WEBVTT - A Big Bold Beautiful Journey Review, PTA Decades 0:00:04.160 --> 0:00:06.600 What kind of a show you guys putting on here today? 0:00:06.720 --> 0:00:07.840 You're not interested in art? 0:00:08.000 --> 0:00:08.080 Now? 0:00:08.360 --> 0:00:09.959 No, Look, we're going to do this thing. We're going 0:00:10.000 --> 0:00:11.320 to have a conversation. 0:00:13.360 --> 0:00:16.520 From Chicago. This is film Spotting. I'm Adam Kempinar and 0:00:16.600 --> 0:00:17.520 I'm Josh Larson. 0:00:17.800 --> 0:00:22.640 Remain on Interstate for two hundred and forty nine miles David. 0:00:23.400 --> 0:00:27.080 David week, no week talking to each other out. 0:00:27.280 --> 0:00:30.160 Do you want to go on a big, bold, beautiful journey. 0:00:33.560 --> 0:00:39.080 Yes, Colin Farrell and Margot Robbie go on a big, bold, 0:00:39.200 --> 0:00:42.040 beautiful journey in the film of the same name from 0:00:42.040 --> 0:00:46.199 Columbus and After Yang director Cooganada. We've got a review. 0:00:46.080 --> 0:00:49.720 And our favorite Paul Thomas Anderson Decade. That and more 0:00:50.200 --> 0:00:51.800 ahead on film Spotting. 0:00:51.600 --> 0:00:55.680 I have a competition in bed. I want no one 0:00:55.720 --> 0:00:56.640 else to succeed. 0:01:00.560 --> 0:01:03.720 Welcome to Film Spotting. Paul Thomas Anderson's latest, One Battle 0:01:03.720 --> 0:01:06.160 after Another, is out, Josh. We will have a review 0:01:06.520 --> 0:01:09.720 next week. In the meantime, we have a new deeply 0:01:09.760 --> 0:01:12.600 flawed film Spotting poll. We're asking you to name your 0:01:12.640 --> 0:01:17.520 favorite Paul Thomas Anderson decade and I hate to say 0:01:17.520 --> 0:01:20.280 this out loud. Producer Sam Is surely going to hear this. 0:01:20.360 --> 0:01:23.080 But you know how you know it's actually not a 0:01:23.160 --> 0:01:26.680 deeply flawed Film Spotting poll. I don't want to answer it. 0:01:26.720 --> 0:01:28.080 That means it's a good poll. 0:01:28.880 --> 0:01:30.960 I had the same thought. As a matter of fact, Adam, 0:01:31.000 --> 0:01:34.040 this is a poll that forced me to do some homework. 0:01:34.120 --> 0:01:36.160 We do homework all the time for our top five 0:01:36.240 --> 0:01:39.080 lists and other things for the show. Rarely does that 0:01:39.200 --> 0:01:42.119 happen for me with polls. But yeah, this was such 0:01:42.160 --> 0:01:45.720 a good question. I had to do a slight revisit 0:01:46.040 --> 0:01:48.280 of a Paul Thomas Anderson film. I'll share that when 0:01:48.320 --> 0:01:49.000 we get to the poll. 0:01:49.320 --> 0:01:53.120 Okay, our picks maybe in that PTA poll sounds like 0:01:53.200 --> 0:01:55.680 Josh may have a pick and results from our sixties 0:01:55.800 --> 0:02:00.720 musicals poll later listeners have chosen, plus their feedback. Quick reminder, 0:02:01.040 --> 0:02:04.720 Film Spotting is now available as a video podcast. If 0:02:04.720 --> 0:02:08.160 you're a Spotify listener, you can toggle between video and audio. 0:02:08.400 --> 0:02:11.080 You can also watch the show on YouTube. For a 0:02:11.120 --> 0:02:13.919 link to video episodes, go to film Spotting dot net 0:02:14.200 --> 0:02:18.840 slash episodes. But first, a big, bold, beautiful journey. 0:02:19.080 --> 0:02:20.000 Is that your high school? 0:02:20.480 --> 0:02:21.680 Yeah? He'd you know? Well? 0:02:22.160 --> 0:02:25.639 Two reasons one those could only be high school doors 0:02:26.480 --> 0:02:33.239 and the second reason, I'll tell you later what. No, 0:02:33.320 --> 0:02:38.640 I'm not sure what. Well, I went here for four years. 0:02:39.560 --> 0:02:43.240 I don't know who or what. When you know, it's okay, 0:02:43.360 --> 0:02:49.760 high school, it's okay. We'll find out. 0:02:48.000 --> 0:02:52.320 Plenty of places to start with a big, bold, beautiful journey, Adam, 0:02:52.520 --> 0:02:56.160 this is a full movie. It's an ambitious movie. But 0:02:56.280 --> 0:02:58.800 this is Film Spotting, so we have to start with 0:02:58.840 --> 0:03:03.000 the coganata of all. I think we've both been admirers 0:03:03.040 --> 0:03:05.600 of his work pretty much from the beginning. I think 0:03:05.960 --> 0:03:09.440 we both followed the video essays he started out with, 0:03:09.760 --> 0:03:14.119 examining the likes of Breaking Bad, also I believe Harakazu 0:03:14.200 --> 0:03:19.440 Correa's films, and then Columbus his debut as a writer director, 0:03:19.560 --> 0:03:22.720 his feature debut. It won the Film Spotting Golden Brick 0:03:22.760 --> 0:03:26.640 Award in twenty seventeen. This is our annual award for 0:03:26.680 --> 0:03:31.320 emerging and exciting filmmakers. After Yang his follow up that 0:03:31.360 --> 0:03:33.720 came out in twenty twenty two, we both had it 0:03:34.080 --> 0:03:36.720 on our top ten lists for that year, and then, 0:03:36.760 --> 0:03:39.680 of course Film Spotting Fest. Just this past March, where 0:03:39.680 --> 0:03:42.960 we celebrated twenty years of the show, we screened Columbus 0:03:43.120 --> 0:03:46.360 and we're lucky enough to have a post screening conversation 0:03:46.480 --> 0:03:49.040 with Cooganata. But we just shared that in the film 0:03:49.080 --> 0:03:52.720 Spotting Feed a couple of episodes ago. So a big, bold, 0:03:52.800 --> 0:03:57.160 beautiful journey in which Colin Ferrell and Margot Robbie play 0:03:57.200 --> 0:04:00.800 a pair of skeptical singles who are nuts into an 0:04:00.840 --> 0:04:07.240 existential first date. It comes with big, bold expectations. In fact, 0:04:07.840 --> 0:04:11.320 after only Columbus and after Yang, I at least had 0:04:11.360 --> 0:04:15.600 already put Cooganata among those filmmakers who come with a 0:04:15.640 --> 0:04:20.679 separate category of expectations. Think about this, maybe in terms 0:04:20.720 --> 0:04:24.840 of star ratings might help me explain what I'm talking about. 0:04:25.279 --> 0:04:29.240 Three stars for let's say a new Paul Thomas Anderson movie, 0:04:29.560 --> 0:04:32.240 or maybe a new Kelly Reikert movie, or a new 0:04:32.320 --> 0:04:35.520 Jordan Peele movie. That doesn't mean the same thing as 0:04:35.560 --> 0:04:40.320 three stars for the new let's say Gareth Edwards movie. 0:04:40.360 --> 0:04:43.240 And I say that because I'm someone who gave Edwards 0:04:43.320 --> 0:04:47.000 Jurassic World Rebirth three out of four stars. Someone like 0:04:47.120 --> 0:04:50.760 Edwards just has to deliver a decent movie to hit 0:04:50.800 --> 0:04:53.479 that range. I feel like the others I mentioned, though, 0:04:53.760 --> 0:04:56.560 they have to deliver a movie at least as good 0:04:57.360 --> 0:05:00.000 as what they've already done, which has been pretty great. 0:05:00.720 --> 0:05:03.640 So there's a range here, and I think this is 0:05:03.680 --> 0:05:06.640 what Coganata has done to himself with Columbus and with 0:05:07.320 --> 0:05:09.640 After Yang. I can't help it. But when I go 0:05:09.720 --> 0:05:12.320 to see a new film from him now, I'm thinking 0:05:12.360 --> 0:05:15.680 of it in terms of a Coganata scale. So how 0:05:15.680 --> 0:05:18.799 does it compare to his other excellent films just in general? 0:05:19.400 --> 0:05:23.719 How does it extend upon his favorite themes, two of 0:05:23.760 --> 0:05:27.240 which I'd suggest are maybe the family and also modernity? 0:05:28.000 --> 0:05:34.200 How does it exemplify or refine certain esthetic techniques here? 0:05:34.240 --> 0:05:38.960 I'm thinking about his use of space in particular. So, Adam, 0:05:39.000 --> 0:05:41.800 how did all of this play into your viewing of 0:05:41.800 --> 0:05:44.200 a big, bold, beautiful journey, which I should note was 0:05:44.200 --> 0:05:49.200 written by Seth Reese, whereas Coganata wrote his previous screenplays 0:05:49.640 --> 0:05:52.640 adapting a short story. In the case of After Yang, 0:05:53.080 --> 0:05:55.400 I'm not going to ask you how many stars you're 0:05:55.440 --> 0:06:00.080 giving the movie? Instead, how many Coganatas do you give it? 0:06:02.000 --> 0:06:05.120 I'm going to refrain for now from answering that question. 0:06:05.160 --> 0:06:06.760 How much time are you going to give me? I 0:06:06.800 --> 0:06:09.040 was hoping we'd start here, Josh, and if you didn't 0:06:09.080 --> 0:06:11.320 start here, I probably would have found a way to 0:06:11.360 --> 0:06:14.159 make it seem like it was your question. And I 0:06:14.240 --> 0:06:17.000 don't want to suggest that anyone has to be a 0:06:17.040 --> 0:06:22.479 deep cogonata scholar or appreciator like us, someone who has 0:06:22.560 --> 0:06:25.000 the context that we have, like you laid out, to 0:06:25.800 --> 0:06:30.599 like this movie or to address this topic. And I 0:06:30.640 --> 0:06:34.600 wouldn't say that because we have the relationship that we 0:06:34.680 --> 0:06:38.440 have to his work. And I'll throw in that I 0:06:38.440 --> 0:06:41.600 also teach Columbus in one of my classes, and in fact, 0:06:41.720 --> 0:06:44.960 this week my students are turning in their first written 0:06:45.400 --> 0:06:48.560 review and it's of Columbus. So we just watched it 0:06:48.600 --> 0:06:50.720 and talked about it in class. I wouldn't suggest that 0:06:50.760 --> 0:06:54.520 I'm extra qualified to weigh in, but I might be 0:06:55.120 --> 0:06:58.679 well positioned to weigh in. We'll see if my remarks 0:06:58.680 --> 0:07:03.159 hold up, and I'm extra excited to weigh in. And 0:07:03.200 --> 0:07:06.039 maybe the true test of a director's vision of their 0:07:06.800 --> 0:07:12.360 tourist impulses, if you buy into such things, isn't whether 0:07:12.720 --> 0:07:16.480 their imprint keeps appearing in the movies they write indirect 0:07:16.920 --> 0:07:20.000 movies like Columbus and after Yang, as you mentioned, it's 0:07:20.000 --> 0:07:23.400 whether it's apparent even in the movies they don't write 0:07:23.880 --> 0:07:29.280 like this one, And how does it appear in those movies? 0:07:30.320 --> 0:07:33.960 Is it in the visual style, is it in specific 0:07:34.040 --> 0:07:37.680 formal choices, is it in the material? Is it in 0:07:38.480 --> 0:07:44.280 thematic resonance. It wouldn't surprise me to hear someone say 0:07:44.320 --> 0:07:48.480 they felt like this was a departure or that they 0:07:48.520 --> 0:07:52.000 didn't see Koganata in this movie. And yet for me 0:07:52.280 --> 0:07:56.720 it was undeniably a Cooganata film, and a good one. 0:07:56.760 --> 0:07:59.520 And I suppose, if I'm going to answer your question, 0:08:00.240 --> 0:08:04.560 if I'm starting my letterboxed Coganauta ranking right now, I 0:08:04.600 --> 0:08:09.040 am putting it after Columbus and after Yang. But that 0:08:09.080 --> 0:08:11.920 doesn't mean much, because I do like a big, bold, 0:08:12.040 --> 0:08:14.640 beautiful journey quite a bit. And beyond the care that 0:08:14.680 --> 0:08:16.760 clearly went into the look of the film and so 0:08:16.840 --> 0:08:19.360 many of the compositions, and hopefully we'll talk about that more, 0:08:19.720 --> 0:08:23.360 I'll give you one choice, one formal choice that surely 0:08:23.440 --> 0:08:26.160 wasn't on the page this way, and hopefully no one 0:08:26.160 --> 0:08:27.960 will write in and say, well, yeah, it shouldn't be 0:08:28.000 --> 0:08:29.840 on the page this way. That's not how screenplays are 0:08:29.880 --> 0:08:33.600 supposed to be written. I know there's a moment early 0:08:33.640 --> 0:08:36.640 in the film not a spoiler. There's a moment where 0:08:37.920 --> 0:08:43.520 Colin Ferrell is driving in his car and the GPS 0:08:43.840 --> 0:08:47.760 is urging him to take this big, bold, beautiful journey, 0:08:48.040 --> 0:08:54.200 and like his hype person, his coach is getting him 0:08:54.200 --> 0:08:57.040 to say, is trying to get him to say with 0:08:57.120 --> 0:08:59.880 some conviction, I want to go on a big, bold, 0:09:00.000 --> 0:09:03.760 beautiful journey. And it's just like you know, a comic 0:09:03.840 --> 0:09:06.320 saying make some noise or whatever, and that's not loud enough. 0:09:06.320 --> 0:09:11.839 The first two times, it's not quite with enough excitedness, 0:09:12.160 --> 0:09:18.480 and then that last time, rather than us hearing how 0:09:18.480 --> 0:09:22.760 Colin Farrell says it, the choice is to cut to 0:09:22.840 --> 0:09:26.920 the outside of the car and we only see Colin 0:09:27.000 --> 0:09:30.720 Ferrell yelling it seems at the top of his lungs. 0:09:30.880 --> 0:09:32.800 And it takes me right back to the moment in 0:09:32.840 --> 0:09:37.680 Columbus where Jin and Casey are having one of their 0:09:37.720 --> 0:09:40.360 first encounters. I think it's maybe the first meeting where 0:09:40.360 --> 0:09:44.000 they're really walking around the town and they're talking about 0:09:44.000 --> 0:09:48.800 the architecture and Jin asks John cho asks Haley lou 0:09:48.880 --> 0:09:52.360 Richardson's Casey about the architecture and what she loves about 0:09:52.400 --> 0:09:56.080 this building, and she just starts spouting the usual fodder 0:09:56.080 --> 0:09:58.679 that she gives when she's doing a tour. It's one 0:09:58.679 --> 0:10:01.400 of the first modern I thanks in the United States. 0:10:02.000 --> 0:10:04.400 Do you like this building intellectually because of all the facts? 0:10:06.679 --> 0:10:13.360 No, I'm also moved by it. Yes, yes, tell me 0:10:13.400 --> 0:10:17.800 about that what moves you? And in that moment, Cogonauta 0:10:17.880 --> 0:10:20.720 cuts to the inside of the building and we only 0:10:20.760 --> 0:10:23.760 see through the through the mirror or through the window, 0:10:23.800 --> 0:10:26.560 through the glass, we see her talking about it, and 0:10:26.559 --> 0:10:28.480 we don't hear it, but we don't need to hear it. 0:10:28.920 --> 0:10:31.840 We can see her conviction, we can see her passion. 