WEBVTT - Fargo: Lies, Myths, and Murder, plus The Invite | #1072 0:00:21.244 --> 0:00:24.604 Film Spotting is presented by Regal Unlimited, the all you 0:00:24.605 --> 0:00:27.565 can watch movie subscription pass that pays for itself in 0:00:27.685 --> 0:00:31.365 just two visits. See any standard two D movie anytime 0:00:31.725 --> 0:00:34.805 with no blackoutdates or restrictions. Sign up now on the 0:00:34.885 --> 0:00:37.245 Regal app or at the link in our description and 0:00:37.445 --> 0:00:41.685 use code film spot twenty six to receive fifteen percent off. 0:00:42.045 --> 0:00:44.525 What kind of a show you guys putting on here today? 0:00:44.644 --> 0:00:45.765 You're not interested in armed? 0:00:45.925 --> 0:00:46.084 Now? 0:00:46.284 --> 0:00:47.885 No, Look, we're going to do this thing. We're going 0:00:47.925 --> 0:00:48.205 to have a. 0:00:48.205 --> 0:00:54.605 Conversation from Chicago. This is film Spotting. I'm Adam Kempinar and. 0:00:54.525 --> 0:00:55.405 I'm Josh Larson. 0:00:55.725 --> 0:00:57.245 I'm Carrie Linda Garden. 0:00:57.285 --> 0:00:59.965 You got the car, you've been brand new, burnt numbers here. 0:01:00.245 --> 0:01:02.245 You want your own wife, kidnap our dad. 0:01:02.285 --> 0:01:03.565 He's real, well owned, so. 0:01:03.605 --> 0:01:04.484 Why don't you just ask. 0:01:04.405 --> 0:01:06.045 Him for the money. 0:01:07.125 --> 0:01:10.925 See, these are personal matters, personal matters. Thirty years ago, 0:01:11.005 --> 0:01:14.205 the Coen Brothers were the quirky team behind five features, 0:01:14.245 --> 0:01:18.925 most notably and profitably raising Arizona. Fargo made them Best 0:01:18.925 --> 0:01:22.685 Picture nominees and star Francis McDow dorman a Best Actress winner. 0:01:22.845 --> 0:01:24.925 This week, we'll try to cool you off with an 0:01:24.965 --> 0:01:29.285 anniversary review of The Wintry Crime Caper, plus Olivia Wilde's 0:01:29.324 --> 0:01:33.044 The Invite and David Wayne's Gail Daughtry and the Celebrity 0:01:33.084 --> 0:01:36.765 Sex Pass. That and more. You betcha ahead on film Spotting. 0:01:43.725 --> 0:01:47.445 Welcome to Film Spotting. Last week here, Josh, we discussed 0:01:47.485 --> 0:01:51.765 the biggest moneymaker of nineteen ninety six, Independence Day. That's 0:01:51.765 --> 0:01:56.165 how we celebrated July fourth and that film's thirtieth anniversary. 0:01:56.205 --> 0:01:59.404 Now we're going to discuss what I think was the 0:01:59.445 --> 0:02:05.045 best film of nineteen ninety six overall, and that's Fargo. 0:02:05.325 --> 0:02:08.525 Back on episode I think three seventeen, before you joined 0:02:08.565 --> 0:02:11.605 the show, we did our top five films of nineteen 0:02:11.685 --> 0:02:14.485 ninety six, and I did have Fargo in the number 0:02:14.485 --> 0:02:16.765 one slot. You know what it was competing with in 0:02:16.845 --> 0:02:18.285 the number two slot. 0:02:18.965 --> 0:02:19.644 Ninety six. 0:02:19.685 --> 0:02:22.445 Any guests, Oh gosh, I don't think. 0:02:22.685 --> 0:02:25.885 I don't even think I have a top Breaking the Waves, Trainspotting. 0:02:28.245 --> 0:02:31.204 Yeah, Breaking the Waves actually I think was my number five, 0:02:31.484 --> 0:02:35.885 but number two was another film, coincidentally about a small 0:02:35.924 --> 0:02:39.045 town sheriff investigating a murder, which I don't think I 0:02:39.125 --> 0:02:42.644 realized at the time they had that in common Lone 0:02:42.644 --> 0:02:45.565 Star from ritactor John Sales. 0:02:45.565 --> 0:02:49.365 Of course, solid list. You know, it's just registering now 0:02:49.445 --> 0:02:52.965 that we are doing back to back nineteen ninety six films. 0:02:52.965 --> 0:02:56.005 I don't know exactly that didn't hit me earlier, but 0:02:56.885 --> 0:02:58.965 we haven't done. I have to look at that and 0:02:59.005 --> 0:03:01.325 see what my top five of ninety six would be. 0:03:02.525 --> 0:03:05.365 I had not start compiling top tens at that point, 0:03:05.445 --> 0:03:07.484 at least on my website. I feel like James and 0:03:07.525 --> 0:03:10.245 the Giant Peach might be up there for me. I 0:03:10.245 --> 0:03:13.285 remember loving that from that year. Spike Lee had I 0:03:13.285 --> 0:03:15.524 think Get on the Bus from that year. I don't 0:03:15.565 --> 0:03:17.765 know if I would have put that in my top five, 0:03:17.805 --> 0:03:21.285 but a good film, yeah, I have to revisit ye. 0:03:21.405 --> 0:03:23.885 But we're doing our best these last two weeks at least. 0:03:24.165 --> 0:03:27.285 Well, this isn't so much about getting in the time 0:03:27.365 --> 0:03:31.364 machine and going back to nineteen ninety six and commemorating 0:03:31.445 --> 0:03:36.245 that year. It's really about our pantheon project. Fargo is 0:03:36.285 --> 0:03:38.765 a film that is in the film spotting pantheon, but 0:03:38.925 --> 0:03:42.245 we have never discussed it, and we are going to 0:03:42.325 --> 0:03:45.285 remedy that here on this show. You also caught up 0:03:45.325 --> 0:03:47.765 with a movie I'm eager to see Olivia Wilde's the 0:03:47.845 --> 0:03:51.805 Invite that expands to more cities. This weekend, we both 0:03:51.845 --> 0:03:55.605 saw David Wayne's Gail Daughtry and the Celebrity Sex Pass. 0:03:55.925 --> 0:03:59.285 We'll have some talk about both later plus poll results. 0:03:59.605 --> 0:04:02.525 Our listeners are going to weigh in on the best 0:04:02.725 --> 0:04:07.725 pair of nineties blockbusters. Some good feedback there. A reminder, 0:04:07.765 --> 0:04:10.245 Film Spotting is now available as a video podcast. You 0:04:10.285 --> 0:04:13.725 can watch us talk over at YouTube dot com slash 0:04:13.845 --> 0:04:17.925 film Spotting up. First, Fargo at thirty. 0:04:17.725 --> 0:04:19.245 Did you look in a citation book? 0:04:19.965 --> 0:04:23.685 Yeah, Vehicle E Rodion was a Tan Sierra at two 0:04:23.725 --> 0:04:27.805 eighteen am under a plate number for DLR. I figured 0:04:27.805 --> 0:04:29.805 they stopped him or shot him before he could finish 0:04:29.805 --> 0:04:33.165 filling out to tag number. So I got the state 0:04:33.205 --> 0:04:35.844 looking for a Sierra with a tech starting DLR. They 0:04:35.845 --> 0:04:36.844 don't got no match yet. 0:04:38.964 --> 0:04:41.005 I'm not sure that I agree with you one hundred 0:04:41.045 --> 0:04:42.365 percent on your please work there Low. 0:04:42.765 --> 0:04:46.404 Thirty years later, it's easy to forget how decisively Fargo 0:04:46.565 --> 0:04:50.765 reoriented the Cohen Brothers' careers. Nineteen ninety one's Barton Fink 0:04:50.844 --> 0:04:54.085 earned Joel and Ethan their first three Academy Award nominations 0:04:54.404 --> 0:04:58.445 Best Art Direction costume design and supporting actor. But Fargo 0:04:58.645 --> 0:05:02.885 was easily their most commercial, critical and awards circuit success, 0:05:03.045 --> 0:05:06.525 earning seven Oscar noms and winning two. The film was 0:05:06.565 --> 0:05:10.525 so instantly highly regarded Roger Ebert said, it emerges as 0:05:10.565 --> 0:05:13.005 one of the best films I've ever seen that when 0:05:13.045 --> 0:05:16.125 the American Film Institute put out its one hundred years 0:05:16.125 --> 0:05:18.765 one hundred Movies list a couple of years later, it 0:05:18.805 --> 0:05:22.125 was Fargo, not Best Picture winner The English Patient that 0:05:22.245 --> 0:05:24.845 made the cut, the most recent movie to do so 0:05:25.605 --> 0:05:29.285 what was so different about this Cone's effort? Reading reviews 0:05:29.284 --> 0:05:32.085 from the period makes you wonder if the mischievous brothers 0:05:32.125 --> 0:05:34.724 didn't set a movie in the frozen tundra of the Midwest, 0:05:34.885 --> 0:05:39.005 winkingly to show critics what a truly cold movie was. 0:05:39.725 --> 0:05:42.325 In Sight and Sounds in May nineteen ninety six issue, 0:05:42.525 --> 0:05:45.885 Lizzie Frank cited it as a common term for their ludic, 0:05:45.964 --> 0:05:49.525 ironic approach to cinema and the detached precision with which 0:05:49.565 --> 0:05:52.604 they unravel their stories. In her March eighth New York 0:05:52.645 --> 0:05:58.485 Times review, Janet Maslin called them coolly cerebral filmmakers. Oddly coincidentally, 0:05:58.605 --> 0:06:02.525 Frank and Maslin both used the word perversely to describe 0:06:02.525 --> 0:06:06.645 Fargo's great irony that despite the film's frigid sending and 0:06:07.085 --> 0:06:10.645 noir inflected plot, which finds a Twin Cities car salesman 0:06:10.925 --> 0:06:13.525 scheming to have his wife kidnapped to collect the ransom 0:06:13.565 --> 0:06:16.364 from his rich father in law, the Cones reveal a 0:06:16.445 --> 0:06:20.885 surprising warmth. While I vaguely recall some claims of contempt 0:06:21.045 --> 0:06:24.805 at the time, there's undeniable affection in their portrayal of 0:06:24.844 --> 0:06:29.525 Francis mcdormand's incessantly hungry seven months pregnant Minnesota and ice, 0:06:29.605 --> 0:06:33.485 Marge Gunderson and her droll duck painting, ice fishing, egg 0:06:33.565 --> 0:06:36.885 making husband Norm, son of a Gunderson played by John 0:06:36.964 --> 0:06:40.205 Carol Lynch. So much affection, in fact, that we could 0:06:40.245 --> 0:06:43.485 discuss whether the Cones have presented another such vision of 0:06:43.525 --> 0:06:47.565 earnest tenderness, since whether such an abundance of heart is 0:06:47.605 --> 0:06:50.165 good or bad depends on your perspective. On a twenty 0:06:50.205 --> 0:06:53.205 twenty two episode of the Unspooled podcast with Paul Sheer 0:06:53.284 --> 0:06:56.364 and front of the show Amy Nicholson, Amy tempers Paul's 0:06:56.485 --> 0:07:00.325 enthusiasm for Fargo, calling it the Radison. You know it's 0:07:00.365 --> 0:07:03.885 pretty good. She just prefers her Cone movies to be 0:07:04.005 --> 0:07:08.925 more Coheny. According to her, it's their most naturalistic. They're 0:07:08.964 --> 0:07:11.565 having the least fun behind the camera. I'll note here 0:07:11.605 --> 0:07:16.205 that Fargo was their third straight collaboration with cinematographer Roger Deakins, 0:07:16.685 --> 0:07:19.125 and because of that shift in tone, they perhaps were 0:07:19.165 --> 0:07:22.845 being rewarded for being nicer human beings. It's not a 0:07:22.925 --> 0:07:25.925 lesser Cone film in terms of talent, but lesser Cone 0:07:25.925 --> 0:07:28.684 in terms of the amount of Cone that's in the film. 0:07:28.885 --> 0:07:32.525 Amy concludes rating it on a scale against two titles 0:07:32.565 --> 0:07:37.845 she prefers, raising Arizona and The Big Lebowski. Josh, I 0:07:37.885 --> 0:07:40.645 want your perspective. Do you take issue with any part 0:07:40.685 --> 0:07:43.565 of Amy's assessment of Fargo? How much do you weigh 0:07:43.645 --> 0:07:46.445 the amount of Cohen that's in the film when you 0:07:46.525 --> 0:07:49.645 are judging any Cone film? And where does that leave 0:07:49.685 --> 0:07:51.485 you with Fargo? 0:07:51.925 --> 0:07:54.405 Oh, you're setting me up to disagree with the great 0:07:54.405 --> 0:08:00.005 Amy Nicholson's fair. I do one of our favorite critics, 0:08:00.165 --> 0:08:03.525 and I understand where she's coming from. I get the impulse. 0:08:03.565 --> 0:08:06.485 I also feel not having a full handle of her 0:08:06.805 --> 0:08:09.725 understanding of the Coen Brothers. If you name Lebowski, and 0:08:09.805 --> 0:08:13.445 raising Arizona as among their best. I understand what you're 0:08:13.485 --> 0:08:16.285 looking for in a Coen Brothers film. That is definitely 0:08:16.325 --> 0:08:18.925 a particular vein. It is one I appreciate as well, 0:08:19.965 --> 0:08:26.205 and Fargo's now operating in that register. Absolutely. I would disagree, however, 0:08:26.845 --> 0:08:31.885 in that it is warm and fuzzy. I think I 0:08:32.005 --> 0:08:35.885 understand where you would land, especially those original reviews comparing 0:08:35.925 --> 0:08:39.685 that to the movies that came before from them. But 0:08:40.885 --> 0:08:43.205 I find this for me, this is a question when 0:08:43.245 --> 0:08:47.005 it comes to the Cohen of nihilism on the far 0:08:47.205 --> 0:08:53.245 end in their movies, and flickers of hope, glimmers of 0:08:53.285 --> 0:09:01.125 grace amidst really bizarre, awful evil. That's what a lot 0:09:01.165 --> 0:09:04.325 of their movies hold. And so I have always thought 0:09:04.365 --> 0:09:09.805 of Firego as one, despite Marge Gunderson's presence, that falls 0:09:09.885 --> 0:09:13.005 closer towards the nihilism end, closer towards the no country 0:09:13.005 --> 0:09:16.165 for old men, and closer toward the battlet of buster 0:09:16.285 --> 0:09:20.285 scrugs and a serious man. That's how I think about 0:09:20.285 --> 0:09:27.885 their films, so than realism or naturalism, it's nihilism, and 0:09:27.925 --> 0:09:31.125 perhaps we have a reason to livesm I don't think. 0:09:31.605 --> 0:09:33.605 I don't think we ever go for full throated hope 0:09:33.645 --> 0:09:36.725 to a Coen Brothers movie, although some offer something like 0:09:36.725 --> 0:09:40.765 that more than others, and I still land there with Fargo. 0:09:41.885 --> 0:09:46.725 But I appreciate the nuances it brings to that attitude 0:09:47.485 --> 0:09:50.005 more and more every time I have revisited this movie 0:09:50.045 --> 0:09:54.325 countless times, Adam, and it is continually revealing new depths 0:09:54.365 --> 0:09:56.965 to me. I'm thrilled we get to talk about this. 0:09:57.125 --> 0:10:00.205 We have some movement on a ranked list for me, 0:10:00.405 --> 0:10:03.245 which you know does happen when we revisit films, but 0:10:03.885 --> 0:10:06.885 not always. This isn't dramatic movement, but I'm going to 0:10:06.925 --> 0:10:13.125 be bumping Fargo up further after this revisit. And yeah, 0:10:13.205 --> 0:10:15.885 I just think it has to do with where it's 0:10:15.965 --> 0:10:19.605 landing on this central question of evil again in the world, 0:10:21.125 --> 0:10:25.045 what possibility there is to resist it as an outside force. 0:10:25.245 --> 0:10:29.165 And here's where Fargo moved ahead for me as an 0:10:29.205 --> 0:10:33.925 inside force, as an interior wrangling that we have to 0:10:33.965 --> 0:10:37.605 wrestle with. I identified this earlier in William H. Macy's 0:10:37.684 --> 0:10:41.125 Jerry Lundegard, that he's the everyman. He's not the hard 0:10:41.125 --> 0:10:43.565 and criminal, but he's the guy more like us who 0:10:43.684 --> 0:10:46.845 might find themselves in a somewhat similar situation, what choices 0:10:46.885 --> 0:10:49.885 would you make? What would you do? This watch Adam, 0:10:50.325 --> 0:10:53.645 And previously I saw Marge as an opposition to that, 0:10:53.885 --> 0:10:57.084 as the you know, the shining hope, the warm comfort, 0:10:57.165 --> 0:11:03.205 the force of gentle justice. This watch, I recognized Marge's 0:11:03.645 --> 0:11:08.245 struggle with that question as well. How do we make 0:11:08.885 --> 0:11:13.645 the moral decisions within ourselves? What does it even mean 0:11:13.765 --> 0:11:16.965 for Marge? That's something I had not considered before, and 0:11:17.045 --> 0:11:20.045 I think is a through line here. I think a 0:11:20.125 --> 0:11:23.165 key scene for this is the most perplexing, mysterious scene 0:11:23.205 --> 0:11:26.725 for anyone who watches Firego Mike Yanagita. I want to 0:11:26.765 --> 0:11:29.525 break down Mike Yanagita as we get to this, because 0:11:29.525 --> 0:11:32.765 I think it's it unlocked this for me in regard 0:11:32.885 --> 0:11:38.805 to Marge. But yeah, Fargo's brilliant. I don't have the 0:11:38.804 --> 0:11:41.405 same problems. It sounds like Amy has. I think the 0:11:41.485 --> 0:11:44.405 filmmaking is there. If it's more subtle, we'll talk deacons. 0:11:45.165 --> 0:11:47.925 And I also think that you know, you could argue 0:11:47.965 --> 0:11:50.565 even no Country is maybe more naturalistic. I think we 0:11:50.605 --> 0:11:54.365 get a fair amount of cohenisms here, especially in Steve 0:11:54.365 --> 0:11:58.885 Buscemi and Peter Stormeyer's back and forth as the criminals 0:11:58.925 --> 0:12:03.285 the hardened criminals here, So I do it does sound 0:12:03.325 --> 0:12:05.925 like I like Fargo better than Amy for different reasons 0:12:06.045 --> 0:12:08.045 and see it a bit differently than her as well. 0:12:08.965 --> 0:12:11.804 Is there any shifting here for you in terms of 0:12:12.445 --> 0:12:15.365 in the Cohen canon or on any of these questions 0:12:15.365 --> 0:12:16.005 you just raised. 0:12:16.965 --> 0:12:18.725 I'll get there, but I already had it in my 0:12:18.765 --> 0:12:22.405 top three and it's definitely staying there in my top three. 0:12:22.485 --> 0:12:24.925 I think this is the first time I've watched it 0:12:25.205 --> 0:12:27.725 though in its entirety, since I saw it in the theater. 0:12:27.804 --> 0:12:30.165 I don't know how that's possible, but I have said, 0:12:30.165 --> 0:12:32.485 and this is usually the case with these Sacred Cows, 0:12:32.885 --> 0:12:37.085 I don't get to revisit a lot of films, and 0:12:37.125 --> 0:12:39.605 that might just be because of the number of children 0:12:39.925 --> 0:12:43.085 I have, and also doing this show, I'm usually trying 0:12:43.125 --> 0:12:46.285 to see new things, and I'm always prioritizing new films, 0:12:46.285 --> 0:12:49.205 and that's why we end up doing these Sacred Cows. 0:12:49.205 --> 0:12:52.885 That's the impetus for these types of reviews. So I 0:12:52.925 --> 0:12:55.405 felt like I was seeing this, even though I do 0:12:55.485 --> 0:12:58.845 also feel like I know these scenes so well, I 0:12:58.885 --> 0:13:01.405 felt like I was seeing it with very fresh eyes. 0:13:01.485 --> 0:13:05.085 I do want to note that Amy definitely doesn't say 0:13:05.125 --> 0:13:09.605 the movies warm and fuzzy, nor do I think from 0:13:09.605 --> 0:13:11.525 what I saw Janet Maslin or Sit and Sound do. 0:13:11.645 --> 0:13:14.205 But they do say it's warmer, and I think Amy's 0:13:14.245 --> 0:13:17.645 actual word that she says is there's some warm heartedness. 