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Speaker 1: Hey, everybody, welcome to another episode.

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Speaker 2: I saw what you did. My name is Millie to Jericho.

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Speaker 3: I'm Danielle Henderson.

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Speaker 1: What's up everybody.

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Speaker 2: I don't know why I'm so excited you are?

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Speaker 3: You are starting the podcast today like you are a

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Speaker 3: nineteen eighty CB radio trucker.

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Speaker 4: What's up everybody out there on the road.

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Speaker 1: We got a bear in the grass taking pictures upon

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Speaker 1: the nine o' five.

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Speaker 2: All right, Danielle, we are.

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Speaker 1: We got to get right into our mail bag for

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Speaker 1: this week because it is so awesome.

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Speaker 3: This is a hard one, but I feel like, you know,

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Speaker 3: I want to get into it. I'm excited because we

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Speaker 3: have a question that's so wild. We needed to bring

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Speaker 3: a guest on to help us with Yes.

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Speaker 1: We I think we were both mystified, maybe is the

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Speaker 1: word by this question.

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Speaker 3: I think we brought in the exact right person to

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Speaker 3: help answer this. So this is someone we've wanted to

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Speaker 3: be on the pod for a while.

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Speaker 2: Oh my gosh, I could not.

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Speaker 1: I've been talking about getting this guest for like six months,

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Speaker 1: six to eight months, spend months.

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Speaker 2: So I'm just excited that's finally happening.

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Speaker 3: I mean, you should see the texts people I wake

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Speaker 3: up and it's like, is today the day? Are we

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Speaker 3: gonna get this?

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Speaker 4: Guess?

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Speaker 3: We love her, this person. I'm I'm lucky enough to

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Speaker 3: call a friend, but I'm also a fan. She is

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Speaker 3: so smart, so funny, so wonderful. Guys, it's it's Julie Klausse,

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Speaker 3: the creator.

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Speaker 4: Happy to be here.

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Speaker 3: We're so happy to have you here.

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Speaker 4: I couldn't help but interrupt your introduction. I was just

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Speaker 4: so I felt you're holding me back on my leash,

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Speaker 4: and I was like, let me jump up on them,

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Speaker 4: let me jump let me jump up on them. And

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Speaker 4: now I'm licking both of your faces because I'm I'm

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Speaker 4: so I'm so happy to be in your in your territory,

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Speaker 4: your domain.

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Speaker 3: We're so amped, and you're kind enough to have both

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Speaker 3: of us as a guest on your wonderful podcast, Double

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Speaker 3: Threat podcast that that Julie does with Tom Sharpling. And

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Speaker 3: you're a fan of.

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Speaker 4: Movies like no one I've ever met fan of movies,

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Speaker 4: and I'm a fan of you two like like nobody's business.

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Speaker 4: And it was not itwa was not a kindness. Twas

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Speaker 4: a manipulative power move.

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Speaker 3: Let me give you credit or credits.

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Speaker 4: Yeah, exactly exactly.

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Speaker 1: I got to tell you when we were on Double Threat,

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Speaker 1: like after that episode came out, truly and this is

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Speaker 1: not I'm not fluffing you here.

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Speaker 4: Uh.

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Speaker 2: The coolest people in my life.

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Speaker 1: Texted me and was like I heard you on Double

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Speaker 1: Threat and I was like, oh shit, like.

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Speaker 4: People, yeah, the coolest people in your life the Proclaimers.

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Speaker 4: Are you friends with the Proclaimers? I'm trying to think

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Speaker 4: who could the people be? They get those two guys.

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Speaker 3: Have you seen the Proclaimers lately?

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Speaker 4: I'm google it, googling.

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Speaker 2: Google it now I have I have not sayed it.

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Speaker 3: Oh the Proclaimers, I mean they were it was a

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Speaker 3: little rough and tumble to begin with.

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Speaker 4: Well that was also just the like you guys don't

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Speaker 4: know how to be older than you are, you know

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Speaker 4: what I mean. Like I'm always a fan of like

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Speaker 4: skinny guys that kind of grow into bodies where they're like,

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Speaker 4: what the hell is this? I'm literally googling Proclaimers today.

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Speaker 4: Proclamers now, do they still have the.

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Speaker 2: Same head jerk movements? Like in sync?

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Speaker 1: That's like the one thing I remember that was their

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Speaker 1: move the head jerks in sync.

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Speaker 3: That was all the dance they dance from the neck

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Speaker 3: up like nobody was watching.

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Speaker 4: Yeah, yeah, no, I see them. I see them. It's

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Speaker 4: like Greg Proops Greg you know, mirror Vision and Greg Proops.

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Speaker 4: They're two proops is double groups and yeah it is.

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Speaker 3: Well, well we did we did actually, I mean, we

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Speaker 3: know you're extraordinarily busy, so we did actually want to

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Speaker 3: have you here so that we could have you help

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Speaker 3: us answer a question.

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Speaker 4: Yes, hiding my jigsaw puzzle from the background.

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Speaker 3: Yes, I'm gonna get you one of those. Does Jimmy

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Speaker 3: play with the puzzle pieces?

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Speaker 4: Is?

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Speaker 3: I have a solution for that for you?

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Speaker 4: What is it?

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Speaker 3: It's like a little table you can get It's almost

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Speaker 3: like the kind of thing that you would set like

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Speaker 3: a computer monitor.

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Speaker 4: On ooh, like a puzzle table.

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Speaker 3: It's a puzzle, but it's not even a table. It's

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Speaker 3: like a little tiny thing you put on a tabletop

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Speaker 3: and it has drawers for the pieces.

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Speaker 4: Oh my god, and then a.

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Speaker 3: Roll up thing for the mets. So if you it's

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Speaker 3: like a catproof puzzle thing. So now I know it's get.

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Speaker 4: Very into this, although it sounds exactly like something that

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Speaker 4: a cat would be like, Oh it's stage.

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Speaker 3: Oh, thank you for getting me this challenging box that

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Speaker 3: can spend hours destroy.

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Speaker 4: Right now I can project to the back rows. Oh

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Speaker 4: what's stage?

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Speaker 3: Yeah, next thing, you know, Jimmy's just riding it like

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Speaker 3: a zoomba or like a roomba, around the around the room.

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Speaker 3: Just toss it off, puzzle.

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Speaker 4: Put the puzzle table on top of the room. Ba

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Speaker 4: and he's giving like an oratory to the to the

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Speaker 4: dust bunnies.

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Speaker 3: Well, we are going to ask you this question come

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Speaker 3: hell or high water, because I didn't know how to

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Speaker 3: answer it. Millie didn't know how to answer it.

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Speaker 1: I think I have a bad answer for it. But

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Speaker 1: you know, obviously I will refer to our special guests

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Speaker 1: for this.

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Speaker 3: Yeah, but we'll jump in if we if we can.

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Speaker 3: But I don't have I've got nothing, y'all. So our

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Speaker 3: question is the question actually is for for us? It's

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Speaker 3: high million. Danielle. I love, love, love your podcast, and

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Speaker 3: it introduced me to so many fabulous movies. Three Women

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Speaker 3: and Clute was my gateway episode. Every year I host

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Speaker 3: an Easter party that's a bit irreverent. We usually have

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Speaker 3: a double feature with lots of good food and drinks.

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Speaker 3: Past easters, we've screened Brotherhood of the Wolf, The Color Purple,

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Speaker 3: Night of the Comet, Gi Blues, and April Fool's Day.

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Speaker 3: This year, I want to show The Fisher King, but

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Speaker 3: I'm at a loss coming up with another movie to

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Speaker 3: bookend it. What would you suggest, Kathleen? Now two things

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Speaker 3: are sticking out to me, which I love. One, we

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Speaker 3: have a guest who does not celebrate Easter answering this question.

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Speaker 3: And two, it is so far past Easter that this

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Speaker 3: is going to be a next year experiment, so I

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Speaker 3: love all of that.

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Speaker 1: It's like people who celebrate Christmas in in July. What's

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Speaker 1: like the halfway point between Easter? Right, it would be

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Speaker 1: like a Calloween November Eastern November. So don't make me

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Speaker 1: do math, don't make me too mad, don't hold me

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Speaker 1: to that math.

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Speaker 3: Butleen, this will be good for you for next April.

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Speaker 3: I also, I hope, like Kathleen just listed the movies,

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Speaker 3: but I hope that The Color Purple and Night of

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Speaker 3: the comment were a double feature. Secretly in my heart.

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Speaker 1: Okay, I have to ask about an irreverent Easter party,

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Speaker 1: like that's crazy. But then those weren't the double features, right,

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Speaker 1: So she wasn't saying these.

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Speaker 2: Movies in a road to be like, here are the

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Speaker 2: double features? Right?

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Speaker 1: She no, just the first movie, because that list is

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Speaker 1: fucked up. I gotta say, it's a lot of weird

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Speaker 1: shit on that list.

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Speaker 4: It's confusing halfway through the Color Purple to be like,

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Speaker 4: this is still a party at a.

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Speaker 1: Reverend Eastern party with the color purple.

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Speaker 3: Yeah, by the time Oprah's beating Harpo in the streets, like,

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Speaker 3: how do you have room for more cocktails.

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Speaker 4: Than she's I mean, you're defeated.

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Speaker 3: I also know, I don't know about you, Julie, but

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Speaker 3: I am I don't have I'm not like a person

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Speaker 3: who pairs movies with seasonal events or like holidays, right,

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Speaker 3: And I don't know if that's something that you do,

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Speaker 3: Like do you have a specific movie that you watch

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Speaker 3: at a specific time of year?

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Speaker 4: I mean, I think that's a great question. Like I

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Speaker 4: think that I remember watching at least the Mystery Science

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Speaker 4: Theater episode of Santa Claus around Christmas. And then this

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Speaker 4: sounds snotty, but like I like watching The Apartment around

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Speaker 4: Christmas because I think it's one of the well, I

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Speaker 4: don't know, it's a black and white movie, and you

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Speaker 4: want to be like I try to. I try to

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Speaker 4: make my recommendations at least like trash adjacent, because otherwise

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Speaker 4: I feel like I'm being kind of a dingus.

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Speaker 3: But every Christmas I tuck in and watch the Crudes.

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Speaker 4: I mean, that's sort of that's that's what I wish

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Speaker 4: that were closer to what I want my brand to be.

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Speaker 4: But you know, the Apartment to me is such a

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Speaker 4: I just don't think anyone has ever gotten like holiday

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Speaker 4: based suicide like as right as they did on that.

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Speaker 4: Like I just think that was like we just sort

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Speaker 4: of haven't gotten anything quite as real. So so that

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Speaker 4: for sure. But I would also say, like Jesus Christ

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Speaker 4: Superstar is the ultimate Eastern movie. I'm I'm you know,

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Speaker 4: if I were gonna have like an Irreverend Easter party,

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Speaker 4: I would absolutely throw that in there.

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Speaker 3: I cannot agree, could not agree more. I think that

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Speaker 3: that would be tops of the list. And what would

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Speaker 3: you like? We could you? You could pare it with

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Speaker 3: anything Jesus Christ Superstar.

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Speaker 4: Well, Last Temptation of Christ, oh boy, but I would say,

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Speaker 4: you know, like leaning into the word party, I would

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Speaker 4: pair it with Beyond the Valley of the Dolls because

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Speaker 4: I recently learned that Martiall McBroom is one of the

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Speaker 4: dancers in Superstar was a pet and beyond the Valley

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Speaker 4: of the Dolls. So I would just it into like,

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Speaker 4: you know, a McBroom celebration, which I think we should

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Speaker 4: replace Easter with anyway.

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Speaker 1: Absolutely, yeah, I'm with you on.

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Speaker 4: That, Martiall McBroom true you know true icon, true legend,

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Speaker 4: not know that? Yeah? Yeah, yeah.

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Speaker 3: I keep wondering, like, is there a good is company

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Speaker 3: a good movie for any holiday? And why is it

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Speaker 3: for the anniversary of your parents divorce? Wait?

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Speaker 4: Wait is this a question?

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Speaker 3: Yeah, my parents are divorce thought because I thought in

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Speaker 3: the in the form of.

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Speaker 4: A question, like my parents are divorced, which is why

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Speaker 4: they get along because they're both each other's second marriage.

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Speaker 4: Was that the question? Am I doing okay on the

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Speaker 4: show so far? Because I do have that, because I

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Speaker 4: do have an answer to not to like bring it

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Speaker 4: back to Kathleen's It was Kathleen right, Yeah, I mean

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Speaker 4: I as soon as I I know the answer, Like

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Speaker 4: I know the answer. The answer. The answer is Crazy

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Speaker 4: People starring Dudley Moore, Darryl Hannah. Yes, yes, that's the answer,

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Speaker 4: because the Fisher King Danielle loves.

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Speaker 3: I just love that anyone mentioned Dudley Moore in twenty

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Speaker 3: twenty two.

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Speaker 4: That's why he's a guest. This is why you're like crazy.

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Speaker 4: Crazy People takes what the Fisher King did and brings

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Speaker 4: it to this, like, oh, you want to make fund

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Speaker 4: of mentally ill people, like let's go, let's go. You

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Speaker 4: think they're just magical and quirky, Well they can also

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Speaker 4: like sell products. I mean you you are familiar with

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Speaker 4: crazy people?

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Speaker 3: Oh yeah, okay, oh yeah, yeah, No, I'm laughing because

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Speaker 3: it is actually a perfect answer. Yeah, it's because this

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Speaker 3: is this is a family party. Also, I'm assuming it's

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Speaker 3: like mostly family, maybe a couple of friends.

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Speaker 4: I don't care if children are there, they're they're gonna

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Speaker 4: have to learn about crazy people at some point. The

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Speaker 4: premise of Crazy People, Daniel, would you like to explain

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Speaker 4: the premise.

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Speaker 3: Of Crazy People? No, please take Billy.

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Speaker 4: Have you seen Crazy People? I have not.

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Speaker 3: Actually, so you're coming to Easter. You're coming to Easter

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Speaker 3: next year.

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Speaker 4: Crazy People is about Dudley Moore, who is an ad

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Speaker 4: executive who goes through, like I believe, he goes through

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Speaker 4: some sort of midlife crisis. So he ends up in

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Speaker 4: a mental institution, and while he's there, he learns that

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Speaker 4: like mentally ill people who are in you know, psychiatric

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Speaker 4: hospitals are the best copywriters because they just say exactly

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Speaker 4: what the thing is. So there's an ad for a

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Speaker 4: horror movie and they'll be like, it won't just scare you,

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Speaker 4: it'll fuck you up for life. And I don't remember

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Speaker 4: if this was a joke in it, but it was

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Speaker 4: something like pepsi fuck coke or whatever. It was like,

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Speaker 4: it was just like, very very blunt ad copy was

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Speaker 4: the entire game of that movie. And it turns out

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Speaker 4: they were really good at it. And the reason why

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Speaker 4: I think I think about that movie all the time

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Speaker 4: is because there's a scene where Dudley Moore goes home

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Speaker 4: and like the mental patients have lost their mojo and

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Speaker 4: they still have to come up with pitches and they

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Speaker 4: pitch to the executives of Sony Electronics.

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Speaker 3: Do you know this scene?

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Speaker 4: Danielle I showed this clip it like how was your week? Life?

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Speaker 4: So they're like they're completely catatonic. There's the you know,

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Speaker 4: the idea being that they're all like, you know, not

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Speaker 4: doing well, and so they're making this presentation to the

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Speaker 4: like president of Sony, and the one of the patients

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Speaker 4: goes Sony and then they turn a page and it's

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Speaker 4: a picture of a skeleton. He goes bony, the idea

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Speaker 4: being that that's not a good ad, but in retrospect.

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Speaker 3: That is the best ad I've ever It's per it's

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Speaker 3: I mean, I'm all, I'm buying Sony for life slip

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Speaker 3: from that movie alone. Oh that movie is such a

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Speaker 3: great suggestion.

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Speaker 4: So anyway, Yeah, so Fisher King. I actually saw Fisher

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Speaker 4: King for the first time recently. I had like a

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Speaker 4: a Terry Gilliam, like one, not one eighty, like i'd say,

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Speaker 4: like two sixty, because I still kind of find him

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Speaker 4: like I'm getting better as I get older, like straddling

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Speaker 4: my relationship to things that I still believe or suspect

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Speaker 4: her in bad taste. And I think Terry Gilliam's like

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Speaker 4: sense of humor is definitely that, Like, I think that

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Speaker 4: there are some certain things he does, like, you know,

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Speaker 4: so so beautifully. But I'm just always like, having grown

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Speaker 4: up with Monty Python, I was always sort of repelled

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Speaker 4: by all the wide angle lens and all the grotesqueries

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Speaker 4: of like, you know, women's bodies and then like, you know,

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Speaker 4: look at this like woman who's you know, not skinny

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Speaker 4: in a wide angle lens, and isn't that fascinating and funny?

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Speaker 4: And it took me a while to like, you know,

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Speaker 4: get into or like enjoy Brazil. And then I was like, oh, okay,

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Speaker 4: I dig Brazil. I saw Time Bandits, I was like eh.

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Speaker 4: And then Fisher King, I thought there's there's definitely things

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Speaker 4: in it that are you know, really great, and then

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Speaker 4: they're are other things that are you know, super cringey.

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Speaker 4: But but he's a he's a strong flavor, like he's

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Speaker 4: like you know, Frank Zappa or like Forbidden Zone, which

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Speaker 4: are like very very they're they're you know, you're you're

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Speaker 4: like whether or not I'm enjoying this, I can't say

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Speaker 4: it's good or whether it's good, I can't say I'm

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Speaker 4: enjoying this. But but there is a matter of like

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Speaker 4: taste to straddle, and especially with matters of like homelessness,

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Speaker 4: mental illness, you know, like random acts of violence. Like

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Speaker 4: he's not the most sensitive. It's it's gonna be it's

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Speaker 4: gonna be glib. So my relationship with this movie is

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Speaker 4: sort of like Nation, but it's also forming I am.

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Speaker 3: We're both big fans of Million and I of like

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Speaker 3: going back and rewatching things, and so I'm I'm really

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Speaker 3: interested that you saw The Fisher King for the first time,

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Speaker 3: but that you're kind of revisiting Terry Gilliam's work as

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Speaker 3: a whole genre onto itself.

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Speaker 4: Yeah, because you're.

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Speaker 3: Right, like you have you kind of form, Like my

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Speaker 3: opinion of him was never really solid because it was

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Speaker 3: kind of like I did the same thing where I

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Speaker 3: would pick and choose a movie here and there and think, well,

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Speaker 3: it's good or it made me think or I don't know,

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Speaker 3: but maybe it's just maybe it's me because everyone loves

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Speaker 3: his stuff. But I think that that's You're absolutely right,

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Speaker 3: Like that's a movie that I'm really curious as to

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Speaker 3: whether or not it holds up, so to speak, because

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Speaker 3: it really he's not trying to be sensitive at any

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Speaker 3: moment in time that he's making films.

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Speaker 4: But that's what Robin Williams is there for, Like he's

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Speaker 4: there to be the human being and that scene with

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Speaker 4: the with the date, where the four of them are

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Speaker 4: on that date is really that is really moving. So

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Speaker 4: but there is something to like Robin Williams will do

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Speaker 4: the legwork of actually having like the beating human heart

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Speaker 4: at the center of this, you know, wildly, you know,

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Speaker 4: misanthropic like farce about you know, how people are basically

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Speaker 4: garbage and it is. It is very cartoonish. But you know,

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Speaker 4: Robin Williams man, like that guy is the beating heart

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Speaker 4: in front of the camera.

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Speaker 3: I'm going to rewatch it because let me tell you

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Speaker 3: that my grandmother, who again fully has dementia, is like

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Speaker 3: has great days. She loves going back to things that

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Speaker 3: she's already seen. I cannot tell you how many times

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Speaker 3: over the past couple of months we've watched Missus Doubtfire

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Speaker 3: and it's it's like the first time every time she

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Speaker 3: sees it. And then we'll start watching and she'll see

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Speaker 3: Harvey Fire seen and be like, oh, this is that movie,

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Speaker 3: and I'm like, yes, it's still that movie.

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Speaker 4: Yeah.

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Speaker 3: But she loves Robin Williams, and I think it's for

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Speaker 3: that reason that he does something connective in his work.

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Speaker 4: Yeah, he's a really soulful person and a really soulful actor.

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Speaker 4: He's what do you think of that movie, Millie? What

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Speaker 4: do you think of of Terry Gilliam?

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Speaker 1: Well, you know, I actually haven't seen The Fisher King.

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Speaker 1: I guess since probably the nineties, yeah, because it came

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Speaker 1: out in like ninety one or something, so it's been

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Speaker 1: a long time. But I to that end though, to

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Speaker 1: what you guys are just talking about about an actor

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Speaker 1: who is able to make a slightly problematic role slash

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Speaker 1: film like a little bit more palpable or something like.

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Speaker 1: I think Robert Williams is actually like a perfect example

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Speaker 1: of somebody who does that pretty well. Because I just

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Speaker 1: watched I rewatched I think we talked about this in

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Speaker 1: a couple episodes ago, but I just rewatched The Bird

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Speaker 1: Cage and the movie.

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Speaker 2: There's this I mean, but there's.

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Speaker 1: This thing where you're going like, oh, well here, you know,

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Speaker 1: you have this like Straits's actor who's playing a gay

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Speaker 1: role in that you know, we're starting to talk about

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Speaker 1: that a little bit more now, but his his role

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Speaker 1: in that movie is so good, Like he's so thoughtful

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Speaker 1: and complicated, you know what I mean, And he has

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Speaker 1: this like he's he's like not because I think that

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Speaker 1: everybody sees that his whole like Madonna Madonna part and thinks,

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Speaker 1: oh that's him.

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Speaker 2: He's just doing his thing.

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Speaker 1: But when you like actually sit down and watch that movie,

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Speaker 1: You're like, man, he's like really good in that, Like

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Speaker 1: he's dramatic and he's thoughtful, and you know, he's like

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Speaker 1: sad uh, And I just like I really started to think,

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Speaker 1: Like I mean, I've always thought this because I've loved

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Speaker 1: Robin Williams forever, but I'm just saying, like, after I

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Speaker 1: saw it again, I was like.

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Speaker 3: Wow, you know, yeah, he was something else. So what

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Speaker 3: we're saying, Kathleen is double feature What Dreams May Come

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Speaker 3: and Patch Adams. You can't go wrong.

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Speaker 4: Well, listen, I actually, okay, I've never seen Patch Adams.

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Speaker 1: Patch Adams now that I actually haven't seen, and that

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Speaker 1: happened around the same time. Did that happen around the

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Speaker 1: same time as Good Morning Vietnam?

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Speaker 2: Or am My Making No No?

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Speaker 3: Good Morning?

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Speaker 4: Was much earlier? Much? Okay earlier at least?

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Speaker 1: Okay, I don't know why I thought that movie came

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Speaker 1: out a lot earlier than it actually did.

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Speaker 3: I'm gonna change my answer from Patch Adams to Awakenings

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Speaker 3: much better. Robin Williams in the Hospital.

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Speaker 1: Okay, maybe that's the movie I'm thinking of. It's Awakenings

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Speaker 1: and Patch Adams.

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Speaker 4: What about Jacob the liar for going full a Jacob

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Speaker 4: This is weird, Jacob Yer, life is beautiful, The boy

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Speaker 4: and the striped pajamas just all.

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Speaker 3: All just like wait, what, like no one's ever coming

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Speaker 3: to Easter again? And I love it.

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Speaker 4: But Billie, you were gonna say something that's exactly how

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Speaker 4: to be like more hard boiled eggs for me? No.

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Speaker 3: No.

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Speaker 1: I was like thinking, oh, what movie could actually go

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Speaker 1: with this, this Fisher King thing? And I was like,

404
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Speaker 1: and I haven't seen this literally since.

