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Speaker 1: It's time to refresh your yard during Spring Backyard Days

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Speaker 1: at the Home Depot. Get low prices guaranteed on Propang

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Speaker 1: dring lights that bring it all together. Shop Spring Backyard

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Speaker 1: Days for seven days at the Home Depot now through

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Speaker 1: May sixth, exclusion splas to home depot dot com Slash

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Speaker 1: price match for details.

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Speaker 2: This summer, serve up the cookout classics, craft mayo and dressing.

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Speaker 2: Toss green salads with delicious ranch dressing or Zesti Italian

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Speaker 2: serve smooth, cravably creamy potato salads with mayo. We all

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Speaker 2: know it's not a cookout withoutcraft.

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Speaker 3: It's very difficult to keep the line between the past

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Speaker 3: and the press. You leave someone out of the past

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Speaker 3: and tuned, take possession of a living being.

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Speaker 4: We may be through with the past, but the past

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Speaker 4: is not through with us.

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Speaker 5: Welcome to the next Picture Show. A Movie of the

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Speaker 5: Week podcast devoted to a classic film and how it's

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Speaker 5: shaped our thoughts on a recent release. I'm Tasha Robinson

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Speaker 5: here with Genevieve Koski.

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Speaker 6: Scott Debias, Keith Pipps here on.

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Speaker 5: The Next Picture Show. We believe that no film exists

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Speaker 5: in a vacuum, and that all culture is more interesting

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Speaker 5: in context. So every other week we get together to

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Speaker 5: talk over a classic film and consider how it relates

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Speaker 5: to a current movie. This week, we're looking at two

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Speaker 5: very different movies about protagonists with the interior grade amnesia.

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Speaker 5: One's a cartoon fish and one's a tattooed man, but

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Speaker 5: both of them have learned to live with memory loss. Keith,

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Speaker 5: I have a polaroid of you here that says I

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Speaker 5: should not believe your lives, but it also says I

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Speaker 5: should ask you to tell us what we're up to

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Speaker 5: this week.

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Speaker 7: Yeah, I'm going to burn that as soon as you

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Speaker 7: aren't looking, Tasha. This week we are inspired by the

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Speaker 7: new animated Pixar movie Finding Dory, a sequel to one

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Speaker 7: of the studio's all time biggest hits, and like two

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Speaker 7: thousand and three is Finding Nemo. It's a story of

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Speaker 7: a fish crossing the ocean looking for a missing family,

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Speaker 7: but this time around. The protagonist is Ellen DeGeneres's fish

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Speaker 7: character Dorry, who's incapable of making new memories and keeps

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Speaker 7: losing track of what she's doing. The conceit of the

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Speaker 7: film is inscapably similar to Christopher Nolan's breakthrough feature Memento,

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Speaker 7: about a man who also can't make new memories, which

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Speaker 7: doesn't stop him from trying to hunt down his wife's murderer.

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Speaker 7: Nolan's innovative script tells the story backward, so we know

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Speaker 7: how it ends long before we find out how to

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Speaker 7: interpret that ending. It's more formally complicated and challenging than

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Speaker 7: Finding Dory, which is more directly aimed at kids, even

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Speaker 7: than most Pixar films, but both movies use the memory

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Speaker 7: conceit to hide information from the audience until the story

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Speaker 7: needs it, and both use it as a theme that

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Speaker 7: lets the filmmakers think about identity and the stories we

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Speaker 7: tell ourselves to survive. Right Tasha, Tasha.

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Speaker 5: Hmmm, Oh, I'm sorry, I forgot where we were talking about.

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Speaker 5: I just need to look at my tattoos for a sec. Okay,

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Speaker 5: this one says host two part podcast, Oh crap. This

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Speaker 5: one says, be less flippant about beloved movies. It's hard

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Speaker 5: not to make the occasional memory joke when dealing with

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Speaker 5: two films that are sometimes very ryan funny about what

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Speaker 5: their main characters can and can't remember. But rest assured,

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Speaker 5: we're also going to look at the dramatic side of

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Speaker 5: these stories and how they move our emotions while they're

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Speaker 5: engaging our intellects. We all need mirrors to remind ourselves

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Speaker 5: who we are, and sometimes films serve as that mirror.

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Speaker 8: Natalie, you don't remember me.

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Speaker 3: I'm sorry I should have explained.

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Speaker 8: I have this k you did explain, Lenny.

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Speaker 3: Please call me Leonard. My wife called me Lenny. Yeah,

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Speaker 3: I know you told me. Well, then I probably told

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Speaker 3: you how much I hated it. Yeah, am I taking

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Speaker 3: your classes off? It's hard for me to good.

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Speaker 5: Thanks?

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Speaker 3: So you have information for me?

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Speaker 8: Is that what your little note says? Yeah, must be

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Speaker 8: tough living your life according to a couple of scraps

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Speaker 8: of paper. You mix your laundry list with your grocery

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Speaker 8: list and you'll end up beating your underway for breakfast.

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Speaker 8: I guess that's why you have those freaky tattoos.

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Speaker 3: Yeah, it's tough, but it's almost impossible. Look I'm sorry,

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Speaker 3: I don't remember you. It's nothing personal. I do have.

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Speaker 8: Information for you. You gave me a license plate number.

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Speaker 8: Had my friend at DMV trace it. Guess what name

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Speaker 8: came up? John Edward Gammel, John g.

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Speaker 3: Do you know him?

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Speaker 8: No? But his face on his driver's license looked really familiar.

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Speaker 8: I think he think he's been in the bar. Maybe

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Speaker 8: here's a copy of his licenses, registration photo and all.

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Speaker 8: Are you sure you want this?

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Speaker 3: Have I told you what this man did? Yeah? Well,

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Speaker 3: and you shouldn't have to ask.

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Speaker 8: But even if you get revenge, you're not going to

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Speaker 8: remember it. You're not even going to know that it happened.

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Speaker 3: My wife deserves vengeance, doesn't make any difference with her.

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Speaker 3: I know about it.

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Speaker 9: Just because there are things I don't remember doesn't make

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Speaker 9: my actions meaningless.

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Speaker 3: The world doesn't just disappear when you close your eyes,

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Speaker 3: does it.

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Speaker 5: Back in the late nineteen nineties, Christopher Nolan and his

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Speaker 5: brother Jonathan were on a road trip together when Jonathan

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Speaker 5: told Christopher about a short story he was working on.

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Speaker 5: It was about a man named Earl who had an

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Speaker 5: tiro grad M and kept himself going with post it

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Speaker 5: notes around his hospital room, giving himself not just a schedule,

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Speaker 5: but a purpose in life. Nolan says he immediately wanted

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Speaker 5: to make a film version of the story, and just

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Speaker 5: like his brother, he wanted to tell it in first person.

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Speaker 5: That turned out to be a complicated process. Momento is

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Speaker 5: the story of a man who can't make new memories

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Speaker 5: and responds by defining himself in five minute increments, consciously

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Speaker 5: manipulating the future version of himself by leading himself clues

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Speaker 5: that he knows will lead to specific ends. It's the

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Speaker 5: story of an amateur detective named Leonard trying to track

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Speaker 5: down the man who murdered his wife without any knowledge

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Speaker 5: of the things he's already done. In pursuit of that goal,

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Speaker 5: Nolan uses a variety of camera tricks to get us

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Speaker 5: into Leonard's head, but above all, he tells the story

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Speaker 5: backwards so the audience can't leap too far ahead of Leonard.

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Speaker 5: In the movie, the present is all Leonard has, but

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Speaker 5: the past is what makes it surprising and important, And

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Speaker 5: we're on a journey that keeps us with him, even

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Speaker 5: as we're going somewhere he can't go, and learning things

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Speaker 5: about him he'll never know. Memento wasn't Nolan's first film.

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Speaker 5: In nineteen ninety eight, he released the Indie movie Following,

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Speaker 5: one of the classic indie success stories, was made for

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Speaker 5: six thousand dollars by shooting with volunteers on weekends when

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Speaker 5: they were available, working mostly with available light, and shooting

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Speaker 5: in friends' homes. But the film, which also has a

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Speaker 5: nonlinear structure in noir roots, won awards at festivals and

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Speaker 5: picked up a sizeable critical following. In retrospect, it looks

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Speaker 5: like an inexpensive practice run for a Memento and for

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Speaker 5: the rest of Nolan's career, not just in terms of

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Speaker 5: letting Nolan learn the filmmaking process, but in terms of

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Speaker 5: figuring out whether audiences can keep up with a film

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Speaker 5: story they have to mentally assemble like a puzzle, and

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Speaker 5: Momento is a pretty elaborate puzzle. Back in its day,

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Speaker 5: several prominent critics, including Roger Ebert, praised it, but said

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Speaker 5: it had no rewatch value because viewers are meant to

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Speaker 5: be confused and understanding everything that's going on makes the

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Speaker 5: film unsatisfying. An awful out of Sinophiles would disagree at

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Speaker 5: this point, given how often we've all returned to Memento,

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Speaker 5: trying to unpack all the little threads going on, and

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Speaker 5: especially the question of who knew what at what point

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Speaker 5: in time and whether we can rely on anything. They say.

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Speaker 5: There's a visceral pleasure to Memento that comes from its

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Speaker 5: many big surprises, but actual film as well, when where

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Speaker 5: viewers have to juggle all the new facts as they

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Speaker 5: emerge to contradict the old facts. Leonard prides himself on

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Speaker 5: being able to see the truth in people's faces, but

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Speaker 5: as we watch the movie and see how far that

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Speaker 5: assessment is from the truth, we wind up in his

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Speaker 5: shoes again, as we try to decide whether we can

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Speaker 5: discern what's really going on in a story where literally

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Speaker 5: everyone is lying. So, guys, what do you normally remember

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Speaker 5: about Memento from viewing to viewing? What sticks with you?

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Speaker 5: And what do you have to rediscover because you forget

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Speaker 5: every time you watch it.

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Speaker 7: I hadn't seen this film in probably a decade at

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Speaker 7: this point, maybe even a little longer, and I'm naturally forgetful,

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Speaker 7: even if movies I really like. So my doory like

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Speaker 7: qualities allow me to rediscover stuff as I watched it,

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Speaker 7: but I always forget the endgame I mean, for which

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Speaker 7: is weird to say about a movie that starts at

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Speaker 7: the end and you know where it's going. But I

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Speaker 7: always forget why we're in spoiler spoiler friendly territory.

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Speaker 5: I mean, absolutely everything about this movie is a spoiler.

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Speaker 5: Like the whole movie is just a series of spoilers.

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Speaker 5: So we're gonna have to talk about the ending, which

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Speaker 5: is the beginning, right, So yeah.

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Speaker 10: I can't imagine anyone would listen to this podcast without

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Speaker 10: having watched Memento. Like that, there be no listen to.

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Speaker 6: This podcast if you've not seen Memento.

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Speaker 7: I remember when he kills Teddy. It's not what we

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Speaker 7: think it is, but I forget exactly what it is.

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Speaker 7: So it was a pleasure in that sense. It was

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Speaker 7: kind of a pleasure to forget it and remember it again.

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Speaker 10: Keith, I'm glad to hear you say that you didn't

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Speaker 10: really remember a lot of the specifics, because I didn't either.

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Speaker 10: It's I haven't seen this since two thousand and one.

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Speaker 10: I saw it in a class in my freshman year

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Speaker 10: in college, and I wrote a paper on it that

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Speaker 10: was so good that the teacher read it aloud at

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Speaker 10: the class. So that you bring it that sounds like something. Remember,

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Speaker 10: I did try to find it, but it is lost

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Speaker 10: to the zip drives of time at this point. But like,

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Speaker 10: I obviously remember the structure and I remember that like

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Speaker 10: no one's motivations are what they say they are, but

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Speaker 10: the actual specifics of who was interacting with whom I

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Speaker 10: had been completely lost to my memory dory. Like it

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Speaker 10: was like watching it for the first time, So that

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Speaker 10: was kind of a pleasure.

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Speaker 7: I remember the griminess of it too, and sort of

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Speaker 7: just the weird sadness to it as wow. But also

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Speaker 7: the scene I always remember. I think it's one I

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Speaker 7: can remember this that you referenced in your review way

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Speaker 7: back in the day, which was am I chasing hammers?

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Speaker 11: He chasing me?

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Speaker 7: It's just it's such a great moment.

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Speaker 11: In this movie.

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Speaker 10: Yeah, we were all kind of shaking our heads touch

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Speaker 10: and when you were talking about Ebert's st review saying

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Speaker 10: it had no rewatch value, because I like, I think

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Speaker 10: this is a quintessential rewatch movie because even once you

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Speaker 10: know how the story unfolds, like you can go back

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Speaker 10: and appreciate the structure and the puzzle aspect of it,

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Speaker 10: and you can get you can glean new things from

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Speaker 10: those performances once you know what those characters' motivations really are,

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Speaker 10: and you can, like I this was the first time

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Speaker 10: I noticed that the transition from black and white to

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Speaker 10: color and where that happens, and how important a moment

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Speaker 10: that is, and that is something that when you are

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Speaker 10: caught up in the story and in the revelation of

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Speaker 10: this mystery, it's easy to miss. So there's a lot

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Speaker 10: of different levels to appreciate this movie on, and I

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Speaker 10: think rewatching it is essential to getting to all those levels.