0:13:17.845 --> 0:13:21.165 I do really like your dichotomy, and I think that 0:13:21.165 --> 0:13:23.925 that's appropriate. I see that as well. Maybe we can 0:13:24.005 --> 0:13:29.605 call it nihilism versus optimism. Some optimism that's definitely there. 0:13:29.725 --> 0:13:32.485 I also want to give this perspective, and we've dated 0:13:32.485 --> 0:13:35.765 ourselves in this way before. I certainly have multiple times 0:13:35.765 --> 0:13:39.045 on this show back in ninety six. So here's where 0:13:39.045 --> 0:13:41.845 I'm at. Seeing this in the theater. I really begin 0:13:41.965 --> 0:13:45.245 my journey as a cinophile in ninety two ninety three. 0:13:45.804 --> 0:13:49.165 I saw Raising Arizona as a kid. Loved that movie 0:13:49.485 --> 0:13:51.125 as a kid, but I don't know who the Coen 0:13:51.205 --> 0:13:57.685 Brothers are. I'm just enjoying that movie. So two hugely 0:13:57.725 --> 0:14:01.084 important movies to me as I'm starting to become a 0:14:01.125 --> 0:14:06.565 serious movie fan are Miller's Crossing and Parton think renting 0:14:06.684 --> 0:14:13.285 those films, just trying to process those as narratives which 0:14:14.325 --> 0:14:17.845 Miller's crossing. Maybe I'm just now figuring out when we 0:14:17.925 --> 0:14:21.325 wrestled with that a few years ago, and we we 0:14:21.405 --> 0:14:24.045 put that back in our feed just a few days ago, 0:14:24.205 --> 0:14:28.765 wrestling with those as narratives, processing those two, processing the filmmaking, 0:14:29.045 --> 0:14:33.645 they were formative. So then a few years later, just 0:14:33.685 --> 0:14:36.245 a few years later, I get to go see a 0:14:36.365 --> 0:14:40.285 Cone Brothers movie in the theater on the big screen, 0:14:40.805 --> 0:14:45.565 and not only that it's being hailed by everybody as 0:14:45.645 --> 0:14:48.365 their best film, and not only that one of the 0:14:48.405 --> 0:14:50.725 best films of the year, and then I go in 0:14:51.365 --> 0:14:56.445 and it delivers. I also think it's incredible. That may 0:14:56.485 --> 0:14:59.285 be part of why, even though I do think I've 0:14:59.325 --> 0:15:02.325 only seen it once, maybe I rewatched it once over 0:15:02.445 --> 0:15:04.165 one other time over the last thirty years that I 0:15:04.165 --> 0:15:07.605 don't recall. Maybe that's why this film still does have 0:15:08.125 --> 0:15:11.245 such a hold on me, Why even though I hadn't 0:15:11.285 --> 0:15:13.965 seen it recently. When I formed that Cone Brothers list, 0:15:14.525 --> 0:15:17.525 I put it there in the top three. I agree 0:15:17.565 --> 0:15:19.245 with you. I do think there's a flaw in the 0:15:19.245 --> 0:15:22.405 comparison with other films like Raising Arizona in The Big 0:15:22.485 --> 0:15:26.605 Lebowski in that just very they're very different movies. She 0:15:27.365 --> 0:15:31.005 gave Paul the choice if three TVs are on, and 0:15:31.045 --> 0:15:33.685 those are the three movies playing? Which which one are 0:15:33.725 --> 0:15:36.765 you watching? I don't really know how i'd answer that question, Josh, 0:15:36.765 --> 0:15:40.085 but I do know that one's a screwball comedy effectively 0:15:40.125 --> 0:15:43.485 a live action cartoon, and the others an absurdist genre subversion. 0:15:43.805 --> 0:15:46.885 They are, They're just they're just way more playful and 0:15:47.765 --> 0:15:51.325 coolly detached. But they're also going for laughs in a 0:15:51.325 --> 0:15:54.765 way that that Fargo isn't, even though Fargo is often 0:15:55.125 --> 0:15:57.165 very funny. You're right, it's just not operating. 0:15:57.245 --> 0:15:59.925 It's a volume. It's a volume level for me as well. 0:16:00.085 --> 0:16:03.565 I think Raising Arizona and Lebowski are operating at a hot, 0:16:03.725 --> 0:16:05.205 higher volume compared to Firego. 0:16:05.405 --> 0:16:08.965 Yes, I think that's appropriate to the camera work point. 0:16:09.045 --> 0:16:11.685 It may not be as ostentatious with the camera as 0:16:11.725 --> 0:16:14.765 some of their other films, But and I've obviously listened 0:16:14.805 --> 0:16:17.205 to more of the conversation than you have, I don't 0:16:17.245 --> 0:16:20.165 think Amy gives the cinematography enough credit. I think we 0:16:20.245 --> 0:16:22.565 may get into that a little bit more, but I 0:16:22.605 --> 0:16:25.965 would say the biggest issue is I think it's distinctiveness, 0:16:26.485 --> 0:16:30.205 as you are speaking to how the film does still 0:16:30.765 --> 0:16:33.565 not only then, but still stand out in their filmography. 0:16:34.965 --> 0:16:37.605 I think that's what makes it special. That's not something 0:16:37.645 --> 0:16:42.285 I hold against it, and they are my first or 0:16:42.365 --> 0:16:47.845 second favorite living filmmakers. Their top three films on my list. 0:16:48.605 --> 0:16:51.125 Certainly could we all say this, but it's true, could 0:16:51.165 --> 0:16:54.285 be rearranged daily. I don't remember when I put the 0:16:54.285 --> 0:16:56.645 list together on letterbox Josh, but when I made it, 0:16:56.725 --> 0:16:59.165 I did put No Country at number one. I put 0:16:59.205 --> 0:17:02.365 Fargo at two, and I put Inside Lewin Davis at 0:17:02.485 --> 0:17:05.885 number three. Now, before I looked at the list on letterboxed, 0:17:05.965 --> 0:17:08.605 I actually thought I had Fargo number one, and after 0:17:08.645 --> 0:17:11.125 rewatching it, I was ready to come here on the 0:17:11.125 --> 0:17:15.205 show and say, great, it gets to stay there, firmly 0:17:15.445 --> 0:17:19.765 ensconced in the number one spot. And maybe Lewin Davis 0:17:20.085 --> 0:17:23.845 is a carecter who doesn't offer the warmth and the 0:17:23.885 --> 0:17:28.405 heart that margin Norm do. But for me, he's a 0:17:28.525 --> 0:17:32.965 richer character, He's a more complex character. I think he's 0:17:33.045 --> 0:17:37.445 tormented by this push and pull between the solitary life 0:17:37.445 --> 0:17:40.845 of the artist and just his natural bastard self and 0:17:40.925 --> 0:17:44.165 recognizing that there could be another path, a path, a 0:17:44.165 --> 0:17:48.085 path of optimism and hope, like Margin Norm, something that 0:17:48.405 --> 0:17:52.285 a more domestic life that could be satisfying perhaps, and 0:17:52.325 --> 0:17:55.205 there's a soulfulness and depth to that character combined with 0:17:55.205 --> 0:17:57.605 all the movies big ideas that I really connect with. 0:17:57.845 --> 0:18:00.245 And I just say that all to illustrate how much 0:18:00.605 --> 0:18:03.285 I do love those three films. And that's the reason 0:18:03.285 --> 0:18:06.765 why I could even put Lewin Davis quite honestly in 0:18:06.845 --> 0:18:13.085 that top spot. But when I rewatched this Josh, I 0:18:13.245 --> 0:18:16.685 was very comfortable keeping it there. And before I dig 0:18:16.845 --> 0:18:21.885 into the main reasons why, I'll say that whether it's 0:18:22.165 --> 0:18:25.805 movies like Miller's Crossing, The Big Lebowski, and Barton Fink 0:18:25.845 --> 0:18:29.325 where I liked them but didn't fully appreciate them on 0:18:29.405 --> 0:18:32.205 first viewing, or a movie like Lewin Davis, which I 0:18:32.245 --> 0:18:36.165 love from the start. Cone Brothers movies, they don't just 0:18:36.285 --> 0:18:39.205 reward rewatches for me. I feel like the best way 0:18:39.205 --> 0:18:44.165 to describe it is that when I'm lucky, I'll detect 0:18:44.285 --> 0:18:47.805 a cipher. There's some kind of code, there's something that 0:18:47.925 --> 0:18:51.405 unlocks the movie for me that helps me to understand 0:18:51.525 --> 0:18:55.245 and appreciate them more. And I think, maybe going back 0:18:55.245 --> 0:18:59.245 to my setup thinking about these movies in those in 0:18:59.285 --> 0:19:02.565 those terms about how precisely crafted they are, maybe cipher 0:19:02.685 --> 0:19:06.565 is the is the best word. I did find that 0:19:06.685 --> 0:19:10.205 here something was unlocked for me here watching it this time, 0:19:10.245 --> 0:19:13.685 maybe maybe a couple related things that we can dig into. 0:19:14.125 --> 0:19:16.085 That that did, even though I'm going to keep it 0:19:16.125 --> 0:19:19.165 in its number two spot, that did even elevate my 0:19:19.325 --> 0:19:20.285 esteem for this film. 0:19:21.045 --> 0:19:23.445 Well, let me get my ranked list housekeeping out of 0:19:23.445 --> 0:19:25.685 the way for me. I'm going to move it ahead 0:19:27.205 --> 0:19:29.205 to the number four slot. I head at number five. 0:19:29.285 --> 0:19:32.845 I'm moving it ahead of Hale Caesar, which I love, 0:19:33.005 --> 0:19:35.245 you know, beyond most people. And I did have that 0:19:35.765 --> 0:19:38.085 slightly ahead of fire Go, but I'm swapping those two. 0:19:38.125 --> 0:19:39.885 So I'm moving fire Go ahead of Hale Caesar to 0:19:39.965 --> 0:19:42.725 number four. That means it's still behind my top three, 0:19:42.845 --> 0:19:46.485 which are Miller's Crossing. As I've talked about on the show. 0:19:46.685 --> 0:19:48.845 Did see that in the theater? For whatever reason, they 0:19:48.845 --> 0:19:50.925 were on my radar? That film was on my radar. 0:19:51.285 --> 0:19:53.885 I think, you know, Debbie and I were into gangster 0:19:54.045 --> 0:19:56.325 movies at the time. That's why it was on my radar. 0:19:56.805 --> 0:20:01.165 That was like the WHOA, what is this experience with 0:20:01.205 --> 0:20:03.205 Miller's Crossing? And so that makes it tough to knock 0:20:03.245 --> 0:20:05.525 it from number one. After that, I have No Country, 0:20:05.765 --> 0:20:08.005 and then another unusual pick for me, I have True 0:20:08.045 --> 0:20:11.285 grit as their third best film, but Firego's coming up 0:20:11.285 --> 0:20:13.285 on that. You know, to your point, if I watch 0:20:13.325 --> 0:20:15.205 those two back to back, who knows what would happen. 0:20:16.125 --> 0:20:20.005 But easily moving this into number four after this rewatch 0:20:20.085 --> 0:20:23.165 what unlocked for me? It's an extension, I would say, 0:20:23.165 --> 0:20:26.885 audam of something that was gradually unlocking the last time 0:20:26.965 --> 0:20:28.925 I watched this, this was twenty twenty one, so not 0:20:29.005 --> 0:20:31.645 that long ago. We were doing to think Christian movie 0:20:31.645 --> 0:20:34.765 Club series on the Coen Brothers at the time. And 0:20:35.285 --> 0:20:37.765 it's interesting it's related to something you just said, which 0:20:38.405 --> 0:20:41.525 I think is correct, comparing Lewin Davis to Margin Norm. 0:20:41.605 --> 0:20:45.965 You know this domestic happy life they could have on 0:20:46.045 --> 0:20:51.685 this watch how happy is this life that Marge and 0:20:51.725 --> 0:20:53.885 Norms share? And I'm not saying this is something that 0:20:54.405 --> 0:20:58.365 I entirely missed earlier, or that is even a criticism film. 0:20:58.365 --> 0:21:01.365 I think this is a nuance that the film is 0:21:01.485 --> 0:21:05.605 offering that I didn't pick up on until now, because 0:21:05.725 --> 0:21:08.605 I probably just love this notion of Margin Norm as 0:21:08.645 --> 0:21:11.645 these contrasts not only to the Cohen universe but to 0:21:11.685 --> 0:21:15.765 the Fargo universe. It was so cozy to get any 0:21:15.805 --> 0:21:17.805 scene of the two of them and catch your breath 0:21:18.485 --> 0:21:22.885 away from Jerry's frantic Maine, away from the frighteningness of 0:21:22.925 --> 0:21:26.365 the criminals, away from all the other elements in the 0:21:26.405 --> 0:21:30.645 movie the cold, Away from the cold exterior scenes. Here 0:21:30.725 --> 0:21:34.845 is Marge and Norm sharing a meal together, quietly happy. 0:21:35.205 --> 0:21:36.005 Just let me have that. 0:21:36.365 --> 0:21:39.965 What do we got here? Arby's how's a paint? 0:21:40.045 --> 0:21:40.245 Coin? 0:21:40.925 --> 0:21:41.805 Pretty good? 0:21:43.245 --> 0:21:45.485 Oh no, the Halpman's are entering a painting this year. 0:21:46.325 --> 0:21:47.365 On your better Nam. 0:21:48.245 --> 0:21:49.085 They're real good. 0:21:50.205 --> 0:21:54.165 They're good, Norm, But you're better Nom? 0:21:54.245 --> 0:21:54.685 You think so? 0:21:57.525 --> 0:21:58.845 You got Arby's all over me? 0:22:00.805 --> 0:22:03.485 I think, to the movie's credit, it is more complicated, 0:22:04.005 --> 0:22:08.525 and on this watch, you know, I think it's really 0:22:08.605 --> 0:22:13.645 about Marge's awareness of her own susceptibility to some sort 0:22:13.685 --> 0:22:17.845 of moral failure, and that a key thing this movie 0:22:17.885 --> 0:22:24.405 is asking us is are humans capable of contentment? And 0:22:24.925 --> 0:22:28.085 this is in opposition to another human drive, which is greed, 0:22:28.285 --> 0:22:30.605 which is what's driving everything else in the film, right, 0:22:31.045 --> 0:22:34.725 and contentment is a virtue that this movie shows us 0:22:34.885 --> 0:22:39.845 is so difficult to cultivate. And here's where Mike Yanagita 0:22:40.085 --> 0:22:44.165 comes in. So again, this classmate, high school classmate, does 0:22:44.205 --> 0:22:46.725 that sound right? Or yeah, he had to be high 0:22:46.725 --> 0:22:49.125 school right, Yeah, I don't think he was a college classmate. 0:22:49.165 --> 0:22:51.005 So high school classmate calls Margin in the middle of 0:22:51.005 --> 0:22:53.365 the night because he saw her on TV investigating this 0:22:53.485 --> 0:22:55.805 case and wants to meet her up in the meet 0:22:55.805 --> 0:22:58.685 with her in the Twin Cities. And I think this 0:22:58.765 --> 0:23:01.125 whole sequence presents her And maybe some people got this 0:23:01.165 --> 0:23:03.085 the first time around. I know I didn't in nineteen 0:23:03.125 --> 0:23:06.685 ninety six. It wasn't until again, the most recent visiting 0:23:06.685 --> 0:23:09.285 where this kind of opened up for me. They meet, 0:23:09.965 --> 0:23:13.205 and you know, notice what Marge wears. She wears this 0:23:13.285 --> 0:23:15.365 blouse that we haven't seen her in anything like that 0:23:15.445 --> 0:23:18.165 for this meeting. She touches her hair a little bit 0:23:18.165 --> 0:23:20.925 before approaching him at the table. She goes there so 0:23:21.005 --> 0:23:24.205 supposedly to follow a lead for the case, but she 0:23:24.285 --> 0:23:27.285 doesn't make that decision until after Mike's call. And notice 0:23:27.365 --> 0:23:30.165 Norm's response, his surprise that she's going to go there 0:23:30.205 --> 0:23:35.205 for this. And I just think here that we're seeing Marge. 0:23:35.765 --> 0:23:39.245 Once Mike clearly starts making a move, she rebuffs his 0:23:39.285 --> 0:23:43.125 awkward advances, but that mortified look she has, she looks down, 0:23:43.805 --> 0:23:47.765 and she realizes for the first time that he'd been 0:23:47.805 --> 0:23:50.485 fooling her, and she'd been fooling herself. 0:23:51.005 --> 0:23:53.565 I shouldn't have done this such. 0:23:54.965 --> 0:23:58.925 I thought we'd have a really tearth time. You were 0:23:59.005 --> 0:24:03.805 such a super lady, and then I'm so lovely. 0:24:09.445 --> 0:24:13.165 In a sense, it's almost like that question Marge asks 0:24:13.165 --> 0:24:16.165 Stor Mayor at the very end, Adam, And for what? 0:24:17.125 --> 0:24:19.525 Like why why did you? Was it worth all this? 0:24:19.725 --> 0:24:22.285 And for what? It's almost like you could be asking herself, 0:24:22.605 --> 0:24:25.245 or is asking herself that same question in that moment, 0:24:25.645 --> 0:24:29.245 Why am I here? And for what? And so it's 0:24:29.245 --> 0:24:32.605 not just Jerry, it's not just the killers. Where we're 0:24:32.645 --> 0:24:36.205 living a moral life is the Sisyphian task, even in 0:24:36.245 --> 0:24:40.605 a loving marriage like margin Norms, it's a Siciphian task 0:24:40.645 --> 0:24:43.845 because you gotta get up every day. You've gotta here's 0:24:43.885 --> 0:24:47.605 the imagery. You've gotta go scrape the ice off the windshield. 0:24:47.925 --> 0:24:51.485 Yet again, the perfect moment in this movie of Jerry 0:24:52.125 --> 0:24:56.445 failing to do that, his Sisyphian boulder is the ice 0:24:56.485 --> 0:24:59.605 on the windshield. It's gonna come back. You're gonna have 0:24:59.725 --> 0:25:01.725 to push that rock up again. You're gonna have to 0:25:01.765 --> 0:25:04.925 scrape that windshield again. The prowler is always gonna need 0:25:04.965 --> 0:25:10.085 to jump. This is just living a life of contentment, 0:25:10.565 --> 0:25:13.045 which is so hard for us to do. And this 0:25:13.085 --> 0:25:15.125 was the first time I realized it's hard for Marge 0:25:15.325 --> 0:25:18.245 as well, which just made her, of course, so much 0:25:18.285 --> 0:25:19.645 deeper of a character. 0:25:20.045 --> 0:25:23.045 This is gonna be very ha hard because in order 0:25:23.085 --> 0:25:26.005 to get into margin norm and to get into the 0:25:26.045 --> 0:25:29.845 Mike Yanagita scene, which as far as I can tell, Josh, 0:25:29.885 --> 0:25:33.885 people still either wildly I won't even say they wildly misunderstand, 0:25:33.925 --> 0:25:37.085 because anytime I hear anybody talk about it, they just 0:25:37.165 --> 0:25:39.245 kind of throw in the towel. And I actually don't 0:25:39.245 --> 0:25:42.525 think it's that complicated. I think it's complex, but I 0:25:42.525 --> 0:25:44.765 think there's lots of ways to come at it, and 0:25:44.845 --> 0:25:47.325 I think there's lots of conclusions we can draw from it, 0:25:47.605 --> 0:25:51.045 as you already have. I want to discuss both of 0:25:51.125 --> 0:25:53.925 the things that you just dug into, but in order 0:25:53.965 --> 0:25:57.605 to get there, I have to explain what my unlock was, 0:25:59.045 --> 0:26:01.525 and that may take a little while, so I'm trying 0:26:01.525 --> 0:26:04.005 to I'm trying to best figure this out. I will 0:26:04.005 --> 0:26:07.205 note very quickly that you do love true grit and 0:26:07.205 --> 0:26:09.245 I've always known that about you, and True Grit is 0:26:09.285 --> 0:26:12.445 the movie I most need to have that second watch 0:26:12.605 --> 0:26:16.685 experience with. And I'm praying. I'm expecting, but I'm praying. 