon to great kind of traditional films,

254
00:11:58,610 --> 00:12:01,729
S3: but that really strong like plot and narrative, it just

255
00:12:01,730 --> 00:12:04,520
S3: felt a bit like, I don't know, I don't know

256
00:12:04,520 --> 00:12:07,400
S3: if this era of filmmaking is for me right now.

257
00:12:07,910 --> 00:12:10,550
S2: I think I'm probably a bit more sympathetic to the movie.

258
00:12:10,550 --> 00:12:14,630
S2: I love Wes's worldview and I love the aesthetic of it.

259
00:12:14,630 --> 00:12:18,110
S2: I love the kind of stilted scripts I would, and

260
00:12:18,110 --> 00:12:21,170
S2: we'll watch every Wes Anderson film because I enjoy his

261
00:12:21,170 --> 00:12:26,240
S2: imagination and being part of that fantasy, whimsical land. But

262
00:12:26,240 --> 00:12:29,720
S2: I didn't really think he did anything different in this film. Like, yes,

263
00:12:29,720 --> 00:12:32,360
S2: there were some more layers, but those kind of layers

264
00:12:32,360 --> 00:12:35,870
S2: aren't necessarily entirely unique. Like he used a different framing

265
00:12:35,870 --> 00:12:38,719
S2: device is true, but I still thought it was very

266
00:12:38,720 --> 00:12:40,790
S2: classic Wes Anderson, and I don't think it was one

267
00:12:40,790 --> 00:12:43,280
S2: of his best. And to be honest, I left kind

268
00:12:43,280 --> 00:12:46,400
S2: of not feeling much because it met my expectations of

269
00:12:46,400 --> 00:12:48,980
S2: what I thought this film would be. It was very classic.

270
00:12:48,980 --> 00:12:52,640
S2: Wes Anderson. I don't think it was extreme Wes Anderson

271
00:12:53,059 --> 00:12:54,800
S2: or I don't think it was different. Wes Anderson It

272
00:12:54,800 --> 00:12:57,020
S2: was just very much what I've come to know and

273
00:12:57,020 --> 00:12:58,459
S2: like about Wes Anderson.

274
00:12:58,790 --> 00:13:01,760
S1: Yeah, that's really interesting. I was thinking in my head like,

275
00:13:01,760 --> 00:13:05,450
S1: where does this fit compare? To his most recent work,

276
00:13:05,450 --> 00:13:08,900
S1: things like French Dispatch, Isle of Dogs, kind of Grand Budapest.

277
00:13:08,900 --> 00:13:11,800
S1: I have not enjoyed what he's done since Grand Budapest.

278
00:13:11,809 --> 00:13:14,690
S1: I didn't really vibe with Isle of Dogs and I

279
00:13:14,690 --> 00:13:17,809
S1: really didn't like French dispatch, and I know that some

280
00:13:17,809 --> 00:13:21,020
S1: people did. But I thought that framing divisive. It's the

281
00:13:21,020 --> 00:13:24,970
S1: New Yorker magazine told via film was so up it's

282
00:13:25,010 --> 00:13:27,260
S1: just I was like, I cannot get around this. And

283
00:13:27,260 --> 00:13:31,070
S1: he was trying to tackle these complicated issues around like,

284
00:13:31,070 --> 00:13:34,160
S1: you know, the Paris Revolution in 1968. But that boils

285
00:13:34,160 --> 00:13:38,390
S1: down to Timothee Chalamet fucking Frances McDormand. I'm like, What

286
00:13:38,390 --> 00:13:40,729
S1: are you doing here? So I've been coming off a

287
00:13:40,730 --> 00:13:44,060
S1: pretty low base for Wes stuff. My relationship to Wes

288
00:13:44,059 --> 00:13:47,090
S1: stuff in the last 4 or 5 years. And I

289
00:13:47,090 --> 00:13:50,270
S1: found Asteroid City to be more interesting than any of

290
00:13:50,270 --> 00:13:55,940
S1: those movies. I found the narrative conceit interesting, but the

291
00:13:55,940 --> 00:13:57,440
S1: more I thought about it, the more I thought it

292
00:13:57,440 --> 00:14:00,949
S1: was probably one layer too complicated. Like, I don't hate

293
00:14:00,950 --> 00:14:03,500
S1: the idea of like the play within the movie. Like

294
00:14:03,500 --> 00:14:06,950
S1: this is a story of how artists grapple with art

295
00:14:06,950 --> 00:14:08,600
S1: and what they're trying to say and what does it

296
00:14:08,600 --> 00:14:11,420
S1: mean to make a play. Or I guess like in

297
00:14:11,420 --> 00:14:13,459
S1: this instance, I couldn't help thinking that Wes is really

298
00:14:13,460 --> 00:14:16,580
S1: talking about making movies and using the playwright as a

299
00:14:16,580 --> 00:14:20,120
S1: stand in, because you've got this tension between a writer,

300
00:14:20,120 --> 00:14:23,450
S1: a director, actors like it's just really hard to avoid

301
00:14:23,450 --> 00:14:27,560
S1: thinking about the fact that directors are commenting on themselves

302
00:14:27,560 --> 00:14:29,780
S1: in the process when they're giving us something so obvious.

303
00:14:29,780 --> 00:14:32,660
S1: I don't think we needed the extra layer of Bryan

304
00:14:32,660 --> 00:14:36,740
S1: Cranston as this TV narrator. And I found the setting

305
00:14:36,740 --> 00:14:38,900
S1: both in terms of like the physical location of this

306
00:14:38,900 --> 00:14:41,690
S1: desert town, but also the time period, the kind of

307
00:14:41,690 --> 00:14:45,320
S1: 50s post the war. I mean, you mentioned Oppenheimer. Thomas

308
00:14:45,320 --> 00:14:48,290
S1: Like there's a nuclear bomb test that goes off in

309
00:14:48,290 --> 00:14:51,710
S1: this town. There is a lot of like conversations about

310
00:14:51,710 --> 00:14:55,640
S1: governments kind of keeping things secret and where America is

311
00:14:55,640 --> 00:14:59,060
S1: post-World War two in its kind of triumphalist phase that

312
00:14:59,060 --> 00:15:02,810
S1: I found really interesting. And yeah, I think it would

313
00:15:02,810 --> 00:15:04,610
S1: be a big stretch to say this is a very

314
00:15:04,610 --> 00:15:09,230
S1: substantive film. But I think for Wes, it felt more

315
00:15:09,230 --> 00:15:11,690
S1: substantive to me than a lot of his other movies,

316
00:15:11,690 --> 00:15:15,680
S1: aside from Grand Budapest, because aside from those personal dynamics

317
00:15:15,680 --> 00:15:20,360
S1: of of grief and love and youthful romance and separation

318
00:15:20,360 --> 00:15:22,670
S1: and what happens when you lose your partner, that stuff

319
00:15:22,670 --> 00:15:25,400
S1: is kind of all pretty common throughout his his filmography.

320
00:15:25,400 --> 00:15:29,750
S1: But these bigger ideas about American paranoia in the 1950s

321
00:15:29,750 --> 00:15:32,660
S1: and what that means for where the country is at now,

322
00:15:32,660 --> 00:15:35,150
S1: I found exciting and I'm glad he was playing in

323
00:15:35,150 --> 00:15:38,360
S1: that area, but I think he probably didn't want to

324
00:15:38,360 --> 00:15:41,150
S1: give up what he has always felt comfortable in. So

325
00:15:41,150 --> 00:15:43,490
S1: it was a surface level examination of all these big

326
00:15:43,490 --> 00:15:47,330
S1: ideas that ultimately felt a little bit muddled and confused.

327
00:15:47,330 --> 00:15:48,619
S1: And I don't know how you guys felt when the

328
00:15:48,620 --> 00:15:52,700
S1: movie finished, but I wasn't like, okay, I know how

329
00:15:52,700 --> 00:15:54,830
S1: to feel about this, or okay, I get what he

330
00:15:54,830 --> 00:15:57,800
S1: was trying to say. I left feeling pretty confused.

331
00:15:58,310 --> 00:16:00,980
S3: Yeah, so did we. I think we were basically walked

332
00:16:00,980 --> 00:16:02,780
S3: out and we were like, I don't know what that

333
00:16:02,780 --> 00:16:05,990
S3: was trying to say or what that was about. And

334
00:16:05,990 --> 00:16:08,210
S3: then we were like, Oseman will probably love it. Yeah.

335
00:16:08,210 --> 00:16:10,400
S2: I was like, We need to message Osborne. He'll explain it.

336
00:16:10,550 --> 00:16:11,960
S2: He'll explain it to us.

337
00:16:12,380 --> 00:16:14,060
S1: Well, I didn't Yeah, I don't think I'd say I

338
00:16:14,060 --> 00:16:16,220
S1: love it. And I also don't think that I'm a

339
00:16:16,220 --> 00:16:18,560
S1: Wes Anderson. Had I probably like as many of his

340
00:16:18,560 --> 00:16:20,990
S1: movies as I dislike. I think you're right, Thomas, that

341
00:16:20,990 --> 00:16:23,480
S1: people who do love Wes Anderson will love it because

342
00:16:23,480 --> 00:16:25,670
S1: it's got everything you want. Like it's got this very

343
00:16:25,670 --> 00:16:29,390
S1: specific visual style and the way the camera sort of

344
00:16:29,390 --> 00:16:31,640
S1: pans and cuts and the dialogue, like you said, Mel,

345
00:16:31,640 --> 00:16:34,190
S1: is this kind of rapid fire Wes thing. But I'm

346
00:16:34,190 --> 00:16:38,360
S1: not sure it'll be that satisfying or that rewarding for

347
00:16:38,360 --> 00:16:41,510
S1: people who maybe have seen Bobby and Oppenheim and are like, Wow,

348
00:16:41,510 --> 00:16:43,970
S1: I love the movies. Now, this is a big name director.

