Speaker 1: Welcome to Movie Crush, a production of I Heart Radio.
Speaker 1: Hey everybody, Welcome to Movie Crush Special Crush to Judgment Roundtable,
Speaker 1: Friday Edition. I have Casey to my right, Hello, that's sorry. Yeah,
Speaker 1: miss my cue be God damn professional paulled to my left,
Speaker 1: and at the distant end of this rectangular table, I
Speaker 1: have Mr Nol trying to reach out and touch each other.
Speaker 1: Don't touch me too far, don't do it too far. Um.
Speaker 1: I did a funny thing a minute ago. I was
Speaker 1: in the kitchen to get a refreshing beverage, and our
Speaker 1: lovely office manager was restocking the fridge to the left
Speaker 1: and the door was open, and the fridge to the
Speaker 1: right the door was closed. But I was looking at
Speaker 1: the left fridge and reached into the right fridge thinking
Speaker 1: that door was open, and it was closed, and my
Speaker 1: hand smashed into the glass like a bird hitting a windshield. Yeah,
Speaker 1: that all happened, just now, just now. I'm okay. It
Speaker 1: was a weedy little grab, wasn't It wasn't that resolution.
Speaker 1: I know you're grab. It's not a firm grab. So
Speaker 1: before we get going on the lighthouse, I want to
Speaker 1: chat briefly about your movie. Are you. Okay, no, we
Speaker 1: weedy little sneeze. I want to talk about Paul's movie.
Speaker 1: Paul made a movie everyone that we believe we mentioned briefly,
Speaker 1: but it is actually out now on Amazon Prime. It
Speaker 1: is called Annie in the City. That is a N
Speaker 1: N E Y in the c I T T E Y.
Speaker 1: Just kidding, uh, And let's chat about it because Casey,
Speaker 1: you shot the movie, you were the cinematographer of record,
Speaker 1: that it's correct, and you wrote and directed it. Yeah.
Speaker 1: I I co wrote it with Annie Reese, who's also
Speaker 1: the star of the movie. Titular Annie. Yeah, who you
Speaker 1: know from the Slasher round tables. And I'm going to
Speaker 1: record into the Spider Verse with Annie right after this.
Speaker 1: And a little meta trivia here. The movie contains a
Speaker 1: movie that I made many years ago. Like within the movie,
Speaker 1: it's a fact to TV. Yeah, in fact, I don't know.
Speaker 1: I'm always corrected when I used to Yeah, you know
Speaker 1: what you tell those people go to hell because factoid
Speaker 1: you can certainly use it that way. I think you
Speaker 1: can do it. I think if it is a fact
Speaker 1: a little nugget, you know, people say technically affect oid. Yeah,
Speaker 1: just punch them in the base with you next time.
Speaker 1: Ben Bolan corrects me. Oh god, so mad at him. So, uh,
Speaker 1: I want to know how you got the movie on
Speaker 1: Amazon Prime. How does that work? How do you get distribution? Uh? So,
Speaker 1: I don't know if it it technically counts as district ribution, Okay,
Speaker 1: but it is. I mean it counts, it counts, it's available. Basically,
Speaker 1: it's quite easy. I just Amazon has a thing called
Speaker 1: Amazon Video Direct and you kind of, if you have
Speaker 1: an Amazon account already, which I did, you basically sign
Speaker 1: up for Amazon Video Direct and it allows you to
Speaker 1: publish videos on their platform. And you just have to
Speaker 1: sign up and give your sort of uh your bank
Speaker 1: information and if so, I have an LLC that I
Speaker 1: set up for making the movie that's separate, separate from
Speaker 1: me personally. It's an LLC just made for the movie.
Speaker 1: So I had to give that information. Uh, And you
Speaker 1: need all that information. So the money that you make,
Speaker 1: the profits you make off of the movie through Amazon,
Speaker 1: through Amazon, and obviously they take a cut. I actually
Speaker 1: it doesn't. Amazon takes a cut. Sure. Yeah shocking. I
Speaker 1: was being facetious. Sorry I missed that. He's always got
Speaker 1: that hands, got to get his a little guy. Yeah.
Speaker 1: So so it's it's it's surprisingly easy. And then um,
Speaker 1: once you make all that account stuff, you can you know,
Speaker 1: create uh, basically a project for the for the video
Speaker 1: for the movie. It can be a short film or
Speaker 1: a movie or whatever, and it requires a lot of
Speaker 1: information that you have to enter, and you have to
Speaker 1: have the movie exported in a certain format file formats,
Speaker 1: not just a bunch of YouTube garbage. They're really weeding
Speaker 1: that kind of thing out. Yeah, and then once you
Speaker 1: actually get all your ducks in a row and have
Speaker 1: everything filled out and all the information, you submit it
Speaker 1: to them and that takes a couple of days and
Speaker 1: it actually goes through an approval process where it could
Speaker 1: be rejected if the file format doesn't conform to certain standards,
Speaker 1: or if the artwork you used for the cover image
Speaker 1: is incorrectly format and stuff like that. All right, so
Speaker 1: you just gotta have your ducks in a row, follow
Speaker 1: through on everything, and YouTube can get your movie on
Speaker 1: Amazon Prime. Yes, yes, very cool. And as far as
Speaker 1: like a promotion and stuff that obviously be a separate yes,
Speaker 1: they have like a guidebook where it's basically, uh, here's
Speaker 1: how to promote your movie, tweet about it with the
Speaker 1: hashtag prime video or it's you know, it's all you
Speaker 1: doing it yourself, you know, unless you're a big studio. Uh.
Speaker 1: So it's on Amazon Prime. It's free to stream, you
Speaker 1: can prime member, and it's a dollar ninety two rent
Speaker 1: if you're not all right, So you see it everyone, Yeah,
Speaker 1: it's really good. I'm just gonna go ahead and put
Speaker 1: that out there, like, it's really fun, it's really heartwarming,
Speaker 1: it's uh, it's got it's a cool story and and
Speaker 1: it's beautifully shot and it's just a cool movie. Yeah.
Speaker 1: I told Paul that I've I'm watching it in pieces,
Speaker 1: well not in pieces, really two pieces because uh, as
Speaker 1: soon as he said that email the other day, it's like,
Speaker 1: oh man, like I can't watch it right now. So
Speaker 1: if I got I got to see some of it
Speaker 1: because I gotta get a sense of it. So I'll
Speaker 1: watch like the first fifteen minutes before I had to
Speaker 1: get in the shower, and then I'm going to finish
Speaker 1: it up probably tonight. And I liked what I saw,
Speaker 1: and he's great. If she's so endearing as a human
Speaker 1: being and that comes through on screen. Yeah, uh, and
Speaker 1: make sure yeah you ask her about it when you record. Uh, nope,
Speaker 1: your Yeah, we'll talk about that for sure. Our buddy
Speaker 1: Chandler Mays too, isn't it And he played he does
Speaker 1: a great dust turn as a kind of a scheezy
Speaker 1: weed dealer. Um. That was a stretch, but fantastic. If
Speaker 1: you tell anyone listening, if you do watch it, please
Speaker 1: I hate having to ask this, but please rate it
Speaker 1: and review it if you feel so inclined. Even if
Speaker 1: you don't like the movie, it does mean a lot.
