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Speaker 1: Warning, Today's episode contains spoilers for The Northman and all

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Speaker 1: previous Eggers films, so be aware. Hello.

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Speaker 2: My name is Joel Week and I'm Carmen Lalan and.

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Speaker 1: Welcome to Xtray Vision Extras, an x Ray Vision series

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Speaker 1: where we dive even more of your favorite shows, movies, comics,

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Speaker 1: and pop culture. Every superhero team needs a side quest,

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Speaker 1: and our rotating panel of producers and guests hosts will

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Speaker 1: be suited up to help Jason and Rosy cover all

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Speaker 1: of the amazing nerd content out there.

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Speaker 2: And today we're back with our final Robert Eggers Extras

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Speaker 2: episode in preparation for the highly anticipated Christmas release of

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Speaker 2: No Seratu next week. And today we're going to be

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Speaker 2: recapping his twenty twenty two film The Northmen. Oh yeah,

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Speaker 2: we're still dog themes.

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Speaker 1: Yes, we never we never leave dog themes with Egress.

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Speaker 1: He's very much and we'll get into it a little

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Speaker 1: bit above. The animal inside of man, I think is

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Speaker 1: a strong theme we see throughout his work. But yeah,

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Speaker 1: let's let's dive into the airlock.

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Speaker 2: Okay, so just to kind of start out with some

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Speaker 2: you know, I love I love, I love movie stats,

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Speaker 2: you know I love Yeah, I'm watching a movie. I

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Speaker 2: love to google, like how much did this movie cost?

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Speaker 2: How much did it make? All of that kind of stuff,

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Speaker 2: So this is interesting to me. I think the thing

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Speaker 2: that stuck out to me watching this movie is realizing

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Speaker 2: that this was the biggest and probably the most ambitious

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Speaker 2: movie that he's made so far. It's his third movie,

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Speaker 2: it's very, very big, and of course because of that,

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Speaker 2: it costs a lot of money. It costs somewhere between

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Speaker 2: seventy to ninety million dollars to make, and it's the

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Speaker 2: first time in his movie making career so far that

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Speaker 2: it didn't make that money back. It only made a

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Speaker 2: sixty nine point six million at the box office, which

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Speaker 2: is disappointing because it wasn't a bad movie, but it

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Speaker 2: certainly wasn't my favorite of the Robert Eggars movies.

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Speaker 1: Yeah, this movie comes out at a very interesting time.

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Speaker 1: So it's released like November twenty twenty two, I think

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Speaker 1: nationally like you'll get you get a premiere of eighteen,

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Speaker 1: you get some uh or was it in April? This

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Speaker 1: is it April release?

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Speaker 2: Yeah, April twenty release.

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Speaker 1: I was gonna say, okay, okay.

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Speaker 2: Yeah, it does feel like it could be a Thanksgiving movie, I.

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Speaker 1: Think, as my parents came to visit me, and I

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Speaker 1: always thought it was a holiday But now, if I'm

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Speaker 1: recalling right, this is our first foray back into theaters.

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Speaker 1: It's early twenty twenty two. Yeah, so this is post

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Speaker 1: Maverick that's come out. People loved it. That did like

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Speaker 1: bonkers at the box office, but it was a feel good,

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Speaker 1: uptick kind of movie where if you look at the Northman,

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Speaker 1: you know, here's a heavy, kind of very dramatic, almost

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Speaker 1: Shakespearean experience. And so it's a little bit different, and

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Speaker 1: I think it maybe was challenging to get people back

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Speaker 1: in for you know, Scars Guard is a star, Kimmen's

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Speaker 1: obviously a star, but it's yeah, it's just it's not

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Speaker 1: it doesn't have the top gun rush of joy that

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Speaker 1: I think people were really vibing for at the time.

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Speaker 1: And it definitely is Eggar's largest film, not just in

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Speaker 1: cast sides, which is like quadrupled from his like what

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Speaker 1: five person original film The Witch to just maybe four

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Speaker 1: total actors I think in The Lighthouse and now this one,

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Speaker 1: we're talking huge sets, tons of extra people. He built

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Speaker 1: all of those sets. Yeah, and so it's ambitious in

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Speaker 1: multiple ways, So the sets are historically accurate. As we've

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Speaker 1: come to know Eggars loves he kind of steps out

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Speaker 1: side of his dollhouse premise, the thing we've talked about

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Speaker 1: a lot over our last two shows. Here you get

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Speaker 1: some elements of it, and we'll dive more into those

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Speaker 1: a little bit later. But yeah, I do think across

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Speaker 1: the board a lot of people were kind of like,

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Speaker 1: eh on it. I really loved this film. What was

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Speaker 1: your initial reaction to the movie.

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Speaker 2: Well, you know, I think it's important to say too.

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Speaker 2: Like I was telling you about this earlier, but I

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Speaker 2: completely missed this movie when it was in theaters, and

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Speaker 2: in all of that, I had no idea that this

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Speaker 2: movie existed until we started talking about it for the

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Speaker 2: Robert Eggers series. So I watched it just last week

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Speaker 2: while I was on a on a cruise ship, which

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Speaker 2: felt very you know, I guess, kind of Viking e

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Speaker 2: in a way.

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Speaker 1: Sure take it over the seas I see it.

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Speaker 2: Yeah, And I have to say it was the one

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Speaker 2: Robert Eggers movie that I could get my boyfriend to

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Speaker 2: watch and he actually loved it. He enjoyed it this movie. Yeah,

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Speaker 2: they sure do. There's obviously not in the same way

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Speaker 2: as The Lighthouse, where the Lighthouse focuses on themes of

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Speaker 2: toxic masculinity, this just focuses on themes of masculinity in general,

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Speaker 2: I think, which is kind of a theme in Norse

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Speaker 2: mythology and Norse culture and stuff like that. And you know,

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Speaker 2: I have to say, out of all of the Eggers movies,

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Speaker 2: it's not my favorite Eggers movie. It's probably my least favorite.

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Speaker 2: But that doesn't mean I think it's a bad movie.

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Speaker 2: I think it's a fun movie to watch. I enjoyed

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Speaker 2: it for the battle scenes, and I enjoyed it for

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Speaker 2: the storyline, which I was learning about for the first time.

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Speaker 2: But I also really enjoyed it for the kind of

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Speaker 2: Eggers for the first time in his movies, I feel

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Speaker 2: like he does these kind of I don't know if

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Speaker 2: there's cgi sequences, but there are like these dreamlike sequences

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Speaker 2: that he's doing showing kind of like the what is

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Speaker 2: it the Norse the tree, the tree of life type

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Speaker 2: of Yes, yes, yes, I'm gonna sound kind of ignorant

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Speaker 2: to Norse culture there, but I thought that was really

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Speaker 2: interesting and I thought he did a good job with

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Speaker 2: those things. So I enjoyed it.

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Speaker 1: Yeah, listen. I showed up for Alexander Scar's Guard. I

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Speaker 1: was like, uh. I was like, okay, what I And

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Speaker 1: then they were like, oh, Arianna, Ariana, I'm having a day.

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Speaker 2: You're on Wicked.

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Speaker 1: I'm I'm trapped between Wicked and Kendrick and now weirdly

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Speaker 1: Tyler the Creator. And also I've been reading anyway, I digress,

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Speaker 1: I digress or okay. So I showed up for Alexander

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Speaker 1: Scar's Guard. I was like a hunky guy, my vampire fave,

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Speaker 1: like out here becoming a wolf and fighting in nature.

