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

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Speaker 1: You're not interested in art?

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Speaker 2: Now? No, Look, we're going to do this thing.

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Speaker 1: We're going to have a conversation.

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Speaker 3: From Chicago.

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Speaker 4: This is Film Spotting celebrating our twentieth year. I'm Josh Larson.

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Speaker 1: And in for Adam this week, I'm Michael Phillips.

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Speaker 5: I am recording this fair warning is not really necessary.

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Speaker 1: Look Joe six feet.

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Speaker 4: That's Joaquin Phoenix and Pedro Pascal and the trailer for

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Speaker 4: Ariasters Eddington, a film which whisks movie audiences back to

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Speaker 4: the magical year of twenty twenty.

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Speaker 1: I am masked up and ready to go.

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Speaker 4: Josh cut our review, plus the top five Woaquin Phoenix performances.

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Speaker 3: And more ahead. I'm film Spotting.

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Speaker 6: This episode is brought to you by dead Man's Wire,

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Speaker 6: the new film from Roque Entertainment. Dead Man's Wire is

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Speaker 6: the incredible true story of the nineteen seventy seven kidnapping

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Speaker 6: that turned an aspiring entrepreneur into an outlaw folk era.

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Speaker 6: Directed by legendary filmmaker Gus van Zant, dead Man's Wire

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Speaker 6: stars Bill Scarsguard Daker, Montgomery, carry Always and Mahalla with

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Speaker 6: Coleman Domingo and al Pacino, now playing in select theaters everywhere.

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Speaker 6: January sixteenth.

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Speaker 4: Welcome to Film Spotting. It's Pedro Pascal's world, Michael, we

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Speaker 4: just live in it, okay.

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Speaker 1: And the time it took you to say that sentence, Josh.

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Speaker 1: Pedro Pascal started a film podcast and has already already

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Speaker 1: got five trillion subscribers, So.

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Speaker 4: He's a busy You know, you think you're joking, but

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Speaker 4: I bet that's true. Later in the show, you're going

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Speaker 4: to have some thoughts, some feelings too, I hope about

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Speaker 4: the new Pascal starring Fantastic four First Steps, plus a

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Speaker 4: new Golden Brick nominee from me. It's for a deeply

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Speaker 4: strange movie called Sunlight, and we'll have a new deeply

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Speaker 4: flawed Film Spotting poll question. All that, plus from the

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Speaker 4: Film Spotting archive, it's our top five Walking Phoenix performances.

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Speaker 4: Adam and I did that one back in twenty twenty three,

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Speaker 4: around the time of the previous Phoenix Ariastor collaboration bo

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Speaker 4: Is Afraid, But First Astors Eddington, which opened and wide

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Speaker 4: released this weekend and has been the recipient of strongly

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Speaker 4: and maybe this is appropriate divisive takes since its debut

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Speaker 4: at the Cannes Film Festival earlier this year. Phoenix is

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Speaker 4: Joe Cross, a conservative small town sheriff with political ambitions.

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Speaker 4: Pedro Pascal is Ted Garcia, the town's incumbent mayor. Oh

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Speaker 4: and did we mention that it's twenty twenty.

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Speaker 2: So what have you been doing in there? It's takeaway drinks.

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Speaker 4: All the town council members.

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Speaker 7: That's essential business.

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Speaker 2: Well, you can't just call a central business whatever you want.

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Speaker 3: It's a city council meeting.

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Speaker 4: Wherever city council people congregate.

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Speaker 3: It's the mayor's office.

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Speaker 2: If I'm inside, then you were open and you have

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Speaker 2: a pain customer costs trying up.

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Speaker 4: He's aggressive, he's dangerous. He needs to be locked up.

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Speaker 2: Your streets.

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Speaker 3: No, they're your streets, sheriff.

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Speaker 2: They're your streets to keep safe.

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Speaker 3: And where is your man?

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Speaker 4: To kickstart our Eddington conversation, Michael, I'm going to lean

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Speaker 4: on our producer Sam and something he posted recently in

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Speaker 4: Discord for film Spotting family members. Just a reminder here,

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Speaker 4: listeners that access to the discord is one of the

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Speaker 4: benefits of being a family member, So if you haven't

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Speaker 4: already signed up, we'd love to have you do that

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Speaker 4: over at film spottingfamily dot com. Now, Sam's prompt was this,

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Speaker 4: what's the best COVID movie? And by COVID movie, I

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Speaker 4: don't necessarily mean a movie that was made during the pandemic.

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Speaker 4: I mean a movie that is explicitly or metaphorically reckoning

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Speaker 4: with our shared experience as people who lived through the pandemic.

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Speaker 4: For example, the first titles I think of our asteroid

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Speaker 4: city and white Noise. Well, Michael, Certainly, Eddington, written and

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Speaker 4: directed by Ariastor of Hereditary and Midsommar Fame, counts as

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Speaker 4: what Sam calls a COVID movie. Set in the small

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Speaker 4: New Mexico town of the title, during the spring of

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Speaker 4: twenty twenty, the film pits Joaquin Phoenix's sheriff Joe Cross,

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Speaker 4: a skeptic of the virus in general and of masking

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Speaker 4: in particular, against Pedro Pascal's mayor Ted Garcia, who staunchly

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Speaker 4: supports mandates requiring masks, limiting customers in grocery stores, and

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Speaker 4: establishing six feet of separation in public. Have I triggered

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Speaker 4: you enough yet, Michael? The movie expands beyond the standoff

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Speaker 4: between these two men. However, to consider how the entire

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Speaker 4: community crumbles amidst escalating personal tensions, political posturing, and social

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Speaker 4: media fueled conspiracies. Going back to Sam's prompt about COVID movies,

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Speaker 4: I unsurprisingly leaned toward Asteroid City if I were looking

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Speaker 4: to put a film in the time capsule for future generations.

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Speaker 4: Though that's partly because I think Asteroid City touches on

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Speaker 4: current anxieties even beyond the pandemic. Now Listeners on the

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Speaker 4: film spotting Family discord throughout other titles for pandemic movies,

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Speaker 4: such as Steven Soderberg's Kimmy, Sarah Polly's Women Talking, and

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Speaker 4: Ryan Johnson's Glass Onion. What say you, Michael about pandemic

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Speaker 4: movies in general and Eddington in particular? Is Eddington a

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Speaker 4: time capsule film for the pandemic? Or should it be

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Speaker 4: left in the dustbin of history largely forgotten?

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Speaker 1: And that's kind of how at least half and maybe

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Speaker 1: more of the can first responders to Eddington feel like

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Speaker 1: to hell with it? I mean, they didn't like it

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Speaker 1: in any way, And I think it's actually getting a

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Speaker 1: more interesting response here in release, because I'm reading kind

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Speaker 1: of a really sharply divided and also I think a

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Speaker 1: lot of people stepping up on Reddit or letterboxed two

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Speaker 1: and not just so not just mainstream you know, old

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Speaker 1: lye critics, but people stepping up and really grappling with

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Speaker 1: the fact that they really like a lot of it

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Speaker 1: and really kind of hate a lot of it. And

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Speaker 1: that's me. Yeah, in that way, it's not It doesn't

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Speaker 1: really reflect the the psychic temperature of the pandemic, because

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Speaker 1: I don't think anybody, any sane person would feel that

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Speaker 1: they were had mixed feelings about you know, the last

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Speaker 1: five years, you know, I mean, and it's just nothing

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Speaker 1: but fall out of every kind that we're going to

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Speaker 1: be studying a generation from now. We barely know what

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Speaker 1: it is. But it's hard to it's really hard to

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Speaker 1: get extremely recent history sorted out in your mind about

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Speaker 1: what captured you know, you know, twenty twenty, or just

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Speaker 1: even just sort of like a metaphoric sort of pandemic

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Speaker 1: sense of isolation and all the rest of it. I

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Speaker 1: do love that somebody brought up Kimmi though, because I

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Speaker 1: love Soderberg's Kimmi. If you want to talk about a

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Speaker 1: straight ahead, straight ahead meat and potatoes, you know, kind

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Speaker 1: of linear mystery thriller, storytelling in a pandemic, shot in

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Speaker 1: a pandemic, set in a pandemic with an agoraphobic, pandemically

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Speaker 1: paranoid for good reason character trying to solve, you know,

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Speaker 1: a rear window type mystery in her Laft without leaving it.

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Speaker 1: And I love that about that, and I think that

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Speaker 1: film is just a grand, efficient story to us. Yeah,

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Speaker 1: that's one, but yeah, I mean Eddington, I wrote a

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Speaker 1: really squirrely review on that one. I do think I

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Speaker 1: was happy to have seen it a second time, frankly

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Speaker 1: to kind of help sort it out why. I really

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Speaker 1: like a lot of the first two thirds and I

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Speaker 1: kind of hate the last forty minutes. Did you feel

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Speaker 1: that way?

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Speaker 4: Yes, it definitely escalates spirals, goes off the rails, becomes unhinged,

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Speaker 4: whatever description you want to use. Purposely, so though, I

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Speaker 4: think that's the intent to get us to that point,

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Speaker 4: I am in a similar place as you, and maybe

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Speaker 4: we can both help each other find a more firm

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Speaker 4: position to take at the end of this conversation. I'm

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Speaker 4: at a similar place as you in terms of liking

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Speaker 4: a lot of it, disliking much of it, not thinking

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Speaker 4: that something's work thinking that some things are pretty audacious

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Speaker 4: and impressive. I don't have as linear of a response

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Speaker 4: where it's a first half second half break. To me,

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Speaker 4: though I would agree, I do think the second half

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Speaker 4: is weaker, squirrely review. Maybe that's what listeners are going

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Speaker 4: to get, because that's how I feel. I went into

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Speaker 4: this somewhat dreading it, even though I am a very

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Speaker 4: big fan of Hereditary and had positive, if mixed feelings

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Speaker 4: about his other films. I just didn't want to go

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Speaker 4: back to twenty twenty. I wasn't really ready. I didn't

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Speaker 4: know what could be said about it this soon. Maybe

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Speaker 4: that's why we're struggling, Michael Is. It's not so much

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Speaker 4: that Eddington doesn't have anything to say about it, because

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Speaker 4: I did think. I do think I landed on something there,

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Speaker 4: But I don't know how helpful it is to capture

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Speaker 4: the brain rot and the chaos, and the honestly the

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Speaker 4: dysfunction and hatred that we experienced just a few years

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Speaker 4: on from the dark heart of the pandemic. I don't

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Speaker 4: know what the ultimate value is of an endeavor like that,

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Speaker 4: but I found myself surprisingly appreciating the attempt. It's not

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Speaker 4: entirely successful. But I did appreciate the attempt and the

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Speaker 4: one thing. Let me throw this out at you and

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Speaker 4: see if you know there's the one thing, this one

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Speaker 4: thing that I kind of landed on it. Maybe this

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Speaker 4: is what the movie's trying to do, is just capture

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Speaker 4: the fact that in the pandemic, the virus was not

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Speaker 4: enough of an enemy for us as human beings. You

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Speaker 4: would think, and initially maybe it felt this way that

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Speaker 4: could you ask for a more common enemy to unite

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Speaker 4: against is a virus?

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Speaker 3: But what did we do?

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Speaker 4: We just tore each other apart eventually instead, and Eddington,

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Speaker 4: to my mind, is capturing how that happened in this

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Speaker 4: particular town.

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Speaker 3: I think what Astra is trying.

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Speaker 4: To do is explore the way distrust, disinformation, and as

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Speaker 4: I mentioned, just hatred between people flared during the early

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Speaker 4: months of the pandemic. And I don't know if he's

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Speaker 4: as successful the microcosm in the first half that he

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Speaker 4: offers I think is successful. Maybe that's why you like

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Speaker 4: the first half better, where we're getting to learn how

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Speaker 4: this particular community responded the macrocosm. I think that he

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Speaker 4: also wants this movie to be for America as a whole.

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Speaker 4: Maybe even beyond the pandemic, just as a nation. I

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Speaker 4: don't know if Eddington is assured enough to pull that off,

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Speaker 4: but as an attempt to capture that brain rap that

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Speaker 4: you know, really did spread from sea to shiny sea

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Speaker 4: in this country. I do think the movie. I do

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Speaker 4: think the movie manages that in some pretty effective ways.

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Speaker 4: Do we need it now? I'm not so sure about that.

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Speaker 4: But did you did that have a hook for you?

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Speaker 3: Always?

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Speaker 1: Just kind of honestly, I couldn't agree less with you

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Speaker 1: on the fact of whether or not it's too soon.

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Speaker 1: I think film history is full of you know, maybe foolish,

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Speaker 1: hopefully very talented, a lot of them, brilliant film directors

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Speaker 1: and screenwriters who take on what is happening right now

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Speaker 1: or very recently, and you know, maybe maybe this pandemic

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Speaker 1: was simply too wrenching, you know, and a lot of

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Speaker 1: people lost a lot of lives in their immediate family

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Speaker 1: or friends or whatever. You know, no argument. Absolutely I

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Speaker 1: found it not too soon. And in fact, the best

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Speaker 1: of this film, which is almost the first two thirds,

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Speaker 1: it's really more like not halfway that I feel like

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Speaker 1: it was settling for something else, because what happens a

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Speaker 1: little past a halfway point, there is an escalation in

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Speaker 1: the plot where a certain key character, you know, kicks

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Speaker 1: it up a notch to quote Anchorman, and and you know,

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Speaker 1: we have a kind of a different, a different, huge

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Speaker 1: plot redirection, and it's it's it's very effective, I think,

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Speaker 1: And I think one of the things Astor does really well.

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Speaker 1: And this is also Joaquin Phoenix I think working at

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Speaker 1: his best in this film. I mean, I don't think

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Speaker 1: this is this film is Joaquin Phoenix at his best.

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Speaker 1: But the best work he does in this film is

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Speaker 1: we have we have a characterization of this guy, Joe Cross,

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Speaker 1: who doesn't come out as a wildly political really like

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Speaker 1: almost inhumanly stubborn caricature of a conservative, nothing like that.

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Speaker 1: Nothing like that. It's a much more of a slow

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Speaker 1: build and just kind of like, h I don't know

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Speaker 1: about the band. I love the I love the tone

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Speaker 1: of the first scene where you know, it's just it's

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Speaker 1: just a debate and an argument between two reservation police

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Speaker 1: coming off the pueblo and you know, saying to Joe

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Speaker 1: and they're both both in their respective you know, law

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Speaker 1: enforcement cars, and it's where's your mass Joy says, I

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Speaker 1: don't need it? You know, very casual, and that's you know,

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Speaker 1: it wasn't like it's not like the lines of being

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Speaker 1: drawn in the sand. And I think that's why why

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Speaker 1: the film is as intriguing as it is for as

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Speaker 1: long as it is, because Joe Cross, even if he

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Speaker 1: is you know, people disagree all over the place about

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Speaker 1: how sympathetic or unsympathetic he is from from scene to scene,

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Speaker 1: but he's generally a pretty foolish mediocrity of a man.

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Speaker 1: And I think that's asters you know, he's he's not

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Speaker 1: running from that, he's leaning into it, and it's up

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Speaker 1: to it's up to the actor to make that compelling,

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Speaker 1: even if not heroic, you know, but that's a good

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Speaker 1: build to that character and very interesting swerves. And then

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Speaker 1: know what's happening around that, well, you have you have

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Speaker 1: at least four or five and maybe six different subplots

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Speaker 1: that all kind of feed what is going on in

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Speaker 1: this town. There's this nascent Black Lives Matter movement, very

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Speaker 1: small but very mighty in the eyes of the mostly

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Speaker 1: younger characters who are kind of newly awakened, let's say,

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Speaker 1: by what they have seen on the TV in the

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Speaker 1: recent George Floyd murder, up in Minneapolis, and that's why

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Speaker 1: this film is set in when it's sad May twenty twenty,

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Speaker 1: and some of those scenes are better written than others,

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Speaker 1: or more germane to the I guess the overall plot.

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Speaker 1: But I think you know, I am never a guy, Josh,

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Speaker 1: who goes to any movie to see them tell me

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Speaker 1: to watch movie makers and actors tell me a nice

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Speaker 1: linear story. I appreciate it when it's interesting, I guess.

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Speaker 1: But it's about forty ninth on my list of why

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Speaker 1: I go to the movies. You know, I just I

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Speaker 1: like somebody chaos. I mean this you want to talk

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Speaker 1: about a chaotic time. I mean, in a way I

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Speaker 1: wish this film we're a little more kind of out

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Speaker 1: of control and chaotic in those early more realistic, uh

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Speaker 1: kind of slyly comic scenes where everybody is kind of

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Speaker 1: getting dinged for either their kind of liberal credulousness maybe

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Speaker 1: in some characters eyes, or they're sort of like conspiracy

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Speaker 1: prone mania or their butt headed conservatism. I mean, it's

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Speaker 1: all there, and it was all in the country, and

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Speaker 1: I like that Astor took it on, so I for me,

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Speaker 1: it's not too early, Josh. It's like keep it coming.

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Speaker 1: I like topical stuff that forces people into me calling

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Speaker 1: you completely wrong in your opinion that it was too

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Speaker 1: still to make this move.

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Speaker 4: Yeah, well, and then let me let me clarify that

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Speaker 4: a bit. You can still call me wrong.

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Speaker 3: Well, it's.

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Speaker 1: So, but you're recording this, I mean, I mean, you

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Speaker 1: can't clarify, you can't correct it.

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Speaker 4: Yeah, that's against the rules. Yeah, no, no, it's obviously

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Speaker 4: filmmakers can tackle timely subjects. But for me, I mean Eddington,

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Speaker 4: I guess, is it too soon for what Eddington is

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Speaker 4: trying to do?

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Speaker 3: I don't know.

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Speaker 4: Maybe not to your point, maybe it is more successful

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Speaker 4: to your point about the chaos, there is a sequence

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Speaker 4: maybe we'll get into in that climax that I think

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Speaker 4: absolutely is the where it goes and what happens is

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Speaker 4: horrifyingly hilarious. That does capture the chaos of the moment,

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Speaker 4: and maybe I can share that in a little later.

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Speaker 4: But going back to Phoenix and this character of Joe

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Speaker 4: Cross the Sheriff, I agree with you there on the

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Speaker 4: characterization of him, because depending where you lived, the conflicts

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Speaker 4: that you encountered at that time, maybe we're more like that,

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Speaker 4: almost like aggressively passive aggressive about masks, you know, is

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Speaker 4: how you and that's how Joe carries himself, right, is like,

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Speaker 4: I'm not going to make a big deal about it,

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Speaker 4: but I'm also not going to put the mask on.

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Speaker 4: But notice this happens in an early scene at a

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Speaker 4: grocery store where the employees are keeping an older man

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Speaker 4: who's not wearing a mask out, and Joe stops them

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Speaker 4: and says, you can't put your hands on him like that,

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Speaker 4: and says let him in because the man is claiming

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Speaker 4: he can't breathe through the mask. So okay, you know,

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Speaker 4: everyone maybe is trying to be reasonable in this crazy situation.

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Speaker 4: But then what happens. Then Joe enters the grocery store

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Speaker 4: after the man and doesn't put on a mask on either,

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Speaker 4: and so we're getting this slow escalation. The mayor is

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Speaker 4: in the grocery store shopping, and so they have this confrontation,

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Speaker 4: which is, you know, it's very familiar there. It's a

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Speaker 4: showdown of claims and counterclaims, facts and rumors, pandering and posturing.

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Speaker 4: And I thought that was very smartly handled and written.

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Speaker 4: But to your point about you know, Phoenix's performance and

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Speaker 4: the characterization of this sheriff notice that he buys the

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Speaker 4: older man's groceries as well.

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Speaker 1: And there's another moment, and that doesn't I just want

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Speaker 1: to interdict, that does not seem like a screenwriter contrivance

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Speaker 1: to make him more materially sympathetic. That actually seems it's

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Speaker 1: very casually handled to this guy. Yeah, it seems like, okay,

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Speaker 1: that's probably part of his thing. Yeah, okay, yeah, I

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Speaker 1: like that.

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Speaker 4: It's it's along the lines of when he tosses the

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Speaker 4: bottle of water to the itinerant man, who's who's shuffling

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Speaker 4: down the street and seems to be, you know, a

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Speaker 4: regular fixture in the town. He you know, it's a

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Speaker 4: small part for Emma Stone. I think she only has

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Speaker 4: a handful of scenes, probably, But his wife is just stricken,

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Speaker 4: and he's very tender. The sheriff is very tender about

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Speaker 4: trying to reach her and making space for her. She

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Speaker 4: creates these bizarre, creepy dolls that she sells online, and

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Speaker 4: we learn early on he's buying them online to kind of,

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Speaker 4: you know, give her a boost of encouragement. So there

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Speaker 4: are these other sides to the sheriff that I think

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Speaker 4: are important, especially to your point as things do escalate,

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Speaker 4: and he, you know, he suffers from a particular form

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Speaker 4: of brain rot in a particular political direction. At the

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Speaker 4: same time, Pascal's mayor you know, the movie pokes at

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Speaker 4: him too. He seems to he seems to almost delight

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Speaker 4: in the new rules that the pandemic is allowing him

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Speaker 4: to show that by following them, how progressive he is,

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Speaker 4: you know. So this is this is a little bit

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Speaker 4: of an undercutting of that character as well, which I

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Speaker 4: think does make the movie richer. And we could list

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Speaker 4: a number of other characters who are involved, but this

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Speaker 4: thing really broadens out. I was wondering, Michael, a movie

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Speaker 4: that came to mind, and maybe I'm way off here.

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Speaker 4: You seem to be in the mood of telling me

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Speaker 4: when I'm way off, so let me have it. But

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Speaker 4: I thought at this point, I thought at this point

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Speaker 4: about Robert Eltman's Nashville in the sense of a movie

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Speaker 4: that does come to incorporate a very large ensemble cast,

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Speaker 4: also wants to, you know, be a cinematic consideration of

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Speaker 4: America at a critical juncture, and do it through this

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Speaker 4: broad canvas. Now, stylistically, there I can't think of two filmmakers.

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Speaker 4: Maybe further apart, right, Astor doesn't have the shaggy, free

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Speaker 4: flowing touch that you know Altman does, which made us

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Speaker 4: feel like a fly on the wall. Astor is very controlled.

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Speaker 4: His films are very controlled, so there's that difference. But

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Speaker 4: just in the sense of the broad canvas and trying

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Speaker 4: to capture Americana, Nashville did come to mind for me. Yet,

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Speaker 4: how far off am I?

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Speaker 1: No, No, no, that's you're not. No. I'm sorry to

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Speaker 1: jumped on your throat on the other one, but you

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Speaker 1: know it's that's my job.

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Speaker 3: You're good.

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Speaker 1: Yeah, I mean Nashville in fact, was just I think

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Speaker 1: just part of the Altman retrospective at the Cisco Film Center,

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Speaker 1: and I wish i'd seen that seen. I haven't seen

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Speaker 1: it on the screen since I was a teenager.

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Speaker 4: But it's been a long time for me too, so

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Speaker 4: I could be off on this.

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Speaker 1: Yeah, yeah, it's yeah it. Astor is a different kind

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Speaker 1: of I don't want to call him a satirist because

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Speaker 1: I think one of the strengths of Eddington is that

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Speaker 1: it's not straight up satire. I mean, don't look up.

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Speaker 1: I'd agree the Adam McKay meteor, you know, liberal lament

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Speaker 1: film that was straight up satire with then sort of

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Speaker 1: a sledgehammer dose of pathos as the world's about to

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Speaker 1: end at the end, and I didn't like any this

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Speaker 1: is a different register. Yeah, and it's and it's it's

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Speaker 1: a it's a little it's a little slippery almost all

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Speaker 1: the way through. And I guess why I did think it,

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Speaker 1: you know it, I I sense Astor's need to give

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Speaker 1: this picture a satisfying, if outrageously kind of overscaled action climax,

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Speaker 1: just to kind of bring it to a head. And

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Speaker 1: maybe was always scripted that way. I probably was, but

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Speaker 1: to me that the kind of outrageousness does seem to

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Speaker 1: me much more puerile, and I guess adolescent need call it.

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Speaker 1: I mean, I think I compared it to like Tarantino,

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Speaker 1: a guy who I just don't think has a serious

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Speaker 1: storytelling bone in his body. Truly. I think he's got

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Speaker 1: great skill and he's often a lot of fun, but

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Speaker 1: he you know, to me, it's it's just empty calories, uh,

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Speaker 1: you know, and and you know, so be it, you know,

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Speaker 1: asters much more he'll he'll never have the commercial instincts

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Speaker 1: the Tarantino does. And this film. The funny thing about

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Speaker 1: where this movie goes, where editing goes, and it's last

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Speaker 1: half hour forty minutes or so. It's it's almost as

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Speaker 1: if that part of the film exists, so that a

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Speaker 1: twenty four could legitimately include some pretty shocking, you know,

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Speaker 1: scenes of firearm you know, I mean, like like major

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Speaker 1: league heavy duty firearms and fireballs as part of the trailer,

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Speaker 1: and it looks like a movie. I mean that trailer

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Speaker 1: is very, very crafty, and that it seems to get

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Speaker 1: everything about the film, and it might even get a

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Speaker 1: traditional action audience a little bit interested in seeing it.

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Speaker 1: Now what they get when they go in the door,

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Speaker 1: I mean maybe, but they're going to be waiting to way.

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Speaker 4: Make it they make it to the fireballs, is I know, Yeah.

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Speaker 1: I mean he's not he's a funny guy astor because

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Speaker 1: because if I go back to Midsommar, which I really

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Speaker 1: again sort of loved the first two thirds, and I thought,

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Speaker 1: even if it's a lot like The wicker Man and

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Speaker 1: a lot like some other films, you know that that's

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Speaker 1: set up, uh where where you really have a film

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Speaker 1: it's about this very queasy relationship that you know is

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Speaker 1: not destined to work out and it's it's in that movie.

