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

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Speaker 1: You're not interested in arm Now, well, look we're going

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Speaker 1: to do this thing.

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Speaker 2: We're going to have a conversation.

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Speaker 3: From Chicago. This is Film Spotting celebrating our twentieth year.

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Speaker 4: I'm Josh Larson and I'm Adam Kempinar.

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Speaker 2: Hi Laura.

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Speaker 5: Top five dream Jobs.

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Speaker 4: Hey, that's Private number.

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Speaker 6: One journalist for Rolling Stone Magazine nineteen seventy six to

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Speaker 6: nineteen seventy nine. Get to meet the Clash Chrissy Hines,

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Speaker 6: Sex Pistols, David Byrne get tons of Free Records, number

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Speaker 6: two this.

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Speaker 3: Week a top five worthy of Rob Gordon and the

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Speaker 3: staff at Championship Vinyl. We're calling it five Years, five Movies.

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Speaker 7: We pick five films the catch they have to come

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Speaker 7: from a single five year period, plus reviews of Spinal

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Speaker 7: Tap two, The End Continues and the history of Sound

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Speaker 7: That and more ahead on Film Spotting.

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Speaker 3: Coo coo, We.

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Speaker 7: Welcome to Film Spotting. Did we need a Spinal Tap sequel?

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Speaker 3: Josh?

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Speaker 7: Do amps really go to eleven? All I know is

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Speaker 7: that if on the eighth day God made spinal Tap,

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Speaker 7: then on the ninth day he must have made spinal

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Speaker 7: Tap two and it was kind of good.

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Speaker 3: Sure. I mean, if anything can be great, spinal Tap

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Speaker 3: two can be good.

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Speaker 2: Yeah.

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Speaker 7: This week, as the show's resident Derek Smalls, I will

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Speaker 7: have some thoughts on Spinal Tap two.

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Speaker 4: The continues.

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Speaker 3: I'm a bass player, Yeah, yeah, I get it. I'm

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Speaker 3: still the drummer who refuses to combust. At this point, you.

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Speaker 7: Cut up with the History of Sound, which, despite the name,

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Speaker 7: is not one of your grad seminars, but a new

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Speaker 7: film starring two of our favorite young actors, Paul Meskell

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Speaker 7: and Josh O'Connor. You might get to that class though,

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Speaker 7: who knows.

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Speaker 3: We'll see.

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Speaker 7: Also, the fall film festival season is upon us. Michael

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Speaker 7: Phillips is here with a report on the Venice Film Festival.

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Speaker 7: He'll also join us to help remember Robert Redford, who

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Speaker 7: died earlier this week. The movie legend was eighty nine.

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Speaker 7: A quick note that Film Spotting is now available as

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Speaker 7: a video podcast.

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Speaker 3: This is true.

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Speaker 7: We have We've taken the plunge. You know, you've seen

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Speaker 7: a few clips maybe here and there social media. We

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Speaker 7: put the Weapons review out as a video review. I

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Speaker 7: think Revenge of the Sith too, But as of the

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Speaker 7: Goodfellas episode ten thirty one, and now with this one,

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Speaker 7: it's official. If you're a Spotify user, you can toggle

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Speaker 7: between video and audio. You can also watch the full

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Speaker 7: shows on YouTube. Moving forward, Josh, ready or not.

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Speaker 3: What I love about this is it's just in time

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Speaker 3: for me to not have a nice dedicated home studio

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Speaker 3: space like yourself, but to be in my lovely bedroom

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Speaker 3: behind you, temporary flat in Scotland. I've invested since the

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Speaker 3: Good Fellow show. I hope you're appreciating this, Adam and

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Speaker 3: the viewers can now in a fern, I thought, you know,

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Speaker 3: I'm not going to splurge and sit between two ferns.

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Speaker 3: One fern. That's good enough. That'll be good enough for

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Speaker 3: We'll see. We'll see what happens when I get back

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Speaker 3: to the States. Maybe we'll we'll spruce things up a

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Speaker 3: little bit more.

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Speaker 7: Yeah, And it was good timing the video edition debuting

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Speaker 7: with our Pantheon Project review of Goodfellas. We had a

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Speaker 7: lot of clips. It turned out to splice into that

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Speaker 7: conversation and add context to the scenes and the themes and

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Speaker 7: ideas we.

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Speaker 4: Were talking about.

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Speaker 3: And that's the reason to watch these It's not to

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Speaker 3: see our faces clearly, anyone who's logged on for that

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Speaker 3: has realized it. But yeah, Sam, Producer Sam has been

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Speaker 3: putting in a ton of work of not just dropping

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Speaker 3: like a clip or two like he had the show

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Speaker 3: covered and helpfully that would help our what we're saying.

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Speaker 3: You know, these are instructive clips, is what they are,

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Speaker 3: the way Sam's placing them and what they're referring to

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Speaker 3: in our conversation, So I really think they are adding things.

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Speaker 3: So listeners out there, if you haven't yet, check out

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Speaker 3: the video version.

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Speaker 7: Yeah again Spotify or YouTube dot com slash film spotting.

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Speaker 7: But first, five years, five movies. This was the brainchild

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Speaker 7: of producer Sam. We were just singing his praises. Yeah,

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Speaker 7: now we'll knock him down a peg. I'm gonna read

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Speaker 7: his original instructions. We got into this a little bit

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Speaker 7: last week. Even if these instructions are not the least

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Speaker 7: bit helpful or illustrative of how we approached it. The

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Speaker 7: two part assignment. First, you select a five year period,

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Speaker 7: and then you choose five movies from that five year period.

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Speaker 7: These are the movies you get Madness incinerator rules activated,

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Speaker 7: so all other movies are gone and not to belabor

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Speaker 7: this point that I got into last week and Sam's explanation.

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Speaker 7: But how this began in Discord really was very different

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Speaker 7: than the task we're engaging it. It occurred to me

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Speaker 7: and I had to check this with Sam just to

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Speaker 7: make sure I wasn't missing anything, and it turns out

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Speaker 7: I wasn't. It really was more of a fun parlor game, Josh.

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Speaker 7: It was about just sort of picking or being assigned

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Speaker 7: a five year period. So I might say to you, hey, Josh,

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Speaker 7: ninety four to ninety eight, and then you'd respond with

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Speaker 7: your five movies, and I might have a very different

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Speaker 7: five movies, and another user might have another five movies.

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Speaker 7: Wouldn't that be fun? And then we'll pick another five

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Speaker 7: year period. What we're doing is more like select your

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Speaker 7: five Desert Island movies because they're the only five movies left.

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Speaker 7: The five movies you can't live without, the movies you

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Speaker 7: would watch forever, forsaking all other movies. But the catches

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Speaker 7: they have to come from the same five year period.

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Speaker 3: Yeah, so double down on the difficulty essentially, right, is

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Speaker 3: what we have to do, YEA for our pain and

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Speaker 3: listeners and viewers enjoyment.

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Speaker 7: Apparently, uh huh, so how did you ultimately approach it?

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Speaker 7: And you can go ahead and lead right into I

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Speaker 7: guess telling us what period you landed on, and then

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Speaker 7: your first choice, whatever order you ultimately want to go in.

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Speaker 3: Okay, Yeah, I was a bit overwhelmed by this project

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Speaker 3: until I realized, Adam, that it's an exercise that really

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Speaker 3: does mirror one we've done at least twice on the show.

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Speaker 3: If you think about our top ten lists of all Time. Yes,

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Speaker 3: and we've done that to coincide with the Citan sound

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Speaker 3: lists twenty twelve, twenty twenty two. So those forced me

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Speaker 3: talk about difficulty to comb through all of film history

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Speaker 3: and select ten. Right, this is forcing something similar, as

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Speaker 3: we've said, albeit with a stricter window. So the obvious

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Speaker 3: place for me to start was to look at that

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Speaker 3: twenty twenty two list that I put together for the

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Speaker 3: best of all Time. I figured, Hey, if at least

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Speaker 3: two of these titles happened to be within a five

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Speaker 3: year period, then bing, I've got my starting point. Take that, Sam,

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Speaker 3: it will not be as painful as you may have thought. Reader.

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Speaker 3: Upon checking that list, I had two and hardcore listeners

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Speaker 3: might already know where I'm going there, So I grabbed

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Speaker 3: those two titles and worked out from there. Based on

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Speaker 3: the dates of those two films, I had to choose

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Speaker 3: between a handful of periods, basically some point between nineteen

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Speaker 3: fifty one and nineteen fifty eight. You know what, not

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Speaker 3: really a problem either. Over the years for those all

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Speaker 3: time lists, movies from the nineteen fifties have been in

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Speaker 3: the mix almost every time, either in my top ten

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Speaker 3: or floating around it eleven through twenty or somewhere around there,

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Speaker 3: sometimes shifting in and out. So sure enough, three other

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Speaker 3: titles fell into place pretty quickly, ones that have been

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Speaker 3: circling my top ten of all time over the years.

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Speaker 3: So now, to make this a little more fun, I

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Speaker 3: did peruse. I went through the lists of all the

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Speaker 3: films released over that fifties time period. I thought, you know,

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Speaker 3: maybe I'll make a quirky pic, or there's an idiosyncratic one.

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Speaker 3: But Sam had to invoke the incinerator rule, and once

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Speaker 3: he did that, it was it was really hard not

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Speaker 3: to go with my personal favorites from a mood of

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Speaker 3: the cannon, you know. Okay, So that left me with

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Speaker 3: this range nineteen fifty one to nineteen fifty five, and

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Speaker 3: I did go chronologically from the oldest title to the

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Speaker 3: most recent. Should I just jump in and then you

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Speaker 3: can get to your rationale? Yeah?

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Speaker 4: I think so.

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Speaker 3: Okay, let's do it so again chronological order from this

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Speaker 3: timeframe fifty one to fifty five. I'm starting at nineteen

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Speaker 3: fifty two with Akiu from Akira Kurrasawa. My Summer of

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Speaker 3: Kurrasawa is going to continue into the fall. I talked

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Speaker 3: about how Debbie and I took that May trip to

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Speaker 3: Japan to prepare. I introduced her to Yojimbo. When we

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Speaker 3: got home, watched Throwne of Blood for the first time.

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Speaker 3: I watched High and Low and prep for Highest to Lowest,

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Speaker 3: of course, and then for our August bonus show for

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Speaker 3: film Spotting Family members, we discussed Krisawa's Stray Dog. If

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Speaker 3: you want to listen to that, join the Familyfilmspottingfamily dot com.

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Speaker 3: I have not revisited Ikuru, however, since twenty fifteen, but

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Speaker 3: that was the viewing that was my first time seeing it.

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Speaker 3: I was late to Akira. That was the viewing that

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Speaker 3: puts this fifty two film in the mix for me

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Speaker 3: for best films of all time. Ikiu was also on

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Speaker 3: my list of the Top five Movies for Graduates that

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Speaker 3: we did back in twenty twenty two, So this one

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Speaker 3: really connected with me. It's set in post war Japan

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Speaker 3: and it stars Takashi Shimura, who we just saw as

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Speaker 3: the veteran police detective in Stray Dog. Here he plays Watanabe,

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Speaker 3: this widower, a thirty year bureaucrat. He learns hees stomach

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Speaker 3: cancer and then comes to the realization that he's he's

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Speaker 3: done nothing but just push meaningless papers his whole life.

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Speaker 3: Watsonnabe is absolutely wondrous here. He embodies this delicate balance

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Speaker 3: the movie has. There's mournfulness, there's sentimentality, but there's a

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Speaker 3: surprisingly not a humor in this film too, and he's

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Speaker 3: crucial to a lot of that. And for that list

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Speaker 3: I talked about the top five movies for Graduates list,

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Speaker 3: I did mention and I think we may have even

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Speaker 3: played this clip, but I think we should play it again.

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Speaker 3: His handling of the Gondola song. This is a romantic

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Speaker 3: Japanese ballad. Watsonnabe sings it the first time we hear

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Speaker 3: early on in this nightclub where he's trying to sing

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Speaker 3: away his sadness but fails at it. Then Later, towards

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Speaker 3: the end of the film, we see him singing it

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Speaker 3: while alone on a swing at the playground that he

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Speaker 3: helped build in his final months, and to my ear,

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Speaker 3: at least this time he adds just a quiet note

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Speaker 3: of contentment. I think a Kuru might be the shining

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Speaker 3: exemplar of the sort of poetic humanism that you can find.

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Speaker 3: I think at all of Kurisawa's work, this might be

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Speaker 3: the pinnacle of that. So really happy it fell within

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Speaker 3: this little window that I chose for this exercise.

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Speaker 7: I don't want to say that you're predictable, and there's

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Speaker 7: certainly no fault in being predictable, but you were predictable,

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Speaker 7: and that's because whenever madness incinerator rules have been invoked,

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Speaker 7: you have fallen back on that. You've always gone Well

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Speaker 7: is one of the films on my site and soundless

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Speaker 7: or has it been in the conversation, And if it's

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Speaker 7: in consideration for my greatest films of all time, of

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Speaker 7: course I'm going to default to that. So after our

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Speaker 7: last show, I was thinking about that, and I think

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Speaker 7: I was procrastinating Josh coming up with my own list,

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Speaker 7: and you can ask Sam. I went to our site

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Speaker 7: and Soundless, and I'm not going to name the films,

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Speaker 7: but I saw that there were two of your top

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Speaker 7: ten that were within two years of each other. And

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Speaker 7: I saw that there was a third choice that was

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Speaker 7: within the same window. But it was going to be

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Speaker 7: just just outside of the five year span, and I

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Speaker 7: thought it was going to make it too difficult to

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Speaker 7: make it work. But I thought, Okay, I don't know

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Speaker 7: exactly what the period's going to be, but it is

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Speaker 7: going to include those two years.

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Speaker 3: I'm certain of it.

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Speaker 7: And I said it to Sam. I said, I said,

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Speaker 7: that's Josh's window. And he said, he said, you might

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Speaker 7: be right, and sure enough, easy, sure enough, there it is.

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Speaker 7: So yeah, this flummeo's me for a while. And I

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Speaker 7: thought there were two approaches I could take. One I

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Speaker 7: could come up with some kind of unifying principle or

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Speaker 7: approach like you did, or two I could come up

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Speaker 7: with And I think this is the approach Sam ultimately took.

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Speaker 7: He he thought of one or two movies first and

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Speaker 7: then thought, could I work around those so like an

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Speaker 7: anchor or too and work off of it? And the

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Speaker 7: anchor approach is really good in theory. If you've got

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Speaker 7: the movie but how do you come up now, forget

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Speaker 7: five movies, how do you come up with the movie?

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Speaker 7: But one did flash into my brain that I worked

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Speaker 7: backward from and worked forward from, and in doing that,

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Speaker 7: actually unifying principle did kind of emerge. And I'll be honest,

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Speaker 7: I didn't. I didn't want to interrogate it too much further,

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Speaker 7: because you know, I needed to get something down on

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Speaker 7: paper here. But I did my due diligence before I committed.

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Speaker 7: I went to our website. I looked at all of

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Speaker 7: our year by year lists, and we haven't done every year,

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Speaker 7: but we've done.

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Speaker 4: We've done quite a few.

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Speaker 7: And I took all of my number one movies and

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Speaker 7: some of my number two's, just to see if there

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Speaker 7: was any strong competition. I also went to my worksheet

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Speaker 7: when we did this was a while back, but we

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Speaker 7: did our top five movie years, where I had written

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Speaker 7: down like the top five or ten best movies from

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Speaker 7: all of these different years. And I looked for years

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Speaker 7: that were close to each other. And here's a bunch

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Speaker 7: that I came up with and strongly considered. For example,

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Speaker 7: I had nineteen fifty seven and nineteen fifty nine both

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Speaker 7: in my top five all Time Movie years, and fifty

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Speaker 7: five Josh was another contender. So gosh, if I've got

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Speaker 7: fifty five and fifty seven and fifty nine, well maybe

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Speaker 7: maybe that's a span I should consider. Obviously, if you

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Speaker 7: talk to most cinephiles most of the years in the

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Speaker 7: nineteen seventies about any five year gap, you should probably consider.

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Speaker 7: Eighty nine was in my top five, and eighty eight

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Speaker 7: was another one I considered also to steal your approach,

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Speaker 7: the only movies that worked for me from my sight

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Speaker 7: and sound top ten. I did have two movies from

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Speaker 7: the year nineteen eighty six. One was from eighty nine,

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Speaker 7: so I could have gone that route, but I'll just

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Speaker 7: go ahead and tell you right now I didn't go

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Speaker 7: that route, and that's because one of those movies for

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Speaker 7: eighty six is Grave of the Fireflies, and as much

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Speaker 7: as I genuinely love Grave of the Fireflies, it's not

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Speaker 7: a movie I want to rewatch again and again on

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Speaker 7: my desert island.

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Speaker 3: Yeah makes sense, that's fair, Okay.

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Speaker 7: Ninety nine was in my top five all time movie years,

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Speaker 7: and ninety five was another good option, so I thought

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Speaker 7: about that. At the time, I had two thousand and

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Speaker 7: seven as my number one movie year, and a lot

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Speaker 7: of people feel that way, So I thought, well, what

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Speaker 7: are the four years on the other side, on each

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Speaker 7: side of two thousand and seven. There was a lot

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Speaker 7: to consider, and after doing all of that, in the end,

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Speaker 7: I stuck to my list. And here's what I like

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Speaker 7: about it.

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Speaker 4: It's mine.

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Speaker 7: There is nobody else in the world who is going

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Speaker 7: to come up with a list this nutty. All my

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Speaker 7: honorable mentions are great lists, but they are lists that

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Speaker 7: reasonably another Cinophile might choose, not my top five. What's

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Speaker 7: the unifying theme If I really do only have five

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Speaker 7: movies left? They have to be movies I think are great.

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Speaker 7: But they also have to be movies I love to

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Speaker 7: watch over.

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Speaker 4: And over again.

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Speaker 7: They have to be comfort movies, I think, Josh, they

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Speaker 7: have to be nostalgic movies. They have to be movies

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Speaker 7: that originally made me fall in love with movies. Like

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Speaker 7: my liberal arts education. It's not well rounded, it's not

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Speaker 7: remotely cite and sound worthy. Canon be damned, But you

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Speaker 7: know what, for me, that wasn't the assignment. So look

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Speaker 7: at it this way. At least here we're doing our

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Speaker 7: audience as service. Our listeners will know who the real

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Speaker 7: Cinophile is between the two of us, and we'll ironically ironically.

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Speaker 7: The anchor movie is one I didn't see until I

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Speaker 7: was a film student, so I couldn't have been nostalgic

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Speaker 7: about it. No, it wasn't part of the curriculum, and

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Speaker 7: the year well, I was barely watching cartoons at this point.

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Speaker 7: My five year period is nineteen seventy nine to nineteen

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Speaker 7: eighty three.

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Speaker 3: Man, and you're just swaddling yourself in that nostalgia blanket,

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Speaker 3: aren't you.

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Speaker 7: You betcha my first film chronologically, and I did end

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Speaker 7: up with a film from each year. It was tough,

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Speaker 7: but I did impress it. Yeah, yeah, thank you. From

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Speaker 7: nineteen seventy nine, my first movie is All That Jazz.

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Speaker 4: James Kimberling.

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Speaker 7: If you're out there, he's the guy who said you

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Speaker 7: have to watch All That Jazz. Talked about it constantly

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Speaker 7: as we got to know each other. That first year,

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Speaker 7: my lone year as an MFA student in film school,

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Speaker 7: we rented it from Facets. We watched it in his

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Speaker 7: little apartment in Lakeview as film students one Friday night,

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Speaker 7: and it was over for me.

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Speaker 4: Josh.

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Speaker 7: The Fossey hook was in me. I had heard of it.

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Speaker 7: Of course, I think I resisted it because at the

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Speaker 7: time I didn't care at all about Broadway musical, so

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Speaker 7: why would I care about a movie about Broadway musicals.

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Speaker 7: I had no concept that it was about mortality, my

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Speaker 7: favorite subject then still my favorite subject. I had no

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Speaker 7: concept that it was about filmmaking in addition to being

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Speaker 7: about the stage. I had no concept it was about

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Speaker 7: sex and love and about the things you'll say and

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Speaker 7: do to get sex and to feel loved. And it

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Speaker 7: was about coming to terms with being a great artist

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Speaker 7: while being a mostly terrible person, while also feeling like

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Speaker 7: you might not even be that great of an artist.

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Speaker 7: And that makes me think of the memorable bit in

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Speaker 7: the movie where Joe Gideon, Bob Fosse's alter ego in

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Speaker 7: the movie played by Roy Scheider, is talking to Jessica

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Speaker 7: Lang's angel, who's named Angelique in the film, and he says,

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Speaker 7: nothing I ever do is good enough, not beautiful enough,

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Speaker 7: it's not funny enough, it's not deep enough, it's not

348
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Speaker 7: anything enough. And I've read the biography and it would

349
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Speaker 7: make sense that him making an honest movie about himself

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Speaker 7: and having an honest portrayal of himself, that this would

351
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Speaker 7: be true, and by all accounts it really was true.

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Speaker 7: This is really how foss he was. No matter how

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Speaker 7: much praise he got, no matter how many awards he won,

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Speaker 7: all the accolades, he felt that way, it was never

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Speaker 7: anything enough. And Gideon says, now, when I see a rose,

356
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Speaker 7: that's perfect. I mean, that's perfect. I want to look

357
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Speaker 7: up at God and say, how the hell the you

358
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Speaker 7: do that? And why the hell can't I do that?

359
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Speaker 7: And she says, no, that's probably one of your better

360
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Speaker 7: con lines. So you know, he calls himself out for it,

361
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Speaker 7: and Gideon says, yeah, it is, but that doesn't mean

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Speaker 7: I don't mean it to be on.

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Speaker 3: The wire is life? The rest is waiting.

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Speaker 5: That's very theatrical.

365
00:20:19,320 --> 00:20:21,159
Speaker 3: Joe, Yeah, I know.

366
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Speaker 1: Did you make it up? I wish I had.

367
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Speaker 3: Do you like it?

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Speaker 2: Well, it's all right.

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Speaker 7: It's showtime, folks, as far as I'm concerned, Josh, it

370
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Speaker 7: just always has to be showtime. It's going to be showtime, folks,

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Speaker 7: for as long as I'm making decisions about what movies

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Speaker 7: get to stick around. So seventy nine and all that

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Speaker 7: jazz is my first choice.

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Speaker 3: Something of a relief, because you know, all that jazz

375
00:20:52,160 --> 00:20:55,360
Speaker 3: not the cheeriest of movies. But when you said seventy nine,

376
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Speaker 3: I thought you were going to go apocalypse now, I

377
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Speaker 3: thought not a comfortable movie at all.

378
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Speaker 7: To take you to that next but not on my list.

379
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Speaker 3: You're okay, all right, So we're moving for me from

380
00:21:08,280 --> 00:21:11,639
Speaker 3: you know, at number five Akuru to the the ultra,

381
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Speaker 3: the ultra snooty, the ultra cinephile. Pick here, gentlemen prefer blondes.

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00:21:24,560 --> 00:21:24,960
Speaker 1: Weird?

383
00:21:25,359 --> 00:21:28,400
Speaker 8: Just two little Girls from Lil.

384
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Speaker 3: Ron Come on nineteen fifty three, a movie musical with

385
00:21:32,080 --> 00:21:35,600
Speaker 3: Marilyn Monroe with Jane Russell, just letting them loose on

386
00:21:36,000 --> 00:21:39,280
Speaker 3: a cruise ship. Yes, this works, It works even better

387
00:21:39,320 --> 00:21:45,480
Speaker 3: than that premise because everyone here is firing on all cylinders.

388
00:21:45,520 --> 00:21:48,800
Speaker 3: They play a pair of show girls who they basically

389
00:21:48,840 --> 00:21:51,440
Speaker 3: know that the world is going to judge them for

390
00:21:51,560 --> 00:21:54,199
Speaker 3: their bodies based on their bodies, so they figure out,

391
00:21:54,240 --> 00:21:56,119
Speaker 3: we might as well exploit that fact. So you have

392
00:21:56,680 --> 00:22:01,439
Speaker 3: Monroe's laurl I. She's after money, Russell's door, she's after sex.

393
00:22:01,840 --> 00:22:04,199
Speaker 3: And if they find love along the way, well, you

394
00:22:04,240 --> 00:22:08,120
Speaker 3: know even better. That's a bonus. This thing is smart,

395
00:22:08,240 --> 00:22:12,240
Speaker 3: This is hilarious. It is Exhibit A for me, as

396
00:22:12,960 --> 00:22:16,960
Speaker 3: pointing to a Marilyn Monroe's comic chops that she should

397
00:22:16,960 --> 00:22:20,720
Speaker 3: be thought of as a comic actor first, and she

398
00:22:20,840 --> 00:22:23,199
Speaker 3: does get of course, the iconic number diamonds are a

399
00:22:23,200 --> 00:22:26,399
Speaker 3: girl's best friend. But for sheer fun. I don't know

400
00:22:26,400 --> 00:22:28,840
Speaker 3: if you can do any better than Russell with a

401
00:22:29,080 --> 00:22:33,720
Speaker 3: crowd of men in the Beefcake Extravaganza. Anyone here for love?

402
00:22:33,920 --> 00:22:37,000
Speaker 5: I can't play tennis, my go some manis. I just

403
00:22:37,080 --> 00:22:41,800
Speaker 5: can't do the Australian crawl, and I'm no better at volleyball.

404
00:22:42,000 --> 00:22:45,480
Speaker 5: Ain't there anyone here for love? Sweet love?

405
00:22:46,000 --> 00:22:46,280
Speaker 2: All right?

406
00:22:46,320 --> 00:22:48,600
Speaker 3: So the tourists among us, you know, the real cinophiles

407
00:22:48,640 --> 00:22:51,920
Speaker 3: are probably gritting their teeth that I haven't yet mentioned.

408
00:22:52,359 --> 00:22:55,520
Speaker 3: This is directed by Howard Hawks, So there you go,

409
00:22:55,600 --> 00:22:58,840
Speaker 3: and yes, I do quite like that. This pick also

410
00:22:58,920 --> 00:23:00,880
Speaker 3: gives me a chance to included one of the all

411
00:23:00,920 --> 00:23:03,560
Speaker 3: time filmmakers. So you're talking, you know, the man behind

412
00:23:03,600 --> 00:23:07,960
Speaker 3: his girl Friday, behind Rio Bravo and gentlemen prefer blondes,

413
00:23:08,040 --> 00:23:11,159
Speaker 3: which I'm thrilled to have on my list. Talk about

414
00:23:11,240 --> 00:23:14,080
Speaker 3: or repeat viewer, this, This is it.

