WEBVTT - Casey on Spring Breakers 0:00:00.200 --> 0:00:02.960 Welcome to Movie Crush, a production of I Heart Radio. 0:00:28.720 --> 0:00:32.720 Hey everybody, and welcome to Movie Fresh Fresh. Jesus Christ, 0:00:32.800 --> 0:00:35.640 Casey here were keep it in. We're keeping it in. 0:00:36.479 --> 0:00:39.879 Casey's here everyone. This is Movie Crush. It is Friday 0:00:39.960 --> 0:00:43.720 Interview Edition. Casey and I are both stressed for different reasons, 0:00:44.080 --> 0:00:47.040 So why not talk about a very tense there you 0:00:47.080 --> 0:00:54.640 go movie like spring Breakers? How you doing besides stressed? Stressed? 0:00:55.160 --> 0:00:58.320 Um no, I'm doing good. It was it was really 0:00:58.360 --> 0:01:02.680 fun to revisit this movie because it's been at least 0:01:02.760 --> 0:01:04.920 five or six years since I last saw it, so 0:01:05.240 --> 0:01:09.640 and um, yeah, I don't know, it's it's I guess 0:01:09.640 --> 0:01:12.400 it's it's weird to watch it now in the context 0:01:12.440 --> 0:01:16.399 of social distancing in Corona and to see man all 0:01:16.440 --> 0:01:20.280 the sweaty bodies and close proximity and the whole spring 0:01:20.360 --> 0:01:23.720 break you know thing. Yeah, So, just to catch everyone 0:01:23.760 --> 0:01:26.959 up here, we are. I am on my daughter's spring 0:01:27.000 --> 0:01:29.480 break right now. And I said those two words in 0:01:29.520 --> 0:01:31.800 case he said, well, hey, let's do spring Breakers because 0:01:32.800 --> 0:01:35.600 I didn't have an episode for tomorrow, like this is 0:01:35.840 --> 0:01:39.119 we're cutting it close here. It's Thursday afternoon, day before release. 0:01:39.160 --> 0:01:41.800 And you said spring Breakers. I had never seen it 0:01:41.920 --> 0:01:44.640 for some weird reason. I always kind of meant to 0:01:44.880 --> 0:01:48.360 and didn't. And uh so I watched it last night 0:01:48.440 --> 0:01:51.520 and I have re titled it now um and I'm 0:01:51.520 --> 0:01:53.280 glad I watched it now that I have a daughter 0:01:53.680 --> 0:01:56.680 because the new the new working title is um every 0:01:56.760 --> 0:02:01.040 Father's Nightmare, yeah, or just every parent's nightmare parents in general. 0:02:01.080 --> 0:02:05.280 Probably um youthful debauchery and just uh oh god. It 0:02:05.320 --> 0:02:07.600 was hard hard to get through, honestly, and you know 0:02:07.720 --> 0:02:11.079 I was. Here's my deal with spring break and this scene. 0:02:12.000 --> 0:02:14.000 I went on my high school spring break to Panama 0:02:14.040 --> 0:02:19.280 City where one year where it was debauchery. I mean, 0:02:19.280 --> 0:02:22.080 it wasn't quite like this, but because this is just 0:02:22.240 --> 0:02:24.480 really over the top and gross. But I'm sure it 0:02:24.560 --> 0:02:27.280 is this way in places, but it was our version 0:02:27.360 --> 0:02:30.160 of of high school debauchery. I didn't take part because 0:02:30.200 --> 0:02:31.680 I was a good kid in high school. I didn't 0:02:31.680 --> 0:02:35.519 turn bad until later. Uh. And you know it was fine, 0:02:35.600 --> 0:02:39.320 but like this scene, there's nothing I would want to 0:02:39.360 --> 0:02:42.520 do less than the stuff I see in this movie. Yeah, 0:02:42.639 --> 0:02:45.400 I I feel me, kill me right. I found myself 0:02:45.440 --> 0:02:50.120 just thinking like this just looks terrible, Like, um, no, 0:02:50.240 --> 0:02:54.000 thank you. Yeah. Even even if you could like detach 0:02:54.080 --> 0:02:57.600 yourself from responsibilities and and and all that kind of 0:02:57.639 --> 0:02:59.560 stuff and find yourself in that place again with the 0:02:59.560 --> 0:03:02.960 opportunit unity to do it again, at this point, you 0:03:02.960 --> 0:03:05.320 would not choose to do that. It's like, that looks terrible, 0:03:05.680 --> 0:03:12.320 but the young girls no, no, no. Yeah. But at 0:03:12.320 --> 0:03:15.680 the same time, I think the movie does a really 0:03:15.720 --> 0:03:20.359 interesting thing where on the one hand, it's it's clearly 0:03:20.440 --> 0:03:25.280 