0:10:32.160 --> 0:10:36.200 We know that she's finally talking from her heart about 0:10:36.240 --> 0:10:39.720 what the architecture means to her. And and here it's 0:10:39.760 --> 0:10:42.839 just sort of reverse because now we're getting outside of 0:10:43.400 --> 0:10:47.280 the glass and looking in at at Colin Ferrell's David. 0:10:47.679 --> 0:10:50.080 But it's the same thing. All we need to know 0:10:50.200 --> 0:10:53.400 is the passion, right, And so Coganata is doing something 0:10:53.520 --> 0:10:56.839 very similar there. That's a formal choice that that stood 0:10:56.840 --> 0:10:59.200 out to me there, that that I thought was really effective. 0:10:59.320 --> 0:11:01.800 But beyond that, you mentioned family, and I'm just going 0:11:01.880 --> 0:11:03.400 to give you a few here because there's more that 0:11:03.480 --> 0:11:07.240 I think we can get into. You mentioned family, go 0:11:07.360 --> 0:11:11.679 back to Columbus, you have fundamentally a story about Haley 0:11:11.880 --> 0:11:16.480 Leu Richardson's casey coming to terms with her relationship with 0:11:16.800 --> 0:11:21.920 her mother and what the expectations of that relationship are, 0:11:22.080 --> 0:11:25.040 what the expectations are for her as a daughter, whether 0:11:25.160 --> 0:11:31.520 or not she could and should leave town and pursue 0:11:31.720 --> 0:11:34.920 her own dreams, her own professional dreams, whether or not 0:11:34.960 --> 0:11:37.800 she even wants that for herself, And of course the 0:11:37.800 --> 0:11:40.800 flip side there is Jin having to come to this 0:11:40.960 --> 0:11:44.880 place and be near his father, who he doesn't really 0:11:44.920 --> 0:11:50.360 want any part of, So it's all about this generational angst. 0:11:50.520 --> 0:11:53.599 The angst more applies to Jin and his father, but 0:11:54.080 --> 0:11:58.120 this generational tension in both cases and each of these 0:11:58.200 --> 0:12:01.640 younger characters having to come to terms with their relationships 0:12:01.679 --> 0:12:06.480 with their parents and ultimately who they are, their identities 0:12:06.520 --> 0:12:10.160 as defined by their parents, and who they are going 0:12:10.200 --> 0:12:13.120 to be in the world and where they're going to 0:12:13.160 --> 0:12:16.440 be in the world after. Yang is doing something similar, 0:12:16.760 --> 0:12:19.320 though it's with a dad figure played by Colin Farrell 0:12:19.640 --> 0:12:24.880 and a pseudo son if you will, right, a synthetic son, 0:12:25.200 --> 0:12:29.040 but it's still a generational gap and the father character 0:12:29.160 --> 0:12:32.720 trying to make sense of who this son really was 0:12:33.440 --> 0:12:37.800 now that he's gone, and that is very much what's 0:12:37.840 --> 0:12:41.840 going on. This generational tension is very much what's going 0:12:41.880 --> 0:12:44.800 on in a big, bold, beautiful journey as well, and 0:12:44.840 --> 0:12:48.520 the last one I'll give you here, Josh. I've only 0:12:48.559 --> 0:12:52.120 looked at this point at Rotten Tomatoes and the score 0:12:52.760 --> 0:12:56.720 for this film, and I'll only pontificate a little bit 0:12:56.760 --> 0:12:59.160 and say that I wonder if to some extent the 0:12:59.840 --> 0:13:03.280 title of this movie is hurting it, because I feel 0:13:03.280 --> 0:13:07.160 like I'm getting a lot of Gene Shallat esque reviewers 0:13:07.200 --> 0:13:11.160 who seem to be calling out the movie's title, the 0:13:11.520 --> 0:13:16.840 and their snarky blurbs, and No, I think by design, 0:13:17.360 --> 0:13:20.360 the journey isn't. The journey that these characters go on 0:13:20.600 --> 0:13:26.319 isn't as big or bold, or maybe even as beautiful 0:13:26.960 --> 0:13:30.360 as perhaps the trailer would suggest or or as the 0:13:30.400 --> 0:13:35.280 title would have you believe. I don't think it's a 0:13:35.280 --> 0:13:38.280 spoiler to say that that these characters, the journey that 0:13:38.320 --> 0:13:42.360 they go on, they're often reliving moments from their past 0:13:42.480 --> 0:13:46.120 that are it's not a fantasy, or there are fantasy elements, 0:13:46.120 --> 0:13:50.840 but they're often reliving what are regrettable and painful moments. 0:13:51.320 --> 0:13:57.120 Who's that Cheryl Haywood, she plays Roseman. So are you 0:13:57.200 --> 0:13:57.760 in this show? 0:13:58.280 --> 0:13:59.200 You're in this musical? 0:13:59.520 --> 0:14:06.920 Yeah, play jape Perpon Finch. You're jap Pierpon Finch. Yes, what, 0:14:07.559 --> 0:14:09.800 that's amazing you did the show. 0:14:10.160 --> 0:14:13.040 God, I wish now ex musical groupy. 0:14:15.280 --> 0:14:19.000 After her solo, I am I tell her I love her? 0:14:19.560 --> 0:14:21.360 Oh wow, Okay, she. 0:14:21.360 --> 0:14:23.960 Says, I don't love you. I love Clint Whitford and 0:14:24.200 --> 0:14:28.600 I'm devastated. Who's Clint Whitford's asshole? 0:14:29.080 --> 0:14:29.360 Prick? 0:14:29.480 --> 0:14:30.840 College freshman treats are. 0:14:30.800 --> 0:14:34.840 Like there are moments though, that we we all have 0:14:34.920 --> 0:14:36.880 from our past, and there are moments that we would 0:14:36.880 --> 0:14:41.080 all like a second shot at. And if you go 0:14:41.200 --> 0:14:44.160 back to after Yang and you go back to Columbus, 0:14:44.880 --> 0:14:50.800 Coganata consistently invites his characters to rediscover the familiar with 0:14:50.920 --> 0:14:55.920 fresh eyes. And that's big, bold and beautiful to me, 0:14:56.480 --> 0:15:00.200 and and that that very much worked for me with 0:15:00.240 --> 0:15:02.280 this film. And I'm dying to hear whether or not 0:15:02.360 --> 0:15:05.320 you think I'm crazy, whether or not it worked for you, 0:15:05.880 --> 0:15:09.560 or whether or not you're you're with most critics on 0:15:09.600 --> 0:15:10.920 this movie. 0:15:11.200 --> 0:15:12.920 Yeah, I liked it quite a bit. I think it 0:15:13.400 --> 0:15:16.640 is distinct from his previous two films in ways that 0:15:16.720 --> 0:15:19.640 explain some of that reaction to me. But I think 0:15:19.680 --> 0:15:23.040 you're right in the connections you are making. The description 0:15:23.160 --> 0:15:27.400 of the family dynamics in Columbus make me realize. You know, 0:15:27.440 --> 0:15:29.480 It's why I mentioned it at the top, that you know, 0:15:29.520 --> 0:15:32.000 family is a favored theme of his. But really this 0:15:32.120 --> 0:15:34.160 movie a big, bold, beautiful journey. You could almost say 0:15:34.160 --> 0:15:38.960 it's fifty percent about the relationship between David and Sarah, 0:15:39.080 --> 0:15:42.640 Colin Farrell and Margot Robbie's characters. It's fifty percent about 0:15:42.680 --> 0:15:46.560 their romance, and it's fifty percent about their relationships with 0:15:46.600 --> 0:15:49.520 their parents. This is almost like doubling down on those 0:15:49.600 --> 0:15:54.880 dynamics in Columbus and via flashbacks, these magical realist flashbacks 0:15:55.400 --> 0:15:59.520 exploring the past that they shared with their parents. It's 0:15:59.520 --> 0:16:03.960 inserts to me that also with Columbus, this shares a 0:16:04.040 --> 0:16:07.360 memory or the experience of a parent dying in your 0:16:07.400 --> 0:16:13.480 absence and dealing with the repercussions of that psychologically. Yes, 0:16:13.760 --> 0:16:16.160 so I connected with that. Man. I thought I had 0:16:16.200 --> 0:16:19.120 you on the screaming through the windshield thing, but of 0:16:19.160 --> 0:16:21.800 course you just showed. You just showed Columbus in class. 0:16:21.800 --> 0:16:23.600 Of course you're going to make that connection, though in 0:16:23.680 --> 0:16:25.560 fairness to me, I didn't rewatch it. 0:16:26.560 --> 0:16:28.840 Oh okay, the students said, I just know, all right, Well, 0:16:28.960 --> 0:16:31.320 kudos then, because I put that in my notes, like 0:16:31.760 --> 0:16:34.680 looking for similar things that you know that our touches, 0:16:34.960 --> 0:16:37.320 as you said, those formal touches, and I'm like, oh, 0:16:37.520 --> 0:16:39.720 that's one of my favorite moments in Columbus, and I 0:16:39.760 --> 0:16:44.120 love the echo of it here. And those are the 0:16:44.160 --> 0:16:46.800 sort of things where you pick up on if you 0:16:47.000 --> 0:16:50.680 know a filmmaker's previous films intimately. But you made a 0:16:50.720 --> 0:16:53.240 point Adam early that I want to stress for listeners 0:16:53.240 --> 0:16:57.040 who don't have the relationship with his movies that we do. 0:16:57.640 --> 0:17:01.040 You said, just as an aside, almost that you don't 0:17:01.080 --> 0:17:05.400 necessarily need to have that to appreciate a big, bold, 0:17:05.400 --> 0:17:10.560 beautiful journey. And I concur with that wholeheartedly. We're probably 0:17:10.600 --> 0:17:12.159 going to spend some more time on the things that 0:17:12.200 --> 0:17:15.560 we appreciated because of our familiarity with his work. But 0:17:15.680 --> 0:17:18.879 I think this stands on its own as something distinct 0:17:18.880 --> 0:17:21.879 from those films in a positive way. This is a 0:17:21.920 --> 0:17:24.919 movie that I understand why it's getting the reaction to 0:17:25.160 --> 0:17:28.399 because the negative reaction you mentioned because it is a 0:17:28.400 --> 0:17:33.879 bit precious, it's a bit it's got that word. I'm 0:17:33.880 --> 0:17:36.160 going to use it. It's positive for me, but pejorative 0:17:36.160 --> 0:17:38.680 for many people. It's got a lot of whimsy to it. 0:17:39.240 --> 0:17:43.720 And these sort of movies have put me off generally, 0:17:43.800 --> 0:17:48.080 I think I'm open to them, and in this case 0:17:48.240 --> 0:17:50.280 I was. I think this is a movie that's not 0:17:50.320 --> 0:17:52.440 going to work for everyone. Clearly it already hasn't with 0:17:52.600 --> 0:17:56.160 many critics. But hearts of a certain shape I think 0:17:56.200 --> 0:17:59.320 could really treasure this. I think it could find its 0:17:59.440 --> 0:18:03.800 way to someone's heart who is maybe coming with no 0:18:03.920 --> 0:18:10.560 expectations or different expectations, and this might be something they 0:18:10.600 --> 0:18:17.440 hang on to for many, many years. And people Josh, perhaps, Yeah. 0:18:17.480 --> 0:18:19.760 I mean when I think of the movies that it 0:18:19.880 --> 0:18:23.119 made me think of, aside from coganatas though for me 0:18:23.160 --> 0:18:25.240 at least, there are movies that I tend to like 0:18:25.600 --> 0:18:29.240 more than most people which have some element of whimsy 0:18:29.280 --> 0:18:32.160 to them. So I'm thinking like Danny Boyle's A Life 0:18:32.200 --> 0:18:36.200 Less Ordinary, Paul Thomas Anderson's Punch Drunk Love, Damian Choselle's 0:18:36.240 --> 0:18:38.760 La La Land. I don't think a big, bold, beautiful 0:18:38.800 --> 0:18:41.200 Journey for me is quite on the level as most 0:18:41.320 --> 0:18:44.399 of those, but I think it's it's striving for the 0:18:44.440 --> 0:18:48.200 same feeling and for the most part, I think it's 0:18:48.240 --> 0:18:51.400 reaching it. The major touchdown for me, and here's where 0:18:51.440 --> 0:18:54.159 I am quite often alone is with the work of 0:18:54.200 --> 0:18:58.480 Michelle Gandry, and I don't think Eternal Sunshine of the 0:18:58.480 --> 0:19:01.640 Spotless Mind is necessarily the key touchstone here. There's elements 0:19:01.640 --> 0:19:04.040 of that. I think it's more something like Mood Indigo, 0:19:04.520 --> 0:19:09.240 which was more of a whimsy romance than the that 0:19:09.400 --> 0:19:12.000 you know, Eternal Sunshine had a bitterness to it. Mood 0:19:12.040 --> 0:19:16.399 Indigo has a sadness to it, but maybe more of 0:19:16.440 --> 0:19:19.840 a whimsy And I really love that film a lot. Big, bold, 0:19:19.840 --> 0:19:23.560 Beautiful Journey reminded me of that quite a bit. So 0:19:23.680 --> 0:19:25.919 as we do spend more time on how it is 0:19:25.920 --> 0:19:28.920 a Cocaonata film, I just also want to make room 0:19:29.040 --> 0:19:30.960 for those who are like I don't really care who 0:19:31.000 --> 0:19:33.800 made this movie. I like the stars and the trailer 0:19:33.840 --> 0:19:36.320 looked good. You know what, Go see it then, because 0:19:36.359 --> 0:19:40.880 it will offer I think a lot for you as well. 0:19:40.920 --> 0:19:42.960 But yeah, just going back briefly to add to some 0:19:43.000 --> 0:19:47.400 of the things you said, I think the family thing 0:19:48.080 --> 0:19:51.880 is key. I also did appreciate in terms of composition, 0:19:52.200 --> 0:19:56.480 just some choices where it didn't have to look that way, 0:19:56.920 --> 0:19:59.639 but a filmmaker who's putting a lot of thought into 0:19:59.680 --> 0:20:03.680 it did make it look that way. This begins at 0:20:03.680 --> 0:20:06.040 a wedding fairly early on. This is where Sarah and 0:20:06.119 --> 0:20:11.959 David meet, and just some of the blocking and positioning 0:20:12.000 --> 0:20:17.000 them within again, within space, I found just delightful. I 0:20:17.040 --> 0:20:20.320 think of one shot where there's this portico and it's 0:20:20.400 --> 0:20:24.600 raining throughout this wedding sequence, which adds a nice textual element. 