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Speaker 2: It came out, so I have no idea if it

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Speaker 2: actually fits.

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Speaker 1: But that movie Dawn Juan to Marco, do you remember

408
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Speaker 1: when that movie came out with Brando.

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Speaker 4: Absolutely brand and Depp who's wrongly accused on trial and

410
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Speaker 4: I pray for him every minute and I've been watching

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Speaker 4: the live stream and what is his accent? I'm obsessed with.

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Speaker 2: I was watching it today like what is?

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Speaker 4: I am obsessed.

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Speaker 3: I was at a writer's room and the show runner

415
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Speaker 3: this couple of years ago, and the showrunner had this

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Speaker 3: running joke where we tried to get into the show

417
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Speaker 3: it never got into the show about Johnny Depp's smelly

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Speaker 3: rings and like his hand must smell.

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Speaker 4: Or a god, those like those those gummy bracelets, and

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Speaker 4: well I thought he was completely bald because that's why

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Speaker 4: he wore like seventy five you know, like headcover. He

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Speaker 4: would wear a scar and a hat and a cap,

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Speaker 4: you know, and a bonnet and went full of Brett Michaels. Yeah, totally,

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Speaker 4: totally and anyway, but yes, Don Juan de Marco is

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Speaker 4: very important. It's a very important, like colorful mental like

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Speaker 4: who are the real inmates? You know? Maybe weird are

427
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Speaker 4: the crazy ones? Like maybe the man with imagination is

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Speaker 4: the same one. You know.

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Speaker 3: I don't think i've seen this movie.

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Speaker 2: I don't think you'll you'll remember when I tell you

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Speaker 2: that it was.

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Speaker 1: It had a slammin jammin hit from Brian Adams and

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Speaker 1: it was kind of this like Spanish flamenco guitar song

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Speaker 1: and it was like.

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Speaker 2: Tell me if you yes.

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Speaker 3: All right, I know the song. I don't know. The movie.

437
00:22:18,920 --> 00:22:24,399
Speaker 4: Well, it's crazy, you have to see it. Basically, Johnny

438
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Speaker 4: Depp is in a mental institution because he thinks he's

439
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Speaker 4: Don Juan, and then I think by the end, you're like,

440
00:22:30,800 --> 00:22:33,840
Speaker 4: isn't he though I think that's the premise, and I

441
00:22:33,840 --> 00:22:36,439
Speaker 4: forget is Marlon Brando. What is his role in.

442
00:22:36,480 --> 00:22:41,000
Speaker 1: His He's his psychiatrist. Brando plays a psychiatrist.

443
00:22:41,119 --> 00:22:44,120
Speaker 4: You imagine checking into an institution. You're at your lowest.

444
00:22:44,760 --> 00:22:47,240
Speaker 4: They jack you up on medication. All you're eating is

445
00:22:47,280 --> 00:22:50,840
Speaker 4: apple sauce. They take away your socks. You've got a

446
00:22:50,920 --> 00:22:53,040
Speaker 4: rubber blanket. You have you have a rubber blanket. You

447
00:22:53,080 --> 00:22:56,800
Speaker 4: can't tie your hair up with anything. And then all

448
00:22:56,840 --> 00:22:58,560
Speaker 4: of a sudden, they're like, okay, it's time for you

449
00:22:58,600 --> 00:23:06,359
Speaker 4: to meet your doctor. And then you hear like goode

450
00:23:09,320 --> 00:23:11,520
Speaker 4: and then he like lifts his head because it's just

451
00:23:11,560 --> 00:23:13,600
Speaker 4: all you see is a hat, and he like lifts

452
00:23:13,640 --> 00:23:20,960
Speaker 4: his head up and he's like, I mean that in

453
00:23:21,080 --> 00:23:23,440
Speaker 4: its own they shouldn't even be called Don vant de Marco,

454
00:23:23,600 --> 00:23:29,080
Speaker 4: be called Marlon Brando, Marlon Brando the Psychologist. So crazy.

455
00:23:30,280 --> 00:23:32,440
Speaker 3: If that was how that movie was marketed, I would

456
00:23:32,520 --> 00:23:33,640
Speaker 3: have seen it true.

457
00:23:33,840 --> 00:23:36,040
Speaker 4: It would be great if he played like doctor Moreau,

458
00:23:36,200 --> 00:23:38,800
Speaker 4: like as a crossover, like doctor Moreau got a job,

459
00:23:38,800 --> 00:23:43,960
Speaker 4: and it's like, yahchip word now absolutely finally got totally.

460
00:23:44,160 --> 00:23:46,040
Speaker 3: We got him off that island. We got him off

461
00:23:46,080 --> 00:23:46,480
Speaker 3: the island.

462
00:23:46,480 --> 00:23:48,399
Speaker 4: You guys have seen that documentary about the making of

463
00:23:48,440 --> 00:23:53,280
Speaker 4: the Island of Doctor Moreau. Yeah, okay, oh yeah, oh yeah.

464
00:23:53,480 --> 00:23:55,160
Speaker 4: Why are men allowed to wake movies?

465
00:23:56,440 --> 00:23:57,480
Speaker 2: That's what I keep saying.

466
00:23:58,600 --> 00:24:00,800
Speaker 3: Listen. I mentioned this a couple of weeks ago. But

467
00:24:00,880 --> 00:24:04,200
Speaker 3: like every winter, I just fall winter is for mis injury.

468
00:24:04,240 --> 00:24:07,479
Speaker 3: I just fall into it every winter naturally, just like

469
00:24:07,520 --> 00:24:11,240
Speaker 3: my seasonal depression. And I just don't understand why why

470
00:24:11,280 --> 00:24:12,960
Speaker 3: we let men do anything, truly.

471
00:24:13,040 --> 00:24:16,000
Speaker 4: Anything, what I would do for seasonal depression.

472
00:24:18,400 --> 00:24:22,520
Speaker 3: It's stacked. It's like a It's like, okay, so it's

473
00:24:22,560 --> 00:24:26,159
Speaker 3: like the Graham Cracker depression base is always there. But

474
00:24:26,200 --> 00:24:29,639
Speaker 3: then I you know, around October ad little chocolate that

475
00:24:29,760 --> 00:24:31,880
Speaker 3: around December here comes to Marshalls.

476
00:24:31,880 --> 00:24:39,720
Speaker 4: Okay, okay, I have well seasoned depression, missus dash dash depression.

477
00:24:40,200 --> 00:24:45,080
Speaker 3: My depression is like Old Bay goes with everything Old Bay's.

478
00:24:45,880 --> 00:24:48,480
Speaker 4: I'm trying to think of other like quirky mental patients

479
00:24:48,640 --> 00:24:50,639
Speaker 4: because I never saw Benny in June. But is that

480
00:24:50,680 --> 00:24:52,000
Speaker 4: another like Johnny Depp?

481
00:24:52,000 --> 00:24:55,880
Speaker 3: Oh he's crazy, but is he that he thinks he's

482
00:24:55,920 --> 00:24:56,679
Speaker 3: Buster Keaton?

483
00:24:58,840 --> 00:25:02,320
Speaker 1: Yeah, because the the rolls and the forks.

484
00:25:02,440 --> 00:25:03,680
Speaker 2: Yes, I remember this.

485
00:25:04,240 --> 00:25:08,879
Speaker 4: Oh god, how precious, how ninety that nineties nineties tweet

486
00:25:09,000 --> 00:25:10,760
Speaker 4: like very early tweet.

487
00:25:11,960 --> 00:25:14,679
Speaker 3: It's it was two he was He's on a swing

488
00:25:14,840 --> 00:25:17,640
Speaker 3: going past a window in slow motion with the hair.

489
00:25:17,720 --> 00:25:21,080
Speaker 4: It's almost like tim Burton Tweed, not you know, like

490
00:25:21,160 --> 00:25:24,040
Speaker 4: westym Because I was we were talking about Terry Gilliam.

491
00:25:24,040 --> 00:25:27,960
Speaker 4: I'm like, if someone said, I'm going to show you

492
00:25:28,000 --> 00:25:31,000
Speaker 4: like a Terry Gilliam movie or a Wes Anderson movie,

493
00:25:31,400 --> 00:25:34,359
Speaker 4: either way you're going to be you know, in someone

494
00:25:34,359 --> 00:25:37,440
Speaker 4: else's head that it's just very very specific about his work.

495
00:25:37,480 --> 00:25:40,880
Speaker 4: But I guess it depends on, like, you know, what

496
00:25:40,920 --> 00:25:43,320
Speaker 4: you're in the mood for. But lately I would probably

497
00:25:43,359 --> 00:25:46,639
Speaker 4: take Gilliam, if only because I don't know, like, at

498
00:25:46,720 --> 00:25:50,200
Speaker 4: least there's I don't know, there's a it's a different

499
00:25:50,280 --> 00:25:53,800
Speaker 4: kind of horrible. I guess not that miss Anderson is horrible.

500
00:25:53,840 --> 00:25:55,280
Speaker 4: There's a couple of movies I really like, but I

501
00:25:55,280 --> 00:25:57,119
Speaker 4: didn't see his new one because it just seems so

502
00:25:57,160 --> 00:25:59,919
Speaker 4: Anon Dyne, I do I hate.

503
00:25:59,800 --> 00:26:01,880
Speaker 1: To say, and I like I put it on and

504
00:26:02,080 --> 00:26:04,080
Speaker 1: I was texting within.

505
00:26:04,119 --> 00:26:05,000
Speaker 4: Yeah ten nights.

506
00:26:05,560 --> 00:26:08,000
Speaker 3: Yeah, it's just like they just switch out the players.

507
00:26:08,000 --> 00:26:11,520
Speaker 3: But it's the same story. So whoever, like Timothy Challoma

508
00:26:11,640 --> 00:26:12,560
Speaker 3: is in it now because.

509
00:26:12,359 --> 00:26:15,679
Speaker 4: He's hot, and then it's just what is think of

510
00:26:15,760 --> 00:26:17,160
Speaker 4: Timothy shallamaye? Do you like him?

511
00:26:17,560 --> 00:26:20,440
Speaker 3: I'm I'm not. I'm not of the age group.

512
00:26:20,480 --> 00:26:23,040
Speaker 4: Remember when I got more popcorn when we saw that movie?

513
00:26:23,240 --> 00:26:24,359
Speaker 3: Okay, one of my fama.

514
00:26:24,400 --> 00:26:25,760
Speaker 4: Really do you know this story?

515
00:26:26,280 --> 00:26:31,840
Speaker 3: No? I have several favorite stories about hanging out with Julie, naturally,

516
00:26:32,640 --> 00:26:35,560
Speaker 3: but top of the list for many years now, it

517
00:26:35,640 --> 00:26:36,760
Speaker 3: has yet to be beaten.

518
00:26:37,720 --> 00:26:42,200
Speaker 4: Went we went to see Call Me by Your Name

519
00:26:45,760 --> 00:26:47,280
Speaker 4: about a half an hour.

520
00:26:47,200 --> 00:26:50,919
Speaker 3: Before the movie ends less, Julie looked over at me, Oh,

521
00:26:50,920 --> 00:26:54,879
Speaker 3: I'm going to get popcorn and she gets up. No,

522
00:26:55,480 --> 00:26:58,280
Speaker 3: actually it was I'm going to the bathroom. I was like, okay,

523
00:26:58,560 --> 00:27:03,320
Speaker 3: and then she comes back with popcord like ten minutes later, and.

524
00:27:03,240 --> 00:27:07,520
Speaker 4: I'm like, the movie's ending. She missed the crying scene.

525
00:27:08,960 --> 00:27:11,120
Speaker 2: Dad, Yeah, I know. I came back.

526
00:27:11,160 --> 00:27:13,520
Speaker 3: I came back like right at that.

527
00:27:13,560 --> 00:27:16,080
Speaker 4: Michael Stolberg Michael Stolberg.

528
00:27:16,040 --> 00:27:18,000
Speaker 3: Yeah, he was doing his monologue.

529
00:27:18,000 --> 00:27:21,119
Speaker 4: I was like launch and then the credits came up

530
00:27:21,160 --> 00:27:24,760
Speaker 4: and I was like, I love that.

531
00:27:25,600 --> 00:27:28,560
Speaker 3: It was the best movie going moment of my life.

532
00:27:28,640 --> 00:27:30,360
Speaker 4: So boring. I was so bored.

533
00:27:30,640 --> 00:27:34,120
Speaker 3: I'm like, oh my god, just funk already or something

534
00:27:34,240 --> 00:27:37,720
Speaker 3: my dad because I peede and I was like, oh

535
00:27:37,760 --> 00:27:40,760
Speaker 3: my god. Yeah, she was gone for like ten minutes.

536
00:27:40,760 --> 00:27:43,159
Speaker 3: I'm like, but she was like like just wandering around

537
00:27:43,160 --> 00:27:43,920
Speaker 3: a lot.

538
00:27:44,200 --> 00:27:46,760
Speaker 4: I wouldn't have done that. I wouldn't have done that

539
00:27:46,800 --> 00:27:48,960
Speaker 4: to you. But yeah, no, he's he's a he's not

540
00:27:49,040 --> 00:27:50,560
Speaker 4: my type. I'm not I'm not.

541
00:27:51,119 --> 00:27:56,440
Speaker 1: No, Listen, you know me, Like I talk about Stacy

542
00:27:56,520 --> 00:27:59,800
Speaker 1: Keach as a heart drown there's no way law may

543
00:28:00,600 --> 00:28:01,320
Speaker 1: on the radar.

544
00:28:01,440 --> 00:28:03,240
Speaker 2: It's just not possible.

545
00:28:04,119 --> 00:28:06,159
Speaker 1: And good for him and for the p and for

546
00:28:06,200 --> 00:28:07,639
Speaker 1: the kids, you know, but for me.

547
00:28:08,400 --> 00:28:10,919
Speaker 3: No, you know, well, we've already been there. We've already

548
00:28:10,920 --> 00:28:13,600
Speaker 3: had that, that crush, that like weird art guy crush.

549
00:28:13,640 --> 00:28:16,960
Speaker 3: We've already done it. I don't need another version of that. Yeah,

550
00:28:17,000 --> 00:28:19,440
Speaker 3: but I also, look, I want to say, since night

551
00:28:19,440 --> 00:28:21,840
Speaker 3: of the comment came up in Kathleen's email.

552
00:28:21,720 --> 00:28:23,200
Speaker 4: I don't know Night of the comment. Let me look

553
00:28:23,240 --> 00:28:23,520
Speaker 4: it up.

554
00:28:23,680 --> 00:28:27,080
Speaker 3: Oh okay, we're gonna have so when you come up

555
00:28:27,080 --> 00:28:28,840
Speaker 3: to visit, we're gonna have a night of the comment.

556
00:28:28,920 --> 00:28:32,320
Speaker 3: Benny and June, what this.

557
00:28:32,280 --> 00:28:36,960
Speaker 4: Sounds like a threat? Oh, Valley girls and cannibal zombies. Okay, fun,

558
00:28:37,240 --> 00:28:39,080
Speaker 4: it could be unless it's really sexist.

559
00:28:39,880 --> 00:28:43,200
Speaker 3: It's eighties and it's not as sexist as you would

560
00:28:43,240 --> 00:28:44,840
Speaker 3: think for an eighties film.

561
00:28:45,080 --> 00:28:47,200
Speaker 4: Right, It's not like Amazon Women on the Moon.

562
00:28:47,400 --> 00:28:49,800
Speaker 3: No, no, and they're kind of the Night of the

563
00:28:49,840 --> 00:28:53,760
Speaker 3: comment ps is the only movie I have ever said

564
00:28:53,760 --> 00:28:56,080
Speaker 3: to my agent who owns the rights to.

565
00:28:56,080 --> 00:29:01,040
Speaker 4: That for you, good for you, and it's some And

566
00:29:00,680 --> 00:29:04,120
Speaker 4: the answer is, yeah, the guy at seven eleven or

567
00:29:04,560 --> 00:29:08,040
Speaker 4: exactly some guy down the road. But I do think that,

568
00:29:08,120 --> 00:29:11,120
Speaker 4: like I like the schlocky kind of super fun I'm

569
00:29:11,160 --> 00:29:14,680
Speaker 4: looking at the Wikipedia. This looks like this looks like

570
00:29:14,720 --> 00:29:16,200
Speaker 4: a This looks like a who.

571
00:29:16,240 --> 00:29:20,040
Speaker 3: This looks like a party movie completely, So I feel

572
00:29:20,040 --> 00:29:23,320
Speaker 3: like that's also a good avenue to go down for Kathleen.

573
00:29:23,440 --> 00:29:23,760
Speaker 1: Is like.

574
00:29:25,200 --> 00:29:29,680
Speaker 3: Any more schlocky kind of horror movie suggestions?

575
00:29:30,200 --> 00:29:32,360
Speaker 2: Well, you know, I don't know this. I feel like

576
00:29:32,440 --> 00:29:33,520
Speaker 2: this was tough.

577
00:29:33,800 --> 00:29:36,120
Speaker 1: She might have to get a little experimental with her

578
00:29:36,160 --> 00:29:39,120
Speaker 1: double features, especially a pair with the Fisher King. I

579
00:29:39,160 --> 00:29:42,040
Speaker 1: will say she might have to, you know, take a

580
00:29:42,240 --> 00:29:44,160
Speaker 1: take a back door for a double feature.

581
00:29:44,320 --> 00:29:47,440
Speaker 3: We've got a whole year to check in and to

582
00:29:47,440 --> 00:29:49,760
Speaker 3: come up with more suggestions. So if we think of more.

583
00:29:49,840 --> 00:29:50,520
Speaker 3: We'll let you know.

584
00:29:50,600 --> 00:29:56,440
Speaker 4: But Jeff Jeff Bridges Mercedes Rule won the Oscar for it, right, Yeah,

585
00:29:56,480 --> 00:30:03,040
Speaker 4: She's incredible and Jeff Bridges is amazing in it. He also,

586
00:30:03,080 --> 00:30:04,920
Speaker 4: I'm trying to think of other connective tissue, like he

587
00:30:05,000 --> 00:30:08,880
Speaker 4: plays a shock jock. I don't think talk radio should

588
00:30:08,920 --> 00:30:13,760
Speaker 4: be paired with anything more than yeah, my crush on.

589
00:30:13,920 --> 00:30:16,360
Speaker 4: As there goes and gets older, he is just getting

590
00:30:16,440 --> 00:30:19,320
Speaker 4: hotter by this. Oh my god, have you he looks?

591
00:30:20,240 --> 00:30:21,680
Speaker 4: Oh my god.

592
00:30:21,640 --> 00:30:27,320
Speaker 3: Who could not handle that moment? So hot? He's definitely

593
00:30:27,320 --> 00:30:30,520
Speaker 3: growing into that face and head right now. He is growing.

594
00:30:30,680 --> 00:30:34,400
Speaker 4: Oh my, same with them, Hugh Grant. As he gets older,

595
00:30:34,480 --> 00:30:38,840
Speaker 4: he grows out of his like boyish. Yes, But yeah,

596
00:30:38,880 --> 00:30:40,600
Speaker 4: I'm trying to think of other I mean, there's pump

597
00:30:40,680 --> 00:30:44,200
Speaker 4: up the volume obviously, like other like radio movies, radio

598
00:30:44,520 --> 00:30:45,960
Speaker 4: DJ movies or.

599
00:30:46,000 --> 00:30:47,400
Speaker 2: What's that Dolly parton one?

600
00:30:47,760 --> 00:30:52,160
Speaker 4: Straight straight talk talk, James Woods, just watch straight talk?

601
00:30:52,800 --> 00:30:55,719
Speaker 2: Why not you know what radio radio? Double?

602
00:30:56,040 --> 00:30:59,360
Speaker 4: I retract. I retract my answer completely. You should absolutely

603
00:30:59,400 --> 00:31:00,040
Speaker 4: watch straight.

604
00:31:02,960 --> 00:31:04,640
Speaker 3: I just like how the three of us said it

605
00:31:04,680 --> 00:31:07,280
Speaker 3: in Unison, like there was it's always on the mind.

606
00:31:07,400 --> 00:31:10,480
Speaker 3: Apparently straight talk is always right, there.

607
00:31:10,680 --> 00:31:13,800
Speaker 4: Is such an important movie, truly crucial.

608
00:31:14,240 --> 00:31:16,000
Speaker 3: And what's that one she did with Queen Latifa?

609
00:31:16,920 --> 00:31:17,880
Speaker 4: Like what about the choir?

610
00:31:18,520 --> 00:31:21,480
Speaker 3: Yeah? Show that one as an extra for anyone who's

611
00:31:21,520 --> 00:31:25,480
Speaker 3: left after you show Fisher King and straight talk, who's left?

612
00:31:26,120 --> 00:31:28,360
Speaker 3: Give them a little Queen Latifa Dolly moment?

613
00:31:29,200 --> 00:31:31,560
Speaker 1: Julie, do you watch double features? Like what if you

614
00:31:31,640 --> 00:31:33,880
Speaker 1: were to like program like a perfect double feature?

615
00:31:34,440 --> 00:31:38,719
Speaker 4: Oh gosh, I mean I would listen. One of the

616
00:31:38,840 --> 00:31:40,800
Speaker 4: one of the things I love most about your show

617
00:31:40,960 --> 00:31:43,120
Speaker 4: is the curation of it. Like I think that it's

618
00:31:43,160 --> 00:31:48,600
Speaker 4: such an exciting, sexy like project to pair things. I

619
00:31:48,600 --> 00:31:52,480
Speaker 4: think it's so cool and interesting. I will say, depending

620
00:31:52,480 --> 00:31:54,920
Speaker 4: on what mooda I'm in, sometimes like two movies is

621
00:31:55,280 --> 00:31:58,480
Speaker 4: too many, But I will also you know, there is

622
00:31:58,480 --> 00:32:01,760
Speaker 4: something like magnificent when you're in that like mid to

623
00:32:01,840 --> 00:32:07,360
Speaker 4: late eighties like Spot those are those are if ninety

624
00:32:07,360 --> 00:32:10,160
Speaker 4: minutes like they are? They are short and sweet. So

625
00:32:11,720 --> 00:32:15,320
Speaker 4: I'm I don't know, like, is there is there something

626
00:32:15,360 --> 00:32:18,240
Speaker 4: to pair with mannikin that's just straight horror?

627
00:32:18,680 --> 00:32:21,000
Speaker 2: Like oh wait, you said mannequin?

628
00:32:21,520 --> 00:32:24,440
Speaker 4: Yeah, Like, is aren't there like mannequin horror movies? Or

629
00:32:24,480 --> 00:32:26,160
Speaker 4: shouldn't shouldn't there be more if there are?

630
00:32:26,320 --> 00:32:28,520
Speaker 1: Isn't there like a Nowar movie where there's a bunch

631
00:32:28,520 --> 00:32:29,200
Speaker 1: of mannequins?

632
00:32:29,240 --> 00:32:30,760
Speaker 2: Is that? Is it a Kubrick movie?

633
00:32:30,800 --> 00:32:33,600
Speaker 4: I think it's literally called mannikin Yeah, from like the thirties.

634
00:32:34,160 --> 00:32:36,840
Speaker 1: But there's also that's that one Kubrick movie where there's

635
00:32:36,840 --> 00:32:40,080
Speaker 1: that like scene of the the guy's fighting in the

636
00:32:40,120 --> 00:32:42,520
Speaker 1: mannequin section of like the department store.

637
00:32:42,560 --> 00:32:43,040
Speaker 3: Oh, I don't know.

638
00:32:43,120 --> 00:32:44,160
Speaker 4: Is that that's not the killing?

639
00:32:44,280 --> 00:32:44,600
Speaker 3: Is it?

640
00:32:44,960 --> 00:32:45,920
Speaker 2: Maybe it's the killing?

