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Speaker 1: Hello, you and me and you welcome to another episode

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Speaker 1: of I Saw What You Did.

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Speaker 2: My name is Millie.

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Speaker 3: Danielle.

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Speaker 1: Oh my god. Those intros just get worse and worse

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Speaker 1: as the time wears on.

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Speaker 2: They're my favorite. Can I just go, yo, what is up?

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Speaker 4: Like?

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Speaker 1: That's what I really because that's how I greet every

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Speaker 1: one of my other friends.

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Speaker 4: So do it because that is how you greet everyone.

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Speaker 4: And that's also worked for MTV reps for like a decade.

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Speaker 1: So good to know I have something going to comment

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Speaker 1: with you own TV wraps. But what's going on with

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Speaker 1: you today? How's it going doing?

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Speaker 2: All right?

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Speaker 4: I went for my annual exam this morning, which I

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Speaker 4: feel like, I know that doctors specialize.

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Speaker 2: I kind of wish.

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Speaker 4: I think that if there's ever a guy, know who

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Speaker 4: is also a general pack tishaner, like They're gonna get

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Speaker 4: all my money for the rest of my life because

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Speaker 4: I'm sick of having to go to both and just

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Speaker 4: like split it up.

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Speaker 1: Wait a minute, okay, cause I was going to say,

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Speaker 1: like when I was in Atlanta, I had this doctor

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Speaker 1: for a really long time that did both and it

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Speaker 1: was the opposite, Like she was my primary care but

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Speaker 1: she was also a ghyino and then she kept like

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Speaker 1: pressing the guy issue. She'd be like, well, you know,

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Speaker 1: if you want to get a paps mayor, I do

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Speaker 1: paps mares. And I was like cool, good to know.

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Speaker 1: And then she would say it like every time I

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Speaker 1: would go in there, she'd be like, yo, by the way,

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Speaker 1: if you need I'm a guy, no too, And I'm

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Speaker 1: like okay, I was. I didn't mean to tell her

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Speaker 1: like I'm seeing someone like it's cool, Like I don't

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Speaker 1: need the paps mare from you. I just need all

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Speaker 1: the other stuff.

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Speaker 2: But I love this like hard sell car salesman approach.

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Speaker 1: I'm fairly certain she's not listening to this podcast, nor

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Speaker 1: will and in fact, I don't even know if she's

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Speaker 1: practicing medicine. But yo, she was like a legendary freak.

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Speaker 2: Yeah. So she was the like Atlanta like.

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Speaker 1: She was the in town doctor that took like no insurance.

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Speaker 1: So basically like it was like everybody's like doctor if

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Speaker 1: you were like in your twenties and he didn't have

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Speaker 1: health insurance, she would see you okay. And I went

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Speaker 1: and saw her for like a really long time. I

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Speaker 1: actually did have insurance at one point, like when I

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Speaker 1: started working in my mid twenties. I had I actually

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Speaker 1: had health insurance, so but I still went and saw

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Speaker 1: her because I was like, yo, I've been seeing her

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Speaker 1: since I was like eighteen. But she was a freak man.

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Speaker 1: She was like she was a wild dresser. She had

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Speaker 1: like wild clothes. She kind of had this like real

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Speaker 1: her attitude. She had like no bedside manner like for

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Speaker 1: a doctor. She had zero bedside manner. And she was

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Speaker 1: really blunt, really like yo, you need to do this

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Speaker 1: like immediately, like and it would create this like fear

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Speaker 1: and then she would hard sell you on the Guido stuff.

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Speaker 1: And I was like, Yo, legendary freak.

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Speaker 4: That's not someone that you can have like between your

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Speaker 4: freaking legs like that, dude, Like, I.

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Speaker 1: Don't need this bluntness down there. I need like I

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Speaker 1: need somebody who's basically a borsch belt comedian. That's who

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Speaker 1: I need to be. And luckily I have found that woman.

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Speaker 1: Now my GUYO in La is that woman, and she

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Speaker 1: is the fucking greatest. I love her so much. But yeah,

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Speaker 1: I couldn't take that attitude. But that's so funny that

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Speaker 1: you mentioned that you want like an all in one,

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Speaker 1: because for the longest time I had access to it

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Speaker 1: all in one, I didn't use it, and.

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Speaker 2: I've never heard of that.

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Speaker 4: But now I'm thinking maybe I don't want it all

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Speaker 4: in one for that exact reason, because then you're constantly

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Speaker 4: having to weigh which one you need. I'm just lazy

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Speaker 4: enough to not want to drive to Cedars Sinai more

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Speaker 4: than once a year, is really what it comes down to,

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Speaker 4: because it does not matter how many times I've been there.

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Speaker 4: I have never gone to Cedars and been able to

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Speaker 4: go directly to where I need to go without calling

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Speaker 4: the office and being like, Yo, I'm in the parking

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Speaker 4: garage and I'm lost. I get more lost at Cedars

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Speaker 4: than I do anywhere else on this planet.

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Speaker 1: Yo, Cedars is insane. And I speak of this from

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Speaker 1: fucking tons of experience, because you know, a few years

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Speaker 1: ago when I was sick and I was at Cedars,

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Speaker 1: I was there for like two and a half weeks

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Speaker 1: or something, and it was basically like Yo, even to

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Speaker 1: this day, my parents were like, it was a fucking

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Speaker 1: nightmare coming to see you.

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Speaker 2: Like it was like we didn't know where we were.

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Speaker 1: We ended up parking at the mall and just walking

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Speaker 1: over like we couldn't figure it out. So we went

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Speaker 1: to the Beverly Center and just walked there.

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Speaker 2: Why did that? Once? When I came to see you,

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Speaker 2: I did that.

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Speaker 4: I was like, I don't know, because they had moved

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Speaker 4: you out of like I think it was like they

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Speaker 4: moved you as I see you into your room. Yeah,

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Speaker 4: And I came to see you and I was like,

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Speaker 4: all right, she's in this new room. This will be

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Speaker 4: easier because it's like an established building. And then I

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Speaker 4: went and I'm looking and I'm like listening to Google

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Speaker 4: Maps and I'm trying to do that and I was like,

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Speaker 4: I don't know. I don't I'm just gonna park at

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Speaker 4: the Beverly Center. Beverly Center walk past Egg Slut, which

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Speaker 4: is so disconcerting.

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Speaker 3: To walk your way to like see an ill friend.

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Speaker 4: Can we keep can we keep the slaps tucked away

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Speaker 4: for a minute. Not to sex shame the egg, not

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Speaker 4: to text shame the egg, but just sincerely.

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Speaker 2: It's always been a curious name.

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Speaker 1: For business to be. But that's La in a nutshell.

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Speaker 1: Their businesses are fucking wild wild.

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Speaker 2: So I went.

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Speaker 4: I finally fucking figured it out, but I was just like,

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Speaker 4: oh God, this place is so confusing always, and then

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Speaker 4: I almost got in a fight at the elevators because,

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Speaker 4: as you know, I'm not a fading violet by any stretch.

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Speaker 4: So people are in these streets still trying to crowd

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Speaker 4: into an elevator, as if there's not a.

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Speaker 2: Pandemic going on.

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Speaker 4: Yeah, so I missed the first two and now I'm

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Speaker 4: like ten minutes into my appointment time because I got

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Speaker 4: lost in the garage and now I'm waiting for an elevator.

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Speaker 4: So when the next one came around, four people started

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Speaker 4: mobing it and I was in front of the line.

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Speaker 4: So I went in and I held my hand up

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Speaker 4: and I said, I'm not standing in this elevator with

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Speaker 4: more than three people, and everyone kind of looked at me,

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Speaker 4: and then like two people kind of sheepishly got.

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Speaker 2: On, you're at a fucking hospital, don't you know.

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Speaker 1: That We're not supposed to be doing this if anywhere,

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Speaker 1: but here, you know.

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Speaker 4: All I had to hold my hand up like a

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Speaker 4: stopping guard and be like like a crossing guard and

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Speaker 4: just be like, I'm not doing this right now, and

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Speaker 4: I have an appointment, can you please? Like it was unreal.

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Speaker 4: So that's when the lady kind of mean mugged me,

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Speaker 4: and I was like, I will box you in this

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Speaker 4: fucking hospital.

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Speaker 2: This is where I'm at. This is where I'm at.

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Speaker 4: When I go out in public, you have to be

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Speaker 4: ready to fight, and I hate it. I hate that feeling,

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Speaker 4: but I'll do it.

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Speaker 1: The funny thing is is that when you're there, though

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Speaker 1: it is true, this is like a fucking nice hospital,

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Speaker 1: and it's like this has to be an LA thing,

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Speaker 1: but like all the fucking doctors and nurses are hot.

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Speaker 4: Oh my god, I could never get treated there in

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Speaker 4: a long term way.

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Speaker 2: It's not fair. It's unfair. Your doctor was hot, all

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Speaker 2: of my doctors.

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Speaker 1: Okay, First of all, I had like there's so many

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Speaker 1: people in and out. I mean, listen, I'm not gonna

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Speaker 1: I won't go into the entire story, but basically, you know,

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Speaker 1: I had this like emergency surgery because I had like

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Speaker 1: one of the most random things happened to me. It

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Speaker 1: was basically like an abscess that bursts randomly in my

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Speaker 1: body and didn't realize it had happened. Essentially, this completely

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Speaker 1: random medical event, and I had never been to the

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Speaker 1: hospital before, and I had only been living in LA

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Speaker 1: for a few years, and I was like fuck. I

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Speaker 1: guess I just got to go to Cedar Sinai because

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Speaker 1: it's the only thing that's like I know that's in

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Speaker 1: my neighborhood. And then when I got there, I was like, Okay,

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Speaker 1: there's a lot of doctors and they're all totally hot

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Speaker 1: in their own little separate ways. Right. So there was

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Speaker 1: like the main surgery guy. He was kind of this

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Speaker 1: like middle really fit, middle aged man, looks like he

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Speaker 1: was like ultra marathon or super duper fucking healthy Men's

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Speaker 1: health magazine guy.

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Speaker 2: Hot as shit. Then there was like a.

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Speaker 1: Young kind of like bearded, sort of sensitive indie rock

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Speaker 1: maybe like a.

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Speaker 2: Souf Jean Stevens type hot.

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Speaker 1: There was a Jewish lesbian who was super duper hot.

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Speaker 1: She was like so like she had this kind of

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Speaker 1: like crossing Delancey ish or Amy her. He looked to

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Speaker 1: her and I was like hot a shit. Then there

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Speaker 1: was like a young Asian woman. Seels like everybody was

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Speaker 1: hot everyone, and I'm like going, man, y'all are seeing

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Speaker 1: me literally at my worst and I don't really know

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Speaker 1: how to feel.

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Speaker 4: It, Like I am the game of operation right now basically,

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Speaker 4: and you are just seeing me here with my little

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Speaker 4: bowl cut just doing the thing on the table. It

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Speaker 4: is disconcerting. My Gio is hot, like it's just it's

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Speaker 4: it's disconcerting.

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Speaker 2: Is it a woman or a man?

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Speaker 4: It's a woman, Okay, yeah, but it's just like that's

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Speaker 4: just I think part of how you get hired there.

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Speaker 2: I don't know, maybe it's an la thing. Have you

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Speaker 2: ever had a man ghino? No?

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Speaker 4: Yeah, I you know, I think I'm a pretty open

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Speaker 4: minded person.

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Speaker 1: I say, man, sorry, I'm.

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Speaker 2: At male guino. Continue, I like, man.

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Speaker 1: Guio sounds like a.

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Speaker 3: Rare dinosaur breeze.

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Speaker 2: Well, we did the dig.

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Speaker 1: We came across one of the only man gyo fossils

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Speaker 1: ever found.

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Speaker 2: I wouldn't I wouldn't have a man guy. No, I

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Speaker 2: don't know. I don't know.

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Speaker 4: I feel like it's you know, I've never even I

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Speaker 4: haven't interrogated it.

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Speaker 2: So I'm gonna think about it.

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Speaker 4: But right now my feeling is no.

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Speaker 2: No, no.

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Speaker 4: But one thing that's cool is I think I feel

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Speaker 4: like we've been alive long enough now to see changes

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Speaker 4: in kinnecology, which I never thought would happened. I thought

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Speaker 4: like by the time I was in there and starting

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Speaker 4: this journey, they just figured everything out. But one thing

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Speaker 4: that's great is and this has been happening for a

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Speaker 4: few years now, they now ask if you're experiencing intimate

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Speaker 4: partner violence, which I think is so smart.

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Speaker 2: That's the only time that some people have.

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Speaker 4: Where they're alone, yeah, like where they don't have their

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Speaker 4: partner possibly breathing down their neck if they are experiencing that.

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Speaker 2: So I really love when they ask that.

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Speaker 4: I always get a real big kick at a of

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Speaker 4: my guy not asking me if I want an SDI check,

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Speaker 4: and you know, usually I'll say yeah, just because it's

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Speaker 4: like a baseline. But she also knows that I have

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Speaker 4: not boned in ages, so we just both cut.

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Speaker 2: That's where the borsch belt of it comes in. I

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Speaker 2: agree with you because she's like.

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Speaker 3: Do you want an SCI check? Blah blah.

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Speaker 4: We both start laud and I love it. But the

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Speaker 4: breast exam has changed. They don't recommend that you do

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Speaker 4: it at home anymore.

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Speaker 3: Yeah.

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Speaker 1: I asked about that too. The last time I was

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Speaker 1: in there. I was basically like, oh, so we're not.

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Speaker 1: I mean, I was like, is this like a TSS

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Speaker 1: situation where everything that we learned in the eighties about

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Speaker 1: women's health is just wrong? Like I'm like, oh, there's

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Speaker 1: there's no TSS. We're no longer checking in the shower.

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Speaker 1: You don't even have to get paps every year unless

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Speaker 1: you have an abnormal pap or something. It's like you

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Speaker 1: get them every three years. Now.

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Speaker 2: Oh it's crazy, it's wild.

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Speaker 4: So that was That's always very interesting to me to

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Speaker 4: kind of say, all right, well, let's see what's going

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Speaker 4: to be new the next time I come in. And

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Speaker 4: this time it was great because it was just very quick.

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Speaker 4: The stirrups have changed, Like the stirrups are not those

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Speaker 4: like clanky metal ones anymore. They have like socks on them.

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Speaker 2: Now.

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Speaker 1: Oh wow, yeah, yeah.

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Speaker 4: Maybe it's just theedars. But it was a very comforting situation.

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Speaker 4: And I realize at that appointment that I don't have

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Speaker 4: any normal socks since I've lived here for a few years,

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Speaker 4: and I wear Birkenstocks most of the time. You know,

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Speaker 4: I just don't wear socks pretty much all year round.

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Speaker 4: So I have like two or three pairs of thick

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Speaker 4: wool socks that I wear when I go back East

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Speaker 4: to visit during the winter, and then the only other

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Speaker 4: socks I have are gift socks. So like Sarah will

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Speaker 4: send me socks for Christmas or something. And so I'm

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Speaker 4: in the stirrups and I scoot down, and you know,

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Speaker 4: my doc's chatting with me, and I just kind of

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Speaker 4: glanced at my foot and noticed it said on one

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Speaker 4: foot it said fuck you, and on the other foot

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Speaker 4: it said you fancy bitch.

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Speaker 2: And I was like, oh, damn, like, I need to

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Speaker 2: get my.

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Speaker 4: Adult sock game man, okay for her face to be

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Speaker 4: so close to this rude sock.

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Speaker 1: I'll give you a little tip from somebody that has

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Speaker 1: to go to hospitals once in a while, because now

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Speaker 1: I have to get MRIs every four months.

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Speaker 2: Super fun.

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Speaker 1: I would stash a pair of those like you know

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Speaker 1: how like pilates socks have those like grippy things on

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Speaker 1: the bottom. Just go buy some at Target or something

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Speaker 1: and just put them in your bag. That way, you

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Speaker 1: have them for literally any situation. It doesn't even have

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Speaker 1: to be going to the doctor going to the hospital.

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Speaker 1: Could just be like I'm at my friend's house and yeah,

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Speaker 1: I have to take my shoes off because you know,

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Speaker 1: they're uptight or something like that.

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Speaker 4: I don't want to walk around to bare feet or

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Speaker 4: oh like, oh look, I'm in the park and I

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Speaker 4: have to like park her off that tree. We put

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Speaker 4: them a slippy socks, Yeah, put.

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Speaker 1: All those like little grippy socks. I stash them in

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Speaker 1: my bag. In fact, usually at Cedars. They probably do

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Speaker 1: this in other places too, but they give you grippy

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Speaker 1: socks to wear, but I don't like wearing them because

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Speaker 1: it's to pain for man and as fuck fuck, I'd

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Speaker 1: rather pick my own, you.

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Speaker 2: Know what I mean. That's a smart idea.

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Speaker 4: Though, I'm gonna keep some of my glove compartment because

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Speaker 4: I don't carry a bag anymore, so I'm just gonna

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Speaker 4: keep it.

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Speaker 1: Well, put stuff down in the front of your pants

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Speaker 1: as you did.

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Speaker 2: Then, hey, you know.

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Speaker 1: It'll save you the indignity of wearing a fuck you

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Speaker 1: you fancy bitch.

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Speaker 4: Pair of socks and the stirrups. You know me, and

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Speaker 4: I'm not easily embarrassed. I wanted to crawl under that table.

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Speaker 4: I was like, oh god, Danielle, like you leave the

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Speaker 4: house once a month and this is how you act.

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Speaker 1: I think that's I think they've maybe seen worse. Hopefully

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Speaker 1: they have.

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Speaker 3: Right.

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Speaker 1: The real question, though, I must ask you, since you

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Speaker 1: did visit Cedars, is did you get that cookie you.

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Speaker 2: Know I got that fucking cookie.

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Speaker 1: Did you get the cookie cookie?

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Speaker 4: Though I got the chocolate chip one, did you get

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Speaker 4: the one that was in the pan?

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Speaker 3: Yes?

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Speaker 4: Because I went down the building I was in had

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Speaker 4: the Coffee Bean in it, and then if you walked

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Speaker 4: over it was one with the Starbucks in it. This

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Speaker 4: is the most LA carversation I think I've ever had.

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Speaker 1: I'm sorry I had to talk about the cookie.

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Speaker 2: No, it's great.

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Speaker 4: So I went to the other building intentionally because I

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Speaker 4: went and I'm like, oh, I'm outside, I've got I

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00:14:07,840 --> 00:14:11,520
Speaker 4: was wearing three masks ps. I had my own surgical

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Speaker 4: mask and then I had my regular erinym mask over it.

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Speaker 4: And then when I got there, they're like, and we

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Speaker 4: need you to put this over one of those. And

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Speaker 4: I'm like, if I take either of these off, I'm

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00:14:20,520 --> 00:14:22,400
Speaker 4: not feeling as protected. So I just put it on

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Speaker 4: over the two. So I had three masks on like

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Speaker 4: a fucking maniac. And I'm just like like, I'm like,

336
00:14:28,040 --> 00:14:30,280
Speaker 4: I'm out, I'm out here in these streets like I

337
00:14:30,320 --> 00:14:35,200
Speaker 4: was just like, I'm doing it. So I went to

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Speaker 4: the Coffee Bean because nobody has made me coffee in months,

339
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Speaker 4: like I might I just do it all myself at

340
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Speaker 4: home all the time. So I went and got some

341
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Speaker 4: goddamn espresso because I don't have espresso at home, and

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Speaker 4: then I went over to the other building I got

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Speaker 4: the cookie.

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Speaker 1: You know, it's funny because, first of all, I will

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Speaker 1: I've talked about this on another podcast, so I probably

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Speaker 1: won't tell the actual cookie story, But that Satyr's cookie

347
00:14:56,320 --> 00:15:00,320
Speaker 1: is some is totally incredible, and I'm jealous she went

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Speaker 1: to a coffee bean because I love the ice. Yeah,

349
00:15:03,440 --> 00:15:07,360
Speaker 1: the coffee bean ice, that crunchy pellets.

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Speaker 4: Yeah, it's like the highlight of my month.

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Speaker 2: It takes so little now.

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Speaker 4: But I also feel like you should tell the cookie

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Speaker 4: story even if people have heard it before.

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Speaker 2: It's a good story.

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Speaker 1: Okay they may not. They may not have, but I'll

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Speaker 1: tell it anyway. When I was in I was an

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Speaker 1: impatient a cedars. They give you food, then you're allowed

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Speaker 1: to eat they and what will happen is is that

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Speaker 1: they call down to your hospital room and say, like,

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Speaker 1: what do you want for breakfast, lunch, and dinner, And

361
00:15:37,160 --> 00:15:40,360
Speaker 1: so it's always kind of like a random selection of crap,

362
00:15:40,480 --> 00:15:43,000
Speaker 1: like and they always kind of overgive you food, which

363
00:15:43,080 --> 00:15:45,520
Speaker 1: I love because They're just like, well, you can get

364
00:15:45,520 --> 00:15:48,200
Speaker 1: eggs and bacon, and we'll also give you apple sauce

365
00:15:48,280 --> 00:15:50,800
Speaker 1: and you know, hash browns and you know. And I'm

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Speaker 1: just like, oh, okay if it's free, although it's not

367
00:15:55,040 --> 00:15:58,080
Speaker 1: free because you fucking pay out the ass for healthcare.

368
00:15:58,760 --> 00:16:01,000
Speaker 2: But I was like, I'll take it.

