WEBVTT - Highest 2 Lowest Review, Jaws Review, Weapons Feedback 0:00:03.880 --> 0:00:05.720 What kind of a show you guys. 0:00:05.440 --> 0:00:06.360 Putting on here today? 0:00:06.480 --> 0:00:07.520 You're not interested in art? 0:00:07.720 --> 0:00:07.920 Now? 0:00:08.080 --> 0:00:09.400 No, look, we're going to do this thing. 0:00:09.400 --> 0:00:10.080 We're going to have a. 0:00:10.039 --> 0:00:16.280 Conversation from Chicago. This is Film Spotting celebrating our twentieth year. 0:00:16.480 --> 0:00:18.920 I madam Kempenar and I'm Josh Larson. 0:00:19.440 --> 0:00:22.599 I gotta feed the street, my lady ken and newborn kid. 0:00:22.720 --> 0:00:25.320 And I ain't trying to going back into another big days. 0:00:25.640 --> 0:00:27.640 I know what it is to risk everything you have 0:00:27.880 --> 0:00:28.520 or something. 0:00:28.240 --> 0:00:28.720 That you want. 0:00:29.200 --> 0:00:32.360 I know what that means to have nothing and won everything? 0:00:33.560 --> 0:00:37.040 What is that? In Spike Lee's Highest to Lowest, Denzel 0:00:37.159 --> 0:00:40.720 Washington is a powerful record executive whose life is upended 0:00:40.800 --> 0:00:41.640 by a kidnapping. 0:00:41.920 --> 0:00:44.600 Currently out in limited release, the film comes to Apple 0:00:44.640 --> 0:00:47.959 TV Plus in September. We've got a review plus some 0:00:48.040 --> 0:00:52.920 weapons feedback with spoilers and Jaws at fifty that and more. 0:00:53.080 --> 0:00:57.400 But that you get the head, the tail, the whole damn. 0:00:57.320 --> 0:00:59.520 Thing ahead on Film Spotting. 0:01:00.040 --> 0:01:02.760 Thank you very much, mister quint. 0:01:03.320 --> 0:01:06.560 Welcome to Film Spotting. We gave Jaws the Sacred Cow 0:01:06.640 --> 0:01:09.600 treatment back in the summer of twenty twenty for its 0:01:09.640 --> 0:01:13.320 forty fifth anniversary Josh, and we found a film that 0:01:13.440 --> 0:01:18.319 spoke to our then current political moment in some surprising ways. 0:01:18.959 --> 0:01:22.560 Five years later, Jaws is back in theaters celebrating its 0:01:22.600 --> 0:01:27.920 fiftieth I'm guessing that conversation will still resonate. 0:01:29.080 --> 0:01:31.760 I mean, considering we spent some time talking about it 0:01:31.800 --> 0:01:35.360 as a COVID parable and I believe I saw today 0:01:35.400 --> 0:01:40.039 that our current administration and its wisdom is discussing pulling 0:01:40.080 --> 0:01:42.960 back support for COVID vaccines. Yeah, I think it'll still 0:01:43.200 --> 0:01:45.039 apply to what we're experiencing today. 0:01:45.600 --> 0:01:48.480 This week we will share that twenty twenty Sacred Cow 0:01:48.600 --> 0:01:51.840 review of Jaws. We've also got some listener feedback with 0:01:52.040 --> 0:01:56.320 questions and maybe some insights from our listeners anyway about 0:01:56.400 --> 0:02:00.480 Zach Kraiger's weapons, plus massacre theater and more. 0:02:00.840 --> 0:02:04.320 But first, Spike Lee's Highest to Lowest, a remake of 0:02:04.400 --> 0:02:07.920 Akira kuris I was nineteen sixty three thriller High and Low, 0:02:08.040 --> 0:02:10.720 which itself was an adaptation of the nineteen fifty nine 0:02:10.800 --> 0:02:14.280 American novel King's Ransom by Ed McBain. The new film 0:02:14.280 --> 0:02:19.000 stars Denzel Washington as music mogul David King. He's blackmailed 0:02:19.000 --> 0:02:22.560 by a kidnapper who thinks he has nabbed King's son 0:02:22.960 --> 0:02:26.520 but has actually grabbed the son of his driver. Jeffrey 0:02:26.560 --> 0:02:30.679 writes Paul, here's Denzel's King trying to negotiate with the 0:02:30.760 --> 0:02:32.400 kidnapper into the phone. 0:02:32.480 --> 0:02:41.000 Please, okay, relax, Hello King, David n Ain't this sign? 0:02:41.280 --> 0:02:43.440 So? I got your full attention now? 0:02:43.520 --> 0:02:45.040 Huh you're finally listening to me. 0:02:45.480 --> 0:02:46.240 Yeah, I'm listening. 0:02:46.360 --> 0:02:46.720 Good. 0:02:47.400 --> 0:02:48.760 You know you got the wrong boy. 0:02:48.600 --> 0:02:51.959 Ray offer, and I'll also learn you can never trust 0:02:51.960 --> 0:02:52.360 the help. 0:02:53.240 --> 0:02:55.800 But luckily for me, it was never about the boy. 0:02:55.880 --> 0:02:56.800 It was always about you. 0:02:57.000 --> 0:02:58.800 Well, I'm fair enough, but if it's about me, then 0:02:58.800 --> 0:03:01.200 you can't expect me to pay seventeen and a half 0:03:01.240 --> 0:03:02.880 million dollars for somebody else's sun. 0:03:02.919 --> 0:03:05.280 If it's about me and his blood is gonna be 0:03:05.320 --> 0:03:08.919 on your hands, then how you wanted? No? Man, Come on, no, 0:03:09.639 --> 0:03:12.480 I could have say, no negotiation. That's the day of 0:03:12.520 --> 0:03:12.960 recking it. 0:03:13.880 --> 0:03:16.880 I'm not God no more an all right. 0:03:16.720 --> 0:03:19.079 Listen, God give you everything you want, right, No, God 0:03:19.160 --> 0:03:20.160 give you everything you need. 0:03:20.280 --> 0:03:21.680 So the question is, what are you unique? 0:03:21.720 --> 0:03:22.399 How can I help? 0:03:22.560 --> 0:03:24.679 I saying I'm God, but I can help. 0:03:25.160 --> 0:03:28.040 Quick preface here, I had the idea for this setup, 0:03:28.080 --> 0:03:31.760 and I wrote it before I really thought through my 0:03:32.320 --> 0:03:35.960 full reaction to the movie and took down all of 0:03:35.960 --> 0:03:39.240 my notes. And now I'm kind of doubting my assumption 0:03:39.720 --> 0:03:44.160 about your reaction, but it doesn't change my prompt to Okay, 0:03:44.800 --> 0:03:48.200 so here goes. I'm no statistician, but I do know 0:03:48.680 --> 0:03:52.440 small sample sizes can be misleading. I've only spoken with 0:03:52.840 --> 0:03:57.040 two people who've seen Spike Lee's latest talk to them 0:03:57.040 --> 0:04:00.720 about it. Still, I couldn't help but notice something unpacking, 0:04:01.040 --> 0:04:04.280 or at least worth exploiting for this setup. They're both 0:04:04.320 --> 0:04:07.680 in their early twenties, and on the movie's titular scale, 0:04:08.280 --> 0:04:12.960 their reactions lean more lowest than highest. But age isn't 0:04:12.960 --> 0:04:17.960 really the issue. Their Spike Lee history is between them. 0:04:18.440 --> 0:04:23.440 They've seen just one of his previous films. Experiencing his 0:04:23.560 --> 0:04:26.600 work for the first or second time can be jarring. 0:04:27.279 --> 0:04:31.360 Calling anyone much less an artist didactic is rarely a compliment, 0:04:31.720 --> 0:04:34.720 Yet we've both used the term lovingly to describe Lee. 0:04:35.160 --> 0:04:38.680 His audacity is only matched by his fearlessness. And if 0:04:38.680 --> 0:04:41.080 for some reason you needed to mount a quick defense 0:04:41.080 --> 0:04:44.000 of the tour theory, say you show up at a party, 0:04:44.160 --> 0:04:47.920 and boom, someone's been reading Pauline Kle and suddenly starts 0:04:48.000 --> 0:04:52.000 laying into you. You know how it is at these parties, Josh, Uh, sure, 0:04:52.360 --> 0:04:56.520 he could be your exhibit A whether we're discussing films 0:04:56.560 --> 0:04:59.719 he wrote, directed and acted in like Do the Right Thing, 0:05:00.080 --> 0:05:03.279 Jungle Fever, and Malcolm X. Or films he wrote and 0:05:03.320 --> 0:05:07.200 directed like He Got Game, Shyrack and Black Klansman, Or 0:05:07.240 --> 0:05:10.039 films by other writers that he directed, like Twenty Fifth 0:05:10.040 --> 0:05:13.760 Hour and Inside Man. Or films other directors already made, 0:05:14.040 --> 0:05:16.839 like Old Boy, The Sweet Blood of Jesus, and now 0:05:17.240 --> 0:05:21.560 Highest to Lowest, which he calls a reinterpretation, not a remake. 0:05:22.040 --> 0:05:26.560 There is one indisputable double truth, Ruth. A Spike Lee 0:05:26.640 --> 0:05:30.960 joint is always a spike Lee joint. I don't know 0:05:31.000 --> 0:05:34.040 where you currently fall, Josh, but I'm going to guess that, 0:05:34.680 --> 0:05:38.239 even if you're positive on it, you probably don't consider 0:05:38.320 --> 0:05:42.160 Highest to Lowest to be top tier or quite possibly 0:05:42.200 --> 0:05:45.599 even middle tier Spike Lee. For what it's worth, I 0:05:45.640 --> 0:05:49.719 consulted the experts vultures Will Leach and Tim Grierson. In 0:05:49.760 --> 0:05:53.240 their recent ranking of every Spike Lee film. They slot 0:05:53.240 --> 0:05:56.440 it at twenty one out of twenty nine, just behind 0:05:56.520 --> 0:05:59.640 nineteen nineties No Better Blues, and ahead of nineteen ninety 0:05:59.680 --> 0:06:03.279 six is Get on the Bus. Here's my hunch again, 0:06:03.720 --> 0:06:09.640 admittedly based on wildly insufficient data, longtime le viewers are 0:06:09.680 --> 0:06:13.159 going to be more forgiving of his bold swings within 0:06:13.200 --> 0:06:16.760 a movie despite what could be a disappointing hit to 0:06:16.800 --> 0:06:21.200 miss ratio. If so, whether you are lukewarm or cold 0:06:21.400 --> 0:06:25.040 on the film, surely there were enough Spike Lee flourishes 0:06:25.440 --> 0:06:29.320 to gettily glue you to your seat or even youphorically 0:06:29.400 --> 0:06:33.600 elevate you out of it. Give me your favorite, but conversely, 0:06:34.279 --> 0:06:36.600 tell me the choice that made you feel like maybe 0:06:37.040 --> 0:06:38.320 you were just stuck in your seat. 0:06:39.320 --> 0:06:41.040 Let's get this out of the way. This is upper 0:06:41.080 --> 0:06:44.120 tier Spike Lee. Okay, great for me. 0:06:44.200 --> 0:06:46.440 I started to doubt it. I started to doubt it. 0:06:46.560 --> 0:06:50.040 And I'll say that without having done the official ranking. 0:06:50.120 --> 0:06:53.000 You know, I'm a completist before I do the letterboxed ranking, 0:06:53.040 --> 0:06:55.360 and I have two Lee films I have yet to see. 0:06:55.400 --> 0:06:58.400 I thought this might be the occasion to knock those 0:06:58.400 --> 0:07:00.719 out before seeing highest to lowest it and happen. So 0:07:00.800 --> 0:07:03.320 I have not done the work. I would not say 0:07:03.320 --> 0:07:06.240 this is top tier, Spike Lee. When you make a 0:07:06.279 --> 0:07:08.599 movie like Do the Right Thing, you have a tier 0:07:08.800 --> 0:07:12.120 few filmmakers will ever reach, including yourself again in your career. 0:07:12.200 --> 0:07:14.600 So that's one tier we can't even really talk about. Again. 0:07:15.120 --> 0:07:17.760 There's probably a tier below that that has better films 0:07:17.800 --> 0:07:19.640 than highest to lowest. I'm going to put it off 0:07:19.680 --> 0:07:21.240 the top of my head right now, in the next 0:07:21.320 --> 0:07:25.080 tier down, which I still think is upper. And for 0:07:25.120 --> 0:07:29.240 those who are in countering Lee relatively new now, I 0:07:29.240 --> 0:07:32.760 would not recommend they start here. I think this is 0:07:32.760 --> 0:07:35.280 something I have only thought about right now as you 0:07:35.320 --> 0:07:37.480 were talking at them. I might point them to Malcolm X. 0:07:37.880 --> 0:07:40.200 I think it's in some ways it has all those 0:07:40.200 --> 0:07:44.560 touches you're talking about. It's absolutely a not a tourist project, 0:07:44.840 --> 0:07:47.440 piece of work, piece of art. But I do think 0:07:47.480 --> 0:07:52.360 it also fits the biopic formula enough that an new 0:07:52.480 --> 0:07:57.440 viewer to Lee would be comfortable with the as you say, didacticism. 