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Speaker 1: Hello, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did. My name is Millie to Jericho, I'm Daniel Henderson,

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Speaker 1: and hey, look at us. We're back again to talk

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Speaker 1: about movies.

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Speaker 2: Hey look at us. Looks the new intro every week.

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Speaker 2: Hey look at us, Hey look at us.

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Speaker 1: We're back. What's up? I know, what's up? I feel

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Speaker 1: like I haven't talked to you in like a week.

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Speaker 2: I know, well the listeners don't know this, but we

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Speaker 2: took a week off. We're very shady when we take

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Speaker 2: time off because we always make sure there's like a

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Speaker 2: new EP. Yeah, so that you guys don't know. How

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Speaker 2: are you adjusting to your new place?

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Speaker 1: Oh, it's fine. I just wanted to say, I'm gonna

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Speaker 1: just throw this out there. If you hear a loud bang,

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Speaker 1: it's because there are golf ball sized nuts falling onto

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Speaker 1: the house.

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Speaker 2: That I'm ind.

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Speaker 1: Like, and I don't know what to do. I'm sorry,

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Speaker 1: this sounds like a cartoon. What is happening over there?

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Speaker 1: So you know, I'm sort of you know, there's a

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Speaker 1: lot of yard in this house, and there's this tree.

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Speaker 1: I had to google it because I was like, what,

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Speaker 1: And it's like a hickory tree, I think, and that

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Speaker 1: is like specific to the southern the southeastern United States,

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Speaker 1: and I think the actual nut is called a mocker nut. No,

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Speaker 1: that ain't right. I don't know any of this. I

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Speaker 1: don't like any of this. MILLI I know it's very strange,

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Speaker 1: but I I was like something I was I was like,

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Speaker 1: is somebody throwing rocks at the house, because they's a

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Speaker 1: huge sound. And then what would happen is I would

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Speaker 1: hear klang on the roof and then I heard it

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Speaker 1: roll off the side of the house, and I was like, Okay,

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Speaker 1: somebody's throwing like actual golf balls or something. And then

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Speaker 1: when I went out there, all on the deck and

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Speaker 1: in the yard, are these truly like these golf ball

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Speaker 1: sized green nuts that are just all over the yard.

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Speaker 1: And I'm like, Oh, it's coming from that big ass

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Speaker 1: tree that's literally above the house.

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Speaker 2: So can you smoke with like, you know, hickory smoked things,

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Speaker 2: Can you like smoke with them? You give a big smoker.

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Speaker 1: See, I listen, there's probably some mocker nut fucking expert

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Speaker 1: that's listening right now that's going to get into our

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Speaker 1: DMS and tell us exactly how to fucking prepare this thing.

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Speaker 1: I don't think it's doing any of it. I think

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Speaker 1: it's really just like squirrel food. I don't know if

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Speaker 1: people actually eat them.

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Speaker 2: I think it's great that you're supporting the local ecosystem,

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Speaker 2: but I also guarantee if you go on Pinterest and

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Speaker 2: look up like hickory nut or mocker nut, you're gonna

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Speaker 2: be able to make a wreath and sell it for

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Speaker 2: like eight hundred dollars to somebody.

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Speaker 1: Side, do you have a glue gun? I do know

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Speaker 1: how to spray paid shit.

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Speaker 2: White Side biz a mocker nut wreath for everyone for Christmas.

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Speaker 1: I'm gonna be like motherfucking Magnolia Company. Pretty soon. It's

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Speaker 1: gonna be like what I'm talking about. Like, listen, she

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Speaker 1: ain't the only half Asian in the game right now,

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Speaker 1: and the fucking home Craft game. I got nuts, Listen,

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Speaker 1: nuts just because she found a fucking honky ginger hottie

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Speaker 1: to marry and I didn't. Well, Okay, now that we're

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Speaker 1: talking about nuts, I want an update on the craziness

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Speaker 1: with the house and brown Hogs.

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Speaker 2: All right, Listen, Chauncey has been evicted. Chauncey and all

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Speaker 2: of his groundhog family have been evicted. And here's why

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Speaker 2: I had a wildlife exterminator come to the house because

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Speaker 2: I kept here and shit in the walls and under

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Speaker 2: the floors and like you know, and listening to them

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Speaker 2: party in the mosh pit under my porch. So I

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Speaker 2: had a wildlife exterminator. And this guy is this is

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Speaker 2: he's his own entire story.

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Speaker 1: He is wild. He is the wildest person I've ever

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Speaker 1: met in the world. Is he like a tiger king type, No,

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Speaker 1: he's like.

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Speaker 2: He's very like he's very cool and friendly and funny

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Speaker 2: and just like he belongs outside. He's the kind of

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Speaker 2: person like you cannot picture him inside, Like he had

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Speaker 2: to come inside the house to do an inspection, and

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Speaker 2: I thought he was going to like jump out of

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Speaker 2: his skin, Like I'm sure he like sleeps on a

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Speaker 2: pile of rocks in a field, and like he's that

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Speaker 2: kind of guy where he's like I am one with nature.

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Speaker 1: Swim and naked in the in the river and lives

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Speaker 1: outside totally totally, So he and his personal story is wild.

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Speaker 1: He is hilarious.

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Speaker 2: I am so grateful to him because he's the reason

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Speaker 2: I found out the.

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Speaker 1: Sound under my floorboards.

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Speaker 2: Groundhogs the sound in my walls bats. Essentially, Chauncey and

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Speaker 2: his family had been tunneling in this property for so long.

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Speaker 1: He said he'd never seen anything like it.

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Speaker 2: He's like, they must have been here for like fifteen

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Speaker 2: twenty years setting up an infrastructure under my goddamn yard.

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Speaker 1: What those motherfuckers tunneled from.

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Speaker 2: The back of the yard, which is three acres away,

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Speaker 2: under the house, under the foundation, under the house, and

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Speaker 2: into the goddamn garage. I saw Chauncey in my fucking

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Speaker 2: garage and I was like, what are you doing here?

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Speaker 2: I'm trying to take my garbage out? And he was

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Speaker 2: like oop, and he kind of waddled away out of

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Speaker 2: a big old hole and then went under the garage

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Speaker 2: and down the back of the yard. These motherfuckers are organized.

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Speaker 2: It is like a tet offensive in here of groundhog shit.

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Speaker 2: They have destroyed by had been shoeing on this house

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Speaker 2: and yard for so long, And it was that thousands

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Speaker 2: of dollars of damage. Remember the other other week, when

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Speaker 2: I'm like, I got some news that I don't want

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Speaker 2: to talk about, I remember this the news.

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Speaker 1: This is the news.

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Speaker 2: They have done thousands of dollars of damage and it

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Speaker 2: was going to cost thousands of dollars to get them

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Speaker 2: out of my fucking face.

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Speaker 1: So now you've realized that Chauncey and his wife are

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Speaker 1: essentially the Chip and Joanna games of Oh Your fucking Yard.

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Speaker 2: They were groundhog Magnolia all under this shit.

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Speaker 1: I want to know. I mean, maybe we got to

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Speaker 1: get this wildlife guy on the pod because I want

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Speaker 1: to know what kind of shit that they were building

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Speaker 1: down there. Do they got like little areas for like,

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Speaker 1: you know, beating and sleeping and taking dumps? Do they

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Speaker 1: take dumps underground? I don't know anything about groundhogs. I

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Speaker 1: didn't know anything about them.

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Speaker 2: He drew me a full diagram because I was like,

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Speaker 2: what is the purpose of the groundhog?

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Speaker 1: First of all? And in the world, like in the ecosystem?

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Speaker 1: What do they do?

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Speaker 2: And he's like they are food and I was like, okay, great,

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Speaker 2: how do they work? How does a groundhog work? Yeah?

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Speaker 2: Apparently everything's underground, so they'll tunnel underground and the first

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Speaker 2: little hole they dig, the little pit stop, they feather

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Speaker 2: it with grass and leaves and shit, and that's where

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Speaker 2: they where they shit and piss, and then they tunnel

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Speaker 2: over to a sleeping ear area and then they tunnel

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Speaker 2: an emergency exit. They're super smart and creepy as fuck,

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Speaker 2: and they were all over the mine.

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Speaker 1: So I'm not fucking around. I'm actually kind of saying

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Speaker 1: they built a whole abode under there. It was like

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Speaker 1: water World under there. Like they were just like we

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Speaker 1: are chartering new territories. Yeah, and the barn and the

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Speaker 1: I mean all He's like, I don't.

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Speaker 2: He's like, I've never seen a groundhog move more than

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Speaker 2: five feet. These motherfuckers have moved the length of your

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Speaker 2: house and property. I mean, this is fucking crazy man Generations.

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Speaker 2: So I gave him some money and I'm like, please

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Speaker 2: get them out of here, and he did. He had

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Speaker 2: to put a bat cone in the attic, he had

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Speaker 2: to patch up and kind of put an exclusion net

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Speaker 2: kind of thing around the whole porch. They couldn't get

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Speaker 2: in anymore. He did that all around the fucking house.

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Speaker 2: And he also told me as he was doing the inspection,

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Speaker 2: I was like, oh, and here's my silo.

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Speaker 1: I'm going to turn it into my office.

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Speaker 2: And without missing a beat, he goes that thing's full

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Speaker 2: of raccoon pits. You're never going to get the smell out.

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Speaker 2: You can't you can't get it, you can't be in there. Wow,

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Speaker 2: environmentally cannot use that building for anything. And I was like, cool,

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Speaker 2: here's some more money. I have spent so much money.

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Speaker 2: And then whenever people are like groundhogs are cute, great,

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Speaker 2: bring them to your house because they chewed this house

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Speaker 2: the fuck up.

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Speaker 1: Wow, Chauncey and his family got the boot. I mean,

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Speaker 1: who knows where they're at now.

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Speaker 2: They're probably chewing someone else's house. They're probably chewing someone

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Speaker 2: else's house.

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Speaker 1: Okay, so they're probably on the other side of town,

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Speaker 1: trying to figure out what the area's like over there.

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Speaker 1: How do they not come back to your house if

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Speaker 1: they've moved to another town.

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Speaker 2: I think he genuinely had to bring them to like

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Speaker 2: two or three towns away, like he relocated them like

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Speaker 2: they were in the military.

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Speaker 1: He was like, you got I go. You better hope

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Speaker 1: those kids are like, Daddy, I want to see where

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Speaker 1: we grew up or whatever. And then they're like, let's

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Speaker 1: scoot it on back to the thing. You know, pack

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Speaker 1: your bendles. No visiting.

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Speaker 2: We are not doing any kind of like no Hulk

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Speaker 2: walks back with the Bruce banner music.

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Speaker 1: Absolutely not. Yeah, get on at it.

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Speaker 2: And here's how I know that they were fucking savages.

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Speaker 2: Every other animal on this property has been partying since

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Speaker 2: they left. The deer are out there all day, the

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Speaker 2: fucking squirrels, the birds. I saw like four different new

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Speaker 2: species of birds out in the trees. Everyone is partying

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Speaker 2: because they're like Chauncey's gone wow, because he was a savage.

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Speaker 2: I told you I heard him fighting chipmunks and squirrels

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Speaker 2: and shit under the porch.

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Speaker 1: He's he was a mess. So it was like a

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Speaker 1: liberation for these animals. They were like, fucking ding dong,

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Speaker 1: the witch is dead. Get this motherfucker out of here

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Speaker 1: so we can thrive. This is truly the one thing

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Speaker 1: I have to say.

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Speaker 2: I planned so much for buying a house, and I'm like,

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Speaker 2: let me budget this, let me do that. Shit's gonna happen,

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Speaker 2: Shit's gonna get real. Never in my life would I

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Speaker 2: have thought I have to have a groundhog budget.

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Speaker 1: Fuck all of that. A groundhog budget, not just to

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Speaker 1: get them out.

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Speaker 2: I would understand if it's like, oh, I want some

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Speaker 2: groundhogs on my property, I'm gonna ship some in. No,

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Speaker 2: I'm paying to evict these motherfuckers, and now I'm spending

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Speaker 2: the rest of my summer filling holes all over my yart.

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Speaker 2: Welcome to home ownership. If you see one groundhog, take

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Speaker 2: him out.

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Speaker 1: Take them.

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Speaker 2: Don't wait for the don't wait for them to have babies,

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Speaker 2: don't wait for them to fucking settle in.

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Speaker 1: Just to take them out. They gotta go. Listen, drive

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Speaker 1: Drive those motherfuckers to Nebraska or wherever if you live,

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Speaker 1: drive them to North Dakota. I don't know what.

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Speaker 2: You know those islands where it's like, uh, like there's

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Speaker 2: some places in Asia where it's like, oh, this whole

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Speaker 2: island has been taken over by cats that but.

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Speaker 1: For groundhogs, yes, let them have their own fucking island.

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Speaker 1: They would be like.

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Speaker 2: There's some lakes in Michigan and Wisconsin they just have

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Speaker 2: little islands.

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Speaker 1: Put all the groundhogs there. Put them all there. I mean,

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Speaker 1: you and I both we've we've driven across the country

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Speaker 1: many times in our lives. We know there's a lot

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Speaker 1: of space for groundhogs. If they want it, they could

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Speaker 1: have a whole new lights. They could go out to

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Speaker 1: fucking New Mexico, go out to you know, wherever, you

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Speaker 1: know where they set off the nuclear bombs and shit,

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Speaker 1: let them fucking hang out there, Like.

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Speaker 2: Let them fucking tunnel for NASA. Let them do something important.

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Speaker 2: Let them tunnel and like find some turquoise that we

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Speaker 2: can use for rings. Like you'd have a great, a

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Speaker 2: great life in New Mexico. Your groundhog have a whole

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Speaker 2: new experience.

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Speaker 1: I mean, listen, I know we're going to get some

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Speaker 1: groundhog defenders in our DMS. We just do.

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Speaker 2: I just know our DMS. Yeah, but and I'm going

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Speaker 2: to have the same response. Take them to your house.

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Speaker 2: You're welcome to them.

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Speaker 1: You can have mine, you can simply have mine.

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Speaker 2: I had to find out what a bat cone was

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Speaker 2: this week, and I've had enough, So get them out.

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Speaker 1: You to have them, have them? Yeah, good lord.

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Speaker 2: I know this is why I was like I can't

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Speaker 2: even talk about it. Took me two weeks to process

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Speaker 2: what was happening, Like how I live now, this is

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Speaker 2: how I live now.

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Speaker 1: Well, I don't even know how to transition to a

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Speaker 1: mailbag after this. I mean, this is just like.

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Speaker 2: I think we just got to go. We just got

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Speaker 2: to do it, because it's like we need the levity,

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Speaker 2: we need the lightness. We only do mail bags now

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Speaker 2: on the show when we have some fun ones, yeah,

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Speaker 2: and something that you know, we can actually something meaty

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Speaker 2: that we can dig into.

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Speaker 1: Uh, and we have just such an email we do. Man,

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Speaker 1: are you going to read it? Because yeah, I can't

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Speaker 1: find it. I'm too realmoxed by the bat coone.

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Speaker 3: I know.

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Speaker 2: Welcome to my last two weeks. I'm like, I'm sorry,

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Speaker 2: what is this? What does this trap look like?

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Speaker 1: About?

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Speaker 2: What?

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Speaker 1: Yeah?

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Speaker 2: That thing I heard in my walls was a bat.

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Speaker 2: It sounded like a human being.

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Speaker 1: It was a beat. Oh lord, have mercy. Bats are good, though,

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Speaker 1: they're like good there was I mean, listen again, I'm

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Speaker 1: gonna bash a groundhog and I don't fucking care at

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Speaker 1: this point, but at least with bats, you know what

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Speaker 1: they're good for environmentally? With a groundhog TBD, Right, groundhog's

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Speaker 1: just food.

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Speaker 2: But also, welcome to everyone I've talked to in town

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Speaker 2: where they're like, you know, I have a couple of

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Speaker 2: friends here and I'm like, I got bats, Like, bats

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Speaker 2: are fine, and I'm like, again, bring them to your house,

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Speaker 2: because hearing a bat stomp through your walls like it's

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Speaker 2: a fucking on a drum line is not where I'm about.

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Speaker 4: Rock Bline.

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Speaker 1: It's not what I'm about, thankfully. This email has nothing

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Speaker 1: to do with bets, thank God.

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Speaker 2: Or groundhogs. Just a lovely letter from a lovely listener.

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Speaker 2: Oh let's hear it all right, Hi million Danielle. First off,

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Speaker 2: thank you for making this podcast.

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Speaker 1: I'm probably one.

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Speaker 2: Of your younger listeners, but I love listening to you

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Speaker 2: guys talk about the nineteen nineties. I just heard the

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Speaker 2: episode about Juliette Lewis being the nineties foremost murderous girlfriend,

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Speaker 2: and it was so interesting. I was fairly young when

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Speaker 2: these movies came out, I promise, not a brag, and

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Speaker 2: it got me wondering if there were other nineties stars

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Speaker 2: who'd fall into this specific category. Maybe actors who were

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Speaker 2: always cool and alternative in every movie they were in

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Speaker 2: in the nineteen nineties, or maybe actors you would consider

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Speaker 2: as those who define the nineties would also love some

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Speaker 2: movie recommendations for them too. Thanks for being our esteemed queens.

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Speaker 2: Joey and Joey uses she and her pronouns.

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Speaker 1: Em Joey, Joey Joy. Thank you for this great question.

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Speaker 2: Joey Baby as a concrete blonde, gotta go there.

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Speaker 1: You can't just leave us sit in there. When you

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Speaker 1: hear a joey, you can't just let us live there.

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Speaker 1: I mean she says that she's young. Yes, not a

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Speaker 1: bract So thank you, because I was gonna call you

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Speaker 1: out on that hill. But we can't help when people

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Speaker 1: were born. I was gonna be like, oh really, you

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Speaker 1: were like two years old when fucking natural born killers

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Speaker 1: came out.

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Speaker 2: We can't help when people were born. We're not going

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Speaker 2: to be that podcast.

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Speaker 1: We are bitter middle aged women, right.

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Speaker 2: We can't believe you were had the nerds to be

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Speaker 2: bored after us. But we also, in true form yes,

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Speaker 2: decided that we couldn't just rest on our own laurels

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Speaker 2: here to answer this question. So we had to bring

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Speaker 2: in the heavy hitter. We had to bring in the

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Speaker 2: font of knowledge. We had to bring in our friend, comedian, podcaster,

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Speaker 2: all around incredible person, she Lee wall Sharp.

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Speaker 5: Hello, Okay, hold on, Look, look we got a lot

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Speaker 5: to cover and not a lot of time, so let's

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Speaker 5: just get into it.

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Speaker 1: Yes, I like this energy.

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Speaker 5: First of all, were the groundhogs and the bats in kahoots?

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Speaker 4: Like, yeah, that's what was happening.

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Speaker 5: Look, I understand your pain because I have lived in

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Speaker 5: three separate places where squirrels have eaten their way into

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Speaker 5: the building. So I'm very anti squirrel, so to know

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Speaker 5: that the groundhog was fighting a squirrel at first was

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Speaker 5: just like yeah, But then I'm like, oh no, but

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Speaker 5: you have a whole like hobbit hole, like yeah, so

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Speaker 5: I don't like there being a groundhog Middle Earth situation, but.

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Speaker 4: That is wild.

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Speaker 5: I'm glad you're still with us and they didn't just

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Speaker 5: take over. I hope there's not a groundhog mafia. I

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Speaker 5: would hate to think like four groundhogs like rolling through

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Speaker 5: on like a golf cart, just like a nice farm

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Speaker 5: you got here.

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Speaker 1: I definitely don't feel safe.

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Speaker 2: Yeah.

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Speaker 4: So so there's.

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Speaker 2: Definitely other farms in the area where I think the

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Speaker 2: word has gotten out that like someone hasn't made their

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Speaker 2: drop for this week.

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Speaker 5: Oh yeah, oh good lord. Also, hey y'all, how you doing. Hey, Hi,

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Speaker 5: it's so good.

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Speaker 3: To see you.

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Speaker 1: We've been wanting you on the pod for so long,

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Speaker 1: because I mean, you and I shele, we go back

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Speaker 1: way back, like we've known each other for a very

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Speaker 1: long time.

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Speaker 4: We go way back, absolutely.

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Speaker 1: But you know, collectively three of us. Every time I

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Speaker 1: think it was like you guys were both living in

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Speaker 1: New York, and then I would just come visit and

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Speaker 1: I'm like, guess what, We're all going out to dinner

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Speaker 1: at some like shitty fucking steakhouse or whatever. And it

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Speaker 1: was always like, I have many pictures of the three

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Speaker 1: of us eating really fanciful steakhouse desserts, like they take

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Speaker 1: the like you know, what is it, the chocolate syrup,

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Speaker 1: and they do like a fucking design and they stick

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Speaker 1: like a thing, like a jagged.

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Speaker 5: Piece of chocolate in it and stuff. Right, Yes, absolutely,

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Speaker 5: we are. We are queens of the Uh, let's get

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Speaker 5: out a shot.

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Speaker 1: Yeah that sounds good, let's try it.

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Speaker 4: Yeah.

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Speaker 1: Absolutely, But also too, it's perfect that you were here

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Speaker 1: for this question, because I mean, this is actually a

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Speaker 1: cool question because it's like a thought experiment that I

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Speaker 1: think that you could probably speak to.

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Speaker 4: Right, Okay, yeah, yeah, yeah, perhaps because I.

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Speaker 1: Was I was thinking about it just on my own,

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Speaker 1: and I was kind of like, yeah, who are these

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Speaker 1: actors like Juliette Lewis, I think is like obviously the

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Speaker 1: example we use because she was in sort of the

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Speaker 1: same kind of movie over and over again. Right, But

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Speaker 1: then there's also sort of like alternative or kind of

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Speaker 1: like cool actors from the era, like you know, obviously

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Speaker 1: you think about people like Johnny Depp and Wenona Ryder.

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Speaker 1: It's like those that's kind of like the prob.

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Speaker 4: Ram Yeah a little bit, yeah, a little bit.

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Speaker 1: But I was thinking about like people like maybe like

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Speaker 1: Tim Roth or something. I don't know, like what what

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Speaker 1: are you? What do you think about this?

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Speaker 4: Okay?

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Speaker 5: So, uh, tim Roth would be a good one and

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Speaker 5: as like a someone who came in. I mean when

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Speaker 5: you look back at him, he looks very young, right

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Speaker 5: when you look back at these movies, which is a

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Speaker 5: thing that I've been doing, uh during these Covidian times,

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Speaker 5: just like revisiting nineties movies just to see if they

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Speaker 5: hold up, to try and trick my roommate, who's considerably

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Speaker 5: younger than I am, into watching them so that he

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Speaker 5: can impress no one with those.

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Speaker 1: He can know his histories that never hurts, never hurts.

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Speaker 5: You need to know what came before a twenty four,

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Speaker 5: you know, like that.

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Speaker 4: Kind of thing. My god, And uh so I've been revisiting.

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Speaker 5: Yeah, tim Roth is definitely he was like craggy and

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Speaker 5: training right.

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Speaker 1: Very smooth.

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Speaker 5: But you saw it, you saw it in his eyes, right,

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Speaker 5: you saw you saw it in his eyes. You're like,

399
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Speaker 5: look at that nose. You can't have that nose and

400
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Speaker 5: not be a good actor, right.