0:26:16.765 --> 0:26:18.885 I liked it. I liked it quite a bit, but 0:26:19.245 --> 0:26:22.045 I'm praying that the unlocked will happen. That that is 0:26:22.125 --> 0:26:24.805 just hard to get sometimes in the theater with any movie, 0:26:24.805 --> 0:26:27.125 but especially with a Cone real. 0:26:27.005 --> 0:26:30.165 Quick, real quick, I find and perhaps their most optimistic, 0:26:30.405 --> 0:26:31.965 which may be why I. 0:26:31.925 --> 0:26:34.725 Had it there. Yeah, so let me try to explain 0:26:35.405 --> 0:26:40.845 how I get to where you're at. But my path 0:26:41.165 --> 0:26:45.365 and I think I think people, at least based on 0:26:45.525 --> 0:26:49.325 what I've heard over the years, may underestimate the significance 0:26:50.165 --> 0:26:53.605 of the opening text that this is a true story, 0:26:53.685 --> 0:26:58.205 the events depicted, that whole thing. You know. Everybody sort 0:26:58.245 --> 0:27:02.365 of goes, Oh, those tricky Cone brothers, aren't they funny? 0:27:02.885 --> 0:27:06.125 Playing with our expectations and keeping us on our toes? 0:27:06.885 --> 0:27:13.085 And my take this time as Fargo remains gripping decades later, 0:27:13.485 --> 0:27:18.205 not just for its craft and darkly comic story, but 0:27:18.325 --> 0:27:23.805 for the way it turns myth making, storytelling, and deception 0:27:25.125 --> 0:27:29.205 into its central preoccupation. That's what myths are myths are 0:27:29.245 --> 0:27:36.005 fundamentally just storytelling and deception. We've got fundamentally a movie 0:27:36.045 --> 0:27:43.925 about people who lie that opens with one right, it's 0:27:44.045 --> 0:27:46.845 not based on a true story. The filmmakers tell us 0:27:46.885 --> 0:27:50.845 a lie right off the jump. And even the name, 0:27:51.205 --> 0:27:53.645 even the name of the movies a bit of misdirection 0:27:54.125 --> 0:27:58.005 since it almost exclusively takes place in Minnesota. It is 0:27:58.045 --> 0:28:02.845 about Minnesotan's but it's called Fargo, and even the name 0:28:03.085 --> 0:28:06.045 and if this is too simple, I don't really care, 0:28:06.485 --> 0:28:10.845 but even the name Fargo is symbolic of the nature 0:28:10.845 --> 0:28:13.285 of lying and what we see happen in this movie 0:28:13.605 --> 0:28:17.565 with violence in this scheme too. Once you start, how 0:28:17.605 --> 0:28:20.205 far does it go? Once you start? You can't stop. 0:28:20.525 --> 0:28:23.885 The lies just continue to compound, right, Jerry can't stop 0:28:23.925 --> 0:28:27.045 the kidnapping from happening once he sets it all in 0:28:27.085 --> 0:28:32.725 motion in Fargo. And what I love about the opening exchange, 0:28:32.725 --> 0:28:36.005 and this is something about the movie overall, Josh, that 0:28:36.045 --> 0:28:38.645 I just think is brilliant about it, not that it 0:28:38.685 --> 0:28:42.125 should be a surprise. With the Coen Brothers film What 0:28:42.205 --> 0:28:44.445 is It? Ninety eight minutes, I truly don't think that 0:28:44.525 --> 0:28:49.045 there is a scene that's wasted at all. In terms 0:28:49.045 --> 0:28:54.485 of I don't story, story plot plus character. In that 0:28:54.645 --> 0:28:59.765 opening exchange with Carl and grimsrude or maybe we should 0:28:59.765 --> 0:29:04.605 just call him BOUSHEMI and Stormare, they don't just accept 0:29:04.685 --> 0:29:07.765 the deal, right. They ask him a bunch of questions. 0:29:08.365 --> 0:29:12.925 They want to understand the story. They want to understand 0:29:13.005 --> 0:29:17.205 why he's asking them to do this. What kind of 0:29:17.205 --> 0:29:20.965 trouble you and Jerry Well, that's that's I'm not gonna 0:29:21.125 --> 0:29:24.205 get into into. See, I just need the money now, 0:29:24.205 --> 0:29:26.805 her dad, he's real well off, So why don't you 0:29:26.805 --> 0:29:29.285 just ask him for the money or your wife, you know, 0:29:29.485 --> 0:29:30.725 or your wife Jerry. 0:29:30.885 --> 0:29:31.125 Well. 0:29:31.645 --> 0:29:34.805 One of their their great screenwriting strokes is that they 0:29:35.845 --> 0:29:41.165 for the entire movie withhold the reason why Jerry needs 0:29:41.165 --> 0:29:44.885 the money. He withholds it from them, which means they 0:29:44.925 --> 0:29:48.085 also withhold it from us. We're in the same position 0:29:48.165 --> 0:29:50.405 the hired thugs are the entire movie, right that we 0:29:50.525 --> 0:29:53.645 have no idea and Boushemy and we don't need to know. 0:29:53.765 --> 0:29:56.325 It doesn't matter. We just know he needs the money desperately. 0:29:56.765 --> 0:30:00.165 And so when Bouscemi says this, he goes right at 0:30:00.205 --> 0:30:03.605 the end of that scene at the bar, he goes, Okay, Jerry, 0:30:03.645 --> 0:30:06.645 you're tasking us to perform this mission, but you won't. 0:30:07.165 --> 0:30:11.165 You won't. Basically, he's saying, you won't give us the details, 0:30:11.365 --> 0:30:14.805 you won't tell us why, and then he goes, Okay, 0:30:15.085 --> 0:30:17.885 let's take a look at that, Sierra. We as an 0:30:17.965 --> 0:30:20.645 audience could be saying that to the Coen Brothers. Your 0:30:20.685 --> 0:30:23.965 task us to perform our duties as audience members to 0:30:24.085 --> 0:30:26.805 buy into all this, to get invested in this and 0:30:26.885 --> 0:30:29.285 go on this journey. But you're not going to tell 0:30:29.365 --> 0:30:32.765 us why he needs the money. Oh you know what, efit. 0:30:33.005 --> 0:30:37.365 Let's just get the plot in motion. And I love that. 0:30:37.845 --> 0:30:39.845 But even if you think about it, Josh, why is 0:30:39.885 --> 0:30:43.365 the movie said in BRAINERD because it's it's a fun 0:30:43.765 --> 0:30:46.725 word to say, because they wanted, you know, the silliest 0:30:46.725 --> 0:30:49.845 sounding small Minnesota town. I bet there are others that 0:30:49.885 --> 0:30:54.005 could compete with that. It's because it claims Paul Bunyan 0:30:54.845 --> 0:30:59.365 Babe the Blue Ox, which everybody says when BRAINERD is mentioned, 0:31:00.645 --> 0:31:03.845 Paul Bunyan's not real, Babe the Blue Ox isn't real. 0:31:04.045 --> 0:31:07.325 They're characters out of folk tales. They're they're part of 0:31:07.365 --> 0:31:10.245 the mythic Great White North. They're part of this story. 0:31:10.325 --> 0:31:13.925 We there're stories we tell ourselves to define ourselves. Right, 0:31:14.525 --> 0:31:19.125 And almost every single scene, this is where Yanna Geeda 0:31:19.205 --> 0:31:22.925 comes in certainly right, almost every single scene. And I'll 0:31:22.925 --> 0:31:25.765 hold off on getting into my proof here because I 0:31:25.805 --> 0:31:28.005 want to get to the heart of the matter. Almost 0:31:28.005 --> 0:31:32.805 every single scene involves storytelling and truth or deception in 0:31:32.845 --> 0:31:37.605 this In this film, there are so many of them. 0:31:38.005 --> 0:31:39.725 So how does this fit in with what you were saying? 0:31:40.405 --> 0:31:44.845 I think what we see in this movie ultimately are 0:31:44.885 --> 0:31:52.245 the Kohene brothers playing with and subverting myths surrounding American 0:31:52.245 --> 0:31:55.365 life and the American family. And maybe one of the 0:31:55.485 --> 0:32:02.605 key ideas, certainly that we're sold is that happiness is possible, 0:32:02.885 --> 0:32:05.085 and not only that happiness is possible, but that it's 0:32:05.325 --> 0:32:09.645 that it's required, that it's that it's it's an expectation 0:32:10.165 --> 0:32:12.685 of American life. And so in this movie we get 0:32:13.565 --> 0:32:17.725 here's the thing. I think we get three distinct visions, 0:32:18.365 --> 0:32:22.445 at least three distinct visions of dematic life. There's the 0:32:22.485 --> 0:32:28.325 one Jerry pretends to be living and that his wife 0:32:29.285 --> 0:32:33.925 firmly believes that she is living. Okay, then there's margin 0:32:34.005 --> 0:32:38.845 norm and I am gonna I want to discuss the 0:32:38.965 --> 0:32:42.125 ending a bit more and yanagita, but I'll just say overall, 0:32:42.205 --> 0:32:44.485 I'm with you that I have always read it as 0:32:44.805 --> 0:32:49.365 very loving, black and white. You know, very clear that 0:32:49.405 --> 0:32:53.805 they that everything's perfect, and I'm still very close to that. 0:32:54.005 --> 0:32:57.245 I love for sure that it's a happy marriage. Clearly 0:32:57.525 --> 0:33:00.565 they depend on each other, the way he he insists 0:33:00.645 --> 0:33:03.765 on making her breakfast because his pregnant wife needs to eat, 0:33:04.405 --> 0:33:07.925 needs nourishment, no matter how early it is, and of 0:33:08.005 --> 0:33:10.605 course fix or some eggs, and then of course he's 0:33:10.605 --> 0:33:13.605 there to help give the prowler a jump. I love 0:33:14.565 --> 0:33:18.365 I read it this way. I love that when when 0:33:19.325 --> 0:33:22.845 they meet, no matter what's happened on the job, I 0:33:22.965 --> 0:33:24.885 like that he doesn't ask her a bunch of questions. 0:33:24.925 --> 0:33:26.965 I think it reflects the fact that he just trusts 0:33:26.965 --> 0:33:29.885 that his wife knows what she's doing. He doesn't need 0:33:29.925 --> 0:33:32.365 to get into her business, he doesn't need to offer 0:33:32.405 --> 0:33:36.325 her any tips or suggestions. He's letting her do what 0:33:37.085 --> 0:33:39.445 she does. And I do think, even though I want 0:33:39.485 --> 0:33:41.365 to unpack it more in a minute, I do think 0:33:41.405 --> 0:33:43.725 that that last line, heck, norm we're doing pretty good here, 0:33:44.805 --> 0:33:47.725 is genuinely moving. At least it was this time. I 0:33:47.725 --> 0:33:50.485 didn't give it much thought in the theater in ninety six. 0:33:50.925 --> 0:33:54.845 This time genuinely moving. But here's my big point. Aren't 0:33:54.845 --> 0:34:00.285 the two criminals just sort of replicating domestic life, but 0:34:00.405 --> 0:34:05.205 a completely deranged version of domestic life. They've got a house, 0:34:05.725 --> 0:34:11.285 they're staying at a house with a wife. He's even 0:34:11.525 --> 0:34:15.165 eating a TV dinner when we find him. He's eating 0:34:15.205 --> 0:34:18.805 TV dinners. And the thing is they're miserable out there. 0:34:20.085 --> 0:34:23.325 They could just be making choices we're talking about, like 0:34:23.364 --> 0:34:26.925 making choices for happiness. They could just be choosing another 0:34:26.965 --> 0:34:31.364 path and living that domestic life for real, rather than 0:34:31.405 --> 0:34:35.245 replicating it as part of this crime. And they could 0:34:35.285 --> 0:34:37.965 have a functioning TV where they could actually get reception 0:34:38.085 --> 0:34:40.725 and watch whatever they wanted. And in some ways it's 0:34:40.725 --> 0:34:47.365 even a dream alternate reality to suburban family dreams, because 0:34:47.485 --> 0:34:50.605 who doesn't dream about having a second house out on 0:34:50.645 --> 0:34:55.205 the lake, right, But it's a terrible experience where terrible 0:34:55.245 --> 0:34:58.445 things are happening inside that house. And it even just 0:34:58.525 --> 0:35:00.565 occurred to me here at the last minute that that 0:35:01.125 --> 0:35:05.565 comedic duo of stormare in Bouscemi is so perfect and 0:35:05.605 --> 0:35:10.925 it fits a very conventional comedic mode right to have opposites, 0:35:11.885 --> 0:35:13.885 the small guy and the big guy, the guy who 0:35:13.965 --> 0:35:17.285 talks too much, the guy who doesn't talk at all. 0:35:17.325 --> 0:35:19.325 But if you put it into this scheme that I'm 0:35:19.365 --> 0:35:22.965 talking about, they all almost feel to me like the 0:35:23.005 --> 0:35:28.725 split personality of the quote unquote conventional American husband ones 0:35:28.765 --> 0:35:35.325 at home, he's gruff, he's silent, he's completely emotionless. He's 0:35:35.445 --> 0:35:39.725 just there eating his dinner, unhappy, ignoring his wife. And 0:35:39.805 --> 0:35:42.685 what's the other doing. He's doing what other husbands do. 0:35:42.965 --> 0:35:45.765 He's going crazy out there on the lake as we 0:35:45.845 --> 0:35:49.325 hear about him, and he's stepping out for trists with 0:35:49.525 --> 0:35:52.965 a prostitute. It's like there's a perfect schism there. And 0:35:53.685 --> 0:35:56.924 watching how Josh And in nineteen ninety six, this would 0:35:56.925 --> 0:35:58.805 have been true to some extent, it would have been 0:35:58.845 --> 0:36:01.845 truer in eighty seven, when this movie is set. Something 0:36:01.845 --> 0:36:06.685 about how we consistently see at the end and earlier 0:36:06.725 --> 0:36:10.205 scenes the glow of the TV, all these different characters 0:36:10.245 --> 0:36:12.685 in their different settings, watching like The Tonight Show with 0:36:12.765 --> 0:36:17.645 Johnny Carson, that same glow, no matter their situations, no 0:36:17.685 --> 0:36:20.605 matter how messed up they are, all these characters are 0:36:20.605 --> 0:36:22.685 just ending up in the same places. They've all just 0:36:22.765 --> 0:36:26.565 made radically different choices to get there, and all are 0:36:26.605 --> 0:36:29.965 experiencing different levels of happiness. 0:36:30.285 --> 0:36:33.365 To your point, Yeah, and I think I love the 0:36:33.445 --> 0:36:37.085 idea of them as this bickering couple. They're definitely to 0:36:37.165 --> 0:36:39.444 take a historical look at this. This was the era 0:36:39.525 --> 0:36:42.645 of the loquacious criminal couples, wasn't it, or at least 0:36:42.685 --> 0:36:46.005 just criminals. Because we've got this is nineteen ninety six, 0:36:46.605 --> 0:36:49.805 following Usual Suspects in ninety five, and then of course 0:36:49.845 --> 0:36:52.605 we get what pulp fiction in ninety four maybe the 0:36:52.685 --> 0:36:57.005 definitive the trend setter for this. I think about Boushemi 0:36:57.085 --> 0:37:01.005 and Stormare when they're arguing about stopping for pancakes or steak, 0:37:01.365 --> 0:37:04.964 you know, pulp Fiction's raal with cheese comes to mind. 0:37:05.045 --> 0:37:08.445 There Also to your description of their first meeting with 0:37:08.525 --> 0:37:12.005 Jerry in the bar, I love in addition to the 0:37:12.005 --> 0:37:14.125 things you talked about that they try to talk him 0:37:14.125 --> 0:37:16.725 out of the plan because it's so dumb. It's like 0:37:16.805 --> 0:37:20.404 these all these guys have is like money to make, 0:37:20.685 --> 0:37:24.005 but they're so perplexed by his choices they try to 0:37:24.045 --> 0:37:25.405 talk him him out. 0:37:25.325 --> 0:37:28.125 Of the story. It doesn't make sense, It doesn't check out. 0:37:28.165 --> 0:37:28.765 That's what I love it. 0:37:28.805 --> 0:37:32.245 A great screenwriting touch there. Yeah. So the only other 0:37:32.285 --> 0:37:34.925 thing I'd add about margin Norm and it sounds like 0:37:34.965 --> 0:37:37.364 we are in the same place. I just I just 0:37:37.445 --> 0:37:41.765 want to re emphasize again to place her mindset and 0:37:41.845 --> 0:37:46.125 decision making and sort of moral awakening here in context. 0:37:46.885 --> 0:37:49.485 I read their lunches. I read them this time the 0:37:49.485 --> 0:37:52.485 same way you did. He doesn't get into her business. 0:37:53.205 --> 0:37:56.525 At first, it was like, so caring, but also yes, 0:37:56.565 --> 0:38:00.925 but if he's doing this every day, it's almost become 0:38:01.005 --> 0:38:05.125 more routine. It's a nice routine. It's a caring routine. 0:38:05.565 --> 0:38:07.605 I think every time we see them together, unless they're 0:38:07.645 --> 0:38:10.365 in bed, they're eating, they go to the buffet restaurant, 0:38:10.845 --> 0:38:13.645 and you get this sense that maybe this is like 0:38:13.685 --> 0:38:16.605 what they do every Thursday night, you know. And the 0:38:16.685 --> 0:38:20.325 camera pans over the options, which don't look great, but 0:38:21.005 --> 0:38:23.884 it's what they've got, it's what it does the job. Right, 0:38:24.085 --> 0:38:27.645 there's a reading of this where marriage is doing the 0:38:27.805 --> 0:38:33.364 job for Marge and Norm and should there be more? Right, 0:38:33.725 --> 0:38:37.765 that's the question. Should I have more? That's the question 0:38:37.845 --> 0:38:41.845 for Marge in this very minor domestic scenario. It's the 0:38:41.925 --> 0:38:45.485 question for Jerry in his life scenario, and it's the 0:38:45.565 --> 0:38:49.085 question for BUSHEMI and storm Are and their criminal scenario. 0:38:49.285 --> 0:38:51.845 You know what, how can I get more? Because I 0:38:51.965 --> 0:38:54.645 deserve more? And I think Jerry is interesting in this regard. 0:38:54.965 --> 0:38:59.885 Another thing that nuanced a bit for me was again 0:38:59.925 --> 0:39:01.884 I saw him as the everyman, the one we can 0:39:01.925 --> 0:39:04.725 relate to. We probably don't run scams like the vin 0:39:04.805 --> 0:39:07.085 number scam he would want to do, but you know, 0:39:07.125 --> 0:39:10.045 we make our own moral choices here and there and 0:39:10.365 --> 0:39:13.045 fudge things and maybe it could snowball out of control. 