1 00:00:00,960 --> 00:00:03,760 Speaker 1: On the beck Del Cast, the questions asked if movies 2 00:00:03,840 --> 00:00:07,440 Speaker 1: have women and them, are all their discussions just boyfriends 3 00:00:07,480 --> 00:00:11,639 Speaker 1: and husbands or do they have individualism? The patriarchy? Zef 4 00:00:11,800 --> 00:00:17,200 Speaker 1: invest start changing it with the beck Del cass Oh, Jamie, 5 00:00:17,880 --> 00:00:21,760 Speaker 1: I dropped my earring down the sink. Can you reach 6 00:00:21,840 --> 00:00:29,200 Speaker 1: into my drain and get it out? Um? Yes, I'm 7 00:00:29,240 --> 00:00:33,400 Speaker 1: assuming that's why you hired me to come here, is 8 00:00:33,440 --> 00:00:38,760 Speaker 1: to remove things from your drain? Is that correct? Yeah? 9 00:00:38,920 --> 00:00:42,840 Speaker 1: And if you need to keep reaching into my drain 10 00:00:43,280 --> 00:00:45,920 Speaker 1: over and over? Would you like to have sex? Is 11 00:00:45,960 --> 00:00:49,760 Speaker 1: that what you're saying? Because these metaphors are getting exhausting 12 00:00:49,880 --> 00:00:58,320 Speaker 1: for me. Gina Gershawn Yeah, And Emmy Jennifer Tilly, Oh 13 00:00:58,320 --> 00:01:02,760 Speaker 1: my god, Jennifer, I get it. Okay, let's have sex. 14 00:01:02,920 --> 00:01:09,319 Speaker 1: I would like to fuck I've created Wow. Oh that 15 00:01:09,520 --> 00:01:14,520 Speaker 1: is actually an iconic Jennifer Tilly impression. Congratulation. I felt 16 00:01:14,520 --> 00:01:16,800 Speaker 1: like I wasn't doing a very good job, but thank you. 17 00:01:17,000 --> 00:01:19,920 Speaker 1: I felt like you captured the spirit. Thank you. Thanks. 18 00:01:20,000 --> 00:01:22,720 Speaker 1: I think it was great. Um well, I think that 19 00:01:22,840 --> 00:01:29,240 Speaker 1: was our best introid truly, many moods, years years, years years. 20 00:01:29,800 --> 00:01:32,840 Speaker 1: Welcome to the Bechtel Cast. My name is Jamie Loftus. 21 00:01:32,959 --> 00:01:35,520 Speaker 1: My name is Caitlin Dronte, and this is our podcast 22 00:01:35,560 --> 00:01:39,600 Speaker 1: where we examine movies through an intersectional feminist lens, using 23 00:01:39,640 --> 00:01:42,480 Speaker 1: the Bechdel Test simply as a jumping off point to 24 00:01:42,520 --> 00:01:47,600 Speaker 1: initiate a larger conversation. The Bechtel Test being a media 25 00:01:47,640 --> 00:01:51,600 Speaker 1: metric created by queer cartoonist Alison Bechtel, sometimes called the 26 00:01:51,600 --> 00:01:56,120 Speaker 1: Bechtel Wallace test, in which our version requires that two 27 00:01:56,120 --> 00:01:59,680 Speaker 1: people of a marginalized gender have names, they speak to 28 00:01:59,680 --> 00:02:02,320 Speaker 1: each other, and their conversation has to be about something 29 00:02:02,400 --> 00:02:05,760 Speaker 1: other than a man for like a two or more 30 00:02:06,000 --> 00:02:10,839 Speaker 1: line exchange of dialogue, and hopefully that conversation is narratively impactful. 31 00:02:11,400 --> 00:02:14,520 Speaker 1: Right this is I mean, first of all, you really 32 00:02:15,120 --> 00:02:18,960 Speaker 1: took control of the intro there, and I really thought 33 00:02:19,000 --> 00:02:25,520 Speaker 1: it was powerful and exciting. Thank you, Jennifer. And yeah, 34 00:02:25,600 --> 00:02:28,600 Speaker 1: and in the case of this movie, I really don't 35 00:02:28,600 --> 00:02:32,880 Speaker 1: think we're going to be having many issues as it 36 00:02:32,919 --> 00:02:36,040 Speaker 1: pertains to the Bechtel test. However, we have a great 37 00:02:36,440 --> 00:02:41,600 Speaker 1: conversation ahead because today we are covering the Wachowski Sisters 38 00:02:41,919 --> 00:02:49,600 Speaker 1: classic There I believe their first first feature together. Yeah, Bound, 39 00:02:51,000 --> 00:02:56,760 Speaker 1: starring impressionized incredibly by Caitlin and myself, Jennifer Tilly and 40 00:02:56,840 --> 00:03:00,400 Speaker 1: Gina Gershawn, as well as Joey and pants Um Angst 41 00:03:00,680 --> 00:03:03,520 Speaker 1: a couple of other people. Christopher Maloney is in the 42 00:03:03,600 --> 00:03:06,480 Speaker 1: Damn Movie. Christopher Maloney is in the Damn Movie. And 43 00:03:06,520 --> 00:03:11,400 Speaker 1: that's a really good point. Um, thank you. We have 44 00:03:11,760 --> 00:03:13,800 Speaker 1: we we have so recovering bound and we have an 45 00:03:13,800 --> 00:03:18,440 Speaker 1: incredible returning guest who I believe in text in our 46 00:03:18,520 --> 00:03:23,480 Speaker 1: last episode, wanted to cover this movie. Absolutely. Yes, I 47 00:03:23,480 --> 00:03:26,760 Speaker 1: think I might have been I might have immolated myself 48 00:03:26,800 --> 00:03:31,760 Speaker 1: if it didn't happen. Um. I love this movie so 49 00:03:31,840 --> 00:03:34,760 Speaker 1: much with every pore of my being, and I've wanted 50 00:03:34,760 --> 00:03:38,240 Speaker 1: a reason to like talk about it. Well, but here 51 00:03:38,720 --> 00:03:42,960 Speaker 1: is here, and let's introduce you properly. Our guest today 52 00:03:43,040 --> 00:03:46,280 Speaker 1: is a comedian and host of the Kicking and Screaming podcast. 53 00:03:46,360 --> 00:03:49,560 Speaker 1: You remember her from our episodes on Maid in Manhattan, 54 00:03:50,360 --> 00:03:56,880 Speaker 1: Raw and Atomic Blonde. It's Vanessa Guerrero. Hello, thank you 55 00:03:57,040 --> 00:03:59,440 Speaker 1: so much for having me back. I love that this 56 00:03:59,560 --> 00:04:02,560 Speaker 1: all star arted with the rom com episode in which 57 00:04:02,840 --> 00:04:05,680 Speaker 1: uh I had a four logo because Jamie had one, 58 00:04:05,880 --> 00:04:07,840 Speaker 1: and then I got drunker than I've ever been in 59 00:04:07,880 --> 00:04:12,760 Speaker 1: my whole life. I clearly well, I wouldn't say I 60 00:04:12,840 --> 00:04:20,240 Speaker 1: clearly remember that. I definitely remember that. I just remember, like, oh, Ship, 61 00:04:22,600 --> 00:04:26,279 Speaker 1: even like um, hearing the list of movies you've covered 62 00:04:26,320 --> 00:04:28,960 Speaker 1: with us in the past is such a delight because 63 00:04:28,960 --> 00:04:32,800 Speaker 1: it really just we've covered so much ground and we're 64 00:04:32,839 --> 00:04:37,200 Speaker 1: only expanding upon that ground today with Bound. Oh my gosh, Bound, 65 00:04:37,320 --> 00:04:42,799 Speaker 1: What is your relationship your history with the film Bound? Vanessa. So, 66 00:04:43,120 --> 00:04:44,760 Speaker 1: there were like a couple of movies that I would 67 00:04:44,760 --> 00:04:47,159 Speaker 1: see on i f C really late night as a 68 00:04:47,360 --> 00:04:51,159 Speaker 1: kid that were like, oh my god, this is horny 69 00:04:51,240 --> 00:04:55,120 Speaker 1: and gay, and this is very much like awakening something 70 00:04:55,160 --> 00:04:57,320 Speaker 1: in me in ways that I can't quite unpack yet. 71 00:04:57,440 --> 00:05:00,200 Speaker 1: Their mine, and it was like this and and I'm 72 00:05:00,240 --> 00:05:03,680 Speaker 1: a cheerleader. It was it was usually like one or 73 00:05:03,720 --> 00:05:07,640 Speaker 1: the other. And Bound blew my mind because it took 74 00:05:07,680 --> 00:05:09,880 Speaker 1: the shape of so many things that I like and 75 00:05:09,920 --> 00:05:13,880 Speaker 1: I had seen before, Like it took every neo noir 76 00:05:14,360 --> 00:05:18,440 Speaker 1: Marlon Brando ass like someone in a tank top brooding 77 00:05:18,760 --> 00:05:21,919 Speaker 1: in dark alleys that I've seen a million times, but 78 00:05:22,080 --> 00:05:26,120 Speaker 1: put it into this like almost comic book perspective that 79 00:05:26,240 --> 00:05:28,839 Speaker 1: just so happened to start two of the hottest women 80 00:05:28,880 --> 00:05:32,760 Speaker 1: I've ever seen. Truly, I did that thing where when 81 00:05:32,760 --> 00:05:35,280 Speaker 1: you want someone you try and take on their personality, 82 00:05:35,520 --> 00:05:39,200 Speaker 1: So I was constantly swinging in between like hyper fem 83 00:05:39,240 --> 00:05:44,200 Speaker 1: and mask presentations. Bound definitely like. I experienced a lot 84 00:05:44,279 --> 00:05:47,440 Speaker 1: of like euphoria with this movie, and it made me 85 00:05:47,480 --> 00:05:50,680 Speaker 1: love the witch Howski so much that I watched everything 86 00:05:51,040 --> 00:05:53,640 Speaker 1: that they had ever made except for The Matrix because 87 00:05:53,680 --> 00:05:55,360 Speaker 1: I was scared that it wouldn't live up to it. 88 00:05:55,760 --> 00:05:57,480 Speaker 1: And I didn't watch The Matrix until I was like, 89 00:05:58,480 --> 00:06:00,240 Speaker 1: I love it. I love it. I saw twell times 90 00:06:00,240 --> 00:06:03,479 Speaker 1: in one week. I mean people watched it later, some 91 00:06:03,520 --> 00:06:07,080 Speaker 1: people watched it later than that. That's all I'll say. 92 00:06:09,480 --> 00:06:18,320 Speaker 1: I love all of that. Jamie, what's your relationship with Bound? Um? 93 00:06:18,360 --> 00:06:20,560 Speaker 1: I didn't think I had much of a relationship with it, 94 00:06:20,600 --> 00:06:22,560 Speaker 1: And then as I was so, I had not seen 95 00:06:22,640 --> 00:06:26,719 Speaker 1: this movie in full before until preparing for this episode, however, 96 00:06:27,279 --> 00:06:30,760 Speaker 1: I realized as I was watching it that it's so 97 00:06:30,800 --> 00:06:34,200 Speaker 1: funny that you mentioned I f C and I'm assuming 98 00:06:34,360 --> 00:06:39,960 Speaker 1: the like latesh Odds Vanessa, because I think I've mentioned 99 00:06:39,960 --> 00:06:42,080 Speaker 1: this on the show before. My dad was like, a 100 00:06:42,120 --> 00:06:44,479 Speaker 1: big time, like when he was done with work for 101 00:06:44,520 --> 00:06:47,120 Speaker 1: the night and like the rest of the family was asleep, 102 00:06:47,279 --> 00:06:50,280 Speaker 1: he would watch I f C movies like no one's business. 103 00:06:50,760 --> 00:06:54,040 Speaker 1: And sometimes if you walk into your parents watching an 104 00:06:54,040 --> 00:06:57,640 Speaker 1: I f C late night movie, it's uncomfortable. And so 105 00:06:57,960 --> 00:07:01,839 Speaker 1: I do remember clearly one night in a movie that 106 00:07:01,920 --> 00:07:08,440 Speaker 1: I now realized was bound um walking downstairs, passing my 107 00:07:08,560 --> 00:07:10,280 Speaker 1: dad at the TV to get to the kitchen to 108 00:07:10,320 --> 00:07:13,440 Speaker 1: get a glass of water and being like, Michael, what 109 00:07:13,600 --> 00:07:18,120 Speaker 1: are you watching because it was a scene of Gina 110 00:07:18,200 --> 00:07:22,000 Speaker 1: Kershawn and Jennifer Tilly making sweet love to each other, 111 00:07:22,120 --> 00:07:25,080 Speaker 1: and he was like, it's an i f C movie. Relax, 112 00:07:25,600 --> 00:07:30,920 Speaker 1: because Michaelofts is the king of punk and always has been, 113 00:07:30,920 --> 00:07:33,640 Speaker 1: always will be. But I remember at the time being 114 00:07:33,680 --> 00:07:38,440 Speaker 1: scandalized by what my father was watching on probably a Tuesday. 115 00:07:38,720 --> 00:07:41,840 Speaker 1: And then as I was watching this movie that I 116 00:07:41,920 --> 00:07:44,800 Speaker 1: really I've now watched three times and I've really really 117 00:07:44,840 --> 00:07:46,920 Speaker 1: come to like I can't wait to talk about it 118 00:07:46,920 --> 00:07:51,160 Speaker 1: because it's so fucking good and like not only like 119 00:07:51,280 --> 00:07:54,920 Speaker 1: incredible for its time, but incredible for like right now 120 00:07:54,960 --> 00:07:58,240 Speaker 1: watching it today shows so much about like what's to 121 00:07:58,360 --> 00:08:01,480 Speaker 1: come in the witch Howski sister filmography, like, it just 122 00:08:01,480 --> 00:08:04,240 Speaker 1: is so good. But also I saw my dad watching 123 00:08:04,280 --> 00:08:07,840 Speaker 1: it in high school and I was like, oh, um, 124 00:08:07,880 --> 00:08:09,800 Speaker 1: that's my whole history with it. I love it. I'm 125 00:08:09,800 --> 00:08:13,400 Speaker 1: excited to talk about it. Caitlin, what's your history with 126 00:08:13,440 --> 00:08:16,880 Speaker 1: this movie. I had never seen any part of this movie, 127 00:08:18,200 --> 00:08:22,160 Speaker 1: not not even on the Tuesday No, but it was 128 00:08:22,200 --> 00:08:24,680 Speaker 1: on my It's been on my radar forever. It's been 129 00:08:24,680 --> 00:08:26,880 Speaker 1: on my list of things to watch forever. I just 130 00:08:27,040 --> 00:08:29,920 Speaker 1: had not gotten around to it. So this episode was 131 00:08:29,960 --> 00:08:32,400 Speaker 1: the perfect excuse. I've seen it, I think four times 132 00:08:32,440 --> 00:08:37,000 Speaker 1: now in the past like two weeks. This movie fucking rules. 133 00:08:37,200 --> 00:08:40,640 Speaker 1: Like I am sad that I slept on it for 134 00:08:40,679 --> 00:08:43,840 Speaker 1: so long, but yeah, I'm so excited to talk about it. 135 00:08:44,240 --> 00:08:46,120 Speaker 1: I kind of don't have a bad thing to say 136 00:08:46,160 --> 00:08:50,440 Speaker 1: about it. It's all good stuff, perfect, It's kind of 137 00:08:50,440 --> 00:08:54,720 Speaker 1: a perfect movie. Should I recap it? Yeah, let's recap it? 138 00:08:54,760 --> 00:08:58,120 Speaker 1: Why not? Oh? Sorry, I was just trying to figure 139 00:08:58,120 --> 00:09:02,840 Speaker 1: out there's a character played by Kevin M. Richardson. He's 140 00:09:02,880 --> 00:09:06,640 Speaker 1: only credited as Cop Number two, but I immediately recognized 141 00:09:06,679 --> 00:09:09,520 Speaker 1: his voice and I was like, Oh my god, who 142 00:09:09,600 --> 00:09:12,480 Speaker 1: is this man? Who is this man. So he is 143 00:09:12,520 --> 00:09:15,959 Speaker 1: the cop that is peeing in the toilet while there's blood, 144 00:09:16,200 --> 00:09:19,880 Speaker 1: while there's a guy and dead in the tub, and 145 00:09:20,000 --> 00:09:22,480 Speaker 1: his voice like I don't know, I just I'm such 146 00:09:22,520 --> 00:09:24,839 Speaker 1: like I'm so animation filled them, like I know this 147 00:09:24,880 --> 00:09:30,360 Speaker 1: man's voice. It turns out he is an iconic voice actor, 148 00:09:30,800 --> 00:09:34,559 Speaker 1: and he plays a character in Delilo and Stitch franchise 149 00:09:34,640 --> 00:09:39,240 Speaker 1: named Captain Gone to God. That's why his voice was 150 00:09:39,320 --> 00:09:42,959 Speaker 1: familiar to me. He's been in a timing. You could 151 00:09:43,000 --> 00:09:46,560 Speaker 1: recognize his voice from any you know, wild amount of things. 152 00:09:46,600 --> 00:09:48,520 Speaker 1: But I definitely was like, oh yeah, and then he 153 00:09:48,640 --> 00:09:52,560 Speaker 1: was like in subsequently Low and Stitch stuff. I'm like, okay, 154 00:09:52,600 --> 00:09:55,120 Speaker 1: I feel so much better. It's such a relief when 155 00:09:55,160 --> 00:09:57,280 Speaker 1: you hear someone's voice and then you can connect it 156 00:09:57,360 --> 00:10:00,960 Speaker 1: to a cartoon character for whatever reason, and oh yeah, 157 00:10:01,080 --> 00:10:03,240 Speaker 1: my brand's like oh cool, they're really get around them 158 00:10:03,240 --> 00:10:09,400 Speaker 1: in reality. Right, You're like, that is Captain Gontu, isn't it? Anyways? Okay, 159 00:10:09,440 --> 00:10:13,280 Speaker 1: the movie bound, sorry movie bound here here it comes. Okay, 160 00:10:13,360 --> 00:10:19,080 Speaker 1: So Violet, that's Jennifer Tilly and her husband, her husband 161 00:10:19,880 --> 00:10:22,040 Speaker 1: or maybe boyfriend. I don't know if they're married or 162 00:10:22,160 --> 00:10:24,040 Speaker 1: just like partnered. Um, yeah, I don't put them in 163 00:10:24,080 --> 00:10:27,840 Speaker 1: a box. I'm so sorry. This toxic relationship could be anything, 164 00:10:28,080 --> 00:10:31,680 Speaker 1: could be anything. You're right, it's like a symbiotic toxic relation. Well, 165 00:10:31,960 --> 00:10:34,719 Speaker 1: one way someone surviving and then the other person is 166 00:10:34,720 --> 00:10:37,240 Speaker 1: a piece of ship. It's almost as if she's kind 167 00:10:37,240 --> 00:10:40,720 Speaker 1: of like bound to him, but not because she wants 168 00:10:40,760 --> 00:10:45,839 Speaker 1: to be. Yes, there's so much binding in this movie. 