349
00:16:43,970 --> 00:16:45,800
S1: Let's go check it out. Do you guys think that

350
00:16:45,800 --> 00:16:48,440
S1: there might be a bit of a cognitive dissonance there?

351
00:16:49,160 --> 00:16:51,200
S2: Well, luckily, I think they're going to get a bit

352
00:16:51,200 --> 00:16:53,510
S2: of a throwback to their films because you've got the

353
00:16:53,510 --> 00:16:55,790
S2: atomic bomb going off in the distance. So there's a

354
00:16:55,790 --> 00:16:58,850
S2: bit of Oppenheimer. And then of course, our girl, Barbie girl,

355
00:16:58,850 --> 00:17:02,990
S2: Margot Robbie has quite a fantastic cameo. So if you

356
00:17:02,990 --> 00:17:06,500
S2: loved Oppenheimer and Barbie, you can kind of hate Asteroid City. Yeah,

357
00:17:06,500 --> 00:17:08,030
S2: you at least get a bit of it in there.

358
00:17:08,330 --> 00:17:10,970
S2: I mean, this is not a traditional narrative, and in

359
00:17:10,970 --> 00:17:13,609
S2: some ways I think it's easier not to think about

360
00:17:13,609 --> 00:17:16,159
S2: this as one complete thing, but to break down the

361
00:17:16,160 --> 00:17:20,389
S2: individual scenes. Because some of those individual scenes I absolutely adored,

362
00:17:20,390 --> 00:17:24,619
S2: like I really quite liked the scenes between Midge, who

363
00:17:24,619 --> 00:17:28,640
S2: is played by Scarlett Johansson and Jason Schwartzman as Auggie Steinbeck,

364
00:17:28,640 --> 00:17:32,090
S2: where they're speaking to each other through their motel windows.

365
00:17:32,090 --> 00:17:34,669
S2: I thought all of those were perfect little vignettes.

366
00:17:35,300 --> 00:17:37,670
S10: I don't know. We're not saying you want to say it.

367
00:17:40,970 --> 00:17:41,629
S5: Did I say yes?

368
00:17:41,810 --> 00:17:42,859
S8: You didn't say anything.

369
00:17:43,190 --> 00:17:45,350
S5: I met you. My mouth didn't speak.

370
00:17:47,090 --> 00:17:50,209
S2: And some of these individual moments really shine. Also, I

371
00:17:50,210 --> 00:17:54,290
S2: loved the dinner scene where they're in the diner, Auggie

372
00:17:54,290 --> 00:17:56,179
S2: with his kids, and they're all kind of trying to

373
00:17:56,180 --> 00:17:59,150
S2: find their place in Asteroid City. I thought the individual

374
00:17:59,150 --> 00:18:01,340
S2: moments were fantastic. And if you break it down into

375
00:18:01,340 --> 00:18:04,630
S2: those parts, it works. Really well. But thinking you're going

376
00:18:04,630 --> 00:18:07,210
S2: into this to get a story of Barbie or Oppenheimer

377
00:18:07,210 --> 00:18:09,310
S2: proportions would be a mistake.

378
00:18:09,340 --> 00:18:12,460
S3: Yeah, agreed. Like I do think it is important to

379
00:18:12,460 --> 00:18:14,980
S3: examine the film in the context of when it's arriving

380
00:18:14,980 --> 00:18:17,080
S3: in cinemas that we are in this kind of like, Oh,

381
00:18:17,080 --> 00:18:19,810
S3: the cinema is back. And you know, like first we

382
00:18:19,810 --> 00:18:22,660
S3: had Tom Cruise reviving it with Mission Impossible and then

383
00:18:22,660 --> 00:18:25,170
S3: Barbie and Oppenheimer, which was this like phenomenon. And people

384
00:18:25,180 --> 00:18:27,490
S3: are lining up around the block. And Wes Anderson is

385
00:18:27,490 --> 00:18:29,790
S3: one of those strange arthouse directors that does have that

386
00:18:29,800 --> 00:18:32,440
S3: mass commercial appeal. So people will probably go and see

387
00:18:32,470 --> 00:18:35,230
S3: Asteroid City. And I don't think that I would put

388
00:18:35,230 --> 00:18:38,890
S3: myself in the class of like a Wes Anderson fan, but,

389
00:18:39,100 --> 00:18:41,380
S3: you know, not similar to you. I was not an

390
00:18:41,380 --> 00:18:45,609
S3: absolute devotee. And so I think this is really for them.

391
00:18:45,609 --> 00:18:47,200
S3: So I do suspect there will be lot of people

392
00:18:47,200 --> 00:18:48,700
S3: that go and see this and be like, What the

393
00:18:48,700 --> 00:18:51,250
S3: fuck did I just watch? Which is not his problem.

394
00:18:51,250 --> 00:18:53,890
S3: But I guess it's just it's a shame that it's

395
00:18:54,250 --> 00:18:57,820
S3: it was so weird. Like, you know, I love we'll

396
00:18:57,820 --> 00:19:00,189
S3: get onto this, but I love, like, The Royal Tenenbaums

397
00:19:00,190 --> 00:19:02,800
S3: and I love like Rushmore, one of his first films.

398
00:19:02,800 --> 00:19:06,340
S3: And they still had like, all the Wes soul in essence,

399
00:19:06,340 --> 00:19:10,930
S3: but they were still like more just like traditional stories.

400
00:19:10,930 --> 00:19:13,690
S3: And I understand that it doesn't need to be that way,

401
00:19:13,690 --> 00:19:17,020
S3: but I think you can drift into the area of

402
00:19:17,020 --> 00:19:22,270
S3: like becoming too, like, self-indulgent or to like into what

403
00:19:22,660 --> 00:19:25,240
S3: you want the audience to guess. But ultimately it leaves

404
00:19:25,240 --> 00:19:27,310
S3: you feeling flat. And I do think he has the

405
00:19:27,310 --> 00:19:29,980
S3: potential to do that. And I think Asteroid City does that.

406
00:19:29,980 --> 00:19:32,109
S3: That being said, I do. There was still some like

407
00:19:32,109 --> 00:19:34,120
S3: the essence of the best things I love about words

408
00:19:34,119 --> 00:19:37,330
S3: like he does like precocious children so well. And I

409
00:19:37,330 --> 00:19:40,300
S3: loved the kids at the Stargazer Club in this film.

410
00:19:40,300 --> 00:19:42,130
S3: Like they were probably the best part of the film

411
00:19:42,130 --> 00:19:44,229
S3: for me because it's just always so funny watching like

412
00:19:44,230 --> 00:19:47,260
S3: these super hyper intelligent kids with their parents and the

413
00:19:47,260 --> 00:19:49,540
S3: dynamic there. And there were, yeah, there were lots of

414
00:19:49,540 --> 00:19:52,420
S3: great moments, but as an entire like narrative film, I

415
00:19:52,420 --> 00:19:52,959
S3: just was like.

416
00:19:53,740 --> 00:19:56,139
S2: Do you think you would have liked it better if

417
00:19:56,140 --> 00:19:58,419
S2: the framing devices we were just talking about were gone?

418
00:19:58,420 --> 00:20:01,960
S2: Like it was just purely set in Asteroid City rather

419
00:20:01,960 --> 00:20:04,149
S2: than the world of the play and then the TV show.

420
00:20:04,810 --> 00:20:06,970
S3: Yeah, maybe. I think like I think similarly, I think

421
00:20:06,970 --> 00:20:09,790
S3: the TV show is unnecessary. It was okay switching between

422
00:20:09,790 --> 00:20:13,330
S3: the play and like the film of Asteroid City. I

423
00:20:13,330 --> 00:20:15,820
S3: just think maybe like, yeah, there was a lot he

424
00:20:15,820 --> 00:20:19,389
S3: wanted to address really quickly and ultimately none of it

425
00:20:19,390 --> 00:20:20,800
S3: ended up landing for me.

426
00:20:31,260 --> 00:20:34,110
S1: For me, the probably the biggest challenge I had with

427
00:20:34,109 --> 00:20:37,290
S1: it and what deflected from the best bits of the

428
00:20:37,290 --> 00:20:41,010
S1: film was just the sheer number of characters and storylines.

429
00:20:41,100 --> 00:20:43,320
S1: This is not a long movie. It's an hour and

430
00:20:43,320 --> 00:20:45,720
S1: 45 minutes and there is so much happening within it.

431
00:20:45,720 --> 00:20:49,440
S1: Like I like you loved Jason Schwartzman, Scarlett Johansson going

432
00:20:49,440 --> 00:20:52,080
S1: kind of head to head. I thought, Tom Hanks is great.

433
00:20:52,080 --> 00:20:54,510
S1: Jeffrey Wright, as this kind of general was really good

434
00:20:54,510 --> 00:20:58,410
S1: and funny as well. But I thought while Maya Hawke

435
00:20:58,410 --> 00:21:02,550
S1: and Rupert friend who play this teacher and this kind

436
00:21:02,550 --> 00:21:06,419
S1: of random musician singing cowboy kind of character respectively, that

437
00:21:06,420 --> 00:21:08,700
S1: were good, that were just not really needed, I didn't

438
00:21:08,700 --> 00:21:11,160
S1: really understand what purpose they filled in this film. And

439
00:21:11,160 --> 00:21:15,810
S1: every time we went away from this really fascinating romantic

440
00:21:15,810 --> 00:21:20,430
S1: tension between Scarlett Johansson's character and Schwartzman character, we cut

441
00:21:20,430 --> 00:21:23,760
S1: to those guys. I'm like, But why this feels so unnecessary?