0:39:13.125 --> 0:39:17.404 So we can recognize Jerry here though, I saw him 0:39:17.405 --> 0:39:20.485 as even more devious than that, and sort of like 0:39:20.605 --> 0:39:24.565 one of the original sinners of this movie. If Marge 0:39:24.605 --> 0:39:28.045 is presented with if life has presented her brought her 0:39:28.045 --> 0:39:31.005 to a point where she is being challenged with a 0:39:31.125 --> 0:39:35.285 question of right or wrong. Jerry, I thought, was maybe 0:39:35.325 --> 0:39:39.325 born looking for the wrong choice. It's the true coat 0:39:39.445 --> 0:39:42.565 gag the customer who yells at him, you're a bald 0:39:42.605 --> 0:39:46.165 face liar, you know, telling us that Jerry does this 0:39:46.285 --> 0:39:50.805 even in his supposed legit business. Was Jerry's original sin 0:39:51.405 --> 0:39:56.765 possibly marrying jan for her family's money. I was thinking 0:39:56.805 --> 0:40:00.245 about it watching this where originally I thought he's just 0:40:00.285 --> 0:40:02.685 a guy who, you know, has a bore of a 0:40:02.725 --> 0:40:04.925 father in law who's holding it over him because he 0:40:05.005 --> 0:40:07.965 wasn't at successful. Then I'm reathing Jerry and everything he 0:40:08.405 --> 0:40:10.805 does is for his own gain. I'm thinking maybe this 0:40:10.845 --> 0:40:12.965 guy was like ask Jan out on a date in 0:40:13.045 --> 0:40:16.045 high school because her dad was rich, and now he's 0:40:16.085 --> 0:40:20.165 just perpetuating that further into his life. I just think, Macy, 0:40:20.565 --> 0:40:22.965 you know, Jerry was I think my number five Cohen 0:40:23.045 --> 0:40:26.964 character when we did that list, and the performance here 0:40:27.085 --> 0:40:32.085 is incredible, incredible in its own nuance. His face looks 0:40:32.085 --> 0:40:34.485 like he has a continuous case of diarrhea, yet he 0:40:34.565 --> 0:40:38.805 manages to project so much more going on beneath that. 0:40:39.365 --> 0:40:42.565 And I love the touch when Marge knows Jerry's line 0:40:42.845 --> 0:40:47.165 when in one of their interviews when the Midwestern politeness drops. 0:40:48.165 --> 0:40:51.645 Everyone else throughout this movie, not the criminals. Everyone else 0:40:51.725 --> 0:40:55.565 is polite no matter what the situation. But when Jerry says, ma'am, 0:40:55.805 --> 0:40:57.245 I answered your question. 0:40:57.045 --> 0:40:59.165 Ma'am, I answered your question. 0:41:00.045 --> 0:41:04.645 I'm sorry, sir, ma'am, I answered your question. I answered 0:41:04.645 --> 0:41:08.885 the dark. I'm cooperating here, and there's. 0:41:08.005 --> 0:41:10.805 No the light changes in her eyes because she's like, 0:41:11.445 --> 0:41:15.965 he would only say it that way if he was lying. 0:41:16.085 --> 0:41:18.965 Sir, you have no Kyle to get snippy with me. 0:41:19.045 --> 0:41:20.405 I'm just doing my job here. 0:41:22.365 --> 0:41:24.445 So yeah, I think it does relate to this general 0:41:24.485 --> 0:41:29.844 idea of when we can't cultivate contentment, what choices are 0:41:29.885 --> 0:41:32.685 we going to make? Then that'll be destructive for ourselves 0:41:32.845 --> 0:41:35.325 and for others. It relates to the line you pulled 0:41:35.325 --> 0:41:39.605 out at the end, if Myerge doesn't fully believe that yet, 0:41:39.925 --> 0:41:43.525 she's recognizing that contentment might be possible here with norm 0:41:43.805 --> 0:41:47.325 It's going to be work, you know, the ice scraper 0:41:47.445 --> 0:41:50.445 have to come out again. But I think she's recognizing 0:41:50.485 --> 0:41:53.685 this is the choice that she's content to make to go. 0:41:53.605 --> 0:41:58.845 In that direction. A couple titles I wanted to highlight 0:41:59.045 --> 0:42:01.805 this week, josh as I was looking at the Regal 0:42:02.205 --> 0:42:06.805 Cinema's website r egmovies dot com. Plus there's a link 0:42:06.965 --> 0:42:09.485 in our show notes that I hope people are clicking on. 0:42:09.925 --> 0:42:13.965 They have two limited engagements of note and these may 0:42:13.965 --> 0:42:17.525 be playing at different times wherever you were located, So 0:42:17.845 --> 0:42:20.805 just visit the website check it out. But they're showing 0:42:21.045 --> 0:42:25.845 American Psycho and they're also showing my neighbor Totoro. You 0:42:25.965 --> 0:42:29.924 never go wrong seeing Miyazaki on the big screen, which 0:42:29.965 --> 0:42:32.125 I've never seen any of these older movies on the 0:42:32.125 --> 0:42:35.645 big screen. And then American Psycho, the Mary Heron movie 0:42:35.685 --> 0:42:38.925 is a film I desperately need to revisit. But in 0:42:38.925 --> 0:42:41.884 addition to those limited engagements, you can of course see 0:42:41.885 --> 0:42:45.325 the movie that is expanding to more screens, the movie 0:42:45.445 --> 0:42:50.165 that you're highly recommending, the movie that seems very likely 0:42:50.525 --> 0:42:53.645 to be on a lot of midyear best of lists 0:42:53.685 --> 0:42:56.725 and quite possibly some end of year lists. It is 0:42:57.445 --> 0:43:01.925 The Invite, Olivia Wilde's new film with Regal Unlimited. That's 0:43:01.965 --> 0:43:04.845 a movie I can see for free. Regal Unlimited is 0:43:04.885 --> 0:43:06.964 the all you can watch movie subscription pass that pays 0:43:07.005 --> 0:43:11.325 for itself in just two visits. Regal is offering our 0:43:11.365 --> 0:43:14.565 listeners endless movies for less, because all you have to 0:43:14.565 --> 0:43:16.805 do is sign up with the code film Spot twenty 0:43:16.845 --> 0:43:20.565 six to get fifteen percent off. You can see any 0:43:20.605 --> 0:43:23.404 standard two D movie, and last I checked, there isn't 0:43:23.405 --> 0:43:26.605 a three D version of The Invite, Josh, not that 0:43:26.605 --> 0:43:29.325 I'm aware of. Okay, So you can see the Invite, 0:43:29.885 --> 0:43:33.085 no blackout dates or restrictions, and you don't just save 0:43:33.125 --> 0:43:35.765 money on tickets, you save on snacks as well, ten 0:43:35.805 --> 0:43:39.445 percent off all non alcoholic concessions. Sign up now in 0:43:39.485 --> 0:43:41.765 the regal app or at the link in our description. 0:43:42.125 --> 0:43:45.405 That code again is film Spot twenty six to receive 0:43:45.405 --> 0:43:52.884 your disking. I want to get a little bit more 0:43:52.885 --> 0:43:55.924 into Macy and how I saw the character this time, 0:43:55.965 --> 0:44:00.485 which is very similar, if not exactly how you're reading it, 0:44:00.725 --> 0:44:06.005 But to get back a little bit to Marge and Yanagita, 0:44:06.125 --> 0:44:11.805 specifically that scene. I don't I guess understand as I 0:44:11.845 --> 0:44:14.925 mentioned earlier, how people are coming up so blank on 0:44:14.965 --> 0:44:16.005 this scene. I was trying to. 0:44:15.925 --> 0:44:18.125 Think what I think it is. I'll just say real quick, 0:44:18.165 --> 0:44:20.045 I think it's the length of it. I think it 0:44:20.125 --> 0:44:22.125 might be like and I don't think it's too long. 0:44:22.165 --> 0:44:23.885 I'm not saying that. I just think if it had 0:44:23.925 --> 0:44:27.045 been a blip, like almost the conversation between the one 0:44:28.325 --> 0:44:31.645 trooper who goes talk to the neighbor who overheard Bushami 0:44:31.765 --> 0:44:33.845 say something that's like a minute and a half scene, 0:44:33.925 --> 0:44:35.965 I think then people would have been fine. But that 0:44:36.045 --> 0:44:40.205 Yannighita gets a significant chunk is what really perplexes well. 0:44:40.525 --> 0:44:44.285 I think tied to that, Josh, I think it's genuinely 0:44:46.805 --> 0:44:49.765 this may sound like more than I mean it to, 0:44:49.845 --> 0:44:53.125 but I think it's genuinely a disturbing scene too. I 0:44:53.165 --> 0:44:56.845 think it's a hard watch. I think the emotional terrain 0:44:57.325 --> 0:45:01.245 that he covers in that scene makes us uncomfortable, and 0:45:01.285 --> 0:45:03.845 I think that's where the humor even comes from. I 0:45:03.885 --> 0:45:06.525 was trying to think back. I don't remember exactly the 0:45:06.605 --> 0:45:09.045 experience I had in the theater in nineteen ninety six, 0:45:09.365 --> 0:45:12.605 but if you asked me what my recollection was, I 0:45:12.645 --> 0:45:16.285 would tell you that I think I remember people laughing, 0:45:16.525 --> 0:45:19.404 and that I might have even laughed myself because Mike 0:45:19.765 --> 0:45:23.965 is so desperate and he seems so lost, and the 0:45:24.045 --> 0:45:28.845 way he is trying to cling to Marge, even though 0:45:29.125 --> 0:45:32.485 he seems so sad, he's so pathetic that you kind 0:45:32.485 --> 0:45:34.964 of can't help but laugh. But I think it's more 0:45:35.285 --> 0:45:40.765 that uncomfortable laughter rather than really laughing at him. And 0:45:41.525 --> 0:45:46.685 this time I didn't feel that type of discomfort. I 0:45:46.845 --> 0:45:49.805 just felt real sadness for this character. Now that might 0:45:49.845 --> 0:45:54.165 be because I know the truth of his situation, but 0:45:54.685 --> 0:45:56.805 in terms of how that scene functions in the movie, 0:45:58.085 --> 0:46:03.605 his lying seems to trigger her right the next day 0:46:03.645 --> 0:46:05.884 as she's driving out of town. That seems to be 0:46:06.005 --> 0:46:09.445 the trigger for her thinking. This goes back to my 0:46:09.485 --> 0:46:12.245 idea of storytelling and deception. Something doesn't check out with 0:46:12.845 --> 0:46:16.765 the story I was getting from Shep and Jerry. I'm 0:46:16.765 --> 0:46:18.725 going to go back. I think that was part of it, 0:46:18.725 --> 0:46:21.485 that just the night before she heard this and in 0:46:21.525 --> 0:46:24.725 the phone call that morning where it's revealed right that 0:46:24.725 --> 0:46:27.485 that's she just finds out that morning before she got 0:46:27.525 --> 0:46:30.325 in the car that she's been lied to. Obviously, I 0:46:30.365 --> 0:46:35.765 also think, to my entire point about the myth making element, 0:46:36.405 --> 0:46:42.565 he has concocted an entire narrative around his life to 0:46:42.685 --> 0:46:48.965 earn her sympathy. That's absolutely essential. But then he has 0:46:49.485 --> 0:46:52.964 as part of that narrative he has revealed that all 0:46:53.125 --> 0:46:57.285 he is seeking in life, all he is clinging to, 0:46:57.525 --> 0:47:01.205 is the hope that maybe someday he'll have a relationship 0:47:01.285 --> 0:47:05.885 like margin Norm have. That's another vision of domestic life. 0:47:06.045 --> 0:47:10.445 It's the absence. It's the absence of having someone in 0:47:10.485 --> 0:47:13.205 your life that can be that that other to you, 0:47:13.405 --> 0:47:17.445 like like Norm is for Marge. The thing that is 0:47:18.005 --> 0:47:21.525 very interesting is seeing at this time, as you did, 0:47:22.605 --> 0:47:27.485 where she puts on that outfit and she kind of 0:47:27.485 --> 0:47:33.085 adjusts herself, and you go, she is she getting herself 0:47:33.125 --> 0:47:37.085 ready because she wants to impress Mike. Is that entering 0:47:37.085 --> 0:47:41.444 her mind at all? I always read it as it's 0:47:41.445 --> 0:47:43.565 the first time. It's the first time we've seen her 0:47:43.645 --> 0:47:47.085 outside of her work clothes. It's the first time we've 0:47:47.125 --> 0:47:49.485 seen her in civilian clothes. And so when she's kind 0:47:49.485 --> 0:47:51.924 of pulling at her clothes, it's like she almost doesn't 0:47:51.965 --> 0:47:54.205 know what to do with herself. She's in civilian clothes, 0:47:54.245 --> 0:47:57.685 and it feels it feels awkward. And do we really 0:47:57.725 --> 0:47:59.924 think that she hasn't seen this guy in a hundred 0:48:00.005 --> 0:48:03.965 years and she all of a sudden is having some 0:48:04.405 --> 0:48:07.965 fantasy about him, like like she's thinking about another life 0:48:08.005 --> 0:48:10.685 with another guy that isn't norm That seems a little 0:48:10.685 --> 0:48:15.245 bit hard, hard to swallow, but maybe it does just 0:48:15.565 --> 0:48:18.885 open enough of a door, just enough of a portal 0:48:18.965 --> 0:48:24.924 in her mind that what happens. What happens is when 0:48:24.965 --> 0:48:30.725 you watch then that last scene, that last line when 0:48:30.765 --> 0:48:37.045 she says, hey, we're doing pretty good here, you can 0:48:37.125 --> 0:48:41.844 realize that two things can be true at once, that 0:48:42.245 --> 0:48:47.405 she absolutely means it, that it is true it's with 0:48:47.525 --> 0:48:50.325 full conviction that she loves Norm with all her heart 0:48:50.525 --> 0:48:52.685 and he loves her, and they can't wait for their 0:48:52.725 --> 0:48:56.085 baby to come and they're going to be extraordinarily happy 0:48:56.885 --> 0:49:02.605 for the rest of their lives together. But it is prompted, 0:49:02.925 --> 0:49:06.085 She's provoked in a way to say it because it 0:49:06.285 --> 0:49:09.364 is a bit of an affirmation. She feels like she 0:49:09.525 --> 0:49:13.605 needs to say it, that she needs to affirm. If 0:49:13.645 --> 0:49:16.404 you're fully content and you know it, you don't need 0:49:16.445 --> 0:49:19.925 to necessarily reinforce it. You just exist in the moment. 0:49:20.405 --> 0:49:23.884 The fact that she needs to tell Norm that everything's 0:49:24.205 --> 0:49:29.325 great right suggest that she needs to hear it for herself. 0:49:29.925 --> 0:49:32.165 But I also think a fallacy that the movie is 0:49:32.165 --> 0:49:37.125 exposing is that in a world that the Cohens usually 0:49:37.165 --> 0:49:41.125 see as messed up, if not outright evil, that's what 0:49:41.165 --> 0:49:46.525 we see in their movies. Maybe happiness is impossible, maybe 0:49:46.565 --> 0:49:50.045 it's just not possible, but but something like contentment is 0:49:51.085 --> 0:49:52.405 that's kind of that's kind. 0:49:52.245 --> 0:49:56.125 Of thee Well, that's took a read for me. 0:49:56.725 --> 0:49:58.885 I think it's I don't know that they're always going 0:49:58.965 --> 0:50:02.605 to have this perfectly you know, happy domestics. 0:50:02.605 --> 0:50:06.045 As much as any happy marriage is moments I guess 0:50:06.085 --> 0:50:09.725 that's Josh. Yes. But the the other thing I did, 0:50:09.805 --> 0:50:13.725 I did just want to add, going back to my 0:50:13.725 --> 0:50:16.565 my notion of of of myth making here and storytelling 0:50:17.085 --> 0:50:19.205 is what stands out to me too about that scene 0:50:19.245 --> 0:50:24.445 is what precedes it, okay, because he has entered his 0:50:25.685 --> 0:50:31.525 painting into that contest and he wants to win. And throughout, 0:50:31.725 --> 0:50:36.605 as I said, felt this entire movie, people have been 0:50:37.485 --> 0:50:42.085 stretching the truth outright, lying, doing whatever they have to 0:50:42.165 --> 0:50:46.045 do to get what they want, and only causing fur 0:50:46.045 --> 0:50:52.605 their damage. And in this scene, he's upset because he 0:50:52.685 --> 0:50:57.725 didn't win. He says, the Houtman's blue wing teal got 0:50:57.725 --> 0:51:01.285 the twenty nine cent and people don't much use the 0:51:01.925 --> 0:51:05.725 three cent, which is what he got. And there's something 0:51:05.765 --> 0:51:08.965 that I'm still fully unpacking, Josh. But when I was 0:51:09.005 --> 0:51:12.165 thinking about the way I read the film, I love 0:51:12.245 --> 0:51:16.005 the fact that she says to him, over Pete's sake, 0:51:16.045 --> 0:51:20.325 of course they do whenever they raise the postage, people 0:51:20.405 --> 0:51:24.325 need the little stamps. And he says, yeah. She says 0:51:24.325 --> 0:51:25.965 when they're stuck with a bunch of the old ones, 0:51:26.125 --> 0:51:29.245 and he goes, yeah, I guess like she tells him. 0:51:29.405 --> 0:51:32.045 She tells him a little story, the story he needs 0:51:32.085 --> 0:51:35.605 to hear, and how how true is it? Maybe it's 0:51:35.645 --> 0:51:39.445 fully true, Josh, Maybe it's fully true, because yes they 0:51:39.445 --> 0:51:42.085 do when they do raise the stamps, you do need 0:51:42.125 --> 0:51:46.085 the old ones. That is a reality of American postal life. 0:51:46.805 --> 0:51:51.525 But it's still something a wife is telling her husband 0:51:52.125 --> 0:51:55.605 to make him feel better. So there's something about the 0:51:55.645 --> 0:51:58.445 fact that that you're that the movie in that final 0:51:58.525 --> 0:52:04.445 moment is encapsulating the truth and a story that he 0:52:04.525 --> 0:52:06.845 needs to hear. But there's also some symbolism in it 0:52:06.885 --> 0:52:12.765 where it's like, times change, the stamp, this this steady thing. 0:52:13.325 --> 0:52:16.725 Times change. But you know what, we'll just digest and 0:52:16.765 --> 0:52:19.525 we'll move on and we've got each other and we'll 0:52:19.525 --> 0:52:20.005 be fine. 0:52:20.125 --> 0:52:23.444 People don't mutch you the three cent Oh, of course 0:52:23.445 --> 0:52:28.005 they do. Whenever they raise a postage, people need the 0:52:28.045 --> 0:52:32.605 little stamps. Yeah, when they're still with a bunch of 0:52:32.605 --> 0:52:41.165 the old ones. Yeah, I guess it's terrific. I'm so 0:52:41.285 --> 0:52:42.125 pretty and normal. 0:52:43.245 --> 0:52:45.245 Yeah, I think it works for that reading. Absolutely. I 0:52:45.245 --> 0:52:47.605 think it's a nice gesture of the goodness they do 0:52:47.685 --> 0:52:50.485 have in their marriage. Neither of us is suggesting that 0:52:50.525 --> 0:52:54.085 this was a false marriage that they had Barge's response 0:52:54.125 --> 0:52:55.925 in that way shows how much they do care for 0:52:55.965 --> 0:53:00.165 each other, and in my reading it absolutely is a 0:53:00.245 --> 0:53:02.925 symbol of contentment. You're not always going to get the 0:53:02.965 --> 0:53:06.285 twenty nine cent stamp. You know what, Maybe you can 0:53:06.325 --> 0:53:08.725 be happy with a three cent stamp, and she helps 0:53:08.805 --> 0:53:11.525 him find out that he can be happy with that. Okay, 0:53:11.565 --> 0:53:16.325 last thing on Mike Yanagita, because I just realized this 0:53:16.445 --> 0:53:21.405 with this viewing, Adam. We've seen Stephen Park given credible 0:53:21.445 --> 0:53:27.365 performance not that long ago in Wes Anderson's The French Dispatch. 