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Speaker 2: It's very difficult to keep the line between the past.

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Speaker 6: And the press, who believes that someone out of the

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Speaker 6: past can enter and take possession of a living being.

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Speaker 1: We may be through with the past, but the past

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Speaker 1: is not through with us.

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Speaker 7: Welcome back to the Next Picture Show, a movie of

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Speaker 7: the Week podcast devoted to a classic film and the

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Speaker 7: way it shaped our thoughts on a recent release. I'm

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Speaker 7: Keith Phipps here Again with.

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Speaker 8: Tasha Robinson and Scott's Obias.

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Speaker 7: On the first half of this episode, we discussed stand

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Speaker 7: by Me, rob Wrighter's nineteen eighty six adaptation of Stephen

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Speaker 7: King's The Body. We're going to stay in king Territory

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Speaker 7: for the second half of the episode to focus on it.

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Speaker 7: The first half A director Andy Machette's attempt to bring

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Speaker 7: kings nineteen eighty six Magnum Opus to the big screen.

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Speaker 7: Machettes isn't the first such attempt. It was previously adapted

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Speaker 7: as a TV mini series in nineteen ninety. This feature

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Speaker 7: film version has been long in the works, and it's

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Speaker 7: not hard to see why. King's novel is over eleven

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Speaker 7: hundred pages and is set across two timelines, the main

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Speaker 7: character's childhood's in the nineteen fifties and their adult selves

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Speaker 7: in the nineteen eighty Muschetti's It revealed in the closing

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Speaker 7: credits to be chapter one of the story takes place

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Speaker 7: in nineteen eighty nine. A sequel, Suddenly Present, is already

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Speaker 7: in the works. Like stand By Me, it takes place

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Speaker 7: during a summer in which its kid protagonists, who dubbed

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Speaker 7: themselves the Loser's Club, have to get to the bottom

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Speaker 7: of a mystery with no help from adults, specifically the

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Speaker 7: disappearance of some local kids. The missing include the younger

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Speaker 7: brother Bill played by Midnight Special and Book of Henry

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Speaker 7: Starr Jaden Lieberher. The kids include the wise, cracking Richie

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Speaker 7: played by Stranger Things Finn Wolfard, and Beverly, the soul

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Speaker 7: girl played by relative newcomer Sophia Lillis. Their adversary mostly

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Speaker 7: presents itself in the form of Pennywise, a dancing clown,

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Speaker 7: a mirthless merrymaker played by Bill Scarsguard. We'll get into

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Speaker 7: our reactions to it, as well as how it compares

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Speaker 7: to Stand By Me.

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Speaker 9: After the break, my grandfather thinks as Thomas cursed, he

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Speaker 9: says that all the bad things that happen in this

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Speaker 9: town or because of one thing, an evil thing that

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Speaker 9: feeds out to people, the dairy.

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Speaker 8: But it can't be one thing.

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Speaker 9: We all saw something different maybe, or maybe it knows

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Speaker 9: what scares its most and that's what we see.

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Speaker 3: I saw a leper.

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Speaker 8: He was like a walking infection. But you didn't because

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Speaker 8: it isn't real. None of this is.

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Speaker 6: None of this makes any sense.

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Speaker 8: There are like bad dreams.

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Speaker 9: I don't think so I know the difference between a

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Speaker 9: bad dream in real life. Okay, we're all afraid of.

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Speaker 10: Something, got that right, my rich What are you afraid of?

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Speaker 11: Clowns?

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Speaker 10: So everyone, what did you think of it?

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Speaker 6: I don't know.

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Speaker 11: I found myself becoming less and less persuaded by it

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Speaker 11: as it went along. I think for maybe a couple

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Speaker 11: of reasons. One is that, I mean, there's a lot

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Speaker 11: of characters, and each one of them has a little fear,

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Speaker 11: and each one of those fears has to be realized,

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Speaker 11: and you know a certain sequence. And the second reason

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Speaker 11: is that those sequences are done in a very particularly

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Speaker 11: modern style of horror filmmaking that irritates me a lot

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Speaker 11: of the time. It's very assaultive and aggressive, and it

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Speaker 11: really they're really hitting you hard with the visual effects

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Speaker 11: and the sound effects. It's just the whole thing had

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Speaker 11: this kind of sledgehammer impact that I think really took

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Speaker 11: away from the human story at the core of the

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Speaker 11: film and the book from what I can remember. Yeah,

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Speaker 11: the book I haven't read since probably twenty two years

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Speaker 11: ago or something, but so my memory of it is vague,

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Speaker 11: but I do remember being really absorbed by the world

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Speaker 11: of the book and being taken in by these characters

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Speaker 11: and by a certain dread filled ambiance that didn't really

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Speaker 11: define this.

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Speaker 6: Film at all.

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Speaker 11: It felt like I just a a contraption of various

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Speaker 11: horror set pieces, all of which lost their distinction for

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Speaker 11: me over time because they're all done in the same

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Speaker 11: kind of super aggressive modern style.

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Speaker 8: There's also just there's too much monster.

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Speaker 6: You know.

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Speaker 3: Part of the thing that makes a horror film work

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Speaker 3: is dread and mystery. And the film puts Pennywise the

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Speaker 3: clown on the screen in the first scene and it's

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Speaker 3: really eerie, but then he just keeps cropping up over

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Speaker 3: and over and over and over and over, and that

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Speaker 3: happens in the book too.

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Speaker 8: But you know, the book.

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Speaker 3: Is in the manner of Stephen King, very discursive about

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Speaker 3: sort of the inner personal experience of all of these people.

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Speaker 3: And it's hugely long because there's so many characters and

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Speaker 3: you spend so much time within their lives and finding

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Speaker 3: out what makes them distinctive. And the movie here does

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Speaker 3: really try to hang onto like tiny bits and pieces

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Speaker 3: of what makes each one of these characters specific. They

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Speaker 3: still blur a little bit, you know, there's got to

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Speaker 3: be enough concision to get through this story. As a result,

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Speaker 3: the forms that it takes are driven by their fears.

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Speaker 3: They have very specific fears, so it appears to them

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Speaker 3: in different ways. But there is a middle section of

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Speaker 3: the movie that's just Clown turns into something scary and

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Speaker 3: lunges at them, lunges at the screen, startles you. Clown

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Speaker 3: chases them around, says something eerie. But because all of

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Speaker 3: them have to make it to at least a certain

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Speaker 3: point in the movie, it doesn't actually harm any of them,

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Speaker 3: and after a while it stops seeming quite as scary,

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Speaker 3: And there are reasons for that within the narrative, but

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Speaker 3: they don't really come up in the movie.

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Speaker 7: I like this movie just fine, but I was expecting,

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Speaker 7: like maybe we get kind of a revelatory Stephen King adaptation.

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Speaker 7: It's been a while since we've had one of those,

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Speaker 7: and certainly in the material lens, it's off to that,

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Speaker 7: and you're right where. I think it gets less convincing

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Speaker 7: as it goes along, in part because I think that

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Speaker 7: first scene is actually.

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Speaker 10: As you say, really eerie.

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Speaker 7: I think most of the penny Wise appearances are there

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Speaker 7: might be too many of them, and it is a

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Speaker 7: little assaultive, but I think there's some inventives the way

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Speaker 7: they're presented. I think part of the problem is there

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Speaker 7: aren't a lot of characters. And the kids are really good.

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Speaker 7: I think it's a strong cast, which helps a lot,

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Speaker 7: but a lot of them are really thinned out to

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Speaker 7: like John Hughes, you know, cliche. It's like it's the

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Speaker 7: Jewish kid, it's the wisecracker, you know, and it's like

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Speaker 7: as yet another movie that has a black character who

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Speaker 7: gets to do the least of all, you know.

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Speaker 3: And he's really sidelined. And I mean in a lot

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Speaker 3: of ways. He is in the book too, that is

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Speaker 3: inherently a problem, but in so many ways he's the

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Speaker 3: far outsider of this story. He's a homeschooled kid for

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Speaker 3: reasons that are never explained. His parents are dead in

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Speaker 3: a way that we like gloss over in a really

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Speaker 3: painful monologue that nobody reacts to. There's some very weird

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Speaker 3: editing in this movie that I think possibly excizes scenes.

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Speaker 8: That we needed.

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Speaker 3: There are a couple of very strange cuts, and some

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Speaker 3: of them I think definitely come at his expense. There

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Speaker 3: are points where it seems like we're going to get

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Speaker 3: more of him, and then we suddenly cut to a

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Speaker 3: later part of the story. He really gets sidelined in

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Speaker 3: a way that's problematic for the visuals, and I think

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Speaker 3: part of that in the book is in the nineteen fifties,

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Speaker 3: there would have been a much bigger division between the

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Speaker 3: white and the black characters. Here, it just seems like

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Speaker 3: he shows up as the token in a way that

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Speaker 3: it doesn't have racial resonance.

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Speaker 8: It's just an awkwardness in it.

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Speaker 11: Kind of does, but it doesn't actually follow through on

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Speaker 11: that at all. Right, I mean, I think there seems

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Speaker 11: to be some inference that whatever happened to his family

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Speaker 11: was racially motivated, but the film just kind of hits

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Speaker 11: on the brakes.

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Speaker 7: The bullies kind of walk up to the line of

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Speaker 7: being insulting him and saying, you know, get out of

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Speaker 7: our town.

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Speaker 10: You don't belong here. But they don't really live away.

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Speaker 7: They're very restrained bullies, and since they're beating him up

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Speaker 7: and calling them horrible things, but not they don't step

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Speaker 7: over the line of actual racial.

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Speaker 3: Insult to a degree that I mean, the point where

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Speaker 3: the bullies get him, I think is one of the

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Speaker 3: big kind of missing pieces of the story, just in

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Speaker 3: terms of it suddenly becomes okay, they do this to everybody.

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Speaker 3: I guess there's nothing really personal going on here, but

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Speaker 3: it's such a personal story when you're singled out by

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Speaker 3: a group of people and tortured.

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Speaker 8: I mean, these are.

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Speaker 3: Some serious bullies, and we'll get into that, I think

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Speaker 3: in Connections a bit. I don't want to underplay the

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Speaker 3: parts of this film that I did appreciate. We're coming

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Speaker 3: in super negative. I think in part for me, there's

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Speaker 3: just sort of a sense of disappointment because the little

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Speaker 3: bits of this film that we were getting were so eerie,

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Speaker 3: Like I really wanted to be spooked, and there are

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Speaker 3: a lot of images here that I think are really

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Speaker 3: unsettling and work really well. It's just that there's so

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Speaker 3: much of it, and it's and it happens over and over,

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Speaker 3: but the performances are great. I think Scars guards creepy

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Speaker 3: as hell. I actually kind of like that assaultive approach

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Speaker 3: to horror. I would not want every horror film to

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Speaker 3: be that way, but Machete's Mama was also kind of

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Speaker 3: assaultive in a way, and I found it mostly refreshing,

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Speaker 3: Like you get the monster in that fairly early, and

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Speaker 3: you get trained to relate to it in a very

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Speaker 3: different way from a lot of other monster movies. It's

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Speaker 3: not quite as strong as the host in that regard,

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Speaker 3: but it's just it's a different approach. And I think

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Speaker 3: that the approach here is pretty conscious, with it just

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Speaker 3: constantly pushing itself forward and constantly aggressively attacking both the

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Speaker 3: characters and you. For me, it shouldn't have been a

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Speaker 3: different approach it there should have been like less, there

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Speaker 3: should have been less of the montage of you all.

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Speaker 11: Well, let me make a couple of points. One in

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Speaker 11: terms of scares. The biggest scare in the movie I

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Speaker 11: think was also for me, was when Ben goes to

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Speaker 11: the library and he's searching the town history. He goes

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Speaker 11: page after page, and in the background blurred out there

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Speaker 11: like there's this figure that seems to be approaching him,

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Speaker 11: and it adds this incredible menace and it's kind of

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Speaker 11: old fashioned and it's just the effort he does that.

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Speaker 11: Of course, he kind of goes off into the basement

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Speaker 11: or whatever, the archives and gets chased around, and to me,

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Speaker 11: that's a little bit back into more conventional horror. But

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Speaker 11: having this spooky figure who is paying very intense attention

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Speaker 11: to him, you know, out of focus in the background.

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Speaker 11: I mean, I think that's good horror film making, and

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Speaker 11: I kind of wish I saw more of that.

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Speaker 7: Yeah, I think the innovative touches are really nice and

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Speaker 7: the images are really strong.

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Speaker 10: It's got a great eye.

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Speaker 7: I think the sort of the less creative scares are

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Speaker 7: still pretty effective. I mean, I never felt like there

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Speaker 7: was a cheap jump scare in this There's some definitely

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Speaker 7: some scares that could have been.

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Speaker 10: A little more. Ask a little bit more of the

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Speaker 10: audience and what you get.

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Speaker 3: I see what you're saying, though, that particular sort of

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Speaker 3: bit of spookiness is suggestive. It's letting you put together

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Speaker 3: the pieces, and an awful lot of this movie is

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Speaker 3: not about letting you anticipate what's coming. It's just it's

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Speaker 3: constantly coming. It's constantly overwhelming you with imagery.

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Speaker 11: I think we have a fairly similar read on Stephen

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Speaker 11: King moviees, especially because I wrote this thing for Washington

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Speaker 11: Post about what makes a great Stephen King movie, and

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Speaker 11: one of the things was that relationship between all the

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Speaker 11: great Stephen King adaptations is the shining Carrie, Christine, etc.

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Speaker 11: Have this connection between the tear your lives of their

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Speaker 11: characters and this and the horror that is that it

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Speaker 11: manifests itself and is related in a very intimate way

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Speaker 11: with what is going on side of them. And to me,

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Speaker 11: too much of it is is the external things that

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Speaker 11: people make a mistake in trying to represent in Stephen

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Speaker 11: King movies.