415
00:23:15,080 --> 00:23:17,320
Speaker 7: For what it's worth. I don't think of gentlemen prefer

416
00:23:17,440 --> 00:23:21,000
Speaker 7: Blondes as ultra snooty. Though you're right, Howard Hawks is

417
00:23:21,040 --> 00:23:27,720
Speaker 7: the tour theorists tour for sure, and unlike all that jazz,

418
00:23:28,119 --> 00:23:32,239
Speaker 7: Gentlemen Prefer Blondes was on my film school curriculum. It

419
00:23:32,320 --> 00:23:34,440
Speaker 7: was on the syllabus, though that was on my film

420
00:23:34,560 --> 00:23:40,040
Speaker 7: studies syllabus, not my film production syllabus. My next pick though,

421
00:23:40,119 --> 00:23:46,119
Speaker 7: Josh decidedly not ultra snooty, and look, I could have

422
00:23:46,160 --> 00:23:48,640
Speaker 7: stuck with nineteen seventy nine here. I would have been

423
00:23:48,640 --> 00:23:52,800
Speaker 7: happy to stick with nineteen seventy nine for my next

424
00:23:52,960 --> 00:23:58,359
Speaker 7: choice and said, yeah, Francis Ford Coppola Apocalypse, Now, I

425
00:23:58,400 --> 00:24:02,080
Speaker 7: could take that on my desert Island. We did a

426
00:24:02,119 --> 00:24:06,240
Speaker 7: Sacred Cow discussion of that just last August. We gushed

427
00:24:06,680 --> 00:24:11,480
Speaker 7: about that film. But I've got another Pantheon film from

428
00:24:11,600 --> 00:24:17,399
Speaker 7: nineteen eighty one we haven't revisited yet. And I know

429
00:24:18,320 --> 00:24:22,119
Speaker 7: that you may think you know where I'm going, and

430
00:24:22,160 --> 00:24:26,480
Speaker 7: it's probably where I should be going, because we will

431
00:24:26,520 --> 00:24:29,520
Speaker 7: at some point discuss this movie. But it's not where

432
00:24:29,520 --> 00:24:34,119
Speaker 7: I'm going, okay, because I've searched my feelings and I

433
00:24:34,200 --> 00:24:37,480
Speaker 7: know it to be true. It must be part of

434
00:24:37,480 --> 00:24:40,400
Speaker 7: this list, The Empire Strikes Back.

435
00:24:40,520 --> 00:24:41,520
Speaker 3: That's where I thought you were going.

436
00:24:41,880 --> 00:24:44,320
Speaker 7: Okay, I thought maybe you were thinking I did say

437
00:24:44,359 --> 00:24:46,600
Speaker 7: it was an ultra snooty if I was, if I

438
00:24:46,680 --> 00:24:50,240
Speaker 7: was forming a more respectable list, I would of course

439
00:24:50,280 --> 00:24:53,239
Speaker 7: have gone Raging Bull, a movie I also love from

440
00:24:53,359 --> 00:24:58,920
Speaker 7: nineteen eighty. But no, I'm going Empire. I've talked multiple

441
00:24:59,040 --> 00:25:01,960
Speaker 7: times on the show about my first truly memorable movie

442
00:25:02,000 --> 00:25:04,800
Speaker 7: experience being Star Wars A New Hope at the drive

443
00:25:04,800 --> 00:25:08,239
Speaker 7: in would have been five to six years old, or

444
00:25:08,280 --> 00:25:09,800
Speaker 7: it would have been Yeah, I would have been five

445
00:25:09,840 --> 00:25:13,080
Speaker 7: or six years old. It would have been maybe five

446
00:25:13,119 --> 00:25:16,600
Speaker 7: to six years after after it came out, or let

447
00:25:16,640 --> 00:25:20,920
Speaker 7: me do that math again, it would have been I

448
00:25:20,960 --> 00:25:23,160
Speaker 7: think it would have been about seven years after it

449
00:25:23,240 --> 00:25:26,360
Speaker 7: came out. Certainly by the time I saw The Empire

450
00:25:26,400 --> 00:25:29,359
Speaker 7: Strikes Back. However, I saw it first, and I don't

451
00:25:29,400 --> 00:25:32,040
Speaker 7: actually remember how I saw it, whether it was back

452
00:25:32,080 --> 00:25:34,280
Speaker 7: at that same drive in or in a theater or

453
00:25:34,320 --> 00:25:37,600
Speaker 7: at home. But I'll say this, surely I was too

454
00:25:37,640 --> 00:25:41,400
Speaker 7: young to be cynical about sequels. I'm sure I would

455
00:25:41,440 --> 00:25:44,240
Speaker 7: have thought, well, it's Star Wars, of course it's going

456
00:25:44,280 --> 00:25:46,480
Speaker 7: to be amazing. It's going to be the greatest thing

457
00:25:46,560 --> 00:25:49,200
Speaker 7: I've ever seen since the first Star Wars.

458
00:25:49,920 --> 00:25:50,960
Speaker 4: And it was.

459
00:25:51,440 --> 00:25:54,960
Speaker 7: It was so amazing and so vividly imprinted on my brain.

460
00:25:55,560 --> 00:26:00,240
Speaker 7: I remember and Man, last night researching this list. I

461
00:26:00,240 --> 00:26:03,000
Speaker 7: had never done this before last night, So the warm

462
00:26:03,040 --> 00:26:05,920
Speaker 7: feeling of nostalgia I got last night was so wonderful.

463
00:26:06,560 --> 00:26:10,320
Speaker 7: I remember I had the story of the Empire Strikes

464
00:26:10,359 --> 00:26:15,360
Speaker 7: Back on vinyl. I found the exact cover. Oh yeah,

465
00:26:15,359 --> 00:26:17,600
Speaker 7: the exact cover that I had. There were different covers.

466
00:26:18,119 --> 00:26:22,440
Speaker 7: It told the abridge story of episode five with narration

467
00:26:23,000 --> 00:26:26,119
Speaker 7: and sound from the film. And I would sit in

468
00:26:26,160 --> 00:26:29,720
Speaker 7: my room with my record player and I would play

469
00:26:29,760 --> 00:26:33,600
Speaker 7: it and I would I would stare at the cover

470
00:26:34,240 --> 00:26:37,280
Speaker 7: and look at the different images of the movie, and

471
00:26:37,320 --> 00:26:41,280
Speaker 7: I had the whole movie playing inside my head. Han

472
00:26:41,680 --> 00:26:45,440
Speaker 7: looking for Luke on the ton Tan cutting it open.

473
00:26:45,800 --> 00:26:46,400
Speaker 4: The smell.

474
00:26:46,800 --> 00:26:50,240
Speaker 7: I smelled it in my bedroom, Josh, I know, I

475
00:26:50,320 --> 00:26:53,399
Speaker 7: smelled it, putting Luke inside it to keep it warm.

476
00:26:53,640 --> 00:26:58,520
Speaker 7: The entire at at attack on Hath, all of it.

477
00:26:59,080 --> 00:27:02,399
Speaker 7: Empire Strikes Back gives us Luke and Yoda. It gives

478
00:27:02,480 --> 00:27:07,760
Speaker 7: us Luke in Vader the Rematch, the twist will be wanting.

479
00:27:08,080 --> 00:27:11,960
Speaker 2: Never told you what happened with your father. He told

480
00:27:12,000 --> 00:27:16,960
Speaker 2: me enough, he told me you kill me.

481
00:27:17,400 --> 00:27:20,560
Speaker 3: No, I am the father.

482
00:27:23,960 --> 00:27:27,760
Speaker 7: Our first experience, certainly as kids as moviegoers for us,

483
00:27:27,800 --> 00:27:32,760
Speaker 7: with a memorable and still maybe the most memorable plot

484
00:27:32,840 --> 00:27:37,439
Speaker 7: twist ever, I Love You, I know, still one of

485
00:27:37,440 --> 00:27:41,919
Speaker 7: the greatest bits of dialogue of exchanges in movie history.

486
00:27:42,200 --> 00:27:45,840
Speaker 7: I don't know which one predates the other, the picture

487
00:27:45,880 --> 00:27:49,879
Speaker 7: of me dressed as Superman or the one of me

488
00:27:50,000 --> 00:27:52,520
Speaker 7: dressed as Han Solo. And when I say dressed as

489
00:27:52,560 --> 00:27:57,000
Speaker 7: Han Solo, I mean wearing a maroon sweatshirt that either

490
00:27:57,040 --> 00:28:00,679
Speaker 7: my mom or my uncle had taken down ten Town

491
00:28:01,040 --> 00:28:04,960
Speaker 7: to a shop and had the letters the words pressed

492
00:28:05,200 --> 00:28:09,960
Speaker 7: onto the sweatshirt that said Han Solo. Wow, I'd wear

493
00:28:10,000 --> 00:28:13,480
Speaker 7: aw it said Han Solo, and that's how And I

494
00:28:13,480 --> 00:28:15,560
Speaker 7: think I did at this point have his gun, so

495
00:28:15,600 --> 00:28:17,960
Speaker 7: I'd wear the sweatshirt that said Han Solo and I'd

496
00:28:18,040 --> 00:28:21,720
Speaker 7: run around shooting the gun. So he was either Han

497
00:28:21,760 --> 00:28:24,920
Speaker 7: Solo was either my first or my first non cape

498
00:28:25,040 --> 00:28:28,439
Speaker 7: wearing movie hero. And all of that is enough for me,

499
00:28:28,680 --> 00:28:32,399
Speaker 7: apparently to shun both Apocalypse Now and Raging Ball and

500
00:28:32,440 --> 00:28:35,520
Speaker 7: put Empire as the second film on my list.

501
00:28:36,160 --> 00:28:39,320
Speaker 3: I hope while you were listening to that vinyl you

502
00:28:39,360 --> 00:28:42,880
Speaker 3: were also sitting on your bed with the Star Wars

503
00:28:42,880 --> 00:28:45,320
Speaker 3: bed sheets on it. Did you have that?

504
00:28:45,640 --> 00:28:50,200
Speaker 7: Absolutely? Had I had Superman bed sheets at one point,

505
00:28:50,240 --> 00:28:51,960
Speaker 7: and I had The Empire Strikes Back.

506
00:28:52,040 --> 00:28:54,840
Speaker 3: Yeah, and you know it because they were the They

507
00:28:54,840 --> 00:28:58,000
Speaker 3: were like the blue from the Blue, right, I think, yes,

508
00:28:58,120 --> 00:29:03,880
Speaker 3: the light Blue. What a time time, Oh man, Let's

509
00:29:03,920 --> 00:29:06,520
Speaker 3: go to a time from before we were born, Adam,

510
00:29:07,160 --> 00:29:09,440
Speaker 3: way back to the fifties, back to the fifties. For me,

511
00:29:10,360 --> 00:29:12,400
Speaker 3: I probably could have found a way, as you did,

512
00:29:12,400 --> 00:29:15,280
Speaker 3: to make this list without including not only the best

513
00:29:15,280 --> 00:29:17,360
Speaker 3: film of all time but my favorite film of all time.

514
00:29:17,440 --> 00:29:20,320
Speaker 3: I'm able to merge these two here. I could have

515
00:29:20,360 --> 00:29:24,440
Speaker 3: put together some complex algorithm, you know, working around it,

516
00:29:24,520 --> 00:29:26,920
Speaker 3: or maybe maybe choose a different Hitchcock to get that

517
00:29:27,000 --> 00:29:31,000
Speaker 3: Hitchcock itch that came from a richer five year period.

518
00:29:31,640 --> 00:29:33,880
Speaker 3: Why bother with any of that when I could just

519
00:29:33,920 --> 00:29:36,760
Speaker 3: put Rear Window on this list.

520
00:29:37,600 --> 00:29:38,480
Speaker 4: A Julie.

521
00:29:39,760 --> 00:29:44,720
Speaker 2: Hurts a little is a football.

522
00:29:47,480 --> 00:29:48,080
Speaker 9: And you love that.

523
00:29:49,560 --> 00:29:51,080
Speaker 3: I'm not too active.

524
00:29:52,480 --> 00:29:53,800
Speaker 1: Anything else bothering you?

525
00:29:55,000 --> 00:30:00,640
Speaker 3: Mm hm, oh you I'm not complicating things. Rear Window

526
00:30:00,720 --> 00:30:02,840
Speaker 3: nineteen fifty four. Yes, I like it even more than

527
00:30:02,880 --> 00:30:06,080
Speaker 3: Vertigo from nineteen fifty eight. In fact, we just did

528
00:30:06,280 --> 00:30:10,440
Speaker 3: a rear window versus Vertigo episode to celebrate both films

529
00:30:10,440 --> 00:30:13,280
Speaker 3: and kind of force ourselves to pick. I think, am

530
00:30:13,280 --> 00:30:16,280
Speaker 3: I remembering right your weird rear window guy as well? Adam?

531
00:30:16,560 --> 00:30:18,680
Speaker 7: I think we did both land there, at least to

532
00:30:18,800 --> 00:30:19,360
Speaker 7: my surprise.

533
00:30:19,720 --> 00:30:22,840
Speaker 3: I know, I know, so yeah, that was so recent

534
00:30:23,040 --> 00:30:25,440
Speaker 3: episode nine to fifty four. I'm not going to belabor

535
00:30:25,520 --> 00:30:28,200
Speaker 3: the rear window pick here, but I do want to

536
00:30:28,240 --> 00:30:33,000
Speaker 3: share this choice bit of a homespun philosophy that comes

537
00:30:33,000 --> 00:30:36,400
Speaker 3: from Thelma Ritter, who plays the nurse to James Stewart's

538
00:30:36,560 --> 00:30:37,840
Speaker 3: bedridden photographer.

539
00:30:38,800 --> 00:30:43,600
Speaker 8: Oh dear, we become a race of peeping Tom's. What

540
00:30:43,680 --> 00:30:45,800
Speaker 8: people ought to do was get outside their own house

541
00:30:45,880 --> 00:30:49,920
Speaker 8: looking for change. Yes, sir, how's that for a bit

542
00:30:49,960 --> 00:30:51,200
Speaker 8: of homespun philosophy.

543
00:30:51,480 --> 00:30:53,880
Speaker 1: Readers Digest, April nineteen thirty.

544
00:30:53,680 --> 00:30:55,800
Speaker 3: Nine Best movie of all time? But you know, for

545
00:30:55,880 --> 00:30:59,040
Speaker 3: chronological reasons, I've got it number three here on my list.

546
00:30:59,080 --> 00:31:02,600
Speaker 7: Okay, yeah, certainly that was one of those two movies

547
00:31:02,640 --> 00:31:04,760
Speaker 7: I mentioned that I had to feel was going to

548
00:31:04,760 --> 00:31:08,480
Speaker 7: be one of your anchor picks from that sit and

549
00:31:08,640 --> 00:31:14,760
Speaker 7: sound list, There's going to be one very handsome recurring

550
00:31:14,800 --> 00:31:20,200
Speaker 7: face on my Desert Island because another Pantheon film starring

551
00:31:20,240 --> 00:31:24,440
Speaker 7: Harrison Ford is making my cut from nineteen eighty one,

552
00:31:25,360 --> 00:31:29,440
Speaker 7: Raiders of the Lost Arc. I'm not going to bring

553
00:31:29,520 --> 00:31:32,920
Speaker 7: this up with Michael Phillips later in the show. I

554
00:31:32,960 --> 00:31:35,480
Speaker 7: know he is a little he's a little tired, a

555
00:31:35,520 --> 00:31:39,200
Speaker 7: little beleaguered about how we always bring up and listeners

556
00:31:39,240 --> 00:31:43,080
Speaker 7: always bring up how he doesn't appreciate Raiders of.

557
00:31:43,040 --> 00:31:43,720
Speaker 4: The Lost Arc.

558
00:31:44,280 --> 00:31:47,520
Speaker 7: But do you remember it was a while ago? Now,

559
00:31:48,280 --> 00:31:51,560
Speaker 7: do you remember hearing about the black and white cut

560
00:31:51,760 --> 00:31:53,959
Speaker 7: or did you ever watch any of it that Soderberg

561
00:31:54,520 --> 00:31:55,240
Speaker 7: put on.

562
00:31:55,080 --> 00:31:56,440
Speaker 4: His right side.

563
00:31:56,440 --> 00:31:59,160
Speaker 7: I've never watched it, so I had never watched I

564
00:31:59,160 --> 00:32:01,320
Speaker 7: remember hearing about it, and maybe I watched a clip

565
00:32:01,400 --> 00:32:03,960
Speaker 7: or two of it at the time, because I remember

566
00:32:03,960 --> 00:32:07,200
Speaker 7: Indie Wire did an article about David Erlick wrote about it,

567
00:32:07,240 --> 00:32:09,560
Speaker 7: and that's how I think it got brought to my attention,

568
00:32:09,880 --> 00:32:14,560
Speaker 7: But I'd never really gotten deep into it until last night.

569
00:32:15,440 --> 00:32:19,600
Speaker 7: It is crazy, fascinating and it does almost make me

570
00:32:19,720 --> 00:32:23,720
Speaker 7: think that if Michael watched it, he would have to

571
00:32:23,760 --> 00:32:26,160
Speaker 7: come around on the film. And it's not just because

572
00:32:27,000 --> 00:32:34,360
Speaker 7: he loves everything old timey. But Soderbergh's gambit pays off,

573
00:32:34,960 --> 00:32:38,400
Speaker 7: he says, and I'm doing some alighting here from his website,

574
00:32:38,400 --> 00:32:42,520
Speaker 7: But the reason behind it is this understanding story, character,

575
00:32:42,560 --> 00:32:45,720
Speaker 7: and performance are crucial to directing well. But I operate

576
00:32:45,800 --> 00:32:48,200
Speaker 7: under the theory a movie should work with the sound off,

577
00:32:48,440 --> 00:32:52,120
Speaker 7: and under that theory, staging becomes paramount. So I want

578
00:32:52,120 --> 00:32:54,280
Speaker 7: you to watch this movie and think only about staging.

579
00:32:54,520 --> 00:32:56,560
Speaker 7: How the shots are built and laid out, what the

580
00:32:56,640 --> 00:33:00,000
Speaker 7: rules of movement are, what the cutting patterns are. Oh,

581
00:33:00,040 --> 00:33:02,640
Speaker 7: and I've removed all sound and color from the film,

582
00:33:03,000 --> 00:33:05,479
Speaker 7: apart from a score designed to aid you in your

583
00:33:05,600 --> 00:33:10,120
Speaker 7: quest to just study the visual staging aspect. Wait, how

584
00:33:10,120 --> 00:33:12,480
Speaker 7: could you do this? Well, I'm not saying I'm like

585
00:33:12,600 --> 00:33:14,840
Speaker 7: allowed to do this. I'm just saying this is what

586
00:33:14,880 --> 00:33:17,080
Speaker 7: I do when I try to learn about staging. And

587
00:33:17,120 --> 00:33:20,120
Speaker 7: this filmmaker forgot more about staging by the time he

588
00:33:20,160 --> 00:33:23,360
Speaker 7: made his first feature than I know to this day.

589
00:33:24,080 --> 00:33:28,000
Speaker 7: So Black and White Raiders is effectively a silent movie.

590
00:33:28,640 --> 00:33:31,600
Speaker 7: And here I'm selling this to Michael. If he listens

591
00:33:31,720 --> 00:33:36,440
Speaker 7: or watches, guess what it's a pip. Not only do

592
00:33:36,480 --> 00:33:40,520
Speaker 7: you not lose any of the wonder, it's actually heightened

593
00:33:40,720 --> 00:33:44,240
Speaker 7: in some instances because of the starkness of the shadows.

594
00:33:44,280 --> 00:33:49,040
Speaker 7: Douglas Slocum, the cinematographer, shot other films in black and

595
00:33:49,080 --> 00:33:52,000
Speaker 7: white and knows what he's doing in color or black

596
00:33:52,040 --> 00:33:54,920
Speaker 7: and white, and it really comes through here. But it

597
00:33:55,040 --> 00:33:58,960
Speaker 7: forces your eye to note just what Soderbergh says, the staging,

598
00:33:59,600 --> 00:34:03,760
Speaker 7: and how so Bielberg moves the camera, often in relatively

599
00:34:03,960 --> 00:34:08,680
Speaker 7: subtle ways, but still so effectively. And that Indie Wire

600
00:34:08,760 --> 00:34:13,319
Speaker 7: article that David Erlik wrote about it, he lists a

601
00:34:13,400 --> 00:34:17,440
Speaker 7: few different scenes that caught his eye, but without going

602
00:34:17,440 --> 00:34:22,080
Speaker 7: into too much detail. And one that Josh I just

603
00:34:22,120 --> 00:34:27,480
Speaker 7: think is incredible that I rewound about seventeen times last night.

604
00:34:28,280 --> 00:34:30,279
Speaker 7: Watch the scene and we'll link to this in the

605
00:34:30,360 --> 00:34:33,359
Speaker 7: show notes. Watch this scene in black and white. Maybe

606
00:34:33,440 --> 00:34:35,359
Speaker 7: it was one that always caught your eye. It never

607
00:34:35,400 --> 00:34:37,600
Speaker 7: did for me. I always, you know, took it for granted.

608
00:34:37,760 --> 00:34:41,960
Speaker 7: There were bigger sequences that I always paid way more

609
00:34:42,000 --> 00:34:46,560
Speaker 7: attention to. When when Indiana Jones is dressed up like

610
00:34:46,680 --> 00:34:50,080
Speaker 7: a Nazi and then he's walking with them in the

611
00:34:50,280 --> 00:34:54,080
Speaker 7: arc and they have Karen Allen, and then he gets

612
00:34:54,120 --> 00:34:56,600
Speaker 7: away from them and he steals the rocket launcher and

613
00:34:56,640 --> 00:34:59,320
Speaker 7: he goes up to the ridge and they're walking down below.

614
00:35:00,120 --> 00:35:04,640
Speaker 7: We get this bird's eye shot of the Nazis walking

615
00:35:04,640 --> 00:35:07,840
Speaker 7: with the arc and they're walking kind of slowly left

616
00:35:07,840 --> 00:35:08,239
Speaker 7: to right.

617
00:35:08,360 --> 00:35:09,000
Speaker 3: On screen.

618
00:35:09,760 --> 00:35:13,600
Speaker 7: Spielberg has the camera maybe on a crane, but it's

619
00:35:13,640 --> 00:35:15,799
Speaker 7: just kind of moving. It's up on the ridge and

620
00:35:15,800 --> 00:35:19,960
Speaker 7: it's just kind of moving left to right, flowing kind

621
00:35:20,000 --> 00:35:23,839
Speaker 7: of with them as they're moving left to right. And

622
00:35:23,880 --> 00:35:28,960
Speaker 7: then as it moves across the screen, it brings Indie

623
00:35:30,000 --> 00:35:34,720
Speaker 7: into the frame, and as it brings him into the frame,

624
00:35:35,239 --> 00:35:39,080
Speaker 7: he kind of rolls his upper body from left to

625
00:35:39,200 --> 00:35:44,160
Speaker 7: right to get the rocket launcher into position. So three

626
00:35:44,200 --> 00:35:49,840
Speaker 7: different things happening at three different portions of the frame,

627
00:35:50,640 --> 00:35:56,200
Speaker 7: and it becomes this beautiful little dance, complete synchronicity between

628
00:35:56,200 --> 00:36:02,240
Speaker 7: the camera, actor and prop and ultiple actors down below,

629
00:36:02,680 --> 00:36:06,000
Speaker 7: all moving, all filling the frame. And you watch it

630
00:36:06,600 --> 00:36:11,680
Speaker 7: and you think, one, that couldn't be staged any other way,

631
00:36:12,440 --> 00:36:15,800
Speaker 7: and two, absolutely no one else would think to stage

632
00:36:15,800 --> 00:36:20,279
Speaker 7: it that way, which of course is completely contradictory. And

633
00:36:20,560 --> 00:36:23,920
Speaker 7: that's the magic of it. I would be content to

634
00:36:24,080 --> 00:36:28,000
Speaker 7: dwell on that mystery and the others thematically at the

635
00:36:28,000 --> 00:36:30,960
Speaker 7: heart of Raiders of the Lost Ark forever. So it's

636
00:36:31,000 --> 00:36:32,000
Speaker 7: on my list.

637
00:36:32,360 --> 00:36:37,160
Speaker 3: Yeah. The effortlessness that Spielberg brings to moments like that

638
00:36:37,719 --> 00:36:40,920
Speaker 3: are maybe his true genius. You know, there's the iconic scenes,

639
00:36:40,920 --> 00:36:43,600
Speaker 3: which of course are, but when you really take a

640
00:36:43,680 --> 00:36:48,040
Speaker 3: close lens on every single scene in some of his triumphs,

641
00:36:48,040 --> 00:36:50,320
Speaker 3: you realize that he's doing that everywhere. He's doing that

642
00:36:50,360 --> 00:36:52,520
Speaker 3: all the time and making it look like it was

643
00:36:52,760 --> 00:36:56,320
Speaker 3: you know, it just fell into place like that. So, yeah,

644
00:36:56,440 --> 00:36:58,360
Speaker 3: Raiders full of those moments.

645
00:36:59,239 --> 00:36:59,560
Speaker 1: All right?

646
00:37:00,040 --> 00:37:03,440
Speaker 3: Number two? Yeah, we're at number two. I'm going with

647
00:37:04,120 --> 00:37:08,560
Speaker 3: nineteen fifty five film or debt. This is from Karl

648
00:37:08,600 --> 00:37:11,279
Speaker 3: Theodore Dreyer. I know you love this film. Adam at

649
00:37:11,280 --> 00:37:14,759
Speaker 3: the center of this spiritual drama as this figure who

650
00:37:15,280 --> 00:37:17,120
Speaker 3: he could be a lunatic, he could be a hairtic,

651
00:37:17,200 --> 00:37:19,399
Speaker 3: he could be a prophet, he could be he could

652
00:37:19,400 --> 00:37:21,920
Speaker 3: maybe even be the embodiment of Jesus Christ, as he

653
00:37:22,000 --> 00:37:27,080
Speaker 3: himself claims. This is Johannes played by Preben lerdorf Raie.

654
00:37:27,239 --> 00:37:30,799
Speaker 3: He belongs to this extended family of Danish farmers, and

655
00:37:31,040 --> 00:37:33,440
Speaker 3: they're all going through their own experiences of belief and

656
00:37:33,560 --> 00:37:37,000
Speaker 3: unbelief throughout this film. They pretty much treat him as

657
00:37:37,080 --> 00:37:41,920
Speaker 3: mentally ill. However, Dryer's camera, though, interestingly, even though this

658
00:37:41,960 --> 00:37:44,600
Speaker 3: is a film that's very suspicious and skeptical of religion

659
00:37:44,640 --> 00:37:49,960
Speaker 3: overall organized religion, for sure, Dryer's camera grants Johanns this

660
00:37:50,080 --> 00:37:55,160
Speaker 3: certain sense of spiritual authority. And this is maybe never

661
00:37:55,200 --> 00:37:57,800
Speaker 3: more true than what I think is the movie's definitive shot,

662
00:37:57,840 --> 00:38:02,120
Speaker 3: where we see Johannes hurly these pronouncements from atop this

663
00:38:02,280 --> 00:38:05,919
Speaker 3: grassy bluff, and he's got this heavenly background behind him,

664
00:38:05,960 --> 00:38:09,520
Speaker 3: these floating clouds, and we're looking at him from above

665
00:38:09,600 --> 00:38:14,239
Speaker 3: this low camera angle. Of course, there's also the movie's climax,

666
00:38:14,239 --> 00:38:16,480
Speaker 3: which I am not going to spoil, even though this

667
00:38:16,560 --> 00:38:20,680
Speaker 3: is a seventy year old movie, I'll just say it

668
00:38:20,719 --> 00:38:23,600
Speaker 3: also complicates things quite a bit. It leaves us to

669
00:38:23,640 --> 00:38:28,360
Speaker 3: sit in the in the staggering, mysterious, transcendent wake of

670
00:38:29,080 --> 00:38:32,520
Speaker 3: this miracle. So yeah, I figured you'd be happy I

671
00:38:32,520 --> 00:38:34,920
Speaker 3: have this on the list after I didn't get to

672
00:38:34,960 --> 00:38:39,400
Speaker 3: it till twenty eighteen. Another late watch for me, But man,

673
00:38:39,800 --> 00:38:41,840
Speaker 3: it lived up to its reputation at that point and

674
00:38:41,880 --> 00:38:44,319
Speaker 3: then some. So currently it's in that mix for you know,

675
00:38:44,400 --> 00:38:48,040
Speaker 3: eleven to twenty best films of all time. For this list,

676
00:38:48,080 --> 00:38:49,080
Speaker 3: I've got at number.

