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Speaker 1: What kind of a show you guys putting on here today?

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Speaker 2: You're not interested in art?

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Speaker 1: Now?

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Speaker 2: No, Look, we're going to do this thing. We're going

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Speaker 2: to have a conversation.

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Speaker 1: From Chicago. This is film Spotting. I'm Adam Kempinar and

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Speaker 1: I'm Josh Larson.

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Speaker 2: Remain on Interstate for two hundred and forty nine miles David.

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Speaker 1: David week, no week talking to each other out.

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Speaker 3: Do you want to go on a big, bold, beautiful journey.

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Speaker 2: Yes, Colin Farrell and Margot Robbie go on a big, bold,

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Speaker 2: beautiful journey in the film of the same name from

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Speaker 2: Columbus and After Yang director Cooganada. We've got a review.

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Speaker 1: And our favorite Paul Thomas Anderson Decade. That and more

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Speaker 1: ahead on film Spotting.

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Speaker 2: I have a competition in bed. I want no one

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Speaker 2: else to succeed.

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Speaker 1: Welcome to Film Spotting. Paul Thomas Anderson's latest, One Battle

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Speaker 1: after Another, is out, Josh. We will have a review

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Speaker 1: next week. In the meantime, we have a new deeply

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Speaker 1: flawed film Spotting poll. We're asking you to name your

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Speaker 1: favorite Paul Thomas Anderson decade and I hate to say

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Speaker 1: this out loud. Producer Sam Is surely going to hear this.

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Speaker 1: But you know how you know it's actually not a

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Speaker 1: deeply flawed Film Spotting poll. I don't want to answer it.

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Speaker 1: That means it's a good poll.

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Speaker 2: I had the same thought. As a matter of fact, Adam,

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Speaker 2: this is a poll that forced me to do some homework.

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Speaker 2: We do homework all the time for our top five

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Speaker 2: lists and other things for the show. Rarely does that

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Speaker 2: happen for me with polls. But yeah, this was such

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Speaker 2: a good question. I had to do a slight revisit

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Speaker 2: of a Paul Thomas Anderson film. I'll share that when

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Speaker 2: we get to the poll.

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Speaker 1: Okay, our picks maybe in that PTA poll sounds like

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Speaker 1: Josh may have a pick and results from our sixties

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Speaker 1: musicals poll later listeners have chosen, plus their feedback. Quick reminder,

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Speaker 1: Film Spotting is now available as a video podcast. If

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Speaker 1: you're a Spotify listener, you can toggle between video and audio.

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Speaker 1: You can also watch the show on YouTube. For a

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Speaker 1: link to video episodes, go to film Spotting dot net

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Speaker 1: slash episodes. But first, a big, bold, beautiful journey.

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Speaker 4: Is that your high school?

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Speaker 2: Yeah? He'd you know? Well?

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Speaker 4: Two reasons one those could only be high school doors

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Speaker 4: and the second reason, I'll tell you later what. No,

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Speaker 4: I'm not sure what. Well, I went here for four years.

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Speaker 4: I don't know who or what. When you know, it's okay,

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Speaker 4: high school, it's okay. We'll find out.

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Speaker 2: Plenty of places to start with a big, bold, beautiful journey, Adam,

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Speaker 2: this is a full movie. It's an ambitious movie. But

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Speaker 2: this is Film Spotting, so we have to start with

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Speaker 2: the coganata of all. I think we've both been admirers

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Speaker 2: of his work pretty much from the beginning. I think

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Speaker 2: we both followed the video essays he started out with,

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Speaker 2: examining the likes of Breaking Bad, also I believe Harakazu

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Speaker 2: Correa's films, and then Columbus his debut as a writer director,

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Speaker 2: his feature debut. It won the Film Spotting Golden Brick

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Speaker 2: Award in twenty seventeen. This is our annual award for

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Speaker 2: emerging and exciting filmmakers. After Yang his follow up that

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Speaker 2: came out in twenty twenty two, we both had it

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Speaker 2: on our top ten lists for that year, and then,

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Speaker 2: of course Film Spotting Fest. Just this past March, where

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Speaker 2: we celebrated twenty years of the show, we screened Columbus

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Speaker 2: and we're lucky enough to have a post screening conversation

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Speaker 2: with Cooganata. But we just shared that in the film

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Speaker 2: Spotting Feed a couple of episodes ago. So a big, bold,

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Speaker 2: beautiful journey in which Colin Ferrell and Margot Robbie play

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Speaker 2: a pair of skeptical singles who are nuts into an

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Speaker 2: existential first date. It comes with big, bold expectations. In fact,

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Speaker 2: after only Columbus and after Yang, I at least had

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Speaker 2: already put Cooganata among those filmmakers who come with a

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Speaker 2: separate category of expectations. Think about this, maybe in terms

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Speaker 2: of star ratings might help me explain what I'm talking about.

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Speaker 2: Three stars for let's say a new Paul Thomas Anderson movie,

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Speaker 2: or maybe a new Kelly Reikert movie, or a new

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Speaker 2: Jordan Peele movie. That doesn't mean the same thing as

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Speaker 2: three stars for the new let's say Gareth Edwards movie.

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Speaker 2: And I say that because I'm someone who gave Edwards

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Speaker 2: Jurassic World Rebirth three out of four stars. Someone like

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Speaker 2: Edwards just has to deliver a decent movie to hit

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Speaker 2: that range. I feel like the others I mentioned, though,

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Speaker 2: they have to deliver a movie at least as good

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Speaker 2: as what they've already done, which has been pretty great.

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Speaker 2: So there's a range here, and I think this is

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Speaker 2: what Coganata has done to himself with Columbus and with

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Speaker 2: After Yang. I can't help it. But when I go

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Speaker 2: to see a new film from him now, I'm thinking

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Speaker 2: of it in terms of a Coganata scale. So how

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Speaker 2: does it compare to his other excellent films just in general?

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Speaker 2: How does it extend upon his favorite themes, two of

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Speaker 2: which I'd suggest are maybe the family and also modernity?

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Speaker 2: How does it exemplify or refine certain esthetic techniques here?

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Speaker 2: I'm thinking about his use of space in particular. So, Adam,

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Speaker 2: how did all of this play into your viewing of

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Speaker 2: a big, bold, beautiful journey, which I should note was

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Speaker 2: written by Seth Reese, whereas Coganata wrote his previous screenplays

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Speaker 2: adapting a short story. In the case of After Yang,

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Speaker 2: I'm not going to ask you how many stars you're

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Speaker 2: giving the movie? Instead, how many Coganatas do you give it?

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Speaker 1: I'm going to refrain for now from answering that question.

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Speaker 1: How much time are you going to give me? I

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Speaker 1: was hoping we'd start here, Josh, and if you didn't

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Speaker 1: start here, I probably would have found a way to

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Speaker 1: make it seem like it was your question. And I

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Speaker 1: don't want to suggest that anyone has to be a

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Speaker 1: deep cogonata scholar or appreciator like us, someone who has

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Speaker 1: the context that we have, like you laid out, to

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Speaker 1: like this movie or to address this topic. And I

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Speaker 1: wouldn't say that because we have the relationship that we

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Speaker 1: have to his work. And I'll throw in that I

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Speaker 1: also teach Columbus in one of my classes, and in fact,

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Speaker 1: this week my students are turning in their first written

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Speaker 1: review and it's of Columbus. So we just watched it

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Speaker 1: and talked about it in class. I wouldn't suggest that

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Speaker 1: I'm extra qualified to weigh in, but I might be

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Speaker 1: well positioned to weigh in. We'll see if my remarks

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Speaker 1: hold up, and I'm extra excited to weigh in. And

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Speaker 1: maybe the true test of a director's vision of their

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Speaker 1: tourist impulses, if you buy into such things, isn't whether

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Speaker 1: their imprint keeps appearing in the movies they write indirect

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Speaker 1: movies like Columbus and after Yang, as you mentioned, it's

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Speaker 1: whether it's apparent even in the movies they don't write

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Speaker 1: like this one, And how does it appear in those movies?

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Speaker 1: Is it in the visual style, is it in specific

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Speaker 1: formal choices, is it in the material? Is it in

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Speaker 1: thematic resonance. It wouldn't surprise me to hear someone say

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Speaker 1: they felt like this was a departure or that they

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Speaker 1: didn't see Koganata in this movie. And yet for me

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Speaker 1: it was undeniably a Cooganata film, and a good one.

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Speaker 1: And I suppose, if I'm going to answer your question,

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Speaker 1: if I'm starting my letterboxed Coganauta ranking right now, I

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Speaker 1: am putting it after Columbus and after Yang. But that

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Speaker 1: doesn't mean much, because I do like a big, bold,

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Speaker 1: beautiful journey quite a bit. And beyond the care that

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Speaker 1: clearly went into the look of the film and so

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Speaker 1: many of the compositions, and hopefully we'll talk about that more,

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Speaker 1: I'll give you one choice, one formal choice that surely

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Speaker 1: wasn't on the page this way, and hopefully no one

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Speaker 1: will write in and say, well, yeah, it shouldn't be

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Speaker 1: on the page this way. That's not how screenplays are

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Speaker 1: supposed to be written. I know there's a moment early

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Speaker 1: in the film not a spoiler. There's a moment where

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Speaker 1: Colin Ferrell is driving in his car and the GPS

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Speaker 1: is urging him to take this big, bold, beautiful journey,

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Speaker 1: and like his hype person, his coach is getting him

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Speaker 1: to say, is trying to get him to say with

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Speaker 1: some conviction, I want to go on a big, bold,

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Speaker 1: beautiful journey. And it's just like you know, a comic

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Speaker 1: saying make some noise or whatever, and that's not loud enough.

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Speaker 1: The first two times, it's not quite with enough excitedness,

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Speaker 1: and then that last time, rather than us hearing how

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Speaker 1: Colin Farrell says it, the choice is to cut to

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Speaker 1: the outside of the car and we only see Colin

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Speaker 1: Ferrell yelling it seems at the top of his lungs.

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Speaker 1: And it takes me right back to the moment in

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Speaker 1: Columbus where Jin and Casey are having one of their

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Speaker 1: first encounters. I think it's maybe the first meeting where

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Speaker 1: they're really walking around the town and they're talking about

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Speaker 1: the architecture and Jin asks John cho asks Haley lou

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Speaker 1: Richardson's Casey about the architecture and what she loves about

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Speaker 1: this building, and she just starts spouting the usual fodder

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Speaker 1: that she gives when she's doing a tour. It's one

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Speaker 1: of the first modern I thanks in the United States.

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Speaker 2: Do you like this building intellectually because of all the facts?

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Speaker 1: No, I'm also moved by it. Yes, yes, tell me

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Speaker 1: about that what moves you? And in that moment, Cogonauta

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Speaker 1: cuts to the inside of the building and we only

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Speaker 1: see through the through the mirror or through the window,

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Speaker 1: through the glass, we see her talking about it, and

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Speaker 1: we don't hear it, but we don't need to hear it.

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Speaker 1: We can see her conviction, we can see her passion.

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Speaker 1: We know that she's finally talking from her heart about

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Speaker 1: what the architecture means to her. And and here it's

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Speaker 1: just sort of reverse because now we're getting outside of

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Speaker 1: the glass and looking in at at Colin Ferrell's David.

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Speaker 1: But it's the same thing. All we need to know

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Speaker 1: is the passion, right, And so Coganata is doing something

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Speaker 1: very similar there. That's a formal choice that that stood

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Speaker 1: out to me there, that that I thought was really effective.

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Speaker 1: But beyond that, you mentioned family, and I'm just going

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Speaker 1: to give you a few here because there's more that

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Speaker 1: I think we can get into. You mentioned family, go

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Speaker 1: back to Columbus, you have fundamentally a story about Haley

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Speaker 1: Leu Richardson's casey coming to terms with her relationship with

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Speaker 1: her mother and what the expectations of that relationship are,

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Speaker 1: what the expectations are for her as a daughter, whether

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Speaker 1: or not she could and should leave town and pursue

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Speaker 1: her own dreams, her own professional dreams, whether or not

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Speaker 1: she even wants that for herself, And of course the

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Speaker 1: flip side there is Jin having to come to this

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Speaker 1: place and be near his father, who he doesn't really

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Speaker 1: want any part of, So it's all about this generational angst.

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Speaker 1: The angst more applies to Jin and his father, but

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Speaker 1: this generational tension in both cases and each of these

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Speaker 1: younger characters having to come to terms with their relationships

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Speaker 1: with their parents and ultimately who they are, their identities

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Speaker 1: as defined by their parents, and who they are going

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Speaker 1: to be in the world and where they're going to

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Speaker 1: be in the world after. Yang is doing something similar,

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Speaker 1: though it's with a dad figure played by Colin Farrell

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Speaker 1: and a pseudo son if you will, right, a synthetic son,

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Speaker 1: but it's still a generational gap and the father character

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Speaker 1: trying to make sense of who this son really was

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Speaker 1: now that he's gone, and that is very much what's

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Speaker 1: going on. This generational tension is very much what's going

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Speaker 1: on in a big, bold, beautiful journey as well, and

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Speaker 1: the last one I'll give you here, Josh. I've only

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Speaker 1: looked at this point at Rotten Tomatoes and the score

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Speaker 1: for this film, and I'll only pontificate a little bit

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Speaker 1: and say that I wonder if to some extent the

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Speaker 1: title of this movie is hurting it, because I feel

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Speaker 1: like I'm getting a lot of Gene Shallat esque reviewers

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Speaker 1: who seem to be calling out the movie's title, the

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Speaker 1: and their snarky blurbs, and No, I think by design,

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Speaker 1: the journey isn't. The journey that these characters go on

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Speaker 1: isn't as big or bold, or maybe even as beautiful

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Speaker 1: as perhaps the trailer would suggest or or as the

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Speaker 1: title would have you believe. I don't think it's a

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Speaker 1: spoiler to say that that these characters, the journey that

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Speaker 1: they go on, they're often reliving moments from their past

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Speaker 1: that are it's not a fantasy, or there are fantasy elements,

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Speaker 1: but they're often reliving what are regrettable and painful moments.

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Speaker 4: Who's that Cheryl Haywood, she plays Roseman. So are you

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Speaker 4: in this show?

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Speaker 1: You're in this musical?

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Speaker 4: Yeah, play jape Perpon Finch. You're jap Pierpon Finch. Yes, what,

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Speaker 4: that's amazing you did the show.

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Speaker 1: God, I wish now ex musical groupy.

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Speaker 4: After her solo, I am I tell her I love her?

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Speaker 1: Oh wow, Okay, she.

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Speaker 4: Says, I don't love you. I love Clint Whitford and

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Speaker 4: I'm devastated. Who's Clint Whitford's asshole?

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Speaker 2: Prick?

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Speaker 4: College freshman treats are.

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Speaker 1: Like there are moments though, that we we all have

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Speaker 1: from our past, and there are moments that we would

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Speaker 1: all like a second shot at. And if you go

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Speaker 1: back to after Yang and you go back to Columbus,

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Speaker 1: Coganata consistently invites his characters to rediscover the familiar with

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Speaker 1: fresh eyes. And that's big, bold and beautiful to me,

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Speaker 1: and and that that very much worked for me with

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Speaker 1: this film. And I'm dying to hear whether or not

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Speaker 1: you think I'm crazy, whether or not it worked for you,

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Speaker 1: or whether or not you're you're with most critics on

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Speaker 1: this movie.

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Speaker 2: Yeah, I liked it quite a bit. I think it

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Speaker 2: is distinct from his previous two films in ways that

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Speaker 2: explain some of that reaction to me. But I think

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Speaker 2: you're right in the connections you are making. The description

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Speaker 2: of the family dynamics in Columbus make me realize. You know,

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Speaker 2: It's why I mentioned it at the top, that you know,

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Speaker 2: family is a favored theme of his. But really this

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Speaker 2: movie a big, bold, beautiful journey. You could almost say

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Speaker 2: it's fifty percent about the relationship between David and Sarah,

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Speaker 2: Colin Farrell and Margot Robbie's characters. It's fifty percent about

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Speaker 2: their romance, and it's fifty percent about their relationships with

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Speaker 2: their parents. This is almost like doubling down on those

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Speaker 2: dynamics in Columbus and via flashbacks, these magical realist flashbacks

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Speaker 2: exploring the past that they shared with their parents. It's

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Speaker 2: inserts to me that also with Columbus, this shares a

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Speaker 2: memory or the experience of a parent dying in your

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Speaker 2: absence and dealing with the repercussions of that psychologically. Yes,

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Speaker 2: so I connected with that. Man. I thought I had

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Speaker 2: you on the screaming through the windshield thing, but of

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Speaker 2: course you just showed. You just showed Columbus in class.