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Speaker 1: And Astor is writer director, very very properly hard on

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Speaker 1: the on the on this on this worm of a

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Speaker 1: male protagonist. And he's a very clear eyed and honest,

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Speaker 1: kind of deadpan black humor perspective on on you know,

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Speaker 1: on this outrageous, outrageous flaws of your typical American and

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Speaker 1: that's what you get in Midsommer, and you also get

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Speaker 1: that into Ednington. And I don't think it kills the movie.

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Speaker 1: I think that actually, as I say, because Quaquin Phoenix

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Speaker 1: is there to slowly build the character. And also the writing,

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Speaker 1: as you say, it's not all one note like a

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Speaker 1: movie like Don't Look Up. Just you know, they don't

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Speaker 1: even have one note. Is too many notes for to

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Speaker 1: describe Don't Look Up. And it's treatment of all the

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Speaker 1: attitudes and characters, and that I think what you said

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Speaker 1: about Emma Stone, yes, but I'm I think I read

430
00:24:22,440 --> 00:24:26,840
Speaker 1: that those scenes differently even after two viewings than you.

431
00:24:26,960 --> 00:24:30,880
Speaker 4: I think his tenderness towards her you're there.

432
00:24:30,640 --> 00:24:33,119
Speaker 1: It's there. I think the tenderness is there, but it

433
00:24:33,200 --> 00:24:39,520
Speaker 1: is more about a guy who's just struggling to try

434
00:24:39,560 --> 00:24:45,000
Speaker 1: to for all the wrote reasons you know, keep this

435
00:24:46,160 --> 00:24:52,720
Speaker 1: difficult and clearly kind of corrosive, corroding marriage together in

436
00:24:52,760 --> 00:24:55,919
Speaker 1: this household where his mother in law. I mean, in

437
00:24:55,960 --> 00:24:58,320
Speaker 1: another way, this movie is just just another mother in

438
00:24:58,400 --> 00:24:58,880
Speaker 1: law joke.

439
00:24:58,960 --> 00:24:59,119
Speaker 8: You know.

440
00:24:59,160 --> 00:25:01,399
Speaker 1: It's like it's like a little like bo as Afraid

441
00:25:01,600 --> 00:25:05,840
Speaker 1: was in some ways, but it's yeah, it's a little

442
00:25:06,119 --> 00:25:08,639
Speaker 1: mother issues. Yeah, and it's a little dumb. It's a

443
00:25:08,680 --> 00:25:11,960
Speaker 1: little dumb and reductive about women in general. I think

444
00:25:11,960 --> 00:25:14,040
Speaker 1: it's a little like I just don't get them. It's

445
00:25:14,080 --> 00:25:16,520
Speaker 1: sort of the attitude of the characters. And it might

446
00:25:16,680 --> 00:25:19,439
Speaker 1: it might interest be it might be Arister's you know,

447
00:25:19,520 --> 00:25:26,280
Speaker 1: private struggle. Like many male writer directors to just write dimensional, interesting,

448
00:25:26,359 --> 00:25:29,600
Speaker 1: surprising female characters. And I think, you know, Emma Stone

449
00:25:29,640 --> 00:25:31,840
Speaker 1: does God knows every single thing she could do to

450
00:25:31,880 --> 00:25:34,720
Speaker 1: make that woman more dimensional interesting than she is on

451
00:25:34,760 --> 00:25:35,320
Speaker 1: the page.

452
00:25:35,680 --> 00:25:38,320
Speaker 4: Yeah, it's a thinly written role. I will say Deirdre

453
00:25:38,359 --> 00:25:42,000
Speaker 4: O'Connell as the mother in law gets maybe more scenes

454
00:25:42,160 --> 00:25:46,480
Speaker 4: than Ada Stone. She certainly appears in the epilogue and

455
00:25:46,640 --> 00:25:48,960
Speaker 4: is crucial to that. We won't give that away, but

456
00:25:49,640 --> 00:25:52,920
Speaker 4: I thought she was fantastic, I mean, making more perhaps

457
00:25:53,000 --> 00:25:59,120
Speaker 4: than what the screenplay provided. As this conspiracy theory obsessed

458
00:25:59,680 --> 00:26:01,479
Speaker 4: mother in law, which is a crucial part of what

459
00:26:01,520 --> 00:26:04,879
Speaker 4: people were, you know, going through, is when you couldn't

460
00:26:04,880 --> 00:26:07,800
Speaker 4: have human connection, it just amped up our inclination to

461
00:26:07,840 --> 00:26:12,280
Speaker 4: turn to digital connections, which is why Facebook, Instagram, YouTube

462
00:26:12,280 --> 00:26:15,240
Speaker 4: plays a prominent role in this movie. I think it's

463
00:26:15,240 --> 00:26:17,600
Speaker 4: pretty sharp about that. I would also say, to counter

464
00:26:18,080 --> 00:26:20,800
Speaker 4: your claim about, you know, the sheriff's feelings towards his wife,

465
00:26:20,800 --> 00:26:23,240
Speaker 4: one of the first videos we see him watching, I

466
00:26:23,240 --> 00:26:26,680
Speaker 4: think it's the very first scene, is a YouTube video

467
00:26:26,760 --> 00:26:29,560
Speaker 4: about someone talking about infertility and how that's hard for

468
00:26:29,600 --> 00:26:32,040
Speaker 4: couples and handling it, and we learn that this is

469
00:26:32,119 --> 00:26:35,120
Speaker 4: part of their difficulty in their marriage at least, if

470
00:26:35,160 --> 00:26:38,000
Speaker 4: not infertility. I think it's just a willingness that he

471
00:26:38,040 --> 00:26:41,040
Speaker 4: does want kids and she's not in an emotional state

472
00:26:41,119 --> 00:26:44,679
Speaker 4: for it. So so yeah, I do think there's more

473
00:26:44,720 --> 00:26:49,600
Speaker 4: of a genuine impetus to him, the sheriff, wanting to

474
00:26:49,680 --> 00:26:52,480
Speaker 4: work out that marriage. But I agree the role that

475
00:26:52,520 --> 00:26:56,440
Speaker 4: Emmastone plays is underwritten. Do you think we should segue

476
00:26:56,640 --> 00:26:59,760
Speaker 4: Michael to a little spoiler? We've been dancing around that

477
00:27:00,040 --> 00:27:03,600
Speaker 4: last third the climax, and I know I do want

478
00:27:03,640 --> 00:27:06,000
Speaker 4: to mention one bit that really did work well for me,

479
00:27:06,080 --> 00:27:09,959
Speaker 4: that chaotic bit, which is also a joke. I found it,

480
00:27:10,000 --> 00:27:13,080
Speaker 4: but I'm not quite sure how So maybe listeners, if

481
00:27:13,119 --> 00:27:16,560
Speaker 4: you haven't seen Eddington yet and don't want to hear

482
00:27:16,920 --> 00:27:20,320
Speaker 4: a few spoiler bits towards the end, you might want

483
00:27:20,320 --> 00:27:23,120
Speaker 4: to jump ahead. If you're going to do that and

484
00:27:23,440 --> 00:27:25,399
Speaker 4: you end up seeing the film and want to let

485
00:27:25,520 --> 00:27:27,840
Speaker 4: us know your thoughts, you can always email us at

486
00:27:27,880 --> 00:27:31,520
Speaker 4: Feedback at filmspawning dot net. As we mentioned, Eddington is

487
00:27:31,560 --> 00:27:33,600
Speaker 4: currently playing in wide release.

488
00:27:35,640 --> 00:27:39,280
Speaker 2: You want things simple and neat. There was some allegations made,

489
00:27:39,440 --> 00:27:42,000
Speaker 2: allegations like what you were in this house? Well, here's

490
00:27:42,000 --> 00:27:43,680
Speaker 2: a quote from you arm yourself.

491
00:27:43,800 --> 00:27:45,679
Speaker 7: I don't mean literal arms.

492
00:27:46,280 --> 00:27:48,000
Speaker 2: I have motive. Oh we need evidence.

493
00:27:48,040 --> 00:27:50,960
Speaker 4: People are going to be looking here now, So Michael,

494
00:27:51,000 --> 00:27:54,000
Speaker 4: let's let's get to, you know, just some general thoughts

495
00:27:54,080 --> 00:27:58,760
Speaker 4: about the ending, the bit in the climax, and this

496
00:27:58,800 --> 00:28:01,480
Speaker 4: is to your point about everyone being skewered all their

497
00:28:02,800 --> 00:28:06,399
Speaker 4: political positions. It's almost like the gunfire which erupts, we

498
00:28:06,440 --> 00:28:09,320
Speaker 4: should say, because at this point the sheriff is being

499
00:28:09,359 --> 00:28:13,920
Speaker 4: pursued by anti fascist assassins who come out of out

500
00:28:13,960 --> 00:28:18,359
Speaker 4: of nowhere, heavily armed, chasing him across town, across the countryside,

501
00:28:18,359 --> 00:28:20,560
Speaker 4: trying to kill him. So he breaks into the gun shop,

502
00:28:21,000 --> 00:28:25,040
Speaker 4: comes out with like a Schwarzenegger style machine gun assembly,

503
00:28:25,160 --> 00:28:27,200
Speaker 4: and just starts laying waste to the whole town.

504
00:28:28,560 --> 00:28:29,240
Speaker 3: In defense.

505
00:28:29,560 --> 00:28:32,280
Speaker 4: Supposedly, there is a bit in that chase Michael, I

506
00:28:32,320 --> 00:28:33,800
Speaker 4: don't know what to make of this. Maybe you can

507
00:28:33,840 --> 00:28:37,320
Speaker 4: help me, except that it seemed to capture the insanity

508
00:28:37,359 --> 00:28:40,960
Speaker 4: of this country, going back from its very beginning. But

509
00:28:41,040 --> 00:28:44,720
Speaker 4: across Sheriff Cross is being chased. He runs on top

510
00:28:44,760 --> 00:28:48,120
Speaker 4: of the roof of the town's history museum, crashes through,

511
00:28:48,880 --> 00:28:52,680
Speaker 4: lands on a display case that also breaks, shatters all

512
00:28:52,680 --> 00:28:55,840
Speaker 4: over the floor, and the case is holding supposedly the

513
00:28:55,880 --> 00:29:00,880
Speaker 4: bones of Geronimo. Now you mentioned the Pueblo commune next door.

514
00:29:00,920 --> 00:29:04,240
Speaker 4: There is a thread acknowledging you know that part of

515
00:29:04,280 --> 00:29:09,600
Speaker 4: America clearly originally the original indigenous peoples who lived here.

516
00:29:09,800 --> 00:29:13,040
Speaker 4: That's a thread in this movie. And something about that

517
00:29:13,160 --> 00:29:16,280
Speaker 4: bit where Cross is laying among the bones and then

518
00:29:16,360 --> 00:29:18,920
Speaker 4: has to get up with his guns and still run

519
00:29:18,960 --> 00:29:21,920
Speaker 4: out and try to take down his assassins. I don't

520
00:29:22,000 --> 00:29:23,840
Speaker 4: I don't know what it says. I don't know what

521
00:29:23,880 --> 00:29:28,040
Speaker 4: it means to say, but it seemed apropos for our

522
00:29:28,080 --> 00:29:31,640
Speaker 4: current moment and as I said, the country's history. That's

523
00:29:31,720 --> 00:29:36,480
Speaker 4: where I think Eddington is doing something that makes me

524
00:29:36,520 --> 00:29:39,160
Speaker 4: at least glad I gave it a shot.

525
00:29:39,400 --> 00:29:40,360
Speaker 1: Yeah, yeah, totally.

526
00:29:40,400 --> 00:29:42,440
Speaker 4: What did you make of that whole sequence or the

527
00:29:42,440 --> 00:29:43,479
Speaker 4: climax in general.

528
00:29:43,760 --> 00:29:47,400
Speaker 1: Yeah, So that's that part of the sequence where we

529
00:29:47,480 --> 00:29:51,160
Speaker 1: never really see any of the assassins in close up.

530
00:29:51,200 --> 00:29:53,240
Speaker 1: I think I might be wrong on it, but I

531
00:29:53,240 --> 00:29:55,360
Speaker 1: don't think so. So, I mean they're basically anonymous and

532
00:29:55,400 --> 00:29:58,680
Speaker 1: gamer type assassins, right, Yeah, it's also kind of yeah,

533
00:29:58,680 --> 00:30:00,800
Speaker 1: I never, I never, I never think that's the strength

534
00:30:00,960 --> 00:30:04,520
Speaker 1: in narrative filmmaking. I think that's an immediate weakness because

535
00:30:04,520 --> 00:30:06,320
Speaker 1: it makes it makes it easier to just sort of,

536
00:30:06,360 --> 00:30:08,200
Speaker 1: you know, get off on the killing, which I you know,

537
00:30:08,840 --> 00:30:11,320
Speaker 1: we've you know, the whole industry is built on that

538
00:30:11,400 --> 00:30:13,600
Speaker 1: to some degree. But uh, I think the way that

539
00:30:13,960 --> 00:30:21,040
Speaker 1: scene is staged and edited and timed, it it leans

540
00:30:21,080 --> 00:30:25,000
Speaker 1: into the many, many too many times we've seen exactly

541
00:30:25,080 --> 00:30:27,240
Speaker 1: that sort of thing played for straight laughs in a

542
00:30:27,560 --> 00:30:30,400
Speaker 1: much lighter film, And so I think the audience doesn't

543
00:30:30,440 --> 00:30:33,960
Speaker 1: know if you know what what what it's. It's it's

544
00:30:33,960 --> 00:30:37,680
Speaker 1: a somewhat insecure a bit of that sequence. I think,

545
00:30:37,800 --> 00:30:39,880
Speaker 1: you know, to your point, Astor doesn't quite really know

546
00:30:40,240 --> 00:30:42,880
Speaker 1: how he wants to come off. I think just in

547
00:30:42,920 --> 00:30:46,120
Speaker 1: that bit, uh, you know what I thought of I mean,

548
00:30:46,160 --> 00:30:49,880
Speaker 1: I discus I've just seen the play recently, what I

549
00:30:49,880 --> 00:30:51,920
Speaker 1: thought it was. I mean, this is this is sort

550
00:30:51,960 --> 00:30:54,720
Speaker 1: of just the fact that he's landing on the bones

551
00:30:54,760 --> 00:30:57,000
Speaker 1: of First Nation people who were there before all any

552
00:30:57,040 --> 00:31:00,560
Speaker 1: of these idiot white people came along, just are shooting

553
00:31:00,600 --> 00:31:05,280
Speaker 1: up their town, a town with the absolute palest whitest

554
00:31:05,440 --> 00:31:09,200
Speaker 1: name in the history of fictional cities in film, Eddington,

555
00:31:09,400 --> 00:31:12,920
Speaker 1: you know, and I'd love to get the backstory on

556
00:31:13,800 --> 00:31:18,000
Speaker 1: the probably halpless military figure that it's named after. You know,

557
00:31:18,040 --> 00:31:19,840
Speaker 1: maybe there's a maybe there's a short film in that.

558
00:31:19,920 --> 00:31:24,600
Speaker 1: So maybe there's a Tracy Let's play called The Minutes

559
00:31:24,800 --> 00:31:28,440
Speaker 1: that premier here at Steppenwolf, played on Broadway, and it's

560
00:31:28,640 --> 00:31:33,680
Speaker 1: got a very similar kind of dynamic about these foolish,

561
00:31:33,800 --> 00:31:39,440
Speaker 1: blinkered small town white sort of politicos just kind of

562
00:31:39,440 --> 00:31:42,360
Speaker 1: going about their business and in a way that gets

563
00:31:42,400 --> 00:31:47,280
Speaker 1: increasingly sinister, and it all kind of ends with this

564
00:31:47,400 --> 00:31:51,120
Speaker 1: sort of second layer of history kind of eating them,

565
00:31:51,160 --> 00:31:53,640
Speaker 1: eating them up on stage. I don't want to lay

566
00:31:53,640 --> 00:31:57,160
Speaker 1: it out to uh too completely, but and it's all

567
00:31:57,200 --> 00:32:03,280
Speaker 1: about the people that were there first. And yes, it's

568
00:32:03,320 --> 00:32:06,720
Speaker 1: an effective moment, and it's also a little unexamined or

569
00:32:07,600 --> 00:32:10,479
Speaker 1: it kind of needs a yes and improv prompt at

570
00:32:10,480 --> 00:32:14,320
Speaker 1: that point, like yes, okay, good and and we don't

571
00:32:14,320 --> 00:32:16,160
Speaker 1: really get that because it's an action set. I mean,

572
00:32:16,200 --> 00:32:19,320
Speaker 1: I mean at that point, astor probably realized, Okay, this

573
00:32:19,480 --> 00:32:21,800
Speaker 1: just has to kind of I have this thing carved up.

574
00:32:21,840 --> 00:32:24,959
Speaker 1: In the eight beats, they're all increasingly violent and fatal

575
00:32:25,000 --> 00:32:27,280
Speaker 1: and bloody, and you know, we just got to keep

576
00:32:27,280 --> 00:32:29,640
Speaker 1: it going at this point. But I don't love I

577
00:32:29,680 --> 00:32:34,160
Speaker 1: just don't love the way that movie, inevitably, I suppose,

578
00:32:34,320 --> 00:32:37,560
Speaker 1: goes where it goes, and in sort of a way

579
00:32:37,560 --> 00:32:40,200
Speaker 1: that again, if you see the trailer, you're really you're

580
00:32:40,200 --> 00:32:42,640
Speaker 1: really I don't want to pin it on a twenty

581
00:32:42,680 --> 00:32:45,560
Speaker 1: fours marketing, but it's just it's just promising a different

582
00:32:45,560 --> 00:32:48,000
Speaker 1: movie than you get. And I think this movie really

583
00:32:48,040 --> 00:32:52,800
Speaker 1: does get at a lot of what we still feel.

584
00:32:52,880 --> 00:32:54,520
Speaker 1: And this is why I don't even look at it

585
00:32:54,600 --> 00:32:57,120
Speaker 1: like recent history, Josh. I think you know how many

586
00:32:57,120 --> 00:33:00,080
Speaker 1: people died last week of COVID in this country. I

587
00:33:00,080 --> 00:33:03,400
Speaker 1: don't know, hundreds, maybe maybe more than a thousand. Is

588
00:33:03,400 --> 00:33:06,800
Speaker 1: there always another viral threat seemingly these days. Yes, So

589
00:33:06,880 --> 00:33:09,160
Speaker 1: to me, it just plays like it happens to be

590
00:33:09,400 --> 00:33:13,640
Speaker 1: specific recent history, May twenty twenty. It also feels like,

591
00:33:15,240 --> 00:33:17,640
Speaker 1: you know, like we're not over with this. It's not

592
00:33:18,200 --> 00:33:21,040
Speaker 1: you know, in that regard, It's not well in every regard.

593
00:33:21,240 --> 00:33:24,120
Speaker 1: This movie is not the best Years of our lives right.

594
00:33:24,400 --> 00:33:26,400
Speaker 1: Came out in nineteen forty six, a year after the war,

595
00:33:26,440 --> 00:33:29,280
Speaker 1: and the whole movie is about people coming home from

596
00:33:29,320 --> 00:33:32,480
Speaker 1: the war like that. You know, it's set in you know,

597
00:33:32,920 --> 00:33:34,800
Speaker 1: it's set basically one year back.

598
00:33:35,280 --> 00:33:37,880
Speaker 4: Yeah, great example to prove your point about it, you know,

599
00:33:37,960 --> 00:33:40,840
Speaker 4: not being too soon. That is absolutely not a too

600
00:33:40,880 --> 00:33:42,360
Speaker 4: soon movie for sure.

601
00:33:42,760 --> 00:33:44,840
Speaker 1: One other thing I'll say, structurally, this is one of

602
00:33:44,880 --> 00:33:47,640
Speaker 1: the few movies where I would say there's enough set

603
00:33:47,720 --> 00:33:52,120
Speaker 1: up in the first three fifths that the film actually

604
00:33:52,120 --> 00:33:55,280
Speaker 1: feels like it could be longer, could be two two

605
00:33:55,400 --> 00:33:57,400
Speaker 1: hour chunks, it could be a four hour picture. I

606
00:33:57,480 --> 00:34:02,760
Speaker 1: suspect that what he wrote initially was longer. I don't know.

607
00:34:02,840 --> 00:34:04,880
Speaker 1: He's probably talked about, you know, whether or not it

608
00:34:04,960 --> 00:34:07,440
Speaker 1: was ever much longer. The cut was three and a

609
00:34:07,480 --> 00:34:10,479
Speaker 1: half hours instead of whatever it is two and a half.

610
00:34:10,520 --> 00:34:12,400
Speaker 1: It's two and a half. But it does feel like

611
00:34:12,480 --> 00:34:15,239
Speaker 1: it's either you know, this is one of the rare

612
00:34:15,280 --> 00:34:17,640
Speaker 1: ones where it's like, you know, just not necessarily to

613
00:34:17,680 --> 00:34:19,399
Speaker 1: clean up the mess of it, but to actually let

614
00:34:19,520 --> 00:34:22,240
Speaker 1: some of the things flesh out. You know, it could

615
00:34:22,239 --> 00:34:24,959
Speaker 1: have been longer, and there's something a little off about

616
00:34:24,960 --> 00:34:26,799
Speaker 1: the length. So what do you think, do you think

617
00:34:26,840 --> 00:34:29,120
Speaker 1: it's or did you feel like enough already?

618
00:34:29,800 --> 00:34:32,560
Speaker 4: A little bit, But it also goes back to me

619
00:34:33,120 --> 00:34:35,280
Speaker 4: for me, to the Altman thing a little bit, where

620
00:34:35,719 --> 00:34:37,680
Speaker 4: you know, some of his movies you feel like, if

621
00:34:37,680 --> 00:34:41,360
Speaker 4: not longer, you know, would be fantastic series where you

622
00:34:41,400 --> 00:34:43,120
Speaker 4: could spend a little more time with some of these

623
00:34:43,200 --> 00:34:46,440
Speaker 4: characters who just walk through and you become you know,

624
00:34:46,239 --> 00:34:48,400
Speaker 4: you they grab your attention and you want to learn

625
00:34:48,480 --> 00:34:50,640
Speaker 4: more about them. I mean, that's to those films credit, right,

626
00:34:50,719 --> 00:34:54,319
Speaker 4: that's finding richness in small moments. But here, you know,

627
00:34:54,400 --> 00:34:58,440
Speaker 4: we meet these kids, these teenagers. Those are interesting stories,

628
00:34:59,239 --> 00:35:02,880
Speaker 4: you know, I think the Sheriff's deputies are interesting stories

629
00:35:02,920 --> 00:35:05,920
Speaker 4: we only get little bits of and more about the

630
00:35:05,920 --> 00:35:08,320
Speaker 4: marriage the movie I feel I could use. We've talked about,

631
00:35:08,320 --> 00:35:11,360
Speaker 4: you know, Ema Stone being underused. So yeah, so before

632
00:35:11,400 --> 00:35:15,040
Speaker 4: we wrap up here, we've worked through a few things.

633
00:35:15,200 --> 00:35:18,800
Speaker 4: Do you feel stronger in terms of a little less squirrely?

634
00:35:19,360 --> 00:35:22,440
Speaker 4: Let me say, would you say you are overall favorable

635
00:35:22,560 --> 00:35:25,279
Speaker 4: on the film or more favorable I am than maybe

636
00:35:25,280 --> 00:35:28,439
Speaker 4: after you saw it. Okay, I'm gonna go favorable as well.

637
00:35:29,000 --> 00:35:32,200
Speaker 1: You know, I'm willingly saw twice. I am wildly conflicted

638
00:35:32,200 --> 00:35:34,560
Speaker 1: about some of it. I do not like, you know,

639
00:35:34,640 --> 00:35:39,279
Speaker 1: the impulse to just deliver, you know, the kind of

640
00:35:39,360 --> 00:35:44,759
Speaker 1: somewhat weightless ultra violence at the end, and then it

641
00:35:44,800 --> 00:35:48,160
Speaker 1: doesn't somehow it doesn't override everything I think the movie

642
00:35:48,200 --> 00:35:54,120
Speaker 1: does not neat and tidy, but very intriguing ambiguities and

643
00:35:54,360 --> 00:35:58,440
Speaker 1: tonal switches. No, I'm favorable. I want three stars, but

644
00:35:58,840 --> 00:36:01,520
Speaker 1: star ratings mean nothing with a film like this. But yes,

645
00:36:01,600 --> 00:36:03,120
Speaker 1: I would say check it out.

646
00:36:03,640 --> 00:36:04,400
Speaker 3: About it totally?

647
00:36:04,520 --> 00:36:08,719
Speaker 4: Yeah, Yeah, well I will give it a conflicted a

648
00:36:08,800 --> 00:36:13,560
Speaker 4: conflicted recommendation from me as well. Eddington is currently playing

649
00:36:13,640 --> 00:36:17,160
Speaker 4: in wide release. If you see it and agree or disagree,

650
00:36:17,239 --> 00:36:20,800
Speaker 4: let us know feedback at film spotting dot net. Listening

651
00:36:20,920 --> 00:36:23,000
Speaker 4: is the number one thing you can do to support

652
00:36:23,040 --> 00:36:26,600
Speaker 4: an independently produced show like ours. Here are a couple

653
00:36:26,600 --> 00:36:28,359
Speaker 4: of other things you can do to help us out.

