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Speaker 1: Film Spotting is presented by Regal Unlimited, the all you

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Speaker 1: can watch movie subscription pass that pays for itself in

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Speaker 1: just two visits. Sign up now in the Regal app

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Speaker 1: or at the link in the show description and use

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Speaker 1: code film Spot twenty five. That's film Spot twenty five

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Speaker 1: to receive your discount. What kind of a show you

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Speaker 1: guys putting on here today?

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Speaker 2: You're not interested in armed now? No, Look, we're going

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Speaker 2: to do this thing.

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Speaker 3: We're going to have a.

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Speaker 1: Conversation from Chicago. This is Film Spotting celebrating our twentieth year.

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

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Speaker 4: Rules are simple, survive thirty days, the entire nation hoisingly down.

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Speaker 2: We'll get your family out of slumicide for good.

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Speaker 1: The Running Man Is Back. Director Edgar Wright revives the

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Speaker 1: nineteen eighty seven dystopian action film No Schwarzenegger. This time

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Speaker 1: Glenn Powell, along with Josh Brolin and Coleman Domingo star.

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Speaker 5: Going back even further Richard Linkletter's Nouvelle vaugh It recreates

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Speaker 5: the making of the French New wave landmark. Breathless reviews

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Speaker 5: of both films and more, All Ahead on Film.

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Speaker 1: Spotting, What is happening?

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Speaker 2: Welcome to The running.

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Speaker 1: Man, Welcome to Film Spotting, pop Quiz hot shot Stephen

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Speaker 1: Kings nineteen eighty two novella The Running Man was set

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Speaker 1: in what year? Oh?

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Speaker 5: Okay, so eighty two. I think they'd like to go

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Speaker 5: past two thousand, right?

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Speaker 1: Usually yes.

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Speaker 5: In these scenarios also seem to like the alliteration of

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Speaker 5: twenty twenty something. I'm gonna go twenty twenty six.

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Speaker 1: Not bad, but you know, it would be more poetic

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Speaker 1: if it was twenty twenty five, the year we're in it,

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Speaker 1: and it.

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Speaker 5: Was it was I see, I thought that was two

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Speaker 5: on the nose.

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Speaker 1: Okay, it is on the nose. Nineteen eighty seven is

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Speaker 1: The running Man with Arnold Schwarzenegger set in twenty nineteen.

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Speaker 1: For some reason, Edgar writes The Running Man, Well, that

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Speaker 1: might be an actual show on network tea for all

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Speaker 1: that I know. We will talk about The Running Man

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Speaker 1: also this week on the show. Nineteen fifty nine. That's

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Speaker 1: the year Richard Linklater's Nouvelle Vague is set. Because it's

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Speaker 1: about the making of Jean Luke Gadar's Breathless. We're going

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Speaker 1: to have a review of that later in the show,

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Speaker 1: it was supposed to be the two of us. I

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Speaker 1: had to go to the bullpen, Josh, do you want

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Speaker 1: to quickly explain the circumstances under which I had to

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Speaker 1: bring Michael Phillips in.

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Speaker 5: I don't know how quick I can be. Let's just say,

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Speaker 5: as listeners know, here in Scotland, for a while studying

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Speaker 5: and when to press play on my Netflix, which has

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Speaker 5: been operating just fine, and I got a message, this

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Speaker 5: is not available for Nouvelle Vague in your region. I thought, okay, well,

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Speaker 5: I've been prepared for this. This is why I have

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Speaker 5: my VPN. Turn that thing on. Got a message we've

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Speaker 5: detected a VPN, please turn off before you use our service.

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Speaker 5: So here's where it's going to get a little long.

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Speaker 5: And bear with me, Adam, and bear with me. Listeners.

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Speaker 5: They don't care. Most listeners are like, we just watch movies.

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Speaker 5: When we watch movies, sometimes we even have to pay

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Speaker 5: for them, and us as critics, you know, we get

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Speaker 5: to usually see them for free or.

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Speaker 2: Get screen or links. Right.

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Speaker 5: Netflix has been very good about this in the past.

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Speaker 5: This is why we thought it wouldn't be a problem.

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Speaker 5: They have actually provided just it'll pop up on your

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Speaker 5: profile on Netflix if you've been approved as a critic,

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Speaker 5: and in past years that's worked beautifully. Things have been

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Speaker 5: a little erratic this year with Netflix. So if we

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Speaker 5: have any friends there who are listeners to the show,

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Speaker 5: we've gotten some preview content they call it films, others

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Speaker 5: we haven't. And I bring it up now because there's

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Speaker 5: a bunch of Netflix titles coming up that we hope

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Speaker 5: to review on the show, and I just hope that

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Speaker 5: I don't get caught in this situation again. So my apologies.

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Speaker 5: Really thought I could watch Nuvelle Vague wanted to very much.

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Speaker 5: I think everyone's in good hands with Michael Phillips.

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Speaker 1: However, I just thought maybe the Scots hated Richard Linklater

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Speaker 1: or the French.

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Speaker 2: I mean, who knows, who knows what's at work over here.

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Speaker 1: A quick reminder, Film Spotting is available as a video podcast.

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Speaker 1: If you're a Spotify listener, you can toggle between video

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Speaker 1: and audio. You can also watch the show on YouTube.

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Speaker 1: You can probably have the best experience there on YouTube

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Speaker 1: for a link to video episodes. Good at Filmspotting, dot

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Speaker 1: ned Slash episodes.

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Speaker 5: First up The Running Man Before.

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Speaker 1: I jump in, I should probably acknowledge that if you're

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Speaker 1: thinking Adam sounds a little funny this week, Yeah, it's November.

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Speaker 1: Time for my annual head cold. At least I can

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Speaker 1: actually talk, Josh. Sometimes I'm so hoarse I can't do

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Speaker 1: an episode and we have to bring in someone like

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Speaker 1: Michael Phillips for an entire show.

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Speaker 5: Especially when the subject is two thousand and one of

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Speaker 5: Space Odyssey.

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Speaker 1: I believe, why did you have to go there? Let's

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Speaker 1: get into The Running Man. It probably shouldn't be much

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Speaker 1: of a surprise that The Running Man feels like such

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Speaker 1: a genre mashup. After all, co writer and director Edgar

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Speaker 1: Wright is the guy who gave us horror comedy Sean

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Speaker 1: of the Dead, which, despite being a horror comedy, still

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Speaker 1: probably has the genuinely saddest moment you'll find in any

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Speaker 1: of his films. Buddy cop action comedy, Hot Fuzz romantic

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Speaker 1: action comedy with clear graphic novel roots, Scott Pilgrim Versus

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Speaker 1: The World, sci fi comedy that also seriously reckons with alcoholism,

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Speaker 1: The World's End heist thriller that occasionally veers into musical territory,

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Speaker 1: Baby Driver, and period horror mystery Last Night in soho,

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Speaker 1: So what is The Running Man besides a remake of

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Speaker 1: the nineteen eighty seven dystopian action thriller starring Arnold Schwarzenegger. Well,

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Speaker 1: it's definitely dystopian, with the residents of co Op City

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Speaker 1: clamoring to compete for new dollars on the top rated

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Speaker 1: game show of the title, despite a contestant success rate

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Speaker 1: of z zero percent. They're definitely action thrills, featuring some

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Speaker 1: explosions and shoot him up chase scenes and even a

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Speaker 1: stealth fighter jet. I know you love the stealth fighter jets, Josh,

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Speaker 1: but it's also going for laughs. There's a slew of

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Speaker 1: cartoonish head splats when the show's hunters make their live kills.

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Speaker 1: Glenn Powell's Ben Richards occasionally disguises himself in goofy costumes

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Speaker 1: to avoid being detected. Also note the appearance of Please

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Speaker 1: Don't Destroys Martin Hurlehy and the late introduction of Kooki

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Speaker 1: Michael Sarah along with his senile Fox News. I mean NCG,

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Speaker 1: is it NCG, Josh or NNGC. I can't remember you

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Speaker 1: know the name of the network in this movie. Let's

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Speaker 1: just go with the network, Okay, Well, there's a network,

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Speaker 1: and she's obsessed with it. That's Michael Sarah's mother in

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Speaker 1: this film, and it's a bit of a sentimental love story,

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Speaker 1: with Richard's only being driven to accept the offer from

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Speaker 1: Running Man producer Dan Killion played by Josh, and to

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Speaker 1: earn money for his beloved wife and sick daughter. If

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Speaker 1: this wasn't all enough, Richard's and the movie itself exhort

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Speaker 1: its audiences, their audiences to rise up against our corporate

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Speaker 1: overlords who keep us occupied opposing each other rather than them.

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Speaker 1: The Running Man doesn't have perfidia Beverly Hills, but it

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Speaker 1: does have the apostle to keep everybody woke. Josh, I

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Speaker 1: believe that we are both generally too very positive on

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Speaker 1: almost all of Wright's previous films. Has he done it again?

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Speaker 1: Just arguably on and even bigger? One might say more ambitious,

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Speaker 1: another might say more misguided scale? And if not, did

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Speaker 1: this work best when it was spending most of its

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Speaker 1: time to appropriate a phrase from mister Richards hanging out

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Speaker 1: amongst the people of one of these generic neighborhoods, Well.

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Speaker 5: You've exhausted me with that rundown. Of all the things

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Speaker 5: the Running Man could be and wants to be. I

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Speaker 5: promise listeners who are interested in the movie. I at

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Speaker 5: least did not find it quite that exhausting an experience,

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Speaker 5: though I don't think it's entirely successful either. For me Adam,

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Speaker 5: the wit did win out just enough, and by wit,

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Speaker 5: I am definitely not referring to Glenn Powell's costume changes

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Speaker 5: and disguises. I don't know what's going on with that

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Speaker 5: man there. I hope he gets it out of his

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Speaker 5: system soon, because for me it's just whether here or

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Speaker 5: the hit man. It's not working for me, but the

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Speaker 5: wit that I did appreciate. Some elements of his performance

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Speaker 5: are involved, but I think it's less that or even

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Speaker 5: the you know the kill shot you referenced. It's more

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Speaker 5: about the political elements where I think those are handled

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Speaker 5: with a deafness a perceptiveness that I appreciated, though at

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Speaker 5: the same time it does lean or into this unsupported

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Speaker 5: rise up of the everyman ending that just does not

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Speaker 5: even make sense to me. Along the way to your

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Speaker 5: answer about right along the way when you can feel

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Speaker 5: Right's hand, right sensibility, right sense of humor, the running

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Speaker 5: Man is a reheat worth experiencing, and I felt that

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Speaker 5: just enough to bump it over the edge.

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Speaker 2: We joke.

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Speaker 5: So many listeners are in letterbox as you and I are,

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Speaker 5: and it's a five star system, and you know you

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Speaker 5: could go two and a half stars. What does that mean?

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Speaker 5: It means nothing. It letterbox adds something to this formula.

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Speaker 5: You can choose a heart right now if you do

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Speaker 5: two and a half adam the existential question that keeps

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Speaker 5: people like us up at night, what do you do

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Speaker 5: with the heart?

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Speaker 1: I don't heart it. That's my heart and fast rule.

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Speaker 5: I'm a little more flexible. I like to allow for

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Speaker 5: nuance in these situations, just like The Running Man, which

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Speaker 5: did receive from me two and a half stars on

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Speaker 5: letterboxed and yes.

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Speaker 1: Wow, heart, Okay, I didn't know that. You went heart.

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Speaker 1: That's where you that's where you're at. So you're mashing

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Speaker 1: up genres. You've got the you've got the the anger,

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Speaker 1: the resistance of the two and a half stars, but

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Speaker 1: the sentimentality of the heart.

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Speaker 2: Just trying to make sense of things with the heart.

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Speaker 1: Amazing right juggles dystopian thrills, satire, sentiment, and slapstick, but

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Speaker 1: never nails any of them. The result is this genre

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Speaker 1: mashup that always feels more muddled than masterful. And I

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Speaker 1: use that word because I do think that Right has

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Speaker 1: been masterful at juggling them before, and it doesn't cohere

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Speaker 1: at almost any point when you break them down, and

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Speaker 1: that's what I was going for. Does any one of

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Speaker 1: them work on their own? When it was when it

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Speaker 1: was spending time within one of those genres, did you

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Speaker 1: really feel like the movie was working. It certainly doesn't

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Speaker 1: work as a romance or or any of the time

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Speaker 1: it spends in that relationship, and it's very little, to

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Speaker 1: be fair, so it doesn't work on that level. I

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Speaker 1: agree with you it it doesn't work when it's really

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Speaker 1: devoting energy to the comedic bits. I did like Kitman

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Speaker 1: considerably more than you. I thought Glenn Powell's work there

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Speaker 1: was much better than it is here, including with the costumes,

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Speaker 1: and I think we can get into the big difference.

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Speaker 1: The thing that's holding this back, and it it maybe

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Speaker 1: some fault in Powell and his performance in Powell's persona

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Speaker 1: and his skills as an actor, but it also could

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Speaker 1: be something about this film and how that this character

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Speaker 1: is conceived. But I agree with.

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Speaker 5: Sully the screenplay absolutely, the screenplay more.

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Speaker 1: Than yeah, I think it is, so we will we

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Speaker 1: will get into that, but I'm with you. None of

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Speaker 1: those scenes where he's in disguise, none of those jokes

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Speaker 1: land at all. Nor does it work as a political

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Speaker 1: satire or resistance movie. And I think we can get

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Speaker 1: into that a little little bit more for me. For me,

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Speaker 1: it didn't, it didn't really work. And I think you

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Speaker 1: use the keyword, which is unsupported. Let me go back though,

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Speaker 1: and say, maybe the only performers here that really equit themselves, Josh,

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Speaker 1: are part of that resistance angle. And I think Brolin

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Speaker 1: finds just the right tone for this film. And I

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Speaker 1: actually think Domingo too, as the showman, as the TV star,

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Speaker 1: does everything the screenplay needs him to do. But their

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Speaker 1: parts are also so limited. And I didn't go back

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Speaker 1: and watch the original, and it's been a long time

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Speaker 1: since I've seen it, but I swear in my recollection

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Speaker 1: and I did watch that film quite a bit that

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Speaker 1: we had some scenes of the villain, and I think

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Speaker 1: the villain. I could be wrong, but I think the

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Speaker 1: villain it was. It was the family feud host. It

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Speaker 1: was Richard Richard Dawson, and and he was he was

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Speaker 1: both the the Killian character and the the Domingo character.

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Speaker 1: What's I'm blanking on his name in in this movie

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Speaker 1: and I can't. I can't believe it because the last

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Speaker 1: name is an initial. But he's he's both the the

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Speaker 1: TV host and the TV producer if I remember correctly.

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Speaker 1: And there were scenes of that character where we we

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Speaker 1: saw them, we saw the villain off screen so to speak,

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Speaker 1: not not just when they were interacting with the main character,

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Speaker 1: and that at least helped create this world. It gave

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Speaker 1: that character some dimension, and here it just feels so flimsy,

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Speaker 1: like both of those characters are here purely to serve

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Speaker 1: as storytelling devices. They only show up when they have

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Speaker 1: to propel things forward, to provide another obstacle for the

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Speaker 1: main character, or to you know, do some kind of

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Speaker 1: storytelling exposition. There's no real stakes involving those characters until

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Speaker 1: the movie really needs to introduce those steaks at the

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Speaker 1: very end. And I think there's a stakes issue in

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Speaker 1: the last third of this movie as well that maybe

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Speaker 1: we can get into Josh, but with an exception or two.

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Speaker 1: I don't think most of the action so it's just

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Speaker 1: an action thriller. I don't think most of the action works.

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Speaker 1: I think it's really muddy throughout and not satisfying. I suppose,

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Speaker 1: if I had to pick one and answer my question,

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Speaker 1: enjoyed the movie most. And this just may may be

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Speaker 1: my predilection. I tend to like movies, at least movies

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Speaker 1: that are poorly plotted when the narrative gets too lost

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Speaker 1: in itself. I tend to like movies when they're building

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Speaker 1: the world, and so I probably enjoyed this movie the

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Speaker 1: most when it was just a dystopian or a dystopia movie.

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Speaker 1: But even then, it's not as if this vision was

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Speaker 1: particularly striking or new.

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Speaker 5: No, except that I think you're correct in that. I

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Speaker 5: think we could look at older movies and perhaps the Original,

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Speaker 5: which I have not seen, and say, yeah, they were

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Speaker 5: just predicting where we're at. What struck me is that

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Speaker 5: we're here essentially. I mean, we don't literally have a

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Speaker 5: game show like this. But the most unrealistic thing in

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Speaker 5: The Running Man for me was the fact that people

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Speaker 5: got to watch The Running Man for free, and as

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Speaker 5: any one of us knows, we're paying through.

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Speaker 2: The nose.

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Speaker 5: How many streaming devices now, right, I mean, that's like,

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Speaker 5: come on, get with the program like these people are

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Speaker 5: being put into debt just to watch your show. That's

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Speaker 5: killing them. That's the world we live in. So that's

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Speaker 5: what's unrealistic here. I think here's what I would defend

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Speaker 5: it in terms of and so much of what you

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Speaker 5: said is spot on, including the last third. This thing

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Speaker 5: goes off the rails the minute Michael Sarah Off.

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Speaker 1: It's a lane.

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Speaker 2: Yes, HiT's a button.

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Speaker 5: Let's just say for those who have seen it, maybe

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Speaker 5: a little bit before when his mother.

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Speaker 2: Takes it makes a choice.

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Speaker 5: But I do think there's a lot of wit a

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Speaker 5: little bit after that, but beforehand. And let me give

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Speaker 5: you just one example that's tied to right, because you're

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Speaker 5: common about the action. I wanted more thrilling, inventively imaginatively

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Speaker 5: staged action that I got. But I do think the

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Speaker 5: scene where Powell only in a towel has to scale

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Speaker 5: from a building has that combination of sharp filmmaking, chops, humor, tension,

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Speaker 5: suspense that we come to expect from right. I think

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Speaker 5: that sequence works.

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Speaker 1: I also think there's the exceptions for.

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Speaker 2: Surekay, Yeah, it's an exception. I agree.

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Speaker 5: There's just a shot where he's on the run his

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Speaker 5: Ben Richards now at this point, and he walks up

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Speaker 5: to the camera. He's at a desk like buying a

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Speaker 5: train ticket or something, and so he's essentially looking right

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Speaker 5: off center to the camera and we see behind him

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Speaker 5: is this video advertisement for the Running Man, and his

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Speaker 5: face appears right because part of this game, and I

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Speaker 5: wanted to ask you about this, though your memories sound fuzzy,

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Speaker 5: of the original part of this game is that the

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Speaker 5: viewers are incentivized to root against the contestants.

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Speaker 1: Don't I remember that aspect at all. Okay, it's a

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Speaker 1: private it's a closed universe as I recall it, where

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Speaker 1: the hunters are just chasing them down.

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Speaker 5: Yeah, if this is new, I do think this is

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Speaker 5: one of the ingenious choices with this movie. So viewers

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Speaker 5: in this world are in devi to root against the contestants.

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Speaker 5: I went into this movie thinking, well, of course the

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Speaker 5: people are rooting for them. No, for a variety of

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Speaker 5: reasons we can get into. The viewers are manipulated. They're bribe.

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Speaker 5: There's prize money, so if they see someone on the

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Speaker 5: street who's a contestant, they call in to report them.

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Speaker 5: And already my brain is firing, like I was just

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Speaker 5: reading this week about AI generated videos on Facebook that

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Speaker 5: are celebrating these supposed ice arrests. Right again to my point,

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Speaker 5: we're living in this world. So anyway, this shot, going

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Speaker 5: back to the shot, Ben Richards is buying a ticket

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Speaker 5: and we're looking right at him, his face and in

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Speaker 5: the screen in the background is his face because they're

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Speaker 5: advertising if you see this man, report him. And the touch,

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Speaker 5: just the touch, not only the repetition, but the touch

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Speaker 5: of like the real Ben Richards turning in profile, just

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Speaker 5: as the Ben Richards in the screen turns in profile.

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Speaker 5: It's just it's a three seconds beautifully done, funny, incisive

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Speaker 5: Edgar Wright stuff. And I think there's other elements like

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Speaker 5: Arnold Schwarzenegger being on the face of these new American dollars.

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Speaker 2: Love that. What does it mean is he the president?

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Speaker 5: We don't know. Great touch, fun twink Cereal got a

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Speaker 5: big laugh out of me and the rest of the

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Speaker 5: audience that I was in. But the wit for me

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Speaker 5: also came through in a lot of the political elements

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Speaker 5: of the movie that I appreciated. And I also agree

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Speaker 5: with you, Adam, this is not an opposition movie.

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Speaker 2: This is not.

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Speaker 5: Mickey seventeen or one battle after another. It may involve spoilers,

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Speaker 5: but we can maybe go into the fact how I

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Speaker 5: see it as a morally at least as a cop

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Speaker 5: out movie at the very end.

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Speaker 2: But I do think.

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Speaker 5: It does have value as a incisive satire that is

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Speaker 5: poking fun of the world we are currently living in.

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Speaker 5: And I think of a moment that involves the filmmaking

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Speaker 5: as well. When Ben is trying out for The Running Man,

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Speaker 5: He's forced to go through these trials that are like,

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Speaker 5: what was that show where people would, oh, my gosh,

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Speaker 5: my daughters used to watch this with my grandparents with

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Speaker 5: which I loved, not Knockout. It was something where people

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Speaker 5: would go through these these trials and get knocked into

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Speaker 5: a pool if they couldn't make it across.

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Speaker 1: Like American Ninja Warrior or something like that, right, like

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Speaker 1: Glad American Gladiators.

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Speaker 2: Something like it.

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Speaker 1: Yeah, yeah, it was.

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Speaker 2: It was something like that.

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Speaker 5: Anyway, That's how Ben has to try out for The

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Speaker 5: Running Man, and right parallels like there's an intercut sequence

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Speaker 5: going back to his work as a laborer showing that basically,

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Speaker 5: so there'd be a sequence of him like trying to

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Speaker 5: evade fire while trying out, and then they'd cut to

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Speaker 5: show him in his job, as I don't know, a

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Speaker 5: labor of some sort, he had to evade fire just

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Speaker 5: to earn a dollar, And I thought that was not

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Speaker 5: only clever filmmaking, but suggested that in this world, actual

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Speaker 5: work life is just as dangerous and just as exploitative

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Speaker 5: as signing up for The Running Man. So very smart

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Speaker 5: done through filmmaking, and also witty. Last thing I'll say,

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Speaker 5: because I've been talking for a while, but there's a

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Speaker 5: trivia show at the beginning a different show, and the

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Speaker 5: person being essentially tortured, and to get out of their torture,

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Speaker 5: they have to answer the question correctly. They have to

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Speaker 5: answer how many bathrooms are on an EXEC which stands

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Speaker 5: in for the elite in this movie, an exec private jet,

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Speaker 5: and the choices are like two, four or six and

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Speaker 5: again funny, horrible, true to what we're living today. I

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Speaker 5: bet Air Force one right now is being outfitted for

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Speaker 5: twelve bathrooms. So that's the sort of stuff I appreciated,

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Speaker 5: even though I also admit a lot of it around

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Speaker 5: it that you've detailed and hinted at is quite the mess.

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Speaker 1: And that joke has a callback later in the film.

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Speaker 1: Very nice, right, that works with the bathrooms. Yeah, I

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Speaker 1: don't want to suggest that there isn't cleverness, that there

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Speaker 1: aren't some witticisms that pay off. You would expect that

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Speaker 1: from Edgar Wright. In this movie. They are overshadowed, I

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Speaker 1: think by a lot of things that we've talked about,

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Speaker 1: but especially overshadowed by the bigger attempts at humor, including

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Speaker 1: gigantic set pieces that just waylay this film and the

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Speaker 1: narrative like the one involving Michael Sarah, which not only

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Speaker 1: not only does it not work in terms of humor or,

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Speaker 1: I was gonna say, not only does it not work

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Speaker 1: from a narrative standpoint, but it's there primarily it seems

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Speaker 1: to be funny, and there isn't a single part of it,

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Speaker 1: at least from my perspective, and based on the way

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Speaker 1: you're nodding your head, Josh, yeah, it sounds like for

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Speaker 1: you as well. It doesn't work on a joke level either,

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Speaker 1: And it's a significant sequence in the film. It undoes

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Speaker 1: so much of the goodwill that the movie he might

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Speaker 1: have engentered at that point, it just and it throws

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Speaker 1: the It throws the entire story into chaos, and the

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Speaker 1: movie never really recovers at that point unfortunately, But you're

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Speaker 1: right that shot for example that you reference, that is

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Speaker 1: what the shot where he's standing in front of the

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Speaker 1: sign where the moving image of him and people could

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Speaker 1: see it and potentially detect him and turn him in.

