1
00:00:11,000 --> 00:00:15,960
Speaker 1: Hey, everybody, welcome to another episode of I Saw What

2
00:00:16,040 --> 00:00:19,400
Speaker 1: You Did. My name is Millie to Jericho, I'm Daniel Henderson,

3
00:00:19,640 --> 00:00:24,080
Speaker 1: and we're back here talking about films and the wonderful

4
00:00:24,160 --> 00:00:27,640
Speaker 1: worlds of the cinema. Danielle, what's up.

5
00:00:28,360 --> 00:00:30,120
Speaker 2: I'm doing all right this week?

6
00:00:30,160 --> 00:00:33,320
Speaker 3: I have a question, and I'm wondering if you have

7
00:00:33,440 --> 00:00:36,519
Speaker 3: witnessed this yourself as someone who has, like you know,

8
00:00:36,680 --> 00:00:39,440
Speaker 3: hung out with and cared for her nephews during the pandemic.

9
00:00:40,360 --> 00:00:45,640
Speaker 3: I don't think kids wait at bus stops anymore, Oh

10
00:00:45,640 --> 00:00:47,240
Speaker 3: my god.

11
00:00:47,280 --> 00:00:47,879
Speaker 2: Like do they?

12
00:00:48,080 --> 00:00:51,080
Speaker 3: Because I live in a small town, but every time,

13
00:00:51,200 --> 00:00:54,120
Speaker 3: you know, I'm behind a school bus, these buses are

14
00:00:54,160 --> 00:00:57,760
Speaker 3: stopping in front of houses and waiting for the kids

15
00:00:57,800 --> 00:01:00,400
Speaker 3: to come out, like the kids are not even ready

16
00:01:00,400 --> 00:01:02,920
Speaker 3: in front of their own house, Like they literally are

17
00:01:02,920 --> 00:01:05,319
Speaker 3: waiting for children to walk out of their house onto

18
00:01:05,360 --> 00:01:06,760
Speaker 3: the bus, like they ordered an uber.

19
00:01:07,840 --> 00:01:10,000
Speaker 1: I was literally just talking about this with my mom

20
00:01:10,000 --> 00:01:12,520
Speaker 1: and dad because when I was in Florida a couple

21
00:01:12,600 --> 00:01:17,280
Speaker 1: weeks ago, I don't think kids even ride the bus

22
00:01:17,680 --> 00:01:19,600
Speaker 1: like I feel like a lot of the times their

23
00:01:19,840 --> 00:01:22,280
Speaker 1: parents drive them to and from school.

24
00:01:22,800 --> 00:01:25,959
Speaker 3: Holy shit, this is blowing my fucking mind because when

25
00:01:26,000 --> 00:01:30,240
Speaker 3: I'm watching these little kids get picked up by the bus,

26
00:01:30,280 --> 00:01:34,640
Speaker 3: like specifically, I'm wondering, is it because too many kids

27
00:01:34,680 --> 00:01:35,679
Speaker 3: were getting snatched?

28
00:01:35,760 --> 00:01:38,080
Speaker 2: Like what is going on that has made it's a

29
00:01:38,120 --> 00:01:38,880
Speaker 2: major shift?

30
00:01:39,520 --> 00:01:42,039
Speaker 1: I say, I think it's a fucking generational thing. I

31
00:01:42,040 --> 00:01:44,720
Speaker 1: feel like when we were growing up, we were definitely

32
00:01:44,720 --> 00:01:48,120
Speaker 1: second class citizens. They were like, we don't have time

33
00:01:48,240 --> 00:01:50,320
Speaker 1: to do anything for you. You gotta do it yourself.

34
00:01:50,400 --> 00:01:53,440
Speaker 1: You gotta use public transportation. Because I was telling this

35
00:01:53,480 --> 00:01:57,280
Speaker 1: to my sister, like there's a picture, like, so my

36
00:01:57,440 --> 00:02:00,040
Speaker 1: nephew is in first grade, and when he's star I

37
00:02:00,080 --> 00:02:04,480
Speaker 1: warted first grade. My mom found this picture of my sister.

38
00:02:04,560 --> 00:02:07,200
Speaker 1: It was like a polaroid photo of my sister in

39
00:02:07,360 --> 00:02:10,639
Speaker 1: first grade waiting for the bus on the first day

40
00:02:10,639 --> 00:02:14,400
Speaker 1: of school. And I'm like, she rode the bus in

41
00:02:14,600 --> 00:02:18,400
Speaker 1: first grade. Now technically, yeah, I was there. I mean,

42
00:02:18,480 --> 00:02:22,040
Speaker 1: of course I had to basically like tote her around everywhere,

43
00:02:22,040 --> 00:02:24,400
Speaker 1: but she technically rode the bus like me and my

44
00:02:24,440 --> 00:02:28,240
Speaker 1: sister rode the bus in elementary school. Okay, yeah, and

45
00:02:28,760 --> 00:02:33,440
Speaker 1: my nephew doesn't ride the bus and would never ride

46
00:02:33,440 --> 00:02:35,080
Speaker 1: the bus, Like I asked my sister why don't you

47
00:02:35,160 --> 00:02:38,400
Speaker 1: just because he goes to her school basically, and so

48
00:02:38,440 --> 00:02:39,840
Speaker 1: she drives him. It's easy.

49
00:02:39,919 --> 00:02:40,280
Speaker 2: That makes it.

50
00:02:40,560 --> 00:02:43,280
Speaker 1: Yeah, I was like, but you know, would you ever

51
00:02:43,360 --> 00:02:47,400
Speaker 1: let him ride the bus? And she's like what. I'm like, bitch,

52
00:02:47,440 --> 00:02:49,200
Speaker 1: you rode the bus. You rode the bus when you

53
00:02:49,200 --> 00:02:50,080
Speaker 1: were seven years old.

54
00:02:50,120 --> 00:02:52,560
Speaker 3: Come on, Like, not only that, but like part of

55
00:02:52,600 --> 00:02:59,200
Speaker 3: my disbelief is how like how terrible it was to

56
00:02:59,240 --> 00:03:02,040
Speaker 3: stand out waiting for that fucking bus. Like we in

57
00:03:02,080 --> 00:03:05,640
Speaker 3: the winter would stand out there and whatever out but

58
00:03:05,680 --> 00:03:06,919
Speaker 3: we had on we had to put on the moon

59
00:03:06,960 --> 00:03:09,680
Speaker 3: boots and the fucking jump suits or whatever, like the

60
00:03:09,720 --> 00:03:12,920
Speaker 3: fucking padded suits, and like we were out there like

61
00:03:12,919 --> 00:03:14,680
Speaker 3: we were gonna be outside all day because we had

62
00:03:14,720 --> 00:03:17,760
Speaker 3: to wait for the bus for like twenty fucking minutes sometimes.

63
00:03:18,160 --> 00:03:20,400
Speaker 3: And there were moments where, because I lived in town,

64
00:03:20,960 --> 00:03:23,399
Speaker 3: we would stand on the corner and then walk up

65
00:03:23,440 --> 00:03:26,480
Speaker 3: the street to the vent at the back of the

66
00:03:26,560 --> 00:03:29,160
Speaker 3: dry cleaner that was on the corner, and we would

67
00:03:29,240 --> 00:03:29,720
Speaker 3: stand in.

68
00:03:29,680 --> 00:03:30,960
Speaker 2: Front of the vent to get warm.

69
00:03:31,160 --> 00:03:34,200
Speaker 1: Yeah, And I want to say, am I wrong about this?

70
00:03:34,320 --> 00:03:39,720
Speaker 1: But like a large argument for us to keep daylight

71
00:03:39,760 --> 00:03:42,280
Speaker 1: savings time is because of kids at a bus.

72
00:03:42,040 --> 00:03:44,800
Speaker 3: Stop yep, oh yeah, because we'd be out there pitch

73
00:03:44,880 --> 00:03:47,360
Speaker 3: black darkness, yeah, in the winter.

74
00:03:48,440 --> 00:03:51,160
Speaker 1: Well, then this is what this is what I understand. Like,

75
00:03:52,400 --> 00:03:57,920
Speaker 1: I feel like the bus has become like a thing?

76
00:03:58,320 --> 00:04:02,160
Speaker 1: Is it like a it's dirty? Is it because you're

77
00:04:02,320 --> 00:04:05,720
Speaker 1: freaked out by kidnappings? Like you know, I feel like

78
00:04:06,080 --> 00:04:09,360
Speaker 1: the And I don't know, maybe it's simply because parents

79
00:04:09,600 --> 00:04:12,960
Speaker 1: have more time, have more fucking time to do things

80
00:04:13,040 --> 00:04:15,240
Speaker 1: for their kids like this, even though it doesn't seem

81
00:04:15,240 --> 00:04:17,359
Speaker 1: that way because I know so many stressed out parents

82
00:04:17,400 --> 00:04:19,680
Speaker 1: that have no time. But I'm also like, how the

83
00:04:19,720 --> 00:04:21,839
Speaker 1: fuck are kids not using the bus anymore?

84
00:04:21,920 --> 00:04:22,839
Speaker 2: That seems it is to me.

85
00:04:22,880 --> 00:04:25,480
Speaker 3: It's truly blowing my mind because I don't understand. I

86
00:04:25,480 --> 00:04:27,560
Speaker 3: don't understand why. Like I'm with you where, I'm just like,

87
00:04:27,600 --> 00:04:32,279
Speaker 3: what what cultural shift has happened in just one generation

88
00:04:33,240 --> 00:04:37,360
Speaker 3: to make it that the bus is an impossibility? Meanwhile,

89
00:04:37,360 --> 00:04:39,920
Speaker 3: it was a system that worked pretty well I think

90
00:04:40,040 --> 00:04:44,000
Speaker 3: for decades, especially out in these woods and in these

91
00:04:44,000 --> 00:04:44,880
Speaker 3: smaller towns.

92
00:04:45,279 --> 00:04:50,120
Speaker 1: Yeah. Well, and like, okay, I remember like being in

93
00:04:50,200 --> 00:04:53,000
Speaker 1: high school. Now, when you got to high school, riding

94
00:04:53,040 --> 00:04:55,320
Speaker 1: the bus sucked because yeah, a lot of your friends

95
00:04:55,360 --> 00:04:58,440
Speaker 1: had cars and like, no one wants to be stuck

96
00:04:58,480 --> 00:05:01,440
Speaker 1: on the bus when and you can get your hot

97
00:05:01,520 --> 00:05:01,920
Speaker 1: naghbor and.

98
00:05:01,839 --> 00:05:03,839
Speaker 2: Your drive to school or whatever completely.

99
00:05:04,120 --> 00:05:07,240
Speaker 1: But in middle school and especially elementary school is like

100
00:05:07,440 --> 00:05:09,400
Speaker 1: not an option. That's the way it was when we

101
00:05:09,400 --> 00:05:10,159
Speaker 1: were growing up.

102
00:05:10,320 --> 00:05:12,080
Speaker 2: And it was its own social system.

103
00:05:12,240 --> 00:05:16,000
Speaker 3: Like being on a bus in middle school kind of

104
00:05:16,040 --> 00:05:19,000
Speaker 3: taught me about social hierarchies and a lot of bullshit.

105
00:05:19,440 --> 00:05:22,000
Speaker 1: Yeah, there was so much going on on the bus,

106
00:05:22,040 --> 00:05:26,480
Speaker 1: Like there was like I remember, like this is gonna

107
00:05:26,600 --> 00:05:28,720
Speaker 1: age me a little bit of hope not but like

108
00:05:28,880 --> 00:05:32,720
Speaker 1: I remember in elementary school when the Dirty Dancing soundtrack

109
00:05:32,760 --> 00:05:36,159
Speaker 1: came out. I remember the entire bus, like on the

110
00:05:36,160 --> 00:05:39,440
Speaker 1: bus ride to school and back, like everybody were singing

111
00:05:39,520 --> 00:05:42,640
Speaker 1: like songs from the Dirty Dancing soundtrack, Like the entire

112
00:05:42,680 --> 00:05:46,760
Speaker 1: bus full of kids were singing like hey Sylvia, yes Mickey.

113
00:05:46,839 --> 00:05:50,719
Speaker 1: It's like that's a distinct memory that I have. So

114
00:05:50,800 --> 00:05:52,839
Speaker 1: I was like, yo, kids were singing on the bus.

115
00:05:54,040 --> 00:05:54,279
Speaker 2: I know.

116
00:05:54,400 --> 00:05:57,880
Speaker 1: You know this rumor about there was always somebody that

117
00:05:57,960 --> 00:06:00,560
Speaker 1: got finger blasted on the bus. It was like a

118
00:06:00,680 --> 00:06:02,320
Speaker 1: scandal and we were like.

119
00:06:02,360 --> 00:06:03,920
Speaker 2: What, Oh.

120
00:06:04,080 --> 00:06:07,760
Speaker 3: The bus was kind of where I learned about most

121
00:06:07,800 --> 00:06:11,640
Speaker 3: deviant behavior. Yes, Like as you went further back in

122
00:06:11,720 --> 00:06:14,400
Speaker 3: the bus, it became like sodom and fucking gomora.

123
00:06:14,520 --> 00:06:18,679
Speaker 2: Back there, kids were like smoking out of the emergency exit.

124
00:06:19,000 --> 00:06:21,320
Speaker 3: Kids would always I don't know why, but kids would

125
00:06:21,320 --> 00:06:23,880
Speaker 3: always open the emergency exit and jump out of the back,

126
00:06:24,040 --> 00:06:26,160
Speaker 3: like when it was not their bust up, Like they

127
00:06:26,160 --> 00:06:28,120
Speaker 3: were fleeing from school.

128
00:06:28,080 --> 00:06:31,039
Speaker 2: Like fleeing from the bus that was that ran rampant

129
00:06:31,040 --> 00:06:31,600
Speaker 2: for a while.

130
00:06:32,040 --> 00:06:36,479
Speaker 3: Kids were smoking, fucking finger blasting each other like and

131
00:06:36,520 --> 00:06:37,839
Speaker 3: then you got to the middle and it was like

132
00:06:37,920 --> 00:06:40,760
Speaker 3: us nerds who were talking about our school day and

133
00:06:40,839 --> 00:06:43,640
Speaker 3: like our dumb nerdy lives. Yeah, And on the front

134
00:06:43,640 --> 00:06:46,400
Speaker 3: of the bus was just straight up like scared kids

135
00:06:46,520 --> 00:06:48,560
Speaker 3: who were just like I'm not going anywhere near the

136
00:06:48,600 --> 00:06:49,560
Speaker 3: back of that bus.

137
00:06:49,960 --> 00:06:51,560
Speaker 2: It is fucking mayhem back there.

138
00:06:51,839 --> 00:06:55,800
Speaker 1: Oh my god. I remember when when I was in

139
00:06:55,839 --> 00:06:58,040
Speaker 1: elementary school. This is when we were living in Charleston,

140
00:06:58,240 --> 00:07:02,200
Speaker 1: or right outside of Charleston in South Carolina. My sister

141
00:07:02,360 --> 00:07:04,960
Speaker 1: and I were riding the bus to elementary school and

142
00:07:05,520 --> 00:07:11,640
Speaker 1: she puked all and that bus driver was like, you

143
00:07:11,920 --> 00:07:14,880
Speaker 1: better get up here and come get your sister because

144
00:07:14,880 --> 00:07:17,720
Speaker 1: the puke is slowly rolling back to the back of

145
00:07:17,760 --> 00:07:20,120
Speaker 1: the bus, and everybody was like screaming like lift your

146
00:07:20,120 --> 00:07:24,520
Speaker 1: feet up, lift your feet up. And I was like horrified,

147
00:07:24,720 --> 00:07:26,400
Speaker 1: and like I was like, oh my god, this is

148
00:07:26,440 --> 00:07:29,160
Speaker 1: gonna be such a fucking stain on my year because

149
00:07:29,440 --> 00:07:32,040
Speaker 1: I'm the girl whose little sister puked on the bus

150
00:07:32,040 --> 00:07:35,840
Speaker 1: and everybody's shoes are full of puke like that. I

151
00:07:35,960 --> 00:07:38,520
Speaker 1: just to think that like that kind of drama like

152
00:07:38,560 --> 00:07:40,720
Speaker 1: doesn't exist in the kids' lives these days.

153
00:07:40,600 --> 00:07:42,920
Speaker 2: Is the blessing, to be honest, It truly is.

154
00:07:42,960 --> 00:07:44,679
Speaker 3: And I think a lot of it is because kids

155
00:07:44,680 --> 00:07:48,120
Speaker 3: are like so heavily scheduled that they are like, well,

156
00:07:48,160 --> 00:07:49,720
Speaker 3: we can't put you on the bus because you have

157
00:07:49,800 --> 00:07:52,000
Speaker 3: soccer after school, so we have to come get you

158
00:07:52,680 --> 00:07:55,000
Speaker 3: and take you to soccer because you won't get there

159
00:07:55,000 --> 00:07:56,680
Speaker 3: on time if we just wait for the bus to

160
00:07:56,680 --> 00:07:59,120
Speaker 3: take you. And I'm like, I'm sorry, I just I

161
00:07:59,200 --> 00:08:04,480
Speaker 3: learned so much. We had fucking boomboxes back there. It

162
00:08:04,640 --> 00:08:06,600
Speaker 3: was like, oh my god. There was this one kid

163
00:08:06,680 --> 00:08:10,200
Speaker 3: super into heavy metal. Long he would like do his

164
00:08:10,360 --> 00:08:13,040
Speaker 3: hair on the bus, like he had long feathered hair,

165
00:08:13,680 --> 00:08:15,760
Speaker 3: and I'm like, oh, that's how hair spray works because

166
00:08:15,760 --> 00:08:17,960
Speaker 3: I'm watching this motherfucker do his hair on the bus

167
00:08:17,960 --> 00:08:19,960
Speaker 3: with the brush and the fucking hairs.

168
00:08:20,680 --> 00:08:23,000
Speaker 2: I learned so much on the bus.

169
00:08:23,360 --> 00:08:26,680
Speaker 1: Yeah, there was I remember there was this one bus driver.

170
00:08:27,000 --> 00:08:30,160
Speaker 1: Are like bus drivers? That's a whole other subject. I

171
00:08:30,240 --> 00:08:33,120
Speaker 1: oh do an entire podcast about bus drivers.

172
00:08:33,240 --> 00:08:35,480
Speaker 3: Dude, we had a bus driver named Chucky who was

173
00:08:35,520 --> 00:08:40,960
Speaker 3: a vet, and Chucky he looked haunted as shit and

174
00:08:41,040 --> 00:08:44,920
Speaker 3: had no tolerance for children, Like, yeah, the last person

175
00:08:44,960 --> 00:08:46,960
Speaker 3: who should have been driving a bus was this dude,

176
00:08:47,000 --> 00:08:48,959
Speaker 3: and he was just like he looked like.

177
00:08:48,960 --> 00:08:50,679
Speaker 2: Large Marge where he just kind of had his hands

178
00:08:50,679 --> 00:08:51,840
Speaker 2: on both sides of the big.

179
00:08:51,679 --> 00:08:54,960
Speaker 3: Wheel, constantly yelling at us to shut the fuck up,

180
00:08:55,040 --> 00:08:57,400
Speaker 3: like he was he'd had it before.

181
00:08:57,360 --> 00:08:59,640
Speaker 2: It even began. But yes, we could do a whole

182
00:09:00,080 --> 00:09:01,680
Speaker 2: other conversation about bus drivers.

183
00:09:01,720 --> 00:09:04,160
Speaker 1: Oh my god, So our bust our neighborhood bus driver

184
00:09:04,240 --> 00:09:07,760
Speaker 1: was a snooze, not gonna lie. But then sometimes we'd

185
00:09:07,760 --> 00:09:10,640
Speaker 1: have like that substitute bus driver that would come in

186
00:09:10,720 --> 00:09:13,120
Speaker 1: when our bus driver was like outstick or whatever. And

187
00:09:13,320 --> 00:09:19,280
Speaker 1: the sub bus driver's bus was so fucking cool because

188
00:09:20,000 --> 00:09:23,880
Speaker 1: she had garbage pail kids lining at the top of

189
00:09:23,920 --> 00:09:28,480
Speaker 1: the bus, Like basically it was like crown molding above

190
00:09:28,640 --> 00:09:31,960
Speaker 1: the windows and it was just the stickers, the garbage

191
00:09:32,000 --> 00:09:34,880
Speaker 1: pail kids stickers. And I was like, it's the garbage

192
00:09:34,880 --> 00:09:35,480
Speaker 1: pail kids.

193
00:09:35,559 --> 00:09:38,680
Speaker 2: Boss. Holy shit, Holy, this is gonna be the best

194
00:09:38,760 --> 00:09:43,120
Speaker 2: day ever. I absolutely love whoever that bus driver was.

195
00:09:43,200 --> 00:09:45,880
Speaker 2: She was on it. Yeah, she knew her audience and

196
00:09:45,920 --> 00:09:48,640
Speaker 2: she played to the crowd. Yes, and I loved.

197
00:09:48,679 --> 00:09:50,720
Speaker 3: You know what I loved about a substitute bus driver

198
00:09:50,840 --> 00:09:53,200
Speaker 3: is when they would whiz past a fucking stop and

199
00:09:53,280 --> 00:09:55,000
Speaker 3: everyone would be like, stop.

200
00:09:58,440 --> 00:10:01,640
Speaker 2: The kid whoever that she like that they missed.

201
00:10:01,679 --> 00:10:04,520
Speaker 3: The kid would be panicking like, oh my god, I've

202
00:10:04,559 --> 00:10:07,400
Speaker 3: never been this far past my own home.

203
00:10:07,559 --> 00:10:08,720
Speaker 2: Where the fuck are we going.

204
00:10:09,200 --> 00:10:11,320
Speaker 3: Every single time we had a sub they would miss

205
00:10:11,320 --> 00:10:13,160
Speaker 3: a stop and then that kid had to stay on

206
00:10:13,280 --> 00:10:15,320
Speaker 3: the bus until the end and they would loop back

207
00:10:15,360 --> 00:10:16,319
Speaker 3: around and drop him off.

208
00:10:16,480 --> 00:10:18,360
Speaker 2: But that kid was always crying and panicking.

209
00:10:18,400 --> 00:10:20,960
Speaker 3: And I'm like, substitute bus drivers are the best because

210
00:10:20,960 --> 00:10:22,439
Speaker 3: they're like, we don't give a fuck, We're just here

211
00:10:22,440 --> 00:10:22,920
Speaker 3: for a day.

212
00:10:23,480 --> 00:10:28,600
Speaker 1: Yeah. I remember being alive in the era before they

213
00:10:28,679 --> 00:10:31,280
Speaker 1: put that like stick out in the front of the bus,

214
00:10:31,440 --> 00:10:35,200
Speaker 1: because don't you remember the whole drama of that some

215
00:10:35,360 --> 00:10:38,040
Speaker 1: bus driver ran over a kid because he wasn't far

216
00:10:38,320 --> 00:10:41,920
Speaker 1: he wasn't out far enough. And then they started, you

217
00:10:41,920 --> 00:10:44,880
Speaker 1: know that thing. They started attaching these like I don't know,

218
00:10:45,080 --> 00:10:48,160
Speaker 1: like those like safety yeah, out in the front of

219
00:10:48,160 --> 00:10:50,400
Speaker 1: the bus. So like when the bus would stop, this

220
00:10:50,520 --> 00:10:53,200
Speaker 1: like huge arm would come out and you had to

221
00:10:53,240 --> 00:10:55,840
Speaker 1: like walk around the arm so that they wouldn't smash

222
00:10:55,880 --> 00:10:57,920
Speaker 1: you on accident when they drove away.

223
00:10:58,400 --> 00:10:59,760
Speaker 2: We didn't get the arm right away.

224
00:10:59,800 --> 00:11:04,400
Speaker 3: We got instead was another lesson, which was get off

225
00:11:04,400 --> 00:11:08,080
Speaker 3: the bus, walk minimum fifteen steps in front of it

226
00:11:08,120 --> 00:11:10,679
Speaker 3: before you cross. They're just like, now you have to count,

227
00:11:10,720 --> 00:11:12,360
Speaker 3: like get off the bus and do math. And we're

228
00:11:12,400 --> 00:11:13,960
Speaker 3: like we just left school, and they're like, well, if

229
00:11:13,960 --> 00:11:16,280
Speaker 3: you don't want to get fucking run over, you want

230
00:11:16,280 --> 00:11:20,160
Speaker 3: to count them steps. I swear to god, some kid

231
00:11:20,200 --> 00:11:22,680
Speaker 3: who had to count steps off the bus is the

232
00:11:22,679 --> 00:11:27,000
Speaker 3: one who invented the fucking garmin trash like health tracker

233
00:11:27,120 --> 00:11:29,800
Speaker 3: part of the iPhone. Like some motherfucker who's like, I've

234
00:11:29,800 --> 00:11:32,640
Speaker 3: been counting steps my whole fucking life so.

235
00:11:32,600 --> 00:11:37,720
Speaker 1: I don't get smashed by my underpaid bus driver.

236
00:11:39,240 --> 00:11:42,280
Speaker 3: I mean, the patients you have to have to be

237
00:11:42,679 --> 00:11:46,400
Speaker 3: involved in any kind of school, but particularly on the bus,

238
00:11:46,600 --> 00:11:50,720
Speaker 3: people were never rowdier than when they left school.

