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Speaker 1: Hello, How are you Welcome to another episode of I

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Speaker 1: Saw What You Did. My name is Milly, I'm Danielle,

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Speaker 1: and we are back. We are here, we are present,

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Speaker 1: We're in tune with you for another week of films

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Speaker 1: and chatter. How are you, Danielle. I'm doing all right.

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Speaker 1: I've bathed, I am.

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Speaker 2: I shaved my legs this week, which it's not something

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Speaker 2: I do often, even pre pandemic.

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Speaker 1: I don't give a fuck.

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Speaker 2: But what was weird about this time is that I

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Speaker 2: guess it had been a while because after I shaved

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Speaker 2: my legs, I was sitting down and I crossed my

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Speaker 2: legs and my legs like slipped off of each other. Yes,

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Speaker 2: And I was like, oh, there's no friction. I took

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Speaker 2: the friction off. So that's where I am. You do

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Speaker 2: it good.

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Speaker 1: It's so interesting that we come to this, We come

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Speaker 1: to these microphones every week, and I know more and

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Speaker 1: more about deodorant, razor situations, dump situations.

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Speaker 2: I mean, look, I gotta be me, and me is

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Speaker 2: all disgusting fluids. Apparently that's like my life is disgusting bodily.

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Speaker 2: The Annals of History. This is the documentation of my

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Speaker 2: bodily decay.

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Speaker 1: I love it. I love that we're going we have

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Speaker 1: like a living document.

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Speaker 2: And you're like, I also love how You're like, oh,

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Speaker 2: I went and like frolicked with some wild horses, and

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Speaker 2: I'm like, I took a bath. This is where we

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Speaker 2: are at this point in our lives.

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Speaker 1: Listen, we all know social media as a farce. You

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Speaker 1: see me with wild horses, but I'm also stewing in

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Speaker 1: my own disgusting filth almost every day.

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Speaker 2: So well, this brings up a good point though. That's

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Speaker 2: something I actually wanted to talk to you about, is

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Speaker 2: that there has been a shift. There's been a cultural

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Speaker 2: shift that I'm hoping you can help walk with me through. Okay, yeah,

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Speaker 2: this one especially like when did we start calling sweatpants joggers?

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Speaker 1: Huh? Because they are not joggers.

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Speaker 2: One, They're not the kind of pants that you see

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Speaker 2: most people jogging in because they're a little heavy and hot.

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Speaker 2: But my main point of contention with it is that

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Speaker 2: I don't put on that style of pant if I'm

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Speaker 2: going to move. Those are pure lounger that is like

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Speaker 2: true sweatpant. The name says it all. I'm gonna sit

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Speaker 2: in these and sweat, So speaking, of like stewing in

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Speaker 2: your own juices.

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Speaker 1: Why are we calling them joggers? Well, let me ask

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Speaker 1: you this. Are joggers simply pants in the sweatpants style,

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Speaker 1: but aren't made of the sweatpant material or are they

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Speaker 1: actually calling sweatpants joggers.

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Speaker 2: They are calling sweatpants joggers our own merch. In our

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Speaker 2: own merch, we called sweatpants joggers.

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Speaker 1: Huh, yeah, that is true. We're part of the problem. Okay, Okay, Wow,

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Speaker 1: that's weird. Now I wonder if it's because so I'm thinking, Okay,

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Speaker 1: traditional sweatpants. The sweatpants that we had when we were

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Speaker 1: growing up, for Jim, were made of sweatpant material and

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Speaker 1: they just had a little The only thing that I

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Speaker 1: recognized about them was that they had like a drawstring waist, yes,

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Speaker 1: and a light maybe a light elastic at the ankle. Yes. Okay,

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Speaker 1: I notice now they have sweatpants that have a tapered

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Speaker 1: more of a tapered ankle. And I always thought that

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Speaker 1: that's what they were calling joggers, right, that joggers were

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Speaker 1: basically like a new pant that was like a retro style.

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Speaker 1: It was like, oh, we're bringing back eighty sweatpants. We're

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Speaker 1: making them even more obnoxious and then we're just gonna

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Speaker 1: call them something different. But I actually think you're right.

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Speaker 1: I actually think the entire term is now joggers and

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Speaker 1: not exactly a spinoff of the sweatpant, if you know

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Speaker 1: what I mean. It's been usurped by the rebranding. Who

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Speaker 1: did that? Who's responsible of this? Well, let me ask

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Speaker 1: you this is it is joggers? Where does that come from?

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Speaker 1: Is that a British thing? You know how like British

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Speaker 1: people call sneakers traders? Right? Is that where joggers came from?

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Speaker 2: I watch a lot of British TV, and I've never

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Speaker 2: heard a British character or even a British person say joggers,

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Speaker 2: because first of all, I think they have too much

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Speaker 2: self respect to wear them.

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Speaker 1: But second of all, or a black jeans that's what

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Speaker 1: they wear in England because they're.

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Speaker 2: A cigarette pants and black jeens. That's all they got.

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Speaker 2: But I don't think it is I don't know. I

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Speaker 2: don't know, but I'm very curious and I'm always eager

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Speaker 2: to blame things on men, So I want to know

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Speaker 2: what man came up with this, because that is purely

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Speaker 2: it's purely a decision that seemed to be made from market,

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Speaker 2: from a marketing point of view and not a realistic,

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Speaker 2: lived experience point of view, because anyone who's worn sweatpants

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Speaker 2: knows to call them joggers is offensive almost.

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Speaker 1: Well, you know, part of me is like, did somebody

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Speaker 1: think that the term sweatpants was like too slothful or slovenly?

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Speaker 1: Like people were like, ew, I don't like saying the

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Speaker 1: word sweat because it means that we're human beings and

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Speaker 1: we have bodily fluids. And I don't want to remind

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Speaker 1: people that they're doing that almost all the time. Let's

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Speaker 1: call them something much more chic, you know, like joggers

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Speaker 1: denoting health. You know, it's too aspirational. It's too aspirational.

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Speaker 2: And it's like when Kentucky Fried Chicken chains are named

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Speaker 2: to KFC, like we know it's still fried, We're still

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Speaker 2: gonna eat it even though it's fried. You can't fool

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Speaker 2: us around the like up and down like that. You're

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Speaker 2: not fooling us. It's an aspirational assignation that I refuse.

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Speaker 2: My sweatpants are sweatpants, at shorts are sweat shorts.

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Speaker 1: Well yeah, and that bothers me now because I want

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Speaker 1: to know where did the term come from, from whom

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Speaker 1: did it come? But also why has there suddenly been

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Speaker 1: a change in how we are addressing these pants? And

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Speaker 1: why is it no longer sweatpant? Why is it jogger?

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Speaker 1: Why are we going from one vision to a new vision?

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Speaker 1: And they were fine as is? They didn't need aspiration.

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Speaker 2: They existed in the state they were in for decades

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Speaker 2: as a way of explaining what they were. They were

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Speaker 2: a perfect garment as is, And now we've just gone

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Speaker 2: and added this layer of rebranding to them they didn't need.

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Speaker 1: So what are you saying then? Are you saying that

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Speaker 1: you refuse to call them joggers? Are you like looking

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Speaker 1: for a solution to this issue? Because I'm calling it

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Speaker 1: an issue, That's what this is.

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Speaker 2: Yes, and yes I've never called them joggers and I won't.

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Speaker 2: And I also want to know how can we culturally

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Speaker 2: stop this train? And I think we're all going to

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Speaker 2: need to do it together, Okay, but I'm also eager

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Speaker 2: to find out where did this issue start?

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Speaker 1: Is there a company? Is there?

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Speaker 2: Is it like when juicy was a thing and people

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Speaker 2: used to be like grab my juicy pants or whatever,

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Speaker 2: which again was more suitable to the conversation than joggers.

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Speaker 2: Juicy also denotes what's going on in there when you're

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Speaker 2: wearing these pants. So I would rather go back to

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Speaker 2: Juicy than go forward to joggers.

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Speaker 1: You know, I remember the rise and fall of the

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Speaker 1: Juicy couture sweatsuit. There the lore it's very fur delicious

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Speaker 1: to me, which I was definitely in the Fergie camp.

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Speaker 1: Don't get me wrong. I've quoted Fergie on this more

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Speaker 1: than anyone on this podcast.

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Speaker 2: You've quoted Fergy more than like Peter Bogdanovitch on this

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Speaker 2: film podcast.

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Speaker 1: Let it be written in the history books that I

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Speaker 1: have quoted Fergie more than I've quoted Peter Bontanovich on

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Speaker 1: I saw what you did. But yeah, no, I and

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Speaker 1: to me like that was never my look for so

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Speaker 1: many reasons. I just couldn't pull it off. Couldn't really

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Speaker 1: pull off the because it's tight. It's a tight look.

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Speaker 1: Couldn't do a tight sweatsuit. Uh and v loor was

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Speaker 1: very not It's not flattering for me.

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Speaker 2: It is a non flattering, non breathable to a terrifying

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Speaker 2: degree type of fabric and again, even juicy should not

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Speaker 2: have fucked with the sweatsuit, but I appreciated that more

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Speaker 2: than joggers for some reason.

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Speaker 1: Yeah, I'll tell you right now, if somebody presents if

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Speaker 1: I'm in like a test, what do you call those?

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Speaker 1: Like those like marketing research tests where they play the

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Speaker 1: trick on you, which is like, we're going to give you,

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Speaker 1: like a placebo, We're going to give you the same product,

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Speaker 1: but call it something different. So if somebody presented me

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Speaker 1: with a juicy couture volor sweatsuit, I'd be like, and

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Speaker 1: what is your likelihood? I'd probably give it very very likely.

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Speaker 1: But then if somebody gave me joggers, same outfit but

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Speaker 1: just called it joggers, swat them to the ground. No,

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Speaker 1: definitely would not be interested swatting them to the ground.

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Speaker 1: It is true, it's the term. It's the term. Is

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Speaker 1: it the double g? What's going on? Well?

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Speaker 2: This is also where like I feel again like this

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Speaker 2: is part of my aging process because I remember when

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Speaker 2: my my grandmother and grandfather always called my jeans dungarees,

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Speaker 2: and I was like, what the fuck?

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Speaker 1: Kind of like they.

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Speaker 2: Used to go to Virginia in the summers and work

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Speaker 2: on their family's farm, and I'm like, is this like

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Speaker 2: farm thing where you only wore dungarees when you were

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Speaker 2: doing work?

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Speaker 1: Is that what this is?

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Speaker 2: Like? It went from Harlem to Virginia and suddenly like,

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Speaker 2: you don't wear dungarees in the streets of the city.

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Speaker 2: You only wear them when you're like milking a cow.

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Speaker 2: So now you have to call them dungarees forever. And

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Speaker 2: I don't want joggers to go that way. I don't

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Speaker 2: want to be the person looking at my niece or

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Speaker 2: nephew and being like, hey, cool sweatpants and they're like, oh,

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Speaker 2: those are joggers whatever, farm lady, And I'm like, I've

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Speaker 2: never even been to Virginia or a farm.

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Speaker 1: Well, were you sweated in those pants? That's not as

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Speaker 1: if we were like calling it like, you know, something

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Speaker 1: fantastical that made no sense. It's the practical purpose. And

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Speaker 1: I love that about them.

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Speaker 2: I think that's what makes me so upset about this topic,

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Speaker 2: because you know, one, I have the time clearly to

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Speaker 2: think about this, and I'm just upset because they were

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Speaker 2: perfect as is. We didn't need anything from them, They

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Speaker 2: didn't need anything from us. They existed purely for comfort,

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Speaker 2: and now we're putting an active label on them that

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Speaker 2: doesn't belong.

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Speaker 1: They're taking the comfort out of the garment and I

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Speaker 1: don't like that. Yeah, it's basically taking it from a

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Speaker 1: passive to an active thank you position. And yeah, I think,

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Speaker 1: I honestly do think it is American marketing once again,

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Speaker 1: that damn American marketing, where they've taken something that's perfectly

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Speaker 1: fine and like judged it up to make it more appealing.

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Speaker 1: And you know, it's kind of like how we used

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Speaker 1: to just call them sweat clothes, like do you know

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Speaker 1: you got your gym clothes in that bag? And now

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Speaker 1: it's ath leisure. But I will say too that they're

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Speaker 1: ath leisure. I mean, we got to get a We

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Speaker 1: should get like an actual fashion person on this podcast

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Speaker 1: to like, because I think I know, at least I

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Speaker 1: have no business talking about this, and you know, I

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Speaker 1: won't speak for you entirely, but I'm like, what am

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Speaker 1: I even talking about when I'm talking about clothes? Oh,

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Speaker 1: that's my whole life. You know, I'm wearing those four

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Speaker 1: cardigans and I have been for a very long time.

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Speaker 1: So I don't know anything about fashion trends, cultural shifts

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Speaker 1: and fashion trends, But like, I really do think death

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Speaker 1: leisure thing came from just sort of like a Hey,

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Speaker 1: we're gonna take these gym clothes that you used to

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Speaker 1: fuck around in, and we're just gonna make them higher

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Speaker 1: price points and we're just gonna call it something different.

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Speaker 1: So exactly, I think that like the term is the

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Speaker 1: bourgefied term. And yeah, real real motherfuckers like you and I,

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Speaker 1: we know it's gym clothes, and we know it's sweatpants,

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Speaker 1: and it Shelby forever and ever. Amen.

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Speaker 2: I am not buying into your ninety dollars vip sweat

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Speaker 2: pants just because you put like a fucking pantyhose panel

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Speaker 2: in them around the knee, which is something else I

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Speaker 2: could go off on for decades. Why does every legging

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Speaker 2: now have like breathing panels in them? No, Like I

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Speaker 2: get it for the work outside of it, but it's

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Speaker 2: like the placement of them. Like, if you're really going

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Speaker 2: to put some like pantyhose style breathing patterns in a

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Speaker 2: spandex legging or short, you gotta put them in the ass,

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Speaker 2: or you got to put them in the front. That's

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Speaker 2: the only place we need it. My knees have never

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Speaker 2: need to be aired out a day in my life.

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Speaker 1: I will tell you, as somebody who was going to

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Speaker 1: soul cycle two times a week pre pandemic and who

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Speaker 1: frequently wore ath leisure slash gym clothes, those panels are useless. Like,

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Speaker 1: as a person who actually actively exercised in workout pants,

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Speaker 1: I never wore the paneled bullshit or that have like

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Speaker 1: the lattice work around the calf, Like why the fuck

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Speaker 1: do I need calf air going on in there? Like

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Speaker 1: they don't for me, don't do shit. And I was

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Speaker 1: busting my ass in that class. Let me tell you,

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Speaker 1: I didn't say, oh God, thank God for this like

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Speaker 1: thigh panel going up the side of my pants because

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Speaker 1: I'm just a degree cooler and I need that while

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Speaker 1: I'm vigorously exercising.

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Speaker 2: But also it's like there's definitely this is part of

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Speaker 2: the jogger phenomenon, which again I have the time. Yeah,

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Speaker 2: we're sexifying things, We're making things sexy, so like the

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Speaker 2: panels in the athleisure and calling sweatpants joggers. It's like

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Speaker 2: the way that our culture is designed is like we

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Speaker 2: have to feel sexy at every minute of the day,

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Speaker 2: and it's unrealistic and it's useless. And I don't want

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Speaker 2: to feel sexy every minute of the day. And you

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Speaker 2: have to have clothes that address your slovenly side. You

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Speaker 2: need the balance. You need the balance. And when I'm

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Speaker 2: working out and when I'm laying around, it's not about

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Speaker 2: feeling sexy. It's about being on this goddamn treadmill. And really, again,

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Speaker 2: give me the panel and the ass crack if you

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Speaker 2: want to talk about air and some shit out, because

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Speaker 2: my knees and thighs and calves don't need it. And

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Speaker 2: that's purely a sexifying like look you can see a

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Speaker 2: little skin through these leggings that are covered in sweat

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Speaker 2: stains everywhere else because these panels mean nothing.

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Speaker 1: Let me tell you I used to do Soul Cycle

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Speaker 1: in Hollywood, California. At the Soul Cycle that was in

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Speaker 1: that complex. I think I forgot what. I think it's

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Speaker 1: called East Town, but it's over off of Hollywood Boulevard,

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Speaker 1: and it was like the fucking hottest people ever would

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Speaker 1: go there. They were like twenty three years old, perfect

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Speaker 1: model like blondes, you know, perfect top knots, like one

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Speaker 1: hundred and twenty five dollars sports bras and I don't

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Speaker 1: know what happened to me where I just don't give

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Speaker 1: truly don't give a fuck about what I look like

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Speaker 1: when I work out. And I also, for some reason,

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Speaker 1: I was not born with the genetic code that somehow says, oh,

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Speaker 1: I should be embarrassed working out in front of hot

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Speaker 1: young people. I literally don't give a fuck, and I

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Speaker 1: will literally saddle up next to this perfect model in

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Speaker 1: a triple XL Bob Seegert T shirt and like a

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Speaker 1: pair of dusty assweatpants that I'm pretty sure I got

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Speaker 1: from old Navy like five years ago, where I'm sure

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Speaker 1: I've burned holes in the fucking thighs all that shit,

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Speaker 1: and I'm just like, what's up? Like, what's up? I'm

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Speaker 1: here to take this expensive, stupid spin class and I

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Speaker 1: don't care what I look like, and I'm just like,

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Speaker 1: that is the to me, that's the way you work out.

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Speaker 1: You work out whatever you want to feel comfortable, and

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Speaker 1: it's not about the gear, and it ain't the one

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Speaker 1: hundred and twenty five dollars sports bra is not functionally

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Speaker 1: doing anything better than the five dollars one from Target.

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Speaker 2: Or whatever, thank you, and that this is My new

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Speaker 2: favorite thing about you is this description of like everyone.

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Speaker 2: Every once in a while, I get a new favorite

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Speaker 2: fact about Millie and it's this.

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Speaker 1: It's this one.

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Speaker 2: This week I will roll up to your soul Cycle

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Speaker 2: class and my burnt Bob Seeger.

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Speaker 1: I had to post a picture of the Bob segart

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Speaker 1: t shirt. I'm pretty much wear it to work out

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Speaker 1: and I wear to bed.

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Speaker 2: And those are the same clothes, thank you. Those should

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Speaker 2: be the same That's the same drawer. Those clothes are

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Speaker 2: in the same drawer, and that's it. I will say

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Speaker 2: the best workout experience of my life was when I

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Speaker 2: used to live in Rhode Island and I would go

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Speaker 2: to the y and they have the Silver Sneakers Club.

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Speaker 1: I love a silver sneaker. Yep, I love a silver sneaker.