0:07:57.680 --> 0:07:59.960 I like to say, and I reserve this for Spike Lee. 0:08:00.080 --> 0:08:04.240 It's direct address cinema, and we have two instances of 0:08:04.320 --> 0:08:07.440 direct address cinema in highest to lowest one. I'm going 0:08:07.480 --> 0:08:09.720 to get too quickly here because I think it's just 0:08:09.760 --> 0:08:12.400 so fun. And another one which you know, it's one 0:08:12.440 --> 0:08:15.320 of the investigating policemen starts talking about the plan and 0:08:15.360 --> 0:08:16.560 he delivers it right to the camera. 0:08:16.640 --> 0:08:18.320 That's right, literal direct address. 0:08:18.960 --> 0:08:21.840 But I think that stands in for how his movies are. 0:08:22.080 --> 0:08:25.680 When people say they're didactic, that is generally pejorative, not 0:08:25.720 --> 0:08:28.320 necessarily for Lee, but in general terms. So I like 0:08:28.360 --> 0:08:31.040 to come up with another term, and it's direct address, 0:08:31.160 --> 0:08:34.440 which I reserve for Lee. So yeah, I would point 0:08:34.440 --> 0:08:37.439 people to something like Malcolm X. Then maybe go do 0:08:37.960 --> 0:08:40.760 the right Thing, see the Pinnacle, and then if you 0:08:40.800 --> 0:08:43.000 still like it, work your way through some other films 0:08:43.160 --> 0:08:44.920 and it might be a while before you get to 0:08:45.440 --> 0:08:50.400 highest to lowest, still really like this movie. I'll answer 0:08:50.440 --> 0:08:55.000 your question now because I have an answer. It's not 0:08:55.040 --> 0:08:56.960 what I liked most about the movie, but it is 0:08:57.000 --> 0:08:59.000 the answer to your question, what is the Lee choice? 0:08:59.000 --> 0:09:04.440 What is the Spike Lee And it is that you know, 0:09:04.559 --> 0:09:06.480 when you're going to a Spike Lee movie, you are 0:09:06.480 --> 0:09:11.160 going to get a distinctly cultural product coming from a 0:09:11.200 --> 0:09:15.200 distinctly specifically cultural point of view, and obviously Black culture 0:09:15.280 --> 0:09:18.280 is a part of that, and it's not Black culture 0:09:18.360 --> 0:09:21.960 is not a monoculture. This is a culture Spike Lee 0:09:22.040 --> 0:09:26.920 grew up in. There are black icons he admires in sports, 0:09:27.040 --> 0:09:31.079 in music that he will pepper in his movies, and 0:09:31.120 --> 0:09:33.920 you get that here. I just learned today that some 0:09:33.960 --> 0:09:38.559 of the artwork in David King's penthouse is actually artwork 0:09:39.120 --> 0:09:43.319 that is from lee'sone collection and was in the Spikely 0:09:43.400 --> 0:09:45.040 exhibit I saw a couple of years ago when I 0:09:45.040 --> 0:09:46.640 was in New York City where he showed some of 0:09:46.640 --> 0:09:49.480 his movie posters and paintings and so forth that he's collected. 0:09:50.000 --> 0:09:53.000 So you get that here. You get this slice of 0:09:53.000 --> 0:09:57.599 a particular part of black culture that I love experiencing 0:09:57.679 --> 0:10:01.080 in his movies because obviously it's not as familiar to me, 0:10:01.960 --> 0:10:05.520 but you get so much New York City culture that's 0:10:05.559 --> 0:10:09.480 a part of that Adam, which I found again new 0:10:09.520 --> 0:10:12.000 to me, been there many times, didn't grow up there, 0:10:12.120 --> 0:10:13.760 so I don't know it as well, but I love 0:10:13.840 --> 0:10:17.880 seeing it through Spike's eyes. There's the sports element of this. 0:10:19.080 --> 0:10:21.840 His son, Denzel Washington Sun plays basketball, and so you 0:10:21.880 --> 0:10:24.560 get you know Rick Fox, Lakers legend as his coach, 0:10:24.600 --> 0:10:26.760 and there's a little back and forth between Celtics fans 0:10:26.800 --> 0:10:29.920 and Knicks fans and throw some Lakers stuff in there. 0:10:29.960 --> 0:10:32.360 I enjoyed all that, but the pinnacle of the New 0:10:32.440 --> 0:10:34.960 York City culture stuff for me in High Suloist was 0:10:34.960 --> 0:10:38.320 the money drop sequence, which I also think is a 0:10:38.360 --> 0:10:42.960 fantastic bit of filmmaking. And this is I don't think 0:10:43.080 --> 0:10:46.600 you know, this is not necessarily a spoiler. Halfway through 0:10:46.600 --> 0:10:49.080 the film, we realized that David King is going to 0:10:49.080 --> 0:10:52.319 pay the ransom for the son of his driver, the 0:10:52.400 --> 0:10:56.200 Jeffrey Wright character, and it involves riding the train. Also 0:10:56.480 --> 0:10:58.920 in Chris awas riding a train, so I like that 0:10:58.960 --> 0:11:02.120 they retain that the subway. It gets to an above 0:11:02.120 --> 0:11:04.920 ground track and he's supposed to drop it. And the 0:11:05.240 --> 0:11:08.000 setting for this the Kidnapper is devised. It's going to 0:11:08.080 --> 0:11:13.760 take place during a Puerto Rican Pride festival essentially. Now 0:11:13.800 --> 0:11:16.120 when we're on the train, when King is on the train, 0:11:16.320 --> 0:11:20.440 it's also fans Yankees fans en route to a game 0:11:20.600 --> 0:11:22.920 against the Red Sox, so you get a a little 0:11:22.920 --> 0:11:26.280 bit of that sports element. Here's the other direct direct 0:11:26.280 --> 0:11:30.679 address bit, Adam, there is a Yankees fan leading the cheer, 0:11:30.760 --> 0:11:34.600 Let's go Yankees. Boston sucks. The whole car is chanting this. 0:11:35.040 --> 0:11:39.120 It's Nick de Turo, John t Turro's brother, a Spike 0:11:39.200 --> 0:11:44.160 leavet a great face for cinema, and he turns and 0:11:44.200 --> 0:11:46.720 looks right into the camera and delivers a Boston sucks. 0:11:47.240 --> 0:11:49.560 I mean, so that's the sort of stuff you're going 0:11:49.640 --> 0:11:52.640 to get in the midst of a high stake, suspense 0:11:52.760 --> 0:11:57.680 action sequence that gives you that Spike flavor, that Spike texture. 0:11:58.280 --> 0:12:02.760 I mentioned the Puerto Rican going on. We get cutaways 0:12:02.800 --> 0:12:06.560 to the Eddie Palmieri Salsa Orchestra playing the street festival. 0:12:06.960 --> 0:12:09.520 He's introduced by Rosie Perez. Just a nice little touch 0:12:09.520 --> 0:12:12.560 there as Rosie Perez. And so we're cutting back and 0:12:12.600 --> 0:12:19.400 forth with this music, this amazing salsa orchestra music interwoven 0:12:19.480 --> 0:12:23.840 with the chant Boston socks. And this is the texture. 0:12:23.960 --> 0:12:27.240 This is the great New York City stew the texture 0:12:27.760 --> 0:12:30.520 that Spike Lee is going to bring to what could 0:12:30.559 --> 0:12:35.000 have been a rote standard suspense sequence. And I loved it. 0:12:35.080 --> 0:12:36.640 I was like this, You're not going to get this 0:12:37.200 --> 0:12:42.040 from anyone else. So that's the Spike answer. But as 0:12:42.080 --> 0:12:45.120 I said, it's not why I liked Hi Solois quite 0:12:45.120 --> 0:12:48.320 so much. We'll get to that. But what did you 0:12:48.440 --> 0:12:50.400 First of all, did you like it? And what did 0:12:50.440 --> 0:12:52.400 you What was the spikiness level for you? 0:12:53.040 --> 0:12:55.520 Well, first, I'll say, if this was a game show, 0:12:56.200 --> 0:12:59.360 you win. That's that's the right answer, or that is 0:12:59.679 --> 0:13:01.559 my answer, And I don't know how much I can 0:13:01.600 --> 0:13:05.000 add to it, but I'll try. I do. First want 0:13:05.200 --> 0:13:09.120 to say that, going back to my little preface here, 0:13:09.960 --> 0:13:12.520 I had this setup in mind, as I mentioned, and 0:13:13.080 --> 0:13:16.440 for some reason, my assumption about my own reaction was, 0:13:16.520 --> 0:13:18.920 even though I walked out of the theater liking it, 0:13:19.000 --> 0:13:20.800 I knew I liked this movie. I was going to 0:13:20.840 --> 0:13:23.640 be positive on it. Somehow I thought that Hit to 0:13:23.760 --> 0:13:27.720 Miss Ratio was a little bit tighter, and I thought, oh, 0:13:27.760 --> 0:13:30.240 when I sit down to really prepare for my review, 0:13:30.720 --> 0:13:33.560 I know, here are things I like about it, and 0:13:33.600 --> 0:13:35.240 I know there are many things I like about it, 0:13:35.559 --> 0:13:37.600 but I was going to have to acknowledge some of 0:13:37.640 --> 0:13:42.000 those bold and those audacious spike choices that maybe don't 0:13:42.040 --> 0:13:44.920 totally work or maybe don't work at all. And then Josh, 0:13:45.040 --> 0:13:49.920 I started preparing and it's it's almost exclusively positive, and 0:13:49.960 --> 0:13:52.240 so then I love. That's That's where I really started 0:13:52.240 --> 0:13:55.920 to doubt myself. And now I'm all in on this film. 0:13:56.040 --> 0:13:57.880 We'll get to a few things, or at least I 0:13:57.960 --> 0:14:00.840 will that maybe we can talk about not totally working. 0:14:00.920 --> 0:14:04.680 But there is so much that does work about this film. 0:14:04.760 --> 0:14:09.160 And you talked about that sequence, that key sequence in 0:14:09.200 --> 0:14:13.599 relation to what Spike is doing in terms of incorporating 0:14:14.200 --> 0:14:17.400 New York and that cultural heritage that is there that 0:14:17.480 --> 0:14:20.000 is so important. I think what I'll try to do 0:14:20.120 --> 0:14:22.600 is just mention it in terms of or discuss it 0:14:22.640 --> 0:14:25.520 in terms of how important the music is there, but 0:14:25.600 --> 0:14:28.720 not only there, how important the music is to the 0:14:28.960 --> 0:14:34.600 entire film. Right, So I do think that entire sequence, 0:14:34.680 --> 0:14:37.120 and we have to mention not only Matthew Lebetique, the 0:14:37.200 --> 0:14:41.160 director of photography who also shot Inside Man shot Shyraq 0:14:41.720 --> 0:14:44.680 for Spike, but a few other films as well, his 0:14:44.760 --> 0:14:49.040 cinematography and the editing by Barry Alexander Brown and Alison C. Johnson. 0:14:49.520 --> 0:14:52.560 The work they're doing here is incredible. It is intense, 0:14:53.040 --> 0:14:55.640 it is unpredictable. It is such a long sequence from 0:14:55.640 --> 0:14:59.640 the moment Denzel leaves the condo and a combination of 0:14:59.640 --> 0:15:02.400 different types of shooting hand held but also some very 0:15:02.440 --> 0:15:06.320 elegant work. But it's unpredictable. It's chaotic, but it's very 0:15:06.400 --> 0:15:11.640 controlled filmmaking. And because it is Spike Lee, it is 0:15:11.800 --> 0:15:17.160 You're right, fundamentally culturally at its core New York. And 0:15:17.200 --> 0:15:22.200 that choice to have the music coming from Eddie Palmieri, 0:15:22.800 --> 0:15:26.040 that song Puerto Rico, to have it be a parade 0:15:26.080 --> 0:15:29.800 that's going on, have it be so core to this 0:15:29.880 --> 0:15:34.000 sequence and thus this movie, and have it be diagetic, 0:15:34.120 --> 0:15:37.520 not imposed on the sequence, have it be diegetic. It's happening, 0:15:37.840 --> 0:15:42.040 this is happening in this neighborhood. Now, that only adds 0:15:42.360 --> 0:15:46.920 to that intensity and the suspense. And I think that sequence, 0:15:47.120 --> 0:15:50.000 it isn't just the standout sequence in this film, and 0:15:50.040 --> 0:15:52.360 there are a lot of great scenes and moments, but 0:15:52.960 --> 0:15:54.720 it's the standout sequence here. And I think it is 0:15:54.800 --> 0:16:00.400 as suspenseful and thrilling as the famous French Connection scene, 0:16:00.520 --> 0:16:04.240 which is clearly an influence for Spike Lee on this sequence, sure, 0:16:04.280 --> 0:16:09.000 but as suspenseful and thrilling as anything Spike Lee has done. Also. 0:16:09.000 --> 0:16:11.120 I don't know if you saw this. It popped up 0:16:11.120 --> 0:16:15.520 for me somewhere that Eddie Palmieri had passed away. And 0:16:15.560 --> 0:16:18.400 not only has he passed away, Josh, he just died 0:16:18.520 --> 0:16:19.560 on August sixth. 