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Speaker 1: And then my coworker, Liz, who lives in LA and

370
00:16:05,720 --> 00:16:09,400
Speaker 1: has had two children at Cedars, was basically like she

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00:16:09,400 --> 00:16:11,360
Speaker 1: She asked me how I was doing, and I was like, yeah,

372
00:16:11,360 --> 00:16:13,480
Speaker 1: I'm still still in the joint. And she was like,

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Speaker 1: did you get that cookie? And I was like what

374
00:16:16,000 --> 00:16:17,720
Speaker 1: And she was like there's a chocolate chip cookie that

375
00:16:17,760 --> 00:16:19,880
Speaker 1: they serve only at Cedars and it's the greatest cookie

376
00:16:19,880 --> 00:16:22,560
Speaker 1: I've ever had in my life. And I was like okay.

377
00:16:23,000 --> 00:16:26,120
Speaker 1: So when when the call came the next day, I

378
00:16:26,160 --> 00:16:29,000
Speaker 1: realized you could get the cookie for lunch and dinner.

379
00:16:29,040 --> 00:16:30,480
Speaker 1: So I was like, fuck it, I'll get it for

380
00:16:30,560 --> 00:16:32,480
Speaker 1: both meals. I don't even know if I could eat this.

381
00:16:32,640 --> 00:16:34,960
Speaker 1: I don't know what's going on with me medically. I

382
00:16:35,080 --> 00:16:36,560
Speaker 1: just had a random health event.

383
00:16:39,240 --> 00:16:42,360
Speaker 2: It couldn't ben caused my chocolate. You don't know, you yeah.

384
00:16:42,120 --> 00:16:44,200
Speaker 1: I could have a chocolate chip cookie stuck in my

385
00:16:44,240 --> 00:16:47,160
Speaker 1: abdomen right now. I have no idea. So I ordered it.

386
00:16:47,360 --> 00:16:50,560
Speaker 1: And when I tell you this cookie was good, I

387
00:16:50,600 --> 00:16:54,440
Speaker 1: don't think it really truly captures how good this cookie was.

388
00:16:54,520 --> 00:16:57,840
Speaker 1: First of all, it was baked in a fucking cast

389
00:16:57,920 --> 00:17:02,960
Speaker 1: iron lodge pan. It came in like a fluted thing,

390
00:17:03,600 --> 00:17:08,280
Speaker 1: and it was so unbelievably good that I just was like,

391
00:17:08,800 --> 00:17:11,080
Speaker 1: I have to get like two of these for every meal.

392
00:17:10,960 --> 00:17:12,680
Speaker 2: Like can you get it? Can I get out of breakfast?

393
00:17:13,040 --> 00:17:15,359
Speaker 1: And I just kept thinking to myself like I don't

394
00:17:15,400 --> 00:17:17,160
Speaker 1: know if I can eat this right now, but I'm eating.

395
00:17:17,160 --> 00:17:19,160
Speaker 1: I'm double timing, like I don't give a shit.

396
00:17:19,760 --> 00:17:20,840
Speaker 2: And then when.

397
00:17:20,720 --> 00:17:23,679
Speaker 1: I left my coworker, you know, she was like, so

398
00:17:23,680 --> 00:17:24,920
Speaker 1: I was it. I was like, oh my, the cookie

399
00:17:24,920 --> 00:17:26,600
Speaker 1: is incredible. She's like, guess what, You'll never have that

400
00:17:26,640 --> 00:17:30,640
Speaker 1: cookie again unless you're inpatient at Cedars And I was like, wait,

401
00:17:30,680 --> 00:17:33,919
Speaker 1: they don't even sell it, like at their gift shop

402
00:17:34,000 --> 00:17:35,560
Speaker 1: or like, and they're like She's like, oh, hell no,

403
00:17:35,680 --> 00:17:38,199
Speaker 1: this is for the patients. That's like you'll know, so

404
00:17:38,280 --> 00:17:39,960
Speaker 1: if you want that cookie again, you're gonna have to

405
00:17:40,040 --> 00:17:43,280
Speaker 1: check yourself back into the hospital and get that cookie.

406
00:17:43,359 --> 00:17:44,800
Speaker 1: And I was like, no.

407
00:17:44,960 --> 00:17:47,040
Speaker 4: I went to the other building and they have a

408
00:17:47,640 --> 00:17:50,000
Speaker 4: staff cafeteria. Nobody's asked some questions.

409
00:17:50,040 --> 00:17:53,600
Speaker 2: Go in there. Ooh ooh, good tip. That's a good tip.

410
00:17:53,680 --> 00:17:55,160
Speaker 4: They have a cash register. It's not like you pay

411
00:17:55,200 --> 00:17:56,879
Speaker 4: with your badge or something. So you just go in

412
00:17:56,960 --> 00:17:58,160
Speaker 4: and say, give me cookie and you leave.

413
00:17:58,320 --> 00:18:02,040
Speaker 1: Okay, Because see here's the thing. I've tried every single

414
00:18:02,440 --> 00:18:05,240
Speaker 1: avenue that I could possibly do to get that cookie

415
00:18:05,240 --> 00:18:07,520
Speaker 1: outside of being in that hospital. Because I was basically like,

416
00:18:07,520 --> 00:18:10,480
Speaker 1: come on, this is LA. I'm sure like fucking Barbara

417
00:18:10,480 --> 00:18:13,240
Speaker 1: streisand can just call up and get the cookie delivered.

418
00:18:13,320 --> 00:18:15,439
Speaker 1: They take it out the back of the cafeteria and

419
00:18:15,480 --> 00:18:17,760
Speaker 1: bring it to her right. No, I can't. I can't

420
00:18:17,800 --> 00:18:20,960
Speaker 1: get this cookie. And then I was literally scheming, like

421
00:18:21,000 --> 00:18:24,320
Speaker 1: I was literally like, okay, what if I.

422
00:18:23,560 --> 00:18:24,560
Speaker 2: Can I gold belly this.

423
00:18:25,280 --> 00:18:27,760
Speaker 1: What if I like cut the tip of a finger

424
00:18:27,800 --> 00:18:30,720
Speaker 1: off just to be able to go back in there.

425
00:18:30,720 --> 00:18:32,440
Speaker 1: I'm like, I don't want to do anything crazy because,

426
00:18:32,440 --> 00:18:34,399
Speaker 1: by the way, hospitals suck and I don't want to

427
00:18:34,400 --> 00:18:36,800
Speaker 1: go back to them ever, which is why I don't

428
00:18:36,840 --> 00:18:38,120
Speaker 1: fucking fuck with COVID.

429
00:18:38,359 --> 00:18:40,080
Speaker 4: Well, look, you just have to be willing to do

430
00:18:40,119 --> 00:18:43,679
Speaker 4: a little crime and you can have that cookie. But

431
00:18:43,720 --> 00:18:45,520
Speaker 4: now I'm also thinking maybe I didn't have that. Maybe

432
00:18:45,560 --> 00:18:48,440
Speaker 4: I just had a good cookie and it wasn't that cookie. Well,

433
00:18:48,480 --> 00:18:50,439
Speaker 4: see you now, it's because it was fresh baked. It

434
00:18:50,520 --> 00:18:52,399
Speaker 4: was fresh baked, and I'm like, oh, this has to

435
00:18:52,440 --> 00:18:53,000
Speaker 4: be the cookie.

436
00:18:53,040 --> 00:18:56,200
Speaker 1: It's hard to say because I have heard, like I've

437
00:18:56,359 --> 00:18:58,080
Speaker 1: had this cookie.

438
00:18:58,840 --> 00:19:00,000
Speaker 2: It's super incredible.

439
00:19:00,240 --> 00:19:04,000
Speaker 1: But I seriously, I am like, I can't imagine that they

440
00:19:04,040 --> 00:19:09,040
Speaker 1: would not serve this to guess, to families visiting, to

441
00:19:09,119 --> 00:19:11,480
Speaker 1: people who are just eating in a cafeteria, to the

442
00:19:11,520 --> 00:19:15,840
Speaker 1: other doctors. They have to let this cookie into the world.

443
00:19:16,400 --> 00:19:19,200
Speaker 1: So maybe they have made it over the counter and

444
00:19:19,240 --> 00:19:20,720
Speaker 1: you can get it, so.

445
00:19:20,880 --> 00:19:23,320
Speaker 4: You might have had it. It was delicious. Whatever I

446
00:19:23,359 --> 00:19:26,359
Speaker 4: had was got. It was perfect texture and like the

447
00:19:26,400 --> 00:19:28,560
Speaker 4: crispy a little bit of a crisp on the outside,

448
00:19:28,760 --> 00:19:30,560
Speaker 4: a nice little soft, chewy inside.

449
00:19:30,680 --> 00:19:31,760
Speaker 2: It was delicious.

450
00:19:31,800 --> 00:19:33,840
Speaker 4: It was like the perfect amount of chocolate chips, and

451
00:19:33,880 --> 00:19:34,720
Speaker 4: it was fresh baked.

452
00:19:34,760 --> 00:19:35,920
Speaker 1: All right, you know what you have to do.

453
00:19:36,680 --> 00:19:38,000
Speaker 2: I'm going back to get that cookie.

454
00:19:38,000 --> 00:19:42,680
Speaker 1: You have to go back in to the staff area

455
00:19:43,080 --> 00:19:45,399
Speaker 1: and get me, like ten of these ships.

456
00:19:45,440 --> 00:19:47,600
Speaker 2: And it wasn't hard because it's not even an area.

457
00:19:47,640 --> 00:19:50,320
Speaker 4: It's just like it's just like a regular like cafeteria.

458
00:19:50,400 --> 00:19:52,520
Speaker 4: You can just go in there. I'm gonna go get one.

459
00:19:52,520 --> 00:19:54,560
Speaker 4: I'm gonna go get lost in the garage. Look, it'll

460
00:19:54,600 --> 00:19:56,120
Speaker 4: take me five minutes to get the cookie. It'll take

461
00:19:56,119 --> 00:19:57,119
Speaker 4: me an hour and have to get it.

462
00:19:58,840 --> 00:19:59,959
Speaker 2: I will pay you for your time.

463
00:20:00,119 --> 00:20:04,439
Speaker 1: I will pay you for the hassle of having to

464
00:20:04,520 --> 00:20:07,879
Speaker 1: find out where you are to find this goddamn cafeteria.

465
00:20:08,160 --> 00:20:11,639
Speaker 1: I will pay for shipping. I will pay for mileage,

466
00:20:12,119 --> 00:20:12,959
Speaker 1: time and labor.

467
00:20:13,320 --> 00:20:14,320
Speaker 2: You needed to pay for it.

468
00:20:14,359 --> 00:20:16,320
Speaker 4: You just need like, let me drop a pin so

469
00:20:16,359 --> 00:20:17,920
Speaker 4: you can like hop on the Google map and be like,

470
00:20:17,960 --> 00:20:18,600
Speaker 4: all right, here's.

471
00:20:18,440 --> 00:20:20,840
Speaker 2: Where you are. I will guide you out of here.

472
00:20:20,960 --> 00:20:22,880
Speaker 4: You guys, send me like ten, I'm gonna send them

473
00:20:22,880 --> 00:20:24,280
Speaker 4: to you, and then you're gonna be like, guess what,

474
00:20:24,359 --> 00:20:26,600
Speaker 4: this is just a cafeteria chocolate chip cookie you got?

475
00:20:26,640 --> 00:20:29,480
Speaker 2: Played shall say I did crime for this.

476
00:20:30,800 --> 00:20:33,520
Speaker 1: I mean, I'm not gonna lie. I was on fentanyl

477
00:20:33,840 --> 00:20:35,280
Speaker 1: when I was on the hospital, so I could have

478
00:20:35,320 --> 00:20:40,520
Speaker 1: been I could have been fucking so batshit out of

479
00:20:40,520 --> 00:20:42,960
Speaker 1: my mind that I thought this cookie was the greatest,

480
00:20:43,320 --> 00:20:45,439
Speaker 1: but I actually think it is. I actually think it is.

481
00:20:45,520 --> 00:20:46,200
Speaker 1: I'll just say that.

482
00:20:46,720 --> 00:20:47,560
Speaker 2: I will say this though.

483
00:20:47,600 --> 00:20:50,760
Speaker 4: Also they have good food at theaters, Like they have

484
00:20:51,119 --> 00:20:55,119
Speaker 4: pretty good food there in general. So also, this is

485
00:20:55,119 --> 00:20:58,200
Speaker 4: the kind of hospital where like there's probably an endowment

486
00:20:58,240 --> 00:21:01,240
Speaker 4: from Rita Wilson and Tom Hanks to have the cookies

487
00:21:01,320 --> 00:21:04,120
Speaker 4: handmade in a kitchen somewhere, Like it's a Tom Hanks

488
00:21:04,359 --> 00:21:07,080
Speaker 4: Rita Wilson Memorial chocolate chip cookie kitchen.

489
00:21:07,160 --> 00:21:09,080
Speaker 5: Like there's something like that going on there. Oh yeah,

490
00:21:09,080 --> 00:21:12,040
Speaker 5: there's a there's a Steven Spielberg wing of the hospital.

491
00:21:12,160 --> 00:21:15,760
Speaker 5: I think there's a Barber streis and wing. Basically, the

492
00:21:15,840 --> 00:21:17,520
Speaker 5: staff of er is.

493
00:21:17,400 --> 00:21:20,399
Speaker 1: Your doctors like Noah Wiley and George Clooney do come

494
00:21:20,440 --> 00:21:23,840
Speaker 1: into your room and check in on you, check your vitals.

495
00:21:24,080 --> 00:21:28,040
Speaker 4: I was in the elevator with Emma Roberts, very nice

496
00:21:28,080 --> 00:21:32,639
Speaker 4: matching maroon face mask with her like long flowy dress,

497
00:21:32,680 --> 00:21:34,719
Speaker 4: and I'm like, all right, we're going We're both going

498
00:21:34,800 --> 00:21:35,200
Speaker 4: up to the guy.

499
00:21:35,200 --> 00:21:35,880
Speaker 2: I know, what's up?

500
00:21:36,119 --> 00:21:39,080
Speaker 4: What were you really? Her partner's very kind let me

501
00:21:39,119 --> 00:21:41,879
Speaker 4: out first, Stephen. I'm like, great, this might cause problems

502
00:21:41,880 --> 00:21:44,800
Speaker 4: for you. At home, buddy, I'm taking it reparations, motherfuckers.

503
00:21:44,880 --> 00:21:47,760
Speaker 2: Bye. Yeah, it was. It's a weird place.

504
00:21:47,800 --> 00:21:51,640
Speaker 4: I also went to an orthodonnod's appointment this week and

505
00:21:51,880 --> 00:21:54,240
Speaker 4: they did something called power threading where they're now closing

506
00:21:54,280 --> 00:21:57,240
Speaker 4: gaps and shit. But it's the same thing where my

507
00:21:57,240 --> 00:22:01,199
Speaker 4: my orthodontist is in Beverly Hills and I have to

508
00:22:01,400 --> 00:22:06,439
Speaker 4: valet park at my fucking dentist basically, and he's gorgeous

509
00:22:06,880 --> 00:22:09,120
Speaker 4: and I can't stand it, and I'm like, just fix

510
00:22:09,200 --> 00:22:12,320
Speaker 4: the graveyard that is my mouth, just fix the fucking tombstones.

511
00:22:12,760 --> 00:22:14,639
Speaker 2: He's always very nice to me.

512
00:22:14,840 --> 00:22:17,399
Speaker 4: He's very funny, always like, you know, like a little

513
00:22:17,400 --> 00:22:19,240
Speaker 4: hand on the shoulder when he leaves, like hey see

514
00:22:19,240 --> 00:22:22,639
Speaker 4: you next time. And I'm like, don't touch me, not

515
00:22:22,720 --> 00:22:25,920
Speaker 4: because it's bad, because it's too good, Like don't be

516
00:22:26,080 --> 00:22:27,919
Speaker 4: gorgeous and touch me right now, please, thank you.

517
00:22:28,200 --> 00:22:30,440
Speaker 1: I swear to god, La has the hottest doctor that

518
00:22:30,440 --> 00:22:32,399
Speaker 1: I've ever seen in my life. But it's so funny

519
00:22:32,440 --> 00:22:38,640
Speaker 1: that you notice the the labyrinth that is cedars. Because

520
00:22:38,760 --> 00:22:41,520
Speaker 1: I always thought I'm the only person getting uptight about this.

521
00:22:41,800 --> 00:22:44,560
Speaker 4: No, I get very panicked when I feel trapped naturally,

522
00:22:44,840 --> 00:22:46,479
Speaker 4: and it's the kind of place where I feel like

523
00:22:46,560 --> 00:22:49,240
Speaker 4: I might not ever get out of here, and people

524
00:22:49,280 --> 00:22:53,000
Speaker 4: will give you confidently, give you directions, and the minute

525
00:22:53,000 --> 00:22:54,880
Speaker 4: I turn around, I'm like, I don't know what you

526
00:22:54,920 --> 00:22:56,919
Speaker 4: just said, because it's like go down this hallway to

527
00:22:56,960 --> 00:23:00,439
Speaker 4: the west wing and then go crosscross to the parking

528
00:23:00,440 --> 00:23:02,840
Speaker 4: garage e and then you go up three levels and

529
00:23:02,920 --> 00:23:05,000
Speaker 4: go up to the street access and I'm like, what

530
00:23:05,400 --> 00:23:07,480
Speaker 4: the shit, dude, what it's called.

531
00:23:07,520 --> 00:23:08,840
Speaker 2: Yeah, it's it's not just you.

532
00:23:08,920 --> 00:23:10,920
Speaker 4: I don't know how anyone gets through anything there unless

533
00:23:10,920 --> 00:23:11,800
Speaker 4: you have to go there every day.

534
00:23:11,880 --> 00:23:14,240
Speaker 1: Well, that's why they have the cookie, is to basically

535
00:23:14,359 --> 00:23:16,440
Speaker 1: say we apologize for this bullshit.

536
00:23:16,920 --> 00:23:19,800
Speaker 4: Yeah, so why they have restaurants, like a full restaurant.

537
00:23:19,800 --> 00:23:21,760
Speaker 4: It's like a Wolfgang Pucks in there. Probably like they

538
00:23:21,800 --> 00:23:24,399
Speaker 4: just have full restaurants because people are just lost and

539
00:23:24,440 --> 00:23:26,520
Speaker 4: they're like, I need sustenance to get through.

540
00:23:26,359 --> 00:23:28,879
Speaker 2: The next five hours of looking for my fucking car.

541
00:23:29,160 --> 00:23:32,600
Speaker 1: It's so insane, and had the best art that I've

542
00:23:32,840 --> 00:23:36,159
Speaker 1: They had literally the greatest art ever. Like their art

543
00:23:36,200 --> 00:23:37,560
Speaker 1: collection is unbelievable.

544
00:23:37,600 --> 00:23:40,600
Speaker 2: It's stunning, And Lacma's right down the street.

545
00:23:40,640 --> 00:23:43,840
Speaker 4: It's stunning and going saters and look at their artwork.

546
00:23:43,920 --> 00:23:44,800
Speaker 2: It is wild.

547
00:23:45,480 --> 00:23:46,520
Speaker 1: Yeah, it's awesome.

548
00:23:46,800 --> 00:23:51,679
Speaker 4: How about instead of talking about my horrible sense of direction,

549
00:23:52,359 --> 00:23:54,600
Speaker 4: we get into something I do know about, which is

550
00:23:54,880 --> 00:23:55,480
Speaker 4: these movies.

551
00:23:55,640 --> 00:23:59,080
Speaker 1: Yeah, so let's we're continuing now. This is the third

552
00:23:59,160 --> 00:24:02,679
Speaker 1: week of our Black History Month celebration, and this is

553
00:24:02,720 --> 00:24:05,879
Speaker 1: gonna be a good episode because I these are pretty

554
00:24:05,880 --> 00:24:09,159
Speaker 1: recent films for us, And honestly, I don't think you

555
00:24:09,240 --> 00:24:12,160
Speaker 1: and I have ever like explicitly told ourselves, hey, we're

556
00:24:12,160 --> 00:24:14,480
Speaker 1: not going to talk about recent movies. But I just

557
00:24:14,560 --> 00:24:17,600
Speaker 1: think there's just so many other podcasts that are discussing

558
00:24:17,640 --> 00:24:20,800
Speaker 1: new movies, and honestly, I think we are fans of

559
00:24:20,840 --> 00:24:24,520
Speaker 1: older stuff and there's so many to talk about. But

560
00:24:24,640 --> 00:24:27,359
Speaker 1: I did have fun talking about new movies knowing that

561
00:24:27,520 --> 00:24:30,400
Speaker 1: like this might be a one and done scenario, except

562
00:24:30,560 --> 00:24:34,280
Speaker 1: if maybe, like Keanu Reeves made a movie about like

563
00:24:34,520 --> 00:24:37,440
Speaker 1: falling in love with two women who host on film podcasts,

564
00:24:37,440 --> 00:24:39,359
Speaker 1: like maybe we talk about that new movie.

565
00:24:39,440 --> 00:24:41,480
Speaker 2: But other than that, I feel.

566
00:24:41,200 --> 00:24:44,960
Speaker 4: Like we'd be obligated in some sense. And also he

567
00:24:45,000 --> 00:24:45,760
Speaker 4: would do that movie.

568
00:24:45,760 --> 00:24:49,600
Speaker 2: Come on, kid, someone write it? Do you write it?

569
00:24:50,040 --> 00:24:50,560
Speaker 2: I write it.