239
00:11:51,080 --> 00:11:52,960
Speaker 2: Oh my god, it was like a bar full of

240
00:11:53,200 --> 00:11:54,040
Speaker 2: middle schoolers.

241
00:11:54,760 --> 00:11:58,360
Speaker 1: It was euphoric because it's like everybody hated school so

242
00:11:58,440 --> 00:12:01,880
Speaker 1: much that the minute you left became like complete fucking anarchy,

243
00:12:01,960 --> 00:12:04,880
Speaker 1: like we lost control of all of our faculties. Like

244
00:12:05,800 --> 00:12:09,800
Speaker 1: I remember there were certain times where people were like,

245
00:12:10,360 --> 00:12:14,440
Speaker 1: a confrontation is going down after we get off the

246
00:12:14,480 --> 00:12:17,559
Speaker 1: bus at the bus stop, like these two guys are

247
00:12:17,559 --> 00:12:20,040
Speaker 1: gonna fight, or these two girls are gonna slap each other,

248
00:12:20,400 --> 00:12:23,720
Speaker 1: and we were like, oh, my fucking god, like rubbing

249
00:12:23,720 --> 00:12:27,040
Speaker 1: our hands together, like oh, I can't wait for this.

250
00:12:27,160 --> 00:12:30,040
Speaker 1: I mean it was like wwf shit, Like it was

251
00:12:30,120 --> 00:12:30,880
Speaker 1: so exciting.

252
00:12:31,280 --> 00:12:34,880
Speaker 3: Is there anything more exciting than like half the entire

253
00:12:34,920 --> 00:12:37,319
Speaker 3: bus going to one half to look out the windows

254
00:12:38,000 --> 00:12:40,240
Speaker 3: as a fight starts, and all you see is like

255
00:12:40,440 --> 00:12:43,480
Speaker 3: someone's backpack getting grabbed and that kid getting dragged to

256
00:12:43,520 --> 00:12:46,440
Speaker 3: the ground, and you're like, oh, like it's on, bitch.

257
00:12:46,600 --> 00:12:48,280
Speaker 1: Like there were times where I'm like, I'm getting off

258
00:12:48,320 --> 00:12:50,040
Speaker 1: at this stop. I don't care if my house is

259
00:12:50,080 --> 00:12:52,160
Speaker 1: like two miles away, like I'll turn to my friend

260
00:12:52,160 --> 00:12:53,720
Speaker 1: and be like, this is your stop. Well, I'm getting

261
00:12:53,720 --> 00:12:56,720
Speaker 1: off with you because I'm watching what like Craig and

262
00:12:56,880 --> 00:12:58,960
Speaker 1: you know Brook are gonna do after they broke up

263
00:12:59,000 --> 00:13:01,600
Speaker 1: today at school and fight at the bus stop or whatever.

264
00:13:01,720 --> 00:13:03,880
Speaker 1: I was like, I don't care to walk home, like

265
00:13:03,920 --> 00:13:05,600
Speaker 1: I'm getting off at the stop.

266
00:13:06,400 --> 00:13:08,400
Speaker 2: This is the event of the year.

267
00:13:08,880 --> 00:13:11,439
Speaker 1: Yes, well, And I remember there was this one time

268
00:13:11,559 --> 00:13:14,480
Speaker 1: this is again in elementary school where I actually got

269
00:13:14,520 --> 00:13:17,120
Speaker 1: into a huge argument with this girl at the bus

270
00:13:17,160 --> 00:13:21,480
Speaker 1: stop and it was over Gem in the Holograms. I

271
00:13:21,480 --> 00:13:23,560
Speaker 1: don't ever think about this now, And I'm like, I

272
00:13:23,559 --> 00:13:28,400
Speaker 1: can't believe we got heated about cartoons kids.

273
00:13:28,559 --> 00:13:31,840
Speaker 3: That was currency, that was supreme currency back in the day.

274
00:13:32,120 --> 00:13:35,719
Speaker 1: Oh yeah, because so me and this girl were discussing

275
00:13:36,160 --> 00:13:38,880
Speaker 1: who in the Holograms we were going to be that

276
00:13:39,040 --> 00:13:42,600
Speaker 1: day at school, and I picked Kimber because I was

277
00:13:42,600 --> 00:13:45,480
Speaker 1: always Kimber. I was like, I love Kimber, like she's

278
00:13:45,520 --> 00:13:50,080
Speaker 1: my girl, like sassy redhead, that's my girl. And this

279
00:13:50,080 --> 00:13:53,640
Speaker 1: this girl at the bus stop was like, no, like

280
00:13:53,920 --> 00:13:55,960
Speaker 1: you are not Kimber today. I'm Kimber. And I'm like,

281
00:13:56,040 --> 00:13:57,560
Speaker 1: how fucking dare you?

282
00:13:57,880 --> 00:13:58,880
Speaker 2: Oh? She was asking for it.

283
00:13:58,960 --> 00:14:03,000
Speaker 1: You're trying to ups ubsurt me, Like I don't know

284
00:14:03,000 --> 00:14:06,040
Speaker 1: who you're playing with, and I like essentially screamed in

285
00:14:06,040 --> 00:14:10,640
Speaker 1: her face. And then she ran home. She ran home

286
00:14:11,280 --> 00:14:14,440
Speaker 1: and missed the bus, missed the bus, and then like

287
00:14:14,640 --> 00:14:19,240
Speaker 1: the morning, this is in the morning, damn your day,

288
00:14:19,320 --> 00:14:23,920
Speaker 1: and here's the here's the catch. So my mom saw

289
00:14:23,960 --> 00:14:28,280
Speaker 1: her running home and was like, I forgot her name.

290
00:14:28,320 --> 00:14:30,400
Speaker 1: I don't even remember her fucking name. It's not a shame.

291
00:14:30,960 --> 00:14:31,120
Speaker 3: Uh.

292
00:14:31,160 --> 00:14:33,600
Speaker 1: We got in such a heated argument. I forgot her name,

293
00:14:33,880 --> 00:14:36,840
Speaker 1: and my mom saw her and actually took her to

294
00:14:36,920 --> 00:14:39,120
Speaker 1: school because she had missed the bus. And so when

295
00:14:39,120 --> 00:14:43,600
Speaker 1: I got home, please believe, my mom was like, oh,

296
00:14:44,400 --> 00:14:47,280
Speaker 1: you're in trouble. Like you this poor girl, you like

297
00:14:47,360 --> 00:14:50,160
Speaker 1: could not let it go and you couldn't let this

298
00:14:50,280 --> 00:14:52,840
Speaker 1: girl be kimber for one damn day. And then I

299
00:14:52,880 --> 00:14:54,280
Speaker 1: had to drive her ass to school.

300
00:14:54,520 --> 00:14:59,240
Speaker 3: Like your mom is like, I know, you've seen I know.

301
00:14:59,320 --> 00:15:01,320
Speaker 3: My first name is Stephen. We can't have kids just

302
00:15:01,400 --> 00:15:04,480
Speaker 3: running loose in this neighborhood. Now, I gotta make sure

303
00:15:04,520 --> 00:15:06,520
Speaker 3: this little motherfucker doesn't get kidnapped.

304
00:15:07,640 --> 00:15:10,120
Speaker 2: It's take her to school, though. My daughter bully. There

305
00:15:10,160 --> 00:15:12,400
Speaker 2: had to be an a gym did in the hologram's character,

306
00:15:16,520 --> 00:15:17,280
Speaker 2: and that's the thing.

307
00:15:17,480 --> 00:15:19,560
Speaker 3: And your parents had to drive you to school back

308
00:15:19,600 --> 00:15:21,560
Speaker 3: in the day, they were fucking mad about it.

309
00:15:21,960 --> 00:15:25,880
Speaker 1: Oh my god, that isn't that so interesting? From like

310
00:15:25,960 --> 00:15:29,560
Speaker 1: the trajectory of that to right now where parents are like,

311
00:15:30,000 --> 00:15:32,360
Speaker 1: I can't think of a world where I don't drive

312
00:15:32,400 --> 00:15:33,200
Speaker 1: my kid to school.

313
00:15:33,640 --> 00:15:33,920
Speaker 2: Bitch.

314
00:15:33,960 --> 00:15:36,120
Speaker 1: In our day, it was like if your parent had

315
00:15:36,120 --> 00:15:38,920
Speaker 1: to drive it to school, it was like the biggest

316
00:15:39,040 --> 00:15:40,000
Speaker 1: ordeal ever.

317
00:15:40,160 --> 00:15:42,720
Speaker 3: Oh, you were grounded and it didn't even matter if

318
00:15:42,720 --> 00:15:44,800
Speaker 3: You're like, I need to ride to school.

319
00:15:44,440 --> 00:15:46,640
Speaker 2: Because I had diarrhea in my pants and they're like,

320
00:15:46,640 --> 00:15:48,680
Speaker 2: well you should have figured that out on the fucking bus.

321
00:15:48,680 --> 00:15:52,720
Speaker 3: And you're like, what's how I came home to change

322
00:15:52,760 --> 00:15:55,320
Speaker 3: my pants? Not my problem walk to school and you're

323
00:15:55,360 --> 00:15:59,520
Speaker 3: like what You're like, my day is planned. I'm gonna

324
00:15:59,600 --> 00:16:03,920
Speaker 3: fucking vacuum this living room. I'm gonna watch Donna Hu,

325
00:16:05,200 --> 00:16:07,680
Speaker 3: I got time to take your little shitty ass the school.

326
00:16:09,080 --> 00:16:12,760
Speaker 1: Donahue has the KKK on today. I'm not missing that shit.

327
00:16:13,680 --> 00:16:17,080
Speaker 3: Dona Jay guy the KKK and Al Sharpton on at

328
00:16:17,080 --> 00:16:22,000
Speaker 3: the same time, we got Jenny Jones at two o'clock.

329
00:16:22,400 --> 00:16:26,120
Speaker 3: Montel Williams will be on soon. My whole day is planned.

330
00:16:26,760 --> 00:16:28,080
Speaker 3: I ain't got top of this shit.

331
00:16:28,480 --> 00:16:32,400
Speaker 1: You're gonna help me that load in your pants, little darling.

332
00:16:33,120 --> 00:16:37,200
Speaker 3: Meanwhile, this winter, I saw what I assume was a

333
00:16:37,200 --> 00:16:40,920
Speaker 3: bus stop. Someone had like a suburban like this big

334
00:16:40,920 --> 00:16:45,120
Speaker 3: old van, and I was behind a bus. And when

335
00:16:45,120 --> 00:16:47,160
Speaker 3: the bus came to the corner and put the little

336
00:16:47,200 --> 00:16:50,440
Speaker 3: safety arm out, I'm not kidding when I say, like

337
00:16:50,480 --> 00:16:54,160
Speaker 3: eight kids piled out of this car. Yes, like now

338
00:16:54,160 --> 00:16:57,040
Speaker 3: they sit in the warm car until the fucking bus comes.

339
00:16:57,440 --> 00:16:59,840
Speaker 1: Yes. That's the other thing that I noticed, too, is

340
00:16:59,880 --> 00:17:03,880
Speaker 1: that they don't walk to their homes. Like they don't

341
00:17:03,920 --> 00:17:06,560
Speaker 1: walk to their homes, which are not that far from

342
00:17:06,600 --> 00:17:08,359
Speaker 1: the bus stop. A lot of times they actually have

343
00:17:08,400 --> 00:17:10,720
Speaker 1: somebody at the bus stop picking them up to drive

344
00:17:10,760 --> 00:17:16,160
Speaker 1: them what like five hundred feet, like it's not even

345
00:17:16,200 --> 00:17:18,400
Speaker 1: that far. And I'm like, damn, these.

346
00:17:18,359 --> 00:17:19,719
Speaker 2: Kids wild out there.

347
00:17:19,720 --> 00:17:21,800
Speaker 3: And I'm like, look, too many kids got snatched, and

348
00:17:21,800 --> 00:17:24,280
Speaker 3: now y'all are paranoid, And now these kids don't get

349
00:17:24,280 --> 00:17:27,400
Speaker 3: to experience learning about hairspray on the bus, or fighting

350
00:17:27,400 --> 00:17:31,919
Speaker 3: with their friends or puking on those little tiles, like

351
00:17:32,640 --> 00:17:35,760
Speaker 3: striated tiles. They're missing out on a lot as far

352
00:17:35,760 --> 00:17:38,520
Speaker 3: as I'm concerned. But I just I can't believe it.

353
00:17:38,520 --> 00:17:39,560
Speaker 3: It's been one generation.

354
00:17:40,600 --> 00:17:45,160
Speaker 1: Yeah, no, I totally agree. It feels like the school

355
00:17:45,200 --> 00:17:49,479
Speaker 1: bus experience is its own ecosystem where we learned so

356
00:17:49,640 --> 00:17:51,840
Speaker 1: much and dealt with so much. And it felt like

357
00:17:51,920 --> 00:17:55,680
Speaker 1: in a way like that it kind of made us

358
00:17:55,720 --> 00:18:00,240
Speaker 1: into the people in this weird way because old yeah, yeah,

359
00:18:00,240 --> 00:18:03,080
Speaker 1: because we were all experiencing the indignity of riding a

360
00:18:03,119 --> 00:18:05,320
Speaker 1: fucking school bus and it just made us better in

361
00:18:05,440 --> 00:18:08,520
Speaker 1: a weird way. And I feel like, is that gonna happen?

362
00:18:08,560 --> 00:18:10,919
Speaker 1: Like kids are not going to experience that anymore. They

363
00:18:10,920 --> 00:18:12,800
Speaker 1: don't they're not gonna understand that. They're not going to

364
00:18:12,840 --> 00:18:13,600
Speaker 1: be well equipped.

365
00:18:13,880 --> 00:18:16,280
Speaker 3: Also, they don't have a place to blow off steam

366
00:18:16,400 --> 00:18:19,719
Speaker 3: before or after school without a parent being pleasant present,

367
00:18:20,160 --> 00:18:22,600
Speaker 3: And that is fucking crucial. You need to be on

368
00:18:22,680 --> 00:18:25,399
Speaker 3: that bus talking to your fucking homies and being like,

369
00:18:25,440 --> 00:18:29,399
Speaker 3: I can't believe mister Wileski assigned us goddamn periodic table.

370
00:18:29,720 --> 00:18:31,320
Speaker 2: Now got to memorize this shit, Like you.

371
00:18:31,320 --> 00:18:35,400
Speaker 3: Need to fucking like talk to your people about what's

372
00:18:35,440 --> 00:18:38,720
Speaker 3: going on with your life without a parent being there.

373
00:18:39,359 --> 00:18:42,080
Speaker 1: Dude, totally agree, because from that point on, it's like

374
00:18:42,119 --> 00:18:46,080
Speaker 1: you just show up to school everything supervised, Lunch is supervised,

375
00:18:46,080 --> 00:18:48,600
Speaker 1: like pu supervised. Its like or where do you go

376
00:18:48,800 --> 00:18:52,320
Speaker 1: like to fucking talk about crazy shit like where are

377
00:18:52,400 --> 00:18:58,400
Speaker 1: you throwing dice? And uh like smoking cigarettes and doing

378
00:18:58,440 --> 00:19:02,040
Speaker 1: all your like adult behaviors when your parents aren't around?

379
00:19:02,240 --> 00:19:02,440
Speaker 2: Right?

380
00:19:02,880 --> 00:19:05,040
Speaker 3: Where am I teaching all the kids all the curse

381
00:19:05,080 --> 00:19:06,400
Speaker 3: words I learned from my grandmother?

382
00:19:06,880 --> 00:19:07,280
Speaker 1: Yes?

383
00:19:07,720 --> 00:19:10,600
Speaker 3: Because their grandmothers are like bacon cookies and wearing shawls

384
00:19:10,600 --> 00:19:14,800
Speaker 3: and my grandmother is watching fucking audition and cursing the

385
00:19:14,800 --> 00:19:15,959
Speaker 3: god's MTV screen.

386
00:19:17,400 --> 00:19:18,880
Speaker 2: How am I gonna tell them all about.

387
00:19:18,680 --> 00:19:22,320
Speaker 3: Creep Show or fucking tales from the Crimps. You can't

388
00:19:22,359 --> 00:19:24,000
Speaker 3: do that shit in home room. You have to do

389
00:19:24,040 --> 00:19:25,040
Speaker 3: it on the bus.

390
00:19:25,640 --> 00:19:27,960
Speaker 1: Yeah. It needs to be out in the streets, like

391
00:19:28,080 --> 00:19:31,320
Speaker 1: most good things. And I feel like it's just not

392
00:19:31,320 --> 00:19:33,840
Speaker 1: not happening anymore. And I'm so glad you brought this

393
00:19:33,920 --> 00:19:35,760
Speaker 1: up because it was something that I've been thinking about

394
00:19:35,800 --> 00:19:38,840
Speaker 1: for a while. They're not having these hard bus riding lives.

395
00:19:38,560 --> 00:19:39,120
Speaker 2: Like we had.

396
00:19:40,600 --> 00:19:43,800
Speaker 3: It's just it's the idea that they're so catered to,

397
00:19:44,840 --> 00:19:47,560
Speaker 3: which again I never experience it, but I think that's

398
00:19:47,600 --> 00:19:49,240
Speaker 3: what's weird to me about it. And it's not even

399
00:19:49,280 --> 00:19:52,439
Speaker 3: like good, bad or other. It's just very strange to

400
00:19:52,520 --> 00:19:55,880
Speaker 3: me that an entire generation of kids is growing up

401
00:19:56,560 --> 00:20:01,160
Speaker 3: being so supremely catered to from the time they're it's like, oh,

402
00:20:01,400 --> 00:20:03,359
Speaker 3: we have to make sure you're okay at every step,

403
00:20:03,400 --> 00:20:06,160
Speaker 3: and look, maybe it'll maybe it'll give us a bunch

404
00:20:06,200 --> 00:20:09,280
Speaker 3: of like really well adjusted, fucking people who can actually

405
00:20:09,359 --> 00:20:11,560
Speaker 3: turn this country from the shithole it is into something

406
00:20:11,600 --> 00:20:15,080
Speaker 3: better has yet to be seen, So I don't know.

407
00:20:15,680 --> 00:20:16,679
Speaker 2: I don't know, but I think.

408
00:20:16,600 --> 00:20:18,680
Speaker 3: That the bus is crucial to your development as a

409
00:20:18,760 --> 00:20:22,880
Speaker 3: human being, and you need to be on a bus

410
00:20:23,119 --> 00:20:25,840
Speaker 3: to understand every slice of life.

411
00:20:25,720 --> 00:20:27,479
Speaker 2: And what the world could actually look like.

412
00:20:28,680 --> 00:20:34,040
Speaker 1: I couldn't agree more. Danielle couldn't agree more. And speaking

413
00:20:34,040 --> 00:20:37,200
Speaker 1: of rides, oh shit, good Sack.

414
00:20:39,920 --> 00:20:41,359
Speaker 2: I didn't even think about that.

415
00:20:41,840 --> 00:20:45,680
Speaker 1: Yeah, girl, I did it. I did it. I did

416
00:20:45,680 --> 00:20:47,040
Speaker 1: the seguay.

417
00:20:52,000 --> 00:20:52,480
Speaker 2: Oh my god.

418
00:20:52,480 --> 00:20:56,439
Speaker 1: We have a theme this week that is positively incredible,

419
00:20:57,359 --> 00:21:00,159
Speaker 1: and this is something that Danielle came up with. As

420
00:21:00,160 --> 00:21:02,159
Speaker 1: per usual, she's coming up with all the good themes

421
00:21:02,200 --> 00:21:06,280
Speaker 1: these days, I contribute fucking nothing to this podcast. Not true,

422
00:21:06,800 --> 00:21:10,200
Speaker 1: but I want to. I want you to announce the theme,

423
00:21:10,200 --> 00:21:12,240
Speaker 1: and I want you to explain it to people.

424
00:21:12,359 --> 00:21:14,520
Speaker 2: If you wouldn't mind, you got it.

425
00:21:14,600 --> 00:21:19,840
Speaker 3: So our theme this week is brace Yourself, and we're

426
00:21:19,880 --> 00:21:24,680
Speaker 3: talking about movies that take you on a wild ride.

427
00:21:25,240 --> 00:21:29,119
Speaker 3: And I think that when I was thinking of this theme,

428
00:21:29,840 --> 00:21:31,920
Speaker 3: I just rewatched my movie. I hadn't seen it in

429
00:21:31,960 --> 00:21:34,000
Speaker 3: a while, and I rewatched it and I was like, wait,

430
00:21:34,680 --> 00:21:37,640
Speaker 3: it's so bizarre to look at where this movie starts

431
00:21:37,880 --> 00:21:38,800
Speaker 3: compared to where.

432
00:21:38,600 --> 00:21:41,280
Speaker 2: It ends, Like this movie has taken us somewhere.

433
00:21:41,840 --> 00:21:43,879
Speaker 3: And I just started thinking about all these movies that

434
00:21:44,720 --> 00:21:46,680
Speaker 3: did that, or like all these directors who are able

435
00:21:46,720 --> 00:21:48,679
Speaker 3: to do that, Like it's just some people have just

436
00:21:48,680 --> 00:21:51,760
Speaker 3: built into their style. And I just really think there's

437
00:21:51,800 --> 00:21:54,720
Speaker 3: a lot of movies like this that are just like, oh,

438
00:21:54,960 --> 00:21:58,200
Speaker 3: we have no idea where we're going, and this is fascinating.

439
00:21:58,600 --> 00:22:02,320
Speaker 1: I couldn't agree more. I mean, I love, first of all,

440
00:22:02,960 --> 00:22:05,280
Speaker 1: I don't know, I like all of our episodes, don't

441
00:22:05,280 --> 00:22:06,119
Speaker 1: get me wrong.

442
00:22:05,920 --> 00:22:06,920
Speaker 2: But this one.

443
00:22:07,320 --> 00:22:11,440
Speaker 1: The films on this episode are some of my absolute

444
00:22:11,480 --> 00:22:17,160
Speaker 1: favorites of all time. I really dug into your film

445
00:22:17,200 --> 00:22:20,600
Speaker 1: this week because I'm a dummy. I actually just got

446
00:22:20,640 --> 00:22:25,120
Speaker 1: the Criterion Collection version of your film, oh with all

447
00:22:25,200 --> 00:22:28,360
Speaker 1: those extras. It had been actually a little bit since

448
00:22:28,400 --> 00:22:31,879
Speaker 1: i'd seen it, and I just sunk my teeth into

449
00:22:31,920 --> 00:22:33,720
Speaker 1: the world of your film, and I was so excited

450
00:22:34,200 --> 00:22:37,080
Speaker 1: and I I'm so glad to hear that now I

451
00:22:37,119 --> 00:22:40,480
Speaker 1: had never seen your movie before, and I could not

452
00:22:40,520 --> 00:22:43,600
Speaker 1: believe that I'd never seen it because I loved it.

453
00:22:43,960 --> 00:22:46,520
Speaker 2: Oh my god, I happen wait to get into it.

454
00:22:46,600 --> 00:22:49,399
Speaker 3: I absolutely loved it, and it is It made me

455
00:22:49,520 --> 00:22:52,399
Speaker 3: laugh so hard, and then it was like so dark,

456
00:22:53,600 --> 00:22:56,240
Speaker 3: like it is you truly never know from seeing to

457
00:22:56,240 --> 00:22:58,359
Speaker 3: see what is going to happen in your movie, and

458
00:22:58,440 --> 00:22:59,560
Speaker 3: I loved it.

459
00:23:00,119 --> 00:23:02,520
Speaker 1: Yeah, I mean, honestly, between both of these films, I

460
00:23:02,520 --> 00:23:05,600
Speaker 1: think it's like these films are ride. I mean it's

461
00:23:05,600 --> 00:23:07,479
Speaker 1: like basically like you start the movie thinking it's going

462
00:23:07,520 --> 00:23:09,200
Speaker 1: to be one thing and then it turns into something else,

463
00:23:09,240 --> 00:23:11,679
Speaker 1: and there's so many like twist and turns, and I

464
00:23:11,720 --> 00:23:14,200
Speaker 1: mean it's just compelling filmmaking. But at the end of

465
00:23:14,240 --> 00:23:16,520
Speaker 1: the day, like you know, obviously we're talking about two

466
00:23:16,560 --> 00:23:19,399
Speaker 1: kind of famous eighties films, but like at the same time,

467
00:23:19,560 --> 00:23:22,399
Speaker 1: like just the stories in and of themselves. You know,

468
00:23:22,440 --> 00:23:25,679
Speaker 1: they're both kind of thrillers in a way, like you know,

469
00:23:25,720 --> 00:23:27,840
Speaker 1: they kind of veer off in other directions obviously, but

470
00:23:27,960 --> 00:23:29,760
Speaker 1: like I like the fact that they're both thrillers. And

471
00:23:29,800 --> 00:23:32,960
Speaker 1: I think a lot of those movies tend to be

472
00:23:33,119 --> 00:23:35,919
Speaker 1: these rides, these wild ride films, because there's just so

473
00:23:36,000 --> 00:23:38,640
Speaker 1: much going on in them. But oh my god, I'm

474
00:23:38,680 --> 00:23:40,480
Speaker 1: so excited about these films. I can't wait to talk

475
00:23:40,480 --> 00:23:40,920
Speaker 1: about them.

476
00:23:41,119 --> 00:23:44,440
Speaker 2: Let's get into it. Let's talk about your movie first.