0:16:19.760 --> 0:16:21.160 Oh no, I did not see that one. 0:16:21.280 --> 0:16:24.440 Yeah, so just died earlier this month, sadly. But that's 0:16:24.560 --> 0:16:28.280 Eddie Palmiery and his salsa orchestra that's featured playing Puerto 0:16:28.360 --> 0:16:31.840 Rico in this movie. Incredible sequence, but it doesn't it 0:16:31.880 --> 0:16:32.880 doesn't just stop there. 0:16:33.120 --> 0:16:35.280 Can I ask you a quick question about the sequence? Yeah? 0:16:35.440 --> 0:16:38.840 Did you did? It seem like they were using different stock, 0:16:39.120 --> 0:16:41.680 at least film stock. Possibly maybe it was switching from 0:16:41.720 --> 0:16:43.640 digital film for the subways. 0:16:43.640 --> 0:16:45.800 I feel like that's where it's introduced, isn't it is 0:16:46.240 --> 0:16:48.960 when he goes that ways the first time in the movie, 0:16:49.040 --> 0:16:52.080 where we start to see potentially sixteen millimeters. 0:16:52.400 --> 0:16:56.400 Yeah, a lot connection point. I think you're thrust into 0:16:56.440 --> 0:16:56.800 that area. 0:16:56.840 --> 0:17:00.560 Yeah, he's adding different textures in that sequence, and that 0:17:00.640 --> 0:17:04.200 feels like something Spike would do. Right, A great rhetorical 0:17:04.720 --> 0:17:08.560 device there. But the beginning of this movie also just 0:17:08.720 --> 0:17:10.960 brought me right in the use of Oh what a 0:17:10.960 --> 0:17:15.880 beautiful morning. Those shots of the city. It's the Harbor, 0:17:16.320 --> 0:17:21.280 the Brooklyn Bridge, it's majestic, and it's showcasing the city 0:17:21.359 --> 0:17:26.000 in a way that somehow feels new and different. Despite 0:17:26.000 --> 0:17:28.919 the fact the Spike Lee himself and so many other 0:17:29.000 --> 0:17:34.879 filmmakers have already shot these same vistas so many times before. 0:17:35.040 --> 0:17:37.520 But it's spiked too, Josh. So he's got this great 0:17:37.560 --> 0:17:41.520 ironic sense of humor. Even just taking the song. It's 0:17:41.880 --> 0:17:45.520 ironic because we know going in how his day is 0:17:45.560 --> 0:17:48.600 going to unfold. Yeah, but what he thinks his day 0:17:48.680 --> 0:17:51.040 is going to unfold. Like, there's the irony there. But 0:17:51.200 --> 0:17:56.240 just taking that song out of its milieu, written originally 0:17:56.280 --> 0:18:01.520 for Oklahoma and adopting it trans play to New York 0:18:01.600 --> 0:18:05.560 City is genius and it works on all of those levels. 0:18:06.080 --> 0:18:07.639 But it is more than that too, Josh, And I 0:18:07.640 --> 0:18:09.119 think this is one of those areas. I think this 0:18:09.200 --> 0:18:13.520 goes back to my setup. It actually is the key 0:18:13.560 --> 0:18:16.120 element here that maybe inspired what I was thinking when 0:18:16.119 --> 0:18:19.560 I was talking about something that might turn off people 0:18:19.560 --> 0:18:22.040 who are just coming to Spike's work for the first 0:18:22.119 --> 0:18:24.320 or second time and they're not as used to it. 0:18:25.640 --> 0:18:29.640 There is music. It's not just these big flourishes, these 0:18:29.680 --> 0:18:33.119 big choices where songs are playing throughout these entire sequences. 0:18:34.040 --> 0:18:39.240 There is music almost constantly throughout the film. The score, 0:18:39.320 --> 0:18:42.399 and I think most of it works very well, but 0:18:42.600 --> 0:18:45.240 the score here, I want to make sure get the 0:18:45.320 --> 0:18:49.600 name right. The score is done by Howard Drawsen, and 0:18:49.600 --> 0:18:52.240 there's other artists that you hear as well, in addition 0:18:52.280 --> 0:18:55.119 to the ones that we've mentioned, and I'll mention a 0:18:55.119 --> 0:18:57.560 couple of artists here, or at least one more famous 0:18:57.640 --> 0:19:02.520 artists in a second. But there is scoring that is 0:19:02.640 --> 0:19:06.400 underneath so many scenes, especially through the first forty five 0:19:06.440 --> 0:19:08.880 minutes to an hour of this movie, And in some 0:19:08.960 --> 0:19:11.879 cases I feel like there are folks who might feel 0:19:11.880 --> 0:19:16.440 like it's almost soap opera ish, but that that feels 0:19:16.760 --> 0:19:21.080 right for Spike because it's almost as if he is 0:19:21.119 --> 0:19:23.760 so musical and so musically inclined. It's like he wants 0:19:23.800 --> 0:19:28.960 to give each scene not just not just broad pieces 0:19:29.040 --> 0:19:33.040 or sequences, but each scene its own theme. And just 0:19:33.080 --> 0:19:35.760 as I'm thinking that, just as I'm thinking that, there's 0:19:35.800 --> 0:19:39.280 a moment early in the film where Denzel's you know, 0:19:39.400 --> 0:19:41.679 David King gets in the car with Paul for the 0:19:41.720 --> 0:19:45.160 first time and he says, I need a theme, and 0:19:45.600 --> 0:19:48.399 what happens. Paul picks out the perfect theme and the 0:19:48.440 --> 0:19:51.240 song I think is Ain't No Stop in Us Now, 0:19:51.359 --> 0:19:53.520 which is like a disco hit from the seventies, But 0:19:53.560 --> 0:19:56.240 that's what they're feeling at the time, So that becomes 0:19:56.240 --> 0:19:58.840 the theme for that moment later when they're in the 0:19:58.840 --> 0:20:01.720 car again and their head to do something. What's the 0:20:01.720 --> 0:20:05.520 theme for that moment. It's the Payback by James Brown, right, 0:20:05.720 --> 0:20:09.600 But there are also themes musical instrumental themes for every 0:20:09.680 --> 0:20:14.119 other moment that is in the movie, and so that 0:20:14.119 --> 0:20:19.800 that use of music, especially in the money drop sequence, 0:20:19.840 --> 0:20:22.960 is incredible, but how we used it throughout is one 0:20:23.000 --> 0:20:25.159 of the touches that for me really made highest to 0:20:25.200 --> 0:20:28.480 lois something worth seeing and worth listening to. 0:20:28.480 --> 0:20:31.680 Totally with you on the soundtrack selections and the use 0:20:31.720 --> 0:20:34.040 of those. One of the things that did hold me 0:20:34.080 --> 0:20:37.640 back about Hies Solis was the score by Dr Howard Drowson, and. 0:20:37.680 --> 0:20:40.120 There as I loved it, and some times that held 0:20:40.200 --> 0:20:40.560 me back. 0:20:40.720 --> 0:20:43.320 And I know again the things you know going into 0:20:43.359 --> 0:20:46.479 a Spike Lee film. The wallpaper score is a common 0:20:46.520 --> 0:20:50.560 element I know, and Drawsen has worked with Spike Lee before, 0:20:50.720 --> 0:20:53.600 I believe, but a lot of times this sort of 0:20:53.880 --> 0:20:57.280 texture was established by his father, Bill Lee, a jazz musician, 0:20:57.320 --> 0:21:00.560 and his early films would have these wall to wall scores, 0:21:00.600 --> 0:21:03.640 which are you're not used to them, and sometimes they 0:21:03.640 --> 0:21:06.640 do take a little getting used to. I did find 0:21:06.680 --> 0:21:09.360 it at times more intrusive than I have in other films, 0:21:10.080 --> 0:21:13.040 but that's that's more of a quibble. I completely agree 0:21:13.040 --> 0:21:16.159 about the use and the specific selections. When you're mentioning 0:21:16.160 --> 0:21:18.800 that song, the opening song being from Oklahoma. That's another 0:21:18.880 --> 0:21:24.200 part of the the cultural fabric Spike Lee weaves. Because 0:21:24.200 --> 0:21:26.959 it's not just black culture, sports culture, New York City culture. 0:21:27.160 --> 0:21:32.760 He also often takes quote unquote American approved historical culture 0:21:33.440 --> 0:21:38.639 and subverts it question reappropriate, reappropriate, And that's what you 0:21:38.680 --> 0:21:41.040 were describing in that opening number, which I love. 0:21:41.320 --> 0:21:45.439 What about you reference the art, Josh, But also in 0:21:45.440 --> 0:21:48.239 addition to the art, we cut to a lot of 0:21:48.359 --> 0:21:54.480 pictures of Denzel Washington from his actual past. Maybe some 0:21:54.600 --> 0:21:58.120 are contrived, but they are actual pictures. I mean contrived 0:21:58.119 --> 0:22:00.920 in the sense that maybe they're usually using actual photos 0:22:00.920 --> 0:22:04.320 of him on mock covers, but I think right, actual 0:22:04.480 --> 0:22:07.920 images and covers, and they're images of his former self. 0:22:08.119 --> 0:22:11.440 And maybe, Josh, this isn't a major flourish, not as 0:22:11.520 --> 0:22:13.080 bold of a choice as some of the other things 0:22:13.080 --> 0:22:16.680 we're talking about. Maybe it's even arguably an obvious one. 0:22:16.800 --> 0:22:19.399 And I'll say briefly too. I don't think it's something 0:22:19.440 --> 0:22:22.480 that works on the same level is what Steven Soderbergh 0:22:22.560 --> 0:22:25.000 does in The Limi. I mentioned this movie last week, 0:22:25.520 --> 0:22:28.720 the casting of Peter Fonda in that movie, the footage 0:22:28.720 --> 0:22:32.160 of Terrence Stamp from the ken Loach movie Poor Cow. 0:22:32.359 --> 0:22:34.399 The way those work in that film, for me, are 0:22:34.440 --> 0:22:36.919 not just stunts and not just practical. We needed to 0:22:36.960 --> 0:22:38.880 show Terrence Stamp as a young man, so we found 0:22:38.880 --> 0:22:42.280 this footage. There are choices that significantly add to the 0:22:42.359 --> 0:22:45.639 meaning and the experience of the movie. So maybe not 0:22:45.840 --> 0:22:48.800 quite on that level, but there are constant references to 0:22:48.880 --> 0:22:52.400 the art that you mentioned and different artifacts, and when 0:22:52.920 --> 0:22:56.560 David King is doing his most soul searching and really 0:22:56.600 --> 0:23:01.040 what he's wrestling with is his legacy, his legacy, there 0:23:01.080 --> 0:23:03.160 is some added I think it was for me, there 0:23:03.200 --> 0:23:11.280 was added potency to seeing these celebrated, authentic visages of himself, 0:23:11.920 --> 0:23:16.080 of his actual self haunting him. Would it be more 0:23:16.119 --> 0:23:19.160 potent if there was a meta element to it, if 0:23:19.200 --> 0:23:23.040 Denzel was a problematic figure or someone who truly was 0:23:23.200 --> 0:23:25.960 wrestling with his legacy. I don't know. Maybe I'm not 0:23:26.160 --> 0:23:29.280 gonna wish that on him. Certainly but also I don't 0:23:29.320 --> 0:23:32.560 know that it's necessary because he's seventy years old, and 0:23:32.720 --> 0:23:35.240 there is going to be a logical reckoning with that 0:23:35.359 --> 0:23:40.280 legacy for him and then vicariously vicariously through us as 0:23:40.640 --> 0:23:42.679 the audience. And I also don't think it's a stretch 0:23:42.720 --> 0:23:46.560 to suggest that within the Black community over the last 0:23:46.760 --> 0:23:51.800 forty years of popular culture, Denzel Washington is one of 0:23:51.800 --> 0:23:55.840 those figures those visages, certainly portraying just the image of 0:23:55.920 --> 0:23:59.720 him portraying Malcolm X, portraying Alonso in Training Day, but 0:23:59.840 --> 0:24:03.160 just him as a sex symbol what he's meant as 0:24:03.200 --> 0:24:06.959 a philanthropist. That added element I thought was really crucial 0:24:07.000 --> 0:24:07.680 to the film. 0:24:07.960 --> 0:24:11.520 I think so too. I think it's also part of 0:24:11.640 --> 0:24:15.040 what we should talk about is how much Highest to 0:24:15.119 --> 0:24:18.160 Lowest is an old man movie. And by old man, 0:24:18.240 --> 0:24:21.600 I'm saying that respectfully, but you know, you pointed out 0:24:21.600 --> 0:24:24.080 the age, and I mean old man in terms of Hollywood. 