0:53:27.445 --> 0:53:31.765 He was he was Nascafier, Lieutenant Niscoffier, the chef for 0:53:31.885 --> 0:53:36.645 the police Commissar. So how about that, because I just 0:53:36.685 --> 0:53:38.765 think we also need to give credits as I think 0:53:38.765 --> 0:53:42.005 we've been hinted at Tuparc in the tightrope he's walking 0:53:42.045 --> 0:53:45.245 in this scene where he can't make the guy a joke. 0:53:45.765 --> 0:53:49.364 I agree with you. He registers emotionally incredibly strongly, even 0:53:49.405 --> 0:53:53.885 as he's very silly and awkward and off putting at 0:53:53.925 --> 0:53:55.884 the same time. I mean, this is a tightrope back 0:53:56.125 --> 0:53:58.365 and to just come into the movie for one scene 0:53:58.445 --> 0:54:04.525 like this, and perhaps it sounds like deliver the definitive scene. Yeah, 0:54:04.525 --> 0:54:07.525 what a what a performance there by by Stephen Park. 0:54:07.885 --> 0:54:11.005 Do we need to say more about McDormand or do 0:54:11.325 --> 0:54:13.325 but we go here? 0:54:13.685 --> 0:54:15.965 Yeah, I want to talk about McDormand and Deacon's but 0:54:16.005 --> 0:54:18.884 I do want to say something about about Macy if 0:54:18.925 --> 0:54:21.364 I can, even though I go to Echo, I'm gonna 0:54:21.365 --> 0:54:23.045 ache have a lot of it, you said, I. I 0:54:23.125 --> 0:54:29.805 do think it's a stunning performance, the desperation that he conveys, 0:54:30.085 --> 0:54:36.085 and specifically in in the meeting with with Stan and Wade, 0:54:36.845 --> 0:54:39.005 with the father in law and his guy Stall in 0:54:39.085 --> 0:54:42.924 that meeting when it when it turns, when he realizes 0:54:43.085 --> 0:54:46.125 the moment where he realizes it's not it's not going 0:54:46.205 --> 0:54:49.125 to go that it looks so promising and then it 0:54:49.165 --> 0:54:51.605 flips and he realizes it's not going to work out 0:54:52.085 --> 0:54:58.245 the way Macy silently conveys that this is sunk and 0:54:58.285 --> 0:55:02.605 he knows he is screwed. Is is so powerful and 0:55:02.845 --> 0:55:06.445 and I say powerful because I will get into this 0:55:06.485 --> 0:55:09.045 more in just a second. I do think it for 0:55:09.125 --> 0:55:12.485 as much of a weasel and terrible person that he 0:55:12.525 --> 0:55:15.005 clearly is who sets all of these terrible things in motion, 0:55:15.445 --> 0:55:19.285 I do think he is remarkably human and that comes 0:55:19.325 --> 0:55:23.645 through in his character, but performance wise too is. 0:55:23.805 --> 0:55:25.765 Real quick there and that moment you're talking about, you 0:55:25.765 --> 0:55:28.445 know what it is. He's doing two things. He's conveying 0:55:28.525 --> 0:55:34.165 the desperation that his scheme is falling apart simultaneously. The 0:55:34.205 --> 0:55:36.245 other side of this, this was the way for him 0:55:36.245 --> 0:55:38.285 to get respect from his father in law as a 0:55:38.325 --> 0:55:42.884 man who can make that money. And Macy hits both 0:55:42.885 --> 0:55:44.525 of those notes without saying a thing. 0:55:44.925 --> 0:55:50.605 That's exactly it. The tiny voice crack this gets right 0:55:50.645 --> 0:55:52.605 at that. And I'm going to talk about this with 0:55:52.685 --> 0:55:55.045 Deacons too. And in one of the choices with the 0:55:55.045 --> 0:55:58.045 production design and the way they shoot it, you said, 0:55:58.125 --> 0:56:02.405 maybe he always wanted Maybe his original sin was was 0:56:02.445 --> 0:56:05.245 something back he dated her and married her just for 0:56:05.285 --> 0:56:09.325 his mind, or maybe this was a building in his 0:56:09.485 --> 0:56:14.045 mind of insecurity over time, maybe he's he's felt that 0:56:14.125 --> 0:56:19.725 he's never gotten the respect he deserved from life, including 0:56:19.765 --> 0:56:25.805 his father in law. And when he says to Marge, well, 0:56:25.845 --> 0:56:30.005 I should know I'm the executive sales manager, and he 0:56:30.045 --> 0:56:32.965 has to say his title, his full title, and the 0:56:33.005 --> 0:56:37.725 way his voice just subtly cracks on his executive could 0:56:37.725 --> 0:56:42.565 not be could not be more more perfect, and I 0:56:42.925 --> 0:56:45.085 also want to go back and note that that that 0:56:45.165 --> 0:56:48.405 true coat exchange is one of the more memorable sequences 0:56:48.405 --> 0:56:51.605 in the entire film, and and that that too, this 0:56:51.805 --> 0:56:55.325 is his flaw and what makes him human but also 0:56:55.605 --> 0:56:58.525 a character on the level and and this is the 0:56:58.525 --> 0:57:02.165 the playground that the the Cones play in on the 0:57:02.245 --> 0:57:05.485 level of a Greek character or a Shakespearean character. His 0:57:05.645 --> 0:57:10.045 fundamental tragic flaw is that he is, perhaps in seeking 0:57:10.085 --> 0:57:13.364 this respect, part of it is that he is I 0:57:13.445 --> 0:57:19.165 believe incapable of being honest. I believe that he is 0:57:19.205 --> 0:57:24.485 fundamentally incapable of telling the truth. He can't stop himself. 0:57:24.805 --> 0:57:27.405 It doesn't matter what that guy says. It's not about 0:57:27.405 --> 0:57:29.685 the money. What's he going to get out of that 0:57:29.725 --> 0:57:32.485 true coat another four hundred dollars. He does not care 0:57:32.525 --> 0:57:36.005 about the money. And he even and I think Macy 0:57:36.125 --> 0:57:39.245 captures this and the Cones capture this, he does care 0:57:40.525 --> 0:57:43.645 about the guy calling him a bald faced liar to 0:57:43.725 --> 0:57:46.205 his face. We get the close up. You can tell 0:57:46.285 --> 0:57:49.925 that it does hurt him, It wounds him that he's 0:57:50.045 --> 0:57:52.285 called a liar to his face, but not enough that 0:57:52.365 --> 0:57:55.845 it stops him from doing it. He'll do it every 0:57:55.885 --> 0:57:58.965 single time, because it's in his nature to do it 0:57:59.205 --> 0:58:01.965 and he can't stop himself from doing it. But the 0:58:02.005 --> 0:58:04.765 way you know that he's got that insecurity as well 0:58:05.365 --> 0:58:09.165 is when he says and that in that meeting scene, 0:58:09.805 --> 0:58:12.525 you know, well, this will be a real good deal 0:58:12.605 --> 0:58:14.845 for Gene and Scotty, meaning he says, Gene and Scotty 0:58:14.925 --> 0:58:18.005 have nothing to worry about. Yeah, yeah, doesn't matter. It 0:58:18.085 --> 0:58:23.165 doesn't matter about Dagger. He's completely inconsequential. But they will 0:58:23.205 --> 0:58:25.885 always Yeah, they never have to worry, is what he says. 0:58:26.165 --> 0:58:28.685 They will always be taken care of. So yeah, I 0:58:28.685 --> 0:58:30.965 think he's always I think he's always fighting for that. 0:58:31.245 --> 0:58:33.605 But to the human part, as I said, you see 0:58:33.605 --> 0:58:36.245 that he's wounded, but not enough to ever change. How 0:58:36.285 --> 0:58:40.685 about when when they say after the crime has happened, 0:58:40.725 --> 0:58:43.725 and I think Stan maybe says something about like how 0:58:43.885 --> 0:58:44.965 Scotty taking. 0:58:44.925 --> 0:58:47.525 Oh gosh, poor Scotty, Poor. 0:58:47.365 --> 0:58:49.805 Scotty, who's such a little twit at the beginning, but 0:58:49.925 --> 0:58:54.125 you of course genuinely feel for him at that moment. 0:58:54.405 --> 0:58:59.285 You see on Macy's face, on Jerry's face that he 0:58:59.605 --> 0:59:02.485 of course hasn't thought for a second, nope, how this 0:59:02.885 --> 0:59:05.805 is going to affect his son, and I think you 0:59:05.925 --> 0:59:10.805 see that he is thinking, oh no, this is going 0:59:10.885 --> 0:59:13.645 to be really hard on him. He does care how 0:59:13.645 --> 0:59:17.125 this will affect Scotty, not enough to change anything that 0:59:17.165 --> 0:59:20.285 he's doing. He's even ask Scotty to lie on his 0:59:20.405 --> 0:59:22.485 behalf right, and he's going to continue every part of 0:59:22.485 --> 0:59:25.125 this deception because again it's in his nature and he 0:59:25.125 --> 0:59:29.405 can't stop himself. But he does care. So the fact 0:59:29.405 --> 0:59:33.605 that the Cone Brothers make him that kind of character, 0:59:33.725 --> 0:59:38.045 with that depth, and the fact that Macy portrays all 0:59:38.085 --> 0:59:41.925 of that is crucial to the success of this movie. 0:59:42.205 --> 0:59:44.165 And one deacons thing I'll say, and maybe this will 0:59:44.165 --> 0:59:46.685 transition into some of the filmmaking and we'll circle back 0:59:46.725 --> 0:59:50.645 around to the best actress is there's a shot Josh 0:59:51.485 --> 0:59:53.525 in this film. I think it might be the second 0:59:53.565 --> 1:00:00.045 time Riley Diefenbach Gmac calls about the serial numbers. Yeah, 1:00:00.085 --> 1:00:03.605 and I think it's that because they then cut to 1:00:04.085 --> 1:00:07.805 a wide shot looking at his office across the showroom, 1:00:08.125 --> 1:00:10.845 like he's in profile standing at his desk, and we 1:00:10.925 --> 1:00:16.445 see the office from across the showroom and the way 1:00:16.485 --> 1:00:19.885 that the production design is set up, the way it 1:00:20.325 --> 1:00:26.085 everything is is established with the framing his office looks 1:00:26.605 --> 1:00:29.085 like he's in his cuss. Yeah, it looks like he's 1:00:29.165 --> 1:00:32.885 already in jail. But not only that, we add to it. 1:00:32.885 --> 1:00:36.645 It's like this daytime noir touch where all the beams 1:00:36.685 --> 1:00:40.405 in the showroom look like they've imprisoned him. But not 1:00:40.445 --> 1:00:45.325 only that, beams and the shades, the blinds in his 1:00:45.405 --> 1:00:51.165 office all are vertical, and our additional bars that are 1:00:51.165 --> 1:00:53.285 holding him in. But here's the thing I noticed this 1:00:53.325 --> 1:00:57.605 time that really stood out this guy. Here's how insecure 1:00:57.965 --> 1:01:03.245 Jerry is. This guy has more trophies in his office. 1:01:03.445 --> 1:01:05.645 It does than Tom Brady does. 1:01:06.285 --> 1:01:06.405 He. 1:01:06.805 --> 1:01:09.565 I don't know if he's sponsored. I don't know if 1:01:09.565 --> 1:01:13.165 he sponsored Little League teams or or know what they are. 1:01:13.805 --> 1:01:16.365 What they are, you sell ten true coats. 1:01:16.685 --> 1:01:19.365 Get there, you go. Maybe that's it. Maybe all he 1:01:19.445 --> 1:01:24.285 wants is the trophies Josh has. He they go across 1:01:24.365 --> 1:01:28.445 one wall and then over the other, and and the 1:01:28.445 --> 1:01:32.845 way Deacons and the Coen Brothers frame this is that 1:01:33.165 --> 1:01:38.525 in his door there's a reflection that shows more bars 1:01:38.685 --> 1:01:42.365 and trophies. So it just amplifies it even more. The 1:01:42.405 --> 1:01:45.365 way he's already a prisoner, and the fact that he 1:01:45.445 --> 1:01:49.725 is just inundated. He's his office is overrun with trophies. 1:01:49.765 --> 1:01:50.485 It's incredible. 1:01:51.165 --> 1:01:54.685 It's so good. And I broke that exact thing down 1:01:54.885 --> 1:01:57.245 when I did that TC Movie Club thing a couple 1:01:57.245 --> 1:01:59.285 of years ago. I made a video essay for it, 1:01:59.725 --> 1:02:03.085 and yeah, pulled that out to emphasize it. Maybe I'll 1:02:03.125 --> 1:02:04.565 link to that in the show note. So it's fun 1:02:04.605 --> 1:02:07.725 to look at that again. Deacon's brilliant here, and the 1:02:07.805 --> 1:02:09.645 thing I think of first, It's the thing I think 1:02:09.645 --> 1:02:15.765 of first with Firego is this wide out visual milieu 1:02:16.005 --> 1:02:20.805 which they employ. I love the midwestern setting just so 1:02:20.885 --> 1:02:24.245 that it is a quintessential American film and giving us 1:02:24.245 --> 1:02:27.365 something that's not you know, New York or La crime movie. 1:02:27.805 --> 1:02:33.165 But it's also so effectively used as mood and thematic 1:02:33.845 --> 1:02:38.965 visual support. And what they're capturing here is that moment 1:02:39.085 --> 1:02:42.085 and we know this because of where we live. When 1:02:42.285 --> 1:02:45.685 it's been snowing for a while and it's starting to 1:02:45.725 --> 1:02:49.125 warm up just a little bit, the sky is not clear, 1:02:49.805 --> 1:02:53.525 and so the snow is evaporating slightly, but it has 1:02:53.605 --> 1:02:58.485 nowhere to go, and you just feel like you're encased 1:02:58.485 --> 1:03:02.805 in gray. Right, it's all of one. Let's go back 1:03:02.845 --> 1:03:06.725 to our back Room's Exit eight conversation. It's a limital 1:03:06.765 --> 1:03:11.125 space we're in here. And again, if I'm seeing this 1:03:11.245 --> 1:03:15.325 movie as mostly a meditation on how to navigate a 1:03:15.365 --> 1:03:20.565 moral universe when everything is murky, could there be a 1:03:20.565 --> 1:03:23.445 better It's the first thing we see of Jerry's car 1:03:23.605 --> 1:03:29.245 emerging from this where Marge has arrested Stormare, and she 1:03:29.405 --> 1:03:32.165 pulls over and waits amidst this white out, so that 1:03:32.325 --> 1:03:35.805 for the other police cars to arrive, we get variations 1:03:35.805 --> 1:03:38.685 of it even on night at night. Think about that 1:03:38.805 --> 1:03:41.565 scene where Stormyre is chasing the people who witness them 1:03:41.605 --> 1:03:46.125 shoot the trooper, and we have that karahead disappear into 1:03:46.165 --> 1:03:50.885 the darkness. So much imagery here of not quite being 1:03:50.925 --> 1:03:53.765 able to see what we want to see or get 1:03:53.765 --> 1:03:57.445 our bearings for where we are. And that is practical, 1:03:57.965 --> 1:04:03.485 but it's also deeply existential for almost everyone of these characters. 1:04:03.925 --> 1:04:06.525 And when we think of great cinematography, I think we 1:04:06.565 --> 1:04:11.485 think of dramatic lighting. Lighting, We notice landscapes that are 1:04:11.525 --> 1:04:17.565 clear and overpowering colors just like wow stuff. And what 1:04:17.805 --> 1:04:22.325 Deacons is doing here is take making the most mundane, 1:04:22.645 --> 1:04:28.445 banal visual elements you could hand a cinematographer and creating 1:04:28.925 --> 1:04:35.325 deeply monumental, important, impactful meaning from it in visual terms, 1:04:35.565 --> 1:04:37.365 it's genius. 1:04:37.565 --> 1:04:42.485 Yeah, And just creating atmosphere that you feel. You don't 1:04:42.485 --> 1:04:46.485 have to necessarily dissect it, you feel it. The opening 1:04:46.965 --> 1:04:49.725 is that everything about the opening of this film with 1:04:49.765 --> 1:04:52.805 that car emerging, and you described it so well, But 1:04:52.885 --> 1:04:55.765 then you do also have to add in how effectively 1:04:55.805 --> 1:04:59.845 that's working in tandem throughout the entire movie with Cargomerwell's score. 1:04:59.885 --> 1:05:02.205 Oh gosh, and all this time. 1:05:03.005 --> 1:05:05.645 This I'm going to use to support my overall point 1:05:05.645 --> 1:05:09.325 about this film too. That main theme he's using, it 1:05:09.925 --> 1:05:12.045 has that feel to it, and you look up a 1:05:12.045 --> 1:05:15.045 little bit some of the details on it. He's taken 1:05:15.685 --> 1:05:20.125 a Norwegian folk melody. This this is it is something 1:05:20.165 --> 1:05:24.245 people recognize. This is something people know. He's reappropriated it, right, 1:05:24.285 --> 1:05:27.165 This is a familiar tune and he's using it in 1:05:27.805 --> 1:05:31.925 a new way. But the shot that I do think 1:05:31.965 --> 1:05:34.725 of and the camera isn't You're right, it's not doing 1:05:34.885 --> 1:05:38.765 dramatic things. It doesn't have to. It is how it 1:05:38.805 --> 1:05:41.525 makes you feel. It's what it evokes when you watch 1:05:41.605 --> 1:05:46.125 that aerial shot after that meeting, how it goes so 1:05:46.325 --> 1:05:49.325 terribly wrong, and you know that he has no chance 1:05:49.725 --> 1:05:52.725 of getting this money. That aerial shot of him walking 1:05:52.725 --> 1:05:56.885 to his car, and his car is the only one 1:05:56.885 --> 1:05:58.365 in the parking lot, but you have sort of those 1:05:58.405 --> 1:06:03.205 planters in the lights. The emptiness of that, yeah, isolation, 1:06:03.725 --> 1:06:08.525 the bleakness, and then yes, the indignity of the windshield 1:06:08.605 --> 1:06:12.325 scrape on top of it. It must not be that 1:06:12.445 --> 1:06:14.285 clever of a thing to say, because you said it 1:06:14.325 --> 1:06:16.485 and I had it in my notes too. It is 1:06:16.565 --> 1:06:21.125 the midwesterner's version of Sissyphis's boulder, that is what it is. 1:06:21.405 --> 1:06:23.325 And he just he just gives in and lets the 1:06:23.365 --> 1:06:27.845 boulder roll over him right totally. He just loses it. 1:06:32.125 --> 1:06:34.765 He just can't take it anymore. But but the way 1:06:34.805 --> 1:06:39.365 the county roads are shot, the endlessness to it, the 1:06:39.445 --> 1:06:44.685 endlessness of the fence when when plants the scraper, like 1:06:45.085 --> 1:06:48.125 we know, without knowing anything else that's going to happen, 1:06:48.565 --> 1:06:50.925 that nobody is ever going to find that money until 1:06:50.925 --> 1:06:53.565 it thaws, of course, But but nobody else is ever 1:06:53.645 --> 1:06:56.885 coming back to find where I got to help Scott? 1:06:57.045 --> 1:06:58.485 Is it? I don't know, I don't know how, But 1:06:58.685 --> 1:07:00.285 can Scotty just come across it. 1:07:00.445 --> 1:07:04.405 You hope, But I even noticed this, Josh when that 1:07:04.405 --> 1:07:08.245 that here again, it's an expansive wide shot, and it's 1:07:08.285 --> 1:07:11.645 just how it how Deacons uses the environment, uses that 1:07:11.725 --> 1:07:18.005 white that white space. When Marge has just shot storm 1:07:18.005 --> 1:07:22.165 are grimsrude and she we we see her make that 1:07:22.285 --> 1:07:26.285 long walk as he's laying down and as she goes 1:07:26.325 --> 1:07:30.165 out the way is this the poster too, The way 1:07:30.845 --> 1:07:34.285 the way the trees, the way the trees on the 1:07:34.405 --> 1:07:38.805 land are bent, It couldn't be more perfect. It's as 1:07:38.845 --> 1:07:42.165 if the trees even are are bent towards him, like 1:07:42.205 --> 1:07:46.645 they're like they're incriminating him somehow. There's something about it 1:07:46.685 --> 1:07:51.365 that just feels so right in that moment and ominous 1:07:51.565 --> 1:07:54.685 in a way. Just an extra little bit of that 1:07:54.925 --> 1:07:56.085 tension that you need. 1:07:56.165 --> 1:07:58.125 And your point about the tactile nature of all this, 1:07:58.325 --> 1:08:01.525 you know, hurt the crunching in the snow when she's 1:08:02.085 --> 1:08:04.725 walking out there, when any characters really are walking outside, 1:08:04.765 --> 1:08:08.725 they're very attuned to putting that noise on the soundtrack. 