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Speaker 6: I have to say this because at any time or

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Speaker 6: Roger Ebert, you know, he would occasionally get things terribly wrong.

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Speaker 6: We would say, oh, Roger, so I'm gonna say, I'm

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Speaker 6: gonna say this about Memento. Oh Roger so wrong, like

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Speaker 6: absolutely wrong about this about this movie. Because I think

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Speaker 6: there are other puzzle movies, you know, something like The

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Speaker 6: Usual Suspects, for example, which I think is a reasonably

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Speaker 6: entertaining movie on repeat viewing.

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Speaker 11: But once you get.

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Speaker 6: Past the question of who is Kaiser SoSE, I don't

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Speaker 6: think there's a whole lot to chew on with that film.

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Speaker 11: Tash has given me a look. Just just just pretend it's.

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Speaker 10: Something Roger oh oh, Scott.

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Speaker 6: But Memento for me, play keeps on paying dividends. I mean,

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Speaker 6: for one, the construction of it as Genevieve mentions both both,

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Speaker 6: which is both reverse chronological and chronological, and you know,

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Speaker 6: that keeps you disording into the entire movie. So each

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Speaker 6: new viewing at least brings you closer to comprehending how

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Speaker 6: all the pieces fit together, because this is a movie

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Speaker 6: that is way out in front of the audience, which

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Speaker 6: I love. Beyond that, though, I think there's an emotional

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Speaker 6: grip to Memento that's so powerful. Once you start sorting

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Speaker 6: out when you think about what the film is saying

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Speaker 6: about how we remember and how we process loss and

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Speaker 6: how we just you know, get through the day, I

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Speaker 6: think it becomes a very moving film, you know, quite

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Speaker 6: apart from it being a you know, interesting thing to

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Speaker 6: puzzle over intellectually, I mean, it's also.

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Speaker 5: About how we lie to ourselves, and I like that's

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Speaker 5: one of the really emotional things about it, is that

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Speaker 5: there's so much emotion in the movie coming out of

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Speaker 5: the protagonist, and then when you realize what he's done

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Speaker 5: to like consciously, to create that notion, like to create

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Speaker 5: that emotion in himself. It becomes even more powerful because

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Speaker 5: you realize he's basically manipulating himself into feeling all this pain.

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Speaker 5: I mean, I think Keith had a right when he

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Speaker 5: said it's a grimy movie. It's visually a grimy movie

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Speaker 5: that takes place in like a grimy little town, but

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Speaker 5: it's also emotionally and morally just such a grimy little movie.

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Speaker 6: That's a really good twist too on top of it,

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Speaker 6: because you know, based on his condition that he can

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Speaker 6: be manipulated, and you see him being manipulated, but that

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Speaker 6: additional revelation that he is manipulating himself, I think, just

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Speaker 6: some fairly profound truths about you know, human nature that

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Speaker 6: I think gives the film again, you know, such more

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Speaker 6: profundity than it's you know, I guess gimmicky conceit.

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Speaker 7: What have you expect if you take it all the way,

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Speaker 7: It's sort of the sad conclusion is that the best

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Speaker 7: you can hope for is lie to yourself in a

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Speaker 7: way that it can manipulate yourself into being the person

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Speaker 7: you need to be to accomplish what you want to accomplish.

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Speaker 7: I mean, it's a sad takeaway.

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Speaker 10: And I also kind of appreciate what it says about

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Speaker 10: the futility of revenge, because I've said it before on

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Speaker 10: this podcast. It like, I find revenge tales to be

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Speaker 10: very boring. I just I'm kind of over it as

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Speaker 10: a character motivation. So I like that this movie really

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Speaker 10: plays with the idea of what revenge is and what

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Speaker 10: it does to you and what happens after you attain it.

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Speaker 5: Apparently I've seen this movie a lot more than some

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Speaker 5: people at the table, which surprises me because I'm not

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Speaker 5: a big movie rewatcher. But the thing that sticks most

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Speaker 5: with me from viewing to viewing is, am I chasing

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Speaker 5: this guy? I know he's chasing me? But also just

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Speaker 5: the scene with Carrie Anne Moss as Natalie where where

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Speaker 5: she just openly tells her him, I'm going to manipulate you,

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Speaker 5: I'm going to use you, and you're not going to

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Speaker 5: know any better, and then she does exactly what she

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Speaker 5: just al.

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Speaker 6: The detail of her just of collecting all the pens

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Speaker 6: in the house and.

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Speaker 10: Then just sitting in the car staring at him. That's

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Speaker 10: such good.

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Speaker 5: And it's I mean, it's not the only time in

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Speaker 5: the movie you see her do something really horrible, just

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Speaker 5: kind of to test how functional he is. The thing

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Speaker 5: that I always lose about the movie and that I

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Speaker 5: love so much is the question of the money in

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Speaker 5: the trunk. Like that, for whatever reason, every single time

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Speaker 5: I see the movie again, I miss the detail of

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Speaker 5: the money in the trunk and how it motivates Teddy

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Speaker 5: throughout the entire movie, and I just I guess I

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Speaker 5: want to just give a shout out to Christopher Nolan.

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Speaker 5: He does a lot of like asynchronous films, and a

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Speaker 5: lot of films where you by the end of the movie,

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Speaker 5: you've discovered something that makes you need to revisit the

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Speaker 5: entire film. And I have never seen films like Christopher

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Speaker 5: Nolan's films for needing to go back and rewatch to

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Speaker 5: catch the subtleties of the performances, because the actors know

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Speaker 5: what's going on even when the characters don't. And the

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Speaker 5: stuff that Joe Pantliano does here knowing things that we

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Speaker 5: don't know yet is just so akin to what Christian

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Speaker 5: Bale does in the Prestige with his character. I'm not

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Speaker 5: going to give anything away on that one, but there

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Speaker 5: are things that his character knows throughout the film that

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Speaker 5: we don't find out till the end. But if you

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Speaker 5: watch the film once you know it, you can see

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Speaker 5: it all in his performance, and it's just it's so

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Speaker 5: it's so brilliant. It's not just in the writing that

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Speaker 5: Nolan makes these movies. It's in the way he draws.

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Speaker 5: He draws the actors to understand things before we understand them.

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Speaker 11: Yeah.

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Speaker 6: I saw this movie at the when it premiered at

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Speaker 6: the Toronto Film Festival, which I think it actually it's

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Speaker 6: official premiere that it was at Venice, which is like

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Speaker 6: a week earlier than Toronto. But this thing came out

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Speaker 6: of nowhere. It was in the middle of like a

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Speaker 6: contempor the contemporary World Cinema section or something that following

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Speaker 6: was not a film at that point which anybody anybody knew.

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Speaker 11: People were just sort of it was a buzz magnet basically.

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Speaker 6: But I saw it in a public screening of the film,

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Speaker 6: and the Q and A afterwards was unbelievable because people

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Speaker 6: just like, what what does this mean?

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Speaker 11: What does this mean?

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Speaker 6: They were just asking just practical questions, just trying to

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Speaker 6: sort out their feelings about this movie. And you really

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Speaker 6: felt at that at that moment that it was connecting.

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Speaker 6: You know that that that it was the type of

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Speaker 6: puzzle that people were going to want to kind of

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Speaker 6: come back to and and figure out.

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Speaker 5: I mean sometimes at Q and as those questions can

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Speaker 5: come across as a little belligerent, I mean, did you

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Speaker 5: get the not at all?

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Speaker 6: Like it was like, Okay, what is this? What happened

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Speaker 6: to this person? And because I mean again, the movie

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Speaker 6: is so so far ahead of its audience, and especially

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Speaker 6: if you don't even really know what to expect. I mean,

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Speaker 6: if you don't know what the conceit is, I mean

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Speaker 6: you're really far behind. So at the end, you're really

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Speaker 6: you're just trying to get your head straight.

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Speaker 11: And so that was what it was about.

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Speaker 6: It was about him kind of trying to talk people through,

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Speaker 6: you know, the basic events that happened in the movie.

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Speaker 5: I mean, if you go online and like they'll just

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Speaker 5: look of momento, you'll still find a lot of people

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Speaker 5: asking those questions, you know, what does this mean? How

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Speaker 5: does it fit together? After rewatching it? Do you guys

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Speaker 5: still have lingering questions about about where pieces fit or

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Speaker 5: what things mean? Are there any questions that you still

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Speaker 5: have about who's telling the truth about what?

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Speaker 7: Am I wrong to distrust? Teddy when he says that

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Speaker 7: he did get the guy, that he did kill the guy,

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Speaker 7: that picture is really of him legitimately killing after he

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Speaker 7: killed the person who responsible for his wife's attack.

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Speaker 5: You're certainly not alone in that there is a definite

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Speaker 5: thread of Internet thought that says it is just another lie,

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Speaker 5: it's just another manipulation. For me, I believe it, not

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Speaker 5: because the proof is so like overwhelming, but because it

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Speaker 5: makes the best story. And like, for me, that's really

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Speaker 5: key to what makes Memento so like emotionally like trenching

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Speaker 5: and powerful, is if that's just another lie. It's certainly

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Speaker 5: plausible that it's just another lie, But to me, it

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Speaker 5: would make the story less interesting.

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Speaker 7: Yeah, I'll say it wouldn't make it more interesting for

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Speaker 7: it to be.

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Speaker 10: Yeah, most of my lingering questions have to do with Teddy,

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Speaker 10: and it's it's less that like I don't understand what happened,

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Speaker 10: and more just I want to know more about that,

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Speaker 10: just in terms of his motivation to manipulate Leonard this way, Like,

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Speaker 10: I think the assumption is that, you know, he's a

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Speaker 10: cricket top who's gotten caught up in the drug game

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Speaker 10: and he's using Leonard as a tool to make some

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Speaker 10: extra cash, I guess, but I've never quite been clear

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Speaker 10: on all the logistics of the con And you know,

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Speaker 10: Keith's question about which of his lies are our truths

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Speaker 10: is kind of kind of plays into that. And that's

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Speaker 10: on the point. You're not supposed to know what Teddy's

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Speaker 10: real motivation is because Leonard doesn't know, and he will

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Speaker 10: never know, and even if he did know, he wouldn't remember.

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Speaker 10: But it's just that character is so interesting and I

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Speaker 10: want to know more.

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Speaker 5: Yeah, some part of me does kind of want the

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Speaker 5: like there there have been edited together, like synchronous versions

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Speaker 5: of this movie. One of the like the limited edition

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Speaker 5: DVD had a version of the movie like cut together

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Speaker 5: in chronological order, and I've never seen it. It doesn't

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Speaker 5: interest me much.

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Speaker 7: I watched about forty minutes seven and it's really boring.

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Speaker 7: It's not a fun experience at all.

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Speaker 6: When it's like, yeah, you're just watching alternative versions of

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Speaker 6: movies that don't work.

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Speaker 7: Well, the thing is, I mean, we've got to have hobbies.

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Speaker 5: When Evret said that the movie didn't have any rewatch value,

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Speaker 5: the point and he wasn't the only one. The point

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Speaker 5: that those critics were making from what I've read is

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Speaker 5: that once you suss out the order of things, it's

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Speaker 5: a fairly standard, standard issue kind of mystery, and the

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Speaker 5: mystery isn't interesting. And I mean I have I don't

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Speaker 5: know whether that's true. I haven't watched it that way,

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Speaker 5: I have no problem with it. I mean, that's kind

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Speaker 5: of like saying, if you take away all of the

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Speaker 5: segments that were shot in color, Wizard of Oz is

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Speaker 5: in a very interesting film, you know. It's you know,

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Speaker 5: of course, when you when you change everything fundamentally about

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Speaker 5: the structure of the movie, it might become less interesting.

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Speaker 5: That's not really a knock against it. But my point was, like,

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Speaker 5: I don't care about the synchronous version. I want the

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Speaker 5: Joe Panliano version, like the what's he doing? Because the

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Speaker 5: thing that bugs me most about the movie is just

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Speaker 5: the way Teddy always seems to be about two inches

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Speaker 5: away from him. I feel like he really is, but

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Speaker 5: I like, I'm never entirely clear on how much time

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Speaker 5: Leonard is losing because Teddy just keeps like popping up

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Speaker 5: over his shoulder what seems like every five minutes. And

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Speaker 5: I explain that away to myself by understanding that there's

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Speaker 5: like a large amount of money in his car, that

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Speaker 5: Teddy is just like lurking in the background hoping to

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Speaker 5: get his hands on. But it's still it's a little

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Speaker 5: distracting to me, just like how present he is. So

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Speaker 5: I like, I kind of brought up how how this

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Speaker 5: film reminds me of The Prestige and just the slightest

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Speaker 5: bit of how it emerges from the following. But I'm

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Speaker 5: curious from the rest of you how this fits into

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Speaker 5: Nolan's body of work. For you, if you if you

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Speaker 5: see other themes or ideas or like even stylistic choices

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Speaker 5: here that you see in other Nolan movies.