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Speaker 2: British craggy. British craggy is a whole different level.

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Speaker 5: It's a different Yeah, it's a totally different thing. So

403
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Speaker 5: you know he already had that going for him. Uh,

404
00:20:02,840 --> 00:20:06,840
Speaker 5: you know, I feel like, uh, Steve BUSHEMI also was

405
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Speaker 5: just like, yeah, you know, there it was. We really

406
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Speaker 5: were looking for the most funny looking like folks.

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Speaker 4: I feel like, no shade to those people.

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Speaker 5: I love all of those actors, but the one that

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Speaker 5: I immediately thought of, uh, is just to me, the Queen.

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Speaker 4: She's the god h G A W D god.

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Speaker 5: Yes, and that is and I feel like you could

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Speaker 5: say it with me, Parker Posey, right.

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Speaker 1: Yeah, absolutely.

414
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Speaker 5: So she's like the the mean girl who could be

415
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Speaker 5: nice if you caught her at the right time.

416
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Speaker 4: Yes, you know, you know what I mean, if she

417
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Speaker 4: got a little said, if she.

418
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Speaker 5: Got a little bit of bad news or something, maybe

419
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Speaker 5: she'd be nice to you. But please believe the next

420
00:20:57,280 --> 00:20:59,520
Speaker 5: day she's back to being mean to you. But you

421
00:20:59,640 --> 00:21:03,280
Speaker 5: know that there's softness underneath perhaps or that her parents,

422
00:21:03,359 --> 00:21:05,840
Speaker 5: separated young or that you know what I mean, Like

423
00:21:05,880 --> 00:21:08,679
Speaker 5: you accidentally came in on her while she was talking

424
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Speaker 5: crying with her guidance counselor, and now you know too much.

425
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Speaker 5: But you also know that you can't use it against

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Speaker 5: her because she will destroy you. And there's a sense

427
00:21:18,320 --> 00:21:21,639
Speaker 5: of that in every role I think that she's played,

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Speaker 5: whether it was high school.

429
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Speaker 4: Based or not.

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Speaker 1: Yeah, so so true.

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Speaker 4: I'm big on Parker Posey.

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Speaker 2: Yeah.

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Speaker 1: I feel like Party Girl is like to be one

434
00:21:32,400 --> 00:21:34,800
Speaker 1: of the quintessential movies about New York. Like it's just

435
00:21:34,840 --> 00:21:38,520
Speaker 1: that whole era of like the DJ scene and her

436
00:21:38,680 --> 00:21:41,439
Speaker 1: like just her whole like she ushered in like this

437
00:21:41,680 --> 00:21:46,000
Speaker 1: entire lexicon of stuff that people say like all the time,

438
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Speaker 1: like the falaffel, Like they're her whole speech with the

439
00:21:48,760 --> 00:21:52,040
Speaker 1: falafel and Baba gonush all that stuff and like it's

440
00:21:52,080 --> 00:21:54,560
Speaker 1: a party God damn it, like all these things. But

441
00:21:54,600 --> 00:21:56,119
Speaker 1: it was that thing for me where I was like

442
00:21:56,160 --> 00:21:59,800
Speaker 1: it made me want to like live in New York

443
00:22:00,320 --> 00:22:05,480
Speaker 1: and go and see you know house DJs and date

444
00:22:05,560 --> 00:22:09,680
Speaker 1: Lev Shreiber, who we've talked about before on this podcast.

445
00:22:09,720 --> 00:22:12,480
Speaker 1: But yeah, and she's that to me, is that role

446
00:22:12,800 --> 00:22:15,919
Speaker 1: that nineties, perfect nineties role of hers.

447
00:22:15,680 --> 00:22:18,119
Speaker 2: And she also does those kind of strange like House

448
00:22:18,160 --> 00:22:19,320
Speaker 2: of Yes styles.

449
00:22:19,600 --> 00:22:22,720
Speaker 5: Yes, I just watch House of Yes and I was like,

450
00:22:22,880 --> 00:22:25,159
Speaker 5: I don't know if this is gonna hold up, but

451
00:22:25,280 --> 00:22:28,520
Speaker 5: it does. It's still very funny, and her delivery of

452
00:22:28,600 --> 00:22:32,320
Speaker 5: lines is just like pitch perfect still ye, And I

453
00:22:32,920 --> 00:22:35,160
Speaker 5: really hadn't seen it in a while, and I don't

454
00:22:35,160 --> 00:22:36,840
Speaker 5: even know what got me to I think I was

455
00:22:36,920 --> 00:22:38,720
Speaker 5: just like, I'm cycling through all of these.

456
00:22:38,760 --> 00:22:41,960
Speaker 4: I watched that. I watched The Clock Watchers, which.

457
00:22:41,800 --> 00:22:42,840
Speaker 1: Is really good.

458
00:22:43,040 --> 00:22:46,080
Speaker 5: I want, Yeah, and that one holds up well, and

459
00:22:46,119 --> 00:22:48,080
Speaker 5: she's still doing the same thing. The first time I

460
00:22:48,119 --> 00:22:51,000
Speaker 5: saw her was actually on one of my one of

461
00:22:51,000 --> 00:22:55,120
Speaker 5: my stories, one of my soaps, As the World Turns.

462
00:22:55,359 --> 00:22:56,959
Speaker 1: She was she was not a soap.

463
00:22:57,240 --> 00:23:00,320
Speaker 5: Yeah, she was on As the World Turns, and she

464
00:23:00,400 --> 00:23:04,400
Speaker 5: started out as just like a young girl who's dating

465
00:23:04,480 --> 00:23:08,200
Speaker 5: someone maybe Holden, I don't know anyone who's extremely old,

466
00:23:08,240 --> 00:23:10,280
Speaker 5: and also remembers As the World Turns, and I know

467
00:23:10,320 --> 00:23:11,160
Speaker 5: you're out there.

468
00:23:11,200 --> 00:23:12,600
Speaker 4: You'll know who I'm talking about.

469
00:23:13,600 --> 00:23:15,720
Speaker 5: And then as she was doing it, she was on

470
00:23:15,800 --> 00:23:19,600
Speaker 5: there for a few years, and as she kept going,

471
00:23:19,640 --> 00:23:22,560
Speaker 5: she got weirder with how she delivered it.

472
00:23:22,720 --> 00:23:25,560
Speaker 2: So everyone was everyone else is in As the World Turns,

473
00:23:25,560 --> 00:23:26,960
Speaker 2: and she was in passions, she.

474
00:23:27,119 --> 00:23:30,879
Speaker 5: Was doing something else, so she was just like like

475
00:23:31,119 --> 00:23:32,080
Speaker 5: wide eyed and.

476
00:23:32,119 --> 00:23:32,520
Speaker 4: Just like.

477
00:23:34,240 --> 00:23:37,800
Speaker 5: How she's delivering these lines, and I'm like, who is

478
00:23:37,880 --> 00:23:38,560
Speaker 5: this broad?

479
00:23:38,680 --> 00:23:39,880
Speaker 1: What is she doing?

480
00:23:40,160 --> 00:23:43,239
Speaker 5: I'm loving it because no one everyone just has to

481
00:23:43,760 --> 00:23:46,760
Speaker 5: continue to act like they are on a soap opera,

482
00:23:46,800 --> 00:23:49,160
Speaker 5: and she is totally out there.

483
00:23:49,240 --> 00:23:51,160
Speaker 4: I'm into it, but what is happening?

484
00:23:51,160 --> 00:23:53,080
Speaker 5: So then when I saw her appear in a movie,

485
00:23:53,119 --> 00:23:55,480
Speaker 5: I'm like, well, let's see if she can actually act

486
00:23:55,560 --> 00:23:57,080
Speaker 5: or what's going on?

487
00:23:57,320 --> 00:23:59,480
Speaker 4: And like what is happening?

488
00:23:59,680 --> 00:24:03,119
Speaker 5: So I'm so yeah, and then she just you know,

489
00:24:03,200 --> 00:24:07,119
Speaker 5: got weirder and weirder. She's you know, mean and what's

490
00:24:07,160 --> 00:24:10,600
Speaker 5: the Richard linkletter? Oh Daison confused? You know she's so

491
00:24:10,960 --> 00:24:16,960
Speaker 5: queen of girls and yeah, and just plays it very

492
00:24:16,960 --> 00:24:20,000
Speaker 5: well where she's mean, but you still want to be

493
00:24:20,040 --> 00:24:22,840
Speaker 5: friends with her, yes, And I think that might be

494
00:24:22,840 --> 00:24:26,159
Speaker 5: because she's a brunette, no shade, brute to blonde. But

495
00:24:26,400 --> 00:24:28,520
Speaker 5: I feel like when you're blonde and you're mean, you're

496
00:24:28,560 --> 00:24:29,800
Speaker 5: just like, well that's too much.

497
00:24:30,480 --> 00:24:32,840
Speaker 4: I don't like I don't want to do that.

498
00:24:32,920 --> 00:24:34,960
Speaker 5: But when you're a brunette and you're mean, you're like, well,

499
00:24:34,960 --> 00:24:37,040
Speaker 5: what's going on there? What makes you turn to the

500
00:24:37,119 --> 00:24:40,560
Speaker 5: dark side? Why are you doing that? That's not what

501
00:24:40,600 --> 00:24:42,560
Speaker 5: you're supposed to That's what the blonde, but you're not

502
00:24:42,560 --> 00:24:45,120
Speaker 5: supposed to do that. And again no shade to any

503
00:24:45,200 --> 00:24:50,760
Speaker 5: listeners who are either I'm both thanks to thanks to

504
00:24:50,800 --> 00:24:52,760
Speaker 5: be Bleach and boredom I'm both so.

505
00:24:53,119 --> 00:24:55,679
Speaker 4: But you know, so.

506
00:24:55,680 --> 00:24:57,800
Speaker 6: If we were going to say Parker Posey was the

507
00:24:57,920 --> 00:25:01,680
Speaker 6: nineties foremost blank, what would we say about her?

508
00:25:02,480 --> 00:25:06,240
Speaker 2: Oh oh oh, I guess she'd be oh man because

509
00:25:06,280 --> 00:25:09,840
Speaker 2: it's not like me and girl isn't enough bribe, but

510
00:25:09,920 --> 00:25:11,639
Speaker 2: it's like weird doesn't also do it?

511
00:25:11,680 --> 00:25:14,240
Speaker 1: I feel like the nineties.

512
00:25:13,960 --> 00:25:19,440
Speaker 2: Foremost like a divorced kid, or like you were saying.

513
00:25:19,280 --> 00:25:20,680
Speaker 1: Earlier, something like that.

514
00:25:21,359 --> 00:25:24,520
Speaker 5: And also, I mean, what she has grown into is

515
00:25:24,560 --> 00:25:27,040
Speaker 5: show exactly what you would think from the way that

516
00:25:27,080 --> 00:25:30,760
Speaker 5: she was acting. So I almost want to say, like

517
00:25:31,960 --> 00:25:37,480
Speaker 5: foremost young, Well, I don't know, spinster is too hard

518
00:25:37,480 --> 00:25:40,320
Speaker 5: because I mean she gets hers right, she's not by

519
00:25:40,400 --> 00:25:41,720
Speaker 5: herself out here, but.

520
00:25:43,880 --> 00:25:48,520
Speaker 1: You know, just like like the nineties, foremost.

521
00:25:48,520 --> 00:25:52,119
Speaker 4: Patron Patron of the Arts. Patron of the Art.

522
00:25:53,040 --> 00:25:56,560
Speaker 1: Yeah, here we go, there we go. Yeah, because I

523
00:25:56,800 --> 00:26:00,080
Speaker 1: love that she's a character actor because essentially what she

524
00:26:00,200 --> 00:26:03,000
Speaker 1: was or what she is, she's still acts. She didn't die,

525
00:26:03,040 --> 00:26:07,320
Speaker 1: I don't know why it was. But also too, like

526
00:26:08,040 --> 00:26:11,960
Speaker 1: she definitely embodies a city person, Like she kind of

527
00:26:12,000 --> 00:26:16,760
Speaker 1: reminds me of like, you know, when you see pictures

528
00:26:16,800 --> 00:26:20,119
Speaker 1: of old ladies like leaving Lincoln Center or something, you

529
00:26:20,160 --> 00:26:22,240
Speaker 1: know what i mean, Like and they're wearing the crazy

530
00:26:22,280 --> 00:26:25,320
Speaker 1: outfits and all that stuff. She just is really that

531
00:26:25,520 --> 00:26:27,680
Speaker 1: to me, Like she I think Patron of the Arts

532
00:26:27,760 --> 00:26:28,600
Speaker 1: is like perfect.

533
00:26:28,720 --> 00:26:32,080
Speaker 5: That's basically what she's kind of become is just yeah,

534
00:26:32,119 --> 00:26:36,960
Speaker 5: you know this woman in uh just slightly wild clothing. Uh,

535
00:26:37,440 --> 00:26:39,680
Speaker 5: you know, always everything she's looking for is at the

536
00:26:39,680 --> 00:26:43,720
Speaker 5: bottom of her tote bag and you know, and she's

537
00:26:43,760 --> 00:26:46,399
Speaker 5: got you know, like a mean dog, and she's just like,

538
00:26:46,480 --> 00:26:49,959
Speaker 5: this is who I am and who I've always been, uh,

539
00:26:50,200 --> 00:26:53,520
Speaker 5: while still being able to be other characters. There's just

540
00:26:53,680 --> 00:26:57,320
Speaker 5: that thread of like this is who I am and

541
00:26:57,320 --> 00:27:00,520
Speaker 5: who I've always been, like throughout all of them, so

542
00:27:00,720 --> 00:27:03,480
Speaker 5: you can still connect them even when she's you know,

543
00:27:03,680 --> 00:27:07,080
Speaker 5: playing someone that you'd never expect. There's still like a

544
00:27:07,119 --> 00:27:09,840
Speaker 5: sense of like, yeah, but you know, after this, I

545
00:27:09,880 --> 00:27:12,720
Speaker 5: am just going to go home to my apartment and

546
00:27:13,000 --> 00:27:15,760
Speaker 5: probably just eat tune out of the can because it's cleaner.

547
00:27:15,560 --> 00:27:18,920
Speaker 1: Isn't She originally from like somewhere in Louis Yeah, yeah, yeah,

548
00:27:19,000 --> 00:27:22,000
Speaker 1: she's That might explain a little bit. I have to say.

549
00:27:22,560 --> 00:27:25,720
Speaker 5: Maybe she's like she's like just a quiet you know

550
00:27:25,760 --> 00:27:27,479
Speaker 5: how we you know how we love a Southern Gothic.

551
00:27:27,800 --> 00:27:31,560
Speaker 4: We love how we you know how we love AHTL girls.

552
00:27:31,560 --> 00:27:32,600
Speaker 4: We love a Southern Gothic.

553
00:27:32,640 --> 00:27:36,080
Speaker 5: We love it acidified Southern Gothic, we love it.

554
00:27:36,440 --> 00:27:39,960
Speaker 1: So she's basically a Tennessee Williams character that moves to

555
00:27:40,080 --> 00:27:43,920
Speaker 1: New York, and that's what happened, right, Yeah, Yeah, that's

556
00:27:43,960 --> 00:27:46,840
Speaker 1: basically what happened. That's such a good pick. I love

557
00:27:46,880 --> 00:27:47,920
Speaker 1: that good.

558
00:27:48,600 --> 00:27:50,159
Speaker 2: I was also I was trying to think of another

559
00:27:50,200 --> 00:27:53,159
Speaker 2: one when we read this question, and I think I

560
00:27:53,200 --> 00:27:55,919
Speaker 2: wonder if Amanda Plumber qualifies in.

561
00:27:55,800 --> 00:28:03,080
Speaker 1: This, you know again, other great character actor who was

562
00:28:03,119 --> 00:28:04,879
Speaker 1: in a lot of the same kind of roles in

563
00:28:04,920 --> 00:28:05,960
Speaker 1: the nineties, Right.

564
00:28:06,040 --> 00:28:09,720
Speaker 2: Yeah, so I married an ex murderer pull fiction kind

565
00:28:09,720 --> 00:28:10,440
Speaker 2: of the same.

566
00:28:10,240 --> 00:28:15,160
Speaker 1: Character Yeah, she's like always playing kind of an unhinged,

567
00:28:15,880 --> 00:28:21,080
Speaker 1: like murderous girlfriend really or kind of a murderous person.

568
00:28:21,480 --> 00:28:24,399
Speaker 4: She was on Er for a long time playing someone's sister.

569
00:28:25,160 --> 00:28:30,600
Speaker 5: Yeah, and slightly who was slightly off And yeah, I also.

570
00:28:30,440 --> 00:28:33,480
Speaker 2: Love I just love that, like someone who is Christopher

571
00:28:33,520 --> 00:28:36,720
Speaker 2: Plummer's child is like, oh, yes, you'd be your traditional

572
00:28:36,760 --> 00:28:39,200
Speaker 2: stage and screen heart throb.

573
00:28:39,600 --> 00:28:42,160
Speaker 1: I'm going to be as weird as possible.

574
00:28:42,840 --> 00:28:46,560
Speaker 5: That's that's the only way, right, That's the only way

575
00:28:46,600 --> 00:28:49,600
Speaker 5: that you can rebel against your parents is too. Yes,

576
00:28:49,880 --> 00:28:53,680
Speaker 5: I'll go in the family business, but I'm making watches

577
00:28:53,840 --> 00:28:54,680
Speaker 5: this way, you know.

578
00:28:57,000 --> 00:28:57,959
Speaker 1: I love that she is.

579
00:28:58,080 --> 00:29:01,640
Speaker 2: She and Parker Posey also just have such distinctive looks.

580
00:29:02,080 --> 00:29:04,040
Speaker 2: Like when I see it, when I say Amanda Plumber,

581
00:29:04,040 --> 00:29:05,600
Speaker 2: I can see her in my head. She has such

582
00:29:05,640 --> 00:29:07,920
Speaker 2: a distinctive look, and I just think that's fucking great

583
00:29:07,960 --> 00:29:11,920
Speaker 2: for an actor. But she's she's a wild one. She's

584
00:29:11,960 --> 00:29:14,480
Speaker 2: played some hilarious and wonderful roles.

585
00:29:14,800 --> 00:29:18,640
Speaker 5: Yeah, yeah, absolutely, Oh man, I hope she's doing all right. Also,

586
00:29:19,600 --> 00:29:26,880
Speaker 5: who's the guy and I always forget his name? Corgan Kevin.

587
00:29:27,400 --> 00:29:29,960
Speaker 5: It was in the nineties movie Unless that dude walked

588
00:29:30,000 --> 00:29:33,480
Speaker 5: through listen you know you were you were And once

589
00:29:33,520 --> 00:29:35,960
Speaker 5: I saw, once I saw his name on anything, I

590
00:29:36,000 --> 00:29:39,280
Speaker 5: was like, sit back, we good, We're good. And Kevin Corgan'

591
00:29:39,360 --> 00:29:42,120
Speaker 5: chands we all right, we gonna be we gonna be alright.

592
00:29:42,360 --> 00:29:46,240
Speaker 1: We we talked about him in early episode for us

593
00:29:46,360 --> 00:29:49,160
Speaker 1: when we talked about walking and talking because he plays

594
00:29:49,400 --> 00:29:54,600
Speaker 1: the Katherine Keane or the video Store boyfriend. And I

595
00:29:54,640 --> 00:29:57,560
Speaker 1: went on record with my obsession with Kevin Corgan and

596
00:29:57,600 --> 00:30:00,520
Speaker 1: how I kind of think he's hot in spite the

597
00:30:00,960 --> 00:30:03,880
Speaker 1: creepy kind of everything rules that he plays over and

598
00:30:04,120 --> 00:30:04,720
Speaker 1: over again.

599
00:30:05,280 --> 00:30:07,160
Speaker 5: I feel like someone gave him a pair of like

600
00:30:07,280 --> 00:30:09,840
Speaker 5: aviator glasses and just said, and this is your lot

601
00:30:09,880 --> 00:30:12,600
Speaker 5: in life, Like what you gotta You gotta be the

602
00:30:12,640 --> 00:30:15,480
Speaker 5: dude in these aviator glasses and and just kind of

603
00:30:15,520 --> 00:30:16,640
Speaker 5: be creepy for a while.

604
00:30:17,000 --> 00:30:18,440
Speaker 1: But have you seen him recently?

605
00:30:18,760 --> 00:30:21,760
Speaker 5: He used to do like, uh, like a talk show,

606
00:30:22,880 --> 00:30:25,480
Speaker 5: like a live talk show around New York. And I

607
00:30:25,600 --> 00:30:29,960
Speaker 5: caught one once and he, you know, he hosts and

608
00:30:30,000 --> 00:30:32,080
Speaker 5: he has people on and the one that I saw,

609
00:30:32,200 --> 00:30:35,000
Speaker 5: Jenny Garofalo was on it, and it was literally like

610
00:30:35,080 --> 00:30:38,440
Speaker 5: the most nineties, like my nineties child was just like,

611
00:30:38,480 --> 00:30:42,320
Speaker 5: oh my god, I was so happy. I don't even

612
00:30:42,400 --> 00:30:46,880
Speaker 5: remember what was said. I just remember just being in heaven.

613
00:30:48,080 --> 00:30:50,240
Speaker 1: Humming the theme to like single Dout and.

614
00:30:52,320 --> 00:30:54,360
Speaker 5: It was so much, it was too much, almost, it

615
00:30:54,400 --> 00:30:56,360
Speaker 5: was overload. But yeah, and I'm like, I'm in the

616
00:30:56,400 --> 00:30:58,720
Speaker 5: same room with this dude. I never thought that would happen.

617
00:31:00,240 --> 00:31:02,600
Speaker 2: I know to one of those as well, with oh god,

618
00:31:02,640 --> 00:31:05,080
Speaker 2: what's her name from Heavenly Creatures, Melanie, what's her face?

619
00:31:05,440 --> 00:31:07,280
Speaker 1: Lensky? Yes, thank you.

620
00:31:07,600 --> 00:31:09,680
Speaker 2: Nellie Lensky was the guest, and they were they were

621
00:31:10,000 --> 00:31:12,160
Speaker 2: old friends chatting and it was very fun.

622
00:31:12,720 --> 00:31:12,920
Speaker 1: Yeah.

623
00:31:13,480 --> 00:31:13,720
Speaker 4: Great.

624
00:31:13,760 --> 00:31:15,520
Speaker 2: They should have given it. Look, they should have given

625
00:31:15,560 --> 00:31:16,400
Speaker 2: am Marcinio slot.

626
00:31:16,400 --> 00:31:21,840
Speaker 1: And we know it. This is the best I could

627
00:31:21,840 --> 00:31:22,560
Speaker 1: do this all day.

628
00:31:23,160 --> 00:31:23,920
Speaker 4: It's so great.

629
00:31:24,080 --> 00:31:27,240
Speaker 2: I definitely, I'm so thankful for your suggestions. You got

630
00:31:27,240 --> 00:31:29,040
Speaker 2: to come back. We've got so much more to ask you.

631
00:31:29,040 --> 00:31:33,360
Speaker 2: We didn't even ask you anything about music or comedy

632
00:31:33,720 --> 00:31:35,720
Speaker 2: anything else. You don't We don't want that. You guys,

633
00:31:36,000 --> 00:31:37,280
Speaker 2: you got to keep a tight ship.