641
00:32:46,160 --> 00:32:48,040
Speaker 1: I think it's the killing her killers kiss one are

642
00:32:48,080 --> 00:32:52,200
Speaker 1: the I feel like d I don't know, Maybe maybe.

643
00:32:52,000 --> 00:32:56,680
Speaker 3: I got killers kiss Casey, Casey, thank you? Yes, yes,

644
00:32:57,320 --> 00:32:59,360
Speaker 3: And I of course thought you were thinking of mannequin

645
00:32:59,560 --> 00:33:02,040
Speaker 3: like Meshak Taylor manager.

646
00:33:02,040 --> 00:33:05,040
Speaker 4: I am, oh, I'm saying, what would pair with it?

647
00:33:05,120 --> 00:33:08,840
Speaker 4: What horror movie could we pair with it? I mean,

648
00:33:08,880 --> 00:33:11,640
Speaker 4: I know there's that Twilight Zone episode where like the

649
00:33:11,640 --> 00:33:13,440
Speaker 4: the mannequins come to life once a year?

650
00:33:13,600 --> 00:33:16,880
Speaker 2: Oh my god? Have you did you guys ever watch that?

651
00:33:17,080 --> 00:33:21,040
Speaker 1: Did you ever see that movie that Molly Ringwald and

652
00:33:21,040 --> 00:33:23,280
Speaker 1: Andrew McCarthy made after Pressure Courses?

653
00:33:23,800 --> 00:33:26,280
Speaker 2: Yes? Yeah, yeah you saw that?

654
00:33:27,000 --> 00:33:29,520
Speaker 1: That was like that to me is like a dark

655
00:33:29,680 --> 00:33:32,480
Speaker 1: Andrew McCarthy role, and I was like, hmm, that'd be

656
00:33:32,480 --> 00:33:37,480
Speaker 1: interesting to have this like really bubbly and McCarthy in

657
00:33:37,560 --> 00:33:40,920
Speaker 1: Mannequin paired with this like role where he's like.

658
00:33:41,080 --> 00:33:45,280
Speaker 4: He can do it all. He's really good. Yeah, he's

659
00:33:45,320 --> 00:33:46,680
Speaker 4: a dream boat.

660
00:33:47,000 --> 00:33:49,800
Speaker 3: I have loved this film. You're you're going to, I think,

661
00:33:49,840 --> 00:33:53,160
Speaker 3: appreciate our double future for next week. You can count

662
00:33:53,200 --> 00:33:54,600
Speaker 3: on me and basket Case.

663
00:33:55,240 --> 00:33:55,440
Speaker 4: Oo.

664
00:33:56,720 --> 00:33:59,400
Speaker 3: I am just I'm so grateful for you for coming

665
00:33:59,440 --> 00:34:01,520
Speaker 3: on and helping us answer this question.

666
00:34:01,720 --> 00:34:05,440
Speaker 4: I'm delighted to be here and I am just just

667
00:34:05,760 --> 00:34:09,160
Speaker 4: always excited to talk to you ladies about anything and everything,

668
00:34:09,200 --> 00:34:10,040
Speaker 4: movies included.

669
00:34:10,440 --> 00:34:12,480
Speaker 3: Well, we're gonna have you back, that is for sure,

670
00:34:12,680 --> 00:34:15,960
Speaker 3: and I can't wait for the next Timothy shallow May movie.

671
00:34:16,000 --> 00:34:18,040
Speaker 3: We'll all get together and go out.

672
00:34:17,920 --> 00:34:20,319
Speaker 4: For a full meal before the end of the before

673
00:34:20,320 --> 00:34:21,880
Speaker 4: the credits come up. But let's think about that. What

674
00:34:21,960 --> 00:34:24,240
Speaker 4: is the perfect mannequin pairing? This is what I opposed

675
00:34:24,280 --> 00:34:27,000
Speaker 4: to the audience. What would go well with that movie?

676
00:34:27,040 --> 00:34:32,239
Speaker 4: That is appropriately horrifying, beautiful question? Put it out here.

677
00:34:32,800 --> 00:34:35,000
Speaker 3: Can't wait for the answers, and we will make sure

678
00:34:35,000 --> 00:34:35,680
Speaker 3: that you see them.

679
00:34:36,200 --> 00:34:40,000
Speaker 4: Thank you, thank you much, thank you for having me.

680
00:34:40,760 --> 00:34:43,359
Speaker 4: I cannot believe we got you on the show. I can't,

681
00:34:43,880 --> 00:34:49,839
Speaker 4: and if anything's possible, I love you, Love you so much.

682
00:34:56,600 --> 00:34:58,319
Speaker 3: Oh love Julie so much.

683
00:34:58,440 --> 00:34:59,680
Speaker 2: Oh my god, love her so much.

684
00:34:59,680 --> 00:35:02,759
Speaker 1: I'm so glad that she finally came on because we

685
00:35:02,800 --> 00:35:04,360
Speaker 1: had been wanting her for so long.

686
00:35:04,680 --> 00:35:08,120
Speaker 3: So and this is perfect, It's perfect. Just I also

687
00:35:08,160 --> 00:35:09,759
Speaker 3: love that you made me. You made me really think

688
00:35:09,760 --> 00:35:14,959
Speaker 3: about something that It's one thing that's on my Uber

689
00:35:14,960 --> 00:35:16,880
Speaker 3: list this year is to kind of pick a director

690
00:35:17,000 --> 00:35:20,200
Speaker 3: and really learn and watch all of their films. And

691
00:35:20,280 --> 00:35:23,200
Speaker 3: so she reminded me in the talks about, you know,

692
00:35:23,239 --> 00:35:25,839
Speaker 3: talking about Terry Gilliam, that that's something I want to do.

693
00:35:25,880 --> 00:35:28,200
Speaker 3: And I like that it's a smart, smart thing to do.

694
00:35:29,120 --> 00:35:33,600
Speaker 1: Yes, And I had to press play on Brazil a

695
00:35:33,640 --> 00:35:37,200
Speaker 1: few times, but then I eventually made my way through

696
00:35:37,520 --> 00:35:40,880
Speaker 1: and was all the better for it. So, you know,

697
00:35:41,480 --> 00:35:44,040
Speaker 1: sometimes with some directors it do be like that. But

698
00:35:44,160 --> 00:35:48,440
Speaker 1: you know what, she's awesome. She absolutely loves movies. So

699
00:35:48,560 --> 00:35:53,680
Speaker 1: I'm so glad she came on the pod. You So

700
00:35:54,920 --> 00:35:57,920
Speaker 1: we have a theme this week that is something that

701
00:35:57,960 --> 00:35:58,680
Speaker 1: I think we've.

702
00:35:58,480 --> 00:35:59,800
Speaker 2: Been wanting to do for a long time.

703
00:36:00,960 --> 00:36:04,480
Speaker 1: I have been curious about it since you pitched it.

704
00:36:05,960 --> 00:36:07,760
Speaker 1: What is our theme this week, Daniel?

705
00:36:08,840 --> 00:36:16,120
Speaker 3: Our theme this week is didn't you take the Hippocratic oath? Well?

706
00:36:16,160 --> 00:36:16,600
Speaker 4: Didn't you?

707
00:36:17,920 --> 00:36:21,880
Speaker 3: There are so many movies with doctors or people in

708
00:36:21,920 --> 00:36:26,000
Speaker 3: the medical profession that I'm like, wait, isn't there like

709
00:36:26,040 --> 00:36:28,160
Speaker 3: a rule against this. It's not a law, but it's

710
00:36:28,200 --> 00:36:31,600
Speaker 3: a rule that you say in order to become part

711
00:36:31,640 --> 00:36:32,520
Speaker 3: of this community.

712
00:36:32,920 --> 00:36:33,120
Speaker 2: Yeah.

713
00:36:33,120 --> 00:36:35,160
Speaker 1: I actually had to look it up because I was like,

714
00:36:35,320 --> 00:36:37,080
Speaker 1: I mean, I definitely know what the word is, and

715
00:36:37,120 --> 00:36:40,560
Speaker 1: I have the general concept of it, but I was like,

716
00:36:40,640 --> 00:36:43,040
Speaker 1: it comes from like a Greek thing, right, and then.

717
00:36:42,960 --> 00:36:46,440
Speaker 3: Yeah, from Hippocrates. Yeah, and I loved it. Like the

718
00:36:46,480 --> 00:36:49,640
Speaker 3: first you know, the one of the first phrases is,

719
00:36:49,680 --> 00:36:52,480
Speaker 3: you know, do no harm, Like like you said, like,

720
00:36:52,520 --> 00:36:53,879
Speaker 3: I'm not gonna go out, I'm going to go out

721
00:36:53,880 --> 00:36:55,520
Speaker 3: of my way to try to heal people, like that's

722
00:36:55,520 --> 00:36:57,000
Speaker 3: why I'm here. I'm not just going to be doing

723
00:36:57,040 --> 00:36:59,759
Speaker 3: experiments and shit, right, Like they had to put that

724
00:36:59,800 --> 00:37:00,480
Speaker 3: in writing.

725
00:37:02,960 --> 00:37:05,520
Speaker 1: We don't trust these motherfuckers at all.

726
00:37:06,320 --> 00:37:08,080
Speaker 3: Like, look, you get this guy in front of an

727
00:37:08,080 --> 00:37:12,040
Speaker 3: open corpse, you don't know what's gonna happen. He's gonna

728
00:37:12,040 --> 00:37:13,040
Speaker 3: start pulling stuff out.

729
00:37:14,280 --> 00:37:16,200
Speaker 1: Well, And you know what's really funny is that when

730
00:37:16,239 --> 00:37:19,000
Speaker 1: you did pitch this theme, I was like, I know

731
00:37:19,080 --> 00:37:22,560
Speaker 1: she wants to talk about her movie, and I know

732
00:37:22,680 --> 00:37:24,759
Speaker 1: you got a lot to say about it, and I

733
00:37:25,280 --> 00:37:27,319
Speaker 1: almost want to give you the entire episode to.

734
00:37:27,280 --> 00:37:32,200
Speaker 4: Do that because it was a first watch for me.

735
00:37:33,120 --> 00:37:35,160
Speaker 3: A motherfucker. Come on.

736
00:37:35,280 --> 00:37:37,399
Speaker 1: I mean, as much as I love Amaldavar, I never

737
00:37:37,640 --> 00:37:39,680
Speaker 1: saw this one, and I think that it came out

738
00:37:39,680 --> 00:37:43,160
Speaker 1: in twenty eleven. I know I'm trying to rectify that,

739
00:37:43,280 --> 00:37:45,560
Speaker 1: but I have seen Maldivar movies in the two thousands,

740
00:37:45,560 --> 00:37:48,000
Speaker 1: so it's just this one. I don't know why I

741
00:37:48,040 --> 00:37:50,600
Speaker 1: never saw it. I had really no reason to not have.

742
00:37:51,640 --> 00:37:56,160
Speaker 1: But I gotta tell you again in the grand fucking

743
00:37:56,200 --> 00:37:58,680
Speaker 1: tradition to this podcast where Danielle brings a movie from

744
00:37:58,680 --> 00:38:00,200
Speaker 1: the two thousands.

745
00:38:00,080 --> 00:38:04,399
Speaker 2: It is stressful. It gives you nightmares.

746
00:38:06,840 --> 00:38:13,120
Speaker 1: It's all the same shit that I always say, always say, always,

747
00:38:16,000 --> 00:38:16,759
Speaker 1: and I'm like.

748
00:38:16,800 --> 00:38:18,200
Speaker 4: Yo, let's forget about my movie.

749
00:38:18,280 --> 00:38:19,680
Speaker 2: Let's just talk about this movie.

750
00:38:20,120 --> 00:38:23,239
Speaker 4: But what I love about this movie.

751
00:38:24,400 --> 00:38:27,960
Speaker 3: What I love about this movie is that and I

752
00:38:28,000 --> 00:38:30,560
Speaker 3: love about this part of the podcast where I'm like

753
00:38:30,840 --> 00:38:33,200
Speaker 3: bringing movies that you haven't seen. It does not matter

754
00:38:33,320 --> 00:38:35,560
Speaker 3: the genre. It could be horror, it could be friendship,

755
00:38:35,560 --> 00:38:37,600
Speaker 3: it could be anything. And you're like, that was stressful

756
00:38:38,040 --> 00:38:41,920
Speaker 3: and I have fucking nightmares notes on a scandal. I

757
00:38:41,960 --> 00:38:44,319
Speaker 3: thought was like, all right, she might not have seen

758
00:38:44,360 --> 00:38:49,000
Speaker 3: this one, but yeah, no, you like it was stressful nightmare.

759
00:38:50,480 --> 00:38:53,040
Speaker 1: I mean you like, I think you actually brought a

760
00:38:53,040 --> 00:38:56,719
Speaker 1: stressful comedy once. We've done a lot of episodes now

761
00:38:56,719 --> 00:38:59,680
Speaker 1: I can't remember some of them. That's a how long

762
00:38:59,719 --> 00:39:01,560
Speaker 1: we've been I'm doing this. I'm starting to forget, and

763
00:39:01,560 --> 00:39:04,479
Speaker 1: that's how old I am. But I'm just like, oh shit,

764
00:39:04,680 --> 00:39:08,920
Speaker 1: Like it is literally like the vibe every time, like, oh,

765
00:39:09,000 --> 00:39:12,600
Speaker 1: there's a stressful movie. However, what I think is actually

766
00:39:12,760 --> 00:39:16,520
Speaker 1: great about this episode is that and I don't think

767
00:39:16,520 --> 00:39:20,280
Speaker 1: this was necessarily planned because again I hadn't seen your movie,

768
00:39:20,400 --> 00:39:23,600
Speaker 1: so I didn't know that when I picked my movie

769
00:39:24,040 --> 00:39:25,759
Speaker 1: that there's actually a link to.

770
00:39:25,719 --> 00:39:28,920
Speaker 3: Your to your Oh yeah, there's a lot of crossover,

771
00:39:29,080 --> 00:39:34,319
Speaker 3: a lot of common themes, and Alma Dovar has even

772
00:39:34,480 --> 00:39:38,320
Speaker 3: said in interviews that he was a he's a huge

773
00:39:38,320 --> 00:39:41,160
Speaker 3: fan of your movie. Yeah, and that this movie is

774
00:39:41,280 --> 00:39:44,960
Speaker 3: kind of taken from in the same vein it kind

775
00:39:44,960 --> 00:39:46,840
Speaker 3: of inspired inspired him.

776
00:39:47,080 --> 00:39:49,200
Speaker 1: Yeah, and there's there's obviously gonna be a lot of

777
00:39:49,200 --> 00:39:52,919
Speaker 1: similarities for that reason. But I also think too both

778
00:39:52,960 --> 00:39:55,480
Speaker 1: of these movies are just really it is that sort

779
00:39:55,520 --> 00:39:58,480
Speaker 1: of like medical ethics issue that are coming up in

780
00:39:58,520 --> 00:40:03,040
Speaker 1: both where it's not just like a straight up like

781
00:40:03,480 --> 00:40:07,279
Speaker 1: is a mad doctor who has no soul? It's like,

782
00:40:07,960 --> 00:40:09,880
Speaker 1: I don't know, it's complicated, right.

783
00:40:09,960 --> 00:40:13,200
Speaker 3: Yeah, sort of oh yeah, you know, that's why they

784
00:40:13,239 --> 00:40:16,759
Speaker 3: have these oaths, That's why they have these rules and guidelines,

785
00:40:16,760 --> 00:40:20,560
Speaker 3: and the medical community is constantly looking Again this comes

786
00:40:20,600 --> 00:40:22,600
Speaker 3: up in my movie as well, but the medical community

787
00:40:22,719 --> 00:40:26,680
Speaker 3: is policing itself, I mean, because there are constant shifting ethics,

788
00:40:27,480 --> 00:40:29,000
Speaker 3: and I think that they're always trying to get a

789
00:40:29,040 --> 00:40:33,719
Speaker 3: baseline so that those cases that are remarkable are few

790
00:40:33,719 --> 00:40:35,840
Speaker 3: and far between, that there's kind of a baseline for

791
00:40:35,960 --> 00:40:40,200
Speaker 3: like here's how we treat people, and you know, occasionally

792
00:40:40,200 --> 00:40:43,600
Speaker 3: we might have to stray, and even hospitals have ethics

793
00:40:43,600 --> 00:40:46,960
Speaker 3: boards like it is a big deal issue. So I

794
00:40:47,000 --> 00:40:50,560
Speaker 3: was very interested in in in this as a theme

795
00:40:50,880 --> 00:40:53,879
Speaker 3: because I think a lot of the doctors that were

796
00:40:53,920 --> 00:40:57,800
Speaker 3: watching today in these films. I mean, I just watched,

797
00:40:58,200 --> 00:41:01,080
Speaker 3: Oh God, what's the one with Alana Glacier and just

798
00:41:01,120 --> 00:41:03,960
Speaker 3: since the Row and she's it's on Hulu and she's pregnant,

799
00:41:04,080 --> 00:41:07,279
Speaker 3: and I'm like, didn't you And here's Brosnan is in it,

800
00:41:07,360 --> 00:41:09,319
Speaker 3: and I'm like, didn't you take the Hippocratic Oath? Like

801
00:41:09,360 --> 00:41:12,600
Speaker 3: it's just some some shit's always going on lately when

802
00:41:12,600 --> 00:41:16,520
Speaker 3: there's doctors in movies. And I'm not talking about Doctor Giggles,

803
00:41:16,520 --> 00:41:20,160
Speaker 3: although he's absolutely part of this equation.

804
00:41:21,360 --> 00:41:29,880
Speaker 1: Yes, Giggles, thank you for bringing Doctor Giggles to how.

805
00:41:29,719 --> 00:41:31,399
Speaker 2: Many episodes have we done? Have we done?

806
00:41:31,520 --> 00:41:31,920
Speaker 4: Seventy?

807
00:41:31,960 --> 00:41:32,319
Speaker 3: Have we done?

808
00:41:32,400 --> 00:41:32,760
Speaker 2: Sixty?

809
00:41:33,080 --> 00:41:37,799
Speaker 1: And we've only mentioned Doctor Giggles. Now, thank you for

810
00:41:37,840 --> 00:41:39,760
Speaker 1: putting that under your hat for whatever reason.

811
00:41:40,239 --> 00:41:44,359
Speaker 3: I'm thrilled to do it. And let's get into your movie. Yeah,

812
00:41:44,440 --> 00:41:46,360
Speaker 3: I mean, so nowhere to go from Doctor Giggles, so

813
00:41:46,400 --> 00:41:48,920
Speaker 3: we might as well get into the episode.

814
00:41:49,360 --> 00:41:53,200
Speaker 1: Well, so my movie for the theme, Didn't You Take

815
00:41:53,239 --> 00:41:56,759
Speaker 1: the Hippocratic Oath? Is a movie from nineteen sixty. It

816
00:41:56,800 --> 00:42:01,000
Speaker 1: was directed by George Franzous and it's called Eyes Without

817
00:42:01,040 --> 00:42:01,799
Speaker 1: a Face.

818
00:42:02,000 --> 00:42:06,160
Speaker 3: Starring Pierre Brother as a depraved sciatist who used beautiful

819
00:42:06,200 --> 00:42:08,719
Speaker 3: women in the most frightening way imaginable.

820
00:42:08,920 --> 00:42:11,080
Speaker 1: So I want to ask you, Danielle, real quick, did

821
00:42:11,120 --> 00:42:13,280
Speaker 1: you take a foreign language in high school?

822
00:42:13,680 --> 00:42:16,440
Speaker 3: I did? I took French? Did you? Okay?

823
00:42:16,760 --> 00:42:17,840
Speaker 2: Why did I not know that?

824
00:42:20,719 --> 00:42:20,959
Speaker 3: Clame?

825
00:42:22,960 --> 00:42:25,320
Speaker 2: We we be in sir. I don't know if that

826
00:42:25,640 --> 00:42:28,279
Speaker 2: makes sense, because a lot I took.

827
00:42:28,719 --> 00:42:29,120
Speaker 4: I took.

828
00:42:29,400 --> 00:42:30,799
Speaker 1: I took it in high school, then I took two

829
00:42:30,880 --> 00:42:34,839
Speaker 1: years of it in college in my undergrad but I

830
00:42:34,880 --> 00:42:37,040
Speaker 1: am terrible, terrible at it.

831
00:42:37,080 --> 00:42:39,239
Speaker 2: So just know that when I'm talking about this.

832
00:42:39,160 --> 00:42:41,400
Speaker 3: Movie, Okay, I can I can read it better than

833
00:42:41,440 --> 00:42:43,120
Speaker 3: I can speak it and understand it for sure.

834
00:42:43,520 --> 00:42:45,719
Speaker 1: Yeah, yeah, curious.

835
00:42:45,800 --> 00:42:46,520
Speaker 2: I never know you.

836
00:42:46,560 --> 00:42:48,360
Speaker 1: I don't know why I thought you took Latin. I

837
00:42:48,360 --> 00:42:49,680
Speaker 1: figured you're a Latin girl.

838
00:42:50,160 --> 00:42:53,880
Speaker 3: That's because I worked in a convent as a teenager

839
00:42:54,080 --> 00:42:56,080
Speaker 3: and I did learn Latin from the priests.

840
00:42:57,440 --> 00:42:59,320
Speaker 2: Well there you go. You didn't have to take to school.

841
00:42:59,320 --> 00:43:01,920
Speaker 3: You learned it from so priest because they were like,

842
00:43:02,440 --> 00:43:06,439
Speaker 3: we cannot believe people don't know Latin. And I was like, oh, well,

843
00:43:06,480 --> 00:43:13,320
Speaker 3: father ed, it's because nobody's like nobody Cares in Warwick,

844
00:43:13,360 --> 00:43:14,799
Speaker 3: New York about Latin.

845
00:43:14,760 --> 00:43:16,800
Speaker 1: Say for you because you're a genius.

846
00:43:17,680 --> 00:43:20,240
Speaker 2: We love it. We love that you took Latin from priest.

847
00:43:20,320 --> 00:43:22,040
Speaker 2: That's again, you've surprised me.

848
00:43:23,080 --> 00:43:27,680
Speaker 4: I didn't know that very very impromptu lessons.

849
00:43:28,760 --> 00:43:32,600
Speaker 1: Well, this will come as no surprise to you probably,

850
00:43:32,640 --> 00:43:35,839
Speaker 1: But yes, I did love the Billie Idol song Eyes

851
00:43:35,880 --> 00:43:40,560
Speaker 1: Without a Face when I was a kid, and I mean, yeah, yes,

852
00:43:40,600 --> 00:43:42,200
Speaker 1: it made me want to watch this movie.

853
00:43:42,440 --> 00:43:44,200
Speaker 4: I have to say the entry point.

854
00:43:44,239 --> 00:43:46,480
Speaker 3: Yes, it was the entry point into this movie for me,

855
00:43:46,520 --> 00:43:48,560
Speaker 3: because I was like, Ooh, this video, what's happening here.

856
00:43:48,800 --> 00:43:51,239
Speaker 3: It's like when Metallica did one. We've talked about this,

857
00:43:51,280 --> 00:43:53,560
Speaker 3: when they showed Johnny Get Your Gun Shit.

858
00:43:53,680 --> 00:43:56,280
Speaker 2: We talked about this with Enya and far Away.

859
00:43:57,640 --> 00:44:01,600
Speaker 1: How those songs trick us in to watching the films.

860
00:44:02,280 --> 00:44:04,800
Speaker 1: I love the Billie Idols song Eyes without a Face.

861
00:44:04,840 --> 00:44:09,680
Speaker 1: It's like a shoegaze meets punk song. It's awesome. But

862
00:44:10,760 --> 00:44:14,239
Speaker 1: this movie is an absolute classic. I just have to

863
00:44:14,239 --> 00:44:15,680
Speaker 1: throw it out there, like I mean, I think it's

864
00:44:15,760 --> 00:44:20,280
Speaker 1: part of the horror cannon, certainly in the international horror

865
00:44:20,320 --> 00:44:21,400
Speaker 1: canon for sure.