0:24:24.359 --> 0:24:29.080 You know age, because both Spike Lee and Denzel Washington, 0:24:29.119 --> 0:24:31.000 I believe Spike Lee is just a couple years younger, 0:24:31.440 --> 0:24:35.560 are at a different phase of their reputations and their careers. 0:24:36.160 --> 0:24:41.800 And I did worry a bit at the beginning about 0:24:42.080 --> 0:24:43.679 this quality and how it was going to play in 0:24:43.680 --> 0:24:46.960 this film, because to my mind, David King when he 0:24:47.000 --> 0:24:51.400 first appears, is a little awkward, a little out of touch, 0:24:51.560 --> 0:24:55.840 a little acting younger than he should and fairly, and 0:24:55.920 --> 0:24:59.000 I was wondering, like, has Denzel lost it? Are we 0:24:59.119 --> 0:25:03.119 starting to see? But of course, I mean, this is 0:25:03.160 --> 0:25:05.280 just me being dumb. That's part of the nuance of 0:25:05.320 --> 0:25:10.040 the performance, is what I came to understand, because David 0:25:10.119 --> 0:25:14.040 King is a little too old, and characters reference this, 0:25:14.160 --> 0:25:16.359 he may have lost his touch, or if he hasn't 0:25:16.400 --> 0:25:18.600 lost his touch, it's because he's been focusing on the 0:25:18.640 --> 0:25:22.399 wrong things. He's been focusing on sales and stock prices 0:25:22.600 --> 0:25:25.840 rather than new artists and musing. There's a reference his 0:25:25.880 --> 0:25:28.680 wife references that he doesn't listen to music as much 0:25:28.680 --> 0:25:32.480 as he used to. And so I do think it's 0:25:32.520 --> 0:25:35.200 awkward to see an awkward Denzel Washington. But I think 0:25:35.200 --> 0:25:38.719 that's an intentional part of the performance, because as the 0:25:38.760 --> 0:25:44.280 movie goes on and David King makes different choices, both 0:25:44.400 --> 0:25:49.560 moral and artistic, he begins to reclaim some of that 0:25:49.640 --> 0:25:53.919 swagger we recognize, and there's a moment that's very distinct 0:25:53.960 --> 0:25:56.160 for me. Adam there's an early scene where he's trying 0:25:56.160 --> 0:25:58.920 to make a business negotiation with a partner and there's 0:25:58.960 --> 0:26:02.040 a gold mic in the conference room, like a gold 0:26:02.080 --> 0:26:04.800 embossed mic, and he's kind of using it as a prop, 0:26:04.880 --> 0:26:07.320 like talking into it then holding it to his partner. 0:26:07.760 --> 0:26:09.639 And at first I'm like, oh, that's kind of like 0:26:09.880 --> 0:26:12.879 clever charisma, right, But then he keeps doing it, and 0:26:12.920 --> 0:26:15.919 I'm thinking, Okay, you're pushing this a little bit, Like 0:26:15.920 --> 0:26:18.359 you're pushing this bit a little bit, And it's tied 0:26:18.359 --> 0:26:20.720 into what I eventually realized is it's because David King 0:26:20.840 --> 0:26:23.840 is pushing that, right. It's him trying to rely on 0:26:23.880 --> 0:26:27.919 the old charisma he used to have. Notice Dunzel Washington's 0:26:28.600 --> 0:26:33.159 shift into real charisma later in the film, and I 0:26:33.200 --> 0:26:37.479 do think it correlates with his reclaiming his moral and 0:26:37.600 --> 0:26:40.440 artistic integrity. I think that's when we start to see 0:26:40.480 --> 0:26:44.199 the real David King come out, which, to us as 0:26:44.600 --> 0:26:48.920 audience viewers, is the real Denzel Washington. So I could 0:26:49.080 --> 0:26:52.359 talk about this more in detail in a climactic scene 0:26:52.560 --> 0:26:55.000 where there's a face off with the kidnapper, but I 0:26:55.000 --> 0:26:56.760 don't know how much of that I want to spoil 0:26:57.160 --> 0:27:01.120 because I think that's the brilliant performance because we see, 0:27:01.560 --> 0:27:03.520 let's just say, we see David King try to rap 0:27:03.560 --> 0:27:07.719 a little bit and it's not it's not great, but 0:27:07.800 --> 0:27:10.680 it's not it shouldn't be great in that scene. Yet 0:27:10.760 --> 0:27:18.840 somehow he balances yeah, real swagger, authority, charisma, gravitas in 0:27:18.920 --> 0:27:21.040 that scene as well. So it's different from the early 0:27:21.119 --> 0:27:23.359 David King. It's a different David King at that point. 0:27:23.440 --> 0:27:25.800 And again I think it's because he's he's come to 0:27:25.880 --> 0:27:29.720 understand who he is as a music producer on the 0:27:29.800 --> 0:27:34.200 artistic side and as a man making the right moral 0:27:34.520 --> 0:27:37.560 choice as it regards to the ransom for his driver's son. 0:27:38.000 --> 0:27:42.399 Yeah, I think that's an accurate reading of the performance. 0:27:42.520 --> 0:27:45.119 I think it's a great performance overall. I do think 0:27:46.160 --> 0:27:49.400 generally compared to a lot of other Denzel Washington performances, 0:27:49.600 --> 0:27:52.520 it's it's not that it's bigger, but it is busier. 0:27:52.880 --> 0:27:55.600 He's he's just a little bit more of a good way. 0:27:55.480 --> 0:27:59.840 H Yeah, he's just fidgety compared to other Denzel characters, 0:28:00.160 --> 0:28:03.480 and especially the more unraveled he becomes. But we see 0:28:03.480 --> 0:28:06.800 it even early on, as you said, when he isn't 0:28:06.840 --> 0:28:10.359 really himself because he's trying to get things done and 0:28:10.400 --> 0:28:13.639 he's not sure he's not going to be able to 0:28:13.640 --> 0:28:15.640 pull them off. He's unsure if he can. 0:28:15.920 --> 0:28:18.920 Yeah, And there's an insecurity to the security, that's that 0:28:19.000 --> 0:28:21.159 he's not used to being in that position when he 0:28:21.200 --> 0:28:22.400 doesn't have his swagger. 0:28:22.440 --> 0:28:25.720 That's really where I think that that busyness comes into play. 0:28:25.760 --> 0:28:28.160 So I do think you're you're right about that. And 0:28:28.280 --> 0:28:32.000 yet what's interesting for me about it is that I noticed, 0:28:32.000 --> 0:28:33.679 and I'm going to go back to the words from 0:28:33.720 --> 0:28:36.720 the title here a little bit, it isn't as busy 0:28:36.760 --> 0:28:40.480 as it is. It's not a high volume performance. There 0:28:40.560 --> 0:28:43.120 is some swagger and bravado to it, but he doesn't 0:28:43.120 --> 0:28:46.600 get loud. It's not Alonzo from Training Day type of loud. 0:28:46.800 --> 0:28:51.240 And in fact, the more serious and pointed he gets, 0:28:51.680 --> 0:28:56.360 the lower his volume gets throughout the film. And he 0:28:56.880 --> 0:28:59.840 does have once he finds himself, he does seem to 0:28:59.840 --> 0:29:03.920 have of that natural confidence and command, and he doesn't 0:29:03.960 --> 0:29:06.840 have to like people who actually have that type of swagger. 0:29:06.960 --> 0:29:10.080 He doesn't have to be overly forceful, right, and you 0:29:10.120 --> 0:29:10.520 see that. 0:29:10.920 --> 0:29:14.320 You know what's a great example of that when he's 0:29:14.360 --> 0:29:17.040 agreed at this point, I think to pay the ransom 0:29:17.160 --> 0:29:20.600 for Paul's son, and they get another phone call and 0:29:20.680 --> 0:29:24.240 all the investigators in the penthouse are like, pick up 0:29:24.280 --> 0:29:26.080 the phone, pick up the phone, like rushing him. Yeah, 0:29:26.080 --> 0:29:30.440 and he just does this like okay, relax, it's like 0:29:30.840 --> 0:29:34.440 shoots it so well. It just yeah, it's just like 0:29:34.600 --> 0:29:37.400 that's to your point. That's that is when he's in control. 0:29:37.480 --> 0:29:39.280 I did want to throw in real quick because there 0:29:39.280 --> 0:29:40.720 may be people who are going to call this an 0:29:40.720 --> 0:29:44.160 old man movie, and he does. David King does have 0:29:44.200 --> 0:29:47.000 an anti kids are on their phones too much rant 0:29:47.080 --> 0:29:50.640 early on, an anti AI rant early on, and both 0:29:50.680 --> 0:29:54.840 of those exactly. I mean, we're old guys too, we agree, 0:29:55.080 --> 0:29:58.680 but but in the moment I'm thinking, like, oh boy, 0:29:58.880 --> 0:30:03.320 are we in for like a couple of older filmmakers 0:30:03.440 --> 0:30:05.680 using this chance to kind of like tell us what 0:30:05.680 --> 0:30:08.240 they think about the world. Again, I realized it was 0:30:08.240 --> 0:30:11.120 all in service of the character and appropriately. 0:30:10.520 --> 0:30:13.200 So yeah, so you touched on this a little bit. 0:30:14.000 --> 0:30:15.920 I also want to highlight I don't know if this 0:30:16.040 --> 0:30:19.760 counts as one of Spike's bolder choices. The actor the 0:30:19.840 --> 0:30:22.320 rapper has been in a few other movies, but I 0:30:22.360 --> 0:30:26.200 don't know if he's been on quite this stage before 0:30:26.720 --> 0:30:30.160 casting agents. You can go ahead and put asap Rocky 0:30:30.800 --> 0:30:32.280 in bigger roles in more films. 0:30:32.280 --> 0:30:32.640 Agreed. 0:30:32.840 --> 0:30:37.320 He absolutely, he clearly has it. He is a legit 0:30:38.120 --> 0:30:43.680 presence and what is definitely a bold stroke and I 0:30:43.720 --> 0:30:45.920 think it pays off, But we can't get into it 0:30:45.920 --> 0:30:48.160 because we aren't going to get into spoiler territory. Is 0:30:48.200 --> 0:30:52.080 there is a music video moment near the end that 0:30:52.200 --> 0:30:56.360 I think absolutely works in the film, and I do 0:30:56.440 --> 0:30:59.040 agree with you, And this is I know I've seen 0:30:59.040 --> 0:31:00.360 a few things here and there, so I know this 0:31:00.400 --> 0:31:03.160 has been talked about. It really isn't a spoiler. We 0:31:03.240 --> 0:31:07.080 won't spoil what would be a spoiler about it. We're 0:31:07.080 --> 0:31:11.320 gonna talk just vaguely. There is a showdown of sorts 0:31:11.360 --> 0:31:15.200 between those two characters, and I don't think Josh that 0:31:15.240 --> 0:31:17.920 what matters about that is we're supposed to believe that 0:31:18.120 --> 0:31:21.560 old man David King, that Denzel as old man David 0:31:21.640 --> 0:31:26.920 King actually has the rap skills of a sap Rocky 0:31:27.040 --> 0:31:31.280 as this character, but he does have to match the swagger. 0:31:31.720 --> 0:31:33.880 That's that's the point I was making. Yeah, yeah, he 0:31:33.920 --> 0:31:36.720 and I think Denzel is purposely not I mean who 0:31:36.720 --> 0:31:38.760 knows that Denzel Washington can rap. I have no idea, 0:31:38.800 --> 0:31:43.480 but in that scene he's purposely I think, not being 0:31:43.640 --> 0:31:46.200 very good. I think that serves the moment the character. 0:31:46.440 --> 0:31:48.520 But he has the he has the gravitas and the 0:31:48.560 --> 0:31:51.760 other elements of that scene. That's that's what makes him real. 0:31:52.120 --> 0:31:55.440 If if David King walked in there and like outrapped 0:31:55.560 --> 0:31:58.040 asap rocky, you'd be like, what is this? 0:31:58.160 --> 0:32:01.680 Corners here where I'll disagree with you a little bit, 0:32:02.120 --> 0:32:05.960 But it's only because I do know something. I read 0:32:06.000 --> 0:32:09.280 something that Spike said that made me think of another 0:32:09.720 --> 0:32:12.520 thing that's lore from a Denzel Washington performance in a 0:32:12.560 --> 0:32:15.120 Spike Lee film. And you may be familiar with this 0:32:15.200 --> 0:32:19.760 as well. He got game Denzel Washington. Well, any Denzel 0:32:19.800 --> 0:32:23.120 Washington performance or character you hear. This about his sort 0:32:23.160 --> 0:32:26.520 of method, if you will, is that he is supremely confident. 