1 00:00:01,720 --> 00:00:04,440 Speaker 1: And that's what you really missed with Jenna. 2 00:00:04,440 --> 00:00:07,080 Speaker 2: And Kevin An iHeartRadio podcast. 3 00:00:09,200 --> 00:00:11,320 Speaker 1: Welcome to you, and that's what your really miss podcast. 4 00:00:12,000 --> 00:00:21,320 Speaker 1: It's Sweeney Day Love some Time. This is Yeah, there's 5 00:00:21,360 --> 00:00:23,720 Speaker 1: a lot to this one. Sweeney Todd, the demer Barbara 6 00:00:23,760 --> 00:00:28,640 Speaker 1: Fleet Street is today and we're we're doing the movie, 7 00:00:28,880 --> 00:00:34,680 Speaker 1: the Johnny Movie and it's it's interesting. 8 00:00:35,600 --> 00:00:39,280 Speaker 2: Oh, I'm excited to talk to you about this. I 9 00:00:39,320 --> 00:00:40,960 Speaker 2: have a lot of friends, so this is their favorite 10 00:00:40,960 --> 00:00:41,879 Speaker 2: song time musical. 11 00:00:42,520 --> 00:00:46,040 Speaker 1: Mm hmmm, I get it. I get it. Uh, it's 12 00:00:46,080 --> 00:00:52,680 Speaker 1: not mine. It's definitely not my favorite musical. It's not 13 00:00:52,720 --> 00:00:58,200 Speaker 1: even my top favorite musicals. Interesting, they got an eighty 14 00:00:58,200 --> 00:01:04,160 Speaker 1: six on Rotten Tomatoes, which is quite high. I personally 15 00:01:04,240 --> 00:01:07,480 Speaker 1: don't think that this musical, not as a musical, but 16 00:01:07,520 --> 00:01:11,880 Speaker 1: as a movie. This the theatrics of this musical should 17 00:01:11,920 --> 00:01:15,480 Speaker 1: stay on stage. That's what I think. Yeah, Like it 18 00:01:15,520 --> 00:01:18,479 Speaker 1: almost takes away a little bit of the mystical magic 19 00:01:18,600 --> 00:01:21,040 Speaker 1: of like everything that happens in it. 20 00:01:21,520 --> 00:01:23,160 Speaker 2: I've never seen a stage of this. 21 00:01:24,360 --> 00:01:29,440 Speaker 1: It's really good and it's dark and it's hysterious, and 22 00:01:29,800 --> 00:01:33,520 Speaker 1: the tone is right and it's like the the chair 23 00:01:33,800 --> 00:01:36,759 Speaker 1: trick on the stage, you know when when the goes 24 00:01:36,800 --> 00:01:40,840 Speaker 1: into the slide literally there's like a there's a trap 25 00:01:40,880 --> 00:01:43,240 Speaker 1: door and people slide down, kind of like you see 26 00:01:43,240 --> 00:01:45,600 Speaker 1: in the movie, but like on stage, it's much more 27 00:01:45,600 --> 00:01:47,400 Speaker 1: exciting because you don't see it and you just see 28 00:01:47,400 --> 00:01:50,639 Speaker 1: people disappear and then like you're like, oh, it's so cool. 29 00:01:50,880 --> 00:01:53,559 Speaker 1: It's theater and in this you're like, yeah, of course 30 00:01:53,640 --> 00:01:58,360 Speaker 1: there's millions of dollars to make a slide, But I, 31 00:01:58,360 --> 00:02:02,800 Speaker 1: I don't know, there's something about the minimal way in 32 00:02:02,840 --> 00:02:04,960 Speaker 1: which this musical is done, like they did it at 33 00:02:05,000 --> 00:02:09,320 Speaker 1: Barrow Street, I think, and they did it when when 34 00:02:09,360 --> 00:02:13,040 Speaker 1: you do it on a stage, that's like there's something 35 00:02:13,080 --> 00:02:16,120 Speaker 1: left to the imagination and the blood is exciting and 36 00:02:16,160 --> 00:02:19,040 Speaker 1: the gore is exciting, and the musical is like darker 37 00:02:19,600 --> 00:02:22,880 Speaker 1: versus this like movie and high death that like doesn't 38 00:02:23,280 --> 00:02:26,080 Speaker 1: quite resonate the feeling that I think you're supposed to 39 00:02:26,080 --> 00:02:31,560 Speaker 1: feel when you watch this horror. Yeah exactly. So I 40 00:02:31,560 --> 00:02:33,560 Speaker 1: will say this is not my favorite and I didn't. 41 00:02:34,080 --> 00:02:35,799 Speaker 1: It took a lot for me to get through this one. 42 00:02:37,360 --> 00:02:41,760 Speaker 1: And it's also not like a listen through musical, Like 43 00:02:41,840 --> 00:02:43,720 Speaker 1: it's not something that I put on like Wicked, and 44 00:02:43,760 --> 00:02:47,640 Speaker 1: I'm like, I can listen to this. Yeah, it's it's 45 00:02:47,840 --> 00:02:51,760 Speaker 1: musical and it is story driven and it is brilliant, 46 00:02:51,840 --> 00:02:54,679 Speaker 1: but it is just not as pleasing to my ear 47 00:02:54,880 --> 00:02:59,840 Speaker 1: as I would I like. But there are there are 48 00:03:01,080 --> 00:03:05,840 Speaker 1: key songs, key characters, key moments of course that stick 49 00:03:05,880 --> 00:03:08,679 Speaker 1: out in my brain. And I thought everybody was very 50 00:03:08,680 --> 00:03:12,520 Speaker 1: good in it. I just it just doesn't quite sweety, 51 00:03:12,600 --> 00:03:13,840 Speaker 1: just doesn't quite do it for me. 52 00:03:14,520 --> 00:03:19,800 Speaker 2: And that's fair. I love so and it has all 53 00:03:19,880 --> 00:03:24,720 Speaker 2: sort of like the classic sond Time yes, like melodic structures, 54 00:03:24,800 --> 00:03:29,120 Speaker 2: and he does like dark and humor very well. 55 00:03:29,639 --> 00:03:30,000 Speaker 1: M m. 56 00:03:31,240 --> 00:03:33,920 Speaker 2: I like how humorous all of his things are really 57 00:03:34,240 --> 00:03:37,480 Speaker 2: like you know, with the wordplay, and I feel like 58 00:03:38,520 --> 00:03:42,840 Speaker 2: this tone of show. I want to see a prorection 59 00:03:42,880 --> 00:03:44,240 Speaker 2: of it so badly because I feel like I would 60 00:03:44,280 --> 00:03:50,120 Speaker 2: absolutely love it because it also feels like and correct 61 00:03:50,160 --> 00:03:52,840 Speaker 2: me if I'm wrong, but it feels like there's a 62 00:03:52,880 --> 00:03:59,200 Speaker 2: lot of opportunity for like comedy within this that maybe 63 00:03:59,240 --> 00:04:03,240 Speaker 2: in the stage show able to access more easily than 64 00:04:03,280 --> 00:04:06,000 Speaker 2: in the movie, because there's a couple of times where 65 00:04:06,040 --> 00:04:09,920 Speaker 2: it felt like, you know, held the bottom carter saying 66 00:04:09,960 --> 00:04:12,960 Speaker 2: something and they're all playing it really deadpan, which I 67 00:04:12,960 --> 00:04:16,080 Speaker 2: think is really funny, but like it sneaks up so 68 00:04:16,160 --> 00:04:18,480 Speaker 2: quickly that you don't maybe necessarily even realize that it's 69 00:04:18,480 --> 00:04:19,440 Speaker 2: supposed to be humorous. 70 00:04:19,760 --> 00:04:23,240 Speaker 1: That's exactly right. The humor is definitely lost a little bit. 71 00:04:23,480 --> 00:04:25,680 Speaker 2: Yeah, which is hard and I feel I honestly feel 72 00:04:25,680 --> 00:04:30,440 Speaker 2: the same way about Alphaba and Wicked in the movie. 73 00:04:30,960 --> 00:04:34,040 Speaker 2: That's some of the humor and like goofiness is lost. 74 00:04:34,200 --> 00:04:37,840 Speaker 2: And maybe that's just like a a musical thing that's 75 00:04:37,839 --> 00:04:42,640 Speaker 2: hard to I did not dislike this movie. I thought 76 00:04:43,000 --> 00:04:44,200 Speaker 2: I was going to really hate it. 77 00:04:47,040 --> 00:04:49,520 Speaker 1: There's nobody better to do this in Tim Burton, I 78 00:04:49,560 --> 00:04:56,120 Speaker 1: will say, like to capture the feeling tone of this musical. 79 00:04:56,440 --> 00:05:00,560 Speaker 1: I think that's right. I just yeah, okay. So number 80 00:05:00,560 --> 00:05:03,440 Speaker 1: one song in the on December twenty first, two thousand 81 00:05:03,440 --> 00:05:05,799 Speaker 1: and seven is No. One. 82 00:05:05,800 --> 00:05:07,520 Speaker 2: This is basically a Christmas movie. 83 00:05:08,320 --> 00:05:11,839 Speaker 1: It's basically a Christmas movie, and I love this song. 84 00:05:14,360 --> 00:05:16,480 Speaker 1: Number one movie is National Treasure Book of Secret. It's 85 00:05:16,480 --> 00:05:18,960 Speaker 1: one of my personal favorite movies of all time. 86 00:05:19,520 --> 00:05:20,760 Speaker 2: I might have to watch that tonight. 87 00:05:21,839 --> 00:05:24,040 Speaker 1: It's on repeat in our house. Number one and too, 88 00:05:24,120 --> 00:05:25,520 Speaker 1: we're like, which one are we watching tonight? 89 00:05:25,760 --> 00:05:28,200 Speaker 2: There's no Glee news this week. Obviously it's two years 90 00:05:28,200 --> 00:05:32,480 Speaker 2: before the show's premiere. On TV, it was Gossip Girl, 91 00:05:33,120 --> 00:05:35,800 Speaker 2: Grey's Anatomy was deep into season four. Keeping Up with 92 00:05:35,800 --> 00:05:38,840 Speaker 2: the Kardashians had only launched a few months earlier. 93 00:05:39,000 --> 00:05:41,640 Speaker 1: Oh wow, it. 94 00:05:41,520 --> 00:05:44,200 Speaker 2: Was a tough year for a Britney Spears. That was 95 00:05:44,360 --> 00:05:51,080 Speaker 2: rough best selling album in the country was Josh Grobin's Noel, which. 96 00:05:50,920 --> 00:05:52,960 Speaker 1: Is We Love Chris, We Love a Christmas. 97 00:05:53,040 --> 00:05:56,159 Speaker 2: Josh Grobin went to do this on Broadway, Sweeney Tom 98 00:05:56,279 --> 00:06:01,839 Speaker 2: on Broadway, So there you go. Online YouTube was still 99 00:06:01,839 --> 00:06:06,400 Speaker 2: mostly just viral videos. Facebook was overtaking MySpace swiftly, and 100 00:06:06,440 --> 00:06:09,120 Speaker 2: the iPhone had only been out for a few months. 