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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did. My name is Millie to Jericho.

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Speaker 2: I'm Danielle Henderson.

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Speaker 3: And hello you Hi. What's up?

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Speaker 2: Not much, just in the midst of construction. It's underway.

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Speaker 2: I'm so excited. They have completely cleared out the bathroom

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Speaker 2: so I'm actually able to see the space that.

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Speaker 3: I'm working with now, like no walls. Cool, and I'm.

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Speaker 2: Just like excited. Oh, I'm so excited.

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Speaker 3: Yeah, just in time for the holidays.

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Speaker 1: Huh, You're gonna have a brand new house for all

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Speaker 1: the animals.

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Speaker 3: That are coming to you or Thanksgiving dinner.

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Speaker 2: I'll at least have a new bathroom. I'm still not

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Speaker 2: getting a kitchen till December, but new bathrooms for Thanksgiving?

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Speaker 2: What's up?

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Speaker 3: That's all you need as far as I'm concerned.

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Speaker 2: Well, what about you?

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Speaker 3: I'm good.

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Speaker 1: So I have a little confession to make. I have

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Speaker 1: a crush on someone.

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Speaker 2: Oh who.

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Speaker 3: It's the guy that sprays for bugs at my house.

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Speaker 2: Perfect.

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Speaker 1: He'll never listen to this, which is the only reason

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Speaker 1: why I'm even saying it.

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Speaker 3: I just he'll never listen to it.

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Speaker 2: You don't know that somebody named Daniel Henderson isn't gonna

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Speaker 2: call him and say listen to I saw what you did? Bye?

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Speaker 1: He Okay, you know who he looks like? I mean,

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Speaker 1: this is it's so kind of eerie. He looks exactly

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Speaker 1: like Nathan from Insecure. You remember the guy from Insecure

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Speaker 1: that Easter ray and he's the barber and he's from Houston.

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Speaker 1: I think that's like his worst story. This guy looks

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Speaker 1: like him and talks like him. Oh you're doomed, yes,

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Speaker 1: And I was like shook when he first came to

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Speaker 1: the house. Basically they come once a month and then

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Speaker 1: during the summer to spray for like the summer bugs

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Speaker 1: or whatever, and then after that they come like once

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Speaker 1: every three months. And so the first guy that came over,

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Speaker 1: I don't know who is in charge of hiring at

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Speaker 1: this pest control company, but like the first guy that

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Speaker 1: came over, he was kind of like an intake guy.

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Speaker 1: Just was like going around the perimeter of the house,

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Speaker 1: like what's the deal do you have? You know, these

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Speaker 1: types of bugs or whatever. He was like a Indian

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Speaker 1: George Clooney.

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Speaker 2: Okay, okay, So this company is basically like we are

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Speaker 2: actually models Inc. Masquerading at a fucking Pest Control Company, Models, Inc.

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Speaker 1: Ah the only the best show to ever come on television. Yes,

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Speaker 1: this guy, the intake guy, was basically Indian. However, he

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Speaker 1: looked exactly like George Clooney, like smiled like him.

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Speaker 3: And I gotta admit he knew it. He knew it.

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Speaker 1: He never said it to me, but you can tell

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Speaker 1: that he was like, yes, I get this all the time,

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Speaker 1: and I never said it to him.

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Speaker 3: It was just this unspoken like listen, I know I.

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Speaker 1: Look like George Clooney, and you know I look like him,

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Speaker 1: and I'm going to smile at you like every five

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Speaker 1: seconds to remind you of that.

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Speaker 2: He's like, my life is a poor noo. Yes, you

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Speaker 2: don't even need to say. Every house I go to,

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Speaker 2: I'm boning.

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Speaker 3: Yes, very handsome intake guy.

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Speaker 1: So then the actual technician that's been coming to the

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Speaker 1: house is the Nathan guy. And I'm just like, holy shit,

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Speaker 1: this guy is so cute and he's got that like

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Speaker 1: Southern draw. I mean, you know, I don't know if

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Speaker 1: he's actually from Houston, but he's definitely a Southern boy.

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Speaker 1: And I'm just like, why do they keep sending hot

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Speaker 1: bug guys to the house? And the craziest thing is

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Speaker 1: that we might have talked about this before or just

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Speaker 1: this idea of like a lot of times when I'm

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Speaker 1: out in this world now and I see cute guys,

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Speaker 1: I'm like, oh, I'm definitely at least ten years older

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Speaker 1: than them, right, you know what I mean?

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Speaker 2: Oh?

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Speaker 3: Completely, And I listen.

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Speaker 1: I have attractions to all types of men, like old, young, whatever,

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Speaker 1: I mean, not too young, let's get serious, We're not.

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Speaker 3: We like them older. I think we've talked about that

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Speaker 3: on this podcast.

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Speaker 2: We like them crag. We like a little crag.

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Speaker 3: We like a little craggy, as you know.

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Speaker 1: But you know, usually if I do see a guy,

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Speaker 1: I just know he's younger than me because I'm like, oh,

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Speaker 1: most guys running around in this world right now who

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Speaker 1: are like, you know, just kind of have.

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Speaker 3: A jois de vivra.

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Speaker 1: They're like thirty years old or something, or twenty nine

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Speaker 1: or thirty.

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Speaker 2: The stress level is so low, Like you can, I

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Speaker 2: can usually tell someone's age or that someone's much younger

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Speaker 2: than me because the stress level is so low, because

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Speaker 2: they are a generation of people who have grown up

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Speaker 2: so much better than we have, and that they have

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Speaker 2: decided to tell people know like I never felt comfortable

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Speaker 2: doing that till I was in my thirties, Like I

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Speaker 2: would never tell anybody know. And this generation of people

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Speaker 2: is like, I have cramps, I'm not coming to work.

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Speaker 2: I will be taking a sick day. It is a

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Speaker 2: medical condition. And I'm like, damn. Like so they are

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Speaker 2: just like no lines on this face.

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Speaker 3: They feel no obligation whatsoever. I love it.

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Speaker 2: It is inspiring as shit. There's like nope, I'm not

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Speaker 2: doing that, and I'm like, damn, that generation is in sight.

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Speaker 1: Yes, I think the people pleasing stopped with gen X

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Speaker 1: apparently because everybody else is like Footloas and fancy Free

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Speaker 1: doesn't give a fuck. Absolutely, And yeah, so this guy,

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Speaker 1: it's so sad he must come to this house going

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Speaker 1: this poor sad woman who lives alone, because you know,

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Speaker 1: he only comes in when he's doing the indoor treatment.

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Speaker 1: But then when he comes once a month for the

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Speaker 1: outdoor treatment, you can have him come in if you

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Speaker 1: only if there's an issue. And so it's that thing

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Speaker 1: where I'm like, well, I definitely want him to come

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Speaker 1: in this house because I just want to keep talking

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Speaker 1: to him. But then it would suggest that I have

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Speaker 1: like roaches or something. And I'm like, I don't want

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Speaker 1: him to think I'm disgusting. I'm like, yes, you have

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Speaker 1: to come in because there are rats in here or

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Speaker 1: something like he's just gonna be like this poor woman

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Speaker 1: who has rats in her house.

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Speaker 2: Okay, here's here's two approaches. One constantly reference the fact

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Speaker 2: that you rent and be like this, same my shit, yeah,

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Speaker 2: same my shit, I rent, I rent, I'm a renter,

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Speaker 2: as a renter with this landlord, just constantly mention it constantly.

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Speaker 2: Also have you tried? I need you to come inside

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Speaker 2: to this vagina.

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Speaker 3: But let's get serious.

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Speaker 1: You know, if that were to happen, I would be

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Speaker 1: full on Jennifer Coolidge with like my yes, fucking Frederick's

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Speaker 1: of Hollywood feather gown. I mean, I'm just like such

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Speaker 1: a cornball that I'm just like, there's no way. Here's

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Speaker 1: the thing that fucking tripped me out is that, Oh

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Speaker 1: my god, this made me feel weird for like two

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Speaker 1: entire days.

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Speaker 2: What what happened?

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Speaker 1: So he was going around the house like outside of

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Speaker 1: the perimeter of the house, right, and so I was like, well,

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Speaker 1: I actually do have to take out the garbage, So

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Speaker 1: you know, I went to the kitchen grabbed the garbage,

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Speaker 1: tied it up, and was coming out of the door.

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Speaker 1: As he was coming back around the front of the

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Speaker 1: house and as I was taking my first step down

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Speaker 1: the stairs of my porch, he was like, oh, oh,

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Speaker 1: let me get that.

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Speaker 3: I'll get that for you, ma'am. Let me get that

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Speaker 3: for you.

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Speaker 1: And I was like, he's either the sweetest person to

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Speaker 1: ever live or he thinks I'm like ninety five years old.

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Speaker 1: You are enfeebled break my hip if I go down

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Speaker 1: four stairs.

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Speaker 3: I'm just I am going to cry when he leaves.

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Speaker 3: I'm gonna cry. Lord.

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Speaker 2: Okay, there's something about this that I love so much

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Speaker 2: because I can see your face and your reaction this

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Speaker 2: in real time, but also feeble, but make it sexy.

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Speaker 2: Be like, yes, you can carry this, and while you're

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Speaker 2: at it, carry me up these steps. What's up? Like,

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Speaker 2: Let's make a fucking day out of it, homie. You

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Speaker 2: think I'm that old and can't do anything, Let's make

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Speaker 2: a day out of it. You are now gonna hang

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Speaker 2: out with me. You're gonna be my personal railing.

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Speaker 1: Yes, I mean, I was like literally going back and

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Speaker 1: forth for like hours going He was just nice, right, he.

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Speaker 3: Was just trying to be nice. That's Southern gentleman. Shit.

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Speaker 1: No, no, no, he thinks I'm old and can't carry

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Speaker 1: my own garbage down the stairs. Like I was like

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Speaker 1: going back and forth, and I'm like, im either old

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Speaker 1: as shit or like, oh, we're maybe doing me a

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Speaker 1: little favor just to be a nice person.

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Speaker 2: But anyway, I'm gonna air on the side of he's

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Speaker 2: probably a total sweetheart. He's probably very nice. But here's

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Speaker 2: what has to happen. The only way to figure this out,

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Speaker 2: you just gotta talk to him, be like, where you're from,

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Speaker 2: what's your deal? What's going on? How are you? Like?

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Speaker 2: Is this your route? Is this your route? Are you

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Speaker 2: gonna be here often? If so, meet my dog? Here's

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Speaker 2: what's just be nice, just ask them some questions. You

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Speaker 2: didn't even have to be like creepy or like, you know,

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Speaker 2: like me about it. You don't even have to be

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Speaker 2: like old man at the club about it. You can

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Speaker 2: just be like your normal, lovely, awesome self. He's like,

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Speaker 2: what's your deal? Where are you from?

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Speaker 3: Yeah?

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Speaker 1: I in three months when he comes back to the house,

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Speaker 1: which is an eternity for a crush. Three months is

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Speaker 1: an eternity for a crush.

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Speaker 2: Okay, I mean you know me, I have a crush

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Speaker 2: for a week and then it's fucking Chernobyl. Put that

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Speaker 2: shit under eighteen feet of cement. Put a little dome

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Speaker 2: over it. I can't be carrying a crush out here

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Speaker 2: in these streets for more than a week.

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Speaker 3: God.

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Speaker 1: And it's like the thing that he said right before

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Speaker 1: he left, I swear to got It was like this

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Speaker 1: Douglas circ movie where he was like, well, ma'am, can

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Speaker 1: I do anything else for you before I leave?

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Speaker 3: And I'm like, oh my god.

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Speaker 1: I'm like, here goes my rock Hudson guy walking away,

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Speaker 1: and I'm just Jane Wyman in the doorway being like

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Speaker 1: my kids are trying to ruin my life.

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Speaker 3: I will never date again.

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Speaker 2: You have got to just talk to this dude, just

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Speaker 2: just for the sake of talking to a nice, attractive man.

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Speaker 3: Yes, nothing more than that.

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Speaker 2: Just like be again like your normal, vivacious, wonderful, smart,

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Speaker 2: brilliant self. Just talk to him and just be like,

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Speaker 2: all right, I can talk to attractive young men.

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Speaker 3: Yes, that's what COVID's done.

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Speaker 1: He's gonna be like the last ship that comes to

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Speaker 1: port for like ten years. I mean, that's just the

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Speaker 1: thing is that I'm like so out of practice with

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Speaker 1: talking to people, let alone cute.

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Speaker 3: Guys, that I'm like, oh god, yeah, this is a mess.

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Speaker 2: But no, I'm feeling you so hard. I am like

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Speaker 2: a babbling brook all day when I go downstairs and

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Speaker 2: my contractors are so nice, sore, the nicest guys, and

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Speaker 2: I'm just like, hey, like I just it's so obvious

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Speaker 2: that I never talk to anyone in person anymore. That

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Speaker 2: it's just it's it's hard. It's hard to hear yourself.

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Speaker 2: But that's why you practice. You gotta practice. Just talk

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Speaker 2: ask them some questions. Don't be me, be you. You're

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Speaker 2: gonna be great.

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Speaker 3: Well, thanks for the advice.

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Speaker 1: Now, don't tell anybody that I told you that I

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Speaker 1: have a crush on the book.

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Speaker 3: I okay, I won't.

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Speaker 2: Tell anybody, but you know, I'm gonna call every pest

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Speaker 2: control company in Atlanta. I'm gonna be like, do you

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Speaker 2: service this address? Listen to this episode real quick, just

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Speaker 2: real quick.

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Speaker 3: This girl has a crush on you. She us a

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Speaker 3: crash on you.

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Speaker 2: Then I'll giggle and hang up and they'll be like, ma'am,

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Speaker 2: we have caller ID on all of our phones now.

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Speaker 3: Well, I have no true segue.

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Speaker 2: No, neither we gonna tell the theme because the theme

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Speaker 2: is so funny. I think us both laugh very hard.

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Speaker 1: This came from the genius mind of Daniel Henderson. I

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Speaker 1: have to say, what is the theme?

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Speaker 2: Here's the thing. I'm just gonna say the theme. I

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Speaker 2: don't have to preface it because the theme speaks for itself. Okay,

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Speaker 2: our theme this week is don't fill up on bread. Haha.

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Speaker 3: Sage advice from someone old.

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Speaker 2: Usually usually someone at your table is just smacking your hand.

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Speaker 2: If you're in my family and you're younger, they're just

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Speaker 2: gonna smack your hand and be like, don't fill up

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Speaker 2: on bread. Like, they're not taking you out to this

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Speaker 2: restaurant to pay for you to fill up on scheddar

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Speaker 2: Bay biscuits even though that's all you want. You're like,

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Speaker 2: how often do I come to Red Lobster, Grandma? I

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Speaker 2: only come here with you once a year. Let me

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Speaker 2: eat these damn biscuits. And she's like, no, yeah, but yeah,

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Speaker 2: don't fill up on bread. Were we are focusing on

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Speaker 2: a couple of films that revolve around food in some way,

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Speaker 2: and thought that that would just be the best theme

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Speaker 2: for it.

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Speaker 3: Right.

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Speaker 1: I mean, listen, it's We're about to have an Eden holiday,

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Speaker 1: if you know what I mean. Yeah, it's gonna be

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Speaker 1: you know, filled with breads, multiple types of breads, trip

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Speaker 1: to a fan.

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Speaker 2: Uh, we got you covered with pasta. Like at the

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Speaker 2: end of each of these films, I both wanted to

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Speaker 2: travel so desperately and also wanted like a ten course meal.

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Speaker 3: Yeah, me too.

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Speaker 1: This was like, honestly the perfect pairing of films for

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Speaker 1: both the season that we're in, but also just like

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Speaker 1: you know, and I think that this is what I

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Speaker 1: love about movies that are about food, is that it

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Speaker 1: feels very cozy.

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Speaker 3: And yes, I have a lot to say about your movie.

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Speaker 1: Obviously it was a family favorite, so it brought back

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Speaker 1: all these like wonderful feelings. And people in my family

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Speaker 1: still do the Ian Holme impression.