477
00:23:44,680 --> 00:23:51,159
Speaker 1: Oh m gez okay, So my film for the theme

478
00:23:52,400 --> 00:23:56,239
Speaker 1: brace Yourself is a movie from nineteen eighty eight. It

479
00:23:56,320 --> 00:23:59,760
Speaker 1: was written and directed by Steve de Jarnett, and it's

480
00:23:59,800 --> 00:24:01,400
Speaker 1: called Miracle Mile.

481
00:24:02,119 --> 00:24:08,080
Speaker 2: It was one of those strange nights finally meet the

482
00:24:08,160 --> 00:24:09,560
Speaker 2: right girl and you blow it.

483
00:24:09,640 --> 00:24:13,760
Speaker 1: That you could move in a whole day. Okay, I'm

484
00:24:13,800 --> 00:24:18,000
Speaker 1: gonna get emotional. I have a feeling this movie makes

485
00:24:18,040 --> 00:24:22,080
Speaker 1: me very emotional. But just to get like a tiny

486
00:24:22,080 --> 00:24:24,280
Speaker 1: bit of paperwork out of the way about the film itself,

487
00:24:25,400 --> 00:24:29,159
Speaker 1: So Miracle mal was one of these movies where the

488
00:24:29,200 --> 00:24:32,880
Speaker 1: screenplay had been kicking around Hollywood for like a decade

489
00:24:33,119 --> 00:24:38,160
Speaker 1: or something, and the director slash writer Steve de Jarnett.

490
00:24:38,280 --> 00:24:41,359
Speaker 1: He initially wrote it for Warner Brothers, and he was

491
00:24:41,400 --> 00:24:45,440
Speaker 1: right out of film school, and you know, he wrote

492
00:24:45,480 --> 00:24:48,320
Speaker 1: the screenplay because he was kind of obsessed with the

493
00:24:48,359 --> 00:24:52,800
Speaker 1: idea of nuclear war, like everybody was in the eighties, right.

494
00:24:53,480 --> 00:24:56,800
Speaker 1: And I also think too, there was a generation of

495
00:24:56,840 --> 00:24:59,000
Speaker 1: people who kind of come who kind of came of

496
00:24:59,040 --> 00:25:02,320
Speaker 1: age in the eighties that had also experienced Vietnam, right,

497
00:25:03,040 --> 00:25:07,760
Speaker 1: which he has talked about. There's actually this great deep

498
00:25:07,880 --> 00:25:11,439
Speaker 1: dive into the film on The Hollywood Reporter where he

499
00:25:11,480 --> 00:25:13,199
Speaker 1: sort of talks a little bit more about that, just

500
00:25:13,240 --> 00:25:17,840
Speaker 1: about his kind of like persistent fears of like nuclear

501
00:25:18,119 --> 00:25:22,679
Speaker 1: annihilation and all that stuff and war and violence and everything. So,

502
00:25:23,000 --> 00:25:26,680
Speaker 1: you know, he writes this screenplay for the film, and

503
00:25:27,160 --> 00:25:29,639
Speaker 1: the studio came back and said they liked it, but

504
00:25:29,680 --> 00:25:31,439
Speaker 1: they wanted it to be this kind of like big

505
00:25:31,480 --> 00:25:33,880
Speaker 1: blockbuster film, and they wanted to hire this well known

506
00:25:33,880 --> 00:25:35,600
Speaker 1: director for it. I mean, I don't really know who

507
00:25:35,600 --> 00:25:37,679
Speaker 1: they had thought of. They just wanted to hire. They

508
00:25:37,720 --> 00:25:39,280
Speaker 1: didn't want to take their chances on like a first

509
00:25:39,280 --> 00:25:44,280
Speaker 1: time director, right, And most importantly, they wanted to change

510
00:25:44,320 --> 00:25:50,399
Speaker 1: the ending of the film, which I wouldn't dare reveal obviously,

511
00:25:50,880 --> 00:25:58,640
Speaker 1: especially for this film, but just so you know, it's

512
00:25:58,680 --> 00:26:00,560
Speaker 1: a big deal that they wanted to change it.

513
00:26:00,680 --> 00:26:04,560
Speaker 3: Okay saying that I can't even imagine this movie with

514
00:26:04,560 --> 00:26:06,560
Speaker 3: a different ending, but okay, yes, I agree.

515
00:26:06,320 --> 00:26:06,840
Speaker 2: You know what I mean.

516
00:26:07,040 --> 00:26:09,320
Speaker 1: But you know, you know what it's like as a screenwriter, like,

517
00:26:09,359 --> 00:26:13,280
Speaker 1: you know, the studio wants to change the entire thing,

518
00:26:13,400 --> 00:26:15,240
Speaker 1: and you know they want to make it, you know,

519
00:26:15,600 --> 00:26:19,120
Speaker 1: palpable to what their tastes are, and you can't imagine

520
00:26:19,119 --> 00:26:21,239
Speaker 1: it now after you've seen the film, but you know

521
00:26:21,440 --> 00:26:24,920
Speaker 1: it's a big deal. And it was a big deal

522
00:26:24,960 --> 00:26:27,560
Speaker 1: to the director because he was like, I'm buying the

523
00:26:27,600 --> 00:26:30,760
Speaker 1: script backed. I don't want them to mess with it.

524
00:26:31,040 --> 00:26:34,520
Speaker 1: So he bought the script back, he rewrote it. Then

525
00:26:34,760 --> 00:26:36,520
Speaker 1: you know, Warner Brothers came back in and said, hey,

526
00:26:36,520 --> 00:26:38,080
Speaker 1: we really want to pay you a lot for it,

527
00:26:38,119 --> 00:26:39,760
Speaker 1: and he was like, Nope, I'm just gonna turn them

528
00:26:39,760 --> 00:26:41,480
Speaker 1: down and I'm going to make it myself, right.

529
00:26:42,440 --> 00:26:43,119
Speaker 2: So love it.

530
00:26:43,640 --> 00:26:45,520
Speaker 1: That's that's a good setup for a film like this

531
00:26:45,560 --> 00:26:47,920
Speaker 1: because I mean there's a lot to love about this movie.

532
00:26:47,920 --> 00:26:50,560
Speaker 1: For me, I, like I said, I might get emotional.

533
00:26:51,240 --> 00:26:54,480
Speaker 1: I hope I can do it justice. But first and foremost,

534
00:26:54,520 --> 00:26:58,439
Speaker 1: I love the setting. So Miracle Mile is set in

535
00:26:58,480 --> 00:27:01,440
Speaker 1: Los Angeles, obviously, and if you don't live in LA

536
00:27:01,760 --> 00:27:04,919
Speaker 1: or you've never lived in LA. So the term Miracle

537
00:27:05,040 --> 00:27:09,040
Speaker 1: Mile refers to this stretch of Wiltshire Boulevard I think

538
00:27:09,040 --> 00:27:12,359
Speaker 1: it is, and it's it just happens to be where

539
00:27:12,359 --> 00:27:16,280
Speaker 1: a lot of museums are located, including LACMA, which is

540
00:27:16,320 --> 00:27:20,240
Speaker 1: the La County Museum of Art, the Peterson Autumn Museum,

541
00:27:20,280 --> 00:27:24,399
Speaker 1: which is that big, weird, wavy red building on the

542
00:27:24,400 --> 00:27:26,359
Speaker 1: corner of Fairpacs. I never knew what that was for

543
00:27:26,600 --> 00:27:29,920
Speaker 1: everyone else, Like that's a museum, Okay, I.

544
00:27:29,840 --> 00:27:31,560
Speaker 2: Didn't either, Like is that a bus stop? Like what

545
00:27:31,720 --> 00:27:33,280
Speaker 2: is what is happening here?

546
00:27:33,520 --> 00:27:35,160
Speaker 1: H Was it a bus stop?

547
00:27:38,920 --> 00:27:39,520
Speaker 2: It could have been?

548
00:27:39,640 --> 00:27:41,400
Speaker 3: You never know what that's city they'll be I never

549
00:27:41,520 --> 00:27:44,000
Speaker 3: know this is a bus stop. It is also has

550
00:27:44,119 --> 00:27:47,760
Speaker 3: the largest pure gold oscar statue.

551
00:27:48,520 --> 00:27:51,000
Speaker 2: Like that's what you where you put your money? Okay?

552
00:27:51,240 --> 00:27:54,320
Speaker 1: Yeah? Right, and so and that actually plays significantly into

553
00:27:54,320 --> 00:27:56,680
Speaker 1: the film too, But like, yeah, that's the new Academy

554
00:27:56,760 --> 00:28:00,600
Speaker 1: Museum obviously, and then the Lebret Tarpists, which has a

555
00:28:00,680 --> 00:28:03,399
Speaker 1: significant role in Miracle Mile, which I'll talk about in

556
00:28:03,400 --> 00:28:07,680
Speaker 1: just a second. But you know, Danielle and I, both

557
00:28:07,720 --> 00:28:09,639
Speaker 1: of us did not live too far from this area

558
00:28:09,720 --> 00:28:12,000
Speaker 1: when we were living in La Yeah, and so for me,

559
00:28:12,280 --> 00:28:14,040
Speaker 1: you know, I'm sure it was for you too. Watching

560
00:28:14,080 --> 00:28:16,320
Speaker 1: Miracle Mile is super fun because you get to see

561
00:28:16,359 --> 00:28:19,320
Speaker 1: like the eighties versions of this neighborhood, like yes, the

562
00:28:19,400 --> 00:28:22,760
Speaker 1: Johnny's Coffee Shop and Park Lebrian and you know, like

563
00:28:22,800 --> 00:28:25,200
Speaker 1: I said, the Maco Building which is now the Academy

564
00:28:25,280 --> 00:28:26,360
Speaker 1: Museum and Johnny's.

565
00:28:26,400 --> 00:28:28,119
Speaker 3: I don't know if you ever went in when it

566
00:28:28,200 --> 00:28:30,919
Speaker 3: was always closed like it said it was open, but

567
00:28:31,000 --> 00:28:33,840
Speaker 3: it was never open when I went. And it's kind

568
00:28:33,840 --> 00:28:35,480
Speaker 3: of sad because it's like a cool building and a

569
00:28:35,520 --> 00:28:36,080
Speaker 3: cool spot.

570
00:28:36,520 --> 00:28:39,120
Speaker 1: Yeah, I feel like it was they were just using

571
00:28:39,120 --> 00:28:41,840
Speaker 1: it for film sets or something. I was hearing somebody

572
00:28:41,920 --> 00:28:44,240
Speaker 1: told me that. But then it became the like Bernie

573
00:28:44,320 --> 00:28:49,040
Speaker 1: Sanders campaign headquarters. Yeah. Remember like when we were there,

574
00:28:49,080 --> 00:28:51,320
Speaker 1: I was like, why are these Bernie Sanders signs in

575
00:28:51,320 --> 00:28:52,800
Speaker 1: the window? And I was like, oh my god.

576
00:28:52,800 --> 00:28:55,080
Speaker 3: So psychcause I'm like, oh shit, it's actually open, and

577
00:28:55,160 --> 00:28:57,400
Speaker 3: they're like, no, we're just here to stump for our man.

578
00:28:57,920 --> 00:28:58,200
Speaker 2: Yeah.

579
00:28:58,280 --> 00:29:01,000
Speaker 1: Yeah, But it's an iconic building. Everybody like if you're

580
00:29:01,000 --> 00:29:02,920
Speaker 1: coming in from the airport or something, you'll probably see

581
00:29:02,920 --> 00:29:05,320
Speaker 1: it if you're going down Fairfax. But you know, one

582
00:29:05,320 --> 00:29:06,760
Speaker 1: of the other things that I love about this movie

583
00:29:06,760 --> 00:29:09,920
Speaker 1: too is that the score was done by the band

584
00:29:09,960 --> 00:29:14,640
Speaker 1: Tangerine Dream. Amazing and they have like seven thousand albums

585
00:29:14,680 --> 00:29:18,280
Speaker 1: at this point, I understand, but like for this film

586
00:29:18,880 --> 00:29:23,120
Speaker 1: there the music of Tangerine Dream really sets a tone

587
00:29:23,360 --> 00:29:28,240
Speaker 1: for me. It's very synthy, it atmospheric, and it has

588
00:29:28,280 --> 00:29:32,240
Speaker 1: this like slightly creepy vibe and I feel like it's

589
00:29:32,280 --> 00:29:35,440
Speaker 1: really good music for like a sci fi disaster film. Right.

590
00:29:35,520 --> 00:29:38,640
Speaker 1: It's just it really is perfect, all right. A one

591
00:29:38,720 --> 00:29:44,360
Speaker 1: sentence synopsis of Miracle Mile, a young jazz musician finally

592
00:29:44,400 --> 00:29:46,840
Speaker 1: meets the girl of his dreams, but then is faced

593
00:29:46,920 --> 00:29:49,560
Speaker 1: with the idea of losing her when he receives a

594
00:29:49,600 --> 00:29:54,200
Speaker 1: phone call that changes his life forever. So honestly, Miracle

595
00:29:54,200 --> 00:29:57,840
Speaker 1: Mile could fit into our All in One Night theme

596
00:29:57,880 --> 00:29:59,480
Speaker 1: that we did in a while back, because it takes

597
00:29:59,520 --> 00:30:02,480
Speaker 1: place based All in one night in morning, right, Yes.

598
00:30:03,280 --> 00:30:06,920
Speaker 1: And so the jazz musician that I spoke about earlier

599
00:30:07,120 --> 00:30:13,040
Speaker 1: is named Harry Washello, and he is played by Anthony Edwards.

600
00:30:13,080 --> 00:30:15,040
Speaker 2: The first person you think of when you think jazz musician.

601
00:30:15,360 --> 00:30:16,520
Speaker 2: Oh yes, but.

602
00:30:16,520 --> 00:30:18,640
Speaker 1: He also has this like and this is I'm going

603
00:30:18,680 --> 00:30:22,000
Speaker 1: to get into this about the principal actors of this film,

604
00:30:22,040 --> 00:30:25,800
Speaker 1: Anthony Edwards and Mayor Winning Him. They're so perfect in

605
00:30:25,840 --> 00:30:28,520
Speaker 1: this film because they kind of represent like the kind

606
00:30:28,520 --> 00:30:31,640
Speaker 1: of eighties rom com characters that we all love. I

607
00:30:31,640 --> 00:30:34,000
Speaker 1: mean when you watch stuff like Something Wild and you

608
00:30:34,040 --> 00:30:37,080
Speaker 1: know he's like you kind of have the like buttoned up,

609
00:30:37,160 --> 00:30:40,000
Speaker 1: kind of straight lace Jimmy Stewart type, and then you

610
00:30:40,000 --> 00:30:42,880
Speaker 1: have like kind of the punk, cool looking girl. And

611
00:30:43,120 --> 00:30:47,440
Speaker 1: I'm a huge fan of that dynamic. I think I've

612
00:30:47,480 --> 00:30:52,240
Speaker 1: spoken about it, you know. I mean maybe like younger

613
00:30:52,280 --> 00:30:55,400
Speaker 1: people will see it as like a manic pixie dream

614
00:30:55,440 --> 00:30:58,320
Speaker 1: girl thing, but back in the eighties it was very

615
00:30:58,440 --> 00:31:02,960
Speaker 1: much about class and you know, Wall Street and that

616
00:31:03,040 --> 00:31:04,880
Speaker 1: kind of stuff, like you know, kind of preppy people

617
00:31:05,000 --> 00:31:08,800
Speaker 1: hanging out with like the downtown after hours chicks, you

618
00:31:08,840 --> 00:31:11,240
Speaker 1: know what I mean. And that's I feel like that's

619
00:31:11,280 --> 00:31:12,920
Speaker 1: a part of this movie, but I'll get into that

620
00:31:12,960 --> 00:31:17,280
Speaker 1: in just a second. So at the beginning of the film,

621
00:31:17,800 --> 00:31:21,160
Speaker 1: Harry is taking a tour of the labrettar pits and

622
00:31:21,240 --> 00:31:24,200
Speaker 1: he meets this young cool girl named Julie Peters. She's

623
00:31:24,240 --> 00:31:27,560
Speaker 1: played by Mayor Winningham. As I just mentioned, the very

624
00:31:27,560 --> 00:31:29,440
Speaker 1: beginning of this movie is so cute. They spend a

625
00:31:29,480 --> 00:31:33,600
Speaker 1: lot of time together. Harry's smitten with Julie almost immediately,

626
00:31:35,200 --> 00:31:37,880
Speaker 1: and he does this narration at the beginning of the

627
00:31:37,920 --> 00:31:40,720
Speaker 1: film where he's talking about her about how she's hip

628
00:31:40,760 --> 00:31:42,680
Speaker 1: and she's cool, but like she also is kind of

629
00:31:42,720 --> 00:31:45,840
Speaker 1: old fashioned, like she hangs out with her grandparents and

630
00:31:46,320 --> 00:31:49,640
Speaker 1: gets to sort of like jazz references, and I it

631
00:31:49,800 --> 00:31:53,000
Speaker 1: just immediately, Oh my god, it just makes me so

632
00:31:53,160 --> 00:31:54,360
Speaker 1: crazy for the two of them.

633
00:31:55,200 --> 00:31:55,560
Speaker 2: Love that.

634
00:31:55,600 --> 00:31:58,200
Speaker 3: Like she she literally hangs out with her grandparents. She

635
00:31:58,320 --> 00:32:02,000
Speaker 3: brings her granddad to see him play in the park. Yea,

636
00:32:02,120 --> 00:32:05,280
Speaker 3: And my favorite line in the movie comes from her grandfather,

637
00:32:06,040 --> 00:32:10,280
Speaker 3: who her her grandfather, Ivan Peters, who says, hey, can

638
00:32:10,320 --> 00:32:11,920
Speaker 3: I buy you kids a tube steak?

639
00:32:14,040 --> 00:32:15,920
Speaker 2: It's like buying the kids hot dogs?

640
00:32:16,000 --> 00:32:18,920
Speaker 3: And I'm like, these are adult, cool people, and he's like,

641
00:32:18,920 --> 00:32:20,880
Speaker 3: can I buy you kids a tube steak and they're like, yeah,

642
00:32:20,960 --> 00:32:22,080
Speaker 3: like they're totally into it.

643
00:32:22,080 --> 00:32:24,160
Speaker 2: It's adorable. H I love it.

644
00:32:24,280 --> 00:32:26,280
Speaker 1: Yeah, And the story, but the grandparents kind of has

645
00:32:26,320 --> 00:32:28,920
Speaker 1: its own thing too, because essentially, like so, I guess

646
00:32:29,320 --> 00:32:32,040
Speaker 1: her grandpa lives in Park Librea, which is this like

647
00:32:32,120 --> 00:32:35,440
Speaker 1: you know, cluster of apartment buildings that are in this neighborhood,

648
00:32:35,840 --> 00:32:38,320
Speaker 1: and then she lives in Park Librea with her grandmother,

649
00:32:38,400 --> 00:32:41,520
Speaker 1: and apparently the grandmother and the grandfather haven't talked in

650
00:32:41,560 --> 00:32:44,719
Speaker 1: like fifteen years, but they're still loving each other and

651
00:32:44,760 --> 00:32:47,440
Speaker 1: they they haven't gotten together, and so there's this, you know,

652
00:32:47,480 --> 00:32:51,200
Speaker 1: this romance that's within the actual romance of Harry and

653
00:32:51,280 --> 00:32:55,840
Speaker 1: Julie that is very sweet. But Julie is a waitress

654
00:32:55,840 --> 00:32:59,160
Speaker 1: at Johnny's coffee shop, like we talked about, and one

655
00:32:59,280 --> 00:33:02,400
Speaker 1: night she's got to work late, and Harry's like, well,

656
00:33:02,480 --> 00:33:04,760
Speaker 1: let's hang out after you get off work, and he

657
00:33:04,800 --> 00:33:07,080
Speaker 1: agrees to meet her at like twelve thirty am, like

658
00:33:07,120 --> 00:33:10,200
Speaker 1: after she goes off work, right, So Harry goes back

659
00:33:10,240 --> 00:33:14,880
Speaker 1: to his room and basically once to take a nap,

660
00:33:14,920 --> 00:33:19,520
Speaker 1: and then he oversleeps basically and the power went out.

661
00:33:19,560 --> 00:33:21,760
Speaker 1: I guess the alarm clock fell out, and then he

662
00:33:21,880 --> 00:33:24,760
Speaker 1: like basically gets up. This part of the movie kind

663
00:33:24,800 --> 00:33:27,720
Speaker 1: of kills me for a very specific reason. But he

664
00:33:27,800 --> 00:33:30,760
Speaker 1: gets up and he doesn't know what time it is immediately,

665
00:33:30,800 --> 00:33:32,760
Speaker 1: and he starts like looking in the mirror getting ready,

666
00:33:32,760 --> 00:33:34,720
Speaker 1: and then he looks at the television set and the

667
00:33:34,840 --> 00:33:39,440
Speaker 1: national anthem is playing. And I don't know if people

668
00:33:39,480 --> 00:33:42,960
Speaker 1: remember this, but like television was not twenty four to seven.

669
00:33:43,240 --> 00:33:46,120
Speaker 3: Oh yeah, TV used to go off. They're like, you've

670
00:33:46,120 --> 00:33:47,120
Speaker 3: had enough TV.

671
00:33:47,120 --> 00:33:49,240
Speaker 2: We are done for the day, right.

672
00:33:49,240 --> 00:33:53,280
Speaker 1: But then also that the end of TV meant that

673
00:33:53,360 --> 00:33:54,880
Speaker 1: the national anthem was played.

674
00:33:55,120 --> 00:34:00,280
Speaker 3: Yeah, like Russia will not beat us in turns of

675
00:34:00,320 --> 00:34:03,400
Speaker 3: how many times we played the fucking national anthem per day.

676
00:34:04,520 --> 00:34:07,160
Speaker 3: We have a system and it's television, and you don't

677
00:34:07,200 --> 00:34:08,240
Speaker 3: get it.

678
00:34:08,239 --> 00:34:10,120
Speaker 1: It's just such a weird concept to be like, what

679
00:34:10,160 --> 00:34:11,719
Speaker 1: do we play at the end of TV so that

680
00:34:11,760 --> 00:34:14,080
Speaker 1: people know the TV's going off and like the national

681
00:34:14,080 --> 00:34:17,440
Speaker 1: anthem and we're gonna show some like you know, fighter

682
00:34:17,520 --> 00:34:21,000
Speaker 1: jets that the Blue Angels will be flying overhead. It's

683
00:34:21,040 --> 00:34:21,800
Speaker 1: like so weird.

684
00:34:22,120 --> 00:34:24,319
Speaker 3: They could have played like all along the watch tower,

685
00:34:24,400 --> 00:34:25,520
Speaker 3: like they could have played anything.

686
00:34:26,040 --> 00:34:26,279
Speaker 1: Yeah.

687
00:34:26,360 --> 00:34:29,720
Speaker 3: Yeah, but I also love that the reason the power

688
00:34:29,760 --> 00:34:33,919
Speaker 3: went out is because Harry was smoking a cigarette off

689
00:34:33,920 --> 00:34:34,759
Speaker 3: of his balcony.

690
00:34:35,280 --> 00:34:37,640
Speaker 2: Yeah, and he tossed it to the ground, and.

691
00:34:37,600 --> 00:34:40,560
Speaker 3: A bird picked up the lit butt and put it

692
00:34:40,600 --> 00:34:45,319
Speaker 3: in its nest and caused a power out when a

693
00:34:45,480 --> 00:34:49,239
Speaker 3: fire started. He started, a bird started a fire. And

694
00:34:49,280 --> 00:34:52,200
Speaker 3: that is how everything in this movie kicks off.

695
00:34:53,239 --> 00:34:56,120
Speaker 1: Honestly, it's like the city birds. Like when that bird

696
00:34:56,160 --> 00:34:57,880
Speaker 1: in the film picks up the cigarette, I'm like, what

697
00:34:58,080 --> 00:35:00,479
Speaker 1: the fuck? How did this bird know how to do this?

698
00:35:00,520 --> 00:35:04,080
Speaker 1: Is this like a stunt bird, a Hollywood bird that

699
00:35:04,160 --> 00:35:04,920
Speaker 1: knows how to smoke?

700
00:35:06,160 --> 00:35:07,160
Speaker 2: I also love.

701
00:35:07,080 --> 00:35:09,480
Speaker 3: The part where when he drives to Johnny's and he

702
00:35:09,560 --> 00:35:11,359
Speaker 3: hits the palm tree in the front and all these

703
00:35:11,480 --> 00:35:13,000
Speaker 3: rats just drop out of the tree.

704
00:35:13,520 --> 00:35:16,480
Speaker 1: Oh my god, I have to I have to break

705
00:35:16,520 --> 00:35:19,719
Speaker 1: in for a second. So I was recently listening to

706
00:35:20,120 --> 00:35:23,280
Speaker 1: our friend Chilea Sharp's podcast. It's called The War Report.

707
00:35:23,719 --> 00:35:26,839
Speaker 1: You definitely got to check it out. But they were

708
00:35:26,880 --> 00:35:31,560
Speaker 1: discussing this thing about rats living in palm trees, and

709
00:35:31,600 --> 00:35:33,600
Speaker 1: I was like, what the fuck are you talking about?

710
00:35:33,760 --> 00:35:38,239
Speaker 1: And then yeah, I had no idea that rats lived

711
00:35:38,239 --> 00:35:39,399
Speaker 1: in palm trees in La.

712
00:35:40,040 --> 00:35:44,239
Speaker 3: Oh oh yeah, I knew that the minute I got there.

