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Speaker 1: How's it going, everybody? Welcome to another episode of I

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Speaker 1: Saw What You Did.

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Speaker 2: My name is Millie, my name's Danielle.

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Speaker 1: And we're back with you again once again to do

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Speaker 1: this fine film podcast.

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Speaker 3: How are you.

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Speaker 2: I'm doing great. How is your week?

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Speaker 1: It is okay so far. I can you see right now?

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Speaker 1: I don't know if you can see me but me? Okay,

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Speaker 1: are you noticing that there's something going on with my face?

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Speaker 1: Maybe that my eyebrows are looking a little less crazy?

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Speaker 3: Is that something?

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Speaker 4: They never look crazy to me, but they look great today. Okay,

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Speaker 4: what's going on?

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Speaker 1: I was hoping you would say that because I have

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Speaker 1: had another person touch my eyebrows for the first time

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Speaker 1: and over a year, on purpose. On purpose. Yes, I

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Speaker 1: am beyond thrilled. I was very nervous. I was very

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Speaker 1: nervous going okay, but you know, I just needed to

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Speaker 1: attend to this mess that I've created over the past

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Speaker 1: year and a half. So it was, I mean, it

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Speaker 1: was a thing where like I was hesitant, and then

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Speaker 1: once I got it done, I was like, oh my god,

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Speaker 1: I feel so incredible. I feel like a new person.

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Speaker 1: Just a very simple thing, you know, Thad was it

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Speaker 1: like I actually didn't get threading because I was unsure

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Speaker 1: of where to get that around here. But I went

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Speaker 1: to like a kind of like a benefit, you know,

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Speaker 1: benefit eyebrow bar thing, and the woman who did my

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Speaker 1: eyebrows was incredibly safe.

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Speaker 3: She was double masked and she had a.

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Speaker 1: Face shield, so I was like, that's my girl, and

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Speaker 1: she was very nice about the state of my eyebrows,

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Speaker 1: which were for me, it was very crazy because there

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Speaker 1: were arrant hares literally just like poking out of every

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Speaker 1: every area of my face.

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Speaker 3: And I feel so much, so much better.

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Speaker 2: What did you do?

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Speaker 4: Was it just like an eyelight? Like she just did

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Speaker 4: she just line them? Did she trim them?

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Speaker 2: Like she just she.

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Speaker 1: Gave them a shape again, because that's the thing was

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Speaker 1: that they were just going everywhere. And I know that

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Speaker 1: you say that I looked fine, but it was that

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Speaker 1: thing where I would catch, oh my god, this is

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Speaker 1: so embarrassing. But I'd be like in the mirror, like

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Speaker 1: after a shower, and I would catch this like super

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Speaker 1: long eyebrow hair. There was like an a a va

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Speaker 1: gooda style thing that was like coming down like halfway

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Speaker 1: to my eye, and I was like, oh my.

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Speaker 3: God, I felt crazy.

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Speaker 1: I was like uh, and I would trim it myself,

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Speaker 1: but you know, to have them kind of be tamed

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Speaker 1: again felt great.

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Speaker 2: That's awesome.

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Speaker 4: I mean, you got that second backed and you're like,

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Speaker 4: I am in these streets getting these eyebrows taken care

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Speaker 4: of before all else.

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Speaker 3: Well.

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Speaker 1: And but this is the thing is that I I

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Speaker 1: was talking to our friend Schile about this today because

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Speaker 1: I was a little like, I'm nervous.

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Speaker 3: I'm nervous about all of these things.

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Speaker 1: That are like normal things that now was like, oh,

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Speaker 1: are we going to go back to doing things like

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Speaker 1: getting our eyebrows done, getting haircuts, you know, doing that

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Speaker 1: kind of stuff, because I've been pretty I've been keeping

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Speaker 1: it pretty tame.

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Speaker 3: I mean, I'm not saying perfect, but I you know,

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Speaker 3: like I have.

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Speaker 1: I've left the house a few times, but I definitely

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Speaker 1: have kept the grooming stuff to a minimum because, you know, honestly,

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Speaker 1: like I was terrified.

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Speaker 3: But so yeah, I was.

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Speaker 1: I was talking Chile when I was like, oh my god,

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Speaker 1: I'm feeling very I'm having this weird anxiety kick in.

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Speaker 3: And I think it's because I just.

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Speaker 1: Am now like, oh, well, now that I have a

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Speaker 1: second vaccine, what does that mean.

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Speaker 3: I don't know if I'm ready. I don't know what

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Speaker 3: I'm feeling right now.

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Speaker 4: I think anxiety feels like a good it feels like

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Speaker 4: a good emotion on the heels of the year that

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Speaker 4: we've had. Because it feels strange, it's going to feel

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Speaker 4: strange to be around people. I don't know how I'm

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Speaker 4: going to do it. I really don't, like, I don't

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Speaker 4: have any plans to go out and party or have

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Speaker 4: dinner or drinks or anything because I'm still so nervous

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Speaker 4: about it.

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Speaker 1: Yeah, I wanted to ask you about that because I

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Speaker 1: to me, I know, we've talked about this introvert extrovert

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Speaker 1: thing or whatever many times in the past, and I

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Speaker 1: was kind of like, I'm a floater.

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Speaker 3: I'm not one hundred.

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Speaker 1: Percent either way, but I do think I'm looking forward,

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Speaker 1: I guess to doing things again like I would. I

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Speaker 1: love to see friends, I would love to travel, but

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Speaker 1: I'm nervous and that's a lot I think for me.

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Speaker 1: I'm not this person that's like, yep, the like let's

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Speaker 1: go back out there. I'm really like, I don't really know.

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Speaker 3: I don't really know what I'm feeling, you.

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Speaker 4: Know, And that's why I'm glad you went today like,

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Speaker 4: I'm glad you dipped a toe in and it went

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Speaker 4: fine and you saw that the person that you were

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Speaker 4: seeing was completely safe. And I think that's the best

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Speaker 4: we can do right now. You know, like you're taking

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Speaker 4: care of yourself and you're going to places where they

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Speaker 4: take care of themselves, and I think it's totally cool

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Speaker 4: to dip that toe in. I I kind of don't

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Speaker 4: know how to do it here because I didn't really

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Speaker 4: go out before. Yeah, so it's not like they closed

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Speaker 4: the arc light. That's the first place I would have

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Speaker 4: run to.

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Speaker 3: Oh can we to talk about that closed?

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Speaker 4: How do you close the arc light? How do you

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Speaker 4: close the cineramadome?

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Speaker 1: How? I mean, I keep hearing different things now about

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Speaker 1: how you know there might be a shot at saving

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Speaker 1: the building or whatever, but you know, who knows.

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Speaker 3: I mean, it's like La real estate feels ruthless.

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Speaker 2: So I'm brutal.

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Speaker 3: It's brutal, but just I think for us personally.

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Speaker 1: Though, when I heard that that was happening the other day,

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Speaker 1: I was like I felt grief, Like I was basically like,

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Speaker 1: that's like a place that you and I went to

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Speaker 1: all the time a time.

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Speaker 2: That was our hang I felt so comfortable there.

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Speaker 4: It was so easy to park, it was so easy

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Speaker 4: to just I could go there by myself. We went

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Speaker 4: and would just have like you know, dinner or drinks,

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Speaker 4: like it was a cool place to hang out.

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Speaker 1: Yeah, we ate those little fucking flatbreads or whatever they

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Speaker 1: would serve in that weird restaurant with the giant booths.

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Speaker 4: The the trio of sauces. And then they're like, let's

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Speaker 4: protect everyone from watching you eat this and put these

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Speaker 4: booths at nine feet.

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Speaker 1: It felt like you were eating in a hotel. That's

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Speaker 1: kind of how I felt like. You know, you're on

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Speaker 1: a business trip and you're like, well, I don't have

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Speaker 1: time to go anywhere, I'm just gonna eat at the

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Speaker 1: hotel bar.

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Speaker 3: And that's what it felt like. The Arc lights.

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Speaker 4: If the Arc light is gone, what's going to get

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Speaker 4: me to the epicenter of Hollywood? Like when am I

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Speaker 4: going to drive down Hollywood and Highland to see Elmo? Oh.

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Speaker 3: I have friends that.

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Speaker 1: Would like have jobs in that area, like they have worked,

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Speaker 1: have to go to Hollywood and Highland every day for work,

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Speaker 1: and they're just like, man, I mean it's like wild,

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Speaker 1: Like you just won't look out the window, and it's

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Speaker 1: just like the wildest things are happening at all hours

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Speaker 1: of the day in a daytime, especially, which.

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Speaker 2: Is weird in the day. Listen to me.

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Speaker 4: If it ever comes down to it and I lose

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Speaker 4: it entirely, you better believe I'm buying an Elmo costume

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Speaker 4: and a hatchet and going to Hollywood and Highland. No

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Speaker 4: one will blink an eye. They'll be like, oh, that's

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Speaker 4: that's hatchet, Elmo. Let's get a picture, like nobody will

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Speaker 4: blink an eye.

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Speaker 1: When I worked at Tcmfilm Festival, it's that thing where

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Speaker 1: it is happening in that area and you're down there

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Speaker 1: for a week. Like we would show up a few

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Speaker 1: days before the festival and then leave after it's over.

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Speaker 3: So you're down there for an entire week.

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Speaker 1: And when you have to literally mingle in that scene

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Speaker 1: about twenty times a day, walking back and forth between

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Speaker 1: the movie theaters that we're using, it becomes like that

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Speaker 1: last day feels like death.

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Speaker 3: I don't have the energy for any of this anymore.

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Speaker 3: It's just too much.

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Speaker 1: Stimulation, too much, you know, random shit happening, people yelling

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Speaker 1: at each other, you know, people kind of literally pushing

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Speaker 1: you out of the way to take a photograph of

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Speaker 1: a celebrity star that makes no sense, like it does.

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Speaker 1: I don't understand why these people are like jumping at

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Speaker 1: the chance to lay down on the dirty ass street

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Speaker 1: for like.

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Speaker 4: They have no idea how much feces has been on

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Speaker 4: that street just that day, just that day, lone human

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Speaker 4: fece spread from sea to shining sea, and.

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Speaker 2: They're like, let me get down here. From a face

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Speaker 2: in Marilyn Monroe's feet in her shoes.

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Speaker 4: My favorite thing whenever I used to work near the

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Speaker 4: Walk of Fame and my favorite thing in the world

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Speaker 4: was people and I heard it every time I walk by,

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Speaker 4: people would go their feet were so tiny, And I'm like,

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Speaker 4: you could have learned this information on Wikipedia. Like, I

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Speaker 4: do not understand the Walk of Fame at all, especially

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Speaker 4: now like modern day Walk of Fame.

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Speaker 2: They pay for that. They pay for their own slabs.

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Speaker 1: Yeah, that's the thing that I think a lot of

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Speaker 1: people don't realize is that they pay for those slabs.

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Speaker 3: They're not handed out for merit.

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Speaker 2: It's almost on too. And then I'm like, wait, when

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Speaker 2: I found.

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Speaker 4: Out that people paid for them, I'm like, who gives

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Speaker 4: a shit about this most expensive sidewalk on the planet.

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Speaker 4: That's all it is now, and it always has like

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Speaker 4: pools of piss, like puddled in the palm of the hands,

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Speaker 4: the handprints, like, come on, folks, this is not This

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Speaker 4: is not where it's at. Go to the observatory, for

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Speaker 4: fuck's sake.

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Speaker 1: Why is someone pissing in Frederick Marsh's shoes?

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Speaker 3: Why is somebody doing that.

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Speaker 4: Because they're so tiny, They're so tiny, this piston. I

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Speaker 4: don't see how much piss can fill up these shoes.

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Speaker 4: And then someone will come home with their fucking face

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Speaker 4: in them.

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Speaker 1: Somebody will put their baby on the ground to flash

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Speaker 1: a peace sign or whatever.

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Speaker 3: Oh god, I have.

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Speaker 4: Never been so interested in a celebrity that I wanted

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Speaker 4: to know what their hands and feet look like.

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Speaker 2: But look, that's not my fetish. I'm not gonna yuck

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Speaker 2: your yum.

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Speaker 4: If that's what it's about for you, great, But I'm

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Speaker 4: telling you that sidewalk is the filthiest, most expensive piece

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Speaker 4: of property in this country.

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Speaker 3: Yeah.

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Speaker 1: I so when my dad the last time my dad

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Speaker 1: was in town, I took him and my mother down

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Speaker 1: there because honestly, it was this, Oh my god, this

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Speaker 1: is embarrassing.

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Speaker 4: Did they have to take a dumb You're like, my

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Speaker 4: dad had to take a dumb So I took them

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Speaker 4: down Yeah, just so I put.

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Speaker 1: I told them to go to Marilyn Monroe's footprints and

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Speaker 1: just do a dump there. No, I my dad and mom.

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Speaker 1: I took them down there. They because the only reason

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Speaker 1: why I did it was because they told me, oh,

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Speaker 1: you're talking when I told them, oh, but have you

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Speaker 1: ever been down to Hollywood? And they're like, you made

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Speaker 1: like at Disney where they have the footprints, And I

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Speaker 1: was like what, Like they only thought the footprints existed

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Speaker 1: at Disney World, and I was like, no, there's are

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Speaker 1: copied from the actual shit. We need to go down

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Speaker 1: there now, just so you can move this reference.

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Speaker 2: Point, just so you can know the origin story.

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Speaker 3: Yeah, just so you can stop offending me intellectually.

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Speaker 1: So I took them down there and they were like, hmm,

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Speaker 1: what have you done?

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Speaker 3: Like, I don't know why we visited my daughter at all?

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Speaker 2: Why do you live here? Are you safe? What's happening?

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Speaker 4: Meanwhile, I guarantee down on Vine someone's just swinging a

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Speaker 4: pipe in the middle of the sidewalk for no reason.

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Speaker 4: There's always a shirtless person swinging a pipe on vine.

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Speaker 2: That's all I can tell you about La.

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Speaker 1: Yeah, it's like I remember when I would come out

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Speaker 1: of the Egyptian over farther down Hollywood, and I would

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Speaker 1: sometimes got out of a movie at like twelve one

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Speaker 1: am and just seeing what was going on at that hour,

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Speaker 1: I was like, oh shit, how do I rockets here

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Speaker 1: out of this situation?

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Speaker 3: Immediately?

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Speaker 4: Oh?

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Speaker 2: I love it so much. Yeah, it is like not

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Speaker 2: the move to go.

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Speaker 1: So what you're saying is post quarantine, you want to

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Speaker 1: meet there.

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Speaker 3: That's the first place you want to go.

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Speaker 4: It's the first place I want to go. I want

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Speaker 4: to strip naked like that Elana's more Set video and

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Speaker 4: just be like you live, you learn, you fight, you burn,

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Speaker 4: you live.

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Speaker 2: You laugh, you learn.

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Speaker 3: Thank you Spider Man.

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Speaker 2: Ah.

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Speaker 3: Okay, So do we have a mail bag this week?

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Speaker 2: Yeah, we got a great mail bag this week.

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Speaker 3: We do.

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Speaker 1: Actually, I would love to read it if you have

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Speaker 1: gone through can I mother?

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Speaker 3: May I read this email?

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Speaker 2: In fact?

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Speaker 3: It is about mothers. It's about mothers and daughters.

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Speaker 1: Actually, So we did get an email this week from

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Speaker 1: Lee and she writes, Hi, Milli and Danielle. I am

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Speaker 1: writing in the hope that this email gets to you both,

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Speaker 1: and I can thank you properly for the joy, laughter,

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Speaker 1: and connection that you are bringing to my youngest daughter,

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Speaker 1: Bridget and I during this pandemic. I am writing to

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Speaker 1: you from Toronto, Ontario, Canada, where we are in a

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Speaker 1: province wide shutdown, which means pretty much everything is close

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Speaker 1: and prohibited. Our lives have been reduced to the house

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Speaker 1: and walks with our dog. As you both know, the

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Speaker 1: pandemic and the never ending lockdown are hard on the soul.

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Speaker 1: But as hard as this is on adults, I think

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Speaker 1: it's especially hard on teenagers. My sixteen year old daughter,

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Speaker 1: Bridget can't see her mates and is doing eleventh grade online,

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Speaker 1: not always easy. A bit about Bridget, you would both

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Speaker 1: adore her, as she is funny, clever, cheeky, kind, great company,

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Speaker 1: and has great taste in music, books and movies.

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Speaker 3: One of our.

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Speaker 1: Pandemic highlights has been your wonderful podcasts, which we generally

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Speaker 1: listen to separately the date is released, but then talk

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Speaker 1: about for the rest of the week. We repeat your

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Speaker 1: best lines, tell each other which parts we found hysterical,

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Speaker 1: add films to our watch list, and agree that you

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Speaker 1: would be our ideal best friends. You bring a ray

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Speaker 1: of sunshine into the week and provide us with so

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Speaker 1: much to laugh about. What more does a mom need?

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Speaker 1: We didn't know how much we needed you and are

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Speaker 1: grateful for what you give us. Regards Lee and the PS, Yes,

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Speaker 1: the PS just so Bridges's brother and sister, Aiden and

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Speaker 1: Rory don't get jealous. You would adore them as well.

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Speaker 3: I love this mom so much.

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Speaker 4: Oh my god, Lee, thank you for writing in. Thank

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Speaker 4: you Bridget for listening. I love that you listen separately

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Speaker 4: and then come together and have a quorum to talk

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Speaker 4: about this podcast.

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Speaker 2: I think it's so lovely that you like your kids

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Speaker 2: this much, like.

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Speaker 4: I don't know, like you seem to actually know your

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Speaker 4: children and are interested in what they're interested in, and

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Speaker 4: I just think that's fantastic, Like this is this is

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Speaker 4: the age that I feel like parents wait for where

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Speaker 4: they can kind of like be on the level with

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Speaker 4: their kids and be like, here's what I'm into, let's

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Speaker 4: watch this movie or I just I love it. I

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Speaker 4: love that you found a point of commonality, and I

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Speaker 4: love that it was us.

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Speaker 2: And I'm so sorry for all the cursing.

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Speaker 3: Yeah, I always say that, I'm like, oh, we're cussic

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Speaker 3: a lot.

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Speaker 1: Mom, Well, and listen, this letter couldn't have come at

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Speaker 1: a better time because this is a Mother's Day episode

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Speaker 1: we're doing.

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Speaker 3: I write, I think you probably know that by now.

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Speaker 4: But.

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Speaker 1: It's so great because as somebody who is trying to

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Speaker 1: never discuss this podcast with their mother, I love that

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Speaker 1: this is something that you share, you know, and that's sweet.

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Speaker 1: And I love that it's provided you guys sort of

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Speaker 1: like a conversation to have throughout the week.

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Speaker 3: That's just really special. That makes me very happy to

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Speaker 3: know all of this.

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Speaker 4: Yeah, and I hope you know how special your relationship is,

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Speaker 4: and just you know, I hope that we can continue

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Speaker 4: to bring give you reasons to come together because those

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Speaker 4: days are few and far between.

