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

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Speaker 2: You're not interested in art?

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Speaker 3: Now?

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Speaker 4: No, Look, we're going to do this thing.

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Speaker 2: We're going to have a conversation.

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Speaker 5: From Chicago. This is Film Spotting celebrating our twentieth year.

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Speaker 1: I'm Josh Larson and I'm Adam Kempinar. I've appointed you

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Speaker 1: sole heir to.

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Speaker 5: My estatement, which you may come into sooner rather than later.

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Speaker 6: Why it's been six years since our last meeting.

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Speaker 1: I have my reasons, which are what my reasons I'm

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Speaker 1: not saying.

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Speaker 3: I'm saying.

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Speaker 1: I'm not saying. Wes Anderson and the Wes Anderson Players

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Speaker 1: are back in theaters with the Phoenician Scheme.

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Speaker 5: We've got a review, plus thoughts on the new meta

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Speaker 5: music doc Pavements and the horror film Bring Her Back.

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Speaker 5: That more ahead on Film Spotting.

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Speaker 3: Experience and membership. That that's what you're building with American

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Speaker 3: Dash Platinum.

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Speaker 1: Welcome to Film Spotting and Josh, Welcome back from Japan.

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Speaker 1: How was the trip?

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Speaker 5: Thank you? The trip was wonderful. Good to be back.

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Speaker 5: I have some travelog notes. Maybe later in the show

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Speaker 5: I will share, because a great trip as a movie lover,

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Speaker 5: not just to see the country, but just to have

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Speaker 5: watched so many movies from Japan. It was really really cool.

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Speaker 1: We did miss you, though, I think we had a

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Speaker 1: couple of pretty good shows. Always fun when Michael Phillips

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Speaker 1: drops in Aisha Harris from NPR's Pop Culture Happy Hour.

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Speaker 1: We talked a little Mission Impossible in movie Stunts, and

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Speaker 1: then last week Clue at thirty and I don't know

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Speaker 1: if you've had a chance to listen to it yet.

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Speaker 1: You don't do movie quotes, but hopefully you enjoyed listening

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Speaker 1: to us talk movie quotes.

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Speaker 5: It was fun. Although I have to get to the

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Speaker 5: top five, haven't made it that far. I'm in the

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Speaker 5: midst of your clueless review, which is a blast. I mean,

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Speaker 5: Aisha probably one of my top five movie podcasters out there.

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Speaker 5: So to get to hear her on an entire show

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Speaker 5: as a delight, and of course it's always a delight

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Speaker 5: to have Michael, even if the two of you were

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Speaker 5: way too soft on Final Reckoning. I mean, I wanted

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Speaker 5: one of you to like, and I didn't want everyone

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Speaker 5: to be down on the movie. But man, both of you,

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Speaker 5: come on.

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Speaker 1: Yeah, it's fine. This week. I knew you would not

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Speaker 1: want to miss this one. Wes Anderson's latest, The Phoenetian Scheme.

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Speaker 1: We'll have thoughts on Alex Ross Perry's pavements. I saw

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Speaker 1: that one you saw bring her back from the Assy

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Speaker 1: horror duo Danny and Michael Philippoo. We'll put a bow

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Speaker 1: on our Andre Tarkovsky Marathon with the Holy Fools. That's

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Speaker 1: what we're calling our Andre Tarkovski Marathon. Awards and listeners

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Speaker 1: will decide once and for all, which is the best

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Speaker 1: mission colon Impossible, But first, the Phoenician Scheme. It's Wes

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Speaker 1: Anderson's twelfth feature and his third project in as many years.

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Speaker 1: It follows twenty twenty three's Asteroid City and also from

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Speaker 1: twenty three his Oscar winning role Doll Schortz. For the

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Speaker 1: new film, Anderson has assembled several members of his growing ensemble,

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Speaker 1: along with some new faces, for a fifty set taale

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Speaker 1: about a wealthy and widely despised industrialist, Nisio del Toro's

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Speaker 1: Jajacques Corda, who seeks to settle his affairs both personal

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Speaker 1: and professional. Here's del Toro with Miathreppleton's liesel Corda's estranged

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Speaker 1: nun in training daughter.

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Speaker 6: As yours.

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Speaker 7: I don't have a passport.

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Speaker 3: Normal people want the basic human rights that a company

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Speaker 3: citizenship in any sovereign nation. I don't.

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Speaker 1: My legal residence is a shock and Portugal.

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Speaker 8: My official domicile is a hut on the Black Sea.

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Speaker 5: I certificated abode as a lodge perched on the edge

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Speaker 5: of a cliff overlooking the sub Sahon rainforest, accessible only

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Speaker 5: by goat bath. I don't live anywhere.

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Speaker 4: I'm not a citizen at all.

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Speaker 1: I don't need my human rights.

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Speaker 5: Adam, I have a question for you that we've circled around,

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Speaker 5: touched on here and there over the years. Given our

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Speaker 5: admiration for the movies of Wes Anderson and so many

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Speaker 5: of the actors in them, what exactly makes for a

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Speaker 5: standout performance in a Wes Anderson film? The writer director

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Speaker 5: has fostered career turns for a host of notable actors.

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Speaker 5: My list would include these, Bill Murray in Rushmore and

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Speaker 5: The Life Aquatic with Steve Zasu, Gene Hackman in The

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Speaker 5: Royal Tenenbaums, Ray Fines in The Grand Budapest Hotel, Jeffrey

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Speaker 5: Wright in The French Dispatch, and Jason Schwartzman and Scarlett

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Speaker 5: Johansson in Asteroid City. In each case, I'd argue his

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Speaker 5: movies either inspired the perform to shift into a higher gear.

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Speaker 5: I'd put Murray, Fines and maybe Schwartzman in this category,

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Speaker 5: or it allowed them to delightfully drill down into the

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Speaker 5: qualities that have always made them distinct. Here I'm thinking

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Speaker 5: of Hackman, Wright and Johansson. And so what to make

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Speaker 5: of Benicio del Toro In The Phoenician Scheme. He plays

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Speaker 5: Jaja Korda, an unscrupulous business profiteer circa nineteen fifty. At

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Speaker 5: the start of the film, after surviving yet another assassination attempt,

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Speaker 5: Korda feels compelled to enlist his estranged daughter in his

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Speaker 5: latest venture. That daughter, Lisel, is a Noviciate nun played

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Speaker 5: by Mia Threppleton. He's basically seeking an air she hopes

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Speaker 5: to steer the potential windfall toward the common good. Let's

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Speaker 5: start with del Toro, Adam. This is the first Anderson

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Speaker 5: feature with a clear main character since the Grand Budapest Hotel.

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Speaker 5: After featuring Del Toro in one of the segments of

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Speaker 5: the French Dispatch, the director has upgraded him to lead status.

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Speaker 1: How did he do? Hmm, Well, I don't know where

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Speaker 1: you've landed on this movie, but I think the prompt

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Speaker 1: is a good one, and I'm trying to read between

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Speaker 1: the lines a little bit. Of course, I could be wrong,

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Speaker 1: but it suggests to me that maybe we had a

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Speaker 1: similar reaction to this film. Is there a future where

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Speaker 1: I revisit Venetian and find it significantly funnier and more

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Speaker 1: profound as was the case with Grand Budapest. Yes, But

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Speaker 1: unlike Corda's redemption arc, mine isn't imminent, and Del Toro's

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Speaker 1: dispirited performance is a factor in my disappointment. Disclaimer, I'm

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Speaker 1: a fan of del Toro as an actor, as most

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Speaker 1: I think intelligent Sinophiles are, and I'm not suggesting that

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Speaker 1: he's not committed to the performance. Josh, of course he is.

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Speaker 1: I can anticipate the rebuttal I can understand the arguments

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Speaker 1: for Del Toro's what I would call mostly deadpan, kind

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Speaker 1: of above it all performance. Here's he's figuratively and sometimes

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Speaker 1: literally an above it all character, right flying around the

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Speaker 1: world on air corda almost single handedly shaping the course

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Speaker 1: of world events. He wants to portray a coolness, a

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Speaker 1: detached nature, an unflappability. What's his favorite line, I still

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Speaker 1: feel very safe. Nothing phases him. He wants to I

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Speaker 1: feel very safe, I feel very safe, or he wants

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Speaker 1: to project that nothing is phasing him. I get it,

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Speaker 1: including it seems having nine sons, having one daughter, the

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Speaker 1: death of three wives, several near death experiences until this one.

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Speaker 1: That's what the entire film is about, a near death

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Speaker 1: experience that finally phases him, that finally gets him to

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Speaker 1: embrace his daughter, his family, life outside of business. And

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Speaker 1: I wouldn't say that the performance is in entirely robotic,

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Speaker 1: but every line reading is just clipped enough that even

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Speaker 1: with all the reasons I just gave why that choice

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Speaker 1: might make some sense for the character. I never got

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Speaker 1: the life, the energy what you said maybe about shifting

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Speaker 1: into high gear. The energy I'll go back to what

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Speaker 1: I said before the spirit that I needed to sustain

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Speaker 1: my interest in the character and especially that transformation. And

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Speaker 1: I'd argue that that's true on its own merits, but

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Speaker 1: it didn't help that very early on you mentioned Hackman.

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Speaker 1: Very early on, I saw the connection between Corda's scheme,

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Speaker 1: this elaborately silly plan to overhaul the infrastructure of Phoenicia.

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Speaker 1: That's really it turns out about reuniting with his daughter,

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Speaker 1: and Royal Tenenbaum scheme to find a new place to live.

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Speaker 1: That's really it turns out about reuniting with his children.

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Speaker 1: The impetus for both the father's dying, except of course,

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Speaker 1: Royal as a fraud, and Jajah genuinely fears death now

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Speaker 1: he's even having dreams of being judged in the afterlife.

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Speaker 1: These plague him throughout the movie. I don't say this negatively.

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Speaker 1: Anderson is adding some new wrinkles which we can perhaps

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Speaker 1: get into further, but he's as he does, He's covering

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Speaker 1: some very familiar grounds stylistically and thematically, Bad Fathers redemption,

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Speaker 1: setting aside ambition, accepting simplicity and humility. A lead performer,

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Speaker 1: I have some the same ones you mentioned, not surprisingly

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Speaker 1: in my notes. A lead performer bringing some of the

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Speaker 1: same vigor to Korda as Hackman would have gone a

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Speaker 1: long way, I think, but not just Hackman, fines in

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Speaker 1: Grand Budapest, Scarlett Johansson, an Asteroid City, multiple Bill Murray options,

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Speaker 1: and we could list others. I think it would have

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Speaker 1: helped me anyway with the Phoenician scheme.

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Speaker 5: I'm so relieved, relieved because if you had really gone

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Speaker 5: for the Phoenician scheme and I had to come on

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Speaker 5: this show and express my disappointment, I might have just

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Speaker 5: whispered my review the only time so no one else

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Speaker 5: could hear it but you. Because I love Wes Anderson

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Speaker 5: so much. And yeah, let's get those caveats out of

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Speaker 5: the way. I agree easily might revisit this. I'm sure

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Speaker 5: I'll revisit this. I've seen it twice already. I'm sure

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Speaker 5: I'll revisit it some more and come away with more

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Speaker 5: admiration for it. It happens every time. I just rewatched

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Speaker 5: the French Dispatch to refamiliarize myself with del Toro's performance there,

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Speaker 5: and that movie leaped in my esteem. It's shooting up

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Speaker 5: my Anderson rankings so yes, I agree with you. We

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Speaker 5: may come around on this movie. I enjoyed it, I

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Speaker 5: like it. I think it's good, but it was still

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Speaker 5: a disappointment considering what my expectations are. And I've got

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Speaker 5: to agree that Del Toro, for me is a big

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Speaker 5: part of it. And I'm going to offer another caveat

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Speaker 5: that you did. He's he has a strange place in

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Speaker 5: my movie history, and that he's long been a favorite

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Speaker 5: actor who I don't know if he's ever given a

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Speaker 5: favorite performance. And what I mean by that is it's

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Speaker 5: more his presence, this bulky sorrow he carries that he

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Speaker 5: brings to his films that I've admired, his face, that

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Speaker 5: rumpled mug. I just want to see that in every movie,

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Speaker 5: and so when he shows up, he automatically is bringing

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Speaker 5: something to films. I do think he's given some very

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Speaker 5: good performances. Obviously the usual suspects his breakout, but you know,

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Speaker 5: smaller films like he made a melodrama with halle Berry

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Speaker 5: Things We Lost in the Fire. He's excellent in Sacario.

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Speaker 5: I think a lot of people point to in host.

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Speaker 1: Momography for which he won haven't seen it since Traffic

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Speaker 1: came out.

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Speaker 5: There, you Go Traffic is a good one. And you

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Speaker 5: know Steven Soderbergh's two part revolutionary biopic Chua. He's he's

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Speaker 5: kind of even though he's the title character, he's a

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Speaker 5: little bit at the periphery of that. But still that

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Speaker 5: presence he has is so in strong. So I have

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Speaker 5: admired del Toro for a long time. Was thrilled to

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Speaker 5: hear he was the focus of this. But I gotta say, Adam,

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Speaker 5: especially when I look back at that French Dispatch performance.

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Speaker 5: You know the painter there, this homicidal painter, depressive painter

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Speaker 5: who creates this great work while incarcerated. That seemed to

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Speaker 5: fit what del Toro does best. It allowed him to

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Speaker 5: burrow into his unique presence in a better way. He

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Speaker 5: I would say, along with Jeffrey Wright, he kind of

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Speaker 5: formed the French Dispatch's soul, and he's not allowed to

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Speaker 5: do that here. This is where he's asked to stretch,

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Speaker 5: and it doesn't work. I'm not saying del Toro doesn't

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Speaker 5: have range, but it doesn't work because he's asked to

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Speaker 5: conform to a particular Andersen type, the one we're familiar with,

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Speaker 5: fast talking, deadpan. You mentioned it. These linguistic gymnasts who perform,

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Speaker 5: you know that they stick the lane with a powerfully

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Speaker 5: emotional line you didn't expect. And you know, you can

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Speaker 5: see why Anderson cast him here as Korda. You touched

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Speaker 5: on some of these things. He has a weariness to him.

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Speaker 5: Del Toro's face fits the part for sure, that face.

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Speaker 5: You know, even when he was young, it looked like

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Speaker 5: he'd seen too much. And Korda is definitely a man

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Speaker 5: who has seen and caused too much, so I get it.

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Speaker 5: But whenever he's asked to deliver that fast pattern, especially

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Speaker 5: I found when he had to like shout and get loud,

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Speaker 5: it rang false to me. Yeh, And I just think

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Speaker 5: that it's the rare case of Anderson trying to mold

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Speaker 5: an actor to his style rather than offering a way

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Speaker 5: for them to flourish within it. We don't see this

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Speaker 5: very often. If we did an exhaustive examination, we might

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Speaker 5: be able to find a few sore thumbs, I guess

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Speaker 5: you could say, But for me, this is one of them.

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Speaker 5: And it was a major why the movie was you know,

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Speaker 5: it was a major reason for my disappointment.

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Speaker 1: Yeah, maybe the reason why I didn't mind him so

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Speaker 1: much In Dispatch is some of the things you are particulated. There,

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Speaker 1: he's more blatantly comedic. I think soulful is the right

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Speaker 1: way to describe him there. But also, yeah, it's a

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Speaker 1: supporting turn, and here he is asked to shoulder a

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Speaker 1: little bit too much. I think it's not just del Toro, though,

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Speaker 1: And this is something else I want to get your

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Speaker 1: thoughts on. But I will note or I'll preface my

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Speaker 1: comments here by saying it's probably more about the story

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Speaker 1: and the structure and the size of the ensemble than

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Speaker 1: it is about the performers and the performances themselves. But

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Speaker 1: this is one of those Anderson instances for me where

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Speaker 1: most of the characters felt like the sum of their eccentricities.

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Speaker 1: If you're being reductionist about Anderson, this is the criticism

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Speaker 1: that some throw at him that I don't think is

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Speaker 1: usually justified, But here it felt like it was appropriate.

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Speaker 1: Most of the characters were whatever weird accent and or

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Speaker 1: costume and or repeated word or phrase and or mannerisms

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Speaker 1: or walk that they had. I might not have guessed

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Speaker 1: this going in, but the only actor for me Josh

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Speaker 1: who got the assignment or I guess, depending on your

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Speaker 1: perspective transcended the assignment was Michael Sarah. He's Michael Sarah.

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Speaker 6: He is right.

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Speaker 1: He was the only one who had the intelligence that

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Speaker 1: the film needed, who had the eccentricities, who brought the

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Speaker 1: accent work and brought the humor that you needed, but

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Speaker 1: also still had an intelligence and had the emotional intelligence.

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Speaker 1: You understood what he wanted and what he needed as

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Speaker 1: a character. And every single time he expressed any kind

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Speaker 1: of longing for Liesel and sometimes he's just barely expressing it.

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Speaker 1: It's very subtle, it's kind of seeping out of him,

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Speaker 1: and other times he can't stop it from coming out.

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Speaker 1: You really do feel something and feel for him as

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Speaker 1: a character. I felt like Josh within the first five

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Speaker 1: minutes of him being on screen. Oh, Michael Sarah just

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Speaker 1: has to be in every Wes Anderson movie after this.

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Speaker 1: And there are others like Brian Cranston and Tom Hanks

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Speaker 1: who I think are good. Obviously, they're very good actors,

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Speaker 1: and we've seen Tom Hanks in Cranston as well in

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Speaker 1: other films of Anderson's, including Hanks in Asteroid City. But

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Speaker 1: when you see them in this film, if they made

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Speaker 1: you laugh or you like certain line deliveries or that

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Speaker 1: sequence itself is something you found amusing. I don't begrudge

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Speaker 1: you any of that, but for me, I needed more.

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Speaker 1: I needed more from those sequences than just goofy line deliveries,

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Speaker 1: and I felt like in the case of most of

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Speaker 1: these sequences, that's what I was getting, including Jeffrey Wright

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Speaker 1: talk about feeling like I'm getting an actor who he

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Speaker 1: is used so brilliantly before and was just given nothing

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Speaker 1: to do.

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Speaker 5: Yeah, he's a one joke character for sure. And to

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Speaker 5: your point, part of this is the nature of the

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Speaker 5: storyline where he's having these series of meetings with different people,

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Speaker 5: so most of them are just going to appear in

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Speaker 5: a short scene. I think that I would put on

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Speaker 5: the list of those who transcend that structure and make

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Speaker 5: their scenes count. I would put Tom Hanks, I would

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Speaker 5: put Brian krantzton I think they're great this basketball game

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Speaker 5: they play. And I would also put Richard Ayoati, you know,

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Speaker 5: who showed up recently as part of the troop, and

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Speaker 5: I think he's just a natural fit. But let's let

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Speaker 5: me go back to Sarah, because it's sort of a like, yes,

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Speaker 5: of course, you know, of course he would be able

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Speaker 5: to do this just his other comic performances. But you

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Speaker 5: are so right about the emotional notes he also brings

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Speaker 5: to it, and I think he does fall into that

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Speaker 5: category of getting the opportunity to shift into a new gear.

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Speaker 5: I think Sarah has given performances that have hinted at this.

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Speaker 5: He's just not all He's not always just purely comic,

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Speaker 5: but this really allows it to flower. I'm not going

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Speaker 5: to deliver the line the way he does. I'll save

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Speaker 5: it for a mascer theater a few years from now

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Speaker 5: in the future. I think he should get a Best

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Speaker 5: Supporting Actor nomination for the way he pronounces Holy Moly

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Speaker 5: at one moment. That is, if you're, you know, tentative

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Speaker 5: about seeing the Phoenician scheme, go see it for that.

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Speaker 5: It's worth it. It's worth it for Sarah's overall performance.

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Speaker 5: Before we move on from performances, we should probably at

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Speaker 5: least way in on Mia Threapleton, who is essentially a

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Speaker 5: co lead here as Lisel, a relative newcomer, certainly new

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Speaker 5: to me, though she has done some work, and I'll

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Speaker 5: just say, you know, she has the deadpan demeter down.

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Speaker 5: She fits more naturally than del Toro does, but maybe

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Speaker 5: almost too well. I did feel that she built this

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Speaker 5: emotional fortress that the character does that fits but doesn't

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Speaker 5: allow it to be penetrated, and the way the best

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Speaker 5: st Anderson performers give you glimpses of the cracks and allow.

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Speaker 5: I love that you said seep. That is such a

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Speaker 5: great word for how emotion comes through in Anderson films.

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Speaker 5: It's just like little little drips or cracks, And I

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Speaker 5: don't know. Again, her first performance in a film of his,

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Speaker 5: I think she's very good, but it for me was

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Speaker 5: missing that until fairly far on. This possibility of romance

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Speaker 5: comes in, and then I believe she starts to show

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Speaker 5: us a few cracks and is really good, So I

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Speaker 5: think she's promising. I think, yeah, I think she's good here,

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Speaker 5: but maybe, you know, not a highlights in the same

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Speaker 5: way that Sarah is.

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Speaker 1: Yeah. I had some of the same reservations that I

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Speaker 1: expressed with del Toro as well. The tough part of

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Speaker 1: all this, look, it's the subjectivity of comedy, especially, and

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Speaker 1: this is a comedy. My theater wasn't very full. I

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Speaker 1: mean there were at least twenty people there, maybe more,

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Speaker 1: and it wasn't very racaus with laughter, Not that that

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Speaker 1: really matters either, but Josh, I will say there was

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Speaker 1: a woman directly behind me in the theater, and I

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Speaker 1: am not exaggerating when I say when I estimate she

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Speaker 1: must have laughed two hundred and fifty to three hundred

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Speaker 1: times throughout this movie. The movie he is like one

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Speaker 1: hundred and five minutes, and she she expressed some form

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Speaker 1: of amusement at least at least two point five times

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Speaker 1: per minute. And I don't know if it was just

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Speaker 1: her type of kind of absurdist humor, or is she

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Speaker 1: some kind of Anderson super fan, because it was almost

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Speaker 1: like the anticipation of something funny happening was enough show

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Speaker 1: Michael Sarah sitting in the chair laugh's cracked to the

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Speaker 1: shoe boxes on the floor.

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Speaker 5: Laugh.

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Speaker 1: Every single choice Anderson made provoked a laugh for her.