677
00:38:48,880 --> 00:38:52,839
Speaker 7: Two one of my letterboxed four favorites, and it has

678
00:38:52,920 --> 00:38:56,440
Speaker 7: been for a while. I said, I had to strongly

679
00:38:56,520 --> 00:38:59,400
Speaker 7: consider a five year period from the nineteen fifties and

680
00:38:59,680 --> 00:39:03,759
Speaker 7: or to was a major reason why. And if you're

681
00:39:03,840 --> 00:39:09,000
Speaker 7: pinning me down, I of course believe that it is

682
00:39:09,320 --> 00:39:14,399
Speaker 7: a more significant film, a more major film, a more

683
00:39:14,440 --> 00:39:20,160
Speaker 7: indispensable cinematic achievement than my number two pick or my

684
00:39:20,320 --> 00:39:27,200
Speaker 7: next choice. But on my list for this assignment, I

685
00:39:27,360 --> 00:39:33,520
Speaker 7: had to have nineteen eighty Two's some people out there

686
00:39:33,640 --> 00:39:35,680
Speaker 7: who've been listening to the show for a while can

687
00:39:35,760 --> 00:39:40,120
Speaker 7: probably say it in unison with me. The world, according

688
00:39:40,440 --> 00:39:45,080
Speaker 7: to Garp, speaking of mystery, there was so little. There

689
00:39:45,120 --> 00:39:47,840
Speaker 7: was so little I understood about the behavior of the

690
00:39:48,000 --> 00:39:52,000
Speaker 7: characters John Irving created in the world. According to Garp,

691
00:39:52,040 --> 00:39:55,120
Speaker 7: and I am speaking about the characters that were adapted

692
00:39:55,280 --> 00:39:57,200
Speaker 7: to the screen in the movie. I didn't read the

693
00:39:57,239 --> 00:40:00,400
Speaker 7: book until I was in high school. Forty years though,

694
00:40:00,440 --> 00:40:04,799
Speaker 7: I'm still grappling with their behavior. We must have had

695
00:40:04,960 --> 00:40:10,040
Speaker 7: HBO in our house installed around eighty three because Garp

696
00:40:10,480 --> 00:40:15,000
Speaker 7: was on all the time and I watched it all

697
00:40:15,080 --> 00:40:18,160
Speaker 7: the time. There is going to be another occasion later

698
00:40:18,200 --> 00:40:20,640
Speaker 7: in the year where I'm going to have to talk

699
00:40:20,640 --> 00:40:23,560
Speaker 7: about this movie, and my love for it has already

700
00:40:23,560 --> 00:40:25,840
Speaker 7: been well documented over the years. So I'm going to

701
00:40:25,920 --> 00:40:28,880
Speaker 7: do what I usually do, and sometimes you do, Josh,

702
00:40:28,880 --> 00:40:30,960
Speaker 7: in these situations, I'll just turn to the book of

703
00:40:31,040 --> 00:40:35,239
Speaker 7: Roger Ebert gave it three stars out of four, though

704
00:40:35,280 --> 00:40:39,920
Speaker 7: his review is decidedly mixed to actually negative, and it

705
00:40:39,920 --> 00:40:42,719
Speaker 7: turns out he hated the book. He says to the

706
00:40:42,760 --> 00:40:47,879
Speaker 7: movie left me entertained but unmoved, something has to be wrong,

707
00:40:47,920 --> 00:40:50,319
Speaker 7: Eber says, with a film that can take material as

708
00:40:50,400 --> 00:40:54,920
Speaker 7: intractable as Garp and make it palatable. Later in the review,

709
00:40:55,120 --> 00:40:58,719
Speaker 7: he gets at the core issue for many of the adaptation,

710
00:40:59,360 --> 00:41:02,680
Speaker 7: and it's speaks to what I was saying here again,

711
00:41:02,840 --> 00:41:03,880
Speaker 7: I'm doing some alighting.

712
00:41:04,200 --> 00:41:04,640
Speaker 4: The novel.

713
00:41:04,680 --> 00:41:07,240
Speaker 7: The World according to Garp was I think a tragic

714
00:41:07,280 --> 00:41:10,320
Speaker 7: comic counterpoint between the collapse of middle class family values

715
00:41:10,320 --> 00:41:13,160
Speaker 7: and the rise of random violence in our society. The

716
00:41:13,160 --> 00:41:16,240
Speaker 7: bizarre behavior of the people in the novel, particularly Garp's

717
00:41:16,239 --> 00:41:18,719
Speaker 7: mother and the members of the Ellen Jamesians, is a

718
00:41:18,760 --> 00:41:21,920
Speaker 7: cross between activism and insanity, and there is the clear

719
00:41:21,920 --> 00:41:24,920
Speaker 7: suggestion that without such behavior to hold them together, all

720
00:41:24,960 --> 00:41:26,960
Speaker 7: of these people would be unable to cope at all

721
00:41:27,000 --> 00:41:30,000
Speaker 7: and would sign themselves into the nearest institution. As a

722
00:41:30,080 --> 00:41:32,560
Speaker 7: vision of modern American life, Garp is bleak, but it

723
00:41:32,600 --> 00:41:35,440
Speaker 7: has something to say. The movie, however, seems to believe

724
00:41:35,480 --> 00:41:37,880
Speaker 7: that the book's characters and events are somehow real, or

725
00:41:37,880 --> 00:41:39,880
Speaker 7: to put it another way, that the point of the

726
00:41:39,920 --> 00:41:44,200
Speaker 7: book is to describe these colorful characters and their unlikely behavior.

727
00:41:44,320 --> 00:41:46,840
Speaker 7: I also chose that paragraph just in case anyone was

728
00:41:46,840 --> 00:41:50,080
Speaker 7: wondering if the world according to gart might still be

729
00:41:50,280 --> 00:41:55,799
Speaker 7: relevant right now, and especially with Robin Williams playing guard,

730
00:41:57,040 --> 00:42:02,479
Speaker 7: what was very dark material naturally does become softer and more.

731
00:42:03,200 --> 00:42:04,560
Speaker 4: I suppose Jovial.

732
00:42:04,320 --> 00:42:11,480
Speaker 10: Doesn't stop time that right, Poteno fall stop writing the

733
00:42:11,560 --> 00:42:19,000
Speaker 10: seven children running next straight up woman oh mane right right?

734
00:42:20,640 --> 00:42:23,320
Speaker 10: We are similized people and similie people.

735
00:42:23,120 --> 00:42:25,759
Speaker 3: A bay rude you nio chef.

736
00:42:26,480 --> 00:42:29,680
Speaker 7: And maybe that act of description of the colorful characters

737
00:42:29,760 --> 00:42:33,400
Speaker 7: that that Ebert's describing is a bit inevitable when you

738
00:42:33,520 --> 00:42:37,600
Speaker 7: take a very textured novel like Garp and translated to

739
00:42:37,640 --> 00:42:41,200
Speaker 7: the screen where it it's gonna have to follow cause

740
00:42:41,280 --> 00:42:44,600
Speaker 7: and effect kind of chain of events. But as I've

741
00:42:44,640 --> 00:42:47,880
Speaker 7: said before, this movie had a profound influence on me.

742
00:42:48,000 --> 00:42:50,040
Speaker 7: I don't think I'd be sitting here doing this show

743
00:42:50,080 --> 00:42:53,680
Speaker 7: with you right now without a reverence for the creative

744
00:42:53,800 --> 00:42:57,520
Speaker 7: process that the movie. This movie sparked in me at

745
00:42:57,560 --> 00:43:00,759
Speaker 7: a really young age, at a too young of an

746
00:43:00,800 --> 00:43:03,120
Speaker 7: age to be watching this movie. But again, I'm so

747
00:43:03,280 --> 00:43:07,520
Speaker 7: grateful for that. And one question I would get to

748
00:43:07,640 --> 00:43:12,440
Speaker 7: wrestle with on my desert island is is it actually

749
00:43:12,520 --> 00:43:14,839
Speaker 7: a good movie? And I know this comes up all

750
00:43:14,920 --> 00:43:17,120
Speaker 7: the time whenever we revisit, and I say we all

751
00:43:17,160 --> 00:43:19,759
Speaker 7: of us. Whenever we go back and look at something

752
00:43:19,800 --> 00:43:22,080
Speaker 7: we loved when we were kids, we always wonder is

753
00:43:22,120 --> 00:43:25,160
Speaker 7: it nostalgia or is it really good? And a lot

754
00:43:25,239 --> 00:43:28,560
Speaker 7: of times I think we probably confirm our own bias

755
00:43:28,640 --> 00:43:33,160
Speaker 7: to some extent and we find that no objectively we

756
00:43:33,920 --> 00:43:36,839
Speaker 7: like it, it still holds up it's good. Who knows

757
00:43:37,320 --> 00:43:40,520
Speaker 7: if that's true. Who knows if we still can objectively

758
00:43:41,080 --> 00:43:43,920
Speaker 7: view it that way, But I certainly try Josh. When

759
00:43:43,960 --> 00:43:45,719
Speaker 7: we do that with those films, I really try to

760
00:43:45,800 --> 00:43:49,840
Speaker 7: view it as much as I can through my current eyes.

761
00:43:50,520 --> 00:43:54,080
Speaker 7: With GARP, I think, I think the fact is nobody

762
00:43:54,120 --> 00:43:57,680
Speaker 7: else thinks. Nobody else that I know it Certainly no

763
00:43:57,800 --> 00:44:01,000
Speaker 7: critic that I know thinks it's a classic or loves

764
00:44:01,040 --> 00:44:02,120
Speaker 7: it as much as I do.

765
00:44:02,280 --> 00:44:03,200
Speaker 4: And I'm fine with that.

766
00:44:03,600 --> 00:44:07,000
Speaker 7: But it is the one movie that I can't one

767
00:44:07,120 --> 00:44:10,879
Speaker 7: hundred percent trust myself on. I really do wonder if

768
00:44:11,440 --> 00:44:14,719
Speaker 7: it's it's actually a good movie or what I think

769
00:44:14,760 --> 00:44:18,160
Speaker 7: it is a great movie, or you know, is it

770
00:44:18,360 --> 00:44:22,399
Speaker 7: really just my my nostalgic attachment to it and being

771
00:44:22,480 --> 00:44:26,279
Speaker 7: aware of the influence it did have on me. That's

772
00:44:26,320 --> 00:44:28,960
Speaker 7: something I would I would get to think about. With

773
00:44:29,360 --> 00:44:32,680
Speaker 7: it being one of the five final films left, I

774
00:44:32,719 --> 00:44:33,560
Speaker 7: would need it with me.

775
00:44:34,680 --> 00:44:36,680
Speaker 3: And I will need to paddle over to your island,

776
00:44:36,840 --> 00:44:40,960
Speaker 3: because still I made time for all that jazz. After

777
00:44:41,080 --> 00:44:42,719
Speaker 3: many years of hearing you talk about the show, I

778
00:44:42,760 --> 00:44:45,160
Speaker 3: still need to see the world according to Garb. So okay,

779
00:44:45,239 --> 00:44:47,319
Speaker 3: so yeah, make some space for me and I'll catch

780
00:44:47,400 --> 00:44:49,839
Speaker 3: up with it there. Maybe we're down to number one.

781
00:44:50,239 --> 00:44:54,400
Speaker 3: Another familiar title. This is the other one that you

782
00:44:54,520 --> 00:44:57,799
Speaker 3: know made me pick this epoch. It's in my top

783
00:44:57,880 --> 00:45:01,280
Speaker 3: ten of all time. It's Pother Puncholi fifty five. Another

784
00:45:01,320 --> 00:45:03,759
Speaker 3: one I'm not going to belabor because we gave it

785
00:45:03,840 --> 00:45:07,040
Speaker 3: ample attention during our Statugit Ray marathon. As I said,

786
00:45:07,080 --> 00:45:09,080
Speaker 3: it's on my current top ten films of all time lists.

787
00:45:09,120 --> 00:45:12,000
Speaker 3: Talked about it when we did that show, and maybe

788
00:45:12,040 --> 00:45:15,240
Speaker 3: two or three episodes ago. We actually included the audio

789
00:45:15,360 --> 00:45:18,240
Speaker 3: of my chat about the movie with Slate Stana Stevens

790
00:45:18,320 --> 00:45:21,480
Speaker 3: that was from Film Spotting Fest last March. We screened

791
00:45:21,520 --> 00:45:25,200
Speaker 3: Pother Punchali and had a great conversation with Dana afterwards there.

792
00:45:25,360 --> 00:45:28,640
Speaker 3: So if after all of that, if you are like

793
00:45:28,760 --> 00:45:32,800
Speaker 3: me with Garp, after all of my praising of Pother Punchali,

794
00:45:32,840 --> 00:45:36,520
Speaker 3: and you still haven't seen Satyja Ray's Humble Family Saga.

795
00:45:37,160 --> 00:45:39,720
Speaker 3: It's it's set in rural Bengal in the nineteen twenties.

796
00:45:39,760 --> 00:45:43,200
Speaker 3: Please please, please please please track it down. You will

797
00:45:43,520 --> 00:45:47,799
Speaker 3: thank me for it. So yeah, I just I looked

798
00:45:47,800 --> 00:45:52,160
Speaker 3: at my list at him, and I realized it was

799
00:45:52,360 --> 00:45:55,520
Speaker 3: maybe a cheap code so that I didn't go crazy

800
00:45:55,640 --> 00:45:57,919
Speaker 3: trying to put this together. Sure, but then I saw

801
00:45:58,480 --> 00:46:01,920
Speaker 3: I saw I've got two Holly Entertainments, I've got two

802
00:46:02,120 --> 00:46:05,520
Speaker 3: international landmarks from very different parts of the world, and

803
00:46:05,600 --> 00:46:08,280
Speaker 3: I've got an anguished Crisis of Faith art movie from Denmark.

804
00:46:08,360 --> 00:46:11,040
Speaker 3: So I'm gonna be I'm gonna be a happy boy.

805
00:46:11,280 --> 00:46:13,759
Speaker 3: Sam trying to make me miserable, now, he really, he

806
00:46:13,880 --> 00:46:16,680
Speaker 3: really doesn't mean that. But yeah, I think if those

807
00:46:16,719 --> 00:46:19,239
Speaker 3: were the only five films that I had for the

808
00:46:19,280 --> 00:46:21,680
Speaker 3: rest of my life, I would I'd be pretty content.

809
00:46:22,280 --> 00:46:25,000
Speaker 7: There's not a lot of just raw entertainment there, but

810
00:46:25,120 --> 00:46:28,000
Speaker 7: you'd get some good voyeurism in Rear Window.

811
00:46:28,120 --> 00:46:30,960
Speaker 3: Who Rear Window is immensely entertaining.

812
00:46:31,080 --> 00:46:35,560
Speaker 7: I'm acknowledging that. I'm acknowledging Rear Window. Rear Window is

813
00:46:35,560 --> 00:46:37,280
Speaker 7: going to have to do a lot of heavy lifting

814
00:46:37,400 --> 00:46:41,480
Speaker 7: though for pather Banjolli and Ordit and Nikaroo's that's all.

815
00:46:42,000 --> 00:46:44,360
Speaker 3: That's what Marilyn Monroe and Jane Russell are for.

816
00:46:44,520 --> 00:46:46,439
Speaker 4: That's right, You've got You've got them as well.

817
00:46:46,600 --> 00:46:47,719
Speaker 3: And you know what I think.

818
00:46:48,320 --> 00:46:51,120
Speaker 7: I think, let's say their broad shoulders can bear it.

819
00:46:51,920 --> 00:46:53,480
Speaker 3: Josh pretty confident of that.

820
00:46:54,160 --> 00:46:54,440
Speaker 4: Okay.

821
00:46:55,320 --> 00:46:58,560
Speaker 7: My final choice takes us up to the final year

822
00:46:58,600 --> 00:47:05,760
Speaker 7: of my period, nineteen eighty three. And it's maybe not shocking,

823
00:47:05,840 --> 00:47:07,920
Speaker 7: of course, certainly from this period, that I have two

824
00:47:08,560 --> 00:47:12,640
Speaker 7: appearances by Harrison Ford on my list. I definitely could

825
00:47:12,680 --> 00:47:16,279
Speaker 7: have never imagined that I'd look at my list and

826
00:47:16,360 --> 00:47:22,160
Speaker 7: have two appearances by Philip Kaufman, but I do because

827
00:47:22,200 --> 00:47:25,880
Speaker 7: Philip Kaufman wrote or was one of the writers on

828
00:47:26,440 --> 00:47:31,680
Speaker 7: Raiders of the Lost Arc, and Philip Kaufman wrote and

829
00:47:31,840 --> 00:47:37,879
Speaker 7: directed My Final Choice, which is The Right Stuff, one

830
00:47:37,920 --> 00:47:43,799
Speaker 7: of my all time favorite epic American films. And why

831
00:47:43,920 --> 00:47:48,560
Speaker 7: I think it works so well to culminate my list, Josh,

832
00:47:49,120 --> 00:47:55,480
Speaker 7: is that I've got two very idealized fantasy heroes for

833
00:47:55,640 --> 00:48:00,600
Speaker 7: me to strive to be like Han Solo Indiana Jones.

834
00:48:01,239 --> 00:48:06,919
Speaker 7: I've got two very flawed, very flawed, closer to real

835
00:48:07,120 --> 00:48:10,720
Speaker 7: heroes to strive to be like in a lot of ways,

836
00:48:11,600 --> 00:48:17,120
Speaker 7: Ts Garb and Joe Gideon, who is of course representing

837
00:48:17,280 --> 00:48:22,640
Speaker 7: a real person in Bob Fosse. So why not combine

838
00:48:22,719 --> 00:48:32,239
Speaker 7: those in the Right Stuff with flawed real Mercury seven astronauts.

839
00:48:33,040 --> 00:48:35,840
Speaker 7: And I thought there was another occasion where we actually

840
00:48:35,880 --> 00:48:39,600
Speaker 7: got to talk about this movie. Maybe you can remember

841
00:48:39,680 --> 00:48:42,239
Speaker 7: what it was, because I feel like you just caught

842
00:48:42,320 --> 00:48:44,000
Speaker 7: up with it recently, Isn't that correct?

843
00:48:44,560 --> 00:48:46,279
Speaker 3: I think it might have been maybe for one of

844
00:48:46,360 --> 00:48:49,120
Speaker 3: our Movie Years list we were.

845
00:48:49,120 --> 00:48:52,560
Speaker 7: Doing but eighty three Top five films of eighty three

846
00:48:52,680 --> 00:48:54,839
Speaker 7: for sure, But that was twenty eighteen, and I thought

847
00:48:54,880 --> 00:48:58,600
Speaker 7: there was another occasion for us to talk about this movie.

848
00:48:58,840 --> 00:49:02,080
Speaker 7: But looking looking at my notes, Josh, it really is

849
00:49:02,800 --> 00:49:06,560
Speaker 7: a case where it feels like it was it was

850
00:49:06,760 --> 00:49:10,400
Speaker 7: meant for this list, it was meant to be talked

851
00:49:10,400 --> 00:49:14,600
Speaker 7: about in relation to these other five films because I've

852
00:49:14,680 --> 00:49:21,480
Speaker 7: talked about heroes, and this is a film that is

853
00:49:21,600 --> 00:49:25,880
Speaker 7: exploring these myths and these myths about heroes and about

854
00:49:26,200 --> 00:49:30,480
Speaker 7: masculinity and how heroes can be and sometimes how they

855
00:49:30,520 --> 00:49:35,080
Speaker 7: even want to be exploited. But it also I've talked

856
00:49:35,120 --> 00:49:38,720
Speaker 7: about mystery a few times, and this is a film

857
00:49:39,120 --> 00:49:42,600
Speaker 7: as a kid, and even watching it now, but certainly

858
00:49:42,680 --> 00:49:44,719
Speaker 7: as a kid, it was always mysterious to me.

859
00:49:45,040 --> 00:49:46,360
Speaker 4: And I loved that mystery.

860
00:49:46,480 --> 00:49:49,560
Speaker 7: I loved I loved trying to grasp on to, you know,

861
00:49:49,680 --> 00:49:54,000
Speaker 7: what was driving someone like Chuck Yeger chasing the demon?

862
00:49:54,360 --> 00:49:58,880
Speaker 7: What did that really mean and why the mythic poetry

863
00:49:59,600 --> 00:50:03,239
Speaker 7: of that and the way the movie does undercut the

864
00:50:03,600 --> 00:50:06,440
Speaker 7: heroism of some of the characters in different ways, and

865
00:50:06,520 --> 00:50:08,759
Speaker 7: some of the decisions that they make, some of the

866
00:50:08,960 --> 00:50:14,239
Speaker 7: enigmatic decisions that characters like Sam Shepherd's Chuck Yeger make.

867
00:50:14,840 --> 00:50:19,200
Speaker 7: That always struck me that I couldn't grasp on to

868
00:50:20,760 --> 00:50:23,479
Speaker 7: the characters and everything they did the way I could

869
00:50:24,239 --> 00:50:27,400
Speaker 7: with most other movies I saw at that age, and

870
00:50:27,640 --> 00:50:30,480
Speaker 7: again even even now, And here's the other thing that

871
00:50:30,640 --> 00:50:35,200
Speaker 7: honestly I didn't fully even register until right now, as

872
00:50:35,280 --> 00:50:39,080
Speaker 7: we're talking about these films and putting it in relation

873
00:50:39,239 --> 00:50:42,640
Speaker 7: to the other movies on my list, I realized to

874
00:50:42,760 --> 00:50:46,360
Speaker 7: what extent all these films have in common what is

875
00:50:46,600 --> 00:50:52,600
Speaker 7: ultimately one of my favorite topics to explore, which is

876
00:50:53,880 --> 00:51:02,280
Speaker 7: this idea of ambition and striving for or greatness, striving

877
00:51:02,480 --> 00:51:09,080
Speaker 7: for achievement, the rewards of that, but also the consequences

878
00:51:09,680 --> 00:51:13,120
Speaker 7: of that. You take a character like Bob Fosse, like

879
00:51:13,239 --> 00:51:16,719
Speaker 7: Joe Gideon and all that Jazz, who's always trying to

880
00:51:16,880 --> 00:51:21,239
Speaker 7: create something beautiful and never feeling like he fully achieves it,

881
00:51:21,440 --> 00:51:26,440
Speaker 7: and the physical and mental demands and toil of that

882
00:51:26,680 --> 00:51:30,320
Speaker 7: that ultimately, you know, costs him his life, as we

883
00:51:30,400 --> 00:51:32,479
Speaker 7: see by the end of the film. Even a movie

884
00:51:32,600 --> 00:51:37,360
Speaker 7: like The Empire Strikes Back. What ultimately is chasing you know,

885
00:51:37,880 --> 00:51:39,240
Speaker 7: the dark side of the force?

886
00:51:39,640 --> 00:51:39,799
Speaker 5: Right?

887
00:51:40,200 --> 00:51:44,520
Speaker 7: What is that all about in terms of accepting who

888
00:51:44,600 --> 00:51:49,719
Speaker 7: you are and chasing more power or not? What does

889
00:51:49,760 --> 00:51:54,319
Speaker 7: it mean to be a Jedi? That complication the unchecked

890
00:51:54,400 --> 00:51:58,920
Speaker 7: power of something like The Arc. And a character like

891
00:51:59,000 --> 00:52:03,600
Speaker 7: Indiana Jones is who seems although he wants something like

892
00:52:03,719 --> 00:52:05,800
Speaker 7: the Arc and there's an element of ambition there, he

893
00:52:05,880 --> 00:52:09,400
Speaker 7: really does seem pretty content to want to study it

894
00:52:09,520 --> 00:52:11,560
Speaker 7: and he's more interested in the pursuit of it from

895
00:52:11,560 --> 00:52:14,879
Speaker 7: an academic standpoint, unlike the Nazis, who of course want

896
00:52:15,000 --> 00:52:20,719
Speaker 7: to exploit it for power. Garp the creative ambition that

897
00:52:20,840 --> 00:52:24,759
Speaker 7: he is always hoping to exploit aspects of his life,

898
00:52:24,880 --> 00:52:28,040
Speaker 7: his personal life, to try to turn that into a

899
00:52:28,160 --> 00:52:31,960
Speaker 7: great piece of literature, trying to trying to write or

900
00:52:32,080 --> 00:52:36,520
Speaker 7: try to become the great American novelist, and then the

901
00:52:36,680 --> 00:52:41,920
Speaker 7: right stuff, having the right stuff. That phrase itself encapsulates

902
00:52:42,280 --> 00:52:45,319
Speaker 7: this notion of ambition doing something that no one's ever

903
00:52:46,239 --> 00:52:51,880
Speaker 7: done before, breaking the sound barrier, going into space. That

904
00:52:52,440 --> 00:52:56,880
Speaker 7: notion of ambition is something that I look for and

905
00:52:58,560 --> 00:53:02,920
Speaker 7: am always drawn to in art and it's in cinema,

906
00:53:03,040 --> 00:53:07,000
Speaker 7: but it's in other pieces of fiction and nonfiction as well,

907
00:53:07,120 --> 00:53:09,120
Speaker 7: So I guess for me in the end, we already

908
00:53:09,160 --> 00:53:11,480
Speaker 7: knew it was a personal list. It turns out it

909
00:53:11,600 --> 00:53:14,040
Speaker 7: truly is a very personal list. And these are all

910
00:53:14,160 --> 00:53:18,600
Speaker 7: films that I love and could watch again and again,

911
00:53:18,880 --> 00:53:24,920
Speaker 7: So it feels appropriate. It feels appropriately. It issyncratic, and

912
00:53:25,360 --> 00:53:29,160
Speaker 7: I'm gonna stick with nineteen seventy nine to eighty three, Josh,

913
00:53:29,280 --> 00:53:34,120
Speaker 7: as my five years for five movies. Okay, we would

914
00:53:34,239 --> 00:53:40,160
Speaker 7: love to hear your five year period and your five films.