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Speaker 1: That's what we expect from Edgar Wright because it's synchronicity.

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Speaker 1: It's the sink nature of him not even being aware

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Speaker 1: of it, him being in sync with his self, the

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Speaker 1: image of himself. But then also he doesn't know it.

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Speaker 1: It's the fact that the audience is in on something

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Speaker 1: that he's not aware of, and that is clever. Right,

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Speaker 1: So it all works or that scene definitely works. You

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Speaker 1: know who actually is also good in this film and

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Speaker 1: you haven't seen the movie yet, but he's almost unrecognizable

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Speaker 1: in it. I'm just saying, I think he's having a

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Speaker 1: good year, even if he only has like one scene

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Speaker 1: in this movie and it's not a big part of

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Speaker 1: this film. That's William H. Macy. I think he's pretty

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Speaker 1: good in the one scene he has in this movie,

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Speaker 1: and that's part of the dystopian world building as well.

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Speaker 1: That worked for me. Let's talk about Powell and see

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Speaker 1: if we can unpack this and if we see it

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Speaker 1: the same way we are told the movie needs us

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Speaker 1: to believe based on what it tells us and what

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Speaker 1: the movie shows us, that he is really angry. He's

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Speaker 1: incredible Hulk level angry, except he can't hulk out to

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Speaker 1: actually show it. There's a scene when he's going through

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Speaker 1: the testing for The Running Man where he has to

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Speaker 1: meet with a network psychiatrist and I don't remember exactly

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Speaker 1: what she says, but I don't think she says You're

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Speaker 1: the angriest man in the world or I've ever seen.

433
00:24:56,880 --> 00:24:59,000
Speaker 1: I think she says something like, you're the angriest man

434
00:25:00,000 --> 00:25:03,960
Speaker 1: I've ever tested, or who's ever gone through this test? Yeah, okay,

435
00:25:05,000 --> 00:25:11,120
Speaker 1: whatever it is. He's super mad, right, and throughout the

436
00:25:11,119 --> 00:25:16,840
Speaker 1: film it always felt to me like a character Powell

437
00:25:17,680 --> 00:25:20,919
Speaker 1: had to put on, like he constantly has to shift

438
00:25:21,320 --> 00:25:26,040
Speaker 1: himself back into angry mode. And he might, as an actor,

439
00:25:26,080 --> 00:25:30,440
Speaker 1: be capable of doing it, and it could. It really

440
00:25:30,440 --> 00:25:34,000
Speaker 1: could be a consequence of the tonal Molotov cocktail that

441
00:25:34,080 --> 00:25:37,679
Speaker 1: this movie is. But I think the anger part that

442
00:25:37,840 --> 00:25:40,879
Speaker 1: seems to be so crucial to this movie undercuts some

443
00:25:41,000 --> 00:25:45,359
Speaker 1: of the potential comedic elements and the natural inclination towards

444
00:25:45,480 --> 00:25:51,280
Speaker 1: cockiness and comic chops that he has as an actor

445
00:25:51,560 --> 00:25:54,800
Speaker 1: doesn't necessarily serve all of the action and some of

446
00:25:54,800 --> 00:25:59,320
Speaker 1: that activist element, the resistance part of the movie. And

447
00:25:59,560 --> 00:26:02,000
Speaker 1: when I think about, what if you're gonna sell me

448
00:26:02,119 --> 00:26:06,479
Speaker 1: on this anger, you're just gonna hammer the anger, And

449
00:26:06,520 --> 00:26:09,080
Speaker 1: I think that could work for this character, and it

450
00:26:09,119 --> 00:26:11,880
Speaker 1: could be really compelling, and I think you could still

451
00:26:11,880 --> 00:26:15,040
Speaker 1: have comedy come out of that, Josh, I do I

452
00:26:15,080 --> 00:26:18,280
Speaker 1: think about the intensity. I'll use a comparison that Glenn

453
00:26:18,320 --> 00:26:20,840
Speaker 1: Powell would probably appreciate, knowing how much he loves Tom

454
00:26:20,920 --> 00:26:24,199
Speaker 1: Cruise and revers Tom Cruise. You need an actor who

455
00:26:24,320 --> 00:26:29,240
Speaker 1: is basically doing giving you the intensity. Think about Tom

456
00:26:29,280 --> 00:26:31,840
Speaker 1: Cruise and Mission Impossible. I think it's the first one

457
00:26:32,600 --> 00:26:35,760
Speaker 1: when he says, remember it's like that high angle shot

458
00:26:35,880 --> 00:26:38,240
Speaker 1: looking down on him and he's looking up and he says,

459
00:26:38,359 --> 00:26:41,520
Speaker 1: you have never seen me very upset, Katrid, You've never

460
00:26:41,600 --> 00:26:44,520
Speaker 1: seen me very upset. You need basically someone to be

461
00:26:44,560 --> 00:26:48,119
Speaker 1: doing that Tom Cruise level of intensity. It has to

462
00:26:48,160 --> 00:26:51,360
Speaker 1: be manifested for an entire movie, or you know who

463
00:26:51,400 --> 00:26:54,440
Speaker 1: would have been get mad at me? If you want

464
00:26:54,440 --> 00:26:58,440
Speaker 1: for recasting a movie someone like him, or at least

465
00:26:58,440 --> 00:27:02,840
Speaker 1: bringing that level of broodys but still could have sold

466
00:27:02,880 --> 00:27:04,840
Speaker 1: some moments of comedy. Actually, I think they would have

467
00:27:04,840 --> 00:27:09,840
Speaker 1: been heightened because of the broodiness. You need someone like

468
00:27:09,920 --> 00:27:14,120
Speaker 1: Tom Hardy. You need someone who every moment you see

469
00:27:14,160 --> 00:27:20,119
Speaker 1: him on screen, all you think about is pain and anger.

470
00:27:20,400 --> 00:27:24,840
Speaker 1: And you understand you're nervous english anguish and you're nervous too,

471
00:27:24,880 --> 00:27:28,439
Speaker 1: but like you understand the anguish that is driving that anger.

472
00:27:28,800 --> 00:27:33,880
Speaker 1: And I don't know that the movie ever captures who

473
00:27:33,920 --> 00:27:37,280
Speaker 1: this guy is or what we're supposed to think about him,

474
00:27:37,320 --> 00:27:41,200
Speaker 1: And that's potentially another flaw compared to the original. Again,

475
00:27:41,359 --> 00:27:43,480
Speaker 1: haven't seen it in a long time. I appreciate that

476
00:27:43,520 --> 00:27:46,480
Speaker 1: this movie is trying to do something different, but they're

477
00:27:46,480 --> 00:27:49,199
Speaker 1: trying to portray him like he's this everyman. He's not

478
00:27:49,280 --> 00:27:52,320
Speaker 1: like Schwarzenegger is in the first movie. But part of

479
00:27:52,359 --> 00:27:54,600
Speaker 1: the fun of the first movie, of the original movie

480
00:27:55,000 --> 00:27:58,639
Speaker 1: was us knowing that he is Schwarzenegger and not only

481
00:27:58,840 --> 00:28:01,359
Speaker 1: bringing that baggage of of what we expect of that

482
00:28:01,440 --> 00:28:05,040
Speaker 1: movie star, but the way they established that character is

483
00:28:05,640 --> 00:28:09,280
Speaker 1: we know he's this military figure and that he's going

484
00:28:09,359 --> 00:28:12,920
Speaker 1: to be stiff competition for these hunters. We know that

485
00:28:12,920 --> 00:28:14,639
Speaker 1: that's going to be the fun of this is that

486
00:28:15,160 --> 00:28:19,240
Speaker 1: he very well could and probably will beat these guys,

487
00:28:19,520 --> 00:28:24,640
Speaker 1: that he's going to disrupt this whole thing. And Powel's

488
00:28:24,359 --> 00:28:28,680
Speaker 1: this everyman who maybe can do some damage because he's

489
00:28:28,720 --> 00:28:31,720
Speaker 1: sure built, really good, but also and he seems to

490
00:28:31,760 --> 00:28:35,679
Speaker 1: do heroic things, but also sometimes seems like he's totally incompetent.

491
00:28:37,000 --> 00:28:39,120
Speaker 1: I don't know. I never got a handle on what

492
00:28:39,160 --> 00:28:42,280
Speaker 1: they were trying to do with Ben Richards, did you well.

493
00:28:42,280 --> 00:28:45,520
Speaker 5: I laughed when you said super Mad, because I do

494
00:28:45,560 --> 00:28:48,880
Speaker 5: feel like poor Glenn Powell is at the end of

495
00:28:49,400 --> 00:28:52,760
Speaker 5: I don't know four different scripts that were written for

496
00:28:52,800 --> 00:28:55,640
Speaker 5: this reheat and they all got piled on top of

497
00:28:55,680 --> 00:28:58,080
Speaker 5: each other, and in one of them, his character's name

498
00:28:58,240 --> 00:29:02,520
Speaker 5: was super Mad, And so that's that is part of this,

499
00:29:03,040 --> 00:29:07,200
Speaker 5: because he's required to do so many different things in

500
00:29:07,240 --> 00:29:10,600
Speaker 5: this role. I think, you know, we haven't touched on this,

501
00:29:10,800 --> 00:29:13,120
Speaker 5: and I don't. I can't recall one immediately, but there

502
00:29:13,160 --> 00:29:16,280
Speaker 5: are a lot of Arnold style one liners that are

503
00:29:16,320 --> 00:29:21,120
Speaker 5: really clunky that he's asked, right. So, so at one hand,

504
00:29:21,160 --> 00:29:25,560
Speaker 5: he's supposed to somehow conjure the memory of Arnold Schwarzenegger. Right,

505
00:29:25,680 --> 00:29:29,040
Speaker 5: that's one task he's been given. I think he's also

506
00:29:29,640 --> 00:29:32,160
Speaker 5: you mentioned it, the super mad element. I don't remember

507
00:29:32,200 --> 00:29:34,680
Speaker 5: if that's a spin. My guess is you're correct, like

508
00:29:35,240 --> 00:29:38,760
Speaker 5: that that was embedded in Schwarzenegger, right, he was capable.

509
00:29:39,280 --> 00:29:41,480
Speaker 5: We didn't have to wait for him to get mad

510
00:29:41,880 --> 00:29:43,760
Speaker 5: because just looking at him, you know, this guy is

511
00:29:43,800 --> 00:29:48,320
Speaker 5: a formidable physical force. Right, But here we're told Ben Richards,

512
00:29:48,720 --> 00:29:52,040
Speaker 5: don't push him because he could he you know, if

513
00:29:52,080 --> 00:29:55,120
Speaker 5: he loses his temper, So that seems another element that's

514
00:29:55,200 --> 00:29:59,240
Speaker 5: the super mad element. Then you know this is to

515
00:29:59,240 --> 00:30:03,040
Speaker 5: your Tom Cruise. I do think I'm a little less

516
00:30:03,120 --> 00:30:07,400
Speaker 5: enamored with Powell overall. Admit he is incredibly talented, charismatic,

517
00:30:07,880 --> 00:30:12,240
Speaker 5: has comic timing, but I think he needs to set

518
00:30:12,280 --> 00:30:16,280
Speaker 5: aside the cruise path and model because one thing Cruz

519
00:30:16,400 --> 00:30:19,240
Speaker 5: did and this came up when we did our cruise

520
00:30:19,320 --> 00:30:23,080
Speaker 5: draft recently for film spotting family members as a bonus show.

521
00:30:23,560 --> 00:30:27,240
Speaker 5: We talked about just cruise like grabbing stardom by the

522
00:30:27,280 --> 00:30:31,440
Speaker 5: throat and you know, and just like insisting I'm going

523
00:30:31,480 --> 00:30:35,880
Speaker 5: to be a star. And it worked because he's Tom Cruise.

524
00:30:36,360 --> 00:30:39,600
Speaker 5: I feel I felt some of that insistence in Powell's

525
00:30:39,600 --> 00:30:46,360
Speaker 5: other performances, and I feel it's at play here as well.

526
00:30:46,440 --> 00:30:48,840
Speaker 5: This comes into the moments you are hinting at where

527
00:30:48,880 --> 00:30:53,200
Speaker 5: he's required Ben Richards is required to videotape himself regularly

528
00:30:53,320 --> 00:30:57,760
Speaker 5: to prove that he's alive, still participating, and those sequences

529
00:30:57,960 --> 00:31:02,200
Speaker 5: you can see Powell's inherent charm, his sense of humor,

530
00:31:02,440 --> 00:31:08,000
Speaker 5: his cruisiness. But it's almost as if he understands, this

531
00:31:08,160 --> 00:31:10,720
Speaker 5: is the only element in this performance. I'm going to

532
00:31:10,760 --> 00:31:12,200
Speaker 5: get to do what I really want to do, and

533
00:31:12,240 --> 00:31:13,800
Speaker 5: so I'm going to amp and up to amp and

534
00:31:13,920 --> 00:31:18,360
Speaker 5: up to one hundred, and it's out of sync with

535
00:31:18,480 --> 00:31:20,960
Speaker 5: every other element of the character. So it's almost like

536
00:31:21,000 --> 00:31:23,840
Speaker 5: when he turns those those camera on to record himself,

537
00:31:23,840 --> 00:31:29,640
Speaker 5: he becomes Glenn Cruz and it's not in service of

538
00:31:29,960 --> 00:31:31,400
Speaker 5: I don't know what would be in service of this

539
00:31:31,480 --> 00:31:35,680
Speaker 5: character as envisioned, but it certainly isn't. So we're getting

540
00:31:35,720 --> 00:31:39,720
Speaker 5: here less to Powell's fault than the construction of the

541
00:31:39,760 --> 00:31:42,000
Speaker 5: film a multiple personality performance.

542
00:31:42,040 --> 00:31:45,720
Speaker 1: Yeah, I think that's very well said, and the only

543
00:31:45,760 --> 00:31:49,080
Speaker 1: thing I would I would maybe correct a little bit

544
00:31:49,160 --> 00:31:54,080
Speaker 1: or clarify about about Schwarzenacer because I was thinking about this,

545
00:31:54,480 --> 00:31:57,240
Speaker 1: Was he angry? Was the Ben Richards that I remember

546
00:31:57,280 --> 00:31:59,680
Speaker 1: in the first film? Was he really angry? And then

547
00:31:59,720 --> 00:32:04,120
Speaker 1: my thought was, was Schwarzenegger ever really capable in any

548
00:32:04,120 --> 00:32:07,680
Speaker 1: of his roles expressing anger? Like on some level, you're right,

549
00:32:08,160 --> 00:32:10,960
Speaker 1: you're right, you're right in what you said to a

550
00:32:11,040 --> 00:32:14,479
Speaker 1: point I think I can define it in a second.

551
00:32:14,800 --> 00:32:18,480
Speaker 1: But there's also that side of Schwarzenegger where I think

552
00:32:19,920 --> 00:32:23,760
Speaker 1: there was some natural comedy to him, Like I don't

553
00:32:23,800 --> 00:32:27,000
Speaker 1: We always took him seriously physically, but I also think

554
00:32:27,040 --> 00:32:29,680
Speaker 1: we always regarded him a bit comedically, and I think

555
00:32:29,720 --> 00:32:32,480
Speaker 1: there's a difference between or at least there's a difference

556
00:32:32,520 --> 00:32:37,360
Speaker 1: in his Ben Richards where we didn't see anger, but

557
00:32:37,560 --> 00:32:41,240
Speaker 1: he was always aggressive. There's a difference between anger and aggression,

558
00:32:41,480 --> 00:32:45,040
Speaker 1: and he always embodied aggression, right, and that's what that

559
00:32:45,200 --> 00:32:49,800
Speaker 1: character certainly needed and had in The Running Man. The

560
00:32:49,840 --> 00:32:53,600
Speaker 1: four different scripts thing, I don't know anything about the

561
00:32:53,640 --> 00:32:55,360
Speaker 1: history of this film, but that doesn't surprise me on

562
00:32:55,440 --> 00:32:58,160
Speaker 1: any level to hear. Because of the mishmash that this

563
00:32:58,240 --> 00:33:00,200
Speaker 1: film is and all the different.

564
00:33:00,560 --> 00:33:03,000
Speaker 5: I'm not sure that's actually been the production process.

565
00:33:03,040 --> 00:33:06,560
Speaker 1: It just feels it does feel like it, especially I

566
00:33:06,640 --> 00:33:10,200
Speaker 1: mentioned the lack of the lack of stakes. There's a

567
00:33:10,240 --> 00:33:15,160
Speaker 1: point in the movie we'll just say where Richards has

568
00:33:15,200 --> 00:33:20,600
Speaker 1: a realization about the process of the game show that

569
00:33:21,160 --> 00:33:24,400
Speaker 1: allows that character then to start making some different decisions,

570
00:33:25,080 --> 00:33:29,880
Speaker 1: and unfortunately it lets the character off the hook a

571
00:33:29,880 --> 00:33:32,680
Speaker 1: little bit, but it also lets the movie off the hook,

572
00:33:33,000 --> 00:33:35,440
Speaker 1: and everything kind of none of it sort of makes

573
00:33:35,480 --> 00:33:38,280
Speaker 1: any sense in terms of the stakes of being chased

574
00:33:38,440 --> 00:33:41,680
Speaker 1: and potentially being killed and so so, then as a

575
00:33:41,760 --> 00:33:44,680
Speaker 1: viewer you can kind of tune out as far as

576
00:33:45,080 --> 00:33:50,800
Speaker 1: caring about what happens really next in terms of the satire.

577
00:33:50,800 --> 00:33:52,240
Speaker 1: And then I'm going to get to another way the

578
00:33:52,320 --> 00:33:56,120
Speaker 1: script I think doesn't work here or the different versions

579
00:33:56,160 --> 00:33:59,160
Speaker 1: that might be at play the satire element, Josh, I

580
00:33:59,160 --> 00:34:02,640
Speaker 1: think for it for me to really have potency. Another

581
00:34:02,680 --> 00:34:08,560
Speaker 1: thing that this film misses is that Everyman Angle would

582
00:34:08,640 --> 00:34:12,360
Speaker 1: have a lot more potency if any of the quote

583
00:34:12,440 --> 00:34:16,880
Speaker 1: unquote real people we see in the film actually appeared

584
00:34:16,920 --> 00:34:20,240
Speaker 1: to be real people like it treated them like real people,

585
00:34:20,680 --> 00:34:24,719
Speaker 1: it gave them an actual name. Now it does it

586
00:34:24,800 --> 00:34:28,760
Speaker 1: does in terms of that one sidebar with the family,

587
00:34:28,800 --> 00:34:33,439
Speaker 1: we meet the character played by Daniel Ezra. His name

588
00:34:33,480 --> 00:34:37,040
Speaker 1: is Bradley. In the movie, we get a little detour

589
00:34:37,520 --> 00:34:42,040
Speaker 1: with that family. Other than that, every other character that's

590
00:34:42,080 --> 00:34:46,920
Speaker 1: supposedly malleable first by the corporation, by the network, and

591
00:34:46,960 --> 00:34:51,480
Speaker 1: then is coming around to the resistance, they feel just

592
00:34:51,560 --> 00:34:58,960
Speaker 1: like insert generic hick hick version of American in a movie.

593
00:34:59,000 --> 00:35:01,040
Speaker 1: You know, it doesn't feel like the movie actually has

594
00:35:01,080 --> 00:35:05,120
Speaker 1: any regard for any of those people that supposedly the

595
00:35:05,239 --> 00:35:08,280
Speaker 1: movie wants wants to inspire.

596
00:35:09,040 --> 00:35:14,280
Speaker 5: Well, another problem with that whole plotline is he becomes

597
00:35:14,280 --> 00:35:18,520
Speaker 5: a folk hero, but we have no idea how because

598
00:35:18,560 --> 00:35:24,080
Speaker 5: all we've been told is that the audience is manipulated

599
00:35:24,560 --> 00:35:28,080
Speaker 5: again not only through bribing them to report, but also

600
00:35:28,719 --> 00:35:32,680
Speaker 5: and this had potential, right there were also told that

601
00:35:33,600 --> 00:35:37,680
Speaker 5: everyone on this show is brought in, encouraged to audition

602
00:35:37,800 --> 00:35:40,000
Speaker 5: and be part of it as a chance to win

603
00:35:40,080 --> 00:35:42,560
Speaker 5: some money, and their story is going to be told.

604
00:35:42,840 --> 00:35:45,360
Speaker 5: And then what happens when they come out on stage.

605
00:35:46,600 --> 00:35:51,560
Speaker 5: I think Domingo is it Bobby t right? Bobby suddenly

606
00:35:52,000 --> 00:35:58,520
Speaker 5: suddenly he presents them as quote, thieves, fraudsters and freeloaders. Right,

607
00:35:58,640 --> 00:36:02,960
Speaker 5: and so that gets the audience against them, because well,

608
00:36:03,080 --> 00:36:08,120
Speaker 5: again our current environment, we're told that everyone who is

609
00:36:08,239 --> 00:36:11,640
Speaker 5: not born here is a thief, a fraudster.

610
00:36:12,040 --> 00:36:12,840
Speaker 2: Or a free loader.

611
00:36:13,120 --> 00:36:14,320
Speaker 1: Us versus them.

612
00:36:14,239 --> 00:36:18,319
Speaker 5: Yep, us versus them, So it's the same dynamic. Then

613
00:36:18,360 --> 00:36:22,440
Speaker 5: all of a sudden, somehow there's this underground swelling movement

614
00:36:22,520 --> 00:36:25,440
Speaker 5: in support of Ben Richards that has never been proven

615
00:36:26,040 --> 00:36:29,560
Speaker 5: how that happened except for the fact that the movie

616
00:36:29,600 --> 00:36:31,880
Speaker 5: needed it to happen. And so that's to support your

617
00:36:31,920 --> 00:36:35,160
Speaker 5: earlier point of how many things in this screenplay make

618
00:36:35,280 --> 00:36:38,160
Speaker 5: sense or just they make movie sense.

619
00:36:38,480 --> 00:36:40,840
Speaker 2: Yes, there's a lot of movie sense doesn't make sense.

620
00:36:41,000 --> 00:36:42,799
Speaker 1: I think there's a falseness to it, and that's what

621
00:36:42,840 --> 00:36:45,960
Speaker 1: I'm getting. Yes too, Yes, that doesn't quite work. And

622
00:36:47,080 --> 00:36:50,799
Speaker 1: near the end, when we're saying the movie goes off

623
00:36:50,840 --> 00:36:53,320
Speaker 1: the highway, I use that phrase. If you've seen the film,

624
00:36:53,320 --> 00:36:57,239
Speaker 1: you'll know why I say that. It introduces a new

625
00:36:57,360 --> 00:37:02,760
Speaker 1: character who is played by Amelia Jones. She's named Amelia

626
00:37:02,760 --> 00:37:06,319
Speaker 1: in the movie. We do eventually Lee Pace is a

627
00:37:06,400 --> 00:37:10,399
Speaker 1: character plays a character Macone throughout the whole film. We

628
00:37:10,440 --> 00:37:13,279
Speaker 1: really don't know it's lee Pace until later. It's not

629
00:37:13,320 --> 00:37:15,239
Speaker 1: a spoiler because you can see it in the cast,

630
00:37:15,280 --> 00:37:18,360
Speaker 1: but we don't really know it's him until late in

631
00:37:18,400 --> 00:37:22,440
Speaker 1: the movie, and it feels almost like here right himself

632
00:37:23,040 --> 00:37:26,799
Speaker 1: decided or someone in the screenplay writing process said, we

633
00:37:26,840 --> 00:37:29,680
Speaker 1: got to make sure we give these really good actors

634
00:37:29,960 --> 00:37:32,359
Speaker 1: something to do. We got to make sure. We got

635
00:37:32,400 --> 00:37:34,399
Speaker 1: to make sure all of a sudden there's some kind

636
00:37:34,440 --> 00:37:39,200
Speaker 1: of major scene or scenes involving them. It doesn't really

637
00:37:39,200 --> 00:37:42,960
Speaker 1: matter whether or not they fit narratively or it all

638
00:37:43,000 --> 00:37:45,200
Speaker 1: works in terms of what we're trying to accomplish here,

639
00:37:45,239 --> 00:37:48,440
Speaker 1: but does it give them something significant to do? Almost

640
00:37:48,520 --> 00:37:52,000
Speaker 1: as if you're showcasing them. That's how it felt to

641
00:37:52,040 --> 00:37:52,759
Speaker 1: me watching it.