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Speaker 2: And I was in my early thirties, but I just

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Speaker 2: kind of made friends with all of them, so they

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Speaker 2: would like let me work out with them, and it

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Speaker 2: was the best. You want to talk about some people

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Speaker 2: who don't give a fuck about what they're wearing to

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Speaker 2: work out in yep. You give me someone who survived

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Speaker 2: the depression and it is held onto every item of

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Speaker 2: clothing they've ever purchased.

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Speaker 1: So you're saying that they're they're rolling up in like

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Speaker 1: a nineteen forties Memphis bell saw bomber jackets like to

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Speaker 1: do a speed walk.

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Speaker 2: Yes, I mean there's one lady. Look, I got a pinafore.

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Speaker 2: I'm wearing a pinafore. That's what I'm working out in today.

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Speaker 2: I don't give a shit what any of you young

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Speaker 2: kids have to say. If what I have is a

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Speaker 2: pair of slacks, Kate have burnstyle slacks, and that's what

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Speaker 2: I'm wearing to work out in. These are my official

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Speaker 2: gym sleap clothes. And if I'm sleeping in slacks, I'm

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Speaker 2: working out in slacks.

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Speaker 1: Listen. The thing that old people fucking love that I

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Speaker 1: actually wish would come back in reference to sweatpants and

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Speaker 1: jim clothes is you know how like they're on like

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Speaker 1: older ladies sweat shirts they would have like the doily

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Speaker 1: that was sewed into the sweatshirt on the neckline. Bitch,

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Speaker 1: bring that shit back. Let's go to Let's go to

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Speaker 1: Berry's boot camp. I want to wear my like doily

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Speaker 1: applicuet around the neckline, maybe a little on the cuff,

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Speaker 1: on the on the cuffs of the sweat shirt.

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Speaker 2: You gotta have it on the cuffs. Pair that with

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Speaker 2: a pair of slacks and let's go.

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Speaker 1: Yeah, put a big fucking duck on this thing, like

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Speaker 1: right across the chest. That's my athleisure.

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Speaker 2: This is the energy we're bringing into this this airy season,

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Speaker 2: and it's gonna be called.

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Speaker 1: A silver sneak or chic or something. It's gonna be

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Speaker 1: I'm catchy.

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Speaker 2: And then they'll charge nine hundred dollars for a pair

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Speaker 2: of pants and we'll go back to wearing your panel

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Speaker 2: cut out leggings.

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Speaker 1: How far are you willing to go down the road? Kids?

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Speaker 1: I know you, I know you try to roll up

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Speaker 1: and you're like double platform Fela sneakers, your ugly ass shoes.

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Speaker 1: But you know what, you gotta go harder than that.

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Speaker 2: I mean, if you want to start co opting the

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Speaker 2: elderly fashion sense, you better bring it, bring it all

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Speaker 2: the way.

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Speaker 1: I want to see a walker with tennis balls on

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Speaker 1: the end, then I'll know. Then I do't know how

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Speaker 1: cool you were? Ah trends, Oh good.

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Speaker 2: I can talk about this forever, but I sincerely want

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Speaker 2: to hear from people, like, what is your feeling about

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Speaker 2: joggers versus sweatpants? Because I do think it's a cultural

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Speaker 2: moment that we need to discuss.

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Speaker 1: Yeah, I mean, if you are all educated about the

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Speaker 1: taxonomy of sweat clothes and how the names came about,

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Speaker 1: please drop a the line. And I saw what he did,

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Speaker 1: pottgmail dot com. We would literally love to hear from

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Speaker 1: you more than life itself.

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Speaker 2: Speaking of which, we've gotten some fantastic emails, have we

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Speaker 2: We really have, We really have, And I'm going to

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Speaker 2: read two of them to you, and they're very MILLI specific,

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Speaker 2: and I'm going to read They're both fantastic on different levels.

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Speaker 2: But I want to read this first one to you,

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Speaker 2: and just this is really purely just to get your reaction.

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Speaker 2: So just pay attention, folks to what's coming after I

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Speaker 2: read this. Okay, first email, and I'm not going to

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Speaker 2: read the subject because it will give away the email. Hi, ladies,

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Speaker 2: it was truly wonderful to hear y'all break down. How

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Speaker 2: totally insane the concept of babysitting was. I hope it's was.

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Speaker 2: That doesn't still happen?

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Speaker 1: Does it?

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Speaker 2: Strange children watching strange slightly younger children? What the fuck

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Speaker 2: were our parents thinking? It was especially weird and wonderful

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Speaker 2: for me personally, since Millie was my babysitter. I remember

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Speaker 2: being in total awe of Millie and her Sir Stephanie's coolness,

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Speaker 2: while I am sad I never got to watch Memphis Bell.

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Speaker 2: I distinctly remember getting introduced to the kids in the

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Speaker 2: hall and whose line is it?

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Speaker 1: Anyway?

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00:21:09,840 --> 00:21:12,560
Speaker 2: At the de Chericho home, my sense of humor was

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00:21:12,600 --> 00:21:16,320
Speaker 2: forever altered to loop back to horniness. I recall arguing

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00:21:16,400 --> 00:21:19,359
Speaker 2: about which kid it was the hottest if memory sirs,

389
00:21:19,400 --> 00:21:22,359
Speaker 2: I believe Millie and I were both into Bruce. I

390
00:21:22,400 --> 00:21:28,560
Speaker 2: love the show and the bracket is hysterical. Lachlan Mahart

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Speaker 2: has stopped.

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Speaker 1: Truly, this is so amazing, Lochlann. Lachlan Well, okay, oh

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Speaker 1: my god, I can't even believe this. First of all,

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Speaker 1: I think of that episode. So the episode that she's

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00:21:43,080 --> 00:21:46,280
Speaker 1: referencing is the prank phone Calls episode, because we were

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Speaker 1: talking about when a stranger calls, and you said that

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Speaker 1: babysitting was a psychotic profession or something you know as

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00:21:52,960 --> 00:21:56,440
Speaker 1: a psychotic endeavor. It's a psychotic endeavor, and I think

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00:21:56,480 --> 00:21:59,280
Speaker 1: I shared a babysitting story. It was literally just sort

400
00:21:59,280 --> 00:22:01,000
Speaker 1: of like an a saw where I said, oh yeah,

401
00:22:01,000 --> 00:22:03,560
Speaker 1: I used to babysit for these three kids every day

402
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Speaker 1: for an entire summer, and I was like twelve. She

403
00:22:06,440 --> 00:22:11,840
Speaker 1: was one of the kids. She was the oldest kid. Lachlan,

404
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Speaker 1: Oh my god, that is too insane. I can't this podcast.

405
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Speaker 1: It is wonderful.

406
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Speaker 2: I just I love the little the hints of coolness,

407
00:22:24,240 --> 00:22:26,240
Speaker 2: like you're letting these kids watch the kids in the

408
00:22:26,280 --> 00:22:28,080
Speaker 2: hall and whose line is it any way, which is

409
00:22:28,119 --> 00:22:30,439
Speaker 2: again an argument for why you should not let children

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Speaker 2: watch children.

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Speaker 1: I am shocked that she is not writing me from

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Speaker 1: a jail, like I'm just we don't know that, we

413
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Speaker 1: don't actually know, but I will say I'm emotional hearing

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Speaker 1: that somebody remembers that I got them into the Kids

415
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Speaker 1: in the Hall. That makes me. First of all, I

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Speaker 1: can't stress enough just how important the Kids in the

417
00:22:57,200 --> 00:22:59,479
Speaker 1: Hall was. Two people of a certain age. I think

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Speaker 1: you feel this way, Danielle. Everybody that I know that

419
00:23:04,600 --> 00:23:06,480
Speaker 1: I like and have it in my life every day

420
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Speaker 1: was basically obsessed with the Kids in the Hall at

421
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Speaker 1: the same time that I was late eighties, early nineties.

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Speaker 2: Absolutely stayed up late to watch it, recorded it off

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Speaker 2: with the TV onto the VCR.

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Speaker 1: Yep. They are heroes to people of a certain generation

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Speaker 1: and hopefully the other generations, because honestly, like that shit

426
00:23:24,440 --> 00:23:27,199
Speaker 1: is still fucking funny. Like I will, I'll catch a

427
00:23:27,240 --> 00:23:29,360
Speaker 1: clip online or something and I'm like, oh my god,

428
00:23:29,400 --> 00:23:31,119
Speaker 1: there's still it, still hits.

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Speaker 2: I bought the box at a while ago because I

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Speaker 2: didn't want to live in a world where the kids

431
00:23:35,280 --> 00:23:37,560
Speaker 2: in the Hall wasn't in my life. Yeah, and I

432
00:23:37,600 --> 00:23:39,520
Speaker 2: can't count on it to be always streaming, so I

433
00:23:39,520 --> 00:23:40,800
Speaker 2: just bought the box set. Yeah.

434
00:23:40,800 --> 00:23:42,960
Speaker 1: I mean they used to play it on Comedy Central

435
00:23:43,000 --> 00:23:44,919
Speaker 1: like every day after school. I mean that's how I

436
00:23:44,960 --> 00:23:46,439
Speaker 1: saw it. I didn't see it when I was on

437
00:23:46,760 --> 00:23:50,240
Speaker 1: HBO originally. I saw it when it was being rerun.

438
00:23:50,840 --> 00:23:54,520
Speaker 1: Oh my god, I am so flattered that you wrote

439
00:23:54,720 --> 00:23:57,720
Speaker 1: in Lachlan. I just can't even I can't even tell

440
00:23:57,760 --> 00:24:00,280
Speaker 1: you how happy that made me to just hear that,

441
00:24:01,400 --> 00:24:04,400
Speaker 1: because I'm like, I don't know, you just never think, Oh,

442
00:24:04,440 --> 00:24:06,960
Speaker 1: a person I babysat when I was like twelve or

443
00:24:06,960 --> 00:24:10,080
Speaker 1: thirteen years old is out there listening to this podcast.

444
00:24:10,680 --> 00:24:13,640
Speaker 1: Thank you, thank you for listening, and I'm I'm I

445
00:24:13,680 --> 00:24:17,240
Speaker 1: hope that you and your sisters are okay and you're

446
00:24:17,280 --> 00:24:18,200
Speaker 1: not all in jail.

447
00:24:19,080 --> 00:24:22,320
Speaker 2: I'm glad you're alive, Lachlann right back, Like it is

448
00:24:22,359 --> 00:24:24,439
Speaker 2: just I just thought that was a darling email to receive.

449
00:24:25,080 --> 00:24:27,760
Speaker 2: So this email you you're already aware of this email

450
00:24:27,760 --> 00:24:29,720
Speaker 2: because it came through a couple of days ago. And

451
00:24:29,840 --> 00:24:31,879
Speaker 2: let me tell you when I say that everyone involved

452
00:24:31,880 --> 00:24:35,320
Speaker 2: with the production of this show had an aneurysm when

453
00:24:35,359 --> 00:24:36,480
Speaker 2: we got this email.

454
00:24:38,240 --> 00:24:42,760
Speaker 1: Work stopped for the day. It was a mess. It

455
00:24:42,800 --> 00:24:47,720
Speaker 1: was a fucking flass was poppin' this email is.

456
00:24:48,640 --> 00:24:51,000
Speaker 2: Look, I don't want to bring a hierarchy to our emails,

457
00:24:51,000 --> 00:24:51,920
Speaker 2: but this has got.

458
00:24:51,680 --> 00:24:54,720
Speaker 1: To be one of the best. All right. The subject

459
00:24:54,880 --> 00:24:58,800
Speaker 1: is is it good? Question? Mark? Hi, Milly.

460
00:24:59,440 --> 00:25:03,280
Speaker 2: Fun to hear your podcast about Memphis bell very flattered

461
00:25:03,320 --> 00:25:05,720
Speaker 2: to have been on your mind once or twice. So

462
00:25:06,119 --> 00:25:08,000
Speaker 2: is not to beat around the bush. Want to go

463
00:25:08,080 --> 00:25:11,240
Speaker 2: skating Friday night? Let me know I'm saving my new

464
00:25:11,280 --> 00:25:15,640
Speaker 2: sweater XO, dB sweeteye.

465
00:25:17,840 --> 00:25:20,920
Speaker 1: Okay, let me walk you through the range of emotions.

466
00:25:20,920 --> 00:25:25,080
Speaker 1: I felt okay. First of all, so Tarin, our social

467
00:25:25,119 --> 00:25:29,639
Speaker 1: media producer, she sent a message to our slack that

468
00:25:29,760 --> 00:25:34,399
Speaker 1: was like it was literally in all caps, is this real,

469
00:25:36,800 --> 00:25:39,439
Speaker 1: like we were thinking, I mean, it was like a

470
00:25:40,040 --> 00:25:43,240
Speaker 1: lockness monster sighting, Like we were like, yeah, is this reel?

471
00:25:43,720 --> 00:25:45,359
Speaker 1: We went into instant discovery mode.

472
00:25:45,400 --> 00:25:47,679
Speaker 2: We're like, look it up, check it out, see if

473
00:25:47,680 --> 00:25:49,600
Speaker 2: it's on the Twitter, see the Instagram.

474
00:25:49,920 --> 00:25:53,160
Speaker 1: We all worked for Snopes for like a good fifteen

475
00:25:53,200 --> 00:25:56,000
Speaker 1: twenty minutes because we were like, Okay, what if it's fake?

476
00:25:56,240 --> 00:25:58,200
Speaker 1: How could it be fake? Who would do that? Blah

477
00:25:58,200 --> 00:26:01,600
Speaker 1: blah blahlah blah. And I was like convinced that it

478
00:26:01,640 --> 00:26:05,040
Speaker 1: was fake until we were really like, all right, take it,

479
00:26:05,080 --> 00:26:08,880
Speaker 1: take it down a notch and see what this actually is.

480
00:26:09,080 --> 00:26:11,440
Speaker 1: This is an email from somebody who listened to the podcast,

481
00:26:11,440 --> 00:26:14,000
Speaker 1: and we found out, you know, just through figuring it

482
00:26:14,040 --> 00:26:16,360
Speaker 1: out that it was likely real. I mean, I guess

483
00:26:16,400 --> 00:26:18,000
Speaker 1: it still could be fake. I don't know.

484
00:26:18,200 --> 00:26:21,120
Speaker 2: Well, no, then we found out it was one real

485
00:26:21,359 --> 00:26:25,800
Speaker 2: because one of y'all snitched directly to dB Sween on Twitter.

486
00:26:25,600 --> 00:26:28,639
Speaker 1: Snitch on you out there, snitched.

487
00:26:28,880 --> 00:26:30,640
Speaker 2: I know, one of y'all was like, you should listen

488
00:26:30,680 --> 00:26:33,080
Speaker 2: to this episode because they talk about you for twenty minutes,

489
00:26:33,240 --> 00:26:35,879
Speaker 2: which thank you, because he wrote in, But that was

490
00:26:36,000 --> 00:26:36,680
Speaker 2: y'all snitchin.

491
00:26:37,640 --> 00:26:41,119
Speaker 1: I usually fucking hate snitch tagging on Twitter, but in

492
00:26:41,160 --> 00:26:44,960
Speaker 1: this case apparently it worked out. First of all, it's

493
00:26:45,000 --> 00:26:50,480
Speaker 1: incredibly kind for somebody to write us after actually like

494
00:26:50,520 --> 00:26:54,480
Speaker 1: a geeked out teenager talking about me as a geeked

495
00:26:54,480 --> 00:26:58,600
Speaker 1: out teenager. It was like the worst because of course,

496
00:26:58,640 --> 00:26:59,720
Speaker 1: you know, I had to go back and listen that

497
00:26:59,840 --> 00:27:02,280
Speaker 1: up and be like, oh yeah, I was a total

498
00:27:02,640 --> 00:27:04,920
Speaker 1: I mean I said that I would like walk into

499
00:27:04,920 --> 00:27:08,800
Speaker 1: the fire forever. I'll follow you to the fire.

500
00:27:08,840 --> 00:27:11,440
Speaker 2: I mean it's like, ah, this is like when you're

501
00:27:11,440 --> 00:27:15,360
Speaker 2: in high school and you accidentally slipped the note about

502
00:27:15,480 --> 00:27:17,560
Speaker 2: your crush to your crush, or like they get it

503
00:27:17,560 --> 00:27:20,760
Speaker 2: in the chain of desks that it's going through and they.

504
00:27:20,680 --> 00:27:23,680
Speaker 1: Read it and you're like, oh fu, I never meant

505
00:27:23,680 --> 00:27:24,440
Speaker 1: for you to know this.

506
00:27:24,960 --> 00:27:25,280
Speaker 3: I know.

507
00:27:25,440 --> 00:27:28,000
Speaker 1: I'm like, uh I that is like one of the

508
00:27:28,000 --> 00:27:32,359
Speaker 1: most to this day, one of my absolute fears is

509
00:27:32,400 --> 00:27:35,960
Speaker 1: that fear of like, oh, my crush knows they know.

510
00:27:36,680 --> 00:27:40,159
Speaker 1: But apparently I didn't care enough because I announced it

511
00:27:40,160 --> 00:27:43,119
Speaker 1: on a fucking podcast and he heard it and he

512
00:27:43,200 --> 00:27:47,760
Speaker 1: wrote in that very very sweet email, obviously in reference

513
00:27:47,880 --> 00:27:52,639
Speaker 1: to his master works Memphis Bell and The Cutting Edge,

514
00:27:53,080 --> 00:27:56,560
Speaker 1: of which I spoke highly of both, Like I basically

515
00:27:56,600 --> 00:27:58,800
Speaker 1: said that Cutting Edge like change the course of my

516
00:27:58,880 --> 00:28:02,160
Speaker 1: life in some in and I fell into this crush

517
00:28:02,200 --> 00:28:06,639
Speaker 1: hole for dB Sweetie after seeing the Cutting Edge. And

518
00:28:06,680 --> 00:28:09,159
Speaker 1: then I watched Memphis Bell, and of course that was

519
00:28:09,160 --> 00:28:12,080
Speaker 1: the episode that started that is It good or was

520
00:28:12,119 --> 00:28:15,000
Speaker 1: a horny thing? And it was Memphis Bell and Cleaning

521
00:28:15,040 --> 00:28:19,080
Speaker 1: the Cube, and so yeah, we were fucking keyed up

522
00:28:19,160 --> 00:28:20,119
Speaker 1: during that episode.

523
00:28:20,359 --> 00:28:23,600
Speaker 2: I could not be tamed. I could not be tamed.

524
00:28:23,640 --> 00:28:26,000
Speaker 2: It wasn't even my crush or my I could not

525
00:28:26,080 --> 00:28:28,720
Speaker 2: be tamed. I was so excited, and I'm excited because

526
00:28:28,760 --> 00:28:32,680
Speaker 2: he is so kind and so sweet. And I'll tell

527
00:28:32,720 --> 00:28:34,600
Speaker 2: you the other way. We have confirmation that it's one

528
00:28:34,680 --> 00:28:37,680
Speaker 2: hundred percent real. Millie wrote back, and then he wrote

529
00:28:37,720 --> 00:28:39,760
Speaker 2: back and they had a little discussion and he gave

530
00:28:39,800 --> 00:28:42,320
Speaker 2: us permission to read this email on our podcast.