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Speaker 6: When you when you focus on.

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Speaker 11: All the crazy crap that he puts in his books,

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Speaker 11: that's where you go wrong.

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Speaker 12: Yeah.

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Speaker 3: I was, actually I was on pop Culture Happy Hour

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Speaker 3: just after Dark Tower came out talking about Stephen King adaptations,

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Speaker 3: and I said pretty much the exact same thing, Like

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Speaker 3: the what you wrote in that piece and what I

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Speaker 3: had already said on that podcast were pretty much sympathically rare.

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Speaker 6: So it's like a solar eclipse, Tasha.

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Speaker 3: Oh, yeah, when the two of us come together. But

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Speaker 3: Brina let us Scott will always have Burrita.

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Speaker 13: Let us No.

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Speaker 3: I think that. I think that people who adapt King

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Speaker 3: have a tendency. He crafts some really memorable, terrifying images,

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Speaker 3: and I think people get hung up on those images

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Speaker 3: to the point where they kind of let's pass the

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Speaker 3: meaning of those images. And in this case, in particular,

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Speaker 3: there are the thing that happens to Beverly in the bathroom.

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Speaker 3: I mean, I'm going to carry that with me for

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Speaker 3: a while. It's it's beautifully shot and really unnerving, and

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Speaker 3: the follow up to it is even more unnerving. But

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Speaker 3: you have a psychological justification for everything that's happening there.

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Speaker 3: It's very very meaningful in addition to being creepy, And

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Speaker 3: too many of the scares don't do that.

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Speaker 7: Yeah, that's an instance where I think the film wants

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Speaker 7: to be that kind of Stephen King movie where it

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Speaker 7: is driven by the interior lives of these characters, and

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Speaker 7: Beverly and Bill get the best of that impulse in

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Speaker 7: this movie, and it's just spread a little too thin

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Speaker 7: for Maybe it should be a TV mini.

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Speaker 3: Series no, I distract too much. But I am so

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Speaker 3: talking about the film to people. I found a lot

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Speaker 3: of people really love.

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Speaker 8: That many series. Do you. I don't have fond memories.

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Speaker 10: Now I watched it. I thought it was very TV

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Speaker 10: mini series.

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Speaker 3: You know me too, But they have really strong positive memories.

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Speaker 7: Curry makes it pretty deep impression. People love to see

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Speaker 7: Harry Anderson in a dramatic role. I guess I don't know,

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Speaker 7: but yeah, I mean I kept reading for this film

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Speaker 7: to find to dig a little deeper, to find a

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Speaker 7: little another gear because.

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Speaker 10: It looks great.

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Speaker 7: I think the scares are beer from fine to quite scary.

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Speaker 7: I think there are some real creativity to what is doing.

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Speaker 7: I respect that it was able to turn, you know,

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Speaker 7: half the book into a relatively tight to an hour

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Speaker 7: and fifteen minute film. But yeah, it's just it's it's good.

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Speaker 7: It's good, guys, it should be great.

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Speaker 6: Yeah.

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Speaker 11: Maybe that's my frustration is that it never it's it's okay.

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Speaker 6: But but I did think there was greatness.

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Speaker 11: You could see a great film there that doesn't quite

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Speaker 11: make it, and I think it really is there in

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Speaker 11: the dynamic between all of them together. I think that's

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Speaker 11: when the film is strongest, and that's when they are

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Speaker 11: strongest in terms of facing this threat.

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Speaker 6: Yeah.

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Speaker 7: I can't truss enough how good this cast is across

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Speaker 7: the board. I felt like, when I look back, it's like, wait,

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Speaker 7: all those people were in the same movie together as kids.

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Speaker 7: We'd seen Jade leeber Her before, but I really liked

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Speaker 7: Jeremy ray Taylor, who played has Been the overweight kid.

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Speaker 7: I thought Sophia Lolis, who played Beverly, was really quite

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Speaker 7: good film wolf Heart.

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Speaker 10: We know, and you know, it's just strong.

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Speaker 6: It's got all the good like mom jokes.

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Speaker 10: Yeah, it's strong across the board.

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Speaker 6: You know.

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Speaker 7: I'll tell you what, though, it's kind of suffers because

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Speaker 7: the Stranger Things.

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Speaker 8: A little bit oh yeah, serious way I.

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Speaker 7: Mean, and not just that that Stranger Things borrows a

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Speaker 7: lot from Stephen King in general and it in particular,

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Speaker 7: but just tonally, it's very similar. Visually, it's very similar.

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Speaker 3: And you have a lot of the same preoccupations with

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Speaker 3: the kids rushing around on bikes, the kids struggling to

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Speaker 3: get adults to believe them, the kids kind of forming

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Speaker 3: this like little club of the kids that are trying

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Speaker 3: to investigate something that's going on that everybody else doesn't

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Speaker 3: know how to investigate. You've kind of got the kid

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Speaker 3: who's the black outsider. You've kind of got the kid

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Speaker 3: who's the nominal leader and heart of the group, who's

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Speaker 3: a little separated from everybody. Like the visual dynamic of

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Speaker 3: what those kids look like is really similar. And the

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Speaker 3: fact that Finn Wolfhart is in both of them, it.

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Speaker 8: Doesn't help there.

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Speaker 6: It played basically the same character or two.

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Speaker 8: Well, that's that. I don't think that that's true. I

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Speaker 8: think I think they might not.

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Speaker 3: Have gotten far enough into the whole, like Richie and

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Speaker 3: his voices and Richie being obnoxious thing, but they pick

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Speaker 3: up enough of the flavor of that.

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Speaker 7: I think, Okay, you know what you haven't talked about

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Speaker 7: and probably should given it's kind of a big part

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Speaker 7: of the movie is Pennywise.

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Speaker 10: The clown is.

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Speaker 7: Played by Bill Scarsguard, son of Stellin scars Guard, which

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Speaker 7: I think I'm the last person to find out.

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Speaker 10: I think it's scary.

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Speaker 7: I think it's scarier in the beginning than he is

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Speaker 7: at the end, and I think the finale he's not

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Speaker 7: nearly as scary as he needs to be. But that

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Speaker 7: first scene that's really something.

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Speaker 6: But of course, of the finale, they're not scared of

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Speaker 6: any That's true.

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Speaker 10: That's kind of the point.

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Speaker 3: I think one of the things that differentiates between him

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Speaker 3: being really scary in him being less scary is towards

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Speaker 3: the end of the film, he's increasingly becoming a digital effect,

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Speaker 3: and a lot of what's being done with those digital

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Speaker 3: effects is to make him, you know, move like Samara

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Speaker 3: from The Ring, or you know, unpack himself in unsettling,

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Speaker 3: creepy ways. But I find him creepier when he's just

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Speaker 3: still in scars guard in makeup, looking up from from

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Speaker 3: under his brow in that eerie way, when he's with.

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Speaker 10: Those goofy teeth, those funny teeth.

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Speaker 11: I was in Cotton, candy and popcorn and the whole

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Speaker 11: the whole circus.

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Speaker 3: Is down here and waiting every line with Menace. Just

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Speaker 3: it's like everything that he says sounds good and is

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Speaker 3: full of malice.

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Speaker 7: Is it too much to pull back and ask why

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Speaker 7: are clowns scary? And then talk about why this particular

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Speaker 7: clown is scary?

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Speaker 3: Why is this particular clown scary?

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Speaker 10: I mean, why are clowns scary?

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Speaker 3: Though, Tasha, I've never found clown scary. I don't really

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Speaker 3: get it, but.

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Speaker 7: In general, or like you know, ever, like you don't

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Speaker 7: like you were just bored by the presence of Penny

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Speaker 7: Wise in this one, or.

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Speaker 3: Just no, no, no, I don't find I don't find

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Speaker 3: the concept of clowns scary. Like I never went through

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Speaker 3: a period in childhood where I was unnerved by clowns.

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Speaker 3: I think that clowns have a reputation of being eerie

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Speaker 3: because you know, they're people, but they put on makeup

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Speaker 3: and and act in unsettling and unpredictable goofy ways.

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Speaker 8: And they do.

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Speaker 3: Magic, which to a little kid can be threatening because

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Speaker 3: it breaks the rules. It breaks the laws of physics

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Speaker 3: as you understand them. I think all of these things

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Speaker 3: unnerve people about clowns. I never found clowns creepy.

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Speaker 8: Now there's a room full.

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Speaker 3: Of clowns in this movie that's really pretty creepy.

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Speaker 11: Yeah, that's a good scene. And I kind of used

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Speaker 11: in the word in your introduction mirthless. I think I

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Speaker 11: think a little more mirth would have helped a little bit.

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Speaker 11: There's a there's a bit where where the where the

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Speaker 11: boys are presented with three different doors to go through

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Speaker 11: from scary, really scary, and and uh there's something like that,

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Speaker 11: and they go through not scary at all. Of course,

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Speaker 11: yeah it is horrifying, but I kind of missed that

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Speaker 11: little bit of playfulness probably would have helped bring this

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Speaker 11: character to life. But I don't know, really, our clowns

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Speaker 11: a little obvious at this point. Yang, Yeah, that's just it.

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Speaker 7: I think I tweeted something to this the fact, but

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Speaker 7: I feel like we should have it, have it sequel,

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Speaker 7: and just agree as a culture that we're over scary clowns.

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Speaker 7: Colntstant just be funny, you know, jolly strange, but not

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Speaker 7: scary anymore.

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Speaker 10: We've we've done scary clowns.

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Speaker 3: If we ever need more scary clowns, we just rewatch Poltergeist,

440
00:20:11,960 --> 00:20:13,400
Speaker 3: which has the scariest clown of all time.

441
00:20:13,480 --> 00:20:14,960
Speaker 10: Yes, yes it does.

442
00:20:15,119 --> 00:20:17,520
Speaker 3: Part of me just wants this movie to succeed because

443
00:20:17,560 --> 00:20:19,639
Speaker 3: I want to see what part two looks like. I

444
00:20:19,680 --> 00:20:22,480
Speaker 3: want to see how all of these little bits of

445
00:20:22,560 --> 00:20:26,679
Speaker 3: dynamics because in the book really important to the story

446
00:20:26,720 --> 00:20:28,840
Speaker 3: that as soon as it's all over, the kids forget

447
00:20:28,880 --> 00:20:31,400
Speaker 3: everything and it doesn't really come back to them until

448
00:20:31,400 --> 00:20:34,959
Speaker 3: they're adults. So the fifties segment and the eighty segment

449
00:20:35,040 --> 00:20:39,400
Speaker 3: are like interleaved, so they're remembering parts of the fifties

450
00:20:39,440 --> 00:20:42,879
Speaker 3: thing as it becomes relevant in the eighties. I'm really

451
00:20:42,880 --> 00:20:46,280
Speaker 3: curious when it's just two completely separative, separate narratives that

452
00:20:46,280 --> 00:20:48,639
Speaker 3: take place decades apart, like, is it going to have

453
00:20:48,680 --> 00:20:51,239
Speaker 3: any of that impact? Are people going to remember all

454
00:20:51,240 --> 00:20:52,280
Speaker 3: of these specific things.

455
00:20:52,400 --> 00:20:54,680
Speaker 7: I guess we'll have to wait and find out. So

456
00:20:54,880 --> 00:20:56,400
Speaker 7: we'll be right back after the break to talk about

457
00:20:56,400 --> 00:20:57,840
Speaker 7: the connection between stand by Me.

458
00:20:58,040 --> 00:20:58,680
Speaker 10: And it.

459
00:21:05,400 --> 00:21:05,600
Speaker 4: Hi.

460
00:21:05,880 --> 00:21:08,840
Speaker 13: I'm Emily, your friend and jeweler at Shane Company, where

461
00:21:08,920 --> 00:21:12,040
Speaker 13: fine jewelry is always crafted with care, no matter the price.

462
00:21:12,480 --> 00:21:16,840
Speaker 13: Mother's Day, birthdays and graduations, weddings and anniversaries, the new

463
00:21:16,880 --> 00:21:19,320
Speaker 13: job you got, and even the one you didn't give.

464
00:21:19,359 --> 00:21:22,080
Speaker 13: A birthstone necklace, a heart shaped locket made in Italy,

465
00:21:22,359 --> 00:21:25,200
Speaker 13: or high quality diamond studs you can trade up every year.

466
00:21:25,480 --> 00:21:28,240
Speaker 13: At Shane Company, we have something for everyone. Because a

467
00:21:28,280 --> 00:21:31,080
Speaker 13: friend wants you to win the gifting game, visit us

468
00:21:31,119 --> 00:21:34,320
Speaker 13: in store or at Shaneco dot Com. Shane Company, your

469
00:21:34,359 --> 00:21:35,119
Speaker 13: friend and jeweler.

470
00:21:35,880 --> 00:21:44,280
Speaker 6: God, don't tell me that's no good. Georgia were.

471
00:21:46,480 --> 00:21:47,080
Speaker 10: Who sneaker?

472
00:21:47,160 --> 00:21:50,600
Speaker 1: Is it?

473
00:21:50,600 --> 00:21:53,280
Speaker 3: It's Betty ros What if she's still here.

474
00:21:58,600 --> 00:22:01,640
Speaker 10: And come on, my mom will have an and yours.

475
00:22:01,760 --> 00:22:03,400
Speaker 10: Okay if she finds that they were playing down here.

476
00:22:03,440 --> 00:22:11,720
Speaker 2: I'm serious, Bill, If I was Betty Ripson, I would

477
00:22:11,760 --> 00:22:12,600
Speaker 2: want us to find.

478
00:22:14,840 --> 00:22:15,399
Speaker 8: Georgie too.

479
00:22:17,720 --> 00:22:18,880
Speaker 10: What if I don't want to find.

480
00:22:18,720 --> 00:22:22,920
Speaker 3: Them, I mean, no offense build it.