642
00:37:53,040 --> 00:37:56,960
Speaker 5: Yeah, I mean it is sort of a reveal. I

643
00:37:56,960 --> 00:37:59,120
Speaker 5: don't think anyone could get mad at us for saying that,

644
00:37:59,160 --> 00:38:01,319
Speaker 5: but it was they build it up to be more

645
00:38:01,320 --> 00:38:04,399
Speaker 5: of a reveal than it actually is. Can I say

646
00:38:04,400 --> 00:38:07,480
Speaker 5: as a counter that I do think the Apostle videos

647
00:38:07,520 --> 00:38:10,440
Speaker 5: you referenced sure are quite good. This is part of

648
00:38:10,480 --> 00:38:13,760
Speaker 5: the This is a character that Ben encounters and he's

649
00:38:13,960 --> 00:38:18,680
Speaker 5: a resistance figure who disguises himself in a get up

650
00:38:18,840 --> 00:38:22,680
Speaker 5: to make these YouTube style explainer videos about the Running

651
00:38:22,680 --> 00:38:26,839
Speaker 5: Man game. Show that essentially deconstruct all the audience manipulation,

652
00:38:27,280 --> 00:38:30,160
Speaker 5: and I thought that was also, you know, timely inappropriate

653
00:38:30,200 --> 00:38:34,040
Speaker 5: in a way, and some clever filmmaking going on there

654
00:38:34,080 --> 00:38:36,799
Speaker 5: when we watch the style of the videos themselves that

655
00:38:36,840 --> 00:38:40,680
Speaker 5: the Apostle is making. But to your point, Adam, you

656
00:38:40,680 --> 00:38:45,360
Speaker 5: know this that all happens well before that fatal final third.

657
00:38:45,800 --> 00:38:50,800
Speaker 1: Also two weeks in a row with conspiracy theory videos.

658
00:38:51,080 --> 00:38:52,880
Speaker 1: We won't say anything more about it. Don't want to

659
00:38:52,880 --> 00:38:55,759
Speaker 1: spoil anything about Begonia if you haven't seen it, but

660
00:38:56,239 --> 00:38:59,440
Speaker 1: there's an element that's true. The Running Man is currently

661
00:38:59,480 --> 00:39:02,360
Speaker 1: out in wide release. If you've seen it and agree

662
00:39:02,520 --> 00:39:05,239
Speaker 1: or disagree with our thoughts, you can email us. I'd

663
00:39:05,280 --> 00:39:09,440
Speaker 1: love to hear genuinely a Running Man Apostle. Are there

664
00:39:09,480 --> 00:39:12,719
Speaker 1: any out there for this film? Email us feedback at

665
00:39:12,760 --> 00:39:15,799
Speaker 1: filmspotting dot net. We may share some of that feedback

666
00:39:15,880 --> 00:39:21,080
Speaker 1: on a future show. Movies you might be able to

667
00:39:21,200 --> 00:39:24,760
Speaker 1: check out for free right now as a regal Unlimited member.

668
00:39:25,560 --> 00:39:29,040
Speaker 1: Marty Supreme number nine on Alison Wilmore's list an eleven

669
00:39:29,080 --> 00:39:32,719
Speaker 1: through twenty. Pick for me incredible performance from Timothy Shallomey

670
00:39:33,160 --> 00:39:36,960
Speaker 1: that is playing right now at Regal, and we've talked

671
00:39:37,080 --> 00:39:40,360
Speaker 1: a little bit about some of these picks. We've highlighted

672
00:39:40,440 --> 00:39:43,840
Speaker 1: some of these repertory movies, the limited engagements, Josh that

673
00:39:44,320 --> 00:39:47,880
Speaker 1: Regal has been showing at some of their theaters, and

674
00:39:48,239 --> 00:39:52,440
Speaker 1: I'm looking at rgmovies dot com and they have a

675
00:39:52,480 --> 00:39:57,480
Speaker 1: limited engagement right now for It's what is it? It's

676
00:39:57,760 --> 00:40:02,719
Speaker 1: fortieth anniversary? Thirtieth okay, only thirty years. Shouldn't age it

677
00:40:03,000 --> 00:40:08,560
Speaker 1: like that thirtieth anniversary of a movie. I somehow I

678
00:40:08,560 --> 00:40:11,920
Speaker 1: can't believe I've admitting this. I have somehow never seen

679
00:40:11,960 --> 00:40:16,680
Speaker 1: this film, despite the fact that it stars two incredible actresses,

680
00:40:17,239 --> 00:40:20,960
Speaker 1: including one who I've always claimed to be a huge,

681
00:40:21,080 --> 00:40:24,279
Speaker 1: huge fan of. And I may have to rectify this

682
00:40:24,400 --> 00:40:26,640
Speaker 1: now by seeing it on the big screen. Getting a

683
00:40:26,719 --> 00:40:28,239
Speaker 1: chance to see it on the big screen at a

684
00:40:28,280 --> 00:40:32,040
Speaker 1: Regal cinema. Sense and Sensibility.

685
00:40:32,840 --> 00:40:34,120
Speaker 2: Angling way to do it.

686
00:40:34,360 --> 00:40:37,960
Speaker 1: Great director too, Kate Winslett, the actress I'm referring to,

687
00:40:38,000 --> 00:40:41,480
Speaker 1: the great Emma Thompson. Never seen Sense and Sensibility. And

688
00:40:41,520 --> 00:40:44,680
Speaker 1: if you're like me, maybe you're embarrassed about it, like me,

689
00:40:45,400 --> 00:40:47,640
Speaker 1: you can check that out now at Regal Cinemas and

690
00:40:47,680 --> 00:40:51,840
Speaker 1: maybe see it for free with that Regal Unlimited membership.

691
00:40:51,880 --> 00:40:54,840
Speaker 1: Regal Unlimited is the all you can watch movie subscription

692
00:40:54,960 --> 00:40:57,480
Speaker 1: pass that pays for itself in just two visits, and

693
00:40:57,560 --> 00:41:01,360
Speaker 1: Regal is offering film Spotting listeners endless movies for less.

694
00:41:01,360 --> 00:41:02,920
Speaker 1: All you have to do is sign up using the

695
00:41:02,960 --> 00:41:06,000
Speaker 1: code film Spot twenty five. That's film Spot twenty five,

696
00:41:06,239 --> 00:41:08,920
Speaker 1: and you'll get ten percent off a three month subscription.

697
00:41:09,440 --> 00:41:13,279
Speaker 1: It is the only truly limitless movie subscription pass, and

698
00:41:13,960 --> 00:41:16,399
Speaker 1: you don't just save money on tickets, you also save

699
00:41:16,560 --> 00:41:21,520
Speaker 1: on snacks. You get ten percent off all non alcoholic concessions.

700
00:41:22,120 --> 00:41:25,400
Speaker 1: You can see any standard two D movie anytime, no blockout,

701
00:41:25,480 --> 00:41:29,200
Speaker 1: dates or restrictions. We encourage you to sign up now

702
00:41:29,239 --> 00:41:32,160
Speaker 1: in the Regal app or just click the link in

703
00:41:32,320 --> 00:41:35,960
Speaker 1: this show description and use that code film Spot twenty

704
00:41:36,000 --> 00:41:37,560
Speaker 1: five to receive your discount.

705
00:41:43,280 --> 00:41:46,319
Speaker 5: Adam I mentioned that Film Spotting Family bonus episode we

706
00:41:46,360 --> 00:41:49,000
Speaker 5: did on Toime Cruise, a Time Cruise draft with a

707
00:41:49,040 --> 00:41:53,839
Speaker 5: film Spotting family member. It's just one of the fun

708
00:41:53,880 --> 00:41:56,320
Speaker 5: things we get to do with film Spotting family members.

709
00:41:56,880 --> 00:41:59,239
Speaker 5: And another thing is to take a chance to thank

710
00:41:59,320 --> 00:42:02,040
Speaker 5: them for porting the show, which we want to do

711
00:42:02,160 --> 00:42:06,280
Speaker 5: right now. And thank Family Plus member Chris Lane. Chris

712
00:42:06,320 --> 00:42:11,480
Speaker 5: is in Brooklyn, New York, and the letterbox handle I

713
00:42:11,560 --> 00:42:15,319
Speaker 5: looked Chris up at him because Wanda to follow, and

714
00:42:15,520 --> 00:42:18,160
Speaker 5: there are two Sea Lanes on letterbox. I think this

715
00:42:18,320 --> 00:42:21,799
Speaker 5: Chris Lane is capital C, capital L, A and E

716
00:42:22,040 --> 00:42:27,160
Speaker 5: if I'm understanding that correctly, So thank you Chris for listening.

717
00:42:27,680 --> 00:42:30,799
Speaker 5: Chris says for years. Also writes that when I see

718
00:42:30,800 --> 00:42:33,040
Speaker 5: something I really like, I know I'm going to get

719
00:42:33,080 --> 00:42:35,040
Speaker 5: a comprehensive.

720
00:42:34,400 --> 00:42:35,919
Speaker 2: Review of it.

721
00:42:36,280 --> 00:42:39,080
Speaker 5: That's us now a random, a random film or filmmaker.

722
00:42:39,120 --> 00:42:43,799
Speaker 5: Chris loves Jennifer Kent. Chris, I love that. Kent, of

723
00:42:43,840 --> 00:42:46,239
Speaker 5: course made twenty fourteen's The Baba Duck. Did not get

724
00:42:46,239 --> 00:42:47,960
Speaker 5: a review on the show at the time. Did make

725
00:42:48,080 --> 00:42:51,880
Speaker 5: my top ten list of twenty fourteen. Has also made

726
00:42:52,160 --> 00:42:55,279
Speaker 5: some top five lists Top five horror debuts. Did that

727
00:42:55,320 --> 00:42:58,359
Speaker 5: in twenty seventeen, and then Top five Moms going through

728
00:42:58,400 --> 00:43:00,040
Speaker 5: it in twenty twenty four I think that was you,

729
00:43:00,239 --> 00:43:00,719
Speaker 5: Mariah E.

730
00:43:00,880 --> 00:43:01,200
Speaker 2: Gates.

731
00:43:01,560 --> 00:43:03,680
Speaker 5: That's right, Adam, but I do love that pick.

732
00:43:03,960 --> 00:43:07,600
Speaker 1: Yeah, I think it made Mariah's list, but if she

733
00:43:07,640 --> 00:43:09,359
Speaker 1: didn't put it on her list, it would have made

734
00:43:09,440 --> 00:43:09,880
Speaker 1: my list.

735
00:43:10,160 --> 00:43:10,480
Speaker 2: Love it.

736
00:43:11,200 --> 00:43:13,719
Speaker 5: Yeah, Kent also made The Nightingale and I think we

737
00:43:13,800 --> 00:43:14,600
Speaker 5: did review that one.

738
00:43:14,880 --> 00:43:16,440
Speaker 2: We did on episode seven.

739
00:43:16,880 --> 00:43:19,800
Speaker 1: That is correct. Chris has a favorite book about movies

740
00:43:19,880 --> 00:43:21,680
Speaker 1: or movie making, and it's a good one. I remember

741
00:43:21,719 --> 00:43:23,120
Speaker 1: reading it when it came out. Got a lot of

742
00:43:23,120 --> 00:43:26,759
Speaker 1: pub easy writers raging bulls. Chris says, whether all the

743
00:43:26,760 --> 00:43:30,359
Speaker 1: stories are true, I find that New Hollywood seventies era

744
00:43:30,480 --> 00:43:34,040
Speaker 1: to be fascinating. Indeed it is. We thank Chris for

745
00:43:34,120 --> 00:43:36,480
Speaker 1: being a family member. It seems that my voice is

746
00:43:36,520 --> 00:43:40,399
Speaker 1: getting worse as I talk, doesn't it. Josh Oh, thank

747
00:43:40,440 --> 00:43:43,200
Speaker 1: you Chris for all your years of support. In addition

748
00:43:43,239 --> 00:43:46,439
Speaker 1: to keeping us doing what we're doing. Family membership does

749
00:43:46,520 --> 00:43:49,439
Speaker 1: come with perks. You get to listen early in ad free,

750
00:43:49,480 --> 00:43:52,920
Speaker 1: you get Sam's weekly newsletter, You get exclusive opportunities like

751
00:43:53,360 --> 00:43:56,600
Speaker 1: being part of the Film Spotting Family discord and Josh

752
00:43:56,640 --> 00:43:59,160
Speaker 1: mentioned the bonus show the Tom Cruise Draft, which was

753
00:43:59,200 --> 00:44:01,960
Speaker 1: a lot of fun with the Film Spotting listener, but

754
00:44:02,480 --> 00:44:05,640
Speaker 1: also a lot of fun. We just taped our November

755
00:44:05,640 --> 00:44:10,040
Speaker 1: bonus show, ask us anything, what a blast just chatting,

756
00:44:10,239 --> 00:44:13,120
Speaker 1: just chatting it up with Josh. Well, I was chatting

757
00:44:13,160 --> 00:44:15,279
Speaker 1: it up with Josh and Sam and we were just

758
00:44:15,360 --> 00:44:19,320
Speaker 1: answering questions, just responding to great questions from family members.

759
00:44:19,360 --> 00:44:21,439
Speaker 1: We joked about this at the end, but we could

760
00:44:21,480 --> 00:44:22,160
Speaker 1: do it every month.

761
00:44:22,280 --> 00:44:25,239
Speaker 5: It was really good stuff. Yeah, enjoyed that. Always love

762
00:44:25,320 --> 00:44:27,680
Speaker 5: to ask us anything. You never know what you're going

763
00:44:27,760 --> 00:44:31,080
Speaker 5: to get and kind of kind of puts us on alert,

764
00:44:31,320 --> 00:44:34,680
Speaker 5: Adam and makes us think about things maybe we wouldn't otherwise.

765
00:44:34,800 --> 00:44:37,200
Speaker 5: So that was a great bonus show. That will be

766
00:44:37,560 --> 00:44:41,480
Speaker 5: again the bonus show in November for family members. If

767
00:44:41,480 --> 00:44:43,799
Speaker 5: you are not part of the film Spotting Family and

768
00:44:44,040 --> 00:44:46,719
Speaker 5: thinking you might want to take the leap and join,

769
00:44:46,960 --> 00:44:49,279
Speaker 5: you can find out everything you need to know at

770
00:44:49,280 --> 00:44:53,600
Speaker 5: film Spottingfamily dot com. Now, maybe for some reason you're

771
00:44:53,640 --> 00:44:55,200
Speaker 5: not in a position to be able to do that,

772
00:44:55,480 --> 00:44:58,000
Speaker 5: and you'd still like to support the show. There are

773
00:44:58,120 --> 00:45:03,120
Speaker 5: some easy ways you can do so, and one of

774
00:45:03,160 --> 00:45:05,759
Speaker 5: them are just reviews. Take a minute to give us

775
00:45:05,760 --> 00:45:08,280
Speaker 5: a rating or review. You can do this on Apple

776
00:45:08,360 --> 00:45:10,839
Speaker 5: Podcasts if you listen there. You can do this on

777
00:45:10,920 --> 00:45:15,359
Speaker 5: Spotify as well, and you don't have to have a

778
00:45:15,440 --> 00:45:19,120
Speaker 5: fully formed opinion of all twenty years of the show.

779
00:45:18,920 --> 00:45:20,600
Speaker 1: And it doesn't feel like comprehensive.

780
00:45:20,880 --> 00:45:23,200
Speaker 5: Yeah, like I finally thought what I want to say

781
00:45:23,200 --> 00:45:25,520
Speaker 5: about film spotting after twenty years. I mean, if you

782
00:45:25,520 --> 00:45:27,200
Speaker 5: want to do that, please go ahead. But if this

783
00:45:27,320 --> 00:45:29,040
Speaker 5: is your first show you've ever listened to and you thought,

784
00:45:29,040 --> 00:45:32,400
Speaker 5: you know what, I kind of enjoyed that, feel free

785
00:45:32,440 --> 00:45:35,959
Speaker 5: to drop in a review. Every review that we get

786
00:45:36,080 --> 00:45:43,040
Speaker 5: really does help us reach new listeners.

787
00:45:43,560 --> 00:45:46,680
Speaker 3: So full a segre.

788
00:45:56,840 --> 00:46:00,160
Speaker 1: Joining me now is Michael Phillips. I put up a

789
00:46:00,200 --> 00:46:04,480
Speaker 1: bat signal. There's no cowl, but you are well kaifed.

790
00:46:04,800 --> 00:46:06,759
Speaker 1: Thank you Michael for joining us.

791
00:46:07,480 --> 00:46:11,760
Speaker 3: You know I take an honorary shower. Yeah.

792
00:46:11,960 --> 00:46:16,040
Speaker 1: The month we're gonna record, you know, so wonderful. Josh

793
00:46:16,080 --> 00:46:19,440
Speaker 1: and I just reviewed Richard Linklater's Blue Moon a few

794
00:46:19,480 --> 00:46:22,040
Speaker 1: weeks ago. You know, I thought I was sounding better

795
00:46:22,120 --> 00:46:24,520
Speaker 1: here as I spoke to you. No, it's it's still there.

796
00:46:24,960 --> 00:46:27,560
Speaker 1: Link Later is back with Nouvelle. Vague said in Paris

797
00:46:27,640 --> 00:46:31,040
Speaker 1: nineteen fifty nine, the French new wave is in bloom,

798
00:46:31,239 --> 00:46:34,000
Speaker 1: but Jean Luke Gadar all of twenty nine at the time,

799
00:46:34,080 --> 00:46:36,839
Speaker 1: he still hasn't made a film. Link Later's film Made

800
00:46:36,840 --> 00:46:39,239
Speaker 1: in French is about the landmark movie Gadar. We'll go

801
00:46:39,239 --> 00:46:43,200
Speaker 1: on to make nineteen sixties. Breathless playing goodar is French

802
00:46:43,239 --> 00:46:48,440
Speaker 1: photographer Guillome Marbeck making his film acting debut. Zoey Deutsch

803
00:46:48,600 --> 00:46:52,760
Speaker 1: and newcomer Aubrey de Linn are Breathless stars Geene Sieberg

804
00:46:52,880 --> 00:46:56,680
Speaker 1: and John Paul Belmundo. Sieberg mentions in the film that

805
00:46:56,800 --> 00:47:00,640
Speaker 1: she's from Iowa a couple times, Marshalltown, Iowa. I used

806
00:47:00,640 --> 00:47:03,480
Speaker 1: to drive about forty minutes north from my hometown. As

807
00:47:03,480 --> 00:47:05,560
Speaker 1: a kid, my mom would take us to the shopping

808
00:47:05,600 --> 00:47:08,640
Speaker 1: mall because Marshalltown had a shopping mall. Michael, I think

809
00:47:08,680 --> 00:47:11,680
Speaker 1: I got my driver's license when I was sixteen in Marshalltown.

810
00:47:11,960 --> 00:47:15,600
Speaker 3: Wow. How about that connect, Hi, Primager, if you had

811
00:47:15,680 --> 00:47:18,719
Speaker 3: auditioned for Prime Manager for you could have played Joan

812
00:47:18,760 --> 00:47:21,520
Speaker 3: of Arc Sure, sure, exactly, and it'll be a right

813
00:47:21,760 --> 00:47:23,960
Speaker 3: in a different time, Yeah.

814
00:47:23,840 --> 00:47:27,400
Speaker 1: Different generation. It is interesting. Michael link Later's two films

815
00:47:27,400 --> 00:47:31,080
Speaker 1: this year are very different, but they share their inciting action.

816
00:47:31,400 --> 00:47:35,600
Speaker 1: They involve watching a peer take an artistic leap, follow

817
00:47:35,640 --> 00:47:38,719
Speaker 1: me here without them and Earn Raves In Blue Moon

818
00:47:38,800 --> 00:47:42,520
Speaker 1: Ethan Hawks, Laurence Hart watches as former musical partner Richard

819
00:47:42,560 --> 00:47:46,200
Speaker 1: Rodgers has the biggest hit of his career Oklahoma exclamation

820
00:47:46,280 --> 00:47:49,680
Speaker 1: point with Oscar Hammerstein in Nouvelle Vade. We see Goodar

821
00:47:49,840 --> 00:47:52,200
Speaker 1: in the audience at the nineteen fifty nine can Film

822
00:47:52,280 --> 00:47:57,080
Speaker 1: Festival supporting his Kaye Du Cinema compatriot Francois Truffo at

823
00:47:57,080 --> 00:48:01,120
Speaker 1: the triumphant premiere of The Four Hundred Blows and unlike Heart,

824
00:48:01,120 --> 00:48:05,240
Speaker 1: Goodar truly is supportive, but as he laments to Suzanne

825
00:48:05,239 --> 00:48:08,400
Speaker 1: Schiffman at a party early on in the film, face facts,

826
00:48:08,640 --> 00:48:12,280
Speaker 1: I'm the last one in Kaye d Cinema to direct

827
00:48:12,800 --> 00:48:18,880
Speaker 1: vet Yes Romaire, yes Chabrol two times, Yes, Trufau, Yes

828
00:48:19,239 --> 00:48:22,760
Speaker 1: Romeri even wrote a novel. Truffau is a year younger

829
00:48:22,800 --> 00:48:28,080
Speaker 1: than me. But Goodar, no, Michael, and I love. The

830
00:48:28,080 --> 00:48:29,920
Speaker 1: best part of that is that he referred to himself

831
00:48:29,920 --> 00:48:34,680
Speaker 1: in the third person. But Godar, no, Michael did didn't

832
00:48:34,719 --> 00:48:37,880
Speaker 1: link later make a great film about the making of

833
00:48:37,920 --> 00:48:39,520
Speaker 1: a great film. And I would also love to hear

834
00:48:39,560 --> 00:48:43,040
Speaker 1: if you have any real personal connection to Breathless, it

835
00:48:43,080 --> 00:48:45,760
Speaker 1: was it deformative film for you at all.

836
00:48:46,520 --> 00:48:48,759
Speaker 3: I was late later to it. I don't think I

837
00:48:48,800 --> 00:48:53,359
Speaker 3: saw it until mid twenties. Let's say, partly because there

838
00:48:53,400 --> 00:48:57,839
Speaker 3: was a coworker I really liked at the Weekly in Minneapolis,

839
00:48:57,880 --> 00:49:00,239
Speaker 3: my first full time job, who had a pick sure

840
00:49:00,239 --> 00:49:06,120
Speaker 3: of Seaberg and Belmondo on the Champ Deller, the Sieberg

841
00:49:06,200 --> 00:49:09,360
Speaker 3: characters hawking the New York Herald Tribune. And that was

842
00:49:09,840 --> 00:49:12,200
Speaker 3: reason enough for me to want to finally catch up

843
00:49:12,200 --> 00:49:15,759
Speaker 3: with Breathless. And at the Walker Arts Center in Minneapolis,

844
00:49:15,800 --> 00:49:17,240
Speaker 3: they had a revival screening.

845
00:49:18,040 --> 00:49:18,360
Speaker 2: That's it.

846
00:49:18,480 --> 00:49:21,360
Speaker 3: I had never seen anything like it, and I still

847
00:49:21,400 --> 00:49:24,600
Speaker 3: haven't seen anything like it. And we'll talk about more

848
00:49:24,640 --> 00:49:27,719
Speaker 3: reasons in a bit, but you know, the words I

849
00:49:27,760 --> 00:49:31,000
Speaker 3: wrote down watching Neville vague about even just twenty minutes in,

850
00:49:31,480 --> 00:49:33,560
Speaker 3: and then I kind of checked them again about an

851
00:49:33,600 --> 00:49:37,280
Speaker 3: hour later, where we're charming as hell, and this movie

852
00:49:37,360 --> 00:49:41,200
Speaker 3: is charming as hell, and it is a great it's

853
00:49:41,280 --> 00:49:46,759
Speaker 3: charming as hell. It's you know, I think it's it's

854
00:49:46,880 --> 00:49:49,920
Speaker 3: not great in the way Breathless is great. And I

855
00:49:49,960 --> 00:50:02,120
Speaker 3: think Breathless's greatness is mischaracterized constantly as serious, important, revolutionary. Yeah,

856
00:50:02,680 --> 00:50:05,960
Speaker 3: but it's it is the work as Richard Brody, you know,

857
00:50:06,000 --> 00:50:09,960
Speaker 3: who's who's the king of guitar scholarship. And I think

858
00:50:09,960 --> 00:50:14,200
Speaker 3: criticism frankly in the US, the New Yorker critic said,

859
00:50:14,200 --> 00:50:17,120
Speaker 3: it is the work of an adolescent and a twenty

860
00:50:17,200 --> 00:50:21,440
Speaker 3: nine year old adolescents and everything that implies. It's brazen,

861
00:50:21,560 --> 00:50:23,759
Speaker 3: it's you know, it's a it's a miracle he pulled

862
00:50:23,760 --> 00:50:27,640
Speaker 3: it off and again reasons in a minute. But I

863
00:50:27,680 --> 00:50:30,839
Speaker 3: do find that that's a beautiful way to put the

864
00:50:30,840 --> 00:50:33,719
Speaker 3: Blue Moon connection with Breathless. Actually, just that it's it's

865
00:50:33,800 --> 00:50:36,319
Speaker 3: exactly the same kind of jumping off with something about

866
00:50:36,320 --> 00:50:40,840
Speaker 3: this must compel link ladder. And he's had this idea

867
00:50:40,920 --> 00:50:44,200
Speaker 3: cooking for more than a decade. He offered Zoey Deutsch

868
00:50:44,280 --> 00:50:47,520
Speaker 3: the part of Gene Seinberg a decade ago, really, and

869
00:50:47,920 --> 00:50:49,680
Speaker 3: you know, it takes a while to get these things going,

870
00:50:49,760 --> 00:50:52,839
Speaker 3: and every but every decision I think essentially was right

871
00:50:52,960 --> 00:50:59,000
Speaker 3: at the beginning. Shoot it in French, mimic the feeling, yeah,

872
00:50:59,160 --> 00:51:04,759
Speaker 3: the local of the film without getting into the territory

873
00:51:04,800 --> 00:51:06,880
Speaker 3: that is much more elusive and would be kind of,

874
00:51:06,920 --> 00:51:09,600
Speaker 3: I think, almost fatal to try to replicate, which is

875
00:51:10,360 --> 00:51:13,000
Speaker 3: a shooter like a guitar film, like guitar which shoot

876
00:51:13,000 --> 00:51:15,600
Speaker 3: his own film or so yeah, charming as hell? Is

877
00:51:15,600 --> 00:51:17,480
Speaker 3: that a good start form with you?