101 00:06:09,160 --> 00:06:11,480 Speaker 2: Two thousand and seven was such a pivotal year in 102 00:06:11,480 --> 00:06:15,640 Speaker 2: my life, Like I remember it was it so. 103 00:06:14,760 --> 00:06:18,280 Speaker 1: So clearly, Yeah, yeah it was. 104 00:06:18,800 --> 00:06:19,479 Speaker 2: It was shocking. 105 00:06:21,320 --> 00:06:24,040 Speaker 1: Oh on Broadway where shows Wicked, Lion King, Jersey Boys, 106 00:06:24,080 --> 00:06:28,000 Speaker 1: Spring Awakening. The overall vibe of two thousand and seven 107 00:06:28,120 --> 00:06:32,040 Speaker 1: was peak emo in Indie Sleeve's skinny Jean side, swept bangs, 108 00:06:32,600 --> 00:06:36,640 Speaker 1: bands like Followup Boy, Paramore, My Chemical Romance. This all 109 00:06:36,640 --> 00:06:38,800 Speaker 1: feels very familiar. 110 00:06:39,000 --> 00:06:41,880 Speaker 2: Yes, have you listened? Did you listen to My Chemical Romance. 111 00:06:42,560 --> 00:06:44,359 Speaker 2: Oh yeah, Oh, I just went back and listened to 112 00:06:44,400 --> 00:06:49,120 Speaker 2: their first album recently. It is still so good, so good. 113 00:06:49,360 --> 00:06:53,000 Speaker 2: Big fan, big fan. Okay, So back into Sweeney Todd. 114 00:06:53,080 --> 00:06:57,960 Speaker 2: Sweeney Todd was directed by Tim Burton, screenplay by John Logan, 115 00:06:58,160 --> 00:07:00,960 Speaker 2: music by Steven Sonheim, and is based on the nineteen 116 00:07:01,000 --> 00:07:03,919 Speaker 2: seventy nine musical of the same name by Sondheim and 117 00:07:03,960 --> 00:07:06,479 Speaker 2: playwright Hugh Wheeler. The music itself was based on a 118 00:07:06,560 --> 00:07:10,920 Speaker 2: nineteen seventy play by Christopher Bond, which was a retelling 119 00:07:11,040 --> 00:07:15,360 Speaker 2: of the Victorian Penny Dreadful serial character who first appeared 120 00:07:15,400 --> 00:07:17,880 Speaker 2: in the String of Pearls in the eighteen forties. So 121 00:07:17,960 --> 00:07:21,840 Speaker 2: this comes with a lot of French history. You know, 122 00:07:21,960 --> 00:07:24,960 Speaker 2: we love rich history. We love a rich deep history. 123 00:07:26,040 --> 00:07:30,880 Speaker 1: Speaking of deep history, the Glee history is that Sweeney Todd. 124 00:07:31,240 --> 00:07:33,880 Speaker 1: We did not while I'm around. It is the only 125 00:07:33,920 --> 00:07:36,040 Speaker 1: song from Sweeney Todd that was performed on Glee, not 126 00:07:36,080 --> 00:07:39,400 Speaker 1: surprising and Blaine saying it to Kurt in season five 127 00:07:40,480 --> 00:07:44,200 Speaker 1: Bash episode Bash was great use of that side tributes. 128 00:07:44,440 --> 00:07:49,600 Speaker 2: Yes, yes, definitely definitely this movie. What happens Listen to 129 00:07:49,600 --> 00:07:52,320 Speaker 2: the official summary? Okay, Johnny Crapp and Tim Burton joined 130 00:07:52,320 --> 00:07:55,960 Speaker 2: forces again and a big screen adaptation of Stephen Sondhim's 131 00:07:55,960 --> 00:07:59,800 Speaker 2: award winning musical thriller. Sweeney Todd musical Thriller also is 132 00:07:59,840 --> 00:08:02,560 Speaker 2: just a fun, fun genre. 133 00:08:03,080 --> 00:08:03,880 Speaker 1: Yeah yeah. 134 00:08:04,360 --> 00:08:06,760 Speaker 2: Depth stars in the title role as a man unjustly 135 00:08:06,880 --> 00:08:09,800 Speaker 2: sent to prison who vows revenge not only for the 136 00:08:09,840 --> 00:08:12,800 Speaker 2: cruel punishment, but for the devastating consequences of what happened 137 00:08:12,840 --> 00:08:15,440 Speaker 2: to his wife and daughter. When he returns to reopen 138 00:08:15,480 --> 00:08:18,320 Speaker 2: his barber shop, Sweeney Todd becomes the demon barber of 139 00:08:18,360 --> 00:08:22,280 Speaker 2: Fleet Street who quote shaved the heads of gentlemen who 140 00:08:22,400 --> 00:08:27,600 Speaker 2: never thereafter were heard from again. Basically, he goes in 141 00:08:27,680 --> 00:08:31,640 Speaker 2: for revenge, leaves a serial killer, you know, like he 142 00:08:31,720 --> 00:08:33,680 Speaker 2: was going after one or two guys and then just 143 00:08:33,720 --> 00:08:35,520 Speaker 2: decided to just. 144 00:08:35,679 --> 00:08:40,640 Speaker 1: Open up the floodgates, the blood gates. Sondheim Waffen said 145 00:08:40,679 --> 00:08:43,960 Speaker 1: that the show was ultimately about obsession and how revenge 146 00:08:44,040 --> 00:08:47,880 Speaker 1: consumes the person who pursues it, which is very clear 147 00:08:48,200 --> 00:08:50,080 Speaker 1: in this film, I will say, and very clear in 148 00:08:50,120 --> 00:08:54,920 Speaker 1: this story in general. So I don't think there's any lack. 149 00:08:54,760 --> 00:08:59,040 Speaker 2: Of clarity right this musical and also in the plot, 150 00:08:59,559 --> 00:09:03,920 Speaker 2: I think the original stage show. It's eighty over eighty 151 00:09:03,920 --> 00:09:06,200 Speaker 2: percent of the show is underscored or sung, so it 152 00:09:06,280 --> 00:09:10,120 Speaker 2: feels almost like an opera. I don't feel like you 153 00:09:10,160 --> 00:09:15,360 Speaker 2: get that from the movie, No you don't, but I 154 00:09:15,400 --> 00:09:19,600 Speaker 2: feel like, again, probably having that underscoring throughout the entire 155 00:09:19,679 --> 00:09:23,440 Speaker 2: musical feels so spooky and scary. 156 00:09:24,280 --> 00:09:29,560 Speaker 1: Yes, yes, so Sometime also said he imagined Sweeney Todd 157 00:09:29,600 --> 00:09:33,360 Speaker 1: as a relatively small, intimate horror piece, which I think 158 00:09:33,480 --> 00:09:38,120 Speaker 1: is why the movie is so big in scale of 159 00:09:38,240 --> 00:09:42,000 Speaker 1: like seeing the world that like, it doesn't feel intimate 160 00:09:42,080 --> 00:09:44,240 Speaker 1: to me in the way that it was supposed to feel. 161 00:09:45,240 --> 00:09:52,400 Speaker 1: So there was a production that was performed at the 162 00:09:52,440 --> 00:09:57,520 Speaker 1: Barrow Street Theater downtown. It was off Broadway in New York, 163 00:09:58,120 --> 00:10:02,840 Speaker 1: and it was led by Carolee Carmelo and Norma Lewis 164 00:10:03,480 --> 00:10:08,160 Speaker 1: and Matt Doyle was in it Our Friend And it 165 00:10:08,320 --> 00:10:13,600 Speaker 1: was a really small immersive theater where you like, we're 166 00:10:13,679 --> 00:10:18,120 Speaker 1: basically in the pie shop, and they used the whole 167 00:10:18,200 --> 00:10:21,760 Speaker 1: thing to like you were in the space and like 168 00:10:21,920 --> 00:10:25,760 Speaker 1: and you know, the carriacters would show up, like and 169 00:10:25,800 --> 00:10:28,760 Speaker 1: you'd have to turn back and look at them, and 170 00:10:28,840 --> 00:10:32,839 Speaker 1: it was so cool and it felt so intimate, and 171 00:10:32,880 --> 00:10:34,480 Speaker 1: I think that's why coming off of this, I think 172 00:10:34,480 --> 00:10:36,200 Speaker 1: that was the last performance of it I saw live. 173 00:10:36,440 --> 00:10:40,720 Speaker 1: I didn't get to see the more recent revival, and 174 00:10:40,760 --> 00:10:42,920 Speaker 1: I think I'm coming off of that and thinking like, 175 00:10:43,480 --> 00:10:45,360 Speaker 1: where was that feeling that I had? 176 00:10:45,559 --> 00:10:48,160 Speaker 2: Well, you know, I talked to We should actually have 177 00:10:48,240 --> 00:10:51,520 Speaker 2: her on sometimes just talk about musicals. But Georgie Rancom, 178 00:10:51,520 --> 00:10:56,600 Speaker 2: who directed Me and the Frogs, it's a huge song time. 179 00:10:56,720 --> 00:11:01,960 Speaker 2: She's done several sometimes productions in London directed, and the 180 00:11:02,000 --> 00:11:04,120 Speaker 2: one she really wants to do is Sweeney Todd because 181 00:11:04,160 --> 00:11:08,560 Speaker 2: she feels like no one's gotten like the horror element 182 00:11:10,880 --> 00:11:15,040 Speaker 2: exactly right before. Yeah, and so I'm wondering, as you're 183 00:11:15,080 --> 00:11:19,000 Speaker 2: saying that, if it should almost feel like I mean, 184 00:11:19,080 --> 00:11:21,480 Speaker 2: you know, like an upscale version of like a haunted house, 185 00:11:21,640 --> 00:11:25,679 Speaker 2: sort of feeling like you are participating in it. Why 186 00:11:25,760 --> 00:11:29,760 Speaker 2: the people are all around you because watching something is 187 00:11:29,760 --> 00:11:34,520 Speaker 2: horrifying as like a serial killer and working in the 188 00:11:34,520 --> 00:11:36,400 Speaker 2: way like they grind up the body, they're making these 189 00:11:36,440 --> 00:11:39,800 Speaker 2: meat pies and they're sort of sort of cavalier about it. Yeah, 190 00:11:40,200 --> 00:11:45,240 Speaker 2: could and maybe should feel like really horrifying, and then 191 00:11:45,280 --> 00:11:48,560 Speaker 2: you have like the bounciness of sometimes. 