915
00:53:40,360 --> 00:53:44,719
Speaker 7: You can email us feedback at filmspotting dot net. Josh,

916
00:53:44,880 --> 00:53:48,800
Speaker 7: I'm assuming, or maybe I shouldn't assume, because this was

917
00:53:48,880 --> 00:53:50,920
Speaker 7: torture enough, But do you have any other five year

918
00:53:50,960 --> 00:53:52,960
Speaker 7: periods you want to mention? Any other films?

919
00:53:53,200 --> 00:53:55,360
Speaker 3: You know, as you were setting this up, it sounded

920
00:53:55,400 --> 00:53:58,239
Speaker 3: like you thought about other periods. I went the other way,

921
00:53:58,280 --> 00:54:01,400
Speaker 3: and I thought about other films from this period, So

922
00:54:01,920 --> 00:54:04,200
Speaker 3: I have some of those I can run through pretty quickly.

923
00:54:05,400 --> 00:54:09,520
Speaker 3: You're mostly cannon picks like Umberto d Earrings of Madame Dhu,

924
00:54:09,680 --> 00:54:14,160
Speaker 3: another film spotting marathon movie, Sancho the Bailiff a Mizogucci

925
00:54:14,239 --> 00:54:17,840
Speaker 3: film we just watched recently, Adam seven, Samurai More Caurosawa,

926
00:54:17,920 --> 00:54:20,520
Speaker 3: The Night of the Hunter. Here's a few idiosyncratic ones

927
00:54:20,560 --> 00:54:22,720
Speaker 3: from the period though that I was a little tempted

928
00:54:22,719 --> 00:54:28,000
Speaker 3: to put in Godzilla and this one, this is my

929
00:54:28,320 --> 00:54:31,640
Speaker 3: maybe Garp Creature from the Black Lagoon nineteen fifty four.

930
00:54:31,760 --> 00:54:33,680
Speaker 3: I don't know if anyone else would even consider it

931
00:54:33,800 --> 00:54:37,000
Speaker 3: for something like this, but when I saw it was

932
00:54:37,560 --> 00:54:41,360
Speaker 3: in my fifty one to fifty five time period, it

933
00:54:41,400 --> 00:54:42,960
Speaker 3: gave me pause, but I held back.

934
00:54:43,719 --> 00:54:46,680
Speaker 7: Yeah, I think I already mentioned the ones from my

935
00:54:46,920 --> 00:54:50,040
Speaker 7: period that really gave me pause, and those were Apocalypse

936
00:54:50,080 --> 00:54:53,719
Speaker 7: Now from seventy nine, Raging Bull from eighty. I didn't

937
00:54:53,760 --> 00:54:56,640
Speaker 7: think about The Shining from eighty but not really because

938
00:54:56,680 --> 00:55:00,360
Speaker 7: I didn't really give it a chance over Empire or

939
00:55:01,160 --> 00:55:04,760
Speaker 7: Raging Bowl. I know a lot of people, most people

940
00:55:05,120 --> 00:55:08,719
Speaker 7: would go with a movie like e t another Spielberg

941
00:55:08,760 --> 00:55:11,920
Speaker 7: pick for eighty two, and not The World according to Garp,

942
00:55:12,200 --> 00:55:15,960
Speaker 7: but that was my choice. I'll give a few honorable

943
00:55:16,040 --> 00:55:21,719
Speaker 7: mentions here, and I'll start chronologically from the fifties. My

944
00:55:22,520 --> 00:55:25,880
Speaker 7: five movies and my five year period probably would have

945
00:55:25,960 --> 00:55:30,480
Speaker 7: been fifty five through fifty nine, and well, let me

946
00:55:30,560 --> 00:55:33,360
Speaker 7: be sure about this one. Remind me again, Pather Panchali

947
00:55:33,840 --> 00:55:36,239
Speaker 7: fifty four or fifty five? Okay, so I am right,

948
00:55:36,719 --> 00:55:42,600
Speaker 7: So Pather Panchali Ordit, Knights of Kabiria. Here's why fifty

949
00:55:42,680 --> 00:55:46,240
Speaker 7: five or fifty seven has to be in consideration. Rio, bravo,

950
00:55:47,080 --> 00:55:50,040
Speaker 7: and you also can get in there. I don't care

951
00:55:50,239 --> 00:55:52,960
Speaker 7: if I've got two thirds of the Aapu trilogy. I'll

952
00:55:52,960 --> 00:55:55,800
Speaker 7: take Pather Ponchai and World of Apu, which is on

953
00:55:55,960 --> 00:55:58,439
Speaker 7: my site and sound list. So fifty five to fifty nine.

954
00:55:58,960 --> 00:56:03,120
Speaker 7: How about this from ninety four to ninety eight, pulp

955
00:56:03,200 --> 00:56:07,719
Speaker 7: fiction before Sunrise Fargo, out of Sight.

956
00:56:08,200 --> 00:56:10,600
Speaker 4: That's four. And here's the thing.

957
00:56:12,440 --> 00:56:16,480
Speaker 7: You can also choose for a fifth film or interchangeably

958
00:56:16,920 --> 00:56:21,800
Speaker 7: Chunking Express, Lone Star, which I love, and The Sweet

959
00:56:21,840 --> 00:56:26,560
Speaker 7: Hair after So you know, take your pick. Nineteen eighty

960
00:56:26,680 --> 00:56:32,920
Speaker 7: nine to ninety three, do the right thing. Goodfellas, Dazed

961
00:56:32,960 --> 00:56:38,719
Speaker 7: and Confused now here pick two Malcolm X's Reservoir Dogs, Unforgiven,

962
00:56:38,800 --> 00:56:42,600
Speaker 7: Glengarry Glenn Ross. I'm pretty content with that. My last

963
00:56:42,680 --> 00:56:48,120
Speaker 7: one twenty ten to twenty fourteen. Here again, little idiosyncrasy

964
00:56:48,719 --> 00:56:51,680
Speaker 7: twenty ten, Never Let Me Go twenty eleven, The Tree

965
00:56:51,719 --> 00:56:55,719
Speaker 7: of Life twenty twelve, The Master twenty thirteen, Inside Lewin

966
00:56:55,760 --> 00:56:59,919
Speaker 7: Davis twenty fourteen, Boyhood's that's my last honor.

967
00:57:00,000 --> 00:57:01,200
Speaker 4: We'll mention, Josh.

968
00:57:01,560 --> 00:57:03,359
Speaker 3: Yeah, I think if I had gone, you know, I'm

969
00:57:03,400 --> 00:57:06,399
Speaker 3: pulling up as you mentioned when we did that top

970
00:57:06,480 --> 00:57:10,640
Speaker 3: five movie years list while back twenty seventeen. So I

971
00:57:10,760 --> 00:57:12,920
Speaker 3: pulled that up, and if I had gone the year route,

972
00:57:13,239 --> 00:57:17,720
Speaker 3: as you know you had suggested, again, puts me right

973
00:57:17,720 --> 00:57:19,840
Speaker 3: at the fifties. My two of my picks were fifty

974
00:57:19,880 --> 00:57:23,000
Speaker 3: two and fifty nine, But then I had nineteen sixty seven,

975
00:57:23,520 --> 00:57:26,120
Speaker 3: I had nineteen seventy four, getting a little closer to

976
00:57:26,240 --> 00:57:28,440
Speaker 3: your list, and then I jumped ahead, which I know

977
00:57:28,520 --> 00:57:31,720
Speaker 3: you've mentioned nineteen ninety nine, that that great movie year,

978
00:57:31,800 --> 00:57:33,800
Speaker 3: so I could have I could have put a tent

979
00:57:33,920 --> 00:57:37,480
Speaker 3: poll in at one of those years easily and worked

980
00:57:37,520 --> 00:57:38,440
Speaker 3: out from that as well.

981
00:57:39,560 --> 00:57:42,000
Speaker 7: You can find our lists and more top fives at

982
00:57:42,040 --> 00:57:44,880
Speaker 7: filmspotting dot net slash list.

983
00:57:45,320 --> 00:57:47,720
Speaker 3: Listening is the number one thing you can do to

984
00:57:47,840 --> 00:57:50,760
Speaker 3: support an independently produced show like ours. Here a couple

985
00:57:50,880 --> 00:57:52,920
Speaker 3: more things you can do. Take a minute to give

986
00:57:53,000 --> 00:57:55,520
Speaker 3: us a rating or review on Apple podcast You can

987
00:57:55,600 --> 00:57:58,520
Speaker 3: also do this on Spotify. If you're a new listener,

988
00:57:58,640 --> 00:58:00,440
Speaker 3: go ahead and do it with those freshtots. If you've

989
00:58:00,440 --> 00:58:02,800
Speaker 3: been listening for twenty years, go ahead and.

990
00:58:02,840 --> 00:58:03,640
Speaker 1: Do that as well.

991
00:58:03,840 --> 00:58:07,360
Speaker 3: Every new review does help us reach new listeners. We

992
00:58:07,640 --> 00:58:10,200
Speaker 3: do want to also mention the Film Spotting Family. You

993
00:58:10,280 --> 00:58:12,960
Speaker 3: can support us by joining the film Spotting Family at

994
00:58:13,040 --> 00:58:17,800
Speaker 3: filmspottingfamily dot com. Special thanks to advisory board member that's

995
00:58:17,880 --> 00:58:23,200
Speaker 3: the tip top level Advisory board member Mitch Willis in Denver, Colorado.

996
00:58:23,360 --> 00:58:26,080
Speaker 3: Mitch's letterbox handle if you want to follow him, there

997
00:58:26,320 --> 00:58:27,920
Speaker 3: is just Mitch Willis.

998
00:58:29,040 --> 00:58:31,480
Speaker 7: Mitch writes, it was my senior year of college at

999
00:58:31,520 --> 00:58:34,960
Speaker 7: Colorado State January twenty fourteen. A buddy and I did

1000
00:58:35,000 --> 00:58:37,400
Speaker 7: a double feature of The Cones Inside Lewin Davis and

1001
00:58:37,480 --> 00:58:40,960
Speaker 7: Alexander Pains Nebraska at the Old Lyrics Cinema Cafe in

1002
00:58:41,040 --> 00:58:42,200
Speaker 7: Fort Collins, Colorado.

1003
00:58:42,520 --> 00:58:42,880
Speaker 4: Buzzing.

1004
00:58:42,960 --> 00:58:45,240
Speaker 7: After the brilliance of those two films, I wanted to

1005
00:58:45,320 --> 00:58:47,960
Speaker 7: learn everything I possibly could about them. I just started

1006
00:58:48,000 --> 00:58:50,480
Speaker 7: listening to podcasts, so after a quick movie search in

1007
00:58:50,520 --> 00:58:53,880
Speaker 7: Apple podcasts, Film Spotting was the first hit from the

1008
00:58:53,960 --> 00:58:56,720
Speaker 7: first do do Do Do Do Do Do Do Do?

1009
00:58:57,280 --> 00:58:58,680
Speaker 7: What kind of a show are you guys putting on

1010
00:58:58,840 --> 00:59:01,040
Speaker 7: here today? And the Wayne's old reference at the top

1011
00:59:01,080 --> 00:59:03,600
Speaker 7: of the Nebraska episode I knew I had struck gold.

1012
00:59:04,040 --> 00:59:07,240
Speaker 7: Now a decade yikes later. Film spotting has been a

1013
00:59:07,280 --> 00:59:10,120
Speaker 7: cornerstone in my journey with film. Adam, Josh, Sam and

1014
00:59:10,280 --> 00:59:13,200
Speaker 7: Michael are my most trusted voices in film. Thank you

1015
00:59:13,320 --> 00:59:15,960
Speaker 7: for the wisdom, community and the confidence boost from my

1016
00:59:16,040 --> 00:59:19,760
Speaker 7: own acting abilities. Anytime I listened to Massacre Theater, I

1017
00:59:20,400 --> 00:59:20,840
Speaker 7: believe it.

1018
00:59:21,080 --> 00:59:24,240
Speaker 3: Mitch, Yeah, and I shall verify if you do want

1019
00:59:24,280 --> 00:59:27,360
Speaker 3: to follow Mitch on letterboxed, which I just did today,

1020
00:59:27,400 --> 00:59:29,479
Speaker 3: So I should have known this. I'm looking at it again.

1021
00:59:29,520 --> 00:59:33,600
Speaker 3: It's actually Mitch Wills. It is so I at the end,

1022
00:59:34,040 --> 00:59:38,000
Speaker 3: I lls there you go. Yes, let's get his name right.

1023
00:59:38,120 --> 00:59:41,640
Speaker 3: Thank you for the correction, Josh. A favorite review or

1024
00:59:41,720 --> 00:59:44,800
Speaker 3: segment of Mitch Wills the Philip Seymour Hoffman Tribute Top

1025
00:59:44,880 --> 00:59:49,160
Speaker 3: five scenes after he tragically passed Letterbox top four. Another

1026
00:59:49,280 --> 00:59:53,320
Speaker 3: pother Ponchali reference, Great Cleo from five to seven, Great

1027
00:59:53,880 --> 00:59:58,080
Speaker 3: Children of Men, Great Inside Lewin Davis, Great Letterbox Top

1028
00:59:58,120 --> 01:00:03,880
Speaker 3: four bad favorite move he revisited recently Alien a random filmmaker.

1029
01:00:04,280 --> 01:00:07,520
Speaker 3: Mitch loves John Waters, a movie he credits with becoming

1030
01:00:07,560 --> 01:00:10,360
Speaker 3: a cinophile Ten Things I Hate about You. There's a

1031
01:00:10,480 --> 01:00:13,600
Speaker 3: story that from Mitch maybe so you're.

1032
01:00:13,520 --> 01:00:16,320
Speaker 7: Right, I kind of breeze past that. A book about

1033
01:00:16,400 --> 01:00:20,040
Speaker 7: movies or movie making, The Devil Finds Work by James

1034
01:00:20,360 --> 01:00:23,880
Speaker 7: baldo Our. Thanks to Mitch for joining the family, for

1035
01:00:24,000 --> 01:00:27,080
Speaker 7: advising us and all those years of listening. In addition

1036
01:00:27,160 --> 01:00:29,000
Speaker 7: to keeping us doing what we're doing. Your sport comes

1037
01:00:29,040 --> 01:00:31,320
Speaker 7: with perks. You get to listen early in ed Free.

1038
01:00:31,360 --> 01:00:34,480
Speaker 7: You get our weekly newsletter. You get exclusive opportunities like

1039
01:00:34,560 --> 01:00:36,520
Speaker 7: being part of the film Spotting Family Discord. I don't

1040
01:00:36,520 --> 01:00:38,320
Speaker 7: know if I've seen Mitch's name in there or not,

1041
01:00:38,480 --> 01:00:40,880
Speaker 7: but I could be mistaken if not. Would love to

1042
01:00:40,960 --> 01:00:43,000
Speaker 7: have you in the discord, Mitch. You also get our

1043
01:00:43,040 --> 01:00:45,880
Speaker 7: monthly bonus shows. Coming up in just about a week

1044
01:00:46,120 --> 01:00:49,280
Speaker 7: will be Trivia Spotting, always a fun with quiz master

1045
01:00:49,400 --> 01:00:52,880
Speaker 7: Thomas Todd. Looking forward to that. Josh, you're getting out

1046
01:00:52,920 --> 01:00:55,240
Speaker 7: of it because I don't know. I guess you have

1047
01:00:55,320 --> 01:00:57,080
Speaker 7: a six hour difference in time zones.

1048
01:00:57,160 --> 01:00:59,400
Speaker 3: Fine, yeah, and you know, maybe I have an exam

1049
01:00:59,560 --> 01:01:01,720
Speaker 3: or a paper do the next day something like whatever.

1050
01:01:02,440 --> 01:01:05,080
Speaker 7: Whatever, I'm not using class as an excuse.

1051
01:01:05,920 --> 01:01:07,960
Speaker 3: Well, ask your students about that.

1052
01:01:08,520 --> 01:01:13,000
Speaker 7: Okay, October Bonus will be a draft with a family member.

1053
01:01:13,040 --> 01:01:15,520
Speaker 7: We got to get that form out soon to the family.

1054
01:01:15,880 --> 01:01:18,280
Speaker 7: They get a chance to choose a draft topic. We

1055
01:01:18,360 --> 01:01:20,880
Speaker 7: pick a random family member and we do a draft.

1056
01:01:21,040 --> 01:01:23,880
Speaker 7: It'll be fun. We do all sorts of fun things

1057
01:01:24,000 --> 01:01:26,800
Speaker 7: like that with our family members and you get those

1058
01:01:27,080 --> 01:01:31,080
Speaker 7: kinds of benefits. You can learn more at Filmspottingfamily dot com.

1059
01:01:32,520 --> 01:01:36,240
Speaker 1: A lot has happened since the last time I saw you, Crypto,

1060
01:01:36,520 --> 01:01:37,920
Speaker 1: Have you been playing music at all?

1061
01:01:38,160 --> 01:01:38,560
Speaker 2: A time?

1062
01:01:38,640 --> 01:01:40,400
Speaker 1: Music at a pub?

1063
01:01:43,280 --> 01:01:46,920
Speaker 3: Nigel Toughnel, David Saint Hubbins and Derek Small's return and

1064
01:01:47,040 --> 01:01:50,360
Speaker 3: Spinal Tap two The End Continues, which came to theaters

1065
01:01:50,440 --> 01:01:53,720
Speaker 3: last weekend, came to some IMAX screens, which are maybe

1066
01:01:53,920 --> 01:01:57,240
Speaker 3: the eleven of movie screens. Rob Ryan are also back

1067
01:01:57,280 --> 01:02:01,120
Speaker 3: as rock documentarian Marty de Bergie and as director of

1068
01:02:01,200 --> 01:02:05,240
Speaker 3: the film So Adam. It's been forty years since the

1069
01:02:05,360 --> 01:02:08,959
Speaker 3: original Spinal Tap. Has it been almost that long since

1070
01:02:09,000 --> 01:02:11,800
Speaker 3: you've seen a film directed by Rob Reiner? I mean,

1071
01:02:12,480 --> 01:02:16,040
Speaker 3: I think rumor has it you've seen the Story of

1072
01:02:16,160 --> 01:02:19,560
Speaker 3: Us from nineteen ninety nine with Bruce Willison Michelle Pfeiffer.

1073
01:02:19,600 --> 01:02:21,360
Speaker 3: I have vague smaries of that myself.

1074
01:02:21,920 --> 01:02:24,320
Speaker 7: I saw the Story of Us. I was working at

1075
01:02:24,600 --> 01:02:27,160
Speaker 7: a movie theater at the time and it played, and

1076
01:02:27,240 --> 01:02:29,160
Speaker 7: I saw it and I quite disliked it.

1077
01:02:30,360 --> 01:02:32,880
Speaker 3: Yeah, I think it was. I was mid on, it

1078
01:02:33,000 --> 01:02:35,720
Speaker 3: pretty mid on. It couldn't find that star rating from

1079
01:02:35,800 --> 01:02:37,440
Speaker 3: my regional news review.

1080
01:02:37,680 --> 01:02:41,160
Speaker 7: But the last Rob Reiner film that I've seen, I'm

1081
01:02:41,200 --> 01:02:43,760
Speaker 7: looking at his IMDb and it looks like he's made

1082
01:02:43,840 --> 01:02:47,320
Speaker 7: ten films between two thousand and three and twenty twenty three.

1083
01:02:47,520 --> 01:02:50,760
Speaker 7: Maybe I saw the Albert Brooks documentary Defending My Life,

1084
01:02:50,800 --> 01:02:52,760
Speaker 7: and I think I liked it. I just I honestly

1085
01:02:52,800 --> 01:02:55,360
Speaker 7: can't remember, because I think another Albert Brooks or I

1086
01:02:55,440 --> 01:02:56,920
Speaker 7: fought another Albert Brooks.

1087
01:02:56,720 --> 01:02:57,640
Speaker 4: Documentary came out.

1088
01:02:58,080 --> 01:03:00,000
Speaker 7: But I did see the bucket List in two thousand.

1089
01:03:00,640 --> 01:03:02,040
Speaker 7: Can't say I enjoyed that either.

1090
01:03:02,160 --> 01:03:02,720
Speaker 2: Rob Reiner.

1091
01:03:03,320 --> 01:03:05,400
Speaker 3: Okay, you enjoyed Spinal Tap two.

1092
01:03:05,640 --> 01:03:05,960
Speaker 10: You know what?

1093
01:03:06,800 --> 01:03:07,040
Speaker 4: Yeah?

1094
01:03:07,720 --> 01:03:11,320
Speaker 7: Redemption redemption with Spinal Tap two. You know, we sometimes

1095
01:03:11,400 --> 01:03:14,680
Speaker 7: get questions about and I know critics in general, do

1096
01:03:15,360 --> 01:03:19,280
Speaker 7: does the mood you're in affect your rating or your

1097
01:03:19,520 --> 01:03:22,400
Speaker 7: thoughts about a movie, the environment, the people you see

1098
01:03:22,520 --> 01:03:23,920
Speaker 7: with the crowd, the theater.

1099
01:03:24,040 --> 01:03:27,440
Speaker 3: Does any of it matters. Let's count the ways. I'm

1100
01:03:27,480 --> 01:03:29,400
Speaker 3: not saying it did, but let's count the ways. I

1101
01:03:29,560 --> 01:03:31,720
Speaker 3: was primed for Spinal Tap two.

1102
01:03:32,840 --> 01:03:35,080
Speaker 7: When we did our eight for eighty four series, I

1103
01:03:35,280 --> 01:03:38,640
Speaker 7: did name Spinal Tap the best film of that year, somehow,

1104
01:03:38,840 --> 01:03:42,600
Speaker 7: even above Amadaeus and Stop Making Sense. And I worship

1105
01:03:42,800 --> 01:03:47,360
Speaker 7: those two films. But I also worshiped Spinal Tap. Of course,

1106
01:03:47,400 --> 01:03:49,560
Speaker 7: if you got me on a different day, I could

1107
01:03:49,600 --> 01:03:53,320
Speaker 7: rearrange that order. But I love all three of those films.

1108
01:03:54,160 --> 01:03:58,480
Speaker 7: And let's talk about who I watched Spinal Tap two with.

1109
01:03:59,480 --> 01:04:00,320
Speaker 3: To my right.

1110
01:04:02,200 --> 01:04:05,560
Speaker 7: Was Chad, who has been one of my best friends

1111
01:04:06,120 --> 01:04:10,600
Speaker 7: since I met him in grade school in fourth grade,

1112
01:04:11,360 --> 01:04:16,200
Speaker 7: and he is the lead singer in the band I

1113
01:04:16,320 --> 01:04:20,240
Speaker 7: play Basin since we formed it in seventh grade and

1114
01:04:20,400 --> 01:04:25,120
Speaker 7: we still play once or twice a year. To my

1115
01:04:25,320 --> 01:04:30,200
Speaker 7: left was Jason, who has been one of my best

1116
01:04:30,240 --> 01:04:36,960
Speaker 7: friends since high school and he's the singer in my

1117
01:04:37,160 --> 01:04:41,360
Speaker 7: college band, who has played a few times since we

1118
01:04:41,400 --> 01:04:44,840
Speaker 7: got out of college, but actually never as the five

1119
01:04:44,960 --> 01:04:48,000
Speaker 7: piece band. We haven't reunited as a five piece band.

1120
01:04:48,640 --> 01:04:51,960
Speaker 7: Since we graduated, it's always just been like a four piece,

1121
01:04:52,040 --> 01:04:56,400
Speaker 7: but someone has always had to miss it, and there's

1122
01:04:56,400 --> 01:04:59,680
Speaker 7: only been a few times anyway. So these two bands

1123
01:05:01,440 --> 01:05:06,160
Speaker 7: are both actually reuniting next summer. The grade school band,

1124
01:05:06,320 --> 01:05:08,520
Speaker 7: the grade school, junior high and high school band, they

1125
01:05:08,520 --> 01:05:11,280
Speaker 7: all played together, or we were all together through that time.

1126
01:05:11,800 --> 01:05:17,720
Speaker 7: They're playing at our all class high school reunion next summer,

1127
01:05:18,400 --> 01:05:22,240
Speaker 7: and the college band is playing at our year redacted

1128
01:05:22,760 --> 01:05:24,680
Speaker 7: college reunion just.

1129
01:05:24,720 --> 01:05:25,360
Speaker 3: A few weeks.

1130
01:05:26,040 --> 01:05:30,120
Speaker 7: Yeah, a few weeks before it, I think. So you know,

1131
01:05:30,400 --> 01:05:35,720
Speaker 7: I've got I've got bands reuniting on the brain already.

1132
01:05:37,040 --> 01:05:41,680
Speaker 7: And the theater. We had the entire theater to ourselves.

1133
01:05:42,520 --> 01:05:45,480
Speaker 3: Okay, it was a Sunday night, and the three of

1134
01:05:45,600 --> 01:05:48,800
Speaker 3: us got to sit wherever we wanted and do whatever

1135
01:05:48,960 --> 01:05:53,400
Speaker 3: we wanted and and just you know, but you shoulder,

1136
01:05:53,440 --> 01:05:54,919
Speaker 3: I hope of course we didn't.

1137
01:05:54,960 --> 01:05:55,920
Speaker 1: Okay, all right, of.

1138
01:05:56,000 --> 01:05:56,640
Speaker 4: Course we did.

1139
01:05:57,280 --> 01:05:57,480
Speaker 1: You know.

1140
01:05:57,640 --> 01:06:00,200
Speaker 7: I mean, we're we're close, right, So I mean, I'm

1141
01:06:00,200 --> 01:06:03,040
Speaker 7: not gonna we don't need separate rose or anything here, Josh.

1142
01:06:03,400 --> 01:06:07,360
Speaker 7: So all of that said, looking at the movie now,

1143
01:06:07,960 --> 01:06:12,080
Speaker 7: this reunion could have all been cringe worthy but Spinal

1144
01:06:12,120 --> 01:06:16,120
Speaker 7: Tap was never exactly about dignity, was it. Still there

1145
01:06:16,200 --> 01:06:21,320
Speaker 7: are sufficient laughs and a wistful, honest reckoning with aging

1146
01:06:21,760 --> 01:06:25,200
Speaker 7: that's more in line with my beloved Trip franchise.

1147
01:06:25,680 --> 01:06:26,600
Speaker 4: That surprised me.

1148
01:06:27,200 --> 01:06:33,840
Speaker 7: Actually it's stupidly sincere or sincerely stupid, take your pick.

1149
01:06:33,960 --> 01:06:37,960
Speaker 7: I'm not sure which one. These guys Harry Sheer, Christopher Guest,

1150
01:06:38,040 --> 01:06:41,080
Speaker 7: Michael McKean. It's like, it's not like they need the

1151
01:06:41,160 --> 01:06:44,800
Speaker 7: money or the attention. They know what they're doing. The

1152
01:06:44,920 --> 01:06:48,440
Speaker 7: tap legacy matters to these guys, But what is the

1153
01:06:48,480 --> 01:06:52,400
Speaker 7: tap legacy? Spinal Tap has always been predicated on puncturing

1154
01:06:52,560 --> 01:06:56,200
Speaker 7: all pretension anyway, so they get to have it both ways,

1155
01:06:56,800 --> 01:06:59,640
Speaker 7: and they do. No, of course it's not the original

1156
01:06:59,680 --> 01:07:03,360
Speaker 7: Spinal You will never be able to recreate the magic

1157
01:07:03,720 --> 01:07:07,720
Speaker 7: of the original Spinal Tap. No, not everything works here.