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Speaker 2: I'm talking like somebody who has kids.

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Speaker 4: I have no idea you could be totally sick of

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Speaker 4: your children by now and be like, get out of

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Speaker 4: my house. I've been looking at you for a year straight.

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Speaker 4: Although I will say doing eleventh grade online sounds ideal.

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Speaker 1: Yeah, doing it online. I mean I think it could

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Speaker 1: be probably hard for her daughter, But honestly, as somebody

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Speaker 1: who spends many days a week in online learning with

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Speaker 1: a kindergartener, I'll just say in eleventh grader sounds like.

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Speaker 3: A breeze, Like you don't have to sit in the room.

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Speaker 1: With them and make sure they're not picking their nose

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Speaker 1: and like taking naps.

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Speaker 3: And I mean, I'll listen, I love my nephew.

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Speaker 1: So much, but there are times where I'll literally walk

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Speaker 1: out of the room for five seconds and he's like

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Speaker 1: on the floor breaking crayons, like and the rest of

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Speaker 1: the class is taking a test and he's just like

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Speaker 1: biting the Penguin erasers that are on top of his pencils,

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Speaker 1: and I'm like, oh my god. Like it's literally like

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Speaker 1: a constant you have to constantly monitor a six year old.

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Speaker 1: But in the eleventh grader sounds a little bit more

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Speaker 1: like they're just kind of they're good.

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Speaker 3: You don't have to fuss with them too much.

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Speaker 4: What we're saying, Bridget is get some erasers, start chewing

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Speaker 4: them down, Go through the toolbox, see if there's anything

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Speaker 4: you can loosen or mess with. Break into your own computer,

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Speaker 4: just like, start start exploring. Get some of that kindergartener

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Speaker 4: and energy in you. Maybe it'll make eleventh grade a

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Speaker 4: little bit easier. But you're not missing anything. I'm sure

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Speaker 4: you're missing your friends. Friends are very important at that

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Speaker 4: age for me, for sure. I think that's the hardest part.

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Speaker 4: Like I feel I do feel for kids not being

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Speaker 4: able to see their friends, But I don't know how

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Speaker 4: bad I'm supposed to feel for them because we didn't

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Speaker 4: have the Internet or any streaming films or anything. So

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Speaker 4: I'm like, maybe we just raise a generation of introverts

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Speaker 4: and it's fucking fine.

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Speaker 1: Yeah, I can't say that I would have loved to

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Speaker 1: be in a classroom at that age, except for friends

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Speaker 1: and also like the one or two club type.

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Speaker 3: Things that I actually enjoyed going to, which there.

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Speaker 1: Was like a writing club that I was in that

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Speaker 1: you know, I might have would have wanted to attend.

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Speaker 1: But other than that, like that's after school, so it

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Speaker 1: doesn't even matter, Like that wasn't even a school based project.

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Speaker 3: Yeah, it was an extracurricular. I would love my friends

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Speaker 3: in anything that's not class.

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Speaker 4: Actually, did you write with the big plume pens in

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Speaker 4: writing club? Like I feel like it's such a it

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Speaker 4: sounds like it would be such an exotic, fancy affair.

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Speaker 3: Oh my god, it was so obnoxious.

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Speaker 1: I mean, you want to talk about like wonder Boys,

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Speaker 1: Like when we talked about the writing classes in Wonder

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Speaker 1: Boys a couple episodes ago, like it was so embarrassing

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Speaker 1: because you have to understand, this is the like early

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Speaker 1: it was probably like ninety I would say ninety four

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Speaker 1: or something like that, ninety five, where that whole like

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Speaker 1: beatnik coffee shop culture was the shit. Like I used

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Speaker 1: to sit around these really pretentious coffee shops in the city.

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Speaker 1: Like I would drive to Atlanta, drive like forty five

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Speaker 1: minutes into the city to sit in a coffee shop

402
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Speaker 1: that was called Cafe or Metso, and it was completely dark.

403
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Speaker 1: It was as dark as you know, a bathroom on

404
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Speaker 1: the inside of a house with no windows. And then

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Speaker 1: they would have like a couple of little tea lights

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Speaker 1: and it was just like alternative people.

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Speaker 3: In brats smoking cigarettes.

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Speaker 1: And I thought it was like Greenwish Village circa like

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Speaker 1: nineteen fifty nine. Like I was like, oh my god,

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Speaker 1: this is the center of culture in my life. And

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Speaker 1: I would write high school poetry in these like giant

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Speaker 1: books with like fucking angels on them and shit, and

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Speaker 1: then I would take these books to this writing club,

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Speaker 1: and you know, we would have these like poetry slams

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Speaker 1: where basically like we would stand up and read our

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Speaker 1: poetry to people, and I guarantee you they were either

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Speaker 1: like a mix of Kurt Cobain lyrics, mix with a

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Speaker 1: lot of like kind of Walt Whitman and shit, because

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Speaker 1: I just watched Dead Poets Society and just you know,

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Speaker 1: kind of riot girl adjacent type of thoughts and man,

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Speaker 1: that was what Riding Club was about, was just dumb

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Speaker 1: kids who wanted to be beat nicks.

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Speaker 4: I'm so into it because you were absolutely correct that

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Speaker 4: was one hundred percent a thing in the nineties.

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Speaker 2: I got the bug. It bit me too.

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Speaker 4: I have the worst poetry you could ever imagine in

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Speaker 4: some of my old journals. Definitely went to the New

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Speaker 4: Aurecan Cafe when I went to when I skip school

429
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Speaker 4: and go to New York every once in a while.

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Speaker 2: Felt wildly out of place and left. I didn't drink coffee, and.

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Speaker 3: I was shame or as I did not but go.

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Speaker 2: So much shame and then just left.

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Speaker 4: But when I tell you that the death of VHS

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Speaker 4: is probably a good thing, because there is somewhere there

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00:21:54,880 --> 00:21:58,120
Speaker 4: exists a tape of me attending a poetry slam night

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Speaker 4: and reading my poetry but also reading the lyrics to

437
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Speaker 4: an Aunie de Franco song.

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Speaker 2: If that ever came out.

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Speaker 4: When I tell you that, I would run down to

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Speaker 4: Hollywood and Vine, I'd run down to Sunset and just

441
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Speaker 4: roll myself all over the Walk of Fame, licking the

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Speaker 4: sidewalk until I expired.

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Speaker 2: I mean it.

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Speaker 1: I think we found your seven Deadly Monkeys. I think

445
00:22:27,040 --> 00:22:32,480
Speaker 1: we need to find this document of a time where I.

446
00:22:32,760 --> 00:22:39,280
Speaker 4: Cannot I cannot even imagine, years, all these years later.

447
00:22:39,160 --> 00:22:39,960
Speaker 2: What that looks like.

448
00:22:40,160 --> 00:22:43,600
Speaker 4: I'm feeling like that cold shame spread through my body

449
00:22:43,680 --> 00:22:45,040
Speaker 4: right now just thinking about it.

450
00:22:46,359 --> 00:22:47,400
Speaker 2: I had a crush on the.

451
00:22:47,359 --> 00:22:50,639
Speaker 4: Boy who lived next door, and he and his family

452
00:22:50,680 --> 00:22:52,080
Speaker 4: had just moved in, like when I was like in

453
00:22:52,080 --> 00:22:55,600
Speaker 4: tenth grade, and I thought he was so cute, and

454
00:22:55,640 --> 00:22:58,320
Speaker 4: I was friends with his mom, and he was older,

455
00:22:58,320 --> 00:23:01,080
Speaker 4: he was going to college already in New Paul, and

456
00:23:02,040 --> 00:23:08,520
Speaker 4: I spent an entire summer, an entire summer Millie with

457
00:23:08,600 --> 00:23:13,000
Speaker 4: my speakers angled out of my windows towards his house

458
00:23:14,040 --> 00:23:18,360
Speaker 4: and I played Charles Mingus Mingus.

459
00:23:19,440 --> 00:23:25,119
Speaker 2: For the entire summer so he would think I was cool. God,

460
00:23:25,760 --> 00:23:26,080
Speaker 2: So you.

461
00:23:26,040 --> 00:23:30,200
Speaker 3: Were doing like a.

462
00:23:29,080 --> 00:23:34,199
Speaker 1: Say anything ASQE type of like the song will be blasted,

463
00:23:34,400 --> 00:23:37,360
Speaker 1: and then they will understand how I feel type.

464
00:23:37,320 --> 00:23:40,720
Speaker 4: And they will understand that like I am mature and

465
00:23:40,800 --> 00:23:44,560
Speaker 4: I listened to jazz and I wrote poetry and I'm

466
00:23:44,640 --> 00:23:49,919
Speaker 4: so cool. Meanwhile, imagine say anything for ninety days straight,

467
00:23:52,520 --> 00:23:56,600
Speaker 4: because after like the third day, you go from romantic

468
00:23:57,520 --> 00:24:01,480
Speaker 4: to psychotic? Am I My mother would constantly yell at

469
00:24:01,520 --> 00:24:05,199
Speaker 4: me and be like turn that down, like what is

470
00:24:05,280 --> 00:24:06,280
Speaker 4: wrong with you?

471
00:24:07,520 --> 00:24:08,879
Speaker 2: And I remember one day.

472
00:24:08,840 --> 00:24:11,720
Speaker 4: She came up to my room and she's like, why

473
00:24:11,720 --> 00:24:14,399
Speaker 4: are your speakers pointed out of the house? Like I

474
00:24:14,400 --> 00:24:16,040
Speaker 4: don't want to listen to it in the house, but

475
00:24:16,040 --> 00:24:18,120
Speaker 4: why are they pointed out of the house. You are

476
00:24:18,520 --> 00:24:23,439
Speaker 4: annoying the entire neighborhood. She was so livid with me,

477
00:24:23,560 --> 00:24:26,400
Speaker 4: and he did not give a He was in college.

478
00:24:26,480 --> 00:24:27,600
Speaker 4: I was tenth grade.

479
00:24:28,280 --> 00:24:32,240
Speaker 3: So I'd need to ask what made you pick Charles Magus?

480
00:24:32,680 --> 00:24:34,720
Speaker 1: Was he a jazz guy or and you were just

481
00:24:34,760 --> 00:24:36,480
Speaker 1: trying to appeal to that part of him or you

482
00:24:36,520 --> 00:24:39,800
Speaker 1: just wanted to think that you were kind of like sophisticated.

483
00:24:40,880 --> 00:24:43,920
Speaker 4: Yes, I worked at a cafe up the street called

484
00:24:43,920 --> 00:24:46,560
Speaker 4: Love's and they always played jazz, and that's kind of

485
00:24:46,640 --> 00:24:50,160
Speaker 4: how I got into listening to jazz on my own,

486
00:24:50,720 --> 00:24:53,639
Speaker 4: and of course, because you know how my family is,

487
00:24:53,680 --> 00:24:56,240
Speaker 4: So I would be listening to some jazz and my

488
00:24:56,280 --> 00:24:58,240
Speaker 4: Grandma's like, oh yeah, like we used to see that

489
00:24:58,280 --> 00:25:01,960
Speaker 4: guy down at Berdlin or what. I'm like what She's like,

490
00:25:01,960 --> 00:25:03,719
Speaker 4: Oh yeah, he lived in the neighborhood. And I'm like

491
00:25:03,840 --> 00:25:06,720
Speaker 4: he being Sonny Rollins, like what are you talking about?

492
00:25:08,640 --> 00:25:10,600
Speaker 4: And she would pull out records and I'm like, where

493
00:25:10,600 --> 00:25:11,960
Speaker 4: are these records coming from?

494
00:25:12,000 --> 00:25:15,240
Speaker 2: You only listen to Alabama like it is. It was wild.

495
00:25:15,720 --> 00:25:18,240
Speaker 4: So because she grew up in a Harlem, she always

496
00:25:18,280 --> 00:25:19,080
Speaker 4: had stories.

497
00:25:19,280 --> 00:25:21,600
Speaker 2: And here's a bonker story for you.

498
00:25:22,600 --> 00:25:28,080
Speaker 4: So my great grandfather, my grandfather's dad, whom I never met,

499
00:25:28,400 --> 00:25:31,280
Speaker 4: he left the family when he was when my granddad

500
00:25:31,320 --> 00:25:33,920
Speaker 4: was like nine, nine or ten, and they never talked

501
00:25:33,920 --> 00:25:36,359
Speaker 4: about him, much like my great grandma ever talked about him.

502
00:25:36,400 --> 00:25:36,720
Speaker 2: Nothing.

503
00:25:37,280 --> 00:25:41,320
Speaker 4: Cut to five years ago. Five years ago, I'm in

504
00:25:41,359 --> 00:25:47,200
Speaker 4: my late thirties. My grandmother, very casually on the phone mentions, oh, yeah,

505
00:25:47,200 --> 00:25:49,119
Speaker 4: well you know your great granddad and the whole Billie

506
00:25:49,119 --> 00:25:52,320
Speaker 4: Holiday thing. And I was like, I'm sorry, I don't

507
00:25:52,480 --> 00:25:55,159
Speaker 4: what are you talking about? And she said, well, you know,

508
00:25:55,200 --> 00:25:56,720
Speaker 4: like when he ran away from the family. It was

509
00:25:56,720 --> 00:26:00,119
Speaker 4: because he was running away with Billy Holliday.

510
00:26:00,520 --> 00:26:01,640
Speaker 2: So long story.

511
00:26:01,400 --> 00:26:07,120
Speaker 4: Short, my great granddad played stride piano. He played jazz piano.

512
00:26:07,800 --> 00:26:11,080
Speaker 4: I have a couple of his CDs now. But he

513
00:26:11,760 --> 00:26:15,159
Speaker 4: ran away from his family to go tour with Billie

514
00:26:15,160 --> 00:26:19,399
Speaker 4: Holiday in Europe and they were engaged and it didn't

515
00:26:19,440 --> 00:26:22,600
Speaker 4: work out, and he came back and basically like played

516
00:26:22,640 --> 00:26:25,679
Speaker 4: the Catskills and died in the Catskills. Oh my, no

517
00:26:25,760 --> 00:26:28,399
Speaker 4: one I got to tell me this until five years.

518
00:26:28,400 --> 00:26:30,760
Speaker 4: The whole time on Blast and Charles mingus out the

519
00:26:30,760 --> 00:26:35,600
Speaker 4: window for this goon next door to here, nobody thought

520
00:26:35,720 --> 00:26:39,320
Speaker 4: to say, hey, we have a direct connection to jazz

521
00:26:39,400 --> 00:26:40,280
Speaker 4: in our family.

522
00:26:41,000 --> 00:26:42,920
Speaker 2: And then all of a sudden I looked up pictures.

523
00:26:42,920 --> 00:26:46,480
Speaker 4: I talked to a historian because I was like, how

524
00:26:46,520 --> 00:26:49,200
Speaker 4: do I find out more about my great granddad? And

525
00:26:49,240 --> 00:26:51,480
Speaker 4: there was this historian in England who kind of knew

526
00:26:51,480 --> 00:26:53,639
Speaker 4: all about him. So I just called this guy on

527
00:26:53,680 --> 00:26:55,199
Speaker 4: the phone and talked to him and he sent me

528
00:26:55,200 --> 00:26:58,160
Speaker 4: all these photos and it is wild.

529
00:26:58,720 --> 00:27:01,639
Speaker 3: Oh my god, that's amazing.

530
00:27:01,800 --> 00:27:03,679
Speaker 2: So I played jazz out the window because it's in

531
00:27:03,720 --> 00:27:05,159
Speaker 2: my blood. Millie, it's in my blood.

532
00:27:05,280 --> 00:27:08,720
Speaker 3: Oh my god, Well duh, no knowing that.

533
00:27:09,640 --> 00:27:11,840
Speaker 4: But really the true answer to that is that the

534
00:27:11,920 --> 00:27:14,399
Speaker 4: reason I played jazz is because I went over there

535
00:27:14,480 --> 00:27:17,160
Speaker 4: the house one day and I had tea with his mom,

536
00:27:17,480 --> 00:27:20,240
Speaker 4: and she was showing me like this Caravaggio book of

537
00:27:20,440 --> 00:27:23,360
Speaker 4: paintings and they had like a Caravaggio poster up. And

538
00:27:23,480 --> 00:27:25,800
Speaker 4: I was looking through the stack of CDs they had

539
00:27:25,840 --> 00:27:27,760
Speaker 4: in the kitchen and I was like, oh, what's this

540
00:27:27,920 --> 00:27:30,399
Speaker 4: and she said that of one of the CDs was his,

541
00:27:30,520 --> 00:27:31,800
Speaker 4: and it was a Charles Minga CD.

542
00:27:31,960 --> 00:27:34,040
Speaker 3: And I was like, oh, I love this.

543
00:27:34,160 --> 00:27:37,560
Speaker 1: It took a little piece of information and you hinged

544
00:27:37,560 --> 00:27:38,880
Speaker 1: an entire crush on it.

545
00:27:39,240 --> 00:27:40,240
Speaker 3: I loved it.

546
00:27:40,280 --> 00:27:42,720
Speaker 4: Store this away And he's like, I cannot wait to

547
00:27:42,760 --> 00:27:45,160
Speaker 4: get back to college. Like, what is you live next

548
00:27:45,160 --> 00:27:48,200
Speaker 4: door to a tiny maniac? I cannot wait to get

549
00:27:48,200 --> 00:27:48,640
Speaker 4: out of here.

550
00:27:49,440 --> 00:27:52,040
Speaker 1: You know, it makes me wonder if this guy is

551
00:27:52,080 --> 00:27:55,600
Speaker 1: on a podcast right now talking about how he had

552
00:27:55,640 --> 00:27:58,280
Speaker 1: a neighbor once that used to blast Charles mngus out

553
00:27:58,320 --> 00:28:01,200
Speaker 1: of the windows of their house and what does it mean.

554
00:28:02,240 --> 00:28:04,159
Speaker 4: Also, keep in mind that I grew up across the

555
00:28:04,200 --> 00:28:07,200
Speaker 4: street from a from our cable company. So my house

556
00:28:07,320 --> 00:28:09,639
Speaker 4: was on this very short dead end street and it

557
00:28:09,720 --> 00:28:12,960
Speaker 4: was just like three houses and the cable company. So

558
00:28:13,040 --> 00:28:15,240
Speaker 4: the cable company guys would be like out on their

559
00:28:15,280 --> 00:28:19,760
Speaker 4: trucks eating sandwiches, like with their work boots on, spitting

560
00:28:20,640 --> 00:28:24,840
Speaker 4: smoking cigarettes, and I'm like, here's Charles minguz to rifle

561
00:28:24,880 --> 00:28:26,560
Speaker 4: through a day.

562
00:28:26,960 --> 00:28:34,919
Speaker 2: Like everyone in the neighborhood thought I was nuts. So

563
00:28:35,000 --> 00:28:36,280
Speaker 2: you were a neighborhood creep.

564
00:28:36,720 --> 00:28:38,440
Speaker 1: I was your neighbor of jazz, So you were like

565
00:28:38,480 --> 00:28:41,960
Speaker 1: the neighborhood jazz creep, really, which is kind of the

566
00:28:42,000 --> 00:28:42,600
Speaker 1: best creep.