713
00:35:45,360 --> 00:35:47,160
Speaker 2: Yeah. My friend Liz was like, I'm like, oh my god,

714
00:35:47,280 --> 00:35:48,719
Speaker 2: so pretty of the palm trees and she's like, yeah,

715
00:35:48,719 --> 00:35:49,560
Speaker 2: they're full of rats.

716
00:35:49,600 --> 00:35:52,120
Speaker 3: And I was like, I'm sorry what She's like, Yeah,

717
00:35:52,120 --> 00:35:54,080
Speaker 3: sometimes you can see like the babies dropping out of

718
00:35:54,120 --> 00:35:56,239
Speaker 3: the fucking nest and like like.

719
00:35:56,680 --> 00:36:00,359
Speaker 2: Yeah, oh yeah, okay, rats are in La.

720
00:36:00,440 --> 00:36:02,520
Speaker 3: They're just like there's no subway system for them to

721
00:36:02,600 --> 00:36:05,400
Speaker 3: like cruise down, but they are all over the place.

722
00:36:06,120 --> 00:36:08,319
Speaker 1: Oh my god, my face, look at my face right now.

723
00:36:08,360 --> 00:36:10,560
Speaker 1: I'm like completely shocked by this news, like I had

724
00:36:10,600 --> 00:36:12,600
Speaker 1: never heard of this before in my life. And then

725
00:36:13,040 --> 00:36:15,279
Speaker 1: listening literally it was like last week. I was listening

726
00:36:15,280 --> 00:36:17,319
Speaker 1: to Chile Was podcast and They're like talking about these

727
00:36:17,360 --> 00:36:18,080
Speaker 1: rats and these trees.

728
00:36:18,120 --> 00:36:20,400
Speaker 3: I'm like, what, I'm glad you didn't know, because you

729
00:36:20,400 --> 00:36:22,360
Speaker 3: would not have moved to La.

730
00:36:23,080 --> 00:36:26,799
Speaker 1: Listen, you know that's true. I there was palm trees

731
00:36:26,800 --> 00:36:28,840
Speaker 1: in front of my damn apartment building, and had I

732
00:36:28,880 --> 00:36:31,239
Speaker 1: known that they were just like filled with filled to

733
00:36:31,280 --> 00:36:35,760
Speaker 1: the brim with little critters. Holy shit. Well yeah, news

734
00:36:35,760 --> 00:36:37,400
Speaker 1: to me. I just had to break in and say that.

735
00:36:37,520 --> 00:36:42,080
Speaker 1: But here's the thing. So basically Harry oversleeps and then

736
00:36:42,239 --> 00:36:44,560
Speaker 1: he wakes up at it he realizes it's actually three

737
00:36:44,640 --> 00:36:48,000
Speaker 1: forty five am, so he fucking completely blew it right,

738
00:36:48,600 --> 00:36:51,839
Speaker 1: and Julie, of course, you know, it cuts to her.

739
00:36:52,120 --> 00:36:54,359
Speaker 1: She's bummed, she's been stood up by Harry, and then

740
00:36:54,360 --> 00:36:56,920
Speaker 1: she just decides to take a valume and go to bed. Okay,

741
00:36:58,080 --> 00:37:00,840
Speaker 1: So I guess Harry felt like he needed to Johnny's

742
00:37:00,880 --> 00:37:02,759
Speaker 1: at that hour just to be like, maybe she's still

743
00:37:02,760 --> 00:37:04,760
Speaker 1: hanging out even though I'm like, she can't.

744
00:37:04,560 --> 00:37:07,120
Speaker 3: Hang it out after work, dude, and she gets off

745
00:37:07,160 --> 00:37:07,720
Speaker 3: at midnight.

746
00:37:07,840 --> 00:37:10,440
Speaker 1: No, yeah, she's not waiting fucking three hours for your

747
00:37:10,480 --> 00:37:13,359
Speaker 1: stupid ass. But you know whatever, So he goes back

748
00:37:13,400 --> 00:37:16,920
Speaker 1: to Johnny's and you know, he goes in there and

749
00:37:16,920 --> 00:37:18,960
Speaker 1: he starts asking her coworkers and like, hey, where's she

750
00:37:19,000 --> 00:37:21,160
Speaker 1: at and they're like, no, she's split, she's she's at home.

751
00:37:21,239 --> 00:37:24,319
Speaker 1: So he goes inside of the payphone of Johnny's and

752
00:37:24,400 --> 00:37:26,680
Speaker 1: he tries to call her, but her machine picks up,

753
00:37:27,520 --> 00:37:30,400
Speaker 1: and then he hangs up the phone and then all

754
00:37:30,400 --> 00:37:33,200
Speaker 1: of a sudden, in a call comes to run the payphone,

755
00:37:33,320 --> 00:37:36,200
Speaker 1: like just an income and call again, something that probably

756
00:37:36,360 --> 00:37:39,040
Speaker 1: kids these days have no idea, like they're like payphones,

757
00:37:39,640 --> 00:37:42,120
Speaker 1: what you pick up a public phone. People are calling

758
00:37:42,120 --> 00:37:42,840
Speaker 1: a public phone.

759
00:37:43,239 --> 00:37:44,239
Speaker 2: But it happens.

760
00:37:45,640 --> 00:37:49,239
Speaker 4: Yeah, so yeah, he picks up a phone, the phone

761
00:37:49,280 --> 00:37:53,920
Speaker 4: that he just used, and it is this kid calling,

762
00:37:54,520 --> 00:37:57,200
Speaker 4: and he's immediately in the in the middle of a

763
00:37:57,200 --> 00:38:02,400
Speaker 4: spiel and he's basically like free and is saying like

764
00:38:03,680 --> 00:38:04,560
Speaker 4: they're doing it.

765
00:38:04,560 --> 00:38:08,720
Speaker 1: It's happening. Prepare yourself. Nuclear war is going to happen

766
00:38:08,800 --> 00:38:12,040
Speaker 1: in fifty minutes, like you know, they're dropping the bomb basically,

767
00:38:12,600 --> 00:38:16,000
Speaker 1: and you know, Harry is like, this has to be

768
00:38:16,040 --> 00:38:18,080
Speaker 1: a prank. But then he starts listening more and more,

769
00:38:18,280 --> 00:38:21,240
Speaker 1: and the kid reveals that he's calling from North Dakota

770
00:38:21,800 --> 00:38:23,680
Speaker 1: and he's trying to get in touch with his dad.

771
00:38:24,120 --> 00:38:28,000
Speaker 1: He realizes the kid realizes that he dialed the wrong

772
00:38:28,040 --> 00:38:30,880
Speaker 1: area code, so the same seven numbers were the same,

773
00:38:31,400 --> 00:38:34,319
Speaker 1: but or the seven numbers were the same, but the

774
00:38:34,520 --> 00:38:36,480
Speaker 1: he misdialed the area code because he's trying to get

775
00:38:36,480 --> 00:38:39,080
Speaker 1: in touch with his dad in Orange County to tell him,

776
00:38:39,600 --> 00:38:44,239
Speaker 1: by the way, like this the big One's happening. And

777
00:38:45,080 --> 00:38:49,680
Speaker 1: at some point the kid realizes that his supervisors are

778
00:38:49,719 --> 00:38:52,600
Speaker 1: listening to him reveal this information, and then they fucking

779
00:38:52,680 --> 00:38:56,880
Speaker 1: kill him on the phone. Harry's listening to Yeah, Harry's

780
00:38:56,880 --> 00:39:01,920
Speaker 1: listening to everything, and then the supervisors pick up and

781
00:39:01,920 --> 00:39:05,720
Speaker 1: say who is this and then click right.

782
00:39:05,600 --> 00:39:08,040
Speaker 2: Yeah, like forget whatever you heard and just go to sleep.

783
00:39:08,120 --> 00:39:10,720
Speaker 3: And I'm like, you know, that's probably not bad advice,

784
00:39:10,800 --> 00:39:13,279
Speaker 3: because I don't think a one hour head start is

785
00:39:13,400 --> 00:39:16,319
Speaker 3: enough to outrun a nuclear zeck.

786
00:39:17,160 --> 00:39:20,719
Speaker 1: No, yeah, I definitely don't think. So I was like,

787
00:39:20,960 --> 00:39:25,120
Speaker 1: and that is again, like part of what the tension

788
00:39:25,160 --> 00:39:28,080
Speaker 1: of the film is set to is this ticking clock

789
00:39:28,480 --> 00:39:32,759
Speaker 1: right after the phone call. So Harry is shook by

790
00:39:32,760 --> 00:39:34,600
Speaker 1: this phone call and he goes into the coffee shop,

791
00:39:34,600 --> 00:39:38,040
Speaker 1: and of course everyone's like, bullshit, that's bullshit. Like La

792
00:39:38,200 --> 00:39:40,799
Speaker 1: is filled with board actors who make prank calls at

793
00:39:40,840 --> 00:39:43,960
Speaker 1: four am. You know, that's bullshit.

794
00:39:44,280 --> 00:39:47,000
Speaker 3: That's my favorite line, Like just the idea that actors

795
00:39:47,000 --> 00:39:49,080
Speaker 3: were like, nothing else to do, I'm gonna try out

796
00:39:49,120 --> 00:39:49,600
Speaker 3: some character.

797
00:39:50,840 --> 00:39:53,480
Speaker 1: Yeah, yeah, there's just like and the cast of characters

798
00:39:53,480 --> 00:39:55,000
Speaker 1: that are in the coffee shop at four am are

799
00:39:55,040 --> 00:39:57,279
Speaker 1: so great. It's like the two guys, you know, the

800
00:39:57,320 --> 00:40:01,520
Speaker 1: two workers that are like the construction workers maybe I

801
00:40:01,560 --> 00:40:03,600
Speaker 1: don't know who they really are. Then there's like a

802
00:40:03,640 --> 00:40:08,040
Speaker 1: flight attendant, there is an off duty drag queen having

803
00:40:08,040 --> 00:40:10,080
Speaker 1: coffee with like a businessman, and you know, it's just

804
00:40:10,120 --> 00:40:12,000
Speaker 1: kind of that kind of like cast of characters in

805
00:40:12,040 --> 00:40:14,960
Speaker 1: a coffee shop, and so they're all just like are

806
00:40:14,960 --> 00:40:17,680
Speaker 1: you drunk? Like, come on, dude, what are the odds

807
00:40:17,680 --> 00:40:20,919
Speaker 1: of this is actually true? But here's the thing. There's

808
00:40:20,960 --> 00:40:24,640
Speaker 1: this woman that's sitting at the counter. Her name is

809
00:40:24,719 --> 00:40:27,919
Speaker 1: Landa and she's played by Denise Crosby, whom I knew

810
00:40:28,000 --> 00:40:30,960
Speaker 1: as the mom from pet Cemetery. But she's doing a

811
00:40:30,960 --> 00:40:38,000
Speaker 1: lot of stuff. So this business woman, Landa who's at

812
00:40:38,000 --> 00:40:40,080
Speaker 1: the counter, she's got like her briefcase on her fucking

813
00:40:40,120 --> 00:40:43,080
Speaker 1: mobile phone. It's like huge, and uh, it's like Zach

814
00:40:43,120 --> 00:40:46,520
Speaker 1: Morris style, has its own case, has its own case,

815
00:40:46,719 --> 00:40:50,200
Speaker 1: and she's like doing her business lady stuff. And she

816
00:40:50,280 --> 00:40:52,719
Speaker 1: ends up getting on the phone with a bunch of

817
00:40:53,000 --> 00:40:55,520
Speaker 1: like people I guess in her field and finds out

818
00:40:55,640 --> 00:40:59,800
Speaker 1: that the call is actually legit. Like basically she figures

819
00:40:59,800 --> 00:41:03,799
Speaker 1: out somehow that like Harry's telling the truth right or

820
00:41:04,160 --> 00:41:06,520
Speaker 1: and we don't really know how she knows this, Like

821
00:41:06,560 --> 00:41:08,719
Speaker 1: she said she dated somebody that used to be on

822
00:41:08,800 --> 00:41:13,000
Speaker 1: the well, the Nuclear Council or whatever she said. But

823
00:41:13,080 --> 00:41:16,759
Speaker 1: you know, basically she sort of corroborates Harry's story, right,

824
00:41:17,880 --> 00:41:19,960
Speaker 1: instead of everybody thinking is full of shit. But so

825
00:41:20,080 --> 00:41:24,680
Speaker 1: basically she's kicks into like boss Bitchmo. She's like, we're

826
00:41:24,680 --> 00:41:28,560
Speaker 1: going to Antarctica. Get the coats, get the gear, like

827
00:41:28,840 --> 00:41:31,920
Speaker 1: gotta we gotta get on the top of the Mutual

828
00:41:32,080 --> 00:41:35,040
Speaker 1: Benefit life building over on Wilshire, And there's gonna be

829
00:41:35,040 --> 00:41:37,319
Speaker 1: a chopper that's gonna take us to the airport and

830
00:41:37,440 --> 00:41:40,839
Speaker 1: we're going to start a new world. We're gonna repopulate

831
00:41:40,880 --> 00:41:43,320
Speaker 1: the world in Antarctica, right.

832
00:41:43,440 --> 00:41:44,080
Speaker 2: So good.

833
00:41:44,320 --> 00:41:48,600
Speaker 3: My favorite, my favorite part of the scene is as

834
00:41:48,640 --> 00:41:52,319
Speaker 3: everyone's starting to panic is listening to them list who

835
00:41:52,320 --> 00:41:52,799
Speaker 3: should be.

836
00:41:52,800 --> 00:41:55,879
Speaker 2: On the helicopter. They're like, all right, we gotta call it.

837
00:41:55,840 --> 00:42:00,520
Speaker 3: Dick Gregory at Oprah Winfrey and doctor Joyce brother like.

838
00:42:01,000 --> 00:42:03,080
Speaker 1: Such a weird mix of people.

839
00:42:03,480 --> 00:42:05,279
Speaker 3: And then one of the characters is like, wait, do

840
00:42:05,320 --> 00:42:07,200
Speaker 3: we even have all their phone number?

841
00:42:07,320 --> 00:42:07,640
Speaker 2: Dude.

842
00:42:08,160 --> 00:42:09,840
Speaker 1: This is the part of the movie that like is

843
00:42:10,719 --> 00:42:13,439
Speaker 1: sort of fascinating and yet hilarious at the same time,

844
00:42:13,480 --> 00:42:16,480
Speaker 1: because so the manager of the coffee shop Freddy, who's

845
00:42:16,520 --> 00:42:22,839
Speaker 1: played by the amazing actor Robert Doqui. He's like, fuck y'all,

846
00:42:22,880 --> 00:42:24,879
Speaker 1: I'm out of here. And he's like, shuts this gun

847
00:42:24,880 --> 00:42:27,200
Speaker 1: in the air. He hops over the counter and he

848
00:42:27,239 --> 00:42:29,960
Speaker 1: starts like pulling can goods out from the back and

849
00:42:30,040 --> 00:42:32,080
Speaker 1: puts him in this like delivery van.

850
00:42:33,280 --> 00:42:35,520
Speaker 2: He's got a gun. He's like, we're ready. He's like,

851
00:42:35,520 --> 00:42:37,840
Speaker 2: I'm ready to go. I'm not taking this shit lightly

852
00:42:38,080 --> 00:42:38,560
Speaker 2: at all.

853
00:42:38,840 --> 00:42:41,160
Speaker 1: Yeah, and you know, who knows he's lived through some shit.

854
00:42:41,239 --> 00:42:43,600
Speaker 1: He's like, I fuck it, I knew this was gonna

855
00:42:43,640 --> 00:42:45,960
Speaker 1: fucking happen. Fuck all, y'all, I'm out of here. And

856
00:42:46,000 --> 00:42:48,240
Speaker 1: so like a bunch of people from the restaurant getting

857
00:42:48,280 --> 00:42:51,320
Speaker 1: his delivery van, including Harry, and he's like, we're headed

858
00:42:51,320 --> 00:42:53,440
Speaker 1: to the airport. I got no fucking time for you guys.

859
00:42:54,120 --> 00:42:56,520
Speaker 1: Get all the canned goods. You can make a list,

860
00:42:56,640 --> 00:43:00,759
Speaker 1: including Joyce Brothers, which cracked me up. Make a list

861
00:43:00,800 --> 00:43:02,239
Speaker 1: of all the people you want to save.

862
00:43:04,560 --> 00:43:07,120
Speaker 2: Right such an eighties moment.

863
00:43:07,320 --> 00:43:11,080
Speaker 1: Oh my god, so eighties and you know, everyone is

864
00:43:11,160 --> 00:43:14,360
Speaker 1: in complete fucking hysterics. I mean they're just like, okay,

865
00:43:14,440 --> 00:43:17,360
Speaker 1: so the you know, like our worst fears are being

866
00:43:17,880 --> 00:43:19,959
Speaker 1: you know, this is our this is our absolute worst fear.

867
00:43:20,960 --> 00:43:24,080
Speaker 1: So Harry of course is sitting there going, well, I

868
00:43:24,080 --> 00:43:27,000
Speaker 1: need to get Julie right, and this kind of becomes

869
00:43:27,040 --> 00:43:30,000
Speaker 1: this this constant theme in the film too, is that

870
00:43:31,280 --> 00:43:34,400
Speaker 1: people are always wanting to go back and get somebody right,

871
00:43:34,840 --> 00:43:37,759
Speaker 1: which I feel like is a very like it makes

872
00:43:37,800 --> 00:43:39,880
Speaker 1: me actually pretty emotional when I think about it, because

873
00:43:39,880 --> 00:43:42,719
Speaker 1: it's like, yeah, in this world, you know, you think

874
00:43:42,760 --> 00:43:46,760
Speaker 1: about like nuclear destruction and if you have a shot

875
00:43:46,960 --> 00:43:51,239
Speaker 1: at you know, making it, like who would you take?

876
00:43:51,640 --> 00:43:51,840
Speaker 3: You know?

877
00:43:52,560 --> 00:43:58,360
Speaker 1: And Harry is so smitten with Julie that he wants

878
00:43:58,400 --> 00:44:00,359
Speaker 1: to bring her like he's like, I gotta go her.

879
00:44:00,440 --> 00:44:04,200
Speaker 1: So he literally jumps out of the van on the

880
00:44:04,239 --> 00:44:09,880
Speaker 1: on ramp to the freeway as everybody's barreling towards the airport. Okay,

881
00:44:10,320 --> 00:44:12,360
Speaker 1: and he's in the middle of the fucking freeway. And

882
00:44:12,400 --> 00:44:14,839
Speaker 1: then the next Cary flags down is being driven by

883
00:44:14,840 --> 00:44:18,759
Speaker 1: this young guy named Wilson, who is played by Michael T. Williamson.

884
00:44:19,400 --> 00:44:21,799
Speaker 1: You might know him as Bubba from Forrest Gump on

885
00:44:21,920 --> 00:44:25,279
Speaker 1: a lot of other things, but essentially Harry is young,

886
00:44:26,160 --> 00:44:28,080
Speaker 1: so young he was in.

887
00:44:28,320 --> 00:44:30,200
Speaker 2: Justified Oh my god, I love that.

888
00:44:30,280 --> 00:44:33,360
Speaker 1: He's a great actor, great actor, and I mean I

889
00:44:33,400 --> 00:44:36,240
Speaker 1: will talk about his acting chops in just a second.

890
00:44:36,280 --> 00:44:39,640
Speaker 1: But so Harry forces Wilson to drive into Park Libreo,

891
00:44:39,680 --> 00:44:42,439
Speaker 1: where Julie lives, so you know, basically they can try

892
00:44:42,440 --> 00:44:45,839
Speaker 1: to escape together at the top of the Mutual Life building, right,

893
00:44:46,680 --> 00:44:51,160
Speaker 1: Mutual Benefit Life Building. And Wilson is suddenly like, well,

894
00:44:51,160 --> 00:44:54,480
Speaker 1: I need to go get my sister, right, I'll meet

895
00:44:54,520 --> 00:44:58,719
Speaker 1: you at the chopper. So Harry goes to get Julie.

896
00:44:58,920 --> 00:45:00,279
Speaker 1: They get to the top of the building with a

897
00:45:00,360 --> 00:45:03,839
Speaker 1: chopper and there's already a bunch of people there, including

898
00:45:03,880 --> 00:45:10,080
Speaker 1: this wild guy name Gerstad, who was played by the

899
00:45:10,120 --> 00:45:14,279
Speaker 1: great character actor Kurt Fuller. Oh god, this motherfucker is

900
00:45:14,320 --> 00:45:15,959
Speaker 1: completely unhinged from jo.

901
00:45:17,280 --> 00:45:25,000
Speaker 3: Ah truly, Like he's he seems almost reluctant to get

902
00:45:25,040 --> 00:45:29,680
Speaker 3: on the chopper because he's so invested in complaining and

903
00:45:29,719 --> 00:45:31,680
Speaker 3: shouting and being unhinged.

904
00:45:32,560 --> 00:45:35,440
Speaker 2: A yeah, he just come up here to shout.

905
00:45:37,000 --> 00:45:39,920
Speaker 1: He's that guy that's going to like ruin his own

906
00:45:39,960 --> 00:45:44,640
Speaker 1: interests by just bitching. Yeah, Like he's just he lives

907
00:45:44,680 --> 00:45:46,640
Speaker 1: to bitch and that's what he's doing. He's like, ah,

908
00:45:46,719 --> 00:45:49,400
Speaker 1: fucking Lando with this bitch. She's like she's got me

909
00:45:49,480 --> 00:45:52,439
Speaker 1: in one of these other you know, like not even

910
00:45:52,480 --> 00:45:55,440
Speaker 1: thinking about like yo, the ship's popping off, and he's

911
00:45:55,480 --> 00:45:56,600
Speaker 1: just like he just wants to complain.

912
00:45:57,120 --> 00:45:59,520
Speaker 2: It is as love that he has looked like a

913
00:45:59,520 --> 00:46:04,239
Speaker 2: middle eight man since he was born exactly, Like this

914
00:46:04,320 --> 00:46:05,279
Speaker 2: is definitely one of.

915
00:46:05,200 --> 00:46:07,600
Speaker 3: His He was younger in these films and if you

916
00:46:07,600 --> 00:46:09,160
Speaker 3: will recognize him, if you look him up, you will

917
00:46:09,200 --> 00:46:11,600
Speaker 3: totally recognize him. And he has looked the way he

918
00:46:11,640 --> 00:46:14,440
Speaker 3: looks now for fifty fucking years.

919
00:46:14,520 --> 00:46:18,200
Speaker 1: Yeah, it looks like a stressed out, middle aged businessman.

920
00:46:18,280 --> 00:46:21,759
Speaker 1: That's like always his look is. But so here's the thing.

921
00:46:22,160 --> 00:46:24,040
Speaker 1: So Harry and Julier at the top of the thing,

922
00:46:24,400 --> 00:46:26,480
Speaker 1: there's there's a bunch of other people, including these like

923
00:46:26,480 --> 00:46:29,640
Speaker 1: two women who have a shit ton of guns. I

924
00:46:29,680 --> 00:46:32,719
Speaker 1: don't know, they just have a ton of weapons. I

925
00:46:32,760 --> 00:46:34,200
Speaker 1: was kind of like, you know, that's kind of tight,

926
00:46:34,360 --> 00:46:36,480
Speaker 1: Like they figured out how to get all the weapons.

927
00:46:36,480 --> 00:46:40,319
Speaker 2: These two were like valley girls are like let's go, yes.

928
00:46:42,600 --> 00:46:45,279
Speaker 1: But basically they figure out that, you know, there's no

929
00:46:45,320 --> 00:46:48,319
Speaker 1: one to fly a fucking helicopter, and so this this

930
00:46:48,400 --> 00:46:50,080
Speaker 1: becomes a part of the movie where Harry and Juli

931
00:46:50,120 --> 00:46:52,680
Speaker 1: are kind of running around in the streets down below

932
00:46:52,719 --> 00:46:55,960
Speaker 1: in the building to find somebody who can pile in

933
00:46:56,040 --> 00:46:59,000
Speaker 1: a helicopter. Okay, so Harry goes to this gym. I

934
00:46:59,040 --> 00:47:01,080
Speaker 1: have to mention this part because it is literally one

935
00:47:01,080 --> 00:47:03,759
Speaker 1: of the funniest parts of the film where he goes

936
00:47:03,800 --> 00:47:08,279
Speaker 1: to this like extremely eighties like workout place in the

937
00:47:08,280 --> 00:47:12,120
Speaker 1: neighborhood and he's running around the gym and it's almost

938
00:47:12,160 --> 00:47:14,320
Speaker 1: kind of like this weird tracking shot where they follow

939
00:47:14,400 --> 00:47:16,960
Speaker 1: Harry through all these different layers of the gym, and like,

940
00:47:17,120 --> 00:47:20,080
Speaker 1: this is one part with this woman who was in

941
00:47:20,120 --> 00:47:22,680
Speaker 1: a tanning bed. She like pops out of the tanning bedroom.

942
00:47:22,800 --> 00:47:25,760
Speaker 1: She's just completely nude, like full bush.

943
00:47:25,840 --> 00:47:27,919
Speaker 3: It's like we were talking about a couple of weeks,

944
00:47:27,960 --> 00:47:29,880
Speaker 3: like last week we were talking about this. We're like

945
00:47:29,920 --> 00:47:32,600
Speaker 3: in the eighties there was always just a fully naked woman.