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Speaker 1: Like I said, my parents had come to town. So

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Speaker 1: I was like, this is a perfect dad movie. He

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Speaker 1: had never been to a a mc Adobe experience. They

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Speaker 1: don't have those where he lived, and so I was like,

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Speaker 1: you should call and see Adobe projected film. And he

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Speaker 1: was like, yes, let's do that. And I was very

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Speaker 1: much in my dad bag. So I was like, yeah's

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Speaker 1: the blood and the fighting, like yeah, and then yes, yes,

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Speaker 1: and they're so oh my god. And we were speaking

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Speaker 1: a little bit earlier. This is a film that has

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Speaker 1: much less atmosphere than is typical of an Edgar's film

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Speaker 1: that we've come to know so far. But the moments

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Speaker 1: that do give atmosphere. The initial fight sequence when he

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Speaker 1: gets in the boat and he's traveling up river after

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Speaker 1: he's left his like you know, he's run away from

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Speaker 1: home because he saw his dad got gone and they

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Speaker 1: were like, damn, he's coming for me. He gets in

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Speaker 1: the boat and he ends up with another tribe. They're

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Speaker 1: like pillaging and raiding. That whole sequence of in the boat,

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Speaker 1: out of the boat, into the village. It's just it's

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Speaker 1: such a long and again, what Edgars really understands about

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Speaker 1: Atmosphere is like, well, there's not a lot of a

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Speaker 1: narrative happening. There is a lot of story happening. And

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Speaker 1: I guess by that, I mean you're understanding what it

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Speaker 1: is to be part of this group. You understand what

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Speaker 1: it is a part to be uh, just a regular

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Speaker 1: villager who at any time could have vikings just descend

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Speaker 1: upon you and terror your understanding sort of there are

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Speaker 1: no rules here. I mean, they lock up a bunch

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Speaker 1: of women and children and burn them alive, burn, and

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Speaker 1: then everybody else gets enslaved. It is a crazy sequence

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Speaker 1: of events, and yet you're learning so much and experiencing

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Speaker 1: so much, Like I really appreciate film that has the

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Speaker 1: ability to do that, to just one hundred percent submerge

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Speaker 1: you into a story anything. Yeah, that part, so that

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Speaker 1: works really well for me. Other elements that work really well.

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Speaker 1: All of our women are at Conic Conic. Nicole Kidman

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Speaker 1: as a bitchy mom, I pledge my life, please ruin me, Like,

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Speaker 1: let's go.

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Speaker 2: Yes, yes, yes.

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Speaker 1: You have Byork being Buorick in the Yorkiest way. I

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Speaker 1: just oh man, wait, I needed more. We have to

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Speaker 1: pause and talk about Buyork. Okay, so you're a big

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Speaker 1: fan you yes, you love the Buorg talk to me

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Speaker 1: because we were talking about the film and you were like, wait,

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Speaker 1: she's in this house and you were like, break down

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Speaker 1: the door. No one told me, where was everyone on this?

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Speaker 1: Talk to me about this? This magnificent moment with Yorg.

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Speaker 2: Oh yeah, that was probably my favorite scene of the

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Speaker 2: movie where she's kind of she's kind of like, uh,

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Speaker 2: prophesizing his life to him and kind of what what

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Speaker 2: his future holds and all of this, And I thought

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Speaker 2: I thought the costume design was epic because it didn't

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Speaker 2: feel it didn't feel like your typical kind of fantasy

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Speaker 2: movie where it was obviously taking liberties on the type

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Speaker 2: of costume that the person she looked like she was

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Speaker 2: actually wearing, like an what I would imagine a witch

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Speaker 2: of that time period would.

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Speaker 1: Be historical accuracy. He's not gonna note.

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Speaker 2: His and I really really and I really appreciate that

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Speaker 2: about his movies, and it just felt like I, for me,

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Speaker 2: I needed more Nicole Kidman, I needed more Bure and

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Speaker 2: I needed more will and Dafoe too. You know, when

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Speaker 2: I when I saw this movie.

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Speaker 1: Willem Dafoe, I think is an actor who understands how

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Speaker 1: to elevate atmosphere. It's something we'll talk about more in

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Speaker 1: his role in No Saratu when we get there. But

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Speaker 1: I think particularly in the Lighthouse and here you can

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Speaker 1: constantly see his ability to like just vibe with the

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Speaker 1: crazy and he's like electric, like he kind of just

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Speaker 1: want to keep looking at him and he feels and

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Speaker 1: I how do I say this without sounding like a bitch?

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Speaker 1: His face lends him the ability to disappear to me, Okay,

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Speaker 1: so like listen, I guess he does. He has a face.

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Speaker 1: I think that there are faces built for screen. Some

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Speaker 1: of them are beautiful, some of them are just dynamic, right,

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Speaker 1: And I think there's nothing wrong with either. I say,

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Speaker 1: this is a non beautiful person, like I really just

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Speaker 1: enjoy a dynamic face. I think dynamic faces help tell stories.

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Speaker 1: But we love looking at beautiful people. But there's something

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Speaker 1: about seeing somebody who feels like they are authentically of

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Speaker 1: the world and not pedestaled or you know whatever that

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Speaker 1: sort of helps you and beauty to the story. And

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Speaker 1: Dafoe has that in spades, and he does such a

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Speaker 1: great job here at time or the fool from drinking

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Speaker 1: the pistol, like saying their prayer to just a fire

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Speaker 1: to like really again using this sort of typical history,

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Speaker 1: like the fool in court history. I'm not as familiar

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Speaker 1: with Nordick history. We'll circle back to that in a second.

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Speaker 1: But if you look at like French, British, Spanish cultures

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Speaker 1: and the fool, like this is a storyteller. This is

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Speaker 1: someone who takes your mind off things. This is also

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Speaker 1: somebody who can occasionally be a snappy, comeback sidekick to

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Speaker 1: the rulers. And when we have people and they're presenting,

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Speaker 1: you know, they can say things the king cannot and

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Speaker 1: yet let that sort of be within the space. And

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Speaker 1: so for him to be both an advisor to the

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Speaker 1: king but also sort of this guardian for this kid

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Speaker 1: for a short time. Like I really think he imbues

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Speaker 1: a lot into this movie, and I think Edgar would

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Speaker 1: be why need to work with Willon Dafoe because he

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Speaker 1: brings a lot to his films. And then just to

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Speaker 1: finish our conversation around the women, like Anya Taylor Joy

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Speaker 1: does some ape plus acting in this, like she is phenomenal,

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Speaker 1: Like yeah, she's beautiful, but it's fine because that's sort

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Speaker 1: of the character is, like, here's this gorgeous woman who

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Speaker 1: longs to be free, he's not about to let herself

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Speaker 1: be captured. Who's got these freaking I love her power

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Speaker 1: set in this like she's kind of a clairvoyant, kind

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Speaker 1: of a dream walker sort of vibe is so like

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Speaker 1: ethereal and feels very like nature based, which which.

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Speaker 2: I'm ground with, which it yeah, it feels.

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Speaker 1: Yeah, she's not shooting sparks out of her fingers or

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Speaker 1: she she does eventually like at one point, like it

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Speaker 1: seems to change the set of a storm, but you know,

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Speaker 1: she there is an element of her where you're like, oh,

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Speaker 1: this shit could survive the craziness of this world world,

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Speaker 1: And I think that's really cool to see in an Anya.