531
00:28:42,320 --> 00:28:44,720
Speaker 1: That's how nice and cool he is. No, he was,

532
00:28:45,240 --> 00:28:49,280
Speaker 1: I mean, obviously has an amazing sense of humor, seems

533
00:28:49,280 --> 00:28:53,000
Speaker 1: so cool, so happy that he wrote in just because

534
00:28:53,040 --> 00:28:58,160
Speaker 1: it really was like closing a circle in my job. Yeah, dream,

535
00:28:58,960 --> 00:29:00,640
Speaker 1: and when do you get to do that kind of stuff?

536
00:29:00,640 --> 00:29:03,640
Speaker 1: I mean, that's just crazy like that never happens to me.

537
00:29:04,640 --> 00:29:08,400
Speaker 1: All of my dreams have died, by the way, all

538
00:29:08,440 --> 00:29:12,520
Speaker 1: of my childhood dreams are dead. But look, sometimes you

539
00:29:12,600 --> 00:29:19,800
Speaker 1: get something nice, you get that spark op again. Oh

540
00:29:19,880 --> 00:29:21,080
Speaker 1: my god, I'm I'm.

541
00:29:20,920 --> 00:29:23,720
Speaker 2: Just tickled by this and your reaction was the best

542
00:29:23,760 --> 00:29:26,360
Speaker 2: and most pure, and it just made my life to

543
00:29:26,440 --> 00:29:28,960
Speaker 2: know that, like this pod. If this podcast has only

544
00:29:29,000 --> 00:29:32,480
Speaker 2: wrought this, then we can end it tomorrow when I'm happy.

545
00:29:33,400 --> 00:29:33,880
Speaker 1: We won't.

546
00:29:34,000 --> 00:29:37,520
Speaker 2: We won't, but I and listen also, truly, truly, this

547
00:29:37,640 --> 00:29:39,800
Speaker 2: is how you know this that dB Sweeney is a

548
00:29:39,800 --> 00:29:42,800
Speaker 2: class act. I gotta say, if you have ever had

549
00:29:42,800 --> 00:29:45,240
Speaker 2: a crush on me, you better fucking tell me.

550
00:29:45,440 --> 00:29:45,600
Speaker 1: Yes.

551
00:29:45,720 --> 00:29:49,000
Speaker 2: Now is the time, motherfuckers, because it made a day

552
00:29:49,440 --> 00:29:51,600
Speaker 2: for several people to know that.

553
00:29:51,840 --> 00:29:55,680
Speaker 1: Listen, I'm at this point in my life, in my

554
00:29:55,840 --> 00:29:59,600
Speaker 1: age where you have got to say the thing you

555
00:29:59,600 --> 00:30:01,520
Speaker 1: want to say? Is that a John Mayer song? I

556
00:30:01,560 --> 00:30:06,960
Speaker 1: don't know, but but I mean, as you age, you

557
00:30:07,080 --> 00:30:09,920
Speaker 1: realize that like life is fucking short, and if you

558
00:30:10,160 --> 00:30:13,440
Speaker 1: really like somebody, you better say that shit come with

559
00:30:13,520 --> 00:30:16,160
Speaker 1: it because it really does make somebody stay. I mean,

560
00:30:16,320 --> 00:30:18,320
Speaker 1: listen the entire I'm not gonna lie the entire day

561
00:30:18,360 --> 00:30:22,840
Speaker 1: after we figured out that this email was real. I

562
00:30:23,000 --> 00:30:25,640
Speaker 1: was like, I called my sister. I was like, you

563
00:30:25,680 --> 00:30:28,840
Speaker 1: are never gonna believe this, Like You're never gonna believe

564
00:30:28,880 --> 00:30:31,520
Speaker 1: that this happened, you know, and my mom, my mom

565
00:30:31,640 --> 00:30:33,560
Speaker 1: was listening, She's like, what are you talking about. I

566
00:30:33,600 --> 00:30:35,400
Speaker 1: was like, this guy I had a crush on hi

567
00:30:35,400 --> 00:30:37,479
Speaker 1: when I was twelve years old and wrote an email

568
00:30:37,520 --> 00:30:38,720
Speaker 1: tour you know it was.

569
00:30:38,720 --> 00:30:40,680
Speaker 2: It was probably her mom who wrote the tweet. She's

570
00:30:40,720 --> 00:30:41,520
Speaker 2: the ultra snitch.

571
00:30:42,360 --> 00:30:45,880
Speaker 1: I was saying that there was there was no avatar

572
00:30:46,080 --> 00:30:50,240
Speaker 1: on that snitchtacker, So I don't know who it was.

573
00:30:51,560 --> 00:30:55,920
Speaker 1: It was a Russian bought but thank you because it

574
00:30:56,000 --> 00:30:59,240
Speaker 1: brought it brought us in dB sweet together. So that's great.

575
00:31:00,480 --> 00:31:02,760
Speaker 2: Well he is he is just a dream and just

576
00:31:02,800 --> 00:31:05,760
Speaker 2: so kind. And again, these are great movies. Watch Fire

577
00:31:05,840 --> 00:31:08,400
Speaker 2: in the Sky Freak Yourself the fuck out. It is

578
00:31:08,480 --> 00:31:12,360
Speaker 2: a great great film, and so is Memphis Bell, and

579
00:31:12,400 --> 00:31:14,880
Speaker 2: so is Cutting Edge. And he's just he's given us

580
00:31:14,960 --> 00:31:18,120
Speaker 2: so much and continues to give in the form of

581
00:31:18,120 --> 00:31:21,480
Speaker 2: this email, which I am one, one hundred percent stitching.

582
00:31:21,680 --> 00:31:24,520
Speaker 2: I'm gonna embroider this on a pillow for you for Christmas.

583
00:31:25,400 --> 00:31:27,000
Speaker 1: If you could put it on the back of some

584
00:31:27,240 --> 00:31:30,920
Speaker 1: juicy couture sweatpants, I will wear those fucking.

585
00:31:30,680 --> 00:31:32,840
Speaker 2: Send me your Bob Seger T shirt, Send me your

586
00:31:32,840 --> 00:31:33,920
Speaker 2: Bob Seager T shirt.

587
00:31:34,400 --> 00:31:36,320
Speaker 1: I will stitch this on the back. And also, let

588
00:31:36,320 --> 00:31:39,320
Speaker 1: me just tell you right now, Christian Slater, if you're

589
00:31:39,360 --> 00:31:42,520
Speaker 1: out there and you want to write a podcast host,

590
00:31:43,280 --> 00:31:46,000
Speaker 1: I saw what you did potatgmail dot com. We will

591
00:31:46,040 --> 00:31:48,160
Speaker 1: receive that shit and love it.

592
00:31:49,280 --> 00:31:52,440
Speaker 2: That's a different story because I have markedly said that

593
00:31:52,480 --> 00:31:55,000
Speaker 2: he was responsible for all of my bad dating decisions.

594
00:31:55,920 --> 00:31:57,960
Speaker 2: So he's going to write into this podcast even to

595
00:31:58,080 --> 00:32:01,200
Speaker 2: come prepared to us that fat.

596
00:32:02,560 --> 00:32:05,120
Speaker 1: I will put him up to the task. Don't worry,

597
00:32:05,120 --> 00:32:06,760
Speaker 1: all right, I'll let you do it. But I'm just

598
00:32:06,800 --> 00:32:10,040
Speaker 1: saying this is an open road here, folks, like, if

599
00:32:10,120 --> 00:32:13,040
Speaker 1: Christian Slater wants to come on and talk about your

600
00:32:13,120 --> 00:32:17,520
Speaker 1: feelings when you were twelve and loved that masterpiece.

601
00:32:17,880 --> 00:32:20,200
Speaker 2: Fuck in, bring it, because you know what my life

602
00:32:20,240 --> 00:32:21,160
Speaker 2: was like when I was twelve.

603
00:32:21,200 --> 00:32:22,160
Speaker 1: Strap the fuck in.

604
00:32:23,000 --> 00:32:25,240
Speaker 2: He will leave this podcast in tears, is all I

605
00:32:25,280 --> 00:32:26,000
Speaker 2: have to say.

606
00:32:26,920 --> 00:32:29,880
Speaker 1: And I'm open to it. Bring them on, I'm open

607
00:32:29,960 --> 00:32:32,400
Speaker 1: to it. Well, let's say if Christian Slater came on

608
00:32:32,440 --> 00:32:34,680
Speaker 1: this podcast, I would be dead. You would have to

609
00:32:34,720 --> 00:32:37,280
Speaker 1: do this podcast by yourself. We need we need it

610
00:32:37,360 --> 00:32:39,160
Speaker 1: to close. That is it good? Or was I horny?

611
00:32:39,400 --> 00:32:42,560
Speaker 2: Chapter of this bracket in this month now that we're

612
00:32:42,560 --> 00:32:43,360
Speaker 2: in the wine down?

613
00:32:43,720 --> 00:32:44,000
Speaker 1: Yeah?

614
00:32:44,000 --> 00:32:46,800
Speaker 2: So yeah, if his kids are listening, I don't know.

615
00:32:47,400 --> 00:32:51,200
Speaker 2: That's always my first thought is like the actors that

616
00:32:51,240 --> 00:32:53,600
Speaker 2: I had crushes on now have children who are like

617
00:32:54,320 --> 00:32:56,600
Speaker 2: the age of podcast listeners.

618
00:32:56,880 --> 00:33:00,280
Speaker 1: Yeah, oh, I know. I mean, I'm sure somebody's kid

619
00:33:00,320 --> 00:33:03,640
Speaker 1: is out there being like what they're talking about my

620
00:33:03,680 --> 00:33:08,000
Speaker 1: mom and dad. Come, dad's a dweb just that.

621
00:33:08,240 --> 00:33:12,280
Speaker 2: Thank you dB for writing in very sweet. We would

622
00:33:12,280 --> 00:33:15,440
Speaker 2: love to have you have you on to chat about

623
00:33:15,440 --> 00:33:17,200
Speaker 2: your fantastic career.

624
00:33:17,640 --> 00:33:21,200
Speaker 1: Yeah, maybe we will. That door is open. The possibility

625
00:33:21,280 --> 00:33:25,280
Speaker 1: is out there. But I it warmed both my former

626
00:33:25,360 --> 00:33:28,800
Speaker 1: and current self to know that you listened to that

627
00:33:28,840 --> 00:33:33,960
Speaker 1: episode and you were really nice about my crush. So beautiful.

628
00:33:34,040 --> 00:33:44,560
Speaker 1: What a mail bag? Oh, I can't wait to get

629
00:33:44,560 --> 00:33:45,800
Speaker 1: into this theme this week.

630
00:33:46,080 --> 00:33:48,200
Speaker 2: This one is a good one. We're gonna make this recurring,

631
00:33:48,240 --> 00:33:50,160
Speaker 2: I believe, because it's it's not good.

632
00:33:50,640 --> 00:33:52,640
Speaker 1: Yeah. So I think that you and I were both

633
00:33:52,920 --> 00:33:56,680
Speaker 1: kind of talking, and we kind of thought, wouldn't it

634
00:33:56,720 --> 00:34:01,840
Speaker 1: be interesting to do an episode recurring theme based on

635
00:34:01,840 --> 00:34:08,319
Speaker 1: one person, actor, director maybe whoever, and show something from

636
00:34:08,400 --> 00:34:11,320
Speaker 1: like the early period and then like a later period film,

637
00:34:11,440 --> 00:34:13,680
Speaker 1: so kind of a before and after type of scenario.

638
00:34:13,760 --> 00:34:17,000
Speaker 2: So the theme for this week is titled Before and

639
00:34:17,080 --> 00:34:18,520
Speaker 2: After Pam Greer.

640
00:34:19,080 --> 00:34:21,759
Speaker 1: Yes, we wanted to start with Pam Greer because how

641
00:34:21,760 --> 00:34:25,640
Speaker 1: could you not write. I mean, she is a I mean,

642
00:34:25,680 --> 00:34:29,240
Speaker 1: I know again we talk about the word icon iconic

643
00:34:29,320 --> 00:34:32,160
Speaker 1: kind of being like used a lot, but in this case,

644
00:34:32,200 --> 00:34:36,120
Speaker 1: I mean she's a cultural icon completely and a personal hero.

645
00:34:36,440 --> 00:34:39,040
Speaker 2: Like I do not say that lightly, Like I have

646
00:34:39,239 --> 00:34:41,080
Speaker 2: watched so many interviews with her, and once you know

647
00:34:41,120 --> 00:34:43,600
Speaker 2: about her life and you know about her story, she

648
00:34:44,280 --> 00:34:49,600
Speaker 2: is a trailblazer and truly cool, like a very cool

649
00:34:49,719 --> 00:34:53,640
Speaker 2: person who kind of is interested in the world and

650
00:34:53,719 --> 00:34:55,960
Speaker 2: shows that through her work. And I just I think

651
00:34:56,000 --> 00:34:58,160
Speaker 2: she's just a phenomenal, phenomenal person.

652
00:34:58,600 --> 00:35:01,120
Speaker 1: I mean, honestly, she is an credible human being. I mean,

653
00:35:01,160 --> 00:35:05,200
Speaker 1: she's got such an amazing life, She's had an amazing career.

654
00:35:06,000 --> 00:35:08,960
Speaker 1: She was a cancer survivor, she was a rape and

655
00:35:09,040 --> 00:35:12,320
Speaker 1: sexual abuse survivor. I mean, she grew up in the

656
00:35:12,400 --> 00:35:15,600
Speaker 1: Jim Crow South. I mean, there's just so much that

657
00:35:15,680 --> 00:35:20,320
Speaker 1: she's experienced that it makes her just sort of heroic

658
00:35:20,840 --> 00:35:24,120
Speaker 1: for people. And she's an absolute hero to film lovers

659
00:35:24,160 --> 00:35:26,239
Speaker 1: like I think a lot of what people remember her

660
00:35:26,280 --> 00:35:30,640
Speaker 1: for is her blaxploitation movie era. And honestly, she was

661
00:35:30,800 --> 00:35:35,400
Speaker 1: pretty much the first black female action star, and especially

662
00:35:35,480 --> 00:35:38,319
Speaker 1: in the ble exploitation genre, and there was primarily men,

663
00:35:38,560 --> 00:35:41,239
Speaker 1: and then she came along and she just became kind

664
00:35:41,280 --> 00:35:43,920
Speaker 1: of the figurehead of it, and she just had an

665
00:35:44,120 --> 00:35:47,799
Speaker 1: iconic look and she's just been celebrated throughout history. But

666
00:35:47,840 --> 00:35:49,879
Speaker 1: she's also been in so many other things. I mean,

667
00:35:49,880 --> 00:35:53,000
Speaker 1: she was on television, she was in The L Word

668
00:35:53,080 --> 00:35:57,880
Speaker 1: for many years, She's done theater, she's written, you know,

669
00:35:57,960 --> 00:36:01,520
Speaker 1: she's saying she was did her own song. She had

670
00:36:01,520 --> 00:36:03,520
Speaker 1: a song in one of her movies, The Big Dollhouse,

671
00:36:03,520 --> 00:36:06,040
Speaker 1: and she sang with Bobby Womack. I mean, she's kind

672
00:36:06,040 --> 00:36:09,839
Speaker 1: of an incredible lady. Really, she is just.

673
00:36:10,760 --> 00:36:14,960
Speaker 2: A renaissance woman. I cannot say enough. She survived Richard

674
00:36:15,000 --> 00:36:18,040
Speaker 2: Pryor in all intents and purposes.

675
00:36:18,280 --> 00:36:23,360
Speaker 1: Yeah, no, I mean, honestly, it's you know, just in

676
00:36:23,400 --> 00:36:26,120
Speaker 1: reading about her, you know, she never was married, but

677
00:36:26,160 --> 00:36:30,400
Speaker 1: she was with very famous men for many years. I

678
00:36:30,400 --> 00:36:34,160
Speaker 1: mean she almost married Kream Abduljebar. She didn't marry him

679
00:36:34,400 --> 00:36:37,480
Speaker 1: because he wanted her to convert to Islam and she

680
00:36:37,520 --> 00:36:40,560
Speaker 1: didn't want to. She was with Freddie Prinz, I mean,

681
00:36:40,640 --> 00:36:44,960
Speaker 1: she was with Don Cornelius from Soul Train Out, I

682
00:36:45,000 --> 00:36:46,080
Speaker 1: mean Will Chamberlain.

683
00:36:46,120 --> 00:36:48,799
Speaker 2: But yeah, and there is there's this this video that

684
00:36:49,600 --> 00:36:51,239
Speaker 2: I hope we can post the link somewhere, maybe in

685
00:36:51,280 --> 00:36:54,279
Speaker 2: the episode description, but if you have the time, it's

686
00:36:54,320 --> 00:36:57,200
Speaker 2: about twenty five minutes long where the Film Society at

687
00:36:57,239 --> 00:36:57,960
Speaker 2: Lincoln Center.

688
00:36:58,719 --> 00:36:59,600
Speaker 1: It's on YouTube.

689
00:36:59,719 --> 00:37:02,600
Speaker 2: They interviewed her because they did a three day showcase

690
00:37:02,600 --> 00:37:05,239
Speaker 2: of her films. So in this interview in particular, they're

691
00:37:05,280 --> 00:37:09,400
Speaker 2: talking about coffee, and she just talks about her life

692
00:37:09,440 --> 00:37:11,319
Speaker 2: and you know, growing up with her grandparents and who

693
00:37:11,360 --> 00:37:16,320
Speaker 2: her first feminist. You know, I like her feminist ideals

694
00:37:16,320 --> 00:37:19,480
Speaker 2: where they came from. And really her whole life is

695
00:37:19,520 --> 00:37:25,040
Speaker 2: a true representation of her strength and of her intelligence.

696
00:37:25,160 --> 00:37:28,080
Speaker 1: And it's just she's remarkable. She's a remarkable person.

697
00:37:28,120 --> 00:37:29,560
Speaker 2: But I would definitely watch that video if you get

698
00:37:29,560 --> 00:37:31,719
Speaker 2: a chance, it's really cool to hear her talk about

699
00:37:31,760 --> 00:37:33,200
Speaker 2: herself and her own words in that way.