946
00:47:32,920 --> 00:47:35,720
Speaker 1: Yes, there was just a woman in full with full bush,

947
00:47:35,800 --> 00:47:38,239
Speaker 1: full boobs, like everything just popping out and be like

948
00:47:38,280 --> 00:47:42,920
Speaker 1: what and he's he's basically running around this gym with

949
00:47:42,960 --> 00:47:45,040
Speaker 1: a gun, be like, who knows how to fly up her?

950
00:47:45,120 --> 00:47:48,640
Speaker 1: And then the best part is that there was this

951
00:47:48,680 --> 00:47:50,840
Speaker 1: guy that's on one of them, one of the like

952
00:47:50,960 --> 00:47:54,880
Speaker 1: Nautilus machines or something, and he's this huge, muscle bound

953
00:47:54,880 --> 00:47:58,920
Speaker 1: guy played by the amazing actor Brian Thompson.

954
00:47:59,280 --> 00:48:00,279
Speaker 2: Oh my god, and all of.

955
00:48:00,280 --> 00:48:01,799
Speaker 1: A sudden he pipes in. He's like, well, I can

956
00:48:01,840 --> 00:48:04,279
Speaker 1: fly a helicopter, but it's gonna cost you. And then

957
00:48:04,280 --> 00:48:06,879
Speaker 1: it's like Harry's like all right, fine, get up here,

958
00:48:06,960 --> 00:48:09,520
Speaker 1: let's go. And then he wants to bring someone like

959
00:48:09,640 --> 00:48:14,560
Speaker 1: even the guy at the gym who literally just found

960
00:48:14,600 --> 00:48:17,120
Speaker 1: out about nuclear holocaust like two minutes and goes like, well,

961
00:48:17,160 --> 00:48:20,080
Speaker 1: I got to bring my partner, yea, And he goes

962
00:48:20,080 --> 00:48:23,919
Speaker 1: through the gym, finds his partner and he comes in too.

963
00:48:24,080 --> 00:48:27,680
Speaker 1: So it's kind of this thing where like everybody needs

964
00:48:27,719 --> 00:48:32,400
Speaker 1: to bring somebody to the end of the world, which is,

965
00:48:33,280 --> 00:48:36,040
Speaker 1: like I said, it's very sweet and makes me very emotional.

966
00:48:36,120 --> 00:48:39,960
Speaker 1: But of course, so everybody's out on the street. Cut

967
00:48:40,000 --> 00:48:41,879
Speaker 1: to the street. It's panned the fucking mony.

968
00:48:44,840 --> 00:48:48,600
Speaker 3: It's instant, man like, as people are waking up, they're

969
00:48:48,640 --> 00:48:52,080
Speaker 3: just like panicked, like what it's like such a and

970
00:48:52,120 --> 00:48:54,680
Speaker 3: he even says this in the movie. But Harry is

971
00:48:54,760 --> 00:48:58,280
Speaker 3: like chicken little like he basically just started this story

972
00:48:58,360 --> 00:49:00,800
Speaker 3: and it took off like wildfire across the city.

973
00:49:01,280 --> 00:49:03,640
Speaker 1: Oh yeah. And so this this is a part of

974
00:49:03,680 --> 00:49:07,480
Speaker 1: the film that I think becomes very interesting in its

975
00:49:07,480 --> 00:49:10,040
Speaker 1: own way, which is that so they're out on the streets,

976
00:49:10,200 --> 00:49:14,239
Speaker 1: it's chaos in La Wilson finally makes it back with

977
00:49:14,320 --> 00:49:18,080
Speaker 1: his sister, and they were in the process of doing this,

978
00:49:18,160 --> 00:49:21,799
Speaker 1: they were both shot by police, right, which in and

979
00:49:21,840 --> 00:49:26,319
Speaker 1: of itself is a very heavy sentiment, right, And they're

980
00:49:26,400 --> 00:49:28,759
Speaker 1: kind of trapped in this like I guess it's like

981
00:49:28,840 --> 00:49:32,560
Speaker 1: a shopping center below the building, like in the atrium

982
00:49:32,600 --> 00:49:38,400
Speaker 1: of like the building, and so you know, basically Wilson

983
00:49:39,200 --> 00:49:41,719
Speaker 1: is in his sister. His sister has already died from

984
00:49:41,760 --> 00:49:44,680
Speaker 1: the gunshots, and Wilson is kind of at the you know,

985
00:49:45,200 --> 00:49:47,719
Speaker 1: on the edge of the escalator trying to go up,

986
00:49:47,760 --> 00:49:51,080
Speaker 1: and he's you know, hurt very badly. And the scene

987
00:49:51,120 --> 00:49:55,799
Speaker 1: between him and Harry is so emotional, and you know,

988
00:49:55,920 --> 00:50:01,120
Speaker 1: basically like Michael C. Williamson like he like it's almost

989
00:50:01,200 --> 00:50:04,319
Speaker 1: like you're watching him do the scene in Forrest Gump, Yeah,

990
00:50:04,600 --> 00:50:07,319
Speaker 1: when he's in Vietnam, and you're like, man, this guy

991
00:50:07,320 --> 00:50:09,400
Speaker 1: can fucking act. I mean it's just such a good

992
00:50:09,440 --> 00:50:10,319
Speaker 1: scene for him.

993
00:50:10,360 --> 00:50:12,560
Speaker 3: It's so dark, it takes such a like the movie

994
00:50:12,600 --> 00:50:15,560
Speaker 3: takes such a turn right around this moment. I think

995
00:50:15,600 --> 00:50:17,640
Speaker 3: it's because of that, Like he brings such an emotional

996
00:50:17,680 --> 00:50:19,040
Speaker 3: heft to that scene.

997
00:50:19,160 --> 00:50:22,799
Speaker 1: Totally, totally. And then this is the moment where you

998
00:50:22,840 --> 00:50:28,239
Speaker 1: start wondering is this call real? Was this call real?

999
00:50:28,400 --> 00:50:32,560
Speaker 1: Because you know, even Julie and Harry start to question it,

1000
00:50:32,640 --> 00:50:36,799
Speaker 1: like because you look at like what was set off

1001
00:50:37,280 --> 00:50:39,640
Speaker 1: right by this simple phone call like this in this

1002
00:50:39,760 --> 00:50:42,080
Speaker 1: entire night, and all the roads lead back to Harry.

1003
00:50:42,080 --> 00:50:44,040
Speaker 1: I mean, he was the one that accepted the call,

1004
00:50:44,640 --> 00:50:47,279
Speaker 1: and so it's almost like, Okay, here is now a

1005
00:50:47,400 --> 00:50:52,479
Speaker 1: casualty of this panic that he felt with this phone call,

1006
00:50:52,840 --> 00:50:56,439
Speaker 1: and if this shit isn't real, it has all these

1007
00:50:56,480 --> 00:51:00,399
Speaker 1: consequences now and he's he's understanding that for the time.

1008
00:51:00,800 --> 00:51:03,000
Speaker 1: So that part of the movie to me is very

1009
00:51:03,320 --> 00:51:05,279
Speaker 1: I mean, it gets to be like almost like a

1010
00:51:05,360 --> 00:51:06,920
Speaker 1: morality question, right.

1011
00:51:06,840 --> 00:51:13,600
Speaker 3: Yeah, and shockingly like a very interesting metaphor for not

1012
00:51:13,680 --> 00:51:16,160
Speaker 3: just what was happening in America then, but also what

1013
00:51:16,239 --> 00:51:21,680
Speaker 3: has continued to happen, which is how one one utterance

1014
00:51:21,880 --> 00:51:24,920
Speaker 3: of a phrase could especially back in that time, like

1015
00:51:25,000 --> 00:51:29,000
Speaker 3: send people spiraling. Yeah, and there was very there were

1016
00:51:29,080 --> 00:51:32,640
Speaker 3: fewer ways to like fact check, and people relied heavily

1017
00:51:32,680 --> 00:51:35,000
Speaker 3: on the news and kind of you know, there just

1018
00:51:35,160 --> 00:51:38,720
Speaker 3: wasn't a way to really get the information you needed

1019
00:51:38,760 --> 00:51:41,719
Speaker 3: to prevent panic. And so we saw a lot of

1020
00:51:41,760 --> 00:51:43,399
Speaker 3: that in the eighties where it's like, oh my god,

1021
00:51:43,440 --> 00:51:44,960
Speaker 3: we're going to have a like there's a fire drill.

1022
00:51:44,960 --> 00:51:46,759
Speaker 2: It's a real fire. Like there's just kind of the

1023
00:51:46,760 --> 00:51:50,480
Speaker 2: way that rumors carry this country forward for better and

1024
00:51:50,520 --> 00:51:50,919
Speaker 2: for worse.

1025
00:51:52,000 --> 00:51:54,400
Speaker 1: Yeah, And I have to say too, like watching this

1026
00:51:54,520 --> 00:51:59,960
Speaker 1: film now in this era, right, you begin to under

1027
00:52:00,080 --> 00:52:02,520
Speaker 1: stand I mean this, this this film has almost like

1028
00:52:02,520 --> 00:52:05,160
Speaker 1: a timeless application if you think about it, because I mean,

1029
00:52:05,160 --> 00:52:08,480
Speaker 1: come on, we just witnessed a very much you know,

1030
00:52:08,560 --> 00:52:13,279
Speaker 1: worst case scenario global disaster moment, right, and we saw

1031
00:52:13,320 --> 00:52:15,719
Speaker 1: the panic of it. We saw the hoarding of the

1032
00:52:15,760 --> 00:52:18,360
Speaker 1: cann goods and the toilet paper, and like people convinced

1033
00:52:18,400 --> 00:52:22,600
Speaker 1: that it's not real. People who are hyper aware of

1034
00:52:22,719 --> 00:52:25,960
Speaker 1: the reality. And it's this whole thing where you're like, wow,

1035
00:52:26,080 --> 00:52:27,839
Speaker 1: I don't know. To me, you know, i'd seen this

1036
00:52:27,920 --> 00:52:30,080
Speaker 1: movie a while ago and then I saw it. You

1037
00:52:30,080 --> 00:52:31,960
Speaker 1: know obviously recently for this episode, and it just really

1038
00:52:32,040 --> 00:52:35,160
Speaker 1: hit me, like how you know it kind of we've

1039
00:52:35,280 --> 00:52:42,040
Speaker 1: kind of experienced it in that way again. And so

1040
00:52:42,239 --> 00:52:44,839
Speaker 1: here's the thing. The rest of the film is, I

1041
00:52:44,920 --> 00:52:46,880
Speaker 1: just can't spoil it. I just can't go down that

1042
00:52:47,000 --> 00:52:50,680
Speaker 1: road because it really is. The ending of this movie

1043
00:52:50,719 --> 00:52:55,160
Speaker 1: has haunted me ever since I first saw it, and

1044
00:52:55,200 --> 00:52:59,360
Speaker 1: to me, it's one of the greatest surprise or you know,

1045
00:52:59,440 --> 00:53:04,000
Speaker 1: unexpect endings in film history. For me, I was shocked.

1046
00:53:04,719 --> 00:53:06,480
Speaker 2: Yes, I truly surprise.

1047
00:53:06,520 --> 00:53:08,400
Speaker 3: I did not know where this movie was going to go,

1048
00:53:09,160 --> 00:53:11,279
Speaker 3: and I was really surprised where it went.

1049
00:53:11,800 --> 00:53:15,399
Speaker 1: Yeah, And I mean that's really all we can say

1050
00:53:15,440 --> 00:53:17,600
Speaker 1: about it at this point because it's just something you

1051
00:53:17,719 --> 00:53:20,120
Speaker 1: have to watch and process on your own. I just

1052
00:53:20,200 --> 00:53:23,919
Speaker 1: can't give it away. But every you know, the entire

1053
00:53:24,040 --> 00:53:26,319
Speaker 1: history of the film rides on this ending too, so

1054
00:53:26,360 --> 00:53:30,440
Speaker 1: it's just super massively important to not give it away.

1055
00:53:31,160 --> 00:53:33,440
Speaker 1: But in terms of the film being a ride, I

1056
00:53:33,440 --> 00:53:37,279
Speaker 1: mean start to finish, it's a ride you just don't

1057
00:53:37,280 --> 00:53:39,440
Speaker 1: know where you're headed. It seems like it's going to

1058
00:53:39,480 --> 00:53:42,560
Speaker 1: be kind of a quirky After Hours esque comedy at

1059
00:53:42,560 --> 00:53:45,200
Speaker 1: the beginning, with like the coffee shop stuff. But then

1060
00:53:45,239 --> 00:53:47,919
Speaker 1: it turns into this, like I mean, it turns into

1061
00:53:47,960 --> 00:53:52,200
Speaker 1: this kind of heavy film, like almost you know, political,

1062
00:53:52,600 --> 00:53:57,759
Speaker 1: but emotional, and I don't know, it just destroys me.

1063
00:53:57,840 --> 00:54:00,160
Speaker 1: Like this film destroys me in the best way pop

1064
00:54:00,560 --> 00:54:05,560
Speaker 1: And I have to end it with this thing that

1065
00:54:05,600 --> 00:54:11,239
Speaker 1: has just recently happened, which is that so Mayor Winningham,

1066
00:54:11,560 --> 00:54:14,879
Speaker 1: the lead actress in this film, and Anthony Edwards they

1067
00:54:15,239 --> 00:54:18,880
Speaker 1: had actually met before they filmed this movie. Technically, I

1068
00:54:18,920 --> 00:54:21,520
Speaker 1: think they met at an audition or something, but then

1069
00:54:21,560 --> 00:54:24,759
Speaker 1: made this movie together, obviously in the eighties, and they

1070
00:54:24,800 --> 00:54:27,080
Speaker 1: both went off and had their own families and their

1071
00:54:27,080 --> 00:54:30,279
Speaker 1: own lives, and you know, they remained good friends. But

1072
00:54:30,360 --> 00:54:36,600
Speaker 1: then during COVID they got back together and they actually eloped.

1073
00:54:37,320 --> 00:54:42,960
Speaker 1: I love it, and I swear to god, it's the sweetest,

1074
00:54:43,000 --> 00:54:45,520
Speaker 1: most romantic thing I've ever heard of in my life.

1075
00:54:45,760 --> 00:54:48,480
Speaker 3: Like God, a love story like forty fucking years in

1076
00:54:48,480 --> 00:54:49,759
Speaker 3: the making.

1077
00:54:49,960 --> 00:54:55,640
Speaker 1: But imagine, imagine having been in a film about a

1078
00:54:55,680 --> 00:55:00,799
Speaker 1: global disaster, right, having a connection to a person in

1079
00:55:00,840 --> 00:55:07,960
Speaker 1: that movie, and then reuniting in an actual global disaster. Yes,

1080
00:55:08,920 --> 00:55:12,120
Speaker 1: Like there's a moment. I'm not speaking for them, and

1081
00:55:12,160 --> 00:55:17,160
Speaker 1: I'm completely projecting my own thoughts on this real life couple.

1082
00:55:18,200 --> 00:55:20,200
Speaker 1: But in a way, it felt it almost felt like

1083
00:55:20,760 --> 00:55:22,759
Speaker 1: they had to be together, Like I don't know, in

1084
00:55:22,800 --> 00:55:26,640
Speaker 1: my in my mind, I'm like they they this is

1085
00:55:26,719 --> 00:55:31,000
Speaker 1: their entire trajectory of these two people, like these two actors,

1086
00:55:31,000 --> 00:55:33,239
Speaker 1: and again, they're real people. They're they're probably you know,

1087
00:55:33,640 --> 00:55:35,399
Speaker 1: they're not listening, but I'm just saying if they were,

1088
00:55:36,280 --> 00:55:40,319
Speaker 1: I am ascribing emotions to your relationship. But it's that

1089
00:55:40,360 --> 00:55:42,239
Speaker 1: weird moment where you're like, oh my god, is that

1090
00:55:42,320 --> 00:55:48,799
Speaker 1: not the most crazy but also beautiful thing is that

1091
00:55:48,840 --> 00:55:50,680
Speaker 1: they are together and that.

1092
00:55:50,640 --> 00:55:53,480
Speaker 2: They played out their own future.

1093
00:55:54,719 --> 00:55:57,359
Speaker 3: It's just so weird and wonderful like that they they

1094
00:55:57,520 --> 00:56:04,600
Speaker 3: played acted and kind of brought to fruition a future

1095
00:56:04,600 --> 00:56:04,919
Speaker 3: that they.

1096
00:56:04,840 --> 00:56:05,880
Speaker 2: Didn't even know they were going to have.

1097
00:56:06,640 --> 00:56:08,520
Speaker 1: Yeah, it's very.

1098
00:56:08,360 --> 00:56:10,120
Speaker 2: Sweet and they look so sweet together.

1099
00:56:11,000 --> 00:56:16,000
Speaker 1: I can't, I truly cannot with the story. Like I

1100
00:56:16,000 --> 00:56:19,400
Speaker 1: I it'll it'll make me cry, Like I'm getting emotional

1101
00:56:19,480 --> 00:56:22,040
Speaker 1: just thinking about it. I'm just like, God, damn, I mean,

1102
00:56:22,040 --> 00:56:23,560
Speaker 1: that's just the sweetest ending.

1103
00:56:23,680 --> 00:56:28,680
Speaker 3: You know. I started watching We Crashed and Anthony Edwards

1104
00:56:28,760 --> 00:56:30,920
Speaker 3: is in it, and even though he is. He plays

1105
00:56:30,960 --> 00:56:34,160
Speaker 3: a fantastic role in that show. The entire every single

1106
00:56:34,200 --> 00:56:36,239
Speaker 3: time he was on screen, I just kept thinking.

1107
00:56:36,120 --> 00:56:39,840
Speaker 2: He just married me and Windigham. It's so cute and

1108
00:56:39,960 --> 00:56:42,680
Speaker 2: I was over the moon with it for some reason

1109
00:56:42,719 --> 00:56:43,640
Speaker 2: about this couple.

1110
00:56:44,120 --> 00:56:49,120
Speaker 1: I know, me too, me too. I absolutely love this film, obviously.

1111
00:56:50,080 --> 00:56:52,960
Speaker 1: I'm so happy to hear that you enjoyed it, Daniel,

1112
00:56:53,000 --> 00:56:55,040
Speaker 1: because I was, like, I knew that I was like

1113
00:56:55,160 --> 00:56:59,680
Speaker 1: sci fi ish, you know, story a good bet, but

1114
00:57:00,239 --> 00:57:01,120
Speaker 1: what did you think?

1115
00:57:01,600 --> 00:57:02,520
Speaker 2: I absolutely loved it.

1116
00:57:02,560 --> 00:57:04,600
Speaker 3: And also it really gave me like night of the

1117
00:57:04,680 --> 00:57:07,480
Speaker 3: comment vibes, and like some of my other favorite like

1118
00:57:07,560 --> 00:57:11,840
Speaker 3: eighties apocalypse style films and you know, or weird you

1119
00:57:11,880 --> 00:57:14,719
Speaker 3: know movies where you know, someone is set off on

1120
00:57:14,760 --> 00:57:16,840
Speaker 3: a trajectory that they weren't expecting at the beginning of

1121
00:57:16,840 --> 00:57:17,200
Speaker 3: the day.

1122
00:57:18,240 --> 00:57:18,880
Speaker 2: But I loved it.

1123
00:57:18,920 --> 00:57:22,680
Speaker 3: I just I really I like that this movie is

1124
00:57:22,720 --> 00:57:25,400
Speaker 3: set in the eighties, but it doesn't feel like it's

1125
00:57:25,440 --> 00:57:28,600
Speaker 3: stuck in time, like it feels still very.

1126
00:57:28,640 --> 00:57:29,800
Speaker 2: It's so funny.

1127
00:57:29,840 --> 00:57:32,600
Speaker 3: There are so many like just passing funny moments that

1128
00:57:32,600 --> 00:57:35,600
Speaker 3: they don't even hang on for more than a second

1129
00:57:35,640 --> 00:57:38,920
Speaker 3: that I was just laughing for minutes after they happened.

1130
00:57:39,200 --> 00:57:41,480
Speaker 2: Yeah, and it's just such a wild.

1131
00:57:41,160 --> 00:57:43,640
Speaker 3: It is a wild ride because it really does. It

1132
00:57:43,680 --> 00:57:48,160
Speaker 3: takes you on a ride literally, but it's a very

1133
00:57:48,280 --> 00:57:53,360
Speaker 3: emotionally shocking film. Yeah, And I just really I'm so

1134
00:57:53,440 --> 00:57:55,440
Speaker 3: glad you picked it because I've never seen it.

1135
00:57:55,480 --> 00:57:56,640
Speaker 2: Have you ever programmed it?

1136
00:57:57,440 --> 00:57:57,560
Speaker 3: Oh?

1137
00:57:57,640 --> 00:58:00,080
Speaker 1: It just actually played at the TCM Film Festival. I

1138
00:58:00,840 --> 00:58:03,560
Speaker 1: programmed it there and we actually had the director, Steve

1139
00:58:03,600 --> 00:58:07,200
Speaker 1: Dejarnett there. He was talking about it with one of

1140
00:58:07,240 --> 00:58:09,880
Speaker 1: our hosts. It's a great film and everybody should check

1141
00:58:09,920 --> 00:58:11,600
Speaker 1: it out, like I said, And I don't want to

1142
00:58:11,640 --> 00:58:16,040
Speaker 1: be mysterious about the ending, but I really encourage people

1143
00:58:16,160 --> 00:58:18,120
Speaker 1: to watch the film just so they kind of know

1144
00:58:18,720 --> 00:58:19,360
Speaker 1: what's going on.

1145
00:58:20,360 --> 00:58:23,240
Speaker 3: And it also like, I'm kind of sad that I

1146
00:58:23,240 --> 00:58:26,760
Speaker 3: I hadn't seen this before I lived in La because

1147
00:58:27,960 --> 00:58:29,080
Speaker 3: the movie we.

1148
00:58:29,040 --> 00:58:30,680
Speaker 2: All know how I feel about La. I don't have

1149
00:58:30,720 --> 00:58:31,360
Speaker 2: to get into it.

1150
00:58:31,800 --> 00:58:37,000
Speaker 3: The movie makes the city seem like so much more

1151
00:58:37,040 --> 00:58:40,520
Speaker 3: fun than I actually experienced there. And I think, you know, yeah,

1152
00:58:40,560 --> 00:58:42,080
Speaker 3: like I hung out in Miracle Mile and I would

1153
00:58:42,080 --> 00:58:44,120
Speaker 3: go to museums and I love doing that stuff. But

1154
00:58:44,160 --> 00:58:47,560
Speaker 3: I think that it just kind of it really telegraphs

1155
00:58:47,560 --> 00:58:49,760
Speaker 3: an energy of the city that I don't think exists

1156
00:58:49,800 --> 00:58:54,160
Speaker 3: there anymore, but made La seem like a very, very

1157
00:58:54,200 --> 00:58:54,920
Speaker 3: fun place to be.

1158
00:58:55,560 --> 00:59:01,680
Speaker 1: Yeah. Definitely, Well your man, Holy shit.

1159
00:59:01,880 --> 00:59:04,760
Speaker 2: Ooh, I can't wait.

1160
00:59:05,640 --> 00:59:10,600
Speaker 3: My pick for our theme of Brace Yourself was released

1161
00:59:10,600 --> 00:59:14,640
Speaker 3: in nineteen eighty four. It was written and directed by

1162
00:59:14,800 --> 00:59:19,080
Speaker 3: Joel and Ethan Cohen and it is called Blood Simple.

1163
00:59:19,640 --> 00:59:24,840
Speaker 3: What I Know about Texas down here here on your

1164
00:59:24,840 --> 00:59:27,320
Speaker 3: own Now.

1165
00:59:28,520 --> 00:59:30,080
Speaker 2: The Coen Brothers are legendary.

1166
00:59:30,680 --> 00:59:35,640
Speaker 3: There are countless podcasts and you know people who have

1167
00:59:35,920 --> 00:59:41,000
Speaker 3: done deep, deep research. I guarantee there's been seventeen thousands

1168
00:59:41,720 --> 00:59:45,600
Speaker 3: thess written about them. The information is there if you

1169
00:59:45,640 --> 00:59:48,120
Speaker 3: want it. But since we've never really featured one of

1170
00:59:48,160 --> 00:59:50,720
Speaker 3: their movies on the show before, I want to talk

1171
00:59:50,760 --> 00:59:53,520
Speaker 3: about them a little bit and who they are as

1172
00:59:53,720 --> 00:59:59,360
Speaker 3: directors and writers and producers, because they have created some

1173
00:59:59,480 --> 01:00:03,840
Speaker 3: of the most iconic films, and this film That's Simple

1174
01:00:03,920 --> 01:00:09,760
Speaker 3: is their first major movie. This is also this is

1175
01:00:09,920 --> 01:00:16,120
Speaker 3: also the film where Francis McDormand met Joel Cohen and

1176
01:00:16,160 --> 01:00:21,400
Speaker 3: they got married. And there's a clip you should look

1177
01:00:21,440 --> 01:00:25,440
Speaker 3: it up. There's a clip of Francis McDormand talking about

1178
01:00:25,800 --> 01:00:29,760
Speaker 3: the beginning of their relationship and how they would like

1179
01:00:29,800 --> 01:00:33,400
Speaker 3: read books to each other, and she basically ended it

1180
01:00:33,440 --> 01:00:36,120
Speaker 3: by saying, like you should keep it across the room

1181
01:00:36,160 --> 01:00:39,000
Speaker 3: for as long as possible, like just kind of like

1182
01:00:39,080 --> 01:00:42,320
Speaker 3: do everything but have sex, like really get into the

1183
01:00:42,440 --> 01:00:46,320
Speaker 3: romance of this person you're interested in, and just keep

1184
01:00:46,320 --> 01:00:48,480
Speaker 3: it across the room. And I've always loved that.