169 00:10:45,920 --> 00:10:52,360 Speaker 1: Sexy and otherwise. His name is Caesar. That's Joe Pantaliano 170 00:10:52,440 --> 00:10:56,400 Speaker 1: a k. Joey Pants. They get into an elevator with 171 00:10:56,640 --> 00:11:01,280 Speaker 1: Corky that's Gina Gershawn, Violent and cork He make eyes 172 00:11:01,720 --> 00:11:06,000 Speaker 1: at each other. Then Violet and Caesar go into their 173 00:11:06,400 --> 00:11:11,520 Speaker 1: condo while Quirky goes into the unit next door. She's 174 00:11:11,520 --> 00:11:15,319 Speaker 1: there to do repairs and fix up the place. Also 175 00:11:15,320 --> 00:11:18,200 Speaker 1: a quick shout out to the score of this movie 176 00:11:18,320 --> 00:11:22,840 Speaker 1: by someone named Don Davis, because any time, any time 177 00:11:23,280 --> 00:11:26,920 Speaker 1: Quirky and Violet are in an enclosed space together, it's well, 178 00:11:27,000 --> 00:11:31,560 Speaker 1: in the elevator, it's something like brown brown, brown, like 179 00:11:31,600 --> 00:11:37,120 Speaker 1: it's like a very like it's very nineties sexy music. Yeah, 180 00:11:37,160 --> 00:11:40,120 Speaker 1: it's like making out in the rain to like an 181 00:11:40,240 --> 00:11:46,400 Speaker 1: m and s song Horny is Horny. I appreciate it 182 00:11:46,440 --> 00:11:49,440 Speaker 1: and like, no need to play subtle here. The score 183 00:11:49,480 --> 00:11:51,920 Speaker 1: was written by Don Davis. As you said, he also 184 00:11:51,960 --> 00:11:55,280 Speaker 1: wrote the score for The Matrix, and you can there's 185 00:11:55,320 --> 00:11:58,559 Speaker 1: a lot of similarities between When like I was watching 186 00:11:58,640 --> 00:12:00,400 Speaker 1: Bound and I was like, oh my gosh, this sounds 187 00:12:00,480 --> 00:12:03,680 Speaker 1: very similar to the score of The Matrix. I agree, 188 00:12:04,320 --> 00:12:07,280 Speaker 1: and and okay, one word Don Davis fact and then 189 00:12:08,040 --> 00:12:11,920 Speaker 1: we will turn. So I feel like this TV series 190 00:12:11,920 --> 00:12:14,080 Speaker 1: that only I have seen has come up an absurd 191 00:12:14,120 --> 00:12:16,440 Speaker 1: amount of times on this show. Is that The Beauty 192 00:12:16,440 --> 00:12:20,240 Speaker 1: and the Beast. Yes, it's the Ron Perlman at the 193 00:12:20,320 --> 00:12:24,760 Speaker 1: Ron Perlman Linda Hamilton's Beauty and the Beast series. He 194 00:12:24,920 --> 00:12:28,280 Speaker 1: also scored that. And you can also hear that. You 195 00:12:28,320 --> 00:12:32,280 Speaker 1: can hear the echoes the foundation of the Bound soundtrack. 196 00:12:32,640 --> 00:12:34,920 Speaker 1: I feel like, if we ever end up covering Boundry 197 00:12:34,960 --> 00:12:38,719 Speaker 1: on this show, the Bound track, if you will, if 198 00:12:38,760 --> 00:12:42,720 Speaker 1: you if we ever end up covering TV shows Linda 199 00:12:42,800 --> 00:12:45,960 Speaker 1: Hamilton's Ron Perlman Beauty and the Beast, it's cannon. It's 200 00:12:46,040 --> 00:12:50,800 Speaker 1: just like, if not good at least funny, what if 201 00:12:50,840 --> 00:12:53,240 Speaker 1: we pivot for like a few months and just do 202 00:12:53,280 --> 00:12:56,319 Speaker 1: a spin off series and just cover that. Also, Don 203 00:12:56,400 --> 00:13:01,120 Speaker 1: Davis did music on recent covered movie Casper. Oh my god, 204 00:13:01,800 --> 00:13:05,160 Speaker 1: the music, and that makes me think, like it's fall right. 205 00:13:05,520 --> 00:13:09,480 Speaker 1: It's like so he sometimes is like riding on James 206 00:13:09,480 --> 00:13:12,160 Speaker 1: Horner's pegs, if you will to put this in the 207 00:13:12,160 --> 00:13:16,600 Speaker 1: middle schools, like he sometimes is the assistant to James Horner. So, 208 00:13:16,679 --> 00:13:19,360 Speaker 1: you know, shout out to Don Davis for giving us 209 00:13:19,760 --> 00:13:24,800 Speaker 1: a sexy elevator. Um upright, bass pluck vibe. I appreciated it. 210 00:13:24,960 --> 00:13:29,040 Speaker 1: Love it, love it. Um Okay. So Quirky and Violet 211 00:13:29,320 --> 00:13:33,600 Speaker 1: have encountered each other in the elevator. Then Violet comes 212 00:13:33,800 --> 00:13:37,880 Speaker 1: over to the unit quirkies in and introduces herself to Quirky, 213 00:13:38,120 --> 00:13:40,720 Speaker 1: brings her a cup of coffee. They chat it is 214 00:13:41,280 --> 00:13:45,320 Speaker 1: very horny and seductive. I assumed you light it like 215 00:13:45,440 --> 00:13:48,920 Speaker 1: I assumed you light to coffee black good. Yes, you're like. 216 00:13:50,440 --> 00:13:52,880 Speaker 1: And then she's like, it's so cool that you can 217 00:13:52,960 --> 00:13:56,400 Speaker 1: fix things, but these walls are so thin, so could 218 00:13:56,440 --> 00:13:59,200 Speaker 1: you just wait a while until you start using your 219 00:13:59,280 --> 00:14:02,400 Speaker 1: tools because I'm a night person. They're both just like 220 00:14:02,480 --> 00:14:04,640 Speaker 1: a lot of skirls and silver, like, oh my god, 221 00:14:05,280 --> 00:14:07,840 Speaker 1: yes that is very much their vibe where it's like, 222 00:14:08,240 --> 00:14:11,920 Speaker 1: I like these women. I don't know if I could 223 00:14:12,640 --> 00:14:15,760 Speaker 1: hang out with them. I'm threatened by them. I am 224 00:14:16,080 --> 00:14:20,120 Speaker 1: deeply inpredated by them. I think they would hate me. 225 00:14:20,600 --> 00:14:24,160 Speaker 1: I think they would absolutely hate me, but I admire 226 00:14:24,240 --> 00:14:26,960 Speaker 1: them from a disk. I would be sitting across the 227 00:14:27,000 --> 00:14:30,560 Speaker 1: bar from them, like, Wow, how cool. And then they 228 00:14:30,560 --> 00:14:33,800 Speaker 1: will not be there here right thrilled for them not 229 00:14:33,880 --> 00:14:37,520 Speaker 1: going to uh, you know, roll the diason whether they 230 00:14:37,520 --> 00:14:41,360 Speaker 1: would want to talk to me or not. They don't. Hey, 231 00:14:41,600 --> 00:14:44,760 Speaker 1: you never know. But Corny Corky is playing it cool 232 00:14:44,880 --> 00:14:47,920 Speaker 1: and she's just like, yeah, whatever, I'll hold off on 233 00:14:48,200 --> 00:14:52,840 Speaker 1: using my drain snake or whatever. And then she's like, 234 00:14:52,960 --> 00:14:54,680 Speaker 1: by the way, I drive a truck, and I talked 235 00:14:54,680 --> 00:14:58,200 Speaker 1: about her truck for a while. Then Corky goes to 236 00:14:58,720 --> 00:15:03,280 Speaker 1: a lesbian bar. We learned that she is an ex 237 00:15:03,360 --> 00:15:06,880 Speaker 1: con who recently spent five years in prison. She's a 238 00:15:06,920 --> 00:15:12,280 Speaker 1: professional thief. Then Quirky goes over to Violet's place to 239 00:15:12,520 --> 00:15:17,000 Speaker 1: fish out a piece of jewelry that Violet accidentally quote 240 00:15:17,040 --> 00:15:20,560 Speaker 1: unquote dropped down the sink. You can tell it wasn't 241 00:15:20,560 --> 00:15:24,120 Speaker 1: on purpose because of the upright bass music that continues 242 00:15:24,160 --> 00:15:31,600 Speaker 1: throughout the scene. Here's my brilliant observation about this. So 243 00:15:31,640 --> 00:15:34,680 Speaker 1: we just covered Imagine Me and You, and there's a 244 00:15:34,720 --> 00:15:37,960 Speaker 1: scene in that movie where one woman needs the help 245 00:15:38,000 --> 00:15:40,720 Speaker 1: of another woman to fish a piece of jewelry out 246 00:15:40,720 --> 00:15:44,360 Speaker 1: of a punch bowl, and that is the catalyst to 247 00:15:44,480 --> 00:15:46,840 Speaker 1: get them to like start getting to know each other 248 00:15:47,000 --> 00:15:50,960 Speaker 1: and eventually get together and kiss. And that's the same 249 00:15:51,000 --> 00:15:54,320 Speaker 1: thing that happens in this movie. Wait, Vanessa, you've seen 250 00:15:54,400 --> 00:15:58,560 Speaker 1: Imagine Me and You? Yes. Um. Riley Silverman told me 251 00:15:58,600 --> 00:16:00,520 Speaker 1: to watch it one holiday when I that there isn't 252 00:16:00,640 --> 00:16:05,600 Speaker 1: enough gay rom com um and she basically like live 253 00:16:05,720 --> 00:16:08,240 Speaker 1: texted me through it as I had my experience with 254 00:16:08,280 --> 00:16:12,800 Speaker 1: it the first time and lost my mind. Oh, I 255 00:16:12,880 --> 00:16:14,560 Speaker 1: was like in a Hallmark mood, and I was like, 256 00:16:14,640 --> 00:16:18,400 Speaker 1: I want something, Hallmark. I just want anybody other than 257 00:16:18,440 --> 00:16:21,120 Speaker 1: this like configuration that I always see kissing to kiss. 258 00:16:22,160 --> 00:16:23,880 Speaker 1: And I got it. It's almost like what I get 259 00:16:23,880 --> 00:16:26,240 Speaker 1: out of Bound, where it's like I want bulb, but 260 00:16:26,320 --> 00:16:29,440 Speaker 1: I want it. I want two girls to kiss in 261 00:16:29,520 --> 00:16:33,400 Speaker 1: like a sweet rom com me way. Yeah exactly. Yeah, 262 00:16:33,440 --> 00:16:36,800 Speaker 1: this truly is a cut I mean in the way 263 00:16:37,000 --> 00:16:39,600 Speaker 1: like imagine Me and You we recently covered on the show, 264 00:16:39,640 --> 00:16:42,760 Speaker 1: and it's such a blast, and like even more so 265 00:16:42,920 --> 00:16:46,400 Speaker 1: than that movie, I feel like Bound delivers on like 266 00:16:46,960 --> 00:16:53,400 Speaker 1: a great genre, like the mafia, haisty thriller kind of movie, 267 00:16:53,600 --> 00:16:58,280 Speaker 1: without any of the baggage that usually comes with that genre. 268 00:16:58,600 --> 00:17:00,720 Speaker 1: And so you can just watch it, yes and have 269 00:17:00,760 --> 00:17:07,960 Speaker 1: an amazing time, which is all I've ever wanted exactly. Okay, 270 00:17:08,000 --> 00:17:10,640 Speaker 1: So Quirky goes over to fish this piece of jewelry 271 00:17:10,680 --> 00:17:13,720 Speaker 1: out of the sink. Then Violet offers her a drink. 272 00:17:14,160 --> 00:17:17,560 Speaker 1: She's being very seductive again, and then she's like, by 273 00:17:17,600 --> 00:17:21,600 Speaker 1: the way, I'm trying to seduce you, and she puts 274 00:17:21,680 --> 00:17:24,840 Speaker 1: Quirky's hand between her legs and they start kissing. It's 275 00:17:24,840 --> 00:17:29,280 Speaker 1: getting very hot and steamy. But then Caesar comes home 276 00:17:29,480 --> 00:17:33,520 Speaker 1: and interrupts, but he doesn't see them, and they have 277 00:17:33,600 --> 00:17:37,040 Speaker 1: a quick conversation and we gather that Caesar is in 278 00:17:37,160 --> 00:17:42,640 Speaker 1: the mob. Then Violet goes to Quirky later that night 279 00:17:42,840 --> 00:17:45,879 Speaker 1: or sometime later, they kiss again. They go back to 280 00:17:45,960 --> 00:17:50,120 Speaker 1: Quirky's place and have sex, and boy do they they 281 00:17:50,160 --> 00:17:55,000 Speaker 1: have sex, and a continuous shot that sex scene was 282 00:17:55,080 --> 00:17:59,800 Speaker 1: choreographed by Susie Bright. Yes, yes, and it's so amazing 283 00:18:00,000 --> 00:18:03,960 Speaker 1: watching it even now in terms of like how how 284 00:18:04,000 --> 00:18:06,679 Speaker 1: I haven't quite seen anything like it, because even when 285 00:18:06,720 --> 00:18:10,240 Speaker 1: I see lesbian sex on cameras, it tends to always 286 00:18:10,320 --> 00:18:13,600 Speaker 1: have this like heteronormative angle of like being like, well, 287 00:18:13,800 --> 00:18:15,680 Speaker 1: this one does this, and this other one does this. 288 00:18:16,160 --> 00:18:17,800 Speaker 1: And I was watching it with a friend of mine 289 00:18:18,440 --> 00:18:21,200 Speaker 1: who is twenty five and she's a lesbian and she's 290 00:18:21,280 --> 00:18:23,480 Speaker 1: never seen this movie before. I hadn't even heard of it, 291 00:18:23,800 --> 00:18:26,960 Speaker 1: and she was like, I have never ever, not even 292 00:18:27,000 --> 00:18:31,680 Speaker 1: important see a fem be the one that's doing something 293 00:18:32,200 --> 00:18:37,000 Speaker 1: to the mask one, right, It's always presented in that 294 00:18:37,080 --> 00:18:39,720 Speaker 1: like very hetero sense of like, yeah, the mask is 295 00:18:39,720 --> 00:18:42,520 Speaker 1: always the one that tops, right, And so she had 296 00:18:42,600 --> 00:18:47,200 Speaker 1: never ever, not even imporn, like seen this perspective of 297 00:18:47,240 --> 00:18:50,720 Speaker 1: what is so much closer to like a common experience, 298 00:18:51,720 --> 00:18:54,080 Speaker 1: seeing someone at that age watching for the first time 299 00:18:54,240 --> 00:18:57,560 Speaker 1: and realized they still don't have something like that. Susie Bright, 300 00:18:58,240 --> 00:19:02,520 Speaker 1: Hang you yeah, we'll talk about that later. Susie Bright, 301 00:19:02,960 --> 00:19:05,840 Speaker 1: She's a legend. Yeah, that that scene in general, I like, 302 00:19:06,080 --> 00:19:08,280 Speaker 1: I feel like it true. It wasn't until the second 303 00:19:08,359 --> 00:19:10,720 Speaker 1: viewing that that even registered for me because it is 304 00:19:10,760 --> 00:19:13,320 Speaker 1: so effortless in the way the storytelling us. But you're like, yeah, 305 00:19:13,320 --> 00:19:18,000 Speaker 1: you never see a FM top, especially in like a 306 00:19:18,040 --> 00:19:21,800 Speaker 1: bigger movie, in the way that this was, Like, I 307 00:19:21,880 --> 00:19:26,520 Speaker 1: just was what a this movie like subverts so much 308 00:19:26,720 --> 00:19:29,199 Speaker 1: in a way that is so effortless that you don't 309 00:19:29,240 --> 00:19:31,880 Speaker 1: you may not even necessarily notice it on the first time, 310 00:19:31,920 --> 00:19:33,679 Speaker 1: because the first time I was just so thrilled to 311 00:19:33,680 --> 00:19:37,240 Speaker 1: see them fucking um that it took me to the 312 00:19:37,320 --> 00:19:40,520 Speaker 1: second viewing to be like, oh right, this was actually 313 00:19:40,600 --> 00:19:44,760 Speaker 1: like not the most obvious way that this scene would 314 00:19:44,800 --> 00:19:47,879 Speaker 1: be staged on the part of of Susie Bright and 315 00:19:47,880 --> 00:19:50,520 Speaker 1: the Witch Howskies like, it's just this movie is amazing, 316 00:19:50,600 --> 00:19:54,879 Speaker 1: It's great. Okay. So the next day Quirky sees this 317 00:19:54,920 --> 00:19:59,480 Speaker 1: guy named Shelley go into Violets condo and then Quirky, 318 00:19:59,560 --> 00:20:03,520 Speaker 1: here's the have sex through the walls. Then the next 319 00:20:03,640 --> 00:20:07,280 Speaker 1: time Quirky and Violet see each other, Quirky confronts Violet 320 00:20:07,359 --> 00:20:11,000 Speaker 1: about having sex with this guy with men in general 321 00:20:11,480 --> 00:20:14,400 Speaker 1: kind of calls her a fraud, but Violet is like, 322 00:20:14,680 --> 00:20:16,960 Speaker 1: that wasn't sex, that was work, And then they have 323 00:20:17,040 --> 00:20:19,679 Speaker 1: a kind of an argument slash discussion about it, and 324 00:20:19,680 --> 00:20:24,280 Speaker 1: then they part on kind of bad terms. Then Quirky 325 00:20:24,320 --> 00:20:27,439 Speaker 1: sees a handful of mobsters bring that guy Shelly into 326 00:20:27,680 --> 00:20:32,119 Speaker 1: Violet in Caesar's place. One of these mobsters is Johnny 327 00:20:32,160 --> 00:20:36,720 Speaker 1: a k a. Christopher Maloney. Another is this guy named Mickey, 328 00:20:36,840 --> 00:20:42,600 Speaker 1: and Caesar and the other mob boys start beating the 329 00:20:42,640 --> 00:20:47,840 Speaker 1: ship out of Shelly. What a wise guy types, Oh yeah, 330 00:20:48,000 --> 00:20:53,120 Speaker 1: Shelly apparently stole money from the mob boss, so they 331 00:20:53,119 --> 00:20:55,720 Speaker 1: start chopping his fingers off trying to get him to 332 00:20:55,760 --> 00:21:00,080 Speaker 1: tell them where the money is. Meanwhile, Violet goes to 333 00:21:00,320 --> 00:21:04,080 Speaker 1: Quirky and confides in her that she can't do this anymore. 