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Speaker 1: What kind of a show you guys.

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Speaker 2: Putting on here today?

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Speaker 3: You're not interested in art?

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Speaker 4: Now?

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Speaker 3: No, look, we're going to do this thing.

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Speaker 4: We're going to have a.

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Speaker 1: Conversation from Chicago. This is Film Spotting celebrating our twentieth year.

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Speaker 3: I madam Kempenar and I'm Josh Larson.

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Speaker 4: I gotta feed the street, my lady ken and newborn kid.

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Speaker 4: And I ain't trying to going back into another big days.

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Speaker 2: I know what it is to risk everything you have

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Speaker 2: or something.

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Speaker 3: That you want.

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Speaker 1: I know what that means to have nothing and won everything?

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Speaker 3: What is that? In Spike Lee's Highest to Lowest, Denzel

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Speaker 3: Washington is a powerful record executive whose life is upended

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Speaker 3: by a kidnapping.

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Speaker 1: Currently out in limited release, the film comes to Apple

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Speaker 1: TV Plus in September. We've got a review plus some

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Speaker 1: weapons feedback with spoilers and Jaws at fifty that and more.

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Speaker 4: But that you get the head, the tail, the whole damn.

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Speaker 1: Thing ahead on Film Spotting.

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Speaker 2: Thank you very much, mister quint.

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Speaker 1: Welcome to Film Spotting. We gave Jaws the Sacred Cow

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Speaker 1: treatment back in the summer of twenty twenty for its

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Speaker 1: forty fifth anniversary Josh, and we found a film that

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Speaker 1: spoke to our then current political moment in some surprising ways.

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Speaker 1: Five years later, Jaws is back in theaters celebrating its

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Speaker 1: fiftieth I'm guessing that conversation will still resonate.

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Speaker 3: I mean, considering we spent some time talking about it

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Speaker 3: as a COVID parable and I believe I saw today

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Speaker 3: that our current administration and its wisdom is discussing pulling

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Speaker 3: back support for COVID vaccines. Yeah, I think it'll still

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Speaker 3: apply to what we're experiencing today.

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Speaker 1: This week we will share that twenty twenty Sacred Cow

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Speaker 1: review of Jaws. We've also got some listener feedback with

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Speaker 1: questions and maybe some insights from our listeners anyway about

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Speaker 1: Zach Kraiger's weapons, plus massacre theater and more.

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Speaker 3: But first, Spike Lee's Highest to Lowest, a remake of

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Speaker 3: Akira kuris I was nineteen sixty three thriller High and Low,

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Speaker 3: which itself was an adaptation of the nineteen fifty nine

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Speaker 3: American novel King's Ransom by Ed McBain. The new film

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Speaker 3: stars Denzel Washington as music mogul David King. He's blackmailed

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Speaker 3: by a kidnapper who thinks he has nabbed King's son

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Speaker 3: but has actually grabbed the son of his driver. Jeffrey

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Speaker 3: writes Paul, here's Denzel's King trying to negotiate with the

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Speaker 3: kidnapper into the phone.

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Speaker 4: Please, okay, relax, Hello King, David n Ain't this sign?

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Speaker 3: So? I got your full attention now?

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Speaker 2: Huh you're finally listening to me.

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Speaker 3: Yeah, I'm listening.

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Speaker 5: Good.

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Speaker 3: You know you got the wrong boy.

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Speaker 1: Ray offer, and I'll also learn you can never trust

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Speaker 1: the help.

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Speaker 3: But luckily for me, it was never about the boy.

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Speaker 3: It was always about you.

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Speaker 6: Well, I'm fair enough, but if it's about me, then

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Speaker 6: you can't expect me to pay seventeen and a half

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Speaker 6: million dollars for somebody else's sun.

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Speaker 3: If it's about me and his blood is gonna be

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Speaker 3: on your hands, then how you wanted? No? Man, Come on, no,

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Speaker 3: I could have say, no negotiation. That's the day of

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Speaker 3: recking it.

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Speaker 1: I'm not God no more an all right.

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Speaker 2: Listen, God give you everything you want, right, No, God

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Speaker 2: give you everything you need.

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Speaker 3: So the question is, what are you unique?

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Speaker 4: How can I help?

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Speaker 2: I saying I'm God, but I can help.

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Speaker 1: Quick preface here, I had the idea for this setup,

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Speaker 1: and I wrote it before I really thought through my

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Speaker 1: full reaction to the movie and took down all of

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Speaker 1: my notes. And now I'm kind of doubting my assumption

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Speaker 1: about your reaction, but it doesn't change my prompt to Okay,

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Speaker 1: so here goes. I'm no statistician, but I do know

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Speaker 1: small sample sizes can be misleading. I've only spoken with

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Speaker 1: two people who've seen Spike Lee's latest talk to them

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Speaker 1: about it. Still, I couldn't help but notice something unpacking,

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Speaker 1: or at least worth exploiting for this setup. They're both

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Speaker 1: in their early twenties, and on the movie's titular scale,

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Speaker 1: their reactions lean more lowest than highest. But age isn't

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Speaker 1: really the issue. Their Spike Lee history is between them.

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Speaker 1: They've seen just one of his previous films. Experiencing his

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Speaker 1: work for the first or second time can be jarring.

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Speaker 1: Calling anyone much less an artist didactic is rarely a compliment,

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Speaker 1: Yet we've both used the term lovingly to describe Lee.

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Speaker 1: His audacity is only matched by his fearlessness. And if

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Speaker 1: for some reason you needed to mount a quick defense

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Speaker 1: of the tour theory, say you show up at a party,

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Speaker 1: and boom, someone's been reading Pauline Kle and suddenly starts

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Speaker 1: laying into you. You know how it is at these parties, Josh, Uh, sure,

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Speaker 1: he could be your exhibit A whether we're discussing films

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Speaker 1: he wrote, directed and acted in like Do the Right Thing,

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Speaker 1: Jungle Fever, and Malcolm X. Or films he wrote and

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Speaker 1: directed like He Got Game, Shyrack and Black Klansman, Or

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Speaker 1: films by other writers that he directed, like Twenty Fifth

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Speaker 1: Hour and Inside Man. Or films other directors already made,

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Speaker 1: like Old Boy, The Sweet Blood of Jesus, and now

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Speaker 1: Highest to Lowest, which he calls a reinterpretation, not a remake.

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Speaker 1: There is one indisputable double truth, Ruth. A Spike Lee

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Speaker 1: joint is always a spike Lee joint. I don't know

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Speaker 1: where you currently fall, Josh, but I'm going to guess that,

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Speaker 1: even if you're positive on it, you probably don't consider

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Speaker 1: Highest to Lowest to be top tier or quite possibly

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Speaker 1: even middle tier Spike Lee. For what it's worth, I

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Speaker 1: consulted the experts vultures Will Leach and Tim Grierson. In

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Speaker 1: their recent ranking of every Spike Lee film. They slot

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Speaker 1: it at twenty one out of twenty nine, just behind

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Speaker 1: nineteen nineties No Better Blues, and ahead of nineteen ninety

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Speaker 1: six is Get on the Bus. Here's my hunch again,

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Speaker 1: admittedly based on wildly insufficient data, longtime le viewers are

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Speaker 1: going to be more forgiving of his bold swings within

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Speaker 1: a movie despite what could be a disappointing hit to

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Speaker 1: miss ratio. If so, whether you are lukewarm or cold

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Speaker 1: on the film, surely there were enough Spike Lee flourishes

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Speaker 1: to gettily glue you to your seat or even youphorically

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Speaker 1: elevate you out of it. Give me your favorite, but conversely,

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Speaker 1: tell me the choice that made you feel like maybe

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Speaker 1: you were just stuck in your seat.

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Speaker 3: Let's get this out of the way. This is upper

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Speaker 3: tier Spike Lee. Okay, great for me.

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Speaker 1: I started to doubt it. I started to doubt it.

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Speaker 3: And I'll say that without having done the official ranking.

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Speaker 3: You know, I'm a completist before I do the letterboxed ranking,

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Speaker 3: and I have two Lee films I have yet to see.

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Speaker 3: I thought this might be the occasion to knock those

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Speaker 3: out before seeing highest to lowest it and happen. So

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Speaker 3: I have not done the work. I would not say

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Speaker 3: this is top tier, Spike Lee. When you make a

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Speaker 3: movie like Do the Right Thing, you have a tier

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Speaker 3: few filmmakers will ever reach, including yourself again in your career.

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Speaker 3: So that's one tier we can't even really talk about. Again.

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Speaker 3: There's probably a tier below that that has better films

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Speaker 3: than highest to lowest. I'm going to put it off

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Speaker 3: the top of my head right now, in the next

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Speaker 3: tier down, which I still think is upper. And for

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Speaker 3: those who are in countering Lee relatively new now, I

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Speaker 3: would not recommend they start here. I think this is

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Speaker 3: something I have only thought about right now as you

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Speaker 3: were talking at them. I might point them to Malcolm X.

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Speaker 3: I think it's in some ways it has all those

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Speaker 3: touches you're talking about. It's absolutely a not a tourist project,

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Speaker 3: piece of work, piece of art. But I do think

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Speaker 3: it also fits the biopic formula enough that an new

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Speaker 3: viewer to Lee would be comfortable with the as you say, didacticism.

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Speaker 3: I like to say, and I reserve this for Spike Lee.

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Speaker 3: It's direct address cinema, and we have two instances of

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Speaker 3: direct address cinema in highest to lowest one. I'm going

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Speaker 3: to get too quickly here because I think it's just

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Speaker 3: so fun. And another one which you know, it's one

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Speaker 3: of the investigating policemen starts talking about the plan and

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Speaker 3: he delivers it right to the camera.

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Speaker 1: That's right, literal direct address.

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Speaker 3: But I think that stands in for how his movies are.

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Speaker 3: When people say they're didactic, that is generally pejorative, not

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Speaker 3: necessarily for Lee, but in general terms. So I like

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Speaker 3: to come up with another term, and it's direct address,

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Speaker 3: which I reserve for Lee. So yeah, I would point

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Speaker 3: people to something like Malcolm X. Then maybe go do

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Speaker 3: the right Thing, see the Pinnacle, and then if you

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Speaker 3: still like it, work your way through some other films

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Speaker 3: and it might be a while before you get to

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Speaker 3: highest to lowest, still really like this movie. I'll answer

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Speaker 3: your question now because I have an answer. It's not

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Speaker 3: what I liked most about the movie, but it is

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Speaker 3: the answer to your question, what is the Lee choice?

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Speaker 3: What is the Spike Lee And it is that you know,

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Speaker 3: when you're going to a Spike Lee movie, you are

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Speaker 3: going to get a distinctly cultural product coming from a

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Speaker 3: distinctly specifically cultural point of view, and obviously Black culture

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Speaker 3: is a part of that, and it's not Black culture

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Speaker 3: is not a monoculture. This is a culture Spike Lee

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Speaker 3: grew up in. There are black icons he admires in sports,

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Speaker 3: in music that he will pepper in his movies, and

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Speaker 3: you get that here. I just learned today that some

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Speaker 3: of the artwork in David King's penthouse is actually artwork

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Speaker 3: that is from lee'sone collection and was in the Spikely

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Speaker 3: exhibit I saw a couple of years ago when I

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Speaker 3: was in New York City where he showed some of

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Speaker 3: his movie posters and paintings and so forth that he's collected.

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Speaker 3: So you get that here. You get this slice of

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Speaker 3: a particular part of black culture that I love experiencing

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Speaker 3: in his movies because obviously it's not as familiar to me,

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Speaker 3: but you get so much New York City culture that's

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Speaker 3: a part of that Adam, which I found again new

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Speaker 3: to me, been there many times, didn't grow up there,

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Speaker 3: so I don't know it as well, but I love

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Speaker 3: seeing it through Spike's eyes. There's the sports element of this.

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Speaker 3: His son, Denzel Washington Sun plays basketball, and so you

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Speaker 3: get you know Rick Fox, Lakers legend as his coach,

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Speaker 3: and there's a little back and forth between Celtics fans

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Speaker 3: and Knicks fans and throw some Lakers stuff in there.

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Speaker 3: I enjoyed all that, but the pinnacle of the New

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Speaker 3: York City culture stuff for me in High Suloist was

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Speaker 3: the money drop sequence, which I also think is a

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Speaker 3: fantastic bit of filmmaking. And this is I don't think

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Speaker 3: you know, this is not necessarily a spoiler. Halfway through

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Speaker 3: the film, we realized that David King is going to

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Speaker 3: pay the ransom for the son of his driver, the

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Speaker 3: Jeffrey Wright character, and it involves riding the train. Also

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Speaker 3: in Chris awas riding a train, so I like that

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Speaker 3: they retain that the subway. It gets to an above

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Speaker 3: ground track and he's supposed to drop it. And the

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Speaker 3: setting for this the Kidnapper is devised. It's going to

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Speaker 3: take place during a Puerto Rican Pride festival essentially. Now

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Speaker 3: when we're on the train, when King is on the train,

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Speaker 3: it's also fans Yankees fans en route to a game

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Speaker 3: against the Red Sox, so you get a a little

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Speaker 3: bit of that sports element. Here's the other direct direct

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Speaker 3: address bit, Adam, there is a Yankees fan leading the cheer,

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Speaker 3: Let's go Yankees. Boston sucks. The whole car is chanting this.

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Speaker 3: It's Nick de Turo, John t Turro's brother, a Spike

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Speaker 3: leavet a great face for cinema, and he turns and

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Speaker 3: looks right into the camera and delivers a Boston sucks.

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Speaker 3: I mean, so that's the sort of stuff you're going

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Speaker 3: to get in the midst of a high stake, suspense

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Speaker 3: action sequence that gives you that Spike flavor, that Spike texture.

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Speaker 3: I mentioned the Puerto Rican going on. We get cutaways

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Speaker 3: to the Eddie Palmieri Salsa Orchestra playing the street festival.

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Speaker 3: He's introduced by Rosie Perez. Just a nice little touch

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Speaker 3: there as Rosie Perez. And so we're cutting back and

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Speaker 3: forth with this music, this amazing salsa orchestra music interwoven

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Speaker 3: with the chant Boston socks. And this is the texture.

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Speaker 3: This is the great New York City stew the texture

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Speaker 3: that Spike Lee is going to bring to what could

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Speaker 3: have been a rote standard suspense sequence. And I loved it.

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Speaker 3: I was like this, You're not going to get this

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Speaker 3: from anyone else. So that's the Spike answer. But as

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Speaker 3: I said, it's not why I liked Hi Solois quite

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Speaker 3: so much. We'll get to that. But what did you

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Speaker 3: First of all, did you like it? And what did

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Speaker 3: you What was the spikiness level for you?

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Speaker 1: Well, first, I'll say, if this was a game show,

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Speaker 1: you win. That's that's the right answer, or that is

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Speaker 1: my answer, And I don't know how much I can

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Speaker 1: add to it, but I'll try. I do. First want

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Speaker 1: to say that, going back to my little preface here,

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Speaker 1: I had this setup in mind, as I mentioned, and

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Speaker 1: for some reason, my assumption about my own reaction was,

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Speaker 1: even though I walked out of the theater liking it,

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Speaker 1: I knew I liked this movie. I was going to

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Speaker 1: be positive on it. Somehow I thought that Hit to

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Speaker 1: Miss Ratio was a little bit tighter, and I thought, oh,

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Speaker 1: when I sit down to really prepare for my review,

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Speaker 1: I know, here are things I like about it, and

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Speaker 1: I know there are many things I like about it,

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Speaker 1: but I was going to have to acknowledge some of

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Speaker 1: those bold and those audacious spike choices that maybe don't

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Speaker 1: totally work or maybe don't work at all. And then Josh,

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Speaker 1: I started preparing and it's it's almost exclusively positive, and

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Speaker 1: so then I love. That's That's where I really started

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Speaker 1: to doubt myself. And now I'm all in on this film.

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Speaker 1: We'll get to a few things, or at least I

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Speaker 1: will that maybe we can talk about not totally working.

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Speaker 1: But there is so much that does work about this film.

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Speaker 1: And you talked about that sequence, that key sequence in

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Speaker 1: relation to what Spike is doing in terms of incorporating

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Speaker 1: New York and that cultural heritage that is there that

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Speaker 1: is so important. I think what I'll try to do

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Speaker 1: is just mention it in terms of or discuss it

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Speaker 1: in terms of how important the music is there, but

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Speaker 1: not only there, how important the music is to the

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Speaker 1: entire film. Right, So I do think that entire sequence,

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Speaker 1: and we have to mention not only Matthew Lebetique, the

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Speaker 1: director of photography who also shot Inside Man shot Shyraq

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Speaker 1: for Spike, but a few other films as well, his

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Speaker 1: cinematography and the editing by Barry Alexander Brown and Alison C. Johnson.

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Speaker 1: The work they're doing here is incredible. It is intense,

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Speaker 1: it is unpredictable. It is such a long sequence from

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Speaker 1: the moment Denzel leaves the condo and a combination of

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Speaker 1: different types of shooting hand held but also some very

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Speaker 1: elegant work. But it's unpredictable. It's chaotic, but it's very

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Speaker 1: controlled filmmaking. And because it is Spike Lee, it is

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Speaker 1: You're right, fundamentally culturally at its core New York. And

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Speaker 1: that choice to have the music coming from Eddie Palmieri,

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Speaker 1: that song Puerto Rico, to have it be a parade

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Speaker 1: that's going on, have it be so core to this

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Speaker 1: sequence and thus this movie, and have it be diagetic,

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Speaker 1: not imposed on the sequence, have it be diegetic. It's happening,

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Speaker 1: this is happening in this neighborhood. Now, that only adds

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Speaker 1: to that intensity and the suspense. And I think that sequence,

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Speaker 1: it isn't just the standout sequence in this film, and

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Speaker 1: there are a lot of great scenes and moments, but

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Speaker 1: it's the standout sequence here. And I think it is

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Speaker 1: as suspenseful and thrilling as the famous French Connection scene,

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Speaker 1: which is clearly an influence for Spike Lee on this sequence, sure,

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Speaker 1: but as suspenseful and thrilling as anything Spike Lee has done. Also.

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Speaker 1: I don't know if you saw this. It popped up

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Speaker 1: for me somewhere that Eddie Palmieri had passed away. And

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Speaker 1: not only has he passed away, Josh, he just died

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Speaker 1: on August sixth.

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Speaker 3: Oh no, I did not see that one.

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Speaker 1: Yeah, so just died earlier this month, sadly. But that's

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Speaker 1: Eddie Palmiery and his salsa orchestra that's featured playing Puerto

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Speaker 1: Rico in this movie. Incredible sequence, but it doesn't it

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Speaker 1: doesn't just stop there.

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Speaker 3: Can I ask you a quick question about the sequence? Yeah?

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Speaker 3: Did you did? It seem like they were using different stock,

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Speaker 3: at least film stock. Possibly maybe it was switching from

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Speaker 3: digital film for the subways.

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Speaker 1: I feel like that's where it's introduced, isn't it is

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Speaker 1: when he goes that ways the first time in the movie,

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Speaker 1: where we start to see potentially sixteen millimeters.

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Speaker 3: Yeah, a lot connection point. I think you're thrust into

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Speaker 3: that area.

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Speaker 1: Yeah, he's adding different textures in that sequence, and that

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Speaker 1: feels like something Spike would do. Right, A great rhetorical

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Speaker 1: device there. But the beginning of this movie also just

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Speaker 1: brought me right in the use of Oh what a

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Speaker 1: beautiful morning. Those shots of the city. It's the Harbor,

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Speaker 1: the Brooklyn Bridge, it's majestic, and it's showcasing the city

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Speaker 1: in a way that somehow feels new and different. Despite

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Speaker 1: the fact the Spike Lee himself and so many other

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Speaker 1: filmmakers have already shot these same vistas so many times before.

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Speaker 1: But it's spiked too, Josh. So he's got this great

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Speaker 1: ironic sense of humor. Even just taking the song. It's

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Speaker 1: ironic because we know going in how his day is

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Speaker 1: going to unfold. Yeah, but what he thinks his day

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Speaker 1: is going to unfold. Like, there's the irony there. But

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Speaker 1: just taking that song out of its milieu, written originally

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Speaker 1: for Oklahoma and adopting it trans play to New York

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Speaker 1: City is genius and it works on all of those levels.

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Speaker 1: But it is more than that too, Josh, And I

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Speaker 1: think this is one of those areas. I think this

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Speaker 1: goes back to my setup. It actually is the key

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Speaker 1: element here that maybe inspired what I was thinking when

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Speaker 1: I was talking about something that might turn off people

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Speaker 1: who are just coming to Spike's work for the first

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Speaker 1: or second time and they're not as used to it.

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Speaker 1: There is music. It's not just these big flourishes, these

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Speaker 1: big choices where songs are playing throughout these entire sequences.

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Speaker 1: There is music almost constantly throughout the film. The score,

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Speaker 1: and I think most of it works very well, but

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Speaker 1: the score here, I want to make sure get the

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Speaker 1: name right. The score is done by Howard Drawsen, and

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Speaker 1: there's other artists that you hear as well, in addition

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Speaker 1: to the ones that we've mentioned, and I'll mention a

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Speaker 1: couple of artists here, or at least one more famous

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Speaker 1: artists in a second. But there is scoring that is

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Speaker 1: underneath so many scenes, especially through the first forty five

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Speaker 1: minutes to an hour of this movie, And in some

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Speaker 1: cases I feel like there are folks who might feel

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Speaker 1: like it's almost soap opera ish, but that that feels

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Speaker 1: right for Spike because it's almost as if he is

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Speaker 1: so musical and so musically inclined. It's like he wants

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Speaker 1: to give each scene not just not just broad pieces

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Speaker 1: or sequences, but each scene its own theme. And just

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Speaker 1: as I'm thinking that, just as I'm thinking that, there's

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Speaker 1: a moment early in the film where Denzel's you know,

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Speaker 1: David King gets in the car with Paul for the

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Speaker 1: first time and he says, I need a theme, and

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Speaker 1: what happens. Paul picks out the perfect theme and the

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Speaker 1: song I think is Ain't No Stop in Us Now,

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Speaker 1: which is like a disco hit from the seventies, But

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Speaker 1: that's what they're feeling at the time, So that becomes

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Speaker 1: the theme for that moment later when they're in the

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Speaker 1: car again and their head to do something. What's the

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Speaker 1: theme for that moment. It's the Payback by James Brown, right,

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Speaker 1: But there are also themes musical instrumental themes for every

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Speaker 1: other moment that is in the movie, and so that

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Speaker 1: that use of music, especially in the money drop sequence,

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Speaker 1: is incredible, but how we used it throughout is one

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Speaker 1: of the touches that for me really made highest to

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Speaker 1: lois something worth seeing and worth listening to.

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Speaker 3: Totally with you on the soundtrack selections and the use

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Speaker 3: of those. One of the things that did hold me

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Speaker 3: back about Hies Solis was the score by Dr Howard Drowson, and.

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Speaker 1: There as I loved it, and some times that held

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Speaker 1: me back.

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Speaker 3: And I know again the things you know going into

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Speaker 3: a Spike Lee film. The wallpaper score is a common

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Speaker 3: element I know, and Drawsen has worked with Spike Lee before,

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Speaker 3: I believe, but a lot of times this sort of

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Speaker 3: texture was established by his father, Bill Lee, a jazz musician,

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Speaker 3: and his early films would have these wall to wall scores,

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Speaker 3: which are you're not used to them, and sometimes they

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Speaker 3: do take a little getting used to. I did find

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Speaker 3: it at times more intrusive than I have in other films,

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Speaker 3: but that's that's more of a quibble. I completely agree

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Speaker 3: about the use and the specific selections. When you're mentioning

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Speaker 3: that song, the opening song being from Oklahoma. That's another

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Speaker 3: part of the the cultural fabric Spike Lee weaves. Because

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Speaker 3: it's not just black culture, sports culture, New York City culture.

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Speaker 3: He also often takes quote unquote American approved historical culture

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Speaker 3: and subverts it question reappropriate, reappropriate, And that's what you

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Speaker 3: were describing in that opening number, which I love.

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Speaker 1: What about you reference the art, Josh, But also in

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Speaker 1: addition to the art, we cut to a lot of

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Speaker 1: pictures of Denzel Washington from his actual past. Maybe some

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Speaker 1: are contrived, but they are actual pictures. I mean contrived

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Speaker 1: in the sense that maybe they're usually using actual photos

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Speaker 1: of him on mock covers, but I think right, actual

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Speaker 1: images and covers, and they're images of his former self.

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Speaker 1: And maybe, Josh, this isn't a major flourish, not as

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Speaker 1: bold of a choice as some of the other things

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Speaker 1: we're talking about. Maybe it's even arguably an obvious one.

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Speaker 1: And I'll say briefly too. I don't think it's something

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Speaker 1: that works on the same level is what Steven Soderbergh

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Speaker 1: does in The Limi. I mentioned this movie last week,

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Speaker 1: the casting of Peter Fonda in that movie, the footage

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Speaker 1: of Terrence Stamp from the ken Loach movie Poor Cow.

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Speaker 1: The way those work in that film, for me, are

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Speaker 1: not just stunts and not just practical. We needed to

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Speaker 1: show Terrence Stamp as a young man, so we found

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Speaker 1: this footage. There are choices that significantly add to the

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Speaker 1: meaning and the experience of the movie. So maybe not

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Speaker 1: quite on that level, but there are constant references to

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Speaker 1: the art that you mentioned and different artifacts, and when

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Speaker 1: David King is doing his most soul searching and really

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Speaker 1: what he's wrestling with is his legacy, his legacy, there

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Speaker 1: is some added I think it was for me, there

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Speaker 1: was added potency to seeing these celebrated, authentic visages of himself,

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Speaker 1: of his actual self haunting him. Would it be more

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Speaker 1: potent if there was a meta element to it, if

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Speaker 1: Denzel was a problematic figure or someone who truly was

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Speaker 1: wrestling with his legacy. I don't know. Maybe I'm not

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Speaker 1: gonna wish that on him. Certainly but also I don't

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Speaker 1: know that it's necessary because he's seventy years old, and

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Speaker 1: there is going to be a logical reckoning with that

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Speaker 1: legacy for him and then vicariously vicariously through us as

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Speaker 1: the audience. And I also don't think it's a stretch

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Speaker 1: to suggest that within the Black community over the last

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Speaker 1: forty years of popular culture, Denzel Washington is one of

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Speaker 1: those figures those visages, certainly portraying just the image of

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Speaker 1: him portraying Malcolm X, portraying Alonso in Training Day, but

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Speaker 1: just him as a sex symbol what he's meant as

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Speaker 1: a philanthropist. That added element I thought was really crucial

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Speaker 1: to the film.

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Speaker 3: I think so too. I think it's also part of

431
00:24:11,640 --> 00:24:15,040
Speaker 3: what we should talk about is how much Highest to

432
00:24:15,119 --> 00:24:18,160
Speaker 3: Lowest is an old man movie. And by old man,

433
00:24:18,240 --> 00:24:21,600
Speaker 3: I'm saying that respectfully, but you know, you pointed out

434
00:24:21,600 --> 00:24:24,080
Speaker 3: the age, and I mean old man in terms of Hollywood.

435
00:24:24,359 --> 00:24:29,080
Speaker 3: You know age, because both Spike Lee and Denzel Washington,

436
00:24:29,119 --> 00:24:31,000
Speaker 3: I believe Spike Lee is just a couple years younger,

437
00:24:31,440 --> 00:24:35,560
Speaker 3: are at a different phase of their reputations and their careers.

438
00:24:36,160 --> 00:24:41,800
Speaker 3: And I did worry a bit at the beginning about

439
00:24:42,080 --> 00:24:43,679
Speaker 3: this quality and how it was going to play in

440
00:24:43,680 --> 00:24:46,960
Speaker 3: this film, because to my mind, David King when he

441
00:24:47,000 --> 00:24:51,400
Speaker 3: first appears, is a little awkward, a little out of touch,

442
00:24:51,560 --> 00:24:55,840
Speaker 3: a little acting younger than he should and fairly, and

443
00:24:55,920 --> 00:24:59,000
Speaker 3: I was wondering, like, has Denzel lost it? Are we

444
00:24:59,119 --> 00:25:03,119
Speaker 3: starting to see? But of course, I mean, this is

445
00:25:03,160 --> 00:25:05,280
Speaker 3: just me being dumb. That's part of the nuance of

446
00:25:05,320 --> 00:25:10,040
Speaker 3: the performance, is what I came to understand, because David

447
00:25:10,119 --> 00:25:14,040
Speaker 3: King is a little too old, and characters reference this,

448
00:25:14,160 --> 00:25:16,359
Speaker 3: he may have lost his touch, or if he hasn't

449
00:25:16,400 --> 00:25:18,600
Speaker 3: lost his touch, it's because he's been focusing on the

450
00:25:18,640 --> 00:25:22,399
Speaker 3: wrong things. He's been focusing on sales and stock prices

451
00:25:22,600 --> 00:25:25,840
Speaker 3: rather than new artists and musing. There's a reference his

452
00:25:25,880 --> 00:25:28,680
Speaker 3: wife references that he doesn't listen to music as much

453
00:25:28,680 --> 00:25:32,480
Speaker 3: as he used to. And so I do think it's

454
00:25:32,520 --> 00:25:35,200
Speaker 3: awkward to see an awkward Denzel Washington. But I think

455
00:25:35,200 --> 00:25:38,719
Speaker 3: that's an intentional part of the performance, because as the

456
00:25:38,760 --> 00:25:44,280
Speaker 3: movie goes on and David King makes different choices, both

457
00:25:44,400 --> 00:25:49,560
Speaker 3: moral and artistic, he begins to reclaim some of that

458
00:25:49,640 --> 00:25:53,919
Speaker 3: swagger we recognize, and there's a moment that's very distinct

459
00:25:53,960 --> 00:25:56,160
Speaker 3: for me. Adam there's an early scene where he's trying

460
00:25:56,160 --> 00:25:58,920
Speaker 3: to make a business negotiation with a partner and there's

461
00:25:58,960 --> 00:26:02,040
Speaker 3: a gold mic in the conference room, like a gold

462
00:26:02,080 --> 00:26:04,800
Speaker 3: embossed mic, and he's kind of using it as a prop,

463
00:26:04,880 --> 00:26:07,320
Speaker 3: like talking into it then holding it to his partner.

464
00:26:07,760 --> 00:26:09,639
Speaker 3: And at first I'm like, oh, that's kind of like

465
00:26:09,880 --> 00:26:12,879
Speaker 3: clever charisma, right, But then he keeps doing it, and

466
00:26:12,920 --> 00:26:15,919
Speaker 3: I'm thinking, Okay, you're pushing this a little bit, Like

467
00:26:15,920 --> 00:26:18,359
Speaker 3: you're pushing this bit a little bit, And it's tied

468
00:26:18,359 --> 00:26:20,720
Speaker 3: into what I eventually realized is it's because David King

469
00:26:20,840 --> 00:26:23,840
Speaker 3: is pushing that, right. It's him trying to rely on

470
00:26:23,880 --> 00:26:27,919
Speaker 3: the old charisma he used to have. Notice Dunzel Washington's

471
00:26:28,600 --> 00:26:33,159
Speaker 3: shift into real charisma later in the film, and I

472
00:26:33,200 --> 00:26:37,479
Speaker 3: do think it correlates with his reclaiming his moral and

473
00:26:37,600 --> 00:26:40,440
Speaker 3: artistic integrity. I think that's when we start to see

474
00:26:40,480 --> 00:26:44,199
Speaker 3: the real David King come out, which, to us as

475
00:26:44,600 --> 00:26:48,920
Speaker 3: audience viewers, is the real Denzel Washington. So I could

476
00:26:49,080 --> 00:26:52,359
Speaker 3: talk about this more in detail in a climactic scene

477
00:26:52,560 --> 00:26:55,000
Speaker 3: where there's a face off with the kidnapper, but I

478
00:26:55,000 --> 00:26:56,760
Speaker 3: don't know how much of that I want to spoil

479
00:26:57,160 --> 00:27:01,120
Speaker 3: because I think that's the brilliant performance because we see,

480
00:27:01,560 --> 00:27:03,520
Speaker 3: let's just say, we see David King try to rap

481
00:27:03,560 --> 00:27:07,719
Speaker 3: a little bit and it's not it's not great, but

482
00:27:07,800 --> 00:27:10,680
Speaker 3: it's not it shouldn't be great in that scene. Yet

483
00:27:10,760 --> 00:27:18,840
Speaker 3: somehow he balances yeah, real swagger, authority, charisma, gravitas in

484
00:27:18,920 --> 00:27:21,040
Speaker 3: that scene as well. So it's different from the early

485
00:27:21,119 --> 00:27:23,359
Speaker 3: David King. It's a different David King at that point.

486
00:27:23,440 --> 00:27:25,800
Speaker 3: And again I think it's because he's he's come to

487
00:27:25,880 --> 00:27:29,720
Speaker 3: understand who he is as a music producer on the

488
00:27:29,800 --> 00:27:34,200
Speaker 3: artistic side and as a man making the right moral

489
00:27:34,520 --> 00:27:37,560
Speaker 3: choice as it regards to the ransom for his driver's son.

490
00:27:38,000 --> 00:27:42,399
Speaker 1: Yeah, I think that's an accurate reading of the performance.

491
00:27:42,520 --> 00:27:45,119
Speaker 1: I think it's a great performance overall. I do think

492
00:27:46,160 --> 00:27:49,400
Speaker 1: generally compared to a lot of other Denzel Washington performances,

493
00:27:49,600 --> 00:27:52,520
Speaker 1: it's it's not that it's bigger, but it is busier.

494
00:27:52,880 --> 00:27:55,600
Speaker 1: He's he's just a little bit more of a good way.

495
00:27:55,480 --> 00:27:59,840
Speaker 1: H Yeah, he's just fidgety compared to other Denzel characters,

496
00:28:00,160 --> 00:28:03,480
Speaker 1: and especially the more unraveled he becomes. But we see

497
00:28:03,480 --> 00:28:06,800
Speaker 1: it even early on, as you said, when he isn't

498
00:28:06,840 --> 00:28:10,359
Speaker 1: really himself because he's trying to get things done and

499
00:28:10,400 --> 00:28:13,639
Speaker 1: he's not sure he's not going to be able to

500
00:28:13,640 --> 00:28:15,640
Speaker 1: pull them off. He's unsure if he can.