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Speaker 1: Of course you're going to make that connection, though in

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Speaker 1: fairness to me, I didn't rewatch it.

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Speaker 2: Oh okay, the students said, I just know, all right, Well,

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Speaker 2: kudos then, because I put that in my notes, like

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Speaker 2: looking for similar things that you know that our touches,

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Speaker 2: as you said, those formal touches, and I'm like, oh,

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Speaker 2: that's one of my favorite moments in Columbus, and I

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Speaker 2: love the echo of it here. And those are the

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Speaker 2: sort of things where you pick up on if you

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Speaker 2: know a filmmaker's previous films intimately. But you made a

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Speaker 2: point Adam early that I want to stress for listeners

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Speaker 2: who don't have the relationship with his movies that we do.

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Speaker 2: You said, just as an aside, almost that you don't

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Speaker 2: necessarily need to have that to appreciate a big, bold,

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Speaker 2: beautiful journey. And I concur with that wholeheartedly. We're probably

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Speaker 2: going to spend some more time on the things that

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Speaker 2: we appreciated because of our familiarity with his work. But

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Speaker 2: I think this stands on its own as something distinct

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Speaker 2: from those films in a positive way. This is a

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Speaker 2: movie that I understand why it's getting the reaction to

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Speaker 2: because the negative reaction you mentioned because it is a

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Speaker 2: bit precious, it's a bit it's got that word. I'm

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Speaker 2: going to use it. It's positive for me, but pejorative

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Speaker 2: for many people. It's got a lot of whimsy to it.

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Speaker 2: And these sort of movies have put me off generally,

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Speaker 2: I think I'm open to them, and in this case

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Speaker 2: I was. I think this is a movie that's not

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Speaker 2: going to work for everyone. Clearly it already hasn't with

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Speaker 2: many critics. But hearts of a certain shape I think

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Speaker 2: could really treasure this. I think it could find its

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Speaker 2: way to someone's heart who is maybe coming with no

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Speaker 2: expectations or different expectations, and this might be something they

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Speaker 2: hang on to for many, many years. And people Josh, perhaps, Yeah.

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Speaker 2: I mean when I think of the movies that it

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Speaker 2: made me think of, aside from coganatas though for me

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Speaker 2: at least, there are movies that I tend to like

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Speaker 2: more than most people which have some element of whimsy

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Speaker 2: to them. So I'm thinking like Danny Boyle's A Life

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Speaker 2: Less Ordinary, Paul Thomas Anderson's Punch Drunk Love, Damian Choselle's

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Speaker 2: La La Land. I don't think a big, bold, beautiful

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Speaker 2: Journey for me is quite on the level as most

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Speaker 2: of those, but I think it's it's striving for the

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Speaker 2: same feeling and for the most part, I think it's

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Speaker 2: reaching it. The major touchdown for me, and here's where

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Speaker 2: I am quite often alone is with the work of

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Speaker 2: Michelle Gandry, and I don't think Eternal Sunshine of the

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Speaker 2: Spotless Mind is necessarily the key touchstone here. There's elements

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Speaker 2: of that. I think it's more something like Mood Indigo,

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Speaker 2: which was more of a whimsy romance than the that

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Speaker 2: you know, Eternal Sunshine had a bitterness to it. Mood

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Speaker 2: Indigo has a sadness to it, but maybe more of

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Speaker 2: a whimsy And I really love that film a lot. Big, bold,

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Speaker 2: Beautiful Journey reminded me of that quite a bit. So

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Speaker 2: as we do spend more time on how it is

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Speaker 2: a Cocaonata film, I just also want to make room

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Speaker 2: for those who are like I don't really care who

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Speaker 2: made this movie. I like the stars and the trailer

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Speaker 2: looked good. You know what, Go see it then, because

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Speaker 2: it will offer I think a lot for you as well.

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Speaker 2: But yeah, just going back briefly to add to some

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Speaker 2: of the things you said, I think the family thing

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Speaker 2: is key. I also did appreciate in terms of composition,

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Speaker 2: just some choices where it didn't have to look that way,

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Speaker 2: but a filmmaker who's putting a lot of thought into

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Speaker 2: it did make it look that way. This begins at

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Speaker 2: a wedding fairly early on. This is where Sarah and

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Speaker 2: David meet, and just some of the blocking and positioning

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Speaker 2: them within again, within space, I found just delightful. I

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Speaker 2: think of one shot where there's this portico and it's

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Speaker 2: raining throughout this wedding sequence, which adds a nice textual element.

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Speaker 2: But there's a shot of a portico and each of

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Speaker 2: them are at one far side, and they just slowly

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Speaker 2: start to walk towards each other, and there's nothing extremely

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Speaker 2: complicated about it. Maybe the camera is pushing in a

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Speaker 2: bit if I remember at the same time, but it

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Speaker 2: does exhibit an extreme care that I think you find

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Speaker 2: throughout this movie, which I think is also a signifier

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Speaker 2: of Coconatus work and the other thing, you know, I

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Speaker 2: don't think he gets a lot of credit for. But

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Speaker 2: Columbus and after Yang far weightier than this. I felt

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Speaker 2: humor is more at the forefront here. But don't forget

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Speaker 2: those two movies had sly streaks of humor to them,

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Speaker 2: and I just thought this was quite funny. Phoebe waller

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Speaker 2: Bridge has a small part as the rental car agent

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Speaker 2: who's kind of instrumental in getting them into these cars

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Speaker 2: where they have these GPS devices that end up telling

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Speaker 2: them where to go. I loved her exchanges with Kevin

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Speaker 2: Klein and with David found that very funny. So I

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Speaker 2: think this is quite humorous. Some of the credits should

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Speaker 2: probably go to Reese's script for that. There's a there's

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Speaker 2: a comedic rhythm to this, and creudent should also go

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Speaker 2: to Ferrell and Robbie, who I think are quite good

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Speaker 2: and quite funny together. As much as they're romantic together.

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Speaker 2: I think they're funny together. And I think that is,

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Speaker 2: you know, a signature of coconata as well as that

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Speaker 2: that sly sense of humor.

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Speaker 1: Yeah, there's a lot to respond to there and a

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Speaker 1: lot I agree with. First, I have to I have

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Speaker 1: to call out. You used a phrase when you said

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Speaker 1: hearts of a certain shape and you said something might

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Speaker 1: really appreciate this movie. Is is that a phrase you've

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Speaker 1: used before? Did you just or heard before or did

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Speaker 1: you just come up with that because I have to

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Speaker 1: say I find that a very, very kind of moving

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Speaker 1: and provocative phrase.

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Speaker 2: Now you're terrifying me. I really hope that's not from

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Speaker 2: somewhere else. I didn't intentionally grab that on my mind.

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Speaker 2: I was just well, well, in my mind, I was

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Speaker 2: just trying to think of, like trying to capture this

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Speaker 2: sense that people are really not going to like this movie.

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Speaker 2: People are gonna be indifferent to it. It's gonna be

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Speaker 2: a wide range of reactions. To explain it to me, Josh,

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Speaker 2: I got yeah, I just okay, okay. I just want

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Speaker 2: to emphasize that to listeners too, though, is like, you know,

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Speaker 2: give this a shot because it might be for you.

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Speaker 1: Yes, and it the phrase particularly works for me as

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Speaker 1: the movie does, because when this movie really is going

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Speaker 1: for its boldest emotional moments, they in particular really worked

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Speaker 1: on me. I agree there is a fair amount of

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Speaker 1: whimsy to this film, and I think where I'm not

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Speaker 1: going to and a lot of time speculating on the

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Speaker 1: experience of other people are having with this movie, but

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Speaker 1: I imagine where there may be a disconnect, because there

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Speaker 1: was at times a disconnect for me as well. Is

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Speaker 1: watching those other films and even feeling it at times here.

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Speaker 1: I don't think of Cogonata as much of a whimsical filmmaker,

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Speaker 1: and so there are times where there's whimsy and at

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Speaker 1: times where then it feels as if the whimsy, the

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Speaker 1: whimsical nature is a little bit forced. And I'll give

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Speaker 1: you an example. I like many of those moments with

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Speaker 1: Phoebe Wallerbridge. And then there are also times where I

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Speaker 1: feel like it was so wonderful to see Kevin Klein

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Speaker 1: again on screen, and then I think, well, did we

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Speaker 1: really get out of Kevin kline all that we could

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Speaker 1: have gotten out of Kevin Klein? Or could that have

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Speaker 1: been any other actor honestly saying those lines?

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Speaker 2: That's fair.

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Speaker 1: And here's a moment in the film that I won't

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Speaker 1: spoil the context because I think it's the best joke

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Speaker 1: in the film and late in the movie, but it's

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Speaker 1: just two words that Colin Colin Ferrell says, and I

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Speaker 1: was the only person in the theater who laughed out loud.

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Speaker 1: There's there's a moment where there's a pause and everyone's

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Speaker 1: looking to him to react to something and he goes,

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Speaker 1: I pass And it's brilliant because he could say a

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Speaker 1: lot of things, but I pass is not what he

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Speaker 1: should be saying there, and it's brilliantly funny. But then

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Speaker 1: you have moments like here, here's here's a moment of

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Speaker 1: whimsy where something has happened, and then you see a

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Speaker 1: sign something there's an accident of some kind. And then

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Speaker 1: you see a sign that says outside a hotel and

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Speaker 1: it says timely in and it explains like this exact scenario,

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Speaker 1: and it's a crazy scenario that really never happens in

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Speaker 1: real life, and there never be a hotel out there

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Speaker 1: in that scenario. And you go, oh, this movie does

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Speaker 1: have that sense of humor, but I haven't really felt

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Speaker 1: it or heard it in a long time, so it

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Speaker 1: feels like it only it only happens in fits and spurts.

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Speaker 1: And so yeah, that's where the whimsy. That's where I

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Speaker 1: sometimes felt like, I'll go back to your phrase a

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Speaker 1: little bit, where sometimes the movie's heart isn't really in

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Speaker 1: the whimsy. The movie's heart is in a lot of

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Speaker 1: in a lot of other places, And I like it.

430
00:25:12,840 --> 00:25:15,720
Speaker 1: Even though I like the humor in moments, I like

431
00:25:15,800 --> 00:25:19,439
Speaker 1: where the movie's heart is most of most of the

432
00:25:19,480 --> 00:25:20,760
Speaker 1: other times John.

433
00:25:20,720 --> 00:25:23,399
Speaker 2: Yeah, and I think perhaps this is a case. I mean,

434
00:25:23,400 --> 00:25:25,800
Speaker 2: who knows what the collaborative process was here, but when

435
00:25:25,800 --> 00:25:29,320
Speaker 2: you have one screenwriter and one director, you know, that's

436
00:25:29,440 --> 00:25:31,800
Speaker 2: very different from someone even in the case of After

437
00:25:31,880 --> 00:25:35,480
Speaker 2: Yang adapting a short story perhaps but still doing the

438
00:25:35,560 --> 00:25:39,719
Speaker 2: adapting and then collaborating with a different voice. And I

439
00:25:39,760 --> 00:25:41,960
Speaker 2: agree with you if there's you know, there are times

440
00:25:41,960 --> 00:25:45,680
Speaker 2: where you can feel the disconnect where there are two

441
00:25:45,720 --> 00:25:49,439
Speaker 2: sensibilities perhaps at work here. I think for the majority

442
00:25:49,440 --> 00:25:52,760
Speaker 2: of the movie there in sync well enough, and then

443
00:25:52,760 --> 00:25:55,040
Speaker 2: there are those moments like some you've pointed out, where

444
00:25:55,040 --> 00:25:57,639
Speaker 2: they're not. I think I'm also thinking of whimsy in

445
00:25:57,720 --> 00:26:03,840
Speaker 2: terms of things like art, direction, production design. This GPS

446
00:26:03,880 --> 00:26:06,520
Speaker 2: device that they have in their cars, which is like

447
00:26:06,560 --> 00:26:10,159
Speaker 2: a retro it's almost like stuck on the dashboard. I

448
00:26:10,240 --> 00:26:13,480
Speaker 2: include that in this whimsical category just because of how

449
00:26:13,480 --> 00:26:16,840
Speaker 2: it's it's designed. It's it has a dial that shaped

450
00:26:16,920 --> 00:26:19,800
Speaker 2: like a film reel, and then it has this red

451
00:26:19,880 --> 00:26:22,600
Speaker 2: light which reminded me of you know, Hal's Eye in

452
00:26:22,640 --> 00:26:25,880
Speaker 2: two thousand and one A Space Odyssey, and from it

453
00:26:26,000 --> 00:26:30,159
Speaker 2: you hear the voice and Jody Turner Smith. Yeah, it

454
00:26:30,160 --> 00:26:33,240
Speaker 2: does a wonderful job of you know this, this sort

455
00:26:33,280 --> 00:26:38,159
Speaker 2: of friendly, encouraging but at times forceful GPS voice telling

456
00:26:38,200 --> 00:26:40,560
Speaker 2: them where they have to go.

457
00:26:44,280 --> 00:26:46,480
Speaker 1: We talk to each other the.

458
00:26:46,440 --> 00:26:49,000
Speaker 2: Screen of the GPS voice too. I loved the and

459
00:26:49,040 --> 00:26:50,879
Speaker 2: this is the meticulousness that you know you're going to

460
00:26:50,920 --> 00:26:55,040
Speaker 2: get from Coganata. The design of the graphics that are

461
00:26:55,040 --> 00:26:58,040
Speaker 2: on that screen are the same graphics that you get

462
00:26:58,040 --> 00:27:03,719
Speaker 2: for the opening credits, which are sort of retro modern

463
00:27:03,800 --> 00:27:07,960
Speaker 2: futuristic in this this space that maybe After Yang played

464
00:27:08,000 --> 00:27:11,320
Speaker 2: in a little bit about the near future, but harkens

465
00:27:11,320 --> 00:27:14,040
Speaker 2: to the past. And so I love the design of

466
00:27:14,080 --> 00:27:17,359
Speaker 2: that screen on the GPS device as well. I probably

467
00:27:17,359 --> 00:27:19,600
Speaker 2: gone down on too long about one prop, but it

468
00:27:19,640 --> 00:27:21,080
Speaker 2: was one of my favorite things in the movie.

469
00:27:21,320 --> 00:27:24,280
Speaker 1: No, and it actually is a nice segue because I

470
00:27:24,320 --> 00:27:28,360
Speaker 1: was going to say another cogonautic connection I think is

471
00:27:28,560 --> 00:27:31,560
Speaker 1: that even though maybe I liked the world building overall

472
00:27:31,680 --> 00:27:36,639
Speaker 1: better in After Yang, it's similar in that that movie

473
00:27:37,440 --> 00:27:41,760
Speaker 1: didn't paint this extravagant sci fi vision of the future,

474
00:27:41,760 --> 00:27:44,479
Speaker 1: but gave us just enough to feel like we were

475
00:27:44,800 --> 00:27:47,760
Speaker 1: we were grounding in a near future and we understood

476
00:27:47,840 --> 00:27:50,240
Speaker 1: the rules of the world just enough and that was

477
00:27:50,240 --> 00:27:52,680
Speaker 1: something I talked about with Koganata when he was on

478
00:27:53,080 --> 00:27:55,520
Speaker 1: the show. And I feel like this movie does just

479
00:27:55,640 --> 00:27:58,960
Speaker 1: enough as well for us to not constantly be questioning, Okay,

480
00:27:59,000 --> 00:28:03,160
Speaker 1: what universe are we in? We're not distracted by whether

481
00:28:03,240 --> 00:28:06,560
Speaker 1: or not this could quote unquote really be happening. It's

482
00:28:06,720 --> 00:28:11,720
Speaker 1: it's fantastical, but it's grounded just enough as well, and

483
00:28:12,280 --> 00:28:14,280
Speaker 1: that's that's a hard trick to pull off, and I

484
00:28:14,320 --> 00:28:16,920
Speaker 1: think Koga Nada does pull it off here. I want

485
00:28:16,920 --> 00:28:18,400
Speaker 1: to go back to what you said about the wedding too,

486
00:28:18,400 --> 00:28:21,119
Speaker 1: because that was another key moment for me. And and

487
00:28:21,200 --> 00:28:23,720
Speaker 1: here I can bring in a little bit of criticism

488
00:28:23,760 --> 00:28:25,800
Speaker 1: of the film. Perhaps I'm with you on on Farrell

489
00:28:25,880 --> 00:28:28,720
Speaker 1: and Robbie. I did read one review of it, Josh,

490
00:28:28,720 --> 00:28:30,680
Speaker 1: because this is a case we're after seeing, and I thought,

491
00:28:31,200 --> 00:28:33,560
Speaker 1: I like this movie so much, and I see the

492
00:28:33,640 --> 00:28:36,399
Speaker 1: Rotten Tomatoes score, and I have to read a review

493
00:28:36,440 --> 00:28:38,720
Speaker 1: at least to see what what is it? What what

494
00:28:38,800 --> 00:28:40,640
Speaker 1: am I missing? And so I went to one of

495
00:28:40,640 --> 00:28:43,680
Speaker 1: our one of our friends, one of our colleagues from

496
00:28:43,720 --> 00:28:47,280
Speaker 1: the reveal, Keith Fipps and his and he was very fair.