442
00:21:23,760 --> 00:21:26,580
S1: And there was so many characters that just kept coming in,

443
00:21:26,580 --> 00:21:28,740
S1: coming in and beyond that kind of like, Oh, it's

444
00:21:28,740 --> 00:21:30,720
S1: that guy that's kind of fun. Oh, it's that guy.

445
00:21:30,810 --> 00:21:33,930
S1: Isn't that fun? I didn't really see the purpose of

446
00:21:33,930 --> 00:21:35,010
S1: all of those plots.

447
00:21:35,400 --> 00:21:37,260
S2: Yeah, I would actually like to take this moment, though,

448
00:21:37,260 --> 00:21:39,870
S2: to say Tom Hanks. I thought he was so good

449
00:21:39,869 --> 00:21:41,550
S2: in this. I have had a thing about Tom Hanks

450
00:21:41,550 --> 00:21:43,530
S2: for a while that he can only play characters who

451
00:21:43,530 --> 00:21:46,320
S2: wear hats, like he's always a captain or he's always,

452
00:21:46,320 --> 00:21:48,660
S2: you know, he's always an Army sergeant. Like he can

453
00:21:48,660 --> 00:21:50,550
S2: only play a character that wears a hat all the time.

454
00:21:50,590 --> 00:21:52,199
S3: Wore a hat. And Elvis, even though he was terrible

455
00:21:52,200 --> 00:21:52,679
S3: in that all the.

456
00:21:52,680 --> 00:21:55,140
S2: Time, what's going on under that? But I thought he

457
00:21:55,140 --> 00:21:56,879
S2: was really good in this. I loved him. I thought

458
00:21:56,880 --> 00:21:59,520
S2: he was a very funny character. But I agree with

459
00:21:59,520 --> 00:22:02,220
S2: you as there were a lot of people around and

460
00:22:02,220 --> 00:22:04,859
S2: I guess that was the point of oversaturation, wasn't it?

461
00:22:04,859 --> 00:22:07,919
S2: There was so many little individual scenes and some worked

462
00:22:07,920 --> 00:22:09,330
S2: better than others.

463
00:22:09,630 --> 00:22:12,270
S3: But I also, just like I rewatched The Tenenbaums in

464
00:22:12,270 --> 00:22:15,210
S3: preparation for this pod, because I take things very seriously

465
00:22:15,210 --> 00:22:18,000
S3: and I do my research and it's a very funny film,

466
00:22:18,100 --> 00:22:20,700
S3: like Laugh Out Loud, Funny in that like it's very

467
00:22:20,700 --> 00:22:22,740
S3: dark and but like, I just didn't find this very

468
00:22:22,740 --> 00:22:25,109
S3: funny like it was. I think you and I laughed once.

469
00:22:25,109 --> 00:22:26,909
S3: It's a scene with Jeffrey Wright, who plays the general

470
00:22:26,910 --> 00:22:28,379
S3: when he gets like a note from the president and

471
00:22:28,380 --> 00:22:29,580
S3: he just like chucks it on the ground. You and

472
00:22:29,580 --> 00:22:31,800
S3: I laughed one time and then like the rest of it,

473
00:22:31,800 --> 00:22:35,280
S3: it was kind of like. Like it was. It wasn't funny.

474
00:22:35,280 --> 00:22:38,429
S3: Ha ha. And yeah, his films used to be like,

475
00:22:38,430 --> 00:22:39,990
S3: Life Aquatic is fucking hilarious.

476
00:22:40,290 --> 00:22:43,680
S1: Yeah. Should we move into into a broader conversation about

477
00:22:43,680 --> 00:22:45,810
S1: Wes work and how we feel about it? And because

478
00:22:45,810 --> 00:22:48,359
S1: I think it is so hard to talk about one

479
00:22:48,359 --> 00:22:51,780
S1: of his projects in isolation, people talk about Wes Anderson

480
00:22:51,780 --> 00:22:55,169
S1: as a director in ways that they don't necessarily with

481
00:22:55,170 --> 00:22:57,870
S1: with others just because he has such a specific style

482
00:22:57,869 --> 00:23:01,170
S1: and approach. Like I said, for me, the number one

483
00:23:01,170 --> 00:23:03,600
S1: film is Grand Budapest Hotel, and it's kind of the

484
00:23:03,600 --> 00:23:07,380
S1: basic take. It's, I think, his most commercially successful film.

485
00:23:07,380 --> 00:23:10,530
S1: I just thought it was the perfect distillation of everything

486
00:23:10,530 --> 00:23:14,070
S1: he's been trying to do coming into one film. But

487
00:23:14,070 --> 00:23:16,380
S1: I also really, really like Rushmore, which is the second

488
00:23:16,380 --> 00:23:18,900
S1: film that you mentioned. Thomas which is like there's all

489
00:23:18,900 --> 00:23:21,180
S1: the bits in the clues of what Wes Anderson's trying

490
00:23:21,180 --> 00:23:23,700
S1: to do are there, but it is just a really

491
00:23:23,700 --> 00:23:26,580
S1: simple story of this kind of annoying kid who thinks

492
00:23:26,580 --> 00:23:29,700
S1: he's smarter than everyone else dealing with like school and

493
00:23:29,700 --> 00:23:33,930
S1: family and friends. Really, really, really funny too. You mentioned

494
00:23:33,930 --> 00:23:36,810
S1: Life Aquatic and Tenenbaums. Thomas. Tell us more about why

495
00:23:36,810 --> 00:23:37,980
S1: those movies hit for you.

496
00:23:38,040 --> 00:23:42,690
S3: Yeah, I think Tenenbaums Like obviously like Wes Anderson has

497
00:23:42,690 --> 00:23:45,000
S3: these themes he likes to return to. One of them

498
00:23:45,000 --> 00:23:47,940
S3: often is like family and that undertone of like everything

499
00:23:47,940 --> 00:23:50,370
S3: that's not being said in a family and we see

500
00:23:50,369 --> 00:23:53,159
S3: it again in Asteroid City like, you know, all you're

501
00:23:53,160 --> 00:23:55,530
S3: trying to explain to his children that their mother died

502
00:23:55,530 --> 00:23:58,889
S3: three weeks ago. So I think he does like he

503
00:23:58,890 --> 00:24:00,540
S3: knows how to pick at that scab really well. And

504
00:24:00,540 --> 00:24:02,790
S3: we see it so well. The Royal Tenenbaums is like

505
00:24:02,790 --> 00:24:05,430
S3: this really kind of strange portrait of a broken family.

506
00:24:05,430 --> 00:24:07,590
S3: I also had a major crush on Gwyneth Paltrow as

507
00:24:07,590 --> 00:24:10,530
S3: Margot in that film, just like this chain smoking, kind

508
00:24:10,530 --> 00:24:11,190
S3: of like.

509
00:24:11,220 --> 00:24:12,570
S2: Manic pixie dream Girl.

510
00:24:12,570 --> 00:24:16,680
S3: Unimpressed with everything. But it's very funny. It's very dark.

511
00:24:16,680 --> 00:24:19,620
S3: One of Ben Stiller's probably like most underrated performances and

512
00:24:19,619 --> 00:24:22,679
S3: Gene Hackman in like career best form. And so I

513
00:24:22,680 --> 00:24:25,020
S3: really loved that. And also it came I think it

514
00:24:25,080 --> 00:24:27,750
S3: came out in 2001. I probably watched it in like 2002,

515
00:24:27,780 --> 00:24:29,850
S3: which when I was in high school and probably fancied

516
00:24:29,850 --> 00:24:32,220
S3: myself as someone who should be into Wes Anderson films.

517
00:24:32,220 --> 00:24:34,470
S3: So I think it like stuck with me At that time.

518
00:24:34,470 --> 00:24:36,510
S3: I was like, Yeah, this is kind of the right,

519
00:24:36,510 --> 00:24:38,909
S3: these are the good optics for me. And then on

520
00:24:38,910 --> 00:24:41,129
S3: top of that, I loved Love the Life Aquatic with

521
00:24:41,130 --> 00:24:44,310
S3: Steve Zissou. Again, this was like probably Bill Murray at

522
00:24:44,310 --> 00:24:46,740
S3: his very best and such a strange idea. Like this

523
00:24:46,950 --> 00:24:49,979
S3: crew of misfits go out to hunt a jaguar shark

524
00:24:49,980 --> 00:24:53,280
S3: that killed his partner. And it's just it was so

525
00:24:53,280 --> 00:24:56,700
S3: like beautifully done. And again, you know, like it had

526
00:24:56,700 --> 00:24:59,370
S3: the Wes Anderson aesthetic. And years later, I would go

527
00:24:59,369 --> 00:25:03,840
S3: on to spend $300 on the very limited edition Adidas

528
00:25:03,840 --> 00:25:06,540
S3: from Zissou with the Colorway, one of my all time

529
00:25:06,540 --> 00:25:07,590
S3: favorite purchases.

530
00:25:08,400 --> 00:25:10,320
S1: Whoa, We we've got the shoes.

531
00:25:10,320 --> 00:25:11,160
S3: I know you know the shoes.

532
00:25:12,600 --> 00:25:13,530
S2: Do you still wear them?