866
00:44:21,840 --> 00:44:23,839
Speaker 2: And it is so influential.

867
00:44:23,880 --> 00:44:26,960
Speaker 1: I mean, I've I just was watching Giramo Do Toro,

868
00:44:27,560 --> 00:44:29,800
Speaker 1: like he was talking about it on the Criterion Channel

869
00:44:29,840 --> 00:44:32,920
Speaker 1: about how it influenced a lot of his work and

870
00:44:33,760 --> 00:44:37,200
Speaker 1: John Carpenter with Halloween, and of course I'm out of art.

871
00:44:37,239 --> 00:44:39,680
Speaker 1: You're a movie you're gonna talk about in just a second.

872
00:44:39,800 --> 00:44:44,319
Speaker 1: But I've seen this movie many times. I try to

873
00:44:44,360 --> 00:44:47,080
Speaker 1: watch it, you know, I do the thing. I know

874
00:44:47,160 --> 00:44:51,000
Speaker 1: we talked about this with Julie, but I do a

875
00:44:51,000 --> 00:44:54,440
Speaker 1: little Halloween movie watching. I just I have to. I

876
00:44:54,600 --> 00:44:56,640
Speaker 1: just get in that mode where I'm like, oh, I

877
00:44:56,680 --> 00:44:58,399
Speaker 1: just want to watch a bunch of Halloween movies, and

878
00:44:59,280 --> 00:45:00,000
Speaker 1: this is one of them.

879
00:45:00,000 --> 00:45:01,719
Speaker 2: I try to keep this one in the rotation every

880
00:45:01,719 --> 00:45:02,360
Speaker 2: couple of years.

881
00:45:02,360 --> 00:45:05,520
Speaker 1: But I actually hadn't seen it in about probably about

882
00:45:05,560 --> 00:45:06,320
Speaker 1: four years.

883
00:45:07,040 --> 00:45:12,160
Speaker 2: Yes, And I gotta tell you, after.

884
00:45:14,040 --> 00:45:19,480
Speaker 1: My big hospital stay a few years ago and COVID

885
00:45:20,320 --> 00:45:20,920
Speaker 1: and just a.

886
00:45:20,880 --> 00:45:24,319
Speaker 2: Lot of other medical trauma that we as the world.

887
00:45:24,080 --> 00:45:27,719
Speaker 1: Have experienced over the past few years, I'm like, this

888
00:45:27,840 --> 00:45:30,720
Speaker 1: movie freaks me the fuck out now, And.

889
00:45:31,239 --> 00:45:32,600
Speaker 2: You know, and it was never like.

890
00:45:34,080 --> 00:45:37,239
Speaker 1: It's not never the movie where I'm like, it's not

891
00:45:37,280 --> 00:45:39,160
Speaker 1: like a traditional horror movie to me in that way.

892
00:45:39,200 --> 00:45:42,680
Speaker 1: Like I'm never like jump scared or anything, but it's

893
00:45:42,800 --> 00:45:46,520
Speaker 1: just this like kind of there's like a tension between this.

894
00:45:47,520 --> 00:45:53,120
Speaker 1: It's grotesque but it's also lyrical and beautiful, and that

895
00:45:53,239 --> 00:45:56,759
Speaker 1: I think, you know, happens sort of like intermittently through

896
00:45:56,760 --> 00:45:59,719
Speaker 1: the film. But it's also like the hospital stuff really

897
00:45:59,800 --> 00:46:02,480
Speaker 1: hit me hard this time. And I mean there was

898
00:46:02,680 --> 00:46:04,720
Speaker 1: a part that I'll talk about I really like shifted

899
00:46:04,760 --> 00:46:08,600
Speaker 1: in my seat through a lot of the hospital stuff

900
00:46:08,600 --> 00:46:11,719
Speaker 1: and the surgical stuff, which actually has never happened to

901
00:46:11,760 --> 00:46:14,480
Speaker 1: me every other time that I'd seen it, So you know,

902
00:46:15,080 --> 00:46:17,520
Speaker 1: it was so it's a little unsettling to me now,

903
00:46:17,560 --> 00:46:21,399
Speaker 1: I think, in my modern age. But like, but also

904
00:46:21,680 --> 00:46:25,400
Speaker 1: hospitals and old movies are always just like super bleak.

905
00:46:25,600 --> 00:46:26,480
Speaker 2: Have you noticed that.

906
00:46:27,280 --> 00:46:32,239
Speaker 3: Yeah, it's always like waters marks running down the walls

907
00:46:32,360 --> 00:46:34,879
Speaker 3: and you're like, damn, how are they healing people in here?

908
00:46:35,320 --> 00:46:37,359
Speaker 3: This shit is gross shit.

909
00:46:37,480 --> 00:46:39,319
Speaker 1: If I knew how to edit, I would do like

910
00:46:39,360 --> 00:46:44,399
Speaker 1: a freaky, fucked up scary old movie hospital supercut where

911
00:46:44,400 --> 00:46:47,520
Speaker 1: I'd put like, you know, all of the World War

912
00:46:47,560 --> 00:46:49,040
Speaker 1: two movies.

913
00:46:48,680 --> 00:46:50,600
Speaker 2: Of like people in like.

914
00:46:50,560 --> 00:46:54,800
Speaker 1: Eight hundred beds, Like I would put in the scene

915
00:46:54,840 --> 00:46:58,480
Speaker 1: from Georgia Girl, where Charlotte Rampling has a baby and

916
00:46:58,520 --> 00:47:00,799
Speaker 1: there's like five hundred other baby in there and she's

917
00:47:00,840 --> 00:47:04,400
Speaker 1: just like smoking cigarettes, like I hate my child, Like

918
00:47:04,440 --> 00:47:06,359
Speaker 1: I just old movie hospitals freaked me out.

919
00:47:06,400 --> 00:47:08,320
Speaker 2: But anyway, I want to talk a little.

920
00:47:08,080 --> 00:47:12,640
Speaker 1: Bit about George Franjous, the director of this film. He

921
00:47:14,600 --> 00:47:17,760
Speaker 1: basically was a co founder of the Cinema Tech Frances

922
00:47:17,920 --> 00:47:22,360
Speaker 1: along with Henri Langois in the nineteen thirties, which is

923
00:47:22,440 --> 00:47:25,480
Speaker 1: essentially one of the greatest film archives in the world

924
00:47:25,920 --> 00:47:28,759
Speaker 1: and they screen movies like every day, and it was

925
00:47:29,120 --> 00:47:32,120
Speaker 1: essentially the nexus of the French New Wave. So he

926
00:47:32,200 --> 00:47:35,400
Speaker 1: was a co founder of that. And he had actually

927
00:47:35,400 --> 00:47:40,640
Speaker 1: made a series of pretty pretty intense documentaries and he

928
00:47:40,680 --> 00:47:44,279
Speaker 1: had made one film before he did this movie, Eyes

929
00:47:44,320 --> 00:47:47,440
Speaker 1: of That Face, and he had a very tricky time

930
00:47:47,920 --> 00:47:52,879
Speaker 1: making it because of the film censors in Europe at

931
00:47:52,880 --> 00:47:56,719
Speaker 1: the time, and even after it was released, it was

932
00:47:57,280 --> 00:48:01,759
Speaker 1: seen as pretty controversial and it really gross some people out.

933
00:48:02,400 --> 00:48:04,439
Speaker 1: Like I heard something like or I read something where

934
00:48:04,480 --> 00:48:07,319
Speaker 1: all these like Scottish people were fainting or something like

935
00:48:08,120 --> 00:48:10,360
Speaker 1: Scottish people fainting at Eyes without a Face.

936
00:48:12,080 --> 00:48:14,840
Speaker 2: Wow, really impactful. I suppose yeah.

937
00:48:14,880 --> 00:48:21,680
Speaker 1: But then also there was a shitty like American dubbed

938
00:48:21,840 --> 00:48:26,080
Speaker 1: edited version that was called the Horror Chamber of Doctor.

939
00:48:25,840 --> 00:48:29,360
Speaker 2: Faustus, so it was and that it was definitely.

940
00:48:29,000 --> 00:48:33,200
Speaker 1: More like a drive in thing versus you know, French

941
00:48:33,280 --> 00:48:34,839
Speaker 1: poetic realism or you know.

942
00:48:35,280 --> 00:48:36,520
Speaker 2: So, I don't know.

943
00:48:37,080 --> 00:48:39,879
Speaker 1: I think it's just an interesting if you actually go

944
00:48:39,920 --> 00:48:43,879
Speaker 1: and read about Eyes Eyes without a Face and read

945
00:48:43,920 --> 00:48:48,080
Speaker 1: about like what was changed from the book that was

946
00:48:48,160 --> 00:48:51,640
Speaker 1: based off of and sort of how they had to

947
00:48:51,680 --> 00:48:55,120
Speaker 1: get around the like hardcore stuff that was in the book,

948
00:48:55,160 --> 00:48:57,360
Speaker 1: like the gore and stuff like that.

949
00:48:57,840 --> 00:48:58,520
Speaker 2: It's interesting.

950
00:48:58,600 --> 00:48:59,680
Speaker 1: You'll just have to read about it.

951
00:49:00,880 --> 00:49:06,560
Speaker 2: But a one sentence synopsis of my film is a

952
00:49:06,719 --> 00:49:10,040
Speaker 2: doctor stops a nothing to give his daughter a new

953
00:49:10,200 --> 00:49:13,719
Speaker 2: face after hers is destroyed in an accident for which

954
00:49:13,760 --> 00:49:19,480
Speaker 2: he was responsible. Mm hm, so that is the synopsis

955
00:49:19,520 --> 00:49:23,200
Speaker 2: of the film. So the doctor in question in this

956
00:49:23,239 --> 00:49:28,440
Speaker 2: film is named doctor Genesie. I think that's how you

957
00:49:28,440 --> 00:49:33,239
Speaker 2: say it, Genesie, doctor Genesie. He is played by the

958
00:49:33,239 --> 00:49:39,239
Speaker 2: French actor Pierre Bressour. He is the head of his own.

959
00:49:39,280 --> 00:49:44,200
Speaker 1: Medical clinic where he sees actual patients, but he also

960
00:49:44,400 --> 00:49:49,880
Speaker 1: has this like secret laboratory with like a sacred Scooby

961
00:49:49,920 --> 00:49:55,040
Speaker 1: Doo villain door where he experiments on dogs and birds,

962
00:49:55,200 --> 00:50:01,080
Speaker 1: which is very upsetting obviously, and he in there trying

963
00:50:01,080 --> 00:50:05,200
Speaker 1: to come up with this breakthrough medical procedure where he

964
00:50:05,280 --> 00:50:11,400
Speaker 1: can successfully transplant a face, okay, And the primary motivation

965
00:50:11,520 --> 00:50:14,000
Speaker 1: for this is that he has his daughter named Christian

966
00:50:14,640 --> 00:50:18,680
Speaker 1: was played by Edith Scope, and you find out that

967
00:50:18,760 --> 00:50:22,360
Speaker 1: she's been in she's been in this horrible car accident

968
00:50:22,440 --> 00:50:26,360
Speaker 1: where she survived, but her face was badly damaged, okay,

969
00:50:26,880 --> 00:50:30,440
Speaker 1: and the accident might have been her father's fault. And

970
00:50:30,480 --> 00:50:33,200
Speaker 1: at the very beginning of the film, you actually meet

971
00:50:33,880 --> 00:50:40,000
Speaker 1: Gennesier's assistant Louise, who is played by She's an amazing

972
00:50:40,120 --> 00:50:44,440
Speaker 1: Italian actress named Alita Valli, and she was actually in.

973
00:50:44,400 --> 00:50:47,200
Speaker 2: The Third Man, she was in Suspiria.

974
00:50:46,960 --> 00:50:51,879
Speaker 1: And she was in this incredible mun'sploitation movie called Killer Nun.

975
00:50:52,520 --> 00:50:57,680
Speaker 1: We gotta talk about that at some other time. We

976
00:50:57,719 --> 00:51:00,399
Speaker 1: all to talk about a nun'sploitation. Girl, you you worked

977
00:51:00,440 --> 00:51:03,040
Speaker 1: at a convent, Yeah, I got to know about an exploitation.

978
00:51:03,480 --> 00:51:06,759
Speaker 2: So so Louise at.

979
00:51:06,640 --> 00:51:09,719
Speaker 1: The beginning of this film is driving this body to

980
00:51:10,000 --> 00:51:13,000
Speaker 1: a river, and then you realize it's it's the body

981
00:51:13,040 --> 00:51:16,120
Speaker 1: of this young woman and and she drives to the

982
00:51:16,160 --> 00:51:18,600
Speaker 1: river and dumps her in. It's very like Laura Palmer

983
00:51:18,760 --> 00:51:22,279
Speaker 1: esque type of scenario, right, And when the when the

984
00:51:22,280 --> 00:51:27,040
Speaker 1: police eventually find it, they actually called Gennesier and and

985
00:51:27,360 --> 00:51:30,440
Speaker 1: they know that his daughter had been missing right from

986
00:51:30,520 --> 00:51:36,320
Speaker 1: an accident, and he ideas it as Christian's body. Okay,

987
00:51:36,680 --> 00:51:39,279
Speaker 1: now we don't really get why this is happening at first,

988
00:51:39,320 --> 00:51:42,160
Speaker 1: but then we actually meet Christian a few scenes later

989
00:51:42,560 --> 00:51:45,840
Speaker 1: where it's it's like her back is towards the camera

990
00:51:45,920 --> 00:51:49,879
Speaker 1: and she's been encouraged by Louise the assistant to put

991
00:51:49,920 --> 00:51:56,279
Speaker 1: on this admittedly very creepy mask that basically looks like

992
00:51:57,360 --> 00:52:01,839
Speaker 1: a rubber uh woman's mask with the eyeholes cut out

993
00:52:02,160 --> 00:52:03,600
Speaker 1: sort of it's kind of like a Phantom of the

994
00:52:03,640 --> 00:52:05,640
Speaker 1: Opera mask, but like the whole thing and not just

995
00:52:05,680 --> 00:52:06,520
Speaker 1: the one part.

996
00:52:06,840 --> 00:52:07,000
Speaker 4: Right.

997
00:52:07,120 --> 00:52:09,080
Speaker 3: And also, like I noticed in this viewing like that

998
00:52:09,120 --> 00:52:10,560
Speaker 3: her lips move a little bit in it.

999
00:52:11,040 --> 00:52:12,719
Speaker 2: Yes, yes, oh I.

1000
00:52:12,640 --> 00:52:13,919
Speaker 3: Don't like that mask at all.

1001
00:52:14,320 --> 00:52:17,840
Speaker 2: Yeah, I was like, could should not little do a

1002
00:52:17,920 --> 00:52:18,480
Speaker 2: lip wiggle?

1003
00:52:18,520 --> 00:52:21,840
Speaker 1: Because that just makes it it's very uncanny Valley do

1004
00:52:21,840 --> 00:52:23,480
Speaker 1: you know what I'm saying, Like I was having a

1005
00:52:23,520 --> 00:52:27,200
Speaker 1: hard time with it, and I have I've had many

1006
00:52:27,320 --> 00:52:30,400
Speaker 1: many years to think about. Like also, like what is

1007
00:52:30,520 --> 00:52:34,520
Speaker 1: up with it being on like a headband thing? Yeah,

1008
00:52:35,120 --> 00:52:37,480
Speaker 1: And I was just like, I don't want to a

1009
00:52:37,640 --> 00:52:40,400
Speaker 1: headband mask seems so uncomfortable. I don't know if I

1010
00:52:40,400 --> 00:52:44,000
Speaker 1: would wear that if I were her, But you know whatever. Okay,

1011
00:52:44,480 --> 00:52:47,960
Speaker 1: Christian then is legally dead, I guess because her dad

1012
00:52:48,040 --> 00:52:50,640
Speaker 1: I d'd her body as this girl on the river.

1013
00:52:51,440 --> 00:52:56,040
Speaker 1: So it follows right that she is now just a

1014
00:52:56,040 --> 00:52:59,800
Speaker 1: prisoner in her father's lab while he has been on

1015
00:53:00,360 --> 00:53:05,920
Speaker 1: unsuccessfully attempting to give her a face transplant. Okay, and

1016
00:53:05,960 --> 00:53:09,719
Speaker 1: here's the thing. Okay, great, great on you dad for

1017
00:53:09,880 --> 00:53:13,920
Speaker 1: maybe trying to help out your daughter. But we quickly

1018
00:53:13,960 --> 00:53:17,080
Speaker 1: find out that the way he's been trying to get

1019
00:53:17,120 --> 00:53:24,000
Speaker 1: faces is very nefarious and involves Louise basically coaxing and

1020
00:53:24,120 --> 00:53:27,279
Speaker 1: kidnapping young women who all have like dark hair and

1021
00:53:27,320 --> 00:53:31,160
Speaker 1: blue eyes right back to the lab. And then and

1022
00:53:31,200 --> 00:53:34,240
Speaker 1: then they chloroform these girls and then they just steal

1023
00:53:34,280 --> 00:53:36,359
Speaker 1: their faces, like operate their face off.

1024
00:53:38,320 --> 00:53:42,120
Speaker 2: And I will I have to say this.

1025
00:53:43,560 --> 00:53:46,040
Speaker 1: When when Louise is out on the town doing this.

1026
00:53:46,080 --> 00:53:47,719
Speaker 1: When she's out there like trying to get these young

1027
00:53:47,760 --> 00:53:50,960
Speaker 1: women to come back to the lab, the music that's

1028
00:53:51,000 --> 00:53:55,239
Speaker 1: playing each time is not the theme to Curb Your Enthusiasm.

1029
00:53:56,520 --> 00:53:57,160
Speaker 4: It's creepy.

1030
00:53:57,200 --> 00:54:02,359
Speaker 3: It's like a creepy Curb your Enthusiasm hapy circus.

1031
00:54:01,600 --> 00:54:06,440
Speaker 4: After are the clown gonna hop out at me? Or

1032
00:54:06,480 --> 00:54:08,320
Speaker 4: is Larry David gonna appear on screen?

1033
00:54:08,360 --> 00:54:09,440
Speaker 3: Like what is happening?

1034
00:54:19,520 --> 00:54:22,080
Speaker 1: I truly had to google it because I was like,

1035
00:54:22,480 --> 00:54:26,920
Speaker 1: certainly the theme from Curby Your Enthusiasm is not the weird,

1036
00:54:27,040 --> 00:54:30,440
Speaker 1: creepy kidnap music from Eyes Without a Face. It's close,

1037
00:54:30,560 --> 00:54:31,120
Speaker 1: but it's not.

1038
00:54:31,400 --> 00:54:32,040
Speaker 2: It's not it.

1039
00:54:32,640 --> 00:54:36,399
Speaker 1: But also just knowing that it sounds crazy to me now,

1040
00:54:36,440 --> 00:54:38,879
Speaker 1: like I'm like, Wow, she's just out here like trying

1041
00:54:38,880 --> 00:54:42,080
Speaker 1: to kidnap girls and there's this like crazy Larry David

1042
00:54:42,280 --> 00:54:45,799
Speaker 1: esque music playing, and it's just it's kind of unsettling, right.

1043
00:54:45,880 --> 00:54:49,040
Speaker 3: She she's an unsettling character too, because she's kind of

1044
00:54:49,800 --> 00:54:54,120
Speaker 3: she's so deeply devoted to Genesa and you're like why

1045
00:54:54,200 --> 00:54:56,479
Speaker 3: and then you kind of figure out why. But she's

1046
00:54:56,520 --> 00:55:00,919
Speaker 3: so devoted and she's so masterful at tricky these young

1047
00:55:00,960 --> 00:55:03,640
Speaker 3: women into coming back, and there's this one young woman

1048
00:55:03,640 --> 00:55:06,760
Speaker 3: who comes back with them and she hears the dogs

1049
00:55:06,800 --> 00:55:10,080
Speaker 3: barking ooh, and she says, you know how many dogs

1050
00:55:10,080 --> 00:55:12,919
Speaker 3: are there? And Louise just says, like, you know, oh see,

1051
00:55:12,960 --> 00:55:14,799
Speaker 3: you'll be well protected. And it's like that is not

1052
00:55:14,920 --> 00:55:18,719
Speaker 3: what I asked, Like she's just bobbing and weaving and

1053
00:55:18,800 --> 00:55:21,160
Speaker 3: dodging questions so she can get these girls back to

1054
00:55:21,239 --> 00:55:23,200
Speaker 3: this weird haunted castle.

1055
00:55:23,840 --> 00:55:25,840
Speaker 1: Listen, this was a point that I was going to

1056
00:55:25,880 --> 00:55:30,920
Speaker 1: bring up with you because first of all, okay, you

1057
00:55:30,960 --> 00:55:33,759
Speaker 1: were brought to the woods, especially like this place is

1058
00:55:33,840 --> 00:55:36,520
Speaker 1: far the fuck out from Paris or wherever.

1059
00:55:36,200 --> 00:55:38,920
Speaker 2: She goes to school. Okay, it's this like.

1060
00:55:38,960 --> 00:55:43,440
Speaker 1: Woodsy kind of gothic villa mansion type place and she

1061
00:55:43,560 --> 00:55:47,120
Speaker 1: walks up the stairs and there's literally like twenty dogs barking.

1062
00:55:47,640 --> 00:55:49,799
Speaker 1: And I don't know if you're like me where I'm like,

1063
00:55:49,800 --> 00:55:52,120
Speaker 1: I would literally never go in a house where twenty

1064
00:55:52,160 --> 00:55:57,120
Speaker 1: dogs are barking, like it no, no, it see it

1065
00:55:57,120 --> 00:55:59,520
Speaker 1: always seems that like nothing good would happen in a

1066
00:55:59,560 --> 00:56:02,800
Speaker 1: house with twenty dogs parking, Like just what yeah, well.

1067
00:56:02,640 --> 00:56:05,000
Speaker 3: Because like do you need twenty dogs or protection? Because

1068
00:56:05,000 --> 00:56:06,880
Speaker 3: that's not a good sign, like are you running some

1069
00:56:06,960 --> 00:56:11,160
Speaker 3: kind of weird vet like off license vet clinic, Like

1070
00:56:11,160 --> 00:56:13,359
Speaker 3: there's so many dogs.

1071
00:56:13,040 --> 00:56:14,960
Speaker 2: Fighting happening, Like what's happening?

1072
00:56:15,000 --> 00:56:16,399
Speaker 3: And what is happening here?

1073
00:56:16,960 --> 00:56:19,640
Speaker 1: But yeah, I mean, and that's the thing about Louise

1074
00:56:19,719 --> 00:56:22,080
Speaker 1: is that she's kind of the perfect She's just kind

1075
00:56:22,080 --> 00:56:24,080
Speaker 1: of got this like she has this like string of

1076
00:56:24,120 --> 00:56:26,279
Speaker 1: pearls around her neck, which you find out later is

1077
00:56:26,320 --> 00:56:30,000
Speaker 1: because it's like basically she Actually, I'm gonna say right now,

1078
00:56:30,040 --> 00:56:32,719
Speaker 1: I'm gonna spoil this movie because it's old and I'm

1079
00:56:32,760 --> 00:56:34,719
Speaker 1: going to and I feel like I have to in

1080
00:56:34,840 --> 00:56:38,520
Speaker 1: order to talk about it properly, So I'm gonna spoil it. Sorry, folks.

1081
00:56:39,800 --> 00:56:42,120
Speaker 1: But she know, you find out that Louise was a

1082
00:56:42,120 --> 00:56:45,319
Speaker 1: former pation of Gennesa's and basically he like helped her out.