497
00:28:47,320 --> 00:28:48,680
Speaker 1: I think he gave it two and a half out

498
00:28:48,680 --> 00:28:51,800
Speaker 1: of five, but overall was pretty fair and had positive

499
00:28:51,840 --> 00:28:56,160
Speaker 1: things to say. The biggest issue was with the love story,

500
00:28:56,280 --> 00:29:01,800
Speaker 1: and says it doesn't really work. And Key's evidence, or

501
00:29:01,880 --> 00:29:06,040
Speaker 1: his main qualm with the love story is this, he says,

502
00:29:06,720 --> 00:29:09,400
Speaker 1: and given that much of the movie is concerned with

503
00:29:09,440 --> 00:29:11,480
Speaker 1: telling a love story, that's a pretty big problem. Not

504
00:29:11,560 --> 00:29:13,920
Speaker 1: only do we know that David and Sarah are obviously

505
00:29:13,960 --> 00:29:16,120
Speaker 1: faded to end up together from the start, they behave

506
00:29:16,200 --> 00:29:19,560
Speaker 1: as if they know it too, and are alternately annoyed

507
00:29:19,600 --> 00:29:23,480
Speaker 1: and excited by their inevitable pairing. And all due respect

508
00:29:23,520 --> 00:29:25,920
Speaker 1: to Keith, that's actually an element of the movie I

509
00:29:25,960 --> 00:29:29,080
Speaker 1: really liked. I agree the movie right. I liked that

510
00:29:29,160 --> 00:29:34,479
Speaker 1: the movie had a self awareness about these types of

511
00:29:34,520 --> 00:29:36,800
Speaker 1: love stories. And actually that was a tension for me

512
00:29:37,240 --> 00:29:41,320
Speaker 1: because I do know what he's saying. But because the

513
00:29:41,400 --> 00:29:45,680
Speaker 1: movie knows that we know that surely it's inevitable they're

514
00:29:45,680 --> 00:29:47,760
Speaker 1: going to end up together, that at least opens the

515
00:29:47,800 --> 00:29:50,720
Speaker 1: door that maybe they won't. Right I thought that was

516
00:29:50,760 --> 00:29:55,680
Speaker 1: a very real possibility. And I liked that the movie

517
00:29:55,760 --> 00:29:59,360
Speaker 1: knew that it was that type of love story, and

518
00:30:00,040 --> 00:30:02,880
Speaker 1: that means that right away Josh, even that moment where

519
00:30:02,880 --> 00:30:05,479
Speaker 1: they first see each other at the wedding, literally the

520
00:30:05,520 --> 00:30:09,000
Speaker 1: first glimpse of each other, and then to the first

521
00:30:09,000 --> 00:30:12,960
Speaker 1: time they're close to each other being introduced, and then

522
00:30:13,080 --> 00:30:15,640
Speaker 1: to that moment where they see each other, you know,

523
00:30:15,800 --> 00:30:19,760
Speaker 1: across that portico, as you mentioned, they feel it's almost

524
00:30:19,800 --> 00:30:23,200
Speaker 1: like a tractor beam. They feel that there is an inevitability,

525
00:30:23,240 --> 00:30:25,680
Speaker 1: and of course then that's why. That's why when they

526
00:30:26,160 --> 00:30:28,280
Speaker 1: stop and it turns out there at the same place

527
00:30:28,640 --> 00:30:32,400
Speaker 1: that their journeys are meant to intersect, and he says,

528
00:30:32,680 --> 00:30:36,480
Speaker 1: or his voice says, pick up Sarah, and Sarah's car

529
00:30:36,480 --> 00:30:40,960
Speaker 1: doesn't start, that's that inevitability. They understand that the universe

530
00:30:41,000 --> 00:30:44,640
Speaker 1: is suggesting they should be together, so there is a

531
00:30:44,720 --> 00:30:48,400
Speaker 1: little bit there's excitement, but what Keith is saying, I

532
00:30:48,400 --> 00:30:51,360
Speaker 1: think they are almost a little bit annoyed. They're annoyed

533
00:30:51,400 --> 00:30:55,480
Speaker 1: that they they know that this has all been somehow faded,

534
00:30:55,560 --> 00:30:59,280
Speaker 1: and they even feel they feel it because they feel

535
00:30:59,280 --> 00:31:02,240
Speaker 1: a connection, they feel themselves pulled to each other, but

536
00:31:02,280 --> 00:31:05,320
Speaker 1: they also know that this shouldn't happen, and there's a

537
00:31:05,320 --> 00:31:07,280
Speaker 1: part of them that doesn't want it to happen, and

538
00:31:07,480 --> 00:31:10,880
Speaker 1: all of that that tension also I thought was very

539
00:31:11,080 --> 00:31:13,240
Speaker 1: effective and that shot. To go back to that shot,

540
00:31:13,280 --> 00:31:16,880
Speaker 1: then that's what I thought Coconaut has set up so brilliantly.

541
00:31:17,720 --> 00:31:20,880
Speaker 1: Was Again, they've had just one look at each other

542
00:31:21,600 --> 00:31:24,200
Speaker 1: as the bride's coming down the aisle, and then they've

543
00:31:24,280 --> 00:31:28,360
Speaker 1: had a conversation after they're introduced to each other, and

544
00:31:28,400 --> 00:31:31,920
Speaker 1: then they see each other. He's out smoking, so he's

545
00:31:31,920 --> 00:31:36,000
Speaker 1: already out there smoking. Then she comes, she's across the way.

546
00:31:36,280 --> 00:31:38,840
Speaker 1: She comes outside just to get some fresh air after dancing.

547
00:31:39,280 --> 00:31:41,880
Speaker 1: The shot then cuts back to a long, a wide

548
00:31:41,920 --> 00:31:45,720
Speaker 1: shot of the space and there's these columns and there's

549
00:31:45,720 --> 00:31:50,760
Speaker 1: a great distance between them, and the camera emphasizes that distance.

550
00:31:50,760 --> 00:31:53,600
Speaker 1: But then what happens The camera doesn't really change, as

551
00:31:53,600 --> 00:31:58,240
Speaker 1: I recall, but they both slide closer to each other. Yeah,

552
00:31:58,320 --> 00:32:02,560
Speaker 1: to a closer column. So just in the staging there's

553
00:32:02,560 --> 00:32:06,160
Speaker 1: that tractor beam like effect. They still maintain a distance,

554
00:32:06,520 --> 00:32:10,160
Speaker 1: but it's like they can't help but move one column closer.

555
00:32:10,400 --> 00:32:13,480
Speaker 1: They are being pulled towards each other, And I love

556
00:32:13,520 --> 00:32:15,760
Speaker 1: how the cinematography emphasized that.

557
00:32:16,880 --> 00:32:19,640
Speaker 2: Yeah, I found the romance fairly compelling, to be honest

558
00:32:19,640 --> 00:32:23,120
Speaker 2: with you, For some of those exact same reasons. What

559
00:32:23,560 --> 00:32:27,800
Speaker 2: troubled Keith I thought added interesting complications. I wasn't even

560
00:32:27,840 --> 00:32:30,760
Speaker 2: that convinced that they were going to end up together

561
00:32:30,960 --> 00:32:34,400
Speaker 2: because and this made me think about how someone like

562
00:32:34,440 --> 00:32:37,400
Speaker 2: Cogonata would handle it. It goes back to your observation about him,

563
00:32:37,960 --> 00:32:41,280
Speaker 2: you know, wanting characters to see things in a new way.

564
00:32:42,080 --> 00:32:45,320
Speaker 2: I think this very likely could have been a film

565
00:32:45,360 --> 00:32:49,360
Speaker 2: from him about these two people through this experience together

566
00:32:49,920 --> 00:32:52,120
Speaker 2: learning to see things in a new way. They absolutely

567
00:32:52,120 --> 00:32:56,040
Speaker 2: do about their pass and then that opens two doors.

568
00:32:56,440 --> 00:32:59,800
Speaker 2: One door is now we've learned that and we feel

569
00:32:59,800 --> 00:33:05,160
Speaker 2: we are in a better emotional space to try another relationship,

570
00:33:05,320 --> 00:33:09,920
Speaker 2: or they realize, wow, we've processed a lot. We need

571
00:33:09,960 --> 00:33:13,200
Speaker 2: to go our separate ways deal with it, knowing down

572
00:33:13,200 --> 00:33:16,480
Speaker 2: the road will be healthier for someone. I could see

573
00:33:16,560 --> 00:33:19,840
Speaker 2: absolutely Coconat of making that second that second movie, so

574
00:33:19,920 --> 00:33:22,680
Speaker 2: that tension for me was there. I also, you know,

575
00:33:22,720 --> 00:33:25,080
Speaker 2: I thought about at the beginning of a conversation, starting

576
00:33:25,320 --> 00:33:28,320
Speaker 2: by asking you basically what makes a movie romantic to

577
00:33:28,400 --> 00:33:30,960
Speaker 2: you and does this have it? And then I realized

578
00:33:31,000 --> 00:33:33,160
Speaker 2: we we got to get to the Cocanat thing first.

579
00:33:33,760 --> 00:33:36,680
Speaker 2: But I'm glad we're getting to that now because I

580
00:33:36,760 --> 00:33:40,080
Speaker 2: thought about this myself, and you know, for me, I

581
00:33:40,160 --> 00:33:44,880
Speaker 2: tend to find, for whatever reason, romances that involve longing

582
00:33:45,360 --> 00:33:49,000
Speaker 2: to be the most deeply romantic. To me. It's probably

583
00:33:49,000 --> 00:33:50,640
Speaker 2: why in the Mood for Love is, you know, in

584
00:33:50,720 --> 00:33:52,880
Speaker 2: my top ten of all time at the current moment.

585
00:33:53,280 --> 00:33:55,440
Speaker 2: But the other thing that I do like in romances,

586
00:33:55,560 --> 00:33:59,280
Speaker 2: even if they end positively, is I like there to

587
00:33:59,320 --> 00:34:02,720
Speaker 2: be some element of realism to what the couple is

588
00:34:02,760 --> 00:34:06,240
Speaker 2: going through. And I think what we've been talking about

589
00:34:06,600 --> 00:34:10,080
Speaker 2: brings that to this relationship. Despite all the whimsy, despite

590
00:34:10,080 --> 00:34:13,919
Speaker 2: all the magical realism, it is rooted in that these

591
00:34:13,920 --> 00:34:18,040
Speaker 2: are two people with you know, really troubled backgrounds when

592
00:34:18,080 --> 00:34:21,840
Speaker 2: it comes to relationships with parents, complicated let's say, complicated

593
00:34:22,120 --> 00:34:26,680
Speaker 2: that have affected directly their ability to be in committed

594
00:34:26,760 --> 00:34:30,400
Speaker 2: relationships with someone else. So that's a level of realism

595
00:34:30,400 --> 00:34:33,160
Speaker 2: that the movie gives time to. And I loved how

596
00:34:33,280 --> 00:34:37,320
Speaker 2: despite the universe in the form of this GPS wants

597
00:34:37,360 --> 00:34:42,040
Speaker 2: them to be together, they're expressly not soulmates, right, And

598
00:34:42,080 --> 00:34:44,160
Speaker 2: that for me was key. This is not a movie

599
00:34:44,200 --> 00:34:46,919
Speaker 2: that is just leaning on a magical GPS that puts

600
00:34:47,000 --> 00:34:49,560
Speaker 2: them together, because that's who they were meant to be. No,

601
00:34:49,680 --> 00:34:54,640
Speaker 2: this is about wounded, imperfect people who learn how they're wounded,

602
00:34:54,760 --> 00:34:57,640
Speaker 2: how they're imperfect, and then they learn that they're going

603
00:34:57,719 --> 00:35:00,640
Speaker 2: to need to put in the work, something like this

604
00:35:00,680 --> 00:35:04,960
Speaker 2: relationship they're starting out on is going to work. That

605
00:35:05,160 --> 00:35:07,640
Speaker 2: sounded like a therapy session, but to me, it's kind

606
00:35:07,640 --> 00:35:10,680
Speaker 2: of romantic to watch two people go through that process.

607
00:35:11,200 --> 00:35:13,080
Speaker 1: I found it the same, and I can't say it

608
00:35:13,160 --> 00:35:17,640
Speaker 1: any better than you did. I'll just say that every

609
00:35:17,440 --> 00:35:22,480
Speaker 1: my shorter version of that is every moment that I

610
00:35:22,520 --> 00:35:25,000
Speaker 1: thought for this for a second, we were on the

611
00:35:25,120 --> 00:35:30,360
Speaker 1: verge of crossing into traditional sort of rom com territory.

612
00:35:30,600 --> 00:35:33,480
Speaker 1: The movie surprised me. The characters surprised me. The writing

613
00:35:33,560 --> 00:35:37,120
Speaker 1: surprised me by getting more and more real, by getting

614
00:35:37,360 --> 00:35:40,880
Speaker 1: more and more wounded, by having the characters show even

615
00:35:40,920 --> 00:35:44,239
Speaker 1: more vulnerability. And that is what made it for me too,

616
00:35:44,719 --> 00:35:48,560
Speaker 1: even more romantic. And this is another This ties into

617
00:35:48,600 --> 00:35:53,160
Speaker 1: that and also speaks to the visual approach. There is

618
00:35:53,200 --> 00:35:55,759
Speaker 1: a scene. Remember how I said that, I think the

619
00:35:55,800 --> 00:35:59,359
Speaker 1: title is almost and maybe not even almost is meant

620
00:35:59,480 --> 00:36:02,719
Speaker 1: ironic because so much of the movie is about the

621
00:36:02,840 --> 00:36:09,200
Speaker 1: characters doing relatively mundane things, I mean, fantastical, magically real,

622
00:36:09,560 --> 00:36:13,520
Speaker 1: but but real. Nonetheless, there is there's a moment.

623
00:36:13,560 --> 00:36:17,440
Speaker 2: And difficult memories, not beautiful memories, difficult memories.

624
00:36:17,040 --> 00:36:19,520
Speaker 1: But there's a moment where they get a break. The

625
00:36:19,600 --> 00:36:23,640
Speaker 1: GPS even calls it a break. And the break is

626
00:36:23,760 --> 00:36:30,560
Speaker 1: actually the most boldly beautiful moment in the film. It's

627
00:36:30,600 --> 00:36:33,960
Speaker 1: the one that most scenes outside the realm of the

628
00:36:34,000 --> 00:36:39,080
Speaker 1: every day, right. It is something that that seems like, Oh,

629
00:36:39,160 --> 00:36:42,200
Speaker 1: that's what I would expect from a movie that's going

630
00:36:42,280 --> 00:36:45,239
Speaker 1: to show me something I don't get to see every day, yea.

631
00:36:45,360 --> 00:36:50,880
Speaker 1: And what I like about that moment is that it

632
00:36:50,880 --> 00:36:53,960
Speaker 1: it has a callback to an earlier scene and an

633
00:36:54,000 --> 00:36:59,120
Speaker 1: earlier conversation, and it ends with Margot Robbie's character saying

634
00:36:59,800 --> 00:37:04,799
Speaker 1: to David, are you taking it all in? But on

635
00:37:04,880 --> 00:37:10,440
Speaker 1: that line, what happens the camera cuts to behind them,

636
00:37:10,640 --> 00:37:14,000
Speaker 1: and in that moment then we're taking them in, but

637
00:37:14,440 --> 00:37:17,960
Speaker 1: we're also taking in the grandeur of the shot of

638
00:37:18,000 --> 00:37:21,960
Speaker 1: them within the shot, and it implicitly then asks the

639
00:37:22,080 --> 00:37:26,600
Speaker 1: question are we taking it all in? It becomes a

640
00:37:26,640 --> 00:37:29,919
Speaker 1: break for us as the audience, and it forces us

641
00:37:30,040 --> 00:37:32,919
Speaker 1: here's an implication of the audience. Josh, that's a really nice,

642
00:37:32,960 --> 00:37:35,480
Speaker 1: sweet one, you know, where we get to sort of

643
00:37:35,480 --> 00:37:38,719
Speaker 1: sit there and it it provokes the audience to not

644
00:37:39,000 --> 00:37:41,880
Speaker 1: just think about it from the character's lens. Is David

645
00:37:41,960 --> 00:37:45,840
Speaker 1: finally taking it in? But are we having a respite?