Speaker 1: And also just it does help with like discover ability
Speaker 1: and all those silly things to help the movie get seen.
Speaker 1: So I love it. Names with the podcasts, yeah, same thing,
Speaker 1: the podcasts. All right, guys, let's talk about the Lighthouse.
Speaker 1: Casey saw this back in May and France. Correct, correct,
Speaker 1: Yeah it was. It was not in the official competition,
Speaker 1: but it was in the sidebar the Uncertain My God
Speaker 1: so um, which is where they put a lot of
Speaker 1: kind of steing slightly more experimental stuff. And I think
Speaker 1: it fit right in. I think I thought I was
Speaker 1: going to play on the ha ha ha day No, no,
Speaker 1: not surprisingly not interesting. Uh do you feel like you're
Speaker 1: pretty fresh on it? Still? Well, that's the thing I
Speaker 1: was going to try to see it again before we
Speaker 1: did this, and it just didn't come together. So I'm
Speaker 1: relying on my memory from May and yeah, you'll be
Speaker 1: it's it's I mean, it's I feel like it's a
Speaker 1: movie that the plot matters, maybe a little less than
Speaker 1: your average movie. It's it's more about the atmosphere and
Speaker 1: so on. So sure, you know, what, when did you
Speaker 1: see it? I saw on Halloween? O? Yeah, all right,
Speaker 1: yeah on Halloween Halloween day night. Yeah, when't that spooky
Speaker 1: cold weather came through? It was just when just so
Speaker 1: got out and tried to have a chat about it
Speaker 1: with my friends outside and then realized it was far
Speaker 1: too cold and we weren't going to continue our hangs
Speaker 1: indoor else indoors elsewhere, so we parted ways. But that
Speaker 1: is pretty funny after a movie about true elemental human
Speaker 1: suffering and you're outside and you're like, I can't talk
Speaker 1: about this movie. It's uh And when did you see it, PAULI?
Speaker 1: I just saw it last Today's Wednesday. I saw it
Speaker 1: last Friday. Okay, yeah, I saw it in New York
Speaker 1: UM when I was there a couple of weeks ago.
Speaker 1: And boy, let's just get into it. I mean a
Speaker 1: movie that uh, you know, I was really interested in
Speaker 1: this one a because of Egger's uh Robert Eggers and
Speaker 1: The Witch was so great and original, I thought, but
Speaker 1: also because and I've talked about it on the show before,
Speaker 1: but I wrote a lighthouse movie, a period piece thriller
Speaker 1: horror not horror, more thriller um a couple of years
Speaker 1: ago that I tried to get money to make and
Speaker 1: sort of started and never never did it. But I
Speaker 1: was like, oh, Man, Eggers is doing a lighthouse movie.
Speaker 1: I was like, I'm sure it's way better than what
Speaker 1: I was gonna do. And it was, um, but it
Speaker 1: it definitely piqued my interest because I was just like,
Speaker 1: why has no one written a great movie with the
Speaker 1: lighthouse is the primary setting, because it forces so many
Speaker 1: things upon you. Um, probably the most important thing is
Speaker 1: is isolation. Yeah, which is a good foundation for a
Speaker 1: I guess they're calling this on Wikipedia at least a
Speaker 1: psychological horror film. It's like a cabin fever movie, sort
Speaker 1: of in the tradition of like The Shining or something,
Speaker 1: where your hold up against the elements and you know,
Speaker 1: you kind of lose your mind. Yeah. I didn't feel
Speaker 1: it was a horror movie, did you guys, No, it's
Speaker 1: it's maybe unsettling is the word more than horror. And
Speaker 1: also it definitely has some comedy in it, Oh, a
Speaker 1: lot of comedy. It's hilarious. Yeah, yeah, through which were
Speaker 1: very again, I mean the character of the old grizzled
Speaker 1: sea captain, you know, I mean, it's like the most
Speaker 1: stock character you can imagine. Of course, that guy's farting
Speaker 1: all the time. Yeah, it's absolutely you know, I mean,
Speaker 1: it doesn't it is. It does make you giggle a
Speaker 1: little bit, but it doesn't come off as like completely
Speaker 1: out of nowhere, Like it makes absolute sense for his
Speaker 1: character and it and it makes sense for the Robert
Speaker 1: Pattinson's character to be, like he's dealing with this asshole
Speaker 1: and he's getting fucking farted in his face on top
Speaker 1: of it all. It's sort of like the the stinky
Speaker 1: cherry on top. Just for the record, real quick, I
Speaker 1: just typed in Lighthouse movies and uh, we've got Pete Dragon.
Speaker 1: Lighthouse places pretty prominently in that. A movie from nineteen nine,
Speaker 1: a horror thriller called Lighthouse, a movie from five called
Speaker 1: Voice of the Whistler, which looks pretty cool. Um, then
Speaker 1: we've got The Light at the Edge of the World,
Speaker 1: which very much centers around the lighthouse, and my personal
Speaker 1: favorite horror on Snape Island from nineteen seventy two. Um,
Speaker 1: I want to see all of these. Then you have
Speaker 1: another movie called The Lighthouse from nineteen it's a foreign film,
Speaker 1: so it's called faro Um from Argentina. And then to
Speaker 1: the Lighthouse, the Fog, Hysterical and Shutter Island. There was
Speaker 1: a lighthouse. My movie was called The Graves head Light
Speaker 1: because the I should just tell people what it was
Speaker 1: because I'm never gonna make it, or you know what,
Speaker 1: maybe we'll make it as a podcast. There you got,
Speaker 1: there you go. That's cool. And that's the thing I
Speaker 1: wanted to point out too by this movie, like it
Speaker 1: is just as sonically interesting as it is visually interesting,
Speaker 1: like the sound design and the palette and the sparseness
Speaker 1: and the choices they make on point. So it just
Speaker 1: it lulls you into this weird fugue state almost while
Speaker 1: you're watching it, and you start to almost feel that
Speaker 1: malaise and kind of confusion that the characters are feeling,
Speaker 1: which is neat because a quick set up two dudes
Speaker 1: older grizzled sea captain and younger you know, new recruit
Speaker 1: kind of greenhorn Greenhorn going to this island as Rock
Speaker 1: as they call it to do some maintenance work for
Speaker 1: a short period of time. I think it's meant to
Speaker 1: be two weeks or something like that. Yeah, And that's
Speaker 1: just like how they did it. They rotated people in
Speaker 1: and out of stations and lights and this was there
Speaker 1: whatever their next stop. Yeah, because it's literally a functional
Speaker 1: thing as lighthouses to keep ships from crashing, right, so
Speaker 1: they have to, you know, make sure everything's functioning, do
Speaker 1: some maintenance work, some light repairs and roofing and etcetera.