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Speaker 1: I think that Eggers tends to like really wayfish looking

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Speaker 1: women who survive situations they couldn't. There's an element of

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Speaker 1: that that is, well so where it's that's you know,

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Speaker 1: let me put it this way. In comic books, for

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Speaker 1: a while, there was one body type for women. It

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Speaker 1: was zero waste and all boobs. And while we loved

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Speaker 1: Storm and Gene and all of them, they did not

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Speaker 1: fully represent the everyone array of women that are, you know,

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Speaker 1: on this planet. And so I think there's a little

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Speaker 1: bit of elements with that. Yeah, I think there's elements

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Speaker 1: of that in Egger's work. It's something I hope to

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Speaker 1: see him move beyond, because for the films we've seen

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Speaker 1: of him so far, women are there aren't as many

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Speaker 1: and they're all sort of the same hype arch type. Yeah,

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Speaker 1: so I'll put that there. Uh, Which, But with that said,

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Speaker 1: I do like Anya in this role. I do like

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Speaker 1: this role, like Listen, Warrior would be princess come on, like,

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Speaker 1: I'm totally here for it, Slash, which she's great.

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Speaker 2: I was going to say to that point, he originally

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Speaker 2: wanted somebody who was kind of as he described homely

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Speaker 2: to play Anya Taylor Joy's character in The Witch, Thomas said,

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Speaker 2: but then the casting director kind of pushed him towards

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Speaker 2: an Anya Taylor Joy casting and I kind of respect

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Speaker 2: I guess. I guess I respect his ability to take

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Speaker 2: other people's advice and other people's you know, thoughts into mind. Yeah, yeah, sorry, continue.

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Speaker 1: Yeah, no, I think I think making that choice. Really again,

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Speaker 1: there is something to be said about how we treat

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Speaker 1: gorgeous women or women who are perceived as being more

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Speaker 1: beautiful within the world, and the unfair things that are

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Speaker 1: often heaped on those types of women, like the all

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Speaker 1: of the things like she if you live in a

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Speaker 1: periit in society and you are actually as beautiful as

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Speaker 1: Annie Taylor Joy and you're an intelligent person, like, that's

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Speaker 1: a hell for you. Like Puritan society is not going

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Speaker 1: to be a good Your very existis is considered an

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Speaker 1: evil temptation to people. Like that's difficult, I think here

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Speaker 1: in a world of conquerors and conquests to be alone, uh,

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Speaker 1: you know, not physically imposing woman who is again considered beautiful, Like,

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Speaker 1: that's a dangerous and difficult position to navigate. These people

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Speaker 1: take what they want and kill everything else, like it's

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Speaker 1: not a great space. And so that exactly so that

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Speaker 1: in and of itself imbues interest to the character's story.

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Speaker 1: And again I think it's very valid narrative. I just again,

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Speaker 1: as far as all of these worlds you're setting up, Well,

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Speaker 1: if we're gonna go on this check, let's talk about

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Speaker 1: the guys we've seen so far, right, which I think

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Speaker 1: we've got a religious Zelo in the Witch who moves

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Speaker 1: his whole family to the wilderness, lies to his wife,

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Speaker 1: her family. Okay. Then we have two men in the

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Speaker 1: light House, one a young guy who is hiding from

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Speaker 1: a life of crime and an older man who's been

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Speaker 1: sort of shut up in this one place for years

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Speaker 1: and is maybe insane. Yeah, and then here you get

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Speaker 1: scars guards character Amleth. This is actually based off the

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Speaker 1: Nordic story Amleth, which is the inspiration for Shakespeare's Hamlett

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Speaker 1: and Amleth and Hamlet princes who idolized their daddies.

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Speaker 2: Mm hmm. Ethan Hawk, which I mean I would too.

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Speaker 1: Ethan Hawk plays such a good king here, put more

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Speaker 1: crowns on his head. He's so hot. And then you

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Speaker 1: know you have Fiorier played by classiest bang who is incredible.

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Speaker 1: I love classes in this. He's very good, you know,

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Speaker 1: jealous brother who is out for power, so you're really

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Speaker 1: dealing with, like again, power struggles. But again I think

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Speaker 1: that showcases that Egars has a wide variety of men.

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Speaker 1: I just think you could do better on women. That's

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Speaker 1: where I'm at in the third film. But now that

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Speaker 1: we're talking about masculinity, you had brought up earlier this

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Speaker 1: idea of exploring different types of masculinity between the Lighthouse

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Speaker 1: and the Northmen, and I really wanted you to expand

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Speaker 1: upon that because it was very interested in that.

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Speaker 2: So yeah, I had a lot of thoughts about it,

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Speaker 2: because you know, we talked about how The Witch was

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Speaker 2: received not necessarily set out to be a story about

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Speaker 2: basically a feminist story, a good for her kind of

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Speaker 2: feminist story, and then the Lighthouse is a story that

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Speaker 2: was received as a story about two men that were

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Speaker 2: both very kind of toxic in their masculinity and also

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Speaker 2: struggling power dynamics. And that's the Lighthouse. And then with

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Speaker 2: this story, and you know, I think it, you know,

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Speaker 2: it's interesting to consider here that this is not necessarily

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Speaker 2: what Robert Eggers is setting out to do with his movies.

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Speaker 2: But this is I think, how the public is perceiving

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Speaker 2: the movies. So our host Jason pointed out that when

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Speaker 2: this movie came out, which again totally lost on me,

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Speaker 2: because I actually think I wasn't the target. I was

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Speaker 2: not the target audience for this movie, you know. And

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Speaker 2: he pointed out that when this movie came out, it

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Speaker 2: resonated with a lot of men in the kind of

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Speaker 2: alt right kind of scene. Because Nordic, Nordic religion and

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Speaker 2: culture is is like, is I guess kind of what's

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Speaker 2: the word I'm looking for here? It's it's used to

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Speaker 2: mean something totally different by people.

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Speaker 1: With Nordic symbolism is often co opted by white supremacist

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Speaker 1: spaces as being like are pure white spaces that are

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Speaker 1: above and beyond the rest of society, and they use

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Speaker 1: you know, the tattoos, the figures, this sort of Viking

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Speaker 1: ideology in modern day which is disturbing. We can say that.

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Speaker 2: And it seems like the stories that come out of

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Speaker 2: out of Norse mythology are also very focused on like

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Speaker 2: masculinity being like the like a be all end all

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Speaker 2: of society. If you're not a mighty man, then You're nothing,

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Speaker 2: and so I kind of found that interesting to kind

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Speaker 2: of look back on, especially within twenty twenty two, not

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Speaker 2: that things are much different in twenty twenty four, but

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Speaker 2: just to see kind of remember and reflect on where

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Speaker 2: we were at at that moment in time, and just

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Speaker 2: it's interesting how these movies get received by the public.

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Speaker 2: And I think the target audience, whether intentional or not,

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Speaker 2: for this movie were definitely those types of guys who

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Speaker 2: were white supremacist kind of like you know, very into

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Speaker 2: that Norse mythology stuff, and of course more people than

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Speaker 2: that saw it.

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Speaker 1: Yeah, I definitely think they gravitated toward the film, but

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Speaker 1: like they would do for anything, it doesn't matter, like

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Speaker 1: if you say Viking the Ears immediately perk op I,

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Speaker 1: do you think for the Like what's really interesting about

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Speaker 1: this picture and the ways it's tackling masculine is all

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Speaker 1: about sort of inheritance, like what is your right as

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Speaker 1: a princeling basically, but then also like as a man,

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Speaker 1: like what is what path are you forging for yourself?