1185
01:00:49,120 --> 01:00:49,640
Speaker 2: Holy so.

1186
01:00:51,480 --> 01:00:54,120
Speaker 3: And they've been together since this fucking movie like this

1187
01:00:54,160 --> 01:00:58,120
Speaker 3: is nineteen eighty four. What I also love and again

1188
01:00:58,240 --> 01:01:03,000
Speaker 3: could talk about Francis mcdormandly all day long. She also

1189
01:01:03,080 --> 01:01:07,560
Speaker 3: plays the Voice of God, which why hadn't she done

1190
01:01:07,560 --> 01:01:09,840
Speaker 3: that before? She plays the Voice of God in The

1191
01:01:09,880 --> 01:01:13,880
Speaker 3: Good Omens TV show. And she's just so funny. She's

1192
01:01:13,920 --> 01:01:17,000
Speaker 3: so she's such an interesting actress to me because she's

1193
01:01:17,120 --> 01:01:21,640
Speaker 3: funny and she's smart, and she's dramatic and she's passionate

1194
01:01:22,200 --> 01:01:27,000
Speaker 3: and she is just incredible in everything she does.

1195
01:01:27,080 --> 01:01:28,960
Speaker 2: She's just really crafted.

1196
01:01:28,880 --> 01:01:33,200
Speaker 3: Herself as a very versatile actress and I really love

1197
01:01:33,240 --> 01:01:33,800
Speaker 3: that about her.

1198
01:01:33,840 --> 01:01:35,800
Speaker 2: She's one an.

1199
01:01:35,720 --> 01:01:40,280
Speaker 3: Academy Award, an Emmy Award. I don't think she's won

1200
01:01:40,360 --> 01:01:43,600
Speaker 3: a Tony, but she basically is kind of one like

1201
01:01:43,600 --> 01:01:49,200
Speaker 3: the triple, like the trifecta of awards for every acting

1202
01:01:49,280 --> 01:01:51,360
Speaker 3: possible possible except for for a theater.

1203
01:01:51,880 --> 01:01:56,440
Speaker 1: Yeah, she is. She's about as close to like a

1204
01:01:56,520 --> 01:01:58,280
Speaker 1: role model maybe as I have.

1205
01:01:58,600 --> 01:01:59,080
Speaker 2: You know, I'm not.

1206
01:01:59,360 --> 01:02:04,760
Speaker 1: I'm not. I don't typically like worship people celebrities, if

1207
01:02:04,800 --> 01:02:08,960
Speaker 1: you will, but she is one like for me. She

1208
01:02:09,120 --> 01:02:14,160
Speaker 1: just has this kind of naturalism and this like wisdom

1209
01:02:14,280 --> 01:02:19,080
Speaker 1: to her that I love. And you know, obviously she

1210
01:02:19,120 --> 01:02:21,760
Speaker 1: shows up to war shows and like little to no makeup.

1211
01:02:21,800 --> 01:02:25,400
Speaker 1: I'm like, yes, bitches come through, as we know. But

1212
01:02:25,520 --> 01:02:27,960
Speaker 1: then I don't know. She just listened to her talk.

1213
01:02:28,080 --> 01:02:31,760
Speaker 1: She just seems so interesting and fascinating. And she was

1214
01:02:31,760 --> 01:02:36,600
Speaker 1: on the cover of High Times magazine. Hello, we stand allege.

1215
01:02:36,720 --> 01:02:39,560
Speaker 1: So I just love her love and I love seeing

1216
01:02:39,560 --> 01:02:42,000
Speaker 1: her in this film too as a young woman.

1217
01:02:42,600 --> 01:02:46,160
Speaker 3: Oh completely, little baby Francis McDorman is in here. And

1218
01:02:46,520 --> 01:02:49,720
Speaker 3: what I also really really love about her the more

1219
01:02:49,760 --> 01:02:52,560
Speaker 3: I kind of dug into the research for this film

1220
01:02:52,800 --> 01:02:56,360
Speaker 3: is I didn't realize this, but she and all of

1221
01:02:56,360 --> 01:03:03,320
Speaker 3: her siblings were adopted, and she and Joel went on

1222
01:03:04,600 --> 01:03:06,360
Speaker 3: too when they decided to start their family.

1223
01:03:06,400 --> 01:03:07,640
Speaker 2: While they were making Fargo.

1224
01:03:08,240 --> 01:03:11,000
Speaker 3: They adopted their son, and I don't know why. That

1225
01:03:11,160 --> 01:03:13,760
Speaker 3: just gets me right in the fucking heart where it's

1226
01:03:13,840 --> 01:03:15,880
Speaker 3: it's like, you know, she grew up in a situation

1227
01:03:15,920 --> 01:03:19,439
Speaker 3: where she realized the value of her family, which doesn't

1228
01:03:19,440 --> 01:03:21,160
Speaker 3: mean they always got along or they were you know,

1229
01:03:21,200 --> 01:03:23,480
Speaker 3: but she doesn't dislike her family, but she kind of

1230
01:03:23,840 --> 01:03:26,760
Speaker 3: just grew up in a way that she saw the

1231
01:03:26,840 --> 01:03:29,720
Speaker 3: value of being that kind of parent and taking a

1232
01:03:29,760 --> 01:03:33,040
Speaker 3: step like outside of her own heart to make her family.

1233
01:03:33,040 --> 01:03:34,960
Speaker 2: And I just I love that. I absolutely love that.

1234
01:03:35,240 --> 01:03:35,880
Speaker 1: Yeah, me too.

1235
01:03:36,920 --> 01:03:37,520
Speaker 2: So sweet.

1236
01:03:37,600 --> 01:03:43,320
Speaker 3: So this film again rock star cast as always, and

1237
01:03:43,360 --> 01:03:47,480
Speaker 3: the Coen Brothers have a They have a real knack

1238
01:03:48,000 --> 01:03:50,600
Speaker 3: of working with frequent collaborators, and I think that what

1239
01:03:50,720 --> 01:03:54,680
Speaker 3: makes them so interesting to me as filmmakers is that

1240
01:03:54,680 --> 01:03:59,880
Speaker 3: they strike this very cool tone between terror and comedy

1241
01:04:00,640 --> 01:04:03,120
Speaker 3: and a way that neither one seems hokey.

1242
01:04:03,800 --> 01:04:04,840
Speaker 2: Yeah, so it's.

1243
01:04:04,760 --> 01:04:07,320
Speaker 3: Very dark and tonally like a lot of their films

1244
01:04:07,320 --> 01:04:11,080
Speaker 3: are very dark. But I think that the brace yourself

1245
01:04:11,680 --> 01:04:15,120
Speaker 3: theme works for so many of their films because every

1246
01:04:15,160 --> 01:04:18,840
Speaker 3: film I've seen of theirs does not end anywhere near

1247
01:04:18,880 --> 01:04:21,320
Speaker 3: where it began. So I'm thinking of like Barton Fink

1248
01:04:21,560 --> 01:04:27,360
Speaker 3: and raising Arizona and Miller's Crossing Summer Box, Old No

1249
01:04:27,400 --> 01:04:30,720
Speaker 3: Country for Old Men, you know, Old Brother or Art

1250
01:04:30,760 --> 01:04:33,680
Speaker 3: Thou even like Fucking Inside Lewin Davis. Like they just

1251
01:04:33,800 --> 01:04:40,480
Speaker 3: really make movies that are very sprawling but controlled, and

1252
01:04:40,560 --> 01:04:43,400
Speaker 3: I just I love their tone and they are so funny.

1253
01:04:43,440 --> 01:04:47,840
Speaker 3: Like the comedy in this movie is so subtle. It's

1254
01:04:47,880 --> 01:04:50,960
Speaker 3: as subtle as you know. One of the main characters

1255
01:04:50,960 --> 01:04:54,720
Speaker 3: lives on a street that two people drive away from

1256
01:04:54,800 --> 01:04:57,240
Speaker 3: in a huff and they realize that it's like a

1257
01:04:57,280 --> 01:04:57,960
Speaker 3: dead end stream.

1258
01:04:58,960 --> 01:05:01,440
Speaker 2: So you see these two are zoomed down and.

1259
01:05:01,400 --> 01:05:03,640
Speaker 3: Then the actors like, oh, I wonder they're gonna realize

1260
01:05:03,640 --> 01:05:04,640
Speaker 3: that it's a dead end.

1261
01:05:04,520 --> 01:05:06,000
Speaker 2: Stream car zooms.

1262
01:05:07,360 --> 01:05:11,720
Speaker 3: So their comedy is smart and interesting and just works

1263
01:05:11,760 --> 01:05:13,880
Speaker 3: with so many of these roles. But yeah, like they

1264
01:05:13,880 --> 01:05:16,680
Speaker 3: work with Francis McDorman is just one of the actors

1265
01:05:16,720 --> 01:05:23,680
Speaker 3: that they work with continually, John Goodman, John Chatruro, Steve Buscemi,

1266
01:05:25,240 --> 01:05:29,600
Speaker 3: George Clooney, They just you know, Jeff Bridges and Scarlett

1267
01:05:29,680 --> 01:05:33,560
Speaker 3: Johansson until the Swinton, Like they just really keep they

1268
01:05:33,640 --> 01:05:38,240
Speaker 3: keep a really cool I hate to say stable, but

1269
01:05:38,280 --> 01:05:40,840
Speaker 3: they do keep like a really cool stable of actors,

1270
01:05:41,600 --> 01:05:45,080
Speaker 3: and because they are so thoughtful and their films are

1271
01:05:45,080 --> 01:05:48,200
Speaker 3: always so different from each other, you get to see

1272
01:05:48,200 --> 01:05:50,280
Speaker 3: a really wide range of talent in what these actors

1273
01:05:50,360 --> 01:05:52,400
Speaker 3: can do because they're never playing the same part twice,

1274
01:05:52,440 --> 01:05:55,240
Speaker 3: Like they're not casting these people because they're able to

1275
01:05:55,240 --> 01:05:57,720
Speaker 3: play the same role over and over again. They really

1276
01:05:58,320 --> 01:06:01,440
Speaker 3: differentiate every single fucking and I just I love it.

1277
01:06:01,520 --> 01:06:06,840
Speaker 2: So yeah. So this movie is just one of my favorites.

1278
01:06:06,960 --> 01:06:11,120
Speaker 3: Again, it's their first big budget film, And if you

1279
01:06:11,160 --> 01:06:13,600
Speaker 3: want to, I would absolutely look more into the Cohen

1280
01:06:13,640 --> 01:06:17,280
Speaker 3: Brothers if you haven't ever researched them, or if you're

1281
01:06:17,320 --> 01:06:19,000
Speaker 3: looking for like, you know, oh, I was looking for

1282
01:06:19,000 --> 01:06:21,200
Speaker 3: a director to like really dig into all of their work.

1283
01:06:21,240 --> 01:06:23,680
Speaker 3: I feel like, start with them, like you will be

1284
01:06:23,760 --> 01:06:28,360
Speaker 3: surprised and entertained more than you could ever know. But

1285
01:06:28,480 --> 01:06:32,720
Speaker 3: this film who so good. I'm gonna start with my

1286
01:06:32,800 --> 01:06:38,720
Speaker 3: one sentence synopsis. So my one sentence synopsis is a

1287
01:06:38,760 --> 01:06:43,200
Speaker 3: woman who is done with her marriage, cheats on her

1288
01:06:43,280 --> 01:06:48,160
Speaker 3: husband and creates a disastrous series of events.

1289
01:06:49,000 --> 01:06:49,960
Speaker 1: To say the least.

1290
01:06:50,680 --> 01:06:54,640
Speaker 3: To say the least, and the actors in this film,

1291
01:06:54,680 --> 01:06:58,800
Speaker 3: we've already mentioned Frances McDorman, who plays Abby john Gets

1292
01:06:59,160 --> 01:07:02,600
Speaker 3: is the other principal player. He plays Ray, who's this

1293
01:07:02,680 --> 01:07:05,640
Speaker 3: guy who works for her husband and she has a

1294
01:07:05,680 --> 01:07:09,320
Speaker 3: major crush on him, and the movie kind of starts

1295
01:07:09,360 --> 01:07:11,400
Speaker 3: with them deciding to have an affair.

1296
01:07:11,920 --> 01:07:13,320
Speaker 2: Like he's like, yeah, I like you.

1297
01:07:13,240 --> 01:07:15,520
Speaker 3: And you know, I work for your husband, but you're cool,

1298
01:07:15,680 --> 01:07:18,680
Speaker 3: and she is already like, I'm moving to Houston. I'm

1299
01:07:18,680 --> 01:07:20,600
Speaker 3: fucking out here. The movie takes place in Texas, and

1300
01:07:20,600 --> 01:07:22,760
Speaker 3: she's like, I'm out here. I don't want to do this.

1301
01:07:22,720 --> 01:07:24,400
Speaker 2: Anymore and I like you.

1302
01:07:25,400 --> 01:07:30,480
Speaker 3: So her husband who's played by again legendary Dan Hedea

1303
01:07:30,600 --> 01:07:32,240
Speaker 3: who plays her husband, Julian Marty.

1304
01:07:32,280 --> 01:07:35,920
Speaker 2: Everyone calls him Marty. He kind of already knows that

1305
01:07:36,000 --> 01:07:37,400
Speaker 2: she's one foot out the door, like.

1306
01:07:37,360 --> 01:07:41,640
Speaker 3: He he suspects that she's cheating before she cheats, and

1307
01:07:41,720 --> 01:07:44,360
Speaker 3: as a result, he is kind of sick to this

1308
01:07:44,600 --> 01:07:50,480
Speaker 3: private detective on them played by another legendary fucking actor,

1309
01:07:51,120 --> 01:07:55,560
Speaker 3: m Emmett Walsh, who plays this detective, Lauren Visser. And

1310
01:07:55,680 --> 01:08:00,000
Speaker 3: so he, like Marty, kind of is already like, Eh,

1311
01:08:00,240 --> 01:08:04,400
Speaker 3: things don't seem cool with us, and I own this

1312
01:08:04,520 --> 01:08:08,800
Speaker 3: bar and I'm just gonna hire this guy just sneak around,

1313
01:08:08,840 --> 01:08:10,720
Speaker 3: so he's kind of shocked when he discovers it's one

1314
01:08:10,760 --> 01:08:15,320
Speaker 3: of his own employees that she's having an affair with.

1315
01:08:16,439 --> 01:08:20,240
Speaker 3: And then she also kind of knows that he's vindictive enough,

1316
01:08:20,320 --> 01:08:23,880
Speaker 3: like Marty is vindictive enough to like to do that

1317
01:08:24,000 --> 01:08:25,520
Speaker 3: kind of thing, So she's.

1318
01:08:25,240 --> 01:08:26,120
Speaker 2: Kind of aware of that.

1319
01:08:26,640 --> 01:08:28,760
Speaker 3: And as soon even when she's driving with Ray, she

1320
01:08:28,800 --> 01:08:33,040
Speaker 3: sees the Volkswagen Beatle kind of following them, and she's

1321
01:08:33,080 --> 01:08:34,080
Speaker 3: really on edge.

1322
01:08:33,920 --> 01:08:35,240
Speaker 2: And he's like, what's going on, Like do you know

1323
01:08:35,280 --> 01:08:36,439
Speaker 2: that guy? And she's like no.

1324
01:08:37,160 --> 01:08:40,439
Speaker 3: But then as the movie kind of progresses, you realize, oh,

1325
01:08:40,479 --> 01:08:43,959
Speaker 3: she's really brash and bold because she kind of already

1326
01:08:44,000 --> 01:08:47,600
Speaker 3: knows she's being followed and does it anyway. That is

1327
01:08:47,640 --> 01:08:49,360
Speaker 3: how dune she is with this marriage.

1328
01:08:50,200 --> 01:08:53,680
Speaker 1: Yeah, she kind of has like a feen ftal. I mean,

1329
01:08:53,680 --> 01:08:56,800
Speaker 1: I know a lot of people talk about this as

1330
01:08:56,840 --> 01:08:58,719
Speaker 1: like a neo no war film, and you know, because

1331
01:08:58,720 --> 01:09:02,800
Speaker 1: of that, you know, I reference that fem fatal thing,

1332
01:09:02,880 --> 01:09:05,400
Speaker 1: but it it is true. I mean, you know, basically

1333
01:09:05,479 --> 01:09:09,200
Speaker 1: she's got kind of she's got kind of a knowledge

1334
01:09:09,240 --> 01:09:12,840
Speaker 1: to her character that is very interesting.

1335
01:09:12,800 --> 01:09:16,320
Speaker 3: Right, absolutely, yeah, and like a knowledge and a real

1336
01:09:17,840 --> 01:09:22,080
Speaker 3: like self I want to say self protective. Yeah, sort

1337
01:09:22,120 --> 01:09:24,599
Speaker 3: of instinct because at this time, like again, this movie

1338
01:09:24,720 --> 01:09:27,160
Speaker 3: was released in nineteen eighty four, and you know, back

1339
01:09:27,200 --> 01:09:30,240
Speaker 3: in this time, we're like five years out from when

1340
01:09:30,280 --> 01:09:33,040
Speaker 3: women could have credit cards without their husband or dad

1341
01:09:33,120 --> 01:09:36,599
Speaker 3: signing for them, Like there wasn't really there were kind

1342
01:09:36,600 --> 01:09:39,760
Speaker 3: of on the cusp of cultural changes that came on

1343
01:09:39,800 --> 01:09:41,800
Speaker 3: the heels of the second wave feminist movement. But she

1344
01:09:41,920 --> 01:09:45,360
Speaker 3: really does kind of set the tone as that fem

1345
01:09:45,400 --> 01:09:50,240
Speaker 3: fatal who's already doing that without permission. Yes, yes, and

1346
01:09:50,280 --> 01:09:53,080
Speaker 3: I really dig that, and I think so. Viser basically

1347
01:09:53,120 --> 01:09:56,439
Speaker 3: follows them to this hotel and he takes these pictures

1348
01:09:56,479 --> 01:09:59,120
Speaker 3: of them, and then he goes back to Marty and

1349
01:09:59,160 --> 01:10:01,920
Speaker 3: he's like, yep, asolutely having an affair, and here's the proof.

1350
01:10:01,960 --> 01:10:03,800
Speaker 3: And Marty's kind of pissed because he's like, you know,

1351
01:10:03,840 --> 01:10:05,280
Speaker 3: you could have just told me I didn't need to

1352
01:10:05,280 --> 01:10:08,320
Speaker 3: see the pictures of them in bed together, like how

1353
01:10:08,360 --> 01:10:10,200
Speaker 3: long did you watch her? And I thought that was

1354
01:10:10,240 --> 01:10:12,680
Speaker 3: always that's always been such an interesting line to me,

1355
01:10:12,720 --> 01:10:16,439
Speaker 3: where he's he's mad at her, but he's also still

1356
01:10:16,439 --> 01:10:18,640
Speaker 3: trying to protect her because he doesn't say, like, you know,

1357
01:10:18,800 --> 01:10:20,519
Speaker 3: what did you see he said, how long did you

1358
01:10:20,560 --> 01:10:23,240
Speaker 3: watch her? Yeah, And he kind of doesn't even care

1359
01:10:23,280 --> 01:10:25,040
Speaker 3: about Ray. He's kind of like, you know, that's my

1360
01:10:25,120 --> 01:10:27,280
Speaker 3: wife and you were watching my wife have sex, and

1361
01:10:27,320 --> 01:10:31,280
Speaker 3: that's weird, right, And this is a real motherfucker. Like

1362
01:10:31,360 --> 01:10:35,320
Speaker 3: this character is again something that you will see pop

1363
01:10:35,400 --> 01:10:39,040
Speaker 3: up again and again in Coen Brothers' films. But he's

1364
01:10:39,120 --> 01:10:44,160
Speaker 3: like really out of pocket from jump, Like he's like, yeah, whatever,

1365
01:10:44,280 --> 01:10:46,200
Speaker 3: like I took these pictures and what are you gonna

1366
01:10:46,200 --> 01:10:48,880
Speaker 3: fucking do about it? And the thing about this is

1367
01:10:48,880 --> 01:10:52,080
Speaker 3: that he has this he's just like a very If

1368
01:10:52,080 --> 01:10:53,760
Speaker 3: it wasn't in the hands of the Coen Brothers, he

1369
01:10:53,800 --> 01:10:58,000
Speaker 3: would feel very much like central casting kind of character.

1370
01:10:58,680 --> 01:11:01,400
Speaker 3: So like he's got this Zippo lighter with his name

1371
01:11:01,400 --> 01:11:05,640
Speaker 3: engraved on it and like very identifiable lighter, and he

1372
01:11:05,720 --> 01:11:08,880
Speaker 3: really just kind of like makes fun of his clients

1373
01:11:08,960 --> 01:11:10,519
Speaker 3: for needing his help.

1374
01:11:11,240 --> 01:11:13,280
Speaker 2: So he's just like one of those kind of fucking

1375
01:11:14,040 --> 01:11:14,280
Speaker 2: I know.

1376
01:11:14,520 --> 01:11:17,639
Speaker 1: It's the quirky Psycho sets the film for a lot

1377
01:11:17,640 --> 01:11:20,920
Speaker 1: of movies of theirs after.

1378
01:11:20,840 --> 01:11:24,360
Speaker 3: Completely and again thinking instantly of John Goodman and Barton

1379
01:11:24,400 --> 01:11:30,360
Speaker 3: Fink like so many, so many So he's pissed and that,

1380
01:11:30,520 --> 01:11:32,840
Speaker 3: you know, and also he's kind of like, well, I

1381
01:11:32,840 --> 01:11:34,000
Speaker 3: don't know what to do, but I have to run

1382
01:11:34,040 --> 01:11:38,400
Speaker 3: this fucking bar tonight. So one of the other characters

1383
01:11:38,439 --> 01:11:41,080
Speaker 3: in the film that is a small player, a minor part,

1384
01:11:41,120 --> 01:11:45,320
Speaker 3: but is so great is Maurice. And he's played by

1385
01:11:45,360 --> 01:11:49,519
Speaker 3: sam Art Williams. And Maurice is another bartender at the bar.

1386
01:11:49,600 --> 01:11:52,040
Speaker 3: He works with Ray and they both work for Marty,

1387
01:11:52,600 --> 01:11:56,719
Speaker 3: and Maurice is so fucking funny. So Maurice keeps putting

1388
01:11:56,760 --> 01:11:59,600
Speaker 3: on like his kind of pump up personal pump up

1389
01:11:59,680 --> 01:12:02,719
Speaker 3: Jam is the same old song from the Four Tops,

1390
01:12:03,400 --> 01:12:06,280
Speaker 3: And when you first meet Maurice, he puts it on

1391
01:12:06,479 --> 01:12:08,760
Speaker 3: and he's got his like white sweatpants tucked into his

1392
01:12:08,760 --> 01:12:12,559
Speaker 3: white high top converse and he's walking down. He pops

1393
01:12:12,600 --> 01:12:14,280
Speaker 3: it in the jukebox and this is like a real

1394
01:12:14,439 --> 01:12:19,719
Speaker 3: like Texas bar, and he puts on this fucking black

1395
01:12:19,840 --> 01:12:22,559
Speaker 3: group and then he hops on the bar and does.

1396
01:12:22,400 --> 01:12:24,519
Speaker 2: A little two step before he goes back to work.

1397
01:12:24,960 --> 01:12:27,840
Speaker 3: It is so good, Like that says so much about

1398
01:12:27,840 --> 01:12:30,360
Speaker 3: that character to me, and his like fearlessness and is

1399
01:12:30,880 --> 01:12:34,679
Speaker 3: again his own sense of comedy, and he's just such

1400
01:12:34,680 --> 01:12:36,679
Speaker 3: a funny, funny character.

1401
01:12:38,120 --> 01:12:39,559
Speaker 2: I love Maurice. I love Maurice.

1402
01:12:39,680 --> 01:12:41,879
Speaker 1: Yeah, I know, I love his His sort of primary

1403
01:12:41,920 --> 01:12:44,479
Speaker 1: motivation of the film is like he just wants to

1404
01:12:44,560 --> 01:12:47,880
Speaker 1: clock out and like hang out and live his life.

1405
01:12:48,040 --> 01:12:50,120
Speaker 1: But then he gets kind of wrapped up with these

1406
01:12:50,120 --> 01:12:52,759
Speaker 1: other motherfuckers in the bar, and it's just like calm

1407
01:12:52,800 --> 01:12:56,360
Speaker 1: on people, like, you know, it's almost like he's pissed

1408
01:12:56,400 --> 01:12:59,559
Speaker 1: at it that their drama is a distraction for him

1409
01:12:59,720 --> 01:13:03,160
Speaker 1: and his goal of just being off the clock and

1410
01:13:03,200 --> 01:13:05,519
Speaker 1: hanging out and listening to music and hanging out with

1411
01:13:05,560 --> 01:13:07,160
Speaker 1: women and dream hanging out with women.

1412
01:13:07,479 --> 01:13:09,080
Speaker 2: Oh, he's so funny. Like there's again.