1158
01:07:07,960 --> 01:07:09,840
Speaker 7: One of the things that doesn't work, and it's not

1159
01:07:10,400 --> 01:07:13,520
Speaker 7: a terrible aspect of the film, it doesn't doesn't ruin

1160
01:07:13,600 --> 01:07:14,000
Speaker 7: the film.

1161
01:07:14,360 --> 01:07:14,800
Speaker 4: Obviously.

1162
01:07:14,920 --> 01:07:17,560
Speaker 7: I think the film mostly works, but there is too

1163
01:07:17,600 --> 01:07:20,840
Speaker 7: much Rob Reiner. I think there was just enough Rob

1164
01:07:20,920 --> 01:07:24,160
Speaker 7: Reiner as Marty de Bergie in the original movie, he

1165
01:07:24,320 --> 01:07:28,840
Speaker 7: becomes almost the fourth member of Spinal Tap here he might.

1166
01:07:28,920 --> 01:07:31,080
Speaker 7: Actually he has a bigger role in this movie than

1167
01:07:31,080 --> 01:07:35,080
Speaker 7: Harry Shearer does. He's more on camera and talks more

1168
01:07:35,200 --> 01:07:39,200
Speaker 7: than Harry Shearer does, and that's not to the movie's benefit.

1169
01:07:39,840 --> 01:07:42,120
Speaker 7: I do think Josh, at least early on in the film,

1170
01:07:42,960 --> 01:07:45,160
Speaker 7: you would struggle with spinal tap, and I'd have to

1171
01:07:45,360 --> 01:07:46,960
Speaker 7: spinal tap too, and I'd have to compare it to

1172
01:07:47,040 --> 01:07:49,120
Speaker 7: the first film to see if this was this was

1173
01:07:49,160 --> 01:07:51,439
Speaker 7: also an issue. I mean, I know the movie by heart,

1174
01:07:51,600 --> 01:07:55,680
Speaker 7: and yet I can't remember if this was something they

1175
01:07:55,720 --> 01:07:59,800
Speaker 7: also did in the original. There are a lot of puns.

1176
01:08:00,640 --> 01:08:03,320
Speaker 7: There are a lot of puns in this movie, and

1177
01:08:03,640 --> 01:08:06,280
Speaker 7: and I'll give you one. I was thinking about you

1178
01:08:06,600 --> 01:08:08,640
Speaker 7: the entire time. Why was I thinking about you while

1179
01:08:08,640 --> 01:08:09,480
Speaker 7: watching Spinal Tap?

1180
01:08:09,520 --> 01:08:09,680
Speaker 4: Two?

1181
01:08:10,000 --> 01:08:14,400
Speaker 7: Well, when we meet Derek Small's pre reunion, he is

1182
01:08:14,560 --> 01:08:19,600
Speaker 7: working at a glue museum. He's the curator of a

1183
01:08:19,800 --> 01:08:20,679
Speaker 7: glue museum.

1184
01:08:21,080 --> 01:08:23,720
Speaker 4: And either either just just before.

1185
01:08:23,400 --> 01:08:26,840
Speaker 7: That meeting him there at his shop, or or after

1186
01:08:28,520 --> 01:08:34,360
Speaker 7: he's performing at a like a symphony that he's that

1187
01:08:34,439 --> 01:08:42,559
Speaker 7: he's written and and it's called hell to Pay, Hell

1188
01:08:43,160 --> 01:08:47,840
Speaker 7: t o U p ee, I mean Hell to Pay.

1189
01:08:48,560 --> 01:08:49,800
Speaker 3: It is a title and.

1190
01:08:51,720 --> 01:08:55,519
Speaker 7: Forgiving, and you know what, Josh, it it made me laugh.

1191
01:08:56,040 --> 01:08:59,400
Speaker 7: Hell to Pay he's singing hell to Pay and here

1192
01:08:59,439 --> 01:09:00,320
Speaker 7: again we're theater.

1193
01:09:00,640 --> 01:09:02,519
Speaker 3: Did it go three for three or one for three

1194
01:09:02,680 --> 01:09:03,240
Speaker 3: two for three?

1195
01:09:03,560 --> 01:09:05,640
Speaker 7: I think it went three for three? Okay if we

1196
01:09:05,720 --> 01:09:09,120
Speaker 7: all laughed at Hell to Pay enough. And there's this

1197
01:09:09,240 --> 01:09:12,479
Speaker 7: moment then when he's in the Glue Museum talking to

1198
01:09:12,960 --> 01:09:15,960
Speaker 7: Marty de Bergie and you kind of have to know

1199
01:09:16,040 --> 01:09:20,000
Speaker 7: it's even coming, but he's talking about this ancient type

1200
01:09:20,000 --> 01:09:22,360
Speaker 7: of glue and he's holding it up and he's talking

1201
01:09:22,400 --> 01:09:25,840
Speaker 7: about how it's so rare and it's so adhesive, like

1202
01:09:25,920 --> 01:09:29,280
Speaker 7: there's no other there's no other adhesive that's as strong

1203
01:09:29,400 --> 01:09:29,640
Speaker 7: as this.

1204
01:09:29,840 --> 01:09:31,120
Speaker 4: And of course the next thing.

1205
01:09:31,080 --> 01:09:34,320
Speaker 7: He does is stick it to his nose, and he's

1206
01:09:34,360 --> 01:09:36,719
Speaker 7: talking to Rob Reiner then as he's got this stuck

1207
01:09:36,800 --> 01:09:40,040
Speaker 7: to his nose and it's it's this bit of physical

1208
01:09:40,160 --> 01:09:44,120
Speaker 7: comedy that you know he's so good at, and that

1209
01:09:44,479 --> 01:09:47,559
Speaker 7: made me laugh too. So not every one of the puns,

1210
01:09:47,640 --> 01:09:50,280
Speaker 7: maybe the non title puns, Josh, aren't as effective as

1211
01:09:50,360 --> 01:09:52,920
Speaker 7: Hell to Pay, but Hell to Pay worked, the glue

1212
01:09:53,000 --> 01:09:55,519
Speaker 7: bit worked, and there are enough funny moments that work

1213
01:09:55,800 --> 01:09:59,160
Speaker 7: like a lot of sequels, it does try to overcompensate

1214
01:09:59,640 --> 01:10:03,519
Speaker 7: with allusions to the original. It doesn't push it too far,

1215
01:10:03,680 --> 01:10:08,040
Speaker 7: though only some footage. It pushes it a little too

1216
01:10:08,120 --> 01:10:14,840
Speaker 7: far with some star cameos, though in its defense, one

1217
01:10:14,920 --> 01:10:19,440
Speaker 7: of the cameos actually provides one of the funnier sequences

1218
01:10:19,520 --> 01:10:22,160
Speaker 7: in the movie. And I'm not gonna say which one,

1219
01:10:22,920 --> 01:10:25,760
Speaker 7: but I'm hoping anyone listening who has seen the movie

1220
01:10:26,520 --> 01:10:30,400
Speaker 7: knows which of the cameos I'm thinking of, because it's

1221
01:10:30,920 --> 01:10:34,280
Speaker 7: really good and it was three for three and the

1222
01:10:35,280 --> 01:10:37,720
Speaker 7: other main cameo in the film, that's not the one

1223
01:10:37,760 --> 01:10:42,000
Speaker 7: I'm thinking of. Okay, that's not funny at all, but yeah,

1224
01:10:42,200 --> 01:10:43,120
Speaker 7: it's final Tap two.

1225
01:10:43,680 --> 01:10:46,160
Speaker 4: I thought it was. Okay, I did. It's funny enough.

1226
01:10:46,360 --> 01:10:49,320
Speaker 7: It's funny enough to see and again, the earnestness of

1227
01:10:49,400 --> 01:10:52,160
Speaker 7: it is something you know, it doesn't fully deliver on

1228
01:10:52,240 --> 01:10:54,320
Speaker 7: its concept. And what I mean by that, Josh, is

1229
01:10:54,439 --> 01:10:58,160
Speaker 7: it takes that aging part in the mortality part and

1230
01:10:58,439 --> 01:11:00,240
Speaker 7: where it made me think of The Trip too, even

1231
01:11:00,240 --> 01:11:02,160
Speaker 7: as you know how over the course of those movies

1232
01:11:02,439 --> 01:11:05,760
Speaker 7: those characters almost switch places a little bit where you see,

1233
01:11:05,840 --> 01:11:09,280
Speaker 7: like Cougan, you know, is the the woman iSER and everything.

1234
01:11:09,400 --> 01:11:11,759
Speaker 7: And then in the in the next movie, we actually

1235
01:11:11,800 --> 01:11:14,080
Speaker 7: see like Rob Bryden gets the chance to have a

1236
01:11:14,120 --> 01:11:16,960
Speaker 7: little fling and and Cougan's more of the lonely one.

1237
01:11:18,240 --> 01:11:21,920
Speaker 7: In the original's final tap famously right, it's it's David

1238
01:11:22,000 --> 01:11:25,080
Speaker 7: Saint Hubbans. It's McKean who's got his wife Janine, and

1239
01:11:25,160 --> 01:11:27,599
Speaker 7: he's he's too caught up with her and not paying

1240
01:11:27,920 --> 01:11:30,200
Speaker 7: enough attention to the band, and and that causes a

1241
01:11:30,240 --> 01:11:31,880
Speaker 7: little bit of a falling out. And then in this

1242
01:11:32,000 --> 01:11:34,800
Speaker 7: one you've got Nigel who's got the woman in his

1243
01:11:34,920 --> 01:11:37,280
Speaker 7: life and is settled down and is mature and and

1244
01:11:37,360 --> 01:11:39,519
Speaker 7: it's causing a bit of a rift. And so I

1245
01:11:39,600 --> 01:11:43,920
Speaker 7: thought that dynamic was actually pretty interesting. And it doesn't

1246
01:11:44,080 --> 01:11:46,400
Speaker 7: just it doesn't just go for all the same jokes

1247
01:11:46,560 --> 01:11:50,639
Speaker 7: that the that the first movie went for so well,

1248
01:11:50,680 --> 01:11:51,360
Speaker 7: I can recommend it.

1249
01:11:51,479 --> 01:11:54,720
Speaker 3: I mean, I'll take your recommendation. It's it's hard to

1250
01:11:54,800 --> 01:11:58,400
Speaker 3: imagine it would have failed in that scenario with going

1251
01:11:58,560 --> 01:12:01,840
Speaker 3: with friends like that. Yeah, yeah, I'm glad you guys

1252
01:12:01,880 --> 01:12:02,439
Speaker 3: had a good time.

1253
01:12:03,240 --> 01:12:06,479
Speaker 7: Spinal Tap two is currently playing in wide release. Josh,

1254
01:12:06,600 --> 01:12:09,880
Speaker 7: you saw another music related new release. I'm hoping to

1255
01:12:09,920 --> 01:12:12,439
Speaker 7: get to this one this weekend, The History of Sound.

1256
01:12:12,840 --> 01:12:16,719
Speaker 7: It's directed by Oliver Hermanus, who made the twenty twenty

1257
01:12:16,760 --> 01:12:20,200
Speaker 7: two Ikaru remake Living with Bill nine. The History of

1258
01:12:20,240 --> 01:12:23,080
Speaker 7: Sound is set in nineteen seventeen Boston and stars Paul

1259
01:12:23,160 --> 01:12:25,960
Speaker 7: Meskell and Josh O'Connor as music students who bond over

1260
01:12:26,040 --> 01:12:28,560
Speaker 7: a shared love of folk music. It's based on a

1261
01:12:28,600 --> 01:12:31,880
Speaker 7: twenty twenty four novel by writer Ben Shattock, who must

1262
01:12:31,920 --> 01:12:34,479
Speaker 7: be good because he's a graduate of the famed Iowa

1263
01:12:34,680 --> 01:12:38,840
Speaker 7: Writers Workshop. Shaddock also wrote the screenplay Let's play a

1264
01:12:38,880 --> 01:12:41,400
Speaker 7: clip and then we'll get your thoughts. And this scene,

1265
01:12:41,520 --> 01:12:46,240
Speaker 7: Mescal's Lionel has just introduced himself to O'Connor's David after

1266
01:12:46,479 --> 01:12:49,080
Speaker 7: hearing him sing a folk song in a noisy bond.

1267
01:12:49,439 --> 01:12:51,479
Speaker 1: I didn't think people are ound here new songs like that.

1268
01:12:51,880 --> 01:12:52,280
Speaker 3: They don't.

1269
01:12:52,920 --> 01:12:58,080
Speaker 2: This is a hobby in the summers, collecting tunes, ballad

1270
01:12:58,240 --> 01:13:03,040
Speaker 2: songs rounds me of home. What else do you want.

1271
01:13:04,920 --> 01:13:05,320
Speaker 1: More than you?

1272
01:13:05,600 --> 01:13:05,800
Speaker 6: Likely?

1273
01:13:06,280 --> 01:13:09,160
Speaker 1: Pretty, Sarah? Of course, fair winner.

1274
01:13:10,120 --> 01:13:13,640
Speaker 2: One went east, the other one west of a.

1275
01:13:16,320 --> 01:13:17,040
Speaker 4: Silver dagger.

1276
01:13:22,439 --> 01:13:24,080
Speaker 1: No, I don't think so?

1277
01:13:24,600 --> 01:13:25,920
Speaker 3: Wow? Should I?

1278
01:13:26,200 --> 01:13:27,360
Speaker 1: That was such a pretty song?

1279
01:13:29,160 --> 01:13:29,280
Speaker 2: Oh?

1280
01:13:29,360 --> 01:13:37,040
Speaker 3: Come on, let's hear it. So that clip is setting

1281
01:13:37,160 --> 01:13:40,040
Speaker 3: up in a good part of actually a potential music

1282
01:13:40,160 --> 01:13:44,639
Speaker 3: moment of the year for me. It's a very powerful scene.

1283
01:13:44,920 --> 01:13:51,879
Speaker 3: It's it's deeply romantic because this blossoms into a tragic

1284
01:13:52,120 --> 01:13:57,920
Speaker 3: romance that ends somewhere pretty devastating. This is a movie

1285
01:13:58,000 --> 01:14:01,080
Speaker 3: I had a strange experience with it because it's very muted,

1286
01:14:01,240 --> 01:14:05,760
Speaker 3: it's very somber, and it took me a while to

1287
01:14:05,920 --> 01:14:12,439
Speaker 3: get on its wavelength. But then it does build quietly.

1288
01:14:12,600 --> 01:14:15,200
Speaker 3: All that time, it's putting in the work and building

1289
01:14:16,120 --> 01:14:20,479
Speaker 3: to bring about this fairly devastating finale that you know

1290
01:14:20,720 --> 01:14:24,960
Speaker 3: uses music very effectively to meditate on impermanence and permanence

1291
01:14:25,000 --> 01:14:28,640
Speaker 3: of love, impermanence of life. And you know, I'll get

1292
01:14:28,680 --> 01:14:30,439
Speaker 3: it out of the way because every review is going

1293
01:14:30,520 --> 01:14:34,840
Speaker 3: to mention Broke Back Mountain. I think that's to this

1294
01:14:34,960 --> 01:14:38,679
Speaker 3: movie's credit becomes it comes close to reaching those points.

1295
01:14:38,680 --> 01:14:41,040
Speaker 3: If it doesn't quite have that, I'm still working my

1296
01:14:41,360 --> 01:14:43,200
Speaker 3: way through this. If it doesn't quite have what I

1297
01:14:43,320 --> 01:14:48,519
Speaker 3: felt Agley brought, which was an immediacy an urgency in

1298
01:14:48,640 --> 01:14:51,759
Speaker 3: Brokeback Mountain. Maybe that's just because of this period setting

1299
01:14:51,960 --> 01:14:54,560
Speaker 3: you know, they meet in nineteen seventeen. I think it

1300
01:14:54,640 --> 01:14:57,880
Speaker 3: might have to do with the visual aesthetic as well.

1301
01:14:59,360 --> 01:15:03,600
Speaker 3: Talented and photographer here Alexander Dinan and the director Hermanus

1302
01:15:04,439 --> 01:15:07,400
Speaker 3: working together, they render This is one of those movies

1303
01:15:07,439 --> 01:15:11,760
Speaker 3: that has a respectively handsome gene to it, but a

1304
01:15:11,960 --> 01:15:16,200
Speaker 3: somber machine. It can feel a bit precious. Maybe that

1305
01:15:16,360 --> 01:15:19,320
Speaker 3: was part of it, but it only held me back

1306
01:15:19,360 --> 01:15:21,920
Speaker 3: a bit because by the end of the film, Yeah,

1307
01:15:22,439 --> 01:15:24,880
Speaker 3: it really punches you in the gut. And as far

1308
01:15:24,920 --> 01:15:28,120
Speaker 3: as the performers, these are, you know, maybe the two

1309
01:15:28,200 --> 01:15:30,640
Speaker 3: most exciting young actors for me at least right now,

1310
01:15:31,520 --> 01:15:35,840
Speaker 3: and they're both very good. I do think Mescal his

1311
01:15:36,640 --> 01:15:40,719
Speaker 3: role this character is playing Lionel, is a quieter type,

1312
01:15:41,160 --> 01:15:45,200
Speaker 3: but he's muted in a way that the movie is

1313
01:15:45,280 --> 01:15:50,840
Speaker 3: as well. O'Connor really rouses the material. O'Connor brings it,

1314
01:15:50,920 --> 01:15:53,240
Speaker 3: and that's the part. David here is a more of

1315
01:15:53,280 --> 01:15:56,920
Speaker 3: an imp. You understand, that's a mask for other things

1316
01:15:57,000 --> 01:15:58,840
Speaker 3: going on in his life, but he has a little

1317
01:15:58,880 --> 01:16:02,080
Speaker 3: bit of the livelier part. Man is O'Connor so good.

1318
01:16:02,280 --> 01:16:06,439
Speaker 3: I mean, this guy the I think this guy's got

1319
01:16:06,560 --> 01:16:10,280
Speaker 3: like thirteen thousand smiles in his back pocket, and some

1320
01:16:10,439 --> 01:16:13,080
Speaker 3: of them are doing more than three things at once.

1321
01:16:14,000 --> 01:16:15,880
Speaker 3: I'll probably end up talking about this later in the

1322
01:16:15,960 --> 01:16:18,840
Speaker 3: year when it comes to this performance or that music moment,

1323
01:16:18,920 --> 01:16:23,120
Speaker 3: how he employs it. In that meeting with Lionel. There's

1324
01:16:23,200 --> 01:16:25,720
Speaker 3: also a moment where Lionel asks him he ends up

1325
01:16:25,760 --> 01:16:28,559
Speaker 3: getting drafted into World War One and asks him about

1326
01:16:28,640 --> 01:16:34,200
Speaker 3: his experience and the way he says something like, I'm

1327
01:16:34,240 --> 01:16:37,920
Speaker 3: trying to call in my notes here the dialogue. He

1328
01:16:38,040 --> 01:16:43,240
Speaker 3: says something about it made World War two made everything dimmer.

1329
01:16:44,120 --> 01:16:47,000
Speaker 3: Yet while he's saying that, O'Connor is still smiling, but

1330
01:16:47,120 --> 01:16:50,400
Speaker 3: it's not the smile he's been using elsewhere. It's like

1331
01:16:50,479 --> 01:16:54,600
Speaker 3: a slightly different variation that just lets you know the

1332
01:16:54,800 --> 01:16:57,439
Speaker 3: depth of the suffering, even though that's all he's going

1333
01:16:57,479 --> 01:17:00,400
Speaker 3: to give you is the word dimmer and a little

1334
01:17:00,720 --> 01:17:05,280
Speaker 3: off kilter smile. So yeah, O'Connor stands out. Mescal is good.

1335
01:17:05,360 --> 01:17:08,360
Speaker 3: They both sing. They both sing these folk songs and

1336
01:17:08,600 --> 01:17:13,720
Speaker 3: in many cases acapella, and they're incredible. So keep an

1337
01:17:13,760 --> 01:17:15,600
Speaker 3: eye out for this one. I don't know why, I

1338
01:17:15,600 --> 01:17:17,400
Speaker 3: have a feeling it might get lost in the shuffle

1339
01:17:17,439 --> 01:17:21,160
Speaker 3: as these Awards type films are going to start showering

1340
01:17:21,280 --> 01:17:25,160
Speaker 3: upon us, and it might be one that falls by

1341
01:17:25,200 --> 01:17:27,559
Speaker 3: the wayside, but I would say don't let it. Check

1342
01:17:27,640 --> 01:17:28,599
Speaker 3: out The History of Sound.

1343
01:17:29,600 --> 01:17:35,320
Speaker 7: The History of Sound is out now in only limited release.

1344
01:17:35,960 --> 01:17:39,040
Speaker 7: If you see it and have any thoughts, we would

1345
01:17:39,080 --> 01:17:41,439
Speaker 7: love to hear them. You can email us feedback of

1346
01:17:41,479 --> 01:17:42,439
Speaker 7: filmspotting dot net.

1347
01:17:42,800 --> 01:17:45,679
Speaker 3: Quick reminder about our sister podcast, The Next Picture Show,

1348
01:17:45,720 --> 01:17:49,439
Speaker 3: looking at Cinema's Present via It's Past. They are up

1349
01:17:49,479 --> 01:17:53,439
Speaker 3: to part two of their King's Ransom pairing, so they're

1350
01:17:53,479 --> 01:17:55,880
Speaker 3: talking about Spike Lee's Highest to Lowest. I can't wait

1351
01:17:55,880 --> 01:18:00,120
Speaker 3: to hear that one. Thoroughly enjoyed their discussion previously of

1352
01:18:00,280 --> 01:18:04,920
Speaker 3: Akira Kurosawa's High and Low from nineteen sixty three. Tasha

1353
01:18:05,000 --> 01:18:08,800
Speaker 3: Robinson had some good background about the Ed McBain book

1354
01:18:08,920 --> 01:18:12,800
Speaker 3: I believe that it is based on and she and

1355
01:18:12,920 --> 01:18:15,479
Speaker 3: Genevieve and Scott had a great discussion about High and

1356
01:18:15,600 --> 01:18:18,639
Speaker 3: Low and this week I'll catch up with their talk

1357
01:18:18,720 --> 01:18:21,360
Speaker 3: about Highest to Lowest. New episodes of the Next Picture

1358
01:18:21,400 --> 01:18:24,479
Speaker 3: Show drop every Tuesday and you can get them wherever

1359
01:18:24,520 --> 01:18:25,480
Speaker 3: you get your podcasts.

1360
01:18:26,000 --> 01:18:31,000
Speaker 7: Another quick plug for The Vulture Movies Fantasy League sign

1361
01:18:31,120 --> 01:18:35,240
Speaker 7: ups are open now through next Thursday. As we are

1362
01:18:35,560 --> 01:18:38,439
Speaker 7: taping this and about to release this episode, that's Thursday

1363
01:18:38,520 --> 01:18:40,519
Speaker 7: September twenty fifth. I think we had our date wrong

1364
01:18:40,640 --> 01:18:43,439
Speaker 7: last week. Pretty sure we said the twenty fourth. It's

1365
01:18:43,960 --> 01:18:47,880
Speaker 7: Thursday September twenty fifth. And make sure to enter Film

1366
01:18:47,920 --> 01:18:50,320
Speaker 7: Spotters in the league name when you sign up. In

1367
01:18:50,400 --> 01:18:54,599
Speaker 7: that way, you'll get to compete within our own Film

1368
01:18:54,640 --> 01:18:58,800
Speaker 7: Spotters League with other Film Spotting listeners and some other

1369
01:18:58,840 --> 01:19:01,680
Speaker 7: Film Spotting family member. But then you'll also still be

1370
01:19:01,840 --> 01:19:07,479
Speaker 7: competing against all the other Movie Fantasy League competitors, all

1371
01:19:07,600 --> 01:19:08,879
Speaker 7: be playing producer.

1372
01:19:09,040 --> 01:19:10,360
Speaker 4: Sam will be playing.

1373
01:19:10,439 --> 01:19:13,799
Speaker 7: Yes, he did finish tenth last year in the podcasters division.

1374
01:19:14,160 --> 01:19:17,240
Speaker 7: We get to be in our own, separate little creators league. Josh,

1375
01:19:17,280 --> 01:19:17,720
Speaker 7: how about that?

1376
01:19:18,200 --> 01:19:21,800
Speaker 3: Impressive two questions for you? Yeah? Can I wager on

1377
01:19:21,960 --> 01:19:22,400
Speaker 3: how you do?

1378
01:19:22,840 --> 01:19:22,880
Speaker 10: And?

1379
01:19:23,560 --> 01:19:25,439
Speaker 3: Should I wager on how you do?

1380
01:19:25,680 --> 01:19:26,799
Speaker 4: Yeah? You should?

1381
01:19:26,960 --> 01:19:29,040
Speaker 7: You should wager on how I do. I'll finish like

1382
01:19:29,360 --> 01:19:33,519
Speaker 7: four thousandth Okay, okay, but I don't know how you can.

1383
01:19:33,479 --> 01:19:34,000
Speaker 4: Wager on that?

1384
01:19:35,120 --> 01:19:36,799
Speaker 3: Going in confident? I see.

1385
01:19:38,360 --> 01:19:41,560
Speaker 7: No, I think I'll do terribly Next week here on

1386
01:19:41,680 --> 01:19:46,719
Speaker 7: Film Spotting, we will go on a big, bold, beautiful journey,

1387
01:19:46,880 --> 01:19:49,560
Speaker 7: the new one from one of our favorites here on

1388
01:19:49,640 --> 01:19:53,679
Speaker 7: film Spotting, Coga Nada, the director of Columbus and after Yang.

1389
01:19:53,800 --> 01:19:57,599
Speaker 7: It stars Margo Robbie and Colin Ferrell. It will open

1390
01:19:57,840 --> 01:20:04,679
Speaker 7: in wide release this weekend. Josh, have you successfully skipped

1391
01:20:04,720 --> 01:20:08,560
Speaker 7: the trailer because I have not. It played before, it

1392
01:20:08,640 --> 01:20:10,479
Speaker 7: played before something I saw the other day.

1393
01:20:11,040 --> 01:20:14,040
Speaker 3: Of course, I've successfully skipped the trailer and also have

1394
01:20:14,280 --> 01:20:18,400
Speaker 3: successfully wide released thankfully includes the UK. Adam, I'm very

1395
01:20:19,000 --> 01:20:22,400
Speaker 3: excited to make my first foray to the not quite

1396
01:20:22,439 --> 01:20:25,160
Speaker 3: the local cinema. I've got to take a bus and

1397
01:20:25,280 --> 01:20:29,120
Speaker 3: possibly a second bus to the neighboring town to get

1398
01:20:29,120 --> 01:20:30,960
Speaker 3: to the cinema, but I do have my tickets. We

1399
01:20:31,040 --> 01:20:33,680
Speaker 3: already have our tickets booked. And yeah, one of the

1400
01:20:33,720 --> 01:20:36,720
Speaker 3: most anticipated of the year for both of us. I know,

1401
01:20:36,840 --> 01:20:39,760
Speaker 3: a big, bold, beautiful journey. So can't wait to check

1402
01:20:39,800 --> 01:20:42,639
Speaker 3: out this new theater and check out Coconaut's latest film.