1:08:08.805 --> 1:08:11.405 There is so much, you know, foggy breath in the air. 1:08:11.805 --> 1:08:14.365 We feel the heavy burden of these sweaters and the 1:08:14.445 --> 1:08:17.844 parkas and the gloves and the hats, and it all 1:08:18.005 --> 1:08:23.405 again is not just cultural context even it's also thematic context. 1:08:23.525 --> 1:08:25.764 I did not know that about the Burwell score, but 1:08:25.805 --> 1:08:29.165 that makes perfect sense because I think of it as 1:08:29.205 --> 1:08:34.125 being having quaint elements. I would exactly then builds to 1:08:34.205 --> 1:08:37.205 this momentous which speaks to your point about the myth 1:08:37.245 --> 1:08:41.965 making this momentous almost you know, biblical sense when it 1:08:42.045 --> 1:08:45.205 really starts to swell. So yeah, I think this is 1:08:45.485 --> 1:08:49.525 absolutely all time work from Carter Burwell, as we're as well, 1:08:49.525 --> 1:08:52.885 and it does work really well in concert with the cinematography. 1:08:52.725 --> 1:08:53.845 They are of a piece. 1:08:55.085 --> 1:08:57.405 So Marge, we've been talking a while, but we do 1:08:57.485 --> 1:09:02.045 need to talk about the Best Actress winner, Marge Gunderson 1:09:02.125 --> 1:09:05.564 here a little bit. What stands out about her performance? 1:09:05.605 --> 1:09:07.564 To you? One thing that stood out to me this 1:09:07.645 --> 1:09:10.485 time is realizing that in a ninety eight minute movie, 1:09:10.885 --> 1:09:13.764 the Best Actress winner doesn't show up until thirty minutes 1:09:13.765 --> 1:09:15.724 into the film. Oh crazy, it's amazing. 1:09:16.085 --> 1:09:18.605 Yeah, you know, I didn't. It was more of a 1:09:18.685 --> 1:09:21.325 character realization, as I talked about at length here about 1:09:21.405 --> 1:09:26.085 Marge's wrestling with contentment. But in terms of the performance, 1:09:26.325 --> 1:09:29.125 I would just say, and honestly, I look at I 1:09:29.165 --> 1:09:31.325 don't know why we did this our Coen character's list, 1:09:31.445 --> 1:09:34.285 and I had a group of canon characters at the 1:09:34.285 --> 1:09:38.165 top that I didn't allow for my top five, which 1:09:38.205 --> 1:09:41.725 meant Marge didn't make my top five, which is absolutely asinine. 1:09:41.965 --> 1:09:43.564 So I don't know what I was thinking with all 1:09:43.565 --> 1:09:46.325 of that too. The hell I felt then too many 1:09:46.365 --> 1:09:49.245 characters to consider. I don't know what I was doing anyway. 1:09:50.285 --> 1:09:54.525 The performance itself, I think, is on an even more 1:09:54.685 --> 1:09:58.045 nuanced level than what Stephen Park is doing with Mike Yanagita, 1:09:58.125 --> 1:10:01.125 but asked essentially to do the same thing is to 1:10:01.245 --> 1:10:07.765 be funny and moving and carry the existential weight of 1:10:07.805 --> 1:10:11.724 the movie. And I think McDormand manages all those things. 1:10:12.605 --> 1:10:16.885 She makes Marge's whip smart. She has her own sense 1:10:16.885 --> 1:10:20.045 of humor that's not outside you know, you could argue, 1:10:20.285 --> 1:10:22.885 and maybe one the nitpicks with this goes back to 1:10:22.885 --> 1:10:25.885 the loquacious Criminals, is that Storm Mayer and Bushemi, as 1:10:25.965 --> 1:10:28.285 entertaining as they are, are very much movie types, right. 1:10:28.765 --> 1:10:30.965 They're funny the way people are funny in the movies. 1:10:31.645 --> 1:10:34.804 Marge is both funny for the movie and a funny person. 1:10:35.365 --> 1:10:40.045 And I think that it takes skill. For mcdormant to 1:10:40.085 --> 1:10:42.165 be able to do both of those things at the 1:10:42.205 --> 1:10:45.525 same time, she's completely believable. She's part police chief, part 1:10:46.005 --> 1:10:49.045 your favorite primary school teacher. You know, she's like the 1:10:49.085 --> 1:10:51.205 school teacher doesn't want to yell at the kids, but 1:10:51.885 --> 1:10:55.125 if she has to, she will, and she'll do it firmly, 1:10:55.525 --> 1:10:59.725 and you know she doesn't. Basically, she's always seems disappointed 1:11:00.645 --> 1:11:04.685 but not reluctant to arrest a wrongdoer. And I think 1:11:04.685 --> 1:11:07.005 it's because she sees the good in people or wants to. 1:11:07.565 --> 1:11:09.604 I think it relates to what I've been talking about. 1:11:09.645 --> 1:11:12.485 I think she sees and thinks of herself as good, 1:11:13.445 --> 1:11:16.445 essentially at the bottom of it good and is deeply 1:11:16.445 --> 1:11:20.045 distressed when she realizes that she might struggle with things too. 1:11:20.685 --> 1:11:23.365 And if you are asking her to also do all 1:11:23.445 --> 1:11:26.085 of this in that last it's not even a conversation. 1:11:26.165 --> 1:11:28.804 The monologue too, Stormayer in the back of her prowler, 1:11:30.325 --> 1:11:34.045 just musing. There's one thing, Adam, when you ask a 1:11:34.125 --> 1:11:38.125 character to deliver the thematic huft of a film, and 1:11:38.285 --> 1:11:42.365 the character is doing that. In other words, that's in 1:11:42.405 --> 1:11:44.725 the realm of the story. The character is giving the 1:11:44.805 --> 1:11:48.325 lesson in that scene, we're getting the thematic huft of 1:11:48.365 --> 1:11:53.125 the film, I feel, and Marge Gunderson is realizing it 1:11:53.685 --> 1:11:57.485 herself in the moment as she's talking. And that's the 1:11:57.605 --> 1:12:01.125 level of performance we're getting there, is that this growing 1:12:01.245 --> 1:12:04.725 self awareness that is opening up to the character the 1:12:04.765 --> 1:12:06.285 same time it's opening to the audience. 1:12:06.685 --> 1:12:08.805 There's more to life than a little money, you know, 1:12:19.645 --> 1:12:31.165 don't you know that? And here you are and it's 1:12:31.165 --> 1:12:33.445 a beautiful day. 1:12:34.205 --> 1:12:40.205 The best performances always feel like they're not overly calculated. 1:12:40.365 --> 1:12:43.405 They feel like real life. They feel like characters are 1:12:43.845 --> 1:12:50.205 discovering themselves and their emotions or whatever their epiphanies are 1:12:50.365 --> 1:12:54.644 in the moment. And that is how this character feels throughout, 1:12:54.725 --> 1:12:58.885 not only with important ideas, but also just moment to 1:12:58.965 --> 1:13:03.445 moment with the humor. We now or in the wake 1:13:03.485 --> 1:13:08.885 of this movie, we can call on certain lines or 1:13:08.925 --> 1:13:12.125 it becomes sort of an SNL type punchline with the 1:13:12.205 --> 1:13:14.805 accent and certain things that she says. But when you 1:13:14.965 --> 1:13:17.685 watch it, when you actually watch her say things like 1:13:18.165 --> 1:13:22.365 that's your accomplice in the wood Chipper, she's not mcdormand's 1:13:22.445 --> 1:13:28.804 not overdoing anything in this film. She is downplaying everything 1:13:28.885 --> 1:13:33.005 and playing this character completely straight, and to your point 1:13:33.045 --> 1:13:36.485 about her seeing the good and everything, you can actually 1:13:36.605 --> 1:13:40.845 argue she's not that great of a cop because shep 1:13:40.965 --> 1:13:44.805 is totally suspect and Jerry is very suspect based on 1:13:44.845 --> 1:13:47.525 their behavior, and what does she do. She takes them 1:13:47.525 --> 1:13:50.245 at their words. She's about ready to head home without 1:13:50.285 --> 1:13:54.285 further investigation. But that's also something I like about the 1:13:54.365 --> 1:13:59.644 character is people describe Marge and I also in fairness. 1:13:59.685 --> 1:14:03.925 I mean, mcdorman's wonderful. There's just no questioning that. But 1:14:04.045 --> 1:14:05.965 a lot of times, if we're being honest with ourselves, 1:14:06.005 --> 1:14:08.005 when we're talking about how much we love a performance, 1:14:08.325 --> 1:14:10.325 a lot of times we are talking about the nuance 1:14:10.685 --> 1:14:14.405 of the character and the dimensions to that character and 1:14:14.445 --> 1:14:20.684 what that performer brings out. And with this character, nothing 1:14:21.765 --> 1:14:28.165 the sheriff, nothing Marge Gunderson does, feels extraordinary. And that's 1:14:28.205 --> 1:14:32.045 so appropriate for this film because in so many ways, 1:14:32.085 --> 1:14:36.085 not only is it the Midwest and whatever, but in 1:14:36.165 --> 1:14:40.405 so many ways this film is puncturing this notion of 1:14:40.605 --> 1:14:45.445 traditional crime thrillers with many things that it's doing, and 1:14:46.605 --> 1:14:49.765 in that regard, this sheriff is not one of those 1:14:49.805 --> 1:14:53.604 detectives or one of those lawyers where they have some 1:14:53.805 --> 1:14:58.405 extraordinary talent or always come up with some magical insight 1:14:58.485 --> 1:15:00.885 at the last minute. What does she do. She's just 1:15:01.005 --> 1:15:05.804 doing very solid, fundamental police work. That's how she solves 1:15:05.805 --> 1:15:11.085 this case. She's just following leads. Yeah. And and the 1:15:11.125 --> 1:15:14.285 thing is that even Lou and the other cops, even 1:15:14.285 --> 1:15:17.724 though maybe we maybe we want to be a little 1:15:17.725 --> 1:15:21.005 condescending or someone could be because of their accents watching it, 1:15:21.085 --> 1:15:24.684 guess what, they're fine cops. They do their job too. 1:15:24.965 --> 1:15:27.085 They do their job well. The only thing that she 1:15:27.325 --> 1:15:29.845 is smarter than Lou about is that she deciphers what 1:15:30.005 --> 1:15:33.885 DLR means. Otherwise they all do their jobs. There's nothing 1:15:34.085 --> 1:15:39.925 there's nothing actually silly or dumb about any of those characters. 1:15:40.005 --> 1:15:41.845 There's no there's no Barney Fif's here. And so I 1:15:41.885 --> 1:15:44.845 love the fact that she's she's just a good cop. 1:15:45.125 --> 1:15:47.405 She's a good sheriff is what is what she is, 1:15:47.525 --> 1:15:51.325 And the discovery to her character I think is really 1:15:51.405 --> 1:15:54.885 app There's just no there's no glibness, and there's no 1:15:55.045 --> 1:15:59.325 attempt to play Marge as a funny character. 1:15:59.485 --> 1:16:02.845 And that's so important, which brings us, you know, back 1:16:02.885 --> 1:16:05.965 to I think it sounds like from that conversation Amy 1:16:06.045 --> 1:16:08.925 Nicholson did observe and was right about, is like there 1:16:09.085 --> 1:16:12.125 is this there's not only this interdecency to Marge, but 1:16:12.205 --> 1:16:16.965 there's a appreciation of it and a yearning for it 1:16:17.005 --> 1:16:19.805 in others to Marge, which does stand outside of the 1:16:19.805 --> 1:16:22.405 Cohen can I think absolutely. 1:16:23.085 --> 1:16:26.285 Just finally going back to Macy real quick and myth 1:16:26.325 --> 1:16:30.285 making or storytelling and deception. His best scene, his best 1:16:30.325 --> 1:16:34.485 moment might actually be when he has to perform and 1:16:34.525 --> 1:16:38.325 we start off camera hearing him rehearsing what he's going 1:16:38.365 --> 1:16:41.645 to say after he finds out the gene is gone. Yeah, 1:16:41.805 --> 1:16:45.125 and and then of course what happens when he actually 1:16:45.805 --> 1:16:48.525 gets on the line with the real receptionist or whatever. 1:16:48.685 --> 1:16:51.725 He can't he can't perform. He just wage gust of 1:16:51.805 --> 1:16:53.685 simple or whatever he says. You know, he just he 1:16:53.765 --> 1:16:56.845 just goes into normal mode. But he's he's rehearsing it 1:16:57.365 --> 1:17:00.285 because he knows at this point he's he's supposed to 1:17:00.365 --> 1:17:02.925 do something. He's supposed to pretend, he's supposed to put 1:17:02.965 --> 1:17:05.724 on a certain behavior. But I said that the movie 1:17:05.805 --> 1:17:10.325 punctures our expectations in that way. This is the brilliance 1:17:10.365 --> 1:17:12.724 again I'll use that word of the Cone Brothers moments 1:17:12.805 --> 1:17:18.685 like Bouscemi walking up to the glass, and rather than 1:17:18.725 --> 1:17:22.965 it feeling like a thrilling moment from a crime movie, 1:17:23.845 --> 1:17:28.325 the break in, she does what I think a lot 1:17:28.325 --> 1:17:30.125 of us actually would do in that moment is we'd 1:17:30.125 --> 1:17:32.405 sit there and go what the hell is happening? We 1:17:32.445 --> 1:17:35.525 wouldn't know how to uly react, And she doesn't really 1:17:35.565 --> 1:17:39.604 react until it gets crazy when he breaks the glass 1:17:39.645 --> 1:17:43.885 and the violence Josh of the dark humor the way 1:17:44.245 --> 1:17:46.644 and only the Cone Brothers do it on this level, 1:17:47.205 --> 1:17:50.805 that balancing of dark humor, where when she comes out 1:17:50.845 --> 1:17:54.525 of the shower like a chicken with its head cut 1:17:54.565 --> 1:17:57.525 off with a shower curtain and falls down the stairs, 1:17:58.685 --> 1:18:02.405 there's a part of you, inevitably that wants to or 1:18:02.525 --> 1:18:06.045 can't help but laugh, because there's something apherently funny about 1:18:06.045 --> 1:18:08.604 a character running around like that, even though it's terrifying. 1:18:09.405 --> 1:18:14.604 And then what happens later it's mirrored when she gets 1:18:14.645 --> 1:18:16.604 out with the bag over her head at the house 1:18:16.765 --> 1:18:19.445 at the lake and she starts running around again crazy, 1:18:19.645 --> 1:18:23.205 except now they're nothing funny about it. Now we know, 1:18:24.565 --> 1:18:26.885 now we know what those characters are capable of now 1:18:26.885 --> 1:18:30.205 we know that she's in real danger, and it's it's 1:18:30.365 --> 1:18:34.165 it's a heightened experience from a terror standpoint. 1:18:34.085 --> 1:18:36.245 Real quick, and maybe listeners can help with us. It's 1:18:36.245 --> 1:18:40.005 something I noticed regarding that break in sequence when she's 1:18:40.045 --> 1:18:43.604 watching that morning TV host or TV show. The host 1:18:43.725 --> 1:18:46.644 says they're talking about a cruise event that they want 1:18:46.965 --> 1:18:50.245 a contest, they want people to enter, and I think 1:18:50.325 --> 1:18:54.365 the the host ends signs off with like, that's the truth, Ruth. 1:18:55.085 --> 1:18:58.005 And I'm thinking to myself, I think that I've only 1:18:58.085 --> 1:19:01.285 heard that and do the right thing, right Jackson, and 1:19:01.605 --> 1:19:03.965 and so I did a quick search if that's a 1:19:03.965 --> 1:19:07.644 phrase that pre dates do the right thing, and I didn't. 1:19:07.765 --> 1:19:13.564 It has anything. There must be something. It was just 1:19:13.685 --> 1:19:16.765 like so bizarre that that shows up in this like 1:19:17.245 --> 1:19:22.525 whitebread morning TV host. Now that's the throwaway sequence in Firego. 1:19:22.645 --> 1:19:24.604 I was like, what is going on here? If anyone 1:19:24.645 --> 1:19:27.165 knows the backstory, let us know. But I think we've 1:19:27.165 --> 1:19:29.725 had a day so much about Firego. That's where we've 1:19:30.165 --> 1:19:32.525 ended up on that little tidbit. 1:19:33.045 --> 1:19:38.245 Bargo currently streaming on Netflix and twob and is available vod. 1:19:39.205 --> 1:19:43.005 Let's take a minute to thank family members Joseph Carr 1:19:43.005 --> 1:19:48.765 in Barnett, North London, and Michael Soderberg in Tucson, Arizona. 1:19:49.245 --> 1:19:51.365 Thanks to them both, they wrote in with a few 1:19:51.405 --> 1:19:54.085 notes for us. Joseph told us this membership has been 1:19:54.085 --> 1:19:56.564 a long time coming. Okay. The first email I sent 1:19:56.565 --> 1:19:58.925 to you, guys was in twenty time film Spotting number 1:19:58.965 --> 1:20:02.245 three oh seven, which was a Mattie Ballgame plus guest 1:20:02.445 --> 1:20:06.525 Steve Procopi episode about musical moments. So it's been at 1:20:06.645 --> 1:20:10.125 least fifteen years. As for Michael, he said, I don't 1:20:10.125 --> 1:20:12.604 remember how I found you, but I'm a fairly new listener. 1:20:12.925 --> 1:20:15.765 I think one of the earliest episodes was Hobbs and 1:20:15.925 --> 1:20:20.085 Shaw in twenty nineteen. I remember really enjoying the mix 1:20:20.165 --> 1:20:24.485 of both high and low art in your selections that, 1:20:25.285 --> 1:20:27.085 let me make clear at him that is Fast and 1:20:27.125 --> 1:20:29.724 Furious presents Hobbs in Shaw. 1:20:30.165 --> 1:20:33.445 Yes, thank you, good movie. I don't think I agreed 1:20:33.485 --> 1:20:36.684 with you quite as much on that episode, but tie 1:20:36.685 --> 1:20:39.925 back to Fargo. High and Low, a kidnapping movie that's 1:20:39.965 --> 1:20:44.525 one of the Coen Brothers' favorites. Appropriate to our Fargo conversation. 1:20:44.605 --> 1:20:46.885 I love that Joseph got turned onto film spotting with 1:20:46.965 --> 1:20:50.405 an episode that neither of us were posts on and 1:20:50.445 --> 1:20:54.325 he's still listening. That's a good stuck around. Okay, Favorite 1:20:54.325 --> 1:20:57.005 show segments, Joseph says, it's the marathons that I fell 1:20:57.045 --> 1:20:58.564 in love with. There are so many that have opened 1:20:58.605 --> 1:21:03.965 my world. Lubitch, Ray Brassan Ofles, That's Satuga, not Nicholas Oofles, 1:21:04.045 --> 1:21:06.925 Iranian Cinema, all of which I'd probably never have come 1:21:06.965 --> 1:21:09.405 across except through film spotting. But if there's one marathon 1:21:09.445 --> 1:21:12.165 that stands out to me in particular, it's Powlin Pressberger, 1:21:12.405 --> 1:21:15.564 whose films I've revisited many many times over the years, 1:21:15.605 --> 1:21:19.285 including on the big screen. Colonel Blint for the Win. Yes, 1:21:19.925 --> 1:21:22.845 Michael says, I always loved the Oscars episodes with Michael 1:21:22.885 --> 1:21:26.045 Phillips and the seeming ambivalence with which everyone approaches the 1:21:26.085 --> 1:21:29.525 Academy Awards. This is perfect, Like I don't care, but 1:21:29.605 --> 1:21:30.725 also I kind of do. 1:21:32.005 --> 1:21:34.445 Yeah, I think Michael may honestly, nothing. 