334 00:21:04,119 --> 00:21:06,000 Speaker 1: She can't be with Caesar, she can't be around all 335 00:21:06,040 --> 00:21:08,639 Speaker 1: this violence. She wants out, She wants a new life, 336 00:21:08,960 --> 00:21:12,280 Speaker 1: and she needs Quirky's help to get out of this situation. 337 00:21:12,920 --> 00:21:16,720 Speaker 1: So they start to devise a plan. They are going 338 00:21:16,800 --> 00:21:21,040 Speaker 1: to steal the two million dollars that Shelley had stolen 339 00:21:21,080 --> 00:21:24,760 Speaker 1: from the mob boss, but Quirky isn't sure that she 340 00:21:24,840 --> 00:21:27,720 Speaker 1: can trust Violet not to set her up, but they 341 00:21:27,760 --> 00:21:31,840 Speaker 1: decided to trust each other and move forward with the plan, 342 00:21:32,200 --> 00:21:36,880 Speaker 1: which is so the mob boss Geno Marzoni is supposed 343 00:21:36,920 --> 00:21:40,440 Speaker 1: to come and pick up the money generic Italian name. 344 00:21:41,400 --> 00:21:45,199 Speaker 1: You're like yep yep ye. So he's supposed to come 345 00:21:45,240 --> 00:21:48,000 Speaker 1: and pick up the money from Caesar at his and 346 00:21:48,119 --> 00:21:52,400 Speaker 1: Violets condo along with his son, who is Johnny ak 347 00:21:52,560 --> 00:21:56,800 Speaker 1: Christopher Maloney, but Quirky is going to sneak in and 348 00:21:56,880 --> 00:22:00,119 Speaker 1: steal the money while Caesar is in the shower for 349 00:22:00,640 --> 00:22:04,360 Speaker 1: Gino and company show up, and then Violet is going 350 00:22:04,400 --> 00:22:07,800 Speaker 1: to convince Caesar that Johnny must have come in and 351 00:22:07,840 --> 00:22:11,960 Speaker 1: stolen the money when she goes out to buy scotch 352 00:22:12,000 --> 00:22:15,440 Speaker 1: because she like fake breaks this bottle of scotch. I 353 00:22:15,480 --> 00:22:19,160 Speaker 1: love that whole Like how many It's like not even 354 00:22:19,200 --> 00:22:22,160 Speaker 1: how many queer troops are like shattered in this movie. 355 00:22:22,200 --> 00:22:25,040 Speaker 1: It's just like film noir tropes in general, where it's like, 356 00:22:25,720 --> 00:22:29,000 Speaker 1: in so many scenes, Violet is playing the part of 357 00:22:29,000 --> 00:22:32,119 Speaker 1: like the typical like mobster's girlfriend who you see in 358 00:22:32,160 --> 00:22:34,960 Speaker 1: the background of scenes but never has any agency and 359 00:22:35,000 --> 00:22:38,600 Speaker 1: it's always like, oh no, what's happening, And like even 360 00:22:38,720 --> 00:22:41,159 Speaker 1: he is like Joey Pants is trying to cast her 361 00:22:41,200 --> 00:22:43,320 Speaker 1: in that role, but she will not be cast in 362 00:22:43,359 --> 00:22:47,520 Speaker 1: that role. Yeah, it reminded me of the scene where 363 00:22:48,480 --> 00:22:52,359 Speaker 1: I don't remember the guy's name, but in Double Indemnity, 364 00:22:52,440 --> 00:22:56,160 Speaker 1: when the guy was like, here's the plan. We're gonna 365 00:22:56,359 --> 00:23:02,200 Speaker 1: double indemnity his ass, and that's it happens. But then, 366 00:23:02,280 --> 00:23:04,840 Speaker 1: and in this movie, it's Quirky laying out this whole 367 00:23:05,160 --> 00:23:08,800 Speaker 1: carefully orchestrated plan. She's in control. It's so great. I 368 00:23:08,880 --> 00:23:13,880 Speaker 1: love it. So this plan should work with Violet convincing 369 00:23:14,200 --> 00:23:17,440 Speaker 1: Caesar that Johnny stole the money. It should work because 370 00:23:17,480 --> 00:23:19,720 Speaker 1: we learned that Johnny is kind of a loose cannon 371 00:23:20,200 --> 00:23:23,960 Speaker 1: and might do something wild like this, and that Johnny 372 00:23:23,960 --> 00:23:26,240 Speaker 1: and Caesar hate each other, so it would stand a 373 00:23:26,280 --> 00:23:29,840 Speaker 1: reason that Johnny would want to funk over Caesar. So 374 00:23:30,440 --> 00:23:34,080 Speaker 1: with Caesar convinced that Johnny screwed him over and took 375 00:23:34,200 --> 00:23:37,280 Speaker 1: the money, he will have no choice but to run 376 00:23:37,400 --> 00:23:41,320 Speaker 1: because otherwise Gino will kill him for stealing his money, 377 00:23:41,720 --> 00:23:45,320 Speaker 1: and then Caesar running will make him seem guilty, which 378 00:23:45,359 --> 00:23:50,719 Speaker 1: takes away any suspicion from Violet and Quirky being the culprits. 379 00:23:51,800 --> 00:23:55,959 Speaker 1: So the plan goes off without a hitch to start, 380 00:23:56,480 --> 00:24:02,000 Speaker 1: until Violet tries to get away from Caesar. He holds 381 00:24:02,040 --> 00:24:05,439 Speaker 1: her at gunpoint and won't let her leave because his 382 00:24:05,560 --> 00:24:10,359 Speaker 1: plan is when Gino and Johnny arrived to collect the money, 383 00:24:10,440 --> 00:24:13,520 Speaker 1: which is no longer there because Corky came in and 384 00:24:13,560 --> 00:24:17,000 Speaker 1: stole it, right, Caesar is now going to expose Johnny 385 00:24:17,160 --> 00:24:20,560 Speaker 1: as a thief to Gino by opening the case and 386 00:24:20,600 --> 00:24:24,040 Speaker 1: showing him that the money is gone. But when this 387 00:24:24,119 --> 00:24:27,280 Speaker 1: is happening, things escalate and Caesar ends up shooting and 388 00:24:27,359 --> 00:24:31,000 Speaker 1: killing Gino and Johnny and some third guy that's there. 389 00:24:31,320 --> 00:24:34,919 Speaker 1: I dkay, but he kills them. I guess kind of 390 00:24:34,960 --> 00:24:37,320 Speaker 1: forgetting that the third guy was there, And then every 391 00:24:37,320 --> 00:24:40,200 Speaker 1: time it cut back to the third guy, I was like, oh, oh, 392 00:24:40,280 --> 00:24:43,879 Speaker 1: there's another guy. Was he just like? Did he just 393 00:24:43,960 --> 00:24:46,960 Speaker 1: like hit the cutting room FLOORA? Unfortunately we don't. I 394 00:24:46,960 --> 00:24:50,760 Speaker 1: don't really know that man, but it really sucks what 395 00:24:50,880 --> 00:24:59,479 Speaker 1: happened to him, poor unnamed random mobster dude. So Caesar 396 00:24:59,640 --> 00:25:02,159 Speaker 1: kills all these people, and if he can get rid 397 00:25:02,160 --> 00:25:04,440 Speaker 1: of the bodies and get the money back, he can 398 00:25:04,480 --> 00:25:08,800 Speaker 1: pretend like this never happened, basically, But then the cops 399 00:25:08,840 --> 00:25:12,479 Speaker 1: show up and Violet has to stall them while Caesar 400 00:25:12,560 --> 00:25:15,400 Speaker 1: hides the bodies and cleans up all the blood. Meanwhile, 401 00:25:15,560 --> 00:25:18,959 Speaker 1: Quirky is waiting next door while all of this is happening. 402 00:25:19,000 --> 00:25:21,679 Speaker 1: She's listening through the walls and just kind of like 403 00:25:21,840 --> 00:25:26,960 Speaker 1: keeping an ear on things. Then Caesar takes Violet and 404 00:25:27,000 --> 00:25:29,639 Speaker 1: they go to Johnny's place to find the money, which 405 00:25:29,760 --> 00:25:34,160 Speaker 1: of course he can't because it's not there. So Caesar 406 00:25:34,200 --> 00:25:37,879 Speaker 1: realizes he has to dump the bodies and run. But 407 00:25:38,160 --> 00:25:43,560 Speaker 1: then Caesar catches Violet making a call to Quirky, and 408 00:25:43,640 --> 00:25:46,439 Speaker 1: he figures out that she's next door, and he realizes 409 00:25:46,480 --> 00:25:50,440 Speaker 1: that something fishy is going on, so he goes over 410 00:25:50,480 --> 00:25:57,560 Speaker 1: and kidnaps Quirky. He ties her up. She's bound, okay, 411 00:25:57,800 --> 00:25:59,879 Speaker 1: just like in the beginning of the mood just the 412 00:26:00,040 --> 00:26:02,480 Speaker 1: us the name of the movie hold on but but 413 00:26:02,600 --> 00:26:06,880 Speaker 1: also but also it's almost as if Violet and Quirky 414 00:26:07,000 --> 00:26:11,000 Speaker 1: are bound to each other in like a good way. 415 00:26:11,400 --> 00:26:17,800 Speaker 1: It makes you think. So Caesar is beating and threatening 416 00:26:18,000 --> 00:26:21,320 Speaker 1: Quirky and Violet. Quirky reveals that the money is next 417 00:26:21,320 --> 00:26:25,360 Speaker 1: door in bags, hidden in buckets of paint. Joey buckets 418 00:26:25,400 --> 00:26:30,840 Speaker 1: of paint, one could even say, um. Then Caesar has 419 00:26:30,840 --> 00:26:34,200 Speaker 1: that guy Mickey come over so that Caesar can convince 420 00:26:34,320 --> 00:26:37,240 Speaker 1: him that Gino and Johnny never showed up to buy 421 00:26:37,320 --> 00:26:40,600 Speaker 1: him some time or something. And then Mickey is about 422 00:26:40,600 --> 00:26:44,560 Speaker 1: to open the briefcase that is again full of newspapers now, 423 00:26:45,119 --> 00:26:48,960 Speaker 1: but Violet calls Caesar pretending to be Gino, feeding him 424 00:26:49,000 --> 00:26:52,639 Speaker 1: lines that Gino was in a car accident. So basically 425 00:26:52,800 --> 00:26:56,280 Speaker 1: she like saves his ass because she is trying to 426 00:26:56,320 --> 00:26:59,399 Speaker 1: make a deal with him where they split the money 427 00:26:59,440 --> 00:27:03,119 Speaker 1: and then walk away. Mickey leaves to go to the 428 00:27:03,160 --> 00:27:07,440 Speaker 1: hospital where he thinks Gino is and then Caesar goes 429 00:27:07,480 --> 00:27:10,719 Speaker 1: next door to get the money, leaving Violet a chance 430 00:27:10,840 --> 00:27:15,720 Speaker 1: to escape, so she's running away. Caesar is chasing after her. Meanwhile, 431 00:27:15,960 --> 00:27:20,159 Speaker 1: Quirky gets loose from her restraints and goes and grabs 432 00:27:20,200 --> 00:27:24,480 Speaker 1: the money. Caesar shows back up, there's a scuffle between 433 00:27:24,520 --> 00:27:28,200 Speaker 1: all of them, and then Violet shoots the ship out 434 00:27:28,200 --> 00:27:31,480 Speaker 1: of Caesar. He lands in the pain. And now I'm 435 00:27:31,680 --> 00:27:34,359 Speaker 1: back because it was like, it was honestly helpful for 436 00:27:34,440 --> 00:27:37,680 Speaker 1: you to like talk me through a lot of the 437 00:27:37,680 --> 00:27:41,040 Speaker 1: the mafia ins and out of that scene. Because I've 438 00:27:41,040 --> 00:27:43,360 Speaker 1: seen this movie three times now. At every single time, 439 00:27:43,400 --> 00:27:46,879 Speaker 1: I'm like, okay, okay, okay, okay. When are they going 440 00:27:46,920 --> 00:27:51,560 Speaker 1: to be back together. Like, I'm just sort of I 441 00:27:51,760 --> 00:27:56,560 Speaker 1: register that there are various guys, wise guys making various 442 00:27:56,600 --> 00:28:02,000 Speaker 1: negotiations and shooting and dying, and there's risk and there's tension. 443 00:28:02,320 --> 00:28:07,959 Speaker 1: But I'm like, okay, but or right, right, right, And 444 00:28:08,000 --> 00:28:11,159 Speaker 1: you're like, who is the third guy? I like, I 445 00:28:11,240 --> 00:28:13,679 Speaker 1: understand that there's filmmaking taking place in front of me, 446 00:28:13,760 --> 00:28:16,800 Speaker 1: but I am just sort of like, when are our 447 00:28:17,000 --> 00:28:21,640 Speaker 1: gals going? Yes again, we need the gals to get 448 00:28:21,680 --> 00:28:25,560 Speaker 1: unbound for me to really feel invested in the movie again, 449 00:28:26,080 --> 00:28:28,960 Speaker 1: and I trust that we will get there. But even 450 00:28:29,000 --> 00:28:31,160 Speaker 1: the first time watching it, I was like, Okay, I'm 451 00:28:31,200 --> 00:28:34,240 Speaker 1: not going to remember these characters names. I know everyone's 452 00:28:34,280 --> 00:28:36,600 Speaker 1: doing a great job, but I need some of these 453 00:28:36,640 --> 00:28:39,000 Speaker 1: men to die so that I can get to the 454 00:28:39,040 --> 00:28:42,160 Speaker 1: part that's interesting to me. Sure, so we're back. We're 455 00:28:42,200 --> 00:28:44,200 Speaker 1: back at the part that's interesting to me. And then 456 00:28:44,240 --> 00:28:48,360 Speaker 1: we get the big climax where Violet shoots Caesar. He 457 00:28:48,560 --> 00:28:51,520 Speaker 1: lands in the paint that's been spilled everywhere, his blood 458 00:28:51,560 --> 00:28:55,040 Speaker 1: is mixing with the paint. It's very cathartic, it's very metaphorical. 459 00:28:55,280 --> 00:28:59,720 Speaker 1: You're like, oh, the innocence, the color Okay, this is 460 00:28:59,720 --> 00:29:02,240 Speaker 1: based on several essays I've read. I did not get 461 00:29:02,280 --> 00:29:07,360 Speaker 1: here on my own. Oh the color o higher day. 462 00:29:07,360 --> 00:29:10,880 Speaker 1: Oh he's bleeding into her innocence and he never thought 463 00:29:11,040 --> 00:29:14,120 Speaker 1: and block. You know, there are many writers who contributed 464 00:29:14,160 --> 00:29:16,600 Speaker 1: to that intelligent comment I just made. I am not 465 00:29:16,680 --> 00:29:20,000 Speaker 1: one of them. But it was a metaphor. Apparently, this 466 00:29:20,120 --> 00:29:22,080 Speaker 1: is also how I had to figure out the matrix. 467 00:29:22,080 --> 00:29:23,720 Speaker 1: I'm like, there were a lot of metaphors in there 468 00:29:23,800 --> 00:29:26,680 Speaker 1: that were simply above my pay grade, and then when 469 00:29:26,720 --> 00:29:29,120 Speaker 1: I read them, I was like, huh, that makes sense. Yeah, 470 00:29:29,360 --> 00:29:30,960 Speaker 1: I know the christ One, and I think it was 471 00:29:31,000 --> 00:29:34,440 Speaker 1: above the christ one. I can't. Oh yeah, if we're 472 00:29:34,480 --> 00:29:37,520 Speaker 1: not on just a straightforward hero's journey, I am lost 473 00:29:37,560 --> 00:29:40,440 Speaker 1: in the woods, honey. And I can accept that about myself. 474 00:29:40,480 --> 00:29:42,600 Speaker 1: And look, not everyone on Redd. It's gonna like it, 475 00:29:42,680 --> 00:29:47,520 Speaker 1: and that's fine, um, but in this case, in this case, 476 00:29:47,640 --> 00:29:51,200 Speaker 1: it was like, Okay, Wichouski is way smarter than me. 477 00:29:52,080 --> 00:29:54,280 Speaker 1: I read it. It made sense to me, and I 478 00:29:54,320 --> 00:30:00,440 Speaker 1: was like, Okay, I get it. Metaphor, let's get yes. 479 00:30:00,760 --> 00:30:04,240 Speaker 1: And that's about to happen because Violet and Quirky run 480 00:30:04,280 --> 00:30:08,040 Speaker 1: off together. Quirky is like, hey, you know what the 481 00:30:08,040 --> 00:30:12,200 Speaker 1: differences between you and me? And Violets like no, and 482 00:30:12,280 --> 00:30:15,880 Speaker 1: Quirky is like me either, and then they kiss and 483 00:30:16,000 --> 00:30:22,400 Speaker 1: drive off and Quirkies nine Chevy truck the it and 484 00:30:22,440 --> 00:30:24,360 Speaker 1: we're like, hold on a second, did we just get 485 00:30:24,360 --> 00:30:31,840 Speaker 1: through a whole crime movie without burying a single gay? Unbelievable? 