0:32:26.920 --> 0:32:30.719 He is never going to back down from anyone in 0:32:30.800 --> 0:32:33.760 a scene, no matter what they're doing, or no matter 0:32:33.840 --> 0:32:37.200 who that other actor is. So on, he got game. If, 0:32:37.200 --> 0:32:43.360 for example, he's playing legitimate star slash very good NBA 0:32:43.520 --> 0:32:47.640 player Ray Allen as his son one on one, and 0:32:47.720 --> 0:32:50.520 he knows in his heart he knows in his heart 0:32:50.560 --> 0:32:53.960 he's not as good. Sure, he's not going to beat 0:32:54.040 --> 0:32:57.080 Ray Allen one on one, but on that day, on 0:32:57.160 --> 0:33:01.320 that set, he is going to not give an inch 0:33:02.080 --> 0:33:04.440 and he is going to try to beat him. And 0:33:04.480 --> 0:33:07.240 in those moments, he is going to play as if 0:33:07.600 --> 0:33:11.320 Denzel Washington, the forty year old actor or whatever, can 0:33:11.400 --> 0:33:14.080 absolutely beat him, and he'll do whatever it takes to 0:33:14.120 --> 0:33:16.640 beat him. That's how he played that game against him, 0:33:16.680 --> 0:33:20.200 as if he could beat him. And Spike said that 0:33:21.000 --> 0:33:23.840 a lot of that that sequence that we're talking about 0:33:24.160 --> 0:33:28.160 was unscripted, and Denzel decided to show up and basically 0:33:28.200 --> 0:33:31.120 be like, oh, young kid, you think you got it, Well, 0:33:31.360 --> 0:33:34.040 I've got some surprises in my bag, right, So he 0:33:34.400 --> 0:33:38.800 he of course, just like the Ray Allen situation, he 0:33:38.880 --> 0:33:42.920 of course cannot actually out wrap a sap Rocky, But 0:33:43.920 --> 0:33:48.320 that didn't mean he still wasn't going to approach it, Yes, 0:33:48.320 --> 0:33:51.560 with the confidence, Yes, as if as if he couldn't 0:33:51.560 --> 0:33:53.520 be as good as it, because that that's what's important, 0:33:53.520 --> 0:33:54.640 that's what comes through. 0:33:54.560 --> 0:33:57.640 And that's what that character requires. So yeah, I do 0:33:57.720 --> 0:33:59.239 agree with you. I think we're saying I think we're 0:33:59.240 --> 0:34:01.440 saying the same thing. Yes, there's just there's there's a 0:34:01.480 --> 0:34:04.120 lot of nuance going on there, so that it's it's 0:34:04.240 --> 0:34:06.920 more than just I'm gonna come in and show you kid, right. 0:34:08.000 --> 0:34:10.640 It's important that he's not quite as good as as 0:34:10.960 --> 0:34:15.120 asap rocky for this story and this confrontation. So I'm 0:34:15.160 --> 0:34:17.440 glad that they they went that way, all right? Can 0:34:17.480 --> 0:34:18.959 I get to Can I get to what I loved 0:34:19.000 --> 0:34:22.080 most about High Stalls? Because I think I think you're 0:34:22.080 --> 0:34:22.520 gonna love it. 0:34:22.560 --> 0:34:25.080 What are we like thirty five ish minutes in and 0:34:25.120 --> 0:34:26.640 I haven't heard what you love most? 0:34:26.800 --> 0:34:30.440 Okay, this is when I was like, I, whatever happens, whatever, 0:34:30.560 --> 0:34:33.720 like weird turns Spike Lee might make. I'm on board 0:34:33.760 --> 0:34:38.400 because I'm having fun tracing this and it's partly obvious, 0:34:38.400 --> 0:34:41.520 maybe mostly obvious, but I love this as a mashup 0:34:41.680 --> 0:34:47.120 of Macbeth and the biblical chronicles of King David. The 0:34:47.160 --> 0:34:50.160 last part is obvious because he calls himself, he references, 0:34:50.000 --> 0:34:54.080 he tells himself King David, right, like the King of 0:34:54.120 --> 0:34:57.239 the Old Testament, and he he walks around like that, 0:34:58.040 --> 0:35:00.560 and so obviously that's in my mind right away. And 0:35:00.600 --> 0:35:05.920 then I'm realizing that both Denzel and Toshira Maffune, the 0:35:05.920 --> 0:35:09.239 Star of High and Low have played McBeth throw the 0:35:09.280 --> 0:35:12.960 Tragedy of Macbeth right yeap throwing a blood for Kursawa 0:35:13.120 --> 0:35:17.080 and Joel Cohen's Tragedy of Macbeth, where Denzel is just 0:35:17.120 --> 0:35:21.240 amazing in the part. So I had a lot of fun, Adam, 0:35:21.400 --> 0:35:24.279 just tracing how this movie. Who knows if this was 0:35:24.320 --> 0:35:29.959 on Spike Lee's mind or exactly, yeah, of course, first 0:35:30.000 --> 0:35:35.359 time screenwriter. I believe Alan Fox Am I getting that right. Yes, 0:35:36.640 --> 0:35:38.759 who knows if they were thinking of this, But I 0:35:38.880 --> 0:35:42.400 was having fun watching it flow back and forth. I 0:35:42.400 --> 0:35:45.279 don't think it's a perfect parallel for either of them, 0:35:45.400 --> 0:35:49.239 but you think about you know, in the Biblical story 0:35:49.280 --> 0:35:55.160 of King David, he sacrificed Bethsheba's husband to protect his reputation. 0:35:55.880 --> 0:36:00.000 And I realized right away this this terrorist, This beautiful 0:36:00.160 --> 0:36:04.160 Terris you referenced in the opening scene that David king 0:36:04.360 --> 0:36:07.439 has has to be something like the palace roof that's 0:36:07.480 --> 0:36:10.800 described in the Bible where David spied on Bathsheba. So 0:36:10.840 --> 0:36:13.719 you got all that going on, and then you know, 0:36:14.000 --> 0:36:18.319 the Macbeth stuff is fascinating to me because there is 0:36:18.400 --> 0:36:21.960 definitely ambition at play in this character. He is in 0:36:22.000 --> 0:36:25.440 the midst of this takeover deal when the kidnapping crisis occurs, 0:36:25.520 --> 0:36:29.239 so he's making a power grab even though he's established 0:36:29.560 --> 0:36:33.120 he is not satisfied with his career. The ambition eats 0:36:33.160 --> 0:36:35.640 at him and he is. You could describe it as 0:36:35.719 --> 0:36:39.800 protecting what he's built, but it's also an ambitious power grab, 0:36:40.280 --> 0:36:44.120 and you get we haven't mentioned David King's wife yet, 0:36:44.120 --> 0:36:48.040 played by Ilfineshdera. I think she gets a Lady Macbeth moment. 0:36:48.040 --> 0:36:50.440 They're in the bedroom together and she is like, yeah, 0:36:50.480 --> 0:36:51.960 I don't know that we should pay the ransom for 0:36:52.000 --> 0:36:55.600 Paul's kid either, like it might now overall she's not 0:36:55.680 --> 0:36:59.600 played that way, but there's that moment where I was like, ooh, 0:36:58.920 --> 0:37:01.279 that's that's an interesting And then I want to talk 0:37:01.320 --> 0:37:03.600 about this, Adam, because I do think you'll like this. 0:37:03.800 --> 0:37:07.759 You reference the scene where he's looking at portraits of 0:37:07.880 --> 0:37:10.880 himself or photos of himself earlier, when he's trying to 0:37:10.880 --> 0:37:12.640 decide do I pay the ransom or not, and he 0:37:12.719 --> 0:37:16.000 keeps repeating what would you do? And he's saying that 0:37:16.040 --> 0:37:18.440 to his own photos, but he's also picking up like 0:37:18.960 --> 0:37:23.120 framed portraits of I think I have this right, James Brown. 0:37:23.480 --> 0:37:26.319 I think Aretha Franklin's in there, possibly Stevie Wonder and 0:37:26.360 --> 0:37:28.799 each one he picks up looks at what would you do? 0:37:29.000 --> 0:37:29.560 What would you do? 0:37:29.760 --> 0:37:31.640 What would you do? So I've got this on my mind, 0:37:31.719 --> 0:37:36.120 and I'm thinking, like, oh, is this like Macbeth's dialogue 0:37:36.160 --> 0:37:40.560 with Banquo's ghost, Like he's having this internal that the 0:37:40.640 --> 0:37:44.399 other people can't see who he's talking to. Maybe I'm 0:37:44.440 --> 0:37:46.920 going a little further afield there, but still think about it. 0:37:47.640 --> 0:37:51.160 Macbeth attempted to have banquotes son murdered arranged for the 0:37:51.160 --> 0:37:54.560 assassination of another boy. So there's this element of like 0:37:55.120 --> 0:37:59.959 sacrificing others kids for your own gain, or at least 0:38:00.160 --> 0:38:03.799 to protect your own reputation. So this is where I 0:38:03.920 --> 0:38:08.160 just kind of started thinking, whatever thread this might be, 0:38:08.480 --> 0:38:11.240 however strong, or however intended. I was having a blast 0:38:11.239 --> 0:38:14.000 tracing that throughout and seeing how it played out. I 0:38:14.040 --> 0:38:16.200 do think, and we can't get into this. It's very 0:38:16.239 --> 0:38:19.840 interesting to ask yourself at the end of this movie. 0:38:20.040 --> 0:38:23.760 Is David King more of a King David figure who 0:38:24.920 --> 0:38:29.440 experiences repentance, confession, or is he more of a meth 0:38:29.520 --> 0:38:32.359 figure who you know. Obviously, it's a tragedy, it goes 0:38:32.360 --> 0:38:34.840 bad in the end, So that's a whole other conversation 0:38:34.880 --> 0:38:36.839 we can't have about spoilers. But I do think it's 0:38:36.880 --> 0:38:41.919 interesting in this parallel to see how this David King 0:38:42.080 --> 0:38:48.040 fits along these really you know, grand classic narratives that 0:38:48.440 --> 0:38:50.880 I think it's possible Spike Lee is playing with intentionally 0:38:50.880 --> 0:38:51.400 a little bit. 0:38:51.840 --> 0:38:55.399 Yeah, yeah, gaate, no, no, no, no, no, no, it's 0:38:55.400 --> 0:38:59.640 not a risk, it's a rebirth. Look, the biggest mistake 0:38:59.680 --> 0:39:01.799 I have may was selling all parts of Stack and 0:39:01.840 --> 0:39:02.880 His in the first place. 0:39:03.920 --> 0:39:05.200 Yeah. 0:39:05.280 --> 0:39:07.960 Yeah, it all came to me last night, the money, 0:39:08.080 --> 0:39:10.759 the buy out, the boat. It's it's not the ending, 0:39:10.840 --> 0:39:13.440 it's it's it's an opportunity for a new beginning. And 0:39:13.520 --> 0:39:15.520 what God gives you an opportunity for the new beginning, 0:39:15.520 --> 0:39:17.880 you gotta take it. You don't tell God no, you 0:39:17.880 --> 0:39:20.240 you just you take it, and you you make it work. 0:39:21.120 --> 0:39:24.440 It's been too long since I took the Hebrew Bible 0:39:24.520 --> 0:39:27.239 in college. Josh, I'll have to defer to you on 0:39:27.400 --> 0:39:30.719 the King David story. I'd push back if we were 0:39:30.760 --> 0:39:32.440 really going to get into it on the Lady McBeth 0:39:32.520 --> 0:39:35.319 part or Macbeth. Because of the Lady Macbeth part. I 0:39:35.320 --> 0:39:38.799 think the wife here is obviously far too passive. It's 0:39:39.000 --> 0:39:42.759 just the one scene. It's just the one and it's there. 