700
00:37:33,360 --> 00:37:34,880
Speaker 1: Yeah, we'll have to post a link to it on

701
00:37:34,880 --> 00:37:38,600
Speaker 1: our social media. But you know, initially, you know, when

702
00:37:38,640 --> 00:37:42,200
Speaker 1: she first came to Hollywood, she was working at American

703
00:37:42,239 --> 00:37:45,399
Speaker 1: International Pictures, which you know, like I said, I don't

704
00:37:45,400 --> 00:37:47,600
Speaker 1: want to go into too much of a film history lesson,

705
00:37:47,680 --> 00:37:50,960
Speaker 1: but if you don't know AIP as what is called,

706
00:37:51,560 --> 00:37:55,000
Speaker 1: they were a film production company that were basically responsible

707
00:37:55,120 --> 00:37:58,880
Speaker 1: for the double feature, the concept of the double feature

708
00:37:59,040 --> 00:38:02,880
Speaker 1: of the movies from the fifties, sixties and seventies. So

709
00:38:02,960 --> 00:38:05,960
Speaker 1: they were the people that were basically creating now what

710
00:38:06,000 --> 00:38:09,719
Speaker 1: we call B movies. And so when she came to Hollywood,

711
00:38:09,800 --> 00:38:12,840
Speaker 1: she was working in the AIP offices as like the

712
00:38:12,920 --> 00:38:17,839
Speaker 1: switchboard operator. And I think it was Jack Hill who

713
00:38:17,920 --> 00:38:21,120
Speaker 1: was the director of the movie that you're talking about today.

714
00:38:21,520 --> 00:38:24,160
Speaker 1: He kind of found her and put her in films,

715
00:38:24,160 --> 00:38:28,160
Speaker 1: and she started a lot of AIP movies, a lot

716
00:38:28,200 --> 00:38:31,719
Speaker 1: of women in prison films as they're called. A lot

717
00:38:31,760 --> 00:38:35,160
Speaker 1: of them were filmed in the Philippines, which is interesting

718
00:38:35,239 --> 00:38:40,600
Speaker 1: because I think Pam is she's got mixed ancestry, so

719
00:38:40,680 --> 00:38:46,160
Speaker 1: she's Black, Hispanic, Filipino, Chinese, and I think that she's Chyenne.

720
00:38:46,520 --> 00:38:50,000
Speaker 1: You know, she's in the Philippines filming these quote unquote

721
00:38:50,040 --> 00:38:52,919
Speaker 1: B movies for aip. She kind of gets her career

722
00:38:52,960 --> 00:38:55,160
Speaker 1: started in that way, and then she starts making the

723
00:38:55,200 --> 00:38:58,479
Speaker 1: action films and that's what she's known for. She's known

724
00:38:58,520 --> 00:39:03,319
Speaker 1: for being boxy brown and being coffee and you know,

725
00:39:04,120 --> 00:39:08,560
Speaker 1: imagine coming from that place and then having a career

726
00:39:08,680 --> 00:39:10,600
Speaker 1: that's as long as that. She's had a lot of

727
00:39:10,600 --> 00:39:14,120
Speaker 1: those people. I think in general in Hollywood, you're really

728
00:39:14,160 --> 00:39:18,000
Speaker 1: lucky if you work after your twenties, right, right. And

729
00:39:18,280 --> 00:39:21,120
Speaker 1: the fact that she was able to continue and do

730
00:39:21,200 --> 00:39:24,200
Speaker 1: things and you know, eventually was in the movie that

731
00:39:24,239 --> 00:39:26,359
Speaker 1: I'm going to talk about, which is kind of her

732
00:39:27,520 --> 00:39:30,000
Speaker 1: you know, it was kind of like her resurgence in

733
00:39:30,040 --> 00:39:34,560
Speaker 1: a lot of ways in the nineties is amazing and

734
00:39:34,600 --> 00:39:37,319
Speaker 1: as a testament to her talent, you know, absolutely.

735
00:39:37,360 --> 00:39:40,399
Speaker 2: And that's that's something that I love about our theme

736
00:39:40,440 --> 00:39:43,080
Speaker 2: today that we did inadvertently as we're talking about the

737
00:39:43,120 --> 00:39:46,759
Speaker 2: before and after of Pam Greer in terms of these

738
00:39:46,800 --> 00:39:49,440
Speaker 2: films and in terms of these you know, two movies,

739
00:39:49,800 --> 00:39:51,960
Speaker 2: but we're also looking at the before and after of

740
00:39:52,280 --> 00:39:56,120
Speaker 2: an actor who kind of created a genre and then,

741
00:39:56,280 --> 00:39:59,759
Speaker 2: in the resurgence of her career, got to then act

742
00:39:59,760 --> 00:40:02,560
Speaker 2: in a role that played out everything that has come

743
00:40:02,640 --> 00:40:05,480
Speaker 2: since in the genre that she helped define. So that

744
00:40:05,600 --> 00:40:07,440
Speaker 2: is like blows my mind when I think about that.

745
00:40:08,000 --> 00:40:10,480
Speaker 1: Yeah, I mean, it's just it's so amazing, and she

746
00:40:10,600 --> 00:40:14,040
Speaker 1: did it so well. I mean, it didn't all feel

747
00:40:14,080 --> 00:40:16,799
Speaker 1: like she was sort of a parody of what she read.

748
00:40:16,840 --> 00:40:19,360
Speaker 1: You know, it's not as if you're watching somebody, you know,

749
00:40:19,560 --> 00:40:22,799
Speaker 1: put put the old uniform back on and just do

750
00:40:22,880 --> 00:40:26,360
Speaker 1: the thing. I mean, she was compelling in her own way,

751
00:40:26,719 --> 00:40:31,120
Speaker 1: independent of her history, and it's just a testament again

752
00:40:31,200 --> 00:40:35,080
Speaker 1: to her amazing skill and we love her so much

753
00:40:35,120 --> 00:40:37,239
Speaker 1: and we're I'm just so happy we're doing this theme.

754
00:40:37,640 --> 00:40:40,000
Speaker 1: Who's going first this week? Is that you? You're going first?

755
00:40:40,200 --> 00:40:40,359
Speaker 2: May?

756
00:40:41,239 --> 00:40:45,680
Speaker 1: Yeah, you know, it's interesting to do her later movie

757
00:40:45,800 --> 00:40:49,640
Speaker 1: first because I know, but there's so many references to

758
00:40:50,200 --> 00:40:52,600
Speaker 1: your movie that it would be fun to look at

759
00:40:52,680 --> 00:40:56,480
Speaker 1: it this way, not in non chronological order. I agree.

760
00:40:57,080 --> 00:40:59,759
Speaker 1: So my movie for this week for the theme of

761
00:41:00,080 --> 00:41:03,200
Speaker 1: for and After, Pam Greer is a movie from nineteen

762
00:41:03,280 --> 00:41:06,960
Speaker 1: ninety seven. It's called Jackie Brown, and it was directed

763
00:41:06,960 --> 00:41:11,080
Speaker 1: by Quentin Tarantino. You never got into the whole CD revolution.

764
00:41:11,880 --> 00:41:14,239
Speaker 1: Oh I got a few, but I can't afford to

765
00:41:14,239 --> 00:41:15,160
Speaker 1: start all over again.

766
00:41:15,280 --> 00:41:18,200
Speaker 2: I mean, I've invested too much time and money in

767
00:41:18,320 --> 00:41:19,239
Speaker 2: my albums.

768
00:41:19,719 --> 00:41:24,200
Speaker 1: Yeah, but you can't get new stuff on records. I

769
00:41:24,200 --> 00:41:28,200
Speaker 1: don't get new stuff at all. All right, let's get

770
00:41:28,239 --> 00:41:30,400
Speaker 1: into it. I don't even know where to start. I

771
00:41:31,239 --> 00:41:35,040
Speaker 1: love this movie too much, baby, too much.

772
00:41:35,640 --> 00:41:37,719
Speaker 2: And this is a good point, a good moment to say,

773
00:41:37,760 --> 00:41:39,640
Speaker 2: and I'm sure you're gonna bring it up. But like that,

774
00:41:39,960 --> 00:41:44,120
Speaker 2: Quentin Tarantino was obsessed with Jack Hill, who directed and

775
00:41:44,160 --> 00:41:47,239
Speaker 2: wrote coffeep which is a movie I'll talk about after this.

776
00:41:47,440 --> 00:41:51,760
Speaker 2: And so this is a real it's not only its own, unique, living,

777
00:41:51,880 --> 00:41:57,240
Speaker 2: breathing film, but it's heavily influenced by the Pamgrier genre.

778
00:41:57,360 --> 00:41:59,879
Speaker 1: So that's very cool. Yeah, oh my god. I mean

779
00:42:01,040 --> 00:42:04,319
Speaker 1: we could talk about Tarantino for hours upon end, and

780
00:42:04,360 --> 00:42:09,720
Speaker 1: there are episodes, literally episodes where people are talking about

781
00:42:10,040 --> 00:42:12,600
Speaker 1: him all the time, so we don't have to. Yeah,

782
00:42:12,640 --> 00:42:14,680
Speaker 1: we don't have to. In fact, if you want to

783
00:42:14,719 --> 00:42:17,400
Speaker 1: listen to my friends that do the Pure Cinema podcast,

784
00:42:18,280 --> 00:42:20,560
Speaker 1: They are Brian and Elrich, who do it for the

785
00:42:20,600 --> 00:42:23,840
Speaker 1: New Beverly, which is the movie theater that Quentin Tarantino owns.

786
00:42:24,880 --> 00:42:27,759
Speaker 1: He actually comes on their podcast many, like all the time,

787
00:42:27,880 --> 00:42:30,040
Speaker 1: so if you want to do a deep dive into

788
00:42:30,040 --> 00:42:33,480
Speaker 1: his influences, he'll give them to you on that podcast.

789
00:42:33,520 --> 00:42:35,960
Speaker 1: And those guys are awesome. So I wanted to tell

790
00:42:35,960 --> 00:42:38,959
Speaker 1: you about that. But let me just tell you something though.

791
00:42:39,280 --> 00:42:42,160
Speaker 1: When this movie came out in nineteen eighty seven, I

792
00:42:42,320 --> 00:42:45,480
Speaker 1: was graduating from high school and I mentioned this in

793
00:42:45,560 --> 00:42:49,239
Speaker 1: one of the early bonus episodes we've done. But I

794
00:42:49,280 --> 00:42:52,600
Speaker 1: was obsessed with reservoir Dogs in high school, much like

795
00:42:52,640 --> 00:42:55,960
Speaker 1: a lot of people, I think, and at the time,

796
00:42:57,160 --> 00:42:58,680
Speaker 1: let me come on, I was eighteen years old. I

797
00:42:58,719 --> 00:43:03,000
Speaker 1: had very specific opinions on Quentin Tarantino and Jackie Brown

798
00:43:03,600 --> 00:43:07,600
Speaker 1: was the movie that came out after the phenomenon of

799
00:43:07,640 --> 00:43:10,280
Speaker 1: pulp fiction, so it was like pulp fiction and then

800
00:43:10,640 --> 00:43:14,080
Speaker 1: this was the It's like bands that put out an

801
00:43:14,120 --> 00:43:19,840
Speaker 1: incredible life changing album and then everyone's like, what's the

802
00:43:19,840 --> 00:43:22,320
Speaker 1: next one is going to be? And there's this anticipation,

803
00:43:22,520 --> 00:43:24,400
Speaker 1: and that's how I felt. I mean, I was like

804
00:43:24,440 --> 00:43:28,400
Speaker 1: I could not wait to see this movie, and I

805
00:43:28,440 --> 00:43:32,000
Speaker 1: think it came out on Christmas Day that year. I

806
00:43:32,800 --> 00:43:36,839
Speaker 1: couldn't wait to see it, and then watched it and

807
00:43:36,920 --> 00:43:40,799
Speaker 1: came out saying, wow, this movie is not pulp fiction

808
00:43:41,040 --> 00:43:44,200
Speaker 1: or reservoir dogs and kind of left it at that,

809
00:43:44,600 --> 00:43:48,160
Speaker 1: and I didn't watch it for a long time. But honestly,

810
00:43:48,960 --> 00:43:54,200
Speaker 1: thank God, thank god, I watched it again, and thank

811
00:43:54,239 --> 00:43:57,839
Speaker 1: God for watching movies over again, especially as you get older,

812
00:43:57,880 --> 00:44:01,360
Speaker 1: because honestly, as we speak, Jackie Brown is my favorite

813
00:44:01,400 --> 00:44:03,799
Speaker 1: all time Tarantina movie. Like to me, I feel like

814
00:44:03,880 --> 00:44:09,040
Speaker 1: it's a masterpiece. It's I'm not sliding him in any way,

815
00:44:09,120 --> 00:44:11,279
Speaker 1: but I'm saying it's the only movie of his that

816
00:44:11,320 --> 00:44:13,600
Speaker 1: I can truly watch over and over and over again.

817
00:44:13,680 --> 00:44:16,440
Speaker 1: Like every time I watch it, I feel I just

818
00:44:16,480 --> 00:44:18,720
Speaker 1: wanted to continue, I want to live in the world.

819
00:44:18,800 --> 00:44:21,600
Speaker 1: And honestly, it wasn't until Once Upon a Time in

820
00:44:21,640 --> 00:44:25,520
Speaker 1: Hollywood came out that I felt that even slightly again.

821
00:44:26,239 --> 00:44:29,640
Speaker 1: And I will say it's weird. I think that Once

822
00:44:29,719 --> 00:44:33,680
Speaker 1: upon a Time in Hollywood and Jackie Brown share some characteristics.

823
00:44:33,680 --> 00:44:36,719
Speaker 1: I think they both kind of have this almost kind

824
00:44:36,719 --> 00:44:39,920
Speaker 1: of melancholic vibe and they're both kind of about aging

825
00:44:40,400 --> 00:44:44,840
Speaker 1: and about getting older, and that to me is appealing

826
00:44:44,920 --> 00:44:48,799
Speaker 1: as somebody who is aging and getting older. And that's

827
00:44:48,800 --> 00:44:51,440
Speaker 1: why I just love Jackie Brown so much. Now is

828
00:44:51,719 --> 00:44:54,759
Speaker 1: I truly see it as a different movie that I

829
00:44:54,800 --> 00:44:56,759
Speaker 1: did when I was eighteen. I wasn't ready for it

830
00:44:56,800 --> 00:44:57,360
Speaker 1: at eighteen.

831
00:44:57,520 --> 00:45:01,000
Speaker 2: The same I have the almost a completely parallel experience

832
00:45:01,040 --> 00:45:03,239
Speaker 2: to yours, which is that I saw when it came

833
00:45:03,239 --> 00:45:05,600
Speaker 2: out when I was twenty, and it was after pulp fiction,

834
00:45:05,680 --> 00:45:07,560
Speaker 2: and I was expecting this, like you know, I was

835
00:45:07,600 --> 00:45:10,880
Speaker 2: expecting this high violent, you know, kind of fast paced,

836
00:45:11,200 --> 00:45:12,879
Speaker 2: and I came out of the movie feeling like, well

837
00:45:12,880 --> 00:45:15,920
Speaker 2: that was slow and interesting, and yeah, all right, that

838
00:45:16,040 --> 00:45:19,040
Speaker 2: was all right, that was what it was. But then,

839
00:45:19,400 --> 00:45:21,919
Speaker 2: like you said, thankfully watched it again and then could

840
00:45:22,000 --> 00:45:25,319
Speaker 2: not stop watching it because it was so There's so

841
00:45:25,400 --> 00:45:27,879
Speaker 2: many moments of that movie that stuck with me even

842
00:45:27,920 --> 00:45:31,160
Speaker 2: from that first viewing. And since people have given us

843
00:45:31,160 --> 00:45:36,120
Speaker 2: the green light to give spoilers, that last that last

844
00:45:36,120 --> 00:45:39,400
Speaker 2: scene of her in the car mouthing along to across

845
00:45:39,440 --> 00:45:45,720
Speaker 2: one hundred and tenth Street is visually and emotionally stunning. Yeah,

846
00:45:45,760 --> 00:45:48,319
Speaker 2: And I think about that just all the time, just

847
00:45:48,400 --> 00:45:51,279
Speaker 2: that scene all the time, and so when I came

848
00:45:51,280 --> 00:45:53,560
Speaker 2: back to the movie later in life, I was able

849
00:45:53,560 --> 00:45:56,160
Speaker 2: to not only identify with some of the characters more,

850
00:45:56,160 --> 00:46:01,040
Speaker 2: but also to just really I let myself in and

851
00:46:01,160 --> 00:46:04,799
Speaker 2: just love this character of Jackie Brown and understanding her

852
00:46:04,840 --> 00:46:08,439
Speaker 2: motivations more and understanding her, you know, her life more,

853
00:46:08,480 --> 00:46:11,640
Speaker 2: And it was just absolutely wonderful to be able to

854
00:46:11,680 --> 00:46:13,160
Speaker 2: dig back into a film like that.

855
00:46:13,120 --> 00:46:17,440
Speaker 1: Oh totally. And I'll just say, you know, Jackie Brown

856
00:46:18,440 --> 00:46:22,319
Speaker 1: was I think the only time that Tarantino adapted somebody

857
00:46:22,360 --> 00:46:25,880
Speaker 1: else's work. And you know, I don't know if that

858
00:46:26,000 --> 00:46:30,319
Speaker 1: has any correlation to the amount to which I love it,

859
00:46:30,840 --> 00:46:34,160
Speaker 1: but it basically comes from an Elmore Leonard novel called

860
00:46:34,239 --> 00:46:38,520
Speaker 1: rum Punch, and essentially it's everything's the same, except Tarantino

861
00:46:38,640 --> 00:46:42,480
Speaker 1: changed a few things. He changed the setting from Florida

862
00:46:42,520 --> 00:46:46,120
Speaker 1: to la he changed Jackie's last name, and then he

863
00:46:46,239 --> 00:46:49,520
Speaker 1: changed her from a white woman to a black woman basically,

864
00:46:49,600 --> 00:46:51,720
Speaker 1: And a lot of that was because of Pam Greer,

865
00:46:51,840 --> 00:46:54,200
Speaker 1: because he loved Pam Grier so much, was such a

866
00:46:54,239 --> 00:46:57,279
Speaker 1: fan of hers. You know, Tarantino was obviously like a

867
00:46:57,320 --> 00:47:00,439
Speaker 1: really big cult movie person. He was an ex video

868
00:47:00,480 --> 00:47:03,360
Speaker 1: store employee. I think we know the type. I was

869
00:47:03,400 --> 00:47:08,040
Speaker 1: one too, And you know he wears his influences on

870
00:47:08,120 --> 00:47:09,960
Speaker 1: his sleeve. I mean, like all of his movies are

871
00:47:09,960 --> 00:47:13,040
Speaker 1: homages to movies that he loves. And you know, he

872
00:47:13,120 --> 00:47:15,680
Speaker 1: was obsessed with Pam Greer, obsessed with jack Hill, obsessed

873
00:47:15,719 --> 00:47:19,600
Speaker 1: with the whole like aip era, and you know he

874
00:47:19,640 --> 00:47:23,200
Speaker 1: wanted to put her in this movie, and so he wrote. Basically,

875
00:47:23,600 --> 00:47:26,160
Speaker 1: he put had her in mind when he was developing it.