481
00:22:22,920 --> 00:22:23,840
Speaker 4: I don't want to end up like.

482
00:22:27,800 --> 00:22:28,920
Speaker 9: I don't want to go missing either.

483
00:22:29,359 --> 00:22:31,720
Speaker 7: Now it's time for connections, when we bring these two

484
00:22:31,760 --> 00:22:34,000
Speaker 7: films together and talk about all the things they have

485
00:22:34,160 --> 00:22:36,480
Speaker 7: in common. You know, a great starting point would be

486
00:22:36,720 --> 00:22:39,600
Speaker 7: Stephen King, how how each of them handles Stephen King.

487
00:22:39,760 --> 00:22:42,439
Speaker 7: I think that to stand By Me probably gets beneath

488
00:22:42,440 --> 00:22:44,280
Speaker 7: the surface of the kids a little bit better than

489
00:22:44,480 --> 00:22:44,760
Speaker 7: this one.

490
00:22:44,800 --> 00:22:45,920
Speaker 10: What do you what do you? What do you think?

491
00:22:45,960 --> 00:22:47,520
Speaker 8: There's kids.

492
00:22:48,760 --> 00:22:53,040
Speaker 11: And no and no evil clown manifesting terrifying visions.

493
00:22:53,040 --> 00:22:55,320
Speaker 3: Oh you didn't get the evil clown editive stand by Me.

494
00:22:56,280 --> 00:22:58,880
Speaker 6: I got the boring Rob Ryan or editor you need

495
00:22:59,080 --> 00:22:59,800
Speaker 6: you need to see.

496
00:22:59,600 --> 00:23:02,520
Speaker 3: The director's cut. I think a big part of that

497
00:23:02,760 --> 00:23:05,280
Speaker 3: is that stand By Me is a road trip movie.

498
00:23:05,320 --> 00:23:08,720
Speaker 3: It's it's a leisure movie. They don't have the preoccupation

499
00:23:09,440 --> 00:23:11,960
Speaker 3: in it. The kids have one thing to talk about.

500
00:23:12,000 --> 00:23:14,159
Speaker 3: There's the one thing that pulls them together. It's the

501
00:23:14,200 --> 00:23:16,600
Speaker 3: one thing they have in common, and so it's what

502
00:23:16,640 --> 00:23:18,920
Speaker 3: they keep returning to. And stand by me, they've got

503
00:23:19,080 --> 00:23:22,280
Speaker 3: a long, lazy summer's day to talk about everything that's

504
00:23:22,280 --> 00:23:25,920
Speaker 3: on their minds. And they're in a story that's full

505
00:23:25,960 --> 00:23:29,280
Speaker 3: of incident, and all of those incidents are different, and

506
00:23:29,400 --> 00:23:31,679
Speaker 3: they're different in ways that bring out those characters and

507
00:23:31,720 --> 00:23:34,399
Speaker 3: bring out their interactions and bring out their personalities in

508
00:23:34,400 --> 00:23:37,080
Speaker 3: a lot of ways, whereas in it it's just it's clown, clown,

509
00:23:37,119 --> 00:23:37,840
Speaker 3: clown all the time.

510
00:23:37,920 --> 00:23:40,040
Speaker 7: To be fair, if you're town's in minutes by a

511
00:23:40,119 --> 00:23:42,639
Speaker 7: killer clown, there's really not a lot of loss you

512
00:23:42,680 --> 00:23:43,639
Speaker 7: we're going to want to talk about.

513
00:23:43,840 --> 00:23:46,720
Speaker 6: Well, but I mean they talk about I mean through

514
00:23:46,760 --> 00:23:47,200
Speaker 6: the clown.

515
00:23:47,240 --> 00:23:52,160
Speaker 11: The clown represents a lot of the terror and abuse

516
00:23:52,440 --> 00:23:56,680
Speaker 11: and neglect and other terrible feelings that are present in

517
00:23:56,800 --> 00:23:59,640
Speaker 11: the town of Dairy. So in that sense, they're talking

518
00:23:59,680 --> 00:24:01,320
Speaker 11: about things. And then of course you know there's a

519
00:24:01,440 --> 00:24:04,359
Speaker 11: love trying it with Beverly, right, So that's not clown.

520
00:24:04,400 --> 00:24:07,200
Speaker 11: There's nothing clowny about that. Let's start clowning around.

521
00:24:08,000 --> 00:24:12,119
Speaker 3: Oh my god, that could have come across so poorly

522
00:24:12,160 --> 00:24:15,280
Speaker 3: and so awkwardly. And I like the kids are all great,

523
00:24:15,359 --> 00:24:18,440
Speaker 3: but Jeremy Ray Taylor, I especially have to give a

524
00:24:18,480 --> 00:24:21,240
Speaker 3: shout out to him for just how well he pulls

525
00:24:21,240 --> 00:24:25,240
Speaker 3: across that like kid infatuation, Like he comes across as

526
00:24:25,960 --> 00:24:29,000
Speaker 3: significantly younger than the rest of the group, but his

527
00:24:29,080 --> 00:24:32,199
Speaker 3: obsessions are so key to it, and as a result,

528
00:24:32,280 --> 00:24:36,600
Speaker 3: like he he just comes across as a really surprisingly

529
00:24:36,680 --> 00:24:39,040
Speaker 3: nuanced actor. I thought I really enjoyed him.

530
00:24:39,119 --> 00:24:41,840
Speaker 11: Yeah, yeah, I thought that was the real standout performance

531
00:24:41,920 --> 00:24:43,160
Speaker 11: of all the boys in it.

532
00:24:43,480 --> 00:24:46,159
Speaker 3: He's kind of the tiny river Phoenix, Like he's not

533
00:24:46,320 --> 00:24:49,560
Speaker 3: in the river Phoenix role, like that's Jaden Lee.

534
00:24:49,960 --> 00:24:52,440
Speaker 6: He's in the Jerry O'Connell role any way, out does

535
00:24:52,560 --> 00:24:53,280
Speaker 6: Terry O'Connell.

536
00:24:53,359 --> 00:24:53,560
Speaker 10: Yeh.

537
00:24:53,720 --> 00:24:55,879
Speaker 11: But he's given more to do, that is true. But

538
00:24:56,160 --> 00:24:58,159
Speaker 11: nobody else in it is given that much more to

539
00:24:58,200 --> 00:24:59,680
Speaker 11: do than any of the kids. Say it mind me,

540
00:24:59,720 --> 00:25:01,840
Speaker 11: they just don't have the time. And I think that's

541
00:25:01,840 --> 00:25:05,080
Speaker 11: the key element to think about, And when comparing these

542
00:25:05,119 --> 00:25:07,959
Speaker 11: two movies, it's really when you don't have that clown,

543
00:25:08,000 --> 00:25:09,720
Speaker 11: you can really get into a lot of stuff.

544
00:25:09,760 --> 00:25:11,520
Speaker 7: So what you're saying is it would be better if

545
00:25:11,560 --> 00:25:12,920
Speaker 7: it did not have a killer.

546
00:25:12,800 --> 00:25:15,440
Speaker 3: Clown, and it was just these seven kids, Like, I

547
00:25:15,440 --> 00:25:17,480
Speaker 3: don't know, maybe they could go in some kind of trip.

548
00:25:17,600 --> 00:25:19,000
Speaker 8: There are a lot of dead kids in therey. Maybe

549
00:25:19,040 --> 00:25:20,400
Speaker 8: they could look for a body.

550
00:25:21,400 --> 00:25:23,880
Speaker 3: By the way, I think that the I don't remember

551
00:25:24,200 --> 00:25:28,280
Speaker 3: the detail from the Book of Bill being obsessed with

552
00:25:28,320 --> 00:25:31,480
Speaker 3: finding his brother's body, but that I found really evocative,

553
00:25:31,800 --> 00:25:34,399
Speaker 3: Like they don't hit it super hard, but it's just

554
00:25:34,480 --> 00:25:37,400
Speaker 3: kind of underlying that, and it's it's a weird sort

555
00:25:37,440 --> 00:25:40,040
Speaker 3: of connection between the two. Is this quest that he's

556
00:25:40,040 --> 00:25:43,000
Speaker 3: on to find a corpse. It just seems in a

557
00:25:43,040 --> 00:25:46,040
Speaker 3: way more convincing than anybody else's motivation, and yet it's

558
00:25:46,119 --> 00:25:46,880
Speaker 3: it's terrifying.

559
00:25:46,960 --> 00:25:47,840
Speaker 8: It's a terrible thing.

560
00:25:47,960 --> 00:25:51,480
Speaker 11: Those quests are different, though the same in the sense

561
00:25:51,520 --> 00:25:54,760
Speaker 11: they're both searching for a body, but the compulsion to

562
00:25:54,800 --> 00:25:57,480
Speaker 11: do so is very different between the two movies. And

563
00:25:57,800 --> 00:26:00,719
Speaker 11: really what in finding it is stand by me as

564
00:26:00,800 --> 00:26:03,639
Speaker 11: part of a right of passage into adulthood in a

565
00:26:03,680 --> 00:26:05,720
Speaker 11: way that it really isn't in it.

566
00:26:06,119 --> 00:26:07,720
Speaker 8: Oh you you had me and then you lost it.

567
00:26:07,800 --> 00:26:10,040
Speaker 6: Okay, So when.

568
00:26:09,880 --> 00:26:11,679
Speaker 3: He confronts what he confronts at the end, that is

569
00:26:11,720 --> 00:26:12,960
Speaker 3: most different talk about.

570
00:26:12,720 --> 00:26:14,600
Speaker 6: What he confronts. He confronts his brother and shoots it

571
00:26:14,680 --> 00:26:15,080
Speaker 6: in the head.

572
00:26:16,520 --> 00:26:17,760
Speaker 8: He confronts it.

573
00:26:17,840 --> 00:26:18,560
Speaker 6: I love it.

574
00:26:18,640 --> 00:26:20,480
Speaker 11: I just love being able to spoil things on this

575
00:26:20,560 --> 00:26:22,800
Speaker 11: podcast because it is a spoiler zone.

576
00:26:23,000 --> 00:26:25,360
Speaker 8: Spoiler alert, I guess, guys, spoiler.

577
00:26:25,000 --> 00:26:29,640
Speaker 6: Assert, bolt under the head, Go ahead, you're.

578
00:26:29,480 --> 00:26:31,600
Speaker 8: Down here, you'll spoil too. Fine.

579
00:26:31,640 --> 00:26:34,280
Speaker 3: He finally encounters his little brother and it's actually it,

580
00:26:34,359 --> 00:26:36,040
Speaker 3: and he shoots it in the head, and it is

581
00:26:36,040 --> 00:26:37,879
Speaker 3: the right of passage. It's the right of passage of

582
00:26:37,960 --> 00:26:41,159
Speaker 3: him giving up this fantasy of finding his brother alive

583
00:26:41,720 --> 00:26:44,520
Speaker 3: and confronting the fact that what he's facing is not

584
00:26:44,600 --> 00:26:47,880
Speaker 3: his brother. He's literally facing his fear and destroying it.

585
00:26:47,880 --> 00:26:49,160
Speaker 3: It's definitely a right of passage.

586
00:26:49,160 --> 00:26:50,760
Speaker 7: And I think it's very much a right of passage

587
00:26:50,800 --> 00:26:53,040
Speaker 7: story as well, in the same way that stand by

588
00:26:53,040 --> 00:26:56,160
Speaker 7: me as it's like these kids on the cosp of adolescents,

589
00:26:56,359 --> 00:26:59,720
Speaker 7: you know, putting away shatish sayings. We don't get the

590
00:26:59,760 --> 00:27:02,359
Speaker 7: all kid orgy that we get in the novel, which

591
00:27:02,400 --> 00:27:05,439
Speaker 7: is fine, but edging into adulthood is very much a

592
00:27:05,480 --> 00:27:06,600
Speaker 7: part of this story.

593
00:27:06,400 --> 00:27:08,760
Speaker 6: That would have definitely gotten there to it.

594
00:27:08,880 --> 00:27:11,600
Speaker 7: Yeah, yeah, well, I don't know if we have room

595
00:27:11,640 --> 00:27:14,840
Speaker 7: to get into that odd turn in the Stephen King novel,

596
00:27:14,960 --> 00:27:17,239
Speaker 7: or if we really want to, but it's probably a

597
00:27:17,280 --> 00:27:18,040
Speaker 7: fine omission.

598
00:27:18,280 --> 00:27:20,640
Speaker 3: I think what we can say is that Stephen King

599
00:27:20,800 --> 00:27:24,640
Speaker 3: struggles with endings like he famously struggles with endings.

600
00:27:24,520 --> 00:27:26,480
Speaker 10: In his novels. Not as short stories, oh.

601
00:27:26,440 --> 00:27:29,360
Speaker 3: Yeah, for sure, like his short stories. I mean, sometimes

602
00:27:29,359 --> 00:27:31,720
Speaker 3: they come to a kind of and that was a

603
00:27:31,760 --> 00:27:33,679
Speaker 3: thing that happened, But very often the.

604
00:27:34,080 --> 00:27:35,800
Speaker 8: Ending is the point of the story.