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Speaker 3: Oh my goodness. Yes, it's a thing that we say

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Speaker 3: all the time.

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Speaker 1: But I feel like we're teaching our nephews how to

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Speaker 1: say this fucking guy.

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Speaker 3: And I feel like that's bad.

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Speaker 2: You gotta, you gotta Those kids are so adorable. If

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Speaker 2: I hear one of them say this fucking guy, I'm

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Speaker 2: squeezing them to death. That is adorable.

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Speaker 3: Yes, only teach your children cusswords if it amuses you.

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Speaker 2: Oh, completely, We're great at parenting. This is what our

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Speaker 2: listeners need to know.

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Speaker 3: It's exactly why we have no kids. Like, yeah, teach

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Speaker 3: them more, teach them more things. Yeah.

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Speaker 1: You know, both my parents come from very strong food cultures,

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Speaker 1: and so it was probably the biggest thing in our house,

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Speaker 1: for better or for worse, I must say.

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Speaker 3: But like, food has always been a big thing in

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Speaker 3: my family.

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Speaker 1: And you know, I just love that both these films

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Speaker 1: are like.

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Speaker 3: Our movies that have people coming together.

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Speaker 2: Because of food, right, absolutely, And they're both also strangely

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Speaker 2: and quite unintentionally about the relationships between like the fraud

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Speaker 2: often fraught relationships between these two men. Yes, and you know,

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Speaker 2: people who are either brothers or who are best friends.

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Speaker 2: And you know, we're seeing a lot of masculinity play

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Speaker 2: out in these films in a way that I don't

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Speaker 2: think we usually see.

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Speaker 3: One hundred percent.

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Speaker 1: Maybe we should have called this theme movies about food,

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Speaker 1: but not really, it's kind of what's going on.

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Speaker 2: Right our chef's okay, is our theme?

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Speaker 3: Well? Are you going first? I think you're going first?

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Speaker 2: Yeah, I'm going first. I'm going first. And I'm going

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Speaker 2: to jump right in because I cannot wait to talk

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Speaker 2: about this film. It was released in nineteen ninety six,

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Speaker 2: directed by Campbell Scott and Stanley Tucci, written by Stanley

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Speaker 2: Tucci and Joseph Tropiano, and the film is Big Night.

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Speaker 1: They were two brothers who came to America bearing Italy's

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Speaker 1: greatest gift to.

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Speaker 2: Beat the good food is to be close to God.

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Speaker 2: I'm never sure what that means, it's true anyway. Now,

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Speaker 2: I got to come right out of the gate and

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Speaker 2: say that there has been a Stanley Tucci renaissance as

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Speaker 2: of late. Yes, and a lot of people have come

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Speaker 2: around to the TUC as being a very hot commodity

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Speaker 2: because he's been releasing cookbooks and you know doing you know,

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Speaker 2: releasing videos. I think he has a cooking show. And

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Speaker 2: I just want to say that those of us in

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Speaker 2: the nineties were well aware of the hotness of the TUC.

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Speaker 1: I mean, come on, people, like, what do you think

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Speaker 1: we were born yesterday?

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Speaker 2: You might be new to his game, but this is

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Speaker 2: not a new game for him.

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Speaker 1: Do you remember when he was in the Levi's ad. Yes,

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Speaker 1: I do, Yes, I absolutely do.

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Speaker 2: Walk down the street with his little broad shoulders, a

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Speaker 2: little tank top.

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Speaker 1: Exactly if you knew Stanley Tucci when he had hair.

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Speaker 1: Come join us. Welcome, we were that old too. Where

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Speaker 1: along for the ride?

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Speaker 2: That is Stanley Tucci from Levi's commercial to present date. Yes,

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Speaker 2: like we're here for all of it. Hair, no hair, gray,

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Speaker 2: not gray, I'm here for it. It's so wonderful to

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Speaker 2: me that he both co wrote and co directed this film. Yes,

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Speaker 2: and he co wrote it with his cousin, Joseph Tripiano

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Speaker 2: is his cousin, and Campbell Scott, who's George. She'scott's son

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Speaker 2: and who most of you will probably know from singles.

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Speaker 2: He's co directed this film with Stanley Tucci. And it's

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Speaker 2: just such a fantastic, beautiful little movie that displays such

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Speaker 2: a range of emotions that always gets me every time

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Speaker 2: I watch it, like I tap into a different emotion.

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Speaker 2: But the one constant emotion that I tap into is

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Speaker 2: the wistfulness of the party. So I'll go into that

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Speaker 2: in a moment, but first let's talk about this incredible cast.

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Speaker 2: Tony Shalub plays Primo, who's the oldest brother and the

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Speaker 2: chef of this restaurant, this restaurant called Paradise in the

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Speaker 2: Jersey Shore that is owned by Tony Shalubus Stanley Tucci

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Speaker 2: who plays Secondo, which is hilarious that they're both named

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Speaker 2: after like meals and the Italian.

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Speaker 3: Meal landscape first and second.

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Speaker 2: We also have Mark Anthony plays Cristiano, who's like their

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Speaker 2: server and their third you know, the kind of guy

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Speaker 2: who helps him around the restaurant, does everything that they

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Speaker 2: can't do. And he has a line in this film

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Speaker 2: like he might say five words in this movie.

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Speaker 3: Look, his job is to sit around being cute as hell.

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Speaker 1: I completely forgot, I guess at the time that I

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Speaker 1: saw this, when it first came out, I didn't know

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Speaker 1: Mark Anthony was Mark Anthony. Like I just thought he

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Speaker 1: was a young guy in a movie. Yeah, he is

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Speaker 1: so freaking cute with that hair. He's just the guy

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Speaker 1: that's supposed to like hang out with the brothers, you know,

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Speaker 1: and he's probably from the neighborhood or whatever.

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Speaker 3: And I just was like, what a cutie.

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Speaker 2: Ah h, so adorable. Just a couple of words, just

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Speaker 2: truly truly there to round things out essentially, but just beautiful, beautiful, beautiful.

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Speaker 2: So they have this restaurant called Paradise. It is down

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Speaker 2: the street from another Italian restaurant called Pascals, and Pascals

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Speaker 2: is doing big business, but Paradise is not so. The

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Speaker 2: one sentence synopsis of this film for me is two brothers,

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Speaker 2: both perfectionists in their own way, struggle to throw a

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Speaker 2: party that will keep their failing restaurant afloat, while Ash

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Speaker 2: from Alien does everything he can to make that impossible.

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Speaker 3: So true. Oh my god.

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Speaker 2: So we've got this great cast. We've got this great setup.

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Speaker 2: Isabella Rossolini plays Pascal's wife. Ian Holme plays Pascal. We've

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Speaker 2: got a little cameo from a very young Liev Schreiber

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Speaker 2: in here. Minnie Driver plays Phyllis, who's Secundo's girlfriend. Alison

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Speaker 2: Janny makes an appearance. We love it, just a beautiful

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Speaker 2: appearance as a primo's paramore, like he's just so into

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Speaker 2: her and can't really find the words. Those scenes are

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Speaker 2: always so adorable to me, where he's just a little babbler,

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Speaker 2: he can't get the words out. But yeah, So the

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Speaker 2: whole premise of this film is that they are down

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Speaker 2: on their luck. It is a beautiful, well appointed restaurant

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Speaker 2: with hardly any guests, and they borrowed money from the

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Speaker 2: bank they have loans due you know, sixty bucks in

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Speaker 2: the bank left kind of situation. This movie is set

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Speaker 2: in the late fifties, so it is kind of that

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Speaker 2: point in time where part of the reason that Paradise

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Speaker 2: Restaurant is not doing so well is because they're doing

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Speaker 2: what they would call like traditional Italian food, and what's

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Speaker 2: popular in the moment is like Americanized Italian food, and

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Speaker 2: so Primo is like, I ain't doing that shit.

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Speaker 3: It's like that is swine. There's one point.

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Speaker 2: Where he's yelling about Pascal's and he says it's rape.

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Speaker 2: They're raping the cuisine. Like he is so passionate about

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Speaker 2: what he will not do to the food of his

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Speaker 2: own nation and background. So that is part of the

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Speaker 2: conflict between these two brothers is that Secundo really wants

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Speaker 2: to expand he wants to have a restaurant that caters

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Speaker 2: to the client tell and Primo is like, no, the

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Speaker 2: food should be enough. He says that again in like

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Speaker 2: another pivotal scene, like the food should be enough, but

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Speaker 2: it's not. As we can tell from the opening scene,

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Speaker 2: You've got customers who come in and they order the

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Speaker 2: risotto and their first statement is like it took too

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Speaker 2: long to make and what is this like? They don't

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Speaker 2: even know what they're looking at. She's like it says

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Speaker 2: it had seafood in it. I don't see any scallops.

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Speaker 2: So people are just not picking up what these brothers

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Speaker 2: are putting down. So there's a lot of friction between

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Speaker 2: the two of them, and the setup is basically that

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Speaker 2: Secondo he's been talking to Pascal behind Primo's back about

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Speaker 2: possibly working together, like them working for Pascal's, and Primo

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Speaker 2: has been talking to their uncle in Rome and saying, hey,

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Speaker 2: if it doesn't work out here, maybe we go back

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Speaker 2: to Rome and we do this together. So they're both

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Speaker 2: kind of again. They're trying really hard, but they're also

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Speaker 2: trying to make a second like a Plan B, and

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Speaker 2: it's just not taking off for them, so they decide.

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Speaker 2: One day, Secondo goes into Pascal's restaurant. It's fucking hoppin' Pascal,

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Speaker 2: we got to talk about it. Ian Home is playing

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Speaker 2: the most Italian guy whoever italianed, really chopping it up.

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Speaker 2: Every single time he sees Stanley Chuti's character. He goes

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Speaker 2: this fucking guy. He calls him this fucking guy. He's

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Speaker 2: a he's a butt bier, Like he's constantly biting butts.

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Speaker 2: Like his advice is, so you've got to bite your

437
00:22:16,920 --> 00:22:20,960
Speaker 2: teeth into the ass of life and drag it to you.

438
00:22:21,080 --> 00:22:24,800
Speaker 2: Like he's so over the top, and so is this restaurant.

439
00:22:24,800 --> 00:22:27,840
Speaker 2: It's like they've got flombay, they've got espresso, there's a

440
00:22:27,880 --> 00:22:31,040
Speaker 2: singer in the corner. He's got Isabella Russellini looking on

441
00:22:31,160 --> 00:22:34,280
Speaker 2: a shit. Yes, it's just like he's giving people what

442
00:22:34,320 --> 00:22:38,200
Speaker 2: they want. This whole restaurant is a party. And so

443
00:22:38,880 --> 00:22:42,119
Speaker 2: Pascal says to Secondo, Look, I'm friends with Louis Prima,

444
00:22:42,160 --> 00:22:44,880
Speaker 2: who's a very famous jazz musician. I'm gonna have him

445
00:22:44,880 --> 00:22:47,919
Speaker 2: come to your restaurant so that you can have the

446
00:22:48,119 --> 00:22:51,240
Speaker 2: clientele and the attention that you deserve. That is where

447
00:22:51,320 --> 00:22:53,920
Speaker 2: the premise of the Big Night part of Big Night

448
00:22:53,960 --> 00:22:57,760
Speaker 2: comes in, that they are going to basically have this

449
00:22:57,960 --> 00:23:02,160
Speaker 2: huge party style meal in the honor of Louis Prima,

450
00:23:02,760 --> 00:23:04,840
Speaker 2: so that they can also get a lot of attention

451
00:23:05,240 --> 00:23:09,560
Speaker 2: and get some clientele for their restaurant. So Pascal is

452
00:23:09,600 --> 00:23:13,160
Speaker 2: going to do them this favor and all hell breaks loose.

453
00:23:13,240 --> 00:23:18,280
Speaker 2: What happens next is so fucking wild. You've got all

454
00:23:18,320 --> 00:23:22,520
Speaker 2: these different little relationship things happening, Like Phyllis Mini Driver's

455
00:23:22,560 --> 00:23:26,240
Speaker 2: character is upset because you know, Secondo seems to not

456
00:23:26,280 --> 00:23:28,119
Speaker 2: really want to take it to the relationship to the

457
00:23:28,200 --> 00:23:31,880
Speaker 2: next level. But he's also having an affair with Gabriella,

458
00:23:31,960 --> 00:23:36,320
Speaker 2: who's Pascal's wife, and he's just running around and trying

459
00:23:36,400 --> 00:23:38,440
Speaker 2: to like make he's trying to grift, like he's trying

460
00:23:38,440 --> 00:23:42,679
Speaker 2: to do the thing of saving his relationship with his brother,

461
00:23:43,119 --> 00:23:45,879
Speaker 2: or protecting his relationship with his brother, saving the restaurant,

462
00:23:45,960 --> 00:23:47,800
Speaker 2: and trying to plan for the future, and he's just

463
00:23:47,840 --> 00:23:50,680
Speaker 2: nothing's quite working out for him. And these are guys

464
00:23:50,680 --> 00:23:54,440
Speaker 2: that are also very they're very like macho in their

465
00:23:54,480 --> 00:23:58,160
Speaker 2: own way, and especially the Secondo character, like he kind

466
00:23:58,200 --> 00:24:01,199
Speaker 2: of it's not that he can't be talked to, he

467
00:24:01,280 --> 00:24:03,639
Speaker 2: just doesn't like to admit that he's wrong. Because the

468
00:24:03,640 --> 00:24:06,959
Speaker 2: way that that Primo is a perfectionist about his food,

469
00:24:07,400 --> 00:24:09,840
Speaker 2: Secondo is a perfectionist about his life, and he's a

470
00:24:09,840 --> 00:24:13,160
Speaker 2: perfectionist about the front of the house stuff. So he

471
00:24:13,160 --> 00:24:16,520
Speaker 2: doesn't really take too well to this insecurity about his future,

472
00:24:16,920 --> 00:24:19,440
Speaker 2: and he's really scrambling this whole film to try to

473
00:24:19,520 --> 00:24:22,439
Speaker 2: make up for it. But they make this meal. It

474
00:24:22,560 --> 00:24:28,880
Speaker 2: is the most beautiful meal you have ever seen on screen.

475
00:24:29,760 --> 00:24:34,600
Speaker 2: And the prep and the setup of this meal is

476
00:24:34,720 --> 00:24:39,520
Speaker 2: so intensely good. But the highlight, the star of this

477
00:24:39,640 --> 00:24:44,680
Speaker 2: meal is a dish called timpano. Have you ever heard

478
00:24:44,880 --> 00:24:45,760
Speaker 2: of timpano?

479
00:24:47,160 --> 00:24:50,200
Speaker 3: Yes, although we never made it.

480
00:24:50,320 --> 00:24:52,680
Speaker 2: Okay, so it wasn't like a family dish.

481
00:24:53,160 --> 00:24:55,080
Speaker 1: Yeah, And I think I could be wrong about this,

482
00:24:55,160 --> 00:24:57,560
Speaker 1: but I feel like that's like a northern thing, and

483
00:24:57,720 --> 00:25:01,240
Speaker 1: like the southern Italians have a different cuisine a lot

484
00:25:01,280 --> 00:25:03,840
Speaker 1: of times, which is where my family's from, so I've

485
00:25:03,880 --> 00:25:04,760
Speaker 1: never had it.

486
00:25:04,760 --> 00:25:06,040
Speaker 3: It almost feels like a.

487
00:25:06,040 --> 00:25:09,159
Speaker 1: Giant thing that they bake in the middle of a

488
00:25:09,200 --> 00:25:12,640
Speaker 1: bunch of bread, or like it's like a pastry thing

489
00:25:12,760 --> 00:25:13,040
Speaker 1: or something.

490
00:25:13,080 --> 00:25:13,479
Speaker 3: I don't know.

491
00:25:13,560 --> 00:25:17,080
Speaker 1: It was like very complicated looking when they were making

492
00:25:17,119 --> 00:25:17,920
Speaker 1: it in the movie.