533
00:25:13,530 --> 00:25:15,030
S3: I haven't gotten them anymore. They came out. I got

534
00:25:15,030 --> 00:25:17,670
S3: them in 2017. One of my favorite pairs of shoes

535
00:25:17,670 --> 00:25:18,240
S3: of all time.

536
00:25:18,240 --> 00:25:18,990
S2: What happened to them.

537
00:25:19,770 --> 00:25:21,970
S3: I remember. Probably wore them.

538
00:25:22,119 --> 00:25:23,250
S11: Wore them to death. Yeah.

539
00:25:24,480 --> 00:25:27,540
S1: And how about you, Mel? You've said that you are

540
00:25:27,540 --> 00:25:29,610
S1: a fan and you'll see every movie, but is there

541
00:25:29,609 --> 00:25:33,330
S1: a particular film or a. Particular brand of Wes that

542
00:25:33,330 --> 00:25:34,590
S1: works for you more than others.

543
00:25:34,710 --> 00:25:38,460
S2: Look, Royal Tenenbaums is definitely my favorite. And that sequence

544
00:25:38,460 --> 00:25:41,790
S2: where Luke Wilson is shaving and they're playing the Elliot

545
00:25:41,790 --> 00:25:45,660
S2: Smith song Needle in the Hay. I will always remember

546
00:25:45,660 --> 00:25:46,650
S2: that scene.

547
00:25:49,940 --> 00:25:56,380
S12: An honest heart. He stuck charm around your neck. Strung

548
00:25:56,380 --> 00:26:01,869
S12: out and then calling some friend trying to catch some check.

549
00:26:02,380 --> 00:26:02,920
S11: I remember how.

550
00:26:02,920 --> 00:26:05,350
S2: Excited I was when I discovered Wes Anderson like it

551
00:26:05,350 --> 00:26:07,450
S2: was when I was first getting into films and I

552
00:26:07,450 --> 00:26:10,689
S2: was trying to watch the greats and to find like

553
00:26:10,690 --> 00:26:13,780
S2: a Wes Anderson, someone with such a distinct style as

554
00:26:13,780 --> 00:26:16,480
S2: an artist who like stood apart from everyone else. I

555
00:26:16,480 --> 00:26:19,389
S2: remember how exciting those films were for me when I

556
00:26:19,390 --> 00:26:20,290
S2: was younger. Yeah, they.

557
00:26:20,290 --> 00:26:22,090
S1: Were all really. I feel like we're the generation that

558
00:26:22,090 --> 00:26:25,270
S1: when we watch Wednesday, Anderson we felt special where like,

559
00:26:25,270 --> 00:26:28,390
S1: where different all these mainstream kids. Like we really know

560
00:26:28,390 --> 00:26:30,040
S1: what good cinema is exactly.

561
00:26:30,040 --> 00:26:31,600
S3: And also you could just like copy and paste that

562
00:26:31,600 --> 00:26:33,070
S3: same thing with Elliott Smith. When I got on to him,

563
00:26:33,070 --> 00:26:35,230
S3: I was like, Man, people just don't feel things like me.

564
00:26:35,230 --> 00:26:36,070
S3: And where's and Elliott?

565
00:26:36,280 --> 00:26:37,750
S11: Yeah, yeah.

566
00:26:38,109 --> 00:26:40,390
S2: Like it was. It was the auteur thing. It was

567
00:26:40,390 --> 00:26:42,669
S2: the age of the auteur, really. And then kind of

568
00:26:42,670 --> 00:26:45,160
S2: I know I remember discovering in that same period like

569
00:26:45,160 --> 00:26:49,180
S2: Coppola and like P.T. Anderson. And it's like, wow, these

570
00:26:49,180 --> 00:26:50,740
S2: are these are the greats. So I think it's kind

571
00:26:50,740 --> 00:26:52,960
S2: of interesting how Wes Anderson.

572
00:26:52,960 --> 00:26:54,370
S1: Has his Ford or Fear.

573
00:26:55,180 --> 00:26:58,480
S2: Both. But Francis Francis Ford first, I guess. But also, Sophia.

574
00:26:58,780 --> 00:27:01,300
S1: This is the most like film bro list of list

575
00:27:01,300 --> 00:27:03,790
S1: of directors to roll out. Very glad you as a

576
00:27:03,790 --> 00:27:05,500
S1: woman said that, Mel. So I feel.

577
00:27:05,800 --> 00:27:08,169
S2: I mean, I don't know if you know, but historically

578
00:27:08,170 --> 00:27:10,210
S2: women haven't had the same platform.

579
00:27:10,210 --> 00:27:12,040
S11: As male directors.

580
00:27:12,040 --> 00:27:15,129
S2: So my list would be very different now. Um.

581
00:27:15,460 --> 00:27:17,680
S1: But even, even even taking that into account like Paul

582
00:27:17,680 --> 00:27:20,320
S1: Thomas Anderson, you know, that's really, that's one for the fellas.

583
00:27:20,560 --> 00:27:21,730
S11: Yeah. Yeah.

584
00:27:22,210 --> 00:27:24,310
S2: I mean, it was a period of my life, but

585
00:27:24,310 --> 00:27:26,050
S2: I guess all of these people have kind of become

586
00:27:26,050 --> 00:27:28,359
S2: in a way, and we've seen it happen with Wes.

587
00:27:28,630 --> 00:27:31,060
S2: They were really big at a time and now we

588
00:27:31,060 --> 00:27:33,220
S2: kind of make fun of them on TikTok or we

589
00:27:33,220 --> 00:27:37,060
S2: kind of satirize their their style. But anyway, my actual

590
00:27:37,060 --> 00:27:40,120
S2: favorite one might surprise you, but it's fantastic. Mr. Fox

591
00:27:40,150 --> 00:27:40,540
S2: It does not.

592
00:27:40,540 --> 00:27:44,619
S3: Surprise me whatsoever. Why? Because it's so, like cutesy. And

593
00:27:44,619 --> 00:27:46,780
S3: I can just it's like it's whimsical.

594
00:27:46,780 --> 00:27:48,760
S1: It is very whimsical. It's based on a book which

595
00:27:48,760 --> 00:27:49,750
S1: you love famously.

596
00:27:49,750 --> 00:27:53,230
S2: Yeah. Noah Baumbach co-wrote it with him. It was his

597
00:27:53,230 --> 00:27:56,230
S2: first animated film. I just think it's really clever and

598
00:27:56,230 --> 00:27:58,390
S2: it's a bit different to what he usually does. It's

599
00:27:58,390 --> 00:28:00,670
S2: very laugh out loud, funny, but actually I think it's

600
00:28:00,670 --> 00:28:03,580
S2: got a lot of heart, maybe more heart than some

601
00:28:03,580 --> 00:28:06,160
S2: of these others have, and it feels like there's more.

602
00:28:06,160 --> 00:28:07,840
S2: It's trying to say more than, say, Isle of the

603
00:28:07,840 --> 00:28:10,179
S2: Dog's did or the French Dispatch.

604
00:28:10,510 --> 00:28:14,650
S1: Yeah. And George Clooney in Fantastic Mr. Fox, great voice performance.

605
00:28:14,650 --> 00:28:19,060
S1: Also really funny extras back when DVDs came out with

606
00:28:19,060 --> 00:28:20,350
S1: like extras. I think you can see a lot of

607
00:28:20,350 --> 00:28:21,189
S1: these on YouTube.

608
00:28:22,090 --> 00:28:24,220
S13: Fake price tags and wrap these chickens wax paper. So

609
00:28:24,220 --> 00:28:27,260
S13: it looks like we got to throw the butcher shop. Whoa, whoa, whoa, whoa, whoa.

610
00:28:29,050 --> 00:28:32,470
S1: This wasn't like, recorded in a studio. This, I think

611
00:28:32,470 --> 00:28:35,170
S1: maybe it was even recorded at George Clooney's, like Lake

612
00:28:35,170 --> 00:28:38,770
S1: Como house or the. That's somewhere in the outdoors. And

613
00:28:38,770 --> 00:28:40,780
S1: a lot of this is George Clooney, like running through

614
00:28:40,780 --> 00:28:43,600
S1: the fields, pretending to be a fox. And Wes Anderson

615
00:28:43,600 --> 00:28:46,420
S1: with his like, boom mic like over him, recording him

616
00:28:46,420 --> 00:28:48,880
S1: in the in the woods. It's very, very sweet.

617
00:28:49,360 --> 00:28:53,770
S3: Sometimes, man. Famous people. I'm just like, you guys need

618
00:28:53,770 --> 00:28:57,610
S3: to be fucking busier. Like, here's like, seriously, like, it

619
00:28:57,610 --> 00:29:00,370
S3: sounds really impressive. And we're like, such geniuses, but like,

620
00:29:00,760 --> 00:29:03,550
S3: someone probably, you know, nearby field was, like, doing some

621
00:29:03,550 --> 00:29:05,830
S3: hard work, and they were like, Look at these fucking guys, man.

622
00:29:06,810 --> 00:29:10,050
S1: I think one of the most interesting things about Wes

623
00:29:10,050 --> 00:29:15,000
S1: Anderson is his films get talked about as a collective, right?

624
00:29:15,000 --> 00:29:17,970
S1: Like this is like a scene from a Wes Anderson movie.

625
00:29:17,970 --> 00:29:20,670
S1: This is very Wes Anderson kind of look and feel.