0:20:25.000 --> 0:20:26.919 But there's a shot of a portico and each of 0:20:26.960 --> 0:20:30.840 them are at one far side, and they just slowly 0:20:30.960 --> 0:20:36.119 start to walk towards each other, and there's nothing extremely 0:20:36.160 --> 0:20:38.720 complicated about it. Maybe the camera is pushing in a 0:20:38.720 --> 0:20:40.639 bit if I remember at the same time, but it 0:20:40.640 --> 0:20:45.160 does exhibit an extreme care that I think you find 0:20:45.200 --> 0:20:48.840 throughout this movie, which I think is also a signifier 0:20:48.880 --> 0:20:51.080 of Coconatus work and the other thing, you know, I 0:20:51.080 --> 0:20:53.399 don't think he gets a lot of credit for. But 0:20:53.960 --> 0:20:57.399 Columbus and after Yang far weightier than this. I felt 0:20:58.040 --> 0:21:00.920 humor is more at the forefront here. But don't forget 0:21:01.040 --> 0:21:03.600 those two movies had sly streaks of humor to them, 0:21:04.200 --> 0:21:09.480 and I just thought this was quite funny. Phoebe waller 0:21:09.520 --> 0:21:12.720 Bridge has a small part as the rental car agent 0:21:12.760 --> 0:21:15.280 who's kind of instrumental in getting them into these cars 0:21:15.320 --> 0:21:18.320 where they have these GPS devices that end up telling 0:21:18.359 --> 0:21:20.800 them where to go. I loved her exchanges with Kevin 0:21:20.840 --> 0:21:24.800 Klein and with David found that very funny. So I 0:21:24.840 --> 0:21:27.560 think this is quite humorous. Some of the credits should 0:21:27.560 --> 0:21:30.680 probably go to Reese's script for that. There's a there's 0:21:30.720 --> 0:21:34.000 a comedic rhythm to this, and creudent should also go 0:21:34.040 --> 0:21:35.640 to Ferrell and Robbie, who I think are quite good 0:21:35.640 --> 0:21:38.480 and quite funny together. As much as they're romantic together. 0:21:38.520 --> 0:21:41.840 I think they're funny together. And I think that is, 0:21:42.000 --> 0:21:44.880 you know, a signature of coconata as well as that 0:21:44.880 --> 0:21:46.159 that sly sense of humor. 0:21:46.600 --> 0:21:48.560 Yeah, there's a lot to respond to there and a 0:21:48.560 --> 0:21:51.240 lot I agree with. First, I have to I have 0:21:51.320 --> 0:21:54.120 to call out. You used a phrase when you said 0:21:54.240 --> 0:21:57.640 hearts of a certain shape and you said something might 0:21:57.720 --> 0:22:01.120 really appreciate this movie. Is is that a phrase you've 0:22:01.200 --> 0:22:03.959 used before? Did you just or heard before or did 0:22:04.040 --> 0:22:06.080 you just come up with that because I have to 0:22:06.119 --> 0:22:09.320 say I find that a very, very kind of moving 0:22:09.400 --> 0:22:10.600 and provocative phrase. 0:22:11.760 --> 0:22:14.000 Now you're terrifying me. I really hope that's not from 0:22:14.040 --> 0:22:19.200 somewhere else. I didn't intentionally grab that on my mind. 0:22:19.240 --> 0:22:21.879 I was just well, well, in my mind, I was 0:22:21.920 --> 0:22:24.600 just trying to think of, like trying to capture this 0:22:24.760 --> 0:22:27.320 sense that people are really not going to like this movie. 0:22:27.320 --> 0:22:29.280 People are gonna be indifferent to it. It's gonna be 0:22:29.280 --> 0:22:31.520 a wide range of reactions. To explain it to me, Josh, 0:22:31.560 --> 0:22:34.040 I got yeah, I just okay, okay. I just want 0:22:34.080 --> 0:22:36.679 to emphasize that to listeners too, though, is like, you know, 0:22:37.040 --> 0:22:38.600 give this a shot because it might be for you. 0:22:39.280 --> 0:22:43.640 Yes, and it the phrase particularly works for me as 0:22:43.680 --> 0:22:47.879 the movie does, because when this movie really is going 0:22:47.960 --> 0:22:53.040 for its boldest emotional moments, they in particular really worked 0:22:53.440 --> 0:22:55.720 on me. I agree there is a fair amount of 0:22:55.840 --> 0:22:59.040 whimsy to this film, and I think where I'm not 0:22:59.080 --> 0:23:01.600 going to and a lot of time speculating on the 0:23:01.680 --> 0:23:03.960 experience of other people are having with this movie, but 0:23:04.320 --> 0:23:07.080 I imagine where there may be a disconnect, because there 0:23:07.320 --> 0:23:09.919 was at times a disconnect for me as well. Is 0:23:11.240 --> 0:23:13.840 watching those other films and even feeling it at times here. 0:23:14.119 --> 0:23:18.399 I don't think of Cogonata as much of a whimsical filmmaker, 0:23:18.480 --> 0:23:21.720 and so there are times where there's whimsy and at 0:23:21.720 --> 0:23:25.359 times where then it feels as if the whimsy, the 0:23:25.400 --> 0:23:28.840 whimsical nature is a little bit forced. And I'll give 0:23:28.840 --> 0:23:31.280 you an example. I like many of those moments with 0:23:31.359 --> 0:23:34.240 Phoebe Wallerbridge. And then there are also times where I 0:23:34.240 --> 0:23:37.800 feel like it was so wonderful to see Kevin Klein 0:23:37.880 --> 0:23:42.080 again on screen, and then I think, well, did we 0:23:42.200 --> 0:23:45.000 really get out of Kevin kline all that we could 0:23:45.000 --> 0:23:47.080 have gotten out of Kevin Klein? Or could that have 0:23:47.160 --> 0:23:50.560 been any other actor honestly saying those lines? 0:23:50.560 --> 0:23:50.920 That's fair. 0:23:51.119 --> 0:23:56.080 And here's a moment in the film that I won't 0:23:56.160 --> 0:23:59.000 spoil the context because I think it's the best joke 0:23:59.080 --> 0:24:02.280 in the film and late in the movie, but it's 0:24:02.320 --> 0:24:05.560 just two words that Colin Colin Ferrell says, and I 0:24:05.680 --> 0:24:08.000 was the only person in the theater who laughed out loud. 0:24:08.359 --> 0:24:10.920 There's there's a moment where there's a pause and everyone's 0:24:10.960 --> 0:24:12.920 looking to him to react to something and he goes, 0:24:13.680 --> 0:24:19.000 I pass And it's brilliant because he could say a 0:24:19.000 --> 0:24:21.040 lot of things, but I pass is not what he 0:24:21.080 --> 0:24:24.560 should be saying there, and it's brilliantly funny. But then 0:24:24.600 --> 0:24:27.240 you have moments like here, here's here's a moment of 0:24:27.240 --> 0:24:31.639 whimsy where something has happened, and then you see a 0:24:31.720 --> 0:24:34.040 sign something there's an accident of some kind. And then 0:24:34.080 --> 0:24:37.280 you see a sign that says outside a hotel and 0:24:37.320 --> 0:24:42.240 it says timely in and it explains like this exact scenario, 0:24:42.400 --> 0:24:44.800 and it's a crazy scenario that really never happens in 0:24:44.840 --> 0:24:47.160 real life, and there never be a hotel out there 0:24:47.320 --> 0:24:50.680 in that scenario. And you go, oh, this movie does 0:24:50.720 --> 0:24:53.520 have that sense of humor, but I haven't really felt 0:24:53.560 --> 0:24:56.240 it or heard it in a long time, so it 0:24:56.640 --> 0:24:59.680 feels like it only it only happens in fits and spurts. 0:25:00.040 --> 0:25:02.159 And so yeah, that's where the whimsy. That's where I 0:25:02.200 --> 0:25:04.159 sometimes felt like, I'll go back to your phrase a 0:25:04.200 --> 0:25:08.320 little bit, where sometimes the movie's heart isn't really in 0:25:08.400 --> 0:25:10.800 the whimsy. The movie's heart is in a lot of 0:25:11.040 --> 0:25:12.800 in a lot of other places, And I like it. 0:25:12.840 --> 0:25:15.720 Even though I like the humor in moments, I like 0:25:15.800 --> 0:25:19.439 where the movie's heart is most of most of the 0:25:19.480 --> 0:25:20.760 other times John. 0:25:20.720 --> 0:25:23.399 Yeah, and I think perhaps this is a case. I mean, 0:25:23.400 --> 0:25:25.800 who knows what the collaborative process was here, but when 0:25:25.800 --> 0:25:29.320 you have one screenwriter and one director, you know, that's 0:25:29.440 --> 0:25:31.800 very different from someone even in the case of After 0:25:31.880 --> 0:25:35.480 Yang adapting a short story perhaps but still doing the 0:25:35.560 --> 0:25:39.719 adapting and then collaborating with a different voice. And I 0:25:39.760 --> 0:25:41.960 agree with you if there's you know, there are times 0:25:41.960 --> 0:25:45.680 where you can feel the disconnect where there are two 0:25:45.720 --> 0:25:49.439 sensibilities perhaps at work here. I think for the majority 0:25:49.440 --> 0:25:52.760 of the movie there in sync well enough, and then 0:25:52.760 --> 0:25:55.040 there are those moments like some you've pointed out, where 0:25:55.040 --> 0:25:57.639 they're not. I think I'm also thinking of whimsy in 0:25:57.720 --> 0:26:03.840 terms of things like art, direction, production design. This GPS 0:26:03.880 --> 0:26:06.520 device that they have in their cars, which is like 0:26:06.560 --> 0:26:10.159 a retro it's almost like stuck on the dashboard. I 0:26:10.240 --> 0:26:13.480 include that in this whimsical category just because of how 0:26:13.480 --> 0:26:16.840 it's it's designed. It's it has a dial that shaped 0:26:16.920 --> 0:26:19.800 like a film reel, and then it has this red 0:26:19.880 --> 0:26:22.600 light which reminded me of you know, Hal's Eye in 0:26:22.640 --> 0:26:25.880 two thousand and one A Space Odyssey, and from it 0:26:26.000 --> 0:26:30.159 you hear the voice and Jody Turner Smith. Yeah, it 0:26:30.160 --> 0:26:33.240 does a wonderful job of you know this, this sort 0:26:33.280 --> 0:26:38.159 of friendly, encouraging but at times forceful GPS voice telling 0:26:38.200 --> 0:26:40.560 them where they have to go. 0:26:44.280 --> 0:26:46.480 We talk to each other the. 0:26:46.440 --> 0:26:49.000 Screen of the GPS voice too. I loved the and 0:26:49.040 --> 0:26:50.879 this is the meticulousness that you know you're going to 0:26:50.920 --> 0:26:55.040 get from Coganata. The design of the graphics that are 0:26:55.040 --> 0:26:58.040 on that screen are the same graphics that you get 0:26:58.040 --> 0:27:03.719 for the opening credits, which are sort of retro modern 0:27:03.800 --> 0:27:07.960 futuristic in this this space that maybe After Yang played 0:27:08.000 --> 0:27:11.320 in a little bit about the near future, but harkens 0:27:11.320 --> 0:27:14.040 to the past. And so I love the design of 0:27:14.080 --> 0:27:17.359 that screen on the GPS device as well. I probably 0:27:17.359 --> 0:27:19.600 gone down on too long about one prop, but it 0:27:19.640 --> 0:27:21.080 was one of my favorite things in the movie. 0:27:21.320 --> 0:27:24.280 No, and it actually is a nice segue because I 0:27:24.320 --> 0:27:28.360 was going to say another cogonautic connection I think is 0:27:28.560 --> 0:27:31.560 that even though maybe I liked the world building overall 0:27:31.680 --> 0:27:36.639 better in After Yang, it's similar in that that movie 0:27:37.440 --> 0:27:41.760 didn't paint this extravagant sci fi vision of the future, 0:27:41.760 --> 0:27:44.479 but gave us just enough to feel like we were 0:27:44.800 --> 0:27:47.760 we were grounding in a near future and we understood 0:27:47.840 --> 0:27:50.240 the rules of the world just enough and that was 0:27:50.240 --> 0:27:52.680 something I talked about with Koganata when he was on 0:27:53.080 --> 0:27:55.520 the show. And I feel like this movie does just 0:27:55.640 --> 0:27:58.960 enough as well for us to not constantly be questioning, Okay, 0:27:59.000 --> 0:28:03.160 what universe are we in? We're not distracted by whether 0:28:03.240 --> 0:28:06.560 or not this could quote unquote really be happening. It's 0:28:06.720 --> 0:28:11.720 it's fantastical, but it's grounded just enough as well, and 0:28:12.280 --> 0:28:14.280 that's that's a hard trick to pull off, and I 0:28:14.320 --> 0:28:16.920 think Koga Nada does pull it off here. I want 0:28:16.920 --> 0:28:18.400 to go back to what you said about the wedding too, 0:28:18.400 --> 0:28:21.119 because that was another key moment for me. And and 0:28:21.200 --> 0:28:23.720 here I can bring in a little bit of criticism 0:28:23.760 --> 0:28:25.800 of the film. Perhaps I'm with you on on Farrell 0:28:25.880 --> 0:28:28.720 and Robbie. I did read one review of it, Josh, 0:28:28.720 --> 0:28:30.680 because this is a case we're after seeing, and I thought, 0:28:31.200 --> 0:28:33.560 I like this movie so much, and I see the 0:28:33.640 --> 0:28:36.399 Rotten Tomatoes score, and I have to read a review 0:28:36.440 --> 0:28:38.720 at least to see what what is it? What what 0:28:38.800 --> 0:28:40.640 am I missing? And so I went to one of 0:28:40.640 --> 0:28:43.680 our one of our friends, one of our colleagues from 0:28:43.720 --> 0:28:47.280 the reveal, Keith Fipps and his and he was very fair. 0:28:47.320 --> 0:28:48.680 I think he gave it two and a half out 0:28:48.680 --> 0:28:51.800 of five, but overall was pretty fair and had positive 0:28:51.840 --> 0:28:56.160 things to say. The biggest issue was with the love story, 0:28:56.280 --> 0:29:01.800 and says it doesn't really work. And Key's evidence, or 0:29:01.880 --> 0:29:06.040 his main qualm with the love story is this, he says, 0:29:06.720 --> 0:29:09.400 and given that much of the movie is concerned with 0:29:09.440 --> 0:29:11.480 telling a love story, that's a pretty big problem. Not 0:29:11.560 --> 0:29:13.920 only do we know that David and Sarah are obviously 0:29:13.960 --> 0:29:16.120 faded to end up together from the start, they behave 0:29:16.200 --> 0:29:19.560 as if they know it too, and are alternately annoyed 0:29:19.600 --> 0:29:23.480 and excited by their inevitable pairing. And all due respect 0:29:23.520 --> 0:29:25.920 to Keith, that's actually an element of the movie I 0:29:25.960 --> 0:29:29.080 really liked. I agree the movie right. I liked that 0:29:29.160 --> 0:29:34.479 the movie had a self awareness about these types of 0:29:34.520 --> 0:29:36.800 love stories. And actually that was a tension for me 0:29:37.240 --> 0:29:41.320 because I do know what he's saying. But because the 0:29:41.400 --> 0:29:45.680 movie knows that we know that surely it's inevitable they're 0:29:45.680 --> 0:29:47.760 going to end up together, that at least opens the 0:29:47.800 --> 0:29:50.720 door that maybe they won't. Right I thought that was 0:29:50.760 --> 0:29:55.680 a very real possibility. And I liked that the movie 0:29:55.760 --> 0:29:59.360 knew that it was that type of love story, and 0:30:00.040 --> 0:30:02.880 that means that right away Josh, even that moment where 0:30:02.880 --> 0:30:05.479 they first see each other at the wedding, literally the 0:30:05.520 --> 0:30:09.000 first glimpse of each other, and then to the first 0:30:09.000 --> 0:30:12.960 time they're close to each other being introduced, and then 0:30:13.080 --> 0:30:15.640 to that moment where they see each other, you know, 0:30:15.800 --> 0:30:19.760 across that portico, as you mentioned, they feel it's almost 0:30:19.800 --> 0:30:23.200 like a tractor beam. They feel that there is an inevitability, 0:30:23.240 --> 0:30:25.680 and of course then that's why. That's why when they 0:30:26.160 --> 0:30:28.280 stop and it turns out there at the same place 0:30:28.640 --> 0:30:32.400 that their journeys are meant to intersect, and he says, 0:30:32.680 --> 0:30:36.480 or his voice says, pick up Sarah, and Sarah's car 0:30:36.480 --> 0:30:40.960 doesn't start, that's that inevitability. They understand that the universe 0:30:41.000 --> 0:30:44.640 is suggesting they should be together, so there is a 0:30:44.720 --> 0:30:48.400 little bit there's excitement, but what Keith is saying, I 0:30:48.400 --> 0:30:51.360 think they are almost a little bit annoyed. They're annoyed 0:30:51.400 --> 0:30:55.480 that they they know that this has all been somehow faded, 0:30:55.560 --> 0:30:59.280 and they even feel they feel it because they feel 0:30:59.280 --> 0:31:02.240 a connection, they feel themselves pulled to each other, but 0:31:02.280 --> 0:31:05.320 they also know that this shouldn't happen, and there's a 0:31:05.320 --> 0:31:07.280 part of them that doesn't want it to happen, and 0:31:07.480 --> 0:31:10.880 all of that that tension also I thought was very 0:31:11.080 --> 0:31:13.240 effective and that shot. To go back to that shot, 0:31:13.280 --> 0:31:16.880 then that's what I thought Coconaut has set up so brilliantly. 