493
00:25:18,080 --> 00:25:19,719
Speaker 2: Oh, I'm about to tell you what it is. And

494
00:25:20,080 --> 00:25:23,840
Speaker 2: my friend Kelly Sue has made timpano before, and when

495
00:25:23,840 --> 00:25:27,240
Speaker 2: I got married, she gifted me a tympano bowl, like

496
00:25:27,280 --> 00:25:29,720
Speaker 2: one of those metal bowls that you can make tympano in.

497
00:25:29,760 --> 00:25:32,080
Speaker 2: And I haven't done it yet, but when my kitchen

498
00:25:32,160 --> 00:25:35,159
Speaker 2: is done, I'm having a fucking party and we're gonna

499
00:25:35,200 --> 00:25:39,679
Speaker 2: eat tympano. So it's essentially this beautiful dough, like this

500
00:25:39,760 --> 00:25:43,520
Speaker 2: kind of hand rolled dough that is like four cups

501
00:25:43,560 --> 00:25:46,280
Speaker 2: of flour, four eggs. It's just like huge, like a

502
00:25:46,359 --> 00:25:49,960
Speaker 2: bunch of butter olive oil. Uh, and then you layer

503
00:25:50,000 --> 00:25:53,040
Speaker 2: that in a bowl and the filling of the timpano

504
00:25:53,400 --> 00:25:56,120
Speaker 2: is an insane masterpiece. Like I don't know who thought

505
00:25:56,119 --> 00:25:59,439
Speaker 2: of this or how, but it's basically like four cups

506
00:25:59,440 --> 00:26:05,160
Speaker 2: of salami, four cups of provolo cheese, twelve hard boiled

507
00:26:05,240 --> 00:26:10,479
Speaker 2: eggs that are like shelled, four cups of small meatballs,

508
00:26:10,640 --> 00:26:15,520
Speaker 2: seven cups of rago sauce, three pounds of ZD.

509
00:26:15,760 --> 00:26:18,200
Speaker 3: And in the movie they hand roll the ZD.

510
00:26:18,640 --> 00:26:20,679
Speaker 2: And it's I love those little boares they use, like

511
00:26:20,680 --> 00:26:23,080
Speaker 2: I love any kind of little pasta board or thing

512
00:26:23,119 --> 00:26:25,160
Speaker 2: to make the shapes and the lines in it. Yeah,

513
00:26:25,200 --> 00:26:28,880
Speaker 2: three pounds of baked ZD. And then just to top

514
00:26:28,920 --> 00:26:30,359
Speaker 2: it all off and mix it all together, you've got

515
00:26:30,400 --> 00:26:33,719
Speaker 2: like a cup of pecorino romano and six large eggs.

516
00:26:34,000 --> 00:26:35,960
Speaker 2: Like it is huge.

517
00:26:36,440 --> 00:26:38,960
Speaker 3: It's a huge, huge meal.

518
00:26:39,119 --> 00:26:40,680
Speaker 2: In the movie, they make it seem like it takes

519
00:26:40,720 --> 00:26:44,439
Speaker 2: like two days to make but it sincerely takes hours.

520
00:26:43,960 --> 00:26:44,600
Speaker 3: To make.

521
00:26:46,520 --> 00:26:51,640
Speaker 1: Crazy, Like, yeah, it looks so intense and I never,

522
00:26:51,840 --> 00:26:54,480
Speaker 1: like I said, I've never heard of it, but I mean, damn,

523
00:26:54,880 --> 00:26:58,639
Speaker 1: it is a showstopper according to everything that you just said.

524
00:26:59,240 --> 00:27:01,399
Speaker 1: And in the movie, it's like the big part of

525
00:27:01,440 --> 00:27:01,879
Speaker 1: the movie.

526
00:27:02,240 --> 00:27:05,880
Speaker 2: Yeah, like the scene once they get going in the party,

527
00:27:06,200 --> 00:27:09,480
Speaker 2: the whole movie becomes about it's building towards this moment

528
00:27:09,600 --> 00:27:12,720
Speaker 2: of showcasing the food, and you see these little moments

529
00:27:12,760 --> 00:27:15,000
Speaker 2: of Primo cooking prior to that, and you're like, oh,

530
00:27:15,000 --> 00:27:17,840
Speaker 2: it looks like it looks very good in this scene.

531
00:27:17,920 --> 00:27:21,040
Speaker 2: I mean, we're starting first with la zupa, the soup,

532
00:27:21,520 --> 00:27:23,800
Speaker 2: and then you get to the PREMI at the premium

533
00:27:23,800 --> 00:27:26,800
Speaker 2: is like everyone's blown away by Pesto. That's how much

534
00:27:26,840 --> 00:27:29,159
Speaker 2: we take for granted now in terms of our food life.

535
00:27:29,359 --> 00:27:33,239
Speaker 2: Like people are like, Pesto, what. And he's explaining what

536
00:27:33,359 --> 00:27:36,239
Speaker 2: lasagna is to Ann at one point and he's like,

537
00:27:36,480 --> 00:27:39,960
Speaker 2: they have this meal called lasagna bolonnaise from this part

538
00:27:40,000 --> 00:27:42,320
Speaker 2: of Italy and you're like, oh, yeah, like things had

539
00:27:42,320 --> 00:27:45,520
Speaker 2: to be brought over here, like we didn't just always

540
00:27:45,600 --> 00:27:48,720
Speaker 2: know how to make and eat this stuff, but this

541
00:27:48,840 --> 00:27:54,160
Speaker 2: meal is just so intensely good. But the crowd is

542
00:27:54,320 --> 00:27:57,680
Speaker 2: even better. So at one point, Secondo goes to test

543
00:27:57,760 --> 00:28:00,240
Speaker 2: drive a catalog. It's like his dream car. Campbell's got

544
00:28:00,240 --> 00:28:03,919
Speaker 2: plays the Cadillac salesman and he's invited. It's like everyone

545
00:28:03,960 --> 00:28:06,720
Speaker 2: they cross paths with that day is invited to come

546
00:28:06,760 --> 00:28:11,879
Speaker 2: to this party. And they're waiting for Louis Prima for hours,

547
00:28:12,400 --> 00:28:15,320
Speaker 2: and in the meantime, everyone is just drinking. So everyone

548
00:28:15,400 --> 00:28:20,520
Speaker 2: at this party is ripshit, like they are so fucking drunk,

549
00:28:20,920 --> 00:28:24,960
Speaker 2: and they're dancing and laughing and having a good they're

550
00:28:25,000 --> 00:28:28,840
Speaker 2: playing games, they're having a good time. The atmosphere of

551
00:28:28,840 --> 00:28:33,840
Speaker 2: this party is so intensely fun. It just translates in

552
00:28:33,840 --> 00:28:36,440
Speaker 2: a way that I haven't seen on screen. I think

553
00:28:36,480 --> 00:28:38,480
Speaker 2: like two hundred Cigarettes kind of gave me that feeling

554
00:28:38,520 --> 00:28:40,840
Speaker 2: when I watched it. But there are very few movies

555
00:28:40,880 --> 00:28:43,000
Speaker 2: that show party scenes that actually make me feel like

556
00:28:43,040 --> 00:28:44,920
Speaker 2: I want to go to a party. This is definitely

557
00:28:44,960 --> 00:28:45,560
Speaker 2: one of them.

558
00:28:45,760 --> 00:28:47,160
Speaker 3: Yeah, it's so fun.

559
00:28:47,680 --> 00:28:50,080
Speaker 1: The whole era that it's set in is so cute

560
00:28:50,120 --> 00:28:53,560
Speaker 1: because it's like everybody has their cute little going out

561
00:28:53,680 --> 00:28:56,080
Speaker 1: outfits on, so they have like their dresses and all

562
00:28:56,120 --> 00:28:58,760
Speaker 1: the guys are in suits, and you know, it's like

563
00:28:59,040 --> 00:29:02,200
Speaker 1: the Rosemary Clo songs playing, and they're all just kind

564
00:29:02,200 --> 00:29:06,800
Speaker 1: of like dancing and getting drunk and it is so

565
00:29:06,800 --> 00:29:07,720
Speaker 1: so fun to watch.

566
00:29:07,760 --> 00:29:10,080
Speaker 2: Oh, they do like a conga line around the table.

567
00:29:10,320 --> 00:29:13,640
Speaker 2: And then finally Secundo's like, because everyone's like whispering like,

568
00:29:13,640 --> 00:29:15,360
Speaker 2: oh my god, premost cooking, Like it's almost like they

569
00:29:15,440 --> 00:29:18,080
Speaker 2: forgot that there was gonna be food. And then finally

570
00:29:18,120 --> 00:29:22,360
Speaker 2: Secundo's like, okay, let's see, and everyone is fucking jazz

571
00:29:22,360 --> 00:29:26,760
Speaker 2: and they sit down. They bring out like seven fucking courses.

572
00:29:27,120 --> 00:29:30,560
Speaker 2: One of them, like before the dessert is a full

573
00:29:30,640 --> 00:29:33,240
Speaker 2: ass suckling pig. Like that is how big this meal

574
00:29:33,480 --> 00:29:36,640
Speaker 2: isn't everyone? I mean, this is a meal that wrecks

575
00:29:36,800 --> 00:29:39,560
Speaker 2: people's lives. There's a woman crying because she's like, my

576
00:29:39,640 --> 00:29:42,239
Speaker 2: mother was such a terrible cook, Like this is a

577
00:29:42,400 --> 00:29:43,960
Speaker 2: life ruining meal.

578
00:29:44,520 --> 00:29:44,920
Speaker 3: Yeah.

579
00:29:45,080 --> 00:29:49,120
Speaker 1: It's totally the traditional like Italian courses where you get

580
00:29:49,360 --> 00:29:54,160
Speaker 1: pasta and then a meat dish usually, so it's like

581
00:29:54,360 --> 00:29:56,920
Speaker 1: the pasta isn't the main course. The pasta is like

582
00:29:57,360 --> 00:30:00,480
Speaker 1: an appetizer essentially, and then you you move on to

583
00:30:00,600 --> 00:30:03,320
Speaker 1: an entire meat course and then you move on to

584
00:30:03,480 --> 00:30:05,520
Speaker 1: like a vegetable course, so it's like, yeah, by the

585
00:30:05,600 --> 00:30:07,840
Speaker 1: end of it, they're all like laying across.

586
00:30:07,440 --> 00:30:12,280
Speaker 3: The table in pain from eating so much. It's amazing,

587
00:30:12,880 --> 00:30:14,400
Speaker 3: and it's like three am.

588
00:30:15,040 --> 00:30:18,680
Speaker 2: Yeah, just like they have had the best night of

589
00:30:19,040 --> 00:30:22,720
Speaker 2: their lives. But in the midst of this incredible night

590
00:30:22,760 --> 00:30:26,400
Speaker 2: that all their guests are having, Secondo and Primo were

591
00:30:26,400 --> 00:30:29,520
Speaker 2: having kind of a they're unraveling a little bit, and

592
00:30:29,720 --> 00:30:35,000
Speaker 2: Secondo is unraveling in his personal life. Once Phyllis catches

593
00:30:35,080 --> 00:30:37,800
Speaker 2: on to the fact that he's having an affair with Gabriella,

594
00:30:37,880 --> 00:30:40,200
Speaker 2: and there's this really weird but kind of cool scene

595
00:30:40,240 --> 00:30:42,560
Speaker 2: where she runs down to the shore and jumps in

596
00:30:42,600 --> 00:30:45,040
Speaker 2: the water and he chases after her, and you see

597
00:30:45,080 --> 00:30:47,480
Speaker 2: her kind of swimming at night in the ocean and

598
00:30:47,520 --> 00:30:49,320
Speaker 2: she gets out of the water and she looks like

599
00:30:49,400 --> 00:30:54,280
Speaker 2: so confident and she's in her fucking fifties underwear and

600
00:30:54,560 --> 00:30:56,480
Speaker 2: he's like trying to talk to her, and she just

601
00:30:56,560 --> 00:31:00,280
Speaker 2: turns around and says, no, I'm not here anymore. And

602
00:31:00,280 --> 00:31:05,160
Speaker 2: I'm like, that is fire. That is some fire shit

603
00:31:05,240 --> 00:31:07,640
Speaker 2: to say to someone instead of like I think we

604
00:31:07,640 --> 00:31:09,960
Speaker 2: should break up. It's like nope, I'm not here anymore.

605
00:31:10,040 --> 00:31:13,840
Speaker 2: I love it. And this beach scene then becomes more

606
00:31:13,960 --> 00:31:20,120
Speaker 2: about these two brothers as they realize that something horrible

607
00:31:20,160 --> 00:31:22,719
Speaker 2: has been afoot this whole evening and that they've essentially

608
00:31:22,840 --> 00:31:27,880
Speaker 2: been tricked, and so they end up fighting about everything,

609
00:31:28,040 --> 00:31:31,760
Speaker 2: everything that everything that has never been said between them,

610
00:31:32,280 --> 00:31:36,080
Speaker 2: and it's emotional and it's so heart wrenching, and it's

611
00:31:36,080 --> 00:31:39,000
Speaker 2: this really again, like this very interesting and cool study

612
00:31:39,120 --> 00:31:43,160
Speaker 2: of masculinity somehow, but it's also just like a fucking

613
00:31:43,240 --> 00:31:46,880
Speaker 2: great movie, like great film scene, and the waves are

614
00:31:46,880 --> 00:31:50,239
Speaker 2: crashing and they're just wailing and thrashing. It's just it's

615
00:31:50,280 --> 00:31:54,840
Speaker 2: a beautiful scene that precedes what, to me is one

616
00:31:54,840 --> 00:31:57,080
Speaker 2: of the best endings I've ever seen in a film.

617
00:31:57,280 --> 00:32:00,960
Speaker 2: And it's completely silent, the ending I will not ruin

618
00:32:01,000 --> 00:32:03,720
Speaker 2: because it's fucking beautiful and deserves to be watched with

619
00:32:03,800 --> 00:32:10,000
Speaker 2: fresh eyes. But it's just this really intensely cathartic film

620
00:32:10,560 --> 00:32:14,560
Speaker 2: that revolves around food. It involves these notions of family,

621
00:32:15,040 --> 00:32:19,320
Speaker 2: these notions of self, and just kind of the people

622
00:32:19,320 --> 00:32:21,760
Speaker 2: who are striving for the American dream and who are

623
00:32:21,840 --> 00:32:26,000
Speaker 2: very aware of meritocracy. But it's at a time in

624
00:32:26,080 --> 00:32:29,840
Speaker 2: our country's history where people still thought they could get it. Like,

625
00:32:29,960 --> 00:32:32,120
Speaker 2: you know, there's a scene with Sekando talking to Pascal

626
00:32:32,160 --> 00:32:34,080
Speaker 2: and he's like, you know, you work hard in Italy.

627
00:32:34,080 --> 00:32:35,560
Speaker 2: You don't know what's going to happen, but you work

628
00:32:35,600 --> 00:32:38,440
Speaker 2: hard here and you just move on up the ladder. Essentially,

629
00:32:38,520 --> 00:32:41,640
Speaker 2: so he's committed to moving up the ladder without realizing

630
00:32:41,680 --> 00:32:45,400
Speaker 2: that there's a lot more that needs to happen for

631
00:32:45,520 --> 00:32:48,560
Speaker 2: an immigrant, especially to be able to reach that level

632
00:32:48,880 --> 00:32:51,880
Speaker 2: of lifestyle that he wants. I absolutely love this movie.

633
00:32:51,960 --> 00:32:55,040
Speaker 2: I think that it was a Grand Jury Prize selection.

634
00:32:55,200 --> 00:32:58,080
Speaker 2: It's the Sundance Film Festival. I think Stanley Tucci one

635
00:32:58,160 --> 00:33:02,400
Speaker 2: a New York Film Critics are award for Best New Director.

636
00:33:03,280 --> 00:33:06,440
Speaker 2: There was some you know, Independent Spirit Awards for the screenplay.