436
00:20:33,440 --> 00:20:37,840
Speaker 7: I'm theme wise, I mean Inception and Interstellar to some

437
00:20:37,880 --> 00:20:41,320
Speaker 7: extent too, about how our thoughts and our aspirations aren't

438
00:20:41,359 --> 00:20:44,399
Speaker 7: really our own. Are all kind of kind of a

439
00:20:44,440 --> 00:20:45,040
Speaker 7: stem out of this.

440
00:20:45,600 --> 00:20:47,919
Speaker 6: I think I feel like The Prestige is the is

441
00:20:47,960 --> 00:20:49,240
Speaker 6: the companion to this movie.

442
00:20:49,840 --> 00:20:52,160
Speaker 10: I think Inception Can Can. I think there's a lot

443
00:20:52,200 --> 00:20:52,840
Speaker 10: of the strong links.

444
00:20:52,960 --> 00:20:56,399
Speaker 6: Yeah, I mean, I think he's interested in insomnia actually

445
00:20:56,520 --> 00:20:58,960
Speaker 6: to some degree. I think Nolan is interested in how

446
00:20:59,280 --> 00:21:03,480
Speaker 6: the mind works, particularly when it's under extreme duress. And

447
00:21:03,760 --> 00:21:06,679
Speaker 6: I also think that he has a lot of fun

448
00:21:07,040 --> 00:21:09,840
Speaker 6: in his role as a magician, you know, somebody who

449
00:21:09,840 --> 00:21:13,040
Speaker 6: can pull the rug out from under the audience and

450
00:21:13,520 --> 00:21:16,240
Speaker 6: just really play around with plot, like actual plot, just

451
00:21:16,320 --> 00:21:19,679
Speaker 6: really put the audience in kind of an unstable place,

452
00:21:19,760 --> 00:21:22,719
Speaker 6: but still have the plotting completely under control.

453
00:21:23,440 --> 00:21:24,800
Speaker 11: Everything is very well thought through.

454
00:21:24,840 --> 00:21:27,880
Speaker 6: I mean, especially Memento and The Prestige, just like there's

455
00:21:27,920 --> 00:21:30,960
Speaker 6: just nothing out of place in those movies and returning

456
00:21:30,960 --> 00:21:33,639
Speaker 6: to both of them, to me, it's really almost the

457
00:21:33,680 --> 00:21:36,400
Speaker 6: same experience with Memento and The Prestige where it's it's

458
00:21:36,400 --> 00:21:39,639
Speaker 6: like where they are very complicated films on their surface,

459
00:21:40,200 --> 00:21:44,040
Speaker 6: and then when you watch them repeatedly, there's this massive

460
00:21:44,160 --> 00:21:48,959
Speaker 6: emotional undercurrent that kind of comes powering through. Yeah, so

461
00:21:48,960 --> 00:21:52,159
Speaker 6: those films are really connected with Memento and The Prestige, and.

462
00:21:52,640 --> 00:21:55,320
Speaker 10: Those two movies Momentum Prestige also make really good use

463
00:21:55,359 --> 00:21:58,679
Speaker 10: of the unreliable narrator and kind of you know, non

464
00:21:58,760 --> 00:22:02,480
Speaker 10: chronological structure. But going back to the connection to inception,

465
00:22:02,960 --> 00:22:04,639
Speaker 10: and this is a theme that is in a lot

466
00:22:04,680 --> 00:22:06,520
Speaker 10: of no one's fell into some extent, but the idea

467
00:22:06,560 --> 00:22:09,120
Speaker 10: of reality and what's real versus what we tell ourselves

468
00:22:09,119 --> 00:22:12,639
Speaker 10: to maintain that reality, Like there's a direct link to

469
00:22:12,640 --> 00:22:15,560
Speaker 10: me between Leonard's tattoos and the totems that everyone carries.

470
00:22:15,600 --> 00:22:18,760
Speaker 10: An inception, this reminder of what is real, you know,

471
00:22:18,880 --> 00:22:22,119
Speaker 10: and an inception. You know, there's a choice between living

472
00:22:22,119 --> 00:22:24,320
Speaker 10: in a dream world and living in reality, which is

473
00:22:25,040 --> 00:22:27,720
Speaker 10: basically a choice Leonard makes as well. So again, the

474
00:22:27,720 --> 00:22:29,920
Speaker 10: Prestige also has those themes in it. But I think

475
00:22:29,920 --> 00:22:33,000
Speaker 10: there is a very strong link to Inception in that way.

476
00:22:33,400 --> 00:22:36,960
Speaker 5: Yeah, I think you're right. I think, especially in the Prestige,

477
00:22:37,000 --> 00:22:40,119
Speaker 5: there is that, particularly with Hugh Jackman's character, there's kind

478
00:22:40,160 --> 00:22:43,520
Speaker 5: of a conscious choice to live the illusion. Well, in

479
00:22:43,520 --> 00:22:45,560
Speaker 5: a way, they're both living the illusion, they're just living

480
00:22:45,640 --> 00:22:48,000
Speaker 5: the illusion in very different ways. And I think Hugh

481
00:22:48,119 --> 00:22:52,240
Speaker 5: Jackman makes the greater sacrifice in terms of consciously choosing

482
00:22:52,320 --> 00:22:55,199
Speaker 5: to live the image that he wants to project as

483
00:22:55,280 --> 00:22:58,560
Speaker 5: opposed to acknowledging like the terrible, terrible cost of that.

484
00:22:58,920 --> 00:23:00,959
Speaker 5: But I think you're right. I think Inception ends with

485
00:23:01,200 --> 00:23:04,679
Speaker 5: uh with somebody making the exact same decision that Leonard

486
00:23:04,720 --> 00:23:08,639
Speaker 5: makes here, kind of to to consciously choose what to

487
00:23:08,680 --> 00:23:12,720
Speaker 5: believe and then like live out that belief regardless of

488
00:23:12,720 --> 00:23:14,480
Speaker 5: what it costs him and regardless of how it would

489
00:23:14,480 --> 00:23:15,560
Speaker 5: appear to anybody.

490
00:23:15,200 --> 00:23:17,320
Speaker 10: Else, any Batman parallels.

491
00:23:18,520 --> 00:23:23,680
Speaker 7: Oh yeah, I mean trauma, trauma create trauma leading to character,

492
00:23:24,000 --> 00:23:24,679
Speaker 7: you know, I mean.

493
00:23:24,560 --> 00:23:27,560
Speaker 5: That's that's Wait, you think that Bruce Wayne is traumatized?

494
00:23:28,080 --> 00:23:33,680
Speaker 11: Maybe does anyone know how his parents die?

495
00:23:34,359 --> 00:23:37,359
Speaker 5: I can't remember. I I someday, I hope a movie

496
00:23:37,400 --> 00:23:40,600
Speaker 5: brings that to us, like in some sort of I'm sorry, Keith,

497
00:23:40,640 --> 00:23:41,320
Speaker 5: you were saying.

498
00:23:41,200 --> 00:23:43,320
Speaker 7: No, that's as far as I can take that one

499
00:23:43,480 --> 00:23:45,399
Speaker 7: right now, But given some more thought, I'm sure I

500
00:23:45,400 --> 00:23:46,480
Speaker 7: could go further.

501
00:23:46,720 --> 00:23:50,639
Speaker 6: I think of the Batman films as being this discreete trilogy,

502
00:23:51,200 --> 00:23:55,800
Speaker 6: if only because Nolan has an eye on the modern

503
00:23:55,840 --> 00:24:00,680
Speaker 6: world and and you know, global strife and politics. There's

504
00:24:00,720 --> 00:24:05,119
Speaker 6: an abstraction to Memento and the prestige and inception and

505
00:24:05,160 --> 00:24:07,760
Speaker 6: even an aristellar that I don't think is really shared

506
00:24:07,840 --> 00:24:10,000
Speaker 6: by the Batman movies, and.

507
00:24:09,960 --> 00:24:12,000
Speaker 5: That's always made me less interested in them. And I

508
00:24:12,000 --> 00:24:13,760
Speaker 5: mean I've taken a lot of flack over the years

509
00:24:13,760 --> 00:24:16,880
Speaker 5: for just not being impressed with Nolan's Batman movies.

510
00:24:17,119 --> 00:24:19,439
Speaker 7: Let me raise a counterpoint here is the Nolan's Batman

511
00:24:19,480 --> 00:24:21,240
Speaker 7: movies have Batman in them.

512
00:24:21,640 --> 00:24:23,680
Speaker 5: Wow, A lot of things have Batman in them that

513
00:24:24,520 --> 00:24:29,240
Speaker 5: are not tremendous. There is actually a scale of like Batman,

514
00:24:29,359 --> 00:24:32,280
Speaker 5: because there's so very much Batman in the world, and

515
00:24:32,560 --> 00:24:34,560
Speaker 5: on some level, I feel like my objection to the

516
00:24:34,640 --> 00:24:37,200
Speaker 5: Nolan Batman movies is I feel like other people could

517
00:24:37,200 --> 00:24:39,640
Speaker 5: have made those movies, whereas I'm not sure anybody else

518
00:24:39,640 --> 00:24:42,200
Speaker 5: out there could have made the Prestige or Memento or

519
00:24:42,400 --> 00:24:46,480
Speaker 5: even following for that matter. I just for me, those

520
00:24:46,640 --> 00:24:49,880
Speaker 5: the Batman movies are him moving from like who else

521
00:24:49,880 --> 00:24:52,280
Speaker 5: could have gotten away with inception? Like who else out

522
00:24:52,280 --> 00:24:56,040
Speaker 5: there has that level of trust in the audience's ability

523
00:24:56,400 --> 00:24:59,760
Speaker 5: to assemble a whole lot of complicated data going on

524
00:24:59,800 --> 00:25:03,160
Speaker 5: an whole series of time streams like into one coherent story.

525
00:25:03,200 --> 00:25:04,399
Speaker 11: I would make two points.

526
00:25:05,600 --> 00:25:08,480
Speaker 10: I just watching Scott sit I think I.

527
00:25:08,440 --> 00:25:11,600
Speaker 6: Think that we take for granted how far out on

528
00:25:11,640 --> 00:25:14,400
Speaker 6: a limb Nolan was going with those Batman movies, because

529
00:25:14,520 --> 00:25:17,760
Speaker 6: because I think the whole the notion that the darkness

530
00:25:17,960 --> 00:25:22,560
Speaker 6: that those films embraced was at that time new and

531
00:25:22,640 --> 00:25:25,720
Speaker 6: is now cliche. So now we kind of can look

532
00:25:25,720 --> 00:25:28,840
Speaker 6: at these Batman films as being, you know, not that special.

533
00:25:28,960 --> 00:25:31,000
Speaker 6: I guess, uh, and then the other point I would

534
00:25:31,040 --> 00:25:34,760
Speaker 6: make about about it is that, you know, because it's

535
00:25:34,760 --> 00:25:39,680
Speaker 6: a franchise thing, you have a situation where an auteur

536
00:25:40,280 --> 00:25:42,680
Speaker 6: like Christopher Nolan is having to try to square his

537
00:25:43,440 --> 00:25:46,280
Speaker 6: vision with a piece of studio entertainment, and and I

538
00:25:46,280 --> 00:25:49,320
Speaker 6: think that you just end up with less than you

539
00:25:49,359 --> 00:25:51,440
Speaker 6: would get if they're going to be focused on something

540
00:25:51,520 --> 00:25:54,280
Speaker 6: like like my mental or the prestige, or you know,

541
00:25:54,440 --> 00:25:56,840
Speaker 6: perhaps in Ryan Johnson's case, like a brick or a

542
00:25:57,080 --> 00:25:58,840
Speaker 6: or a brother's.

543
00:25:58,480 --> 00:26:01,080
Speaker 11: Bloom or or loop, where it's so much.

544
00:26:02,920 --> 00:26:06,119
Speaker 6: The filmmaker's sensibility and not having to be factored in

545
00:26:06,119 --> 00:26:06,920
Speaker 6: any other equation.

546
00:26:07,000 --> 00:26:09,920
Speaker 5: I guess I mean that's certainly worth saying. Let's let's

547
00:26:09,960 --> 00:26:12,240
Speaker 5: loop back to momento a little bit while we're here, though,

548
00:26:13,119 --> 00:26:15,359
Speaker 5: Can we talk a little about Leonard. I'm curious what

549
00:26:15,400 --> 00:26:17,879
Speaker 5: you guys make of both him as a character of

550
00:26:17,880 --> 00:26:19,040
Speaker 5: Guy Pearce's performance.