Speaker 1: And that's what they're there for. Yeah, because the lighthouse
Speaker 1: gets beat up. You gotta paint those things like once
Speaker 1: a year. The seagulls pecking, all the seagull stuff is phenomenal.
Speaker 1: There's a whole credit at the end of the movie
Speaker 1: that's just seagull crew and it's a huge list of people.
Speaker 1: I don't don't know if it was a joker now,
Speaker 1: but I don't think no, No, I think they had
Speaker 1: like wranglers. Yeah, for sure. You got the scene where
Speaker 1: the beats that seagull to death is fucking brutal. It
Speaker 1: really made me laugh when it sne came up like
Speaker 1: it's brutal, but it also is very cathartic when you
Speaker 1: just finally there was a bit I think. I mean,
Speaker 1: parts of this movie seem like a black comedy. It's weird. Yeah.
Speaker 1: I think. The thing that's interesting, though, is there's a
Speaker 1: line that you don't even you can't hardly tell when
Speaker 1: it gets crossed, Like even in that seagull beating the
Speaker 1: death scene. Yeah, it's comical and muppety looking at first,
Speaker 1: but then all of a sudden, he's just holding this
Speaker 1: bag of guts and you know, black blood and stuff,
Speaker 1: and then it becomes kind of disturbing what started off
Speaker 1: as funny. I think that's a good kind of microcosm
Speaker 1: of the whole movie, you know what I mean, because
Speaker 1: it's like it's funny until it's not, and then it
Speaker 1: gets real unfunny pretty quick, you know. Yeah? Yeah, Um,
Speaker 1: I mean, let's let's talk a little bit, I guess
Speaker 1: just about the look, uh, and maybe some more about
Speaker 1: the sound. Does anyone know much about how they shot this?
Speaker 1: So they shot it on actual black and white thirty
Speaker 1: five millimeter film, uh, double X that a Kodak makes,
Speaker 1: and they use lenses from Pano Vision, but they were
Speaker 1: lenses that there's one that's like a hundred years old.
Speaker 1: Heard that, and then there's other lenses in the set
Speaker 1: that are like from the nineties. Um. And they had
Speaker 1: to have them kind of modernized and fitted to the
Speaker 1: cameras that they're using, and um, you know, so that
Speaker 1: all their accessories and so on would kind of be
Speaker 1: inner compatible. Um. And they also shot with a blue
Speaker 1: filter over the camera, which is kind of unusual for
Speaker 1: black and white because it it tends to darken the
Speaker 1: image and lower the contrast. Um, but it also brings
Speaker 1: out like imperfections and skin and it's not a very
Speaker 1: flattering filter. Yeah. I mean, this movie is not when
Speaker 1: you think black and white. It can there's a range
Speaker 1: when you talk about black and white, and uh, what
Speaker 1: I tend to think of is just that gorgeous really
Speaker 1: black blacks and crisp and this movie is almost just gray, right,
Speaker 1: which is sort of like a like the foggy, kind
Speaker 1: of hazy atmosphere and so um yeah, and they they
Speaker 1: shot in a very kind of unusual aspect ray show
Speaker 1: one point one nine to one, which is almost square.
Speaker 1: It's it's a lot taller than we're used to seeing.
Speaker 1: Did that because of the lighthouse? So yeah, because of
Speaker 1: the lighthouse, and also because a lot of kind of
Speaker 1: early cinema was shot closer to that aspect ray show.
Speaker 1: I really like this aspect ray show. I thought it
Speaker 1: was cool. It's yeah, I mean, I love I love people.
Speaker 1: I of seeing films that play with, um, you know,
Speaker 1: aspect ratios that we don't see all the time. I
Speaker 1: think Wes Anderson for the Hotel movie did that right.
Speaker 1: It's four by three, but yeah, close enough. I mean
Speaker 1: he's he's got like two three, five and four by three.
Speaker 1: There might be one six six in there somewhere. Yeah.
Speaker 1: A lot of television from the nineties is in a
Speaker 1: more square aspect ratio. I believe four three, four by three. Yeah,
Speaker 1: I mean that's like a TV predescreen. Yes, of course,
Speaker 1: of course exactly. But it's interesting too. There's always a
Speaker 1: big fuss that gets made when they reissue some of
Speaker 1: that stuff and then they squish it and where they
Speaker 1: stretch it and so you lose parts of the image
Speaker 1: when they do that. Right, to accommodate a wider frame,
Speaker 1: they have to push in it depends on how it
Speaker 1: was shot. But yeah, basically, yes, like there's certain shows
Speaker 1: like The Wire for instance, when they when they when
Speaker 1: they redid that for h D, like there was more
Speaker 1: information in the negative on the sides that they could
Speaker 1: open up. But the problem is is that when they
Speaker 1: were shooting, they only protected for like what was in
Speaker 1: the frame. You know, so there's like stands and you know,
Speaker 1: cables and that they had to paint out and see
Speaker 1: g I to like interest redo that show basically, and
Speaker 1: you know a lot of purists myself included, were kind
Speaker 1: of like, I wish you had just done four by
Speaker 1: three because that is like that's the show I watched,
Speaker 1: you know, but I mean it looks good in six. Yeah,
Speaker 1: well this movie looks great. Uh. And it's just so like, um,
Speaker 1: so realistic and and I know that they I mean,
Speaker 1: he put these guys through a living hell. And Robert
Speaker 1: Pattinson uh was talking about basically like for all intents
Speaker 1: and purposes, at times, it felt like they were living
Speaker 1: in the nineteenth century, you know, on set because they
Speaker 1: were there, you know, they were in a remote location,
Speaker 1: you know, Scotia. I think, yeah, you can't fake that
Speaker 1: ship and the weather was really brutal, and you know
Speaker 1: all those scenes where he's got that rickety wheelbarrow and
Speaker 1: he's going through the mud and you're just like that
Speaker 1: that had to have been a miserable experience. You can't
Speaker 1: fake that kind of duress. You know, it's not like
Speaker 1: they got a stand in to do it. Maybe there's
Speaker 1: a couple of scenes that they did, but in general,
Speaker 1: it's like it's because of the aspect racio. A lot
Speaker 1: of it's super close up and claustrophobics claustrophobics, so he
Speaker 1: you know, he absolutely was shoveling that ship like you know,
Speaker 1: painting that house on that like weird uh Pulley system thing.