878
00:51:17,800 --> 00:51:20,600
Speaker 1: I think that's a great, a great description of it. Yeah,

879
00:51:20,640 --> 00:51:24,160
Speaker 1: my relationship to Breathless is probably like a lot of people,

880
00:51:24,239 --> 00:51:27,319
Speaker 1: it wasn't about impressing a girl, though, I think that

881
00:51:27,520 --> 00:51:29,719
Speaker 1: is appropriate for a lot of people. I'm sure you're

882
00:51:29,719 --> 00:51:33,399
Speaker 1: not alone in that, Michael. For me, it was film school, right.

883
00:51:33,880 --> 00:51:37,560
Speaker 1: It was being a film studies student taking intro to

884
00:51:37,560 --> 00:51:41,239
Speaker 1: film analysis, and you have to first learn about the

885
00:51:41,360 --> 00:51:44,960
Speaker 1: classical Hollywood system. You have to learn about continuity editing,

886
00:51:45,560 --> 00:51:49,880
Speaker 1: and then eventually you have to learn about discontinuity. You

887
00:51:49,920 --> 00:51:51,840
Speaker 1: have to learn about how to break all those rules,

888
00:51:51,840 --> 00:51:53,960
Speaker 1: and what other film is going to teach you how

889
00:51:54,000 --> 00:51:57,000
Speaker 1: to break all those rules. Then Breathless it's kind of

890
00:51:57,040 --> 00:52:00,000
Speaker 1: the go to film. And you see why when you

891
00:52:00,080 --> 00:52:04,600
Speaker 1: watch Nouvelle Vague, you hear him, you hear Godar here

892
00:52:04,680 --> 00:52:09,360
Speaker 1: as the director explaining his philosophy and why he wants

893
00:52:09,400 --> 00:52:11,279
Speaker 1: to break all those rules and how he's going to

894
00:52:11,719 --> 00:52:14,160
Speaker 1: go about it. Then I remember when I was actually

895
00:52:14,200 --> 00:52:17,960
Speaker 1: an MFA student, when I was trying to make films

896
00:52:18,040 --> 00:52:21,839
Speaker 1: and I was in Chicago as a film student, I

897
00:52:21,920 --> 00:52:28,120
Speaker 1: remember hearing stories about how goodar and this is the

898
00:52:28,200 --> 00:52:31,759
Speaker 1: lore right that film students young filmmakers talk to each

899
00:52:31,760 --> 00:52:35,719
Speaker 1: other about You would hear stories about how Gadar would

900
00:52:35,960 --> 00:52:39,400
Speaker 1: work with Raoul Kutard on movies like Breathless where they

901
00:52:39,440 --> 00:52:42,920
Speaker 1: didn't have any budget. Of course, they don't have dollies.

902
00:52:43,040 --> 00:52:45,000
Speaker 1: You know, they can't lay down tracks, but they want

903
00:52:45,000 --> 00:52:47,400
Speaker 1: to mimic tracking shots. So what do they do? And

904
00:52:47,480 --> 00:52:50,120
Speaker 1: of course you see this in the movie. There's one

905
00:52:50,239 --> 00:52:52,920
Speaker 1: scene where they're inside and what do they do to

906
00:52:52,920 --> 00:52:56,560
Speaker 1: pull off a tracking shot? They put Qatar in a

907
00:52:56,600 --> 00:53:02,360
Speaker 1: wheelchair and Goodar pushes him. So on our second project,

908
00:53:02,520 --> 00:53:05,440
Speaker 1: where we were actually shooting on video at this point,

909
00:53:05,480 --> 00:53:08,640
Speaker 1: but it was just me and one of my fellow

910
00:53:08,719 --> 00:53:12,600
Speaker 1: classmates as the DP, and we're on location in one

911
00:53:12,640 --> 00:53:15,840
Speaker 1: of my friend's apartments and we're shooting this project. And

912
00:53:15,880 --> 00:53:18,000
Speaker 1: I said, I'm going to get I'm going to get

913
00:53:18,000 --> 00:53:19,640
Speaker 1: it a little wacky with this, you know, I'm going

914
00:53:19,719 --> 00:53:23,160
Speaker 1: to try to be Godar meet Scorsese. And I can't

915
00:53:23,200 --> 00:53:25,720
Speaker 1: explain why. I have no idea why my two friends

916
00:53:25,800 --> 00:53:28,799
Speaker 1: had a wheelchair in their apartment, but they did. And

917
00:53:28,840 --> 00:53:32,080
Speaker 1: so of course I pulled off the closest to elaborate

918
00:53:32,200 --> 00:53:36,440
Speaker 1: tracking shot I could get Michael with me pushing pushing

919
00:53:36,480 --> 00:53:40,520
Speaker 1: my friend James holding the camera along in the wheelchair.

920
00:53:40,600 --> 00:53:42,759
Speaker 1: And you know, so watching that on the screen, the

921
00:53:42,840 --> 00:53:45,120
Speaker 1: thing you had heard about all those years that I

922
00:53:45,200 --> 00:53:47,720
Speaker 1: was trying to mimic, actually seeing it there on the screen.

923
00:53:47,760 --> 00:53:50,840
Speaker 1: Of course, that's part of the fun for me watching

924
00:53:50,880 --> 00:53:54,160
Speaker 1: a movie like Nouvelle vaugh So you know whether or

925
00:53:54,239 --> 00:53:57,440
Speaker 1: not this and Blue Moon Too are great and I

926
00:53:57,560 --> 00:54:01,279
Speaker 1: lean that way. I don't know, yes, charming as hell.

927
00:54:01,360 --> 00:54:03,400
Speaker 1: I think they're both pretty charming. I know that watching

928
00:54:03,440 --> 00:54:06,240
Speaker 1: them did give me as much pleasure as any movies

929
00:54:06,320 --> 00:54:09,360
Speaker 1: this year, because I think what Link Later pulls off.

930
00:54:09,840 --> 00:54:13,800
Speaker 1: He channels this French New wave, the French New Wave's

931
00:54:13,800 --> 00:54:23,520
Speaker 1: restless energy, revealing how Goodar's authenticity and his artistic uncertainty spark,

932
00:54:23,600 --> 00:54:28,360
Speaker 1: which I didn't expect, really spark a collision of cinema's past, present,

933
00:54:29,000 --> 00:54:32,360
Speaker 1: and future. I was wondering, besides his love for Gadar

934
00:54:32,480 --> 00:54:35,440
Speaker 1: and cinema, what was going to be the Link Later

935
00:54:35,680 --> 00:54:39,120
Speaker 1: connection to this material. And it didn't fully click for

936
00:54:39,200 --> 00:54:42,680
Speaker 1: me until the end. And I've seen interviews with him

937
00:54:42,719 --> 00:54:44,440
Speaker 1: over the years where he said, of course I love

938
00:54:44,480 --> 00:54:47,120
Speaker 1: this French New wave stuff. Breathless was an influence. You

939
00:54:47,160 --> 00:54:49,680
Speaker 1: don't have to hear that to assume it. Most filmmakers

940
00:54:49,719 --> 00:54:54,600
Speaker 1: of his generation probably were influenced by Godar and this film.

941
00:54:54,800 --> 00:54:58,399
Speaker 1: But at the end of this movie, he walks into

942
00:54:58,440 --> 00:55:00,600
Speaker 1: the room after all the shooting's done, and there's the

943
00:55:00,640 --> 00:55:04,040
Speaker 1: two editors there, Leela and Selene, I think, and he

944
00:55:04,120 --> 00:55:06,880
Speaker 1: walks into the room and you could kind of see

945
00:55:06,920 --> 00:55:08,759
Speaker 1: the look on their face when he says this is like,

946
00:55:08,800 --> 00:55:10,719
Speaker 1: oh great, I can't wait for this, you know, I

947
00:55:10,760 --> 00:55:12,760
Speaker 1: can't wait for what the director has to say about.

948
00:55:12,920 --> 00:55:15,080
Speaker 1: You know, they're looking at the footage and it's going

949
00:55:15,120 --> 00:55:17,879
Speaker 1: to be a fun project because he has all these

950
00:55:17,880 --> 00:55:20,680
Speaker 1: big ideas. But he comes into the room with his

951
00:55:20,760 --> 00:55:23,200
Speaker 1: two editors and he says, hope you are ready because

952
00:55:23,200 --> 00:55:26,120
Speaker 1: I love editing. It's where we hold the past, the present,

953
00:55:26,280 --> 00:55:29,000
Speaker 1: and the future in our hands. And I think, you know,

954
00:55:29,040 --> 00:55:31,279
Speaker 1: that's such a I don't know what the right word is.

955
00:55:31,320 --> 00:55:35,040
Speaker 1: That's such a link litarian view of filmmaking right and

956
00:55:35,239 --> 00:55:38,120
Speaker 1: editing specifically, But it's true. I had never really thought

957
00:55:38,160 --> 00:55:41,360
Speaker 1: of it that way. But that celluloid holds images of

958
00:55:41,400 --> 00:55:45,240
Speaker 1: the past that you're manipulating in the present in service

959
00:55:45,280 --> 00:55:49,440
Speaker 1: of a future. Unknown vision and Goodard. There could be

960
00:55:49,600 --> 00:55:52,520
Speaker 1: Jesse or Selene from Before Sunrise, or any number of

961
00:55:52,640 --> 00:55:56,000
Speaker 1: characters from Slacker or Waking Life and on down the line.

962
00:55:56,160 --> 00:55:59,080
Speaker 1: I think the entire time you're right, exactly, You're right.

963
00:55:59,200 --> 00:56:02,160
Speaker 1: You know that, except though of time is at the

964
00:56:02,200 --> 00:56:05,239
Speaker 1: core of this movie, because it's at the core of

965
00:56:05,280 --> 00:56:07,839
Speaker 1: the experiment of the French New Wave. What was Kaye

966
00:56:07,920 --> 00:56:12,080
Speaker 1: do Cinema all about? It was rejecting tasteful French cinema,

967
00:56:12,320 --> 00:56:15,680
Speaker 1: the cinema that was rooted in a literary tradition, these

968
00:56:15,680 --> 00:56:18,960
Speaker 1: grand adaptation. They were rejecting, as they called it, the

969
00:56:19,040 --> 00:56:22,319
Speaker 1: cinema do Papa. And that's all captured in the first

970
00:56:22,320 --> 00:56:26,920
Speaker 1: few minutes of the movie when Gadar tells George de Beauregard,

971
00:56:27,120 --> 00:56:29,319
Speaker 1: who went on to produce the movie. They have a

972
00:56:29,360 --> 00:56:31,960
Speaker 1: friendship and he produces Breathless, but he tells him his

973
00:56:32,040 --> 00:56:35,239
Speaker 1: movie is shit. Those are his words, and he's talking

974
00:56:35,280 --> 00:56:38,000
Speaker 1: about how you know, I'll let you adapt. Why haven't

975
00:56:38,000 --> 00:56:40,440
Speaker 1: you finished adapting this work I gave you? And it's like,

976
00:56:40,480 --> 00:56:42,960
Speaker 1: because it's an adaptation, he doesn't want to do that.

977
00:56:43,200 --> 00:56:46,680
Speaker 1: And it's all the microcosm is when as they're talking,

978
00:56:47,360 --> 00:56:51,759
Speaker 1: very nicely dressed, very stuffy. Older French couple walks up

979
00:56:52,320 --> 00:56:55,640
Speaker 1: and they praise Bobo for the movie he just made. Right,

980
00:56:56,600 --> 00:57:00,120
Speaker 1: civil civilized French couple. Your film is a wonder and

981
00:57:00,120 --> 00:57:03,640
Speaker 1: what do they say about it? You're the landscapes are spectacular,

982
00:57:04,200 --> 00:57:06,920
Speaker 1: and you know, Goodar just looks away and faces the bar.

983
00:57:07,200 --> 00:57:12,239
Speaker 1: That's the exact audience that Goodar completely wants to alienate.

984
00:57:12,320 --> 00:57:14,600
Speaker 1: And you know, so these filmmakers, they weren't just in

985
00:57:14,640 --> 00:57:17,120
Speaker 1: the present. They were working in a present that was

986
00:57:17,160 --> 00:57:20,720
Speaker 1: so intertwined with the past, and they were determined to

987
00:57:20,760 --> 00:57:23,520
Speaker 1: break with it with this hope of creating a new

988
00:57:23,960 --> 00:57:26,720
Speaker 1: future type of cinema. So it just feels so perfect

989
00:57:26,920 --> 00:57:28,720
Speaker 1: for it to be link later material.

990
00:57:28,840 --> 00:57:31,960
Speaker 3: It is, and that spirit, of course, is completely adolescent.

991
00:57:32,080 --> 00:57:35,360
Speaker 3: I mean it is the adolescent inters to reject, you know,

992
00:57:35,400 --> 00:57:40,160
Speaker 3: what you've been raised around and in the whole context

993
00:57:40,160 --> 00:57:42,640
Speaker 3: of your life, you off to that point, but to

994
00:57:42,800 --> 00:57:46,480
Speaker 3: jump ahead, just like Gadar likes to edit, to jump

995
00:57:46,520 --> 00:57:49,479
Speaker 3: ahead to the kind of that key scene you're talking about,

996
00:57:49,520 --> 00:57:55,480
Speaker 3: where the editing changes the entire personality of the final result.

997
00:57:55,960 --> 00:57:58,960
Speaker 3: And that I think Breathless was a film really made

998
00:57:59,120 --> 00:58:01,720
Speaker 3: in that room, the editing room. I mean it was

999
00:58:01,720 --> 00:58:04,680
Speaker 3: shot very quickly, as you know, look that you know respect.

1000
00:58:04,720 --> 00:58:05,560
Speaker 2: I mean it's.

1001
00:58:05,440 --> 00:58:08,840
Speaker 3: Actually fairly on point the whole way. So this is

1002
00:58:08,840 --> 00:58:12,440
Speaker 3: not a film full of like composite characters and a

1003
00:58:12,440 --> 00:58:17,200
Speaker 3: lot of nonsense. It's actually pretty on the record. You know,

1004
00:58:17,480 --> 00:58:22,439
Speaker 3: research material. There's a ton of research about the exact

1005
00:58:22,480 --> 00:58:24,880
Speaker 3: you know, the precise making of the film, that the conditions,

1006
00:58:24,920 --> 00:58:29,160
Speaker 3: all of it, and novelle Vague. Lookleater's film has a

1007
00:58:29,200 --> 00:58:31,840
Speaker 3: great blueprint for that. And I think the dialogue you

1008
00:58:31,920 --> 00:58:36,240
Speaker 3: quote where you get that kind of aphorism or or

1009
00:58:36,360 --> 00:58:41,919
Speaker 3: or philosophical insight or or intellectual bluff half the time,

1010
00:58:42,160 --> 00:58:44,200
Speaker 3: you know, coming out of Goodar's mouth. I mean that's

1011
00:58:44,960 --> 00:58:48,040
Speaker 3: it's part of the charm and occasionally a little bit

1012
00:58:48,080 --> 00:58:50,240
Speaker 3: of a little bit of part of the uh, I

1013
00:58:50,320 --> 00:58:54,280
Speaker 3: mean the rhetorical excess in the script of Novelle Vagen,

1014
00:58:54,360 --> 00:58:57,880
Speaker 3: that everything coming out of Goodar's mouth not under underline

1015
00:58:57,880 --> 00:58:59,880
Speaker 3: with a yellow highlighter, but just like everything is an

1016
00:59:00,240 --> 00:59:04,080
Speaker 3: aphorism that mostly comes from largely, let's say, comes out

1017
00:59:04,080 --> 00:59:06,360
Speaker 3: of the historical record. He set all this stuff in

1018
00:59:06,400 --> 00:59:09,680
Speaker 3: different interviews, and you know, amusings over the years, and

1019
00:59:09,720 --> 00:59:11,360
Speaker 3: it's like, well, it's just you know, this will just

1020
00:59:11,440 --> 00:59:15,720
Speaker 3: imagine that this is how you know, he was verbally

1021
00:59:15,760 --> 00:59:19,880
Speaker 3: an incredibly nimble bs artist, you know, frankly, you know,

1022
00:59:20,240 --> 00:59:24,720
Speaker 3: and and also he put he somehow found a way

1023
00:59:24,720 --> 00:59:26,800
Speaker 3: to put a lot of these a lot of these

1024
00:59:26,800 --> 00:59:30,920
Speaker 3: philosophical precepts that he you know, was always arguing for

1025
00:59:31,000 --> 00:59:34,040
Speaker 3: in the K to Cinema work with all his fellow

1026
00:59:34,040 --> 00:59:36,600
Speaker 3: critics turned director. I mean that, fel that's a great

1027
00:59:36,600 --> 00:59:39,040
Speaker 3: thing about K to Cinema. It turned into the French

1028
00:59:39,160 --> 00:59:40,160
Speaker 3: National Film School.

1029
00:59:40,200 --> 00:59:41,440
Speaker 2: It's sort of in retrospect.

1030
00:59:41,920 --> 00:59:43,480
Speaker 3: I mean, the film had a two and a half

1031
00:59:43,560 --> 00:59:47,320
Speaker 3: hour cut when they ended, producer says, true enough, give

1032
00:59:47,320 --> 00:59:48,760
Speaker 3: me an hour and a half. It's got to be

1033
00:59:48,760 --> 00:59:51,640
Speaker 3: an hour and a half. And if there's one thing

1034
00:59:51,680 --> 00:59:54,000
Speaker 3: that I kind of wish link later had spent maybe

1035
00:59:54,000 --> 01:00:01,840
Speaker 3: another five minutes on, it's how that film was utterly

1036
01:00:02,760 --> 01:00:07,320
Speaker 3: transformed in the room in that And this was the

1037
01:00:07,360 --> 01:00:09,720
Speaker 3: real revelation when I realized this, when I started reading

1038
01:00:09,800 --> 01:00:11,840
Speaker 3: up on it after seeing it a couple of times,

1039
01:00:12,280 --> 01:00:16,640
Speaker 3: where one of Gadar's filmmaking champions, Jean Pierre Melville, shows

1040
01:00:16,720 --> 01:00:21,280
Speaker 3: up in Breathless playing Jean Pierre Melville and in life,

1041
01:00:21,360 --> 01:00:25,360
Speaker 3: in real life, Melville, you know, gave advice after Guitar

1042
01:00:25,400 --> 01:00:27,120
Speaker 3: asked for about how to how to cut it down.

1043
01:00:27,160 --> 01:00:29,920
Speaker 3: And this is the quote from Melville, not in the film,

1044
01:00:29,920 --> 01:00:31,760
Speaker 3: but just an actual life, right. He says, I told

1045
01:00:31,800 --> 01:00:34,440
Speaker 3: him to cut everything they didn't keep the action moving,

1046
01:00:34,840 --> 01:00:38,680
Speaker 3: and to remove all unnecessary scenes mine included. He did

1047
01:00:38,720 --> 01:00:42,320
Speaker 3: not listen to me, and instead of cutting whole scenes

1048
01:00:42,400 --> 01:00:45,120
Speaker 3: right as was the practice center. This is still Melville talking,

1049
01:00:45,200 --> 01:00:47,680
Speaker 3: he had the brilliant idea of cutting more or less

1050
01:00:47,720 --> 01:00:52,920
Speaker 3: at random within scenes. The result was excellent end quote.

1051
01:00:53,280 --> 01:00:56,680
Speaker 3: And that's the whole thing, right, I mean, guitar and

1052
01:00:56,720 --> 01:01:02,360
Speaker 3: the editor just did it, did this amazing internal cutting

1053
01:01:02,520 --> 01:01:06,360
Speaker 3: within shots. Sometimes that just that that destroyed the continuity

1054
01:01:06,440 --> 01:01:08,760
Speaker 3: visually about who's like the eye lines and you know,

1055
01:01:08,800 --> 01:01:11,000
Speaker 3: like what's happening in the scene. But it gave the

1056
01:01:11,000 --> 01:01:17,360
Speaker 3: film this crazy unstable energy. And that's what to me

1057
01:01:17,520 --> 01:01:21,240
Speaker 3: is eternally new about the film, and it's it's astounding.

1058
01:01:21,280 --> 01:01:22,000
Speaker 2: It's also.

1059
01:01:23,680 --> 01:01:25,960
Speaker 3: Breathless is a very sad film. And this is what

1060
01:01:26,200 --> 01:01:28,880
Speaker 3: other people say. I mean, it's a wonderful kind of

1061
01:01:29,040 --> 01:01:32,040
Speaker 3: essay on all the movies and guitars had at that

1062
01:01:32,120 --> 01:01:35,320
Speaker 3: point in his life. The whole film is dedicated to

1063
01:01:35,360 --> 01:01:38,920
Speaker 3: Monogram Pictures, which was a poverty row studio beck in

1064
01:01:38,960 --> 01:01:42,600
Speaker 3: the you know, thirties, forties and fifties in Hollywood. I mean,

1065
01:01:42,640 --> 01:01:46,400
Speaker 3: they were famous for things like the Bowery Boys series, Bomba,

1066
01:01:46,480 --> 01:01:49,760
Speaker 3: the Jungle Boy, these series like that, and a lot

1067
01:01:49,760 --> 01:01:51,920
Speaker 3: of kind of grubby little crime pictures, some of them

1068
01:01:51,920 --> 01:01:52,400
Speaker 3: pretty good.

1069
01:01:53,320 --> 01:01:54,680
Speaker 2: But you know, that's all that.

1070
01:01:54,760 --> 01:01:57,560
Speaker 3: Those are all his influences, and half of those influences

1071
01:01:57,600 --> 01:02:02,520
Speaker 3: and half of the directors that Gudar really revered, Sam Fuller, uh,

1072
01:02:02,920 --> 01:02:05,600
Speaker 3: you know, Brasol, all all kinds of things ended up

1073
01:02:05,640 --> 01:02:08,320
Speaker 3: in Breathless sort of in this sort of like bent

1074
01:02:09,040 --> 01:02:13,760
Speaker 3: and adapted form. That's the spirit of the film. It's

1075
01:02:13,800 --> 01:02:16,560
Speaker 3: also very sad because it's kind of a neolistic little

1076
01:02:16,560 --> 01:02:18,960
Speaker 3: crime picture, just like the best of film noir.

1077
01:02:20,200 --> 01:02:22,400
Speaker 2: And yet because of.

1078
01:02:22,320 --> 01:02:32,480
Speaker 3: Belmondo and Seaberg having this unlikely chemistry, the film's romantic impulse,

1079
01:02:32,560 --> 01:02:35,880
Speaker 3: which is which is definitely there, is what really what

1080
01:02:36,000 --> 01:02:38,640
Speaker 3: sold it. And also it had a brilliant marketing campaign,

1081
01:02:38,680 --> 01:02:40,760
Speaker 3: which which I think link Letter was very smart to

1082
01:02:40,840 --> 01:02:42,760
Speaker 3: kind of heighten the fact that there was always a

1083
01:02:42,800 --> 01:02:46,400
Speaker 3: photographer on set that they were you know, selling, you know,

1084
01:02:46,480 --> 01:02:50,320
Speaker 3: there was a there was a publicity man constantly. Yeah, yeah,

1085
01:02:50,320 --> 01:02:50,640
Speaker 3: I love it.