637
00:33:07,000 --> 00:33:09,080
Speaker 2: It was a very well received movie. But I think

638
00:33:09,160 --> 00:33:11,320
Speaker 2: that the reason I come back to it time and

639
00:33:11,360 --> 00:33:15,680
Speaker 2: time again is just the feeling like there's such an

640
00:33:15,680 --> 00:33:21,040
Speaker 2: emotional arc in this film that I connect to every

641
00:33:21,040 --> 00:33:23,160
Speaker 2: time I watch it, and I just I love it.

642
00:33:23,880 --> 00:33:26,480
Speaker 1: Yeah, I gotta tell you, this is a huge movie

643
00:33:26,520 --> 00:33:29,080
Speaker 1: for my family. Like I remember when this movie came out,

644
00:33:29,120 --> 00:33:30,880
Speaker 1: we of course we didn't see it in the movie theater.

645
00:33:30,920 --> 00:33:34,880
Speaker 3: We saw it when I was on VHS.

646
00:33:33,680 --> 00:33:37,600
Speaker 1: And it was it really hits home, I think for

647
00:33:37,840 --> 00:33:43,240
Speaker 1: my father, because essentially my father immigrated to America with

648
00:33:43,280 --> 00:33:46,719
Speaker 1: his brother around the same time that this movie takes place,

649
00:33:47,440 --> 00:33:50,600
Speaker 1: and I think that it just really like hit a

650
00:33:50,640 --> 00:33:52,760
Speaker 1: note for him. And I remember when we saw the

651
00:33:52,800 --> 00:33:56,040
Speaker 1: movie as a family, it was just like the thing

652
00:33:56,080 --> 00:33:57,640
Speaker 1: that he was like, oh my god, I can't believe

653
00:33:57,640 --> 00:34:01,560
Speaker 1: they kind of like nailed the because I think this

654
00:34:01,640 --> 00:34:04,360
Speaker 1: movie is about immigration too, as much as it is

655
00:34:04,400 --> 00:34:08,640
Speaker 1: about you know, the relationship between the brothers in America,

656
00:34:08,680 --> 00:34:12,919
Speaker 1: but it's also about this idea of immigrants coming here

657
00:34:12,960 --> 00:34:16,960
Speaker 1: and Americanizing or not Americanizing, And that's like a big

658
00:34:17,280 --> 00:34:21,280
Speaker 1: issue amongst immigrants is when you come to America, do you,

659
00:34:21,280 --> 00:34:23,680
Speaker 1: you know, adopt all the American stuff. Do you get

660
00:34:23,719 --> 00:34:27,000
Speaker 1: into the American music and the culture, and how much

661
00:34:27,000 --> 00:34:30,000
Speaker 1: of your old culture do you leave behind for this

662
00:34:30,120 --> 00:34:34,279
Speaker 1: new culture. And I think my father, you know, has

663
00:34:34,320 --> 00:34:36,640
Speaker 1: talked about that within his own life, and it feels

664
00:34:36,680 --> 00:34:40,880
Speaker 1: like Primo is the guy that wants to stay Italian

665
00:34:41,239 --> 00:34:44,600
Speaker 1: and he's very much insistent upon like I'm going to

666
00:34:44,719 --> 00:34:47,280
Speaker 1: take what I know from Italy and bring it here

667
00:34:47,400 --> 00:34:49,319
Speaker 1: and I'm not going to change myself and I'm not

668
00:34:49,320 --> 00:34:50,280
Speaker 1: going to change anything.

669
00:34:50,320 --> 00:34:51,879
Speaker 3: It's like he wants.

670
00:34:51,640 --> 00:34:54,400
Speaker 1: To like hang out with the uncle in the barber

671
00:34:54,400 --> 00:34:57,200
Speaker 1: shop and eat his own food, and he doesn't really

672
00:34:57,239 --> 00:35:00,680
Speaker 1: want to like, you know, he doesn't want a hot

673
00:35:00,719 --> 00:35:03,440
Speaker 1: dog or like, you know, he thinks that Pascal is

674
00:35:03,480 --> 00:35:08,279
Speaker 1: like a monster because Pascal, you know, is Americanized for

675
00:35:08,320 --> 00:35:11,080
Speaker 1: the most part, and that is reflected in his restaurant, right.

676
00:35:11,200 --> 00:35:15,839
Speaker 1: But then also Sekundo's like also a little bit of

677
00:35:15,920 --> 00:35:20,280
Speaker 1: a businessman himself, and he you know, has an American

678
00:35:20,320 --> 00:35:23,960
Speaker 1: girlfriend and he wants to like get a Cadillac, and

679
00:35:24,000 --> 00:35:24,279
Speaker 1: you know.

680
00:35:24,239 --> 00:35:26,839
Speaker 2: He's just sort of like he wants full Assimilaysian, right,

681
00:35:27,000 --> 00:35:28,279
Speaker 2: like sure, and.

682
00:35:28,239 --> 00:35:31,040
Speaker 1: He wants he wants all of the like tokens of

683
00:35:31,120 --> 00:35:32,120
Speaker 1: American success.

684
00:35:32,120 --> 00:35:34,120
Speaker 3: He wants the nice car, he wants.

685
00:35:33,960 --> 00:35:37,560
Speaker 1: The beautiful American girlfriend, and he wants this successful business.

686
00:35:37,600 --> 00:35:40,160
Speaker 1: So it's this whole like thing where they kind of

687
00:35:40,280 --> 00:35:42,440
Speaker 1: butt heads about that. And I think that that was

688
00:35:42,480 --> 00:35:44,920
Speaker 1: a lot of my dad's experience too, just within his

689
00:35:44,960 --> 00:35:48,480
Speaker 1: own family that immigrated here, like you know, who wanted

690
00:35:48,520 --> 00:35:50,560
Speaker 1: to really jump in and be part of the American

691
00:35:50,560 --> 00:35:52,560
Speaker 1: culture and who was sort of not willing to do

692
00:35:52,600 --> 00:35:53,160
Speaker 1: it as much.

693
00:35:53,600 --> 00:35:55,400
Speaker 3: And that's just so interesting to me.

694
00:35:55,480 --> 00:35:58,000
Speaker 1: And also, like I gotta tell you, I think Tony

695
00:35:58,120 --> 00:35:59,839
Speaker 1: shaloube for not being in.

696
00:35:59,800 --> 00:36:00,680
Speaker 3: Its Italian guy.

697
00:36:01,120 --> 00:36:05,759
Speaker 1: Okay, did an amazing job at being an Italian guy.

698
00:36:06,239 --> 00:36:10,480
Speaker 2: I could not agree more. He is the ultimate confuser

699
00:36:10,640 --> 00:36:14,520
Speaker 2: in so many ways. How many ethnicities can and has

700
00:36:14,560 --> 00:36:17,680
Speaker 2: Tony Shalou played on screen. He's like the just your

701
00:36:17,719 --> 00:36:20,800
Speaker 2: blank slate ethnic guy.

702
00:36:21,719 --> 00:36:25,840
Speaker 1: I at times I even thought to myself, wow, he

703
00:36:25,960 --> 00:36:30,480
Speaker 1: speaks better Italian than Stanley Tucci, who is actually Italian.

704
00:36:30,960 --> 00:36:33,120
Speaker 3: Like I was like, damn, that is fucking talent.

705
00:36:33,680 --> 00:36:35,479
Speaker 2: It is true. There are some scenes in this film

706
00:36:35,480 --> 00:36:37,239
Speaker 2: that I'm like, who was the vocal coach? Like I

707
00:36:37,360 --> 00:36:41,000
Speaker 2: kept I was thinking deep about like who is involved

708
00:36:41,080 --> 00:36:44,839
Speaker 2: in this film? Because presentation was impeccablepeckable.

709
00:36:45,000 --> 00:36:48,319
Speaker 1: This brings back so many great feelings and like I said,

710
00:36:48,360 --> 00:36:50,440
Speaker 1: reminds me so much of my family, Like you know,

711
00:36:50,560 --> 00:36:52,799
Speaker 1: to this day, we go around, you know, obviously doing

712
00:36:52,800 --> 00:36:55,880
Speaker 1: the Ian Holme impression. It really like captures the spirit

713
00:36:55,960 --> 00:36:58,280
Speaker 1: of having meals with Italian people.

714
00:36:58,400 --> 00:37:02,560
Speaker 3: And yes, I really missed that as far as.

715
00:37:02,440 --> 00:37:05,120
Speaker 1: You know, I don't see my family as much as

716
00:37:05,120 --> 00:37:07,399
Speaker 1: I want to. But also like my grandparents died and

717
00:37:07,760 --> 00:37:09,879
Speaker 1: they were a big part of that. You know. It's

718
00:37:09,920 --> 00:37:12,160
Speaker 1: just a thing of like, oh, I just miss having

719
00:37:12,560 --> 00:37:15,760
Speaker 1: big meals with my family, and I just this movie

720
00:37:15,840 --> 00:37:19,440
Speaker 1: is so special. It's so perfect for the theme. I'm

721
00:37:19,480 --> 00:37:20,480
Speaker 1: so glad you picked it.

722
00:37:20,560 --> 00:37:22,960
Speaker 2: Thank you. As you were talking, I just remembered that

723
00:37:23,080 --> 00:37:26,440
Speaker 2: my my former mother in law was first generation Italian

724
00:37:27,120 --> 00:37:30,400
Speaker 2: and one year for her birthday, she had this little

725
00:37:30,440 --> 00:37:34,080
Speaker 2: recipe box with all of her mother's recipes written down

726
00:37:34,080 --> 00:37:35,600
Speaker 2: in it, and it was like, you know, kind of

727
00:37:35,640 --> 00:37:37,800
Speaker 2: the the recipes that were like, yeah, I put a

728
00:37:37,840 --> 00:37:40,040
Speaker 2: little bit of this in, Like they weren't ever like

729
00:37:40,160 --> 00:37:43,920
Speaker 2: really formalized recipes, but I took all of the recipes

730
00:37:44,280 --> 00:37:46,279
Speaker 2: and I scanned them all and I made them into

731
00:37:46,280 --> 00:37:49,080
Speaker 2: like a hardcover book for her. Oh cute, because I

732
00:37:49,080 --> 00:37:52,160
Speaker 2: thought like as time goes on, those those cards fade,

733
00:37:52,480 --> 00:37:54,279
Speaker 2: you know, like the writing becomes a and I'm like,

734
00:37:54,400 --> 00:37:57,359
Speaker 2: you will want to keep these one day, and her

735
00:37:57,520 --> 00:37:59,799
Speaker 2: face like it was I've never given a gift to

736
00:37:59,800 --> 00:38:03,160
Speaker 2: some one that visibly meant so much to them, And

737
00:38:03,239 --> 00:38:04,799
Speaker 2: she's like, no, you don't understand. Like I can give

738
00:38:04,800 --> 00:38:06,520
Speaker 2: this book to my granddaughter, I can get like it

739
00:38:06,560 --> 00:38:09,920
Speaker 2: was just really special because she is someone who, like

740
00:38:10,040 --> 00:38:12,719
Speaker 2: our relationship, we really connected a lot over food and

741
00:38:12,760 --> 00:38:14,799
Speaker 2: her teaching me how to make pasta and teaching me

742
00:38:15,320 --> 00:38:17,480
Speaker 2: about you know this the Christmas meal which is the

743
00:38:17,520 --> 00:38:20,600
Speaker 2: Seven fishes and the whole thing. Like we really connected

744
00:38:20,680 --> 00:38:22,920
Speaker 2: over food, and I just I think it's just a

745
00:38:22,960 --> 00:38:25,600
Speaker 2: general theme of my life that anyone who's constantly telling

746
00:38:25,680 --> 00:38:28,120
Speaker 2: me to eat more is my kind of people. Yeah,

747
00:38:28,120 --> 00:38:30,400
Speaker 2: and I just love that, Like in Italy and with

748
00:38:30,440 --> 00:38:33,600
Speaker 2: the Italian people in my life, that connection to family

749
00:38:33,640 --> 00:38:35,840
Speaker 2: through food is just something that I think is really

750
00:38:35,920 --> 00:38:36,600
Speaker 2: really special.

751
00:38:36,640 --> 00:38:38,120
Speaker 3: So I love that that it means so much to

752
00:38:38,160 --> 00:38:38,680
Speaker 3: your family.

753
00:38:39,200 --> 00:38:45,040
Speaker 1: Yeah, it's a good film in that way where you're like, oh,

754
00:38:45,120 --> 00:38:49,120
Speaker 1: this is like really indicative of Italian families and of

755
00:38:49,640 --> 00:38:50,960
Speaker 1: siblings and.

756
00:38:51,080 --> 00:38:54,040
Speaker 3: You know their uncle. The uncle is great.

757
00:38:54,280 --> 00:38:57,319
Speaker 1: Like I didn't read much about him, but I was like, oh,

758
00:38:57,360 --> 00:38:59,040
Speaker 1: he's such a perfect guy.

759
00:38:59,160 --> 00:39:00,440
Speaker 3: The guy that's like kind.

760
00:39:00,280 --> 00:39:02,839
Speaker 1: Of coming in and like you know, sort of being

761
00:39:02,840 --> 00:39:06,600
Speaker 1: a surrogate dad and sorting out everybody's lives and you know,

762
00:39:07,080 --> 00:39:09,080
Speaker 1: I don't know, it's it's such a great movie.

763
00:39:09,080 --> 00:39:10,200
Speaker 3: I'm so glad you picked it.

764
00:39:15,719 --> 00:39:17,360
Speaker 2: Well, what about your film?

765
00:39:18,040 --> 00:39:21,080
Speaker 1: Well, we know what's interesting about my film too, is

766
00:39:21,120 --> 00:39:25,560
Speaker 1: that this is also a movie about art versus business

767
00:39:25,680 --> 00:39:30,759
Speaker 1: in a lot of ways. Yeah, so there's always other

768
00:39:30,880 --> 00:39:33,680
Speaker 1: inroads that we find out as we're watching the films.

769
00:39:33,719 --> 00:39:35,719
Speaker 3: But I'm excited to talk about this one.

770
00:39:36,320 --> 00:39:41,800
Speaker 1: My movie for the theme, Don't Fill Up on Bread

771
00:39:43,040 --> 00:39:44,439
Speaker 1: is a movie from twenty ten.

772
00:39:45,160 --> 00:39:48,680
Speaker 3: It was directed by Michael Winterbottom and it's called The Trip.

773
00:39:49,160 --> 00:39:52,080
Speaker 4: You're not doing it the way he speaks, You're not

774
00:39:52,200 --> 00:39:54,920
Speaker 4: doing it with the kind of you don't do the

775
00:39:54,960 --> 00:39:55,640
Speaker 4: broken voice.

776
00:39:55,840 --> 00:39:57,000
Speaker 2: But he gets very emotional.

777
00:39:57,480 --> 00:39:59,919
Speaker 4: But he gets very emotional. Indeed, she was only six

778
00:40:00,080 --> 00:40:03,120
Speaker 4: day in Gezel, she was only six that you're only

779
00:40:03,160 --> 00:40:05,080
Speaker 4: supposed to the Bloody Doza.

780
00:40:05,480 --> 00:40:05,840
Speaker 3: Okay.

781
00:40:05,920 --> 00:40:11,320
Speaker 1: Besides Danielle, I suspect we have some UK comedy fans

782
00:40:11,440 --> 00:40:13,360
Speaker 1: amongst our listenership.

783
00:40:12,960 --> 00:40:15,279
Speaker 2: Yes, and some people from the actual UK who listen

784
00:40:15,320 --> 00:40:17,080
Speaker 2: to our show exactly.

785
00:40:17,280 --> 00:40:18,880
Speaker 3: So, I mean this is a big part of the

786
00:40:18,880 --> 00:40:19,839
Speaker 3: reason why I pick this.

787
00:40:20,040 --> 00:40:23,319
Speaker 1: Now, maybe some of you are thinking, Okay, wasn't this

788
00:40:23,400 --> 00:40:24,360
Speaker 1: a TV series?

789
00:40:24,600 --> 00:40:26,400
Speaker 3: And yes it was.