192 00:11:47,960 --> 00:11:50,800 Speaker 1: Writing right right and human against it. 193 00:11:50,760 --> 00:11:52,920 Speaker 2: To play against it. But if you're sitting in that world, 194 00:11:53,000 --> 00:11:55,440 Speaker 2: how uneasy that may make you feel in a good way, 195 00:11:56,559 --> 00:11:58,680 Speaker 2: which I think is why maybe like the tim Burton 196 00:11:58,760 --> 00:12:02,880 Speaker 2: of it all, he does vibe really really well right, 197 00:12:03,320 --> 00:12:08,120 Speaker 2: Like I think in his stylistically, like the makeup, the hair, 198 00:12:08,679 --> 00:12:11,920 Speaker 2: it's classic Tim Burton and it obviously does fit with 199 00:12:13,080 --> 00:12:18,120 Speaker 2: a Sweeney Todd. Yeah, yeah, is it the best version 200 00:12:18,440 --> 00:12:24,000 Speaker 2: to see? Yeah? And maybe maybe it just doesn't necessarily 201 00:12:24,040 --> 00:12:27,360 Speaker 2: work translate, translate. I just think the thing about theater 202 00:12:27,440 --> 00:12:31,000 Speaker 2: two is that I was thinking during this, where you're 203 00:12:31,040 --> 00:12:33,360 Speaker 2: sitting in a theater, so your suspension of disbelief is 204 00:12:33,400 --> 00:12:38,200 Speaker 2: immediately really high, right you're watching these people do it 205 00:12:38,200 --> 00:12:40,840 Speaker 2: in front of you. So I think when you're sitting 206 00:12:40,880 --> 00:12:43,600 Speaker 2: at home or in a movie theater, you still have 207 00:12:43,640 --> 00:12:47,800 Speaker 2: a sense of suspension of disbelief, definitely, but it's a 208 00:12:47,800 --> 00:12:51,040 Speaker 2: whole different thing. So when like you're I think musicals 209 00:12:51,120 --> 00:12:53,720 Speaker 2: or plays are able to cut through so much time, 210 00:12:54,960 --> 00:12:57,480 Speaker 2: so much more seamlessly than in a movie, or it 211 00:12:57,480 --> 00:13:02,120 Speaker 2: can feel more clunky in a movie because of just 212 00:13:02,240 --> 00:13:05,880 Speaker 2: where you are and how you're at the medium of it. Yeah, 213 00:13:05,880 --> 00:13:07,640 Speaker 2: And there were a couple times in this I was like, 214 00:13:08,080 --> 00:13:10,520 Speaker 2: I don't know if it's bad filmmaking. I just think maybe, 215 00:13:10,559 --> 00:13:13,320 Speaker 2: like you know, sort of the time he gets off 216 00:13:13,360 --> 00:13:14,720 Speaker 2: the boat, all of a sudden he's back in his 217 00:13:14,720 --> 00:13:17,000 Speaker 2: shop and things just start happening at a rapid pace. 218 00:13:17,600 --> 00:13:21,440 Speaker 2: It's just a musical, and there almost does need to 219 00:13:21,480 --> 00:13:25,520 Speaker 2: be more adaptation in a movie to make it work 220 00:13:25,640 --> 00:13:28,760 Speaker 2: than I think maybe some of these people or when 221 00:13:28,800 --> 00:13:32,200 Speaker 2: they pass away, their states allow them to do. 222 00:13:35,080 --> 00:13:37,440 Speaker 1: It's a tough one, it's complicated one. But I will 223 00:13:37,480 --> 00:13:40,400 Speaker 1: say this show, in the original nineteen seventy nine production 224 00:13:41,040 --> 00:13:46,840 Speaker 1: one eight Tony Awards, including Best Musical Established and it's established. 225 00:13:46,840 --> 00:13:49,360 Speaker 1: Sweenshot is one of sometimes most ambitious works, which we 226 00:13:49,440 --> 00:13:52,520 Speaker 1: definitely agree with. Len Carry who played Sweeney, and Angela 227 00:13:52,600 --> 00:13:56,079 Speaker 1: Lansbury played Missus love it and their performances became definitive 228 00:13:56,360 --> 00:13:57,240 Speaker 1: interpretations of the. 229 00:13:57,240 --> 00:14:00,120 Speaker 2: Roles clearly randomly. On my TikTok, I saw this whole 230 00:14:00,160 --> 00:14:04,160 Speaker 2: thing that came up about how Stephen Sondheim wrote and 231 00:14:04,280 --> 00:14:07,880 Speaker 2: offered the part to Andrew Lansbury made everybody else audition, 232 00:14:07,920 --> 00:14:09,760 Speaker 2: but she did not have to audition. He wanted her 233 00:14:09,800 --> 00:14:10,560 Speaker 2: to play this role. 234 00:14:11,080 --> 00:14:14,839 Speaker 1: Mmm, icon, Wait, did you know there's also a nineteen 235 00:14:14,880 --> 00:14:17,000 Speaker 1: eighty nine a Broadway revival called teeny. 236 00:14:16,679 --> 00:14:22,640 Speaker 2: Todd Yes, and Circle in the Square. Yes, but I 237 00:14:22,640 --> 00:14:24,440 Speaker 2: mean that's an intimate that's what we're talking about. 238 00:14:24,600 --> 00:14:27,240 Speaker 1: Yeah, we love Circle in the Square. Yeah, it was. 239 00:14:27,760 --> 00:14:30,400 Speaker 1: It was focused on the psychological tension rather than spectacle 240 00:14:30,440 --> 00:14:33,080 Speaker 1: showing up. The musical could succeed without its original industrial 241 00:14:33,120 --> 00:14:35,800 Speaker 1: size production, which I yeah, I mean I think it can. 242 00:14:35,920 --> 00:14:38,400 Speaker 1: I think that's the beauty of this is that it 243 00:14:38,480 --> 00:14:43,360 Speaker 1: can survive, or you know, succeed in all of these 244 00:14:43,360 --> 00:14:48,520 Speaker 1: different places, whether it's massively successful or just slightly successful. 245 00:14:48,600 --> 00:14:51,520 Speaker 1: The base work we know is excellent, and so it 246 00:14:51,880 --> 00:14:54,480 Speaker 1: has the ability to live many places. It's just preference. 247 00:14:57,760 --> 00:15:01,600 Speaker 3: I'm Kristin Davis, host of the p Are You a Charlotte? 248 00:15:02,000 --> 00:15:06,120 Speaker 3: The most anticipated guest from season three is here the 249 00:15:06,200 --> 00:15:10,400 Speaker 3: Tray to My Charlotte. Kyle McLaughlin joins me to relive 250 00:15:10,680 --> 00:15:14,600 Speaker 3: all of the magical Tray in Charlotte moments. He reveals 251 00:15:14,880 --> 00:15:18,520 Speaker 3: what he thinks of Trey giving Charlotte a cardboard baby. 252 00:15:19,240 --> 00:15:20,840 Speaker 4: Why would I bring her a cardboard baby? I was 253 00:15:20,880 --> 00:15:24,280 Speaker 4: literally I was like this doesn't track for me at all. 254 00:15:24,600 --> 00:15:27,200 Speaker 3: When he found out Trey's shortcomings, I'm kind of. 255 00:15:27,160 --> 00:15:28,560 Speaker 4: Excited to talking about it. You know, I think he's 256 00:15:28,680 --> 00:15:30,400 Speaker 4: he's a guy spends time in Central Park. You know, 257 00:15:30,440 --> 00:15:33,040 Speaker 4: he's probably don't be some surgery stuff, you know. And 258 00:15:33,080 --> 00:15:34,720 Speaker 4: I was like, all this kind of stuff going on, 259 00:15:34,800 --> 00:15:36,920 Speaker 4: and they were like yeah, yeah, yeah, fine, And they said, 260 00:15:36,960 --> 00:15:40,359 Speaker 4: but he's impotent, and I was like, he's impotent. 261 00:15:40,280 --> 00:15:42,960 Speaker 3: And why he chose not to return to And just. 262 00:15:43,080 --> 00:15:45,600 Speaker 4: Like that, they came and presented an idea and I 263 00:15:45,680 --> 00:15:47,120 Speaker 4: was like, I get I see it. 264 00:15:47,120 --> 00:15:49,160 Speaker 1: It's so kind of a one joke idea. 265 00:15:49,320 --> 00:15:50,320 Speaker 5: You don't want to miss this. 266 00:15:51,000 --> 00:15:54,200 Speaker 3: Listen to are you a Charlotte on the iHeartRadio app, 267 00:15:54,320 --> 00:15:57,359 Speaker 3: Apple podcasts or wherever you get your podcasts. 268 00:16:01,520 --> 00:16:04,360 Speaker 2: You know what I really did love about this again 269 00:16:04,440 --> 00:16:06,000 Speaker 2: this being the only version I've ever seen of it. 270 00:16:07,240 --> 00:16:10,800 Speaker 2: So often in musical movies or musicals in general, what 271 00:16:10,840 --> 00:16:14,040 Speaker 2: people hate about them is the thing that makes it 272 00:16:14,040 --> 00:16:16,640 Speaker 2: a musicals people breaking into song and have it feeling 273 00:16:16,760 --> 00:16:22,840 Speaker 2: really corny and like overly explaining how we're feeling. I 274 00:16:22,880 --> 00:16:24,880 Speaker 2: know a lot of these songs in this show, like 275 00:16:24,920 --> 00:16:26,400 Speaker 2: you said, are not things you're going to put onto 276 00:16:26,440 --> 00:16:33,480 Speaker 2: jam too. However, and in the proper context, I loved 277 00:16:33,560 --> 00:16:36,680 Speaker 2: how easy it was and how it didn't make me 278 00:16:36,760 --> 00:16:41,320 Speaker 2: uncomfortable listening to all these things, like watching how they 279 00:16:41,360 --> 00:16:43,800 Speaker 2: work against each other, all these different characters, Like it 280 00:16:43,840 --> 00:16:47,440 Speaker 2: didn't necessarily feel like it fell into all the stereotypical 281 00:16:48,400 --> 00:16:52,280 Speaker 2: like tropes of a musical, especially one that is eighty 282 00:16:52,320 --> 00:16:56,760 Speaker 2: percent over eighty percent orchestrated that could be difficult, like 283 00:16:56,800 --> 00:16:57,960 Speaker 2: how we sort of felt watching the. 284 00:16:57,920 --> 00:17:02,480 Speaker 1: Rent movie No Offense right right right, right right, definitely. 285 00:17:01,960 --> 00:17:05,600 Speaker 2: And I did feel like they pulled that off. And 286 00:17:05,640 --> 00:17:07,600 Speaker 2: maybe that's just because the writing is so damn good 287 00:17:08,080 --> 00:17:12,200 Speaker 2: and hiss like alodic structure is so good and complicated. 288 00:17:12,760 --> 00:17:16,040 Speaker 2: How do you feel about this? Is always the question 289 00:17:17,800 --> 00:17:22,480 Speaker 2: when it comes to casting these things. You have big 290 00:17:22,520 --> 00:17:29,959 Speaker 2: movie stars, some are better singers than others. What is 291 00:17:30,000 --> 00:17:35,440 Speaker 2: the balance. My thought is Johnny Depp and hell The 292 00:17:35,480 --> 00:17:38,120 Speaker 2: bottom Carter are great actors. 