like it's not presenting it as something that looks all 0:03:25.320 --> 0:03:30.720 that enticing. I would say, yeah, in a way, it's satire, 0:03:30.760 --> 0:03:35.600 but I feel like it's not necessarily ironically distanced or 0:03:35.680 --> 0:03:39.680 that it's judging the characters. I think it actually adopts 0:03:39.720 --> 0:03:44.280 their point of view of just youthful naivete and and 0:03:44.440 --> 0:03:47.480 that for them when they like there's there's a voice 0:03:47.480 --> 0:03:50.760 over at one point where um, one of the girls says, uh, 0:03:51.040 --> 0:03:53.520 maybe it's faith. Um she says, you know, I think 0:03:53.560 --> 0:03:55.720 this is like the most spiritual place I've ever been. 0:03:56.360 --> 0:04:00.240 And that could be a commentary and a laugh line 0:04:00.280 --> 0:04:03.840 and sort of like a critique of limited her worldview 0:04:03.920 --> 0:04:07.040 is or something. But I think really more fundamentally it's 0:04:07.080 --> 0:04:10.720 something genuine and true that she's expressing. And I think 0:04:10.760 --> 0:04:14.400 it's even something that the film is kind of allowing 0:04:14.800 --> 0:04:19.120 to to pass without commentary as this kind of sincere thing, 0:04:19.240 --> 0:04:22.400 Like there is something to this like right of spring, 0:04:23.040 --> 0:04:25.800 release of like pent up sexual energy and all all 0:04:25.839 --> 0:04:28.600 the rest of it, just the partying and the craziness, 0:04:28.640 --> 0:04:32.160 Like even though it very quickly turns bad and into 0:04:32.200 --> 0:04:36.320 excess and all of that, and there's all these negative consequences, Like, 0:04:36.360 --> 0:04:40.599 there is just something instinctual and kind of pure about 0:04:40.640 --> 0:04:43.640 that expression of like youthful energy, even if it gets 0:04:43.680 --> 0:04:46.400 channeled into all these messed up things. Um, I think 0:04:46.480 --> 0:04:49.920 the film wants to acknowledge, you know, and and not 0:04:50.040 --> 0:04:55.039 like condescend towards it necessarily. Yeah, I totally agree. I 0:04:55.080 --> 0:04:58.320 think it's interesting once you strip away all of the 0:04:59.440 --> 0:05:02.279 sort of any artifice of this film. And we'll talk 0:05:02.320 --> 0:05:06.920 about the the music video aesthetic and the color palette, 0:05:06.960 --> 0:05:09.280 which is all like kind of cool stuff. But if 0:05:09.279 --> 0:05:11.440 you strip all that away, to me, it's two things. 0:05:11.520 --> 0:05:15.760 It's it's a movie about these lost girls who aren't 0:05:15.800 --> 0:05:18.520 so far off from people in his earlier films. They're 0:05:18.520 --> 0:05:21.919 not quite the trailer park people, but they're not a 0:05:21.960 --> 0:05:25.719 million miles away either, who are sort of trapped in 0:05:25.720 --> 0:05:29.760 this mundane existence of small town nothingness. So it's that, 0:05:29.839 --> 0:05:32.919 and it's also just a very straight ahead sort of 0:05:32.960 --> 0:05:36.159 trophy crime movie like it it hits all the notes 0:05:36.200 --> 0:05:39.599 of movies we've seen before of the group that gets 0:05:39.600 --> 0:05:41.240 in over their head and one is kind of the 0:05:41.320 --> 0:05:43.520 ringleader and one doesn't feel so good about it, and 0:05:44.040 --> 0:05:45.960 all of a sudden, they're in way too deep and 0:05:46.000 --> 0:05:47.680 you know, bad things are going to happen, and they do. 0:05:47.880 --> 0:05:50.840 Like it's very sort of by the numbers, but it's 0:05:50.880 --> 0:05:55.440 just dressed up in this MTV spring break party aesthetic. Uh, 0:05:55.800 --> 0:05:58.360 it's a great effect, I think. Yeah. He he definitely 0:05:58.440 --> 0:06:01.560 like it's his most kind of can eventually plot driven 0:06:02.080 --> 0:06:05.279 I think, so you could say, uh, at the same 0:06:05.320 --> 0:06:09.479 time while remaining very kind of like floaty. And you know, 0:06:09.520 --> 0:06:12.039 we can talk a lot about how it's structured and 0:06:12.120 --> 0:06:14.120 the way that it kind of doubles back on itself 0:06:14.160 --> 0:06:17.680 all the time, and there's all these recurring shots, recurring phrases. 