626
00:29:20,670 --> 00:29:23,400
S1: And in the last couple of years, like TikTok has

627
00:29:23,400 --> 00:29:26,280
S1: been a huge part of this trend. I'm just looking

628
00:29:26,280 --> 00:29:29,760
S1: at the Wes Anderson hashtag on TikTok right now. It

629
00:29:29,760 --> 00:29:35,670
S1: has 2.3 billion views, which is wild. And this is

630
00:29:35,670 --> 00:29:39,090
S1: people kind of like filming like, you know, here I

631
00:29:39,090 --> 00:29:41,250
S1: am in Croatia, here I am in the Maldives, and

632
00:29:41,250 --> 00:29:43,470
S1: I've made it look so Wes Anderson, this is the

633
00:29:43,470 --> 00:29:47,880
S1: Amalfi Coast, done Wes Anderson style. I want to ask

634
00:29:47,880 --> 00:29:50,160
S1: you guys two questions. I want to ask you guys. Firstly,

635
00:29:50,490 --> 00:29:53,520
S1: why his style seems to be such a driver of

636
00:29:53,520 --> 00:29:56,219
S1: these kinds of videos, but also what impact do you

637
00:29:56,220 --> 00:29:59,460
S1: think that has? Like, is there a dilution? Right? Like

638
00:29:59,460 --> 00:30:02,430
S1: when a new Wes Anderson film comes out like Asteroid City,

639
00:30:02,430 --> 00:30:04,890
S1: do we all feel a bit like, Oh no, another

640
00:30:04,890 --> 00:30:07,710
S1: very Wes Anderson thing? Because we're seeing it in social

641
00:30:07,710 --> 00:30:09,930
S1: media all the time. I mean, he's only made three

642
00:30:09,930 --> 00:30:12,240
S1: films in the past decade, but it feels like he

643
00:30:12,240 --> 00:30:16,200
S1: makes 50 a year because we see his stuff online

644
00:30:16,200 --> 00:30:17,400
S1: or in print everywhere.

645
00:30:18,420 --> 00:30:20,910
S3: Yeah, well, I guess, like, the first point is like

646
00:30:20,910 --> 00:30:25,140
S3: the risky run when you have such a particular style

647
00:30:26,010 --> 00:30:29,610
S3: that you can eventually become like a parody of yourself. And,

648
00:30:29,820 --> 00:30:33,690
S3: and not many directors have such a like, noticeable aesthetic

649
00:30:33,690 --> 00:30:36,240
S3: as Wes Anderson. Like he part of his appeal is

650
00:30:36,240 --> 00:30:39,420
S3: his aesthetic. And so when you do the same thing

651
00:30:39,420 --> 00:30:42,000
S3: like it's, you know, that's totally fine, but like and

652
00:30:42,000 --> 00:30:44,490
S3: lots of other directors have their particular style to like Scorsese,

653
00:30:44,490 --> 00:30:47,280
S3: he has a particular style. Quentin Tarantino has a particular style,

654
00:30:47,280 --> 00:30:50,460
S3: but Wes Anderson's is so noticeable. Like, you don't have

655
00:30:50,460 --> 00:30:52,800
S3: to work hard to, you know, like take the piss

656
00:30:52,800 --> 00:30:54,900
S3: out of a Wes Anderson movie. And so I think, like,

657
00:30:54,900 --> 00:30:57,719
S3: the very nature of that repetition makes it easy to

658
00:30:57,720 --> 00:31:00,630
S3: kind of joke about. So there's like one issue and

659
00:31:00,630 --> 00:31:02,550
S3: I guess like the other thing is, yeah, obviously we

660
00:31:02,550 --> 00:31:04,740
S3: live in this age of like social media where we

661
00:31:04,740 --> 00:31:10,500
S3: like really value how things look and the like. Instagram

662
00:31:10,500 --> 00:31:13,530
S3: and TikTok, everyone wants everything to look like neat and

663
00:31:13,530 --> 00:31:17,310
S3: perfect and ordered, and that's like synonymous with being cool.

664
00:31:17,310 --> 00:31:20,880
S3: And so I guess like The Wizard of TikTok makes

665
00:31:20,880 --> 00:31:23,580
S3: a lot of sense because his whole shtick is like,

666
00:31:23,580 --> 00:31:27,000
S3: you know, these beautifully framed shots. Everything kind of looks

667
00:31:27,000 --> 00:31:29,760
S3: like a almost like a painting or something. And then,

668
00:31:29,760 --> 00:31:32,220
S3: you know, it's easy to recreate, like someone wears a

669
00:31:32,220 --> 00:31:35,160
S3: funny hat. You put some charming music on, like maybe

670
00:31:35,160 --> 00:31:38,430
S3: it's in half speed or double speed or whatever. And yeah,

671
00:31:38,440 --> 00:31:40,440
S3: it all kind of makes sense. And I think it

672
00:31:40,440 --> 00:31:43,050
S3: is this kind of perfect marriage of the Wes Anderson

673
00:31:43,050 --> 00:31:46,740
S3: aesthetic lends itself to what we love or loathe about

674
00:31:46,740 --> 00:31:48,989
S3: social media, and then all those things smash together and

675
00:31:48,990 --> 00:31:51,360
S3: suddenly you've got people who have probably never watched many

676
00:31:51,360 --> 00:31:54,180
S3: Wes Anderson films shooting these kind of like mini Wes

677
00:31:54,180 --> 00:31:56,280
S3: Anderson films like Their Train Journey to Work.

678
00:31:56,280 --> 00:31:56,820
S11: Yeah.

679
00:31:57,720 --> 00:32:00,060
S2: It'd be fun to do the pod in Wes Anderson dialogue.

680
00:32:00,360 --> 00:32:03,510
S2: I can imagine. Just like long, stilted pauses and kind

681
00:32:03,510 --> 00:32:05,790
S2: of perfectly constructed back and forth.

682
00:32:06,360 --> 00:32:07,440
S3: Stilted dialogue. We've really got.

683
00:32:07,440 --> 00:32:08,219
S11: Covered. Yeah.

684
00:32:11,010 --> 00:32:14,700
S2: Does it dilute? It is an interesting question. I don't

685
00:32:15,000 --> 00:32:17,580
S2: think so. I don't know. And I also don't know

686
00:32:17,580 --> 00:32:21,390
S2: how you get around becoming a parody of yourself when

687
00:32:21,390 --> 00:32:25,530
S2: you're an artist with a really strong view. Like, yes,

688
00:32:25,530 --> 00:32:29,400
S2: Wes Anderson's aesthetic might be easier to emulate, but I mean,

689
00:32:29,400 --> 00:32:31,350
S2: you could also quite easily do a parody of a

690
00:32:31,350 --> 00:32:33,900
S2: Christopher Nolan film as well.

691
00:32:33,900 --> 00:32:36,030
S11: Or sacrilege. Yeah.

692
00:32:36,810 --> 00:32:40,229
S2: No, you know, you could parody that. I don't know

693
00:32:40,230 --> 00:32:42,330
S2: how like can you get around it when you're an

694
00:32:42,330 --> 00:32:45,210
S2: artist with a really clear worldview?

695
00:32:45,570 --> 00:32:48,840
S1: I think the challenge that Anderson has is that you

696
00:32:48,840 --> 00:32:52,830
S1: mentioned Instagram. Thomas I feel like Instagram is almost synonymous

697
00:32:52,830 --> 00:32:55,140
S1: with Wes Anderson. You think about the fact that app

698
00:32:55,140 --> 00:33:00,060
S1: came out in 2010, it kind of really got popular 2011, 2012,

699
00:33:00,080 --> 00:33:02,880
S1: around the time of Moonrise Kingdom and Grand Budapest Hotel.

700
00:33:03,060 --> 00:33:05,700
S1: The whole concept of like a flat lay and these

701
00:33:05,700 --> 00:33:11,160
S1: really clear, sharp lines, filters, pastels, bright colors, like all

702
00:33:11,160 --> 00:33:13,290
S1: a lot of the stuff that we think of as

703
00:33:13,290 --> 00:33:17,550
S1: being reminiscent of Instagram from that early 20 tens era

704
00:33:17,550 --> 00:33:22,830
S1: is very Wes Anderson inspired. And so it's like not

705
00:33:22,830 --> 00:33:25,200
S1: his fault at all that he's created a style that

706
00:33:25,200 --> 00:33:28,860
S1: is so attractive and fun and quirky that everyone else

707
00:33:28,860 --> 00:33:31,380
S1: wants to replicate it. But I definitely do feel like

708
00:33:31,380 --> 00:33:35,040
S1: when I go to see the French Dispatch or Asteroid City,

709
00:33:35,040 --> 00:33:37,680
S1: I feel like, God, I'm seeing all of this again. Like,

710
00:33:37,680 --> 00:33:40,440
S1: didn't we just do this? But actually, no. Like, he's

711
00:33:40,440 --> 00:33:42,239
S1: not a guy that makes a film every year. He

712
00:33:42,240 --> 00:33:45,420
S1: makes a film every 3 or 4 years. But because

713
00:33:45,420 --> 00:33:48,870
S1: of Instagram, because of those TikTok videos. And we should

714
00:33:48,870 --> 00:33:53,160
S1: also mention this big wave of AI generated Wes Anderson

715
00:33:53,160 --> 00:33:55,740
S1: stuff that that kind of came out earlier this year.

716
00:33:56,310 --> 00:33:58,710
S1: I find it really difficult to separate out what I'm

717
00:33:58,710 --> 00:34:01,610
S1: consuming on social media, on the Internet, from his films.