293 00:17:38,760 --> 00:17:42,960 Speaker 1: Yes, yes, some of the best, yes, I think. 294 00:17:45,840 --> 00:17:51,160 Speaker 2: And when Helen A. Bottom Carter's not singing, I'm like, damn, 295 00:17:51,240 --> 00:17:54,359 Speaker 2: she's good, Like want I want to keep watching this movie. 296 00:17:55,240 --> 00:17:56,280 Speaker 2: Same with Johnny Depp. 297 00:17:56,680 --> 00:18:02,000 Speaker 1: It's because Somenheim's stuff is so complicated and in order 298 00:18:02,240 --> 00:18:05,120 Speaker 1: to do it, you have to be at least musical, 299 00:18:05,880 --> 00:18:10,800 Speaker 1: and it's meant for even though it sounds very talking 300 00:18:10,920 --> 00:18:15,480 Speaker 1: and it's very bouncy, still like you have to yes, yes, 301 00:18:15,520 --> 00:18:18,760 Speaker 1: and you can't miss them because they're purposeful and intentional 302 00:18:18,840 --> 00:18:22,560 Speaker 1: and strategic, and so there's a part of it that's 303 00:18:22,600 --> 00:18:27,280 Speaker 1: like you have to be musical in order to successfully 304 00:18:27,920 --> 00:18:33,240 Speaker 1: deliver sometimes pieces. And I love the pairing. I think 305 00:18:33,480 --> 00:18:37,879 Speaker 1: Helen on them encompassed, as did Johnny, like these characters 306 00:18:37,880 --> 00:18:44,480 Speaker 1: that that have such integrity to them already and like 307 00:18:44,560 --> 00:18:49,879 Speaker 1: such a clear direction, and so I appreciated their performances. 308 00:18:49,920 --> 00:18:52,760 Speaker 1: I do think I would have liked to hear like naturally, 309 00:18:53,080 --> 00:18:56,679 Speaker 1: when you're casting Sweeney and any other production of a stage, 310 00:18:56,800 --> 00:19:02,680 Speaker 1: it's usually somebody who is classically trained and Miss Lovey 311 00:19:02,680 --> 00:19:06,240 Speaker 1: can get away with a little bit more, but it's 312 00:19:06,240 --> 00:19:12,480 Speaker 1: still pleasing to hear them saying this stuff. Well, it 313 00:19:12,600 --> 00:19:15,040 Speaker 1: doesn't bother me as much in this one. But again, 314 00:19:15,240 --> 00:19:18,440 Speaker 1: like I don't love I'm not super attached emotionally to 315 00:19:18,520 --> 00:19:21,760 Speaker 1: this one. Where I felt like super attached to the 316 00:19:21,800 --> 00:19:28,960 Speaker 1: casting of this one, Like I think it was cast. Well, yeah, 317 00:19:29,840 --> 00:19:32,480 Speaker 1: could they have gone a totally different way, yes, you know, 318 00:19:32,520 --> 00:19:39,720 Speaker 1: and that might have been different. Yeah, but I thought 319 00:19:39,760 --> 00:19:47,479 Speaker 1: that the rest of the cast was really good, like 320 00:19:47,520 --> 00:19:49,639 Speaker 1: Alan Rickman, and not that that it was bad that 321 00:19:49,720 --> 00:19:53,520 Speaker 1: two were bad, but like Alan Rickman is Judged and 322 00:19:53,600 --> 00:19:58,920 Speaker 1: Sasha Baron Cohen it plays PERELLI loved. I always loved 323 00:19:58,920 --> 00:19:59,359 Speaker 1: his work. 324 00:19:59,440 --> 00:20:02,000 Speaker 2: I thought Jamie Campbell Bauer was excellent. 325 00:20:02,560 --> 00:20:06,240 Speaker 1: Mm hmmmm hmm. I thought that everybody was great. Yeah. 326 00:20:06,920 --> 00:20:09,040 Speaker 2: My favorite number of the entire thing was Alan Rickman 327 00:20:09,040 --> 00:20:10,200 Speaker 2: and Johnny Depp singing. 328 00:20:09,960 --> 00:20:11,880 Speaker 1: Together Yeah during the show. 329 00:20:12,000 --> 00:20:14,560 Speaker 2: I love that and maybe because it felt more. 330 00:20:14,400 --> 00:20:16,680 Speaker 1: Intimate, very iconic numbers. 331 00:20:16,800 --> 00:20:20,240 Speaker 2: Loved it was shot. It really felt like I was 332 00:20:20,280 --> 00:20:26,399 Speaker 2: in it, Like yeah, anyway, that sounds so stupid, no wonder, 333 00:20:26,920 --> 00:20:33,400 Speaker 2: but I think Alan Rickman's voice matches with the character. Yes, 334 00:20:33,720 --> 00:20:38,040 Speaker 2: his singing voice and speaking voice matches the gravitas, the power, 335 00:20:38,680 --> 00:20:46,880 Speaker 2: the evilness of the character he's playing of Judge Sherpin. Right, Yeah, 336 00:20:46,920 --> 00:20:50,159 Speaker 2: where I know that. HeLa Bottom Carter said like intentionally 337 00:20:50,200 --> 00:20:54,679 Speaker 2: she was singing like soft and whispery to emphasize like 338 00:20:55,040 --> 00:21:00,760 Speaker 2: love its delusion, That's what she said. But what I 339 00:21:00,880 --> 00:21:04,000 Speaker 2: found hard about that as a viewer was that it's 340 00:21:04,040 --> 00:21:08,600 Speaker 2: completely sort of associated from her talking voice, where she'd 341 00:21:08,600 --> 00:21:10,359 Speaker 2: go into the song to sing it in almost this 342 00:21:10,760 --> 00:21:13,960 Speaker 2: careless way. Someone was swallowing some of her words, right, 343 00:21:14,600 --> 00:21:17,480 Speaker 2: and then she would talk. And she is this sort 344 00:21:17,520 --> 00:21:21,120 Speaker 2: of kind of strong, secretly manipulative character. 345 00:21:22,040 --> 00:21:24,200 Speaker 1: Yeah, yeah, yeah, And she's such. 346 00:21:24,040 --> 00:21:28,840 Speaker 2: A powerful actor. Yes, And I like, I thought she 347 00:21:28,960 --> 00:21:33,680 Speaker 2: was so good that when she was singing that when 348 00:21:33,720 --> 00:21:36,240 Speaker 2: she was singing, it took me out of it because 349 00:21:36,280 --> 00:21:39,640 Speaker 2: it felt so different now Johnny dep I felt it 350 00:21:39,680 --> 00:21:43,840 Speaker 2: was more matched. The singing didn't distract me, was the same. 351 00:21:44,160 --> 00:21:46,520 Speaker 2: There was a very clear through line where it felt 352 00:21:46,520 --> 00:21:48,919 Speaker 2: like the boom Carter was playing something when she was 353 00:21:48,920 --> 00:21:52,879 Speaker 2: talking and playing something different when she was singing. That 354 00:21:52,960 --> 00:21:55,359 Speaker 2: being said, because they're all such good actors, it was 355 00:21:55,520 --> 00:21:59,119 Speaker 2: just it was really fun and again I felt safe 356 00:21:59,240 --> 00:22:02,440 Speaker 2: watching them because I knew like they weren't ever going 357 00:22:02,480 --> 00:22:06,000 Speaker 2: to be bad and the acting. 358 00:22:05,680 --> 00:22:09,320 Speaker 1: Parts right, right, right, right. No, that's a good that's 359 00:22:09,359 --> 00:22:13,800 Speaker 1: a good point that I think when you have people 360 00:22:13,840 --> 00:22:19,359 Speaker 1: who don't naturally actors who don't naturally sing in roles, 361 00:22:20,000 --> 00:22:23,440 Speaker 1: there is such a focus on that part of it. 362 00:22:23,560 --> 00:22:27,440 Speaker 1: Versus it just being like you know, Ariana's had said 363 00:22:27,680 --> 00:22:30,760 Speaker 1: she said an interview interview recently, like I wanted to 364 00:22:30,840 --> 00:22:33,080 Speaker 1: like work so hard at the vocals that I didn't 365 00:22:33,080 --> 00:22:35,800 Speaker 1: have to think about it when I got on. And 366 00:22:35,880 --> 00:22:38,159 Speaker 1: I think that for people they want to get it right, 367 00:22:38,200 --> 00:22:40,960 Speaker 1: actors who don't naturally sing all the time, like even Johnny, 368 00:22:41,119 --> 00:22:45,560 Speaker 1: you know, had years of vocal training to get, you know, 369 00:22:45,880 --> 00:22:47,880 Speaker 1: to the level he needed to get for this role. 370 00:22:48,480 --> 00:22:52,919 Speaker 1: And I feel like it's such a focus that sometimes 371 00:22:52,920 --> 00:22:57,080 Speaker 1: it takes you out of it because people are it 372 00:22:57,480 --> 00:23:02,399 Speaker 1: becomes like another character, almost like another part of you, 373 00:23:02,480 --> 00:23:07,640 Speaker 1: whereas like singers, it's an extension of who you are. 374 00:23:07,720 --> 00:23:10,960 Speaker 1: So I think that there's like definitely a piece there 375 00:23:11,080 --> 00:23:13,840 Speaker 1: that also plays out with people who aren't naturally singing 376 00:23:13,840 --> 00:23:17,080 Speaker 1: all the time. I also found this very very interesting. 377 00:23:17,160 --> 00:23:21,639 Speaker 1: Kevin the studio marketing downplayed the fact that this movie 378 00:23:21,920 --> 00:23:27,560 Speaker 1: was a full musical. They were doing this audience members 379 00:23:27,560 --> 00:23:30,320 Speaker 1: complaining or walking out upon realizing the characters saying throughout 380 00:23:30,320 --> 00:23:32,800 Speaker 1: the entire thing when basically in a whole opera. So 381 00:23:33,080 --> 00:23:43,639 Speaker 1: I am so perplexed, But I didn't, you know, discount that, 382 00:23:43,960 --> 00:23:47,639 Speaker 1: Like the critics praised the film, the visuals, production design, 383 00:23:47,800 --> 00:23:52,040 Speaker 1: everything was it's actually like. This film appears on numerous 384 00:23:52,040 --> 00:23:54,520 Speaker 1: top ten lists for two thousand and seven and is 385 00:23:54,560 --> 00:23:56,600 Speaker 1: now considered one of the best musical films of the 386 00:23:56,640 --> 00:23:59,919 Speaker 1: twenty first century, which I can appreciate. It's not my 387 00:24:00,320 --> 00:24:07,600 Speaker 1: but I appreciate it and like Reviewers highlighted Burton's signature direction, 388 00:24:07,720 --> 00:24:10,199 Speaker 1: emotional power of the score, the film's blend of horror, 389 00:24:10,240 --> 00:24:12,800 Speaker 1: comedy and tragedy, which is like part of the story. 