0:06:18.320 --> 0:06:22.640 Um you know, yeah, you know. He talks about how 0:06:22.680 --> 0:06:25.719 he wanted to structure the film almost like a song, 0:06:26.080 --> 0:06:28.600 you know, where there would be samples and loops and 0:06:28.680 --> 0:06:32.920 like verses and choruses and um. And that the whole film. 0:06:32.960 --> 0:06:35.240 I mean, it's almost all waldomal music. You know, there's 0:06:35.279 --> 0:06:39.919 always like score or source music or something happening and um. 0:06:40.000 --> 0:06:42.520 And just like the way he uses the voiceover to 0:06:42.640 --> 0:06:45.760 kind of develop these themes and move from one section 0:06:45.800 --> 0:06:48.120 to the next and so on. Um, he does a 0:06:48.160 --> 0:06:50.880 similar kind of thing that we saw, for instance, in 0:06:51.000 --> 0:06:56.279 The Limey, where he'll film a conversation and multiple locations 0:06:56.680 --> 0:06:59.000 and kind of cross cut between them and you get 0:06:59.000 --> 0:07:02.800 the sense that, you know, maybe this is somebody's hazy 0:07:02.839 --> 0:07:05.480 memory of a conversation that happened at some point during 0:07:05.480 --> 0:07:08.520 that day, but it's unclear exactly when, and we're kind 0:07:08.520 --> 0:07:13.440 of seeing multiple angles of it. Um. So Yeah, on 0:07:13.480 --> 0:07:16.760 the one hand, he does use all this kind of 0:07:16.800 --> 0:07:21.200 as a framework for a pretty conventional crime story of like, 0:07:21.200 --> 0:07:23.160 like you said, people in over their head and then 0:07:23.760 --> 0:07:26.720 rival drug dealers and a big shootout at the end 0:07:26.760 --> 0:07:30.000 and all that. But I think that's just kind of 0:07:30.040 --> 0:07:32.440 the window dressing. I think you know, what he's really 0:07:32.480 --> 0:07:35.640 at here is is something different, is trying to find 0:07:35.680 --> 0:07:38.440 a different way to structure a film or to make 0:07:38.440 --> 0:07:43.440 a film or to express these kinds of ideas through film. Um, 0:07:43.600 --> 0:07:46.120 with the kind of conventional plot just sort of being 0:07:46.160 --> 0:07:48.560 like a little bit of a backbone, a little bit 0:07:48.560 --> 0:07:51.520 of something to grab onto. Um. You know, I would 0:07:51.520 --> 0:07:54.320 compare this film very closely with like a lot of 0:07:54.400 --> 0:07:58.400 later Malick films. Um. In fact, Malik made a film 0:07:59.240 --> 0:08:01.240 really just a year or two after after this one 0:08:01.280 --> 0:08:03.880 came out, although he was shooting it really at the 0:08:03.920 --> 0:08:07.040 same time that this one was being shot and around 0:08:06.680 --> 0:08:11.920 twelve Um called Night of Cups. And yeah, it's it's 0:08:12.000 --> 0:08:14.200 one of my favorite Malik films. Um. But a lot 0:08:14.200 --> 0:08:15.720 of people really don't like it, and a lot of 0:08:15.720 --> 0:08:18.960 people just haven't seen it period. But um, there's a 0:08:18.960 --> 0:08:22.920 lot of similar ideas about very briefly and Knight of 0:08:22.920 --> 0:08:25.520 Cups is about a guy who was working in the 0:08:25.560 --> 0:08:28.800 film industry as a screenwriter. It's based very loosely off 0:08:28.840 --> 0:08:31.560 of Malik After Days of Heaven, where he was like 0:08:31.560 --> 0:08:35.800 playing script doctor for a minute. And um, it's basically 0:08:36.000 --> 0:08:39.480 Christian Bale plays this guy, and it's it's about him 0:08:39.520 --> 0:08:43.280 being this womanizing, you know, just living life to the 0:08:43.280 --> 0:08:47.880 absolute excess kind of character and the complete like emptiness 0:08:47.880 --> 0:08:50.680 that he feels inside from this where he thinks he's 0:08:50.880 --> 0:08:52.600 this is what's going to make him happy and it 0:08:52.640 --> 0:08:56.280 really doesn't. And um it's told in a very similar 0:08:56.320 --> 0:09:00.600 way where uh, you know, it's it's very musical, it's 0:09:00.640 --> 0:09:04.000 there's hardly ever any really dialogue