0:31:17.720 --> 0:31:20.880 Was Again, they've had just one look at each other 0:31:21.600 --> 0:31:24.200 as the bride's coming down the aisle, and then they've 0:31:24.280 --> 0:31:28.360 had a conversation after they're introduced to each other, and 0:31:28.400 --> 0:31:31.920 then they see each other. He's out smoking, so he's 0:31:31.920 --> 0:31:36.000 already out there smoking. Then she comes, she's across the way. 0:31:36.280 --> 0:31:38.840 She comes outside just to get some fresh air after dancing. 0:31:39.280 --> 0:31:41.880 The shot then cuts back to a long, a wide 0:31:41.920 --> 0:31:45.720 shot of the space and there's these columns and there's 0:31:45.720 --> 0:31:50.760 a great distance between them, and the camera emphasizes that distance. 0:31:50.760 --> 0:31:53.600 But then what happens The camera doesn't really change, as 0:31:53.600 --> 0:31:58.240 I recall, but they both slide closer to each other. Yeah, 0:31:58.320 --> 0:32:02.560 to a closer column. So just in the staging there's 0:32:02.560 --> 0:32:06.160 that tractor beam like effect. They still maintain a distance, 0:32:06.520 --> 0:32:10.160 but it's like they can't help but move one column closer. 0:32:10.400 --> 0:32:13.480 They are being pulled towards each other, And I love 0:32:13.520 --> 0:32:15.760 how the cinematography emphasized that. 0:32:16.880 --> 0:32:19.640 Yeah, I found the romance fairly compelling, to be honest 0:32:19.640 --> 0:32:23.120 with you, For some of those exact same reasons. What 0:32:23.560 --> 0:32:27.800 troubled Keith I thought added interesting complications. I wasn't even 0:32:27.840 --> 0:32:30.760 that convinced that they were going to end up together 0:32:30.960 --> 0:32:34.400 because and this made me think about how someone like 0:32:34.440 --> 0:32:37.400 Cogonata would handle it. It goes back to your observation about him, 0:32:37.960 --> 0:32:41.280 you know, wanting characters to see things in a new way. 0:32:42.080 --> 0:32:45.320 I think this very likely could have been a film 0:32:45.360 --> 0:32:49.360 from him about these two people through this experience together 0:32:49.920 --> 0:32:52.120 learning to see things in a new way. They absolutely 0:32:52.120 --> 0:32:56.040 do about their pass and then that opens two doors. 0:32:56.440 --> 0:32:59.800 One door is now we've learned that and we feel 0:32:59.800 --> 0:33:05.160 we are in a better emotional space to try another relationship, 0:33:05.320 --> 0:33:09.920 or they realize, wow, we've processed a lot. We need 0:33:09.960 --> 0:33:13.200 to go our separate ways deal with it, knowing down 0:33:13.200 --> 0:33:16.480 the road will be healthier for someone. I could see 0:33:16.560 --> 0:33:19.840 absolutely Coconat of making that second that second movie, so 0:33:19.920 --> 0:33:22.680 that tension for me was there. I also, you know, 0:33:22.720 --> 0:33:25.080 I thought about at the beginning of a conversation, starting 0:33:25.320 --> 0:33:28.320 by asking you basically what makes a movie romantic to 0:33:28.400 --> 0:33:30.960 you and does this have it? And then I realized 0:33:31.000 --> 0:33:33.160 we we got to get to the Cocanat thing first. 0:33:33.760 --> 0:33:36.680 But I'm glad we're getting to that now because I 0:33:36.760 --> 0:33:40.080 thought about this myself, and you know, for me, I 0:33:40.160 --> 0:33:44.880 tend to find, for whatever reason, romances that involve longing 0:33:45.360 --> 0:33:49.000 to be the most deeply romantic. To me. It's probably 0:33:49.000 --> 0:33:50.640 why in the Mood for Love is, you know, in 0:33:50.720 --> 0:33:52.880 my top ten of all time at the current moment. 0:33:53.280 --> 0:33:55.440 But the other thing that I do like in romances, 0:33:55.560 --> 0:33:59.280 even if they end positively, is I like there to 0:33:59.320 --> 0:34:02.720 be some element of realism to what the couple is 0:34:02.760 --> 0:34:06.240 going through. And I think what we've been talking about 0:34:06.600 --> 0:34:10.080 brings that to this relationship. Despite all the whimsy, despite 0:34:10.080 --> 0:34:13.919 all the magical realism, it is rooted in that these 0:34:13.920 --> 0:34:18.040 are two people with you know, really troubled backgrounds when 0:34:18.080 --> 0:34:21.840 it comes to relationships with parents, complicated let's say, complicated 0:34:22.120 --> 0:34:26.680 that have affected directly their ability to be in committed 0:34:26.760 --> 0:34:30.400 relationships with someone else. So that's a level of realism 0:34:30.400 --> 0:34:33.160 that the movie gives time to. And I loved how 0:34:33.280 --> 0:34:37.320 despite the universe in the form of this GPS wants 0:34:37.360 --> 0:34:42.040 them to be together, they're expressly not soulmates, right, And 0:34:42.080 --> 0:34:44.160 that for me was key. This is not a movie 0:34:44.200 --> 0:34:46.919 that is just leaning on a magical GPS that puts 0:34:47.000 --> 0:34:49.560 them together, because that's who they were meant to be. No, 0:34:49.680 --> 0:34:54.640 this is about wounded, imperfect people who learn how they're wounded, 0:34:54.760 --> 0:34:57.640 how they're imperfect, and then they learn that they're going 0:34:57.719 --> 0:35:00.640 to need to put in the work, something like this 0:35:00.680 --> 0:35:04.960 relationship they're starting out on is going to work. That 0:35:05.160 --> 0:35:07.640 sounded like a therapy session, but to me, it's kind 0:35:07.640 --> 0:35:10.680 of romantic to watch two people go through that process. 0:35:11.200 --> 0:35:13.080 I found it the same, and I can't say it 0:35:13.160 --> 0:35:17.640 any better than you did. I'll just say that every 0:35:17.440 --> 0:35:22.480 my shorter version of that is every moment that I 0:35:22.520 --> 0:35:25.000 thought for this for a second, we were on the 0:35:25.120 --> 0:35:30.360 verge of crossing into traditional sort of rom com territory. 0:35:30.600 --> 0:35:33.480 The movie surprised me. The characters surprised me. The writing 0:35:33.560 --> 0:35:37.120 surprised me by getting more and more real, by getting 0:35:37.360 --> 0:35:40.880 more and more wounded, by having the characters show even 0:35:40.920 --> 0:35:44.239 more vulnerability. And that is what made it for me too, 0:35:44.719 --> 0:35:48.560 even more romantic. And this is another This ties into 0:35:48.600 --> 0:35:53.160 that and also speaks to the visual approach. There is 0:35:53.200 --> 0:35:55.759 a scene. Remember how I said that, I think the 0:35:55.800 --> 0:35:59.359 title is almost and maybe not even almost is meant 0:35:59.480 --> 0:36:02.719 ironic because so much of the movie is about the 0:36:02.840 --> 0:36:09.200 characters doing relatively mundane things, I mean, fantastical, magically real, 0:36:09.560 --> 0:36:13.520 but but real. Nonetheless, there is there's a moment. 0:36:13.560 --> 0:36:17.440 And difficult memories, not beautiful memories, difficult memories. 0:36:17.040 --> 0:36:19.520 But there's a moment where they get a break. The 0:36:19.600 --> 0:36:23.640 GPS even calls it a break. And the break is 0:36:23.760 --> 0:36:30.560 actually the most boldly beautiful moment in the film. It's 0:36:30.600 --> 0:36:33.960 the one that most scenes outside the realm of the 0:36:34.000 --> 0:36:39.080 every day, right. It is something that that seems like, Oh, 0:36:39.160 --> 0:36:42.200 that's what I would expect from a movie that's going 0:36:42.280 --> 0:36:45.239 to show me something I don't get to see every day, yea. 0:36:45.360 --> 0:36:50.880 And what I like about that moment is that it 0:36:50.880 --> 0:36:53.960 it has a callback to an earlier scene and an 0:36:54.000 --> 0:36:59.120 earlier conversation, and it ends with Margot Robbie's character saying 0:36:59.800 --> 0:37:04.799 to David, are you taking it all in? But on 0:37:04.880 --> 0:37:10.440 that line, what happens the camera cuts to behind them, 0:37:10.640 --> 0:37:14.000 and in that moment then we're taking them in, but 0:37:14.440 --> 0:37:17.960 we're also taking in the grandeur of the shot of 0:37:18.000 --> 0:37:21.960 them within the shot, and it implicitly then asks the 0:37:22.080 --> 0:37:26.600 question are we taking it all in? It becomes a 0:37:26.640 --> 0:37:29.919 break for us as the audience, and it forces us 0:37:30.040 --> 0:37:32.919 here's an implication of the audience. Josh, that's a really nice, 0:37:32.960 --> 0:37:35.480 sweet one, you know, where we get to sort of 0:37:35.480 --> 0:37:38.719 sit there and it it provokes the audience to not 0:37:39.000 --> 0:37:41.880 just think about it from the character's lens. Is David 0:37:41.960 --> 0:37:45.840 finally taking it in? But are we having a respite? 0:37:45.960 --> 0:37:49.239 Are we actually taking a pause in our lives in 0:37:49.280 --> 0:37:52.440 that moment to appreciate the grandeur of that beauty? And 0:37:52.440 --> 0:37:54.600 then by extension, I suppose is do we do that 0:37:54.760 --> 0:37:57.160 enough in our in our own lives in those kinds? 0:37:57.239 --> 0:38:00.000 Yeah, which, and that brings us directly back to after Yang. Right, 0:38:00.560 --> 0:38:04.120 So let me add my note of hesitance as well 0:38:05.160 --> 0:38:09.880 about this film, and it has to do with scenes 0:38:10.160 --> 0:38:12.640 like that break, which I love the idea of it, 0:38:12.680 --> 0:38:15.960 I love the ambition of it, but some of the 0:38:16.080 --> 0:38:19.480 visuals as things did expand wider, you know, when it's 0:38:19.520 --> 0:38:25.040 not contained to a specific set or you know, a 0:38:25.120 --> 0:38:30.040 specific prop like the GPS. I don't know if it was. 0:38:30.120 --> 0:38:33.160 I haven't looked into what sort of special effects may 0:38:33.200 --> 0:38:36.000 have been employed, but it did get to be a 0:38:36.080 --> 0:38:39.480 little visually mushy at times for me. Would they encounter 0:38:39.560 --> 0:38:42.120 these doors that are in the middle of nowhere and 0:38:42.160 --> 0:38:45.160 some doors you can clearly see they're actually in this 0:38:45.280 --> 0:38:48.960 physical space, and then others it's it's. 0:38:48.920 --> 0:38:50.000 Just do you. 0:38:50.160 --> 0:38:51.920 I don't know if you ever saw the Robin Williams 0:38:51.960 --> 0:38:55.959 film What Dreams May Come and when it came out, yeah, yeah, 0:38:56.239 --> 0:38:59.239 you know, not great and haven't thought about it much 0:39:00.360 --> 0:39:04.920 sense except for some of these more scenes of grandeurur 0:39:05.120 --> 0:39:08.680 in big, bold, beautiful journey, which don't just don't quite 0:39:08.800 --> 0:39:14.000 get there. It's somewhere between painterly and realistic. And again 0:39:14.120 --> 0:39:16.880 maybe that's a I don't know, I can't speculate on 0:39:16.920 --> 0:39:18.960 what it is, but that's maybe some of the moments 0:39:18.960 --> 0:39:22.000 where I was a little bit let down, where they 0:39:22.040 --> 0:39:24.520 seem to be a little bit out of the film's reach. 0:39:24.600 --> 0:39:27.120 But let me then narrow back down to a detail 0:39:28.160 --> 0:39:30.600 which is something I really appreciate, which is the costume 0:39:30.640 --> 0:39:34.880 design in this film. Arjunbassen is the costume designer. With 0:39:35.040 --> 0:39:37.680 each stop that Sarah and David make, I think this 0:39:37.760 --> 0:39:43.560 happens with each one, They're clothing changes, not super dramatically, 0:39:43.640 --> 0:39:47.480 but enough to match the scenes thematic tone. So we 0:39:47.560 --> 0:39:50.480 mentioned these difficult memories. There's one where they make a 0:39:50.520 --> 0:39:53.440 trip to a hospital for one of Sarah's memories that's 0:39:54.640 --> 0:39:57.760 you know, hugely traumatic for her, and she's suddenly wearing 0:39:57.800 --> 0:40:01.080 this mostly gray outfit. David has just a black T 0:40:01.160 --> 0:40:05.399 shirt on. It's very minimalist. There's another wonderful scene where 0:40:05.400 --> 0:40:07.520 they go into a museum at night and are looking 0:40:07.560 --> 0:40:10.279 at the paintings with the flashlight, and I think that's 0:40:10.320 --> 0:40:13.560 the scene where they're suddenly in bare feet, So there's 0:40:13.840 --> 0:40:19.839 a hushed, you know, intimate corresponding bit there. And how 0:40:19.880 --> 0:40:23.000 about I just love the shot of this is outside 0:40:23.000 --> 0:40:25.480 of a burger king at one point, and Sarah's wearing 0:40:25.480 --> 0:40:29.760 this red jumper and holding this yellow umbrella of course 0:40:29.800 --> 0:40:32.440 one of the movie's many nods to the umbrellas of Cherbour, 0:40:32.800 --> 0:40:36.640 but also where she's standing in the background is the 0:40:36.680 --> 0:40:40.279 burger king, like the old school burger king signage, which 0:40:40.320 --> 0:40:44.360 is exactly using those tones of what she's wearing and holding. 