0:39:42.880 --> 0:39:48.120 She's she's so supportive throughout right. So if if I 0:39:48.280 --> 0:39:51.520 was really gonna argue that, you know, that would be 0:39:51.520 --> 0:39:53.799 what I'd point to. But otherwise, I think you're onto something, 0:39:53.880 --> 0:39:57.280 especially when you consider ultimately, and I guess this goes 0:39:57.280 --> 0:40:02.319 to where you are s. You may possibly read the 0:40:02.320 --> 0:40:04.840 film where it's going the end of the film. We won't. 0:40:05.000 --> 0:40:07.920 We won't discuss it too much, but there's a question 0:40:07.960 --> 0:40:11.400 about whether or not this is ultimately a redemption film. 0:40:11.440 --> 0:40:16.000 And I think the final choice made in this film, 0:40:16.480 --> 0:40:20.000 it's a final choice. It's a final scene that I'm 0:40:20.040 --> 0:40:22.520 not a huge fan of Josh, and it's also and 0:40:22.520 --> 0:40:25.799 there's a final there's a final utterance by the main 0:40:25.880 --> 0:40:30.319 character by David King that Hammer's home. I think the 0:40:30.400 --> 0:40:34.960 idea of it being more redemptive than anything, I'm not 0:40:35.000 --> 0:40:39.120 sure that we needed that final scene would be would 0:40:39.120 --> 0:40:44.160 be my my argument there again for spoiler territory, here's 0:40:44.239 --> 0:40:47.600 here's my my biggest issue, and maybe this is the thing, 0:40:47.719 --> 0:40:50.239 Josh that as I walked out of the theater, I thought, Oh, 0:40:50.640 --> 0:40:52.840 I had more more things going on, And it was 0:40:52.880 --> 0:40:55.440 really just this one thing that was was kind of 0:40:55.920 --> 0:40:58.799 nagging at me. And it's funny because we talked about 0:40:58.800 --> 0:41:01.839 weapons last week or or whatever week it was, and 0:41:02.120 --> 0:41:04.480 two weeks ago, and then we're gonna talk about spoilers 0:41:04.560 --> 0:41:07.960 later and this might come up again. You talked about 0:41:08.640 --> 0:41:11.200 how the movie kind of requires us to think the 0:41:11.280 --> 0:41:13.680 police department in this town must be the dumbest police 0:41:13.719 --> 0:41:14.760 department of all time. 0:41:16.000 --> 0:41:17.640 You found a worst one. 0:41:17.800 --> 0:41:19.400 Yeah, I found a worst one here. I think the 0:41:19.760 --> 0:41:25.960 detectives here in this Yeah city police department. Because here's 0:41:26.040 --> 0:41:31.440 what I will say. The last forty minutes forty minutes 0:41:31.600 --> 0:41:35.880 ish of this movie only happen because we have to 0:41:35.960 --> 0:41:42.400 buy that these cops wouldn't wouldn't pursue a lead. Yes, 0:41:42.760 --> 0:41:49.160 that they obviously would immediately, and how they reject the 0:41:49.280 --> 0:41:52.279 lead in the moment doesn't even make sense. It's a 0:41:52.360 --> 0:41:57.319 terrible scene. But b but be they wouldn't even be 0:41:57.440 --> 0:42:02.520 having that conversation because they would have started pursuing that 0:42:02.640 --> 0:42:07.360 lead and others like that lead immediately after the second 0:42:07.440 --> 0:42:08.840 phone call from the kidnapper. 0:42:09.000 --> 0:42:09.680 It's true. 0:42:10.000 --> 0:42:12.600 I know, Josh that Hy and Lowe is the Kurrasabo 0:42:12.800 --> 0:42:16.319 movie that inspired this movie and not Stray Dog. But 0:42:16.400 --> 0:42:19.919 they're both Coursabo movies and both police procedurals, and we're 0:42:19.920 --> 0:42:22.480 talking about Stray Dog for bonus content. So it's on 0:42:22.560 --> 0:42:28.080 my mind that rookie cop and the postwar Tokyo Police Department, 0:42:28.360 --> 0:42:33.040 with its archaic filing system of criminal dossieres and photos, 0:42:33.600 --> 0:42:37.040 would have been onto this guy from the jump. It's 0:42:37.400 --> 0:42:41.680 crazy that they somehow didn't come up with a different 0:42:41.840 --> 0:42:47.200 screenwriting solution to justify the last forty minutes of this film. 0:42:47.239 --> 0:42:50.359 And I think there are some other things, the contrivance 0:42:50.400 --> 0:42:54.600 with the headband that's so important to the film, some screenwriting, 0:42:54.760 --> 0:42:58.120 some dialogue moments that feel overwritten. But that's that's the 0:42:58.160 --> 0:43:00.560 big one, and we all you know you talked about 0:43:00.560 --> 0:43:04.040 it with weapons. Clearly you enjoyed the movie enough that 0:43:04.280 --> 0:43:06.360 you were able to get past that. I had a 0:43:06.360 --> 0:43:09.799 similar reaction to how that was handled, some of the 0:43:09.800 --> 0:43:12.719 suspension of disbelief. I got pasted it there. I did 0:43:12.760 --> 0:43:14.840 have a little bit of a harder time getting pasted 0:43:14.840 --> 0:43:18.319 it here because so much of the movie hung on 0:43:19.320 --> 0:43:22.600 this and having to buy it. That said, the filmmaking 0:43:22.680 --> 0:43:25.680 here is still just too electric for me to care 0:43:25.800 --> 0:43:26.640 too much about it. 0:43:27.320 --> 0:43:30.000 You're so right, and I think I'm in the same 0:43:30.040 --> 0:43:33.320 place you are in terms of like, oh, that didn't work, 0:43:33.360 --> 0:43:35.360 and I'm going to forget that we had that scene 0:43:35.360 --> 0:43:39.319 and move on. And maybe it's again first time screenplay thing. 0:43:41.080 --> 0:43:45.600 But I will also add to it the wonderful sequence 0:43:45.640 --> 0:43:48.720 we praised at the top. The money drop is somewhat 0:43:48.800 --> 0:43:53.360 ruined to me by a completely needless it's not ruined. 0:43:53.520 --> 0:43:55.400 I like to think of them as two separate sequences. 0:43:55.480 --> 0:43:59.160 It's followed after the drop by a needless and endless 0:44:00.080 --> 0:44:06.600 motorcycle chase, with multiple motorcyclists changing hands of the money bag. 0:44:06.719 --> 0:44:09.040 Every time they change hands. The guy who gets it 0:44:09.160 --> 0:44:11.799 next basically heads right back to where the police are 0:44:11.840 --> 0:44:14.879 coming from. So I didn't understand the logic of that. 0:44:15.280 --> 0:44:17.879 And then they catch the guy they think they do, 0:44:18.120 --> 0:44:20.799 and the backpack doesn't have the money. The guy they 0:44:20.840 --> 0:44:23.759 catch because they've been you know, switching it out that 0:44:23.880 --> 0:44:28.000 thread we never hear again, who like they have a 0:44:28.040 --> 0:44:30.440 prime right accomplice in. 0:44:30.400 --> 0:44:35.160 That case right there from you're telling me that they're 0:44:35.200 --> 0:44:38.280 not able to do something with that lead that leads 0:44:38.320 --> 0:44:39.239 them to the bad guy. 0:44:39.600 --> 0:44:41.319 Can I give you an element that I that I 0:44:41.400 --> 0:44:45.120 did like about the law enforcement though, because this is 0:44:45.120 --> 0:44:47.480 a little twist on the Curisawa film, you know, the 0:44:47.560 --> 0:44:50.719 curis How film to me is as much as I 0:44:50.800 --> 0:44:53.720 which is very little understand about Japanese culture, very about 0:44:54.239 --> 0:44:58.440 the severity of class distinctions. And one of the saddest 0:44:58.480 --> 0:45:01.960 elements of that is the chauffeur whose son is kidnapped 0:45:01.960 --> 0:45:04.880 in that film hardly speaks, yet he is in almost 0:45:04.880 --> 0:45:08.880 every scene, and he's just sort of like cowering in 0:45:08.920 --> 0:45:12.080 the background. And while the whole conversation is going on 0:45:12.200 --> 0:45:14.640 whether they're going to pay, whether Mafune is going to 0:45:14.640 --> 0:45:17.920 pay for his son's release, this guy doesn't say a word. 0:45:18.160 --> 0:45:20.880 He just kind of cowers more and more and shrinks 0:45:21.000 --> 0:45:24.640 in the background. And it's heartbreaking and clearly all about class. 0:45:24.719 --> 0:45:28.359 Like it's just it's inconceivable that a chauffeur would get 0:45:28.400 --> 0:45:32.640 the same would deserve the same sort of monetary investment 0:45:32.680 --> 0:45:34.879 in his child as an executive what so. 0:45:34.960 --> 0:45:38.040 Like reinterprets that here he interprets it really an interesting 0:45:38.200 --> 0:45:40.080 great performance by him by. 0:45:40.040 --> 0:45:42.080 By Jeffrey Wright, and I think we should credit maybe 0:45:42.080 --> 0:45:45.160 here the first time screenwriter Ellen Fox, if this was 0:45:45.200 --> 0:45:48.480 his contribution. There's more than a class element here. It's 0:45:48.480 --> 0:45:52.120 partly that because Paul, we understand, did grow up in 0:45:52.160 --> 0:45:55.200 the same Bronx neighborhood as David King, but has clearly 0:45:55.239 --> 0:45:57.799 not risen as high as him. Also, I think it 0:45:57.840 --> 0:46:00.719 is so crucial that we learn that he was formally 0:46:00.840 --> 0:46:04.520 incarcerated because what is the effect of that in terms 0:46:04.520 --> 0:46:09.200 of the law enforcement. Well, immediately they suspect he's involved 0:46:09.360 --> 0:46:11.840 when they learn of his past and that he is 0:46:11.960 --> 0:46:15.680 King's driver, right, and then even when they clear him 0:46:15.680 --> 0:46:18.600 of that because it's his kid's son. Notice the difference 0:46:18.600 --> 0:46:21.959 in response to the investigation. When it's David King's son, 0:46:22.120 --> 0:46:25.400 it's all hands on deck, like bring out the twelve computers. 0:46:25.440 --> 0:46:28.560 And then when it's Paul's son, they're still on the case, 0:46:28.600 --> 0:46:32.800 but they're annoyed by him. They're not taking as much care. 0:46:33.280 --> 0:46:36.560 And I just think that's a nice extra wrinkle that is, 0:46:36.840 --> 0:46:39.000 you know, to bring us back to where we started. 0:46:39.040 --> 0:46:42.680 It's a little bit of cultural perspective that's injected that 0:46:42.960 --> 0:46:44.360 someone like Spike Lee Brings. 0:46:45.000 --> 0:46:47.840 Yes, I agree, and I also agree it is crucial 0:46:48.000 --> 0:46:51.319 or it's very important that he is someone who is 0:46:51.360 --> 0:46:54.680 formally incarcerated, and they do immediately look at him as 0:46:54.680 --> 0:46:57.560 a suspect because of that. But even if he hadn't 0:46:57.600 --> 0:47:04.120 been formally imprisoned, just the fact that he isn't of 0:47:04.280 --> 0:47:08.200 David King's status, I think they would probably right still 0:47:08.320 --> 0:47:11.360 say well, maybe he has motive. Yeah, yeah, maybe because 0:47:11.800 --> 0:47:15.000 because his son's involved, he may have a motive, and 0:47:15.000 --> 0:47:16.759 they would they would treat him differently. 0:47:16.960 --> 0:47:17.839 They do treat him. 0:47:18.040 --> 0:47:22.360 They absolutely do treat him more harshly and more suspiciously 0:47:22.440 --> 0:47:24.799 though because of it, and they and they do treat 0:47:24.880 --> 0:47:28.360 him with absolutely no respect, they no respect, like he 0:47:28.520 --> 0:47:31.239 is nothing because of that background. 0:47:31.320 --> 0:47:33.840 And I like the thread that the acep Rocky character 0:47:34.239 --> 0:47:38.800 we learn too also serve time at one point, and 0:47:39.120 --> 0:47:43.040 I just like that there's there's something, there's something interesting 0:47:43.120 --> 0:47:47.920 there looking at Paul as an echo or mirror reflection 0:47:48.040 --> 0:47:51.040 in some way of the young man trying to make 0:47:51.080 --> 0:47:54.560 it out of his situation in this case through music 0:47:55.640 --> 0:47:58.479 and has had some similar experiences to Paul. So just 0:47:58.480 --> 0:47:59.960 just an interesting touch they put. 0:47:59.760 --> 0:48:03.040 In highest to lowest is currently playing in limited release. 0:48:03.400 --> 0:48:07.480 It does come exclusively to Apple TV Plus on September fifth, 0:48:07.520 --> 0:48:11.040 and we are recommending you look for it then. If 0:48:11.120 --> 0:48:14.120 you see it and agree or disagree with our thoughts, 0:48:14.200 --> 0:48:16.520 or have any other thoughts you'd like to share, please 0:48:16.640 --> 0:48:19.120 email us feedback at filmspotting dot net. 0:48:19.640 --> 0:48:21.480 Listening is the number one thing you can do to 0:48:21.520 --> 0:48:25.359 support an independently produced show like film Spotting. Here are 0:48:25.400 --> 0:48:27.080 a couple of more things you can do. Take a 0:48:27.080 --> 0:48:29.000 minute to give us a rating or a review on 0:48:29.120 --> 0:48:33.080 Apple Podcasts or Spotify. Every new review we get really 0:48:33.120 --> 0:48:36.080 does help us reach new listeners. Another thing you can 0:48:36.120 --> 0:48:40.040 do is join the film Spotting Family. Now. To continue 0:48:40.080 --> 0:48:44.000 our celebration of our twentieth year, we have been sharing 0:48:44.040 --> 0:48:47.480 some voice messages from film Spotting family members. These were 0:48:47.520 --> 0:48:51.719 submitted ahead of Film Spotting Fest back in March. 0:48:51.920 --> 0:48:55.200 Yeah, and we have a couple here. I said, I 0:48:55.200 --> 0:48:57.399 think a couple of weeks ago that we only had 0:48:57.440 --> 0:49:02.600 one more, but I found one hidden in the Google 0:49:02.719 --> 0:49:05.120 drive Josh, that I wanted to make sure we featured. 