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Speaker 1: It's much less contained like Lighthouse gives you talking masculinity

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Speaker 1: of two men trapped in a room trying to figure

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Speaker 1: out who's going to be at the top this. They

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Speaker 1: give the whole world to Amlith, Like you could travel

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Speaker 1: to the New World, you could go to Iceland, you

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Speaker 1: could stay here and start a family, you could die,

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Speaker 1: like really, like any possible future outcome is your worse

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Speaker 1: to select. And so if that's the case, then what

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Speaker 1: you're getting at is what's the most honorable thing this

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Speaker 1: character feels like he can do. And I think the

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Speaker 1: film sort of leads it up to the audience interpret

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Speaker 1: whether this is positive or negative. But like, to him,

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Speaker 1: the only thing that matters is avenging his father right,

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Speaker 1: not a future, not even his own name, but just

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Speaker 1: this in writing this Deep Injustice. It's a film that

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Speaker 1: I think doesn't need to worry too much about its

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Speaker 1: messaging because it's evolving from hundreds of thousands of years

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Speaker 1: old narrative. I don't know how old Amleth is, but

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Speaker 1: it I don't think Eggars is that concerned with like

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Speaker 1: what you walk away with from this film, which is

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Speaker 1: interesting because it's his most narrative forward film, but because

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Speaker 1: he's so hyper focused on the history and the adaptation,

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Speaker 1: which you're really sort of left with, Like, man, that

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Speaker 1: Viking fight was cool, Like they fought on a volcano.

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Speaker 1: Oh my god, that's effing sick. Or you know, you

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Speaker 1: get the moment with the sacrifice where he kills one

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Speaker 1: of the slave watchers in the hut and leaves the

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Speaker 1: body for the people diver. Oh my god, that was

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Speaker 1: really cool and graphic and wow, or you get, you know,

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Speaker 1: sort of this coupling with olga Anya's character in the woods,

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Speaker 1: which is really sort of serene and beautiful and a

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Speaker 1: lovely respite in the middle of all of this, like Gore,

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Speaker 1: and you really are moving from tonally being more about

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Speaker 1: the nature like he tonality before was really these woods

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Speaker 1: are spooky. Look at this thick fog. The ocean is roaring,

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Speaker 1: and it's giving you a lot of poetic artistic imagery. Okay, cool,

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Speaker 1: where this is really giving you the tonality of Shakespeare.

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Speaker 1: I'm having a hard time articulating exactly what I mean,

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Speaker 1: but I think it's just that the tone is more.

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Speaker 1: These motifs are really cool, and they have been applied

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Speaker 1: to a story that I'm familiar enough with I don't

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Speaker 1: have to really ask that many questions. The actors should

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Speaker 1: click in and know immediately like what the narrative is about.

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Speaker 1: And so we can move from through this well known narrative.

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Speaker 1: We just really heightened visual vibes. The Viking town was

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Speaker 1: really cool. This volcano setting is nope Iceland sparse, and

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Speaker 1: as they're building up this small community, it looks really.

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Speaker 2: Cool, which it really was filmed in Iceland too.

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Speaker 1: Yeah, given as much as we have talked about how

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Speaker 1: much we like atmosphere and how it's played, how do

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Speaker 1: you feel the absence of it affected your viewing of

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Speaker 1: this movie.

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Speaker 2: So I know a lot of people complain about, you know,

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Speaker 2: about the use of too much atmosphere because it does

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Speaker 2: make the story I guess feel like it drags personally,

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Speaker 2: that I think is what hooks me. Just because I'm

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Speaker 2: such a vibes person, I guess like I enjoy I

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Speaker 2: enjoy taking in all the vibes. I was definitely had

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Speaker 2: fun with the battle scenes that I wanted more of

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Speaker 2: the atmosphere. The scenes that I think felt most atmospheric

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Speaker 2: to me were, of course, like you said, the volcano

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Speaker 2: scene and the ocean and stuff like that. But also

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Speaker 2: I really enjoyed like the smaller scenes where it was

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Speaker 2: just a few actors, like the Shaman scene with William

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Speaker 2: Dafoe's character where they're doing like this kind of dinner animal. Yeah,

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Speaker 2: and then of course I really enjoyed the scene with Buorick.

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Speaker 2: Those are the scenes that stuck out the most to

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Speaker 2: me because I think that they were the most like

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Speaker 2: atmosphere heavy, the most vibes heavy to me. So I

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Speaker 2: kind of missed it in this movie. I kind of

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Speaker 2: I wanted more of it because I don't, you know,

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Speaker 2: I don't love you know, I'm not somebody who like

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Speaker 2: craves on screen violence so much.

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Speaker 1: I do. I love a bloody human, I think, especially

429
00:25:16,760 --> 00:25:20,320
Speaker 1: if I studied fight choreography in high school and college,

430
00:25:20,359 --> 00:25:22,760
Speaker 1: and I just always have such appreciation for people who

431
00:25:22,760 --> 00:25:25,439
Speaker 1: can do it and make it look real and like

432
00:25:25,520 --> 00:25:27,879
Speaker 1: when they're taking it to the blows from these swords,

433
00:25:27,960 --> 00:25:32,080
Speaker 1: oh god, it's the fight coordination is phenomenal in this film.

434
00:25:32,520 --> 00:25:35,280
Speaker 1: But to your point, when I think back about like

435
00:25:35,359 --> 00:25:41,320
Speaker 1: what scenes resonate the most to me, the most impactful scene,

436
00:25:41,440 --> 00:25:44,080
Speaker 1: it's probably him sneaking into his mom's room as an

437
00:25:44,080 --> 00:25:48,480
Speaker 1: adult to like confront her for the first time and realizing, oh,

438
00:25:48,520 --> 00:25:50,639
Speaker 1: this woman not only didn't love me, was absolutely in

439
00:25:50,640 --> 00:25:53,679
Speaker 1: cahoots to get my father killed. Like the devastation of

440
00:25:53,680 --> 00:25:57,600
Speaker 1: that sequence, the reality of it, the and again the

441
00:25:57,640 --> 00:25:59,840
Speaker 1: fact that it's to me Eggers's best in his bad

442
00:26:00,040 --> 00:26:02,679
Speaker 1: and nobody's doing any talking, you know what I mean.

443
00:26:02,600 --> 00:26:05,240
Speaker 2: Like, yeah, that is not the same thing. She seduces

444
00:26:05,320 --> 00:26:08,080
Speaker 2: him too, or tries to seduce him.

445
00:26:08,480 --> 00:26:11,080
Speaker 1: Yeah. Yeah, But that's what I'm saying, Like, there's these

446
00:26:11,240 --> 00:26:19,280
Speaker 1: moments that for Edgars, it's it's the quieter, more intonated

447
00:26:20,119 --> 00:26:23,199
Speaker 1: space where you the viewwork can fill in gaps and

448
00:26:23,240 --> 00:26:28,080
Speaker 1: be appalled or struck by just a simple image, you know,

449
00:26:29,840 --> 00:26:33,360
Speaker 1: a treasured item on a desk we thought was lost forever,

450
00:26:34,080 --> 00:26:36,159
Speaker 1: or a look between mother and summer. We're like, what

451
00:26:36,280 --> 00:26:41,400
Speaker 1: is about to have? Why? Why this? It's man? I do?