605
00:27:36,520 --> 00:27:39,440
Speaker 3: But yeah, in his novels, he often he just he's

606
00:27:39,520 --> 00:27:43,200
Speaker 3: so good with process and internality and then he gets

607
00:27:43,240 --> 00:27:45,600
Speaker 3: to and something has to happen to wrap up this story,

608
00:27:45,600 --> 00:27:48,800
Speaker 3: and he struggles, I think with it. He struggles to

609
00:27:48,840 --> 00:27:50,840
Speaker 3: figure out what these kids should do, and he tries

610
00:27:50,880 --> 00:27:55,000
Speaker 3: to do something metaphorical and evocative that's just too weird

611
00:27:55,040 --> 00:27:58,040
Speaker 3: on a literal level. But I mean the whole book

612
00:27:58,200 --> 00:28:02,160
Speaker 3: is full of big weird metaph physical symbology that they

613
00:28:02,200 --> 00:28:05,439
Speaker 3: also throw out. There's all of this stuff involving, you know,

614
00:28:05,480 --> 00:28:08,440
Speaker 3: the great cosmology of the turtle who created the universe,

615
00:28:08,440 --> 00:28:11,359
Speaker 3: who they go talk to about the ritual of chud

616
00:28:11,800 --> 00:28:14,639
Speaker 3: where you bite your enemy's tongue and then insult it

617
00:28:14,720 --> 00:28:16,840
Speaker 3: until it dies. I mean, there's a lot of stuff

618
00:28:16,880 --> 00:28:17,359
Speaker 3: they leave.

619
00:28:17,200 --> 00:28:20,439
Speaker 11: Out of the book, But I think though that omission

620
00:28:21,000 --> 00:28:24,200
Speaker 11: ends up causing the film at least one problem, which

621
00:28:24,240 --> 00:28:26,760
Speaker 11: is that I kept thinking, why don't these kids have

622
00:28:26,800 --> 00:28:29,359
Speaker 11: a freaking plan, like they just all they do is

623
00:28:29,520 --> 00:28:32,280
Speaker 11: they just the plan is just to get together and

624
00:28:32,520 --> 00:28:37,960
Speaker 11: confront this horrible force of unfathomable strength and evil and

625
00:28:38,000 --> 00:28:40,440
Speaker 11: like they've got nothing and hopefully figure.

626
00:28:40,240 --> 00:28:42,520
Speaker 7: Out its weakness while they're fighting it, which is more

627
00:28:42,600 --> 00:28:45,320
Speaker 7: or less what happens. And yeah, I think the climax

628
00:28:45,400 --> 00:28:47,280
Speaker 7: is not the strongest part of this film.

629
00:28:47,720 --> 00:28:49,560
Speaker 3: I think that part of the problem with that is

630
00:28:49,600 --> 00:28:53,280
Speaker 3: that where the kids, the kids in it keep making

631
00:28:53,440 --> 00:28:56,520
Speaker 3: choices that are horror movie choices where you're like, why

632
00:28:56,520 --> 00:29:00,280
Speaker 3: would anybody in the world do that? Having established over

633
00:29:00,320 --> 00:29:03,640
Speaker 3: and over that the clown gets you when you're alone. Nonetheless,

634
00:29:03,840 --> 00:29:07,280
Speaker 3: characters keep seeing a like a long corridor lined with

635
00:29:07,440 --> 00:29:10,760
Speaker 3: doors and threats, and they walk along it to the

636
00:29:10,920 --> 00:29:13,600
Speaker 3: end and then like, poke the scariest thing they can find,

637
00:29:14,040 --> 00:29:16,720
Speaker 3: like shuddering the entire time. Oh my gosh, this is

638
00:29:16,720 --> 00:29:19,200
Speaker 3: going to be so scary. I'm a poke it and

639
00:29:19,240 --> 00:29:23,560
Speaker 3: it's they just there is no establishing of like what

640
00:29:23,680 --> 00:29:27,200
Speaker 3: impulse would drive that, Like what is there a morbid impulse?

641
00:29:27,320 --> 00:29:30,800
Speaker 3: Is there a fear impulse? In stand By Me, there

642
00:29:30,880 --> 00:29:33,040
Speaker 3: is that morbid impulse to see a body, and it's

643
00:29:33,200 --> 00:29:36,320
Speaker 3: so believable, it's so natural for these like what eleven

644
00:29:36,360 --> 00:29:38,440
Speaker 3: year old kids to be like, oh my gosh, you

645
00:29:38,440 --> 00:29:41,880
Speaker 3: want to see something like you understand them at every

646
00:29:41,920 --> 00:29:44,960
Speaker 3: step of the way, and you find yourself in their shoes,

647
00:29:45,200 --> 00:29:47,320
Speaker 3: and that that doesn't exactly happen in it.

648
00:29:47,800 --> 00:29:50,800
Speaker 7: So one thing that was appealing about stand By Me

649
00:29:50,920 --> 00:29:53,040
Speaker 7: and nineteen ey six with we got to visit a

650
00:29:53,080 --> 00:29:58,320
Speaker 7: far off time known as the late nineteen fifties, and now.

651
00:29:58,360 --> 00:29:58,960
Speaker 10: We are old.

652
00:29:59,120 --> 00:30:01,200
Speaker 6: This is Keith. Yeah, this is tough for me.

653
00:30:01,400 --> 00:30:04,360
Speaker 7: And now we're seeing the year nineteen eighty nine treat

654
00:30:04,360 --> 00:30:08,160
Speaker 7: it with a similar respect and nostalgia and warm glow,

655
00:30:08,520 --> 00:30:10,080
Speaker 7: and it's pretty odd.

656
00:30:10,160 --> 00:30:10,800
Speaker 10: It's pretty odd.

657
00:30:10,920 --> 00:30:13,200
Speaker 7: I think this film doesn't lay it on too thick.

658
00:30:13,240 --> 00:30:16,680
Speaker 7: I think it chooses a few signifiers pretty well. But

659
00:30:16,720 --> 00:30:20,760
Speaker 7: there's still that sense that this hast is a far

660
00:30:20,840 --> 00:30:24,000
Speaker 7: distant place that we can hope to return you to,

661
00:30:24,280 --> 00:30:27,240
Speaker 7: or or for a lot of viewers introduce you to

662
00:30:27,360 --> 00:30:29,520
Speaker 7: for the first time. All right, So how do you

663
00:30:29,520 --> 00:30:31,640
Speaker 7: think of about this handle? Both the films had the period,

664
00:30:31,640 --> 00:30:34,600
Speaker 7: but specifically I'm really interested in how the nineteen eighties

665
00:30:34,640 --> 00:30:37,600
Speaker 7: looks and when it's treated with the sort of nostalgic veneer.

666
00:30:37,760 --> 00:30:41,120
Speaker 3: Hey, you remember the halcyon days of the late nineteen

667
00:30:41,160 --> 00:30:43,960
Speaker 3: eighties when Nightmare on Elm Street five was in theater.

668
00:30:45,360 --> 00:30:47,760
Speaker 3: I kind of love that there's a movie marquee in

669
00:30:47,800 --> 00:30:51,440
Speaker 3: the movie that just keeps flashing new titles from what

670
00:30:51,640 --> 00:30:52,720
Speaker 3: in nineteen eighty nine.

671
00:30:52,520 --> 00:30:54,400
Speaker 10: Well, it was just too and actually it was it was.

672
00:30:54,400 --> 00:30:57,400
Speaker 3: No, no, no, because there was a different marquee that was Batman.

673
00:30:57,080 --> 00:30:59,760
Speaker 7: And and then it changed over later in the summer

674
00:31:00,120 --> 00:31:02,040
Speaker 7: Nightmroun on the Street five, which I think is actually

675
00:31:02,200 --> 00:31:05,920
Speaker 7: accurate and also this is a Newline film, but also

676
00:31:05,920 --> 00:31:07,800
Speaker 7: felt like kind of a necessary nod and tip of

677
00:31:07,800 --> 00:31:09,720
Speaker 7: the cap because there's a lot of Nightmroun Elm Street.

678
00:31:10,320 --> 00:31:11,760
Speaker 8: Sure, Yeah, I don't know.

679
00:31:11,920 --> 00:31:14,000
Speaker 6: It was strange Gang nineteen eighty nine.

680
00:31:14,040 --> 00:31:16,800
Speaker 11: I was, you know, seventeen, working in a movie theater

681
00:31:17,520 --> 00:31:21,640
Speaker 11: that was playing to a place Kids on eleven two.

682
00:31:22,120 --> 00:31:25,000
Speaker 6: I know, though I did. I did encounter them at

683
00:31:25,040 --> 00:31:27,520
Speaker 6: a mall New Kids on the Block.

684
00:31:28,160 --> 00:31:31,160
Speaker 10: Wait, and we say, let's just yeah, let's pause. You

685
00:31:31,160 --> 00:31:31,640
Speaker 10: hear this show?

686
00:31:31,640 --> 00:31:31,960
Speaker 6: Wait?

687
00:31:32,000 --> 00:31:34,320
Speaker 11: No, this is this is this is totally relevant. This

688
00:31:34,360 --> 00:31:36,160
Speaker 11: would have been you know, this wasn't This wouldn't have

689
00:31:36,160 --> 00:31:38,360
Speaker 11: been nineteen eight nine. This was like ninety one, I

690
00:31:38,400 --> 00:31:41,520
Speaker 11: think because I remember the movie that I saw they

691
00:31:41,600 --> 00:31:43,000
Speaker 11: saw as well, which.

692
00:31:42,800 --> 00:31:45,400
Speaker 6: Is the film No Better Blues by Spike Lee.

693
00:31:45,880 --> 00:31:47,880
Speaker 3: Wait a minute, Wait a minute. I assume that when

694
00:31:47,920 --> 00:31:49,360
Speaker 3: you said you ran into New Kids on the Block,

695
00:31:49,400 --> 00:31:51,040
Speaker 3: they were performing in the No No.

696
00:31:50,880 --> 00:31:53,200
Speaker 6: No, and they were actually surrounded by bodyguards and going

697
00:31:53,240 --> 00:31:54,320
Speaker 6: to going to the movies.

698
00:31:54,520 --> 00:31:56,000
Speaker 8: Oh crazy, Yeah.

699
00:31:55,840 --> 00:31:56,320
Speaker 6: How about that?

700
00:31:56,480 --> 00:31:59,840
Speaker 11: Like like my long haired friend tried to like walk

701
00:31:59,920 --> 00:32:01,640
Speaker 11: up up to them, and their bodyguards were not not

702
00:32:01,760 --> 00:32:03,120
Speaker 11: having that celebrities.

703
00:32:03,120 --> 00:32:04,800
Speaker 8: They're just like us, except with bodyguards.

704
00:32:04,920 --> 00:32:06,360
Speaker 6: Yeah, what was I saying about?

705
00:32:08,320 --> 00:32:11,560
Speaker 11: Yeah, so I would have been seventeen years old in

706
00:32:11,640 --> 00:32:14,560
Speaker 11: eighty nine. And it's just it's very strange to look

707
00:32:14,640 --> 00:32:17,160
Speaker 11: back at that, like as a nostalgia piece, because this

708
00:32:17,240 --> 00:32:20,360
Speaker 11: becomes a nostalgia piece, and it almost a particular mode

709
00:32:20,360 --> 00:32:23,560
Speaker 11: of eighties nostalgia, which i'd expect for films that take

710
00:32:23,640 --> 00:32:27,000
Speaker 11: place just a few years earlier than nineteen eighty nine, Right,

711
00:32:27,120 --> 00:32:27,800
Speaker 11: was nineteen.

712
00:32:27,560 --> 00:32:29,280
Speaker 6: Ninety eighty nine really the eighties?

713
00:32:29,280 --> 00:32:31,760
Speaker 7: Well, I've always thought that late eighties early nineties is

714
00:32:31,800 --> 00:32:34,160
Speaker 7: kind of this ill defined period that we never really

715
00:32:34,240 --> 00:32:35,760
Speaker 7: quite figured out, Like what are going to be the

716
00:32:35,760 --> 00:32:37,200
Speaker 7: things that stand out for it. I guess you get

717
00:32:37,240 --> 00:32:39,160
Speaker 7: the Simpsons, you get not in this movie, but just

718
00:32:39,160 --> 00:32:42,400
Speaker 7: in generally get Simpsons, Teenage Beritant, Ninja Turtles, Vanilla Ice

719
00:32:42,640 --> 00:32:45,280
Speaker 7: mc hammer. These are like the things that come out.

720
00:32:45,320 --> 00:32:47,920
Speaker 7: But it's even those don't feel like that evocative of

721
00:32:47,920 --> 00:32:48,320
Speaker 7: an era.

722
00:32:48,600 --> 00:32:48,800
Speaker 10: You know.

723
00:32:48,880 --> 00:32:50,719
Speaker 7: I think part of it is having a one term president.

724
00:32:50,720 --> 00:32:53,840
Speaker 7: You had a four years of George H. W. Bush

725
00:32:53,880 --> 00:32:56,040
Speaker 7: and then he's gone. And I think I have this

726
00:32:56,120 --> 00:32:59,040
Speaker 7: whole theory where where periods are a lot better defined

727
00:32:59,320 --> 00:33:00,640
Speaker 7: when you have a two term president.

728
00:33:00,680 --> 00:33:03,800
Speaker 6: But that's our border, really scary shitty president.

729
00:33:04,120 --> 00:33:08,480
Speaker 3: Yeah, you know, I've made the New Kids on the

730
00:33:08,480 --> 00:33:10,280
Speaker 3: Black joke. I do want to loop back to that

731
00:33:10,440 --> 00:33:13,800
Speaker 3: because I mean, to me, this movie did not spend

732
00:33:13,840 --> 00:33:16,440
Speaker 3: nearly as much time evoking the eighties as stand By

733
00:33:16,480 --> 00:33:19,240
Speaker 3: Me spent evoking the fifties. If nothing else in stand

734
00:33:19,280 --> 00:33:21,360
Speaker 3: by Me, you have kind of the wall to well

735
00:33:21,520 --> 00:33:24,440
Speaker 3: soundtrack some of it. Sometimes the kids are singing the song.

736
00:33:24,600 --> 00:33:27,160
Speaker 3: Sometimes it's just in the background. Here you have a

737
00:33:27,160 --> 00:33:29,080
Speaker 3: couple of new Kids on the Block jokes.