567
00:28:43,280 --> 00:28:45,600
Speaker 3: I would love that kind of creep, to be honest.

568
00:28:46,560 --> 00:28:48,000
Speaker 2: I was a jazz creep.

569
00:28:48,360 --> 00:28:52,040
Speaker 4: That's the triddle of my next books about all of

570
00:28:52,080 --> 00:28:54,320
Speaker 4: my crushes and how horribly wrong they went.

571
00:28:55,120 --> 00:28:58,360
Speaker 1: I want the coverage here next book to be a

572
00:28:58,400 --> 00:29:02,880
Speaker 1: picture of you in a soft lit cafe with a

573
00:29:02,920 --> 00:29:06,120
Speaker 1: saxophone in your hands, and you're just laughing with like

574
00:29:06,120 --> 00:29:07,880
Speaker 1: like your saxophones in one hand, and then you have

575
00:29:07,960 --> 00:29:09,360
Speaker 1: the other hand up just kind.

576
00:29:09,200 --> 00:29:12,560
Speaker 3: Of like a you know, laugh just to just to

577
00:29:13,560 --> 00:29:15,200
Speaker 3: like a devil make care laugh.

578
00:29:15,720 --> 00:29:20,000
Speaker 1: And then I want jazz creep to be painted across

579
00:29:20,080 --> 00:29:23,400
Speaker 1: the cover in a watercolor stroke.

580
00:29:25,080 --> 00:29:27,280
Speaker 4: It's happening, and I'm gonna be holding in the in

581
00:29:27,320 --> 00:29:29,640
Speaker 4: the hand that's just kind of like whatever, saxophone in

582
00:29:29,640 --> 00:29:32,000
Speaker 4: one hand, a little notebook with angels on the cover.

583
00:29:32,040 --> 00:29:32,720
Speaker 2: In the other.

584
00:29:35,600 --> 00:29:37,400
Speaker 3: My finest words in this book.

585
00:29:38,240 --> 00:29:40,120
Speaker 4: When it comes time for you to release your spoken

586
00:29:40,160 --> 00:29:43,240
Speaker 4: word album, that will be the cover, just angels.

587
00:29:43,760 --> 00:29:47,360
Speaker 3: All right, My my ari's brain is going now. I'm like,

588
00:29:47,920 --> 00:29:49,360
Speaker 3: I will read the spoken word.

589
00:29:50,280 --> 00:29:53,880
Speaker 1: You will play Charles Mingus out of a speaker coming

590
00:29:53,920 --> 00:29:55,480
Speaker 1: from another building, and.

591
00:29:55,400 --> 00:29:58,280
Speaker 3: We will take this on the road. This will be

592
00:29:58,320 --> 00:29:59,280
Speaker 3: a live podcast.

593
00:29:59,560 --> 00:30:00,600
Speaker 2: This is our live show.

594
00:30:00,760 --> 00:30:03,160
Speaker 4: If you guys wanted to get to meet Millie and I,

595
00:30:03,440 --> 00:30:05,560
Speaker 4: they'll be like, didn't they used to talk about movies?

596
00:30:05,600 --> 00:30:09,040
Speaker 4: Why are they just have a stax pointed at us

597
00:30:09,040 --> 00:30:12,320
Speaker 4: from the stage, blasting Charles Mingus with this picture of

598
00:30:12,360 --> 00:30:13,720
Speaker 4: an angel in the backdrop?

599
00:30:14,040 --> 00:30:16,800
Speaker 2: What did we pay for? They're not even here, They're

600
00:30:16,800 --> 00:30:17,640
Speaker 2: not even talking.

601
00:30:18,680 --> 00:30:24,840
Speaker 4: They're just letting Charles Mingus do all the talking for them.

602
00:30:25,280 --> 00:30:27,840
Speaker 4: Our first live tour is going to be called Jazz Creeps.

603
00:30:29,640 --> 00:30:33,000
Speaker 4: Join us on the Jazz Creeps Tour. Speaking of movies,

604
00:30:33,080 --> 00:30:34,160
Speaker 4: we should get into ours.

605
00:30:34,360 --> 00:30:37,840
Speaker 1: Oh my god, it almost feels like I forgot why

606
00:30:38,040 --> 00:30:44,440
Speaker 1: here today?

607
00:30:44,600 --> 00:30:49,240
Speaker 4: So Millie, yes, can you tell us about our theme?

608
00:30:50,360 --> 00:30:53,440
Speaker 3: I sure will because it's a holiday.

609
00:30:53,760 --> 00:30:59,320
Speaker 1: Technically soon we decided that we're gonna do a theme

610
00:30:59,440 --> 00:31:03,280
Speaker 1: called complicated mother daughter relationships.

611
00:31:03,800 --> 00:31:05,800
Speaker 4: Sounds about right for Mother's Day.

612
00:31:07,520 --> 00:31:10,680
Speaker 1: I mean, listen, when it comes down to it, you know,

613
00:31:10,720 --> 00:31:12,120
Speaker 1: there's there's a lot.

614
00:31:11,920 --> 00:31:13,520
Speaker 3: Of movies about mother's daughters.

615
00:31:13,560 --> 00:31:14,160
Speaker 2: We all know this.

616
00:31:14,280 --> 00:31:18,200
Speaker 1: There's a lot of movies about family, about great grandfathers

617
00:31:18,280 --> 00:31:21,880
Speaker 1: being engaged to Billie Holiday and their great granddaughters.

618
00:31:23,320 --> 00:31:24,880
Speaker 3: Oh no, wait, that's not a movie yet. Oh it's

619
00:31:24,880 --> 00:31:26,160
Speaker 3: because Danielle needs to write it.

620
00:31:26,200 --> 00:31:32,280
Speaker 1: Okay, But you know it's a thing where we're like, oh, sure,

621
00:31:32,320 --> 00:31:37,400
Speaker 1: we could play like a really positive portrayal of a

622
00:31:37,480 --> 00:31:41,680
Speaker 1: mother and daughter just being like super kind and.

623
00:31:43,000 --> 00:31:45,720
Speaker 3: Familial and warm and lovely to each other.

624
00:31:46,240 --> 00:31:52,800
Speaker 4: You don't come here for that. We know who you are.

625
00:31:52,840 --> 00:31:54,240
Speaker 4: You don't come here for the warm fuzzz.

626
00:31:57,320 --> 00:31:59,120
Speaker 3: No, you wouldn't come for that.

627
00:31:59,280 --> 00:32:02,520
Speaker 1: You would come to hear whatever the jazz creepes had

628
00:32:02,520 --> 00:32:06,480
Speaker 1: to talk about today, which is, you know, movies that

629
00:32:07,320 --> 00:32:10,200
Speaker 1: are about complicated mother and daughter relationships.

630
00:32:11,760 --> 00:32:14,560
Speaker 3: Maybe they're bad moms, you.

631
00:32:14,560 --> 00:32:17,640
Speaker 4: Know, not everyone wanted kids, and so many of people

632
00:32:17,680 --> 00:32:21,160
Speaker 4: don't admit that that, like, they were moms not by

633
00:32:21,280 --> 00:32:24,239
Speaker 4: choice but by circumstance, and they ain't good at it.

634
00:32:25,080 --> 00:32:29,080
Speaker 4: My mom isn't good at it. Mom was terrible at it.

635
00:32:29,400 --> 00:32:33,240
Speaker 4: She tried her hardest, but she was not good at Yeah.

636
00:32:33,240 --> 00:32:35,960
Speaker 1: I think it is kind of a sacred cow really,

637
00:32:36,080 --> 00:32:37,520
Speaker 1: the mom, the role of the mother.

638
00:32:37,800 --> 00:32:40,360
Speaker 2: But that's why we wanted to explore this exactly.

639
00:32:40,960 --> 00:32:43,800
Speaker 1: And I think with these two movies, like I said,

640
00:32:43,840 --> 00:32:45,640
Speaker 1: I think I just kind of off the cuff said

641
00:32:45,680 --> 00:32:46,320
Speaker 1: bad moms.

642
00:32:47,160 --> 00:32:49,760
Speaker 3: They're complicated. They're complicated.

643
00:32:50,360 --> 00:32:53,320
Speaker 1: One of them is really bad. One is really just bad.

644
00:32:53,520 --> 00:32:57,720
Speaker 1: Will I will say that one is just bad the

645
00:32:57,800 --> 00:33:00,640
Speaker 1: other one. I think it is sort of a back

646
00:33:00,680 --> 00:33:03,320
Speaker 1: and forth between whether or not she might be bad

647
00:33:03,480 --> 00:33:04,520
Speaker 1: or is misunderstood.

648
00:33:04,560 --> 00:33:06,880
Speaker 2: I don't know what to think of it, but.

649
00:33:07,000 --> 00:33:09,320
Speaker 1: I would love to hear your take on it, because

650
00:33:09,560 --> 00:33:12,120
Speaker 1: it's your movie, so it would be amazing to hear

651
00:33:12,160 --> 00:33:13,600
Speaker 1: you your thoughts on it.

652
00:33:13,640 --> 00:33:14,120
Speaker 3: You know what I mean.

653
00:33:14,400 --> 00:33:16,560
Speaker 4: Well, I'm going to break it down. Let me tell

654
00:33:16,600 --> 00:33:20,000
Speaker 4: you first of all that my pick for this theme

655
00:33:20,280 --> 00:33:25,320
Speaker 4: of complicated mother daughter relationships is Mermaids, which was released

656
00:33:25,320 --> 00:33:28,480
Speaker 4: in nineteen ninety and directed by Richard Benjamin.

657
00:33:29,000 --> 00:33:31,760
Speaker 2: Sometimes I feel like you're the child and I'm the

658
00:33:31,760 --> 00:33:32,280
Speaker 2: grown up.

659
00:33:33,280 --> 00:33:37,600
Speaker 1: This cheeseball picked me up, stand Fort dessert, marshmallow coo bobs.

660
00:33:37,960 --> 00:33:39,320
Speaker 3: I don't do anything I wouldn't do.

661
00:33:39,800 --> 00:33:42,400
Speaker 2: I'm trying to fast well after my mom.

662
00:33:42,440 --> 00:33:43,520
Speaker 3: That thinks seems fast.

663
00:33:44,120 --> 00:33:47,040
Speaker 4: Richard Benjamin also directed The Money Pit. And he's an actor,

664
00:33:47,640 --> 00:33:51,200
Speaker 4: which I just sound fascinating. He's been in tons of films,

665
00:33:51,880 --> 00:33:54,560
Speaker 4: but he's also a director in his own right. And

666
00:33:54,800 --> 00:33:58,280
Speaker 4: this this screenplay was written by June Roberts, but it's

667
00:33:58,320 --> 00:34:02,000
Speaker 4: based on the book Mermaids by Patty Dan. And what

668
00:34:02,120 --> 00:34:04,480
Speaker 4: I didn't know until I started doing research for this

669
00:34:05,280 --> 00:34:09,880
Speaker 4: show is that Patty Dan got her MFA at Columbia

670
00:34:10,320 --> 00:34:15,440
Speaker 4: and Mermaids was her thesis. M can you imagine my

671
00:34:15,600 --> 00:34:18,440
Speaker 4: thesis being turned into a movie's? My master's thesis was

672
00:34:18,440 --> 00:34:22,960
Speaker 4: about Victorian motherhood in the representation of modern day mommy blogs.

673
00:34:23,080 --> 00:34:24,760
Speaker 3: I would watch that movie.

674
00:34:24,400 --> 00:34:28,680
Speaker 2: What wouldn't even think to turn it into anything other

675
00:34:28,719 --> 00:34:29,279
Speaker 2: than what it is?

676
00:34:29,280 --> 00:34:33,480
Speaker 4: Like eighty pages of me just being like mad.

677
00:34:33,880 --> 00:34:36,399
Speaker 1: I didn't even get to a thesis. I dropped out,

678
00:34:36,440 --> 00:34:37,120
Speaker 1: So there you go.

679
00:34:37,320 --> 00:34:38,960
Speaker 4: You could write a thesis whenever you want. You don't

680
00:34:38,960 --> 00:34:40,080
Speaker 4: how to be in school to write one?

681
00:34:40,320 --> 00:34:42,080
Speaker 3: Can podcast be my thesis?

682
00:34:42,320 --> 00:34:43,680
Speaker 2: It is? It is now?

683
00:34:44,080 --> 00:34:44,560
Speaker 3: Thank you.

684
00:34:44,960 --> 00:34:48,600
Speaker 4: So we've got this film, and this film is just

685
00:34:48,600 --> 00:34:52,120
Speaker 4: filled with stars. So you have Share starring as Missus Flax,

686
00:34:52,400 --> 00:34:56,120
Speaker 4: who's this flamboyant mother of two who leaves town every

687
00:34:56,160 --> 00:34:59,880
Speaker 4: time she ends a relationship. You have when Nona Ry

688
00:35:00,320 --> 00:35:04,560
Speaker 4: playing Charlotte Flax, who is fifteen. She's this young girl

689
00:35:04,560 --> 00:35:08,360
Speaker 4: who's obsessed with Catholicism and she was actually nominated for

690
00:35:08,400 --> 00:35:10,440
Speaker 4: a Golden Globe for this, which I also didn't know.

691
00:35:11,640 --> 00:35:15,000
Speaker 4: Then you have a very tiny Christina Ricci playing Hate Flax,

692
00:35:15,080 --> 00:35:18,360
Speaker 4: who's nine, and she's kind of this swimming obsessed little

693
00:35:18,400 --> 00:35:20,880
Speaker 4: sister who does things like walking around with a pumpkin

694
00:35:20,920 --> 00:35:24,880
Speaker 4: on her head, which is the best scene in his food,

695
00:35:26,840 --> 00:35:29,760
Speaker 4: the best, So buddy, make me a give of that please.

696
00:35:30,960 --> 00:35:33,560
Speaker 4: You have Bob Hoskins, who plays the you know, the

697
00:35:33,880 --> 00:35:38,000
Speaker 4: shoe store owner in this small town, and Michael Shuffling

698
00:35:38,120 --> 00:35:41,879
Speaker 4: who plays a convent groundskeeper. He's also the school bus driver.

699
00:35:42,200 --> 00:35:44,960
Speaker 4: He's like this all around New England guy. And just

700
00:35:45,040 --> 00:35:47,919
Speaker 4: for a fun fact, Michael Shuffling is sixty years old

701
00:35:47,960 --> 00:35:50,960
Speaker 4: now and he's a handcrafted furniture maker in Pennsylvania. Like

702
00:35:51,000 --> 00:35:53,680
Speaker 4: he had a furniture store sixty so he went from

703
00:35:53,719 --> 00:35:55,520
Speaker 4: sixteen candles, he's sixty.

704
00:35:56,200 --> 00:35:59,160
Speaker 1: Oh my god, I can't even that's I can't process it.

705
00:35:59,520 --> 00:36:01,880
Speaker 3: Simply, I simply feeling old myself.

706
00:36:01,920 --> 00:36:04,719
Speaker 4: So that's yeah, craz He was hot as shit and

707
00:36:04,760 --> 00:36:06,520
Speaker 4: only did a couple of movies and then dropped out

708
00:36:06,520 --> 00:36:09,040
Speaker 4: of Hollywood to like open this furniture store.

709
00:36:09,120 --> 00:36:10,440
Speaker 3: Yeah, he's become like legend.

710
00:36:11,120 --> 00:36:13,000
Speaker 2: Yeah, so he's just doing it.

711
00:36:13,040 --> 00:36:17,280
Speaker 4: So the synopsis of this movie is that it's nineteen

712
00:36:17,360 --> 00:36:20,759
Speaker 4: sixty three. Missus Flax and her daughters are living in

713
00:36:20,800 --> 00:36:26,200
Speaker 4: Oklahoma and they moved to Eastport, Massachusetts after she ends

714
00:36:26,239 --> 00:36:29,520
Speaker 4: an affair with her boss. This is the eighteenth time

715
00:36:29,560 --> 00:36:33,640
Speaker 4: they've moved, and they were into a small house whose

716
00:36:33,680 --> 00:36:37,520
Speaker 4: only neighbor is a convent, which is thrilling to Charlotte,

717
00:36:37,560 --> 00:36:42,160
Speaker 4: who's this again obsessed with Catholicism. Rachel, missus Flax, starts

718
00:36:42,239 --> 00:36:46,320
Speaker 4: dating lou the Bob Hoskins character from The Shoe Store.

719
00:36:46,800 --> 00:36:49,400
Speaker 4: Charlotte falls in love with the first man she sees,

720
00:36:49,520 --> 00:36:52,080
Speaker 4: but to be fair that man is Michael Sheffley. It's

721
00:36:52,080 --> 00:36:54,920
Speaker 4: a good one, and Kate is mostly just you know,

722
00:36:55,000 --> 00:36:58,399
Speaker 4: adorable and trying to become an Olympic swimmer. So at

723
00:36:58,440 --> 00:37:01,800
Speaker 4: its heart, this is definitely a mother and daughter coming

724
00:37:01,800 --> 00:37:04,600
Speaker 4: of age story where both the mother and daughter are

725
00:37:04,600 --> 00:37:08,879
Speaker 4: coming of age because Rachel is emotionally immature and kind

726
00:37:08,920 --> 00:37:10,879
Speaker 4: of like she's the kind of mom who only knows

727
00:37:10,920 --> 00:37:13,240
Speaker 4: how to cook or dirves, so that's what she serves

728
00:37:13,280 --> 00:37:16,440
Speaker 4: as full meals, which I think is just a lovely

729
00:37:16,480 --> 00:37:18,080
Speaker 4: little beat for this movie.

730
00:37:18,080 --> 00:37:19,200
Speaker 2: It's just so fun.

731
00:37:19,239 --> 00:37:22,160
Speaker 4: Classic hot mom, classic hot moms, like I don't have

732
00:37:22,200 --> 00:37:24,600
Speaker 4: time to even make you a sandwich. I gotta go

733
00:37:24,640 --> 00:37:27,640
Speaker 4: out there and be hot. Yeah, and then again like

734
00:37:27,680 --> 00:37:31,320
Speaker 4: you have Charlotte who Charlotte is obsessed with her father

735
00:37:31,360 --> 00:37:33,640
Speaker 4: who left when she was born, and she only saw

736
00:37:33,760 --> 00:37:37,279
Speaker 4: him once through in Eclipse, which is a real kick

737
00:37:37,320 --> 00:37:40,399
Speaker 4: in the dick to her mom, Like I met this

738
00:37:40,440 --> 00:37:43,279
Speaker 4: guy once while I was staring at the sun.

739
00:37:43,560 --> 00:37:45,520
Speaker 2: But I like him more than you like. I think

740
00:37:45,560 --> 00:37:47,160
Speaker 2: about him more than you.