501
00:28:15,920 --> 00:28:18,920
Speaker 3: Yeah, And there's an insecurity to the security, that's that

502
00:28:19,000 --> 00:28:21,159
Speaker 3: he's not used to being in that position when he

503
00:28:21,200 --> 00:28:22,400
Speaker 3: doesn't have his swagger.

504
00:28:22,440 --> 00:28:25,720
Speaker 1: That's really where I think that that busyness comes into play.

505
00:28:25,760 --> 00:28:28,160
Speaker 1: So I do think you're you're right about that. And

506
00:28:28,280 --> 00:28:32,000
Speaker 1: yet what's interesting for me about it is that I noticed,

507
00:28:32,000 --> 00:28:33,679
Speaker 1: and I'm going to go back to the words from

508
00:28:33,720 --> 00:28:36,720
Speaker 1: the title here a little bit, it isn't as busy

509
00:28:36,760 --> 00:28:40,480
Speaker 1: as it is. It's not a high volume performance. There

510
00:28:40,560 --> 00:28:43,120
Speaker 1: is some swagger and bravado to it, but he doesn't

511
00:28:43,120 --> 00:28:46,600
Speaker 1: get loud. It's not Alonzo from Training Day type of loud.

512
00:28:46,800 --> 00:28:51,240
Speaker 1: And in fact, the more serious and pointed he gets,

513
00:28:51,680 --> 00:28:56,360
Speaker 1: the lower his volume gets throughout the film. And he

514
00:28:56,880 --> 00:28:59,840
Speaker 1: does have once he finds himself, he does seem to

515
00:28:59,840 --> 00:29:03,920
Speaker 1: have of that natural confidence and command, and he doesn't

516
00:29:03,960 --> 00:29:06,840
Speaker 1: have to like people who actually have that type of swagger.

517
00:29:06,960 --> 00:29:10,080
Speaker 1: He doesn't have to be overly forceful, right, and you

518
00:29:10,120 --> 00:29:10,520
Speaker 1: see that.

519
00:29:10,920 --> 00:29:14,320
Speaker 3: You know what's a great example of that when he's

520
00:29:14,360 --> 00:29:17,040
Speaker 3: agreed at this point, I think to pay the ransom

521
00:29:17,160 --> 00:29:20,600
Speaker 3: for Paul's son, and they get another phone call and

522
00:29:20,680 --> 00:29:24,240
Speaker 3: all the investigators in the penthouse are like, pick up

523
00:29:24,280 --> 00:29:26,080
Speaker 3: the phone, pick up the phone, like rushing him. Yeah,

524
00:29:26,080 --> 00:29:30,440
Speaker 3: and he just does this like okay, relax, it's like

525
00:29:30,840 --> 00:29:34,440
Speaker 3: shoots it so well. It just yeah, it's just like

526
00:29:34,600 --> 00:29:37,400
Speaker 3: that's to your point. That's that is when he's in control.

527
00:29:37,480 --> 00:29:39,280
Speaker 3: I did want to throw in real quick because there

528
00:29:39,280 --> 00:29:40,720
Speaker 3: may be people who are going to call this an

529
00:29:40,720 --> 00:29:44,160
Speaker 3: old man movie, and he does. David King does have

530
00:29:44,200 --> 00:29:47,000
Speaker 3: an anti kids are on their phones too much rant

531
00:29:47,080 --> 00:29:50,640
Speaker 3: early on, an anti AI rant early on, and both

532
00:29:50,680 --> 00:29:54,840
Speaker 3: of those exactly. I mean, we're old guys too, we agree,

533
00:29:55,080 --> 00:29:58,680
Speaker 3: but but in the moment I'm thinking, like, oh boy,

534
00:29:58,880 --> 00:30:03,320
Speaker 3: are we in for like a couple of older filmmakers

535
00:30:03,440 --> 00:30:05,680
Speaker 3: using this chance to kind of like tell us what

536
00:30:05,680 --> 00:30:08,240
Speaker 3: they think about the world. Again, I realized it was

537
00:30:08,240 --> 00:30:11,120
Speaker 3: all in service of the character and appropriately.

538
00:30:10,520 --> 00:30:13,200
Speaker 1: So yeah, so you touched on this a little bit.

539
00:30:14,000 --> 00:30:15,920
Speaker 1: I also want to highlight I don't know if this

540
00:30:16,040 --> 00:30:19,760
Speaker 1: counts as one of Spike's bolder choices. The actor the

541
00:30:19,840 --> 00:30:22,320
Speaker 1: rapper has been in a few other movies, but I

542
00:30:22,360 --> 00:30:26,200
Speaker 1: don't know if he's been on quite this stage before

543
00:30:26,720 --> 00:30:30,160
Speaker 1: casting agents. You can go ahead and put asap Rocky

544
00:30:30,800 --> 00:30:32,280
Speaker 1: in bigger roles in more films.

545
00:30:32,280 --> 00:30:32,640
Speaker 3: Agreed.

546
00:30:32,840 --> 00:30:37,320
Speaker 1: He absolutely, he clearly has it. He is a legit

547
00:30:38,120 --> 00:30:43,680
Speaker 1: presence and what is definitely a bold stroke and I

548
00:30:43,720 --> 00:30:45,920
Speaker 1: think it pays off, But we can't get into it

549
00:30:45,920 --> 00:30:48,160
Speaker 1: because we aren't going to get into spoiler territory. Is

550
00:30:48,200 --> 00:30:52,080
Speaker 1: there is a music video moment near the end that

551
00:30:52,200 --> 00:30:56,360
Speaker 1: I think absolutely works in the film, and I do

552
00:30:56,440 --> 00:30:59,040
Speaker 1: agree with you, And this is I know I've seen

553
00:30:59,040 --> 00:31:00,360
Speaker 1: a few things here and there, so I know this

554
00:31:00,400 --> 00:31:03,160
Speaker 1: has been talked about. It really isn't a spoiler. We

555
00:31:03,240 --> 00:31:07,080
Speaker 1: won't spoil what would be a spoiler about it. We're

556
00:31:07,080 --> 00:31:11,320
Speaker 1: gonna talk just vaguely. There is a showdown of sorts

557
00:31:11,360 --> 00:31:15,200
Speaker 1: between those two characters, and I don't think Josh that

558
00:31:15,240 --> 00:31:17,920
Speaker 1: what matters about that is we're supposed to believe that

559
00:31:18,120 --> 00:31:21,560
Speaker 1: old man David King, that Denzel as old man David

560
00:31:21,640 --> 00:31:26,920
Speaker 1: King actually has the rap skills of a sap Rocky

561
00:31:27,040 --> 00:31:31,280
Speaker 1: as this character, but he does have to match the swagger.

562
00:31:31,720 --> 00:31:33,880
Speaker 3: That's that's the point I was making. Yeah, yeah, he

563
00:31:33,920 --> 00:31:36,720
Speaker 3: and I think Denzel is purposely not I mean who

564
00:31:36,720 --> 00:31:38,760
Speaker 3: knows that Denzel Washington can rap. I have no idea,

565
00:31:38,800 --> 00:31:43,480
Speaker 3: but in that scene he's purposely I think, not being

566
00:31:43,640 --> 00:31:46,200
Speaker 3: very good. I think that serves the moment the character.

567
00:31:46,440 --> 00:31:48,520
Speaker 3: But he has the he has the gravitas and the

568
00:31:48,560 --> 00:31:51,760
Speaker 3: other elements of that scene. That's that's what makes him real.

569
00:31:52,120 --> 00:31:55,440
Speaker 3: If if David King walked in there and like outrapped

570
00:31:55,560 --> 00:31:58,040
Speaker 3: asap rocky, you'd be like, what is this?

571
00:31:58,160 --> 00:32:01,680
Speaker 1: Corners here where I'll disagree with you a little bit,

572
00:32:02,120 --> 00:32:05,960
Speaker 1: But it's only because I do know something. I read

573
00:32:06,000 --> 00:32:09,280
Speaker 1: something that Spike said that made me think of another

574
00:32:09,720 --> 00:32:12,520
Speaker 1: thing that's lore from a Denzel Washington performance in a

575
00:32:12,560 --> 00:32:15,120
Speaker 1: Spike Lee film. And you may be familiar with this

576
00:32:15,200 --> 00:32:19,760
Speaker 1: as well. He got game Denzel Washington. Well, any Denzel

577
00:32:19,800 --> 00:32:23,120
Speaker 1: Washington performance or character you hear. This about his sort

578
00:32:23,160 --> 00:32:26,520
Speaker 1: of method, if you will, is that he is supremely confident.

579
00:32:26,920 --> 00:32:30,719
Speaker 1: He is never going to back down from anyone in

580
00:32:30,800 --> 00:32:33,760
Speaker 1: a scene, no matter what they're doing, or no matter

581
00:32:33,840 --> 00:32:37,200
Speaker 1: who that other actor is. So on, he got game. If,

582
00:32:37,200 --> 00:32:43,360
Speaker 1: for example, he's playing legitimate star slash very good NBA

583
00:32:43,520 --> 00:32:47,640
Speaker 1: player Ray Allen as his son one on one, and

584
00:32:47,720 --> 00:32:50,520
Speaker 1: he knows in his heart he knows in his heart

585
00:32:50,560 --> 00:32:53,960
Speaker 1: he's not as good. Sure, he's not going to beat

586
00:32:54,040 --> 00:32:57,080
Speaker 1: Ray Allen one on one, but on that day, on

587
00:32:57,160 --> 00:33:01,320
Speaker 1: that set, he is going to not give an inch

588
00:33:02,080 --> 00:33:04,440
Speaker 1: and he is going to try to beat him. And

589
00:33:04,480 --> 00:33:07,240
Speaker 1: in those moments, he is going to play as if

590
00:33:07,600 --> 00:33:11,320
Speaker 1: Denzel Washington, the forty year old actor or whatever, can

591
00:33:11,400 --> 00:33:14,080
Speaker 1: absolutely beat him, and he'll do whatever it takes to

592
00:33:14,120 --> 00:33:16,640
Speaker 1: beat him. That's how he played that game against him,

593
00:33:16,680 --> 00:33:20,200
Speaker 1: as if he could beat him. And Spike said that

594
00:33:21,000 --> 00:33:23,840
Speaker 1: a lot of that that sequence that we're talking about

595
00:33:24,160 --> 00:33:28,160
Speaker 1: was unscripted, and Denzel decided to show up and basically

596
00:33:28,200 --> 00:33:31,120
Speaker 1: be like, oh, young kid, you think you got it, Well,

597
00:33:31,360 --> 00:33:34,040
Speaker 1: I've got some surprises in my bag, right, So he

598
00:33:34,400 --> 00:33:38,800
Speaker 1: he of course, just like the Ray Allen situation, he

599
00:33:38,880 --> 00:33:42,920
Speaker 1: of course cannot actually out wrap a sap Rocky, But

600
00:33:43,920 --> 00:33:48,320
Speaker 1: that didn't mean he still wasn't going to approach it, Yes,

601
00:33:48,320 --> 00:33:51,560
Speaker 1: with the confidence, Yes, as if as if he couldn't

602
00:33:51,560 --> 00:33:53,520
Speaker 1: be as good as it, because that that's what's important,

603
00:33:53,520 --> 00:33:54,640
Speaker 1: that's what comes through.

604
00:33:54,560 --> 00:33:57,640
Speaker 3: And that's what that character requires. So yeah, I do

605
00:33:57,720 --> 00:33:59,239
Speaker 3: agree with you. I think we're saying I think we're

606
00:33:59,240 --> 00:34:01,440
Speaker 3: saying the same thing. Yes, there's just there's there's a

607
00:34:01,480 --> 00:34:04,120
Speaker 3: lot of nuance going on there, so that it's it's

608
00:34:04,240 --> 00:34:06,920
Speaker 3: more than just I'm gonna come in and show you kid, right.

609
00:34:08,000 --> 00:34:10,640
Speaker 3: It's important that he's not quite as good as as

610
00:34:10,960 --> 00:34:15,120
Speaker 3: asap rocky for this story and this confrontation. So I'm

611
00:34:15,160 --> 00:34:17,440
Speaker 3: glad that they they went that way, all right? Can

612
00:34:17,480 --> 00:34:18,959
Speaker 3: I get to Can I get to what I loved

613
00:34:19,000 --> 00:34:22,080
Speaker 3: most about High Stalls? Because I think I think you're

614
00:34:22,080 --> 00:34:22,520
Speaker 3: gonna love it.

615
00:34:22,560 --> 00:34:25,080
Speaker 1: What are we like thirty five ish minutes in and

616
00:34:25,120 --> 00:34:26,640
Speaker 1: I haven't heard what you love most?

617
00:34:26,800 --> 00:34:30,440
Speaker 3: Okay, this is when I was like, I, whatever happens, whatever,

618
00:34:30,560 --> 00:34:33,720
Speaker 3: like weird turns Spike Lee might make. I'm on board

619
00:34:33,760 --> 00:34:38,400
Speaker 3: because I'm having fun tracing this and it's partly obvious,

620
00:34:38,400 --> 00:34:41,520
Speaker 3: maybe mostly obvious, but I love this as a mashup

621
00:34:41,680 --> 00:34:47,120
Speaker 3: of Macbeth and the biblical chronicles of King David. The

622
00:34:47,160 --> 00:34:50,160
Speaker 3: last part is obvious because he calls himself, he references,

623
00:34:50,000 --> 00:34:54,080
Speaker 3: he tells himself King David, right, like the King of

624
00:34:54,120 --> 00:34:57,239
Speaker 3: the Old Testament, and he he walks around like that,

625
00:34:58,040 --> 00:35:00,560
Speaker 3: and so obviously that's in my mind right away. And

626
00:35:00,600 --> 00:35:05,920
Speaker 3: then I'm realizing that both Denzel and Toshira Maffune, the

627
00:35:05,920 --> 00:35:09,239
Speaker 3: Star of High and Low have played McBeth throw the

628
00:35:09,280 --> 00:35:12,960
Speaker 3: Tragedy of Macbeth right yeap throwing a blood for Kursawa

629
00:35:13,120 --> 00:35:17,080
Speaker 3: and Joel Cohen's Tragedy of Macbeth, where Denzel is just

630
00:35:17,120 --> 00:35:21,240
Speaker 3: amazing in the part. So I had a lot of fun, Adam,

631
00:35:21,400 --> 00:35:24,279
Speaker 3: just tracing how this movie. Who knows if this was

632
00:35:24,320 --> 00:35:29,959
Speaker 3: on Spike Lee's mind or exactly, yeah, of course, first

633
00:35:30,000 --> 00:35:35,359
Speaker 3: time screenwriter. I believe Alan Fox Am I getting that right. Yes,

634
00:35:36,640 --> 00:35:38,759
Speaker 3: who knows if they were thinking of this, But I

635
00:35:38,880 --> 00:35:42,400
Speaker 3: was having fun watching it flow back and forth. I

636
00:35:42,400 --> 00:35:45,279
Speaker 3: don't think it's a perfect parallel for either of them,

637
00:35:45,400 --> 00:35:49,239
Speaker 3: but you think about you know, in the Biblical story

638
00:35:49,280 --> 00:35:55,160
Speaker 3: of King David, he sacrificed Bethsheba's husband to protect his reputation.

639
00:35:55,880 --> 00:36:00,000
Speaker 3: And I realized right away this this terrorist, This beautiful

640
00:36:00,160 --> 00:36:04,160
Speaker 3: Terris you referenced in the opening scene that David king

641
00:36:04,360 --> 00:36:07,439
Speaker 3: has has to be something like the palace roof that's

642
00:36:07,480 --> 00:36:10,800
Speaker 3: described in the Bible where David spied on Bathsheba. So

643
00:36:10,840 --> 00:36:13,719
Speaker 3: you got all that going on, and then you know,

644
00:36:14,000 --> 00:36:18,319
Speaker 3: the Macbeth stuff is fascinating to me because there is

645
00:36:18,400 --> 00:36:21,960
Speaker 3: definitely ambition at play in this character. He is in

646
00:36:22,000 --> 00:36:25,440
Speaker 3: the midst of this takeover deal when the kidnapping crisis occurs,

647
00:36:25,520 --> 00:36:29,239
Speaker 3: so he's making a power grab even though he's established

648
00:36:29,560 --> 00:36:33,120
Speaker 3: he is not satisfied with his career. The ambition eats

649
00:36:33,160 --> 00:36:35,640
Speaker 3: at him and he is. You could describe it as

650
00:36:35,719 --> 00:36:39,800
Speaker 3: protecting what he's built, but it's also an ambitious power grab,

651
00:36:40,280 --> 00:36:44,120
Speaker 3: and you get we haven't mentioned David King's wife yet,

652
00:36:44,120 --> 00:36:48,040
Speaker 3: played by Ilfineshdera. I think she gets a Lady Macbeth moment.

653
00:36:48,040 --> 00:36:50,440
Speaker 3: They're in the bedroom together and she is like, yeah,

654
00:36:50,480 --> 00:36:51,960
Speaker 3: I don't know that we should pay the ransom for

655
00:36:52,000 --> 00:36:55,600
Speaker 3: Paul's kid either, like it might now overall she's not

656
00:36:55,680 --> 00:36:59,600
Speaker 3: played that way, but there's that moment where I was like, ooh,

657
00:36:58,920 --> 00:37:01,279
Speaker 3: that's that's an interesting And then I want to talk

658
00:37:01,320 --> 00:37:03,600
Speaker 3: about this, Adam, because I do think you'll like this.

659
00:37:03,800 --> 00:37:07,759
Speaker 3: You reference the scene where he's looking at portraits of

660
00:37:07,880 --> 00:37:10,880
Speaker 3: himself or photos of himself earlier, when he's trying to

661
00:37:10,880 --> 00:37:12,640
Speaker 3: decide do I pay the ransom or not, and he

662
00:37:12,719 --> 00:37:16,000
Speaker 3: keeps repeating what would you do? And he's saying that

663
00:37:16,040 --> 00:37:18,440
Speaker 3: to his own photos, but he's also picking up like

664
00:37:18,960 --> 00:37:23,120
Speaker 3: framed portraits of I think I have this right, James Brown.

665
00:37:23,480 --> 00:37:26,319
Speaker 3: I think Aretha Franklin's in there, possibly Stevie Wonder and

666
00:37:26,360 --> 00:37:28,799
Speaker 3: each one he picks up looks at what would you do?

667
00:37:29,000 --> 00:37:29,560
Speaker 1: What would you do?

668
00:37:29,760 --> 00:37:31,640
Speaker 3: What would you do? So I've got this on my mind,

669
00:37:31,719 --> 00:37:36,120
Speaker 3: and I'm thinking, like, oh, is this like Macbeth's dialogue

670
00:37:36,160 --> 00:37:40,560
Speaker 3: with Banquo's ghost, Like he's having this internal that the

671
00:37:40,640 --> 00:37:44,399
Speaker 3: other people can't see who he's talking to. Maybe I'm

672
00:37:44,440 --> 00:37:46,920
Speaker 3: going a little further afield there, but still think about it.

673
00:37:47,640 --> 00:37:51,160
Speaker 3: Macbeth attempted to have banquotes son murdered arranged for the

674
00:37:51,160 --> 00:37:54,560
Speaker 3: assassination of another boy. So there's this element of like

675
00:37:55,120 --> 00:37:59,959
Speaker 3: sacrificing others kids for your own gain, or at least

676
00:38:00,160 --> 00:38:03,799
Speaker 3: to protect your own reputation. So this is where I

677
00:38:03,920 --> 00:38:08,160
Speaker 3: just kind of started thinking, whatever thread this might be,

678
00:38:08,480 --> 00:38:11,240
Speaker 3: however strong, or however intended. I was having a blast

679
00:38:11,239 --> 00:38:14,000
Speaker 3: tracing that throughout and seeing how it played out. I

680
00:38:14,040 --> 00:38:16,200
Speaker 3: do think, and we can't get into this. It's very

681
00:38:16,239 --> 00:38:19,840
Speaker 3: interesting to ask yourself at the end of this movie.

682
00:38:20,040 --> 00:38:23,760
Speaker 3: Is David King more of a King David figure who

683
00:38:24,920 --> 00:38:29,440
Speaker 3: experiences repentance, confession, or is he more of a meth

684
00:38:29,520 --> 00:38:32,359
Speaker 3: figure who you know. Obviously, it's a tragedy, it goes

685
00:38:32,360 --> 00:38:34,840
Speaker 3: bad in the end, So that's a whole other conversation

686
00:38:34,880 --> 00:38:36,839
Speaker 3: we can't have about spoilers. But I do think it's

687
00:38:36,880 --> 00:38:41,919
Speaker 3: interesting in this parallel to see how this David King

688
00:38:42,080 --> 00:38:48,040
Speaker 3: fits along these really you know, grand classic narratives that

689
00:38:48,440 --> 00:38:50,880
Speaker 3: I think it's possible Spike Lee is playing with intentionally

690
00:38:50,880 --> 00:38:51,400
Speaker 3: a little bit.

691
00:38:51,840 --> 00:38:55,399
Speaker 6: Yeah, yeah, gaate, no, no, no, no, no, no, it's

692
00:38:55,400 --> 00:38:59,640
Speaker 6: not a risk, it's a rebirth. Look, the biggest mistake

693
00:38:59,680 --> 00:39:01,799
Speaker 6: I have may was selling all parts of Stack and

694
00:39:01,840 --> 00:39:02,880
Speaker 6: His in the first place.

695
00:39:03,920 --> 00:39:05,200
Speaker 3: Yeah.

696
00:39:05,280 --> 00:39:07,960
Speaker 6: Yeah, it all came to me last night, the money,

697
00:39:08,080 --> 00:39:10,759
Speaker 6: the buy out, the boat. It's it's not the ending,

698
00:39:10,840 --> 00:39:13,440
Speaker 6: it's it's it's an opportunity for a new beginning. And

699
00:39:13,520 --> 00:39:15,520
Speaker 6: what God gives you an opportunity for the new beginning,

700
00:39:15,520 --> 00:39:17,880
Speaker 6: you gotta take it. You don't tell God no, you

701
00:39:17,880 --> 00:39:20,240
Speaker 6: you just you take it, and you you make it work.

702
00:39:21,120 --> 00:39:24,440
Speaker 1: It's been too long since I took the Hebrew Bible

703
00:39:24,520 --> 00:39:27,239
Speaker 1: in college. Josh, I'll have to defer to you on

704
00:39:27,400 --> 00:39:30,719
Speaker 1: the King David story. I'd push back if we were

705
00:39:30,760 --> 00:39:32,440
Speaker 1: really going to get into it on the Lady McBeth

706
00:39:32,520 --> 00:39:35,319
Speaker 1: part or Macbeth. Because of the Lady Macbeth part. I

707
00:39:35,320 --> 00:39:38,799
Speaker 1: think the wife here is obviously far too passive. It's

708
00:39:39,000 --> 00:39:42,759
Speaker 1: just the one scene. It's just the one and it's there.

709
00:39:42,880 --> 00:39:48,120
Speaker 1: She's she's so supportive throughout right. So if if I

710
00:39:48,280 --> 00:39:51,520
Speaker 1: was really gonna argue that, you know, that would be

711
00:39:51,520 --> 00:39:53,799
Speaker 1: what I'd point to. But otherwise, I think you're onto something,

712
00:39:53,880 --> 00:39:57,280
Speaker 1: especially when you consider ultimately, and I guess this goes

713
00:39:57,280 --> 00:40:02,319
Speaker 1: to where you are s. You may possibly read the

714
00:40:02,320 --> 00:40:04,840
Speaker 1: film where it's going the end of the film. We won't.

715
00:40:05,000 --> 00:40:07,920
Speaker 1: We won't discuss it too much, but there's a question

716
00:40:07,960 --> 00:40:11,400
Speaker 1: about whether or not this is ultimately a redemption film.

717
00:40:11,440 --> 00:40:16,000
Speaker 1: And I think the final choice made in this film,

718
00:40:16,480 --> 00:40:20,000
Speaker 1: it's a final choice. It's a final scene that I'm

719
00:40:20,040 --> 00:40:22,520
Speaker 1: not a huge fan of Josh, and it's also and

720
00:40:22,520 --> 00:40:25,799
Speaker 1: there's a final there's a final utterance by the main

721
00:40:25,880 --> 00:40:30,319
Speaker 1: character by David King that Hammer's home. I think the

722
00:40:30,400 --> 00:40:34,960
Speaker 1: idea of it being more redemptive than anything, I'm not

723
00:40:35,000 --> 00:40:39,120
Speaker 1: sure that we needed that final scene would be would

724
00:40:39,120 --> 00:40:44,160
Speaker 1: be my my argument there again for spoiler territory, here's

725
00:40:44,239 --> 00:40:47,600
Speaker 1: here's my my biggest issue, and maybe this is the thing,

726
00:40:47,719 --> 00:40:50,239
Speaker 1: Josh that as I walked out of the theater, I thought, Oh,

727
00:40:50,640 --> 00:40:52,840
Speaker 1: I had more more things going on, And it was

728
00:40:52,880 --> 00:40:55,440
Speaker 1: really just this one thing that was was kind of

729
00:40:55,920 --> 00:40:58,799
Speaker 1: nagging at me. And it's funny because we talked about

730
00:40:58,800 --> 00:41:01,839
Speaker 1: weapons last week or or whatever week it was, and

731
00:41:02,120 --> 00:41:04,480
Speaker 1: two weeks ago, and then we're gonna talk about spoilers

732
00:41:04,560 --> 00:41:07,960
Speaker 1: later and this might come up again. You talked about

733
00:41:08,640 --> 00:41:11,200
Speaker 1: how the movie kind of requires us to think the

734
00:41:11,280 --> 00:41:13,680
Speaker 1: police department in this town must be the dumbest police

735
00:41:13,719 --> 00:41:14,760
Speaker 1: department of all time.

736
00:41:16,000 --> 00:41:17,640
Speaker 3: You found a worst one.

737
00:41:17,800 --> 00:41:19,400
Speaker 1: Yeah, I found a worst one here. I think the

738
00:41:19,760 --> 00:41:25,960
Speaker 1: detectives here in this Yeah city police department. Because here's

739
00:41:26,040 --> 00:41:31,440
Speaker 1: what I will say. The last forty minutes forty minutes

740
00:41:31,600 --> 00:41:35,880
Speaker 1: ish of this movie only happen because we have to

741
00:41:35,960 --> 00:41:42,400
Speaker 1: buy that these cops wouldn't wouldn't pursue a lead. Yes,

742
00:41:42,760 --> 00:41:49,160
Speaker 1: that they obviously would immediately, and how they reject the

743
00:41:49,280 --> 00:41:52,279
Speaker 1: lead in the moment doesn't even make sense. It's a

744
00:41:52,360 --> 00:41:57,319
Speaker 1: terrible scene. But b but be they wouldn't even be

745
00:41:57,440 --> 00:42:02,520
Speaker 1: having that conversation because they would have started pursuing that

746
00:42:02,640 --> 00:42:07,360
Speaker 1: lead and others like that lead immediately after the second

747
00:42:07,440 --> 00:42:08,840
Speaker 1: phone call from the kidnapper.

748
00:42:09,000 --> 00:42:09,680
Speaker 3: It's true.

749
00:42:10,000 --> 00:42:12,600
Speaker 1: I know, Josh that Hy and Lowe is the Kurrasabo

750
00:42:12,800 --> 00:42:16,319
Speaker 1: movie that inspired this movie and not Stray Dog. But

751
00:42:16,400 --> 00:42:19,919
Speaker 1: they're both Coursabo movies and both police procedurals, and we're

752
00:42:19,920 --> 00:42:22,480
Speaker 1: talking about Stray Dog for bonus content. So it's on

753
00:42:22,560 --> 00:42:28,080
Speaker 1: my mind that rookie cop and the postwar Tokyo Police Department,

754
00:42:28,360 --> 00:42:33,040
Speaker 1: with its archaic filing system of criminal dossieres and photos,

755
00:42:33,600 --> 00:42:37,040
Speaker 1: would have been onto this guy from the jump. It's

756
00:42:37,400 --> 00:42:41,680
Speaker 1: crazy that they somehow didn't come up with a different

757
00:42:41,840 --> 00:42:47,200
Speaker 1: screenwriting solution to justify the last forty minutes of this film.

758
00:42:47,239 --> 00:42:50,359
Speaker 1: And I think there are some other things, the contrivance

759
00:42:50,400 --> 00:42:54,600
Speaker 1: with the headband that's so important to the film, some screenwriting,

760
00:42:54,760 --> 00:42:58,120
Speaker 1: some dialogue moments that feel overwritten. But that's that's the

761
00:42:58,160 --> 00:43:00,560
Speaker 1: big one, and we all you know you talked about

762
00:43:00,560 --> 00:43:04,040
Speaker 1: it with weapons. Clearly you enjoyed the movie enough that

763
00:43:04,280 --> 00:43:06,360
Speaker 1: you were able to get past that. I had a

764
00:43:06,360 --> 00:43:09,799
Speaker 1: similar reaction to how that was handled, some of the

765
00:43:09,800 --> 00:43:12,719
Speaker 1: suspension of disbelief. I got pasted it there. I did

766
00:43:12,760 --> 00:43:14,840
Speaker 1: have a little bit of a harder time getting pasted

767
00:43:14,840 --> 00:43:18,319
Speaker 1: it here because so much of the movie hung on

768
00:43:19,320 --> 00:43:22,600
Speaker 1: this and having to buy it. That said, the filmmaking

769
00:43:22,680 --> 00:43:25,680
Speaker 1: here is still just too electric for me to care

770
00:43:25,800 --> 00:43:26,640
Speaker 1: too much about it.

771
00:43:27,320 --> 00:43:30,000
Speaker 3: You're so right, and I think I'm in the same

772
00:43:30,040 --> 00:43:33,320
Speaker 3: place you are in terms of like, oh, that didn't work,

773
00:43:33,360 --> 00:43:35,360
Speaker 3: and I'm going to forget that we had that scene

774
00:43:35,360 --> 00:43:39,319
Speaker 3: and move on. And maybe it's again first time screenplay thing.

775
00:43:41,080 --> 00:43:45,600
Speaker 3: But I will also add to it the wonderful sequence

776
00:43:45,640 --> 00:43:48,720
Speaker 3: we praised at the top. The money drop is somewhat

777
00:43:48,800 --> 00:43:53,360
Speaker 3: ruined to me by a completely needless it's not ruined.

778
00:43:53,520 --> 00:43:55,400
Speaker 3: I like to think of them as two separate sequences.

779
00:43:55,480 --> 00:43:59,160
Speaker 3: It's followed after the drop by a needless and endless

780
00:44:00,080 --> 00:44:06,600
Speaker 3: motorcycle chase, with multiple motorcyclists changing hands of the money bag.

781
00:44:06,719 --> 00:44:09,040
Speaker 3: Every time they change hands. The guy who gets it

782
00:44:09,160 --> 00:44:11,799
Speaker 3: next basically heads right back to where the police are

783
00:44:11,840 --> 00:44:14,879
Speaker 3: coming from. So I didn't understand the logic of that.

784
00:44:15,280 --> 00:44:17,879
Speaker 3: And then they catch the guy they think they do,

785
00:44:18,120 --> 00:44:20,799
Speaker 3: and the backpack doesn't have the money. The guy they

786
00:44:20,840 --> 00:44:23,759
Speaker 3: catch because they've been you know, switching it out that

787
00:44:23,880 --> 00:44:28,000
Speaker 3: thread we never hear again, who like they have a

788
00:44:28,040 --> 00:44:30,440
Speaker 3: prime right accomplice in.

789
00:44:30,400 --> 00:44:35,160
Speaker 1: That case right there from you're telling me that they're

790
00:44:35,200 --> 00:44:38,280
Speaker 1: not able to do something with that lead that leads

791
00:44:38,320 --> 00:44:39,239
Speaker 1: them to the bad guy.

792
00:44:39,600 --> 00:44:41,319
Speaker 3: Can I give you an element that I that I

793
00:44:41,400 --> 00:44:45,120
Speaker 3: did like about the law enforcement though, because this is

794
00:44:45,120 --> 00:44:47,480
Speaker 3: a little twist on the Curisawa film, you know, the

795
00:44:47,560 --> 00:44:50,719
Speaker 3: curis How film to me is as much as I

796
00:44:50,800 --> 00:44:53,720
Speaker 3: which is very little understand about Japanese culture, very about

797
00:44:54,239 --> 00:44:58,440
Speaker 3: the severity of class distinctions. And one of the saddest

798
00:44:58,480 --> 00:45:01,960
Speaker 3: elements of that is the chauffeur whose son is kidnapped

799
00:45:01,960 --> 00:45:04,880
Speaker 3: in that film hardly speaks, yet he is in almost

800
00:45:04,880 --> 00:45:08,880
Speaker 3: every scene, and he's just sort of like cowering in

801
00:45:08,920 --> 00:45:12,080
Speaker 3: the background. And while the whole conversation is going on

802
00:45:12,200 --> 00:45:14,640
Speaker 3: whether they're going to pay, whether Mafune is going to

803
00:45:14,640 --> 00:45:17,920
Speaker 3: pay for his son's release, this guy doesn't say a word.

804
00:45:18,160 --> 00:45:20,880
Speaker 3: He just kind of cowers more and more and shrinks

805
00:45:21,000 --> 00:45:24,640
Speaker 3: in the background. And it's heartbreaking and clearly all about class.

806
00:45:24,719 --> 00:45:28,359
Speaker 3: Like it's just it's inconceivable that a chauffeur would get

807
00:45:28,400 --> 00:45:32,640
Speaker 3: the same would deserve the same sort of monetary investment

808
00:45:32,680 --> 00:45:34,879
Speaker 3: in his child as an executive what so.

809
00:45:34,960 --> 00:45:38,040
Speaker 1: Like reinterprets that here he interprets it really an interesting

810
00:45:38,200 --> 00:45:40,080
Speaker 1: great performance by him by.