scenes. It's all just 0:09:04.080 --> 0:09:07.360 kind of fragments and so on. Um he uses like 0:09:07.440 --> 0:09:10.120 this some of the same cameras, these low grade digital 0:09:10.160 --> 0:09:13.520 cameras that Korean uses from time to time in this film. 0:09:13.640 --> 0:09:16.960 Malik also uses in that film, um so I you 0:09:17.000 --> 0:09:19.960 know that the two films share a lot of DNA. However, 0:09:20.280 --> 0:09:24.000 Mali's film there is no conventional narrative to like grab onto, 0:09:24.320 --> 0:09:26.200 So it's just two too and a half hours of 0:09:26.280 --> 0:09:29.520 like complete just you know, floating from one thing to 0:09:29.559 --> 0:09:32.320 the next, and if you pay super close attention, you'll 0:09:32.320 --> 0:09:35.319 see kind of a development happening. But you know, if 0:09:35.360 --> 0:09:37.240 you're if you're not like all the way in, it's 0:09:37.280 --> 0:09:39.079 just going to seem like two and a half hours 0:09:39.080 --> 0:09:42.880 of you know, people on beaches and people in cars 0:09:42.960 --> 0:09:45.600 and keep leving meaningless sex and and all that kind 0:09:45.640 --> 0:09:48.840 of stuff. So I think this is directorially one of 0:09:49.120 --> 0:09:53.640 Harmony Korean's stronger films. Um and I got like Sofia 0:09:53.720 --> 0:09:58.080 Copela vibes at times. Although he made this before bling Ring, 0:09:58.360 --> 0:10:00.680 I think bling Ering is a sort of slightly tamed 0:10:00.720 --> 0:10:03.600 down version of this movie. And uh, I also got 0:10:03.640 --> 0:10:05.679 a little bit of a gust fans and vibe here 0:10:05.720 --> 0:10:09.320 and there, which I come to think of it, His 0:10:09.440 --> 0:10:13.280 earlier films definitely evoke guest fans and I just never 0:10:13.280 --> 0:10:16.160 really thought about it before. Yeah, and Larry Clark, to who, 0:10:16.200 --> 0:10:19.240 of course, you know, collaborated on Kids and the whole 0:10:19.240 --> 0:10:23.160 idea of like, what did he write kids? Harmony Crean 0:10:23.360 --> 0:10:26.760 wrote wrote Kids. Um, he was just like a skater 0:10:26.880 --> 0:10:29.120 hanging out in New York City and Larry Clark was 0:10:29.120 --> 0:10:32.719 photographing skaters and they started talking and Crean told him like, oh, 0:10:32.760 --> 0:10:34.839 I want to be a filmmaker. I've got this idea 0:10:34.880 --> 0:10:36.800 for a movie or whatever. And it just kind of 0:10:36.840 --> 0:10:40.959 developed very quickly from there, and Karina was like, or something, 0:10:40.960 --> 0:10:43.120 he's really young. I love that movie and I saw 0:10:43.120 --> 0:10:44.920 it in New York when it came out in the theater, 0:10:45.040 --> 0:10:48.319 and that really launched him. Is one of the great 0:10:49.400 --> 0:10:55.199 young weirdo you know, avant garde experimental type filmmakers. The 0:10:55.520 --> 0:10:58.280 success of that film, which was made very cheaply and 0:10:58.280 --> 0:11:01.080 and did you know, relatively well at the box office. 0:11:01.160 --> 0:11:04.559 It was like an indie sensation, very controversial. Everybody was 0:11:04.600 --> 0:11:06.640 talking about it, so it got that kind of attention 0:11:06.720 --> 0:11:09.520 and right up and so on. Um, that got Korean 0:11:09.640 --> 0:11:12.200 kind of like not a blink check, but a million 0:11:12.240 --> 0:11:14.880 dollar check anyway to go make whatever he wanted to make. 0:11:14.920 --> 0:11:17.080 So he made Gummo, which I still think is like 0:11:17.120 --> 0:11:21.120 his best film. Um, and spring Breakers kind of comes 0:11:21.559 --> 0:11:25.480 at a point where his career had kind of been 0:11:26.360 --> 0:11:29.160 on the decline for a while. He had a period 0:11:29.160 --> 0:11:34.960 after Gummo where he got really heavily into drugs. He yeah, 0:11:35.040 --> 0:11:38.000 he Um. I think there was like a couple house 0:11:38.080 --> 0:11:42.679 fires where you know, he almost died and um, various 0:11:42.800 --> 0:11:44.680 things that he was working on were like lost in 0:11:44.679 --> 0:11:47.520 those fires. Some of this might be