1413
01:13:09,120 --> 01:13:12,200
Speaker 3: Another really funny line is when you first meet Maurice

1414
01:13:12,240 --> 01:13:14,439
Speaker 3: and then Marty's like, hey, get back to work down.

1415
01:13:14,320 --> 01:13:17,320
Speaker 2: The bar there because Maurice has been talking to this woman.

1416
01:13:17,360 --> 01:13:20,360
Speaker 3: At Deborah and Marty tries to hit on Deborah and

1417
01:13:20,400 --> 01:13:22,080
Speaker 3: she's like what the fuck, Like, why are you in

1418
01:13:22,120 --> 01:13:24,519
Speaker 3: my business? I've known him for ten years, We've been

1419
01:13:24,560 --> 01:13:26,800
Speaker 3: friends forever. And then when Marie comes back, he's like, so,

1420
01:13:26,840 --> 01:13:27,599
Speaker 3: what's your last name?

1421
01:13:27,640 --> 01:13:32,439
Speaker 1: Again? I know, it's such such a great scene when

1422
01:13:32,479 --> 01:13:33,760
Speaker 1: he says that I love that.

1423
01:13:34,280 --> 01:13:35,840
Speaker 2: I love that scene so.

1424
01:13:35,880 --> 01:13:38,679
Speaker 3: Much so we've got kind of most of our major

1425
01:13:38,720 --> 01:13:42,559
Speaker 3: players are have been activated at this point, and what

1426
01:13:42,680 --> 01:13:46,320
Speaker 3: really happens to set this ride off. The first thing

1427
01:13:46,479 --> 01:13:48,479
Speaker 3: is those photos that kind of put Marty in a

1428
01:13:48,520 --> 01:13:53,639
Speaker 3: specific state of mind. But then Abby decides, I'm really done.

1429
01:13:53,680 --> 01:13:55,719
Speaker 3: I'm gonna go home and get a few things, including

1430
01:13:55,760 --> 01:13:59,920
Speaker 3: my gun, my very distinctive gun that was a gift

1431
01:14:00,080 --> 01:14:03,640
Speaker 3: from Marty, and I'm gonna stay with Ray for a

1432
01:14:03,680 --> 01:14:06,679
Speaker 3: little bit while I figure this out. And she's already again.

1433
01:14:06,720 --> 01:14:09,519
Speaker 3: What's very very cool about this character. She's not like

1434
01:14:10,280 --> 01:14:12,759
Speaker 3: jumping from man to man like we're gonna be together forever.

1435
01:14:12,880 --> 01:14:14,439
Speaker 3: She's kind of like, you know, yeah, I want out

1436
01:14:14,479 --> 01:14:16,120
Speaker 3: of my marriage and I like you, but I'm still

1437
01:14:16,120 --> 01:14:19,880
Speaker 3: gonna get my own apartment. Yeah, and we'll just see

1438
01:14:19,880 --> 01:14:21,880
Speaker 3: what happens. But more than anything, I need to get

1439
01:14:21,880 --> 01:14:25,080
Speaker 3: away from this dude. And she does eventually get this

1440
01:14:25,320 --> 01:14:27,400
Speaker 3: incredibly cool apartment.

1441
01:14:27,880 --> 01:14:29,800
Speaker 2: I'm like so jealous now.

1442
01:14:31,439 --> 01:14:34,080
Speaker 3: So Abby goes and gets her gun, and then Ray

1443
01:14:34,160 --> 01:14:36,720
Speaker 3: goes back to the bar and they have he has

1444
01:14:36,760 --> 01:14:41,759
Speaker 3: this really interesting stand off with Marty and Ray again.

1445
01:14:41,880 --> 01:14:43,120
Speaker 2: Ray is played by John.

1446
01:14:42,960 --> 01:14:48,439
Speaker 3: Getz, who is just a fucking legend. A lot of

1447
01:14:48,439 --> 01:14:51,760
Speaker 3: you will know him as Gus from Don't Tell Mom,

1448
01:14:51,800 --> 01:14:57,720
Speaker 3: The Babysitterstead or The Fly or Curly so like he's

1449
01:14:57,760 --> 01:15:01,840
Speaker 3: been making movies since nineteen seven five. Yeah, and he

1450
01:15:02,080 --> 01:15:05,880
Speaker 3: his last his last acting role was recently was in

1451
01:15:05,920 --> 01:15:08,360
Speaker 3: The Doom Patrol. Like he's he's in his seventies, he's

1452
01:15:08,360 --> 01:15:11,240
Speaker 3: still going and he's still great. I think that he

1453
01:15:11,320 --> 01:15:14,200
Speaker 3: hit he hit a moment in the kind of late

1454
01:15:14,240 --> 01:15:17,200
Speaker 3: eighties to mid nineties where he's playing these really comical,

1455
01:15:17,400 --> 01:15:21,679
Speaker 3: kind of like bad guy characters. But then you see

1456
01:15:21,720 --> 01:15:24,040
Speaker 3: him in a film like this and you're like, holy fuck, though,

1457
01:15:24,040 --> 01:15:27,600
Speaker 3: that dude can act, Like he really got typecast for

1458
01:15:27,640 --> 01:15:30,400
Speaker 3: a minute, and I'm glad he pulled himself out of that.

1459
01:15:30,840 --> 01:15:33,160
Speaker 1: Yeah. I mean, you know, obviously we've talked about him.

1460
01:15:33,160 --> 01:15:35,479
Speaker 1: We covered both Don't Tell Mom, The Babysitters Dead and

1461
01:15:35,520 --> 01:15:38,400
Speaker 1: The Fly, and in that in that era, like you know,

1462
01:15:38,720 --> 01:15:41,640
Speaker 1: he was almost kind of like the business asshole, like

1463
01:15:41,640 --> 01:15:45,400
Speaker 1: he's he was always the like corporate business ye asshole guy.

1464
01:15:46,000 --> 01:15:48,200
Speaker 1: And so when you when you go back and you

1465
01:15:48,240 --> 01:15:50,479
Speaker 1: watch him in Blood Simple, You're like, oh, he's so

1466
01:15:50,960 --> 01:15:53,680
Speaker 1: great in this film because he's he kind of is

1467
01:15:53,720 --> 01:15:57,680
Speaker 1: that like Texas guy, Like he's just this very you

1468
01:15:57,680 --> 01:16:01,639
Speaker 1: know plane dude that like lives in Texas and he's

1469
01:16:01,640 --> 01:16:04,080
Speaker 1: got this I don't even know where he's from. Is

1470
01:16:04,080 --> 01:16:06,280
Speaker 1: he from He can't be from the South, maybe, I

1471
01:16:06,280 --> 01:16:10,200
Speaker 1: don't know, but he's he has a perfect accent and

1472
01:16:10,280 --> 01:16:12,400
Speaker 1: a perfect Southern demeanor.

1473
01:16:13,520 --> 01:16:16,360
Speaker 3: And that is his acting because he actually was born

1474
01:16:16,400 --> 01:16:17,839
Speaker 3: and raised in fucking Iowa.

1475
01:16:18,160 --> 01:16:21,519
Speaker 2: There you go, great actor. Yes, she's a good actor.

1476
01:16:21,920 --> 01:16:26,240
Speaker 3: And he he's got this real like smooth swagger to him.

1477
01:16:26,280 --> 01:16:30,599
Speaker 3: In this film, there's a scene where, you know again,

1478
01:16:30,640 --> 01:16:33,040
Speaker 3: after Abby goes and gets her gun and she's he's like, well,

1479
01:16:33,080 --> 01:16:35,120
Speaker 3: you can say at my house, and she does. She

1480
01:16:35,160 --> 01:16:40,080
Speaker 3: goes back with him for that evening and the next

1481
01:16:40,200 --> 01:16:43,880
Speaker 3: day the next morning, Marty has kind of broken into

1482
01:16:43,920 --> 01:16:49,000
Speaker 3: the house and tries to like snatch her, and to

1483
01:16:49,080 --> 01:16:52,040
Speaker 3: Abby's credit, she gets away from him by like breaking

1484
01:16:52,040 --> 01:16:54,639
Speaker 3: his finger and then kicking him in the dick. Ah.

1485
01:16:55,360 --> 01:16:57,559
Speaker 3: And then Ray comes out of the house though, and

1486
01:16:57,600 --> 01:17:00,000
Speaker 3: he kind of just like is fearless, like he's just

1487
01:17:00,000 --> 01:17:02,000
Speaker 3: it's like walking towards Marty like, yeah, what are you

1488
01:17:02,040 --> 01:17:04,479
Speaker 3: gonna fucking do? Like there's nothing you can do about this,

1489
01:17:04,600 --> 01:17:08,280
Speaker 3: and your violence is not warranted. Here he says nothing,

1490
01:17:09,040 --> 01:17:12,200
Speaker 3: and he just looks at him and again just really

1491
01:17:12,240 --> 01:17:15,120
Speaker 3: reminded me of what a great actor John Gets is

1492
01:17:15,160 --> 01:17:17,320
Speaker 3: because he just does all of this with a movement

1493
01:17:17,400 --> 01:17:21,320
Speaker 3: and a look and really telegraphs like, don't fuck with us,

1494
01:17:21,479 --> 01:17:23,920
Speaker 3: like don't fuck with me especially, but don't fuck with us.

1495
01:17:24,800 --> 01:17:28,800
Speaker 1: Yeah. Danadea in this film is fucking terrifying. Oh Like,

1496
01:17:29,520 --> 01:17:32,599
Speaker 1: And I'm not just talking about the photograph that they

1497
01:17:32,600 --> 01:17:36,280
Speaker 1: show multiple times where he's it's like a shot of

1498
01:17:36,360 --> 01:17:38,880
Speaker 1: him and Abby in like happier days and it's a

1499
01:17:38,880 --> 01:17:41,360
Speaker 1: black white photo and they're both like by the pool.

1500
01:17:41,400 --> 01:17:45,280
Speaker 1: And Dan Headea is the most here suit man I

1501
01:17:45,280 --> 01:17:48,400
Speaker 1: think I've ever seen in my life.

1502
01:17:49,240 --> 01:17:52,800
Speaker 3: He really is. He really is and truly, Like again,

1503
01:17:52,880 --> 01:17:56,120
Speaker 3: growing up, I always I kind of met Dan Headea

1504
01:17:56,200 --> 01:18:00,120
Speaker 3: as an actor as like a dad character. Yes, so

1505
01:18:00,479 --> 01:18:03,280
Speaker 3: he didn't have that edge, like he was always frantic.

1506
01:18:03,320 --> 01:18:04,720
Speaker 3: He was always like the dad on the verge of

1507
01:18:04,800 --> 01:18:07,840
Speaker 3: having a heart attack in most of his roles. But

1508
01:18:07,960 --> 01:18:12,080
Speaker 3: in this film he's got this again, this quiet, steely terror,

1509
01:18:13,000 --> 01:18:16,120
Speaker 3: and it's very different, very different. I also love the

1510
01:18:16,120 --> 01:18:18,639
Speaker 3: fact that there are two actors in this film, Danadaya

1511
01:18:18,720 --> 01:18:21,920
Speaker 3: and Frances McDormand, who have deeply cleft chins. I don't

1512
01:18:21,960 --> 01:18:25,439
Speaker 3: think we get enough chin acting. Yes, I'm very into

1513
01:18:25,479 --> 01:18:26,480
Speaker 3: the character.

1514
01:18:28,800 --> 01:18:30,000
Speaker 1: Representation on screen.

1515
01:18:30,040 --> 01:18:36,559
Speaker 3: Always gotta wrap those chins. So basically, Ray kind of

1516
01:18:36,560 --> 01:18:39,040
Speaker 3: goes to Marty. He's like, am I fired? Are you

1517
01:18:39,080 --> 01:18:42,120
Speaker 3: gonna hit me or what? And Marty's like stewing, but

1518
01:18:42,160 --> 01:18:44,920
Speaker 3: you know, he's not gonna do anything. But then he

1519
01:18:44,960 --> 01:18:47,080
Speaker 3: breaks in and kind of like you know, tries to

1520
01:18:47,120 --> 01:18:49,560
Speaker 3: drag her out. He realizes this is not going to

1521
01:18:49,600 --> 01:18:52,080
Speaker 3: go the way I want it to go, so he

1522
01:18:52,360 --> 01:18:56,400
Speaker 3: hires Visser again. In a very funny scene where he

1523
01:18:56,479 --> 01:18:59,439
Speaker 3: walks he has to walk through this like this park

1524
01:18:59,439 --> 01:19:01,840
Speaker 3: where kids are parking their cars and just like hanging

1525
01:19:01,880 --> 01:19:05,080
Speaker 3: out and drinking and smoking, and they're all roasting him

1526
01:19:05,360 --> 01:19:07,879
Speaker 3: as he walks to Visser's car. It is so funny,

1527
01:19:08,240 --> 01:19:12,520
Speaker 3: and he basically says to Viser, like, go ahead.

1528
01:19:12,200 --> 01:19:13,840
Speaker 2: And kill them and I'll pay you.

1529
01:19:14,360 --> 01:19:17,080
Speaker 3: And Visser's like, all right, you should leave town, go

1530
01:19:17,120 --> 01:19:19,479
Speaker 3: on a fishing trip and I'll take care of it.

1531
01:19:20,439 --> 01:19:24,960
Speaker 3: And that's kind of what happens. He leaves town. He

1532
01:19:25,040 --> 01:19:30,960
Speaker 3: comes back, and this shows him a picture of them

1533
01:19:31,040 --> 01:19:35,000
Speaker 3: laying in bed with what appeared to be gunshot wounds

1534
01:19:35,080 --> 01:19:39,720
Speaker 3: or bloodstains, and Marty gives them ten thousand bucks. But

1535
01:19:39,960 --> 01:19:42,519
Speaker 3: you but what Marty doesn't know, but we know as

1536
01:19:42,560 --> 01:19:44,320
Speaker 3: a viewer, is that he.

1537
01:19:44,320 --> 01:19:45,400
Speaker 2: Didn't actually kill them.

1538
01:19:45,640 --> 01:19:51,040
Speaker 3: He snuck into the house, he stole Abby's gun, and

1539
01:19:51,080 --> 01:19:53,760
Speaker 3: then he went outside and took a photo of them

1540
01:19:53,840 --> 01:19:58,240
Speaker 3: through very weirdly a bedroom with a huge window.

1541
01:19:59,520 --> 01:20:03,200
Speaker 1: So a lot of sexy living in midair windows in this.

1542
01:20:03,240 --> 01:20:07,160
Speaker 3: One, a lot of sexy living in midair on the

1543
01:20:07,160 --> 01:20:11,080
Speaker 3: ground fucking floor, Like everyone can see everything in this neighborhood.

1544
01:20:11,080 --> 01:20:13,520
Speaker 2: There's no hiding crazy.

1545
01:20:13,640 --> 01:20:15,960
Speaker 3: And so he takes this photo, which is creepy enough

1546
01:20:15,960 --> 01:20:17,799
Speaker 3: that he's taking this photo of them through the window,

1547
01:20:17,840 --> 01:20:19,880
Speaker 3: and you're not sure why. But then when you see

1548
01:20:19,920 --> 01:20:23,000
Speaker 3: this photo, you realize, oh, he's doctored the pictures to

1549
01:20:23,040 --> 01:20:25,559
Speaker 3: make it look like he killed them. But what he

1550
01:20:25,680 --> 01:20:30,439
Speaker 3: actually does instead is he shoots Marty because he's like,

1551
01:20:30,479 --> 01:20:31,880
Speaker 3: why the fuck would I kill both of them? I

1552
01:20:31,880 --> 01:20:33,439
Speaker 3: can just get the money and kill you, and then

1553
01:20:33,479 --> 01:20:36,599
Speaker 3: no one, no one's any of the wiser. So thiser

1554
01:20:36,680 --> 01:20:40,400
Speaker 3: shoots Marty in his office in the bar and then

1555
01:20:40,479 --> 01:20:43,479
Speaker 3: just takes the money and runs. And again he's such

1556
01:20:43,479 --> 01:20:48,360
Speaker 3: a dirtbag, piece of shit character, but he had a plan,

1557
01:20:48,439 --> 01:20:51,160
Speaker 3: and we're starting to see now that like Thiser has

1558
01:20:51,200 --> 01:20:52,040
Speaker 3: a plan of his own.

1559
01:20:52,520 --> 01:20:56,799
Speaker 2: Yes, So when Ray comes back to the bar.

1560
01:20:58,320 --> 01:21:00,640
Speaker 3: Because you know, he kind of wants to get his

1561
01:21:00,720 --> 01:21:02,920
Speaker 3: last paycheck and Marty won't give it to him, he

1562
01:21:03,000 --> 01:21:07,200
Speaker 3: finds the body and he also, by kicking it across

1563
01:21:07,240 --> 01:21:12,120
Speaker 3: the floor, accidentally finds Abby's gun, which Visser has used

1564
01:21:12,160 --> 01:21:15,719
Speaker 3: to kill Marty. So he sees this very distinctive gun

1565
01:21:15,760 --> 01:21:19,400
Speaker 3: and he's like, holy shit, she fucking killed her husband,

1566
01:21:19,960 --> 01:21:26,840
Speaker 3: and does the kind of most heroic but most ridiculous

1567
01:21:26,880 --> 01:21:29,920
Speaker 3: move for it's a ridiculous move for himself, but it's

1568
01:21:29,920 --> 01:21:32,080
Speaker 3: heroic in the sense of this relationship in this woman

1569
01:21:32,080 --> 01:21:36,519
Speaker 3: that he loves. And he starts to clean up, and

1570
01:21:36,560 --> 01:21:39,519
Speaker 3: in his mind he's thinking Abby killed this dude, and

1571
01:21:39,520 --> 01:21:41,360
Speaker 3: I don't want anyone to find out. I want us

1572
01:21:41,360 --> 01:21:43,799
Speaker 3: to have our life together. So he starts to clean

1573
01:21:43,960 --> 01:21:48,240
Speaker 3: up the best, which means mopping up the blood and

1574
01:21:48,360 --> 01:21:50,160
Speaker 3: also taking the body away.

1575
01:21:50,240 --> 01:21:51,519
Speaker 2: So he puts the body in.

1576
01:21:51,479 --> 01:21:55,120
Speaker 3: His car and as he's driving it out to the

1577
01:21:55,160 --> 01:21:59,760
Speaker 3: wilds of Texas. He hears breathing in the backseat because

1578
01:21:59,800 --> 01:22:03,800
Speaker 3: Mark Party is still alive. Yes, and what follows is

1579
01:22:03,840 --> 01:22:08,320
Speaker 3: one of the most harrowing scenes I have ever seen

1580
01:22:08,360 --> 01:22:13,240
Speaker 3: on film. Yeah, as he has to decide what the

1581
01:22:13,280 --> 01:22:15,879
Speaker 3: fuck am I gonna do? This guy is still alive,

1582
01:22:16,400 --> 01:22:20,240
Speaker 3: and if he lives through this, he's going to prosecute

1583
01:22:20,280 --> 01:22:23,400
Speaker 3: Abby because again and raise mind, he's like he knows

1584
01:22:23,439 --> 01:22:26,759
Speaker 3: nothing of this her, right, He's like, my, my lady

1585
01:22:26,880 --> 01:22:29,080
Speaker 3: killed this dude or attempted to kill this dude, and

1586
01:22:29,120 --> 01:22:32,120
Speaker 3: he's so vindictive that he would absolutely do what he

1587
01:22:32,120 --> 01:22:33,519
Speaker 3: could to put her away for life.

1588
01:22:33,920 --> 01:22:38,760
Speaker 1: Right. Yeah, I mean, listen, this part to me is

1589
01:22:38,800 --> 01:22:42,000
Speaker 1: so crucial to the film because I mean, obviously you

1590
01:22:42,080 --> 01:22:45,720
Speaker 1: have the Ray character who's fully in his like double indemnity,

1591
01:22:45,840 --> 01:22:48,240
Speaker 1: like Fred McMurray moment where he's like, you know, I'm

1592
01:22:48,280 --> 01:22:50,200
Speaker 1: trying to help out this woman that I love and

1593
01:22:50,280 --> 01:22:52,360
Speaker 1: I have to, like, you know, get rid of this

1594
01:22:52,400 --> 01:22:54,519
Speaker 1: body because you know, she killed him and I and

1595
01:22:54,560 --> 01:22:58,360
Speaker 1: I gotta, you know, save her basically. But then the

1596
01:22:58,479 --> 01:23:03,120
Speaker 1: idea that he is not fully dead is always going

1597
01:23:03,200 --> 01:23:05,479
Speaker 1: to present itself as being like a big question mark

1598
01:23:05,479 --> 01:23:07,840
Speaker 1: for the rest of the film, right, because you're basically like, well,

1599
01:23:07,880 --> 01:23:14,679
Speaker 1: then who killed whom? And then like could Marty be alive?

1600
01:23:15,240 --> 01:23:18,960
Speaker 1: And you know be a part of this too technically, hm.

1601
01:23:19,560 --> 01:23:24,880
Speaker 1: So it just adds that extra layer of stress to

1602
01:23:25,000 --> 01:23:28,479
Speaker 1: the film that makes this film so good to me,

1603
01:23:28,760 --> 01:23:29,040
Speaker 1: you know.

1604
01:23:29,280 --> 01:23:33,080
Speaker 3: Oh absolutely, And this scene carries on for a few minutes,

1605
01:23:33,200 --> 01:23:37,559
Speaker 3: so you're watching for a few minutes in what feels

1606
01:23:37,600 --> 01:23:42,160
Speaker 3: like real time, Ray wrestling with his own decision about

1607
01:23:42,200 --> 01:23:45,000
Speaker 3: this yep. And so yeah, like I agree with you.

1608
01:23:45,040 --> 01:23:49,200
Speaker 3: It's totally it's very stressful, it's very tense, but it's

1609
01:23:49,240 --> 01:23:52,439
Speaker 3: also a really curious scene. Yeah, because we don't know

1610
01:23:52,560 --> 01:23:54,559
Speaker 3: that much about Ray. We just know that he's like,

1611
01:23:54,600 --> 01:23:55,840
Speaker 3: you know, a guy who works at a bar who

1612
01:23:55,840 --> 01:23:59,640
Speaker 3: loves this lady, and he really plays this kind of

1613
01:24:00,240 --> 01:24:03,439
Speaker 3: innocent fear about what he thinks he has to do.

1614
01:24:04,560 --> 01:24:06,439
Speaker 3: And then I don't want to ruin the movie too much,

1615
01:24:06,479 --> 01:24:09,280
Speaker 3: but what he ends up doing ends up being like

1616
01:24:09,320 --> 01:24:14,840
Speaker 3: a very monumental decision. So he makes this decision about Marty,

1617
01:24:16,120 --> 01:24:19,960
Speaker 3: and then he goes to Abby's new apartment and is like,

1618
01:24:20,479 --> 01:24:23,679
Speaker 3: I know what you did, right, And it's okay because

1619
01:24:23,720 --> 01:24:25,519
Speaker 3: you did it for us, but I know what you did,

1620
01:24:25,600 --> 01:24:27,719
Speaker 3: and she's like, what the fuck are you talking about?

1621
01:24:27,840 --> 01:24:32,200
Speaker 3: She has no clue, right, and he's not really even

1622
01:24:32,200 --> 01:24:35,639
Speaker 3: coming right out and saying it, but she's like, you know, Marty,

1623
01:24:35,760 --> 01:24:38,760
Speaker 3: just call he's alive and you know whatever. And he's like,

1624
01:24:38,920 --> 01:24:41,800
Speaker 3: I know what you did and I fixed it for

1625
01:24:41,880 --> 01:24:46,000
Speaker 3: you because I love you. So she's now curious. She's like,

1626
01:24:46,000 --> 01:24:49,599
Speaker 3: what the fuck? So she goes back to the bar

1627
01:24:49,960 --> 01:24:54,439
Speaker 3: office around the same time that Visser realizes his lighter

1628
01:24:54,479 --> 01:24:57,439
Speaker 3: is missing, so Viscer goes.

1629
01:24:57,280 --> 01:24:58,240
Speaker 2: Back to the office.

1630
01:24:58,479 --> 01:25:01,000
Speaker 3: Abby goes back to the office. And this is a

1631
01:25:01,040 --> 01:25:05,040
Speaker 3: real part of the movie where all help breaks loose

1632
01:25:05,160 --> 01:25:07,439
Speaker 3: and I don't want to ruin too much because the

1633
01:25:07,640 --> 01:25:10,519
Speaker 3: ride gets wild.

1634
01:25:10,600 --> 01:25:11,080
Speaker 2: From here.