1083
00:56:45,440 --> 00:56:47,680
Speaker 1: He didn't give her a face transplant, but he like

1084
00:56:48,480 --> 00:56:50,640
Speaker 1: healed some scarring or something, and then she wears the

1085
00:56:50,719 --> 00:56:55,279
Speaker 1: choker to like cover up a scar or whatever. But

1086
00:56:55,400 --> 00:56:57,960
Speaker 1: she kind of gives this aura of like she's like

1087
00:56:57,960 --> 00:57:00,359
Speaker 1: a middle aged woman with a pearl choke her and

1088
00:57:00,400 --> 00:57:03,360
Speaker 1: she's like well to do type, so she's very easily

1089
00:57:03,400 --> 00:57:07,399
Speaker 1: able to kidnap these girls. But she's doing it because

1090
00:57:07,400 --> 00:57:12,240
Speaker 1: you're right, she's completely devoted to Gennesie, right. And here's

1091
00:57:12,239 --> 00:57:16,200
Speaker 1: the thing about Christian this whole arrangement that's happening, is

1092
00:57:16,240 --> 00:57:20,480
Speaker 1: she's very depressed about everything. And you know, for all

1093
00:57:20,520 --> 00:57:23,600
Speaker 1: intents and purposes, she was young and beautiful before this accident,

1094
00:57:23,680 --> 00:57:26,440
Speaker 1: and now she feels like this monster who can't face

1095
00:57:26,480 --> 00:57:30,920
Speaker 1: the world. And since she's technically dead, like I said,

1096
00:57:31,280 --> 00:57:34,160
Speaker 1: she's not able to like go out. Like she's calling

1097
00:57:34,200 --> 00:57:37,480
Speaker 1: her boyfriend who is this doctor and her father's clinic,

1098
00:57:37,520 --> 00:57:39,800
Speaker 1: and she's just like, you know, he's picking up the

1099
00:57:39,800 --> 00:57:41,720
Speaker 1: phone and she's not saying anything. She just like wants

1100
00:57:41,760 --> 00:57:45,400
Speaker 1: to hear his voice. And she's like, I just she's

1101
00:57:45,440 --> 00:57:48,040
Speaker 1: telling her dad and telling Louise, I want to die

1102
00:57:48,480 --> 00:57:51,280
Speaker 1: and I don't like this, and I just you know,

1103
00:57:51,360 --> 00:57:53,880
Speaker 1: and you feel very sympathetic towards her.

1104
00:57:54,080 --> 00:57:57,400
Speaker 3: Oh, completely, because you're like, wait, they're doing this. This

1105
00:57:57,440 --> 00:58:00,240
Speaker 3: is where I started to realize, you know, my I

1106
00:58:00,280 --> 00:58:03,640
Speaker 3: started to think I should say that you know, this doctor,

1107
00:58:03,760 --> 00:58:06,000
Speaker 3: he's a bad doctor, but he's also a bad dad.

1108
00:58:06,200 --> 00:58:09,080
Speaker 3: Like he's doing this against her will for to kind

1109
00:58:09,080 --> 00:58:10,320
Speaker 3: of heal his own grief.

1110
00:58:11,320 --> 00:58:16,680
Speaker 1: Right, Yeah, there's there is a moment where I think

1111
00:58:16,680 --> 00:58:19,800
Speaker 1: that the movie does this on purpose, But it's like

1112
00:58:20,520 --> 00:58:25,160
Speaker 1: there are moments where Gennessee has like moments of humanity

1113
00:58:25,360 --> 00:58:27,120
Speaker 1: if you will, Like you know, there's a scene towards

1114
00:58:27,160 --> 00:58:28,880
Speaker 1: the end where he's like talking to this little boy

1115
00:58:28,880 --> 00:58:31,280
Speaker 1: in the clinic and you're like, okay, and then he

1116
00:58:31,320 --> 00:58:36,000
Speaker 1: does have like tender moments with Louise and and his daughter,

1117
00:58:36,560 --> 00:58:38,440
Speaker 1: but you're always in the back of your mind being like,

1118
00:58:38,520 --> 00:58:41,040
Speaker 1: what's going on? Really, do you know what I mean? Like,

1119
00:58:41,160 --> 00:58:44,200
Speaker 1: are you massively guilty? Are you just like here to

1120
00:58:44,240 --> 00:58:48,120
Speaker 1: fulfill your fucking like doctor Frankenstein dreams, or like what

1121
00:58:48,600 --> 00:58:51,560
Speaker 1: is what is it that you really want? But I

1122
00:58:51,680 --> 00:58:54,200
Speaker 1: but I think that that's where that's what makes the

1123
00:58:54,240 --> 00:58:57,320
Speaker 1: movie good to me, is that you're never.

1124
00:58:58,280 --> 00:58:59,280
Speaker 2: You're never sure.

1125
00:59:00,800 --> 00:59:02,080
Speaker 4: All the time totally right.

1126
00:59:02,760 --> 00:59:05,920
Speaker 1: And so I had to talk about what's probably the

1127
00:59:05,920 --> 00:59:08,800
Speaker 1: most talked about sequence in this entire film, which is

1128
00:59:08,840 --> 00:59:12,080
Speaker 1: the one where he's actually removing the face of one

1129
00:59:12,120 --> 00:59:15,320
Speaker 1: of the girls that they kidnapped, and like, this scene

1130
00:59:15,360 --> 00:59:19,160
Speaker 1: is really long, and it's methodical and it's very quiet,

1131
00:59:19,560 --> 00:59:23,040
Speaker 1: except for like Gennesa's breathing. He's like breathing really heavy,

1132
00:59:23,080 --> 00:59:26,320
Speaker 1: and he's like sweating, and the film is kind of

1133
00:59:26,360 --> 00:59:29,760
Speaker 1: like cutting back from close ups of that and him

1134
00:59:30,000 --> 00:59:32,439
Speaker 1: to like the blood sort of like seeping out of

1135
00:59:32,480 --> 00:59:34,760
Speaker 1: like the cuts that he's making around this girl's face.

1136
00:59:34,800 --> 00:59:38,920
Speaker 1: It's like pretty gnarly. Still pretty fucking.

1137
00:59:38,680 --> 00:59:39,720
Speaker 2: Gnarly, I have to say.

1138
00:59:39,920 --> 00:59:42,600
Speaker 1: Fifty something odd years later, like you're like, wow, this

1139
00:59:42,800 --> 00:59:44,600
Speaker 1: is really intense.

1140
00:59:44,840 --> 00:59:47,280
Speaker 2: And this was a scene.

1141
00:59:47,000 --> 00:59:49,920
Speaker 1: For me that I was like, oh shit, like you know,

1142
00:59:51,520 --> 00:59:54,280
Speaker 1: like I don't know what I feel about this. I

1143
00:59:54,280 --> 00:59:57,600
Speaker 1: don't like doctor surgery stuff anymore, but you know what,

1144
00:59:57,880 --> 01:00:03,520
Speaker 1: great for a horror movie. So so I did some

1145
01:00:03,800 --> 01:00:07,120
Speaker 1: rhythmic breathing and then I felt better, but not for

1146
01:00:07,200 --> 01:00:11,360
Speaker 1: long because here's the thing. This is wild to me.

1147
01:00:11,680 --> 01:00:14,160
Speaker 1: So after this scene, you're like, oh, that girl is

1148
01:00:14,200 --> 01:00:14,840
Speaker 1: definitely dead.

1149
01:00:16,520 --> 01:00:17,520
Speaker 2: No the fuck she is not.

1150
01:00:18,080 --> 01:00:21,880
Speaker 1: You realize that the girl that they just took her

1151
01:00:21,920 --> 01:00:26,560
Speaker 1: face off, she is still alive, and may I add

1152
01:00:26,680 --> 01:00:30,120
Speaker 1: is wearing this super cute outfit, like it's like this

1153
01:00:30,320 --> 01:00:35,000
Speaker 1: sweater and skirt set and but she's totally cute, but

1154
01:00:35,040 --> 01:00:38,200
Speaker 1: then has her head bandage. It was like the woman

1155
01:00:38,240 --> 01:00:40,439
Speaker 1: from the brain that wouldn't die. Was like an entire

1156
01:00:40,520 --> 01:00:47,920
Speaker 1: bandaged head and she so it's like she's like basically

1157
01:00:47,960 --> 01:00:51,920
Speaker 1: alive and then put in a cute outfit, but.

1158
01:00:53,160 --> 01:00:57,280
Speaker 3: She's a face Like if you're trying to do face transplants,

1159
01:00:57,320 --> 01:00:59,400
Speaker 3: that is what's always gonna happen, is you're always gonna

1160
01:00:59,400 --> 01:01:01,800
Speaker 3: be Robin p to pay Paul. You're robbing this face

1161
01:01:01,880 --> 01:01:06,200
Speaker 3: to pay that face, Like is that part of the deal.

1162
01:01:06,240 --> 01:01:08,000
Speaker 3: You're like, all right, we took your face for my daughter,

1163
01:01:08,000 --> 01:01:10,320
Speaker 3: but now I'm gonna take another face for you, and

1164
01:01:10,360 --> 01:01:12,120
Speaker 3: then I'll take another face for them.

1165
01:01:12,080 --> 01:01:14,200
Speaker 4: And then you're just working your until you die.

1166
01:01:14,560 --> 01:01:16,000
Speaker 3: There's never gonna be enough faces.

1167
01:01:16,280 --> 01:01:19,880
Speaker 1: It's like a face pyramid scheme. It's really hard to

1168
01:01:19,880 --> 01:01:23,680
Speaker 1: see where it ends. But you know the craziest.

1169
01:01:23,200 --> 01:01:26,560
Speaker 2: Part too, is that this girl ends up.

1170
01:01:27,280 --> 01:01:31,000
Speaker 1: She has an untimely death, unfortunately, and it's at that

1171
01:01:31,040 --> 01:01:33,760
Speaker 1: moment you're like Jesus Man, like when is.

1172
01:01:33,720 --> 01:01:35,960
Speaker 2: This gonna stop? Like when is it gonna stop?

1173
01:01:36,080 --> 01:01:42,120
Speaker 1: And then it cuts to Christian and her new face

1174
01:01:42,240 --> 01:01:46,920
Speaker 1: that she just received, and at first it's fucking gang blusters.

1175
01:01:46,960 --> 01:01:48,160
Speaker 2: You're like, he did it?

1176
01:01:48,360 --> 01:01:49,120
Speaker 4: What a jenis?

1177
01:01:49,600 --> 01:01:51,960
Speaker 1: Yes, now go out there and have your like Wizard

1178
01:01:51,960 --> 01:01:54,560
Speaker 1: of Gore presentation to all these people, like you did it,

1179
01:01:54,680 --> 01:02:00,320
Speaker 1: You're the best doctor ever. But then and this it

1180
01:02:00,360 --> 01:02:01,840
Speaker 1: is one of my favorite scenes in the movie because

1181
01:02:01,880 --> 01:02:05,880
Speaker 1: I think it's like super chilling and clinical and like, yeah,

1182
01:02:06,040 --> 01:02:10,200
Speaker 1: is that it doesn't take And there's these different shots

1183
01:02:10,280 --> 01:02:13,920
Speaker 1: of her face literally dying. It's like it like deteriorating

1184
01:02:14,680 --> 01:02:18,320
Speaker 1: and you're just like, nope, he didn't do it, and

1185
01:02:18,600 --> 01:02:22,280
Speaker 1: uh uh fuck, like how many times has she been

1186
01:02:22,320 --> 01:02:24,640
Speaker 1: through this? Like you're really like what the fuck?

1187
01:02:24,840 --> 01:02:26,680
Speaker 3: You know? And that is the most fucked up part

1188
01:02:26,680 --> 01:02:28,520
Speaker 3: of this movie to me, is it as you're watching

1189
01:02:28,600 --> 01:02:31,240
Speaker 3: all of these young women get kidnapped and you know,

1190
01:02:31,280 --> 01:02:33,640
Speaker 3: have their face is sliced off and they're tossed in

1191
01:02:33,680 --> 01:02:36,360
Speaker 3: a river when they die. That is its own sad tale.

1192
01:02:36,760 --> 01:02:39,600
Speaker 3: But right at that moment, when you're watching the necrosis

1193
01:02:39,640 --> 01:02:42,120
Speaker 3: and of her face and this face is not taking,

1194
01:02:42,720 --> 01:02:46,480
Speaker 3: and you're looking in this actress's eye Edith Scobe, and

1195
01:02:46,520 --> 01:02:49,640
Speaker 3: you're like, wait a minute, how many times has Christiane

1196
01:02:49,640 --> 01:02:53,040
Speaker 3: been through this? How many times has she, like these

1197
01:02:53,040 --> 01:02:55,640
Speaker 3: people had their face cut off once? How many times

1198
01:02:55,680 --> 01:02:58,200
Speaker 3: has she had a face grafted it onto her fucking

1199
01:02:58,240 --> 01:03:00,160
Speaker 3: body that didn't work.

1200
01:03:00,760 --> 01:03:05,560
Speaker 1: Yeah, I mean yeah, And I think that's why this

1201
01:03:05,600 --> 01:03:07,680
Speaker 1: is why I want to spoil the movie, because ultimately

1202
01:03:07,760 --> 01:03:11,120
Speaker 1: I think the ending is kind of like, it's kind

1203
01:03:11,160 --> 01:03:16,640
Speaker 1: of like a beautiful lyrical ending to that point, right,

1204
01:03:17,000 --> 01:03:23,680
Speaker 1: which is that basically Christian's you know, had it. And

1205
01:03:24,480 --> 01:03:27,560
Speaker 1: because right after this happens, Gennessea and Louise are back

1206
01:03:27,560 --> 01:03:30,240
Speaker 1: at it, kidnapping women and She's just like, I'm done.

1207
01:03:30,680 --> 01:03:35,400
Speaker 1: And basically what happens is this, she's like literally watching

1208
01:03:35,960 --> 01:03:42,000
Speaker 1: the new victim on the table and she freezer basically

1209
01:03:42,120 --> 01:03:47,920
Speaker 1: undoes her straps freezer. Then my favorite part is she

1210
01:03:48,040 --> 01:03:53,160
Speaker 1: goes down and freeze all the dogs and birds and

1211
01:03:53,200 --> 01:03:56,520
Speaker 1: it's so wonderful and beautiful and I'm like, fuck, yeah,

1212
01:03:56,600 --> 01:03:57,680
Speaker 1: I love that she did that.

1213
01:03:58,240 --> 01:04:02,760
Speaker 2: Right. But then right as she does this, her.

1214
01:04:02,680 --> 01:04:05,560
Speaker 1: Dad comes waltzing into the lab and guess what, those

1215
01:04:05,600 --> 01:04:12,840
Speaker 1: dogs fucking rip him to shreds hesitation, And I'm just like, wow,

1216
01:04:12,920 --> 01:04:17,160
Speaker 1: that's exactly what should have happened, man, fucking like you know,

1217
01:04:17,480 --> 01:04:20,800
Speaker 1: those dogs who have been like fucking you know, abused

1218
01:04:20,840 --> 01:04:25,160
Speaker 1: and you know, experimented on her, Like we're getting this

1219
01:04:25,200 --> 01:04:30,320
Speaker 1: motherfucker tonight and it happened. And then the ending the

1220
01:04:30,400 --> 01:04:33,440
Speaker 1: last scene of the movie, because that part is actually

1221
01:04:33,480 --> 01:04:36,760
Speaker 1: pretty brutal. Although you do see the actor wearing like

1222
01:04:36,800 --> 01:04:41,640
Speaker 1: the little like pillow arms, you know, like underneath his clothes,

1223
01:04:41,720 --> 01:04:42,520
Speaker 1: you like always.

1224
01:04:42,240 --> 01:04:44,560
Speaker 2: Got pillow arms. I'm sure he'll be fine, even though

1225
01:04:44,560 --> 01:04:45,400
Speaker 2: those dogs.

1226
01:04:45,080 --> 01:04:47,600
Speaker 1: Are like really ready to fucking tear them up.

1227
01:04:48,000 --> 01:04:50,880
Speaker 3: And I also watched this on the Criterion Channel and

1228
01:04:52,000 --> 01:04:55,520
Speaker 3: Enith Scobe said that they put actual meat underneath his

1229
01:04:55,600 --> 01:04:58,640
Speaker 3: clothes that the dogs would be like attracted. She's like, yeah,

1230
01:04:58,640 --> 01:05:00,200
Speaker 3: that must have been weird for him to have like

1231
01:05:00,640 --> 01:05:02,919
Speaker 3: dogs ripping at his clothes. And I'm like, yeah, because

1232
01:05:02,960 --> 01:05:06,280
Speaker 3: there was actual steak jammed into his clothes.

1233
01:05:07,040 --> 01:05:10,960
Speaker 1: That is definitely like a Johnny Knoxville jackass move for sure.

1234
01:05:13,200 --> 01:05:14,640
Speaker 2: But yeah, those dogs look.

1235
01:05:14,520 --> 01:05:17,280
Speaker 1: Like they were ready to fucking really kill the actual

1236
01:05:17,400 --> 01:05:21,320
Speaker 1: actor that was in that suit. But but the last

1237
01:05:21,320 --> 01:05:23,440
Speaker 1: side of the movie I think sums it up really perfectly,

1238
01:05:23,520 --> 01:05:25,720
Speaker 1: which is that you know, Christiall walks into the woods

1239
01:05:25,760 --> 01:05:28,240
Speaker 1: and she is beautiful, She's wearing her mask, and then

1240
01:05:28,280 --> 01:05:31,080
Speaker 1: she's wearing you know, her grace Kelly robes that she's

1241
01:05:31,120 --> 01:05:34,000
Speaker 1: been wearing in the entire movie, and it's beautiful and

1242
01:05:34,080 --> 01:05:37,000
Speaker 1: she's and she's got the birds kind of hanging onto

1243
01:05:37,000 --> 01:05:39,160
Speaker 1: her shoulders and it's just lovely and haunting.

1244
01:05:39,320 --> 01:05:41,360
Speaker 2: It's like sad but also.

1245
01:05:41,400 --> 01:05:45,600
Speaker 1: Like she's liberated and you know, and it's just that

1246
01:05:45,680 --> 01:05:47,800
Speaker 1: thing where you're like, wow, this movie is like really

1247
01:05:48,400 --> 01:05:52,840
Speaker 1: it's beautiful, but it's also like again sad, scary like

1248
01:05:53,120 --> 01:05:55,600
Speaker 1: and when I say scary again, it's not scary.

1249
01:05:55,280 --> 01:05:58,000
Speaker 2: In that like Texas Chainsaw mask are kind of way.

1250
01:05:58,040 --> 01:06:02,560
Speaker 1: It's it's scary in that like, yeah, there's some really

1251
01:06:02,640 --> 01:06:06,840
Speaker 1: like clinical, kind of like gnarly parts to.

1252
01:06:06,880 --> 01:06:07,720
Speaker 2: It, and.

1253
01:06:09,520 --> 01:06:12,120
Speaker 1: Yeah, I just think it's like such a moving film

1254
01:06:12,760 --> 01:06:16,440
Speaker 1: and I'm I totally see why it's gotten, you know,

1255
01:06:16,440 --> 01:06:19,160
Speaker 1: I totally see why horror directors have gravitated towards it

1256
01:06:19,160 --> 01:06:22,760
Speaker 1: because it is beautiful and also it just sort of

1257
01:06:22,840 --> 01:06:25,320
Speaker 1: like does that balance really well of it being kind

1258
01:06:25,360 --> 01:06:28,560
Speaker 1: of like gross but pretty and you know that kind

1259
01:06:28,560 --> 01:06:28,920
Speaker 1: of stuff.

1260
01:06:28,920 --> 01:06:33,440
Speaker 2: But I love it, and yeah, such a good flick.

1261
01:06:33,920 --> 01:06:38,760
Speaker 3: It's a great pick, great pick for sure. And like

1262
01:06:38,800 --> 01:06:43,360
Speaker 3: I said, the inspiration for my film so much so

1263
01:06:43,360 --> 01:06:47,040
Speaker 3: so inspired by but I will say I think eyes

1264
01:06:47,080 --> 01:06:50,720
Speaker 3: with out a Face flew so that my film could

1265
01:06:50,880 --> 01:06:53,760
Speaker 3: take off into the damn stratosphere in a fucking rocket.

1266
01:06:55,720 --> 01:06:56,840
Speaker 2: To say the least.

1267
01:06:57,600 --> 01:07:01,360
Speaker 3: My movie for the theme, Didn't You Take The Hippocratic

1268
01:07:01,480 --> 01:07:06,520
Speaker 3: Oath was released in twenty eleven. I was directed by

1269
01:07:06,600 --> 01:07:10,760
Speaker 3: Pedro Almaldovar. The screenplay is by Pedro Almaldovar and his

1270
01:07:10,840 --> 01:07:15,200
Speaker 3: brother Augustine Almadovar, and it's based on the book Tarantula

1271
01:07:15,360 --> 01:07:19,920
Speaker 3: by Terry Jeanquette. And the movie is the skin I

1272
01:07:20,000 --> 01:07:33,840
Speaker 3: live in. Who boy I. This is again much like Shame,

1273
01:07:34,640 --> 01:07:37,040
Speaker 3: the Steve McQueen movie Shame. This is one of those

1274
01:07:37,080 --> 01:07:39,040
Speaker 3: movies that I think will will have me end up

1275
01:07:39,040 --> 01:07:41,200
Speaker 3: on a watch list at some point because they're like, Okay,

1276
01:07:41,240 --> 01:07:47,520
Speaker 3: she bought this on every platform did she owns a

1277
01:07:47,560 --> 01:07:49,840
Speaker 3: physical media and.

1278
01:07:49,680 --> 01:07:53,080
Speaker 2: She an old iPod touch she has.

1279
01:07:53,080 --> 01:07:56,960
Speaker 3: Exactly just for that movie. Like there, I will be

1280
01:07:57,000 --> 01:07:58,600
Speaker 3: on a watch list at some point for how much

1281
01:07:58,640 --> 01:08:02,920
Speaker 3: I love this film. But it is so wonderful. So

1282
01:08:03,000 --> 01:08:06,440
Speaker 3: this movie is. It's got a wonderful cast. This is

1283
01:08:06,960 --> 01:08:10,640
Speaker 3: the first time that he reunited with Antonio Banderas after

1284
01:08:10,680 --> 01:08:13,040
Speaker 3: the first film they did together like twenty years earlier.

1285
01:08:13,520 --> 01:08:17,960
Speaker 3: Antonio Banderas plays doctor Robert Ledguard you have this wonderful

1286
01:08:17,960 --> 01:08:22,640
Speaker 3: actress Elena and Naya who plays Vera, and Marissa Paredes

1287
01:08:22,880 --> 01:08:26,880
Speaker 3: plays Marillia, and then you have this other great actor,

1288
01:08:27,479 --> 01:08:32,400
Speaker 3: Jian Jean Cornab who plays Vicente, and it's just this

1289
01:08:32,560 --> 01:08:35,360
Speaker 3: huge cast, like the way that he usually does. I

1290
01:08:35,400 --> 01:08:38,280
Speaker 3: definitely I gave a lot of background on Almadovar when

1291
01:08:38,280 --> 01:08:42,559
Speaker 3: we first covered the Paint and Glory episode from last year.