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Speaker 1: I know our producer Sam had a similar response to

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Speaker 1: the film. He's going to be very unhappy listening to

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Speaker 1: this review. Yeah, Slack comments to us. But I just

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Speaker 1: felt like I was in a constant state of anticipation.

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Speaker 1: I was just waiting for the amusement. And I think

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Speaker 1: that structure and all the things we've talked about is

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Speaker 1: part of it jokes without steaks isn't that much different

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Speaker 1: for me than drama without stakes. And when you've constructed

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Speaker 1: your entire plot around what is so clearly a maguffin

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Speaker 1: where none of the details matter, you just recognize early

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Speaker 1: on that the details of the Phoenician scheme are not

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Speaker 1: what this is about. And that's fine. I can buy

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Speaker 1: into that. But then I also understood, or felt like

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Speaker 1: I understood where this was going. I didn't really feel

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Speaker 1: like I was going to get any surprises around where

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Speaker 1: the emotional beats were going to be. I didn't feel

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Speaker 1: like I did truly get maybe any really great revelations

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Speaker 1: until the very end of the film around that, to

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Speaker 1: be totally honest, and so I just didn't I didn't

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Speaker 1: have any work to do. It didn't give me anything

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Speaker 1: to do to be really engaged in terms of the

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Speaker 1: story or to be engaged by these characters. And then

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Speaker 1: coming off, I know this really isn't fair, But the

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Speaker 1: only reason I'm even saying it, Josh, is this is

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Speaker 1: Wes Anderson, who, as we noted, not only are we

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Speaker 1: both fans of his work, but he does fit that

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Speaker 1: capital a tour billing where there are threads stylistically, and

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Speaker 1: there are threads thematically throughout all of his work. And

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Speaker 1: so when one he's made, now, what did we say?

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Speaker 1: This is his twelfth film, and when I've only had

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Speaker 1: two for me that haven't worked, and one of them

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Speaker 1: I think. I still gave a favorable review to Darjeeling Limited,

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Speaker 1: and I've only seen it once back when it came

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Speaker 1: out in two thousand and seven or whatever, So who

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Speaker 1: knows how I'd feel about it now. I mean, it's

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Speaker 1: been almost twenty years, only two again that I say

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Speaker 1: I'm not really really high on. You have to wonder, well,

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Speaker 1: what it is about this film that isn't working for me?

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Speaker 1: And I go back to the last film I saw,

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Speaker 1: Asteroid City just stirred me so much. I'll use these

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Speaker 1: words again intellectually and emotionally for me in this movie

398
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Speaker 1: just left me so dead on a rival. And so

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Speaker 1: I'm in this state where I'm comparing it. I'm I'm

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Speaker 1: trying to grab onto or latch onto what it is

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Speaker 1: about this movie that that didn't work, and it is

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Speaker 1: it is something about the lack of emotion that I

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Speaker 1: can attach to the characters and and those storylines and

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Speaker 1: the absence of stakes and I think it also has

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Speaker 1: something to do with the absence of any kind of

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Speaker 1: stakes or arc really with the characters. I'm not saying

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Speaker 1: there isn't an arc. We know where that right, there's

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Speaker 1: an arch is going. Yeah, we know where it's going

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Speaker 1: from the very beginning. It is there. But the kind

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Speaker 1: of flimsiness, the silliness of the plot I think ultimately

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Speaker 1: for me worked against it.

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Speaker 5: I don't know that i'd agree that for me, humor

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Speaker 5: has to have stakes, because as you're describing those shoeboxes

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Speaker 5: that the woman laughed at. This is at the beginning

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Speaker 5: where Korda is describing his grand scheme to lisl and

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Speaker 5: he has each stage of it in a shoebox, and

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Speaker 5: then it'll cut to like, well, there's a glovebox that

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Speaker 5: has another there's a reason why it's in a glovebox

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Speaker 5: and not a shoebox that makes me laugh. There's really

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Speaker 5: there's really nothing important about it. But I do get

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Speaker 5: that sort of humor. And I will also say similarly,

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Speaker 5: and here are some reasons I want to move into

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Speaker 5: why I would still recommend the film even though it's lesser.

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Speaker 5: Wes Anderson for me similarly that opening credit sequence, which

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Speaker 5: is an overhead shot of Corda in a bathtub and

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Speaker 5: in this elaborate bathroom with tile, and there are women

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Speaker 5: in nurses uniforms moving back and forth. There is a

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Speaker 5: bidet on the top of the screen where a champagne

429
00:24:37,080 --> 00:24:38,320
Speaker 5: bottle is chilling.

430
00:24:38,000 --> 00:24:38,800
Speaker 1: In some eyes.

431
00:24:39,040 --> 00:24:41,359
Speaker 5: I mean, these are like, I can see why that

432
00:24:41,400 --> 00:24:44,159
Speaker 5: woman is laughing so much, because that is a fixed

433
00:24:44,200 --> 00:24:47,840
Speaker 5: shot that is not only very funny because of touches

434
00:24:47,960 --> 00:24:51,400
Speaker 5: like that, but it is a brilliant example of blocking

435
00:24:51,880 --> 00:24:55,840
Speaker 5: and choreography and patterns. Some of it is funny, some

436
00:24:55,880 --> 00:24:59,080
Speaker 5: of it is just beautiful. It's character work. We're learning

437
00:24:59,160 --> 00:25:01,160
Speaker 5: so much about Core even though we're not even seeing

438
00:25:01,160 --> 00:25:05,760
Speaker 5: his face. And you know, there are filmmakers who could

439
00:25:05,800 --> 00:25:09,640
Speaker 5: go an entire career and never create something as masterful

440
00:25:10,240 --> 00:25:13,720
Speaker 5: as the Phoenician Scheme's opening credit sequence. I had high

441
00:25:13,760 --> 00:25:16,359
Speaker 5: so after that I did. And so there's a lot,

442
00:25:16,480 --> 00:25:19,760
Speaker 5: a lot of good stuff here. But to go back

443
00:25:19,800 --> 00:25:22,159
Speaker 5: to some of your reservations, which I would just echo,

444
00:25:22,320 --> 00:25:24,800
Speaker 5: is you know a lot of the gags and phrases

445
00:25:24,880 --> 00:25:29,720
Speaker 5: repeat more so it feels to me than in other films.

446
00:25:29,760 --> 00:25:33,320
Speaker 5: The joke about the business negotiations devolving into shouting matches.

447
00:25:34,200 --> 00:25:36,520
Speaker 5: I wouldn't have laughed alongside the woman the first time,

448
00:25:36,640 --> 00:25:39,840
Speaker 5: and we get that every time. As you pointed out,

449
00:25:39,880 --> 00:25:42,520
Speaker 5: this redemption of the Rep. Skellion at the hands of

450
00:25:42,560 --> 00:25:45,560
Speaker 5: family members much better done in Royal Tenenbaum, Steve Zasu,

451
00:25:45,640 --> 00:25:48,480
Speaker 5: and I would argue as well, fantastic, mister Fox. And

452
00:25:48,560 --> 00:25:52,200
Speaker 5: here's one thing that I wouldn't expect to bother maybe

453
00:25:52,240 --> 00:25:55,480
Speaker 5: most viewers, and bother as a strong word, disappoint again,

454
00:25:55,560 --> 00:25:57,400
Speaker 5: I'll lean on that, but I did want to get

455
00:25:57,440 --> 00:26:02,919
Speaker 5: your feelings on is I found for as much religious

456
00:26:02,920 --> 00:26:03,920
Speaker 5: content there.

457
00:26:03,880 --> 00:26:05,480
Speaker 1: Was in here. This is where I was going to

458
00:26:05,520 --> 00:26:05,920
Speaker 1: go next.

459
00:26:06,119 --> 00:26:10,120
Speaker 5: This to be to me again, eager to dig into

460
00:26:10,200 --> 00:26:12,560
Speaker 5: some reviews that are looking at this explicitly. I found

461
00:26:12,560 --> 00:26:17,119
Speaker 5: it to be religiously overt and theologically thin. And the

462
00:26:17,160 --> 00:26:19,760
Speaker 5: only reason I would say that now, let me just

463
00:26:20,000 --> 00:26:22,520
Speaker 5: tick some of the references here so people might not

464
00:26:22,560 --> 00:26:25,840
Speaker 5: have seen it yet. No religiosity is all for the movie. Lisa,

465
00:26:25,960 --> 00:26:28,399
Speaker 5: of course, is this novitiate nun. She accuses her father

466
00:26:28,480 --> 00:26:31,880
Speaker 5: of unholy mischief. I like how he says to her, well,

467
00:26:31,880 --> 00:26:33,399
Speaker 5: you can still believe in God if you want but

468
00:26:33,720 --> 00:26:36,080
Speaker 5: he takes away her rosary and gives her this, you know,

469
00:26:36,200 --> 00:26:41,159
Speaker 5: secular bejeweled one. There are those afterlife visions of Korda

470
00:26:41,240 --> 00:26:43,760
Speaker 5: you've already mentioned, where Bill Murray shows up as God.

471
00:26:44,560 --> 00:26:47,480
Speaker 5: The word biblical is thrown about us quite a bit,

472
00:26:48,359 --> 00:26:51,600
Speaker 5: but I really found it to be just referential religiosity.

473
00:26:51,880 --> 00:26:55,000
Speaker 5: And I have found a lot of his other movies

474
00:26:55,080 --> 00:27:01,920
Speaker 5: to offer, perhaps unintentionally, but very reson its spiritual significance.

475
00:27:02,560 --> 00:27:06,879
Speaker 5: I would point particularly to the French Dispatch and the

476
00:27:06,960 --> 00:27:09,240
Speaker 5: use of color and black and white I've written about,

477
00:27:10,160 --> 00:27:12,800
Speaker 5: you know, the significance of how of those I'm not

478
00:27:12,800 --> 00:27:15,359
Speaker 5: going to go into all of this here, but rushmore

479
00:27:15,400 --> 00:27:17,919
Speaker 5: for me, the Grand Budapest Hotel, and of course the

480
00:27:18,040 --> 00:27:21,320
Speaker 5: Yearning in Steve su Sewitch why I like that movie

481
00:27:21,320 --> 00:27:25,040
Speaker 5: more than most people, and the symbolism of the jaguar

482
00:27:25,119 --> 00:27:28,040
Speaker 5: shark and the search for transcendence. So I have found

483
00:27:28,040 --> 00:27:32,440
Speaker 5: a lot of spiritual resonance in Anderson's movies. Maybe I'm

484
00:27:32,440 --> 00:27:34,800
Speaker 5: one of a few people who are reading them that way,

485
00:27:35,119 --> 00:27:37,800
Speaker 5: but seeing all of these religious touchdowns in the Phoenician

486
00:27:37,880 --> 00:27:40,880
Speaker 5: scheme perked my ears up, of course, and yet there

487
00:27:40,960 --> 00:27:44,560
Speaker 5: wasn't a lot underneath it. Ye, this movie's highest I

488
00:27:44,600 --> 00:27:47,000
Speaker 5: would say this movie's what it believes in the most.

489
00:27:47,119 --> 00:27:49,400
Speaker 5: And again, this is fine if this is what Anderson

490
00:27:49,440 --> 00:27:51,600
Speaker 5: wants to posit. I just think it's less interesting to

491
00:27:51,640 --> 00:27:56,639
Speaker 5: me is sincerity. Sincerity is the ultimate good in this movie.

492
00:27:56,680 --> 00:28:00,159
Speaker 5: And there's a key scene where Lisa and Cordar talking

493
00:28:00,200 --> 00:28:03,160
Speaker 5: about prayers, and I think she says something about how

494
00:28:03,680 --> 00:28:06,240
Speaker 5: she doesn't pray. Praying isn't just asking for what you

495
00:28:06,280 --> 00:28:09,080
Speaker 5: want and getting it. What matters, she says, is the

496
00:28:09,119 --> 00:28:15,080
Speaker 5: sincerity of your devotion, and Korda responds, that's it. And

497
00:28:15,440 --> 00:28:17,640
Speaker 5: this is really a trajectory of them reaching a point

498
00:28:17,680 --> 00:28:21,920
Speaker 5: of sincerity with each other. Their first meeting, neither one

499
00:28:21,920 --> 00:28:24,480
Speaker 5: of them is sincere. He offers this quick apology about

500
00:28:24,480 --> 00:28:26,880
Speaker 5: not seeing her for six years. She does the sign

501
00:28:26,920 --> 00:28:28,879
Speaker 5: of the cross, reil quick and says, I forgive you.

502
00:28:29,440 --> 00:28:31,679
Speaker 5: Neither of them mean it in that moment, right, But

503
00:28:31,760 --> 00:28:35,600
Speaker 5: we see them move towards points of sincerity as the

504
00:28:35,640 --> 00:28:39,520
Speaker 5: movie progresses in their relationship, in their being in the world.

505
00:28:40,080 --> 00:28:43,040
Speaker 5: And I think that's well and good, that that's a

506
00:28:43,200 --> 00:28:46,320
Speaker 5: you know, an interesting theme of its own. It's just

507
00:28:46,400 --> 00:28:49,239
Speaker 5: maybe a little thinner than what I've been able to

508
00:28:49,680 --> 00:28:51,400
Speaker 5: mine from some of his other movies.

509
00:28:51,480 --> 00:28:54,880
Speaker 1: Yes, and going back to Royal tenebaumbs for a second

510
00:28:55,280 --> 00:28:58,840
Speaker 1: the reason why a moment like the one at the

511
00:28:58,920 --> 00:29:03,680
Speaker 1: end between Roy and Chazz resonates with us so strongly

512
00:29:04,040 --> 00:29:05,640
Speaker 1: When he says I've had a really tough year and

513
00:29:05,680 --> 00:29:09,120
Speaker 1: he says, I know you have, Chazzy. It's them being

514
00:29:09,120 --> 00:29:11,920
Speaker 1: empathetic with each other. But it's also them being sincere

515
00:29:11,920 --> 00:29:13,840
Speaker 1: with each other. It's not as if they haven't been

516
00:29:13,840 --> 00:29:16,160
Speaker 1: truthful with each other. I think they've been. They've both

517
00:29:16,200 --> 00:29:19,040
Speaker 1: been truthful with each other at different points throughout the movie,

518
00:29:19,080 --> 00:29:23,680
Speaker 1: in some cases very harshly so. But they're being sincere

519
00:29:23,840 --> 00:29:26,640
Speaker 1: in that moment. And we don't necessarily feel like we

520
00:29:26,720 --> 00:29:30,280
Speaker 1: get a lot of sincerity in Wes Anderson's films, and

521
00:29:30,320 --> 00:29:32,680
Speaker 1: so when the movie builds up to a moment like that,

522
00:29:32,840 --> 00:29:36,000
Speaker 1: it feels really earned and that movie earns it. And

523
00:29:36,040 --> 00:29:39,520
Speaker 1: so that for me was another connection there. When we

524
00:29:39,600 --> 00:29:43,240
Speaker 1: get that exchange in this movie, I wanted to go there. Certainly,

525
00:29:43,280 --> 00:29:45,720
Speaker 1: this is more your corner than mine, and I think

526
00:29:45,760 --> 00:29:48,520
Speaker 1: you expressed that really well. I wouldn't disagree with you.

527
00:29:48,560 --> 00:29:51,280
Speaker 1: But when I alluded earlier to there being a few

528
00:29:51,880 --> 00:29:56,400
Speaker 1: new wrinkles doesn't necessarily mean they're good wrinkles, but at

529
00:29:56,440 --> 00:29:59,680
Speaker 1: least it's different. And it sounds like it is you're saying,

530
00:30:00,120 --> 00:30:03,600
Speaker 1: it's more overt here. I don't remember from his previous

531
00:30:03,640 --> 00:30:11,200
Speaker 1: films him dealing this directly with the spiritual, with these

532
00:30:11,240 --> 00:30:14,880
Speaker 1: types of sequences where we have characters who are openly

533
00:30:15,240 --> 00:30:19,400
Speaker 1: wrestling with the notion of an afterlife, wrestling with the

534
00:30:19,440 --> 00:30:23,080
Speaker 1: notion of judgment. And I will pretty I won't spoil it,

535
00:30:23,400 --> 00:30:28,440
Speaker 1: but we have when we have a character like Jajah

536
00:30:28,520 --> 00:30:32,520
Speaker 1: face off with another character later in the film who

537
00:30:32,600 --> 00:30:37,800
Speaker 1: he refers to as biblical. I took that to mean

538
00:30:38,520 --> 00:30:43,400
Speaker 1: he's using biblical there in the sense as otherworldly. I'm

539
00:30:43,480 --> 00:30:47,280
Speaker 1: taking that to mean inhuman almost, not that not that

540
00:30:47,400 --> 00:30:52,280
Speaker 1: religion is monstrous necessarily, but otherworldly as in monstrous, as

541
00:30:52,320 --> 00:30:56,160
Speaker 1: in the opposite of real. And he's been on this

542
00:30:56,280 --> 00:31:00,680
Speaker 1: journey towards becoming an actual, real person in the world,

543
00:31:00,880 --> 00:31:03,840
Speaker 1: part of the real world, not above at all. And

544
00:31:03,960 --> 00:31:06,800
Speaker 1: this character, and this character is portrayed even that way.

545
00:31:06,840 --> 00:31:12,160
Speaker 1: He's portrayed like an otherworldly, supernatural kind of biblical figure,

546
00:31:12,240 --> 00:31:16,760
Speaker 1: someone you don't believe is part of this world, and

547
00:31:17,200 --> 00:31:19,880
Speaker 1: so that was interesting to me. I think I agree

548
00:31:19,880 --> 00:31:23,120
Speaker 1: with you that I'm not necessarily convinced that he's doing

549
00:31:23,200 --> 00:31:26,240
Speaker 1: it in anything more than a very superficial way. But

550
00:31:26,760 --> 00:31:28,920
Speaker 1: it's there in a way that I hadn't seen before.

551
00:31:29,160 --> 00:31:32,720
Speaker 1: And those black and white sequences to me felt like

552
00:31:32,800 --> 00:31:35,880
Speaker 1: something more out of like a dryer film than a

553
00:31:35,960 --> 00:31:40,280
Speaker 1: Wes Anderson film. So again interesting. The other part that

554
00:31:41,040 --> 00:31:43,480
Speaker 1: was new to me, And I want to be clear

555
00:31:43,560 --> 00:31:46,800
Speaker 1: about this. Even watching this film and what I'm about

556
00:31:46,800 --> 00:31:49,960
Speaker 1: to say, I don't think Wes Anderson. My feeling watching

557
00:31:50,000 --> 00:31:53,200
Speaker 1: a Wes Anderson film is that there's no part of

558
00:31:53,280 --> 00:31:57,240
Speaker 1: him as a screenwriter or filmmaker who's paying a whole

559
00:31:57,280 --> 00:32:01,120
Speaker 1: lot of attention to the real world that's happening around us,

560
00:32:01,440 --> 00:32:06,080
Speaker 1: the political world. I don't well, I don't think he's

561
00:32:07,040 --> 00:32:11,920
Speaker 1: that caught up with Josh or that interested in being

562
00:32:12,040 --> 00:32:16,120
Speaker 1: overt about making those connections anyway. Okay, I think he

563
00:32:16,200 --> 00:32:18,960
Speaker 1: does want to make larger statements about the kind of

564
00:32:19,000 --> 00:32:21,280
Speaker 1: thing as we're talking about, about the kind of person

565
00:32:21,680 --> 00:32:23,880
Speaker 1: that you are, about being a real person in the

566
00:32:23,920 --> 00:32:26,360
Speaker 1: real world, and about being a sincere person. I think

567
00:32:26,400 --> 00:32:32,040
Speaker 1: those things matter, and unfortunately, those types of phrases these

568
00:32:32,120 --> 00:32:35,000
Speaker 1: days make you a political person right in the world

569
00:32:35,320 --> 00:32:37,160
Speaker 1: that we live in. So I'm talking out of both

570
00:32:37,160 --> 00:32:41,040
Speaker 1: sides of my mouth, I suppose. But what I'm arguing

571
00:32:41,240 --> 00:32:45,040
Speaker 1: is that he's someone who is not overtly political, and

572
00:32:45,080 --> 00:32:47,000
Speaker 1: he's not someone who is trying to make films that

573
00:32:47,040 --> 00:32:50,440
Speaker 1: are allegorical statements that are about one to one connections

574
00:32:50,520 --> 00:32:54,560
Speaker 1: to things that are happening in our world today. Nevertheless,

575
00:32:55,080 --> 00:32:58,080
Speaker 1: when you have a main character like the one we

576
00:32:58,240 --> 00:33:02,920
Speaker 1: have here in Korda, who is this industrialist, who is

577
00:33:02,960 --> 00:33:07,280
Speaker 1: this businessman who is caught up in the gaps in

578
00:33:07,400 --> 00:33:13,840
Speaker 1: economics and we're talking about widgets right and where money

579
00:33:13,880 --> 00:33:18,640
Speaker 1: windfalls are going to come from, it does connect Anderson

580
00:33:19,360 --> 00:33:23,040
Speaker 1: to the real world in a way. Most of his

581
00:33:23,120 --> 00:33:25,200
Speaker 1: other films, if not all of his other films, have

582
00:33:25,280 --> 00:33:28,280
Speaker 1: been a little bit more fantasy land. I think it's

583
00:33:28,320 --> 00:33:28,680
Speaker 1: fair to.

584
00:33:28,640 --> 00:33:31,200
Speaker 5: Say, yeah, I mean, this is the is Korda a

585
00:33:31,200 --> 00:33:34,640
Speaker 5: Trump figure? Is Korda a Musk figure question which definitely

586
00:33:34,640 --> 00:33:38,840
Speaker 5: crossed my mind. I dismissed it fairly quickly because I

587
00:33:38,920 --> 00:33:40,520
Speaker 5: was in a Wes Anderson movie and didn't want to

588
00:33:40,520 --> 00:33:43,400
Speaker 5: think about either of them for the but I think

589
00:33:43,520 --> 00:33:47,360
Speaker 5: and further reflection, I can see it it does entirely

590
00:33:47,360 --> 00:33:49,240
Speaker 5: work that way for me. But I will say we

591
00:33:49,360 --> 00:33:54,680
Speaker 5: mentioned Sam's more positive response our producer, and he does

592
00:33:55,160 --> 00:33:59,280
Speaker 5: when he wrote about this on Letterbox, give an interesting

593
00:34:01,200 --> 00:34:04,720
Speaker 5: Quorda in this light, so I can understand how that

594
00:34:04,760 --> 00:34:08,040
Speaker 5: it might strike people that way, even though it didn't

595
00:34:08,080 --> 00:34:09,960
Speaker 5: have a lot of traction for me.