1403
01:20:43,360 --> 01:20:46,639
Speaker 7: We will also have results from the current deeply flawed

1404
01:20:46,760 --> 01:20:50,080
Speaker 7: film Spotting poll. It asks you to choose one and

1405
01:20:50,280 --> 01:20:55,360
Speaker 7: only one sixties musical. If the poster for not the trailer,

1406
01:20:55,439 --> 01:20:58,439
Speaker 7: Josh but for us, those of us who have seen

1407
01:20:58,479 --> 01:21:01,560
Speaker 7: the trailer, and if you've seen the p you know

1408
01:21:01,760 --> 01:21:05,640
Speaker 7: it indicates that maybe Koganata has a clear pick in

1409
01:21:05,720 --> 01:21:09,439
Speaker 7: this poll question because there seems to be a fair

1410
01:21:09,439 --> 01:21:13,280
Speaker 7: amount of Jacques dimese umbrellas of sure boor influence.

1411
01:21:13,560 --> 01:21:15,000
Speaker 3: Yes, I have seen that poster.

1412
01:21:15,400 --> 01:21:18,200
Speaker 7: Yeah, a big, bold, beautiful journey. You can vote in

1413
01:21:18,280 --> 01:21:20,080
Speaker 7: that poll. Oh so you don't you don't skip? You

1414
01:21:20,120 --> 01:21:22,360
Speaker 7: don't you don't close your eyes every time you walk

1415
01:21:22,439 --> 01:21:23,040
Speaker 7: by the poster.

1416
01:21:24,520 --> 01:21:27,120
Speaker 3: I mean it's a little rough if you're on any

1417
01:21:27,200 --> 01:21:31,160
Speaker 3: form of social media to avoid posters. I gotta say so, Yeah,

1418
01:21:31,200 --> 01:21:31,840
Speaker 3: I could see that.

1419
01:21:32,439 --> 01:21:34,320
Speaker 7: You can vote in that poll and leave a comment

1420
01:21:34,560 --> 01:21:37,559
Speaker 7: at film spotting dot net. For a current show schedule,

1421
01:21:38,000 --> 01:21:40,800
Speaker 7: visit film spotting dot net slash episodes.

1422
01:21:41,840 --> 01:21:44,719
Speaker 3: It is time now for Massacre theater, where we perform

1423
01:21:44,760 --> 01:21:46,120
Speaker 3: a scene and you get a chance to win a

1424
01:21:46,160 --> 01:21:49,559
Speaker 3: film Spotted prize. Last week we masacred this scene.

1425
01:21:50,600 --> 01:21:55,280
Speaker 10: Suppose I offer you equal shares in what everything to

1426
01:21:55,400 --> 01:21:56,600
Speaker 10: the last grain and.

1427
01:21:56,640 --> 01:21:57,599
Speaker 2: The people in the village?

1428
01:21:58,479 --> 01:22:02,120
Speaker 9: What about that? I leave it to you.

1429
01:22:03,720 --> 01:22:06,000
Speaker 3: And men of our profession worry about things like that.

1430
01:22:07,400 --> 01:22:08,720
Speaker 3: May even be sacrilegious.

1431
01:22:11,720 --> 01:22:14,080
Speaker 1: If God didn't want them shit, he would not have

1432
01:22:14,240 --> 01:22:15,000
Speaker 1: made them sheep.

1433
01:22:16,880 --> 01:22:19,240
Speaker 2: What do you say? Right on?

1434
01:22:24,600 --> 01:22:28,760
Speaker 3: You hear that's what they're all. Oh, hear what he

1435
01:22:28,840 --> 01:22:31,040
Speaker 3: said right on.

1436
01:22:32,680 --> 01:22:32,960
Speaker 1: To me.

1437
01:22:34,040 --> 01:22:37,320
Speaker 3: That was Eli Wallach, Yule Brunner, Steve McQueen and five

1438
01:22:37,400 --> 01:22:42,160
Speaker 3: others in nineteen sixties The Magnificent Seven, written by William Roberts,

1439
01:22:42,320 --> 01:22:45,640
Speaker 3: Walter Bernstein and Walter Newman, based on the screenplay for

1440
01:22:46,080 --> 01:22:49,680
Speaker 3: a characters. I was the seven Samurai. That massacre was

1441
01:22:49,720 --> 01:22:52,160
Speaker 3: part of our highest to Lowest show a couple of

1442
01:22:52,240 --> 01:22:55,240
Speaker 3: weeks back. And there's always a tie in. So why

1443
01:22:55,360 --> 01:22:57,639
Speaker 3: that scene from The Magnificent Seven?

1444
01:22:58,280 --> 01:23:00,599
Speaker 7: We weren't really trying to trick anyone. And this time

1445
01:23:00,800 --> 01:23:05,360
Speaker 7: Tom robertson from Burwood, Victoria, Australia, says, this installment of

1446
01:23:05,400 --> 01:23:09,200
Speaker 7: massacre theater was the Magnificent Seven from sixty without him

1447
01:23:09,240 --> 01:23:12,360
Speaker 7: playing the role of Eli Wallack's bandit leader Calvera. I

1448
01:23:12,400 --> 01:23:15,800
Speaker 7: don't know why playing was in quotes and Jonson Tom

1449
01:23:16,600 --> 01:23:18,960
Speaker 7: josh in the roles of I think all of the

1450
01:23:19,040 --> 01:23:22,000
Speaker 7: seven heroes. Why this scene, Well, the first connection for

1451
01:23:22,120 --> 01:23:25,200
Speaker 7: me is to Akira Kurrosawa, highest to Lois which you

1452
01:23:25,360 --> 01:23:27,439
Speaker 7: reviewed on The show is seen as a remake of

1453
01:23:27,520 --> 01:23:30,880
Speaker 7: Kurrosawa's nineteen sixty three High and Low, and The Magnificent

1454
01:23:31,000 --> 01:23:33,720
Speaker 7: Seven is a remake of Kurrosawa's nineteen fifty four to

1455
01:23:33,800 --> 01:23:37,639
Speaker 7: seven Samurai the Second Connection. Denzel Washington, star of Highest

1456
01:23:37,680 --> 01:23:41,160
Speaker 7: to Lois, also starred in the remake of The Magnificent

1457
01:23:41,240 --> 01:23:45,439
Speaker 7: Seven in twenty sixteen. Let's not review your performances. Because

1458
01:23:45,600 --> 01:23:48,160
Speaker 7: Adam was never going to match the charisma of Eli

1459
01:23:48,320 --> 01:23:52,400
Speaker 7: Wallack and Josh. Some actors chew on the scenery. Josh

1460
01:23:52,720 --> 01:23:53,679
Speaker 7: gorged himself.

1461
01:23:54,360 --> 01:23:57,479
Speaker 3: Well, thank you, sir, I'll take that as a compliment.

1462
01:23:58,240 --> 01:24:01,759
Speaker 3: We also heard from Sean He's in Murphrey Spurrow, Tennessee,

1463
01:24:02,000 --> 01:24:04,360
Speaker 3: still trying to figure out the tie in that led

1464
01:24:04,439 --> 01:24:08,760
Speaker 3: Josh to read his parts as performed by Pazuzu from

1465
01:24:08,800 --> 01:24:13,040
Speaker 3: The Exorcist spillover from the Weapons spoiler talk about possession.

1466
01:24:13,360 --> 01:24:15,679
Speaker 3: I don't know, man, That's all I got, but another

1467
01:24:16,040 --> 01:24:20,719
Speaker 3: fine massacre. I wish I could say that was intentional, Sean.

1468
01:24:20,920 --> 01:24:21,639
Speaker 4: Was it okay?

1469
01:24:22,680 --> 01:24:26,160
Speaker 7: The film spotting hat not so brimming? You had a

1470
01:24:26,200 --> 01:24:31,040
Speaker 7: pretty good chance if you correctly identified the original Magnificent

1471
01:24:31,160 --> 01:24:34,160
Speaker 7: Seven as our Massacre. Reach into the hat, pick out

1472
01:24:34,200 --> 01:24:36,920
Speaker 7: this week's winner. Oh Man video, it's a video edition.

1473
01:24:37,040 --> 01:24:37,720
Speaker 7: They're going to see that.

1474
01:24:37,800 --> 01:24:40,080
Speaker 4: There's not a hat. I didn't think about this.

1475
01:24:40,520 --> 01:24:42,559
Speaker 3: It could be off camp here here, Oh, oh.

1476
01:24:42,640 --> 01:24:44,840
Speaker 4: Gosh, why didn't I think of that? Right on camera?

1477
01:24:46,120 --> 01:24:50,800
Speaker 3: Ben Carr in East Hollywood by way of Rogers Park, congratulating.

1478
01:24:50,800 --> 01:24:55,160
Speaker 7: Congratulations, Yeah, congratulations Ben. Email feedback at film spotting dot

1479
01:24:55,240 --> 01:24:58,320
Speaker 7: net to claim your very own Film Spotting t shirt,

1480
01:24:58,720 --> 01:25:01,519
Speaker 7: tote bag, or a you're not already a Film Spotting

1481
01:25:01,560 --> 01:25:04,280
Speaker 7: Family member, you can get a trial membership to the

1482
01:25:04,320 --> 01:25:05,600
Speaker 7: Film Spotting Family.

1483
01:25:06,360 --> 01:25:08,040
Speaker 1: With the symbol.

1484
01:25:10,040 --> 01:25:11,880
Speaker 3: Would they would?

1485
01:25:11,880 --> 01:25:15,600
Speaker 2: The simple would they was the same dat Why do

1486
01:25:15,640 --> 01:25:15,960
Speaker 2: you say that?

1487
01:25:16,000 --> 01:25:16,920
Speaker 1: Why do you say tour?

1488
01:25:17,400 --> 01:25:18,280
Speaker 2: Will? You said? Say it?

1489
01:25:18,400 --> 01:25:18,920
Speaker 3: Like I said.

1490
01:25:20,560 --> 01:25:23,719
Speaker 7: We move on now to this week's edition of Massacre Theater.

1491
01:25:24,120 --> 01:25:25,960
Speaker 7: You're not going to be able to throw your voice

1492
01:25:26,280 --> 01:25:28,919
Speaker 7: this time, Josh, and play like seventeen different characters.

1493
01:25:29,560 --> 01:25:31,840
Speaker 3: Hmmm, No, I'm going are you okay with this? I'm

1494
01:25:31,840 --> 01:25:33,080
Speaker 3: going to be laser focused.

1495
01:25:33,320 --> 01:25:34,479
Speaker 4: Oh, it's going to be intense.

1496
01:25:34,800 --> 01:25:37,680
Speaker 3: I also have a well it's my only option with

1497
01:25:37,760 --> 01:25:38,240
Speaker 3: this actor.

1498
01:25:38,680 --> 01:25:39,519
Speaker 4: That's my point.

1499
01:25:39,800 --> 01:25:42,160
Speaker 3: I have a bit of stage direction. I think for

1500
01:25:42,280 --> 01:25:45,320
Speaker 3: authenticity and it works that this is, you know, an

1501
01:25:45,360 --> 01:25:47,920
Speaker 3: early one of our early video shows. This will be

1502
01:25:47,960 --> 01:25:51,720
Speaker 3: appreciated by the video audience for authenticity. I think we

1503
01:25:51,720 --> 01:25:55,040
Speaker 3: should put our hands over our mouths with my maid

1504
01:25:55,120 --> 01:26:00,360
Speaker 3: to mimic the sound yeah of what's happening?

1505
01:26:00,600 --> 01:26:04,599
Speaker 7: Do you think people will think that we're serial killers?

1506
01:26:05,880 --> 01:26:10,280
Speaker 3: That's the nice stalker or something. A possibility, but I

1507
01:26:10,439 --> 01:26:11,240
Speaker 3: wasn't planning that.

1508
01:26:11,520 --> 01:26:12,800
Speaker 4: But you know what we can.

1509
01:26:13,200 --> 01:26:16,120
Speaker 7: I like the authenticity. I like I like where you're going.

1510
01:26:17,760 --> 01:26:18,200
Speaker 3: Nothing else.

1511
01:26:18,320 --> 01:26:22,240
Speaker 7: Here's here's what I'll say. The scene is definitely going

1512
01:26:22,320 --> 01:26:27,320
Speaker 7: to suffer from the lack of sad music playing behind us.

1513
01:26:28,360 --> 01:26:29,040
Speaker 4: We could use that.

1514
01:26:30,400 --> 01:26:33,040
Speaker 7: And we're also going to change the names because names

1515
01:26:33,040 --> 01:26:36,679
Speaker 7: are mentioned multiple times and that would just make it really,

1516
01:26:36,800 --> 01:26:39,679
Speaker 7: really really obvious. So we've changed the names. But sometimes

1517
01:26:39,760 --> 01:26:43,599
Speaker 7: when we change the names, we give you clues that said,

1518
01:26:44,720 --> 01:26:47,080
Speaker 7: are we ready, Yes, let's just do it.

1519
01:26:47,280 --> 01:26:48,120
Speaker 4: I don't I don't know.

1520
01:26:48,720 --> 01:26:52,160
Speaker 3: I don't know. I was going to go. I was

1521
01:26:52,200 --> 01:26:54,000
Speaker 3: going first, but you're going to you're going to go.

1522
01:26:54,080 --> 01:26:56,880
Speaker 4: Well, because you know, I'm thinking more like you know,

1523
01:26:57,080 --> 01:26:57,600
Speaker 4: this is like this.

1524
01:26:57,760 --> 01:27:03,000
Speaker 3: Is like Baine, This is like Baine. I think we've cross. Okay, okay,

1525
01:27:03,080 --> 01:27:04,720
Speaker 3: no nose two to your nose.

1526
01:27:04,800 --> 01:27:07,560
Speaker 4: Nose two okay, p here we go.

1527
01:27:08,600 --> 01:27:10,759
Speaker 3: You give me the action. Action.

1528
01:27:11,920 --> 01:27:13,160
Speaker 4: Where the hell is this guy?

1529
01:27:14,000 --> 01:27:16,639
Speaker 3: He's on our nose. Damn it, we're out of ammal

1530
01:27:17,040 --> 01:27:18,920
Speaker 3: smoking deer Andrew close.

1531
01:27:19,520 --> 01:27:23,760
Speaker 4: Ah, that was close. We're on a flairs cool shit,

1532
01:27:23,960 --> 01:27:24,799
Speaker 4: he's already honest.

1533
01:27:25,200 --> 01:27:26,360
Speaker 1: Oh, this is not good.

1534
01:27:27,000 --> 01:27:27,880
Speaker 4: We took another head.

1535
01:27:28,360 --> 01:27:28,880
Speaker 5: No, no, no.

1536
01:27:29,800 --> 01:27:32,400
Speaker 9: This episode is brought to you by Peloton break through

1537
01:27:32,439 --> 01:27:34,879
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1538
01:27:34,960 --> 01:27:38,880
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1539
01:27:38,960 --> 01:27:41,880
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1540
01:27:41,920 --> 01:27:45,320
Speaker 9: workouts and train with confidence, helping you reach your goals

1541
01:27:45,360 --> 01:27:49,519
Speaker 9: in less time. Let yourself run, lift, sculpt, push and go.

1542
01:27:50,160 --> 01:27:52,960
Speaker 9: Explore the new Peloton Cross Training tread Plus at one

1543
01:27:53,040 --> 01:27:54,000
Speaker 9: Peloton dot com.

1544
01:27:56,000 --> 01:27:57,160
Speaker 4: We can't take much more of this.

1545
01:27:58,080 --> 01:28:02,120
Speaker 3: We cannot run this gong. We gotta jumped what we

1546
01:28:02,280 --> 01:28:05,559
Speaker 3: need altitude. Pull the ejection handles the second. I'll tell

1547
01:28:05,600 --> 01:28:14,320
Speaker 3: you cool, root Andrew, there's no other way Dedumptdept. Earned

1548
01:28:14,479 --> 01:28:16,680
Speaker 3: and No, you take your hand away from you.

1549
01:28:17,160 --> 01:28:17,200
Speaker 5: No.

1550
01:28:17,680 --> 01:28:19,519
Speaker 7: I thought it'd be funnier if we did the end

1551
01:28:19,600 --> 01:28:21,960
Speaker 7: scene still covering our mouths.

1552
01:28:22,040 --> 01:28:25,280
Speaker 3: But it's true. You do sometimes stay in character for

1553
01:28:25,479 --> 01:28:26,160
Speaker 3: hours after.

1554
01:28:27,439 --> 01:28:30,680
Speaker 4: I don't know.

1555
01:28:30,840 --> 01:28:33,519
Speaker 7: My voice cracked a couple times, and I don't think

1556
01:28:33,560 --> 01:28:34,639
Speaker 7: that's true to the character.

1557
01:28:35,640 --> 01:28:36,799
Speaker 3: I don't recall that happened.

1558
01:28:37,760 --> 01:28:39,320
Speaker 4: It is an in the scene.

1559
01:28:41,360 --> 01:28:43,120
Speaker 3: You were under heavy pressure. It's I was.

1560
01:28:43,280 --> 01:28:45,760
Speaker 7: I was under duress like the characters in this scene.

1561
01:28:45,920 --> 01:28:49,320
Speaker 7: If you if you know what film we just massacred,

1562
01:28:49,560 --> 01:28:53,160
Speaker 7: email the movie's title and your name and location to

1563
01:28:53,280 --> 01:28:56,080
Speaker 7: feedback at film spotting dot net. The deadline is Monday,

1564
01:28:56,200 --> 01:28:59,760
Speaker 7: September twenty ninth. We'll select the winner randomly from all

1565
01:28:59,800 --> 01:29:02,519
Speaker 7: the wrecked entries and announce it in a couple of weeks.

1566
01:29:03,560 --> 01:29:05,200
Speaker 2: I didn't know you were the Sundance Kid when I

1567
01:29:05,280 --> 01:29:06,320
Speaker 2: said you were cheating.

1568
01:29:11,040 --> 01:29:17,320
Speaker 11: By drawing you you kill me. There's that possibility. Oh,

1569
01:29:17,439 --> 01:29:20,599
Speaker 11: you'd be killing yourself. So why don't you just invite

1570
01:29:20,680 --> 01:29:21,400
Speaker 11: us to stick around?

1571
01:29:24,400 --> 01:29:31,320
Speaker 2: You can do it. I'm easy, Come on, come on,

1572
01:29:35,800 --> 01:29:39,679
Speaker 2: I just stick around. Thanks. We gotta get going.

1573
01:29:46,920 --> 01:29:50,560
Speaker 3: Hey kid, Hey kid, how good are you?

1574
01:29:56,120 --> 01:29:59,880
Speaker 7: We wanted to acknowledge the passing of the Sundance Kid himself,

1575
01:30:00,280 --> 01:30:04,720
Speaker 7: Robert Redford. Of course, actor, director, a key figure in

1576
01:30:04,800 --> 01:30:07,559
Speaker 7: the independent film movement as co founder of what became

1577
01:30:08,080 --> 01:30:12,040
Speaker 7: the Sundance Film Festival eighty nine years old, with credits

1578
01:30:12,600 --> 01:30:18,040
Speaker 7: going back to the nineteen sixties. The early nineteen sixties,

1579
01:30:18,360 --> 01:30:21,680
Speaker 7: he was only nominated for one acting Oscar he never

1580
01:30:21,840 --> 01:30:26,240
Speaker 7: did win. That was nineteen seventy four The Sting. He

1581
01:30:26,360 --> 01:30:29,400
Speaker 7: was an Oscar winner in nineteen eighty one as director

1582
01:30:29,840 --> 01:30:34,320
Speaker 7: for Ordinary People that also won Best Picture, Yes over

1583
01:30:34,680 --> 01:30:35,360
Speaker 7: Raging Bull.

1584
01:30:35,560 --> 01:30:36,719
Speaker 4: He was nominated again.

1585
01:30:36,600 --> 01:30:39,519
Speaker 7: For director and his producer for Best Picture in ninety

1586
01:30:39,600 --> 01:30:42,200
Speaker 7: four for Quiz Show. We are very excited to have

1587
01:30:42,400 --> 01:30:45,320
Speaker 7: Michael Phillips back on Film Spotting and we're going to

1588
01:30:45,400 --> 01:30:49,600
Speaker 7: talk Venice Film Festival. But before that, this bit of

1589
01:30:49,680 --> 01:30:50,559
Speaker 7: sad news I'd.

1590
01:30:50,439 --> 01:30:50,840
Speaker 3: Love to hear.

1591
01:30:51,080 --> 01:30:53,080
Speaker 7: When you think about Robert Redford, what do you think

1592
01:30:53,120 --> 01:30:55,519
Speaker 7: of Redford as director? Redford is actor?

1593
01:30:55,680 --> 01:31:01,080
Speaker 1: Is there a particular role fortune Sundance really just cemented

1594
01:31:01,360 --> 01:31:05,879
Speaker 1: that that kind of new Hollywood slash, old Hollywood smash,

1595
01:31:06,080 --> 01:31:11,519
Speaker 1: that was butch casting a Sundance kid, and it, uh,

1596
01:31:11,840 --> 01:31:16,200
Speaker 1: you know, maybe it was Redford's destiny to never quite

1597
01:31:16,240 --> 01:31:19,080
Speaker 1: get the respect and maybe never to work with quite

1598
01:31:19,160 --> 01:31:24,520
Speaker 1: the same degree of talent, and I would say versatility

1599
01:31:24,640 --> 01:31:29,040
Speaker 1: that Paul Newman did in his career, but Redford, when

1600
01:31:29,080 --> 01:31:31,320
Speaker 1: you look at as you say, he went back to

1601
01:31:32,400 --> 01:31:36,719
Speaker 1: back when any any you know, blonde haired, good looking,

1602
01:31:37,280 --> 01:31:40,240
Speaker 1: waspy character who could could put a couple of sentences

1603
01:31:40,320 --> 01:31:43,439
Speaker 1: together could get a career started on Broadway, as he

1604
01:31:43,600 --> 01:31:46,840
Speaker 1: did with Barefoot in the Park, and to take that

1605
01:31:47,200 --> 01:31:49,960
Speaker 1: and do with it what he did, which is right

1606
01:31:50,040 --> 01:31:52,880
Speaker 1: away as when he when he got when he got

1607
01:31:52,920 --> 01:31:56,599
Speaker 1: popular enough to have influence, to start working with directors

1608
01:31:56,640 --> 01:32:00,400
Speaker 1: like Michael Ritchie and Downhill Racer, to just not just

1609
01:32:00,439 --> 01:32:03,559
Speaker 1: seek out the next big hit but plenty of them,

1610
01:32:03,840 --> 01:32:08,120
Speaker 1: but to really find his comfortable groove and stick to

1611
01:32:08,200 --> 01:32:12,040
Speaker 1: it and just sort of become the excellent screen company

1612
01:32:12,120 --> 01:32:14,720
Speaker 1: that he was. The Other thing I'd like to say,

1613
01:32:14,840 --> 01:32:17,680
Speaker 1: just in pasting and honestly, is that I'm glad the

1614
01:32:17,840 --> 01:32:20,320
Speaker 1: Quiz Show came up in the intro, and I'd actually

1615
01:32:20,360 --> 01:32:23,519
Speaker 1: forgotten that it was well regarded by the you know,

1616
01:32:23,560 --> 01:32:26,880
Speaker 1: in the nomination process anyway, with the Oscars that year.

1617
01:32:26,920 --> 01:32:31,040
Speaker 1: I think that's infinitely his best directed film. I love

1618
01:32:31,160 --> 01:32:33,680
Speaker 1: Quiz Show, and I think it's it brought out a

1619
01:32:33,720 --> 01:32:36,120
Speaker 1: different side I mean that script is very snappy and

1620
01:32:36,240 --> 01:32:39,280
Speaker 1: kind of propulsive, and it's obviously the opposite in every

1621
01:32:39,320 --> 01:32:43,000
Speaker 1: impulse from ordinary people, which to me is a film

1622
01:32:43,080 --> 01:32:47,679
Speaker 1: I admire and never see a second time. And Quiz

1623
01:32:47,680 --> 01:32:49,439
Speaker 1: Show I've gone back to over and over, not just

1624
01:32:49,479 --> 01:32:52,519
Speaker 1: because it's easier or quote fun in terms of its technique,

1625
01:32:52,560 --> 01:32:54,599
Speaker 1: but because I just think it. It just brought out

1626
01:32:54,600 --> 01:32:56,599
Speaker 1: a different side of that of that of Redford as

1627
01:32:56,640 --> 01:32:59,160
Speaker 1: a director. And the other thing, the other major story

1628
01:32:59,200 --> 01:33:01,599
Speaker 1: with him, honestly is the guy started the Sundance Film

1629
01:33:01,680 --> 01:33:05,720
Speaker 1: Festival and then hung around long enough to kind of

1630
01:33:06,840 --> 01:33:10,120
Speaker 1: frankly throw up his hands in frustration about what had

1631
01:33:10,200 --> 01:33:13,040
Speaker 1: become by the time he was stepping away from it

1632
01:33:13,080 --> 01:33:15,280
Speaker 1: a few years ago, in that it was all about

1633
01:33:15,320 --> 01:33:18,160
Speaker 1: the deal making, all about finding the hits, and it

1634
01:33:18,280 --> 01:33:21,040
Speaker 1: was the opposite in his view of how they started,

1635
01:33:21,080 --> 01:33:25,160
Speaker 1: which is just find some a handful of talented people

1636
01:33:25,320 --> 01:33:27,680
Speaker 1: and give him a shot because they would otherwise not

1637
01:33:27,800 --> 01:33:30,240
Speaker 1: get it without something like that in the mix back

1638
01:33:30,320 --> 01:33:32,800
Speaker 1: and you know how many decades ago now, I mean,

1639
01:33:33,080 --> 01:33:35,320
Speaker 1: and now it just became an industry machine, which he

1640
01:33:35,520 --> 01:33:36,200
Speaker 1: kind of resented.

1641
01:33:36,840 --> 01:33:40,200
Speaker 3: I'm with you, Michael on Quiz Show you know, I

1642
01:33:40,280 --> 01:33:43,439
Speaker 3: have very fond memories of that movie, haven't revisited it

1643
01:33:43,560 --> 01:33:45,680
Speaker 3: quite as often as as it sounds like you have.