Speaker 1: It seemed very dangerous to begin with, and then he
Speaker 1: of course falls and I don't know, like, yes, it's
Speaker 1: a real commitment of acting. That's at the very least
Speaker 1: you can you have to give it that. Whether you
Speaker 1: like it or not, you cannot deny that it is
Speaker 1: some powerhouse acting going on in that film. And it's
Speaker 1: a very physical role, like he has to actually do
Speaker 1: all this stuff. And Robert Eggers, in an interview as reading,
Speaker 1: talked about how you know these older lenses they're not
Speaker 1: coded as well. They tend to fog up quite easily,
Speaker 1: especially in like that kind of weather. So there were
Speaker 1: numerous takes. I think he said one scene they had
Speaker 1: to do like twenty five takes of Robert Pattinson walking
Speaker 1: into the water and uh, you know with the waves
Speaker 1: and everything, and um, they had to do that like
Speaker 1: twenty five times just because they kept having problems with
Speaker 1: the lens fogging up all the time, and so a
Speaker 1: take would be perfectly good except for that, and again
Speaker 1: and didn't Pattinson kind of loses cool with him a
Speaker 1: little bit. I saw a thing where he was saying,
Speaker 1: at least an interview that he wanted to punch him,
Speaker 1: or that he almost punched him because they were a
Speaker 1: thin blasting him with a hose at some point to
Speaker 1: get him wetted down properly. I don't remember exactly. Yeah,
Speaker 1: I don't think it was a fun shoot. Guys. Well,
Speaker 1: it's so it's so dirty and grimy and gritty, and
Speaker 1: just like it feels like for the entire duration of
Speaker 1: that shoot, they probably didn't feel like they ever got clean.
Speaker 1: You know, it just kind of wears on you after
Speaker 1: a while. I wonder where they stayed it's a good question. Yeah,
Speaker 1: I don't know. It couldn't have been too close to
Speaker 1: any amenity, right right. I wonder if they just rented
Speaker 1: some houses nearby or something. Yeah, yeah, probably. Uh. This
Speaker 1: is a kind of movie where, like the acting is
Speaker 1: so good and it's just two of them. It's almost
Speaker 1: it almost feels like you wish you could give them
Speaker 1: a joint Academy Award or something. It's for like best
Speaker 1: you know, best duo. Mean there's one is not a
Speaker 1: supporting actor. I mean, they're both the lead actors. I
Speaker 1: would like to see them both getting nominated for Lead Actor,
Speaker 1: you know, for the Oscars. I think if you had
Speaker 1: to pick one, though, I would say Defoe, Yeah, just
Speaker 1: because like he gets all these amazing monologues. He gets
Speaker 1: more dialogue then. I mean, I think Pattinson's physical performance
Speaker 1: is probably a little more intense, but like as far
Speaker 1: as acting, you know, like in delivery, just choose it up,
Speaker 1: he brushes it man. That curse that he does is
Speaker 1: a scene where he smites Pattinson's character with this insane
Speaker 1: curse and all these horrible things that are gonna happen
Speaker 1: to him, all because he says he didn't like his cooking. Yeah,
Speaker 1: that was great because he didn't even like me, lobster.
Speaker 1: You're fond of me lobster Ange. It was hard not
Speaker 1: to think of the Simpsons Sea Captain. Yeah. Yeah, I
Speaker 1: mean it's totally that character. Yeah. Um, there's a lot
Speaker 1: of chamber pot stuff. There's a lot of gross human waste. Um,
Speaker 1: there's a lot of sort of old seafaring and a
Speaker 1: no Egger's and his brother wrote this. They did a
Speaker 1: lot of really good research John just sort of the
Speaker 1: superstitions of of the life of a lighthouse keeper. Yeah,
Speaker 1: and there's there's all these like vintage light keeper diaries
Speaker 1: that that they were reading to to actually pull not
Speaker 1: so much like entire lines of dialogue from, but certainly
Speaker 1: like turns of phrase and vocabulary and so on to
Speaker 1: kind of inhabit that voice, which they did on The
Speaker 1: Witch too. Yes, yeah, even I think even more so
Speaker 1: on The Witch in terms of like their their lines
Speaker 1: and you know, exchanges in The Witch that kind of
Speaker 1: comes straight from some some of these primary period sources.
Speaker 1: But this one it was more like they just kind
Speaker 1: of wanted to capture that spirit and style of the
Speaker 1: matter of speaking. But the dialogue itself is more of
Speaker 1: like an invention of Eggers and his co screenwriter, his brother. Yea,
Speaker 1: is this a movie you like? It's a weird question,
Speaker 1: but like so, you know, we've we've been talking a
Speaker 1: lot about the great technical achievements of this movie, acting, cinematography,
Speaker 1: sound design, which are all stellar, but so far, for
Speaker 1: me personally, I haven't had much to say on it
Speaker 1: because I personally did not like the movie that much.
Speaker 1: I was very lukewarm on it. I felt like it
Speaker 1: was a movie in search of a purpose to exist
Speaker 1: in that all of these technical aspects are great, can't
Speaker 1: deny it, but I was also kind of like, what's
Speaker 1: the point. And I'm not saying that a movie needs
Speaker 1: to have some great, deep thematic meanings to have any
Speaker 1: value to me, but it just wasn't enjoyable enough for
Speaker 1: me to really get much out of it. I don't know, like,
Speaker 1: after the first probably forty minutes, I actually found the
Speaker 1: movie a bit tedious to watch, and at the end,
Speaker 1: I was kind of like, Okay, that's just me personally,
Speaker 1: you know. Well, here was my take is it's not
Speaker 1: enjoyable in the sense that you go to a movie
Speaker 1: and sort of have that familiar experience of a hero's
Speaker 1: journey or a the character who's overcome something in the end.
Speaker 1: Like it it is shoes traditional film narrative so much
Speaker 1: that it's it feels almost borderline and experimental film in
Speaker 1: a lot of ways, and an exercise and sight and
Speaker 1: sound and making an audience uncomfortable. Uh, because it's not
Speaker 1: very plotty. I mean, there's not a lot happens. But
Speaker 1: to what end? To what end of all that stuff?
Speaker 1: That's my question. I think I think Eggers is playing
Speaker 1: with a different deck of cards than other filmmakers. I
Speaker 1: don't think he's making movies. I mean, The Witch was
Speaker 1: a little more traditional, but this is like he's out
Speaker 1: there man. The Witch also was in a particularly pleasant film.