570
00:24:50,680 --> 00:24:52,320
Speaker 4: I'm gonna call my agent right after this and be like,

571
00:24:52,320 --> 00:24:55,120
Speaker 4: guess what change the direction movies for Keanu Reeves where

572
00:24:55,119 --> 00:24:56,120
Speaker 4: he falls in love with me.

573
00:24:56,080 --> 00:24:57,119
Speaker 2: And my friend Milly.

574
00:24:58,840 --> 00:25:02,800
Speaker 1: Write a movie for us and forced Keoto Reeves to

575
00:25:02,840 --> 00:25:03,199
Speaker 1: be in it.

576
00:25:03,320 --> 00:25:06,080
Speaker 2: That's look, if Ali Wang can do it, we can

577
00:25:06,119 --> 00:25:06,520
Speaker 2: do it.

578
00:25:06,720 --> 00:25:11,080
Speaker 1: Except exactly, let's use this power or let's use your power.

579
00:25:11,280 --> 00:25:13,760
Speaker 4: I have that. But even if this is the only,

580
00:25:14,320 --> 00:25:17,160
Speaker 4: if this is a one and done like current movie situation,

581
00:25:17,240 --> 00:25:19,240
Speaker 4: I think we're doing great options.

582
00:25:19,400 --> 00:25:22,000
Speaker 1: Yeah, there's a lot film there's a lot of movies

583
00:25:22,080 --> 00:25:22,960
Speaker 1: that were made.

584
00:25:23,000 --> 00:25:23,520
Speaker 2: Don't you know.

585
00:25:24,000 --> 00:25:27,199
Speaker 1: But let's talk about the theme then for this week?

586
00:25:27,400 --> 00:25:28,680
Speaker 2: Yeah, do you want to tell them? And then I'll

587
00:25:28,680 --> 00:25:31,200
Speaker 2: get into some background. What's our theme?

588
00:25:31,600 --> 00:25:36,520
Speaker 1: So the theme for this week is called British Steve

589
00:25:36,640 --> 00:25:38,919
Speaker 1: McQueen is the real King of Cool.

590
00:25:39,280 --> 00:25:40,440
Speaker 2: That is right.

591
00:25:40,720 --> 00:25:44,000
Speaker 4: We will also refer to American Steve McQueen by his nationality.

592
00:25:44,000 --> 00:25:46,280
Speaker 4: This is not a singling out, but we need to

593
00:25:46,280 --> 00:25:48,439
Speaker 4: know who we're talking about here when we're talking about

594
00:25:48,520 --> 00:25:49,600
Speaker 4: the real king of cool.

595
00:25:50,240 --> 00:25:52,239
Speaker 1: Well, and that's the funny thing too, is that, like

596
00:25:52,880 --> 00:25:55,560
Speaker 1: so much has been said about the American Steve McQueen

597
00:25:56,200 --> 00:25:59,480
Speaker 1: that we felt like making that distinction that we're talking

598
00:25:59,480 --> 00:26:01,600
Speaker 1: about the other guy and whatever.

599
00:26:01,800 --> 00:26:03,280
Speaker 2: No shade to American Steve.

600
00:26:03,200 --> 00:26:09,359
Speaker 1: McQueen, White Steve McQueen, you will, but you know, he

601
00:26:09,640 --> 00:26:12,120
Speaker 1: is one of those types that you know, I think

602
00:26:12,160 --> 00:26:14,680
Speaker 1: people have talked about and do talk about as being

603
00:26:14,800 --> 00:26:16,440
Speaker 1: you know, he is called the King of cool, right,

604
00:26:16,480 --> 00:26:17,840
Speaker 1: like that's his nickname.

605
00:26:18,200 --> 00:26:19,320
Speaker 2: And I'm guilty of this too.

606
00:26:19,359 --> 00:26:21,280
Speaker 1: I remember when people would be like, Hey, the new

607
00:26:21,280 --> 00:26:22,840
Speaker 1: Steve McQueen movie's out, and I'd be.

608
00:26:22,800 --> 00:26:26,800
Speaker 2: Like, what, there's a new Steph McQueen movie out. He's

609
00:26:26,840 --> 00:26:30,120
Speaker 2: animated corpse. I'd be like, no, dummy, the other one.

610
00:26:30,200 --> 00:26:31,560
Speaker 2: So they got holograms.

611
00:26:33,080 --> 00:26:37,640
Speaker 1: He's like in a movie with like Emma Roberts and

612
00:26:37,800 --> 00:26:42,240
Speaker 1: Timothy Shallowmy what that'd be horrifying, By the way, don't

613
00:26:42,240 --> 00:26:43,000
Speaker 1: do that, Hollywood.

614
00:26:43,040 --> 00:26:45,040
Speaker 2: Would you be their granddad? It would be terrible.

615
00:26:46,040 --> 00:26:48,800
Speaker 4: But this Steve McQueen or British Steve a queen are

616
00:26:48,800 --> 00:26:52,480
Speaker 4: real King of cool. Has just had such a hold

617
00:26:52,520 --> 00:26:54,880
Speaker 4: on me since I started watching his films, Like, I

618
00:26:55,119 --> 00:26:59,800
Speaker 4: just love him as a filmmaker and I think that

619
00:27:00,080 --> 00:27:06,320
Speaker 4: he's he does really kind of cool thematic movies that

620
00:27:06,359 --> 00:27:10,920
Speaker 4: are built around emotions and that are built around look

621
00:27:11,080 --> 00:27:13,640
Speaker 4: and feel like. It's a very He makes very visceral

622
00:27:13,720 --> 00:27:16,480
Speaker 4: movies to me, for better and for worse, as we're

623
00:27:16,480 --> 00:27:18,960
Speaker 4: going to get into here, But.

624
00:27:18,960 --> 00:27:20,080
Speaker 2: I just really adore him.

625
00:27:20,119 --> 00:27:25,639
Speaker 4: And again, much like the preemptive message I gave with

626
00:27:25,720 --> 00:27:28,400
Speaker 4: Steve King, I don't know if he's popping off on Twitter.

627
00:27:28,640 --> 00:27:30,960
Speaker 2: I sincerely doubt he is. But I don't know.

628
00:27:30,960 --> 00:27:33,120
Speaker 4: If Steve A queen has had some problematic shit since

629
00:27:33,119 --> 00:27:35,719
Speaker 4: we've recorded this, I don't know. But as of this

630
00:27:35,800 --> 00:27:38,359
Speaker 4: moment and as of this recording, I adore this dude.

631
00:27:38,560 --> 00:27:39,480
Speaker 2: And let's get just a.

632
00:27:39,400 --> 00:27:41,560
Speaker 4: Little background on him, because I think it's it's kind

633
00:27:41,560 --> 00:27:44,520
Speaker 4: of fascinating and I've read so much about him, and

634
00:27:44,560 --> 00:27:46,440
Speaker 4: there are a few things that really just stood out

635
00:27:46,720 --> 00:27:49,280
Speaker 4: that I think people probably should know if they don't already.

636
00:27:49,600 --> 00:27:54,240
Speaker 4: But first of all, Sir Stephen Rodney McQueen was born

637
00:27:54,359 --> 00:27:58,560
Speaker 4: in London to Grenadian and Trinidadian parents. He's fifty one.

638
00:27:59,040 --> 00:28:01,960
Speaker 4: He lives in Amsterdam with his partner and their two children.

639
00:28:02,520 --> 00:28:05,600
Speaker 4: And I love there's this interview that I'm going to

640
00:28:05,680 --> 00:28:08,320
Speaker 4: reference quite a lot in this synopsis of his life,

641
00:28:08,400 --> 00:28:10,439
Speaker 4: but he did an interview with the Guardian and the

642
00:28:10,480 --> 00:28:14,040
Speaker 4: writer Decca Aitkenhead, and he said that he lives in

643
00:28:14,080 --> 00:28:17,040
Speaker 4: Amsterdam because no one comes here, so I'm never bothered.

644
00:28:17,240 --> 00:28:19,199
Speaker 2: Like he's just so salty. I love it.

645
00:28:19,240 --> 00:28:21,480
Speaker 4: He's like, oh, yeah, the schools are great for my

646
00:28:21,560 --> 00:28:25,719
Speaker 4: kids and no one bothers me. And also I think

647
00:28:25,760 --> 00:28:28,200
Speaker 4: his partner is Dutch as well, so that probably plays

648
00:28:28,200 --> 00:28:30,639
Speaker 4: into it. And I'm sure that you know him some

649
00:28:30,760 --> 00:28:33,280
Speaker 4: of you. He's the star of a very popular gift

650
00:28:33,480 --> 00:28:37,080
Speaker 4: where he fake claps his hands together at the Oscars.

651
00:28:37,440 --> 00:28:38,719
Speaker 4: I don't know if you remember, do you remember that

652
00:28:38,920 --> 00:28:41,720
Speaker 4: what he did that? Believe I don't actually look up

653
00:28:41,760 --> 00:28:42,360
Speaker 4: that gif.

654
00:28:42,360 --> 00:28:42,640
Speaker 2: Fred.

655
00:28:42,800 --> 00:28:47,360
Speaker 1: Now someone put it in ch I was saying, now,

656
00:28:47,760 --> 00:28:50,160
Speaker 1: maybe I have, and I just didn't know it was him.

657
00:28:50,280 --> 00:28:51,160
Speaker 2: How did I not know it?

658
00:28:51,240 --> 00:28:53,280
Speaker 4: Let's want to give the backstory while we look for it,

659
00:28:53,320 --> 00:28:56,400
Speaker 4: because the story is this is when Twelve Years of

660
00:28:56,440 --> 00:28:59,960
Speaker 4: Slave won Best Picture, Best Writing it was releasing to

661
00:29:00,240 --> 00:29:02,640
Speaker 4: thirteen won a bunch of awards in twenty fourteen.

662
00:29:02,520 --> 00:29:03,800
Speaker 2: At the Academy Awards.

663
00:29:04,120 --> 00:29:07,400
Speaker 4: Apparently, the story is that John Ridley, the screenwriter, had

664
00:29:07,440 --> 00:29:11,160
Speaker 4: beef with Steve McQueen over screenwriting credit.

665
00:29:11,880 --> 00:29:17,400
Speaker 2: So when Ridley won the award. He walked past Steve McQueen.

666
00:29:17,240 --> 00:29:20,600
Speaker 4: Without acknowledging him, and then he also did not acknowledge

667
00:29:20,640 --> 00:29:24,240
Speaker 4: him in his speech. So Steve McQueen goes on to

668
00:29:24,320 --> 00:29:29,520
Speaker 4: do the fakest clap of all time. His hands are

669
00:29:29,560 --> 00:29:33,719
Speaker 4: not right now, like his hands are not touching. He

670
00:29:33,760 --> 00:29:38,280
Speaker 4: does not look happy for this man at all. He

671
00:29:38,440 --> 00:29:40,640
Speaker 4: is so salty.

672
00:29:40,960 --> 00:29:41,440
Speaker 2: I love it.

673
00:29:41,440 --> 00:29:45,480
Speaker 4: It's amazing, right, But the Academy Awards, this is like teenage,

674
00:29:45,960 --> 00:29:48,520
Speaker 4: high school level reaction on.

675
00:29:48,520 --> 00:29:49,440
Speaker 2: The world stage.

676
00:29:49,680 --> 00:29:50,520
Speaker 1: We'd love to see it.

677
00:29:50,640 --> 00:29:52,880
Speaker 4: We love to see it. So that is I just

678
00:29:52,960 --> 00:29:58,160
Speaker 4: I think. I think he's hilarious unintentionally. He also he

679
00:29:58,200 --> 00:30:00,400
Speaker 4: won his first oscar with Twelve Years of Slag, which

680
00:30:00,440 --> 00:30:03,640
Speaker 4: won Best Picture in twenty fourteen and also made history

681
00:30:03,800 --> 00:30:05,560
Speaker 4: for that reason because he's the first black man to

682
00:30:05,640 --> 00:30:08,959
Speaker 4: win Best Picture, and it was kind of a historic

683
00:30:09,000 --> 00:30:11,080
Speaker 4: year in general because that was also the year that

684
00:30:11,280 --> 00:30:15,440
Speaker 4: Alfonso Quorn won for Gravity for Best Director. So he's

685
00:30:15,440 --> 00:30:19,280
Speaker 4: in it. He's in the mix, but he has he

686
00:30:19,320 --> 00:30:22,960
Speaker 4: talks about a lot of the difficulties he had at school.

687
00:30:23,720 --> 00:30:25,640
Speaker 4: Because I think, and the reason I bring this up

688
00:30:25,720 --> 00:30:28,120
Speaker 4: is that not only is it heart wrenching and brings

689
00:30:28,160 --> 00:30:30,600
Speaker 4: you kind of closer into his life, even though he's

690
00:30:30,640 --> 00:30:34,560
Speaker 4: not really a very he's not necessarily private, but he

691
00:30:34,600 --> 00:30:36,360
Speaker 4: really only likes to talk about his work, you know,

692
00:30:36,400 --> 00:30:39,720
Speaker 4: like he's very direct and focused in that way. But

693
00:30:39,760 --> 00:30:41,240
Speaker 4: when I read this, it just kind of like it

694
00:30:41,240 --> 00:30:44,880
Speaker 4: really tugged at my heart and explains a few things.

695
00:30:45,120 --> 00:30:49,320
Speaker 4: So essentially in this Guardian article, he says, And the

696
00:30:49,800 --> 00:30:52,440
Speaker 4: article is called like Steve McQueen and his Secret shame,

697
00:30:53,080 --> 00:30:55,720
Speaker 4: he says, and I quote, by the age of thirteen,

698
00:30:56,320 --> 00:30:59,360
Speaker 4: one class of academically gifted kids had been creamed off

699
00:30:59,400 --> 00:31:04,280
Speaker 4: for special attention. Then there was three C one class

700
00:31:04,320 --> 00:31:07,360
Speaker 4: for like, okay, normal kids, and then there was three

701
00:31:07,480 --> 00:31:11,480
Speaker 4: C two for manual labor more plumbers and builders, stuff

702
00:31:11,480 --> 00:31:16,160
Speaker 4: like that. McQueen was put in three C two. At first,

703
00:31:16,200 --> 00:31:19,680
Speaker 4: he says mildly, I don't know why. Maybe I deserved

704
00:31:19,760 --> 00:31:24,600
Speaker 4: to be and seems about to drop the subject. Moments later,

705
00:31:25,120 --> 00:31:28,520
Speaker 4: he says that inequality. I fucking loathe it with a passion.

706
00:31:28,720 --> 00:31:31,920
Speaker 4: It's all bullshit, man, it really upsets me. And then

707
00:31:31,960 --> 00:31:33,520
Speaker 4: to continue, and I know this is a long quote,

708
00:31:33,520 --> 00:31:37,040
Speaker 4: but bear with me. When he went back to present

709
00:31:37,120 --> 00:31:40,720
Speaker 4: some achievement awards. Fifteen years later, the new head of

710
00:31:40,720 --> 00:31:43,280
Speaker 4: the school admitted to him that the school had been

711
00:31:43,320 --> 00:31:44,880
Speaker 4: institutionally racist.

712
00:31:45,600 --> 00:31:47,680
Speaker 2: This did not come as news to McQueen.

713
00:31:48,320 --> 00:31:50,960
Speaker 4: Quote. It was horrible. It was disgusting the system. It

714
00:31:51,000 --> 00:31:55,640
Speaker 4: was absolutely disgusting. It's divisive, it was hurtful, it was awful.

715
00:31:56,080 --> 00:31:59,800
Speaker 4: School was painful because I just think that loads of people,

716
00:31:59,840 --> 00:32:03,360
Speaker 4: so many beautiful people, didn't achieve what they could achieve,

717
00:32:03,680 --> 00:32:06,240
Speaker 4: because no one believed in them or gave them a

718
00:32:06,360 --> 00:32:09,680
Speaker 4: chance or invested any time in them. A lot of

719
00:32:09,720 --> 00:32:14,080
Speaker 4: beautiful boys, talented people were put by the wayside. School

720
00:32:14,160 --> 00:32:16,440
Speaker 4: was scary for me because no one cared. And I

721
00:32:16,520 --> 00:32:19,360
Speaker 4: wasn't good at it because no one cared. At thirteen

722
00:32:19,440 --> 00:32:23,240
Speaker 4: years old, you are marked, you are dead. That's your future.

723
00:32:24,960 --> 00:32:30,160
Speaker 4: So heart wrenching, right, And it really explains to me.

724
00:32:30,560 --> 00:32:34,160
Speaker 4: It explains a little bit about why so much of

725
00:32:34,200 --> 00:32:39,000
Speaker 4: his filmmaking is about being evocative about real human emotion,

726
00:32:39,400 --> 00:32:42,040
Speaker 4: because he's clearly like a very deeply feeling person who

727
00:32:42,080 --> 00:32:45,080
Speaker 4: has gone through some strife. And the other thing that

728
00:32:45,160 --> 00:32:49,600
Speaker 4: he revealed in that article is that he was dyslexic

729
00:32:49,800 --> 00:32:53,400
Speaker 4: and he thought it made him stupid. And he also

730
00:32:53,520 --> 00:32:55,600
Speaker 4: had a lazy eye, so he had to wear a patch.

731
00:32:56,200 --> 00:33:00,479
Speaker 4: And it's heartbreaking to think of this kid I patched dyslexia,

732
00:33:00,640 --> 00:33:03,920
Speaker 4: being in a school full of institutional racism and also

733
00:33:03,960 --> 00:33:07,160
Speaker 4: being creative and sensitive and trying to find their way

734
00:33:07,200 --> 00:33:09,880
Speaker 4: in the world and express that. It just really broke

735
00:33:09,920 --> 00:33:13,920
Speaker 4: me to pieces to read to read that. But yeah,

736
00:33:13,920 --> 00:33:16,880
Speaker 4: he's he made his way through. Thankfully, we're all better

737
00:33:16,920 --> 00:33:19,840
Speaker 4: off for it. He made a bunch of short films

738
00:33:19,880 --> 00:33:23,200
Speaker 4: and digital art throughout the nineties. He went to college

739
00:33:23,240 --> 00:33:25,960
Speaker 4: for film. I think he made like like thirteen short

740
00:33:26,000 --> 00:33:28,480
Speaker 4: films overall, but about six of those he did in

741
00:33:28,480 --> 00:33:31,240
Speaker 4: the nineties. He went to the Tish School of the

742
00:33:31,320 --> 00:33:33,440
Speaker 4: Arts in New York for a bit, but he didn't

743
00:33:33,520 --> 00:33:36,720
Speaker 4: like it. And I found a quote that he gave

744
00:33:36,920 --> 00:33:40,040
Speaker 4: to the BBC News and he's lit like, why didn't

745
00:33:40,080 --> 00:33:41,479
Speaker 4: you like it? And he's like, well, they wouldn't let

746
00:33:41,480 --> 00:33:43,360
Speaker 4: you throw a camera up in the air, like he

747
00:33:43,480 --> 00:33:47,280
Speaker 4: wanted to be like super experimental and they were like nah,

748
00:33:47,400 --> 00:33:48,239
Speaker 4: So he didn't think it.

749
00:33:48,280 --> 00:33:50,520
Speaker 1: Well, he shouldn't have went to Georgia State University, where

750
00:33:50,520 --> 00:33:52,040
Speaker 1: they let you fucking do anything.

751
00:33:52,160 --> 00:33:53,760
Speaker 2: You can run your camera with a car.

752
00:33:54,240 --> 00:33:57,720
Speaker 1: They were like, this camera is literally the oldest camera

753
00:33:57,760 --> 00:34:00,480
Speaker 1: ever made. We don't care if you put it on

754
00:34:00,480 --> 00:34:04,240
Speaker 1: top of a pizza and try to eat It's.

755
00:34:04,840 --> 00:34:06,600
Speaker 2: So he could have done it at GSU. I'll just

756
00:34:06,600 --> 00:34:08,680
Speaker 2: say that just picked it on school. Next time, maybe

757
00:34:08,719 --> 00:34:11,120
Speaker 2: I'll come back, you know, like after Post Corona.

758
00:34:11,760 --> 00:34:15,600
Speaker 4: Come to Georgia, run over a film camera with your car.

759
00:34:18,600 --> 00:34:21,799
Speaker 4: In nineteen ninety nine, he won the Turner Prize, which

760
00:34:21,840 --> 00:34:25,400
Speaker 4: is huge anyone twenty thousand pounds, and that was his

761
00:34:25,600 --> 00:34:28,160
Speaker 4: for these film installations that he did, which are all

762
00:34:28,200 --> 00:34:30,200
Speaker 4: really interesting if you can look any of them up online.

763
00:34:30,239 --> 00:34:32,799
Speaker 2: There's one called Bear that I really liked. And he's

764
00:34:32,840 --> 00:34:33,720
Speaker 2: just a really.

765
00:34:33,560 --> 00:34:37,440
Speaker 4: Fascinating filmmaker even before he started making major films. But

766
00:34:37,520 --> 00:34:41,480
Speaker 4: his first motion picture was Hunger, and Hunger is about

767
00:34:41,560 --> 00:34:46,919
Speaker 4: the nineteen eighty one Irish prison hunger strike, like where

768
00:34:46,920 --> 00:34:50,080
Speaker 4: Bobby Sands died. And I read a book last year

769
00:34:50,120 --> 00:34:56,319
Speaker 4: called Say Nothing about that time, like the troubles absolutely incredible,

770
00:34:56,480 --> 00:34:58,640
Speaker 4: like what people went through and the story of Bobby

771
00:34:58,640 --> 00:35:02,520
Speaker 4: Sands is heartbreaking. And this movie is a movie I saw.