1635
01:25:11,680 --> 01:25:13,439
Speaker 3: There's a really cool scene where she's in the bar

1636
01:25:14,680 --> 01:25:17,840
Speaker 3: in the office and she's kind of realizing because she's

1637
01:25:17,880 --> 01:25:21,000
Speaker 3: seeing the scene of the crime, that something untoward has

1638
01:25:21,040 --> 01:25:24,439
Speaker 3: happened here, and you see her kind of fall back

1639
01:25:25,080 --> 01:25:28,120
Speaker 3: and she falls into bed and is in her apartment suddenly,

1640
01:25:28,840 --> 01:25:32,120
Speaker 3: And if you've seen Sherlock season two episode one with

1641
01:25:32,240 --> 01:25:36,120
Speaker 3: the woman, that's where this scene came from. Like they

1642
01:25:36,120 --> 01:25:40,240
Speaker 3: basically replicate like the scene because it is such a

1643
01:25:40,479 --> 01:25:44,479
Speaker 3: fucking cool scene and it's very blue toned and the

1644
01:25:44,560 --> 01:25:48,280
Speaker 3: hues are very cool, and she's sweaty because it's like

1645
01:25:48,760 --> 01:25:54,080
Speaker 3: fucking Texas in the summertime, and it's just a very

1646
01:25:54,320 --> 01:25:59,080
Speaker 3: wicked scene as you realize what she realizes and how

1647
01:25:59,120 --> 01:26:02,880
Speaker 3: she kind of can't handle or process this information. So

1648
01:26:03,000 --> 01:26:07,840
Speaker 3: now she's realizing also what Ray thinks she did. Yeah,

1649
01:26:07,920 --> 01:26:10,680
Speaker 3: and it's like, again, the wheels are off from this

1650
01:26:10,800 --> 01:26:12,680
Speaker 3: point and I don't want to ruin it, but this

1651
01:26:12,840 --> 01:26:17,200
Speaker 3: movie takes you on such a fucking ride from the beginning.

1652
01:26:17,760 --> 01:26:21,880
Speaker 3: I think that the characters are so subtle and interesting,

1653
01:26:22,680 --> 01:26:25,840
Speaker 3: and the fact that they're able to ramp up the

1654
01:26:25,880 --> 01:26:29,880
Speaker 3: story of this film just through acting and just through

1655
01:26:29,920 --> 01:26:33,519
Speaker 3: their kind of subtle moves of it just really it

1656
01:26:33,680 --> 01:26:36,479
Speaker 3: always it's always interesting to me to watch. There's always

1657
01:26:36,479 --> 01:26:40,240
Speaker 3: a time in my year or in my life where

1658
01:26:40,280 --> 01:26:43,040
Speaker 3: I feel like, yeah, blood simple is always good. It's

1659
01:26:43,080 --> 01:26:45,880
Speaker 3: always good. I always find something interesting or new or

1660
01:26:45,920 --> 01:26:49,800
Speaker 3: different every time I watch it. And it is from

1661
01:26:49,840 --> 01:26:55,679
Speaker 3: a storytelling perspective, just so informative to me in terms

1662
01:26:55,760 --> 01:26:58,320
Speaker 3: of how you craft a story and how you can

1663
01:26:58,400 --> 01:27:04,200
Speaker 3: really write characters who feel so realistic, but are in

1664
01:27:04,280 --> 01:27:05,599
Speaker 3: such an absurd situation.

1665
01:27:07,000 --> 01:27:14,320
Speaker 1: Yeah, totally. I mean I cannot stress how incredible this

1666
01:27:14,560 --> 01:27:17,479
Speaker 1: movie is for first time filmmakers. I mean, they had

1667
01:27:17,520 --> 01:27:19,080
Speaker 1: not made a movie before this, and it's just the

1668
01:27:19,120 --> 01:27:23,960
Speaker 1: thing where you're like, I mean, can you imagine your

1669
01:27:24,000 --> 01:27:27,400
Speaker 1: first movie being something as good as Blood Simple? I mean, honestly,

1670
01:27:27,920 --> 01:27:32,360
Speaker 1: it's just it's crafted in this way that's so unique

1671
01:27:32,520 --> 01:27:35,360
Speaker 1: and wonderful, and it's just like the blueprint for their

1672
01:27:35,520 --> 01:27:38,840
Speaker 1: entire world. I mean, the Coen Brothers have this entire

1673
01:27:39,000 --> 01:27:43,400
Speaker 1: universe to them, and it's you know, this movie sets

1674
01:27:43,400 --> 01:27:45,400
Speaker 1: the table for all that. I mean the scene that

1675
01:27:45,400 --> 01:27:47,679
Speaker 1: you talked about where she falls, it's almost like she's

1676
01:27:47,720 --> 01:27:49,880
Speaker 1: in the bar looking at the fish on the table

1677
01:27:50,120 --> 01:27:52,280
Speaker 1: and then she falls back into her pillow. I mean

1678
01:27:52,680 --> 01:27:55,479
Speaker 1: that has been ripped off so many damn times in

1679
01:27:55,720 --> 01:27:59,439
Speaker 1: film and TV. I mean, they had their like, you know,

1680
01:27:59,560 --> 01:28:02,599
Speaker 1: weird of like evil dead running with the camera moment

1681
01:28:02,960 --> 01:28:04,519
Speaker 1: in the yard, you know. I mean it was just

1682
01:28:04,520 --> 01:28:06,479
Speaker 1: sort of like they were using a lot of like

1683
01:28:06,560 --> 01:28:09,639
Speaker 1: cool film techniques that people have been using ever since

1684
01:28:09,640 --> 01:28:12,160
Speaker 1: this movie came out. And I also think too, it's

1685
01:28:12,200 --> 01:28:16,200
Speaker 1: this perfect balance of it being like it's just appropriately

1686
01:28:16,520 --> 01:28:20,760
Speaker 1: quirky enough, do you know what I'm saying, Like, considering

1687
01:28:21,240 --> 01:28:25,679
Speaker 1: first time filmmakers writing a script young guys, it could

1688
01:28:25,720 --> 01:28:28,640
Speaker 1: have been real over the top, you know, because if

1689
01:28:28,640 --> 01:28:30,839
Speaker 1: they're just green, they just want to make a movie.

1690
01:28:31,400 --> 01:28:34,400
Speaker 1: But the fact that it's so restrained and there's a

1691
01:28:34,439 --> 01:28:37,640
Speaker 1: lot of information that's just being communicated through people's faces,

1692
01:28:37,720 --> 01:28:40,040
Speaker 1: and like how all these people Francis McDorman was like

1693
01:28:40,040 --> 01:28:43,800
Speaker 1: twenty four when she made this movie, right, And there's

1694
01:28:43,920 --> 01:28:46,680
Speaker 1: just like young talented people that know how to like

1695
01:28:47,920 --> 01:28:51,559
Speaker 1: you know, lay back and sit into the film as

1696
01:28:51,560 --> 01:28:54,080
Speaker 1: opposed to just giving it all away, you know what

1697
01:28:54,080 --> 01:28:54,400
Speaker 1: I mean.

1698
01:28:54,600 --> 01:28:57,400
Speaker 3: Yeah, And that's their credit as directors that they would

1699
01:28:57,520 --> 01:29:00,400
Speaker 3: hire not only that they would hire such fantastic actors,

1700
01:29:00,400 --> 01:29:03,439
Speaker 3: but it then they would trust them to do the

1701
01:29:03,520 --> 01:29:06,879
Speaker 3: work without being overwrought. You know, a lot of directors

1702
01:29:06,920 --> 01:29:10,200
Speaker 3: kind of want to nitpick and control every moment of

1703
01:29:10,240 --> 01:29:12,519
Speaker 3: what you see on screen, and they don't do that.

1704
01:29:12,640 --> 01:29:15,760
Speaker 3: They kind of they don't not necessarily ad libbers, but

1705
01:29:15,800 --> 01:29:19,320
Speaker 3: they really let the actors kind of embrace the role

1706
01:29:19,680 --> 01:29:22,880
Speaker 3: enough to show you what they want you to see.

1707
01:29:23,080 --> 01:29:26,679
Speaker 1: Yeah, and just you know, speaking on the Coen Brothers.

1708
01:29:26,680 --> 01:29:29,120
Speaker 1: I mean, you know, you hear a lot about their influences,

1709
01:29:29,160 --> 01:29:31,679
Speaker 1: and you know that they're influenced by old noir films.

1710
01:29:31,720 --> 01:29:35,080
Speaker 1: You know that they're influenced by Preston Sturgists, the you know,

1711
01:29:36,160 --> 01:29:39,840
Speaker 1: the director and writer who was like a classic Hollywood

1712
01:29:40,200 --> 01:29:42,559
Speaker 1: made a lot of screwball comedies, and that, to me

1713
01:29:42,680 --> 01:29:46,439
Speaker 1: is like a really interesting intersection for me is to

1714
01:29:46,479 --> 01:29:49,479
Speaker 1: think about, like, oh, so here are like directors that

1715
01:29:49,720 --> 01:29:52,559
Speaker 1: love the noir, they love the darkness of the noir

1716
01:29:53,160 --> 01:29:56,240
Speaker 1: and the characters of noir, but then they also love

1717
01:29:57,040 --> 01:30:00,280
Speaker 1: kind of screwball comedies that tend to be farce, that

1718
01:30:00,320 --> 01:30:03,240
Speaker 1: tend to have a lot of moving parts. And so

1719
01:30:03,280 --> 01:30:05,000
Speaker 1: that's what I think. Blood Simple is really like that

1720
01:30:05,160 --> 01:30:08,240
Speaker 1: perfect intersection of a noar and a screwball because it's

1721
01:30:08,280 --> 01:30:12,040
Speaker 1: like you have quirky characters. You have the Lorne character,

1722
01:30:12,240 --> 01:30:17,040
Speaker 1: who is you know, got a bespoke zippo with his

1723
01:30:17,160 --> 01:30:19,880
Speaker 1: name on it, like you know, he has this like

1724
01:30:20,160 --> 01:30:24,840
Speaker 1: crazy Texas buffoon, but he's a psycho. And then you

1725
01:30:24,920 --> 01:30:27,160
Speaker 1: have like you know, all these other characters in the film.

1726
01:30:27,520 --> 01:30:30,759
Speaker 1: But then you it's tense and it's restrained and it's

1727
01:30:30,800 --> 01:30:34,600
Speaker 1: it's dark and mysterious. So I just that's why I

1728
01:30:34,640 --> 01:30:35,240
Speaker 1: love this movie.

1729
01:30:35,680 --> 01:30:37,840
Speaker 3: And they came out of the gate like that, like that,

1730
01:30:37,840 --> 01:30:39,840
Speaker 3: that's like what you were saying is is like this

1731
01:30:39,920 --> 01:30:43,040
Speaker 3: is they were bold enough to make their first film

1732
01:30:43,479 --> 01:30:46,519
Speaker 3: be one that has such a signature and such a

1733
01:30:46,520 --> 01:30:47,559
Speaker 3: personality that they.

1734
01:30:47,439 --> 01:30:48,360
Speaker 2: Couldn't be denied.

1735
01:30:48,640 --> 01:30:51,760
Speaker 3: Like they're not doing what everyone else was doing, and

1736
01:30:51,800 --> 01:30:54,080
Speaker 3: they weren't interested in doing what everyone else was doing.

1737
01:30:54,160 --> 01:30:58,720
Speaker 3: And by promote but by actually presenting the film and

1738
01:30:58,800 --> 01:31:01,639
Speaker 3: the way that they thought it should be made, they

1739
01:31:01,720 --> 01:31:06,799
Speaker 3: created a new genre totally, and that from the first movie,

1740
01:31:06,920 --> 01:31:10,200
Speaker 3: and that is something that is unbelievable to me, that

1741
01:31:10,240 --> 01:31:13,479
Speaker 3: it's not something that developed over time, because what we've

1742
01:31:13,479 --> 01:31:17,160
Speaker 3: seen instead over time is that they've had this genre

1743
01:31:17,200 --> 01:31:20,599
Speaker 3: that they've created and they fucked with it. So every

1744
01:31:20,720 --> 01:31:22,960
Speaker 3: film they do is going to be different from the

1745
01:31:23,040 --> 01:31:26,200
Speaker 3: last film they did. Yeah, and it's just fuck. I

1746
01:31:26,280 --> 01:31:30,000
Speaker 3: just absolutely love And you know, I'm not always a

1747
01:31:30,040 --> 01:31:32,360
Speaker 3: fan of saying this about dudes, but I really do

1748
01:31:32,479 --> 01:31:36,639
Speaker 3: appreciate them in this landscape because I think they've been

1749
01:31:36,640 --> 01:31:40,200
Speaker 3: doing this for like over forty years now, and they're

1750
01:31:40,400 --> 01:31:45,160
Speaker 3: just so fresh and interesting and smart. And they continually

1751
01:31:45,200 --> 01:31:47,320
Speaker 3: astonish me. And I feel like, like I said, every

1752
01:31:47,360 --> 01:31:50,719
Speaker 3: single one of their movies is some kind of brace

1753
01:31:50,760 --> 01:31:52,320
Speaker 3: yourself wild ride.

1754
01:31:52,800 --> 01:31:58,880
Speaker 1: Yes, I totally agree. And to your earlier point about

1755
01:32:00,120 --> 01:32:02,439
Speaker 1: you know, on this podcast, we're never one to like

1756
01:32:02,680 --> 01:32:06,040
Speaker 1: completely like worship the canon if you will, the film,

1757
01:32:06,280 --> 01:32:09,320
Speaker 1: the film person Cannon, but I feel like this is

1758
01:32:09,360 --> 01:32:12,639
Speaker 1: an exception. I feel like the Coen Brothers and their

1759
01:32:12,680 --> 01:32:14,960
Speaker 1: films are like just as good as you've heard about

1760
01:32:15,040 --> 01:32:17,400
Speaker 1: if you've never seen them or if you're not familiar

1761
01:32:17,520 --> 01:32:21,479
Speaker 1: with their world, they're just as good as people have

1762
01:32:21,680 --> 01:32:24,840
Speaker 1: gushed about. Like there, it's awesome, and like like, I'm

1763
01:32:24,880 --> 01:32:26,880
Speaker 1: so glad you picked this film again because it really

1764
01:32:27,000 --> 01:32:31,479
Speaker 1: like got me into like really studying it finally, and

1765
01:32:31,560 --> 01:32:33,560
Speaker 1: I had before, but it was I don't know, I

1766
01:32:33,640 --> 01:32:36,559
Speaker 1: just was like fell into the hole with the film,

1767
01:32:36,640 --> 01:32:39,920
Speaker 1: watched all the extras on the DVD and all the

1768
01:32:39,960 --> 01:32:44,080
Speaker 1: commentaries and all the YouTube clips I could, and I mean,

1769
01:32:44,160 --> 01:32:46,839
Speaker 1: this movie is a fucking ride from start to finish.

1770
01:32:47,040 --> 01:32:50,800
Speaker 1: And I think it's interesting too that you know, both

1771
01:32:50,840 --> 01:32:55,679
Speaker 1: of our movies this week are basically thrillers, but there's

1772
01:32:55,760 --> 01:32:59,479
Speaker 1: quirkiness to them. Yes, Like there's a comedy to both

1773
01:32:59,520 --> 01:33:03,120
Speaker 1: these films, but they're also like very tense and dark,

1774
01:33:03,840 --> 01:33:06,760
Speaker 1: and that's that was unexpected. I think. I didn't. I

1775
01:33:06,760 --> 01:33:09,200
Speaker 1: didn't think that we came to the table with the

1776
01:33:09,240 --> 01:33:11,280
Speaker 1: notion that that would happen exactly.

1777
01:33:11,680 --> 01:33:13,599
Speaker 3: No, because, yeah, like you said, there's so many movies

1778
01:33:13,600 --> 01:33:16,640
Speaker 3: you could pick for this theme, and we just so

1779
01:33:16,800 --> 01:33:19,360
Speaker 3: happened to pick movies that were both eighties movies that

1780
01:33:19,439 --> 01:33:23,320
Speaker 3: had this really dark streak in them. Yeah, and we're

1781
01:33:23,360 --> 01:33:26,000
Speaker 3: really unique, and I just, yeah, I love that. I

1782
01:33:26,040 --> 01:33:29,720
Speaker 3: think they are so believe the hype. They are, like

1783
01:33:29,760 --> 01:33:33,520
Speaker 3: you said, they are one of those pairings as directors,

1784
01:33:33,560 --> 01:33:37,240
Speaker 3: as producers, as writers, believe the fucking hype. They are

1785
01:33:37,439 --> 01:33:41,200
Speaker 3: very very good at what they do. And I start

1786
01:33:41,240 --> 01:33:44,559
Speaker 3: with this one and then just watch them all. The

1787
01:33:44,640 --> 01:33:49,040
Speaker 3: Miller's Crossing, released on Criterion is beautiful. Yeah, I mean,

1788
01:33:49,080 --> 01:33:51,840
Speaker 3: it's just raising Arizona. I cannot believe we haven't talked

1789
01:33:51,840 --> 01:33:53,840
Speaker 3: about it on this podcast yet. It is one of

1790
01:33:53,840 --> 01:33:55,559
Speaker 3: my top five all time favorite movies.

1791
01:33:55,600 --> 01:33:57,600
Speaker 1: Oh got, We'll get there, trust me. I would. I

1792
01:33:57,640 --> 01:33:59,280
Speaker 1: haven't seen that in a while. I would love to

1793
01:33:59,280 --> 01:34:03,280
Speaker 1: watch that again for this podcast. But I'm honestly Like

1794
01:34:03,320 --> 01:34:05,080
Speaker 1: I said, I don't want to pick my faves, but

1795
01:34:05,120 --> 01:34:08,120
Speaker 1: I gotta tell you both these movies this week really

1796
01:34:08,800 --> 01:34:12,120
Speaker 1: really got me. I'm so happy we got to do this.

1797
01:34:12,240 --> 01:34:16,200
Speaker 1: In fact, I actually love ride film theme. I think

1798
01:34:16,240 --> 01:34:17,000
Speaker 1: we should do it again.

1799
01:34:17,200 --> 01:34:20,000
Speaker 2: Oh totally yeah, I completely agree.

1800
01:34:20,439 --> 01:34:22,599
Speaker 1: Yeah, oh my god.

1801
01:34:23,720 --> 01:34:26,040
Speaker 2: Want to tell them what's going on next week?

1802
01:34:26,680 --> 01:34:33,080
Speaker 1: Oh yeah, baby? Oh yeah, Okay, Oh my god. So

1803
01:34:33,200 --> 01:34:37,960
Speaker 1: for next week's episode, we are going to watch the

1804
01:34:38,000 --> 01:34:43,760
Speaker 1: films Frailty from two thousand and one and The Stepfather

1805
01:34:44,000 --> 01:34:45,120
Speaker 1: from nineteen eighty seven.

1806
01:34:46,200 --> 01:34:47,840
Speaker 3: I'm sure some of you will be able to guess

1807
01:34:47,840 --> 01:34:51,719
Speaker 3: the theme, and if you listen early on Wondery Plus

1808
01:34:51,720 --> 01:34:54,040
Speaker 3: and the Wondery app don't tell anyone else what it is.

1809
01:34:54,880 --> 01:34:57,160
Speaker 2: Yes, but it's gonna be a doozy.

1810
01:34:58,120 --> 01:35:00,439
Speaker 1: All I'm saying right now is that I've ever seen

1811
01:35:00,479 --> 01:35:05,559
Speaker 1: your film. It's from the two thousands, So I have

1812
01:35:05,640 --> 01:35:09,040
Speaker 1: a feeling. Oh you know already I need to brace

1813
01:35:09,120 --> 01:35:12,800
Speaker 1: myself for that. I know that that's our theme this week,

1814
01:35:12,920 --> 01:35:15,280
Speaker 1: but I got to brace myself for next week too.

1815
01:35:15,320 --> 01:35:17,439
Speaker 3: I'm sure it is also the theme of every movie

1816
01:35:17,520 --> 01:35:19,639
Speaker 3: I suggest from the two thousands that you haven't seen.

1817
01:35:22,080 --> 01:35:26,280
Speaker 1: Well, listen if you want to talk with us about film,

1818
01:35:26,840 --> 01:35:32,920
Speaker 1: please send us bonus episode questions. We read a lot.

1819
01:35:33,000 --> 01:35:35,200
Speaker 1: Oh my god, we just did a bonus episode. Honestly,

1820
01:35:35,200 --> 01:35:37,120
Speaker 1: that was like one of the funnest bonus episodes that

1821
01:35:37,120 --> 01:35:39,720
Speaker 1: we've ever had, and I cannot stop laughing about it.

1822
01:35:40,240 --> 01:35:43,160
Speaker 1: We love reading letters there. Please send us like anything

1823
01:35:43,200 --> 01:35:48,280
Speaker 1: movie experiences watching films with your family and it's very awkward,

1824
01:35:48,920 --> 01:35:51,599
Speaker 1: you know, working in the theater, working in a video store.

1825
01:35:52,240 --> 01:35:54,559
Speaker 1: Anything you got, please do so at I saw what

1826
01:35:54,600 --> 01:35:56,120
Speaker 1: you did pot at gmail dot com.

1827
01:35:56,720 --> 01:35:59,280
Speaker 3: And if you have a lot of those experiences, just

1828
01:35:59,360 --> 01:36:01,160
Speaker 3: narrow it down. You can send us more than one email,

1829
01:36:01,280 --> 01:36:03,240
Speaker 3: just like send us a couple for now and then

1830
01:36:03,320 --> 01:36:06,400
Speaker 3: keep your other ones for later. Yes, yes, but we

1831
01:36:06,439 --> 01:36:07,880
Speaker 3: also have a PO box if you want to just

1832
01:36:07,920 --> 01:36:11,400
Speaker 3: send us like handwritten letters or cash, you can.

1833
01:36:11,320 --> 01:36:16,439
Speaker 2: Find like are we legally allowed to say that, I

1834
01:36:16,479 --> 01:36:16,840
Speaker 2: don't know.

1835
01:36:18,360 --> 01:36:20,559
Speaker 1: Make sure you wrap it up in some and some stuff.

1836
01:36:20,560 --> 01:36:22,040
Speaker 1: I don't want anybody stealing it.

1837
01:36:22,680 --> 01:36:24,519
Speaker 3: But in one of those long gift cards that like

1838
01:36:24,560 --> 01:36:30,120
Speaker 3: your grandma used to give you, like those old CD cover.

1839
01:36:30,080 --> 01:36:31,879
Speaker 1: Blocks us out those long envelops.

1840
01:36:32,240 --> 01:36:33,920
Speaker 2: Yeah, but you.

1841
01:36:33,880 --> 01:36:35,640
Speaker 3: Can also find us on our social media. If you

1842
01:36:35,680 --> 01:36:36,960
Speaker 3: just want to say hi, you don't have to send

1843
01:36:37,000 --> 01:36:40,320
Speaker 3: us cash. We are at I saw pod on Instagram

1844
01:36:40,360 --> 01:36:41,160
Speaker 3: and Twitter.

1845
01:36:41,479 --> 01:36:44,320
Speaker 1: Yeah, we actually do have Facebook as well, and people have,

1846
01:36:44,600 --> 01:36:46,679
Speaker 1: like I said, I think I said in a previous episode,

1847
01:36:46,680 --> 01:36:49,040
Speaker 1: people are like congregating on Facebook, and I'm let y'all

1848
01:36:49,120 --> 01:36:51,960
Speaker 1: do that. Just just hang out, like, hang out there

1849
01:36:52,000 --> 01:36:55,960
Speaker 1: if you're on Facebook still I don't know, Oh yeah, yeah.

1850
01:36:55,880 --> 01:36:57,640
Speaker 3: Don't forget to review us like you can hang out

1851
01:36:57,680 --> 01:37:00,479
Speaker 3: on Facebook, hang out on our social media. But really

1852
01:37:00,520 --> 01:37:02,719
Speaker 3: helps the show is if you go to the Apple

1853
01:37:02,800 --> 01:37:06,800
Speaker 3: podcast app and leave us a fine star review, and

1854
01:37:07,120 --> 01:37:09,400
Speaker 3: you know, maybe tell a few friends to also leave

1855
01:37:09,760 --> 01:37:10,280
Speaker 3: a review.

1856
01:37:10,840 --> 01:37:14,519
Speaker 1: Yes, exactly, and hey, if you want merch, please get

1857
01:37:14,560 --> 01:37:20,760
Speaker 1: that shit at the exactly right shop on exactlyrightmedia dot com. Well, look, Danielle,

1858
01:37:21,320 --> 01:37:23,479
Speaker 1: I never have to brace myself while I'm on this

1859
01:37:23,680 --> 01:37:25,840
Speaker 1: ride with you. It is always enjoyable.

1860
01:37:27,280 --> 01:37:27,920
Speaker 2: I love it.

1861
01:37:28,000 --> 01:37:30,479
Speaker 3: I agree, this is great. I just I really love

1862
01:37:31,080 --> 01:37:32,400
Speaker 3: making this podcast with you.

1863
01:37:32,560 --> 01:37:36,800
Speaker 1: Still still after all these years.

1864
01:37:36,800 --> 01:37:41,120
Speaker 3: After twenty fucking years of this podcast, I still love it.

1865
01:37:42,160 --> 01:37:45,680
Speaker 1: I love that too. Well, listen, everybody, have have a

1866
01:37:45,720 --> 01:37:55,720
Speaker 1: good week. Talk to you soon. Thanks for listening. Bye.

1867
01:37:56,800 --> 01:37:59,519
Speaker 3: This has been an exactly right production, produced in mixed

1868
01:37:59,520 --> 01:38:02,679
Speaker 3: bi Case O'Brien. Our theme song is by Tom bry Fogel,

1869
01:38:02,960 --> 01:38:07,000
Speaker 3: artwork by Garrett Ross. Our executive producers are Georgia Hartstart Caring,

1870
01:38:07,040 --> 01:38:09,519
Speaker 3: Kile Garett, and Daniel Kramer. You can follow us on

1871
01:38:09,560 --> 01:38:12,559
Speaker 3: Instagram and Twitter at I Saw pod, and you can

1872
01:38:12,600 --> 01:38:14,880
Speaker 3: email us at I Saw What You Did Pod at

1873
01:38:14,920 --> 01:38:15,320
Speaker 3: gmail