551
00:26:19,119 --> 00:26:20,679
Speaker 10: That turns out to be a really good segue and

552
00:26:20,720 --> 00:26:23,879
Speaker 10: from what we were just talking about, This thought I

553
00:26:23,960 --> 00:26:26,240
Speaker 10: had kind of stems from a line and finding Dory

554
00:26:26,359 --> 00:26:28,760
Speaker 10: about I forget who says I think it's Marlin says

555
00:26:28,760 --> 00:26:30,960
Speaker 10: something about how her condition gives her this power, this

556
00:26:31,040 --> 00:26:34,200
Speaker 10: ability to kind of barrel through life, and I found

557
00:26:34,200 --> 00:26:37,119
Speaker 10: myself thinking of Leonard this time in the context of

558
00:26:37,119 --> 00:26:41,639
Speaker 10: a superhero, a superpowered individual, like the way Teddy and

559
00:26:41,720 --> 00:26:44,199
Speaker 10: Natalie use him to their own ends, kind of trading

560
00:26:44,240 --> 00:26:47,040
Speaker 10: on his inability to remember or feel remorse for what

561
00:26:47,119 --> 00:26:48,680
Speaker 10: he's done. It sort of reminded me a lot of

562
00:26:48,720 --> 00:26:51,920
Speaker 10: The Winter Soldier. M tie it back to something we

563
00:26:52,040 --> 00:26:54,320
Speaker 10: just talked about, Like, there's no doubt that Leonard is

564
00:26:54,320 --> 00:26:58,000
Speaker 10: a pretty capable killer for a suppose, you know, insurance investigator.

565
00:26:58,760 --> 00:27:01,680
Speaker 10: He's obviously picked up some lethal skills over however long

566
00:27:01,760 --> 00:27:04,520
Speaker 10: he's been doing this, and as I say to we

567
00:27:04,600 --> 00:27:06,280
Speaker 10: never do really find out how long this has been

568
00:27:06,320 --> 00:27:10,600
Speaker 10: going on. Like he's definitely a victim, and it's easy

569
00:27:10,640 --> 00:27:12,679
Speaker 10: to read him that way, but that's not all he is.

570
00:27:12,720 --> 00:27:15,719
Speaker 10: He has a power. He has a destructive power, and

571
00:27:15,800 --> 00:27:18,280
Speaker 10: that moment where he burns the photo and writes the

572
00:27:18,280 --> 00:27:21,639
Speaker 10: note on Teddy's photo is sort of him acknowledging that power.

573
00:27:22,000 --> 00:27:23,600
Speaker 10: And that was just something I came away from it

574
00:27:23,680 --> 00:27:26,720
Speaker 10: with this time, and I attribute that directly to this

575
00:27:26,880 --> 00:27:29,520
Speaker 10: very odd pairing of finding Dory in Memento.

576
00:27:30,040 --> 00:27:33,520
Speaker 5: Yeah, there are some really interesting moments in Memento where

577
00:27:34,480 --> 00:27:37,719
Speaker 5: I feel like the subtext is spelled out as text.

578
00:27:38,320 --> 00:27:43,040
Speaker 5: And in a forward movie, you know, a conventionally shaped movie,

579
00:27:43,080 --> 00:27:45,640
Speaker 5: it would be way way too much. But here it's

580
00:27:45,720 --> 00:27:48,880
Speaker 5: like a series of little hooks that you desperately need

581
00:27:48,920 --> 00:27:50,760
Speaker 5: to hang on to as you're kind of skidding your

582
00:27:50,800 --> 00:27:52,760
Speaker 5: way down this story. And one of the big ones

583
00:27:52,880 --> 00:27:55,159
Speaker 5: is where Teddy turns to Lenny and says, you're not

584
00:27:55,200 --> 00:27:57,600
Speaker 5: a killer, that's why you're so good at it. Like,

585
00:27:57,960 --> 00:28:00,000
Speaker 5: I could see that line being really overplayed in it

586
00:28:00,080 --> 00:28:02,560
Speaker 5: different kind of movie, but here it's kind of a

587
00:28:02,640 --> 00:28:05,520
Speaker 5: light light switch coming on moment where you realize that

588
00:28:06,240 --> 00:28:10,160
Speaker 5: it isn't just luck that makes him so good at

589
00:28:10,160 --> 00:28:13,560
Speaker 5: what he's doing. It's that it's so unexpected, you know,

590
00:28:13,640 --> 00:28:16,560
Speaker 5: much like with Dory, people underestimated and people take him

591
00:28:16,600 --> 00:28:19,280
Speaker 5: for granted. But he's I mean, because he's in this

592
00:28:20,040 --> 00:28:24,119
Speaker 5: space where nothing really has consequences, at least that he

593
00:28:24,119 --> 00:28:27,600
Speaker 5: can remember, he's capable of some really surprising violence.

594
00:28:28,000 --> 00:28:29,919
Speaker 6: Well, one note I would say, you know, because we

595
00:28:29,960 --> 00:28:33,600
Speaker 6: are talking about a neo noir here, is that Leonard

596
00:28:33,640 --> 00:28:36,879
Speaker 6: is a standard flawed noir hero. I mean, and I

597
00:28:36,920 --> 00:28:41,680
Speaker 6: don't think there's any mistake that he is an insurance

598
00:28:41,840 --> 00:28:44,120
Speaker 6: manner was an insurance man, because that is the occupation

599
00:28:44,680 --> 00:28:48,360
Speaker 6: that Fred mc murray's character in A Double Indemnity has

600
00:28:48,480 --> 00:28:51,920
Speaker 6: so and of course, you know the character played by

601
00:28:51,960 --> 00:28:56,400
Speaker 6: Kerry and Moss, Natalie is his Barbara Stanwick, right, is

602
00:28:56,680 --> 00:29:00,680
Speaker 6: somebody who really has it over on him from the start.

603
00:29:00,720 --> 00:29:04,719
Speaker 6: I mean, there's just like Freder mc murray is absolutely

604
00:29:04,800 --> 00:29:09,440
Speaker 6: helpless to Barbara Stanwick's machinations. You know, Leonard has nothing

605
00:29:09,480 --> 00:29:12,720
Speaker 6: on Natalie. Natalie has has the drop on him from

606
00:29:12,760 --> 00:29:16,800
Speaker 6: the beginning and manipulates him pretty brilliantly and diabolically.

607
00:29:17,040 --> 00:29:19,400
Speaker 7: And also it's the noir device, is someone who has

608
00:29:19,520 --> 00:29:23,040
Speaker 7: no business being in this CD underworld being drawn into

609
00:29:23,080 --> 00:29:26,480
Speaker 7: it by by a moment either you know, of his

610
00:29:26,600 --> 00:29:30,440
Speaker 7: choosing or sometimes beyond his control, and here it's beyond

611
00:29:30,440 --> 00:29:34,920
Speaker 7: his control and then increasingly even less in his control.

612
00:29:35,280 --> 00:29:37,880
Speaker 5: And there's also just kind of the classic noir element

613
00:29:38,000 --> 00:29:41,200
Speaker 5: of like there's a criminal out there who doesn't realize

614
00:29:41,200 --> 00:29:44,520
Speaker 5: the forces that are being mustered against him by the

615
00:29:44,560 --> 00:29:47,360
Speaker 5: woman who is using somebody else to get at him.

616
00:29:47,720 --> 00:29:49,920
Speaker 5: You know, that's also just a very kind of the

617
00:29:49,960 --> 00:29:54,960
Speaker 5: third part of the Great Noir Triumvirate. But Rodger Reaper

618
00:29:55,040 --> 00:29:58,360
Speaker 5: has a list of ten things that are essential to noir, and.

619
00:29:58,560 --> 00:30:02,959
Speaker 12: We really trust Roger Ebert right now, Probably not especially

620
00:30:03,040 --> 00:30:06,640
Speaker 12: since the since the list itself, among other things, seems

621
00:30:06,640 --> 00:30:08,600
Speaker 12: to think that noir has to be American.

622
00:30:09,200 --> 00:30:11,040
Speaker 5: There are a bunch of things in that that list

623
00:30:11,080 --> 00:30:13,320
Speaker 5: that do not. It's not the style of Internet list

624
00:30:13,360 --> 00:30:16,479
Speaker 5: we know today. It's really like a collection of thoughts

625
00:30:16,480 --> 00:30:18,680
Speaker 5: that happen to have numbers. But somewhere in the middle

626
00:30:18,680 --> 00:30:20,280
Speaker 5: of it, he says that one of the things essential

627
00:30:20,320 --> 00:30:22,800
Speaker 5: to noir is that a noir film at no point

628
00:30:22,840 --> 00:30:25,560
Speaker 5: deludes the audience into thinking a happy ending is coming,

629
00:30:25,920 --> 00:30:27,680
Speaker 5: and that just really struck me, given that we know

630
00:30:27,760 --> 00:30:31,360
Speaker 5: how this movie ends from the opening scene. At the

631
00:30:31,360 --> 00:30:33,600
Speaker 5: same time, did you guys register this as a noura

632
00:30:33,640 --> 00:30:36,200
Speaker 5: film as you were watching it? It really didn't occur

633
00:30:36,280 --> 00:30:37,760
Speaker 5: to me until the pieces came together.

634
00:30:38,040 --> 00:30:41,080
Speaker 11: Yeah, yeah, I mean it neo noir.

635
00:30:41,560 --> 00:30:45,280
Speaker 6: You know, it's a it's a cousin of the classic film.

636
00:30:45,400 --> 00:30:49,920
Speaker 7: Sorry, it's almost too grimy and modern to when you

637
00:30:49,960 --> 00:30:52,680
Speaker 7: think like neo noir, you think like homaged classic noir.

638
00:30:52,840 --> 00:30:55,360
Speaker 7: And it has those elements to it too, But uh,

639
00:30:56,280 --> 00:30:59,320
Speaker 7: there's a there's a stickiness to this film that seems

640
00:30:59,360 --> 00:31:00,880
Speaker 7: a little not not quite more.

641
00:31:00,920 --> 00:31:03,480
Speaker 5: Like But as we're talking about Leonard as a character,

642
00:31:04,160 --> 00:31:06,000
Speaker 5: part of what I'm getting at there is I'm wondering

643
00:31:06,680 --> 00:31:10,160
Speaker 5: how you guys relate to somebody who is at times

644
00:31:10,240 --> 00:31:14,560
Speaker 5: so vulnerable and at times so aggressive and violent, who's

645
00:31:14,560 --> 00:31:17,280
Speaker 5: so unpredictable from scene to scene. Like, I'm wondering how

646
00:31:17,280 --> 00:31:19,320
Speaker 5: you guys relate to him as character and how you

647
00:31:19,360 --> 00:31:20,800
Speaker 5: relate to Guy Pierce's performance.

648
00:31:21,160 --> 00:31:23,880
Speaker 6: I think vulnerable is the key word. I mean, that's

649
00:31:23,960 --> 00:31:26,040
Speaker 6: that's our connection to him. I mean, he has been

650
00:31:26,400 --> 00:31:29,400
Speaker 6: something terrible has happened to him, and he is I mean,

651
00:31:29,440 --> 00:31:32,360
Speaker 6: what could be more vulnerable than not being able to remember,

652
00:31:32,920 --> 00:31:36,360
Speaker 6: you know, anything that happened five minutes ago, and having

653
00:31:36,400 --> 00:31:40,880
Speaker 6: to develop the system, and having predatory characters not just

654
00:31:40,920 --> 00:31:44,040
Speaker 6: not just carry On Moss and Joe Pennantleono, but but

655
00:31:44,560 --> 00:31:45,600
Speaker 6: you know the guy.

656
00:31:45,840 --> 00:31:48,440
Speaker 11: Burt, you know Bert with the two rooms and everything.

657
00:31:48,440 --> 00:31:50,960
Speaker 7: I mean, like the only people that protect him are

658
00:31:51,000 --> 00:31:53,000
Speaker 7: the people that are praying off of him, and they're

659
00:31:53,040 --> 00:31:55,440
Speaker 7: kind of just keeping him alive because they can use him.

660
00:31:55,560 --> 00:31:59,640
Speaker 7: You know it's otherwise he'd be completely helpless. I would think, you.

661
00:31:59,640 --> 00:32:03,800
Speaker 6: Know, we did we get these flashbacks with his wife,

662
00:32:03,840 --> 00:32:06,400
Speaker 6: I mean his last memories. I think we can trust

663
00:32:06,400 --> 00:32:09,280
Speaker 6: those to be real memories with his wife, and then

664
00:32:09,320 --> 00:32:10,040
Speaker 6: he's got this bag.

665
00:32:10,320 --> 00:32:12,280
Speaker 10: What about the pinch slash insolin shot?

666
00:32:12,720 --> 00:32:17,120
Speaker 5: Right, Yeah, I mean there's the whole like trust if

667
00:32:17,120 --> 00:32:19,560
Speaker 5: the if the insulin story is true, then all of

668
00:32:19,600 --> 00:32:22,200
Speaker 5: the memories we're seeing or hear, all of the other

669
00:32:22,240 --> 00:32:23,880
Speaker 5: memories we're seeing her for death aren't true.

670
00:32:23,920 --> 00:32:26,600
Speaker 10: Yeah, going back to lingering questions. That's That's another thing,

671
00:32:26,680 --> 00:32:30,840
Speaker 10: is like how Sammy the Sammy Jenkins story really resolves

672
00:32:31,320 --> 00:32:33,680
Speaker 10: there and what aspect of it is Leonard, And what

673
00:32:33,760 --> 00:32:36,480
Speaker 10: aspect of it is this Sammy Jenkins character, I mean.