646
00:37:45,960 --> 00:37:49,239
Speaker 1: Are we actually taking a pause in our lives in

647
00:37:49,280 --> 00:37:52,440
Speaker 1: that moment to appreciate the grandeur of that beauty? And

648
00:37:52,440 --> 00:37:54,600
Speaker 1: then by extension, I suppose is do we do that

649
00:37:54,760 --> 00:37:57,160
Speaker 1: enough in our in our own lives in those kinds?

650
00:37:57,239 --> 00:38:00,000
Speaker 2: Yeah, which, and that brings us directly back to after Yang. Right,

651
00:38:00,560 --> 00:38:04,120
Speaker 2: So let me add my note of hesitance as well

652
00:38:05,160 --> 00:38:09,880
Speaker 2: about this film, and it has to do with scenes

653
00:38:10,160 --> 00:38:12,640
Speaker 2: like that break, which I love the idea of it,

654
00:38:12,680 --> 00:38:15,960
Speaker 2: I love the ambition of it, but some of the

655
00:38:16,080 --> 00:38:19,480
Speaker 2: visuals as things did expand wider, you know, when it's

656
00:38:19,520 --> 00:38:25,040
Speaker 2: not contained to a specific set or you know, a

657
00:38:25,120 --> 00:38:30,040
Speaker 2: specific prop like the GPS. I don't know if it was.

658
00:38:30,120 --> 00:38:33,160
Speaker 2: I haven't looked into what sort of special effects may

659
00:38:33,200 --> 00:38:36,000
Speaker 2: have been employed, but it did get to be a

660
00:38:36,080 --> 00:38:39,480
Speaker 2: little visually mushy at times for me. Would they encounter

661
00:38:39,560 --> 00:38:42,120
Speaker 2: these doors that are in the middle of nowhere and

662
00:38:42,160 --> 00:38:45,160
Speaker 2: some doors you can clearly see they're actually in this

663
00:38:45,280 --> 00:38:48,960
Speaker 2: physical space, and then others it's it's.

664
00:38:48,920 --> 00:38:50,000
Speaker 1: Just do you.

665
00:38:50,160 --> 00:38:51,920
Speaker 2: I don't know if you ever saw the Robin Williams

666
00:38:51,960 --> 00:38:55,959
Speaker 2: film What Dreams May Come and when it came out, yeah, yeah,

667
00:38:56,239 --> 00:38:59,239
Speaker 2: you know, not great and haven't thought about it much

668
00:39:00,360 --> 00:39:04,920
Speaker 2: sense except for some of these more scenes of grandeurur

669
00:39:05,120 --> 00:39:08,680
Speaker 2: in big, bold, beautiful journey, which don't just don't quite

670
00:39:08,800 --> 00:39:14,000
Speaker 2: get there. It's somewhere between painterly and realistic. And again

671
00:39:14,120 --> 00:39:16,880
Speaker 2: maybe that's a I don't know, I can't speculate on

672
00:39:16,920 --> 00:39:18,960
Speaker 2: what it is, but that's maybe some of the moments

673
00:39:18,960 --> 00:39:22,000
Speaker 2: where I was a little bit let down, where they

674
00:39:22,040 --> 00:39:24,520
Speaker 2: seem to be a little bit out of the film's reach.

675
00:39:24,600 --> 00:39:27,120
Speaker 2: But let me then narrow back down to a detail

676
00:39:28,160 --> 00:39:30,600
Speaker 2: which is something I really appreciate, which is the costume

677
00:39:30,640 --> 00:39:34,880
Speaker 2: design in this film. Arjunbassen is the costume designer. With

678
00:39:35,040 --> 00:39:37,680
Speaker 2: each stop that Sarah and David make, I think this

679
00:39:37,760 --> 00:39:43,560
Speaker 2: happens with each one, They're clothing changes, not super dramatically,

680
00:39:43,640 --> 00:39:47,480
Speaker 2: but enough to match the scenes thematic tone. So we

681
00:39:47,560 --> 00:39:50,480
Speaker 2: mentioned these difficult memories. There's one where they make a

682
00:39:50,520 --> 00:39:53,440
Speaker 2: trip to a hospital for one of Sarah's memories that's

683
00:39:54,640 --> 00:39:57,760
Speaker 2: you know, hugely traumatic for her, and she's suddenly wearing

684
00:39:57,800 --> 00:40:01,080
Speaker 2: this mostly gray outfit. David has just a black T

685
00:40:01,160 --> 00:40:05,399
Speaker 2: shirt on. It's very minimalist. There's another wonderful scene where

686
00:40:05,400 --> 00:40:07,520
Speaker 2: they go into a museum at night and are looking

687
00:40:07,560 --> 00:40:10,279
Speaker 2: at the paintings with the flashlight, and I think that's

688
00:40:10,320 --> 00:40:13,560
Speaker 2: the scene where they're suddenly in bare feet, So there's

689
00:40:13,840 --> 00:40:19,839
Speaker 2: a hushed, you know, intimate corresponding bit there. And how

690
00:40:19,880 --> 00:40:23,000
Speaker 2: about I just love the shot of this is outside

691
00:40:23,000 --> 00:40:25,480
Speaker 2: of a burger king at one point, and Sarah's wearing

692
00:40:25,480 --> 00:40:29,760
Speaker 2: this red jumper and holding this yellow umbrella of course

693
00:40:29,800 --> 00:40:32,440
Speaker 2: one of the movie's many nods to the umbrellas of Cherbour,

694
00:40:32,800 --> 00:40:36,640
Speaker 2: but also where she's standing in the background is the

695
00:40:36,680 --> 00:40:40,279
Speaker 2: burger king, like the old school burger king signage, which

696
00:40:40,320 --> 00:40:44,360
Speaker 2: is exactly using those tones of what she's wearing and holding.

697
00:40:44,600 --> 00:40:48,680
Speaker 2: And yeah, that's the sort of meticulousness in the compositions.

698
00:40:48,719 --> 00:40:51,520
Speaker 2: But also hear the costume design that I just love.

699
00:40:52,040 --> 00:40:54,799
Speaker 1: Yeah, he's even going to take something that we might

700
00:40:55,000 --> 00:40:59,040
Speaker 1: find vulgar, a burger king sign and yeah, I like

701
00:40:59,080 --> 00:41:02,399
Speaker 1: the juxtaposition of the beauty, right and exactly that's Kochanada

702
00:41:02,400 --> 00:41:05,960
Speaker 1: and the DP Benjamin Lobe I, I'll just close or

703
00:41:06,280 --> 00:41:09,400
Speaker 1: we'll go back and we'll bookend this the conversation about

704
00:41:09,719 --> 00:41:12,920
Speaker 1: what makes it feel like Coganada and and even those doors.

705
00:41:13,520 --> 00:41:16,560
Speaker 1: Something else I asked him about when interviewing him for

706
00:41:16,600 --> 00:41:20,040
Speaker 1: After Yang was about that that symmetry or that that

707
00:41:20,200 --> 00:41:22,960
Speaker 1: similarity in his movies where he has characters and this

708
00:41:23,040 --> 00:41:26,160
Speaker 1: is part of part of the rediscovery and part of

709
00:41:26,200 --> 00:41:29,120
Speaker 1: seeing things with fresh eyes, is the way the way

710
00:41:29,200 --> 00:41:33,919
Speaker 1: characters are constantly opening up doors like closet doors. They're

711
00:41:34,040 --> 00:41:37,440
Speaker 1: they're looking for those clues to the past. They're trying

712
00:41:37,480 --> 00:41:40,160
Speaker 1: to see something that they haven't seen before or maybe

713
00:41:40,239 --> 00:41:43,000
Speaker 1: took for granted before. And this entire movie is predicated

714
00:41:43,040 --> 00:41:46,960
Speaker 1: on opening those doors, these these pathways, these portals to

715
00:41:47,080 --> 00:41:49,960
Speaker 1: the past. And there was something else that I wonder

716
00:41:50,040 --> 00:41:52,399
Speaker 1: if you thought about, Josh, because we spent time on

717
00:41:52,520 --> 00:41:56,799
Speaker 1: this with After Yang. Even though it's fairly subtle here

718
00:41:56,840 --> 00:42:00,680
Speaker 1: in this movie, there's a key conversation late in this

719
00:42:00,760 --> 00:42:03,959
Speaker 1: film that that speaks to a couple different things we've

720
00:42:04,000 --> 00:42:07,719
Speaker 1: talked about in this review. And do you remember at

721
00:42:07,719 --> 00:42:13,040
Speaker 1: one point a character, one of the main characters says wait,

722
00:42:13,080 --> 00:42:17,799
Speaker 1: this didn't happen. You didn't say that, right, remember how

723
00:42:17,800 --> 00:42:21,160
Speaker 1: and after Yang, even though we're seeing a version of

724
00:42:21,200 --> 00:42:24,880
Speaker 1: events that absolutely happened and should be a replay of things,

725
00:42:25,360 --> 00:42:29,280
Speaker 1: but from different angles. It's yeah, there's very different ways.

726
00:42:29,520 --> 00:42:33,040
Speaker 1: There's different versions. There's different versions in different perspectives that

727
00:42:33,080 --> 00:42:35,840
Speaker 1: Coconauta plays with and that happens here just as it

728
00:42:35,880 --> 00:42:39,760
Speaker 1: does and after Yang. And there is one other touch

729
00:42:39,800 --> 00:42:41,960
Speaker 1: that's very much like after Yang, though I don't remember

730
00:42:42,000 --> 00:42:45,880
Speaker 1: it happening in Columbus, and that is he does something similar,

731
00:42:45,960 --> 00:42:48,560
Speaker 1: doesn't he with the credits the credit sequence. We have

732
00:42:48,600 --> 00:42:51,319
Speaker 1: a we have a great opening sequence, and then the

733
00:42:51,360 --> 00:42:54,640
Speaker 1: credits come in a little bit later. Only after we

734
00:42:54,719 --> 00:42:57,680
Speaker 1: get that, we get that prologue. So that was another

735
00:42:58,440 --> 00:43:02,479
Speaker 1: similarity that I found, and there probably are a few

736
00:43:02,520 --> 00:43:06,080
Speaker 1: more as well. But yeah, watching this film, well there's

737
00:43:06,200 --> 00:43:09,080
Speaker 1: there's also a reference to t at one point, so

738
00:43:09,239 --> 00:43:12,759
Speaker 1: you know, of course, we've got a checklist here. And

739
00:43:12,800 --> 00:43:15,600
Speaker 1: maybe the next time I talk or we have a

740
00:43:15,680 --> 00:43:17,840
Speaker 1: chance to talk with Koganata will ask him whether or

741
00:43:17,840 --> 00:43:22,080
Speaker 1: not the reference to Kiki's is a reference to Miyazaki.

742
00:43:22,320 --> 00:43:24,840
Speaker 1: I don't know. There's a business called Kiki's and it

743
00:43:24,880 --> 00:43:27,600
Speaker 1: of course made me think of delivery service.

744
00:43:28,400 --> 00:43:30,600
Speaker 2: And I'm so glad you said say that because I

745
00:43:31,200 --> 00:43:34,400
Speaker 2: the score here Joe Hasayashi, who did so many of

746
00:43:34,480 --> 00:43:38,640
Speaker 2: Studio Jibili films, and I think the score is also

747
00:43:39,840 --> 00:43:43,080
Speaker 2: one of the stronger elements here. It's very gentle. But

748
00:43:43,400 --> 00:43:47,720
Speaker 2: the quality I kept thinking of is it's nudging. It's

749
00:43:47,760 --> 00:43:50,440
Speaker 2: sort of, you know, nudging in a way that is

750
00:43:50,480 --> 00:43:53,520
Speaker 2: in line with this this universe desire to put them

751
00:43:53,560 --> 00:43:56,920
Speaker 2: on this journey. So so yeah, that was that was

752
00:43:57,160 --> 00:43:59,839
Speaker 2: really cool to see that Hasayashi was involved as well.

753
00:44:00,480 --> 00:44:03,560
Speaker 1: Shout out to Stephen Bardon as well, the sound designer

754
00:44:03,560 --> 00:44:07,919
Speaker 1: who Coganata called out at Film Spotting Fest. A Big, Bold,

755
00:44:07,920 --> 00:44:11,440
Speaker 1: Beautiful Journey is currently playing in wide release. If you

756
00:44:11,480 --> 00:44:13,960
Speaker 1: see it and agree or disagree with our thoughts, we

757
00:44:14,000 --> 00:44:16,560
Speaker 1: would definitely love to hear from you feedback at filmspotting

758
00:44:16,560 --> 00:44:17,000
Speaker 1: dot Net.

759
00:44:18,000 --> 00:44:20,640
Speaker 3: This episode is brought to you by Peloton break through

760
00:44:20,680 --> 00:44:23,120
Speaker 3: the busiest time of year with the brand new Peloton

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764
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766
00:44:40,520 --> 00:44:42,440
Speaker 3: plus at one Peloton dot com.

767
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Speaker 2: Well, if you were listening to us or watching us,

768
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Speaker 2: that is the number one thing you can do to

769
00:44:47,239 --> 00:44:50,279
Speaker 2: support an independently produced show like ours. But there are

770
00:44:50,360 --> 00:44:52,680
Speaker 2: a couple of other things you could do. You could

771
00:44:52,680 --> 00:44:54,880
Speaker 2: take a minute to give us a rating or a

772
00:44:54,920 --> 00:44:58,759
Speaker 2: review on Apple Podcasts. You can also do this on Spotify.

773
00:44:58,880 --> 00:45:01,160
Speaker 2: Doesn't matter if you've been I'm listening for all twenty

774
00:45:01,280 --> 00:45:04,319
Speaker 2: years or you've just joined us, go ahead and leave

775
00:45:04,360 --> 00:45:06,560
Speaker 2: a review. Every one of those does help us to

776
00:45:06,600 --> 00:45:10,840
Speaker 2: reach new listeners. The most substantial way to support us, though,

777
00:45:11,239 --> 00:45:13,640
Speaker 2: is to join the Film Spotting Family, which you can

778
00:45:13,680 --> 00:45:17,560
Speaker 2: do at Filmspottingfamily dot com. We want to thank family

779
00:45:17,600 --> 00:45:24,200
Speaker 2: member Fabio Calderon in Charlotte, North Carolina. Fabio is on letterboxed,

780
00:45:24,440 --> 00:45:27,080
Speaker 2: so you can follow him there as.

781
00:45:27,320 --> 00:45:30,760
Speaker 1: The Fobbs or the Fabs. I mean it's probably Fobbs,

782
00:45:30,800 --> 00:45:33,960
Speaker 1: because is it Fabio? Should I be producing this fabulous?

783
00:45:34,160 --> 00:45:36,759
Speaker 1: You know? Okay, I don't know, but I didn't know

784
00:45:36,800 --> 00:45:39,719
Speaker 1: we had a listener by that name, and that's amazing,

785
00:45:40,520 --> 00:45:44,000
Speaker 1: he rights. I don't remember precisely how I found the show,

786
00:45:44,000 --> 00:45:46,040
Speaker 1: but you guys have been an important part of my

787
00:45:46,120 --> 00:45:49,279
Speaker 1: movie watching since my undergraduate years of college. My first

788
00:45:49,360 --> 00:45:52,560
Speaker 1: episode was probably around twenty sixteen. Your insights on film

789
00:45:52,600 --> 00:45:54,920
Speaker 1: helped me grow and nurture my own artistic taste and

790
00:45:55,000 --> 00:45:58,120
Speaker 1: ability to analyze and enjoy film, for which I'm forever grateful.

791
00:45:58,560 --> 00:46:01,040
Speaker 1: Admittedly it has been a few years i've listened, but now,

792
00:46:01,040 --> 00:46:04,120
Speaker 1: after postgrad studies, moving to a different state, and finally

793
00:46:04,120 --> 00:46:06,919
Speaker 1: getting myself established in my career, I found the time

794
00:46:06,960 --> 00:46:09,360
Speaker 1: and passion to get back into my habit of film watching,

795
00:46:09,360 --> 00:46:11,520
Speaker 1: and my first instinct was to check back in with

796
00:46:11,560 --> 00:46:14,240
Speaker 1: my friends at film Spotting and pay back a fraction

797
00:46:14,320 --> 00:46:16,880
Speaker 1: of the value that you've given me over the years.