876
00:47:26,640 --> 00:47:28,640
Speaker 1: So I'll give you a little a synopsis of the

877
00:47:28,640 --> 00:47:31,680
Speaker 1: film if you haven't seen it, so you know, Jackie

878
00:47:31,719 --> 00:47:33,799
Speaker 1: Brown is, of course played by Pam Greer, and she

879
00:47:34,000 --> 00:47:39,319
Speaker 1: is a middle aged flight attendant for this airline called

880
00:47:39,360 --> 00:47:43,920
Speaker 1: Cabo Airlines, which is this like low cost shitball regional

881
00:47:43,920 --> 00:47:47,000
Speaker 1: airline where she makes a shockingly low wage. I mean

882
00:47:47,040 --> 00:47:49,120
Speaker 1: she talks about how she makes sixteen thousand dollars a

883
00:47:49,239 --> 00:47:53,600
Speaker 1: year and even in ninety seven money that is nothing.

884
00:47:53,880 --> 00:47:56,960
Speaker 1: I mean I was like, holy shit. So of course,

885
00:47:57,160 --> 00:48:00,760
Speaker 1: to make ends meet, you know, presumably she's also helping

886
00:48:00,800 --> 00:48:03,719
Speaker 1: this local gun runner named Ordell, who was played by

887
00:48:03,760 --> 00:48:08,440
Speaker 1: Samuel L. Jackson, and she's helping him smuggle money, his

888
00:48:08,560 --> 00:48:12,279
Speaker 1: money that he's presumably got from selling guns into the

889
00:48:12,400 --> 00:48:17,080
Speaker 1: US from Mexico via her airline job. And at the

890
00:48:17,080 --> 00:48:19,640
Speaker 1: beginning of the movie, it's that whole thing where it

891
00:48:19,680 --> 00:48:21,600
Speaker 1: kind of looks like the Graduate where she's going through

892
00:48:21,719 --> 00:48:24,960
Speaker 1: lax On those like you know you've gone to obviously

893
00:48:24,960 --> 00:48:28,040
Speaker 1: gone to lax where it's got those uh color pan

894
00:48:28,080 --> 00:48:31,480
Speaker 1: old tiles. Yeah, it's the total Dustin Hoffman in the

895
00:48:31,480 --> 00:48:35,279
Speaker 1: Graduate thing. But she shows up after her flight and

896
00:48:35,320 --> 00:48:38,000
Speaker 1: she gets almost immediately busted at the airport by these

897
00:48:38,040 --> 00:48:43,000
Speaker 1: like two cocky arrogant like one's an ATF guy, one's

898
00:48:43,040 --> 00:48:47,800
Speaker 1: an la PD detective played by Michael Keaton and Michael Bowen,

899
00:48:48,400 --> 00:48:52,279
Speaker 1: And you know, obviously they are busting her because she

900
00:48:52,560 --> 00:48:55,440
Speaker 1: they know that she's connected to Ordell, and you know

901
00:48:55,480 --> 00:48:59,120
Speaker 1: they want to catch Ordell, right, So basically she's arrested

902
00:48:59,160 --> 00:49:02,279
Speaker 1: at the airport and goes to jail, and Ordell sends

903
00:49:02,480 --> 00:49:07,399
Speaker 1: a Bill bondsman named Max Cherry, who is played by

904
00:49:08,040 --> 00:49:12,120
Speaker 1: my Love, Your Love, Everyone's love, Robert Forster.

905
00:49:12,000 --> 00:49:15,319
Speaker 2: Who looks like I have to say, he could be

906
00:49:16,120 --> 00:49:17,799
Speaker 2: I don't know if you've ever watched Friday Night Lights,

907
00:49:17,800 --> 00:49:21,640
Speaker 2: but he could be Kyle Chandler, his dad, Like the coach.

908
00:49:21,680 --> 00:49:26,080
Speaker 1: One hundred percent. It's like imagine old Kyle Chandler with

909
00:49:26,160 --> 00:49:29,160
Speaker 1: like old man pants and an old man blazer. And

910
00:49:29,200 --> 00:49:33,080
Speaker 1: that's Robert Forster as Max Cherry. I can't outstand how

911
00:49:33,160 --> 00:49:35,759
Speaker 1: much I love him in this movie. I'm oh, my god,

912
00:49:36,040 --> 00:49:40,560
Speaker 1: so adorable. But basically, Max picks her from jail, he

913
00:49:40,600 --> 00:49:42,840
Speaker 1: brings her back to her apartment and you can just

914
00:49:42,880 --> 00:49:45,120
Speaker 1: tell they kind of have a connection. He is not

915
00:49:45,239 --> 00:49:48,640
Speaker 1: judging her by the way He's basically like, I'm here

916
00:49:48,680 --> 00:49:51,160
Speaker 1: to pick you up. You have what you need, like,

917
00:49:51,239 --> 00:49:53,359
Speaker 1: let me know if you needed any help. You can

918
00:49:53,360 --> 00:49:57,680
Speaker 1: tell he's kind of a kind guy. And you know,

919
00:49:57,719 --> 00:49:59,400
Speaker 1: he ends up coming back the next day because, as

920
00:49:59,440 --> 00:50:03,680
Speaker 1: it turns out, Jackie actually borrowed his gun to protect

921
00:50:03,719 --> 00:50:06,279
Speaker 1: herself from Ordell because you know, as you know how

922
00:50:06,320 --> 00:50:09,080
Speaker 1: crime movies are, like you get arrested at the airport

923
00:50:09,360 --> 00:50:12,840
Speaker 1: and the person that you're in connection with suddenly wants

924
00:50:12,880 --> 00:50:15,399
Speaker 1: to know what she said in the cops YEP. So

925
00:50:15,440 --> 00:50:18,759
Speaker 1: Max shows back up and they have coffee and they

926
00:50:18,840 --> 00:50:24,080
Speaker 1: bond over records and they discuss her very grim situation,

927
00:50:24,440 --> 00:50:28,240
Speaker 1: which is that the detectives want her to give up Ordell.

928
00:50:28,600 --> 00:50:31,759
Speaker 1: In exchange for a deal, but obviously we know what

929
00:50:31,840 --> 00:50:35,760
Speaker 1: will happen if she does that. And also Jackie is tired.

930
00:50:36,600 --> 00:50:40,279
Speaker 1: She's tired. She's in her forties, she's already been to

931
00:50:40,360 --> 00:50:44,160
Speaker 1: jail once. Yeah for guy. By the way, she mentions

932
00:50:44,160 --> 00:50:46,120
Speaker 1: that she's like, I went to jail because of a husband,

933
00:50:46,800 --> 00:50:48,960
Speaker 1: and she doesn't want to go back to jail, and

934
00:50:49,040 --> 00:50:51,880
Speaker 1: she can't get a better job than the one she

935
00:50:52,040 --> 00:50:55,759
Speaker 1: has because she's been to jail and she's just in

936
00:50:55,760 --> 00:51:01,680
Speaker 1: this really rough spot. And I think Robert Forrester's character

937
00:51:02,719 --> 00:51:06,319
Speaker 1: feels that from her, he understands what it's like to

938
00:51:06,400 --> 00:51:09,560
Speaker 1: be kind of like in his position. Yeah. So basically,

939
00:51:09,640 --> 00:51:12,279
Speaker 1: Jackie attempts like the ultimate Hail Mary, which is that

940
00:51:12,800 --> 00:51:15,120
Speaker 1: she comes up with this scheme where she's going to

941
00:51:15,200 --> 00:51:19,640
Speaker 1: cross both Ordell and the detectives. She's gonna do like

942
00:51:19,680 --> 00:51:25,840
Speaker 1: a fake money delivery thing where essentially they're all gonna

943
00:51:25,880 --> 00:51:28,600
Speaker 1: like cross paths and butt heads, and then she's just

944
00:51:28,640 --> 00:51:31,880
Speaker 1: gonna Sneaky Squirrel off with the money and she's going

945
00:51:31,960 --> 00:51:36,040
Speaker 1: to start a new life. But she needs Max to

946
00:51:36,080 --> 00:51:38,640
Speaker 1: help her because he's kind of in this position where

947
00:51:38,680 --> 00:51:40,839
Speaker 1: he's a neutral party and he can help her out,

948
00:51:41,400 --> 00:51:44,040
Speaker 1: and he agrees because he has a little crush on

949
00:51:44,160 --> 00:51:48,120
Speaker 1: Jackie Brown's love It's Love Baby. He plays her favorite

950
00:51:48,120 --> 00:51:50,799
Speaker 1: Delphonic song every time he gets into his car. He

951
00:51:50,880 --> 00:51:53,359
Speaker 1: goes and buys the cassette tape. He went and bought

952
00:51:53,360 --> 00:51:56,359
Speaker 1: the cassette tape at Sam Goodie. I mean, could you

953
00:51:56,560 --> 00:52:01,200
Speaker 1: just die? I My heart is blown into bits when

954
00:52:01,239 --> 00:52:04,640
Speaker 1: I see him at Sam Goodie buying the tape of

955
00:52:04,680 --> 00:52:07,560
Speaker 1: the DELPHONICX did not blow your mind this time. But

956
00:52:07,640 --> 00:52:10,080
Speaker 1: he wants her to win, and I think it's because

957
00:52:10,120 --> 00:52:13,560
Speaker 1: they're both feel in the middle age, right, Yeah, because

958
00:52:14,040 --> 00:52:16,480
Speaker 1: this movie Jackie Brown. I mean, it's a love story

959
00:52:16,560 --> 00:52:20,240
Speaker 1: between two middle aged people, which is lovely and heartwarming,

960
00:52:20,280 --> 00:52:22,680
Speaker 1: and we love to see it, literally, we love to

961
00:52:22,719 --> 00:52:26,359
Speaker 1: see it. But these are also people who have been

962
00:52:26,520 --> 00:52:30,919
Speaker 1: tangentially and directly related to the criminal world, probably their

963
00:52:31,040 --> 00:52:35,120
Speaker 1: entire lives, and honestly, like they're both like, how long

964
00:52:35,160 --> 00:52:37,880
Speaker 1: can we keep this up? Right? I mean, it's this

965
00:52:38,080 --> 00:52:41,120
Speaker 1: entire This movie is entirely about old people. I mean,

966
00:52:41,719 --> 00:52:45,840
Speaker 1: it's about getting older and not being able or wanting

967
00:52:45,880 --> 00:52:48,839
Speaker 1: to do the stuff that you've been doing. And it's like,

968
00:52:49,000 --> 00:52:52,880
Speaker 1: you know, it's fucking Robert de Niro who can't handle

969
00:52:52,960 --> 00:52:55,800
Speaker 1: smoking weed out of bongs with you know, a young

970
00:52:56,600 --> 00:53:00,600
Speaker 1: beautiful Bridget Fonda. He's coffin, and it's just like, yo,

971
00:53:00,640 --> 00:53:04,480
Speaker 1: I can't handle this weed anymore. You know. It's Robert

972
00:53:04,520 --> 00:53:07,880
Speaker 1: Forrester talking about how we can't sit in apartments waiting

973
00:53:07,920 --> 00:53:11,080
Speaker 1: on people with a stun gun that smell like cat pee,

974
00:53:11,080 --> 00:53:14,040
Speaker 1: and you know, I mean, it's like, it's just like

975
00:53:14,800 --> 00:53:18,360
Speaker 1: it's about older people who just can't do this shit anymore,

976
00:53:18,640 --> 00:53:22,560
Speaker 1: you know. And that's real. That's a real concept.

977
00:53:22,960 --> 00:53:24,680
Speaker 2: And that's something I did not get the first time

978
00:53:24,719 --> 00:53:27,000
Speaker 2: I watched the film, but I one hundred percent got

979
00:53:27,040 --> 00:53:29,520
Speaker 2: the next time I watched the film. This is this

980
00:53:29,600 --> 00:53:32,480
Speaker 2: is the the kind of middle aged love story that

981
00:53:32,760 --> 00:53:37,680
Speaker 2: I adore because it doesn't end. The idea of happiness

982
00:53:37,719 --> 00:53:40,560
Speaker 2: is not ending up together, yep. You know, like the

983
00:53:40,600 --> 00:53:45,200
Speaker 2: idea of happiness is very much taking that exhaustion with

984
00:53:45,280 --> 00:53:47,640
Speaker 2: your own life and turning it into something else, either

985
00:53:47,640 --> 00:53:50,279
Speaker 2: with someone or not. But that is the goal. The

986
00:53:50,320 --> 00:53:52,799
Speaker 2: goal is not I want the true love bubble. It

987
00:53:52,920 --> 00:53:55,680
Speaker 2: is I want to change my situation.

988
00:53:56,480 --> 00:53:59,560
Speaker 1: Well, and that true love is also literally just wanting

989
00:53:59,560 --> 00:54:02,440
Speaker 1: another part to be happy and knowing that it's probably

990
00:54:02,840 --> 00:54:05,200
Speaker 1: not with you and it's just for them and their

991
00:54:05,239 --> 00:54:06,880
Speaker 1: own terms, right. You know.

992
00:54:07,440 --> 00:54:09,480
Speaker 2: I'm glad that you brought up the heist element of it,

993
00:54:09,520 --> 00:54:13,759
Speaker 2: because strangely, that's usually the only kind of movie that

994
00:54:13,840 --> 00:54:16,200
Speaker 2: I don't love. Like I cannot tell you how many

995
00:54:16,280 --> 00:54:19,280
Speaker 2: times I have fallen asleep trying to watch Tinker tailor

996
00:54:19,320 --> 00:54:22,920
Speaker 2: Soldier Spy. I cannot keep up with heist movies. Most

997
00:54:22,960 --> 00:54:24,359
Speaker 2: of the time. I don't know what's going on.

998
00:54:24,320 --> 00:54:26,800
Speaker 1: In my brain. I can't do it.

999
00:54:27,120 --> 00:54:30,080
Speaker 2: So it's a lot of moving parts, and I'm just like, oh,

1000
00:54:30,360 --> 00:54:32,799
Speaker 2: so I really loved. Another thing I love about this

1001
00:54:32,840 --> 00:54:35,279
Speaker 2: film is that there's a kind of a gentle heist.

1002
00:54:35,360 --> 00:54:37,840
Speaker 2: Maybe it's because it comes from Pam Greer's perspective or

1003
00:54:37,840 --> 00:54:39,879
Speaker 2: she's the one kind of in charge of it that

1004
00:54:40,040 --> 00:54:42,240
Speaker 2: makes it more accessible to me and I can follow

1005
00:54:42,239 --> 00:54:44,320
Speaker 2: along with it and I can kind of get into

1006
00:54:44,360 --> 00:54:46,000
Speaker 2: it a little bit easier.

1007
00:54:46,360 --> 00:54:50,239
Speaker 1: Yeah, I honestly think that if it wasn't for the

1008
00:54:50,320 --> 00:54:52,800
Speaker 1: people who are in the movie, and let's get serious

1009
00:54:52,840 --> 00:54:54,719
Speaker 1: when it comes down to it, the people who are

1010
00:54:54,760 --> 00:54:57,560
Speaker 1: in this movie that make it compelling for me are

1011
00:54:57,719 --> 00:55:01,319
Speaker 1: Samuel L. Jackson, Pam Greer, and Robert Forster. If they

1012
00:55:01,360 --> 00:55:04,239
Speaker 1: weren't as good of actors as they are, I could

1013
00:55:04,239 --> 00:55:07,000
Speaker 1: see where I would probably like nod off with like

1014
00:55:07,080 --> 00:55:11,920
Speaker 1: all of the like heist details details are a lot,

1015
00:55:12,320 --> 00:55:14,799
Speaker 1: and it can get really convoluted, like there's some like

1016
00:55:14,840 --> 00:55:16,640
Speaker 1: person of this movie where I'm like, Okay, now, wait,

1017
00:55:16,719 --> 00:55:19,680
Speaker 1: what's the plan? Who's in on it, who's not? And

1018
00:55:19,719 --> 00:55:23,319
Speaker 1: that can be exhausting just mentally, but they're great. Like

1019
00:55:24,120 --> 00:55:28,400
Speaker 1: I know that everybody loves Samuel L. Jackson, and I

1020
00:55:28,480 --> 00:55:31,720
Speaker 1: know that he's in his incredible force in every single

1021
00:55:31,760 --> 00:55:35,000
Speaker 1: movie that he's in, especially in Tarantina movies, but like,

1022
00:55:35,640 --> 00:55:38,400
Speaker 1: he's so good in this movie Like that to me

1023
00:55:38,600 --> 00:55:41,440
Speaker 1: was like the part that really stood out for me

1024
00:55:41,520 --> 00:55:43,799
Speaker 1: when I watched it literally the other night when we

1025
00:55:43,800 --> 00:55:46,080
Speaker 1: were preparing for this episode, which I was like, he

1026
00:55:46,200 --> 00:55:49,120
Speaker 1: is so great and so easy breezy when it comes

1027
00:55:49,160 --> 00:55:51,800
Speaker 1: to acting, like that is just yeah, he's got a skill.

1028
00:55:52,120 --> 00:55:55,520
Speaker 1: Like my favorite part of that movie of him in

1029
00:55:55,600 --> 00:55:58,360
Speaker 1: this movie is when he shows up at that woman's

1030
00:55:58,400 --> 00:56:01,839
Speaker 1: house and I know if she's a drug addict and

1031
00:56:01,960 --> 00:56:04,960
Speaker 1: she He's like, damn, girl, how do you live like this?

1032
00:56:06,200 --> 00:56:10,560
Speaker 1: Like what this This is some repugnant shit. When he

1033
00:56:10,600 --> 00:56:16,839
Speaker 1: says repugnant shit, I laugh so hard, so funny. It's

1034
00:56:16,880 --> 00:56:18,640
Speaker 1: just a two second scene, but I.

1035
00:56:19,239 --> 00:56:22,400
Speaker 2: Crack up every time he stops himself in the middle

1036
00:56:22,440 --> 00:56:25,040
Speaker 2: of like an intense situation to be like, this is

1037
00:56:25,080 --> 00:56:27,759
Speaker 2: some repugnant shit, Like how could in her house is

1038
00:56:27,920 --> 00:56:30,600
Speaker 2: just like she's not now on the couch and her

1039
00:56:30,680 --> 00:56:33,440
Speaker 2: house is just in disarray. But you also get the

1040
00:56:33,440 --> 00:56:36,080
Speaker 2: feeling that he's kind of talking about the interior design

1041
00:56:36,120 --> 00:56:36,399
Speaker 2: of it.