486 00:30:32,440 --> 00:30:37,080 Speaker 1: And soies, so many bodies, so many bodies, but they're 487 00:30:37,400 --> 00:30:42,960 Speaker 1: hetero bodies. And I just wanted to quickly shout out 488 00:30:43,000 --> 00:30:47,440 Speaker 1: before we go to our break, the tagline on the 489 00:30:47,480 --> 00:30:49,800 Speaker 1: original poster of this movie, which I think it is 490 00:30:49,840 --> 00:30:58,760 Speaker 1: so beautiful, Sex and Crime Forever. I mean literally me 491 00:30:59,040 --> 00:31:01,160 Speaker 1: shoplifting at the v as on the way to a 492 00:31:01,200 --> 00:31:05,280 Speaker 1: one night stand exactly. Yes, I get it. I am 493 00:31:05,320 --> 00:31:08,959 Speaker 1: also a part of this movement. Okay, let's go to break. Yes, 494 00:31:09,040 --> 00:31:17,680 Speaker 1: let's take a break. We'll come right back, and we 495 00:31:17,720 --> 00:31:23,920 Speaker 1: are back Sex and Crime forever? Am I right? Forever? Right? 496 00:31:24,600 --> 00:31:26,760 Speaker 1: Some of our greatest minds have said it, I might 497 00:31:27,160 --> 00:31:30,800 Speaker 1: some of our greatest minds ADD departments have said it. 498 00:31:31,040 --> 00:31:35,040 Speaker 1: I'm gonna get that tattooed on my body. Okay, Yes, 499 00:31:35,480 --> 00:31:38,560 Speaker 1: where shall we start? Oh man, there's so much, there's 500 00:31:38,680 --> 00:31:41,400 Speaker 1: so there's so much. I'll just start by saying, this 501 00:31:41,480 --> 00:31:47,040 Speaker 1: is one of the horny, ist, queerest, and most sex 502 00:31:47,120 --> 00:31:52,720 Speaker 1: positive movies I've ever seen in my entire life. So 503 00:31:53,200 --> 00:31:56,080 Speaker 1: have either of you seen sunse eight? No, it's on 504 00:31:56,120 --> 00:31:59,400 Speaker 1: my list, No I haven't. Haven't gotten to it. Sunset 505 00:32:00,120 --> 00:32:03,520 Speaker 1: is basically the Wachowski sisters doing this for several seasons 506 00:32:04,080 --> 00:32:08,040 Speaker 1: with as many different bodies as possible because they found 507 00:32:08,080 --> 00:32:11,520 Speaker 1: a way to do how do I make They did 508 00:32:11,520 --> 00:32:16,480 Speaker 1: a mind orgy. Um sounds like the sounds like them 509 00:32:16,640 --> 00:32:20,920 Speaker 1: like eight people connecting mentally, all having a mental line 510 00:32:21,040 --> 00:32:25,640 Speaker 1: orgy that all not at the same time. Sisters are very, 511 00:32:25,840 --> 00:32:30,320 Speaker 1: very horny, but also they love anime, they love a Kira, 512 00:32:30,520 --> 00:32:33,360 Speaker 1: they love ghost in Michell. So what you get is 513 00:32:33,400 --> 00:32:38,920 Speaker 1: this mix of like hyper stylized, gleeful sex scenes shot 514 00:32:39,080 --> 00:32:45,000 Speaker 1: like it's an action movie and makes me so happy. 515 00:32:45,120 --> 00:32:48,400 Speaker 1: Abound are the two properties in which they're just like, 516 00:32:48,480 --> 00:32:51,800 Speaker 1: everyone should be fucking. This is our message, this is 517 00:32:51,840 --> 00:32:55,480 Speaker 1: our credence. Everyone should be fucking. Oh and it works 518 00:32:55,520 --> 00:32:57,440 Speaker 1: and they do it so well because right this is like, 519 00:32:57,920 --> 00:33:00,000 Speaker 1: this is a very horny movie. It's a very queer movie, 520 00:33:00,040 --> 00:33:02,840 Speaker 1: it's a very sex positive movie, and it's also about 521 00:33:02,960 --> 00:33:06,520 Speaker 1: two women being absolutely badasses in a way that feels 522 00:33:06,560 --> 00:33:09,920 Speaker 1: extremely earned, in a way that fucking rules, in a 523 00:33:09,920 --> 00:33:13,240 Speaker 1: way that like, this is a movie about two queer women, 524 00:33:13,480 --> 00:33:16,680 Speaker 1: one who needs to get out of a toxic situation 525 00:33:16,800 --> 00:33:20,080 Speaker 1: she's trapped in because of a man, and they help 526 00:33:20,120 --> 00:33:22,040 Speaker 1: each other out and they trust each other and they 527 00:33:22,080 --> 00:33:25,280 Speaker 1: lift each other up and they run away together and 528 00:33:25,320 --> 00:33:30,160 Speaker 1: it's a happy, uplifting ending and fucking rocks. Something I 529 00:33:30,200 --> 00:33:34,080 Speaker 1: really love about this movie is how much they made 530 00:33:34,880 --> 00:33:38,560 Speaker 1: manipulation kind of like a one to you punch in 531 00:33:39,040 --> 00:33:42,760 Speaker 1: these women's tool belts in a way that isn't usually 532 00:33:42,840 --> 00:33:46,400 Speaker 1: viewed in a certain type of way in Hollywood. And 533 00:33:46,480 --> 00:33:48,760 Speaker 1: this isn't me going like manipulation good. But the thing 534 00:33:48,880 --> 00:33:51,480 Speaker 1: is when you live on the fringes of site, you 535 00:33:51,520 --> 00:33:53,680 Speaker 1: get very good at one thing, and that's looking at 536 00:33:53,680 --> 00:33:56,240 Speaker 1: society and figuring out how it works. And when you 537 00:33:56,320 --> 00:33:59,360 Speaker 1: don't have any power, that's kind of the thing that 538 00:33:59,400 --> 00:34:03,280 Speaker 1: you learn how to operate with. Like there's always that 539 00:34:03,360 --> 00:34:04,880 Speaker 1: quote that I was like, oh, well, if the man 540 00:34:05,000 --> 00:34:06,880 Speaker 1: is ahead of the household, the women over the neck. 541 00:34:07,080 --> 00:34:10,200 Speaker 1: But like they take this thing that was imposed on them, 542 00:34:10,280 --> 00:34:12,319 Speaker 1: and then that's the thing that they free themselves with. 543 00:34:12,480 --> 00:34:15,919 Speaker 1: And usually when manipulation is porderating women, it's like they're 544 00:34:15,960 --> 00:34:18,040 Speaker 1: going to be extra punished for this, like they're going 545 00:34:18,080 --> 00:34:22,200 Speaker 1: to be extra hurt for this, or like, no matter what, 546 00:34:22,400 --> 00:34:25,279 Speaker 1: even if they're escaping something, there's still a villain. And 547 00:34:25,320 --> 00:34:27,600 Speaker 1: in this it's like this is a skill that they 548 00:34:27,719 --> 00:34:30,680 Speaker 1: developed based on the positions that they were put in as, 549 00:34:30,760 --> 00:34:33,799 Speaker 1: like a sex worker and a lesbian. They know how 550 00:34:33,800 --> 00:34:36,880 Speaker 1: society works because they're constantly watching it from outside in 551 00:34:37,280 --> 00:34:40,600 Speaker 1: and hearing people operate, thinking that they're not listening. And 552 00:34:41,239 --> 00:34:43,719 Speaker 1: this is like the knife they cut through that with I. 553 00:34:46,239 --> 00:34:49,160 Speaker 1: It is like I speaking to like what what you're 554 00:34:49,200 --> 00:34:54,600 Speaker 1: It's like they're using societal like a an acute knowledge 555 00:34:54,640 --> 00:34:57,640 Speaker 1: of what society is like because they've been subjected to 556 00:34:57,719 --> 00:35:02,479 Speaker 1: so much to manipulate like what people expect from them, 557 00:35:02,520 --> 00:35:05,040 Speaker 1: and I feel like inviolate that comes and and the 558 00:35:05,080 --> 00:35:07,680 Speaker 1: fact that the Witch house Kies use that and also 559 00:35:08,320 --> 00:35:12,760 Speaker 1: are able to subvert so many specifically film noir tropes 560 00:35:12,920 --> 00:35:16,960 Speaker 1: in the process of doing that is so brilliant because 561 00:35:16,960 --> 00:35:20,680 Speaker 1: it's not just speaking to queer tropes of the nineties, 562 00:35:20,760 --> 00:35:23,160 Speaker 1: even though so many queer tropes of the nineties and 563 00:35:23,200 --> 00:35:26,520 Speaker 1: even now are I sound like a fucking radio station? 564 00:35:26,840 --> 00:35:29,440 Speaker 1: So many queer tropes of the nineties, auts and today 565 00:35:30,239 --> 00:35:32,799 Speaker 1: are subverted inside of this movie, but it's also like 566 00:35:32,880 --> 00:35:35,960 Speaker 1: done within the even more specific you know, It's like 567 00:35:36,200 --> 00:35:39,600 Speaker 1: with Violet, you have so many fem fatale tropes that 568 00:35:39,640 --> 00:35:44,520 Speaker 1: are subverted while also making commentary on how queer women 569 00:35:44,560 --> 00:35:48,719 Speaker 1: are perceived or or fem women specifically are perceived, And 570 00:35:48,760 --> 00:35:52,840 Speaker 1: then through Quirky, you have how butch women are perceived, 571 00:35:52,920 --> 00:35:56,279 Speaker 1: where immediately when Joey Pants comes in, he does not 572 00:35:56,400 --> 00:36:00,520 Speaker 1: perceive Quirky as the threat to his relationship that she 573 00:36:00,760 --> 00:36:04,759 Speaker 1: very much is. And all of these like ways that 574 00:36:04,880 --> 00:36:10,080 Speaker 1: Quirky and Violet are able to turn people's assumptions about 575 00:36:10,160 --> 00:36:15,040 Speaker 1: them that are based in either you know, bigotry or 576 00:36:15,200 --> 00:36:20,160 Speaker 1: naivete or somewhere in between. They're able to just levy 577 00:36:20,239 --> 00:36:23,560 Speaker 1: it against them to get what they want, which is 578 00:36:24,040 --> 00:36:29,640 Speaker 1: essentially liberation from this entire situation, and then they win. 579 00:36:29,960 --> 00:36:33,600 Speaker 1: It's just it's awesome, Yeah, And the subversions come from 580 00:36:33,640 --> 00:36:37,040 Speaker 1: like everywhere, because like you even have Quirky fucking up 581 00:36:37,080 --> 00:36:39,240 Speaker 1: at a certain point when it comes to like Violet 582 00:36:39,320 --> 00:36:42,319 Speaker 1: sex work, and like she gets a little bit like, 583 00:36:42,760 --> 00:36:45,799 Speaker 1: you know, sullen about it and implies, you know that 584 00:36:45,960 --> 00:36:48,920 Speaker 1: Violet might like have her like heart into her in 585 00:36:48,960 --> 00:36:52,040 Speaker 1: some way, and Violet very much applying like you have 586 00:36:52,120 --> 00:36:54,760 Speaker 1: a job and so do I, and like you don't 587 00:36:55,120 --> 00:36:57,520 Speaker 1: get to act holier than that with me about this. 588 00:36:58,640 --> 00:37:01,680 Speaker 1: And I love that moment was even there and that 589 00:37:01,719 --> 00:37:04,279 Speaker 1: they had that moment together. To her, Violet could like 590 00:37:04,440 --> 00:37:08,719 Speaker 1: very safely and tell someone like you don't understand what 591 00:37:08,800 --> 00:37:10,719 Speaker 1: this is about, and you're talking out of your ass 592 00:37:10,800 --> 00:37:13,360 Speaker 1: right now. And the fact that Quirky is able to 593 00:37:13,480 --> 00:37:17,839 Speaker 1: like receive that criticism and course correct too, because that's 594 00:37:17,880 --> 00:37:20,640 Speaker 1: something that I feel like if you put that same 595 00:37:21,160 --> 00:37:24,640 Speaker 1: scenario in a heatera relationship which we don't even need 596 00:37:24,680 --> 00:37:27,840 Speaker 1: to go down that road really, but but just the 597 00:37:27,880 --> 00:37:32,399 Speaker 1: idea that they have enough respect for each other that 598 00:37:32,800 --> 00:37:36,279 Speaker 1: when Violet pushes back and it's like, no, that's not me, 599 00:37:36,760 --> 00:37:39,800 Speaker 1: and you are making assumptions about me that are not correct, 600 00:37:40,440 --> 00:37:44,879 Speaker 1: Like Quirky listens to that, and it does like take 601 00:37:44,920 --> 00:37:48,960 Speaker 1: her a little bit to internalize it, but she internalizes it, 602 00:37:49,080 --> 00:37:51,839 Speaker 1: and then she like begins to see Violet as the 603 00:37:51,880 --> 00:37:55,320 Speaker 1: fuller person that she is and like the more complicated 604 00:37:55,360 --> 00:37:56,879 Speaker 1: person that she is, And I feel like that kind 605 00:37:56,880 --> 00:38:01,800 Speaker 1: of goes both ways, where there's this trust between them 606 00:38:01,840 --> 00:38:05,640 Speaker 1: that is established pretty early in the movie that is like, 607 00:38:06,200 --> 00:38:10,120 Speaker 1: you know, because I mean even in any relationship, like 608 00:38:10,400 --> 00:38:14,000 Speaker 1: being able to say to someone like I understand why 609 00:38:14,040 --> 00:38:16,720 Speaker 1: you're making that assumption about me, but you're fucking wrong, 610 00:38:17,120 --> 00:38:20,640 Speaker 1: and like listen to me, and to have the other 611 00:38:20,719 --> 00:38:24,279 Speaker 1: person hear you and understand that, like that is such 612 00:38:24,280 --> 00:38:27,560 Speaker 1: a powerful bond in any relationship. And to see that 613 00:38:27,600 --> 00:38:30,719 Speaker 1: like established between the two of them is so awesome 614 00:38:30,880 --> 00:38:33,440 Speaker 1: and you're like, yeah, of course I want these two together, 615 00:38:33,840 --> 00:38:39,360 Speaker 1: Like yeah, this is like a rare example of a 616 00:38:39,400 --> 00:38:45,799 Speaker 1: movie where it centers on a romantic relationship that I 617 00:38:45,840 --> 00:38:50,200 Speaker 1: am rooting for and that like I understand why, like 618 00:38:50,200 --> 00:38:54,040 Speaker 1: like trust being such a through line, and when they're 619 00:38:54,080 --> 00:38:57,399 Speaker 1: on opposite sides of the wall, you're just like, oh 620 00:38:57,480 --> 00:39:02,279 Speaker 1: my god, fuck me up. Just so good And how 621 00:39:02,360 --> 00:39:05,200 Speaker 1: much of the plant hinges on being like I need 622 00:39:05,239 --> 00:39:07,160 Speaker 1: to I just have to trust that you're not gonna 623 00:39:07,200 --> 00:39:09,719 Speaker 1: hurt me. Yeah, right, And they do it, and then 624 00:39:09,719 --> 00:39:12,279 Speaker 1: they both in a way that like again is very 625 00:39:12,320 --> 00:39:16,160 Speaker 1: much just a version of film noir, neo noir, the 626 00:39:16,160 --> 00:39:18,879 Speaker 1: whole fem fatale thing. I think this movie does something 627 00:39:18,960 --> 00:39:23,040 Speaker 1: really interesting and that both characters are presented as like, 628 00:39:23,400 --> 00:39:26,239 Speaker 1: you know, you're familiar with this fem fatale trope. Maybe 629 00:39:26,320 --> 00:39:29,120 Speaker 1: here's two fem faytales, and maybe you don't know which 630 00:39:29,160 --> 00:39:32,279 Speaker 1: one's which, and maybe maybe it's both, but it ends 631 00:39:32,320 --> 00:39:37,760 Speaker 1: up being neither because neither of them are untrustworthy. Neither 632 00:39:37,880 --> 00:39:42,399 Speaker 1: of them are like these like scheming seductresses. They are 633 00:39:42,480 --> 00:39:47,520 Speaker 1: like mutually into each other and like not what's the 634 00:39:47,680 --> 00:39:51,520 Speaker 1: deceiving each other. I would argue that like, in some ways, 635 00:39:51,880 --> 00:39:55,600 Speaker 1: Violent fulfills the fem fatale trope as we know it, 636 00:39:55,680 --> 00:39:59,759 Speaker 1: because she does turn on quote unquote the man she's with, 637 00:40:00,080 --> 00:40:03,560 Speaker 1: she turns on Caesar. But like there's a whole like 638 00:40:03,719 --> 00:40:06,520 Speaker 1: so I feel like it's like four D chest that 639 00:40:06,560 --> 00:40:10,160 Speaker 1: we get a treat into here, because in some ways, 640 00:40:10,280 --> 00:40:14,640 Speaker 1: as Violet is presented, she does kind of tick most 641 00:40:14,640 --> 00:40:17,359 Speaker 1: of the boxes of the fim fatale trope. She is 642 00:40:17,440 --> 00:40:22,839 Speaker 1: lying to the character who Caesar traditionally in a film noir, 643 00:40:23,320 --> 00:40:26,880 Speaker 1: is robbing him. She is she's robbing him. She is 644 00:40:26,960 --> 00:40:30,919 Speaker 1: lying to him, she turns on him and she kills him. 645 00:40:31,800 --> 00:40:35,839 Speaker 1: But unlike every film noir we've seen, Caesar is not 646 00:40:35,880 --> 00:40:38,600 Speaker 1: the protagonist and he is not the person we're rooting for. 647 00:40:39,640 --> 00:40:42,640 Speaker 1: And I mean it's like it's it's not even that 648 00:40:42,680 --> 00:40:45,439 Speaker 1: we don't totally give a ship when he died, because 649 00:40:45,440 --> 00:40:47,879 Speaker 1: it wasn't like I didn't feel nothing when Caesar died, 650 00:40:47,920 --> 00:40:49,440 Speaker 1: and we can get to this where it's like, I 651 00:40:49,440 --> 00:40:55,280 Speaker 1: feel like Caesar's character addresses film noir and like Mafio 652 00:40:55,480 --> 00:40:59,080 Speaker 1: so masculinity in a way that I thought was pretty effective. 