772
00:35:03,200 --> 00:35:05,360
Speaker 4: I saw Hunger after the one that I'm going to

773
00:35:05,440 --> 00:35:08,080
Speaker 4: talk about today because I love the one that I

774
00:35:08,120 --> 00:35:09,960
Speaker 4: saw today so much that I'm like, I gotta know,

775
00:35:10,040 --> 00:35:12,040
Speaker 4: I gotta know what the other movies are like. But

776
00:35:12,080 --> 00:35:14,560
Speaker 4: it premiered it at the con Film Festival and he

777
00:35:14,600 --> 00:35:18,839
Speaker 4: received McQueen received the first Time Director Award. It also

778
00:35:18,840 --> 00:35:21,000
Speaker 4: won a bunch of awards at like the Sydney Film Festival,

779
00:35:21,160 --> 00:35:24,360
Speaker 4: Toronto International Film Festival, LA Film Critics Awards. It just

780
00:35:24,400 --> 00:35:26,399
Speaker 4: won a ton of awards. He really like burst onto

781
00:35:26,400 --> 00:35:28,520
Speaker 4: the scene I think in a big way.

782
00:35:28,719 --> 00:35:32,160
Speaker 1: So Michael Fassbender was in that movie right now, so

783
00:35:33,000 --> 00:35:35,040
Speaker 1: is Michael Fassbender? Would you say he was kind of

784
00:35:35,080 --> 00:35:37,480
Speaker 1: like his muse because I think he's in a lot

785
00:35:37,480 --> 00:35:38,560
Speaker 1: of his films, right.

786
00:35:38,719 --> 00:35:39,719
Speaker 2: They work together a lot.

787
00:35:39,800 --> 00:35:41,400
Speaker 4: They work together a lot, and I think they have

788
00:35:41,480 --> 00:35:45,960
Speaker 4: a good working relationship because they're both i don't know,

789
00:35:46,040 --> 00:35:48,400
Speaker 4: they both seem kind of sensitive in the same way,

790
00:35:48,640 --> 00:35:50,560
Speaker 4: and they both seem like they can kind of get

791
00:35:50,560 --> 00:35:52,200
Speaker 4: to the heart of things in the same way. So

792
00:35:52,360 --> 00:35:55,560
Speaker 4: I'm sure that McQueen likes working with an actor that

793
00:35:55,600 --> 00:35:56,440
Speaker 4: he can count on like that.

794
00:35:56,520 --> 00:35:58,600
Speaker 1: And there's a reason why they work together so much. Yeah,

795
00:35:58,800 --> 00:35:59,200
Speaker 1: there is.

796
00:35:59,280 --> 00:36:01,160
Speaker 4: And even with what film we're going to talk about Today,

797
00:36:01,160 --> 00:36:03,960
Speaker 4: which was his second film, Shame, which was released in

798
00:36:04,000 --> 00:36:07,640
Speaker 4: twenty ten. I read something where I guess the casting

799
00:36:07,680 --> 00:36:10,000
Speaker 4: director said that it was so hard to cast for

800
00:36:10,120 --> 00:36:13,200
Speaker 4: that film and Maqueen wanted like big names and there

801
00:36:13,200 --> 00:36:15,400
Speaker 4: were so many people that were like a Nope, but

802
00:36:15,480 --> 00:36:20,080
Speaker 4: we're not doing that. So yeah, we're gonna get into Shame.

803
00:36:20,440 --> 00:36:22,160
Speaker 4: But then the film he did after that in twenty

804
00:36:22,200 --> 00:36:25,000
Speaker 4: thirteen was Twelve Years of Slave Again won a bunch

805
00:36:25,040 --> 00:36:27,680
Speaker 4: of awards. This is when Lupita and Yango won for

806
00:36:27,920 --> 00:36:32,120
Speaker 4: Best Supporting Actress, won like Baptaz and won the Golden

807
00:36:32,120 --> 00:36:36,480
Speaker 4: Globe for Best Film. Again another really powerful movie that

808
00:36:36,600 --> 00:36:40,880
Speaker 4: I haven't seen because I can't stand slave movie, but

809
00:36:41,120 --> 00:36:44,120
Speaker 4: a slave movie in his hands might make me reconsider.

810
00:36:44,560 --> 00:36:46,880
Speaker 4: And I really loved his next movie too. Twenty eighteen,

811
00:36:47,080 --> 00:36:49,920
Speaker 4: he released Widows, which I think was underrated.

812
00:36:50,000 --> 00:36:51,799
Speaker 1: Yeah I saw that one, yeah, and.

813
00:36:51,760 --> 00:36:53,200
Speaker 4: It was kind of It was based on this nineteen

814
00:36:53,239 --> 00:36:55,839
Speaker 4: eighty three British TV series. He co wrote it with

815
00:36:56,440 --> 00:36:59,640
Speaker 4: you Know, Jillian Flynn from you Know she wrote Gone Girl,

816
00:37:00,239 --> 00:37:02,000
Speaker 4: and I just I feel like it's under ray. There's

817
00:37:02,000 --> 00:37:05,480
Speaker 4: some good performances in that movie, and it's an interesting premise, Viola.

818
00:37:05,200 --> 00:37:07,000
Speaker 1: Davis right that she was really good in that.

819
00:37:07,080 --> 00:37:09,400
Speaker 2: Yeah, Viola Davis was awesome in that movie.

820
00:37:09,880 --> 00:37:15,960
Speaker 4: And then he last year released a series of films

821
00:37:16,280 --> 00:37:18,719
Speaker 4: under the Small Acts title, which we're going to talk

822
00:37:18,760 --> 00:37:22,200
Speaker 4: about today as well. He is just like, he's prolific

823
00:37:22,440 --> 00:37:27,000
Speaker 4: and interesting and just takes his time to tell such

824
00:37:27,120 --> 00:37:30,120
Speaker 4: human stories. And again, I know we talked about this

825
00:37:30,160 --> 00:37:34,759
Speaker 4: couple weeks ago, but he is another black filmmaker and

826
00:37:34,840 --> 00:37:39,440
Speaker 4: black creator who refuses to be penned in by monolithic

827
00:37:39,480 --> 00:37:42,880
Speaker 4: ideas about how to represent blackness in film, and so

828
00:37:42,960 --> 00:37:46,160
Speaker 4: he does it in a way that is so natural

829
00:37:46,200 --> 00:37:50,960
Speaker 4: to him that it can't help but tell different stories.

830
00:37:51,000 --> 00:37:53,040
Speaker 4: Like when we talk about Small Acts, I think that's

831
00:37:53,040 --> 00:37:55,160
Speaker 4: something that I really want to talk about a lot,

832
00:37:55,160 --> 00:37:59,280
Speaker 4: because the Small Acts films are just stunning and telling

833
00:37:59,360 --> 00:38:01,400
Speaker 4: stories I think a lot of us have never heard

834
00:38:01,760 --> 00:38:05,040
Speaker 4: of or knew about, but just represented a part of

835
00:38:05,760 --> 00:38:10,920
Speaker 4: black culture that is so intentionally like he just treats

836
00:38:10,960 --> 00:38:14,719
Speaker 4: it so intentionally beautifully and just really brings a lot

837
00:38:14,719 --> 00:38:16,719
Speaker 4: of the life of the story out for me in

838
00:38:16,760 --> 00:38:17,320
Speaker 4: those ways.

839
00:38:17,400 --> 00:38:20,440
Speaker 1: Yeah, he's definitely one of the best working filmmakers of

840
00:38:21,239 --> 00:38:23,439
Speaker 1: the modern era. In my opinion. I just think he's

841
00:38:23,800 --> 00:38:26,920
Speaker 1: super talented and like you said, just really good at

842
00:38:27,040 --> 00:38:32,239
Speaker 1: conveying emotion and character. And I'm super excited to talk

843
00:38:32,280 --> 00:38:37,720
Speaker 1: about him. So I'm jazz. We're doing this episode me too,

844
00:38:38,000 --> 00:38:40,080
Speaker 1: So I guess you're rope first this week.

845
00:38:40,320 --> 00:38:44,359
Speaker 4: I'm psyched to get into this movie because, first of all,

846
00:38:44,400 --> 00:38:48,320
Speaker 4: can you do you want to tell the party people

847
00:38:49,040 --> 00:38:50,760
Speaker 4: about the text that you sent me today?

848
00:38:51,440 --> 00:38:54,520
Speaker 1: Yes, I'll read it verbatim, the one that I said

849
00:38:54,560 --> 00:38:56,600
Speaker 1: to you because I was like, I don't even know

850
00:38:57,600 --> 00:39:01,880
Speaker 1: I said, you got me rewatching Shame in my parents' house,

851
00:39:01,920 --> 00:39:05,840
Speaker 1: which is pure evil.

852
00:39:06,200 --> 00:39:08,919
Speaker 4: I love it so much. I love it so much.

853
00:39:09,200 --> 00:39:12,600
Speaker 4: Not intentional, but hey, take over for the team, and

854
00:39:12,680 --> 00:39:16,160
Speaker 4: I'm glad for it, because holy cow, this is what

855
00:39:16,440 --> 00:39:18,680
Speaker 4: hell of a movie to watch, even in your parents

856
00:39:18,680 --> 00:39:19,240
Speaker 4: with sinity.

857
00:39:19,680 --> 00:39:20,959
Speaker 2: Yes, for sure.

858
00:39:21,080 --> 00:39:25,240
Speaker 4: So Shame came out in twenty eleven, directed by Steve McQueen,

859
00:39:25,920 --> 00:39:28,719
Speaker 4: written by Steve McQueen and Abby Morgan, who also.

860
00:39:28,480 --> 00:39:29,480
Speaker 2: Wrote The Iron Lady.

861
00:39:30,080 --> 00:39:33,640
Speaker 4: She wrote The Iron Lady and the stars Michael Fastbender

862
00:39:33,760 --> 00:39:35,320
Speaker 4: and Carrie Mulligan.

863
00:39:35,719 --> 00:39:39,200
Speaker 2: Also features Nicole Bahari. I'm trying to help you.

864
00:39:39,280 --> 00:39:40,000
Speaker 4: Oh you helping me?

865
00:39:40,960 --> 00:39:44,000
Speaker 2: You come in here and you're weight on me. You're

866
00:39:44,000 --> 00:39:46,640
Speaker 2: a burden you want to get out of. I could

867
00:39:46,680 --> 00:39:50,359
Speaker 2: take you somewhere with family who meant to look after

868
00:39:50,400 --> 00:39:50,799
Speaker 2: each other.

869
00:39:51,880 --> 00:39:54,640
Speaker 4: A premiere at the sixty eighth annual Venice Film Festival,

870
00:39:55,320 --> 00:40:01,239
Speaker 4: it has an NC seventeen rating. Roger Ebert gave it

871
00:40:01,320 --> 00:40:04,040
Speaker 4: four stars, but he also said he wouldn't see it.

872
00:40:04,040 --> 00:40:07,000
Speaker 4: He probably wouldn't see it twice like he loved it.

873
00:40:08,520 --> 00:40:12,120
Speaker 1: Truer words have literally never been spoken. That's how I

874
00:40:12,160 --> 00:40:14,600
Speaker 1: felt where I was like, man, this movie is fucking great,

875
00:40:14,640 --> 00:40:16,880
Speaker 1: but I don't think I can ever watch it again

876
00:40:17,280 --> 00:40:20,439
Speaker 1: until your friend makes you watch it for a film

877
00:40:20,440 --> 00:40:21,560
Speaker 1: podcast you're doing together.

878
00:40:21,960 --> 00:40:23,640
Speaker 4: But this is also why I feel like I'm maybe

879
00:40:23,640 --> 00:40:26,120
Speaker 4: on a watch list because I've rented it twice this

880
00:40:26,200 --> 00:40:29,439
Speaker 4: year alone. Ah, and I should just buy it because

881
00:40:29,600 --> 00:40:31,839
Speaker 4: every couple of years, I'm like, man, that movie's fucking great,

882
00:40:31,840 --> 00:40:35,920
Speaker 4: and I just want to watch it again guaranteed watch list.

883
00:40:37,120 --> 00:40:40,279
Speaker 4: Oh gosh, but it's it's it's great. So Ebert, much

884
00:40:40,360 --> 00:40:43,080
Speaker 4: like Milly, was just like excellent, Probably wouldn't put myself

885
00:40:43,080 --> 00:40:44,600
Speaker 4: through this again and listen to a podcast.

886
00:40:45,440 --> 00:40:47,680
Speaker 2: And then there was a there was a writer who

887
00:40:47,760 --> 00:40:48,760
Speaker 2: was writing for Moby.

888
00:40:49,280 --> 00:40:54,879
Speaker 4: I'm gonna try with this name Ignatier Vishnevetski. Uh And

889
00:40:55,200 --> 00:40:59,040
Speaker 4: they said every scene is labeled with big dollops of

890
00:40:59,120 --> 00:41:04,600
Speaker 4: cinema's most respectable cop out, ambiguity. Shame wears its emptiness

891
00:41:04,600 --> 00:41:08,239
Speaker 4: like a badge of honor. McQueen is trying for banal blankness.

892
00:41:08,280 --> 00:41:11,080
Speaker 4: And though he succeeds in that respect, you kind of

893
00:41:11,120 --> 00:41:14,160
Speaker 4: wish that a filmmaker, and one with a background as

894
00:41:14,160 --> 00:41:17,200
Speaker 4: an artist at that, would aspire to do more than

895
00:41:17,360 --> 00:41:20,080
Speaker 4: just say nothing. And I could not disagree with this

896
00:41:20,239 --> 00:41:24,799
Speaker 4: review more. Ah, and we'll get into that of the

897
00:41:24,840 --> 00:41:27,080
Speaker 4: other cool thing. Stephen Queen was a war artist. He

898
00:41:27,120 --> 00:41:27,759
Speaker 4: went to a raq.

899
00:41:28,719 --> 00:41:30,320
Speaker 1: Oh wow, that's interesting.

900
00:41:31,719 --> 00:41:35,600
Speaker 4: So the synopsis of this film is Brandon Sullivan played

901
00:41:35,600 --> 00:41:39,080
Speaker 4: by Michael Fassbender, is this New York executive who also

902
00:41:39,160 --> 00:41:42,560
Speaker 4: happens to be a sex addict. And when his sister

903
00:41:42,719 --> 00:41:45,719
Speaker 4: Sissy comes to town, what happens. That's right, All hell

904
00:41:45,760 --> 00:41:47,000
Speaker 4: breaks list So.

905
00:41:49,480 --> 00:41:52,360
Speaker 1: Like every movie we ever talk about, all hell breaks.

906
00:41:52,120 --> 00:41:55,200
Speaker 2: Loose, breaks loose, and what's wild is that?

907
00:41:55,239 --> 00:41:55,319
Speaker 6: Like?

908
00:41:55,560 --> 00:41:58,600
Speaker 4: So, this is a film that has been deeply praised

909
00:41:58,719 --> 00:42:01,279
Speaker 4: for its reflection of sex, and which is something that's

910
00:42:01,280 --> 00:42:03,520
Speaker 4: mostly made fun of in our culture, like people are

911
00:42:03,560 --> 00:42:05,600
Speaker 4: kind of like secked how can be addicted to sex?

912
00:42:05,960 --> 00:42:08,919
Speaker 4: And I think what's wonderful about this film is it's

913
00:42:08,920 --> 00:42:13,200
Speaker 4: not glorified and it's deeply unsexy. The way that the

914
00:42:13,280 --> 00:42:16,200
Speaker 4: Queen shows this addiction to sex and this compulsion. It's

915
00:42:16,520 --> 00:42:19,840
Speaker 4: a compulsion. And I also think that that Fastbender was

916
00:42:19,880 --> 00:42:22,840
Speaker 4: perfect for this role for that reason, because he's equal

917
00:42:22,960 --> 00:42:27,759
Speaker 4: parts hot and creepy, right, Like he kind of I

918
00:42:27,800 --> 00:42:29,759
Speaker 4: don't know, like there's something about him that you can

919
00:42:29,840 --> 00:42:32,360
Speaker 4: feel in certain ways that he moves his face and

920
00:42:32,360 --> 00:42:34,479
Speaker 4: in certain movements that he makes where you're like, oh damn,

921
00:42:34,520 --> 00:42:37,680
Speaker 4: he could murder me. Like he's a little creepy but

922
00:42:37,719 --> 00:42:40,760
Speaker 4: also pretty fucking hot. This movie did make me wonder

923
00:42:41,080 --> 00:42:44,640
Speaker 4: does our podcast need to come with a disclaimer about

924
00:42:44,640 --> 00:42:48,080
Speaker 4: how we keep subconsciously picking movies with full frontal.

925
00:42:52,640 --> 00:42:52,960
Speaker 2: Picked it?

926
00:42:53,000 --> 00:42:55,640
Speaker 4: No, I'm kidding, but this is like out the gate,

927
00:42:55,760 --> 00:42:58,239
Speaker 4: Like the first thing you see aside from him kind

928
00:42:58,280 --> 00:42:59,840
Speaker 4: of sprawled out in Ben and it's really beautiful.

929
00:42:59,840 --> 00:43:00,000
Speaker 2: Shit.

930
00:43:00,239 --> 00:43:03,520
Speaker 4: Actually is him just walking around his house just naked?

931
00:43:03,760 --> 00:43:05,960
Speaker 4: Wing's a flying Yeah, So I don't know, maybe think

932
00:43:06,000 --> 00:43:07,520
Speaker 4: a little bit more deeply about us.

933
00:43:07,719 --> 00:43:11,600
Speaker 1: The one thing that I did notice about this tendency

934
00:43:12,080 --> 00:43:15,040
Speaker 1: of him walking around naked in his he is that

935
00:43:15,160 --> 00:43:18,880
Speaker 1: he lives in one of those apartments with no window

936
00:43:19,000 --> 00:43:23,360
Speaker 1: coverings on a high rise, which I call sexy living,

937
00:43:23,719 --> 00:43:26,279
Speaker 1: where you're like in a city and you don't have

938
00:43:26,400 --> 00:43:29,239
Speaker 1: like shades or drapes or anything, and you're just kind

939
00:43:29,280 --> 00:43:33,200
Speaker 1: of like, I'm so hot and successful, I'm walking around naked,

940
00:43:33,440 --> 00:43:36,320
Speaker 1: living my life with no fucking privacy.

941
00:43:36,360 --> 00:43:38,520
Speaker 2: I want you to see it, and I'm just com.

942
00:43:39,000 --> 00:43:43,040
Speaker 4: It's such a guys, it's such an exhibitionist approach to

943
00:43:43,120 --> 00:43:44,799
Speaker 4: life that I do not have.

944
00:43:45,560 --> 00:43:48,160
Speaker 2: I'm the exact opposite. Like, give me those like thick

945
00:43:48,640 --> 00:43:49,840
Speaker 2: Victorian drapes.

946
00:43:50,000 --> 00:43:53,200
Speaker 4: Yes, I want to put drapes over every reflective surface,

947
00:43:53,239 --> 00:43:56,879
Speaker 4: Like get them on the microwave. I want drapesod It's

948
00:43:56,920 --> 00:43:58,520
Speaker 4: like when you watch episodes.

949
00:43:58,080 --> 00:43:59,880
Speaker 1: Of The Crown and you see like a one person

950
00:44:00,040 --> 00:44:03,400
Speaker 1: coming in and opening these heavy ass fucking queen drapes,

951
00:44:03,680 --> 00:44:05,719
Speaker 1: and I'm like, that's how I live. I can't live

952
00:44:05,760 --> 00:44:07,080
Speaker 1: sexy in the air like that.

953
00:44:07,080 --> 00:44:08,440
Speaker 2: That's just too crazy to me.

954
00:44:08,800 --> 00:44:12,960
Speaker 4: Okay, I can't live sexy in the Air, like that

955
00:44:13,120 --> 00:44:15,080
Speaker 4: is the title of this fucking episode.

956
00:44:15,200 --> 00:44:17,560
Speaker 3: But we're sure sexy in mid.

957
00:44:17,360 --> 00:44:21,560
Speaker 2: Air is it? Oh gosh, but I know what you mean,

958
00:44:21,600 --> 00:44:22,319
Speaker 2: and it freaks me out.

959
00:44:22,320 --> 00:44:23,719
Speaker 4: Every time I live in the city and I see

960
00:44:23,760 --> 00:44:26,480
Speaker 4: those buildings, I do wonder who lives there, and is

961
00:44:26,520 --> 00:44:28,840
Speaker 4: it the Brandon Sullivan sex at it?

962
00:44:29,000 --> 00:44:30,759
Speaker 2: Like I don't understand.

963
00:44:31,320 --> 00:44:34,880
Speaker 1: Yeah, I think it's that's what made his character creepy.

964
00:44:35,040 --> 00:44:37,600
Speaker 1: I think when you're is because you're like, oh, here's

965
00:44:37,600 --> 00:44:39,600
Speaker 1: this like rich executive guy.

966
00:44:39,840 --> 00:44:41,520
Speaker 2: He's I don't know if he's like a tech bro.

967
00:44:41,680 --> 00:44:43,440
Speaker 1: I can't figure like what he does for a living,

968
00:44:43,800 --> 00:44:47,520
Speaker 1: and you know, his life is very like designy, sterile,

969
00:44:47,960 --> 00:44:51,480
Speaker 1: like you know, his apartment is open, it's very you know,

970
00:44:51,640 --> 00:44:56,200
Speaker 1: kind of like scan almost like Scandinavian, very sparse, and

971
00:44:56,280 --> 00:44:58,440
Speaker 1: I'm just sort of like, wow, that is such a

972
00:44:58,440 --> 00:45:00,239
Speaker 1: way to live, you know, Like I'm just it's like

973
00:45:00,239 --> 00:45:01,080
Speaker 1: that's so weird to me.