1644
01:33:46,600 --> 01:33:51,559
Speaker 3: Probably the most recent Redford performance I watched is Catching

1645
01:33:51,640 --> 01:33:55,280
Speaker 3: Up with the Sting for the first time, and you know,

1646
01:33:55,439 --> 01:34:00,920
Speaker 3: he's just he's so just pleasantly charm in there. Just

1647
01:34:01,080 --> 01:34:04,679
Speaker 3: this is easily agreeable screen presence, Like it just seems

1648
01:34:04,760 --> 01:34:06,599
Speaker 3: made to be up on the screen. And I think,

1649
01:34:07,080 --> 01:34:09,680
Speaker 3: you know, the nice thing about his directorial career is

1650
01:34:10,280 --> 01:34:13,320
Speaker 3: it gives you, as much as you may appreciate those performances,

1651
01:34:13,439 --> 01:34:16,400
Speaker 3: and many of them I have, the directorial career gives

1652
01:34:16,479 --> 01:34:19,400
Speaker 3: you a chance to see something else that was going

1653
01:34:19,479 --> 01:34:22,200
Speaker 3: on behind that face. You know, the stories he was

1654
01:34:22,280 --> 01:34:24,120
Speaker 3: interested in the way he was going to present them,

1655
01:34:24,720 --> 01:34:28,000
Speaker 3: and a lot of those movies he did as a director,

1656
01:34:28,720 --> 01:34:30,960
Speaker 3: you know, quiz Show. I agree, maybe being up there

1657
01:34:31,160 --> 01:34:33,720
Speaker 3: at the top, but you think about something like a

1658
01:34:33,800 --> 01:34:38,120
Speaker 3: river runs through it, or I'm you know, appreciate similarly

1659
01:34:38,320 --> 01:34:41,280
Speaker 3: similar level ordinary people. You know, these are these are

1660
01:34:41,360 --> 01:34:46,600
Speaker 3: movies that I think have a professionalism and a hollywoodchine

1661
01:34:46,680 --> 01:34:50,320
Speaker 3: to them that somewhat matches his screen persona, but also

1662
01:34:50,520 --> 01:34:54,679
Speaker 3: have an intelligence and a curiosity to them as well.

1663
01:34:54,920 --> 01:34:59,479
Speaker 3: I'm curious. I can't wait myself to really think about

1664
01:34:59,560 --> 01:35:02,120
Speaker 3: Redford as a whole. In the inevitable top five list,

1665
01:35:02,320 --> 01:35:06,000
Speaker 3: We'll be doing Adam at some point to remember his career,

1666
01:35:06,080 --> 01:35:07,600
Speaker 3: and we'll have to talk about, you know, how we

1667
01:35:07,760 --> 01:35:13,639
Speaker 3: balance the directorial efforts with the screen performances. But yeah,

1668
01:35:13,760 --> 01:35:16,240
Speaker 3: he's someone I've kind of always taken for granted as

1669
01:35:16,560 --> 01:35:20,360
Speaker 3: just always been there since the quote unquote beginning of

1670
01:35:20,600 --> 01:35:23,600
Speaker 3: that you know, New Hollywood, as you say, Michael, and

1671
01:35:23,760 --> 01:35:26,280
Speaker 3: so to really sit down see some things I haven't seen,

1672
01:35:26,600 --> 01:35:30,160
Speaker 3: and think about who he was, what he meant in total,

1673
01:35:30,760 --> 01:35:31,560
Speaker 3: I'll be eager to do.

1674
01:35:32,640 --> 01:35:35,360
Speaker 7: I guess I'm the only person out there who actually

1675
01:35:35,720 --> 01:35:40,759
Speaker 7: genuinely loves ordinary people. Fine, fine, I'll be on Cross

1676
01:35:41,840 --> 01:35:42,679
Speaker 7: Look and it's.

1677
01:35:42,720 --> 01:35:43,439
Speaker 4: Better than good.

1678
01:35:43,760 --> 01:35:45,439
Speaker 1: But in the spirit of the movie, I don't want

1679
01:35:45,479 --> 01:35:46,040
Speaker 1: to talk about it.

1680
01:35:46,840 --> 01:35:47,160
Speaker 4: Thank you.

1681
01:35:47,560 --> 01:35:53,160
Speaker 7: Repress that, Michael, like a good suburban midwesterner, which you are,

1682
01:35:53,320 --> 01:35:57,280
Speaker 7: which we all are. I was just about to start

1683
01:35:57,360 --> 01:36:01,040
Speaker 7: singing the praises of some of those perhaps or appreciated

1684
01:36:01,360 --> 01:36:05,360
Speaker 7: Redford performances, but you said it, and I had mentioned

1685
01:36:05,400 --> 01:36:07,600
Speaker 7: it earlier, and somehow forgot we are going to do

1686
01:36:07,760 --> 01:36:09,719
Speaker 7: a Redford top five, So you know what, I'm gonna

1687
01:36:09,760 --> 01:36:12,360
Speaker 7: zip it like you, Michael, and I'm going to save.

1688
01:36:12,640 --> 01:36:16,280
Speaker 7: I'm going to save it for that inevitable top five list.

1689
01:36:16,360 --> 01:36:19,800
Speaker 7: And I do have I do have some Redford blind

1690
01:36:19,840 --> 01:36:23,679
Speaker 7: spots that I need to remedy. Maybe one of them

1691
01:36:23,920 --> 01:36:28,960
Speaker 7: I'll mention the meme I've never seen Jeremiah Johnson, Michael,

1692
01:36:29,000 --> 01:36:29,599
Speaker 7: do you have a pick?

1693
01:36:29,680 --> 01:36:29,960
Speaker 2: You don't.

1694
01:36:30,040 --> 01:36:32,479
Speaker 7: You don't know what I have seen and haven't seen.

1695
01:36:32,920 --> 01:36:36,360
Speaker 7: But is there maybe a Redford film that you imagine

1696
01:36:36,640 --> 01:36:39,479
Speaker 7: is one that's that's under seen, that that maybe people

1697
01:36:39,840 --> 01:36:42,599
Speaker 7: should seek out. Well, you got one of the obvious ones.

1698
01:36:42,840 --> 01:36:45,479
Speaker 1: Let me correct you one thing I do just knowing

1699
01:36:45,560 --> 01:36:47,280
Speaker 1: you a little bit, Adam, I know the tu I

1700
01:36:47,360 --> 01:36:50,240
Speaker 1: know the troubles you've seen. Okay, so I for sure

1701
01:36:50,360 --> 01:36:54,080
Speaker 1: I know all those. But of course Redford, uh, you know,

1702
01:36:54,240 --> 01:36:57,040
Speaker 1: big big bunch of dozens and dozens of films. I've

1703
01:36:57,840 --> 01:37:00,400
Speaker 1: a performance I really like and a film I haven't

1704
01:37:00,400 --> 01:37:01,800
Speaker 1: seen it in a long time, and did like a

1705
01:37:01,880 --> 01:37:04,040
Speaker 1: lot at that at that sort of height of the

1706
01:37:04,600 --> 01:37:08,080
Speaker 1: conspiracy political thriller era is Three Days of the Condor,

1707
01:37:08,160 --> 01:37:10,479
Speaker 1: and that you know, that for me, I mean, I

1708
01:37:10,640 --> 01:37:12,320
Speaker 1: you don't want to pull one against another, but you

1709
01:37:12,400 --> 01:37:16,080
Speaker 1: mentioned Jeremiah Johnson just sort of that to me, that's

1710
01:37:16,080 --> 01:37:20,920
Speaker 1: sort of a pretentious revenge western, uh with It's fun

1711
01:37:21,000 --> 01:37:24,760
Speaker 1: to watch Will gear in this in in the kind

1712
01:37:24,800 --> 01:37:27,560
Speaker 1: of a juicy supporting role. But but it's condor that

1713
01:37:27,640 --> 01:37:29,720
Speaker 1: I think is worth going back to, and that that

1714
01:37:29,960 --> 01:37:36,880
Speaker 1: gets at exactly the kind of largely nonverbal mystique that

1715
01:37:37,040 --> 01:37:40,200
Speaker 1: Redford had. And it's not just a matter of showing

1716
01:37:40,280 --> 01:37:43,160
Speaker 1: up and modeling for the camera. He was better than that,

1717
01:37:43,360 --> 01:37:46,400
Speaker 1: and and a lot of folks who started out like

1718
01:37:46,560 --> 01:37:50,040
Speaker 1: him didn't have to become as effective an actor as

1719
01:37:50,080 --> 01:37:53,599
Speaker 1: he did. And I think honestly, when he started directing

1720
01:37:54,800 --> 01:37:57,560
Speaker 1: other folks, you know, directing his features, I think he

1721
01:37:57,680 --> 01:38:01,639
Speaker 1: got to be a more intuitive and more relaxed actor.

1722
01:38:01,680 --> 01:38:07,000
Speaker 1: He was never like a tense, obviously fraud stage screen presence.

1723
01:38:07,040 --> 01:38:07,479
Speaker 3: He wasn't.

1724
01:38:07,800 --> 01:38:12,880
Speaker 1: But but I think he got I think he got better,

1725
01:38:13,320 --> 01:38:15,680
Speaker 1: which is exactly what you want from any you know.

1726
01:38:15,840 --> 01:38:17,719
Speaker 1: It's wonderful to be able to say that about anybody

1727
01:38:17,720 --> 01:38:20,479
Speaker 1: who had a long career like that. And he put

1728
01:38:20,520 --> 01:38:22,200
Speaker 1: his money where his mouth was too, in terms of

1729
01:38:22,240 --> 01:38:24,160
Speaker 1: what he believed in and what he believed in terms

1730
01:38:24,200 --> 01:38:24,519
Speaker 1: of film.

1731
01:38:25,479 --> 01:38:28,360
Speaker 7: Three Days of the Condor and Jeremiah Johnson two of

1732
01:38:28,640 --> 01:38:32,280
Speaker 7: seven films that Redford was in directed by Sidney Pollock.

1733
01:38:33,040 --> 01:38:36,280
Speaker 7: And I've seen two of seven films Redford was in

1734
01:38:36,400 --> 01:38:38,599
Speaker 7: directed by Sidney Pollack. They happened to be Three Days

1735
01:38:38,640 --> 01:38:41,200
Speaker 7: of the Condor and the way we were so some

1736
01:38:41,360 --> 01:38:43,880
Speaker 7: blind spots to fill in. We'll get to those as

1737
01:38:43,960 --> 01:38:48,240
Speaker 7: we do our top five maybe scenes performances we'll have

1738
01:38:48,320 --> 01:38:50,760
Speaker 7: to decide, and we'll get to that on the film

1739
01:38:50,840 --> 01:38:53,320
Speaker 7: spotting schedule. We'll make sure we let you know so

1740
01:38:53,520 --> 01:38:58,479
Speaker 7: you can get to your Robert Redford blind spots as well. Okay, Michael,

1741
01:38:59,479 --> 01:39:01,680
Speaker 7: we want to have you on because well we just

1742
01:39:01,760 --> 01:39:06,160
Speaker 7: wanted to have you on and we were due, of course,

1743
01:39:06,439 --> 01:39:10,759
Speaker 7: but also you were recently at the Venice Film Festival,

1744
01:39:10,840 --> 01:39:13,080
Speaker 7: and I think besides getting to some of the big

1745
01:39:13,200 --> 01:39:15,479
Speaker 7: films that you saw and maybe some of the big

1746
01:39:15,600 --> 01:39:18,519
Speaker 7: news that came out of that festival, we just love

1747
01:39:19,120 --> 01:39:22,120
Speaker 7: to hear you talk about how that fest might be

1748
01:39:22,400 --> 01:39:26,200
Speaker 7: different from other festivals, because, based on what I've heard

1749
01:39:26,240 --> 01:39:30,240
Speaker 7: from you, it is a festival unlike a lot of

1750
01:39:30,280 --> 01:39:30,960
Speaker 7: the others.

1751
01:39:30,800 --> 01:39:32,400
Speaker 4: Yeah, you quite appreciate.

1752
01:39:32,960 --> 01:39:38,000
Speaker 1: I love it, and I go there, not like I've

1753
01:39:38,040 --> 01:39:41,479
Speaker 1: ever attended any other film festival in that the reason

1754
01:39:41,560 --> 01:39:45,800
Speaker 1: I had the invitation to go the first time was

1755
01:39:46,320 --> 01:39:48,360
Speaker 1: not to cover it for the Tribune. This was long

1756
01:39:48,400 --> 01:39:51,919
Speaker 1: after the Tribune had stopped paying for me to go anywhere.

1757
01:39:52,280 --> 01:39:56,960
Speaker 1: But there's a small sidebar panel that's been going for

1758
01:39:57,040 --> 01:39:59,559
Speaker 1: about ten twelve years now called the Bi and Al

1759
01:39:59,640 --> 01:40:03,280
Speaker 1: a Cop College Cinema, which is a development program for

1760
01:40:03,760 --> 01:40:07,040
Speaker 1: first and second time filmmakers. So they have a screenplay

1761
01:40:07,120 --> 01:40:12,440
Speaker 1: competition and they picked four winners out of hundreds of submissions,

1762
01:40:12,920 --> 01:40:17,799
Speaker 1: and they give those four filmmakers two hundred thousand euros

1763
01:40:17,920 --> 01:40:21,799
Speaker 1: about about two hundred and fifty thousand dollars American US dollars,

1764
01:40:21,920 --> 01:40:25,320
Speaker 1: and they make their movie on this, you know, what

1765
01:40:25,400 --> 01:40:28,360
Speaker 1: could be considered a micro budget. And they're from all

1766
01:40:28,400 --> 01:40:33,400
Speaker 1: over the world. And these four then show the finished product,

1767
01:40:34,160 --> 01:40:37,639
Speaker 1: the finished films, at the following year's festival. And every

1768
01:40:37,720 --> 01:40:41,080
Speaker 1: year we are some of us are fortunate enough to

1769
01:40:41,120 --> 01:40:44,800
Speaker 1: be invited on this panel of critics, three or four

1770
01:40:44,840 --> 01:40:48,680
Speaker 1: from the US and a couple others from Europe. Stephanie's

1771
01:40:48,680 --> 01:40:51,519
Speaker 1: The Hark from Time magazine has been there from the beginning.

1772
01:40:51,600 --> 01:40:55,160
Speaker 1: Glenn Kenny, who writes for Rogiebert dot com and all,

1773
01:40:55,280 --> 01:40:59,040
Speaker 1: you know, he wrote an excellent book on Goodfellows and

1774
01:40:59,479 --> 01:41:02,120
Speaker 1: very good and all kinds of Chris Wagner, who's now

1775
01:41:02,200 --> 01:41:04,439
Speaker 1: the new pop culture writer at the Boston Club. A

1776
01:41:04,520 --> 01:41:09,880
Speaker 1: good group. And we just simply do a panel. No award,

1777
01:41:10,400 --> 01:41:13,520
Speaker 1: no no contest, but just a discussion with the filmmakers

1778
01:41:13,520 --> 01:41:15,479
Speaker 1: about you know, well, here's what we think, here's what

1779
01:41:15,600 --> 01:41:17,640
Speaker 1: we saw. We'd like to hear this, and just I

1780
01:41:17,760 --> 01:41:19,960
Speaker 1: just asked questions. It's a wonderful chance to kind of

1781
01:41:20,040 --> 01:41:24,000
Speaker 1: just actually have it. It's a public event. It's a

1782
01:41:24,000 --> 01:41:26,720
Speaker 1: wonderful chance to just talk about what they went through

1783
01:41:26,800 --> 01:41:29,519
Speaker 1: to get the thing written and then get the thing

1784
01:41:30,080 --> 01:41:33,000
Speaker 1: made in there, you know, typically their their home country,

1785
01:41:33,240 --> 01:41:35,040
Speaker 1: and this could be everywhere from you know, any number

1786
01:41:35,080 --> 01:41:38,680
Speaker 1: of countries, from Africa, all over Europe, and occasionally a

1787
01:41:38,840 --> 01:41:43,080
Speaker 1: US film films like this, This is not a burial,

1788
01:41:43,160 --> 01:41:46,960
Speaker 1: this is a resurrection came out of this program. There's

1789
01:41:46,960 --> 01:41:49,760
Speaker 1: a very good American film called The Fits about ten

1790
01:41:49,840 --> 01:41:53,680
Speaker 1: years old, came out of the well fantastic, right, I mean,

1791
01:41:53,880 --> 01:41:57,200
Speaker 1: you know, and that was, I believe the year before

1792
01:41:57,400 --> 01:41:59,880
Speaker 1: I started going over there. Anyway, that's my reason for

1793
01:42:00,120 --> 01:42:03,519
Speaker 1: going there. And then I have you know, I don't

1794
01:42:03,520 --> 01:42:04,960
Speaker 1: know if you know this, but I you know, left

1795
01:42:05,000 --> 01:42:07,920
Speaker 1: the Tribune last month, but nil that I would write

1796
01:42:07,960 --> 01:42:10,479
Speaker 1: a tad about, you know, some of what I saw

1797
01:42:10,520 --> 01:42:15,240
Speaker 1: in Venice, you know, in amongst the other obligations I

1798
01:42:15,320 --> 01:42:18,120
Speaker 1: had at the festival. But I tell you the reason

1799
01:42:18,200 --> 01:42:21,040
Speaker 1: why I think it's worth talking about Venice just as

1800
01:42:21,320 --> 01:42:24,640
Speaker 1: a public film festival. I think it could be of

1801
01:42:24,840 --> 01:42:27,559
Speaker 1: the ones I've been to, and that's a fraction of them.

1802
01:42:27,880 --> 01:42:30,240
Speaker 1: But you know, Toronto is a big public film festival.

1803
01:42:30,280 --> 01:42:32,720
Speaker 1: That's the big one in North America. People who who

1804
01:42:34,080 --> 01:42:37,759
Speaker 1: civilians who are really into film tend to like Toronto

1805
01:42:37,840 --> 01:42:41,559
Speaker 1: because it's not too expensive to get to. It's getting

1806
01:42:41,600 --> 01:42:44,200
Speaker 1: more expensive to find lodging there, but it's you know,

1807
01:42:44,320 --> 01:42:46,560
Speaker 1: it's you can see a heck of a lot of

1808
01:42:46,640 --> 01:42:50,080
Speaker 1: movies in a week or ten days. You have to

1809
01:42:50,200 --> 01:42:53,360
Speaker 1: kind of really jostle for tickets on the online ticketing now.

1810
01:42:53,439 --> 01:42:55,599
Speaker 1: But you know, a lot of the film festivals out

1811
01:42:55,600 --> 01:42:58,639
Speaker 1: there are public festivals in theory and a little trickier

1812
01:42:58,680 --> 01:43:03,960
Speaker 1: in practice. Venice, though from what I can tell, is

1813
01:43:04,160 --> 01:43:09,479
Speaker 1: just this wonderful mixture of world class you know, it's

1814
01:43:09,560 --> 01:43:12,400
Speaker 1: one of the big three European festivals along with can

1815
01:43:13,160 --> 01:43:16,840
Speaker 1: and Berlin. And yet the public component is huge. And

1816
01:43:16,960 --> 01:43:19,840
Speaker 1: if you're if you're willing to do the you know,

1817
01:43:19,960 --> 01:43:23,240
Speaker 1: the kind of the online ticketing scrum, just like you

1818
01:43:23,280 --> 01:43:26,519
Speaker 1: went Forlala Pelooza here in Chicago, uh, and just trying

1819
01:43:26,520 --> 01:43:29,599
Speaker 1: to book your schedule quickly, you go and if you can,

1820
01:43:29,720 --> 01:43:32,479
Speaker 1: if you can get the travel taking care of you,

1821
01:43:32,560 --> 01:43:34,800
Speaker 1: you can find like a cheap flight about a year

1822
01:43:34,880 --> 01:43:38,080
Speaker 1: early to get there. It's the greatest place I've ever

1823
01:43:38,360 --> 01:43:41,320
Speaker 1: seen for a lot of movies. You're you're not in Venice.

1824
01:43:41,479 --> 01:43:43,080
Speaker 1: You know you've been to Venice, Adam recently.

1825
01:43:43,160 --> 01:43:45,280
Speaker 4: I had recently, Yeah, yeah, And you you.

1826
01:43:45,320 --> 01:43:47,720
Speaker 1: Were just telling me off off Mike that you didn't know, like,

1827
01:43:47,720 --> 01:43:48,960
Speaker 1: where the hell is the film fesal Yew?

1828
01:43:49,000 --> 01:43:49,880
Speaker 4: Where where would it be?

1829
01:43:50,520 --> 01:43:53,160
Speaker 1: Not in Venice, man, it's too crono over there. It's

1830
01:43:53,200 --> 01:43:57,839
Speaker 1: on the Lido, the Lido, which is the biggest island

1831
01:43:57,960 --> 01:44:00,519
Speaker 1: in the in the Venetian Canal. It's the h It's

1832
01:44:00,600 --> 01:44:03,360
Speaker 1: seven miles long and about a half mile wide. You know,

1833
01:44:03,600 --> 01:44:07,480
Speaker 1: it's been a summer destination, a middle class summer destination,

1834
01:44:08,760 --> 01:44:13,120
Speaker 1: you know, for generations now. And it was you know,

1835
01:44:13,200 --> 01:44:16,559
Speaker 1: this festival is the oldest international film festival in the world.

1836
01:44:16,680 --> 01:44:20,680
Speaker 1: Nineteen thirty two, Mussolini and his cronies thought, let's let's go,

1837
01:44:20,960 --> 01:44:25,519
Speaker 1: let's do it wonderful start. The opening night film in

1838
01:44:25,680 --> 01:44:29,320
Speaker 1: thirty two was Doctor jekylnmeister Hyde, you know, a huge

1839
01:44:29,360 --> 01:44:33,000
Speaker 1: Hollywood component right for the beginning, and then I'll give

1840
01:44:33,040 --> 01:44:36,439
Speaker 1: you thirty seconds of history. By nineteen thirty eight, the

1841
01:44:36,560 --> 01:44:40,200
Speaker 1: winners of the Internet, of that of the Venice Festival

1842
01:44:40,320 --> 01:44:42,920
Speaker 1: tended to be all from Italy or Germany, and it

1843
01:44:43,040 --> 01:44:45,600
Speaker 1: was a lot of a lot of overturned decisions, and

1844
01:44:45,680 --> 01:44:47,719
Speaker 1: the fascism was just running rampant.

1845
01:44:47,960 --> 01:44:51,919
Speaker 4: You don't say yeah, and so that spurred into.

1846
01:44:51,800 --> 01:44:55,600
Speaker 1: Existence the cam Film Festival on the other side, and

1847
01:44:56,720 --> 01:45:00,400
Speaker 1: that lasted in nineteen thirty nine exactly one screening punch

1848
01:45:00,479 --> 01:45:02,479
Speaker 1: Back a Notre Dame before they shut it down because

1849
01:45:02,520 --> 01:45:05,400
Speaker 1: World War two was officially on. And then everything started

1850
01:45:05,479 --> 01:45:08,920
Speaker 1: up again obviously in forty six after the World War Two.

1851
01:45:09,640 --> 01:45:15,280
Speaker 1: But Venice has been really strong. It's it's it's really

1852
01:45:16,000 --> 01:45:19,519
Speaker 1: if you really care about the Oscar Derby to the degree.

1853
01:45:19,760 --> 01:45:21,800
Speaker 1: You know, people like to kind of dope out Oscar

1854
01:45:21,840 --> 01:45:25,000
Speaker 1: winners coming out of festivals. It's it's turned out something

1855
01:45:25,120 --> 01:45:29,439
Speaker 1: like more than double the Oscar winners than can has

1856
01:45:29,479 --> 01:45:31,960
Speaker 1: in the last few years. Not necessarily best picture, but

1857
01:45:32,120 --> 01:45:35,240
Speaker 1: just you know, for winners all over the place, and

1858
01:45:36,000 --> 01:45:38,600
Speaker 1: I just find that it's one. It's one of the

1859
01:45:38,640 --> 01:45:42,360
Speaker 1: most pleasurable filmgoing experiences I've ever seen on a big scale,

1860
01:45:42,600 --> 01:45:45,120
Speaker 1: because the Leado is quiet. You go there, you can

1861
01:45:45,160 --> 01:45:48,679
Speaker 1: rent the bike, your bike around. They have very good,

1862
01:45:49,240 --> 01:45:54,679
Speaker 1: nicely concentrated screening venues. It's the opposite of Sundance, which

1863
01:45:54,840 --> 01:45:58,360
Speaker 1: feels like it's only one more year in Park City Sundance,

1864
01:45:58,400 --> 01:45:59,840
Speaker 1: but it always felt to me like it was like

1865
01:46:00,040 --> 01:46:03,920
Speaker 1: seventeen miles of confusion, and and the Lido is so

1866
01:46:04,080 --> 01:46:06,439
Speaker 1: small and kind of like there, it's long, but it's narrow.

1867
01:46:07,120 --> 01:46:07,240
Speaker 3: You know.

1868
01:46:07,360 --> 01:46:09,720
Speaker 1: All the half a dozen venues are more are all

1869
01:46:09,800 --> 01:46:12,880
Speaker 1: in a very easy spot. The gelato is fantastic. I

1870
01:46:12,880 --> 01:46:15,120
Speaker 1: would go back simply for the gelato.

1871
01:46:14,800 --> 01:46:16,240
Speaker 4: At him fair enough.

1872
01:46:16,560 --> 01:46:19,040
Speaker 7: And I think the next film spotting meetup needs to

1873
01:46:19,080 --> 01:46:19,840
Speaker 7: be on the lead up.

1874
01:46:20,200 --> 01:46:20,960
Speaker 4: Let's make it happen.

1875
01:46:21,360 --> 01:46:22,000
Speaker 3: You've sched that.

1876
01:46:23,800 --> 01:46:25,439
Speaker 4: So let's let's talk movies.

1877
01:46:25,640 --> 01:46:29,599
Speaker 7: I mean, everyone was talking about and excited to see

1878
01:46:30,240 --> 01:46:34,240
Speaker 7: the Del Toro, right, Frankenstein, you saw it the Del Toro.

1879
01:46:34,400 --> 01:46:36,960
Speaker 1: I did, I I look, I miss more than I saw.

1880
01:46:37,120 --> 01:46:39,800
Speaker 1: I saw about a dozen fifteen films in the time

1881
01:46:39,840 --> 01:46:42,840
Speaker 1: I had there. I did see, Frankenstan and it's it's

1882
01:46:43,200 --> 01:46:46,679
Speaker 1: it's good. I think it's del Toro's best film certainly since,

1883
01:46:48,200 --> 01:46:50,960
Speaker 1: certainly since the Shape of Water about eight years ago.

1884
01:46:51,640 --> 01:46:56,040
Speaker 1: And it's it's not new style or a new direction

1885
01:46:56,240 --> 01:47:00,080
Speaker 1: for him, but it's it's got the kind of of

1886
01:47:01,200 --> 01:47:04,760
Speaker 1: swagger that you always get from del Toro, no matter

1887
01:47:04,800 --> 01:47:07,400
Speaker 1: how much money he's spending. And yet even on a

1888
01:47:07,439 --> 01:47:09,960
Speaker 1: bigger budget than maybe he's ever had, I'm not sure. No,

1889
01:47:10,080 --> 01:47:14,400
Speaker 1: I mean Pacific Rim cost War. But it's it's lavish.