811
00:45:40,040 --> 00:45:42,080
Speaker 3: By Jeffrey Wright, and I think we should credit maybe

812
00:45:42,080 --> 00:45:45,160
Speaker 3: here the first time screenwriter Ellen Fox, if this was

813
00:45:45,200 --> 00:45:48,480
Speaker 3: his contribution. There's more than a class element here. It's

814
00:45:48,480 --> 00:45:52,120
Speaker 3: partly that because Paul, we understand, did grow up in

815
00:45:52,160 --> 00:45:55,200
Speaker 3: the same Bronx neighborhood as David King, but has clearly

816
00:45:55,239 --> 00:45:57,799
Speaker 3: not risen as high as him. Also, I think it

817
00:45:57,840 --> 00:46:00,719
Speaker 3: is so crucial that we learn that he was formally

818
00:46:00,840 --> 00:46:04,520
Speaker 3: incarcerated because what is the effect of that in terms

819
00:46:04,520 --> 00:46:09,200
Speaker 3: of the law enforcement. Well, immediately they suspect he's involved

820
00:46:09,360 --> 00:46:11,840
Speaker 3: when they learn of his past and that he is

821
00:46:11,960 --> 00:46:15,680
Speaker 3: King's driver, right, and then even when they clear him

822
00:46:15,680 --> 00:46:18,600
Speaker 3: of that because it's his kid's son. Notice the difference

823
00:46:18,600 --> 00:46:21,959
Speaker 3: in response to the investigation. When it's David King's son,

824
00:46:22,120 --> 00:46:25,400
Speaker 3: it's all hands on deck, like bring out the twelve computers.

825
00:46:25,440 --> 00:46:28,560
Speaker 3: And then when it's Paul's son, they're still on the case,

826
00:46:28,600 --> 00:46:32,800
Speaker 3: but they're annoyed by him. They're not taking as much care.

827
00:46:33,280 --> 00:46:36,560
Speaker 3: And I just think that's a nice extra wrinkle that is,

828
00:46:36,840 --> 00:46:39,000
Speaker 3: you know, to bring us back to where we started.

829
00:46:39,040 --> 00:46:42,680
Speaker 3: It's a little bit of cultural perspective that's injected that

830
00:46:42,960 --> 00:46:44,360
Speaker 3: someone like Spike Lee Brings.

831
00:46:45,000 --> 00:46:47,840
Speaker 1: Yes, I agree, and I also agree it is crucial

832
00:46:48,000 --> 00:46:51,319
Speaker 1: or it's very important that he is someone who is

833
00:46:51,360 --> 00:46:54,680
Speaker 1: formally incarcerated, and they do immediately look at him as

834
00:46:54,680 --> 00:46:57,560
Speaker 1: a suspect because of that. But even if he hadn't

835
00:46:57,600 --> 00:47:04,120
Speaker 1: been formally imprisoned, just the fact that he isn't of

836
00:47:04,280 --> 00:47:08,200
Speaker 1: David King's status, I think they would probably right still

837
00:47:08,320 --> 00:47:11,360
Speaker 1: say well, maybe he has motive. Yeah, yeah, maybe because

838
00:47:11,800 --> 00:47:15,000
Speaker 1: because his son's involved, he may have a motive, and

839
00:47:15,000 --> 00:47:16,759
Speaker 1: they would they would treat him differently.

840
00:47:16,960 --> 00:47:17,839
Speaker 3: They do treat him.

841
00:47:18,040 --> 00:47:22,360
Speaker 1: They absolutely do treat him more harshly and more suspiciously

842
00:47:22,440 --> 00:47:24,799
Speaker 1: though because of it, and they and they do treat

843
00:47:24,880 --> 00:47:28,360
Speaker 1: him with absolutely no respect, they no respect, like he

844
00:47:28,520 --> 00:47:31,239
Speaker 1: is nothing because of that background.

845
00:47:31,320 --> 00:47:33,840
Speaker 3: And I like the thread that the acep Rocky character

846
00:47:34,239 --> 00:47:38,800
Speaker 3: we learn too also serve time at one point, and

847
00:47:39,120 --> 00:47:43,040
Speaker 3: I just like that there's there's something, there's something interesting

848
00:47:43,120 --> 00:47:47,920
Speaker 3: there looking at Paul as an echo or mirror reflection

849
00:47:48,040 --> 00:47:51,040
Speaker 3: in some way of the young man trying to make

850
00:47:51,080 --> 00:47:54,560
Speaker 3: it out of his situation in this case through music

851
00:47:55,640 --> 00:47:58,479
Speaker 3: and has had some similar experiences to Paul. So just

852
00:47:58,480 --> 00:47:59,960
Speaker 3: just an interesting touch they put.

853
00:47:59,760 --> 00:48:03,040
Speaker 1: In highest to lowest is currently playing in limited release.

854
00:48:03,400 --> 00:48:07,480
Speaker 1: It does come exclusively to Apple TV Plus on September fifth,

855
00:48:07,520 --> 00:48:11,040
Speaker 1: and we are recommending you look for it then. If

856
00:48:11,120 --> 00:48:14,120
Speaker 1: you see it and agree or disagree with our thoughts,

857
00:48:14,200 --> 00:48:16,520
Speaker 1: or have any other thoughts you'd like to share, please

858
00:48:16,640 --> 00:48:19,120
Speaker 1: email us feedback at filmspotting dot net.

859
00:48:19,640 --> 00:48:21,480
Speaker 3: Listening is the number one thing you can do to

860
00:48:21,520 --> 00:48:25,359
Speaker 3: support an independently produced show like film Spotting. Here are

861
00:48:25,400 --> 00:48:27,080
Speaker 3: a couple of more things you can do. Take a

862
00:48:27,080 --> 00:48:29,000
Speaker 3: minute to give us a rating or a review on

863
00:48:29,120 --> 00:48:33,080
Speaker 3: Apple Podcasts or Spotify. Every new review we get really

864
00:48:33,120 --> 00:48:36,080
Speaker 3: does help us reach new listeners. Another thing you can

865
00:48:36,120 --> 00:48:40,040
Speaker 3: do is join the film Spotting Family. Now. To continue

866
00:48:40,080 --> 00:48:44,000
Speaker 3: our celebration of our twentieth year, we have been sharing

867
00:48:44,040 --> 00:48:47,480
Speaker 3: some voice messages from film Spotting family members. These were

868
00:48:47,520 --> 00:48:51,719
Speaker 3: submitted ahead of Film Spotting Fest back in March.

869
00:48:51,920 --> 00:48:55,200
Speaker 1: Yeah, and we have a couple here. I said, I

870
00:48:55,200 --> 00:48:57,399
Speaker 1: think a couple of weeks ago that we only had

871
00:48:57,440 --> 00:49:02,600
Speaker 1: one more, but I found one hidden in the Google

872
00:49:02,719 --> 00:49:05,120
Speaker 1: drive Josh, that I wanted to make sure we featured.

873
00:49:05,160 --> 00:49:07,440
Speaker 1: And we may even have another one that will feature

874
00:49:07,440 --> 00:49:10,920
Speaker 1: in a couple of weeks. But here too. As promised,

875
00:49:11,000 --> 00:49:14,840
Speaker 1: you're gonna hear from Film Spotting, Madness Godfather, Mike Marrigan,

876
00:49:15,160 --> 00:49:18,399
Speaker 1: and another one to two folks here that if you've

877
00:49:18,440 --> 00:49:20,520
Speaker 1: listened to the show at all over the last ten years,

878
00:49:21,040 --> 00:49:24,480
Speaker 1: or if you've participated in a few trivia spottings, or

879
00:49:24,520 --> 00:49:27,840
Speaker 1: maybe you were a regular indie wire reader, these names

880
00:49:27,880 --> 00:49:30,879
Speaker 1: will be familiar to you, so let's hear from them.

881
00:49:31,040 --> 00:49:34,319
Speaker 5: Congrats everyone. This is Steve Green here in LA where

882
00:49:34,320 --> 00:49:36,799
Speaker 5: I have done most of my listening since the cinecast days.

883
00:49:37,680 --> 00:49:39,839
Speaker 5: The first memory that came to mind was something that

884
00:49:39,960 --> 00:49:43,319
Speaker 5: actually has nothing to do with movies and didn't even

885
00:49:43,480 --> 00:49:47,319
Speaker 5: happen in the course of the main episode. It's the

886
00:49:47,360 --> 00:49:52,400
Speaker 5: outtake of Sam needing an extra try to introduce himself

887
00:49:52,520 --> 00:49:56,200
Speaker 5: for the very first time as Sam van Holgren. I

888
00:49:56,239 --> 00:49:58,279
Speaker 5: was already a huge fan of the way show talked

889
00:49:58,280 --> 00:50:01,200
Speaker 5: about filmmaking and everything that goes in to it, but

890
00:50:01,320 --> 00:50:05,640
Speaker 5: then to hear two people share a genuine spontaneous moment,

891
00:50:06,760 --> 00:50:11,040
Speaker 5: including if I remember correctly, a rare Adam Kempener f bomb,

892
00:50:12,719 --> 00:50:15,279
Speaker 5: that just proved how special this show could be, and

893
00:50:15,520 --> 00:50:19,000
Speaker 5: indeed has been. In all the years since. Everything I

894
00:50:19,040 --> 00:50:22,080
Speaker 5: loved about the show has come from that same spark

895
00:50:22,640 --> 00:50:29,120
Speaker 5: and that same shared passion and fun. You all are

896
00:50:29,160 --> 00:50:33,000
Speaker 5: wonderful and have changed my life in ways that I

897
00:50:33,080 --> 00:50:34,600
Speaker 5: can't even begin to fathom.

898
00:50:35,200 --> 00:50:37,400
Speaker 3: But I know I'm not alone.

899
00:50:37,920 --> 00:50:42,120
Speaker 5: So here's to you, and here's to twenty more years.

900
00:50:42,560 --> 00:50:46,600
Speaker 7: Hello film Spotting and happy twentieth. It's Mike Marigan, the

901
00:50:46,600 --> 00:50:48,440
Speaker 7: godfather of Film Spotting.

902
00:50:48,080 --> 00:50:50,160
Speaker 3: Madness, coming to you from Dover, New Hampshire.

903
00:50:50,400 --> 00:50:52,840
Speaker 7: And what else can I talk about but the Film

904
00:50:52,880 --> 00:50:56,520
Speaker 7: Spotting Madness Tournament. This crazy idea that I concocted, that

905
00:50:56,560 --> 00:50:59,480
Speaker 7: Adam and Josh and Sam have made such an important

906
00:50:59,520 --> 00:51:02,160
Speaker 7: part of the show, and it's been so cool every

907
00:51:02,239 --> 00:51:05,120
Speaker 7: year when the tournament comes up to hear other listeners

908
00:51:05,120 --> 00:51:08,480
Speaker 7: get excited for it, fill out their brackets, discover films

909
00:51:08,480 --> 00:51:09,720
Speaker 7: that they hadn't seen before.

910
00:51:09,960 --> 00:51:11,080
Speaker 3: It's just become so.

911
00:51:11,120 --> 00:51:13,400
Speaker 7: Much bigger than I ever could have imagined. And I

912
00:51:13,400 --> 00:51:16,400
Speaker 7: don't care what Michael Phillips says. The Film Spotting Madness

913
00:51:16,480 --> 00:51:19,359
Speaker 7: Tournament is awesome. There was that time that I won

914
00:51:19,400 --> 00:51:21,880
Speaker 7: the whole thing, which was a little awkward, but it

915
00:51:21,920 --> 00:51:23,840
Speaker 7: meant that I got to record an episode of the

916
00:51:23,880 --> 00:51:26,239
Speaker 7: show with the guys, and I don't have to tell

917
00:51:26,239 --> 00:51:29,400
Speaker 7: those podcast nerds out there, getting to record an episode

918
00:51:29,440 --> 00:51:33,520
Speaker 7: of your favorite podcast with the host is beyond cool.

919
00:51:34,200 --> 00:51:37,359
Speaker 7: So I look forward to this year's tournament. Good luck

920
00:51:37,400 --> 00:51:40,040
Speaker 7: to whoever our eventual winner is. We all know that

921
00:51:40,080 --> 00:51:43,680
Speaker 7: it's not going to be Josh Larson and guys Happy twentieth.

922
00:51:43,800 --> 00:51:45,919
Speaker 7: I cannot wait to see what the next twenty years

923
00:51:46,000 --> 00:51:46,920
Speaker 7: has in store.

924
00:51:46,960 --> 00:51:50,800
Speaker 3: For Film Spotting Now. Now, Mike, you know, I respect

925
00:51:50,840 --> 00:51:54,640
Speaker 3: his mad scientists skills as birthing film Spotting madness, but

926
00:51:55,440 --> 00:52:00,000
Speaker 3: unnecessary shot. I believe I haven't lost our internal bracket

927
00:52:00,120 --> 00:52:04,239
Speaker 3: competition for two years now. Three Maybe agreed? Possibly you've

928
00:52:04,239 --> 00:52:07,879
Speaker 3: been sharing pretty well, pretty well there Mike and Steve. Yeah,

929
00:52:07,920 --> 00:52:09,879
Speaker 3: so great to hear from Steve hung out with him

930
00:52:10,320 --> 00:52:13,560
Speaker 3: a little bit at Film Spotting Fest, and he's pretty

931
00:52:13,640 --> 00:52:15,959
Speaker 3: regular on Trivia Spotting two, which we do with Film

932
00:52:15,960 --> 00:52:17,160
Speaker 3: Spotting family members.

933
00:52:17,520 --> 00:52:22,040
Speaker 1: Yes, we do deeply appreciate all their contributions to the

934
00:52:22,080 --> 00:52:25,680
Speaker 1: show and having the opportunity to get to know both

935
00:52:25,719 --> 00:52:29,279
Speaker 1: of them over the years, and that goes for all

936
00:52:29,280 --> 00:52:31,600
Speaker 1: of our family members we've had a chance to meet.

937
00:52:31,640 --> 00:52:34,000
Speaker 1: In addition to keeping us doing what we're doing, your

938
00:52:34,000 --> 00:52:36,600
Speaker 1: support comes with perks. You get to listen early in

939
00:52:36,680 --> 00:52:39,680
Speaker 1: ad free, you get our weekly newsletter, You get exclusive

940
00:52:39,680 --> 00:52:42,960
Speaker 1: opportunities like being part of the film spotting family Discord.

941
00:52:43,440 --> 00:52:45,840
Speaker 1: We do have more members than this family members, but

942
00:52:46,239 --> 00:52:51,160
Speaker 1: that discord is up to I think four hundred now, Josh.

943
00:52:51,200 --> 00:52:55,759
Speaker 1: And it's just such a wonderful community where we can

944
00:52:55,840 --> 00:53:01,160
Speaker 1: have conversations, really serious conversations about film, can really silly

945
00:53:01,320 --> 00:53:05,120
Speaker 1: conversations about film, or I think there's a music spotting channel,

946
00:53:05,160 --> 00:53:08,359
Speaker 1: a theater spotting channel, a food spotting channel, book you know,

947
00:53:08,400 --> 00:53:11,520
Speaker 1: book spotting, book spotting, I mean, you name it. You

948
00:53:11,640 --> 00:53:14,120
Speaker 1: got really smart people that you can have any kind

949
00:53:14,120 --> 00:53:16,640
Speaker 1: of conversation with. So I say that because if you

950
00:53:16,760 --> 00:53:19,640
Speaker 1: are a family member who hasn't taken the plunge, and

951
00:53:19,640 --> 00:53:22,520
Speaker 1: maybe you're one of those family members who's like, I

952
00:53:22,560 --> 00:53:25,400
Speaker 1: don't I don't do the discord thing. I don't know

953
00:53:25,400 --> 00:53:28,279
Speaker 1: what discord is. I'm intimidated by it. Guess what I

954
00:53:28,320 --> 00:53:30,279
Speaker 1: was in your shoes like six or eight months ago.

955
00:53:31,000 --> 00:53:33,279
Speaker 1: It's really not that complicated, Josh. You probably felt the

956
00:53:33,320 --> 00:53:36,080
Speaker 1: same way. It's not that complicated. It's easy, it's fun.

957
00:53:36,680 --> 00:53:37,759
Speaker 1: Take the plunge, and if.

958
00:53:37,680 --> 00:53:40,840
Speaker 3: You can manage your involvement, I mean, it's you don't

959
00:53:40,960 --> 00:53:43,520
Speaker 3: have to like keep up with everything that is going on.

960
00:53:43,600 --> 00:53:45,880
Speaker 3: You can jump in and out and choose what topics

961
00:53:45,880 --> 00:53:49,719
Speaker 3: are interesting. So it's it's definitely manageable. If you're worried

962
00:53:49,760 --> 00:53:52,360
Speaker 3: about being overwhelmed, you don't have to be.

963
00:53:52,680 --> 00:53:55,120
Speaker 1: Yeah, you can even shut off your notifications for certain

964
00:53:55,200 --> 00:53:58,080
Speaker 1: channels or all the channels and just pop in whenever

965
00:53:58,200 --> 00:54:01,440
Speaker 1: you see fit. If you are not a family member

966
00:54:01,480 --> 00:54:03,200
Speaker 1: and that sounds like something you want to be a

967
00:54:03,200 --> 00:54:06,280
Speaker 1: part of, then please join the family. You also get

968
00:54:06,520 --> 00:54:10,960
Speaker 1: our monthly bonus shows. I mentioned it earlier. Our August

969
00:54:11,000 --> 00:54:13,759
Speaker 1: bonus is a blind Cow. I've seen it. Josh and

970
00:54:13,800 --> 00:54:19,160
Speaker 1: Sam haven't. Akira Kurrasawa's Stray Dog, which is available on

971
00:54:19,200 --> 00:54:21,719
Speaker 1: the Criterion channel. You have to have a subscription to that.

972
00:54:21,760 --> 00:54:25,239
Speaker 1: It's also available on Plex, which may have a commercial

973
00:54:25,320 --> 00:54:29,279
Speaker 1: or two in it, but otherwise it's free and spoilers.

974
00:54:29,520 --> 00:54:34,560
Speaker 1: Stray Dog really really good, So watch it and then

975
00:54:35,239 --> 00:54:39,160
Speaker 1: come listen to our discussion as part of our bonus episode.

976
00:54:39,200 --> 00:54:41,440
Speaker 1: If you'd like to learn more about the film Spotting Family,

977
00:54:41,600 --> 00:54:46,200
Speaker 1: you can learn that at Filmspottingfamily dot com.

978
00:54:46,360 --> 00:54:48,399
Speaker 2: Those kids walked out of those homes No one pulled

979
00:54:48,400 --> 00:54:51,680
Speaker 2: them out, no one forced them.

980
00:54:51,760 --> 00:54:53,160
Speaker 3: What do you see that I don't.

981
00:54:54,680 --> 00:54:59,560
Speaker 4: Show me? Where did you go? There's something very very

982
00:54:59,640 --> 00:55:00,640
Speaker 4: wrong going on.

983
00:55:02,280 --> 00:55:06,600
Speaker 1: That's from Zach Kraiger's Weapons, which we discussed a couple

984
00:55:06,600 --> 00:55:09,880
Speaker 1: of weeks back. If you've seen it yourself, you'll know

985
00:55:10,000 --> 00:55:12,040
Speaker 1: that it's the kind of film that raises as many

986
00:55:12,160 --> 00:55:15,480
Speaker 1: questions as it answers. And if you haven't seen it yourself,

987
00:55:15,520 --> 00:55:18,600
Speaker 1: well you really should not be listening to this segment.

988
00:55:19,320 --> 00:55:23,279
Speaker 1: Go into whatever podcast platform you're listening on and look

989
00:55:23,280 --> 00:55:26,160
Speaker 1: for the chapter, or look for the timecode and jump

990
00:55:26,160 --> 00:55:28,279
Speaker 1: ahead to later in the show. Because this will be

991
00:55:28,920 --> 00:55:33,680
Speaker 1: a spoiler segment. We are going to read some feedback

992
00:55:33,719 --> 00:55:37,600
Speaker 1: from listeners. All of it features spoilers on the movie.

993
00:55:38,080 --> 00:55:41,480
Speaker 1: We'll have some responses, and that's how we're going to

994
00:55:41,480 --> 00:55:43,960
Speaker 1: do a spoiler segment on this movie. Are you ready, Josh?

995
00:55:44,120 --> 00:55:46,800
Speaker 3: I love it. I'm so excited for this. Let's jump

996
00:55:47,000 --> 00:55:50,840
Speaker 3: right in, starting with Matt White in Indy and I

997
00:55:50,880 --> 00:55:52,880
Speaker 3: think we have a few here at the top that

998
00:55:52,920 --> 00:55:58,040
Speaker 3: are about the humor in the movie. And yeah, that crazy,

999
00:55:58,080 --> 00:56:00,880
Speaker 3: crazy ending. So here's Matt White and Indy. I enjoyed

1000
00:56:00,920 --> 00:56:03,200
Speaker 3: listening to your takes on the movie. WEAPONS would love

1001
00:56:03,239 --> 00:56:05,959
Speaker 3: to hear some spoiler talk. In particular, I would enjoy

1002
00:56:06,000 --> 00:56:09,000
Speaker 3: hearing why people were actually laughing at the end of

1003
00:56:09,040 --> 00:56:12,400
Speaker 3: this movie. My audience was split about half and half.

1004
00:56:12,560 --> 00:56:17,799
Speaker 3: Half were laughing uncontrollably, absolutely uncontrollably. The other half was

1005
00:56:17,840 --> 00:56:21,759
Speaker 3: sitting in absolute stunned silence, myself included. I got to

1006
00:56:21,800 --> 00:56:24,160
Speaker 3: the end and asked myself how anyone could have found

1007
00:56:24,200 --> 00:56:26,719
Speaker 3: that funny. Would love to hear your thoughts. You might

1008
00:56:26,800 --> 00:56:29,800
Speaker 3: check out the interview Craiger did on The Big Picture podcast.

1009
00:56:29,840 --> 00:56:32,399
Speaker 3: He talks about the humor issue around the one four

1010
00:56:32,640 --> 00:56:35,160
Speaker 3: mark and says, I don't think of this as being

1011
00:56:35,280 --> 00:56:38,360
Speaker 3: a funny movie. He does acknowledge a couple of purposely

1012
00:56:38,440 --> 00:56:41,320
Speaker 3: funny moments, but he honestly sounds surprised people are talking

1013
00:56:41,320 --> 00:56:42,560
Speaker 3: about the humor so much.

1014
00:56:44,200 --> 00:56:46,800
Speaker 1: I would love to know. The one thing Matt leaves

1015
00:56:46,800 --> 00:56:51,200
Speaker 1: out is I haven't listened to that podcast. If Craiger

1016
00:56:51,400 --> 00:56:54,880
Speaker 1: says that he doesn't think of it as a funny movie,

1017
00:56:55,600 --> 00:57:00,239
Speaker 1: but he acknowledges there are some purposefully funny moments, I

1018
00:57:00,320 --> 00:57:04,200
Speaker 1: wonder what he thinks the purposely funny moments are, Because

1019
00:57:04,880 --> 00:57:07,239
Speaker 1: for me the only moments in the movie I thought

1020
00:57:07,280 --> 00:57:12,480
Speaker 1: that were truly funny and truly purposely funny. Maybe there

1021
00:57:12,520 --> 00:57:14,640
Speaker 1: were a couple throughout, Josh, but I'm thinking of the

1022
00:57:14,680 --> 00:57:20,960
Speaker 1: ones that were for me, decidedly intended to be funny,

1023
00:57:21,240 --> 00:57:24,680
Speaker 1: borderline wacky, were at the end of the film. So

1024
00:57:24,720 --> 00:57:27,960
Speaker 1: I'd wonder if if Craiger thought, yeah, I was trying

1025
00:57:27,960 --> 00:57:31,400
Speaker 1: to make those funny, or for him they were three

1026
00:57:31,440 --> 00:57:33,640
Speaker 1: other moments in the film that nobody else in the

1027
00:57:33,640 --> 00:57:36,560
Speaker 1: world might think were funny. Again, Matt doesn't mention that,

1028
00:57:36,720 --> 00:57:39,680
Speaker 1: and I haven't listened to the podcast. I would also

1029
00:57:39,720 --> 00:57:42,880
Speaker 1: throw this back on Matt and say, the half of

1030
00:57:42,920 --> 00:57:46,720
Speaker 1: the audience, including you, you sat there in stun silence.

1031
00:57:46,800 --> 00:57:49,360
Speaker 1: Why why did you sit there in stun silence? What

1032
00:57:49,440 --> 00:57:51,760
Speaker 1: was it about the ending that kept you from laughing?

1033
00:57:52,000 --> 00:57:55,080
Speaker 1: Because here's what I can say about the ending of

1034
00:57:55,080 --> 00:57:59,800
Speaker 1: the movie. Here's what I remember, very vividly. I was

1035
00:57:59,840 --> 00:58:03,360
Speaker 1: all already kind of chuckling before this. But I can remember,

1036
00:58:03,400 --> 00:58:05,200
Speaker 1: and I might get I might get some of the

1037
00:58:05,240 --> 00:58:08,960
Speaker 1: particulars wrong. I'm not going to remember the exact shot,

1038
00:58:09,320 --> 00:58:12,120
Speaker 1: but you can. You can tell me, Josh if I'm

1039
00:58:12,160 --> 00:58:16,200
Speaker 1: misremembering here. Or how you recall the scene, the moment

1040
00:58:16,280 --> 00:58:20,800
Speaker 1: in that sequence. So this is the end the clown.

1041
00:58:21,000 --> 00:58:25,919
Speaker 1: Gladys is running for her life and these kids, these

1042
00:58:25,960 --> 00:58:28,680
Speaker 1: twenty kids or whatever, nineteen kids, however many there are,

1043
00:58:28,880 --> 00:58:35,400
Speaker 1: they are chasing after her, screaming too, and they're trying

1044
00:58:35,400 --> 00:58:37,520
Speaker 1: to kill her. Like we know they're trying to kill her.

1045
00:58:37,560 --> 00:58:39,840
Speaker 1: They're going to attack her. We don't know exactly what

1046
00:58:39,880 --> 00:58:41,640
Speaker 1: they're going to do when they get to her, but

1047
00:58:41,760 --> 00:58:43,680
Speaker 1: we know it's not going to be good for her.

1048
00:58:44,280 --> 00:58:47,400
Speaker 1: And they're they're screaming and chasing her. And again I

1049
00:58:47,440 --> 00:58:49,920
Speaker 1: was already kind of chuckling. But when I knew, or

1050
00:58:49,960 --> 00:58:54,080
Speaker 1: I thought I knew, oh he's going for laughs. Here

1051
00:58:54,960 --> 00:58:59,920
Speaker 1: was when there was a shot where the camera was

1052
00:59:00,120 --> 00:59:04,200
Speaker 1: is like on the sidewalk or in a front lawn

1053
00:59:04,560 --> 00:59:10,880
Speaker 1: or something, and it's it's looking at like the backyard,

1054
00:59:11,240 --> 00:59:14,920
Speaker 1: the part in between like two houses, right, so you

1055
00:59:14,960 --> 00:59:18,160
Speaker 1: can see the grass, but it's like in between two

1056
00:59:18,200 --> 00:59:21,600
Speaker 1: houses kind of thing. So you're seeing the backyard, but

1057
00:59:21,720 --> 00:59:24,880
Speaker 1: just that space in between. And and you I think

1058
00:59:24,920 --> 00:59:27,040
Speaker 1: you can hear the yelling, you can hear the shouting,

1059
00:59:27,080 --> 00:59:28,600
Speaker 1: so you know you know it's coming.

1060
00:59:28,720 --> 00:59:30,440
Speaker 3: It's great sound design in that sequence.

1061
00:59:30,520 --> 00:59:35,440
Speaker 1: Yeah, and you see you see Gladys run by. You

1062
00:59:35,440 --> 00:59:38,480
Speaker 1: see Gladys run by, just just going left to right

1063
00:59:38,520 --> 00:59:44,240
Speaker 1: on the frame by yourself, then empty space, then twenty

1064
00:59:44,320 --> 00:59:48,000
Speaker 1: kids yelling and shouting across the frame. Sure, and that

1065
00:59:48,240 --> 00:59:55,080
Speaker 1: use of the frame, her running, then empty space, then yelling, shouting,

1066
00:59:55,120 --> 00:59:59,000
Speaker 1: twenty kids charging after. It's maybe this isn't clear from

1067
00:59:59,000 --> 01:00:02,000
Speaker 1: the way I'm explaining it, but if we were watching it,

1068
01:00:02,040 --> 01:00:04,360
Speaker 1: if I could find it, it is. It is like

1069
01:00:04,440 --> 01:00:06,160
Speaker 1: something out straight out of a cartoon.

1070
01:00:06,400 --> 01:00:06,840
Speaker 3: It is just.

1071
01:00:08,280 --> 01:00:11,000
Speaker 1: It could be silent comedy. I was just gonna say

1072
01:00:11,160 --> 01:00:14,840
Speaker 1: it is a silent comedy. Bit it is. It is

1073
01:00:14,880 --> 01:00:19,960
Speaker 1: straight up the Keaton Chaplin playbook. And so yes, if Craiger,

1074
01:00:20,640 --> 01:00:23,160
Speaker 1: I don't care. I honestly don't care. If Craiger tries

1075
01:00:23,200 --> 01:00:26,360
Speaker 1: to tell me he didn't accept that purposely funny, or

1076
01:00:26,400 --> 01:00:28,840
Speaker 1: if anyone else tells me they didn't think it was funny,

1077
01:00:29,080 --> 01:00:32,200
Speaker 1: I refuse. Well, first of all, it's funny. It just

1078
01:00:32,400 --> 01:00:36,280
Speaker 1: is funny. But also I can't imagine I cannot imagine

1079
01:00:36,280 --> 01:00:39,280
Speaker 1: a world where he didn't set it up that way

1080
01:00:40,000 --> 01:00:42,320
Speaker 1: to try to elicit a laugh. I just don't believe it.

1081
01:00:43,000 --> 01:00:46,240
Speaker 3: Yeah, Yeah, a couple things. So that's a bit a

1082
01:00:46,280 --> 01:00:49,160
Speaker 3: familiar bit. Another familiar bit is and I don't remember

1083
01:00:49,200 --> 01:00:51,080
Speaker 3: either where it comes in the Secrets events or when

1084
01:00:51,120 --> 01:00:53,360
Speaker 3: I started laughing. And I was never laughing as in

1085
01:00:53,520 --> 01:00:57,880
Speaker 3: like I'm watching a straight farce here, I was laughing,

1086
01:00:58,000 --> 01:01:01,000
Speaker 3: like this is insane, and the only way I can

1087
01:01:01,040 --> 01:01:04,479
Speaker 3: process it is that I will laugh. But also I'm

1088
01:01:04,480 --> 01:01:08,280
Speaker 3: prompted by the familiarity with bits as you just described

1089
01:01:08,400 --> 01:01:11,800
Speaker 3: another bit when they it's a common bit whenever there's

1090
01:01:11,840 --> 01:01:15,640
Speaker 3: a chase sequence that a family is going about their

1091
01:01:15,680 --> 01:01:20,480
Speaker 3: business in their house and James Bond runs through a

1092
01:01:20,520 --> 01:01:25,360
Speaker 3: superhero runs through name name your character. Right here, we

1093
01:01:25,480 --> 01:01:29,080
Speaker 3: get that, except it's it's nothing we've ever seen before.

1094
01:01:29,480 --> 01:01:35,280
Speaker 3: It's a crazed clown witch running through. Weird enough, the family.

1095
01:01:34,960 --> 01:01:36,400
Speaker 1: Is like normal neighbors.

1096
01:01:37,040 --> 01:01:41,320
Speaker 3: What the hell was that? Pause? Here come the kids

1097
01:01:41,360 --> 01:01:45,040
Speaker 3: running through streaming. So that's another example of a familiar

1098
01:01:45,080 --> 01:01:47,440
Speaker 3: comic bit. I am totally you know, I'm with you.

1099
01:01:47,520 --> 01:01:50,040
Speaker 3: I don't care what Craiger says. I could. I mean

1100
01:01:50,080 --> 01:01:53,040
Speaker 3: it's interesting right when I say that, I mean I

1101
01:01:53,080 --> 01:01:56,200
Speaker 3: don't care what Kraiger says in relation to my or

1102
01:01:56,240 --> 01:01:59,160
Speaker 3: anyone else's experience of the film. So Matt, I would

1103
01:01:59,200 --> 01:02:03,440
Speaker 3: say in response, I think your stun silence is legit.

1104
01:02:03,920 --> 01:02:06,520
Speaker 3: If that's how you experienced Weapons, I don't think you

1105
01:02:06,640 --> 01:02:11,800
Speaker 3: experienced it wrong. Like there's no policing someone's interpretation or

1106
01:02:11,840 --> 01:02:14,440
Speaker 3: experience of a movie. This is why I love Weapons,

1107
01:02:14,520 --> 01:02:17,840
Speaker 3: because I think in a good way. So many people

1108
01:02:17,840 --> 01:02:21,840
Speaker 3: are responding to it so differently. So the stunned silence

1109
01:02:22,400 --> 01:02:25,080
Speaker 3: I can understand. You know, there might be responses where

1110
01:02:25,080 --> 01:02:26,720
Speaker 3: I'm like, I don't know where you got that out

1111
01:02:26,760 --> 01:02:28,640
Speaker 3: of it, right, But in this one I can understand

1112
01:02:28,680 --> 01:02:31,640
Speaker 3: because it is deeply disturbing. That's partly why I laughed.

1113
01:02:31,640 --> 01:02:34,960
Speaker 3: It's some you know, I have that response to some horror,

1114
01:02:35,480 --> 01:02:38,040
Speaker 3: and I will just say that I am less sure

1115
01:02:38,080 --> 01:02:39,760
Speaker 3: as I think you are, Adam. And maybe this will

1116
01:02:39,760 --> 01:02:43,400
Speaker 3: come up in further feedback about the final section of

1117
01:02:43,440 --> 01:02:47,360
Speaker 3: the film where we get that voiceover narration of the

1118
01:02:47,400 --> 01:02:51,760
Speaker 3: young girl. I believe that that I feel is next email. Yeah, okay,

1119
01:02:52,080 --> 01:02:52,920
Speaker 3: let's go ahead and read that.