1292
01:08:42,600 --> 01:08:43,880
Speaker 3: So if you want to go back and listen to

1293
01:08:43,920 --> 01:08:46,799
Speaker 3: that episode, I go into a lot of his background

1294
01:08:46,880 --> 01:08:49,479
Speaker 3: and who he is as a director. But he works

1295
01:08:49,479 --> 01:08:52,080
Speaker 3: for certain themes and he works with certain actors a lot,

1296
01:08:52,120 --> 01:08:54,920
Speaker 3: and he just has He's developed a real visual style

1297
01:08:56,000 --> 01:08:59,800
Speaker 3: by doing that. And so Marisa Paredes, for example, if

1298
01:08:59,840 --> 01:09:01,880
Speaker 3: you watch this film and you're like, wait, she looks

1299
01:09:02,040 --> 01:09:05,280
Speaker 3: very familiar, Yes, because she's been She was in so

1300
01:09:05,400 --> 01:09:08,559
Speaker 3: many of his movies. She was in high Heels, all

1301
01:09:08,600 --> 01:09:12,160
Speaker 3: about my Mother, the Flower of My Secret. Like, she's

1302
01:09:12,200 --> 01:09:16,200
Speaker 3: a constant actor, she's one of his women. So this

1303
01:09:16,560 --> 01:09:19,559
Speaker 3: film won a ton of awards when a golden globe

1304
01:09:19,640 --> 01:09:21,439
Speaker 3: like it just won a ton of awards. And like

1305
01:09:21,520 --> 01:09:24,559
Speaker 3: I said earlier, it was absolutely inspired by Eyes without

1306
01:09:24,600 --> 01:09:28,880
Speaker 3: a Face and my one sentence. Synopsis of this film

1307
01:09:29,520 --> 01:09:34,360
Speaker 3: is a renowned doctor who lost every family member he

1308
01:09:34,479 --> 01:09:38,200
Speaker 3: had in one horrible accident or other hosts the mysterious

1309
01:09:38,280 --> 01:09:41,760
Speaker 3: guests as his work becomes fueled by grief and obsession.

1310
01:09:42,960 --> 01:09:46,920
Speaker 3: So when you start this movie, you're again, like, the

1311
01:09:47,000 --> 01:09:51,000
Speaker 3: thing that I love about Pedro Almodovar is that his stories,

1312
01:09:51,040 --> 01:09:55,400
Speaker 3: his narratives unfold like an onion, and so you're dropped

1313
01:09:55,439 --> 01:09:58,240
Speaker 3: into the middle of this story and then he will

1314
01:09:58,240 --> 01:10:02,240
Speaker 3: help you figure it out. But it's compelling from the

1315
01:10:02,240 --> 01:10:05,000
Speaker 3: beginning because you have no idea what's going on. It's

1316
01:10:05,160 --> 01:10:08,760
Speaker 3: very compelling and a kind of more simplified synopsis of

1317
01:10:08,800 --> 01:10:13,759
Speaker 3: this is that doctor Robert Ledgerd leads a very quiet

1318
01:10:13,800 --> 01:10:17,559
Speaker 3: life and a high security villa, and he shares his

1319
01:10:17,600 --> 01:10:21,920
Speaker 3: house with Marillia, who's his longtime housekeeper, and Vera, who's

1320
01:10:21,920 --> 01:10:24,559
Speaker 3: this young woman. She lives in a body suit and

1321
01:10:24,600 --> 01:10:27,400
Speaker 3: a locked room. So right away you're like, why is

1322
01:10:27,400 --> 01:10:30,519
Speaker 3: that room locked? Who is that person? What is this

1323
01:10:30,640 --> 01:10:34,320
Speaker 3: outfit she's wearing? And why is everybody like cool with it?

1324
01:10:34,360 --> 01:10:37,360
Speaker 3: Like they've all developed a routine around this and we

1325
01:10:37,400 --> 01:10:40,760
Speaker 3: don't understand what's happening. You don't know who anyone is,

1326
01:10:40,840 --> 01:10:42,479
Speaker 3: and the young woman you feel like it could be

1327
01:10:42,600 --> 01:10:46,000
Speaker 3: his daughter, it could be his wife. You're just not

1328
01:10:46,040 --> 01:10:50,599
Speaker 3: sure who what the relationship is between these characters, as

1329
01:10:50,600 --> 01:10:51,880
Speaker 3: well as what the movie is about.

1330
01:10:51,920 --> 01:10:55,720
Speaker 1: So yeah, I thought she was like some weird performance

1331
01:10:55,800 --> 01:10:58,200
Speaker 1: artists that he had like commissioned to live in his house,

1332
01:10:58,280 --> 01:11:00,280
Speaker 1: like the Artists Present.

1333
01:11:00,160 --> 01:11:01,600
Speaker 2: Or something that I don't know what. I was like,

1334
01:11:01,840 --> 01:11:04,160
Speaker 2: what is going on with this situation?

1335
01:11:04,840 --> 01:11:07,960
Speaker 3: You're like, is sarta? Solet just like testing how it

1336
01:11:08,040 --> 01:11:14,320
Speaker 3: shows and start to sole boot Camp. You're right, like,

1337
01:11:14,479 --> 01:11:20,240
Speaker 3: what is happening here? He's like lengthening their leg muscles

1338
01:11:20,240 --> 01:11:21,880
Speaker 3: and they can do all those spins or something like

1339
01:11:21,920 --> 01:11:24,559
Speaker 3: what is going on? But it's true, it could be anything.

1340
01:11:24,680 --> 01:11:26,400
Speaker 3: You don't know what is going on?

1341
01:11:26,720 --> 01:11:28,360
Speaker 2: Yeah, yeah, it.

1342
01:11:28,320 --> 01:11:31,160
Speaker 3: Could be anything. And so I thought that the easiest

1343
01:11:31,160 --> 01:11:34,840
Speaker 3: way into this film without kind of spoiling too much

1344
01:11:35,360 --> 01:11:37,320
Speaker 3: is just to tell you who the characters are and

1345
01:11:37,360 --> 01:11:42,120
Speaker 3: how they intersect as we meet them. So Vera Cruz

1346
01:11:42,840 --> 01:11:46,759
Speaker 3: is this again beautiful young woman who's in this locked

1347
01:11:46,840 --> 01:11:51,559
Speaker 3: room and she is making some like nightmare before Christmas

1348
01:11:51,600 --> 01:11:56,160
Speaker 3: Sally ass dolls with like ripped fucking like ripped fabric,

1349
01:11:56,320 --> 01:12:00,760
Speaker 3: and it's she's obsessed with Louis Boo boot, like she's

1350
01:12:00,800 --> 01:12:04,200
Speaker 3: just making these very bifurcated isn't the word. It's like

1351
01:12:04,240 --> 01:12:07,799
Speaker 3: she's making these very these dolls that are completely stitched

1352
01:12:07,840 --> 01:12:12,920
Speaker 3: together and ripped apart, and she's doing it somehow with

1353
01:12:13,080 --> 01:12:16,080
Speaker 3: nail files and weird tools because she's not allowed to

1354
01:12:16,120 --> 01:12:19,200
Speaker 3: have sharp things. So again this mystery is like, who

1355
01:12:19,240 --> 01:12:20,920
Speaker 3: is she? Why is she in this room? Why can't

1356
01:12:20,960 --> 01:12:23,960
Speaker 3: she have sharp things? Is this like a mental health facility?

1357
01:12:24,000 --> 01:12:27,960
Speaker 3: Is he that kind of doctor? What's up? The other

1358
01:12:28,000 --> 01:12:30,719
Speaker 3: thing about her is her space. So it's this very

1359
01:12:30,760 --> 01:12:34,280
Speaker 3: sparse room, but there are all these strange markings on

1360
01:12:34,320 --> 01:12:38,720
Speaker 3: her wall, and she's always kind of doing yoga, and

1361
01:12:38,800 --> 01:12:41,439
Speaker 3: she keeps trying to kill herself. So when we first

1362
01:12:41,479 --> 01:12:45,800
Speaker 3: meet this character, she's trying to kill herself by using

1363
01:12:45,840 --> 01:12:49,320
Speaker 3: the sharp edge, the sharp paper edge of a book

1364
01:12:49,320 --> 01:12:52,639
Speaker 3: cover to like cut her wrists and cut her body.

1365
01:12:53,560 --> 01:12:57,040
Speaker 3: At that point, doctor Ledgard saves her, and now we

1366
01:12:57,080 --> 01:13:01,800
Speaker 3: get to learn about doctor Ledgard. So Robert specializes in

1367
01:13:01,920 --> 01:13:09,560
Speaker 3: skin transplants or transgenesis. He became obsessed with skin transplant

1368
01:13:09,600 --> 01:13:13,040
Speaker 3: after his wife was really badly burned in a car accident,

1369
01:13:13,560 --> 01:13:17,240
Speaker 3: and he names the synthetic skin that he develops after her,

1370
01:13:17,479 --> 01:13:23,040
Speaker 3: so his skin is named gal. He has a home

1371
01:13:23,120 --> 01:13:28,080
Speaker 3: lab which is very intense, and when we meet him,

1372
01:13:28,240 --> 01:13:31,800
Speaker 3: he's studying blood and Marillia kind of puts a jug

1373
01:13:31,840 --> 01:13:34,320
Speaker 3: of blood down on the kitchen table and we see

1374
01:13:34,400 --> 01:13:36,439
Speaker 3: him kind of using it to make this synthetic skin,

1375
01:13:36,520 --> 01:13:38,920
Speaker 3: and then he uses that skin to patch up Vera,

1376
01:13:39,720 --> 01:13:41,720
Speaker 3: and we get the feeling that this is not the

1377
01:13:41,720 --> 01:13:45,200
Speaker 3: first time this has happened. But he's impressed and happy

1378
01:13:45,280 --> 01:13:50,040
Speaker 3: because as he's putting the skin on, he's saying, you know,

1379
01:13:50,120 --> 01:13:52,800
Speaker 3: can you feel this? And he's like running a blow

1380
01:13:52,840 --> 01:13:55,599
Speaker 3: torch over her skin and she can't feel it, and

1381
01:13:55,640 --> 01:13:59,400
Speaker 3: he traps a mosquito under a glass against her skin

1382
01:14:00,160 --> 01:14:05,200
Speaker 3: like indestructible skin. And he goes and presents his findings

1383
01:14:05,880 --> 01:14:09,360
Speaker 3: to the medical community and he tells them flat out,

1384
01:14:10,040 --> 01:14:12,400
Speaker 3: I developed this because this is what could have saved

1385
01:14:12,400 --> 01:14:15,240
Speaker 3: my wife. And when my wife is in this horrible

1386
01:14:15,280 --> 01:14:18,960
Speaker 3: car accident, she was very badly burned, and I feel

1387
01:14:18,960 --> 01:14:22,479
Speaker 3: like this could have helped her. So he's very fueled

1388
01:14:22,560 --> 01:14:25,000
Speaker 3: by this grief. But then you wonder, well, is this

1389
01:14:25,080 --> 01:14:28,040
Speaker 3: woman in the room his wife, because it could be

1390
01:14:28,600 --> 01:14:30,800
Speaker 3: like she's about an age. She could be a wife

1391
01:14:30,840 --> 01:14:33,719
Speaker 3: or a daughter. I'm not sure. But basically the medical

1392
01:14:33,720 --> 01:14:37,800
Speaker 3: community thinks he is out of control, and they're like,

1393
01:14:37,840 --> 01:14:39,599
Speaker 3: we're going to stop you, We're going to report you.

1394
01:14:39,640 --> 01:14:42,320
Speaker 3: There's no way you're practicing this on mice, Like you're

1395
01:14:42,360 --> 01:14:45,360
Speaker 3: telling us we know you, we know you're practicing this

1396
01:14:45,479 --> 01:14:49,800
Speaker 3: on human beings at some point, and he's like, yeah, yeah, whatever.

1397
01:14:50,560 --> 01:14:54,000
Speaker 3: But what you learn about him is that after a while,

1398
01:14:54,160 --> 01:14:58,360
Speaker 3: you learn that his wife survived the car accident, but

1399
01:14:58,400 --> 01:15:03,760
Speaker 3: she died by suicide after the car accident, and he

1400
01:15:03,840 --> 01:15:08,679
Speaker 3: had they had a daughter who also died by suicide. Later.

1401
01:15:10,160 --> 01:15:13,080
Speaker 3: You also learn that he will absolutely spoke opium with

1402
01:15:13,120 --> 01:15:21,080
Speaker 3: his patients, and that he watches Vera very intensely from

1403
01:15:21,080 --> 01:15:23,280
Speaker 3: a room next door to her room that has a

1404
01:15:23,360 --> 01:15:28,559
Speaker 3: huge screen, and so he's just obsessed with Vera. And

1405
01:15:28,880 --> 01:15:32,840
Speaker 3: so right away you're like, I don't understand this relationship,

1406
01:15:32,880 --> 01:15:35,559
Speaker 3: who they are to each other and what their life

1407
01:15:35,600 --> 01:15:36,080
Speaker 3: is together.

1408
01:15:36,840 --> 01:15:39,160
Speaker 1: I want to ask you this real quick, and and

1409
01:15:39,160 --> 01:15:44,440
Speaker 1: not to cheapen anything that you're saying about this particular scene,

1410
01:15:44,800 --> 01:15:49,960
Speaker 1: but when I when I saw that screen in his house.

1411
01:15:50,600 --> 01:15:53,360
Speaker 1: I was like, who the fuck did he get to

1412
01:15:53,439 --> 01:15:57,200
Speaker 1: install this thing? Like, who's the who's the contractor that

1413
01:15:57,240 --> 01:15:58,880
Speaker 1: came in and said, Oh, do you want like an

1414
01:15:59,120 --> 01:16:04,040
Speaker 1: entire wall side creepy peeping tom TV.

1415
01:16:05,439 --> 01:16:08,240
Speaker 2: So you can watch this trapped woman in the other room.

1416
01:16:08,280 --> 01:16:10,320
Speaker 2: I was like, that is fucking crazy.

1417
01:16:10,520 --> 01:16:14,400
Speaker 3: This, this whole movie could be called rich People get

1418
01:16:14,400 --> 01:16:15,680
Speaker 3: Away with Anything.

1419
01:16:17,000 --> 01:16:20,720
Speaker 2: It's like, so Danielle may know a contractor.

1420
01:16:20,920 --> 01:16:23,559
Speaker 1: I should ask her if she's ever thought about having

1421
01:16:23,600 --> 01:16:26,320
Speaker 1: that weird screen. I was like, wow, that is so

1422
01:16:27,040 --> 01:16:29,520
Speaker 1: it's like wal the entire wall size.

1423
01:16:29,760 --> 01:16:32,360
Speaker 3: Yeah, it is huge, and it's because there's this there

1424
01:16:32,360 --> 01:16:34,599
Speaker 3: has to also be a camera in her room where

1425
01:16:34,680 --> 01:16:36,959
Speaker 3: one of those eyeball and the sky kind of cameras.

1426
01:16:37,400 --> 01:16:39,559
Speaker 4: Yeah, so whoever's installing.

1427
01:16:39,040 --> 01:16:42,840
Speaker 3: This knows exactly what's going on here. And I think

1428
01:16:42,880 --> 01:16:44,880
Speaker 3: he probably finagled it, like oh, you know, I run

1429
01:16:44,920 --> 01:16:47,360
Speaker 3: a clinic and you know we have to watch our

1430
01:16:47,400 --> 01:16:50,320
Speaker 3: patients and it'll be fine. And I'm sure he just

1431
01:16:50,400 --> 01:16:51,960
Speaker 3: kind of slipped him some money and they were like,

1432
01:16:52,040 --> 01:16:53,640
Speaker 3: all right, whatever, dude.

1433
01:16:53,560 --> 01:16:55,360
Speaker 1: Here's some opium. Take that home with you.

1434
01:16:55,760 --> 01:16:56,679
Speaker 3: Have a little opium.

1435
01:16:57,160 --> 01:16:59,599
Speaker 2: Do the plans exactly how I wrote them.

1436
01:17:00,400 --> 01:17:05,160
Speaker 3: Damn, that's a great question, a great question. There's a

1437
01:17:05,200 --> 01:17:07,200
Speaker 3: lot going on in this house that you're like, huh,

1438
01:17:07,240 --> 01:17:09,559
Speaker 3: how come nobody's hid anything about this? There's like a

1439
01:17:09,560 --> 01:17:14,000
Speaker 3: whole staff in this house. So what you find out

1440
01:17:14,439 --> 01:17:17,840
Speaker 3: again as the movie's picking up steam, is that Marillia

1441
01:17:18,000 --> 01:17:20,760
Speaker 3: runs the house and he's kind of told her to

1442
01:17:20,880 --> 01:17:23,920
Speaker 3: fire the staff because he's getting into his really deep

1443
01:17:23,920 --> 01:17:27,080
Speaker 3: into his work. And so she does, and you can

1444
01:17:27,120 --> 01:17:29,240
Speaker 3: tell right away she doesn't like Vera and you're not

1445
01:17:29,280 --> 01:17:32,080
Speaker 3: sure why, but she says cryptic shit like like you

1446
01:17:32,080 --> 01:17:35,040
Speaker 3: shouldn't have given her that face. It's too similar. So

1447
01:17:35,080 --> 01:17:38,040
Speaker 3: you're like, wait, whose face is this? Yeah, and this

1448
01:17:38,080 --> 01:17:40,160
Speaker 3: is where again we get all these parallels with eyes

1449
01:17:40,160 --> 01:17:41,800
Speaker 3: without a face, because you're like, did he take a

1450
01:17:41,840 --> 01:17:46,320
Speaker 3: face in order to make Vera? Is this like a

1451
01:17:46,400 --> 01:17:50,320
Speaker 3: father daughter grief thing? Like what is happening here? And

1452
01:17:50,360 --> 01:17:53,720
Speaker 3: then we're getting into, you know again, in terms of parentage.

1453
01:17:53,880 --> 01:17:57,760
Speaker 3: Marillia has her own story. So as Marillia is doing

1454
01:17:57,800 --> 01:18:01,840
Speaker 3: her job, one day, this guy shows up and it's

1455
01:18:01,920 --> 01:18:05,640
Speaker 3: during the carnival, and he's dressed like a tiger and

1456
01:18:05,720 --> 01:18:09,800
Speaker 3: he uses a birthmark on his ass to id himself

1457
01:18:09,920 --> 01:18:12,920
Speaker 3: as her son, and it turns out they haven't seen

1458
01:18:12,960 --> 01:18:15,439
Speaker 3: each other in ten years, and she's like, all right,

1459
01:18:15,479 --> 01:18:16,800
Speaker 3: you can come up and say hi, but then you

1460
01:18:16,880 --> 01:18:20,040
Speaker 3: have to leave. His name is Zecha. But he pushes

1461
01:18:20,080 --> 01:18:22,920
Speaker 3: his way into the house and while they're eating dinner

1462
01:18:22,960 --> 01:18:26,920
Speaker 3: and watching the news, it becomes clear that he just

1463
01:18:27,080 --> 01:18:31,120
Speaker 3: robbed a Bulgwi store, like he just pulled the jewelry

1464
01:18:31,160 --> 01:18:34,840
Speaker 3: hest and so he's like, oh, yeah, I definitely robbed

1465
01:18:34,840 --> 01:18:37,360
Speaker 3: that store, and I want to lay low here at

1466
01:18:37,360 --> 01:18:41,240
Speaker 3: the house and really is like, no way, Robert would

1467
01:18:41,280 --> 01:18:43,559
Speaker 3: not go for this, and he's like, oh, well, then

1468
01:18:43,800 --> 01:18:47,040
Speaker 3: I'll blackmail him into it, and that again indicates that

1469
01:18:47,080 --> 01:18:49,120
Speaker 3: there's a history between the two that we're just not

1470
01:18:49,520 --> 01:18:54,839
Speaker 3: sure of. Then Zecha sees Vera on the security screens

1471
01:18:55,680 --> 01:18:58,920
Speaker 3: and he recognizes her, and we don't know how, but

1472
01:18:59,000 --> 01:19:02,800
Speaker 3: he ties up his runs around the house to find

1473
01:19:02,880 --> 01:19:08,120
Speaker 3: Vera and then he rapes her. And the scene is grueling,

1474
01:19:09,120 --> 01:19:11,720
Speaker 3: but once you get to a point near the end

1475
01:19:12,000 --> 01:19:14,720
Speaker 3: of the movie, you realize just how awful it is

1476
01:19:15,280 --> 01:19:19,400
Speaker 3: because of other information that has come to light. Yeah,

1477
01:19:20,240 --> 01:19:27,519
Speaker 3: definitely not pleasant, No, not an easy watch. And then

1478
01:19:27,720 --> 01:19:31,799
Speaker 3: Robert comes home while Vera is being raped and Marilia

1479
01:19:31,880 --> 01:19:34,360
Speaker 3: is tied up, and he just kind of walks in

1480
01:19:34,439 --> 01:19:38,880
Speaker 3: the room and he's looking at Zeca very strangely, and

1481
01:19:39,320 --> 01:19:42,439
Speaker 3: then he shoots him. He just murders him, while his

1482
01:19:42,520 --> 01:19:45,320
Speaker 3: mother is watching all of this happen on security cameras.

1483
01:19:45,320 --> 01:19:48,080
Speaker 3: So she's watching her son rape someone and then she's

1484
01:19:48,120 --> 01:19:53,439
Speaker 3: watching her employer kill him on these security screens. So

1485
01:19:53,560 --> 01:19:57,679
Speaker 3: while Robert is out burying the body, Marillia again layers

1486
01:19:57,680 --> 01:20:00,840
Speaker 3: of the onion. She starts telling Vera this story. And

1487
01:20:00,920 --> 01:20:05,919
Speaker 3: the story is that Zecha and Robert are actually brothers,

1488
01:20:06,520 --> 01:20:09,559
Speaker 3: And you're like, wait, what, And as it turns out,

1489
01:20:10,640 --> 01:20:14,679
Speaker 3: she had Robert and gave him to the led Guards

1490
01:20:14,720 --> 01:20:17,479
Speaker 3: because the you know, missus Ledguard could not have children,

1491
01:20:18,040 --> 01:20:22,000
Speaker 3: so she had him, gave him to her employers. Then

1492
01:20:22,080 --> 01:20:24,599
Speaker 3: she had Zecha, who was like the product of this fling,

1493
01:20:25,040 --> 01:20:27,479
Speaker 3: but he grew up on the streets. And she has

1494
01:20:27,520 --> 01:20:31,920
Speaker 3: this brilliant line and she says, I've got insanity in

1495
01:20:32,000 --> 01:20:36,200
Speaker 3: my entrails. Oh, she just gave birth to these two

1496
01:20:36,280 --> 01:20:39,439
Speaker 3: boys who could not have grown up differently, but both

1497
01:20:39,560 --> 01:20:44,040
Speaker 3: have gone down such a distinctly different but completely wild,

1498
01:20:44,200 --> 01:20:48,080
Speaker 3: similarly wild path. So she is like, this is something

1499
01:20:48,120 --> 01:20:50,479
Speaker 3: that is starting here in this womb.

1500
01:20:51,360 --> 01:20:54,760
Speaker 1: Yeah, I mean this movie is a ride obviously for

1501
01:20:54,800 --> 01:20:59,160
Speaker 1: so many reasons, but like this, this turn that happens

1502
01:20:59,720 --> 01:21:04,160
Speaker 1: with Marillia, and like this reveal to me was actually

1503
01:21:04,240 --> 01:21:07,120
Speaker 1: it very much reminded him. It's like the pedroal Malvavar

1504
01:21:07,320 --> 01:21:11,120
Speaker 1: like melodrama turn like it. I think that's a very

1505
01:21:11,200 --> 01:21:12,880
Speaker 1: you know, we talked about this with all that Heaven

1506
01:21:12,920 --> 01:21:18,720
Speaker 1: allows where to me, it's kind of like signature melodrama

1507
01:21:19,120 --> 01:21:21,360
Speaker 1: that kind of just got tucked into this story, which

1508
01:21:21,400 --> 01:21:24,960
Speaker 1: I very much appreciate, but wild, it's wild to.