Korean's sort of 0:11:47.559 --> 0:11:51.480 like self mythologizing, because he likes to kind of, you know, 0:11:51.760 --> 0:11:54.400 been the truth and and invent stories about himself and 0:11:54.480 --> 0:11:57.160 kind of make things sound a little more outrageous than 0:11:57.320 --> 0:12:01.199 sometimes they are. At least. Oh man, I love those 0:12:01.400 --> 0:12:03.920 I love those appearances. Anybody who hasn't seen there's a 0:12:03.960 --> 0:12:06.959 compilation on YouTube of like you can see the progression 0:12:07.200 --> 0:12:09.400 because the first time he's just like this like innocent 0:12:09.480 --> 0:12:13.080 looking young kid, and then the next time he's like 0:12:13.679 --> 0:12:16.480 strung out, and you know, he's got this like scraggly 0:12:16.559 --> 0:12:20.880 beard and he looks like super rough and he's yes, 0:12:20.960 --> 0:12:23.400 well yeah, So by the time he makes spring Breakers, 0:12:23.960 --> 0:12:28.200 he um, he's come out of this this long period 0:12:28.200 --> 0:12:30.920 of like addiction and and almost dying and so on, 0:12:31.440 --> 0:12:35.160 and um, now he's like the more matured version of 0:12:35.240 --> 0:12:38.120 himself where he still has all the same kind of 0:12:38.120 --> 0:12:42.320 like wacky sensibilities. Um, he's still like very free and 0:12:42.400 --> 0:12:47.480 how he uh uses creativity and he's not afraid of 0:12:47.559 --> 0:12:50.559 looking ridiculous or of trying something that may or may 0:12:50.600 --> 0:12:54.320 not work. But at the same time he has that 0:12:54.440 --> 0:12:57.960 more like mature minded responsibility, you know. And now it's 0:12:58.040 --> 0:13:01.920 him as a slightly older person and looking at youth 0:13:02.160 --> 0:13:06.000 the way Larry Clark was looking at youth and kids. Yeah, 0:13:06.080 --> 0:13:09.000 I mean, let's talk for a minute just about the 0:13:10.080 --> 0:13:13.520 how beautiful this movie is. Aesthetically. It's, um, I mean, 0:13:13.600 --> 0:13:16.880 obviously all the big the big beach pool side scenes 0:13:16.920 --> 0:13:19.080 and all that is a little sort of over the 0:13:19.080 --> 0:13:21.800 top in that slow mobe like kind of day glow 0:13:21.840 --> 0:13:26.520 fluorescent world. But there's so many gorgeous shots in this movie. Um, 0:13:26.520 --> 0:13:29.520 early on, the color palette is clearly just one of 0:13:29.559 --> 0:13:32.000 the things he wanted to lean into on this movie. 0:13:32.120 --> 0:13:35.319 And uh, and it's obvious and a lot of this 0:13:35.480 --> 0:13:38.200 stuff because it's just so bright and colorful. But even 0:13:38.200 --> 0:13:41.319 in the subtle shots where uh, I'm thinking about, like 0:13:41.720 --> 0:13:44.960 the stained glass early on coming through the windows and 0:13:45.000 --> 0:13:48.600 then that cut together with the scene of the girls 0:13:48.679 --> 0:13:52.079 in the classroom in the dark with everything lit by 0:13:52.080 --> 0:13:56.520 computer laptop screens of different colors, but just really gorgeous stuff. 0:13:56.559 --> 0:13:58.920 That's the stuff that reminded me of Sofia Coppola. Sort 0:13:58.920 --> 0:14:02.640 of dreamy, colorful, a lot of slow moo and voiceover 0:14:02.720 --> 0:14:05.720 going on. Yeah. His his cinematographer that he used for 0:14:05.760 --> 0:14:08.480 this film is a guy Ben wad to Be. Um. 0:14:08.559 --> 0:14:11.680 He's a French cinematographer and he's most known for his 0:14:11.760 --> 0:14:14.920 work with gas Bar and Away and films like Reversible 0:14:14.960 --> 0:14:21.120 and especially Into the Void, which is similarly hard, very psychedelic, colorful, trippy, 0:14:21.240 --> 0:14:23.840 uh kind of movie. And yeah, as you mentioned, very 0:14:23.880 --> 0:14:28.480 very lighthearted stuff. Um. And so he he Krean talks 0:14:28.520 --> 0:14:31.200 about how he wanted this film to have the look 0:14:31.240 --> 0:14:33.480 of like candy. You know, that he wanted it to 0:14:33.520 --> 0:14:39.280 be this like bright neon saturated, just completely over the top. Yeah, 0:14:39.360 --> 0:14:41.479 and