790
00:40:26,880 --> 00:40:32,920
Speaker 1: However, it was also edited into and released as a film,

791
00:40:33,320 --> 00:40:36,200
Speaker 1: and it had a film festival premiere and everything, so

792
00:40:36,360 --> 00:40:41,560
Speaker 1: it counts. Okay, don't get into my dms about this.

793
00:40:42,080 --> 00:40:46,560
Speaker 1: And there's also been three additional series after this, which

794
00:40:46,600 --> 00:40:50,040
Speaker 1: is The Trip to Italy, The Trip to Spain, and

795
00:40:50,120 --> 00:40:53,319
Speaker 1: The Trip to Greece. Yes, and I think that they

796
00:40:53,440 --> 00:40:55,600
Speaker 1: were also released as films.

797
00:40:55,280 --> 00:40:58,080
Speaker 2: Right, m hmm. They were all released as films. They

798
00:40:58,120 --> 00:41:00,840
Speaker 2: were like six episode series that were cut together to

799
00:41:00,880 --> 00:41:02,520
Speaker 2: be these beautiful films.

800
00:41:02,320 --> 00:41:06,279
Speaker 1: So it counts. Don't get crazy, people, So I'm sure

801
00:41:06,320 --> 00:41:09,000
Speaker 1: I don't have to say much about Steve Coogan and

802
00:41:09,120 --> 00:41:09,800
Speaker 1: Rob Ryden.

803
00:41:10,440 --> 00:41:11,920
Speaker 3: They're the stars of the Trip.

804
00:41:12,000 --> 00:41:14,960
Speaker 1: I mean, they're performers and comics and have worked together

805
00:41:15,040 --> 00:41:19,400
Speaker 1: many times. Everybody, I'm sure watch Tristan Shandy, right, we

806
00:41:19,480 --> 00:41:20,080
Speaker 1: all know this.

807
00:41:20,800 --> 00:41:21,000
Speaker 2: You know.

808
00:41:21,040 --> 00:41:24,319
Speaker 1: Steve Coogan has been in a ton of movies and

809
00:41:24,640 --> 00:41:28,759
Speaker 1: he's probably best known as Alan Partridge, which is the

810
00:41:28,880 --> 00:41:31,640
Speaker 1: character that he co created with Armando Yanucci.

811
00:41:32,400 --> 00:41:34,800
Speaker 3: And Rob Ryden is a Welsh comic.

812
00:41:35,040 --> 00:41:38,240
Speaker 1: He was in Gavin and Stacy, which was a much

813
00:41:38,320 --> 00:41:39,560
Speaker 1: beloved sitcom.

814
00:41:40,040 --> 00:41:41,759
Speaker 3: He hosts a lot of TV shows on the.

815
00:41:41,719 --> 00:41:44,680
Speaker 2: BBC, including Would I Lie to You, which is a

816
00:41:44,719 --> 00:41:46,040
Speaker 2: fucking great show.

817
00:41:46,600 --> 00:41:49,520
Speaker 1: And aren't they remaking that in America?

818
00:41:49,680 --> 00:41:53,719
Speaker 3: Or have they shut your mouth? I think they now.

819
00:41:54,560 --> 00:41:57,520
Speaker 2: I will not hear it. I will not hear it.

820
00:41:57,600 --> 00:42:01,000
Speaker 2: I will block it out. Every attempt to remake something

821
00:42:01,040 --> 00:42:04,960
Speaker 2: British on American TV is a spectacular failure and I

822
00:42:05,000 --> 00:42:06,560
Speaker 2: wish we would cut the shit.

823
00:42:06,920 --> 00:42:09,800
Speaker 1: Yes, I swear to God it's gonna be remade, and

824
00:42:09,840 --> 00:42:11,879
Speaker 1: I feel like it's gonna be on like the CW

825
00:42:12,040 --> 00:42:12,879
Speaker 1: or something like that.

826
00:42:13,600 --> 00:42:17,200
Speaker 3: Jesus Christ, Yes, would I lie to you to be

827
00:42:17,320 --> 00:42:19,480
Speaker 3: remade in America? Yes?

828
00:42:19,719 --> 00:42:22,799
Speaker 1: This was from March twenty twenty one. They're gonna remake it.

829
00:42:23,120 --> 00:42:25,080
Speaker 2: My heart is breaking. I can't hear this.

830
00:42:25,520 --> 00:42:28,600
Speaker 1: Yes, listen, we all know at this point that the

831
00:42:28,640 --> 00:42:31,359
Speaker 1: Brits have the best TV shows in the world, and

832
00:42:31,400 --> 00:42:33,479
Speaker 1: then they get made in America and they're worse.

833
00:42:33,960 --> 00:42:37,319
Speaker 2: So true pieces of shit. True, Like I don't even

834
00:42:37,400 --> 00:42:40,239
Speaker 2: know how. I'm like, when I watched the remakes, I'm like,

835
00:42:40,719 --> 00:42:42,480
Speaker 2: I didn't know you could make that move to make

836
00:42:42,520 --> 00:42:45,000
Speaker 2: this show so much worse. It was a perfect It

837
00:42:45,040 --> 00:42:46,880
Speaker 2: was handed to you on a golden platter. And then

838
00:42:46,920 --> 00:42:49,480
Speaker 2: we're like, how about we just take a big steaming

839
00:42:49,560 --> 00:42:50,960
Speaker 2: dump on it and do that instead.

840
00:42:51,400 --> 00:42:53,399
Speaker 3: Yeah, listen, I'm gonna say this.

841
00:42:53,760 --> 00:42:58,400
Speaker 1: I watched all of the UK Office, watch very little

842
00:42:58,400 --> 00:43:03,480
Speaker 1: of the US Office to this day, and maybe I'm

843
00:43:03,520 --> 00:43:05,919
Speaker 1: so bitter about it. I'm just gonna I'm gonna that's

844
00:43:06,040 --> 00:43:08,920
Speaker 1: just the hill that I'm gonna die on. I'm that

845
00:43:09,160 --> 00:43:12,920
Speaker 1: asshole that likes the UK Office better than the US.

846
00:43:12,960 --> 00:43:14,640
Speaker 3: I'm sorry, I just am.

847
00:43:14,760 --> 00:43:16,879
Speaker 2: I don't think you have to apologize. I don't think

848
00:43:16,920 --> 00:43:19,800
Speaker 2: you have to apologize. I will say this and lose

849
00:43:20,560 --> 00:43:24,520
Speaker 2: nine thousand friends at once. The US Office is some

850
00:43:24,760 --> 00:43:32,760
Speaker 2: basic bitch shit and you can come in my DMS

851
00:43:33,160 --> 00:43:35,000
Speaker 2: and we can fight about it for a week straight.

852
00:43:35,280 --> 00:43:36,640
Speaker 2: I said it, and I meant it.

853
00:43:37,560 --> 00:43:40,920
Speaker 1: We're keeping this in because I tend to believe the

854
00:43:40,960 --> 00:43:45,000
Speaker 1: same thing. Okay, Like liking the UK Office better than

855
00:43:45,040 --> 00:43:48,000
Speaker 1: the US is my personality trait.

856
00:43:48,239 --> 00:43:49,240
Speaker 3: Okay, I'm just saying.

857
00:43:50,400 --> 00:43:53,480
Speaker 2: I'm gonna insist that people catch up on the UK

858
00:43:54,120 --> 00:43:57,000
Speaker 2: the original. Would I lie to you on YouTube or

859
00:43:57,040 --> 00:44:00,920
Speaker 2: some other way to watch it before they in the US,

860
00:44:01,040 --> 00:44:05,920
Speaker 2: And any episode with Guz Khan, James Acaster, Greg Davies

861
00:44:06,640 --> 00:44:10,080
Speaker 2: or Bob Mortimer are the ones you want to start with.

862
00:44:10,200 --> 00:44:13,000
Speaker 1: Bob Mortimer, love Bob Mortimer. Oh my god, we could

863
00:44:13,000 --> 00:44:15,520
Speaker 1: go down this hole for hours. Fuck it, this could

864
00:44:15,560 --> 00:44:19,840
Speaker 1: be a separate episode, which is what I This is

865
00:44:19,840 --> 00:44:22,279
Speaker 1: what I feared when I when I was like, let's

866
00:44:22,320 --> 00:44:23,759
Speaker 1: do the Trip, because I was like, we can sit

867
00:44:23,760 --> 00:44:26,239
Speaker 1: here and talk about UK comedy, like all fucking day.

868
00:44:26,360 --> 00:44:27,960
Speaker 2: We'll do a bonus et, We'll do a bonus at

869
00:44:28,000 --> 00:44:28,520
Speaker 2: We're gonna do.

870
00:44:28,520 --> 00:44:29,520
Speaker 3: A bonus set for sure.

871
00:44:29,960 --> 00:44:34,080
Speaker 1: But look, in the Trip, essentially it was Steve Coogan

872
00:44:34,120 --> 00:44:37,560
Speaker 1: and Rob Brighten essentially doing these like exaggerated versions of

873
00:44:37,600 --> 00:44:42,120
Speaker 1: themselves and it's this kind of improvised thing. And the

874
00:44:42,160 --> 00:44:44,720
Speaker 1: TV series is great. There's a lot of stuff obviously

875
00:44:44,800 --> 00:44:46,760
Speaker 1: in the series that didn't make it into the movie.

876
00:44:46,800 --> 00:44:48,800
Speaker 1: But for the purposes of this podcast, we're going to

877
00:44:48,840 --> 00:44:52,160
Speaker 1: talk about the movie. Okay, don't get into my dms.

878
00:44:52,800 --> 00:44:57,760
Speaker 1: So one sentenced synopsis of The Trip is this two

879
00:44:58,000 --> 00:45:03,600
Speaker 1: professional comedians slash front of mees, travel the north of England,

880
00:45:04,280 --> 00:45:09,319
Speaker 1: eat it fine, dieting establishments, drive each other insane with

881
00:45:09,520 --> 00:45:14,160
Speaker 1: NonStop impressions of famous actors and mail insecurity and honestly,

882
00:45:14,239 --> 00:45:15,840
Speaker 1: maybe we really should have called.

883
00:45:15,640 --> 00:45:17,480
Speaker 3: This theme movies about food, But not really.

884
00:45:20,719 --> 00:45:24,839
Speaker 1: So the setup of the trip is that Steve, you know,

885
00:45:25,239 --> 00:45:29,600
Speaker 1: just gets this writing assignment from the Observer to go

886
00:45:29,640 --> 00:45:33,320
Speaker 1: on this like fancy restauranteur of northern England for a week, okay,

887
00:45:33,640 --> 00:45:37,280
Speaker 1: and initially who was supposed to bring his girlfriend Misha,

888
00:45:37,360 --> 00:45:40,680
Speaker 1: but it's revealed that they're kind of on shaky ground

889
00:45:40,719 --> 00:45:43,440
Speaker 1: and are maybe taking a break, so instead he calls

890
00:45:43,520 --> 00:45:47,320
Speaker 1: up his colleague Rob, And like I said, Steve and

891
00:45:47,440 --> 00:45:52,160
Speaker 1: Rob are essentially the actual guys, but just exaggerated, right.

892
00:45:52,360 --> 00:45:55,879
Speaker 1: So in the Trips, Steve is kind of the more

893
00:45:55,920 --> 00:45:59,880
Speaker 1: successful of the two, like career wise, but he's.

894
00:45:59,719 --> 00:46:03,640
Speaker 3: Also unhappier, right, Yes, besides.

895
00:46:03,280 --> 00:46:05,160
Speaker 1: The fact that he's on a break with his girlfriend,

896
00:46:05,960 --> 00:46:08,480
Speaker 1: he just is kind of constantly bummed about.

897
00:46:08,239 --> 00:46:10,960
Speaker 3: It the way his career's going. He thinks of himself

898
00:46:11,000 --> 00:46:14,359
Speaker 3: as an artist, I think, and he wants to work

899
00:46:14,400 --> 00:46:17,919
Speaker 3: with auteurs. He keeps saying the word auteurs.

900
00:46:17,360 --> 00:46:20,520
Speaker 1: Which cracks me the fuck up, Like he wants to

901
00:46:20,560 --> 00:46:22,960
Speaker 1: be in these like art house movies made by like

902
00:46:23,080 --> 00:46:25,360
Speaker 1: Paul Thomas Anderson and the Coen Brothers and shit, like

903
00:46:25,400 --> 00:46:30,520
Speaker 1: he's just so obsessed with being like an artist whatever.

904
00:46:31,239 --> 00:46:33,200
Speaker 3: And he's always Like.

905
00:46:33,200 --> 00:46:35,280
Speaker 1: Throughout the entire movie, he's just like on the phone

906
00:46:35,280 --> 00:46:39,160
Speaker 1: with his staff and his American agent, and he's just

907
00:46:39,200 --> 00:46:42,160
Speaker 1: like trying to get these jobs, and there is like

908
00:46:42,200 --> 00:46:44,840
Speaker 1: a possibility that he might get this series in America,

909
00:46:44,920 --> 00:46:47,520
Speaker 1: which would require him to maybe stay in America for

910
00:46:47,600 --> 00:46:52,200
Speaker 1: seven years. But as a person, Steve is kind of

911
00:46:52,320 --> 00:46:55,680
Speaker 1: like not grown up very much. Like he's still having

912
00:46:55,719 --> 00:47:00,120
Speaker 1: one night stands. He's like dating models, smoking pot, and

913
00:47:00,160 --> 00:47:03,800
Speaker 1: he's just kind of like generally uneasy with this idea

914
00:47:03,840 --> 00:47:06,160
Speaker 1: that he's like forty three years old and he's not

915
00:47:06,280 --> 00:47:08,680
Speaker 1: this like young cool guy anymore.

916
00:47:08,800 --> 00:47:09,680
Speaker 2: Right. Yeah.

917
00:47:10,000 --> 00:47:12,719
Speaker 1: But Rob, on the other hand, I think he's sort

918
00:47:12,760 --> 00:47:17,680
Speaker 1: of seen as this like corny TV guy, like he's

919
00:47:17,719 --> 00:47:21,719
Speaker 1: not an artist at all, and he's totally content with that.

920
00:47:21,960 --> 00:47:25,040
Speaker 1: Like he's just like, listen, I'm just gonna keep doing

921
00:47:25,080 --> 00:47:29,240
Speaker 1: the same impressions that made me famous over and over again.

922
00:47:29,680 --> 00:47:32,680
Speaker 1: I'm the guy that your grandparents know from the television,

923
00:47:32,760 --> 00:47:34,239
Speaker 1: and I'm totally chill with that.

924
00:47:34,520 --> 00:47:37,120
Speaker 2: He's like, I will do a cornflakes commercial, no problem.

925
00:47:37,600 --> 00:47:40,960
Speaker 1: Yes, He's like, I'm just gonna keep doing Hugh Grant

926
00:47:41,080 --> 00:47:43,399
Speaker 1: until until I can no longer make a buck.

927
00:47:43,440 --> 00:47:48,000
Speaker 2: From it and Rodny Corpy, yes, which is like the

928
00:47:48,040 --> 00:47:51,560
Speaker 2: most random fucking impression to do in the Year of

929
00:47:51,600 --> 00:47:52,960
Speaker 2: Our Lord twenty twenty one.

930
00:47:53,600 --> 00:47:54,239
Speaker 3: Yeah.

931
00:47:54,440 --> 00:47:58,359
Speaker 1: But here's the thing about Rob. He's got a very

932
00:47:58,440 --> 00:48:01,879
Speaker 1: stable home life. He's got this great wife, and he's

933
00:48:01,920 --> 00:48:05,439
Speaker 1: got a new baby, and in general I think he's

934
00:48:05,480 --> 00:48:09,080
Speaker 1: sort of much more settled into himself.

935
00:48:08,800 --> 00:48:10,120
Speaker 3: Yes than Steve is.