718
00:34:01,610 --> 00:34:03,570
S1: So when I sit down to watch something, whereas maybe

719
00:34:03,570 --> 00:34:06,660
S1: ten years ago when I went to see Moonrise Kingdom

720
00:34:06,660 --> 00:34:08,700
S1: or Grand Budapest, I was blown away. I'm like, Wow,

721
00:34:08,700 --> 00:34:11,489
S1: these scenes of the way this elevator is moving and

722
00:34:11,489 --> 00:34:14,190
S1: what those tiles and what that wallpaper looks like felt

723
00:34:14,190 --> 00:34:16,320
S1: so much fresher. Whereas now I just feel like I'm

724
00:34:16,320 --> 00:34:20,730
S1: seeing a B-grade version of it like 5000 times a day.

725
00:34:21,030 --> 00:34:24,090
S2: Yeah, and maybe that's an issue with the overexposure. And

726
00:34:24,090 --> 00:34:25,919
S2: like we were saying that when we, I was saying

727
00:34:25,920 --> 00:34:28,320
S2: that when I discovered Wes Anderson The Royal Tenenbaums, it

728
00:34:28,320 --> 00:34:31,020
S2: was very exciting to see that kind of aesthetic on screen.

729
00:34:31,020 --> 00:34:34,200
S2: But yeah, eight films later, you kind of are a

730
00:34:34,200 --> 00:34:37,950
S2: bit indoctrinated to its effect, which I guess I wonder.

731
00:34:37,950 --> 00:34:41,340
S2: You mentioned us that you thought this film Asteroid City

732
00:34:41,340 --> 00:34:44,790
S2: was kind of he did push himself with the layering.

733
00:34:44,790 --> 00:34:47,219
S2: Do you think it's a sign that maybe Wes Anderson

734
00:34:47,219 --> 00:34:50,370
S2: is rather than what Thomas was saying, Wes Anderson being

735
00:34:50,370 --> 00:34:52,380
S2: the most Wes Anderson that maybe this was a sign

736
00:34:52,380 --> 00:34:54,990
S2: of Wes Anderson trying to do something different and we

737
00:34:54,989 --> 00:34:57,150
S2: might see a different Wes Anderson in the future.

738
00:34:57,150 --> 00:34:59,460
S1: Yeah, I think it is. I think he was trying

739
00:34:59,460 --> 00:35:01,350
S1: to push himself. And I think, you know, he's not

740
00:35:01,350 --> 00:35:02,820
S1: the kind of director that's going to give us a

741
00:35:02,820 --> 00:35:05,400
S1: film that is a complete 180 on what he's been

742
00:35:05,400 --> 00:35:06,120
S1: doing before, but I.

743
00:35:06,120 --> 00:35:07,739
S3: Think he's not about to do the next.

744
00:35:07,739 --> 00:35:09,570
S1: Bond. Yeah, that would be fun. Or if you tried

745
00:35:09,570 --> 00:35:11,160
S1: to do a superhero movie like that would be fun.

746
00:35:11,280 --> 00:35:12,690
S2: Can you imagine him doing Barbie?

747
00:35:12,690 --> 00:35:14,799
S11: I reckon I could see that work. Yeah.

748
00:35:15,030 --> 00:35:16,709
S1: Yeah. I feel like I saw a lot of those

749
00:35:16,739 --> 00:35:19,770
S1: I generated. If Wes. Did Bobby sort of Where's his

750
00:35:19,770 --> 00:35:21,720
S1: Bobby Dreamhouse kind of a thing. But that's what I

751
00:35:21,719 --> 00:35:23,640
S1: was going to say about Asteroid City is it's one

752
00:35:23,640 --> 00:35:26,010
S1: of his few movies that is not very interior like

753
00:35:26,010 --> 00:35:28,319
S1: it's very exterior. It's a lot of the shots and

754
00:35:28,320 --> 00:35:31,410
S1: the setting is the outdoors and this big expanse and

755
00:35:31,410 --> 00:35:34,080
S1: this kind of like never ending train line. You don't

756
00:35:34,080 --> 00:35:36,630
S1: know where it's going and it's just desert and mountains

757
00:35:36,630 --> 00:35:39,270
S1: as far as the eye can see. Almost every other

758
00:35:39,270 --> 00:35:42,810
S1: movie he's made has been like very focused, very contained

759
00:35:42,810 --> 00:35:45,600
S1: in 1 or 2 settings, in a very specific sense

760
00:35:45,600 --> 00:35:49,980
S1: of being inside and almost a little bit claustrophobic other

761
00:35:49,980 --> 00:35:52,439
S1: than like the animated ones, but even the animated ones

762
00:35:52,440 --> 00:35:55,650
S1: like Isle of Dogs and Fantastic Mr. Fox, there's so

763
00:35:55,650 --> 00:35:57,180
S1: much going on. There's a lot of clutter, there's a

764
00:35:57,180 --> 00:36:00,719
S1: lot of things. Whereas this felt very sparse and very outdoors.

765
00:36:00,719 --> 00:36:05,220
S1: And I think maybe he's trying to, like, tiptoe his

766
00:36:05,219 --> 00:36:09,120
S1: way to do something slightly different. But I do think

767
00:36:09,120 --> 00:36:12,930
S1: that his next movie should be like further away from

768
00:36:12,930 --> 00:36:16,320
S1: what we've seen before. I think, you know, he's established himself.

769
00:36:16,320 --> 00:36:19,230
S1: He's made a lot of money. He's great. He's critically lauded.

770
00:36:19,230 --> 00:36:22,130
S1: Lots of people love him. Have a swing, Wes, you know,

771
00:36:22,170 --> 00:36:24,840
S1: go do something fun and different, I think.

772
00:36:24,840 --> 00:36:27,450
S3: Yeah. Like don't cast Jason Schwartzman again just for, like

773
00:36:27,450 --> 00:36:30,270
S3: a change. As much as I love Jason Schwartzman, it's

774
00:36:30,270 --> 00:36:31,770
S3: like it reminds me of that, you know, like in

775
00:36:31,770 --> 00:36:34,109
S3: The Simpsons, when he's like, he's putting my kids through college.

776
00:36:34,110 --> 00:36:34,890
S3: It's like that.

777
00:36:36,870 --> 00:36:39,150
S2: Who would you like to see in a Wes Anderson

778
00:36:39,150 --> 00:36:41,640
S2: film that hasn't had the call up yet? Like, who

779
00:36:41,640 --> 00:36:42,390
S2: do you reckon?

780
00:36:42,390 --> 00:36:44,730
S3: Like someone that's in the Wes Anderson wheelhouse or a

781
00:36:44,730 --> 00:36:45,900
S3: surprise casting.

782
00:36:45,900 --> 00:36:48,510
S2: Surprise casting that would, you could say as a Wes Anderson.

783
00:36:48,510 --> 00:36:49,050
S11: Well, I've got one.

784
00:36:49,170 --> 00:36:51,180
S1: For you, I think in the succession vein. Let's get

785
00:36:51,180 --> 00:36:53,609
S1: our guy, Jeremy Strong, to team up with Wes. Jeremy

786
00:36:53,610 --> 00:36:54,920
S1: Strong Oh, he's got it.

787
00:36:55,010 --> 00:36:58,770
S2: So perfect for Wes Anderson. The kind of repressed feeling

788
00:36:58,770 --> 00:36:59,730
S2: the it's got a strong.

789
00:36:59,730 --> 00:37:02,640
S1: Defined nose, you know, that's like a thing that.

790
00:37:03,040 --> 00:37:03,450
S11: I see.

791
00:37:03,450 --> 00:37:06,120
S3: Him like being some kind of, like, fucking bellboy at

792
00:37:06,120 --> 00:37:10,620
S3: a hotel in the mountains or something or. Yeah, that's good. I.

793
00:37:11,950 --> 00:37:17,830
S3: I wouldn't mind seeing, like, someone. Really? Like maybe a

794
00:37:17,830 --> 00:37:18,850
S3: John Cena.

795
00:37:19,270 --> 00:37:20,890
S11: Oh, yeah. Okay. You know.

796
00:37:20,890 --> 00:37:22,839
S3: Just a really like, I'd like to see what Wes

797
00:37:22,840 --> 00:37:26,440
S3: Anderson would do with someone hulking. Yeah, because, like, he's true.

798
00:37:26,440 --> 00:37:28,450
S1: They're all very, like, skinny. And it's always.

799
00:37:28,450 --> 00:37:31,600
S3: Like Timothee Chalamet and like Jason Schwartzman. All these, like,

800
00:37:31,600 --> 00:37:33,910
S3: little stick insects around the places. I'm like, Let's get

801
00:37:33,910 --> 00:37:36,730
S3: some fucking beef on set. And I want to, I

802
00:37:36,730 --> 00:37:37,180
S3: want to say the.

803
00:37:37,360 --> 00:37:39,730
S1: Representation of Thicc boys. Thomas Thank.

804
00:37:39,730 --> 00:37:39,850
S3: You.

805
00:37:39,850 --> 00:37:41,620
S11: Finally me, my dad.

806
00:37:41,620 --> 00:37:44,290
S3: John in the Rock Smashing Cabana No, like he goes.

807
00:37:44,290 --> 00:37:46,719
S2: By Dwayne Johnson. Bit of respect, please.

808
00:37:46,810 --> 00:37:47,290
S11: Sorry. Yeah.

809
00:37:47,320 --> 00:37:48,910
S3: Mel's favorite actor, Dwayne Johnson.

810
00:37:49,000 --> 00:37:50,290
S11: He's the. The acting hero.

811
00:37:50,290 --> 00:37:50,560
S2: Of our.

812
00:37:50,560 --> 00:37:51,640
S11: Generation. Yeah, it'd.