0:40:44.600 --> 0:40:48.680 And yeah, that's the sort of meticulousness in the compositions. 0:40:48.719 --> 0:40:51.520 But also hear the costume design that I just love. 0:40:52.040 --> 0:40:54.799 Yeah, he's even going to take something that we might 0:40:55.000 --> 0:40:59.040 find vulgar, a burger king sign and yeah, I like 0:40:59.080 --> 0:41:02.399 the juxtaposition of the beauty, right and exactly that's Kochanada 0:41:02.400 --> 0:41:05.960 and the DP Benjamin Lobe I, I'll just close or 0:41:06.280 --> 0:41:09.400 we'll go back and we'll bookend this the conversation about 0:41:09.719 --> 0:41:12.920 what makes it feel like Coganada and and even those doors. 0:41:13.520 --> 0:41:16.560 Something else I asked him about when interviewing him for 0:41:16.600 --> 0:41:20.040 After Yang was about that that symmetry or that that 0:41:20.200 --> 0:41:22.960 similarity in his movies where he has characters and this 0:41:23.040 --> 0:41:26.160 is part of part of the rediscovery and part of 0:41:26.200 --> 0:41:29.120 seeing things with fresh eyes, is the way the way 0:41:29.200 --> 0:41:33.919 characters are constantly opening up doors like closet doors. They're 0:41:34.040 --> 0:41:37.440 they're looking for those clues to the past. They're trying 0:41:37.480 --> 0:41:40.160 to see something that they haven't seen before or maybe 0:41:40.239 --> 0:41:43.000 took for granted before. And this entire movie is predicated 0:41:43.040 --> 0:41:46.960 on opening those doors, these these pathways, these portals to 0:41:47.080 --> 0:41:49.960 the past. And there was something else that I wonder 0:41:50.040 --> 0:41:52.399 if you thought about, Josh, because we spent time on 0:41:52.520 --> 0:41:56.799 this with After Yang. Even though it's fairly subtle here 0:41:56.840 --> 0:42:00.680 in this movie, there's a key conversation late in this 0:42:00.760 --> 0:42:03.959 film that that speaks to a couple different things we've 0:42:04.000 --> 0:42:07.719 talked about in this review. And do you remember at 0:42:07.719 --> 0:42:13.040 one point a character, one of the main characters says wait, 0:42:13.080 --> 0:42:17.799 this didn't happen. You didn't say that, right, remember how 0:42:17.800 --> 0:42:21.160 and after Yang, even though we're seeing a version of 0:42:21.200 --> 0:42:24.880 events that absolutely happened and should be a replay of things, 0:42:25.360 --> 0:42:29.280 but from different angles. It's yeah, there's very different ways. 0:42:29.520 --> 0:42:33.040 There's different versions. There's different versions in different perspectives that 0:42:33.080 --> 0:42:35.840 Coconauta plays with and that happens here just as it 0:42:35.880 --> 0:42:39.760 does and after Yang. And there is one other touch 0:42:39.800 --> 0:42:41.960 that's very much like after Yang, though I don't remember 0:42:42.000 --> 0:42:45.880 it happening in Columbus, and that is he does something similar, 0:42:45.960 --> 0:42:48.560 doesn't he with the credits the credit sequence. We have 0:42:48.600 --> 0:42:51.319 a we have a great opening sequence, and then the 0:42:51.360 --> 0:42:54.640 credits come in a little bit later. Only after we 0:42:54.719 --> 0:42:57.680 get that, we get that prologue. So that was another 0:42:58.440 --> 0:43:02.479 similarity that I found, and there probably are a few 0:43:02.520 --> 0:43:06.080 more as well. But yeah, watching this film, well there's 0:43:06.200 --> 0:43:09.080 there's also a reference to t at one point, so 0:43:09.239 --> 0:43:12.759 you know, of course, we've got a checklist here. And 0:43:12.800 --> 0:43:15.600 maybe the next time I talk or we have a 0:43:15.680 --> 0:43:17.840 chance to talk with Koganata will ask him whether or 0:43:17.840 --> 0:43:22.080 not the reference to Kiki's is a reference to Miyazaki. 0:43:22.320 --> 0:43:24.840 I don't know. There's a business called Kiki's and it 0:43:24.880 --> 0:43:27.600 of course made me think of delivery service. 0:43:28.400 --> 0:43:30.600 And I'm so glad you said say that because I 0:43:31.200 --> 0:43:34.400 the score here Joe Hasayashi, who did so many of 0:43:34.480 --> 0:43:38.640 Studio Jibili films, and I think the score is also 0:43:39.840 --> 0:43:43.080 one of the stronger elements here. It's very gentle. But 0:43:43.400 --> 0:43:47.720 the quality I kept thinking of is it's nudging. It's 0:43:47.760 --> 0:43:50.440 sort of, you know, nudging in a way that is 0:43:50.480 --> 0:43:53.520 in line with this this universe desire to put them 0:43:53.560 --> 0:43:56.920 on this journey. So so yeah, that was that was 0:43:57.160 --> 0:43:59.839 really cool to see that Hasayashi was involved as well. 0:44:00.480 --> 0:44:03.560 Shout out to Stephen Bardon as well, the sound designer 0:44:03.560 --> 0:44:07.919 who Coganata called out at Film Spotting Fest. A Big, Bold, 0:44:07.920 --> 0:44:11.440 Beautiful Journey is currently playing in wide release. If you 0:44:11.480 --> 0:44:13.960 see it and agree or disagree with our thoughts, we 0:44:14.000 --> 0:44:16.560 would definitely love to hear from you feedback at filmspotting 0:44:16.560 --> 0:44:17.000 dot Net. 0:44:18.000 --> 0:44:20.640 This episode is brought to you by Peloton break through 0:44:20.680 --> 0:44:23.120 the busiest time of year with the brand new Peloton 0:44:23.160 --> 0:44:26.839 Cross Training tread Plus powered by Peloton Iq. With real 0:44:26.920 --> 0:44:29.960 time guidance and endless ways to move, you can personalize 0:44:30.000 --> 0:44:33.200 your workouts and train with confidence. Helping you reach your 0:44:33.239 --> 0:44:36.960 goals in less time. Let yourself run, lift, scold to 0:44:37.040 --> 0:44:40.479 push and go. Explore the new Peloton Cross training tread 0:44:40.520 --> 0:44:42.440 plus at one Peloton dot com. 0:44:42.840 --> 0:44:45.040 Well, if you were listening to us or watching us, 0:44:45.080 --> 0:44:47.120 that is the number one thing you can do to 0:44:47.239 --> 0:44:50.279 support an independently produced show like ours. But there are 0:44:50.360 --> 0:44:52.680 a couple of other things you could do. You could 0:44:52.680 --> 0:44:54.880 take a minute to give us a rating or a 0:44:54.920 --> 0:44:58.759 review on Apple Podcasts. You can also do this on Spotify. 0:44:58.880 --> 0:45:01.160 Doesn't matter if you've been I'm listening for all twenty 0:45:01.280 --> 0:45:04.319 years or you've just joined us, go ahead and leave 0:45:04.360 --> 0:45:06.560 a review. Every one of those does help us to 0:45:06.600 --> 0:45:10.840 reach new listeners. The most substantial way to support us, though, 0:45:11.239 --> 0:45:13.640 is to join the Film Spotting Family, which you can 0:45:13.680 --> 0:45:17.560 do at Filmspottingfamily dot com. We want to thank family 0:45:17.600 --> 0:45:24.200 member Fabio Calderon in Charlotte, North Carolina. Fabio is on letterboxed, 0:45:24.440 --> 0:45:27.080 so you can follow him there as. 0:45:27.320 --> 0:45:30.760 The Fobbs or the Fabs. I mean it's probably Fobbs, 0:45:30.800 --> 0:45:33.960 because is it Fabio? Should I be producing this fabulous? 0:45:34.160 --> 0:45:36.759 You know? Okay, I don't know, but I didn't know 0:45:36.800 --> 0:45:39.719 we had a listener by that name, and that's amazing, 0:45:40.520 --> 0:45:44.000 he rights. I don't remember precisely how I found the show, 0:45:44.000 --> 0:45:46.040 but you guys have been an important part of my 0:45:46.120 --> 0:45:49.279 movie watching since my undergraduate years of college. My first 0:45:49.360 --> 0:45:52.560 episode was probably around twenty sixteen. Your insights on film 0:45:52.600 --> 0:45:54.920 helped me grow and nurture my own artistic taste and 0:45:55.000 --> 0:45:58.120 ability to analyze and enjoy film, for which I'm forever grateful. 0:45:58.560 --> 0:46:01.040 Admittedly it has been a few years i've listened, but now, 0:46:01.040 --> 0:46:04.120 after postgrad studies, moving to a different state, and finally 0:46:04.120 --> 0:46:06.919 getting myself established in my career, I found the time 0:46:06.960 --> 0:46:09.360 and passion to get back into my habit of film watching, 0:46:09.360 --> 0:46:11.520 and my first instinct was to check back in with 0:46:11.560 --> 0:46:14.240 my friends at film Spotting and pay back a fraction 0:46:14.320 --> 0:46:16.880 of the value that you've given me over the years. 0:46:17.280 --> 0:46:19.960 I love that. I mean, it's happened to me like 0:46:20.080 --> 0:46:23.399 for some reason, I drop a podcast and you check 0:46:23.640 --> 0:46:26.520 you know. Yeah, well, I mean we'll have to ask 0:46:26.600 --> 0:46:28.759 listeners if if there was a season where they felt 0:46:28.760 --> 0:46:30.840 that was the case. But no, as a listener of 0:46:30.880 --> 0:46:33.040 other podcasts, you know, it's like things get busy, you 0:46:33.400 --> 0:46:37.239 miss one, but yeah, hopefully the good ones you come 0:46:37.280 --> 0:46:39.040 back to so that's great to hear it. 0:46:39.080 --> 0:46:41.840 We're like, we're like death and Taxes. We'll just always 0:46:41.840 --> 0:46:46.400 be here. Maybe favorite reviewer segment Your Manelli Marathon from 0:46:46.440 --> 0:46:48.799 twenty eighteen will always hold a special place in my heart, 0:46:49.080 --> 0:46:51.400 fuse it was the first and sadly one of the 0:46:51.400 --> 0:46:53.719 only times as a listener that I willed myself to 0:46:53.760 --> 0:46:57.399 do my homework and marathon along with the film spotting crew. 0:46:57.520 --> 0:46:59.680 Albeit I only had enough free time and willpower for 0:46:59.680 --> 0:47:02.120 the first three films, but it did introduce me to 0:47:02.160 --> 0:47:04.960 a filmmaker who I was completely unfamiliar with. But what 0:47:05.080 --> 0:47:07.880 I have now grown a great appreciation for. I'm grateful 0:47:07.920 --> 0:47:10.040 for being introduced to the bad and the beautiful in 0:47:10.080 --> 0:47:12.800 particular thanks to this marathon. And I would later discover 0:47:12.880 --> 0:47:15.200 Minelli's The Clock, which is now a favorite of mine 0:47:15.360 --> 0:47:17.640 and is always one of my go to recommendations for 0:47:17.680 --> 0:47:21.040 people who love link Laters before trilogy, especially before Sunrise. 0:47:21.880 --> 0:47:24.160 I am shamed. I haven't seen the Clock. 0:47:24.760 --> 0:47:27.080 I have not seen the Clock. I think that might 0:47:27.120 --> 0:47:31.799 be another Judy Garland collaboration for Minelli. But yeah, look 0:47:31.840 --> 0:47:33.759 at five iOS showing us up. 0:47:34.280 --> 0:47:36.400 I think this is the best response to this question. 0:47:36.680 --> 0:47:39.040 What review, did we get wrong? Let's not ruin this 0:47:39.120 --> 0:47:42.880 good thing We've got going a I love it. A 0:47:42.960 --> 0:47:45.440 letterbox Top four. I like to set my letterbox four 0:47:45.440 --> 0:47:47.799 as the last four films watch from my top one 0:47:47.880 --> 0:47:51.800 hundred favorites. Currently they are Logan, Silence of the Lambs, 0:47:51.920 --> 0:47:56.480 The Nice Guys, and Doctor Strangelove. Favorite movie he revisited 0:47:56.480 --> 0:47:59.560 recently is Doctor Strangelove. After my recent viewing of Failsafe 0:47:59.560 --> 0:48:02.720 to Coen's With Your Guys most recent episode Sidney Lamette 0:48:02.719 --> 0:48:04.880 Marathon episode nine to eighty three, I felt like I 0:48:04.920 --> 0:48:08.480 had to followed up with Kubrick's masterpiece random film or 0:48:08.520 --> 0:48:11.680 filmmaker Fabio loves going to give a shout out to 0:48:11.719 --> 0:48:13.840 Mielo Schfeman. I feel in a lot of ways he 0:48:13.880 --> 0:48:16.680 goes underrated as a more workman director, but I always 0:48:16.680 --> 0:48:20.600 appreciated his interest in exploring disruptive characters prepared to challenge 0:48:20.640 --> 0:48:24.840 the systems they exist within. I mean, Ama, dais we 0:48:24.920 --> 0:48:28.080 got r P. McMurphy, Sure, there's at least two. I 0:48:28.120 --> 0:48:30.760 think he was brilliant, A movie you credit with becoming 0:48:30.760 --> 0:48:35.120 a cinophile, probably not alone with The Big Lebowski. And finally, 0:48:35.200 --> 0:48:38.240 oh Man, this was a plant a book about movies 0:48:38.400 --> 0:48:42.200 or movie making. Y'all ever heard of? Movies are prayers 0:48:42.239 --> 0:48:45.280 by Josh Larson? Heyed pretty? 0:48:45.360 --> 0:48:48.320 How about that? Thank you very kind. 0:48:48.880 --> 0:48:50.960 For joining the family and for all those years of 0:48:51.000 --> 0:48:54.040 listening and even those years when you weren't listening. In 0:48:54.080 --> 0:48:56.240 addition to keeping us doing what we're doing, your support 0:48:56.239 --> 0:48:58.160 comes with perks. You get to listen early in ED free, 0:48:58.200 --> 0:49:01.520 You get our weekly newsletter, you get exclusive opportunities, including 0:49:01.920 --> 0:49:04.279 being part of the Film Spotting Family Discord, and you 0:49:04.360 --> 0:49:06.880 get our monthly bonus shows. Over on the Film Spotting 0:49:06.920 --> 0:49:09.720 Family Discord. We have channels devoted to We have almost 0:49:09.800 --> 0:49:14.320 four hundred members just on the discord, and there's channels 0:49:14.320 --> 0:49:17.400 devoted to conversations about the current episode of our show, 0:49:17.840 --> 0:49:21.800 new film releases, older films. We have TV spotting, music spotting, 0:49:21.880 --> 0:49:25.200 book spotting, sports spotting, and food spotting. 