1120
01:02:53,080 --> 01:02:55,800
Speaker 1: Yeah, before we get there, I want to go back

1121
01:02:55,800 --> 01:02:59,400
Speaker 1: to what you said, because this ties together this whole

1122
01:02:59,440 --> 01:03:03,560
Speaker 1: idea of humor. I think what you're getting at, and

1123
01:03:03,600 --> 01:03:05,760
Speaker 1: I think this is what you were getting at during

1124
01:03:05,840 --> 01:03:09,000
Speaker 1: the review proper when you were talking about Catharsis. It's

1125
01:03:09,000 --> 01:03:13,400
Speaker 1: a different type of humor than what we're describing when

1126
01:03:13,440 --> 01:03:18,560
Speaker 1: we're saying it feels like a very clear comedic setup

1127
01:03:19,400 --> 01:03:22,720
Speaker 1: the ending, or just before the ending, where you have

1128
01:03:23,480 --> 01:03:31,360
Speaker 1: twenty little kids tearing apart an old woman like ravaging

1129
01:03:31,440 --> 01:03:36,680
Speaker 1: her body, guts and blood and stuff spilling everywhere. Of course,

1130
01:03:36,760 --> 01:03:44,040
Speaker 1: that on a visceral level, on the most immediate primary level,

1131
01:03:44,560 --> 01:03:47,920
Speaker 1: is horrifying. And if you were someone sitting in the audience,

1132
01:03:48,360 --> 01:03:50,840
Speaker 1: you sat there and stunned silence and just thought that

1133
01:03:50,960 --> 01:03:54,520
Speaker 1: was awful, And we're not laughing at all. I completely

1134
01:03:54,600 --> 01:03:57,760
Speaker 1: understand that reaction. But if you were someone that maybe

1135
01:03:58,040 --> 01:04:01,640
Speaker 1: like you, Josh and me, even to some extent, you

1136
01:04:01,720 --> 01:04:07,360
Speaker 1: almost couldn't do anything but laugh at the absolute absurdity

1137
01:04:07,400 --> 01:04:10,120
Speaker 1: of it, the absolute over the top absurdity of it.

1138
01:04:10,160 --> 01:04:12,520
Speaker 1: And and in your case maybe even like a sort

1139
01:04:12,560 --> 01:04:15,960
Speaker 1: of Catharsis of the kids like getting this revenge of it,

1140
01:04:16,520 --> 01:04:22,000
Speaker 1: like the crazy, the crazy nature of their revenge. I

1141
01:04:22,360 --> 01:04:24,520
Speaker 1: can see that. I can see that too.

1142
01:04:25,160 --> 01:04:28,640
Speaker 3: Yeah, And that's another example of like the your body

1143
01:04:28,680 --> 01:04:33,120
Speaker 3: responds in laughter, even though it's not like haha, punchline laughter, right,

1144
01:04:33,160 --> 01:04:35,000
Speaker 3: it's a different sort of laughter. Yeah, that's it.

1145
01:04:35,040 --> 01:04:37,960
Speaker 1: So if Kraiger there, if he's saying I didn't intend

1146
01:04:37,960 --> 01:04:41,320
Speaker 1: that to be funny, well, okay, great here again doesn't

1147
01:04:41,360 --> 01:04:43,960
Speaker 1: really matter, but I would understand that if he didn't.

1148
01:04:44,240 --> 01:04:47,160
Speaker 1: But also I'm sure he understands, or he has to

1149
01:04:47,240 --> 01:04:50,440
Speaker 1: understand that it still might elicit that response in viewers. Yes,

1150
01:04:50,560 --> 01:04:56,800
Speaker 1: because it's crazy. It's crazy, it is okay. So here's

1151
01:04:57,000 --> 01:04:59,520
Speaker 1: a viv from La who's a listener since twenty ten.

1152
01:05:00,000 --> 01:05:02,000
Speaker 1: I'm a proud owner of a film spotting t shirt.

1153
01:05:02,080 --> 01:05:02,480
Speaker 3: Oh.

1154
01:05:02,600 --> 01:05:05,880
Speaker 1: As someone who considers himself a horror fan and horror filmmaker,

1155
01:05:06,120 --> 01:05:08,640
Speaker 1: I want to thank the Scaredy Cat Adam for perfectly

1156
01:05:08,760 --> 01:05:11,560
Speaker 1: articulating what didn't quite work for me about weapons while

1157
01:05:11,600 --> 01:05:14,120
Speaker 1: it's still a movie. I recommend the necessity of including

1158
01:05:14,280 --> 01:05:16,640
Speaker 1: all of the storylines due to them being woven together

1159
01:05:16,720 --> 01:05:19,400
Speaker 1: by grief. Did never fully gel for me. I also

1160
01:05:19,400 --> 01:05:20,960
Speaker 1: don't know that you can really say that about the

1161
01:05:20,960 --> 01:05:23,600
Speaker 1: Benedict Wong segment. That's the one I was referring to

1162
01:05:23,680 --> 01:05:25,120
Speaker 1: when I had a quick aside and I said, it's

1163
01:05:25,120 --> 01:05:27,160
Speaker 1: the only one that doesn't really fit. But like Josh,

1164
01:05:27,240 --> 01:05:29,520
Speaker 1: I was very into the Gonzo ending. The part of

1165
01:05:29,520 --> 01:05:31,280
Speaker 1: the ending that really didn't work for me is the

1166
01:05:31,360 --> 01:05:34,760
Speaker 1: voiceover over the final image. I might suggest listeners who

1167
01:05:34,760 --> 01:05:37,800
Speaker 1: haven't seen weapons yet plug their ears the moment that

1168
01:05:37,920 --> 01:05:41,400
Speaker 1: thing happens to that character and watch the last thirty

1169
01:05:41,400 --> 01:05:44,680
Speaker 1: seconds of the movie listening to your own heartbeat. It

1170
01:05:44,720 --> 01:05:48,560
Speaker 1: will make for a much more powerful final moment. So, Josh,

1171
01:05:48,560 --> 01:05:54,640
Speaker 1: I would actually love for you to maybe fully express

1172
01:05:55,000 --> 01:05:58,800
Speaker 1: or paint a picture of what Aviv is articulating there,

1173
01:05:58,840 --> 01:06:03,080
Speaker 1: because I don't know if I fully remember exactly what

1174
01:06:03,120 --> 01:06:06,280
Speaker 1: he's referring to here, what's being said, what that final

1175
01:06:06,280 --> 01:06:10,040
Speaker 1: image is, and do you agree with what he is saying?

1176
01:06:11,440 --> 01:06:15,040
Speaker 3: Yes? And I don't recall the exact final image, But

1177
01:06:15,160 --> 01:06:18,760
Speaker 3: there is a PostScript epilogue. I don't know what you'd

1178
01:06:18,800 --> 01:06:23,040
Speaker 3: want to call it. But and you do understand Craiger

1179
01:06:23,080 --> 01:06:25,040
Speaker 3: maybe wanting to giv in the audience this and not

1180
01:06:25,200 --> 01:06:29,600
Speaker 3: ending with the kids tearing the witch apart. Right, You're worrying,

1181
01:06:29,680 --> 01:06:32,880
Speaker 3: like what happens to these kids now? Right? You're still

1182
01:06:33,440 --> 01:06:34,720
Speaker 3: so I know we want to see them.

1183
01:06:34,640 --> 01:06:37,440
Speaker 1: But it was. Yeah, it was sort of some of

1184
01:06:37,480 --> 01:06:39,800
Speaker 1: them might even talk again or something like that.

1185
01:06:39,840 --> 01:06:42,400
Speaker 3: And this is the voiceover. The movie starts with this

1186
01:06:42,520 --> 01:06:46,680
Speaker 3: child's voiceover describing about, you know, that day was like

1187
01:06:46,720 --> 01:06:49,200
Speaker 3: any other day, and I understand the sort of fairy

1188
01:06:49,280 --> 01:06:52,960
Speaker 3: tale fable element. Again, I've likened this to the Pied Piper,

1189
01:06:53,080 --> 01:06:57,200
Speaker 3: so I'd like that choice, but I don't know who's talking,

1190
01:06:57,360 --> 01:07:00,680
Speaker 3: what the timeframe is. They seem to be talking as

1191
01:07:00,680 --> 01:07:03,560
Speaker 3: if this happened years ago. But then the voice appears

1192
01:07:03,920 --> 01:07:06,680
Speaker 3: right at the end of the like we see parents

1193
01:07:07,160 --> 01:07:09,600
Speaker 3: coming to gather their children up right, and I think

1194
01:07:09,680 --> 01:07:13,600
Speaker 3: Josh Brolin reconnects with his son. Yeah, and the voiceover

1195
01:07:13,680 --> 01:07:17,600
Speaker 3: tells us like some of the kids eventually spoke again,

1196
01:07:18,280 --> 01:07:22,640
Speaker 3: and yes, to me, I guess the way that was

1197
01:07:22,760 --> 01:07:27,080
Speaker 3: handled was it opened more questions to me about the

1198
01:07:27,120 --> 01:07:33,000
Speaker 3: timeline about what the kids experienced, because I think those

1199
01:07:33,080 --> 01:07:37,600
Speaker 3: who express concern that children, or at least child characters

1200
01:07:38,200 --> 01:07:42,280
Speaker 3: are forced to endure such horror in this movie, you know,

1201
01:07:42,720 --> 01:07:45,120
Speaker 3: you don't want that to be flippant. And so maybe

1202
01:07:45,160 --> 01:07:49,320
Speaker 3: this is a gesture on Craiger's part to attend to

1203
01:07:49,480 --> 01:07:53,120
Speaker 3: these kids as actual children, but to me. It the

1204
01:07:53,240 --> 01:07:58,080
Speaker 3: way it was done again just confused me. I didn't

1205
01:07:58,160 --> 01:08:01,840
Speaker 3: quite understand are these kids now? Why are they out

1206
01:08:01,880 --> 01:08:06,680
Speaker 3: of the spell? And other characters were under different spells.

1207
01:08:06,760 --> 01:08:09,720
Speaker 3: It started to open this can of worms that it

1208
01:08:09,760 --> 01:08:12,360
Speaker 3: then did not squeeze back in by the.

1209
01:08:12,320 --> 01:08:12,840
Speaker 4: Time the movie.

1210
01:08:12,880 --> 01:08:15,919
Speaker 1: It doesn't seem to make sense, isn't there. I don't

1211
01:08:15,920 --> 01:08:19,200
Speaker 1: recall there being something that would make it a contradiction

1212
01:08:19,320 --> 01:08:23,400
Speaker 1: that as soon as well, she hasn't otherwise died, So

1213
01:08:23,479 --> 01:08:26,000
Speaker 1: doesn't it make sense that if she dies the spell

1214
01:08:26,120 --> 01:08:30,120
Speaker 1: is broken? I guess yes, that's how I interpreted it.

1215
01:08:30,160 --> 01:08:32,559
Speaker 1: So the spell is broken. But I'd have to watch

1216
01:08:32,640 --> 01:08:35,120
Speaker 1: I'd have to watch that ending again. As as I

1217
01:08:35,160 --> 01:08:37,200
Speaker 1: said here, when I asked you that question, I kind

1218
01:08:37,200 --> 01:08:39,400
Speaker 1: of forgot about. I mean, I didn't forget it. It

1219
01:08:39,400 --> 01:08:42,600
Speaker 1: came back to me, but I wasn't really reckoning with

1220
01:08:42,720 --> 01:08:45,800
Speaker 1: the ending as far as that final line or that.

1221
01:08:45,880 --> 01:08:49,080
Speaker 1: For me, Yeah, it was something that bothered me. I

1222
01:08:49,120 --> 01:08:51,679
Speaker 1: was thinking about the ending in terms of the number

1223
01:08:51,720 --> 01:08:54,519
Speaker 1: they pull on Gladys right and how crazy it was.

1224
01:08:54,920 --> 01:08:59,400
Speaker 1: But I guess I would say, at least in quick response,

1225
01:08:59,479 --> 01:09:04,160
Speaker 1: that your defense of it, even as it didn't totally

1226
01:09:04,160 --> 01:09:06,120
Speaker 1: work for you. I do think is the right one

1227
01:09:06,160 --> 01:09:10,680
Speaker 1: in that the risk Krigger takes as a filmmaker is

1228
01:09:10,680 --> 01:09:13,320
Speaker 1: if you end on that note of the spell is

1229
01:09:13,360 --> 01:09:16,840
Speaker 1: broken because they just tore her limb from limb, and

1230
01:09:16,880 --> 01:09:20,960
Speaker 1: then the movie ends somehow just with the kids kind

1231
01:09:20,960 --> 01:09:24,200
Speaker 1: of walking off into the neighborhood or the parents reuniting

1232
01:09:24,240 --> 01:09:28,280
Speaker 1: with them or whatever is, then it does almost it

1233
01:09:28,320 --> 01:09:32,720
Speaker 1: potentially lends. I think that actually potentially opens up the

1234
01:09:32,720 --> 01:09:36,040
Speaker 1: door for more questions than answers, because then it makes

1235
01:09:36,120 --> 01:09:38,040
Speaker 1: us think, well, maybe they just all go back to

1236
01:09:38,160 --> 01:09:41,000
Speaker 1: normal after that, and that opens the door for us

1237
01:09:41,080 --> 01:09:45,000
Speaker 1: to think that somehow the trauma, the trauma's over and

1238
01:09:45,040 --> 01:09:48,080
Speaker 1: at least this ending tells us that, no, they're probably

1239
01:09:48,120 --> 01:09:50,479
Speaker 1: never going to be the same after this experience, whether

1240
01:09:50,600 --> 01:09:51,760
Speaker 1: the spell is broken or not.

1241
01:09:52,080 --> 01:09:54,960
Speaker 3: Yeah, And I think that's the right instinct on the

1242
01:09:55,000 --> 01:09:57,800
Speaker 3: storytelling part. I guess it's just the execution of that

1243
01:09:58,360 --> 01:09:59,200
Speaker 3: impulse for me.

1244
01:09:59,479 --> 01:09:59,879
Speaker 1: Yeah.

1245
01:10:00,080 --> 01:10:03,200
Speaker 3: So we're going to move on to a few emails

1246
01:10:03,240 --> 01:10:06,160
Speaker 3: here on the addiction theme in Weapons, and the first

1247
01:10:06,160 --> 01:10:10,679
Speaker 3: one comes from Emilio Barrientos, longtime listener and first time writer.

1248
01:10:10,840 --> 01:10:13,639
Speaker 3: After listening to your review of Weapons, I felt compelled

1249
01:10:13,680 --> 01:10:15,920
Speaker 3: to send in some thoughts in the movie after some

1250
01:10:15,960 --> 01:10:19,320
Speaker 3: conversations on Reddit really unlocked the movie for me. I

1251
01:10:19,360 --> 01:10:22,640
Speaker 3: also easily latched onto the school shooting aspect of the

1252
01:10:22,680 --> 01:10:25,200
Speaker 3: film on my first viewing, but the theme I missed

1253
01:10:25,200 --> 01:10:30,120
Speaker 3: out on was that of addiction and perhaps specifically alcoholism.

1254
01:10:30,720 --> 01:10:33,560
Speaker 3: Several Reddit users pointed out that the triangle inside of

1255
01:10:33,600 --> 01:10:35,360
Speaker 3: the circle that was seen in the beginning of the

1256
01:10:35,360 --> 01:10:39,080
Speaker 3: movie is the symbol for alcoholics anonymous. From my limited

1257
01:10:39,080 --> 01:10:42,320
Speaker 3: Internet research, it sounds like alcoholism and addiction is touch

1258
01:10:42,400 --> 01:10:46,000
Speaker 3: Kreger's life significantly, and that he wrote Weapons in response

1259
01:10:46,040 --> 01:10:49,800
Speaker 3: to his longtime collaborator Trevor Moore's death, which sounds like

1260
01:10:49,920 --> 01:10:53,479
Speaker 3: it was in part caused due to being intoxicated. I

1261
01:10:53,479 --> 01:10:55,920
Speaker 3: think this theme unlocks the movie in a lot of ways.

1262
01:10:55,960 --> 01:10:59,320
Speaker 3: The school shooting theme does not not that both cannot

1263
01:10:59,360 --> 01:11:01,679
Speaker 3: be in the movie, but from the characters we follow

1264
01:11:01,760 --> 01:11:05,040
Speaker 3: to the idea of transference of pain. I think the

1265
01:11:05,040 --> 01:11:08,360
Speaker 3: addiction theme is the stronger theme of the movie. Once

1266
01:11:08,400 --> 01:11:11,679
Speaker 3: I started thinking about addiction, I started seeing it everywhere

1267
01:11:11,680 --> 01:11:13,720
Speaker 3: in the movie, and I am curious as to your

1268
01:11:13,720 --> 01:11:18,160
Speaker 3: thoughts on this as well. I also have taken issue

1269
01:11:18,160 --> 01:11:20,000
Speaker 3: with people seeing the final scene as just kind of

1270
01:11:20,040 --> 01:11:22,439
Speaker 3: bonkers and random. To me, this scene is vital to

1271
01:11:22,479 --> 01:11:25,040
Speaker 3: the idea of the youth being abandoned and leeched off

1272
01:11:25,080 --> 01:11:28,360
Speaker 3: from their elders, elders who are fine with stealing their

1273
01:11:28,439 --> 01:11:32,400
Speaker 3: children and grandchildren's future for their present. Once that younger

1274
01:11:32,439 --> 01:11:36,439
Speaker 3: generation has had enough, they will rebel and tear everything down,

1275
01:11:36,800 --> 01:11:39,120
Speaker 3: and it will feel fun, crazy and satisfying until it's

1276
01:11:39,120 --> 01:11:42,680
Speaker 3: over and everyone realizes the problem still needs solving and

1277
01:11:42,760 --> 01:11:45,800
Speaker 3: they have been left with few tools to solve them.

1278
01:11:46,439 --> 01:11:48,479
Speaker 1: Hmm, that's a deep breeding.

1279
01:11:48,800 --> 01:11:50,040
Speaker 3: Yeah, it's a lot of good standing.

1280
01:11:50,200 --> 01:11:52,040
Speaker 1: I don't know quite what to make of it, right,

1281
01:11:52,479 --> 01:11:56,600
Speaker 1: I don't necessarily have a response. I can't say I

1282
01:11:56,640 --> 01:12:00,920
Speaker 1: feel like it's misguided. I also can't say that I

1283
01:12:00,960 --> 01:12:03,640
Speaker 1: totally agree with it. It's an interesting read on the

1284
01:12:03,720 --> 01:12:04,280
Speaker 1: end of film.

1285
01:12:04,840 --> 01:12:07,800
Speaker 3: Yeah, Well, his point at the end there about how

1286
01:12:07,840 --> 01:12:10,599
Speaker 3: the movie concludes and the generations I think does tie

1287
01:12:10,640 --> 01:12:14,040
Speaker 3: into what I eventually laughed on too, was the school

1288
01:12:14,040 --> 01:12:17,120
Speaker 3: shooting interpretation, and I think that applies, as I said,

1289
01:12:17,240 --> 01:12:20,960
Speaker 3: sacrificing kids at the idol of gun rights. So that

1290
01:12:21,080 --> 01:12:23,960
Speaker 3: works for me. But when we go back to what

1291
01:12:24,000 --> 01:12:26,080
Speaker 3: are you was saying at the top, and this being

1292
01:12:26,240 --> 01:12:33,040
Speaker 3: maybe perhaps intended as an allegory a parable about addiction.

1293
01:12:34,320 --> 01:12:36,880
Speaker 3: Here's where I'll say, this is what I love about

1294
01:12:36,920 --> 01:12:39,960
Speaker 3: Weapons is that I saw that there. I didn't know

1295
01:12:40,080 --> 01:12:46,120
Speaker 3: either that the triangle in the title represented alcoholics anonymous.

1296
01:12:45,560 --> 01:12:47,280
Speaker 1: Like we all see the triangle in the A.

1297
01:12:47,760 --> 01:12:50,680
Speaker 3: I didn't know that. Obviously, I traced that several characters

1298
01:12:51,280 --> 01:12:56,320
Speaker 3: are alcoholic, you know, suffering from alcoholism, and so I

1299
01:12:56,400 --> 01:13:00,240
Speaker 3: recognize that as a narrative thread. It didn't register with

1300
01:13:00,360 --> 01:13:05,240
Speaker 3: me as strongly as the Pied Piper School shooting interpretation.

1301
01:13:05,960 --> 01:13:08,200
Speaker 3: But yeah, that's why Weapons is so great is because

1302
01:13:08,240 --> 01:13:11,439
Speaker 3: I think both are valid to me, and your interpretation too,

1303
01:13:11,479 --> 01:13:14,559
Speaker 3: Adam about transference of pain, that is valid as well.

1304
01:13:14,920 --> 01:13:18,040
Speaker 3: So a good movie opens it up to these readings

1305
01:13:18,439 --> 01:13:20,920
Speaker 3: as long as what's on the screen can support each

1306
01:13:20,960 --> 01:13:23,280
Speaker 3: of them, and I think it to support you know,

1307
01:13:23,400 --> 01:13:26,559
Speaker 3: those three that we just mentioned and possibly some more.

1308
01:13:26,840 --> 01:13:30,560
Speaker 1: Yeah, that was it for me, because there are multiple,

1309
01:13:30,680 --> 01:13:33,800
Speaker 1: in fact, at least three characters in the film who

1310
01:13:33,880 --> 01:13:38,439
Speaker 1: have addiction issues. That's there, that's clearly text, and so

1311
01:13:38,560 --> 01:13:41,680
Speaker 1: for me, I thought, well, what else might he be

1312
01:13:41,840 --> 01:13:45,799
Speaker 1: dealing with here clearly based on what people have written

1313
01:13:45,840 --> 01:13:49,320
Speaker 1: in and said the movie was inspired by. I mean

1314
01:13:49,479 --> 01:13:52,400
Speaker 1: we have to allow for that. I don't think that necessarily.

1315
01:13:52,760 --> 01:13:55,719
Speaker 1: That doesn't suggest that we have to read the movie

1316
01:13:55,760 --> 01:14:00,560
Speaker 1: only one way, but objectively, if what inspired movie was

1317
01:14:00,680 --> 01:14:03,479
Speaker 1: him dealing with the death of a friend and that

1318
01:14:03,600 --> 01:14:07,360
Speaker 1: was brought on by someone who had a problem with addiction,

1319
01:14:07,640 --> 01:14:10,000
Speaker 1: and maybe that was also addiction to something that touched

1320
01:14:10,040 --> 01:14:13,720
Speaker 1: his life prior to that, then yes, that's something he's

1321
01:14:13,800 --> 01:14:16,280
Speaker 1: working through. But that doesn't mean that's the only thing

1322
01:14:16,439 --> 01:14:19,360
Speaker 1: that that's the only thing this movie is about. That

1323
01:14:19,360 --> 01:14:22,679
Speaker 1: can open the door to lots of kinds of pain

1324
01:14:22,880 --> 01:14:26,000
Speaker 1: or lots of kinds of issues. But yes, this is

1325
01:14:26,000 --> 01:14:28,360
Speaker 1: fascinating and it's really interesting to hear from people like

1326
01:14:28,760 --> 01:14:32,479
Speaker 1: Emilio and like this one from Mike Bell in Dallas.

1327
01:14:32,520 --> 01:14:36,519
Speaker 1: And as I read this, if anyone hearing it says, oh,

1328
01:14:36,640 --> 01:14:39,719
Speaker 1: is Mike really comfortable with Adam sharing this on air?

1329
01:14:40,280 --> 01:14:43,960
Speaker 1: This is usually very private. Yes, Mike is a longtime listener.

1330
01:14:44,000 --> 01:14:46,400
Speaker 1: And I asked him if he was okay with this

1331
01:14:46,600 --> 01:14:48,160
Speaker 1: or if he just wanted to keep it between us,

1332
01:14:48,160 --> 01:14:51,960
Speaker 1: and he said absolutely, read it. I went straight from

1333
01:14:52,000 --> 01:14:53,920
Speaker 1: a certain meeting that I go to every Thursday to

1334
01:14:53,920 --> 01:14:57,080
Speaker 1: see weapons. Imagine my surprise when the symbol adorning the

1335
01:14:57,120 --> 01:14:59,479
Speaker 1: door at the very meeting that I had attended a

1336
01:14:59,520 --> 01:15:02,240
Speaker 1: triangle embedded in a circle appeared in the title of

1337
01:15:02,280 --> 01:15:04,760
Speaker 1: the movie. Imagine my greater surprise at the fact that

1338
01:15:04,760 --> 01:15:07,880
Speaker 1: the movie thematized the subject matter of the meeting I

1339
01:15:07,920 --> 01:15:11,640
Speaker 1: had attended, and even mentioned such meetings in Alden Ehrenreich's

1340
01:15:11,680 --> 01:15:15,200
Speaker 1: phone conversation with his fiance. Imagine my even greater surprise

1341
01:15:15,240 --> 01:15:18,360
Speaker 1: when one character successfully tempted another to do what we

1342
01:15:18,479 --> 01:15:22,160
Speaker 1: call going back out, leading to regret and ruin. I

1343
01:15:22,200 --> 01:15:24,479
Speaker 1: don't know exactly how it all adds up, but clearly

1344
01:15:24,560 --> 01:15:27,320
Speaker 1: alcoholism is somewhere near the forefront of Craiger's mind. Here

1345
01:15:27,560 --> 01:15:29,960
Speaker 1: I read an interview in which Craigor, himself a recovering

1346
01:15:30,000 --> 01:15:32,720
Speaker 1: alcoholic and the son of an alcoholic who died of cirrhosis,

1347
01:15:33,080 --> 01:15:35,120
Speaker 1: said that he intended the final segment to be a

1348
01:15:35,160 --> 01:15:38,759
Speaker 1: metaphor for living with an alcoholic parent. A nefarious force

1349
01:15:38,760 --> 01:15:41,759
Speaker 1: invades the house, taking away the personality of the parent

1350
01:15:41,760 --> 01:15:44,200
Speaker 1: you once knew. It's food for thought, and I'll need

1351
01:15:44,240 --> 01:15:46,280
Speaker 1: to see the movie again to develop a stronger read

1352
01:15:46,320 --> 01:15:49,000
Speaker 1: on it. But there's something there. I was a longtime

1353
01:15:49,040 --> 01:15:51,360
Speaker 1: listener from the beginning of the show until around twenty fifteen.

1354
01:15:51,400 --> 01:15:53,240
Speaker 1: I used to write in from Staten Island and later

1355
01:15:53,280 --> 01:15:55,840
Speaker 1: a story of Queens. But I only recently returned to

1356
01:15:55,880 --> 01:15:58,240
Speaker 1: the fold glad to see the show is still growing strong.

1357
01:15:58,880 --> 01:15:59,479
Speaker 1: Thank you, Mike.

1358
01:16:00,280 --> 01:16:03,960
Speaker 3: Yeah, thanks for that, Mike. The description nefarious force that

1359
01:16:04,040 --> 01:16:08,559
Speaker 3: definitely describes the boys' parents when they're overtaken by the

1360
01:16:08,600 --> 01:16:11,400
Speaker 3: Witch's curse. Right, so it does, so that track does,

1361
01:16:11,600 --> 01:16:13,720
Speaker 3: but even it applies to Gladys of course as well.

1362
01:16:13,760 --> 01:16:18,280
Speaker 1: Who is causing that? Like that that specific part there

1363
01:16:18,320 --> 01:16:20,920
Speaker 1: is something that really resonates with me when you think

1364
01:16:20,960 --> 01:16:21,360
Speaker 1: about that.

1365
01:16:21,600 --> 01:16:24,639
Speaker 3: Right. Also on this topic, we got this from Michael

1366
01:16:24,680 --> 01:16:28,640
Speaker 3: in Kiel, Germany. I'm gonna say Kiel, yes, m hm.

1367
01:16:29,000 --> 01:16:31,479
Speaker 3: And here is Michael going into a little more detail

1368
01:16:31,520 --> 01:16:34,320
Speaker 3: about a few of those points for me. Michael says,

1369
01:16:34,360 --> 01:16:37,559
Speaker 3: the chapter with Alex had an interesting subtext. It reminded

1370
01:16:37,600 --> 01:16:40,440
Speaker 3: me of children who live with parents that are alcoholics

1371
01:16:40,479 --> 01:16:43,360
Speaker 3: or drug addicts. These children have to grow up way

1372
01:16:43,360 --> 01:16:45,600
Speaker 3: too fast, take care of their parents, feel shame and

1373
01:16:45,640 --> 01:16:48,000
Speaker 3: guilt and don't dare to ask anyone for help, but

1374
01:16:48,080 --> 01:16:52,599
Speaker 3: instead try to maintain the facade of a functioning family. Finally,

1375
01:16:52,640 --> 01:16:55,040
Speaker 3: I want to highlight the cinematography. I generally love it

1376
01:16:55,080 --> 01:16:58,240
Speaker 3: when filmmakers use long, uncut takes as they make a

1377
01:16:58,280 --> 01:17:01,439
Speaker 3: movie more immersive. Weapons was full of these, and I

1378
01:17:01,479 --> 01:17:03,960
Speaker 3: really love them. You already discussed the one with Justine

1379
01:17:04,000 --> 01:17:06,559
Speaker 3: sleeping in the car. I agree that it worked great,

1380
01:17:06,640 --> 01:17:09,080
Speaker 3: especially the part where we only hear the car door

1381
01:17:09,120 --> 01:17:12,120
Speaker 3: and don't see what is happening. Oh, I'm already getting

1382
01:17:12,120 --> 01:17:15,479
Speaker 3: goosebumps there. I'd like to add two more examples that

1383
01:17:15,520 --> 01:17:19,120
Speaker 3: were more dynamic. When Paul chases James and the camera

1384
01:17:19,280 --> 01:17:21,080
Speaker 3: is in the car, it really feels like we are

1385
01:17:21,120 --> 01:17:23,000
Speaker 3: sitting in the backseat and taking part of the chase.

1386
01:17:23,280 --> 01:17:25,880
Speaker 3: It also made the geography of the space much easier

1387
01:17:25,880 --> 01:17:28,519
Speaker 3: to understand. If the chase had been shown with many

1388
01:17:28,520 --> 01:17:31,680
Speaker 3: cuts instead, we would have needed to reorient ourselves after

1389
01:17:31,720 --> 01:17:34,559
Speaker 3: each one, whereas here we always know who is where.

1390
01:17:34,920 --> 01:17:37,360
Speaker 3: Another long take highlight for me was at the end

1391
01:17:37,520 --> 01:17:39,679
Speaker 3: when the camera follows one of the kids running through

1392
01:17:39,720 --> 01:17:43,080
Speaker 3: gardens and houses and jumping through windows. In my opinion,

1393
01:17:43,160 --> 01:17:46,800
Speaker 3: the movie deserves an Oscar nomination for Best Cinematography.

1394
01:17:48,080 --> 01:17:49,880
Speaker 1: Really good stuff there for Michael, and I like the

1395
01:17:49,920 --> 01:17:53,600
Speaker 1: way he expanded on the point there that Michael in

1396
01:17:53,720 --> 01:17:57,400
Speaker 1: Dallas Mike and Dallas made so thank you everybody for that.

1397
01:17:57,479 --> 01:18:00,360
Speaker 1: We'll close with this one from Alex. You know he's

1398
01:18:00,360 --> 01:18:04,320
Speaker 1: a longtime listener because he has his Sam van Holgren nickname,

1399
01:18:04,560 --> 01:18:08,080
Speaker 1: very handy, Alex, Mitch and Murray a near in San Francisco.

1400
01:18:08,320 --> 01:18:10,799
Speaker 1: I know that Alex is such a long time listener

1401
01:18:11,120 --> 01:18:15,120
Speaker 1: that if he had just said Alex Anear, I would

1402
01:18:15,120 --> 01:18:18,200
Speaker 1: have been able to tell you his Sam van Halgren nickname.

1403
01:18:18,600 --> 01:18:19,240
Speaker 3: Impressive.

1404
01:18:19,600 --> 01:18:20,960
Speaker 1: I know it's Mitch and Murray, and.

1405
01:18:21,560 --> 01:18:22,920
Speaker 3: I would have recognized I wouldn't have.

1406
01:18:22,880 --> 01:18:25,640
Speaker 1: Known before I would have been able to pull out

1407
01:18:25,640 --> 01:18:28,559
Speaker 1: the Glengarry glen Ross reference there. He says, I almost

1408
01:18:28,560 --> 01:18:31,040
Speaker 1: never write about a movie, but something about weapons compelled

1409
01:18:31,040 --> 01:18:33,960
Speaker 1: me on Letterbox. I saw Sam's review, and I'm pretty

1410
01:18:34,000 --> 01:18:36,000
Speaker 1: much right where he is on it. Here's what I wrote.

1411
01:18:36,240 --> 01:18:38,640
Speaker 1: I'm angry at the movie, not for ethical reasons but

1412
01:18:38,720 --> 01:18:41,839
Speaker 1: merely movie watching ones. I was so hooked in the beginning,

1413
01:18:41,880 --> 01:18:43,559
Speaker 1: and there were so many interesting things he could have

1414
01:18:43,600 --> 01:18:46,559
Speaker 1: done with the setup. The motif of alcohol addiction and

1415
01:18:46,600 --> 01:18:49,519
Speaker 1: how it impacts people differently, the gas station incident with

1416
01:18:49,560 --> 01:18:52,160
Speaker 1: the cheated on wife where she douses Justine, and Boo's

1417
01:18:52,400 --> 01:18:54,960
Speaker 1: parental concern slash grief, where I was really hoping it

1418
01:18:54,960 --> 01:18:57,320
Speaker 1: would spend more time being a parent of a toddler.

1419
01:18:57,600 --> 01:19:01,719
Speaker 1: Police procedural drug abuse, school closures, COVID came to mind

1420
01:19:01,960 --> 01:19:04,559
Speaker 1: a Rascha Man riff, which came to mind watching these

1421
01:19:04,600 --> 01:19:08,720
Speaker 1: slightly differing recollections of the police slash junkie interaction from

1422
01:19:08,760 --> 01:19:12,040
Speaker 1: each perspective. But no, we get a much more rote

1423
01:19:12,160 --> 01:19:16,400
Speaker 1: witch story. Yeah, because we needed more cursaba in this show, Josh,

1424
01:19:15,880 --> 01:19:18,800
Speaker 1: and boy do we get a witch story. By the end,

1425
01:19:18,840 --> 01:19:21,960
Speaker 1: you almost entirely forget about all those other far more

1426
01:19:21,960 --> 01:19:24,840
Speaker 1: interesting avenues. The movie ops to bypass, and like you

1427
01:19:24,880 --> 01:19:27,360
Speaker 1: guys pointed out, we had some gory fun while getting there.