1:21:34.165 --> 1:21:37.525 Sums it up better like I don't care, but I 1:21:37.685 --> 1:21:38.725 also kind of do. 1:21:39.485 --> 1:21:42.445 Yeah. Yeah, that's it. You gotta Michael, nicely done. We 1:21:42.485 --> 1:21:44.205 asked them both if there was a review we got 1:21:44.205 --> 1:21:47.365 wrong for Joseph. I don't generally get on with Christopher 1:21:47.445 --> 1:21:50.885 Nolan films, with some notable exceptions, and I still cringe 1:21:50.925 --> 1:21:54.205 at the dialogue I recall from Interstellar. I probably need 1:21:54.245 --> 1:21:56.245 to revisit it to give it a second chance. But 1:21:56.325 --> 1:21:58.965 my recollection of the opening scenes of Interstellar is that 1:21:59.005 --> 1:22:02.365 the dialogue seems so functional, expository, and clunky that I 1:22:02.445 --> 1:22:04.885 just can't bring myself to spend my precious time to 1:22:04.965 --> 1:22:08.365 reconsider it. I think that puts me on team Josh. 1:22:08.525 --> 1:22:10.045 I guess so we're cool. 1:22:10.085 --> 1:22:13.165 We're close, sir. I've warmed to Interstellar, but I do 1:22:13.285 --> 1:22:17.485 still have those concerns Joseph, so sure, welcome teammate. 1:22:18.005 --> 1:22:20.165 Well. I hope Joseph. I don't know for sure when 1:22:20.165 --> 1:22:22.125 he submitted this. It could have been a while ago. 1:22:22.165 --> 1:22:25.485 I hope Joseph has a chance to listen to the 1:22:25.565 --> 1:22:28.765 movie Deathmatch episode we just published in our feed this 1:22:28.845 --> 1:22:32.405 week in honor of the Odyssey coming out. We've got 1:22:32.565 --> 1:22:37.765 pop culture scientists Abigail James talking about Interstellar, defending that 1:22:38.005 --> 1:22:44.885 against Bilga Abiri and Inception. Very enlightening conversation. Who knows, 1:22:44.925 --> 1:22:48.125 she might just change your opinion about Interstellar or at 1:22:48.205 --> 1:22:51.045 least give you some fodder to revisit the film. So 1:22:51.605 --> 1:22:54.525 we thank you Joseph and Michael for being family members 1:22:54.605 --> 1:22:57.604 and for all of those years of listening to the show. 1:22:57.805 --> 1:23:00.845 You can follow Joseph on letterbox. He is film Egg. 1:23:01.325 --> 1:23:06.045 That's pretty self explanatory. Michael is at Mix. That's m 1:23:06.125 --> 1:23:09.925 i ckes. There you go. In addition to keeping us 1:23:09.925 --> 1:23:13.005 doing what we're doing, membership comes with perks like listening 1:23:13.005 --> 1:23:15.765 early in ed free our weekly newsletter, get to be 1:23:15.765 --> 1:23:18.245 part of the Film Spotting Family discord. You get monthly 1:23:18.285 --> 1:23:22.645 bonus shows like our recent discussion of David Robert Mitchell's 1:23:22.685 --> 1:23:26.325 It Follows and our July bonus. Since we do have 1:23:27.085 --> 1:23:30.365 coming up next week our top five films of the 1:23:30.445 --> 1:23:34.325 year so far, we're gonna riff on our favorite performances 1:23:34.565 --> 1:23:36.725 of the year so far. So we're gonna check in 1:23:37.685 --> 1:23:40.365 to get working through lists years and yeah, and then 1:23:40.445 --> 1:23:44.085 Josh Film Spotting Madness Best of the twenties and thirties, 1:23:44.085 --> 1:23:48.925 an exclusive tournament with prizes, Bracket challenge with prizes we're 1:23:48.925 --> 1:23:52.205 gonna give away. Oh man, we had a couple things 1:23:52.245 --> 1:23:54.205 to give away. I'm blanking now I know one of 1:23:54.245 --> 1:23:59.285 them is a signed Film Spotting Fest two poster. Very 1:23:59.365 --> 1:24:03.365 nice and give that away. We are doing that exclusively 1:24:03.405 --> 1:24:06.285 for the film Spotting Family that's gonna start Monday the thirteenth, 1:24:06.325 --> 1:24:08.925 So if you want to participate in that, you just 1:24:08.965 --> 1:24:11.765 got to be a family member. You have time learn 1:24:11.805 --> 1:24:14.445 more at film Spottingfamily dot com. 1:24:14.565 --> 1:24:19.965 Hi, Hi, come in, nice to see you. We are 1:24:20.125 --> 1:24:21.604 so happy fear here. 1:24:23.205 --> 1:24:27.165 The Invite is Olivia Wilde's third film as a director. 1:24:27.245 --> 1:24:29.885 She made BookSmart in twenty nineteen, followed that up with 1:24:30.005 --> 1:24:33.165 Don't Worry Darling in twenty twenty two. That was a 1:24:33.165 --> 1:24:37.005 film that was largely piled on by audiences and critics, 1:24:37.605 --> 1:24:40.245 including me. But you went for it so much so, 1:24:40.285 --> 1:24:43.165 in fact, that it made your top ten list in 1:24:43.245 --> 1:24:48.325 twenty two. You have seen The Invite, which also stars 1:24:48.365 --> 1:24:51.845 wild with Seth Rogen as her husband, and Penelope Cruz 1:24:51.965 --> 1:24:58.564 and Edward Norton as their enigmatic neighbors. Is wild for you? Batting? 1:24:58.645 --> 1:25:02.165 Three for three, perfect one hundred, perfect, one thousand. I 1:25:02.165 --> 1:25:02.964 should say. 1:25:03.445 --> 1:25:08.325 Absolutely this was a delight. I don't know, it just felt, 1:25:08.805 --> 1:25:12.405 you know, comic chamber drama. It's not necessarily that inventive. 1:25:12.485 --> 1:25:14.685 I don't know the last time I saw one a 1:25:14.765 --> 1:25:18.724 genre piece like this that was just so fun to see, 1:25:18.805 --> 1:25:22.325 especially with a theater with a crowd. And I also 1:25:22.405 --> 1:25:26.125 don't know, Adam, I'll have to think about this some more, 1:25:26.325 --> 1:25:30.525 But we've had directors who give lead or co lead 1:25:30.565 --> 1:25:34.325 performances in the movies they're directing. How often is it 1:25:35.085 --> 1:25:38.685 that the best thing about that movie is the director's 1:25:39.525 --> 1:25:43.125 lead or co lead performance, Because for me, that's what 1:25:43.165 --> 1:25:47.605 we get here. Wild is on screen the standout of 1:25:47.645 --> 1:25:51.564 the invite for me, and that is while acknowledging that 1:25:51.725 --> 1:25:56.005 all four of the main characters, the main players in 1:25:56.045 --> 1:25:59.405 this cast are fantastic. They each do their own thing 1:25:59.965 --> 1:26:02.684 that makes this movie work as well as it does, 1:26:02.845 --> 1:26:05.564 I mean to give them their credit. At Rogan Is 1:26:06.245 --> 1:26:09.365 he's delivering the one liners you'd expect, but also probably 1:26:09.445 --> 1:26:12.325 delivering the deepest well of sadness that this movie has, 1:26:12.925 --> 1:26:16.325 So he's doing great work. You look at Edward Norton, 1:26:16.765 --> 1:26:20.644 just delightful also as this kind of a zen prankster, 1:26:21.125 --> 1:26:24.925 this calm, but he's disrupting things at the same time. 1:26:25.485 --> 1:26:28.245 And Cruise. It's interesting because I haven't seen every one 1:26:28.285 --> 1:26:31.325 of her English language performances, and she's given some good ones, 1:26:31.925 --> 1:26:35.485 but this is I think her best that I have seen. 1:26:35.685 --> 1:26:39.525 This is adapted from a Spanish language play that was 1:26:39.565 --> 1:26:42.604 turned into a movie. She wasn't involved in either of those, 1:26:43.045 --> 1:26:46.405 so I don't know if there's any perhaps some cultural 1:26:46.645 --> 1:26:51.604 translation going on here that allowed her to deliver such 1:26:51.605 --> 1:26:54.045 a great performance here. But she's really sharp in terms 1:26:54.085 --> 1:26:57.564 of the repartee and also has this she's a sly 1:26:57.725 --> 1:27:01.885 provocateur as well. Just a glance that Penelope Cruz gives 1:27:01.925 --> 1:27:04.965 in scenes here will throw the entire dynamic off in 1:27:05.005 --> 1:27:07.965 a chaotic way. So she's really good. But Wild Adam 1:27:08.925 --> 1:27:13.485 is the gyrations on her face playing this woman who 1:27:13.565 --> 1:27:17.684 is deeply constricted, which we've seen that type. But also 1:27:18.285 --> 1:27:19.885 again it goes back to what you're talking about in 1:27:19.965 --> 1:27:23.205 Firego realize over the course of this night, what she's 1:27:23.285 --> 1:27:29.965 willing to entertain to bring something fresh and new to 1:27:30.085 --> 1:27:35.365 her life, to her marriage, to herself, and the way 1:27:35.405 --> 1:27:38.325 Wild responds to things that her husband says or that 1:27:38.405 --> 1:27:41.564 her neighbors say, and then eventually to things that she 1:27:41.765 --> 1:27:45.925 says and she starts surprising herself. It is just a 1:27:45.965 --> 1:27:47.925 phrase that kept coming to mind is one that you'll 1:27:47.965 --> 1:27:52.045 hear on like NBA podcasts. It's a quick twitch performance 1:27:52.125 --> 1:27:56.845 where just like the muscles are there doing immediately what 1:27:56.885 --> 1:27:59.325 she needs them to do for every moment in a 1:27:59.365 --> 1:28:03.965 movie that's incredibly fast and quick and quippy. And yeah, 1:28:03.965 --> 1:28:06.325 the invite is it's some of the most fun I've 1:28:06.365 --> 1:28:08.885 had in a theater this kind of fun in quite 1:28:08.925 --> 1:28:11.245 a while. So people need to get out there and 1:28:11.325 --> 1:28:12.245 check this out. 1:28:12.365 --> 1:28:15.085 It expands to more cities this weekend. I will finally 1:28:15.085 --> 1:28:17.485 get a chance to see it this weekend. I hope 1:28:17.485 --> 1:28:20.604 I have as much fun as you, and who knows, 1:28:20.645 --> 1:28:23.445 maybe it will make my top five list next week 1:28:23.445 --> 1:28:26.684 when we share our favorite films of the year so far. 1:28:27.325 --> 1:28:29.405 I had a celebrity free past thing with my fiance, 1:28:29.525 --> 1:28:31.245 but he took it literally, so now I need to 1:28:31.245 --> 1:28:32.845 have sex with John Ham to even out the score 1:28:32.885 --> 1:28:33.885 and save my relationship. 1:28:33.965 --> 1:28:34.605 You do the do you know? 1:28:34.965 --> 1:28:38.485 I do the doos Gaale needs to do the nasty 1:28:38.565 --> 1:28:44.445 with mister John hamm asap seems so so sorry that 1:28:44.485 --> 1:28:45.045 we got. 1:28:44.845 --> 1:28:48.604 You fired, right, Adam. We both caught up with director 1:28:48.685 --> 1:28:52.445 David Wayne's latest Gail Daughtry and the Celebrity Sex Pass. 1:28:53.325 --> 1:28:56.485 That title plus directed by David Wayne, should give you 1:28:56.525 --> 1:28:59.125 some idea of what's going on with this movie. It 1:28:59.165 --> 1:29:02.445 stars Zoey Deutsch as Gail, a small town woman who's 1:29:02.965 --> 1:29:07.724 fiance takes their celebrity sex pass joke literally. That puts 1:29:07.725 --> 1:29:09.805 her on a mission to even the playing field and 1:29:09.885 --> 1:29:13.365 have sex with a guy named John Ham. So she 1:29:13.445 --> 1:29:16.405 heads to La with that in mind. Adam, we've been 1:29:16.405 --> 1:29:18.765 talking about David Wayne on the show because we hot 1:29:18.845 --> 1:29:22.765 American Summer. His prob we most beloved film was part 1:29:22.765 --> 1:29:26.525 of Film Spotting Fest two a couple of weekends ago, 1:29:27.005 --> 1:29:31.245 and we had David Wayne introduce that screening with a 1:29:31.325 --> 1:29:34.845 video he was kind enough to send in. He's been 1:29:34.885 --> 1:29:37.165 listening to the show for years now. You know, this 1:29:37.205 --> 1:29:39.405 always makes me nervous when I hear of anyone at 1:29:39.445 --> 1:29:42.725 any level of filmmaking, Yes, who happens to listen to 1:29:42.765 --> 1:29:46.525 the show. Makes me feel like a fraud, especially so 1:29:46.645 --> 1:29:50.925 when it's an accomplished, beloved filmmaker like David Wayne. So 1:29:52.165 --> 1:29:54.685 I don't know, this isn't a review we're letting I'm 1:29:54.765 --> 1:29:57.605 letting people know that a friend of the show is 1:29:57.645 --> 1:30:01.205 a new movie out, And what I can say is 1:30:01.285 --> 1:30:03.564 one of the things I talked about when we watched 1:30:03.605 --> 1:30:05.925 Wet Hot American Summer and discussed it afterward. Is the 1:30:05.965 --> 1:30:08.965 absurdism that I think I didn't give enough credit for 1:30:09.005 --> 1:30:11.644 it to Wet Hot American Summer when I first saw 1:30:11.685 --> 1:30:16.165 that come out. And I think the one absurd touch 1:30:16.165 --> 1:30:18.405 I want to highlight here, which isn't a spoiler at all. 1:30:19.005 --> 1:30:22.365 It's a minor character, John Ham's guard. I forget how 1:30:22.405 --> 1:30:25.405 he even gets into this story about going to a bullfight, 1:30:25.965 --> 1:30:27.485 and I forget if he's there with his wife or 1:30:27.525 --> 1:30:30.845 his girlfriend or something. Yeah, the bull, the bull leaps 1:30:30.885 --> 1:30:34.205 into the stands and impales her or It's this gory, 1:30:34.725 --> 1:30:37.045 horrible story that keeps going on. It has no reason 1:30:37.085 --> 1:30:41.085 to be in this movie whatsoever. Yeah, the chef's kiss. 1:30:42.085 --> 1:30:44.405 And I don't remember how how they even got this 1:30:44.525 --> 1:30:48.125 is an insert shot of a bull. It must be 1:30:48.165 --> 1:30:51.445 real footage. It looks like real footage leaping into the 1:30:51.485 --> 1:30:54.245 stands of a bullfight. It's like a second and a half. 1:30:55.565 --> 1:30:57.165 And then he just goes on with his story and 1:30:57.205 --> 1:30:59.845 the movie goes on with its plot. I mean, you 1:30:59.925 --> 1:31:02.525 get stuff like that in Gail Daughtry, which is how 1:31:02.565 --> 1:31:05.205 you know it is a David Wayne movie. And the 1:31:05.485 --> 1:31:07.805 question I had for you also is how soon did 1:31:07.845 --> 1:31:09.564 you realize this was also going to be a Wizard 1:31:09.605 --> 1:31:10.285 of Oz riff. 1:31:10.925 --> 1:31:13.725 You know, I don't know how soon it was, but 1:31:14.205 --> 1:31:18.765 you recognize a couple of illusions. Certainly by the end 1:31:18.845 --> 1:31:20.725 that's very late. But there's a there's a moment with 1:31:20.845 --> 1:31:23.445 her slippers, right with her shoes, and there's there are 1:31:23.485 --> 1:31:25.925 some there are some, there are some I think before 1:31:25.965 --> 1:31:29.045 that for sure, but I didn't skipping right, little skipping 1:31:30.005 --> 1:31:32.885 of course, right. And and the fact that she is 1:31:32.925 --> 1:31:34.845 she is like Dorothy in the Land of Oz, who 1:31:34.965 --> 1:31:39.325 keeps acquiring new people as part of her entourage along 1:31:39.365 --> 1:31:41.525 the way, and they all have they all have certain skills, 1:31:41.565 --> 1:31:46.485 I suppose as well, so that element is definitely there. 1:31:46.565 --> 1:31:49.725 I like that you brought up the absurdity because one 1:31:49.725 --> 1:31:52.205 of the things that stood out to me that I 1:31:52.245 --> 1:31:56.685 really liked about Gail Daughtry is that absurd tone. And 1:31:56.685 --> 1:32:00.564 what I mean is specifically that something I struggle with 1:32:01.445 --> 1:32:07.724 often with comedies is that line you have to walk 1:32:08.525 --> 1:32:14.765 where you're putting us in the real world, but you're 1:32:14.805 --> 1:32:18.805 also having things happen that are clearly happening in a 1:32:18.845 --> 1:32:24.085 comedic universe where they could happen my brain struggles with 1:32:24.165 --> 1:32:27.925 that very often, and maybe it's maybe it's just me, 1:32:28.525 --> 1:32:31.285 but it's a comedy, and and people that's there, that's 1:32:31.325 --> 1:32:33.285 the reasoning when I bring those things up. Well, it's 1:32:33.325 --> 1:32:36.764 a comedy. It's it's goofy, goofy things are going to happen, okay, 1:32:36.765 --> 1:32:39.365 But everything else about the movie, all the other stakes 1:32:39.765 --> 1:32:42.485 to the movie are happening in the real world, Okay. 1:32:43.325 --> 1:32:46.965 In this movie. You know, you know from the opening 1:32:47.365 --> 1:32:51.965 pretty much from the opening narration Fred mellm Head's postal 1:32:52.005 --> 1:32:55.285 worker who is our guide through this story. You know 1:32:55.445 --> 1:32:59.525 from his tone, you know from the script and the 1:32:59.525 --> 1:33:03.765 things he's saying that this isn't the real world, that 1:33:04.565 --> 1:33:07.405 totally crazy, absurd things are going to happen, and that 1:33:07.685 --> 1:33:12.405 anything can happen in this universe. And so I knew 1:33:12.405 --> 1:33:14.365 what ground I was on, and I knew that I 1:33:14.365 --> 1:33:17.125 could go with it. And if I didn't totally know, 1:33:17.685 --> 1:33:21.445 I absolutely knew. By the time we get to the 1:33:21.525 --> 1:33:26.644 Jennifer Aniston book signing and the fiance says, I got 1:33:26.645 --> 1:33:28.605 to go back in and get what my sunglasses or 1:33:28.605 --> 1:33:31.805 something like that, and then doesn't come back because he's 1:33:31.845 --> 1:33:34.525 having sex with Jennifer Aniston in the back room for 1:33:34.725 --> 1:33:35.525 multiple hours. 1:33:35.725 --> 1:33:39.485 I did. That's like, yeah, I did. Like how just 1:33:39.525 --> 1:33:41.684 got that out of the way, you know, didn't waste 1:33:41.725 --> 1:33:46.245 twenty minutes setting up the fiance's move right, No. 1:33:45.725 --> 1:33:50.764 No, And there's there's no conflict in him or anything 1:33:50.845 --> 1:33:54.604 like that. He just moments earlier says, well, it would 1:33:54.605 --> 1:33:56.645 be Jennifer Aniston, and then he takes advantage of it, 1:33:56.805 --> 1:33:59.604 and that sets up all the action of the film. 1:33:59.645 --> 1:34:02.165 So I knew the universe we were in. I went 1:34:02.205 --> 1:34:05.805 along with it, and then you get the type of 1:34:05.885 --> 1:34:10.885 humor that I expect from David Wayne and I love. 1:34:11.165 --> 1:34:13.644 And it's the jokes that make me laugh the most 1:34:14.405 --> 1:34:19.525 are like when Richard Kine shows up and he's just 1:34:19.565 --> 1:34:24.125 a taxi cab driver in La. Who is who is 1:34:24.645 --> 1:34:31.525 taking Zoe Deutsch's character and her friend what is her? 1:34:32.085 --> 1:34:37.604 Her character's name Otto played by Miles Gutierra Hiley. They're together. 