654
00:36:28,600 --> 00:36:30,480
Speaker 4: Take a minute to give us a rating or a

655
00:36:30,520 --> 00:36:33,239
Speaker 4: review on Apple Podcasts or Spotify.

656
00:36:33,520 --> 00:36:34,440
Speaker 3: Feel free to do this.

657
00:36:34,680 --> 00:36:37,520
Speaker 4: If you're a brand new listener, just one show under

658
00:36:37,560 --> 00:36:39,919
Speaker 4: your belt, you have something you want to share, leave

659
00:36:39,920 --> 00:36:42,120
Speaker 4: that review. Hey, if you've been listening for twenty years

660
00:36:42,120 --> 00:36:45,000
Speaker 4: and you've never left a review, maybe now's the time.

661
00:36:45,320 --> 00:36:49,040
Speaker 4: Every new review helps us reach new listeners. Another way

662
00:36:49,080 --> 00:36:51,920
Speaker 4: to support us, you can join the film Spotting Family

663
00:36:52,280 --> 00:36:56,040
Speaker 4: at film spottingfamily dot com. We want to thank family

664
00:36:56,120 --> 00:37:00,399
Speaker 4: member Jason Monholland from Oklahoma City. If if you want

665
00:37:00,400 --> 00:37:04,040
Speaker 4: to follow Jason on letterbox, you can find him at

666
00:37:04,200 --> 00:37:08,680
Speaker 4: Sooner Moondog. So Michael, we have a little bit of

667
00:37:08,880 --> 00:37:12,799
Speaker 4: a questionnaire we ask new family members to fill out

668
00:37:12,840 --> 00:37:16,240
Speaker 4: if they so desire when they join the family. Jason

669
00:37:16,320 --> 00:37:18,960
Speaker 4: did that for us, so I want to share some

670
00:37:19,080 --> 00:37:22,400
Speaker 4: of his responses here. We ask you know when they

671
00:37:22,440 --> 00:37:25,839
Speaker 4: started listening, if they remember their first show, and he says,

672
00:37:25,880 --> 00:37:29,560
Speaker 4: it's been so long, I can't remember when I started listening. Well,

673
00:37:29,560 --> 00:37:32,680
Speaker 4: thanks for sticking with us for a while, Jason. His

674
00:37:32,800 --> 00:37:36,080
Speaker 4: favorite reviewer segment. Jason says, one that sticks out is

675
00:37:36,120 --> 00:37:39,279
Speaker 4: the methodical way you broke down Killers of the Flower Moon.

676
00:37:39,360 --> 00:37:41,960
Speaker 4: I love it when you guys geek out about a

677
00:37:42,000 --> 00:37:45,240
Speaker 4: film or a filmmaker. What review did we get wrong?

678
00:37:45,880 --> 00:37:49,200
Speaker 4: I struggle to recaller review I strongly disagree with, which

679
00:37:49,239 --> 00:37:52,160
Speaker 4: means that either the show has started affecting the way

680
00:37:52,200 --> 00:37:56,040
Speaker 4: I watch movies, or that we share similar viewpoints, in

681
00:37:56,080 --> 00:38:00,160
Speaker 4: which case I commend you on your impeccable tastes. It's

682
00:38:00,160 --> 00:38:03,960
Speaker 4: always always encouraging to hear that the indoctrination is taking

683
00:38:04,080 --> 00:38:08,160
Speaker 4: effect among our listeners. All right, Jason on Letterbox, As

684
00:38:08,160 --> 00:38:11,640
Speaker 4: I said, here's his top four films listed there, eight

685
00:38:11,680 --> 00:38:16,920
Speaker 4: and a half, The Empire Strikes Back, Princess Mononoke, and

686
00:38:17,160 --> 00:38:21,239
Speaker 4: Rear Window. Any issues with any of those titles, Michael.

687
00:38:21,239 --> 00:38:23,799
Speaker 1: Oh, heck no, heck no, I mean I mean, yeah,

688
00:38:23,840 --> 00:38:24,920
Speaker 1: we were just true everything.

689
00:38:24,960 --> 00:38:27,440
Speaker 4: Okay, yeah, you know the way, well you get the

690
00:38:27,920 --> 00:38:30,920
Speaker 4: Michael Phillips Seal of approval. Jason a favorite movie he

691
00:38:31,040 --> 00:38:34,719
Speaker 4: revisited recently alien a random film or filmmaker that you love,

692
00:38:34,840 --> 00:38:39,120
Speaker 4: Terry Gilliams, The Adventures of Baron Munchausen, and a movie

693
00:38:39,440 --> 00:38:43,600
Speaker 4: he credits with becoming a cinophile, Akira kurosawas seven Samurai.

694
00:38:43,920 --> 00:38:47,839
Speaker 4: One last question that Jason answered for us a book

695
00:38:47,880 --> 00:38:50,640
Speaker 4: about movies or movie making. He said, the easy answer

696
00:38:50,680 --> 00:38:53,160
Speaker 4: is Ebert's Great Movies, But I will mention a book

697
00:38:53,200 --> 00:38:55,760
Speaker 4: I got from the book Fair as a young upcoming

698
00:38:55,800 --> 00:38:59,120
Speaker 4: centophile that stuck with and ignited a curiosity about film

699
00:38:59,760 --> 00:39:03,879
Speaker 4: move monsters, monster makeup, and monster shows to put on

700
00:39:04,080 --> 00:39:08,640
Speaker 4: by Alan Ormsby. Thanks for the recommendation, Jason, I am

701
00:39:08,719 --> 00:39:12,719
Speaker 4: unfamiliar with that one. Thank you again for joining the

702
00:39:12,760 --> 00:39:15,360
Speaker 4: Film Spotting Family. If you would like to join the

703
00:39:15,360 --> 00:39:19,719
Speaker 4: Film Spotting Family, just go to Film Spotting Family dot com.

704
00:39:19,880 --> 00:39:22,480
Speaker 9: This episode is brought to you by Peloton break through

705
00:39:22,520 --> 00:39:24,960
Speaker 9: the busiest time of year with the brand new Peloton

706
00:39:25,040 --> 00:39:28,719
Speaker 9: Cross Training tread Plus powered by Peloton Iq. With real

707
00:39:28,760 --> 00:39:31,839
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708
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Speaker 9: your workouts and train with confidence, helping you reach your

709
00:39:35,080 --> 00:39:39,240
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710
00:39:39,360 --> 00:39:42,600
Speaker 9: and go. Explore the new Peloton Cross Training tread plus

711
00:39:42,719 --> 00:39:46,200
Speaker 9: at one peloton dot com.

712
00:39:46,360 --> 00:39:50,480
Speaker 10: Thisay Summer, Marvel Studios invite you to the cinematic event

713
00:39:50,560 --> 00:39:52,640
Speaker 10: of the year with everything from.

714
00:39:52,480 --> 00:39:58,040
Speaker 1: Action You Awesome, Stink You to romance kis for luck.

715
00:40:00,280 --> 00:40:01,680
Speaker 1: Be careful There.

716
00:40:01,719 --> 00:40:06,520
Speaker 4: Pedro Pascal again in the trailer for Fantastic four First Steps,

717
00:40:06,920 --> 00:40:09,600
Speaker 4: which arrives in theaters this weekend. This is the third

718
00:40:09,600 --> 00:40:13,440
Speaker 4: attempt to bring the Fantastics to the screen, at least

719
00:40:13,600 --> 00:40:17,040
Speaker 4: in a version that isn't widely hated by audiences and critics.

720
00:40:17,040 --> 00:40:21,440
Speaker 4: There was two thousand and five's Chris Evans starring Fantastic Four,

721
00:40:21,880 --> 00:40:23,880
Speaker 4: and then it's two thousand and seven sequel Rise of

722
00:40:23,920 --> 00:40:27,480
Speaker 4: the Silver Surfer. Here's Roger Ebert weihine in should be

723
00:40:27,520 --> 00:40:30,800
Speaker 4: ashamed to show itself in the same theaters as good

724
00:40:31,080 --> 00:40:35,240
Speaker 4: superhero movies. And yes, I remember the competition was strong

725
00:40:36,000 --> 00:40:38,520
Speaker 4: around two thousand and five and two thousand and seven.

726
00:40:39,200 --> 00:40:41,719
Speaker 4: Ten years later we got Miles Teller and Michael B.

727
00:40:41,880 --> 00:40:45,480
Speaker 4: Jordan's turn. That one fared even worse. Here's a review

728
00:40:45,480 --> 00:40:48,400
Speaker 4: we dug up. Everyone on screen speaks in a flat,

729
00:40:48,480 --> 00:40:51,799
Speaker 4: earnest monotone, bordering on openly not giving a rip. It's

730
00:40:51,840 --> 00:40:54,960
Speaker 4: a choice, a boring one, but a choice. Do those

731
00:40:55,000 --> 00:40:57,160
Speaker 4: words sound familiar, Michael.

732
00:40:56,840 --> 00:41:01,920
Speaker 1: Folks, I think that's a little detritis that floated off

733
00:41:01,960 --> 00:41:03,800
Speaker 1: a one star review in The Tribune.

734
00:41:03,920 --> 00:41:06,240
Speaker 3: Yes, one star from Michael Phillips.

735
00:41:06,320 --> 00:41:10,440
Speaker 4: Yes, you did not enjoy that one. Well, another ten

736
00:41:10,520 --> 00:41:14,799
Speaker 4: years have passed and they're back. We have Pascal's Mister Fantastic,

737
00:41:15,239 --> 00:41:19,160
Speaker 4: Vanessa Kirby as Sue Storm, Joseph Quinn as Johnny Storm,

738
00:41:19,400 --> 00:41:23,239
Speaker 4: and even Muss Backrex the Thing. But this one the

739
00:41:23,320 --> 00:41:27,279
Speaker 4: first Fantastic Four produced by Marvel Studios. It's directed by

740
00:41:27,480 --> 00:41:31,120
Speaker 4: Matt Shackman. Is in the space age nineteen sixties, when

741
00:41:31,160 --> 00:41:35,640
Speaker 4: the quartet first appeared in comics. So Michael, I saw

742
00:41:35,920 --> 00:41:39,640
Speaker 4: those first two Fantastic Four movies. Also not a fan.

743
00:41:40,040 --> 00:41:42,759
Speaker 4: I skipped the twenty fifteen one and didn't make it

744
00:41:43,000 --> 00:41:49,120
Speaker 4: to this latest iteration. So you are our Fantastic Four correspondent.

745
00:41:49,440 --> 00:41:51,560
Speaker 4: Is the third time the charm.

746
00:41:51,719 --> 00:41:54,520
Speaker 1: It is I mean, I mean it's not great. I

747
00:41:54,520 --> 00:41:58,799
Speaker 1: don't know if there's any way you can actually make

748
00:41:59,200 --> 00:42:05,280
Speaker 1: great super hero cinema in within the Marvel Studios realm

749
00:42:05,360 --> 00:42:09,600
Speaker 1: right now, Uh, this far into the collective cultural fatigue.

750
00:42:09,600 --> 00:42:12,840
Speaker 1: We maybe we might I'll say might might be feeling

751
00:42:12,920 --> 00:42:17,200
Speaker 1: as a populace. But this one's good and it has

752
00:42:17,280 --> 00:42:20,880
Speaker 1: some of that conspicuously lighter spirit of let's say, the

753
00:42:20,920 --> 00:42:25,880
Speaker 1: first ant Man film with Paul Rudd. Uh that that

754
00:42:25,880 --> 00:42:27,719
Speaker 1: that to me felt like a relief when it came,

755
00:42:27,800 --> 00:42:32,720
Speaker 1: because it was it wasn't It wasn't about yet another

756
00:42:32,760 --> 00:42:36,480
Speaker 1: apocalyptic sort of universe crushing scenario. Is more just about

757
00:42:36,520 --> 00:42:39,720
Speaker 1: like regional trouble, you know, with the ant Man fighting

758
00:42:40,160 --> 00:42:41,279
Speaker 1: the forces of darkness. All.

759
00:42:41,600 --> 00:42:41,719
Speaker 11: Uh.

760
00:42:42,160 --> 00:42:43,839
Speaker 1: I like that film, and I like this one too.

761
00:42:43,920 --> 00:42:46,279
Speaker 1: It's uh, it's the first film in a while I've

762
00:42:46,280 --> 00:42:49,719
Speaker 1: seen from Marvel Studios in a quite a while that

763
00:42:49,920 --> 00:42:53,560
Speaker 1: actually gives you some images to remember rather than just

764
00:42:53,600 --> 00:42:56,920
Speaker 1: sort of a general wash of fan service. I mean,

765
00:42:56,960 --> 00:43:01,319
Speaker 1: it's actually really sharply production design for once. It's not

766
00:43:01,520 --> 00:43:05,239
Speaker 1: it doesn't it's not production design that gets completely smothered

767
00:43:05,480 --> 00:43:07,640
Speaker 1: by every other visual element, you know, the via, the

768
00:43:07,719 --> 00:43:11,560
Speaker 1: visual compiled, the digital compositing, the green screen stuff, all that.

769
00:43:11,680 --> 00:43:17,600
Speaker 1: It actually is a really tasty look at Manhattan the sixties.

770
00:43:17,680 --> 00:43:21,520
Speaker 1: If in an alternate universe, if the designers of Tomorrow

771
00:43:21,680 --> 00:43:25,000
Speaker 1: Land redid Manhattan so that there's an awful lot of

772
00:43:25,640 --> 00:43:28,720
Speaker 1: skyscrapers that don't really exist on the never did exist

773
00:43:29,120 --> 00:43:32,279
Speaker 1: on the skyline. But you know, so you know, alongside

774
00:43:32,280 --> 00:43:36,360
Speaker 1: this Chrysler building and the pan Am building, uh, you know,

775
00:43:36,400 --> 00:43:40,359
Speaker 1: you get you get these kind of wonderful wonderful you know,

776
00:43:40,480 --> 00:43:43,160
Speaker 1: what if, what if? The what if? You know, the

777
00:43:43,239 --> 00:43:46,680
Speaker 1: jet Age, space Age. It's great, and there's kind of

778
00:43:47,360 --> 00:43:50,040
Speaker 1: it's a movie that really trusts, maybe maybe to to

779
00:43:50,120 --> 00:43:54,160
Speaker 1: a fault, the hangout factor. The audience might feel like,

780
00:43:54,520 --> 00:43:57,799
Speaker 1: I don't mind hanging out with these four Fantastic four

781
00:43:58,760 --> 00:44:02,520
Speaker 1: as they sort of struggle through through various issues about

782
00:44:02,920 --> 00:44:06,200
Speaker 1: it's increasingly serious about like, okay, you know, are we

783
00:44:06,400 --> 00:44:10,600
Speaker 1: really going to deal with this ethical dilemma of doing

784
00:44:10,640 --> 00:44:15,160
Speaker 1: what the nemesis in this story is asking, which involves

785
00:44:15,960 --> 00:44:18,759
Speaker 1: a new family member, and it's a big issue. I

786
00:44:18,760 --> 00:44:21,400
Speaker 1: don't want to spoil it, but I did sense that

787
00:44:21,480 --> 00:44:25,480
Speaker 1: people were relaxing into enjoying it more than I've maybe

788
00:44:25,600 --> 00:44:29,840
Speaker 1: experienced in a lot of marvels lately. Pedro Pascal's good.

789
00:44:29,920 --> 00:44:33,279
Speaker 1: I think he's kind of It's the first performance I've

790
00:44:33,280 --> 00:44:37,040
Speaker 1: seen it. It didn't seem surprising in any way it's

791
00:44:37,040 --> 00:44:40,960
Speaker 1: a very steady, methodical performance. He's a very serious character.

792
00:44:41,080 --> 00:44:43,680
Speaker 1: But it's Vanessa Kirby that really kind of takes off

793
00:44:43,719 --> 00:44:47,520
Speaker 1: a little bit in this one. And you know, not great,

794
00:44:47,560 --> 00:44:50,480
Speaker 1: but good, solidly good. And you know, I'm you know,

795
00:44:50,560 --> 00:44:52,719
Speaker 1: I'm a Superman, which I also I know I like

796
00:44:52,800 --> 00:44:55,160
Speaker 1: Superman more than you did. You didn't like it at all,

797
00:44:55,280 --> 00:44:57,279
Speaker 1: but I think we hated the same things about it,

798
00:44:57,320 --> 00:44:59,880
Speaker 1: the fact that it had that sort of crushing, punishing,

799
00:45:00,719 --> 00:45:03,759
Speaker 1: sort of like jokey sadism running through it, and that's

800
00:45:03,840 --> 00:45:06,360
Speaker 1: James Gunn at his worst. But I did like a

801
00:45:06,400 --> 00:45:09,680
Speaker 1: lot of the other bits of Superman that maybe most

802
00:45:09,719 --> 00:45:12,399
Speaker 1: people wouldn't go to a movie four like in fact,

803
00:45:12,640 --> 00:45:15,160
Speaker 1: like the fact that there's a really interesting argument between

804
00:45:15,239 --> 00:45:18,279
Speaker 1: Lois Lane and Clark Kent at the beginning of the

805
00:45:18,280 --> 00:45:20,000
Speaker 1: picture that's all about like how do we sell how

806
00:45:20,000 --> 00:45:22,480
Speaker 1: do we solve our relationship issues? And that scene is

807
00:45:22,520 --> 00:45:25,319
Speaker 1: not a joke, and it actually is like it's buying in,

808
00:45:25,600 --> 00:45:27,520
Speaker 1: you know, buying into the and and there's there's some

809
00:45:27,560 --> 00:45:30,759
Speaker 1: of that, there's some of that even Superman very up

810
00:45:30,760 --> 00:45:34,520
Speaker 1: and down film and kind of neurotically uneven and fantastic

811
00:45:34,560 --> 00:45:38,000
Speaker 1: four is much more confident and sort of just a gratifying,

812
00:45:38,280 --> 00:45:40,920
Speaker 1: pretty good picture all the way through. And look, I

813
00:45:40,920 --> 00:45:43,480
Speaker 1: didn't you know these days. I'll take it.

814
00:45:43,880 --> 00:45:47,080
Speaker 4: Yeah, Superman, I'll admit part of the reason, but I'm

815
00:45:47,080 --> 00:45:49,040
Speaker 4: still recovering part of the reason I didn't make it

816
00:45:49,040 --> 00:45:52,520
Speaker 4: to Fantastic for But with your recommendation, and you know,

817
00:45:52,680 --> 00:45:56,719
Speaker 4: people being relatively high on thunderbolts, I might maybe I'm

818
00:45:56,760 --> 00:46:00,600
Speaker 4: getting nudged, nudged back into the MCU here my Well,

819
00:46:00,760 --> 00:46:04,200
Speaker 4: we'll see what happens. Fantastic four First Steps is currently

820
00:46:04,200 --> 00:46:06,880
Speaker 4: playing in wide release. If you see it and agree

821
00:46:07,000 --> 00:46:10,399
Speaker 4: or disagree with Michael's take, let us know feedback at

822
00:46:10,440 --> 00:46:12,160
Speaker 4: filmspotting dot net.

823
00:46:13,440 --> 00:46:18,759
Speaker 7: What Hi, Okay, No, I gotta get to Colorado.

824
00:46:18,920 --> 00:46:21,000
Speaker 5: I gotta drop myself off the lake and then you're

825
00:46:21,000 --> 00:46:21,920
Speaker 5: gonna have your band back.

826
00:46:22,000 --> 00:46:24,560
Speaker 4: I'm not letting some birthday clown take me to Colorado.

827
00:46:24,680 --> 00:46:25,840
Speaker 1: A birthday clown.

828
00:46:26,000 --> 00:46:26,920
Speaker 3: This is my vehicle.

829
00:46:27,000 --> 00:46:28,960
Speaker 1: I need you to stop driving in Oh.

830
00:46:30,800 --> 00:46:34,160
Speaker 4: That's from the trailer for Sunlight from writer, director, and

831
00:46:34,200 --> 00:46:39,479
Speaker 4: star Nina Kanti. Kanti plays Jane, and she's not, as

832
00:46:39,640 --> 00:46:42,600
Speaker 4: she states, a birthday clown, but she is dressed in

833
00:46:42,640 --> 00:46:46,759
Speaker 4: a full body monkey costume, which yeah, she wears for

834
00:46:46,880 --> 00:46:50,719
Speaker 4: most of the movies runtime. Michael, you know, I'm fascinated

835
00:46:50,760 --> 00:46:54,120
Speaker 4: with manimals. We did up Top five manimals together years ago,

836
00:46:54,560 --> 00:46:57,040
Speaker 4: one of you know, clearly the best top fives in

837
00:46:57,080 --> 00:46:59,520
Speaker 4: the show's history. I don't know if I'd actually go

838
00:47:00,080 --> 00:47:04,840
Speaker 4: a manimal direction here with Sunlight. It's not why I

839
00:47:04,880 --> 00:47:07,799
Speaker 4: am nominating it for our Golden Brick Award. Let me

840
00:47:07,880 --> 00:47:09,520
Speaker 4: just put it that way, But I do want to

841
00:47:09,560 --> 00:47:13,520
Speaker 4: throw Sunlight into the ring for a Golden Brick because, boy,

842
00:47:13,560 --> 00:47:16,480
Speaker 4: we talk about, you know, looking for movies to consider

843
00:47:16,520 --> 00:47:22,719
Speaker 4: for this award having original vision and taking bold strokes. Yeah,

844
00:47:22,760 --> 00:47:27,560
Speaker 4: how about a movie by a ventriloquist comedian of sorts

845
00:47:27,960 --> 00:47:32,800
Speaker 4: who is writing it, co writing it, directing and starring

846
00:47:32,880 --> 00:47:35,600
Speaker 4: in a monkey costume. Just the fact that this works, Michael,

847
00:47:35,680 --> 00:47:39,839
Speaker 4: that this isn't an abject disaster, I think is worth admiring.

848
00:47:39,960 --> 00:47:42,840
Speaker 4: And it is much better than that. This film really

849
00:47:42,880 --> 00:47:46,680
Speaker 4: worked for me. Uh, and it is all about to

850
00:47:46,719 --> 00:47:49,359
Speaker 4: my mind, Contie's performance in some ways, you can tell

851
00:47:49,400 --> 00:47:53,239
Speaker 4: it's a first film, and you know, maybe gets a

852
00:47:53,239 --> 00:47:56,839
Speaker 4: little too easily cheery at the end. But this performance

853
00:47:56,920 --> 00:48:00,680
Speaker 4: she gives as Jane, the woman behind the mask is

854
00:48:01,280 --> 00:48:05,720
Speaker 4: it's alarmingly entertaining and works on a number of levels.

855
00:48:06,520 --> 00:48:10,960
Speaker 4: The idea here Jane is basically fleeing an abusive relationship,

856
00:48:11,200 --> 00:48:18,239
Speaker 4: and you sense that past in the physicality of the

857
00:48:18,360 --> 00:48:21,560
Speaker 4: performance and in the way that Monkey she calls herself.

858
00:48:21,600 --> 00:48:25,720
Speaker 4: Monkey is assertive, crude, and irrationally confident in the ways

859
00:48:25,760 --> 00:48:29,200
Speaker 4: that Jane can't otherwise be. She also speaks I think

860
00:48:29,320 --> 00:48:31,480
Speaker 4: what's supposed to be a vaguely British accent, which is

861
00:48:31,640 --> 00:48:34,799
Speaker 4: very funny. But most of the humor comes down to

862
00:48:34,880 --> 00:48:38,759
Speaker 4: that physicality. There are details like, you know, Jane just

863
00:48:38,840 --> 00:48:42,799
Speaker 4: resting her head on the dashboard of this vehicle. She

864
00:48:42,920 --> 00:48:46,520
Speaker 4: falls in with a man who's actually co wrote the film.

865
00:48:46,680 --> 00:48:50,080
Speaker 4: It's the co star here, Shanoah Allen. He's playing a

866
00:48:50,160 --> 00:48:52,480
Speaker 4: radio personality who's on the road and she falls in

867
00:48:52,520 --> 00:48:55,600
Speaker 4: with him and she's in his motor home. And when

868
00:48:55,600 --> 00:48:58,240
Speaker 4: she just lays her head on the dashboard, there's something

869
00:48:59,080 --> 00:49:02,920
Speaker 4: melancholy funny about this mask doing it, and the mask

870
00:49:03,000 --> 00:49:06,759
Speaker 4: in general works. It has dead eyes and whenever she

871
00:49:06,880 --> 00:49:09,080
Speaker 4: looks at the camera, it's almost like a Rorschack test

872
00:49:09,120 --> 00:49:11,960
Speaker 4: for the audience, for the viewer trying to read what

873
00:49:12,040 --> 00:49:14,399
Speaker 4: she might be thinking of what we're thinking about her.

874
00:49:15,000 --> 00:49:17,280
Speaker 4: But then comedy too. You know, she keeps her flip

875
00:49:17,360 --> 00:49:19,759
Speaker 4: phone in the monkey suit, so she has to zip

876
00:49:19,800 --> 00:49:22,520
Speaker 4: it down to get her phone out. When she gets hot,

877
00:49:22,560 --> 00:49:26,200
Speaker 4: she dumps some ice in the suit, and then there's

878
00:49:26,280 --> 00:49:31,680
Speaker 4: pathos as well, as we realize how severe the personality

879
00:49:31,760 --> 00:49:35,359
Speaker 4: split between Jane and Monkey has become, how it's escalating

880
00:49:35,760 --> 00:49:40,640
Speaker 4: and becoming something that's actually concerning. So this is it's

881
00:49:40,640 --> 00:49:45,600
Speaker 4: a cringe free ventriloquism movie that made me genuinely laugh

882
00:49:45,840 --> 00:49:50,759
Speaker 4: and I found moving, and that is a rare accomplishment that, yeah,

883
00:49:50,880 --> 00:49:54,480
Speaker 4: I think does make it worthy of a golden bricknut.