390 00:24:13,920 --> 00:24:17,800 Speaker 1: But I'm just confused as to how you don't market 391 00:24:17,840 --> 00:24:19,919 Speaker 1: this properly as a full musical. 392 00:24:20,000 --> 00:24:23,760 Speaker 2: Yea, that's crazy. That's like, why do you sign on 393 00:24:24,240 --> 00:24:30,560 Speaker 2: to make a Stephen Sondheim movie and not like promo, 394 00:24:31,000 --> 00:24:34,200 Speaker 2: like come on, yeah, what are we doing? See? I 395 00:24:35,840 --> 00:24:38,960 Speaker 2: feel like I've heard people ragging on it so long 396 00:24:39,000 --> 00:24:42,640 Speaker 2: that maybe my expectations going into watching this again were 397 00:24:42,800 --> 00:24:48,080 Speaker 2: pretty low. But so many of the issues I normally 398 00:24:48,119 --> 00:24:53,000 Speaker 2: have with movie musicals, which again can be feeling forced, 399 00:24:53,040 --> 00:24:56,080 Speaker 2: or people not feeling qualified, or people not understanding how 400 00:24:56,119 --> 00:25:00,000 Speaker 2: to shoot dance. There's no dance in this, there is movie. 401 00:25:00,480 --> 00:25:04,359 Speaker 2: I think there's a a great advantage of filmmaking for 402 00:25:04,600 --> 00:25:07,560 Speaker 2: a musical can be like what we've talked about, the 403 00:25:07,600 --> 00:25:10,239 Speaker 2: close up and actually seeing people's eyes and things like that, 404 00:25:10,280 --> 00:25:14,879 Speaker 2: where I felt like, because Tim Burton is such a 405 00:25:14,880 --> 00:25:17,520 Speaker 2: good director, that we got so much of that and 406 00:25:17,560 --> 00:25:21,119 Speaker 2: it did feel right. I think, you know, maybe some 407 00:25:21,160 --> 00:25:23,080 Speaker 2: of my hang ups are maybe same things you were 408 00:25:23,119 --> 00:25:26,080 Speaker 2: talking about. Is like when you do see such a 409 00:25:26,160 --> 00:25:30,399 Speaker 2: vast world and you're using so many like using so 410 00:25:30,480 --> 00:25:36,239 Speaker 2: much CG like with the buildings and stuff like, some 411 00:25:36,320 --> 00:25:38,199 Speaker 2: of that took me out of it. And that's just 412 00:25:38,359 --> 00:25:42,280 Speaker 2: his his style of filmmaking is bordering on surreal always. 413 00:25:42,920 --> 00:25:43,680 Speaker 1: Mm hmm. Yeah. 414 00:25:44,920 --> 00:25:47,040 Speaker 2: Where the parts that were sort of more grounded were 415 00:25:47,080 --> 00:25:50,760 Speaker 2: the parts I liked more, where you like, you could 416 00:25:50,800 --> 00:25:53,080 Speaker 2: feel the sets they were on. It felt like an 417 00:25:53,080 --> 00:25:55,840 Speaker 2: old shop. It felt you know, like those things where 418 00:25:55,840 --> 00:26:00,680 Speaker 2: they're walking through the streets. Yeah. I that's what made 419 00:26:00,720 --> 00:26:06,760 Speaker 2: this feel sort of like haunting and scary, and that's 420 00:26:06,760 --> 00:26:08,640 Speaker 2: what felt right to me. But whenever it did sort 421 00:26:08,680 --> 00:26:13,359 Speaker 2: of expand into like the too tim burtony. Yeah, but 422 00:26:13,440 --> 00:26:17,080 Speaker 2: maybe that's I mean, but maybe that works with Spiny Tak. 423 00:26:18,400 --> 00:26:23,199 Speaker 1: Did the level of like gore in when like the 424 00:26:23,240 --> 00:26:26,359 Speaker 1: body's dropped, et cetera. Like you don't see that in 425 00:26:26,400 --> 00:26:28,879 Speaker 1: the stage where you see like the neck kind of 426 00:26:28,920 --> 00:26:31,080 Speaker 1: go and then they go down the funnel and then 427 00:26:31,440 --> 00:26:35,119 Speaker 1: it's like back into the pacement. What like? Do you 428 00:26:35,119 --> 00:26:36,720 Speaker 1: think it was too much? Did you think it was 429 00:26:36,800 --> 00:26:39,840 Speaker 1: necessary for the film to do that? Like? Where where 430 00:26:39,960 --> 00:26:42,359 Speaker 1: is your gore? 431 00:26:42,640 --> 00:26:42,960 Speaker 2: Level? 432 00:26:43,040 --> 00:26:43,280 Speaker 1: Lie? 433 00:26:43,600 --> 00:26:44,320 Speaker 2: I liked it? 434 00:26:44,800 --> 00:26:45,160 Speaker 1: Mm hmm. 435 00:26:45,280 --> 00:26:47,640 Speaker 2: I thought I thought it was. I was glad they 436 00:26:47,720 --> 00:26:51,560 Speaker 2: didn't like shy away from that. Yeah, because at first 437 00:26:51,600 --> 00:26:52,960 Speaker 2: two I was like, oh my god, they're really that 438 00:26:53,040 --> 00:26:57,399 Speaker 2: whole like bit where they're cutting throat after throat, like 439 00:26:57,480 --> 00:26:58,320 Speaker 2: that's the comedy. 440 00:26:59,000 --> 00:26:59,240 Speaker 1: Yeah. 441 00:26:59,440 --> 00:27:02,920 Speaker 2: Yeah, they're also and like they're hitting the basement floor 442 00:27:02,960 --> 00:27:06,360 Speaker 2: and their necks are breaking. Homeboy's head split in half 443 00:27:06,359 --> 00:27:10,720 Speaker 2: when he hit. I thought all of that was pretty great, 444 00:27:10,840 --> 00:27:14,719 Speaker 2: and I liked that they weren't didn't they didn't shy 445 00:27:14,760 --> 00:27:16,640 Speaker 2: away from that. I also think you have a studio 446 00:27:16,800 --> 00:27:19,040 Speaker 2: movie with all these really big stars and you're doing 447 00:27:19,040 --> 00:27:22,280 Speaker 2: a really famous musical, the thing can always be to 448 00:27:22,320 --> 00:27:24,840 Speaker 2: like sanitize it a bit to make it more approachable. 449 00:27:25,160 --> 00:27:32,520 Speaker 2: I'm glad they didn't. Yeah, the blood color it was 450 00:27:32,640 --> 00:27:34,879 Speaker 2: that was a little distracting because it was so not 451 00:27:35,000 --> 00:27:37,480 Speaker 2: so red. But it was like orange. 452 00:27:38,720 --> 00:27:40,200 Speaker 1: I wonder it was just the coloring of. 453 00:27:40,600 --> 00:27:45,639 Speaker 2: All so then and some of this research it says 454 00:27:45,680 --> 00:27:48,400 Speaker 2: they died it red so it would appear they died 455 00:27:48,440 --> 00:27:51,040 Speaker 2: at orange, so it would appear red, because all of 456 00:27:51,040 --> 00:27:54,000 Speaker 2: his things are so desaturated, you know Tim Burton's movies, 457 00:27:54,080 --> 00:27:57,440 Speaker 2: and but and what I was watching, it still looked 458 00:27:57,480 --> 00:28:01,080 Speaker 2: a little orange. It was a little light. I almost 459 00:28:01,119 --> 00:28:03,919 Speaker 2: wish it was a deeper because that would make it 460 00:28:03,960 --> 00:28:09,840 Speaker 2: feel even goier and more realistic. But I liked all 461 00:28:09,840 --> 00:28:13,080 Speaker 2: the gore. I thought that made me. Now that like 462 00:28:13,160 --> 00:28:15,439 Speaker 2: coming into this having a deeper understanding of what this 463 00:28:15,560 --> 00:28:17,879 Speaker 2: musical is about and how it's supposed to be, like 464 00:28:17,880 --> 00:28:20,879 Speaker 2: people's feelings about it. I really appreciated that. How did 465 00:28:20,960 --> 00:28:21,639 Speaker 2: you feel about it? 466 00:28:24,440 --> 00:28:26,000 Speaker 1: I don't think it mattered to me. 467 00:28:27,119 --> 00:28:28,600 Speaker 2: Do you think you would have it would have mattered 468 00:28:28,680 --> 00:28:35,679 Speaker 2: if they didn't do it? How was it on stage? 469 00:28:35,720 --> 00:28:38,280 Speaker 2: Like when you saw it? What was that like? If 470 00:28:38,320 --> 00:28:39,160 Speaker 2: you remember. 471 00:28:40,800 --> 00:28:41,240 Speaker 6: Remember? 472 00:28:42,320 --> 00:28:45,520 Speaker 1: I think the humor lies in that also, like the 473 00:28:45,560 --> 00:28:48,280 Speaker 1: bodies like being dumped on each other, and the splatter 474 00:28:48,400 --> 00:28:51,800 Speaker 1: and the things and the I don't remember it being 475 00:28:52,080 --> 00:28:55,280 Speaker 1: as gory or like seeing the bodies and the heads 476 00:28:55,320 --> 00:28:56,920 Speaker 1: crack and the you know, all the things that you 477 00:28:57,000 --> 00:29:01,000 Speaker 1: see when they dropped from the from the chair. So 478 00:29:01,160 --> 00:29:04,000 Speaker 1: I thought that was funny and comical, and I thought 479 00:29:04,040 --> 00:29:05,080 Speaker 1: for the sake of. 480 00:29:06,720 --> 00:29:12,800 Speaker 2: Tobias, who, by the way, shout out to Tobias Ed 481 00:29:12,880 --> 00:29:16,760 Speaker 2: Sanders played him, I thought he was like one of 482 00:29:16,800 --> 00:29:18,040 Speaker 2: the best parts of this movie. 483 00:29:18,320 --> 00:29:24,000 Speaker 1: Oh yeah, yeah, Like I like sung it properly right, totally, 484 00:29:24,240 --> 00:29:24,920 Speaker 1: everything was right. 