and that it would have this kind of delectable, 0:14:41.880 --> 0:14:45.080 like iye candy quality to it at the same time 0:14:45.120 --> 0:14:49.080 that the material can be quite dark. Um, it's not 0:14:49.240 --> 0:14:52.240 like a particularly dark feeling film. I feel like in 0:14:52.240 --> 0:14:54.960 a lot of ways, the tone, even when things get 0:14:55.040 --> 0:14:58.960 kind of heavy, it has this sort of like just 0:14:59.040 --> 0:15:02.680 like fun aspect to it. Um. It doesn't get like 0:15:02.840 --> 0:15:07.240 depressing the way you could say maybe kids gets depressing. Um, 0:15:07.280 --> 0:15:09.880 it doesn't have as much of a documentary feel. It's 0:15:09.960 --> 0:15:13.400 it's it's reality pushed a little bit beyond reality so 0:15:13.400 --> 0:15:15.960 that it's almost kind of surreal and there's almost something 0:15:16.040 --> 0:15:18.920 kind of dreamlike or fable like about it. Where this 0:15:19.000 --> 0:15:22.840 is more about it's it's not talking so literally about 0:15:22.920 --> 0:15:25.920 youthful access. It's taking that access and then pushing it 0:15:26.280 --> 0:15:31.280 beyond the point of realism while not completely detaching from reality, 0:15:31.320 --> 0:15:35.360 but just kind of you know, everything's turned up to eleven. Yeah. Well, 0:15:35.360 --> 0:15:37.560 because like I was saying, it's still it's hard to 0:15:37.600 --> 0:15:41.120 movie about these lost young girls who don't know shit, 0:15:41.520 --> 0:15:44.240 and they don't know what they're gonna do, they don't 0:15:44.240 --> 0:15:47.760 know where they're gonna go. They know they're not happy. Um, 0:15:47.800 --> 0:15:52.200 that's where the Sophia like, it's sort of yeah, recalled 0:15:52.240 --> 0:15:54.640 sort of virgin suicides a little bit and lingering, like 0:15:55.200 --> 0:15:57.480 the scene, that beautiful scene in the dorm room when 0:15:57.520 --> 0:16:00.080 they were that voiceovers going on. They were doing the 0:16:00.200 --> 0:16:04.080 handstands against the wall and all of their legs were 0:16:04.080 --> 0:16:07.320 sort of criss crossing, and it's just it's really easy 0:16:07.360 --> 0:16:09.840 to overlook stuff like that, but those were really beautiful, 0:16:09.880 --> 0:16:15.320 beautiful shots. It's he's finding like transcendence in stuff that 0:16:15.360 --> 0:16:20.480 ought not necessarily be transcendent because it's so fraught with, 0:16:20.840 --> 0:16:26.680 you know, all these problems of let's say objectification of 0:16:26.680 --> 0:16:31.240 of you know, male gaze. We could say of um, 0:16:31.320 --> 0:16:35.320 just you know, youthful like hyper sexuality and corruption and 0:16:35.720 --> 0:16:38.200 loss of innocence and all this stuff. But that's not 0:16:38.600 --> 0:16:42.520 where they're coming from, and they don't necessarily even recognize 0:16:42.880 --> 0:16:46.800 it to themselves, like how much danger they're in sometimes, 0:16:47.400 --> 0:16:48.920 well you can hear it in the calls to their 0:16:49.080 --> 0:16:52.040 parents and grand I know that they're playing it down 0:16:52.080 --> 0:16:54.760 but you know, everyone here is so sweet and we're 0:16:54.800 --> 0:16:57.880 just having such a good time, and it's just like 0:16:58.520 --> 0:17:01.840 I could see the I could see people watching this 0:17:01.960 --> 0:17:07.640 movie and being horrified, thinking that it is in celebration 0:17:07.680 --> 0:17:11.880 of this behavior and objectifying it, whereas I didn't take 0:17:11.880 --> 0:17:14.359 it that way. I thought it was part satire, part 0:17:15.520 --> 0:17:20.119 uh what do you call the warning? Like, uh, like 0:17:20.200 --> 0:17:23.920 a cautionary tale, kind of cautionary tale, a little bit um. 0:17:24.400 --> 0:17:27.840 Never did I think that Harmony Corene was saying, like, look, 0:17:27.840 --> 0:17:31.200 how fucking badass this scene, you know, and I think 0:17:31.280 --> 0:17:34.119 some people, I bet this movie was protested, you know, 0:17:34.280 --> 0:17:37.280 like it's it's over the top when it comes. I 0:17:37.320 --> 