813
00:37:51,640 --> 00:37:53,890
S3: Be like, what was that really bad action film they

814
00:37:53,890 --> 00:37:56,620
S3: did with all those guys like, And it was like

815
00:37:56,620 --> 00:37:57,759
S3: Stallone and stuff.

816
00:37:57,820 --> 00:37:58,719
S2: Fast and Furious.

817
00:37:59,110 --> 00:38:02,650
S1: Oh, that is put some respect on the greatest franchise

818
00:38:02,650 --> 00:38:03,880
S1: in film history, please. No, The.

819
00:38:03,880 --> 00:38:05,320
S3: Other one was like the Something.

820
00:38:05,320 --> 00:38:06,280
S1: Oh, The Expendables.

821
00:38:06,280 --> 00:38:09,940
S3: Yeah. Like I would love to see Wes reignite The

822
00:38:09,940 --> 00:38:13,300
S3: Expendables franchise just as like, you know, that talk about

823
00:38:13,300 --> 00:38:14,200
S3: testing himself.

824
00:38:14,200 --> 00:38:16,270
S2: Robert De Niro. He could be a fun addition.

825
00:38:16,420 --> 00:38:17,890
S11: That's finished. What?

826
00:38:18,550 --> 00:38:19,990
S2: He's coming back. He's got a he's in a film

827
00:38:19,989 --> 00:38:20,530
S2: out soon.

828
00:38:20,530 --> 00:38:22,569
S3: Yeah, actually, I'm quite looking forward to that.

829
00:38:23,110 --> 00:38:24,370
S1: What is the DeNiro film?

830
00:38:24,370 --> 00:38:26,169
S3: You know, the Flower Moon one. What's it called?

831
00:38:26,170 --> 00:38:30,160
S1: Oh, Killers of the. Yeah, he's finished, Thomas says. Months

832
00:38:30,160 --> 00:38:34,299
S1: before Martin Scorsese's movie with Leonardo DiCaprio and Robert De

833
00:38:34,300 --> 00:38:35,439
S1: Niro comes out, which.

834
00:38:35,440 --> 00:38:36,940
S11: Is going to be the second time of.

835
00:38:36,940 --> 00:38:38,950
S3: Character assassinated January this year because I wrote a column

836
00:38:38,950 --> 00:38:41,259
S3: about how I shouldn't be a father. At 79, Robert

837
00:38:41,260 --> 00:38:43,780
S3: De Niro spent ten minutes talking to him earlier this year.

838
00:38:43,780 --> 00:38:45,489
S3: But sadly.

839
00:38:46,180 --> 00:38:47,740
S11: He's going to win 100 Oscars.

840
00:38:47,739 --> 00:38:48,069
S1: This is.

841
00:38:48,070 --> 00:38:48,700
S11: Ridiculous.

842
00:38:48,700 --> 00:38:51,310
S3: No, he's really good. But like I mean, he's really good.

843
00:38:51,760 --> 00:38:53,950
S1: He's really good. De Niro by Thomas Mitchell.

844
00:38:53,950 --> 00:38:57,010
S3: Yeah. I'm sorry. Were you big fucking fan of Dirty Grandpa?

845
00:38:58,450 --> 00:39:01,540
S1: I was a big fan of the The Intern or

846
00:39:01,540 --> 00:39:03,010
S1: the internship. Which one was the.

847
00:39:03,010 --> 00:39:03,940
S11: One with the.

848
00:39:03,940 --> 00:39:05,620
S2: Google one? Yeah, with Anne Hathaway.

849
00:39:05,620 --> 00:39:07,000
S1: Yeah, that was a good one.

850
00:39:07,000 --> 00:39:07,570
S11: Yeah.

851
00:39:07,690 --> 00:39:09,130
S3: And Hathaway is another one that could be in a

852
00:39:09,130 --> 00:39:10,120
S3: Wes Anderson film.

853
00:39:10,900 --> 00:39:12,700
S11: Yeah. I don't.

854
00:39:12,700 --> 00:39:15,520
S2: Know. I don't really see it. I can't see her working.

855
00:39:15,940 --> 00:39:18,520
S3: Did you. Did you guys like. Because I'm a big

856
00:39:18,520 --> 00:39:22,690
S3: scarjo fan, I think she's like, probably doesn't get enough. Like,

857
00:39:22,690 --> 00:39:26,200
S3: people obviously love her, but she's done like blockbusters, arthouse films,

858
00:39:26,200 --> 00:39:30,340
S3: stuff like Marriage Story. She's in Marvel films. She's like, Scarlett,

859
00:39:30,340 --> 00:39:34,150
S3: probably good shout out to be one of the, like,

860
00:39:34,150 --> 00:39:37,570
S3: most prolific and impressive actors working today. I don't feel

861
00:39:37,570 --> 00:39:39,489
S3: like she's often in the conversation.

862
00:39:39,730 --> 00:39:43,359
S1: Yeah, I think she does deserve props for her wide range,

863
00:39:43,360 --> 00:39:46,660
S1: but like, I still haven't seen that performance, which really

864
00:39:46,660 --> 00:39:48,940
S1: takes my breath away. I feel like she can. She's

865
00:39:48,940 --> 00:39:50,500
S1: very adaptable and she can be in a movie and

866
00:39:50,500 --> 00:39:52,060
S1: she can be in a few scenes and really kill it.

867
00:39:52,060 --> 00:39:54,640
S1: But most of the films where she's like been the

868
00:39:54,640 --> 00:39:57,759
S1: main character have been these Marvel movies, and that's just

869
00:39:57,760 --> 00:40:01,750
S1: like really hard to act, you know, when you're being

870
00:40:01,750 --> 00:40:05,799
S1: filmed basically as CGI on a CGI background the whole time.

871
00:40:05,800 --> 00:40:08,470
S1: But hopefully now that Marvel seems to be like in

872
00:40:08,469 --> 00:40:11,080
S1: its death spiral, we might get to see more kind

873
00:40:11,080 --> 00:40:13,899
S1: of match point era sort of stuff from her.

874
00:40:14,670 --> 00:40:16,110
S2: Yeah. Good candidate for Barney.

875
00:40:17,670 --> 00:40:18,180
S14: Exactly.

876
00:40:19,050 --> 00:40:22,529
S1: Wes Anderson does bond. I feel like we've probably tapped

877
00:40:22,530 --> 00:40:25,670
S1: the vein there when it comes to talking about Wes Anderson.

878
00:40:25,680 --> 00:40:27,420
S1: Unless there's anything else you guys want.

879
00:40:27,480 --> 00:40:30,330
S2: Sorry. Well, you never really answered our question about what

880
00:40:30,330 --> 00:40:31,560
S2: the film means.

881
00:40:31,590 --> 00:40:34,859
S3: Yes, that's right. For the record, listeners, when we came out,

882
00:40:34,860 --> 00:40:37,490
S3: I was like, This film is more style over substance.

883
00:40:37,500 --> 00:40:39,989
S3: I didn't really like it, whatever. And I was like,

884
00:40:40,350 --> 00:40:43,319
S3: It's funny you say that, Thomas, because I actually think

885
00:40:43,320 --> 00:40:47,490
S3: it was quite substantial and I will reserve my comments

886
00:40:47,489 --> 00:40:50,310
S3: and my lecture for tomorrow's pod. And so here we are,

887
00:40:50,310 --> 00:40:53,160
S3: and Mel and I are looking forward to hearing What

888
00:40:53,160 --> 00:40:53,580
S3: are you talking about?

889
00:40:53,610 --> 00:40:56,940
S1: We spent 45 minutes talking about this movie. I've said

890
00:40:56,940 --> 00:40:58,529
S1: plenty about what I think this movie is about.

891
00:40:58,620 --> 00:41:00,330
S2: But did you have a deep okay? Because then I

892
00:41:00,330 --> 00:41:01,980
S2: was like, I was thinking about it last night as

893
00:41:01,980 --> 00:41:04,469
S2: I was tossing and turning. And I was like ultimately.

894
00:41:05,610 --> 00:41:08,219
S11: Just kept awake by the mystery of what I'm trying.

895
00:41:08,219 --> 00:41:12,989
S2: To. Ultimately, I think that the film is about alienation,

896
00:41:12,989 --> 00:41:17,190
S2: our alienation from each other and with a literal alien, obviously,

897
00:41:17,190 --> 00:41:21,270
S2: and how art is our way to connection, because some

898
00:41:21,270 --> 00:41:24,630
S2: of the most intense moments of connection came on the

899
00:41:24,630 --> 00:41:29,219
S2: back or through art, including a great scene with Margot Robbie,

900
00:41:29,219 --> 00:41:31,320
S2: which I won't give too much away, or those scenes

901
00:41:31,320 --> 00:41:34,589
S2: with Scarjo and Jason Schwartzman that we were talking about.

902
00:41:34,590 --> 00:41:36,690
S2: And that was maybe where I landed, that it was

903
00:41:36,690 --> 00:41:40,140
S2: all about our alienation from each other and how art

904
00:41:40,140 --> 00:41:43,350
S2: proves kind of the strongest sense of empathy we can get.

905
00:41:43,500 --> 00:41:45,840
S1: I mean, I think that makes total sense. I mean, my,

906
00:41:45,840 --> 00:41:47,790
S1: my notes I can read out the notes I took

907
00:41:48,090 --> 00:41:53,940
S1: during this movie. I said Asteroid city Parents Relationships, paranoia,

908
00:41:53,940 --> 00:41:58,859
S1: Question mark, American exceptionalism. Oppenheimer, Hugo from succession.