738
00:33:29,440 --> 00:33:32,200
Speaker 7: Yeah, but actually I appreciate the soundtrack here. It seemed

739
00:33:32,200 --> 00:33:34,640
Speaker 7: like sort of period appropriate and also kind of tribally

740
00:33:34,680 --> 00:33:37,760
Speaker 7: appropriate where the bullies are listening to metal and and

741
00:33:38,000 --> 00:33:40,040
Speaker 7: you know, Beverley, she had a replacements poster on the wall.

742
00:33:40,120 --> 00:33:42,160
Speaker 7: The cure played on the soundtrack when she was doing

743
00:33:42,560 --> 00:33:43,080
Speaker 7: her thing.

744
00:33:43,360 --> 00:33:45,240
Speaker 8: I did miss that. What song?

745
00:33:45,560 --> 00:33:48,040
Speaker 7: The song is six different ways. It's it's a deeper cut,

746
00:33:48,040 --> 00:33:50,760
Speaker 7: not only the greatest hit song, but definitely a fan favorite.

747
00:33:50,800 --> 00:33:52,120
Speaker 6: I guess that's what I know that one.

748
00:33:52,200 --> 00:33:54,480
Speaker 3: Yeah, I liked what they did with New Kids on

749
00:33:54,520 --> 00:33:58,800
Speaker 3: the Block, which just seemed very natural. Like beverly first

750
00:33:58,920 --> 00:34:01,360
Speaker 3: encounter has been he's listening to it on his walkman,

751
00:34:01,720 --> 00:34:04,600
Speaker 3: he's embarrassed because it's popular. He tries to play it

752
00:34:04,640 --> 00:34:07,200
Speaker 3: off and then, like you know, for the next hour

753
00:34:07,280 --> 00:34:09,719
Speaker 3: or the movie or so, she teases him with it,

754
00:34:09,800 --> 00:34:12,880
Speaker 3: just in a very low key way, and it's not underlined.

755
00:34:12,880 --> 00:34:14,919
Speaker 3: It doesn't have to be a huge punchline. That movie

756
00:34:14,920 --> 00:34:16,879
Speaker 3: doesn't have to return to it at the end. It's

757
00:34:16,960 --> 00:34:19,759
Speaker 3: just a tiny little touch of people relate to each

758
00:34:19,760 --> 00:34:23,080
Speaker 3: other through culture, people really through each other by judging

759
00:34:23,160 --> 00:34:26,240
Speaker 3: other people's tastes. People relate to each other by teasing

760
00:34:26,239 --> 00:34:29,839
Speaker 3: each other about what they like. And because it's so underplayed,

761
00:34:30,239 --> 00:34:33,200
Speaker 3: it doesn't become a big joke, although there is one

762
00:34:33,320 --> 00:34:35,640
Speaker 3: sound cue that the entire theater broke up at.

763
00:34:35,880 --> 00:34:38,120
Speaker 11: You know, one key point about them too, that at

764
00:34:38,200 --> 00:34:40,320
Speaker 11: least one point I thought about, was that it's also

765
00:34:40,560 --> 00:34:42,560
Speaker 11: pre sexual in a way, you know, because he has

766
00:34:42,600 --> 00:34:46,040
Speaker 11: a crush on Beverly, But I think it becomes non

767
00:34:46,080 --> 00:34:48,879
Speaker 11: threatening when he is associated with the kids on the block.

768
00:34:48,960 --> 00:34:51,600
Speaker 3: Well, it's also non threatening because she has an immense

769
00:34:51,760 --> 00:34:55,799
Speaker 3: sexual threat in her life already, and anything notches down

770
00:34:55,840 --> 00:34:58,560
Speaker 3: from that, you know, comes across is changed.

771
00:34:58,680 --> 00:35:00,440
Speaker 6: Sure, but even Bill is a little bit less of

772
00:35:00,440 --> 00:35:01,919
Speaker 6: a child than Vennis.

773
00:35:02,200 --> 00:35:04,880
Speaker 3: Only barely, and in part because of trauma. And you know,

774
00:35:05,120 --> 00:35:07,520
Speaker 3: it caused a bunch of that trauma besides his brother's death.

775
00:35:07,680 --> 00:35:09,920
Speaker 7: You're talking about bullies, Tosh, and I'm talking about bullies.

776
00:35:09,960 --> 00:35:10,120
Speaker 10: Yeah.

777
00:35:10,120 --> 00:35:12,000
Speaker 7: I feel like the bullies in these in these two

778
00:35:12,000 --> 00:35:14,640
Speaker 7: films were basically they could be like the kids of

779
00:35:14,680 --> 00:35:17,440
Speaker 7: the bullies and stand by Me definitely outcut from the

780
00:35:17,480 --> 00:35:20,560
Speaker 7: same cloth. Just the musical soundtrack and choice of cars.

781
00:35:20,719 --> 00:35:22,799
Speaker 7: Of course they were driving around in a trans am.

782
00:35:23,040 --> 00:35:26,520
Speaker 7: That's changed, but otherwise they're pretty much the same, sort

783
00:35:26,520 --> 00:35:28,360
Speaker 7: of same type of bully.

784
00:35:28,520 --> 00:35:32,560
Speaker 3: Yeah, these guys seem younger, but they're much more threatening.

785
00:35:32,920 --> 00:35:36,799
Speaker 3: They're much more frightening. And in part it's because you know,

786
00:35:36,880 --> 00:35:40,600
Speaker 3: it's it's hinted early on and laid bare later that

787
00:35:40,840 --> 00:35:44,520
Speaker 3: just being in dairy ramps the violence up for everybody

788
00:35:44,520 --> 00:35:46,640
Speaker 3: in all sorts of ways. But I mean, these guys

789
00:35:46,800 --> 00:35:49,920
Speaker 3: pretty much go straight from you know, spitting on our

790
00:35:49,960 --> 00:35:52,759
Speaker 3: heroes to carving their initials in one.

791
00:35:52,920 --> 00:35:54,919
Speaker 7: Yeah, it doesn't it doesn't look away from that either.

792
00:35:54,960 --> 00:35:56,160
Speaker 7: It's a really disturbing moment.

793
00:35:56,400 --> 00:35:59,319
Speaker 3: Yeah, it's with so many things about this movie. It's

794
00:35:59,360 --> 00:36:00,960
Speaker 3: kind of a Simon in your face.

795
00:36:01,360 --> 00:36:05,000
Speaker 11: This dynamics so similar too, though, between these because in

796
00:36:05,040 --> 00:36:09,760
Speaker 11: both films you have this lead bully and his buddies

797
00:36:09,760 --> 00:36:12,440
Speaker 11: are always shocked by how far he's willing to go,

798
00:36:12,560 --> 00:36:15,239
Speaker 11: but they just too weak to pull him away, and

799
00:36:15,280 --> 00:36:18,319
Speaker 11: so the part of something that makes them super uncomfortable.

800
00:36:17,760 --> 00:36:19,360
Speaker 3: You know, now that I think about it. Both movies

801
00:36:19,400 --> 00:36:23,560
Speaker 3: also have the bullies using their knives to carve words

802
00:36:23,600 --> 00:36:24,880
Speaker 3: in flesh.

803
00:36:24,719 --> 00:36:26,680
Speaker 10: Just on one's voluntarily, Yeah.

804
00:36:26,480 --> 00:36:30,200
Speaker 3: One's voluntarily and is kind of a tribal connection thing,

805
00:36:30,719 --> 00:36:32,720
Speaker 3: and the other is just to torture one of their victims.

806
00:36:32,800 --> 00:36:36,160
Speaker 11: Stephen King writes a lot of books. He writes a lot,

807
00:36:36,680 --> 00:36:39,399
Speaker 11: and so certain things maybe get recycled and put into

808
00:36:39,400 --> 00:36:40,680
Speaker 11: other material.

809
00:36:41,000 --> 00:36:41,839
Speaker 10: Cutting in this one.

810
00:36:42,400 --> 00:36:45,719
Speaker 7: I think the role of adults play is virtually identical

811
00:36:45,760 --> 00:36:50,000
Speaker 7: in some ways that they're either absent or distracted or abusive.

812
00:36:50,160 --> 00:36:51,520
Speaker 7: You know that's saying that these films share.

813
00:36:51,760 --> 00:36:54,040
Speaker 3: Yeah, I hadn't really thought about the degree to which

814
00:36:54,200 --> 00:36:57,719
Speaker 3: Chris River Phoenix's character and Stand By Me has an

815
00:36:57,760 --> 00:37:01,600
Speaker 3: abusive father who in a lot of ways is similar

816
00:37:01,640 --> 00:37:04,279
Speaker 3: to Beverly's abusive father. It's just, you know, with her

817
00:37:04,800 --> 00:37:08,480
Speaker 3: there's more of a sense of creepy sexual ownership. But

818
00:37:08,520 --> 00:37:12,120
Speaker 3: there's a lot of ownership feelings between the adults and

819
00:37:12,160 --> 00:37:14,560
Speaker 3: the kids in both of these movies, just a lot

820
00:37:14,600 --> 00:37:18,040
Speaker 3: of sense of like you're on my property, and we

821
00:37:18,080 --> 00:37:20,600
Speaker 3: get that as well. With Eddie, I think is the

822
00:37:21,520 --> 00:37:26,719
Speaker 3: hypochondriac kid who's like immense monstrous mother is kind of

823
00:37:26,719 --> 00:37:31,000
Speaker 3: trying to contain him via Munchausen by proxy essentially.

824
00:37:31,320 --> 00:37:32,400
Speaker 6: But is that a sense?

825
00:37:32,520 --> 00:37:35,960
Speaker 11: Is this something that again is not developed well in

826
00:37:36,080 --> 00:37:38,240
Speaker 11: the in the film, that she is trying to protect

827
00:37:38,360 --> 00:37:40,120
Speaker 11: her kid from whatever this thing is?

828
00:37:40,400 --> 00:37:41,200
Speaker 6: You get that at all?

829
00:37:41,360 --> 00:37:43,560
Speaker 7: I actually only see that connection now. It makes a

830
00:37:43,600 --> 00:37:45,279
Speaker 7: lot of sense. But certainly that's what I got.

831
00:37:45,280 --> 00:37:48,920
Speaker 11: That's what I got towards the moment she because why

832
00:37:48,960 --> 00:37:49,839
Speaker 11: else would she do that?

833
00:37:49,880 --> 00:37:51,279
Speaker 7: Well, I thought it was actually I felt like that

834
00:37:51,320 --> 00:37:54,719
Speaker 7: behavior predated the events of the film. But perhaps just

835
00:37:54,760 --> 00:37:56,920
Speaker 7: being in Dairy, it was.

836
00:37:56,360 --> 00:37:59,080
Speaker 11: Twenty seven years I mean, so maybe she maybe these

837
00:37:59,560 --> 00:38:03,240
Speaker 11: adults grew up the town or present for the last menacing.

838
00:38:03,360 --> 00:38:04,360
Speaker 10: It's underdeveloped.

839
00:38:04,480 --> 00:38:06,120
Speaker 11: Yeah, no, but I think it's there, and I think,

840
00:38:06,680 --> 00:38:07,560
Speaker 11: do I remember.

841
00:38:07,239 --> 00:38:07,960
Speaker 10: Being of the books.

842
00:38:08,120 --> 00:38:11,080
Speaker 3: I can't remember in the books whether I felt like

843
00:38:11,120 --> 00:38:14,080
Speaker 3: those an interestingly subtle detail in the film. You know,

844
00:38:14,160 --> 00:38:17,280
Speaker 3: she doesn't chase after him, like down the sidewalk, yelling

845
00:38:17,440 --> 00:38:19,160
Speaker 3: you have to come back. I'm just trying to protect

846
00:38:19,160 --> 00:38:21,520
Speaker 3: you so the monster doesn't get you. But it is

847
00:38:21,560 --> 00:38:22,520
Speaker 3: sort of subtly there.

848
00:38:23,719 --> 00:38:25,239
Speaker 11: I think there's a lot of things that you could

849
00:38:25,239 --> 00:38:27,680
Speaker 11: say are subtle, or you could just say the film

850
00:38:27,800 --> 00:38:30,520
Speaker 11: just doesn't right, And that was the thing with about

851
00:38:30,600 --> 00:38:34,400
Speaker 11: race as well, just like Tiptoe of the line suggests something,

852
00:38:34,440 --> 00:38:37,880
Speaker 11: I'm using air quotes and then don't follow through on it.

853
00:38:37,920 --> 00:38:39,080
Speaker 11: And there's a lot of that in the film. And

854
00:38:39,120 --> 00:38:41,320
Speaker 11: it's just maybe it's a result of taking this immense

855
00:38:41,760 --> 00:38:43,920
Speaker 11: book and minding what you want out of it and

856
00:38:43,960 --> 00:38:46,600
Speaker 11: leaving the rest behind. But I think it minds some

857
00:38:46,719 --> 00:38:49,440
Speaker 11: of the wrong things and leaves too much behind.

858
00:38:49,280 --> 00:38:51,080
Speaker 7: And it just has made it to come as straight thought.

859
00:38:51,120 --> 00:38:52,560
Speaker 7: But I don't remember it's in the book Ei there,

860
00:38:52,560 --> 00:38:54,520
Speaker 7: but that kid who's scared of the sort of pseudo

861
00:38:54,600 --> 00:38:58,040
Speaker 7: Medeliani pain. It's a really lamb thing to be scared of.

862
00:38:58,480 --> 00:39:01,000
Speaker 3: It's a really nonspecific to be scared of it. And

863
00:39:01,040 --> 00:39:05,080
Speaker 3: it's weird because everybody else, like Eddie, has been raised

864
00:39:05,080 --> 00:39:08,160
Speaker 3: as a hypochondriac, so he's afraid of disease. So his

865
00:39:08,280 --> 00:39:11,440
Speaker 3: monster is a leper who is threatening him with disease.