1428
01:19:27,800 --> 01:19:30,479
Speaker 1: I believe I get what he's getting at, namely a

1429
01:19:30,520 --> 01:19:33,880
Speaker 1: school shooting allegory, But other than showing, or rather telling,

1430
01:19:33,960 --> 01:19:35,680
Speaker 1: at the very end, the impact of the trauma and

1431
01:19:35,680 --> 01:19:38,880
Speaker 1: the survivors, it skips over that idea. The very real

1432
01:19:38,920 --> 01:19:41,840
Speaker 1: and wrenching story turns into a total supernatural cop out.

1433
01:19:42,080 --> 01:19:43,760
Speaker 1: Tying the whole movie up in a nice bow so

1434
01:19:43,800 --> 01:19:46,439
Speaker 1: you don't have to think about it after leaving the theater. Welp,

1435
01:19:46,600 --> 01:19:49,400
Speaker 1: it was just a witch. That explains it. The filmmaking

1436
01:19:49,400 --> 01:19:52,400
Speaker 1: style is excellent, the acting is superb, the setup is gripping,

1437
01:19:52,680 --> 01:19:54,759
Speaker 1: and instead of what could have been a powerful evocation

1438
01:19:54,840 --> 01:19:57,280
Speaker 1: of an all two real social problem, it becomes a

1439
01:19:57,320 --> 01:20:00,719
Speaker 1: boring old witch story like any Blumhouse Jumps Scarre movie.

1440
01:20:00,760 --> 01:20:02,920
Speaker 1: What a shame. I'm definitely a game to keep seeing

1441
01:20:02,920 --> 01:20:05,559
Speaker 1: Craiger movies, but I wish he'd done so much more

1442
01:20:05,600 --> 01:20:09,360
Speaker 1: with the potential here cheers to twenty years. Please keep

1443
01:20:09,439 --> 01:20:10,240
Speaker 1: up the great work.

1444
01:20:11,000 --> 01:20:14,800
Speaker 3: Welp. I disagree with Alex, but I can't be too

1445
01:20:14,880 --> 01:20:18,800
Speaker 3: hard on him because he's essentially presenting the argument I

1446
01:20:18,920 --> 01:20:23,360
Speaker 3: made when we reviewed together that it had, you know,

1447
01:20:23,400 --> 01:20:27,920
Speaker 3: this central metaphor allegory as a horror movie, and to

1448
01:20:28,040 --> 01:20:32,000
Speaker 3: my mind, tantalized us with a few ways it could

1449
01:20:32,000 --> 01:20:34,599
Speaker 3: have gone and didn't really follow any of those tracks,

1450
01:20:34,600 --> 01:20:38,680
Speaker 3: and it was just content to really explore, honestly, a

1451
01:20:38,720 --> 01:20:42,599
Speaker 3: lot of the gorish, gory possibilities of its metaphor. So

1452
01:20:43,280 --> 01:20:45,600
Speaker 3: this is an eye of the beholder thing. I go

1453
01:20:45,680 --> 01:20:49,080
Speaker 3: to Weapons, and I find a movie that Alex isn't wrong.

1454
01:20:49,320 --> 01:20:53,799
Speaker 3: It is ultimately a witch story, but in this case

1455
01:20:54,720 --> 01:20:59,120
Speaker 3: it's a loaded witch story that, as we've been discussing

1456
01:20:59,160 --> 01:21:01,960
Speaker 3: now for a of minutes in concert with a number

1457
01:21:01,960 --> 01:21:07,479
Speaker 3: of listeners, did sustain the readings that Alex described with

1458
01:21:07,720 --> 01:21:12,360
Speaker 3: enough on text evidence to support them. So that's I

1459
01:21:12,360 --> 01:21:14,920
Speaker 3: need to think more about why Together didn't work for

1460
01:21:15,000 --> 01:21:19,000
Speaker 3: me and Weapons did in this central issue of having

1461
01:21:19,000 --> 01:21:22,000
Speaker 3: an easy explanation for your horror story, but it can

1462
01:21:22,040 --> 01:21:25,800
Speaker 3: hold deeper resonance. Together didn't Weapons did. I think the

1463
01:21:25,800 --> 01:21:28,120
Speaker 3: answer I would give right now is that I find

1464
01:21:28,240 --> 01:21:32,040
Speaker 3: more support for the interpretation I latched onto on the screen,

1465
01:21:32,280 --> 01:21:36,280
Speaker 3: as well as your interpretation, Adam, and the addiction one

1466
01:21:36,320 --> 01:21:39,360
Speaker 3: we've been talking about. I think it's a richly conceived

1467
01:21:39,439 --> 01:21:43,600
Speaker 3: enough film that it can hold all of those interpretations

1468
01:21:43,920 --> 01:21:48,280
Speaker 3: at once while being a simple witch story. And I'll

1469
01:21:48,280 --> 01:21:50,479
Speaker 3: go to another witch story that does that. The Witch,

1470
01:21:51,240 --> 01:21:54,200
Speaker 3: you know, I think that is clearly, at the end

1471
01:21:54,200 --> 01:21:55,840
Speaker 3: of the day, a witch story, but it's also about

1472
01:21:55,880 --> 01:22:00,519
Speaker 3: religious oppression and fundamentalism and all these other things. In

1473
01:22:00,600 --> 01:22:02,720
Speaker 3: ways you know, it holds all those things too. I

1474
01:22:02,800 --> 01:22:05,439
Speaker 3: think I think Weapons does that for me at least.

1475
01:22:06,000 --> 01:22:09,200
Speaker 1: Yeah, I get the connection you're making between the two films,

1476
01:22:09,280 --> 01:22:12,200
Speaker 1: but I don't think it's a stretch to say that

1477
01:22:12,720 --> 01:22:17,640
Speaker 1: Weapons is a more finely crafted film than Together is,

1478
01:22:17,760 --> 01:22:21,920
Speaker 1: and more importantly, right, more importantly, though, they're trying to

1479
01:22:21,960 --> 01:22:23,880
Speaker 1: do very different things, and that I don't think Together

1480
01:22:24,000 --> 01:22:27,800
Speaker 1: is trying to be mysterious. It it does want to

1481
01:22:27,840 --> 01:22:31,160
Speaker 1: wrap itself up very neatly and tell you exactly what

1482
01:22:31,280 --> 01:22:32,559
Speaker 1: kind of movie it is. And Weapons.

1483
01:22:32,960 --> 01:22:36,479
Speaker 3: That's what Alex is saying though, that that Weapons, and I.

1484
01:22:36,400 --> 01:22:38,200
Speaker 1: Guess I'm pushing back on that a little bit, and

1485
01:22:38,240 --> 01:22:40,639
Speaker 1: I'm saying that Weapons Weapons wants to be a more

1486
01:22:40,680 --> 01:22:44,040
Speaker 1: mysterious movie. I think it is inherently a more mysterious

1487
01:22:44,080 --> 01:22:47,360
Speaker 1: movie that clearly does open itself up for more interpretation.

1488
01:22:48,080 --> 01:22:50,920
Speaker 1: Now here's where I'll talk out of both sides of

1489
01:22:50,920 --> 01:22:53,000
Speaker 1: my mouth, if you will. I think I think it's

1490
01:22:53,000 --> 01:22:55,759
Speaker 1: a little more nuanced than that. I think that's true,

1491
01:22:55,800 --> 01:22:58,800
Speaker 1: and that's why I'm more positive on Weapons than Alex is,

1492
01:22:59,560 --> 01:23:01,439
Speaker 1: and why I like it more than I like Together.

1493
01:23:02,000 --> 01:23:04,840
Speaker 1: But where Alex and I agree a little bit, because

1494
01:23:04,840 --> 01:23:08,519
Speaker 1: I expressed this a little bit during the review is

1495
01:23:08,640 --> 01:23:12,920
Speaker 1: unlike you, rather than having that moment of catharsis when

1496
01:23:12,960 --> 01:23:16,360
Speaker 1: the when the witch was being torn apart, all the

1497
01:23:16,400 --> 01:23:21,280
Speaker 1: witch stuff only distracted me from the Catharsis I wanted,

1498
01:23:21,479 --> 01:23:25,480
Speaker 1: which was more about the Catharsis of the characters themselves,

1499
01:23:25,960 --> 01:23:29,599
Speaker 1: Alex and his parents, Josh brol and Archer and Matthew,

1500
01:23:30,360 --> 01:23:34,200
Speaker 1: Justine and all of her storylines, Like that's that's why

1501
01:23:34,240 --> 01:23:37,519
Speaker 1: I was invested in. Yeah, and maybe going back to

1502
01:23:37,520 --> 01:23:40,240
Speaker 1: how we started this conversation about you know, where the

1503
01:23:40,240 --> 01:23:44,439
Speaker 1: movie ultimately wraps up. I left the theater kind of

1504
01:23:44,479 --> 01:23:48,000
Speaker 1: like Alex did, just thinking, Oh, it's kind of a

1505
01:23:48,000 --> 01:23:50,400
Speaker 1: silly witch movie. Even though I still was thinking about

1506
01:23:50,400 --> 01:23:53,160
Speaker 1: pain and all that stuff. I kind of was thinking, oh,

1507
01:23:53,200 --> 01:23:54,760
Speaker 1: that was kind of a that was kind of a

1508
01:23:54,800 --> 01:24:00,080
Speaker 1: silly witch movie, rather than thinking about the characters and

1509
01:24:00,120 --> 01:24:05,040
Speaker 1: their pain and how the story resolved or didn't resolve

1510
01:24:05,040 --> 01:24:08,000
Speaker 1: around them, because I was too busy still thinking about

1511
01:24:08,080 --> 01:24:09,320
Speaker 1: the absurdity of the ending.

1512
01:24:09,600 --> 01:24:12,559
Speaker 3: Yeah, so we don't, you know, neither of us tries

1513
01:24:12,600 --> 01:24:16,080
Speaker 3: to get into here's what the filmmakers should have done conversation.

1514
01:24:16,479 --> 01:24:19,360
Speaker 3: But all of this feedback does make me think what

1515
01:24:19,439 --> 01:24:23,160
Speaker 3: weapons would have been like if Craiger had chosen rather

1516
01:24:23,200 --> 01:24:27,160
Speaker 3: than that voice over ending that you know I've argued

1517
01:24:27,200 --> 01:24:32,000
Speaker 3: doesn't entirely work, had gone back to the multiple story

1518
01:24:32,360 --> 01:24:37,559
Speaker 3: structure and given us a PostScript from each person's perspective. Yeah,

1519
01:24:37,840 --> 01:24:40,320
Speaker 3: like yes, and maybe it could have been a year later,

1520
01:24:40,479 --> 01:24:43,439
Speaker 3: maybe it could have been from that those same last

1521
01:24:43,560 --> 01:24:47,240
Speaker 3: three minutes. But because I think you're onto something good

1522
01:24:47,240 --> 01:24:49,799
Speaker 3: here is it spent so much time with those characters.

1523
01:24:50,280 --> 01:24:54,519
Speaker 3: It is a little disappointing not to find a bit

1524
01:24:54,560 --> 01:24:57,519
Speaker 3: of closure with each of them. And maybe that would

1525
01:24:57,560 --> 01:25:00,320
Speaker 3: be Maybe that's a terrible idea in unga only a

1526
01:25:00,320 --> 01:25:01,600
Speaker 3: way to do it, but it just popped in my

1527
01:25:01,640 --> 01:25:03,360
Speaker 3: head as you were talking there. Yeah.

1528
01:25:03,600 --> 01:25:05,519
Speaker 1: Well, if you do have more thoughts you like to

1529
01:25:05,520 --> 01:25:08,160
Speaker 1: share on weapons, we would love to hear them or

1530
01:25:08,240 --> 01:25:10,360
Speaker 1: anything else we talk about here on the show, email

1531
01:25:10,439 --> 01:25:14,679
Speaker 1: us feedback at film spotting dot net and Josh. The

1532
01:25:14,720 --> 01:25:19,160
Speaker 1: conversation around weapons does not stop here when it comes

1533
01:25:19,160 --> 01:25:21,160
Speaker 1: to the Film Spotting Network of shows.

1534
01:25:21,200 --> 01:25:23,720
Speaker 3: It seems that's right the next Picture show looking at

1535
01:25:23,720 --> 01:25:26,760
Speaker 3: Cinema's present via It's past their new pairing. It's the

1536
01:25:26,800 --> 01:25:29,720
Speaker 3: one Scott Tobias hope to get. When I talked to

1537
01:25:29,800 --> 01:25:32,200
Speaker 3: him coming out of that Weapons screening, he thought right

1538
01:25:32,240 --> 01:25:36,240
Speaker 3: away about Adam Agoian's nineteen ninety eight Oscar nominee The

1539
01:25:36,280 --> 01:25:38,960
Speaker 3: Sweet Hair, after you brought it up in our review, Adam,

1540
01:25:39,320 --> 01:25:43,360
Speaker 3: that it popped in mind to you while you're watching Weapons,

1541
01:25:43,400 --> 01:25:46,720
Speaker 3: and yet it really is a good pairing. So right

1542
01:25:46,760 --> 01:25:48,680
Speaker 3: now they're going to be talking about The Sweet Hair

1543
01:25:48,680 --> 01:25:50,799
Speaker 3: after and then they will get to their Weapons review

1544
01:25:50,840 --> 01:25:54,280
Speaker 3: on the following episode. New episodes of The Next Picture

1545
01:25:54,320 --> 01:25:57,400
Speaker 3: Show drop every Tuesday and you can find them wherever

1546
01:25:57,439 --> 01:25:58,440
Speaker 3: you get your podcasts.

1547
01:25:58,840 --> 01:26:02,160
Speaker 1: Next week here on Phil Spotting, we're off sort of.

1548
01:26:02,240 --> 01:26:05,599
Speaker 1: We never really take a week off. We still will

1549
01:26:05,600 --> 01:26:09,759
Speaker 1: have a show to drop, but it's Labor Day week,

1550
01:26:10,120 --> 01:26:15,360
Speaker 1: it's my anniversary week, and it's Josh Larsen off to

1551
01:26:15,640 --> 01:26:21,800
Speaker 1: Scotland week. Scott Yeah, not just not just a vacation.

1552
01:26:22,320 --> 01:26:25,400
Speaker 1: So we will have something in your feed, and we

1553
01:26:25,520 --> 01:26:28,160
Speaker 1: think right now we still have to have some conversations

1554
01:26:28,160 --> 01:26:30,320
Speaker 1: here behind the scenes, but our plan right now, you know,

1555
01:26:30,320 --> 01:26:34,120
Speaker 1: we've been sharing some film spotting Fest audio from March,

1556
01:26:34,920 --> 01:26:38,679
Speaker 1: dolling that out over the course of the past few months,

1557
01:26:38,760 --> 01:26:44,240
Speaker 1: and we haven't shared yet our conversation with Coganata about

1558
01:26:44,320 --> 01:26:47,200
Speaker 1: the movie Columbus from Film Spotting Fest, and with his

1559
01:26:47,280 --> 01:26:49,960
Speaker 1: new movie coming out here in September, we thought we

1560
01:26:49,960 --> 01:26:53,680
Speaker 1: would share that. We might also share your conversation with

1561
01:26:53,680 --> 01:26:58,760
Speaker 1: a Dana Stevens wonderful conversation about pother Panchali She was

1562
01:26:58,800 --> 01:27:01,400
Speaker 1: rt he was so good, so we might share that

1563
01:27:01,439 --> 01:27:03,400
Speaker 1: as well, or we'll save that for later in the year.

1564
01:27:03,520 --> 01:27:06,519
Speaker 1: So you will have you will have new audio or

1565
01:27:06,800 --> 01:27:08,800
Speaker 1: audio you haven't heard before unless you were in the

1566
01:27:08,800 --> 01:27:12,240
Speaker 1: audience at Film spotting Fest in your feed next week

1567
01:27:12,280 --> 01:27:15,439
Speaker 1: and then the following week, we're planning on another Sacred Cow,

1568
01:27:15,520 --> 01:27:21,800
Speaker 1: another Pantheon project review thirty fifth anniversary. We're finally doing it.

1569
01:27:22,320 --> 01:27:24,479
Speaker 1: Been in the Pantheon all this time, but we've never

1570
01:27:24,520 --> 01:27:27,600
Speaker 1: discussed Martin Scorsese's Goodfellas.

1571
01:27:27,960 --> 01:27:29,120
Speaker 3: Yeah, how is that possible?

1572
01:27:29,240 --> 01:27:31,519
Speaker 1: I mean, I don't know, I don't know, and I

1573
01:27:31,840 --> 01:27:34,720
Speaker 1: don't remember. You know, it's one of those with Goodfellas.

1574
01:27:34,800 --> 01:27:36,680
Speaker 1: It's one of those movies where if you ask me,

1575
01:27:36,720 --> 01:27:39,960
Speaker 1: when is the last time I saw it? You know,

1576
01:27:40,200 --> 01:27:43,200
Speaker 1: I don't know if if I've seen the movie in

1577
01:27:43,280 --> 01:27:46,519
Speaker 1: one sitting, maybe since I was in high school when

1578
01:27:46,520 --> 01:27:49,360
Speaker 1: it came out. But I've seen the movie four thousand times,

1579
01:27:49,880 --> 01:27:53,719
Speaker 1: you know, like it comes on TV. If it ever

1580
01:27:54,000 --> 01:27:56,640
Speaker 1: has come on TV, I watch it. If I'm at

1581
01:27:56,720 --> 01:27:59,760
Speaker 1: someone's house and it's on, Yeah, I watch it, like

1582
01:28:00,479 --> 01:28:03,400
Speaker 1: I know every scene from that movie almost by heart.

1583
01:28:03,760 --> 01:28:08,360
Speaker 3: So yeah, I think the last time so The Irishman

1584
01:28:08,479 --> 01:28:11,920
Speaker 3: was what twenty nineteen, twenty twenty around there, something like

1585
01:28:11,960 --> 01:28:14,519
Speaker 3: that seventeen eighteen nineteen. So I did a rewatch of

1586
01:28:14,560 --> 01:28:18,080
Speaker 3: all of Scorsese's gangster movies back when Think Christian was

1587
01:28:18,120 --> 01:28:21,000
Speaker 3: still a thing, exploring sort of the morality of the

1588
01:28:21,000 --> 01:28:24,640
Speaker 3: mobster and the laws that all the mobsters have to

1589
01:28:24,680 --> 01:28:28,360
Speaker 3: follow even though they're criminals, and revisit Goodfellows for that,

1590
01:28:28,920 --> 01:28:32,559
Speaker 3: which was fascinating. Spoiler, Adam, it holds up.

1591
01:28:33,280 --> 01:28:35,080
Speaker 1: I think you will say.

1592
01:28:35,160 --> 01:28:37,320
Speaker 3: I think even watching it all in its entirety, you

1593
01:28:37,360 --> 01:28:38,639
Speaker 3: will find that it's a good film.

1594
01:28:38,800 --> 01:28:41,559
Speaker 1: Yeah, yeah, I have a feeling it will. And you

1595
01:28:41,560 --> 01:28:44,760
Speaker 1: were right twenty nineteen on The Irishman. We will also

1596
01:28:44,760 --> 01:28:47,840
Speaker 1: have results from the current deeply flawed film spotting pull.

1597
01:28:48,240 --> 01:28:50,080
Speaker 1: We thought this was going to be a real death

1598
01:28:50,120 --> 01:28:53,160
Speaker 1: match that was going to just tear people apart, and

1599
01:28:53,200 --> 01:28:57,360
Speaker 1: based on the comments. Some people were really in conflict

1600
01:28:57,400 --> 01:28:59,360
Speaker 1: about this. But if you look at the overall voting

1601
01:29:00,920 --> 01:29:05,040
Speaker 1: or studio jubilee, you can only choose one. There is

1602
01:29:05,080 --> 01:29:07,559
Speaker 1: a clear winner in this one, Josh, it's not close.

1603
01:29:08,160 --> 01:29:12,120
Speaker 3: That confounds me. And now I don't know which way

1604
01:29:12,120 --> 01:29:18,000
Speaker 3: to go, like our listeners leaning more, you know, like

1605
01:29:18,400 --> 01:29:20,680
Speaker 3: the art house, I guess pick you would say, and

1606
01:29:20,720 --> 01:29:21,519
Speaker 3: going to what do you.

1607
01:29:21,520 --> 01:29:23,479
Speaker 1: Think about film Spotting listeners? What's your guy?

1608
01:29:25,439 --> 01:29:27,080
Speaker 3: I think possibly that's it?

1609
01:29:27,640 --> 01:29:31,200
Speaker 1: Yeah, yeah, you might be right, really, you might be right. Yeah,

1610
01:29:31,560 --> 01:29:33,680
Speaker 1: So if you want to try to even things out

1611
01:29:33,680 --> 01:29:36,280
Speaker 1: a little bit in Pixar's favor, you can vote now

1612
01:29:36,520 --> 01:29:39,040
Speaker 1: have film Spotting dot Net. The polls are still open

1613
01:29:39,200 --> 01:29:42,840
Speaker 1: for another week. And yes, we'll we'll see. I don't

1614
01:29:42,840 --> 01:29:45,519
Speaker 1: know if Josh will get to anything. As he's moving

1615
01:29:45,560 --> 01:29:48,200
Speaker 1: into his dorm room. What's your dorm room gonna be? Like, Josh?

1616
01:29:48,200 --> 01:29:50,760
Speaker 1: Are you gonna hang up with a poster of Apocalypse? Now?

1617
01:29:51,120 --> 01:29:52,000
Speaker 1: Reservoir dogs?

1618
01:29:52,280 --> 01:29:55,760
Speaker 3: I'm worried about my roommate quite frankly, and what they

1619
01:29:55,760 --> 01:29:56,160
Speaker 3: think of.

1620
01:29:56,120 --> 01:30:01,960
Speaker 1: My wife exactly. How's that gonna go? And we'll see

1621
01:30:01,960 --> 01:30:04,599
Speaker 1: if we are able to view anything else. We're both

1622
01:30:04,680 --> 01:30:08,599
Speaker 1: curious about Darren Aronofsky's caught stealing with Austin Butler. There's

1623
01:30:08,600 --> 01:30:10,840
Speaker 1: a few things coming out that we'll see if we

1624
01:30:10,880 --> 01:30:13,800
Speaker 1: can catch up with. For a current show schedule, you

1625
01:30:13,840 --> 01:30:17,559
Speaker 1: can visit Filmspotting dot Net slash episodes.

1626
01:30:17,400 --> 01:30:20,160
Speaker 3: Time out for Massacre Theater, we perform a scene and

1627
01:30:20,240 --> 01:30:22,560
Speaker 3: you get a chance to win a film Spotting prize.

1628
01:30:23,360 --> 01:30:42,600
Speaker 3: Last time we massacred, Oh boy, this scene.

1629
01:30:34,520 --> 01:30:36,800
Speaker 6: And they've been bad and they have kept the change

1630
01:30:36,840 --> 01:30:37,960
Speaker 6: in that room.

1631
01:30:38,160 --> 01:30:39,519
Speaker 1: But it was for your button.

1632
01:30:44,960 --> 01:30:48,400
Speaker 3: Don't you remember what I used to sing to you?

1633
01:30:49,160 --> 01:30:53,679
Speaker 3: You A little block of bye baby on the tree top.

1634
01:30:55,120 --> 01:30:56,400
Speaker 2: When the wind.

1635
01:30:56,080 --> 01:31:01,920
Speaker 3: Blows that cradle we'll buy when Bob Bray that great

1636
01:31:02,120 --> 01:31:03,040
Speaker 3: a will fall.

1637
01:31:05,840 --> 01:31:06,040
Speaker 4: Right.

1638
01:31:09,320 --> 01:31:10,479
Speaker 1: I only dropped you once.

1639
01:31:13,200 --> 01:31:16,880
Speaker 3: That was John Matusak as Sloth and Anne Ramsey as

1640
01:31:16,920 --> 01:31:21,120
Speaker 3: Mama Fratellia nineteen eighty five's The Gooties, written by Chris

1641
01:31:21,160 --> 01:31:24,519
Speaker 3: Columbus and directed by Richard Donner. That massacre was part

1642
01:31:24,520 --> 01:31:27,360
Speaker 3: of our weapons show a couple of weeks ago. There's

1643
01:31:27,400 --> 01:31:30,519
Speaker 3: always a tie in. So why that scene from the Goonies.

1644
01:31:31,520 --> 01:31:36,040
Speaker 1: Colton Butcher says, superb performance, stunning oscar Worthy. I just

1645
01:31:36,080 --> 01:31:38,400
Speaker 1: got to introduce the Goonies to a friend's tween for

1646
01:31:38,439 --> 01:31:40,479
Speaker 1: the first time, and he loved it. It's an evergreen

1647
01:31:40,560 --> 01:31:43,639
Speaker 1: summer favorite of mine. As for connections, I assume it's

1648
01:31:43,680 --> 01:31:45,840
Speaker 1: Josh Brolin is the dad searching for his kid in

1649
01:31:45,920 --> 01:31:48,720
Speaker 1: weapons and as the older brother following the kids on

1650
01:31:48,760 --> 01:31:52,080
Speaker 1: their adventure and Goonies. It's a stretch, not really, but

1651
01:31:52,160 --> 01:31:55,040
Speaker 1: you also mentioned the cinematographer is the same guy that

1652
01:31:55,120 --> 01:31:58,000
Speaker 1: shot Everything Everywhere all at once, which stars a grown

1653
01:31:58,080 --> 01:32:00,560
Speaker 1: up data key Akwon.

1654
01:32:01,200 --> 01:32:05,360
Speaker 3: Wow, what a poll. Coulton. Yeah, nice, we heard from

1655
01:32:05,479 --> 01:32:09,160
Speaker 3: Kemo Watanabe from Rose Park, Utah. It's been a while

1656
01:32:09,240 --> 01:32:12,000
Speaker 3: since I knew the movie Massacre Theater, and you are

1657
01:32:12,120 --> 01:32:14,600
Speaker 3: one hundred percent correct. The real winners are all of

1658
01:32:14,680 --> 01:32:17,360
Speaker 3: us who got to hear that ha ha talk about

1659
01:32:17,400 --> 01:32:20,639
Speaker 3: unlocking a core memory. I'm glad that you didn't veto

1660
01:32:20,720 --> 01:32:24,640
Speaker 3: this one. Josh was completely nailing those sloth articulations with

1661
01:32:24,680 --> 01:32:29,040
Speaker 3: an accuracy that was both incredible and incredibly disturbing. I

1662
01:32:29,040 --> 01:32:31,919
Speaker 3: guess it's probably equally disturbing that I know how accurate

1663
01:32:31,920 --> 01:32:35,160
Speaker 3: they are. This was maybe my favorite movie, Massacre Theater ever.

1664
01:32:35,520 --> 01:32:39,640
Speaker 3: Adam's Ma Fratelli kudos to you for really going for it.

1665
01:32:39,960 --> 01:32:43,760
Speaker 3: Half James Cagney, half Gonzo All and Ramsey.

1666
01:32:44,320 --> 01:32:47,240
Speaker 1: So don't notice, Josh, there's a lip seson there, and

1667
01:32:47,280 --> 01:32:50,719
Speaker 1: that's because he had a line from the script in there,

1668
01:32:50,800 --> 01:32:52,960
Speaker 1: and I didn't want to have to try to replicate it.

1669
01:32:53,040 --> 01:32:54,920
Speaker 1: I didn't count on the fact that you might be

1670
01:32:55,000 --> 01:32:57,120
Speaker 1: the one reading it. You could have done it.

1671
01:32:57,360 --> 01:33:01,800
Speaker 3: Oh no, I think you're performed was immortal and should

1672
01:33:01,880 --> 01:33:03,760
Speaker 3: be enshrined and never duplicated.

1673
01:33:04,600 --> 01:33:08,040
Speaker 1: Here's Frederick from Norway. This is great. Well, my gym

1674
01:33:08,080 --> 01:33:11,280
Speaker 1: membership may finally get revoked. It's not uncommon for me

1675
01:33:11,320 --> 01:33:13,479
Speaker 1: to listen to your show while exercising, and sure it

1676
01:33:13,520 --> 01:33:16,760
Speaker 1: promotes the occasional giggle, but your mescer theater performance of

1677
01:33:16,800 --> 01:33:18,920
Speaker 1: the Goonies had me laughing out loud in a way

1678
01:33:19,000 --> 01:33:23,280
Speaker 1: I'm sure dissuaded the use of treadmills in my immediate proximity.

1679
01:33:23,680 --> 01:33:26,439
Speaker 1: So thanks for that. Not having seen Weapons yet, I'm

1680
01:33:26,479 --> 01:33:28,840
Speaker 1: sure there are many connections between Goonies and this week's

1681
01:33:28,880 --> 01:33:31,479
Speaker 1: show I missed, but the most obvious one was that

1682
01:33:31,720 --> 01:33:34,960
Speaker 1: it features Josh Brolin. Brolin has said he believes Weapons

1683
01:33:35,040 --> 01:33:36,920
Speaker 1: is a project that has the potential to have a

1684
01:33:36,960 --> 01:33:39,840
Speaker 1: lasting impact in the same way as Goonies. This was

1685
01:33:39,880 --> 01:33:42,240
Speaker 1: somewhat echoed by Josh and that he believes the imagery

1686
01:33:42,640 --> 01:33:44,800
Speaker 1: of the kid's running arms spread out into the night

1687
01:33:44,880 --> 01:33:48,439
Speaker 1: is something that could become something lasting and iconic. Again,

1688
01:33:48,479 --> 01:33:51,000
Speaker 1: I have not seen weapons, and it does not arrive

1689
01:33:51,040 --> 01:33:53,400
Speaker 1: in theaters in my little backwater part of Norway for

1690
01:33:53,439 --> 01:33:56,000
Speaker 1: a couple of weeks. But your review has me excited

1691
01:33:56,040 --> 01:33:58,439
Speaker 1: and I'm looking forward to checking it out. As always.

1692
01:33:58,520 --> 01:33:59,439
Speaker 1: Keep up the good work.

1693
01:33:59,640 --> 01:34:02,080
Speaker 3: Well, thank you, Frederick. I hope they let you back

1694
01:34:02,120 --> 01:34:05,800
Speaker 3: into the gym. Here's Patricia Collins. You must have wanted

1695
01:34:05,840 --> 01:34:08,519
Speaker 3: to hear from all your Oregon listeners and eighties kids

1696
01:34:08,520 --> 01:34:11,120
Speaker 3: with your Masacar theater choice. I'm not great at this game,

1697
01:34:11,160 --> 01:34:14,360
Speaker 3: but got this scene by the second line. The performances

1698
01:34:14,360 --> 01:34:17,360
Speaker 3: were so spectacular that I played it for my partner,

1699
01:34:17,360 --> 01:34:20,280
Speaker 3: who also got it before you were done. Goonies is

1700
01:34:20,320 --> 01:34:23,040
Speaker 3: such a part of Oregon Coast culture that one of

1701
01:34:23,080 --> 01:34:26,120
Speaker 3: the hotels in Cannon Beach I recently stayed at had

1702
01:34:26,200 --> 01:34:31,000
Speaker 3: three DVD cop Why you need three such high demand?

1703
01:34:31,560 --> 01:34:34,679
Speaker 3: Uh huh, because what else would you do while staying

1704
01:34:34,720 --> 01:34:37,240
Speaker 3: at a place that overlooks Haystack Rock, then revisit the

1705
01:34:37,320 --> 01:34:39,400
Speaker 3: quest for One Eyed Willie's Treasure.

1706
01:34:40,840 --> 01:34:44,320
Speaker 1: Finally, here's Brian Spinks. It may seem absurd now, but

1707
01:34:44,439 --> 01:34:46,679
Speaker 1: watching this film as a kid, a couple of years

1708
01:34:46,680 --> 01:34:49,959
Speaker 1: younger than Mikey, it felt like only one small compass

1709
01:34:50,000 --> 01:34:51,400
Speaker 1: click away from our reality.

1710
01:34:51,640 --> 01:34:52,360
Speaker 3: I get it, Brian.

1711
01:34:52,479 --> 01:34:54,599
Speaker 1: Could there be a lost treasure map in our attics,

1712
01:34:54,920 --> 01:34:59,519
Speaker 1: among the dusty detritus of the past. Possibly. What adults

1713
01:34:59,520 --> 01:35:01,600
Speaker 1: saw as a fun romp was to us kids a

1714
01:35:01,640 --> 01:35:05,240
Speaker 1: call to action, the makings of a plan, join forces

1715
01:35:05,240 --> 01:35:08,360
Speaker 1: with your friends, and, despite any adversity, go on life

1716
01:35:08,439 --> 01:35:12,000
Speaker 1: changing adventures. Unbeknownst to our parents or lack thereof, To

1717
01:35:12,120 --> 01:35:14,920
Speaker 1: us kids, Goonies was as real as the evening News.

1718
01:35:15,360 --> 01:35:18,640
Speaker 1: The performances Donner derives from these kids are spectacular. I

1719
01:35:18,680 --> 01:35:21,200
Speaker 1: think if this film is existing in the spielburghing in

1720
01:35:21,240 --> 01:35:24,799
Speaker 1: school of directing kids, Spielberg having served as the original

1721
01:35:24,840 --> 01:35:31,120
Speaker 1: story writer and producer, it's our time down here. Feel that, Josh,

1722
01:35:31,160 --> 01:35:32,040
Speaker 1: did you feel that?

1723
01:35:32,680 --> 01:35:36,880
Speaker 3: Inspiring Brian and Goonies is fine?

1724
01:35:37,360 --> 01:35:39,160
Speaker 1: It almost makes me want to like the movie.

1725
01:35:39,280 --> 01:35:43,200
Speaker 3: It's fine. We just ruined it.

1726
01:35:43,560 --> 01:35:44,720
Speaker 1: We had to built up so.

1727
01:35:44,720 --> 01:35:48,519
Speaker 3: Much we could. We could have just gone, I know

1728
01:35:48,760 --> 01:35:53,040
Speaker 3: it's not that great, it's fine. You're right, it's fine.

1729
01:35:53,680 --> 01:35:56,960
Speaker 1: Reach into the brimming the brimming film Spotting Cat Brian.

1730
01:35:57,000 --> 01:36:00,559
Speaker 1: That really was inspired, though I'm not I'm not joking.

1731
01:36:00,560 --> 01:36:03,720
Speaker 3: It moved me. Three stars in your email, two and

1732
01:36:03,760 --> 01:36:04,760
Speaker 3: a half out of the four.