1042
00:56:36,600 --> 00:56:42,280
Speaker 1: Yes, because he's I mean, let's get serious. Samuel Jackson

1043
00:56:42,320 --> 00:56:45,600
Speaker 1: brought back the kangall. I swear to This movie brought

1044
00:56:45,600 --> 00:56:48,000
Speaker 1: back the kangall had. Do you remember when we were

1045
00:56:48,000 --> 00:56:50,400
Speaker 1: like there was I swear to god, everybody went and

1046
00:56:50,440 --> 00:56:53,200
Speaker 1: got a kangall. After this movie, I saw my god

1047
00:56:53,560 --> 00:56:56,919
Speaker 1: and it was chared around that like European man purse thing,

1048
00:56:57,160 --> 00:56:59,319
Speaker 1: Like my grandpa used to carry a purse like that,

1049
00:56:59,400 --> 00:57:01,239
Speaker 1: like a what do you call it? Is it like

1050
00:57:01,280 --> 00:57:04,719
Speaker 1: an attache? It's like a yes, like a like a

1051
00:57:04,880 --> 00:57:07,080
Speaker 1: purse for a man that has like a little loop

1052
00:57:07,120 --> 00:57:11,240
Speaker 1: on the end. I love that. Look, it's so grandpa.

1053
00:57:12,880 --> 00:57:14,680
Speaker 1: But he's so good in this movie. And you know

1054
00:57:14,760 --> 00:57:16,880
Speaker 1: what I will say about the like, this movie is

1055
00:57:16,920 --> 00:57:19,480
Speaker 1: obviously a bout a love story, but it's also a

1056
00:57:19,520 --> 00:57:23,440
Speaker 1: love story to the old exploitation and cult movie world.

1057
00:57:23,480 --> 00:57:26,360
Speaker 1: As I said before, I mean, it is a movie

1058
00:57:26,400 --> 00:57:30,440
Speaker 1: for people like Pam Greer and Robert Forrester, both who

1059
00:57:31,080 --> 00:57:36,040
Speaker 1: were making basically cult exploitation action movies in the seventies

1060
00:57:36,080 --> 00:57:39,000
Speaker 1: and eighties. And at this point, let's get serious, they

1061
00:57:39,000 --> 00:57:42,040
Speaker 1: weren't really doing much in Hollywood. I mean, they were

1062
00:57:42,040 --> 00:57:46,120
Speaker 1: probably in things, but they weren't like superstars like they were,

1063
00:57:47,200 --> 00:57:51,920
Speaker 1: and it kind of reintroduced them to this whole new audience,

1064
00:57:52,320 --> 00:57:55,040
Speaker 1: gave them a second act. I mean, Robert Forster was

1065
00:57:55,080 --> 00:57:58,440
Speaker 1: nominated for like a Best Supporting Actor Oscar for this

1066
00:57:58,600 --> 00:58:02,000
Speaker 1: role for Max Cherry. And I don't call Jackie Brown

1067
00:58:02,000 --> 00:58:04,040
Speaker 1: a blaxxploitation movie at all. I don't think it's a

1068
00:58:04,040 --> 00:58:07,600
Speaker 1: blaxplotation movie. But it references so many of her movies,

1069
00:58:07,680 --> 00:58:12,280
Speaker 1: like your movie Coffee, Foxy Brown. It uses the songs

1070
00:58:12,320 --> 00:58:15,360
Speaker 1: from Coffee and the Big Dollhouse, and you know, of course,

1071
00:58:15,360 --> 00:58:17,840
Speaker 1: well Across one hundred and tenth Street, which we've briefly

1072
00:58:17,880 --> 00:58:21,880
Speaker 1: mentioned on this podcast before, and there are moments literally

1073
00:58:21,920 --> 00:58:25,320
Speaker 1: where you can watch Pam Greer in Jackie Brown and

1074
00:58:25,360 --> 00:58:28,600
Speaker 1: she looks exactly like she did in Coffee, Like she

1075
00:58:28,640 --> 00:58:33,720
Speaker 1: has the exact same body, which is incompredibly I was

1076
00:58:33,840 --> 00:58:36,640
Speaker 1: like Sam and I think that she was in her

1077
00:58:36,760 --> 00:58:39,600
Speaker 1: late forties when she made this movie, and I'm like, damn,

1078
00:58:39,720 --> 00:58:42,760
Speaker 1: she looks insane, Like I love it.

1079
00:58:42,680 --> 00:58:46,760
Speaker 2: Even now watching it in HD, I'm like, she's she's gorgeous.

1080
00:58:46,760 --> 00:58:52,120
Speaker 2: She is gorgeous, stunning, like looks so so self possessed

1081
00:58:52,160 --> 00:58:54,560
Speaker 2: and so like there's just but she looks You're right,

1082
00:58:54,600 --> 00:58:57,760
Speaker 2: physically almost exactly the same, and I just love it.

1083
00:58:57,800 --> 00:58:59,520
Speaker 1: I just love this movie. I want to live in

1084
00:58:59,560 --> 00:59:02,360
Speaker 1: this movie. I mean, it actually is a great movie

1085
00:59:02,400 --> 00:59:05,520
Speaker 1: about La because it is a part of LA that

1086
00:59:05,920 --> 00:59:09,360
Speaker 1: I don't think really isn't a lot of movies, like,

1087
00:59:09,480 --> 00:59:12,560
Speaker 1: I mean, they always make movies about Hollywood and Beverly

1088
00:59:12,640 --> 00:59:14,440
Speaker 1: Hills and you know, stuff like that. But it's like

1089
00:59:14,440 --> 00:59:17,920
Speaker 1: when do you hear about like Hawthorne, You know exactly.

1090
00:59:18,440 --> 00:59:21,760
Speaker 1: It's great And I'm so glad that Pam it re

1091
00:59:22,760 --> 00:59:27,000
Speaker 1: it reinvigored her for younger people. It made people want

1092
00:59:27,040 --> 00:59:30,120
Speaker 1: to go back and watch her seventies action movies, and

1093
00:59:31,680 --> 00:59:34,400
Speaker 1: she's still such an incredible actress in this film, and

1094
00:59:35,000 --> 00:59:36,960
Speaker 1: I can't stop loving it.

1095
00:59:36,880 --> 00:59:40,400
Speaker 2: And won't I know, and you shouldn't and I shouldn't,

1096
00:59:40,800 --> 00:59:42,520
Speaker 2: And I love that too because I think that the thing,

1097
00:59:42,640 --> 00:59:44,400
Speaker 2: the thing that I'll bring up in my film too,

1098
00:59:44,440 --> 00:59:46,360
Speaker 2: is kind of like the style of acting, and you know,

1099
00:59:46,360 --> 00:59:48,320
Speaker 2: what she was known for versus what she was doing

1100
00:59:48,400 --> 00:59:52,080
Speaker 2: in Jackie Brown. And I think that the one area

1101
00:59:52,280 --> 00:59:55,000
Speaker 2: of redemption, if there was any to be had, which

1102
00:59:55,040 --> 00:59:56,760
Speaker 2: I truly don't think there was, but if there is

1103
00:59:56,800 --> 01:00:00,040
Speaker 2: an area of redemption that this movie also gave to

1104
01:00:00,080 --> 01:00:04,040
Speaker 2: her is the knowledge that she can fucking act. Because

1105
01:00:04,040 --> 01:00:06,480
Speaker 2: I think a lot of people look at blaxploitation films

1106
01:00:06,480 --> 01:00:08,360
Speaker 2: are kind of like those earlier films and feel like, well,

1107
01:00:08,360 --> 01:00:09,280
Speaker 2: this is just for fun.

1108
01:00:09,760 --> 01:00:11,240
Speaker 1: But she's really a.

1109
01:00:11,120 --> 01:00:14,920
Speaker 2: Good actress, and that is what is you know, kind

1110
01:00:14,920 --> 01:00:17,000
Speaker 2: of falls by the wayside sometimes when you're looking at

1111
01:00:17,000 --> 01:00:19,000
Speaker 2: these B films and you're looking at these things that

1112
01:00:19,800 --> 01:00:23,000
Speaker 2: we're not taken seriously by the film community for so long,

1113
01:00:23,400 --> 01:00:26,000
Speaker 2: and she's just a good actress.

1114
01:00:26,360 --> 01:00:29,600
Speaker 1: Yeah, I mean, I think that that is typically what

1115
01:00:29,760 --> 01:00:34,960
Speaker 1: happens with certain actors that work in certain genres and

1116
01:00:35,080 --> 01:00:39,600
Speaker 1: a lot of exploitation quote unquote exploitation actors or B

1117
01:00:39,800 --> 01:00:46,080
Speaker 1: movie actors. Sometimes the conventions of the genre take over

1118
01:00:46,440 --> 01:00:51,520
Speaker 1: and you forget that they're actually incredible actors with skill

1119
01:00:51,680 --> 01:00:55,480
Speaker 1: and range and chaps. And I think it took a

1120
01:00:55,480 --> 01:00:59,400
Speaker 1: movie like Jackie Brown to make us remember or make

1121
01:00:59,640 --> 01:01:03,440
Speaker 1: us real a lot of times, because she is incredible

1122
01:01:03,520 --> 01:01:08,320
Speaker 1: in her early films, certainly, But was she allowed to

1123
01:01:08,480 --> 01:01:11,919
Speaker 1: convey the emotion in her face in that last scene

1124
01:01:11,960 --> 01:01:15,440
Speaker 1: of Jackie Brown? Yes, you know, in her early work,

1125
01:01:15,480 --> 01:01:18,280
Speaker 1: I don't know if she was, and she was able

1126
01:01:18,320 --> 01:01:21,000
Speaker 1: to do it finally, and we all realized, Man, she's

1127
01:01:21,080 --> 01:01:22,080
Speaker 1: such a gift, you know.

1128
01:01:22,560 --> 01:01:25,040
Speaker 2: Truly, what a great pick. I'm so glad you picked

1129
01:01:25,040 --> 01:01:29,520
Speaker 2: this film from before and after. So my film for

1130
01:01:29,600 --> 01:01:32,760
Speaker 2: the theme of before and after Pam Greer is the

1131
01:01:32,840 --> 01:01:36,200
Speaker 2: nineteen seventy three film Coffee, which was written and directed

1132
01:01:36,240 --> 01:01:36,919
Speaker 2: by Jack Hill.

1133
01:01:37,360 --> 01:01:44,520
Speaker 3: I mean coffee, black and stacked and packed with fury,

1134
01:01:45,840 --> 01:01:48,960
Speaker 3: with both barrels zero ian La Mob's top killers.

1135
01:01:49,320 --> 01:01:51,920
Speaker 1: This is the end of your run life. You don't

1136
01:01:52,000 --> 01:01:52,480
Speaker 1: push her.

1137
01:01:53,920 --> 01:01:57,680
Speaker 2: So now this I'll start out with just a brief

1138
01:01:57,680 --> 01:02:00,000
Speaker 2: synopsis of the film before we get into Jack Hill

1139
01:02:00,080 --> 01:02:02,680
Speaker 2: a little bit, and then get into Pam Greer. So

1140
01:02:02,760 --> 01:02:06,760
Speaker 2: this is a film about a nurse whose full name,

1141
01:02:06,840 --> 01:02:10,240
Speaker 2: by the way, is Flower Child Coffin a.

1142
01:02:11,680 --> 01:02:13,800
Speaker 1: I for she had to realize that was her full name.

1143
01:02:14,240 --> 01:02:16,960
Speaker 1: I certainly didn't until I looked it up this week.

1144
01:02:17,680 --> 01:02:18,560
Speaker 1: That's crazy.

1145
01:02:18,840 --> 01:02:22,800
Speaker 2: And she goes by coffee with a y coffy and

1146
01:02:22,840 --> 01:02:26,919
Speaker 2: she's a nurse and she basically turns vigilante and she's

1147
01:02:26,960 --> 01:02:30,080
Speaker 2: looking to get revenge on the heroin dealer King George

1148
01:02:30,480 --> 01:02:33,800
Speaker 2: that got her sister addicted. So she does this by

1149
01:02:33,840 --> 01:02:36,400
Speaker 2: pretending to be a sex worker and kind of infiltrating

1150
01:02:36,440 --> 01:02:39,800
Speaker 2: this world of crime and drugs and looking to work

1151
01:02:39,800 --> 01:02:41,520
Speaker 2: her way up to the point where she can get

1152
01:02:41,520 --> 01:02:45,560
Speaker 2: to him. So Jack Hill is kind of credited with

1153
01:02:46,080 --> 01:02:48,560
Speaker 2: like discovering Pam Greer, even though she had.

1154
01:02:48,400 --> 01:02:49,560
Speaker 1: Been doing these other movies.

1155
01:02:49,720 --> 01:02:53,800
Speaker 2: And he is he's someone who was a set designer

1156
01:02:54,320 --> 01:02:56,640
Speaker 2: and art director who turned into a film director.

1157
01:02:57,000 --> 01:03:00,000
Speaker 1: He was a classmate of Francis ford Cope.

1158
01:03:00,800 --> 01:03:04,120
Speaker 2: And there's a Dazed article that refers to him as

1159
01:03:04,160 --> 01:03:07,080
Speaker 2: the King of Cult Carnage, which I just think is

1160
01:03:07,120 --> 01:03:08,720
Speaker 2: such a fantastic title to have.

1161
01:03:09,320 --> 01:03:12,200
Speaker 1: But he was someone who of Jack Hill.

1162
01:03:12,560 --> 01:03:14,320
Speaker 2: Yeah, he's got a lot of great movies. You should

1163
01:03:14,400 --> 01:03:16,600
Speaker 2: certainly look up. And again there are plenty of podcasts

1164
01:03:16,640 --> 01:03:19,200
Speaker 2: out there that are talking about his work in depth

1165
01:03:19,240 --> 01:03:21,480
Speaker 2: if you want to look into it. We would rather

1166
01:03:21,520 --> 01:03:24,520
Speaker 2: spend forty minutes talking about sweatpants, and that's just who

1167
01:03:24,520 --> 01:03:30,680
Speaker 2: we are. But I will say that he is someone

1168
01:03:30,720 --> 01:03:33,400
Speaker 2: in everything I've read about him and everything that i've

1169
01:03:33,560 --> 01:03:36,120
Speaker 2: i've you know, kind of seen him talking in interviews.

1170
01:03:36,400 --> 01:03:40,560
Speaker 2: He's someone who is making these films during a very

1171
01:03:40,640 --> 01:03:45,400
Speaker 2: heightened part of this resurgence of you know, kind of

1172
01:03:45,480 --> 01:03:48,560
Speaker 2: racial dynamics and racial politics in the USA.

1173
01:03:49,280 --> 01:03:52,080
Speaker 1: And he was very aware, more.

1174
01:03:51,920 --> 01:03:54,880
Speaker 2: So than most people would have gone on record to

1175
01:03:55,040 --> 01:03:58,240
Speaker 2: say in Hollywood at the time. He was very aware

1176
01:03:58,400 --> 01:04:01,919
Speaker 2: of the racial dynamics and how they affected and impacted

1177
01:04:02,520 --> 01:04:07,080
Speaker 2: the legacy of film. So again in this article where

1178
01:04:07,240 --> 01:04:10,320
Speaker 2: Dais calls him the king of cult carnage, there's a

1179
01:04:10,360 --> 01:04:12,440
Speaker 2: quote where he says, back then, there was a lot

1180
01:04:12,440 --> 01:04:16,120
Speaker 2: of discrimination. I remember when I began working on Coffee,

1181
01:04:16,480 --> 01:04:19,280
Speaker 2: I made a real effort to find black technicians. There

1182
01:04:19,280 --> 01:04:21,200
Speaker 2: were not many of them because it was a union

1183
01:04:21,240 --> 01:04:23,240
Speaker 2: film and there were not a lot of black people

1184
01:04:23,240 --> 01:04:25,840
Speaker 2: in the Union, but we found a guy called Bob Minor.

1185
01:04:26,040 --> 01:04:27,800
Speaker 2: We gave him an acting part in the movie, but

1186
01:04:27,840 --> 01:04:30,680
Speaker 2: he also did stunt work. He learned on the job

1187
01:04:30,800 --> 01:04:33,480
Speaker 2: and eventually became one of the best in the business.

1188
01:04:33,840 --> 01:04:36,640
Speaker 2: Now he works as the stunt coordinator on blockbusters such

1189
01:04:36,640 --> 01:04:40,560
Speaker 2: as Charlie's Angels and National Treasure. We also hired a

1190
01:04:40,560 --> 01:04:43,800
Speaker 2: black assistant director on Coffee. We made a major effort

1191
01:04:43,840 --> 01:04:46,720
Speaker 2: to get black people into the Union and give them work.

1192
01:04:47,440 --> 01:04:48,800
Speaker 1: And that's what I'm talking about.

1193
01:04:48,960 --> 01:04:52,120
Speaker 2: He saw that the legacy of film could not just

1194
01:04:52,240 --> 01:04:56,320
Speaker 2: be making movies about blackness, that he had to also

1195
01:04:56,400 --> 01:04:59,200
Speaker 2: be working on the other side to get people to

1196
01:04:59,200 --> 01:05:01,160
Speaker 2: a point where they get to tell their own stories

1197
01:05:01,440 --> 01:05:05,320
Speaker 2: and be part of making film that would continue the

1198
01:05:05,400 --> 01:05:06,640
Speaker 2: legacy of their own stories.

1199
01:05:06,640 --> 01:05:07,760
Speaker 1: And I just thought that was so.

1200
01:05:07,720 --> 01:05:10,600
Speaker 2: Astute, and it makes perfect sense to me that he

1201
01:05:10,640 --> 01:05:12,880
Speaker 2: would look at someone like Pam Greer and say, she's

1202
01:05:12,920 --> 01:05:16,080
Speaker 2: a star and she needs to be I need to

1203
01:05:16,120 --> 01:05:18,600
Speaker 2: give her a platform. So that is kind of like

1204
01:05:18,640 --> 01:05:20,880
Speaker 2: how I looked at this film and I was again

1205
01:05:20,920 --> 01:05:22,760
Speaker 2: like reading about it and doing some research about it

1206
01:05:22,760 --> 01:05:25,360
Speaker 2: this week, is that it took that kind of person

1207
01:05:25,400 --> 01:05:29,240
Speaker 2: because this is again a time when white people were

1208
01:05:29,280 --> 01:05:32,080
Speaker 2: running everything in films. So it takes that kind of

1209
01:05:32,200 --> 01:05:35,840
Speaker 2: person to be a real ally to bring us these

1210
01:05:35,840 --> 01:05:38,840
Speaker 2: classics that we have today. And again, Pam Greer is

1211
01:05:38,960 --> 01:05:42,480
Speaker 2: just phenomenal what I love about this And again I

1212
01:05:42,520 --> 01:05:44,640
Speaker 2: took a lot of what I'm about to say from

1213
01:05:45,000 --> 01:05:48,880
Speaker 2: that Film Society clip that I watched on YouTube, But

1214
01:05:49,000 --> 01:05:52,360
Speaker 2: she really talks about when she's reflecting on her career,

1215
01:05:52,440 --> 01:05:55,640
Speaker 2: she talks about how a lot of her characters were

1216
01:05:55,680 --> 01:06:00,439
Speaker 2: based on the liberated women in her life. So she's

1217
01:06:00,600 --> 01:06:03,120
Speaker 2: very aware of how she was perceived because you know,

1218
01:06:03,160 --> 01:06:05,200
Speaker 2: this movie came out to like mixed reviews and people

1219
01:06:05,240 --> 01:06:06,920
Speaker 2: didn't quite know what to do with it at first.