1086
01:02:50,720 --> 01:02:50,919
Speaker 1: Yeah.

1087
01:02:51,000 --> 01:02:53,320
Speaker 3: So it's all that's in the film, and you know

1088
01:02:53,400 --> 01:02:57,480
Speaker 3: the fact that link Letter got that all in. You know,

1089
01:02:57,680 --> 01:03:00,160
Speaker 3: Again with my quibbles, certainly, I don't think the after

1090
01:03:00,200 --> 01:03:04,280
Speaker 3: playing Belmondo is up to Zoe Deutsch's Seaburg at all.

1091
01:03:04,360 --> 01:03:06,800
Speaker 3: I think he's a little he just seems a little

1092
01:03:06,840 --> 01:03:12,200
Speaker 3: less of a kind of like a charismatic presence and

1093
01:03:12,320 --> 01:03:16,800
Speaker 3: sort of a real presence as Belmondo was. But you know,

1094
01:03:16,840 --> 01:03:18,800
Speaker 3: you can't win them, all, right, And I just think

1095
01:03:19,000 --> 01:03:23,440
Speaker 3: what it really has is that spirit of of of

1096
01:03:23,480 --> 01:03:28,640
Speaker 3: this sort of like serene chaos just tumbling forward, and

1097
01:03:28,440 --> 01:03:30,480
Speaker 3: that you see that in the link Letters films all

1098
01:03:30,480 --> 01:03:32,280
Speaker 3: the time. You see it a little bit in Blue

1099
01:03:32,360 --> 01:03:36,160
Speaker 3: Moona that's like overtly a much sadder, more kind of

1100
01:03:36,200 --> 01:03:39,960
Speaker 3: like the outsider looking in you know, reflection, because the

1101
01:03:39,960 --> 01:03:42,880
Speaker 3: whole thing is based on Ethan Hawk's Lorentz Hearts, you know,

1102
01:03:42,960 --> 01:03:45,400
Speaker 3: kind of being left out of this whole phase of

1103
01:03:45,720 --> 01:03:48,960
Speaker 3: musical theater, and like you know, he's basically done, almost

1104
01:03:49,040 --> 01:03:53,160
Speaker 3: done with you know, Richard Rogers as a partner. Very

1105
01:03:53,160 --> 01:03:56,680
Speaker 3: different sphere. This is more like a collaborative collective kind

1106
01:03:56,680 --> 01:03:59,240
Speaker 3: of just like ye wouldn't this have been fun to

1107
01:03:59,320 --> 01:04:03,320
Speaker 3: be there? And thanks to this film we're there.

1108
01:04:03,480 --> 01:04:05,080
Speaker 1: We get to be Yeah, it's a really good point

1109
01:04:05,080 --> 01:04:06,760
Speaker 1: and about I want to go back to Melville and

1110
01:04:06,760 --> 01:04:10,000
Speaker 1: what you were saying there, because going back to my

1111
01:04:10,160 --> 01:04:13,440
Speaker 1: point about time and link later, I love how these

1112
01:04:13,480 --> 01:04:17,440
Speaker 1: sort of giants of French and European cinema haunt the

1113
01:04:17,480 --> 01:04:20,640
Speaker 1: production a bit like they Revere Rossalini and we see

1114
01:04:20,680 --> 01:04:24,680
Speaker 1: him speaking at the Kye offices and he's friends with

1115
01:04:24,920 --> 01:04:27,280
Speaker 1: Jean Pierre Melville, and we do see the scene in

1116
01:04:27,320 --> 01:04:29,680
Speaker 1: the movie that they shoot and he goes to his

1117
01:04:29,720 --> 01:04:32,840
Speaker 1: set and they have a little nod to Trufau's Day

1118
01:04:32,840 --> 01:04:35,320
Speaker 1: for Night in the movie, don't they with Melville because

1119
01:04:35,360 --> 01:04:38,000
Speaker 1: he does something about the car, he gives an instruction

1120
01:04:38,520 --> 01:04:42,880
Speaker 1: to someone on the set. But also randomly, during the

1121
01:04:42,920 --> 01:04:48,400
Speaker 1: making of Breathless, Robert Brossan is shooting pickpocket in a

1122
01:04:48,440 --> 01:04:51,440
Speaker 1: metro station just around the corner from where they're shooting Breathless,

1123
01:04:51,480 --> 01:04:57,240
Speaker 1: and they they these filmmakers don't represent Cinema du Papa,

1124
01:04:57,560 --> 01:05:01,400
Speaker 1: but they do represent the old guard. And as if

1125
01:05:01,400 --> 01:05:04,520
Speaker 1: Goodard doesn't have enough to deal with Michael and his

1126
01:05:04,680 --> 01:05:09,760
Speaker 1: cast and crew aren't already questioning him and his approach enough,

1127
01:05:10,440 --> 01:05:14,439
Speaker 1: they walk onto a Robert Brasson set. You know, it's

1128
01:05:14,440 --> 01:05:18,120
Speaker 1: just this reminder of like what proper filmmaking is, like

1129
01:05:18,160 --> 01:05:20,880
Speaker 1: what a real artist is, what a real director is.

1130
01:05:21,760 --> 01:05:24,480
Speaker 1: He's having to contend with that. Well, while he's trying

1131
01:05:24,520 --> 01:05:27,760
Speaker 1: in the present to make this future type of filmmaking.

1132
01:05:27,800 --> 01:05:30,400
Speaker 1: It's like, well, here's the past, and guess what, in

1133
01:05:30,440 --> 01:05:33,680
Speaker 1: the present, it still works pretty well. You know, Roissan's

1134
01:05:33,680 --> 01:05:38,200
Speaker 1: making a masterpiece himself in this moment as he makes pickpockets,

1135
01:05:38,240 --> 01:05:39,440
Speaker 1: So I think that's interesting.

1136
01:05:40,400 --> 01:05:42,880
Speaker 3: You also get to see like Regine Seinberg is teaching

1137
01:05:43,120 --> 01:05:46,040
Speaker 3: Belmondo and you know, basically just like because there's a

1138
01:05:46,040 --> 01:05:48,600
Speaker 3: lot of downtime on that set that was driving her crazy.

1139
01:05:48,960 --> 01:05:51,680
Speaker 3: I mean truly crazy because it was many days. As

1140
01:05:51,720 --> 01:05:54,480
Speaker 3: we see in the film, we're two hours in the

1141
01:05:54,520 --> 01:05:58,400
Speaker 3: morning of shooting and then Goudar saying I'm done or

1142
01:05:58,480 --> 01:06:00,880
Speaker 3: just showing up and he just wanted to pinball or

1143
01:06:00,960 --> 01:06:02,600
Speaker 3: you know, figure out when we wanted because that thing

1144
01:06:02,600 --> 01:06:06,240
Speaker 3: it really was written as it was shot, meaning written

1145
01:06:06,960 --> 01:06:10,480
Speaker 3: the morning of or the night before, and then wing

1146
01:06:10,880 --> 01:06:13,800
Speaker 3: the film does not. That's what is astoundingly fresh, I

1147
01:06:13,840 --> 01:06:19,000
Speaker 3: think and unexpected for every every person of any age

1148
01:06:19,000 --> 01:06:22,160
Speaker 3: who sees that film for the first time today, because

1149
01:06:22,200 --> 01:06:25,640
Speaker 3: you just think party will think, really, this little scruffy,

1150
01:06:25,720 --> 01:06:32,400
Speaker 3: little brash, little sort of you know, Sardik weird sine

1151
01:06:32,600 --> 01:06:35,800
Speaker 3: essay is was groundbreaking and then he sort of if

1152
01:06:35,800 --> 01:06:38,560
Speaker 3: you fall into it, you think, yeah, I get it,

1153
01:06:38,640 --> 01:06:41,040
Speaker 3: I get why, and because it really was just a

1154
01:06:41,120 --> 01:06:43,640
Speaker 3: rebuke to everything, but it also had its own thing,

1155
01:06:43,720 --> 01:06:45,200
Speaker 3: you know. I mean, I'd like I'd see it again

1156
01:06:45,280 --> 01:06:47,960
Speaker 3: just for the score. But it's a beautiful jazz score.

1157
01:06:48,040 --> 01:06:52,760
Speaker 3: But the that scene where Seabrig's doing the dance sequence,

1158
01:06:53,240 --> 01:06:55,000
Speaker 3: you know, just kind of teaching me. That's just like

1159
01:06:55,120 --> 01:06:57,480
Speaker 3: Band of Outsiders a little later, you know, where you

1160
01:06:57,520 --> 01:06:59,640
Speaker 3: see you know, they take the break to do the Madison,

1161
01:06:59,680 --> 01:07:02,360
Speaker 3: which is of course one of Gudar's most famous and

1162
01:07:02,520 --> 01:07:04,920
Speaker 3: loved scene because it's so easy to like, you know,

1163
01:07:05,480 --> 01:07:07,560
Speaker 3: and it makes it makes a lot of the heavier

1164
01:07:07,600 --> 01:07:11,200
Speaker 3: lifting in some of Guitar's films. He knew that he

1165
01:07:11,280 --> 01:07:16,320
Speaker 3: needed to have, you know, rhythmic change ups, I think,

1166
01:07:16,400 --> 01:07:22,480
Speaker 3: to sustain his experiments in cinema and why he what

1167
01:07:22,560 --> 01:07:24,600
Speaker 3: he does was sound in some of his films. That's

1168
01:07:24,600 --> 01:07:27,440
Speaker 3: what caught my uh, I mean this is a mixed metaphor.

1169
01:07:27,440 --> 01:07:29,880
Speaker 3: That's what caught my eye first, because they caught my

1170
01:07:29,960 --> 01:07:32,320
Speaker 3: ear first, you know, just the fact that sound comes

1171
01:07:32,360 --> 01:07:35,120
Speaker 3: and goes, just like the continuity in the in the pictures,

1172
01:07:35,160 --> 01:07:37,520
Speaker 3: and you just have to learn the new language he's

1173
01:07:37,520 --> 01:07:39,520
Speaker 3: working on. And then at the end of his career,

1174
01:07:39,560 --> 01:07:42,000
Speaker 3: of course here he makes a film called Goodbye to Language.

1175
01:07:42,040 --> 01:07:45,920
Speaker 3: So you know, it's uh, yeah, he's it's a fascinating

1176
01:07:46,280 --> 01:07:48,520
Speaker 3: and I love the link Later he doesn't, you know,

1177
01:07:48,560 --> 01:07:51,440
Speaker 3: his spirit is not like Adar's. He's not He's not

1178
01:07:51,680 --> 01:07:58,520
Speaker 3: really that kind of neolistic sensibility at heart is he

1179
01:07:58,600 --> 01:08:01,440
Speaker 3: really is Guditar and Nelis it's ability, but he's close

1180
01:08:01,480 --> 01:08:04,640
Speaker 3: in this one. He's much more romantic, and you know,

1181
01:08:04,720 --> 01:08:06,680
Speaker 3: Richard Brody is like a big you know, like the

1182
01:08:06,760 --> 01:08:09,360
Speaker 3: good Ar guy. You know, also really loves Linklater. He says,

1183
01:08:09,360 --> 01:08:12,240
Speaker 3: the film is you know, it's it's a it's an

1184
01:08:12,280 --> 01:08:16,320
Speaker 3: amiable kind of like what if this here's how I

1185
01:08:16,360 --> 01:08:19,640
Speaker 3: would like to believe. It all felt on the set,

1186
01:08:20,360 --> 01:08:23,439
Speaker 3: backed by a lot of meticulous research and you know,

1187
01:08:23,640 --> 01:08:27,880
Speaker 3: a very good casting in general. And I don't know.

1188
01:08:28,400 --> 01:08:30,200
Speaker 3: To me, it really is one of the link leaders,

1189
01:08:30,320 --> 01:08:32,080
Speaker 3: probably his top one of his top five.

1190
01:08:32,200 --> 01:08:34,479
Speaker 1: So I'll give that's a good thought.

1191
01:08:34,560 --> 01:08:36,120
Speaker 3: That's a good that's a good place to be.

1192
01:08:36,400 --> 01:08:38,400
Speaker 1: I love so many of his films. But your editing

1193
01:08:39,200 --> 01:08:42,680
Speaker 1: comment is interesting as well when I think about the

1194
01:08:42,720 --> 01:08:45,840
Speaker 1: strengths of this movie, because you're right it would, it

1195
01:08:45,840 --> 01:08:48,320
Speaker 1: would add a lot of time to this film. But

1196
01:08:48,800 --> 01:08:53,360
Speaker 1: the movie does underplay the extent to which the editing

1197
01:08:53,520 --> 01:08:57,080
Speaker 1: surely shaped how great this movie is and the influence

1198
01:08:57,080 --> 01:08:59,280
Speaker 1: of this film. We we literally go from the scene

1199
01:08:59,320 --> 01:09:02,480
Speaker 1: I described where he walks in makes a grand pronouncement

1200
01:09:02,520 --> 01:09:04,960
Speaker 1: about how he wants to edit the film. It basically

1201
01:09:05,000 --> 01:09:07,559
Speaker 1: alludes to how they're going to edit the film, and

1202
01:09:07,600 --> 01:09:09,960
Speaker 1: then the next scene is like they're screening it and

1203
01:09:10,200 --> 01:09:13,840
Speaker 1: it's a gigantic success, right, And that's kind of it.

1204
01:09:14,120 --> 01:09:19,040
Speaker 1: But when I think about what works about this film

1205
01:09:19,160 --> 01:09:23,880
Speaker 1: and the making of if it got and here again,

1206
01:09:23,880 --> 01:09:25,840
Speaker 1: it is a movie it's about the making of so

1207
01:09:25,880 --> 01:09:27,720
Speaker 1: of course that's why they did it this way. But

1208
01:09:28,080 --> 01:09:30,000
Speaker 1: I think for me, Michael, the strength of the movie

1209
01:09:30,080 --> 01:09:33,000
Speaker 1: is that what are the stakes of this movie going

1210
01:09:33,040 --> 01:09:36,080
Speaker 1: to be? Right? To whatever extent there can be stakes

1211
01:09:36,080 --> 01:09:39,480
Speaker 1: when we know they're going to complete the movie breathless

1212
01:09:39,479 --> 01:09:41,840
Speaker 1: and look, every movie you have to suspend some disbelief

1213
01:09:41,960 --> 01:09:44,840
Speaker 1: when you have a reasonable sense of what the outcome is.

1214
01:09:45,000 --> 01:09:46,760
Speaker 1: But what are the stakes going to be when we

1215
01:09:46,840 --> 01:09:49,080
Speaker 1: know they're going to finish the film. We know Gadar

1216
01:09:49,160 --> 01:09:51,080
Speaker 1: is going to go on to be Gudar, we know

1217
01:09:51,160 --> 01:09:54,519
Speaker 1: the movie is going to be this influential work that

1218
01:09:54,600 --> 01:09:58,280
Speaker 1: it is, And if they had spent a lot of

1219
01:09:58,280 --> 01:10:01,559
Speaker 1: time in that editing room, that then becomes really just

1220
01:10:01,680 --> 01:10:05,960
Speaker 1: about the filmmaking. It becomes about decisions about film, right.

1221
01:10:06,280 --> 01:10:09,080
Speaker 1: And what I think link Later does really well is

1222
01:10:09,280 --> 01:10:12,120
Speaker 1: even when they're on the set, even when they are

1223
01:10:12,160 --> 01:10:18,200
Speaker 1: making the movie, he balances it out just enough in

1224
01:10:18,320 --> 01:10:21,479
Speaker 1: making it about the people, and making it about the characters,

1225
01:10:21,520 --> 01:10:26,679
Speaker 1: and making about the interpersonal dynamics, the relationships between Seaburg

1226
01:10:27,040 --> 01:10:32,040
Speaker 1: and bel Mundo, between Seeburg and Godar, between Godar and Bobo,

1227
01:10:32,360 --> 01:10:37,439
Speaker 1: just those those character little conflicts, the questioning of of

1228
01:10:37,520 --> 01:10:41,679
Speaker 1: Godar as a director, the inner conflict that he doesn't

1229
01:10:41,720 --> 01:10:44,479
Speaker 1: He doesn't let out from behind those sunglasses very much,

1230
01:10:44,600 --> 01:10:46,840
Speaker 1: but we do see within him about whether or not,

1231
01:10:47,080 --> 01:10:49,920
Speaker 1: you know, is this really going to work? That uncertainty

1232
01:10:49,960 --> 01:10:52,800
Speaker 1: that does come through, that doubt, I think is enough

1233
01:10:52,880 --> 01:10:56,400
Speaker 1: to carry us through to see, Okay, it's not so

1234
01:10:56,479 --> 01:10:58,479
Speaker 1: much about whether or not the film's gonna end up

1235
01:10:58,479 --> 01:11:03,400
Speaker 1: being good, but along the way, what damage sort of

1236
01:11:03,520 --> 01:11:06,320
Speaker 1: might be done right in these relationships. I think that's

1237
01:11:06,320 --> 01:11:09,200
Speaker 1: interesting enough to see. He does keep it enough about

1238
01:11:09,640 --> 01:11:13,439
Speaker 1: the people. And I think that mar Beck here as Gadar,

1239
01:11:13,760 --> 01:11:16,960
Speaker 1: And you know, I've of core seen some interviews with Gadar,

1240
01:11:17,080 --> 01:11:19,759
Speaker 1: and I know what, if you showed me a picture

1241
01:11:19,760 --> 01:11:21,679
Speaker 1: of him, I would say that that's Jean Luke Gaddar.

1242
01:11:21,920 --> 01:11:24,640
Speaker 1: But I think he he. I don't otherwise have a

1243
01:11:24,680 --> 01:11:27,400
Speaker 1: bunch of preconceived notions about what I expect him to

1244
01:11:27,400 --> 01:11:30,599
Speaker 1: be on screen. I think he captures you talked about

1245
01:11:30,640 --> 01:11:33,000
Speaker 1: him in terms of that adolescence. I think he captures

1246
01:11:33,680 --> 01:11:37,599
Speaker 1: that insousscience really well. Like you, you partly want to

1247
01:11:37,640 --> 01:11:40,919
Speaker 1: sit before him and just listen to him spout wisdom,

1248
01:11:41,000 --> 01:11:44,960
Speaker 1: those aphorisms, even if he's mostly quoting other geniuses the

1249
01:11:44,960 --> 01:11:47,160
Speaker 1: whole time, and then you the other part of the

1250
01:11:47,160 --> 01:11:49,439
Speaker 1: time you want to strangle him. And I feel like

1251
01:11:49,560 --> 01:11:52,800
Speaker 1: that's you know that he's he's almost antagonizing you, and

1252
01:11:53,360 --> 01:11:56,800
Speaker 1: that that is what you have to get right about

1253
01:11:56,800 --> 01:11:59,200
Speaker 1: Gadar here and and he does.

1254
01:12:11,320 --> 01:12:13,200
Speaker 3: You know what he really wants to protect And and

1255
01:12:13,240 --> 01:12:14,960
Speaker 3: this is what, luckily I think a response to is

1256
01:12:15,160 --> 01:12:18,920
Speaker 3: is this the freedom to to just find find his

1257
01:12:19,040 --> 01:12:23,320
Speaker 3: way as a filmmaker on his tiny budget, even even

1258
01:12:23,360 --> 01:12:28,360
Speaker 3: with the producer on set breathing down his neck, questioning

1259
01:12:28,400 --> 01:12:31,559
Speaker 3: every single use of every hour of every You know,

1260
01:12:32,040 --> 01:12:36,040
Speaker 3: there's a great scene where where they for the climactic

1261
01:12:36,800 --> 01:12:40,640
Speaker 3: car crash that leads to the you know, the downfall

1262
01:12:40,720 --> 01:12:45,200
Speaker 3: of the Belmano character and the heartless gesture of love

1263
01:12:45,600 --> 01:12:48,479
Speaker 3: that Seabrick fought the whole way at the very end

1264
01:12:48,560 --> 01:12:50,960
Speaker 3: of the film. You know, it involves like a stunt,

1265
01:12:50,960 --> 01:12:53,519
Speaker 3: so okay, we had a higher stumb man, so you know,

1266
01:12:53,560 --> 01:12:56,880
Speaker 3: you see the stunt, you know, bouncing off a guy

1267
01:12:56,960 --> 01:13:01,200
Speaker 3: has to bounce off of spring a springboard platform over

1268
01:13:01,240 --> 01:13:03,840
Speaker 3: the hood and then it's pretending to be having been

1269
01:13:03,920 --> 01:13:05,439
Speaker 3: hit by the car, and it's like, okay, it looks

1270
01:13:05,479 --> 01:13:08,400
Speaker 3: pretty impressive, and then Gaddar says, man, it's a cliched

1271
01:13:08,439 --> 01:13:10,640
Speaker 3: I don't want it. And then you hear Bobo kind

1272
01:13:10,680 --> 01:13:12,920
Speaker 3: of like, we just you know, this guy's expensive, we

1273
01:13:13,000 --> 01:13:15,519
Speaker 3: got to use them. And he says, no, no, we

1274
01:13:15,560 --> 01:13:18,160
Speaker 3: won't do it. And when you that's what That's what

1275
01:13:18,280 --> 01:13:20,160
Speaker 3: really struck me. The first time I saw Breathless, I

1276
01:13:20,200 --> 01:13:24,559
Speaker 3: remember was was shots like that and scenes like that

1277
01:13:24,640 --> 01:13:27,599
Speaker 3: where all you see is a sort of half hearted

1278
01:13:28,160 --> 01:13:31,200
Speaker 3: acknowledgment of a car crash. You know, Gudar just not

1279
01:13:31,400 --> 01:13:36,360
Speaker 3: interested in trying to replicate a straightforward Hollywood recreation of

1280
01:13:36,840 --> 01:13:40,080
Speaker 3: that kind of thing, or it just not I mean,

1281
01:13:40,080 --> 01:13:44,519
Speaker 3: he's already his head's already elsewhere. And that's what's amazing

1282
01:13:44,560 --> 01:13:47,639
Speaker 3: about his film. And what I think is very fond

1283
01:13:48,520 --> 01:13:52,439
Speaker 3: and sincere and kind of beautiful about link Ladders is

1284
01:13:52,479 --> 01:13:57,920
Speaker 3: that he so appreciates that kind of artistic impulse of

1285
01:13:58,080 --> 01:14:01,519
Speaker 3: just following it, following it, see where. And the one

1286
01:14:01,520 --> 01:14:04,800
Speaker 3: thing link Letder really really I think relates to in

1287
01:14:04,840 --> 01:14:06,680
Speaker 3: that is like just taking the time to find it.

1288
01:14:06,720 --> 01:14:08,960
Speaker 3: I mean, nobody would make Boyhood the way link Lader

1289
01:14:09,040 --> 01:14:11,519
Speaker 3: made it if he didn't believe in you know, your

1290
01:14:11,560 --> 01:14:14,000
Speaker 3: issue of time, right of taking it and finding it

1291
01:14:14,040 --> 01:14:16,000
Speaker 3: and how do you do that in twenty days on

1292
01:14:16,040 --> 01:14:19,120
Speaker 3: a twenty day filming schedule. This is what we find out.

1293
01:14:19,479 --> 01:14:22,840
Speaker 3: And I love it that that link Letter feels a

1294
01:14:22,840 --> 01:14:26,080
Speaker 3: little bit drawn to almost everybody on screen, you know,

1295
01:14:26,240 --> 01:14:28,720
Speaker 3: I mean, I mean, like we'll find and the very

1296
01:14:28,720 --> 01:14:31,760
Speaker 3: amusing kind of way of setting up just all the

1297
01:14:31,800 --> 01:14:34,280
Speaker 3: new players where they just they simply have this moment

1298
01:14:34,520 --> 01:14:37,439
Speaker 3: two seconds on camera still where they're identified staring right

1299
01:14:37,439 --> 01:14:39,680
Speaker 3: at the camera. And that's dozens of them. It's a

1300
01:14:39,720 --> 01:14:43,080
Speaker 3: comical number of introductions and we you know a lot

1301
01:14:43,080 --> 01:14:46,320
Speaker 3: of these people don't have many lines even, but it's somehow,

1302
01:14:46,479 --> 01:14:49,320
Speaker 3: it's it's an easy conceit to fall into, very simple,

1303
01:14:49,760 --> 01:14:52,760
Speaker 3: and it's it's just kind of a mark of Linkletter's

1304
01:14:52,800 --> 01:14:56,360
Speaker 3: sort of like generous impulse, which is not like Adar's

1305
01:14:56,479 --> 01:15:01,840
Speaker 3: if he had one, but but he certainly had, as

1306
01:15:01,880 --> 01:15:05,600
Speaker 3: it's pointed out in the Velvagen, he certainly had the

1307
01:15:05,720 --> 01:15:09,040
Speaker 3: impulse to keep every close up of Seaberg and Belmondo,

1308
01:15:09,080 --> 01:15:14,040
Speaker 3: because those two faces are why that film, along with

1309
01:15:14,200 --> 01:15:21,519
Speaker 3: every sort of technical and visual and rhythmic impulse in

1310
01:15:21,560 --> 01:15:25,639
Speaker 3: the filmmaking itself, why that film still is worth making

1311
01:15:25,640 --> 01:15:27,040
Speaker 3: a movie about the making of it.