634
00:31:37,680 --> 00:31:40,480
Speaker 5: I saw it when I got the invitation in the

635
00:31:40,560 --> 00:31:42,120
Speaker 5: direction and it was like, you guys are going to

636
00:31:42,160 --> 00:31:43,240
Speaker 5: talk for about twenty minutes.

637
00:31:43,280 --> 00:31:48,760
Speaker 4: I was like, I know that's adorable. That's adorable.

638
00:31:48,920 --> 00:31:50,160
Speaker 1: We've gone about us.

639
00:31:50,320 --> 00:31:53,160
Speaker 5: Yeah, we've gone out for steak together. Keep it under

640
00:31:53,200 --> 00:31:55,160
Speaker 5: twenty I dare you, I dare you.

641
00:31:55,240 --> 00:31:57,360
Speaker 2: I don't think we've ever had a meal that's under

642
00:31:57,400 --> 00:31:57,959
Speaker 2: three hours.

643
00:31:58,360 --> 00:31:59,880
Speaker 1: Yeah, we knew, we knew that was happening.

644
00:31:59,880 --> 00:32:03,720
Speaker 2: We've never all congregated and had it been a less

645
00:32:03,760 --> 00:32:05,840
Speaker 2: than a four hour experience. Even if we're just like,

646
00:32:05,920 --> 00:32:07,480
Speaker 2: let's just go to the park for a walk, we're

647
00:32:07,480 --> 00:32:08,560
Speaker 2: walking for four hours.

648
00:32:08,600 --> 00:32:10,600
Speaker 4: Absolutely in circles.

649
00:32:12,760 --> 00:32:14,959
Speaker 1: Well, we love you so much.

650
00:32:15,160 --> 00:32:17,800
Speaker 2: Do you want to promote anything or tell us anything

651
00:32:17,840 --> 00:32:19,920
Speaker 2: that's coming up. I know you're doing shows again, which

652
00:32:19,960 --> 00:32:20,760
Speaker 2: is so exciting.

653
00:32:21,040 --> 00:32:24,640
Speaker 1: Your podcast is the best, The War Report Love that

654
00:32:24,800 --> 00:32:28,840
Speaker 1: is like my daily news. Basically, I don't listen to

655
00:32:28,920 --> 00:32:30,880
Speaker 1: news anymore. Like that. I want to listen to you

656
00:32:30,920 --> 00:32:33,080
Speaker 1: and gast Or talk about news to me.

657
00:32:33,280 --> 00:32:35,960
Speaker 4: That's what I thank you. We really have a good

658
00:32:36,000 --> 00:32:36,560
Speaker 4: time doing it.

659
00:32:36,680 --> 00:32:39,880
Speaker 5: He's he's a great dude, a great family man, a

660
00:32:39,920 --> 00:32:44,880
Speaker 5: great Brooklyn family man, which is wild, and so I

661
00:32:45,040 --> 00:32:49,920
Speaker 5: like talking to him about his horrible cockamamy ideas. And yeah,

662
00:32:50,000 --> 00:32:53,480
Speaker 5: I'm just kind of floating around New York doing shows

663
00:32:53,520 --> 00:32:57,520
Speaker 5: where I can behind a couple of masks and a

664
00:32:57,560 --> 00:33:01,920
Speaker 5: microphone cover, and you know, I'm not sure if I'm

665
00:33:01,920 --> 00:33:06,760
Speaker 5: making anyone laugh, but honestly, I'm okay if they don't.

666
00:33:07,200 --> 00:33:10,160
Speaker 5: And I guess I've got an album. I've got a

667
00:33:10,160 --> 00:33:16,040
Speaker 5: couple of albums. One called Stay Eating Cookies, Yes, one

668
00:33:16,160 --> 00:33:17,720
Speaker 5: called Sore You Just out Here.

669
00:33:18,960 --> 00:33:20,160
Speaker 1: The best title.

670
00:33:22,080 --> 00:33:24,840
Speaker 2: I recommend this to people of like here is what

671
00:33:24,880 --> 00:33:27,480
Speaker 2: it's called. It's called so You Just out Here and

672
00:33:27,520 --> 00:33:28,560
Speaker 2: everyone falls out.

673
00:33:31,000 --> 00:33:35,480
Speaker 1: It is like it looks like an old Christian country singer.

674
00:33:35,200 --> 00:33:41,479
Speaker 5: Album from Yeah, just clutching on to the Lord and

675
00:33:41,520 --> 00:33:43,280
Speaker 5: this tree as hard as possible.

676
00:33:47,160 --> 00:33:47,880
Speaker 1: Oh my god.

677
00:33:48,680 --> 00:33:52,600
Speaker 2: So it's wonderful to listen to. It's so so hilarious.

678
00:33:53,120 --> 00:33:55,280
Speaker 2: It's almost It's usually one of the first things that

679
00:33:55,360 --> 00:33:58,600
Speaker 2: comes on in my car. I don't know why, like

680
00:33:58,680 --> 00:34:00,920
Speaker 2: wherever it falls in my Apple playlists or whatever.

681
00:34:01,400 --> 00:34:07,400
Speaker 5: It's like, I'm in my car and there that's so great.

682
00:34:07,480 --> 00:34:09,960
Speaker 5: I love I love this podcast so much. I listened

683
00:34:09,960 --> 00:34:12,759
Speaker 5: to it constantly. I listen over and over. You guys

684
00:34:13,160 --> 00:34:16,399
Speaker 5: like actually like kicked me into watching movies again because

685
00:34:16,400 --> 00:34:19,120
Speaker 5: I forgot that I enjoyed them and so so I

686
00:34:19,239 --> 00:34:22,920
Speaker 5: truly appreciate it. Uh, and I just love hearing you too.

687
00:34:23,080 --> 00:34:25,320
Speaker 5: It really, I'm just like, listen to my friends talking,

688
00:34:25,800 --> 00:34:28,040
Speaker 5: listen to all the stuff they're doing. I'm so excited

689
00:34:28,080 --> 00:34:30,719
Speaker 5: for you guys, so great. I'm thrilled to have done this.

690
00:34:31,640 --> 00:34:34,600
Speaker 1: Thanks for coming on, and thank you Joey for writing

691
00:34:34,680 --> 00:34:38,399
Speaker 1: in with that yes question. Yeah, hopefully you have movie

692
00:34:38,480 --> 00:34:42,440
Speaker 1: recommendations and Wikipedia holes to fall into with all of

693
00:34:42,440 --> 00:34:43,319
Speaker 1: those suggestions.

694
00:34:43,360 --> 00:34:46,080
Speaker 2: So so many movies, so many movies.

695
00:34:49,800 --> 00:34:54,680
Speaker 1: Okay, So we have a really fucking funny theme this week.

696
00:34:57,360 --> 00:35:01,120
Speaker 1: I'm so excited by this. I'm so excited. I love

697
00:35:01,200 --> 00:35:03,560
Speaker 1: this theme. What is the theme?

698
00:35:04,880 --> 00:35:08,160
Speaker 2: We're gonna have to revisit this because our theme this

699
00:35:08,239 --> 00:35:11,239
Speaker 2: week is baby girl?

700
00:35:11,280 --> 00:35:18,200
Speaker 1: What is you doing? I read our theme this week

701
00:35:18,760 --> 00:35:20,200
Speaker 1: is baby girl? What is you doing?

702
00:35:22,400 --> 00:35:22,680
Speaker 2: Now?

703
00:35:22,800 --> 00:35:29,040
Speaker 1: Okay this. When you pitched this, I could not stop laughing.

704
00:35:29,880 --> 00:35:33,920
Speaker 1: I was like, I think I understand what's happening, but

705
00:35:34,320 --> 00:35:36,480
Speaker 1: I don't even care if I don't know what the

706
00:35:36,480 --> 00:35:42,160
Speaker 1: theme is. The name alone is perfect and evolks so much.

707
00:35:42,920 --> 00:35:45,280
Speaker 6: Right, And I think I think what we were going

708
00:35:45,320 --> 00:35:47,440
Speaker 6: for when I pitched it. I think what I was

709
00:35:47,480 --> 00:35:52,600
Speaker 6: going for was just movies that feature characters who are

710
00:35:52,680 --> 00:35:57,920
Speaker 6: actively making bad decisions or outright mistakes, yes, that are

711
00:35:57,920 --> 00:35:59,120
Speaker 6: propelling the narrative.

712
00:35:59,719 --> 00:36:03,799
Speaker 1: Absolutely perfect. Yeah, that's what I thought it was too.

713
00:36:04,120 --> 00:36:07,400
Speaker 1: And I actually think when we came together and decided

714
00:36:07,400 --> 00:36:09,879
Speaker 1: the films that we wanted to pick, they were kind

715
00:36:09,960 --> 00:36:12,960
Speaker 1: of perfect. They don't really have a lot to do

716
00:36:13,040 --> 00:36:16,040
Speaker 1: with each other, and they're definitely like, you know, decades apart,

717
00:36:16,160 --> 00:36:19,200
Speaker 1: but like they both kind of fit the theme perfectly,

718
00:36:19,239 --> 00:36:21,800
Speaker 1: and they're kind of they kind of have some similarities,

719
00:36:21,880 --> 00:36:22,600
Speaker 1: which we love.

720
00:36:22,880 --> 00:36:26,000
Speaker 2: We love when that ends, right, total accidental book ends,

721
00:36:26,360 --> 00:36:27,759
Speaker 2: which is my favorite kind of.

722
00:36:27,719 --> 00:36:30,640
Speaker 1: Bookend what I love too, And just to go back

723
00:36:30,719 --> 00:36:33,880
Speaker 1: to like the idea of this being a week about

724
00:36:34,560 --> 00:36:39,480
Speaker 1: poor choices. Right, Both of these movies, I think are

725
00:36:39,560 --> 00:36:43,680
Speaker 1: about people who are reflecting back on like their past

726
00:36:43,719 --> 00:36:50,880
Speaker 1: lives or former selves, right, and their poor choice is

727
00:36:50,920 --> 00:36:55,439
Speaker 1: informed by that, right, Yes, in fascinating ways.

728
00:36:55,480 --> 00:36:57,520
Speaker 2: The way that both the way that each movie gets

729
00:36:57,560 --> 00:37:03,120
Speaker 2: to that realization, they're very different, they're very disparate ways

730
00:37:03,160 --> 00:37:06,040
Speaker 2: that they get there, but it is so cool the

731
00:37:06,080 --> 00:37:09,840
Speaker 2: way they're using that, kind of using the past to

732
00:37:09,920 --> 00:37:14,640
Speaker 2: propel some of the action that we're seeing result in

733
00:37:14,640 --> 00:37:16,000
Speaker 2: these really weird decisions.

734
00:37:16,440 --> 00:37:20,360
Speaker 1: Yes, yes, And I love that we've got a queer

735
00:37:20,360 --> 00:37:24,880
Speaker 1: director and a female director. That's always great when that

736
00:37:25,000 --> 00:37:30,720
Speaker 1: happens in the same week. And I will say your film,

737
00:37:30,520 --> 00:37:33,040
Speaker 1: I'm I'm a huge fan of the director that you're

738
00:37:33,080 --> 00:37:36,280
Speaker 1: going to talk about today. I had not seen this film,

739
00:37:36,440 --> 00:37:40,759
Speaker 1: and I loved it so much. I can literally not

740
00:37:40,800 --> 00:37:41,680
Speaker 1: wait to talk about it.

741
00:37:42,160 --> 00:37:43,880
Speaker 2: Well, I can't wait to talk about yours, because this

742
00:37:43,920 --> 00:37:47,840
Speaker 2: is another first for this week. I never saw your movie.

743
00:37:48,239 --> 00:37:50,239
Speaker 1: Wow, we stumped each other.

744
00:37:50,840 --> 00:37:53,120
Speaker 2: We stumped each other. Oh, we need like some kind

745
00:37:53,120 --> 00:37:54,759
Speaker 2: of airhorn sound or something.

746
00:37:57,840 --> 00:38:04,560
Speaker 1: Air horn. Do whatever you gotta do. Cats me owing,

747
00:38:04,920 --> 00:38:11,760
Speaker 1: Donald's barking, We need a jock jams a little segue.

748
00:38:12,200 --> 00:38:15,160
Speaker 1: But so, are you going first this week? Who's going first? No,

749
00:38:15,360 --> 00:38:17,919
Speaker 1: you're going first this week? Are you joking? Every time

750
00:38:17,920 --> 00:38:22,000
Speaker 1: I asked that question, I'm truly surprised by your answer.

751
00:38:24,840 --> 00:38:29,200
Speaker 1: It is my favorite thing. Well, okay, now I'm ready.

752
00:38:29,520 --> 00:38:35,319
Speaker 1: So my movie for the theme of baby Girl, What

753
00:38:35,440 --> 00:38:38,879
Speaker 1: Is You Doing? Is a movie from nineteen seventy nine.

754
00:38:39,120 --> 00:38:43,799
Speaker 1: It was written by Paul and Leonard Schrader and it

755
00:38:43,880 --> 00:38:48,280
Speaker 1: was directed by Joan Tewksbury. It's called old boyfriends.

756
00:38:49,600 --> 00:38:52,000
Speaker 3: I first started thinking about my old boyfriends about two

757
00:38:52,000 --> 00:38:54,359
Speaker 3: months ago. I wish I knew how it started, but

758
00:38:54,400 --> 00:38:57,200
Speaker 3: once it started, I couldn't stop it. I think it

759
00:38:57,280 --> 00:39:00,600
Speaker 3: was around my birthday. I began reading my life diaries

760
00:39:00,600 --> 00:39:04,240
Speaker 3: again over and over. I read about my parents and teachers,

761
00:39:04,239 --> 00:39:06,400
Speaker 3: but mostly I read about old boyfriends.

762
00:39:07,320 --> 00:39:12,799
Speaker 2: Oh bood fence, Oh God dance. I just went with

763
00:39:12,840 --> 00:39:17,040
Speaker 2: that theme song, fince.

764
00:39:20,440 --> 00:39:22,759
Speaker 1: Why is the theme song just me singing that?

765
00:39:25,800 --> 00:39:25,880
Speaker 2: So?

766
00:39:26,000 --> 00:39:35,600
Speaker 1: Okay, talk, okay, so so upfront. I actually just want

767
00:39:35,640 --> 00:39:38,600
Speaker 1: to talk about why I picked this movie for the theme, yes, okay, yeah,

768
00:39:38,600 --> 00:39:40,520
Speaker 1: because honestly, I mean it was for me.

769
00:39:40,600 --> 00:39:40,880
Speaker 2: It was.

770
00:39:41,680 --> 00:39:44,000
Speaker 1: It was the first movie I thought of and I

771
00:39:44,040 --> 00:39:49,680
Speaker 1: actually am not really sure why, because there are tons

772
00:39:49,719 --> 00:39:52,920
Speaker 1: of movies about people making bad choices, like we know this.

773
00:39:53,080 --> 00:39:58,640
Speaker 1: In fact, perhaps cinema itself is propped up on the

774
00:39:58,680 --> 00:40:01,120
Speaker 1: notion of people making bad choys, right, Like that's what

775
00:40:01,200 --> 00:40:03,600
Speaker 1: all movies are about. But I think I wanted to

776
00:40:03,640 --> 00:40:07,160
Speaker 1: talk about old boyfriends for a couple of different reasons.

777
00:40:07,200 --> 00:40:12,400
Speaker 1: But one is the idea that this movie is about

778
00:40:12,560 --> 00:40:17,759
Speaker 1: somebody who wants to understand themselves through the people that

779
00:40:17,800 --> 00:40:23,520
Speaker 1: they dated, Yes, which only seems bad to me for

780
00:40:23,560 --> 00:40:25,320
Speaker 1: some reason, like, oh.

781
00:40:25,200 --> 00:40:29,800
Speaker 2: It is the darkest timeline version of High Fidelity before

782
00:40:30,040 --> 00:40:32,040
Speaker 2: High Fidelity exactly.

783
00:40:32,200 --> 00:40:35,560
Speaker 1: Like In fact, a lot of people have joked that

784
00:40:35,960 --> 00:40:38,520
Speaker 1: this movie is like the female version of High Fidelity,

785
00:40:38,560 --> 00:40:41,840
Speaker 1: which it's like, okay, yes, I mean it's the same premise,

786
00:40:41,920 --> 00:40:45,719
Speaker 1: even though it's a completely different setup. But when it

787
00:40:45,760 --> 00:40:47,960
Speaker 1: comes down to it, I think the idea of basically

788
00:40:48,000 --> 00:40:50,399
Speaker 1: being like, who am I let me go backwards and

789
00:40:50,719 --> 00:40:53,440
Speaker 1: think about everybody I dated. It just seems like this

790
00:40:53,520 --> 00:40:55,799
Speaker 1: is something you would like just talk about therapy and

791
00:40:55,840 --> 00:40:59,640
Speaker 1: then like leave it there, like, don't do anything with

792
00:40:59,800 --> 00:41:04,120
Speaker 1: that in real life, especially because depending on the.

793
00:41:04,120 --> 00:41:07,879
Speaker 2: Timeframe you're going back to, the answer is always going

794
00:41:07,920 --> 00:41:11,600
Speaker 2: to be, oh, it's because I was an idiot back then, yes, exactly,

795
00:41:11,640 --> 00:41:14,680
Speaker 2: Like I wasn't fully developed, I didn't have any kind

796
00:41:14,719 --> 00:41:18,719
Speaker 2: of emotional well skills, and I didn't have any kind

797
00:41:18,800 --> 00:41:22,360
Speaker 2: of notion of what love really was. Like that is

798
00:41:22,360 --> 00:41:24,759
Speaker 2: the bottom line with most relationships I say up to

799
00:41:24,880 --> 00:41:27,279
Speaker 2: like let's say I'm forty four, up to forty three.

800
00:41:27,840 --> 00:41:33,520
Speaker 1: Yeah, I mean, listen, this movie wouldn't exist, of course

801
00:41:33,560 --> 00:41:38,120
Speaker 1: if she didn't do this right, But I'm just I

802
00:41:38,160 --> 00:41:40,080
Speaker 1: want to just stay up front. I'm of the opinion that,

803
00:41:40,360 --> 00:41:44,680
Speaker 1: you know, I understand, nostalgia is a very powerful motivator,

804
00:41:45,320 --> 00:41:47,200
Speaker 1: and you know who doesn't love like a nice surprise

805
00:41:47,320 --> 00:41:49,520
Speaker 1: in case like you decided, Hey, let me go and

806
00:41:49,520 --> 00:41:51,600
Speaker 1: see what my high school sweethearts doing. Oops we got

807
00:41:51,640 --> 00:41:55,600
Speaker 1: married and had like ten kids or whatever. But to me,

808
00:41:55,719 --> 00:42:00,239
Speaker 1: it feels like romantic closure is maybe overrated, and.

809
00:42:00,200 --> 00:42:02,399
Speaker 2: It's also non existent. I don't, I truly don't think

810
00:42:02,440 --> 00:42:04,759
Speaker 2: it exists. And I don't think I'm alone in that,

811
00:42:04,840 --> 00:42:07,600
Speaker 2: but I don't. I'm not very succinct about it. Yeah,

812
00:42:07,600 --> 00:42:09,400
Speaker 2: Like I haven't really thought of through too much, but

813
00:42:09,440 --> 00:42:11,640
Speaker 2: I don't think it exists. Yeah, I don't think, cause

814
00:42:11,640 --> 00:42:14,440
Speaker 2: you cannot get closure with the person who either you

815
00:42:14,560 --> 00:42:18,560
Speaker 2: hurt or who hurt you, and that's what you need

816
00:42:18,640 --> 00:42:21,120
Speaker 2: for closure, Like, there's never going to be an equality

817
00:42:21,200 --> 00:42:23,880
Speaker 2: of emotions in that setup.

818
00:42:24,520 --> 00:42:27,560
Speaker 1: What do you got when you were effectively two completely

819
00:42:27,600 --> 00:42:29,879
Speaker 1: different people than you are now? Right? So that's Yes,

820
00:42:30,080 --> 00:42:33,720
Speaker 1: it seems a little like it's like a fool's errand

821
00:42:33,800 --> 00:42:36,520
Speaker 1: or something. But this movie wouldn't exist if she didn't

822
00:42:36,520 --> 00:42:38,600
Speaker 1: go on that fool's errand so let me just give

823
00:42:38,640 --> 00:42:41,760
Speaker 1: you a one sense ince synopsis of Old Boyfriends. Okay,

824
00:42:42,600 --> 00:42:47,839
Speaker 1: a psychologist living in Los Angeles seeks clarity after a

825
00:42:47,840 --> 00:42:52,600
Speaker 1: recent divorce and decides to go on a cross country

826
00:42:52,800 --> 00:42:56,560
Speaker 1: road trip to track down all the guys she dated.

827
00:42:57,480 --> 00:43:00,799
Speaker 1: Beautiful synops. Okay, beautiful synops. So that's exactly what we

828
00:43:00,920 --> 00:43:05,280
Speaker 1: just talked about, is that here we go on this quest,

829
00:43:05,560 --> 00:43:08,160
Speaker 1: this epic quest slash fools era, and it's like a

830
00:43:08,200 --> 00:43:11,319
Speaker 1: little TVD right now. You know, we talked about this

831
00:43:11,360 --> 00:43:14,279
Speaker 1: high fidelity thing before because as you've probably know if

832
00:43:14,280 --> 00:43:16,440
Speaker 1: you've read the book or seen the movie or whatever, like,

833
00:43:16,640 --> 00:43:19,359
Speaker 1: you know, it's the plot line of somebody going back

834
00:43:19,400 --> 00:43:21,200
Speaker 1: to visit old old flames.

835
00:43:21,320 --> 00:43:21,520
Speaker 2: Right.

836
00:43:23,000 --> 00:43:26,080
Speaker 1: But you know, this movie on its own too, has

837
00:43:26,160 --> 00:43:30,000
Speaker 1: this really kind of interesting production history which I actually

838
00:43:30,120 --> 00:43:35,719
Speaker 1: think ultimately affected the movie that it became, and which

839
00:43:35,760 --> 00:43:37,400
Speaker 1: I'll get into in just a second. But you know,

840
00:43:37,480 --> 00:43:40,879
Speaker 1: I actually think too though we've seen this a lot.