936
00:48:10,320 --> 00:48:14,640
Speaker 2: Right, Absolutely, Steve is very insecure, oh, completely insecure, and

937
00:48:14,719 --> 00:48:17,520
Speaker 2: really puts that on display. This character of Steve Kogan,

938
00:48:17,520 --> 00:48:20,799
Speaker 2: i should say, like, really puts that on display that

939
00:48:21,080 --> 00:48:23,160
Speaker 2: he doesn't hide it and he kind of can't hide

940
00:48:23,200 --> 00:48:27,360
Speaker 2: it that he's resentful of Rob in so many ways,

941
00:48:27,400 --> 00:48:30,719
Speaker 2: but also would not trade his career with Rob's for

942
00:48:30,760 --> 00:48:31,200
Speaker 2: a second.

943
00:48:31,239 --> 00:48:33,760
Speaker 3: It's a real point of friction for him.

944
00:48:34,000 --> 00:48:37,080
Speaker 1: Yeah, And that's the crux of their relationship in the Trip.

945
00:48:37,120 --> 00:48:39,600
Speaker 1: And it's kind of like in your movie where you

946
00:48:39,680 --> 00:48:42,799
Speaker 1: got like the guy that just wants to stay authentic

947
00:48:42,960 --> 00:48:45,200
Speaker 1: and wants to be the artist, and then there's the

948
00:48:45,280 --> 00:48:48,120
Speaker 1: business man, right, the other guy that's like, well, I'm

949
00:48:48,120 --> 00:48:52,719
Speaker 1: cool with selling out because ultimately, who gives a shit.

950
00:48:52,880 --> 00:48:55,839
Speaker 1: But look, I've never been to England. I'm just gonna

951
00:48:55,840 --> 00:48:59,439
Speaker 1: admit that right now it's very sad. I very much

952
00:48:59,480 --> 00:49:02,520
Speaker 1: want to hopefully very soon. Oh we're we have to go,

953
00:49:02,680 --> 00:49:03,400
Speaker 1: we have to go.

954
00:49:03,560 --> 00:49:06,320
Speaker 3: But it's a big reason why I love the trip.

955
00:49:06,360 --> 00:49:08,879
Speaker 1: I mean, it's just that the places that they're going

956
00:49:08,920 --> 00:49:13,120
Speaker 1: to in this movie, and just like the Northern England,

957
00:49:13,480 --> 00:49:17,960
Speaker 1: the landscape is so beautiful and pastoral and quaint, and

958
00:49:18,480 --> 00:49:23,040
Speaker 1: you know, they're driving around these like very scenic, beautiful places,

959
00:49:23,080 --> 00:49:26,960
Speaker 1: and they're stopping each night to eat at these incredible

960
00:49:27,080 --> 00:49:30,359
Speaker 1: restaurants and staying at these like very cozy like bed

961
00:49:30,360 --> 00:49:35,120
Speaker 1: and breakfast type places, and they're you know, going out

962
00:49:35,200 --> 00:49:38,480
Speaker 1: during the day and they're puffer jackets and they're taking walks,

963
00:49:38,560 --> 00:49:40,839
Speaker 1: you know, on the moors and stuff. I mean, it's

964
00:49:40,880 --> 00:49:45,839
Speaker 1: just like, right now, in this like season that we're in,

965
00:49:45,920 --> 00:49:49,880
Speaker 1: it's perfect to watch. It's like this seasonally appropriate setting,

966
00:49:50,239 --> 00:49:51,000
Speaker 1: right It's just a.

967
00:49:50,960 --> 00:49:57,000
Speaker 2: Crisp and beautiful movie for for all of its rainy moodiness,

968
00:49:57,080 --> 00:50:00,279
Speaker 2: it just fits in to this winter landscape work we're

969
00:50:00,280 --> 00:50:02,560
Speaker 2: embarking on, especially now that we're back on the East Coast.

970
00:50:03,000 --> 00:50:04,320
Speaker 3: Yeah, yeah, exactly.

971
00:50:04,840 --> 00:50:08,640
Speaker 1: And listen, So they're driving through these beautiful places and

972
00:50:09,000 --> 00:50:14,759
Speaker 1: also driving each other fucking nuts for different reasons. Right,

973
00:50:15,360 --> 00:50:19,480
Speaker 1: Rob is basically doing NonStop impressions of famous actors the

974
00:50:19,600 --> 00:50:21,839
Speaker 1: entire time, which drives Steve insane.

975
00:50:22,280 --> 00:50:24,520
Speaker 2: But then he tries to join in and he can.

976
00:50:24,760 --> 00:50:26,880
Speaker 2: He can totally do it too. This is what is

977
00:50:26,960 --> 00:50:30,920
Speaker 2: hilarious about their interactions, Like, yeah, Steve can do impressions

978
00:50:30,960 --> 00:50:33,240
Speaker 2: as well. He just thinks it's a lower art form.

979
00:50:33,680 --> 00:50:37,480
Speaker 3: Sure, exactly, that's that's exactly right. But at the same time,

980
00:50:38,080 --> 00:50:39,440
Speaker 3: Steve is self.

981
00:50:39,200 --> 00:50:42,400
Speaker 1: Obsessed at a little immature and obviously insecure, and I

982
00:50:42,400 --> 00:50:44,400
Speaker 1: think that drives Rob a little insane.

983
00:50:44,120 --> 00:50:45,440
Speaker 3: Like he can kind of pick up on that.

984
00:50:45,920 --> 00:50:47,560
Speaker 1: Yes, you know, he picks up on the fact that

985
00:50:47,600 --> 00:50:49,319
Speaker 1: he picks him up in a range Rover and he's like,

986
00:50:49,320 --> 00:50:51,200
Speaker 1: what why do you drive a range Rover, dude? Like

987
00:50:51,360 --> 00:50:54,560
Speaker 1: you know, and uh, Steve makes them like bullshit, excuse

988
00:50:54,640 --> 00:50:56,600
Speaker 1: you know, like the bullshit like I have a fancy

989
00:50:56,600 --> 00:50:59,880
Speaker 1: car and I can't like justify it, but I'll try

990
00:51:00,200 --> 00:51:00,680
Speaker 1: type of thing.

991
00:51:01,000 --> 00:51:03,440
Speaker 2: I Also, I love when they're sitting down to their

992
00:51:03,480 --> 00:51:06,319
Speaker 2: first meal and Steve is like, you know, I'm from

993
00:51:06,320 --> 00:51:08,600
Speaker 2: the North and Rob's like you're from Manchester, Like we're

994
00:51:08,600 --> 00:51:11,759
Speaker 2: not in Manchester. It's like he's like, oh, yeah, I

995
00:51:11,760 --> 00:51:14,120
Speaker 2: could show my girlfriend around. You know, I booked this

996
00:51:14,120 --> 00:51:15,920
Speaker 2: this trip so I could show my girlfriend around the

997
00:51:15,920 --> 00:51:18,239
Speaker 2: North and Rob says, yeah, you could take her around

998
00:51:18,320 --> 00:51:20,319
Speaker 2: and show her the gun crime sites. Like he's just

999
00:51:20,400 --> 00:51:23,680
Speaker 2: constantly trying to like bring Steve down a level to

1000
00:51:23,800 --> 00:51:26,680
Speaker 2: like recognize where he is actually from and who he

1001
00:51:26,760 --> 00:51:27,360
Speaker 2: actually is.

1002
00:51:27,960 --> 00:51:30,919
Speaker 1: Yeah, but this is ultimately the thing, like they're back

1003
00:51:30,920 --> 00:51:34,600
Speaker 1: and forth, which again I said, is mostly improvised. I mean,

1004
00:51:34,640 --> 00:51:36,800
Speaker 1: this is the reason why we come to these series

1005
00:51:36,840 --> 00:51:38,200
Speaker 1: and movies time and time again.

1006
00:51:38,280 --> 00:51:43,759
Speaker 3: I mean, just this idea that they figure out the

1007
00:51:43,960 --> 00:51:45,239
Speaker 3: nuance of.

1008
00:51:45,320 --> 00:51:48,080
Speaker 1: The characters or actors that they're doing impressions of is

1009
00:51:48,160 --> 00:51:51,080
Speaker 1: so fucking funny to me. Like, I think everybody at

1010
00:51:51,120 --> 00:51:54,120
Speaker 1: this point knows the famous scene where they're fighting over

1011
00:51:54,200 --> 00:51:56,400
Speaker 1: who does the better Michael Caine impression.

1012
00:51:56,880 --> 00:51:59,799
Speaker 3: Right, Yes, that's online. I think I.

1013
00:51:59,719 --> 00:52:04,360
Speaker 1: Watch every year. It's like a tradition, if not multiple

1014
00:52:04,360 --> 00:52:07,040
Speaker 1: times a year, and they do it. They do these

1015
00:52:07,080 --> 00:52:10,680
Speaker 1: Michael Canaan impressions as he's aging, so they do it

1016
00:52:10,800 --> 00:52:13,200
Speaker 1: the young guy and then they move it into.

1017
00:52:12,960 --> 00:52:15,440
Speaker 3: The old and it's so brilliant, it's so good.

1018
00:52:17,160 --> 00:52:20,120
Speaker 1: And then the James Bond shit, Like when they do

1019
00:52:20,160 --> 00:52:22,480
Speaker 1: the James Bond impressions, it's so funny.

1020
00:52:22,880 --> 00:52:25,120
Speaker 2: Also, Rob, Rob is the kind of guy who will

1021
00:52:25,160 --> 00:52:28,279
Speaker 2: do impressions for himself, So like when Steve has not

1022
00:52:28,320 --> 00:52:30,400
Speaker 2: even around, like he's going to book a room or

1023
00:52:30,440 --> 00:52:33,480
Speaker 2: look at the suite, and Rob's just still doing the

1024
00:52:33,520 --> 00:52:36,040
Speaker 2: impressions by himself. It's fucking hilarious.

1025
00:52:36,239 --> 00:52:39,000
Speaker 1: Yeah, and he does the impressions to his wife, you know,

1026
00:52:39,080 --> 00:52:41,759
Speaker 1: like as they're like having phone sex and shit, and

1027
00:52:41,760 --> 00:52:43,960
Speaker 1: it's just like you can just tell this is his

1028
00:52:44,080 --> 00:52:46,319
Speaker 1: calling and he does it twenty four hours a day.

1029
00:52:46,920 --> 00:52:49,839
Speaker 1: But you know, listen, they're driving around doing impressions. They're

1030
00:52:49,880 --> 00:52:52,840
Speaker 1: trying to one up each other, but there are moments

1031
00:52:52,920 --> 00:52:56,400
Speaker 1: where they do seem to enjoy each other's company, like

1032
00:52:56,440 --> 00:52:59,960
Speaker 1: and that is like ultimately heartwarming, Like when they're singing Yes,

1033
00:53:00,520 --> 00:53:03,279
Speaker 1: Wuthering hyats and the Winner takes.

1034
00:53:03,040 --> 00:53:07,440
Speaker 2: It all, Like, oh, when they sing Winter takes it All.

1035
00:53:07,480 --> 00:53:11,960
Speaker 2: It's so heartbreaking for so many it's also hilarious. It's

1036
00:53:11,960 --> 00:53:15,799
Speaker 2: just such a weird emotional beat of the film. But

1037
00:53:16,320 --> 00:53:19,480
Speaker 2: because you're watching these guys try to do something which

1038
00:53:19,520 --> 00:53:21,600
Speaker 2: is very rare to see on film or TV, which

1039
00:53:21,640 --> 00:53:24,759
Speaker 2: is they're being very honest about how uncomfortable they are

1040
00:53:24,760 --> 00:53:27,799
Speaker 2: with aging. Yes, and you know they're they're looking at

1041
00:53:27,840 --> 00:53:30,240
Speaker 2: these beats and these songs and these kind of cultural

1042
00:53:30,280 --> 00:53:32,839
Speaker 2: markers of who they were as young men to kind

1043
00:53:32,920 --> 00:53:37,279
Speaker 2: of inform who they are becoming as older men. And

1044
00:53:37,560 --> 00:53:39,240
Speaker 2: you know, they're doing it in a way that feels

1045
00:53:39,480 --> 00:53:42,319
Speaker 2: boyish in some ways, like they're still able to tap

1046
00:53:42,360 --> 00:53:45,799
Speaker 2: into that, but they have so much responsibility and so much,

1047
00:53:45,920 --> 00:53:48,200
Speaker 2: you know, so much intensity going on in their lives

1048
00:53:49,000 --> 00:53:51,640
Speaker 2: that this is definitely a break. It's a trip, it's

1049
00:53:51,640 --> 00:53:54,319
Speaker 2: a job, but it's a break and you know it's

1050
00:53:54,400 --> 00:53:57,520
Speaker 2: kind of a light holiday for them even though they're

1051
00:53:57,560 --> 00:54:01,359
Speaker 2: working where they're really working through some together. And I

1052
00:54:01,400 --> 00:54:03,480
Speaker 2: love it. I absolutely love it. I think there's a

1053
00:54:03,480 --> 00:54:05,000
Speaker 2: scene in one of the one of the car scenes

1054
00:54:05,000 --> 00:54:07,279
Speaker 2: after like the second or third meal, where they they

1055
00:54:07,360 --> 00:54:10,840
Speaker 2: kind of are finding the beat of Steve Coogan says like,

1056
00:54:10,880 --> 00:54:12,960
Speaker 2: why do why do people always leave at daybreak? And

1057
00:54:12,960 --> 00:54:16,440
Speaker 2: they're like, we leave it dawn, like we ride at

1058
00:54:16,520 --> 00:54:18,799
Speaker 2: daybreak eight thirty for nine ish, or like like they're

1059
00:54:18,840 --> 00:54:19,600
Speaker 2: kind of going on there.

1060
00:54:19,680 --> 00:54:22,279
Speaker 1: Yeah, yeah, No, that's my favorite part the Gentleman to

1061
00:54:22,360 --> 00:54:28,319
Speaker 1: bed when they slip into that Billy Condolly impression. I A,

1062
00:54:28,840 --> 00:54:31,239
Speaker 1: I was on the floor, Like I've seen this like

1063
00:54:31,320 --> 00:54:34,080
Speaker 1: multiple times, but like when I saw it again recently,

1064
00:54:34,120 --> 00:54:36,960
Speaker 1: I was like that Billy Connolly thing where Steve Coogan

1065
00:54:37,080 --> 00:54:40,440
Speaker 1: like does the thing where he does like his face

1066
00:54:40,840 --> 00:54:43,600
Speaker 1: almost and I'm like so perfect.

1067
00:54:43,840 --> 00:54:48,279
Speaker 2: Oh it's beautiful. And the food, the food is oh god, yeah,

1068
00:54:48,320 --> 00:54:50,360
Speaker 2: just watching them stop at all these restaurants in the

1069
00:54:50,440 --> 00:54:51,960
Speaker 2: Lake District Jesus right.

1070
00:54:52,040 --> 00:54:53,840
Speaker 1: Well, And that's the thing is that, like the food

1071
00:54:53,960 --> 00:54:58,360
Speaker 1: is obviously like the thing that's uniting them in a way,

1072
00:54:58,800 --> 00:55:02,080
Speaker 1: and you get this sort of sensation when you're watching

1073
00:55:02,600 --> 00:55:05,399
Speaker 1: the movie that you're like, these are guys that used

1074
00:55:05,400 --> 00:55:08,000
Speaker 1: to work together. They sort of have different lives now,

1075
00:55:08,360 --> 00:55:12,520
Speaker 1: but now this like food trip is what's getting them

1076
00:55:12,520 --> 00:55:15,759
Speaker 1: to hang out a little bit. And you know, in

1077
00:55:15,840 --> 00:55:19,080
Speaker 1: that way where it's the reality of kind of like

1078
00:55:19,239 --> 00:55:23,480
Speaker 1: having trips or taking trips or road trips with old friends,

1079
00:55:23,520 --> 00:55:25,920
Speaker 1: like when you just sort of like you drive each

1080
00:55:25,960 --> 00:55:28,319
Speaker 1: other fucking insane with your little bullshit, but then you

1081
00:55:28,400 --> 00:55:30,759
Speaker 1: just have these moments where you're like reconnect and you

1082
00:55:30,840 --> 00:55:34,279
Speaker 1: have like genuine fun and silliness, and so it's this

1083
00:55:34,400 --> 00:55:38,080
Speaker 1: kind of like bittersweet thing where you're like, you know

1084
00:55:38,239 --> 00:55:40,399
Speaker 1: that you can tell that they're annoyed with each other

1085
00:55:40,480 --> 00:55:43,040
Speaker 1: at a lot of points, but then they're also like

1086
00:55:43,560 --> 00:55:46,560
Speaker 1: different people and they're realizing that they're different people, and

1087
00:55:46,560 --> 00:55:49,040
Speaker 1: they they're realizing that they're getting older. And there's this

1088
00:55:49,120 --> 00:55:52,719
Speaker 1: like entire scene where they're at a graveyard and they're

1089
00:55:52,800 --> 00:55:55,000
Speaker 1: kind of like, it's this like weird moment of like

1090
00:55:55,440 --> 00:55:59,919
Speaker 1: Steve is giving a fake eulogy at Rob's fake food

1091
00:56:00,280 --> 00:56:02,440
Speaker 1: and we're just sort of like, I mean to me.