798
00:46:17,280 --> 00:46:19,960
Speaker 2: I love that. I mean, it's happened to me like

799
00:46:20,080 --> 00:46:23,399
Speaker 2: for some reason, I drop a podcast and you check

800
00:46:23,640 --> 00:46:26,520
Speaker 2: you know. Yeah, well, I mean we'll have to ask

801
00:46:26,600 --> 00:46:28,759
Speaker 2: listeners if if there was a season where they felt

802
00:46:28,760 --> 00:46:30,840
Speaker 2: that was the case. But no, as a listener of

803
00:46:30,880 --> 00:46:33,040
Speaker 2: other podcasts, you know, it's like things get busy, you

804
00:46:33,400 --> 00:46:37,239
Speaker 2: miss one, but yeah, hopefully the good ones you come

805
00:46:37,280 --> 00:46:39,040
Speaker 2: back to so that's great to hear it.

806
00:46:39,080 --> 00:46:41,840
Speaker 1: We're like, we're like death and Taxes. We'll just always

807
00:46:41,840 --> 00:46:46,400
Speaker 1: be here. Maybe favorite reviewer segment Your Manelli Marathon from

808
00:46:46,440 --> 00:46:48,799
Speaker 1: twenty eighteen will always hold a special place in my heart,

809
00:46:49,080 --> 00:46:51,400
Speaker 1: fuse it was the first and sadly one of the

810
00:46:51,400 --> 00:46:53,719
Speaker 1: only times as a listener that I willed myself to

811
00:46:53,760 --> 00:46:57,399
Speaker 1: do my homework and marathon along with the film spotting crew.

812
00:46:57,520 --> 00:46:59,680
Speaker 1: Albeit I only had enough free time and willpower for

813
00:46:59,680 --> 00:47:02,120
Speaker 1: the first three films, but it did introduce me to

814
00:47:02,160 --> 00:47:04,960
Speaker 1: a filmmaker who I was completely unfamiliar with. But what

815
00:47:05,080 --> 00:47:07,880
Speaker 1: I have now grown a great appreciation for. I'm grateful

816
00:47:07,920 --> 00:47:10,040
Speaker 1: for being introduced to the bad and the beautiful in

817
00:47:10,080 --> 00:47:12,800
Speaker 1: particular thanks to this marathon. And I would later discover

818
00:47:12,880 --> 00:47:15,200
Speaker 1: Minelli's The Clock, which is now a favorite of mine

819
00:47:15,360 --> 00:47:17,640
Speaker 1: and is always one of my go to recommendations for

820
00:47:17,680 --> 00:47:21,040
Speaker 1: people who love link Laters before trilogy, especially before Sunrise.

821
00:47:21,880 --> 00:47:24,160
Speaker 1: I am shamed. I haven't seen the Clock.

822
00:47:24,760 --> 00:47:27,080
Speaker 2: I have not seen the Clock. I think that might

823
00:47:27,120 --> 00:47:31,799
Speaker 2: be another Judy Garland collaboration for Minelli. But yeah, look

824
00:47:31,840 --> 00:47:33,759
Speaker 2: at five iOS showing us up.

825
00:47:34,280 --> 00:47:36,400
Speaker 1: I think this is the best response to this question.

826
00:47:36,680 --> 00:47:39,040
Speaker 1: What review, did we get wrong? Let's not ruin this

827
00:47:39,120 --> 00:47:42,880
Speaker 1: good thing We've got going a I love it. A

828
00:47:42,960 --> 00:47:45,440
Speaker 1: letterbox Top four. I like to set my letterbox four

829
00:47:45,440 --> 00:47:47,799
Speaker 1: as the last four films watch from my top one

830
00:47:47,880 --> 00:47:51,800
Speaker 1: hundred favorites. Currently they are Logan, Silence of the Lambs,

831
00:47:51,920 --> 00:47:56,480
Speaker 1: The Nice Guys, and Doctor Strangelove. Favorite movie he revisited

832
00:47:56,480 --> 00:47:59,560
Speaker 1: recently is Doctor Strangelove. After my recent viewing of Failsafe

833
00:47:59,560 --> 00:48:02,720
Speaker 1: to Coen's With Your Guys most recent episode Sidney Lamette

834
00:48:02,719 --> 00:48:04,880
Speaker 1: Marathon episode nine to eighty three, I felt like I

835
00:48:04,920 --> 00:48:08,480
Speaker 1: had to followed up with Kubrick's masterpiece random film or

836
00:48:08,520 --> 00:48:11,680
Speaker 1: filmmaker Fabio loves going to give a shout out to

837
00:48:11,719 --> 00:48:13,840
Speaker 1: Mielo Schfeman. I feel in a lot of ways he

838
00:48:13,880 --> 00:48:16,680
Speaker 1: goes underrated as a more workman director, but I always

839
00:48:16,680 --> 00:48:20,600
Speaker 1: appreciated his interest in exploring disruptive characters prepared to challenge

840
00:48:20,640 --> 00:48:24,840
Speaker 1: the systems they exist within. I mean, Ama, dais we

841
00:48:24,920 --> 00:48:28,080
Speaker 1: got r P. McMurphy, Sure, there's at least two. I

842
00:48:28,120 --> 00:48:30,760
Speaker 1: think he was brilliant, A movie you credit with becoming

843
00:48:30,760 --> 00:48:35,120
Speaker 1: a cinophile, probably not alone with The Big Lebowski. And finally,

844
00:48:35,200 --> 00:48:38,240
Speaker 1: oh Man, this was a plant a book about movies

845
00:48:38,400 --> 00:48:42,200
Speaker 1: or movie making. Y'all ever heard of? Movies are prayers

846
00:48:42,239 --> 00:48:45,280
Speaker 1: by Josh Larson? Heyed pretty?

847
00:48:45,360 --> 00:48:48,320
Speaker 2: How about that? Thank you very kind.

848
00:48:48,880 --> 00:48:50,960
Speaker 1: For joining the family and for all those years of

849
00:48:51,000 --> 00:48:54,040
Speaker 1: listening and even those years when you weren't listening. In

850
00:48:54,080 --> 00:48:56,240
Speaker 1: addition to keeping us doing what we're doing, your support

851
00:48:56,239 --> 00:48:58,160
Speaker 1: comes with perks. You get to listen early in ED free,

852
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Speaker 1: You get our weekly newsletter, you get exclusive opportunities, including

853
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Speaker 1: being part of the Film Spotting Family Discord, and you

854
00:49:04,360 --> 00:49:06,880
Speaker 1: get our monthly bonus shows. Over on the Film Spotting

855
00:49:06,920 --> 00:49:09,720
Speaker 1: Family Discord. We have channels devoted to We have almost

856
00:49:09,800 --> 00:49:14,320
Speaker 1: four hundred members just on the discord, and there's channels

857
00:49:14,320 --> 00:49:17,400
Speaker 1: devoted to conversations about the current episode of our show,

858
00:49:17,840 --> 00:49:21,800
Speaker 1: new film releases, older films. We have TV spotting, music spotting,

859
00:49:21,880 --> 00:49:25,200
Speaker 1: book spotting, sports spotting, and food spotting.

860
00:49:25,800 --> 00:49:28,879
Speaker 2: I'm trying to get a little your dream. Yeah, I'm

861
00:49:28,920 --> 00:49:31,640
Speaker 2: trying to get a little book spotting club going right now.

862
00:49:31,680 --> 00:49:36,080
Speaker 2: About the Muriel Sparks novel The Prime of Miss Gene Barrodi,

863
00:49:36,200 --> 00:49:40,000
Speaker 2: which I read, just watched the Maggie Smith adaptation and whoo,

864
00:49:40,880 --> 00:49:43,759
Speaker 2: that's the adaptation is interesting so yeah, I'm hoping to

865
00:49:43,800 --> 00:49:46,759
Speaker 2: talk to some film spotting family members there about the

866
00:49:46,800 --> 00:49:48,560
Speaker 2: book and then the movie if they check that out.

867
00:49:49,040 --> 00:49:51,520
Speaker 1: By the time everyone hears this will be at least

868
00:49:51,560 --> 00:49:55,479
Speaker 1: one nightroom moved from our September Bonus episode. A little

869
00:49:55,480 --> 00:49:58,759
Speaker 1: bit of trivia spotting quiz master Thomas Todd and a

870
00:49:58,760 --> 00:50:01,919
Speaker 1: bunch of listeners. That will be fun. Josh apparently thinks

871
00:50:01,960 --> 00:50:03,720
Speaker 1: he needs to go to bed at two in the morning.

872
00:50:04,000 --> 00:50:06,640
Speaker 1: Won't be playing. That's fine, that's fine.

873
00:50:07,360 --> 00:50:09,640
Speaker 2: Yeah, And this is the worst part is I see

874
00:50:09,640 --> 00:50:13,479
Speaker 2: that Andrew Corsini, right, Andrew is here in the UK

875
00:50:13,680 --> 00:50:17,440
Speaker 2: with temporarily at and of course he's joining, So like,

876
00:50:17,880 --> 00:50:21,600
Speaker 2: my excuse is blown. Andrew, thank you very much. Just

877
00:50:21,600 --> 00:50:23,560
Speaker 2: because you're a maniac doesn't mean.

878
00:50:23,440 --> 00:50:27,759
Speaker 1: I have to be. He's not even on the payroll, Josh, Yeah,

879
00:50:27,840 --> 00:50:33,560
Speaker 1: exactly us. He pays us, So what's your excuse? Cobra bonus.

880
00:50:33,680 --> 00:50:36,719
Speaker 1: We will be drafting with a family member, some kind

881
00:50:36,760 --> 00:50:39,080
Speaker 1: of movie draft, and that reminds me yet again that

882
00:50:39,160 --> 00:50:42,080
Speaker 1: I need to get the email out to family members,

883
00:50:42,080 --> 00:50:46,480
Speaker 1: So that's coming soon. Be prepared, have your draft topics ready.

884
00:50:46,560 --> 00:50:49,680
Speaker 1: You propose a topic. We randomly pick a listener, and

885
00:50:49,880 --> 00:50:52,759
Speaker 1: we'll pick one of your topics to draft. It will

886
00:50:52,800 --> 00:50:54,960
Speaker 1: be fun. You can only be part of that draft

887
00:50:54,960 --> 00:50:57,640
Speaker 1: if you are a Film Spotting Family member. Learn more

888
00:50:57,719 --> 00:50:59,640
Speaker 1: at Filmspottingfamily dot com.

889
00:51:00,160 --> 00:51:01,360
Speaker 2: This is Bob Fernuson.

890
00:51:01,760 --> 00:51:06,799
Speaker 1: I was a part of the French seventy five. Did

891
00:51:06,880 --> 00:51:10,120
Speaker 1: not got like Tony on in Steve Lockfield used to

892
00:51:10,160 --> 00:51:14,560
Speaker 1: attack r and I cannot remember for the life of

893
00:51:14,600 --> 00:51:15,720
Speaker 1: my only child.

894
00:51:16,320 --> 00:51:18,319
Speaker 2: The answer to your question.

895
00:51:18,920 --> 00:51:21,160
Speaker 1: Maybe you should have studied the rebellion text.

896
00:51:21,000 --> 00:51:21,840
Speaker 2: A little harner.

897
00:51:22,440 --> 00:51:25,760
Speaker 1: Paul Thomas Anderson's One Battle after Another comes to theaters

898
00:51:25,800 --> 00:51:28,840
Speaker 1: this weekend. Rumor has a josh it even made it

899
00:51:28,880 --> 00:51:31,160
Speaker 1: to the Shire in Scotland? Isn't that where you're at?

900
00:51:31,200 --> 00:51:31,600
Speaker 1: The Shire?

901
00:51:32,360 --> 00:51:36,920
Speaker 2: The Shire? This is a little little bit of Shire flavor,

902
00:51:36,960 --> 00:51:39,040
Speaker 2: But I think maybe that's more of the Lake district,

903
00:51:39,880 --> 00:51:43,640
Speaker 2: you know, down there south of me. Do you want

904
00:51:43,640 --> 00:51:47,640
Speaker 2: to hear my journey of getting to the theater here, Adam,

905
00:51:47,680 --> 00:51:51,920
Speaker 2: because it was you know, I'm in this delightful university

906
00:51:51,960 --> 00:51:53,920
Speaker 2: gulf town of Saint Andrews, right on the coast of

907
00:51:53,960 --> 00:51:58,640
Speaker 2: the North Sea. No movie theater though, unfortunately so it's

908
00:51:58,640 --> 00:52:02,200
Speaker 2: a two bus ride to it. To the town of Dundee,

909
00:52:02,400 --> 00:52:07,520
Speaker 2: which is a nice town, bigger and there they have

910
00:52:07,640 --> 00:52:10,800
Speaker 2: two multiplexes on opposite sides, which is why it's a

911
00:52:10,840 --> 00:52:13,799
Speaker 2: two bus trip for us. Tried the first theater last

912
00:52:13,840 --> 00:52:18,759
Speaker 2: weekend for a big, bold, beautiful journey, and boy, I

913
00:52:18,760 --> 00:52:22,920
Speaker 2: could have been anywhere USA we were. We got off

914
00:52:22,960 --> 00:52:26,359
Speaker 2: the bus, walked for a little bit into this industrial

915
00:52:26,400 --> 00:52:30,760
Speaker 2: park where there was a Nando's you know, chicken place,

916
00:52:31,440 --> 00:52:34,920
Speaker 2: there was another fast food place I'm forgetting, and they

917
00:52:34,920 --> 00:52:39,440
Speaker 2: were building a McDonald's. Other than that, there was an

918
00:52:39,480 --> 00:52:44,400
Speaker 2: ice rink next to the multiplex theater, which was you know,

919
00:52:45,920 --> 00:52:50,799
Speaker 2: average mall theater. So any any romantic visions of me

920
00:52:50,920 --> 00:52:53,600
Speaker 2: going to the movies here in Scotland you can toss

921
00:52:53,640 --> 00:52:54,120
Speaker 2: that aside.

922
00:52:54,160 --> 00:52:59,720
Speaker 1: It's it's lots urbs, exactly, eggs.

923
00:53:00,440 --> 00:53:03,279
Speaker 2: I was back at the AMC Crestoid yep, and you

924
00:53:03,360 --> 00:53:05,360
Speaker 2: know what I'm talking about exactly.

925
00:53:05,600 --> 00:53:08,640
Speaker 1: I used to see quite a few movies there myself.

926
00:53:09,000 --> 00:53:12,359
Speaker 2: Gosh, m hm. So the good news is they had big, bold,

927
00:53:12,400 --> 00:53:17,439
Speaker 2: beautiful journey. They also have one battle after another though

928
00:53:17,719 --> 00:53:19,920
Speaker 2: this weekend we're we're gonna try the theater on the

929
00:53:19,920 --> 00:53:21,600
Speaker 2: other side of town. See how that looks okay.

930
00:53:22,040 --> 00:53:24,680
Speaker 1: Well, next week here on Film Spotting, I'll be making

931
00:53:24,719 --> 00:53:27,479
Speaker 1: it to my local multiplex to see one battle after another,

932
00:53:27,520 --> 00:53:30,480
Speaker 1: and we'll be reviewing it here on the show. Maybe

933
00:53:30,480 --> 00:53:33,000
Speaker 1: some other new stuff. In fact, I could promise that

934
00:53:33,120 --> 00:53:35,279
Speaker 1: I'm going to talk about a new documentary I saw

935
00:53:35,360 --> 00:53:39,759
Speaker 1: called Predators, and no it is not another installment in

936
00:53:39,800 --> 00:53:43,600
Speaker 1: that franchise. More on that next week. Also another video

937
00:53:43,760 --> 00:53:48,080
Speaker 1: edition of Massacre Theater for a current show schedule. Oh boy,

938
00:53:48,280 --> 00:53:51,120
Speaker 1: you have something to add. We have to make these,

939
00:53:51,400 --> 00:53:55,200
Speaker 1: Like Sam is going to start just ratcheting up the

940
00:53:55,239 --> 00:53:57,480
Speaker 1: pyrotechnics of Massacre Theater, isn't he?

941
00:53:58,360 --> 00:54:00,840
Speaker 2: I know, I wasn't you know what. I wasn't going

942
00:54:00,920 --> 00:54:03,799
Speaker 2: to watch it, but I wanted to test some new headphones,

943
00:54:04,280 --> 00:54:07,399
Speaker 2: and I was like, you know what, why not test

944
00:54:07,440 --> 00:54:11,080
Speaker 2: him on that. I don't know that I've ever paid

945
00:54:11,120 --> 00:54:14,759
Speaker 2: as close attention to you during Masacar Theater because like

946
00:54:14,840 --> 00:54:18,200
Speaker 2: any good actor, Adam, ye, I don't, I don't. I

947
00:54:18,239 --> 00:54:21,880
Speaker 2: don't listen to my screen partner at all. It's all

948
00:54:21,920 --> 00:54:25,279
Speaker 2: about me, good actor, like any good actor, right, I think? So,

949
00:54:25,320 --> 00:54:28,480
Speaker 2: I've never really you missed the lessons? Is it? Is it?