1312
01:15:27,600 --> 01:15:31,439
Speaker 1: M h yeah, in terms of Linklater's impulses here, Look,

1313
01:15:31,840 --> 01:15:34,840
Speaker 1: it's a loving portrait of Gadar in the French New

1314
01:15:34,840 --> 01:15:37,760
Speaker 1: Wave and the making of this film. But I think

1315
01:15:37,800 --> 01:15:40,400
Speaker 1: what I'm sort of trying to express about how he

1316
01:15:40,439 --> 01:15:42,720
Speaker 1: makes it and gives it some imbuse it with some

1317
01:15:42,800 --> 01:15:48,080
Speaker 1: stakes is that he doesn't overly glorify Gadar here or

1318
01:15:48,240 --> 01:15:52,639
Speaker 1: romanticize it too much, like I'm thinking about in terms

1319
01:15:52,680 --> 01:15:55,320
Speaker 1: of a biopic, And isn't this a sort of biopick?

1320
01:15:55,400 --> 01:15:57,720
Speaker 1: There are biopicks that take this approach where they just

1321
01:15:57,840 --> 01:16:02,240
Speaker 1: document a certain portion of a great artist's life, and

1322
01:16:02,439 --> 01:16:05,000
Speaker 1: the problem with so many of them for me is

1323
01:16:05,000 --> 01:16:09,040
Speaker 1: that the people who are the focus of these biopics

1324
01:16:09,280 --> 01:16:11,680
Speaker 1: and whenever they're making that great piece of art that

1325
01:16:11,760 --> 01:16:14,680
Speaker 1: defines them, is it always seems as if the filmmaker

1326
01:16:14,920 --> 01:16:19,559
Speaker 1: who's making the film about them they know they know

1327
01:16:19,720 --> 01:16:23,519
Speaker 1: the momentousness of the work that they're creating, and they

1328
01:16:23,560 --> 01:16:27,439
Speaker 1: make it seem too significant in the moment. They make

1329
01:16:27,439 --> 01:16:31,040
Speaker 1: it seem almost like the artist in the moment understands

1330
01:16:31,320 --> 01:16:34,320
Speaker 1: the magnitude of what they're making. And here I think

1331
01:16:34,520 --> 01:16:38,160
Speaker 1: link Later understands the tenuousness of this entire project from

1332
01:16:38,280 --> 01:16:40,960
Speaker 1: start to finish, and that's a really you know, that's

1333
01:16:40,960 --> 01:16:43,160
Speaker 1: a really smart approach and another smart approach, and you

1334
01:16:43,200 --> 01:16:47,439
Speaker 1: alluded to this earlier, Michael is he doesn't do a

1335
01:16:47,479 --> 01:16:50,200
Speaker 1: thing that I think many other filmmakers might have done,

1336
01:16:50,280 --> 01:16:54,960
Speaker 1: which is he doesn't try to make Nouvelle Vague look

1337
01:16:55,040 --> 01:16:58,599
Speaker 1: exactly like Breathless. He doesn't try to get too cutesy

1338
01:16:58,640 --> 01:17:01,360
Speaker 1: trying to mimic Goodar's style. Well in showing us how

1339
01:17:01,400 --> 01:17:04,639
Speaker 1: Gadar helped establish the visual language of the French new wave.

1340
01:17:04,960 --> 01:17:08,080
Speaker 1: We're we're watching Breathless, but it doesn't feel exactly like

1341
01:17:08,200 --> 01:17:10,560
Speaker 1: we're watching it. Yet it still does have some of

1342
01:17:10,600 --> 01:17:13,599
Speaker 1: the unconventionality in the immediacy of it. The black and white,

1343
01:17:13,680 --> 01:17:16,120
Speaker 1: of course you mentioned it. I love the approach of

1344
01:17:16,160 --> 01:17:19,120
Speaker 1: the introducing of all the key players, and you're right

1345
01:17:19,120 --> 01:17:23,000
Speaker 1: several dozen with those static shots, breaking the fourth wall,

1346
01:17:23,479 --> 01:17:26,519
Speaker 1: titling all of them. The camera does have a slight

1347
01:17:26,880 --> 01:17:29,760
Speaker 1: veritae feel to it, but it also at times has

1348
01:17:30,080 --> 01:17:33,639
Speaker 1: very composed shots. It's not going for exactly what Gudar

1349
01:17:34,000 --> 01:17:34,840
Speaker 1: right it was back in.

1350
01:17:34,800 --> 01:17:37,960
Speaker 3: Nineteen fifty Breakfast was like Verite that really felt like

1351
01:17:37,960 --> 01:17:40,679
Speaker 3: they were shooting a documentary. You know, the natural light mostly,

1352
01:17:40,840 --> 01:17:44,200
Speaker 3: I think entirely actually, and our existing light. Let's say,

1353
01:17:44,240 --> 01:17:46,080
Speaker 3: you know, like if they're shooting in an apartment, you

1354
01:17:46,240 --> 01:17:48,160
Speaker 3: just know you mess around with the apartment lights, you

1355
01:17:48,200 --> 01:17:48,600
Speaker 3: know at all that.

1356
01:17:48,680 --> 01:17:50,439
Speaker 2: But uh yeah, yeah.

1357
01:17:50,439 --> 01:17:53,559
Speaker 3: Tell me this. Do you think that the film gets

1358
01:17:53,680 --> 01:17:58,000
Speaker 3: behind Jean Luke Gadar's eyes or persona at all?

1359
01:17:59,280 --> 01:18:01,840
Speaker 1: I mean, I do feel I guess that's what I

1360
01:18:01,880 --> 01:18:04,839
Speaker 1: was trying to get at when I said I latched

1361
01:18:04,880 --> 01:18:10,720
Speaker 1: onto just enough doubt in him that it carried me

1362
01:18:10,760 --> 01:18:14,559
Speaker 1: through the film that behind those glasses, I felt like

1363
01:18:15,840 --> 01:18:20,160
Speaker 1: I understood his ambition, I understood his fear. I understood

1364
01:18:20,200 --> 01:18:23,080
Speaker 1: that he was I think he was self aware enough.

1365
01:18:23,160 --> 01:18:26,600
Speaker 1: At least, this character seemed self aware enough that he

1366
01:18:26,640 --> 01:18:34,439
Speaker 1: could fail. And that combination of bravado well subtle bravado, right,

1367
01:18:34,479 --> 01:18:37,840
Speaker 1: because this as a Frenchman here, he never never really

1368
01:18:37,920 --> 01:18:42,160
Speaker 1: raises his voice very often. Right, He's subtle, but he

1369
01:18:42,200 --> 01:18:44,559
Speaker 1: has an arrogance to him and a confidence to him.

1370
01:18:44,560 --> 01:18:47,960
Speaker 1: But I think it always there's always still this sense that,

1371
01:18:48,479 --> 01:18:52,479
Speaker 1: like I quoted that part of the beginning, he is

1372
01:18:52,680 --> 01:18:57,000
Speaker 1: really shook by the fact that he's quote unquote as

1373
01:18:57,040 --> 01:19:00,639
Speaker 1: old as he is and hasn't accomplished anything yet, and

1374
01:19:00,760 --> 01:19:02,920
Speaker 1: he doesn't know for sure that this is going to work.

1375
01:19:03,000 --> 01:19:04,599
Speaker 1: I don't know if that's exactly what you were getting

1376
01:19:04,640 --> 01:19:09,360
Speaker 1: at YEA. That is something I didn't expect from this characterization.

1377
01:19:09,600 --> 01:19:13,240
Speaker 3: I didn't get the same I'm not trying to get

1378
01:19:13,280 --> 01:19:16,000
Speaker 3: it like a more obvious underlying of the idea, but

1379
01:19:16,080 --> 01:19:20,320
Speaker 3: I didn't quite get the same feeling from that very

1380
01:19:20,600 --> 01:19:22,639
Speaker 3: scene where he's sort of acknowledging it. I mean, he's

1381
01:19:22,680 --> 01:19:26,839
Speaker 3: looking at Trufau having come back from the can premiere

1382
01:19:26,880 --> 01:19:30,000
Speaker 3: of The four hundred Blows, and like envy if he's

1383
01:19:30,000 --> 01:19:34,719
Speaker 3: seeing with envy quietly, I think, you know, where's my movie?

1384
01:19:35,040 --> 01:19:38,960
Speaker 3: And then he you know, he uses this screenplay, this treatment,

1385
01:19:39,000 --> 01:19:42,160
Speaker 3: this outline that Truffaux provides him for Breathless and then

1386
01:19:42,160 --> 01:19:44,640
Speaker 3: but basically using none of it, but like except the

1387
01:19:44,680 --> 01:19:48,720
Speaker 3: bare premise. I never thought I'd mentioned Oppenheimer in this conversation.

1388
01:19:48,840 --> 01:19:52,120
Speaker 3: But in movies as as I let's say, as disparate

1389
01:19:52,200 --> 01:19:57,280
Speaker 3: as novellag and Oppenheimer, you have you have a film

1390
01:19:57,360 --> 01:20:04,080
Speaker 3: about a real life person who also had a persona cultivated.

1391
01:20:03,920 --> 01:20:05,920
Speaker 1: Yes, and he and it cultivates it.

1392
01:20:06,120 --> 01:20:06,360
Speaker 2: Yeah.

1393
01:20:06,439 --> 01:20:11,080
Speaker 3: And and what little I know I read about about

1394
01:20:11,120 --> 01:20:14,960
Speaker 3: Oppenheimer and Guitar is that these these were these were

1395
01:20:15,000 --> 01:20:20,240
Speaker 3: in fact somewhat odder, stranger, wormier in a way, and

1396
01:20:20,840 --> 01:20:26,000
Speaker 3: and and more it'shier personalities than we see there are

1397
01:20:26,040 --> 01:20:29,280
Speaker 3: a little bit you know, movies tend to the camera

1398
01:20:29,400 --> 01:20:31,680
Speaker 3: tends to turn it all into like a charismatic kind

1399
01:20:31,680 --> 01:20:34,439
Speaker 3: of cool. And I think what I've read and what

1400
01:20:34,479 --> 01:20:38,840
Speaker 3: I've sensed about again, no, nothing had common between these two.

1401
01:20:38,880 --> 01:20:40,120
Speaker 2: But but I.

1402
01:20:40,280 --> 01:20:43,960
Speaker 3: Would say it's a little it's a limitation on both films.

1403
01:20:44,040 --> 01:20:47,719
Speaker 3: And but to this, to this point on Novelle Vagas,

1404
01:20:47,720 --> 01:20:50,120
Speaker 3: it's it's a little something that it would have been

1405
01:20:51,439 --> 01:20:56,000
Speaker 3: his greatest challenge with letters to find find a little

1406
01:20:56,000 --> 01:20:58,320
Speaker 3: more of that in this film, Like who is this

1407
01:20:58,320 --> 01:21:01,000
Speaker 3: guy really? You know, I think he sees in Truffau

1408
01:21:01,200 --> 01:21:05,360
Speaker 3: a guy who's much a much easier kind of man

1409
01:21:05,400 --> 01:21:07,640
Speaker 3: in the world, you know, I mean it's truefo Is,

1410
01:21:07,720 --> 01:21:09,519
Speaker 3: you know, getting out of one marriage, he's already got

1411
01:21:09,560 --> 01:21:10,599
Speaker 3: you know, there's you know.

1412
01:21:10,560 --> 01:21:11,960
Speaker 2: He's seeing somebody on the side.

1413
01:21:12,880 --> 01:21:17,519
Speaker 3: Guard's relationships tend to be a little more tortuous. I think,

1414
01:21:17,640 --> 01:21:21,120
Speaker 3: and and and and just simply kind of awkward and

1415
01:21:21,200 --> 01:21:24,439
Speaker 3: uncertain and you know, never nobody could really track and

1416
01:21:24,720 --> 01:21:27,160
Speaker 3: what was going on in his life. But it might

1417
01:21:27,200 --> 01:21:29,160
Speaker 3: be the thing that's missing, even even in the film

1418
01:21:29,200 --> 01:21:32,200
Speaker 3: that's basically only meant to be a certain weight and

1419
01:21:32,280 --> 01:21:34,799
Speaker 3: has kind of a comic uh, kind of a lovely

1420
01:21:34,880 --> 01:21:38,240
Speaker 3: comic air. I wouldn't really, I wouldn't. I wouldn't want

1421
01:21:38,280 --> 01:21:40,160
Speaker 3: it any other way with a link later film, because

1422
01:21:40,160 --> 01:21:42,519
Speaker 3: that's what he is as a filmmaker. He just finds

1423
01:21:43,040 --> 01:21:48,960
Speaker 3: a warmer, more kind of human conventionally a humane sort

1424
01:21:48,960 --> 01:21:52,640
Speaker 3: of approach to everything. But it does make everybody, everybody

1425
01:21:52,920 --> 01:21:55,120
Speaker 3: matter a little bit at least a little bit and

1426
01:21:55,120 --> 01:21:57,280
Speaker 3: sometimes a lot in this in this film, And I mean,

1427
01:21:57,280 --> 01:21:58,880
Speaker 3: I am eager to see it a second time. So

1428
01:21:59,000 --> 01:22:01,880
Speaker 3: I don't my my limitations, you know, as I always

1429
01:22:01,880 --> 01:22:03,760
Speaker 3: say with a lot of things like this, I have

1430
01:22:03,840 --> 01:22:05,640
Speaker 3: reservations about my reservations.

1431
01:22:06,920 --> 01:22:09,080
Speaker 1: No, I think it's a really fascinating point when I

1432
01:22:09,120 --> 01:22:11,800
Speaker 1: want to consider when I do revisit the film. But

1433
01:22:11,880 --> 01:22:15,160
Speaker 1: I was just thinking about because of something else, I

1434
01:22:15,200 --> 01:22:18,920
Speaker 1: was thinking about biopics and great artists and musicians just

1435
01:22:19,000 --> 01:22:22,959
Speaker 1: last night, and let's go ahead and use the word genius,

1436
01:22:23,160 --> 01:22:27,320
Speaker 1: which does apply to Oppenheimer and probably does apply as

1437
01:22:27,320 --> 01:22:29,920
Speaker 1: an artist. I think we can say to goodar as well.

1438
01:22:30,280 --> 01:22:34,040
Speaker 1: And part of the problem with biopics is that they

1439
01:22:34,080 --> 01:22:37,160
Speaker 1: always try to explain the genius. They always try to

1440
01:22:37,200 --> 01:22:40,360
Speaker 1: get under the hood and find some way to let

1441
01:22:40,439 --> 01:22:43,600
Speaker 1: us understand what what really makes them tick. And I

1442
01:22:44,000 --> 01:22:46,880
Speaker 1: don't know that. The problem. The thing is we can't,

1443
01:22:47,160 --> 01:22:49,960
Speaker 1: right and so to what extent, to what extent can

1444
01:22:50,000 --> 01:22:56,920
Speaker 1: we ever understand someone as as slippery I as good word.

1445
01:22:57,520 --> 01:23:00,320
Speaker 3: Uh, that's it. I mean, I don't think you would.

1446
01:23:00,439 --> 01:23:02,840
Speaker 2: Guitar. Yeah, I love it.

1447
01:23:03,120 --> 01:23:05,640
Speaker 3: The one the one piece of film I have in

1448
01:23:05,680 --> 01:23:09,240
Speaker 3: my life. Uh, that was shooting on the camera at

1449
01:23:09,479 --> 01:23:14,280
Speaker 3: at whatever Can Festival. It was where Goodbye to Language,

1450
01:23:14,280 --> 01:23:18,000
Speaker 3: I believe was premiered and he was supposed to do

1451
01:23:18,040 --> 01:23:21,200
Speaker 3: a press conference and there was a tremendous interest among

1452
01:23:21,520 --> 01:23:25,920
Speaker 3: all the press, Like you're kidding, Well, we were all there,

1453
01:23:25,960 --> 01:23:29,160
Speaker 3: like hundreds, you know, waiting for an hour and a

1454
01:23:29,200 --> 01:23:32,360
Speaker 3: half and then this footage, you know, if I can

1455
01:23:32,400 --> 01:23:34,120
Speaker 3: find it, you know, it's just kind of like me

1456
01:23:34,240 --> 01:23:37,080
Speaker 3: talking to Jim Hoberman or whatever is he going to

1457
01:23:37,439 --> 01:23:39,479
Speaker 3: and all this, and and then and then you know,

1458
01:23:39,560 --> 01:23:43,280
Speaker 3: then you hear this, and then the word goes of

1459
01:23:43,960 --> 01:23:46,760
Speaker 3: Monsieur guitar will not be attending today. You know, it's

1460
01:23:46,840 --> 01:23:48,640
Speaker 3: like you know it, you know, we want I mean,

1461
01:23:48,920 --> 01:23:51,439
Speaker 3: and Varda found out the same thing that he just

1462
01:23:51,479 --> 01:23:54,400
Speaker 3: simply would not show when she was making her film

1463
01:23:54,880 --> 01:23:55,639
Speaker 3: Faces Places.

1464
01:23:56,040 --> 01:23:58,120
Speaker 1: That's part you're right, that's the part of the plot

1465
01:23:58,160 --> 01:24:01,120
Speaker 1: of that film, right, show up is you.

1466
01:24:01,160 --> 01:24:03,880
Speaker 3: Know the world is destined to be to be a

1467
01:24:04,160 --> 01:24:09,639
Speaker 3: flum mixed and uh and and and surprised and essentially

1468
01:24:10,360 --> 01:24:14,040
Speaker 3: disappointed by the man. But maybe not the films, certainly

1469
01:24:14,080 --> 01:24:14,679
Speaker 3: not the films.

1470
01:24:14,920 --> 01:24:19,320
Speaker 1: Yeah, that's it. Well, this was a fun conversation as always, Michael,

1471
01:24:19,400 --> 01:24:22,800
Speaker 1: thank you so much for jumping in last minute and

1472
01:24:23,439 --> 01:24:25,880
Speaker 1: allowing us to have this dialogue about Nouvel Vague. I

1473
01:24:25,920 --> 01:24:28,760
Speaker 1: hope people do seek it out on Netflix, which is

1474
01:24:28,800 --> 01:24:30,080
Speaker 1: where it is currently playing.

1475
01:24:30,439 --> 01:24:31,120
Speaker 3: Charming as hell?

1476
01:24:31,240 --> 01:24:35,960
Speaker 1: Can we agree that I hope we were charming as heck.

1477
01:24:38,080 --> 01:24:40,080
Speaker 3: I was just going for charming as all get out

1478
01:24:40,360 --> 01:24:42,920
Speaker 3: there yourself. But yeah, but yeah, we'll take next for

1479
01:24:42,960 --> 01:24:43,439
Speaker 3: having me on it.

1480
01:24:44,479 --> 01:24:47,120
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1488
01:25:08,520 --> 01:25:15,840
Speaker 3: Com Altho withrab I know you're out here.

1489
01:25:17,439 --> 01:25:23,599
Speaker 1: Just come in before the monkeys bought you. Josh, you're

1490
01:25:23,640 --> 01:25:26,200
Speaker 1: back from the Riverside Purgatory. You look great.

1491
01:25:26,760 --> 01:25:27,320
Speaker 2: Good to see you.

1492
01:25:27,960 --> 01:25:32,160
Speaker 1: Yes, well there, oh yeah good Next week on the

1493
01:25:32,240 --> 01:25:36,040
Speaker 1: show Wicked for Good. Yes, we do plan to talk

1494
01:25:36,120 --> 01:25:40,559
Speaker 1: about the Wicked sequel. Are the people of Scotland excited

1495
01:25:40,600 --> 01:25:44,160
Speaker 1: for the continuing saga of Alphaba and Glinda and the

1496
01:25:44,200 --> 01:25:45,800
Speaker 1: Flying Monkeys? What's your sense?

1497
01:25:46,400 --> 01:25:50,680
Speaker 5: I mean the theaters of Scotland are. It is playing everywhere?

1498
01:25:51,040 --> 01:25:54,840
Speaker 5: So yeah, and I'm having been a fan of the

1499
01:25:54,920 --> 01:25:58,360
Speaker 5: first installment, I'm looking forward to this one myself.

1500
01:25:58,640 --> 01:26:01,080
Speaker 1: Okay, well, what are we to do if your Netflix

1501
01:26:01,160 --> 01:26:04,799
Speaker 1: isn't working properly and we can't talk about train dreams?

1502
01:26:04,880 --> 01:26:06,439
Speaker 1: Who am I going to get to fill in to

1503
01:26:06,560 --> 01:26:08,800
Speaker 1: talk about that film? I am. I'm excited to talk

1504
01:26:08,840 --> 01:26:11,639
Speaker 1: about that one too. I saw it as the opening

1505
01:26:11,720 --> 01:26:14,639
Speaker 1: night film of the Refocused Film Festival in Iowa City

1506
01:26:15,200 --> 01:26:18,839
Speaker 1: at the Englert Theater. Great Will Patton does the narration

1507
01:26:19,720 --> 01:26:23,919
Speaker 1: and was a longtime friend of the writer of the novella.

1508
01:26:24,160 --> 01:26:27,920
Speaker 1: The movie was based on Dennis Johnson, who was a

1509
01:26:28,000 --> 01:26:32,559
Speaker 1: student and a professor at the writer's workshop in Iowa City.

1510
01:26:32,800 --> 01:26:35,519
Speaker 1: Dennis Johnson's wife was there, had a Q and A afterwards.

1511
01:26:35,560 --> 01:26:39,120
Speaker 1: It was lovely. I think that was October twelfth, so

1512
01:26:39,200 --> 01:26:41,680
Speaker 1: we're over a month since that viewing. I will need

1513
01:26:41,720 --> 01:26:44,599
Speaker 1: to watch it again. Joel Edgerton stars as a logger

1514
01:26:44,640 --> 01:26:48,400
Speaker 1: in early twentieth century America. Director Clint Bentley is the

1515
01:26:48,479 --> 01:26:51,880
Speaker 1: one who made this film. He wrote Sing Sing, a

1516
01:26:52,000 --> 01:26:54,960
Speaker 1: movie we both liked quite a bit. Last year. Greg

1517
01:26:55,040 --> 01:26:56,439
Speaker 1: Queedar directed that.

1518
01:26:56,800 --> 01:26:56,960
Speaker 2: Here.

1519
01:26:57,160 --> 01:27:01,439
Speaker 1: Clint Bentley is the director, and it is coming to Netflix.

1520
01:27:01,520 --> 01:27:03,160
Speaker 1: We hope it's coming to your Netflix.

1521
01:27:03,520 --> 01:27:05,920
Speaker 5: I mean this, stop getting me more excited about it.

1522
01:27:05,920 --> 01:27:09,599
Speaker 5: I've only heard great things and yeah, the Netflix situation

1523
01:27:09,760 --> 01:27:12,240
Speaker 5: is real. Of course, this year they seem to have

1524
01:27:12,800 --> 01:27:16,040
Speaker 5: four or five titles coming out in the last month

1525
01:27:16,080 --> 01:27:18,120
Speaker 5: and a half the year that I'm excited for, So

1526
01:27:18,600 --> 01:27:21,639
Speaker 5: I do hope. I expect I'll be able to get

1527
01:27:21,680 --> 01:27:24,680
Speaker 5: my hands on Train Dreams at least for sure in

1528
01:27:24,760 --> 01:27:25,760
Speaker 5: time for next week's show.

1529
01:27:26,000 --> 01:27:28,960
Speaker 1: Okay, we will also announce it's that time of year.

1530
01:27:29,160 --> 01:27:34,519
Speaker 1: Every Thanksgiving week we announced the Golden Brick short list.