Speaker 1: It's more that the Witch the Witch kind of and
Speaker 1: Eggers has talked about this that when you made the Witch,
Speaker 1: he made it in this kind of almost deliberately austere, heavy,
Speaker 1: like serious art house kind of tell and for this
Speaker 1: he wanted to bring in more silliness, more humor, you know,
Speaker 1: to kind of stand alongside the kind of austere look
Speaker 1: and feel of it. And for me, I think I
Speaker 1: was expecting more of the tone of the Witch or
Speaker 1: something where it was going to be a little bit
Speaker 1: more like just straight laced and kind of heavy the
Speaker 1: whole time like it. Yeah, I was like I was
Speaker 1: mixed on it, and you know, like Paul said, like
Speaker 1: everything about it from a technical standpoint, the performances, the
Speaker 1: way it looks, the way it sounds is all, you know,
Speaker 1: top notch and clearly the work of like an extremely
Speaker 1: talented filmmaker who I think is gonna, you know, give
Speaker 1: us many many great films probably over the course of
Speaker 1: his career. This one did feel a little bit like
Speaker 1: I was kind of at the end left wondering, like
Speaker 1: what was the point of all that? Sort of It's weird.
Speaker 1: It's weird because I I like, um, I mean, I
Speaker 1: like certain movies like um, you know, somebody like Nicholas
Speaker 1: Winning Refin when he makes a film like The Neon Demon,
Speaker 1: which is very much style over substance, which is also maligned. Yeah, yeah,
Speaker 1: a lot of people dislike that movie. I tend to
Speaker 1: like that movie a lot um so, so it's so
Speaker 1: it's not it's not just that, you know, I think
Speaker 1: that the film has to have some like greater significance
Speaker 1: or something for me to like it. But yeah, just
Speaker 1: I I reached that same point, like forty five minutes
Speaker 1: an hour in where like there was just one too
Speaker 1: many like long monologues to camera, single take kind of
Speaker 1: like these bravera acting moments where it's like, Okay, they're
Speaker 1: doing an amazing job of performing right now. I just
Speaker 1: don't know from a from a kind of larger film
Speaker 1: ex standpoint, like what it's doing, what it's driving at. Yeah,
Speaker 1: I think he was almost just trying to do an
Speaker 1: experimental film where he's like, let me see if I
Speaker 1: can put an audience through make them feel something like
Speaker 1: these characters are feeling, because there is a little bit
Speaker 1: of that like oh man, like please let this end.
Speaker 1: You know, I do think too. I personally, I wish
Speaker 1: you would have embraced the silliness and humor even more.
Speaker 1: I guess that's what I'm saying. I wish they had
Speaker 1: more fart jokes, because those moments of at least levity
Speaker 1: at least made me enjoy myself while I was watching it,
Speaker 1: because otherwise it's so austere and it has this feeling
Speaker 1: of take this movie seriously, you know that I wish
Speaker 1: he would have embraced that silliness a little more. Okay, yeah,
Speaker 1: it is. It is almost like an over the top,
Speaker 1: almost cartoon version of what we think of as like
Speaker 1: an art film in terms of just the black and white,
Speaker 1: the severity of it and everything. You could you could verily,
Speaker 1: very easily tweak it to be almost like a sketch
Speaker 1: about you know, what these films are like. Did you
Speaker 1: like it? No? And that's it is a tricky question because,
Speaker 1: like you know, like I said, I didn't find it
Speaker 1: to be a particularly pleasant film, but I left it
Speaker 1: feeling away and it made me think about what I
Speaker 1: had seen, and it made me kind of want to
Speaker 1: see it again, to look a little deeper. But I
Speaker 1: also think that you're right in that maybe it didn't
Speaker 1: have as much of a purpose as you know, a
Speaker 1: film that I might have walked away from feeling a
Speaker 1: little bit more satisfied by. But I feel like what
Speaker 1: Eggers is really good at doing is giving you, like
Speaker 1: this lens into a world that you should not be
Speaker 1: a part of, and that in and of itself as
Speaker 1: an accomplishment. To me, It's like the which again also
Speaker 1: pretty light on plot. Plot is sort of second secondary.
Speaker 1: It's more about the experience of like witnessing this transformation
Speaker 1: and these this family's kind of deterioration, you know, in
Speaker 1: this isolated state. This movie does very much the same thing.
Speaker 1: You know, it's about seeing these two men kind of
Speaker 1: lose their mind in real time. But then you start
Speaker 1: to kind of be a party to that madness because
Speaker 1: you start losing the sense of time and how long
Speaker 1: have we been here? And you know that disorientation that
Speaker 1: I was talking about at the top of the show,
Speaker 1: which a lot of it has to do with the
Speaker 1: sound design and the foggy vibes of the whole thing. Um.
Speaker 1: But to me, this movie is about witnessing like the
Speaker 1: creation of a myth, Like if you think about all
Speaker 1: those sea shanties and all of those like tales that
Speaker 1: they got from the light Keeper's journals and stuff. To me,
Speaker 1: this film is actually witnessing what that might look like
Speaker 1: like of a myth or a parable or like some
Speaker 1: kind of like you know, even like a Bible story
Speaker 1: that then is like regurgitated and turned into all this
Speaker 1: lore or whatever. To that, to me is what it was,
Speaker 1: and I think that's fascinating. Well, he definitely likes to
Speaker 1: to do that deep dive into like a period and um,
Speaker 1: I mean he has like a kind of a set
Speaker 1: design costume design background. I believe Robert Eggers does. So
Speaker 1: he's he's extremely hands on with all this stuff. He
Speaker 1: really likes using you know, the actual materials and everything
Speaker 1: authentic and um, he's very, very dedicated to small details
Speaker 1: like that. And for him, I think it's it's sort
Speaker 1: of like the sum of all that research that kind
Speaker 1: of creates this feeling of just being immersed in a
Speaker 1: period and authenticity and and all that, which you know, again,
Speaker 1: I think it's great. Um. I just wish that from
Speaker 1: a like a screenplay standpoint, like for instance, you know,
Speaker 1: The Witch, I thought actually had a lot more going
Speaker 1: on thematically, um that you could kind of sink your
Speaker 1: teeth into afterwards and would kind of reward multiple viewings.
Speaker 1: But so more satisfaction out of The Witch, it sounds
Speaker 1: like for me, yea, even even though it's weird. I
Speaker 1: I'm not a big horror guy, So just the experience
Speaker 1: of watching the which I guess isn't wasn't that enjoyable
Speaker 1: for me. But I think I liked The Witch more.