950
00:54:28,520 --> 00:54:32,880
Speaker 2: The other way around, it's the other Okay, Well anyway, Yeah,

951
00:54:33,120 --> 00:54:36,040
Speaker 2: I don't know if you're always like this, but you

952
00:54:36,440 --> 00:54:39,560
Speaker 2: a certain level of your expression is is you're laughing

953
00:54:39,640 --> 00:54:42,640
Speaker 2: throughout You're you're you're not, You're.

954
00:54:42,560 --> 00:54:44,960
Speaker 1: Not like you need to know that now I'm self conscious,

955
00:54:45,040 --> 00:54:45,760
Speaker 1: you're and.

956
00:54:45,920 --> 00:54:50,719
Speaker 2: Well, especially that scene, we were under attack in that

957
00:54:50,880 --> 00:54:54,120
Speaker 2: scene and your voice, you know, you you bring it

958
00:54:54,160 --> 00:54:56,120
Speaker 2: with the voice. But now that we're on video, you

959
00:54:56,160 --> 00:54:58,919
Speaker 2: can't be smiling as well. You have to. You're gonna

960
00:54:58,920 --> 00:55:03,279
Speaker 2: have to bring the facial acting. Also. That's next week.

961
00:55:03,520 --> 00:55:06,680
Speaker 1: Thank you for the direction. Thank you for the direction,

962
00:55:06,840 --> 00:55:13,279
Speaker 1: Elia Kazan Larsen. For a current show schedule, visit phil

963
00:55:13,360 --> 00:55:15,640
Speaker 1: spotting dot net slash episodes.

964
00:55:15,920 --> 00:55:18,359
Speaker 2: Quick note about our sister podcast, The Next Picture Show,

965
00:55:18,360 --> 00:55:21,400
Speaker 2: looking at cinema's present via its past. They have a

966
00:55:21,560 --> 00:55:24,760
Speaker 2: new pairing. They're going to be talking about the Stephen

967
00:55:25,040 --> 00:55:29,080
Speaker 2: King adaptation The Long Walk just came out, and pairing

968
00:55:29,120 --> 00:55:32,680
Speaker 2: that with Sydney Pollack's nineteen sixty nine film They Shoot Horses,

969
00:55:32,880 --> 00:55:37,920
Speaker 2: don't they? That one featuring Jane Fonda and Adam That

970
00:55:38,080 --> 00:55:42,000
Speaker 2: is a title man comes up all the time, and

971
00:55:42,080 --> 00:55:45,279
Speaker 2: somehow I still have not seen it. Are you in

972
00:55:45,320 --> 00:55:45,799
Speaker 2: the same boat.

973
00:55:45,800 --> 00:55:47,960
Speaker 1: I'm with you. I'm in the same Thank goodness. But

974
00:55:48,160 --> 00:55:50,720
Speaker 1: we're rowing. We're rowing over the cliff together.

975
00:55:50,840 --> 00:55:54,000
Speaker 2: Josh, all right, makes me feel better. New episodes of

976
00:55:54,040 --> 00:55:57,160
Speaker 2: The Next Picture Show drop every Tuesday. You can find

977
00:55:57,200 --> 00:55:59,000
Speaker 2: them wherever you get your podcasts.

978
00:55:59,480 --> 00:56:01,759
Speaker 1: For those of you who may be listening and you're

979
00:56:01,800 --> 00:56:05,520
Speaker 1: in the Iowa City area or you know, anywhere around

980
00:56:05,680 --> 00:56:09,479
Speaker 1: Iowa City and you're willing to make the trip. I'll

981
00:56:09,520 --> 00:56:14,280
Speaker 1: be back at Film Scenes fourth annual Refocused Film Festival,

982
00:56:14,840 --> 00:56:18,120
Speaker 1: and this is the film festival that celebrates the art

983
00:56:18,120 --> 00:56:22,520
Speaker 1: of adaptation. Every film that plays is some kind of adaptation.

984
00:56:22,640 --> 00:56:24,680
Speaker 1: So it might be from a book, but it could

985
00:56:24,719 --> 00:56:28,680
Speaker 1: be from a poem, it could be from a musical,

986
00:56:28,800 --> 00:56:31,640
Speaker 1: it could be from anything, honestly, and there have been

987
00:56:32,280 --> 00:56:37,719
Speaker 1: some pretty fascinating works that the adaptations you know, originated

988
00:56:37,760 --> 00:56:42,040
Speaker 1: from over the years. It runs October ninth through the twelfth,

989
00:56:42,080 --> 00:56:45,920
Speaker 1: and part of the fun this year is that Michael

990
00:56:45,960 --> 00:56:47,960
Speaker 1: Phillips is coming in for the fest and so on

991
00:56:48,000 --> 00:56:52,080
Speaker 1: October eighth he's coming to my film criticism class, and

992
00:56:52,120 --> 00:56:57,479
Speaker 1: then on the ninth is opening night of the fest,

993
00:56:57,480 --> 00:57:00,920
Speaker 1: and then on the tenth is films Spotting Live. So

994
00:57:01,000 --> 00:57:04,279
Speaker 1: October tenth is film Spotting Live and inspired by the

995
00:57:04,320 --> 00:57:06,920
Speaker 1: opening night film which is called Train Dreams. So this

996
00:57:06,960 --> 00:57:09,960
Speaker 1: is a new movie stars Joel Edgerton and Felicity Jones.

997
00:57:10,320 --> 00:57:13,040
Speaker 1: It's said in the early twentieth century American West, and

998
00:57:13,080 --> 00:57:16,920
Speaker 1: it's adapted from the twenty eleven Dennis Johnson novella. So

999
00:57:16,960 --> 00:57:19,760
Speaker 1: a lot of Dennis Johnson works have been adapted over

1000
00:57:19,800 --> 00:57:23,160
Speaker 1: the years, including Jesus's Son. And I hadn't seen this,

1001
00:57:23,280 --> 00:57:27,400
Speaker 1: but I'm assuming Sam has his facts right. Producer Sam

1002
00:57:27,480 --> 00:57:31,360
Speaker 1: pulled this quote from our friend Brian Talarico rogeriber dot com.

1003
00:57:31,440 --> 00:57:34,360
Speaker 1: And if this is true, Josh, it says, and I

1004
00:57:34,440 --> 00:57:37,080
Speaker 1: quote one of my favorite movies ever.

1005
00:57:37,960 --> 00:57:38,360
Speaker 2: Wow.

1006
00:57:39,600 --> 00:57:44,360
Speaker 1: So Brian taler Ole thinks that highly of this movie,

1007
00:57:44,360 --> 00:57:47,040
Speaker 1: Trained Dreams. It debuted at Sundance. It comes to theaters

1008
00:57:47,040 --> 00:57:51,520
Speaker 1: in November. Opening night film October ninth at the Refocused

1009
00:57:51,520 --> 00:57:54,560
Speaker 1: Film Festival in Iowa City at the Gorgeous is not

1010
00:57:54,600 --> 00:57:56,760
Speaker 1: playing at film scene. The opening night film is always

1011
00:57:56,760 --> 00:58:00,800
Speaker 1: at the Gorgeous Englert Theater, which is a classic theater

1012
00:58:01,280 --> 00:58:05,720
Speaker 1: downtown Iowa City. So inspired by that, we always try

1013
00:58:05,760 --> 00:58:08,959
Speaker 1: to tie the recording that we do and the top

1014
00:58:09,000 --> 00:58:12,200
Speaker 1: five that we do to that opening night film or

1015
00:58:12,320 --> 00:58:15,080
Speaker 1: whatever's happening the big thing is at the fest. So

1016
00:58:15,240 --> 00:58:18,280
Speaker 1: since it's adapted from a Dennis Johnson novella, Dennis Johnson

1017
00:58:18,560 --> 00:58:23,200
Speaker 1: is an MFA grad of the famed Iowa Writers' Workshop,

1018
00:58:23,560 --> 00:58:26,680
Speaker 1: So we are going to do a top five movies

1019
00:58:26,880 --> 00:58:31,320
Speaker 1: adapted from Iowa writers. So that can include anybody who

1020
00:58:31,400 --> 00:58:34,600
Speaker 1: has an MFA from the Iowa Writers' Workshop, but it

1021
00:58:34,640 --> 00:58:40,080
Speaker 1: could also mean anybody who was born in Iowa counting

1022
00:58:40,120 --> 00:58:42,560
Speaker 1: that as well. It's going to be a fun list

1023
00:58:42,600 --> 00:58:44,960
Speaker 1: and I can't wait to do that with Michael at

1024
00:58:44,960 --> 00:58:48,200
Speaker 1: the Refocus Film Festival and just real quick, the fest

1025
00:58:48,280 --> 00:58:51,520
Speaker 1: is a killer lineup. I mean Andrew Sherburn, who is

1026
00:58:51,560 --> 00:58:56,360
Speaker 1: the big dog, the executive director at Refocus, is a

1027
00:58:56,360 --> 00:58:59,160
Speaker 1: friend and does such a wonderful job of Ben Delgado's

1028
00:58:59,200 --> 00:59:02,480
Speaker 1: the programming director, and he's a longtime friend and Film

1029
00:59:02,520 --> 00:59:05,800
Speaker 1: Spotting Listener goes way back to the early days of

1030
00:59:05,880 --> 00:59:09,960
Speaker 1: the show. They've got Charlie Shackleton's Zodiac Killer Project, which

1031
00:59:09,960 --> 00:59:12,320
Speaker 1: is a movie I recommended when I saw the Virtual

1032
00:59:12,640 --> 00:59:15,880
Speaker 1: Sun Dance version of that back in January, and.

1033
00:59:16,480 --> 00:59:19,880
Speaker 2: I caught Oh yeah, I caught that at the Chicago

1034
00:59:19,960 --> 00:59:23,800
Speaker 2: Critics Film Festival this summer. And yeah, anyone interested, I

1035
00:59:24,160 --> 00:59:28,320
Speaker 2: would say, in you know, documentary form in particular, sure

1036
00:59:28,600 --> 00:59:32,320
Speaker 2: when playing with other material, I think we'll want to

1037
00:59:32,400 --> 00:59:33,880
Speaker 2: check out Zodiac Killer Project.

1038
00:59:34,200 --> 00:59:37,240
Speaker 1: And especially of course if you care at all about

1039
00:59:37,280 --> 00:59:41,200
Speaker 1: true crime or exactly consuming anything true crime related, you

1040
00:59:41,240 --> 00:59:43,880
Speaker 1: really have to see Zodiac Killer Project. And Charlie Shackleton

1041
00:59:43,960 --> 00:59:46,760
Speaker 1: will be at refocused. I think it at least two

1042
00:59:46,840 --> 00:59:51,320
Speaker 1: screenings of it. Also, you're going to be able to

1043
00:59:51,360 --> 00:59:54,760
Speaker 1: see the new film from director Ira Sachs, who made

1044
00:59:54,760 --> 00:59:56,720
Speaker 1: one of my favorite films. He was in my top

1045
00:59:56,720 --> 00:59:59,080
Speaker 1: ten a few years back. Love Is Strange also made.

1046
00:59:59,080 --> 01:00:04,040
Speaker 1: Passages is new one Peter Hoosier's Day stars Ben Wishaw

1047
01:00:04,080 --> 01:00:08,760
Speaker 1: and Rebecca Hall. Also, Park Chenook's new film No Other

1048
01:00:08,880 --> 01:00:12,320
Speaker 1: Choice is playing there. There's a new documentary from Raoul

1049
01:00:12,400 --> 01:00:15,600
Speaker 1: Peck who made I Am Not Your Negro, the James

1050
01:00:15,600 --> 01:00:19,120
Speaker 1: Baldwin documentary. But it's George Orwell two plus two equals five.

1051
01:00:19,160 --> 01:00:22,000
Speaker 1: I mean, I'm telling you there are at least eight

1052
01:00:22,080 --> 01:00:26,320
Speaker 1: films I'm dying to see at Refocus. And yes, also

1053
01:00:26,360 --> 01:00:29,320
Speaker 1: film Spotting Live is happening at four point thirty on

1054
01:00:29,400 --> 01:00:31,880
Speaker 1: Friday the tenth with me and Michael. So I hope

1055
01:00:31,920 --> 01:00:34,000
Speaker 1: you get a chance to make it out. If you're

1056
01:00:34,040 --> 01:00:37,200
Speaker 1: listening to this, well, if you're listening to this, that

1057
01:00:37,280 --> 01:00:39,600
Speaker 1: means tickets are available, because they go on sale to

1058
01:00:39,640 --> 01:00:44,200
Speaker 1: the general public on Friday this Friday here, the twenty

1059
01:00:44,240 --> 01:00:48,960
Speaker 1: sixth of September, and you can learn more at Refocusfilmfestival

1060
01:00:49,160 --> 01:00:49,880
Speaker 1: dot org.

1061
01:00:50,440 --> 01:00:59,320
Speaker 3: Nah, this is your new governor's prodi Maria.

1062
01:00:56,720 --> 01:00:58,360
Speaker 2: As I saund those signals, you step forward and give

1063
01:00:58,360 --> 01:00:58,760
Speaker 2: your name.

1064
01:00:58,960 --> 01:01:01,520
Speaker 4: You Willison Carey learn that signal so that you can

1065
01:01:01,560 --> 01:01:05,919
Speaker 4: call them when you want them.

1066
01:01:06,280 --> 01:01:09,120
Speaker 1: Friedrich. Time for some poll results. A couple of weeks ago,

1067
01:01:09,360 --> 01:01:12,840
Speaker 1: we asked you to choose one and only one sixties musical.

1068
01:01:13,240 --> 01:01:16,000
Speaker 1: The occasion was the sixtieth anniversary re release of the

1069
01:01:16,000 --> 01:01:20,000
Speaker 1: Sound of Music, which, yeah, fine, I'll confess it. It

1070
01:01:20,120 --> 01:01:23,000
Speaker 1: remains unseen by me. I don't know if anyone could

1071
01:01:23,000 --> 01:01:26,040
Speaker 1: tell based on everything I was saying two weeks ago.

1072
01:01:26,120 --> 01:01:28,240
Speaker 2: Yeah, you were you were pretty cagey. I thought that

1073
01:01:28,440 --> 01:01:31,000
Speaker 2: was the case, and then I realized, did you squeeze

1074
01:01:31,000 --> 01:01:33,120
Speaker 2: it in at some point? No, you would have made

1075
01:01:33,120 --> 01:01:33,960
Speaker 2: a bigger deal of it.

1076
01:01:33,920 --> 01:01:37,120
Speaker 1: If you yeah, exactly so the options and then Josh,

1077
01:01:37,160 --> 01:01:40,920
Speaker 1: you can give the results Funny Girl, Mary Poppins, my

1078
01:01:41,000 --> 01:01:44,439
Speaker 1: Fair Lady, the Sound of Music, the Umbrellas of sure Bore,

1079
01:01:44,880 --> 01:01:47,760
Speaker 1: West Side Story, or if you don't like any of

1080
01:01:47,800 --> 01:01:50,560
Speaker 1: those choices, you could write in other How did it

1081
01:01:50,600 --> 01:01:51,000
Speaker 1: come out?

1082
01:01:51,440 --> 01:01:54,400
Speaker 2: Rare case of a title tying in last place with

1083
01:01:54,600 --> 01:01:56,960
Speaker 2: other and that would have been Funny Girl. Both received

1084
01:01:57,000 --> 01:01:59,960
Speaker 2: three percent of the vote. My Fair Lady received five

1085
01:02:00,040 --> 01:02:02,960
Speaker 2: five percent of the vote. Then jumping up to another

1086
01:02:03,000 --> 01:02:06,720
Speaker 2: tier where there was a relatively close competition between Mary

1087
01:02:06,760 --> 01:02:09,800
Speaker 2: Poppins sixteen percent of the vote and the Sound of

1088
01:02:09,920 --> 01:02:15,720
Speaker 2: Music nineteen percent, but in second place jumping ahead twenty

1089
01:02:15,760 --> 01:02:18,000
Speaker 2: five percent of the vote went to West Side Story,

1090
01:02:18,120 --> 01:02:22,640
Speaker 2: meaning rightfully correctly, the Umbrellas of share Boor won this

1091
01:02:22,800 --> 01:02:24,480
Speaker 2: with twenty eight percent of the vote, And I'm really

1092
01:02:24,560 --> 01:02:28,880
Speaker 2: encouraged by that. It's just you know that many people

1093
01:02:29,000 --> 01:02:31,840
Speaker 2: have seen the umbrellas of Cherboor, whereas you think West

1094
01:02:31,840 --> 01:02:35,800
Speaker 2: Side Story, you know, much more common familiar, maybe might

1095
01:02:35,800 --> 01:02:38,560
Speaker 2: have taken it, and I you know, adore one way

1096
01:02:38,560 --> 01:02:39,240
Speaker 2: more than the other.