0:17:39.080 was going to make a joke at the beginning of 0:17:39.080 --> 0:17:43.280 this episode that I like smoked weed every time someone 0:17:43.320 --> 0:17:46.160 in the movie smoked weed, and I took a shot 0:17:46.160 --> 0:17:51.480 every time there were bare breasts and be like, yeah, yeah, 0:17:51.520 --> 0:17:54.200 you couldn't make everywhere all the time. Yeah, oh yeah. 0:17:54.240 --> 0:17:56.560 I mean the excess is like that's the point. If 0:17:56.600 --> 0:17:59.040 it were restrained, it would be something totally different. But 0:17:59.640 --> 0:18:02.760 it's just like it's something that might be fun for 0:18:02.840 --> 0:18:05.480 like a couple of hours, but then you stretch that 0:18:05.520 --> 0:18:10.560 into just like this absurd you know, like end of 0:18:10.600 --> 0:18:14.880 the world apocalyptic kind of you know, exuberance of um, 0:18:14.920 --> 0:18:18.320 just wall to wall drinking and smoking. And it never 0:18:18.320 --> 0:18:20.840 shows anyone going to bed at night and came up 0:18:20.840 --> 0:18:24.240 and having breakfast. It's like there are the bits of 0:18:24.359 --> 0:18:27.760 quiet moments as I think when they were they were 0:18:28.960 --> 0:18:30.639 and yeah, when they're near the pool, or when they 0:18:30.640 --> 0:18:33.320 were just sort of drinking at the in the parking 0:18:33.320 --> 0:18:35.480 lot and stuff like that, like they removed themselves a 0:18:35.520 --> 0:18:38.480 little bit. But um, you know, they had that first 0:18:38.560 --> 0:18:41.600 robbery scene at the chicken check and it's all right 0:18:41.640 --> 0:18:43.639 there in those two lines. Just pretend like it's a 0:18:43.720 --> 0:18:46.000 video game, act like you're in a movie or something. 0:18:46.760 --> 0:18:50.280 And that's like it's it's horrifying when you think of 0:18:50.280 --> 0:18:54.480 those two lines, because it's true like that, I could 0:18:54.480 --> 0:18:56.880 see something like this going. This could be a news 0:18:56.920 --> 0:19:00.879 story very easily. Yeah, I'm sure similar things have probably happened, 0:19:00.920 --> 0:19:04.120 like the sort of the ability when you're that young 0:19:04.200 --> 0:19:10.120 to detach and compartmentalize and that sense of like youthful 0:19:10.200 --> 0:19:14.560 immortality that so many teenagers have where they're like, you know, 0:19:14.640 --> 0:19:19.280 taking huge life altering risks like they were nothing because 0:19:19.320 --> 0:19:23.520 they think they're invincible, or they just don't see. Yeah, 0:19:23.560 --> 0:19:25.400 they've seen in a movie and it worked out fine 0:19:25.440 --> 0:19:29.080 for that character. So you know, I don't think Karine 0:19:29.200 --> 0:19:32.760 is like a social critic per se, but he does 0:19:32.840 --> 0:19:34.919 have these little notes like you said of like pretend 0:19:34.960 --> 0:19:37.240 it's a video game, like it's in a movie or something, 0:19:38.119 --> 0:19:41.560 because I think it's all about how for them they're 0:19:42.000 --> 0:19:46.000 in this like fantasy world and there's the real world 0:19:46.680 --> 0:19:50.399 next to that and and underneath all that, but in 0:19:50.480 --> 0:19:54.119 their own kind of subjective experience, they're living through this 0:19:54.200 --> 0:19:57.440 kind of like youthful fantasy and they don't realize it's 0:19:57.440 --> 0:20:00.960 like how close they are to real disaster. Yeah, and 0:20:01.000 --> 0:20:04.600 that robbery scene, man, just when there's been a couple 0:20:04.600 --> 0:20:06.639 of movies, like you've seen it all, like how do 0:20:06.680 --> 0:20:08.320 you shoot a robbery? How do you shoot a heist? 0:20:08.600 --> 0:20:12.080 How do you shoot someone breaking into a bank vault? 