596
00:34:10,239 --> 00:34:12,719
Speaker 1: No just to offer, I just want to be clear,

597
00:34:12,920 --> 00:34:15,720
Speaker 1: it doesn't for me either. Ultimately, that's where I'm going.

598
00:34:15,880 --> 00:34:18,560
Speaker 1: It doesn't for me either, though I do think, just

599
00:34:18,560 --> 00:34:20,400
Speaker 1: to repeat what I said a little bit here, I

600
00:34:20,440 --> 00:34:22,360
Speaker 1: think it is a little bit more connected to the

601
00:34:22,400 --> 00:34:26,080
Speaker 1: real world than I usually come away with from Wes Anderson.

602
00:34:26,239 --> 00:34:29,239
Speaker 1: But the bigger point is just that you have. What

603
00:34:29,320 --> 00:34:32,120
Speaker 1: I think is interesting is you have a character in

604
00:34:32,560 --> 00:34:36,279
Speaker 1: Korda who is caught up in It goes back to

605
00:34:36,320 --> 00:34:39,960
Speaker 1: this ambition idea. He's swept up in the idea of

606
00:34:40,200 --> 00:34:42,960
Speaker 1: this scheme which is all about we don't even know

607
00:34:43,000 --> 00:34:45,640
Speaker 1: what it's about, but it seems like he is obsessed

608
00:34:45,640 --> 00:34:48,360
Speaker 1: with the idea of whatever he does for the world,

609
00:34:48,680 --> 00:34:51,399
Speaker 1: whether it helps people, hurts people, or whatever. It's all

610
00:34:51,440 --> 00:34:58,280
Speaker 1: about being something grand, profound, having his name on it,

611
00:34:58,280 --> 00:35:01,160
Speaker 1: it being the kind of thing that people know he

612
00:35:01,200 --> 00:35:04,560
Speaker 1: did it, and it was this sweeping, momentous thing that

613
00:35:04,640 --> 00:35:09,520
Speaker 1: affected humanity. And without giving away the ending, what he

614
00:35:09,640 --> 00:35:13,200
Speaker 1: comes to learn more than anything by the end is

615
00:35:13,239 --> 00:35:15,160
Speaker 1: not just that he has to change what kind of

616
00:35:15,200 --> 00:35:19,080
Speaker 1: person he is. It's that the types of change that

617
00:35:19,120 --> 00:35:23,320
Speaker 1: you can actually enact on society, the types of things

618
00:35:23,360 --> 00:35:27,560
Speaker 1: you can do, can actually be very little things. They

619
00:35:27,600 --> 00:35:29,520
Speaker 1: don't have to be those types of things.

620
00:35:29,760 --> 00:35:32,719
Speaker 5: And I should say I really like the ending. I

621
00:35:34,120 --> 00:35:36,480
Speaker 5: you know, we know what's going there, but I think

622
00:35:36,480 --> 00:35:40,160
Speaker 5: it's handled in a lovely way, with a patience, with

623
00:35:40,239 --> 00:35:45,440
Speaker 5: a quietness. Notice that Korda doesn't talk very much, and

624
00:35:45,480 --> 00:35:47,920
Speaker 5: it allows Deltor to get back to what he did

625
00:35:47,920 --> 00:35:50,359
Speaker 5: in the French dispatch, where his painter did not talk

626
00:35:50,520 --> 00:35:53,200
Speaker 5: very much, but it allows him just to be in

627
00:35:53,239 --> 00:35:56,239
Speaker 5: the scene. And so I really like the ending of

628
00:35:56,320 --> 00:35:58,680
Speaker 5: the Phoenician Scheme. Let me just offer a little bit

629
00:35:58,719 --> 00:36:01,160
Speaker 5: of a defense of Anderson to my mind as a

630
00:36:01,200 --> 00:36:05,360
Speaker 5: political filmmaker, though you're correct, he's never very overt about it.

631
00:36:05,400 --> 00:36:07,759
Speaker 5: But the first time I started to think about him

632
00:36:07,760 --> 00:36:11,960
Speaker 5: this way was probably the Grand Budapest Hotel. Again fictional histories,

633
00:36:12,200 --> 00:36:16,360
Speaker 5: fictional countries, but definitely confronted what it means as a

634
00:36:16,360 --> 00:36:20,360
Speaker 5: person to be caught up in the flow of fascism.

635
00:36:21,080 --> 00:36:22,719
Speaker 5: And that made me think, you know, I think we

636
00:36:22,800 --> 00:36:25,400
Speaker 5: got a hint of this in something like The Darjeeling Limited,

637
00:36:25,440 --> 00:36:27,239
Speaker 5: which I would agree with you as one of his

638
00:36:27,320 --> 00:36:30,920
Speaker 5: lesser films as well, and that is maybe a clumsier

639
00:36:31,040 --> 00:36:36,239
Speaker 5: attempt in how he engages with Indian culture. There are

640
00:36:36,280 --> 00:36:39,839
Speaker 5: some you know, questions about that now, but I think

641
00:36:39,840 --> 00:36:42,960
Speaker 5: you can see a person trying to think about living

642
00:36:43,040 --> 00:36:45,880
Speaker 5: in a world and connecting with the world that is

643
00:36:45,920 --> 00:36:46,840
Speaker 5: not your world.

644
00:36:47,680 --> 00:36:48,359
Speaker 1: And so that's a.

645
00:36:48,280 --> 00:36:51,719
Speaker 5: Little hint of it. And you know, beyond Grand Budapest,

646
00:36:51,880 --> 00:36:54,960
Speaker 5: I consider and I think we talked about.

647
00:36:54,680 --> 00:36:55,799
Speaker 1: It this a little bit.

648
00:36:56,239 --> 00:37:00,240
Speaker 5: I love Dogs as being this story of you know, again,

649
00:37:00,640 --> 00:37:05,759
Speaker 5: a domineering government forcing deportation. We were in the first

650
00:37:05,760 --> 00:37:08,359
Speaker 5: cycle of that when that movie came out, and now

651
00:37:08,400 --> 00:37:13,160
Speaker 5: we're in the more rancid, alarming, terrifying cycle of it

652
00:37:13,239 --> 00:37:15,640
Speaker 5: this time. Now that's not something that the Phoenician scheme

653
00:37:16,040 --> 00:37:18,800
Speaker 5: necessarily addresses, but I to my mind, I love dogs

654
00:37:18,840 --> 00:37:22,719
Speaker 5: absolutely so I think that ability.

655
00:37:22,880 --> 00:37:24,919
Speaker 1: Yeah, he does. Of all of his films, that one

656
00:37:24,960 --> 00:37:27,920
Speaker 1: probably stands out the most. And I hear what you're

657
00:37:27,920 --> 00:37:30,920
Speaker 1: saying about Grand Budapest. That's certainly there. But even that film,

658
00:37:31,000 --> 00:37:34,080
Speaker 1: that's or those questions aren't the ones I come away

659
00:37:34,400 --> 00:37:36,719
Speaker 1: from that movie thinking about. They're not the questions I

660
00:37:36,760 --> 00:37:38,719
Speaker 1: come away even from.

661
00:37:38,640 --> 00:37:40,520
Speaker 5: It's not the prime concern of the film.

662
00:37:41,000 --> 00:37:43,239
Speaker 1: Yeah, I was. I was trying to think of I

663
00:37:43,280 --> 00:37:47,480
Speaker 1: had another film of his that has a government connection, Oh,

664
00:37:47,520 --> 00:37:51,600
Speaker 1: Asteroid City. Even that film that obviously has the government

665
00:37:51,600 --> 00:37:53,880
Speaker 1: directly involved. I don't come away from that movie thinking

666
00:37:53,920 --> 00:37:57,480
Speaker 1: about the government or politics as the key element of it.

667
00:37:57,520 --> 00:38:00,799
Speaker 1: But you're right, it's definitely there. The Phoenician Scheme is

668
00:38:00,920 --> 00:38:03,360
Speaker 1: currently out in wide release. If you see it and

669
00:38:03,440 --> 00:38:06,400
Speaker 1: agree or disagree with our takes, you can email us

670
00:38:06,440 --> 00:38:08,520
Speaker 1: feedback at filmspotting dot net.

671
00:38:08,719 --> 00:38:14,600
Speaker 5: Our objective disrupting, obstructing, impeding Cripplin Quarters Enterprise in any manner.

672
00:38:14,440 --> 00:38:15,800
Speaker 1: Possible, Get the hand grenades.

673
00:38:17,360 --> 00:38:19,360
Speaker 5: Listening is the number one thing you can do to

674
00:38:19,360 --> 00:38:22,560
Speaker 5: support an independently produced show like ours. There are a

675
00:38:22,640 --> 00:38:24,680
Speaker 5: couple of other things you can do. Take a minute

676
00:38:24,680 --> 00:38:27,280
Speaker 5: to give us a rating or review, on Apple Podcasts

677
00:38:27,400 --> 00:38:29,960
Speaker 5: or Spotify. Doesn't matter if you're a first time listener

678
00:38:30,080 --> 00:38:32,799
Speaker 5: or if you've been listening for twenty years. Every new

679
00:38:32,880 --> 00:38:35,840
Speaker 5: review helps us reach new listeners. Another way to support

680
00:38:35,880 --> 00:38:40,200
Speaker 5: us join the Film Spotting Family at film spottingfamily dot com.

681
00:38:40,440 --> 00:38:43,320
Speaker 5: We want to thank family member Eric Sullivan right here

682
00:38:43,480 --> 00:38:49,000
Speaker 5: in Chicago. Eric's letterbox handle isp sully EPs U L

683
00:38:49,320 --> 00:38:51,560
Speaker 5: L Y. I'm happy to follow him there.

684
00:38:51,800 --> 00:38:55,439
Speaker 1: Eric writes, I first heard about you through Wbeasyads after

685
00:38:55,480 --> 00:38:58,160
Speaker 1: moving to Chicago in twenty thirteen, but the first episode

686
00:38:58,160 --> 00:38:59,879
Speaker 1: I ever caught was the Top Ten of twenty seven

687
00:39:00,040 --> 00:39:02,800
Speaker 1: team with Michael Phillips and Tasha Robinson. I had recently

688
00:39:02,840 --> 00:39:04,840
Speaker 1: gotten movie pass and with it the number of films

689
00:39:04,880 --> 00:39:07,440
Speaker 1: I watched skyrocketed, so I was desperately looking for some

690
00:39:07,480 --> 00:39:10,520
Speaker 1: context to help organize my chaotic viewing. I loved the

691
00:39:10,520 --> 00:39:13,160
Speaker 1: marathon conversation of the Top ten so much I immediately

692
00:39:13,200 --> 00:39:14,920
Speaker 1: made a list of all the films mentioned still in

693
00:39:14,960 --> 00:39:16,839
Speaker 1: theaters that I hadn't seen yet so I could add

694
00:39:16,840 --> 00:39:19,920
Speaker 1: them to movie passes. Rapidly declining credit report.

695
00:39:20,120 --> 00:39:22,279
Speaker 5: The days of movie pass That was quite a little

696
00:39:22,360 --> 00:39:23,560
Speaker 5: drama for a while there.

697
00:39:23,840 --> 00:39:25,840
Speaker 1: I think we even had one or two ads for

698
00:39:25,920 --> 00:39:28,360
Speaker 1: movie Pass. You know, they just went in the tank.

699
00:39:28,600 --> 00:39:32,200
Speaker 1: Favorite review or segment. I loved the Christopher Nolan OOV review.

700
00:39:32,520 --> 00:39:34,520
Speaker 1: Nolan was one of the first filmmakers I made a

701
00:39:34,560 --> 00:39:37,480
Speaker 1: conscious effort to check off his filmography when I first

702
00:39:37,520 --> 00:39:39,360
Speaker 1: got into movies in high school, so it felt like

703
00:39:39,400 --> 00:39:41,399
Speaker 1: fate that he was the first director to get the

704
00:39:41,440 --> 00:39:45,000
Speaker 1: OOH review treatment. Please keep this segment coming. Yeah, we've

705
00:39:45,000 --> 00:39:47,600
Speaker 1: been out of the OOV review game for a while,

706
00:39:47,600 --> 00:39:49,440
Speaker 1: and I love the Every time I SA say that,

707
00:39:49,719 --> 00:39:52,160
Speaker 1: I think about I think about the people. A couple

708
00:39:52,239 --> 00:39:54,000
Speaker 1: people who have written in over the years and told

709
00:39:54,080 --> 00:39:57,000
Speaker 1: us that we were mispronouncing the word. I can't shake that. No,

710
00:39:57,080 --> 00:39:59,719
Speaker 1: we're not. We made up a new word. It's over.

711
00:40:00,080 --> 00:40:03,399
Speaker 5: You gotta love the correctors out there.

712
00:40:03,480 --> 00:40:06,319
Speaker 1: Yes, yes, but we have been out of this game

713
00:40:06,320 --> 00:40:08,520
Speaker 1: for a while. That was something we started during COVID.

714
00:40:09,120 --> 00:40:12,520
Speaker 1: Maybe it's something it's our marathons, except it's not marathons

715
00:40:12,520 --> 00:40:15,040
Speaker 1: because rather than filling in blind spots, we are actually

716
00:40:15,200 --> 00:40:19,719
Speaker 1: just revisiting or visiting the entire filmography. Start to FAA.

717
00:40:20,160 --> 00:40:22,680
Speaker 1: It's like, great idea, it's the blank check thing. Basically,

718
00:40:23,360 --> 00:40:25,839
Speaker 1: else is doing this. Yeah, it's it's kind of blank

719
00:40:25,960 --> 00:40:31,680
Speaker 1: check but without the humor. Really a review we got wrong,

720
00:40:32,239 --> 00:40:35,080
Speaker 1: only Adam really got this wrong. But Book Smart is

721
00:40:35,120 --> 00:40:37,600
Speaker 1: one of the best comedies I've seen, and I will

722
00:40:37,640 --> 00:40:41,760
Speaker 1: hear no arguments to the contrary. Okay, I won't argue

723
00:40:41,760 --> 00:40:46,120
Speaker 1: with you. Letterbox Top four, Spirited Away, The Sting, Casa

724
00:40:46,120 --> 00:40:50,640
Speaker 1: Blanca and Her Okay, good stuff. Favorite movie revisited recently

725
00:40:50,680 --> 00:40:53,160
Speaker 1: Eternal Sunshine of the Spotless Mind, a random film or

726
00:40:53,160 --> 00:40:56,239
Speaker 1: filmmaker that Eric loves, Sorry to Bother You, and a

727
00:40:56,320 --> 00:40:58,880
Speaker 1: movie credits with becoming a cinophile. You don't hear this

728
00:40:58,920 --> 00:41:03,520
Speaker 1: one often. Lum Dog millionaire Danny Boyle. Thank you Eric

729
00:41:03,560 --> 00:41:05,239
Speaker 1: for being part of the family and for all of

730
00:41:05,239 --> 00:41:07,839
Speaker 1: those years of listening. In addition to keeping us doing

731
00:41:07,840 --> 00:41:10,360
Speaker 1: what we're doing, your support comes with perks. Get to

732
00:41:10,400 --> 00:41:13,560
Speaker 1: listen early in ad Free, you get Sam's weekly newsletter,

733
00:41:13,600 --> 00:41:15,799
Speaker 1: You get exclusive opportunities like being part of the film

734
00:41:15,800 --> 00:41:18,880
Speaker 1: Spotting Family discord, and you get our monthly bonus shows.

735
00:41:18,920 --> 00:41:21,520
Speaker 1: We are looking ahead a couple of weeks to our

736
00:41:21,520 --> 00:41:25,879
Speaker 1: bonus show for June. Our plan is to share our

737
00:41:26,120 --> 00:41:29,240
Speaker 1: performances of the year so far. That is in anticipation

738
00:41:29,719 --> 00:41:32,280
Speaker 1: of the show. We will share in our main feed

739
00:41:32,440 --> 00:41:36,640
Speaker 1: in July our top five films of the year so far.

740
00:41:36,800 --> 00:41:39,680
Speaker 1: Sounds like Michael Sarah's got a pretty good shot, and

741
00:41:39,880 --> 00:41:41,440
Speaker 1: you will say, Josh.

742
00:41:41,280 --> 00:41:44,040
Speaker 5: I'll also be I'll be talking about another film on

743
00:41:44,080 --> 00:41:48,000
Speaker 5: this episode that has a strong contender performance over that lay.

744
00:41:48,080 --> 00:41:48,239
Speaker 4: Yeah.

745
00:41:48,560 --> 00:41:51,719
Speaker 1: Film Spottingfamily dot Com is where you can learn more.

746
00:41:52,480 --> 00:41:55,120
Speaker 6: This episode is brought to you by Peloton break through

747
00:41:55,120 --> 00:41:57,560
Speaker 6: the busiest time of year with the brand new Peloton

748
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Speaker 6: Plus at one Peloton dot Com.

754
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Speaker 1: In the world of matchmaking.

755
00:42:19,840 --> 00:42:22,600
Speaker 4: This weekend, your client is getting.

756
00:42:24,160 --> 00:42:27,759
Speaker 1: Some nice sweet see. No one plays the game better.

757
00:42:27,680 --> 00:42:31,160
Speaker 8: Than Lucy fixed to doctor, lawyer, banker and I get

758
00:42:31,160 --> 00:42:34,040
Speaker 8: along much better with girls in their twenties, but love

759
00:42:34,320 --> 00:42:35,600
Speaker 8: isn't part of her equation.

760
00:42:35,840 --> 00:42:38,120
Speaker 3: I don't want to fight about money with my boyfriend.

761
00:42:38,160 --> 00:42:40,240
Speaker 5: You know how hard it is to make you Happy.

762
00:42:40,560 --> 00:42:43,960
Speaker 1: That's from the trailer for Materialists, the latest from Past

763
00:42:44,000 --> 00:42:48,280
Speaker 1: Lives director Saline Song. It opens in wide release this weekend.

764
00:42:48,360 --> 00:42:51,560
Speaker 1: Dakota Johnson Josh is a Manhattan matchmaker for the rich

765
00:42:51,600 --> 00:42:54,360
Speaker 1: and powerful who finds herself in a love and money

766
00:42:54,400 --> 00:42:58,440
Speaker 1: triangle between Pedro Pascal's rich investor and her poor semi

767
00:42:58,480 --> 00:43:01,960
Speaker 1: employed actor ex boyfriend friend Chris Evans. Who are you

768
00:43:02,080 --> 00:43:04,240
Speaker 1: picking Josh and the petition?

769
00:43:04,880 --> 00:43:09,200
Speaker 5: Great question. I just don't know how you can go

770
00:43:09,280 --> 00:43:12,879
Speaker 5: in any direction other than Pedro Pascal. And I say

771
00:43:12,920 --> 00:43:16,720
Speaker 5: that now, I forget where he ranked on our Chris

772
00:43:16,719 --> 00:43:20,360
Speaker 5: Evans Power rankings, Papro one of our best shows. No

773
00:43:20,480 --> 00:43:21,880
Speaker 5: Chris Evans. I mean I have a big fan of

774
00:43:21,960 --> 00:43:24,520
Speaker 5: Chris Evans, you know, and so yeah, I thought about

775
00:43:24,520 --> 00:43:27,080
Speaker 5: this a little bit, but really, come on, it's it's

776
00:43:27,080 --> 00:43:28,120
Speaker 5: got to be Pedro Pascal.

777
00:43:28,440 --> 00:43:28,880
Speaker 1: I want to go.

778
00:43:29,120 --> 00:43:30,520
Speaker 5: You know, the way this is set up, He's the

779
00:43:30,520 --> 00:43:33,120
Speaker 5: guy you're not supposed to like, right, Yeah, like the

780
00:43:33,320 --> 00:43:36,879
Speaker 5: well semi employed actor ex boyfriend. I'm going to buck

781
00:43:36,920 --> 00:43:39,120
Speaker 5: that trend. I'm going to buck the romantic comedy trend

782
00:43:39,160 --> 00:43:41,040
Speaker 5: and go with the rich investor.

783
00:43:41,480 --> 00:43:45,239
Speaker 1: Yeah, I mean, I like to eat I'm going with

784
00:43:45,360 --> 00:43:49,239
Speaker 1: a fascal now. I read that plot description as if

785
00:43:49,280 --> 00:43:51,520
Speaker 1: you didn't know. Is it possible that you have already

786
00:43:51,520 --> 00:43:52,800
Speaker 1: caught up with Materialists?

787
00:43:53,000 --> 00:43:53,160
Speaker 7: No?

788
00:43:53,360 --> 00:43:55,680
Speaker 5: I will be seeing it depending on how long this

789
00:43:55,800 --> 00:43:56,560
Speaker 5: recording goes.

790
00:43:56,719 --> 00:43:58,399
Speaker 1: Oh yeah, you got to get there, so I gotta

791
00:43:58,440 --> 00:43:59,439
Speaker 1: hit Fascinator tonight.

792
00:43:59,520 --> 00:44:00,400
Speaker 5: Yeah, let's okay.

793
00:44:01,040 --> 00:44:04,160
Speaker 1: We will have a review of Materialists next week. Also,

794
00:44:04,520 --> 00:44:08,080
Speaker 1: we'll review Mike Flanagan's The Life of Chuck starring Tom

795
00:44:08,120 --> 00:44:11,719
Speaker 1: Hidlston that expands to more screens this weekend. What about

796
00:44:11,760 --> 00:44:13,839
Speaker 1: that one, Josh, any luxing.

797
00:44:13,719 --> 00:44:16,520
Speaker 5: Need touch that one? We'll be doing later this week.