Speaker 1: You're saying you were scaredy pants. I'm saying, shut I'm
Speaker 1: not scared. But to Casey's point, like, I feel like
Speaker 1: I got more out of The Witch, and I feel
Speaker 1: like it's, in my mind, a better film than The Lighthouse. Yeah,
Speaker 1: what about you it, man? I thought it was like
Speaker 1: a true masterpiece. Um yeah, I mean again, not like
Speaker 1: a it's not a movie. It's not anything you're really
Speaker 1: going to quote unquote enjoy. But um, I like that
Speaker 1: this guy is is making these challenging experimental films. Um
Speaker 1: that the ending of this movie is just so bonkers.
Speaker 1: And I loved all the all the you know hallucination
Speaker 1: uh see creature hallucination stuff and the Mermaids stuff. I
Speaker 1: just thought it was fucking great. Well spoiler alert now
Speaker 1: that we've we've already kind of done that a little bit.
Speaker 1: But like this whole thing is I think that, uh,
Speaker 1: that Pattinson's character is in hell and that um deposed
Speaker 1: character is like some sort of his like keeper that's
Speaker 1: that's putting him through these, uh, these mind games, and
Speaker 1: it's just going to start all over again at the
Speaker 1: end because the last shot where uh Pattinson's characters having
Speaker 1: his guts eaten by the by the seagulls. Um, that's
Speaker 1: the first shot of the movie from a distance pulls
Speaker 1: back and you see the foggy shape of the rock,
Speaker 1: and it's the same exact shot. And I think that
Speaker 1: was intentional, where it's like, this is a loop and
Speaker 1: he's going to start back over and have to do
Speaker 1: this again for all eternity, because Pattinson's character has found
Speaker 1: out to have been a murderer and you know, a
Speaker 1: bad man who in person, who murdered somebody and took
Speaker 1: his identity at some point. Um the foe even says,
Speaker 1: you know what if, what if I'm in your imagination
Speaker 1: or this whole places in your imagination, And then that
Speaker 1: seems like a little bit lazy, but and and it
Speaker 1: doesn't have to be this, But I think that's one
Speaker 1: interpretation that you could you could you could see. Um Yeah,
Speaker 1: Eggers says that for him, like in terms of the
Speaker 1: camera and just everything that we're seeing, the whole film
Speaker 1: is from Robert Pattinson's interior perspective as his state of
Speaker 1: mind deteriorates, and it's only at the very end that
Speaker 1: we get like a handful of shots that are quote
Speaker 1: unquote objective reality that everything else is kind of his imagination.
Speaker 1: So definitely the wim Defoe character could just be a
Speaker 1: complete whole cloth like invention of Like would they even
Speaker 1: need two people to do like you know for two weeks?
Speaker 1: You know, it seems like you could get all this
Speaker 1: stuff done with just one, but maybe you need someone
Speaker 1: to That's that's true. That's a good point. That's that's raight.
Speaker 1: I think that's historically accurate because I did a lot
Speaker 1: of lighthouse research when I wrote my my garbage thriller, Um,
Speaker 1: what do you what? What'd your take on the the
Speaker 1: that they had that beautiful for Nell lens, which is
Speaker 1: that was one of the hardest parts when when I
Speaker 1: was kind of doing vague pre pro for for my movie.
Speaker 1: Is fine finding a something to use as the lens.
Speaker 1: They're not cheap to get a real one, and they're
Speaker 1: hard to fake because it's such a specific thing for
Speaker 1: the lighthouse lamp itself. You mean, yeah, well the lens,
Speaker 1: it's called it for Nell lens. It's spelled Fresnel, but
Speaker 1: it's pronounced for Nell. And it's that um, you know
Speaker 1: coke bottle, you know, ribbed thick glass that it's shaped
Speaker 1: in such a way that it casts light further um,
Speaker 1: and it's sort of the star of the show. If
Speaker 1: you're gonna do a lighthouse movie and you can't can't
Speaker 1: get around it. And that was sort of the trouble
Speaker 1: we were having there, like, jeez, what are we gonna
Speaker 1: do for this lens? But um, they got a real one,
Speaker 1: of course because they had the resources and it looked amazing,
Speaker 1: But what was your take on the lens and the
Speaker 1: light and you know what he was hiding up there?
Speaker 1: Because it's never really Maybe part of the lack of
Speaker 1: satisfaction is is you don't really find out anything in
Speaker 1: the end. You kind of catch like little glimpses of
Speaker 1: but there's no good there's no great payoff. Yeah yeah, yeah,
Speaker 1: Like the Witch had that really great payoff at the end,
Speaker 1: yeah yeah, and this doesn't really have that. Yeah. Well,
Speaker 1: I mean yeah, for for me, it's kind of the
Speaker 1: whole lighthouse thing. It's it's very symbolic that you have
Speaker 1: this thing up at the very top that you're kind
Speaker 1: of asking yourself what is it? You're catching little glimpses
Speaker 1: of it, but you're you're you're only seeing kind of
Speaker 1: the tip of the iceberg. Um, yeah, I don't know.
Speaker 1: It's it's kind of a metaphor for like buried thoughts
Speaker 1: in your mind or you know, just just something that's
Speaker 1: kind of lurking almost in like the subconscious or something. Yeah,
Speaker 1: I think that for me, that's maybe why I wasn't
Speaker 1: as satisfied with the movie, because whatever metaphorical significance, the
Speaker 1: light has just felt kind of, I don't know, ham
Speaker 1: fisted a little bit really, yeah, I guess. And I
Speaker 1: did enjoy at the end where he actually goes up
Speaker 1: there and he's looking at the light and it's the
Speaker 1: sound gets all crazy and his eyes kind of burned out,
Speaker 1: and it's very h takes a cue from David Lynch
Speaker 1: a little bit in that sequence, especially almost. Yeah, it's
Speaker 1: not very much like he's crossed over to the other side,
Speaker 1: something that he wasn't prepared to actually handle, and it
Speaker 1: kind of broke him. You know, I don't feel a
Speaker 1: lot of Lynch DNA and some of his stuff if
Speaker 1: you compare this to like a racer Head or something similarly,
Speaker 1: kind of like really thick atmosphere and something that was
Speaker 1: you know, every frame feels kind of handcrafted very slowly
Speaker 1: and caringly. And the sound too, Lynch sound design his films. Yeah,
Speaker 1: it was one of my favorites, and just all the
Speaker 1: all the texture and grit and just like nothing feels casually,
Speaker 1: you know, like put together. Everything feels like it really
Speaker 1: is aged and weather. Yeah, I mean the set, it's
Speaker 1: just it feels so authentic. It's ridiculous. Like the you know,
Speaker 1: it's tough to drink a beverage in this movie because
Speaker 1: there basically two forms of liquid that putrid, disgusting. Ah
Speaker 1: cistern water that you know he pumps out of that thing.