485 00:29:25,040 --> 00:29:27,080 Speaker 2: I was like, this kid has eating these adults up. 486 00:29:27,640 --> 00:29:33,760 Speaker 1: No, so good, And I think for the story purpose 487 00:29:33,840 --> 00:29:37,600 Speaker 1: of that, I think it worked. Do I remember in 488 00:29:37,680 --> 00:29:42,320 Speaker 1: the show it not being as visual like it was 489 00:29:42,360 --> 00:29:44,360 Speaker 1: the cutting of the neck and then like that was 490 00:29:44,440 --> 00:29:47,680 Speaker 1: kind of it. Like I don't remember the other parts. 491 00:29:48,040 --> 00:29:49,800 Speaker 1: So I remember it standing out in the movie when 492 00:29:49,840 --> 00:29:51,080 Speaker 1: I watched it this time, and I was like, oh, 493 00:29:51,160 --> 00:29:55,160 Speaker 1: I don't think they went that far for the stage production, 494 00:29:55,440 --> 00:29:56,880 Speaker 1: but for the movie. I think you have to write, 495 00:29:56,880 --> 00:29:58,480 Speaker 1: you have to expand the world and you have to 496 00:29:58,520 --> 00:29:59,840 Speaker 1: go there and you have to do all that. 497 00:30:00,240 --> 00:30:02,360 Speaker 2: So like expanding the world in that way. 498 00:30:02,480 --> 00:30:06,800 Speaker 1: Yeah, yeah, exactly, But I don't either way, I don't 499 00:30:06,800 --> 00:30:11,680 Speaker 1: think it really mattered all that much to me. Speaking 500 00:30:11,720 --> 00:30:18,640 Speaker 1: of though, like, uh, Toby's not while I'm around so good. 501 00:30:20,720 --> 00:30:23,160 Speaker 2: Yeah, and he and Helena Bottom Carter together, like their 502 00:30:23,240 --> 00:30:24,560 Speaker 2: chemistry was good. 503 00:30:25,440 --> 00:30:26,320 Speaker 1: Highlight of the film. 504 00:30:26,440 --> 00:30:30,000 Speaker 2: Yeah, definitely, Like whenever they were together, I wanted more 505 00:30:30,040 --> 00:30:32,280 Speaker 2: of them, Yeah. 506 00:30:31,800 --> 00:30:36,040 Speaker 1: For sure. And I just did you like Joanna? 507 00:30:36,920 --> 00:30:42,280 Speaker 2: Yeah, Like I liked how tight all this story is, right, 508 00:30:42,320 --> 00:30:46,080 Speaker 2: Like it doesn't need to be eight billion characters, Like sure, 509 00:30:46,520 --> 00:30:49,600 Speaker 2: this boy gets off the boat ends up falling in 510 00:30:49,600 --> 00:30:52,040 Speaker 2: love with a girl in a window who happens to 511 00:30:52,080 --> 00:30:55,080 Speaker 2: be the guy, the guy's daughter that he was on 512 00:30:55,120 --> 00:30:58,360 Speaker 2: the boat with, Like sure, like yeah, yeah, yeah, it 513 00:30:58,400 --> 00:31:01,840 Speaker 2: works whatever. I also thought they were They were great, 514 00:31:01,880 --> 00:31:08,479 Speaker 2: and it's like tragically the comedic how stupid this all 515 00:31:08,560 --> 00:31:11,760 Speaker 2: ends up being in hand And I like that it's 516 00:31:11,800 --> 00:31:14,600 Speaker 2: just Gore on top of Gore. I you know me, 517 00:31:14,680 --> 00:31:17,680 Speaker 2: I'm a sucker for a dark comedy and that's really 518 00:31:17,800 --> 00:31:22,400 Speaker 2: what this is. Yeah, ultimately, like we're making light of 519 00:31:22,400 --> 00:31:28,680 Speaker 2: a serial killer here and like making and cannibalism. 520 00:31:29,160 --> 00:31:29,720 Speaker 1: Yeah you know. 521 00:31:29,920 --> 00:31:34,760 Speaker 2: Like so I like that they had like the only 522 00:31:36,240 --> 00:31:38,760 Speaker 2: non crazy storyline until it was crazy. 523 00:31:38,800 --> 00:31:41,240 Speaker 1: Right right right right the end. But yeah, there's like 524 00:31:41,280 --> 00:31:44,880 Speaker 1: a grounding piece of them that, like. 525 00:31:45,280 --> 00:31:47,920 Speaker 2: The younger people in this storyline grounded in this movie. 526 00:31:48,080 --> 00:31:55,680 Speaker 1: Yes, yes, yes, yes, speaking of the cannibalism, yeah. 527 00:31:53,800 --> 00:31:58,200 Speaker 6: The pies, yes, the pie that grows me out more 528 00:31:58,240 --> 00:32:01,479 Speaker 6: than the bodies. I know, the pies are When Johnny 529 00:32:01,480 --> 00:32:03,400 Speaker 6: Depp is holding one of those pies and it's leaking out, 530 00:32:03,600 --> 00:32:07,720 Speaker 6: It's like, it's very funny. 531 00:32:08,000 --> 00:32:08,600 Speaker 1: It's funny. 532 00:32:08,760 --> 00:32:11,680 Speaker 2: That's it. I almost think was Johnny dip like too dry? 533 00:32:12,080 --> 00:32:13,080 Speaker 2: Is that why? 534 00:32:13,160 --> 00:32:15,360 Speaker 1: Like No, I don't think so. I think he has 535 00:32:15,440 --> 00:32:18,920 Speaker 1: to be I don't think he can play yeah, Like 536 00:32:19,000 --> 00:32:21,240 Speaker 1: she's so comical that like I think he needs to 537 00:32:21,240 --> 00:32:25,160 Speaker 1: play the like the Jacqueline hide of it. But the 538 00:32:25,200 --> 00:32:28,480 Speaker 1: Where's Pies in London are great and just like a 539 00:32:28,480 --> 00:32:33,160 Speaker 1: little priest and all these pieces. But you know, PIERELLI 540 00:32:33,560 --> 00:32:38,160 Speaker 1: really stuck out for me as well that you liked. Yeah, yeah, 541 00:32:38,280 --> 00:32:41,480 Speaker 1: like Sash America and I loved that whole, Like the 542 00:32:41,680 --> 00:32:47,240 Speaker 1: it was very clear to me. The story was very clear, which. 543 00:32:47,040 --> 00:32:49,080 Speaker 7: Is like most important in a movie, I think, I 544 00:32:49,080 --> 00:32:51,760 Speaker 7: mean in general, right, but like in the movie and 545 00:32:52,000 --> 00:32:56,280 Speaker 7: particularly I felt like the revenge Piece was so clear 546 00:32:56,520 --> 00:32:57,520 Speaker 7: for Johnny and like. 547 00:32:57,480 --> 00:33:02,040 Speaker 1: I I knew what he wanted and he knew and 548 00:33:02,120 --> 00:33:04,240 Speaker 1: I was like, he's so close and the stakes were high, 549 00:33:04,240 --> 00:33:06,920 Speaker 1: and they were right, and I felt like driven by 550 00:33:06,960 --> 00:33:10,880 Speaker 1: the story versus by anything else, and so that was successful. 551 00:33:10,880 --> 00:33:13,479 Speaker 1: I thought, yeah, sure too. And I just thought his 552 00:33:13,560 --> 00:33:17,120 Speaker 1: perform Sasha baron Koine's performance was really good along with Johnny's, 553 00:33:17,120 --> 00:33:19,280 Speaker 1: and so I think they complimented each other really nicely. 554 00:33:19,440 --> 00:33:22,640 Speaker 2: This feels like Harry Potter and Lames Mashup, I. 555 00:33:22,640 --> 00:33:26,440 Speaker 1: Know, so weird, right, Yes, definitely, definitely. So it's just 556 00:33:26,520 --> 00:33:29,800 Speaker 1: very strange. It made me want to watch The Miz, 557 00:33:31,440 --> 00:33:36,640 Speaker 1: which I famously hate. Interesting I hated that movie. I 558 00:33:36,640 --> 00:33:40,040 Speaker 1: don't think I hated it as much as Here's the Thing, though, 559 00:33:40,120 --> 00:33:43,360 Speaker 1: lame Is is one of my favorite musicals. So like, put 560 00:33:43,360 --> 00:33:45,880 Speaker 1: a paperbag over my hat with one eye and I'll. 561 00:33:45,800 --> 00:33:49,240 Speaker 2: Watch this movie and really, like you have experience of 562 00:33:49,240 --> 00:33:52,640 Speaker 2: seeing these on stage. I haven't seen any of these 563 00:33:52,640 --> 00:33:56,200 Speaker 2: things on stage. So I think when my first interaction 564 00:33:56,600 --> 00:33:59,280 Speaker 2: with le Miz is seeing the movie. 565 00:33:59,000 --> 00:34:02,960 Speaker 1: No, yeah, fair, No, it's not fair, that's Chicago, because 566 00:34:03,000 --> 00:34:05,560 Speaker 1: that movie's I feel like that's a lot of people though, yeah, 567 00:34:05,640 --> 00:34:08,760 Speaker 1: that's the truth. Is like a lot of people's introduction 568 00:34:08,840 --> 00:34:10,840 Speaker 1: to these are the movies, and like that to me 569 00:34:11,000 --> 00:34:13,160 Speaker 1: is like, oh, we need to get it right then. 570 00:34:13,280 --> 00:34:15,719 Speaker 2: Exactly, that's what That's what sucks because then it makes 571 00:34:15,719 --> 00:34:17,080 Speaker 2: me mean, like I don't ever want to go see 572 00:34:17,080 --> 00:34:18,080 Speaker 2: the Stage show because. 573 00:34:18,920 --> 00:34:23,239 Speaker 1: Yeah, like that movie was terrible. I what did you 574 00:34:23,280 --> 00:34:26,080 Speaker 1: think of the End of the Woods Musical, the movie 575 00:34:26,200 --> 00:34:28,879 Speaker 1: you remember? I remember I auditioned for it. 576 00:34:29,360 --> 00:34:29,840 Speaker 5: Yeah. 577 00:34:30,280 --> 00:34:33,520 Speaker 1: I was curious because I didn't that similar time. Yeah, okay, 578 00:34:33,800 --> 00:34:34,160 Speaker 1: that one. 579 00:34:34,200 --> 00:34:37,080 Speaker 2: I thought they really did not get right. We're gonna 580 00:34:37,080 --> 00:34:37,880 Speaker 2: watch it though. 581 00:34:39,719 --> 00:34:40,839 Speaker 1: We're definitely gonna watch it. 582 00:34:40,800 --> 00:34:42,799 Speaker 2: Because again, I haven't seen that since it came out. 583 00:34:46,520 --> 00:34:48,799 Speaker 1: Hey, it's Wilfred Dell and Sabrina Bryan. 584 00:34:48,680 --> 00:34:51,759 Speaker 8: From the podcast Magical Rewind and we have a very 585 00:34:51,760 --> 00:34:54,720 Speaker 8: special guest on this week's episode. He's the mastermind behind 586 00:34:54,760 --> 00:34:58,480 Speaker 8: some of your favorite movies like hocus Pocus, Newsy's, The Descendants, 587 00:34:58,560 --> 00:35:01,480 Speaker 8: and of course High School mus Yes, it is the 588 00:35:01,480 --> 00:35:05,160 Speaker 8: one and only a living legend director Kenny or Tega. 589 00:35:05,320 --> 00:35:07,759 Speaker 9: We sit down with Kenny to talk about his incredible 590 00:35:07,800 --> 00:35:11,040 Speaker 9: career and the legacy he's created with his choreography and films. 