884
00:49:54,840 --> 00:49:58,560
Speaker 1: I know two people who would have jolly will agree

885
00:49:58,600 --> 00:50:00,560
Speaker 1: with you, and I really wish I'd seen some time

886
00:50:00,600 --> 00:50:03,440
Speaker 1: to talk about it. But my brother and his wife,

887
00:50:03,520 --> 00:50:05,880
Speaker 1: my brother and sister in law, saw this. They live

888
00:50:05,920 --> 00:50:09,520
Speaker 1: in Albuquerque, New Mexico. The film was filmed in Albuquerque,

889
00:50:09,560 --> 00:50:13,640
Speaker 1: New Mexico, and enquirens And so I think I think

890
00:50:13,640 --> 00:50:17,640
Speaker 1: it's that second filmmaker you mentioned came and introduced it

891
00:50:17,680 --> 00:50:21,400
Speaker 1: in this tiny, little, wonderful little art house theater that

892
00:50:21,480 --> 00:50:25,319
Speaker 1: Albuquerque is sustaining quite nicely. And they loved it. They

893
00:50:25,400 --> 00:50:28,439
Speaker 1: thought exactly the same. I mean, they laughed a lot.

894
00:50:29,160 --> 00:50:32,280
Speaker 1: They couldn't believe that the premise didn't dry out after

895
00:50:32,320 --> 00:50:35,919
Speaker 1: fifteen minutes, and by the end they were quite quite

896
00:50:35,920 --> 00:50:38,520
Speaker 1: touched by it. So it's, you know, it's what you're

897
00:50:38,560 --> 00:50:42,359
Speaker 1: describing sounds. Remember that film Frank with Michael Fassbender and

898
00:50:42,560 --> 00:50:45,920
Speaker 1: Domin All, which was quite good, quite good, right, And

899
00:50:45,960 --> 00:50:48,600
Speaker 1: it's that whole thing about sort of like you know,

900
00:50:49,480 --> 00:50:52,560
Speaker 1: a bit about sort of like cloaking your identity but

901
00:50:52,840 --> 00:50:55,719
Speaker 1: you know behind some crazy mask of you know, an

902
00:50:55,800 --> 00:50:59,600
Speaker 1: artificial front, right and yet finding a weird sort of

903
00:50:59,680 --> 00:51:01,920
Speaker 1: freedom minute. And you know, this is a simple idea,

904
00:51:01,960 --> 00:51:04,960
Speaker 1: but it's a workable one. But I you know, your

905
00:51:05,000 --> 00:51:10,399
Speaker 1: recommendation on top of brother and sister and my sister law,

906
00:51:10,880 --> 00:51:12,200
Speaker 1: I'm going to check it out good.

907
00:51:12,239 --> 00:51:14,120
Speaker 4: I'm glad it's getting some good word of mouth.

908
00:51:14,160 --> 00:51:15,200
Speaker 3: That was probably Yeah.

909
00:51:15,200 --> 00:51:18,799
Speaker 4: Who I mentioned Shanoah Allen Kanti's creative partner you know

910
00:51:19,000 --> 00:51:21,680
Speaker 4: offscreen as well in other pursuits, but did co write

911
00:51:22,080 --> 00:51:25,840
Speaker 4: Sunlight with her and also co stars in the film.

912
00:51:26,000 --> 00:51:30,880
Speaker 4: So Sunlight had a limited theatrical run this month, but

913
00:51:31,000 --> 00:51:34,560
Speaker 4: it is available now on streaming services. Just came out

914
00:51:34,600 --> 00:51:36,719
Speaker 4: this week, so if it sounds intriguing to you, check

915
00:51:36,760 --> 00:51:39,359
Speaker 4: it out. And as far as the Golden Brick goes,

916
00:51:39,480 --> 00:51:43,440
Speaker 4: we have a healthy list of nominees at this point.

917
00:51:43,480 --> 00:51:45,759
Speaker 4: If you want to see other titles on there, go

918
00:51:45,840 --> 00:51:50,200
Speaker 4: to Film spotting dot net slash Bricks. Next week, Adam

919
00:51:50,400 --> 00:51:53,440
Speaker 4: is going to be back and we have a big

920
00:51:53,520 --> 00:51:56,560
Speaker 4: task ahead of us. We are going to indulge in

921
00:51:56,560 --> 00:52:00,279
Speaker 4: a Pantheon Project review of nineteen seventy five's One Flew

922
00:52:00,360 --> 00:52:03,680
Speaker 4: Over the Cuckoo's Nest. It is the film's fiftieth anniversary.

923
00:52:03,719 --> 00:52:06,040
Speaker 4: It's been quite some time since I've seen it, so

924
00:52:06,120 --> 00:52:08,560
Speaker 4: we'll dig deep into that one, and we're gonna pair

925
00:52:08,600 --> 00:52:14,040
Speaker 4: it with our top five Jack Nicholson performances. Michael springing

926
00:52:14,040 --> 00:52:16,759
Speaker 4: this a little bit on you. I know I had

927
00:52:16,800 --> 00:52:19,799
Speaker 4: mentioned we were going to talk Joaquin Phoenix performances on

928
00:52:19,840 --> 00:52:22,480
Speaker 4: this show, but just top of your head, do you

929
00:52:22,560 --> 00:52:26,880
Speaker 4: have a go to favorite Nicholson performance or maybe a

930
00:52:27,080 --> 00:52:30,759
Speaker 4: less praised one that I should try to catch up

931
00:52:30,800 --> 00:52:33,759
Speaker 4: with as homework that you don't think folks talk about enough.

932
00:52:34,280 --> 00:52:37,680
Speaker 1: Gosh, yeah, thanks for the thanks for the warning on that, Josh.

933
00:52:37,680 --> 00:52:40,080
Speaker 4: You usually just go with the favorite, Just go with

934
00:52:40,120 --> 00:52:41,560
Speaker 4: the favorite, take the easy way out.

935
00:52:42,120 --> 00:52:44,919
Speaker 1: Usually I devote a spa month to working these things

936
00:52:45,000 --> 00:52:45,719
Speaker 1: out privately.

937
00:52:45,760 --> 00:52:48,760
Speaker 4: But oh, as do I mean, that's our process.

938
00:52:49,760 --> 00:52:53,120
Speaker 1: I really It was seventy four, I think, or seventy

939
00:52:53,120 --> 00:52:55,480
Speaker 1: three when I saw the last detail. Seventy four I

940
00:52:55,520 --> 00:53:01,239
Speaker 1: think Robert Towns script. Yes, that was you know, that

941
00:53:01,400 --> 00:53:05,720
Speaker 1: was especially bracing to see your first as a probably

942
00:53:05,719 --> 00:53:09,560
Speaker 1: too young I saw a lot of our rated movies

943
00:53:09,560 --> 00:53:11,520
Speaker 1: that year. That's kind of when it all started for me.

944
00:53:11,600 --> 00:53:19,560
Speaker 1: But that was Nicholson. Nobody considered him anything anything predictable

945
00:53:19,880 --> 00:53:24,040
Speaker 1: or familiar at that point. He was an established, you know,

946
00:53:24,160 --> 00:53:26,800
Speaker 1: presence for sure, but that he's great in the last detail,

947
00:53:26,800 --> 00:53:29,040
Speaker 1: and he just drives the movies excellent, I think, in

948
00:53:29,080 --> 00:53:31,279
Speaker 1: a smaller role that I think I saw. I saw

949
00:53:31,280 --> 00:53:34,880
Speaker 1: the film like it, don't love it, Reds saw it

950
00:53:34,920 --> 00:53:38,480
Speaker 1: recently again from is That eighty one? I think from

951
00:53:38,640 --> 00:53:41,520
Speaker 1: Warren Baties film about John Reid and you know Dyan Keto,

952
00:53:41,760 --> 00:53:46,840
Speaker 1: and Nicholson plays Eugene O'Neill and he loses almost all

953
00:53:46,960 --> 00:53:51,680
Speaker 1: of what you might call the nicholsonisms in this This

954
00:53:51,880 --> 00:53:56,600
Speaker 1: very the stern and very careful performance, full of charisma.

955
00:53:57,120 --> 00:53:59,880
Speaker 1: He's really a great, a great addition to that on.

956
00:54:00,440 --> 00:54:02,520
Speaker 1: So yeah, those two, those two, all right.

957
00:54:02,760 --> 00:54:07,040
Speaker 4: Last detail is homework that I recently did and it

958
00:54:07,239 --> 00:54:11,200
Speaker 4: was quite amazing. I'm comparing it to my experience with

959
00:54:11,600 --> 00:54:14,560
Speaker 4: Gene Hackman and al Pacino and Scarecrow when we did

960
00:54:14,600 --> 00:54:18,200
Speaker 4: our top five Hackman scenes. I caught up with Scarecrow

961
00:54:18,239 --> 00:54:21,640
Speaker 4: for the first time and you know, just felt horrible

962
00:54:21,680 --> 00:54:24,400
Speaker 4: for taking so long. Similarly with the last detail, it

963
00:54:24,440 --> 00:54:27,879
Speaker 4: paid off and very likely will a Nicholson scene from

964
00:54:27,960 --> 00:54:30,400
Speaker 4: the last detail show up on my list. So that

965
00:54:30,520 --> 00:54:33,640
Speaker 4: is coming up next week. If you want to see

966
00:54:33,680 --> 00:54:36,759
Speaker 4: our schedule of all our future shows, you can check

967
00:54:36,760 --> 00:54:41,600
Speaker 4: that out at filmspotting dot net slash episodes. Michael, you know,

968
00:54:41,800 --> 00:54:45,600
Speaker 4: I've been doing Ebert Interrupt thiss out in Boulder, Colorado

969
00:54:45,800 --> 00:54:47,960
Speaker 4: at the Conference on World Affairs for a number of

970
00:54:48,040 --> 00:54:50,799
Speaker 4: years now, and yeah, brought it a version of it,

971
00:54:50,840 --> 00:54:54,120
Speaker 4: Cinema interruptis to Chicago last December, and am doing it

972
00:54:54,200 --> 00:54:57,680
Speaker 4: again just next month at the Gene Sisco Film Center.

973
00:54:58,040 --> 00:55:00,400
Speaker 4: Have you I don't think you I've ever had a

974
00:55:00,560 --> 00:55:04,799
Speaker 4: chance to see Roger do interrupt this at Boulder, to do.

975
00:55:04,719 --> 00:55:08,279
Speaker 1: All those, Yeah, I'd love to do one a year

976
00:55:08,320 --> 00:55:08,680
Speaker 1: or sometime.

977
00:55:08,920 --> 00:55:10,560
Speaker 4: That would be great. That would be great. I hope

978
00:55:10,560 --> 00:55:12,120
Speaker 4: to do many more. But yeah, one of my great

979
00:55:12,160 --> 00:55:14,759
Speaker 4: regrets is not getting out to Boulder to do that

980
00:55:15,000 --> 00:55:17,960
Speaker 4: when Rodribert was doing it. But yeah, an honor to

981
00:55:18,080 --> 00:55:20,839
Speaker 4: be able to continue the tradition and have a version

982
00:55:20,880 --> 00:55:23,200
Speaker 4: of it here in Chicago. So, as I mentioned, it's

983
00:55:23,239 --> 00:55:26,000
Speaker 4: going to be August eleven through fourteen, and we are

984
00:55:26,200 --> 00:55:29,560
Speaker 4: diving deep into nineteen ninety Two's the Player. It's part

985
00:55:29,600 --> 00:55:34,560
Speaker 4: of the Film Center's Altman Centennial series Interrupt This is

986
00:55:34,920 --> 00:55:37,600
Speaker 4: four days of communal film criticism. That's how I've been

987
00:55:37,600 --> 00:55:40,040
Speaker 4: describing it to people. We basically will watch The Player

988
00:55:40,080 --> 00:55:42,960
Speaker 4: in its entirety on day one and then come back

989
00:55:43,200 --> 00:55:46,719
Speaker 4: started at the beginning, and for subsequent days make our

990
00:55:46,760 --> 00:55:49,320
Speaker 4: way through it scene by scene, and folks can yell, stop,

991
00:55:49,520 --> 00:55:52,759
Speaker 4: ask a question, make a comment at any time. So

992
00:55:53,719 --> 00:55:56,440
Speaker 4: it's possible to come for all four days. Buy a

993
00:55:56,480 --> 00:55:58,640
Speaker 4: ticket package for that, that would be awesome. Make it

994
00:55:58,719 --> 00:56:01,279
Speaker 4: a journey, make it a team effort, join me on that.

995
00:56:01,480 --> 00:56:03,160
Speaker 4: But if you can only pop in for one day.

996
00:56:03,600 --> 00:56:07,200
Speaker 4: Single day tickets are also available. You can get either

997
00:56:07,280 --> 00:56:11,600
Speaker 4: of those at Cisclfilmcenter dot org. Slash Interruptis.

998
00:56:12,280 --> 00:56:15,240
Speaker 1: Can I ask how it went with Phantom Thread?

999
00:56:15,600 --> 00:56:18,160
Speaker 4: Oh, just as you can imagine a perfect movie for

1000
00:56:18,320 --> 00:56:24,360
Speaker 4: Interruptis where you can dive deep in every aspect, the cinematography,

1001
00:56:24,480 --> 00:56:29,600
Speaker 4: that wonderful score, and the performances, but also that relationship

1002
00:56:29,760 --> 00:56:34,600
Speaker 4: between Alma and Reynolds, which you know, four days debating

1003
00:56:34,640 --> 00:56:36,400
Speaker 4: that with folks, and I don't think we're any closer

1004
00:56:36,440 --> 00:56:39,000
Speaker 4: to understanding the true nature of that relationship.

1005
00:56:39,120 --> 00:56:42,360
Speaker 3: So yeah, Phantom Thread. Fantom Thread was perfect.

1006
00:56:42,400 --> 00:56:44,919
Speaker 4: The Player a little different in terms of what we'll

1007
00:56:45,000 --> 00:56:49,319
Speaker 4: be dissecting, but I know those those Altman zooms. I'm

1008
00:56:49,320 --> 00:56:52,279
Speaker 4: going to spend some time on all the movie references

1009
00:56:52,400 --> 00:56:54,400
Speaker 4: that are in there. I'm going to show some bonus

1010
00:56:54,480 --> 00:56:56,920
Speaker 4: material from some of the films, the posters that are

1011
00:56:56,960 --> 00:56:59,080
Speaker 4: in the background. So I think the Player will be

1012
00:56:59,120 --> 00:57:03,520
Speaker 4: a different interrupt Us experience than Phantom Thread, but an

1013
00:57:03,520 --> 00:57:04,680
Speaker 4: equally rewarded one.

1014
00:57:04,840 --> 00:57:06,960
Speaker 3: So it's great to do that in a couple of weeks.

1015
00:57:07,040 --> 00:57:10,239
Speaker 4: Again, if anyone wants tickets, go to Ciscofilmcenter dot org.

1016
00:57:10,400 --> 00:57:14,000
Speaker 4: Slash interrupt us This week on our sister podcast, The

1017
00:57:14,040 --> 00:57:17,440
Speaker 4: Next Picture Show, looking at cinema's present via its past.

1018
00:57:17,920 --> 00:57:22,200
Speaker 4: They've got a new pairing and it's more Superman talk.

1019
00:57:22,320 --> 00:57:23,280
Speaker 3: So yes, listeners.

1020
00:57:23,320 --> 00:57:27,360
Speaker 4: If you were disappointed at my take and Adam's take,

1021
00:57:27,400 --> 00:57:31,040
Speaker 4: we were both pretty down on James Gunns Superman and

1022
00:57:31,240 --> 00:57:34,760
Speaker 4: Michael's previous relative endorsement of it. If you want more,

1023
00:57:35,280 --> 00:57:38,360
Speaker 4: perhaps you'll find support from the Next Picture Show. They're

1024
00:57:38,440 --> 00:57:41,400
Speaker 4: going to be talking about the new Superman in relation

1025
00:57:41,880 --> 00:57:45,880
Speaker 4: to the nineteen seventy eight Richard Donner Superman.

1026
00:57:46,000 --> 00:57:46,760
Speaker 3: Now that's a film.

1027
00:57:46,840 --> 00:57:49,600
Speaker 4: We did our top five Superman moments Michael on last

1028
00:57:49,640 --> 00:57:52,800
Speaker 4: week's show and gave the seventy eight Superman a lot

1029
00:57:52,880 --> 00:57:55,400
Speaker 4: of love, trying to make up for not loving the

1030
00:57:55,480 --> 00:57:58,920
Speaker 4: twenty twenty five. Now it's the Next Picture Show, folks

1031
00:57:59,200 --> 00:58:03,160
Speaker 4: turn to I've Into Superman. New episodes drop every Tuesday.

1032
00:58:03,240 --> 00:58:06,280
Speaker 4: You can get them wherever you get your podcasts. And

1033
00:58:07,080 --> 00:58:11,680
Speaker 4: for more Next Picture Show related content, listen to Keith

1034
00:58:11,680 --> 00:58:15,440
Speaker 4: Phipps new podcast, The Laser Age. Keith, of course, one

1035
00:58:15,480 --> 00:58:17,560
Speaker 4: of the Next Picture Show hosts. Yeah, I've listened to

1036
00:58:17,680 --> 00:58:21,520
Speaker 4: Keith's first episode, enjoyed it. Quite a bit. This series

1037
00:58:21,720 --> 00:58:24,840
Speaker 4: is exploring science fiction films from the second half of

1038
00:58:24,920 --> 00:58:27,840
Speaker 4: the twentieth century. Again, you can find that wherever you

1039
00:58:27,920 --> 00:58:28,760
Speaker 4: get your podcasts.

1040
00:58:29,200 --> 00:58:32,840
Speaker 12: Sixty years of Whistler Black Home, two legendary mountains, thousands

1041
00:58:32,880 --> 00:58:36,000
Speaker 12: of stories, ski and ride, legendary terrain and experienced world

1042
00:58:36,040 --> 00:58:38,520
Speaker 12: class snowsport events, concerts at the edge of the mountain,

1043
00:58:38,640 --> 00:58:41,439
Speaker 12: gravity defining fire and ice shows and more. This winter,

1044
00:58:41,600 --> 00:58:44,120
Speaker 12: go beyond plan your trip to Whistler Blackhome.

1045
00:58:44,680 --> 00:58:46,320
Speaker 2: Wait a minute, haven't I seen you before?

1046
00:58:46,960 --> 00:58:47,680
Speaker 5: I know your face?

1047
00:58:47,840 --> 00:58:49,520
Speaker 4: Get out till I call my servant.

1048
00:58:50,600 --> 00:58:51,560
Speaker 11: You know, I'm a Desmond.

1049
00:58:52,200 --> 00:58:53,960
Speaker 8: Used to be in silent pictures, used to be big.

1050
00:58:56,160 --> 00:58:56,880
Speaker 1: I am big.

1051
00:58:58,560 --> 00:59:00,280
Speaker 6: It's the pictures that got no.

1052
00:59:01,280 --> 00:59:04,440
Speaker 4: It is time for another deeply flawed film spotting pole

1053
00:59:04,560 --> 00:59:08,280
Speaker 4: question that was who else? Glorious Swanson with William Holden

1054
00:59:08,400 --> 00:59:13,520
Speaker 4: and Billy Wilder's Sunset Boulevard. Sunset Boulevard is another film

1055
00:59:13,560 --> 00:59:16,160
Speaker 4: that will be getting the Pantheon Project treatment in a

1056
00:59:16,240 --> 00:59:18,840
Speaker 4: couple of weeks. We've been doing a lot of Wilder

1057
00:59:19,040 --> 00:59:23,400
Speaker 4: this summer. We just revisited The Apartment a few shows ago,

1058
00:59:24,200 --> 00:59:27,440
Speaker 4: thinking about these two Wilder films. Michael, I'm gonna. I'm

1059
00:59:27,480 --> 00:59:29,640
Speaker 4: gonna ask you a very tough question, or maybe it's

1060
00:59:29,720 --> 00:59:31,480
Speaker 4: very easy for you. You can only pick one. You

1061
00:59:31,520 --> 00:59:34,960
Speaker 4: can only have one, The Apartment or Sunset Boulevard.

1062
00:59:35,440 --> 00:59:37,880
Speaker 1: What is this July madness? I don't want to do

1063
00:59:38,040 --> 00:59:41,200
Speaker 1: that kind of up stupid, stupid.

1064
00:59:44,120 --> 00:59:47,480
Speaker 4: You only participate in such things during film spotting madness,

1065
00:59:47,520 --> 00:59:50,800
Speaker 4: and even then it's more bigrudgingly than I do. So

1066
00:59:51,160 --> 00:59:51,520
Speaker 4: I guess you.

1067
00:59:51,680 --> 00:59:53,000
Speaker 3: I guess you're just not gonna answer, are you?

1068
00:59:53,280 --> 00:59:56,600
Speaker 1: No? I will, I will? I think. I think Sunset

1069
00:59:56,600 --> 01:00:01,640
Speaker 1: Boulevard is the greater film. But I I really love

1070
01:00:01,720 --> 01:00:06,720
Speaker 1: The Apartment, and I love how The Apartment feels to

1071
01:00:07,360 --> 01:00:12,440
Speaker 1: a new generation seeking some sort of bittersweet romantic comedy

1072
01:00:12,520 --> 01:00:18,000
Speaker 1: that isn't all just a bunch of fall de all,

1073
01:00:18,200 --> 01:00:21,240
Speaker 1: you know, a romantic comedy that really earns, you know,

1074
01:00:21,360 --> 01:00:25,680
Speaker 1: both the laughs and sort of the pathos. People. There's

1075
01:00:25,720 --> 01:00:29,200
Speaker 1: a new generation. Every twenty minutes, there's a new twenty

1076
01:00:29,280 --> 01:00:31,880
Speaker 1: two or twenty nine year old or fifteen year old

1077
01:00:32,560 --> 01:00:36,680
Speaker 1: that discovers The Apartment and they, maybe forever, maybe just

1078
01:00:36,760 --> 01:00:38,640
Speaker 1: for that year, it is their new favorite film. And

1079
01:00:38,720 --> 01:00:42,720
Speaker 1: I love that. So it's a tie. Josh, Sorry, Oh

1080
01:00:42,760 --> 01:00:43,240
Speaker 1: it's a tie.

1081
01:00:43,360 --> 01:00:46,200
Speaker 4: Oh, I see that's not allowed. You will be getting

1082
01:00:46,240 --> 01:00:49,560
Speaker 4: a letter from our attorney. But I can't attest to

1083
01:00:50,680 --> 01:00:54,880
Speaker 4: your experience because for this conversation we had this rewatch.

1084
01:00:55,320 --> 01:00:58,840
Speaker 4: Both my daughters really enjoyed the apartment as well. And

1085
01:00:59,040 --> 01:01:01,600
Speaker 4: maybe it's recency by but I am going to make

1086
01:01:01,640 --> 01:01:04,520
Speaker 4: a pick, and I'm going to go with the apartment. Nevertheless,

1087
01:01:04,920 --> 01:01:08,640
Speaker 4: I am excited about revisiting Sunset Boulevard. Maybe I'll change

1088
01:01:08,680 --> 01:01:11,240
Speaker 4: my answer, and that is the film that is inspiring

1089
01:01:11,560 --> 01:01:16,919
Speaker 4: our new poll question. Actresses plain actresses who are going

1090
01:01:17,120 --> 01:01:20,760
Speaker 4: through it. So that is producer Sam way of limiting

1091
01:01:20,840 --> 01:01:23,680
Speaker 4: this poll to performances that share. You know, they have

1092
01:01:23,800 --> 01:01:26,000
Speaker 4: some anks to them, so he didn't want to He

1093
01:01:26,000 --> 01:01:28,440
Speaker 4: didn't want to include comedies or musicals. He didn't want

1094
01:01:28,440 --> 01:01:32,080
Speaker 4: to include apparently Dustin Hoffman as Tutsie. So it's actresses,

1095
01:01:32,760 --> 01:01:35,920
Speaker 4: plain actresses who are going through it. Michael, I believe

1096
01:01:36,000 --> 01:01:39,000
Speaker 4: you have the options, the pole options there in front

1097
01:01:39,040 --> 01:01:41,800
Speaker 4: of you. Would you mind reading through those for us?

1098
01:01:42,280 --> 01:01:47,240
Speaker 1: I'd be honored. Josh Betty Davis, all about Eve Jenner, Rowlands,

1099
01:01:47,640 --> 01:01:53,080
Speaker 1: Opening Night, Glorius Wanson, Sunset Boulevard Juliet Binoche, The Clouds

1100
01:01:53,080 --> 01:01:58,200
Speaker 1: of Sils Maria Laura dern Inland Empire Good Choice, Naomi Watts,

1101
01:01:58,320 --> 01:02:04,280
Speaker 1: Maul Holland Drive List, Natalie Portman May December, Scarlett Johansson

1102
01:02:04,520 --> 01:02:08,280
Speaker 1: Asteroid City. That's a good list or other And I'd

1103
01:02:08,360 --> 01:02:09,840
Speaker 1: love to hear if somebody come up with a good

1104
01:02:10,200 --> 01:02:12,720
Speaker 1: There's others in that category, but that's a great list.

1105
01:02:13,120 --> 01:02:16,280
Speaker 4: It has your approval. Will it get a vote from you?

1106
01:02:16,680 --> 01:02:19,240
Speaker 4: Do you have an obvious choice? I'll say while you're thinking.