841
00:43:41,000 --> 00:43:45,839
Speaker 1: We've seen and we've talked about movies that were kind

842
00:43:45,880 --> 00:43:49,000
Speaker 1: of like it was tumultuous on set, like the writers

843
00:43:49,040 --> 00:43:51,680
Speaker 1: and the directors are fighting, or the producers are changing

844
00:43:51,719 --> 00:43:54,520
Speaker 1: things or whatever. You know, this happens a lot in movies,

845
00:43:54,560 --> 00:43:59,799
Speaker 1: as we know, but sometimes the finished product, even if

846
00:43:59,800 --> 00:44:03,120
Speaker 1: it does it come out to like everybody's exact standards,

847
00:44:04,600 --> 00:44:07,960
Speaker 1: I think it still kind of can be like an

848
00:44:07,960 --> 00:44:11,040
Speaker 1: interesting text, do you know what I mean? And that's

849
00:44:11,120 --> 00:44:13,680
Speaker 1: kind of what I feel about this movie. It just

850
00:44:13,719 --> 00:44:15,480
Speaker 1: provokes a lot of thoughts in me, which you know,

851
00:44:15,520 --> 00:44:17,000
Speaker 1: like I said, I'll get into in a moment. But

852
00:44:17,440 --> 00:44:19,680
Speaker 1: all right, so right off the bat, this film was

853
00:44:19,719 --> 00:44:22,920
Speaker 1: directed by Joan Tewksbury. It was written by Paul Schrader

854
00:44:22,960 --> 00:44:26,280
Speaker 1: and his brother Letard. We've talked about Paul Schrader before,

855
00:44:26,880 --> 00:44:30,520
Speaker 1: definitely in the episode about American Jiggelow. And when he

856
00:44:30,560 --> 00:44:33,319
Speaker 1: and his brother Leonard originally wrote the script, it was

857
00:44:33,400 --> 00:44:37,640
Speaker 1: actually about a man, and if you know Paul Schrader's work,

858
00:44:37,840 --> 00:44:41,319
Speaker 1: you can only imagine the man that this story would

859
00:44:41,360 --> 00:44:44,759
Speaker 1: have been about, right, And when they gave it to

860
00:44:44,840 --> 00:44:48,200
Speaker 1: Joan Tewksbury to direct, they decided it should be about

861
00:44:48,440 --> 00:44:51,680
Speaker 1: a woman because at the time that this movie was made,

862
00:44:51,719 --> 00:44:57,040
Speaker 1: in the seventies, you know, women's pictures quote unquote were

863
00:44:57,120 --> 00:44:59,920
Speaker 1: kind of having a moment because of the women's liberation movement.

864
00:45:00,120 --> 00:45:04,799
Speaker 1: So as you can imagine. Their original script was a

865
00:45:04,840 --> 00:45:08,720
Speaker 1: lot darker and played up the revenge angle a lot

866
00:45:08,920 --> 00:45:11,640
Speaker 1: more like Paul Schrader basically wanted it to be a

867
00:45:11,640 --> 00:45:16,719
Speaker 1: horror movie, wow. And Joan Tewksbury basically took out a

868
00:45:16,719 --> 00:45:19,080
Speaker 1: lot of those elements and made it kind of more

869
00:45:19,440 --> 00:45:23,520
Speaker 1: contemplative and tried to make it more about the lead

870
00:45:23,640 --> 00:45:27,520
Speaker 1: characters in her life, which is an interesting choice obviously,

871
00:45:28,719 --> 00:45:31,040
Speaker 1: and just a little bit about Joan Tewksbury too, like

872
00:45:31,160 --> 00:45:34,839
Speaker 1: she was a screenwriter before she directed Old Boyfriend's which

873
00:45:34,880 --> 00:45:39,399
Speaker 1: was the first and only movie that she directed, so

874
00:45:39,440 --> 00:45:42,440
Speaker 1: she was a one and done, one hit one Wow.

875
00:45:42,840 --> 00:45:46,440
Speaker 1: She basically studied film while being on set with Robert Altman,

876
00:45:46,960 --> 00:45:50,120
Speaker 1: and she wrote to Robert Altman movies. She wrote Thieves

877
00:45:50,160 --> 00:45:52,839
Speaker 1: Like Us, which is Shelley Duvall and Keith Carrotyin and

878
00:45:52,880 --> 00:45:57,000
Speaker 1: then arguably one of Robert Altman's most famous films, Nashville,

879
00:45:57,719 --> 00:45:59,840
Speaker 1: And she had a lot of momentum because she was

880
00:45:59,880 --> 00:46:04,759
Speaker 1: so successful with Nashville especially, and you know, got to

881
00:46:04,800 --> 00:46:08,719
Speaker 1: make this movie. But then, you know, considering that Paul

882
00:46:08,719 --> 00:46:11,239
Speaker 1: Schrader was involved, and he was already like a very

883
00:46:11,239 --> 00:46:15,359
Speaker 1: famous person by this time and had done his own screenwriting.

884
00:46:15,719 --> 00:46:17,600
Speaker 1: You know, it just got a little complicated. And because

885
00:46:17,600 --> 00:46:19,480
Speaker 1: she was a woman in the industry, I mean, just

886
00:46:19,480 --> 00:46:23,560
Speaker 1: because she was attached to Robert Altman, it doesn't necessarily

887
00:46:23,640 --> 00:46:26,120
Speaker 1: mean that she got to like have the creative freedom

888
00:46:26,200 --> 00:46:30,040
Speaker 1: that Robert Altman had, or even people who were also

889
00:46:30,200 --> 00:46:33,800
Speaker 1: under his tutelage, like you know, Alan Rudolph and whomever.

890
00:46:34,000 --> 00:46:37,799
Speaker 1: Like she just you know, didn't have that moment where

891
00:46:37,840 --> 00:46:40,960
Speaker 1: she got to like write and direct her own way.

892
00:46:41,280 --> 00:46:44,440
Speaker 1: And you know, we'll definitely talk about that towards the end.

893
00:46:44,560 --> 00:46:48,000
Speaker 1: But the Beats of Old Boyfriends goes a little something

894
00:46:48,120 --> 00:46:52,720
Speaker 1: like this. So Talia Shire of The Godfather and Rocky

895
00:46:52,760 --> 00:46:58,480
Speaker 1: Movies and Jason Schwartzman and Robert Schwartzman's mom. Don't know

896
00:46:58,480 --> 00:47:02,320
Speaker 1: if you guys knew that, but that's true. She plays

897
00:47:02,320 --> 00:47:07,120
Speaker 1: a woman named Diane Cruz in this movie. Now, okay,

898
00:47:07,280 --> 00:47:12,120
Speaker 1: the first scene of this movie suggests that Diane was married,

899
00:47:12,719 --> 00:47:16,759
Speaker 1: and now Crank calls her ex husband and his new

900
00:47:16,760 --> 00:47:21,120
Speaker 1: wife while looking at old pictures of their wedding. Yes, okay,

901
00:47:22,440 --> 00:47:24,799
Speaker 1: so maybe Diane is not in a good place right now,

902
00:47:24,880 --> 00:47:25,839
Speaker 1: which is saying.

903
00:47:28,400 --> 00:47:31,200
Speaker 2: She Crank calls puts on a record and crank calls.

904
00:47:31,239 --> 00:47:34,799
Speaker 2: That's like old timey crank calls. They're like, let me

905
00:47:34,840 --> 00:47:40,319
Speaker 2: crank up the old Victrola and pop on record, move

906
00:47:40,400 --> 00:47:43,320
Speaker 2: the needle, dial the number, and then put the receiver

907
00:47:43,480 --> 00:47:46,399
Speaker 2: next to the speaker, like she was really putting them

908
00:47:46,520 --> 00:47:47,279
Speaker 2: energy into it.

909
00:47:47,440 --> 00:47:49,640
Speaker 1: And on top of this, like Diane is reading her

910
00:47:49,680 --> 00:47:51,640
Speaker 1: old diary from when she was like a young person

911
00:47:51,880 --> 00:47:54,880
Speaker 1: and then decides, Hey, maybe it's a good idea for

912
00:47:54,920 --> 00:47:59,680
Speaker 1: me to go track down and visit these three guys

913
00:47:59,680 --> 00:48:02,680
Speaker 1: that I dated in various points of my life, Like

914
00:48:02,760 --> 00:48:06,120
Speaker 1: one is from like seventh grade or something, one is

915
00:48:06,160 --> 00:48:08,839
Speaker 1: like a high school boyfriend, and then the last one

916
00:48:08,880 --> 00:48:12,040
Speaker 1: is kind of like a person she dated in her twenties.

917
00:48:12,080 --> 00:48:17,520
Speaker 1: Maybe I'm assuming ye, and she says she actually says,

918
00:48:18,239 --> 00:48:20,000
Speaker 1: I thought if I could find out who I was,

919
00:48:20,080 --> 00:48:23,840
Speaker 1: then I might find out who I am now which,

920
00:48:24,520 --> 00:48:27,440
Speaker 1: baby girl, what is you doing? What is you doing?

921
00:48:28,000 --> 00:48:28,080
Speaker 2: Not?

922
00:48:29,080 --> 00:48:33,120
Speaker 1: Please do not do this, but she does so. She

923
00:48:34,360 --> 00:48:37,799
Speaker 1: first meets up with Jeff, who is played by the

924
00:48:37,840 --> 00:48:41,240
Speaker 1: actor Richard Jordan, who, by the way, is the cop

925
00:48:41,239 --> 00:48:43,680
Speaker 1: in one of the best movies of the seventies, The

926
00:48:43,719 --> 00:48:48,080
Speaker 1: Friends of Eddie Coyle go watch it, Robert Mitcham. It's

927
00:48:48,560 --> 00:48:52,640
Speaker 1: fucking great, great noir. But he's the cop in that movie.

928
00:48:53,120 --> 00:48:56,480
Speaker 1: And Jeff is like her twenty something.

929
00:48:56,719 --> 00:48:58,080
Speaker 4: Year old old boyfriend.

930
00:48:58,160 --> 00:49:01,560
Speaker 1: Right, he's a director, he's divorced, and he has a

931
00:49:01,600 --> 00:49:04,480
Speaker 1: teenage daughter with his ex wife, and so Diane like

932
00:49:04,600 --> 00:49:07,960
Speaker 1: basically goes to visit him while he's working on set

933
00:49:08,680 --> 00:49:13,440
Speaker 1: and was just horrifying. I can't even imagine. And Diane

934
00:49:13,480 --> 00:49:15,360
Speaker 1: spends a few days with him, She like meets his

935
00:49:15,560 --> 00:49:18,480
Speaker 1: daughter and like they're kind of like reconnecting. They and

936
00:49:18,520 --> 00:49:22,239
Speaker 1: they actually discuss like kind of getting back together, and

937
00:49:22,280 --> 00:49:25,040
Speaker 1: then she just fucking leaves.

938
00:49:25,640 --> 00:49:28,759
Speaker 2: She checks out of her hotel and he doesn't even

939
00:49:28,880 --> 00:49:31,600
Speaker 2: know And also part of the baby girl, what does

940
00:49:31,640 --> 00:49:36,160
Speaker 2: you do in for me? With this particular boyfriend. When

941
00:49:36,160 --> 00:49:39,200
Speaker 2: they first meet up in that bar, he's kind of

942
00:49:39,200 --> 00:49:41,320
Speaker 2: like post work, you know, hanging out with his friends

943
00:49:41,360 --> 00:49:44,360
Speaker 2: after work and his crew after work, and he's like,

944
00:49:44,400 --> 00:49:47,040
Speaker 2: do I know you? And she's like, yeah, you proposed

945
00:49:47,040 --> 00:49:50,360
Speaker 2: to me three times. If you propose to someone three

946
00:49:50,440 --> 00:49:53,480
Speaker 2: times and cannot even remember their face because they got

947
00:49:53,520 --> 00:49:56,440
Speaker 2: a haircut, girl, what is you doing? Get in your

948
00:49:56,480 --> 00:49:59,239
Speaker 2: car and go home. The charade is off. Everything is off.

949
00:49:59,280 --> 00:50:03,560
Speaker 2: Turn it, shut it down. No need to visit another boyfriend. Yes,

950
00:50:03,800 --> 00:50:07,000
Speaker 2: your deepest love doesn't know your face and he proposed

951
00:50:07,000 --> 00:50:08,040
Speaker 2: to you three times.

952
00:50:08,120 --> 00:50:14,200
Speaker 1: A boord mission when somebody is literally sitting within a

953
00:50:14,280 --> 00:50:17,439
Speaker 1: foot of your face and can't recognize you from when

954
00:50:17,480 --> 00:50:21,240
Speaker 1: he proposed to you three fucking times not too long ago.

955
00:50:21,400 --> 00:50:24,040
Speaker 1: By the way, this wasn't the seventh grade boyfriend. This

956
00:50:24,239 --> 00:50:28,600
Speaker 1: was the like adult boyfriend. So I'm already like, what

957
00:50:28,719 --> 00:50:34,800
Speaker 1: the fuck right, why even continue on this quest because

958
00:50:34,880 --> 00:50:37,200
Speaker 1: it's already been bad. Yeah, that would have been it

959
00:50:37,239 --> 00:50:37,400
Speaker 1: for me.

960
00:50:37,400 --> 00:50:39,560
Speaker 2: I would have been like, I'm sorry, we were engaged

961
00:50:39,719 --> 00:50:40,920
Speaker 2: and you don't know my face.

962
00:50:41,440 --> 00:50:42,520
Speaker 1: Back to la we go.

963
00:50:42,760 --> 00:50:45,839
Speaker 2: I'll find a new, a new way into this, this

964
00:50:45,920 --> 00:50:47,719
Speaker 2: introspective thought exactly.

965
00:50:48,320 --> 00:50:50,000
Speaker 1: And so you know, he goes to the hotel that

966
00:50:50,040 --> 00:50:52,160
Speaker 1: she's staying in the next day and she's fucking gone

967
00:50:52,400 --> 00:50:54,160
Speaker 1: and she go He goes up to the counter and

968
00:50:54,200 --> 00:50:56,440
Speaker 1: he's basically like, yo, where is she? And they're like,

969
00:50:56,480 --> 00:51:01,960
Speaker 1: she paid cash, she is out of here. So she's

970
00:51:01,960 --> 00:51:05,720
Speaker 1: out the door with Jeff and then is dashing over

971
00:51:06,480 --> 00:51:11,800
Speaker 1: to visit the second boyfriend, named Eric, who was played

972
00:51:11,840 --> 00:51:16,839
Speaker 1: by John Belushi, we got this. We have to talk

973
00:51:16,880 --> 00:51:21,120
Speaker 1: about this because okay, let's talk about Eric. He's living

974
00:51:21,160 --> 00:51:24,640
Speaker 1: in the same town. He owns a formal wear store,

975
00:51:25,280 --> 00:51:27,799
Speaker 1: and he plays in like a band, a cover band

976
00:51:28,080 --> 00:51:33,120
Speaker 1: for proms and nightclubs and what have you. Okay, and

977
00:51:33,239 --> 00:51:37,000
Speaker 1: he is just who you would expect. Okay, he's an

978
00:51:37,040 --> 00:51:41,960
Speaker 1: asshole from high school, just a real fucking pig. Apparently

979
00:51:41,960 --> 00:51:47,080
Speaker 1: they dated in high school and he basically humiliated her

980
00:51:47,280 --> 00:51:49,000
Speaker 1: in front of a bunch of his friends for like

981
00:51:49,080 --> 00:51:54,360
Speaker 1: not having sex with him. And John Belushi is playing

982
00:51:54,440 --> 00:51:56,959
Speaker 1: him right, which you know, it's sort of like, Okay,

983
00:51:57,040 --> 00:51:59,799
Speaker 1: you've got this guy who definitely knows how to sing

984
00:52:00,080 --> 00:52:03,000
Speaker 1: lose covers, which is what he does in a lot

985
00:52:03,040 --> 00:52:06,200
Speaker 1: of his scenes in the movie with cow Bell, with

986
00:52:06,280 --> 00:52:10,040
Speaker 1: Calb with cow Bell, and you know, he's basically like, yeah, baby,

987
00:52:10,120 --> 00:52:14,160
Speaker 1: let's hang out, Like come to my he basically okay.

988
00:52:14,239 --> 00:52:17,160
Speaker 1: She comes up with this scheme to get him to

989
00:52:17,360 --> 00:52:20,799
Speaker 1: deliver a forble dress to her in her hotel room

990
00:52:21,360 --> 00:52:24,919
Speaker 1: just so she can initially reunite with him. Okay, and

991
00:52:25,239 --> 00:52:27,920
Speaker 1: he comes in, he realizes her, and then of course

992
00:52:27,960 --> 00:52:30,799
Speaker 1: what does he do. He's like, hey, come see my

993
00:52:31,000 --> 00:52:36,440
Speaker 1: fucking band play tonight, because of course I would have

994
00:52:36,440 --> 00:52:38,359
Speaker 1: been in my car. But like, you know what, this

995
00:52:38,560 --> 00:52:41,600
Speaker 1: actually is not working. It wasn't me at all. It's

996
00:52:41,680 --> 00:52:42,240
Speaker 1: these guys.

997
00:52:42,360 --> 00:52:46,759
Speaker 2: I've got my answer, Jeff and Eric enough goodbye.

998
00:52:47,440 --> 00:52:50,840
Speaker 1: I mean, is the biggest red flag in the world

999
00:52:51,520 --> 00:52:55,160
Speaker 1: when you're trying to have like a serious conversation with

1000
00:52:55,200 --> 00:52:58,319
Speaker 1: someone and then they just tell you, Hey, just come

1001
00:52:58,360 --> 00:53:01,560
Speaker 1: see my band play. That's that's how we'll reconnect, that's

1002
00:53:01,600 --> 00:53:04,800
Speaker 1: how we'll talk is coming to see my band play

1003
00:53:05,040 --> 00:53:07,080
Speaker 1: in a fucking crowded bar.

1004
00:53:08,120 --> 00:53:11,359
Speaker 2: And she had some real shit to talk to him about, like, hey,

1005
00:53:11,880 --> 00:53:17,799
Speaker 2: you sexually assaulted me and lied about it, and I

1006
00:53:17,960 --> 00:53:20,239
Speaker 2: have some shit to say that I can't say while

1007
00:53:20,280 --> 00:53:22,799
Speaker 2: you're playing don't fear the reaper.

1008
00:53:24,920 --> 00:53:28,600
Speaker 1: As you're covering tush by his zeezy top. Let's discuss

1009
00:53:29,239 --> 00:53:33,200
Speaker 1: the sexual assault that occurred in high school. But here's

1010
00:53:33,239 --> 00:53:36,520
Speaker 1: the interesting thing, because she actually does go see his

1011
00:53:36,600 --> 00:53:40,040
Speaker 1: fucking pan play, right, which I'm like, again, why are

1012
00:53:40,040 --> 00:53:42,279
Speaker 1: we doing this, baby girl? What as you're doing? But

1013
00:53:42,360 --> 00:53:45,520
Speaker 1: she does it anyway, and then she sets up this

1014
00:53:45,719 --> 00:53:48,880
Speaker 1: entire scenario where she she like coerces him to go

1015
00:53:49,000 --> 00:53:51,800
Speaker 1: back to like the lookout or the point or wherever

1016
00:53:51,840 --> 00:53:54,759
Speaker 1: it was in high school where everybody like you know,

1017
00:53:54,880 --> 00:53:57,600
Speaker 1: made out or whatever. And then she pulls this whole

1018
00:53:57,719 --> 00:54:01,200
Speaker 1: kind of like repeat this like I go sexual kind

1019
00:54:01,239 --> 00:54:05,160
Speaker 1: of like high school game in the car with him,

1020
00:54:05,200 --> 00:54:08,839
Speaker 1: where she basically is like mimicking what Eric had done

1021
00:54:08,840 --> 00:54:10,839
Speaker 1: to her in high school, where that she's basically just

1022
00:54:10,880 --> 00:54:15,120
Speaker 1: like teasing him and like basically like promising that they're gonna, like,

1023
00:54:15,239 --> 00:54:17,600
Speaker 1: you know, go all the way and that she's asking

1024
00:54:17,719 --> 00:54:20,200
Speaker 1: him like, oh, say all these things that she said

1025
00:54:20,200 --> 00:54:22,239
Speaker 1: to me in high school or whatever like that, and

1026
00:54:22,280 --> 00:54:24,759
Speaker 1: it's kind of an intense scene. I'm not gonna lie,

1027
00:54:24,840 --> 00:54:29,000
Speaker 1: it's very intense. And then at some point they get

1028
00:54:29,040 --> 00:54:31,440
Speaker 1: out of the car. And it was at this moment

1029
00:54:31,600 --> 00:54:34,960
Speaker 1: where I stopped the film and I asked myself, do

1030
00:54:35,000 --> 00:54:37,480
Speaker 1: we see Sehn Belushi's dick right now?

1031
00:54:37,920 --> 00:54:38,240
Speaker 4: Oh?

1032
00:54:38,520 --> 00:54:42,279
Speaker 1: Lord, Like, do we are we seeing it right now?

1033
00:54:42,320 --> 00:54:46,239
Speaker 1: Because I I'm pretty sure we do, And I just

1034
00:54:46,280 --> 00:54:48,279
Speaker 1: don't know if I was ready for that, you know

1035
00:54:48,320 --> 00:54:48,920
Speaker 1: what I'm saying.

1036
00:54:49,560 --> 00:54:51,439
Speaker 2: Look, I'm not one to speak ill of the dead,

1037
00:54:51,600 --> 00:54:56,160
Speaker 2: except that I totally am, because being dead does not

1038
00:54:56,280 --> 00:55:00,960
Speaker 2: make you exempt from us talking about your dig. I

1039
00:55:01,040 --> 00:55:04,280
Speaker 2: was doing some embroidery while I was watching this movie,

1040
00:55:05,440 --> 00:55:09,879
Speaker 2: and I cast my eyes aside just in case, because

1041
00:55:09,920 --> 00:55:12,920
Speaker 2: you know, back in the seventies those boxers were real loose,

1042
00:55:14,000 --> 00:55:18,520
Speaker 2: so like something flopping out could have just happened accidentally.

1043
00:55:17,920 --> 00:55:20,160
Speaker 1: And I'm like, I don't even want to accidentally.

1044
00:55:19,600 --> 00:55:24,560
Speaker 2: See John Belushi's dick, So I just worked an extra

1045
00:55:24,640 --> 00:55:28,040
Speaker 2: stitch there, because.

1046
00:55:27,840 --> 00:55:32,600
Speaker 1: Okay, I was like, surely that's a stunt dick. That's

1047
00:55:32,600 --> 00:55:36,719
Speaker 1: not a real dick, is it. Because there's like he's

1048
00:55:36,840 --> 00:55:40,080
Speaker 1: effectively in the scene not wearing pants, and you know,

1049
00:55:40,160 --> 00:55:42,279
Speaker 1: they're kind of like on the ground and they're kind

1050
00:55:42,280 --> 00:55:45,759
Speaker 1: of about to like start intercourse. And then she kind

1051
00:55:45,760 --> 00:55:48,560
Speaker 1: of gets up because, as we find out, she's like

1052
00:55:49,440 --> 00:55:52,160
Speaker 1: see a sucker, bye bye, and she gets in her

1053
00:55:52,160 --> 00:55:56,320
Speaker 1: car and fucking drives away, which is a very revenge

1054
00:55:56,400 --> 00:55:59,160
Speaker 1: ye move. I mean, if that was at all faithful

1055
00:55:59,200 --> 00:56:01,400
Speaker 1: to what Paul sh thought this movie was gonna be,

1056
00:56:01,600 --> 00:56:04,000
Speaker 1: this would have been it, right. But then there's a

1057
00:56:04,040 --> 00:56:07,480
Speaker 1: moment where you catch a flash and I'm like, am

1058
00:56:07,560 --> 00:56:09,239
Speaker 1: I seeing what I think I'm seeing right now? I

1059
00:56:09,280 --> 00:56:10,600
Speaker 1: don't know what I think about this.

1060
00:56:10,960 --> 00:56:12,399
Speaker 2: Here's the thing I hate to break it to you.

1061
00:56:12,800 --> 00:56:16,440
Speaker 2: They didn't have stunt dicks back then. They didn't have

1062
00:56:16,520 --> 00:56:22,960
Speaker 2: the tech for it. There was no tech for stunt dicks.