798
00:44:16,680 --> 00:44:18,960
Speaker 1: Yeah, we have some viewing ahead of us for a

799
00:44:19,000 --> 00:44:22,040
Speaker 1: schedule of our future shows, including that best of the

800
00:44:22,120 --> 00:44:24,919
Speaker 1: Year so Far episode that's coming and our top five

801
00:44:25,040 --> 00:44:28,440
Speaker 1: Jack Nicholson scenes. Yeah, talk about some homework we need

802
00:44:28,480 --> 00:44:30,799
Speaker 1: to do. We are tying that in with our One

803
00:44:30,840 --> 00:44:34,320
Speaker 1: Floor of the Cuckoo's Nest Sacred Cow slash Pantheon project

804
00:44:34,360 --> 00:44:37,959
Speaker 1: review coming up. You can visit film spotting dot net

805
00:44:38,239 --> 00:44:43,680
Speaker 1: slash episodes. You can understand you're very upset, Kittridge. You've

806
00:44:43,680 --> 00:44:45,240
Speaker 1: never seen me very upset.

807
00:44:45,920 --> 00:44:50,200
Speaker 2: All right, enough is enough? You have brought it cajoled

808
00:44:50,239 --> 00:44:52,319
Speaker 2: and killed, and you have done it using loyalties on

809
00:44:52,360 --> 00:44:54,479
Speaker 2: the inside. You want to shake hands with the devil,

810
00:44:54,480 --> 00:44:55,879
Speaker 2: That's fine with me. I just want to make.

811
00:44:55,760 --> 00:45:01,239
Speaker 1: Sure that you do it in hell. Scene from the

812
00:45:01,239 --> 00:45:04,200
Speaker 1: one that started it all, Tom Cruise and Henry Turney

813
00:45:04,200 --> 00:45:09,080
Speaker 1: in nineteen ninety six's Mission Impossible, directed by Brian de Palma.

814
00:45:09,400 --> 00:45:12,000
Speaker 1: This is radio, so you'll have to conjure up the

815
00:45:12,080 --> 00:45:15,160
Speaker 1: Dutch angles on your own. It's time for some pull results.

816
00:45:15,200 --> 00:45:17,920
Speaker 1: A couple of weeks back, guest Michael Phillips and I

817
00:45:17,920 --> 00:45:21,560
Speaker 1: had a review of the eighth and presumably final Mission Impossible,

818
00:45:21,640 --> 00:45:25,840
Speaker 1: the Final Reckoning. We also shared our top five movie stunts,

819
00:45:26,200 --> 00:45:29,239
Speaker 1: and we asked you to choose one and only one

820
00:45:29,800 --> 00:45:33,080
Speaker 1: Mission Impossible film. Let's get to the results. I don't

821
00:45:33,120 --> 00:45:35,040
Speaker 1: think we need to read the options. We know there

822
00:45:35,040 --> 00:45:38,680
Speaker 1: have been eight Missions Impossible, so Josh, let's get to

823
00:45:38,760 --> 00:45:40,440
Speaker 1: the results. In last place?

824
00:45:41,000 --> 00:45:43,160
Speaker 5: With point five am I reading this correctly?

825
00:45:43,200 --> 00:45:45,239
Speaker 1: Point five percent of the vote, I guess. I guess

826
00:45:45,239 --> 00:45:48,280
Speaker 1: Sam decided to throw the Final Reckoning a bone.

827
00:45:48,400 --> 00:45:51,640
Speaker 5: Okay, and apparently you and Michael voted for it though

828
00:45:51,760 --> 00:45:54,719
Speaker 5: time in last place, Here we have next mission I

829
00:45:54,719 --> 00:45:58,240
Speaker 5: Possible two, the John Wu installment one percent there, maybe

830
00:45:58,239 --> 00:46:01,400
Speaker 5: that's John Wu's vote. I don't know, Dead Reckoning two percent,

831
00:46:01,760 --> 00:46:05,760
Speaker 5: Mission Impossible three. That one came from JJ Abrams seven

832
00:46:05,840 --> 00:46:08,799
Speaker 5: percent of the vote. Then we get into the you know,

833
00:46:08,840 --> 00:46:11,399
Speaker 5: the top tier, the stronger tier of films. I would

834
00:46:11,440 --> 00:46:15,400
Speaker 5: say Ghost Protocol from Brad Bird received fourteen percent of

835
00:46:15,400 --> 00:46:19,000
Speaker 5: the vote. Rogue Nation Christopher McCrory on that one, nineteen

836
00:46:19,040 --> 00:46:21,720
Speaker 5: percent of the vote. Jumping back to the very first film,

837
00:46:21,719 --> 00:46:24,640
Speaker 5: The Palmas, that received twenty three percent of the vote,

838
00:46:24,680 --> 00:46:29,440
Speaker 5: but winning it was a mcquory installment, Fallout got thirty

839
00:46:29,440 --> 00:46:30,640
Speaker 5: four percent of the vote.

840
00:46:30,880 --> 00:46:34,160
Speaker 1: So that was my pick. That was Iish's pick. Did

841
00:46:34,200 --> 00:46:36,799
Speaker 1: we get your vote at any point? I guess not

842
00:46:37,120 --> 00:46:37,480
Speaker 1: right now.

843
00:46:37,760 --> 00:46:39,319
Speaker 5: I don't think so. I don't think you have a

844
00:46:39,360 --> 00:46:41,560
Speaker 5: favorite I had. You know, Fallout for me is at

845
00:46:41,640 --> 00:46:45,600
Speaker 5: number two, So totally understand it, completely reasonable pick. I

846
00:46:45,880 --> 00:46:47,920
Speaker 5: have as my favorite Rogue Nation, and I have as

847
00:46:47,960 --> 00:46:49,480
Speaker 5: by reason Rebecca Ferguson.

848
00:46:49,840 --> 00:46:52,440
Speaker 1: Sure she's also in Fallout, so I can claim that

849
00:46:52,480 --> 00:46:53,000
Speaker 1: reason too.

850
00:46:53,280 --> 00:46:57,080
Speaker 5: That's true. Yeah, Fallout she introduced though, right that? I

851
00:46:57,080 --> 00:47:00,600
Speaker 5: think so that Bagerass at the Opera, You know, that. Yeah,

852
00:47:00,640 --> 00:47:01,719
Speaker 5: that goes a long way for me.

853
00:47:02,000 --> 00:47:05,480
Speaker 1: Okay, let's hear from our listeners. Richard Breen says I

854
00:47:05,560 --> 00:47:08,719
Speaker 1: rewatched the entire series before Dead Reckoning and rewatch Dead

855
00:47:08,760 --> 00:47:12,240
Speaker 1: Reckoning before the final Reckoning. For me, without question, fallout

856
00:47:12,239 --> 00:47:14,480
Speaker 1: as the best and the only bona fide five star

857
00:47:14,560 --> 00:47:17,440
Speaker 1: classic in the series. As others have said, Rebecca Ferguson's

858
00:47:17,480 --> 00:47:20,000
Speaker 1: il Safaust is the standout female lead of the series,

859
00:47:20,160 --> 00:47:22,400
Speaker 1: and I also like the genuine personal stakes at the

860
00:47:22,480 --> 00:47:25,840
Speaker 1: end with the reintroduction of Michelle Monahan's Julia into the mix.

861
00:47:26,080 --> 00:47:29,080
Speaker 5: Here's Dave Allen. I voted for Mission Impossible one due

862
00:47:29,120 --> 00:47:32,520
Speaker 5: to its excellent pacing, directing, and interesting camera shots, all

863
00:47:32,520 --> 00:47:35,360
Speaker 5: hallmarks of a good Brian to Palmer film. Mission Impossible

864
00:47:35,400 --> 00:47:37,239
Speaker 5: three is a very close second for me, though, with

865
00:47:37,280 --> 00:47:40,040
Speaker 5: its pivot to Ethan's private life and an all time

866
00:47:40,080 --> 00:47:43,000
Speaker 5: great villain in Philip Seymour Hoffman.

867
00:47:42,880 --> 00:47:47,600
Speaker 1: I'm Gonna Hurt Her Aaron Teachman in La Bonus Massaker Theater.

868
00:47:48,120 --> 00:47:50,799
Speaker 1: I am an absolute sucker for this franchise. I will

869
00:47:50,840 --> 00:47:52,560
Speaker 1: watch any of them at the drop of a hat,

870
00:47:52,800 --> 00:47:56,440
Speaker 1: even Woo's weird ripoff of Notorious I revisited the original

871
00:47:56,520 --> 00:47:59,080
Speaker 1: not too long ago, and it is a great spy thriller,

872
00:47:59,160 --> 00:48:02,320
Speaker 1: no question where the series swerves and sticks. The landing

873
00:48:02,320 --> 00:48:05,440
Speaker 1: the absolute best, where character and stunts are wonderfully in balance.

874
00:48:05,480 --> 00:48:08,880
Speaker 1: I have to go with our introduction to Rebecca Ferguson's

875
00:48:08,880 --> 00:48:11,239
Speaker 1: ill Sa There it is Josh twenty fifteen's Rogue Nation.

876
00:48:11,719 --> 00:48:14,239
Speaker 5: I like it. Here's Colton Butcher. This is one of

877
00:48:14,280 --> 00:48:17,080
Speaker 5: the most stable franchises we have. Even the bad ones

878
00:48:17,080 --> 00:48:20,080
Speaker 5: are at minimum entertaining. I am a mission impossible to

879
00:48:20,120 --> 00:48:23,880
Speaker 5: apologist for me. The series really nailed it with Ghost Protocol,

880
00:48:24,040 --> 00:48:26,880
Speaker 5: the globe trotting, the gadgets, the Quippi dialogue, and the

881
00:48:26,880 --> 00:48:29,920
Speaker 5: stellar action set pieces. I put so much of the

882
00:48:29,960 --> 00:48:32,280
Speaker 5: success of this movie on the shoulders of Brad Bird.

883
00:48:32,400 --> 00:48:34,560
Speaker 5: He has a real knack for action. I'm thinking The

884
00:48:34,560 --> 00:48:37,759
Speaker 5: Incredibles and even Ratitu He's small scale set pieces. He

885
00:48:37,800 --> 00:48:40,760
Speaker 5: also brought a joy in cartoon chaos to the series

886
00:48:40,800 --> 00:48:44,319
Speaker 5: that feels really fresh. Though I've enjoyed McCrory's films, I

887
00:48:44,320 --> 00:48:46,880
Speaker 5: wish Bird would have been the one to helm this franchise.

888
00:48:47,239 --> 00:48:49,760
Speaker 5: The Burj Khalifa stunt is my favorite in the whole

889
00:48:49,800 --> 00:48:53,600
Speaker 5: series crews running across and scaling down the tallest building

890
00:48:53,719 --> 00:48:56,239
Speaker 5: in the world will never not be breathtaking.

891
00:48:56,600 --> 00:49:03,680
Speaker 1: Finally, here's Tory lightcap ForWords Henry Cavil, arm Reloading. A

892
00:49:03,719 --> 00:49:08,879
Speaker 1: few more words, Josh, fall Out. That's the movie. The

893
00:49:09,000 --> 00:49:13,040
Speaker 1: arm Reloading appears in thank you to everyone who voted

894
00:49:13,320 --> 00:49:16,400
Speaker 1: and left a comment. We have our definitive winner. Our

895
00:49:16,440 --> 00:49:18,960
Speaker 1: new poll asked you to pick a Wes Anderson film,

896
00:49:19,480 --> 00:49:23,920
Speaker 1: but only from his output over the last decades. So

897
00:49:24,000 --> 00:49:29,960
Speaker 1: this is post Grand Budapest Hotel, Josh. The options in

898
00:49:30,040 --> 00:49:31,480
Speaker 1: chronological order.

899
00:49:31,680 --> 00:49:37,120
Speaker 5: Are Isle of Dogs, The French Dispatch, Asteroid City, The

900
00:49:37,200 --> 00:49:40,799
Speaker 5: Wonderful Story of Henry Sugar and three More, or the

901
00:49:40,840 --> 00:49:41,880
Speaker 5: Phoenicians Scheme.

902
00:49:42,239 --> 00:49:45,120
Speaker 1: Well, you said that the French Dispatch is now shot

903
00:49:45,200 --> 00:49:47,960
Speaker 1: up your ranking, or it's edging its way up there,

904
00:49:48,040 --> 00:49:50,359
Speaker 1: So where are you going with this one?

905
00:49:51,040 --> 00:49:54,160
Speaker 5: It certainly is, but not enough to move ahead of

906
00:49:54,160 --> 00:49:57,319
Speaker 5: Isle of Dogs. I just I'm a sucker for his

907
00:49:57,360 --> 00:50:01,480
Speaker 5: stop motion stuff in general, and that one is so

908
00:50:01,680 --> 00:50:04,719
Speaker 5: rich that it's firmly rooted at I think number two

909
00:50:04,920 --> 00:50:09,080
Speaker 5: or number three possibly in my rankings for Wes Anderson film.

910
00:50:09,120 --> 00:50:10,640
Speaker 5: So I'm gonna go Isle of Dogs. How about you?

911
00:50:11,040 --> 00:50:14,279
Speaker 1: Well, I was trying as you were talking, I was

912
00:50:14,280 --> 00:50:16,239
Speaker 1: hoping you were gonna tap dance a little bit more

913
00:50:16,280 --> 00:50:19,200
Speaker 1: and I would bring up my Wes Anderson there it is,

914
00:50:19,239 --> 00:50:24,600
Speaker 1: bring up my Wes Anderson ranking and see what I have. Well, okay,

915
00:50:25,160 --> 00:50:29,399
Speaker 1: there's my answer. That is not exactly how I thought

916
00:50:29,400 --> 00:50:32,480
Speaker 1: it would go. I thought for sure my answer was

917
00:50:32,480 --> 00:50:37,960
Speaker 1: going to be Asteroid City. Yeah, but at least according

918
00:50:38,000 --> 00:50:43,240
Speaker 1: to my ranked Wes Anderson list over on Letterboxed, which

919
00:50:43,640 --> 00:50:48,239
Speaker 1: hasn't been updated since October twenty twenty one, so it's

920
00:50:48,320 --> 00:50:53,759
Speaker 1: missing at least the Charlotte films. Yeah, and the Doll films. Right.

921
00:50:54,719 --> 00:50:57,480
Speaker 1: I have Isle of Dogs at five. Okay, I have

922
00:50:57,520 --> 00:51:01,160
Speaker 1: Isle of Dogs at five, just as still good Grand

923
00:51:01,200 --> 00:51:04,480
Speaker 1: Budapest Hotel. The last time I watched that, which I

924
00:51:04,480 --> 00:51:07,520
Speaker 1: don't think was for the show. We may have talked

925
00:51:07,520 --> 00:51:09,400
Speaker 1: about it briefly, but I think it was just as

926
00:51:09,440 --> 00:51:12,440
Speaker 1: part of a COVID watch of Anderson's films with my kids.

927
00:51:13,160 --> 00:51:16,440
Speaker 1: I just really went for that film. I liked it

928
00:51:16,560 --> 00:51:19,040
Speaker 1: when we reviewed it, I wrote it positively, but I

929
00:51:19,120 --> 00:51:21,799
Speaker 1: really went for it when I rewatched it. So I

930
00:51:21,840 --> 00:51:23,560
Speaker 1: guess I have to answer Isle of Dogs. Even though

931
00:51:23,600 --> 00:51:25,520
Speaker 1: I thought my answer was Asteroid City.

932
00:51:25,680 --> 00:51:27,960
Speaker 5: There you go, kind of a revisit of Asteroid City,

933
00:51:28,000 --> 00:51:30,040
Speaker 5: you know, might push it ahead. But hey, if there's

934
00:51:30,120 --> 00:51:33,080
Speaker 5: if there's a takeaway, and you haven't checked out Ale

935
00:51:33,120 --> 00:51:35,520
Speaker 5: of Dogs yet, if you're like, eh, I like his stuff,

936
00:51:35,560 --> 00:51:39,080
Speaker 5: not the stop motion, really give it a shot because

937
00:51:39,239 --> 00:51:40,440
Speaker 5: it so gets wonderful.

938
00:51:40,719 --> 00:51:43,560
Speaker 1: Yeah, vote in that poll and leave a comment at

939
00:51:43,600 --> 00:51:47,280
Speaker 1: filmspotting dot net. And before we move on to your

940
00:51:47,480 --> 00:51:53,160
Speaker 1: Japan talk here, Josh very fitting with Isle of Dogs.

941
00:51:53,200 --> 00:51:56,000
Speaker 1: Maybe I can actually look through at filmspotting dot net

942
00:51:56,080 --> 00:52:00,600
Speaker 1: and just give everyone a quick glance, because Say likes

943
00:52:00,640 --> 00:52:03,600
Speaker 1: to post these full questions before we read them here

944
00:52:03,640 --> 00:52:06,800
Speaker 1: on the show. It is very very early in voting,

945
00:52:06,880 --> 00:52:09,040
Speaker 1: but it is Asteroid City and Isle of Dogs that

946
00:52:09,200 --> 00:52:11,399
Speaker 1: right now are duking it out for that top spot. Again,

947
00:52:11,640 --> 00:52:14,120
Speaker 1: very early in voting. Now that's out of the way,

948
00:52:14,440 --> 00:52:16,680
Speaker 1: tell us a little bit about Japan and any film

949
00:52:16,680 --> 00:52:18,640
Speaker 1: spotting listeners who you had the chance to meet up with.

950
00:52:18,920 --> 00:52:22,080
Speaker 5: We did have a meetup, which was fantastic. And yeah,

951
00:52:22,080 --> 00:52:24,200
Speaker 5: the reason I just wanted to say a few things

952
00:52:24,280 --> 00:52:28,640
Speaker 5: is because this really is a cinophile dream destination. There's

953
00:52:28,680 --> 00:52:32,160
Speaker 5: a movie you know everywhere you look. And I'm by

954
00:52:32,200 --> 00:52:34,919
Speaker 5: no means an expert in Japanese cinema, so you don't

955
00:52:34,960 --> 00:52:37,520
Speaker 5: have to be. I just think most movie fans have

956
00:52:37,640 --> 00:52:40,279
Speaker 5: seen enough to feel like you're kind of walking through

957
00:52:40,320 --> 00:52:45,480
Speaker 5: so many of those movies. Obviously, Miyazaki was everywhere, especially

958
00:52:45,560 --> 00:52:48,319
Speaker 5: once we got outside of the major cities and a

959
00:52:48,320 --> 00:52:52,239
Speaker 5: little bit into the mountains alongside these volcanic cliffs of

960
00:52:52,280 --> 00:52:54,680
Speaker 5: one of the coasts where the water was just like

961
00:52:54,760 --> 00:52:59,279
Speaker 5: exploding very panno. Yeah, I mentioned you and Sam we

962
00:52:59,320 --> 00:53:03,440
Speaker 5: had talked about there's Jibli Park which you can go visit,

963
00:53:03,600 --> 00:53:06,920
Speaker 5: and I've heard wonderful things, and we didn't put it

964
00:53:06,960 --> 00:53:08,879
Speaker 5: on our itinerary because it would have met a whole

965
00:53:08,880 --> 00:53:13,480
Speaker 5: extra day. It's not like near a major destination, and

966
00:53:13,560 --> 00:53:16,200
Speaker 5: I just kind of thought, h I hope I'll get

967
00:53:16,320 --> 00:53:19,959
Speaker 5: enough of that sense just being in these other areas

968
00:53:20,000 --> 00:53:22,279
Speaker 5: of the country, and that was absolutely the case. I mean,

969
00:53:22,640 --> 00:53:26,080
Speaker 5: some of these traditional ins we stayed in echoed Ozu's

970
00:53:26,080 --> 00:53:30,040
Speaker 5: domestic spaces, the castles we were able to see are

971
00:53:30,200 --> 00:53:35,200
Speaker 5: you Kursawa Samurai films, and then Tokyo itself. You've got

972
00:53:35,280 --> 00:53:38,560
Speaker 5: you know, so Toshi Kon's Tokyo Godfathers came to mind,

973
00:53:38,560 --> 00:53:42,120
Speaker 5: but other anime, Makoto Shinkai's Weathering with You your Name,

974
00:53:42,280 --> 00:53:46,920
Speaker 5: this stuff, it's just everywhere. So really encourage anyone if

975
00:53:46,920 --> 00:53:49,360
Speaker 5: this is maybe on a travel list and you're a

976
00:53:49,400 --> 00:53:51,680
Speaker 5: movie fan, to give you a push to go ahead

977
00:53:51,719 --> 00:53:52,640
Speaker 5: and do it and.

978
00:53:52,560 --> 00:53:55,400
Speaker 1: Real quick, Josh, you may not remember it. And also

979
00:53:55,600 --> 00:53:58,000
Speaker 1: just for the benefit of our listeners. Back when we

980
00:53:58,040 --> 00:54:00,919
Speaker 1: reviewed in the last year or two, than Vendors film

981
00:54:00,920 --> 00:54:02,759
Speaker 1: Perfect Days and we did our top five, I think

982
00:54:02,840 --> 00:54:06,360
Speaker 1: Tokyo movies I brought up or I put on my

983
00:54:06,440 --> 00:54:10,360
Speaker 1: top five list Tokyo Go, which is a Vendors documentary

984
00:54:10,360 --> 00:54:13,480
Speaker 1: from nineteen eighty five. That's essentially the conceit of that

985
00:54:13,600 --> 00:54:17,480
Speaker 1: film is that Vendors is such a fan of Ozuo,

986
00:54:17,480 --> 00:54:20,920
Speaker 1: so it's Ozoo focus. But he went to Japan and

987
00:54:21,040 --> 00:54:24,880
Speaker 1: was like, I can't view Japan through any lens but

988
00:54:25,000 --> 00:54:27,759
Speaker 1: through the lens of Ozuo films, and yeah, that's how

989
00:54:28,200 --> 00:54:32,839
Speaker 1: that's how he went through the country basically was filming it,

990
00:54:32,920 --> 00:54:36,600
Speaker 1: but having to visit all the different landmarks that he

991
00:54:36,719 --> 00:54:40,000
Speaker 1: saw in Ozoo's movies. So I highly recommend that film

992
00:54:40,040 --> 00:54:42,200
Speaker 1: if you haven't seen it, Tokyo yah.