866
00:39:11,840 --> 00:39:14,440
Speaker 3: Bill's monster is his little brother, because this is the

867
00:39:14,480 --> 00:39:18,279
Speaker 3: great trauma of his life. Beverly's monster is in part

868
00:39:18,400 --> 00:39:21,920
Speaker 3: blood because she's just getting her period and her father

869
00:39:22,080 --> 00:39:24,839
Speaker 3: is more and more sexually threatening as she matures, and

870
00:39:24,920 --> 00:39:27,520
Speaker 3: on and on and on. Where is the connection? Like,

871
00:39:27,560 --> 00:39:30,560
Speaker 3: the only thing we really know about Stan is that

872
00:39:30,640 --> 00:39:33,919
Speaker 3: he's Jewish and his barmetsova's coming up and he's having

873
00:39:33,960 --> 00:39:35,360
Speaker 3: trouble with his tora reading this.

874
00:39:35,440 --> 00:39:37,760
Speaker 7: Dad's a rabbi, so there's extra pressure.

875
00:39:37,400 --> 00:39:39,840
Speaker 3: And he's under pressure from his rabbi dead. What that

876
00:39:39,880 --> 00:39:43,480
Speaker 3: has to do with a Mondiliani painting is I don't understand.

877
00:39:43,520 --> 00:39:44,799
Speaker 3: I don't see any resonance there.

878
00:39:44,880 --> 00:39:48,440
Speaker 7: So alts are useless, but kids are actually helpful to

879
00:39:48,560 --> 00:39:50,360
Speaker 7: hr That's the thing we see in both films.

880
00:39:50,560 --> 00:39:53,680
Speaker 3: Yeah, and it kind of fascinates me. I picked up

881
00:39:53,719 --> 00:39:56,319
Speaker 3: it and was like flipping through it looking for some

882
00:39:56,400 --> 00:39:59,319
Speaker 3: specific thing regarding something that I was editing in fact

883
00:39:59,360 --> 00:40:02,960
Speaker 3: checking recently, and I ran across this scene where Bill

884
00:40:03,000 --> 00:40:06,440
Speaker 3: gets really upset about something and he's weeping. I'm pretty

885
00:40:06,440 --> 00:40:08,680
Speaker 3: sure he's weeping about how he didn't mean to send

886
00:40:08,800 --> 00:40:12,440
Speaker 3: his little brother to his death, and Richie is profoundly

887
00:40:12,560 --> 00:40:15,520
Speaker 3: uncomfortable and has no idea what to do and tries

888
00:40:15,560 --> 00:40:17,919
Speaker 3: to comfort him in just the most like offhanded Uh,

889
00:40:18,000 --> 00:40:20,200
Speaker 3: they're there kind of way possible, And it is like

890
00:40:20,239 --> 00:40:23,640
Speaker 3: frantically looking around to see if anyone sees In both

891
00:40:23,680 --> 00:40:27,279
Speaker 3: of these movies, you have kids breaking down, weeping and

892
00:40:27,400 --> 00:40:32,399
Speaker 3: just getting like the most warm and sympathetic and unashamed

893
00:40:32,640 --> 00:40:36,680
Speaker 3: physical comfort possible from everybody else in the group. It's

894
00:40:37,200 --> 00:40:40,000
Speaker 3: it's almost like a hurt comfort fan fiction thing. There's

895
00:40:40,040 --> 00:40:45,319
Speaker 3: like these big performative, like weepy, hard moments and then

896
00:40:45,400 --> 00:40:48,439
Speaker 3: all the kids like physically come together to comfort each other.

897
00:40:49,080 --> 00:40:51,279
Speaker 3: And I just I'm not sure what to do with it.

898
00:40:51,280 --> 00:40:55,120
Speaker 3: It seems almost outside of how kids relate, but it

899
00:40:55,239 --> 00:40:58,280
Speaker 3: just seems really like warm and well performed in both cases.

900
00:40:58,600 --> 00:41:00,719
Speaker 6: I'm going to defend it because I think that.

901
00:41:01,360 --> 00:41:03,160
Speaker 8: I don't mean to say no in terms of before.

902
00:41:03,239 --> 00:41:06,160
Speaker 11: I just think that we're talking about kids who are outcasts,

903
00:41:06,239 --> 00:41:09,000
Speaker 11: who are bullied, you know, those types of kids. When

904
00:41:09,000 --> 00:41:10,840
Speaker 11: they do form a little a click like that, that

905
00:41:11,800 --> 00:41:15,719
Speaker 11: intensifies the bond, I think, and you know the necessity

906
00:41:15,760 --> 00:41:18,800
Speaker 11: of them being together as a defense against the world,

907
00:41:18,840 --> 00:41:22,000
Speaker 11: and so a closer friendship develops in a deeper friendship.

908
00:41:22,040 --> 00:41:23,799
Speaker 7: I don't think necessarily gets it right all the way,

909
00:41:23,880 --> 00:41:26,520
Speaker 7: but I like that both stand by me and IT

910
00:41:26,560 --> 00:41:28,960
Speaker 7: and their respective source material do try to reckon with

911
00:41:29,239 --> 00:41:31,279
Speaker 7: the bonds of friendship between kids. Which is different than

912
00:41:31,320 --> 00:41:33,759
Speaker 7: the bonds of friendship between adults and kind of a

913
00:41:33,800 --> 00:41:34,800
Speaker 7: world done to itself.

914
00:41:35,080 --> 00:41:37,920
Speaker 3: Yeah, well, especially because both of these movies swing back

915
00:41:37,920 --> 00:41:42,680
Speaker 3: and forth so hard between that emotional warmth that adults

916
00:41:42,719 --> 00:41:45,359
Speaker 3: don't understand you, but we do and we will like

917
00:41:45,440 --> 00:41:47,279
Speaker 3: comfort you and protect you because you're one of our

918
00:41:47,320 --> 00:41:50,880
Speaker 3: own and your mom jokes and the abuse and the

919
00:41:51,200 --> 00:41:55,200
Speaker 3: foul language, which, like in both cases, a lot of

920
00:41:55,239 --> 00:41:59,200
Speaker 3: their bonding and their friendship is around saying horrible things

921
00:41:59,200 --> 00:42:01,040
Speaker 3: too and about each other. It's just sort of a

922
00:42:01,160 --> 00:42:05,560
Speaker 3: natural part of their relationships. That said, one thing we

923
00:42:05,640 --> 00:42:08,160
Speaker 3: do get in terms of you know, comfort and support

924
00:42:08,360 --> 00:42:13,080
Speaker 3: in the adaptation is the girl gets kidnapped and the

925
00:42:13,120 --> 00:42:14,440
Speaker 3: boys have to go rescue her.

926
00:42:14,760 --> 00:42:18,680
Speaker 7: And that's an addition from the novel, isn't it.

927
00:42:18,719 --> 00:42:21,600
Speaker 3: As far as I can tell, it's it's completely invented.

928
00:42:21,680 --> 00:42:23,719
Speaker 3: It's just we had to figure out how to get

929
00:42:23,760 --> 00:42:26,000
Speaker 3: him down there. Let's have the girl be kidnapped.

930
00:42:26,400 --> 00:42:28,680
Speaker 7: I mean, she does get a couple of moments of

931
00:42:29,280 --> 00:42:31,880
Speaker 7: strong action and she does get to rescue the boys,

932
00:42:31,920 --> 00:42:35,399
Speaker 7: but it is Yeah, I thought, well, this must be

933
00:42:36,000 --> 00:42:38,360
Speaker 7: a case of them being faithful to the source material,

934
00:42:38,400 --> 00:42:40,120
Speaker 7: maybe to a fault, and then it seems to be

935
00:42:40,160 --> 00:42:41,960
Speaker 7: something they brought in later.

936
00:42:42,360 --> 00:42:45,719
Speaker 11: But there's an interesting connection between stand By Me and

937
00:42:46,000 --> 00:42:47,839
Speaker 11: in the train tracks that he ties her to.

938
00:42:52,080 --> 00:42:54,840
Speaker 7: Oh when he twists his mustache. Oh yeah, when he

939
00:42:55,080 --> 00:42:57,160
Speaker 7: grows that digital mustache just for that one scene.

940
00:42:57,520 --> 00:43:00,319
Speaker 3: And the violin, the screaming violin plays in the back crown.

941
00:43:01,200 --> 00:43:03,000
Speaker 3: The guy can't pay the rent, but he must pay

942
00:43:03,000 --> 00:43:09,160
Speaker 3: the rent. Lazy, lazy storytelling. There's so much story here

943
00:43:09,280 --> 00:43:11,520
Speaker 3: that went untold, and so they had to trash it

944
00:43:11,560 --> 00:43:16,640
Speaker 3: in order to pull the world's weakest rope out of nowhere. Yeah.

945
00:43:17,960 --> 00:43:21,640
Speaker 11: I think overall it's it's just a conservative and conventional approach.

946
00:43:21,760 --> 00:43:24,240
Speaker 7: I don't want to enter it down nowe. I mostly

947
00:43:24,480 --> 00:43:26,480
Speaker 7: enjoyed this film. I was just a little disappointed and.

948
00:43:26,520 --> 00:43:28,560
Speaker 10: Do a little bit better, but it moves along.

949
00:43:28,560 --> 00:43:30,640
Speaker 7: I think people will be entertained by it. I think

950
00:43:31,000 --> 00:43:33,000
Speaker 7: maybe since the people of the book, which is even

951
00:43:33,040 --> 00:43:35,160
Speaker 7: better treatment than material. I just feel like in some

952
00:43:35,160 --> 00:43:37,400
Speaker 7: way it's kind of a once over. Lightly but I

953
00:43:37,520 --> 00:43:37,839
Speaker 7: liked it.

954
00:43:38,040 --> 00:43:41,080
Speaker 3: I enjoyed the cast, I enjoyed the kids. I enjoyed

955
00:43:41,120 --> 00:43:43,200
Speaker 3: a lot of the scares. I think a lot of

956
00:43:43,360 --> 00:43:45,400
Speaker 3: visuals are really really creepy.

957
00:43:45,160 --> 00:43:47,239
Speaker 7: And I don't know if people will be pulling that

958
00:43:47,320 --> 00:43:49,279
Speaker 7: out years later like we do a stand by Me,

959
00:43:49,360 --> 00:43:51,480
Speaker 7: but I do think this cast will be bert. On

960
00:43:51,480 --> 00:43:53,560
Speaker 7: that note, I think we can probably wrap up our discussion.

961
00:43:53,800 --> 00:43:56,160
Speaker 7: Still on Me is widely available on DVD and Blu Ray,

962
00:43:56,200 --> 00:43:59,840
Speaker 7: and available for digital rental on numerous platforms. It is

963
00:43:59,840 --> 00:44:02,000
Speaker 7: a theaters now and likely will be for a while

964
00:44:02,080 --> 00:44:05,319
Speaker 7: if people can't get enough scary clowns. We'll be right

965
00:44:05,360 --> 00:44:07,799
Speaker 7: back with our usual recommendation segment, You are our Next

966
00:44:07,800 --> 00:44:20,759
Speaker 7: Picture Show. Finally, it's time to catch each other up

967
00:44:20,840 --> 00:44:23,000
Speaker 7: on films or film related items we've seen in the

968
00:44:23,040 --> 00:44:25,680
Speaker 7: intrum since our last podcast. We call it Your Next

969
00:44:25,680 --> 00:44:28,000
Speaker 7: Picture Show and the hopes it'll put some interesting choices

970
00:44:28,040 --> 00:44:30,640
Speaker 7: on your radar. Tasha, what in the film world has

971
00:44:30,640 --> 00:44:31,520
Speaker 7: been good for you lately?

972
00:44:31,960 --> 00:44:35,080
Speaker 3: You know we're recording this so quickly on the heels

973
00:44:35,080 --> 00:44:37,279
Speaker 3: of our last recording in order to get something in

974
00:44:37,320 --> 00:44:39,600
Speaker 3: the can before Tiff, I have not watched a lot

975
00:44:39,600 --> 00:44:40,120
Speaker 3: of movies.

976
00:44:40,360 --> 00:44:41,000
Speaker 8: This being a.

977
00:44:40,920 --> 00:44:44,480
Speaker 3: Stephen King themed show, I really wanted to recommend some

978
00:44:44,560 --> 00:44:47,160
Speaker 3: film by Stephen Kings. There are some film adapting Stephen

979
00:44:47,239 --> 00:44:50,640
Speaker 3: King and I have just been like looking through them,

980
00:44:50,680 --> 00:44:53,880
Speaker 3: scouring through them for something that we have not already mentioned,

981
00:44:53,920 --> 00:44:57,719
Speaker 3: and that isn't terrible. About the closest I can come,

982
00:44:57,800 --> 00:45:01,480
Speaker 3: I think is probably Mary Lambert's nineteen eighty nine adaptation

983
00:45:01,520 --> 00:45:04,839
Speaker 3: of pet Cemetery, which has some really awful aspects to it.

984
00:45:05,160 --> 00:45:08,920
Speaker 3: Denise Crosby in particular, just gives an awful performance, but

985
00:45:09,040 --> 00:45:12,560
Speaker 3: there is some deeply, deeply frightening stuff in that film

986
00:45:12,880 --> 00:45:16,040
Speaker 3: that I cannot in any way hint around without spoiling

987
00:45:16,080 --> 00:45:17,919
Speaker 3: some of the better moments of the film. I think

988
00:45:17,920 --> 00:45:21,880
Speaker 3: that the book I would just unreservedly recommend for people

989
00:45:21,880 --> 00:45:24,719
Speaker 3: who like horror. I think it is one of his

990
00:45:25,000 --> 00:45:28,640
Speaker 3: most frightening books, and Stephen King has an approach to

991
00:45:28,719 --> 00:45:32,600
Speaker 3: horror that varies really widely, from guts and gore to

992
00:45:33,000 --> 00:45:36,640
Speaker 3: like slow burning suspense to high fantasy. This is kind

993
00:45:36,640 --> 00:45:39,160
Speaker 3: of the slow burning suspense in Dread. It's a really

994
00:45:39,160 --> 00:45:42,319
Speaker 3: tremendous book. So maybe read the book and then like

995
00:45:42,400 --> 00:45:44,440
Speaker 3: watch the movie for the few parts of it that

996
00:45:44,480 --> 00:45:45,200
Speaker 3: aren't terrible.