1092
00:56:02,560 --> 00:56:06,080
Speaker 1: It's kind of intense because you're like, yes, you know,

1093
00:56:06,719 --> 00:56:08,480
Speaker 1: what does this guy really think of me?

1094
00:56:08,840 --> 00:56:09,080
Speaker 2: You know?

1095
00:56:09,239 --> 00:56:12,640
Speaker 3: And he's joking, but is he joking? You know?

1096
00:56:13,400 --> 00:56:17,920
Speaker 2: Absolutely? And it's that along with the daybreak scene that

1097
00:56:17,960 --> 00:56:20,880
Speaker 2: where they develop into Billy Connolly. Yeah. I think that's

1098
00:56:20,920 --> 00:56:22,960
Speaker 2: one of my favorite scenes of the movie, because you're

1099
00:56:23,000 --> 00:56:26,560
Speaker 2: watching Rob kind of want to give his input and

1100
00:56:26,640 --> 00:56:30,080
Speaker 2: guide Steve and what to say, but then they're having

1101
00:56:30,239 --> 00:56:34,279
Speaker 2: like Steve is really revealing a lot about his feelings

1102
00:56:34,320 --> 00:56:38,520
Speaker 2: about Rob's career and trajectory in this fake eulogy, and

1103
00:56:39,040 --> 00:56:41,840
Speaker 2: so he's revealing a lot about himself in this discussion

1104
00:56:41,880 --> 00:56:44,920
Speaker 2: of his friend in this fake eulogy in front of

1105
00:56:44,920 --> 00:56:49,480
Speaker 2: this beautiful old priory. But he it is very intense.

1106
00:56:49,520 --> 00:56:52,120
Speaker 2: It's very intense because you see him kind of wrestling

1107
00:56:52,160 --> 00:56:54,200
Speaker 2: with and kind of reckoning with a lot of the

1108
00:56:55,239 --> 00:56:58,359
Speaker 2: decisions that he's made in his life and career and

1109
00:56:58,520 --> 00:57:00,799
Speaker 2: really expressing that through how he feels about Rob. So

1110
00:57:00,840 --> 00:57:04,200
Speaker 2: it's just it's a bracing scene to say the least.

1111
00:57:04,560 --> 00:57:07,719
Speaker 1: Yeah, and it's it's you know, the food portion of

1112
00:57:07,760 --> 00:57:10,040
Speaker 1: it is really interesting too, because they get together for

1113
00:57:10,120 --> 00:57:12,600
Speaker 1: these meals and and the movie does this thing where

1114
00:57:12,840 --> 00:57:16,360
Speaker 1: it shows kind of like a behind the scenes they'll

1115
00:57:16,360 --> 00:57:19,560
Speaker 1: show clips of like the chefs in the kitchen preparing

1116
00:57:19,600 --> 00:57:24,000
Speaker 1: their meal. Yes, And it's this kind of like moment

1117
00:57:24,320 --> 00:57:26,960
Speaker 1: where you're like, Oh, here are these people that are

1118
00:57:27,000 --> 00:57:30,400
Speaker 1: working very hard to like create this like art for

1119
00:57:30,480 --> 00:57:33,040
Speaker 1: these two guys. And it's like it's sort of like

1120
00:57:33,360 --> 00:57:36,560
Speaker 1: it brings you back to the sense that you're like, oh,

1121
00:57:36,600 --> 00:57:38,200
Speaker 1: the food is actually.

1122
00:57:37,760 --> 00:57:38,720
Speaker 3: Bringing them together.

1123
00:57:39,200 --> 00:57:41,840
Speaker 1: It's almost like you think, oh, yeah, we forgot that

1124
00:57:42,600 --> 00:57:45,920
Speaker 1: food is like a uniter. Yeah, right, and food is

1125
00:57:45,960 --> 00:57:48,000
Speaker 1: what brings people together. And you take these like two

1126
00:57:48,000 --> 00:57:52,240
Speaker 1: guys who are like listen. One of the biggest things

1127
00:57:52,240 --> 00:57:54,920
Speaker 1: that I thought about when I was watching this again

1128
00:57:55,040 --> 00:57:57,600
Speaker 1: was I was like, I generally think that hanging out

1129
00:57:57,600 --> 00:58:00,960
Speaker 1: with a bunch of professional comedians is never the move,

1130
00:58:01,440 --> 00:58:02,760
Speaker 1: just saying for a lot.

1131
00:58:02,640 --> 00:58:06,680
Speaker 2: Of reasons, Oh, I would truly rather cheue tinfoil than

1132
00:58:06,720 --> 00:58:08,640
Speaker 2: hang out with more than one comedian at a time.

1133
00:58:11,080 --> 00:58:13,120
Speaker 2: Many of my friends are comedians. Some of them might

1134
00:58:13,160 --> 00:58:15,720
Speaker 2: be listening to this, and I mean it one of

1135
00:58:15,720 --> 00:58:16,280
Speaker 2: you at a time.

1136
00:58:16,400 --> 00:58:18,720
Speaker 1: Yeah, I have a lot of comedian friends too, as

1137
00:58:18,760 --> 00:58:20,880
Speaker 1: you know, and I'm just sort of like, I love you,

1138
00:58:20,960 --> 00:58:23,120
Speaker 1: but it just better be me and you. If you

1139
00:58:23,160 --> 00:58:26,480
Speaker 1: bring another two or three of you around, I am

1140
00:58:26,680 --> 00:58:29,880
Speaker 1: piecing the fuck out. But it is that thing where

1141
00:58:29,920 --> 00:58:34,520
Speaker 1: you're like, there's a competition that exists, right because the

1142
00:58:34,560 --> 00:58:37,480
Speaker 1: fact that they're both professional comics and they've worked together,

1143
00:58:37,800 --> 00:58:40,880
Speaker 1: but then they've lived such sort of different lives. But

1144
00:58:40,960 --> 00:58:44,160
Speaker 1: the food is what is gonna make them hang out

1145
00:58:44,280 --> 00:58:47,680
Speaker 1: and make them sort of process their thoughts and feelings

1146
00:58:47,720 --> 00:58:49,040
Speaker 1: about aging and.

1147
00:58:49,080 --> 00:58:51,360
Speaker 3: Death and marriage and children.

1148
00:58:51,480 --> 00:58:55,560
Speaker 1: And it's the male sort of insecurity shit that we

1149
00:58:55,600 --> 00:58:58,200
Speaker 1: talked about earlier. It's like they have to have a

1150
00:58:58,280 --> 00:59:02,040
Speaker 1: reckoning with it because of the food. It's like it

1151
00:59:02,120 --> 00:59:05,000
Speaker 1: just reminds you of like how powerful food is for

1152
00:59:05,160 --> 00:59:05,920
Speaker 1: people's lives.

1153
00:59:05,960 --> 00:59:07,280
Speaker 3: And so I don't know.

1154
00:59:07,280 --> 00:59:09,080
Speaker 1: If I'm reading too much into that, but that's kind

1155
00:59:09,120 --> 00:59:11,680
Speaker 1: of how I felt. So I just love it's like, oh,

1156
00:59:11,680 --> 00:59:14,800
Speaker 1: here's the construction of the meals to kind of remind

1157
00:59:14,880 --> 00:59:20,560
Speaker 1: you of that. But honestly, like this entire series is beloved.

1158
00:59:20,640 --> 00:59:23,920
Speaker 1: I mean, a lot of my friends love these trip

1159
00:59:24,600 --> 00:59:28,440
Speaker 1: series in films, and Steve Coogan and Rob Ryden are

1160
00:59:28,480 --> 00:59:31,640
Speaker 1: so fucking funny in it, and I mean I love

1161
00:59:31,760 --> 00:59:36,280
Speaker 1: when something is like really thought provoking and also hilarious,

1162
00:59:36,880 --> 00:59:39,600
Speaker 1: and you know, and the way that they kind of

1163
00:59:39,680 --> 00:59:42,840
Speaker 1: roll out to is so gorgeous. It's not like this

1164
00:59:43,000 --> 00:59:47,080
Speaker 1: rapid fire, really distracting thing. It's just very like it's

1165
00:59:47,080 --> 00:59:52,600
Speaker 1: a slow burn and it's very like thoughtful and meditative,

1166
00:59:52,720 --> 00:59:58,280
Speaker 1: but also like Billy Connolly impressions, it's it's so good completely.

1167
00:59:58,560 --> 01:00:02,200
Speaker 2: I love. I love and own all four of these films.

1168
01:00:02,680 --> 01:00:05,560
Speaker 2: They are my go to Sunday comfort films from like

1169
01:00:05,680 --> 01:00:08,000
Speaker 2: most of the winter and most of the year, like

1170
01:00:08,040 --> 01:00:10,640
Speaker 2: that part of the year. I particularly love when they're

1171
01:00:10,640 --> 01:00:13,800
Speaker 2: going through, you know, all the food scenes, just their

1172
01:00:13,880 --> 01:00:16,960
Speaker 2: their improvised comments on what they're eating and how they're

1173
01:00:17,000 --> 01:00:19,120
Speaker 2: trying to be respectful, and you can tell they really

1174
01:00:19,120 --> 01:00:21,200
Speaker 2: do enjoy a lot of the food. But then they'll

1175
01:00:21,240 --> 01:00:23,200
Speaker 2: say something like, you know, they get this drink that

1176
01:00:23,280 --> 01:00:25,440
Speaker 2: looks like a bunch of grass cuttings and they're like

1177
01:00:25,480 --> 01:00:28,480
Speaker 2: this tastes like a childhood garden, or you know, like

1178
01:00:28,560 --> 01:00:33,040
Speaker 2: there's this one point in there's this one point in

1179
01:00:33,080 --> 01:00:36,520
Speaker 2: the second meal where this guy drops his plate and

1180
01:00:36,560 --> 01:00:39,360
Speaker 2: it looks like these two little ceramic sacs that are

1181
01:00:39,400 --> 01:00:43,360
Speaker 2: like stuffed with greens, And the look on Steve Coogan's

1182
01:00:43,400 --> 01:00:47,600
Speaker 2: face makes me fall off the chair every time. He's

1183
01:00:47,640 --> 01:00:50,320
Speaker 2: just like, what the fuck are you doing right now?

1184
01:00:50,560 --> 01:00:53,600
Speaker 2: Like they're just so they're trying to be these like

1185
01:00:53,880 --> 01:00:57,760
Speaker 2: very posh, sophisticated dudes who have this palette, but they

1186
01:00:57,800 --> 01:01:00,360
Speaker 2: cannot help but be who they are. Yes, And I

1187
01:01:00,400 --> 01:01:03,360
Speaker 2: think that that is also something that that I just

1188
01:01:03,400 --> 01:01:05,160
Speaker 2: love about this movie is that they're they're open to

1189
01:01:05,200 --> 01:01:07,920
Speaker 2: these new experiences. They're open to this experience of food

1190
01:01:08,600 --> 01:01:11,720
Speaker 2: and how food has evolved to be its own connector

1191
01:01:12,720 --> 01:01:15,120
Speaker 2: based on how and what you're eating, Like, are you

1192
01:01:15,120 --> 01:01:18,320
Speaker 2: eating these very intricate, gastro focused meals or are you

1193
01:01:18,320 --> 01:01:20,880
Speaker 2: eating like a hot dog or something like? The food

1194
01:01:20,920 --> 01:01:24,040
Speaker 2: itself has become a great connector. But I just I

1195
01:01:24,120 --> 01:01:26,720
Speaker 2: love watching them eat. It's just very very entertaining.

1196
01:01:26,840 --> 01:01:28,920
Speaker 1: Well, and that's the other thing too, is that I mean, listen,

1197
01:01:28,960 --> 01:01:31,280
Speaker 1: I'm not actually sure about the timeline of when, like

1198
01:01:31,920 --> 01:01:36,640
Speaker 1: food became like a new thing for people again, because

1199
01:01:36,640 --> 01:01:39,400
Speaker 1: we go through periods where no one gives a fuck

1200
01:01:39,400 --> 01:01:41,760
Speaker 1: about food, and then everybody gives a fuck about food,

1201
01:01:41,880 --> 01:01:44,440
Speaker 1: right like in the in the eighties when I was

1202
01:01:44,480 --> 01:01:48,760
Speaker 1: growing up, nobody gave a fuck about gig But then

1203
01:01:48,800 --> 01:01:51,360
Speaker 1: it's like, I think people of our generation when we

1204
01:01:51,400 --> 01:01:56,000
Speaker 1: started getting older, I think between Anthony Bourdain and the

1205
01:01:56,120 --> 01:01:59,840
Speaker 1: Trip movies, I feel like our generation became obsessed with food,

1206
01:01:59,840 --> 01:02:02,320
Speaker 1: and you know what, like it is a genius fucking

1207
01:02:02,440 --> 01:02:05,360
Speaker 1: thing to be. Like, you know what, I'm a professional

1208
01:02:05,360 --> 01:02:08,160
Speaker 1: comedian and I'm on TV, but I'm also like really

1209
01:02:08,200 --> 01:02:11,160
Speaker 1: into food and why not do a TV series.

1210
01:02:10,840 --> 01:02:12,720
Speaker 3: Where I have to eat at fancy restaurants?

1211
01:02:12,840 --> 01:02:15,520
Speaker 1: Like I kept thinking that the entire time, going like, yeah,

1212
01:02:15,520 --> 01:02:17,600
Speaker 1: that's a good excuse. How do we get Danielle and

1213
01:02:17,640 --> 01:02:19,640
Speaker 1: I on that trip, Like, we'll just like start our

1214
01:02:19,720 --> 01:02:21,840
Speaker 1: own TV show where we just get to eat it

1215
01:02:21,880 --> 01:02:23,360
Speaker 1: everywhere we ever wanted to eat.

1216
01:02:23,680 --> 01:02:27,120
Speaker 2: This is like the central post of most of my

1217
01:02:27,280 --> 01:02:31,960
Speaker 2: jealousy is people who have ideas that allow them to

1218
01:02:32,080 --> 01:02:35,760
Speaker 2: do fun shit that other people pay for. Yes, like

1219
01:02:35,880 --> 01:02:39,160
Speaker 2: that is the basis of any jealousy that I have

1220
01:02:39,280 --> 01:02:43,120
Speaker 2: left in my body. That is genuinely where it comes from. Like, oh,

1221
01:02:43,200 --> 01:02:45,080
Speaker 2: you got to go to a cool place or do

1222
01:02:45,160 --> 01:02:47,760
Speaker 2: a cool thing on somebody else's dime and I have

1223
01:02:47,920 --> 01:02:49,120
Speaker 2: never cracked that code.

1224
01:02:49,320 --> 01:02:52,120
Speaker 1: And also too, like where the fuck are my travel

1225
01:02:52,120 --> 01:02:55,920
Speaker 1: writer friends that invite me to go places with them?

1226
01:02:55,960 --> 01:02:56,640
Speaker 2: I'm like, thank you.

1227
01:02:56,720 --> 01:02:58,320
Speaker 3: I don't know anybody.

1228
01:02:57,880 --> 01:03:00,680
Speaker 1: Who asked me to go and do workshop with them

1229
01:03:01,040 --> 01:03:05,720
Speaker 1: involving fancy hotels, delicious restaurants, or like exotic locales.