993
00:54:41,760 --> 00:54:44,200
Speaker 5: And that's on my list. I honestly, I came home

994
00:54:44,239 --> 00:54:47,040
Speaker 5: and was like, I only want to rewatch every Japanese

995
00:54:47,040 --> 00:54:48,719
Speaker 5: movie I've ever seen, and I only want to watch

996
00:54:48,800 --> 00:54:52,400
Speaker 5: Japanese movies going forward or Japanese related. I think we

997
00:54:52,480 --> 00:54:54,040
Speaker 5: might have you know, we might have seen one of

998
00:54:54,080 --> 00:54:57,400
Speaker 5: those bathrooms in Perfect Days, actually, the one where the

999
00:54:57,880 --> 00:54:59,600
Speaker 5: it's you can see into it and then when you

1000
00:54:59,640 --> 00:55:03,680
Speaker 5: lock the like colors cover the unless maybe those are common,

1001
00:55:03,719 --> 00:55:05,680
Speaker 5: but we saw one like that for sure. Okay, the

1002
00:55:05,719 --> 00:55:09,239
Speaker 5: meetup so much fun. I have to thank at the

1003
00:55:09,280 --> 00:55:12,839
Speaker 5: top here Mela, a listener who started listening to us.

1004
00:55:12,840 --> 00:55:15,360
Speaker 5: She said because she just wanted to improve her English

1005
00:55:15,400 --> 00:55:18,120
Speaker 5: and was looking for podcasts and has been listening for

1006
00:55:18,160 --> 00:55:21,200
Speaker 5: a long time. But she made the reservations for us.

1007
00:55:21,320 --> 00:55:26,720
Speaker 5: At this great cocktail spot. There were these tea infused cocktails. Adam,

1008
00:55:26,760 --> 00:55:29,760
Speaker 5: you know I'm a tea drinker, so those were quite delicious.

1009
00:55:29,800 --> 00:55:32,680
Speaker 5: Thank you, Mila. We also met up with Michael, who

1010
00:55:33,400 --> 00:55:38,080
Speaker 5: recruited two friends who like movies haven't listened and he

1011
00:55:38,120 --> 00:55:40,160
Speaker 5: thought here's a way to hook him. So I hope

1012
00:55:40,280 --> 00:55:44,560
Speaker 5: David and Greg, you guys are listening. Joe and Felicity.

1013
00:55:44,680 --> 00:55:46,440
Speaker 5: So great to meet the two of them. I think

1014
00:55:46,560 --> 00:55:50,319
Speaker 5: Joe is maybe more of the regular listener, but Felicity,

1015
00:55:50,360 --> 00:55:52,880
Speaker 5: his wife, really brought it. When we were talking about

1016
00:55:52,920 --> 00:55:55,920
Speaker 5: our favorite films of the last twenty five years, came

1017
00:55:55,960 --> 00:56:00,920
Speaker 5: in with a Meek's cutoff poll. So that was fantastic. Tom,

1018
00:56:01,040 --> 00:56:04,360
Speaker 5: who was there. Tom has lived in Tokyo or Japan

1019
00:56:04,400 --> 00:56:07,600
Speaker 5: at least for thirty five years, originally from Wisconsin, says

1020
00:56:07,640 --> 00:56:11,439
Speaker 5: he's never going back. And then Terrence as well, who

1021
00:56:11,520 --> 00:56:16,239
Speaker 5: might have been the longest time listener there. I think

1022
00:56:16,280 --> 00:56:18,160
Speaker 5: I have that right. Certainly he was there within the

1023
00:56:18,200 --> 00:56:19,160
Speaker 5: first year or two.

1024
00:56:19,760 --> 00:56:20,200
Speaker 1: I believe.

1025
00:56:20,280 --> 00:56:24,120
Speaker 5: Terrence said, so good to meet those listeners. And then

1026
00:56:24,680 --> 00:56:28,360
Speaker 5: I have to mention Yo Taro, so Yo Tiro. Debbie

1027
00:56:28,400 --> 00:56:30,880
Speaker 5: and I went for a food tour the night before

1028
00:56:31,239 --> 00:56:35,040
Speaker 5: and a lot of fun two guides. Yo Taro was

1029
00:56:35,040 --> 00:56:37,160
Speaker 5: one of them. And you know, if you've ever done

1030
00:56:37,200 --> 00:56:39,319
Speaker 5: one of these, you hit a couple spots and you

1031
00:56:39,400 --> 00:56:41,800
Speaker 5: walk to them, so you're chatting in between. Pretty quickly

1032
00:56:41,880 --> 00:56:46,440
Speaker 5: realized hardcore cinephile like this. I forget how it came up,

1033
00:56:46,440 --> 00:56:49,520
Speaker 5: but he knows his stuff, and I feel bad. Towards

1034
00:56:49,560 --> 00:56:51,319
Speaker 5: the end of the tour, the two of us kind

1035
00:56:51,320 --> 00:56:53,920
Speaker 5: of just drifted towards the back and we're just talking

1036
00:56:54,000 --> 00:56:56,560
Speaker 5: movies and I kind of stole one of the guides

1037
00:56:57,120 --> 00:56:58,920
Speaker 5: for the rest of the night. But yeah, I just

1038
00:56:58,960 --> 00:57:01,200
Speaker 5: said to him, hey, why don't you join us tomorrow

1039
00:57:01,280 --> 00:57:04,959
Speaker 5: night if you can. So he came and was great

1040
00:57:04,960 --> 00:57:06,680
Speaker 5: to have him as part of that. Hopefully he is

1041
00:57:06,800 --> 00:57:09,759
Speaker 5: listening now as well. And yet to bring it back

1042
00:57:09,760 --> 00:57:12,440
Speaker 5: at him to Isle of Dogs and Lost in Translation,

1043
00:57:12,520 --> 00:57:15,080
Speaker 5: I was curious to hear from him how movies like

1044
00:57:15,080 --> 00:57:17,120
Speaker 5: that are received in Japan, because I know there's some

1045
00:57:17,160 --> 00:57:21,600
Speaker 5: talk state side about cultural appropriation or lost in translations case,

1046
00:57:21,720 --> 00:57:25,560
Speaker 5: you know, the depiction of the Japanese in that movie.

1047
00:57:25,920 --> 00:57:29,000
Speaker 5: And real quick, just a couple funny things Yotaro told

1048
00:57:29,040 --> 00:57:30,920
Speaker 5: me is at least in the people he talked to

1049
00:57:31,680 --> 00:57:35,280
Speaker 5: Lost in Translation he said, yes, was a little insulting,

1050
00:57:35,720 --> 00:57:39,680
Speaker 5: but not wrong. So that was his feedback on that

1051
00:57:39,800 --> 00:57:42,840
Speaker 5: and Isle of Dogs. He just said, everyone I know

1052
00:57:43,760 --> 00:57:48,080
Speaker 5: loves Wes Anderson and completely understands that everything there was

1053
00:57:48,120 --> 00:57:53,360
Speaker 5: from a place of like deep admiration and appreciation and celebration.

1054
00:57:53,480 --> 00:57:55,200
Speaker 5: In Isle of Dogs at least, So I'm not saying

1055
00:57:55,200 --> 00:57:57,680
Speaker 5: everyone has to feel that way. I think concerns about

1056
00:57:58,040 --> 00:58:00,600
Speaker 5: you know, the references to Japanese culture there are legit

1057
00:58:00,680 --> 00:58:02,720
Speaker 5: if you feel that way, but just interesting to hear

1058
00:58:02,760 --> 00:58:06,920
Speaker 5: that perspective from Yataro. So yeah, thanks to those folks

1059
00:58:06,960 --> 00:58:09,640
Speaker 5: for meeting up. It was a great chance to do

1060
00:58:09,720 --> 00:58:10,840
Speaker 5: that while we were traveling.

1061
00:58:11,080 --> 00:58:14,360
Speaker 1: Yeah, that's very cool, and we knew this already, but

1062
00:58:14,400 --> 00:58:18,760
Speaker 1: I'll go ahead and underline it here. I previously had

1063
00:58:18,760 --> 00:58:25,240
Speaker 1: the record for farthest flung meetup hell Sinki from Chicago

1064
00:58:25,280 --> 00:58:28,440
Speaker 1: to hell Sinki. This was back in maybe two thousand

1065
00:58:28,480 --> 00:58:32,760
Speaker 1: and eight. I think four listeners came to that meetup,

1066
00:58:33,160 --> 00:58:35,160
Speaker 1: and it was cool, it was great. It was incredible

1067
00:58:35,160 --> 00:58:37,560
Speaker 1: that there were four listeners in hell Sinki meeting me

1068
00:58:37,720 --> 00:58:41,160
Speaker 1: at a bar. Right Chicago to Helsinki about forty five

1069
00:58:41,240 --> 00:58:44,520
Speaker 1: hundred forty three forty five hundred miles away. You met

1070
00:58:44,600 --> 00:58:47,760
Speaker 1: up with the listeners in Oslo, Norway. Right, that's about

1071
00:58:47,800 --> 00:58:50,840
Speaker 1: four thousand, So it's a good time. I just googled it.

1072
00:58:51,040 --> 00:58:54,040
Speaker 1: That's sixty three hundred miles to Tokyo. So I think

1073
00:58:54,080 --> 00:58:56,160
Speaker 1: the only way we're going to beat that is if

1074
00:58:56,200 --> 00:58:58,280
Speaker 1: one of us gets to Australia some day. I don't know.

1075
00:58:58,280 --> 00:59:00,640
Speaker 1: Maybe you've already been to Australia, Josh before you joined

1076
00:59:00,640 --> 00:59:01,000
Speaker 1: the show.

1077
00:59:01,360 --> 00:59:03,800
Speaker 5: No, I would love to, and I have a sense

1078
00:59:03,880 --> 00:59:05,720
Speaker 5: we'd it'd probably be a pretty good size.

1079
00:59:05,760 --> 00:59:07,520
Speaker 1: It would be a good size beat up.

1080
00:59:07,600 --> 00:59:09,520
Speaker 5: So let's put that on the to do list.

1081
00:59:09,800 --> 00:59:12,280
Speaker 1: Yeah, there's some film festivals there. We can justify that

1082
00:59:12,680 --> 00:59:13,960
Speaker 1: for sure. We got to do it.

1083
00:59:16,760 --> 00:59:25,200
Speaker 4: Welcome You're the best ban in the nineties for kids

1084
00:59:25,200 --> 00:59:28,120
Speaker 4: who felt like everything was stupid and everything sucked.

1085
00:59:28,680 --> 00:59:29,480
Speaker 1: They were your band.

1086
00:59:31,600 --> 00:59:35,000
Speaker 5: That's from the trailer for Pavements. The quote real film

1087
00:59:35,160 --> 00:59:38,520
Speaker 5: about a fake film about the world's most important band

1088
00:59:38,680 --> 00:59:42,360
Speaker 5: from director Alex ross Perry. We reviewed a handful of

1089
00:59:42,360 --> 00:59:45,760
Speaker 5: his films on the show. Adam Hersmell Queen of Earth.

1090
00:59:45,880 --> 00:59:46,720
Speaker 5: Listen up, Philip.

1091
00:59:46,840 --> 00:59:48,680
Speaker 1: I've interviewed him too on the show.

1092
00:59:48,600 --> 00:59:51,640
Speaker 5: There You Go. The band is Pavement, which had a

1093
00:59:51,680 --> 00:59:57,040
Speaker 5: critically acclaimed, popularly ignored run of five albums between nineteen

1094
00:59:57,160 --> 01:00:00,720
Speaker 5: ninety two and nineteen ninety nine. What do you think

1095
01:00:00,760 --> 01:00:03,960
Speaker 5: of this film, Adam, and what if any relationship did

1096
01:00:03,960 --> 01:00:06,360
Speaker 5: you have with Pavement before seen it? That was our

1097
01:00:06,440 --> 01:00:09,240
Speaker 5: prime I'm thinking like college.

1098
01:00:09,480 --> 01:00:10,240
Speaker 1: Yeah, years.

1099
01:00:10,440 --> 01:00:13,240
Speaker 5: So you know, I had a good friend who had

1100
01:00:13,320 --> 01:00:16,880
Speaker 5: much better taste in music than me, even though I

1101
01:00:16,920 --> 01:00:18,720
Speaker 5: thought I had great taste. Then Greg Van Dyke, I

1102
01:00:18,760 --> 01:00:21,080
Speaker 5: don't know if he listens, but shouting him out. He

1103
01:00:21,200 --> 01:00:23,400
Speaker 5: was into Pavement. I heard Pavement when I hung out

1104
01:00:23,440 --> 01:00:26,600
Speaker 5: with him, but other than that, you know, I wasn't

1105
01:00:26,600 --> 01:00:27,680
Speaker 5: too familiar. How about you.

1106
01:00:27,920 --> 01:00:29,400
Speaker 1: I think when I got to college, I was still

1107
01:00:29,440 --> 01:00:32,440
Speaker 1: listening to hair metal, so I definitely wasn't listening to

1108
01:00:32,480 --> 01:00:38,920
Speaker 1: Pavements and never got in to Pavement. Before I watched

1109
01:00:39,160 --> 01:00:43,520
Speaker 1: this film, I only knew Stephen Malkmus by reputation. His

1110
01:00:43,800 --> 01:00:47,920
Speaker 1: name came up enough in certain circles that it's like

1111
01:00:48,000 --> 01:00:51,520
Speaker 1: when you're in cinophile circles and certain directors would get

1112
01:00:51,600 --> 01:00:54,640
Speaker 1: named or movies would get name dropped, and you'd be like, oh,

1113
01:00:54,720 --> 01:00:56,640
Speaker 1: I have to no and act like I know who

1114
01:00:56,680 --> 01:01:00,880
Speaker 1: they're talking about. That's what would happen with Malcolm and Pavement,

1115
01:01:01,160 --> 01:01:05,680
Speaker 1: but I never knew who they were talking about. And

1116
01:01:05,720 --> 01:01:08,720
Speaker 1: now that I've seen this movie, which I'm a big

1117
01:01:08,760 --> 01:01:12,160
Speaker 1: fan of, I have a feeling I'm going to go

1118
01:01:12,160 --> 01:01:15,840
Speaker 1: down the rabbit hole. You're on Spotify pretty soon we

1119
01:01:15,920 --> 01:01:20,280
Speaker 1: see this footage pretty early in the movie from MTV,

1120
01:01:20,880 --> 01:01:27,760
Speaker 1: Beavis and butt Head hilariously suggested Pavement needed to try harder.

1121
01:01:30,080 --> 01:01:36,680
Speaker 1: Oh no, it's another one of these I need to

1122
01:01:36,720 --> 01:01:40,200
Speaker 1: try harder. Yeah, I'm I'm like, they're not even try.

1123
01:01:43,320 --> 01:01:46,000
Speaker 1: Come on, come on, I want to start over again.

1124
01:01:46,200 --> 01:01:46,840
Speaker 6: En this time.

1125
01:01:46,840 --> 01:01:52,640
Speaker 1: Try because you know they're like this, this slacker band, right,

1126
01:01:53,880 --> 01:01:57,280
Speaker 1: You certainly can't lob that criticism at Alex ross Perry,

1127
01:01:57,520 --> 01:02:03,920
Speaker 1: who crafts a mock biopic, art installation, and jukebox musical

1128
01:02:04,520 --> 01:02:09,640
Speaker 1: all in service of a heartfelt documentary tribute. That plot

1129
01:02:09,680 --> 01:02:12,640
Speaker 1: synopsis doesn't really do the movie justice, because yes, there

1130
01:02:12,720 --> 01:02:16,560
Speaker 1: is a fake movie, right, this mock biopic that is

1131
01:02:16,600 --> 01:02:20,840
Speaker 1: a huge part of the documentary. But the movie really

1132
01:02:20,880 --> 01:02:23,560
Speaker 1: isn't at its core about the fake movie. The fake

1133
01:02:23,640 --> 01:02:28,640
Speaker 1: movie is there really because it's there to serve I

1134
01:02:28,680 --> 01:02:33,480
Speaker 1: think the documentary itself. Late in the movie, Scott Canberg,

1135
01:02:33,600 --> 01:02:35,960
Speaker 1: a member of the band who goes by Spiral, stares

1136
01:02:36,320 --> 01:02:38,959
Speaker 1: he's being interviewed at the opening of the art show,

1137
01:02:39,320 --> 01:02:42,000
Speaker 1: and he says something that really resonated with me.

1138
01:02:42,760 --> 01:02:43,600
Speaker 3: You're just arriving.

1139
01:02:43,920 --> 01:02:46,959
Speaker 9: This must be a little overwhelming, all.

1140
01:02:46,920 --> 01:02:48,760
Speaker 4: Right, I'm just freaked out.

1141
01:02:49,200 --> 01:02:51,040
Speaker 9: Yeah right, this is your life.

1142
01:02:52,040 --> 01:02:52,680
Speaker 2: Start trying.

1143
01:02:57,240 --> 01:02:58,440
Speaker 4: How thought it was supposed to be fake?

1144
01:03:00,200 --> 01:03:00,640
Speaker 6: All real?

1145
01:03:01,440 --> 01:03:03,919
Speaker 1: There are so many layers of artifice to this movie,

1146
01:03:04,000 --> 01:03:07,520
Speaker 1: Josh as you can imagine. Who knows exactly what he's

1147
01:03:07,560 --> 01:03:09,840
Speaker 1: referencing when he says, I thought this was supposed to

1148
01:03:09,840 --> 01:03:12,560
Speaker 1: be fake. It's not clear all of these events or

1149
01:03:12,600 --> 01:03:16,640
Speaker 1: works were invented for the movie. They aren't happening independently

1150
01:03:16,680 --> 01:03:19,640
Speaker 1: of the movie, so in that sense, they aren't real.

1151
01:03:20,000 --> 01:03:24,200
Speaker 1: Our friend Griffin Newman from blank Check isn't really playing

1152
01:03:24,280 --> 01:03:29,200
Speaker 1: the drummer Steve West in a pavement biopic called Range Life.

1153
01:03:29,280 --> 01:03:33,040
Speaker 1: He's playing drummer Steve West in a pavement biopick called

1154
01:03:33,120 --> 01:03:36,840
Speaker 1: range Life that's being spoofed in the documentary Pavements. But

1155
01:03:36,880 --> 01:03:39,360
Speaker 1: here's the thing. When you amass a bunch of real

1156
01:03:39,400 --> 01:03:45,080
Speaker 1: paraphernalia and ephemera from the band's past and display it

1157
01:03:45,160 --> 01:03:47,920
Speaker 1: in a space and then bring together in that space

1158
01:03:48,120 --> 01:03:52,400
Speaker 1: the band and fans and others as if it's an

1159
01:03:52,440 --> 01:03:56,800
Speaker 1: actual art exhibit, and it provokes an actual emotional response

1160
01:03:56,840 --> 01:04:00,560
Speaker 1: in people, then guess what, it's an art exhibit. And

1161
01:04:00,240 --> 01:04:04,600
Speaker 1: that's kind of how the movie. The entire movie functions.

1162
01:04:04,680 --> 01:04:10,640
Speaker 1: The soundtrack to the End Montage is the final song

1163
01:04:11,240 --> 01:04:16,320
Speaker 1: of the musical that Alex Ross Perry has created, composed

1164
01:04:16,320 --> 01:04:18,480
Speaker 1: by the way, by Keegan DeWitt, who did the music

1165
01:04:18,480 --> 01:04:21,360
Speaker 1: for Hearts Beat Loud, that really good Nick Offerman movie

1166
01:04:21,400 --> 01:04:24,320
Speaker 1: from a few years ago. And the final song is

1167
01:04:24,320 --> 01:04:31,480
Speaker 1: this collage of multiple Pavement tunes, and we're seeing some

1168
01:04:31,640 --> 01:04:34,560
Speaker 1: of the song being performed as part of the musical,

1169
01:04:34,680 --> 01:04:37,480
Speaker 1: but it's mixed with highlights from the band's final performance

1170
01:04:37,520 --> 01:04:39,520
Speaker 1: of the tour in twenty twenty two. That the doc

1171
01:04:39,640 --> 01:04:43,880
Speaker 1: is covering the performance the rehearsals that the movie covers

1172
01:04:44,520 --> 01:04:46,760
Speaker 1: footage from the past. It's basically a snapshot of the

1173
01:04:46,880 --> 01:04:49,840
Speaker 1: entire film, right, it's the end Montage. And here I'm

1174
01:04:49,840 --> 01:04:52,640
Speaker 1: going to reference another line from the movie when talking

1175
01:04:53,400 --> 01:04:55,640
Speaker 1: about why he conceived the musical. This is like ten

1176
01:04:55,720 --> 01:04:59,120
Speaker 1: or fifteen minutes into the movie, Perry on camera says,

1177
01:04:59,720 --> 01:05:01,640
Speaker 1: and I I thought, wouldn't it be funny to take

1178
01:05:01,680 --> 01:05:06,080
Speaker 1: all these Pavement songs, slacker songs, alternative, whatever you want

1179
01:05:06,080 --> 01:05:09,680
Speaker 1: to call it, ironic put them in the most sincere

1180
01:05:09,840 --> 01:05:13,920
Speaker 1: art form possible musical theater. See if it works well.

1181
01:05:13,960 --> 01:05:17,160
Speaker 1: Not only does it work. All of a sudden, it

1182
01:05:17,200 --> 01:05:20,800
Speaker 1: starts getting a little dusty, sitting on my couch watching

1183
01:05:20,840 --> 01:05:24,040
Speaker 1: people in a fake musical sing songs I don't know

1184
01:05:24,320 --> 01:05:27,160
Speaker 1: by a band I don't have any connection to, which

1185
01:05:28,040 --> 01:05:32,080
Speaker 1: says something about Malcolmus as a songwriter. It also says

1186
01:05:32,080 --> 01:05:34,160
Speaker 1: something about I suppose how much of a sucker I

1187
01:05:34,200 --> 01:05:38,720
Speaker 1: am for the sincerity of musical theater. There's that word again, sincerity,

1188
01:05:39,240 --> 01:05:42,440
Speaker 1: And you know Malclmus, he has some of that Dylan

1189
01:05:42,560 --> 01:05:47,000
Speaker 1: esque innately caginess about him, though caginess probably isn't the

1190
01:05:47,040 --> 01:05:50,800
Speaker 1: right word, because unlike Dylan, he's not remotely as antagonistic.