653 00:41:00,040 --> 00:41:01,759 Speaker 1: So it wasn't that I felt nothing when he died, 654 00:41:01,760 --> 00:41:04,640 Speaker 1: But it was just like from the very beginning, you know, 655 00:41:05,320 --> 00:41:09,040 Speaker 1: when Caesar's on screen, we're not getting that upright base baby, 656 00:41:09,160 --> 00:41:12,800 Speaker 1: Like we're not rooting for him. We're rooting for Quirky 657 00:41:12,880 --> 00:41:17,120 Speaker 1: and Violet and them as individuals and also for their love, 658 00:41:17,160 --> 00:41:19,600 Speaker 1: which I also feel like it's so rare in any movie, 659 00:41:19,719 --> 00:41:23,319 Speaker 1: Like you're rooting for them as two individuals and then 660 00:41:23,320 --> 00:41:25,840 Speaker 1: you're also rooting for them as a couple. That really 661 00:41:25,840 --> 00:41:31,319 Speaker 1: really works. Yeah, it's all about the framing and how 662 00:41:31,560 --> 00:41:34,400 Speaker 1: this movie frames things very differently than we're used to 663 00:41:34,840 --> 00:41:39,440 Speaker 1: in a very cool, refreshing way. We're talking about this 664 00:41:39,800 --> 00:41:46,799 Speaker 1: scene in which Quirky, I feel like, exemplifies an attitude 665 00:41:46,840 --> 00:41:51,360 Speaker 1: that was very common in the nineties and before and 666 00:41:51,560 --> 00:41:55,560 Speaker 1: after for a number of years. The movie doesn't come 667 00:41:55,640 --> 00:41:57,080 Speaker 1: right out and say it, but it's sort of this 668 00:41:57,120 --> 00:42:01,359 Speaker 1: idea about like, oh, pick at sane, what is this 669 00:42:01,400 --> 00:42:05,239 Speaker 1: whole bisexuality thing. If you're having sex with men, you're 670 00:42:05,280 --> 00:42:08,799 Speaker 1: a traitor. You're not a real lesbian because you're out 671 00:42:08,800 --> 00:42:12,600 Speaker 1: here having sex with men. Violet immediately challenges that in 672 00:42:12,600 --> 00:42:16,680 Speaker 1: a way that I found very unexpected for a character 673 00:42:16,719 --> 00:42:20,440 Speaker 1: to challenge that mentality in a movie from the nineties, 674 00:42:21,200 --> 00:42:23,239 Speaker 1: and she's like, look, I know who I am. I 675 00:42:23,239 --> 00:42:26,200 Speaker 1: don't need to have a tattooed on my arm. Also, 676 00:42:26,560 --> 00:42:30,680 Speaker 1: what I'm doing is work. Is just work. And this 677 00:42:30,800 --> 00:42:33,279 Speaker 1: is also one of the very few movies I've seen 678 00:42:33,880 --> 00:42:37,719 Speaker 1: that makes a statement about sex work being work and 679 00:42:38,320 --> 00:42:43,080 Speaker 1: that right, because Violet's like, well, I heard you having 680 00:42:43,080 --> 00:42:46,960 Speaker 1: sex with Shelley, and she's like, that wasn't sex, that 681 00:42:47,080 --> 00:42:51,120 Speaker 1: was me working. Even the tattoo mark is like, yeah, 682 00:42:51,239 --> 00:42:54,879 Speaker 1: I'm them, I'm still a lesbian, like which in nine 683 00:42:55,719 --> 00:43:01,919 Speaker 1: like it's is like why yield and even in two 684 00:43:02,000 --> 00:43:06,839 Speaker 1: you you still get like that clarity you don't get 685 00:43:06,920 --> 00:43:11,480 Speaker 1: very often. Yeah. So there's a scene where Violet gets 686 00:43:11,520 --> 00:43:14,400 Speaker 1: into Quirky's truck. I love any scene in the truck. 687 00:43:15,040 --> 00:43:18,240 Speaker 1: Um she gets in, She's like, I want to apologize, 688 00:43:19,080 --> 00:43:21,759 Speaker 1: and Quirky is like, one thing I can't stand is 689 00:43:21,760 --> 00:43:25,640 Speaker 1: women apologizing for wanting sex and violence, Like, I'm not 690 00:43:25,800 --> 00:43:28,840 Speaker 1: apologizing for that. I'm not apologizing for what I did 691 00:43:29,160 --> 00:43:32,839 Speaker 1: because this is like after they like finger backing each other. Um. Yeah, 692 00:43:32,840 --> 00:43:36,360 Speaker 1: She's like, I'm apologizing for what I didn't do. And 693 00:43:36,560 --> 00:43:42,400 Speaker 1: it's and we're like, it's like this like incredibly sex 694 00:43:42,480 --> 00:43:47,480 Speaker 1: positive moment in this movie from and I just I like, 695 00:43:48,000 --> 00:43:51,840 Speaker 1: I kept being so floored by different interactions and different 696 00:43:52,000 --> 00:43:54,080 Speaker 1: scenarios that happened in this movie because I was like, 697 00:43:55,480 --> 00:43:59,200 Speaker 1: this is this is so cool? Um. And we had 698 00:43:59,239 --> 00:44:03,320 Speaker 1: brought up Susie Bright as being the choreographer of the 699 00:44:03,360 --> 00:44:05,600 Speaker 1: sex scenes in this movie. So the way that kind 700 00:44:05,600 --> 00:44:09,760 Speaker 1: of panned out is that the Wachowski sisters sent Susie 701 00:44:09,800 --> 00:44:14,640 Speaker 1: Bright the script and was basically like, we want you 702 00:44:14,680 --> 00:44:16,239 Speaker 1: to play a cameo in this or like be an 703 00:44:16,280 --> 00:44:19,960 Speaker 1: extra in this. Are you interested, and Susie Bright loved 704 00:44:20,000 --> 00:44:24,480 Speaker 1: the script partly because it was about women who just like, 705 00:44:24,520 --> 00:44:30,440 Speaker 1: we're extremely unapologetic about having sex and enjoying sex, specifically 706 00:44:30,520 --> 00:44:33,080 Speaker 1: with each other. But she was like, but there isn't 707 00:44:33,160 --> 00:44:36,399 Speaker 1: enough like description in these sex scenes, like I can't 708 00:44:36,480 --> 00:44:39,720 Speaker 1: visualize what they would look like. So then she offered 709 00:44:39,760 --> 00:44:44,000 Speaker 1: to be the like consultant for the film, and then 710 00:44:44,040 --> 00:44:49,280 Speaker 1: they hired her to like be the choreographer, and she's 711 00:44:49,320 --> 00:44:53,680 Speaker 1: like a was already like a feminist sex educator, so 712 00:44:53,920 --> 00:44:57,560 Speaker 1: she got brought on to choreograph the sex scenes, which 713 00:44:57,600 --> 00:45:01,120 Speaker 1: is why they are extremely horny, but also like very 714 00:45:01,160 --> 00:45:04,560 Speaker 1: tasteful and like non exploitative, which is something that we've 715 00:45:05,160 --> 00:45:11,520 Speaker 1: come upon in various sex scenes between women, like blue 716 00:45:11,600 --> 00:45:15,759 Speaker 1: was the warmest color, exactly, yes, And it's like, I mean, 717 00:45:15,800 --> 00:45:21,120 Speaker 1: in general, even the concept of an intimacy consultant in 718 00:45:21,160 --> 00:45:26,600 Speaker 1: a roman scene between any people was just like not 719 00:45:26,760 --> 00:45:29,880 Speaker 1: something that was done. And I feel like we've covered 720 00:45:29,880 --> 00:45:35,280 Speaker 1: on this show. Unfortunately so many at least extreme actor 721 00:45:35,320 --> 00:45:40,880 Speaker 1: discomfort and at worst like crimes and like crimes and 722 00:45:41,000 --> 00:45:46,320 Speaker 1: misdemeanors sex and crimes as well. Uh, but not forever. 723 00:45:47,120 --> 00:45:50,239 Speaker 1: Don't do it, but yeah, of actors who were made 724 00:45:50,239 --> 00:45:54,720 Speaker 1: to feel very uncomfortable in sex scenes in movies because 725 00:45:55,200 --> 00:45:58,920 Speaker 1: you know, any director of intimacy was not appointed in 726 00:45:59,040 --> 00:46:00,560 Speaker 1: order to make the movie. And so the fact that 727 00:46:00,600 --> 00:46:05,920 Speaker 1: like the Wachowskis had a not just an intimacy um coordinator, 728 00:46:06,000 --> 00:46:08,759 Speaker 1: but someone who is very enthusiastic about their work, someone 729 00:46:08,800 --> 00:46:11,640 Speaker 1: who was like really down to be involved. Like again 730 00:46:11,719 --> 00:46:15,120 Speaker 1: just a very ahead of its time. Like even ten 731 00:46:15,200 --> 00:46:17,520 Speaker 1: years ago, if you asked me about what an intimacy 732 00:46:17,560 --> 00:46:19,880 Speaker 1: coordinator was, I could not tell you. I would not 733 00:46:20,000 --> 00:46:23,680 Speaker 1: have known. Yeah, And like even on my end, I've 734 00:46:23,680 --> 00:46:26,279 Speaker 1: done like a few sketches and things where I like 735 00:46:26,840 --> 00:46:29,120 Speaker 1: have a piece of comedy where I'm like making out 736 00:46:29,120 --> 00:46:31,680 Speaker 1: with someone, or i have like a simulated sex scene 737 00:46:31,719 --> 00:46:34,840 Speaker 1: and it's it's comedy. It's like being played for comedy. 738 00:46:34,880 --> 00:46:38,239 Speaker 1: But even then I have somebody like touching me in 739 00:46:38,280 --> 00:46:42,760 Speaker 1: a way that I'm like not used to because in general, 740 00:46:42,840 --> 00:46:45,200 Speaker 1: I'm like, even like I hug you if I know you, 741 00:46:45,320 --> 00:46:47,040 Speaker 1: so I tend to keep like an arms reach kind 742 00:46:47,080 --> 00:46:52,040 Speaker 1: of person. And there's this like assumed comfort that's supposed 743 00:46:52,080 --> 00:46:55,239 Speaker 1: to be there, and when there isn't there isn't really that, 744 00:46:55,320 --> 00:46:58,319 Speaker 1: Like nobody really has the words for like, yo, can 745 00:46:58,360 --> 00:47:00,359 Speaker 1: we like slow this down and talk about how we're 746 00:47:00,400 --> 00:47:04,120 Speaker 1: about to make out? It's weird, like and it's one 747 00:47:04,160 --> 00:47:06,560 Speaker 1: of those where you don't really think about it in 748 00:47:06,640 --> 00:47:10,200 Speaker 1: like a comedy aspect until you're in it and you're like, 749 00:47:10,440 --> 00:47:13,319 Speaker 1: why isn't there something for all of this? Like even 750 00:47:13,360 --> 00:47:16,120 Speaker 1: if it wasn't sex, just having somebody like up on me, 751 00:47:16,280 --> 00:47:19,680 Speaker 1: it would just be really nice to be able to 752 00:47:19,960 --> 00:47:22,640 Speaker 1: talk about this with someone. And when you read, there's 753 00:47:22,680 --> 00:47:25,600 Speaker 1: this incredible interview where Gina Grashawn and Jennifer Tilly are 754 00:47:25,600 --> 00:47:28,680 Speaker 1: talking years later and they're like verbally palling at each other. 755 00:47:28,680 --> 00:47:32,160 Speaker 1: It's fantastic, highly recommend reading at it. But they talked 756 00:47:32,200 --> 00:47:34,120 Speaker 1: about that sex scene and they're like, shooting with the 757 00:47:34,160 --> 00:47:38,520 Speaker 1: Wachowskis in that moment, it was more like sports than sex. 758 00:47:39,000 --> 00:47:42,640 Speaker 1: They're like zero percent felt like sex because they were 759 00:47:42,680 --> 00:47:46,239 Speaker 1: moving around us being like boob up here, hand here, 760 00:47:46,360 --> 00:47:48,399 Speaker 1: moved this way, shift this way up towards a light 761 00:47:48,440 --> 00:47:53,480 Speaker 1: please Like They're like it was so clinical. Yes, they 762 00:47:53,480 --> 00:47:57,360 Speaker 1: were like choreograph almost like it was a fight scene, 763 00:47:57,600 --> 00:47:59,920 Speaker 1: to the point where they were like we were worked 764 00:48:00,440 --> 00:48:03,120 Speaker 1: like there was nothing for me about it. We were 765 00:48:03,200 --> 00:48:07,399 Speaker 1: just at work following these like directions with like a 766 00:48:07,440 --> 00:48:10,200 Speaker 1: team that had making sure it looked good in our 767 00:48:10,239 --> 00:48:15,160 Speaker 1: well beings and mine. We would never know that because 768 00:48:15,200 --> 00:48:19,400 Speaker 1: it's so horny. Yeah, like it's it really is, like 769 00:48:19,520 --> 00:48:22,160 Speaker 1: just I feel and and and it was so nice 770 00:48:22,200 --> 00:48:25,360 Speaker 1: to read interviews with the actors at the time and 771 00:48:25,560 --> 00:48:29,839 Speaker 1: years later speaking to how comfortable they were because as 772 00:48:29,880 --> 00:48:32,600 Speaker 1: far as we know, I mean, these are two straight women. 773 00:48:33,239 --> 00:48:36,319 Speaker 1: I haven't read otherwise. I don't want to put them 774 00:48:36,320 --> 00:48:38,040 Speaker 1: in a box. But that's what I you know, what 775 00:48:38,120 --> 00:48:41,760 Speaker 1: I know of them. And and for you know, actors 776 00:48:41,800 --> 00:48:44,400 Speaker 1: to be acting, you know, technically outside of their comfort 777 00:48:44,480 --> 00:48:47,080 Speaker 1: zone in a way that they were made to feel 778 00:48:47,120 --> 00:48:52,440 Speaker 1: safe and it's authentic, And there was a consultant involved, 779 00:48:52,680 --> 00:48:57,799 Speaker 1: and the consultant involved happens to be an iconic feminist socialist, 780 00:48:58,320 --> 00:49:00,680 Speaker 1: Like I just don't know what I would be more 781 00:49:00,880 --> 00:49:05,160 Speaker 1: on board with, right, Yeah, Susie right, so cool. And 782 00:49:05,200 --> 00:49:07,560 Speaker 1: she also has a really fun cameo in the movie 783 00:49:07,560 --> 00:49:12,040 Speaker 1: as well, and that incredible bar yes, like she and 784 00:49:12,120 --> 00:49:14,560 Speaker 1: she and I feel like she really owned the part too. 785 00:49:14,600 --> 00:49:17,560 Speaker 1: I would not have guessed that she was not a 786 00:49:18,200 --> 00:49:21,120 Speaker 1: not an actor by trade. I was like, Oh, you're 787 00:49:21,160 --> 00:49:23,440 Speaker 1: a genius by trade. You're an actor on the side, 788 00:49:23,480 --> 00:49:30,239 Speaker 1: but for you, so shout out to Susie, right, And yeah, 789 00:49:30,400 --> 00:49:33,839 Speaker 1: that was just like generally so awesome. There was one 790 00:49:33,880 --> 00:49:36,759 Speaker 1: thing I wanted to touch on before we totally went 791 00:49:36,760 --> 00:49:40,120 Speaker 1: out of Film Noir, where I was curious what the 792 00:49:40,160 --> 00:49:42,600 Speaker 1: two of you thought about this. But I felt like, 793 00:49:43,280 --> 00:49:47,440 Speaker 1: in the world of film Noir, Jennifer Tilly is playing 794 00:49:47,480 --> 00:49:50,359 Speaker 1: on the trope of fatal and it almost seems like 795 00:49:50,920 --> 00:49:54,000 Speaker 1: Quirky is playing on the trope of detective. I feel 796 00:49:54,000 --> 00:49:57,400 Speaker 1: like we're given a few different indications that that might 797 00:49:57,440 --> 00:50:00,000 Speaker 1: be the case. First of all, because she's constantly listen 798 00:50:00,280 --> 00:50:04,960 Speaker 1: through walls, um she she has a unique trade that 799 00:50:05,080 --> 00:50:09,200 Speaker 1: causes her to show up places constantly. Its lock she 800 00:50:09,239 --> 00:50:13,319 Speaker 1: picks locks. She has a criminal background. We know that 801 00:50:13,360 --> 00:50:16,440 Speaker 1: she has been you know, in prison for five years 802 00:50:16,480 --> 00:50:22,360 Speaker 1: prior to the movie beginning for quote the Redistribution of Wealth, 803 00:50:22,960 --> 00:50:25,560 Speaker 1: And you're like, okay, Susie bred I see you in there. 