909
00:42:00,270 --> 00:42:00,660
S11: It's like.

910
00:42:00,660 --> 00:42:03,770
S2: Word association. That's not that's not astute analysis.

911
00:42:03,780 --> 00:42:05,759
S1: No, I think Well, I can't believe we're doing this.

912
00:42:05,760 --> 00:42:07,710
S1: You're making me give you my thesis on the film

913
00:42:07,710 --> 00:42:12,359
S1: like I'm 100%. I think I think you're right, Mel,

914
00:42:12,660 --> 00:42:16,440
S1: in terms of like the creative, artistic process and that

915
00:42:16,440 --> 00:42:19,560
S1: idea of alienation. But I think more specifically for me,

916
00:42:19,560 --> 00:42:22,830
S1: this was about Wes going back to the 1950s at

917
00:42:22,830 --> 00:42:26,430
S1: a time when America really felt like it had conquered

918
00:42:26,430 --> 00:42:28,620
S1: the world. And there is dialogue in this movie that's

919
00:42:28,620 --> 00:42:31,500
S1: very explicit about that. There are conversations between some of

920
00:42:31,500 --> 00:42:34,290
S1: the soldiers where they're like, We've never lost a war,

921
00:42:34,290 --> 00:42:37,260
S1: America's never lost a war. And that whole kind of

922
00:42:37,260 --> 00:42:42,000
S1: like post-World War II aesthetic in America of these like

923
00:42:42,000 --> 00:42:45,360
S1: big cars and of suburbia and of like the diner

924
00:42:45,360 --> 00:42:48,240
S1: and these colors in Hollywood and it's golden era, which

925
00:42:48,239 --> 00:42:50,730
S1: is what Scott Johansson's character is trying to evoke. It

926
00:42:50,730 --> 00:42:53,939
S1: is a sense that, like things were better in the 1950s,

927
00:42:53,940 --> 00:42:56,160
S1: he's trying to deconstruct that, I think, a little bit.

928
00:42:56,160 --> 00:42:58,440
S1: He's like this era that they want us to go

929
00:42:58,440 --> 00:43:01,709
S1: back to this era of American exceptionalism where we thought

930
00:43:01,710 --> 00:43:05,070
S1: we had won everything and we had access to unfettered

931
00:43:05,070 --> 00:43:08,340
S1: technology and the world felt like we could do anything

932
00:43:08,340 --> 00:43:13,140
S1: is actually not that good. We all felt really sad.

933
00:43:13,140 --> 00:43:16,260
S1: We all felt alienated, as you put we were drop

934
00:43:16,260 --> 00:43:20,069
S1: a nuclear bombs every second day on our own country.

935
00:43:20,070 --> 00:43:24,299
S1: And the only way that we reacted to anything new

936
00:43:24,300 --> 00:43:27,660
S1: and exciting and genuinely radical like the presence of an alien,

937
00:43:27,660 --> 00:43:31,140
S1: was to turn against each other, lock ourselves up, have

938
00:43:31,140 --> 00:43:34,620
S1: the United States military and the CIA come in and

939
00:43:34,620 --> 00:43:37,140
S1: interrogate young kids who were just trying to have fun?

940
00:43:37,140 --> 00:43:39,239
S1: I think there's like quite a bit of darkness and

941
00:43:39,239 --> 00:43:42,480
S1: grimness to what he's trying to say about where America

942
00:43:42,480 --> 00:43:46,630
S1: went wrong and where. America's identity of what it thinks

943
00:43:46,630 --> 00:43:49,630
S1: of the best era of itself was actually one that

944
00:43:49,630 --> 00:43:54,069
S1: was very insular, very paranoid and very alienated. That's my

945
00:43:54,070 --> 00:43:57,280
S1: thesis on the film. Thank you for listening to this podcast.

946
00:43:58,420 --> 00:43:59,620
S11: I've given it. That's a h.

947
00:43:59,620 --> 00:44:00,370
S2: HD right there.

948
00:44:00,370 --> 00:44:01,719
S11: I'm pretty good. Are you happy with that? He pulled.

949
00:44:01,719 --> 00:44:03,219
S3: It off. Yeah, yeah, yeah, I'm okay.

950
00:44:03,219 --> 00:44:04,840
S11: Then. Eight out of ten.

951
00:44:04,840 --> 00:44:09,339
S2: What order would you tell people to go see Bobby Oppenheimer?

952
00:44:09,400 --> 00:44:10,750
S11: Oh, that is a great question.

953
00:44:11,290 --> 00:44:13,360
S1: That is a great question. What's worth reflecting on the

954
00:44:13,360 --> 00:44:16,420
S1: fact that in the States and in most of the world,

955
00:44:16,420 --> 00:44:19,480
S1: this movie came out first, right? So we are all

956
00:44:19,480 --> 00:44:21,700
S1: in agreement that going up and over to Bobby is

957
00:44:21,700 --> 00:44:23,920
S1: like not a good idea. Right? So I reckon what

958
00:44:23,920 --> 00:44:25,840
S1: you could do is you could go up in Heimer

959
00:44:25,960 --> 00:44:30,160
S1: Wes Asteroid City and then Bobby I feel like have

960
00:44:30,160 --> 00:44:33,100
S1: the big heavy one sit on that. Ease your way

961
00:44:33,100 --> 00:44:35,350
S1: into something that's like a little bit heavy but still

962
00:44:35,350 --> 00:44:37,960
S1: kind of fun and kind of light and then finish

963
00:44:37,960 --> 00:44:39,610
S1: things off with Bobby that just makes you want to

964
00:44:39,610 --> 00:44:41,590
S1: party and hit the club afterwards.

965
00:44:41,800 --> 00:44:44,980
S2: And also chronologically, that works quite well. Like in your

966
00:44:44,980 --> 00:44:49,120
S2: thesis with Asteroid City being kind of a post-World War

967
00:44:49,120 --> 00:44:51,040
S2: II like, you know, they kind of sit nicely together.

968
00:44:51,040 --> 00:44:52,690
S1: I can't believe I gave you my beautiful thesis at

969
00:44:52,690 --> 00:44:54,279
S1: the very end of this podcast. There's probably no one

970
00:44:54,280 --> 00:44:57,190
S1: left listening, but maybe, maybe in the intro I'll be like,

971
00:44:57,190 --> 00:44:58,899
S1: Make sure to say to the end of this one because.

972
00:44:59,710 --> 00:45:01,690
S11: We actually tell you what the film see.

973
00:45:01,960 --> 00:45:07,480
S3: Mission Impossible, Dead Reckoning first, and then watch that again

974
00:45:07,750 --> 00:45:11,049
S3: and then watch Oppenheimer and then watch Barbie and then

975
00:45:11,050 --> 00:45:13,210
S3: snooze through Asteroid City.

976
00:45:14,230 --> 00:45:15,130
S2: And then Robert De.

977
00:45:15,130 --> 00:45:15,940
S11: Niro and.

978
00:45:15,940 --> 00:45:17,410
S3: Then go back to my dads for breakfast.

979
00:45:18,250 --> 00:45:20,439
S1: This has already gotten unhinged. But Mel, in the interest

980
00:45:20,440 --> 00:45:23,620
S1: of giving you a fair chance to answer your own question,

981
00:45:23,620 --> 00:45:24,550
S1: what's your role to.

982
00:45:25,500 --> 00:45:27,960
S2: No, I'm happy with that. I actually think you. You

983
00:45:27,960 --> 00:45:30,419
S2: nailed it there. I'd go. Oh, you know what? Maybe

984
00:45:30,420 --> 00:45:33,960
S2: I'd go Wes Anderson first, see kind of the atomic

985
00:45:33,960 --> 00:45:35,640
S2: bombs in the background and then.

986
00:45:35,640 --> 00:45:37,200
S1: Find out the story of where they came.

987
00:45:37,200 --> 00:45:37,690
S11: From. Yeah.

988
00:45:38,010 --> 00:45:41,070
S2: Totally. And then but unfortunately, that means you then have

989
00:45:41,070 --> 00:45:44,040
S2: to have Barbie after, which I guess could perk you up. Yeah.

990
00:45:44,040 --> 00:45:44,880
S2: So that works.

991
00:45:44,880 --> 00:45:49,080
S1: Yeah. Great. Well, team, thank you again, Mel. Good luck

992
00:45:49,080 --> 00:45:52,140
S1: with the rest of the move. We'll be back next

993
00:45:52,140 --> 00:45:56,759
S1: week with a very fun special episode celebrating 20 years

994
00:45:56,760 --> 00:45:59,970
S1: of the greatest TV show ever made, The O.C.. See

995
00:45:59,969 --> 00:46:00,540
S1: you then. Yes.

996
00:46:00,540 --> 00:46:02,580
S3: And it's good to get some actual culture on the

997
00:46:02,580 --> 00:46:03,480
S3: board of what I'm talking about.

998
00:46:04,830 --> 00:46:06,240
S1: Take care, guys. See you next week.

999
00:46:06,420 --> 00:46:07,830
S15: California.

1000
00:46:11,020 --> 00:46:14,080
S1: This episode of The Drop was produced by Kai Wang.

1001
00:46:14,469 --> 00:46:17,500
S1: If you enjoyed listening to today's episode of The Drop,

1002
00:46:17,500 --> 00:46:20,530
S1: make sure to follow us in your favorite podcast app.

1003
00:46:20,560 --> 00:46:23,200
S1: Leave us a review or better yet, share it with

1004
00:46:23,200 --> 00:46:26,500
S1: a friend. I'm Osman Farooqui. See you next week.