0:49:25.800 --> 0:49:28.879 I'm trying to get a little your dream. Yeah, I'm 0:49:28.920 --> 0:49:31.640 trying to get a little book spotting club going right now. 0:49:31.680 --> 0:49:36.080 About the Muriel Sparks novel The Prime of Miss Gene Barrodi, 0:49:36.200 --> 0:49:40.000 which I read, just watched the Maggie Smith adaptation and whoo, 0:49:40.880 --> 0:49:43.759 that's the adaptation is interesting so yeah, I'm hoping to 0:49:43.800 --> 0:49:46.759 talk to some film spotting family members there about the 0:49:46.800 --> 0:49:48.560 book and then the movie if they check that out. 0:49:49.040 --> 0:49:51.520 By the time everyone hears this will be at least 0:49:51.560 --> 0:49:55.479 one nightroom moved from our September Bonus episode. A little 0:49:55.480 --> 0:49:58.759 bit of trivia spotting quiz master Thomas Todd and a 0:49:58.760 --> 0:50:01.919 bunch of listeners. That will be fun. Josh apparently thinks 0:50:01.960 --> 0:50:03.720 he needs to go to bed at two in the morning. 0:50:04.000 --> 0:50:06.640 Won't be playing. That's fine, that's fine. 0:50:07.360 --> 0:50:09.640 Yeah, And this is the worst part is I see 0:50:09.640 --> 0:50:13.479 that Andrew Corsini, right, Andrew is here in the UK 0:50:13.680 --> 0:50:17.440 with temporarily at and of course he's joining, So like, 0:50:17.880 --> 0:50:21.600 my excuse is blown. Andrew, thank you very much. Just 0:50:21.600 --> 0:50:23.560 because you're a maniac doesn't mean. 0:50:23.440 --> 0:50:27.759 I have to be. He's not even on the payroll, Josh, Yeah, 0:50:27.840 --> 0:50:33.560 exactly us. He pays us, So what's your excuse? Cobra bonus. 0:50:33.680 --> 0:50:36.719 We will be drafting with a family member, some kind 0:50:36.760 --> 0:50:39.080 of movie draft, and that reminds me yet again that 0:50:39.160 --> 0:50:42.080 I need to get the email out to family members, 0:50:42.080 --> 0:50:46.480 So that's coming soon. Be prepared, have your draft topics ready. 0:50:46.560 --> 0:50:49.680 You propose a topic. We randomly pick a listener, and 0:50:49.880 --> 0:50:52.759 we'll pick one of your topics to draft. It will 0:50:52.800 --> 0:50:54.960 be fun. You can only be part of that draft 0:50:54.960 --> 0:50:57.640 if you are a Film Spotting Family member. Learn more 0:50:57.719 --> 0:50:59.640 at Filmspottingfamily dot com. 0:51:00.160 --> 0:51:01.360 This is Bob Fernuson. 0:51:01.760 --> 0:51:06.799 I was a part of the French seventy five. Did 0:51:06.880 --> 0:51:10.120 not got like Tony on in Steve Lockfield used to 0:51:10.160 --> 0:51:14.560 attack r and I cannot remember for the life of 0:51:14.600 --> 0:51:15.720 my only child. 0:51:16.320 --> 0:51:18.319 The answer to your question. 0:51:18.920 --> 0:51:21.160 Maybe you should have studied the rebellion text. 0:51:21.000 --> 0:51:21.840 A little harner. 0:51:22.440 --> 0:51:25.760 Paul Thomas Anderson's One Battle after Another comes to theaters 0:51:25.800 --> 0:51:28.840 this weekend. Rumor has a josh it even made it 0:51:28.880 --> 0:51:31.160 to the Shire in Scotland? Isn't that where you're at? 0:51:31.200 --> 0:51:31.600 The Shire? 0:51:32.360 --> 0:51:36.920 The Shire? This is a little little bit of Shire flavor, 0:51:36.960 --> 0:51:39.040 But I think maybe that's more of the Lake district, 0:51:39.880 --> 0:51:43.640 you know, down there south of me. Do you want 0:51:43.640 --> 0:51:47.640 to hear my journey of getting to the theater here, Adam, 0:51:47.680 --> 0:51:51.920 because it was you know, I'm in this delightful university 0:51:51.960 --> 0:51:53.920 gulf town of Saint Andrews, right on the coast of 0:51:53.960 --> 0:51:58.640 the North Sea. No movie theater though, unfortunately so it's 0:51:58.640 --> 0:52:02.200 a two bus ride to it. To the town of Dundee, 0:52:02.400 --> 0:52:07.520 which is a nice town, bigger and there they have 0:52:07.640 --> 0:52:10.800 two multiplexes on opposite sides, which is why it's a 0:52:10.840 --> 0:52:13.799 two bus trip for us. Tried the first theater last 0:52:13.840 --> 0:52:18.759 weekend for a big, bold, beautiful journey, and boy, I 0:52:18.760 --> 0:52:22.920 could have been anywhere USA we were. We got off 0:52:22.960 --> 0:52:26.359 the bus, walked for a little bit into this industrial 0:52:26.400 --> 0:52:30.760 park where there was a Nando's you know, chicken place, 0:52:31.440 --> 0:52:34.920 there was another fast food place I'm forgetting, and they 0:52:34.920 --> 0:52:39.440 were building a McDonald's. Other than that, there was an 0:52:39.480 --> 0:52:44.400 ice rink next to the multiplex theater, which was you know, 0:52:45.920 --> 0:52:50.799 average mall theater. So any any romantic visions of me 0:52:50.920 --> 0:52:53.600 going to the movies here in Scotland you can toss 0:52:53.640 --> 0:52:54.120 that aside. 0:52:54.160 --> 0:52:59.720 It's it's lots urbs, exactly, eggs. 0:53:00.440 --> 0:53:03.279 I was back at the AMC Crestoid yep, and you 0:53:03.360 --> 0:53:05.360 know what I'm talking about exactly. 0:53:05.600 --> 0:53:08.640 I used to see quite a few movies there myself. 0:53:09.000 --> 0:53:12.359 Gosh, m hm. So the good news is they had big, bold, 0:53:12.400 --> 0:53:17.439 beautiful journey. They also have one battle after another though 0:53:17.719 --> 0:53:19.920 this weekend we're we're gonna try the theater on the 0:53:19.920 --> 0:53:21.600 other side of town. See how that looks okay. 0:53:22.040 --> 0:53:24.680 Well, next week here on Film Spotting, I'll be making 0:53:24.719 --> 0:53:27.479 it to my local multiplex to see one battle after another, 0:53:27.520 --> 0:53:30.480 and we'll be reviewing it here on the show. Maybe 0:53:30.480 --> 0:53:33.000 some other new stuff. In fact, I could promise that 0:53:33.120 --> 0:53:35.279 I'm going to talk about a new documentary I saw 0:53:35.360 --> 0:53:39.759 called Predators, and no it is not another installment in 0:53:39.800 --> 0:53:43.600 that franchise. More on that next week. Also another video 0:53:43.760 --> 0:53:48.080 edition of Massacre Theater for a current show schedule. Oh boy, 0:53:48.280 --> 0:53:51.120 you have something to add. We have to make these, 0:53:51.400 --> 0:53:55.200 Like Sam is going to start just ratcheting up the 0:53:55.239 --> 0:53:57.480 pyrotechnics of Massacre Theater, isn't he? 0:53:58.360 --> 0:54:00.840 I know, I wasn't you know what. I wasn't going 0:54:00.920 --> 0:54:03.799 to watch it, but I wanted to test some new headphones, 0:54:04.280 --> 0:54:07.399 and I was like, you know what, why not test 0:54:07.440 --> 0:54:11.080 him on that. I don't know that I've ever paid 0:54:11.120 --> 0:54:14.759 as close attention to you during Masacar Theater because like 0:54:14.840 --> 0:54:18.200 any good actor, Adam, ye, I don't, I don't. I 0:54:18.239 --> 0:54:21.880 don't listen to my screen partner at all. It's all 0:54:21.920 --> 0:54:25.279 about me, good actor, like any good actor, right, I think? So, 0:54:25.320 --> 0:54:28.480 I've never really you missed the lessons? Is it? Is it? 0:54:28.520 --> 0:54:32.880 The other way around, it's the other Okay, Well anyway, Yeah, 0:54:33.120 --> 0:54:36.040 I don't know if you're always like this, but you 0:54:36.440 --> 0:54:39.560 a certain level of your expression is is you're laughing 0:54:39.640 --> 0:54:42.640 throughout You're you're you're not, You're. 0:54:42.560 --> 0:54:44.960 Not like you need to know that now I'm self conscious, 0:54:45.040 --> 0:54:45.760 you're and. 0:54:45.920 --> 0:54:50.719 Well, especially that scene, we were under attack in that 0:54:50.880 --> 0:54:54.120 scene and your voice, you know, you you bring it 0:54:54.160 --> 0:54:56.120 with the voice. But now that we're on video, you 0:54:56.160 --> 0:54:58.919 can't be smiling as well. You have to. You're gonna 0:54:58.920 --> 0:55:03.279 have to bring the facial acting. Also. That's next week. 0:55:03.520 --> 0:55:06.680 Thank you for the direction. Thank you for the direction, 0:55:06.840 --> 0:55:13.279 Elia Kazan Larsen. For a current show schedule, visit phil 0:55:13.360 --> 0:55:15.640 spotting dot net slash episodes. 0:55:15.920 --> 0:55:18.359 Quick note about our sister podcast, The Next Picture Show, 0:55:18.360 --> 0:55:21.400 looking at cinema's present via its past. They have a 0:55:21.560 --> 0:55:24.760 new pairing. They're going to be talking about the Stephen 0:55:25.040 --> 0:55:29.080 King adaptation The Long Walk just came out, and pairing 0:55:29.120 --> 0:55:32.680 that with Sydney Pollack's nineteen sixty nine film They Shoot Horses, 0:55:32.880 --> 0:55:37.920 don't they? That one featuring Jane Fonda and Adam That 0:55:38.080 --> 0:55:42.000 is a title man comes up all the time, and 0:55:42.080 --> 0:55:45.279 somehow I still have not seen it. Are you in 0:55:45.320 --> 0:55:45.799 the same boat. 0:55:45.800 --> 0:55:47.960 I'm with you. I'm in the same Thank goodness. But 0:55:48.160 --> 0:55:50.720 we're rowing. We're rowing over the cliff together. 0:55:50.840 --> 0:55:54.000 Josh, all right, makes me feel better. New episodes of 0:55:54.040 --> 0:55:57.160 The Next Picture Show drop every Tuesday. You can find 0:55:57.200 --> 0:55:59.000 them wherever you get your podcasts. 0:55:59.480 --> 0:56:01.759 For those of you who may be listening and you're 0:56:01.800 --> 0:56:05.520 in the Iowa City area or you know, anywhere around 0:56:05.680 --> 0:56:09.479 Iowa City and you're willing to make the trip. I'll 0:56:09.520 --> 0:56:14.280 be back at Film Scenes fourth annual Refocused Film Festival, 0:56:14.840 --> 0:56:18.120 and this is the film festival that celebrates the art 0:56:18.120 --> 0:56:22.520 of adaptation. Every film that plays is some kind of adaptation. 0:56:22.640 --> 0:56:24.680 So it might be from a book, but it could 0:56:24.719 --> 0:56:28.680 be from a poem, it could be from a musical, 0:56:28.800 --> 0:56:31.640 it could be from anything, honestly, and there have been 0:56:32.280 --> 0:56:37.719 some pretty fascinating works that the adaptations you know, originated 0:56:37.760 --> 0:56:42.040 from over the years. It runs October ninth through the twelfth, 0:56:42.080 --> 0:56:45.920 and part of the fun this year is that Michael 0:56:45.960 --> 0:56:47.960 Phillips is coming in for the fest and so on 0:56:48.000 --> 0:56:52.080 October eighth he's coming to my film criticism class, and 0:56:52.120 --> 0:56:57.479 then on the ninth is opening night of the fest, 0:56:57.480 --> 0:57:00.920 and then on the tenth is films Spotting Live. So 0:57:01.000 --> 0:57:04.279 October tenth is film Spotting Live and inspired by the 0:57:04.320 --> 0:57:06.920 opening night film which is called Train Dreams. So this 0:57:06.960 --> 0:57:09.960 is a new movie stars Joel Edgerton and Felicity Jones. 0:57:10.320 --> 0:57:13.040 It's said in the early twentieth century American West, and 0:57:13.080 --> 0:57:16.920 it's adapted from the twenty eleven Dennis Johnson novella. So 0:57:16.960 --> 0:57:19.760 a lot of Dennis Johnson works have been adapted over 0:57:19.800 --> 0:57:23.160 the years, including Jesus's Son. And I hadn't seen this, 0:57:23.280 --> 0:57:27.400 but I'm assuming Sam has his facts right. Producer Sam 0:57:27.480 --> 0:57:31.360 pulled this quote from our friend Brian Talarico rogeriber dot com. 0:57:31.440 --> 0:57:34.360 And if this is true, Josh, it says, and I 0:57:34.440 --> 0:57:37.080 quote one of my favorite movies ever. 0:57:37.960 --> 0:57:38.360 Wow. 0:57:39.600 --> 0:57:44.360 So Brian taler Ole thinks that highly of this movie, 0:57:44.360 --> 0:57:47.040 Trained Dreams. It debuted at Sundance. It comes to theaters 0:57:47.040 --> 0:57:51.520 in November. Opening night film October ninth at the Refocused 0:57:51.520 --> 0:57:54.560 Film Festival in Iowa City at the Gorgeous is not 0:57:54.600 --> 0:57:56.760 playing at film scene. The opening night film is always 0:57:56.760 --> 0:58:00.800 at the Gorgeous Englert Theater, which is a classic theater 0:58:01.280 --> 0:58:05.720 downtown Iowa City. So inspired by that, we always try 0:58:05.760 --> 0:58:08.959 to tie the recording that we do and the top 0:58:09.000 --> 0:58:12.200 five that we do to that opening night film or 0:58:12.320 --> 0:58:15.080 whatever's happening the big thing is at the fest. So 0:58:15.240 --> 0:58:18.280 since it's adapted from a Dennis Johnson novella, Dennis Johnson 0:58:18.560 --> 0:58:23.200 is an MFA grad of the famed Iowa Writers' Workshop, 0:58:23.560 --> 0:58:26.680 So we are going to do a top five movies 0:58:26.880 --> 0:58:31.320 adapted from Iowa writers. So that can include anybody who 0:58:31.400 --> 0:58:34.600 has an MFA from the Iowa Writers' Workshop, but it 0:58:34.640 --> 0:58:40.080 could also mean anybody who was born in Iowa counting 0:58:40.120 --> 0:58:42.560 that as well. It's going to be a fun list 0:58:42.600 --> 0:58:44.960 and I can't wait to do that with Michael at 0:58:44.960 --> 0:58:48.200 the Refocus Film Festival and just real quick, the fest 0:58:48.280 --> 0:58:51.520 is a killer lineup. I mean Andrew Sherburn, who is 0:58:51.560 --> 0:58:56.360 the big dog, the executive director at Refocus, is a 0:58:56.360 --> 0:58:59.160 friend and does such a wonderful job of Ben Delgado's 0:58:59.200 --> 0:59:02.480 the programming director, and he's a longtime friend and Film 0:59:02.520 --> 0:59:05.800 Spotting Listener goes way back to the early days of 0:59:05.880 --> 0:59:09.960 the show. They've got Charlie Shackleton's Zodiac Killer Project, which 0:59:09.960 --> 0:59:12.320 is a movie I recommended when I saw the Virtual 0:59:12.640 --> 0:59:15.880 Sun Dance version of that back in January, and. 0:59:16.480 --> 0:59:19.880 I caught Oh yeah, I caught that at the Chicago 0:59:19.960 --> 0:59:23.800 Critics Film Festival this summer. And yeah, anyone interested, I 0:59:24.160 --> 0:59:28.320 would say, in you know, documentary form in particular, sure 0:59:28.600 --> 0:59:32.320 when playing with other material, I think we'll want to 0:59:32.400 --> 0:59:33.880 check out Zodiac Killer Project. 