1191
01:05:50,840 --> 01:05:52,720
Speaker 1: There's a little bit of it there, but he's not

1192
01:05:52,760 --> 01:05:58,280
Speaker 1: as antagonistic. It's more of that kind of apathetic unwillingness

1193
01:05:58,280 --> 01:06:01,160
Speaker 1: to fully engage with any one who's trying to engage

1194
01:06:01,200 --> 01:06:03,520
Speaker 1: with him. It's a lack of it's a lack of

1195
01:06:03,560 --> 01:06:09,280
Speaker 1: desire or just energy to be understood. But you know, Perry,

1196
01:06:10,200 --> 01:06:13,240
Speaker 1: he does what any good filmmaker, any good documentarian does.

1197
01:06:13,280 --> 01:06:15,480
Speaker 1: He meets him, and he meets the band and its

1198
01:06:15,600 --> 01:06:20,560
Speaker 1: legacy on their own terms with this this low key, chaotic,

1199
01:06:21,000 --> 01:06:26,560
Speaker 1: absurdist pastiche I really dug the film, and yeah, wasn't kidding.

1200
01:06:26,720 --> 01:06:28,920
Speaker 1: I haven't done it just yet because I just finished

1201
01:06:28,920 --> 01:06:33,480
Speaker 1: the film today, but I certainly heard enough songs that

1202
01:06:33,480 --> 01:06:37,600
Speaker 1: that I was interested in to want to devote some

1203
01:06:37,640 --> 01:06:40,960
Speaker 1: real energy to hearing the band. I'm a little embarrassed

1204
01:06:41,000 --> 01:06:44,160
Speaker 1: that it's taken me this long, especially because I should

1205
01:06:44,200 --> 01:06:47,120
Speaker 1: have been I should have been experiencing it as it

1206
01:06:47,200 --> 01:06:50,600
Speaker 1: was happening, as you suggested, but that just wasn't the

1207
01:06:50,640 --> 01:06:52,840
Speaker 1: case for me. So better late than never, maybe, Yeah,

1208
01:06:52,880 --> 01:06:53,280
Speaker 1: for sure.

1209
01:06:53,360 --> 01:06:55,360
Speaker 5: And wow, I've I've been hearing a lot of good

1210
01:06:55,360 --> 01:06:58,080
Speaker 5: stuff about Pavements, but that was a rave So definitely

1211
01:06:58,200 --> 01:06:59,959
Speaker 5: definitely gonna have to catch up with this one.

1212
01:07:00,160 --> 01:07:04,920
Speaker 1: Pavements is in limited release, including in Chicago. Quick note too,

1213
01:07:04,920 --> 01:07:07,240
Speaker 1: if you want to hear I'm hoping they're gonna rave

1214
01:07:07,280 --> 01:07:10,240
Speaker 1: about it. I'm assuming at least two people will, because

1215
01:07:10,640 --> 01:07:13,840
Speaker 1: it's entirely possible, Josh that Keith Phipps and Scott Tobias

1216
01:07:13,880 --> 01:07:15,760
Speaker 1: were the first two people in my life who I

1217
01:07:15,920 --> 01:07:21,560
Speaker 1: heard talk about Steven Malkmess Okay, right, Yeah, so maybe

1218
01:07:21,600 --> 01:07:24,360
Speaker 1: Tasha will be the contrarian as she often is there

1219
01:07:24,480 --> 01:07:27,560
Speaker 1: and we'll see what Genevieve Koski brings to the table.

1220
01:07:27,600 --> 01:07:29,560
Speaker 1: They are, of course, the hosts of the Next Picture

1221
01:07:29,560 --> 01:07:33,080
Speaker 1: Show looking at cinema's present via its past, and their

1222
01:07:33,160 --> 01:07:38,160
Speaker 1: new pairing is inspired by pavements. They're calling it music nautobiography.

1223
01:07:38,680 --> 01:07:42,120
Speaker 1: They're pairing pavements. Of course, I brought up Dylan. They're

1224
01:07:42,160 --> 01:07:45,440
Speaker 1: pairing it with Todd Haynes's I'm Not There. You can

1225
01:07:45,480 --> 01:07:47,919
Speaker 1: hear that. New episodes of The Next Picture Show drop

1226
01:07:48,000 --> 01:07:52,080
Speaker 1: every Tuesday wherever you get your podcasts. You managed to

1227
01:07:52,120 --> 01:07:55,600
Speaker 1: squeeze something in since your return from abroad. It's Bring

1228
01:07:55,640 --> 01:07:58,640
Speaker 1: Her Back. The Sally Hawkins as a Psycho Foster mah

1229
01:07:58,800 --> 01:08:02,360
Speaker 1: movie from the Australian and directing team Danny and Michael

1230
01:08:02,400 --> 01:08:05,040
Speaker 1: philipp who you know as a former foster dad. I

1231
01:08:05,160 --> 01:08:08,160
Speaker 1: had to recuse myself from reviewing this movie. Actually, it's

1232
01:08:08,200 --> 01:08:12,000
Speaker 1: just because the trailer looked creepy as hell, and you know,

1233
01:08:12,080 --> 01:08:13,160
Speaker 1: I'm a scaredy cat.

1234
01:08:13,520 --> 01:08:15,520
Speaker 5: What did you think, oh man, I didn't even think

1235
01:08:15,520 --> 01:08:19,639
Speaker 5: about that this plot. But yes, yes, I don't think

1236
01:08:19,720 --> 01:08:22,600
Speaker 5: you have any Laura in you, Adam, which is the

1237
01:08:22,640 --> 01:08:28,720
Speaker 5: Sally Hawkins kids out this So yeah, this is a

1238
01:08:29,000 --> 01:08:33,160
Speaker 5: very impressive step forward for this sibling directing team Danny

1239
01:08:33,160 --> 01:08:36,120
Speaker 5: and Michael Philip, who I like, talk to me. It

1240
01:08:36,200 --> 01:08:38,439
Speaker 5: was one of those where it showed more promise, and

1241
01:08:38,640 --> 01:08:43,800
Speaker 5: they are delivering on that here. It is beyond creepy

1242
01:08:44,000 --> 01:08:47,320
Speaker 5: disturbing in a ton of ways. They are definitely becoming

1243
01:08:47,400 --> 01:08:50,800
Speaker 5: a toeurs of self inflicted gore. So if that's a thing,

1244
01:08:51,479 --> 01:08:53,800
Speaker 5: you know, you don't really have time for avoid this.

1245
01:08:54,360 --> 01:08:56,960
Speaker 5: But there's a lot of good stuff here in terms

1246
01:08:57,160 --> 01:09:03,120
Speaker 5: of real characterization and a firmer command of plot and

1247
01:09:03,280 --> 01:09:06,080
Speaker 5: a patience with the camera that's new that I think

1248
01:09:06,200 --> 01:09:10,680
Speaker 5: is good. But this really elevates because of Hawkins' performance.

1249
01:09:10,840 --> 01:09:12,479
Speaker 5: And I'm not going to say much more about it

1250
01:09:12,520 --> 01:09:15,800
Speaker 5: because we are doing that bonus episode for our film

1251
01:09:15,800 --> 01:09:18,960
Speaker 5: spotting family members listing our favorite performances of the year

1252
01:09:19,000 --> 01:09:21,960
Speaker 5: so far soon, so you know, become a family member

1253
01:09:22,280 --> 01:09:23,920
Speaker 5: or if you are one, look forward to that if

1254
01:09:23,960 --> 01:09:27,320
Speaker 5: you want to hear me say more about Hawkins. But yeah,

1255
01:09:27,360 --> 01:09:30,960
Speaker 5: she's great and overall with these two films, I won't

1256
01:09:31,000 --> 01:09:32,880
Speaker 5: go too much into the plot, but very interesting how

1257
01:09:32,880 --> 01:09:35,760
Speaker 5: the Philippos seem to be drawn to stories about people

1258
01:09:35,800 --> 01:09:39,599
Speaker 5: who refuse to accept death attempt to subvert it. And

1259
01:09:39,640 --> 01:09:42,360
Speaker 5: then pay a really awful price. They explore that in

1260
01:09:42,439 --> 01:09:45,040
Speaker 5: very different ways in both movies, but it definitely seems

1261
01:09:45,080 --> 01:09:46,800
Speaker 5: to be something they're interested in, and I don't think

1262
01:09:46,840 --> 01:09:50,040
Speaker 5: it's just on a surface level. There's this one is

1263
01:09:50,040 --> 01:09:53,639
Speaker 5: also a very evocative meditation on the madness of grief

1264
01:09:54,200 --> 01:09:57,400
Speaker 5: that is yeah, unnerving, but impressively done.

1265
01:09:57,680 --> 01:09:59,799
Speaker 8: A lot of the Nasties family just like you guys.

1266
01:10:01,120 --> 01:10:02,120
Speaker 5: Does he look like candy?

1267
01:10:04,200 --> 01:10:07,080
Speaker 8: He's a beautiful boy, just needed someone that get keep

1268
01:10:07,080 --> 01:10:11,559
Speaker 8: in special kid, you luck you Annoi.

1269
01:10:13,840 --> 01:10:16,400
Speaker 5: So for horror fans, you've probably already seen this, but

1270
01:10:16,600 --> 01:10:20,599
Speaker 5: if not, it's in wide release. Makeroom for bring her Back.

1271
01:10:20,760 --> 01:10:23,880
Speaker 5: Let us know what you think. Feedback at filmspotty dot net.

1272
01:10:24,120 --> 01:10:26,760
Speaker 9: Chronic migraine fifteen or more headache days a month, each

1273
01:10:26,840 --> 01:10:29,000
Speaker 9: lasting four hours or more can make me feel like

1274
01:10:29,040 --> 01:10:30,719
Speaker 9: a spectator in my own life.

1275
01:10:30,880 --> 01:10:33,559
Speaker 8: Botox on about to line them talks and A prevents

1276
01:10:33,600 --> 01:10:36,280
Speaker 8: headaches and adults with chronic migraine. It's not for those

1277
01:10:36,320 --> 01:10:38,400
Speaker 8: with fourteen or fewer headache days a month. It's the

1278
01:10:38,479 --> 01:10:41,439
Speaker 8: number one prescribed branded chronic migraine preventive treatment.

1279
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1281
01:10:47,880 --> 01:10:51,080
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1282
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1286
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1287
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1288
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1289
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1292
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1295
01:11:25,400 --> 01:11:25,800
Speaker 3: Are You.

1296
01:11:28,160 --> 01:11:31,960
Speaker 2: Leave You?

1297
01:11:37,000 --> 01:11:41,200
Speaker 1: That's from the opening of Andrea Tarkovsky's Andre Rublev one

1298
01:11:41,240 --> 01:11:44,479
Speaker 1: of five titles in our Tarkovsky Blind Spots Marathon. The

1299
01:11:44,479 --> 01:11:47,320
Speaker 1: goal of this marathon, Josh was not only to see

1300
01:11:47,360 --> 01:11:51,360
Speaker 1: blind spots, see some great movies or potentially great movies

1301
01:11:51,400 --> 01:11:54,280
Speaker 1: that we have never seen before. But to become completest

1302
01:11:55,120 --> 01:11:58,320
Speaker 1: of the Russian master's work not so hard. He only

1303
01:11:58,360 --> 01:12:00,920
Speaker 1: made seven features. We have now done it. We have

1304
01:12:00,960 --> 01:12:04,960
Speaker 1: one more job to do. We have to complete the

1305
01:12:05,000 --> 01:12:09,120
Speaker 1: Marathon Awards our favorite performances, scenes, and more. We're calling

1306
01:12:09,160 --> 01:12:12,320
Speaker 1: these awards the Holy Fools. The clip we came into

1307
01:12:12,320 --> 01:12:15,240
Speaker 1: the segment with features one of several holy fools featured

1308
01:12:15,280 --> 01:12:18,360
Speaker 1: in the work of Tarkovsky. At least I'm assuming he's

1309
01:12:18,400 --> 01:12:20,920
Speaker 1: a holy fool. He's jumping off a church in some

1310
01:12:21,120 --> 01:12:24,920
Speaker 1: kind of contraption like a hot air balloon. He is

1311
01:12:25,080 --> 01:12:28,040
Speaker 1: sailing away into the sky. It probably isn't going to

1312
01:12:28,280 --> 01:12:31,200
Speaker 1: end well for him. He has a whole lot of

1313
01:12:31,200 --> 01:12:35,479
Speaker 1: people who are shouting at him and urging him to

1314
01:12:35,640 --> 01:12:38,839
Speaker 1: not partake in this endeavor. He believes, but he believes

1315
01:12:38,880 --> 01:12:41,280
Speaker 1: he will fly. It's all about faith, and you know what,

1316
01:12:41,400 --> 01:12:45,040
Speaker 1: he flies, at least for some period of time. So

1317
01:12:45,680 --> 01:12:48,280
Speaker 1: we thought that was as good a segue as any

1318
01:12:48,439 --> 01:12:53,360
Speaker 1: into our Holy Fool Awards. We have five category supporting performance,

1319
01:12:53,439 --> 01:12:57,559
Speaker 1: Lead performance, our Tarkovsky Moment, which we'll get into more

1320
01:12:57,720 --> 01:13:01,200
Speaker 1: once we approach that category, are your favorite scene or

1321
01:13:01,280 --> 01:13:06,360
Speaker 1: best scene, and then finally best Picture. The films were

1322
01:13:06,439 --> 01:13:10,679
Speaker 1: The Steamroller in the Violin, Ivan's Childhood, Andre rublav Stalker,

1323
01:13:11,080 --> 01:13:17,080
Speaker 1: and Nostalgia. Josh, our first category is supporting Performances. I'll

1324
01:13:17,120 --> 01:13:19,439
Speaker 1: give you a few of the nominees here, maybe the

1325
01:13:19,479 --> 01:13:22,040
Speaker 1: complete list, but just a few names. From The Steamroller

1326
01:13:22,080 --> 01:13:26,000
Speaker 1: in the Violin Vladimir Zamansky, who's Sergei. I believe he's

1327
01:13:26,080 --> 01:13:29,240
Speaker 1: the steamroller or not the machine, but the guy driving

1328
01:13:29,280 --> 01:13:35,479
Speaker 1: it from Ivan's Childhood, Masha Valentina, Malayavina galtzev Ev, Jenny

1329
01:13:35,840 --> 01:13:40,960
Speaker 1: Zarakov from Andre rublov kirol Ivan Lapakov, Nikolai Grinko is Daniel,

1330
01:13:41,360 --> 01:13:45,640
Speaker 1: and Nikolai Berliev is Boriska from Stalker. There's maybe at

1331
01:13:45,680 --> 01:13:50,599
Speaker 1: least three different options, including Anatoly Solnitsen, the writer, Nikolai Grinko,

1332
01:13:50,720 --> 01:13:55,680
Speaker 1: the professor Nostalgia, Domenico are Holy fool Erlyn Josephson or

1333
01:13:55,960 --> 01:14:01,559
Speaker 1: Domisiana Giordano Eugenia. Do you have a winner from those options, Josh.

1334
01:14:01,600 --> 01:14:04,719
Speaker 5: All worthy considerations. The runner up for me was probably

1335
01:14:04,840 --> 01:14:08,479
Speaker 5: Girdano as the interpreter in nostalgia, just especially in the

1336
01:14:08,560 --> 01:14:11,519
Speaker 5: context of the films we've seen a refreshing foil to

1337
01:14:11,640 --> 01:14:14,120
Speaker 5: Tarkovsky's brooding men who we've been spending a lot of

1338
01:14:14,200 --> 01:14:17,360
Speaker 5: time with. I did appreciate her presence there, but I

1339
01:14:17,479 --> 01:14:22,080
Speaker 5: went for my winner with Nikolai Burleev in Andre ruby Lev.

1340
01:14:22,240 --> 01:14:25,080
Speaker 5: This is a bit of a cheat because his performance

1341
01:14:25,120 --> 01:14:28,439
Speaker 5: in Rublev as Bariska, this this boy bell maker. It's

1342
01:14:28,439 --> 01:14:32,320
Speaker 5: obviously informed by his earlier performance in Ivan's Childhood right

1343
01:14:32,320 --> 01:14:35,360
Speaker 5: where he's the title character. So you know, both have

1344
01:14:35,800 --> 01:14:38,720
Speaker 5: both of these performances, have this beyond his year's confidence

1345
01:14:39,320 --> 01:14:42,560
Speaker 5: for a young actor, that's crucial to the characters. And

1346
01:14:42,920 --> 01:14:46,320
Speaker 5: I just think in Andre Rublev he anchors that crucial

1347
01:14:46,920 --> 01:14:51,680
Speaker 5: final revelatory section where Buriska really helps Rublev clarify his

1348
01:14:51,800 --> 01:14:55,400
Speaker 5: creative purpose to my reading, and it's a compelling performance

1349
01:14:55,439 --> 01:14:56,040
Speaker 5: in its own right.

1350
01:14:56,400 --> 01:14:59,040
Speaker 1: Yeah, you said it very well. That's exactly the same

1351
01:14:59,120 --> 01:15:01,800
Speaker 1: line of reasoning I had, Josh. It was a little

1352
01:15:01,840 --> 01:15:04,920
Speaker 1: bit of a cheat because I was considering the really

1353
01:15:05,680 --> 01:15:10,080
Speaker 1: mature performance he gives in Ivan's Childhood one of the standout. Truly,

1354
01:15:10,479 --> 01:15:13,240
Speaker 1: I almost considered him for lead performance. He was my

1355
01:15:13,439 --> 01:15:19,360
Speaker 1: runner up there. Some of the most haunting moments from

1356
01:15:19,479 --> 01:15:22,960
Speaker 1: any performer that we saw leader supporting in this entire

1357
01:15:23,080 --> 01:15:27,760
Speaker 1: marathon were from burly Of in Ivan's childhood, and again

1358
01:15:27,800 --> 01:15:30,280
Speaker 1: he was very young. Then he's young of course in

1359
01:15:30,400 --> 01:15:33,040
Speaker 1: andre Rubelev as well. But I really did feel like

1360
01:15:33,120 --> 01:15:35,360
Speaker 1: it made sense to go with a holy fool in

1361
01:15:35,640 --> 01:15:39,479
Speaker 1: these categories, and especially in the supporting performance category. And

1362
01:15:39,640 --> 01:15:45,800
Speaker 1: that last chapter here, that chapter that features Bariska, you

1363
01:15:45,880 --> 01:15:48,960
Speaker 1: said it well, it is a crucial one in terms

1364
01:15:49,000 --> 01:15:53,800
Speaker 1: of us understanding the main character. That title character is transformation,

1365
01:15:53,880 --> 01:15:57,920
Speaker 1: and it's fun. It's a fun performance watching him, watching

1366
01:15:58,000 --> 01:16:00,840
Speaker 1: him make this up as he goes right right, which

1367
01:16:00,920 --> 01:16:03,599
Speaker 1: is really what he's doing. So we have the same

1368
01:16:03,760 --> 01:16:09,719
Speaker 1: choice there for supporting performance lead performance. Igor Fumchenko is Sasha.

1369
01:16:10,080 --> 01:16:12,400
Speaker 1: He's the one who plays the violin in the Steamroller.

1370
01:16:12,479 --> 01:16:16,880
Speaker 1: In the violin. We have Burlyev for Ivan's childhood anatotally

1371
01:16:17,040 --> 01:16:20,639
Speaker 1: so Lenitsen again for Andrei Rublev. Another person playing two

1372
01:16:21,720 --> 01:16:27,000
Speaker 1: characters in our marathon Stalker playing the Stalker Alexander Kadanovsky

1373
01:16:27,520 --> 01:16:33,200
Speaker 1: and from Nostalgia we have Oleg Yankovsky as Gortchakov. Where

1374
01:16:33,240 --> 01:16:34,840
Speaker 1: did you go with lead performance.

1375
01:16:35,240 --> 01:16:38,519
Speaker 5: I went with Alexander Kadanovsky as the title figure in Stalker,

1376
01:16:38,600 --> 01:16:40,880
Speaker 5: and I think for me, it's because it's something I came.

1377
01:16:41,040 --> 01:16:43,400
Speaker 5: This was one of the titles that I had already

1378
01:16:43,439 --> 01:16:45,400
Speaker 5: seen in this marathon, and I think I came to

1379
01:16:45,479 --> 01:16:49,400
Speaker 5: appreciate that performance more on this revision. The first time

1380
01:16:49,479 --> 01:16:52,000
Speaker 5: I was maybe just trying to keep up basically, and

1381
01:16:52,160 --> 01:16:55,599
Speaker 5: saw him figured I had him pegged. He's our guide. Yeah.

1382
01:16:55,640 --> 01:16:58,040
Speaker 5: When you first meet him, he's very stoic and reserved,

1383
01:16:58,200 --> 01:17:00,560
Speaker 5: and you're like, Okay, I know what his purpose is.

1384
01:17:00,920 --> 01:17:02,760
Speaker 5: I'm going to try to wrap my mind around what

1385
01:17:02,880 --> 01:17:03,600
Speaker 5: else is going on.

1386
01:17:03,880 --> 01:17:05,519
Speaker 1: But on this watch I.

1387
01:17:05,640 --> 01:17:09,479
Speaker 5: Realized, you know, it's a really rich, developing performance where

1388
01:17:09,560 --> 01:17:13,040
Speaker 5: he goes from turning very eager and almost giddy when

1389
01:17:13,080 --> 01:17:16,560
Speaker 5: he arrives in the zone. Later on he becomes agitated

1390
01:17:16,600 --> 01:17:18,880
Speaker 5: when the writer and professor don't show enough deference to

1391
01:17:18,960 --> 01:17:21,960
Speaker 5: the place, and then angry and irate at the end

1392
01:17:22,240 --> 01:17:24,760
Speaker 5: about their lack of belief in it. So he is

1393
01:17:25,640 --> 01:17:28,160
Speaker 5: he is a believer, right he and the performance here

1394
01:17:28,240 --> 01:17:31,639
Speaker 5: captures captures the notion of approaching the divine with fear

1395
01:17:31,720 --> 01:17:34,400
Speaker 5: and trembling. I think that's what I what I came

1396
01:17:34,520 --> 01:17:38,000
Speaker 5: to realize on this watch with Keidanovsky, he's for me,

1397
01:17:38,080 --> 01:17:41,120
Speaker 5: He's the most magnetic of Tarkowski's holy fools.