674
00:32:36,480 --> 00:32:40,320
Speaker 7: Per Teddy Jenkis was faking it and had I believe

675
00:32:40,400 --> 00:32:41,880
Speaker 7: didn't have a wife at all.

676
00:32:42,160 --> 00:32:46,680
Speaker 10: Right, But that's yeah, And Leonard's like, no, she didn't

677
00:32:46,680 --> 00:32:49,480
Speaker 10: have diabetes. My wife didn't have diabetes, but maybe she did,

678
00:32:49,480 --> 00:32:50,240
Speaker 10: because I think it's.

679
00:32:50,160 --> 00:32:52,960
Speaker 7: Wife had diabetes, because you get that subliminal flash of

680
00:32:53,040 --> 00:32:55,200
Speaker 7: him sitting in the mental hospital as well.

681
00:32:55,240 --> 00:32:57,360
Speaker 10: Right, it all goes back to the idea of reality.

682
00:32:57,360 --> 00:33:00,720
Speaker 10: But going back to Leonard and Guy p his performance,

683
00:33:00,760 --> 00:33:02,960
Speaker 10: like for something that struck me this time is for

684
00:33:03,320 --> 00:33:06,160
Speaker 10: is much trauma as this guy is endured, and it's

685
00:33:06,160 --> 00:33:10,520
Speaker 10: for as heavy the stuff he's going through. He's not

686
00:33:10,600 --> 00:33:13,480
Speaker 10: a brooding character, which is like maybe why it didn't

687
00:33:13,520 --> 00:33:16,720
Speaker 10: necessarily register as noir to me, because I do associate

688
00:33:16,720 --> 00:33:20,040
Speaker 10: a sort of broodiness with a nour protagonist, and like

689
00:33:20,440 --> 00:33:23,760
Speaker 10: Leonard is, I mean, he's obviously a pretty serious guy,

690
00:33:23,800 --> 00:33:26,840
Speaker 10: but he does have a sort of likableness to him,

691
00:33:26,920 --> 00:33:30,960
Speaker 10: especially when he interacts with people to him the first time,

692
00:33:31,720 --> 00:33:33,560
Speaker 10: and that kind of goes back to the Sammy Jenkis

693
00:33:33,640 --> 00:33:36,640
Speaker 10: story and that little anecdote about you know, the look

694
00:33:36,680 --> 00:33:39,440
Speaker 10: of recognition and the faking that the nice one, and

695
00:33:39,480 --> 00:33:43,000
Speaker 10: there is sort of this persona he puts on of

696
00:33:43,240 --> 00:33:45,040
Speaker 10: I have this condition, you know, the line that he

697
00:33:45,320 --> 00:33:48,120
Speaker 10: keeps going to in like he's kind of funny and

698
00:33:48,160 --> 00:33:51,080
Speaker 10: he's kind of charming, and I think a lot that

699
00:33:51,160 --> 00:33:54,200
Speaker 10: just comes from Guy Pearson, this certain quality he has.

700
00:33:54,280 --> 00:33:57,400
Speaker 10: It's unquantifiable, but you know, I don't want to say

701
00:33:57,440 --> 00:34:01,080
Speaker 10: that Leonard is like a fun character necessary, but he

702
00:34:01,360 --> 00:34:05,600
Speaker 10: isn't as heavy as I feel like that character could.

703
00:34:05,480 --> 00:34:09,200
Speaker 5: Be You know, you just completely nailed something that was

704
00:34:09,239 --> 00:34:11,279
Speaker 5: sort of in my notes that I'd forgotten about, which

705
00:34:11,320 --> 00:34:15,240
Speaker 5: is again when he explains how Sammy Jenkis would fake

706
00:34:15,840 --> 00:34:17,359
Speaker 5: recognition because he felt that.

707
00:34:17,440 --> 00:34:18,560
Speaker 10: They got him a pat on the head.

708
00:34:19,040 --> 00:34:20,560
Speaker 5: Yeah, because it got him a pat on the head.

709
00:34:20,960 --> 00:34:22,840
Speaker 5: I felt like that was another one of those lines

710
00:34:22,840 --> 00:34:25,240
Speaker 5: that might have been too broad in another kind of story,

711
00:34:25,280 --> 00:34:27,840
Speaker 5: but here just kind of hooks you in because it

712
00:34:27,960 --> 00:34:31,560
Speaker 5: suddenly explains a lot of what Leonard is doing. And

713
00:34:31,719 --> 00:34:34,680
Speaker 5: one of the things that that's that Christopher Nolan performance

714
00:34:34,719 --> 00:34:38,600
Speaker 5: again where rewatching it just brings up like all these

715
00:34:38,640 --> 00:34:41,680
Speaker 5: little really fantastic grace notes. I love what guy Pierce

716
00:34:41,760 --> 00:34:44,880
Speaker 5: does here whenever he meets somebody new and kind of

717
00:34:45,160 --> 00:34:48,560
Speaker 5: fakes knowing them, like there's so often before that I

718
00:34:48,600 --> 00:34:51,440
Speaker 5: have a condition. There's that kind of moment of warmth

719
00:34:51,640 --> 00:34:54,840
Speaker 5: or where he nods the whatever they say to him first,

720
00:34:55,120 --> 00:34:59,239
Speaker 5: and you can see him like mentally kind of navigating there.

721
00:34:59,360 --> 00:35:02,399
Speaker 5: They're acting like they know me, apparently I know them.

722
00:35:02,880 --> 00:35:05,680
Speaker 5: I should react or this isn't going anywhere good. I

723
00:35:05,680 --> 00:35:07,960
Speaker 5: need to tell them about my condition. And you can

724
00:35:08,000 --> 00:35:10,279
Speaker 5: see all of these things just like play through his

725
00:35:10,440 --> 00:35:13,080
Speaker 5: face in just like the tiniest little ways. I really

726
00:35:13,120 --> 00:35:14,400
Speaker 5: love Guy Pears in this movie.

727
00:35:15,360 --> 00:35:19,399
Speaker 9: Yore, Lenny, I thought you split for good well things.

728
00:35:19,480 --> 00:35:22,360
Speaker 4: Jane's so, I see, my name's Teddy.

729
00:35:22,840 --> 00:35:24,879
Speaker 3: I guess I've told you about my condition.

730
00:35:24,640 --> 00:35:25,880
Speaker 4: Only every time I see it.

731
00:35:26,800 --> 00:35:27,799
Speaker 5: Come on, I buy your lunch?

732
00:35:33,719 --> 00:35:35,080
Speaker 3: Have I told you about Sammy Jenkins? M?

733
00:35:35,560 --> 00:35:38,719
Speaker 4: Yeah, I'm sick of hearing about the guy? What about

734
00:35:38,760 --> 00:35:40,319
Speaker 4: John G? You think he's still here?

735
00:35:40,440 --> 00:35:40,720
Speaker 3: Who?

736
00:35:40,800 --> 00:35:41,239
Speaker 4: Johnny G?

737
00:35:41,400 --> 00:35:42,439
Speaker 3: The guy you're looking for?

738
00:35:42,880 --> 00:35:44,120
Speaker 4: I mean that's why you haven't left town?

739
00:35:44,160 --> 00:35:45,360
Speaker 3: Am I right? Maybe?

740
00:35:45,560 --> 00:35:47,840
Speaker 4: Leonard? Look, you have to be very careful.

741
00:35:48,160 --> 00:35:49,680
Speaker 3: Why the other day you mentioned it?

742
00:35:49,680 --> 00:35:52,520
Speaker 4: Maybe somebody was trying to set you up there, get

743
00:35:52,560 --> 00:35:53,399
Speaker 4: you to kill the wrong guy.

744
00:35:53,680 --> 00:35:55,480
Speaker 3: Well, I go on facts, not recommendations.

745
00:35:55,480 --> 00:35:58,680
Speaker 4: But thank you, Lenny. You can't trust a man's life

746
00:35:58,680 --> 00:36:01,440
Speaker 4: to your little nuts and pictures, not because your notes

747
00:36:01,440 --> 00:36:03,160
Speaker 4: could be unreliable.

748
00:36:02,640 --> 00:36:06,000
Speaker 9: Memories unreliable. No, no, no, really's not perfect. It's not even

749
00:36:06,000 --> 00:36:09,960
Speaker 9: that good. That's the police eyewitness testimony is unreliable. Now,

750
00:36:10,040 --> 00:36:12,600
Speaker 9: cops don't catch a killer by sitting around remembering stuff, right,

751
00:36:12,719 --> 00:36:13,200
Speaker 9: I like.

752
00:36:13,120 --> 00:36:14,880
Speaker 3: Facts, that's not what if they make notes and they

753
00:36:14,960 --> 00:36:18,920
Speaker 3: draw conclusions, facts, not memories. That's how you investigate. I

754
00:36:18,960 --> 00:36:19,960
Speaker 3: know that's what I used to do.

755
00:36:20,400 --> 00:36:20,600
Speaker 11: Look.

756
00:36:20,640 --> 00:36:22,319
Speaker 9: Memory can change the shape of a room, it can

757
00:36:22,360 --> 00:36:25,440
Speaker 9: change the color of a car. Her memories can be distorted,

758
00:36:26,480 --> 00:36:29,240
Speaker 9: just an interpretation. They're not a record, and they're irrelevant

759
00:36:29,239 --> 00:36:30,120
Speaker 9: if you have the facts.

760
00:36:30,360 --> 00:36:34,240
Speaker 7: I'm amazed both by by Pentoliano's who's just really entertaining

761
00:36:34,400 --> 00:36:38,000
Speaker 7: and charming and funny and really menacing at the same time.

762
00:36:38,120 --> 00:36:40,480
Speaker 7: But Carrie On Moss is so slippery in this movie.

763
00:36:40,480 --> 00:36:43,640
Speaker 7: She seems so sympathetic at first and like the whole

764
00:36:44,160 --> 00:36:46,719
Speaker 7: she will help you because she's lost somebody too. You know,

765
00:36:46,840 --> 00:36:48,960
Speaker 7: it's like this is Oh, she's lost somebody too, She's

766
00:36:48,960 --> 00:36:50,880
Speaker 7: going to help him, And I buy it. You know,

767
00:36:51,040 --> 00:36:53,120
Speaker 7: I've seen the movie before and I don't have this condition.

768
00:36:53,719 --> 00:36:56,840
Speaker 7: But man, but when she turns that turn, it's just

769
00:36:56,840 --> 00:37:00,600
Speaker 7: just amazing. It's it's like Linda Fertina and the seduction.

770
00:37:00,680 --> 00:37:01,680
Speaker 7: All of a sudden, those.

771
00:37:02,000 --> 00:37:05,239
Speaker 5: Are tight, pointy high shoes to fill. Let me ask

772
00:37:05,280 --> 00:37:08,000
Speaker 5: you this, has Carrie Anne Moss ever been better than this?

773
00:37:08,520 --> 00:37:09,200
Speaker 11: I don't think so.

774
00:37:09,239 --> 00:37:11,520
Speaker 7: But then I don't know that she's had his many

775
00:37:11,719 --> 00:37:16,200
Speaker 7: great opportunities since then or before that.

776
00:37:16,360 --> 00:37:16,800
Speaker 11: The Matrix.

777
00:37:16,840 --> 00:37:18,600
Speaker 7: I mean, she's great in The Matrix, but it's it is,

778
00:37:18,719 --> 00:37:21,160
Speaker 7: it is a uh, there's a lot of posing in

779
00:37:21,200 --> 00:37:21,759
Speaker 7: that in that.

780
00:37:21,760 --> 00:37:24,160
Speaker 5: Role, it's a very it's a very narrow character and

781
00:37:24,200 --> 00:37:26,320
Speaker 5: she's really good in it, but it doesn't require a

782
00:37:26,360 --> 00:37:28,439
Speaker 5: lot of stretching on her part. And I would say

783
00:37:28,440 --> 00:37:31,320
Speaker 5: the same for her and Jessica Jones. You know, there's

784
00:37:31,360 --> 00:37:34,600
Speaker 5: like when she's called upon to do posing and coldness,

785
00:37:34,920 --> 00:37:37,280
Speaker 5: she's really good at it. But I haven't seen anything

786
00:37:37,280 --> 00:37:40,319
Speaker 5: else that she's in that requires the range and the

787
00:37:40,360 --> 00:37:41,919
Speaker 5: commitment that she shows here.

788
00:37:42,520 --> 00:37:45,080
Speaker 6: I love the writing too in the in the scene

789
00:37:45,120 --> 00:37:48,320
Speaker 6: where she just lets him have it, because I don't

790
00:37:49,040 --> 00:37:51,600
Speaker 6: think it's that profane a film until we get to

791
00:37:51,640 --> 00:37:55,000
Speaker 6: that point, but she just really the dialogue suddenly gets

792
00:37:55,400 --> 00:37:58,520
Speaker 6: very harsh and she.

793
00:37:58,680 --> 00:38:01,480
Speaker 11: She really bears into the role. I mean, and and she.