741
00:37:49,200 --> 00:37:52,120
Speaker 4: Like. Damn. I know she only serves you or dirves,

742
00:37:52,160 --> 00:37:54,520
Speaker 4: but you haven't gotten scurvy yet, like you've been Okay,

743
00:37:55,000 --> 00:37:59,120
Speaker 4: give her a break, let her be hot, Like it's

744
00:37:59,280 --> 00:38:02,480
Speaker 4: so weird that she's like her whole focus in this

745
00:38:02,520 --> 00:38:04,920
Speaker 4: movie is like her dad, so she wears his shoes

746
00:38:04,960 --> 00:38:07,719
Speaker 4: all the time and it's just so strange.

747
00:38:08,760 --> 00:38:11,200
Speaker 2: But their central conflict really is that.

748
00:38:12,560 --> 00:38:15,440
Speaker 4: I think, is that Charlotte wants Rachel to be someone

749
00:38:15,640 --> 00:38:17,879
Speaker 4: she will never be, which is like this buttoned down

750
00:38:18,000 --> 00:38:23,719
Speaker 4: nineteen fifties mom, and Rachel cannot handle being judged at all,

751
00:38:24,120 --> 00:38:25,120
Speaker 4: even from her children.

752
00:38:25,920 --> 00:38:27,400
Speaker 2: So that leads.

753
00:38:27,520 --> 00:38:30,359
Speaker 4: You know, Charlotte's also kind of our narrator in this film,

754
00:38:30,400 --> 00:38:33,960
Speaker 4: and you get to hear her inner thoughts. You know,

755
00:38:34,239 --> 00:38:37,399
Speaker 4: Joe is kind of her as her crush. We learn

756
00:38:37,440 --> 00:38:39,839
Speaker 4: a little bit about him. He rings the bell at

757
00:38:39,840 --> 00:38:43,840
Speaker 4: the convent, very important job in nineteen sixty three, but

758
00:38:43,920 --> 00:38:46,719
Speaker 4: he's also like the center of the small town whispers

759
00:38:46,719 --> 00:38:50,040
Speaker 4: because he used to play sports and he had a girlfriend,

760
00:38:50,040 --> 00:38:52,839
Speaker 4: and then his girlfriend moved away kind of amidst these

761
00:38:52,920 --> 00:38:55,680
Speaker 4: rumors that she was pregnant, So we're supposed to believe

762
00:38:55,680 --> 00:38:57,759
Speaker 4: that this just ruined his fucking life forever and he

763
00:38:57,840 --> 00:39:02,200
Speaker 4: never dated again, even though he's like twenty five now,

764
00:39:02,520 --> 00:39:04,719
Speaker 4: Like he just works at the convent. He's like it's fine.

765
00:39:04,719 --> 00:39:08,640
Speaker 4: I had one girlfriend. I'm good, so that's kind of

766
00:39:08,680 --> 00:39:11,080
Speaker 4: like her. And you know, Charlotte when she sees him,

767
00:39:11,200 --> 00:39:15,360
Speaker 4: is very awkward, and Wenona Ryder plays it perfectly, of course,

768
00:39:15,400 --> 00:39:18,120
Speaker 4: and she says things like, you know, please don't let me, Please, God,

769
00:39:18,120 --> 00:39:20,120
Speaker 4: don't let me fall in love and want to do

770
00:39:20,239 --> 00:39:21,280
Speaker 4: disgusting things.

771
00:39:21,800 --> 00:39:22,760
Speaker 2: She's so funny.

772
00:39:23,000 --> 00:39:25,200
Speaker 3: I love a horny Catholic.

773
00:39:25,440 --> 00:39:27,920
Speaker 1: I mean, this one noa writer character kind of reminds

774
00:39:27,960 --> 00:39:30,759
Speaker 1: me of like Mary Catherine Gallagher, where they're both like,

775
00:39:31,040 --> 00:39:34,400
Speaker 1: you know, these Catholic schoolgirls but are just completely obsessed

776
00:39:34,400 --> 00:39:39,280
Speaker 1: with thinking about sex. That energy of that, it's basically

777
00:39:39,320 --> 00:39:41,879
Speaker 1: that energy. The entire movie is this like, oh my God,

778
00:39:41,920 --> 00:39:44,000
Speaker 1: please don't let me jump on top of him and

779
00:39:44,080 --> 00:39:47,440
Speaker 1: ran my tongue down his throat whilst doing like our

780
00:39:47,480 --> 00:39:50,879
Speaker 1: father Houard in Heaven Halloween. I mean, I'm like, Yo, Catholics,

781
00:39:51,880 --> 00:39:56,960
Speaker 1: y'all are fucking some people up, Okay, including me, but

782
00:39:57,000 --> 00:40:00,640
Speaker 1: I'm just saying I identify with that shit, right. You know,

783
00:40:01,160 --> 00:40:05,160
Speaker 1: It's kind of a character we've seen before, but Winona

784
00:40:05,280 --> 00:40:06,799
Speaker 1: Ryder is really good at it.

785
00:40:07,040 --> 00:40:07,840
Speaker 2: She's great at it.

786
00:40:07,880 --> 00:40:10,640
Speaker 4: And also because it's nineteen sixty three, it takes on

787
00:40:10,719 --> 00:40:15,360
Speaker 4: a more interesting, more believable kind of like sheen to

788
00:40:15,440 --> 00:40:18,080
Speaker 4: it for me, Like it takes on a whole different feeling.

789
00:40:18,480 --> 00:40:18,719
Speaker 3: Yeah.

790
00:40:18,760 --> 00:40:24,319
Speaker 1: Plus she's Jewish, yes, which is what Cher's character keeps

791
00:40:24,400 --> 00:40:26,480
Speaker 1: telling her, We're Jewish.

792
00:40:26,600 --> 00:40:28,480
Speaker 3: Why are you obsessed with Catholicism?

793
00:40:28,800 --> 00:40:30,960
Speaker 4: It is one of my favorite lines in the movie

794
00:40:31,040 --> 00:40:34,080
Speaker 4: where Charlotte is like kneeling down and praying and Cher

795
00:40:34,320 --> 00:40:37,400
Speaker 4: just walks by her bedroom door, comes back and goes, Charlotte,

796
00:40:37,400 --> 00:40:38,960
Speaker 4: we're Jewish, and then walks away.

797
00:40:43,000 --> 00:40:44,120
Speaker 2: Oh, it's so funny.

798
00:40:44,239 --> 00:40:46,920
Speaker 4: But then you do you get to instantly see how

799
00:40:47,280 --> 00:40:50,440
Speaker 4: Charlotte's obsession with Catholicism is fucking her up. Because when

800
00:40:50,520 --> 00:40:58,239
Speaker 4: JFK dies, Charlotte runs to the convent, kisses Joe, basically disassociates,

801
00:40:58,920 --> 00:41:02,680
Speaker 4: and steals Rachel's car because she thinks she's pregnant, and

802
00:41:02,719 --> 00:41:05,440
Speaker 4: she just drives through the night and ends up in Connecticut,

803
00:41:06,000 --> 00:41:08,040
Speaker 4: and you know, the car breaks down and she knocks

804
00:41:08,040 --> 00:41:09,680
Speaker 4: on the door of this family and has this whole

805
00:41:09,719 --> 00:41:13,920
Speaker 4: story about how her name is Salval and it's like

806
00:41:13,960 --> 00:41:18,200
Speaker 4: she just completely freaks out because she kissed him and

807
00:41:18,280 --> 00:41:21,080
Speaker 4: thinks she's pregnant and has to like go to a

808
00:41:21,080 --> 00:41:24,520
Speaker 4: gynecologist who's like, you're still a virgin.

809
00:41:24,880 --> 00:41:26,160
Speaker 2: So I don't know, like, I don't know that, I

810
00:41:26,160 --> 00:41:28,120
Speaker 2: don't know that. I buy that this hot mom never

811
00:41:28,160 --> 00:41:29,520
Speaker 2: talked to her daughters about sex.

812
00:41:30,160 --> 00:41:33,279
Speaker 3: Yeah, there's that for sure. It feels like it might

813
00:41:33,320 --> 00:41:34,399
Speaker 3: have come up in it.

814
00:41:34,440 --> 00:41:38,080
Speaker 1: But you know, like I said, and as a recovering Catholic,

815
00:41:38,120 --> 00:41:39,600
Speaker 1: maybe I will say that I.

816
00:41:39,440 --> 00:41:42,239
Speaker 3: Definitely did not hear a damn word about sex growing up.

817
00:41:42,520 --> 00:41:45,160
Speaker 1: So I could kind of commiserate because I you know,

818
00:41:45,200 --> 00:41:47,200
Speaker 1: I don't know if I would have thought I kissed

819
00:41:47,200 --> 00:41:49,840
Speaker 1: a guy now I'm gonna have to go to another

820
00:41:49,880 --> 00:41:53,600
Speaker 1: town to have his love child and be the scoorn

821
00:41:53,680 --> 00:41:56,200
Speaker 1: of the community.

822
00:41:56,280 --> 00:41:57,200
Speaker 2: He's that potent.

823
00:41:57,600 --> 00:42:02,160
Speaker 1: But there was a lack of education about sex that

824
00:42:02,239 --> 00:42:05,360
Speaker 1: I deeply connected with her character on.

825
00:42:05,560 --> 00:42:07,040
Speaker 2: So that's true. That's true.

826
00:42:07,080 --> 00:42:09,640
Speaker 4: And again as nineteen sixty three, so it makes perfect

827
00:42:09,719 --> 00:42:11,760
Speaker 4: sense that she'd be like, I kissed him, I'm pregnant.

828
00:42:11,920 --> 00:42:12,840
Speaker 2: This is weird.

829
00:42:13,719 --> 00:42:17,359
Speaker 4: But she flips out, She like totally dissociates, and I

830
00:42:17,400 --> 00:42:19,880
Speaker 4: think that, like when she comes back, it's the conversation

831
00:42:19,960 --> 00:42:21,600
Speaker 4: that she has with Sha that I think is just

832
00:42:21,640 --> 00:42:23,680
Speaker 4: so interesting because you get to see them fight, and

833
00:42:23,719 --> 00:42:25,839
Speaker 4: they fight so good in this movie, Like, these two

834
00:42:25,920 --> 00:42:30,239
Speaker 4: characters fight so well. I was reading about this and

835
00:42:30,280 --> 00:42:34,000
Speaker 4: in the research I read that someone else was supposed

836
00:42:34,040 --> 00:42:38,520
Speaker 4: to play Charlotte. But Cher was like, she she's not

837
00:42:38,640 --> 00:42:40,680
Speaker 4: she's not my daughter, Like she doesn't even feel like

838
00:42:40,719 --> 00:42:42,760
Speaker 4: my daughter or look like she would be my daughter.

839
00:42:43,080 --> 00:42:45,520
Speaker 4: So Cher basically had this actress fired. And then the

840
00:42:45,560 --> 00:42:50,560
Speaker 4: actress want a lawsuit against the filmmakers wow, and got

841
00:42:50,600 --> 00:42:53,799
Speaker 4: like a six figure payout because she's like, I am

842
00:42:53,840 --> 00:42:54,560
Speaker 4: losing this role.

843
00:42:54,640 --> 00:42:55,360
Speaker 2: Let me get this straight.

844
00:42:55,400 --> 00:43:00,840
Speaker 4: Because Cher cannot extend her her disbelief enough to understand

845
00:43:00,880 --> 00:43:03,640
Speaker 4: how I can act like her daughter. So but on

846
00:43:03,680 --> 00:43:06,480
Speaker 4: a Rider, got it? But I love I love Rachel,

847
00:43:06,520 --> 00:43:09,560
Speaker 4: I love share in this role. She had a string

848
00:43:10,360 --> 00:43:15,240
Speaker 4: of hits for acting in the eighties, starting with Moonstruck yep,

849
00:43:15,560 --> 00:43:20,120
Speaker 4: actually no, starting with Mask Mask Yeah, so mask Moonstruck

850
00:43:20,200 --> 00:43:23,400
Speaker 4: in this where she really proved that she had some chaps.

851
00:43:24,000 --> 00:43:25,360
Speaker 2: And I like this character.

852
00:43:25,400 --> 00:43:28,200
Speaker 4: I like seeing a mom who's like, you know, I'm

853
00:43:28,239 --> 00:43:30,080
Speaker 4: not going to be penned in, Like she doesn't care

854
00:43:30,120 --> 00:43:32,000
Speaker 4: that people stare at her when she walks through town

855
00:43:32,160 --> 00:43:35,920
Speaker 4: and her saucy little outfits, but she definitely is used

856
00:43:35,920 --> 00:43:38,480
Speaker 4: to being the center of attention, which is also strange

857
00:43:38,480 --> 00:43:42,840
Speaker 4: when you have kids. So she's kind of fascinating to me,

858
00:43:42,920 --> 00:43:45,960
Speaker 4: and I like, I like her relationship with Lou. Bob

859
00:43:46,000 --> 00:43:49,319
Speaker 4: Hoskins is just so delightful in this movie, and he

860
00:43:49,360 --> 00:43:53,279
Speaker 4: plays this guy who, like his kids are older and

861
00:43:53,320 --> 00:43:55,799
Speaker 4: grown and out of the house. His wife has left him,

862
00:43:55,800 --> 00:44:01,160
Speaker 4: but they're not divorced. But I gotta say, first of all,

863
00:44:02,560 --> 00:44:05,200
Speaker 4: a couple things about Lou that maybe would make me

864
00:44:05,280 --> 00:44:09,280
Speaker 4: not put my children in his direct line right away.

865
00:44:11,040 --> 00:44:13,759
Speaker 4: When she sees him again after the shoe store, it's

866
00:44:13,800 --> 00:44:15,000
Speaker 4: at a parent teacher night.

867
00:44:15,920 --> 00:44:18,680
Speaker 2: Why was he there if his kids are grown up.

868
00:44:18,680 --> 00:44:20,719
Speaker 4: It's not like this is like a better Business Bureau event,

869
00:44:21,840 --> 00:44:24,320
Speaker 4: So he's just hanging around school at parent teacher night.

870
00:44:24,200 --> 00:44:24,880
Speaker 2: For no reason.

871
00:44:26,360 --> 00:44:29,319
Speaker 3: That is curious. I didn't wonder. I'm like, is he

872
00:44:29,400 --> 00:44:31,920
Speaker 3: there to like hand out his business card to sell shoes?

873
00:44:31,960 --> 00:44:35,919
Speaker 3: Like what's he doing there? Yeah, it was a little unclear, but.

874
00:44:35,840 --> 00:44:39,440
Speaker 4: Then it's it kind of amplified because later we'll see

875
00:44:39,440 --> 00:44:41,920
Speaker 4: that he has a room in his house that's already

876
00:44:42,000 --> 00:44:44,239
Speaker 4: fully ready for kids with like the double beds and

877
00:44:44,280 --> 00:44:48,719
Speaker 4: the bright paint and an attic full of costumes. So look,

878
00:44:48,880 --> 00:44:52,719
Speaker 4: I am maybe a person who is not prone to whimsy.

879
00:44:53,880 --> 00:44:56,000
Speaker 4: But that's what tho weird dude, like it's fun and

880
00:44:56,040 --> 00:44:59,960
Speaker 4: weird nineteen sixty three.

881
00:45:01,120 --> 00:45:04,480
Speaker 1: Yeah, you know, it's I mean, it's a little like okay,

882
00:45:04,680 --> 00:45:08,759
Speaker 1: maybe he you know, it's just very nostalgic for his

883
00:45:08,880 --> 00:45:11,000
Speaker 1: days as a father to like young kids, and he

884
00:45:11,080 --> 00:45:13,160
Speaker 1: just kind of kept the room the same and you know,

885
00:45:13,320 --> 00:45:14,799
Speaker 1: kept all their toys and all their shit.

886
00:45:14,960 --> 00:45:16,520
Speaker 3: But at a.

887
00:45:16,440 --> 00:45:19,399
Speaker 1: Certain point, if they're like fully grown, I don't know,

888
00:45:19,560 --> 00:45:21,719
Speaker 1: maybe pay at that time man turn it into an

889
00:45:21,719 --> 00:45:23,520
Speaker 1: office or a storage like something.

890
00:45:23,800 --> 00:45:26,960
Speaker 4: I think it translates as whimsy, and it should. And

891
00:45:27,040 --> 00:45:32,080
Speaker 4: I'm a total creep, but that was my first thought

892
00:45:32,160 --> 00:45:34,680
Speaker 4: as an adult watching this movie for the first time

893
00:45:35,120 --> 00:45:37,400
Speaker 4: in like twenty years.

894
00:45:37,800 --> 00:45:40,080
Speaker 1: Well, and this is I think the thing that is

895
00:45:40,120 --> 00:45:42,839
Speaker 1: interesting about his character is that he's kind of like

896
00:45:43,640 --> 00:45:46,399
Speaker 1: he wants to settle down. He wants to be in

897
00:45:46,440 --> 00:45:49,640
Speaker 1: her life and wants to be, you know, kind of

898
00:45:49,680 --> 00:45:54,200
Speaker 1: a father figure to her children. And she's like very

899
00:45:54,320 --> 00:45:58,239
Speaker 1: very guarded. I mean, listen, she's moved eighteen times.

900
00:45:58,960 --> 00:46:02,680
Speaker 4: Can you imagine every time you break up with well,

901
00:46:02,680 --> 00:46:03,239
Speaker 4: and this is.

902
00:46:03,200 --> 00:46:07,120
Speaker 1: The part because you know, I did question because you know,

903
00:46:07,160 --> 00:46:10,359
Speaker 1: I grew up loving this movie. I grew up it's

904
00:46:10,440 --> 00:46:12,319
Speaker 1: kind of like a dirty dancing type thing where it

905
00:46:12,400 --> 00:46:15,200
Speaker 1: was like it's an eighties movie or an early nineties

906
00:46:15,200 --> 00:46:17,920
Speaker 1: movie that took place in the nineteen sixties, and they

907
00:46:17,960 --> 00:46:19,800
Speaker 1: play a lot of like sixties music and there's a

908
00:46:19,840 --> 00:46:24,240
Speaker 1: lot of like sixties clothes and everything. I love that actually,

909
00:46:24,280 --> 00:46:28,479
Speaker 1: like just very specifically love and an eighties or early

910
00:46:28,560 --> 00:46:30,080
Speaker 1: nineties take on the Sixties.

911
00:46:30,120 --> 00:46:32,160
Speaker 3: It's just really really fascinating to me.

912
00:46:32,719 --> 00:46:35,160
Speaker 1: But then I started thinking about it because when you

913
00:46:35,200 --> 00:46:38,920
Speaker 1: brought it to the table for this episode, I was like, yeah,

914
00:46:38,960 --> 00:46:42,839
Speaker 1: that is a complicated relationship, And is that a thing

915
00:46:42,920 --> 00:46:45,640
Speaker 1: that she moved her kids so much that they weren't

916
00:46:45,640 --> 00:46:48,399
Speaker 1: able to like or really get a foothold on their

917
00:46:48,440 --> 00:46:50,920
Speaker 1: lives because their their mother was just sort of like

918
00:46:50,920 --> 00:46:52,600
Speaker 1: a radic and moving them around all the time and

919
00:46:52,640 --> 00:46:53,680
Speaker 1: it was all about men.