804 00:50:27,239 --> 00:50:29,600 Speaker 1: And then on top of that, there's also I felt 805 00:50:29,760 --> 00:50:33,040 Speaker 1: very film no Wiry that she had had like a 806 00:50:33,080 --> 00:50:36,480 Speaker 1: partner slash lover who had burned her in the past. 807 00:50:36,840 --> 00:50:40,839 Speaker 1: Like it all felt very corky as playing on who 808 00:50:40,840 --> 00:50:45,520 Speaker 1: we would traditionally see as the film noir protagonist played 809 00:50:45,560 --> 00:50:49,920 Speaker 1: on in her character. It's so much Gina Gershawn's intention 810 00:50:49,960 --> 00:50:52,799 Speaker 1: as well. It's so much what Gina Gershawn wanted to 811 00:50:52,840 --> 00:50:54,719 Speaker 1: bring to that character. Because I'm not sure if you'll 812 00:50:54,760 --> 00:50:58,080 Speaker 1: know this, but Gina Gershwan fired her management team because 813 00:50:58,080 --> 00:51:00,680 Speaker 1: they didn't want her to do this movie. I did 814 00:51:00,840 --> 00:51:04,480 Speaker 1: not know that. WHOA, that's amazing. Her Asians were like, 815 00:51:04,560 --> 00:51:06,759 Speaker 1: do not do this movie. It will tank. You will 816 00:51:06,760 --> 00:51:08,839 Speaker 1: never work again, and she was like, I will never 817 00:51:08,880 --> 00:51:11,440 Speaker 1: get another part like this. I will never get another 818 00:51:11,440 --> 00:51:14,080 Speaker 1: part like this because she read it. She was like, 819 00:51:14,520 --> 00:51:17,239 Speaker 1: she was like, this is my chance to watch a 820 00:51:17,239 --> 00:51:20,080 Speaker 1: bunch of Marlon Brando, to watch a bunch of James Dean. 821 00:51:20,200 --> 00:51:22,280 Speaker 1: I think she said. Clint Eastwood was her other one, 822 00:51:22,480 --> 00:51:26,680 Speaker 1: and she watched like every brooding, mysterious leading man movie 823 00:51:27,000 --> 00:51:30,560 Speaker 1: and was like, I'm just doing that. And before sex scenes, 824 00:51:30,719 --> 00:51:33,040 Speaker 1: she would just do push ups to try and make 825 00:51:33,040 --> 00:51:36,080 Speaker 1: her arms looked as ripped as possible or like anything. 826 00:51:38,560 --> 00:51:41,480 Speaker 1: She would like just start like working out right before 827 00:51:41,520 --> 00:51:44,080 Speaker 1: that because she wanted her forearms so look super muscly. 828 00:51:44,520 --> 00:51:47,399 Speaker 1: Like she saw the script and was like, I will 829 00:51:47,480 --> 00:51:51,320 Speaker 1: never have an opportunity to be the hot leading guy ever. Again. 830 00:51:52,400 --> 00:51:55,160 Speaker 1: I love that, and she's right like parts for women, 831 00:51:55,239 --> 00:51:58,600 Speaker 1: especially in this era, were rarely the protagonist or co 832 00:51:58,719 --> 00:52:03,120 Speaker 1: protagonist of the movie. They were rarely this badass or 833 00:52:03,239 --> 00:52:08,080 Speaker 1: nuanced or thoughtfully written. And it's wild because there were 834 00:52:08,239 --> 00:52:12,120 Speaker 1: very few female actors interested in these two characters of 835 00:52:12,200 --> 00:52:17,480 Speaker 1: Violet and Quirky, seemingly because they're queer characters, and it's 836 00:52:17,600 --> 00:52:19,600 Speaker 1: very few. I don't know who was up for the 837 00:52:19,640 --> 00:52:23,640 Speaker 1: partys of her. Linda Hamilton's was originally considered, and then 838 00:52:23,680 --> 00:52:29,719 Speaker 1: another Beauty and the Beasts, but I don't I can't 839 00:52:29,719 --> 00:52:31,839 Speaker 1: remember what I read about why she didn't end up 840 00:52:31,880 --> 00:52:35,040 Speaker 1: playing Quirky, But I think it was more logistical and 841 00:52:35,200 --> 00:52:38,400 Speaker 1: it was not like it wasn't like a moral objection 842 00:52:38,520 --> 00:52:41,200 Speaker 1: kind of right, right, but um, yeah it was. It 843 00:52:41,320 --> 00:52:44,160 Speaker 1: was not that many people interested in these roles. But yeah, 844 00:52:44,239 --> 00:52:47,320 Speaker 1: Gina Gershawn jumped at the chance to be in this movie, 845 00:52:47,680 --> 00:52:50,399 Speaker 1: and I'm so glad you did because I freaking love 846 00:52:50,440 --> 00:52:53,480 Speaker 1: her as Quirky. I have a good quote from Jennifer 847 00:52:53,520 --> 00:52:58,160 Speaker 1: Tilly to this fact where she was talking about sort 848 00:52:58,160 --> 00:53:00,520 Speaker 1: of exactly what you're talking about, how she was aware 849 00:53:00,600 --> 00:53:05,319 Speaker 1: that many actors had refused these parts and was like 850 00:53:05,440 --> 00:53:08,520 Speaker 1: kind of confused at it. And I think Jennifer Tilly 851 00:53:08,600 --> 00:53:12,400 Speaker 1: is like history prior to this movie is also relevant 852 00:53:12,440 --> 00:53:15,440 Speaker 1: to this because kind of what you were saying, Vanessa, 853 00:53:15,440 --> 00:53:17,839 Speaker 1: where it was like, you know, Gina Gershawn was well 854 00:53:17,880 --> 00:53:20,560 Speaker 1: aware that like parts like this don't come around every 855 00:53:20,640 --> 00:53:25,000 Speaker 1: day for anybody, especially women, where it's like you get 856 00:53:25,040 --> 00:53:28,920 Speaker 1: to be the fucking film noar action hero that also 857 00:53:29,000 --> 00:53:31,799 Speaker 1: gets to kiss and fuck, like are you kidding me? 858 00:53:32,520 --> 00:53:35,839 Speaker 1: Where Jennifer Tilly had been very successful up to this point, 859 00:53:35,840 --> 00:53:38,080 Speaker 1: but she's been super typecast as kind of like an 860 00:53:38,080 --> 00:53:42,320 Speaker 1: airhead kind of character a lot because of her voice, 861 00:53:42,440 --> 00:53:44,719 Speaker 1: and so it was like this was her opportunity to 862 00:53:44,840 --> 00:53:46,759 Speaker 1: play you know too, I mean, and she had been 863 00:53:46,800 --> 00:53:50,640 Speaker 1: I think she'd been nominated for and possibly one an Oscar, 864 00:53:51,480 --> 00:53:54,239 Speaker 1: which or no, she was nominated for an Oscar in 865 00:53:55,480 --> 00:53:58,640 Speaker 1: so like she was a proven actress but was typecast 866 00:53:58,719 --> 00:54:01,000 Speaker 1: quite a bit because of how she and how she sounded. 867 00:54:01,320 --> 00:54:04,000 Speaker 1: So she said this when she was cast in Bound. 868 00:54:04,160 --> 00:54:07,399 Speaker 1: She said, after I got the part the way said 869 00:54:07,400 --> 00:54:09,960 Speaker 1: to me, you would not believe how many actresses refused 870 00:54:10,000 --> 00:54:11,879 Speaker 1: to come in and read for this. I was really 871 00:54:11,920 --> 00:54:14,800 Speaker 1: surprised at that, because actresses in Hollywood are always bishing 872 00:54:14,800 --> 00:54:17,320 Speaker 1: and moaning about how there are no great parts for women, 873 00:54:17,640 --> 00:54:20,520 Speaker 1: and here's two really strong female roles. To me, it 874 00:54:20,600 --> 00:54:24,360 Speaker 1: just seems silly. And then she goes on to say, 875 00:54:24,400 --> 00:54:26,960 Speaker 1: I mean, and this is very nineties. But when she 876 00:54:27,000 --> 00:54:29,080 Speaker 1: found out that she was playing it by woman, she 877 00:54:29,160 --> 00:54:36,480 Speaker 1: started reading out magazine. Sure, um, Jennifer, I know, we 878 00:54:36,600 --> 00:54:38,719 Speaker 1: love her. And then she said, one of my pet 879 00:54:38,760 --> 00:54:42,040 Speaker 1: peeves about mainstream films where they have a gay relationship 880 00:54:42,120 --> 00:54:45,359 Speaker 1: is that people think they're being amazingly liberal. They say, well, 881 00:54:45,400 --> 00:54:48,000 Speaker 1: we'll have these gay characters, but they can't touch, they 882 00:54:48,040 --> 00:54:50,360 Speaker 1: can't show any affection or kiss each other or have 883 00:54:50,440 --> 00:54:52,880 Speaker 1: any sex scenes like they would just naturally with the 884 00:54:52,920 --> 00:54:56,080 Speaker 1: heterosexual relationship. I just feel like that's a cop out. 885 00:54:56,280 --> 00:54:58,239 Speaker 1: We felt it was very important not to shy away 886 00:54:58,280 --> 00:55:00,359 Speaker 1: from it and to be very matter of fact about it. 887 00:55:00,440 --> 00:55:06,319 Speaker 1: That's what's cool about the film. I know. Um. She 888 00:55:06,360 --> 00:55:10,600 Speaker 1: said that in the damn nineties, an icon, Uh let's 889 00:55:10,640 --> 00:55:13,000 Speaker 1: take another quick break and we will come right back. 890 00:55:19,080 --> 00:55:22,120 Speaker 1: We're back, and I wanted to talk about the stories 891 00:55:22,200 --> 00:55:27,440 Speaker 1: conception the Witch House Keys. This is from an interview 892 00:55:27,719 --> 00:55:31,920 Speaker 1: I think shortly after the movie was made or released, 893 00:55:32,040 --> 00:55:36,160 Speaker 1: But um, they were just speaking to how there weren't 894 00:55:36,360 --> 00:55:40,160 Speaker 1: enough good female parts in movies in Hollywood, so they 895 00:55:40,239 --> 00:55:44,399 Speaker 1: decided to write two good female parts. Uh. And they 896 00:55:44,480 --> 00:55:46,479 Speaker 1: also spoke to how they wanted to write a film 897 00:55:46,520 --> 00:55:50,120 Speaker 1: noir with a woman as a protagonist and have a 898 00:55:50,160 --> 00:55:54,239 Speaker 1: sexy woman but have her not be evil. I'm paraphrasing 899 00:55:54,280 --> 00:55:57,400 Speaker 1: this interview, but their intention with this movie was like, 900 00:55:57,760 --> 00:56:03,080 Speaker 1: let's subvert film noir t hopes. Let's make a point 901 00:56:03,160 --> 00:56:07,280 Speaker 1: to like meaningfully include women in the story as protagonists 902 00:56:07,320 --> 00:56:13,360 Speaker 1: and like have them drive the narrative. Not surprisingly, studio 903 00:56:13,400 --> 00:56:16,959 Speaker 1: executives read the script and they were like, Um, we'd 904 00:56:16,960 --> 00:56:20,359 Speaker 1: be interested in this if Corky was a man, if 905 00:56:20,400 --> 00:56:24,600 Speaker 1: you like change that character to be a man, and 906 00:56:24,600 --> 00:56:28,560 Speaker 1: the wow Skis were like, No, that movie already exists 907 00:56:28,680 --> 00:56:31,759 Speaker 1: a million times, so we're not interested in doing that 908 00:56:32,600 --> 00:56:37,560 Speaker 1: has and the rest is history, the history. It's the best, 909 00:56:38,480 --> 00:56:42,400 Speaker 1: so good. It brings me such joy. I've never on 910 00:56:42,560 --> 00:56:47,080 Speaker 1: every rewatch, I keep finding a new reason that it 911 00:56:47,200 --> 00:56:51,360 Speaker 1: makes me so happy, whether it be like the cinematography, 912 00:56:51,560 --> 00:56:56,200 Speaker 1: the storytelling, the crazy camera on screen, but that really 913 00:56:56,320 --> 00:56:59,600 Speaker 1: is just like a fantastic neo no are It's just 914 00:56:59,640 --> 00:57:03,400 Speaker 1: a real like it's it's so obvious that their inspiration 915 00:57:03,520 --> 00:57:06,000 Speaker 1: was Sin City, but they made something better than Sin 916 00:57:06,040 --> 00:57:13,279 Speaker 1: City because Frank Miller's brain isn't behind it exactly. So 917 00:57:13,320 --> 00:57:15,640 Speaker 1: many things I love. I love the scene where it 918 00:57:15,719 --> 00:57:19,040 Speaker 1: is towards the end Caesar is suggesting the quirky and 919 00:57:19,160 --> 00:57:26,120 Speaker 1: her like lesbian feminine wiles corrupted Violet. He's like, what 920 00:57:26,160 --> 00:57:30,160 Speaker 1: did she do to you? And Violet is like everything 921 00:57:30,240 --> 00:57:35,960 Speaker 1: you couldn't ak make her come, come and like and 922 00:57:36,240 --> 00:57:38,720 Speaker 1: treat her well. Oh my god. The fact that she 923 00:57:38,920 --> 00:57:43,160 Speaker 1: shakes his hand with a violet all over her fingers, 924 00:57:43,840 --> 00:57:48,400 Speaker 1: I reamed the first time I saw that. It's very special. 925 00:57:48,720 --> 00:57:52,520 Speaker 1: Everything about this movie is very special. I wanted to 926 00:57:52,560 --> 00:57:57,000 Speaker 1: also talk about a little bit about how Caesar's character 927 00:57:57,520 --> 00:58:01,120 Speaker 1: does kind of challenge a lot of I mean, not 928 00:58:01,360 --> 00:58:05,080 Speaker 1: quite as like film noir trophy, but in general just 929 00:58:05,160 --> 00:58:12,400 Speaker 1: like Mafia masculinity and just like intense like tank top masculinity, 930 00:58:12,800 --> 00:58:18,360 Speaker 1: kind of vibes where we constantly see that I don't 931 00:58:18,400 --> 00:58:23,120 Speaker 1: even doubt that Caesar cares about Violet. I do think 932 00:58:23,160 --> 00:58:28,360 Speaker 1: he does, but he is so like trapped in so 933 00:58:28,400 --> 00:58:31,880 Speaker 1: many things. He's like trapped within masculinity, but he's also 934 00:58:31,960 --> 00:58:36,120 Speaker 1: trapped within his profession. He's trapped within his class. He's 935 00:58:36,160 --> 00:58:39,480 Speaker 1: trapped in like all these different things that results in 936 00:58:39,560 --> 00:58:44,560 Speaker 1: him mistreating her spectacularly, and he doesn't. I don't know. 937 00:58:44,800 --> 00:58:46,920 Speaker 1: I feel I feel like it's we've talked about this 938 00:58:47,000 --> 00:58:50,320 Speaker 1: a million times on this show, where it's like patriarchy 939 00:58:50,480 --> 00:58:54,200 Speaker 1: as one guy and then if you get I mean, 940 00:58:54,240 --> 00:58:58,040 Speaker 1: this is like most Marvel movies where you're like, patriarchy 941 00:58:58,120 --> 00:59:01,120 Speaker 1: is one guy, and if you kill the guy, or 942 00:59:01,160 --> 00:59:03,240 Speaker 1: if you teach the one guy that he was wrong 943 00:59:03,360 --> 00:59:07,800 Speaker 1: the whole time, then everything right. It's like, how oh 944 00:59:07,840 --> 00:59:10,040 Speaker 1: my god, it's this is a separate right. But it's 945 00:59:10,040 --> 00:59:12,560 Speaker 1: like how Benedict comber Badge is wandering around the most 946 00:59:12,600 --> 00:59:19,280 Speaker 1: recent Doctor Strange movie like America, like and I couldn't 947 00:59:19,280 --> 00:59:22,040 Speaker 1: stop laughing. That is the name of a character in 948 00:59:22,080 --> 00:59:24,800 Speaker 1: the movie. But it's also the worst metaphor I've ever 949 00:59:24,840 --> 00:59:27,320 Speaker 1: heard in my life. He's like, we have to save America. 950 00:59:27,880 --> 00:59:31,280 Speaker 1: I know it's cannon, but it's silly anyways. But in 951 00:59:31,280 --> 00:59:34,840 Speaker 1: this case, there's a lot more I think like thought 952 00:59:35,200 --> 00:59:40,320 Speaker 1: portrayed and how like Caesar is trying to, you know, 953 00:59:40,480 --> 00:59:45,360 Speaker 1: enact his masculinity over Violet, but she is not accepting it, 954 00:59:45,640 --> 00:59:50,760 Speaker 1: which is huge in itself. And also like he is desperate. 