794
00:38:01,440 --> 00:38:04,520
Speaker 6: Does so what she's you know, delivering him his beer

795
00:38:04,920 --> 00:38:09,360
Speaker 6: as well. She's a really something in this movie. And

796
00:38:09,440 --> 00:38:13,120
Speaker 6: I also really like Stephen Tobolowski in that whole semi

797
00:38:13,200 --> 00:38:17,160
Speaker 6: Jenkis thing, which which which is makes me really my

798
00:38:17,360 --> 00:38:21,319
Speaker 6: main takeaway from the movie in life, because that is, uh,

799
00:38:21,360 --> 00:38:25,200
Speaker 6: the insulin for me, is is is dog food I

800
00:38:25,239 --> 00:38:27,399
Speaker 6: feed my I tend to feed my dog at least,

801
00:38:27,560 --> 00:38:29,759
Speaker 6: uh at least two or three times more than I

802
00:38:29,800 --> 00:38:32,920
Speaker 6: should because uh, I forget that I've had her before.

803
00:38:33,680 --> 00:38:36,759
Speaker 6: So so the dog food is is my insulin? Like

804
00:38:36,840 --> 00:38:39,560
Speaker 6: I am constantly thinking of that, that character in my

805
00:38:39,640 --> 00:38:40,400
Speaker 6: everyday life.

806
00:38:41,280 --> 00:38:43,560
Speaker 5: Well, I every time I see Iris from now on,

807
00:38:43,680 --> 00:38:46,720
Speaker 5: I'm just going to think of Iris as as saying

808
00:38:46,760 --> 00:38:49,479
Speaker 5: it's time for her shot, and by shot she means

809
00:38:49,480 --> 00:38:50,240
Speaker 5: bull full of food.

810
00:38:50,600 --> 00:38:50,959
Speaker 11: She doesn't.

811
00:38:51,000 --> 00:38:54,480
Speaker 6: She plays a role amazingly well. She she will pretend

812
00:38:54,520 --> 00:38:57,360
Speaker 6: like she has not eaten, which will convince me to

813
00:38:57,400 --> 00:38:58,880
Speaker 6: feed her more than once.

814
00:38:59,080 --> 00:39:01,160
Speaker 5: I'm going to ask you, guys, has Iris ever had

815
00:39:01,200 --> 00:39:03,800
Speaker 5: a better and more complicated role than the dog lying

816
00:39:03,840 --> 00:39:05,719
Speaker 5: to Scott about how often she's done in bead.

817
00:39:06,800 --> 00:39:07,759
Speaker 11: She's brilliant at it.

818
00:39:08,400 --> 00:39:11,000
Speaker 6: Absolutely, It's a tour to forest performance by that cute

819
00:39:11,000 --> 00:39:11,480
Speaker 6: little dog.

820
00:39:11,719 --> 00:39:13,960
Speaker 5: Well, that seems like a perfect place to wrap up

821
00:39:14,000 --> 00:39:17,279
Speaker 5: and go into audience feedback. We're going to pass the

822
00:39:17,280 --> 00:39:19,359
Speaker 5: mic to the listeners for a little while. We got

823
00:39:19,400 --> 00:39:21,600
Speaker 5: some feedback in response to our last double feature on

824
00:39:21,640 --> 00:39:23,759
Speaker 5: pop Star and Spinal Tap. Scott, would you like to

825
00:39:23,840 --> 00:39:24,359
Speaker 5: kick us off.

826
00:39:24,680 --> 00:39:27,719
Speaker 6: Sure, A listener named Keith not phipps, No, no, this

827
00:39:27,800 --> 00:39:31,560
Speaker 6: isn't you Okay, he writes, I may be way off

828
00:39:31,600 --> 00:39:34,359
Speaker 6: base on this, but does it bother anyone else? When

829
00:39:34,360 --> 00:39:37,719
Speaker 6: a film seems to be satirizing or parodying a specific

830
00:39:37,800 --> 00:39:41,239
Speaker 6: cultural type or figure, it inevitably includes people who are

831
00:39:41,239 --> 00:39:44,480
Speaker 6: basically the reason for the satire. Adam Levine is in

832
00:39:44,520 --> 00:39:46,799
Speaker 6: the top three of pop figures that come to mind

833
00:39:46,800 --> 00:39:49,160
Speaker 6: when I think of Connor for real, and The Voice

834
00:39:49,280 --> 00:39:52,279
Speaker 6: seems to be interested in factory producing stars in the

835
00:39:52,280 --> 00:39:54,440
Speaker 6: mold of Connor. So when I see a clip of

836
00:39:54,480 --> 00:39:57,480
Speaker 6: Andy Samberg participating in an episode of The Voice, I

837
00:39:57,520 --> 00:39:59,920
Speaker 6: am left wondering if the judges and contestants feel like

838
00:40:00,000 --> 00:40:01,680
Speaker 6: they're part of the joke or the butt of the joke,

839
00:40:02,440 --> 00:40:04,160
Speaker 6: or were they even aware a joke was going on.

840
00:40:04,760 --> 00:40:07,760
Speaker 6: This also applies to the cast of Ideocracy. Dak Shepherd,

841
00:40:07,840 --> 00:40:10,760
Speaker 6: Luke Wilson, and Justin Long are all responsible for entertainment

842
00:40:10,800 --> 00:40:11,560
Speaker 6: on the level of what.

843
00:40:11,600 --> 00:40:13,919
Speaker 11: Is parodied in Idiocracy.

844
00:40:13,960 --> 00:40:17,279
Speaker 6: True that, and it applies to Adam Sandler and the

845
00:40:17,320 --> 00:40:20,319
Speaker 6: Joke Movies and Funny People, and Sasha Baron Cohen and

846
00:40:20,360 --> 00:40:21,840
Speaker 6: his comedic output, et cetera.

847
00:40:22,200 --> 00:40:23,040
Speaker 11: That's a pretty good point.

848
00:40:23,120 --> 00:40:24,560
Speaker 5: Yeah, that is a good point. And you know what

849
00:40:24,560 --> 00:40:28,560
Speaker 5: it immediately made me think of is that the Zoolander

850
00:40:28,640 --> 00:40:34,160
Speaker 5: sequel was announced by Ben Stiller and Owen Wilson walking

851
00:40:34,440 --> 00:40:37,959
Speaker 5: in Paris Faction Week as their characters, and it's like, wait,

852
00:40:38,000 --> 00:40:41,000
Speaker 5: this is a movie that's about making fun of everybody

853
00:40:41,040 --> 00:40:44,640
Speaker 5: who's attending or participating in this function. Why would they

854
00:40:44,640 --> 00:40:48,080
Speaker 5: participate in this particular lampooning.

855
00:40:48,239 --> 00:40:51,080
Speaker 6: I guess well, I would say that Adam Sandler and

856
00:40:51,120 --> 00:40:54,200
Speaker 6: Funny People, that was indeed a direct sort of piece

857
00:40:54,239 --> 00:40:58,200
Speaker 6: of self deprecation there, mocking some of the dumb things

858
00:40:58,200 --> 00:40:59,440
Speaker 6: that he's made in his career.

859
00:41:00,000 --> 00:41:04,239
Speaker 7: I felt almost beyond it almost felt like, you know,

860
00:41:04,360 --> 00:41:08,440
Speaker 7: sort of self explorication in some ways too. And I would, uh,

861
00:41:08,560 --> 00:41:09,880
Speaker 7: I think I would have a lot more respect to

862
00:41:09,880 --> 00:41:11,960
Speaker 7: be like, you know what, and that's still and now

863
00:41:12,000 --> 00:41:15,480
Speaker 7: I'm not gonna make any more movies like that Home Planet. Yeah,

864
00:41:15,640 --> 00:41:18,080
Speaker 7: he seems to have doubled down instead, and there was.

865
00:41:18,040 --> 00:41:22,240
Speaker 5: An alien cool es. Yeah, it does seem like these

866
00:41:22,360 --> 00:41:26,399
Speaker 5: these promotional objects because it doesn't really bother me when

867
00:41:26,440 --> 00:41:29,600
Speaker 5: like Michael Bolton turns up in Captain Jack Sparrow kind

868
00:41:29,640 --> 00:41:32,920
Speaker 5: of making fun of his image because or any of

869
00:41:32,960 --> 00:41:35,880
Speaker 5: the guest stars that appear on Ricky Gervas's extras like

870
00:41:35,960 --> 00:41:39,319
Speaker 5: making fun of their own celebrity, because that is like

871
00:41:39,400 --> 00:41:43,160
Speaker 5: they're in on a joke that they're creating and exaggerating.

872
00:41:43,440 --> 00:41:45,680
Speaker 5: But when it comes to these like promotional things like

873
00:41:45,680 --> 00:41:48,719
Speaker 5: what Keith is talking about, like Andy Samberg being on

874
00:41:48,760 --> 00:41:53,320
Speaker 5: the Voice, that becomes like this really strange collusion between

875
00:41:53,920 --> 00:41:58,000
Speaker 5: the object of the joke and and celebrity, Like it's

876
00:41:58,080 --> 00:42:01,439
Speaker 5: it's basically just about like buying to something that might

877
00:42:01,440 --> 00:42:04,200
Speaker 5: boost their profile, possibly at the expense of their dignity.

878
00:42:04,280 --> 00:42:06,160
Speaker 10: Ye, I'm not sure, I will say though, that's something

879
00:42:06,480 --> 00:42:09,080
Speaker 10: The Lonely Island has done kind of from the beginning,

880
00:42:09,120 --> 00:42:11,200
Speaker 10: and that's something that happens on Saturday Night Live all

881
00:42:11,239 --> 00:42:15,480
Speaker 10: the time. You know where they come from, So honestly,

882
00:42:15,560 --> 00:42:18,200
Speaker 10: it doesn't bother me, and I think it's easy to

883
00:42:18,280 --> 00:42:22,200
Speaker 10: just kind of brush it off as self congratulatory, you know,

884
00:42:22,360 --> 00:42:25,960
Speaker 10: on the part of these stars. But I think when

885
00:42:26,000 --> 00:42:29,920
Speaker 10: you are a performer and you spend your life playing

886
00:42:30,040 --> 00:42:34,040
Speaker 10: a public role, eventually you do kind of get to

887
00:42:34,080 --> 00:42:37,600
Speaker 10: the point where you recognize the divide between you as

888
00:42:37,600 --> 00:42:40,600
Speaker 10: a person and that public role, and I think maybe

889
00:42:40,640 --> 00:42:43,600
Speaker 10: that is where the impulse of a lot of these

890
00:42:43,640 --> 00:42:46,279
Speaker 10: stars to kind of lampoon their own image comes from.

891
00:42:46,719 --> 00:42:49,040
Speaker 7: However true all that might be, I would not trade

892
00:42:49,719 --> 00:42:53,799
Speaker 7: Mariah Carey talking about I'm So Humble for anything. You know,

893
00:42:53,880 --> 00:42:56,520
Speaker 7: it's the guy that, whether it makes her look good

894
00:42:56,600 --> 00:42:58,000
Speaker 7: or not, it's funny.

895
00:42:58,120 --> 00:43:00,000
Speaker 6: Just and I think there's some distinctions that really need

896
00:43:00,040 --> 00:43:03,520
Speaker 6: to be made here between satire and parody, because you know,

897
00:43:03,680 --> 00:43:07,360
Speaker 6: the pop Star is not Doctor Strangelove, you know it is.

898
00:43:07,400 --> 00:43:11,480
Speaker 6: So anybody who's participating in Pop Star is engaging in

899
00:43:11,920 --> 00:43:15,319
Speaker 6: affectionate self parody, which is not that harsh. They're not

900
00:43:15,360 --> 00:43:17,600
Speaker 6: They're not burning themselves, and the film is not weakened

901
00:43:17,600 --> 00:43:19,600
Speaker 6: by them making light of themselves in the same way

902
00:43:19,600 --> 00:43:22,239
Speaker 6: that say, Doctor Schangelove would be. As far as the

903
00:43:22,280 --> 00:43:25,439
Speaker 6: Idiocracy comparison goes, that's just an assessment of those three

904
00:43:25,520 --> 00:43:28,560
Speaker 6: guys Career, Dax Shepherd and Luke wals't justin long just

905
00:43:28,760 --> 00:43:29,760
Speaker 6: having to take roles.

906
00:43:29,560 --> 00:43:31,719
Speaker 10: That they're called done some goods they have.

907
00:43:31,840 --> 00:43:34,880
Speaker 11: But they have I'm explaining the level. I'm explaining the

908
00:43:34,920 --> 00:43:36,040
Speaker 11: letter I'm not I'm.

909
00:43:35,840 --> 00:43:40,000
Speaker 10: Not making judgment the artist who has not made a

910
00:43:40,040 --> 00:43:42,440
Speaker 10: piece of crap along the way in their careers. It's

911
00:43:42,480 --> 00:43:44,960
Speaker 10: a few and far between me. So you know, yes,

912
00:43:45,320 --> 00:43:47,799
Speaker 10: I bristled that because I actually really liked that, Dex

913
00:43:47,840 --> 00:43:50,560
Speaker 10: Shepherd and Justin l I like all of them.