1:34:37.685 --> 1:34:41.085 They fly out to La in pursuit of John Hamm. 1:34:41.085 --> 1:34:45.245 He's there to help her in this pursuit and just 1:34:45.285 --> 1:34:48.684 completely straight faced, he explains that I know why you're here. 1:34:49.005 --> 1:34:52.245 Everybody comes out here expecting to be the next Elizabeth Perkins, 1:34:52.805 --> 1:34:57.685 but there's only one Elizabeth Perkins, and that slayed me. 1:34:58.365 --> 1:35:02.005 Nice callback too with a yep, yes there is Yeah, 1:35:02.085 --> 1:35:05.405 I also want to you know, there's so many you know, 1:35:05.645 --> 1:35:10.045 cameos and guests in here, but I think one of 1:35:10.085 --> 1:35:13.645 the performances I enjoyed the most was a newcomer to me, 1:35:13.685 --> 1:35:16.525 at least, Ben Wang. It's Caleb, one of the people 1:35:16.645 --> 1:35:20.684 she picks up along the way, an aspiring agent, and 1:35:21.045 --> 1:35:26.885 I just love the energy he brought, which is, I 1:35:26.885 --> 1:35:29.564 don't know, there's something he popped because his character had 1:35:29.605 --> 1:35:33.765 this clear comic identity and yeah tone he was going 1:35:33.805 --> 1:35:37.045 to go for the entire time, and he stayed consistent 1:35:37.085 --> 1:35:40.165 in that and almost always worked. So yeah, well, it 1:35:40.245 --> 1:35:41.965 was fun to see a lot of the cameos. I 1:35:41.965 --> 1:35:44.245 think Ben Wang was a highlight too. 1:35:44.325 --> 1:35:47.684 He's very good. And speaking of what how to American Summer, 1:35:48.005 --> 1:35:52.604 this movie really is what happens when the State remakes 1:35:52.645 --> 1:35:55.205 The Wizard of Oz by way of What Hot American Summer, 1:35:55.245 --> 1:35:58.085 because it seemed like they were determined to get in 1:35:58.325 --> 1:36:01.365 almost or a lot of key members of the cast 1:36:01.365 --> 1:36:05.045 from What Hot American Summer. Marguerite Moreau shows us there 1:36:05.245 --> 1:36:07.805 for a moment and Paul Rudd's going to show up. 1:36:07.805 --> 1:36:09.805 Of course, there are a bunch of key members too, 1:36:09.965 --> 1:36:12.525 like Mike Lee and Black who you expect to see 1:36:12.525 --> 1:36:16.125 in Jolo Trulio from that group, but it is as 1:36:16.125 --> 1:36:18.605 if they're trying to make sure that we get some 1:36:18.685 --> 1:36:23.005 of those very familiar faces into the film. That's Gail 1:36:23.085 --> 1:36:28.445 Daughtry and The Celebrity Sex Pass, which is out in 1:36:28.605 --> 1:36:31.605 limited release now. If you get a chance to see it, 1:36:31.725 --> 1:36:33.365 or any of the films we've talked about so far 1:36:33.365 --> 1:36:35.565 in the show, we'd love to hear your thoughts feedback 1:36:35.645 --> 1:36:40.165 at filmspotting dot net. How big. That's what we call 1:36:40.205 --> 1:36:43.325 a global killer. Nothing would survived, not even bacteria. 1:36:43.885 --> 1:36:46.325 The United States government just asked us to save the world. 1:36:46.485 --> 1:36:48.325 Anybody want to say no, don't think. 1:36:48.165 --> 1:36:50.685 I'll get a hazard pay out of this time. For 1:36:50.965 --> 1:36:53.285 some poll results, a couple of weeks ago, we asked 1:36:53.325 --> 1:36:57.005 you to choose one pair of nineties blockbusters two films 1:36:57.405 --> 1:37:01.365 per movie year, the top two movies at the domestic 1:37:01.405 --> 1:37:03.925 box office. There's ten of them, Josh, so let's just 1:37:03.965 --> 1:37:06.245 dig right into the results. 1:37:06.765 --> 1:37:10.005 Last place went to the year nineteen ninety two and 1:37:10.045 --> 1:37:13.645 the pair of Aladdin and Home Alone two only got 1:37:13.685 --> 1:37:16.045 one percent of the vote. Two percent of the vote 1:37:16.885 --> 1:37:19.125 for Home Alone and Ghost that was the year nineteen 1:37:19.205 --> 1:37:21.005 ninety I thought for sure there was more Home Alone 1:37:21.205 --> 1:37:23.804 love out there, all right, jumping up to six percent 1:37:23.885 --> 1:37:26.365 of the vote. That went to nineteen ninety five Toy 1:37:26.405 --> 1:37:30.884 Story and Batman Forever. Nineteen ninety nine came next, Phantom 1:37:30.885 --> 1:37:33.725 Menace in the sixth sense with only seven percent of 1:37:33.725 --> 1:37:35.564 the vote. You lobb, H'm pretty hard for that one. 1:37:35.685 --> 1:37:39.724 I thought, Yeah, then we've got nineteen ninety eight saving 1:37:39.765 --> 1:37:43.684 Private Ryan and Armageddon with eight percent of the vote. Okay, 1:37:43.805 --> 1:37:47.085 jumping into another tier here, ten percent of the vote 1:37:47.365 --> 1:37:50.804 went to nineteen ninety six for Independence Day and Twister. 1:37:51.405 --> 1:37:53.525 Thirteen percent of the vote went to nineteen ninety four 1:37:53.645 --> 1:37:56.564 Forrest Gump and the Lion King. I think that's where 1:37:56.605 --> 1:37:59.645 I landed if I remember correctly. Fourteen percent of the 1:37:59.685 --> 1:38:03.405 vote went to nineteen ninety seven. That's Titanic and Men 1:38:03.525 --> 1:38:08.644 in Black. Second place in this poll with sixteen percent 1:38:08.765 --> 1:38:12.165 of the vote was the year nineteen ninety one, Terminator 1:38:12.205 --> 1:38:16.725 two and Prince of Thieves. Wow T two doing a 1:38:16.765 --> 1:38:20.125 lot of work there. I have to guess that means 1:38:20.725 --> 1:38:24.725 the win of our poll. Incredible, just incredible, twenty three 1:38:24.805 --> 1:38:28.445 percent of the vote. Missus Doubtfire, Just missus Doutfire took 1:38:28.485 --> 1:38:30.485 you on its own. No, actually it was got a 1:38:30.485 --> 1:38:34.365 little help from Jurassic Park nineteen ninety three. There, Missus Doubtfire. 1:38:34.485 --> 1:38:37.845 Jurassic Park win this poll with twenty three percent of 1:38:37.845 --> 1:38:38.285 the vote. 1:38:38.365 --> 1:38:41.564 The nineties kids in their dinosaurs, they just incredible love 1:38:41.645 --> 1:38:44.165 playing with their toys. Scott g let me get this straight. 1:38:44.205 --> 1:38:46.245 You're asking us to pick one of these pairs, and 1:38:46.285 --> 1:38:49.125 every other film released that year gets dumped in the incinerator. 1:38:49.325 --> 1:38:51.325 You guys are sick. This is a poll where we're 1:38:51.325 --> 1:38:54.045 supposed to punish hundreds of perfectly decent films for not 1:38:54.085 --> 1:38:57.724 having the highest grosses. Oh and the rules apparently state 1:38:57.805 --> 1:39:00.445 that every movie from every other year of the decade 1:39:00.685 --> 1:39:04.045 century eternity, they all get eliminated as well. This poll 1:39:04.085 --> 1:39:05.925 is a crime against cinema, to say nothing of the 1:39:05.965 --> 1:39:09.365 fact that I can't choose between saving Whoopi Goldberg's performance 1:39:09.405 --> 1:39:13.485 in Ghost or Tony Kollett's in the sixth sense, they 1:39:13.565 --> 1:39:16.405 do both involve ghosts, don't they. I sentenced all three 1:39:16.445 --> 1:39:19.645 of you to six months of NonStop Michael Bays screenings, 1:39:19.765 --> 1:39:20.885 especially you s. 1:39:22.245 --> 1:39:24.685 Yeah, I don't know why why we're getting punished for 1:39:24.845 --> 1:39:26.604 Sam's invention here. 1:39:26.445 --> 1:39:28.684 But yeah, that's true. He did we okay, though. 1:39:29.005 --> 1:39:32.685 We did, Sam went full fanos here. No planets were 1:39:32.685 --> 1:39:33.685 preserved at all. 1:39:33.845 --> 1:39:34.085 Right. 1:39:35.405 --> 1:39:38.765 We also heard from Matthew Gladys it's nineteen ninety six 1:39:38.845 --> 1:39:41.485 in a walk, Independence Day and Twister. I know it 1:39:41.525 --> 1:39:44.405 sounds crazy when you have Saving Private Ryan six Sons 1:39:44.445 --> 1:39:47.485 Drassic parkin T two, but hear me out, missus Doubtfire 1:39:47.605 --> 1:39:51.245 ninety three is pretty met. Armageddon ninety eight is Armageddon, 1:39:51.405 --> 1:39:53.525 and if I never hear that Brian Adams song again, 1:39:53.525 --> 1:39:56.525 it will be too soon. Plus ninety six has arguably 1:39:56.565 --> 1:40:00.844 the most stacked casts, Will Smith, Jeff Goldblum, the criminally 1:40:00.925 --> 1:40:05.564 underrated Mary McDonald, jud Hirsch, Robert Loja, James Rebhorn, Randy 1:40:05.645 --> 1:40:10.925 not necessarily the lesser Quaid in Independence Day, Philip Seymour Hoffman, 1:40:11.005 --> 1:40:14.684 Ellen Rock and both Bps, Bill Pullman and Bill Paxton 1:40:14.725 --> 1:40:17.005 and Twister Game Over, Man. 1:40:17.845 --> 1:40:22.005 Came Over Man, jud Hirsh you lost Josh there, sorry, 1:40:22.845 --> 1:40:25.604 Rick says, Terminator Too is the only one of these 1:40:25.645 --> 1:40:28.805 movies I absolutely need in my life. I think, yes, 1:40:28.845 --> 1:40:30.485 a lot of people were there and that's why it's 1:40:30.485 --> 1:40:33.005 in second place. And Prince of Thieves has a strong 1:40:33.085 --> 1:40:36.165 nostalgia draw for me. Oh, everything I do, I do 1:40:36.285 --> 1:40:37.764 it for nineteen ninety one. 1:40:38.485 --> 1:40:42.644 Well, I'm glad you have that, Rick Andrew Howell here, 1:40:42.725 --> 1:40:45.325 I can't live without T two. And my bonus is 1:40:45.365 --> 1:40:49.125 I get Alan Rickman as a foppy Hans Gruber lest 1:40:49.165 --> 1:40:51.884 you can forget. Rickman plays the evil Sheriff of Nottingham 1:40:51.885 --> 1:40:54.965 and Prince of Thieves says shared us that note. 1:40:55.005 --> 1:40:58.445 I think that's true. Double up on Alan Rickman. Oliver 1:40:58.565 --> 1:41:01.125 Chang says ninety nine is totally a nostalgia pick for me. 1:41:01.525 --> 1:41:03.765 I have vivid memories of seeing the first trailer for 1:41:03.845 --> 1:41:05.925 The Phantom Menace in the summer of ninety eight and 1:41:05.965 --> 1:41:08.845 then going to an opening night midnight screening where we 1:41:08.885 --> 1:41:11.165 went to the theater a couple hours early to get 1:41:11.165 --> 1:41:13.045 our spot in line so we could get a decent 1:41:13.085 --> 1:41:15.125 seat since there was no such thing as a reserved seating. 1:41:15.165 --> 1:41:17.645 I was right there with you. It was Survival of 1:41:17.685 --> 1:41:19.885 the Fittest back in the day, then going back the 1:41:19.925 --> 1:41:21.685 next night and seeing it again, and just because it 1:41:21.725 --> 1:41:24.285 was Star Wars. I was not right there with how 1:41:24.325 --> 1:41:26.925 can I allow those memories to go into the incinerator? 1:41:26.925 --> 1:41:29.165 And of course six cents is amazing. This was a 1:41:29.205 --> 1:41:32.365 no brainer. I can't imagine my life without either of 1:41:32.405 --> 1:41:33.045 these films. 1:41:33.685 --> 1:41:36.405 Fair enough, Oliver, all right, one more here from Jeff Clark. 1:41:36.845 --> 1:41:40.325 Spielberg made d Day scarier than an asteroid destroying all 1:41:40.365 --> 1:41:42.805 life on Earth, and in Armageddon we had a range 1:41:42.845 --> 1:41:46.485 of really solid actors, including Steve Buscemi, who explains what 1:41:46.565 --> 1:41:50.005 the phrase space psychosis means, which is helpful since I've 1:41:50.085 --> 1:41:51.765 not seen it used elsewhere. 1:41:52.125 --> 1:41:56.045 Okay, I like your reasoning a lot there, Jeff. We 1:41:56.125 --> 1:41:58.685 think everyone who voted in that poll and sent in 1:41:58.805 --> 1:42:03.205 some feedback. Our new poll looks ahead to next week's 1:42:03.445 --> 1:42:06.725 top five of twenty twenty six so far. So we 1:42:06.805 --> 1:42:11.685 are asking you what is the best film of the 1:42:11.765 --> 1:42:15.885 year so far? And here are the choices we're giving you. 1:42:16.885 --> 1:42:21.845 Twenty eight years later, The Bone Temple, Back Rooms, Disclosure Day, 1:42:22.485 --> 1:42:28.325 the Drama Obsession Project, Hail Mary, The Sheep Detectives, and. 1:42:28.565 --> 1:42:32.205 Other Now, I thought that we did a pretty good job. 1:42:32.245 --> 1:42:35.125 This was largely Sam's doing, as these poll questions always are. 1:42:35.325 --> 1:42:37.205 I thought we did a pretty good job, even though 1:42:38.245 --> 1:42:41.085 I recall us both telling Sam he could leave out 1:42:41.125 --> 1:42:45.045 back rooms, and sure enough, back rooms is in dead last. 1:42:45.125 --> 1:42:47.445 So I don't know why back rooms is here. But 1:42:47.565 --> 1:42:49.445 that's fine. It's there if you want to vote for it, 1:42:49.845 --> 1:42:52.685 if you're one of the few, the happy few. Is 1:42:52.765 --> 1:42:55.805 your number one? Well, I was going to say additionally, 1:42:56.405 --> 1:42:59.005 I thought it was a good list. But Other, and 1:42:59.085 --> 1:43:03.564 this this is not uncommon. Other is decidedly in second place, 1:43:03.765 --> 1:43:05.845 so a lot of people are taking the field. Josh, 1:43:05.845 --> 1:43:07.085 But is your number one. 1:43:06.925 --> 1:43:11.365 On the list? I haven't finalized. There's two vne for 1:43:11.445 --> 1:43:13.724 number one, and I will say one of those options 1:43:13.805 --> 1:43:17.045 is on this list, and then obviously the other. You know, 1:43:17.125 --> 1:43:21.285 I would go in the direction of Other. I think 1:43:21.325 --> 1:43:23.485 I'll probably right now. If I had to choose in 1:43:23.525 --> 1:43:25.724 this moment, it would be one of the titles we offered. 1:43:27.045 --> 1:43:30.045 Okay, how about you. No, I would be voting other. 1:43:30.565 --> 1:43:36.285 My number one interest is not there. I look forward 1:43:36.325 --> 1:43:39.365 to sharing it next week. I will give a little hint. No, 1:43:39.605 --> 1:43:42.125 I guess I was going to say it hadn't been 1:43:42.165 --> 1:43:45.845 reviewed on the show. Maybe that's true. I know we 1:43:45.965 --> 1:43:48.365 didn't discuss my number one on the show. So there 1:43:48.405 --> 1:43:49.525 you go, I will. 1:43:49.885 --> 1:43:53.245 Say we both we both have you know, at least 1:43:53.245 --> 1:43:54.925 a title or two we want to be sure to 1:43:54.965 --> 1:43:58.245 fit in. Yes, so things will very much likely be 1:43:58.485 --> 1:44:01.125 in flux. But yeah, it'll be interesting to see where 1:44:01.365 --> 1:44:04.365 where listeners land on this best of the Year so far. 1:44:04.765 --> 1:44:07.285 Vote in that poll, leave a comment. We may read 1:44:07.325 --> 1:44:10.165 your feedback on air. You can do that at film 1:44:10.205 --> 1:44:13.165 spotting dot net right there at the main page. Josh, 1:44:13.245 --> 1:44:13.885 that's our show. 1:44:14.165 --> 1:44:16.205 If you'd like to connect with us on social media, 1:44:16.245 --> 1:44:20.445 you can find Adam and the show on Instagram, Facebook, Letterbox, YouTube, 1:44:20.445 --> 1:44:23.684 and blue Sky at film Spotting. I'm at those places 1:44:23.765 --> 1:44:27.764 as well as Larsen on film. We are independently produced 1:44:27.845 --> 1:44:30.845 and listener supported. You can support the show by joining 1:44:30.885 --> 1:44:34.885 the film Spotting Family at film spottingfamily dot com. You 1:44:34.925 --> 1:44:38.285 can listen early and ad free. You'll also get monthly 1:44:38.365 --> 1:44:41.205 bonus episodes, a weekly newsletter, and access to the entire 1:44:41.325 --> 1:44:44.285 show archive. For show t shirts and other merch go 1:44:44.365 --> 1:44:46.925 to film spotting dot net slash shop. 1:44:47.565 --> 1:44:50.965 Out in limited release this weekend is David Wayne's new 1:44:50.965 --> 1:44:55.085 film Gail Daughtry and the Celebrity Sex Pass. In wide release, 1:44:55.285 --> 1:44:59.085 Evil Deadburn. This is the sixth Evil Dead movie, the 1:44:59.165 --> 1:45:04.924 third Ramy Less installment since twenty thirteen. Complete Us, Josh, 1:45:05.485 --> 1:45:08.485 I think I saw the first of those three, which 1:45:08.525 --> 1:45:11.445 I liked quite a bit. Haven't caught the last two. 1:45:12.045 --> 1:45:16.445 The invite is expanding. Josh strongly encourages you to see it. 1:45:16.965 --> 1:45:23.605 Next week Big Things coming Monday, the debut episode of 1:45:23.645 --> 1:45:27.045 the movie Racket with Michael Phillips. He has a guest 1:45:27.405 --> 1:45:31.445 Michael Shannon, where they will be discussing what France saw. 1:45:31.565 --> 1:45:33.684 Trufoe said that there's no such thing as an anti 1:45:33.765 --> 1:45:38.165 war movie. They'll discuss whether or not Francois trufo is right. 1:45:38.245 --> 1:45:42.205 That's Monday. On Tuesday, film Spotting SVU. The state of 1:45:42.285 --> 1:45:45.325 streaming they're going to talk about to be a deep 1:45:45.365 --> 1:45:49.045 dive into the Free with Ad Free with Ad streamer 1:45:49.245 --> 1:45:52.805 Josh's favorite channel on the Internet. The Next Picture Show. 1:45:53.045 --> 1:45:58.045 On Thursday, Your beloved True Grit from the Coen Brothers, Josh. 1:45:58.285 --> 1:46:02.005 They will be pairing that with the new Supergirl. 1:46:02.405 --> 1:46:03.045 How about that. 1:46:03.485 --> 1:46:06.965 I may have to see Supergirl just to listen to 1:46:07.565 --> 1:46:10.965 this pairing because it sounds fascinating. And then Friday, we 1:46:11.045 --> 1:46:12.765 will have for you our top five films of the 1:46:12.805 --> 1:46:13.365 year so far. 1:46:14.485 --> 1:46:17.285 Film Spotting is produced by Golden Joe Desso and Sam 1:46:17.365 --> 1:46:20.604 van Holgren. Without Sam and Golden Joe, this show wouldn't go. 1:46:21.045 --> 1:46:24.405 Our production assistant is Sophie Kempinar. Special thanks to everyone 1:46:24.445 --> 1:46:28.405 at wbe Z Chicago. More information is available at wbez 1:46:28.685 --> 1:46:31.765 dot org for Film Spotting. I'm Josh Larson and I 1:46:31.885 --> 1:46:32.644 Madam Kempinar. 1:46:32.845 --> 1:46:33.684 Thanks for listening. 1:46:34.005 --> 1:46:36.965 This conversation can serve no purpose anymore. 1:46:37.845 --> 1:46:38.325 Good Bye.