1220
01:06:07,560 --> 01:06:09,800
Speaker 1: But she's aware of that, and she also.

1221
01:06:10,080 --> 01:06:15,240
Speaker 2: Relates her pivot into this genre of ass kicking women.

1222
01:06:15,600 --> 01:06:18,120
Speaker 1: Essentially, she relates that.

1223
01:06:18,040 --> 01:06:22,080
Speaker 2: To her own experiences with you know, the growth that

1224
01:06:22,160 --> 01:06:24,560
Speaker 2: she needed to do as a part of her feminist

1225
01:06:24,640 --> 01:06:28,080
Speaker 2: ideals and an extension of a desire to protect herself,

1226
01:06:28,120 --> 01:06:30,600
Speaker 2: you know, on the heels of being raped and being

1227
01:06:30,840 --> 01:06:34,240
Speaker 2: sexually assaulted. And so when you know that going into it,

1228
01:06:34,480 --> 01:06:37,560
Speaker 2: I think it's it's not as easy to brush her

1229
01:06:37,600 --> 01:06:41,560
Speaker 2: off as just a black Spotasian actress because what she's

1230
01:06:41,600 --> 01:06:44,520
Speaker 2: bringing to the role is so much more than that.

1231
01:06:45,200 --> 01:06:48,880
Speaker 2: And Coffee is one of those films that, look, we're

1232
01:06:48,920 --> 01:06:49,760
Speaker 2: just going to get to it.

1233
01:06:50,480 --> 01:06:52,680
Speaker 1: There is a tit out in every scene.

1234
01:06:55,040 --> 01:07:00,560
Speaker 2: Yeah, no kidding, like a single tit Jack Hill's cleaning,

1235
01:07:00,720 --> 01:07:01,200
Speaker 2: maybe I.

1236
01:07:01,120 --> 01:07:05,439
Speaker 1: Don't know, but multiple scenes where there's one boob out,

1237
01:07:06,120 --> 01:07:08,560
Speaker 1: one boob and it's like the focus of the scene

1238
01:07:08,600 --> 01:07:10,880
Speaker 1: is to get that boob out, to get that shirt ripped,

1239
01:07:10,960 --> 01:07:15,120
Speaker 1: to get that one boob out. Listen, you know this

1240
01:07:15,200 --> 01:07:19,560
Speaker 1: one like again with well, we're talking about the B

1241
01:07:19,760 --> 01:07:23,600
Speaker 1: movie era, you know, we're talking about American International Pictures.

1242
01:07:24,080 --> 01:07:28,200
Speaker 1: American International Pictures was basically the first people to really

1243
01:07:28,240 --> 01:07:31,720
Speaker 1: say it planly that we make movies for nineteen year

1244
01:07:31,720 --> 01:07:35,480
Speaker 1: old boys and that's it. We gotta show one boob.

1245
01:07:35,720 --> 01:07:40,440
Speaker 1: Sometimes it's two, maybe one sometimes, but that's what's happening there.

1246
01:07:40,760 --> 01:07:43,080
Speaker 1: There's a one tit minimum.

1247
01:07:44,760 --> 01:07:48,080
Speaker 2: From one tit minimum per scene, truly, and if it

1248
01:07:48,120 --> 01:07:49,000
Speaker 2: goes up from there.

1249
01:07:48,920 --> 01:07:50,800
Speaker 1: That's fine, but we got to get at least one.

1250
01:07:51,000 --> 01:07:54,000
Speaker 2: So there is this there is that element of this

1251
01:07:54,040 --> 01:07:57,320
Speaker 2: film where it is very fun and funny in that

1252
01:07:57,400 --> 01:08:00,000
Speaker 2: way as someone looking at it in twenty twenty one

1253
01:08:00,120 --> 01:08:02,520
Speaker 2: to say like, like this is funny to me that

1254
01:08:02,520 --> 01:08:04,560
Speaker 2: that was kind of the goal of the scene or

1255
01:08:04,600 --> 01:08:08,760
Speaker 2: part of the narrative structure, was to expose bodies. But

1256
01:08:08,840 --> 01:08:12,840
Speaker 2: I do think that that is not singular to this film,

1257
01:08:12,960 --> 01:08:15,360
Speaker 2: and now just in her performance, like there is so

1258
01:08:16,160 --> 01:08:19,640
Speaker 2: there's so many scenes in this movie that are just

1259
01:08:19,640 --> 01:08:21,920
Speaker 2: just comedic enough to take the edge off of all

1260
01:08:21,920 --> 01:08:25,400
Speaker 2: the violence that's happening. The movie itself opens with like

1261
01:08:25,479 --> 01:08:29,240
Speaker 2: a Shakespearean pimp, and it's just uphill from there, Like

1262
01:08:29,280 --> 01:08:32,439
Speaker 2: he's speaking, he's enunciating so clearly, like he's on stage

1263
01:08:32,439 --> 01:08:35,479
Speaker 2: doing Richer the Third, but he's talking about like his

1264
01:08:35,560 --> 01:08:37,160
Speaker 2: sex workers.

1265
01:08:37,360 --> 01:08:38,760
Speaker 1: And it's only uphill from there.

1266
01:08:39,040 --> 01:08:41,000
Speaker 2: But I think the way that Coffee kind of comes

1267
01:08:41,040 --> 01:08:42,960
Speaker 2: on the scene, and the way that the movie is developed,

1268
01:08:43,000 --> 01:08:44,639
Speaker 2: is that you're not quite sure of her at first,

1269
01:08:44,640 --> 01:08:47,920
Speaker 2: because she is presented as this kind of strung out

1270
01:08:47,960 --> 01:08:51,640
Speaker 2: sex worker, who is you know, you don't know that

1271
01:08:51,640 --> 01:08:53,240
Speaker 2: she's a nurse, You don't you find this out as

1272
01:08:53,240 --> 01:08:56,320
Speaker 2: you go along. So she's presented in this very sexualized

1273
01:08:56,360 --> 01:08:58,600
Speaker 2: way at first, But then she gets up to this

1274
01:08:58,680 --> 01:09:01,960
Speaker 2: apartment and let me when I tell you that she

1275
01:09:02,040 --> 01:09:03,400
Speaker 2: pulls a shotgun out of.

1276
01:09:03,439 --> 01:09:07,040
Speaker 1: Actually nowhere, like actually nowhere.

1277
01:09:07,080 --> 01:09:09,680
Speaker 2: She goes up there with just her clothes on and

1278
01:09:09,720 --> 01:09:13,360
Speaker 2: then pulls a shotgun out and terrorizes these men into

1279
01:09:13,360 --> 01:09:16,120
Speaker 2: telling her how she can get more information about King George.

1280
01:09:16,520 --> 01:09:18,759
Speaker 2: Then we go back and see her life as a nurse.

1281
01:09:19,120 --> 01:09:22,080
Speaker 2: Her boyfriend, the cop, like you know, he gets assaulted

1282
01:09:22,520 --> 01:09:25,040
Speaker 2: and it just fuels her fire even more to find

1283
01:09:25,080 --> 01:09:27,720
Speaker 2: out what's happening with this King George guy. But there

1284
01:09:27,840 --> 01:09:32,160
Speaker 2: is a real narrative arc here about vengeance that was

1285
01:09:32,240 --> 01:09:34,800
Speaker 2: not seen for a lot of women and for a

1286
01:09:34,840 --> 01:09:38,320
Speaker 2: long time in film. And it's not just vengeance, it's

1287
01:09:38,400 --> 01:09:41,200
Speaker 2: vengeance that goes hand in hand with violence. And so

1288
01:09:41,320 --> 01:09:43,960
Speaker 2: I think about, you know, the world we live in

1289
01:09:44,000 --> 01:09:47,600
Speaker 2: now is of course violence is everywhere, unfortunately, but I

1290
01:09:47,640 --> 01:09:50,840
Speaker 2: do think about the impact of that for someone who

1291
01:09:50,880 --> 01:09:54,080
Speaker 2: in her personal life is trying to reclaim that part

1292
01:09:54,120 --> 01:09:57,080
Speaker 2: of herself that kind of strengthen herself. So you get

1293
01:09:57,080 --> 01:10:00,400
Speaker 2: these beautiful scenes and they're funny and great and wonderful,

1294
01:10:00,439 --> 01:10:03,160
Speaker 2: but just to name a few, just like the hits

1295
01:10:03,320 --> 01:10:07,679
Speaker 2: of this movie, I feel like there's one scene where

1296
01:10:08,360 --> 01:10:10,960
Speaker 2: coffee is supposed to be pretending to be Jamaican, but

1297
01:10:11,000 --> 01:10:14,639
Speaker 2: she sounds straight up British, which I just love.

1298
01:10:15,080 --> 01:10:17,679
Speaker 1: She kept that she make an accent for like maybe

1299
01:10:18,439 --> 01:10:20,600
Speaker 1: five seconds and then maybe.

1300
01:10:21,560 --> 01:10:23,439
Speaker 2: But to me it added to the comedy of like,

1301
01:10:23,479 --> 01:10:25,800
Speaker 2: how dumb is this guy that he can't tell she's

1302
01:10:25,840 --> 01:10:28,920
Speaker 2: making this up? And also this is the same scene

1303
01:10:28,960 --> 01:10:32,599
Speaker 2: where she meets King George, whose jumpsuit is so tight

1304
01:10:32,600 --> 01:10:35,040
Speaker 2: that he has a cameltoe, which is just an impressive

1305
01:10:35,040 --> 01:10:37,680
Speaker 2: feat to be able to have a cameltoe when you

1306
01:10:37,680 --> 01:10:40,720
Speaker 2: also have a penis. I just could not understand the

1307
01:10:40,760 --> 01:10:44,040
Speaker 2: seventies at all. Listen, real fucking talk.

1308
01:10:45,240 --> 01:10:49,320
Speaker 1: Who was that a sexy move for men to wear

1309
01:10:49,360 --> 01:10:51,760
Speaker 1: like a jumpsuit where they took the ring on the

1310
01:10:51,840 --> 01:10:54,680
Speaker 1: zipper and just like pulled it down. That to be

1311
01:10:55,040 --> 01:10:57,840
Speaker 1: grosses me out in a way I never thought I

1312
01:10:57,880 --> 01:11:00,160
Speaker 1: could be grossed out, Like when she's when he's in

1313
01:11:00,160 --> 01:11:03,520
Speaker 1: the bedroom with her and he just undoes his entire jumpsuit,

1314
01:11:04,360 --> 01:11:07,200
Speaker 1: no one to wear on underneath, of course, but I'm

1315
01:11:07,320 --> 01:11:11,000
Speaker 1: just like that to me is not enticing or sexy

1316
01:11:11,160 --> 01:11:14,920
Speaker 1: in any way, shape or form. That is such gross

1317
01:11:15,000 --> 01:11:18,919
Speaker 1: It's like, take it off your damn evil Knievel jumpsuit,

1318
01:11:19,000 --> 01:11:22,760
Speaker 1: which is probably musty as hell. Why is this a

1319
01:11:22,880 --> 01:11:25,719
Speaker 1: sexy outfit for a man in the nineteen seventies.

1320
01:11:25,720 --> 01:11:28,040
Speaker 2: I don't unders if I can see the veins on

1321
01:11:28,080 --> 01:11:31,240
Speaker 2: your scrotum through cloth, you need to take it down

1322
01:11:31,280 --> 01:11:32,000
Speaker 2: a fucking notch.

1323
01:11:32,560 --> 01:11:37,320
Speaker 1: Was that vre? Was that a vlor jumpsuiting war? Was

1324
01:11:37,360 --> 01:11:38,200
Speaker 1: that leasure?

1325
01:11:38,560 --> 01:11:41,120
Speaker 2: I am so right there with you that that jumpsuit

1326
01:11:41,160 --> 01:11:43,479
Speaker 2: move was not the one for me either. I could

1327
01:11:43,479 --> 01:11:45,680
Speaker 2: not get there, but I love the And then there's

1328
01:11:45,720 --> 01:11:48,320
Speaker 2: always again, like just these kind of throwaway moments where,

1329
01:11:48,800 --> 01:11:52,200
Speaker 2: you know, when we first see this kind of den

1330
01:11:52,360 --> 01:11:55,040
Speaker 2: of iniquity where all these sex workers live and kind

1331
01:11:55,040 --> 01:11:57,960
Speaker 2: of get called out for jobs, there's just a girl

1332
01:11:58,000 --> 01:12:00,679
Speaker 2: on her on her stomach on a couch, like someone

1333
01:12:00,840 --> 01:12:05,200
Speaker 2: is like delicately applying some hydrogen peroxide or alcohol or

1334
01:12:05,240 --> 01:12:09,639
Speaker 2: something because she has like open sores on her back. Damn, listen,

1335
01:12:10,479 --> 01:12:13,680
Speaker 2: you're fucking way too hard. Not only too hard, but

1336
01:12:13,760 --> 01:12:18,519
Speaker 2: you're fucking in impossible situations that your body should not

1337
01:12:18,600 --> 01:12:20,599
Speaker 2: be And if you're getting open sores on your back

1338
01:12:20,880 --> 01:12:22,120
Speaker 2: as a result of sex.

1339
01:12:22,000 --> 01:12:25,960
Speaker 1: Oh my god, I mean, it's like scary, scary, dudes

1340
01:12:26,040 --> 01:12:30,439
Speaker 1: in this entire movie, like completely. So in the movie,

1341
01:12:31,160 --> 01:12:35,760
Speaker 1: there's this like final boss guy named Arturo, I think

1342
01:12:35,800 --> 01:12:39,559
Speaker 1: it's his name. He's like King George's like like essentially,

1343
01:12:39,680 --> 01:12:43,080
Speaker 1: you know, much like many crime films, there's like many

1344
01:12:43,160 --> 01:12:48,160
Speaker 1: different factions. There's like the police working with the criminals,

1345
01:12:48,240 --> 01:12:51,840
Speaker 1: working with the government, working with like the drug kingpins

1346
01:12:51,880 --> 01:12:55,240
Speaker 1: from presumably Italy. I have no idea where they were from,

1347
01:12:56,240 --> 01:12:58,519
Speaker 1: or maybe a Latin American country. I you know, it

1348
01:12:58,600 --> 01:13:00,280
Speaker 1: was very strange. And then on top of that, you

1349
01:13:00,320 --> 01:13:02,960
Speaker 1: have sid Haig, who, by the way, sid Haig is

1350
01:13:03,760 --> 01:13:07,840
Speaker 1: also another cult movie legend. He was in other jack

1351
01:13:07,920 --> 01:13:11,000
Speaker 1: Hill movies. He was actually in Jackie Brown. He plays

1352
01:13:11,080 --> 01:13:14,639
Speaker 1: the judge. But he's a legend, and you know, he

1353
01:13:14,720 --> 01:13:17,600
Speaker 1: plays like a henchman of this Arturo guy. And I

1354
01:13:17,600 --> 01:13:20,880
Speaker 1: couldn't understand, like where what his ethnicity was. I was like,

1355
01:13:21,240 --> 01:13:25,599
Speaker 1: is he Cuban, is he Italian? Is he British? Jamaican?

1356
01:13:26,360 --> 01:13:33,120
Speaker 1: Is he Jamaican? Hard to say, but Arturo is terrifying

1357
01:13:33,960 --> 01:13:36,880
Speaker 1: because you know, basically they tell her, if you want

1358
01:13:36,880 --> 01:13:40,040
Speaker 1: to get to this guy, you know, you gotta act

1359
01:13:40,200 --> 01:13:43,000
Speaker 1: like you're an exotic lady from a foreign country because

1360
01:13:43,040 --> 01:13:45,200
Speaker 1: he loves it, but also be prepared because he likes

1361
01:13:45,240 --> 01:13:48,320
Speaker 1: to spit on women and hit them. And you're just like, oh,

1362
01:13:48,320 --> 01:13:50,040
Speaker 1: and he does all that, like.

1363
01:13:50,120 --> 01:13:55,439
Speaker 2: He just says vile things and things and just awful.

1364
01:13:55,520 --> 01:13:59,680
Speaker 1: Awful things. Where of course when she finally kicks his

1365
01:13:59,680 --> 01:14:04,320
Speaker 1: fucking it is awesome. Yes right, You're like, yes, get

1366
01:14:04,360 --> 01:14:06,320
Speaker 1: that guy for the shit that he just pulled in

1367
01:14:06,360 --> 01:14:07,280
Speaker 1: this movie.

1368
01:14:06,960 --> 01:14:09,080
Speaker 2: And the way she gets to him is awesome because

1369
01:14:09,080 --> 01:14:11,160
Speaker 2: she has this there's this move where you see her

1370
01:14:11,160 --> 01:14:14,040
Speaker 2: putting razor blades in her afro and you're like, huh,

1371
01:14:14,080 --> 01:14:15,880
Speaker 2: why is she doing that? Is that just in case

1372
01:14:15,880 --> 01:14:18,120
Speaker 2: for later she needs some protection. No, it's because she

1373
01:14:18,160 --> 01:14:20,200
Speaker 2: knows she's gonna have to fight all of the sex

1374
01:14:20,240 --> 01:14:24,240
Speaker 2: workers in his camp, essentially to show off her exoticism.

1375
01:14:24,720 --> 01:14:28,040
Speaker 2: And when somebody grabs her hair, she just slices her

1376
01:14:28,040 --> 01:14:29,440
Speaker 2: fucking hands to ribbons.

1377
01:14:29,560 --> 01:14:32,840
Speaker 1: That scene of the scene of them fighting is kind

1378
01:14:32,840 --> 01:14:38,360
Speaker 1: of a famous scene, especially when Coffee dumps that giant

1379
01:14:38,520 --> 01:14:43,000
Speaker 1: bowl of salad on Linda Hayes's character. Like, that shit

1380
01:14:43,280 --> 01:14:45,960
Speaker 1: cracks me up because I'm like, first of all, who

1381
01:14:46,000 --> 01:14:47,080
Speaker 1: is eating all that salad?

1382
01:14:47,360 --> 01:14:48,080
Speaker 2: That is an.