0:49:05.160 --> 0:49:07.440 And we may even have another one that will feature 0:49:07.440 --> 0:49:10.920 in a couple of weeks. But here too. As promised, 0:49:11.000 --> 0:49:14.840 you're gonna hear from Film Spotting, Madness Godfather, Mike Marrigan, 0:49:15.160 --> 0:49:18.399 and another one to two folks here that if you've 0:49:18.440 --> 0:49:20.520 listened to the show at all over the last ten years, 0:49:21.040 --> 0:49:24.480 or if you've participated in a few trivia spottings, or 0:49:24.520 --> 0:49:27.840 maybe you were a regular indie wire reader, these names 0:49:27.880 --> 0:49:30.879 will be familiar to you, so let's hear from them. 0:49:31.040 --> 0:49:34.319 Congrats everyone. This is Steve Green here in LA where 0:49:34.320 --> 0:49:36.799 I have done most of my listening since the cinecast days. 0:49:37.680 --> 0:49:39.839 The first memory that came to mind was something that 0:49:39.960 --> 0:49:43.319 actually has nothing to do with movies and didn't even 0:49:43.480 --> 0:49:47.319 happen in the course of the main episode. It's the 0:49:47.360 --> 0:49:52.400 outtake of Sam needing an extra try to introduce himself 0:49:52.520 --> 0:49:56.200 for the very first time as Sam van Holgren. I 0:49:56.239 --> 0:49:58.279 was already a huge fan of the way show talked 0:49:58.280 --> 0:50:01.200 about filmmaking and everything that goes in to it, but 0:50:01.320 --> 0:50:05.640 then to hear two people share a genuine spontaneous moment, 0:50:06.760 --> 0:50:11.040 including if I remember correctly, a rare Adam Kempener f bomb, 0:50:12.719 --> 0:50:15.279 that just proved how special this show could be, and 0:50:15.520 --> 0:50:19.000 indeed has been. In all the years since. Everything I 0:50:19.040 --> 0:50:22.080 loved about the show has come from that same spark 0:50:22.640 --> 0:50:29.120 and that same shared passion and fun. You all are 0:50:29.160 --> 0:50:33.000 wonderful and have changed my life in ways that I 0:50:33.080 --> 0:50:34.600 can't even begin to fathom. 0:50:35.200 --> 0:50:37.400 But I know I'm not alone. 0:50:37.920 --> 0:50:42.120 So here's to you, and here's to twenty more years. 0:50:42.560 --> 0:50:46.600 Hello film Spotting and happy twentieth. It's Mike Marigan, the 0:50:46.600 --> 0:50:48.440 godfather of Film Spotting. 0:50:48.080 --> 0:50:50.160 Madness, coming to you from Dover, New Hampshire. 0:50:50.400 --> 0:50:52.840 And what else can I talk about but the Film 0:50:52.880 --> 0:50:56.520 Spotting Madness Tournament. This crazy idea that I concocted, that 0:50:56.560 --> 0:50:59.480 Adam and Josh and Sam have made such an important 0:50:59.520 --> 0:51:02.160 part of the show, and it's been so cool every 0:51:02.239 --> 0:51:05.120 year when the tournament comes up to hear other listeners 0:51:05.120 --> 0:51:08.480 get excited for it, fill out their brackets, discover films 0:51:08.480 --> 0:51:09.720 that they hadn't seen before. 0:51:09.960 --> 0:51:11.080 It's just become so. 0:51:11.120 --> 0:51:13.400 Much bigger than I ever could have imagined. And I 0:51:13.400 --> 0:51:16.400 don't care what Michael Phillips says. The Film Spotting Madness 0:51:16.480 --> 0:51:19.359 Tournament is awesome. There was that time that I won 0:51:19.400 --> 0:51:21.880 the whole thing, which was a little awkward, but it 0:51:21.920 --> 0:51:23.840 meant that I got to record an episode of the 0:51:23.880 --> 0:51:26.239 show with the guys, and I don't have to tell 0:51:26.239 --> 0:51:29.400 those podcast nerds out there, getting to record an episode 0:51:29.440 --> 0:51:33.520 of your favorite podcast with the host is beyond cool. 0:51:34.200 --> 0:51:37.359 So I look forward to this year's tournament. Good luck 0:51:37.400 --> 0:51:40.040 to whoever our eventual winner is. We all know that 0:51:40.080 --> 0:51:43.680 it's not going to be Josh Larson and guys Happy twentieth. 0:51:43.800 --> 0:51:45.919 I cannot wait to see what the next twenty years 0:51:46.000 --> 0:51:46.920 has in store. 0:51:46.960 --> 0:51:50.800 For Film Spotting Now. Now, Mike, you know, I respect 0:51:50.840 --> 0:51:54.640 his mad scientists skills as birthing film Spotting madness, but 0:51:55.440 --> 0:52:00.000 unnecessary shot. I believe I haven't lost our internal bracket 0:52:00.120 --> 0:52:04.239 competition for two years now. Three Maybe agreed? Possibly you've 0:52:04.239 --> 0:52:07.879 been sharing pretty well, pretty well there Mike and Steve. Yeah, 0:52:07.920 --> 0:52:09.879 so great to hear from Steve hung out with him 0:52:10.320 --> 0:52:13.560 a little bit at Film Spotting Fest, and he's pretty 0:52:13.640 --> 0:52:15.959 regular on Trivia Spotting two, which we do with Film 0:52:15.960 --> 0:52:17.160 Spotting family members. 0:52:17.520 --> 0:52:22.040 Yes, we do deeply appreciate all their contributions to the 0:52:22.080 --> 0:52:25.680 show and having the opportunity to get to know both 0:52:25.719 --> 0:52:29.279 of them over the years, and that goes for all 0:52:29.280 --> 0:52:31.600 of our family members we've had a chance to meet. 0:52:31.640 --> 0:52:34.000 In addition to keeping us doing what we're doing, your 0:52:34.000 --> 0:52:36.600 support comes with perks. You get to listen early in 0:52:36.680 --> 0:52:39.680 ad free, you get our weekly newsletter, You get exclusive 0:52:39.680 --> 0:52:42.960 opportunities like being part of the film spotting family Discord. 0:52:43.440 --> 0:52:45.840 We do have more members than this family members, but 0:52:46.239 --> 0:52:51.160 that discord is up to I think four hundred now, Josh. 0:52:51.200 --> 0:52:55.759 And it's just such a wonderful community where we can 0:52:55.840 --> 0:53:01.160 have conversations, really serious conversations about film, can really silly 0:53:01.320 --> 0:53:05.120 conversations about film, or I think there's a music spotting channel, 0:53:05.160 --> 0:53:08.359 a theater spotting channel, a food spotting channel, book you know, 0:53:08.400 --> 0:53:11.520 book spotting, book spotting, I mean, you name it. You 0:53:11.640 --> 0:53:14.120 got really smart people that you can have any kind 0:53:14.120 --> 0:53:16.640 of conversation with. So I say that because if you 0:53:16.760 --> 0:53:19.640 are a family member who hasn't taken the plunge, and 0:53:19.640 --> 0:53:22.520 maybe you're one of those family members who's like, I 0:53:22.560 --> 0:53:25.400 don't I don't do the discord thing. I don't know 0:53:25.400 --> 0:53:28.279 what discord is. I'm intimidated by it. Guess what I 0:53:28.320 --> 0:53:30.279 was in your shoes like six or eight months ago. 0:53:31.000 --> 0:53:33.279 It's really not that complicated, Josh. You probably felt the 0:53:33.320 --> 0:53:36.080 same way. It's not that complicated. It's easy, it's fun. 0:53:36.680 --> 0:53:37.759 Take the plunge, and if. 0:53:37.680 --> 0:53:40.840 You can manage your involvement, I mean, it's you don't 0:53:40.960 --> 0:53:43.520 have to like keep up with everything that is going on. 0:53:43.600 --> 0:53:45.880 You can jump in and out and choose what topics 0:53:45.880 --> 0:53:49.719 are interesting. So it's it's definitely manageable. If you're worried 0:53:49.760 --> 0:53:52.360 about being overwhelmed, you don't have to be. 0:53:52.680 --> 0:53:55.120 Yeah, you can even shut off your notifications for certain 0:53:55.200 --> 0:53:58.080 channels or all the channels and just pop in whenever 0:53:58.200 --> 0:54:01.440 you see fit. If you are not a family member 0:54:01.480 --> 0:54:03.200 and that sounds like something you want to be a 0:54:03.200 --> 0:54:06.280 part of, then please join the family. You also get 0:54:06.520 --> 0:54:10.960 our monthly bonus shows. I mentioned it earlier. Our August 0:54:11.000 --> 0:54:13.759 bonus is a blind Cow. I've seen it. Josh and 0:54:13.800 --> 0:54:19.160 Sam haven't. Akira Kurrasawa's Stray Dog, which is available on 0:54:19.200 --> 0:54:21.719 the Criterion channel. You have to have a subscription to that. 0:54:21.760 --> 0:54:25.239 It's also available on Plex, which may have a commercial 0:54:25.320 --> 0:54:29.279 or two in it, but otherwise it's free and spoilers. 0:54:29.520 --> 0:54:34.560 Stray Dog really really good, So watch it and then 0:54:35.239 --> 0:54:39.160 come listen to our discussion as part of our bonus episode. 0:54:39.200 --> 0:54:41.440 If you'd like to learn more about the film Spotting Family, 0:54:41.600 --> 0:54:46.200 you can learn that at Filmspottingfamily dot com. 0:54:46.360 --> 0:54:48.399 Those kids walked out of those homes No one pulled 0:54:48.400 --> 0:54:51.680 them out, no one forced them. 0:54:51.760 --> 0:54:53.160 What do you see that I don't. 0:54:54.680 --> 0:54:59.560 Show me? Where did you go? There's something very very 0:54:59.640 --> 0:55:00.640 wrong going on. 0:55:02.280 --> 0:55:06.600 That's from Zach Kraiger's Weapons, which we discussed a couple 0:55:06.600 --> 0:55:09.880 of weeks back. If you've seen it yourself, you'll know 0:55:10.000 --> 0:55:12.040 that it's the kind of film that raises as many 0:55:12.160 --> 0:55:15.480 questions as it answers. And if you haven't seen it yourself, 0:55:15.520 --> 0:55:18.600 well you really should not be listening to this segment. 0:55:19.320 --> 0:55:23.279 Go into whatever podcast platform you're listening on and look 0:55:23.280 --> 0:55:26.160 for the chapter, or look for the timecode and jump 0:55:26.160 --> 0:55:28.279 ahead to later in the show. Because this will be 0:55:28.920 --> 0:55:33.680 a spoiler segment. We are going to read some feedback 0:55:33.719 --> 0:55:37.600 from listeners. All of it features spoilers on the movie. 0:55:38.080 --> 0:55:41.480 We'll have some responses, and that's how we're going to 0:55:41.480 --> 0:55:43.960 do a spoiler segment on this movie. Are you ready, Josh? 0:55:44.120 --> 0:55:46.800 I love it. I'm so excited for this. Let's jump 0:55:47.000 --> 0:55:50.840 right in, starting with Matt White in Indy and I 0:55:50.880 --> 0:55:52.880 think we have a few here at the top that 0:55:52.920 --> 0:55:58.040 are about the humor in the movie. And yeah, that crazy, 0:55:58.080 --> 0:56:00.880 crazy ending. So here's Matt White and Indy. I enjoyed 0:56:00.920 --> 0:56:03.200 listening to your takes on the movie. WEAPONS would love 0:56:03.239 --> 0:56:05.959 to hear some spoiler talk. In particular, I would enjoy 0:56:06.000 --> 0:56:09.000 hearing why people were actually laughing at the end of 0:56:09.040 --> 0:56:12.400 this movie. My audience was split about half and half. 0:56:12.560 --> 0:56:17.799 Half were laughing uncontrollably, absolutely uncontrollably. The other half was 0:56:17.840 --> 0:56:21.759 sitting in absolute stunned silence, myself included. I got to 0:56:21.800 --> 0:56:24.160 the end and asked myself how anyone could have found 0:56:24.200 --> 0:56:26.719 that funny. Would love to hear your thoughts. You might 0:56:26.800 --> 0:56:29.800 check out the interview Craiger did on The Big Picture podcast. 