974
00:45:01,719 --> 00:45:04,360
Speaker 4: And there's like a cool blue hue over everything, so

975
00:45:04,440 --> 00:45:06,520
Speaker 4: it makes it seem icy and cold even more so

976
00:45:06,560 --> 00:45:09,040
Speaker 4: than it is. And there are parts of this movie

977
00:45:09,080 --> 00:45:11,840
Speaker 4: where there's shouting matches happening in the apartment, but you

978
00:45:11,880 --> 00:45:15,440
Speaker 4: can't hear from the outside, which seems again like this

979
00:45:15,520 --> 00:45:18,840
Speaker 4: is where I'm sometimes unable to suspend disbelief because I'm like,

980
00:45:18,880 --> 00:45:20,560
Speaker 4: there's no apartment in New York.

981
00:45:20,440 --> 00:45:22,440
Speaker 2: Where you can't hear your neighbor fart.

982
00:45:22,840 --> 00:45:24,920
Speaker 4: And then I realized, well, if you're rich, you probably

983
00:45:24,960 --> 00:45:27,080
Speaker 4: don't have to listen to your neighbor's fart. Like these

984
00:45:27,080 --> 00:45:29,560
Speaker 4: are those sexy buildings. This is sexy living, and you

985
00:45:29,600 --> 00:45:33,319
Speaker 4: don't have to hear your neighbor showers or oh god.

986
00:45:33,360 --> 00:45:35,640
Speaker 4: I lived in an apartment in Harlem once where I

987
00:45:35,680 --> 00:45:38,759
Speaker 4: had one of those like air vents across the apartments

988
00:45:39,239 --> 00:45:41,960
Speaker 4: and or like an alley kind of air vent thing

989
00:45:42,000 --> 00:45:44,279
Speaker 4: going on, and my neighbor's bathroom is right next to

990
00:45:44,320 --> 00:45:48,040
Speaker 4: my bedroom window, and I don't know what was happening,

991
00:45:48,640 --> 00:45:53,360
Speaker 4: but there was a twenty minute kind of an excision

992
00:45:53,360 --> 00:45:55,440
Speaker 4: of mucus every morning.

993
00:45:56,640 --> 00:45:57,120
Speaker 1: Oh my god.

994
00:45:57,160 --> 00:45:59,680
Speaker 4: And I didn't know how to live after that for

995
00:45:59,719 --> 00:46:03,319
Speaker 4: a while. Like to wake up to that sound every

996
00:46:03,360 --> 00:46:04,920
Speaker 4: day for a couple of years really did.

997
00:46:04,800 --> 00:46:05,319
Speaker 2: Something to me.

998
00:46:05,680 --> 00:46:08,040
Speaker 1: Too intimate, Yeah, here, way too intimate.

999
00:46:08,480 --> 00:46:12,239
Speaker 4: So he's doing the sexy living and he really I

1000
00:46:12,280 --> 00:46:14,239
Speaker 4: feel like the opening scene of this movie is so

1001
00:46:14,440 --> 00:46:17,879
Speaker 4: important not just for setting the tone, but for understanding

1002
00:46:17,920 --> 00:46:22,080
Speaker 4: this character. And in the opening scene, he's on the subway,

1003
00:46:22,680 --> 00:46:24,239
Speaker 4: so he's a woman sitting in a street in a

1004
00:46:24,280 --> 00:46:26,920
Speaker 4: seat across from him. He's looking at her. It's kind

1005
00:46:26,920 --> 00:46:32,280
Speaker 4: of furtatiously. She's engaging, they're smiling, but the camera holds

1006
00:46:32,320 --> 00:46:37,440
Speaker 4: on both of them as you realize his intensity and

1007
00:46:37,520 --> 00:46:42,759
Speaker 4: his relentlessness is creeping her out. And then she stands up,

1008
00:46:43,040 --> 00:46:45,720
Speaker 4: and he stands up behind her and puts his hand

1009
00:46:45,760 --> 00:46:48,920
Speaker 4: next to hers where you can visibly see her rings,

1010
00:46:48,960 --> 00:46:51,960
Speaker 4: her engagement rings or wedding rings. Uh. And then he

1011
00:46:52,080 --> 00:46:55,480
Speaker 4: follows her off the train, loses her in the crowd.

1012
00:46:55,719 --> 00:46:57,960
Speaker 4: But I was kind of left feeling like, holy shit,

1013
00:46:58,080 --> 00:47:00,600
Speaker 4: this is part of the compulsive element of sex addiction

1014
00:47:00,640 --> 00:47:04,720
Speaker 4: where he literally cannot stop himself. Yeah, and this woman

1015
00:47:04,760 --> 00:47:07,839
Speaker 4: was giving all the signals of like I am uncomfortable now,

1016
00:47:07,960 --> 00:47:11,480
Speaker 4: like this was flirty and cute for a minute. Now

1017
00:47:11,560 --> 00:47:14,480
Speaker 4: I'm freaked out and you couldn't control it. And it

1018
00:47:14,560 --> 00:47:18,120
Speaker 4: was really again like a silent sea. It's just so fascinating,

1019
00:47:18,600 --> 00:47:21,400
Speaker 4: just silent scene that just kind of really undercut to

1020
00:47:21,480 --> 00:47:24,040
Speaker 4: me the very meaning of like who we're dealing with

1021
00:47:24,120 --> 00:47:26,319
Speaker 4: here because right after that he goes to work and

1022
00:47:26,360 --> 00:47:28,879
Speaker 4: he jerks off in the bathroom and it's like he

1023
00:47:29,000 --> 00:47:32,040
Speaker 4: really can't stop it, like he just it's just not

1024
00:47:32,120 --> 00:47:34,880
Speaker 4: the act of physical sex. It's thinking about sex and

1025
00:47:34,920 --> 00:47:38,840
Speaker 4: looking at, you know, objects of desire and having to

1026
00:47:38,920 --> 00:47:41,600
Speaker 4: jerk off at work, and like just really it was

1027
00:47:41,719 --> 00:47:42,520
Speaker 4: very compounded for me.

1028
00:47:42,600 --> 00:47:44,680
Speaker 2: There's a point where he goes on.

1029
00:47:44,640 --> 00:47:47,839
Speaker 4: A date with a coworker Marianne that's Nicole Bahari, and

1030
00:47:48,280 --> 00:47:50,279
Speaker 4: as they're standing at the subway at the end of

1031
00:47:50,320 --> 00:47:52,879
Speaker 4: the date, there's an ad for like a strip club

1032
00:47:52,920 --> 00:47:54,520
Speaker 4: hanging between them at the subway entrance.

1033
00:47:54,520 --> 00:47:56,520
Speaker 2: So you kind of also get this feeling that.

1034
00:47:56,520 --> 00:48:00,440
Speaker 4: Like sex is everywhere, which we all know, like we

1035
00:48:00,520 --> 00:48:03,719
Speaker 4: all live in this in this culture, But what is

1036
00:48:03,719 --> 00:48:06,480
Speaker 4: it like when sex is everywhere and you're a sex addict?

1037
00:48:06,880 --> 00:48:07,640
Speaker 2: What is that like?

1038
00:48:07,680 --> 00:48:10,520
Speaker 4: So it's just something very I don't know, there's something

1039
00:48:10,640 --> 00:48:15,400
Speaker 4: very sad, immediately sad about this character to me, and

1040
00:48:15,480 --> 00:48:18,080
Speaker 4: you know, there's the kind of expected thing of you know,

1041
00:48:18,160 --> 00:48:21,920
Speaker 4: he he has a hard time forming like sustainable relationships

1042
00:48:21,920 --> 00:48:25,800
Speaker 4: with people, and sustainable connections with people, including his sister Sissy,

1043
00:48:25,880 --> 00:48:27,280
Speaker 4: who we are going to get to in a moment,

1044
00:48:28,280 --> 00:48:31,799
Speaker 4: has a startlingly confusing relationship with her that is chock

1045
00:48:31,840 --> 00:48:36,439
Speaker 4: full of boundary issues. They are so naked around each other,

1046
00:48:36,880 --> 00:48:40,440
Speaker 4: but he can't connect to himself, I think is kind

1047
00:48:40,440 --> 00:48:42,279
Speaker 4: of also what's happening, Like I don't see a lot

1048
00:48:42,280 --> 00:48:45,640
Speaker 4: of introspection going on there, and he's almost fueled by

1049
00:48:45,680 --> 00:48:48,680
Speaker 4: such this like this animalistic kind of urge. And then

1050
00:48:48,800 --> 00:48:50,880
Speaker 4: you see him interacting with people and like you can

1051
00:48:50,920 --> 00:48:52,440
Speaker 4: see the mask that he has to put on to

1052
00:48:52,440 --> 00:48:55,319
Speaker 4: get through the day. But yeah, it's just again very

1053
00:48:55,480 --> 00:48:58,360
Speaker 4: very interesting. I like little details about this movie, like

1054
00:48:58,400 --> 00:49:00,920
Speaker 4: the fact that the music he listened to a lot

1055
00:49:00,920 --> 00:49:04,040
Speaker 4: of classical music, and one of the songs he listens

1056
00:49:04,080 --> 00:49:06,000
Speaker 4: to the most, one of the pieces he listens to

1057
00:49:06,080 --> 00:49:09,640
Speaker 4: the most is box Aria de Capo, which is the

1058
00:49:09,640 --> 00:49:12,000
Speaker 4: same music that Hannibal Lecter listens to.

1059
00:49:14,280 --> 00:49:16,920
Speaker 1: Funny how that works out sometimes.

1060
00:49:17,000 --> 00:49:18,120
Speaker 3: The same peace.

1061
00:49:18,920 --> 00:49:22,040
Speaker 4: So yeah, so Sissy, his sister calls and is like

1062
00:49:22,120 --> 00:49:23,480
Speaker 4: trying to get to him.

1063
00:49:24,120 --> 00:49:25,760
Speaker 2: He's instantly ignoring.

1064
00:49:25,800 --> 00:49:27,400
Speaker 4: He's ignoring her in the beginning of the film, like

1065
00:49:27,440 --> 00:49:29,560
Speaker 4: she leaves messages and then she just shows up and

1066
00:49:29,600 --> 00:49:31,120
Speaker 4: he's like, what are you fucking doing here? She's like,

1067
00:49:31,120 --> 00:49:32,680
Speaker 4: I tried to call you and tell you I was coming.

1068
00:49:33,200 --> 00:49:36,560
Speaker 4: But one thing that I thought was cool about this character,

1069
00:49:36,640 --> 00:49:39,560
Speaker 4: because it's not just about him, is that I read

1070
00:49:39,560 --> 00:49:41,880
Speaker 4: an interview with a psychologist or a comment from a

1071
00:49:41,880 --> 00:49:46,800
Speaker 4: psychologist who said that this character had borderline personality disorder.

1072
00:49:47,560 --> 00:49:50,439
Speaker 4: And according to the Mayo Clinic, it's a mental health

1073
00:49:50,440 --> 00:49:53,200
Speaker 4: disorder and it impacts the way you think and feel

1074
00:49:53,239 --> 00:49:57,759
Speaker 4: about yourself and others. It causes problems functioning in everyday life.

1075
00:49:58,200 --> 00:50:01,960
Speaker 4: It includes self image issues toiculty managing emotions and behavior,

1076
00:50:02,600 --> 00:50:06,759
Speaker 4: and a pattern of unstable relationships is usually involved. So

1077
00:50:07,640 --> 00:50:10,440
Speaker 4: once that psychologist kind of puts that out there and

1078
00:50:10,520 --> 00:50:12,759
Speaker 4: I was watching this film, I'm like, yeah, that makes sense,

1079
00:50:12,760 --> 00:50:15,640
Speaker 4: because this character is a mess in a lot of

1080
00:50:15,719 --> 00:50:19,920
Speaker 4: ways and emotionally unable to connect in the same way

1081
00:50:19,960 --> 00:50:23,359
Speaker 4: as her brother, but the damage is clearly different. One

1082
00:50:23,400 --> 00:50:26,239
Speaker 4: of the first scenes we see with Cissy, who's played

1083
00:50:26,239 --> 00:50:29,000
Speaker 4: by Kerry Mulligan, who's just again kind of a really

1084
00:50:29,080 --> 00:50:32,120
Speaker 4: fantastic actress that is underrated in my world. Like, I

1085
00:50:32,160 --> 00:50:35,760
Speaker 4: don't think she's underrated by the world, but I've really

1086
00:50:36,160 --> 00:50:37,960
Speaker 4: enjoyed a lot of the stuff I've seen her in

1087
00:50:38,480 --> 00:50:40,920
Speaker 4: and the first scene we see with this character Sissy

1088
00:50:41,040 --> 00:50:43,480
Speaker 4: is her like pleading on the phone with a partner,

1089
00:50:43,560 --> 00:50:46,319
Speaker 4: like with her boyfriend, like you know, please don't leave her,

1090
00:50:46,680 --> 00:50:50,360
Speaker 4: and it's just so heartbreaking, so sad, and her brother's

1091
00:50:50,360 --> 00:50:54,480
Speaker 4: listening to this and like he can't comfort her. It's

1092
00:50:54,520 --> 00:50:58,080
Speaker 4: just it's very strange, very strange. And she does say

1093
00:50:58,120 --> 00:51:01,960
Speaker 4: something towards the end of the film that clarifies.

1094
00:51:01,320 --> 00:51:02,640
Speaker 2: A couple of things.

1095
00:51:03,239 --> 00:51:05,359
Speaker 4: She leaves him a voicemail and says, you know, we're

1096
00:51:05,360 --> 00:51:07,400
Speaker 4: not bad people. We just come from a bad place.

1097
00:51:07,719 --> 00:51:09,960
Speaker 4: Because the other interesting thing about this film to me

1098
00:51:10,080 --> 00:51:12,759
Speaker 4: is that they never go back to the start to

1099
00:51:12,840 --> 00:51:16,440
Speaker 4: talk about how this began right for Brandon or like

1100
00:51:16,480 --> 00:51:19,320
Speaker 4: what exactly is going on with Sissy is all about

1101
00:51:19,320 --> 00:51:22,200
Speaker 4: the present. So when you hear something like that, you know,

1102
00:51:22,239 --> 00:51:24,320
Speaker 4: we're not bad people, we just come from a bad place.

1103
00:51:25,040 --> 00:51:26,839
Speaker 4: Like that just floored me the first time I heard it,

1104
00:51:26,880 --> 00:51:30,640
Speaker 4: Like what is going on here? Because they have a

1105
00:51:31,239 --> 00:51:35,440
Speaker 4: very strange relationship. When he comes home one night and

1106
00:51:35,480 --> 00:51:39,200
Speaker 4: she's actually in his apartment taking a shower, she just

1107
00:51:39,239 --> 00:51:42,600
Speaker 4: shows up unannounced and he goes into the bathroom thinking

1108
00:51:42,680 --> 00:51:45,000
Speaker 4: it's like someone's broken in and he's getting ready to

1109
00:51:45,040 --> 00:51:47,160
Speaker 4: bash in the head of whoever's there, and it's his sister.

1110
00:51:47,320 --> 00:51:49,640
Speaker 4: And she's just standing there in front of him, fully naked, like,

1111
00:51:49,680 --> 00:51:52,440
Speaker 4: not reaching for a towel, not trying to get like,

1112
00:51:52,480 --> 00:51:57,000
Speaker 4: she's not ashamed, she's not yelling, she's just fully comfortable

1113
00:51:57,080 --> 00:52:00,400
Speaker 4: being buck as naked in front of her brother, her

1114
00:52:00,440 --> 00:52:04,440
Speaker 4: adult brother. And then there's another scene in the film

1115
00:52:04,560 --> 00:52:07,000
Speaker 4: where he kind of returns it, where he gets a

1116
00:52:07,040 --> 00:52:10,080
Speaker 4: little bit upset with her when she busts in on

1117
00:52:10,160 --> 00:52:12,919
Speaker 4: him masturbating in the bathroom. But then he comes out

1118
00:52:12,960 --> 00:52:16,040
Speaker 4: and is like fully naked, like straddling her and yelling

1119
00:52:16,040 --> 00:52:19,839
Speaker 4: at her, and it is just such a violent and

1120
00:52:20,080 --> 00:52:25,400
Speaker 4: angry relationship on his part and so confusing and sad

1121
00:52:25,600 --> 00:52:28,799
Speaker 4: and traumatic from her part. So I just, yeah, I

1122
00:52:28,840 --> 00:52:31,480
Speaker 4: don't know what you think about that it kind of.

1123
00:52:31,440 --> 00:52:33,680
Speaker 1: Goes beyond because a lot of times when I see

1124
00:52:33,680 --> 00:52:35,160
Speaker 1: this kind of thing, I mean, we kind of talked

1125
00:52:35,160 --> 00:52:39,080
Speaker 1: about this in the foot cigarettes episode when we talked

1126
00:52:39,080 --> 00:52:41,239
Speaker 1: about like me without you. You know, I did not

1127
00:52:41,320 --> 00:52:43,440
Speaker 1: come from a naked household, So I don't know what

1128
00:52:43,440 --> 00:52:45,439
Speaker 1: it's like to like sort of just walk around naked

1129
00:52:45,480 --> 00:52:47,319
Speaker 1: in front of my family members, we.

1130
00:52:47,360 --> 00:52:48,120
Speaker 2: Do not do that.

1131
00:52:49,360 --> 00:52:53,040
Speaker 1: But I realized that I did not grow up like

1132
00:52:53,120 --> 00:52:54,000
Speaker 1: other people grew up.

1133
00:52:54,200 --> 00:52:55,240
Speaker 2: But I think there's something.

1134
00:52:55,040 --> 00:52:59,080
Speaker 1: Different going on, and maybe that there is an ambiguity

1135
00:52:59,160 --> 00:53:02,160
Speaker 1: in the movie with that that I would have maybe

1136
00:53:02,360 --> 00:53:05,719
Speaker 1: liked to have heard about. But also I gotta say,

1137
00:53:05,800 --> 00:53:08,000
Speaker 1: like the fact that they don't talk about it is

1138
00:53:08,440 --> 00:53:11,680
Speaker 1: it's the provocative. It makes people think, like what is

1139
00:53:11,719 --> 00:53:14,680
Speaker 1: the deal here? And that's an interesting way to watch

1140
00:53:14,719 --> 00:53:15,759
Speaker 1: a movie, you know what I mean?

1141
00:53:16,120 --> 00:53:19,399
Speaker 4: Yeah, to not have all the puzzle pieces. Yeah, yeah, yeah,

1142
00:53:19,440 --> 00:53:21,200
Speaker 4: for sure, because you do get from him on that

1143
00:53:21,320 --> 00:53:23,719
Speaker 4: date that he goes on with Mary Anne. You get

1144
00:53:23,760 --> 00:53:26,400
Speaker 4: the he does give a little bit about his background.

1145
00:53:26,440 --> 00:53:29,200
Speaker 4: You know, he's lived in Ireland, came here as a teen,

1146
00:53:29,920 --> 00:53:31,360
Speaker 4: you know, family settled in New Jersey.

1147
00:53:31,440 --> 00:53:34,360
Speaker 2: But that's it. That's it. So what happened in Ireland?

1148
00:53:34,360 --> 00:53:36,000
Speaker 2: What happened here? Like you just don't know?

1149
00:53:36,520 --> 00:53:40,120
Speaker 1: Well, And also too just this sort of like dichotomy

1150
00:53:39,840 --> 00:53:43,440
Speaker 1: of these two characters, being that it's just almost like

1151
00:53:43,680 --> 00:53:50,239
Speaker 1: if we're talking about a guy who is promiscuous sort

1152
00:53:50,280 --> 00:53:53,160
Speaker 1: of sexually and he keeps a lot to himself. The

1153
00:53:53,280 --> 00:53:56,759
Speaker 1: sister is almost the complete opposite, she's like, I don't

1154
00:53:56,760 --> 00:53:59,600
Speaker 1: even know if this is a term, but emotionally promiscuous.

1155
00:53:59,600 --> 00:54:02,160
Speaker 1: Like she's very much like all the way up all

1156
00:54:02,200 --> 00:54:06,120
Speaker 1: the way out there. She's almost like too emotional, if

1157
00:54:06,160 --> 00:54:07,600
Speaker 1: that's a way to think about it. But it's that

1158
00:54:07,680 --> 00:54:09,800
Speaker 1: thing where you're like, you put these two people together

1159
00:54:10,239 --> 00:54:14,799
Speaker 1: and she and she's constantly accusing him of being just

1160
00:54:14,800 --> 00:54:18,120
Speaker 1: sort of, you know, a blank slate, like unable to

1161
00:54:18,200 --> 00:54:22,040
Speaker 1: show emotion towards her, but she's so emotional, and you

1162
00:54:22,120 --> 00:54:23,680
Speaker 1: kind of wonder, like, how did that come from the

1163
00:54:23,680 --> 00:54:25,080
Speaker 1: same family?

1164
00:54:25,120 --> 00:54:26,399
Speaker 2: What was that like for them?