452
00:26:41,520 --> 00:26:44,199
Speaker 1: I do wish we had more of that here. But

453
00:26:44,240 --> 00:26:47,600
Speaker 1: I also think a lot of people were pushing for

454
00:26:47,840 --> 00:26:53,040
Speaker 1: more commercially accessible work from Edgars coming off, because The

455
00:26:53,080 --> 00:26:55,520
Speaker 1: Lighthouse did have its fair share of folks who were like,

456
00:26:55,560 --> 00:26:59,679
Speaker 1: this is too weird, it's too much. But I like

457
00:26:59,720 --> 00:27:03,080
Speaker 1: about Northman is that we don't fully lose that. Though

458
00:27:03,160 --> 00:27:05,560
Speaker 1: we were talking before we started about that the level

459
00:27:05,600 --> 00:27:11,320
Speaker 1: of flatulence jokes still present in this film, and I

460
00:27:11,359 --> 00:27:14,040
Speaker 1: had mentioned that I thought that because Edgers is such

461
00:27:14,040 --> 00:27:18,399
Speaker 1: a history buff that perhaps this crude humor is a

462
00:27:18,440 --> 00:27:21,439
Speaker 1: reflection of the types of true humor we see and like,

463
00:27:22,280 --> 00:27:23,840
Speaker 1: there's a good Shakespeare line.

464
00:27:23,960 --> 00:27:28,680
Speaker 2: But yeah, I believe that Edgar's studied at a Shakespeare

465
00:27:28,680 --> 00:27:30,600
Speaker 2: like a big Shakespeare college.

466
00:27:31,560 --> 00:27:36,560
Speaker 1: Yeah. Yeah, he's a Shakespearean uh like scholar.

467
00:27:37,040 --> 00:27:39,800
Speaker 2: Yes, and the way I was looking for, Yeah.

468
00:27:39,440 --> 00:27:42,120
Speaker 1: Yeah, he's a Shakespearean scholar. Plus, you know, he reads

469
00:27:42,160 --> 00:27:43,920
Speaker 1: a lot of these things. And if you're reading old

470
00:27:44,160 --> 00:27:49,400
Speaker 1: plays or uh like, novellas and stuff like, especially things

471
00:27:49,400 --> 00:27:53,119
Speaker 1: though considering, okay, like for plays are for the masses, right,

472
00:27:53,240 --> 00:27:56,160
Speaker 1: so anybody poor rich can go see a play back

473
00:27:56,160 --> 00:27:59,240
Speaker 1: in the day. And then books tended to be you know,

474
00:27:59,280 --> 00:28:00,800
Speaker 1: you have to have a little education in order to

475
00:28:00,800 --> 00:28:03,359
Speaker 1: be able to read them. But anything that was made

476
00:28:03,440 --> 00:28:08,080
Speaker 1: for your common person typically had a ton of fart jokes.

477
00:28:08,119 --> 00:28:11,399
Speaker 1: Here's something from the Comedy of Errors from Shakespeare. If

478
00:28:11,440 --> 00:28:14,080
Speaker 1: you break anything, I'll break your foolish head. A man

479
00:28:14,119 --> 00:28:15,960
Speaker 1: may break a word with you, sir, and words are

480
00:28:15,960 --> 00:28:18,199
Speaker 1: but wind I and break it in your face, so

481
00:28:18,240 --> 00:28:20,280
Speaker 1: he break it not behind. I could break a word

482
00:28:20,280 --> 00:28:22,840
Speaker 1: with you, sir, and words are only wind.

483
00:28:24,920 --> 00:28:28,520
Speaker 2: I just love that fart jokes are a continual source

484
00:28:28,560 --> 00:28:32,120
Speaker 2: of comedy throughout the course of human history. I guess

485
00:28:32,160 --> 00:28:33,600
Speaker 2: we've always just found them funny.

486
00:28:34,280 --> 00:28:40,080
Speaker 1: We love crudeness. We really can't help ourselves. Okay, there

487
00:28:40,720 --> 00:28:44,000
Speaker 1: is a moment and another one Shakespeare's Pays where the

488
00:28:44,080 --> 00:28:45,600
Speaker 1: dog is going to be win for farting, but the

489
00:28:45,640 --> 00:28:47,480
Speaker 1: servant takes credit for the fart and so he gets

490
00:28:47,520 --> 00:28:53,080
Speaker 1: whipped instead. There's a line from King Lear where it says,

491
00:28:53,080 --> 00:28:56,840
Speaker 1: blow winds and crack your cheeks, rage and blow I

492
00:28:56,880 --> 00:29:03,400
Speaker 1: see you Shakespeare. Yeah, Lawrence talks about getting whipped in

493
00:29:03,440 --> 00:29:08,080
Speaker 1: two gentlemen from Verona. So yeah, the fire jokes are resplendent.

494
00:29:08,320 --> 00:29:11,320
Speaker 1: And I think there's an element of sort of old

495
00:29:11,360 --> 00:29:15,160
Speaker 1: school storytelling applied to all of Eggar's films that sort

496
00:29:15,200 --> 00:29:16,760
Speaker 1: of makes me think these films are going to be

497
00:29:17,360 --> 00:29:21,720
Speaker 1: accessible for the long run. Right, If you're constantly relaying

498
00:29:22,000 --> 00:29:26,080
Speaker 1: your stories based off history, there's a feeling that people

499
00:29:26,160 --> 00:29:27,960
Speaker 1: will want to be able to return to these because

500
00:29:27,960 --> 00:29:35,920
Speaker 1: these stories are eternal. I do wonder if in adapting

501
00:29:35,960 --> 00:29:41,720
Speaker 1: these stories, like if Eggars is bothering or even needs

502
00:29:41,760 --> 00:29:44,240
Speaker 1: to speak to a modern audience again us to something else.

503
00:29:44,280 --> 00:29:46,920
Speaker 1: Talk much more about Nosaratu, because I have lots of

504
00:29:46,920 --> 00:29:52,080
Speaker 1: thoughts on it, But with this one, I think I

505
00:29:52,120 --> 00:29:54,080
Speaker 1: sort of let it slide because I was very into

506
00:29:54,160 --> 00:29:57,520
Speaker 1: the Oh, it's Hamlet set in Viking times. It's based

507
00:29:57,520 --> 00:30:00,120
Speaker 1: off the play that inspired Hamlet, like all of that

508
00:30:00,240 --> 00:30:04,840
Speaker 1: was really working, and from an editation perspective, going back

509
00:30:04,880 --> 00:30:08,960
Speaker 1: to the original source text is vastly interesting. It sort

510
00:30:09,000 --> 00:30:13,400
Speaker 1: of gives much more life because so Ophelia destroys me

511
00:30:13,440 --> 00:30:15,800
Speaker 1: a little bit because she's like, I'm just very like

512
00:30:15,840 --> 00:30:18,520
Speaker 1: Ophilia has reasons to be sad. But in the play,

513
00:30:18,680 --> 00:30:22,080
Speaker 1: if you're not getting the backstory, that happens very fast,

514
00:30:22,360 --> 00:30:24,280
Speaker 1: you're really like, Wow, this girl is whiny and then

515
00:30:24,280 --> 00:30:27,560
Speaker 1: she just runs off and dies. It's so sad. I

516
00:30:27,640 --> 00:30:31,200
Speaker 1: love the idea of the Ophilia type character being like

517
00:30:32,520 --> 00:30:37,320
Speaker 1: a witch who has helped entrap slavers that escaped and

518
00:30:37,360 --> 00:30:39,360
Speaker 1: has a hot, hunky husband. Good for you, girl, you

519
00:30:39,440 --> 00:30:42,960
Speaker 1: get it. And now twins, what a look she made it.