1063
00:56:27,600 --> 00:56:34,279
Speaker 1: That was just lang. Well, I will say this for

1064
00:56:34,320 --> 00:56:39,040
Speaker 1: the record, it was at full attention from what I saw.

1065
00:56:40,400 --> 00:56:43,520
Speaker 2: Again, we're in an extra stitch throughout that whole scene.

1066
00:56:43,760 --> 00:56:47,319
Speaker 1: Now, this movie, in fact, just as a side note,

1067
00:56:47,400 --> 00:56:50,680
Speaker 1: this movie was hard to watch for a very long time.

1068
00:56:50,760 --> 00:56:52,800
Speaker 1: It was kind of like out of print for many years,

1069
00:56:52,800 --> 00:56:55,680
Speaker 1: and only recently have I actually seen it around. I

1070
00:56:55,719 --> 00:56:58,160
Speaker 1: think it got like, you know, they did a restoration

1071
00:56:58,280 --> 00:57:00,680
Speaker 1: or they struck a new print of it, and I

1072
00:57:00,719 --> 00:57:03,759
Speaker 1: saw it on canopy and it looked fantastic. Having said that,

1073
00:57:03,840 --> 00:57:06,000
Speaker 1: I was like, is the reason why I was lost

1074
00:57:06,040 --> 00:57:12,400
Speaker 1: for many years because of this maybe potentially erect real

1075
00:57:12,760 --> 00:57:20,080
Speaker 1: penis of John Belushi, which comedic icon John Belushi's real dick?

1076
00:57:20,320 --> 00:57:22,160
Speaker 1: Is that why we didn't see this movie for so long?

1077
00:57:22,400 --> 00:57:25,720
Speaker 1: Imagine being the arbiter of an estate.

1078
00:57:27,320 --> 00:57:29,320
Speaker 2: And then you're like, here's what we're doing this week

1079
00:57:29,400 --> 00:57:32,640
Speaker 2: with my brother's estate, with my uncle's estate, et cetera.

1080
00:57:33,920 --> 00:57:36,520
Speaker 2: Do we want people to see his wang in the

1081
00:57:36,560 --> 00:57:39,640
Speaker 2: afterlife at post life? Like?

1082
00:57:39,720 --> 00:57:41,560
Speaker 1: Is that what Jim Belushi's been up to for all

1083
00:57:41,560 --> 00:57:46,720
Speaker 1: these years? Like, what is the lealities of that?

1084
00:57:48,760 --> 00:57:51,200
Speaker 2: I'm in charge of someone's estate and all of a sudden,

1085
00:57:51,280 --> 00:57:54,920
Speaker 2: here comes Paul Schrader and Joan Tewkesbury and they're like, Yo, we.

1086
00:57:54,880 --> 00:57:57,080
Speaker 1: Want people to see this movie, but we see your

1087
00:57:57,120 --> 00:57:58,440
Speaker 1: grandma's full snatch in it.

1088
00:58:00,160 --> 00:58:04,200
Speaker 2: I'm like, I don't want this job. I no longer

1089
00:58:04,280 --> 00:58:05,080
Speaker 2: want this job.

1090
00:58:06,080 --> 00:58:11,360
Speaker 1: Well, and I admittedly am not the biggest John Belushi fan.

1091
00:58:11,920 --> 00:58:14,680
Speaker 1: I don't know if he always showed Dick in his movies.

1092
00:58:14,760 --> 00:58:17,560
Speaker 1: I don't know does he flash Dick in the Blues

1093
00:58:17,600 --> 00:58:21,240
Speaker 1: Brothers or I mean, I've seen Animal House many times,

1094
00:58:21,280 --> 00:58:23,480
Speaker 1: but I don't think we saw it there. Like, I'm

1095
00:58:23,520 --> 00:58:25,920
Speaker 1: not sure if this is like something that he would

1096
00:58:25,920 --> 00:58:27,760
Speaker 1: do on the rags, or if this was literally like

1097
00:58:27,800 --> 00:58:31,840
Speaker 1: an oopsie we actually got something in the film, or

1098
00:58:31,960 --> 00:58:34,000
Speaker 1: if it was a stunt dick. Now, I don't know

1099
00:58:34,040 --> 00:58:36,240
Speaker 1: the history of stunt dicks as you do.

1100
00:58:37,600 --> 00:58:39,800
Speaker 2: I think it was one of those moments you've ever

1101
00:58:39,840 --> 00:58:42,520
Speaker 2: been in a situation where you're like, oh shit, something

1102
00:58:42,560 --> 00:58:44,120
Speaker 2: just happened. We're just gonna let it ride and see

1103
00:58:44,120 --> 00:58:46,000
Speaker 2: what how it plays out, Like where you hear people

1104
00:58:46,080 --> 00:58:47,160
Speaker 2: at work arguing or.

1105
00:58:47,080 --> 00:58:49,280
Speaker 1: Something and you're like, oh, she just said that. Wait,

1106
00:58:49,360 --> 00:58:50,120
Speaker 1: let's see what happens.

1107
00:58:50,320 --> 00:58:52,280
Speaker 2: That's probably what's going on on set, Like, oh my god,

1108
00:58:52,280 --> 00:58:53,000
Speaker 2: we're looking at his dick.

1109
00:58:53,000 --> 00:58:55,520
Speaker 1: Don't nobody move, nobody say anything. Let's just get this

1110
00:58:56,040 --> 00:58:59,240
Speaker 1: on film and deal with it later. I mean, I'm

1111
00:58:59,320 --> 00:59:02,439
Speaker 1: not gonna lie. It totally distracted me for at least

1112
00:59:02,440 --> 00:59:04,200
Speaker 1: the next like ten to fifteen minutes of the film

1113
00:59:04,200 --> 00:59:07,600
Speaker 1: because basically she leaves, she drives away in the car

1114
00:59:08,000 --> 00:59:11,040
Speaker 1: and you know, as you can imagine, because he's that

1115
00:59:11,160 --> 00:59:14,560
Speaker 1: high school asshole. Still he's cussing around. He's calling her

1116
00:59:14,600 --> 00:59:17,360
Speaker 1: a bitch and like a whore as she's driving away,

1117
00:59:17,840 --> 00:59:21,480
Speaker 1: and I'm still on it, like was that his actual boner?

1118
00:59:21,560 --> 00:59:23,560
Speaker 1: Oh my god, please say no. Like, I don't know

1119
00:59:23,600 --> 00:59:26,320
Speaker 1: what I think of this. This is just so massively

1120
00:59:26,440 --> 00:59:31,080
Speaker 1: fucked up that I can't process what's happening after this.

1121
00:59:31,440 --> 00:59:34,640
Speaker 2: But what's also wild about that scene, and you know,

1122
00:59:34,680 --> 00:59:36,720
Speaker 2: the scene with Jeff before that, is that we're getting

1123
00:59:37,120 --> 00:59:41,920
Speaker 2: this current iteration of how Diane feels about these men

1124
00:59:41,960 --> 00:59:44,880
Speaker 2: and these relationships based on how she's treating them. But

1125
00:59:44,920 --> 00:59:49,320
Speaker 2: then we're also getting the voiceover of her old journals.

1126
00:59:49,400 --> 00:59:52,240
Speaker 2: So when she starts telling in her old journals, like

1127
00:59:52,320 --> 00:59:55,439
Speaker 2: the entry of what Eric did to her that night,

1128
00:59:55,520 --> 00:59:57,480
Speaker 2: or how he treated her, how he made her feel,

1129
00:59:57,880 --> 01:00:01,320
Speaker 2: then you're juxtaposing that with him, you know, still cursing

1130
01:00:01,320 --> 01:00:03,600
Speaker 2: her out in the same high school way while she's

1131
01:00:03,680 --> 01:00:07,480
Speaker 2: driving her car away. It's like, oh, I understand, like

1132
01:00:07,560 --> 01:00:10,040
Speaker 2: that you wanted confirmation of this, but also you knew

1133
01:00:10,080 --> 01:00:12,280
Speaker 2: he was gonna be this guy like that guy rarely

1134
01:00:12,560 --> 01:00:16,280
Speaker 2: turns into a different type of person exactly exactly, And

1135
01:00:16,320 --> 01:00:18,680
Speaker 2: you know what I mean that was that is what

1136
01:00:18,880 --> 01:00:22,720
Speaker 2: happens when you decide to reopen old caskets, right, is

1137
01:00:22,760 --> 01:00:24,920
Speaker 2: that sometimes you just go, oh shit, like this is

1138
01:00:24,960 --> 01:00:28,840
Speaker 2: literally the same guy, never changed, and you know he's

1139
01:00:28,840 --> 01:00:30,040
Speaker 2: still pulling shit.

1140
01:00:30,360 --> 01:00:34,160
Speaker 1: So I mean, again, movies should have been over by then,

1141
01:00:34,240 --> 01:00:38,439
Speaker 1: but of course it's not. Because here's another interesting thing

1142
01:00:38,520 --> 01:00:40,960
Speaker 1: that happens in the film. Is that so while this is

1143
01:00:41,000 --> 01:00:46,280
Speaker 1: all happening while she's out, you know, visiting boyfriend number two, Jeff,

1144
01:00:46,520 --> 01:00:52,160
Speaker 1: the first guy goes to la and hires a private investigator,

1145
01:00:52,880 --> 01:00:56,280
Speaker 1: baby girling and you doing to find out what happened

1146
01:00:56,320 --> 01:01:01,160
Speaker 1: to her after she left him in a fever. Right now.

1147
01:01:02,000 --> 01:01:05,120
Speaker 1: This PI is played by Buck Henry, who I love,

1148
01:01:05,680 --> 01:01:10,560
Speaker 1: and apparently his office is in Hollywood and Highland, right

1149
01:01:10,600 --> 01:01:12,880
Speaker 1: across the street from the Chinese Theater, and I was like, damn,

1150
01:01:12,880 --> 01:01:16,560
Speaker 1: that is fucking tight real estate for a private investigator.

1151
01:01:17,160 --> 01:01:21,880
Speaker 1: So the Buck Henry character actually tracks down like one

1152
01:01:21,880 --> 01:01:24,520
Speaker 1: of her old coworkers at the psych clinic sheho's to

1153
01:01:24,560 --> 01:01:30,600
Speaker 1: work at, because remember Diane is a psychologist, and he

1154
01:01:30,640 --> 01:01:35,560
Speaker 1: tracks down her ex husband who is now remarried to

1155
01:01:35,640 --> 01:01:39,439
Speaker 1: PJ Souls apparently and is having a great old time

1156
01:01:39,480 --> 01:01:44,480
Speaker 1: by the pool. But what happens is Jeff visits these people,

1157
01:01:45,120 --> 01:01:49,400
Speaker 1: visits the old coworker, visits the ex husband, and finds

1158
01:01:49,440 --> 01:01:52,600
Speaker 1: out that Diane is again like not doing great. But

1159
01:01:52,640 --> 01:01:55,240
Speaker 1: it's that moment where you're like, Okay, why is the

1160
01:01:55,280 --> 01:01:58,880
Speaker 1: old boyfriend going back and working this hard to figure

1161
01:01:58,880 --> 01:02:01,080
Speaker 1: out where she is? And then it just kind of

1162
01:02:01,120 --> 01:02:03,800
Speaker 1: opens up this whole other layer of the story right.

1163
01:02:04,000 --> 01:02:07,480
Speaker 2: Well completely, And it also it brings in this that

1164
01:02:07,600 --> 01:02:11,240
Speaker 2: was a very weird, like ten twenty minutes of the

1165
01:02:11,240 --> 01:02:14,160
Speaker 2: film for me, because I'm like, all right, on the

1166
01:02:14,240 --> 01:02:16,400
Speaker 2: one hand, it could be that they're trying to say,

1167
01:02:16,520 --> 01:02:18,440
Speaker 2: this is someone with some mental health issues and this

1168
01:02:18,480 --> 01:02:20,200
Speaker 2: is how she's trying to work them out, which is

1169
01:02:20,280 --> 01:02:23,960
Speaker 2: creative and interesting, and as a psychologist, she's like, you know,

1170
01:02:24,040 --> 01:02:25,160
Speaker 2: doing it in her own way.

1171
01:02:25,520 --> 01:02:27,800
Speaker 1: But the fact that it was the boyfriend kind of.

1172
01:02:27,760 --> 01:02:30,600
Speaker 2: Digging up this dirt about her felt a little bit

1173
01:02:30,720 --> 01:02:32,800
Speaker 2: slimy to me, Like, why are you trying to figure

1174
01:02:32,800 --> 01:02:35,440
Speaker 2: out like she left, She didn't say goodbye because she

1175
01:02:35,480 --> 01:02:38,280
Speaker 2: didn't want to. She didn't give you any forwarding information

1176
01:02:38,280 --> 01:02:41,280
Speaker 2: because she didn't want to, like you tracking her down.

1177
01:02:41,800 --> 01:02:44,800
Speaker 2: It felt a little slimy in that moment, especially because

1178
01:02:44,800 --> 01:02:46,960
Speaker 2: it was like her and her ex husband, So these

1179
01:02:46,960 --> 01:02:51,680
Speaker 2: two men that she'd previously been with talking about her, yeah,

1180
01:02:51,800 --> 01:02:54,760
Speaker 2: instead of talking to her and talking about like her

1181
01:02:54,800 --> 01:02:59,040
Speaker 2: deepest you know, mental health struggles or like her deepest strife,

1182
01:02:59,040 --> 01:02:59,960
Speaker 2: And that just felt weird.

1183
01:03:00,560 --> 01:03:00,880
Speaker 4: Weird.

1184
01:03:01,080 --> 01:03:04,280
Speaker 1: Yeah, I have to say too. I mean, part of

1185
01:03:04,320 --> 01:03:07,480
Speaker 1: my grievance with this film, and it's very small, is

1186
01:03:07,520 --> 01:03:09,680
Speaker 1: that there does feel like there's kind of separate stories

1187
01:03:09,720 --> 01:03:13,480
Speaker 1: here that would all make a really compelling film on

1188
01:03:13,520 --> 01:03:17,919
Speaker 1: their own right right, And part of me wishes that

1189
01:03:18,240 --> 01:03:20,520
Speaker 1: were the case. I gotta be honest, which is that

1190
01:03:21,280 --> 01:03:24,080
Speaker 1: this whole ex boyfriend coming back to find her and

1191
01:03:24,120 --> 01:03:27,160
Speaker 1: to like discover like what's going on with her. That

1192
01:03:27,520 --> 01:03:31,320
Speaker 1: is a huge moment of a movie, and it's just

1193
01:03:31,440 --> 01:03:33,720
Speaker 1: kind of tucked in with all this other stuff that's happening.

1194
01:03:33,720 --> 01:03:35,560
Speaker 1: And part of me was like, oh, they should have

1195
01:03:35,640 --> 01:03:38,400
Speaker 1: made this a movie, Like they should just have made

1196
01:03:39,440 --> 01:03:42,960
Speaker 1: this whole thing with Jeff, just Jeff a thing. And

1197
01:03:43,880 --> 01:03:46,840
Speaker 1: you know, there's tons to think about when it comes

1198
01:03:46,880 --> 01:03:49,600
Speaker 1: down to it, like when it comes to this film,

1199
01:03:49,640 --> 01:03:54,280
Speaker 1: because there's like again, like different characters interacting and you

1200
01:03:54,440 --> 01:03:56,520
Speaker 1: just can't get it all wrapped up in this small

1201
01:03:56,520 --> 01:03:58,720
Speaker 1: amount of time. And it makes me wonder at the

1202
01:03:58,800 --> 01:04:00,560
Speaker 1: end of the day, like what would have happened if

1203
01:04:00,640 --> 01:04:05,600
Speaker 1: Joan Tewkesbury was able to write and direct this movie

1204
01:04:05,760 --> 01:04:08,600
Speaker 1: the way she wanted it, and just more movies in general,

1205
01:04:08,640 --> 01:04:11,360
Speaker 1: it would have been maybe a different scenario, you know.

1206
01:04:11,880 --> 01:04:15,440
Speaker 2: Completely because I think it's a fascinating role, it's a

1207
01:04:15,480 --> 01:04:19,560
Speaker 2: fascinating story in terms of you know, what we usually

1208
01:04:19,600 --> 01:04:22,040
Speaker 2: saw of women in the seventies like this, you know,

1209
01:04:22,120 --> 01:04:24,640
Speaker 2: seventy nine, seventy eight, seventy nine was kind of a

1210
01:04:24,680 --> 01:04:27,720
Speaker 2: time when I feel like we were seeing more complex

1211
01:04:27,760 --> 01:04:31,880
Speaker 2: stories about women and women's emotional lives on film, So

1212
01:04:31,920 --> 01:04:34,160
Speaker 2: I think it could have been a totally different and

1213
01:04:34,760 --> 01:04:37,760
Speaker 2: you know, more interior look at this character. If Joan

1214
01:04:37,800 --> 01:04:40,960
Speaker 2: Tewkesbury had more freedom, yeah, to kind of express.

1215
01:04:40,600 --> 01:04:44,280
Speaker 1: That totally because I will say now with the third

1216
01:04:44,360 --> 01:04:47,680
Speaker 1: boyfriend she visits, so after this whole thing is happening,

1217
01:04:48,080 --> 01:04:50,640
Speaker 1: she leaves Eric Jeff is on the lookout for her

1218
01:04:50,680 --> 01:04:54,600
Speaker 1: in La and then Diane is onto the last boyfriend.

1219
01:04:55,480 --> 01:04:58,480
Speaker 1: She goes to like the house of this middle school

1220
01:04:58,480 --> 01:05:02,800
Speaker 1: boyfriend she had and finds out that he actually died

1221
01:05:02,840 --> 01:05:06,600
Speaker 1: in Vietnam from his younger brother Wayne, who was played

1222
01:05:06,600 --> 01:05:09,600
Speaker 1: by Keith Carrodine. I have a huge crush on Keith

1223
01:05:09,640 --> 01:05:16,720
Speaker 1: Carrotyine cybar like no no spoilers on Deadwood, but the

1224
01:05:16,760 --> 01:05:19,920
Speaker 1: first season of Deadwood is my shit. Like, I love

1225
01:05:20,040 --> 01:05:26,800
Speaker 1: Keith Carrody so much. But his mother Wayne, He plays Wayne,

1226
01:05:26,960 --> 01:05:30,560
Speaker 1: who is the brother of the guy that she dated

1227
01:05:31,400 --> 01:05:34,320
Speaker 1: who is now passed, and like, so his mother tells

1228
01:05:34,360 --> 01:05:37,240
Speaker 1: Diane that Wayne is twenty seven and he lives at

1229
01:05:37,240 --> 01:05:39,680
Speaker 1: home and he's maybe depressed, and he sees he sees

1230
01:05:39,720 --> 01:05:43,080
Speaker 1: a psychiatrist, and you know, he just kind of doesn't

1231
01:05:43,080 --> 01:05:44,840
Speaker 1: want to work or date or kind of live a

1232
01:05:44,880 --> 01:05:48,959
Speaker 1: full life. And Diane decides in this moment that she's

1233
01:05:49,000 --> 01:05:52,560
Speaker 1: going to help him, and they just start hanging out,

1234
01:05:52,640 --> 01:05:55,880
Speaker 1: and of course Diane, being a psychologist, kind of understands

1235
01:05:55,880 --> 01:05:57,800
Speaker 1: a little bit maybe about what's going on with him,

1236
01:05:58,320 --> 01:06:01,440
Speaker 1: and they end up having this kind of sweet but

1237
01:06:01,560 --> 01:06:09,360
Speaker 1: also kind of like like teenage romancey encounter. And she

1238
01:06:09,520 --> 01:06:12,280
Speaker 1: comes back the next day after they you know, I guess,

1239
01:06:12,640 --> 01:06:16,280
Speaker 1: you know, had sex or whatever, and she finds out

1240
01:06:16,280 --> 01:06:19,560
Speaker 1: from the mom that Wayne fully went into the hospital.

1241
01:06:19,640 --> 01:06:22,840
Speaker 1: He had a breakdown. Literally, he had a breakdown because

1242
01:06:23,200 --> 01:06:28,480
Speaker 1: he had sex with his dead brother's middle school girlfriend.

1243
01:06:29,200 --> 01:06:33,280
Speaker 2: Also, I'm gonna say that a big part of probably

1244
01:06:33,280 --> 01:06:36,920
Speaker 2: what played into that is that prior to them having sex,

1245
01:06:37,320 --> 01:06:39,960
Speaker 2: he took her up to the attic to show her, like,

1246
01:06:40,000 --> 01:06:42,920
Speaker 2: here's all my brother's stuff. She made him wear one

1247
01:06:42,960 --> 01:06:46,480
Speaker 2: of his brother's sweaters, so he's already role playing as

1248
01:06:46,520 --> 01:06:49,280
Speaker 2: his dead brother. And they went to the tree where

1249
01:06:49,360 --> 01:06:53,200
Speaker 2: like they had their first kiss and then they had sex. Ye,

1250
01:06:53,320 --> 01:06:55,880
Speaker 2: it's like, all right, so you turned the kissing tree

1251
01:06:55,920 --> 01:06:58,400
Speaker 2: into a fucking tree. While I was dressed as my brother.

1252
01:06:58,960 --> 01:07:02,160
Speaker 2: I would go into a hospital after that. If I

1253
01:07:02,320 --> 01:07:04,560
Speaker 2: was not even him, just me right now, I would

1254
01:07:04,560 --> 01:07:05,560
Speaker 2: go into a hospital life.

1255
01:07:05,600 --> 01:07:08,800
Speaker 1: One hundred percent fact, because I was basically like, this

1256
01:07:08,840 --> 01:07:12,240
Speaker 1: is massively fucked up and she should know better. And

1257
01:07:12,280 --> 01:07:14,240
Speaker 1: then what happens is the next day she goes to

1258
01:07:14,320 --> 01:07:16,640
Speaker 1: the hospital where he's at, and you know, the mom

1259
01:07:16,760 --> 01:07:18,600
Speaker 1: is like, stay away from my son, right She's like

1260
01:07:18,800 --> 01:07:21,720
Speaker 1: not having it, and she goes to the hospital that

1261
01:07:21,760 --> 01:07:24,760
Speaker 1: he's staying at and talks to his doctor, which I

1262
01:07:24,800 --> 01:07:26,960
Speaker 1: would be remiss if I didn't mention that the doctor

1263
01:07:27,040 --> 01:07:31,360
Speaker 1: is played by John Houseman of The Paper Chase. We

1264
01:07:31,440 --> 01:07:33,800
Speaker 1: mentioned The Paper Chase all the time on this podcast.

1265
01:07:33,840 --> 01:07:35,880
Speaker 2: I don't know. I don't know how and why that

1266
01:07:35,920 --> 01:07:37,760
Speaker 2: became something we mentioned constantly.

1267
01:07:38,080 --> 01:07:41,400
Speaker 1: No, I do love this actor. I don't want to

1268
01:07:41,400 --> 01:07:42,360
Speaker 1: find out. I don't know.