591 00:35:11,239 --> 00:35:13,239 Speaker 2: You seriously will not want to miss this one. 592 00:35:13,320 --> 00:35:16,759 Speaker 9: Listen to Magical Rewind on the iHeartRadio app, Apple podcasts 593 00:35:16,800 --> 00:35:18,279 Speaker 9: or wherever you get your podcasts. 594 00:35:18,360 --> 00:35:22,000 Speaker 10: Hi, it's Jenny Garth, host of the I Choose Me podcast. 595 00:35:22,400 --> 00:35:25,840 Speaker 10: This week, I'm so excited to welcome my friend Gabrielle 596 00:35:25,880 --> 00:35:29,640 Speaker 10: carteris the Andrea Zuckerman from Beverly Hills nine o two 597 00:35:29,680 --> 00:35:30,759 Speaker 10: on OHO to the pod. 598 00:35:31,120 --> 00:35:32,520 Speaker 5: We're choosing to get real. 599 00:35:32,800 --> 00:35:35,640 Speaker 6: I applied to the networks about my age and contracts. 600 00:35:35,719 --> 00:35:37,719 Speaker 5: They never would have hired me if they had known 601 00:35:37,760 --> 00:35:39,840 Speaker 5: my age. We're choosing to be honest. 602 00:35:40,040 --> 00:35:41,680 Speaker 1: She looked at me, and she said, this business is 603 00:35:41,719 --> 00:35:43,040 Speaker 1: about mask which you have. 604 00:35:43,080 --> 00:35:45,680 Speaker 5: Neither of, and we're choosing to get nostalgic. 605 00:35:45,880 --> 00:35:48,720 Speaker 10: Listen to I Choose Me on the iHeartRadio app, Apple 606 00:35:48,760 --> 00:35:53,760 Speaker 10: podcasts or wherever you get your podcasts. 607 00:35:54,920 --> 00:35:56,759 Speaker 1: Okay, let's talk about some of the music. 608 00:35:58,719 --> 00:36:00,279 Speaker 2: Oh well, okay, if we're gonna talk with me music 609 00:36:00,320 --> 00:36:03,760 Speaker 2: real quick, let me get on my high horse again 610 00:36:03,880 --> 00:36:06,440 Speaker 2: and talk about how they recorded them vocals. 611 00:36:07,040 --> 00:36:07,799 Speaker 1: Oh yeah, tell me. 612 00:36:09,239 --> 00:36:11,680 Speaker 2: It's like, guys, what are we doing here? There's so 613 00:36:11,800 --> 00:36:17,560 Speaker 2: much tune on their voices. Yeah, where again, we got 614 00:36:17,560 --> 00:36:19,279 Speaker 2: to figure something out. This is two thousand and seven, 615 00:36:19,320 --> 00:36:22,720 Speaker 2: so it's almost twenty years ago. Like, I get it, yeah, 616 00:36:22,920 --> 00:36:25,400 Speaker 2: but you know they it sounds like they pre recorded 617 00:36:25,440 --> 00:36:26,480 Speaker 2: everything is what it sounds like. 618 00:36:28,040 --> 00:36:29,680 Speaker 1: But that's definitely right. 619 00:36:29,880 --> 00:36:33,560 Speaker 2: Yeah, But then again that creates like the Glee thing 620 00:36:33,760 --> 00:36:36,919 Speaker 2: where you have a vocal that sounds vastly different than 621 00:36:37,480 --> 00:36:39,719 Speaker 2: the talking, which is fine if that's what we're doing, 622 00:36:39,760 --> 00:36:43,560 Speaker 2: that's what we're doing, right, But then you have things 623 00:36:43,600 --> 00:36:49,360 Speaker 2: like Wicked where they're singing live and again because the 624 00:36:49,400 --> 00:36:51,719 Speaker 2: mics aren't good enough if how we're recording it, there 625 00:36:51,760 --> 00:36:56,040 Speaker 2: is still a difference in tone of how we're doing this, 626 00:36:56,080 --> 00:36:59,719 Speaker 2: where it just and they're all getting pitch ficks after 627 00:36:59,719 --> 00:37:02,880 Speaker 2: the fact regardless. Right, So I'm like, I don't know 628 00:37:02,880 --> 00:37:05,200 Speaker 2: what the solution is because it all sounds not great 629 00:37:05,239 --> 00:37:09,160 Speaker 2: to me, and like you have these people start singing 630 00:37:09,200 --> 00:37:11,600 Speaker 2: and you're singing. I think that I think the issue 631 00:37:11,600 --> 00:37:15,040 Speaker 2: is especially with something like sound time, Like if you're 632 00:37:15,080 --> 00:37:17,040 Speaker 2: doing music like we were doing on Glee, like pop 633 00:37:17,120 --> 00:37:19,040 Speaker 2: music or rock music, I think it's easier to get 634 00:37:19,040 --> 00:37:23,680 Speaker 2: away with doing autotune or melodine because like that's how 635 00:37:23,719 --> 00:37:28,359 Speaker 2: those songs actually sound. Anyway, when you are doing musical theater, right, 636 00:37:28,440 --> 00:37:30,880 Speaker 2: when all of a sudden you have there's a a 637 00:37:31,239 --> 00:37:33,960 Speaker 2: quality in the recording and you may not even realize 638 00:37:33,960 --> 00:37:35,960 Speaker 2: that when you're listening to it. But like Glee, we 639 00:37:35,960 --> 00:37:38,920 Speaker 2: didn't use autotune. We used melodine, which is more precise, 640 00:37:38,960 --> 00:37:41,239 Speaker 2: but there is a vocal quality. 641 00:37:41,400 --> 00:37:43,640 Speaker 1: Yeah, sound tone like a yeah. 642 00:37:43,840 --> 00:37:46,080 Speaker 2: So like you know, when like T Pain uses auto tune, 643 00:37:46,080 --> 00:37:49,480 Speaker 2: he's intentionally using it that heavily, so it sounds like that. 644 00:37:49,560 --> 00:37:52,480 Speaker 2: But when you use it on different like let's say 645 00:37:52,480 --> 00:37:54,640 Speaker 2: that's turned up to one hundred, right for T Pain. 646 00:37:55,120 --> 00:37:57,480 Speaker 2: You can use it anywhere from one hundred to one percent. 647 00:37:58,320 --> 00:38:00,879 Speaker 2: So there is a wide range of how these things 648 00:38:00,920 --> 00:38:05,520 Speaker 2: can sound, and like in this movie, it was like 649 00:38:05,600 --> 00:38:08,000 Speaker 2: on some of them it just almost sounds electronic. When 650 00:38:08,080 --> 00:38:13,439 Speaker 2: you start robotic robotic, like why why just do another take? 651 00:38:13,640 --> 00:38:15,840 Speaker 2: Get the vocal better. You don't have to use it 652 00:38:15,840 --> 00:38:17,960 Speaker 2: as much because then it takes you out of it 653 00:38:18,000 --> 00:38:21,400 Speaker 2: and then they go back to speaking and dialogue sometimes 654 00:38:21,400 --> 00:38:25,479 Speaker 2: doesn't need to sound electronic. Yeah anyway, Okay, I'm done. 655 00:38:25,520 --> 00:38:27,960 Speaker 2: That's why I rant interesting. But that's not even just 656 00:38:28,000 --> 00:38:31,880 Speaker 2: for this movie. That's for literally every musical movie maybe 657 00:38:31,920 --> 00:38:32,800 Speaker 2: except Chicago. 658 00:38:35,120 --> 00:38:37,600 Speaker 1: Well lame as they did live But are you talking 659 00:38:37,640 --> 00:38:44,200 Speaker 1: about like afterwards. Okay, all right, so the music, what 660 00:38:44,920 --> 00:38:47,239 Speaker 1: were the standouts for you? We can't create all these performances. 661 00:38:47,280 --> 00:38:54,480 Speaker 1: There's about a hundred, but I really liked. Uh. Obviously, 662 00:38:54,480 --> 00:38:55,880 Speaker 1: Pretty Women was a highlight. 663 00:38:56,040 --> 00:38:59,200 Speaker 2: Pretty Women was excellent. I loved I loved Pretty Women. 664 00:39:00,440 --> 00:39:04,520 Speaker 1: Joanna is A is a fan favorite. It is overdone, 665 00:39:04,560 --> 00:39:08,480 Speaker 1: but a fan favorite for lots of young men in 666 00:39:08,520 --> 00:39:09,719 Speaker 1: the musical theater world. 667 00:39:09,760 --> 00:39:12,080 Speaker 2: I thought Perelli's Miracle Elixir was also really great. 668 00:39:12,680 --> 00:39:17,759 Speaker 1: Mmmmmmm yeah. Jamie Campbell Bauer very good. 669 00:39:17,880 --> 00:39:21,920 Speaker 2: Yeah, he's always good. Also, shout out to him for 670 00:39:22,040 --> 00:39:25,760 Speaker 2: like carving out a full lane and like dark things. 671 00:39:26,840 --> 00:39:30,960 Speaker 2: Everything he's in is dark, Like I see what you mean. 672 00:39:31,040 --> 00:39:34,440 Speaker 2: Like literally everything he's in it has the same darkness 673 00:39:34,560 --> 00:39:38,399 Speaker 2: to it. But he's like this blonde pretty boy. 674 00:39:38,560 --> 00:39:39,120 Speaker 1: We love that. 675 00:39:39,200 --> 00:39:40,560 Speaker 2: We love that he's a sweet man. 676 00:39:42,480 --> 00:39:44,680 Speaker 1: And then obviously not while I'm around, which we love. 677 00:39:44,840 --> 00:39:50,239 Speaker 2: Oh it's beautiful. Yeah, I mean I liked so much 678 00:39:50,280 --> 00:39:52,279 Speaker 2: of this music. I honestly couldn't even tell you which 679 00:39:52,280 --> 00:39:53,040 Speaker 2: song is which song? 680 00:39:54,400 --> 00:39:57,480 Speaker 1: Yeah, well that's it right. The whole thing felt very memodic. 