955 00:59:50,840 --> 00:59:53,400 Speaker 1: We see him desperate in so many places, to the 956 00:59:53,440 --> 00:59:56,880 Speaker 1: point where he sort of starts to dissociate from the 957 00:59:56,960 --> 01:00:01,200 Speaker 1: situation and becomes violent because as he's in such a 958 01:00:01,280 --> 01:00:05,520 Speaker 1: desperate place, he is not the center of attention here 959 01:00:05,520 --> 01:00:07,520 Speaker 1: by any means, nor should he be. But I thought 960 01:00:07,600 --> 01:00:12,080 Speaker 1: Joey Pants did a good job at kind of demonstrating 961 01:00:12,640 --> 01:00:16,720 Speaker 1: that desperate masculinity of like he just needs to have 962 01:00:16,840 --> 01:00:23,200 Speaker 1: control over something or someone, and so when he feels 963 01:00:23,240 --> 01:00:26,880 Speaker 1: that Violet is the most viable person to be controlled, 964 01:00:27,240 --> 01:00:30,880 Speaker 1: he will treat her very badly. When he feels comfortable 965 01:00:31,560 --> 01:00:35,680 Speaker 1: within his profession, his masculinity, his finances, everything else, he 966 01:00:35,760 --> 01:00:38,520 Speaker 1: will treat her fine. And I feel like that is 967 01:00:38,600 --> 01:00:42,080 Speaker 1: something that you, like, you don't often see like shown 968 01:00:42,240 --> 01:00:45,720 Speaker 1: this clearly in a character, because this feels more like 969 01:00:45,760 --> 01:00:48,640 Speaker 1: a guy that even though it's a joey Pants character 970 01:00:48,880 --> 01:00:53,240 Speaker 1: to its core. It also feels sort of like a 971 01:00:53,320 --> 01:00:56,680 Speaker 1: guy that you would know where in some circumstances, when 972 01:00:56,680 --> 01:00:59,240 Speaker 1: he's comfortable, he'll be the nicest guy in the world. 973 01:00:59,520 --> 01:01:01,640 Speaker 1: But when he is when there's a little bit of 974 01:01:01,640 --> 01:01:05,560 Speaker 1: pressure put on him, he becomes a fucking monster. It's 975 01:01:05,560 --> 01:01:08,480 Speaker 1: a compelling character to watch for all of those reasons, 976 01:01:08,560 --> 01:01:12,920 Speaker 1: and that like you're literally watching somebody get get that 977 01:01:13,000 --> 01:01:16,520 Speaker 1: like squeeze of being in a prison of their own making. 978 01:01:17,240 --> 01:01:21,840 Speaker 1: Like every horrible thing that happens to him, he's asking 979 01:01:21,920 --> 01:01:24,720 Speaker 1: who did it? And the answer is him every single time, 980 01:01:26,320 --> 01:01:30,120 Speaker 1: Like nothing happens to him is really dumb. It's him, 981 01:01:30,760 --> 01:01:33,160 Speaker 1: like Violet, not just him in that direction, but it 982 01:01:33,280 --> 01:01:35,800 Speaker 1: is always him. It's because she knows he's going to 983 01:01:35,840 --> 01:01:38,240 Speaker 1: be a ship head and he plays into it. That 984 01:01:38,360 --> 01:01:41,680 Speaker 1: scene where he's like, you made me shoot them, You 985 01:01:41,800 --> 01:01:45,280 Speaker 1: made me shoot my mob boss and his and Christopher 986 01:01:45,360 --> 01:01:48,320 Speaker 1: Maloney and she's like, I didn't make you do that 987 01:01:48,400 --> 01:01:52,760 Speaker 1: at all. I did not make you shoot Spu, babe. 988 01:01:53,520 --> 01:01:57,960 Speaker 1: I didn't. Oh God, look, we don't have time for 989 01:01:58,120 --> 01:02:02,280 Speaker 1: Spu today. That's another day. But but shout out to 990 01:02:02,440 --> 01:02:05,760 Speaker 1: my role as an extra in an episode of I 991 01:02:05,800 --> 01:02:10,520 Speaker 1: think season ten of On Orders for you. Really, you've 992 01:02:10,600 --> 01:02:13,120 Speaker 1: ever told that story on the show. Oh my gosh. Well, 993 01:02:13,240 --> 01:02:15,600 Speaker 1: I'll figure out what episode it is and then I 994 01:02:15,640 --> 01:02:18,480 Speaker 1: will put it in the description of the episode, because 995 01:02:18,640 --> 01:02:20,920 Speaker 1: I definitely want to see it. I do walk past 996 01:02:21,000 --> 01:02:24,120 Speaker 1: the camera multiple times. Was this a Boston thing? Wait, 997 01:02:24,160 --> 01:02:26,520 Speaker 1: I'm starting to It was when I lived in New York. 998 01:02:26,640 --> 01:02:29,960 Speaker 1: They were shooting on a very narrow street and there 999 01:02:30,040 --> 01:02:32,040 Speaker 1: was a take where the like, the sidewalk was so 1000 01:02:32,120 --> 01:02:36,160 Speaker 1: narrow that I accidentally like shoulder checked Merska Hargeta when 1001 01:02:36,160 --> 01:02:38,640 Speaker 1: I was walking past her. For some reason, they didn't 1002 01:02:38,720 --> 01:02:44,760 Speaker 1: use that take. Rude, but what but that's do you 1003 01:02:44,800 --> 01:02:49,280 Speaker 1: remember not to play into complaganda? What was the crime 1004 01:02:49,280 --> 01:02:52,880 Speaker 1: of the week? Um? Okay. It was about a woman 1005 01:02:52,920 --> 01:02:56,200 Speaker 1: who escapes from having been like trapped in a room 1006 01:02:56,680 --> 01:03:00,680 Speaker 1: allah the movie room. So then she's like trying to 1007 01:03:00,720 --> 01:03:04,440 Speaker 1: retrace her steps with Christopher Maloney and Mersca harget Day. 1008 01:03:04,480 --> 01:03:07,120 Speaker 1: I don't really know the character's names, and then it 1009 01:03:07,160 --> 01:03:09,920 Speaker 1: turns out she might be lying about this, but it's 1010 01:03:10,000 --> 01:03:13,880 Speaker 1: that was the premise of the episode. Anyway, Does anybody 1011 01:03:14,080 --> 01:03:17,240 Speaker 1: let's go get back to bound because that was were 1012 01:03:17,320 --> 01:03:19,960 Speaker 1: my fifteen minutes of fame and they're up now, well 1013 01:03:20,120 --> 01:03:22,680 Speaker 1: please screenshot we I I will take the lead on 1014 01:03:22,720 --> 01:03:27,320 Speaker 1: screenshotting if need be. So yeah, I I liked. Something 1015 01:03:27,360 --> 01:03:29,320 Speaker 1: I like to find out about the production of this 1016 01:03:29,360 --> 01:03:32,800 Speaker 1: movie is that it was financed through very like kind 1017 01:03:32,800 --> 01:03:36,720 Speaker 1: of traditional surprisingly traditional means for a movie that spotlights 1018 01:03:36,720 --> 01:03:41,360 Speaker 1: a queer couple. It was financed by Dino de Laurentis, 1019 01:03:41,600 --> 01:03:46,960 Speaker 1: who is like a famous Italian filmmaker, very very famous, 1020 01:03:47,360 --> 01:03:50,240 Speaker 1: not necessarily the guy that you would expect to be 1021 01:03:50,280 --> 01:03:53,320 Speaker 1: financing a queer movie, definitely the guy you would expect 1022 01:03:53,360 --> 01:03:55,720 Speaker 1: to be financing a mafia movies. So maybe the witch 1023 01:03:55,720 --> 01:03:58,360 Speaker 1: House k is just really gamed with the system. And 1024 01:03:58,400 --> 01:04:02,480 Speaker 1: also spelling films, um Aaron Spelling, like huge name in 1025 01:04:02,560 --> 01:04:05,840 Speaker 1: eighties and nineties TV production that you also wouldn't expect 1026 01:04:06,120 --> 01:04:10,360 Speaker 1: such uh And with all due respect to spelling industries, 1027 01:04:10,400 --> 01:04:14,440 Speaker 1: because I've consumed much of your content, but you know, 1028 01:04:14,520 --> 01:04:19,040 Speaker 1: not known for the not known for the intellect or 1029 01:04:19,080 --> 01:04:22,680 Speaker 1: taste perhaps, And so I thought it was cool that 1030 01:04:22,760 --> 01:04:27,720 Speaker 1: to such mainstream institutions financed such a subversive But also 1031 01:04:27,960 --> 01:04:30,200 Speaker 1: I mean, like we've been saying this whole time such 1032 01:04:30,240 --> 01:04:32,960 Speaker 1: and it makes sense that you would want to finance 1033 01:04:33,080 --> 01:04:37,400 Speaker 1: such an effective noir movie. And this was also, I 1034 01:04:37,440 --> 01:04:39,680 Speaker 1: feel like the nineties in the early two thousands there 1035 01:04:39,720 --> 01:04:42,240 Speaker 1: was kind of a good moment for neo noir, and 1036 01:04:42,280 --> 01:04:45,080 Speaker 1: so I thought that this came when it did. You 1037 01:04:45,120 --> 01:04:48,320 Speaker 1: saw it in so many different mediums, but almost every 1038 01:04:48,320 --> 01:04:51,560 Speaker 1: single time it was and here was the thing. I 1039 01:04:51,600 --> 01:04:54,560 Speaker 1: even like liked iterations of this, And as I grow older, 1040 01:04:54,560 --> 01:04:56,640 Speaker 1: I would examine it and I'm like, ouch, that hurts. 1041 01:04:57,200 --> 01:04:59,800 Speaker 1: Uh where it almost always starts with like a dead 1042 01:04:59,800 --> 01:05:03,400 Speaker 1: girl all friend, or a dead dame, or like some 1043 01:05:04,080 --> 01:05:07,160 Speaker 1: woman that we never meet that's dead before she's even 1044 01:05:07,280 --> 01:05:10,960 Speaker 1: like on screen, and in this case, even the off 1045 01:05:11,000 --> 01:05:17,000 Speaker 1: screen woman is like some asshole that's richer, Like right, 1046 01:05:17,200 --> 01:05:21,160 Speaker 1: she's not talked me over. Yeah, Like we didn't need 1047 01:05:21,200 --> 01:05:24,240 Speaker 1: to fridge anyone for the plot to begin. We didn't 1048 01:05:24,280 --> 01:05:27,640 Speaker 1: need to like there, there's just so many very obvious 1049 01:05:27,680 --> 01:05:31,000 Speaker 1: no our troops that are not included in this movie, 1050 01:05:31,120 --> 01:05:35,320 Speaker 1: and it's so well written. And also like I mean, 1051 01:05:35,320 --> 01:05:38,840 Speaker 1: we don't often talk about like a ton of visual 1052 01:05:38,960 --> 01:05:41,720 Speaker 1: choices on this show, but it's also just really cool 1053 01:05:41,800 --> 01:05:45,280 Speaker 1: to see the witch how skis in their bag pre Matrix, 1054 01:05:45,960 --> 01:05:49,120 Speaker 1: where like the action scenes I don't care about any 1055 01:05:49,160 --> 01:05:52,280 Speaker 1: of the characters and the Mafia shooting scenes, but they 1056 01:05:52,440 --> 01:05:56,400 Speaker 1: look fucking awesome and it looks like a witch Howski's 1057 01:05:56,480 --> 01:05:59,840 Speaker 1: action scene and it's very exciting to see and so 1058 01:06:00,280 --> 01:06:04,600 Speaker 1: like I don't know where I was, I don't know anyways. 1059 01:06:04,800 --> 01:06:07,000 Speaker 1: I like when you see the close up of the 1060 01:06:07,000 --> 01:06:08,840 Speaker 1: barrel of the gun and then you see the bullet 1061 01:06:08,880 --> 01:06:12,280 Speaker 1: come out question mark pretty cool if you ask me, 1062 01:06:12,640 --> 01:06:17,840 Speaker 1: absolutely gorgeous, Like it's so much background being graphic novels 1063 01:06:18,120 --> 01:06:20,880 Speaker 1: that they were like we think things as like by 1064 01:06:20,920 --> 01:06:23,160 Speaker 1: scene and not point A to B. They're like, we 1065 01:06:23,240 --> 01:06:25,320 Speaker 1: need to tell as much as we can and as 1066 01:06:25,360 --> 01:06:28,600 Speaker 1: little frame as possible, which is obviously why like neo 1067 01:06:28,640 --> 01:06:31,680 Speaker 1: Noir attracts them because like it's just a marriage of 1068 01:06:31,720 --> 01:06:35,000 Speaker 1: like that in comic books. And also this is the 1069 01:06:35,040 --> 01:06:39,400 Speaker 1: same cinematographer who would go on to do the Matrix 1070 01:06:39,920 --> 01:06:45,280 Speaker 1: original trilogy. I don't know if they did. And clueless 1071 01:06:43,920 --> 01:06:49,480 Speaker 1: and Bill Pope, how dare you, sir? How dare you 1072 01:06:49,960 --> 01:06:54,080 Speaker 1: to be so versatile and yet so talented? Wow? Clueless 1073 01:06:54,640 --> 01:06:59,000 Speaker 1: and bound no wait blank check clueless bound back to 1074 01:06:59,120 --> 01:07:05,720 Speaker 1: back to back what what? What? Range incredible? Also did Bedazzled, 1075 01:07:05,800 --> 01:07:08,320 Speaker 1: a movie we did not like on this show, not 1076 01:07:08,520 --> 01:07:13,400 Speaker 1: his Also did Spider Man two, okay, and so he's 1077 01:07:13,440 --> 01:07:17,920 Speaker 1: worked with Alfred Molina. He did Spider Man two and 1078 01:07:18,240 --> 01:07:21,760 Speaker 1: three Army of Darkness. So he works with Sam Ramya 1079 01:07:21,760 --> 01:07:24,920 Speaker 1: a lot. Then, yes, he works with Sam Ramy. He 1080 01:07:24,960 --> 01:07:28,320 Speaker 1: did Scott Pilgrim versus The World Weight. I'm becoming a 1081 01:07:28,360 --> 01:07:31,640 Speaker 1: full on fan of this. But BILLI Pope is up 1082 01:07:31,640 --> 01:07:36,840 Speaker 1: there with um j oh God. Look, we famously don't 1083 01:07:36,880 --> 01:07:40,480 Speaker 1: know anything about cinematography. And I remember, like I know 1084 01:07:40,520 --> 01:07:43,440 Speaker 1: who Roger Deakins is, though Bill Kundy is the one 1085 01:07:43,440 --> 01:07:46,360 Speaker 1: I was trying to remember. He is dressed hard Halloween. 1086 01:07:47,880 --> 01:07:50,840 Speaker 1: If anything's ever looked like gorgeous and interesting, it's either 1087 01:07:50,880 --> 01:07:53,800 Speaker 1: Dean Coundy or Bill Pope. Like you can just kind 1088 01:07:53,800 --> 01:07:55,600 Speaker 1: of look at something and know who it is because 1089 01:07:55,600 --> 01:07:58,720 Speaker 1: you're like, oh, this is sexy, like this is this 1090 01:07:58,800 --> 01:08:03,400 Speaker 1: is a monolithic image. Okay, it's either dem Candier Doll Prope. Yeah. 1091 01:08:03,480 --> 01:08:05,680 Speaker 1: I love how Caitle and I were both like Roger 1092 01:08:05,720 --> 01:08:08,960 Speaker 1: Deacons because one time we got fucking we got like 1093 01:08:09,400 --> 01:08:13,080 Speaker 1: rightfully schooled by Hunter Harris in public in New York, 1094 01:08:13,120 --> 01:08:15,760 Speaker 1: and neither of us had any idea who Hunter Deacons 1095 01:08:15,880 --> 01:08:21,439 Speaker 1: was or Hunter, Oh my god, Roger Deacons. Okay Deacons, 1096 01:08:21,880 --> 01:08:26,120 Speaker 1: maybe I don't know. He's very old. Does anyone have 1097 01:08:26,240 --> 01:08:29,720 Speaker 1: any other thoughts about Bound? I think I would just 1098 01:08:30,400 --> 01:08:33,000 Speaker 1: end with maybe my favorite quote from the interview that 1099 01:08:33,120 --> 01:08:36,160 Speaker 1: I beg everyone to read. It's Gina and Jennifer just 1100 01:08:36,280 --> 01:08:39,479 Speaker 1: like talking about some of the behind the scenes choices 1101 01:08:39,520 --> 01:08:42,639 Speaker 1: that they made, but also they're kind of low key, 1102 01:08:42,720 --> 01:08:46,160 Speaker 1: like hitting on each other the entire time. This was like, 1103 01:08:46,200 --> 01:08:49,000 Speaker 1: I think, like five years ago, and it's a lot 1104 01:08:49,080 --> 01:08:52,679 Speaker 1: of like the interview being like Gina continues to stare 1105 01:08:52,720 --> 01:08:55,240 Speaker 1: at Jennifer, not answering my question, and then just says 1106 01:08:55,280 --> 01:08:59,920 Speaker 1: something like I loved playing with her boobs. Um, it's 1107 01:09:00,000 --> 01:09:02,519 Speaker 1: fantastic interview. We'll link it. We'll link it in the 1108 01:09:02,560 --> 01:09:06,719 Speaker 1: description as well. So Jennifer would tell Gina things like, Hey, 1109 01:09:06,920 --> 01:09:08,840 Speaker 1: when we're shooting this scene, can you put my hand 1110 01:09:08,920 --> 01:09:12,120 Speaker 1: here so my cellulate doesn't show. Also, when this happens, 1111 01:09:12,360 --> 01:09:14,599 Speaker 1: hold my boom up like this so it looks plumper 1112 01:09:14,640 --> 01:09:18,640 Speaker 1: and perkier. And so she basically like between takes, I 1113 01:09:18,680 --> 01:09:22,320 Speaker 1: guess they were just constantly like a laughing and be 1114 01:09:22,520 --> 01:09:27,400 Speaker 1: using each other as human spanks. I that's trust. That 1115 01:09:27,600 --> 01:09:31,720 Speaker 1: is beautiful trust. And the fact that Susie Bright was 1116 01:09:32,120 --> 01:09:35,080 Speaker 1: also like involved in the choreographing of the scene. I 1117 01:09:35,160 --> 01:09:37,760 Speaker 1: just I love it so much. And the fact that 1118 01:09:37,760 --> 01:09:39,800 Speaker 1: they were honest about it in interviews. Oh my god, 1119 01:09:39,840 --> 01:09:42,960 Speaker 1: I would lie my ass off. Good for them, Yeah, 1120 01:09:43,120 --> 01:09:46,000 Speaker 1: they're They're also two of the hottest people on the planet. 