914
00:43:51,000 --> 00:43:52,600
Speaker 5: But how do you feel about that movie about the

915
00:43:52,600 --> 00:43:54,279
Speaker 5: butt where we don't know whose butt it is or

916
00:43:54,320 --> 00:43:55,040
Speaker 5: why it's farting?

917
00:43:55,520 --> 00:43:56,560
Speaker 10: An American classic?

918
00:43:57,200 --> 00:43:59,400
Speaker 5: All right, well, Jennevie, I think you had some some

919
00:43:59,480 --> 00:44:02,279
Speaker 5: specific about the next letter coming up? Will you want

920
00:44:02,280 --> 00:44:03,359
Speaker 5: to kick us off by reading this?

921
00:44:03,440 --> 00:44:06,600
Speaker 10: Sure? Joshua mo Ohio says this. I laughed just as

922
00:44:06,600 --> 00:44:08,560
Speaker 10: hard at Pop Star as everyone else, But I think

923
00:44:08,560 --> 00:44:11,040
Speaker 10: the longevity and cult classic success of the film is

924
00:44:11,080 --> 00:44:14,000
Speaker 10: still up in the air. We're talking about Selfie's TMZ

925
00:44:14,160 --> 00:44:16,600
Speaker 10: and popular music here, pieces of our culture that could

926
00:44:16,680 --> 00:44:18,480
Speaker 10: very easily disappear in a few years and hurt the

927
00:44:18,520 --> 00:44:22,160
Speaker 10: film's long term relevance. Dewey Cox works because the genres

928
00:44:22,239 --> 00:44:24,640
Speaker 10: it is skewing have stood the test of time. With

929
00:44:24,719 --> 00:44:27,320
Speaker 10: spinal tap, hard rock and heavy metal are still prevalent

930
00:44:27,320 --> 00:44:29,520
Speaker 10: in our culture. But if Christopher Guest had made a

931
00:44:29,560 --> 00:44:32,040
Speaker 10: new Kids on the Block esque mockumentary after spinal Tap.

932
00:44:32,080 --> 00:44:33,760
Speaker 10: I don't know if we would still be talking about

933
00:44:33,760 --> 00:44:36,000
Speaker 10: it now. If pop Star was a less funny movie

934
00:44:36,000 --> 00:44:38,640
Speaker 10: where the jokes didn't land, I think we'd be criticizing

935
00:44:38,640 --> 00:44:41,560
Speaker 10: the lone the Island for their choice of comedic targets. Eventually,

936
00:44:41,600 --> 00:44:44,160
Speaker 10: our cultur will evolve beyond the things this movie is skewering.

937
00:44:44,480 --> 00:44:46,480
Speaker 10: Hopefully the film can survive that evolution.

938
00:44:47,320 --> 00:44:48,760
Speaker 11: It will survive that evolution.

939
00:44:49,920 --> 00:44:54,080
Speaker 10: You don't like this at all, I'm sorry, Josh. I'm

940
00:44:54,200 --> 00:44:56,000
Speaker 10: just gonna have to give this a big old puff.

941
00:44:58,239 --> 00:45:01,239
Speaker 5: If it helps, I will echo your yeah.

942
00:45:01,280 --> 00:45:06,319
Speaker 10: First of all, thanks for listening, Josh, thanks for trying

943
00:45:06,360 --> 00:45:10,480
Speaker 10: to alienate that. First, I will say, if Popsar was

944
00:45:10,520 --> 00:45:12,320
Speaker 10: a less funny movie where the jokes didn't land, me

945
00:45:12,440 --> 00:45:14,960
Speaker 10: be criticizing it is obvious if it was a less

946
00:45:14,960 --> 00:45:17,760
Speaker 10: funny movie, it would be a worse movie. And sure,

947
00:45:18,400 --> 00:45:20,279
Speaker 10: the funniness of the movie is off the table here.

948
00:45:20,600 --> 00:45:25,360
Speaker 10: I think the idea of like that a movie doesn't

949
00:45:25,360 --> 00:45:28,720
Speaker 10: hold up because it's Skuber's timely topics is profoundly off base.

950
00:45:28,880 --> 00:45:32,600
Speaker 10: And you know you point to Dewey Cocks all of

951
00:45:32,600 --> 00:45:36,239
Speaker 10: those genres were popular music at some time. I wish

952
00:45:36,280 --> 00:45:39,120
Speaker 10: you hadn't said we're talking about Selfie's TMZ and popular

953
00:45:39,200 --> 00:45:44,080
Speaker 10: music here, because the disdain that is often leveled at

954
00:45:44,120 --> 00:45:47,600
Speaker 10: popular music is just kind of one of my big bugaboos.

955
00:45:48,160 --> 00:45:52,200
Speaker 10: And I don't think the idea that pop music is

956
00:45:52,239 --> 00:45:58,000
Speaker 10: inherently stupid or unworthy of attention is useful in any

957
00:45:58,040 --> 00:46:01,800
Speaker 10: way critically speaking. And I'll just point to Josie and

958
00:46:01,840 --> 00:46:04,319
Speaker 10: the Pussycats as something that has really spent the test

959
00:46:04,320 --> 00:46:07,360
Speaker 10: of time and being incredibly steeped and a specific a

960
00:46:07,480 --> 00:46:10,239
Speaker 10: very specific time period full of very silly stuff that

961
00:46:10,600 --> 00:46:14,080
Speaker 10: has no relationship to our current modern culture.

962
00:46:14,200 --> 00:46:18,160
Speaker 5: I think specificity in humor is part of what gives

963
00:46:18,200 --> 00:46:19,160
Speaker 5: it gives it teeth.

964
00:46:19,239 --> 00:46:21,359
Speaker 7: Yah, know why I appreciate this movie down the line,

965
00:46:21,400 --> 00:46:24,520
Speaker 7: it's like, oh, yeah, that's what people were all into

966
00:46:25,120 --> 00:46:26,120
Speaker 7: in twenty sixteen.

967
00:46:26,360 --> 00:46:28,640
Speaker 5: Yeah, I mean it becomes a historical document and we

968
00:46:29,040 --> 00:46:32,640
Speaker 5: often praise both documentaries and features. I mean, if you

969
00:46:32,680 --> 00:46:35,759
Speaker 5: go back and watch the original Shaft, like that is

970
00:46:35,840 --> 00:46:38,960
Speaker 5: that movie is maybe no longer relevant to like what

971
00:46:39,000 --> 00:46:41,000
Speaker 5: New York looks like today or what it feels like

972
00:46:41,040 --> 00:46:43,680
Speaker 5: to be like a black man in today's America because

973
00:46:43,680 --> 00:46:46,160
Speaker 5: it's a very specific portrait of its time. That's what

974
00:46:46,239 --> 00:46:48,839
Speaker 5: makes it wonderful. But what makes it so much fun

975
00:46:48,880 --> 00:46:53,279
Speaker 5: to revisit older movies that have like a specific take

976
00:46:53,360 --> 00:46:56,040
Speaker 5: on their time and like what it felt like to

977
00:46:56,040 --> 00:46:57,080
Speaker 5: be in a place at a time.

978
00:46:57,239 --> 00:47:02,200
Speaker 11: Yeah, like Jungle Fever, for example. Yeah, I am.

979
00:47:02,400 --> 00:47:06,719
Speaker 6: I'm very much I would say dubious of the criticism

980
00:47:07,000 --> 00:47:08,439
Speaker 6: that a film is quote unquote dated.

981
00:47:08,600 --> 00:47:11,160
Speaker 7: Yeah, I don't, to the point where I don't even

982
00:47:11,680 --> 00:47:14,000
Speaker 7: like the word. I don't like to use it. I will,

983
00:47:14,239 --> 00:47:16,919
Speaker 7: I will actually profess I don't understand what date it means,

984
00:47:17,080 --> 00:47:18,440
Speaker 7: because everything.

985
00:47:18,600 --> 00:47:20,400
Speaker 11: Well, let me try to, let me try to.

986
00:47:20,680 --> 00:47:24,000
Speaker 6: I think maybe you could say that people just will

987
00:47:24,040 --> 00:47:26,040
Speaker 6: flat out not get what the movie is on about.

988
00:47:26,120 --> 00:47:28,520
Speaker 6: They will knock at the reference like they like things

989
00:47:28,520 --> 00:47:32,040
Speaker 6: that we are parroting now will not be remembered or

990
00:47:32,080 --> 00:47:34,480
Speaker 6: not will not stand the test of time, and then

991
00:47:34,520 --> 00:47:37,160
Speaker 6: we'll be like, what what is this movie even on about?

992
00:47:37,400 --> 00:47:41,200
Speaker 7: But that's not Sometimes that can even work. Had I

993
00:47:41,239 --> 00:47:44,520
Speaker 7: had a writer asked me the other day, what is it?

994
00:47:44,640 --> 00:47:46,920
Speaker 7: What is airplane parroting? Anyway?

995
00:47:47,080 --> 00:47:48,600
Speaker 11: You know, all the.

996
00:47:48,520 --> 00:47:51,200
Speaker 7: Airport movies and specifically parroting Zero Hour, which is this

997
00:47:51,280 --> 00:47:53,920
Speaker 7: fifties thing that's basically the same plot round to the

998
00:47:54,440 --> 00:47:56,000
Speaker 7: you know, who are the fish, who are the checking

999
00:47:56,280 --> 00:47:59,200
Speaker 7: all that nonsense. But you know the fact that he

1000
00:47:59,280 --> 00:48:02,000
Speaker 7: didn't know make the movie any less fun.

1001
00:48:02,120 --> 00:48:03,759
Speaker 10: Yeah. I've never seen any of those movies, and I

1002
00:48:03,760 --> 00:48:04,160
Speaker 10: think your.

1003
00:48:04,080 --> 00:48:06,560
Speaker 6: Planes whill Mike dan Angelo wrote a piece for The

1004
00:48:06,600 --> 00:48:08,960
Speaker 6: Dissolve about that very fun phenomenon.

1005
00:48:09,080 --> 00:48:10,960
Speaker 10: Yeah, And I would just like to say before we

1006
00:48:11,080 --> 00:48:14,799
Speaker 10: close out our skewer ring of Joshua Ohio, that I

1007
00:48:15,040 --> 00:48:18,160
Speaker 10: would love a Christopher Guest movie about New Kids on

1008
00:48:18,200 --> 00:48:19,320
Speaker 10: the Black esque group.

1009
00:48:19,560 --> 00:48:19,799
Speaker 11: Yeah.

1010
00:48:20,280 --> 00:48:24,520
Speaker 6: Yeah, Hey, hey, hey, josh go buck Eyes. I'm a

1011
00:48:24,520 --> 00:48:27,399
Speaker 6: big Ohio State fan. I'm trying to win you back

1012
00:48:27,640 --> 00:48:30,240
Speaker 6: after after breaking you over the calls.

1013
00:48:30,800 --> 00:48:33,040
Speaker 5: Yeah, it just I mean, it seems to me, I

1014
00:48:33,400 --> 00:48:36,080
Speaker 5: absolutely understand what you're saying. What you're saying is that

1015
00:48:36,080 --> 00:48:39,600
Speaker 5: these are like very small and ephemeral things, and it

1016
00:48:39,719 --> 00:48:42,840
Speaker 5: seems like a waste of time and attention and energy

1017
00:48:43,320 --> 00:48:45,440
Speaker 5: to make fun of something that might be here today,

1018
00:48:45,480 --> 00:48:48,200
Speaker 5: gone tomorrow. But the fact that it might be gone

1019
00:48:48,239 --> 00:48:50,880
Speaker 5: tomorrow is what is going to make this film interesting

1020
00:48:50,920 --> 00:48:54,000
Speaker 5: in twenty years. I mean, in twenty years, there'll be

1021
00:48:54,320 --> 00:48:56,879
Speaker 5: you know, twenty years worth of other movies competing with it,

1022
00:48:57,120 --> 00:48:59,440
Speaker 5: So it may not be something that's like revisited on

1023
00:48:59,480 --> 00:49:02,319
Speaker 5: the level of that isn't Kane, but it'll be fun

1024
00:49:02,320 --> 00:49:06,319
Speaker 5: to go back in and see what obsessed us for

1025
00:49:06,440 --> 00:49:10,040
Speaker 5: about fifteen minutes in twenty sixteen. You know, leave it

1026
00:49:10,040 --> 00:49:12,520
Speaker 5: to other films to tell us what obsessed us in

1027
00:49:12,560 --> 00:49:15,040
Speaker 5: the second half of twenty sixteen, or in the entirety

1028
00:49:15,040 --> 00:49:17,960
Speaker 5: of twenty seventeen, or back in nineteen seventy.

1029
00:49:18,040 --> 00:49:18,239
Speaker 3: You know.

1030
00:49:18,640 --> 00:49:22,640
Speaker 5: That's why having a history of films and having podcasts

1031
00:49:22,719 --> 00:49:25,040
Speaker 5: like this that dig into the history of films is fun.