920
00:46:54,360 --> 00:46:57,440
Speaker 2: Yeah, you know, and that's Charlotte's argument with her.

921
00:46:57,480 --> 00:47:00,640
Speaker 4: Eventually, like they have a big blow up because you know,

922
00:47:00,760 --> 00:47:03,439
Speaker 4: Rachel pushes lou away, but she also pushes her kids away.

923
00:47:03,480 --> 00:47:06,720
Speaker 4: Like she doesn't want to have these serious conversations about

924
00:47:06,760 --> 00:47:10,160
Speaker 4: her choices, and they have this huge blow up because

925
00:47:10,160 --> 00:47:13,960
Speaker 4: she goes out one night and she leaves Charlotte at

926
00:47:13,960 --> 00:47:18,279
Speaker 4: home to babysit Kate, and they get drunk on jug wine.

927
00:47:18,640 --> 00:47:21,520
Speaker 4: And then Charlotte dresses up like her mom, she dresses

928
00:47:21,600 --> 00:47:25,400
Speaker 4: up like Rachel, and they go to the convent. You know,

929
00:47:25,520 --> 00:47:28,120
Speaker 4: Kate's just kind of picking up rocks while Charlotte goes

930
00:47:28,160 --> 00:47:32,279
Speaker 4: up to see Joe. And here's the crucial question of

931
00:47:32,280 --> 00:47:36,360
Speaker 4: this movie. Can you imagine losing your virginity to a

932
00:47:36,400 --> 00:47:40,480
Speaker 4: man ten years your senior at a convent while you

933
00:47:40,560 --> 00:47:45,360
Speaker 4: were cosplaying as your mother, Because that is what happens.

934
00:47:45,400 --> 00:47:49,320
Speaker 3: Now She's not having sex again.

935
00:47:50,320 --> 00:47:52,959
Speaker 4: Ever, Neither one of them is having sex again ever,

936
00:47:53,800 --> 00:47:59,880
Speaker 4: because the whole night too ends in disaster. Joe is trauma,

937
00:48:01,120 --> 00:48:05,120
Speaker 4: they have to be trauma sized, Charlotte's traumatized. There's no

938
00:48:05,239 --> 00:48:07,920
Speaker 4: way anyone's having sex again after this the events of

939
00:48:07,960 --> 00:48:10,839
Speaker 4: the end of this movie. But what I love about

940
00:48:10,880 --> 00:48:14,720
Speaker 4: it is it leads to Charlotte and Rachel, Winona Ryder

941
00:48:14,800 --> 00:48:19,080
Speaker 4: and share having this huge blowout fight of the kind

942
00:48:19,120 --> 00:48:21,520
Speaker 4: that I don't think you really see a lot of

943
00:48:21,560 --> 00:48:25,600
Speaker 4: in film with mothers and daughters. You see a lot

944
00:48:25,640 --> 00:48:28,440
Speaker 4: of dads and sons kind of like screaming and slamming

945
00:48:28,520 --> 00:48:31,000
Speaker 4: the wall and like punching tables and shit. But this

946
00:48:31,160 --> 00:48:35,840
Speaker 4: is like a real knockdown, drag out without the physicality

947
00:48:35,920 --> 00:48:38,080
Speaker 4: kind of fight where Charlotte puts it all out on

948
00:48:38,120 --> 00:48:40,840
Speaker 4: the table and it's like we're sick of moving because

949
00:48:41,080 --> 00:48:43,760
Speaker 4: Chare instantly is like, pack your bags, we're out of here,

950
00:48:44,080 --> 00:48:46,400
Speaker 4: and this one's on you, Like we're moving because of

951
00:48:46,440 --> 00:48:48,840
Speaker 4: you this time. So Charlotte's like, well, then we're not moving,

952
00:48:48,960 --> 00:48:52,960
Speaker 4: Like I'm not I'm not leaving. We have to stay

953
00:48:53,000 --> 00:48:57,399
Speaker 4: and face this. So I loved I just loved that fight.

954
00:48:57,520 --> 00:49:01,680
Speaker 4: I love that their complicated relationship is just.

955
00:49:01,760 --> 00:49:04,480
Speaker 2: So heightened at the right moments in this movie.

956
00:49:05,480 --> 00:49:06,839
Speaker 3: Yeah, I think this.

957
00:49:06,880 --> 00:49:10,320
Speaker 1: Is something that's a similarity between your movie and my movie.

958
00:49:11,000 --> 00:49:14,280
Speaker 1: Is this idea of like the mother and the daughter

959
00:49:14,960 --> 00:49:19,520
Speaker 1: sort of like sharing the same space with men, right,

960
00:49:19,920 --> 00:49:24,279
Speaker 1: Because there's a moment where Shaer comes home from a

961
00:49:25,440 --> 00:49:27,799
Speaker 1: is it a New Year's Eve party and she has

962
00:49:27,960 --> 00:49:30,799
Speaker 1: Joe drive her home, and you know, I think like

963
00:49:30,880 --> 00:49:33,760
Speaker 1: in her merriment or whatever, she like lands a kiss

964
00:49:33,800 --> 00:49:35,799
Speaker 1: on him, and it happens to be at the same

965
00:49:35,840 --> 00:49:38,160
Speaker 1: time that Charlotte is like looking out the window, and

966
00:49:38,920 --> 00:49:41,919
Speaker 1: it kind of confirms this entire fear that she has

967
00:49:42,880 --> 00:49:46,600
Speaker 1: that is, my mom is going to steal all my boyfriends.

968
00:49:46,600 --> 00:49:49,920
Speaker 1: And she's hotter and more dynamic and you know, cooler

969
00:49:49,960 --> 00:49:52,879
Speaker 1: than I am. And she kind of flips the fuck

970
00:49:52,920 --> 00:49:56,680
Speaker 1: out because of it, and you know, and scher for whatever,

971
00:49:56,960 --> 00:49:59,279
Speaker 1: you know, is trying to rationalize it like it was

972
00:49:59,320 --> 00:50:00,960
Speaker 1: just a dumb kid, and yeah, maybe it was a

973
00:50:00,960 --> 00:50:04,319
Speaker 1: little a little too much, but it was that thing

974
00:50:04,360 --> 00:50:08,319
Speaker 1: where you realize that that is the tension between the

975
00:50:08,360 --> 00:50:11,040
Speaker 1: mother and the daughter, is it all just comes back

976
00:50:11,040 --> 00:50:11,319
Speaker 1: to men.

977
00:50:11,719 --> 00:50:13,759
Speaker 4: And that's kind of the dynamic that Rachel has set

978
00:50:13,840 --> 00:50:17,239
Speaker 4: up inadvertently, Yeah, because like you said earlier, like she

979
00:50:17,320 --> 00:50:21,000
Speaker 4: has made sure their whole lives revolve around men in

980
00:50:21,280 --> 00:50:22,279
Speaker 4: that inadvertent way.

981
00:50:22,800 --> 00:50:25,960
Speaker 2: Yeah, so she's definitely set up this dynamic. Yeah.

982
00:50:26,080 --> 00:50:30,600
Speaker 1: Yeah, and just the idea that Charlotte idolizes, this mythic

983
00:50:31,600 --> 00:50:37,160
Speaker 1: father of hers that she stared at once through eclipse sunglasses.

984
00:50:39,000 --> 00:50:40,960
Speaker 1: But yeah, and then you start, what do you start

985
00:50:41,040 --> 00:50:43,880
Speaker 1: kind of unpeeling that a little bit in the movie

986
00:50:44,080 --> 00:50:46,920
Speaker 1: you do wonder, Okay, like maybe you know what's the

987
00:50:47,000 --> 00:50:50,960
Speaker 1: dysfunction here, but it's just it's an interesting dynamic they have.

988
00:50:51,040 --> 00:50:53,600
Speaker 3: And being a teenager. I was a teenager with a

989
00:50:53,600 --> 00:50:59,640
Speaker 3: hot mom too. You know, it doesn't help what I'm like.

990
00:51:00,680 --> 00:51:03,080
Speaker 1: When I'm a jazz freak and my mother is simply

991
00:51:03,080 --> 00:51:04,800
Speaker 1: beautiful and perfect, You're.

992
00:51:04,719 --> 00:51:09,719
Speaker 4: Like, oh my god, look, I wrote an actual whole

993
00:51:09,760 --> 00:51:11,359
Speaker 4: chapter in my book about it.

994
00:51:11,600 --> 00:51:15,080
Speaker 2: Yeah, Like it is deep when you have a hot mom. Yeah.

995
00:51:15,360 --> 00:51:18,239
Speaker 4: And also our moms were like, like, we come from

996
00:51:18,280 --> 00:51:20,520
Speaker 4: a generation where most people had their kids when they

997
00:51:20,520 --> 00:51:23,000
Speaker 4: were like in their twenties, like earlier. So your moms

998
00:51:23,040 --> 00:51:26,360
Speaker 4: are also not that much older than you exactly. So

999
00:51:26,400 --> 00:51:28,719
Speaker 4: they're like in their prime looking hot, and you're when

1000
00:51:28,800 --> 00:51:31,920
Speaker 4: you're like in the depths of the worst you will

1001
00:51:31,920 --> 00:51:36,320
Speaker 4: ever look, yes, and when you're insidious.

1002
00:51:37,880 --> 00:51:38,560
Speaker 2: But I love this.

1003
00:51:38,719 --> 00:51:40,839
Speaker 4: I just love this movie. I think it holds up.

1004
00:51:41,560 --> 00:51:44,880
Speaker 4: I think it's a great example of complicated mother daughter relationships.

1005
00:51:44,960 --> 00:51:49,279
Speaker 4: And it ends the way most nineties movies end with

1006
00:51:49,480 --> 00:51:51,560
Speaker 4: you know, a bunch of white women dancing in a kitchen.

1007
00:51:51,680 --> 00:51:53,959
Speaker 4: Like it's not not a nineties movie. If you don't

1008
00:51:53,960 --> 00:51:56,680
Speaker 4: have a munch of one white women dancing in a kitchen.

1009
00:51:56,520 --> 00:52:00,760
Speaker 3: To an old tune from the good old days.

1010
00:52:00,920 --> 00:52:03,480
Speaker 2: Right, absolutely, here's where I knew.

1011
00:52:03,680 --> 00:52:06,799
Speaker 4: I watched The Queen's Gambit, and here's where I knew

1012
00:52:06,800 --> 00:52:10,359
Speaker 4: that that show was fully written by a man. Right.

1013
00:52:10,760 --> 00:52:13,720
Speaker 4: The first moment I knew is when she played chess

1014
00:52:13,800 --> 00:52:16,680
Speaker 4: against her crush and immediately got her period.

1015
00:52:19,080 --> 00:52:21,320
Speaker 2: And I'm like, this is written by a man.

1016
00:52:23,080 --> 00:52:27,040
Speaker 4: One hundred percent, because guess what, I've never gotten my

1017
00:52:27,239 --> 00:52:32,920
Speaker 4: period based on an emotional like overwhelming emotional situation, like

1018
00:52:33,080 --> 00:52:34,040
Speaker 4: just dropped.

1019
00:52:33,680 --> 00:52:34,400
Speaker 2: It in that moment.

1020
00:52:34,960 --> 00:52:38,720
Speaker 4: But also, there are so many scenes of this character

1021
00:52:38,840 --> 00:52:42,200
Speaker 4: in The Queen's Gambit, like dancing around drunk in her underwear,

1022
00:52:42,800 --> 00:52:44,480
Speaker 4: And I don't know, maybe my life is boring.

1023
00:52:44,840 --> 00:52:45,279
Speaker 3: I don't know.

1024
00:52:45,360 --> 00:52:49,520
Speaker 4: I have never danced around naked in my underwear in

1025
00:52:49,560 --> 00:52:55,839
Speaker 4: a kitchen, Like, I just have never done that. And look,

1026
00:52:56,320 --> 00:52:57,920
Speaker 4: I don't dance because I don't have that kind of

1027
00:52:57,960 --> 00:52:58,600
Speaker 4: joy in my heart.

1028
00:52:58,640 --> 00:53:01,719
Speaker 2: We know that. But if I were to dance, it

1029
00:53:01,760 --> 00:53:02,200
Speaker 2: would not.

1030
00:53:02,200 --> 00:53:07,000
Speaker 4: Be like with a jug of fucking vodka in my underwear.

1031
00:53:07,880 --> 00:53:09,640
Speaker 1: Yeah, let me just tell you right now, as a

1032
00:53:09,680 --> 00:53:12,960
Speaker 1: person who does dance and who does have that whimsy

1033
00:53:13,080 --> 00:53:15,400
Speaker 1: in her heart. I'm still not dancing in the kitchen

1034
00:53:15,760 --> 00:53:19,399
Speaker 1: because a exposure. Right, I'm like, first of all, there's

1035
00:53:19,400 --> 00:53:22,200
Speaker 1: a lot windows in here. What if like one of

1036
00:53:22,200 --> 00:53:24,719
Speaker 1: my hot neighbors is looking through the window and sees

1037
00:53:24,760 --> 00:53:29,080
Speaker 1: me doing like some like bullshit goth dance practicing my

1038
00:53:29,120 --> 00:53:30,520
Speaker 1: goth dance moves or whatever.

1039
00:53:30,840 --> 00:53:33,839
Speaker 3: On top of that, like for me, I don't know,

1040
00:53:34,040 --> 00:53:34,600
Speaker 3: we didn't have.

1041
00:53:34,560 --> 00:53:37,200
Speaker 1: A stereo in the kitchen to dance too, So I

1042
00:53:37,280 --> 00:53:39,840
Speaker 1: did all that shit in my bedroom with the door

1043
00:53:40,239 --> 00:53:43,400
Speaker 1: double triple locked and a chair in front of it

1044
00:53:43,440 --> 00:53:45,960
Speaker 1: because I don't want anybody seeing this. I'm like, this

1045
00:53:46,000 --> 00:53:49,560
Speaker 1: is my own, this is my own thing, and just

1046
00:53:49,600 --> 00:53:53,239
Speaker 1: do it in a tight, tight quarter. It's gonna be barricaded.

1047
00:53:54,960 --> 00:53:59,719
Speaker 4: It's like, ah, I am now envisioning that, you know

1048
00:53:59,760 --> 00:54:02,439
Speaker 4: that off video where they're all like with the fake

1049
00:54:02,520 --> 00:54:05,480
Speaker 4: dreads and dancing like really fast with their arms and

1050
00:54:06,040 --> 00:54:06,560
Speaker 4: one they.

1051
00:54:06,400 --> 00:54:10,719
Speaker 2: Made fun of on the not He's done them the

1052
00:54:10,760 --> 00:54:11,720
Speaker 2: righteous gem zones.

1053
00:54:11,920 --> 00:54:12,800
Speaker 3: Yeah, they they.

1054
00:54:14,200 --> 00:54:16,840
Speaker 1: And then the meme is that it's set to like

1055
00:54:17,760 --> 00:54:21,640
Speaker 1: Mariah Carey's Christmas song and just.

1056
00:54:21,560 --> 00:54:23,919
Speaker 4: Imagining you in your room being like I've got these

1057
00:54:23,920 --> 00:54:25,319
Speaker 4: three feet to move around in.

1058
00:54:25,600 --> 00:54:32,040
Speaker 3: I'm gonna you know that, I'm.

1059
00:54:31,840 --> 00:54:34,759
Speaker 1: Like doing the picking up apples, you know, and I'm

1060
00:54:34,800 --> 00:54:38,200
Speaker 1: all by myself, Like no one's getting this, bitch, I'm

1061
00:54:38,200 --> 00:54:42,760
Speaker 1: not doing it, like gotta keep that perimeter super Tight's

1062
00:54:42,840 --> 00:54:43,440
Speaker 1: not happening.

1063
00:54:48,160 --> 00:54:49,960
Speaker 2: Oh good, Well, this is great.

1064
00:54:50,320 --> 00:54:52,759
Speaker 4: I highly recommend if you haven't seen it before or

1065
00:54:52,840 --> 00:54:55,120
Speaker 4: haven't seen it in a while, just give it. Give

1066
00:54:55,120 --> 00:54:57,360
Speaker 4: it a look, see what you think. I think it

1067
00:54:57,400 --> 00:54:57,839
Speaker 4: holds up.

1068
00:54:58,239 --> 00:55:00,279
Speaker 1: Yeah I did too, But I think it's very, very,

1069
00:55:00,480 --> 00:55:04,400
Speaker 1: very enjoyable to watch. And honestly, like if you're looking

1070
00:55:04,440 --> 00:55:10,719
Speaker 1: for like the three Michael Shuffling movies that you haven't seen,

1071
00:55:10,800 --> 00:55:13,400
Speaker 1: like I guess there is only three, maybe four, but

1072
00:55:13,520 --> 00:55:14,160
Speaker 1: I think three.

1073
00:55:14,760 --> 00:55:15,680
Speaker 3: This is a good one.

1074
00:55:15,760 --> 00:55:18,440
Speaker 1: He kind of reminds me he's got this very like

1075
00:55:18,680 --> 00:55:24,360
Speaker 1: Ron Kirby from Douglas circ movie Rock Hudson vibes.

1076
00:55:24,640 --> 00:55:25,400
Speaker 3: You know, he's got that.

1077
00:55:25,560 --> 00:55:29,640
Speaker 1: He's kind of this like I'm just a sensitive person

1078
00:55:29,680 --> 00:55:33,160
Speaker 1: that like does all the tasks you know, in the town,

1079
00:55:33,280 --> 00:55:35,320
Speaker 1: and I'm more in my winter clothing.

1080
00:55:35,960 --> 00:55:39,840
Speaker 4: Yeah, he's just like a hot brick. Yes, he's a

1081
00:55:39,840 --> 00:55:41,800
Speaker 4: hot brick with a rake. That's his job.

1082
00:55:42,080 --> 00:55:45,560
Speaker 2: That's his job in every movie. He's a hot brick

1083
00:55:45,560 --> 00:55:46,000
Speaker 2: with a rake.

1084
00:55:46,400 --> 00:55:47,520
Speaker 3: Oh my god, so good.

1085
00:55:48,080 --> 00:55:48,640
Speaker 2: I love it.

1086
00:55:49,560 --> 00:55:52,440
Speaker 4: Well, what do you bringing to the table? Oh Lord,

1087
00:55:52,680 --> 00:55:57,920
Speaker 4: here we go. I think this a disclaimer for the

1088
00:55:58,040 --> 00:55:59,680
Speaker 4: opening scene alone.

1089
00:56:00,040 --> 00:56:04,880
Speaker 1: Jesus Christ, this one is going to upset everyone. Cannot

1090
00:56:04,920 --> 00:56:07,840
Speaker 1: wait to offend fucking everybody on our podcast.

1091
00:56:10,760 --> 00:56:11,439
Speaker 3: Oh my god.