1107
01:02:19,400 --> 01:02:21,720
Speaker 4: For me, I think I'm gonna have to go with

1108
01:02:21,800 --> 01:02:24,640
Speaker 4: Genner Rowlands. I know a woman under the Influence is

1109
01:02:25,240 --> 01:02:30,880
Speaker 4: the broadly acclaimed consensus choice for her career performance, but man,

1110
01:02:31,200 --> 01:02:34,919
Speaker 4: is she incredible in Opening Night? So I think that's

1111
01:02:34,960 --> 01:02:37,800
Speaker 4: where I would go. How about you, Michael Boy.

1112
01:02:41,840 --> 01:02:45,040
Speaker 1: I haven't seen that for decades, so I'd have to

1113
01:02:45,080 --> 01:02:46,960
Speaker 1: see it again to kind of see where it falls

1114
01:02:47,040 --> 01:02:50,160
Speaker 1: on the list for any But you know, I guess

1115
01:02:50,240 --> 01:02:51,560
Speaker 1: if I'd had to go, if I had to go

1116
01:02:51,720 --> 01:02:56,960
Speaker 1: for nineteen fifty's, it's either all about ev or Sunset Boulevard.

1117
01:02:57,120 --> 01:03:02,160
Speaker 1: I mean, I'd probably go Betty Davis actually, uh, and

1118
01:03:02,280 --> 01:03:04,880
Speaker 1: I'd probably go for more more modern. I'd probably go

1119
01:03:05,360 --> 01:03:07,560
Speaker 1: Nailmi watch because I just you know, I think that

1120
01:03:08,440 --> 01:03:10,680
Speaker 1: you know that that what she has to do in

1121
01:03:10,840 --> 01:03:14,360
Speaker 1: Mulholland Drive is make sense of two very different psychees

1122
01:03:14,400 --> 01:03:17,240
Speaker 1: and it's, uh, it's great work. So yeah, that's very

1123
01:03:17,280 --> 01:03:21,280
Speaker 1: a fruitful, A fruitful list Sam, Sam, Yeah.

1124
01:03:21,480 --> 01:03:24,520
Speaker 4: A fruitful less okay, And and yet you're still trying

1125
01:03:24,560 --> 01:03:26,640
Speaker 4: to square them out of it. I see, Okay, that's fine.

1126
01:03:26,720 --> 01:03:29,040
Speaker 4: I am listeners who can vote, who can just choose,

1127
01:03:29,160 --> 01:03:31,920
Speaker 4: who could just choose one who could be disciplined. You

1128
01:03:32,040 --> 01:03:33,680
Speaker 4: can do that, and you can also leave a comment

1129
01:03:33,760 --> 01:03:36,760
Speaker 4: at film spotting dot net. We're going to share results

1130
01:03:36,880 --> 01:03:39,280
Speaker 4: and some feedback in a couple of weeks.

1131
01:03:42,000 --> 01:03:43,480
Speaker 8: I am so sorry.

1132
01:03:45,440 --> 01:03:49,840
Speaker 12: From what your daddy passed down to you, but I

1133
01:03:49,920 --> 01:03:53,840
Speaker 12: wanted a child the greatest gift of my life.

1134
01:03:59,200 --> 01:03:59,800
Speaker 2: I'm visiting my.

1135
01:04:01,960 --> 01:04:05,200
Speaker 4: That's Joaquin Phoenix and bo Is Afraid from director Ari

1136
01:04:05,400 --> 01:04:07,720
Speaker 4: Astor back in twenty twenty three. Adam and I use

1137
01:04:07,760 --> 01:04:11,800
Speaker 4: the occasion of bo to share our top five Phoenix performances,

1138
01:04:12,360 --> 01:04:15,760
Speaker 4: with Phoenix reuniting with Astor again in Eddington. We are

1139
01:04:15,800 --> 01:04:19,360
Speaker 4: reuniting you, the listener, with this top five But before

1140
01:04:19,440 --> 01:04:23,120
Speaker 4: we get to that, Michael, since you're here, only natural

1141
01:04:23,360 --> 01:04:26,960
Speaker 4: to ask if there are any favorite Joaquin Phoenix performances

1142
01:04:27,080 --> 01:04:28,120
Speaker 4: you'd like to talk about.

1143
01:04:28,720 --> 01:04:34,160
Speaker 1: MM. Yeah, yeah, there's a few. There's Yeah, I guess

1144
01:04:34,200 --> 01:04:40,160
Speaker 1: I like the ones for me, the ones that require

1145
01:04:40,200 --> 01:04:45,080
Speaker 1: to him a different side than than the more obvious

1146
01:04:45,240 --> 01:04:48,600
Speaker 1: sort of strangulated torment, you know, the one, the stuff

1147
01:04:48,640 --> 01:04:53,120
Speaker 1: that wins oscars, you know, vis A v. Joker. Let's say,

1148
01:04:53,800 --> 01:04:56,320
Speaker 1: I actually really like this. It's super solid work and

1149
01:04:56,440 --> 01:04:58,280
Speaker 1: walk the line, and he turned out to be a

1150
01:04:58,400 --> 01:05:02,400
Speaker 1: very good choice for that Johnny biopic. I think The

1151
01:05:02,480 --> 01:05:10,080
Speaker 1: Master is really inventive work that daringly starts on such

1152
01:05:10,120 --> 01:05:13,919
Speaker 1: an extreme note of distress with that character Freddie Quell,

1153
01:05:14,440 --> 01:05:17,320
Speaker 1: that the movie can barely recover from it, but somehow

1154
01:05:17,360 --> 01:05:20,200
Speaker 1: it does. And so it is Phoenix. I really love

1155
01:05:20,280 --> 01:05:24,520
Speaker 1: his work with Spike Jones on Her, which I am

1156
01:05:24,600 --> 01:05:26,840
Speaker 1: due for a rewatch, but I haven't seen it since

1157
01:05:26,880 --> 01:05:28,720
Speaker 1: it came on, I think all the way through. But

1158
01:05:29,040 --> 01:05:31,240
Speaker 1: another one I'd utterly forgotten, and this is the other

1159
01:05:31,280 --> 01:05:34,840
Speaker 1: one i'd mentioned. Another one I'd almost forgot is Lynn

1160
01:05:34,920 --> 01:05:38,880
Speaker 1: Ramsey's You Were Never Really Here Where that's much more

1161
01:05:39,000 --> 01:05:42,640
Speaker 1: of a I mean, that's an explosively violent picture, and

1162
01:05:42,920 --> 01:05:45,680
Speaker 1: I had you know, it's only since twenty seventeenths only

1163
01:05:45,760 --> 01:05:47,720
Speaker 1: been eight years since I've seen it, but I you know,

1164
01:05:47,840 --> 01:05:50,200
Speaker 1: I don't retain much of a clear memory of it,

1165
01:05:50,240 --> 01:05:52,600
Speaker 1: but rereading it, his work is really good in that

1166
01:05:52,760 --> 01:05:55,200
Speaker 1: and I just think he is. One of the best

1167
01:05:55,240 --> 01:05:59,000
Speaker 1: things about Phoenix is he really seeks out and responds

1168
01:05:59,080 --> 01:06:04,040
Speaker 1: to a variety of directors that he may lock horns

1169
01:06:04,080 --> 01:06:07,560
Speaker 1: with half the time. I don't know. I suspect he does,

1170
01:06:08,840 --> 01:06:14,200
Speaker 1: but that's what's keeping him reasonably more than reasonably, that's

1171
01:06:14,240 --> 01:06:18,960
Speaker 1: what's keeping him vital and worth seeing what he's up

1172
01:06:19,000 --> 01:06:22,240
Speaker 1: to next. The one thing he can't do, Josh, you

1173
01:06:22,320 --> 01:06:24,360
Speaker 1: want to hear it. The one thing that I think

1174
01:06:24,400 --> 01:06:27,600
Speaker 1: will never get from Watkin Phoenix, the one thing he

1175
01:06:27,720 --> 01:06:31,520
Speaker 1: doesn't have. And no actor has everything or can do

1176
01:06:31,720 --> 01:06:35,720
Speaker 1: everything or anything. He doesn't have great verbal facility. I

1177
01:06:35,800 --> 01:06:39,680
Speaker 1: think he knows how to use his voice beautifully in

1178
01:06:39,760 --> 01:06:42,560
Speaker 1: a lot of different keys and for different kind of

1179
01:06:42,600 --> 01:06:46,680
Speaker 1: shades of character. But when you see something like Inherent Weiss,

1180
01:06:46,960 --> 01:06:49,600
Speaker 1: which is all about that, that's what I was thinking

1181
01:06:49,640 --> 01:06:52,240
Speaker 1: to play. Yeah, he's not a guy who can spin

1182
01:06:52,280 --> 01:06:56,920
Speaker 1: out a lot of crazy gobblybook crisply. You know, he

1183
01:06:56,960 --> 01:06:59,680
Speaker 1: doesn't have that. It's just it's something. It's just part

1184
01:06:59,720 --> 01:07:02,160
Speaker 1: of its just the physical equipment you're born with. Part

1185
01:07:02,200 --> 01:07:03,880
Speaker 1: of it is the training you either have or have

1186
01:07:04,400 --> 01:07:08,080
Speaker 1: don't have as a screen actor. It's the one thing

1187
01:07:08,160 --> 01:07:11,440
Speaker 1: he's you know, it's it's the one thing in almost

1188
01:07:11,480 --> 01:07:13,880
Speaker 1: every kind of film he's done. He's done almost every

1189
01:07:13,960 --> 01:07:16,000
Speaker 1: genre where if he has to do that where he

1190
01:07:16,040 --> 01:07:20,080
Speaker 1: has to really propulsively zip through a scene, and it's

1191
01:07:20,080 --> 01:07:22,080
Speaker 1: a lot about just how fast you can handle the

1192
01:07:22,160 --> 01:07:25,400
Speaker 1: language and sling it, you know, in another character's direction.

1193
01:07:25,760 --> 01:07:29,280
Speaker 1: He's not the guy. And that's an interesting interesting I

1194
01:07:29,280 --> 01:07:31,040
Speaker 1: wouldn't call it a drawback, but because you know, he

1195
01:07:31,200 --> 01:07:33,880
Speaker 1: is just like every other really good actor on the planet.

1196
01:07:33,960 --> 01:07:36,920
Speaker 1: He cannot do everything equally well. But those are those

1197
01:07:36,960 --> 01:07:39,600
Speaker 1: are some of the ones I think very fondly of.

1198
01:07:39,720 --> 01:07:42,960
Speaker 4: Yeah, now, can I pay you a licensing fee or

1199
01:07:43,080 --> 01:07:48,480
Speaker 4: something and use the phrase strangulated torment to describe Phoenix

1200
01:07:48,840 --> 01:07:51,600
Speaker 4: going forward? Because I think that's just perfect that that

1201
01:07:51,760 --> 01:07:55,120
Speaker 4: is what he specializes in, especially in something like The Master,

1202
01:07:55,240 --> 01:07:58,560
Speaker 4: and it's just so so good at evoking that sort

1203
01:07:58,600 --> 01:08:03,160
Speaker 4: of experience. Look at your fee structure, Michael, and get

1204
01:08:03,240 --> 01:08:04,440
Speaker 4: back to me, because I do want to I do

1205
01:08:04,520 --> 01:08:07,120
Speaker 4: want to use that phrase at some point. Now, speaking

1206
01:08:07,160 --> 01:08:10,040
Speaker 4: of her, which you called out as listeners will hear,

1207
01:08:10,280 --> 01:08:14,360
Speaker 4: that was a performance that we excluded from our top

1208
01:08:14,560 --> 01:08:18,640
Speaker 4: five list, Michael, And that's where Phoenix played Theodore of

1209
01:08:18,720 --> 01:08:21,080
Speaker 4: course and Spike Jones is her. The reason we did

1210
01:08:21,160 --> 01:08:24,560
Speaker 4: that is because we had devoted a bonus episode to

1211
01:08:24,760 --> 01:08:27,600
Speaker 4: that film for its tenth anniversary, which I think was

1212
01:08:27,680 --> 01:08:30,160
Speaker 4: right around the time we did this top five list,

1213
01:08:30,400 --> 01:08:35,080
Speaker 4: So there was a lot of talk about Phoenix's performance

1214
01:08:35,240 --> 01:08:39,040
Speaker 4: in her on that bonus episode. We did repost that

1215
01:08:39,160 --> 01:08:41,439
Speaker 4: her review in our main podcast feed this week, so

1216
01:08:41,520 --> 01:08:44,120
Speaker 4: you can find that wherever you get your podcasts. And

1217
01:08:44,439 --> 01:08:45,840
Speaker 4: you know, if you want to make sure you always

1218
01:08:45,880 --> 01:08:48,320
Speaker 4: get our monthly bonus episodes, just join the film Spotting

1219
01:08:48,360 --> 01:08:52,479
Speaker 4: Family at film spottingfamily dot com. All right now, from

1220
01:08:52,560 --> 01:08:55,960
Speaker 4: April twenty twenty three, here are our top five Joaquin

1221
01:08:56,080 --> 01:08:57,320
Speaker 4: Phoenix performances.

1222
01:09:02,000 --> 01:09:04,639
Speaker 7: We are ready to dive into this top five look

1223
01:09:04,680 --> 01:09:08,240
Speaker 7: at our favorite performances by someone who is one of

1224
01:09:08,320 --> 01:09:11,799
Speaker 7: the best actors, if not the best actors working today.

1225
01:09:12,120 --> 01:09:16,160
Speaker 7: We do have one disclaimer. We're setting aside one film

1226
01:09:16,680 --> 01:09:19,599
Speaker 7: that would have definitely made both of our lists, one

1227
01:09:19,720 --> 01:09:22,760
Speaker 7: performance by Joaquin Phoenix. And that's not because it's been

1228
01:09:22,840 --> 01:09:25,840
Speaker 7: talked about a lot over the course of the show's history.

1229
01:09:25,840 --> 01:09:28,200
Speaker 7: It's actually because we're going to be talking about it

1230
01:09:28,600 --> 01:09:29,080
Speaker 7: coming up.

1231
01:09:29,640 --> 01:09:32,879
Speaker 4: Yeah, we have our next bonus show for film Spotting

1232
01:09:32,960 --> 01:09:36,760
Speaker 4: family members focusing on Her, the ten year old. It's

1233
01:09:36,800 --> 01:09:40,320
Speaker 4: the tenth anniversary of Spike Jones's Her Believe it or Not,

1234
01:09:40,479 --> 01:09:42,439
Speaker 4: so that was one reason we wanted to revisit it.

1235
01:09:42,800 --> 01:09:45,960
Speaker 4: Also considering Joaquin Phoenix for this top five, and with

1236
01:09:46,120 --> 01:09:48,320
Speaker 4: bo as Afraid, we thought it'd be another good chance

1237
01:09:48,400 --> 01:09:51,000
Speaker 4: to take a look at her. And of course we're

1238
01:09:51,040 --> 01:09:53,280
Speaker 4: living right now, not only in the Age of Ai

1239
01:09:53,439 --> 01:09:56,519
Speaker 4: but Chet GPT, so that plot is going to have

1240
01:09:56,560 --> 01:09:59,240
Speaker 4: a lot of resonance for us, I think, and we

1241
01:09:59,360 --> 01:10:02,200
Speaker 4: will be spent a fair amount of time talking about

1242
01:10:02,280 --> 01:10:05,799
Speaker 4: Phoenix's performance in Her, So we are setting that aside,

1243
01:10:05,920 --> 01:10:09,040
Speaker 4: putting it in the penalty box for this list. Officially,

1244
01:10:09,120 --> 01:10:11,479
Speaker 4: though I think we can say, Adam, it would be

1245
01:10:11,560 --> 01:10:12,439
Speaker 4: on both of our last.

1246
01:10:12,320 --> 01:10:15,840
Speaker 7: Otherword, yes, one of his best performances as Theodore in

1247
01:10:16,400 --> 01:10:19,040
Speaker 7: her without a doubt. Let's get into our list, though,

1248
01:10:19,200 --> 01:10:21,439
Speaker 7: I can't wait to hear what you've got at number five.

1249
01:10:22,080 --> 01:10:25,400
Speaker 4: All right, I am going sort of back to the

1250
01:10:25,439 --> 01:10:29,599
Speaker 4: beginning with Jimmy Emmett from To Die For Now. Phoenix

1251
01:10:29,720 --> 01:10:31,720
Speaker 4: had been in a number of pictures before, so this

1252
01:10:31,880 --> 01:10:35,120
Speaker 4: isn't exactly his first or second role even, but it

1253
01:10:35,240 --> 01:10:39,280
Speaker 4: was his breakout Gus Vinceyan's nineteen ninety five satire about

1254
01:10:39,360 --> 01:10:42,800
Speaker 4: fame and celebrity. Phoenix's Jimmy is one of the high

1255
01:10:42,800 --> 01:10:45,800
Speaker 4: schoolers who falls under the spell of Nicole Kidman's aspiring

1256
01:10:45,920 --> 01:10:51,200
Speaker 4: TV reporter. She seduces him, manipulates him into killing her husband.

1257
01:10:52,120 --> 01:10:55,960
Speaker 2: Didn't you just get a divorce and then you get

1258
01:10:56,040 --> 01:10:58,920
Speaker 2: the conte and he get the car.

1259
01:11:00,280 --> 01:11:01,080
Speaker 9: Quality from me?

1260
01:11:03,320 --> 01:11:06,240
Speaker 2: Listen, I really think I'm just a kid, But.

1261
01:11:08,720 --> 01:11:13,200
Speaker 8: I can never do anything bad to you or I

1262
01:11:13,360 --> 01:11:17,000
Speaker 8: ever hurt you. A guy that does that to someone

1263
01:11:17,160 --> 01:11:20,240
Speaker 8: like you doesn't deserve to live.

1264
01:11:21,520 --> 01:11:22,200
Speaker 1: That's the cheesy.

1265
01:11:22,280 --> 01:11:23,280
Speaker 8: Doesn't deserve to live.

1266
01:11:25,479 --> 01:11:30,160
Speaker 9: No, I suppose you're right he doesn't.

1267
01:11:31,479 --> 01:11:34,960
Speaker 4: What's interesting to me about this performance, especially looking through

1268
01:11:35,000 --> 01:11:37,360
Speaker 4: the lens of the rest of Phoenix's career, is that

1269
01:11:37,600 --> 01:11:41,599
Speaker 4: right from the start, he had no interest in audience sympathy,

1270
01:11:41,760 --> 01:11:44,519
Speaker 4: did not seem like something that he cared about was

1271
01:11:44,600 --> 01:11:50,240
Speaker 4: on his radar at all, Yet he nevertheless gets it somehow.

1272
01:11:50,439 --> 01:11:54,879
Speaker 4: In this character, we do have a bit of sympathy

1273
01:11:55,000 --> 01:11:58,559
Speaker 4: for Jimmy Emmett, even though he's a messy kid making

1274
01:11:58,680 --> 01:12:03,080
Speaker 4: bad decisions. Phoenix brings that out in us while being

1275
01:12:03,160 --> 01:12:05,600
Speaker 4: completely committed to those more negative.

1276
01:12:05,280 --> 01:12:06,320
Speaker 3: Aspects of the character.

1277
01:12:07,000 --> 01:12:09,120
Speaker 4: I did turn to social media to help me make

1278
01:12:09,280 --> 01:12:12,720
Speaker 4: some of these other Phoenix performance picks, just to see

1279
01:12:13,200 --> 01:12:15,519
Speaker 4: beyond her, you know, and some of the other obvious ones,

1280
01:12:15,960 --> 01:12:19,639
Speaker 4: what people's favorites were. And I got a few interesting responses.

1281
01:12:19,680 --> 01:12:21,719
Speaker 4: When it came to Jimmy Emmett here a few people

1282
01:12:21,720 --> 01:12:25,000
Speaker 4: who also picked it. Adam Rupert touched on this audience

1283
01:12:25,040 --> 01:12:28,519
Speaker 4: sympathy quality on Facebook said that scene where he's shaking

1284
01:12:28,600 --> 01:12:32,280
Speaker 4: so bad while being questioned by the police heartbreaking, and

1285
01:12:32,360 --> 01:12:35,800
Speaker 4: then over on Twitter, Marissa Jude, she's at Marissa Jude

1286
01:12:35,840 --> 01:12:40,000
Speaker 4: here said, Phoenix reminded me of Juliet Lewis's performance in

1287
01:12:40,120 --> 01:12:44,320
Speaker 4: Cape Fear. The exquisite and nuanced expression of vulnerability and

1288
01:12:44,439 --> 01:12:49,240
Speaker 4: desire that seems unteachable well said by both. I love

1289
01:12:49,320 --> 01:12:52,840
Speaker 4: that comparison to Juliet lewis also one of those just

1290
01:12:52,960 --> 01:12:58,439
Speaker 4: deeply uncomfortable, unsettling breakout performances from a younger performer, and

1291
01:12:58,560 --> 01:13:00,640
Speaker 4: I think it does apply to what Phoenix is doing

1292
01:13:00,720 --> 01:13:02,479
Speaker 4: here as Jimmy Emma in to.

1293
01:13:02,560 --> 01:13:05,720
Speaker 7: Die for an honorable mention for me one that was

1294
01:13:05,760 --> 01:13:09,400
Speaker 7: a strong contender for my top five, And you're right,

1295
01:13:09,520 --> 01:13:12,479
Speaker 7: the performance that surely put him on the map for

1296
01:13:12,920 --> 01:13:14,800
Speaker 7: a lot of viewers put him on the map for me.

1297
01:13:15,000 --> 01:13:15,160
Speaker 1: Now.

1298
01:13:15,640 --> 01:13:19,160
Speaker 7: I had seen him first as Leaf Phoenix, then in

1299
01:13:19,320 --> 01:13:22,160
Speaker 7: Space Camp in the mid eighties, but I wasn't paying

1300
01:13:22,160 --> 01:13:25,719
Speaker 7: a whole lot of attention then to him as someone

1301
01:13:25,760 --> 01:13:28,200
Speaker 7: who I thought would be one of the best actors

1302
01:13:28,240 --> 01:13:31,519
Speaker 7: of his generation. But you're correct, and the listener is

1303
01:13:31,600 --> 01:13:35,640
Speaker 7: correct that he plays a character who shouldn't be heartbreaking,

1304
01:13:36,200 --> 01:13:40,080
Speaker 7: but is. He's a killer, and we have to buy

1305
01:13:40,840 --> 01:13:44,439
Speaker 7: that he's going to make the leap he does. As

1306
01:13:44,520 --> 01:13:48,960
Speaker 7: a character, he's naive, certainly, he's malleable, he's gullible in

1307
01:13:49,080 --> 01:13:52,479
Speaker 7: that way, but he doesn't seem overly dangerous. And for

1308
01:13:52,640 --> 01:13:54,760
Speaker 7: him then to get to that point where he is

1309
01:13:54,880 --> 01:13:58,519
Speaker 7: going to murder Matt Dillon's character. We have to buy that,

1310
01:13:59,160 --> 01:14:03,880
Speaker 7: and we by it because Phoenix makes him damaged enough

1311
01:14:04,280 --> 01:14:07,280
Speaker 7: that you can go there as quickly as you do

1312
01:14:07,760 --> 01:14:10,160
Speaker 7: with him. But then he also plays him as an innocent,

1313
01:14:10,760 --> 01:14:14,560
Speaker 7: so that he just becomes part of this tragic, manipulative

1314
01:14:14,800 --> 01:14:17,400
Speaker 7: web of Kidman's character. He's another victim in at all.

1315
01:14:17,720 --> 01:14:20,160
Speaker 4: I wonder if damaged is going to come up quite

1316
01:14:20,160 --> 01:14:22,080
Speaker 4: a bit on our lists. That word, that's a good one,

1317
01:14:22,120 --> 01:14:23,040
Speaker 4: that fits absolutely.

1318
01:14:23,439 --> 01:14:27,720
Speaker 7: My number five Walking Phoenix performance is the performance that

1319
01:14:27,840 --> 01:14:31,440
Speaker 7: earned him the first of his four Academy Award nominations.

1320
01:14:31,680 --> 01:14:32,400
Speaker 3: He did not win.

1321
01:14:32,680 --> 01:14:35,599
Speaker 7: We know he won for a performance that might come

1322
01:14:35,720 --> 01:14:39,400
Speaker 7: up later on one of our lists, Josh. This was

1323
01:14:39,439 --> 01:14:44,559
Speaker 7: his Best Supporting Actor nominated turn as comedists in Ridley

1324
01:14:44,600 --> 01:14:50,439
Speaker 7: Scott's Gladiator, and I googled this just Gladiator Comedists earlier

1325
01:14:50,479 --> 01:14:53,000
Speaker 7: today to get a little bit of background on the

1326
01:14:53,080 --> 01:14:55,920
Speaker 7: real life person that he was portraying. Not that it matters,

1327
01:14:55,960 --> 01:14:58,600
Speaker 7: but I was curious because I hadn't read anything, and

1328
01:14:58,920 --> 01:15:00,960
Speaker 7: this is the first thing that popped. Commodist was a

1329
01:15:01,080 --> 01:15:04,640
Speaker 7: terrible ruler by virtually any standard. His fictionalized depiction as

1330
01:15:04,680 --> 01:15:07,800
Speaker 7: a mad emperor in the film Gladiator actually plays down

1331
01:15:07,920 --> 01:15:11,280
Speaker 7: some of his less believable excesses while giving him a

1332
01:15:11,439 --> 01:15:14,040
Speaker 7: nobler death. So just keep that in mind, Josh, that

1333
01:15:14,160 --> 01:15:20,000
Speaker 7: that sniveling, conniving, evil little baby that Joaque in Phoenix

1334
01:15:20,120 --> 01:15:23,160
Speaker 7: plays is actually exhibiting some restraint.