0:59:34.200 --> 0:59:37.240 And especially of course if you care at all about 0:59:37.280 --> 0:59:41.200 true crime or exactly consuming anything true crime related, you 0:59:41.240 --> 0:59:43.880 really have to see Zodiac Killer Project. And Charlie Shackleton 0:59:43.960 --> 0:59:46.760 will be at refocused. I think it at least two 0:59:46.840 --> 0:59:51.320 screenings of it. Also, you're going to be able to 0:59:51.360 --> 0:59:54.760 see the new film from director Ira Sachs, who made 0:59:54.760 --> 0:59:56.720 one of my favorite films. He was in my top 0:59:56.720 --> 0:59:59.080 ten a few years back. Love Is Strange also made. 0:59:59.080 --> 1:00:04.040 Passages is new one Peter Hoosier's Day stars Ben Wishaw 1:00:04.080 --> 1:00:08.760 and Rebecca Hall. Also, Park Chenook's new film No Other 1:00:08.880 --> 1:00:12.320 Choice is playing there. There's a new documentary from Raoul 1:00:12.400 --> 1:00:15.600 Peck who made I Am Not Your Negro, the James 1:00:15.600 --> 1:00:19.120 Baldwin documentary. But it's George Orwell two plus two equals five. 1:00:19.160 --> 1:00:22.000 I mean, I'm telling you there are at least eight 1:00:22.080 --> 1:00:26.320 films I'm dying to see at Refocus. And yes, also 1:00:26.360 --> 1:00:29.320 film Spotting Live is happening at four point thirty on 1:00:29.400 --> 1:00:31.880 Friday the tenth with me and Michael. So I hope 1:00:31.920 --> 1:00:34.000 you get a chance to make it out. If you're 1:00:34.040 --> 1:00:37.200 listening to this, well, if you're listening to this, that 1:00:37.280 --> 1:00:39.600 means tickets are available, because they go on sale to 1:00:39.640 --> 1:00:44.200 the general public on Friday this Friday here, the twenty 1:00:44.240 --> 1:00:48.960 sixth of September, and you can learn more at Refocusfilmfestival 1:00:49.160 --> 1:00:49.880 dot org. 1:00:50.440 --> 1:00:59.320 Nah, this is your new governor's prodi Maria. 1:00:56.720 --> 1:00:58.360 As I saund those signals, you step forward and give 1:00:58.360 --> 1:00:58.760 your name. 1:00:58.960 --> 1:01:01.520 You Willison Carey learn that signal so that you can 1:01:01.560 --> 1:01:05.919 call them when you want them. 1:01:06.280 --> 1:01:09.120 Friedrich. Time for some poll results. A couple of weeks ago, 1:01:09.360 --> 1:01:12.840 we asked you to choose one and only one sixties musical. 1:01:13.240 --> 1:01:16.000 The occasion was the sixtieth anniversary re release of the 1:01:16.000 --> 1:01:20.000 Sound of Music, which, yeah, fine, I'll confess it. It 1:01:20.120 --> 1:01:23.000 remains unseen by me. I don't know if anyone could 1:01:23.000 --> 1:01:26.040 tell based on everything I was saying two weeks ago. 1:01:26.120 --> 1:01:28.240 Yeah, you were you were pretty cagey. I thought that 1:01:28.440 --> 1:01:31.000 was the case, and then I realized, did you squeeze 1:01:31.000 --> 1:01:33.120 it in at some point? No, you would have made 1:01:33.120 --> 1:01:33.960 a bigger deal of it. 1:01:33.920 --> 1:01:37.120 If you yeah, exactly so the options and then Josh, 1:01:37.160 --> 1:01:40.920 you can give the results Funny Girl, Mary Poppins, my 1:01:41.000 --> 1:01:44.439 Fair Lady, the Sound of Music, the Umbrellas of sure Bore, 1:01:44.880 --> 1:01:47.760 West Side Story, or if you don't like any of 1:01:47.800 --> 1:01:50.560 those choices, you could write in other How did it 1:01:50.600 --> 1:01:51.000 come out? 1:01:51.440 --> 1:01:54.400 Rare case of a title tying in last place with 1:01:54.600 --> 1:01:56.960 other and that would have been Funny Girl. Both received 1:01:57.000 --> 1:01:59.960 three percent of the vote. My Fair Lady received five 1:02:00.040 --> 1:02:02.960 five percent of the vote. Then jumping up to another 1:02:03.000 --> 1:02:06.720 tier where there was a relatively close competition between Mary 1:02:06.760 --> 1:02:09.800 Poppins sixteen percent of the vote and the Sound of 1:02:09.920 --> 1:02:15.720 Music nineteen percent, but in second place jumping ahead twenty 1:02:15.760 --> 1:02:18.000 five percent of the vote went to West Side Story, 1:02:18.120 --> 1:02:22.640 meaning rightfully correctly, the Umbrellas of share Boor won this 1:02:22.800 --> 1:02:24.480 with twenty eight percent of the vote, And I'm really 1:02:24.560 --> 1:02:28.880 encouraged by that. It's just you know that many people 1:02:29.000 --> 1:02:31.840 have seen the umbrellas of Cherboor, whereas you think West 1:02:31.840 --> 1:02:35.800 Side Story, you know, much more common familiar, maybe might 1:02:35.800 --> 1:02:38.560 have taken it, and I you know, adore one way 1:02:38.560 --> 1:02:39.240 more than the other. 1:02:39.840 --> 1:02:41.640 So what you're really saying is in the battle of 1:02:41.680 --> 1:02:45.600 Team Adam versus Team Josh. Team Josh was triumphant in this. 1:02:45.640 --> 1:02:48.800 Case, in this case, on this day, which we will 1:02:48.840 --> 1:02:50.160 celebrate forever. 1:02:51.360 --> 1:02:56.000 So here's Rob Steger, not to be confused with Rod Steiger. 1:02:56.200 --> 1:02:58.840 My parents' first date was West Side Story. So I 1:02:58.840 --> 1:03:00.960 don't know if I'm going to a race myself from 1:03:01.000 --> 1:03:04.440 the timeline Marty m fly style, but I'm choosing the 1:03:04.520 --> 1:03:07.760 umbrellas of sher boor if it's not going to exist, 1:03:08.080 --> 1:03:11.960 I don't want to either. Wow Wow, for you wouldn't 1:03:12.000 --> 1:03:12.520 go that far. 1:03:12.640 --> 1:03:20.560 Josh, no mavel so. 1:03:22.320 --> 1:03:31.040 Shod shot Go. 1:03:33.520 --> 1:03:46.280 He shoter Godmo Nomal Macky. We also heard from Betsy Shane. 1:03:46.520 --> 1:03:49.320 I understand that West Side Story is a little problematic, 1:03:49.360 --> 1:03:52.320 and that many of these others are excellent musicals, But 1:03:52.440 --> 1:03:57.520 Jerome robbins choreography was so game changing. Lettern Bernstein's challenging 1:03:57.520 --> 1:03:59.720 but familiar score is still a go to reference for 1:04:00.080 --> 1:04:04.080 turval ear training and the alternately cheeky and sincere lyrics 1:04:04.120 --> 1:04:07.880 by some young up start named Stephen Sondheim. Also, I 1:04:07.920 --> 1:04:12.160 want Rita Morna to keep her well deserved the Oscar Wow. 1:04:12.200 --> 1:04:13.760 I don't know if we've ever opened that can of 1:04:13.760 --> 1:04:17.120 worms with the the incinerator rule. If the movie goes 1:04:17.240 --> 1:04:21.000 the filmmakers and the actors, they lose all the accolades. 1:04:21.080 --> 1:04:24.320 I mean, this is this is just chaos, Sam has started. 1:04:24.680 --> 1:04:27.360 I think listeners get it that incinerator rules just apply 1:04:27.600 --> 1:04:33.480 to everything we do. I guess, and Interval ear Training 1:04:33.600 --> 1:04:36.360 is the name of my next band, Mark F I 1:04:36.400 --> 1:04:38.680 could make a case for each one in a case 1:04:38.760 --> 1:04:41.720 against each despite their many merits, Umbrellas of Sherbor, West 1:04:41.720 --> 1:04:44.040 Side Story and My Fair Lady are all flawed by 1:04:44.080 --> 1:04:48.440 their lip SYNCD leads. Take that, Josh, my vote is 1:04:48.480 --> 1:04:52.120 for Funny Girl because it's the most complete package, glorious 1:04:52.160 --> 1:04:55.440 Hollywood film craft, a great rise and fall, backstage bio 1:04:55.520 --> 1:05:01.400 journey and the indomitable streisand or Streisan Streisan streisand carrying 1:05:01.400 --> 1:05:04.000 her Broadway breakout roll to the screen. 1:05:05.080 --> 1:05:08.200 I mean, Mark has something that I know has been 1:05:08.240 --> 1:05:12.600 brought up many times, especially you know with umbrellas. I'll 1:05:12.600 --> 1:05:15.440 have to give some thought to about that. No, no, 1:05:15.560 --> 1:05:19.320 never mind, umbrellas is don't here's Sam ought to it, 1:05:19.440 --> 1:05:23.040 Sam Oppenheim, Funny Girl is so so so good. If 1:05:23.040 --> 1:05:26.800 you have that blind spot, please rectify that being said, 1:05:27.080 --> 1:05:29.760 Funny Girl isn't the very best, and though I want 1:05:29.800 --> 1:05:32.960 to pick it, I will instead vacillate between West Side 1:05:33.040 --> 1:05:36.120 Story and the sound of music. Wait, wait a minute, 1:05:36.320 --> 1:05:37.280 why are we reading this? 1:05:37.920 --> 1:05:38.240 I don't know. 1:05:38.280 --> 1:05:40.920 You can't read a comment from someone who's refusing. 1:05:40.480 --> 1:05:44.840 To out Sam Oppenheim. Your your feedback is the incinerator. 1:05:46.280 --> 1:05:50.040 It's gone, Bailey Clark. Let's see if Bailey Clark took 1:05:50.040 --> 1:05:52.880 a stand. The answer is Mary Poppins. Okay, my leaps 1:05:52.880 --> 1:05:56.040 and bounds. The performances and music have been well lauded 1:05:56.080 --> 1:05:58.240 through the years, but there is so much more to appreciate. 1:05:58.440 --> 1:06:03.120 The tirelessly exuberant choreography, the plethora of innovative effects, the 1:06:03.240 --> 1:06:06.960 razor sharp script, and the direction's masterful mosaic of tones. 1:06:07.200 --> 1:06:09.280 It's a magical joy to watch as a child. But 1:06:09.320 --> 1:06:11.600 if you haven't seen it as an adult, you really 1:06:11.600 --> 1:06:13.960 haven't seen it. And I'm going to admit to Bailey 1:06:14.320 --> 1:06:17.400 and all of you, I loved Mary Poppins as a kid, 1:06:17.520 --> 1:06:20.480 and I surely have not seen it as an adult. 1:06:21.520 --> 1:06:24.720 Yeah. I have seen it more recently than childhood, and 1:06:25.240 --> 1:06:27.960 do enjoy it. Bailey's making a good case for it 1:06:28.000 --> 1:06:31.560 as being more than just that, though here is a 1:06:31.600 --> 1:06:34.479 comment from Calvin Chen on a different day, I would 1:06:34.480 --> 1:06:37.280 probably give it to Mary Poppins or the Sound of Music. 1:06:37.320 --> 1:06:39.640 But on the Street where you Live and Wouldn't It 1:06:39.680 --> 1:06:42.440 Be Lovely are two of my favorite musical songs of 1:06:42.440 --> 1:06:44.480 all time, and I have a lot of fond memories 1:06:44.520 --> 1:06:47.120 associated with seeing my Fair Lady for the first time. 1:06:47.480 --> 1:06:50.400 If Audrey Hupburn couldn't take home the Oscar, maybe she 1:06:50.520 --> 1:06:53.920 can at least win a moderately flawed film spotting poll. 1:06:54.760 --> 1:06:57.360 And a note here. The nineteen sixty five Best Actress 1:06:57.400 --> 1:07:01.160 Oscar went to Julie Andrews for Mary Poppins. 1:07:01.200 --> 1:07:05.600 Hepburn wasn't nominated, not even nominated. Here's Craig Schaeffer. I 1:07:05.640 --> 1:07:08.560 understand the praise for Sure Bore, but for my money, 1:07:08.760 --> 1:07:11.560 Demise's next film, The Young Girls of roche For still 1:07:11.600 --> 1:07:14.560 has the songs, plus the radiant Catherine Deneu, but is 1:07:14.680 --> 1:07:16.960 so much stranger and more interesting. 1:07:18.000 --> 1:07:21.560 It is stranger. It's good, Craig, it's good too. Last 1:07:21.720 --> 1:07:26.240 comment here from our MP to counter those who dismiss 1:07:26.360 --> 1:07:29.400 over dubbing actors with singers. I gave my vote to 1:07:30.000 --> 1:07:35.240 Mogal e Azam, the legendary Bollywood budget buster. Some of 1:07:35.280 --> 1:07:37.600 the movies in this poll could have used more dubbing. 1:07:37.920 --> 1:07:41.040 Wouldn't a Stanley Holloway overdubb of Dick Van Dyke's cold 1:07:41.080 --> 1:07:44.920 blooded murder of the COCKI accent have been a massive upgrade? 1:07:45.360 --> 1:07:45.640 Wow? 1:07:45.720 --> 1:07:49.720 Wow, I don't know if I'm qualified to say yes. 1:07:50.920 --> 1:07:52.160 Let's leave this up to Bailey. 1:07:52.520 --> 1:07:56.080 Yeah, what Bailey says? Thank you for all of your feedback, 1:07:56.120 --> 1:07:59.480 except you, Sam Oppenheim. Let's move on to our new poll, 1:08:00.320 --> 1:08:05.280 A truly deeply flawed film spotting poll, because it made 1:08:05.360 --> 1:08:09.080 Josh do homework, and it makes me want to unplug 1:08:09.120 --> 1:08:12.760 my microphone and I might, I might do it. I 1:08:12.840 --> 1:08:17.240 might accidentally shut off my camera, all my equipment lights out, 1:08:17.360 --> 1:08:20.680 just head out the door before the show's done. 1:08:20.840 --> 1:08:25.679 And that this is this is because not to get 1:08:25.720 --> 1:08:28.840 ahead of ourselves. This is the Paul Thomas Anderson decades pole. 1:08:29.640 --> 1:08:32.599 I'm guessing it's forcing you to choose between there will 1:08:32.600 --> 1:08:35.040 be blood and the Master. Is that? Is that the 1:08:35.080 --> 1:08:38.639 central dilemma for you? No? No, okay, no, it's. 1:08:38.479 --> 1:08:44.200 Really not that. And it's it's all three of them, Josh, 1:08:44.439 --> 1:08:44.880 It's just. 1:08:45.080 --> 1:08:46.040 Let's read the options. 1:08:46.080 --> 1:08:48.200 Then you you do the you do the honors. 1:08:48.840 --> 1:08:53.280 Okay, So the nineteen nineties PTA made Hard eight Boogie 1:08:53.360 --> 1:08:57.160 Nights Magnolia. That's one of your choices. Or you could 1:08:57.200 --> 1:09:00.320 go with the two thousands Punch Drunk Love and there 1:09:00.360 --> 1:09:03.240 will be Blood. If you want to do the twenty tens, 1:09:03.920 --> 1:09:08.599 you get The Master, Inherent Vice and Phantom Thread. 