1097
01:02:39,840 --> 01:02:41,640
Speaker 1: So what you're really saying is in the battle of

1098
01:02:41,680 --> 01:02:45,600
Speaker 1: Team Adam versus Team Josh. Team Josh was triumphant in this.

1099
01:02:45,640 --> 01:02:48,800
Speaker 2: Case, in this case, on this day, which we will

1100
01:02:48,840 --> 01:02:50,160
Speaker 2: celebrate forever.

1101
01:02:51,360 --> 01:02:56,000
Speaker 1: So here's Rob Steger, not to be confused with Rod Steiger.

1102
01:02:56,200 --> 01:02:58,840
Speaker 1: My parents' first date was West Side Story. So I

1103
01:02:58,840 --> 01:03:00,960
Speaker 1: don't know if I'm going to a race myself from

1104
01:03:01,000 --> 01:03:04,440
Speaker 1: the timeline Marty m fly style, but I'm choosing the

1105
01:03:04,520 --> 01:03:07,760
Speaker 1: umbrellas of sher boor if it's not going to exist,

1106
01:03:08,080 --> 01:03:11,960
Speaker 1: I don't want to either. Wow Wow, for you wouldn't

1107
01:03:12,000 --> 01:03:12,520
Speaker 1: go that far.

1108
01:03:12,640 --> 01:03:20,560
Speaker 2: Josh, no mavel so.

1109
01:03:22,320 --> 01:03:31,040
Speaker 1: Shod shot Go.

1110
01:03:33,520 --> 01:03:46,280
Speaker 2: He shoter Godmo Nomal Macky. We also heard from Betsy Shane.

1111
01:03:46,520 --> 01:03:49,320
Speaker 2: I understand that West Side Story is a little problematic,

1112
01:03:49,360 --> 01:03:52,320
Speaker 2: and that many of these others are excellent musicals, But

1113
01:03:52,440 --> 01:03:57,520
Speaker 2: Jerome robbins choreography was so game changing. Lettern Bernstein's challenging

1114
01:03:57,520 --> 01:03:59,720
Speaker 2: but familiar score is still a go to reference for

1115
01:04:00,080 --> 01:04:04,080
Speaker 2: turval ear training and the alternately cheeky and sincere lyrics

1116
01:04:04,120 --> 01:04:07,880
Speaker 2: by some young up start named Stephen Sondheim. Also, I

1117
01:04:07,920 --> 01:04:12,160
Speaker 2: want Rita Morna to keep her well deserved the Oscar Wow.

1118
01:04:12,200 --> 01:04:13,760
Speaker 2: I don't know if we've ever opened that can of

1119
01:04:13,760 --> 01:04:17,120
Speaker 2: worms with the the incinerator rule. If the movie goes

1120
01:04:17,240 --> 01:04:21,000
Speaker 2: the filmmakers and the actors, they lose all the accolades.

1121
01:04:21,080 --> 01:04:24,320
Speaker 2: I mean, this is this is just chaos, Sam has started.

1122
01:04:24,680 --> 01:04:27,360
Speaker 1: I think listeners get it that incinerator rules just apply

1123
01:04:27,600 --> 01:04:33,480
Speaker 1: to everything we do. I guess, and Interval ear Training

1124
01:04:33,600 --> 01:04:36,360
Speaker 1: is the name of my next band, Mark F I

1125
01:04:36,400 --> 01:04:38,680
Speaker 1: could make a case for each one in a case

1126
01:04:38,760 --> 01:04:41,720
Speaker 1: against each despite their many merits, Umbrellas of Sherbor, West

1127
01:04:41,720 --> 01:04:44,040
Speaker 1: Side Story and My Fair Lady are all flawed by

1128
01:04:44,080 --> 01:04:48,440
Speaker 1: their lip SYNCD leads. Take that, Josh, my vote is

1129
01:04:48,480 --> 01:04:52,120
Speaker 1: for Funny Girl because it's the most complete package, glorious

1130
01:04:52,160 --> 01:04:55,440
Speaker 1: Hollywood film craft, a great rise and fall, backstage bio

1131
01:04:55,520 --> 01:05:01,400
Speaker 1: journey and the indomitable streisand or Streisan Streisan streisand carrying

1132
01:05:01,400 --> 01:05:04,000
Speaker 1: her Broadway breakout roll to the screen.

1133
01:05:05,080 --> 01:05:08,200
Speaker 2: I mean, Mark has something that I know has been

1134
01:05:08,240 --> 01:05:12,600
Speaker 2: brought up many times, especially you know with umbrellas. I'll

1135
01:05:12,600 --> 01:05:15,440
Speaker 2: have to give some thought to about that. No, no,

1136
01:05:15,560 --> 01:05:19,320
Speaker 2: never mind, umbrellas is don't here's Sam ought to it,

1137
01:05:19,440 --> 01:05:23,040
Speaker 2: Sam Oppenheim, Funny Girl is so so so good. If

1138
01:05:23,040 --> 01:05:26,800
Speaker 2: you have that blind spot, please rectify that being said,

1139
01:05:27,080 --> 01:05:29,760
Speaker 2: Funny Girl isn't the very best, and though I want

1140
01:05:29,800 --> 01:05:32,960
Speaker 2: to pick it, I will instead vacillate between West Side

1141
01:05:33,040 --> 01:05:36,120
Speaker 2: Story and the sound of music. Wait, wait a minute,

1142
01:05:36,320 --> 01:05:37,280
Speaker 2: why are we reading this?

1143
01:05:37,920 --> 01:05:38,240
Speaker 1: I don't know.

1144
01:05:38,280 --> 01:05:40,920
Speaker 2: You can't read a comment from someone who's refusing.

1145
01:05:40,480 --> 01:05:44,840
Speaker 1: To out Sam Oppenheim. Your your feedback is the incinerator.

1146
01:05:46,280 --> 01:05:50,040
Speaker 1: It's gone, Bailey Clark. Let's see if Bailey Clark took

1147
01:05:50,040 --> 01:05:52,880
Speaker 1: a stand. The answer is Mary Poppins. Okay, my leaps

1148
01:05:52,880 --> 01:05:56,040
Speaker 1: and bounds. The performances and music have been well lauded

1149
01:05:56,080 --> 01:05:58,240
Speaker 1: through the years, but there is so much more to appreciate.

1150
01:05:58,440 --> 01:06:03,120
Speaker 1: The tirelessly exuberant choreography, the plethora of innovative effects, the

1151
01:06:03,240 --> 01:06:06,960
Speaker 1: razor sharp script, and the direction's masterful mosaic of tones.

1152
01:06:07,200 --> 01:06:09,280
Speaker 1: It's a magical joy to watch as a child. But

1153
01:06:09,320 --> 01:06:11,600
Speaker 1: if you haven't seen it as an adult, you really

1154
01:06:11,600 --> 01:06:13,960
Speaker 1: haven't seen it. And I'm going to admit to Bailey

1155
01:06:14,320 --> 01:06:17,400
Speaker 1: and all of you, I loved Mary Poppins as a kid,

1156
01:06:17,520 --> 01:06:20,480
Speaker 1: and I surely have not seen it as an adult.

1157
01:06:21,520 --> 01:06:24,720
Speaker 2: Yeah. I have seen it more recently than childhood, and

1158
01:06:25,240 --> 01:06:27,960
Speaker 2: do enjoy it. Bailey's making a good case for it

1159
01:06:28,000 --> 01:06:31,560
Speaker 2: as being more than just that, though here is a

1160
01:06:31,600 --> 01:06:34,479
Speaker 2: comment from Calvin Chen on a different day, I would

1161
01:06:34,480 --> 01:06:37,280
Speaker 2: probably give it to Mary Poppins or the Sound of Music.

1162
01:06:37,320 --> 01:06:39,640
Speaker 2: But on the Street where you Live and Wouldn't It

1163
01:06:39,680 --> 01:06:42,440
Speaker 2: Be Lovely are two of my favorite musical songs of

1164
01:06:42,440 --> 01:06:44,480
Speaker 2: all time, and I have a lot of fond memories

1165
01:06:44,520 --> 01:06:47,120
Speaker 2: associated with seeing my Fair Lady for the first time.

1166
01:06:47,480 --> 01:06:50,400
Speaker 2: If Audrey Hupburn couldn't take home the Oscar, maybe she

1167
01:06:50,520 --> 01:06:53,920
Speaker 2: can at least win a moderately flawed film spotting poll.

1168
01:06:54,760 --> 01:06:57,360
Speaker 2: And a note here. The nineteen sixty five Best Actress

1169
01:06:57,400 --> 01:07:01,160
Speaker 2: Oscar went to Julie Andrews for Mary Poppins.

1170
01:07:01,200 --> 01:07:05,600
Speaker 1: Hepburn wasn't nominated, not even nominated. Here's Craig Schaeffer. I

1171
01:07:05,640 --> 01:07:08,560
Speaker 1: understand the praise for Sure Bore, but for my money,

1172
01:07:08,760 --> 01:07:11,560
Speaker 1: Demise's next film, The Young Girls of roche For still

1173
01:07:11,600 --> 01:07:14,560
Speaker 1: has the songs, plus the radiant Catherine Deneu, but is

1174
01:07:14,680 --> 01:07:16,960
Speaker 1: so much stranger and more interesting.

1175
01:07:18,000 --> 01:07:21,560
Speaker 2: It is stranger. It's good, Craig, it's good too. Last

1176
01:07:21,720 --> 01:07:26,240
Speaker 2: comment here from our MP to counter those who dismiss

1177
01:07:26,360 --> 01:07:29,400
Speaker 2: over dubbing actors with singers. I gave my vote to

1178
01:07:30,000 --> 01:07:35,240
Speaker 2: Mogal e Azam, the legendary Bollywood budget buster. Some of

1179
01:07:35,280 --> 01:07:37,600
Speaker 2: the movies in this poll could have used more dubbing.

1180
01:07:37,920 --> 01:07:41,040
Speaker 2: Wouldn't a Stanley Holloway overdubb of Dick Van Dyke's cold

1181
01:07:41,080 --> 01:07:44,920
Speaker 2: blooded murder of the COCKI accent have been a massive upgrade?

1182
01:07:45,360 --> 01:07:45,640
Speaker 1: Wow?

1183
01:07:45,720 --> 01:07:49,720
Speaker 2: Wow, I don't know if I'm qualified to say yes.

1184
01:07:50,920 --> 01:07:52,160
Speaker 2: Let's leave this up to Bailey.

1185
01:07:52,520 --> 01:07:56,080
Speaker 1: Yeah, what Bailey says? Thank you for all of your feedback,

1186
01:07:56,120 --> 01:07:59,480
Speaker 1: except you, Sam Oppenheim. Let's move on to our new poll,

1187
01:08:00,320 --> 01:08:05,280
Speaker 1: A truly deeply flawed film spotting poll, because it made

1188
01:08:05,360 --> 01:08:09,080
Speaker 1: Josh do homework, and it makes me want to unplug

1189
01:08:09,120 --> 01:08:12,760
Speaker 1: my microphone and I might, I might do it. I

1190
01:08:12,840 --> 01:08:17,240
Speaker 1: might accidentally shut off my camera, all my equipment lights out,

1191
01:08:17,360 --> 01:08:20,680
Speaker 1: just head out the door before the show's done.

1192
01:08:20,840 --> 01:08:25,679
Speaker 2: And that this is this is because not to get

1193
01:08:25,720 --> 01:08:28,840
Speaker 2: ahead of ourselves. This is the Paul Thomas Anderson decades pole.

1194
01:08:29,640 --> 01:08:32,599
Speaker 2: I'm guessing it's forcing you to choose between there will

1195
01:08:32,600 --> 01:08:35,040
Speaker 2: be blood and the Master. Is that? Is that the

1196
01:08:35,080 --> 01:08:38,639
Speaker 2: central dilemma for you? No? No, okay, no, it's.

1197
01:08:38,479 --> 01:08:44,200
Speaker 1: Really not that. And it's it's all three of them, Josh,

1198
01:08:44,439 --> 01:08:44,880
Speaker 1: It's just.

1199
01:08:45,080 --> 01:08:46,040
Speaker 2: Let's read the options.

1200
01:08:46,080 --> 01:08:48,200
Speaker 1: Then you you do the you do the honors.

1201
01:08:48,840 --> 01:08:53,280
Speaker 2: Okay, So the nineteen nineties PTA made Hard eight Boogie

1202
01:08:53,360 --> 01:08:57,160
Speaker 2: Nights Magnolia. That's one of your choices. Or you could

1203
01:08:57,200 --> 01:09:00,320
Speaker 2: go with the two thousands Punch Drunk Love and there

1204
01:09:00,360 --> 01:09:03,240
Speaker 2: will be Blood. If you want to do the twenty tens,

1205
01:09:03,920 --> 01:09:08,599
Speaker 2: you get The Master, Inherent Vice and Phantom Thread.

1206
01:09:09,520 --> 01:09:11,400
Speaker 1: So you can only pick one decade.

1207
01:09:11,920 --> 01:09:15,560
Speaker 2: You can only pick one decade. This was a conundrum

1208
01:09:15,640 --> 01:09:17,160
Speaker 2: for me because it.

1209
01:09:17,240 --> 01:09:20,840
Speaker 1: Forced me with Phantom Thread, well, it forced.

1210
01:09:20,560 --> 01:09:25,320
Speaker 2: Me to answer something that I'd been reconsidering in recent years.

1211
01:09:25,720 --> 01:09:28,160
Speaker 2: For quite a while, I've said that Punch Drunk Love

1212
01:09:28,360 --> 01:09:33,760
Speaker 2: is my favorite PTA movie, and that has been challenged

1213
01:09:34,240 --> 01:09:38,519
Speaker 2: by frequent revisits of Phantom Thread, which I did for

1214
01:09:38,520 --> 01:09:43,240
Speaker 2: Ebert interrupt Us just within the last year. So I've

1215
01:09:43,280 --> 01:09:46,680
Speaker 2: seen that movie and studied that movie closely, you know,

1216
01:09:46,720 --> 01:09:49,880
Speaker 2: spent multiple days on that movie with an audience, and

1217
01:09:50,040 --> 01:09:54,639
Speaker 2: thought to myself, this is his best movie. It's got

1218
01:09:54,640 --> 01:09:57,639
Speaker 2: to be his best movie. To my mind, I knew

1219
01:09:57,640 --> 01:09:59,360
Speaker 2: I already liked it more than There Will be Blood

1220
01:09:59,360 --> 01:10:03,600
Speaker 2: in the Master char also in that upper tier. But

1221
01:10:03,640 --> 01:10:06,080
Speaker 2: there's no way to say that until you've revisited Punch

1222
01:10:06,160 --> 01:10:08,640
Speaker 2: Trunk Love. So I've been meaning to and meaning to

1223
01:10:08,800 --> 01:10:11,679
Speaker 2: and meaning to, and then not only does Sam propose

1224
01:10:12,000 --> 01:10:15,200
Speaker 2: this poll, but as I mentioned in our review of

1225
01:10:15,280 --> 01:10:17,640
Speaker 2: A Big, Bold, Beautiful Journey, Punch Drunk Love was one

1226
01:10:17,640 --> 01:10:19,120
Speaker 2: of the movies that came to mind while I was

1227
01:10:19,160 --> 01:10:21,960
Speaker 2: watching it. So I just thought, it's time, we're gonna

1228
01:10:22,000 --> 01:10:26,000
Speaker 2: do it. We're gonna throw it on. Revisit Punch Drunk Love,

1229
01:10:26,880 --> 01:10:30,240
Speaker 2: and it clarified this poll, Adam, because still love it,

1230
01:10:30,960 --> 01:10:33,759
Speaker 2: but it is now officially my number two PTA film,

1231
01:10:34,040 --> 01:10:37,320
Speaker 2: So it goes Phantom Thread then Punch Drunk Love, and

1232
01:10:37,400 --> 01:10:41,280
Speaker 2: if I get The Master with Phantom Thread by going

1233
01:10:41,320 --> 01:10:44,479
Speaker 2: with the twenty tens. And I also really like Inherent Vice.

1234
01:10:45,439 --> 01:10:47,800
Speaker 2: Kind of an easy answer for me.