1032
00:49:26,120 --> 00:49:29,000
Speaker 5: There's actually there's a lot of concern this week about

1033
00:49:29,000 --> 00:49:33,279
Speaker 5: Popstar's specific flavor of humor in general. Keith, you want

1034
00:49:33,280 --> 00:49:35,520
Speaker 5: to read us yet another letter from someone who enjoyed

1035
00:49:35,520 --> 00:49:39,000
Speaker 5: pop Star but found its particular flavor of medaness problematic.

1036
00:49:39,160 --> 00:49:41,279
Speaker 7: I will if I can find one. And oh, here's

1037
00:49:41,280 --> 00:49:45,279
Speaker 7: one writing right hear. It's from Ben, who writes, while

1038
00:49:45,320 --> 00:49:48,440
Speaker 7: I really enjoyed pop Star, I did have one major complaint.

1039
00:49:48,719 --> 00:49:51,920
Speaker 7: Spinal Tap maintains a consistent reality, but pop Star doesn't.

1040
00:49:52,200 --> 00:49:54,919
Speaker 7: The lonely Island style conflicts with the modern concert doc

1041
00:49:55,000 --> 00:49:58,600
Speaker 7: parity format. This is perhaps most exemplified in my favorite

1042
00:49:58,600 --> 00:50:01,080
Speaker 7: song from the film Equal Right. The song is a

1043
00:50:01,080 --> 00:50:03,560
Speaker 7: perfect parody of Malcolmore's Same Love, where the singer has

1044
00:50:03,560 --> 00:50:05,759
Speaker 7: to let the audience know he's not gay even though

1045
00:50:05,800 --> 00:50:08,480
Speaker 7: he's singing a gay rights anthem. But the fictional music

1046
00:50:08,560 --> 00:50:10,920
Speaker 7: video in the film plays too much like Lonely Islands

1047
00:50:10,960 --> 00:50:13,920
Speaker 7: SNL videos. The stars are where the song is ridiculous

1048
00:50:13,960 --> 00:50:16,680
Speaker 7: and react against it, And why would Connor allow a

1049
00:50:16,760 --> 00:50:20,080
Speaker 7: video where the extras and featured artists pink react negatively

1050
00:50:20,120 --> 00:50:23,120
Speaker 7: to his words? It undercuts what is actually a very

1051
00:50:23,120 --> 00:50:26,480
Speaker 7: believable bad song. It's almost as if Lonely Island can't

1052
00:50:26,480 --> 00:50:29,080
Speaker 7: shake their formula even when it contradicts the purposes of

1053
00:50:29,120 --> 00:50:32,160
Speaker 7: the scene. Some songs, like the Catphrase verse, feel like

1054
00:50:32,160 --> 00:50:34,560
Speaker 7: the kind of parody spinel Tap does so well, but

1055
00:50:34,600 --> 00:50:37,160
Speaker 7: others feel like good songs on a comedy album, not

1056
00:50:37,200 --> 00:50:40,160
Speaker 7: comedically bad songs. Did you notice this and do you

1057
00:50:40,160 --> 00:50:42,440
Speaker 7: think the spinal Tap style of sticking to a single

1058
00:50:42,480 --> 00:50:44,840
Speaker 7: reality and tone is a right approach? Or is it

1059
00:50:44,880 --> 00:50:47,800
Speaker 7: okay to do parody and pop stars free Willing Zucker

1060
00:50:47,840 --> 00:50:51,160
Speaker 7: Abram's style, even for a very specific send up. I

1061
00:50:51,200 --> 00:50:54,680
Speaker 7: guess my first thought is, I didn't you are right,

1062
00:50:54,840 --> 00:50:57,120
Speaker 7: and I didn't notice it at all. And it's because

1063
00:50:57,160 --> 00:50:59,799
Speaker 7: if it works, just go with it, I mean to me,

1064
00:51:00,160 --> 00:51:03,279
Speaker 7: just it worked for this movie. I didn't think about it.

1065
00:51:03,440 --> 00:51:05,600
Speaker 7: I was not removed from the film with this at all.

1066
00:51:05,719 --> 00:51:09,239
Speaker 5: You know, I didn't. I have apparently never heard Mackelmore's

1067
00:51:09,239 --> 00:51:12,280
Speaker 5: Same Love and was completely unaware that I was hearing

1068
00:51:12,320 --> 00:51:14,399
Speaker 5: a parody of it, which takes me back to Josh

1069
00:51:14,400 --> 00:51:20,040
Speaker 5: from Ohio. This film is already sedated time for God,

1070
00:51:20,120 --> 00:51:22,680
Speaker 5: so that I did not realize that that was a parody,

1071
00:51:22,719 --> 00:51:24,480
Speaker 5: and it didn't make it any less funny to me,

1072
00:51:25,000 --> 00:51:27,640
Speaker 5: And like, I think that some of these jokes work

1073
00:51:27,719 --> 00:51:32,480
Speaker 5: fine out of context. No, the inconsistencies didn't make much

1074
00:51:32,480 --> 00:51:36,520
Speaker 5: difference to me. And in that specific example of the

1075
00:51:36,560 --> 00:51:40,080
Speaker 5: equal Rights song, it's because I think what we're seeing

1076
00:51:40,360 --> 00:51:44,080
Speaker 5: is meant to be just an indication of exactly how

1077
00:51:44,600 --> 00:51:47,440
Speaker 5: how arrogant and how out of touch Connor for real is,

1078
00:51:47,480 --> 00:51:50,719
Speaker 5: Like he literally does not notice, probably even in the

1079
00:51:50,800 --> 00:51:53,279
Speaker 5: editing room, he didn't notice that everybody in that video

1080
00:51:53,320 --> 00:51:55,560
Speaker 5: is rolling their eyes at him, Like the fact that

1081
00:51:55,800 --> 00:51:58,319
Speaker 5: the eye rolls made it into the video is meant

1082
00:51:58,320 --> 00:52:00,160
Speaker 5: to tell you something about his character. I think that

1083
00:52:00,320 --> 00:52:02,200
Speaker 5: is actually a consistent part of the story.

1084
00:52:02,520 --> 00:52:05,400
Speaker 10: Yeah, And we talked in the show about how Popstar

1085
00:52:05,520 --> 00:52:08,680
Speaker 10: is very much a Lonely Island vehicle and it is

1086
00:52:08,719 --> 00:52:11,400
Speaker 10: a very pure distillation of what they do. And you

1087
00:52:11,400 --> 00:52:14,600
Speaker 10: you are right that your observation here is correct, that

1088
00:52:14,680 --> 00:52:18,040
Speaker 10: it does, you know, break the reality of the movie.

1089
00:52:18,120 --> 00:52:23,000
Speaker 10: But we've also been primed for that by a decade

1090
00:52:23,080 --> 00:52:26,600
Speaker 10: or more of Lonely Island their style of humor, and

1091
00:52:27,360 --> 00:52:30,120
Speaker 10: so I think that's why it didn't bother me. And

1092
00:52:30,160 --> 00:52:31,840
Speaker 10: I did kind of just chalk it up to this

1093
00:52:31,920 --> 00:52:34,440
Speaker 10: more as you call it, free wheeling Zucker Abrams style,

1094
00:52:34,480 --> 00:52:37,279
Speaker 10: where it's just sort of a comedy is comedy. It's

1095
00:52:37,560 --> 00:52:41,120
Speaker 10: not necessarily about, you know, maintaining a consistent reality.

1096
00:52:41,400 --> 00:52:44,000
Speaker 5: And part of comedy is comedy. I mean, at the end,

1097
00:52:44,080 --> 00:52:47,240
Speaker 5: you say, is the spinal tap style the right approach

1098
00:52:47,400 --> 00:52:49,640
Speaker 5: or is it okay to do this other kind of parody?

1099
00:52:49,680 --> 00:52:52,080
Speaker 5: And the answer to that is whatever's funny. You know,

1100
00:52:52,160 --> 00:52:54,560
Speaker 5: there are no hard and fast rules theory. There's definitely

1101
00:52:54,600 --> 00:52:57,040
Speaker 5: not a rule that says comedy has to be done

1102
00:52:57,120 --> 00:52:59,120
Speaker 5: in this one specific way, or it doesn't work.

1103
00:52:59,440 --> 00:53:00,440
Speaker 11: Yeah, I didn't notice.

1104
00:53:00,440 --> 00:53:02,799
Speaker 6: If I didn't notice, I probably would have sided.

1105
00:53:02,480 --> 00:53:03,439
Speaker 11: With Ben on this.

1106
00:53:04,719 --> 00:53:08,080
Speaker 6: But but of course you explained that maybe, you know,

1107
00:53:08,120 --> 00:53:12,000
Speaker 6: the context of them shooting this video would be a

1108
00:53:12,000 --> 00:53:15,400
Speaker 6: bunch of people laughing at it or finding it ridiculous.

1109
00:53:14,880 --> 00:53:17,359
Speaker 10: And because it was his big failure, it wasn't like

1110
00:53:17,400 --> 00:53:19,319
Speaker 10: one of his fits. You know, it was the song

1111
00:53:19,360 --> 00:53:22,000
Speaker 10: that turned the tide, So it makes sense in that.

1112
00:53:22,080 --> 00:53:23,240
Speaker 11: Yeah, yeah, I guess.

1113
00:53:23,280 --> 00:53:25,400
Speaker 6: But I think I think if it is that, if

1114
00:53:25,560 --> 00:53:29,040
Speaker 6: if it were as Ben says says it were, if

1115
00:53:29,239 --> 00:53:31,320
Speaker 6: if we couldn't explain that away, then then yeah, I

1116
00:53:31,320 --> 00:53:34,200
Speaker 6: think it would break from the reality of the film

1117
00:53:34,239 --> 00:53:35,840
Speaker 6: in a way that I would probably object.

1118
00:53:35,920 --> 00:53:38,160
Speaker 11: But I didn't pick up on that at all.

1119
00:53:38,640 --> 00:53:40,759
Speaker 5: I mean, we talked a lot in that podcast about

1120
00:53:40,840 --> 00:53:43,160
Speaker 5: kind of how the energy of the film and the

1121
00:53:43,719 --> 00:53:47,080
Speaker 5: mile a minute jokes propels it past any bits that

1122
00:53:47,120 --> 00:53:49,200
Speaker 5: don't work. I think that I think you're right. I

1123
00:53:49,200 --> 00:53:51,839
Speaker 5: think there are bits that don't work or don't necessarily fit,

1124
00:53:52,320 --> 00:53:54,120
Speaker 5: and you kind of have to look at the overall

1125
00:53:54,360 --> 00:53:56,600
Speaker 5: like feeling of the film and whether it works for

1126
00:53:56,680 --> 00:53:59,359
Speaker 5: you or you know, if it's just a matter of

1127
00:53:59,400 --> 00:54:03,800
Speaker 5: like with any anthology or with any series of jokes,

1128
00:54:03,880 --> 00:54:06,319
Speaker 5: you're kind of discarding mentally discarding the ones that don't

1129
00:54:06,400 --> 00:54:06,960
Speaker 5: land for you.

1130
00:54:07,320 --> 00:54:08,600
Speaker 11: I support equal rights.

1131
00:54:09,520 --> 00:54:17,080
Speaker 5: Book, chicken wings, nunchucks, nunchucks, everybody all right. As always,

1132
00:54:17,120 --> 00:54:19,960
Speaker 5: we appreciate when our listeners share their thoughts and their recommendations.

1133
00:54:20,239 --> 00:54:22,279
Speaker 5: To reach us, you can leave a short voicemail at

1134
00:54:22,320 --> 00:54:25,600
Speaker 5: seven seven three two three four nine seven three zero,

1135
00:54:25,800 --> 00:54:28,560
Speaker 5: or email us at comments at nextpictureshow dot net. We

1136
00:54:28,600 --> 00:54:30,960
Speaker 5: may feature your response on a future episode or post

1137
00:54:31,000 --> 00:54:39,080
Speaker 5: it on Facebook for discussion. And that's it for this

1138
00:54:39,160 --> 00:54:41,560
Speaker 5: episode of the Next Picture In the second half, we'll

1139
00:54:41,600 --> 00:54:43,480
Speaker 5: go look in for Dory and we'll maybe watch out

1140
00:54:43,520 --> 00:54:46,080
Speaker 5: for Nemo in the process. Look for that later this week,

1141
00:54:46,280 --> 00:54:48,400
Speaker 5: or better yet, subscribe to The Next Picture Show on

1142
00:54:48,440 --> 00:54:51,440
Speaker 5: iTunes or your podcast of choice. Follow us at Facebook

1143
00:54:51,480 --> 00:54:54,120
Speaker 5: dot com slasht Next Picture Show, and follow us on

1144
00:54:54,160 --> 00:54:56,840
Speaker 5: Twitter at at Next Picture Pod so you'll always know

1145
00:54:56,880 --> 00:54:59,520
Speaker 5: when a new episode drops. Until then, we'll be all

1146
00:54:59,680 --> 00:55:02,760
Speaker 5: to our elves to make ourselves happy. In your case, listeners,

1147
00:55:02,880 --> 00:55:03,279
Speaker 5: we will