520
00:30:43,040 --> 00:30:45,120
Speaker 2: I love that he loves to put twins in his

521
00:30:45,240 --> 00:30:45,880
Speaker 2: movies too.

522
00:30:46,880 --> 00:30:46,960
Speaker 3: It.

523
00:30:47,800 --> 00:30:49,800
Speaker 1: We'll talk more about ones when we get back. Really

524
00:30:49,880 --> 00:31:03,600
Speaker 1: a quick break and we'll be right back, okay, And

525
00:31:03,640 --> 00:31:07,840
Speaker 1: we're back. Twins. Yeah, we know Robert Egger has twin siblings.

526
00:31:07,920 --> 00:31:11,280
Speaker 1: I love that they're always just popping up. It seems

527
00:31:11,360 --> 00:31:15,280
Speaker 1: like such a lovely nod to them. Twins in different

528
00:31:15,320 --> 00:31:19,560
Speaker 1: pieces of old fiction are either they're like weird to

529
00:31:19,680 --> 00:31:23,880
Speaker 1: older what's up with these twins? They're so rare, like

530
00:31:23,920 --> 00:31:27,400
Speaker 1: are they connected? Are they a bad omen? A good

531
00:31:27,440 --> 00:31:29,960
Speaker 1: omen And I sort of love the way he uses

532
00:31:30,040 --> 00:31:34,080
Speaker 1: them throughout in The Witch. They are creepy and unnerving

533
00:31:34,280 --> 00:31:37,280
Speaker 1: and you kind of never know what they're gonna do here.

534
00:31:37,360 --> 00:31:41,000
Speaker 1: They seem like a positive, like auspicious omen for the

535
00:31:41,040 --> 00:31:44,640
Speaker 1: future of this land. That by getting this revenge and

536
00:31:44,680 --> 00:31:47,560
Speaker 1: taking out this evil man and this like not great kingdom,

537
00:31:47,600 --> 00:31:51,920
Speaker 1: you sort of give positive life and space to the

538
00:31:51,960 --> 00:31:54,840
Speaker 1: surrounding communities. And they have a new leader and they

539
00:31:54,880 --> 00:31:57,040
Speaker 1: have a good mother, and so we won't deal with

540
00:31:57,080 --> 00:32:00,160
Speaker 1: the same kind of trauma we had before. And maybe

541
00:32:00,560 --> 00:32:02,160
Speaker 1: maybe that's what Egress was going for. He was like,

542
00:32:02,160 --> 00:32:03,800
Speaker 1: you know what we could really be doing here is

543
00:32:03,840 --> 00:32:07,720
Speaker 1: solving our family trauma by killing it. Just just kill

544
00:32:07,760 --> 00:32:09,720
Speaker 1: your family's trauma.

545
00:32:10,880 --> 00:32:12,400
Speaker 2: No, I agree, I could definitely see that.

546
00:32:13,080 --> 00:32:16,760
Speaker 1: I think maybe we can count the twins as atmosphere.

547
00:32:17,040 --> 00:32:18,720
Speaker 1: You know, another thing I wanted to talk to you

548
00:32:19,000 --> 00:32:21,760
Speaker 1: a little bit about was we've talked about the dollhouse

549
00:32:21,880 --> 00:32:27,400
Speaker 1: element throughout his films. In Here, you know, we get

550
00:32:28,000 --> 00:32:32,360
Speaker 1: these larger lande I think the Viking Village, the first

551
00:32:32,360 --> 00:32:35,720
Speaker 1: one that we sort of explore is it's definitely part

552
00:32:35,760 --> 00:32:40,160
Speaker 1: of the dollhouse. It has the same hovering, sort of

553
00:32:40,840 --> 00:32:43,640
Speaker 1: floaty camera that we get in the opening shots of

554
00:32:43,680 --> 00:32:48,280
Speaker 1: the lighthouse to sort of explore what's happening in this community.

555
00:32:49,120 --> 00:32:51,600
Speaker 1: And I find it interesting that if the dollhouse is

556
00:32:51,680 --> 00:32:58,640
Speaker 1: meant to be a confining structure that leads to a

557
00:32:58,680 --> 00:33:03,960
Speaker 1: building of ten, is that lost when we have so

558
00:33:04,080 --> 00:33:07,360
Speaker 1: many dollhouses. The Icelandic Village, the original sort of Germanic

559
00:33:08,120 --> 00:33:12,840
Speaker 1: Viking village, and maybe the Witch's Hut are sort of

560
00:33:12,880 --> 00:33:17,360
Speaker 1: the most distinct dollhouses I can't think of in here.

561
00:33:17,440 --> 00:33:20,160
Speaker 1: Maybe the opening the castle at the top. You get

562
00:33:20,200 --> 00:33:22,440
Speaker 1: a little bit of it there, but again you're there

563
00:33:22,440 --> 00:33:26,120
Speaker 1: for such a short time. I wonder if this also

564
00:33:26,320 --> 00:33:28,400
Speaker 1: is part of the loss of atmosphere, Is that by

565
00:33:28,640 --> 00:33:32,640
Speaker 1: opening up his world so much, what do we lose

566
00:33:33,000 --> 00:33:34,080
Speaker 1: from him?

567
00:33:34,560 --> 00:33:39,360
Speaker 2: I think what I concluded after watching this movie is

568
00:33:39,600 --> 00:33:45,520
Speaker 2: that Robert Eggers is at his best when he does

569
00:33:45,560 --> 00:33:50,760
Speaker 2: things very small and no hate to you know, all

570
00:33:50,800 --> 00:33:53,440
Speaker 2: of the cool, the cool scenes that we go to,

571
00:33:53,480 --> 00:33:55,200
Speaker 2: all of the cool sets that we go to, and

572
00:33:55,280 --> 00:33:57,560
Speaker 2: all of the battle scenes and all of that. I

573
00:33:57,640 --> 00:34:00,000
Speaker 2: just think, as he has said in his own words,

574
00:34:00,120 --> 00:34:03,960
Speaker 2: it's after the Lighthouse came out, before the Northmen came out.

575
00:34:04,400 --> 00:34:10,440
Speaker 2: He said that his stories are about telling simple stories.

576
00:34:11,400 --> 00:34:14,160
Speaker 2: And I really think that that is his strong suit,

577
00:34:14,760 --> 00:34:17,719
Speaker 2: is telling these small, simple stories that are kind of

578
00:34:17,760 --> 00:34:23,560
Speaker 2: contained within a single dollhouse or two dollhouses or whatever.

579
00:34:23,920 --> 00:34:27,600
Speaker 2: I think Once he starts to expand the dollhouses and

580
00:34:27,680 --> 00:34:32,080
Speaker 2: has multiple of them, we lose the atmosphere, we lose

581
00:34:32,239 --> 00:34:36,359
Speaker 2: kind of the simpleness of what I think makes his

582
00:34:36,480 --> 00:34:40,960
Speaker 2: work so good. And for me, that's just what I

583
00:34:40,960 --> 00:34:43,800
Speaker 2: remember thinking to myself as like, Wow, this guy really

584
00:34:43,800 --> 00:34:46,319
Speaker 2: does his best stuff with a small budget, with a

585
00:34:46,360 --> 00:34:51,200
Speaker 2: few actors in like a couple of locations, versus I

586
00:34:51,239 --> 00:34:52,920
Speaker 2: agree the big stuff.