1335
01:15:23,320 --> 01:15:26,080
Speaker 4: Yeah, yeah, he's underplaying at apparently right underplaying it.

1336
01:15:26,840 --> 01:15:31,919
Speaker 7: We joke. I do genuinely enjoy the theatricality of their performance.

1337
01:15:31,920 --> 01:15:36,360
Speaker 7: I think it's a nice counter to the untheatricality of

1338
01:15:36,680 --> 01:15:40,639
Speaker 7: Russell Crowe's performance. We get one great moment I always

1339
01:15:40,680 --> 01:15:43,839
Speaker 7: see in my head where comedist is watching a battle

1340
01:15:43,880 --> 01:15:47,920
Speaker 7: and there's a big blood spurt and he lets out

1341
01:15:48,000 --> 01:15:51,280
Speaker 7: this lusty response with his tongue hanging out and he's

1342
01:15:51,320 --> 01:15:54,680
Speaker 7: kind of grinning his teeth and growling at the response.

1343
01:15:55,240 --> 01:15:59,760
Speaker 7: But in general, that character, the way Phoenix portrays him,

1344
01:16:00,120 --> 01:16:04,080
Speaker 7: is anksier than Robert Pattinson in The Batman and Adam

1345
01:16:04,200 --> 01:16:07,519
Speaker 7: Driver in any of those Star Wars movies combined. He

1346
01:16:07,720 --> 01:16:13,120
Speaker 7: is so quiet and deliberate, it's as if it's wrenching

1347
01:16:13,280 --> 01:16:16,600
Speaker 7: him to even speak. It pains him so much. And

1348
01:16:16,960 --> 01:16:20,799
Speaker 7: he's a weak character. He's more than that. He's evil.

1349
01:16:21,640 --> 01:16:27,240
Speaker 7: But Phoenix really does give him some dimension. We see

1350
01:16:27,320 --> 01:16:31,599
Speaker 7: the emotional havoc. It reeks on him to be weak,

1351
01:16:31,920 --> 01:16:34,960
Speaker 7: to not live up to his father's image or to

1352
01:16:35,160 --> 01:16:41,759
Speaker 7: his father's expectations, and Phoenix amplifies, I think, his self awareness.

1353
01:16:42,439 --> 01:16:44,080
Speaker 8: Even then it was as if you didn't want me

1354
01:16:44,160 --> 01:16:44,599
Speaker 8: for your.

1355
01:16:44,520 --> 01:16:49,120
Speaker 3: Son, Cominos, you go too far.

1356
01:16:51,280 --> 01:16:57,680
Speaker 2: The faces off the god waste. Please you can make

1357
01:16:57,720 --> 01:16:58,560
Speaker 2: you proud.

1358
01:17:00,080 --> 01:17:02,839
Speaker 8: Kind what one fullock?

1359
01:17:04,200 --> 01:17:09,800
Speaker 7: You will just help me, Phoenix with Richard Harris there

1360
01:17:09,960 --> 01:17:15,880
Speaker 7: as Marcus Aurelius, one full hug. Josh pressed me to

1361
01:17:16,000 --> 01:17:20,200
Speaker 7: your chest and held me tight. That's that's all he's

1362
01:17:20,680 --> 01:17:23,360
Speaker 7: longed for. I guarantee you that Russell Crowe's Maximus is

1363
01:17:23,479 --> 01:17:27,000
Speaker 7: never saying the word hug in a Gladiator, and we

1364
01:17:27,120 --> 01:17:30,280
Speaker 7: don't expect any characters to say the word hug in

1365
01:17:30,360 --> 01:17:33,360
Speaker 7: a lot of Gladiator type movies. But when he says,

1366
01:17:33,800 --> 01:17:37,679
Speaker 7: all I've ever wanted was to live up to you, Caesar, father,

1367
01:17:38,720 --> 01:17:42,880
Speaker 7: you believe him, You really believe the emotional depth of that.

1368
01:17:43,960 --> 01:17:47,200
Speaker 4: I have not seen Gladiator since it came out when

1369
01:17:47,240 --> 01:17:50,040
Speaker 4: I liked it well enough, But it's interesting, you know

1370
01:17:50,160 --> 01:17:52,840
Speaker 4: how careers have gone in terms of the stars and

1371
01:17:52,920 --> 01:17:56,360
Speaker 4: so forth. The reason I would rewatch Gladiator now is

1372
01:17:56,520 --> 01:18:00,920
Speaker 4: to reconsider that woking Phoenix performance, just how his career

1373
01:18:00,960 --> 01:18:04,200
Speaker 4: has ascended, Russell Crows, Russell Crows has tailed off, and

1374
01:18:04,240 --> 01:18:06,080
Speaker 4: you wouldn't think that. Yeah, I'm gonna go look at

1375
01:18:06,080 --> 01:18:09,240
Speaker 4: Gladiator again for the acting necessarily, but that is what

1376
01:18:09,360 --> 01:18:11,080
Speaker 4: still intrigues me, and maybe I'll have to do a

1377
01:18:11,160 --> 01:18:14,360
Speaker 4: revisit for that, all right. Number four for me is

1378
01:18:14,880 --> 01:18:19,120
Speaker 4: Merril hess in signs. This is Phoenix in likable mode

1379
01:18:19,320 --> 01:18:22,920
Speaker 4: in m Night Shyamalan's Alien Invasion thriller. Likable mode is

1380
01:18:22,960 --> 01:18:27,639
Speaker 4: something he can do and does on occasion. Not very often, however,

1381
01:18:27,880 --> 01:18:31,280
Speaker 4: but it's kind of fun and rewarding when he pulls

1382
01:18:31,320 --> 01:18:34,000
Speaker 4: it out of his tool kit. I also like here

1383
01:18:34,320 --> 01:18:39,040
Speaker 4: how he effortlessly slips into what is essentially an ensemble piece.

1384
01:18:39,080 --> 01:18:41,439
Speaker 4: I mean, Mel Gibson is the lead, of course, but

1385
01:18:41,640 --> 01:18:44,439
Speaker 4: this is an ensemble drama in a lot of ways,

1386
01:18:44,680 --> 01:18:48,000
Speaker 4: and Phoenix comes in to do things you might not expect,

1387
01:18:48,120 --> 01:18:50,960
Speaker 4: to lighten the mood, lighten the movie's edges a little bit.

1388
01:18:51,439 --> 01:18:55,000
Speaker 4: He just has a wonderfully light comic touch, and I

1389
01:18:55,040 --> 01:18:58,880
Speaker 4: think it's probably best displayed when he gives the response

1390
01:18:59,080 --> 01:19:04,480
Speaker 4: to Mel Gibson and his long soliloquy about miracles or coincidences.

1391
01:19:04,760 --> 01:19:07,720
Speaker 4: This is an occasion of Shyamalan, I think, also kind

1392
01:19:07,760 --> 01:19:10,759
Speaker 4: of undercutting himself and being aware of his grund eloquent

1393
01:19:11,160 --> 01:19:15,360
Speaker 4: tendencies with this soliloquy here. But then in comes Phoenix.

1394
01:19:15,640 --> 01:19:18,759
Speaker 4: Merrill has given this whole speech some you know, probably

1395
01:19:18,880 --> 01:19:22,639
Speaker 4: not so deep thought, and he decides he's a miracle

1396
01:19:22,720 --> 01:19:24,479
Speaker 4: man who was at this party.

1397
01:19:24,560 --> 01:19:30,840
Speaker 8: Once I'm on my couch with the random McKinney. She's

1398
01:19:30,880 --> 01:19:36,479
Speaker 8: just sitting there looking beautiful, staring at me. I go

1399
01:19:36,640 --> 01:19:43,360
Speaker 8: to leave him and kiss her. Realize I've got side.

1400
01:19:43,400 --> 01:19:47,679
Speaker 8: Turn do you have the gum stuff in the paper?

1401
01:19:47,760 --> 01:19:52,919
Speaker 8: Come next to the sofa and turn around. Random McKinney

1402
01:19:53,000 --> 01:19:58,880
Speaker 8: throws up all over herself. I knew this a cand

1403
01:19:58,920 --> 01:20:03,000
Speaker 8: it happened. It was a miracle. I could have been

1404
01:20:03,080 --> 01:20:06,439
Speaker 8: kissing her when she threw up. Now I want to

1405
01:20:06,439 --> 01:20:07,360
Speaker 8: scar me for life.

1406
01:20:07,920 --> 01:20:11,200
Speaker 4: Meryl is the sort of part that this movie, you know,

1407
01:20:11,320 --> 01:20:15,880
Speaker 4: signs didn't really need Meryl necessarily, but because of Phoenix's

1408
01:20:15,920 --> 01:20:18,719
Speaker 4: performance now when I think about it, I can't imagine

1409
01:20:18,760 --> 01:20:20,680
Speaker 4: the film without him, you know, just because of the

1410
01:20:21,080 --> 01:20:25,120
Speaker 4: contributions he makes and again the different vibes he brings

1411
01:20:25,200 --> 01:20:29,000
Speaker 4: to this film. Another fan of this performance is Aaron

1412
01:20:29,040 --> 01:20:32,120
Speaker 4: Bergstrom over on Twitter at Aaron Bergstrom. He wrote, Phoenix

1413
01:20:32,240 --> 01:20:35,320
Speaker 4: is so often associated with playing weirdos, often dangerous ones.

1414
01:20:35,400 --> 01:20:37,519
Speaker 4: So when I look back at his performance as a

1415
01:20:37,600 --> 01:20:40,760
Speaker 4: well meaning fella like Meryl, I appreciate how good he

1416
01:20:40,920 --> 01:20:45,640
Speaker 4: is at depicting loyalty and bravery. So yeah, maybe a

1417
01:20:45,720 --> 01:20:48,000
Speaker 4: simpler character than some of the others he plays, but

1418
01:20:48,360 --> 01:20:49,280
Speaker 4: he plays it just right.

1419
01:20:49,720 --> 01:20:52,800
Speaker 7: He does very good in that scene, very good in

1420
01:20:52,960 --> 01:20:56,280
Speaker 7: that film. Interesting that we've got back to back choices

1421
01:20:56,600 --> 01:21:02,280
Speaker 7: in which we hear Joaquin Phoenix whispering primarily very very

1422
01:21:02,360 --> 01:21:07,519
Speaker 7: quietly different circumstances, and Merrill not exactly an evil character.

1423
01:21:07,760 --> 01:21:11,760
Speaker 7: My number four, I've got another weirdo, definitely one of

1424
01:21:12,240 --> 01:21:16,040
Speaker 7: Woking Phoenix's weirdos. And you were talking about him in

1425
01:21:16,120 --> 01:21:19,200
Speaker 7: terms of whether he plays characters who are likable or unlikable.

1426
01:21:19,280 --> 01:21:22,360
Speaker 7: This is one who I don't even know where to

1427
01:21:22,720 --> 01:21:25,559
Speaker 7: put him on that scale. And it's not because he's

1428
01:21:25,640 --> 01:21:28,720
Speaker 7: got things about him that make him someone that you

1429
01:21:29,760 --> 01:21:33,400
Speaker 7: really respond to favorably and even aspire to be like.

1430
01:21:34,160 --> 01:21:36,200
Speaker 7: That's not the case at all. But he also isn't

1431
01:21:36,680 --> 01:21:39,720
Speaker 7: so bad that you despise him ever, either.

1432
01:21:39,760 --> 01:21:40,280
Speaker 3: He's just an.

1433
01:21:40,200 --> 01:21:44,600
Speaker 7: Immensely flawed character. And that character is Leonard Creditor in

1434
01:21:44,760 --> 01:21:48,720
Speaker 7: James Gray's Two Lovers. So multiple collaborations with James Gray.

1435
01:21:49,200 --> 01:21:53,200
Speaker 7: I'm going with his performance as Leonard in Two Lovers.

1436
01:21:53,439 --> 01:21:57,120
Speaker 7: What a trip down memory lane. It was Josh reminding

1437
01:21:57,520 --> 01:22:02,120
Speaker 7: myself about this film, this performance, and the context around it.

1438
01:22:02,240 --> 01:22:06,760
Speaker 7: I had completely forgotten that Two Lovers, the movie and

1439
01:22:06,920 --> 01:22:11,519
Speaker 7: this performance were totally overshadowed at the time by the

1440
01:22:11,600 --> 01:22:17,000
Speaker 7: Shenanigans surrounding the filming of I'm Still Here, which would

1441
01:22:17,040 --> 01:22:19,960
Speaker 7: come out two years later, or actually just a little

1442
01:22:20,040 --> 01:22:22,479
Speaker 7: over a year later. In terms of when we reviewed

1443
01:22:22,920 --> 01:22:25,639
Speaker 7: this film Two Lovers on the show was February twenty seventh,

1444
01:22:25,720 --> 01:22:30,160
Speaker 7: two thousand and nine. That infamous David Letterman appearance was

1445
01:22:30,280 --> 01:22:33,680
Speaker 7: February eleventh, two thousand and nine, so this was all

1446
01:22:33,800 --> 01:22:36,519
Speaker 7: in the wake of that, and people were really watching

1447
01:22:36,600 --> 01:22:41,400
Speaker 7: Two Lovers thinking it was Woquin Phoenix's swan song from acting.

1448
01:22:42,000 --> 01:22:45,479
Speaker 7: It was supposedly his final performance as an actor because

1449
01:22:45,520 --> 01:22:49,559
Speaker 7: he was retiring to become a rapper, and with all

1450
01:22:49,600 --> 01:22:53,439
Speaker 7: of that, he had apparently completely lost his mind.

1451
01:22:55,360 --> 01:22:58,800
Speaker 10: So here's my hope that after some time off and

1452
01:22:58,880 --> 01:23:00,519
Speaker 10: I think you're taking a little time off tonight.

1453
01:23:04,520 --> 01:23:08,120
Speaker 3: I I'm hopeful that you will.

1454
01:23:08,040 --> 01:23:10,840
Speaker 10: Reconsider and and come back to acting because you're just

1455
01:23:10,960 --> 01:23:13,200
Speaker 10: you know, there's nobody really better than you are.

1456
01:23:14,320 --> 01:23:17,200
Speaker 2: Yeah, I still like.

1457
01:23:21,120 --> 01:23:24,040
Speaker 13: I say never, right, I don't I don't know, I

1458
01:23:24,080 --> 01:23:26,280
Speaker 13: don't know what, I don't know if, I don't know

1459
01:23:26,400 --> 01:23:26,920
Speaker 13: what will happen.

1460
01:23:27,720 --> 01:23:32,439
Speaker 1: But you you are You're not gonna act anymore? No, huh?

1461
01:23:33,040 --> 01:23:33,560
Speaker 3: Why is that?

1462
01:23:35,160 --> 01:23:35,479
Speaker 1: Mmm?

1463
01:23:37,600 --> 01:23:37,960
Speaker 8: I don't know.

1464
01:23:40,040 --> 01:23:41,639
Speaker 1: I mean you have given up some thought.

1465
01:23:43,000 --> 01:23:46,160
Speaker 3: This will come up some more.

1466
01:23:46,840 --> 01:23:49,479
Speaker 7: But going through my notes, it was amazing because I

1467
01:23:49,600 --> 01:23:51,880
Speaker 7: look back on these different films that have been reviewed

1468
01:23:51,920 --> 01:23:56,680
Speaker 7: on the show, how many times I'd use synonyms to

1469
01:23:56,840 --> 01:24:00,479
Speaker 7: describe his characters and movies. In this case, it was

1470
01:24:00,520 --> 01:24:03,679
Speaker 7: talking about a character who was always kind of floating

1471
01:24:04,120 --> 01:24:07,679
Speaker 7: through these scenes, disconnected from everything that the movie itself

1472
01:24:07,720 --> 01:24:11,080
Speaker 7: has an ethereal quality to it. It's basically a fable.

1473
01:24:11,200 --> 01:24:15,599
Speaker 7: You could apply similar words and phrases to Bo's Afraid

1474
01:24:15,800 --> 01:24:18,839
Speaker 7: or to some of these other performances that we'll probably

1475
01:24:19,080 --> 01:24:22,080
Speaker 7: talk about for those who don't remember. Two lovers. It's

1476
01:24:22,640 --> 01:24:25,200
Speaker 7: pretty much what the name suggests. It's a movie about

1477
01:24:25,240 --> 01:24:28,840
Speaker 7: a love triangle. Leonard is involved with two different women.

1478
01:24:29,160 --> 01:24:32,519
Speaker 7: One who really wants to take care of him and

1479
01:24:32,720 --> 01:24:36,040
Speaker 7: wants to love him, and he's too neurotic to let

1480
01:24:36,080 --> 01:24:38,080
Speaker 7: her do it. That's Vanessa Shaw's character. And then there's

1481
01:24:38,080 --> 01:24:41,400
Speaker 7: another woman who he wants to take care of and

1482
01:24:42,120 --> 01:24:44,680
Speaker 7: she's the one with the issues in allowing him to

1483
01:24:44,720 --> 01:24:48,400
Speaker 7: do that. That's Gwyneth Paltrow's character. But there's a melancholy

1484
01:24:49,040 --> 01:24:54,080
Speaker 7: to Leonard that makes him endearing or certainly endearing enough.

1485
01:24:54,280 --> 01:24:59,600
Speaker 7: And there's an intimacy that Gray captures with Phoenix and

1486
01:25:00,280 --> 01:25:05,400
Speaker 7: these women that is really striking in the way Phoenix

1487
01:25:05,520 --> 01:25:10,000
Speaker 7: can often be intimate on screen and also make you

1488
01:25:10,160 --> 01:25:13,040
Speaker 7: a little bit uncomfortable at the same time, there's an

1489
01:25:13,120 --> 01:25:18,840
Speaker 7: intensity to these intimate scenes that can be both off

1490
01:25:18,920 --> 01:25:22,280
Speaker 7: putting and something that also brings you in. And what

1491
01:25:22,400 --> 01:25:26,160
Speaker 7: really stands out about Phoenix in this role, but again,

1492
01:25:26,280 --> 01:25:29,320
Speaker 7: I'm sure many others we might get to. He's someone

1493
01:25:29,360 --> 01:25:33,760
Speaker 7: who's utterly uninterested in vanity. He has no interest in

1494
01:25:33,880 --> 01:25:36,880
Speaker 7: being cool on screen, and Leonard is not cool, and

1495
01:25:36,960 --> 01:25:40,599
Speaker 7: he also has no interest in being conventionally masculine, which

1496
01:25:40,680 --> 01:25:42,360
Speaker 7: is also one of the things that I think really

1497
01:25:42,439 --> 01:25:48,160
Speaker 7: does define Phoenix as a fascinating performer. He's volatile, but

1498
01:25:48,760 --> 01:25:52,320
Speaker 7: the softer and the more vulnerable he is on screen,

1499
01:25:52,680 --> 01:25:55,320
Speaker 7: the more interesting he is. And that's certainly the case

1500
01:25:55,360 --> 01:25:57,080
Speaker 7: here with Leonard in Two Lovers.

1501
01:25:58,240 --> 01:25:59,920
Speaker 13: If I got to know you that I wouldn't love you,

1502
01:26:00,439 --> 01:26:02,960
Speaker 13: But I do know you, and I love you a

1503
01:26:02,960 --> 01:26:03,519
Speaker 13: little more.

1504
01:26:03,720 --> 01:26:07,559
Speaker 2: I understand you, Michelle. I'm up too.

1505
01:26:10,560 --> 01:26:12,880
Speaker 6: I'll never walk with from you.

1506
01:26:16,920 --> 01:26:19,120
Speaker 2: I left, I never do.

1507
01:26:21,280 --> 01:26:23,960
Speaker 3: I take you well.

1508
01:26:24,000 --> 01:26:27,280
Speaker 4: You went with the one Waquin Phoenix James Gray collaboration

1509
01:26:27,400 --> 01:26:29,760
Speaker 4: I have not seen, but I've liked the other two,

1510
01:26:30,400 --> 01:26:32,800
Speaker 4: so I'm going to assume you're right in this pick.

1511
01:26:32,880 --> 01:26:35,240
Speaker 4: Adam I especially like him in The Yards. I can

1512
01:26:35,320 --> 01:26:39,240
Speaker 4: still picture kind of his devilish face in that one.

1513
01:26:39,439 --> 01:26:42,479
Speaker 4: So yeah, these two have been really strong collaborators. My

1514
01:26:42,600 --> 01:26:46,000
Speaker 4: number three pick is with another filmmaker he has worked

1515
01:26:46,040 --> 01:26:49,280
Speaker 4: with twice now, and that would be Paul Thomas Anderson.

1516
01:26:49,360 --> 01:26:52,360
Speaker 4: Here at number three, I have Larry Dox Bortello from

1517
01:26:52,479 --> 01:26:57,680
Speaker 4: Inherent Vice. We've touched on a little bit his comedic abilities,

1518
01:26:57,920 --> 01:27:00,120
Speaker 4: and I think this is the movie of all of

1519
01:27:00,160 --> 01:27:02,800
Speaker 4: his that I've seen that puts them on display the most.

1520
01:27:02,920 --> 01:27:06,960
Speaker 4: This adaptation of Thomas Pinchon's comic Gumshoe novel. It's set

1521
01:27:06,960 --> 01:27:10,320
Speaker 4: against the druggy beach scene of nineteen seventy California. Doc

1522
01:27:10,360 --> 01:27:13,640
Speaker 4: Sportello is this hazy private detective just ekeing out a

1523
01:27:13,720 --> 01:27:16,400
Speaker 4: living of sorts in a beach shack just a few

1524
01:27:16,439 --> 01:27:18,840
Speaker 4: blocks from the ocean, and as happens in these sort

1525
01:27:18,880 --> 01:27:20,479
Speaker 4: of tales, he gets caught up in a rabbit hole

1526
01:27:20,840 --> 01:27:25,240
Speaker 4: of an investigation. Phoenix has so much fun with the

1527
01:27:25,520 --> 01:27:29,280
Speaker 4: curly qu noir dialogue here and the chance to play

1528
01:27:30,240 --> 01:27:34,599
Speaker 4: really this adult fool who's sometimes smarter than he's presenting

1529
01:27:34,680 --> 01:27:38,519
Speaker 4: himself and a lot of times not or or let's

1530
01:27:38,520 --> 01:27:41,120
Speaker 4: just say not in complete control of his faculties. And

1531
01:27:41,439 --> 01:27:43,960
Speaker 4: just watching Phoenix have fun with that is such a blast.

1532
01:27:44,040 --> 01:27:47,800
Speaker 4: So many of the laughs come from observing Doc trying

1533
01:27:47,840 --> 01:27:52,720
Speaker 4: to focus in the midst of these increasingly ridiculous conversations

1534
01:27:52,800 --> 01:27:56,760
Speaker 4: with all sorts of characters, and this includes Josh Brolin's

1535
01:27:56,960 --> 01:28:00,439
Speaker 4: Lieutenant Detective Bigfoot Bjornson, Yeah.

1536
01:28:01,479 --> 01:28:07,599
Speaker 2: Big and smashed on my door, kwawn.

1537
01:28:08,760 --> 01:28:11,720
Speaker 11: After a long and busy day of civil rights violations.

1538
01:28:13,320 --> 01:28:15,880
Speaker 11: I found myself in the neighborhood and compelled to drop

1539
01:28:15,960 --> 01:28:19,920
Speaker 11: in just to check and see the current state of affairs.

1540
01:28:20,080 --> 01:28:23,880
Speaker 11: Mild stomping grounds, seeing as your effort to keep lines

1541
01:28:23,920 --> 01:28:27,280
Speaker 11: of communication had been limited.

1542
01:28:27,720 --> 01:28:28,479
Speaker 8: To say the least.

1543
01:28:30,479 --> 01:28:32,240
Speaker 2: Oh, I've been busy.

1544
01:28:33,680 --> 01:28:35,719
Speaker 11: I'm trying to figure out which side of the zigzag

1545
01:28:35,800 --> 01:28:36,960
Speaker 11: paper is the sticky sign.

1546
01:28:38,040 --> 01:28:40,639
Speaker 4: This is not just a comedic performance, though a few

1547
01:28:40,720 --> 01:28:43,120
Speaker 4: listeners mentioned when they made this pick some of the

1548
01:28:43,160 --> 01:28:47,040
Speaker 4: other qualities that appealed to them about the performance. Andrew

1549
01:28:47,080 --> 01:28:50,000
Speaker 4: Bodenbach on Facebook said, He's hilarious and ridiculous, but what

1550
01:28:50,160 --> 01:28:52,240
Speaker 4: really hits is how compassionate he is.

1551
01:28:52,439 --> 01:28:53,679
Speaker 3: He really cares about people.

1552
01:28:54,160 --> 01:28:56,880
Speaker 4: I think you do feel that. And here's from Jeremy S.

1553
01:28:56,960 --> 01:29:00,240
Speaker 4: Wade at American Weight on Twitter. You just really want

1554
01:29:00,280 --> 01:29:01,800
Speaker 4: that poor son of a bitch to get a win.

1555
01:29:02,400 --> 01:29:04,640
Speaker 4: And this kind of speaks, I think, more to the

1556
01:29:05,439 --> 01:29:09,879
Speaker 4: you come around to his character's side so often, despite

1557
01:29:09,920 --> 01:29:12,080
Speaker 4: all evidence to the contrary, that that's where you should be,

1558
01:29:12,479 --> 01:29:14,600
Speaker 4: and there's a little bit of that element here in

1559
01:29:14,760 --> 01:29:18,160
Speaker 4: Dox Bartello as well. It's also fun to think about

1560
01:29:18,240 --> 01:29:21,840
Speaker 4: this being the performance. Going back to the idea of collaborations,

1561
01:29:22,240 --> 01:29:24,320
Speaker 4: this being the performance and the character that he and

1562
01:29:24,400 --> 01:29:28,160
Speaker 4: Paul Thomas Anderson wanted to explore together after working on

1563
01:29:28,479 --> 01:29:31,800
Speaker 4: The Master. So interesting choice. I don't want to get

1564
01:29:31,800 --> 01:29:33,599
Speaker 4: ahead of myself, so I'll leave that there.