1531
01:27:34,640 --> 01:27:37,600
Speaker 1: So this is not the list of finalists, not the

1532
01:27:37,680 --> 01:27:40,200
Speaker 1: films we will be voting on, but it is the

1533
01:27:40,680 --> 01:27:44,360
Speaker 1: list of titles that will be in contention for the

1534
01:27:44,520 --> 01:27:47,799
Speaker 1: final nominees. And you can see how that list stands

1535
01:27:48,040 --> 01:27:51,439
Speaker 1: currently if you go to filmspotting dot net slash bricks. So,

1536
01:27:51,600 --> 01:27:54,560
Speaker 1: Josh and I need to do some final viewing. We

1537
01:27:54,720 --> 01:27:58,400
Speaker 1: had a film Spotting Advisory Board call last week and

1538
01:27:58,600 --> 01:28:01,280
Speaker 1: got so many great suggestions. I have a lot of

1539
01:28:01,360 --> 01:28:05,240
Speaker 1: viewing to do Josh, to get some final additions onto

1540
01:28:05,360 --> 01:28:07,760
Speaker 1: that list, and I'm excited about that. We have some

1541
01:28:07,880 --> 01:28:10,920
Speaker 1: good titles there, but I know that there are many

1542
01:28:11,000 --> 01:28:13,040
Speaker 1: others out there that we both need to see.

1543
01:28:13,160 --> 01:28:13,360
Speaker 2: Yeah.

1544
01:28:13,400 --> 01:28:15,240
Speaker 5: I took a look at that list as well, and

1545
01:28:16,080 --> 01:28:20,080
Speaker 5: at least two, possibly three titles were among those. I

1546
01:28:20,160 --> 01:28:23,120
Speaker 5: have my own list going of before our voting deadlines

1547
01:28:23,160 --> 01:28:25,920
Speaker 5: for the Chicago Film Critics Association. I want to see,

1548
01:28:26,360 --> 01:28:28,840
Speaker 5: and there was definitely some crossover between what the Film

1549
01:28:28,880 --> 01:28:32,040
Speaker 5: Spotting Advisory Board members suggested for the Golden Brick and

1550
01:28:32,120 --> 01:28:35,000
Speaker 5: what I've wanted to see yet this year, So look

1551
01:28:35,040 --> 01:28:36,160
Speaker 5: forward to digging into those.

1552
01:28:37,200 --> 01:28:41,280
Speaker 1: We both have plugs upcoming events that we want to

1553
01:28:41,360 --> 01:28:46,160
Speaker 1: promote where film spotting listeners can both be in attendance

1554
01:28:46,560 --> 01:28:49,919
Speaker 1: with us. Yours, well, mine's going to be really exciting,

1555
01:28:50,080 --> 01:28:53,240
Speaker 1: but yours will probably be more traditional fun. Why don't

1556
01:28:53,240 --> 01:28:54,280
Speaker 1: you promote yours first?

1557
01:28:55,080 --> 01:28:59,000
Speaker 5: All right, we're going back to London. The film spotting

1558
01:28:59,000 --> 01:29:00,760
Speaker 5: meetup I did in London a number of years ago

1559
01:29:00,840 --> 01:29:01,320
Speaker 5: was such fun.

1560
01:29:01,439 --> 01:29:02,240
Speaker 2: Just had to do it again.

1561
01:29:02,320 --> 01:29:05,120
Speaker 5: Of course, it's just down the road now for me.

1562
01:29:05,439 --> 01:29:09,519
Speaker 5: So we're doing this in December, December eleven. That's a

1563
01:29:09,560 --> 01:29:12,000
Speaker 5: Thursday night. It's going to be at seven pm at

1564
01:29:12,040 --> 01:29:15,360
Speaker 5: the Cafe at Cinema two and three at the Barbican,

1565
01:29:15,479 --> 01:29:18,040
Speaker 5: so this is the Barbican Center there right in London.

1566
01:29:18,680 --> 01:29:21,120
Speaker 5: Already have about nine folks signed up, so.

1567
01:29:21,240 --> 01:29:21,960
Speaker 2: A good group.

1568
01:29:22,920 --> 01:29:26,559
Speaker 5: More are always welcome. If you do want to come

1569
01:29:26,760 --> 01:29:29,920
Speaker 5: on December eleven and join us, we will put in

1570
01:29:30,000 --> 01:29:33,880
Speaker 5: the show notes a link to the RSVP form just

1571
01:29:33,920 --> 01:29:35,800
Speaker 5: to give me a heads up of how many people

1572
01:29:36,320 --> 01:29:37,760
Speaker 5: might show up. Can't wait to see you.

1573
01:29:37,760 --> 01:29:40,240
Speaker 1: All there, And keep in mind, I don't know if

1574
01:29:40,280 --> 01:29:43,360
Speaker 1: this will cause just to stampede or not, but at

1575
01:29:43,560 --> 01:29:47,320
Speaker 1: least the first drink is on the Film Spotting credit card.

1576
01:29:47,840 --> 01:29:51,719
Speaker 5: You're better off, Adam, based on my experience of meetup

1577
01:29:51,840 --> 01:29:53,480
Speaker 5: saying only.

1578
01:29:53,520 --> 01:29:57,240
Speaker 1: Only the first drink. I have heard about the last

1579
01:29:57,400 --> 01:30:00,840
Speaker 1: London meetup and how that went. I might be using

1580
01:30:00,880 --> 01:30:02,800
Speaker 1: the Film Spotting credit card for bail money.

1581
01:30:03,320 --> 01:30:04,439
Speaker 2: Well that's the case.

1582
01:30:04,560 --> 01:30:07,800
Speaker 5: Yes, but you know London had nothing on Seattle in

1583
01:30:07,960 --> 01:30:12,280
Speaker 5: terms of the drink spot So yeah, it's been my

1584
01:30:12,400 --> 01:30:14,959
Speaker 5: practice I would say since Seattle to say first.

1585
01:30:14,840 --> 01:30:15,639
Speaker 2: Round is on the show.

1586
01:30:16,040 --> 01:30:20,920
Speaker 1: Yes, we did have to institute that rule because of you. Congratulations.

1587
01:30:21,040 --> 01:30:23,680
Speaker 2: Yeah. Have we paid off? Have we paid off Seattle yet?

1588
01:30:24,080 --> 01:30:26,360
Speaker 1: I think I think we officially have. Yeah, it's like

1589
01:30:26,479 --> 01:30:29,519
Speaker 1: my student loans took a little while, but we got it.

1590
01:30:29,920 --> 01:30:33,559
Speaker 1: We got it done. You also have a book to promote.

1591
01:30:33,600 --> 01:30:35,920
Speaker 1: You don't need to take out a student loan to

1592
01:30:36,000 --> 01:30:36,519
Speaker 1: get your book.

1593
01:30:36,560 --> 01:30:39,400
Speaker 5: Oh gosh, no, it'll never be cheaper. Yeah, I'm going

1594
01:30:39,439 --> 01:30:41,920
Speaker 5: to keep mentioning this through the end of November because

1595
01:30:42,080 --> 01:30:45,920
Speaker 5: my publisher, for fear Not, this is my Christian appreciation

1596
01:30:46,040 --> 01:30:48,640
Speaker 5: of horror movies. They have a deal going on, so

1597
01:30:48,800 --> 01:30:53,479
Speaker 5: fifty percent off the book and free shipping. You can

1598
01:30:53,520 --> 01:30:57,000
Speaker 5: get both of that through November thirty. And I'll just

1599
01:30:57,120 --> 01:31:01,840
Speaker 5: mention now the code conf ship. But there are more

1600
01:31:01,920 --> 01:31:04,240
Speaker 5: details to get the free shipping as well. I'll share

1601
01:31:04,320 --> 01:31:07,280
Speaker 5: those in the show notes. But yeah, fear Not as

1602
01:31:07,400 --> 01:31:11,439
Speaker 5: cheap as you're ever going to find it through November thirty.

1603
01:31:12,160 --> 01:31:15,400
Speaker 1: Okay, my event, if you are in the Chicago area

1604
01:31:15,640 --> 01:31:19,200
Speaker 1: or can make a little trip there Tuesday, this is

1605
01:31:19,200 --> 01:31:22,240
Speaker 1: the last time I can promote it Tuesday, November twenty fifth,

1606
01:31:22,800 --> 01:31:26,240
Speaker 1: as part of the Chicago Department of Cultural Affairs celebration

1607
01:31:27,040 --> 01:31:30,479
Speaker 1: of fifty years of Siskel and Ebert. It is such

1608
01:31:31,000 --> 01:31:33,640
Speaker 1: a thrill to have been asked the show, to have

1609
01:31:33,720 --> 01:31:36,760
Speaker 1: been asked to be part of this. We are going

1610
01:31:36,840 --> 01:31:39,680
Speaker 1: to screen and I say we because here I had

1611
01:31:39,680 --> 01:31:41,639
Speaker 1: to go. I had to go to Michael Phillips again. Josh,

1612
01:31:41,720 --> 01:31:45,200
Speaker 1: you're in Scotland. Michael Phillips and I are going to

1613
01:31:45,280 --> 01:31:49,080
Speaker 1: watch John sALS Lone Star. I picked that as part

1614
01:31:49,120 --> 01:31:52,760
Speaker 1: of the celebration. Because of Siskel and Ebert urging me

1615
01:31:53,400 --> 01:31:57,320
Speaker 1: to see that film, I've always associated it with that show.

1616
01:31:57,800 --> 01:32:00,559
Speaker 7: Lone Star is one of the most ambitious movies I've

1617
01:32:00,600 --> 01:32:02,599
Speaker 7: seen this year. In fact, it's one of the best

1618
01:32:02,640 --> 01:32:05,479
Speaker 7: movies I've seen this year period. John Sales has made

1619
01:32:05,520 --> 01:32:07,599
Speaker 7: a lot of good movies in the past two decades,

1620
01:32:07,640 --> 01:32:10,800
Speaker 7: for example, just recently The Secret of rown Inish, but

1621
01:32:11,000 --> 01:32:12,040
Speaker 7: this is his best.

1622
01:32:12,200 --> 01:32:14,439
Speaker 4: I think it's a terrific piece of work Roger and

1623
01:32:14,560 --> 01:32:16,960
Speaker 4: John Sales needs to be praised that I want to

1624
01:32:17,080 --> 01:32:20,000
Speaker 4: devote my time to praising him as a writer. I

1625
01:32:20,040 --> 01:32:22,280
Speaker 4: don't know how John Sales came up with this idea.

1626
01:32:22,439 --> 01:32:25,160
Speaker 1: We're going to be watching it with an audience. Last

1627
01:32:25,160 --> 01:32:30,040
Speaker 1: time I checked RSVPs, it's free, and the RSVPs it

1628
01:32:30,200 --> 01:32:32,639
Speaker 1: was very high. I think there's a very good chance

1629
01:32:32,720 --> 01:32:36,800
Speaker 1: we could sell out the Claudia Cassidy Theater, and this

1630
01:32:37,000 --> 01:32:39,560
Speaker 1: plug hopefully will put us over the top into that

1631
01:32:39,800 --> 01:32:44,280
Speaker 1: sellout range. But as of right now, there are tickets available. Again,

1632
01:32:44,439 --> 01:32:47,920
Speaker 1: it's free, you can RSVP at the Cultural Affairs site.

1633
01:32:48,000 --> 01:32:52,320
Speaker 1: It is first come, first seeded, and as Josh said

1634
01:32:52,360 --> 01:32:55,200
Speaker 1: with his event, we will put a link in the

1635
01:32:55,320 --> 01:32:57,200
Speaker 1: notes for this show. You can also just go to

1636
01:32:57,280 --> 01:33:01,280
Speaker 1: film spotting dot net slash events. We should put yours

1637
01:33:01,479 --> 01:33:04,160
Speaker 1: over there as well, Josh, we can. We can add

1638
01:33:04,200 --> 01:33:07,559
Speaker 1: it to the page at film spotting dot net slash events.

1639
01:33:07,840 --> 01:33:10,519
Speaker 2: Is there any concern we're working Michael too hard?

1640
01:33:11,960 --> 01:33:15,759
Speaker 1: There is no concern of that. Okay, he's ready, able bodied,

1641
01:33:16,560 --> 01:33:19,240
Speaker 1: He's he's ready. And you know what, I'm I'm so

1642
01:33:19,800 --> 01:33:24,519
Speaker 1: ready to not be out outfunded by you. I'm gonna

1643
01:33:24,560 --> 01:33:26,840
Speaker 1: say that if you come to this event, and if

1644
01:33:26,840 --> 01:33:30,479
Speaker 1: you're a film Spotting listener, oh there's there's a chance

1645
01:33:30,600 --> 01:33:34,280
Speaker 1: that there's at least a good chance that afterward will

1646
01:33:34,320 --> 01:33:38,080
Speaker 1: buy you a beer. Now, oh gosh, Now, now what

1647
01:33:38,240 --> 01:33:39,920
Speaker 1: there's like two hundred and fifty seats.

1648
01:33:40,920 --> 01:33:45,760
Speaker 5: Uh huh, yeah, you know, and you're gonna get people. Yeah,

1649
01:33:46,320 --> 01:33:50,160
Speaker 5: only this, I know what's gonna happen. You're going to

1650
01:33:50,240 --> 01:33:52,400
Speaker 5: tell them two drinks on the show. At my right,

1651
01:33:52,600 --> 01:33:53,800
Speaker 5: I'm gonna be limited to one.

1652
01:33:54,479 --> 01:33:56,360
Speaker 1: Yeah, only if you come up to me and use

1653
01:33:56,439 --> 01:33:59,599
Speaker 1: the code Barbican, Well, I buy you a drink. Okay,

1654
01:33:59,720 --> 01:34:01,479
Speaker 1: all right, We'll you have to use the code.

1655
01:34:01,520 --> 01:34:06,000
Speaker 5: Where the real listeners are it to continue the celebrations.

1656
01:34:06,080 --> 01:34:09,639
Speaker 5: Let's celebrate with our sister podcast, The Next Picture Show

1657
01:34:10,040 --> 01:34:14,479
Speaker 5: Looking at Cinemas Present via It's Past. Episode five hundred

1658
01:34:14,640 --> 01:34:17,680
Speaker 5: is out right now. I saw it just pop up

1659
01:34:17,760 --> 01:34:20,240
Speaker 5: in my feed, Adam. This is a special one off

1660
01:34:20,800 --> 01:34:23,760
Speaker 5: review of the show's namesake, The Last Picture Show.

1661
01:34:24,400 --> 01:34:25,200
Speaker 2: So they've been doing this.

1662
01:34:25,560 --> 01:34:27,920
Speaker 5: I didn't realize it until I saw it, Adam, when

1663
01:34:28,000 --> 01:34:30,080
Speaker 5: it came in my feed and read the show notes

1664
01:34:30,120 --> 01:34:33,799
Speaker 5: the show description ten years. Yeah, how is that possible

1665
01:34:33,840 --> 01:34:34,719
Speaker 5: that it's been ten years?

1666
01:34:35,080 --> 01:34:35,280
Speaker 6: Yeah?

1667
01:34:35,560 --> 01:34:38,960
Speaker 1: And the math does check out write five hundred episodes

1668
01:34:39,000 --> 01:34:46,000
Speaker 1: because they they've basically been doing fifty episodes right over

1669
01:34:46,280 --> 01:34:50,240
Speaker 1: over ten years, doesn't that math they've been doing They've

1670
01:34:50,280 --> 01:34:53,920
Speaker 1: been doing it that long. It's really crazy that they've

1671
01:34:54,000 --> 01:34:56,960
Speaker 1: been able to turn out that they started. There was

1672
01:34:57,000 --> 01:34:59,719
Speaker 1: a different rotation as they started with the number of shows.

1673
01:34:59,760 --> 01:35:02,479
Speaker 1: But yeah, here we are ten years later. I would

1674
01:35:02,520 --> 01:35:05,320
Speaker 1: not have guessed it, though, Josh either. It feels like

1675
01:35:05,920 --> 01:35:08,320
Speaker 1: it was maybe five years ago that that show began.

1676
01:35:08,800 --> 01:35:12,000
Speaker 1: And yet and you know, I'll say this too, when

1677
01:35:12,120 --> 01:35:15,680
Speaker 1: that show began when and I touched a little bit

1678
01:35:15,720 --> 01:35:19,080
Speaker 1: on this last week when it began as just an

1679
01:35:19,160 --> 01:35:21,920
Speaker 1: idea that was being kicked around, and they fortunately really

1680
01:35:21,960 --> 01:35:25,120
Speaker 1: bought into it in the wake of the Dissolve shutting down.

1681
01:35:25,760 --> 01:35:27,680
Speaker 1: I didn't know if it would only be like a

1682
01:35:27,760 --> 01:35:30,200
Speaker 1: two year or three year thing, and I honestly would

1683
01:35:30,200 --> 01:35:33,360
Speaker 1: have been okay with that. I didn't know if this

1684
01:35:33,439 --> 01:35:36,800
Speaker 1: would have that kind of longevity. Remember Matt Allison did

1685
01:35:37,360 --> 01:35:39,800
Speaker 1: how many years did they do Film Spotting SVU. I'm

1686
01:35:39,840 --> 01:35:41,680
Speaker 1: sure there are some listeners who know the answer to that.

1687
01:35:41,800 --> 01:35:43,160
Speaker 1: I don't have it off the top of my head.

1688
01:35:43,360 --> 01:35:46,120
Speaker 1: It was one hundred and sixty episodes, so obviously it

1689
01:35:46,200 --> 01:35:48,320
Speaker 1: was at least a few years. But at some point

1690
01:35:48,479 --> 01:35:50,640
Speaker 1: they had to go on and do other things with

1691
01:35:50,720 --> 01:35:52,920
Speaker 1: their lives. I kind of had a feeling The Next

1692
01:35:53,000 --> 01:35:55,600
Speaker 1: Picture Show would end up doing that as well. But

1693
01:35:55,680 --> 01:35:58,400
Speaker 1: here we are ten years later, and obviously they enjoyed

1694
01:35:58,439 --> 01:36:01,800
Speaker 1: doing the show. The audience and enjoys that they're doing

1695
01:36:01,880 --> 01:36:04,519
Speaker 1: the show and has built up a routine around it.

1696
01:36:05,040 --> 01:36:06,639
Speaker 1: So let's hope for ten more.

1697
01:36:06,960 --> 01:36:11,000
Speaker 5: Yeah, So congrats to Scott, Tasha, Genevieve and Keith. For

1698
01:36:11,120 --> 01:36:13,280
Speaker 5: some reason, you have not checked out The Next Picture

1699
01:36:13,320 --> 01:36:16,400
Speaker 5: Show yet. New episodes drop every Tuesday. You can find

1700
01:36:16,439 --> 01:36:18,440
Speaker 5: him wherever you get your podcasts.

1701
01:36:19,360 --> 01:36:20,200
Speaker 2: All right, if.

1702
01:36:20,280 --> 01:36:23,479
Speaker 5: Adam's voice holds out, we're going to try to do

1703
01:36:23,760 --> 01:36:25,559
Speaker 5: massacre theater. Maybe it'll help.

1704
01:36:25,640 --> 01:36:25,960
Speaker 2: I don't know.

1705
01:36:26,160 --> 01:36:28,040
Speaker 5: This is where Adam and I perform a scene and

1706
01:36:28,120 --> 01:36:30,200
Speaker 5: you get a chance to win a film spotting prize.

1707
01:36:30,680 --> 01:36:32,639
Speaker 5: Last time we massacred this scene?

1708
01:36:33,880 --> 01:36:35,280
Speaker 3: Did I do something wrong?

1709
01:36:38,320 --> 01:36:38,360
Speaker 7: No?

1710
01:36:41,000 --> 01:36:42,519
Speaker 1: Then why did you just go colde on me?

1711
01:36:45,680 --> 01:36:46,559
Speaker 2: I don't know what you mean?

1712
01:36:48,040 --> 01:36:48,760
Speaker 6: What did you see?

1713
01:36:50,760 --> 01:36:51,639
Speaker 2: I didn't see anything.

1714
01:36:54,600 --> 01:37:00,680
Speaker 1: Your line O, I'm not. Yes you are? I know

1715
01:37:00,800 --> 01:37:02,839
Speaker 1: because I feel things very deeply.

1716
01:37:04,840 --> 01:37:06,880
Speaker 5: Look, I gotta get back to work, all right, I'll.

1717
01:37:06,760 --> 01:37:07,240
Speaker 2: See you later.

1718
01:37:07,479 --> 01:37:08,240
Speaker 6: When what?

1719
01:37:09,000 --> 01:37:09,840
Speaker 7: When will I see you?

1720
01:37:10,160 --> 01:37:10,519
Speaker 1: I don't know.

1721
01:37:10,600 --> 01:37:11,639
Speaker 2: Pearl is just an express.

1722
01:37:11,720 --> 01:37:13,120
Speaker 1: You're not going to take me to Europe art. You

1723
01:37:13,160 --> 01:37:17,280
Speaker 1: tell me the truth? What did I do wrong?

1724
01:37:17,760 --> 01:37:18,040
Speaker 2: Nothing?

1725
01:37:18,200 --> 01:37:18,439
Speaker 4: Come?

1726
01:37:19,360 --> 01:37:20,400
Speaker 5: Why are you leaving? Mane?

1727
01:37:20,520 --> 01:37:22,720
Speaker 1: If I didn't do anything wrong, I don't understand. I

1728
01:37:22,800 --> 01:37:23,639
Speaker 1: do you lie? Right?

1729
01:37:23,880 --> 01:37:24,560
Speaker 7: I do? Like you?

1730
01:37:24,760 --> 01:37:26,040
Speaker 1: I just tell me the truth.

1731
01:37:27,120 --> 01:37:28,639
Speaker 2: Why what did you see?

1732
01:37:28,720 --> 01:37:29,479
Speaker 1: Why did you try?

1733
01:37:29,479 --> 01:37:30,519
Speaker 2: You're scaring me?

1734
01:37:30,680 --> 01:37:33,880
Speaker 5: Pearl? That's David Corn, Sweat and Mia Goth In twenty

1735
01:37:33,960 --> 01:37:37,600
Speaker 5: twenty two's Pearl, written by Tye West and Miagoth and

1736
01:37:37,760 --> 01:37:41,040
Speaker 5: directed by West. That massacre was part of our Germo

1737
01:37:41,120 --> 01:37:44,600
Speaker 5: del Toro's Frankenstein show a couple of weeks back. The

1738
01:37:44,640 --> 01:37:47,360
Speaker 5: episode also featured reviews of how to Christy and Peter

1739
01:37:47,560 --> 01:37:52,080
Speaker 5: Who Are's Day? There's always a tie in? So why

1740
01:37:52,240 --> 01:37:55,320
Speaker 5: that scene from Pearl before we jump in at him?

1741
01:37:55,320 --> 01:37:59,920
Speaker 5: I'm thinking, could this be the source of your vocal channel?

1742
01:38:01,080 --> 01:38:06,960
Speaker 1: I was gonna say, thank god we aren't doing this

1743
01:38:07,120 --> 01:38:10,560
Speaker 1: scene this week. I never killed gotten. I could have

1744
01:38:10,640 --> 01:38:13,599
Speaker 1: gotten to the levels that I needed to to pull

1745
01:38:13,680 --> 01:38:16,240
Speaker 1: off that performance. And you know, often there's multiple tie ins,

1746
01:38:16,240 --> 01:38:18,519
Speaker 1: and I think the listeners got all of them, including,

1747
01:38:18,560 --> 01:38:22,240
Speaker 1: as usual, some that we didn't fully anticipate. Here is

1748
01:38:22,439 --> 01:38:26,599
Speaker 1: Jeremy Laffery in Iowa City Go Hawks. Indeed, the most

1749
01:38:26,640 --> 01:38:28,599
Speaker 1: obvious connection to the episode is that me, a Goth,

1750
01:38:28,680 --> 01:38:31,880
Speaker 1: stars in both Frankenstein and Pearl, with the pseudonym Ruby

1751
01:38:32,120 --> 01:38:34,600
Speaker 1: that you used in your massacre. Doubling is both a

1752
01:38:34,640 --> 01:38:37,120
Speaker 1: clever Gemstone name swap and is a reference to the

1753
01:38:37,320 --> 01:38:42,120
Speaker 1: very very red costuming for Frankenstein's mother Claire. A fun

1754
01:38:42,200 --> 01:38:45,040
Speaker 1: bonus is that Goth plays double role roles in both

1755
01:38:45,080 --> 01:38:50,919
Speaker 1: Frankenstein and Wes X. Yes, a less obvious connection slash spoiler,

1756
01:38:51,920 --> 01:38:54,679
Speaker 1: We're fine. Shortly after the massacred segment of this scene,

1757
01:38:54,760 --> 01:38:58,120
Speaker 1: Pearl kills the projectionists played by David corn Sweat. The

1758
01:38:58,200 --> 01:39:01,680
Speaker 1: selection of this scene must have been strongly motivated by

1759
01:39:01,840 --> 01:39:05,840
Speaker 1: producer Sam's hatred of James guns Superman. What a catharsis

1760
01:39:05,960 --> 01:39:09,000
Speaker 1: it must have been to get some cinematic justice against

1761
01:39:09,040 --> 01:39:12,240
Speaker 1: a man that helped to quote, steal, dismember, and torture

1762
01:39:12,520 --> 01:39:16,639
Speaker 1: his most beloved childhood superhero. I joke, but for the record,

1763
01:39:16,960 --> 01:39:20,600
Speaker 1: I share sam sensibility that James gun just isn't for me.