997
00:45:45,920 --> 00:45:51,080
Speaker 7: That aside, it's a studying recommendation. I am not good

998
00:45:51,160 --> 00:45:52,919
Speaker 7: but also incredibly scary, so.

999
00:45:53,800 --> 00:45:56,040
Speaker 3: Well, it's the good parts of the scary parts. There's

1000
00:45:56,040 --> 00:45:58,200
Speaker 3: a lot of fat on that movie. Essentially, there's a

1001
00:45:58,239 --> 00:45:59,040
Speaker 3: lot of stuff.

1002
00:45:58,800 --> 00:46:01,360
Speaker 7: But you do get Fred Glennon over, which is a plus.

1003
00:46:01,440 --> 00:46:04,600
Speaker 3: Right, Yeah, you also get a really fake evil cat

1004
00:46:04,719 --> 00:46:07,759
Speaker 3: that is pretty creepy. I just want to throw out

1005
00:46:07,800 --> 00:46:10,680
Speaker 3: a recommendation for an article over at Vulture. We talked

1006
00:46:10,719 --> 00:46:13,600
Speaker 3: a bit about John Denver in Logan Lucky the use

1007
00:46:13,640 --> 00:46:16,120
Speaker 3: of that song, and one of the things that occurred

1008
00:46:16,160 --> 00:46:18,840
Speaker 3: to me was, We're seeing a lot of John Denver music, Like,

1009
00:46:18,880 --> 00:46:20,960
Speaker 3: there's a John Denver song in Oakja, there's a John

1010
00:46:20,960 --> 00:46:23,080
Speaker 3: Denver song, and Logan Lucky, there's John Denver song an

1011
00:46:23,120 --> 00:46:26,000
Speaker 3: Alien Covenant. It just seems like this is the year

1012
00:46:26,040 --> 00:46:29,480
Speaker 3: for John Denver. And I had that thought, and then

1013
00:46:29,520 --> 00:46:31,600
Speaker 3: I saw an article in Vulture called Why is John

1014
00:46:31,600 --> 00:46:34,200
Speaker 3: Denver's Music in so many movies this Year? By a

1015
00:46:34,200 --> 00:46:38,880
Speaker 3: writer named Karen Hahn. She digs into the rights situation

1016
00:46:39,120 --> 00:46:42,239
Speaker 3: with his work, She digs into the process of the

1017
00:46:42,239 --> 00:46:44,400
Speaker 3: family approving use of his music.

1018
00:46:44,719 --> 00:46:45,719
Speaker 8: She digs into.

1019
00:46:45,960 --> 00:46:50,120
Speaker 12: How specific why specific directors chose to use his music,

1020
00:46:50,400 --> 00:46:53,000
Speaker 12: and it's really informative. It's a good, solid piece of

1021
00:46:53,080 --> 00:46:55,799
Speaker 12: journalism with a lot of interesting facts in it, and

1022
00:46:55,880 --> 00:46:58,840
Speaker 12: it pulls together like movies that I had already forgotten

1023
00:46:58,920 --> 00:47:01,799
Speaker 12: from this year that have John Denver's music in them.

1024
00:47:02,239 --> 00:47:05,000
Speaker 12: So it's just as one of those things where you

1025
00:47:05,040 --> 00:47:07,200
Speaker 12: have sort of a casual question and then somebody puts

1026
00:47:07,239 --> 00:47:09,879
Speaker 12: a lot of work into answering it for you. Why

1027
00:47:09,960 --> 00:47:12,120
Speaker 12: is John Denver's music in so many movies this year?

1028
00:47:12,160 --> 00:47:13,880
Speaker 12: Over a vulture, Keith, what about you?

1029
00:47:13,880 --> 00:47:14,319
Speaker 8: What do you have?

1030
00:47:14,520 --> 00:47:16,000
Speaker 7: This is going to sound like a plug, but at

1031
00:47:16,080 --> 00:47:19,359
Speaker 7: uprocks dot com available on fine web browsers near you.

1032
00:47:20,160 --> 00:47:22,720
Speaker 7: We just wound down a week dedicated to Nicholas Cage,

1033
00:47:22,840 --> 00:47:25,520
Speaker 7: and I ran a lot of pieces, essays and lighter

1034
00:47:25,560 --> 00:47:28,000
Speaker 7: pieces on Nicholas Cage, so I want to do the

1035
00:47:28,000 --> 00:47:30,680
Speaker 7: full appreciation of his career and by her named Matt

1036
00:47:30,680 --> 00:47:33,839
Speaker 7: Prigg wrote a piece on a film I was very

1037
00:47:33,920 --> 00:47:37,200
Speaker 7: much aware of but I'd never seen before, called Vampires Kiss.

1038
00:47:37,360 --> 00:47:38,879
Speaker 10: How could you know I've never seen it before?

1039
00:47:38,920 --> 00:47:39,120
Speaker 6: It was?

1040
00:47:39,200 --> 00:47:39,840
Speaker 12: It was a.

1041
00:47:42,080 --> 00:47:46,120
Speaker 7: Yeah, and it is it is, even taking Nicholas Cage's

1042
00:47:46,160 --> 00:47:49,720
Speaker 7: sort of like career, craziest performance and out of it.

1043
00:47:49,719 --> 00:47:54,400
Speaker 7: It's a really odd film. If I were ranking variations

1044
00:47:54,400 --> 00:47:57,680
Speaker 7: on the American Psycho theme. I go American Psycho the film,

1045
00:47:58,120 --> 00:48:00,560
Speaker 7: this film, and then American Psycho the novel. But basically,

1046
00:48:00,600 --> 00:48:04,359
Speaker 7: Cage plays a literary agent who lives the high life

1047
00:48:04,360 --> 00:48:07,160
Speaker 7: in eighties New York who may have been bitten by

1048
00:48:07,160 --> 00:48:10,439
Speaker 7: a vampire or may just be losing his mind, and

1049
00:48:10,719 --> 00:48:12,960
Speaker 7: the film kind of leaves it an open question, and

1050
00:48:13,040 --> 00:48:16,640
Speaker 7: it kind of lets reality and fantasy blur, and it's

1051
00:48:16,680 --> 00:48:20,600
Speaker 7: all sets this very well realized depiction of New York

1052
00:48:20,840 --> 00:48:23,400
Speaker 7: in the late nineteen eighties. It's stretched by Robert Bierman,

1053
00:48:23,440 --> 00:48:27,160
Speaker 7: who didn't really do I mean, worked worked steadily, but

1054
00:48:27,280 --> 00:48:30,200
Speaker 7: also didn't you know, this is definitely his most notable film.

1055
00:48:30,239 --> 00:48:32,920
Speaker 7: It's written by Joseph Minion, who also wrote After Hours

1056
00:48:33,320 --> 00:48:37,560
Speaker 7: Somebody Stole, but he did write the screenplay, and it's

1057
00:48:37,960 --> 00:48:40,000
Speaker 7: kind of a variation on the After Hours then too,

1058
00:48:40,200 --> 00:48:43,040
Speaker 7: where there's this whole other city that you don't see

1059
00:48:43,440 --> 00:48:46,080
Speaker 7: during the day, and that city kind of consumes Nicholas

1060
00:48:46,120 --> 00:48:51,440
Speaker 7: Cage's character. And wow, it is really a full bore performance.

1061
00:48:51,719 --> 00:48:54,719
Speaker 7: It really just watching the YouTube clips is not enough.

1062
00:48:55,040 --> 00:48:57,120
Speaker 7: It's definitely a film that's worth seeking out. It's kind

1063
00:48:57,120 --> 00:48:58,880
Speaker 7: of hard to find right now. It is available on

1064
00:48:58,960 --> 00:49:02,360
Speaker 7: Blu Ray through Screen Factory, and it's available for rent.

1065
00:49:02,160 --> 00:49:04,560
Speaker 10: On Voodoo something.

1066
00:49:04,640 --> 00:49:07,440
Speaker 7: Yeah, so it's out there and I would definitely recommend it. Scott,

1067
00:49:07,480 --> 00:49:07,920
Speaker 7: how about you?

1068
00:49:08,040 --> 00:49:12,280
Speaker 11: Oh well, I mean I have to second that Vampires

1069
00:49:12,360 --> 00:49:15,200
Speaker 11: Kiss recommendation. I also wrote nw Cole cannon bit on

1070
00:49:15,239 --> 00:49:19,320
Speaker 11: that film, so I'm a big advocate for that film

1071
00:49:19,320 --> 00:49:22,560
Speaker 11: and that performance. So i want to settle in for

1072
00:49:22,600 --> 00:49:24,799
Speaker 11: a second because I've got a couple of films I

1073
00:49:24,800 --> 00:49:27,839
Speaker 11: wanted to recommend. You know, I've rented before on this

1074
00:49:27,880 --> 00:49:30,759
Speaker 11: podcast about my misgivings over at Netflix, which has been

1075
00:49:30,800 --> 00:49:34,319
Speaker 11: acquiring and bankrolling some really interesting films, only to tuck

1076
00:49:34,320 --> 00:49:37,120
Speaker 11: them away in some dark corner of the service. Earlier

1077
00:49:37,160 --> 00:49:39,480
Speaker 11: this year, we had recommended making Blairs I Don't Feel

1078
00:49:39,520 --> 00:49:42,200
Speaker 11: at Home in This World Anymore, which straight up one

1079
00:49:42,400 --> 00:49:45,120
Speaker 11: Sundance but was shuffled in Netflix just a few weeks later,

1080
00:49:45,480 --> 00:49:47,200
Speaker 11: and on the day it debuted, I had a search

1081
00:49:47,280 --> 00:49:50,440
Speaker 11: to find it, and I should think that my algorithm

1082
00:49:50,880 --> 00:49:53,279
Speaker 11: would be responsive to a genre film. That's right up

1083
00:49:53,280 --> 00:49:55,399
Speaker 11: my alley. In any case, I have two more straight

1084
00:49:55,440 --> 00:49:58,440
Speaker 11: to Netflix titles to recommend. The first is called Divines.

1085
00:49:58,760 --> 00:50:02,600
Speaker 11: It's a French Katari film by director Huda Benyamina that

1086
00:50:02,640 --> 00:50:05,520
Speaker 11: won the Camera Door at cann the prize that's given

1087
00:50:05,520 --> 00:50:08,279
Speaker 11: to best Debut Feature. And it's quite and it's quite

1088
00:50:08,280 --> 00:50:11,440
Speaker 11: an energetic and auspicious debut about a rebellious teenage girl

1089
00:50:11,600 --> 00:50:13,640
Speaker 11: and her Muslim friend getting into trouble in a poor

1090
00:50:13,640 --> 00:50:16,440
Speaker 11: neighborhood in the outskirts of Paris. The girls commit a

1091
00:50:16,440 --> 00:50:18,680
Speaker 11: lot of petty crime until they start pushing drugs for

1092
00:50:18,719 --> 00:50:21,840
Speaker 11: a local gang, which gets them into another kind of trouble. Altogether,

1093
00:50:22,360 --> 00:50:24,759
Speaker 11: Divines feels at times like a Spike Lee film. It

1094
00:50:24,800 --> 00:50:28,520
Speaker 11: also feels like a contemporary take on the four hundred Blows,

1095
00:50:28,640 --> 00:50:31,680
Speaker 11: you know, sympathetic portrait of kids living on the margins.

1096
00:50:32,239 --> 00:50:36,399
Speaker 11: And it's got a ferociously performance by Ulea Amamra, who

1097
00:50:36,440 --> 00:50:39,719
Speaker 11: also happens to be the director's sister. So Divines keep

1098
00:50:39,760 --> 00:50:42,320
Speaker 11: that in mind. It's fantastic. The second Netflix film I

1099
00:50:42,320 --> 00:50:44,880
Speaker 11: want to recommend as much lighter. It's called Tramps, and

1100
00:50:44,920 --> 00:50:47,440
Speaker 11: it's the second film by Adam Leon, who made the

1101
00:50:47,480 --> 00:50:50,000
Speaker 11: delightful indie crowd pleaser Give Me the Lute a few

1102
00:50:50,040 --> 00:50:54,200
Speaker 11: years ago Give Me the Light. Divines was about petty criminality,

1103
00:50:54,520 --> 00:50:57,960
Speaker 11: except its tone was much less consequential. It's two heroes,

1104
00:50:58,000 --> 00:51:01,200
Speaker 11: graffiti tigers from Queens were on impossible quest to tag

1105
00:51:01,239 --> 00:51:04,239
Speaker 11: the Mets home run Apple. Tramps continues in the same

1106
00:51:04,320 --> 00:51:06,919
Speaker 11: vein striking up a love story between teenagers who each

1107
00:51:06,960 --> 00:51:09,480
Speaker 11: have a role in delivering a suitcase, but have to

1108
00:51:09,480 --> 00:51:11,760
Speaker 11: go on an adventure together when the suitcase goes missing.

1109
00:51:12,040 --> 00:51:14,759
Speaker 11: It's Leon's idea of a romantic comedy. And though the

1110
00:51:14,800 --> 00:51:17,480
Speaker 11: two crooks are in danger and are in pursuit by

1111
00:51:17,719 --> 00:51:19,960
Speaker 11: uh you know, gangster is Tramps isn't trying to be

1112
00:51:20,000 --> 00:51:22,920
Speaker 11: a street wise thriller. Instead, it's got really nice chemistry

1113
00:51:23,000 --> 00:51:25,239
Speaker 11: between the leads and like give Me the Loot. It

1114
00:51:25,239 --> 00:51:28,240
Speaker 11: has an impressive attention to the neighborhoods that tries to explore.