1565
01:29:34,040 --> 01:29:36,360
Speaker 7: And I don't want to get ahead of myself either, Josh,

1566
01:29:36,479 --> 01:29:40,160
Speaker 7: so I will also leave Larry Knox Bortello right there

1567
01:29:40,200 --> 01:29:43,080
Speaker 7: and go to my number three walking Phoenix performance, a

1568
01:29:43,160 --> 01:29:45,720
Speaker 7: performance in a film that no one will apply the

1569
01:29:45,800 --> 01:29:49,479
Speaker 7: words fun to or blast to, like you just did

1570
01:29:49,600 --> 01:29:51,000
Speaker 7: with Inherent Vice.

1571
01:29:51,360 --> 01:29:53,080
Speaker 3: But one connection.

1572
01:29:53,360 --> 01:29:56,200
Speaker 7: You've got Phoenix in your number three, chasing down a

1573
01:29:56,280 --> 01:29:59,479
Speaker 7: missing girl in a complex conspiracy, and so do I.

1574
01:30:00,240 --> 01:30:04,240
Speaker 7: But Joe from Lynn Ramsey's twenty seventeen film You Were

1575
01:30:04,280 --> 01:30:07,640
Speaker 7: Never Really Here is definitely not the teddy bear, the

1576
01:30:07,720 --> 01:30:11,719
Speaker 7: compassionate teddy bear that Doc Sportello is. And Joe suffers

1577
01:30:11,760 --> 01:30:16,280
Speaker 7: from something that Doc doesn't, which is severe trauma. So

1578
01:30:16,360 --> 01:30:20,760
Speaker 7: you've got a character who is all about repression and

1579
01:30:20,920 --> 01:30:24,920
Speaker 7: is all about withholding other than the blunt acts of

1580
01:30:25,040 --> 01:30:28,679
Speaker 7: violence that he carries out. He's not demonstrative, he's certainly

1581
01:30:28,760 --> 01:30:32,360
Speaker 7: not vocal. He barely speaks. This has to be the

1582
01:30:32,479 --> 01:30:36,800
Speaker 7: fewest lines the Phoenix has in any one of his performances.

1583
01:30:37,040 --> 01:30:40,080
Speaker 7: He's a big physical presence, like with bo Is Afraid.

1584
01:30:40,120 --> 01:30:43,280
Speaker 7: He put on weight for this role, and he certainly

1585
01:30:43,479 --> 01:30:46,840
Speaker 7: carries it. It's it's not a weight that manifests itself,

1586
01:30:46,920 --> 01:30:50,800
Speaker 7: certainly in muscle or as if he's been hitting the

1587
01:30:50,880 --> 01:30:54,519
Speaker 7: gym a lot. He is someone who carries a big

1588
01:30:54,840 --> 01:30:57,760
Speaker 7: burden and needs a big frame to do it. And

1589
01:30:57,920 --> 01:31:03,120
Speaker 7: yet somehow Phoenix may makes him feel like a ghost,

1590
01:31:03,840 --> 01:31:08,439
Speaker 7: like he's incapable of leaving a footprint. He's just moving

1591
01:31:08,640 --> 01:31:14,040
Speaker 7: through the world, almost invisible to everyone around him. A

1592
01:31:14,160 --> 01:31:16,080
Speaker 7: line that has always stuck with me from that film

1593
01:31:16,840 --> 01:31:18,640
Speaker 7: is when a character says, and if I remember the

1594
01:31:18,720 --> 01:31:22,519
Speaker 7: context right, they're not using it negatively. I think they

1595
01:31:22,760 --> 01:31:25,839
Speaker 7: may need his skills. They say, I hear you're brutal,

1596
01:31:26,600 --> 01:31:30,640
Speaker 7: and Phoenix says, I can be. And something about the

1597
01:31:31,120 --> 01:31:35,759
Speaker 7: kind of flat delivery of that the succinct screen writing

1598
01:31:35,800 --> 01:31:39,519
Speaker 7: there just having him say I can be. It's a

1599
01:31:39,560 --> 01:31:45,320
Speaker 7: case where Phoenix in the performance could indicate in that

1600
01:31:45,479 --> 01:31:49,240
Speaker 7: line reading or with some kind of physicality or something

1601
01:31:49,280 --> 01:31:52,479
Speaker 7: on his face before during after he says it. He

1602
01:31:52,560 --> 01:31:55,720
Speaker 7: could indicate that well he's not really a monster. He

1603
01:31:55,800 --> 01:31:59,160
Speaker 7: doesn't want to be brutal, but sometimes he has to be.

1604
01:32:00,240 --> 01:32:03,479
Speaker 7: And again, he's not someone who's interested in being cool

1605
01:32:03,520 --> 01:32:06,639
Speaker 7: on screen. He's not someone who's interested, it would seem,

1606
01:32:07,479 --> 01:32:09,160
Speaker 7: in indicating those things.

1607
01:32:08,920 --> 01:32:09,599
Speaker 3: To the audience.

1608
01:32:09,920 --> 01:32:14,479
Speaker 7: He's he's willing to play Joe for exactly who he

1609
01:32:14,680 --> 01:32:18,360
Speaker 7: is and his future actions, his choices will determine what

1610
01:32:18,560 --> 01:32:24,200
Speaker 7: we ultimately think of him. How many Josh Killer Seeks

1611
01:32:24,280 --> 01:32:27,040
Speaker 7: Redemption movies have we seen? I don't know if we've

1612
01:32:27,200 --> 01:32:31,000
Speaker 7: done that top five before. We probably have, like Assassins

1613
01:32:31,000 --> 01:32:33,840
Speaker 7: with a Heart of Gold or something. It's a well

1614
01:32:34,000 --> 01:32:39,719
Speaker 7: worn convention at this point, and Phoenix gives any beat

1615
01:32:40,400 --> 01:32:44,880
Speaker 7: that might feel familiar a completely different spin.

1616
01:32:45,280 --> 01:32:52,040
Speaker 13: Gets your name, Scott, mister Rogers that I'm to ask

1617
01:32:52,080 --> 01:32:55,960
Speaker 13: you some questions. Please be inlest with me, HI security.

1618
01:32:56,240 --> 01:32:59,599
Speaker 13: How many are there? Huh so one more than one?

1619
01:33:00,240 --> 01:33:00,400
Speaker 1: Two?

1620
01:33:01,160 --> 01:33:01,519
Speaker 8: Two?

1621
01:33:02,960 --> 01:33:03,200
Speaker 2: Where?

1622
01:33:04,200 --> 01:33:04,360
Speaker 5: Where?

1623
01:33:06,680 --> 01:33:08,679
Speaker 8: Oh god sez the front door?

1624
01:33:08,960 --> 01:33:10,320
Speaker 1: Second guy on the top floor?

1625
01:33:11,640 --> 01:33:18,560
Speaker 8: Where's the playgrounds? Thinking that these girls, therefore.

1626
01:33:18,880 --> 01:33:22,680
Speaker 7: He makes this character Joe a truly enigmatic one, and

1627
01:33:22,760 --> 01:33:26,920
Speaker 7: that he makes some choices sometimes that are confusing or

1628
01:33:27,080 --> 01:33:32,839
Speaker 7: bewildering or troubling or upsetting, but you don't ever actually

1629
01:33:33,080 --> 01:33:36,920
Speaker 7: question him as a man. And I think that's where

1630
01:33:37,680 --> 01:33:40,120
Speaker 7: the term damaged. We'll come back into play here at

1631
01:33:40,200 --> 01:33:42,559
Speaker 7: least one more time as a damaged man.

1632
01:33:43,479 --> 01:33:46,280
Speaker 4: That's the word that pops up here. I'm just pulling

1633
01:33:46,400 --> 01:33:48,280
Speaker 4: up my review and I liked it a little less

1634
01:33:48,320 --> 01:33:51,679
Speaker 4: than you, but did appreciate how the filmmaking aligned itself

1635
01:33:51,880 --> 01:33:56,320
Speaker 4: with Phoenix's performance and the character's headspace right when Ramsey

1636
01:33:56,479 --> 01:33:59,519
Speaker 4: using just a lot of impressionistic imagery, and I think

1637
01:33:59,560 --> 01:34:01,479
Speaker 4: of that the haunting sound design as well.

1638
01:34:01,840 --> 01:34:03,559
Speaker 3: But yeah, I wrote how this is all.

1639
01:34:03,560 --> 01:34:07,519
Speaker 4: Geared toward evoking Joe's deranged, damaged point of view.

1640
01:34:07,680 --> 01:34:08,439
Speaker 1: So there it is.

1641
01:34:08,960 --> 01:34:12,080
Speaker 7: We do have two more a reminder we set her

1642
01:34:12,439 --> 01:34:15,360
Speaker 7: and Theodore aside, although we both love those performances. We're

1643
01:34:15,400 --> 01:34:17,640
Speaker 7: going to talk about that movie coming up soon in

1644
01:34:17,760 --> 01:34:21,000
Speaker 7: some bonus content for film spotting family members.

1645
01:34:21,280 --> 01:34:23,760
Speaker 3: What do you have at number two? This might be

1646
01:34:23,800 --> 01:34:25,680
Speaker 3: where you want to go get some more popcorn and

1647
01:34:26,160 --> 01:34:27,720
Speaker 3: something to drink. Maybe look for a.

1648
01:34:27,760 --> 01:34:32,120
Speaker 4: Lid, an elusive lid, because it's Arthur Fleck in joker.

1649
01:34:32,960 --> 01:34:35,439
Speaker 4: I do think that Phoenix has a talent above all

1650
01:34:35,479 --> 01:34:38,800
Speaker 4: for miserableness, and to me, this is one of his

1651
01:34:38,920 --> 01:34:42,639
Speaker 4: most fascinating ones. Arthur Fleck the movie itself, we don't

1652
01:34:42,640 --> 01:34:44,320
Speaker 4: need to re litigate it. I know I'm one of

1653
01:34:44,360 --> 01:34:47,240
Speaker 4: the few people who take it seriously. I'll say I

1654
01:34:47,280 --> 01:34:49,200
Speaker 4: still feel okay about that. A couple of years on.

1655
01:34:49,520 --> 01:34:53,640
Speaker 4: I think we've only seen more disgruntled individuals lashing out

1656
01:34:53,640 --> 01:34:57,040
Speaker 4: at society that hasn't lightened up in recent years. So

1657
01:34:57,120 --> 01:34:59,320
Speaker 4: I think this movie resonates in that way. And I

1658
01:34:59,400 --> 01:35:02,680
Speaker 4: also think that that is what connects with Phoenix's performance.

1659
01:35:02,960 --> 01:35:06,120
Speaker 4: Arthur Fleck is both a symptom and a symbol of

1660
01:35:06,200 --> 01:35:10,479
Speaker 4: societal breakdown in Joker, and that is something that Phoenix

1661
01:35:10,600 --> 01:35:15,360
Speaker 4: communicates through a performance of operatic physicality.

1662
01:35:16,200 --> 01:35:17,160
Speaker 3: So yeah, I like the movie.

1663
01:35:17,280 --> 01:35:19,680
Speaker 4: There's a lot there, but for me, it's Phoenix who

1664
01:35:19,800 --> 01:35:24,720
Speaker 4: is the centrifugal force, and I am mesmerized by his

1665
01:35:25,040 --> 01:35:31,000
Speaker 4: carefully choreographed but seemingly chaotic clumsiness in this movie. That's

1666
01:35:31,040 --> 01:35:33,880
Speaker 4: also what makes this a somewhat funny performance. I think

1667
01:35:33,920 --> 01:35:37,719
Speaker 4: of him running down the streets or hallways, his limbs

1668
01:35:37,880 --> 01:35:40,760
Speaker 4: all askew. He's not, but he might as well be

1669
01:35:40,840 --> 01:35:44,160
Speaker 4: wearing clown shoes. That's how he runs. I think about

1670
01:35:44,200 --> 01:35:46,879
Speaker 4: him slipping and fumbling with the gun on the subway

1671
01:35:46,960 --> 01:35:49,760
Speaker 4: in that sequence where he's trying to defend himself from

1672
01:35:49,840 --> 01:35:53,479
Speaker 4: his attackers. And then yeah, the dance on those steps.

1673
01:35:53,680 --> 01:35:56,639
Speaker 4: I love so much, the dance and then his comic

1674
01:35:56,800 --> 01:35:59,880
Speaker 4: scrambling away when the cops come interrupt him in undercut.

1675
01:36:00,040 --> 01:36:02,640
Speaker 4: The whole scene, now, as outward is so much of

1676
01:36:02,680 --> 01:36:05,360
Speaker 4: this is Phoenix. This is the thing he does. We've

1677
01:36:05,400 --> 01:36:08,000
Speaker 4: touched on a number of times. He internalizes all of

1678
01:36:08,120 --> 01:36:11,640
Speaker 4: this as well, so you're getting both. He's using physicality

1679
01:36:11,720 --> 01:36:15,720
Speaker 4: to convey and internal brokenness, and we get another man

1680
01:36:15,800 --> 01:36:19,160
Speaker 4: whose wires just seem to be crossed, and in this movie,

1681
01:36:19,200 --> 01:36:21,680
Speaker 4: he's stuck in a society that doesn't care at all

1682
01:36:21,840 --> 01:36:23,920
Speaker 4: to even bother trying to uncross them.

1683
01:36:24,560 --> 01:36:28,120
Speaker 5: He just asked the same questions every week, how's your job?

1684
01:36:28,800 --> 01:36:33,439
Speaker 5: Are you having any negative thoughts? All I have are

1685
01:36:33,560 --> 01:36:40,200
Speaker 5: negative thoughts, But you don't listen anyway. I said, for

1686
01:36:40,439 --> 01:36:44,960
Speaker 5: my whole life, I didn't know if I even really existed,

1687
01:36:46,800 --> 01:36:52,719
Speaker 5: But I do, and people are starting to notice.

1688
01:36:54,160 --> 01:36:57,280
Speaker 4: I heard from Anton varfort Over on Twitter who said

1689
01:36:57,360 --> 01:36:59,880
Speaker 4: Joker is good. I think there is a vulnerability or

1690
01:37:00,080 --> 01:37:03,240
Speaker 4: maybe even something damaged there. It is to Woking that

1691
01:37:03,400 --> 01:37:06,000
Speaker 4: makes him work especially well in those kind of roles.

1692
01:37:06,240 --> 01:37:08,080
Speaker 4: I don't think the movie was amazing, but it wasn't

1693
01:37:08,200 --> 01:37:11,760
Speaker 4: just a King of Comedy ripoff. So yep, I'm going

1694
01:37:11,880 --> 01:37:16,360
Speaker 4: with Arthur Fleck my number two. I think, you know, technically,

1695
01:37:16,439 --> 01:37:18,680
Speaker 4: if we were including her, I'd probably have it up

1696
01:37:18,720 --> 01:37:21,599
Speaker 4: this high and Joker would be at three. But for now,

1697
01:37:22,120 --> 01:37:24,360
Speaker 4: it's my number two Walking Phoenix performance.

1698
01:37:25,000 --> 01:37:27,360
Speaker 7: Yeah, let's just go ahead and keep this positive. I'm

1699
01:37:27,400 --> 01:37:30,479
Speaker 7: not gonna rehash any in my comments about not only

1700
01:37:30,560 --> 01:37:32,160
Speaker 7: the film, but actually it turns out.

1701
01:37:32,080 --> 01:37:37,840
Speaker 3: I didn't even really like Walking Phoenix performance, and terrible, terrible.

1702
01:37:37,560 --> 01:37:41,680
Speaker 7: To me, especially after preparing for this list, is genuinely

1703
01:37:42,240 --> 01:37:45,920
Speaker 7: unthinkable because I think he can pull off the impossible,

1704
01:37:46,600 --> 01:37:52,360
Speaker 7: and yet Joker was too much for Walking Phoenix. In

1705
01:37:52,439 --> 01:37:56,280
Speaker 7: this case, I've got at number two a performance that

1706
01:37:56,400 --> 01:38:01,320
Speaker 7: you already mentioned. Some crossover here Paul Thomas Anderson Larry

1707
01:38:01,560 --> 01:38:04,720
Speaker 7: Dox Sportello from a Inherent Vice, which contains what is

1708
01:38:04,800 --> 01:38:08,800
Speaker 7: still probably my funniest moment in any Paul Thomas Anderson film,

1709
01:38:09,240 --> 01:38:12,639
Speaker 7: when early in the movie he's talking to Jenna Malone's

1710
01:38:12,720 --> 01:38:17,479
Speaker 7: character at her kitchen table, she's recounting her heroin use

1711
01:38:18,040 --> 01:38:22,520
Speaker 7: and getting pregnant. She shows a picture of little Amethyst,

1712
01:38:23,320 --> 01:38:25,240
Speaker 7: which Phoenix's doc responds to.

1713
01:38:25,760 --> 01:38:27,640
Speaker 8: This way, this is.

1714
01:38:29,479 --> 01:38:32,679
Speaker 6: What we had her looking like. Everybody helpfully pointed out

1715
01:38:32,720 --> 01:38:35,559
Speaker 6: how the heron was actually coming through my breast milk.

1716
01:38:36,240 --> 01:38:41,320
Speaker 7: But m h, now, I don't know that I've seen

1717
01:38:41,400 --> 01:38:44,240
Speaker 7: one used myself in the wild. But not surprisingly, if

1718
01:38:44,280 --> 01:38:47,240
Speaker 7: you search in Hairent Vice scream or Joaquin Phoenix screaming,

1719
01:38:47,840 --> 01:38:50,360
Speaker 7: all the gifts pop up. This is a ready made

1720
01:38:50,560 --> 01:38:54,879
Speaker 7: meme moment, but it's really brilliant acting. I mean Malone,

1721
01:38:55,560 --> 01:38:57,920
Speaker 7: she doesn't flinch at all what he screams like that.

1722
01:38:58,400 --> 01:39:00,760
Speaker 7: She does say I, I don't know if you have

1723
01:39:00,880 --> 01:39:04,080
Speaker 7: the stomach for it before she hands him the photo,

1724
01:39:04,320 --> 01:39:07,080
Speaker 7: so she knows that the picture is horrifying because she

1725
01:39:07,200 --> 01:39:11,519
Speaker 7: was breastfeeding but using heroin at the time, but it's

1726
01:39:11,520 --> 01:39:15,120
Speaker 7: still her baby. And you still expect that Doxportello will

1727
01:39:15,160 --> 01:39:20,679
Speaker 7: react by repressing whatever his instinctual reaction is. You actually

1728
01:39:20,720 --> 01:39:23,920
Speaker 7: think he'll do what he does right after he screams,

1729
01:39:24,439 --> 01:39:27,320
Speaker 7: which is he looks again at the photo, even though

1730
01:39:27,360 --> 01:39:29,320
Speaker 7: he doesn't want to. He looks again at the photo

1731
01:39:29,400 --> 01:39:32,200
Speaker 7: almost like he's he's assessing it, and he says mm hm,

1732
01:39:33,520 --> 01:39:36,760
Speaker 7: and he's very clinical about it, but he can't help it.

1733
01:39:36,840 --> 01:39:39,680
Speaker 7: He's so horrified. He lets out that scream and then

1734
01:39:39,800 --> 01:39:43,960
Speaker 7: it just immediately closes up. And I laugh every time

1735
01:39:44,120 --> 01:39:46,840
Speaker 7: I see it, and I do just love this gumshoe

1736
01:39:47,000 --> 01:39:52,080
Speaker 7: character who's in, as you said, this labyrinthine pinsion world

1737
01:39:52,160 --> 01:39:56,599
Speaker 7: of early seventies LA. In the setup to our review

1738
01:39:56,640 --> 01:39:59,080
Speaker 7: of this film, I described it this way. I said,

1739
01:39:59,120 --> 01:40:03,120
Speaker 7: take the big Lebouse, he's perpetually stone protagonists. Add the

1740
01:40:03,320 --> 01:40:07,479
Speaker 7: anachronistic absurdity and culture clashing of Altmans along Goodbye, Mix

1741
01:40:07,600 --> 01:40:10,800
Speaker 7: in the borderline nonsensical plot machinations of the Big Sleep,

1742
01:40:11,280 --> 01:40:14,280
Speaker 7: and top it all off with the pervasive corruption of Chinatown.

1743
01:40:15,000 --> 01:40:17,160
Speaker 7: That's what you get with this film. And there's some

1744
01:40:17,240 --> 01:40:20,080
Speaker 7: pretty strong touchstones there. Not surprising that I love this

1745
01:40:20,240 --> 01:40:24,400
Speaker 7: movie as much as I do. And I think one

1746
01:40:24,479 --> 01:40:26,559
Speaker 7: of his real gifts we've talked about a few of them,

1747
01:40:27,160 --> 01:40:30,519
Speaker 7: is that he's able to embody these characters who do

1748
01:40:30,680 --> 01:40:35,040
Speaker 7: kind of straddle these different these different worlds. He so

1749
01:40:35,479 --> 01:40:39,599
Speaker 7: naturally exudes being a man out of time, even literal

1750
01:40:39,720 --> 01:40:42,840
Speaker 7: time with this character and others in terms of the

1751
01:40:43,439 --> 01:40:46,920
Speaker 7: pace of his movements, his manner of speaking. He always

1752
01:40:47,040 --> 01:40:51,839
Speaker 7: moves at his own pace and often doesn't verbally respond

1753
01:40:52,479 --> 01:40:55,639
Speaker 7: in moments that you think a woking Phoenix character would.

1754
01:40:56,400 --> 01:41:02,240
Speaker 7: He's he's processing, he's experiencing it. You experience it in

1755
01:41:02,360 --> 01:41:06,400
Speaker 7: real time with Phoenix's character. So I'm with you in

1756
01:41:06,520 --> 01:41:09,439
Speaker 7: my appreciation. I have it even higher Dox Portello at

1757
01:41:09,479 --> 01:41:13,639
Speaker 7: number two. A lot of processing going on by document

1758
01:41:13,800 --> 01:41:17,960
Speaker 7: of processing, indeed, and that brings us to our number one,

1759
01:41:18,080 --> 01:41:21,760
Speaker 7: which is not a surprising pick, but we think it's

1760
01:41:21,840 --> 01:41:25,760
Speaker 7: the right pick obviously, and it's a joint number one

1761
01:41:25,880 --> 01:41:28,479
Speaker 7: pick there. There can only be one here if we're

1762
01:41:28,479 --> 01:41:31,000
Speaker 7: talking about Phoenix, and it turns out if we're talking

1763
01:41:31,040 --> 01:41:33,200
Speaker 7: about Phoenix and Paul Thomas Anderson.

1764
01:41:33,880 --> 01:41:36,800
Speaker 4: Yeah, I mean in The Master as Freddi Quell. It's

1765
01:41:37,280 --> 01:41:40,640
Speaker 4: a character you immediately know when you first see him

1766
01:41:40,640 --> 01:41:43,040
Speaker 4: in that movie you're not going to take your eyes

1767
01:41:43,080 --> 01:41:46,280
Speaker 4: off him, partly because you don't want him out of

1768
01:41:46,320 --> 01:41:48,639
Speaker 4: your sight for what he will do if he's out

1769
01:41:48,640 --> 01:41:54,000
Speaker 4: of your range of vision, so discomfaning, so unnerving. Maybe

1770
01:41:54,160 --> 01:41:59,120
Speaker 4: the character that tests the theory the most of Phoenix,

1771
01:41:59,280 --> 01:42:03,960
Speaker 4: somehow ill attracting the audience's interest and sympathy. I think

1772
01:42:04,120 --> 01:42:08,759
Speaker 4: Freddie Quell pushes that the most, and it's only maybe

1773
01:42:08,880 --> 01:42:13,560
Speaker 4: having Philip Seymour Hoffmann's Master as something of an antagonist

1774
01:42:13,840 --> 01:42:16,320
Speaker 4: that allows that to happen. I think once we see

1775
01:42:16,920 --> 01:42:19,559
Speaker 4: how Freddy is being manipulated a little bit, we maybe

1776
01:42:19,640 --> 01:42:21,320
Speaker 4: begin to feel a little more sorry for him. But

1777
01:42:21,479 --> 01:42:27,799
Speaker 4: this is a broken, dangerous, scarred man. And I remember

1778
01:42:27,920 --> 01:42:31,959
Speaker 4: my first impression of The Master, a movie I've revisited

1779
01:42:32,000 --> 01:42:35,000
Speaker 4: a number of times, but coming away from it that

1780
01:42:35,040 --> 01:42:37,880
Speaker 4: first screening was Phoenix's face and what he did to it.

1781
01:42:38,800 --> 01:42:43,120
Speaker 4: I don't know how he transformed physically so much. You know,

1782
01:42:43,200 --> 01:42:46,639
Speaker 4: we talk about losing weight gaining weight for actors. I wrote,

1783
01:42:47,040 --> 01:42:50,080
Speaker 4: his face was withered and warren. Particularly when he scowls,

1784
01:42:50,600 --> 01:42:52,960
Speaker 4: it's almost as if his cleft lip has spread so

1785
01:42:53,120 --> 01:42:57,479
Speaker 4: that rivulets now also cross his cheeks, his brow, his chin,

1786
01:42:58,200 --> 01:43:01,840
Speaker 4: And that also is a physical man inifestation again of

1787
01:43:01,920 --> 01:43:06,280
Speaker 4: what's inside. It's like all of this torture is bubbling

1788
01:43:06,400 --> 01:43:09,479
Speaker 4: and seeping out, and it's coming out in his face.