Speaker 1: It's just you can almost taste it. It's so nasty.
Speaker 1: And then the firewater alcohol that Willem Dafoe is just consuming,
Speaker 1: like you know, pounding, and you know it's gonna go bad,
Speaker 1: Like Robert Pattins is not drinking for a reason. And
Speaker 1: when he finally makes him drink out of this, you know,
Speaker 1: you can even hear the rusty tin mugs. You're like,
Speaker 1: oh man, this is not going to end well. Oh
Speaker 1: and then he devolves in they run out of the firewater,
Speaker 1: he starts drinking straight caressing. Yeah. Well then they find uh,
Speaker 1: they think they find more provisions at one point, because
Speaker 1: you know they're kind of stranded, not kind of stranded,
Speaker 1: they're exactly strange and what they find is just more booze. Yeah,
Speaker 1: they being buried, just like, oh god, this is gonna
Speaker 1: get really bad. But it gets a little fun for
Speaker 1: a little while when they're drinking and dancing and yeah,
Speaker 1: you know, you get their feeling. Yeah. Yeah, there's a
Speaker 1: lot of that tension going on. Yeah, a lot of
Speaker 1: spooning and just like the sexual tension overall of like
Speaker 1: you know, being on this island, being isolated. Um, like
Speaker 1: what happens on The Mermaid. Yeah. Interesting. My dearly departed
Speaker 1: old friend Billy used to say life would be a
Speaker 1: whole lot better if you could just suck your buddies
Speaker 1: here here great quotes. Yeah, no, I loved it. Yeah,
Speaker 1: I want to see it again. I very much want
Speaker 1: to see it again because I saw it. I'm really
Speaker 1: bad at seeing nighttime movies. I get a little sleepy,
Speaker 1: and this one it's very conducive to that because it
Speaker 1: does have this drony foghorn. Did you fall asleep? Yeah?
Speaker 1: I might have dozed a couple of times, but then
Speaker 1: I was, you know, jarred awake by some crazy shit happening.
Speaker 1: You know. And Casey, I think you had a sort
Speaker 1: of similar experience. Yes, I had Did you fall asleep?
Speaker 1: This is well? This is why I wanted to see
Speaker 1: it again because when I saw it the day I
Speaker 1: saw it, it was probably my third or fourth movie
Speaker 1: that day, and it was like a ten pm screening,
Speaker 1: so I was also like fading kind of on and off.
Speaker 1: Did you all asleep? I didn't doze, but I did
Speaker 1: the thing where your head kind of falls forward and
Speaker 1: he realized what you're doing and you're kind of awaking.
Speaker 1: Did you fall asleep? I did not? Good, I was
Speaker 1: fully conscious the whole movie. I can say that. Well.
Speaker 1: I saw it as a daytime film because I don't
Speaker 1: go see night movies. Um. I saw the matinee in
Speaker 1: New York, and this is a movie too. New York
Speaker 1: at least is a little dirty. But it was a
Speaker 1: nice sunny day and it's a weird matinee. The worst
Speaker 1: was when you lived in l a and you would
Speaker 1: go to like the fucking Grove for a matinee and
Speaker 1: see a movie like this, and then you walk out
Speaker 1: into what feels like Disneyland. It was like palm trees
Speaker 1: and a little like they have a fake little train
Speaker 1: trolley car that rides by with tourist and it's always
Speaker 1: this weird, shocking adjustment when you walk out outdoor escalators.
Speaker 1: Oh yeah, that's great. Um, what else we got? I
Speaker 1: mean or did we cover? It was a thumbtime I had.
Speaker 1: I had a couple of things. All right, let's go.
Speaker 1: So you know, like I said, Robert Egger's he loves
Speaker 1: to do his research for these things. We had already
Speaker 1: mentioned some some like previous Lighthouse movies. But there's two
Speaker 1: filmmakers in particular that he's referenced in interviews, both kind
Speaker 1: of working in France and like the nineteen twenties, one
Speaker 1: named Jean Epstein or Epstein, who was like a film theorist,
Speaker 1: kind of experimental filmmaker. UM makes these kind of beautiful
Speaker 1: poetic um films, And he made a series of films
Speaker 1: in the Brittany region of France and Um which kind
Speaker 1: of has its own separate culture and history and so on.
Speaker 1: And UM he made this film called Finnish Terrey, like
Speaker 1: the End of the Earth, and uh, it's it's about
Speaker 1: four guys on an island. They're there to gather seaweed
Speaker 1: just off the coast of the island, and then you
Speaker 1: burn the seaweed and apparently the ashes are useful for
Speaker 1: something or other. And um, very quickly, one of the
Speaker 1: guys cuts his hand on a on a bottle that breaks,
Speaker 1: and uh, the hand gets infected and he can't use
Speaker 1: that arm anymore, and very quickly, like he's in kind
Speaker 1: of a survival situation and he's getting sicker by the day.
Speaker 1: He's having these fever dreams. And there's a whole fever
Speaker 1: dream sequence where he's dreaming about the lighthouse on this
Speaker 1: island and the lights kind of shining in his eyes
Speaker 1: and there's all these kind of cool abstract images happening. Um,
Speaker 1: very clearly I think an inspiration for this movie. Yeah,
Speaker 1: it sounds like it. And uh, and eventually there's there's
Speaker 1: like a whole rescue that happens to kind of get
Speaker 1: him off the island. And nineteen I think nine when
Speaker 1: you made this. It's an interesting, interesting movie because he
Speaker 1: he does this thing where he cuts away to these
Speaker 1: close ups, and oftentimes those close ups are in slow motion.
Speaker 1: It almost feels like Peck and Pop or something, but
Speaker 1: it's like forty years before Peck and Pot did it.