1115
00:51:28,680 --> 00:51:32,759
Speaker 11: So Divines and Tramps two films that went straight to

1116
00:51:32,800 --> 00:51:36,480
Speaker 11: the service without coming into uh indie theaters, and uh,

1117
00:51:36,680 --> 00:51:37,719
Speaker 11: I think we're checking out.

1118
00:51:37,760 --> 00:51:39,080
Speaker 7: I wasn't even aware that Give Me the Luke Guy

1119
00:51:39,160 --> 00:51:39,839
Speaker 7: made another movie.

1120
00:51:39,920 --> 00:51:42,160
Speaker 10: Yeah that's exciting, right, I love that Netflix.

1121
00:51:42,280 --> 00:51:46,120
Speaker 11: Netflix was behind it and well here we go behind it.

1122
00:51:46,520 --> 00:51:46,759
Speaker 6: Yeah.

1123
00:51:46,800 --> 00:51:48,399
Speaker 11: No, I mean, it's it's fine that there, it's great

1124
00:51:48,400 --> 00:51:49,680
Speaker 11: that they're making these movies.

1125
00:51:49,719 --> 00:51:50,440
Speaker 6: I just wish that.

1126
00:51:51,040 --> 00:51:53,600
Speaker 11: People wouldn't be aware of them because they're significant.

1127
00:51:53,640 --> 00:51:54,520
Speaker 10: I hope they get it together.

1128
00:51:54,640 --> 00:51:56,480
Speaker 7: I really do feel like, you know, the first time

1129
00:51:56,520 --> 00:51:58,319
Speaker 7: I ever felt like I needed a home and watched

1130
00:51:58,320 --> 00:52:00,759
Speaker 7: this new movie on Netflix was Oakchai, and that at

1131
00:52:00,840 --> 00:52:02,600
Speaker 7: least I felt like there's more of a promotional push

1132
00:52:02,640 --> 00:52:04,200
Speaker 7: behind it, like make me aware of these.

1133
00:52:04,239 --> 00:52:05,920
Speaker 11: But you if you go on, if you go on

1134
00:52:06,080 --> 00:52:08,920
Speaker 11: like Wikipedia or something and look at all the Netflix

1135
00:52:08,920 --> 00:52:12,120
Speaker 11: original productions and documentaries, there's a long list of pretty

1136
00:52:12,120 --> 00:52:12,600
Speaker 11: good films.

1137
00:52:13,120 --> 00:52:13,960
Speaker 6: They're really they.

1138
00:52:13,800 --> 00:52:16,880
Speaker 11: Are producing films that maybe wouldn't get made otherwise.

1139
00:52:16,920 --> 00:52:19,920
Speaker 3: So you seem to put a little more push behind

1140
00:52:20,000 --> 00:52:23,160
Speaker 3: films that they made themselves as opposed to be many many.

1141
00:52:23,600 --> 00:52:25,799
Speaker 11: For sixty you know, if you're like oak Jah, it's

1142
00:52:25,800 --> 00:52:27,320
Speaker 11: like sixty million dollars.

1143
00:52:27,360 --> 00:52:29,800
Speaker 6: Yeah, but a little bit bit of pushind.

1144
00:52:29,280 --> 00:52:30,879
Speaker 3: That a little bit of infint to it. But yeah,

1145
00:52:31,080 --> 00:52:33,920
Speaker 3: it surprises me. They snap up so many things and

1146
00:52:33,960 --> 00:52:38,520
Speaker 3: then they don't particularly have any organized push around them.

1147
00:52:38,560 --> 00:52:40,480
Speaker 3: There's a film coming up that I'm not going to name,

1148
00:52:40,520 --> 00:52:43,040
Speaker 3: but that it seems like it's getting plugged as a

1149
00:52:43,040 --> 00:52:45,440
Speaker 3: Netflix original and they didn't even bother to put another

1150
00:52:45,480 --> 00:52:47,840
Speaker 3: press site. It kind of snuck up on me.

1151
00:52:48,160 --> 00:52:49,600
Speaker 8: It's it's very strange to me.

1152
00:52:49,640 --> 00:52:53,040
Speaker 3: It's surprisingly hard sometimes to get in touch with a

1153
00:52:53,239 --> 00:52:56,480
Speaker 3: Netflix press person about anything they're doing. So when when

1154
00:52:56,480 --> 00:52:58,680
Speaker 3: you see something that you really like on the on

1155
00:52:58,719 --> 00:53:01,640
Speaker 3: the site, like you can kind of feel like you're

1156
00:53:02,200 --> 00:53:04,160
Speaker 3: it's up to you to grab a megaphone and go

1157
00:53:04,200 --> 00:53:05,280
Speaker 3: shout it through the streets.

1158
00:53:05,320 --> 00:53:07,759
Speaker 7: This is inside baseball, but just on a level of

1159
00:53:07,760 --> 00:53:10,279
Speaker 7: someone who writes about film and science pieces about film,

1160
00:53:10,360 --> 00:53:13,799
Speaker 7: I often am not made aware of films by the

1161
00:53:13,800 --> 00:53:15,879
Speaker 7: people at Netflix, So I feel like, you know, they're

1162
00:53:15,880 --> 00:53:17,359
Speaker 7: doing a lot of really good work, but there's sort

1163
00:53:17,360 --> 00:53:19,719
Speaker 7: of this gap now between the ability to make a

1164
00:53:19,760 --> 00:53:21,920
Speaker 7: film and stream a film and ability to let people

1165
00:53:22,000 --> 00:53:23,719
Speaker 7: know that the film is out there and kind of

1166
00:53:24,160 --> 00:53:26,799
Speaker 7: rally people who ought to be their allies for good

1167
00:53:26,840 --> 00:53:29,879
Speaker 7: films to let people know. But Scott, you're doing good

1168
00:53:29,880 --> 00:53:30,359
Speaker 7: work for them.

1169
00:53:30,360 --> 00:53:33,359
Speaker 3: I guess you're doing good work where they're doing good work.

1170
00:53:33,560 --> 00:53:40,400
Speaker 7: Yeah, and that's it for this week's episode of the

1171
00:53:40,400 --> 00:53:42,880
Speaker 7: Next Picture Show. Our next episodes come out on October

1172
00:53:42,920 --> 00:53:45,399
Speaker 7: third and fifth. Scott, what do we have lined up?

1173
00:53:45,520 --> 00:53:45,640
Speaker 6: Well?

1174
00:53:45,680 --> 00:53:48,719
Speaker 11: By the time you listen to this podcast. Darren Aronofski's

1175
00:53:48,760 --> 00:53:50,680
Speaker 11: Mother may be on its way out of the multiplex

1176
00:53:50,960 --> 00:53:53,600
Speaker 11: due to middling box office and the rare f cinema

1177
00:53:53,640 --> 00:53:56,600
Speaker 11: score from audiences, but no film this year has been

1178
00:53:56,600 --> 00:53:59,840
Speaker 11: more talked about in critical circles, and certainly no Hollywood

1179
00:53:59,840 --> 00:54:03,759
Speaker 11: film has Beeno's audacious as Aeronofsky's horror comedy What's It,

1180
00:54:04,040 --> 00:54:06,520
Speaker 11: starring Jennifer Lawrence as a young woman tormented by the

1181
00:54:06,560 --> 00:54:09,680
Speaker 11: goings on at isolated a state. We originally considered Roman

1182
00:54:09,680 --> 00:54:13,160
Speaker 11: Planski's repulsion in Rosemary's Baby based on the ads, but

1183
00:54:13,200 --> 00:54:15,160
Speaker 11: we're surprised to find that the film has more in

1184
00:54:15,200 --> 00:54:19,040
Speaker 11: common with the surreal vision of Louis Bouniel, specifically his

1185
00:54:19,200 --> 00:54:22,560
Speaker 11: nineteen sixty two classic The Extreminating Angel. Both Mother and

1186
00:54:22,600 --> 00:54:25,480
Speaker 11: The Extremintying Angel take place largely in a single location

1187
00:54:25,800 --> 00:54:28,279
Speaker 11: where the characters are trapped in a desperate situation and

1188
00:54:28,320 --> 00:54:32,160
Speaker 11: cannot leave. Get ready to duck because the metaphors will

1189
00:54:32,200 --> 00:54:33,240
Speaker 11: be flying.

1190
00:54:33,120 --> 00:54:33,680
Speaker 10: In the meantime.

1191
00:54:33,719 --> 00:54:35,800
Speaker 7: We'd love to hear your feedback on this discussion of

1192
00:54:35,840 --> 00:54:39,240
Speaker 7: stand by Me, It, Stephen King, and anything else film related.

1193
00:54:39,480 --> 00:54:41,440
Speaker 7: We want to include your thoughts on future episodes of

1194
00:54:41,480 --> 00:54:43,799
Speaker 7: the Show. You can leave a short voicemail at seven

1195
00:54:43,760 --> 00:54:47,200
Speaker 7: to seven three two three four nine seven three zero

1196
00:54:47,520 --> 00:54:51,160
Speaker 7: or email us at comments at Next Picture Show dot net. Finally,

1197
00:54:51,200 --> 00:54:53,319
Speaker 7: before closing out this week's episode, where can we find

1198
00:54:53,320 --> 00:54:55,120
Speaker 7: everyone these days? Tasha Oh?

1199
00:54:55,160 --> 00:54:57,400
Speaker 3: You can find me on Twitter at Tasha Robinson. You

1200
00:54:57,440 --> 00:54:59,920
Speaker 3: can find me writing about TV and film and sir

1201
00:55:00,239 --> 00:55:02,520
Speaker 3: as the TV and film editor over at the Verge

1202
00:55:02,560 --> 00:55:04,719
Speaker 3: dot com. And if you want more of me talking

1203
00:55:04,719 --> 00:55:07,080
Speaker 3: about Stephen King, I was just on Pop Culture Happier

1204
00:55:07,280 --> 00:55:10,120
Speaker 3: talking about the best place to start with Stephen King

1205
00:55:10,520 --> 00:55:12,480
Speaker 3: in the wake of the Dark Tower movie, which was

1206
00:55:12,560 --> 00:55:15,400
Speaker 3: not the best place to start with Stephen King. Scott,

1207
00:55:15,400 --> 00:55:16,720
Speaker 3: how about you?

1208
00:55:16,719 --> 00:55:18,160
Speaker 11: You can find me on the New York Times. You

1209
00:55:18,160 --> 00:55:21,680
Speaker 11: can find a piece that I wrote about Stephen King

1210
00:55:21,800 --> 00:55:24,839
Speaker 11: adaptations on the Washington Post, among other things. You can

1211
00:55:24,840 --> 00:55:28,200
Speaker 11: find me at NPR Vulture. There's gonna be a ton

1212
00:55:28,200 --> 00:55:30,480
Speaker 11: of stuff for me for a Variety because I'm covering

1213
00:55:30,480 --> 00:55:33,560
Speaker 11: Tiff for them, so lots of reviews to come from

1214
00:55:33,600 --> 00:55:37,279
Speaker 11: them and and other outlets. So you can also find me.

1215
00:55:37,480 --> 00:55:40,600
Speaker 11: I am the editor in chief of Socoscopes Musings Blog.

1216
00:55:40,880 --> 00:55:45,359
Speaker 11: I'm on Twitter all course at Scott underscore Tobias Keith, and.

1217
00:55:45,280 --> 00:55:47,160
Speaker 7: You can find me serving as a film and TV

1218
00:55:47,280 --> 00:55:49,680
Speaker 7: editor at up rocks dot com and on Twitter at

1219
00:55:49,760 --> 00:55:52,960
Speaker 7: KFIP three thousand. You can follow our silent co host

1220
00:55:52,960 --> 00:55:56,200
Speaker 7: Genevieve on Twitter at at Genevieve Coosky, and find our

1221
00:55:56,239 --> 00:55:58,600
Speaker 7: work at the Box dot com culture section. You can

1222
00:55:58,640 --> 00:56:00,719
Speaker 7: stay updated on the Next Picture Show by visiting Next

1223
00:56:00,760 --> 00:56:03,799
Speaker 7: Pictureshow dot net, via Twitter at at Next Picture Pod

1224
00:56:04,040 --> 00:56:07,439
Speaker 7: and via Facebook at Facebook dot com slash Next Picture Show.

1225
00:56:08,000 --> 00:56:09,800
Speaker 7: And if you haven't subscribed to the show on Apple

1226
00:56:09,840 --> 00:56:13,319
Speaker 7: Podcasts already, please consider it. Apple podcast subscriptions are an

1227
00:56:13,360 --> 00:56:16,320
Speaker 7: important part of getting podcasts more prominence and more listeners,

1228
00:56:16,640 --> 00:56:19,319
Speaker 7: and while you're there, we appreciate every radiant review. Every

1229
00:56:19,320 --> 00:56:21,239
Speaker 7: thumbs up helps us find new listeners and keep the

1230
00:56:21,239 --> 00:56:24,319
Speaker 7: show going. Thanks to Colin the Animal Griffith for his

1231
00:56:24,360 --> 00:56:27,320
Speaker 7: assistants producing the show, and thanks to Denmark Records for

1232
00:56:27,400 --> 00:56:30,759
Speaker 7: providing recording space at their home base Riverside Studios. The

1233
00:56:30,840 --> 00:56:32,400
Speaker 7: Next Picture Show is proud to be part of the

1234
00:56:32,400 --> 00:56:35,640
Speaker 7: film spawning family of podcasts and the Panifly Network. Please

1235
00:56:35,680 --> 00:56:36,480
Speaker 7: tune in next time