1789
01:43:09,520 --> 01:43:11,880
Speaker 4: It's also coming out, and how Freddie walks, how Phoenix

1790
01:43:12,000 --> 01:43:14,080
Speaker 4: carries himself. I want to get to this when we

1791
01:43:14,160 --> 01:43:18,080
Speaker 4: talk about his performance in Her. There's some interesting examples

1792
01:43:18,160 --> 01:43:20,800
Speaker 4: of just, you know, his gait as an actor, and

1793
01:43:20,960 --> 01:43:24,479
Speaker 4: we see it here more than anywhere else. I think

1794
01:43:25,280 --> 01:43:28,080
Speaker 4: it's just this mask of torment that Phoenix wears and

1795
01:43:28,640 --> 01:43:31,639
Speaker 4: spreads to the rest of his body, and of course

1796
01:43:31,840 --> 01:43:35,080
Speaker 4: it does explode into violent physicality at times. I think

1797
01:43:35,120 --> 01:43:37,080
Speaker 4: one of the movies' first indications of this is that

1798
01:43:37,280 --> 01:43:41,519
Speaker 4: incredibly odd and uncomfortable scene where Freddie is working as

1799
01:43:41,560 --> 01:43:44,479
Speaker 4: a photographer at the department store when he gets back

1800
01:43:44,520 --> 01:43:47,880
Speaker 4: from the war, and he just lets his rage seep

1801
01:43:47,960 --> 01:43:51,280
Speaker 4: out into this passive, aggressive session with a client.

1802
01:43:51,760 --> 01:43:52,880
Speaker 3: I'm starting to sweat.

1803
01:43:53,880 --> 01:43:57,360
Speaker 2: You need to shut up, you need to move the gun.

1804
01:43:58,560 --> 01:44:03,040
Speaker 8: You need to shut up, you need to back off,

1805
01:44:03,880 --> 01:44:05,200
Speaker 8: sit down. I'm very sorry.

1806
01:44:05,280 --> 01:44:08,000
Speaker 2: I'm trying to get the landing right. He must understand

1807
01:44:08,600 --> 01:44:09,559
Speaker 2: you want to get the radio.

1808
01:44:11,640 --> 01:44:15,880
Speaker 4: You can hear the simmering confrontation there. But there's also,

1809
01:44:16,000 --> 01:44:18,680
Speaker 4: of course in what Phoenix does again the actions. There's

1810
01:44:18,800 --> 01:44:22,000
Speaker 4: the slow shoving of that hot lamp towards the man's face,

1811
01:44:22,680 --> 01:44:26,479
Speaker 4: then the choke like tightening of the tie, and of

1812
01:44:26,560 --> 01:44:28,920
Speaker 4: course again that scowling look he has at the very

1813
01:44:28,960 --> 01:44:31,200
Speaker 4: beginning of the scene, just utter disdain for this guy.

1814
01:44:31,360 --> 01:44:34,240
Speaker 4: You know, he hates this man. We could speculate on

1815
01:44:34,320 --> 01:44:36,400
Speaker 4: the reasons. I think the movie goes on to give

1816
01:44:36,479 --> 01:44:40,320
Speaker 4: us a few of them, but immediately Freddy Quell hates

1817
01:44:40,400 --> 01:44:43,120
Speaker 4: this man. It's going to go badly for him. So yeah,

1818
01:44:43,360 --> 01:44:45,600
Speaker 4: I'm with you, master crowning achievement at this point in

1819
01:44:45,680 --> 01:44:48,800
Speaker 4: his career. Just a perfect marriage of the physical and

1820
01:44:48,800 --> 01:44:50,799
Speaker 4: the psychological that he's so good.

1821
01:44:50,640 --> 01:44:54,800
Speaker 7: At rewatching that scene today. I don't think it's an

1822
01:44:54,840 --> 01:44:59,759
Speaker 7: accident that the actor, if you look closely, the actor

1823
01:45:00,000 --> 01:45:06,200
Speaker 7: really resembles Philip Seymour Hopkins Lancaster. So it's it's foreshadowing

1824
01:45:06,640 --> 01:45:10,760
Speaker 7: the relationship he's going to have with that man as well,

1825
01:45:10,920 --> 01:45:18,680
Speaker 7: Lancaster DoD And we do get this seemingly unprovoked response,

1826
01:45:18,920 --> 01:45:22,720
Speaker 7: this disdain for this character. But it all starts when

1827
01:45:22,760 --> 01:45:25,720
Speaker 7: he asks him about who it's for. He says it's

1828
01:45:25,800 --> 01:45:30,840
Speaker 7: for his wife. This is this is the virile American

1829
01:45:30,960 --> 01:45:35,800
Speaker 7: male who is the domesticated version of a man that

1830
01:45:35,880 --> 01:45:39,679
Speaker 7: Freddy Quell can never be right. And it makes sense

1831
01:45:39,760 --> 01:45:41,840
Speaker 7: on some level that then that's going to be his

1832
01:45:42,000 --> 01:45:45,120
Speaker 7: instinctive response to him. And this movie is dealing with

1833
01:45:45,160 --> 01:45:46,920
Speaker 7: a lot of those subjects and those themes in a

1834
01:45:46,960 --> 01:45:50,880
Speaker 7: way that is not spelled out. But I really feel

1835
01:45:50,880 --> 01:45:53,080
Speaker 7: that Freddy Quell is carrying the burden of post war

1836
01:45:53,160 --> 01:45:57,360
Speaker 7: America on his shoulders, on his pretty slight shoulders here, Yeah,

1837
01:45:57,560 --> 01:46:01,639
Speaker 7: very thin and way more frail coming back from the war.

1838
01:46:01,720 --> 01:46:03,559
Speaker 7: And the way I described his character at the time

1839
01:46:03,680 --> 01:46:07,720
Speaker 7: was he's like an arthritic fist. You know, he's just

1840
01:46:07,960 --> 01:46:08,720
Speaker 7: crumpled up.

1841
01:46:09,560 --> 01:46:10,839
Speaker 3: You see it in that scene.

1842
01:46:11,160 --> 01:46:13,320
Speaker 7: It's as if every part of him is in pain.

1843
01:46:13,400 --> 01:46:15,200
Speaker 7: I think he does remark at some point that he's

1844
01:46:15,240 --> 01:46:18,040
Speaker 7: got stomach pain. But you watch him in that scene

1845
01:46:18,280 --> 01:46:22,200
Speaker 7: when he's getting the camera ready, pretty Quill acts as

1846
01:46:22,240 --> 01:46:27,559
Speaker 7: if he's perpetually experiencing heartburn, a terrible taste in his mouth,

1847
01:46:27,600 --> 01:46:33,160
Speaker 7: that as if he is always suffering or experiencing some pain,

1848
01:46:33,880 --> 01:46:38,360
Speaker 7: And you watch his mannerisms in that scene or throughout

1849
01:46:38,400 --> 01:46:41,600
Speaker 7: the movie, is Freddy. I really think a lot of

1850
01:46:42,000 --> 01:46:47,000
Speaker 7: lesser actors who tried to embody that character, tried to

1851
01:46:47,560 --> 01:46:51,080
Speaker 7: evoke those feelings and the type of phrasing that we're

1852
01:46:51,320 --> 01:46:57,120
Speaker 7: summoning here. They would make him overly theatrical. They would

1853
01:46:57,160 --> 01:47:01,680
Speaker 7: make him feel like a character, wouldn't feel natural, and

1854
01:47:01,720 --> 01:47:03,880
Speaker 7: it wouldn't have the power that it has. The putting

1855
01:47:03,920 --> 01:47:06,960
Speaker 7: his hand on his hips, the slouching that he does

1856
01:47:07,040 --> 01:47:09,960
Speaker 7: with his shoulders, in the facial reactions, all the things

1857
01:47:10,000 --> 01:47:15,599
Speaker 7: were saying, Phoenix makes it feel almost like Freddie Quell

1858
01:47:15,760 --> 01:47:17,479
Speaker 7: may have come out of the womb that way to

1859
01:47:17,560 --> 01:47:19,639
Speaker 7: go back to bow is afraid. We know that's probably

1860
01:47:19,760 --> 01:47:23,360
Speaker 7: not the case. That the war and his experience is

1861
01:47:23,439 --> 01:47:26,799
Speaker 7: there had to shape him somewhat into, if not completely,

1862
01:47:26,920 --> 01:47:29,599
Speaker 7: into the man that we see now, this broken man

1863
01:47:29,680 --> 01:47:32,639
Speaker 7: that we see now. But he makes it feel as

1864
01:47:32,720 --> 01:47:35,920
Speaker 7: if this is his life experience, and we don't ever

1865
01:47:36,080 --> 01:47:37,880
Speaker 7: we never questioned it. I never questioned it.

1866
01:47:38,040 --> 01:47:40,880
Speaker 3: Enough performance you'd pass this guy in the street.

1867
01:47:41,240 --> 01:47:44,760
Speaker 4: You know, that's like a very basic litmus test you

1868
01:47:44,840 --> 01:47:48,000
Speaker 4: can give to any sort of reality based performance. At

1869
01:47:48,080 --> 01:47:50,920
Speaker 4: least can I imagine myself passing this guy in the street,

1870
01:47:51,360 --> 01:47:54,880
Speaker 4: And in Freddy Quayle's case, absolutely, and you would know

1871
01:47:55,040 --> 01:47:59,640
Speaker 4: by all of those things you described Phoenix doing that

1872
01:47:59,760 --> 01:48:03,360
Speaker 4: can innicates you'd want to step aside, right it's just

1873
01:48:03,560 --> 01:48:03,880
Speaker 4: like this.

1874
01:48:04,840 --> 01:48:07,920
Speaker 3: Chances ire'll pass this guy, it'll be fine. Chances are

1875
01:48:08,000 --> 01:48:09,560
Speaker 3: more likely it won't.

1876
01:48:09,280 --> 01:48:12,519
Speaker 7: Be Yeah, even if he's not being assault of himself

1877
01:48:12,600 --> 01:48:13,600
Speaker 7: and no, no moment.

1878
01:48:13,520 --> 01:48:15,920
Speaker 3: How he's carrying himself, just the energy. Yep.

1879
01:48:17,200 --> 01:48:20,800
Speaker 7: Those are our top five walk in Phoenix performances. Any

1880
01:48:20,840 --> 01:48:23,160
Speaker 7: honorable mentions, Josh, do you like to throw in?

1881
01:48:23,680 --> 01:48:23,880
Speaker 1: Yeah?

1882
01:48:24,200 --> 01:48:26,479
Speaker 4: I think we should get to this one because I

1883
01:48:26,720 --> 01:48:28,719
Speaker 4: saw this come up a lot on social media. People

1884
01:48:28,720 --> 01:48:31,320
Speaker 4: are big fans of the film, Come on, come on.

1885
01:48:31,920 --> 01:48:35,479
Speaker 4: And his performance as Johnny this is from writer director

1886
01:48:35,520 --> 01:48:39,400
Speaker 4: Mike Mills, and this is another nice guy Phoenix role.

1887
01:48:39,520 --> 01:48:39,640
Speaker 1: Right.

1888
01:48:39,760 --> 01:48:43,360
Speaker 4: He's this single, kind of emotionally reserved uncle of a

1889
01:48:43,479 --> 01:48:46,040
Speaker 4: young boy and he ends up caring for the boy

1890
01:48:46,200 --> 01:48:48,519
Speaker 4: while his mother and father are going through this difficult patch.

1891
01:48:48,560 --> 01:48:50,759
Speaker 4: The boys played by Woody Norman. They have great chemistry

1892
01:48:50,840 --> 01:48:56,040
Speaker 4: together and it's a very generous and light turn. I

1893
01:48:56,240 --> 01:48:59,720
Speaker 4: think that is as good as the other stuff he's done.

1894
01:48:59,760 --> 01:49:03,720
Speaker 4: Maybe just not isn't the epitome to me of what

1895
01:49:03,960 --> 01:49:06,000
Speaker 4: Phoenix is like. So it didn't quite make the cut.

1896
01:49:06,640 --> 01:49:13,880
Speaker 2: Maybe we can just take this process slowly and and yeah,

1897
01:49:14,040 --> 01:49:15,000
Speaker 2: see how it feels.

1898
01:49:16,400 --> 01:49:16,680
Speaker 1: M H.

1899
01:49:17,240 --> 01:49:23,519
Speaker 2: Yeah, and I'm just really sorry that your children died.

1900
01:49:27,160 --> 01:49:28,479
Speaker 2: You know, only I can do that part.

1901
01:49:29,000 --> 01:49:31,360
Speaker 1: Yeah, I told you that's how me and mom do it.

1902
01:49:32,000 --> 01:49:34,360
Speaker 2: If it makes sense for your mom to do that,

1903
01:49:34,920 --> 01:49:36,479
Speaker 2: that's cool, But it doesn't make sense to me. That's

1904
01:49:36,479 --> 01:49:41,519
Speaker 2: what I was explaining to you, because it's ridiculous. It's sad.

1905
01:49:42,720 --> 01:49:45,599
Speaker 4: From April twenty twenty three, those were our top five

1906
01:49:45,720 --> 01:49:49,080
Speaker 4: Joaquin Phoenix performances. You can see our picks and more

1907
01:49:49,160 --> 01:49:52,799
Speaker 4: top fives at film spotting dot net slash lists.

1908
01:49:53,479 --> 01:49:56,200
Speaker 3: Michael. That does it for us listeners.

1909
01:49:56,280 --> 01:49:58,599
Speaker 4: If you'd like to connect with us on social media,

1910
01:49:58,680 --> 01:50:01,240
Speaker 4: you can find Adam and the show on Instagram, Facebook,

1911
01:50:01,680 --> 01:50:05,920
Speaker 4: and letterbox at film Spotting, I'm at Larson on film

1912
01:50:06,080 --> 01:50:09,280
Speaker 4: At all those places, as well as Blue Sky, we

1913
01:50:09,400 --> 01:50:12,640
Speaker 4: are independently produced and listener supported. You can support the

1914
01:50:12,680 --> 01:50:16,040
Speaker 4: show by joining the film Spotting Family at film spottingfamily

1915
01:50:16,120 --> 01:50:19,160
Speaker 4: dot com. You can listen early and ad free. You'll

1916
01:50:19,200 --> 01:50:22,639
Speaker 4: also get a weekly newsletter, monthly bonus episodes, and access

1917
01:50:22,680 --> 01:50:25,800
Speaker 4: to the entire show archive. For show t shirts and

1918
01:50:25,880 --> 01:50:30,479
Speaker 4: other merch go to film spotting dot net slash shop now.

1919
01:50:30,680 --> 01:50:34,800
Speaker 4: In that film Spotting archive, you will find reviews of

1920
01:50:34,960 --> 01:50:38,760
Speaker 4: all three previous ariastorfilms, so bo Is Afraid on Show

1921
01:50:38,840 --> 01:50:42,559
Speaker 4: nine seventeen, Midsomars seven thirty six, and Hereditary on six

1922
01:50:42,800 --> 01:50:46,000
Speaker 4: eighty five. I'm going to do a quick ranking here, Michael,

1923
01:50:46,200 --> 01:50:52,040
Speaker 4: just because I recently revised my Ariaster ranking on Letterboxed,

1924
01:50:52,120 --> 01:50:54,320
Speaker 4: I still have Hereditary up at the top. Maybe it's

1925
01:50:54,360 --> 01:50:58,160
Speaker 4: the horror fan in me just love that movie so much.

1926
01:50:59,160 --> 01:51:01,800
Speaker 4: I think I have bos Afraid next. I think that's

1927
01:51:01,800 --> 01:51:04,960
Speaker 4: where I put it because it and Eddington are close

1928
01:51:05,240 --> 01:51:07,479
Speaker 4: in that. Something's worked for me. Some things don't. But

1929
01:51:07,560 --> 01:51:11,200
Speaker 4: I love the swings they're taking. Midsomar I am positive on,

1930
01:51:11,520 --> 01:51:14,720
Speaker 4: but I thought was the least successful. Do you have

1931
01:51:14,800 --> 01:51:16,920
Speaker 4: a clear favorite of his, Michael, or have you seen

1932
01:51:17,000 --> 01:51:17,360
Speaker 4: all four?

1933
01:51:18,040 --> 01:51:20,120
Speaker 1: It's a good I have. It's a good question. I

1934
01:51:20,760 --> 01:51:25,000
Speaker 1: haven't revisited Hereditary because you know it's for me. That

1935
01:51:25,000 --> 01:51:27,559
Speaker 1: wouldn't be an easy revisit, although it's very good, I think,

1936
01:51:27,720 --> 01:51:32,880
Speaker 1: and unnerving as all hell. But don't I don't. I

1937
01:51:32,920 --> 01:51:35,000
Speaker 1: got to think about that in a funny way. The

1938
01:51:35,120 --> 01:51:40,760
Speaker 1: movies themselves are so internally uneven and arguably inconsistent, Yet

1939
01:51:40,880 --> 01:51:46,680
Speaker 1: he is consistently worth the provocations. You know, I mean

1940
01:51:46,720 --> 01:51:48,519
Speaker 1: I I's a good sign.

1941
01:51:48,680 --> 01:51:51,240
Speaker 3: I think I feel the same way. Yep. Yeah.

1942
01:51:51,360 --> 01:51:53,760
Speaker 4: And I'm realizing now, Michael, you're basically coming away from

1943
01:51:53,760 --> 01:51:57,080
Speaker 4: this recording with a homework assignment that's pretty hefty. So

1944
01:51:57,240 --> 01:52:00,680
Speaker 4: I want your ariost ranked list. I want you to

1945
01:52:00,800 --> 01:52:04,160
Speaker 4: choose between the apartment in Sunset Boulevard, and then I

1946
01:52:04,240 --> 01:52:06,000
Speaker 4: want you to vote in the film spotting poll about

1947
01:52:06,040 --> 01:52:08,080
Speaker 4: actresses playing actresses who are going through it?

1948
01:52:08,160 --> 01:52:09,680
Speaker 3: Okay, you got all that? Do you write all that

1949
01:52:10,479 --> 01:52:10,800
Speaker 3: in your.

1950
01:52:10,720 --> 01:52:12,880
Speaker 1: Noble all right, Yeah, I'll do it. It'll be the

1951
01:52:13,000 --> 01:52:15,599
Speaker 1: last time I remember darken these doors again.

1952
01:52:15,720 --> 01:52:22,439
Speaker 3: But yeah, it's next week, all right, on streaming and

1953
01:52:22,760 --> 01:52:24,040
Speaker 3: v o D right now.

1954
01:52:24,360 --> 01:52:29,240
Speaker 4: Recently released is Happy Gilmore two. This has apparently Betty Safty, Haley,

1955
01:52:29,320 --> 01:52:33,599
Speaker 4: Joel Osmond, Margaret Qually, Travis Kelcey and Bad Bunny. Make

1956
01:52:33,680 --> 01:52:36,400
Speaker 4: of all that what you will? In wide release The

1957
01:52:36,520 --> 01:52:41,640
Speaker 4: Fantastic Four First Steps recommended by Michael Phillips. Also in

1958
01:52:41,720 --> 01:52:45,920
Speaker 4: wide release, Oh Hi. This stars Molly Gordon from Shiva, Baby,

1959
01:52:46,000 --> 01:52:48,960
Speaker 4: Theater Camp and of course The Bear. She plays a

1960
01:52:49,000 --> 01:52:50,880
Speaker 4: woman who goes on a romantic get away with a

1961
01:52:50,960 --> 01:52:55,120
Speaker 4: new boyfriend played by Logan Lherman. Next week, Adam is

1962
01:52:55,360 --> 01:52:58,920
Speaker 4: back and we will be doing a Pantheon Project review

1963
01:52:59,000 --> 01:53:01,640
Speaker 4: of One Flew Over the Huku's Nest in honor of

1964
01:53:01,680 --> 01:53:05,760
Speaker 4: its fiftieth anniversary, and we're also tackling our top five

1965
01:53:06,200 --> 01:53:10,479
Speaker 4: Jack Nicholson scenes. Film Spotting is produced by Golden Joe

1966
01:53:10,520 --> 01:53:14,000
Speaker 4: Deso and Sam van Holgren. Without Sam and Golden Joe,

1967
01:53:14,160 --> 01:53:18,000
Speaker 4: this show wouldn't go. Our production assistant is Sophie Kempenar.

1968
01:53:18,320 --> 01:53:21,719
Speaker 4: Special thanks to everyone at wb easy Chicago. More information

1969
01:53:22,080 --> 01:53:27,000
Speaker 4: is available at wbeazy dot org and special special thanks

1970
01:53:27,479 --> 01:53:31,040
Speaker 4: to Michael Phillips for helping me wade through my conflicted

1971
01:53:31,080 --> 01:53:35,240
Speaker 4: thoughts about Eddington. Michael, any work you've been up to

1972
01:53:35,560 --> 01:53:39,400
Speaker 4: coming out, things you're looking forward to that listeners should

1973
01:53:39,600 --> 01:53:40,479
Speaker 4: keep an eye out for.

1974
01:53:41,000 --> 01:53:45,240
Speaker 1: I mean, every almost every week over a classical WFMT

1975
01:53:45,720 --> 01:53:48,959
Speaker 1: ninety eight point seven FM here in Chicago, I introduce

1976
01:53:49,320 --> 01:53:53,080
Speaker 1: and host the first segment of the weekly program. Soundtrack

1977
01:53:53,160 --> 01:53:57,320
Speaker 1: a great array of film music, mostly film, TV, some

1978
01:53:57,520 --> 01:54:01,960
Speaker 1: video games, but mostly film. And you know, I'm working

1979
01:54:02,000 --> 01:54:06,439
Speaker 1: on just all kinds of fascinating stuff, including I Think

1980
01:54:06,600 --> 01:54:09,200
Speaker 1: what I Hope is going to be a piece that

1981
01:54:09,280 --> 01:54:11,280
Speaker 1: allows me to stretch out a bit and actually take

1982
01:54:11,320 --> 01:54:15,920
Speaker 1: time to do a proper Kim Novak interview and profile.

1983
01:54:16,040 --> 01:54:19,000
Speaker 1: She's getting a Lifetime Achievement Award at the Venice International

1984
01:54:19,000 --> 01:54:22,800
Speaker 1: Film Festival. I've been lucky enough to get invited back

1985
01:54:22,840 --> 01:54:26,120
Speaker 1: to Venice to be on this sort of off off

1986
01:54:26,200 --> 01:54:29,760
Speaker 1: the main slate side panel called the Bi and Ali

1987
01:54:29,880 --> 01:54:33,560
Speaker 1: College Cinema. Several critics in the country are going over

1988
01:54:33,640 --> 01:54:36,920
Speaker 1: to could reconvene and do that, and I'd like to.

1989
01:54:37,080 --> 01:54:39,320
Speaker 1: I'd like to, and I'll just talk process right here.

1990
01:54:39,360 --> 01:54:40,840
Speaker 1: I don't care if it doesn't work out. You guys

1991
01:54:40,880 --> 01:54:43,600
Speaker 1: are all friends. I'm trying to get. I may try

1992
01:54:43,640 --> 01:54:46,880
Speaker 1: to get out to Oregon, where miss Novak lives and

1993
01:54:47,040 --> 01:54:50,040
Speaker 1: has lived for many decades now, and do a do

1994
01:54:50,160 --> 01:54:53,280
Speaker 1: a minute interview away from the red carpet first and

1995
01:54:53,360 --> 01:54:55,360
Speaker 1: then catch up with her. So I'd love to. I'd

1996
01:54:55,400 --> 01:54:57,440
Speaker 1: love to do that. She is one hundred percent of Chicago,

1997
01:54:58,080 --> 01:55:02,800
Speaker 1: a really great, very bittersweet and anyways Chicago story, and

1998
01:55:03,200 --> 01:55:05,920
Speaker 1: I love it that she's getting the recognition now for

1999
01:55:06,560 --> 01:55:11,839
Speaker 1: one of the most unusual big stars Hollywood ever produced.

2000
01:55:12,160 --> 01:55:15,120
Speaker 4: Sounds like an incredible project, So all the best with

2001
01:55:15,320 --> 01:55:19,640
Speaker 4: that and safe travels to Venice. Thanks again for joining

2002
01:55:19,720 --> 01:55:22,360
Speaker 4: me here. Thanks Josh, it was fun for film spotting.

2003
01:55:22,560 --> 01:55:23,440
Speaker 4: I'm Josh Larson.

2004
01:55:23,640 --> 01:55:24,440
Speaker 3: Thanks for listening.

2005
01:55:24,680 --> 01:55:29,200
Speaker 2: This conversation can serve no purpose anymore. The burn.

2006
01:55:45,520 --> 01:55:48,440
Speaker 7: Film Spotting is listeners supported. Join the film Spotting Family

2007
01:55:48,560 --> 01:55:51,400
Speaker 7: at film spottingfamily dot com and get access to ad

2008
01:55:51,480 --> 01:55:54,880
Speaker 7: free episodes, monthly bonus shows, our weekly newsletter, and, for

2009
01:55:54,960 --> 01:55:57,600
Speaker 7: the first time, all in one place, the entire film

2010
01:55:57,640 --> 01:56:00,320
Speaker 7: spotting archive going back to two thousand and five. That's

2011
01:56:00,320 --> 01:56:02,080
Speaker 7: a film spotting Family dot com

2012
01:56:04,240 --> 01:56:05,520
Speaker 8: Pannably