1509
01:21:25,000 --> 01:21:27,599
Speaker 3: Show, Yeah, and it helps you come down from what's

1510
01:21:27,680 --> 01:21:29,160
Speaker 3: just happened because you're like, what the fuck were am

1511
01:21:29,160 --> 01:21:30,120
Speaker 3: I supposed to go from this?

1512
01:21:30,560 --> 01:21:30,920
Speaker 1: Yeah?

1513
01:21:30,960 --> 01:21:35,360
Speaker 3: And so as it turns out, Robert doesn't know that

1514
01:21:35,479 --> 01:21:39,519
Speaker 3: Marilia is his mother and Zecha didn't know that Robert

1515
01:21:39,760 --> 01:21:40,400
Speaker 3: was his brother.

1516
01:21:41,760 --> 01:21:44,040
Speaker 4: Look, let's just stop having secret.

1517
01:21:43,720 --> 01:21:47,760
Speaker 3: Kids, y'all. Okay, it will always come back to bite you.

1518
01:21:47,840 --> 01:21:51,320
Speaker 3: It always ends in murder. Stop having secret kids.

1519
01:21:52,400 --> 01:21:56,479
Speaker 1: I mean, twenty three and meters is gonna fucking it's

1520
01:21:56,520 --> 01:21:58,600
Speaker 1: gonna bust you anyway, so you might as well just

1521
01:21:58,720 --> 01:22:00,080
Speaker 1: like be admit.

1522
01:21:59,840 --> 01:22:00,719
Speaker 2: That you had him.

1523
01:22:01,080 --> 01:22:05,800
Speaker 3: Yeah, it's gonna catch up with you some somehow. Also,

1524
01:22:06,000 --> 01:22:09,000
Speaker 3: as it turns out, Zecha had come around about ten

1525
01:22:09,120 --> 01:22:13,000
Speaker 3: years prior and he ran away with Gal. He ran

1526
01:22:13,040 --> 01:22:15,439
Speaker 3: away with Robert's wife, and so he was in the

1527
01:22:15,520 --> 01:22:17,960
Speaker 3: car when they got in the accident that burned her.

1528
01:22:18,560 --> 01:22:21,639
Speaker 3: So that's how he knows all about you know, this

1529
01:22:21,640 --> 01:22:24,200
Speaker 3: this part of Robert, and he said he would blackmail him,

1530
01:22:24,200 --> 01:22:28,760
Speaker 3: like they have this very complicated history together. And so

1531
01:22:28,840 --> 01:22:33,080
Speaker 3: you also learn through this story that she's telling that

1532
01:22:33,240 --> 01:22:37,240
Speaker 3: Robert and Gal had a daughter named Norma. And one day, Gal,

1533
01:22:37,360 --> 01:22:41,519
Speaker 3: who again is recovering Robert's trying to save her. She

1534
01:22:41,720 --> 01:22:45,200
Speaker 3: hears her daughter singing, and she goes to the window,

1535
01:22:45,280 --> 01:22:47,080
Speaker 3: and even though all the mirrors have been covered, just

1536
01:22:47,160 --> 01:22:50,320
Speaker 3: like an eyes without a face, she sees her reflection

1537
01:22:50,439 --> 01:22:53,640
Speaker 3: in the window for the first time, and she's so

1538
01:22:53,920 --> 01:22:58,240
Speaker 3: jarred and scared by what she sees that she throws

1539
01:22:58,240 --> 01:23:01,600
Speaker 3: herself out of the window and she dies by suicide

1540
01:23:01,640 --> 01:23:04,599
Speaker 3: in front of her daughter, who goes into treatment like

1541
01:23:04,920 --> 01:23:08,960
Speaker 3: directly after that, like Norma immediately goes into treatment after that.

1542
01:23:09,640 --> 01:23:17,200
Speaker 1: Yo, that scene was so freaky, right, but that scene

1543
01:23:17,360 --> 01:23:18,759
Speaker 1: freaked me out.

1544
01:23:20,720 --> 01:23:21,920
Speaker 2: Part of the anxiety.

1545
01:23:22,160 --> 01:23:24,200
Speaker 1: Part of the anxiety, of course, part of the.

1546
01:23:24,160 --> 01:23:27,639
Speaker 3: Stress, and it is it's stressful because at the one

1547
01:23:27,760 --> 01:23:29,920
Speaker 3: on the one hand, you're like, wait, if she threw

1548
01:23:29,960 --> 01:23:33,560
Speaker 3: herself out of a window, who is this woman, Vera?

1549
01:23:33,640 --> 01:23:36,800
Speaker 3: It's definitely not her? Yeah, so like what so you're

1550
01:23:36,840 --> 01:23:39,240
Speaker 3: thinking about how do these puzzle pieces put fit together?

1551
01:23:39,360 --> 01:23:42,360
Speaker 3: But then you're also learning so much more about Robert's

1552
01:23:42,520 --> 01:23:47,599
Speaker 3: grief and what's fueling him. Right, And after hearing this story,

1553
01:23:48,920 --> 01:23:52,400
Speaker 3: Vera decides to go to bed with Robert. They try

1554
01:23:52,439 --> 01:23:55,000
Speaker 3: to have sex, It doesn't work out, and but you're

1555
01:23:55,080 --> 01:23:57,599
Speaker 3: kind of again left wondering, like they are these these

1556
01:23:57,720 --> 01:23:59,519
Speaker 3: questions that just come up at the end of this

1557
01:24:00,080 --> 01:24:03,120
Speaker 3: whole first act, which is like is this love or

1558
01:24:03,160 --> 01:24:07,080
Speaker 3: is she playing him again? Who is Vera? What is

1559
01:24:07,200 --> 01:24:14,080
Speaker 3: motivating Robert? And where is Norma? Right? So then we

1560
01:24:14,160 --> 01:24:17,280
Speaker 3: get into a little more backstory and this is the

1561
01:24:17,360 --> 01:24:22,879
Speaker 3: event that kicked off this whole story, and it is wild.

1562
01:24:23,720 --> 01:24:27,000
Speaker 3: So Robert and Norma we're at a wedding out of town,

1563
01:24:27,600 --> 01:24:29,760
Speaker 3: and it's clear that this is her first time out

1564
01:24:29,800 --> 01:24:32,400
Speaker 3: in a long time and she has a ton of

1565
01:24:32,439 --> 01:24:35,719
Speaker 3: mental health issues, and there's actually a very sweet scene.

1566
01:24:36,760 --> 01:24:40,559
Speaker 3: She meets this guy Vicente, and you know, they kind

1567
01:24:40,560 --> 01:24:43,120
Speaker 3: of go outside and as they're talking, he's like, man,

1568
01:24:43,160 --> 01:24:45,559
Speaker 3: I'm so high, Like, are you on any pills? And

1569
01:24:45,600 --> 01:24:49,040
Speaker 3: she just rattles off a list of her antipsychotics and

1570
01:24:49,080 --> 01:24:53,599
Speaker 3: he's like, oh, that sounds heavy. She's not on ecstasy.

1571
01:24:53,640 --> 01:24:59,240
Speaker 3: She's on like heavy duty antipsychotics. And so Robert looks

1572
01:24:59,280 --> 01:25:00,960
Speaker 3: up and he sees that m was gone, and again,

1573
01:25:01,000 --> 01:25:02,920
Speaker 3: she's like a teenager at this point. She's older, but

1574
01:25:02,960 --> 01:25:06,719
Speaker 3: she's been very sheltered, very sheltered. He goes and looks

1575
01:25:06,720 --> 01:25:10,040
Speaker 3: for her, and he finds her in a state of

1576
01:25:10,840 --> 01:25:14,000
Speaker 3: undress or disrepair, I should say, like her shoes are off,

1577
01:25:14,040 --> 01:25:16,599
Speaker 3: her cardigan is off, and just as he sees her,

1578
01:25:16,640 --> 01:25:19,240
Speaker 3: this motorbike just kind of rides by and zooms out

1579
01:25:19,240 --> 01:25:22,920
Speaker 3: of there. And as he's walking through this den of

1580
01:25:22,920 --> 01:25:27,960
Speaker 3: iniquity where everyone is apparently fucking, then he finds his

1581
01:25:28,080 --> 01:25:31,639
Speaker 3: daughter laid out on the ground and she wakes up

1582
01:25:31,880 --> 01:25:35,880
Speaker 3: and screams bloody murder and the only assumption is that

1583
01:25:35,920 --> 01:25:39,840
Speaker 3: she has been raped. Right, So then we cut to

1584
01:25:39,880 --> 01:25:45,520
Speaker 3: this seemingly unrelated story of Vicente, who's this aspiring designer

1585
01:25:46,040 --> 01:25:47,880
Speaker 3: who works at this shop with his mother and his

1586
01:25:47,880 --> 01:25:50,679
Speaker 3: best friend Christina, and he tells him like, he's going

1587
01:25:50,680 --> 01:25:53,920
Speaker 3: to this wedding later, but it's just to dance. And

1588
01:25:53,960 --> 01:25:57,960
Speaker 3: then when he hops on his motorbike, we realize, oh,

1589
01:25:58,000 --> 01:26:01,880
Speaker 3: he's the would be rapist. So from his perspective we

1590
01:26:01,920 --> 01:26:03,760
Speaker 3: get the other side of the story, the true side

1591
01:26:03,800 --> 01:26:05,920
Speaker 3: of the story, which is that Norma took her own

1592
01:26:05,960 --> 01:26:09,679
Speaker 3: shoes off. She's kind of wild and free. They start

1593
01:26:09,720 --> 01:26:12,720
Speaker 3: making out, but she hears the song that she was

1594
01:26:12,760 --> 01:26:16,960
Speaker 3: singing when her mom died by suicide. She hears that

1595
01:26:17,080 --> 01:26:19,759
Speaker 3: song playing at the wedding and she starts to freak

1596
01:26:19,920 --> 01:26:24,600
Speaker 3: the fuck out and Vicente slaps her and she passes out,

1597
01:26:24,640 --> 01:26:27,920
Speaker 3: but then he carefully dresses her, but he does not

1598
01:26:28,080 --> 01:26:30,559
Speaker 3: rape her, but he does get the fuck out of there.

1599
01:26:31,560 --> 01:26:35,280
Speaker 3: So when Robert comes across this scene, he assumes the worst,

1600
01:26:35,439 --> 01:26:37,840
Speaker 3: and Vicente is like, I don't know who this girl is,

1601
01:26:38,240 --> 01:26:40,240
Speaker 3: I don't know what just happened, but I'm out of here.

1602
01:26:41,479 --> 01:26:48,960
Speaker 3: Later on, Robert finds Vicente, because again Norma's been re institutionalized.

1603
01:26:49,880 --> 01:26:54,480
Speaker 3: Robert finds Viscente runs him off the road and kidnaps

1604
01:26:54,520 --> 01:26:57,840
Speaker 3: him and chains him to a wall. And this is

1605
01:26:57,840 --> 01:26:59,760
Speaker 3: a point where if you haven't watched the movie yet,

1606
01:27:00,040 --> 01:27:02,960
Speaker 3: you should watch the progression of spaces that Vicente is

1607
01:27:03,000 --> 01:27:05,920
Speaker 3: in because then when you come back to the beginning

1608
01:27:05,960 --> 01:27:09,559
Speaker 3: of the movie, you're like, oh shit, his mother knows

1609
01:27:09,600 --> 01:27:12,639
Speaker 3: he's still alive, but the cops think he's cops think

1610
01:27:12,680 --> 01:27:14,240
Speaker 3: he's dead, so nobody's looking for him.

1611
01:27:14,560 --> 01:27:17,000
Speaker 1: Yeah, and they think that he like crashed in the river,

1612
01:27:17,160 --> 01:27:18,680
Speaker 1: right or exactly.

1613
01:27:18,800 --> 01:27:20,880
Speaker 3: So they find his bike, which has been tossed into

1614
01:27:20,880 --> 01:27:24,840
Speaker 3: the river again much like Eyes without a Face. Yeah,

1615
01:27:24,840 --> 01:27:26,840
Speaker 3: so his bike's in the river, but they haven't found

1616
01:27:26,880 --> 01:27:29,759
Speaker 3: a body. So they're like, well, he's probably floating somewhere,

1617
01:27:29,920 --> 01:27:31,960
Speaker 3: like we'll find him eventually. But his mom is like, no,

1618
01:27:32,000 --> 01:27:34,000
Speaker 3: he's look till you show me a body. He's not

1619
01:27:34,080 --> 01:27:39,720
Speaker 3: dead and no one is looking for him. But this,

1620
01:27:40,160 --> 01:27:43,040
Speaker 3: you know, we cut to Norma. She's afraid of Robert

1621
01:27:43,040 --> 01:27:46,880
Speaker 3: in her mind, he's the one who assaulted her, and

1622
01:27:46,920 --> 01:27:50,080
Speaker 3: then she dies by suicide the same way that her

1623
01:27:50,080 --> 01:27:52,760
Speaker 3: mother did. She throws herself out of a window. So

1624
01:27:52,880 --> 01:27:56,240
Speaker 3: in the wake of her funeral, Robert has some friends

1625
01:27:56,320 --> 01:27:58,880
Speaker 3: come over and they're like, are you sure you want

1626
01:27:58,920 --> 01:28:02,160
Speaker 3: to work today? And he's like, yeah, yeah, definitely, And

1627
01:28:02,240 --> 01:28:05,880
Speaker 3: what they do he gives them all this false paperwork

1628
01:28:06,240 --> 01:28:13,280
Speaker 3: and then they give Vicente vagina plasty. So there's a

1629
01:28:13,320 --> 01:28:16,759
Speaker 3: deeper meaning here and that he removed the penis first.

1630
01:28:17,439 --> 01:28:20,280
Speaker 3: But this is also the moment that we realize that

1631
01:28:20,400 --> 01:28:24,920
Speaker 3: Vera is Vicente, right, and the marks on the wall

1632
01:28:25,439 --> 01:28:27,760
Speaker 3: are all the days that she's been held captive, which

1633
01:28:27,800 --> 01:28:32,120
Speaker 3: is like six years, and she constantly says she wants

1634
01:28:32,120 --> 01:28:34,559
Speaker 3: to go home. She says it right after the vagina plasty,

1635
01:28:34,920 --> 01:28:39,919
Speaker 3: and Robert says, we're just getting started. So you realize

1636
01:28:39,920 --> 01:28:44,360
Speaker 3: in this moment that this man has exacted some weird

1637
01:28:44,439 --> 01:28:50,240
Speaker 3: revenge on Vicente for six years by completely changing his

1638
01:28:50,320 --> 01:28:54,200
Speaker 3: sex and his body. And so we're left with these

1639
01:28:54,320 --> 01:28:57,639
Speaker 3: questions of like, and again, I'm not going to ruin

1640
01:28:57,680 --> 01:29:00,120
Speaker 3: the movie. Beyond this, it goes so it goes on

1641
01:29:00,200 --> 01:29:04,639
Speaker 3: and it gets so much more wild. But I love

1642
01:29:04,840 --> 01:29:07,880
Speaker 3: that this film makes me ask so many questions. So

1643
01:29:07,920 --> 01:29:11,400
Speaker 3: one of the questions is, like, Robert's clearly a monster

1644
01:29:11,880 --> 01:29:14,439
Speaker 3: and he's driven mad with grief, But do you think

1645
01:29:14,479 --> 01:29:18,040
Speaker 3: he decided to make the Scentae his guinea pig before

1646
01:29:18,200 --> 01:29:21,200
Speaker 3: Norma died, So like, is he doing this as a

1647
01:29:21,240 --> 01:29:25,080
Speaker 3: punishment for what the Scente did to Norma? Or is

1648
01:29:25,080 --> 01:29:27,160
Speaker 3: he doing this as a way to get his wife

1649
01:29:27,240 --> 01:29:31,000
Speaker 3: back in some form? Like there you question I question

1650
01:29:31,120 --> 01:29:35,280
Speaker 3: his motivation throughout because it's not entirely clear. There's something

1651
01:29:35,360 --> 01:29:39,080
Speaker 3: very sadistic about what he's doing, but he's also doing

1652
01:29:39,120 --> 01:29:41,600
Speaker 3: it in a way that benefits him romantically.

1653
01:29:43,560 --> 01:29:46,920
Speaker 2: I mean, I I don't know if it's because I was.

1654
01:29:48,439 --> 01:29:51,320
Speaker 1: Informed by eyes without a face when I saw this,

1655
01:29:51,360 --> 01:29:54,240
Speaker 1: because again I just saw this for this episode. I

1656
01:29:54,240 --> 01:29:57,519
Speaker 1: definitely thought it was a revenge thing. Like I was like, oh, this,

1657
01:29:57,520 --> 01:30:05,800
Speaker 1: this has to be some really convoluted revenge plot for

1658
01:30:06,160 --> 01:30:07,040
Speaker 1: the daughter thing.

1659
01:30:08,040 --> 01:30:10,400
Speaker 3: I agree, I agree, because I think when you look

1660
01:30:10,439 --> 01:30:14,880
Speaker 3: at the rape scene, for example, Robert was able to

1661
01:30:15,120 --> 01:30:18,559
Speaker 3: enact revenge on Zecha in a way that he never

1662
01:30:18,680 --> 01:30:22,040
Speaker 3: was able to do with Vicente. So he's able to

1663
01:30:22,160 --> 01:30:26,160
Speaker 3: kill Zecha and save Vera, but he wasn't able to

1664
01:30:26,200 --> 01:30:29,760
Speaker 3: save Norma. He wasn't able to save his daughter. And

1665
01:30:30,200 --> 01:30:36,040
Speaker 3: he also by turning Vera into a woman, and he

1666
01:30:36,280 --> 01:30:38,519
Speaker 3: again like that weird look he gives Zecho when he's

1667
01:30:38,560 --> 01:30:42,400
Speaker 3: standing there. It's really strange because you realize that Vera

1668
01:30:42,560 --> 01:30:46,000
Speaker 3: was able to from from Robert's perspective, Vera was able

1669
01:30:46,040 --> 01:30:49,400
Speaker 3: to feel what it felt. She was able to experience

1670
01:30:49,400 --> 01:30:51,839
Speaker 3: what it felt like to be raped instead of being

1671
01:30:52,040 --> 01:30:56,680
Speaker 3: the rapist. So it's kind of a strange, like he

1672
01:30:56,680 --> 01:30:58,559
Speaker 3: didn't plan it, of course, but it's kind of a

1673
01:30:58,680 --> 01:31:03,439
Speaker 3: very strange, roundabout way that it really does work into

1674
01:31:03,479 --> 01:31:07,200
Speaker 3: his revenge plot. But that I don't know.

1675
01:31:08,640 --> 01:31:11,519
Speaker 1: I'm deeply fascinated how you read the book that this

1676
01:31:11,680 --> 01:31:12,320
Speaker 1: is based off of.

1677
01:31:12,400 --> 01:31:14,120
Speaker 2: I'm just so curious about what.

1678
01:31:16,160 --> 01:31:17,519
Speaker 1: About what that could be.

1679
01:31:17,720 --> 01:31:19,880
Speaker 3: Like, you know, I know, I know that the movie

1680
01:31:20,000 --> 01:31:21,759
Speaker 3: veers wildly away from the book.

1681
01:31:22,280 --> 01:31:23,320
Speaker 1: Okay, got it.

1682
01:31:24,439 --> 01:31:26,120
Speaker 3: I don't know where or how, but I know that

1683
01:31:26,200 --> 01:31:28,680
Speaker 3: it's it veers from the away from the book and

1684
01:31:28,760 --> 01:31:30,680
Speaker 3: the way only Almado work can do.

1685
01:31:32,280 --> 01:31:33,000
Speaker 1: Yeah.

1686
01:31:33,200 --> 01:31:38,599
Speaker 2: Yeah, I mean honestly like it. This was so there

1687
01:31:38,680 --> 01:31:40,880
Speaker 2: was so much going on in this movie.

1688
01:31:41,040 --> 01:31:42,680
Speaker 1: You know, like when I say it's a ride, I mean,

1689
01:31:42,680 --> 01:31:44,559
Speaker 1: like we talk about this film is a ride, but

1690
01:31:44,640 --> 01:31:46,360
Speaker 1: it's like, I mean, it really is. I Mean, there's

1691
01:31:46,439 --> 01:31:50,839
Speaker 1: just so many different layers to it. Yeah, and it's

1692
01:31:51,280 --> 01:31:54,400
Speaker 1: there and it's also just sort of there's unpleasant thoughts,

1693
01:31:54,479 --> 01:31:57,160
Speaker 1: like it's just sort of like having to question the

1694
01:31:57,200 --> 01:32:02,720
Speaker 1: motivations of people, especially doctors, which I think is a

1695
01:32:02,760 --> 01:32:04,599
Speaker 1: part of what our theme is all about, is just

1696
01:32:04,600 --> 01:32:06,800
Speaker 1: this idea of like the hippocratic oath and just sort

1697
01:32:06,840 --> 01:32:11,479
Speaker 1: of having this like implicit trust about doctors normally. But

1698
01:32:11,520 --> 01:32:13,960
Speaker 1: then it's like this stuff like you see these two

1699
01:32:14,000 --> 01:32:17,320
Speaker 1: movies and especially your movie, My God, and you're thinking,

1700
01:32:17,400 --> 01:32:21,240
Speaker 1: like wow, just having to like pick the brain of

1701
01:32:21,280 --> 01:32:24,320
Speaker 1: that just so fascinating to me. And like, yeah, I

1702
01:32:24,360 --> 01:32:27,960
Speaker 1: was just curious about the book because I mean, obviously

1703
01:32:26,880 --> 01:32:30,080
Speaker 1: I went down the rabbit hole of reading about this

1704
01:32:30,160 --> 01:32:33,800
Speaker 1: film the moment it ended, because I was.

1705
01:32:33,840 --> 01:32:37,600
Speaker 2: Like, uh, what did I just see?

1706
01:32:37,720 --> 01:32:39,040
Speaker 1: And like I said, I'm a big fan of a

1707
01:32:39,040 --> 01:32:40,600
Speaker 1: mount of Oar, so I'm like, Okay, well, I know

1708
01:32:40,680 --> 01:32:43,040
Speaker 1: a little bit about like sort of what he brings

1709
01:32:43,080 --> 01:32:45,000
Speaker 1: to the table in terms of being a director or

1710
01:32:45,040 --> 01:32:49,040
Speaker 1: a writer, but this felt like there was something more

1711
01:32:49,120 --> 01:32:51,880
Speaker 1: that I really wanted to chew on a little bit.

1712
01:32:52,000 --> 01:32:55,599
Speaker 1: So but I didn't go have you read or seen

1713
01:32:55,680 --> 01:32:56,839
Speaker 1: him talk about this film?