1:09:09.520 --> 1:09:11.400 So you can only pick one decade. 1:09:11.920 --> 1:09:15.560 You can only pick one decade. This was a conundrum 1:09:15.640 --> 1:09:17.160 for me because it. 1:09:17.240 --> 1:09:20.840 Forced me with Phantom Thread, well, it forced. 1:09:20.560 --> 1:09:25.320 Me to answer something that I'd been reconsidering in recent years. 1:09:25.720 --> 1:09:28.160 For quite a while, I've said that Punch Drunk Love 1:09:28.360 --> 1:09:33.760 is my favorite PTA movie, and that has been challenged 1:09:34.240 --> 1:09:38.519 by frequent revisits of Phantom Thread, which I did for 1:09:38.520 --> 1:09:43.240 Ebert interrupt Us just within the last year. So I've 1:09:43.280 --> 1:09:46.680 seen that movie and studied that movie closely, you know, 1:09:46.720 --> 1:09:49.880 spent multiple days on that movie with an audience, and 1:09:50.040 --> 1:09:54.639 thought to myself, this is his best movie. It's got 1:09:54.640 --> 1:09:57.639 to be his best movie. To my mind, I knew 1:09:57.640 --> 1:09:59.360 I already liked it more than There Will be Blood 1:09:59.360 --> 1:10:03.600 in the Master char also in that upper tier. But 1:10:03.640 --> 1:10:06.080 there's no way to say that until you've revisited Punch 1:10:06.160 --> 1:10:08.640 Trunk Love. So I've been meaning to and meaning to 1:10:08.800 --> 1:10:11.679 and meaning to, and then not only does Sam propose 1:10:12.000 --> 1:10:15.200 this poll, but as I mentioned in our review of 1:10:15.280 --> 1:10:17.640 A Big, Bold, Beautiful Journey, Punch Drunk Love was one 1:10:17.640 --> 1:10:19.120 of the movies that came to mind while I was 1:10:19.160 --> 1:10:21.960 watching it. So I just thought, it's time, we're gonna 1:10:22.000 --> 1:10:26.000 do it. We're gonna throw it on. Revisit Punch Drunk Love, 1:10:26.880 --> 1:10:30.240 and it clarified this poll, Adam, because still love it, 1:10:30.960 --> 1:10:33.759 but it is now officially my number two PTA film, 1:10:34.040 --> 1:10:37.320 So it goes Phantom Thread then Punch Drunk Love, and 1:10:37.400 --> 1:10:41.280 if I get The Master with Phantom Thread by going 1:10:41.320 --> 1:10:44.479 with the twenty tens. And I also really like Inherent Vice. 1:10:45.439 --> 1:10:47.800 Kind of an easy answer for me. 1:10:50.640 --> 1:10:52.880 I was just trying to bring up while you were talking. 1:10:53.680 --> 1:10:55.680 This won't help, but I was trying to bring I. 1:10:55.640 --> 1:10:58.320 Didn't get I didn't give you enough time to decide 1:10:58.439 --> 1:10:59.960 my letterboxed. 1:11:00.920 --> 1:11:07.200 List. And you know I've got I've got Magnolia and 1:11:07.240 --> 1:11:14.719 Boogie Nights in my top four. I've got Phantom Thread 1:11:15.000 --> 1:11:20.479 and Inherent Vice and The Master in my top six. 1:11:22.320 --> 1:11:25.400 That's pretty compelling, right, I do have there will be 1:11:25.400 --> 1:11:28.679 Blood at number one, number one. Like a lot of people, 1:11:30.160 --> 1:11:35.519 that's messing everything up for you. I it's it's so 1:11:35.640 --> 1:11:38.599 hard because I'll tell you. I mean, here, here's part 1:11:38.600 --> 1:11:40.400 of my thinking. Even though I have There will Be 1:11:40.439 --> 1:11:44.720 Blood at number one, I am applying the logic that 1:11:46.280 --> 1:11:49.200 quantity might matter, and three films is better than two, 1:11:49.840 --> 1:11:53.200 especially when you like to love all eight films right 1:11:53.240 --> 1:11:56.280 here exactly, Okay, so three films is better than two 1:11:56.960 --> 1:12:04.000 and Punch Drunk Love. Unlike you and and many others 1:12:04.000 --> 1:12:05.760 out there who love this film and have seen it 1:12:05.840 --> 1:12:09.519 multiple times, I do have it as my least favorite. 1:12:09.720 --> 1:12:13.160 Pta I've only seen it once. I've only seen it once. Yeah, 1:12:13.160 --> 1:12:15.280 I have it. I have it in the ninth slot. 1:12:15.320 --> 1:12:17.439 I have it below Heart eight, and I like Hard 1:12:17.439 --> 1:12:19.760 eight quite a bit too. I like Punch Trunk Love too. 1:12:19.840 --> 1:12:21.880 I like them all. So let's just be clear. So 1:12:22.200 --> 1:12:23.519 if I have There Will Be Blood one, and I 1:12:23.520 --> 1:12:27.000 have Punch Trunk Love nine, and there's only two, I 1:12:27.040 --> 1:12:29.920 think I'm ruling out the two thousands. It really is 1:12:29.960 --> 1:12:33.920 between the decades that have I answer, yeah, And that's 1:12:34.080 --> 1:12:35.839 the problem is that. 1:12:37.720 --> 1:12:38.240 I so. 1:12:39.920 --> 1:12:45.080 I so love Boogie Knights and Magnolia, that that, despite 1:12:46.200 --> 1:12:49.640 despite how how much I've praised the master over the 1:12:49.720 --> 1:12:53.120 years on the show, I think I'm a nineties guy, 1:12:53.200 --> 1:12:56.519 and I'll tell you I think, oh guy, I think 1:12:56.560 --> 1:12:59.760 I am. I think our revisit of Magnolia sealed that 1:12:59.800 --> 1:13:02.519 movie be as such a masterpiece for me, and I 1:13:02.680 --> 1:13:06.559 still feel that Boogie Knights is as well. If if 1:13:06.600 --> 1:13:11.320 I was if you said, if you applied incinerator rules 1:13:11.320 --> 1:13:13.519 and you said, up all these films, Adam, you could 1:13:13.520 --> 1:13:18.040 only sit down and watch let's say three of them. 1:13:18.240 --> 1:13:21.320 You can only keep three of these movies. Yeah, two 1:13:21.400 --> 1:13:24.479 of them would be Boogie Knights in Magnolia. So that 1:13:24.640 --> 1:13:25.200 kay answer. 1:13:26.080 --> 1:13:28.920 I guess, Yeah, I guess that's a helpful way to 1:13:28.960 --> 1:13:34.040 think about it. Whereas I'd be happy to watch yeah, 1:13:34.080 --> 1:13:36.719 Phantom Thread for one an eighth or ninth time within 1:13:36.720 --> 1:13:40.040 the last twelve months. So that's partly why I'm leading 1:13:40.240 --> 1:13:41.559 towards the twenty tens. 1:13:41.800 --> 1:13:46.400 Okay, it is another case where Team Adam is not 1:13:46.560 --> 1:13:51.000 faring very well. I am decidedly in last place currently 1:13:51.040 --> 1:13:55.000 in the poll. However, h more proof that this is 1:13:55.080 --> 1:13:58.519 not a deeply flawed poll question. It is so far 1:13:59.200 --> 1:14:03.439 very close. Your vote definitely could matter. It could sway 1:14:03.720 --> 1:14:08.000 this one. All three decades have a chance. So please 1:14:08.040 --> 1:14:10.519 do vote, and we would love it if you left 1:14:10.520 --> 1:14:13.400 a comment because we just might share it on the show. 1:14:13.920 --> 1:14:15.360 But you do have to take a stand. You do 1:14:15.439 --> 1:14:18.200 have to vote. You can please take a stand. Yeah, 1:14:18.240 --> 1:14:21.000 come on, Josh does require it or he will shake 1:14:21.040 --> 1:14:21.840 his head at you and. 1:14:21.840 --> 1:14:22.719 You don't exactly. 1:14:24.200 --> 1:14:25.799 You can vote in the poll and leave a comment 1:14:25.840 --> 1:14:29.000 at filmspotting dot net. We will share the results and 1:14:29.040 --> 1:14:32.080 your feedback if you're lucky in a couple of weeks. Josh, 1:14:32.160 --> 1:14:32.920 that is our show. 1:14:33.920 --> 1:14:35.799 If you want to connect with us on social media, 1:14:35.840 --> 1:14:40.560 you can find Adam and the show on Instagram, Facebook, letterboxed, 1:14:40.760 --> 1:14:45.000 and yeah of course YouTube. As film Spotting, I'm at 1:14:45.040 --> 1:14:48.439 all those places as well as Larsen on film. We 1:14:48.520 --> 1:14:51.920 are independently produced and listeners supported. You can support the 1:14:51.920 --> 1:14:55.040 show by joining the film Spotting Family at Filmspotting family 1:14:55.600 --> 1:14:58.360 dot com. You can listen early and ad free. You'll 1:14:58.360 --> 1:15:02.960 also get Sam's weekly, the newsletter, monthly bonus episodes, and 1:15:03.120 --> 1:15:06.559 access to the entire show archive. For show t shirts 1:15:06.600 --> 1:15:09.519 and merch, you can go to film Spotting dot net 1:15:09.800 --> 1:15:10.799 slash Shop. 1:15:11.400 --> 1:15:14.880 In the archive, you'll find conversations about Columbus and After 1:15:14.960 --> 1:15:19.160 Yang with Koganata episodes six fifty and eight sixty eight, 1:15:19.280 --> 1:15:23.479 and another conversation about Columbus with Cooganata live at Film 1:15:23.479 --> 1:15:28.240 Spotting Fest. That's episode ten thirty. That is a show 1:15:28.240 --> 1:15:32.400 we published recently and is definitely currently in the Film 1:15:32.439 --> 1:15:37.120 Spotting public feed. In limited release through October thirteenth, you 1:15:37.840 --> 1:15:40.759 can catch the New York Film Festival. Also in limited 1:15:40.800 --> 1:15:45.040 release is Chain Reactions. Ooh, I wasn't aware of this. Josh, 1:15:45.040 --> 1:15:47.719 a documentary about the legacy of Toby Hooper's The Texas 1:15:47.840 --> 1:15:51.680 Chainsaw Massacre from the director of Lynch Oz and The 1:15:51.720 --> 1:15:55.280 Psycho Docs seventy eight fifty two. Here again, Brian tallerco 1:15:55.320 --> 1:15:57.920 says catnip for horror fans and may even give those 1:15:57.920 --> 1:16:01.160 who don't love TCM yet further appreciation of one of 1:16:01.200 --> 1:16:05.280 the most influential films ever made of any genre. So 1:16:06.000 --> 1:16:10.080 I'm curious and we did a Texas Chainsaw Massacre Sacred 1:16:10.120 --> 1:16:12.120 Cow review back on nine to eighty eight. That was 1:16:12.160 --> 1:16:13.960 a really fun Yeah. 1:16:14.040 --> 1:16:18.040 Yeah, as much as you can enjoy talking about a 1:16:18.080 --> 1:16:22.080 movie like Texas Chainsaw because of its content. That was Yeah, 1:16:22.200 --> 1:16:24.840 very stimulating conversation for sure. 1:16:25.760 --> 1:16:29.120 Strange Journey The Story of Rocky Horror. Yes, it's a 1:16:29.160 --> 1:16:31.960 documentary about the origins of the Rocky Horror Picture Show. 1:16:32.920 --> 1:16:35.920 I would have to actually have seen the Rocky Horror 1:16:35.960 --> 1:16:38.720 Picture Show man. Lots of blind spots coming out on 1:16:38.760 --> 1:16:41.559 this episode. Why why am I just taking shots at 1:16:41.560 --> 1:16:44.960 my own credibility on rough this show? I thought otherwise 1:16:45.000 --> 1:16:48.040 we were doing so good. Dead of Winter Emma Thompson 1:16:48.080 --> 1:16:51.959 interrupts the kidnapping of a teenage girl in snowbound northern Minnesota. 1:16:52.000 --> 1:16:57.040 I'd like to see what a kidnapp being interrupted looks like, Josh. Also, 1:16:57.160 --> 1:17:01.840 we have dreams in parentheses. Sex's Love Okay. This is 1:17:02.040 --> 1:17:05.639 a new one from a Norwegian filmmaker about a seventeen 1:17:05.680 --> 1:17:08.640 year old girl who experiences a sexual awakening when she 1:17:08.680 --> 1:17:11.280 falls head over heels in love with her female teacher. 1:17:11.439 --> 1:17:14.080 It's at the Cisco Film Center in Chicago. One Best 1:17:14.120 --> 1:17:17.920 Film at the twenty twenty five Berlin Film Festival. Also, 1:17:18.000 --> 1:17:21.200 you can catch Eleanor the Great, directed by Scarlett Johansson, 1:17:21.520 --> 1:17:23.759 about a ninety year old woman played by June Squibb 1:17:23.800 --> 1:17:26.559 who returns to New York City after years living in 1:17:26.600 --> 1:17:29.120 Florida in an effort to rebuild her life after the 1:17:29.200 --> 1:17:32.880 death of her best friend. A few wide releases here 1:17:33.000 --> 1:17:36.839 Gabby's Dollhouse. The movie. This is a live action adaptation 1:17:36.920 --> 1:17:39.960 of the popular kids series on Netflix with Kristin Wig 1:17:40.200 --> 1:17:44.920 and Gloria Estefan. The Strangers Chapter two, a sequel to 1:17:45.120 --> 1:17:48.800 twenty twenty fours The Strangers, and you know, Brian Tellurico again. 1:17:48.880 --> 1:17:52.080 Sam's pulling from this will counter nicely what he said 1:17:52.080 --> 1:17:55.439 about Train Dreams atrocious barely a movie. 1:17:55.760 --> 1:18:01.040 Wow. Brian's just experienced the gamut of cinema in this 1:18:01.160 --> 1:18:03.639 last few months, I think, and of. 1:18:03.520 --> 1:18:06.439 Course out wide. The big release, the one we will 1:18:06.439 --> 1:18:11.320 be discussing on next week's show, can't not wait. And yes, 1:18:11.400 --> 1:18:16.440 this will just add another wrinkle into an eventual revisit 1:18:16.479 --> 1:18:19.760 of the film Spotting poll another decade from PTA that 1:18:19.800 --> 1:18:23.479 we'll have to throw into the mix, exactly the twenty twenties. 1:18:23.920 --> 1:18:26.320 We will talk about, one battle after another. 1:18:26.520 --> 1:18:29.639 Film. Spotting is produced by Golden Joe Dessou and Sam 1:18:29.760 --> 1:18:33.400 Van Halgren. Without Sam and Golden Joe, this show wouldn't go. 1:18:33.880 --> 1:18:37.679 Our production assistant is Sophie Kempinar special thanks to everyone 1:18:37.760 --> 1:18:42.400 at wb Eazy Chicago. More information is available at wbez 1:18:43.080 --> 1:18:46.000 dot org for film spotting, I'm Josh Larson. 1:18:45.840 --> 1:18:47.839 And I'm Adam Kempinar. Thanks for listening. 1:18:48.040 --> 1:18:51.000 This conversation can serve no purpose anymore. 1:18:51.880 --> 1:19:11.160 The burn film Spotting is listeners supported. Join the film 1:19:11.160 --> 1:19:14.360 Spotting family at film spottingfamily dot com and get access 1:19:14.360 --> 1:19:18.160 to ad free episodes, monthly bonus shows, our weekly newsletter, and, 1:19:18.200 --> 1:19:20.519 for the first time, all in one place, the entire 1:19:20.760 --> 1:19:23.200 film spotting archive going back to two thousand and five. 1:19:23.520 --> 1:19:28.920 That's a film Spotting Family dot com Panicbly