1890
01:47:14,640 --> 01:47:18,200
Speaker 1: It's just lavish enough so that every one of his

1891
01:47:18,439 --> 01:47:22,720
Speaker 1: unbelievably talented designers could go to town, you know, and

1892
01:47:23,320 --> 01:47:28,160
Speaker 1: you know, the performances very strong, you know, always slightly

1893
01:47:28,439 --> 01:47:31,720
Speaker 1: threatened to be eaten alive by the visual elements. But

1894
01:47:33,160 --> 01:47:36,000
Speaker 1: I have to say, just like for different reasons, just

1895
01:47:36,080 --> 01:47:39,800
Speaker 1: like Robert Egger's doing Nosfaratu. You know, before I saw it,

1896
01:47:39,960 --> 01:47:43,160
Speaker 1: I thought, do I want to revisit this particular mythology again?

1897
01:47:43,760 --> 01:47:45,760
Speaker 1: And then that film turned out to be, in my view,

1898
01:47:46,280 --> 01:47:48,360
Speaker 1: you know, good enough to like, okay, good you made

1899
01:47:48,360 --> 01:47:51,080
Speaker 1: a case for same with del Toro and Frankenstein. He's

1900
01:47:51,080 --> 01:47:52,560
Speaker 1: been wanting to do this for a long time and

1901
01:47:52,880 --> 01:47:55,679
Speaker 1: he it's a real it was a very solid effort.

1902
01:47:55,720 --> 01:47:57,200
Speaker 1: I mean, that's the least you can say about him.

1903
01:47:57,280 --> 01:48:00,559
Speaker 1: Can I talk about more? You can? I mean, there's

1904
01:48:00,600 --> 01:48:02,320
Speaker 1: more I mean, I mean than the other ones. I

1905
01:48:02,360 --> 01:48:04,519
Speaker 1: mean the one, uh you know.

1906
01:48:04,560 --> 01:48:06,519
Speaker 4: The winner one one, that one at all, the one

1907
01:48:06,680 --> 01:48:07,800
Speaker 4: and one of the line.

1908
01:48:08,200 --> 01:48:11,840
Speaker 1: Yeah, yeah, yeah. This was Jim Jarmish's father, mother, sister brother,

1909
01:48:12,040 --> 01:48:14,840
Speaker 1: which was a surprise to some people.

1910
01:48:15,120 --> 01:48:15,240
Speaker 2: Uh.

1911
01:48:15,680 --> 01:48:19,759
Speaker 1: This sort of enters into a somewhat neurotic, uh conflict

1912
01:48:19,800 --> 01:48:23,200
Speaker 1: of interest for me that I never reviewed A Jarmish because.

1913
01:48:23,360 --> 01:48:26,320
Speaker 4: Uh, do you want to explain, Michael, Yes, For several

1914
01:48:26,439 --> 01:48:27,120
Speaker 4: years back.

1915
01:48:27,040 --> 01:48:29,040
Speaker 1: In the from the late eighties of the mid nineties,

1916
01:48:29,960 --> 01:48:35,120
Speaker 1: I was I was with his sister, the art and

1917
01:48:35,280 --> 01:48:39,040
Speaker 1: architecture critic and Jarmish. We were together for about seven years,

1918
01:48:39,160 --> 01:48:44,439
Speaker 1: and I was ready about theater then Uh, but it's

1919
01:48:44,479 --> 01:48:47,680
Speaker 1: always seemed a little like obvious to me that you, look,

1920
01:48:48,360 --> 01:48:50,960
Speaker 1: this is the one professional conflict of interest. I should

1921
01:48:51,040 --> 01:48:54,320
Speaker 1: just stick with the whole way and uh and so

1922
01:48:54,479 --> 01:48:58,040
Speaker 1: I have, but uh, but it uh. You know, the

1923
01:48:58,080 --> 01:49:00,400
Speaker 1: film got a very good the Jarmish I'm got a

1924
01:49:00,560 --> 01:49:03,519
Speaker 1: very good reception. At the same time, a lot of

1925
01:49:03,560 --> 01:49:06,559
Speaker 1: the same critics who liked it a lot in print,

1926
01:49:07,040 --> 01:49:12,880
Speaker 1: were online. We're surprised that the top price didn't go

1927
01:49:12,920 --> 01:49:15,439
Speaker 1: to maybe a more I don't know what the word is,

1928
01:49:15,479 --> 01:49:20,760
Speaker 1: substantial or the quote important unquote film than this, you know,

1929
01:49:20,920 --> 01:49:26,800
Speaker 1: modest three part anthology series of three different stories, although

1930
01:49:26,880 --> 01:49:28,720
Speaker 1: I have to say it's worth saying for me just

1931
01:49:28,800 --> 01:49:32,280
Speaker 1: to see how droll and sly and actor Tom Waits

1932
01:49:32,320 --> 01:49:33,920
Speaker 1: can be. He's very funny in the first of the

1933
01:49:34,000 --> 01:49:38,080
Speaker 1: three stories in that one. But the film that really

1934
01:49:38,120 --> 01:49:40,960
Speaker 1: got the the most pressed because of this this issue

1935
01:49:41,040 --> 01:49:44,960
Speaker 1: with you know, Gaza right now and of conflict, and

1936
01:49:45,080 --> 01:49:47,599
Speaker 1: there were protests of all kinds on the Leado actually

1937
01:49:47,680 --> 01:49:51,479
Speaker 1: during the festival. But this Palestinian film I'd missed the

1938
01:49:51,600 --> 01:49:54,920
Speaker 1: Voice of heend Rizab, which is about the Israeli killing

1939
01:49:55,040 --> 01:49:57,000
Speaker 1: a five year old girl in Gaza based on a

1940
01:49:57,120 --> 01:49:59,400
Speaker 1: true story that one second prize and a lot of

1941
01:49:59,400 --> 01:50:01,920
Speaker 1: people were surprised that didn't win first. I haven't seen it.

1942
01:50:02,600 --> 01:50:04,439
Speaker 1: I look forward to it. Of the ones I saw

1943
01:50:05,520 --> 01:50:08,559
Speaker 1: that I could solidly recommend, at least the Del Toro

1944
01:50:08,720 --> 01:50:12,800
Speaker 1: film Frankenstein, Laura Poitras's documentary cover up. She has never

1945
01:50:12,880 --> 01:50:16,719
Speaker 1: made a bad film yet. This portrait of investigative journalist

1946
01:50:17,240 --> 01:50:20,200
Speaker 1: Seymour Hirsh is just sharp as ever. And boy do

1947
01:50:20,320 --> 01:50:23,560
Speaker 1: we need a film right now showing the value of

1948
01:50:23,920 --> 01:50:28,280
Speaker 1: solid investigative journalism. Even and although it's an interesting enough

1949
01:50:28,720 --> 01:50:31,120
Speaker 1: it's a brave enough film to paint him as a

1950
01:50:31,840 --> 01:50:35,840
Speaker 1: flawed and you know, having having some periods of his

1951
01:50:35,960 --> 01:50:38,600
Speaker 1: career where it wasn't so stringent, you know, where he

1952
01:50:38,880 --> 01:50:41,360
Speaker 1: sort of got you know, he got his hat hand

1953
01:50:41,400 --> 01:50:44,040
Speaker 1: into him because he was factually off. But it's a

1954
01:50:44,200 --> 01:50:46,000
Speaker 1: it's a really good and to see him there, it

1955
01:50:46,080 --> 01:50:49,280
Speaker 1: was just it's just it's just made your heart, you know,

1956
01:50:49,960 --> 01:50:53,160
Speaker 1: glad to see a guy that dogged and that devoted

1957
01:50:53,200 --> 01:50:56,599
Speaker 1: to you know, what's important in journalism and very rare.

1958
01:50:56,720 --> 01:50:59,439
Speaker 1: Right now they're getting the props he deserved. But that

1959
01:50:59,560 --> 01:51:02,600
Speaker 1: was great. I thought that Benny Safty film that A

1960
01:51:02,680 --> 01:51:04,240
Speaker 1: twenty four is putting on in a couple of weeks

1961
01:51:04,280 --> 01:51:08,120
Speaker 1: of the Smashing Machine is pretty interesting too. That's for him,

1962
01:51:08,240 --> 01:51:14,719
Speaker 1: this first kind of somewhat conventional biopic. This is Dwayne

1963
01:51:14,800 --> 01:51:20,200
Speaker 1: Johnson's certainly certainly the best showcase he's had to do

1964
01:51:20,360 --> 01:51:23,760
Speaker 1: something different than from everything else he's done, and that

1965
01:51:24,080 --> 01:51:27,600
Speaker 1: that film has got a lot of a lot of

1966
01:51:28,160 --> 01:51:31,400
Speaker 1: weird little corkscrews in it that you wouldn't expect to

1967
01:51:31,439 --> 01:51:33,840
Speaker 1: see in any sports biopick. It's not a film that

1968
01:51:33,920 --> 01:51:37,040
Speaker 1: really gives you the usual triumph of the human spirit

1969
01:51:37,240 --> 01:51:41,000
Speaker 1: or the rise and fall and rise again. But I'm

1970
01:51:41,040 --> 01:51:44,240
Speaker 1: still wrestling with it, frankly. But I'd like, I'd love

1971
01:51:44,280 --> 01:51:46,080
Speaker 1: to talk to Safty about some of the some of

1972
01:51:46,160 --> 01:51:48,040
Speaker 1: the decisions he made, and just you know, he's a

1973
01:51:48,080 --> 01:51:51,200
Speaker 1: filmmaker I've always I've always liked and just I mean

1974
01:51:51,240 --> 01:51:54,519
Speaker 1: to see somebody who started out with those really really

1975
01:51:54,760 --> 01:51:59,960
Speaker 1: nervy abrasive you know, port street street life portraits and

1976
01:52:00,400 --> 01:52:07,480
Speaker 1: and and peculiar uh really Vinegary uh sort of collaborations

1977
01:52:07,520 --> 01:52:09,800
Speaker 1: with his brother, It's interesting to see him go off

1978
01:52:09,800 --> 01:52:11,840
Speaker 1: in his own direction now. But yeah, that's that's three

1979
01:52:11,960 --> 01:52:14,760
Speaker 1: right there. You know, I certainly saw more than that,

1980
01:52:14,920 --> 01:52:18,280
Speaker 1: but I you know, let's start with that. And okay, yeah,

1981
01:52:18,400 --> 01:52:22,920
Speaker 1: I I really but there's something about the location and

1982
01:52:23,320 --> 01:52:26,720
Speaker 1: and if you got any ambition any of to kind

1983
01:52:26,760 --> 01:52:30,479
Speaker 1: of uh see Europe, uh see the Lido in Venice

1984
01:52:30,560 --> 01:52:34,559
Speaker 1: before it all you know, gets sunk by climate change.

1985
01:52:35,479 --> 01:52:38,479
Speaker 1: But actually just see a true world class festival in

1986
01:52:38,600 --> 01:52:43,840
Speaker 1: this kind of stunning location, not like amazing scenery, but

1987
01:52:44,000 --> 01:52:45,560
Speaker 1: just to be able to kind of walk home or

1988
01:52:45,640 --> 01:52:48,439
Speaker 1: bike home back to your B and B at night

1989
01:52:48,520 --> 01:52:51,080
Speaker 1: and hear crickets and hear music here, and you know,

1990
01:52:51,120 --> 01:52:53,600
Speaker 1: it's it's the It's not like Can was, which was

1991
01:52:53,720 --> 01:52:57,640
Speaker 1: just a zoo gorgeous in many ways, a fantastic but

1992
01:52:57,840 --> 01:53:02,200
Speaker 1: a head spinner. But I've just I think it's I

1993
01:53:02,320 --> 01:53:05,519
Speaker 1: think it's uh, it just knows what it's doing. It's

1994
01:53:05,600 --> 01:53:08,120
Speaker 1: grown but and it's but it has not turned into

1995
01:53:08,160 --> 01:53:12,000
Speaker 1: a marketplace like Can is very much about.

1996
01:53:12,560 --> 01:53:12,680
Speaker 6: Uh.

1997
01:53:13,040 --> 01:53:17,360
Speaker 1: And in fact, what the Sundance Film Festival to Redford's

1998
01:53:18,120 --> 01:53:22,719
Speaker 1: to its founders to Stain also turned into Venice. Wouldn't

1999
01:53:22,720 --> 01:53:24,640
Speaker 1: mind a little more action like that, I think. But

2000
01:53:25,479 --> 01:53:27,360
Speaker 1: I love the space and oh one last thing. Can

2001
01:53:27,400 --> 01:53:28,800
Speaker 1: I just say one last thing?

2002
01:53:29,800 --> 01:53:30,519
Speaker 4: Floor is yours?

2003
01:53:30,680 --> 01:53:33,320
Speaker 1: I mean, I'm just yacking floor.

2004
01:53:33,320 --> 01:53:34,360
Speaker 3: Of yours, all right.

2005
01:53:34,760 --> 01:53:37,639
Speaker 1: First year I go, twenty sixteen, I get. I get.

2006
01:53:37,680 --> 01:53:40,519
Speaker 1: The explanation is like, okay, you get off the plane

2007
01:53:40,720 --> 01:53:44,000
Speaker 1: great over in the usual airport and Venice, and then

2008
01:53:44,040 --> 01:53:46,880
Speaker 1: you just walk to the dock. Okay, and there's and

2009
01:53:46,960 --> 01:53:50,840
Speaker 1: then and the taxis there again. The taxis it's a

2010
01:53:50,920 --> 01:53:54,599
Speaker 1: water taxi. Oh okay, Oh it's a it's a really

2011
01:53:54,680 --> 01:54:00,080
Speaker 1: cool speedboat. Interesting. Uh oh, there's a it's wood the

2012
01:54:00,160 --> 01:54:03,840
Speaker 1: wood paneled speedboaby. And the first year I went, it

2013
01:54:03,960 --> 01:54:07,639
Speaker 1: was sunset, you know, four five o'clock in the afternoon,

2014
01:54:08,200 --> 01:54:12,240
Speaker 1: jet lagged and you know that hour around Venice. You know,

2015
01:54:12,360 --> 01:54:15,280
Speaker 1: it was like this is work, you know, it's just

2016
01:54:15,400 --> 01:54:19,080
Speaker 1: like total And then you show up and there's and

2017
01:54:19,400 --> 01:54:25,120
Speaker 1: there's one great old hotel, only one where historically that

2018
01:54:25,360 --> 01:54:28,280
Speaker 1: the very first films were shown there in nineteen thirty two,

2019
01:54:28,400 --> 01:54:32,520
Speaker 1: the Excelsior Hotel. And that's where you dock if you're

2020
01:54:33,160 --> 01:54:35,400
Speaker 1: in any way connected with the festival. And I couldn't

2021
01:54:35,440 --> 01:54:38,880
Speaker 1: be more attentionally connected. But there was you know, oh great,

2022
01:54:39,320 --> 01:54:42,320
Speaker 1: and then you hop off onto the red carpeted dock

2023
01:54:43,040 --> 01:54:45,520
Speaker 1: and then and it's just it makes you feel a little,

2024
01:54:46,360 --> 01:54:50,280
Speaker 1: a little fancy, you know. And I've never really my

2025
01:54:50,400 --> 01:54:51,400
Speaker 1: egles never recovered.

2026
01:54:51,840 --> 01:54:55,440
Speaker 7: Yeah, you're like land de Law with Monica Vitt right there,

2027
01:54:56,160 --> 01:54:57,400
Speaker 7: all right, the.

2028
01:54:58,040 --> 01:55:00,680
Speaker 1: Toast of well, I'm certainly the toast of seen Wisconsin.

2029
01:55:02,960 --> 01:55:06,080
Speaker 4: Okay, you've sold us on the magic of the Venice film.

2030
01:55:07,320 --> 01:55:11,400
Speaker 7: Josh, come back from Scotland and we'll find room in

2031
01:55:11,480 --> 01:55:15,080
Speaker 7: the film spotting coffers for us all to go to Vassat.

2032
01:55:15,240 --> 01:55:16,440
Speaker 4: We can dream, we can dream.

2033
01:55:16,440 --> 01:55:16,960
Speaker 1: I thinking.

2034
01:55:17,400 --> 01:55:19,640
Speaker 3: I'm thinking when school's over, a pit stop on the

2035
01:55:19,680 --> 01:55:20,680
Speaker 3: way home more likely.

2036
01:55:20,840 --> 01:55:23,800
Speaker 7: So, yeah, I don't know why there, I don't know

2037
01:55:23,840 --> 01:55:25,720
Speaker 7: why I said that when there's no way I can

2038
01:55:25,800 --> 01:55:29,560
Speaker 7: get away from class. Can they move the Venice Film Festival, Michael?

2039
01:55:29,840 --> 01:55:30,280
Speaker 3: The dates?

2040
01:55:30,360 --> 01:55:31,160
Speaker 4: Can they just change?

2041
01:55:31,800 --> 01:55:34,120
Speaker 1: Well? I think they already. I think Iowa City is

2042
01:55:34,120 --> 01:55:35,600
Speaker 1: already a sister city, isn't it?

2043
01:55:35,680 --> 01:55:36,360
Speaker 4: Yeah, isn't it?

2044
01:55:36,720 --> 01:55:37,680
Speaker 3: Let's go there?

2045
01:55:37,760 --> 01:55:40,960
Speaker 1: You go, Actually, Adam, I'll come and teach your class

2046
01:55:41,000 --> 01:55:44,240
Speaker 1: because I've heard some complaints, and you go over to

2047
01:55:44,280 --> 01:55:44,800
Speaker 1: the festival.

2048
01:55:46,000 --> 01:55:47,600
Speaker 4: You know what, that is quite a sacrifice.

2049
01:55:47,720 --> 01:55:50,320
Speaker 7: Actually, I am looking forward to Michael Phillips coming back

2050
01:55:50,840 --> 01:55:53,879
Speaker 7: to Iowa City here in a few weeks to enlighten

2051
01:55:54,040 --> 01:55:56,880
Speaker 7: my class, and we'll have a nice meal and we'll

2052
01:55:57,000 --> 01:55:58,520
Speaker 7: do a little will.

2053
01:55:58,480 --> 01:56:01,480
Speaker 3: Be off to a film festival that's odd somewhere.

2054
01:56:01,760 --> 01:56:04,480
Speaker 7: We'll do a little soft shoot thing that we do

2055
01:56:04,680 --> 01:56:07,520
Speaker 7: at the Refocused Film Festival at Film Scene, and we'll

2056
01:56:07,520 --> 01:56:09,440
Speaker 7: have a good time. So Michael, to look forward to that,

2057
01:56:09,640 --> 01:56:12,440
Speaker 7: and I look forward to your next appearance here on

2058
01:56:12,600 --> 01:56:13,240
Speaker 7: film Spotting.

2059
01:56:13,320 --> 01:56:15,640
Speaker 1: Thank you so much, Thanks mich you guys. Yeah, good

2060
01:56:15,640 --> 01:56:16,160
Speaker 1: to see you guys.

2061
01:56:16,240 --> 01:56:19,360
Speaker 3: Bye, thank you, thank you. That is our show. If

2062
01:56:19,400 --> 01:56:21,840
Speaker 3: you'd like to connect with us on social media, you

2063
01:56:21,920 --> 01:56:25,280
Speaker 3: can find Adam and the show on Instagram, Facebook, letterbox,

2064
01:56:25,400 --> 01:56:29,120
Speaker 3: and YouTube at film Spotting, I'm at each of those places.

2065
01:56:29,320 --> 01:56:33,240
Speaker 3: As Larsen on film we are independently produced and listeners

2066
01:56:33,280 --> 01:56:35,360
Speaker 3: support it. You can support the show by joining the

2067
01:56:35,440 --> 01:56:39,080
Speaker 3: film Spotting Family at film spottingfamily dot com. You can

2068
01:56:39,160 --> 01:56:42,879
Speaker 3: listen early and ad free. You'll also get a weekly newsletter,

2069
01:56:42,960 --> 01:56:46,520
Speaker 3: monthly bonus episodes, and access to the entire show archive.

2070
01:56:46,960 --> 01:56:49,120
Speaker 3: For show t shirts or other merch go to film

2071
01:56:49,200 --> 01:56:51,320
Speaker 3: spotting dot net slash.

2072
01:56:51,200 --> 01:56:54,680
Speaker 7: Shop in the film Spotting archive, you can find a

2073
01:56:54,720 --> 01:56:58,240
Speaker 7: little bit of discussion about Spinal Tap episode seven seventy.

2074
01:56:58,320 --> 01:57:02,000
Speaker 7: We did our eight from eighty four series. We united

2075
01:57:02,120 --> 01:57:05,680
Speaker 7: that with Stop Making Sense and Purple Rain, a triumvirate

2076
01:57:06,080 --> 01:57:08,000
Speaker 7: of music movies for.

2077
01:57:08,040 --> 01:57:08,800
Speaker 1: He all years.

2078
01:57:08,880 --> 01:57:09,400
Speaker 3: That was fun.

2079
01:57:09,520 --> 01:57:09,720
Speaker 4: Yeah.

2080
01:57:10,680 --> 01:57:15,880
Speaker 7: We also have a couple of Robert Redford conversations. The Discovery,

2081
01:57:16,520 --> 01:57:20,000
Speaker 7: a movie that I don't think many people remember, episode

2082
01:57:20,080 --> 01:57:24,440
Speaker 7: six twenty nine. I think Charlie McDowell his second feature

2083
01:57:24,520 --> 01:57:27,840
Speaker 7: after the One I Love and All the Presidents Men

2084
01:57:28,200 --> 01:57:30,960
Speaker 7: Come on. That was part of our seven from seventy

2085
01:57:31,040 --> 01:57:36,280
Speaker 7: six series, episode eight twelve. In limited release, you can

2086
01:57:36,360 --> 01:57:39,920
Speaker 7: see the Josh Larson recommended The History of Sound. Also

2087
01:57:40,120 --> 01:57:43,839
Speaker 7: megadoc behind the scenes documentary about the making of Francis

2088
01:57:43,920 --> 01:57:47,840
Speaker 7: Ford Coppola's Megalopolis Okay, directed by Mike Figus, who made

2089
01:57:48,280 --> 01:57:52,840
Speaker 7: Leaving Las Vegas. Also reef Install, a documentary about the

2090
01:57:52,960 --> 01:57:58,040
Speaker 7: German filmmaker who collaborated with the Nazis, Robert Daniels. Josh says,

2091
01:57:58,080 --> 01:58:02,760
Speaker 7: it's flat out jaw drop thing, Okay. I'm in in

2092
01:58:02,880 --> 01:58:07,360
Speaker 7: wide release. It's the thirtieth anniversary Imax re release of

2093
01:58:07,480 --> 01:58:11,760
Speaker 7: Apollo thirteen. Also him is that is that what we're

2094
01:58:11,760 --> 01:58:13,880
Speaker 7: supposed to call it? Or is it him?

2095
01:58:14,920 --> 01:58:17,640
Speaker 3: I'm not the person ask I mean, you.

2096
01:58:17,680 --> 01:58:20,600
Speaker 7: Talk about the film spotting pronunciation guide. It's only three letters.

2097
01:58:20,680 --> 01:58:24,200
Speaker 7: You'd think we could get this one right. But this

2098
01:58:24,440 --> 01:58:27,080
Speaker 7: mystifies me. I've been wrong at every turn about what

2099
01:58:27,240 --> 01:58:29,600
Speaker 7: this movie is. And now I read the plot.

2100
01:58:30,680 --> 01:58:31,320
Speaker 3: I don't know.

2101
01:58:31,480 --> 01:58:33,680
Speaker 7: Maybe Sam is making this up or he actually did

2102
01:58:33,800 --> 01:58:36,480
Speaker 7: copy it. I feel like I'm learning something new yet again.

2103
01:58:36,880 --> 01:58:38,960
Speaker 7: A young football player has a chance to train with

2104
01:58:39,000 --> 01:58:41,560
Speaker 7: a former star quarterback at his private compound, only to

2105
01:58:41,640 --> 01:58:43,880
Speaker 7: realize that he's in a movie produced by Jordan Peel's

2106
01:58:43,920 --> 01:58:47,840
Speaker 7: Monkey Pra Productions. I think it's not really a meta movie.

2107
01:58:47,920 --> 01:58:49,600
Speaker 7: That's Sam having some Sam speech.

2108
01:58:50,280 --> 01:58:51,240
Speaker 1: This is a trailer.

2109
01:58:51,840 --> 01:58:55,000
Speaker 3: This is a trailer I've seen about three hundred times.

2110
01:58:55,120 --> 01:58:57,960
Speaker 3: And oh, okay, and so I don't. I don't think

2111
01:58:58,000 --> 01:58:58,800
Speaker 3: it is a meta movie.

2112
01:58:58,840 --> 01:59:00,840
Speaker 4: It's not a movie within a movie thing going on here.

2113
01:59:00,960 --> 01:59:02,320
Speaker 3: I don't think. So okay.

2114
01:59:02,440 --> 01:59:02,680
Speaker 2: Thanks.

2115
01:59:03,640 --> 01:59:06,560
Speaker 7: Coconauta is a big, bold, beautiful journey also out wide,

2116
01:59:06,600 --> 01:59:09,640
Speaker 7: and we will talk about that film next week and

2117
01:59:09,920 --> 01:59:14,000
Speaker 7: have our sixties Musical Poll results. We'll see if we

2118
01:59:14,120 --> 01:59:17,400
Speaker 7: get up to any other movie business with some other

2119
01:59:18,000 --> 01:59:20,040
Speaker 7: new or recent releases.

2120
01:59:20,440 --> 01:59:22,960
Speaker 3: Film Spotting is produced by Golden Joe Desso and Sam

2121
01:59:23,120 --> 01:59:25,960
Speaker 3: Van Hogren. Without Sam Golden Joe, this show wouldn't go.

2122
01:59:26,520 --> 01:59:30,080
Speaker 3: Our production assistant is Sophie Kempinar. Special thanks also to

2123
01:59:30,160 --> 01:59:34,640
Speaker 3: everyone at wb easy Chicago. More information is available at

2124
01:59:34,880 --> 01:59:38,680
Speaker 3: WBEAZ dot org for films Spotty and I'm Josh Larson and.

2125
01:59:38,720 --> 01:59:40,680
Speaker 4: I'm Adam Kempinar. Thanks for listening.

2126
01:59:40,920 --> 01:59:45,480
Speaker 2: This conversation can serve no purpose anymore. The burn.

2127
02:00:01,760 --> 02:00:03,240
Speaker 4: Film Spotting is listeners supported.

2128
02:00:03,480 --> 02:00:06,360
Speaker 3: Join the film Spotting Family at film spottingfamily dot com

2129
02:00:06,520 --> 02:00:09,520
Speaker 3: and get access to ad free episodes, monthly bonus shows,

2130
02:00:09,560 --> 02:00:12,040
Speaker 3: our weekly newsletter, and, for the first time, all in

2131
02:00:12,160 --> 02:00:15,120
Speaker 3: one place, the entire film Spotting archive going back to

2132
02:00:15,200 --> 02:00:18,040
Speaker 3: two thousand and five. That's a Film Spotting Family dot

2133
02:00:18,160 --> 02:00:18,320
Speaker 3: com

2134
02:00:21,280 --> 02:00:21,760
Speaker 2: Panicbly