1092
00:56:11,640 --> 00:56:18,399
Speaker 1: Okay, so so my movie for this week for the

1093
00:56:18,400 --> 00:56:22,640
Speaker 1: theme of complicated mothers and daughters is a movie from

1094
00:56:22,719 --> 00:56:26,680
Speaker 1: nineteen seventy six. It was directed by Leno Broca and

1095
00:56:26,719 --> 00:56:47,360
Speaker 1: it's called in Siang. Oh all right, to start, I

1096
00:56:47,400 --> 00:56:51,680
Speaker 1: would really like to talk about Leno Broka. He is

1097
00:56:51,800 --> 00:56:55,160
Speaker 1: the great Filipino film director who made this movie. And

1098
00:56:55,800 --> 00:56:59,560
Speaker 1: I got to say, in an all truthfulness, I did

1099
00:56:59,560 --> 00:57:02,400
Speaker 1: not REALI that the Philippines even had great.

1100
00:57:02,200 --> 00:57:04,400
Speaker 3: Auteurs before I knew about.

1101
00:57:04,160 --> 00:57:05,640
Speaker 2: Him, I didn't know.

1102
00:57:06,200 --> 00:57:09,279
Speaker 1: Yeah, And I only really found out about him as

1103
00:57:09,360 --> 00:57:13,239
Speaker 1: more of his films sort of were becoming available online

1104
00:57:13,320 --> 00:57:17,920
Speaker 1: and on home video, which is to say, only recently.

1105
00:57:18,400 --> 00:57:21,920
Speaker 1: And you know, as many people know, I'm half Filipino.

1106
00:57:22,160 --> 00:57:25,760
Speaker 1: My mom's from the Philippines. But you know, I basically

1107
00:57:25,800 --> 00:57:30,800
Speaker 1: spent my entire childhood not really knowing much about my

1108
00:57:30,840 --> 00:57:36,720
Speaker 1: Filipino heritage, you know, which is something that really bothers

1109
00:57:36,760 --> 00:57:39,120
Speaker 1: me to this day. It really kind of haunts me,

1110
00:57:39,280 --> 00:57:43,480
Speaker 1: to be honest. And I think the biggest reason for

1111
00:57:43,520 --> 00:57:48,240
Speaker 1: that is because my mother was and is the only

1112
00:57:48,280 --> 00:57:50,920
Speaker 1: person in her family to immigrate to the United States.

1113
00:57:51,080 --> 00:57:53,760
Speaker 3: Everybody else is still in the Philippines.

1114
00:57:54,520 --> 00:57:57,800
Speaker 1: And I had never even met my Filipino grandparents or

1115
00:57:58,440 --> 00:58:01,600
Speaker 1: any of my eleven aunts and uncles, because my mom

1116
00:58:01,640 --> 00:58:04,760
Speaker 1: comes from like a big family, let alone my cousins.

1117
00:58:04,960 --> 00:58:08,720
Speaker 1: I have so many cousins, I didn't meet any of

1118
00:58:08,720 --> 00:58:10,840
Speaker 1: them until I was an adult. When I went to

1119
00:58:10,840 --> 00:58:13,760
Speaker 1: the Philippines for the first time, I was in my

1120
00:58:13,840 --> 00:58:17,720
Speaker 1: late twenties maybe, and really the only other Filipino person

1121
00:58:17,720 --> 00:58:19,320
Speaker 1: that I knew besides my mom were just like her

1122
00:58:19,360 --> 00:58:20,840
Speaker 1: friends growing up.

1123
00:58:20,840 --> 00:58:21,600
Speaker 3: And that's really it.

1124
00:58:23,080 --> 00:58:25,120
Speaker 1: And so when I got to college, you know, I

1125
00:58:25,120 --> 00:58:28,160
Speaker 1: think I really I started kind of really thinking about

1126
00:58:28,200 --> 00:58:32,040
Speaker 1: myself racially when I was in high school. I definitely

1127
00:58:32,080 --> 00:58:35,360
Speaker 1: wasn't ready before then. I was very much like I

1128
00:58:35,400 --> 00:58:37,600
Speaker 1: was very confused about who I was, I'll just say that.

1129
00:58:38,120 --> 00:58:40,520
Speaker 1: And when I was in like, you know, senior year

1130
00:58:40,560 --> 00:58:42,880
Speaker 1: of high school, maybe early college is when I started

1131
00:58:42,920 --> 00:58:46,600
Speaker 1: kind of really thinking about this. And you know, the

1132
00:58:46,600 --> 00:58:49,000
Speaker 1: only movies from the Philippines that I ever saw at

1133
00:58:49,000 --> 00:58:52,080
Speaker 1: that point, especially in college, were basically like women in

1134
00:58:52,120 --> 00:58:54,760
Speaker 1: prison movies, right when it comes down to it, And

1135
00:58:55,160 --> 00:58:56,840
Speaker 1: that was the only thing I knew about the Philippines,

1136
00:58:56,880 --> 00:58:59,880
Speaker 1: like from a landscape perspective, like in film, was that

1137
00:59:00,080 --> 00:59:02,720
Speaker 1: you know, they were like women in prison in a jungle.

1138
00:59:03,080 --> 00:59:06,640
Speaker 3: Pam Grier was in it, right, so.

1139
00:59:07,600 --> 00:59:09,720
Speaker 1: You know, lead up, Baroco movies were really the first

1140
00:59:09,760 --> 00:59:13,760
Speaker 1: time I ever saw like Filipino actors who were speaking

1141
00:59:13,800 --> 00:59:16,280
Speaker 1: into gallak and they were like normal people, right, They

1142
00:59:16,320 --> 00:59:19,720
Speaker 1: were not like weird prison guards or like henchmen or whatever.

1143
00:59:19,800 --> 00:59:24,320
Speaker 1: It was like normal fucking people, like real narratives, real life, yeah,

1144
00:59:24,360 --> 00:59:27,760
Speaker 1: real stories. And honestly, it was like a revelation for me.

1145
00:59:27,960 --> 00:59:31,840
Speaker 1: I mean, I honestly don't think that I'm exaggerating when

1146
00:59:31,840 --> 00:59:36,520
Speaker 1: I say that it Yeah, it really did change everything

1147
00:59:36,560 --> 00:59:40,040
Speaker 1: for me as a film lover and a person who

1148
00:59:40,120 --> 00:59:43,520
Speaker 1: appreciates film. And so, like, all right, a lot of

1149
00:59:43,520 --> 00:59:46,280
Speaker 1: people kind of call him, they kind of call him

1150
00:59:46,280 --> 00:59:50,280
Speaker 1: like the Filipino Fastbender, because you know, he was this

1151
00:59:50,440 --> 00:59:53,439
Speaker 1: prolific filmmaker. He was gay, he was a gay man.

1152
00:59:53,760 --> 00:59:57,160
Speaker 1: He was making kind of these like melodramas and personal stories,

1153
00:59:57,760 --> 00:59:59,920
Speaker 1: so that I think that that comparison to fast but

1154
01:00:00,080 --> 01:00:00,760
Speaker 1: Or is kind of apt.

1155
01:00:00,880 --> 01:00:02,479
Speaker 2: Michael Fassbender has done a lot.

1156
01:00:03,120 --> 01:00:05,960
Speaker 4: Yeah, I didn't know that he was so deep.

1157
01:00:06,040 --> 01:00:06,560
Speaker 2: I'm kidding.

1158
01:00:06,600 --> 01:00:07,120
Speaker 3: I'm kidding.

1159
01:00:07,160 --> 01:00:08,160
Speaker 2: Go ahead, I know.

1160
01:00:08,400 --> 01:00:11,280
Speaker 1: It's like a Steve McQueen thing. It's like a Fastbender fastbender.

1161
01:00:11,800 --> 01:00:14,360
Speaker 1: We are talking about rain Air. We're inner a Fastbender.

1162
01:00:14,400 --> 01:00:18,840
Speaker 1: By the way, the German director, not the naked guy

1163
01:00:18,880 --> 01:00:20,320
Speaker 1: who is living sexy in mid Air.

1164
01:00:20,360 --> 01:00:21,520
Speaker 3: I just need to throw that out there.

1165
01:00:25,120 --> 01:00:29,480
Speaker 1: Uh so, Yeah, So Ludo Broker was influenced as a

1166
01:00:29,520 --> 01:00:31,800
Speaker 1: filmmaker by watching a lot of American movies from the

1167
01:00:31,840 --> 01:00:36,240
Speaker 1: fifties and sixties. But at the same time when he

1168
01:00:36,360 --> 01:00:39,600
Speaker 1: was making his films, he was making movies about people

1169
01:00:39,680 --> 01:00:42,600
Speaker 1: who weren't really in movies at this time, especially in

1170
01:00:42,640 --> 01:00:46,280
Speaker 1: the Philippines. Like he was making movies gay people, the poor,

1171
01:00:47,000 --> 01:00:49,960
Speaker 1: sex workers, people who lived in the slums, you know,

1172
01:00:50,280 --> 01:00:54,400
Speaker 1: and he made like I think he made like close

1173
01:00:54,440 --> 01:00:58,800
Speaker 1: to seventy films in his lifetime, which is amazing if

1174
01:00:58,840 --> 01:01:01,560
Speaker 1: you consider that he only lived to be fifty two

1175
01:01:02,320 --> 01:01:05,080
Speaker 1: because he died in a car accident. But so he

1176
01:01:05,120 --> 01:01:07,800
Speaker 1: made in that short period of time, he made like

1177
01:01:07,800 --> 01:01:09,320
Speaker 1: almost seventy films.

1178
01:01:09,160 --> 01:01:10,560
Speaker 2: And was way ahead of his time.

1179
01:01:10,600 --> 01:01:12,640
Speaker 4: It seems like with the stories that he was chasing

1180
01:01:12,800 --> 01:01:13,520
Speaker 4: and developing.

1181
01:01:13,920 --> 01:01:17,240
Speaker 1: Definitely, and honestly, for me, I think the most important

1182
01:01:17,280 --> 01:01:20,000
Speaker 1: thing to know about him was that he was really

1183
01:01:20,040 --> 01:01:21,000
Speaker 1: a man of the people.

1184
01:01:21,160 --> 01:01:21,720
Speaker 3: Like he.

1185
01:01:23,120 --> 01:01:27,280
Speaker 1: Like most people from the Philippines, he was extremely poor

1186
01:01:27,320 --> 01:01:30,160
Speaker 1: when he grew up, and he became an artist, and

1187
01:01:30,240 --> 01:01:32,840
Speaker 1: he advocated for other artists in the Philippines, and he

1188
01:01:32,880 --> 01:01:35,400
Speaker 1: created this independent film company, and he used a lot

1189
01:01:35,440 --> 01:01:38,760
Speaker 1: of like non professional actors who later became like big

1190
01:01:38,800 --> 01:01:42,040
Speaker 1: Filipino film stars. And he was a lot of you know,

1191
01:01:42,120 --> 01:01:45,200
Speaker 1: kind of like local people in his films as extras.

1192
01:01:45,520 --> 01:01:49,240
Speaker 1: And he was a political activist. I mean he he

1193
01:01:49,320 --> 01:01:53,560
Speaker 1: was extremely critical of the Marcus regime and of the

1194
01:01:53,600 --> 01:01:56,160
Speaker 1: martial law era in the Philippines, which if you don't

1195
01:01:56,200 --> 01:02:01,040
Speaker 1: know about, you should google or watch the documentary about

1196
01:02:01,160 --> 01:02:03,520
Speaker 1: Amelda Marcos that came out, like I think it was

1197
01:02:03,600 --> 01:02:06,080
Speaker 1: last year, Yeah, I think last year, but you know

1198
01:02:06,160 --> 01:02:09,720
Speaker 1: it was this era in the Philippines was an extremely

1199
01:02:09,800 --> 01:02:12,840
Speaker 1: crooked and fucked up time and Ledo Broko was arrested

1200
01:02:12,840 --> 01:02:15,440
Speaker 1: for protesting against the Marcoses. And they were and they

1201
01:02:15,440 --> 01:02:17,640
Speaker 1: were trying, I mean, they were basically trying to censor

1202
01:02:18,440 --> 01:02:21,160
Speaker 1: all the artists and filmmakers left and right in the Philippines.

1203
01:02:21,160 --> 01:02:24,640
Speaker 1: I mean basically they if they wanted every movie and

1204
01:02:24,680 --> 01:02:27,800
Speaker 1: every representation about the Philippines to be like perfect, and

1205
01:02:27,840 --> 01:02:30,640
Speaker 1: if it was less than perfect, it was banned, like

1206
01:02:30,880 --> 01:02:32,840
Speaker 1: you know, and I obviously you can see with the

1207
01:02:32,880 --> 01:02:36,720
Speaker 1: film like this, they didn't want anything like this out there, right,

1208
01:02:37,400 --> 01:02:40,480
Speaker 1: And a lot of times, like as it was getting

1209
01:02:40,960 --> 01:02:44,440
Speaker 1: more famous, he actually had to sneak his films out

1210
01:02:44,480 --> 01:02:47,040
Speaker 1: of the country because they were banned, so that they

1211
01:02:47,040 --> 01:02:50,360
Speaker 1: could play it like can and like oh the international

1212
01:02:50,360 --> 01:02:52,080
Speaker 1: film festivals. I mean, it was just like that kind

1213
01:02:52,120 --> 01:02:56,680
Speaker 1: of scenario there for him. There's still so many films

1214
01:02:56,720 --> 01:03:00,400
Speaker 1: that I haven't seen of his because unfortunately they're really hard

1215
01:03:00,440 --> 01:03:02,200
Speaker 1: to track down. And I mean there are like a

1216
01:03:02,200 --> 01:03:04,920
Speaker 1: few online that are like you know, they're not really

1217
01:03:04,920 --> 01:03:07,680
Speaker 1: that great of quality, and and they're not subtitled. Some

1218
01:03:07,720 --> 01:03:10,360
Speaker 1: of the ones on YouTube are definitely not subtitled, but

1219
01:03:10,400 --> 01:03:12,640
Speaker 1: there are at least two that are available to watch,

1220
01:03:12,880 --> 01:03:17,880
Speaker 1: and you know, it's basically his most famous movie, arguably,

1221
01:03:17,880 --> 01:03:20,560
Speaker 1: which is called Manila in the Clause of Light that

1222
01:03:20,600 --> 01:03:22,439
Speaker 1: came out in nineteen seventy five, and then the film

1223
01:03:22,480 --> 01:03:23,560
Speaker 1: that we're going to talk about today.

1224
01:03:23,680 --> 01:03:25,120
Speaker 3: Those are pretty much the only two.

1225
01:03:25,280 --> 01:03:30,160
Speaker 1: And really the only reason why they're even available, honestly

1226
01:03:30,440 --> 01:03:32,880
Speaker 1: in this quality and this great pristine like you know,

1227
01:03:33,240 --> 01:03:36,840
Speaker 1: restored quality is because of Mortin Scorsese, right, And you

1228
01:03:36,840 --> 01:03:38,840
Speaker 1: know that's why in that episode when we talked about him,

1229
01:03:38,840 --> 01:03:41,000
Speaker 1: I was like, I'm extremely thankful for him because he

1230
01:03:41,080 --> 01:03:45,120
Speaker 1: was basically like you know, saving he's saving Filipino movies

1231
01:03:45,240 --> 01:03:46,240
Speaker 1: for people to watch.

1232
01:03:46,040 --> 01:03:47,760
Speaker 3: And I just I will always respect.

1233
01:03:47,560 --> 01:03:48,480
Speaker 2: Him for that absolutely.

1234
01:03:48,520 --> 01:03:53,560
Speaker 4: And he's done that, like his his film archivist, like

1235
01:03:53,600 --> 01:03:55,800
Speaker 4: a huge part of his life is dedicated to restoring

1236
01:03:55,800 --> 01:03:56,760
Speaker 4: films around the world.

1237
01:03:57,120 --> 01:03:59,280
Speaker 2: Yeah, and I think that's admirable as well.

1238
01:03:59,600 --> 01:03:59,840
Speaker 3: Yeah.

1239
01:04:00,080 --> 01:04:03,680
Speaker 1: Yeah, So this movie in Soong like it. So I'll

1240
01:04:03,720 --> 01:04:05,600
Speaker 1: just give you a little synopsis of it. It takes

1241
01:04:05,600 --> 01:04:08,640
Speaker 1: place in this very poor part of Manila, and it's

1242
01:04:08,680 --> 01:04:13,960
Speaker 1: in a slum and in Syong, who's played by Hilda Coronel,

1243
01:04:14,400 --> 01:04:15,680
Speaker 1: who is wonderful.

1244
01:04:15,800 --> 01:04:19,160
Speaker 3: She's a wonderful actress. She's a young woman who lives

1245
01:04:19,240 --> 01:04:24,400
Speaker 3: with her mother, who is played by Mona Lisa. It's

1246
01:04:24,400 --> 01:04:25,560
Speaker 3: her it's her stage name.

1247
01:04:25,720 --> 01:04:28,520
Speaker 1: She was a kind of a popular Filipino actress from

1248
01:04:28,520 --> 01:04:29,720
Speaker 1: like the thirties and forties.

1249
01:04:29,800 --> 01:04:31,959
Speaker 3: But her stage name is Mona Lisa, which I'm.

1250
01:04:31,880 --> 01:04:33,120
Speaker 2: Like, that's a good stage name.

1251
01:04:33,240 --> 01:04:36,320
Speaker 1: Yeah, that's pretty tight. I'd choose that if I had

1252
01:04:36,320 --> 01:04:39,400
Speaker 1: the if I had the chance. So she's living with

1253
01:04:39,440 --> 01:04:42,240
Speaker 1: her mother and of course her extended family in this

1254
01:04:42,360 --> 01:04:46,120
Speaker 1: like very small place in the slums. And it's understood

1255
01:04:46,120 --> 01:04:48,840
Speaker 1: that her father has run off from the family and

1256
01:04:48,880 --> 01:04:51,960
Speaker 1: has a new girlfriend, and now his relatives are staying

1257
01:04:51,960 --> 01:04:56,200
Speaker 1: with them in this in this tiny, tiny little house, which,

1258
01:04:56,240 --> 01:04:57,800
Speaker 1: of course, if you've been to the Philippines, you know

1259
01:04:57,840 --> 01:04:58,760
Speaker 1: it's not a real house.

1260
01:04:58,920 --> 01:05:02,840
Speaker 3: It's open basically with like chicken wire over the windows.

1261
01:05:03,040 --> 01:05:03,760
Speaker 3: So there you go.

1262
01:05:05,800 --> 01:05:13,280
Speaker 1: So her mother man is like seething from resentment from

1263
01:05:13,360 --> 01:05:16,520
Speaker 1: anyone that is remotely related to her ex husband.

1264
01:05:16,640 --> 01:05:19,720
Speaker 4: Like out the gate. Oh yeah, first time you see

1265
01:05:19,760 --> 01:05:21,320
Speaker 4: her on screen, she's yelling.

1266
01:05:21,680 --> 01:05:26,480
Speaker 1: Yeah, she is fucking pissed every second of the day.

1267
01:05:27,200 --> 01:05:30,160
Speaker 3: And she doesn't like her daughter.