1269
01:07:42,400 --> 01:07:43,720
Speaker 2: I don't want to find out that he like kept

1270
01:07:43,720 --> 01:07:47,760
Speaker 2: sleeves or something. He's been old since old began. I

1271
01:07:47,760 --> 01:07:49,919
Speaker 2: don't know anything about his personal life, but I will

1272
01:07:49,960 --> 01:07:54,720
Speaker 2: say that as an actor, John Houseman his main role,

1273
01:07:54,840 --> 01:07:57,560
Speaker 2: his main function in any role is to read someone

1274
01:07:57,600 --> 01:08:00,360
Speaker 2: for philth Yes, like, if you walk into scene with

1275
01:08:00,400 --> 01:08:03,280
Speaker 2: John Houseman, you're walking out with no dignity. You're walking

1276
01:08:03,320 --> 01:08:06,320
Speaker 2: out with no self esteem. He is just gonna read

1277
01:08:06,360 --> 01:08:07,000
Speaker 2: you fulfilled.

1278
01:08:07,600 --> 01:08:11,040
Speaker 1: I mean, it's perfect. He's always he's playing like professors

1279
01:08:11,040 --> 01:08:14,080
Speaker 1: and doctors who like give it to you fucking straight,

1280
01:08:14,120 --> 01:08:16,479
Speaker 1: and you're crying by the end of it, right, yes,

1281
01:08:16,560 --> 01:08:19,160
Speaker 1: And that's exactly what happens, is that he calls her

1282
01:08:19,200 --> 01:08:22,040
Speaker 1: out from messing with Wayne and he's like, you ruined

1283
01:08:22,040 --> 01:08:25,240
Speaker 1: all this fucking work we did together, and you should

1284
01:08:25,280 --> 01:08:28,200
Speaker 1: know better because you work in mental health, and baby girl,

1285
01:08:28,200 --> 01:08:31,639
Speaker 1: what is you doing? Is exactly his line to her,

1286
01:08:32,120 --> 01:08:33,559
Speaker 1: and I think it is at that moment where she

1287
01:08:33,640 --> 01:08:37,519
Speaker 1: kind of finally realizes, Wow, maybe I shouldn't have done this.

1288
01:08:37,520 --> 01:08:39,519
Speaker 1: This is massively fucked up. I don't know what I'm

1289
01:08:39,520 --> 01:08:42,240
Speaker 1: doing out here, and I'm not gonna spoil the movie,

1290
01:08:42,360 --> 01:08:45,439
Speaker 1: but that is kind of like the weirdest part about

1291
01:08:45,439 --> 01:08:48,920
Speaker 1: this movie is that you know it wraps up in

1292
01:08:48,960 --> 01:08:52,400
Speaker 1: a way that maybe you would expect, but maybe you

1293
01:08:52,400 --> 01:08:57,400
Speaker 1: wouldn't expect. But again, you do feel like this movie

1294
01:08:58,320 --> 01:09:01,880
Speaker 1: is slightly unfinished or baby yeah, you do feel that

1295
01:09:02,040 --> 01:09:08,440
Speaker 1: kind of production history problem a little bit. And ultimately

1296
01:09:08,520 --> 01:09:11,200
Speaker 1: what we got from this movie is its own thing

1297
01:09:11,840 --> 01:09:14,280
Speaker 1: to be talked about, and it is interesting. But you know,

1298
01:09:14,360 --> 01:09:17,360
Speaker 1: when I was prepping for this episode, I was rereading

1299
01:09:17,400 --> 01:09:21,520
Speaker 1: this awesome book that was written by Maya Montanas Smuckler.

1300
01:09:21,800 --> 01:09:25,320
Speaker 1: It's called Liberating Hollywood, and it's basically a book all

1301
01:09:25,360 --> 01:09:29,760
Speaker 1: about the female directors that were working in America during

1302
01:09:29,760 --> 01:09:33,559
Speaker 1: the women's liberation movement of the seventies. And she does

1303
01:09:33,880 --> 01:09:36,920
Speaker 1: she has an entire section about Joan Tewkesbury and she

1304
01:09:37,040 --> 01:09:40,800
Speaker 1: makes this argument that again even under the tutelage of

1305
01:09:40,840 --> 01:09:44,240
Speaker 1: someone like Robert Altman, even with having the success of

1306
01:09:44,320 --> 01:09:47,479
Speaker 1: Nashville and Thieves like Us, like, she wasn't able to

1307
01:09:47,600 --> 01:09:50,480
Speaker 1: make the movie she wanted to make with old boyfriends

1308
01:09:50,840 --> 01:09:54,679
Speaker 1: and the idea that she never directed another film again

1309
01:09:55,439 --> 01:09:59,120
Speaker 1: and primarily just worked in TV where it's like easier

1310
01:09:59,160 --> 01:10:02,240
Speaker 1: and faster to kind of get creative work done there.

1311
01:10:02,680 --> 01:10:05,280
Speaker 1: You know, I think it's proof of that. It's proof

1312
01:10:05,360 --> 01:10:07,880
Speaker 1: that like basically she had this bad experience. You know,

1313
01:10:07,960 --> 01:10:10,280
Speaker 1: there was a lot of people attached to the film

1314
01:10:10,320 --> 01:10:12,320
Speaker 1: that could have made it like great, but it was

1315
01:10:12,640 --> 01:10:15,920
Speaker 1: it ended up just kind of not being hers to own.

1316
01:10:16,479 --> 01:10:18,720
Speaker 1: And maybe that is why the movie is the way

1317
01:10:18,720 --> 01:10:21,160
Speaker 1: it is do you know what I mean? Yeah, I

1318
01:10:21,200 --> 01:10:24,439
Speaker 1: felt that friction in the ending for sure, for sure,

1319
01:10:25,320 --> 01:10:27,480
Speaker 1: and I do think that it's it's.

1320
01:10:27,320 --> 01:10:29,120
Speaker 2: Not It wouldn't be a surprise to me if that's

1321
01:10:29,120 --> 01:10:31,240
Speaker 2: why you know, this was the first and last movie

1322
01:10:31,280 --> 01:10:35,240
Speaker 2: she directed, Because I think we've all heard of someone

1323
01:10:35,280 --> 01:10:37,960
Speaker 2: being cast as difficult, when women are being cast as

1324
01:10:38,040 --> 01:10:40,160
Speaker 2: difficult and people don't want to work with them anymore.

1325
01:10:40,240 --> 01:10:42,240
Speaker 2: And you know, we know the career that Paul Schraeder

1326
01:10:42,320 --> 01:10:44,400
Speaker 2: went on to have versus the career that Joan Twospery

1327
01:10:44,479 --> 01:10:46,680
Speaker 2: went on to have. And I kind of think that,

1328
01:10:47,280 --> 01:10:51,160
Speaker 2: you know, I can understand as a creator just taking

1329
01:10:51,479 --> 01:10:54,120
Speaker 2: the road that would allow you to do your art

1330
01:10:54,360 --> 01:10:57,040
Speaker 2: in a way that didn't mean that you had to

1331
01:10:57,080 --> 01:10:59,400
Speaker 2: give over your entire soul for it. Like that can't

1332
01:10:59,400 --> 01:11:01,479
Speaker 2: have felt good to be in such friction about this

1333
01:11:01,600 --> 01:11:04,920
Speaker 2: storyline and like what was going on. And if you

1334
01:11:04,920 --> 01:11:08,280
Speaker 2: can either fully own something or just do a job

1335
01:11:08,360 --> 01:11:10,439
Speaker 2: in something, I would choose choose that as well. Like

1336
01:11:10,479 --> 01:11:12,960
Speaker 2: if I can just come in and direct and leave

1337
01:11:13,240 --> 01:11:15,519
Speaker 2: and have my life, then I will do that instead

1338
01:11:15,520 --> 01:11:18,760
Speaker 2: of yelling at people all day long about ideas that

1339
01:11:18,840 --> 01:11:19,280
Speaker 2: I will.

1340
01:11:19,160 --> 01:11:21,400
Speaker 1: Want to put in this thing totally. But you know,

1341
01:11:21,439 --> 01:11:24,720
Speaker 1: at the end of the day, Old Boyfriends. It's one

1342
01:11:24,720 --> 01:11:27,280
Speaker 1: of these movies that I'm glad is back in circulation

1343
01:11:27,439 --> 01:11:30,400
Speaker 1: because it gives people the chance to watch it and see,

1344
01:11:31,000 --> 01:11:34,519
Speaker 1: you know, sort of like the situation that she was

1345
01:11:34,560 --> 01:11:37,360
Speaker 1: faced with Joan Tewkesbury was faced with, and you know,

1346
01:11:37,880 --> 01:11:40,800
Speaker 1: ultimately it is an interesting movie. I mean, it's obviously,

1347
01:11:41,240 --> 01:11:44,160
Speaker 1: you know, a great movie to watch sort of as

1348
01:11:44,200 --> 01:11:47,040
Speaker 1: the tail end of the seventies and moving into the eighties.

1349
01:11:47,400 --> 01:11:51,880
Speaker 1: You know, obviously, like the people in the movie are great.

1350
01:11:52,200 --> 01:11:54,439
Speaker 1: There's you know, Tally Shire I think is such a

1351
01:11:54,439 --> 01:11:57,679
Speaker 1: great actress, and in this movie she manages to wear

1352
01:11:57,680 --> 01:12:01,920
Speaker 1: the frumpiest clothes ever, but still you know, gets into

1353
01:12:01,920 --> 01:12:07,120
Speaker 1: her role and is really compelling, Like ooh, nineteen senty

1354
01:12:07,200 --> 01:12:13,439
Speaker 1: nine with those vests and like lord, I was like,

1355
01:12:13,479 --> 01:12:16,719
Speaker 1: that's a lot of clothes. That's like boiled wool clothes,

1356
01:12:16,920 --> 01:12:20,639
Speaker 1: Like you know, that's like road to perdition for women.

1357
01:12:20,960 --> 01:12:28,559
Speaker 7: Basically that's the seventies was like boots, nis socks, long skirt,

1358
01:12:29,520 --> 01:12:33,160
Speaker 7: v nex swetter, a choker, a hat, a vest.

1359
01:12:33,240 --> 01:12:39,800
Speaker 1: A tunic, a belt, victorian collar, swallowing a dorothy Hammill Haircut.

1360
01:12:40,200 --> 01:12:41,160
Speaker 1: I mean it was wild.

1361
01:12:41,800 --> 01:12:43,960
Speaker 2: I loved this movie. Thank you so much for picking it.

1362
01:12:43,960 --> 01:12:46,240
Speaker 2: It was I'd never seen it before. I think it

1363
01:12:46,680 --> 01:12:51,320
Speaker 2: fits perfectly in this canon of movies from the sixties

1364
01:12:51,320 --> 01:12:54,800
Speaker 2: and seventies about women who were making different emotional choices

1365
01:12:54,920 --> 01:12:56,680
Speaker 2: and showing us some vulnerability.

1366
01:12:57,600 --> 01:12:58,800
Speaker 1: And I just I loved it.

1367
01:12:59,120 --> 01:13:01,040
Speaker 2: And if you want to see like the dark Timeline

1368
01:13:01,080 --> 01:13:02,080
Speaker 2: high fidelity, this.

1369
01:13:02,080 --> 01:13:08,559
Speaker 1: Is couldn't have said it better. Okay, what about your movie?

1370
01:13:09,520 --> 01:13:10,320
Speaker 1: All right?

1371
01:13:11,600 --> 01:13:15,880
Speaker 2: So my movie for the theme of baby Girl, What

1372
01:13:16,000 --> 01:13:16,439
Speaker 2: Is You Doing?

1373
01:13:17,640 --> 01:13:19,000
Speaker 1: Was released in twenty nineteen.

1374
01:13:19,400 --> 01:13:23,720
Speaker 2: It was written and directed by Pedro Amadovar, and it

1375
01:13:23,760 --> 01:13:25,639
Speaker 2: is pain and glory.

1376
01:13:26,760 --> 01:13:29,759
Speaker 5: Bringdeo sansandos TELEVI won't see the Howey when to start.

1377
01:13:29,560 --> 01:13:32,519
Speaker 1: A sea give us?

1378
01:13:32,520 --> 01:13:39,320
Speaker 2: I said, Oh, I have so much to say about

1379
01:13:39,360 --> 01:13:41,880
Speaker 2: this film. But before we get into the movie, I'm

1380
01:13:41,880 --> 01:13:44,360
Speaker 2: going to give just a little bit of background about

1381
01:13:44,479 --> 01:13:48,040
Speaker 2: Pedro Almodovar, the director and writer for anyone who doesn't know,

1382
01:13:49,120 --> 01:13:54,000
Speaker 2: he is so prolific and has been for so long,

1383
01:13:54,680 --> 01:13:56,720
Speaker 2: Like he's he's seventy one right now. He started making

1384
01:13:56,760 --> 01:14:00,559
Speaker 2: movies like in the sixties, late sixties, early seventies, but

1385
01:14:00,680 --> 01:14:04,320
Speaker 2: really hit with Women on the Verge of a Nervous Breakdown,

1386
01:14:04,320 --> 01:14:06,200
Speaker 2: which was released in nineteen eighty eight.

1387
01:14:06,280 --> 01:14:07,320
Speaker 1: That's kind of what put him.

1388
01:14:07,160 --> 01:14:10,880
Speaker 2: On the map, and that movie was nominated for so

1389
01:14:11,000 --> 01:14:15,400
Speaker 2: many awards. He ended up winning not for that movie,

1390
01:14:15,400 --> 01:14:18,040
Speaker 2: but his first Academy Award was in nineteen ninety nine.

1391
01:14:18,880 --> 01:14:23,400
Speaker 2: He got a Best Foreign Film Academy Award for All

1392
01:14:23,439 --> 01:14:25,679
Speaker 2: About My Mother, and then in two thousand and two

1393
01:14:25,760 --> 01:14:30,400
Speaker 2: he won a Best Original Screenplay Academy Award for Talk

1394
01:14:30,479 --> 01:14:30,880
Speaker 2: to Her.

1395
01:14:31,280 --> 01:14:33,280
Speaker 1: But he's won baf.

1396
01:14:33,160 --> 01:14:37,000
Speaker 2: Does, He's won con he's won Goya Awards. Like, he

1397
01:14:37,200 --> 01:14:42,320
Speaker 2: is a very well venerated director. And the thing about

1398
01:14:42,680 --> 01:14:47,719
Speaker 2: Pedro Almodovar that I love and one of the reasons

1399
01:14:47,720 --> 01:14:49,840
Speaker 2: I wanted to choose this movie because there are several

1400
01:14:49,840 --> 01:14:51,559
Speaker 2: of his films that could have fit in this theory.

1401
01:14:51,600 --> 01:14:54,479
Speaker 1: We've been like trying to get so nim on the

1402
01:14:54,680 --> 01:14:58,639
Speaker 1: like we're going to do an entire episode about his movies.

1403
01:14:59,200 --> 01:15:02,160
Speaker 2: So yeah, like that's how much we've been wanting to

1404
01:15:02,200 --> 01:15:04,760
Speaker 2: talk about his films because it's like we and we

1405
01:15:04,840 --> 01:15:06,920
Speaker 2: kind of have to do like a whole episode, I think.

1406
01:15:07,560 --> 01:15:11,160
Speaker 2: But he's he's so prolific and one of the things

1407
01:15:11,280 --> 01:15:15,720
Speaker 2: that is so wonderful about him is that he has

1408
01:15:15,800 --> 01:15:20,679
Speaker 2: created in all of his films this kind of signature world.

1409
01:15:20,960 --> 01:15:22,719
Speaker 2: So he works with a lot of the same actors

1410
01:15:22,760 --> 01:15:25,400
Speaker 2: again and again. He works in Madrid, he works in Spain,

1411
01:15:25,800 --> 01:15:28,479
Speaker 2: he works with some of the same themes like you know,

1412
01:15:28,760 --> 01:15:34,400
Speaker 2: motherhood and passion and you know, kind of letter writing

1413
01:15:34,560 --> 01:15:36,800
Speaker 2: kind of shows up in most of.

1414
01:15:36,760 --> 01:15:39,599
Speaker 1: His films, and he just has these.

1415
01:15:39,479 --> 01:15:43,240
Speaker 2: Themes that he kind of wields in a way that

1416
01:15:43,280 --> 01:15:46,759
Speaker 2: he creates a universe like the Alma Dovar cinematic universe

1417
01:15:46,880 --> 01:15:50,200
Speaker 2: is real. And again like the fact that he uses

1418
01:15:50,200 --> 01:15:53,320
Speaker 2: the same actors like you know, and such distinctive actors

1419
01:15:53,360 --> 01:15:56,960
Speaker 2: like Herosi di Palma, Penelope Cruz, Antonio.

1420
01:15:56,320 --> 01:15:58,120
Speaker 1: Ben Derris, Like we're going to see a lot of

1421
01:15:58,120 --> 01:15:59,320
Speaker 1: those actors in this film.

1422
01:15:59,840 --> 01:16:02,439
Speaker 2: His brother it always makes a cameo and all of

1423
01:16:02,479 --> 01:16:04,080
Speaker 2: his films, which I think is wonderful.

1424
01:16:05,280 --> 01:16:06,320
Speaker 1: But he just kind of.

1425
01:16:06,520 --> 01:16:11,559
Speaker 2: Creates these worlds and there he explores things that are

1426
01:16:11,600 --> 01:16:16,480
Speaker 2: not necessarily taboo, but that are just not really discussed

1427
01:16:16,560 --> 01:16:18,559
Speaker 2: in film a lot. I think that's part of why

1428
01:16:18,560 --> 01:16:21,439
Speaker 2: he when he came out with women on the verge

1429
01:16:21,439 --> 01:16:23,760
Speaker 2: of a nervous breakdown. It like hit so hard and

1430
01:16:23,800 --> 01:16:26,760
Speaker 2: it was like such a such a bang. It was

1431
01:16:26,800 --> 01:16:28,679
Speaker 2: such a bang because we were not used to seeing

1432
01:16:28,760 --> 01:16:34,040
Speaker 2: films that were so saturated with theme and story and passion.

1433
01:16:34,080 --> 01:16:35,960
Speaker 2: And I just really I like that about him as

1434
01:16:35,960 --> 01:16:40,200
Speaker 2: a as a writer and director. And I read this

1435
01:16:40,360 --> 01:16:42,639
Speaker 2: article as I was prepping for this, for this show.

1436
01:16:43,240 --> 01:16:49,679
Speaker 2: There's an article in Oh Gosh, It's October twenty eleven

1437
01:16:49,760 --> 01:16:54,240
Speaker 2: from Slate. There's a woman named June Thomas who wrote

1438
01:16:54,240 --> 01:16:56,479
Speaker 2: about how she watched all of his movies in a month,

1439
01:16:57,120 --> 01:17:02,040
Speaker 2: and are the articles repeat after me? And she does

1440
01:17:02,160 --> 01:17:05,080
Speaker 2: mention how he tends to use these repeating themes and

1441
01:17:05,120 --> 01:17:08,519
Speaker 2: these repeating notions. But the funniest thing to me is

1442
01:17:08,560 --> 01:17:11,280
Speaker 2: that she wrote about how some of the things, some

1443
01:17:11,320 --> 01:17:13,160
Speaker 2: of the things he comes back to again and again

1444
01:17:13,439 --> 01:17:23,760
Speaker 2: are vomiting, car accidents, women urinating an illegal trucky like

1445
01:17:23,840 --> 01:17:27,520
Speaker 2: June watched all of them and started pulling out some nuggets.

1446
01:17:28,880 --> 01:17:32,559
Speaker 2: But was also interesting in the article, and that sleek article,

1447
01:17:33,479 --> 01:17:36,439
Speaker 2: was that she said, you know, he's not a copy

1448
01:17:36,479 --> 01:17:39,680
Speaker 2: and pasting kind of self plagiarizer. So even though he's

1449
01:17:39,720 --> 01:17:42,160
Speaker 2: creating this world and using the same themes and using

1450
01:17:42,160 --> 01:17:46,200
Speaker 2: the same characters. The stories are all so distinct and

1451
01:17:46,240 --> 01:17:47,640
Speaker 2: they're so exciting.

1452
01:17:48,000 --> 01:17:48,839
Speaker 1: And the other.

1453
01:17:48,680 --> 01:17:52,000
Speaker 2: Reason that I love watching his movies, and this one

1454
01:17:52,040 --> 01:17:55,800
Speaker 2: in particular, is that his movies for me, seem to

1455
01:17:55,880 --> 01:17:59,200
Speaker 2: like they open like a flower, like you think you

1456
01:17:59,280 --> 01:18:00,840
Speaker 2: know what it's going to be about, and by the

1457
01:18:00,920 --> 01:18:02,479
Speaker 2: end of the movie, you're like, I did not know

1458
01:18:02,520 --> 01:18:03,640
Speaker 2: that's what it was gonna.

1459
01:18:03,360 --> 01:18:08,680
Speaker 1: Be about at all. And I love that kind of

1460
01:18:08,800 --> 01:18:10,000
Speaker 1: and it doesn't feel like trickery.

1461
01:18:10,080 --> 01:18:12,639
Speaker 2: It feels like you're following a narrative to its natural point,

1462
01:18:13,280 --> 01:18:15,720
Speaker 2: and it feels very real to life in that way.

1463
01:18:15,800 --> 01:18:17,320
Speaker 1: So I just I love him. I think.

1464
01:18:17,600 --> 01:18:19,760
Speaker 2: My other favorite fact about him is that he's been

1465
01:18:19,800 --> 01:18:24,040
Speaker 2: with his partner Fernando Iglesias since two thousand and two,

1466
01:18:24,400 --> 01:18:26,559
Speaker 2: but they both even though they both live in Madrid,

1467
01:18:26,560 --> 01:18:27,799
Speaker 2: they live in separate houses.

1468
01:18:28,240 --> 01:18:31,519
Speaker 1: The best, I mean, honestly, could it be any better?

1469
01:18:31,600 --> 01:18:35,160
Speaker 1: The best, especially since too like the one thing that

1470
01:18:35,200 --> 01:18:40,640
Speaker 1: I read about this movie is that basically the apartment

1471
01:18:40,800 --> 01:18:45,719
Speaker 1: that Antonio Banderiz's character lives in is like almost a

1472
01:18:45,760 --> 01:18:49,920
Speaker 1: direct recreation of a Moldovar's apartment, And I was like, right,

1473
01:18:50,040 --> 01:18:51,920
Speaker 1: are you fucking kidding me? Because that is such a

1474
01:18:51,960 --> 01:18:55,240
Speaker 1: gorgeous place to live that the entire time I was

1475
01:18:55,280 --> 01:18:58,080
Speaker 1: looking at it like this is so so fucking beautiful.

1476
01:18:58,640 --> 01:19:01,080
Speaker 2: Yeah, And the character even said at one point, you know,

1477
01:19:01,800 --> 01:19:03,880
Speaker 2: you know, because the character is playing a director, and

1478
01:19:03,920 --> 01:19:05,960
Speaker 2: the character says, you know, I put all of my

1479
01:19:06,040 --> 01:19:09,639
Speaker 2: money into this apartment and art and art collecting, and

1480
01:19:09,720 --> 01:19:11,320
Speaker 2: it's like, yeah, I wouldn't want to leave there either.