0:20:12.080 --> 0:20:15.159 And I remember Sexy Beasts when that came out and 0:20:15.160 --> 0:20:17.399 they did the underwater than with the bank vault, and 0:20:17.440 --> 0:20:20.960 I was like, fuck, dude, like someone thought of something new. 0:20:21.119 --> 0:20:25.480 And then this showing the perspective of that car pulling 0:20:25.480 --> 0:20:28.400 around that restaurant very slowly and each time it pulls 0:20:28.440 --> 0:20:31.160 around a corner, the girls are inside in another part 0:20:31.160 --> 0:20:34.040 of the restaurant, and I was like, hats off to him, man, 0:20:34.240 --> 0:20:36.359 he thought a bit of a new way to shoot it. 0:20:36.840 --> 0:20:40.160 And not only that, but later on you get the interior. Yeah, exactly, 0:20:40.200 --> 0:20:42.560 You're you're you're getting from You're just getting these little 0:20:42.560 --> 0:20:47.640 snippets climpse through the window as the cars driving, and um, 0:20:47.680 --> 0:20:50.560 it's it's like editing within the within the frame. You know, 0:20:50.840 --> 0:20:52.440 you get a little bit here, and then you get 0:20:52.480 --> 0:20:54.399 some wall, then you get a little bit here, and 0:20:54.440 --> 0:20:56.400 then yeah, like you said, later on when they're kind 0:20:56.400 --> 0:20:58.960 of in the parking lot and they're recounting how they 0:20:58.960 --> 0:21:01.400 actually went about the raw bree and intimidated these people 0:21:01.440 --> 0:21:04.320 and so on, Um, you get like that was handheld 0:21:04.400 --> 0:21:08.480 inside of the And that's really that's like, it's it's 0:21:08.520 --> 0:21:12.040 cool because when we're outside and we're a little bit removed, 0:21:12.720 --> 0:21:15.119 we have one reaction to the violence, which is like, 0:21:15.119 --> 0:21:17.919 well that's not cool, but it's it's more of a 0:21:17.920 --> 0:21:21.159 subdued kind of feeling because we're removed from it. Then 0:21:21.280 --> 0:21:24.680 when they're kind of recounting it the second time, we're 0:21:24.800 --> 0:21:27.000 right up in it with the handheld, and you can 0:21:27.080 --> 0:21:29.719 kind of see how afraid these people are for their lives, 0:21:29.760 --> 0:21:31.679 even though it's just a game for these girls. But 0:21:31.920 --> 0:21:34.080 these people don't know that, and they are losing their 0:21:34.119 --> 0:21:36.720 money in their wallets and so on. Um and and 0:21:38.119 --> 0:21:40.119 getting you know, a gun even though it's we know 0:21:40.200 --> 0:21:42.040 it's a square gun, but it is to them, it's 0:21:42.080 --> 0:21:44.280 just a gun in their face. So they're terrified. They're 0:21:44.280 --> 0:21:48.320 so lucky they didn't end up dead, especially open carry exactly. 0:21:48.600 --> 0:21:50.800 It's just it's crazy that not one person in that 0:21:50.880 --> 0:21:54.720 restaurant didn't have a gun, like in Boogie Night Style. 0:21:54.880 --> 0:21:58.640 Oh god, don seetle in the donut job? Oh man, 0:22:06.760 --> 0:22:08.919 do you know much about the back like how he 0:22:09.000 --> 0:22:11.639 shot this? Was this? Did he go to a spring 0:22:11.640 --> 0:22:14.520 break or did he literally get all these extras and 0:22:14.800 --> 0:22:16.920 put them in a movie. No, A lot of this 0:22:17.040 --> 0:22:20.719 is really shot like in and around spring break. Um. 0:22:21.160 --> 0:22:23.520 I had they used you know a lot of just 0:22:23.560 --> 0:22:28.440 like real people, real locations. Um. And I think for instance, 0:22:28.640 --> 0:22:30.639 when they're having that daytime party where they end up 0:22:30.640 --> 0:22:35.160 getting arrested, um before when you know, as that party 0:22:35.200 --> 0:22:38.280 is going on, still raging. Um. A lot of those 0:22:38.280 --> 0:22:40.960 were just like people off the street that they invited 0:22:40.960 --> 0:22:43.560 to come there and told them to just go crazy 0:22:44.280 --> 0:22:46.359 and and they said they basically kind of like lost 0:22:46.400 --> 0:22:49.720 control at various points where they're trying to tell people 0:22:49.760 --> 0:22:52.120 all right, cut cut calm down, and it just kept going. 0:22:52.280 --> 0:22:54.320 And well they were probably really fucked up too. Yeah, 0:22:54.359 --> 0:22:56.720 oh exactly exactly. And so they're they're in like a 0:22:56.760 --> 0:23:02.280 real abandoned hotel, um and just like you know, utter anarchy. Yeah. 0:23:02.359 --> 0:23:05.119