1733
01:36:04,840 --> 01:36:08,200
Speaker 1: For goodness, Reach into that hat it is brimming, and

1734
01:36:08,240 --> 01:36:09,360
Speaker 1: pick out this week's winner.

1735
01:36:09,479 --> 01:36:11,080
Speaker 3: Our winner is Ethan Johnson.

1736
01:36:11,680 --> 01:36:14,479
Speaker 1: Yeah, and he didn't include a location, but I'm pretty

1737
01:36:14,479 --> 01:36:17,320
Speaker 1: sure Ethan Johnson is from Fergus Falls, Minnesota, or at

1738
01:36:17,400 --> 01:36:19,040
Speaker 1: least at one point in his life was. So that's

1739
01:36:19,040 --> 01:36:23,080
Speaker 1: what I'm gonna say. Congratulations Ethan. Email feedback at film

1740
01:36:23,160 --> 01:36:25,360
Speaker 1: spotting dot net. Let us know if you would like

1741
01:36:26,080 --> 01:36:28,599
Speaker 1: your film Spotting t shirt, a film Spotting tote bag,

1742
01:36:28,720 --> 01:36:32,640
Speaker 1: or a trial membership to the film Spotting Family. The

1743
01:36:32,800 --> 01:36:36,360
Speaker 1: sound goes through the cable to the box. A man

1744
01:36:36,439 --> 01:36:39,960
Speaker 1: records it on a big record in wax, but you

1745
01:36:40,320 --> 01:36:40,840
Speaker 1: have to.

1746
01:36:40,920 --> 01:36:46,480
Speaker 4: Talk into the mic first. In the bush.

1747
01:36:46,560 --> 01:36:49,679
Speaker 1: We move on now to this week's edition of Massacre Theater.

1748
01:36:51,360 --> 01:36:55,920
Speaker 1: A couple things. So this scene actually has a plethora

1749
01:36:56,000 --> 01:36:59,240
Speaker 1: of voices in it, and we are we are combining

1750
01:36:59,280 --> 01:37:04,439
Speaker 1: them into obviously just two voices. There's one character and

1751
01:37:04,479 --> 01:37:07,960
Speaker 1: he's versus a bunch of other characters. So one of

1752
01:37:08,040 --> 01:37:10,759
Speaker 1: us will play that character and the other will play

1753
01:37:11,000 --> 01:37:12,440
Speaker 1: all the other characters.

1754
01:37:12,120 --> 01:37:15,679
Speaker 3: Which will be me. So I'm like, imagine a bunch

1755
01:37:15,680 --> 01:37:19,080
Speaker 3: of demons possessing my body.

1756
01:37:18,800 --> 01:37:20,960
Speaker 1: But not yes, because that's in your body, but not

1757
01:37:21,040 --> 01:37:22,240
Speaker 1: actually on screen.

1758
01:37:22,320 --> 01:37:24,920
Speaker 3: And then speaking through one voice. So that's what I'm

1759
01:37:24,920 --> 01:37:27,080
Speaker 3: going to be channeling. This is not a horror movie,

1760
01:37:27,120 --> 01:37:27,479
Speaker 3: by the way.

1761
01:37:27,760 --> 01:37:30,200
Speaker 1: Let's it is definitely not a horror movie. Here's the

1762
01:37:30,320 --> 01:37:32,519
Speaker 1: Here's the other hint I'm going to give you. Well, first,

1763
01:37:33,160 --> 01:37:37,040
Speaker 1: it does tie in with this show, though Josh, is

1764
01:37:37,040 --> 01:37:40,040
Speaker 1: it fair to say it may be it is a

1765
01:37:40,200 --> 01:37:42,360
Speaker 1: clear tie in, but it may be a little bit

1766
01:37:42,400 --> 01:37:43,240
Speaker 1: of a deeper.

1767
01:37:43,000 --> 01:37:46,760
Speaker 3: Cut once usual, it's.

1768
01:37:46,560 --> 01:37:49,000
Speaker 1: Not as clear as like Josh Brolin's in the Goonies,

1769
01:37:49,080 --> 01:37:50,920
Speaker 1: Andy's in Weapons. It's not that clear.

1770
01:37:52,000 --> 01:37:52,400
Speaker 3: Okay.

1771
01:37:52,800 --> 01:37:54,559
Speaker 1: The other thing I'm going to say is we recently

1772
01:37:54,600 --> 01:37:59,920
Speaker 1: talked about how film Spotting Madness. The upcoming film spot

1773
01:38:00,200 --> 01:38:04,240
Speaker 1: Madness goes way back to the nineteen forties, and the

1774
01:38:04,439 --> 01:38:10,760
Speaker 1: further back you go in time, the fewer movies generally

1775
01:38:11,880 --> 01:38:15,400
Speaker 1: people have seen. And I bring that up only because

1776
01:38:15,439 --> 01:38:17,679
Speaker 1: I'm not telling you what decade is from. But I'm

1777
01:38:17,720 --> 01:38:22,439
Speaker 1: going to say that it does suggest we may have

1778
01:38:23,479 --> 01:38:26,200
Speaker 1: a case where the hat is not going to be

1779
01:38:26,240 --> 01:38:28,240
Speaker 1: as brimming as the Goonies was.

1780
01:38:28,400 --> 01:38:29,760
Speaker 3: You're worried about submissions.

1781
01:38:30,080 --> 01:38:32,840
Speaker 1: I am a little worried, but but I like the

1782
01:38:32,960 --> 01:38:35,400
Speaker 1: tie in. I don't know if I'm going to like

1783
01:38:35,439 --> 01:38:37,599
Speaker 1: the performance. I don't know what's going to come out

1784
01:38:37,600 --> 01:38:39,400
Speaker 1: of my mouth in about five seconds.

1785
01:38:39,840 --> 01:38:43,120
Speaker 3: I mean that's how every massacre theater should begin.

1786
01:38:43,720 --> 01:38:46,479
Speaker 1: Yeah, but you usually do the funny voices or the

1787
01:38:46,520 --> 01:38:50,960
Speaker 1: attempts at funny voices, and here I am, so are

1788
01:38:51,000 --> 01:38:53,000
Speaker 1: you ready? I mean, I are we going to Are

1789
01:38:53,000 --> 01:38:54,439
Speaker 1: we going to change the one name in it?

1790
01:38:54,479 --> 01:38:54,719
Speaker 4: Though?

1791
01:38:55,000 --> 01:38:57,599
Speaker 3: No, let's just go okay.

1792
01:38:57,800 --> 01:39:02,040
Speaker 1: I love Josha's approach. Josha's roach to scene study is

1793
01:39:02,080 --> 01:39:07,320
Speaker 1: don't overthink it action. I'm going into the hills for winter.

1794
01:39:08,080 --> 01:39:09,680
Speaker 1: Where am I going to get the food for my

1795
01:39:09,760 --> 01:39:13,519
Speaker 1: men bird or grow it or maybe even work for

1796
01:39:13,600 --> 01:39:17,240
Speaker 1: it somehow. I don't think you've solved my problem.

1797
01:39:17,800 --> 01:39:22,760
Speaker 3: Solving your problems is entire mind. We deal in lead, friend.

1798
01:39:22,920 --> 01:39:26,880
Speaker 1: So do I. We're in the same business. Huh, only

1799
01:39:26,920 --> 01:39:32,120
Speaker 1: as competitors, Why not as partners? Suppose I offer you

1800
01:39:32,240 --> 01:39:39,679
Speaker 1: equal shares and what everything to the last grain and.

1801
01:39:39,640 --> 01:39:42,720
Speaker 3: The people in the village? What about them?

1802
01:39:43,280 --> 01:39:46,640
Speaker 1: I leave it to you. Can men of our profession

1803
01:39:46,720 --> 01:39:51,160
Speaker 1: worry about things like that, may even be sacrilegious. But

1804
01:39:51,240 --> 01:39:53,640
Speaker 1: if God didn't want them sheared, he would not have

1805
01:39:53,680 --> 01:39:56,000
Speaker 1: made them sheep. What do you say?

1806
01:39:56,680 --> 01:39:57,120
Speaker 3: Right on?

1807
01:39:57,840 --> 01:40:01,760
Speaker 1: You hear that Sotero? You hear what he said right

1808
01:40:01,840 --> 01:40:03,600
Speaker 1: on to me?

1809
01:40:06,360 --> 01:40:11,200
Speaker 3: And scene wow? I mean I argued we had to

1810
01:40:11,280 --> 01:40:14,240
Speaker 3: keep that last line and I because it was so important.

1811
01:40:14,280 --> 01:40:15,479
Speaker 3: I didn't know you were going to do that.

1812
01:40:16,120 --> 01:40:19,680
Speaker 1: Well, it's because you argued for the line that I

1813
01:40:19,760 --> 01:40:20,799
Speaker 1: knew I had to deliver.

1814
01:40:20,920 --> 01:40:23,960
Speaker 3: Did I deliver? Oh? Yeah, Oh you delivered? Nice?

1815
01:40:23,960 --> 01:40:26,400
Speaker 1: It would show a film. We just massacred. Email the

1816
01:40:26,439 --> 01:40:29,519
Speaker 1: movie's title and your name and location to feedback at

1817
01:40:29,520 --> 01:40:32,960
Speaker 1: film spotting dot net. The deadline is Monday, September fifteenth.

1818
01:40:32,960 --> 01:40:35,040
Speaker 1: And Josh, when you brought up the demon thing, I

1819
01:40:35,080 --> 01:40:39,919
Speaker 1: didn't realize you were actually going to do separate voices.

1820
01:40:40,040 --> 01:40:43,120
Speaker 3: I didn't either, Adam show us No, that wasn't my

1821
01:40:43,160 --> 01:40:47,479
Speaker 3: plan or possessed as I often am in massacre theater.

1822
01:40:47,640 --> 01:40:50,599
Speaker 1: Wow, your deadline's Monday, September fifteenth, will select the window

1823
01:40:50,640 --> 01:40:53,120
Speaker 1: randomly from all the craged entries had announced it in

1824
01:40:53,160 --> 01:40:54,280
Speaker 1: a couple of weeks.

1825
01:40:55,280 --> 01:40:59,839
Speaker 2: There is a creature alive today who has survived millions

1826
01:40:59,880 --> 01:41:07,200
Speaker 2: of years of evolution, without change, without passion, and without logic.

1827
01:41:08,479 --> 01:41:16,080
Speaker 2: It lives to kill. A mindless eating machine. It will

1828
01:41:16,120 --> 01:41:24,439
Speaker 2: attack and devour anything. It is as if God created

1829
01:41:24,479 --> 01:41:28,200
Speaker 2: the devil and gave him Jaws.

1830
01:41:30,400 --> 01:41:33,760
Speaker 1: We couldn't resist Jaws, one of the greatest movies of

1831
01:41:33,760 --> 01:41:37,280
Speaker 1: all time. Josh, It's back in theaters for its fiftieth anniversary.

1832
01:41:37,479 --> 01:41:37,960
Speaker 3: Go see it.

1833
01:41:38,000 --> 01:41:40,360
Speaker 1: We didn't want to wait. We couldn't wait till it's fiftieth.

1834
01:41:40,400 --> 01:41:43,600
Speaker 1: Back when it was celebrating its forty fifth birthday, we

1835
01:41:43,680 --> 01:41:47,120
Speaker 1: gave it the sacred cow treatment. We had what we

1836
01:41:47,160 --> 01:41:50,160
Speaker 1: thought was a pretty long and pretty thorough, pretty eye

1837
01:41:50,160 --> 01:41:55,000
Speaker 1: opening conversation about the film. At the time, we thought

1838
01:41:55,080 --> 01:41:58,559
Speaker 1: it was worth sharing. We'll see if this leads to

1839
01:41:59,520 --> 01:42:03,719
Speaker 1: another two, two or three comments on Apple Podcasts telling

1840
01:42:03,800 --> 01:42:04,639
Speaker 1: us that we're too woke.

1841
01:42:04,880 --> 01:42:07,280
Speaker 3: That's right, what do you think I believe we may

1842
01:42:07,320 --> 01:42:11,839
Speaker 3: have lost six or seven listeners. Yeah, last time so

1843
01:42:11,960 --> 01:42:14,840
Speaker 3: if that happens again, we'll be struggling. But yeah, this

1844
01:42:15,000 --> 01:42:16,120
Speaker 3: was a fun one, and.

1845
01:42:16,040 --> 01:42:19,960
Speaker 1: We'll still replay it at fifty five and sixty doesn't

1846
01:42:19,960 --> 01:42:22,720
Speaker 1: matter to us. From June twenty twenty, here is that

1847
01:42:22,880 --> 01:42:27,640
Speaker 1: sacred cow review of Jaws. Sometimes, probably often, we have

1848
01:42:27,680 --> 01:42:30,280
Speaker 1: a convenient hook for one of these setups that doesn't

1849
01:42:30,320 --> 01:42:33,559
Speaker 1: really reflect the whole substance of our conversation about a movie.

1850
01:42:33,840 --> 01:42:37,559
Speaker 1: But a convenient hook is a convenient hook, Which is

1851
01:42:37,720 --> 01:42:40,280
Speaker 1: all to say for those of you who aren't particularly

1852
01:42:40,280 --> 01:42:43,280
Speaker 1: interested in hearing a discussion of Jaws framed around our

1853
01:42:43,320 --> 01:42:46,680
Speaker 1: current administration, just give us a little wiggle room here.

1854
01:42:46,760 --> 01:42:49,400
Speaker 1: I'm pretty confident we're both more excited to talk about

1855
01:42:49,439 --> 01:42:53,960
Speaker 1: Steven Spielberg's camera tricks than his politics. But it's a

1856
01:42:54,000 --> 01:42:57,559
Speaker 1: little eerie how precient his game changing nineteen seventy five

1857
01:42:57,600 --> 01:43:01,439
Speaker 1: blockbuster is forty five years later. The movie that promised

1858
01:43:01,479 --> 01:43:04,240
Speaker 1: Will Never Go in the Water Again also presents an

1859
01:43:04,280 --> 01:43:07,880
Speaker 1: all too dangerously familiar type of huckster politician during a

1860
01:43:07,920 --> 01:43:12,360
Speaker 1: crisis who fails to heed the warnings of scientists, dramatically

1861
01:43:12,400 --> 01:43:15,960
Speaker 1: downplays and dismisses the potential loss of life. Can't wait

1862
01:43:16,000 --> 01:43:18,719
Speaker 1: to pat himself and his cronies on the back, loves

1863
01:43:18,760 --> 01:43:22,160
Speaker 1: to preen for a TV camera, and who demands those

1864
01:43:22,200 --> 01:43:27,200
Speaker 1: beaches be open because business demands they be open. Yep, Sorry,

1865
01:43:27,560 --> 01:43:31,320
Speaker 1: even the scary shark movie is actually about coronavirus. And

1866
01:43:31,800 --> 01:43:34,000
Speaker 1: I'm far from the only one who has noticed. My

1867
01:43:34,080 --> 01:43:37,280
Speaker 1: Twitter timeline has jumped the snark over the past couple

1868
01:43:37,280 --> 01:43:39,920
Speaker 1: of months, including this from Frank Rich just a few

1869
01:43:40,000 --> 01:43:43,000
Speaker 1: nights ago, commenting on a New York Times breaking news

1870
01:43:43,000 --> 01:43:46,519
Speaker 1: tweet that read Vice President Mike Pence encourage governors to

1871
01:43:46,600 --> 01:43:51,240
Speaker 1: repeat a misleading claim about coronavirus outbreaks, Rich wrote, Pence

1872
01:43:51,280 --> 01:43:56,120
Speaker 1: makes the Jaws Mayor look like Churchill. Mayor Vaughan is

1873
01:43:56,160 --> 01:44:00,360
Speaker 1: played with a Penzian affable smugness by Murray Hans Hamilton,

1874
01:44:00,720 --> 01:44:02,680
Speaker 1: and one line I had always kind of overlooked this

1875
01:44:02,720 --> 01:44:05,240
Speaker 1: struck me on this rewatch is when he's spurning the

1876
01:44:05,280 --> 01:44:09,040
Speaker 1: pleas of Roy Scheider's chief Martin Brody and Richard Dreyfus's

1877
01:44:09,040 --> 01:44:11,880
Speaker 1: Matt Hooper to keep the beaches closed. On July fourth,

1878
01:44:12,080 --> 01:44:17,320
Speaker 1: America's data celebrate its independence and pre eminence, and he explains,

1879
01:44:17,680 --> 01:44:20,360
Speaker 1: I don't think either one of you are familiar with

1880
01:44:20,479 --> 01:44:25,320
Speaker 1: our problems, our problems. You see, Matt is a visitor

1881
01:44:25,360 --> 01:44:28,599
Speaker 1: to Amity, and the chief, well, he's an interloper. He's

1882
01:44:28,600 --> 01:44:30,559
Speaker 1: a cop from New York City who just moved his

1883
01:44:30,600 --> 01:44:33,840
Speaker 1: family to the island a year ago. Mayor Vaughan translated,

1884
01:44:34,200 --> 01:44:36,840
Speaker 1: why should I take advice on what my people should

1885
01:44:36,880 --> 01:44:40,240
Speaker 1: do from you foreigners? Maybe he would have listened to

1886
01:44:40,280 --> 01:44:42,200
Speaker 1: the warnings of a police chief who was a born

1887
01:44:42,240 --> 01:44:46,040
Speaker 1: and bred Islander. Maybe not, but Martin's otherness sure makes

1888
01:44:46,120 --> 01:44:49,800
Speaker 1: him really easy to ignore. So, Josh, I'm curious. As

1889
01:44:49,840 --> 01:44:53,040
Speaker 1: a starting point anyway, on this viewing, was your mind

1890
01:44:53,120 --> 01:44:57,600
Speaker 1: still mostly blown by Jaws remarkable craft or in the

1891
01:44:57,640 --> 01:45:02,200
Speaker 1: midst of this pandemic starring Inn satiable predacious virus that's

1892
01:45:02,240 --> 01:45:06,040
Speaker 1: always lurking out of sight? Was it the movie surprising

1893
01:45:06,160 --> 01:45:08,639
Speaker 1: relevancy that had you jumping out of your seat.

1894
01:45:08,840 --> 01:45:10,760
Speaker 3: Yeah, we'll get to the craft. I mean, that's the

1895
01:45:10,800 --> 01:45:15,320
Speaker 3: reason this movie is ultimately still so masterful these many

1896
01:45:15,360 --> 01:45:18,680
Speaker 3: decades later. But I'm glad you're starting here, because obviously

1897
01:45:19,439 --> 01:45:22,599
Speaker 3: this came to mind even if you hadn't revisited Jaws

1898
01:45:22,640 --> 01:45:25,200
Speaker 3: recently as soon as I mean, even if we hadn't

1899
01:45:25,200 --> 01:45:27,799
Speaker 3: had the one to one correlation of beaches people desperately

1900
01:45:27,840 --> 01:45:30,080
Speaker 3: wanting beaches to be open, I think this would have

1901
01:45:30,120 --> 01:45:32,200
Speaker 3: come to mind, and you're right, it was all over Twitter.

1902
01:45:32,680 --> 01:45:36,160
Speaker 3: But sitting down to watch the movie again, it's the

1903
01:45:36,320 --> 01:45:40,960
Speaker 3: details that are so one to one that did absolutely

1904
01:45:41,120 --> 01:45:43,559
Speaker 3: shock me. And I want to say at the start,

1905
01:45:43,600 --> 01:45:46,719
Speaker 3: you know, I realize that this is not as cut

1906
01:45:46,760 --> 01:45:49,759
Speaker 3: and dried. On the one hand that the administration wants

1907
01:45:49,760 --> 01:45:51,559
Speaker 3: things to seem, it's, you know, not as cut and

1908
01:45:51,600 --> 01:45:54,760
Speaker 3: dried maybe for some people. On the other hand, I

1909
01:45:54,800 --> 01:45:57,400
Speaker 3: don't own a small family business, you know, but my

1910
01:45:57,520 --> 01:46:01,360
Speaker 3: livelihood is not tied to something that is directly affected

1911
01:46:01,360 --> 01:46:03,960
Speaker 3: by these closings. So I do get it that this

1912
01:46:04,040 --> 01:46:07,240
Speaker 3: is a real issue for some people. Yet the broad

1913
01:46:07,320 --> 01:46:10,240
Speaker 3: scale opening I think that the White House has been

1914
01:46:10,240 --> 01:46:13,880
Speaker 3: pushing not only seems unwise but is very much in

1915
01:46:13,920 --> 01:46:17,479
Speaker 3: line with what we see Amity's mayor pushing for in

1916
01:46:17,520 --> 01:46:21,519
Speaker 3: this movie. And just quotes like Murray Hamilton saying we

1917
01:46:21,600 --> 01:46:24,599
Speaker 3: need summer dollars. You know, you can just you basically

1918
01:46:24,760 --> 01:46:28,240
Speaker 3: have been hearing that for two months now. And I

1919
01:46:28,240 --> 01:46:32,080
Speaker 3: think there are other details worth mentioning. The Pence correlation,

1920
01:46:32,280 --> 01:46:37,519
Speaker 3: Adam is absolutely the amended autopsy report, right. They fudge

1921
01:46:37,520 --> 01:46:40,280
Speaker 3: the autopsy report to make it not look like a

1922
01:46:40,360 --> 01:46:43,720
Speaker 3: shark attack. That's what's going on in the case. In

1923
01:46:43,760 --> 01:46:47,920
Speaker 3: this recent case of Pence, you mentioned Hooper, and there's

1924
01:46:47,960 --> 01:46:51,000
Speaker 3: this distrust of Hooper. I don't I didn't make the

1925
01:46:51,360 --> 01:46:55,720
Speaker 3: you know, the outsider immigrant connection quite as much. I

1926
01:46:55,720 --> 01:46:58,599
Speaker 3: think that's that's really smart. But I think of him

1927
01:46:58,640 --> 01:47:03,000
Speaker 3: as like the outside experts, who's bringing scientific evidence and data?

1928
01:47:03,240 --> 01:47:06,799
Speaker 3: Right This is who is immediately distrusted, is the person

1929
01:47:06,840 --> 01:47:10,240
Speaker 3: with the facts. And that again is all we're seeing

1930
01:47:10,479 --> 01:47:13,080
Speaker 3: from up on top right now, the eagerness for an

1931
01:47:13,080 --> 01:47:17,320
Speaker 3: easy solution. When the fishermen catch the first shark and

1932
01:47:17,439 --> 01:47:20,280
Speaker 3: right away it's like, let's have a parade. It's over.

1933
01:47:20,680 --> 01:47:24,120
Speaker 3: Everybody get in the water immediately. And how about this one.

1934
01:47:24,160 --> 01:47:27,040
Speaker 3: This is a more subtle one that it's maybe not

1935
01:47:27,160 --> 01:47:31,160
Speaker 3: as easy to laugh about. But the distraction from the

1936
01:47:31,280 --> 01:47:35,120
Speaker 3: issue at hand, I mean, how much nonsense we're always

1937
01:47:35,120 --> 01:47:37,280
Speaker 3: putting up with nonsense coming out of the White House,

1938
01:47:37,479 --> 01:47:41,000
Speaker 3: But how much did that amp up after COVID nineteen hit.

1939
01:47:41,120 --> 01:47:45,759
Speaker 3: And it's very much in line with that conversation Hooper

1940
01:47:46,080 --> 01:47:49,840
Speaker 3: and Brody and the mayor have underneath the amity sign

1941
01:47:50,280 --> 01:47:54,639
Speaker 3: and it's been vandalized, right and so immediately for the mayor,

1942
01:47:55,120 --> 01:47:57,200
Speaker 3: that's issue number one.

1943
01:47:57,040 --> 01:47:58,080
Speaker 1: Sick vandalism.

1944
01:47:58,600 --> 01:48:02,400
Speaker 4: That is a deliberate utilation of a public service message.

1945
01:48:02,880 --> 01:48:05,840
Speaker 1: Now I want those little paint happy baskets caught and

1946
01:48:05,960 --> 01:48:07,360
Speaker 1: hung up by their busker Brown.

1947
01:48:07,640 --> 01:48:11,200
Speaker 3: That's it. That's to him, what's plaguing the island, law

1948
01:48:11,240 --> 01:48:14,920
Speaker 3: and order, Law and order. Let's get that and not

1949
01:48:15,040 --> 01:48:18,320
Speaker 3: worry about all this other stuff. So you know all

1950
01:48:18,360 --> 01:48:21,080
Speaker 3: that said, the other revelation to me, as long as

1951
01:48:21,080 --> 01:48:23,559
Speaker 3: we're dumping on Trump, which I'm happy to do all day,

1952
01:48:24,200 --> 01:48:26,720
Speaker 3: I don't think he's the mayor. I mentioned this when

1953
01:48:26,760 --> 01:48:29,880
Speaker 3: I right after I revisited it on letterbox because it

1954
01:48:29,960 --> 01:48:33,559
Speaker 3: struck me. Remember the scene where there's a scare in

1955
01:48:33,600 --> 01:48:36,320
Speaker 3: the water. Everyone's on the beach and it's just chaos.

1956
01:48:36,400 --> 01:48:40,080
Speaker 3: Everyone is rushing to get to shore. There's one guy,

1957
01:48:40,520 --> 01:48:42,840
Speaker 3: there's one guy who a was dumb enough to go

1958
01:48:42,880 --> 01:48:45,479
Speaker 3: in the water, right, but then when things go bad,

1959
01:48:45,960 --> 01:48:49,080
Speaker 3: he pushes those kids off the raft and steals it

1960
01:48:49,240 --> 01:48:53,200
Speaker 3: and desperately paddles back to shore in terror. That's Trump.

1961
01:48:53,280 --> 01:48:55,240
Speaker 3: If you want to look for Trump in that movie

1962
01:48:55,240 --> 01:48:59,479
Speaker 3: and how he's behaved throughout his presidency and particularly when

1963
01:48:59,560 --> 01:49:02,120
Speaker 3: crisis hits, he's that dumb guy.

1964
01:49:02,960 --> 01:49:06,799
Speaker 1: Man, I am so willing to buy the Trumpian elements

1965
01:49:06,840 --> 01:49:09,519
Speaker 1: to both the mayor and to that guy, which I

1966
01:49:09,560 --> 01:49:12,920
Speaker 1: don't think I had never really noticed before until this viewing.

1967
01:49:13,160 --> 01:49:16,960
Speaker 1: And it's also so perfect, right because this terrible thing

1968
01:49:17,080 --> 01:49:21,840
Speaker 1: he does, this horrible act of prioritizing his safety over

1969
01:49:21,880 --> 01:49:25,320
Speaker 1: these kids. Yeah, is also so stupid because wouldn't he

1970
01:49:25,360 --> 01:49:27,920
Speaker 1: probably move faster if he just swam instead of not

1971
01:49:28,000 --> 01:49:31,240
Speaker 1: only yaking the float but trying to use the float? Now,

1972
01:49:31,320 --> 01:49:33,639
Speaker 1: is the flow going to get him to shore any quicker?

1973
01:49:33,760 --> 01:49:37,000
Speaker 1: He speaks to the panic. Yeah, it speaks to the panic.

1974
01:49:37,320 --> 01:49:39,400
Speaker 1: It speaks to the selfishness, It speaks to all the

1975
01:49:39,439 --> 01:49:42,160
Speaker 1: things that we're talking about. And yes, we definitely will

1976
01:49:42,200 --> 01:49:45,000
Speaker 1: geek out on the formal elements of this movie, I'm sure,

1977
01:49:45,400 --> 01:49:48,840
Speaker 1: But having not really devoted a lot of time to

1978
01:49:48,880 --> 01:49:52,360
Speaker 1: studying this movie or having discussed it in detail before

1979
01:49:52,520 --> 01:49:55,360
Speaker 1: on this show, I got all the Twitter jokes over

1980
01:49:55,400 --> 01:49:58,080
Speaker 1: the past couple of months, But it was because, Yeah,

1981
01:49:58,120 --> 01:50:00,000
Speaker 1: of course, I've always just kind of taken the idiot

1982
01:50:00,080 --> 01:50:02,360
Speaker 1: it may or aspect. For granted, that was part of

1983
01:50:02,360 --> 01:50:05,040
Speaker 1: the story. It wasn't really some kind of statement on

1984
01:50:05,080 --> 01:50:10,240
Speaker 1: Spielberg's part with regard to American politics or Americans in general.

1985
01:50:10,520 --> 01:50:12,640
Speaker 1: But it is very hard to watch it now and

1986
01:50:12,720 --> 01:50:15,439
Speaker 1: separate that aspect, and even more interesting for me than

1987
01:50:15,439 --> 01:50:18,160
Speaker 1: all the parallels that were touching on and you really

1988
01:50:18,400 --> 01:50:23,560
Speaker 1: nicely articulated. For me, what's fascinating is where the political

1989
01:50:23,680 --> 01:50:26,240
Speaker 1: and the personal intersect in this film, which I think

1990
01:50:26,240 --> 01:50:29,639
Speaker 1: fits nicely with what this movie does as a whole,

1991
01:50:29,760 --> 01:50:33,160
Speaker 1: so very well, which is mixing the horror and those

1992
01:50:33,280 --> 01:50:37,840
Speaker 1: thriller adventure aspects with the personal too. It's in getting

1993
01:50:37,880 --> 01:50:41,400
Speaker 1: to know these people, it's having an attachment to Chief

1994
01:50:41,439 --> 01:50:45,519
Speaker 1: Brody in his family. That great scene at the dinner

1995
01:50:45,520 --> 01:50:48,160
Speaker 1: table after the slap is one of my favorites. I

1996
01:50:48,200 --> 01:50:49,760
Speaker 1: think I may have had it in my top five

1997
01:50:50,040 --> 01:50:53,519
Speaker 1: Spielberg moments. But just going off memory, coming into this film,

1998
01:50:53,720 --> 01:50:56,920
Speaker 1: I thought of Chief Brody as this purely heroic figure

1999
01:50:57,479 --> 01:50:59,799
Speaker 1: and that it was the idiot mayor and the greed

2000
01:50:59,840 --> 01:51:02,720
Speaker 1: of the townspeople that prevent this guy, this stand up

2001
01:51:02,800 --> 01:51:05,880
Speaker 1: righteous man, from doing his job and saving lives, and

2002
01:51:06,000 --> 01:51:09,599
Speaker 1: that he's almost this Cassandra like figure who unfortunately is ignored,

2003
01:51:10,040 --> 01:51:12,840
Speaker 1: except when you watch closely, you realize he doesn't really

2004
01:51:12,920 --> 01:51:16,200
Speaker 1: put up a fight when the medical examiner changes the

2005
01:51:16,200 --> 01:51:19,479
Speaker 1: police report, as you pointed out, from a shark attack

2006
01:51:19,520 --> 01:51:23,800
Speaker 1: to a boting accident. He doesn't actually really protest. What

2007
01:51:23,880 --> 01:51:26,640
Speaker 1: he does is what so many of us do. He

2008
01:51:26,720 --> 01:51:28,880
Speaker 1: just tries to cover his ass. The exact lines are,

2009
01:51:29,000 --> 01:51:31,040
Speaker 1: that's not what you told me over the phone. And

2010
01:51:31,080 --> 01:51:33,559
Speaker 1: when theme says I was wrong, we'll have to amend

2011
01:51:33,560 --> 01:51:36,280
Speaker 1: our reports, Brody says, and you'll stand by that. So,

2012
01:51:36,320 --> 01:51:38,639
Speaker 1: in other words, as long as the medical examiner will

2013
01:51:38,640 --> 01:51:41,000
Speaker 1: go on the record and say that that's the cause

2014
01:51:41,040 --> 01:51:43,639
Speaker 1: of death, then Chief Brody's willing to wash his hands

2015
01:51:43,640 --> 01:51:46,000
Speaker 1: of it. Right, And when they catch the tiger shark,

2016
01:51:46,240 --> 01:51:49,839
Speaker 1: and they all do preemptively celebrate, he's all too eager,

2017
01:51:50,200 --> 01:51:54,960
Speaker 1: Like how much attention Spielberg pays to Shier smiling, and

2018
01:51:55,520 --> 01:51:58,320
Speaker 1: how willing he is to congratulate everyone and even pose

2019
01:51:58,360 --> 01:52:01,720
Speaker 1: for the picture himself triumphantly. Right, it's not because, like

2020
01:52:01,800 --> 01:52:04,439
Speaker 1: the others, he really probably wants the glory and he

2021
01:52:04,479 --> 01:52:06,920
Speaker 1: wants the publicity. I think we understand that about who

2022
01:52:06,960 --> 01:52:09,720
Speaker 1: he is as a person, but you know what it is.

2023
01:52:10,200 --> 01:52:13,320
Speaker 1: It does make life so much easier, doesn't it. If

2024
01:52:13,520 --> 01:52:16,639
Speaker 1: the shark was caught, it makes his life so much easier.

2025
01:52:16,720 --> 01:52:20,000
Speaker 1: So he's immediately willing again, like so many of us are.

2026
01:52:20,120 --> 01:52:23,640
Speaker 1: He's immediately willing to assume the truth of what is

2027
01:52:23,680 --> 01:52:26,479
Speaker 1: told to him and what seems to be shown to him,

2028
01:52:26,920 --> 01:52:30,080
Speaker 1: rather than dig deeper and actually confront the truth. And

2029
01:52:30,080 --> 01:52:34,120
Speaker 1: what finally does prompt moments of reckoning for both Brody

2030
01:52:34,200 --> 01:52:37,040
Speaker 1: and the mayor. I think it's really worth pointing out

2031
01:52:37,160 --> 01:52:40,960
Speaker 1: that it isn't until missus Kittner slaps him. Brody doesn't

2032
01:52:40,960 --> 01:52:43,559
Speaker 1: show much remorse. You can tell that this is weighing

2033
01:52:43,640 --> 01:52:46,080
Speaker 1: on him, but he is willing to celebrate, as I said,

2034
01:52:46,080 --> 01:52:48,639
Speaker 1: in that moment, and he doesn't reflect or really show

2035
01:52:48,680 --> 01:52:52,679
Speaker 1: remorse or awareness of his guilt that Alex's death could

2036
01:52:52,720 --> 01:52:56,120
Speaker 1: have been prevented if he hadn't been complicit in basically

2037
01:52:56,160 --> 01:52:59,720
Speaker 1: covering up the shark attack. And for the mayor, it's

2038
01:52:59,760 --> 01:53:02,559
Speaker 1: the same. It's when he says, my kids were on

2039
01:53:02,600 --> 01:53:05,840
Speaker 1: that beach too, So it's that Hooper line that's actually

2040
01:53:05,880 --> 01:53:09,519
Speaker 1: the response to the line I quoted in the setup

2041
01:53:09,760 --> 01:53:12,680
Speaker 1: from the mayor about not wanting to hear from them.