1165
00:54:26,840 --> 00:54:32,000
Speaker 1: But ultimately, I think that she is disruptive to his

1166
00:54:32,160 --> 00:54:34,880
Speaker 1: life for not just so he can have his addiction,

1167
00:54:35,840 --> 00:54:39,800
Speaker 1: but it's also that he, I think, feels some level

1168
00:54:39,800 --> 00:54:42,640
Speaker 1: of responsibility for her, and she's kind of like a

1169
00:54:42,760 --> 00:54:46,160
Speaker 1: moral center if he has one at all, right, And

1170
00:54:46,360 --> 00:54:48,600
Speaker 1: the fact that she's in his life means that he

1171
00:54:48,800 --> 00:54:50,840
Speaker 1: has to think about his actions, and he has to

1172
00:54:50,880 --> 00:54:52,680
Speaker 1: think about like what he does and who he is.

1173
00:54:53,239 --> 00:54:55,319
Speaker 1: And I don't think he wants to, you know what.

1174
00:54:55,200 --> 00:54:56,160
Speaker 2: I mean exactly.

1175
00:54:56,239 --> 00:54:58,720
Speaker 4: He wants to live in his ice cold little box

1176
00:54:59,080 --> 00:55:01,960
Speaker 4: and check out, and that's what works for him. It's

1177
00:55:02,000 --> 00:55:03,640
Speaker 4: not a life, but it's what works for him, and

1178
00:55:03,680 --> 00:55:06,680
Speaker 4: passes is a life for him. And there are just like,

1179
00:55:06,719 --> 00:55:09,080
Speaker 4: there are moments in this movie that I think, really,

1180
00:55:09,640 --> 00:55:12,359
Speaker 4: I don't know that kind of exacerbate that feeling. Because

1181
00:55:12,400 --> 00:55:15,640
Speaker 4: there is a point in this movie where it gets dark,

1182
00:55:16,840 --> 00:55:21,719
Speaker 4: like it goes real dark and does not come back

1183
00:55:21,760 --> 00:55:22,520
Speaker 4: from the darkness.

1184
00:55:22,880 --> 00:55:25,520
Speaker 2: State goes dark, stains dark, goes into the cave.

1185
00:55:26,120 --> 00:55:29,680
Speaker 4: But before that, there are moments where you know, and

1186
00:55:29,719 --> 00:55:31,960
Speaker 4: again like to kind of refer back to that that

1187
00:55:32,040 --> 00:55:35,320
Speaker 4: movie critic who didn't like the quietness of this film,

1188
00:55:35,560 --> 00:55:39,160
Speaker 4: I kind of appreciated that subtlety, which is probably why

1189
00:55:39,200 --> 00:55:41,040
Speaker 4: I've watched it more than once, because you know, there's

1190
00:55:41,120 --> 00:55:44,400
Speaker 4: there's things like this beautiful scene of Brandon running down

1191
00:55:44,560 --> 00:55:48,080
Speaker 4: this avenue and he's barely looking at oncoming traffic as

1192
00:55:48,080 --> 00:55:50,040
Speaker 4: he crosses the street, and he's you know, trucks are

1193
00:55:50,040 --> 00:55:52,759
Speaker 4: exiting from the post office, and it's kind of a

1194
00:55:52,920 --> 00:55:55,319
Speaker 4: like a there's a recklessness to his life. Even though

1195
00:55:55,360 --> 00:55:59,080
Speaker 4: he presents himself as very controlled, he feels very reckless

1196
00:55:59,239 --> 00:56:02,719
Speaker 4: in those moments. And I think that's the subtlety, you know,

1197
00:56:02,760 --> 00:56:06,880
Speaker 4: that you get from McQueen. You know that you don't

1198
00:56:06,920 --> 00:56:09,799
Speaker 4: have to say everything and spell everything out if you're

1199
00:56:09,840 --> 00:56:11,160
Speaker 4: looking for moments like that.

1200
00:56:11,800 --> 00:56:14,560
Speaker 1: Yeah, well I gotta tell you like this. I did

1201
00:56:14,600 --> 00:56:16,399
Speaker 1: not I saw this movie, but it came out, and

1202
00:56:16,880 --> 00:56:20,400
Speaker 1: much like Roger Ebert, I was like, yeah, that was

1203
00:56:20,520 --> 00:56:22,400
Speaker 1: a lot. I mean that was a lot in a

1204
00:56:22,400 --> 00:56:24,160
Speaker 1: way that I was like, God, I felt fucking like

1205
00:56:25,440 --> 00:56:28,239
Speaker 1: it was just and it's a testament to how good

1206
00:56:28,280 --> 00:56:30,720
Speaker 1: this movie is where you're like, man, that's so intense

1207
00:56:30,760 --> 00:56:33,880
Speaker 1: and so gut wrenching, I can't watch it again. But

1208
00:56:33,920 --> 00:56:35,640
Speaker 1: then yeah, I had to wash it again and watch

1209
00:56:35,680 --> 00:56:38,000
Speaker 1: in my parents' house. But at the same time, there

1210
00:56:38,080 --> 00:56:42,799
Speaker 1: was that scene of Sissy and Brandon fighting on the

1211
00:56:42,840 --> 00:56:45,840
Speaker 1: couch and they're kind of yelling at each other and

1212
00:56:45,880 --> 00:56:48,879
Speaker 1: they're super close to each other's faces, like the two

1213
00:56:48,880 --> 00:56:51,960
Speaker 1: actors Carrie Mulligan and Michael Fassman are very close to

1214
00:56:52,000 --> 00:56:54,880
Speaker 1: each other's face and they're basically like having like a

1215
00:56:54,920 --> 00:56:58,280
Speaker 1: big fuck you argument to each other. And that scene

1216
00:56:58,440 --> 00:57:00,640
Speaker 1: was so fucking good to me, Like I was just

1217
00:57:00,680 --> 00:57:03,720
Speaker 1: watching it again, going, man, like, these are two great actors.

1218
00:57:03,960 --> 00:57:07,400
Speaker 1: This is a great film. And then it slingers on.

1219
00:57:07,760 --> 00:57:10,640
Speaker 1: It basically holds that really tight shot of the two

1220
00:57:10,680 --> 00:57:13,920
Speaker 1: of them, and then when it's over, I think he

1221
00:57:14,160 --> 00:57:16,440
Speaker 1: gets up and then Carrie Mulligan kind of turns her

1222
00:57:16,480 --> 00:57:18,160
Speaker 1: face and you can just see like a tear that

1223
00:57:18,240 --> 00:57:21,160
Speaker 1: had fallen down, and I was like, wow, that's such

1224
00:57:21,160 --> 00:57:23,760
Speaker 1: a such a great moment. I mean, it's a hard

1225
00:57:23,840 --> 00:57:26,600
Speaker 1: moment because you're watching two people fight, but at the

1226
00:57:26,600 --> 00:57:29,600
Speaker 1: same time, like as a movie, I'm like, man, this

1227
00:57:29,680 --> 00:57:30,440
Speaker 1: is a great movie.

1228
00:57:30,520 --> 00:57:31,160
Speaker 2: Absolutely.

1229
00:57:31,400 --> 00:57:36,040
Speaker 4: Yeah, like those tender parts of these characters that only

1230
00:57:36,080 --> 00:57:37,880
Speaker 4: peak the surface a little bit and they go right

1231
00:57:37,880 --> 00:57:39,720
Speaker 4: back down. Because he does the same thing in a

1232
00:57:39,760 --> 00:57:42,080
Speaker 4: scene where he's watching her sing. You know, he just

1233
00:57:42,080 --> 00:57:44,720
Speaker 4: has one tear that he's able to let fall down

1234
00:57:44,720 --> 00:57:46,280
Speaker 4: his face and then he locks it back up again.

1235
00:57:46,800 --> 00:57:48,880
Speaker 4: And I agree completely there there was I have.

1236
00:57:48,800 --> 00:57:49,400
Speaker 2: To tell you.

1237
00:57:49,440 --> 00:57:51,760
Speaker 4: I have to tell you that there was a day

1238
00:57:52,600 --> 00:57:55,640
Speaker 4: right around Christmas. Yeah, like I guess it was around

1239
00:57:55,640 --> 00:57:58,520
Speaker 4: the holidays. I don't know why. I don't know why,

1240
00:57:59,200 --> 00:58:02,400
Speaker 4: and I kind of regret it. In one day, I

1241
00:58:02,480 --> 00:58:07,280
Speaker 4: watched Shame the Hours, and because I'd never seen it,

1242
00:58:07,760 --> 00:58:11,919
Speaker 4: breaking the waves, Wow, it was the most morose day

1243
00:58:11,920 --> 00:58:12,600
Speaker 4: of my life.

1244
00:58:13,440 --> 00:58:13,720
Speaker 5: Wow.

1245
00:58:14,080 --> 00:58:17,640
Speaker 2: Yeah, that's quite a triple You got there, I.

1246
00:58:17,520 --> 00:58:19,200
Speaker 4: Felt like what And by the end, I was like,

1247
00:58:20,400 --> 00:58:21,680
Speaker 4: I gotta watch cartoons or something.

1248
00:58:21,680 --> 00:58:25,640
Speaker 2: I don't know what to do, but I love this film.

1249
00:58:25,720 --> 00:58:27,400
Speaker 4: And even though you had to watch it at your

1250
00:58:27,440 --> 00:58:30,960
Speaker 4: parents house, did you feel like it was worth watching

1251
00:58:30,960 --> 00:58:31,400
Speaker 4: it again?

1252
00:58:31,720 --> 00:58:32,440
Speaker 2: Or oh?

1253
00:58:32,480 --> 00:58:36,080
Speaker 1: Absolutely? I mean this is the thing that I always

1254
00:58:36,240 --> 00:58:38,600
Speaker 1: catch myself doing and then I immediately think why did

1255
00:58:38,600 --> 00:58:41,479
Speaker 1: I think that ever, which is that I only should

1256
00:58:41,520 --> 00:58:44,800
Speaker 1: watch movies once, you know, And I actually do not

1257
00:58:45,000 --> 00:58:49,720
Speaker 1: believe that in my general life. I totally believe in

1258
00:58:49,760 --> 00:58:52,080
Speaker 1: watching movies over and over and over again, especially at

1259
00:58:52,080 --> 00:58:54,120
Speaker 1: different points of your life. If you haven't seen a

1260
00:58:54,200 --> 00:58:55,760
Speaker 1: movie since you were a kid, watch it again. It

1261
00:58:55,760 --> 00:58:58,480
Speaker 1: doesn't matter what it is. But yeah, this was a

1262
00:58:58,520 --> 00:59:00,400
Speaker 1: movie where I thought, yeah, I don't, oh if I

1263
00:59:00,440 --> 00:59:03,240
Speaker 1: can see it again, and I told myself I probably wouldn't.

1264
00:59:03,960 --> 00:59:06,320
Speaker 1: But then when I did, I was like, why did

1265
00:59:06,360 --> 00:59:08,680
Speaker 1: I ever think that? Because this movie is so great

1266
00:59:09,440 --> 00:59:16,560
Speaker 1: considering that it was NC seventeen and I think it's

1267
00:59:16,560 --> 00:59:20,520
Speaker 1: still managed to like be seen by a lot of people. Yeah,

1268
00:59:20,680 --> 00:59:22,720
Speaker 1: you know, I think that as a filmmaker, it really

1269
00:59:22,800 --> 00:59:24,880
Speaker 1: kind of put him on the map in a different way,

1270
00:59:25,000 --> 00:59:27,160
Speaker 1: like it really made him. I mean he was really

1271
00:59:27,200 --> 00:59:30,560
Speaker 1: doing like very I mean he he made like this

1272
00:59:30,680 --> 00:59:34,640
Speaker 1: incredible art film that's in line with like other kind

1273
00:59:34,640 --> 00:59:39,320
Speaker 1: of storied NC seventeen ish type of films, you know,

1274
00:59:39,800 --> 00:59:42,080
Speaker 1: because you know when they get to an NC seventeen rating,

1275
00:59:42,160 --> 00:59:43,600
Speaker 1: you're like, ooh, what's going on here?

1276
00:59:43,760 --> 00:59:43,960
Speaker 2: You know.

1277
00:59:45,120 --> 00:59:49,440
Speaker 1: So it's so good and I think it's so effective

1278
00:59:49,560 --> 00:59:52,600
Speaker 1: at what it's trying to tell and in a weird way,

1279
00:59:52,640 --> 00:59:54,160
Speaker 1: I don't think this is a spoiler. By the way,

1280
00:59:54,320 --> 00:59:57,040
Speaker 1: there's no resolution or there's your you're kind of left

1281
00:59:57,080 --> 01:00:01,160
Speaker 1: going like, what happens next is so interesting?

1282
01:00:01,480 --> 01:00:04,360
Speaker 2: Agree? Agree? Agree? Oh that makes me happy. Yeah, no,

1283
01:00:04,520 --> 01:00:05,680
Speaker 2: I'm glad you picked it.

1284
01:00:05,840 --> 01:00:08,480
Speaker 1: Despite the fact that I was like, I can't be

1285
01:00:08,520 --> 01:00:12,920
Speaker 1: watching this three way right now with my mother in

1286
01:00:12,960 --> 01:00:15,840
Speaker 1: the other room watching a CBS sitcom and my dad

1287
01:00:16,040 --> 01:00:19,840
Speaker 1: like snoring. I just feel patently fucked up.

1288
01:00:21,400 --> 01:00:24,240
Speaker 2: That does feel kind of wrong, But that's what headphones

1289
01:00:24,240 --> 01:00:24,680
Speaker 2: are for.

1290
01:00:24,880 --> 01:00:28,120
Speaker 1: I guess it's at the end of the day, exactly exactly.

1291
01:00:28,560 --> 01:00:31,760
Speaker 4: I also think that it's we've picked movies in the

1292
01:00:31,800 --> 01:00:36,160
Speaker 4: Steve McQueen ouvra that are at different ends of the

1293
01:00:36,200 --> 01:00:40,520
Speaker 4: spectrum totally. So I am like let's give some ads

1294
01:00:40,520 --> 01:00:47,439
Speaker 4: and then we can talk about your film. Millie, tell

1295
01:00:47,480 --> 01:00:49,280
Speaker 4: us what your Steve McQueen pick is.

1296
01:00:49,840 --> 01:00:52,680
Speaker 1: I will my movie for the theme of British Stephen

1297
01:00:52,800 --> 01:00:55,640
Speaker 1: McQueen is. The Real King of Cool is a movie

1298
01:00:56,000 --> 01:01:01,400
Speaker 1: from twenty twenty. It's called Lover's Rock, directed by Steve McQueen.

1299
01:01:01,680 --> 01:01:03,560
Speaker 6: The soy spoke to me because it's sort of in

1300
01:01:03,640 --> 01:01:07,840
Speaker 6: my soul that music growing up hearing that music as

1301
01:01:07,840 --> 01:01:10,680
Speaker 6: a young child. You know, when you're a certain height

1302
01:01:10,720 --> 01:01:14,000
Speaker 6: in the radio is above you, or you know, smells

1303
01:01:14,040 --> 01:01:16,680
Speaker 6: and of food and you know, it's one of those

1304
01:01:16,720 --> 01:01:18,600
Speaker 6: things which is sort of you know ingrained in me

1305
01:01:18,720 --> 01:01:23,000
Speaker 6: as a Londoner and it's something which you need to

1306
01:01:23,000 --> 01:01:25,240
Speaker 6: be spoken about really because it's sort of a history

1307
01:01:25,240 --> 01:01:26,800
Speaker 6: that could get lost. They wanted to put it on

1308
01:01:26,840 --> 01:01:27,280
Speaker 6: the film.

1309
01:01:27,600 --> 01:01:29,760
Speaker 1: So that was Steve McQueen, just a little bit of

1310
01:01:29,760 --> 01:01:32,880
Speaker 1: an interview from him talking about our movie today. So

1311
01:01:33,000 --> 01:01:35,520
Speaker 1: this film is part of an anthology film series that

1312
01:01:35,600 --> 01:01:37,760
Speaker 1: was made by Steve McQueen and it's called Small Acts,

1313
01:01:37,840 --> 01:01:40,800
Speaker 1: like we talked about before, the name Small Acts comes

1314
01:01:40,840 --> 01:01:44,800
Speaker 1: from a Bob Marley song, which is obviously reggae is

1315
01:01:44,840 --> 01:01:48,600
Speaker 1: a big part of this particular film, but he had

1316
01:01:48,640 --> 01:01:52,560
Speaker 1: been workshopping this idea for like over a decade, and

1317
01:01:52,640 --> 01:01:54,680
Speaker 1: at first I think he thought it would probably be

1318
01:01:54,760 --> 01:01:57,040
Speaker 1: a TV series, but then he decided that he could

1319
01:01:57,040 --> 01:02:00,360
Speaker 1: actually make it five separate films, and so Lovers Rock

1320
01:02:00,480 --> 01:02:05,040
Speaker 1: is the second of those films, and essentially Small Acts

1321
01:02:05,240 --> 01:02:09,320
Speaker 1: is a series that tells five different stories of these

1322
01:02:10,120 --> 01:02:13,680
Speaker 1: West Indian immigrants that are living in London roughly from

1323
01:02:13,720 --> 01:02:16,760
Speaker 1: the years like nineteen sixty to the nineteen eighties, and

1324
01:02:16,840 --> 01:02:18,920
Speaker 1: a lot of it is based on real life events,

1325
01:02:18,960 --> 01:02:22,800
Speaker 1: Like every episode is kind of points to something that

1326
01:02:22,880 --> 01:02:26,120
Speaker 1: happened in real life, including I think the last one

1327
01:02:26,160 --> 01:02:28,120
Speaker 1: does talk about school, and I think a lot of

1328
01:02:28,160 --> 01:02:30,360
Speaker 1: the stuff that you spoke about with Steve McQueen's school

1329
01:02:30,400 --> 01:02:34,200
Speaker 1: experience is actually in that episode. So that's really interesting.

1330
01:02:34,640 --> 01:02:38,280
Speaker 1: And so the interesting thing about telling the stories of

1331
01:02:38,360 --> 01:02:40,480
Speaker 1: West Indian immigrants is that you know, Steve a queen

1332
01:02:40,560 --> 01:02:44,120
Speaker 1: himself is of Grenadian and Trinidadian descent, so this actually

1333
01:02:44,160 --> 01:02:47,400
Speaker 1: feels very personal. It feels personal at least from my eyes,

1334
01:02:47,440 --> 01:02:50,240
Speaker 1: that you know he would make this. And a brief

1335
01:02:50,240 --> 01:02:53,680
Speaker 1: synopsis of Lover's Rock is that it takes place in

1336
01:02:53,720 --> 01:02:57,080
Speaker 1: an entire night at this house party in South London

1337
01:02:57,600 --> 01:03:00,919
Speaker 1: where a West Indian woman is celebrating a birthday and

1338
01:03:01,560 --> 01:03:05,680
Speaker 1: a sound system which is called Mercury Sound, performs in

1339
01:03:05,720 --> 01:03:08,600
Speaker 1: the living room, and the entire movie is basically about

1340
01:03:08,600 --> 01:03:11,160
Speaker 1: this one night of the party and the guests of

1341
01:03:11,160 --> 01:03:14,640
Speaker 1: the party, including this woman named Martha who's played by

1342
01:03:14,720 --> 01:03:18,840
Speaker 1: an actress named Amara j. Saint Aubin. She arrives to

1343
01:03:19,000 --> 01:03:22,400
Speaker 1: the party with her friend and eventually meets and connects

1344
01:03:22,440 --> 01:03:27,480
Speaker 1: with this man named Franklin who is played by Michael Ward. Now,

1345
01:03:27,600 --> 01:03:31,360
Speaker 1: I love movies that happen all in one night or

1346
01:03:31,400 --> 01:03:33,200
Speaker 1: like in one event, you know how you have those

1347
01:03:33,200 --> 01:03:36,040
Speaker 1: movies that come out that are just like one entire night,

1348
01:03:37,080 --> 01:03:41,000
Speaker 1: because I love the pacing of it, and also just

1349
01:03:41,040 --> 01:03:44,880
Speaker 1: like the idea of how the time is contained and

1350
01:03:44,920 --> 01:03:47,240
Speaker 1: then you get to see like kind of what happens,

1351
01:03:47,320 --> 01:03:50,440
Speaker 1: knowing that that's what's going on, that there's a finite

1352
01:03:50,480 --> 01:03:53,920
Speaker 1: amount of time for this film. And I gotta tell you,

1353
01:03:55,080 --> 01:03:58,400
Speaker 1: I'm not sure if it's because we've been in quarantine

1354
01:03:59,320 --> 01:04:04,000
Speaker 1: for so long, but man, this movie made me really emotional, Like, yeah,

1355
01:04:04,600 --> 01:04:08,080
Speaker 1: I'm not ashamed to say that I cried at a

1356
01:04:08,080 --> 01:04:09,960
Speaker 1: certain point when I was watching this movie.

1357
01:04:10,240 --> 01:04:13,600
Speaker 4: Oh yeah, I'm almost embarrassed food my Actually I'm not,

1358
01:04:13,680 --> 01:04:18,600
Speaker 4: I'm not embarrassed. I wept openly and said out loud

1359
01:04:18,680 --> 01:04:20,160
Speaker 4: in my apartment alone, I.

1360
01:04:20,280 --> 01:04:23,640
Speaker 2: Just want to go outside. Yes, yes, I just cried.

1361
01:04:23,720 --> 01:04:24,360
Speaker 2: I just couldn't.

1362
01:04:25,120 --> 01:04:26,640
Speaker 3: I'm like, I just want to go outside and see

1363
01:04:26,680 --> 01:04:27,760
Speaker 3: my friend. Yes.