1398
01:17:41,960 --> 01:17:58,080
Speaker 2: So but she this timat Yes, this is prasic. Chiliak

1399
01:17:59,280 --> 01:18:03,519
Speaker 2: No stated, it's a LUs god soon just just speacause

1400
01:18:03,560 --> 01:18:03,680
Speaker 2: of the.

1401
01:18:05,520 --> 01:18:08,720
Speaker 1: Word I had in my notes. Josh was just his elusiveness.

1402
01:18:08,920 --> 01:18:12,720
Speaker 1: I felt like he was the hardest to grasp And

1403
01:18:13,320 --> 01:18:15,880
Speaker 1: first he's slippery, and at first you you don't think

1404
01:18:15,920 --> 01:18:17,760
Speaker 1: he's going to be that way. You think he's going

1405
01:18:17,840 --> 01:18:21,719
Speaker 1: to be very stoic, driven by this mission, just focused

1406
01:18:21,760 --> 01:18:23,800
Speaker 1: on what he has to get done, and he has

1407
01:18:23,880 --> 01:18:28,400
Speaker 1: this kind of profits mission, if you will. But that

1408
01:18:28,760 --> 01:18:31,200
Speaker 1: that isn't what he is. He shows that he's someone

1409
01:18:31,280 --> 01:18:35,160
Speaker 1: who has doubts as much as he also has faith.

1410
01:18:35,479 --> 01:18:37,320
Speaker 1: I feel like he is someone who shows that he

1411
01:18:37,439 --> 01:18:41,600
Speaker 1: doesn't always know exactly what he's doing, whether or not

1412
01:18:41,680 --> 01:18:45,040
Speaker 1: it's the right thing to do. He's making choices. And

1413
01:18:45,479 --> 01:18:47,840
Speaker 1: you know you said, you said magnetic. We do see

1414
01:18:48,080 --> 01:18:50,720
Speaker 1: from his performance. We see a lot of range. We

1415
01:18:50,880 --> 01:18:53,519
Speaker 1: see a range of emotion from him, and that's why

1416
01:18:53,640 --> 01:18:56,479
Speaker 1: he stood out to me as the the top performance

1417
01:18:56,479 --> 01:18:59,720
Speaker 1: as well. I think I think we're gonna have at

1418
01:18:59,760 --> 01:19:03,360
Speaker 1: least one other category in common here. These next two,

1419
01:19:03,479 --> 01:19:06,479
Speaker 1: I was gonna say, are where we we should diverge.

1420
01:19:07,280 --> 01:19:10,400
Speaker 1: But depending on how we interpret this next category, there

1421
01:19:10,479 --> 01:19:14,880
Speaker 1: is possibility of at least one more crossover. So Tarkovsky moment.

1422
01:19:15,120 --> 01:19:17,080
Speaker 1: The way we're sort of defining this is one of

1423
01:19:17,160 --> 01:19:20,439
Speaker 1: the one of the ways we've talked about and thought

1424
01:19:20,439 --> 01:19:23,920
Speaker 1: about Tarkovsky as a filmmaker is as a bit of

1425
01:19:23,960 --> 01:19:27,720
Speaker 1: a sorcerer. He does things with the camera, he does

1426
01:19:27,840 --> 01:19:34,440
Speaker 1: things in nature and with nature. Yeah, that feel supernatural.

1427
01:19:34,920 --> 01:19:39,000
Speaker 1: It almost feels like he's manipulating time and space. Is

1428
01:19:39,040 --> 01:19:40,720
Speaker 1: that a good way to frame it, because that's how

1429
01:19:40,760 --> 01:19:42,519
Speaker 1: we think. Yeah, that's how we think about it.

1430
01:19:42,640 --> 01:19:43,760
Speaker 5: You couldn't have said it any better.

1431
01:19:43,840 --> 01:19:44,040
Speaker 1: Yeah.

1432
01:19:44,080 --> 01:19:46,559
Speaker 5: The with nature is the key part, I think.

1433
01:19:47,080 --> 01:19:50,760
Speaker 1: Yeah, So what's your choice? Boy?

1434
01:19:51,280 --> 01:19:53,760
Speaker 5: I mean so many nominees. Let me let me just

1435
01:19:53,880 --> 01:19:56,680
Speaker 5: go through the list of nominees here to show you

1436
01:19:56,800 --> 01:19:59,760
Speaker 5: how I struggled with this. Andre rublev I thought of

1437
01:19:59,800 --> 01:20:03,439
Speaker 5: the Hagan's frolicking in The mist Stalker. I think has

1438
01:20:03,520 --> 01:20:06,160
Speaker 5: three I talked a little bit about this in our review,

1439
01:20:06,240 --> 01:20:08,439
Speaker 5: But where the three of them are standing on a

1440
01:20:08,520 --> 01:20:10,600
Speaker 5: green hill in the zone at one point, and the

1441
01:20:10,720 --> 01:20:13,960
Speaker 5: sun just pierces through the fog and seems to anoint them,

1442
01:20:14,240 --> 01:20:17,080
Speaker 5: and then the fog comes back and the sun disappears.

1443
01:20:17,479 --> 01:20:20,559
Speaker 5: There's a quick shot at this well near the room,

1444
01:20:20,720 --> 01:20:24,120
Speaker 5: these ripples of dark water, a conjuring of something going

1445
01:20:24,200 --> 01:20:26,960
Speaker 5: on in there. And then again almost a throwaway shot

1446
01:20:27,000 --> 01:20:29,320
Speaker 5: of a dry river bed where a little dust devil

1447
01:20:29,600 --> 01:20:33,080
Speaker 5: suddenly forms. It's like, did he do that? Did he

1448
01:20:33,200 --> 01:20:36,520
Speaker 5: just happen to be there? You know, these sorts of things. Nostalgia,

1449
01:20:36,680 --> 01:20:40,280
Speaker 5: I think, also has three. The opening shot of a woman,

1450
01:20:40,400 --> 01:20:43,640
Speaker 5: children and the dog moving down a foggy hill. We

1451
01:20:43,720 --> 01:20:46,040
Speaker 5: spent a lot of time on that fixed shot of

1452
01:20:46,120 --> 01:20:50,439
Speaker 5: the poet's hotel room, where the adjustments to lighting, there's

1453
01:20:50,479 --> 01:20:53,160
Speaker 5: some water that seeps in, the dog comes in, you know,

1454
01:20:53,600 --> 01:20:56,719
Speaker 5: it just becomes this image of dreams, visions and memories

1455
01:20:56,720 --> 01:21:00,040
Speaker 5: all at once. My winner is the third option I

1456
01:21:00,120 --> 01:21:04,679
Speaker 5: had from nostalgia, though, and this is I'm not sure

1457
01:21:04,720 --> 01:21:06,760
Speaker 5: how nature plays into this one, which is why it

1458
01:21:06,840 --> 01:21:08,479
Speaker 5: gave me pause, but I had to go with it.

1459
01:21:09,280 --> 01:21:13,040
Speaker 5: It is the final shot of nostalgia. The poet, presumably

1460
01:21:13,120 --> 01:21:15,880
Speaker 5: this is after his death. It's implied he's sitting on

1461
01:21:16,040 --> 01:21:18,840
Speaker 5: that misty hill from the opening shot. The dog is

1462
01:21:18,920 --> 01:21:22,520
Speaker 5: there next to him, this recurring figure. There are buildings

1463
01:21:22,640 --> 01:21:26,639
Speaker 5: positioned behind him we've seen, which perhaps are his childhood home,

1464
01:21:27,040 --> 01:21:29,679
Speaker 5: but they seem to be miniaturized in a way, because

1465
01:21:29,840 --> 01:21:35,439
Speaker 5: all of this is taking place inside that ruthless abbey

1466
01:21:35,920 --> 01:21:39,879
Speaker 5: that we saw earlier in the film. Whatever techniques were employed,

1467
01:21:40,560 --> 01:21:43,680
Speaker 5: I can't say with how deep research I'm sure, but

1468
01:21:44,080 --> 01:21:48,200
Speaker 5: it just evokes the work of a sorcerer and an

1469
01:21:48,200 --> 01:21:51,080
Speaker 5: app name to my mind for this shot is sitting

1470
01:21:51,160 --> 01:21:55,800
Speaker 5: in eternity. It's just what that possibly seems to be

1471
01:21:55,880 --> 01:21:56,519
Speaker 5: trying to evoke.

1472
01:21:56,920 --> 01:22:00,600
Speaker 1: Yeah, no, it's a great point, and we spent some

1473
01:22:01,240 --> 01:22:04,040
Speaker 1: time on that when we talked about nostalgia a few

1474
01:22:04,080 --> 01:22:07,640
Speaker 1: weeks ago, and that scene right before it is one

1475
01:22:07,720 --> 01:22:12,320
Speaker 1: I thought about as well, with the writer character and

1476
01:22:12,400 --> 01:22:15,320
Speaker 1: the candle of course for best scene, which we'll get

1477
01:22:15,360 --> 01:22:17,400
Speaker 1: to in a moment, but I thought about it for

1478
01:22:17,960 --> 01:22:21,560
Speaker 1: this category as well. So many possibilities here, you know.

1479
01:22:21,680 --> 01:22:24,160
Speaker 1: I went back to the very first film. We talked

1480
01:22:24,200 --> 01:22:28,839
Speaker 1: about the steamroller and the violin and the violin lesson

1481
01:22:29,280 --> 01:22:33,920
Speaker 1: and the water playing the violin, and the way he

1482
01:22:34,560 --> 01:22:37,920
Speaker 1: hands over and shows the glass and the way the

1483
01:22:38,040 --> 01:22:41,040
Speaker 1: water is reflected, which for me was a way of

1484
01:22:41,120 --> 01:22:44,679
Speaker 1: expressing something ineffable that's happening as he's playing the violin

1485
01:22:44,760 --> 01:22:46,680
Speaker 1: a sort of reverie that's happening. And then you go

1486
01:22:46,760 --> 01:22:49,200
Speaker 1: to Andre Rubelev and we talked about this as well,

1487
01:22:49,320 --> 01:22:54,960
Speaker 1: the brushes that are in the water and when they're washed,

1488
01:22:55,040 --> 01:22:57,960
Speaker 1: and the way then that creates new ripples that are

1489
01:22:58,000 --> 01:23:04,080
Speaker 1: kind of undulating these new waves right in Stalker, and

1490
01:23:04,400 --> 01:23:06,320
Speaker 1: all of these are candidates for me as well. That

1491
01:23:06,439 --> 01:23:08,280
Speaker 1: you have to think about is just the best scenes

1492
01:23:08,320 --> 01:23:12,240
Speaker 1: from the marathon as well, right that transition, that long

1493
01:23:12,520 --> 01:23:17,280
Speaker 1: train ride that transitions us into the zone and going

1494
01:23:17,400 --> 01:23:23,439
Speaker 1: from that CPA tone into color, the hypnotic nature of that,

1495
01:23:24,280 --> 01:23:28,040
Speaker 1: no special effects, it's all just done with the long tape,

1496
01:23:28,560 --> 01:23:32,960
Speaker 1: the way the subtle editing is used, the electronic score,

1497
01:23:33,439 --> 01:23:36,840
Speaker 1: and then of course that transition to color. It's something nostalgia,

1498
01:23:37,400 --> 01:23:40,960
Speaker 1: the opening, the parting of those barn doors, and it's

1499
01:23:41,000 --> 01:23:44,000
Speaker 1: a portal from color the present to black and white

1500
01:23:44,200 --> 01:23:47,960
Speaker 1: the past. And I mentioned the penultimate scene before your

1501
01:23:48,040 --> 01:23:52,080
Speaker 1: last shot where we watched the writer cross that now

1502
01:23:52,240 --> 01:23:56,120
Speaker 1: dry lake or bed of water, whatever was there before

1503
01:23:56,200 --> 01:23:58,960
Speaker 1: the test of his faith, so many that we could

1504
01:23:59,000 --> 01:24:01,280
Speaker 1: point to. I did go, and this is where I

1505
01:24:01,320 --> 01:24:02,800
Speaker 1: thought we could end up with the same one, because

1506
01:24:02,800 --> 01:24:05,400
Speaker 1: I knew you would at least strongly consider it. I

1507
01:24:05,560 --> 01:24:10,200
Speaker 1: am going with Gorchikhov in his hotel room, the still

1508
01:24:10,880 --> 01:24:14,519
Speaker 1: hotel shot, and I do think of it as a

1509
01:24:14,800 --> 01:24:17,479
Speaker 1: nature shot. Part of the rain. I also think of

1510
01:24:17,520 --> 01:24:20,320
Speaker 1: it there's rain, and I also think of it as

1511
01:24:20,360 --> 01:24:23,400
Speaker 1: a as a magician shot. I think of it as

1512
01:24:23,439 --> 01:24:28,479
Speaker 1: a conjuring shot because of the way the camera is fixed,

1513
01:24:29,080 --> 01:24:36,639
Speaker 1: the way those walls feel almost like a painter's canvas

1514
01:24:37,240 --> 01:24:42,040
Speaker 1: in the background, the way the water is just coming

1515
01:24:42,120 --> 01:24:45,240
Speaker 1: in through the windows a little bit, and the sound

1516
01:24:45,400 --> 01:24:49,120
Speaker 1: that it makes is something that adds just kind of

1517
01:24:49,520 --> 01:24:52,599
Speaker 1: a neat little effect that adds to a sleepy quality,

1518
01:24:52,640 --> 01:24:55,920
Speaker 1: a hypnotic quality to it. And the way that that

1519
01:24:56,080 --> 01:24:58,840
Speaker 1: main character is sleeping on the bed. But the way

1520
01:24:59,680 --> 01:25:02,800
Speaker 1: the darkness, the way the room is lit, it's as

1521
01:25:02,840 --> 01:25:05,640
Speaker 1: if he sort of disappears into the bed, and then,

1522
01:25:05,720 --> 01:25:08,240
Speaker 1: as you said, all of a sudden, the dog from

1523
01:25:08,320 --> 01:25:12,760
Speaker 1: his past appears. You know, this is the moment where

1524
01:25:12,920 --> 01:25:18,040
Speaker 1: everything blurs together. We're past and present completely colliite in

1525
01:25:18,120 --> 01:25:21,200
Speaker 1: a similar way to what I described with the barn doors. Later,

1526
01:25:21,680 --> 01:25:24,880
Speaker 1: we know that he's been having these visions, but this

1527
01:25:25,040 --> 01:25:27,280
Speaker 1: is where it's happening, where we see it happening. It's

1528
01:25:27,320 --> 01:25:31,439
Speaker 1: not something that's inside his head. We're actually witnessed to it,

1529
01:25:32,240 --> 01:25:36,280
Speaker 1: and it's before our eyes that Tarkovsky plays it all out.

1530
01:25:36,400 --> 01:25:36,439
Speaker 6: It.

1531
01:25:36,760 --> 01:25:39,400
Speaker 1: It just stunned me the first time I saw it

1532
01:25:39,479 --> 01:25:40,120
Speaker 1: in Nostalgia.

1533
01:25:40,680 --> 01:25:42,040
Speaker 5: Yeah, yeah, great, pick.

1534
01:25:57,760 --> 01:25:59,479
Speaker 2: You bluekaisash Blue.

1535
01:25:59,479 --> 01:26:06,120
Speaker 1: Guys, if it is that brings us to best scene?

1536
01:26:06,320 --> 01:26:09,080
Speaker 1: Do you have a single scene that captured the marathon

1537
01:26:09,160 --> 01:26:09,400
Speaker 1: for you?

1538
01:26:09,680 --> 01:26:12,519
Speaker 5: Three were in contention. I did consider the carrying the

1539
01:26:12,640 --> 01:26:16,200
Speaker 5: candle more of a sustained scene for this quality, but

1540
01:26:16,600 --> 01:26:18,200
Speaker 5: I totally get why you thought about it for the

1541
01:26:18,240 --> 01:26:22,000
Speaker 5: sorcerer moment. The other one was will the bell ring

1542
01:26:22,520 --> 01:26:26,480
Speaker 5: in Andre rube Lev, You know you suggested the enjoyment

1543
01:26:26,760 --> 01:26:29,360
Speaker 5: level of that whole final section of watching this kid

1544
01:26:29,479 --> 01:26:32,880
Speaker 5: try to pull this off. It leads to this sequence

1545
01:26:33,040 --> 01:26:38,120
Speaker 5: of intense, you know, suspense, and I just love how

1546
01:26:38,160 --> 01:26:43,719
Speaker 5: that is handled. But I went with the finale of Stoker,

1547
01:26:43,960 --> 01:26:47,840
Speaker 5: where Stalker's daughter, she's called Monkey, is moving the glasses

1548
01:26:48,560 --> 01:26:52,720
Speaker 5: with her mind, and it's the first time you see it.

1549
01:26:52,880 --> 01:26:56,840
Speaker 5: I have to imagine you can't suspect that's coming, but

1550
01:26:56,960 --> 01:27:00,840
Speaker 5: as soon as it starts happening, you know exactly why,

1551
01:27:01,680 --> 01:27:04,400
Speaker 5: and that it absolutely had to happen. It's to me,

1552
01:27:04,560 --> 01:27:07,800
Speaker 5: it's the movie's evidence for the metaphysical against you know,

1553
01:27:07,960 --> 01:27:10,080
Speaker 5: the arguments of the writer and the professor to the

1554
01:27:10,200 --> 01:27:13,160
Speaker 5: contrary and others. We are back out of the zone

1555
01:27:13,600 --> 01:27:17,960
Speaker 5: where where things should be rational and scientific and understandable

1556
01:27:18,439 --> 01:27:23,559
Speaker 5: and maybe not. Yeah, so telekinetic Monkey, that's the scene.

1557
01:27:25,360 --> 01:27:28,000
Speaker 1: So I'm going with a moment that I devoted a

1558
01:27:28,080 --> 01:27:32,200
Speaker 1: lot of time to during our first discussion, and it

1559
01:27:32,320 --> 01:27:36,240
Speaker 1: could be seen as a single shot, but I am

1560
01:27:36,439 --> 01:27:41,360
Speaker 1: thinking about the entire sequence, and it's the suspended kiss

1561
01:27:41,640 --> 01:27:45,240
Speaker 1: among the birches in Ivan's childhood. And the reason I

1562
01:27:45,320 --> 01:27:48,639
Speaker 1: am thinking of it as an entire sequence is well one,

1563
01:27:49,120 --> 01:27:50,960
Speaker 1: I do like the fact that we're getting the birches

1564
01:27:51,000 --> 01:27:54,880
Speaker 1: in there, which is something Tarkovsky returns to again and

1565
01:27:55,000 --> 01:27:58,200
Speaker 1: again throughout the films. That we saw something about those

1566
01:27:58,280 --> 01:28:03,920
Speaker 1: white trees, something about them from his childhood. Perhaps we

1567
01:28:04,080 --> 01:28:06,720
Speaker 1: read something about her. I saw somewhere something about the

1568
01:28:07,400 --> 01:28:10,840
Speaker 1: innocence of that or from that time in his life

1569
01:28:11,120 --> 01:28:15,480
Speaker 1: that he clearly responded to. And this is an exchange

1570
01:28:15,960 --> 01:28:23,240
Speaker 1: between an innocent character, a female character, and a military

1571
01:28:24,280 --> 01:28:28,320
Speaker 1: man in charge who has designs on her that are

1572
01:28:28,360 --> 01:28:32,200
Speaker 1: not innocent in nature, that are definitely very sexually charged.

1573
01:28:32,600 --> 01:28:37,320
Speaker 1: And we are very nervous for her as viewers, and

1574
01:28:37,680 --> 01:28:40,960
Speaker 1: she's nervous. There's a lot of anxiety as they are

1575
01:28:41,800 --> 01:28:47,080
Speaker 1: walking amongst those birches. Nothing really does end up happening

1576
01:28:47,840 --> 01:28:54,680
Speaker 1: that is abusive or terribly untoward. In a moment, she

1577
01:28:54,920 --> 01:29:00,960
Speaker 1: walks along this tree that is elevated, it's down on

1578
01:29:01,040 --> 01:29:03,799
Speaker 1: the ground, it's fallen, and it's elevated over a crevis

1579
01:29:04,360 --> 01:29:07,320
Speaker 1: and he actually steps out over it first and grabs

1580
01:29:07,360 --> 01:29:11,479
Speaker 1: her and takes her out over this crevice and he

1581
01:29:12,040 --> 01:29:14,920
Speaker 1: holds her, He holds her in the air, suspends her

1582
01:29:15,080 --> 01:29:19,560
Speaker 1: over this and kisses her. It's this grand gesture and

1583
01:29:19,680 --> 01:29:23,960
Speaker 1: he holds her there and then you know, allows her

1584
01:29:24,040 --> 01:29:26,240
Speaker 1: to pass on the other side. So it's this moment

1585
01:29:26,280 --> 01:29:29,920
Speaker 1: where she didn't ask for it, and in that way

1586
01:29:29,960 --> 01:29:33,719
Speaker 1: it's not romantic, Josh, or it shouldn't be. She doesn't

1587
01:29:33,800 --> 01:29:37,080
Speaker 1: back away from it. There's an element of beauty to

1588
01:29:37,320 --> 01:29:42,120
Speaker 1: it in the way he films it, the way she's suspended.

1589
01:29:42,160 --> 01:29:45,519
Speaker 1: There there's something graceful about it, but it is also

1590
01:29:45,720 --> 01:29:48,240
Speaker 1: something where, you know, the word I think I use

1591
01:29:48,320 --> 01:29:50,600
Speaker 1: when we talked about it was there's something obscene about it.

1592
01:29:50,760 --> 01:29:53,400
Speaker 1: There's something where he's forcing himself on her, and the

1593
01:29:53,439 --> 01:29:56,040
Speaker 1: whole scene has been about him building up to that,

1594
01:29:56,200 --> 01:29:59,800
Speaker 1: and for me it also captures it's just an incredible

1595
01:30:00,920 --> 01:30:05,040
Speaker 1: The shot itself is so Tarkovskian, where it's this low

1596
01:30:05,120 --> 01:30:08,519
Speaker 1: angle shot of him holding her suspended in the air,

1597
01:30:09,080 --> 01:30:11,479
Speaker 1: and everything about the framing of it is like a

1598
01:30:11,640 --> 01:30:15,200
Speaker 1: masterclass of cinematography. But then it's also this shot that

1599
01:30:15,960 --> 01:30:21,200
Speaker 1: encapsulates the beautiful and the brutal that I think he

1600
01:30:21,360 --> 01:30:22,479
Speaker 1: is always wrestling with.