1268
01:05:31,320 --> 01:05:34,120
Speaker 1: And I think it's because the daughter reminds her of

1269
01:05:34,160 --> 01:05:37,520
Speaker 1: the ex husband, and you know, the mother is ruthless.

1270
01:05:37,560 --> 01:05:38,680
Speaker 3: She kicks out the family.

1271
01:05:39,040 --> 01:05:40,880
Speaker 1: You know, she's basically like, put these kids out in

1272
01:05:40,880 --> 01:05:42,640
Speaker 1: the street, take those clothes off of them.

1273
01:05:42,840 --> 01:05:44,640
Speaker 3: You know, fuck them. These people.

1274
01:05:44,680 --> 01:05:46,160
Speaker 1: I don't know where they're going to go, but not

1275
01:05:46,280 --> 01:05:50,240
Speaker 1: in my house. And you know, shortly after the mom's

1276
01:05:50,600 --> 01:05:55,880
Speaker 1: new boyfriend moves in, and it's this guy named Dado

1277
01:05:56,720 --> 01:06:01,600
Speaker 1: who is played by Ruel Vernal, and he is much

1278
01:06:01,680 --> 01:06:05,000
Speaker 1: younger than her, and he he kind of resembles like

1279
01:06:05,000 --> 01:06:06,600
Speaker 1: a Filipino Burt Reynolds.

1280
01:06:06,840 --> 01:06:07,600
Speaker 3: You know, he's got that.

1281
01:06:09,160 --> 01:06:12,320
Speaker 1: He's like a Filipino Burt Renolds from the seventies, if

1282
01:06:12,320 --> 01:06:16,240
Speaker 1: you can imagine it. And he's also kind of he's

1283
01:06:16,320 --> 01:06:18,760
Speaker 1: kind of generally known as like the town bully. He's

1284
01:06:18,800 --> 01:06:21,760
Speaker 1: just kind of this like big stud who picks on

1285
01:06:21,800 --> 01:06:24,320
Speaker 1: everybody and is like he runs kind of the town

1286
01:06:24,600 --> 01:06:26,840
Speaker 1: in that way, runs the kind of guys in the

1287
01:06:26,840 --> 01:06:27,600
Speaker 1: town at least.

1288
01:06:28,120 --> 01:06:29,400
Speaker 3: And you know, in.

1289
01:06:29,400 --> 01:06:32,120
Speaker 1: Siong spends a lot of her days literally just working

1290
01:06:32,200 --> 01:06:34,320
Speaker 1: to the bone, like doing all the chores in the house,

1291
01:06:34,480 --> 01:06:37,600
Speaker 1: doing the shopping, and is basically trying to avoid her

1292
01:06:37,640 --> 01:06:40,520
Speaker 1: mother and Daudo as much as possible because they're just

1293
01:06:40,560 --> 01:06:43,720
Speaker 1: sort of like bad news and it's tough. You know.

1294
01:06:44,000 --> 01:06:47,800
Speaker 1: They sleep very close to each other in kind of

1295
01:06:47,840 --> 01:06:52,920
Speaker 1: separate areas, but basically the mother is always telling Insong

1296
01:06:53,080 --> 01:06:58,320
Speaker 1: to turn on the faucet. So basically in the Philippines,

1297
01:06:58,400 --> 01:07:04,360
Speaker 1: like you have essentially a water bucket and that's kind.

1298
01:07:04,240 --> 01:07:05,480
Speaker 3: Of like how you would shower.

1299
01:07:05,600 --> 01:07:07,440
Speaker 1: And I think this is kind of common in like

1300
01:07:07,760 --> 01:07:10,440
Speaker 1: rural and kind of poor areas in Asia in general.

1301
01:07:10,480 --> 01:07:13,200
Speaker 1: But basically it's just a giant bucket of water and

1302
01:07:13,200 --> 01:07:15,440
Speaker 1: then you take like a water scooper and just kind

1303
01:07:15,480 --> 01:07:17,080
Speaker 1: of like douse yourself in water, and that's kind of

1304
01:07:17,080 --> 01:07:19,920
Speaker 1: like how you take a shower. Yeah, when I went

1305
01:07:19,960 --> 01:07:24,040
Speaker 1: to the Philippines, I did that, so I was like, wow,

1306
01:07:24,080 --> 01:07:28,280
Speaker 1: this is a lot different than what I'm used to. Right, So, basically,

1307
01:07:28,320 --> 01:07:32,280
Speaker 1: in order to like muffle the noises of her and

1308
01:07:32,320 --> 01:07:35,520
Speaker 1: her new young boyfriend, she has her own daughter turned

1309
01:07:35,560 --> 01:07:38,240
Speaker 1: on the faucet so that it'll just yeah, I mean

1310
01:07:38,320 --> 01:07:40,080
Speaker 1: just I can't even imagine, Like I'm just like that's

1311
01:07:40,120 --> 01:07:45,720
Speaker 1: so so crazy. But her mother obviously hates her, just

1312
01:07:45,760 --> 01:07:48,760
Speaker 1: doesn't like her, doesn't want her around and she's just wicked,

1313
01:07:48,880 --> 01:07:51,560
Speaker 1: just a mean woman. And you know, Insiong sort of

1314
01:07:51,600 --> 01:07:54,680
Speaker 1: has only really a few kind of like pleasures in

1315
01:07:54,720 --> 01:07:57,800
Speaker 1: her life, and she she kind of she has a boyfriend.

1316
01:07:57,920 --> 01:08:01,840
Speaker 1: His name is Big Boat and he's played by reds Cortes,

1317
01:08:01,880 --> 01:08:05,520
Speaker 1: and he's kind of this he's like this immature neighborhood idiot.

1318
01:08:07,400 --> 01:08:10,000
Speaker 1: He's like he's just a dump dumb and you know,

1319
01:08:10,040 --> 01:08:13,120
Speaker 1: he gets bullied by Dado often. So basically he's kind

1320
01:08:13,120 --> 01:08:16,000
Speaker 1: of like down down the rungs a few from from

1321
01:08:16,040 --> 01:08:20,240
Speaker 1: the big Boss. Right. So anyway, as as it turns out,

1322
01:08:20,240 --> 01:08:23,000
Speaker 1: like one night, Daughto sneaks into Ensong's room and attacks

1323
01:08:23,000 --> 01:08:26,880
Speaker 1: her and she passes out and he rapes her. And

1324
01:08:26,920 --> 01:08:30,000
Speaker 1: the next morning she is just beside herself. I mean,

1325
01:08:30,080 --> 01:08:33,160
Speaker 1: she's grief stricken. This horrible thing has happened to her

1326
01:08:33,920 --> 01:08:37,679
Speaker 1: and you know, heart Oh it's bad, Yeah, it's really

1327
01:08:37,720 --> 01:08:45,240
Speaker 1: it's h They don't show it actually happening, which it

1328
01:08:45,280 --> 01:08:47,200
Speaker 1: would have been a lot if that were the case,

1329
01:08:47,280 --> 01:08:50,080
Speaker 1: but just the just the you know what's happening.

1330
01:08:49,880 --> 01:08:52,040
Speaker 3: You just know it and it's not great.

1331
01:08:53,760 --> 01:08:57,000
Speaker 1: And basically the next day she's just crying and she's

1332
01:08:57,040 --> 01:08:59,320
Speaker 1: like in kind of the fetal position on the bed

1333
01:08:59,640 --> 01:09:03,160
Speaker 1: and then comes in and asks her what happened, and

1334
01:09:03,400 --> 01:09:05,720
Speaker 1: you know, Insyong tells her that like Dado raped her,

1335
01:09:05,800 --> 01:09:07,880
Speaker 1: and the mother, you know, of course, at first goes

1336
01:09:07,920 --> 01:09:12,000
Speaker 1: ape shit on Dado, but then he lies and tells

1337
01:09:12,040 --> 01:09:15,080
Speaker 1: her that Insyong was the reason, Like it is that

1338
01:09:15,200 --> 01:09:18,360
Speaker 1: stupid reason of like she was walking around naked tempting me,

1339
01:09:18,680 --> 01:09:21,719
Speaker 1: which did not happen obviously, but that's his stupid excuse.

1340
01:09:22,320 --> 01:09:26,640
Speaker 1: And sadly the mother decides to believe him instead of

1341
01:09:26,680 --> 01:09:32,160
Speaker 1: her own daughter, and it's just heartbreaking, like you're just like, wow,

1342
01:09:32,280 --> 01:09:36,439
Speaker 1: this is really bad. This is a really bad scene.

1343
01:09:36,720 --> 01:09:39,720
Speaker 1: So at that point, basically in Siong's friend you know,

1344
01:09:39,840 --> 01:09:42,479
Speaker 1: from the corner market is basically like people in the

1345
01:09:42,479 --> 01:09:45,120
Speaker 1: neighborhood are talking about this, you know, and the only

1346
01:09:45,160 --> 01:09:46,680
Speaker 1: way you can really get out of it is if

1347
01:09:46,720 --> 01:09:49,880
Speaker 1: you try to get beat boat to like elope with you,

1348
01:09:50,040 --> 01:09:52,439
Speaker 1: Like basically you need your boyfriend to take you away

1349
01:09:52,479 --> 01:09:55,519
Speaker 1: from all this. And so you know, Insiong tells her

1350
01:09:55,520 --> 01:09:58,640
Speaker 1: boyfriend this situation and says, you know, hey, if you

1351
01:09:58,680 --> 01:09:59,400
Speaker 1: really love me, like.

1352
01:09:59,360 --> 01:10:00,680
Speaker 3: We got to get the fuck out of here.

1353
01:10:00,680 --> 01:10:03,559
Speaker 1: This is really bad, and you know, he sort of

1354
01:10:03,680 --> 01:10:05,559
Speaker 1: was like, hey, yeah, I love you, blah blah blah blah.

1355
01:10:05,560 --> 01:10:07,639
Speaker 3: They spend the night together for the first time, and

1356
01:10:07,680 --> 01:10:08,479
Speaker 3: then the.

1357
01:10:08,439 --> 01:10:14,080
Speaker 1: Next morning he completely disappears, ditches her, ditches her in

1358
01:10:14,160 --> 01:10:18,160
Speaker 1: a hotel, and this is after he has spent like

1359
01:10:18,240 --> 01:10:20,920
Speaker 1: his main interaction with her in this movie has been

1360
01:10:20,920 --> 01:10:23,439
Speaker 1: trying to get her to sleep with him yes, and

1361
01:10:23,439 --> 01:10:25,640
Speaker 1: then once he gets that and she's like, promise me

1362
01:10:25,680 --> 01:10:27,360
Speaker 1: that you're not going to leave me, and he's like, nope,

1363
01:10:27,400 --> 01:10:30,719
Speaker 1: I won't and then he sure does yeah, And it's

1364
01:10:30,800 --> 01:10:35,800
Speaker 1: like just the worst feeling, Like you're just feeling so

1365
01:10:36,240 --> 01:10:38,519
Speaker 1: badly for her, like you're just like, what the fuck?

1366
01:10:38,680 --> 01:10:40,679
Speaker 3: Man like this, she cannot catch a break.

1367
01:10:40,680 --> 01:10:44,719
Speaker 1: This is awful, And as you can imagine, she fucking

1368
01:10:45,160 --> 01:10:49,439
Speaker 1: snaps like she has had it with this, and she

1369
01:10:49,560 --> 01:10:52,880
Speaker 1: decides on a plan, which is that she's going to

1370
01:10:52,920 --> 01:10:54,439
Speaker 1: pretend to fall in love with Dato.

1371
01:10:55,720 --> 01:10:58,439
Speaker 3: She's going to get daughter to beat up Bibo for her.

1372
01:10:58,600 --> 01:11:03,559
Speaker 1: At eight number one on the list, and then you know,

1373
01:11:03,720 --> 01:11:06,200
Speaker 1: event she's going to tell her mother that they're in

1374
01:11:06,200 --> 01:11:08,439
Speaker 1: love and that they're running away, running away together.

1375
01:11:09,520 --> 01:11:11,000
Speaker 3: So that's the movie, and.

1376
01:11:12,920 --> 01:11:16,000
Speaker 1: I don't want to give away the ending necessarily because

1377
01:11:16,280 --> 01:11:17,800
Speaker 1: you know, I don't know if I should do that,

1378
01:11:18,000 --> 01:11:22,840
Speaker 1: but I in general this so this movie is just

1379
01:11:22,880 --> 01:11:24,800
Speaker 1: incredible on so many levels for me. I mean, as

1380
01:11:24,840 --> 01:11:27,200
Speaker 1: much as it's like, oh my god, representation, Oh my god,

1381
01:11:27,280 --> 01:11:30,120
Speaker 1: this is like a place that I'm from, and you know,

1382
01:11:30,280 --> 01:11:32,920
Speaker 1: I remember seeing places like this when I was in

1383
01:11:32,920 --> 01:11:35,040
Speaker 1: the Philippines because you know, like my my own mother

1384
01:11:35,160 --> 01:11:38,120
Speaker 1: is not she grew up in places like this, like right,

1385
01:11:38,240 --> 01:11:41,519
Speaker 1: she was not you know, from the chic downtown. She

1386
01:11:41,640 --> 01:11:44,760
Speaker 1: was from the country. And seeing my own relatives in

1387
01:11:44,800 --> 01:11:47,920
Speaker 1: these conditions too, you know, So I connected with that part.

1388
01:11:48,000 --> 01:11:51,320
Speaker 1: The visual style of it, I connected with a lot.

1389
01:11:51,840 --> 01:11:54,519
Speaker 1: But you know, there was a lot of like I mean,

1390
01:11:55,200 --> 01:11:58,480
Speaker 1: there are moments of real high melodrama that I fucking appreciate.

1391
01:11:58,600 --> 01:12:03,760
Speaker 1: Like yes, listen, the psychotic seventies flute.

1392
01:12:03,920 --> 01:12:08,600
Speaker 3: Makes a return. Ah, we love it.

1393
01:12:08,600 --> 01:12:11,479
Speaker 1: It's like that three women flute that comes in like

1394
01:12:11,560 --> 01:12:13,080
Speaker 1: going going all wild.

1395
01:12:15,080 --> 01:12:18,600
Speaker 3: The notes You're like speaking of jazz. It's like a

1396
01:12:18,720 --> 01:12:21,880
Speaker 3: jazz flute.

1397
01:12:22,240 --> 01:12:24,880
Speaker 1: And there are these moments where, like you know that

1398
01:12:25,080 --> 01:12:28,400
Speaker 1: Leno Brooka fucking grew up watching fifties and sixties American

1399
01:12:28,400 --> 01:12:30,840
Speaker 1: movies because there's like parts where he like closes He

1400
01:12:30,840 --> 01:12:33,160
Speaker 1: does this like close upon people's faces when the story

1401
01:12:33,280 --> 01:12:36,840
Speaker 1: just like takes a turn, and you're like, oh, yeah.

1402
01:12:36,439 --> 01:12:37,719
Speaker 2: It works so well.

1403
01:12:38,040 --> 01:12:40,799
Speaker 4: It works so well, And I love his smaller beats.

1404
01:12:41,280 --> 01:12:43,920
Speaker 4: Like there are a couple of like smaller stories built

1405
01:12:44,040 --> 01:12:46,920
Speaker 4: baked into this movie, and one of them is this

1406
01:12:47,000 --> 01:12:49,880
Speaker 4: woman who thinks her daughter is going to be a star,

1407
01:12:50,520 --> 01:12:53,200
Speaker 4: so she keeps taking her to like this studio and

1408
01:12:53,240 --> 01:12:55,639
Speaker 4: they're like she's like, she's gonna be on TV today,

1409
01:12:55,880 --> 01:12:58,200
Speaker 4: and then everyone as soon as she leaves like talks

1410
01:12:58,240 --> 01:12:59,840
Speaker 4: behind her back, like I didn't see her on TV.

1411
01:13:00,439 --> 01:13:01,800
Speaker 4: She said she was going to be on this show.

1412
01:13:02,040 --> 01:13:04,160
Speaker 4: I don't think that's ever gonna happen. She can't even

1413
01:13:04,200 --> 01:13:06,040
Speaker 4: sing exactly.

1414
01:13:06,200 --> 01:13:07,880
Speaker 2: It gets so funny.

1415
01:13:08,280 --> 01:13:11,200
Speaker 1: Yeah, she's like talking, what's it? The show is called

1416
01:13:11,200 --> 01:13:12,639
Speaker 1: like Disco Rama or something.

1417
01:13:12,640 --> 01:13:13,960
Speaker 3: It's like a disco show.

1418
01:13:14,400 --> 01:13:17,160
Speaker 1: She's like, you know, basically taking her daughter to be

1419
01:13:17,160 --> 01:13:19,960
Speaker 1: on this disco show and she just keeps not making

1420
01:13:19,960 --> 01:13:20,360
Speaker 1: the cut.

1421
01:13:21,680 --> 01:13:24,360
Speaker 3: And the mother is like, I don't what's the problem.

1422
01:13:24,640 --> 01:13:26,960
Speaker 2: She's like, it'll happen today.

1423
01:13:27,000 --> 01:13:31,640
Speaker 1: It's happening. It's absolutely happening today. It's like delusion and persistence.

1424
01:13:32,000 --> 01:13:35,479
Speaker 4: It's delusion and persistence. It's our favorite theme, our favorite theme,

1425
01:13:35,720 --> 01:13:38,599
Speaker 4: and I love that. Like there's just always these this

1426
01:13:38,760 --> 01:13:42,120
Speaker 4: line of guys outside the market who are just drunk, yes,

1427
01:13:43,560 --> 01:13:45,800
Speaker 4: just making fun of everything.

1428
01:13:46,080 --> 01:13:49,479
Speaker 1: Yeah, they're basically they're basically just like the Peanut Gallery.

1429
01:13:49,560 --> 01:13:52,880
Speaker 1: Like they're just like drinking all day and like everyone's

1430
01:13:52,920 --> 01:13:56,519
Speaker 1: like hitting them with umbrellas and like shopping backs because

1431
01:13:56,520 --> 01:13:59,920
Speaker 1: they're true idiots, true idiots of the highest order.

1432
01:14:01,840 --> 01:14:04,559
Speaker 3: But you know, it's funny because there are there are

1433
01:14:04,560 --> 01:14:05,519
Speaker 3: moments that I.

1434
01:14:05,479 --> 01:14:08,240
Speaker 1: Love with this movie, Like I said, the high melodrama,

1435
01:14:09,280 --> 01:14:11,439
Speaker 1: you know, the nod to kind of these like fifties

1436
01:14:11,479 --> 01:14:14,720
Speaker 1: and sixties sort of you know American films. I mean,

1437
01:14:14,760 --> 01:14:17,000
Speaker 1: almost like a Douglas Cirk in a way, you know,

1438
01:14:17,040 --> 01:14:21,200
Speaker 1: which obviously like seems very campy I think at this point.

1439
01:14:21,240 --> 01:14:23,400
Speaker 3: But you know, there's also there's this movie is hard

1440
01:14:23,400 --> 01:14:23,719
Speaker 3: to watch.