1714
01:32:57,080 --> 01:32:59,880
Speaker 3: Like yeah, there are a lot of great interviews about it,

1715
01:33:00,160 --> 01:33:02,360
Speaker 3: and again because it won so many awards, Like you

1716
01:33:02,400 --> 01:33:04,439
Speaker 3: get to see him talking about it a lot, and

1717
01:33:04,800 --> 01:33:09,120
Speaker 3: it's hard to sum up in you know, like one statement,

1718
01:33:09,479 --> 01:33:11,840
Speaker 3: but it's worth if you have watched this movie, are

1719
01:33:11,880 --> 01:33:14,479
Speaker 3: going to watch this movie. It's worth looking up those

1720
01:33:14,560 --> 01:33:18,160
Speaker 3: videos and looking up the interviews of him and the

1721
01:33:18,280 --> 01:33:22,559
Speaker 3: cast talking about what this movie meant to them. And

1722
01:33:23,080 --> 01:33:25,720
Speaker 3: he doesn't really even kind of come out and expressly

1723
01:33:25,760 --> 01:33:28,840
Speaker 3: say why he made it. It just you know, it's

1724
01:33:28,880 --> 01:33:30,880
Speaker 3: something that sprang out of his creativity and he was

1725
01:33:30,920 --> 01:33:32,439
Speaker 3: trying to use it as a way to kind of

1726
01:33:32,479 --> 01:33:36,040
Speaker 3: bridge a gap for a moment. Again, it was made

1727
01:33:36,040 --> 01:33:40,120
Speaker 3: in twenty eleven. But what I really appreciated about watching

1728
01:33:40,160 --> 01:33:44,439
Speaker 3: it now in twenty twenty two is that when I

1729
01:33:44,439 --> 01:33:48,280
Speaker 3: first watched it, I found myself asking questions about and

1730
01:33:48,360 --> 01:33:52,559
Speaker 3: hoping that he would answer questions about, like what is

1731
01:33:52,600 --> 01:33:57,559
Speaker 3: this movie saying about being transgender? And what I'm realizing

1732
01:33:57,600 --> 01:34:00,639
Speaker 3: in twenty twenty two is that this isn't. This movie

1733
01:34:00,680 --> 01:34:04,519
Speaker 3: is not a direct commentary on being transgender, at least

1734
01:34:04,640 --> 01:34:06,759
Speaker 3: not in the way that we have like a modern

1735
01:34:06,800 --> 01:34:11,559
Speaker 3: cultural conversation going about being trans To me, this movie

1736
01:34:11,640 --> 01:34:16,439
Speaker 3: is more about misogyny because the sex change is forced

1737
01:34:16,880 --> 01:34:20,240
Speaker 3: on Vicente. It's not his choice. And the worst thing

1738
01:34:20,400 --> 01:34:23,960
Speaker 3: Robert can think of is turning Vicente into a woman.

1739
01:34:24,479 --> 01:34:26,960
Speaker 3: So is that because he thinks women have a specific

1740
01:34:27,080 --> 01:34:31,439
Speaker 3: tie to grief like gal and Norma did, right, because

1741
01:34:31,439 --> 01:34:34,120
Speaker 3: his wife and daughter did. Is it something else? Is

1742
01:34:34,160 --> 01:34:37,240
Speaker 3: it something that allows him to obscure who he has

1743
01:34:37,280 --> 01:34:41,280
Speaker 3: really become because he's not facing someone who is in

1744
01:34:41,320 --> 01:34:46,160
Speaker 3: his direct image, he's turning them into something that Again,

1745
01:34:46,200 --> 01:34:50,640
Speaker 3: I feel like he thinks women are his experiments and

1746
01:34:50,800 --> 01:34:56,720
Speaker 3: his medical expertise is not used in a way that

1747
01:34:56,840 --> 01:35:00,400
Speaker 3: he is revering women. It's more that he he is

1748
01:35:02,160 --> 01:35:05,320
Speaker 3: he sees them as like the perfect palette in some way.

1749
01:35:06,040 --> 01:35:08,240
Speaker 3: And so yeah, I think that this is for me.

1750
01:35:08,280 --> 01:35:11,479
Speaker 3: It's more of a comment about misogyny, and especially it's

1751
01:35:11,520 --> 01:35:15,559
Speaker 3: more of a comment about forced femininity, like Vicente used

1752
01:35:15,560 --> 01:35:18,839
Speaker 3: to love women's clothing and making women's clothing and styling windows,

1753
01:35:18,960 --> 01:35:21,599
Speaker 3: and you know, now Vera cuts up all of all

1754
01:35:21,600 --> 01:35:24,559
Speaker 3: of her dresses, and Norma wouldn't wear dresses either. So

1755
01:35:24,600 --> 01:35:27,880
Speaker 3: it seems like this conversation that the moviees having with

1756
01:35:27,960 --> 01:35:33,240
Speaker 3: itself about forced femininity and misogyny and why does this

1757
01:35:33,400 --> 01:35:38,400
Speaker 3: doctor see women as a plaything like a palette for him?

1758
01:35:38,680 --> 01:35:41,960
Speaker 3: And I don't know, I don't know the answer.

1759
01:35:42,800 --> 01:35:43,559
Speaker 2: No, totally.

1760
01:35:43,960 --> 01:35:45,479
Speaker 1: I mean, and that's part of like what I think

1761
01:35:45,520 --> 01:35:48,000
Speaker 1: I found fascinating about just kind of like his apartment

1762
01:35:48,120 --> 01:35:50,720
Speaker 1: or his villa wherever he lives. Just there was all

1763
01:35:50,720 --> 01:35:54,400
Speaker 1: those paintings in it with all these like nude women,

1764
01:35:55,160 --> 01:35:58,880
Speaker 1: and he just kind of fetishizes the women, the female body.

1765
01:35:59,479 --> 01:36:02,240
Speaker 3: Yeah, but they're all faceless, right, Like he's got all

1766
01:36:02,320 --> 01:36:04,879
Speaker 3: these body but they're all faceless, and you're like what.

1767
01:36:05,360 --> 01:36:09,760
Speaker 1: Yeah, right, And just this idea that he has to

1768
01:36:10,320 --> 01:36:15,719
Speaker 1: watch this person that he's trapped in his own home

1769
01:36:16,280 --> 01:36:22,360
Speaker 1: in this very like garish kind of outrageous way. You know.

1770
01:36:22,760 --> 01:36:23,880
Speaker 2: It's not so much like you have.

1771
01:36:23,880 --> 01:36:27,280
Speaker 1: Like here little spot nanny cam, like the way it

1772
01:36:27,320 --> 01:36:29,000
Speaker 1: is in the kitchen. I mean, he's got this giant

1773
01:36:29,080 --> 01:36:31,679
Speaker 1: wall thing where he's like he's set up a chaise

1774
01:36:31,800 --> 01:36:33,479
Speaker 1: lounge in front of him and he's like, oh, look

1775
01:36:33,520 --> 01:36:37,320
Speaker 1: at my art, look at my creation. And you're just like, god, damn,

1776
01:36:37,360 --> 01:36:40,120
Speaker 1: that is like fucking insane and.

1777
01:36:39,960 --> 01:36:41,639
Speaker 2: It's wild, I think it.

1778
01:36:41,800 --> 01:36:44,280
Speaker 1: But I think it goes to your point exactly about

1779
01:36:44,439 --> 01:36:51,519
Speaker 1: about the misogyny of this character. Right, God, yeah, this

1780
01:36:51,680 --> 01:36:53,800
Speaker 1: was a fascinating.

1781
01:36:53,360 --> 01:36:55,519
Speaker 3: Movie, isn't it a good one?

1782
01:36:56,280 --> 01:36:59,719
Speaker 2: Really? It really is. I mean yeah, I mean it's.

1783
01:37:01,280 --> 01:37:03,800
Speaker 1: Like when I was making I was trying to obviously, say,

1784
01:37:03,960 --> 01:37:07,719
Speaker 1: like trying to find the sort of like influences from

1785
01:37:07,800 --> 01:37:09,880
Speaker 1: my movie when I was watching it, and there's quite

1786
01:37:09,880 --> 01:37:12,320
Speaker 1: a few, and I you know, and that is the weird,

1787
01:37:12,479 --> 01:37:16,200
Speaker 1: like the thing that the movie kind of shares is

1788
01:37:16,240 --> 01:37:18,040
Speaker 1: the father daughter.

1789
01:37:18,120 --> 01:37:20,120
Speaker 2: Thing, yes, which is so.

1790
01:37:21,600 --> 01:37:25,479
Speaker 1: There's the unsettling nature to it in.

1791
01:37:25,520 --> 01:37:29,280
Speaker 3: Both films, Yes, yes, because it's like this weird protective

1792
01:37:29,640 --> 01:37:32,720
Speaker 3: instinct that they have, but they're making their daughter so

1793
01:37:32,960 --> 01:37:36,000
Speaker 3: miserable in the process of trying to protect them that

1794
01:37:36,000 --> 01:37:40,080
Speaker 3: that is how their lives in one case end and

1795
01:37:40,120 --> 01:37:42,840
Speaker 3: in the other case becomes so small and withered that

1796
01:37:42,920 --> 01:37:45,880
Speaker 3: she wants to die. Like it is just weird, Like

1797
01:37:45,920 --> 01:37:47,720
Speaker 3: I think, I don't know, maybe we picked this for

1798
01:37:47,760 --> 01:37:49,680
Speaker 3: a Father's Day episode in a couple of years we

1799
01:37:49,720 --> 01:37:50,639
Speaker 3: revisit these.

1800
01:37:51,400 --> 01:37:54,080
Speaker 4: Because it's a relationship I don't know anything about.

1801
01:37:54,120 --> 01:37:56,760
Speaker 3: I've never met my dad. But I'm like, these men

1802
01:37:57,000 --> 01:38:01,760
Speaker 3: are doing monstrous things in the name of parenthood, and

1803
01:38:01,800 --> 01:38:04,879
Speaker 3: they are fucking it up royally.

1804
01:38:05,040 --> 01:38:13,440
Speaker 1: Yeah. Well, and also just there's moments of like, how

1805
01:38:13,960 --> 01:38:23,040
Speaker 1: are they processing this information about their daughter's femininity, about

1806
01:38:23,040 --> 01:38:25,720
Speaker 1: her looks, about her virginity, about her whatever it is,

1807
01:38:26,400 --> 01:38:29,559
Speaker 1: the purity of the daughter, and how do they how

1808
01:38:29,600 --> 01:38:33,479
Speaker 1: are they processing it in their own ways? And it

1809
01:38:33,520 --> 01:38:37,120
Speaker 1: feels like it is that like weird unsettling. There's like

1810
01:38:37,160 --> 01:38:40,040
Speaker 1: there's this part of it where I'm like, wow, Like

1811
01:38:40,320 --> 01:38:43,240
Speaker 1: I can see a dad being very protective of his children,

1812
01:38:43,600 --> 01:38:45,559
Speaker 1: no doubt about it. I can see a dad being

1813
01:38:45,720 --> 01:38:49,559
Speaker 1: very protective of a daughter, absolutely, but it kind of

1814
01:38:49,640 --> 01:38:52,920
Speaker 1: veers off into strange directions in both these situations.

1815
01:38:53,640 --> 01:38:54,560
Speaker 3: Yeah.

1816
01:38:54,880 --> 01:38:55,479
Speaker 1: Yeah, And if you.

1817
01:38:55,400 --> 01:38:58,040
Speaker 3: Want to get like super academic about it too, it's

1818
01:38:58,080 --> 01:39:01,759
Speaker 3: like there's a moment where you realize both of these

1819
01:39:01,960 --> 01:39:08,200
Speaker 3: young women have experienced specific and distraught trauma right at

1820
01:39:08,200 --> 01:39:11,559
Speaker 3: their sexual awakening, like right at the moment of their

1821
01:39:11,560 --> 01:39:16,960
Speaker 3: sexual awakening, and how their dads then step into not

1822
01:39:17,080 --> 01:39:22,320
Speaker 3: necessarily fill that role, but they take over the care

1823
01:39:22,520 --> 01:39:26,160
Speaker 3: of their lives. Right is they're about to become sexual beings.

1824
01:39:26,800 --> 01:39:32,640
Speaker 1: Yeah, they they're basically, you know, kind of running interference

1825
01:39:32,920 --> 01:39:39,439
Speaker 1: in some way. You know, Wow, I expect that paper

1826
01:39:39,479 --> 01:39:42,120
Speaker 1: to be on my desk next week.

1827
01:39:44,439 --> 01:39:48,479
Speaker 3: I could write like a thirty three and a third

1828
01:39:48,640 --> 01:39:51,559
Speaker 3: book about this movie. Like I could write about and

1829
01:39:51,600 --> 01:39:56,160
Speaker 3: talk about this movie all day long. I think it's fascinating. Yeah,

1830
01:39:56,200 --> 01:39:59,000
Speaker 3: and he it's just another example of why he's one

1831
01:39:59,040 --> 01:40:00,760
Speaker 3: of my favorite directors.

1832
01:40:01,000 --> 01:40:04,760
Speaker 1: Well, listen, I could sense that it was something that

1833
01:40:04,800 --> 01:40:07,719
Speaker 1: you wanted to talk about because I just was It's like, well,

1834
01:40:07,880 --> 01:40:09,519
Speaker 1: you were kind of like, am I going to use

1835
01:40:09,520 --> 01:40:11,280
Speaker 1: it for this theme or that theme? Like, well, how

1836
01:40:11,400 --> 01:40:14,000
Speaker 1: we how are we tucking this one into the schedule?

1837
01:40:14,680 --> 01:40:20,599
Speaker 1: And I'm so glad that you picked the theme because yeah,

1838
01:40:20,640 --> 01:40:23,400
Speaker 1: I mean it was it's such a good lens to

1839
01:40:23,479 --> 01:40:26,800
Speaker 1: sort of see this movie in. And then I accidentally

1840
01:40:26,880 --> 01:40:29,439
Speaker 1: picked the movie that influenced it.

1841
01:40:29,520 --> 01:40:30,639
Speaker 2: So it worked out.

1842
01:40:31,040 --> 01:40:32,120
Speaker 4: It worked out great.

1843
01:40:32,320 --> 01:40:33,200
Speaker 3: It worked out great.

1844
01:40:33,520 --> 01:40:37,640
Speaker 1: Now, I'll just say for the record too, like I

1845
01:40:37,760 --> 01:40:38,519
Speaker 1: never wanted to.

1846
01:40:38,479 --> 01:40:39,120
Speaker 2: Be a doctor.

1847
01:40:39,240 --> 01:40:43,679
Speaker 1: I immediately looked at the medical profession with too much school,

1848
01:40:44,000 --> 01:40:45,800
Speaker 1: too much science, like not for me.

1849
01:40:47,160 --> 01:40:47,960
Speaker 2: Definitely not a.

1850
01:40:47,880 --> 01:40:51,920
Speaker 1: Science gal like that. But I think it is fascinating

1851
01:40:52,160 --> 01:40:55,519
Speaker 1: to have. It's just sort of like from the outside

1852
01:40:55,560 --> 01:40:57,680
Speaker 1: and you're like, oh my gosh, being a doctor is

1853
01:40:58,160 --> 01:41:03,160
Speaker 1: complicated in that really in that ethical way.

1854
01:41:03,439 --> 01:41:07,160
Speaker 3: Yeah, you know, every day is a new experience of

1855
01:41:07,400 --> 01:41:12,360
Speaker 3: potential wrong decisions or fetal decisions or yeah.

1856
01:41:12,439 --> 01:41:15,200
Speaker 2: Oh well, thank you.

1857
01:41:15,479 --> 01:41:17,880
Speaker 3: I'm so glad. Do you want thank you? This is

1858
01:41:17,880 --> 01:41:20,479
Speaker 3: a great episode. I'm so glad we got to talk

1859
01:41:20,479 --> 01:41:24,040
Speaker 3: about these movies. And I when I say that I

1860
01:41:24,080 --> 01:41:27,840
Speaker 3: can't wait until next week's episode, I am not being

1861
01:41:27,880 --> 01:41:34,520
Speaker 3: at all hyperbolic. I have been waiting for this episode

1862
01:41:34,560 --> 01:41:35,320
Speaker 3: for months.

1863
01:41:36,439 --> 01:41:43,000
Speaker 1: Yes, like you with your film for this week, my

1864
01:41:43,200 --> 01:41:46,800
Speaker 1: film for next week. I own on multiple platforms as well,

1865
01:41:47,400 --> 01:41:50,559
Speaker 1: so I'm probably on a list. I'm pretty sure I

1866
01:41:50,600 --> 01:41:56,360
Speaker 1: have it on all formats, on all devices in my home,

1867
01:41:56,800 --> 01:41:58,439
Speaker 1: like it's it's.

1868
01:41:58,360 --> 01:42:01,360
Speaker 2: A it's a fave. So I'm really excited.

1869
01:42:01,760 --> 01:42:06,920
Speaker 1: The minute that you suggested your film to pairt with,

1870
01:42:07,160 --> 01:42:11,200
Speaker 1: I screamed, laughing. I screamed, laughing.

1871
01:42:11,920 --> 01:42:13,240
Speaker 3: Do you want to tell them what the movies?

1872
01:42:13,880 --> 01:42:14,080
Speaker 4: Fuck?

1873
01:42:14,200 --> 01:42:15,800
Speaker 3: Can I do? So?

1874
01:42:16,520 --> 01:42:21,600
Speaker 1: The movies for next episode are you can count on

1875
01:42:21,680 --> 01:42:27,920
Speaker 1: me from two thousand and basket Case from nineteen eighty two.

1876
01:42:30,200 --> 01:42:32,639
Speaker 3: I'm not even gonna encourage you to guess the theme

1877
01:42:33,560 --> 01:42:38,679
Speaker 3: that is why you locked these movies and marvel at

1878
01:42:38,720 --> 01:42:43,960
Speaker 3: the brain that brought these two movies together and then

1879
01:42:44,040 --> 01:42:45,640
Speaker 3: listen in with us because it is going to be

1880
01:42:45,640 --> 01:42:50,560
Speaker 3: a great, great episode. Oh my gosh, wait cannot.

1881
01:42:50,120 --> 01:42:51,439
Speaker 2: Wait, but listen.

1882
01:42:51,439 --> 01:42:53,679
Speaker 1: If you would like to email us for any reason,

1883
01:42:53,800 --> 01:42:55,320
Speaker 1: we are at I Saw what you Did pot at

1884
01:42:55,320 --> 01:43:01,200
Speaker 1: gmail dot com. Please please please send us questions for

1885
01:43:01,240 --> 01:43:05,120
Speaker 1: the bonus episodes. We have a lot of fun. I

1886
01:43:05,120 --> 01:43:07,240
Speaker 1: mean honestly, like we say this all the time, but

1887
01:43:07,280 --> 01:43:11,120
Speaker 1: we truly have a blast. They're very cash, very loose.

1888
01:43:11,800 --> 01:43:16,439
Speaker 1: We love doing them. But send us emails for it.

1889
01:43:16,880 --> 01:43:21,799
Speaker 1: Stories about movie experiences, awkwardly watching films with your family,

1890
01:43:22,000 --> 01:43:24,720
Speaker 1: working in movie theaters or in video stores, like you know,

1891
01:43:24,840 --> 01:43:29,720
Speaker 1: forcing your film club to watch basket Case and you

1892
01:43:29,760 --> 01:43:34,240
Speaker 1: can count on me together, like whatever you got, send

1893
01:43:34,280 --> 01:43:34,720
Speaker 1: it to us.

1894
01:43:34,760 --> 01:43:36,599
Speaker 2: I Saw what you did pod at gmail dot.

1895
01:43:36,479 --> 01:43:40,439
Speaker 3: Com, Like are you having in a Reverend Arbor Day

1896
01:43:40,479 --> 01:43:45,040
Speaker 3: party that you need suggestions for? Also, we have a

1897
01:43:45,040 --> 01:43:47,599
Speaker 3: po box, so if you want to send us handwritten letters,

1898
01:43:47,880 --> 01:43:50,639
Speaker 3: Millie will open them and then she will report back

1899
01:43:50,680 --> 01:43:53,960
Speaker 3: to me her findings. But if you find us on

1900
01:43:54,000 --> 01:43:57,000
Speaker 3: our social media, which is at I saw pod on

1901
01:43:57,080 --> 01:44:00,439
Speaker 3: Instagram and Twitter, I'll see those and you know what,

1902
01:44:00,479 --> 01:44:02,559
Speaker 3: while you're there, why don't you tell a few friends

1903
01:44:02,600 --> 01:44:04,719
Speaker 3: to follow us, and then why don't you tell even

1904
01:44:04,760 --> 01:44:07,120
Speaker 3: more friends to follow us and leave us a five

1905
01:44:07,200 --> 01:44:09,680
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1906
01:44:10,160 --> 01:44:15,280
Speaker 1: It sure does. And listen, we got merch in our

1907
01:44:15,600 --> 01:44:18,519
Speaker 1: shop at exactlyrightmedia dot com.

1908
01:44:18,520 --> 01:44:19,799
Speaker 2: And let me just tell you something.

1909
01:44:20,640 --> 01:44:23,360
Speaker 1: We haven't done this in a while, but you know,

1910
01:44:23,439 --> 01:44:26,800
Speaker 1: we would have people send us pictures of themselves like

1911
01:44:27,720 --> 01:44:30,760
Speaker 1: hushing up our T shirts, like in a very cute way,

1912
01:44:30,920 --> 01:44:32,800
Speaker 1: like maybe do a little T shirt clip, maybe do

1913
01:44:32,840 --> 01:44:37,080
Speaker 1: it a little hemming or something. We'll post them, we'll

1914
01:44:37,080 --> 01:44:38,960
Speaker 1: repost them if you got if you got our merch

1915
01:44:39,000 --> 01:44:41,280
Speaker 1: and you look cute in it, by.

1916
01:44:41,120 --> 01:44:45,280
Speaker 3: All means absolutely, And remember please that you can listen

1917
01:44:45,320 --> 01:44:49,559
Speaker 3: to new episodes one week early on Amazon Music or

1918
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Speaker 3: early and ad free, plus bonus episodes by subscribing to

1919
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Speaker 3: Wondery Plus in the Wondery App. I love the Wondery

1920
01:44:59,080 --> 01:45:03,000
Speaker 3: app so much. Most of my favorite podcasts are on

1921
01:45:03,160 --> 01:45:06,600
Speaker 3: that app, and it's so easy to use, it's so intuitive.

1922
01:45:06,680 --> 01:45:10,920
Speaker 3: Our bonus episodes are under the extra tab and we're

1923
01:45:10,960 --> 01:45:13,439
Speaker 3: just happy to be part of the Wondery Wondery fam.

1924
01:45:14,040 --> 01:45:15,679
Speaker 2: Yes we are. Well.

1925
01:45:15,680 --> 01:45:19,559
Speaker 1: Listen Danielle as always, It's been a fucking pleasure. So

1926
01:45:19,680 --> 01:45:21,080
Speaker 1: glad to be doing this podcast with you.

1927
01:45:21,720 --> 01:45:26,360
Speaker 3: Me too. What a blast, What a blasts, love blast.

1928
01:45:26,439 --> 01:45:27,200
Speaker 1: See you next week.

1929
01:45:29,120 --> 01:45:34,559
Speaker 4: Take the Hippocratic coat. Even if you're working a bagel shop, Take.

1930
01:45:34,400 --> 01:45:46,400
Speaker 3: The Hippocratic coat. This has been an exactly right production,

1931
01:45:46,680 --> 01:45:49,439
Speaker 3: produced and mixed by Casey O'Brien. Our theme song is

1932
01:45:49,439 --> 01:45:52,959
Speaker 3: by Tom bry Fogel, artwork by Garrett Ross. Our executive

1933
01:45:52,960 --> 01:45:56,280
Speaker 3: producers are Georgia Hartstark, Caring Kill Gareth and Danielle Kramer.

1934
01:45:56,600 --> 01:45:59,160
Speaker 3: You can follow us on Instagram and Twitter at I

1935
01:45:59,240 --> 01:46:02,080
Speaker 3: Saw Pod, and you can email us at I Saw

1936
01:46:02,080 --> 01:46:05,280
Speaker 3: What You Did Pod at Gmail. Listen, follow, and leave

1937
01:46:05,360 --> 01:46:08,360
Speaker 3: us a review on Amazon Music, Apple Podcasts, or wherever

1938
01:46:08,400 --> 01:46:10,519
Speaker 3: you get your podcasts and don't forget.

1939
01:46:10,720 --> 01:46:12,639
Speaker 4: You could listen to new episodes one week

1940
01:46:12,680 --> 01:46:16,400
Speaker 3: Early on Amazon Music or early and at free plus

1941
01:46:16,439 --> 01:46:19,759
Speaker 3: bonus episodes by subscribing to Wondery Plus in the Wondery

1942
01:46:19,760 --> 01:46:20,040
Speaker 3: app