2042
01:53:12,720 --> 01:53:15,360
Speaker 1: They don't understand our problems. He says, I think that

2043
01:53:15,400 --> 01:53:17,240
Speaker 1: I'm familiar with the fact that you're going to ignore

2044
01:53:17,240 --> 01:53:19,840
Speaker 1: this particular problem until it swims up and bites you

2045
01:53:19,920 --> 01:53:22,880
Speaker 1: on the ass, until it swims up and bites them

2046
01:53:22,920 --> 01:53:24,920
Speaker 1: on the ass. The chief is willing to look the

2047
01:53:25,000 --> 01:53:27,120
Speaker 1: other way, the mayor is willing to look the other way.

2048
01:53:27,439 --> 01:53:29,360
Speaker 1: A lot of us are willing to look the other way.

2049
01:53:29,520 --> 01:53:32,560
Speaker 3: Yeah, I think you're right about Brody. It is more complicated.

2050
01:53:32,600 --> 01:53:35,599
Speaker 3: You know, he does have an immediate instinct to protect right.

2051
01:53:35,680 --> 01:53:37,839
Speaker 3: His instinct is to have the deputy make the beaches

2052
01:53:37,920 --> 01:53:42,760
Speaker 3: closed signs. But once things get complicated and political, his

2053
01:53:42,960 --> 01:53:46,040
Speaker 3: position shifts a little bit. And here's another resonance with

2054
01:53:46,320 --> 01:53:49,680
Speaker 3: you know, COVID nineteen that I'll just say I've been experiencing.

2055
01:53:49,840 --> 01:53:52,920
Speaker 3: How about the fact that Brody lets his kids go

2056
01:53:52,960 --> 01:53:55,880
Speaker 3: in the water, but they go in the pond, right,

2057
01:53:55,920 --> 01:53:58,120
Speaker 3: And so there's a negotiation there. And I don't know

2058
01:53:58,160 --> 01:54:00,720
Speaker 3: about you, but as things are open up and we're

2059
01:54:00,720 --> 01:54:05,360
Speaker 3: trying to follow what actual experts say is safe to

2060
01:54:05,360 --> 01:54:08,599
Speaker 3: do right now, just not governmental bodies who have perhaps

2061
01:54:08,680 --> 01:54:11,679
Speaker 3: other interests. Yet at the same time, we have teenage

2062
01:54:11,760 --> 01:54:16,280
Speaker 3: kids who are desperate to associate with their friends, and

2063
01:54:16,680 --> 01:54:19,360
Speaker 3: we have some friends whose families are making some decisions,

2064
01:54:19,400 --> 01:54:22,479
Speaker 3: some who are making other decisions. We're kind of like,

2065
01:54:22,920 --> 01:54:24,600
Speaker 3: do we let our kids go in the water? Like?

2066
01:54:24,640 --> 01:54:27,559
Speaker 3: Which body of water do we let our kids go into?

2067
01:54:28,040 --> 01:54:30,800
Speaker 3: And how are we making our own compromises. So I'm

2068
01:54:30,800 --> 01:54:33,320
Speaker 3: glad you brought that up about Brody because it does

2069
01:54:33,400 --> 01:54:36,080
Speaker 3: complicate things in a way that I think is more

2070
01:54:36,120 --> 01:54:38,840
Speaker 3: true to life. And it adds absolutely And maybe here's

2071
01:54:38,840 --> 01:54:40,839
Speaker 3: where we can get into other aspects of the film.

2072
01:54:41,200 --> 01:54:44,280
Speaker 3: Into what you were talking about, Adam, is how personal

2073
01:54:44,360 --> 01:54:49,240
Speaker 3: this film is not only tied to Brodie's family, but

2074
01:54:49,320 --> 01:54:52,920
Speaker 3: really to an extent, this community at large. And let

2075
01:54:53,000 --> 01:54:54,880
Speaker 3: me give you an example that'll also get us into

2076
01:54:54,920 --> 01:54:57,880
Speaker 3: the craft. It was Michael Phillips number three Spielberg scene,

2077
01:54:58,280 --> 01:55:02,280
Speaker 3: and it is that first bea attack sequence. First of all,

2078
01:55:02,400 --> 01:55:04,800
Speaker 3: just the patience of the filmmaking there watching it again,

2079
01:55:04,920 --> 01:55:08,040
Speaker 3: how much time is spent on building the suspense. But

2080
01:55:08,160 --> 01:55:10,920
Speaker 3: here's here's what I mean about it being personal. Each

2081
01:55:11,040 --> 01:55:15,520
Speaker 3: potential victim in that sequence gets a story it's patient

2082
01:55:15,600 --> 01:55:17,160
Speaker 3: enough to give them a story. So we have the

2083
01:55:17,640 --> 01:55:20,760
Speaker 3: boy who's begging to go back in the water. Right,

2084
01:55:21,040 --> 01:55:24,000
Speaker 3: that's a mini picture of a real family right there.

2085
01:55:24,280 --> 01:55:27,000
Speaker 3: Any of us with kids know that conversation. There's also

2086
01:55:27,040 --> 01:55:30,520
Speaker 3: the woman floating peacefully alone. The shot is long enough

2087
01:55:30,520 --> 01:55:32,839
Speaker 3: to wonder is she just at the beach by herself?

2088
01:55:33,160 --> 01:55:35,440
Speaker 3: You know? Is what is she? You know, just chilling

2089
01:55:35,480 --> 01:55:37,919
Speaker 3: for the day? What's her story? Then how about.

2090
01:55:37,720 --> 01:55:40,320
Speaker 1: Teenage couple the horse play the horse.

2091
01:55:40,080 --> 01:55:42,840
Speaker 3: Play, and then how about the teen with the dog?

2092
01:55:42,960 --> 01:55:45,880
Speaker 3: The dog who gets a name Pippin and that turns

2093
01:55:45,920 --> 01:55:48,000
Speaker 3: out to be Alex Kittner, who is the one who

2094
01:55:48,000 --> 01:55:52,200
Speaker 3: obviously gets killed. So just the time spent where it's

2095
01:55:52,240 --> 01:55:55,200
Speaker 3: not just a shark attack on these strangers who are screaming,

2096
01:55:55,640 --> 01:55:57,760
Speaker 3: it's all of these people who, yes, we don't get

2097
01:55:57,800 --> 01:56:01,400
Speaker 3: to know intimately, but we formed. Spielberg is patient enough,

2098
01:56:01,960 --> 01:56:06,800
Speaker 3: and the shot selection is intentional enough to allow us

2099
01:56:06,880 --> 01:56:09,560
Speaker 3: to form a little bit of relationship so that when

2100
01:56:09,600 --> 01:56:11,720
Speaker 3: the chaos strikes it's all the more terrifying.

2101
01:56:11,960 --> 01:56:15,160
Speaker 1: Yeah, you are so right, and the math doesn't work out.

2102
01:56:15,200 --> 01:56:17,280
Speaker 1: But when I heard Pippen is the dog name here,

2103
01:56:17,440 --> 01:56:19,400
Speaker 1: I of course, thought about Roy Scheider in one of

2104
01:56:19,440 --> 01:56:21,880
Speaker 1: my all time favorite films, All That Jazz playing Bob

2105
01:56:21,920 --> 01:56:25,720
Speaker 1: Fosse and Pippen was one of his seminal musicals, one

2106
01:56:25,760 --> 01:56:28,000
Speaker 1: of his real master works that he got a lot

2107
01:56:28,040 --> 01:56:31,080
Speaker 1: of acclaim for. But obviously this film came before, not

2108
01:56:31,200 --> 01:56:34,680
Speaker 1: before Pippen, but before All That Jazz. I don't think

2109
01:56:34,720 --> 01:56:36,680
Speaker 1: I had that. I didn't go back and look at

2110
01:56:36,680 --> 01:56:38,920
Speaker 1: our top five list, which you can find over at

2111
01:56:38,920 --> 01:56:41,240
Speaker 1: filmspotting dot net just click on lists. I don't remember

2112
01:56:41,280 --> 01:56:44,360
Speaker 1: my exact top five Spielberg moments, but if I was

2113
01:56:44,440 --> 01:56:48,640
Speaker 1: redoing it now, that sequence wouldn't be just at number three,

2114
01:56:48,720 --> 01:56:52,480
Speaker 1: it would probably be at number one. And let's be honest,

2115
01:56:52,520 --> 01:56:55,320
Speaker 1: we could do at minimum a top five moments just

2116
01:56:55,360 --> 01:56:56,640
Speaker 1: from this film.

2117
01:56:56,680 --> 01:56:57,040
Speaker 3: For sure.

2118
01:56:57,200 --> 01:57:02,360
Speaker 1: Forget Spielberg's filmography, but I do think, certainly on this rewatch,

2119
01:57:02,480 --> 01:57:07,480
Speaker 1: that prelude to the Alex Kittner attack is the sequence

2120
01:57:07,640 --> 01:57:13,240
Speaker 1: of this film Brody on the Beach. He's watching obsessively,

2121
01:57:13,840 --> 01:57:15,840
Speaker 1: and I'm going to come back to why I think

2122
01:57:15,880 --> 01:57:18,080
Speaker 1: that part of it is actually important in a second,

2123
01:57:18,840 --> 01:57:23,160
Speaker 1: and we get those wipe cuts on movement, the residents,

2124
01:57:23,440 --> 01:57:27,040
Speaker 1: the residents walking in front of him, almost like it's

2125
01:57:27,320 --> 01:57:29,960
Speaker 1: the blinking of his eye, and every time we get

2126
01:57:29,960 --> 01:57:33,560
Speaker 1: one of those blinks, we get closer to his face,

2127
01:57:34,000 --> 01:57:36,840
Speaker 1: and it does just take everything you were talking about.

2128
01:57:36,840 --> 01:57:40,200
Speaker 1: All that tension, all that dread is just mounting, and

2129
01:57:40,240 --> 01:57:44,200
Speaker 1: it mounts with every single one of those little innocent cuts,

2130
01:57:44,240 --> 01:57:48,040
Speaker 1: those little innocent blinks, and it's all just sound, right.

2131
01:57:48,080 --> 01:57:52,480
Speaker 1: There's no real dialogue, there's no music at this point.

2132
01:57:52,520 --> 01:57:55,280
Speaker 1: It's all just sound and motion, sound and motion, which

2133
01:57:55,320 --> 01:57:58,800
Speaker 1: is filmmaking, right, Filmmaking at its core is sound and motion.

2134
01:57:59,120 --> 01:58:02,120
Speaker 1: And even then we get that shot where Spielberg employs

2135
01:58:02,160 --> 01:58:04,920
Speaker 1: a little trick that is a preview of another trick

2136
01:58:04,960 --> 01:58:09,120
Speaker 1: that's going to come, where Brody's perspective is obscured by

2137
01:58:09,160 --> 01:58:12,280
Speaker 1: the guy, another guy who kind of gets a story, Josh,

2138
01:58:12,320 --> 01:58:15,000
Speaker 1: to your point, Yeah, the guy we all know who's

2139
01:58:15,040 --> 01:58:19,640
Speaker 1: the busybody who only cares about what the reckless holmbs

2140
01:58:19,680 --> 01:58:21,840
Speaker 1: in town or whatever are doing to him. And he's

2141
01:58:21,880 --> 01:58:23,680
Speaker 1: really got to take a look at that he's telling

2142
01:58:23,760 --> 01:58:26,560
Speaker 1: the chief, right, and his perspective is obscured by that

2143
01:58:26,600 --> 01:58:30,360
Speaker 1: guy in his shoulder, and we watch as Brody does

2144
01:58:30,400 --> 01:58:32,800
Speaker 1: what we want him to do. Lifts his eyes, lifts

2145
01:58:32,800 --> 01:58:35,360
Speaker 1: his head over the guy's shoulders so we can see,

2146
01:58:35,720 --> 01:58:37,920
Speaker 1: and then we get a diopter shot. I'm pretty sure

2147
01:58:37,920 --> 01:58:41,000
Speaker 1: it's a diopter shot that obscures the perspective between what

2148
01:58:41,040 --> 01:58:44,080
Speaker 1: Brody's seeing and in the foreground that guy's face and

2149
01:58:44,120 --> 01:58:47,520
Speaker 1: then in the water what he's looking at, which again

2150
01:58:48,000 --> 01:58:51,040
Speaker 1: it does just continue to heighten the tension. Something seems

2151
01:58:51,160 --> 01:58:53,760
Speaker 1: very off in that moment, and that diopter shot actually

2152
01:58:53,760 --> 01:58:56,880
Speaker 1: comes the second before a scream, But it's a scream

2153
01:58:56,880 --> 01:58:59,080
Speaker 1: in the water that isn't the attack yet, so it's

2154
01:58:59,080 --> 01:59:01,360
Speaker 1: all just to tease to well, it's the scream of

2155
01:59:01,400 --> 01:59:04,080
Speaker 1: those kids who are playing in the water, the teenagers,

2156
01:59:04,400 --> 01:59:08,480
Speaker 1: and all of that is what actually sets up the

2157
01:59:08,560 --> 01:59:12,440
Speaker 1: classic shot, the vertigo trick shot. It's one thing to

2158
01:59:12,480 --> 01:59:14,920
Speaker 1: think of that when you take it just on its

2159
01:59:14,960 --> 01:59:19,440
Speaker 1: own as a scene to analyze, and you recognize that

2160
01:59:19,720 --> 01:59:23,320
Speaker 1: he is zooming forward at the same time he is

2161
01:59:23,360 --> 01:59:26,919
Speaker 1: pulling back. That's the technique that gives that amazing effect

2162
01:59:26,960 --> 01:59:30,680
Speaker 1: of fear and awareness of what's happening when the Kittner

2163
01:59:30,680 --> 01:59:34,440
Speaker 1: attack actually begins, as the camera focuses in on Brody.

2164
01:59:34,600 --> 01:59:37,839
Speaker 1: But that's exactly what it's doing just as the shots

2165
01:59:37,920 --> 01:59:41,280
Speaker 1: before it, those cuts were playing with distance and playing

2166
01:59:41,320 --> 01:59:44,840
Speaker 1: with perspective at once. That's what's happening here. Time and

2167
01:59:44,880 --> 01:59:47,040
Speaker 1: space is completely collapsing in that moment.

2168
01:59:47,480 --> 01:59:50,680
Speaker 3: So we've both mentioned the editing in this sequence. We

2169
01:59:50,680 --> 01:59:54,680
Speaker 3: should probably point out Jaws edited by Verna Fields, and

2170
01:59:54,760 --> 01:59:57,000
Speaker 3: looking at her credits, this was her last credit at

2171
01:59:57,040 --> 02:00:01,320
Speaker 3: least at IMDb, but before that edited me Paper Moon

2172
02:00:01,480 --> 02:00:05,400
Speaker 3: American Graffiti with Spielberg here on the sugar Land Express

2173
02:00:05,960 --> 02:00:10,760
Speaker 3: as well. So man, just masterful, masterful work, the camera work,

2174
02:00:10,800 --> 02:00:14,520
Speaker 3: but also the editing in this sequence. And I agree.

2175
02:00:14,640 --> 02:00:16,840
Speaker 3: You know, my pick from Jaws for our top five

2176
02:00:16,880 --> 02:00:19,400
Speaker 3: Spielberg scenes, which will probably get to though I went

2177
02:00:19,440 --> 02:00:21,080
Speaker 3: on and on and on when we did that episode,

2178
02:00:21,160 --> 02:00:23,280
Speaker 3: is show Me the Way to Go Home, the comparing

2179
02:00:23,360 --> 02:00:26,480
Speaker 3: scours scene. But I do agree in terms of craft,

2180
02:00:26,800 --> 02:00:29,160
Speaker 3: maybe in terms of characterization, that's the best scene in

2181
02:00:29,160 --> 02:00:31,320
Speaker 3: the film. In terms of craft, it's this one here

2182
02:00:31,360 --> 02:00:33,720
Speaker 3: that we've been talking about. But you know you're in

2183
02:00:33,760 --> 02:00:36,520
Speaker 3: for this high level of craft from the very start

2184
02:00:36,560 --> 02:00:38,520
Speaker 3: of this film, And one thing I did not remember

2185
02:00:38,560 --> 02:00:42,160
Speaker 3: watching it again is that John Williams score is the

2186
02:00:42,200 --> 02:00:45,480
Speaker 3: first thing we get I think before even any images,

2187
02:00:45,560 --> 02:00:49,400
Speaker 3: we're getting that score. So how supremely confident the filmmakers

2188
02:00:49,440 --> 02:00:52,840
Speaker 3: were right of William's work here to do that. And

2189
02:00:52,880 --> 02:00:56,400
Speaker 3: then we get the teenagers on the beach at night time,

2190
02:00:56,960 --> 02:01:01,040
Speaker 3: and I loved how the camera movement shift here and

2191
02:01:01,200 --> 02:01:03,520
Speaker 3: really moves us into the terror because when they're on

2192
02:01:03,560 --> 02:01:06,160
Speaker 3: the beach hanging out, there's a tracking shot along all

2193
02:01:06,200 --> 02:01:09,320
Speaker 3: of them that shows us clearly we're on stable ground.

2194
02:01:09,400 --> 02:01:13,680
Speaker 3: It's a smooth shot. Right before we get on the water.

2195
02:01:13,880 --> 02:01:17,680
Speaker 3: Things are smooth. Then the two of them run to

2196
02:01:18,280 --> 02:01:21,280
Speaker 3: the water and the movement increases, the camera picks up speed,

2197
02:01:21,320 --> 02:01:24,560
Speaker 3: still tracks, but is going faster now, a little jostling.

2198
02:01:25,040 --> 02:01:27,920
Speaker 3: And then finally when we get in the water, it

2199
02:01:28,000 --> 02:01:30,320
Speaker 3: is when we start to have that sort of lulling

2200
02:01:30,400 --> 02:01:33,720
Speaker 3: effect that we'll have throughout much of the film. And

2201
02:01:34,120 --> 02:01:36,280
Speaker 3: that's just kind of a way to take us from

2202
02:01:36,640 --> 02:01:40,400
Speaker 3: from stable land to a place of instability and fear.

2203
02:01:41,000 --> 02:01:44,640
Speaker 3: And I think, you know, that attack itself is scary

2204
02:01:44,920 --> 02:01:49,160
Speaker 3: because at first she's confused. You know, we know what's

2205
02:01:49,200 --> 02:01:51,760
Speaker 3: happening because we're here to see Jaws, even if this

2206
02:01:51,800 --> 02:01:53,760
Speaker 3: is the first time we saw it, right, But she

2207
02:01:53,960 --> 02:01:56,680
Speaker 3: does not doesn't understand what's happening to her. Then she

2208
02:01:56,760 --> 02:01:59,360
Speaker 3: gets that moment of reprieve hanging on to the buoy.

2209
02:02:00,480 --> 02:02:02,920
Speaker 3: Then the final bite comes pulls her under and we

2210
02:02:03,040 --> 02:02:06,720
Speaker 3: have stillness and silence. So all of this establishes the

2211
02:02:06,760 --> 02:02:08,960
Speaker 3: water as a place of danger compared to the land.

2212
02:02:09,080 --> 02:02:11,240
Speaker 3: And what do we get after this sequence? The first

2213
02:02:11,240 --> 02:02:14,680
Speaker 3: shot Brody uneasily looking out the window of his house

2214
02:02:15,040 --> 02:02:17,760
Speaker 3: at the bay, at the water. So you know you're

2215
02:02:17,800 --> 02:02:21,680
Speaker 3: in the hands already of someone where every shot is

2216
02:02:21,720 --> 02:02:24,960
Speaker 3: going to count. Not a second is wasted. Even think

2217
02:02:24,960 --> 02:02:27,360
Speaker 3: of that moment right there with Brody and his wife,

2218
02:02:27,400 --> 02:02:29,760
Speaker 3: who I do want to get to. There's another shot.

2219
02:02:29,760 --> 02:02:31,560
Speaker 3: I don't know if it's a diopter, but he takes

2220
02:02:31,600 --> 02:02:34,440
Speaker 3: the phone call in their kitchen in the foreground while

2221
02:02:34,440 --> 02:02:38,800
Speaker 3: the mother and son are attending to the child's cut.

2222
02:02:39,200 --> 02:02:41,880
Speaker 3: In the background. Blood, right, that's what we're getting. There

2223
02:02:41,960 --> 02:02:44,840
Speaker 3: is more blood in the background again, a little kind

2224
02:02:44,880 --> 02:02:47,680
Speaker 3: of a setup scene for the narrative. But Spielberg is

2225
02:02:47,680 --> 02:02:51,600
Speaker 3: doing so much, squeezing so much efficiency and important imagery

2226
02:02:51,640 --> 02:02:52,680
Speaker 3: into that shot as well.

2227
02:02:52,800 --> 02:02:54,440
Speaker 1: Yeah, there are so many moments like that. I even

2228
02:02:54,480 --> 02:02:59,120
Speaker 1: think about when they are finally departing with Quint, Hooper

2229
02:02:59,400 --> 02:03:02,080
Speaker 1: and Brody. They're heading off on the boat and we

2230
02:03:02,120 --> 02:03:04,560
Speaker 1: get a moment, if I remember the sequence right where

2231
02:03:05,040 --> 02:03:08,160
Speaker 1: he cuts to that shot from inside Quint's little shack

2232
02:03:08,360 --> 02:03:12,160
Speaker 1: and the big jaws of the shark, and the camera

2233
02:03:12,280 --> 02:03:14,760
Speaker 1: is moving forward, and then we cut to outside and

2234
02:03:14,800 --> 02:03:16,880
Speaker 1: the camera is still moving, but now it's pulling back

2235
02:03:16,880 --> 02:03:19,480
Speaker 1: a little bit. He's just always playing with movement right

2236
02:03:19,560 --> 02:03:22,320
Speaker 1: in a really really fascinating way, and all of those

2237
02:03:22,320 --> 02:03:24,480
Speaker 1: shots matter. I think I went with when we did

2238
02:03:24,480 --> 02:03:27,320
Speaker 1: that top five Spielberg moments my cliche, and there are

2239
02:03:27,360 --> 02:03:29,400
Speaker 1: so many of them that are just so great and

2240
02:03:29,400 --> 02:03:31,120
Speaker 1: so classic from this movie to pick from, I think

2241
02:03:31,160 --> 02:03:35,000
Speaker 1: I went with the Chalkboard sequence, right, the one where

2242
02:03:35,280 --> 02:03:37,000
Speaker 1: we get that great, one of the all time great

2243
02:03:37,080 --> 02:03:40,520
Speaker 1: character introductions into cinema to Quint. But the other one

2244
02:03:40,560 --> 02:03:42,920
Speaker 1: that a lot of people would point to, and it's

2245
02:03:42,920 --> 02:03:45,520
Speaker 1: still great no matter how many times you watch it,

2246
02:03:45,600 --> 02:03:49,960
Speaker 1: is the Indianapolis speech. And I did notice one thing

2247
02:03:50,000 --> 02:03:52,520
Speaker 1: this time. There was always obvious before, I just never

2248
02:03:52,960 --> 02:03:56,320
Speaker 1: zeroed in on. It is one little touch, one little

2249
02:03:56,320 --> 02:03:59,680
Speaker 1: decision with the framing I think Spielberg makes that heightens

2250
02:03:59,680 --> 02:04:03,320
Speaker 1: every thing with that speech is that he keeps Richard

2251
02:04:03,400 --> 02:04:08,480
Speaker 1: Dreyfus in the shot. We know how invested Matt Hooper

2252
02:04:08,600 --> 02:04:13,800
Speaker 1: is in all things sharks, right, yeah, and their history,

2253
02:04:14,120 --> 02:04:16,920
Speaker 1: their legacy almost if you will. He knows that story.

2254
02:04:17,040 --> 02:04:19,560
Speaker 1: We know without him even saying it that he knows,

2255
02:04:19,560 --> 02:04:22,240
Speaker 1: and he does actually verbalize it, I think at one point,

2256
02:04:22,240 --> 02:04:25,120
Speaker 1: but we know that he probably is familiar with all

2257
02:04:25,200 --> 02:04:28,760
Speaker 1: of the lore of the Indianapolis, and he's also fascinated

2258
02:04:28,800 --> 02:04:32,240
Speaker 1: by and also terrorized by to an extent, Quint. Yes,

2259
02:04:32,480 --> 02:04:35,360
Speaker 1: And so when Quinn starts telling a story that puts

2260
02:04:35,440 --> 02:04:38,720
Speaker 1: him in that place and having had that experience, he's

2261
02:04:38,760 --> 02:04:42,240
Speaker 1: in awe and just by keeping him in the right

2262
02:04:42,280 --> 02:04:46,959
Speaker 1: of the frame visible the entire time Dreyfus plays it perfectly,

2263
02:04:47,040 --> 02:04:51,760
Speaker 1: doesn't react at all, is just completely focused on Quint's words,

2264
02:04:52,160 --> 02:04:56,080
Speaker 1: his investment in the story that becomes our investment, and

2265
02:04:56,320 --> 02:04:58,839
Speaker 1: it already is a reflection of our investment as viewers.

2266
02:04:58,960 --> 02:05:01,560
Speaker 1: But I think then we're just hanging on every word

2267
02:05:01,600 --> 02:05:03,840
Speaker 1: in a way that maybe we wouldn't even if it

2268
02:05:03,920 --> 02:05:06,040
Speaker 1: wasn't for the fact that we've got a surrogate there

2269
02:05:06,040 --> 02:05:10,080
Speaker 1: in the scene who is showing us how important every

2270
02:05:10,120 --> 02:05:13,839
Speaker 1: word is, how important this experience is, and how important

2271
02:05:13,880 --> 02:05:16,640
Speaker 1: the storytelling itself is, the act of storytelling.

2272
02:05:16,720 --> 02:05:19,200
Speaker 3: Yeah, he's like an audience plant in a way, and

2273
02:05:19,240 --> 02:05:21,960
Speaker 3: it works. It works perfectly. And I don't know if

2274
02:05:21,960 --> 02:05:23,640
Speaker 3: this came up when we talked about this scene on

2275
02:05:23,680 --> 02:05:26,640
Speaker 3: that show, but I had forgotten and so I had

2276
02:05:26,640 --> 02:05:28,600
Speaker 3: to look it up again that this speech was not

2277
02:05:28,720 --> 02:05:32,160
Speaker 3: in the Peter Benchley novel. So found, you know, just

2278
02:05:32,240 --> 02:05:37,160
Speaker 3: doing some googling that Spielberg credited Howard Sackler for coming

2279
02:05:37,240 --> 02:05:40,080
Speaker 3: up with that. Now, Sackler didn't get screenplay credit, but

2280
02:05:40,240 --> 02:05:42,560
Speaker 3: Spielberg mentioned that he came up with the idea and

2281
02:05:42,640 --> 02:05:45,600
Speaker 3: inserted it, and then John Millius apparently did some work

2282
02:05:45,640 --> 02:05:49,120
Speaker 3: on the speech at some point, and then Robert Shaw himself,

2283
02:05:49,160 --> 02:05:52,280
Speaker 3: you know, brought his own addition, Spielberg said, which you

2284
02:05:52,280 --> 02:05:54,400
Speaker 3: can imagine. So I think I kind of cheated and

2285
02:05:54,560 --> 02:05:56,920
Speaker 3: rolled the Show Me the Way to Go Home Scar

2286
02:05:56,960 --> 02:06:00,120
Speaker 3: scene right into Indianapolis, and that was my pick. But

2287
02:06:00,520 --> 02:06:03,920
Speaker 3: at a little touch I noticed this time was after they

2288
02:06:04,440 --> 02:06:06,920
Speaker 3: the two are comparing their scars, so Quint and Hooper,

2289
02:06:07,280 --> 02:06:10,160
Speaker 3: and it's really like, you know, they're they're pretty close

2290
02:06:10,200 --> 02:06:15,000
Speaker 3: Hooper's had some tough experiences there, even compared to quint.

2291
02:06:15,480 --> 02:06:17,920
Speaker 3: At the end of that, Brody pulls up his shirt

2292
02:06:18,000 --> 02:06:20,360
Speaker 3: quietly in the corner away from them. He's not at

2293
02:06:20,360 --> 02:06:22,560
Speaker 3: the table, and we see he's got a scar too

2294
02:06:22,680 --> 02:06:25,680
Speaker 3: across his abdomen. He just looks at it and pulls

2295
02:06:25,680 --> 02:06:28,000
Speaker 3: his shirt down and it looks like a you know,

2296
02:06:28,320 --> 02:06:30,960
Speaker 3: a pretty big scar like I don't think it was

2297
02:06:31,000 --> 02:06:33,960
Speaker 3: just like a bike accident, but still it's just like,

2298
02:06:34,280 --> 02:06:36,680
Speaker 3: you know, the levels of manliness at play among the

2299
02:06:36,680 --> 02:06:38,720
Speaker 3: three of them, it's not enough for him to enter

2300
02:06:38,760 --> 02:06:42,320
Speaker 3: that contest. Another great character touch that I love. What's

2301
02:06:42,360 --> 02:06:42,720
Speaker 3: that one?

2302
02:06:43,640 --> 02:06:50,200
Speaker 4: What that one on your arm? Oh? I got that? Remove?

2303
02:06:50,320 --> 02:06:50,840
Speaker 4: Don't tell me?

2304
02:06:51,520 --> 02:06:53,560
Speaker 1: Don't tell me, mother.

2305
02:07:05,600 --> 02:07:10,720
Speaker 4: Tuba. That's the US, says Indianapolis.

2306
02:07:13,400 --> 02:07:17,840
Speaker 1: I am glad that we've mentioned all the other screenwriters

2307
02:07:17,880 --> 02:07:19,920
Speaker 1: who maybe had a role in this movie. We haven't

2308
02:07:19,960 --> 02:07:23,000
Speaker 1: mentioned Carl Gottlieb yet, who is the credited screenwriter on

2309
02:07:23,040 --> 02:07:25,240
Speaker 1: this film. And I don't know the original version of

2310
02:07:25,240 --> 02:07:27,720
Speaker 1: the script. I haven't read the Benchley novel either, But

2311
02:07:27,800 --> 02:07:31,280
Speaker 1: in talking about whatever pointed statements it may be making

2312
02:07:31,400 --> 02:07:34,280
Speaker 1: about America that are still very timely and relevant now,

2313
02:07:34,680 --> 02:07:38,320
Speaker 1: probably some credit should go to Gottlieb and his interpretation

2314
02:07:38,400 --> 02:07:41,000
Speaker 1: of the Benchley source material. But another new thing for

2315
02:07:41,080 --> 02:07:44,160
Speaker 1: me watching this time, Josh, And this is where I

2316
02:07:44,240 --> 02:07:47,680
Speaker 1: was going when I was hinting at the obsessiveness of

2317
02:07:48,040 --> 02:07:53,040
Speaker 1: Roy's watching, is I don't think that classic shot on

2318
02:07:53,120 --> 02:07:58,160
Speaker 1: the beach, the zoom pull back is the only Hitchcock

2319
02:07:58,320 --> 02:08:02,040
Speaker 1: theft in this film or the only direct homage to

2320
02:08:02,200 --> 02:08:04,600
Speaker 1: Vertigo even in this film, right, because that's where it

2321
02:08:04,640 --> 02:08:07,240
Speaker 1: comes from, right, And maybe there are other instances in

2322
02:08:07,640 --> 02:08:13,280
Speaker 1: cinema history, But famously that shot in Vertigo Scotty Jimmy

2323
02:08:13,320 --> 02:08:16,280
Speaker 1: Stewart hanging over the ledge looking down. We get that

2324
02:08:16,360 --> 02:08:20,000
Speaker 1: same effect zooming and pulling back in that disorienting sense

2325
02:08:20,440 --> 02:08:24,640
Speaker 1: that it gives us as viewers. Well, Brody is a

2326
02:08:24,640 --> 02:08:30,280
Speaker 1: lot like Scotti in Vertigo. Both are cops, both effectively

2327
02:08:30,400 --> 02:08:34,080
Speaker 1: are retired from being police officers. There's some little character

2328
02:08:34,160 --> 02:08:37,000
Speaker 1: details that we get that I'd also never paid attention

2329
02:08:37,040 --> 02:08:39,720
Speaker 1: to really before, about what being on the beat or

2330
02:08:39,720 --> 02:08:41,600
Speaker 1: being on the job in New York City was like

2331
02:08:41,680 --> 02:08:46,840
Speaker 1: and how different that is. And instead of heights, what's

2332
02:08:46,880 --> 02:08:50,800
Speaker 1: his fear, he's afraid of water? Right, it's elemental. He

2333
02:08:50,880 --> 02:08:54,760
Speaker 1: does not want to go near the water. So there's

2334
02:08:54,800 --> 02:08:58,160
Speaker 1: a perfect correlation here actually to Vertigo. And I do

2335
02:08:58,240 --> 02:09:02,480
Speaker 1: think that whether that's just spiel film school playfulness at

2336
02:09:02,520 --> 02:09:05,160
Speaker 1: work and we can geek out about that a little bit,

2337
02:09:05,440 --> 02:09:09,120
Speaker 1: that fear and making that a psychological foundation for Brody

2338
02:09:09,520 --> 02:09:12,520
Speaker 1: is something that really gives this film a richness that

2339
02:09:12,800 --> 02:09:15,920
Speaker 1: maybe another filmmaker would not bring to what could have

2340
02:09:16,000 --> 02:09:18,160
Speaker 1: been obviously just kind of a B movie where the

2341
02:09:18,160 --> 02:09:22,240
Speaker 1: types of scares we get when the face pops out

2342
02:09:22,520 --> 02:09:25,800
Speaker 1: at Hooper under the water, and maybe some of the

2343
02:09:25,800 --> 02:09:28,000
Speaker 1: shark attacks could have been more gruesome and bloody. We

2344
02:09:28,000 --> 02:09:30,080
Speaker 1: could have gotten that type of bee picture here. But

2345
02:09:30,120 --> 02:09:32,800
Speaker 1: it's not just the craft. It's those character touches that

2346
02:09:32,840 --> 02:09:36,440
Speaker 1: you have pointed out, and it's also that psychological underpinning

2347
02:09:36,480 --> 02:09:36,880
Speaker 1: that's there.