1441
01:14:23,720 --> 01:14:25,479
Speaker 1: I mean obviously there's a lot of times where it

1442
01:14:25,520 --> 01:14:28,080
Speaker 1: is very very hard to watch. But I think it's

1443
01:14:28,120 --> 01:14:31,800
Speaker 1: interesting because Leo Brook was not He's not shining away

1444
01:14:31,800 --> 01:14:34,680
Speaker 1: from that reality. Like you know, The Philippines is a

1445
01:14:34,800 --> 01:14:37,400
Speaker 1: very poor place. I mean, it's lots and lots of

1446
01:14:37,439 --> 01:14:41,639
Speaker 1: people are living in like abject poverty certainly, certainly kind

1447
01:14:41,640 --> 01:14:44,280
Speaker 1: of poverty that I have never seen in America ever,

1448
01:14:44,840 --> 01:14:46,680
Speaker 1: and you know, and on it to be honest, I mean,

1449
01:14:46,720 --> 01:14:49,280
Speaker 1: I actually texted you because I was like, uh, the

1450
01:14:49,280 --> 01:14:52,240
Speaker 1: first scene of this movie is pigs being slaughtered in

1451
01:14:52,280 --> 01:14:57,120
Speaker 1: a factory, and I'm sorry, like it was tough, you

1452
01:14:57,160 --> 01:15:00,519
Speaker 1: know to watch. It's like, literally the first second of

1453
01:15:00,560 --> 01:15:04,560
Speaker 1: this movie is like a pig getting stabbed, essentially.

1454
01:15:04,120 --> 01:15:04,360
Speaker 4: And.

1455
01:15:05,920 --> 01:15:07,439
Speaker 3: But that's it's part of the film.

1456
01:15:07,439 --> 01:15:10,360
Speaker 1: I mean, that's where Dotta works, and I think that

1457
01:15:10,400 --> 01:15:14,760
Speaker 1: there was obviously some kind of symbolism there, which but

1458
01:15:14,800 --> 01:15:16,600
Speaker 1: it's very jarring when he first started on.

1459
01:15:17,280 --> 01:15:19,880
Speaker 4: Yeah, but this is also like that that plant, that

1460
01:15:20,000 --> 01:15:23,640
Speaker 4: processing plant is really the only jobs available, because so

1461
01:15:23,720 --> 01:15:26,559
Speaker 4: much of the movie is all of these young men

1462
01:15:27,120 --> 01:15:29,679
Speaker 4: saying like I wish I had a job, and I wish,

1463
01:15:29,800 --> 01:15:31,719
Speaker 4: like I want a job. I went down to the

1464
01:15:31,760 --> 01:15:33,400
Speaker 4: plan or I went down to the factory. I try,

1465
01:15:33,439 --> 01:15:36,400
Speaker 4: I'll do anything. And that's why they're hanging out in

1466
01:15:36,400 --> 01:15:38,559
Speaker 4: front of the store getting drunk because they have nowhere else.

1467
01:15:38,439 --> 01:15:40,200
Speaker 3: To go, exactly.

1468
01:15:40,280 --> 01:15:43,120
Speaker 1: And I think it's the reason why somebody like Dotto

1469
01:15:43,200 --> 01:15:46,400
Speaker 1: is very he's trying to align himself with the mother

1470
01:15:47,040 --> 01:15:49,360
Speaker 1: because he doesn't have any money, and he borrows money

1471
01:15:49,360 --> 01:15:52,200
Speaker 1: from her all the time. Like honestly, what makes his

1472
01:15:52,320 --> 01:15:55,040
Speaker 1: mom just a horrible person at the end of the

1473
01:15:55,120 --> 01:15:58,479
Speaker 1: day is that like she's like shaken In Soyong down

1474
01:15:58,840 --> 01:16:01,360
Speaker 1: for like five paso and yet he's like, hint to

1475
01:16:01,400 --> 01:16:03,519
Speaker 1: borrow fifty pace. So she's like, sure, okay, you know

1476
01:16:03,520 --> 01:16:04,920
Speaker 1: what I mean. It's not the thing where you're like

1477
01:16:05,040 --> 01:16:10,760
Speaker 1: fuck man, like that Gus God bad that scene. Oh

1478
01:16:10,800 --> 01:16:12,439
Speaker 1: he's the worst. And like I said, I won't give

1479
01:16:12,439 --> 01:16:15,639
Speaker 1: away the ending, but like in Sung gets her revenge,

1480
01:16:16,080 --> 01:16:19,240
Speaker 1: and it is in a way that is you know.

1481
01:16:19,400 --> 01:16:22,880
Speaker 1: It's it's that feeling that I get when I watched Carrie,

1482
01:16:23,200 --> 01:16:26,080
Speaker 1: you know, and you're like get them, like just get them,

1483
01:16:26,080 --> 01:16:28,559
Speaker 1: like fucking get them. And I know it's not ethical,

1484
01:16:29,240 --> 01:16:32,800
Speaker 1: but fuck it, You've experienced too much trauma from this

1485
01:16:32,880 --> 01:16:36,280
Speaker 1: life so far that if you have an opportunity to

1486
01:16:36,400 --> 01:16:41,120
Speaker 1: set up the scenario for bad people to get their

1487
01:16:41,240 --> 01:16:43,360
Speaker 1: do girl, go for it.

1488
01:16:44,479 --> 01:16:46,080
Speaker 3: That's not ethical. That's how I feel.

1489
01:16:46,680 --> 01:16:48,960
Speaker 4: It's not ethical, But it's like it's a balancing of

1490
01:16:49,000 --> 01:16:52,200
Speaker 4: the scales a little bit. Yeah, I absolutely love this movie,

1491
01:16:52,280 --> 01:16:55,000
Speaker 4: and I think I didn't know what to expect going

1492
01:16:55,040 --> 01:16:56,880
Speaker 4: into it because I'd never heard of Leno Braka and

1493
01:16:56,960 --> 01:16:59,600
Speaker 4: I'd never seen one of his films, And I was

1494
01:16:59,680 --> 01:17:03,920
Speaker 4: just so drawn into this world so instantly, And I

1495
01:17:03,920 --> 01:17:06,240
Speaker 4: think that is it's a skill you have to be

1496
01:17:06,280 --> 01:17:11,439
Speaker 4: a very skilled filmmaker to make someone care so deeply

1497
01:17:11,800 --> 01:17:12,400
Speaker 4: so quickly.

1498
01:17:13,160 --> 01:17:16,400
Speaker 1: You know, I would assume that a lot of our

1499
01:17:16,439 --> 01:17:18,960
Speaker 1: listeners probably hadn't heard of this movie. I mean, like

1500
01:17:19,000 --> 01:17:21,400
Speaker 1: I said, I you know, like I was only really

1501
01:17:21,439 --> 01:17:24,839
Speaker 1: aware of this film in the past five ten years.

1502
01:17:25,560 --> 01:17:30,080
Speaker 1: And unfortunately his work is not out there in the

1503
01:17:30,120 --> 01:17:35,120
Speaker 1: way that other directors from the Third World or wherever

1504
01:17:35,200 --> 01:17:37,960
Speaker 1: are out there even But it's that thing where I

1505
01:17:38,000 --> 01:17:41,559
Speaker 1: think that this movie it's a perfect example of the

1506
01:17:41,600 --> 01:17:43,679
Speaker 1: type of movie that needs to be shown and needs

1507
01:17:43,680 --> 01:17:46,840
Speaker 1: to be talked about, and because it's compelling, it's a

1508
01:17:46,880 --> 01:17:51,360
Speaker 1: really compelling story. I think a lot of people, a

1509
01:17:51,360 --> 01:17:53,360
Speaker 1: lot of people might be turned off to things that

1510
01:17:53,400 --> 01:17:56,479
Speaker 1: have subtitles, and a lot of people are turned off

1511
01:17:56,520 --> 01:17:59,200
Speaker 1: by older films in general. I mean, we're not in

1512
01:17:59,200 --> 01:18:01,719
Speaker 1: this space we talk about older films all the time,

1513
01:18:02,200 --> 01:18:05,679
Speaker 1: but you know, give give it a chance, like give

1514
01:18:05,720 --> 01:18:08,280
Speaker 1: things like this a chance, because honestly, like I would

1515
01:18:08,320 --> 01:18:10,600
Speaker 1: have never expected something like this coming out of the

1516
01:18:10,600 --> 01:18:14,200
Speaker 1: Philippines at that time, right, I would have never expected that.

1517
01:18:14,240 --> 01:18:17,479
Speaker 1: And it's it's such a joy to discover stuff like this,

1518
01:18:19,120 --> 01:18:20,040
Speaker 1: and I'm just glad.

1519
01:18:19,840 --> 01:18:21,280
Speaker 3: We got to talk about it. I'm glad to fit

1520
01:18:21,320 --> 01:18:21,880
Speaker 3: this theme.

1521
01:18:22,320 --> 01:18:25,320
Speaker 4: Yeah, I mean to a tea And I'm glad that

1522
01:18:25,360 --> 01:18:27,080
Speaker 4: you picked it because I and this is one of

1523
01:18:27,120 --> 01:18:29,320
Speaker 4: my favorite things about our friendship. And one of the

1524
01:18:29,360 --> 01:18:32,240
Speaker 4: reasons why why we started the podcast and why I'm

1525
01:18:32,240 --> 01:18:35,160
Speaker 4: so glad we started the podcast is because you are

1526
01:18:35,920 --> 01:18:40,320
Speaker 4: very skilled at recommending films that might not ever be

1527
01:18:40,360 --> 01:18:43,240
Speaker 4: on someone's radar. And this film might not have ever

1528
01:18:43,280 --> 01:18:45,519
Speaker 4: been on my radar. And I'm so glad I watched it.

1529
01:18:46,040 --> 01:18:48,760
Speaker 4: And it's opened up a whole new world to me

1530
01:18:49,040 --> 01:18:52,200
Speaker 4: of what could be possible in these older films, because

1531
01:18:52,200 --> 01:18:54,720
Speaker 4: it's not just older American films, and it's not just

1532
01:18:54,840 --> 01:18:58,400
Speaker 4: older films that have been kind of you know, granted,

1533
01:18:59,240 --> 01:19:02,679
Speaker 4: you know, have been ordained as the films to watch

1534
01:19:02,680 --> 01:19:06,960
Speaker 4: from other countries, Like there's such gems amidst you know,

1535
01:19:07,040 --> 01:19:10,080
Speaker 4: the stuff that we've already heard about, and I love it.

1536
01:19:10,160 --> 01:19:10,640
Speaker 2: I love it.

1537
01:19:10,680 --> 01:19:13,920
Speaker 4: I think that this is like it's a true discovery,

1538
01:19:14,600 --> 01:19:16,680
Speaker 4: and I think that's like, again, you're great at that,

1539
01:19:16,720 --> 01:19:21,439
Speaker 4: and you're great at like helping people understand that these

1540
01:19:21,840 --> 01:19:26,120
Speaker 4: older films can be still understood in a modern context

1541
01:19:26,280 --> 01:19:26,960
Speaker 4: and makes sense.

1542
01:19:27,240 --> 01:19:29,200
Speaker 3: Well, thank you, I appreciate hearing that.

1543
01:19:30,520 --> 01:19:32,280
Speaker 1: But you know, I think at the end of the day,

1544
01:19:32,840 --> 01:19:37,040
Speaker 1: as we wrap up this episode to talk about Mother's Day,

1545
01:19:37,200 --> 01:19:42,600
Speaker 1: you know, I think these films are truly about complicated

1546
01:19:42,760 --> 01:19:45,160
Speaker 1: relationships with teen mothers and daughters, and like, like we

1547
01:19:45,240 --> 01:19:46,360
Speaker 1: said at the beginning.

1548
01:19:46,000 --> 01:19:48,479
Speaker 3: It's like one's a little TVD the other one is.

1549
01:19:48,680 --> 01:19:52,200
Speaker 1: Definitely I think we all know by now this this mother.

1550
01:19:52,160 --> 01:19:54,040
Speaker 3: Is not a one at all.

1551
01:19:55,680 --> 01:19:59,799
Speaker 1: But even in those scenarios, it's still like the story

1552
01:20:00,080 --> 01:20:03,000
Speaker 1: of seeing like a mother and a daughter on screen

1553
01:20:03,120 --> 01:20:06,320
Speaker 1: and sort of like figuring it out is it's always

1554
01:20:06,360 --> 01:20:07,760
Speaker 1: going to be interesting for me.

1555
01:20:07,960 --> 01:20:09,639
Speaker 3: I'm sure it's probably just for you too.

1556
01:20:10,000 --> 01:20:14,200
Speaker 4: Absolutely well, especially when it's a teenage daughter and a mother,

1557
01:20:14,280 --> 01:20:16,320
Speaker 4: because I feel like there is something that happens when

1558
01:20:16,360 --> 01:20:19,960
Speaker 4: you're a teenager and there are a few films that

1559
01:20:20,000 --> 01:20:23,920
Speaker 4: explore this, but not as well as these two maybe,

1560
01:20:23,960 --> 01:20:26,880
Speaker 4: But I like that notion of thinking about, you know,

1561
01:20:27,880 --> 01:20:30,640
Speaker 4: the primary worry about who is your daughter, what kind

1562
01:20:30,680 --> 01:20:31,120
Speaker 4: of woman is.

1563
01:20:31,120 --> 01:20:31,960
Speaker 2: Your daughter going to be?

1564
01:20:32,720 --> 01:20:35,880
Speaker 4: And like kind of pushing her away because of that,

1565
01:20:36,120 --> 01:20:38,160
Speaker 4: or there's there's just something there that I haven't quite

1566
01:20:38,160 --> 01:20:40,000
Speaker 4: put my finger on yet, but I think that that's

1567
01:20:40,560 --> 01:20:41,959
Speaker 4: a very interesting dynamic.

1568
01:20:42,880 --> 01:20:43,599
Speaker 3: Yeah, me too.

1569
01:20:44,479 --> 01:20:48,200
Speaker 1: Well, I'm glad we chose these. It was it was

1570
01:20:48,280 --> 01:20:50,360
Speaker 1: fun to talk about both of This.

1571
01:20:50,560 --> 01:20:52,200
Speaker 2: Is so much fun.

1572
01:20:53,360 --> 01:20:53,800
Speaker 3: All right.

1573
01:20:53,960 --> 01:20:58,120
Speaker 1: Well again, so awesome of you guys to check us out.

1574
01:20:58,520 --> 01:21:02,840
Speaker 1: And Daniel, well, why don't you give the people the

1575
01:21:02,920 --> 01:21:04,000
Speaker 1: movies for next week?

1576
01:21:04,320 --> 01:21:10,559
Speaker 4: Oh boy, if you guess this theme, y'all, I can't

1577
01:21:10,600 --> 01:21:14,040
Speaker 4: wait for you to try. Our movies next week are

1578
01:21:14,280 --> 01:21:19,599
Speaker 4: Hereditary from twenty eighteen and Whatever Happened to Baby Jane

1579
01:21:20,000 --> 01:21:21,320
Speaker 4: from nineteen sixty two.

1580
01:21:21,920 --> 01:21:25,439
Speaker 3: Ooh, it's going good.

1581
01:21:25,760 --> 01:21:30,479
Speaker 1: I'm just laughing taking about it now.

1582
01:21:31,200 --> 01:21:31,719
Speaker 3: Oh boy.

1583
01:21:32,000 --> 01:21:34,040
Speaker 4: This is the most fun part of this podcast is

1584
01:21:34,040 --> 01:21:35,120
Speaker 4: picking these themes.

1585
01:21:35,439 --> 01:21:36,800
Speaker 3: I know, it's so fun.

1586
01:21:36,880 --> 01:21:40,160
Speaker 1: And also I love dangling the movies out to people

1587
01:21:40,200 --> 01:21:42,360
Speaker 1: and not telling them what the theme is because it

1588
01:21:42,439 --> 01:21:44,120
Speaker 1: does It's like guess what.

1589
01:21:44,240 --> 01:21:47,200
Speaker 3: We know what it's about, but you don't. I'm sorry

1590
01:21:47,240 --> 01:21:49,920
Speaker 3: that's cruel, but I love it. I sickretly love it.

1591
01:21:51,080 --> 01:21:53,960
Speaker 1: But if you if you ever want to email us

1592
01:21:54,000 --> 01:21:56,280
Speaker 1: for any reason, we're at I Saw what you Did

1593
01:21:56,360 --> 01:21:57,160
Speaker 1: Pod at Gmail.

1594
01:21:57,520 --> 01:22:00,360
Speaker 4: You can please find us on our social media at

1595
01:22:00,560 --> 01:22:02,599
Speaker 4: I Saw Pod on Instagram and Twitter.

1596
01:22:03,200 --> 01:22:06,519
Speaker 1: We also have merged if you are interested, I Saw

1597
01:22:06,520 --> 01:22:09,320
Speaker 1: what You Did merch It's in the Exactly Right shop

1598
01:22:09,400 --> 01:22:11,320
Speaker 1: at exactlyrightmedia dot com.

1599
01:22:11,600 --> 01:22:14,400
Speaker 4: And if you want even more from us, we've got

1600
01:22:14,439 --> 01:22:17,479
Speaker 4: a whole bunch of bonus episodes up at Stitcher Premium

1601
01:22:17,760 --> 01:22:20,519
Speaker 4: and you can still use the promo code SAW for

1602
01:22:20,600 --> 01:22:21,599
Speaker 4: a free month.

1603
01:22:22,000 --> 01:22:25,400
Speaker 3: Ooh, ooh ooh if you want more of us, And

1604
01:22:25,479 --> 01:22:26,679
Speaker 3: why wouldn't you write?

1605
01:22:26,680 --> 01:22:30,120
Speaker 4: If you dare, If you dare, you damn into the

1606
01:22:30,200 --> 01:22:31,760
Speaker 4: layer of the jazz Creeps.

1607
01:22:32,200 --> 01:22:35,919
Speaker 3: If you be a jazz creep. Return next week.

1608
01:22:38,520 --> 01:22:51,360
Speaker 4: Happy Mother's Day, Happydesday, mark on. This has been an

1609
01:22:51,400 --> 01:22:56,080
Speaker 4: exactly Right production. Our producers Alexis Amorsi, our engineers Analise Nelson.

1610
01:22:56,160 --> 01:22:58,960
Speaker 4: Our social media manager is Tarren Maza. Our theme song

1611
01:22:59,040 --> 01:23:02,639
Speaker 4: is by Tom Bryfo. Artwork by Garrett Ross Our executive

1612
01:23:02,640 --> 01:23:05,879
Speaker 4: producers are Georgia Hardstark, Karen Till, Gareth and Danielle Kramer.

1613
01:23:06,280 --> 01:23:08,840
Speaker 4: Follow us on Instagram and Twitter at I Saw pod

1614
01:23:09,280 --> 01:23:11,639
Speaker 4: email us at I Saw What you did pod at Gmail,

1615
01:23:11,920 --> 01:23:14,479
Speaker 4: and please don't forget to listen, subscribe, leave us a

1616
01:23:14,479 --> 01:23:17,719
Speaker 4: review on Apple Podcast, Stitcher, or wherever you listen