1364
01:04:28,040 --> 01:04:32,440
Speaker 1: It made me miss parties.

1365
01:04:32,000 --> 01:04:34,160
Speaker 2: And music and dancing.

1366
01:04:34,520 --> 01:04:36,800
Speaker 1: It made me miss being a DJ because I used

1367
01:04:36,840 --> 01:04:40,560
Speaker 1: to be a DJ and having like little crushes or

1368
01:04:40,600 --> 01:04:44,560
Speaker 1: like party romances. I mean it was like Lover's Rock

1369
01:04:44,640 --> 01:04:46,640
Speaker 1: is seriously one of the most sensory movies I think

1370
01:04:46,640 --> 01:04:47,920
Speaker 1: I've ever seen in my life.

1371
01:04:48,400 --> 01:04:51,240
Speaker 2: Yes, oh I'm so happy you said that. Yeah.

1372
01:04:51,320 --> 01:04:57,600
Speaker 1: It perfectly captures these tiny moments of going to a party,

1373
01:04:57,760 --> 01:05:00,440
Speaker 1: but being at a party, being.

1374
01:05:00,320 --> 01:05:01,720
Speaker 2: The doorman at a party.

1375
01:05:01,760 --> 01:05:04,760
Speaker 1: I mean, whatever function you have within the party you

1376
01:05:04,800 --> 01:05:10,200
Speaker 1: are represented, okay, and just the whole like anticipation of

1377
01:05:10,760 --> 01:05:14,720
Speaker 1: before of like people cooking for the party, what you're

1378
01:05:14,720 --> 01:05:17,360
Speaker 1: gonna wear, how you're gonna do your hair, you know,

1379
01:05:17,520 --> 01:05:19,320
Speaker 1: like what happens when you walk up and there's a

1380
01:05:19,360 --> 01:05:21,640
Speaker 1: door guy and he's asking for money. You when you

1381
01:05:21,680 --> 01:05:25,000
Speaker 1: walk into the party and you're scoping it out, the dancing,

1382
01:05:25,040 --> 01:05:28,680
Speaker 1: the sweating and like meeting people, even with like the

1383
01:05:28,760 --> 01:05:31,000
Speaker 1: moments when you like are like I gotta go outside

1384
01:05:31,000 --> 01:05:33,400
Speaker 1: and get some air, like smoke a cigarette.

1385
01:05:32,920 --> 01:05:34,720
Speaker 2: Like that whole part of a party.

1386
01:05:34,800 --> 01:05:37,439
Speaker 1: I'm just like, this movie was probably about as close

1387
01:05:37,480 --> 01:05:41,400
Speaker 1: to a replacement for real life as I've experienced in

1388
01:05:41,560 --> 01:05:44,280
Speaker 1: the year that we've been under lockdown.

1389
01:05:44,360 --> 01:05:44,520
Speaker 5: Right.

1390
01:05:44,720 --> 01:05:48,240
Speaker 4: Absolutely, Oh there's so many moments like that in this

1391
01:05:48,320 --> 01:05:52,240
Speaker 4: movie where I just feel like it's so it's so visceral.

1392
01:05:52,280 --> 01:05:53,840
Speaker 2: And again m Queen does that so well.

1393
01:05:53,880 --> 01:05:55,760
Speaker 4: But there's this one part where they're like getting ready

1394
01:05:55,760 --> 01:05:57,600
Speaker 4: and they're standing up the sound system and they bite

1395
01:05:57,680 --> 01:06:01,240
Speaker 4: the wires like they're splicing the cables. And I cannot

1396
01:06:01,240 --> 01:06:04,000
Speaker 4: tell you how many times we did that in the eighties,

1397
01:06:04,280 --> 01:06:06,840
Speaker 4: like just to that's what you did to like connect

1398
01:06:06,840 --> 01:06:10,680
Speaker 4: your speaker to your fucking equalizer or whatever. And it

1399
01:06:10,720 --> 01:06:12,600
Speaker 4: was weird because it's like, oh, we knew things back

1400
01:06:12,640 --> 01:06:15,280
Speaker 4: then because we had to. Like necessity isn't the mother

1401
01:06:15,320 --> 01:06:17,640
Speaker 4: of invention. Poverty is the mother of invention. So I

1402
01:06:17,680 --> 01:06:19,720
Speaker 4: just love those moments.

1403
01:06:19,120 --> 01:06:21,080
Speaker 1: Love it, love it, love it, And I mean there's

1404
01:06:21,160 --> 01:06:24,000
Speaker 1: just so many different kind of experiences going on there.

1405
01:06:24,520 --> 01:06:26,240
Speaker 1: First of all, I think a lot of people point

1406
01:06:26,360 --> 01:06:28,880
Speaker 1: to just like the dancing sequences, because there are sequences

1407
01:06:28,880 --> 01:06:31,400
Speaker 1: of couples who are dancing together at this party that

1408
01:06:31,480 --> 01:06:36,240
Speaker 1: are so sexy and so sensual it will drive you insane.

1409
01:06:36,320 --> 01:06:39,200
Speaker 1: Like if you're by yourself under lockdown, you're going like,

1410
01:06:39,280 --> 01:06:41,200
Speaker 1: oh my god, remember what it was like to like

1411
01:06:41,320 --> 01:06:45,760
Speaker 1: touch other people, Like I'm going to fucking freak out

1412
01:06:45,800 --> 01:06:46,200
Speaker 1: right now.

1413
01:06:46,960 --> 01:06:48,800
Speaker 2: The one scene I think.

1414
01:06:48,640 --> 01:06:51,960
Speaker 1: That really shows this the best is the one with

1415
01:06:52,160 --> 01:06:54,920
Speaker 1: Silly Games, which is the Janet k song that's playing

1416
01:06:54,960 --> 01:06:58,280
Speaker 1: in the movie. It's like people are dancing, it's so romantic,

1417
01:06:58,320 --> 01:07:00,360
Speaker 1: and then the song goes off and people are still

1418
01:07:00,360 --> 01:07:03,320
Speaker 1: singing it, and I just this was one of the

1419
01:07:03,360 --> 01:07:06,120
Speaker 1: moments where I cried. I actually cried when that was happening.

1420
01:07:06,360 --> 01:07:10,240
Speaker 4: Same because you could hear people's feet moving on the floor,

1421
01:07:10,320 --> 01:07:14,080
Speaker 4: like that quiet shush of people dancing and their clothes

1422
01:07:14,080 --> 01:07:16,240
Speaker 4: and everyone's singing, and you get the It was just

1423
01:07:16,280 --> 01:07:19,439
Speaker 4: that feeling of like they do this so often, they

1424
01:07:19,520 --> 01:07:23,360
Speaker 4: party so well that they know this like that, like

1425
01:07:23,400 --> 01:07:25,800
Speaker 4: it's just intrinsic to who they are when they're together.

1426
01:07:26,320 --> 01:07:28,240
Speaker 4: And it was a togetherness I've never seen and it

1427
01:07:28,320 --> 01:07:31,480
Speaker 4: was sexy and it was fun and cool. Oh god,

1428
01:07:31,520 --> 01:07:33,240
Speaker 4: I love that scene so much. It's probably one of

1429
01:07:33,240 --> 01:07:36,000
Speaker 4: the best things I've seen in a film like in years.

1430
01:07:36,200 --> 01:07:39,480
Speaker 1: Yeah, there's just so much going on. I mean, it's

1431
01:07:39,520 --> 01:07:42,960
Speaker 1: like there's another scene too, towards the end. It's a

1432
01:07:42,960 --> 01:07:46,240
Speaker 1: big sequence of the movie where basically, like the guests

1433
01:07:46,240 --> 01:07:48,080
Speaker 1: are out on the dance floor. This is towards the

1434
01:07:48,160 --> 01:07:50,120
Speaker 1: end of the night. The DJs are playing this like

1435
01:07:50,200 --> 01:07:54,640
Speaker 1: dub track and there's this kind of Catharsis happening where

1436
01:07:54,960 --> 01:07:58,439
Speaker 1: everybody is screaming and sweating and taking their shirts off

1437
01:07:58,480 --> 01:08:00,600
Speaker 1: and the demanding that the DJ re on the track,

1438
01:08:00,640 --> 01:08:06,240
Speaker 1: and it's just this like spectacular emotional moment and it's

1439
01:08:06,280 --> 01:08:08,640
Speaker 1: just it just made me miss I mean, this is

1440
01:08:08,760 --> 01:08:12,280
Speaker 1: like it just made me miss those types of evenings

1441
01:08:13,080 --> 01:08:16,960
Speaker 1: kind of both like attending them and also having been

1442
01:08:17,000 --> 01:08:19,280
Speaker 1: a DJ that sort of ended the night. Thing that

1443
01:08:19,400 --> 01:08:21,400
Speaker 1: happens when like people are just like drunk and then

1444
01:08:21,520 --> 01:08:23,360
Speaker 1: just really feeling it and then it just kind of

1445
01:08:23,640 --> 01:08:27,680
Speaker 1: turns into you know, this big emotional, like kind of

1446
01:08:27,800 --> 01:08:31,720
Speaker 1: outburst type of thing. And I mean, and there was

1447
01:08:31,800 --> 01:08:34,240
Speaker 1: in this movie. There are political implications to that that

1448
01:08:34,280 --> 01:08:36,240
Speaker 1: I'll talk about in just a second, But like, I

1449
01:08:36,280 --> 01:08:37,960
Speaker 1: don't know if I've actually talked about being a DJ

1450
01:08:38,080 --> 01:08:38,679
Speaker 1: on this podcast.

1451
01:08:40,400 --> 01:08:41,320
Speaker 2: You should tell people.

1452
01:08:41,800 --> 01:08:43,960
Speaker 1: Yeah, so no, I used so I in a former life,

1453
01:08:44,000 --> 01:08:46,360
Speaker 1: I used to be a DJ, and I actually used

1454
01:08:46,400 --> 01:08:48,759
Speaker 1: to DJ a lot of like SKA and rock steady

1455
01:08:48,800 --> 01:08:52,559
Speaker 1: and like early reggae music. Now, I was definitely not

1456
01:08:52,680 --> 01:08:55,519
Speaker 1: Mercury Sound. I did not do anything as cool as

1457
01:08:55,560 --> 01:09:01,320
Speaker 1: Mercury Sound. But for me, that the whole part of

1458
01:09:01,360 --> 01:09:05,240
Speaker 1: the movie was my almost my favorite part of the movie,

1459
01:09:05,280 --> 01:09:09,960
Speaker 1: besides the romance, because it kind of digs into and

1460
01:09:10,000 --> 01:09:12,040
Speaker 1: this is obviously a testament to Steve McQueen and the

1461
01:09:12,040 --> 01:09:15,040
Speaker 1: people that he's talking about, but it kind of dug

1462
01:09:15,040 --> 01:09:18,799
Speaker 1: into this whole like like there's basically a sound system

1463
01:09:18,840 --> 01:09:22,840
Speaker 1: tradition in Jamaican music of like these mobile setups and

1464
01:09:23,200 --> 01:09:26,479
Speaker 1: the dub plates and the DJ and the selector, the

1465
01:09:26,520 --> 01:09:28,960
Speaker 1: selectors the person that pulls the records, the DJs, the

1466
01:09:29,000 --> 01:09:32,679
Speaker 1: person that like talks or toasts or whatever over the music.

1467
01:09:33,280 --> 01:09:35,519
Speaker 1: And it's been around in Jamaica since the forties. And

1468
01:09:35,640 --> 01:09:38,880
Speaker 1: like the term lover's rock, it was like a style

1469
01:09:38,920 --> 01:09:41,599
Speaker 1: of reggae that was really popular in London in like

1470
01:09:41,680 --> 01:09:44,240
Speaker 1: the seventies, which was basically reggae that was sort of

1471
01:09:44,280 --> 01:09:49,639
Speaker 1: more love song oriented versus like political, like a lot

1472
01:09:49,640 --> 01:09:52,320
Speaker 1: of you know, reggae at that time was pretty political.

1473
01:09:52,840 --> 01:09:54,599
Speaker 1: Lovers rock to me just kind of sounds like rock

1474
01:09:54,600 --> 01:09:58,120
Speaker 1: study but influenced by sort of like American soul and

1475
01:09:58,240 --> 01:10:00,559
Speaker 1: R and B music, but it had it had a

1476
01:10:00,600 --> 01:10:03,479
Speaker 1: female bent to it, so basically both an audience but

1477
01:10:03,600 --> 01:10:05,640
Speaker 1: also in the artist, which is why that Janet k

1478
01:10:05,800 --> 01:10:09,639
Speaker 1: song plays so prominently in the movie. And there's also

1479
01:10:09,680 --> 01:10:12,200
Speaker 1: a character in the movie. He's an older man that

1480
01:10:12,240 --> 01:10:14,320
Speaker 1: kind of pops up a few times. And that guy

1481
01:10:14,439 --> 01:10:16,880
Speaker 1: is this guy named Dennis Boval and he was a

1482
01:10:16,920 --> 01:10:19,800
Speaker 1: pioneer of Lover's Rock, and he did the music for Babylon,

1483
01:10:20,160 --> 01:10:22,679
Speaker 1: which is this like eighties movie about the sound system

1484
01:10:22,720 --> 01:10:24,960
Speaker 1: culture in London, so it's he was I think he

1485
01:10:25,000 --> 01:10:27,280
Speaker 1: picked the music for the movie this movie as well.

1486
01:10:28,680 --> 01:10:31,080
Speaker 1: It's pretty amazing. But that moment, there was like this

1487
01:10:31,120 --> 01:10:33,519
Speaker 1: tiny moment that happened in the movie where like Franklin

1488
01:10:33,600 --> 01:10:36,200
Speaker 1: asked Martha, if she's like a rude girl.

1489
01:10:36,120 --> 01:10:37,920
Speaker 2: Are you a rude girl or a soul hid.

1490
01:10:38,120 --> 01:10:40,720
Speaker 1: Yeah, it's like basically like, are you into ska or

1491
01:10:40,720 --> 01:10:42,679
Speaker 1: are you in a Northern soul? And she basically said

1492
01:10:42,680 --> 01:10:44,519
Speaker 1: she's into Lover's Rock. I was just like, Oh, that's

1493
01:10:44,560 --> 01:10:47,080
Speaker 1: so cute. That's such a cute little moment. But like,

1494
01:10:48,160 --> 01:10:52,400
Speaker 1: I God, I just the thing about it too, though,

1495
01:10:53,320 --> 01:10:58,880
Speaker 1: is that even though there's like all this like incredible romantic, sensual,

1496
01:10:59,360 --> 01:11:04,160
Speaker 1: great musical stuff happening, there's also things that are happening

1497
01:11:04,200 --> 01:11:06,400
Speaker 1: at the same time that are like really scary and violent.

1498
01:11:06,560 --> 01:11:10,719
Speaker 1: Like there's a sexual assault at the party, which Martha

1499
01:11:10,920 --> 01:11:14,120
Speaker 1: happens to interrupt and she actually saves the woman who's

1500
01:11:14,160 --> 01:11:18,800
Speaker 1: being assaulted. And then at some point in the film,

1501
01:11:18,840 --> 01:11:21,200
Speaker 1: Martha herself she goes off to try to find her

1502
01:11:21,240 --> 01:11:23,160
Speaker 1: friend that left the party. You know, her friend is

1503
01:11:23,240 --> 01:11:25,519
Speaker 1: upset that she kind of that Martha kind of went

1504
01:11:25,560 --> 01:11:28,040
Speaker 1: off with Franklin, and her friend goes home. So Martha

1505
01:11:28,080 --> 01:11:31,000
Speaker 1: goes outside and tries to look for her, and there's

1506
01:11:31,040 --> 01:11:33,680
Speaker 1: these kind OF's, like these white guys that are kind

1507
01:11:33,720 --> 01:11:37,400
Speaker 1: of sitting outside of the party. They're harassing people walking by,

1508
01:11:37,520 --> 01:11:41,640
Speaker 1: and it reminds you that this party, this energy, the

1509
01:11:41,880 --> 01:11:47,000
Speaker 1: joy that's happening is happening inside of this white world, right,

1510
01:11:47,000 --> 01:11:48,200
Speaker 1: you know what I mean? Like this is like a

1511
01:11:48,800 --> 01:11:51,719
Speaker 1: space for them, but if the minute they leave it,

1512
01:11:51,720 --> 01:11:54,400
Speaker 1: it's like back to reality.

1513
01:11:54,120 --> 01:11:57,040
Speaker 4: And that danger is always right there. Yes, they don't

1514
01:11:57,080 --> 01:11:59,400
Speaker 4: have to go far to experience that kind of danger.

1515
01:11:59,439 --> 01:12:01,160
Speaker 4: They have to leave, go out of the front door.

1516
01:12:01,360 --> 01:12:04,840
Speaker 1: Yeah, exactly. So I think that's ultimately what I think

1517
01:12:05,360 --> 01:12:10,600
Speaker 1: the last scene that sort of Catharsis moment is about,

1518
01:12:10,800 --> 01:12:13,439
Speaker 1: which is that it's kind of the cements to who

1519
01:12:13,479 --> 01:12:15,320
Speaker 1: these people are. In a way. It's like there's this

1520
01:12:15,360 --> 01:12:18,960
Speaker 1: group of people. They're immigrants, these like West Indian or

1521
01:12:19,200 --> 01:12:22,560
Speaker 1: Caribbean people who are living in South London. They're unified.

1522
01:12:22,640 --> 01:12:25,960
Speaker 1: They're trying to live their lives and like retain their

1523
01:12:26,000 --> 01:12:32,559
Speaker 1: culture and music and food and their heritage. And that

1524
01:12:32,680 --> 01:12:37,200
Speaker 1: I think, ultimately is what is so interesting and compelling

1525
01:12:37,240 --> 01:12:40,000
Speaker 1: about this movie and with small acts. And that's the

1526
01:12:40,000 --> 01:12:42,040
Speaker 1: thing about Steph McQueen is that I love that he

1527
01:12:42,200 --> 01:12:45,200
Speaker 1: kind of chose to highlight them and this period of

1528
01:12:45,200 --> 01:12:48,200
Speaker 1: time because I think I think a lot of Americans

1529
01:12:48,200 --> 01:12:52,479
Speaker 1: certainly don't know this about England. They don't know the

1530
01:12:52,520 --> 01:12:56,240
Speaker 1: influx of West Indian immigrants that came into England, you

1531
01:12:56,240 --> 01:13:00,240
Speaker 1: know around like the Commonwealth, the Caribbean country is that

1532
01:13:00,240 --> 01:13:02,080
Speaker 1: we're in the Commonwealth. I don't think a lot of

1533
01:13:02,120 --> 01:13:04,720
Speaker 1: Americans really kind of know about all that. So I

1534
01:13:04,800 --> 01:13:07,439
Speaker 1: just think it's so fascinating for him to have done

1535
01:13:07,479 --> 01:13:11,280
Speaker 1: something like this, to do this series. But ultimately Lover's Rock,

1536
01:13:11,320 --> 01:13:13,519
Speaker 1: which is just such a such a great movie. I

1537
01:13:13,600 --> 01:13:14,920
Speaker 1: just love it so much.

1538
01:13:15,360 --> 01:13:16,160
Speaker 2: It is incredible.

1539
01:13:16,280 --> 01:13:20,240
Speaker 4: I feel like I am one hundred percent Patty, the

1540
01:13:20,240 --> 01:13:24,080
Speaker 4: friend that leaves Beef Patty. I wouldn't have seen half

1541
01:13:24,080 --> 01:13:25,719
Speaker 4: of that shit. I'd been like, you know what, you're cool,

1542
01:13:25,800 --> 01:13:28,040
Speaker 4: I'm out call me if you need me. But I

1543
01:13:28,200 --> 01:13:32,519
Speaker 4: just love so much. There's these these little tiny things

1544
01:13:32,560 --> 01:13:35,840
Speaker 4: in the movie that too, in particular, that were very

1545
01:13:36,000 --> 01:13:38,080
Speaker 4: very interesting to me, And talking about that lineage of

1546
01:13:38,080 --> 01:13:40,400
Speaker 4: you know that Jamaican and Caribbean lineage and West Indian

1547
01:13:40,720 --> 01:13:44,760
Speaker 4: lineage in London, when Franklin and Martha are talking on

1548
01:13:44,800 --> 01:13:47,280
Speaker 4: the couch at one point, the same conversation where he

1549
01:13:47,320 --> 01:13:50,479
Speaker 4: asks her if she's a rude girl or a soul head,

1550
01:13:50,920 --> 01:13:52,640
Speaker 4: and he's like, you know, where are you from, Like

1551
01:13:52,680 --> 01:13:55,559
Speaker 4: what's your family name? And She's like, what about you,

1552
01:13:55,680 --> 01:13:59,719
Speaker 4: what's your family name? And he says Cooper and she says,

1553
01:14:00,040 --> 01:14:02,760
Speaker 4: we don't have any Cooper in my family. So it's

1554
01:14:02,800 --> 01:14:04,920
Speaker 4: almost like they're checking each other out to see if

1555
01:14:04,920 --> 01:14:08,960
Speaker 4: they're connected somehow or like related, and like you realize,

1556
01:14:09,360 --> 01:14:12,160
Speaker 4: holy shit, like these are. This is a group of

1557
01:14:12,200 --> 01:14:15,560
Speaker 4: people who have come from a place where they have experienced,

1558
01:14:15,680 --> 01:14:20,639
Speaker 4: you know, smaller communities and lives, and it's entirely possible

1559
01:14:20,640 --> 01:14:23,000
Speaker 4: that there are some crossover in their families.