1764
01:39:20,960 --> 01:39:23,160
Speaker 1: Thanks as always for the great work, and kudos to

1765
01:39:23,200 --> 01:39:26,000
Speaker 1: Adam for turning in his best massacre theater performance.

1766
01:39:26,120 --> 01:39:26,240
Speaker 2: Yet.

1767
01:39:26,280 --> 01:39:27,479
Speaker 1: Well, it's not a very high bar.

1768
01:39:28,240 --> 01:39:31,040
Speaker 2: Oh it's top five. It's top five for you. I

1769
01:39:31,120 --> 01:39:32,840
Speaker 2: gotta okay, I'll take it. And I love that.

1770
01:39:33,360 --> 01:39:37,679
Speaker 5: I love that the both of us really disliked James

1771
01:39:37,760 --> 01:39:38,519
Speaker 5: Gunn Superman.

1772
01:39:38,680 --> 01:39:39,400
Speaker 1: But it's Sam.

1773
01:39:39,920 --> 01:39:42,120
Speaker 5: Sam came in from the top rope on the leather

1774
01:39:42,200 --> 01:39:45,280
Speaker 5: top row after the show and was like, listen, they

1775
01:39:45,360 --> 01:39:46,320
Speaker 5: went easy on this.

1776
01:39:46,600 --> 01:39:48,719
Speaker 1: Yeah, it's it's even worse.

1777
01:39:48,960 --> 01:39:50,000
Speaker 2: It's even worse.

1778
01:39:50,600 --> 01:39:54,600
Speaker 5: Right, here's Mike Bell from Dallas, Texas. The scene is

1779
01:39:54,600 --> 01:39:57,000
Speaker 5: from Pearl. In the obvious tie end is the fabulous

1780
01:39:57,120 --> 01:39:59,559
Speaker 5: Mi a Goth who was robbed of an OSCAR nomination

1781
01:39:59,760 --> 01:40:03,360
Speaker 5: and to win for her performance in the film. Parallels

1782
01:40:03,400 --> 01:40:07,759
Speaker 5: between the Pearl and Frankenstein include not only Mia Goth's casting,

1783
01:40:07,840 --> 01:40:11,000
Speaker 5: but also the presence of one a controlling and cruel

1784
01:40:11,120 --> 01:40:14,720
Speaker 5: parent Pearl's mom and Pearl Victor's father and Frankenstein, and

1785
01:40:14,840 --> 01:40:19,160
Speaker 5: two a sick parent Pearl's dad and Pearl Victor's mom temporarily,

1786
01:40:19,240 --> 01:40:22,559
Speaker 5: I guess in Frankenstein. Also, Mia Goth plays two roles

1787
01:40:22,600 --> 01:40:26,000
Speaker 5: in Frankenstein and plays two roles in the ex franchise.

1788
01:40:25,840 --> 01:40:28,120
Speaker 1: Yeah you got them. And again some that we were

1789
01:40:28,200 --> 01:40:32,639
Speaker 1: definitely not thinking of. Mike. Here's Rachel Madden in Chicago.

1790
01:40:32,880 --> 01:40:34,479
Speaker 1: I'm a big fan of the pod and this is

1791
01:40:34,520 --> 01:40:38,280
Speaker 1: my first time submitting feedback for Massacre Theater or for

1792
01:40:38,400 --> 01:40:40,240
Speaker 1: Masacre Theater. Had to send in a note for this

1793
01:40:40,320 --> 01:40:42,560
Speaker 1: one because it's one of my favorite movies released in

1794
01:40:42,640 --> 01:40:45,360
Speaker 1: the past few years. Pearl. I love the entire ex

1795
01:40:45,439 --> 01:40:48,320
Speaker 1: trilogy and the biggest reason why is Mia Goth's performances

1796
01:40:48,360 --> 01:40:51,360
Speaker 1: in each film. Her work in Pearl is mesmerizing. I'll

1797
01:40:51,400 --> 01:40:53,920
Speaker 1: never forget the first time I saw her incredible monologue

1798
01:40:53,960 --> 01:40:56,479
Speaker 1: and that final shot of her unhinged smile at the end.

1799
01:40:57,000 --> 01:40:59,120
Speaker 1: Love that this got a shout out on Masacre Theater

1800
01:40:59,200 --> 01:41:02,080
Speaker 1: and may I say, and was absolutely carrying this one

1801
01:41:02,640 --> 01:41:05,920
Speaker 1: great voice work. The connection is obvious since Mia Gotha

1802
01:41:06,040 --> 01:41:09,599
Speaker 1: just starred in Frankenstein, the main subject of this week's episode.

1803
01:41:09,920 --> 01:41:12,759
Speaker 1: Both Pearl and del Toros Frankenstein do have interesting themes

1804
01:41:12,800 --> 01:41:16,280
Speaker 1: around parenthood and a monstrous creation turning on its creator

1805
01:41:16,600 --> 01:41:19,120
Speaker 1: but also still holding love for them. Is that a reach?

1806
01:41:19,439 --> 01:41:22,719
Speaker 1: Let me know again? Love the show and love this episode.

1807
01:41:22,960 --> 01:41:25,880
Speaker 1: The Frankenstein discussion really added to my interpretation, and I

1808
01:41:25,960 --> 01:41:28,400
Speaker 1: agreed with both Josh and Adam even though they didn't

1809
01:41:28,400 --> 01:41:30,200
Speaker 1: agree with each other. I mean, what more can you

1810
01:41:30,240 --> 01:41:32,759
Speaker 1: ask for? Thanks for all the work you do. Hoping

1811
01:41:32,880 --> 01:41:36,439
Speaker 1: to attend a film spotting event in Chicago soon. Hey, Rachel,

1812
01:41:36,600 --> 01:41:38,360
Speaker 1: maybe I'll see you at lone Star.

1813
01:41:38,720 --> 01:41:40,800
Speaker 5: Yeah, three beers on Adam for you, Rachel.

1814
01:41:40,840 --> 01:41:41,200
Speaker 2: There you go.

1815
01:41:42,840 --> 01:41:47,559
Speaker 5: Lastly, here's Melissa Kochekol from Englewood, Colorado. Melissa, I've had

1816
01:41:47,560 --> 01:41:49,840
Speaker 5: a chance to hang out with her at a couple

1817
01:41:50,040 --> 01:41:55,839
Speaker 5: of Ebert interruptis meetups as well only paid for one beer. Sorry, Melissa,

1818
01:41:56,320 --> 01:41:58,719
Speaker 5: She says, I was listening to the show secretly while working,

1819
01:41:58,760 --> 01:42:02,000
Speaker 5: as I always do. Massacre Theater started. Normally, I can

1820
01:42:02,080 --> 01:42:04,640
Speaker 5: stifle my laughter and no one is the wiser. But

1821
01:42:04,760 --> 01:42:07,840
Speaker 5: when Adams started doing a woman's voice with a Southern twang,

1822
01:42:08,040 --> 01:42:11,200
Speaker 5: I knew my cover was blown. My only souls was

1823
01:42:11,280 --> 01:42:14,120
Speaker 5: immediately clocking that he was giving me a goth A

1824
01:42:14,280 --> 01:42:18,320
Speaker 5: run for her money as Pearl when he shouted, I

1825
01:42:18,360 --> 01:42:20,200
Speaker 5: feel like I need to leave this to you, Adam.

1826
01:42:20,400 --> 01:42:23,080
Speaker 1: I can't do it, though you know I can't. Why

1827
01:42:23,120 --> 01:42:24,200
Speaker 1: I can't even got close?

1828
01:42:24,880 --> 01:42:27,519
Speaker 5: Okay, well we'll just have to go back and listen

1829
01:42:27,520 --> 01:42:30,320
Speaker 5: to that episode. Melissa says, Please please keep us posted

1830
01:42:30,800 --> 01:42:33,920
Speaker 5: on when we can start leaving reviews on letterboxed for

1831
01:42:34,200 --> 01:42:35,400
Speaker 5: Massacre Theater.

1832
01:42:36,080 --> 01:42:36,880
Speaker 1: They'll get right on that.

1833
01:42:37,520 --> 01:42:38,599
Speaker 2: What a great idea.

1834
01:42:38,720 --> 01:42:41,519
Speaker 5: I think we know we did a couple of people

1835
01:42:41,760 --> 01:42:45,080
Speaker 5: and Mitchell and might need to flow with us.

1836
01:42:46,840 --> 01:42:50,400
Speaker 1: Yeah. I both love and feel terrible about the fact

1837
01:42:50,439 --> 01:42:54,719
Speaker 1: that Melissa has to listen to film spotting clandestinely at work.

1838
01:42:56,439 --> 01:43:00,559
Speaker 1: What's trying? Yeah, how do they ever chained up at

1839
01:43:00,600 --> 01:43:04,920
Speaker 1: her desk. What's what's going on? Yeah, maybe they just

1840
01:43:05,040 --> 01:43:08,000
Speaker 1: banned podcasts. Who knows. Okay, we we had a pretty

1841
01:43:08,080 --> 01:43:12,640
Speaker 1: brimming film Spotting hat. I guess the performance was was

1842
01:43:12,760 --> 01:43:15,200
Speaker 1: good enough. So Josh reach in and pick out this

1843
01:43:15,280 --> 01:43:15,840
Speaker 1: week's winner.

1844
01:43:16,520 --> 01:43:20,160
Speaker 5: Our winner is Nathan McKinney from Kansas City, Missouri.

1845
01:43:20,760 --> 01:43:24,800
Speaker 1: All right, Nathan, congratulations, email feedback filmspotting dot net, and

1846
01:43:24,840 --> 01:43:26,479
Speaker 1: we will set you up with your very own film

1847
01:43:26,520 --> 01:43:31,360
Speaker 1: spotting t shirt, tote or trial to the film Spotting family.

1848
01:43:31,960 --> 01:43:33,720
Speaker 2: With the simple.

1849
01:43:35,640 --> 01:43:38,559
Speaker 3: Would the wimple?

1850
01:43:38,840 --> 01:43:40,479
Speaker 1: Would the dew was a sign?

1851
01:43:40,520 --> 01:43:42,080
Speaker 2: Why do you say that? Why do you say?

1852
01:43:43,000 --> 01:43:43,160
Speaker 6: Will?

1853
01:43:43,240 --> 01:43:43,880
Speaker 1: You said? Say it?

1854
01:43:44,000 --> 01:43:44,519
Speaker 2: Like I said.

1855
01:43:46,160 --> 01:43:48,759
Speaker 1: We move on to this week's edition of Massacre Theater,

1856
01:43:49,040 --> 01:43:54,280
Speaker 1: and we are going to give Josh an opportunity to

1857
01:43:54,479 --> 01:43:59,479
Speaker 1: shine because there is a there is a performer, there's

1858
01:43:59,520 --> 01:44:01,760
Speaker 1: a perform mns. This week, I should say in this

1859
01:44:01,880 --> 01:44:06,559
Speaker 1: scene that certainly could rival or I think even far

1860
01:44:06,760 --> 01:44:10,000
Speaker 1: exceed anything I was doing with Pearl last week. Is

1861
01:44:10,040 --> 01:44:11,320
Speaker 1: that too much pressure, Josh?

1862
01:44:12,280 --> 01:44:14,120
Speaker 5: I mean, yeah, you set me up to fail, But

1863
01:44:14,520 --> 01:44:17,320
Speaker 5: I was just trying to find, with your vocal condition,

1864
01:44:18,600 --> 01:44:20,640
Speaker 5: one of these parts that would be more manageable.

1865
01:44:20,720 --> 01:44:22,960
Speaker 1: But the truth is, there's just a lot of shouting.

1866
01:44:24,120 --> 01:44:28,280
Speaker 1: That's the case, right. I do think I think I've

1867
01:44:28,360 --> 01:44:31,120
Speaker 1: got the one that's a little bit more monotone, and

1868
01:44:31,240 --> 01:44:35,200
Speaker 1: that's what I need. So I appreciate you looking out

1869
01:44:35,240 --> 01:44:37,960
Speaker 1: for me. But I also I think we're giving you

1870
01:44:38,120 --> 01:44:41,280
Speaker 1: the chance to be the funny voice guy, and you

1871
01:44:41,439 --> 01:44:44,400
Speaker 1: need it. You need it this week, it's your turn, Adam.

1872
01:44:44,760 --> 01:44:48,400
Speaker 5: This movie is very serious. There's nothing funny about it.

1873
01:44:48,840 --> 01:44:51,760
Speaker 1: That's a great hint. That is a great hint for

1874
01:44:51,840 --> 01:44:54,679
Speaker 1: our audience too. Here we go have in their mind

1875
01:44:55,280 --> 01:44:59,080
Speaker 1: as they listen to this very very serious scene, and

1876
01:44:59,200 --> 01:45:02,200
Speaker 1: we need to get into very serious mode. Okay you

1877
01:45:02,320 --> 01:45:06,760
Speaker 1: started off, I'm gonna give you the action and action

1878
01:45:07,720 --> 01:45:11,120
Speaker 1: you set us hop it all bullshit, all of it,

1879
01:45:11,560 --> 01:45:13,759
Speaker 1: the cabinet, minister, the whole business.

1880
01:45:14,280 --> 01:45:16,439
Speaker 2: You got us in here to do your dodgy work.

1881
01:45:17,200 --> 01:45:20,080
Speaker 1: Look, we just stopped a major invasion and in three

1882
01:45:20,200 --> 01:45:22,559
Speaker 1: days they'd have been across the border with this stuff.

1883
01:45:22,960 --> 01:45:25,920
Speaker 1: Why us, because nobody else could have pulled it off.

1884
01:45:26,360 --> 01:45:28,960
Speaker 1: You're pissed about the cover story. I knew I couldn't

1885
01:45:29,000 --> 01:45:30,120
Speaker 1: have got you in here without it.

1886
01:45:30,280 --> 01:45:32,160
Speaker 2: So what story did you hand to Hoppa?

1887
01:45:32,840 --> 01:45:35,640
Speaker 1: Look, we've been looking for this place for months. My

1888
01:45:35,920 --> 01:45:39,160
Speaker 1: men were in that chopper when it got hit. Hopper's

1889
01:45:39,240 --> 01:45:41,840
Speaker 1: orders were to go in and get my men, and

1890
01:45:41,960 --> 01:45:42,760
Speaker 1: he disappeared.

1891
01:45:43,240 --> 01:45:46,040
Speaker 2: He didn't disappear. He was skinned alive.

1892
01:45:47,160 --> 01:45:50,120
Speaker 1: And my orders were to get somebody who would crack

1893
01:45:50,240 --> 01:45:51,160
Speaker 1: these bastards.

1894
01:45:51,760 --> 01:45:53,920
Speaker 2: So you cooked up a story and dropped the six

1895
01:45:54,040 --> 01:45:56,960
Speaker 2: of us in a meat grinder. What happened to you, Apollo?

1896
01:45:57,320 --> 01:45:59,080
Speaker 2: You used to be someone I could trust.

1897
01:46:00,240 --> 01:46:02,600
Speaker 1: I woke up. Why don't you.

1898
01:46:04,240 --> 01:46:08,080
Speaker 6: And me?

1899
01:46:08,200 --> 01:46:09,760
Speaker 1: I tried to do your line.

1900
01:46:10,560 --> 01:46:14,000
Speaker 2: Apologies to this actor. I did not mean to apply.

1901
01:46:14,240 --> 01:46:16,639
Speaker 2: He was a Nazi. I don't know what was happening.

1902
01:46:17,040 --> 01:46:20,080
Speaker 2: It just got a little out of control.

1903
01:46:19,840 --> 01:46:23,840
Speaker 1: You after last week's performance, you made me crack. You

1904
01:46:24,000 --> 01:46:27,440
Speaker 1: made me crack. What was the line? He didn't disappear,

1905
01:46:28,439 --> 01:46:31,760
Speaker 1: He didn't disappear, Josh, you didn't even need to go

1906
01:46:32,040 --> 01:46:34,160
Speaker 1: to that next level with he was skinned alive. You

1907
01:46:34,280 --> 01:46:36,559
Speaker 1: had me and he didn't disappear. That was your best

1908
01:46:37,080 --> 01:46:39,479
Speaker 1: line delivery, and then you just you just took it

1909
01:46:39,600 --> 01:46:41,840
Speaker 1: up a notch with he was skinned alive. I'm glad,

1910
01:46:41,880 --> 01:46:45,400
Speaker 1: I mean I broke I broke character in this in

1911
01:46:45,520 --> 01:46:50,040
Speaker 1: this very in this very serious scene sin of acting.

1912
01:46:50,720 --> 01:46:52,640
Speaker 2: I know it really happens with you.

1913
01:46:53,760 --> 01:46:58,479
Speaker 1: Jeez, I feel awful. I feel really terrible about it. Okay,

1914
01:46:58,800 --> 01:47:00,200
Speaker 1: if you know what film we just met, that's a

1915
01:47:00,560 --> 01:47:03,040
Speaker 1: email of the movies title and your name and location

1916
01:47:03,160 --> 01:47:07,160
Speaker 1: defeedbacketfilmspotting dot net. The deadline is Monday, November thirty first,

1917
01:47:07,240 --> 01:47:09,880
Speaker 1: and we will select the winner randomly from all the

1918
01:47:09,960 --> 01:47:14,600
Speaker 1: correct entries and announce it in a couple of weeks. Mercifully,

1919
01:47:14,960 --> 01:47:18,280
Speaker 1: we are at the end of the show.

1920
01:47:19,320 --> 01:47:22,080
Speaker 5: Yeah, take a little rest there, Adam, while I let

1921
01:47:22,200 --> 01:47:24,920
Speaker 5: listeners know that they can find you and the show

1922
01:47:25,600 --> 01:47:30,200
Speaker 5: on social media. You're on Instagram, Facebook, letterbox, YouTube, as

1923
01:47:30,280 --> 01:47:33,800
Speaker 5: film Spotting. I'm also at those places as Larsen on

1924
01:47:34,080 --> 01:47:37,760
Speaker 5: film We are independently produced and listeners supported. You can

1925
01:47:37,920 --> 01:47:40,880
Speaker 5: support the show by joining the film Spotting Family at

1926
01:47:40,960 --> 01:47:44,240
Speaker 5: Filmspottingfamily dot com. That way you can listen early. You

1927
01:47:44,280 --> 01:47:48,120
Speaker 5: can also listen ad free. Plus you'll get a weekly newsletter,

1928
01:47:48,240 --> 01:47:52,960
Speaker 5: monthly bonus episodes, and access to the entire show archive.

1929
01:47:53,439 --> 01:47:55,840
Speaker 5: For show t shirts and other merch you could go

1930
01:47:55,880 --> 01:47:58,160
Speaker 5: to film spotting dot net slash shop.

1931
01:47:59,360 --> 01:48:02,160
Speaker 1: In that arca, you can find in addition to a

1932
01:48:02,320 --> 01:48:05,680
Speaker 1: ton of Richard Linklater stuff. Of course, Josh, we have

1933
01:48:06,080 --> 01:48:09,280
Speaker 1: reviews of five Edgar Wright films from two thousand and

1934
01:48:09,280 --> 01:48:12,720
Speaker 1: seven's Hot Fuzz to twenty twenty one's Last Night in

1935
01:48:12,800 --> 01:48:17,640
Speaker 1: Soho and somewhere in that archive. Producer Sam missed this

1936
01:48:17,800 --> 01:48:20,120
Speaker 1: in our notes, but I'm pretty sure it was Hot

1937
01:48:20,240 --> 01:48:25,439
Speaker 1: Fuzz where I interviewed Edgar. I think I interviewed. This

1938
01:48:25,520 --> 01:48:28,639
Speaker 1: is how long ago it was. I interviewed Edgar Wright

1939
01:48:29,680 --> 01:48:31,360
Speaker 1: and Simon Pegg and Nick Frost.

1940
01:48:31,680 --> 01:48:34,120
Speaker 2: Wow for that there, Okay, that be fun.

1941
01:48:34,680 --> 01:48:39,280
Speaker 1: So that's in the archive somewhere as well, out streaming

1942
01:48:39,439 --> 01:48:43,479
Speaker 1: or vod. This weekend is Train Dreams with Joel Edgerton,

1943
01:48:43,520 --> 01:48:46,880
Speaker 1: Felicity Jones, Clifton Collins Junior, and Carrie Conton. It's on

1944
01:48:47,040 --> 01:48:53,200
Speaker 1: Netflix everywhere except Josh's Flat in limited release Noah boundbacks

1945
01:48:53,280 --> 01:48:57,080
Speaker 1: Jake Kelly with George Clooney and Adam Sandler. That's coming

1946
01:48:57,120 --> 01:48:59,439
Speaker 1: to Netflix on December fifth.

1947
01:49:00,040 --> 01:49:01,240
Speaker 2: You maybe see what I'm saying.

1948
01:49:01,400 --> 01:49:04,720
Speaker 1: Maybe Joshua'll get it. We'll see Rebuilding with Man of

1949
01:49:04,760 --> 01:49:07,840
Speaker 1: the Hour Josh O'Connor. I am very curious. I got

1950
01:49:07,920 --> 01:49:10,520
Speaker 1: a note. I got a note Josh that this was available.

1951
01:49:10,720 --> 01:49:13,479
Speaker 1: This isn't a Netflix one though, I think. But but

1952
01:49:13,640 --> 01:49:16,680
Speaker 1: we do have a link to all right, Yes, and

1953
01:49:16,800 --> 01:49:18,960
Speaker 1: I am very eager to see it because Josh O'Connor

1954
01:49:19,080 --> 01:49:22,880
Speaker 1: is playing a cowboy. Weren't you just saying something about

1955
01:49:22,960 --> 01:49:28,040
Speaker 1: Josh O'Connor and Cumberbatch and Campion like Power the Dog.

1956
01:49:28,360 --> 01:49:30,880
Speaker 1: Weren't you just saying you were trying to pair Josh

1957
01:49:30,920 --> 01:49:32,400
Speaker 1: O'Connor with Campion.

1958
01:49:32,800 --> 01:49:35,599
Speaker 2: I think I think that was a conversation we had.

1959
01:49:35,760 --> 01:49:38,400
Speaker 1: So maybe this is as close you got manifesting Josh

1960
01:49:38,400 --> 01:49:41,400
Speaker 1: O'Connor as a cowboy. So you can see it in

1961
01:49:41,520 --> 01:49:45,120
Speaker 1: rebuilding out wide rental family with Brendan Fraser as an

1962
01:49:45,120 --> 01:49:48,719
Speaker 1: American actor who takes on some unusual work in Tokyo.

1963
01:49:49,120 --> 01:49:51,160
Speaker 1: We have a feeling most people are going to see

1964
01:49:51,200 --> 01:49:54,599
Speaker 1: Wicked for Good. We plan to see that. We hope

1965
01:49:55,000 --> 01:49:58,040
Speaker 1: we'll see both of us train dreams and we'll get

1966
01:49:58,120 --> 01:50:00,759
Speaker 1: up to some other stuff on next week's episode.

1967
01:50:00,960 --> 01:50:03,840
Speaker 5: Film Spotting is produced by Golden Joe Deso and Sam

1968
01:50:03,960 --> 01:50:07,680
Speaker 5: van Holgren. Without Sam and Golden Joe, this show wouldn't go.

1969
01:50:08,240 --> 01:50:11,960
Speaker 5: Our production assistant is Sophie Kempinar Special thanks to everyone

1970
01:50:12,040 --> 01:50:17,599
Speaker 5: at wbeazy Chicago. More information is available at wbeaz dot org.

1971
01:50:17,960 --> 01:50:21,240
Speaker 5: For film spotting, I'm Josh Larson and I'm Adam Kempinar.

1972
01:50:21,560 --> 01:50:25,519
Speaker 1: Thanks for listening. This conversation can serve no purpose anymore,

1973
01:50:26,439 --> 01:50:45,679
Speaker 1: but fine film spotting is listeners supported. Join the film

1974
01:50:45,720 --> 01:50:48,880
Speaker 1: Spotting Family at film spottingfamily dot com and get access

1975
01:50:48,920 --> 01:50:52,600
Speaker 1: to ad free episodes, monthly bonus shows, our weekly newsletter, and,

1976
01:50:52,760 --> 01:50:55,000
Speaker 1: for the first time, all in one place, the entire

1977
01:50:55,320 --> 01:50:57,720
Speaker 1: film spotting archive going back to two thousand and five.

1978
01:50:58,080 --> 01:51:03,480
Speaker 1: That's a film Spotting Family dot com pro pantibly