2348
02:09:37,040 --> 02:09:39,840
Speaker 3: Yeah, and that fear comes to fruition when he gets

2349
02:09:39,840 --> 02:09:42,000
Speaker 3: on the boat later right for the last third, it's

2350
02:09:42,000 --> 02:09:45,040
Speaker 3: that we understand that he's out of his element in

2351
02:09:45,120 --> 02:09:48,680
Speaker 3: so many ways at that point, he's almost he's almost helpless.

2352
02:09:49,000 --> 02:09:50,800
Speaker 3: The only thing that doesn't you know, I would say,

2353
02:09:50,840 --> 02:09:52,720
Speaker 3: in terms of you think of Jimmy Stewart being so

2354
02:09:52,880 --> 02:09:55,960
Speaker 3: such an obsessive character in Vertigo. The most obsessive character

2355
02:09:56,000 --> 02:09:58,680
Speaker 3: in this movie is the shark. This thing for sure

2356
02:09:58,840 --> 02:10:01,960
Speaker 3: will not give up. And I love the touch of

2357
02:10:02,000 --> 02:10:04,640
Speaker 3: the show off touch of the shark. At this point,

2358
02:10:04,640 --> 02:10:07,080
Speaker 3: I think it has three barrels harpooned to it should

2359
02:10:07,120 --> 02:10:09,680
Speaker 3: be impossible to go underwater at all. Not only does

2360
02:10:09,760 --> 02:10:12,040
Speaker 3: it go underwater, it goes under the boat right to

2361
02:10:12,160 --> 02:10:13,960
Speaker 3: just kind of like kind of give them a little

2362
02:10:14,000 --> 02:10:16,160
Speaker 3: middle finger that really with them, to tally with them.

2363
02:10:16,680 --> 02:10:19,320
Speaker 3: I do want to jump back because I mentioned her

2364
02:10:19,400 --> 02:10:22,600
Speaker 3: character briefly, Brodie's wife, but not the actress Lorraine Gary

2365
02:10:23,040 --> 02:10:26,440
Speaker 3: as Allen, and I just you know, I think she

2366
02:10:26,640 --> 02:10:29,080
Speaker 3: stands in a line of it. I don't want to

2367
02:10:29,080 --> 02:10:33,480
Speaker 3: give Stielberg too much credit here. He's a male dominant filmmaker, absolutely,

2368
02:10:33,920 --> 02:10:36,400
Speaker 3: but Lorraine Gary as Allen is in a line of

2369
02:10:36,480 --> 02:10:40,760
Speaker 3: fully envisioned and fully performed women characters. Again, they're sidelined

2370
02:10:41,240 --> 02:10:43,440
Speaker 3: because they never really get their full stories. But think

2371
02:10:43,480 --> 02:10:46,000
Speaker 3: of Karen Allen in Raiders of the Lost Dark, think

2372
02:10:46,040 --> 02:10:50,040
Speaker 3: of d Wallace in Et the Extraterrestrial, Terry Ghar in

2373
02:10:50,120 --> 02:10:55,160
Speaker 3: Close Encounters. Again, you could reorient most of those movies

2374
02:10:55,200 --> 02:10:58,680
Speaker 3: perhaps around each of those women, and they might be

2375
02:10:58,920 --> 02:11:03,600
Speaker 3: just as interesting different experiences, and it's sad that we

2376
02:11:03,640 --> 02:11:06,840
Speaker 3: haven't gotten a cinema like that alongside the cinema of men.

2377
02:11:07,280 --> 02:11:10,680
Speaker 3: But for the amount of screen time they have, I

2378
02:11:10,720 --> 02:11:13,959
Speaker 3: think they are given attention by Spielberg as a filmmaker,

2379
02:11:14,000 --> 02:11:18,320
Speaker 3: and I think the actors these actresses give such great performances.

2380
02:11:18,600 --> 02:11:21,839
Speaker 3: Lorraine Gary here, I love how she's supportive of Brody,

2381
02:11:22,120 --> 02:11:24,760
Speaker 3: like you know, she's got his back, but she also

2382
02:11:24,840 --> 02:11:27,360
Speaker 3: has her own ideas, like she pushes back on him.

2383
02:11:27,400 --> 02:11:29,840
Speaker 3: She has her own ideas about their family, but when

2384
02:11:29,880 --> 02:11:32,120
Speaker 3: it comes to if it's going to come down to

2385
02:11:32,160 --> 02:11:35,840
Speaker 3: the island or them, she's gonna stand right next to

2386
02:11:35,920 --> 02:11:39,160
Speaker 3: him and protect the family against the island and the

2387
02:11:39,160 --> 02:11:41,120
Speaker 3: mayor and that sort of stuff. She also has a

2388
02:11:41,120 --> 02:11:46,520
Speaker 3: sardonic sense of humor about that community. She deflates their pretensions.

2389
02:11:46,960 --> 02:11:49,520
Speaker 3: I love the little line like how much work does

2390
02:11:49,520 --> 02:11:52,160
Speaker 3: a line like this do? And the delivery by Gary

2391
02:11:52,480 --> 02:11:54,839
Speaker 3: when she just says want to get drunk and full around.

2392
02:11:55,160 --> 02:11:57,800
Speaker 3: I mean, in a second, you have that marriage right,

2393
02:11:57,880 --> 02:12:00,880
Speaker 3: you know them, and it's it's because of how she

2394
02:12:01,040 --> 02:12:04,800
Speaker 3: delivers it. And again you mentioned the dinner family scene,

2395
02:12:05,000 --> 02:12:08,640
Speaker 3: just another wonderful domestic touch, which was such a strength

2396
02:12:08,640 --> 02:12:12,280
Speaker 3: of Spielberg's early films, in particular when it ends with

2397
02:12:12,480 --> 02:12:15,640
Speaker 3: Brody's son mimicking him and Brody just says to him,

2398
02:12:15,640 --> 02:12:18,440
Speaker 3: give us a kiss, you know. And again another line

2399
02:12:18,520 --> 02:12:23,040
Speaker 3: interaction delivery where this family becomes so fully formed even

2400
02:12:23,080 --> 02:12:26,200
Speaker 3: though it's not really about them. This story isn't meant

2401
02:12:26,240 --> 02:12:28,400
Speaker 3: to be about them, but it still becomes so much

2402
02:12:28,440 --> 02:12:30,560
Speaker 3: about them because of performances like this.

2403
02:12:30,960 --> 02:12:33,080
Speaker 1: If they weren't there, this is such a lesser film.

2404
02:12:33,120 --> 02:12:35,760
Speaker 1: Oh and everything that happens on the boat we would

2405
02:12:35,800 --> 02:12:38,400
Speaker 1: probably still be impressed by because of the craft of

2406
02:12:38,440 --> 02:12:40,280
Speaker 1: so much of it, but we would not be drawn

2407
02:12:40,320 --> 02:12:44,320
Speaker 1: to this film. We would not all continually consistently come

2408
02:12:44,360 --> 02:12:47,560
Speaker 1: back to this film as an all time American great

2409
02:12:47,600 --> 02:12:49,840
Speaker 1: if it wasn't for all of these elements we're talking about,

2410
02:12:49,960 --> 02:12:52,760
Speaker 1: including its timelessness. And I'm really glad you brought up

2411
02:12:52,760 --> 02:12:55,440
Speaker 1: Lorrange Gary, because I agree with everything you said, and

2412
02:12:55,480 --> 02:12:57,440
Speaker 1: I also get to point out that if someone would

2413
02:12:57,520 --> 02:13:00,640
Speaker 1: like to while they're listening, go to Google and type

2414
02:13:00,640 --> 02:13:03,200
Speaker 1: in Lorraine Gary Jaws and look at her hair and

2415
02:13:03,280 --> 02:13:06,080
Speaker 1: hairstyle and see if it maybe reminds you of someone

2416
02:13:06,160 --> 02:13:09,520
Speaker 1: like I don't know Kim Novak from Vertigo, just a

2417
02:13:09,520 --> 02:13:11,960
Speaker 1: little bit that blonde hair, the way it's up. But

2418
02:13:12,160 --> 02:13:14,520
Speaker 1: I will also point to a character moment with her

2419
02:13:14,880 --> 02:13:17,440
Speaker 1: that I love that I also think is so indicative

2420
02:13:17,880 --> 02:13:21,800
Speaker 1: of human nature. It just speaks to who she is,

2421
02:13:21,880 --> 02:13:24,040
Speaker 1: but who we all are. And it's in that moment

2422
02:13:24,120 --> 02:13:27,480
Speaker 1: where after the first attack, I think, after the first

2423
02:13:27,480 --> 02:13:29,680
Speaker 1: body is washed up on shore, he's reading all the

2424
02:13:29,680 --> 02:13:33,040
Speaker 1: books and he's trying to learn what he can about sharks.

2425
02:13:33,280 --> 02:13:36,080
Speaker 1: And he looks out and he shouts at his kids

2426
02:13:36,120 --> 02:13:37,600
Speaker 1: who are out in their little boat that one of

2427
02:13:37,640 --> 02:13:40,200
Speaker 1: them got for his birthday. But they're just along the dock,

2428
02:13:40,560 --> 02:13:42,320
Speaker 1: and the mom's like, what are you doing? What are

2429
02:13:42,320 --> 02:13:44,080
Speaker 1: you doing? They're just along the dock, they're in the boat.

2430
02:13:44,160 --> 02:13:47,400
Speaker 1: They're fine. But then what happens. She glances down at

2431
02:13:47,440 --> 02:13:50,600
Speaker 1: a page in the book where a boat is being

2432
02:13:50,600 --> 02:13:54,080
Speaker 1: attacked by a shark, and in that moment, she then

2433
02:13:54,160 --> 02:13:56,040
Speaker 1: screams at the boys to come in, and Brody has

2434
02:13:56,080 --> 02:13:59,280
Speaker 1: no idea what's happening. And I love that because wouldn't

2435
02:13:59,320 --> 02:14:01,520
Speaker 1: we all do that very same thing? You have that

2436
02:14:01,640 --> 02:14:05,800
Speaker 1: initial dismissal, you go, they're fine, what are we worried about?

2437
02:14:05,920 --> 02:14:07,640
Speaker 1: But the moment, and this kind of goes back to

2438
02:14:07,760 --> 02:14:10,879
Speaker 1: what we were talking about earlier, the moment it becomes visual,

2439
02:14:11,240 --> 02:14:13,880
Speaker 1: the moment it becomes real in your mind and you

2440
02:14:13,920 --> 02:14:16,839
Speaker 1: can actually imagine what you just saw in that book

2441
02:14:17,120 --> 02:14:20,480
Speaker 1: happening to your children on that boat right the second

2442
02:14:20,840 --> 02:14:24,040
Speaker 1: Then the panic sets in. Then the protective instinct sets in,

2443
02:14:24,360 --> 02:14:26,760
Speaker 1: and she shouts at the boys to come in, speaking

2444
02:14:26,760 --> 02:14:28,760
Speaker 1: of fear. I will also say this, and this is

2445
02:14:28,800 --> 02:14:31,600
Speaker 1: not an exaggeration at all. So I go back all

2446
02:14:31,640 --> 02:14:34,600
Speaker 1: the jokes about this movie making people afraid to go

2447
02:14:34,640 --> 02:14:36,800
Speaker 1: in the water. I think I've alluded to this before.

2448
02:14:37,640 --> 02:14:42,160
Speaker 1: I remember as a kid being afraid. I'd lay in

2449
02:14:42,200 --> 02:14:45,880
Speaker 1: my bed. This is like from ages maybe seven to ten,

2450
02:14:46,840 --> 02:14:49,080
Speaker 1: or maybe maybe past that. Josh, we don't have to

2451
02:14:49,080 --> 02:14:50,600
Speaker 1: get into the numbers here. Who's counting?

2452
02:14:51,360 --> 02:14:52,880
Speaker 2: But eight?

2453
02:14:53,000 --> 02:14:56,000
Speaker 1: Yeah, at least I would lay in my bed, and

2454
02:14:56,320 --> 02:15:00,800
Speaker 1: I would not lay with my legs fully extend, even

2455
02:15:00,840 --> 02:15:03,240
Speaker 1: though they didn't go off the bed. I would not

2456
02:15:04,000 --> 02:15:06,680
Speaker 1: lay with my legs fully extended because just the thought

2457
02:15:06,760 --> 02:15:10,560
Speaker 1: of my toes sort of dangling or it was some

2458
02:15:10,680 --> 02:15:13,280
Speaker 1: monsters I'm sure I was afraid of, but I also

2459
02:15:13,440 --> 02:15:15,960
Speaker 1: was very afraid of this idea of Jos. I was

2460
02:15:16,000 --> 02:15:19,680
Speaker 1: afraid of the shark somehow being in my bedroom and

2461
02:15:20,320 --> 02:15:22,320
Speaker 1: being able to get my feet and I am not

2462
02:15:22,440 --> 02:15:24,800
Speaker 1: kidding you, it was like I was seven years old

2463
02:15:24,800 --> 02:15:27,800
Speaker 1: all over again. I'm watching this movie. I'm sitting on

2464
02:15:28,040 --> 02:15:31,520
Speaker 1: the couch in my office sort of viewing area, and

2465
02:15:31,560 --> 02:15:34,480
Speaker 1: it's one of those where the side also reclines like

2466
02:15:34,520 --> 02:15:36,960
Speaker 1: a chair. And there were two moments where I caught

2467
02:15:37,000 --> 02:15:41,120
Speaker 1: myself pulling my feet back off of the extension. I

2468
02:15:41,120 --> 02:15:44,600
Speaker 1: couldn't let myself fully recline because my toes were dangling

2469
02:15:44,600 --> 02:15:45,840
Speaker 1: on the floor and Jos was going.

2470
02:15:45,800 --> 02:15:49,680
Speaker 3: To get them recoiling from the movie. Yeah, it's that effective.

2471
02:15:49,920 --> 02:15:53,480
Speaker 3: Would you Would you ever do I've seen park districts

2472
02:15:53,520 --> 02:15:55,800
Speaker 3: do this where they have pools. They'll do a screening

2473
02:15:55,880 --> 02:15:58,520
Speaker 3: of Jaws and you sit in an inner tube and

2474
02:15:58,600 --> 02:16:01,240
Speaker 3: watch it in the pool. I would kind of love

2475
02:16:01,280 --> 02:16:04,720
Speaker 3: to try that sometimes. But just to go back to

2476
02:16:04,760 --> 02:16:07,000
Speaker 3: your note about the books, the pictures in the books,

2477
02:16:07,240 --> 02:16:09,760
Speaker 3: it's effective in that scene as a character development and

2478
02:16:10,000 --> 02:16:12,920
Speaker 3: motivation for that moment, but also I noticed you know,

2479
02:16:13,000 --> 02:16:14,800
Speaker 3: we've talked, I'm sure at some point on the show,

2480
02:16:14,840 --> 02:16:17,360
Speaker 3: and everyone talks about all the filmmaking tricks Spielberg had

2481
02:16:17,360 --> 02:16:20,200
Speaker 3: to do to get around this faulty mechanical shark, right,

2482
02:16:21,120 --> 02:16:23,680
Speaker 3: John Williams score is one thing. Using the camera point

2483
02:16:23,720 --> 02:16:25,920
Speaker 3: of view as the shark is another way. But it

2484
02:16:26,000 --> 02:16:28,760
Speaker 3: struck me this time. That's why we get so many

2485
02:16:28,800 --> 02:16:32,240
Speaker 3: insert shots I think of these books is because he

2486
02:16:32,280 --> 02:16:36,480
Speaker 3: can't show the shark attacking. So let's show something even scarier,

2487
02:16:36,640 --> 02:16:41,520
Speaker 3: not like a yankee mechanical shark, but actual photos of

2488
02:16:41,600 --> 02:16:45,119
Speaker 3: attacks from real life, and the autopsy description that Hooper

2489
02:16:45,480 --> 02:16:48,720
Speaker 3: can barely get through that serves the same purpose. So

2490
02:16:48,760 --> 02:16:51,120
Speaker 3: those are just a few other things that stand in

2491
02:16:51,200 --> 02:16:53,840
Speaker 3: place of the actual shark here, in addition to the

2492
02:16:53,840 --> 02:16:56,879
Speaker 3: more traditional ones people mentioned, like the barrels or like

2493
02:16:56,920 --> 02:16:59,800
Speaker 3: the peer breaking and then turning around and coming after

2494
02:16:59,879 --> 02:17:04,119
Speaker 3: the Yeah, there's just again. It goes back to the efficiency,

2495
02:17:04,560 --> 02:17:08,800
Speaker 3: the killer great white shark like efficiency of this movie,

2496
02:17:08,920 --> 02:17:12,160
Speaker 3: where yes, even an insert shot of a shark attack

2497
02:17:12,200 --> 02:17:15,000
Speaker 3: in a book is going to serve multiple purposes for

2498
02:17:15,080 --> 02:17:15,520
Speaker 3: the film.

2499
02:17:15,720 --> 02:17:18,520
Speaker 1: Yeah, And that efficiency and that sense of how to

2500
02:17:18,600 --> 02:17:21,520
Speaker 1: use the camera and get around the shark problem if

2501
02:17:21,520 --> 02:17:24,640
Speaker 1: you will also manifest itself so clearly in just the

2502
02:17:24,720 --> 02:17:29,080
Speaker 1: decision to focus on using point of view as a tool. Yeah,

2503
02:17:29,400 --> 02:17:32,080
Speaker 1: it goes back to the feet of the woman dangling

2504
02:17:32,120 --> 02:17:36,120
Speaker 1: in the water below the surface, and we are the

2505
02:17:36,160 --> 02:17:38,400
Speaker 1: shark in that moment. And how many times throughout the

2506
02:17:38,400 --> 02:17:40,960
Speaker 1: film instead of showing us the shark does he show

2507
02:17:41,040 --> 02:17:43,240
Speaker 1: us what the shark would see. And that's all we

2508
02:17:43,280 --> 02:17:46,440
Speaker 1: need to experience to really feel the horror of Jaws.

2509
02:17:47,120 --> 02:17:57,279
Speaker 2: Roy Scheider, Robert Shaw, Richard Dreyfuss, Jaws. See it before

2510
02:17:57,320 --> 02:17:58,119
Speaker 2: you go swimming.

2511
02:17:59,080 --> 02:18:02,920
Speaker 3: Hope you enjoyed that June twenty twenty Sacred Cow review

2512
02:18:03,120 --> 02:18:07,000
Speaker 3: of Jaws. For now, that's our show. If you'd like

2513
02:18:07,080 --> 02:18:09,640
Speaker 3: to connect with us on social media, you can find

2514
02:18:09,760 --> 02:18:13,320
Speaker 3: Adam and film Spotting on Instagram, Facebook, letterbox, and how

2515
02:18:13,320 --> 02:18:18,440
Speaker 3: about this YouTube that's all at film Spotting I'm at

2516
02:18:18,959 --> 02:18:21,400
Speaker 3: I think, Yeah, I'm at all those places and throw

2517
02:18:21,480 --> 02:18:24,640
Speaker 3: Bluesky in there as well. You can find me Larson

2518
02:18:24,800 --> 02:18:29,000
Speaker 3: on film We are independently produced and listeners supported. You

2519
02:18:29,040 --> 02:18:31,680
Speaker 3: can support the show by joining the film Spotting Family

2520
02:18:31,760 --> 02:18:35,920
Speaker 3: at film spottingfamily dot com, listen early and ad free

2521
02:18:36,000 --> 02:18:40,119
Speaker 3: get a weekly newsletter. Get monthly bonus episodes and access

2522
02:18:40,160 --> 02:18:43,400
Speaker 3: to the entire show archive. For show t shirts and

2523
02:18:43,480 --> 02:18:46,760
Speaker 3: other merch go to film spotting dot net slash shop.

2524
02:18:47,120 --> 02:18:50,119
Speaker 1: In that archive, you can hear our top five Denzel

2525
02:18:50,280 --> 02:18:53,520
Speaker 1: Washington performances from twenty seventeen. We had a guest on

2526
02:18:53,560 --> 02:18:57,200
Speaker 1: for that, comedian TV host and film director w caamal Beell.

2527
02:18:57,600 --> 02:19:00,000
Speaker 1: He's the host of the Denzel Washington is the Great

2528
02:19:00,160 --> 02:19:03,120
Speaker 1: actor of all time period podcast makes sense. We had

2529
02:19:03,200 --> 02:19:05,560
Speaker 1: him on right. We did share that in our feed

2530
02:19:06,040 --> 02:19:09,680
Speaker 1: earlier this week. And my favorite part of that top

2531
02:19:09,760 --> 02:19:13,480
Speaker 1: five is when I was certain I was going to

2532
02:19:13,520 --> 02:19:18,199
Speaker 1: get praise from camal Bell for including that deep cut

2533
02:19:18,879 --> 02:19:22,720
Speaker 1: of Deja Vu in my top five, only to have

2534
02:19:22,840 --> 02:19:27,200
Speaker 1: him laugh at me for putting it on my list.

2535
02:19:27,520 --> 02:19:29,600
Speaker 3: You didn't have to bring that up again for everyone

2536
02:19:29,640 --> 02:19:31,560
Speaker 3: to hear, Adam, you know what I want.

2537
02:19:31,600 --> 02:19:33,720
Speaker 1: I want people to go ahead and listen to it.

2538
02:19:33,720 --> 02:19:36,959
Speaker 1: It is what it is. It happened, and it filled

2539
02:19:36,959 --> 02:19:37,480
Speaker 1: me with shame.

2540
02:19:37,680 --> 02:19:40,120
Speaker 3: And it also in the Ardnights.

2541
02:19:39,680 --> 02:19:42,880
Speaker 1: Yeah twenty eighteen, episode six ninety three, we shared our

2542
02:19:42,879 --> 02:19:46,320
Speaker 1: top five spike Lee shots other spike Lee conversations. Do

2543
02:19:46,360 --> 02:19:48,840
Speaker 1: the right Thing at thirty five Episode nine to seventy five,

2544
02:19:49,160 --> 02:19:53,120
Speaker 1: American Utopia, The David Byrne Collaboration Episode seven ninety seven

2545
02:19:53,200 --> 02:19:56,680
Speaker 1: to five, Bloods seven eighty one, Black Clansman six ninety three,

2546
02:19:56,760 --> 02:20:02,000
Speaker 1: Shyraq five sixty six, Old Boy Episode four seventy seven.

2547
02:20:02,320 --> 02:20:07,000
Speaker 1: That's for seventy Actually An Inside Man episode eighty nine

2548
02:20:07,680 --> 02:20:11,600
Speaker 1: out new on vod The Thursday Murder Club. Actually this

2549
02:20:11,680 --> 02:20:16,360
Speaker 1: is on Netflix streaming. A retirement community or friends from

2550
02:20:16,400 --> 02:20:19,320
Speaker 1: a retired community form the club of the title to

2551
02:20:19,360 --> 02:20:22,600
Speaker 1: work on cold cases for fun when they find themselves

2552
02:20:22,600 --> 02:20:25,520
Speaker 1: in the middle of a live murder case. It's directed

2553
02:20:25,520 --> 02:20:28,840
Speaker 1: by Chris Columbus, but the cast Helen Mirren, Ben Kingsley,

2554
02:20:28,879 --> 02:20:29,640
Speaker 1: Pierce Brosnan.

2555
02:20:29,920 --> 02:20:31,920
Speaker 3: You know what, I for some reason I thought this

2556
02:20:32,080 --> 02:20:35,360
Speaker 3: was a streaming series, and I was like, could be good,

2557
02:20:35,400 --> 02:20:38,720
Speaker 3: but I'm not cold, Okay, sit down, knock it out movie.

2558
02:20:38,760 --> 02:20:39,400
Speaker 3: Maybe I'm in.

2559
02:20:39,800 --> 02:20:44,480
Speaker 1: Maybe in limited release A Little Prayer. David Strathern tries

2560
02:20:44,520 --> 02:20:46,400
Speaker 1: to protect his daughter in law when he discovers that

2561
02:20:46,440 --> 02:20:49,680
Speaker 1: his son is having an affair. It's directed by Angus McLaughlin,

2562
02:20:49,760 --> 02:20:52,520
Speaker 1: who wrote the movie Junebug. It premiered at the twenty

2563
02:20:52,560 --> 02:20:55,160
Speaker 1: twenty three Sun Dance to pretty strong reviews. It's just

2564
02:20:55,200 --> 02:20:59,520
Speaker 1: getting a theatrical release. Brian Tallerico says, a gentle dramedy

2565
02:20:59,560 --> 02:21:02,879
Speaker 1: about a decent man realizing he hasn't raised a decent sun.

2566
02:21:03,320 --> 02:21:07,880
Speaker 1: Phenomenal work from Strathurn. Really great. He's He's always great. Also,

2567
02:21:07,920 --> 02:21:09,720
Speaker 1: we should mention the Tell You Write Film Festival is

2568
02:21:09,760 --> 02:21:12,200
Speaker 1: starting through September first. If you happen to be out

2569
02:21:12,240 --> 02:21:14,560
Speaker 1: there now, this is a good one. I've actually never

2570
02:21:14,600 --> 02:21:17,800
Speaker 1: seen this somehow, despite being a huge Prince fan. Prince

2571
02:21:17,879 --> 02:21:21,080
Speaker 1: Sign of the Times in Imax in limited release. This

2572
02:21:21,280 --> 02:21:24,960
Speaker 1: was originally out in nineteen eighty seven. Now it's out

2573
02:21:25,000 --> 02:21:29,480
Speaker 1: in Imax. Producer Sam this is his four star letterbox review,

2574
02:21:30,600 --> 02:21:32,600
Speaker 1: Like if gene Kelly directed porn.

2575
02:21:32,879 --> 02:21:36,000
Speaker 3: I mean Sam would know, And I'm just gonna leave

2576
02:21:36,000 --> 02:21:40,320
Speaker 3: it that there, or leave it there Sam, Sam really

2577
02:21:40,400 --> 02:21:43,320
Speaker 3: likes gene Kelly. I feel I have to say.

2578
02:21:43,200 --> 02:21:46,000
Speaker 1: It, Josh, we need to leave it there. It was

2579
02:21:46,040 --> 02:21:50,920
Speaker 1: funnier when you left it there. Suspended Time directed by

2580
02:21:51,040 --> 02:21:54,080
Speaker 1: Olivier Asseas, the director of Personal Shopper and Clouds of

2581
02:21:54,080 --> 02:21:56,760
Speaker 1: Sils Maria and Carlos. I really want to see this one,

2582
02:21:56,800 --> 02:22:00,120
Speaker 1: he returns to his childhood home and discovers isolation to

2583
02:22:00,160 --> 02:22:03,240
Speaker 1: be an artistic curative. It was shot during the pandemic

2584
02:22:03,680 --> 02:22:06,880
Speaker 1: out in wide release. Aeronofsky's new film Caught Stealing, a

2585
02:22:06,959 --> 02:22:10,240
Speaker 1: nineties crime drama starring Austin Butler as a former baseball

2586
02:22:10,240 --> 02:22:12,520
Speaker 1: player who finds himself mixed up in New York City's

2587
02:22:12,560 --> 02:22:16,360
Speaker 1: criminal underbelly. This also has a really good cast Zoey Kravitz,

2588
02:22:16,440 --> 02:22:21,440
Speaker 1: Regina King, Matt Smith, Lee Have Schreiber, Vincent Dinafrio, and others.

2589
02:22:22,200 --> 02:22:25,560
Speaker 1: The Roses I've never been interested. I wasn't interested in

2590
02:22:25,560 --> 02:22:28,920
Speaker 1: the Michael Douglas Kathleen Turner version. If you just on

2591
02:22:29,040 --> 02:22:32,720
Speaker 1: paper seeing another version of the eighties black comedy The

2592
02:22:32,760 --> 02:22:36,040
Speaker 1: War of the Roses, this one with Olivia Coleman and

2593
02:22:36,080 --> 02:22:40,360
Speaker 1: Bennett Cumberbatch, Andy Samberg's in it, Kate mckinning, Alison Janney

2594
02:22:40,760 --> 02:22:43,160
Speaker 1: on paper, I don't care. I've seen the trailer a

2595
02:22:43,160 --> 02:22:46,640
Speaker 1: few times though, and maybe it's just how game Coleman

2596
02:22:46,680 --> 02:22:48,920
Speaker 1: and cumber Batch are. Looks kind of fun.

2597
02:22:49,240 --> 02:22:52,360
Speaker 3: They are game, and every once in a while, I mean,

2598
02:22:52,360 --> 02:22:55,120
Speaker 3: Debbie's open for most movies, not horror, but most movies

2599
02:22:55,640 --> 02:22:57,320
Speaker 3: that I want to go to. But this is one

2600
02:22:57,360 --> 02:22:59,360
Speaker 3: where she came up to me. It was like, can

2601
02:22:59,400 --> 02:23:02,600
Speaker 3: we go see this? She saw the trailer somewhere and

2602
02:23:02,640 --> 02:23:04,840
Speaker 3: so maybe I'll maybe we'll check it out and I'll

2603
02:23:04,840 --> 02:23:05,440
Speaker 3: report back.

2604
02:23:05,959 --> 02:23:10,640
Speaker 1: Okay, there you go. Also out The Toxic Avenger. I

2605
02:23:10,640 --> 02:23:13,280
Speaker 1: think Debbie has this number one on her priority list.

2606
02:23:13,520 --> 02:23:16,480
Speaker 1: It's a remake of the cold eighties film directed by

2607
02:23:16,520 --> 02:23:20,280
Speaker 1: Mace Macon Blair from Blue Ruin, with Peter Dinklage as

2608
02:23:20,320 --> 02:23:24,320
Speaker 1: the Avenger, plus Kevin Bacon, Elijah Wood, and Taylor Page.

2609
02:23:24,480 --> 02:23:28,039
Speaker 1: It was the opening film at twenty twenty three's Fantastic Fest,

2610
02:23:28,520 --> 02:23:33,320
Speaker 1: didn't get distribution. It's in theaters now in an unrated version.

2611
02:23:33,840 --> 02:23:36,560
Speaker 1: Tasha Robinson, our friend from the Next Picture Show, caught

2612
02:23:36,560 --> 02:23:38,920
Speaker 1: it back in twenty twenty three and said this, there's

2613
02:23:38,959 --> 02:23:42,080
Speaker 1: a whole lot of huh. I've never seen anyone explode

2614
02:23:42,200 --> 02:23:46,320
Speaker 1: quite like that before in this extremely goofy, utterly self

2615
02:23:46,320 --> 02:23:49,600
Speaker 1: aware remake. Also, there is no scenery left in the

2616
02:23:49,760 --> 02:23:52,720
Speaker 1: entire world because Kevin Bacon has now eaten it all.

2617
02:23:53,000 --> 02:23:55,000
Speaker 3: I don't know. I think you got a little in

2618
02:23:55,080 --> 02:23:58,840
Speaker 3: Massacre Theater, you babe, found something to eat? Yeah, I

2619
02:23:58,879 --> 02:24:01,080
Speaker 3: will not be seeing this w If I see it,

2620
02:24:01,080 --> 02:24:05,039
Speaker 3: it'll be alone in the theater, which is maybe how

2621
02:24:05,200 --> 02:24:07,560
Speaker 3: the Toxic Avenger was meant to be seen, So that'll

2622
02:24:07,600 --> 02:24:08,160
Speaker 3: be just fine.

2623
02:24:08,680 --> 02:24:13,000
Speaker 1: Of course, Jaws in Imax as well. Next week we

2624
02:24:13,040 --> 02:24:16,600
Speaker 1: are off no new content, but new to you content

2625
02:24:17,120 --> 02:24:21,080
Speaker 1: sharing at least one film spotting fest Q and A

2626
02:24:21,440 --> 02:24:24,240
Speaker 1: and maybe more. Look for that come back in a

2627
02:24:24,280 --> 02:24:26,920
Speaker 1: couple of weeks. We'll have our Pantheon Project review of

2628
02:24:26,959 --> 02:24:29,600
Speaker 1: Goodfellas at thirty five, and I'm really looking forward to

2629
02:24:29,640 --> 02:24:31,840
Speaker 1: the debut of Josh's Scottish bro.

2630
02:24:33,360 --> 02:24:35,840
Speaker 3: Well, we're gonna have a problem, Adam, if you can

2631
02:24:35,879 --> 02:24:40,520
Speaker 3: no longer understand me, true, true, Well, actually it'll be

2632
02:24:40,600 --> 02:24:42,039
Speaker 3: probably business as usual.

2633
02:24:42,480 --> 02:24:42,960
Speaker 1: There you go.

2634
02:24:43,879 --> 02:24:46,480
Speaker 3: Film Spotting is produced by Golden Joe, Des and Sam

2635
02:24:46,640 --> 02:24:50,039
Speaker 3: van Holgren. Without Sam and Golden Joe, this show wouldn't go.

2636
02:24:50,520 --> 02:24:54,000
Speaker 3: Our production assistant is Sophiekampanar special thanks to everyone at

2637
02:24:54,080 --> 02:24:59,280
Speaker 3: wb easy Chicago. More information is available at wbeazy dot org.

2638
02:24:59,560 --> 02:25:01,759
Speaker 3: For a film spotting I'm Josh Larson.

2639
02:25:01,640 --> 02:25:03,840
Speaker 1: And I Madam Kempinar. Thanks for listening.

2640
02:25:04,120 --> 02:25:32,800
Speaker 4: This conversation can serve no purpose anymore. Good fine.

2641
02:25:24,959 --> 02:25:27,920
Speaker 1: Film Spotting is Listeners supported join the film Spotting Family

2642
02:25:28,000 --> 02:25:30,520
Speaker 1: at film spotting family dot com and get access to

2643
02:25:30,640 --> 02:25:34,160
Speaker 1: ad free episodes, monthly bonus shows, our weekly newsletter, and,

2644
02:25:34,280 --> 02:25:36,560
Speaker 1: for the first time, all in one place, the entire

2645
02:25:36,800 --> 02:25:39,280
Speaker 1: film spotting archive going back to two thousand and five.

2646
02:25:39,560 --> 02:25:44,959
Speaker 1: That's a film Spotting Family dot com panomly