1481
01:19:12,400 --> 01:19:15,240
Speaker 2: This is my sanctuary. I'm gonna live here. You live

1482
01:19:15,280 --> 01:19:19,680
Speaker 2: across town pace deuces. But I just, I really, I

1483
01:19:19,880 --> 01:19:24,280
Speaker 2: think he's fascinating. He is such a stunning director in

1484
01:19:24,360 --> 01:19:27,400
Speaker 2: every category, and I think it's also important that you

1485
01:19:27,439 --> 01:19:30,439
Speaker 2: know he is. I think he was probably my first

1486
01:19:30,479 --> 01:19:35,160
Speaker 2: experience in the nineties late nineties, like when I started

1487
01:19:35,160 --> 01:19:38,439
Speaker 2: watching his movies where it was just really cool to

1488
01:19:38,439 --> 01:19:41,760
Speaker 2: see like a gay director who was talking about things that,

1489
01:19:43,320 --> 01:19:45,760
Speaker 2: respectfully I should say, talking about things that the other

1490
01:19:45,760 --> 01:19:47,560
Speaker 2: people were not able to do in film. So he

1491
01:19:47,600 --> 01:19:51,639
Speaker 2: would talk about people with HIV, he talks about people

1492
01:19:52,760 --> 01:19:55,519
Speaker 2: you know and their experiences with the church. He talks

1493
01:19:55,520 --> 01:19:58,120
Speaker 2: about people and their experience with with rape or with

1494
01:19:58,600 --> 01:20:00,599
Speaker 2: you know, sexual assault, but he do it in such

1495
01:20:00,640 --> 01:20:04,040
Speaker 2: a human way, and I think that I don't know,

1496
01:20:04,120 --> 01:20:05,680
Speaker 2: I just I love him. I could talk about him

1497
01:20:05,680 --> 01:20:08,160
Speaker 2: for seventeen hours. So we will have a whole other

1498
01:20:08,200 --> 01:20:14,280
Speaker 2: episode about particular. But this movie fits into that theme,

1499
01:20:14,439 --> 01:20:18,360
Speaker 2: his usual theme. So some one sentenced synopsis of Pain

1500
01:20:18,439 --> 01:20:23,120
Speaker 2: and Glory. Yeah, is a film director who is dealing

1501
01:20:23,160 --> 01:20:28,040
Speaker 2: with the physical effects of aging makes a somewhat disastrous

1502
01:20:28,320 --> 01:20:32,880
Speaker 2: decision that has a deep impact on his life as

1503
01:20:32,920 --> 01:20:33,680
Speaker 2: he takes.

1504
01:20:33,439 --> 01:20:38,360
Speaker 1: An introspective look at where he's come from. Hmmm, that's

1505
01:20:38,360 --> 01:20:38,920
Speaker 1: a good one.

1506
01:20:39,000 --> 01:20:42,240
Speaker 2: So oh, I love this movie. Now, this movie's cast

1507
01:20:42,760 --> 01:20:47,799
Speaker 2: is great. We've got Antonio Banderaz who plays the main character,

1508
01:20:47,920 --> 01:20:50,759
Speaker 2: Salvador Mallo sal Salvo.

1509
01:20:50,880 --> 01:20:51,920
Speaker 1: I love to call him Salvo.

1510
01:20:52,520 --> 01:20:57,200
Speaker 2: Penelope Cruz plays his mother, Jacinta. In like flashbacks, there

1511
01:20:57,320 --> 01:20:59,160
Speaker 2: is an actor whose name.

1512
01:20:59,520 --> 01:21:03,200
Speaker 1: I am going to butcher this and I'm so sorry, but.

1513
01:21:04,680 --> 01:21:11,720
Speaker 2: His name is a sier at Zendia. He plays Albert Crespo.

1514
01:21:12,400 --> 01:21:15,720
Speaker 2: He is such a phenomenal actor. And then again, just

1515
01:21:15,760 --> 01:21:17,600
Speaker 2: like the rest of the cast is just kind of

1516
01:21:17,640 --> 01:21:21,639
Speaker 2: peppered with, like you know, Juliet de Serrano, just peppered

1517
01:21:21,680 --> 01:21:27,440
Speaker 2: with people who have been in Almodovar Films, and I

1518
01:21:27,479 --> 01:21:30,360
Speaker 2: love this movie from the first image, which is on

1519
01:21:30,479 --> 01:21:33,080
Speaker 2: Antonio Banderas floating in a pool and you see this big,

1520
01:21:33,439 --> 01:21:36,679
Speaker 2: big scar going up his spine because he's had spinal

1521
01:21:36,760 --> 01:21:40,559
Speaker 2: fusion surgery and he's kind of resting in a way

1522
01:21:40,600 --> 01:21:42,360
Speaker 2: that feels like, oh, this is the only way that

1523
01:21:42,400 --> 01:21:45,960
Speaker 2: he can feel comfortable. Because one of the things that

1524
01:21:46,040 --> 01:21:48,920
Speaker 2: I think, and they he says this right off the

1525
01:21:48,920 --> 01:21:50,880
Speaker 2: bat in like the first fifteen minutes of the movie,

1526
01:21:51,880 --> 01:21:57,559
Speaker 2: as Salvadarmalo is going through his list of ailments that

1527
01:21:57,600 --> 01:22:00,240
Speaker 2: he's dealing with, like he goes through a list, an

1528
01:22:00,280 --> 01:22:04,960
Speaker 2: absolute cavalcade of ailments that he's going through, and he says,

1529
01:22:05,600 --> 01:22:09,760
Speaker 2: I got to know my body through pain and illness, and.

1530
01:22:09,680 --> 01:22:12,160
Speaker 1: That just hit me so hard because you're washing him.

1531
01:22:12,160 --> 01:22:15,120
Speaker 2: There's this one part where you're watching him trying to

1532
01:22:15,120 --> 01:22:17,639
Speaker 2: get into and out of a cab, and because he's

1533
01:22:17,680 --> 01:22:21,000
Speaker 2: had this spinal fusion surgery, he moves very slowly and

1534
01:22:21,160 --> 01:22:23,880
Speaker 2: very deliberately, and his back is rigid and you can

1535
01:22:23,880 --> 01:22:26,640
Speaker 2: see the lack of movement. Same thing happens later when

1536
01:22:26,680 --> 01:22:28,840
Speaker 2: you see him in his house sitting on a couch

1537
01:22:28,880 --> 01:22:31,080
Speaker 2: trying to get up trying to get down. He can't

1538
01:22:31,080 --> 01:22:34,560
Speaker 2: wear shoes with laces anymore because he can't tie them.

1539
01:22:34,960 --> 01:22:36,320
Speaker 1: It hit me so hard.

1540
01:22:36,960 --> 01:22:39,000
Speaker 2: I have had I don't have anyone if you've ever

1541
01:22:39,080 --> 01:22:42,120
Speaker 2: had a back issue, But I had an issue a

1542
01:22:42,120 --> 01:22:45,679
Speaker 2: couple of years ago where I pulled my pelvis out

1543
01:22:45,680 --> 01:22:48,760
Speaker 2: of its socket. Somehow I got tripped over a tree

1544
01:22:48,800 --> 01:22:51,800
Speaker 2: stump in La walking down the street, trip tripped over

1545
01:22:51,840 --> 01:22:54,760
Speaker 2: like a sidewalk tree stump, and then just had this

1546
01:22:54,960 --> 01:22:57,680
Speaker 2: increasing and excruciating pain. And I finally went to a

1547
01:22:57,680 --> 01:23:01,080
Speaker 2: physical therapist and he's like, oh, you're your pelvis is

1548
01:23:01,160 --> 01:23:02,080
Speaker 2: popped out of the socket.

1549
01:23:02,120 --> 01:23:03,679
Speaker 1: And I'm like, well, can you pop it back in?

1550
01:23:04,280 --> 01:23:05,680
Speaker 2: And he showed me how to do it, like he

1551
01:23:05,720 --> 01:23:07,280
Speaker 2: did all the moves and like show and I had

1552
01:23:07,320 --> 01:23:10,280
Speaker 2: you all these exercises. But prior to that, there were

1553
01:23:10,439 --> 01:23:14,080
Speaker 2: so I had gone to a chiropractor, I'd gone to acupuncturist.

1554
01:23:14,960 --> 01:23:17,599
Speaker 2: There were so many days for at least a year

1555
01:23:17,840 --> 01:23:20,920
Speaker 2: where I would come home and just it was all

1556
01:23:20,920 --> 01:23:22,880
Speaker 2: I could do. It took me about ten to fifteen

1557
01:23:22,880 --> 01:23:25,200
Speaker 2: minutes to even get on the floor, and then I

1558
01:23:25,200 --> 01:23:27,320
Speaker 2: would just lay on the floor on my stomach and

1559
01:23:27,360 --> 01:23:31,559
Speaker 2: cry like it hurts so bad and it affected my

1560
01:23:32,000 --> 01:23:34,120
Speaker 2: entire life, Like I couldn't.

1561
01:23:33,800 --> 01:23:36,080
Speaker 1: Sit in chairs for long. It was miserable.

1562
01:23:36,479 --> 01:23:41,280
Speaker 2: So just watching him, like in this role where he's

1563
01:23:41,360 --> 01:23:45,320
Speaker 2: trying to not just deal with his pain but understand

1564
01:23:45,360 --> 01:23:48,400
Speaker 2: his pain and as a way of trying to alleviate

1565
01:23:48,439 --> 01:23:52,439
Speaker 2: his pain, it just hit me so hard. But with

1566
01:23:52,600 --> 01:23:54,919
Speaker 2: the story that we have going on here, it's basically

1567
01:23:55,520 --> 01:23:57,920
Speaker 2: so he's this director. He had a really big hit

1568
01:23:58,000 --> 01:24:02,120
Speaker 2: film like thirty two years prior, and you know, someone's

1569
01:24:02,160 --> 01:24:04,840
Speaker 2: doing a retrospective of his career and they want to

1570
01:24:04,840 --> 01:24:06,519
Speaker 2: show this movie and do a Q and A with

1571
01:24:06,640 --> 01:24:10,120
Speaker 2: him and the main actor in the film, Albert.

1572
01:24:09,720 --> 01:24:13,080
Speaker 1: Crespo, and they haven't talked in thirty two years.

1573
01:24:13,640 --> 01:24:16,719
Speaker 2: It's basically revealed they haven't talk since the film came out. Wow.

1574
01:24:16,800 --> 01:24:21,360
Speaker 6: Yeah, So he goes He goes to Albert's house and

1575
01:24:21,520 --> 01:24:23,920
Speaker 6: it's like, hey, they're doing this retrospective and they want

1576
01:24:24,000 --> 01:24:25,320
Speaker 6: us to, you know, kind of be part of it.

1577
01:24:25,360 --> 01:24:28,439
Speaker 2: And Albert's like, fuck you, but also come in whatever.

1578
01:24:28,960 --> 01:24:34,680
Speaker 2: They start talking. They start talking and they're out in

1579
01:24:34,720 --> 01:24:38,439
Speaker 2: the backyard and Albert is like, I'm going to do

1580
01:24:38,560 --> 01:24:44,680
Speaker 2: some heroin and Salvo goes, I want to try it,

1581
01:24:44,840 --> 01:24:47,519
Speaker 2: and it's his first time doing Heroin, and you're like,

1582
01:24:47,640 --> 01:24:48,400
Speaker 2: baby girl, what.

1583
01:24:48,520 --> 01:24:52,479
Speaker 1: Is you doing? Exactly? I know you're in pain, but

1584
01:24:52,640 --> 01:24:53,840
Speaker 1: baby girl, what is you doing?

1585
01:24:54,520 --> 01:24:54,760
Speaker 2: I know?

1586
01:24:54,840 --> 01:24:58,960
Speaker 1: And it's funny because Albert is basically like, look, people

1587
01:24:59,000 --> 01:25:03,559
Speaker 1: who start doing later in life, it gets the real scary.

1588
01:25:03,720 --> 01:25:04,960
Speaker 1: You can go real hard.

1589
01:25:05,439 --> 01:25:08,000
Speaker 2: That line cracked me up because I'm like, yeah, there

1590
01:25:08,080 --> 01:25:10,360
Speaker 2: is real truth in that sameement, like you don't know

1591
01:25:10,400 --> 01:25:13,000
Speaker 2: how to control even you haven't built up a tolerance,

1592
01:25:13,280 --> 01:25:15,000
Speaker 2: Like you're just going hard all.

1593
01:25:14,880 --> 01:25:16,680
Speaker 1: The time if you start at that point in your life.

1594
01:25:16,720 --> 01:25:20,840
Speaker 2: Yeah, yeah, And it's it's what's also wild. And again,

1595
01:25:20,840 --> 01:25:24,040
Speaker 2: this is part of like the lyrical beauty of Almadovar

1596
01:25:24,200 --> 01:25:29,400
Speaker 2: films is that as Salvo starts nodding off once he

1597
01:25:29,439 --> 01:25:32,720
Speaker 2: does Heroin, he starts thinking about his childhood. So we're

1598
01:25:32,720 --> 01:25:36,080
Speaker 2: getting to see in flashbacks these images of his mother

1599
01:25:36,280 --> 01:25:39,840
Speaker 2: and his father and this family, you know, living in

1600
01:25:39,880 --> 01:25:44,160
Speaker 2: this cave in the mountains, and you know, just kind

1601
01:25:44,200 --> 01:25:46,040
Speaker 2: of what their life was like. And you're seeing the

1602
01:25:46,520 --> 01:25:50,479
Speaker 2: origins of a very smart child who was obsessed with

1603
01:25:50,640 --> 01:25:55,439
Speaker 2: film and obsessed with you know, pop culture, and he

1604
01:25:55,560 --> 01:25:57,960
Speaker 2: this is what he thinks about when he's high, essentially,

1605
01:25:58,439 --> 01:26:00,920
Speaker 2: so then you know, rocking him back to real life

1606
01:26:01,000 --> 01:26:04,599
Speaker 2: and he's in pain and he's in strife and he's

1607
01:26:04,640 --> 01:26:09,080
Speaker 2: not creating anything, and he's kind of been been withered down.

1608
01:26:09,120 --> 01:26:11,720
Speaker 2: Like there's this really intensely beautiful scene where he's at

1609
01:26:12,320 --> 01:26:14,600
Speaker 2: and it's not beautiful visually, it's just beautiful because of

1610
01:26:14,640 --> 01:26:17,680
Speaker 2: what they're saying. But he's at this doctor's office and

1611
01:26:17,720 --> 01:26:21,200
Speaker 2: he's saying, you know, like I don't have the physicality

1612
01:26:21,200 --> 01:26:23,400
Speaker 2: to be a director anymore. It's not you know that

1613
01:26:23,439 --> 01:26:25,519
Speaker 2: I'm worried, it's like I can't do it, you know,

1614
01:26:25,560 --> 01:26:28,599
Speaker 2: I physically can't do it. And he's asking for help

1615
01:26:28,640 --> 01:26:30,080
Speaker 2: and he's like, I want you to help me, like

1616
01:26:30,320 --> 01:26:32,800
Speaker 2: get my life back and live my life. And he's

1617
01:26:32,920 --> 01:26:35,280
Speaker 2: very honest about the fact that he's been doing Heroin.

1618
01:26:36,120 --> 01:26:39,000
Speaker 2: But prior to that, it's like, again, this this typical

1619
01:26:39,000 --> 01:26:43,040
Speaker 2: thing that happens with Almado bar films. You think it's

1620
01:26:43,080 --> 01:26:45,559
Speaker 2: going to be about this guy and this actor and

1621
01:26:45,600 --> 01:26:48,120
Speaker 2: then reuniting and him doing Heroin, but.

1622
01:26:48,120 --> 01:26:49,640
Speaker 1: It goes so much deeper than that.

1623
01:26:49,960 --> 01:26:52,160
Speaker 2: So the other baby girl, what do as you do

1624
01:26:52,200 --> 01:26:54,720
Speaker 2: in moment for me is when he reveals that he's

1625
01:26:54,760 --> 01:26:57,760
Speaker 2: been writing, you know, these kind of short stories, or

1626
01:26:57,800 --> 01:26:59,800
Speaker 2: I should say, Albert finds out that he's been writing

1627
01:26:59,800 --> 01:27:02,479
Speaker 2: these short stories, thinks one would be a really.

1628
01:27:02,240 --> 01:27:06,400
Speaker 1: Good play, and Salvo is like, yeah, you can do it.

1629
01:27:06,439 --> 01:27:08,080
Speaker 2: Don't put my name on it though, because it's too

1630
01:27:08,160 --> 01:27:11,400
Speaker 2: confessional and I don't want, you know, anything to do

1631
01:27:11,479 --> 01:27:11,680
Speaker 2: with it.

1632
01:27:11,720 --> 01:27:13,799
Speaker 1: And as a writer, I'm like, what are you doing?

1633
01:27:14,400 --> 01:27:14,599
Speaker 2: Right?

1634
01:27:18,360 --> 01:27:21,200
Speaker 1: It works in the narrative of the film though, but

1635
01:27:21,280 --> 01:27:22,280
Speaker 1: it's like, what are you doing?

1636
01:27:22,600 --> 01:27:27,639
Speaker 2: And so he is kind of, you know, helping his

1637
01:27:27,680 --> 01:27:29,880
Speaker 2: friend in an artistic way, in a way that he

1638
01:27:29,920 --> 01:27:34,280
Speaker 2: can't help himself. And as a result of this play

1639
01:27:34,320 --> 01:27:38,960
Speaker 2: being produced, which is about Salvo's first love and how

1640
01:27:39,479 --> 01:27:42,240
Speaker 2: you know, his first love, there was a.

1641
01:27:41,800 --> 01:27:43,240
Speaker 1: Something that happens in that play.

1642
01:27:43,240 --> 01:27:45,720
Speaker 2: I don't want to ruin it for anybody, but there's

1643
01:27:45,720 --> 01:27:48,559
Speaker 2: something that happens in that play that makes you realize

1644
01:27:48,600 --> 01:27:51,160
Speaker 2: that his doing Heroin is a little bit darker than

1645
01:27:51,160 --> 01:27:56,120
Speaker 2: we even imagined. Yes, and so you know, we were

1646
01:27:56,120 --> 01:27:59,240
Speaker 2: dealing with the past loves and again like his this

1647
01:27:59,439 --> 01:28:04,200
Speaker 2: very gen toll movement of him, you know, as a child,

1648
01:28:04,479 --> 01:28:06,720
Speaker 2: and how close he was with his mother and how

1649
01:28:06,720 --> 01:28:09,880
Speaker 2: tough she was, and you know, him discovering his sexuality

1650
01:28:09,920 --> 01:28:13,800
Speaker 2: and all these moments of art and love and it's

1651
01:28:13,840 --> 01:28:14,720
Speaker 2: just it's wonderful.

1652
01:28:15,640 --> 01:28:17,520
Speaker 1: And then the movie goes into a whole.

1653
01:28:17,240 --> 01:28:19,680
Speaker 2: Different place in the third act that I don't want

1654
01:28:19,720 --> 01:28:23,680
Speaker 2: to ruin either, but I will say that it is.

1655
01:28:24,880 --> 01:28:28,360
Speaker 2: There are some really big decisive moments here that you're like,

1656
01:28:28,760 --> 01:28:32,000
Speaker 2: what are you doing, baby girl?

1657
01:28:32,000 --> 01:28:32,679
Speaker 1: What is you doing?

1658
01:28:33,040 --> 01:28:36,240
Speaker 2: But it leads to what feels to me like such

1659
01:28:36,360 --> 01:28:43,160
Speaker 2: an epic and gentle exploration of what it means to

1660
01:28:43,360 --> 01:28:46,519
Speaker 2: age and what it means to age not just in.

1661
01:28:46,439 --> 01:28:49,400
Speaker 1: Your body but in your heart. Yeah, and I just

1662
01:28:49,439 --> 01:28:51,760
Speaker 1: I love this movie. Oh my god, there's so there

1663
01:28:51,840 --> 01:28:55,519
Speaker 1: was so much that there's so much that I thought

1664
01:28:55,520 --> 01:28:59,200
Speaker 1: about when I watched this movie, because you know, the

1665
01:28:59,200 --> 01:29:01,040
Speaker 1: first thing that you know, spright off the bat is

1666
01:29:01,040 --> 01:29:03,880
Speaker 1: that you're like, oh, is this about Pedro Malivar, Like

1667
01:29:03,920 --> 01:29:08,400
Speaker 1: you wonder because you know, Antonio Banderis's character has the hair,

1668
01:29:08,560 --> 01:29:12,360
Speaker 1: he has the shock of white hair that's kind of spiky.

1669
01:29:12,880 --> 01:29:15,840
Speaker 1: And you know he's a director too. He had a

1670
01:29:15,920 --> 01:29:20,720
Speaker 1: you know, critically acclaimed smash movie thirty years prior you know,

1671
01:29:20,800 --> 01:29:23,360
Speaker 1: he's like, so there's this moment where you're like, oh

1672
01:29:23,400 --> 01:29:27,959
Speaker 1: my god, it's like Antonio Banderis is playing you know, Pedro,

1673
01:29:28,600 --> 01:29:32,120
Speaker 1: and that he was the Albert character. So you know

1674
01:29:32,160 --> 01:29:33,720
Speaker 1: what I mean, Like you're like, wow, this is kind

1675
01:29:33,720 --> 01:29:34,080
Speaker 1: of cool.

1676
01:29:34,280 --> 01:29:37,160
Speaker 2: And his mother was a letter writer, and his mother

1677
01:29:37,240 --> 01:29:39,840
Speaker 2: died in nineteen ninety nine, but his mother was a

1678
01:29:39,880 --> 01:29:42,519
Speaker 2: letter writer. And he has a character in the film

1679
01:29:42,520 --> 01:29:44,760
Speaker 2: who writes letters for people in the village who can't

1680
01:29:44,760 --> 01:29:45,439
Speaker 2: read or write.

1681
01:29:45,760 --> 01:29:48,200
Speaker 1: Yeah, I mean it's and and let me just tell you.

1682
01:29:48,280 --> 01:29:51,280
Speaker 1: I mean, here's the thing about Antonio Banderis. And I

1683
01:29:51,280 --> 01:29:54,120
Speaker 1: don't know why I forget this, because he's been in

1684
01:29:54,160 --> 01:29:58,160
Speaker 1: so many great movies. He's a fucking great actor, Like, oh,

1685
01:29:58,200 --> 01:30:02,400
Speaker 1: he's incredible. And you know, I don't know why, like

1686
01:30:03,240 --> 01:30:06,600
Speaker 1: I forget. And maybe it's because I remember when he

1687
01:30:06,680 --> 01:30:08,479
Speaker 1: dated Mellie Griffith or so, like I don't know, I

1688
01:30:08,520 --> 01:30:12,000
Speaker 1: don't know why I don't remember it. But he's doing

1689
01:30:12,040 --> 01:30:12,679
Speaker 1: this research.

1690
01:30:12,960 --> 01:30:14,799
Speaker 2: I realized I didn't know they were they were together

1691
01:30:14,840 --> 01:30:17,680
Speaker 2: for twenty years, Yeah, they have a kid. Every I

1692
01:30:17,720 --> 01:30:19,720
Speaker 2: did not I thought, like, ah, they dated once, they

1693
01:30:19,720 --> 01:30:21,360
Speaker 2: were together for twenty.