1230
01:03:05,760 --> 01:03:07,320
Speaker 3: I'm pissed no, because all.

1231
01:03:07,200 --> 01:03:09,360
Speaker 2: These dummies are usually bring in their fucking partners.

1232
01:03:09,960 --> 01:03:11,160
Speaker 3: Yes, Stitch your.

1233
01:03:11,040 --> 01:03:13,720
Speaker 2: Partner and bring Millie, bring me, bring a friend, have

1234
01:03:13,760 --> 01:03:16,479
Speaker 2: an actual good time, get away from your fucking life

1235
01:03:16,480 --> 01:03:19,360
Speaker 2: for a minute, take a break to take a break

1236
01:03:19,360 --> 01:03:21,680
Speaker 2: from that other zommie that you live with. Then hang

1237
01:03:21,720 --> 01:03:25,800
Speaker 2: out with us. We are great and entertaining. We love food.

1238
01:03:26,400 --> 01:03:29,040
Speaker 1: I don't have a Pacino impression, although I think once

1239
01:03:29,120 --> 01:03:31,720
Speaker 1: we tried to do the Pacino impression and.

1240
01:03:31,600 --> 01:03:32,200
Speaker 2: We cut it.

1241
01:03:32,320 --> 01:03:36,880
Speaker 3: Remember that we did it, Sawnia.

1242
01:03:37,280 --> 01:03:40,400
Speaker 1: I feel like there is probably like ten minutes of

1243
01:03:40,560 --> 01:03:43,120
Speaker 1: tape in a volt were you and I were doing

1244
01:03:43,200 --> 01:03:45,600
Speaker 1: Pacino impressions and we cut them.

1245
01:03:45,760 --> 01:03:48,640
Speaker 2: Oh good, that will only be released on our deathbed,

1246
01:03:48,680 --> 01:03:51,080
Speaker 2: after both of us have died. You both have to

1247
01:03:51,080 --> 01:03:54,320
Speaker 2: die for that tape to come out. Oh lord, oh god,

1248
01:03:54,320 --> 01:03:57,080
Speaker 2: that was so funny when we try to do that. Oh.

1249
01:03:57,120 --> 01:03:59,200
Speaker 2: I also like, I'm a person who I don't think

1250
01:03:59,240 --> 01:04:01,960
Speaker 2: I have a refined into palette. You know, I enjoy

1251
01:04:02,040 --> 01:04:05,960
Speaker 2: home cooking. I enjoy cooking. I enjoy intricate meals. I

1252
01:04:06,080 --> 01:04:09,280
Speaker 2: enjoy great ingredients. But I'm if you put like a

1253
01:04:09,320 --> 01:04:12,520
Speaker 2: tiny ceramic sack full of spring greens in front of me,

1254
01:04:12,680 --> 01:04:15,280
Speaker 2: I'm mad, Like I want a full ass meat, like

1255
01:04:15,320 --> 01:04:19,640
Speaker 2: a hearty meal. And I remember when I was when

1256
01:04:19,680 --> 01:04:23,560
Speaker 2: I was living in England during my semester abroad, and

1257
01:04:23,600 --> 01:04:25,320
Speaker 2: I would go into London and hang out with Sarah

1258
01:04:25,360 --> 01:04:28,160
Speaker 2: Brown a lot. Yeah, And one of the last nights

1259
01:04:28,200 --> 01:04:30,600
Speaker 2: I was there, I just God of this is so

1260
01:04:30,800 --> 01:04:33,360
Speaker 2: fucking This is a bonker story. But I gotten a

1261
01:04:33,400 --> 01:04:35,720
Speaker 2: small settlement from a car accident that I'd had three

1262
01:04:35,800 --> 01:04:38,360
Speaker 2: or four years prior, and I got it while I

1263
01:04:38,400 --> 01:04:40,440
Speaker 2: was away at school, and so I thought, well, for

1264
01:04:40,560 --> 01:04:43,680
Speaker 2: our last night here, like for my last night in England,

1265
01:04:43,960 --> 01:04:45,280
Speaker 2: I want to go out with my friends. So I

1266
01:04:45,280 --> 01:04:48,400
Speaker 2: took Sarah, my then boyfriend who became my husband, and

1267
01:04:48,480 --> 01:04:52,080
Speaker 2: my ex husband, and Sarah's then boyfriend and now husband.

1268
01:04:52,240 --> 01:04:54,919
Speaker 2: We went out to one of Gordon Ramsay's restaurants and

1269
01:04:55,320 --> 01:04:59,200
Speaker 2: it was like this incredibly rich and beautiful meal, like

1270
01:04:59,360 --> 01:05:02,800
Speaker 2: everything was dripping in this sauce, and like we had

1271
01:05:02,840 --> 01:05:05,880
Speaker 2: poached pears for dessert, Like it was just this rich meal.

1272
01:05:06,440 --> 01:05:09,800
Speaker 2: And we sent our goodbyes, and almost as soon as

1273
01:05:09,840 --> 01:05:12,840
Speaker 2: I started walking away, I already felt like I had

1274
01:05:12,840 --> 01:05:15,720
Speaker 2: to shit my pants. And there was like a thirty

1275
01:05:15,760 --> 01:05:19,840
Speaker 2: minute train ride ahead of me. Oops. But I actually

1276
01:05:20,040 --> 01:05:24,000
Speaker 2: drew a little stick figure animation about the experience of

1277
01:05:24,080 --> 01:05:27,960
Speaker 2: like trying to find a bathroom at night in the

1278
01:05:28,000 --> 01:05:32,120
Speaker 2: fucking tube and trying to then get back to Redding

1279
01:05:32,400 --> 01:05:37,040
Speaker 2: without shitting my pants. Oh my god, I truly don't

1280
01:05:37,080 --> 01:05:43,200
Speaker 2: think I have the constitution for these gastro meals that

1281
01:05:43,280 --> 01:05:47,240
Speaker 2: are like incredibly intense with rich flavors and use things

1282
01:05:47,280 --> 01:05:52,120
Speaker 2: like you know, quail eggs and fucking ducks, prayers and

1283
01:05:52,360 --> 01:05:55,000
Speaker 2: fucking the wishes of a goat. Like I'm just not

1284
01:05:55,200 --> 01:05:59,000
Speaker 2: that one. I can't eat the wishes of a goat

1285
01:05:59,600 --> 01:06:00,760
Speaker 2: and keep it down.

1286
01:06:01,960 --> 01:06:03,720
Speaker 1: Yeah, that's why you got to bring that emodium a

1287
01:06:03,840 --> 01:06:06,640
Speaker 1: D when you travel. That's like the one thing that

1288
01:06:06,720 --> 01:06:09,960
Speaker 1: I learned from any Anthony Bourdain book was that you

1289
01:06:10,040 --> 01:06:14,920
Speaker 1: bring amodium ad. Actually there's two things, amodium ad and cigarettes.

1290
01:06:15,680 --> 01:06:20,560
Speaker 1: Really yeah, cigarettes is well, not for digestion, but cigarettes

1291
01:06:20,640 --> 01:06:25,320
Speaker 1: are a way to be able to socialize in foreign countries.

1292
01:06:25,440 --> 01:06:28,160
Speaker 1: Like it's like a good and I have to say

1293
01:06:28,760 --> 01:06:32,520
Speaker 1: it is absolutely one hundred fucking percent true because that's real.

1294
01:06:32,720 --> 01:06:35,080
Speaker 1: When I traveled to the Philippines and I did not

1295
01:06:35,160 --> 01:06:38,080
Speaker 1: speak a lick of tagalag, it was the only way

1296
01:06:38,160 --> 01:06:41,800
Speaker 1: that me and my cousins could have time together was

1297
01:06:41,840 --> 01:06:44,040
Speaker 1: that we just had a beer and smoke cigarettes. So

1298
01:06:44,680 --> 01:06:47,800
Speaker 1: that's you know what I learned from Anthony Bourdaine, God

1299
01:06:47,840 --> 01:06:48,439
Speaker 1: rest his soul.

1300
01:06:48,840 --> 01:06:51,440
Speaker 2: Well, we are gonna we're gonna hit up the duty Free.

1301
01:06:51,480 --> 01:06:53,720
Speaker 2: We're gonna go to England, and we're gonna take a

1302
01:06:53,760 --> 01:06:56,960
Speaker 2: trip through the Lake District and fucking smoke and eat

1303
01:06:57,000 --> 01:07:00,800
Speaker 2: our way through the moors like singing Weather Heights, playing

1304
01:07:00,880 --> 01:07:04,200
Speaker 2: Joy Division and just having our own little trip and

1305
01:07:04,240 --> 01:07:07,320
Speaker 2: doing impressions of I don't think we'll do impressions. We'll

1306
01:07:07,320 --> 01:07:08,439
Speaker 2: probably just talk a lot of shit.

1307
01:07:08,640 --> 01:07:10,760
Speaker 3: Yes, I will be the Rob Ryden.

1308
01:07:10,920 --> 01:07:14,080
Speaker 1: I will happily be the Rob Ryden who just takes

1309
01:07:14,080 --> 01:07:18,600
Speaker 1: a crack at doing you know, Arnold Schwarzenegger once in

1310
01:07:18,600 --> 01:07:21,760
Speaker 1: a while, and then you'll just like want to throw

1311
01:07:21,800 --> 01:07:22,920
Speaker 1: me out the fucking window.

1312
01:07:23,480 --> 01:07:27,280
Speaker 3: But I truly can't wait, truly listen.

1313
01:07:27,440 --> 01:07:31,680
Speaker 1: If you want to give us opportunities to do things

1314
01:07:32,000 --> 01:07:35,640
Speaker 1: for free that involve fancy shit, why don't you email

1315
01:07:35,720 --> 01:07:38,320
Speaker 1: us at I Saw what you Did Pod at gmail

1316
01:07:38,360 --> 01:07:39,040
Speaker 1: dot com.

1317
01:07:39,080 --> 01:07:39,640
Speaker 3: We'll take it.

1318
01:07:40,040 --> 01:07:43,200
Speaker 2: And look, we will take this show on the actual road,

1319
01:07:43,360 --> 01:07:45,360
Speaker 2: like we will take the show on the road and

1320
01:07:45,400 --> 01:07:48,600
Speaker 2: we'll document it. Go ahead and follow us on our socials.

1321
01:07:48,840 --> 01:07:51,920
Speaker 2: We are at I Saw pod on Twitter and Instagram.

1322
01:07:52,200 --> 01:07:52,680
Speaker 3: That's right.

1323
01:07:52,880 --> 01:07:56,960
Speaker 1: And also if you want merch, it's there for you.

1324
01:07:57,400 --> 01:07:59,680
Speaker 1: It's at the exactly Right shop at exactly right Media

1325
01:07:59,680 --> 01:07:59,920
Speaker 1: dot com.

1326
01:08:00,560 --> 01:08:04,080
Speaker 2: And we have so many bonus episodes now up at

1327
01:08:04,120 --> 01:08:08,640
Speaker 2: Stitcher Premium that it would be a true sadness for

1328
01:08:08,680 --> 01:08:11,240
Speaker 2: you to miss them. I think that there are things

1329
01:08:11,240 --> 01:08:13,200
Speaker 2: that we will reference in the show that have their

1330
01:08:13,240 --> 01:08:17,120
Speaker 2: origin story in these premium episodes where we read your

1331
01:08:17,160 --> 01:08:21,160
Speaker 2: emails to you. So please, by all means subscribe and

1332
01:08:21,360 --> 01:08:24,080
Speaker 2: you can use the promo code SAW for a free month.

1333
01:08:24,880 --> 01:08:28,479
Speaker 1: That's right now, Listen, we don't have a show next week,

1334
01:08:28,920 --> 01:08:32,400
Speaker 1: but for the next episode, we got a couple of movies.

1335
01:08:32,479 --> 01:08:34,679
Speaker 3: So Danielle, why don't you tell them what the movies are.

1336
01:08:35,040 --> 01:08:37,000
Speaker 2: Oh, they are a couple of bangers. And if you

1337
01:08:37,040 --> 01:08:39,880
Speaker 2: are a longtime listener of the show, you'll know exactly

1338
01:08:39,920 --> 01:08:43,040
Speaker 2: where we're headed with this. Our movies for next week

1339
01:08:43,120 --> 01:08:48,400
Speaker 2: are Point Break from nineteen ninety one and Point Break

1340
01:08:48,560 --> 01:08:49,599
Speaker 2: from twenty fifteen.

1341
01:08:51,600 --> 01:08:54,640
Speaker 3: What is the theme? Can you imagine?

1342
01:08:55,800 --> 01:09:01,280
Speaker 2: And if you know the theme, tell us if you agree.

1343
01:09:02,880 --> 01:09:04,719
Speaker 2: If you agree with the premise of the theme.

1344
01:09:05,240 --> 01:09:08,080
Speaker 1: I love the thought experiment of what's going to happen

1345
01:09:08,320 --> 01:09:09,120
Speaker 1: in two weeks.

1346
01:09:09,400 --> 01:09:11,680
Speaker 2: We are just we are rocketing towards the end of

1347
01:09:11,720 --> 01:09:14,840
Speaker 2: this year, yes, and I am just excited that we're

1348
01:09:14,840 --> 01:09:17,160
Speaker 2: going to have some fun episodes coming up for you,

1349
01:09:17,439 --> 01:09:18,920
Speaker 2: but we are going to take a break next week

1350
01:09:18,960 --> 01:09:23,120
Speaker 2: and come back and hear the ongoing story of how

1351
01:09:23,120 --> 01:09:27,240
Speaker 2: we can help Million her pest control person fall deeper

1352
01:09:27,240 --> 01:09:27,639
Speaker 2: in love.

1353
01:09:28,479 --> 01:09:30,840
Speaker 1: Well, I'm not going to say it's going to be

1354
01:09:30,880 --> 01:09:34,479
Speaker 1: a mute cute, but hopefully he doesn't think I'm ninety.

1355
01:09:34,640 --> 01:09:38,320
Speaker 1: That's all I care about is that I'm forever young.

1356
01:09:39,120 --> 01:09:39,519
Speaker 3: Baby.

1357
01:09:40,479 --> 01:09:42,479
Speaker 2: What do you call it? It's not a meat cute.

1358
01:09:42,520 --> 01:09:44,240
Speaker 2: But what do you call it when, like one of

1359
01:09:44,280 --> 01:09:47,640
Speaker 2: your best friends flies down to your city and like

1360
01:09:47,800 --> 01:09:51,000
Speaker 2: force is an interaction between two people. Is it a

1361
01:09:51,080 --> 01:09:54,599
Speaker 2: beat cute? It's not a meat cute. It's a beat cute.

1362
01:09:54,960 --> 01:09:58,439
Speaker 3: Yes, it's a horror film starring Daniel Henderson.

1363
01:09:59,400 --> 01:10:05,200
Speaker 2: Ah, until next time, friends, keep those ideas rolling in.

1364
01:10:05,600 --> 01:10:07,080
Speaker 3: Yes see you soon.

1365
01:10:13,479 --> 01:10:16,960
Speaker 2: This has been an exactly right production. Our producers Alexisamressi,

1366
01:10:17,120 --> 01:10:20,719
Speaker 2: our engineers Annalise Nelson. Our theme songs by Tom bry Foegel,

1367
01:10:21,040 --> 01:10:24,679
Speaker 2: artwork by Garrett Ross. Our executive producers are Georgia hart Stark,

1368
01:10:24,760 --> 01:10:27,960
Speaker 2: Karen kil Gareth and Danielle Kramer. Follow us on Instagram

1369
01:10:28,000 --> 01:10:30,760
Speaker 2: and Twitter at I saw pod email us at I

1370
01:10:30,800 --> 01:10:33,400
Speaker 2: Saw you did pod at gmail, and please don't forget

1371
01:10:33,400 --> 01:10:37,040
Speaker 2: to listen, subscribe, leave us a review on Apple Podcast, Stitcher,

1372
01:10:37,160 --> 01:10:38,240
Speaker 2: or wherever you listen.