1560
01:14:23,240 --> 01:14:24,599
Speaker 2: Yeah, even in London.

1561
01:14:24,640 --> 01:14:27,680
Speaker 4: So that was just a small sentence, Like it's a

1562
01:14:27,680 --> 01:14:31,400
Speaker 4: couple of sentences that just were saying so much more

1563
01:14:31,439 --> 01:14:35,720
Speaker 4: than that, which again MC queen awesome that he excels

1564
01:14:35,840 --> 01:14:38,760
Speaker 4: at that. And then there's another thing that I kept

1565
01:14:38,800 --> 01:14:42,720
Speaker 4: noticing throughout the film where usually when when people use

1566
01:14:42,840 --> 01:14:46,200
Speaker 4: terms like code switching, they're talking about like, you know,

1567
01:14:46,520 --> 01:14:49,360
Speaker 4: for example, like as a black person, I can talk

1568
01:14:49,400 --> 01:14:50,840
Speaker 4: to my friends one way, but I talked to my

1569
01:14:50,880 --> 01:14:54,439
Speaker 4: boss another way, right, But there was an intense code

1570
01:14:54,439 --> 01:14:57,559
Speaker 4: switching going on here. And I'm going to speak with

1571
01:14:58,200 --> 01:15:01,479
Speaker 4: the language and the words and the terms and the

1572
01:15:01,520 --> 01:15:07,720
Speaker 4: slang of my West Indian, Caribbean Jamaican lineage or then

1573
01:15:07,760 --> 01:15:10,040
Speaker 4: when they're speaking to you know, to other people, it

1574
01:15:10,160 --> 01:15:14,000
Speaker 4: was very pointedly like upscale British accents.

1575
01:15:14,360 --> 01:15:19,000
Speaker 1: Of course, I mean that I think is typical of immigrants.

1576
01:15:19,040 --> 01:15:21,360
Speaker 1: I think that that you know, to be able to

1577
01:15:21,400 --> 01:15:25,559
Speaker 1: speak your kind of patois to the people that are

1578
01:15:25,600 --> 01:15:28,360
Speaker 1: of your own heritage, but then knowing that when you

1579
01:15:28,400 --> 01:15:30,920
Speaker 1: go to work. When Franklin had to go talk to

1580
01:15:30,960 --> 01:15:35,000
Speaker 1: his boss at the car repair place, I think that's

1581
01:15:35,000 --> 01:15:37,640
Speaker 1: where he was working, he had to change who he

1582
01:15:37,880 --> 01:15:42,559
Speaker 1: was for that guy. His reality is that when he's

1583
01:15:42,600 --> 01:15:45,519
Speaker 1: at the party, he's this you know, hot stud that's

1584
01:15:45,640 --> 01:15:48,280
Speaker 1: you know, standing around and all the women want to

1585
01:15:48,280 --> 01:15:51,160
Speaker 1: talk to him. But then he has to go into

1586
01:15:51,200 --> 01:15:53,920
Speaker 1: his real life where he's basically like taking orders from

1587
01:15:53,920 --> 01:15:57,400
Speaker 1: a white man and he's the black labor you know

1588
01:15:57,439 --> 01:15:59,120
Speaker 1: what I mean. It's interesting.

1589
01:15:59,280 --> 01:16:02,400
Speaker 4: I love that again, like just those little tiny moves

1590
01:16:02,680 --> 01:16:07,880
Speaker 4: are just so just make this so heartfelt and so

1591
01:16:08,960 --> 01:16:11,800
Speaker 4: it filled me with longing. I gotta say it really did.

1592
01:16:11,800 --> 01:16:13,240
Speaker 4: There are a lot of parts of this that made

1593
01:16:13,280 --> 01:16:18,320
Speaker 4: me miss parties in particular, but mostly made me miss

1594
01:16:18,320 --> 01:16:21,280
Speaker 4: friends and connecting with people and that spark that you

1595
01:16:21,320 --> 01:16:25,479
Speaker 4: get from talking to a stranger or doing something out

1596
01:16:25,520 --> 01:16:28,040
Speaker 4: of your comfort zone or like, you know, just those

1597
01:16:28,120 --> 01:16:32,000
Speaker 4: little beats. I also really loved there's a guy that

1598
01:16:32,040 --> 01:16:34,080
Speaker 4: shows up at the party. That also made me realize

1599
01:16:34,080 --> 01:16:36,280
Speaker 4: how much I don't miss parties, because there's definitely a

1600
01:16:36,280 --> 01:16:39,320
Speaker 4: point where I'm like, oh, yeah, these people also exist

1601
01:16:39,600 --> 01:16:42,479
Speaker 4: at these parties. And he's like doing what what I've

1602
01:16:42,520 --> 01:16:46,200
Speaker 4: been calling in my notes a grief skank, Like he's

1603
01:16:46,240 --> 01:16:53,920
Speaker 4: just like dancing around and grief and the grief skink.

1604
01:16:54,439 --> 01:16:56,880
Speaker 4: I don't know how else to describe it, because it's

1605
01:16:56,920 --> 01:17:01,160
Speaker 4: not dancing, but it's not not dancing, right, But he

1606
01:17:01,200 --> 01:17:03,960
Speaker 4: just made me like I give those characters and those

1607
01:17:04,080 --> 01:17:08,519
Speaker 4: people being there reminds you that it just reminds you

1608
01:17:08,560 --> 01:17:10,240
Speaker 4: of the beauty of being a part of this world

1609
01:17:10,280 --> 01:17:12,120
Speaker 4: where you don't get to choose who you're around, Like

1610
01:17:12,160 --> 01:17:14,400
Speaker 4: we've been choosing who we've been around for the last year,

1611
01:17:15,240 --> 01:17:19,280
Speaker 4: and that's not the world, Like the world is messier.

1612
01:17:19,520 --> 01:17:22,200
Speaker 1: Absolutely, You're so right about that, because as like I

1613
01:17:22,240 --> 01:17:25,479
Speaker 1: remember being so many nights as being a DJ, you know,

1614
01:17:25,560 --> 01:17:27,599
Speaker 1: I for many years I dj' at this gay bar

1615
01:17:28,200 --> 01:17:32,960
Speaker 1: named mary Is in Atlanta, and I was like, typically

1616
01:17:33,439 --> 01:17:35,840
Speaker 1: the last one out, you know what I mean. So

1617
01:17:35,880 --> 01:17:38,280
Speaker 1: I would DJ until like maybe three o'clock in the morning,

1618
01:17:38,840 --> 01:17:43,200
Speaker 1: and it is so interesting to observe the things that

1619
01:17:43,280 --> 01:17:45,720
Speaker 1: happen at the beginning of the night and then at

1620
01:17:45,720 --> 01:17:48,040
Speaker 1: the end of the night, and who's left at the

1621
01:17:48,120 --> 01:17:50,519
Speaker 1: end of the night, who's been smoking weed all night

1622
01:17:50,560 --> 01:17:54,880
Speaker 1: long and having and drinking red stripe and being fucking

1623
01:17:54,920 --> 01:17:57,639
Speaker 1: completely wasted, and then they just kind of like let

1624
01:17:57,720 --> 01:18:00,519
Speaker 1: go and they just yeah, they do their griefs, they

1625
01:18:00,600 --> 01:18:03,479
Speaker 1: do their like they let out that like, you know,

1626
01:18:03,560 --> 01:18:07,439
Speaker 1: whatever it is that's inside them, whatever they expel, is

1627
01:18:07,520 --> 01:18:10,120
Speaker 1: so interesting because when you walk into the party, it's

1628
01:18:10,160 --> 01:18:12,599
Speaker 1: like everybody's making sure that their clothes are real fitting,

1629
01:18:12,640 --> 01:18:14,760
Speaker 1: real good, and they you know, they're padding down their

1630
01:18:15,360 --> 01:18:18,200
Speaker 1: their jackets and making sure that they're looking right. But

1631
01:18:18,320 --> 01:18:19,960
Speaker 1: that shit goes out the window at the end.

1632
01:18:19,840 --> 01:18:20,200
Speaker 3: Of the night.

1633
01:18:20,280 --> 01:18:22,240
Speaker 2: Like at the end of the night, if you're like

1634
01:18:22,280 --> 01:18:22,879
Speaker 2: the last.

1635
01:18:22,680 --> 01:18:25,080
Speaker 1: People standing, you don't give a fuck about any of that.

1636
01:18:25,160 --> 01:18:26,280
Speaker 1: You're just like forget it.

1637
01:18:26,800 --> 01:18:28,640
Speaker 4: I want to know, like what is do you have

1638
01:18:28,680 --> 01:18:31,040
Speaker 4: a night or an event of DJing that was just

1639
01:18:31,120 --> 01:18:34,200
Speaker 4: like such a good time or like your favorite party

1640
01:18:34,320 --> 01:18:36,400
Speaker 4: or just like a really good night of DJ, Like

1641
01:18:36,400 --> 01:18:37,640
Speaker 4: what did that feel or look like?

1642
01:18:37,880 --> 01:18:41,000
Speaker 1: I mean, like I honestly, I did it for so

1643
01:18:41,160 --> 01:18:44,280
Speaker 1: long that there were just so many moments that stood

1644
01:18:44,320 --> 01:18:46,040
Speaker 1: out to me, Like there were just like weird There

1645
01:18:46,040 --> 01:18:47,920
Speaker 1: would be like weird things that would happen, just like

1646
01:18:48,000 --> 01:18:50,639
Speaker 1: random people that would show up, like just like that guy.

1647
01:18:50,760 --> 01:18:53,280
Speaker 1: They would just show up randomly. They would have their

1648
01:18:53,360 --> 01:18:55,680
Speaker 1: dance mo but and then they would just be gone.

1649
01:18:55,840 --> 01:18:59,280
Speaker 1: But you know, usually like the best nights, honestly are

1650
01:18:59,320 --> 01:19:02,000
Speaker 1: the nights that are like a Thursday, like a night

1651
01:19:02,040 --> 01:19:06,640
Speaker 1: where it's not like this big loaded expectations, like you know.

1652
01:19:07,160 --> 01:19:09,240
Speaker 1: The worst nights to DJ are like New Year's Eve,

1653
01:19:09,560 --> 01:19:11,960
Speaker 1: Saturday nights like those are like the kind of amateur

1654
01:19:12,000 --> 01:19:14,639
Speaker 1: hour type of nights. The best nights are like when

1655
01:19:14,680 --> 01:19:17,920
Speaker 1: it's like a Thursday, people are just chilling and then

1656
01:19:17,920 --> 01:19:20,960
Speaker 1: it just the event just kind of turns into something

1657
01:19:21,439 --> 01:19:23,600
Speaker 1: that's the most fascinating. But those are those are my

1658
01:19:23,640 --> 01:19:24,280
Speaker 1: favorite nights.

1659
01:19:24,479 --> 01:19:25,520
Speaker 2: I will always.

1660
01:19:25,160 --> 01:19:27,960
Speaker 1: Pick a Wednesday or a Thursday night to a Friday

1661
01:19:28,040 --> 01:19:29,240
Speaker 1: or Saturday any day.

1662
01:19:29,680 --> 01:19:31,040
Speaker 2: I love it absolutely.

1663
01:19:31,280 --> 01:19:34,240
Speaker 4: And that is what this movie also gave me is

1664
01:19:34,280 --> 01:19:37,720
Speaker 4: that anything could happen, feeling like yes, We're at this

1665
01:19:37,840 --> 01:19:42,880
Speaker 4: party that's organized, but anything could happen, and that is man,

1666
01:19:42,920 --> 01:19:44,440
Speaker 4: that's something you can't cultivate.

1667
01:19:44,520 --> 01:19:47,040
Speaker 2: You have to just go with the flow to have

1668
01:19:47,120 --> 01:19:47,839
Speaker 2: those moments.

1669
01:19:48,400 --> 01:19:51,000
Speaker 1: Yeah. I just I can't stress you enough how much

1670
01:19:51,000 --> 01:19:54,160
Speaker 1: I enjoyed this movie. I think it's a testament to

1671
01:19:54,240 --> 01:19:55,720
Speaker 1: Steve McQueen as a filmmaker.

1672
01:19:55,800 --> 01:19:57,000
Speaker 2: I think that it came.

1673
01:19:56,840 --> 01:20:01,000
Speaker 1: At literally the right time, Like everybody's be watching this movie.

1674
01:20:01,000 --> 01:20:03,840
Speaker 1: And not because I want you to be like horribly

1675
01:20:03,880 --> 01:20:06,559
Speaker 1: depressed for like the life that we could be living

1676
01:20:06,600 --> 01:20:08,559
Speaker 1: if it hadn't been for COVID nineteen.

1677
01:20:09,160 --> 01:20:10,120
Speaker 2: But I'm just.

1678
01:20:10,040 --> 01:20:13,160
Speaker 1: Saying that, like, if you want to experience pure joy,

1679
01:20:13,280 --> 01:20:17,200
Speaker 1: if you want to experience like the moments that we're missing,

1680
01:20:17,320 --> 01:20:20,840
Speaker 1: if you need an in lieu of for that, watch

1681
01:20:20,920 --> 01:20:23,719
Speaker 1: Lovers Rock. I'm telling you it is so great.

1682
01:20:23,840 --> 01:20:24,880
Speaker 2: I could not agree more.

1683
01:20:25,120 --> 01:20:25,200
Speaker 4: So.

1684
01:20:25,280 --> 01:20:26,040
Speaker 2: Glad you pick this.

1685
01:20:26,800 --> 01:20:29,880
Speaker 1: Oh God, all right now I've had my moment. I

1686
01:20:29,880 --> 01:20:31,599
Speaker 1: feel like crying again. I know.

1687
01:20:31,640 --> 01:20:33,360
Speaker 2: I'm like, I'm gonna watch this again and again. I

1688
01:20:33,360 --> 01:20:36,240
Speaker 2: know it is short, it's like an hour and something.

1689
01:20:36,360 --> 01:20:40,000
Speaker 1: I'm like, dude, this is ten minutes perfect movie.

1690
01:20:40,280 --> 01:20:42,799
Speaker 2: And he attacks a lot into that hour in ten minutes.

1691
01:20:43,040 --> 01:20:45,639
Speaker 1: I love a seventy five minutes, seventy minute movie.

1692
01:20:45,680 --> 01:20:47,120
Speaker 2: It's so fun. Listen.

1693
01:20:47,160 --> 01:20:51,640
Speaker 1: I'm so glad that we chose Steve McQueen for this episode,

1694
01:20:51,720 --> 01:20:54,960
Speaker 1: the real king of cool, as we've obviously proven beyond

1695
01:20:55,720 --> 01:20:59,360
Speaker 1: a shadow of a doubt. But I have to ask you,

1696
01:20:59,560 --> 01:21:04,080
Speaker 1: as I do every week, what are the movies for

1697
01:21:04,280 --> 01:21:05,520
Speaker 1: next week's episode?

1698
01:21:05,880 --> 01:21:10,920
Speaker 2: Next week it's going to be a riot because our movie.

1699
01:21:12,920 --> 01:21:16,439
Speaker 4: I can already tell our movies and you have to

1700
01:21:16,439 --> 01:21:17,360
Speaker 4: guess the theme.

1701
01:21:17,320 --> 01:21:20,040
Speaker 1: And the theme is obviously Black History Month, and but

1702
01:21:20,080 --> 01:21:22,520
Speaker 1: you have to guess another theme exactly.

1703
01:21:23,080 --> 01:21:26,760
Speaker 4: And our films are I'm Gonna Get You Suka from

1704
01:21:26,840 --> 01:21:30,559
Speaker 4: nineteen eighty eight and Don't be a Menace to South

1705
01:21:30,600 --> 01:21:33,240
Speaker 4: Central when You're drinking your Juice in the Hood from

1706
01:21:33,320 --> 01:21:34,519
Speaker 4: nineteen ninety six.

1707
01:21:36,280 --> 01:21:39,559
Speaker 2: Kiss the Dame.

1708
01:21:40,640 --> 01:21:41,599
Speaker 3: Do you want to tell?

1709
01:21:41,960 --> 01:21:44,960
Speaker 4: Tell people where they can guess and shoot us messages

1710
01:21:45,080 --> 01:21:48,240
Speaker 4: and participate in our fucking pod.

1711
01:21:48,479 --> 01:21:48,719
Speaker 2: Yes.

1712
01:21:48,880 --> 01:21:52,200
Speaker 1: Our social media accounts for both Instagram and Twitter, Our

1713
01:21:52,360 --> 01:21:55,280
Speaker 1: I Saw pod. Our email address is I Saw what

1714
01:21:55,320 --> 01:21:58,479
Speaker 1: you did pod at gmail dot com. Feel free to

1715
01:21:58,960 --> 01:22:01,920
Speaker 1: tweet at us to tag us and stuff. We love

1716
01:22:02,600 --> 01:22:05,880
Speaker 1: everybody who's been writing to us and you know, just

1717
01:22:05,960 --> 01:22:09,800
Speaker 1: kind of sending us messages. It's been so great hearing

1718
01:22:09,840 --> 01:22:13,639
Speaker 1: from you. Honestly, you guys are so fucking nice. It's

1719
01:22:13,760 --> 01:22:15,679
Speaker 1: kind of unbearable. I love it so much.

1720
01:22:15,800 --> 01:22:18,000
Speaker 4: We love hearing from you, and you we also love

1721
01:22:18,000 --> 01:22:21,240
Speaker 4: when you when you review and rate the show.

1722
01:22:21,360 --> 01:22:22,439
Speaker 2: It helps more than you know.

1723
01:22:22,680 --> 01:22:25,520
Speaker 4: And again, everyone has just been so kind and thoughtful

1724
01:22:25,600 --> 01:22:26,599
Speaker 4: and we just love.

1725
01:22:26,840 --> 01:22:28,439
Speaker 2: Love when you're so nice to us.

1726
01:22:28,800 --> 01:22:32,160
Speaker 1: Yeah, apparently my mom is reading those iTunes reviews, which

1727
01:22:32,200 --> 01:22:37,720
Speaker 1: is horrifying, but she's doing sorry. Oh yeah, she she

1728
01:22:37,760 --> 01:22:40,920
Speaker 1: would pull out her phone and be like, oh, you

1729
01:22:41,000 --> 01:22:42,400
Speaker 1: want to read a review of the podcast.

1730
01:22:42,400 --> 01:22:43,720
Speaker 2: I'm like, cause you not right now?

1731
01:22:43,760 --> 01:22:47,280
Speaker 1: This is too weird. No, I don't even know she

1732
01:22:47,320 --> 01:22:49,760
Speaker 1: knows what a podcast is, so I'm actually kind of

1733
01:22:50,479 --> 01:22:54,120
Speaker 1: I'm like, really impressed that she even has the app.

1734
01:22:54,479 --> 01:22:55,920
Speaker 2: I'm like, good for you.

1735
01:22:55,760 --> 01:22:59,920
Speaker 1: Like you navigated your phone and now you're reading a review.

1736
01:23:00,560 --> 01:23:02,519
Speaker 1: And I said, but I can't take it because you're

1737
01:23:02,880 --> 01:23:06,120
Speaker 1: in my world. I'm just trying to watch Shame in

1738
01:23:06,160 --> 01:23:07,080
Speaker 1: the back bedroom.

1739
01:23:07,880 --> 01:23:08,040
Speaker 3: Good.

1740
01:23:08,120 --> 01:23:10,280
Speaker 2: Please don't read anything else today.

1741
01:23:11,600 --> 01:23:13,960
Speaker 4: Don't read them to me, Like, Mom, you haven't been

1742
01:23:13,960 --> 01:23:16,559
Speaker 4: on these internet streets for the past ten twenty years

1743
01:23:16,560 --> 01:23:16,960
Speaker 4: like I have.

1744
01:23:17,840 --> 01:23:20,680
Speaker 1: We don't need to read those don't read comments like

1745
01:23:20,880 --> 01:23:23,320
Speaker 1: I have to teach them the basics of the Internet.

1746
01:23:23,360 --> 01:23:26,360
Speaker 1: But anyway, in spite of all that, we love the

1747
01:23:26,479 --> 01:23:30,040
Speaker 1: niceness of our listeners and everybody that's taking their time

1748
01:23:30,120 --> 01:23:31,960
Speaker 1: to you know, talk to us. So thank you so

1749
01:23:32,040 --> 01:23:34,640
Speaker 1: much and until next week.

1750
01:23:35,000 --> 01:23:37,760
Speaker 2: See you guys, this see later.

1751
01:23:43,800 --> 01:23:46,200
Speaker 4: This has been an exactly right production. Our producer is

1752
01:23:46,240 --> 01:23:49,719
Speaker 4: Laura Elizabeth Brown. Our engineer is Anilie Nelson. Our social

1753
01:23:49,760 --> 01:23:53,480
Speaker 4: media assistant is Taren Maza. Our theme songs by Tom Bryfogel.

1754
01:23:53,720 --> 01:23:57,200
Speaker 4: Artwork by Garrett Ross. Our executive producers are Georgia Hartstark,

1755
01:23:57,320 --> 01:23:59,960
Speaker 4: Karen Coilgareth and Danielle Kramer. You can follow us on

1756
01:24:00,200 --> 01:24:04,880
Speaker 4: Instagram and Twitter at I Sawpod and as always, please listen, subscribe,

1757
01:24:05,040 --> 01:24:06,040
Speaker 4: and leave us a review

1758
01:24:06,120 --> 01:24:08,920
Speaker 2: On Apple podcast, Stitcher, or wherever you listen.