1601
01:30:23,320 --> 01:30:27,599
Speaker 5: Yeah, beyond even all those complicated layers you're describing going

1602
01:30:27,680 --> 01:30:30,519
Speaker 5: on in terms of character and narrative, to speak to

1603
01:30:30,600 --> 01:30:33,639
Speaker 5: the beauty of it, you know, groves of birch trees

1604
01:30:33,960 --> 01:30:36,760
Speaker 5: or you know sometimes aspen groves are used this way

1605
01:30:37,000 --> 01:30:40,240
Speaker 5: common in films because they are so striking and just

1606
01:30:40,400 --> 01:30:44,120
Speaker 5: the lines, and especially in black and white. To understand

1607
01:30:44,160 --> 01:30:46,160
Speaker 5: why we've been going on and on throughout this marathon,

1608
01:30:46,400 --> 01:30:48,920
Speaker 5: and you know, blubbering about how beautiful certain shots are.

1609
01:30:49,040 --> 01:30:51,680
Speaker 5: All you have to do is see this scene and

1610
01:30:51,760 --> 01:30:56,000
Speaker 5: then compare it to any other movie with birches in it,

1611
01:30:56,280 --> 01:30:59,519
Speaker 5: and you'll realize, like, oh, no one knows what they're

1612
01:30:59,600 --> 01:31:02,519
Speaker 5: doing for something like this, Like Tarkowsky in this case,

1613
01:31:02,560 --> 01:31:06,280
Speaker 5: we should note working with cinematographer Vadim Yusov, that there's

1614
01:31:06,520 --> 01:31:09,360
Speaker 5: just an eye here as you described it, and I

1615
01:31:09,600 --> 01:31:14,600
Speaker 5: for noticing and framing and lighting and capturing these locations

1616
01:31:14,640 --> 01:31:18,360
Speaker 5: in nature, that's like unlike anything else except maybe like

1617
01:31:18,479 --> 01:31:21,880
Speaker 5: Ansel Adams photography is what comes to mind in terms

1618
01:31:21,920 --> 01:31:24,800
Speaker 5: of this particular shot. It's a beautiful one.

1619
01:31:25,840 --> 01:31:28,160
Speaker 1: So I know, as we get to best Picture and

1620
01:31:28,280 --> 01:31:31,840
Speaker 1: we wrap up our holy fool Tarkotski marathon a words,

1621
01:31:31,880 --> 01:31:36,000
Speaker 1: I know that you have already posted your letterboxed list,

1622
01:31:36,439 --> 01:31:39,479
Speaker 1: your official ranking. Since you are a completist, you have

1623
01:31:39,800 --> 01:31:43,439
Speaker 1: all of the Tarkovski films ranked. I have not posted

1624
01:31:43,479 --> 01:31:45,479
Speaker 1: mine yet, but I do have my list ready. It's

1625
01:31:45,560 --> 01:31:48,880
Speaker 1: in private mode. I've been waiting for this conversation. I've

1626
01:31:48,880 --> 01:31:52,840
Speaker 1: been waiting to make my list here to finally post that,

1627
01:31:53,080 --> 01:31:56,879
Speaker 1: and this was really really hard, as I will explain

1628
01:31:57,160 --> 01:32:00,240
Speaker 1: a little bit more about in a moment, what is

1629
01:32:00,280 --> 01:32:02,640
Speaker 1: your pick for best picture? And is it possible that

1630
01:32:02,800 --> 01:32:06,240
Speaker 1: your pick for best picture is in fact your best

1631
01:32:06,920 --> 01:32:09,559
Speaker 1: Tarkovski film. You're number one overall?

1632
01:32:10,080 --> 01:32:12,880
Speaker 5: Yeah it is. And I will say before I get

1633
01:32:12,920 --> 01:32:16,040
Speaker 5: into it, that Andre Rublev, which was my major blind

1634
01:32:16,080 --> 01:32:18,919
Speaker 5: spot for me, the main reason to do this marathon,

1635
01:32:19,400 --> 01:32:22,760
Speaker 5: gave my pick for my favorite a good challenge. But

1636
01:32:22,960 --> 01:32:26,040
Speaker 5: it was that second I think, I think only my

1637
01:32:26,200 --> 01:32:30,479
Speaker 5: second look at Stalker, the first Tarkovski that I did

1638
01:32:30,560 --> 01:32:34,000
Speaker 5: ever see, that cemented it as my personal favorite of

1639
01:32:34,040 --> 01:32:37,960
Speaker 5: this marathon and of all of his just irresistibly for me,

1640
01:32:38,080 --> 01:32:42,680
Speaker 5: combined sci fi and spirituality, endlessly mysterious. I have, by

1641
01:32:42,720 --> 01:32:44,760
Speaker 5: no means have it figured out. I have a little

1642
01:32:44,800 --> 01:32:48,880
Speaker 5: better idea, I think this second time around. But yeah,

1643
01:32:49,040 --> 01:32:51,400
Speaker 5: it's at the top for me. And you know, as

1644
01:32:51,439 --> 01:32:53,280
Speaker 5: I'm sure you'll probably get into. The reason this is

1645
01:32:53,320 --> 01:32:57,000
Speaker 5: so hard is now I'm counting if we use you know,

1646
01:32:57,000 --> 01:32:59,680
Speaker 5: when you're talking about masterpieces, all time masterpieces, this is

1647
01:32:59,720 --> 01:33:02,519
Speaker 5: where five star letterbox rating is a little more helpful.

1648
01:33:03,040 --> 01:33:08,120
Speaker 5: I've got one, two, three, three all time masterpieces from

1649
01:33:08,240 --> 01:33:11,720
Speaker 5: him Stalker, Andre Rublop Nostalgia, and then I've got here,

1650
01:33:11,840 --> 01:33:13,080
Speaker 5: you know, in the four and a half out of

1651
01:33:13,160 --> 01:33:17,559
Speaker 5: five range, I've got Solaris The Sacrifice and Mirror, which

1652
01:33:17,600 --> 01:33:20,160
Speaker 5: we did a couple of years ago, and that is

1653
01:33:20,240 --> 01:33:23,240
Speaker 5: just great films, just great films, Ivan's Childhood and The

1654
01:33:23,240 --> 01:33:26,240
Speaker 5: Steamroller and the Violin. Yeah, so this wasn't an easy pick,

1655
01:33:26,320 --> 01:33:28,960
Speaker 5: but I do feel good where I landed with Stalker.

1656
01:33:29,240 --> 01:33:33,120
Speaker 1: Yeah. So, as I've said before, I still have Solaris

1657
01:33:33,200 --> 01:33:35,240
Speaker 1: not part of this marathon, but part of a previous

1658
01:33:35,520 --> 01:33:38,320
Speaker 1: long ago, maybe the second marathon that was ever done

1659
01:33:38,360 --> 01:33:40,479
Speaker 1: on this show. So Laris was part of that, and

1660
01:33:40,800 --> 01:33:43,479
Speaker 1: I still have it as my number one. And maybe

1661
01:33:43,520 --> 01:33:45,599
Speaker 1: if I rewatched it now in light of having seen

1662
01:33:45,600 --> 01:33:47,439
Speaker 1: all of these other films, that wouldn't be the case

1663
01:33:47,960 --> 01:33:53,560
Speaker 1: for me. That film, the concept, the central idea, the

1664
01:33:53,760 --> 01:33:58,120
Speaker 1: central question of that film is still the one that

1665
01:33:58,320 --> 01:34:01,800
Speaker 1: just grabs me the most, excites me the most to

1666
01:34:01,960 --> 01:34:04,800
Speaker 1: think about. Yeah, that's the reason why it's still number one.

1667
01:34:05,479 --> 01:34:08,000
Speaker 1: But as you were just talking about, I looked at

1668
01:34:08,040 --> 01:34:13,160
Speaker 1: my letterbox list. I gave Andre Rubelev Nostalgia and Stalker

1669
01:34:13,640 --> 01:34:16,519
Speaker 1: and for that matter, Mirror, which was part of another marathon.

1670
01:34:16,640 --> 01:34:20,160
Speaker 1: We did a few marathons back. I gave those four

1671
01:34:20,280 --> 01:34:22,559
Speaker 1: films four and a half stars. How do you pick?

1672
01:34:23,040 --> 01:34:25,360
Speaker 1: How do you pring between those four movies? Which one's

1673
01:34:25,400 --> 01:34:29,320
Speaker 1: gonna be number two? And I certainly could have made

1674
01:34:29,360 --> 01:34:33,679
Speaker 1: the case for myself to not go with Stalker, because

1675
01:34:34,360 --> 01:34:37,880
Speaker 1: then i'd have, I suppose, two sci fi movies in

1676
01:34:37,960 --> 01:34:43,960
Speaker 1: the top two spots. But I ultimately decided I don't care. Really, Okay, yeah,

1677
01:34:44,080 --> 01:34:46,240
Speaker 1: I mean, I know he made two more films after this,

1678
01:34:47,040 --> 01:34:51,880
Speaker 1: with Nostalgia, which obviously I think is great, and Sacrifice,

1679
01:34:51,920 --> 01:34:54,240
Speaker 1: which I don't like quite as much as you. But

1680
01:34:54,600 --> 01:34:58,920
Speaker 1: I also could stand to rewatch Stalker. I guess just

1681
01:34:59,000 --> 01:35:01,400
Speaker 1: feels to me, Josh, I have rublev Third, so again,

1682
01:35:01,400 --> 01:35:04,680
Speaker 1: it's really close. But Stoker feels it feels to me

1683
01:35:04,880 --> 01:35:08,639
Speaker 1: like it could be the pathiosis. From a filmmaking standpoint,

1684
01:35:09,200 --> 01:35:13,559
Speaker 1: from a faith standpoint, from his wrestling with the need

1685
01:35:13,640 --> 01:35:16,720
Speaker 1: for art and beauty in a brutal world. As I said, standpoint,

1686
01:35:16,800 --> 01:35:19,559
Speaker 1: it feels like it's all it feels like it's all there.

1687
01:35:19,640 --> 01:35:23,400
Speaker 1: And from from just a standpoint two of when I

1688
01:35:23,439 --> 01:35:27,320
Speaker 1: think about the Tarkowski films, I want to revisit and

1689
01:35:27,680 --> 01:35:29,560
Speaker 1: I do feel like they're films you're going on a

1690
01:35:29,680 --> 01:35:33,120
Speaker 1: journey with, Like the characters, you're going on a journey. Right,

1691
01:35:33,960 --> 01:35:36,599
Speaker 1: other than solaris the one where I feel like, Okay,

1692
01:35:36,640 --> 01:35:39,000
Speaker 1: I'm ready to get back on the train. I'm ready

1693
01:35:39,040 --> 01:35:41,160
Speaker 1: to get back on the train. I'm ready. When we

1694
01:35:41,240 --> 01:35:43,080
Speaker 1: talked about it, I said, you know, it's one of

1695
01:35:43,120 --> 01:35:45,800
Speaker 1: those movies you have to get on the same rhythm

1696
01:35:46,160 --> 01:35:49,639
Speaker 1: with it. You have to want to get on that rhythm. Well,

1697
01:35:49,720 --> 01:35:51,920
Speaker 1: I'm ready. You know I could do that again. I

1698
01:35:52,000 --> 01:35:54,479
Speaker 1: want to get on that train again. I want to

1699
01:35:54,560 --> 01:35:58,320
Speaker 1: re enter the zone. I want to reconsider its mysteries

1700
01:35:58,720 --> 01:36:01,200
Speaker 1: and all the enigmas. I'm okay with it. It feels

1701
01:36:01,280 --> 01:36:03,040
Speaker 1: to me like one of those films. And I'm not

1702
01:36:03,120 --> 01:36:06,000
Speaker 1: saying the other films aren't as well, but I'm saying Stalker,

1703
01:36:06,080 --> 01:36:08,600
Speaker 1: to me, just slightly above the others, feels to me

1704
01:36:08,760 --> 01:36:12,759
Speaker 1: like the one that you could dust off at minimum

1705
01:36:13,400 --> 01:36:16,600
Speaker 1: every couple of years, but probably every year and just

1706
01:36:16,680 --> 01:36:19,719
Speaker 1: say it's time. It's time, it's Stocker time. I gotta

1707
01:36:19,800 --> 01:36:20,559
Speaker 1: do it right.

1708
01:36:20,640 --> 01:36:21,960
Speaker 5: I don't know what time of year that would be,

1709
01:36:22,080 --> 01:36:24,560
Speaker 5: but that would be a worthy, a worthy enterprise. I

1710
01:36:24,720 --> 01:36:27,400
Speaker 5: thought you might go with Andre Rublav. Yeah, it was

1711
01:36:27,640 --> 01:36:29,800
Speaker 5: to be honest, and as I said, the one that

1712
01:36:30,040 --> 01:36:33,200
Speaker 5: was pushing at a possibility for Best Picture for me.

1713
01:36:33,400 --> 01:36:35,639
Speaker 5: But yeah, a lot of crossover for us this time.

1714
01:36:35,600 --> 01:36:40,000
Speaker 1: It was that'll do it. Officially, it's over our Tarkovsky Marathon.

1715
01:36:40,080 --> 01:36:42,360
Speaker 1: We don't have another one planned for this year. We're

1716
01:36:42,439 --> 01:36:45,640
Speaker 1: getting you know, into summer here and then fall and

1717
01:36:45,720 --> 01:36:47,599
Speaker 1: then end of the year. But of course we will

1718
01:36:47,640 --> 01:36:50,080
Speaker 1: have another one on the books for next year. We'll

1719
01:36:50,120 --> 01:36:54,240
Speaker 1: keep you posted as those plans emerge. More about our marathons,

1720
01:36:54,280 --> 01:36:57,240
Speaker 1: there are over fifty of them now. That info is

1721
01:36:57,240 --> 01:37:02,760
Speaker 1: available at film spotting dot net Marathons. Josh, That's our show.

1722
01:37:03,120 --> 01:37:05,600
Speaker 5: You could find Adam and the Show on Instagram and

1723
01:37:05,640 --> 01:37:09,400
Speaker 5: Facebook and letterbox at film Spotting. I'm at Larsen on

1724
01:37:09,560 --> 01:37:12,880
Speaker 5: film We are independently produced and listeners support it. You

1725
01:37:12,920 --> 01:37:15,320
Speaker 5: can support the show by joining the film Spotting Family

1726
01:37:15,479 --> 01:37:18,680
Speaker 5: at film spottingfamily dot com. You can listen early in

1727
01:37:18,800 --> 01:37:21,200
Speaker 5: ad free. That way, you'll also get a weekly newsletter,

1728
01:37:21,360 --> 01:37:24,920
Speaker 5: monthly bonus episodes, and access to the entire show archive.

1729
01:37:25,400 --> 01:37:28,000
Speaker 5: For show t shirts and other merch go to film

1730
01:37:28,080 --> 01:37:29,000
Speaker 5: spotting dot net.

1731
01:37:29,160 --> 01:37:33,400
Speaker 1: Slash Shop in that show archive mostly reverse chronological here,

1732
01:37:33,600 --> 01:37:37,160
Speaker 1: lots of Wes the dollshorts nine, Asteroid City nine to

1733
01:37:37,160 --> 01:37:39,720
Speaker 1: twenty five, French Dispatch eight forty seven. We did a

1734
01:37:39,800 --> 01:37:43,000
Speaker 1: rushmore Sacred Cow that was fun, six point thirty Isle

1735
01:37:43,040 --> 01:37:46,040
Speaker 1: of Dogs, and our top five Wes Anderson scenes. At

1736
01:37:46,080 --> 01:37:48,240
Speaker 1: some point we're gonna have to revisit that and redo it,

1737
01:37:48,400 --> 01:37:50,360
Speaker 1: aren't We see four.

1738
01:37:50,600 --> 01:37:52,840
Speaker 5: As we were. As we've been talking about performances, like

1739
01:37:53,080 --> 01:37:55,840
Speaker 5: characters or performances, is a good one sometimes, Okay.

1740
01:37:56,160 --> 01:37:59,280
Speaker 1: Royal Tenenbaum Sacred Cow that was with Sam van Halgrin,

1741
01:37:59,320 --> 01:38:01,920
Speaker 1: even though he does appreciate Royal ten and bombs in

1742
01:38:01,960 --> 01:38:05,040
Speaker 1: a five to eighty nine Grand Budapest Hotel for eighty

1743
01:38:05,080 --> 01:38:08,000
Speaker 1: one Moonri's Kingdom. That was episode four hundred Live with

1744
01:38:08,120 --> 01:38:11,080
Speaker 1: Dana Stevens and Michael Phillips. Somehow it looks like mister

1745
01:38:11,160 --> 01:38:16,080
Speaker 1: Fox did not get a full review. So Geeling, Yeah,

1746
01:38:16,160 --> 01:38:19,280
Speaker 1: Darjeeling Limited was reviewed back on one eighty one, and

1747
01:38:19,360 --> 01:38:23,240
Speaker 1: that's where I interviewed Wes Anderson and Jason Schwartzman. It's

1748
01:38:23,320 --> 01:38:26,679
Speaker 1: kind of sad though, that that's the only time I've

1749
01:38:26,760 --> 01:38:29,640
Speaker 1: talked to Wes Anderson in the show's history was one

1750
01:38:29,720 --> 01:38:33,160
Speaker 1: eighty one and little bit of crossover with another movie

1751
01:38:33,240 --> 01:38:35,400
Speaker 1: that came up on this show. Jason Schwartzman is in

1752
01:38:36,240 --> 01:38:40,080
Speaker 1: Pavements with Alex ross Perry. He's also in at least

1753
01:38:40,520 --> 01:38:43,559
Speaker 1: one other Alex ross Perry film, Top of Mind, which

1754
01:38:43,640 --> 01:38:47,880
Speaker 1: is Listen Up Phillip, and I interviewed Jason Schwartzman for

1755
01:38:48,040 --> 01:38:50,800
Speaker 1: Listen Up Philip The Life of Quatic. We talked about

1756
01:38:50,800 --> 01:38:53,400
Speaker 1: that on a May twenty twenty Bonus episode, and Sam

1757
01:38:53,600 --> 01:38:57,559
Speaker 1: is written in here Bottle Rocket thirtieth anniversary Sacred Cow.

1758
01:38:57,920 --> 01:39:01,680
Speaker 1: In twenty twenty six Let's Do It streaming, you can

1759
01:39:01,800 --> 01:39:04,559
Speaker 1: see Echo Valley. Julianne Moore gets a visit from her

1760
01:39:04,560 --> 01:39:07,640
Speaker 1: attic daughter played by Sidney Sweeney, and becomes an accomplice

1761
01:39:07,720 --> 01:39:11,320
Speaker 1: to murder with Donald Gleason as a sleazy dealer. In

1762
01:39:11,439 --> 01:39:14,160
Speaker 1: limited release, you can see The Ballad of Suzanne Cizar.

1763
01:39:14,320 --> 01:39:18,240
Speaker 1: Mariah Gates says, an experimental meditation on who owns History?

1764
01:39:18,320 --> 01:39:21,160
Speaker 1: A sumptuous and thought provoking film that's at the Cisco.

1765
01:39:21,760 --> 01:39:24,560
Speaker 1: Prime Minister is also out in limited release. This is

1766
01:39:24,640 --> 01:39:27,960
Speaker 1: a documentary about the New Zealand Prime Minister just Sinda

1767
01:39:28,040 --> 01:39:30,560
Speaker 1: Ardern and this is a movie that played at Sundance

1768
01:39:30,720 --> 01:39:33,920
Speaker 1: Documentary I saw, recommend it definitely worth seeing. Out in

1769
01:39:34,040 --> 01:39:37,280
Speaker 1: wide release, you can see the live action adaptation of

1770
01:39:37,520 --> 01:39:41,200
Speaker 1: How to Train Your Dragon. That's the twenty ten animated

1771
01:39:41,240 --> 01:39:45,280
Speaker 1: film and Yeah materialists Selene Songs follow up to twenty

1772
01:39:45,320 --> 01:39:48,639
Speaker 1: twenty three's Past Lives with Dakota Johnson and Pedro Pascal

1773
01:39:48,720 --> 01:39:51,519
Speaker 1: and Chris Evans. We plan to talk about that next week,

1774
01:39:51,600 --> 01:39:56,360
Speaker 1: along with Mike Flanagan's Stephen King adaptation The Life of Chuck,

1775
01:39:56,400 --> 01:39:57,440
Speaker 1: which is expanding.

1776
01:39:57,680 --> 01:40:01,080
Speaker 5: Film Spiding is produced by Golden Joe Desso, Sam Vanhlgren.

1777
01:40:01,280 --> 01:40:04,160
Speaker 5: Without Sam and Golden Joe, this show wouldn't go. Our

1778
01:40:04,200 --> 01:40:07,720
Speaker 5: production assistant is Sophie Kempinar. Special thanks to everyone at

1779
01:40:07,920 --> 01:40:12,559
Speaker 5: wbeazy Chicago. More information is available at wbeaz dot org.

1780
01:40:13,000 --> 01:40:15,200
Speaker 5: For film Spotting, I'm Josh Larson.

1781
01:40:14,920 --> 01:40:17,000
Speaker 1: And I'm Adam Kempinar. Thanks for listening.

1782
01:40:17,160 --> 01:40:20,120
Speaker 2: This conversation can serve no purpose anymore.

1783
01:40:21,000 --> 01:40:40,240
Speaker 1: Good fine film spotting is listeners supported. Join the film

1784
01:40:40,280 --> 01:40:43,439
Speaker 1: Spotting Family at film spottingfamily dot com and get access

1785
01:40:43,479 --> 01:40:46,879
Speaker 1: to ad free episodes, monthly bonus shows, our weekly newsletter,

1786
01:40:47,120 --> 01:40:49,040
Speaker 1: and for the first time, all in one place, the

1787
01:40:49,320 --> 01:40:52,280
Speaker 1: entire film spotting archive going back to two thousand and five.

1788
01:40:52,640 --> 01:40:54,559
Speaker 1: That's a film Spotting family dot com

1789
01:40:57,520 --> 01:40:58,000
Speaker 4: Panically