1383
01:14:47,880 --> 01:14:51,439
Speaker 1: Industrial sized salad bowl at this party full of coke

1384
01:14:51,479 --> 01:14:55,120
Speaker 1: heads and he dressed no one's eating, but why is

1385
01:14:55,120 --> 01:14:57,320
Speaker 1: anyone eating a salad? And then I just love that

1386
01:14:57,400 --> 01:14:59,120
Speaker 1: she was able to just take the entire thing and

1387
01:14:59,240 --> 01:15:01,080
Speaker 1: just dump it some woman.

1388
01:15:01,840 --> 01:15:05,920
Speaker 2: Oh god, it's in a bowl the size of like

1389
01:15:06,040 --> 01:15:06,920
Speaker 2: a car tire.

1390
01:15:11,280 --> 01:15:16,280
Speaker 1: Good God, weaponizing salad. It's like so funny to me.

1391
01:15:16,720 --> 01:15:19,640
Speaker 2: She is weaponizing everything, which again is like part of

1392
01:15:19,720 --> 01:15:22,320
Speaker 2: the joy of watching her be so smart and interesting

1393
01:15:22,360 --> 01:15:25,439
Speaker 2: about the way that she's approaching this move up the

1394
01:15:25,520 --> 01:15:28,240
Speaker 2: ladder to get to King George, and she's you know,

1395
01:15:28,280 --> 01:15:31,519
Speaker 2: she's replacing his hair woman with powdered sugar, and she's

1396
01:15:31,560 --> 01:15:34,599
Speaker 2: doing the most And I think another like comedic scene

1397
01:15:34,640 --> 01:15:37,439
Speaker 2: or something that just really made me laugh and just

1398
01:15:37,479 --> 01:15:40,800
Speaker 2: made me feel like this is such a fun movie.

1399
01:15:41,040 --> 01:15:43,040
Speaker 2: There's a scene where she's preparing for kind of like

1400
01:15:43,080 --> 01:15:45,519
Speaker 2: her last fight, and she takes a gun and she

1401
01:15:45,560 --> 01:15:48,080
Speaker 2: puts it in a stuffed lion, a stuffed animal that's

1402
01:15:48,120 --> 01:15:52,480
Speaker 2: a lion. Then she takes the lion and puts it

1403
01:15:52,520 --> 01:15:56,640
Speaker 2: in a pillow. You think, but it's actually like a

1404
01:15:56,680 --> 01:16:00,320
Speaker 2: crochet purse that's as big as a pillow. So it's

1405
01:16:00,360 --> 01:16:02,840
Speaker 2: just like wheels within wheels of how she's going to

1406
01:16:02,880 --> 01:16:04,920
Speaker 2: get to this gun, and then she just puts on

1407
01:16:04,960 --> 01:16:07,639
Speaker 2: this purse and walks out the door, and it is like, yeah,

1408
01:16:07,640 --> 01:16:09,880
Speaker 2: it's totally normal for me to carrying this giant purse,

1409
01:16:09,920 --> 01:16:12,360
Speaker 2: the stuffed lion, and you don't need to think about

1410
01:16:12,360 --> 01:16:14,760
Speaker 2: what's inside of any of this stuff. It's like the

1411
01:16:14,840 --> 01:16:16,000
Speaker 2: ultimate maturiti caital.

1412
01:16:16,360 --> 01:16:19,559
Speaker 1: I know, it's like someone's grandma spent like six months

1413
01:16:19,560 --> 01:16:25,559
Speaker 1: on that purse. That purse was huge. Yeah, And you're right,

1414
01:16:26,040 --> 01:16:28,479
Speaker 1: because this movie is very if you want to get

1415
01:16:28,520 --> 01:16:31,720
Speaker 1: down to it, it's almost fucking nihilistic, right. I mean,

1416
01:16:31,760 --> 01:16:35,880
Speaker 1: it's like everybody that she loves is damaged by the

1417
01:16:36,000 --> 01:16:40,280
Speaker 1: drug trade. You know, basically everybody that she loves and

1418
01:16:40,360 --> 01:16:43,120
Speaker 1: is affiliated with that's at all nice to her is

1419
01:16:44,080 --> 01:16:50,080
Speaker 1: basically a scumbag. And it ultimately means that she has

1420
01:16:50,160 --> 01:16:53,800
Speaker 1: to fucking kick everybody's ass because it is rough. I mean, like,

1421
01:16:54,120 --> 01:16:56,360
Speaker 1: you know, there's a part of the movie where she's

1422
01:16:56,400 --> 01:17:00,560
Speaker 1: basically been seeing i don't know, like a local altician

1423
01:17:00,680 --> 01:17:04,000
Speaker 1: who has ambitions to be the mayor or something like that,

1424
01:17:04,760 --> 01:17:08,320
Speaker 1: and he is a fucking piece of shit. As it

1425
01:17:08,400 --> 01:17:12,120
Speaker 1: turns out, and he's basically like towards the end of

1426
01:17:12,120 --> 01:17:15,200
Speaker 1: the movie, he's trying to woo her back once she

1427
01:17:15,280 --> 01:17:18,240
Speaker 1: figures him out, and she figures him out in a

1428
01:17:18,320 --> 01:17:22,680
Speaker 1: really big way, because you know, basically she gets captured

1429
01:17:22,920 --> 01:17:27,080
Speaker 1: and you know, she has to escape from these terrible dudes,

1430
01:17:27,200 --> 01:17:29,040
Speaker 1: and he's like, oh, you could just kill her. Yeah,

1431
01:17:29,200 --> 01:17:32,639
Speaker 1: he's like, you can kill her, that's fine, I won't

1432
01:17:32,640 --> 01:17:35,920
Speaker 1: feel two ways about it, and she's like this motherfucker.

1433
01:17:36,360 --> 01:17:39,519
Speaker 1: So at the end of it, you can tell like

1434
01:17:39,600 --> 01:17:41,720
Speaker 1: the wheels are turning in her head because he's like,

1435
01:17:41,960 --> 01:17:45,280
Speaker 1: come on, I didn't mean it. I love you. Let's

1436
01:17:45,280 --> 01:17:49,719
Speaker 1: move past this. Let's move past me saying it's okay

1437
01:17:49,760 --> 01:17:52,280
Speaker 1: for these gangsters to kill you. Let's move past it

1438
01:17:52,320 --> 01:17:55,519
Speaker 1: and just let's be together and go to Acapoco or

1439
01:17:55,520 --> 01:17:58,880
Speaker 1: whatever the fuck they were gonna do. And she's not happening,

1440
01:17:59,080 --> 01:18:02,240
Speaker 1: and you know, ultimately he turns out even worse than

1441
01:18:02,320 --> 01:18:05,000
Speaker 1: we thought. And it's just like there's like speaking of dolls.

1442
01:18:05,040 --> 01:18:07,400
Speaker 1: I mean, it's just layers upon layers of badness within

1443
01:18:07,439 --> 01:18:11,479
Speaker 1: these characters, and she is essentially the only good person

1444
01:18:11,479 --> 01:18:14,400
Speaker 1: of this movie. I can't the end of it, and even.

1445
01:18:14,280 --> 01:18:17,000
Speaker 2: Though it's not. It's not the focus of the film

1446
01:18:17,200 --> 01:18:19,920
Speaker 2: per se. It's the kind of the thing that pushes

1447
01:18:19,960 --> 01:18:21,920
Speaker 2: the narrative, but it's not the focus of the narrative.

1448
01:18:22,520 --> 01:18:23,799
Speaker 1: This is a film that's also.

1449
01:18:23,760 --> 01:18:27,040
Speaker 2: Really talking about the societal ills and the ways that

1450
01:18:27,120 --> 01:18:30,920
Speaker 2: drugs were flooded into these communities and the ways that

1451
01:18:31,080 --> 01:18:32,800
Speaker 2: you know, and when I say these communities, I mean

1452
01:18:32,880 --> 01:18:33,640
Speaker 2: black communities.

1453
01:18:33,960 --> 01:18:35,280
Speaker 1: So she really is.

1454
01:18:35,240 --> 01:18:39,880
Speaker 2: Dealing with oppression on multiple scales, starting with her physicality,

1455
01:18:39,920 --> 01:18:42,759
Speaker 2: starting with her femininity, and then moving into these other ways.

1456
01:18:42,800 --> 01:18:45,479
Speaker 2: So I think that the more people disappoint her in

1457
01:18:45,520 --> 01:18:48,200
Speaker 2: this film, the more angry she gets because she knows

1458
01:18:48,200 --> 01:18:50,439
Speaker 2: that this world does not have to be this way,

1459
01:18:50,479 --> 01:18:53,400
Speaker 2: and she can clearly see the mechanisms of how it

1460
01:18:53,439 --> 01:18:56,000
Speaker 2: got this bad. So she's taking the lawn to her

1461
01:18:56,040 --> 01:18:58,800
Speaker 2: own hands in that way because she just can see it.

1462
01:18:58,880 --> 01:19:01,600
Speaker 2: She can see how it affects so negatively everyone in

1463
01:19:01,640 --> 01:19:02,120
Speaker 2: her orbit.

1464
01:19:02,640 --> 01:19:05,400
Speaker 1: Yeah, And honestly, like as much as we love her

1465
01:19:05,400 --> 01:19:09,040
Speaker 1: like physical capabilities, with you know, her being able to

1466
01:19:09,160 --> 01:19:12,599
Speaker 1: like be in an action film, right, I mean, she's

1467
01:19:12,600 --> 01:19:14,880
Speaker 1: got you can already tell, like at this time, this

1468
01:19:14,960 --> 01:19:16,680
Speaker 1: is early in her career, but you can tell like

1469
01:19:16,720 --> 01:19:20,880
Speaker 1: she's got the skill to act, and there are moments

1470
01:19:20,960 --> 01:19:24,760
Speaker 1: where she's like really emotional in this film, and she's

1471
01:19:24,800 --> 01:19:28,479
Speaker 1: she's conveying that very well. And I think it also again,

1472
01:19:28,560 --> 01:19:31,280
Speaker 1: like we said before, for my movie, like it would

1473
01:19:31,280 --> 01:19:33,799
Speaker 1: be very easy to be like, she's a hot lady

1474
01:19:33,840 --> 01:19:36,160
Speaker 1: with an afro and a gun and she's just shooting men.

1475
01:19:36,760 --> 01:19:38,960
Speaker 1: That would be so easy for us to just say

1476
01:19:39,000 --> 01:19:42,160
Speaker 1: that as being the like center of her badassness, which

1477
01:19:42,439 --> 01:19:45,840
Speaker 1: it's a component, not gonna lie love it, but it's

1478
01:19:45,880 --> 01:19:48,439
Speaker 1: also that she's a great actress and she's able to

1479
01:19:49,320 --> 01:19:52,160
Speaker 1: take it, you know. To me, I don't think that

1480
01:19:52,320 --> 01:19:55,240
Speaker 1: this is a schlocky as I think people would think.

1481
01:19:55,520 --> 01:19:59,479
Speaker 1: You know, it's rough. It's a rough film. There are

1482
01:19:59,479 --> 01:20:03,360
Speaker 1: moments where it is super fun to watch, but at

1483
01:20:03,360 --> 01:20:05,519
Speaker 1: the core of it, it does speak to a lot

1484
01:20:05,560 --> 01:20:07,960
Speaker 1: of like deep issues that are happening, not just with

1485
01:20:08,080 --> 01:20:10,840
Speaker 1: drugs but also just with like black people in the

1486
01:20:10,920 --> 01:20:15,240
Speaker 1: nineteen seventies and women in the nineteen seventies and sort

1487
01:20:15,240 --> 01:20:18,120
Speaker 1: of their roles and like who they were supposed to

1488
01:20:18,160 --> 01:20:21,720
Speaker 1: be to men. And I think she's so talented and

1489
01:20:21,760 --> 01:20:24,200
Speaker 1: you can see it from a very early point, which

1490
01:20:24,200 --> 01:20:26,400
Speaker 1: I think is why we did this theme ultimately, is

1491
01:20:26,439 --> 01:20:28,720
Speaker 1: to be able to see it on both sides, you know.

1492
01:20:28,840 --> 01:20:31,320
Speaker 2: And yeah, to see it bloom over time. She had

1493
01:20:31,360 --> 01:20:33,840
Speaker 2: it from the beginning and it's bloomed over time. And

1494
01:20:33,920 --> 01:20:36,360
Speaker 2: I just, yeah, I really love I just really love her.

1495
01:20:36,520 --> 01:20:39,840
Speaker 2: I think she is a very unique presence in the

1496
01:20:39,880 --> 01:20:44,519
Speaker 2: world of acting and just so inherently herself but able

1497
01:20:44,520 --> 01:20:48,920
Speaker 2: to inhabit these wonderful roles. And I also the last thing,

1498
01:20:49,000 --> 01:20:50,800
Speaker 2: last thing I want to say about Coffee. If you've

1499
01:20:50,840 --> 01:20:53,160
Speaker 2: never seen it, go and even if you have seen

1500
01:20:53,200 --> 01:20:55,120
Speaker 2: it and you haven't seen it in a while. There

1501
01:20:55,200 --> 01:20:57,160
Speaker 2: is a scene in this film which has one of

1502
01:20:57,160 --> 01:20:59,880
Speaker 2: the best entrances of all time by a character named Harry.

1503
01:21:00,640 --> 01:21:03,960
Speaker 2: Just go and wait for Harriet to show up. And

1504
01:21:04,000 --> 01:21:07,719
Speaker 2: I'm not even gonna ruin it for you. Harriet shows

1505
01:21:07,800 --> 01:21:09,960
Speaker 2: up and I lose my mind every time I watch

1506
01:21:10,000 --> 01:21:10,599
Speaker 2: this movie.

1507
01:21:10,880 --> 01:21:13,320
Speaker 1: I'm not gonna lie. I wish that Harriet had her

1508
01:21:13,360 --> 01:21:17,200
Speaker 1: own cinematic universe. I was waiting for it never happened.

1509
01:21:17,880 --> 01:21:22,920
Speaker 1: But I'm like, where is Harriet in her outlaw Biker film?

1510
01:21:23,080 --> 01:21:26,439
Speaker 1: I need to know this, I need to know where

1511
01:21:26,479 --> 01:21:28,799
Speaker 1: this character goes. You know what I mean, all.

1512
01:21:28,800 --> 01:21:31,599
Speaker 2: One hundred percent. But it is so fun and Pam

1513
01:21:31,640 --> 01:21:34,599
Speaker 2: Greer is the goddamn best. And for all you people

1514
01:21:34,600 --> 01:21:36,599
Speaker 2: who are snitch tagging out there, do your thing.

1515
01:21:39,479 --> 01:21:43,200
Speaker 1: Listen normally, don't pester people on the internet. Just don't

1516
01:21:43,200 --> 01:21:48,080
Speaker 1: be pissor anyone, you know, like we love Pam Greer.

1517
01:21:48,600 --> 01:21:52,000
Speaker 1: If people say that to her, I guess we'll we'll

1518
01:21:52,080 --> 01:21:54,320
Speaker 1: just have to say it by and let that happen.

1519
01:21:54,600 --> 01:21:57,439
Speaker 1: But don't pester and be annoying, you know what I mean.

1520
01:21:57,720 --> 01:22:00,800
Speaker 2: Be cool, Just say hi to pay say hi to

1521
01:22:00,840 --> 01:22:03,720
Speaker 2: Ellen Cleghorn, and move it on.

1522
01:22:04,160 --> 01:22:07,240
Speaker 1: We're looking for a third and fourth co hosts this podcast.

1523
01:22:07,280 --> 01:22:08,879
Speaker 1: Please please mention.

1524
01:22:10,600 --> 01:22:12,439
Speaker 2: I've had so much fun with this. I can't wait

1525
01:22:12,479 --> 01:22:15,120
Speaker 2: to do this again with this theme. But I'm just

1526
01:22:15,600 --> 01:22:17,800
Speaker 2: enamored of her career and i just think that this

1527
01:22:17,920 --> 01:22:19,719
Speaker 2: was the best way to kick this theme off.

1528
01:22:20,240 --> 01:22:23,040
Speaker 1: Yes, and honestly, if you have any you know, if

1529
01:22:23,040 --> 01:22:25,640
Speaker 1: you have any feedback, if you have ideas, if you

1530
01:22:25,720 --> 01:22:28,320
Speaker 1: have things you just want to say about Pam Greer

1531
01:22:28,560 --> 01:22:32,160
Speaker 1: or say to us, you know, email us. I saw

1532
01:22:32,160 --> 01:22:34,800
Speaker 1: what he did pod at Gmail. If Millie was your

1533
01:22:34,840 --> 01:22:40,240
Speaker 1: babysitter at any point, I'm actually scared of that road.

1534
01:22:42,560 --> 01:22:44,320
Speaker 2: And you can also reach out to us on our

1535
01:22:44,360 --> 01:22:47,559
Speaker 2: social media. We are at I saw pod on both

1536
01:22:47,600 --> 01:22:48,880
Speaker 2: Twitter and Instagram.

1537
01:22:49,320 --> 01:22:51,280
Speaker 1: What do we got coming up next week?

1538
01:22:51,640 --> 01:22:54,280
Speaker 2: Your films for next week if you choose to accept them,

1539
01:22:54,360 --> 01:22:57,800
Speaker 2: and you better because it's happening whether you do or not.

1540
01:22:59,720 --> 01:23:04,160
Speaker 2: Are the Verbs from nineteen eighty nine and rear Window

1541
01:23:04,439 --> 01:23:07,840
Speaker 2: from nineteen fifty four. And as always we implore you

1542
01:23:08,640 --> 01:23:09,599
Speaker 2: try to guess the theme.

1543
01:23:10,439 --> 01:23:14,280
Speaker 1: Just try weed Daria. We'll see you next week. Thanks

1544
01:23:14,320 --> 01:23:22,160
Speaker 1: again for listening, Bye bye, bye bye.

1545
01:23:24,000 --> 01:23:27,480
Speaker 2: This has been an exactly right production. Our producers Alexis Amorsi,

1546
01:23:27,680 --> 01:23:31,280
Speaker 2: our engineers Analise Nelson. Our social media manager is Taren Maza.

1547
01:23:31,520 --> 01:23:34,960
Speaker 2: Our theme songs by Tom bry Fogel, artwork by Garrett Ross.

1548
01:23:35,160 --> 01:23:39,080
Speaker 2: Our executive producers are Georgia Hartstark, Karen Kilgareth and Danielle Kramer.

1549
01:23:39,479 --> 01:23:42,040
Speaker 2: Follow us on Instagram and Twitter at I saw Pod,

1550
01:23:42,479 --> 01:23:44,839
Speaker 2: Email us at I Saw what you did pod at Gmail,

1551
01:23:45,120 --> 01:23:47,640
Speaker 2: and please don't forget to listen, subscribe, leave us a

1552
01:23:47,680 --> 01:23:50,880
Speaker 2: review on Apple podcast, Stitcher or wherever you listen.