681 00:39:58,000 --> 00:40:01,040 Speaker 2: It all flows one into the other. And yes, yes, 682 00:40:01,120 --> 00:40:04,280 Speaker 2: there's nothing that stuck out to me. I was like, ugh, next, 683 00:40:05,400 --> 00:40:08,480 Speaker 2: hm hmm, interesting did you not. 684 00:40:08,440 --> 00:40:14,719 Speaker 1: Feel some of them? Maybe it's also that I've heard 685 00:40:14,800 --> 00:40:17,759 Speaker 1: these so many times, but I'm like, not this song again, right, 686 00:40:19,120 --> 00:40:21,439 Speaker 1: like Greenfinch and len It Burgh. I just like, I've 687 00:40:21,480 --> 00:40:25,040 Speaker 1: heard this one hundred times. It's it's overdone. Like all 688 00:40:25,120 --> 00:40:27,560 Speaker 1: these songs are overdone. So I just feel like sometimes 689 00:40:27,600 --> 00:40:29,200 Speaker 1: I hear them over and over again, I'm like, oh, 690 00:40:29,360 --> 00:40:31,759 Speaker 1: not this overdone song. It's kind of like it's a 691 00:40:31,800 --> 00:40:34,520 Speaker 1: little similar, but not for me personally, but like on 692 00:40:34,560 --> 00:40:37,000 Speaker 1: my own You're like, I've heard this one hundred times, right, 693 00:40:37,080 --> 00:40:39,920 Speaker 1: like you know the song so anyway, but. 694 00:40:40,239 --> 00:40:42,560 Speaker 2: As a little priest when she's talking about actually making 695 00:40:42,560 --> 00:40:46,720 Speaker 2: the the meat pies for the first time with the humans. 696 00:40:46,800 --> 00:40:48,880 Speaker 1: Oh yes, yes, yes, a little priest. 697 00:40:49,200 --> 00:40:51,760 Speaker 2: That was great. I thought that was really priest. 698 00:40:52,000 --> 00:40:54,600 Speaker 1: That's her big song, like you know, her famous song. 699 00:40:55,000 --> 00:40:57,320 Speaker 2: Yes, really fun. 700 00:40:57,440 --> 00:40:59,959 Speaker 1: Go look and watch Angela and very do that. Yes, 701 00:41:00,880 --> 00:41:08,600 Speaker 1: it's perfect. Let's do some tarty cakes. Okay, cringe moments. 702 00:41:08,840 --> 00:41:09,320 Speaker 9: I mean. 703 00:41:10,800 --> 00:41:14,560 Speaker 1: This is very heavy on a lot of things that 704 00:41:14,600 --> 00:41:18,160 Speaker 1: are just you know, there's rape heavy. Yeah, heavy, like 705 00:41:18,239 --> 00:41:19,000 Speaker 1: that was crazy. 706 00:41:19,080 --> 00:41:21,279 Speaker 2: A sex party at the Judge's house and then he 707 00:41:21,400 --> 00:41:23,960 Speaker 2: just rapes this woman with everybody watching. 708 00:41:24,920 --> 00:41:26,080 Speaker 1: Yeah, I would want revenge. 709 00:41:26,600 --> 00:41:28,480 Speaker 2: That was the most disturbing part of the entire thing, 710 00:41:28,880 --> 00:41:32,560 Speaker 2: Like her screams Now, that was really like, oh, I 711 00:41:32,640 --> 00:41:33,680 Speaker 2: was expecting murder. 712 00:41:34,160 --> 00:41:34,680 Speaker 1: We went there. 713 00:41:37,000 --> 00:41:38,640 Speaker 2: But it goes with the theme of the movie, like 714 00:41:38,680 --> 00:41:42,160 Speaker 2: everybody's bad. Everybody it's still cringing. 715 00:41:42,280 --> 00:41:45,960 Speaker 1: Yeah, dance move. I don't know, there wasn't anything. 716 00:41:46,200 --> 00:41:46,960 Speaker 2: It was the shaving. 717 00:41:47,760 --> 00:41:50,960 Speaker 1: Yeah, yeah, yeah, yeah, the shaving of it all. That 718 00:41:51,280 --> 00:41:54,120 Speaker 1: song not while I'm around, I think. 719 00:41:54,040 --> 00:41:56,640 Speaker 2: Yeah, that song is just that comes on. You're like 720 00:41:57,239 --> 00:41:59,280 Speaker 2: that melody feels like you've known it for forever. 721 00:42:00,160 --> 00:42:03,120 Speaker 1: Yeah. Yeah, And even if it's overdone, it's still Yeah, 722 00:42:03,280 --> 00:42:08,360 Speaker 1: it's like no one is alone. It's that that sentiment. Uh, 723 00:42:08,680 --> 00:42:12,879 Speaker 1: that's performance by a prop obviously, the ras, there's quite 724 00:42:12,920 --> 00:42:15,680 Speaker 1: a few, the razors, the meat pie, I. 725 00:42:15,600 --> 00:42:21,279 Speaker 2: Think all of the dead body parts. Carter opens the 726 00:42:21,400 --> 00:42:24,319 Speaker 2: chest and sees Sasha Baron Cohen dead and she's like, 727 00:42:24,360 --> 00:42:26,359 Speaker 2: oh my god, what is wrong with you? Then he says, well, 728 00:42:26,400 --> 00:42:28,120 Speaker 2: he threatened the black Man and she's like, oh, well 729 00:42:28,120 --> 00:42:29,239 Speaker 2: in that case and then opens it. 730 00:42:29,200 --> 00:42:35,880 Speaker 1: Again or the hand of the case. Yeah, best line. 731 00:42:37,120 --> 00:42:41,279 Speaker 2: It's not even necessarily a line, but it's that moment 732 00:42:41,360 --> 00:42:46,040 Speaker 2: where they showed Judge Turpin sentencing somebody to death by hanging, 733 00:42:46,080 --> 00:42:49,200 Speaker 2: and it's the little boy and they're leaving. It's like, 734 00:42:49,200 --> 00:42:51,440 Speaker 2: what did did he actually do it? Like, well, hasn't 735 00:42:51,440 --> 00:42:52,520 Speaker 2: everyone done something too. 736 00:42:57,000 --> 00:43:04,240 Speaker 1: Juan, I've never had dreams, only nightmares. Chilling performance MVP, 737 00:43:05,719 --> 00:43:13,480 Speaker 1: that's actually difficult. I'm going with Alan Rickman. I mean, 738 00:43:13,520 --> 00:43:16,320 Speaker 1: obviously Johnny and Helena. 739 00:43:17,239 --> 00:43:20,080 Speaker 2: Yeah, I mean they really did you know. 740 00:43:21,520 --> 00:43:24,200 Speaker 1: They did that? That's tough. Yeah, it's a it's a 741 00:43:24,200 --> 00:43:25,960 Speaker 1: big load to carry. 742 00:43:26,680 --> 00:43:29,839 Speaker 2: Yeah, they and they acted out of it. 743 00:43:30,360 --> 00:43:30,640 Speaker 1: Yeah. 744 00:43:30,680 --> 00:43:33,279 Speaker 2: So I don't know, I don't think there were really 745 00:43:33,280 --> 00:43:37,960 Speaker 2: any weak points in this cast. That's hard. Yeah, I'll 746 00:43:37,960 --> 00:43:41,040 Speaker 2: go Johnny and Helena. Okay, should we found a TikTok? Jenna? 747 00:43:41,680 --> 00:43:42,359 Speaker 1: Okay? 748 00:43:42,920 --> 00:43:44,800 Speaker 2: This is great. And there's a whole series of videos. 749 00:43:45,160 --> 00:43:52,640 Speaker 2: So Sam Miski's oh my God post a video of 750 00:43:52,680 --> 00:43:55,880 Speaker 2: when twelve SIU Silvesters run to make their karaoke reservation 751 00:43:55,960 --> 00:43:59,480 Speaker 2: and everyone in subway cheers them on. It is so good, 752 00:44:00,120 --> 00:44:05,480 Speaker 2: has almost a million likes, has millions of views, and 753 00:44:05,520 --> 00:44:11,320 Speaker 2: then it's them running underneath that and there's se Sylvester 754 00:44:11,440 --> 00:44:14,000 Speaker 2: costumes and it shows when I actually there's one dressed 755 00:44:14,000 --> 00:44:17,920 Speaker 2: as Will and they actually get to karaoke and they're 756 00:44:17,920 --> 00:44:22,560 Speaker 2: singing to each other. It is wild and I wish 757 00:44:22,640 --> 00:44:24,360 Speaker 2: I saw that just run past me. I don't know 758 00:44:24,360 --> 00:44:29,000 Speaker 2: what I would do, but these people clearly are not well, 759 00:44:29,760 --> 00:44:30,440 Speaker 2: but I think. 760 00:44:30,280 --> 00:44:38,319 Speaker 1: That, Oh my gosh, so good. I would love to 761 00:44:38,320 --> 00:44:43,000 Speaker 1: see twelve s Sylvesters running through the subway. Yeah. Any okay, 762 00:44:44,160 --> 00:44:46,200 Speaker 1: coming up you guys. So your assignment for next week 763 00:44:46,440 --> 00:44:50,680 Speaker 1: is one of his mine came WHOA? What's one of 764 00:44:50,840 --> 00:44:56,200 Speaker 1: mine and Kevin's favorite movie musicals of all time? Uh? 765 00:44:56,400 --> 00:45:00,439 Speaker 1: It is the one, the only Mula Rush. I'm could 766 00:45:00,480 --> 00:45:00,880 Speaker 1: not be more. 767 00:45:01,120 --> 00:45:02,840 Speaker 2: I don't know why this feels like a Christmas movie 768 00:45:02,840 --> 00:45:03,040 Speaker 2: to me. 769 00:45:04,440 --> 00:45:07,640 Speaker 1: It does, doesn't it It's not though it's just her 770 00:45:07,640 --> 00:45:09,320 Speaker 1: red dress, but I feel. 771 00:45:09,080 --> 00:45:11,520 Speaker 2: Like it's the lights. There's winter at some point. 772 00:45:11,400 --> 00:45:14,560 Speaker 1: In it, right, it doesn't matter. Yeah, well, it's all 773 00:45:15,000 --> 00:45:17,120 Speaker 1: like the Mulon Rouge is in lights, but it's you 774 00:45:17,160 --> 00:45:19,840 Speaker 1: know what, It's special and it feels appropriate. It's like 775 00:45:19,880 --> 00:45:22,560 Speaker 1: a little Christmas gift to ourselves that we're watching Mulon Roue. 776 00:45:22,600 --> 00:45:25,600 Speaker 1: So you guys, go watch Mulan Rouge. It's it's the 777 00:45:25,600 --> 00:45:26,440 Speaker 1: one the only. 778 00:45:26,880 --> 00:45:30,920 Speaker 2: Made me gay. You and McGregor and Mulan Rouge made 779 00:45:30,920 --> 00:45:36,799 Speaker 2: me gay. It's his fault. I caught it. I caught 780 00:45:36,800 --> 00:45:37,560 Speaker 2: the gay watching this. 781 00:45:38,320 --> 00:45:42,600 Speaker 1: Oh my gosh, no better film, all right, you guys, 782 00:45:42,600 --> 00:45:45,239 Speaker 1: So come back and watch that with us, or talk 783 00:45:45,280 --> 00:45:47,440 Speaker 1: through it with us and watch it beforehand. 784 00:45:47,520 --> 00:45:50,560 Speaker 2: Yeah, and that's what you really missed. Thanks for listening, 785 00:45:50,840 --> 00:45:53,360 Speaker 2: and follow us on Instagram at and that's what you 786 00:45:53,440 --> 00:45:55,680 Speaker 2: really miss pod. Make sure to write us a review 787 00:45:55,760 --> 00:45:57,879 Speaker 2: and leave us five stars. See you next time.