1235
01:10:50,640 --> 01:10:52,880
Speaker 1: I was just trying to bring up while you were talking.

1236
01:10:53,680 --> 01:10:55,680
Speaker 1: This won't help, but I was trying to bring I.

1237
01:10:55,640 --> 01:10:58,320
Speaker 2: Didn't get I didn't give you enough time to decide

1238
01:10:58,439 --> 01:10:59,960
Speaker 2: my letterboxed.

1239
01:11:00,920 --> 01:11:07,200
Speaker 1: List. And you know I've got I've got Magnolia and

1240
01:11:07,240 --> 01:11:14,719
Speaker 1: Boogie Nights in my top four. I've got Phantom Thread

1241
01:11:15,000 --> 01:11:20,479
Speaker 1: and Inherent Vice and The Master in my top six.

1242
01:11:22,320 --> 01:11:25,400
Speaker 1: That's pretty compelling, right, I do have there will be

1243
01:11:25,400 --> 01:11:28,679
Speaker 1: Blood at number one, number one. Like a lot of people,

1244
01:11:30,160 --> 01:11:35,519
Speaker 1: that's messing everything up for you. I it's it's so

1245
01:11:35,640 --> 01:11:38,599
Speaker 1: hard because I'll tell you. I mean, here, here's part

1246
01:11:38,600 --> 01:11:40,400
Speaker 1: of my thinking. Even though I have There will Be

1247
01:11:40,439 --> 01:11:44,720
Speaker 1: Blood at number one, I am applying the logic that

1248
01:11:46,280 --> 01:11:49,200
Speaker 1: quantity might matter, and three films is better than two,

1249
01:11:49,840 --> 01:11:53,200
Speaker 1: especially when you like to love all eight films right

1250
01:11:53,240 --> 01:11:56,280
Speaker 1: here exactly, Okay, so three films is better than two

1251
01:11:56,960 --> 01:12:04,000
Speaker 1: and Punch Drunk Love. Unlike you and and many others

1252
01:12:04,000 --> 01:12:05,760
Speaker 1: out there who love this film and have seen it

1253
01:12:05,840 --> 01:12:09,519
Speaker 1: multiple times, I do have it as my least favorite.

1254
01:12:09,720 --> 01:12:13,160
Speaker 1: Pta I've only seen it once. I've only seen it once. Yeah,

1255
01:12:13,160 --> 01:12:15,280
Speaker 1: I have it. I have it in the ninth slot.

1256
01:12:15,320 --> 01:12:17,439
Speaker 1: I have it below Heart eight, and I like Hard

1257
01:12:17,439 --> 01:12:19,760
Speaker 1: eight quite a bit too. I like Punch Trunk Love too.

1258
01:12:19,840 --> 01:12:21,880
Speaker 1: I like them all. So let's just be clear. So

1259
01:12:22,200 --> 01:12:23,519
Speaker 1: if I have There Will Be Blood one, and I

1260
01:12:23,520 --> 01:12:27,000
Speaker 1: have Punch Trunk Love nine, and there's only two, I

1261
01:12:27,040 --> 01:12:29,920
Speaker 1: think I'm ruling out the two thousands. It really is

1262
01:12:29,960 --> 01:12:33,920
Speaker 1: between the decades that have I answer, yeah, And that's

1263
01:12:34,080 --> 01:12:35,839
Speaker 1: the problem is that.

1264
01:12:37,720 --> 01:12:38,240
Speaker 2: I so.

1265
01:12:39,920 --> 01:12:45,080
Speaker 1: I so love Boogie Knights and Magnolia, that that, despite

1266
01:12:46,200 --> 01:12:49,640
Speaker 1: despite how how much I've praised the master over the

1267
01:12:49,720 --> 01:12:53,120
Speaker 1: years on the show, I think I'm a nineties guy,

1268
01:12:53,200 --> 01:12:56,519
Speaker 1: and I'll tell you I think, oh guy, I think

1269
01:12:56,560 --> 01:12:59,760
Speaker 1: I am. I think our revisit of Magnolia sealed that

1270
01:12:59,800 --> 01:13:02,519
Speaker 1: movie be as such a masterpiece for me, and I

1271
01:13:02,680 --> 01:13:06,559
Speaker 1: still feel that Boogie Knights is as well. If if

1272
01:13:06,600 --> 01:13:11,320
Speaker 1: I was if you said, if you applied incinerator rules

1273
01:13:11,320 --> 01:13:13,519
Speaker 1: and you said, up all these films, Adam, you could

1274
01:13:13,520 --> 01:13:18,040
Speaker 1: only sit down and watch let's say three of them.

1275
01:13:18,240 --> 01:13:21,320
Speaker 1: You can only keep three of these movies. Yeah, two

1276
01:13:21,400 --> 01:13:24,479
Speaker 1: of them would be Boogie Knights in Magnolia. So that

1277
01:13:24,640 --> 01:13:25,200
Speaker 1: kay answer.

1278
01:13:26,080 --> 01:13:28,920
Speaker 2: I guess, Yeah, I guess that's a helpful way to

1279
01:13:28,960 --> 01:13:34,040
Speaker 2: think about it. Whereas I'd be happy to watch yeah,

1280
01:13:34,080 --> 01:13:36,719
Speaker 2: Phantom Thread for one an eighth or ninth time within

1281
01:13:36,720 --> 01:13:40,040
Speaker 2: the last twelve months. So that's partly why I'm leading

1282
01:13:40,240 --> 01:13:41,559
Speaker 2: towards the twenty tens.

1283
01:13:41,800 --> 01:13:46,400
Speaker 1: Okay, it is another case where Team Adam is not

1284
01:13:46,560 --> 01:13:51,000
Speaker 1: faring very well. I am decidedly in last place currently

1285
01:13:51,040 --> 01:13:55,000
Speaker 1: in the poll. However, h more proof that this is

1286
01:13:55,080 --> 01:13:58,519
Speaker 1: not a deeply flawed poll question. It is so far

1287
01:13:59,200 --> 01:14:03,439
Speaker 1: very close. Your vote definitely could matter. It could sway

1288
01:14:03,720 --> 01:14:08,000
Speaker 1: this one. All three decades have a chance. So please

1289
01:14:08,040 --> 01:14:10,519
Speaker 1: do vote, and we would love it if you left

1290
01:14:10,520 --> 01:14:13,400
Speaker 1: a comment because we just might share it on the show.

1291
01:14:13,920 --> 01:14:15,360
Speaker 1: But you do have to take a stand. You do

1292
01:14:15,439 --> 01:14:18,200
Speaker 1: have to vote. You can please take a stand. Yeah,

1293
01:14:18,240 --> 01:14:21,000
Speaker 1: come on, Josh does require it or he will shake

1294
01:14:21,040 --> 01:14:21,840
Speaker 1: his head at you and.

1295
01:14:21,840 --> 01:14:22,719
Speaker 2: You don't exactly.

1296
01:14:24,200 --> 01:14:25,799
Speaker 1: You can vote in the poll and leave a comment

1297
01:14:25,840 --> 01:14:29,000
Speaker 1: at filmspotting dot net. We will share the results and

1298
01:14:29,040 --> 01:14:32,080
Speaker 1: your feedback if you're lucky in a couple of weeks. Josh,

1299
01:14:32,160 --> 01:14:32,920
Speaker 1: that is our show.

1300
01:14:33,920 --> 01:14:35,799
Speaker 2: If you want to connect with us on social media,

1301
01:14:35,840 --> 01:14:40,560
Speaker 2: you can find Adam and the show on Instagram, Facebook, letterboxed,

1302
01:14:40,760 --> 01:14:45,000
Speaker 2: and yeah of course YouTube. As film Spotting, I'm at

1303
01:14:45,040 --> 01:14:48,439
Speaker 2: all those places as well as Larsen on film. We

1304
01:14:48,520 --> 01:14:51,920
Speaker 2: are independently produced and listeners supported. You can support the

1305
01:14:51,920 --> 01:14:55,040
Speaker 2: show by joining the film Spotting Family at Filmspotting family

1306
01:14:55,600 --> 01:14:58,360
Speaker 2: dot com. You can listen early and ad free. You'll

1307
01:14:58,360 --> 01:15:02,960
Speaker 2: also get Sam's weekly, the newsletter, monthly bonus episodes, and

1308
01:15:03,120 --> 01:15:06,559
Speaker 2: access to the entire show archive. For show t shirts

1309
01:15:06,600 --> 01:15:09,519
Speaker 2: and merch, you can go to film Spotting dot net

1310
01:15:09,800 --> 01:15:10,799
Speaker 2: slash Shop.

1311
01:15:11,400 --> 01:15:14,880
Speaker 1: In the archive, you'll find conversations about Columbus and After

1312
01:15:14,960 --> 01:15:19,160
Speaker 1: Yang with Koganata episodes six fifty and eight sixty eight,

1313
01:15:19,280 --> 01:15:23,479
Speaker 1: and another conversation about Columbus with Cooganata live at Film

1314
01:15:23,479 --> 01:15:28,240
Speaker 1: Spotting Fest. That's episode ten thirty. That is a show

1315
01:15:28,240 --> 01:15:32,400
Speaker 1: we published recently and is definitely currently in the Film

1316
01:15:32,439 --> 01:15:37,120
Speaker 1: Spotting public feed. In limited release through October thirteenth, you

1317
01:15:37,840 --> 01:15:40,759
Speaker 1: can catch the New York Film Festival. Also in limited

1318
01:15:40,800 --> 01:15:45,040
Speaker 1: release is Chain Reactions. Ooh, I wasn't aware of this. Josh,

1319
01:15:45,040 --> 01:15:47,719
Speaker 1: a documentary about the legacy of Toby Hooper's The Texas

1320
01:15:47,840 --> 01:15:51,680
Speaker 1: Chainsaw Massacre from the director of Lynch Oz and The

1321
01:15:51,720 --> 01:15:55,280
Speaker 1: Psycho Docs seventy eight fifty two. Here again, Brian tallerco

1322
01:15:55,320 --> 01:15:57,920
Speaker 1: says catnip for horror fans and may even give those

1323
01:15:57,920 --> 01:16:01,160
Speaker 1: who don't love TCM yet further appreciation of one of

1324
01:16:01,200 --> 01:16:05,280
Speaker 1: the most influential films ever made of any genre. So

1325
01:16:06,000 --> 01:16:10,080
Speaker 1: I'm curious and we did a Texas Chainsaw Massacre Sacred

1326
01:16:10,120 --> 01:16:12,120
Speaker 1: Cow review back on nine to eighty eight. That was

1327
01:16:12,160 --> 01:16:13,960
Speaker 1: a really fun Yeah.

1328
01:16:14,040 --> 01:16:18,040
Speaker 2: Yeah, as much as you can enjoy talking about a

1329
01:16:18,080 --> 01:16:22,080
Speaker 2: movie like Texas Chainsaw because of its content. That was Yeah,

1330
01:16:22,200 --> 01:16:24,840
Speaker 2: very stimulating conversation for sure.

1331
01:16:25,760 --> 01:16:29,120
Speaker 1: Strange Journey The Story of Rocky Horror. Yes, it's a

1332
01:16:29,160 --> 01:16:31,960
Speaker 1: documentary about the origins of the Rocky Horror Picture Show.

1333
01:16:32,920 --> 01:16:35,920
Speaker 1: I would have to actually have seen the Rocky Horror

1334
01:16:35,960 --> 01:16:38,720
Speaker 1: Picture Show man. Lots of blind spots coming out on

1335
01:16:38,760 --> 01:16:41,559
Speaker 1: this episode. Why why am I just taking shots at

1336
01:16:41,560 --> 01:16:44,960
Speaker 1: my own credibility on rough this show? I thought otherwise

1337
01:16:45,000 --> 01:16:48,040
Speaker 1: we were doing so good. Dead of Winter Emma Thompson

1338
01:16:48,080 --> 01:16:51,959
Speaker 1: interrupts the kidnapping of a teenage girl in snowbound northern Minnesota.

1339
01:16:52,000 --> 01:16:57,040
Speaker 1: I'd like to see what a kidnapp being interrupted looks like, Josh. Also,

1340
01:16:57,160 --> 01:17:01,840
Speaker 1: we have dreams in parentheses. Sex's Love Okay. This is

1341
01:17:02,040 --> 01:17:05,639
Speaker 1: a new one from a Norwegian filmmaker about a seventeen

1342
01:17:05,680 --> 01:17:08,640
Speaker 1: year old girl who experiences a sexual awakening when she

1343
01:17:08,680 --> 01:17:11,280
Speaker 1: falls head over heels in love with her female teacher.

1344
01:17:11,439 --> 01:17:14,080
Speaker 1: It's at the Cisco Film Center in Chicago. One Best

1345
01:17:14,120 --> 01:17:17,920
Speaker 1: Film at the twenty twenty five Berlin Film Festival. Also,

1346
01:17:18,000 --> 01:17:21,200
Speaker 1: you can catch Eleanor the Great, directed by Scarlett Johansson,

1347
01:17:21,520 --> 01:17:23,759
Speaker 1: about a ninety year old woman played by June Squibb

1348
01:17:23,800 --> 01:17:26,559
Speaker 1: who returns to New York City after years living in

1349
01:17:26,600 --> 01:17:29,120
Speaker 1: Florida in an effort to rebuild her life after the

1350
01:17:29,200 --> 01:17:32,880
Speaker 1: death of her best friend. A few wide releases here

1351
01:17:33,000 --> 01:17:36,839
Speaker 1: Gabby's Dollhouse. The movie. This is a live action adaptation

1352
01:17:36,920 --> 01:17:39,960
Speaker 1: of the popular kids series on Netflix with Kristin Wig

1353
01:17:40,200 --> 01:17:44,920
Speaker 1: and Gloria Estefan. The Strangers Chapter two, a sequel to

1354
01:17:45,120 --> 01:17:48,800
Speaker 1: twenty twenty fours The Strangers, and you know, Brian Tellurico again.

1355
01:17:48,880 --> 01:17:52,080
Speaker 1: Sam's pulling from this will counter nicely what he said

1356
01:17:52,080 --> 01:17:55,439
Speaker 1: about Train Dreams atrocious barely a movie.

1357
01:17:55,760 --> 01:18:01,040
Speaker 2: Wow. Brian's just experienced the gamut of cinema in this

1358
01:18:01,160 --> 01:18:03,639
Speaker 2: last few months, I think, and of.

1359
01:18:03,520 --> 01:18:06,439
Speaker 1: Course out wide. The big release, the one we will

1360
01:18:06,439 --> 01:18:11,320
Speaker 1: be discussing on next week's show, can't not wait. And yes,

1361
01:18:11,400 --> 01:18:16,440
Speaker 1: this will just add another wrinkle into an eventual revisit

1362
01:18:16,479 --> 01:18:19,760
Speaker 1: of the film Spotting poll another decade from PTA that

1363
01:18:19,800 --> 01:18:23,479
Speaker 1: we'll have to throw into the mix, exactly the twenty twenties.

1364
01:18:23,920 --> 01:18:26,320
Speaker 1: We will talk about, one battle after another.

1365
01:18:26,520 --> 01:18:29,639
Speaker 2: Film. Spotting is produced by Golden Joe Dessou and Sam

1366
01:18:29,760 --> 01:18:33,400
Speaker 2: Van Halgren. Without Sam and Golden Joe, this show wouldn't go.

1367
01:18:33,880 --> 01:18:37,679
Speaker 2: Our production assistant is Sophie Kempinar special thanks to everyone

1368
01:18:37,760 --> 01:18:42,400
Speaker 2: at wb Eazy Chicago. More information is available at wbez

1369
01:18:43,080 --> 01:18:46,000
Speaker 2: dot org for film spotting, I'm Josh Larson.

1370
01:18:45,840 --> 01:18:47,839
Speaker 1: And I'm Adam Kempinar. Thanks for listening.

1371
01:18:48,040 --> 01:18:51,000
Speaker 4: This conversation can serve no purpose anymore.

1372
01:18:51,880 --> 01:19:11,160
Speaker 1: The burn film Spotting is listeners supported. Join the film

1373
01:19:11,160 --> 01:19:14,360
Speaker 1: Spotting family at film spottingfamily dot com and get access

1374
01:19:14,360 --> 01:19:18,160
Speaker 1: to ad free episodes, monthly bonus shows, our weekly newsletter, and,

1375
01:19:18,200 --> 01:19:20,519
Speaker 1: for the first time, all in one place, the entire

1376
01:19:20,760 --> 01:19:23,200
Speaker 1: film spotting archive going back to two thousand and five.

1377
01:19:23,520 --> 01:19:28,920
Speaker 1: That's a film Spotting Family dot com Panicbly