587
00:34:54,000 --> 00:34:56,480
Speaker 1: Yeah, I think The Northman it's like a good It's first,

588
00:34:56,480 --> 00:34:58,400
Speaker 1: it's like a ninety percent on Rotten Tomatoes. It's is

589
00:34:58,480 --> 00:35:00,000
Speaker 1: a good movie. I don't want anyone to walk up.

590
00:35:00,440 --> 00:35:03,840
Speaker 1: I didn't like it. I enjoy this movie. I just

591
00:35:03,880 --> 00:35:07,160
Speaker 1: think for the things that Eggers brings to the table

592
00:35:07,200 --> 00:35:10,440
Speaker 1: that excites me as a director. I just feel like

593
00:35:10,480 --> 00:35:12,040
Speaker 1: anybody could have directed the Northman.

594
00:35:12,520 --> 00:35:14,080
Speaker 2: Yes, that's a very good way.

595
00:35:14,080 --> 00:35:19,360
Speaker 1: I know. It doesn't feel like oh Eggers here, he

596
00:35:19,520 --> 00:35:22,520
Speaker 1: is present in his bag. I just feel like any

597
00:35:22,560 --> 00:35:25,800
Speaker 1: Hollywood director with you know, a fair amount of knowledge

598
00:35:26,480 --> 00:35:30,319
Speaker 1: on filmmaking could come up with a decent version of

599
00:35:30,360 --> 00:35:31,200
Speaker 1: this story.

600
00:35:31,280 --> 00:35:36,120
Speaker 2: And absolutely, I.

601
00:35:34,920 --> 00:35:37,400
Speaker 1: Okay, I understand that he was passionate about it. But

602
00:35:37,440 --> 00:35:41,040
Speaker 1: I think what really makes both The Lighthouse and The

603
00:35:41,080 --> 00:35:43,719
Speaker 1: Witch work for me is like these are films with

604
00:35:43,840 --> 00:35:48,200
Speaker 1: like immediate narratives, right, They're really like the Witch narrative

605
00:35:48,280 --> 00:35:54,000
Speaker 1: is yes, old and inspired by history, but continuously things

606
00:35:54,000 --> 00:35:56,120
Speaker 1: we're seeing today. And I think specifically, I feel like

607
00:35:56,200 --> 00:35:59,319
Speaker 1: like Instagram culture around the time that movie comes out,

608
00:35:59,360 --> 00:36:02,160
Speaker 1: like there's a lot of prevalent messaging. I think The

609
00:36:02,280 --> 00:36:07,520
Speaker 1: Lighthouse a ton of prevalent messaging about toxic masculinity, about

610
00:36:08,400 --> 00:36:12,600
Speaker 1: how men interact with one another. Here. Again, it's a

611
00:36:12,640 --> 00:36:14,520
Speaker 1: fine story, it's what we've seen a lot, But I

612
00:36:14,600 --> 00:36:17,600
Speaker 1: just don't feel the kind of urgency in the storytelling,

613
00:36:18,120 --> 00:36:20,360
Speaker 1: and while that maybe isn't effective for all people, it

614
00:36:20,400 --> 00:36:24,359
Speaker 1: certainly diminishes a bit for me the watching experience.

615
00:36:25,560 --> 00:36:29,080
Speaker 2: Yeah, agreed, No, I agree completely. I think I think, like,

616
00:36:29,280 --> 00:36:32,000
Speaker 2: just like you said, any director could have made this movie,

617
00:36:32,040 --> 00:36:34,080
Speaker 2: because there's there's not a whole lot about it that

618
00:36:34,120 --> 00:36:37,000
Speaker 2: feels like it has that Eggor's stamp on it. You know,

619
00:36:37,440 --> 00:36:40,040
Speaker 2: there's a few themes that I think kind of carry

620
00:36:40,040 --> 00:36:43,279
Speaker 2: over from the other movies. But I do feel like

621
00:36:43,360 --> 00:36:48,240
Speaker 2: this could have easily been any other big Hollywood director,

622
00:36:48,960 --> 00:36:49,279
Speaker 2: you know.

623
00:36:49,280 --> 00:36:53,120
Speaker 1: A grade. Yeah, so the Northman, you know, I think

624
00:36:53,520 --> 00:36:55,920
Speaker 1: I encourage people to watch it. I think it's fun.

625
00:36:56,000 --> 00:36:59,920
Speaker 1: Let's talk about where you rate it amongst the film

626
00:37:00,400 --> 00:37:04,600
Speaker 1: thus far to close out. Okay, yeah, so you were

627
00:37:04,640 --> 00:37:08,520
Speaker 1: saying this is your least favorite of the Eggs direct.

628
00:37:08,960 --> 00:37:11,200
Speaker 2: Yes, but again I don't hate it. I think it

629
00:37:11,239 --> 00:37:12,480
Speaker 2: was no watch.

630
00:37:12,600 --> 00:37:17,120
Speaker 1: Yeah, yeah, I think it would just be at the bottom, right.

631
00:37:17,200 --> 00:37:19,480
Speaker 2: And if I wrote a list it honestly, it goes

632
00:37:19,640 --> 00:37:22,760
Speaker 2: in chronological order. From me, My favorite is The Witch,

633
00:37:23,080 --> 00:37:26,400
Speaker 2: than the Lighthouse, and then The Northmen and then I

634
00:37:26,440 --> 00:37:30,000
Speaker 2: haven't seen No Saratu yet, but I'm excited for it.

635
00:37:30,320 --> 00:37:32,600
Speaker 1: I'm gonna hold my no Saratu reading until we get

636
00:37:32,600 --> 00:37:36,360
Speaker 1: to know Su. But I think my most favorite is

637
00:37:36,360 --> 00:37:38,880
Speaker 1: definitely The Witch. Then I do think The Northman is

638
00:37:38,920 --> 00:37:40,799
Speaker 1: second favorite. And here's why. I don't think it's a

639
00:37:40,840 --> 00:37:43,799
Speaker 1: better film than the Lighthouse, but for me, it's an

640
00:37:43,800 --> 00:37:47,239
Speaker 1: easier watch. I don't love people fighting again. I love

641
00:37:47,280 --> 00:37:51,440
Speaker 1: blood and sling a sword, sure, but like direct, intense, emotional,

642
00:37:51,800 --> 00:37:56,799
Speaker 1: your face fighting gives me anxiety. Yeah, And well, I

643
00:37:56,800 --> 00:38:01,200
Speaker 1: think the it's a much more am vicious and probably

644
00:38:01,239 --> 00:38:05,319
Speaker 1: overall successful film the Lighthouse is. And by ambitious I

645
00:38:05,360 --> 00:38:07,799
Speaker 1: mean putting two actors in a room and trying to

646
00:38:07,840 --> 00:38:10,440
Speaker 1: get a plus performances out of both of them and

647
00:38:10,480 --> 00:38:12,680
Speaker 1: bring an audience to theaters to watch that. And it's

648
00:38:12,680 --> 00:38:14,799
Speaker 1: in black and white and a weird aspect ratio, Like

649
00:38:15,160 --> 00:38:18,520
Speaker 1: all of that stuff is dangerous and risky, and it's

650
00:38:18,520 --> 00:38:22,680
Speaker 1: definitely something that investors and studios would pause before, you know,

651
00:38:22,800 --> 00:38:27,600
Speaker 1: launching into. Whereas The Northman vikings big sets, historic epic