Speaker 1: In the Wild Bunch, so very very innovative. Cool filmmaker
Speaker 1: there's also like a lot of handheld in that movie,
Speaker 1: which you never saw in nine hardly. Um. And then
Speaker 1: also it's it's it's almost like half documentary half narrative
Speaker 1: because um, it's shot all with people that are native
Speaker 1: like that live on those islands, and um, they're they're
Speaker 1: non actors and they just have these amazing faces. And
Speaker 1: of course it's a silent so they don't have to
Speaker 1: deliver dialogue or anything, so it works pretty well. That's
Speaker 1: one of the filmmakers he referenced. Then the other one
Speaker 1: another French filmmaker of that period Johan Galeon who um
Speaker 1: made a film called The Lighthouse Keepers, which again is
Speaker 1: you can actually find it on YouTube. There's a really
Speaker 1: terrible quality copy on YouTube because it it doesn't really
Speaker 1: have a modern day available version. Yes, yeah, that was
Speaker 1: the only one in the lighthouse most exactly just a
Speaker 1: father and a son, yeah, in a lighthouse situation. And
Speaker 1: so you know, I think it's I I do like
Speaker 1: that he is so dedicated to doing his research, doing
Speaker 1: his homework, and um, I'm mean I think he's going
Speaker 1: to make a number of great films. You know, this
Speaker 1: one is next well his so his next one well,
Speaker 1: he he was trying to keep this under wraps, but
Speaker 1: some details leaked out. So it's called The Northman. Uh,
Speaker 1: it's a Viking movie, like the tenth century. I think
Speaker 1: I think the Foe is going to be in it again. Um,
Speaker 1: and I don't know too much else of the plot details.
Speaker 1: I think you can find kind of like a little
Speaker 1: summary online. But Eggers was kind of like peeved that
Speaker 1: the details kind of slipped out. Yeah. Interesting of Viking movie.
Speaker 1: That really does not surprised you know, sounds right, seems perfect. Yeah,
Speaker 1: are you gonna hate that one too, Paul, We'll see.
Speaker 1: We'll see crush to judgment when it comes out. Boy
Speaker 1: Pattinson is just he impresses me more and more. Um,
Speaker 1: it's uh, it's a shame that I think there are
Speaker 1: still people that think of him as the Twilight Guy,
Speaker 1: because he's just left that in the dust. I don't
Speaker 1: know those people. Is one of the great actors of
Speaker 1: his generation. He's incredible, good times, one of my favorite
Speaker 1: movies of that year. If not, he's got the good
Speaker 1: few years and he's going to be the next Batman. Yeah, yeah,
Speaker 1: he's got that job. I gotta say, I'm excited for
Speaker 1: it you and I'm not. I'll go see every Batman ever.
Speaker 1: I mean, who am I to say? Yeah, I'm happy
Speaker 1: for the guy's pay day, but I'm also kind of
Speaker 1: just over shuffling of the Batman. The Batman. You know. Well,
Speaker 1: I'm excited because he'll make a lot of money on
Speaker 1: Batman and hopefully that allows him to do more interesting projects.
Speaker 1: That's good. He seems to be intent on doing interesting projects.
Speaker 1: Like everything he's been in lately has been Cosmopolis, good time,
Speaker 1: high life. Yeah. Like he's he's he worked with choices,
Speaker 1: City of Ze. I mean, he's he's made like I
Speaker 1: thought it was? Okay, it was. It was probably my
Speaker 1: least favorite Jane's Gray movie so far. What else did
Speaker 1: he do? Gosh? Um, Little Odessa, the Yards, Um we
Speaker 1: on Denight, Two Lovers, the Immigrant and the New One
Speaker 1: at Astra at Astra. Yeah, I haven't seen that yet either. Yeah.
Speaker 1: I got some work to do, so all right, I
Speaker 1: guess let's rate this puppy. Um, what do we do?
Speaker 1: Nold thumbs thumbs one to five thumbs thumbs, Uh, casey,
Speaker 1: let's start with you. Um, I'm gonna say three three
Speaker 1: out of five thumbs. Three from yeah, okay, No, I'm
Speaker 1: gonna do four point five thumbs. Now four thumbs, okay,
Speaker 1: all right, two point five thumbs, two point five thumbs.
Speaker 1: Just a regular human with the extra little little knob
Speaker 1: or something. Yeah, um, what do you call it when
Speaker 1: you have a like a little bit of a tail growing?
Speaker 1: What's that called? I'm not sure, Chuck, I'm maybe maybe, maybe,
Speaker 1: I'm gonna give it cheese. I mean, I'm gonna give it.
Speaker 1: I'm gonna give it at least. Yeah, I'm gonna give
Speaker 1: it four and a half thumbs. And what and that
Speaker 1: half thumb is like got a really big thick fingernail,
Speaker 1: like lighthouse Willem Dafoe fingernail that's got disgusting junk underneath it.
Speaker 1: I thought it was a masterpiece. It was, you know,
Speaker 1: when I described it, Emily asked, you know, she didn't
Speaker 1: go to the movie in New York, but yes, what
Speaker 1: I thought about it, and so did Paul Schneider and dinner,
Speaker 1: and I was like, you know, it's hard to describe.
Speaker 1: It's like it's unlike any movie I've seen, um and
Speaker 1: bold and experimental, and I like that this guy is
Speaker 1: out there making these kinds of movies. I'm very happy
Speaker 1: that he's out there doing what he's doing. I think
Speaker 1: it's really cool that, you know, a black and white
Speaker 1: like austere arthouse movie is you know, getting people out
Speaker 1: to see it. Yeah, and I like it. I like
Speaker 1: the idea of testing an audience and what they can take,
Speaker 1: um because it's not extreme, like you know, some kind
Speaker 1: of horror core thing where like, oh you could just
Speaker 1: barely sit through it, but it's extreme in in another way.
Speaker 1: Yeah for sure. All right, how many things is that total?
Speaker 1: I can't do math? Let's see I gave four, four,
Speaker 1: four point five. No, I I didn't see right, four
Speaker 1: and a half and nine a half, ten and a half, eleven.
Speaker 1: I had three, so fourteen and a half something like that,
Speaker 1: all right, and went and divide that by four, and
Speaker 1: what's our average rating? Go see it? Everybody but the
Speaker 1: dumb filmmaker types don't know math. Al right, thanks, dudes,
Speaker 1: like these round tables. We'll get another one going here,
Speaker 1: because there's a lot of good movies coming down the pike.
Speaker 1: Obviously the Irishman it's got to be on the short list. Yeah,
Speaker 1: let's do that. It's easy for us all to just
Speaker 1: watch at home because it's actually doesn't come out on
Speaker 1: Netflix till that's right, that's right here in Atlantic. Okay, yeah, yeah,
Speaker 1: we should make a good point to see that one
Speaker 1: in the theater. I think I'm I'm going to be
Speaker 1: their day one. Well, I know you are, Casey. You're
Speaker 1: gonna be running the film through the projector that is true,
Speaker 1: it's going to actually be film. It'll be a d CP.
Speaker 1: You're gonna hit there's like some some prints that might circulate,
Speaker 1: but now it'll be DCP, DCP all the way. Guys.
Speaker 1: All right, thanks dudes, Thank you for more podcasts for
Speaker 1: my Heart Radio. Visit the I Heart Radio app, Apple Podcasts,
Speaker 1: or wherever you listen to your favorite shows.