1121 01:09:46,080 --> 01:09:50,479 Speaker 1: So you know, all with a grain of salt. Yeah, 1122 01:09:50,560 --> 01:09:52,120 Speaker 1: I think that that's all I had to I just 1123 01:09:52,280 --> 01:09:56,000 Speaker 1: what a what a fun movie. If you haven't seen it, 1124 01:09:56,000 --> 01:10:00,160 Speaker 1: it is streaming on Amazon Prime as we record this. 1125 01:10:00,439 --> 01:10:03,879 Speaker 1: At least hopefully it stays dreaming in a widely available 1126 01:10:03,880 --> 01:10:07,200 Speaker 1: way soon. But you know, run, don't walk. It fucking 1127 01:10:07,320 --> 01:10:13,320 Speaker 1: rocks truly. Yeah, the movie obviously does pass the Bechdel test, 1128 01:10:14,040 --> 01:10:17,320 Speaker 1: mostly between Quirky and Violet. But I would say one 1129 01:10:17,360 --> 01:10:22,400 Speaker 1: of my favorite exchanges that pass is when Quirky goes 1130 01:10:22,560 --> 01:10:26,000 Speaker 1: into the bar towards the beginning and says, how are 1131 01:10:26,040 --> 01:10:31,040 Speaker 1: you doing Sue to Sue the bartender, and Sue the 1132 01:10:31,080 --> 01:10:36,559 Speaker 1: bartender says, like shit, pause, Well, now that we're all 1133 01:10:36,560 --> 01:10:41,080 Speaker 1: caught up? Can I buy you a drink? And then 1134 01:10:41,200 --> 01:10:44,880 Speaker 1: they go on to talk about Quirky's job. Quirky says, 1135 01:10:45,040 --> 01:10:48,080 Speaker 1: I'm just here to get laid dot dot dot by 1136 01:10:48,120 --> 01:10:51,120 Speaker 1: a woman because they're in a lesbian bar. The whole 1137 01:10:51,120 --> 01:10:56,120 Speaker 1: exchange passes the test, as does many, if not most, 1138 01:10:56,120 --> 01:11:00,920 Speaker 1: of the exchanges between Quirky and Violet soum you love 1139 01:11:00,960 --> 01:11:03,360 Speaker 1: to see it. You do love to see it, and 1140 01:11:03,439 --> 01:11:06,920 Speaker 1: it makes you smile and it makes your horny, and 1141 01:11:06,960 --> 01:11:09,920 Speaker 1: what more can you ask for from a movie? Definitely 1142 01:11:09,960 --> 01:11:12,479 Speaker 1: passes the back to the test. However, what about the 1143 01:11:12,600 --> 01:11:15,480 Speaker 1: most important metric on the face of the fucking plant? 1144 01:11:15,760 --> 01:11:18,080 Speaker 1: You mean our nipple scale, in which we rate a 1145 01:11:18,160 --> 01:11:22,759 Speaker 1: movie zero to five nipples based on how it does 1146 01:11:23,000 --> 01:11:26,160 Speaker 1: when you look at it through an intersectional feminist lens. 1147 01:11:26,760 --> 01:11:35,200 Speaker 1: Is that what you're referring to, Jane? Yes, yeah, Um, 1148 01:11:33,720 --> 01:11:42,120 Speaker 1: I would give this movie honestly freaking five nipples, Like 1149 01:11:42,200 --> 01:11:45,320 Speaker 1: is there a reason not to? It's just like it's 1150 01:11:45,320 --> 01:11:50,479 Speaker 1: a pretty like it's it's a white movie. I think that, uh, 1151 01:11:50,640 --> 01:11:55,719 Speaker 1: warrens saying I'm pretty probably five nipples. Really like five 1152 01:11:55,800 --> 01:12:00,679 Speaker 1: nipples does work? Like? I don't really it it's kind 1153 01:12:00,680 --> 01:12:03,240 Speaker 1: of it kind of has to be fun, kind of 1154 01:12:03,840 --> 01:12:07,280 Speaker 1: has to be really no way around it. Right. It 1155 01:12:07,479 --> 01:12:12,160 Speaker 1: challenges so much, it subverts so much. It presents these 1156 01:12:13,040 --> 01:12:18,280 Speaker 1: characters in very nuanced ways the harmful tropes that we 1157 01:12:18,320 --> 01:12:20,920 Speaker 1: had been seeing in film up to that point and 1158 01:12:20,960 --> 01:12:25,599 Speaker 1: continue to see for years and years after that. It's like, 1159 01:12:25,840 --> 01:12:29,240 Speaker 1: let's instead have horny women be horny for each other 1160 01:12:29,640 --> 01:12:34,800 Speaker 1: in a very sex positive and non exploitative way. Let's 1161 01:12:34,880 --> 01:12:38,800 Speaker 1: have them be driving the narrative. Let's have them be 1162 01:12:38,880 --> 01:12:41,439 Speaker 1: able to like do ship and have skills and fix 1163 01:12:41,520 --> 01:12:45,719 Speaker 1: things and plan things. And I just love that. Like Quirky, 1164 01:12:46,439 --> 01:12:51,160 Speaker 1: she's the planner, She's the thief. That's her skill set. Meanwhile, 1165 01:12:51,760 --> 01:12:55,120 Speaker 1: Violet is like a very good performer. She's good at acting, 1166 01:12:55,160 --> 01:12:58,400 Speaker 1: she's good at making people believe like the way. She 1167 01:12:58,600 --> 01:13:01,320 Speaker 1: also has like the credit coal knowledge to like, she 1168 01:13:01,400 --> 01:13:05,360 Speaker 1: knows how the mafia works, right, she knows who's weak 1169 01:13:05,439 --> 01:13:09,000 Speaker 1: to what, who's insecure to what? Like who could she 1170 01:13:09,080 --> 01:13:12,719 Speaker 1: play like a fiddle because she's constantly at a front 1171 01:13:12,800 --> 01:13:16,200 Speaker 1: row seat to the most intimate behaviors right, Like, the 1172 01:13:16,240 --> 01:13:21,559 Speaker 1: plan wouldn't work without both of their specific skill sets 1173 01:13:22,360 --> 01:13:26,160 Speaker 1: and without any like Mary sus nonsense needing to take place, 1174 01:13:26,240 --> 01:13:28,880 Speaker 1: like between the two of them need to be working 1175 01:13:28,920 --> 01:13:31,679 Speaker 1: together with trust in order for the plan to work. 1176 01:13:31,960 --> 01:13:34,599 Speaker 1: And it's because they do that that it works, and 1177 01:13:34,640 --> 01:13:37,240 Speaker 1: then they get to drive away in the truck. I 1178 01:13:37,320 --> 01:13:40,720 Speaker 1: love it. There's a specific scene that like illustrates that, 1179 01:13:40,960 --> 01:13:43,960 Speaker 1: Like it's it's build Pope and the Wai is being like, 1180 01:13:44,000 --> 01:13:47,840 Speaker 1: we're making it obvious that they're like equal contenders, and 1181 01:13:47,880 --> 01:13:51,360 Speaker 1: when they're getting ready for the heist, and like Jia 1182 01:13:51,479 --> 01:13:54,840 Speaker 1: is putting the lock picking kit in her ear and 1183 01:13:54,920 --> 01:13:58,799 Speaker 1: Jennifer Tilly is putting on lipstick, and like she's loading 1184 01:13:58,800 --> 01:14:02,040 Speaker 1: her gun and Jennifer Tilly is like zipping her dress up. 1185 01:14:02,080 --> 01:14:05,519 Speaker 1: Like they both have very specific tools that they're bringing 1186 01:14:05,520 --> 01:14:09,000 Speaker 1: to the table that they cannot survive without. And that, 1187 01:14:09,080 --> 01:14:13,840 Speaker 1: my friends, is show don't tell. That's a screenwriting tip 1188 01:14:13,880 --> 01:14:18,000 Speaker 1: for everyone out there. I really, I really love it. 1189 01:14:18,120 --> 01:14:22,320 Speaker 1: Everyone's firing on. I just now knowing that Bill Pope 1190 01:14:22,400 --> 01:14:25,800 Speaker 1: was coming off of Clueless. I like to think that 1191 01:14:25,840 --> 01:14:28,560 Speaker 1: he was just cracking his knuckles before every shot and 1192 01:14:28,640 --> 01:14:32,080 Speaker 1: being like, not to worry, I just shot clueless. I 1193 01:14:32,120 --> 01:14:34,880 Speaker 1: got this. If I had just shot Clueless, I would 1194 01:14:34,920 --> 01:14:39,519 Speaker 1: not shut up about it. That that's for damn sure. Um, 1195 01:14:39,520 --> 01:14:41,759 Speaker 1: and the Witchasky sisters are like, don't worry, We're about 1196 01:14:41,760 --> 01:14:45,080 Speaker 1: to direct the Matrix. And everyone's like, holy sh it, 1197 01:14:45,600 --> 01:14:49,800 Speaker 1: what are you talking about? Um? What is that? Yes? 1198 01:14:49,960 --> 01:14:53,240 Speaker 1: So I'm giving this movie five nipples. I can't wait 1199 01:14:53,280 --> 01:14:55,840 Speaker 1: to rewatch it. This movie should be in more like 1200 01:14:56,240 --> 01:14:58,960 Speaker 1: film school curriculums for all the fucking classes that are 1201 01:14:59,000 --> 01:15:00,880 Speaker 1: like we're a new new like this is a neo 1202 01:15:01,000 --> 01:15:05,000 Speaker 1: noir class, Like why aren't you watching Bound? This movie 1203 01:15:05,160 --> 01:15:11,240 Speaker 1: rules five nipples and I will give to Quirky, too 1204 01:15:11,240 --> 01:15:16,040 Speaker 1: to Violet, and one to Sue the bartender. I'm gonna 1205 01:15:16,080 --> 01:15:19,360 Speaker 1: go five as well. I think that this movie is 1206 01:15:19,400 --> 01:15:23,000 Speaker 1: going to enter the elite Jamie Tear of movies I 1207 01:15:23,000 --> 01:15:26,160 Speaker 1: would fall asleep to, which is the highest compliment in 1208 01:15:26,200 --> 01:15:28,559 Speaker 1: the entire world. It just means I feel safe with 1209 01:15:28,600 --> 01:15:32,360 Speaker 1: this movie. This movie makes me feel held. I want 1210 01:15:32,400 --> 01:15:37,040 Speaker 1: to be with this movie multiple times a month, and um, 1211 01:15:37,080 --> 01:15:41,240 Speaker 1: I want to know every single word of it subconsciously. Okay, 1212 01:15:42,040 --> 01:15:45,080 Speaker 1: Like I do feel like it's it sounds like an insult, 1213 01:15:45,479 --> 01:15:49,880 Speaker 1: but it's like the shows what I do. But like 1214 01:15:49,960 --> 01:15:53,200 Speaker 1: it's like shows and movies that you're like, they don't 1215 01:15:53,240 --> 01:15:56,320 Speaker 1: necessarily need to be like calm, you just need to 1216 01:15:56,320 --> 01:15:59,519 Speaker 1: feel safe with them. Yeah. I do this with the Thing. 1217 01:15:59,840 --> 01:16:02,920 Speaker 1: I Bound the Thing, like I have certain movies that 1218 01:16:03,040 --> 01:16:05,479 Speaker 1: just make me so happy or like The Army of 1219 01:16:05,560 --> 01:16:07,800 Speaker 1: Darkness is another one that if I like, throw it 1220 01:16:07,840 --> 01:16:09,960 Speaker 1: on and I'm home alone, I feel like I have 1221 01:16:10,160 --> 01:16:14,080 Speaker 1: a guardian angel. Right. Like you're like if I woke 1222 01:16:14,160 --> 01:16:16,519 Speaker 1: up in the middle of the night and this was playing, 1223 01:16:16,720 --> 01:16:20,120 Speaker 1: If Bound was on and I woke up, yeah, you're like, Okay, 1224 01:16:20,280 --> 01:16:24,640 Speaker 1: things can't be that bad. Bound us on. So I 1225 01:16:25,040 --> 01:16:28,360 Speaker 1: really I am so happy to have this movie, um 1226 01:16:28,400 --> 01:16:31,639 Speaker 1: in my life. Now, I think we've kind of said 1227 01:16:31,640 --> 01:16:34,760 Speaker 1: it all at this point. I'm very excited to hear 1228 01:16:34,840 --> 01:16:38,559 Speaker 1: our listeners perspectives on this movie as well. Um, So, 1229 01:16:38,720 --> 01:16:44,800 Speaker 1: five nipples to to Violet, to the quirky, and let's 1230 01:16:44,840 --> 01:16:48,080 Speaker 1: say one to the truck. The truck in a way 1231 01:16:48,439 --> 01:16:54,040 Speaker 1: a character. Yeah, Vanessa, what do you say? I say, uh, 1232 01:16:54,320 --> 01:16:58,200 Speaker 1: you know the difference between me and no, I don't 1233 01:16:58,240 --> 01:17:03,519 Speaker 1: know either. Oh so romantic. So five nipples then across 1234 01:17:03,560 --> 01:17:07,680 Speaker 1: the board. What a rare accomplishment this is for a 1235 01:17:07,720 --> 01:17:10,200 Speaker 1: movie to get five nipples across the board on the 1236 01:17:10,240 --> 01:17:15,240 Speaker 1: Bucktel cast. So incredible. Shout out to Bound, Shout out 1237 01:17:15,240 --> 01:17:20,599 Speaker 1: to the Wachowski sisters, Shout out to us all, God 1238 01:17:20,600 --> 01:17:23,840 Speaker 1: bless us everyone. What am I saying? It's very late? 1239 01:17:23,840 --> 01:17:29,439 Speaker 1: Where I am? Okay? Tiny Tim, thank you bus. She 1240 01:17:29,800 --> 01:17:32,439 Speaker 1: literally pulled out the Tiny Tim card at the end 1241 01:17:32,520 --> 01:17:36,519 Speaker 1: of the Bound episode. You're gonna get Caitlin Torante and 1242 01:17:36,560 --> 01:17:38,680 Speaker 1: that's and that's that's how we keep things fresh in 1243 01:17:38,720 --> 01:17:42,439 Speaker 1: this relationship. She could become Tiny Tim and any Well, 1244 01:17:43,080 --> 01:17:46,880 Speaker 1: you're welcome, Vanessa, Thank you so much for coming back 1245 01:17:46,920 --> 01:17:49,360 Speaker 1: for a fourth time. We'll have you back for a 1246 01:17:49,400 --> 01:17:52,000 Speaker 1: fifth time so that we can give you our special 1247 01:17:52,640 --> 01:17:57,639 Speaker 1: fifth appearance gift that we have yet to actually um 1248 01:17:58,520 --> 01:18:01,599 Speaker 1: give to anyone. But it's it's okin jacket. I'm so excited, 1249 01:18:02,880 --> 01:18:08,200 Speaker 1: the Letterman jacket. But tell us where people can check 1250 01:18:08,240 --> 01:18:13,519 Speaker 1: out your stuff, follow you on social media anything like that. Um, yeah, 1251 01:18:13,560 --> 01:18:17,759 Speaker 1: you can find me on Twitter as an E. S. S. Guerrero. 1252 01:18:18,000 --> 01:18:21,400 Speaker 1: That'sn est Guerrero and s n E. S. Guerrero on Instagram. 1253 01:18:21,560 --> 01:18:23,320 Speaker 1: I know that makes it harder for people to find 1254 01:18:23,320 --> 01:18:27,680 Speaker 1: me if they're not the same. And that's on purpose, um, 1255 01:18:28,000 --> 01:18:31,760 Speaker 1: keep like a study smaller trickle um. And then you 1256 01:18:31,760 --> 01:18:34,200 Speaker 1: can find me every Wednesday on a show that I 1257 01:18:34,280 --> 01:18:36,479 Speaker 1: produced called bybe Check on G four. And then I 1258 01:18:36,520 --> 01:18:39,200 Speaker 1: have a podcast called Kicking and Screaming that's been on 1259 01:18:39,320 --> 01:18:41,720 Speaker 1: hiatus for a little bit because I've honestly just been 1260 01:18:42,040 --> 01:18:45,479 Speaker 1: really really tired, uh, And it's coming back soon and 1261 01:18:45,520 --> 01:18:47,840 Speaker 1: I've been missing talking about movies, so I'm very excited 1262 01:18:47,840 --> 01:18:49,840 Speaker 1: about it. You can find that under a kick screen pod. 1263 01:18:50,800 --> 01:18:54,200 Speaker 1: Love it. Thank you so much for coming back for 1264 01:18:54,280 --> 01:18:57,760 Speaker 1: this modern classic. Thank you for having me. You can 1265 01:18:57,800 --> 01:19:00,840 Speaker 1: find us in all the usual places. You can find 1266 01:19:00,920 --> 01:19:04,320 Speaker 1: us on Instagram or Twitter at becketel Cast. You can 1267 01:19:04,400 --> 01:19:08,479 Speaker 1: follow us on our Patreon ak Matreon at patreon dot com, 1268 01:19:08,520 --> 01:19:12,160 Speaker 1: slash becktel Cast, where every month we cover, we cover, 1269 01:19:12,479 --> 01:19:16,920 Speaker 1: we cover to are bound to cover. We are bound, 1270 01:19:17,040 --> 01:19:20,720 Speaker 1: We are bound and in fact tethered to our matreons 1271 01:19:21,040 --> 01:19:24,240 Speaker 1: uh community, and it's a gift of course where we 1272 01:19:24,320 --> 01:19:29,000 Speaker 1: cover two additional movies every single month. This month our 1273 01:19:29,160 --> 01:19:33,920 Speaker 1: theme is Bravely I know what you did last Midsommar 1274 01:19:34,160 --> 01:19:36,960 Speaker 1: and you won't believe the two movies we chose to cover. 1275 01:19:38,000 --> 01:19:40,240 Speaker 1: So that's five bucks a month, you get to bonus 1276 01:19:40,280 --> 01:19:43,920 Speaker 1: episodes a month and a backdog of over a hundred episodes, 1277 01:19:44,560 --> 01:19:47,760 Speaker 1: and you can get merch at t public dot com. 1278 01:19:47,760 --> 01:19:52,240 Speaker 1: Slash the Bechtel cast. Imagine that. And with that said, um, 1279 01:19:52,520 --> 01:19:56,639 Speaker 1: I've got the truck running. Should we get out of here? 1280 01:19:56,720 --> 01:19:59,120 Speaker 1: The whole mafia is dead. We should probably get out 1281 01:19:59,120 --> 01:20:03,400 Speaker 1: of here. Yeah, let's yeah, yeah yeah. Bye bye bye 1282 01:20:03,439 --> 01:20:03,960 Speaker 1: bye bye