652
00:38:27,920 --> 00:38:30,600
Speaker 1: that's a little bit easier to sell because audiences are

653
00:38:31,160 --> 00:38:34,560
Speaker 1: much more familiar with it. So even though the production

654
00:38:34,640 --> 00:38:38,200
Speaker 1: wise that was more ambitious, I think on a creativity

655
00:38:38,320 --> 00:38:41,520
Speaker 1: level less so but it's fun to watch. I can

656
00:38:41,560 --> 00:38:43,040
Speaker 1: whip it out with my dad, you kind of. It's

657
00:38:43,080 --> 00:38:44,440
Speaker 1: one of those movies I love having on in the

658
00:38:44,480 --> 00:38:46,880
Speaker 1: background when I'm working because every time you look up,

659
00:38:46,920 --> 00:38:51,320
Speaker 1: the screen is just so beautiful. I really really appreciate

660
00:38:51,320 --> 00:38:54,839
Speaker 1: the use of natural colors. It's a weird thing to

661
00:38:54,960 --> 00:38:58,280
Speaker 1: say all films are colorized, but there's something that feels

662
00:38:58,360 --> 00:39:00,640
Speaker 1: so like the night sky, and this movie feels like

663
00:39:00,680 --> 00:39:05,000
Speaker 1: a jewel, like it's so beautiful. And I think when

664
00:39:05,040 --> 00:39:07,600
Speaker 1: they use natural elements like fire and is like everything

665
00:39:07,680 --> 00:39:09,360
Speaker 1: just feels like you can feel the heat. It's like

666
00:39:09,400 --> 00:39:14,399
Speaker 1: alive and present. Like cinematography is gorgeous. And even though

667
00:39:14,400 --> 00:39:16,800
Speaker 1: there are fart jokes and somebody drinks pea, it happens

668
00:39:16,800 --> 00:39:20,920
Speaker 1: intermittently and it is not the whole effing film like Lighthouse,

669
00:39:20,920 --> 00:39:23,920
Speaker 1: White House. We're masturbating, we're shitting. Oh, there's shit blowing

670
00:39:23,960 --> 00:39:26,000
Speaker 1: in the wind. I can't with the light. The Lighthouse

671
00:39:26,120 --> 00:39:28,200
Speaker 1: grosses me out, even though I do think it's so good.

672
00:39:28,200 --> 00:39:29,280
Speaker 2: It's gross.

673
00:39:29,560 --> 00:39:32,320
Speaker 1: Yeah, it's disgusting. So I put it on for a second,

674
00:39:32,360 --> 00:39:35,359
Speaker 1: but only because the disgusting factor of the Lighthouse. It's

675
00:39:36,360 --> 00:39:39,200
Speaker 1: it's a tad too far for me to watching on

676
00:39:39,280 --> 00:39:42,719
Speaker 1: the regular, But yeah, you know, I think this is

677
00:39:43,200 --> 00:39:45,680
Speaker 1: a good showing by Eggers. I think by pushing himself

678
00:39:45,680 --> 00:39:47,959
Speaker 1: and showing he's capable of handling a lot of these things,

679
00:39:47,960 --> 00:39:50,920
Speaker 1: that gives him a lot of leverage for future career moves,

680
00:39:51,320 --> 00:39:53,640
Speaker 1: which is good. And I think it's something he needed

681
00:39:53,680 --> 00:39:55,440
Speaker 1: to get off of his plate. I think a lot

682
00:39:55,520 --> 00:40:00,799
Speaker 1: of especially historically inclined theater inclined people, at some point

683
00:40:00,840 --> 00:40:03,920
Speaker 1: are always like, what am I tackling Shakespeare? How am

684
00:40:03,920 --> 00:40:05,319
Speaker 1: I gonna do it? What was that gonna look right?

685
00:40:05,400 --> 00:40:08,319
Speaker 1: Am I gonna do it? And what? He found a

686
00:40:08,440 --> 00:40:12,839
Speaker 1: unique way to bring that to audiences that was fun

687
00:40:12,880 --> 00:40:14,680
Speaker 1: and again challenged him, and so I think all of

688
00:40:14,760 --> 00:40:17,080
Speaker 1: that worked. I'm excited to see knows for raw Tu

689
00:40:17,520 --> 00:40:19,799
Speaker 1: and what he has to sort of say about it.

690
00:40:19,840 --> 00:40:23,080
Speaker 1: I'm excited to hear Jason and Rosie's thoughts on it. So, yeah,

691
00:40:23,239 --> 00:40:27,279
Speaker 1: let us know your thoughts on the North men, would

692
00:40:27,320 --> 00:40:28,800
Speaker 1: love to hear from you. Let us know how you

693
00:40:28,800 --> 00:40:32,440
Speaker 1: guys are. Oh that part too, Yes, let us know

694
00:40:32,440 --> 00:40:34,440
Speaker 1: your rankings and let us know your feelings overall on

695
00:40:34,640 --> 00:40:37,800
Speaker 1: just this retrospective we've had a really good time, Carmen,

696
00:40:37,960 --> 00:40:39,160
Speaker 1: I love doing this with you.

697
00:40:39,920 --> 00:40:42,480
Speaker 2: Yeah, it was a lot of fun. I enjoy being

698
00:40:42,960 --> 00:40:46,240
Speaker 2: two cinema cinema nerds together, so.

699
00:40:48,120 --> 00:40:50,960
Speaker 1: Well. Join us back here tomorrow for our review of

700
00:40:50,960 --> 00:40:53,280
Speaker 1: Lord of the Rings The Ward or hear them Wednesday,

701
00:40:53,320 --> 00:40:55,000
Speaker 1: the extras are back together for a wrapup of the

702
00:40:55,000 --> 00:40:57,200
Speaker 1: best video games of twenty twenty four, and later in

703
00:40:57,239 --> 00:41:00,440
Speaker 1: the week we will be continuing our coverage of Scaleton

704
00:41:00,719 --> 00:41:04,560
Speaker 1: Crew be Advised, Ghiltin Recrue releases on two holidays back

705
00:41:04,600 --> 00:41:07,680
Speaker 1: to back, so scheduling's gonna get a little lunky, but listen,

706
00:41:07,800 --> 00:41:09,960
Speaker 1: we love Star Wars. We're gonna be covering every episode,

707
00:41:10,040 --> 00:41:13,440
Speaker 1: so stay tuned for all of those. That's the episode.

708
00:41:13,440 --> 00:41:14,200
Speaker 1: Thanks for listening.

709
00:41:15,080 --> 00:41:15,480
Speaker 2: Bye.

710
00:41:16,239 --> 00:41:24,840
Speaker 3: B X ray Vision is hosted by Jason Kitsumsion and

711
00:41:25,000 --> 00:41:29,120
Speaker 3: Rosie Knight and is a production of iHeart Podcasts. Our

712
00:41:29,160 --> 00:41:33,400
Speaker 3: executive producers are Joelle Smith and Aaron Kaufman. Our supervising

713
00:41:33,440 --> 00:41:38,160
Speaker 3: producer is a Boo Zafar. Our producers are Carmen Laurent

714
00:41:38,920 --> 00:41:42,560
Speaker 3: and Mia Taylor. Our theme song is by Brian Basquez.

715
00:41:43,040 --> 00:41:47,280
Speaker 2: Special thanks to Soul Rubin and Chris Lord. Kenny Goodman

716
00:41:47,680 --> 00:41:49,719
Speaker 2: and Heidi on discoord Moderata