1694
01:30:21,040 --> 01:30:23,840
Speaker 1: Years, yeah, and they were just like always in the

1695
01:30:23,920 --> 01:30:26,320
Speaker 1: tabloids and stuff. I remember that in the nineties, they

1696
01:30:26,360 --> 01:30:27,960
Speaker 1: were just always in the tabloids. And I'm always like,

1697
01:30:28,560 --> 01:30:31,559
Speaker 1: why do I forget? Because he's fucking fantastic in this

1698
01:30:31,680 --> 01:30:35,439
Speaker 1: movie and you know, and the other thing about Penelope Cruise,

1699
01:30:35,640 --> 01:30:38,320
Speaker 1: I have to tell you, she might be one of

1700
01:30:38,360 --> 01:30:41,880
Speaker 1: the most beautiful women I've ever fucking seen. And she

1701
01:30:41,960 --> 01:30:47,439
Speaker 1: looks exactly the same as she did ten twenty thirty

1702
01:30:47,520 --> 01:30:52,679
Speaker 1: fucking years ago. Yes, Volverair is one of my favorite

1703
01:30:52,720 --> 01:30:56,680
Speaker 1: Aldivar movies. And her style in that movie is like

1704
01:30:56,840 --> 01:30:59,360
Speaker 1: who I've wanted to be since that movie came out.

1705
01:30:59,439 --> 01:31:04,800
Speaker 1: She's got this like beautiful European Spanish like that. Because

1706
01:31:04,840 --> 01:31:08,599
Speaker 1: that's the thing about Pedro's movies that are the greatest

1707
01:31:08,720 --> 01:31:13,639
Speaker 1: is that they use these really amazing colors, oh saturated red.

1708
01:31:13,920 --> 01:31:17,240
Speaker 1: The color palette of his movies are so good, right.

1709
01:31:17,360 --> 01:31:21,720
Speaker 2: It's like wankhar why almost like that very distinctive coloring

1710
01:31:22,160 --> 01:31:24,880
Speaker 2: that elicits the mood that they're going for. Like they

1711
01:31:24,920 --> 01:31:27,040
Speaker 2: work very well together in his films.

1712
01:31:27,160 --> 01:31:31,280
Speaker 1: Yeah, And it's it's totally like when you go to Europe,

1713
01:31:31,360 --> 01:31:33,519
Speaker 1: like when you go to places like France and Italy

1714
01:31:33,600 --> 01:31:36,519
Speaker 1: and Spain, and you see the colors of the of

1715
01:31:37,200 --> 01:31:39,160
Speaker 1: the place that you're in and they're very bright and

1716
01:31:39,200 --> 01:31:41,680
Speaker 1: it's the sun is shining, and I mean it's just

1717
01:31:41,760 --> 01:31:45,040
Speaker 1: there's just so gorgeous and like she in this movie,

1718
01:31:45,200 --> 01:31:48,479
Speaker 1: she plays like, you know, the young version of his mother,

1719
01:31:48,640 --> 01:31:52,320
Speaker 1: so you know, she's playing you know, against a child

1720
01:31:52,479 --> 01:31:57,000
Speaker 1: actor basically, and you know, it's suggested that they grew

1721
01:31:57,040 --> 01:31:59,200
Speaker 1: up kind of poor and that she was very much

1722
01:31:59,240 --> 01:32:03,120
Speaker 1: sacrificing so much for him when he was a child,

1723
01:32:03,200 --> 01:32:05,760
Speaker 1: and they have to like live in you know, it's

1724
01:32:05,840 --> 01:32:08,519
Speaker 1: kind of these like catacombs. I've seen this in Italy.

1725
01:32:08,680 --> 01:32:11,799
Speaker 1: I mean it it sort of was the like way

1726
01:32:11,840 --> 01:32:16,120
Speaker 1: that the old villages used to be. But you know, basically,

1727
01:32:16,200 --> 01:32:18,240
Speaker 1: she's kind of like, oh my god, we're living underground

1728
01:32:18,280 --> 01:32:21,280
Speaker 1: and this is not great, but they she she makes

1729
01:32:21,320 --> 01:32:25,280
Speaker 1: it kind of hospitable and beautiful and she gets you know,

1730
01:32:25,360 --> 01:32:28,360
Speaker 1: somebody to come in and put tiles in the kitchen,

1731
01:32:28,400 --> 01:32:30,800
Speaker 1: and she's got plants and I'm just like, ah, this

1732
01:32:30,880 --> 01:32:35,439
Speaker 1: is this entire thing is so gorgeous, and Penelope is

1733
01:32:35,479 --> 01:32:38,799
Speaker 1: so gorgeous. I just wanted to like live in those scenes.

1734
01:32:38,880 --> 01:32:41,880
Speaker 1: You know what I mean, Yes, same, same.

1735
01:32:41,960 --> 01:32:44,439
Speaker 2: I wanted to be transported back through time and across

1736
01:32:44,479 --> 01:32:47,200
Speaker 2: the world and just live in that moment because it

1737
01:32:47,240 --> 01:32:49,640
Speaker 2: was really it was just it's just again a beautiful,

1738
01:32:50,400 --> 01:32:53,360
Speaker 2: a truly beautiful film, and it's it's about, you know,

1739
01:32:53,400 --> 01:32:56,800
Speaker 2: the longevity of family and again, like the pain that

1740
01:32:56,840 --> 01:32:58,120
Speaker 2: you carry in your heart they have.

1741
01:32:58,400 --> 01:32:59,000
Speaker 1: There's such a.

1742
01:32:59,000 --> 01:33:02,479
Speaker 2: Touching scene between him and his mother that again I

1743
01:33:02,520 --> 01:33:05,799
Speaker 2: don't want to ruin, yeah, but there's such a touching

1744
01:33:05,840 --> 01:33:08,000
Speaker 2: scene with them that just like brings me to tears

1745
01:33:08,160 --> 01:33:10,680
Speaker 2: anytime I see this movie, and the ending brings me

1746
01:33:10,720 --> 01:33:11,320
Speaker 2: to tears.

1747
01:33:11,520 --> 01:33:15,639
Speaker 1: And it's just it's studying. Yeah, it's one of those movies.

1748
01:33:15,680 --> 01:33:18,840
Speaker 1: I mean, it really does make you contemplate aging, and

1749
01:33:18,920 --> 01:33:22,080
Speaker 1: which is listen, for my money. At this point of

1750
01:33:22,120 --> 01:33:24,280
Speaker 1: my life, that's all I watch. That's all I want

1751
01:33:24,280 --> 01:33:29,120
Speaker 1: to watch is people contemplating their lives old fucking age. Sorry,

1752
01:33:29,200 --> 01:33:31,479
Speaker 1: that's just where I'm at, you know me, we talked

1753
01:33:31,479 --> 01:33:34,680
Speaker 1: about fucking old brad Astra. It's just the way it is.

1754
01:33:35,200 --> 01:33:38,280
Speaker 1: And so of course this movie fucking hit me where

1755
01:33:38,320 --> 01:33:41,960
Speaker 1: I fucking live and you know, so much of like

1756
01:33:42,040 --> 01:33:46,599
Speaker 1: his bad decision, right the decision to start doing heroin

1757
01:33:47,360 --> 01:33:52,200
Speaker 1: as a middle aged man, okay, is because he's had

1758
01:33:52,240 --> 01:33:55,280
Speaker 1: so much physical pain, right, and he's trying to find

1759
01:33:55,280 --> 01:33:59,120
Speaker 1: something that's gonna just make him feel physically good but

1760
01:33:59,240 --> 01:34:02,920
Speaker 1: also help him kind of get into a better mindset.

1761
01:34:03,040 --> 01:34:06,040
Speaker 1: And it is the thing where he takes heroin, you know,

1762
01:34:06,160 --> 01:34:08,879
Speaker 1: to be mobile, but also to just kind of remember

1763
01:34:08,920 --> 01:34:12,400
Speaker 1: all these things about his childhood and it kind of

1764
01:34:12,439 --> 01:34:14,799
Speaker 1: opens the door for him to kind of like figure

1765
01:34:14,840 --> 01:34:18,880
Speaker 1: out like his old life. Not a great decision, as

1766
01:34:18,920 --> 01:34:21,960
Speaker 1: you've mentioned, right, not baby girl, what as you do?

1767
01:34:22,040 --> 01:34:24,960
Speaker 2: And but also there is a book by doctor Carl

1768
01:34:25,040 --> 01:34:27,519
Speaker 2: Hart I believe his name is, and he talks about

1769
01:34:27,520 --> 01:34:29,960
Speaker 2: how he's been like a regular heroin user for like

1770
01:34:30,000 --> 01:34:32,479
Speaker 2: eight years and how I haven't read it yet, but

1771
01:34:32,560 --> 01:34:35,639
Speaker 2: he I want. It's in my stack where he's talking

1772
01:34:35,680 --> 01:34:38,160
Speaker 2: about how we criminalize drugs and how drugs can be

1773
01:34:38,240 --> 01:34:40,880
Speaker 2: useful for certain things and how you know, even these

1774
01:34:40,920 --> 01:34:43,720
Speaker 2: hardcore class A drugs could have a different you know,

1775
01:34:43,800 --> 01:34:45,719
Speaker 2: spin on them. I haven't read it yet. I'm talking

1776
01:34:45,720 --> 01:34:48,920
Speaker 2: that in my ass right now, but it is definitely

1777
01:34:49,840 --> 01:34:52,759
Speaker 2: known that a lot of people go come to drugs

1778
01:34:52,800 --> 01:34:57,240
Speaker 2: as a way to incite their creative mind. I personally

1779
01:34:57,320 --> 01:35:01,439
Speaker 2: have never done that, but I you know, it's a trope.

1780
01:35:01,479 --> 01:35:03,840
Speaker 2: It's a trope for sure, and I think that he

1781
01:35:04,920 --> 01:35:07,559
Speaker 2: The way that we usually see that story play out

1782
01:35:07,760 --> 01:35:10,800
Speaker 2: is from the side of addiction when things have gone

1783
01:35:10,800 --> 01:35:15,280
Speaker 2: too far, and it was really really cool to see it,

1784
01:35:15,760 --> 01:35:17,800
Speaker 2: and it gave it, I think, so much more emotional

1785
01:35:17,880 --> 01:35:21,560
Speaker 2: heft to see it from the perspective of the beginning,

1786
01:35:21,640 --> 01:35:23,800
Speaker 2: like why would somebody do this and what is going

1787
01:35:23,800 --> 01:35:25,439
Speaker 2: on with them that they would start to do this

1788
01:35:26,000 --> 01:35:28,280
Speaker 2: And he's already on oxycodone, and he's already on all

1789
01:35:28,280 --> 01:35:30,160
Speaker 2: these drugs, and he already takes all these pills all

1790
01:35:30,240 --> 01:35:32,760
Speaker 2: day and he's just looking for relief. So I think

1791
01:35:32,760 --> 01:35:36,000
Speaker 2: we don't really see that side of the tail too often.

1792
01:35:36,439 --> 01:35:39,800
Speaker 1: Yeah, I totally agree. And even with Albert, who is

1793
01:35:40,439 --> 01:35:45,599
Speaker 1: effectively an addict, he is sort of able to, you know,

1794
01:35:46,040 --> 01:35:49,800
Speaker 1: figure out a way to be an everyday user. And

1795
01:35:49,880 --> 01:35:51,559
Speaker 1: you know, because he talks about how he doesn't want

1796
01:35:51,560 --> 01:35:54,439
Speaker 1: to do hair and while he's doing the play and

1797
01:35:54,720 --> 01:35:59,719
Speaker 1: you know, but you're right, you never see that part

1798
01:36:00,200 --> 01:36:04,280
Speaker 1: and you know, maybe because it seems kind of unachievable

1799
01:36:04,320 --> 01:36:07,479
Speaker 1: in a weird way, right, because you know, obviously, like

1800
01:36:07,800 --> 01:36:11,639
Speaker 1: heroin is a very addictive substance and it's not good

1801
01:36:11,640 --> 01:36:14,720
Speaker 1: for your body for a lot of people. So you

1802
01:36:14,800 --> 01:36:17,320
Speaker 1: are like, god, that is a bad move to do heroin.

1803
01:36:17,439 --> 01:36:20,040
Speaker 1: But then it's not. It's a little bit more nuanced.

1804
01:36:20,080 --> 01:36:23,040
Speaker 1: It's not the typical like you're down in the fucking

1805
01:36:23,360 --> 01:36:26,559
Speaker 1: sewers shooting up. It's a different take, which I did

1806
01:36:26,600 --> 01:36:29,559
Speaker 1: appreciate at the end of the day. But honestly, for

1807
01:36:29,680 --> 01:36:33,679
Speaker 1: my money, I haven't seen a movie that I've enjoyed

1808
01:36:33,720 --> 01:36:35,439
Speaker 1: like this in a really long time. I just have

1809
01:36:35,520 --> 01:36:37,760
Speaker 1: to say it. And I don't know why. I was

1810
01:36:37,800 --> 01:36:41,720
Speaker 1: surprised because I love Paigel Multivar like I love him.

1811
01:36:41,800 --> 01:36:44,839
Speaker 1: I've loved his movies. I hadn't seen the last couple

1812
01:36:45,680 --> 01:36:49,080
Speaker 1: and it after I watched Pain and Glory, I was like, I,

1813
01:36:49,479 --> 01:36:52,360
Speaker 1: that is a horrible mistake. I need to be rewatching

1814
01:36:52,360 --> 01:36:54,400
Speaker 1: all these old movies. I need to watch the shit

1815
01:36:54,439 --> 01:36:57,439
Speaker 1: that I never watched. And what is wrong with me? Baby?

1816
01:36:57,479 --> 01:36:57,719
Speaker 2: Girl?

1817
01:36:57,720 --> 01:37:02,559
Speaker 1: What is I doing? Because I haven't been watching Page

1818
01:37:02,600 --> 01:37:08,320
Speaker 1: ro Am out of our movies twenty four hours? Maybe girl,

1819
01:37:08,520 --> 01:37:09,719
Speaker 1: what is I doing?

1820
01:37:09,960 --> 01:37:14,040
Speaker 2: Indeed, because I had the same response, I'm like, I'm

1821
01:37:14,040 --> 01:37:15,919
Speaker 2: going to go back and watch all the films.

1822
01:37:16,040 --> 01:37:17,920
Speaker 1: I don't know when, I don't know how, I don't

1823
01:37:17,960 --> 01:37:20,200
Speaker 1: know structurally how that's going to work out, but I'm

1824
01:37:20,240 --> 01:37:22,479
Speaker 1: going to do it. I want to do it. I'm

1825
01:37:22,520 --> 01:37:24,760
Speaker 1: so glad you picked it. And honestly, it was such

1826
01:37:24,800 --> 01:37:26,639
Speaker 1: a joy to watch. I know, we can't like get

1827
01:37:26,680 --> 01:37:29,840
Speaker 1: into all of the beats because it reveals too much

1828
01:37:29,840 --> 01:37:33,160
Speaker 1: of the story. Yeah, but you know, as a sort

1829
01:37:33,200 --> 01:37:37,800
Speaker 1: of like think piece or whatever on aging and you know,

1830
01:37:38,479 --> 01:37:43,679
Speaker 1: looking backwards and you know, digging up you know, old

1831
01:37:43,720 --> 01:37:47,599
Speaker 1: dirt sort of speak, it's so good and it's it's

1832
01:37:47,680 --> 01:37:49,639
Speaker 1: it's like one of the best movies that he's made

1833
01:37:49,680 --> 01:37:52,440
Speaker 1: in a really long time. I just loved it so completely.

1834
01:37:52,800 --> 01:37:54,000
Speaker 1: I'm so glad you liked it.

1835
01:37:54,960 --> 01:37:57,840
Speaker 2: This was a fun episode, baby girl, What is you doing?

1836
01:37:57,960 --> 01:38:00,519
Speaker 2: We'll definitely be making a comeback because there is so

1837
01:38:00,640 --> 01:38:02,559
Speaker 2: many bad decisions happening on film.

1838
01:38:03,040 --> 01:38:06,080
Speaker 1: Oh totally, Well, we've got to do it again. And

1839
01:38:06,600 --> 01:38:09,160
Speaker 1: you know, when it comes down to it, like you know,

1840
01:38:09,600 --> 01:38:12,559
Speaker 1: your mileage may vary when it comes to digging up

1841
01:38:12,600 --> 01:38:16,439
Speaker 1: the past in order to propel yourself forward. In the

1842
01:38:16,479 --> 01:38:18,960
Speaker 1: case of my movie, I say, don't look up ex

1843
01:38:19,000 --> 01:38:21,639
Speaker 1: boyfriends and don't drive across the country to visit them.

1844
01:38:22,000 --> 01:38:24,799
Speaker 2: Like, I agree that your mileage may vary with revisiting

1845
01:38:24,800 --> 01:38:27,360
Speaker 2: old boyfriends. But I think in terms of my film,

1846
01:38:27,439 --> 01:38:30,640
Speaker 2: I got a lot out of thinking about, you know,

1847
01:38:30,680 --> 01:38:33,640
Speaker 2: what it means to revisit a memory and you know,

1848
01:38:33,640 --> 01:38:35,000
Speaker 2: what are you actually visiting?

1849
01:38:35,040 --> 01:38:36,120
Speaker 1: And as someone who's like, you.

1850
01:38:36,040 --> 01:38:38,679
Speaker 2: Know, I'm a memoirist and I read out my life

1851
01:38:39,120 --> 01:38:40,120
Speaker 2: and it was just, you know.

1852
01:38:40,080 --> 01:38:44,040
Speaker 1: It's an interesting movie from that perspective. So I'm really

1853
01:38:44,080 --> 01:38:47,080
Speaker 1: glad that we got to You got to watch these films.

1854
01:38:47,560 --> 01:38:49,920
Speaker 1: Do you want to tell them what's coming up next week? Oh?

1855
01:38:49,960 --> 01:38:53,360
Speaker 1: My god, do I The movies for next week are

1856
01:38:54,600 --> 01:38:59,719
Speaker 1: Misery from nineteen ninety and Piranha from nineteen seventy eight.

1857
01:39:00,439 --> 01:39:01,439
Speaker 1: Try to guess the theme.

1858
01:39:01,640 --> 01:39:05,519
Speaker 2: We've been doing a lot of fun summertime movie themes. Yes,

1859
01:39:05,640 --> 01:39:07,280
Speaker 2: and I feel like we're going out with a bang.

1860
01:39:07,560 --> 01:39:12,680
Speaker 1: I think we are too. Well. Listen, folks, if you

1861
01:39:13,520 --> 01:39:16,439
Speaker 1: want to contact us in any way, if you just

1862
01:39:16,479 --> 01:39:19,920
Speaker 1: want to talk about your favorite pagro mode of our movie,

1863
01:39:19,920 --> 01:39:21,720
Speaker 1: if you want to talk about the time that you

1864
01:39:21,800 --> 01:39:26,720
Speaker 1: went to your middle school boyfriend's house and he was

1865
01:39:26,760 --> 01:39:30,799
Speaker 1: alive and really boring. You can just email us at

1866
01:39:31,040 --> 01:39:33,559
Speaker 1: I Saw What You Did Pod at gmail dot com.

1867
01:39:35,720 --> 01:39:37,000
Speaker 1: It's alive and boring.

1868
01:39:37,280 --> 01:39:40,639
Speaker 2: You can also find us on our socials at I

1869
01:39:40,640 --> 01:39:44,920
Speaker 2: Saw Pod on Instagram and Twitter and listen.

1870
01:39:45,320 --> 01:39:50,040
Speaker 1: We've got merch people. It's in the exactly Right shop

1871
01:39:50,240 --> 01:39:52,479
Speaker 1: at exactly Rightmedia dot com.

1872
01:39:52,640 --> 01:39:54,599
Speaker 2: And so many people have been telling us that they've

1873
01:39:54,640 --> 01:39:58,800
Speaker 2: been signing up for our bonus episodes on Stitch your Premium,

1874
01:39:58,960 --> 01:40:01,840
Speaker 2: which is fantast We love that, Thank you so much.

1875
01:40:02,160 --> 01:40:03,840
Speaker 1: But you can also be part of that crew.

1876
01:40:04,000 --> 01:40:07,160
Speaker 2: All you have to do is use the promo code

1877
01:40:07,360 --> 01:40:11,440
Speaker 2: SAW for a free month that has not yet expired,

1878
01:40:11,760 --> 01:40:13,439
Speaker 2: so you can still do it.

1879
01:40:13,479 --> 01:40:14,519
Speaker 1: I know a lot of people were like.

1880
01:40:14,479 --> 01:40:16,839
Speaker 2: Oh I missed it. You didn't miss it. It's still possible.

1881
01:40:17,000 --> 01:40:19,559
Speaker 2: Use the promo code SAW, go to Stitcher, listen to

1882
01:40:19,600 --> 01:40:20,120
Speaker 2: our bonus it.

1883
01:40:20,479 --> 01:40:23,160
Speaker 1: Yeah, and we actually do a lot more mailbag stuff

1884
01:40:23,200 --> 01:40:26,799
Speaker 1: on the bonus episodes, so you know, if you've written

1885
01:40:26,840 --> 01:40:29,640
Speaker 1: in and you know you're like, oh, whatever happened to

1886
01:40:29,640 --> 01:40:32,599
Speaker 1: that email that I sent those two weird women, Hey,

1887
01:40:32,720 --> 01:40:35,880
Speaker 1: it might be there. No presh just saying it might

1888
01:40:35,920 --> 01:40:44,320
Speaker 1: be there right. Oh my goodness, alive and boring. I'm

1889
01:40:44,320 --> 01:40:47,280
Speaker 1: so glad that I make good decisions with you for

1890
01:40:47,360 --> 01:40:48,160
Speaker 1: this podcast.

1891
01:40:48,520 --> 01:40:52,080
Speaker 2: Thank you for giving me the platform to ask myself,

1892
01:40:52,760 --> 01:40:57,880
Speaker 2: baby girl, what is I doing? Just?

1893
01:40:57,920 --> 01:40:59,320
Speaker 1: What do you think it is? Baby girl? What do

1894
01:40:59,360 --> 01:41:01,479
Speaker 1: is you're doing? Some times it is baby girl, what

1895
01:41:01,560 --> 01:41:02,080
Speaker 1: is I doing?

1896
01:41:02,640 --> 01:41:04,200
Speaker 2: You know what they say when you point a finger,

1897
01:41:04,400 --> 01:41:06,040
Speaker 2: there's three few fingers pointing back.

1898
01:41:06,120 --> 01:41:15,599
Speaker 1: So the girls pointing back at the baby girls. Oh

1899
01:41:15,680 --> 01:41:18,000
Speaker 1: my god, Let's end this week and do this all night.

1900
01:41:18,479 --> 01:41:19,800
Speaker 1: See you guys next week.

1901
01:41:20,600 --> 01:41:30,600
Speaker 2: By this has been an exactly right production. Our producers

1902
01:41:30,600 --> 01:41:34,240
Speaker 2: Alexis A Marissi, Our engineers Analise Nelson. Our theme songs

1903
01:41:34,240 --> 01:41:37,759
Speaker 2: by Tom bry Foegel, artwork by Garrett Ross. Our executive

1904
01:41:37,760 --> 01:41:41,000
Speaker 2: producers are Georgia hart Stark, Karen Till, Gareth and Danielle Kramer.

1905
01:41:41,439 --> 01:41:44,000
Speaker 2: Follow us on Instagram and Twitter at I saw pod

1906
01:41:44,439 --> 01:41:46,799
Speaker 2: email us at I saw you did pod at Gmail

1907
01:41:47,040 --> 01:41:49,600
Speaker 2: and please don't forget to listen, subscribe, leave us a

1908
01:41:49,640 --> 01:41:52,840
Speaker 2: review on Apple podcast, Stitcher or wherever you listen.

1909
01:42:00,800 --> 01:42:02,800
Speaker 4: Se