0:56:29.840 --> 0:56:32.399 He talks about the humor issue around the one four 0:56:32.640 --> 0:56:35.160 mark and says, I don't think of this as being 0:56:35.280 --> 0:56:38.360 a funny movie. He does acknowledge a couple of purposely 0:56:38.440 --> 0:56:41.320 funny moments, but he honestly sounds surprised people are talking 0:56:41.320 --> 0:56:42.560 about the humor so much. 0:56:44.200 --> 0:56:46.800 I would love to know. The one thing Matt leaves 0:56:46.800 --> 0:56:51.200 out is I haven't listened to that podcast. If Craiger 0:56:51.400 --> 0:56:54.880 says that he doesn't think of it as a funny movie, 0:56:55.600 --> 0:57:00.239 but he acknowledges there are some purposefully funny moments, I 0:57:00.320 --> 0:57:04.200 wonder what he thinks the purposely funny moments are, Because 0:57:04.880 --> 0:57:07.239 for me the only moments in the movie I thought 0:57:07.280 --> 0:57:12.480 that were truly funny and truly purposely funny. Maybe there 0:57:12.520 --> 0:57:14.640 were a couple throughout, Josh, but I'm thinking of the 0:57:14.680 --> 0:57:20.960 ones that were for me, decidedly intended to be funny, 0:57:21.240 --> 0:57:24.680 borderline wacky, were at the end of the film. So 0:57:24.720 --> 0:57:27.960 I'd wonder if if Craiger thought, yeah, I was trying 0:57:27.960 --> 0:57:31.400 to make those funny, or for him they were three 0:57:31.440 --> 0:57:33.640 other moments in the film that nobody else in the 0:57:33.640 --> 0:57:36.560 world might think were funny. Again, Matt doesn't mention that, 0:57:36.720 --> 0:57:39.680 and I haven't listened to the podcast. I would also 0:57:39.720 --> 0:57:42.880 throw this back on Matt and say, the half of 0:57:42.920 --> 0:57:46.720 the audience, including you, you sat there in stun silence. 0:57:46.800 --> 0:57:49.360 Why why did you sit there in stun silence? What 0:57:49.440 --> 0:57:51.760 was it about the ending that kept you from laughing? 0:57:52.000 --> 0:57:55.080 Because here's what I can say about the ending of 0:57:55.080 --> 0:57:59.800 the movie. Here's what I remember, very vividly. I was 0:57:59.840 --> 0:58:03.360 all already kind of chuckling before this. But I can remember, 0:58:03.400 --> 0:58:05.200 and I might get I might get some of the 0:58:05.240 --> 0:58:08.960 particulars wrong. I'm not going to remember the exact shot, 0:58:09.320 --> 0:58:12.120 but you can. You can tell me, Josh if I'm 0:58:12.160 --> 0:58:16.200 misremembering here. Or how you recall the scene, the moment 0:58:16.280 --> 0:58:20.800 in that sequence. So this is the end the clown. 0:58:21.000 --> 0:58:25.919 Gladys is running for her life and these kids, these 0:58:25.960 --> 0:58:28.680 twenty kids or whatever, nineteen kids, however many there are, 0:58:28.880 --> 0:58:35.400 they are chasing after her, screaming too, and they're trying 0:58:35.400 --> 0:58:37.520 to kill her. Like we know they're trying to kill her. 0:58:37.560 --> 0:58:39.840 They're going to attack her. We don't know exactly what 0:58:39.880 --> 0:58:41.640 they're going to do when they get to her, but 0:58:41.760 --> 0:58:43.680 we know it's not going to be good for her. 0:58:44.280 --> 0:58:47.400 And they're they're screaming and chasing her. And again I 0:58:47.440 --> 0:58:49.920 was already kind of chuckling. But when I knew, or 0:58:49.960 --> 0:58:54.080 I thought I knew, oh he's going for laughs. Here 0:58:54.960 --> 0:58:59.920 was when there was a shot where the camera was 0:59:00.120 --> 0:59:04.200 is like on the sidewalk or in a front lawn 0:59:04.560 --> 0:59:10.880 or something, and it's it's looking at like the backyard, 0:59:11.240 --> 0:59:14.920 the part in between like two houses, right, so you 0:59:14.960 --> 0:59:18.160 can see the grass, but it's like in between two 0:59:18.200 --> 0:59:21.600 houses kind of thing. So you're seeing the backyard, but 0:59:21.720 --> 0:59:24.880 just that space in between. And and you I think 0:59:24.920 --> 0:59:27.040 you can hear the yelling, you can hear the shouting, 0:59:27.080 --> 0:59:28.600 so you know you know it's coming. 0:59:28.720 --> 0:59:30.440 It's great sound design in that sequence. 0:59:30.520 --> 0:59:35.440 Yeah, and you see you see Gladys run by. You 0:59:35.440 --> 0:59:38.480 see Gladys run by, just just going left to right 0:59:38.520 --> 0:59:44.240 on the frame by yourself, then empty space, then twenty 0:59:44.320 --> 0:59:48.000 kids yelling and shouting across the frame. Sure, and that 0:59:48.240 --> 0:59:55.080 use of the frame, her running, then empty space, then yelling, shouting, 0:59:55.120 --> 0:59:59.000 twenty kids charging after. It's maybe this isn't clear from 0:59:59.000 --> 1:00:02.000 the way I'm explaining it, but if we were watching it, 1:00:02.040 --> 1:00:04.360 if I could find it, it is. It is like 1:00:04.440 --> 1:00:06.160 something out straight out of a cartoon. 1:00:06.400 --> 1:00:06.840 It is just. 1:00:08.280 --> 1:00:11.000 It could be silent comedy. I was just gonna say 1:00:11.160 --> 1:00:14.840 it is a silent comedy. Bit it is. It is 1:00:14.880 --> 1:00:19.960 straight up the Keaton Chaplin playbook. And so yes, if Craiger, 1:00:20.640 --> 1:00:23.160 I don't care. I honestly don't care. If Craiger tries 1:00:23.200 --> 1:00:26.360 to tell me he didn't accept that purposely funny, or 1:00:26.400 --> 1:00:28.840 if anyone else tells me they didn't think it was funny, 1:00:29.080 --> 1:00:32.200 I refuse. Well, first of all, it's funny. It just 1:00:32.400 --> 1:00:36.280 is funny. But also I can't imagine I cannot imagine 1:00:36.280 --> 1:00:39.280 a world where he didn't set it up that way 1:00:40.000 --> 1:00:42.320 to try to elicit a laugh. I just don't believe it. 1:00:43.000 --> 1:00:46.240 Yeah, Yeah, a couple things. So that's a bit a 1:00:46.280 --> 1:00:49.160 familiar bit. Another familiar bit is and I don't remember 1:00:49.200 --> 1:00:51.080 either where it comes in the Secrets events or when 1:00:51.120 --> 1:00:53.360 I started laughing. And I was never laughing as in 1:00:53.520 --> 1:00:57.880 like I'm watching a straight farce here, I was laughing, 1:00:58.000 --> 1:01:01.000 like this is insane, and the only way I can 1:01:01.040 --> 1:01:04.479 process it is that I will laugh. But also I'm 1:01:04.480 --> 1:01:08.280 prompted by the familiarity with bits as you just described 1:01:08.400 --> 1:01:11.800 another bit when they it's a common bit whenever there's 1:01:11.840 --> 1:01:15.640 a chase sequence that a family is going about their 1:01:15.680 --> 1:01:20.480 business in their house and James Bond runs through a 1:01:20.520 --> 1:01:25.360 superhero runs through name name your character. Right here, we 1:01:25.480 --> 1:01:29.080 get that, except it's it's nothing we've ever seen before. 1:01:29.480 --> 1:01:35.280 It's a crazed clown witch running through. Weird enough, the family. 1:01:34.960 --> 1:01:36.400 Is like normal neighbors. 1:01:37.040 --> 1:01:41.320 What the hell was that? Pause? Here come the kids 1:01:41.360 --> 1:01:45.040 running through streaming. So that's another example of a familiar 1:01:45.080 --> 1:01:47.440 comic bit. I am totally you know, I'm with you. 1:01:47.520 --> 1:01:50.040 I don't care what Craiger says. I could. I mean 1:01:50.080 --> 1:01:53.040 it's interesting right when I say that, I mean I 1:01:53.080 --> 1:01:56.200 don't care what Kraiger says in relation to my or 1:01:56.240 --> 1:01:59.160 anyone else's experience of the film. So Matt, I would 1:01:59.200 --> 1:02:03.440 say in response, I think your stun silence is legit. 1:02:03.920 --> 1:02:06.520 If that's how you experienced Weapons, I don't think you 1:02:06.640 --> 1:02:11.800 experienced it wrong. Like there's no policing someone's interpretation or 1:02:11.840 --> 1:02:14.440 experience of a movie. This is why I love Weapons, 1:02:14.520 --> 1:02:17.840 because I think in a good way. So many people 1:02:17.840 --> 1:02:21.840 are responding to it so differently. So the stunned silence 1:02:22.400 --> 1:02:25.080 I can understand. You know, there might be responses where 1:02:25.080 --> 1:02:26.720 I'm like, I don't know where you got that out 1:02:26.760 --> 1:02:28.640 of it, right, But in this one I can understand 1:02:28.680 --> 1:02:31.640 because it is deeply disturbing. That's partly why I laughed. 1:02:31.640 --> 1:02:34.960 It's some you know, I have that response to some horror, 1:02:35.480 --> 1:02:38.040 and I will just say that I am less sure 1:02:38.080 --> 1:02:39.760 as I think you are, Adam. And maybe this will 1:02:39.760 --> 1:02:43.400 come up in further feedback about the final section of 1:02:43.440 --> 1:02:47.360 the film where we get that voiceover narration of the 1:02:47.400 --> 1:02:51.760 young girl. I believe that that I feel is next email. Yeah, okay, 1:02:52.080 --> 1:02:52.920 let's go ahead and read that. 1:02:53.080 --> 1:02:55.800 Yeah, before we get there, I want to go back 1:02:55.800 --> 1:02:59.400 to what you said, because this ties together this whole 1:02:59.440 --> 1:03:03.560 idea of humor. I think what you're getting at, and 1:03:03.600 --> 1:03:05.760 I think this is what you were getting at during 1:03:05.840 --> 1:03:09.000 the review proper when you were talking about Catharsis. It's 1:03:09.000 --> 1:03:13.400 a different type of humor than what we're describing when 1:03:13.440 --> 1:03:18.560 we're saying it feels like a very clear comedic setup 1:03:19.400 --> 1:03:22.720 the ending, or just before the ending, where you have 1:03:23.480 --> 1:03:31.360 twenty little kids tearing apart an old woman like ravaging 1:03:31.440 --> 1:03:36.680 her body, guts and blood and stuff spilling everywhere. Of course, 1:03:36.760 --> 1:03:44.040 that on a visceral level, on the most immediate primary level, 1:03:44.560 --> 1:03:47.920 is horrifying. And if you were someone sitting in the audience, 1:03:48.360 --> 1:03:50.840 you sat there and stunned silence and just thought that 1:03:50.960 --> 1:03:54.520 was awful, And we're not laughing at all. I completely 1:03:54.600 --> 1:03:57.760 understand that reaction. But if you were someone that maybe 1:03:58.040 --> 1:04:01.640 like you, Josh and me, even to some extent, you 1:04:01.720 --> 1:04:07.360 almost couldn't do anything but laugh at the absolute absurdity 1:04:07.400 --> 1:04:10.120 of it, the absolute over the top absurdity of it. 1:04:10.160 --> 1:04:12.520 And and in your case maybe even like a sort 1:04:12.560 --> 1:04:15.960 of Catharsis of the kids like getting this revenge of it, 1:04:16.520 --> 1:04:22.000 like the crazy, the crazy nature of their revenge. I 1:04:22.360 --> 1:04:24.520 can see that. I can see that too. 1:04:25.160 --> 1:04:28.640 Yeah, And that's another example of like the your body 1:04:28.680 --> 1:04:33.120 responds in laughter, even though it's not like haha, punchline laughter, right, 1:04:33.160 --> 1:04:35.000 it's a different sort of laughter. Yeah, that's it. 1:04:35.040 --> 1:04:37.960 So if Kraiger there, if he's saying I didn't intend 1:04:37.960 --> 1:04:41.320 that to be funny, well, okay, great here again doesn't 1:04:41.360 --> 1:04:43.960 really matter, but I would understand that if he didn't. 1:04:44.240 --> 1:04:47.160 But also I'm sure he understands, or he has to 1:04:47.240 --> 1:04:50.440 understand that it still might elicit that response in viewers. Yes, 1:04:50.560 --> 1:04:56.800 because it's crazy. It's crazy, it is okay. So here's 1:04:57.000 --> 1:04:59.520 a viv from La who's a listener since twenty ten. 1:05:00.000 --> 1:05:02.000 I'm a proud owner of a film spotting t shirt. 1:05:02.080 --> 1:05:02.480 Oh. 1:05:02.600 --> 1:05:05.880 As someone who considers himself a horror fan and horror filmmaker, 1:05:06.120 --> 1:05:08.640 I want to thank the Scaredy Cat Adam for perfectly 1:05:08.760 --> 1:05:11.560 articulating what didn't quite work for me about weapons while 1:05:11.600 --> 1:05:14.120 it's still a movie. I recommend the necessity of including 1:05:14.280 --> 1:05:16.640 all of the storylines due to them being woven together 1:05:16.720 --> 1:05:19.400 by grief. Did never fully gel for me. I also 1:05:19.400 --> 1:05:20.960 don't know that you can really say that about the 1:05:20.960 --> 1:05:23.600 Benedict Wong segment. That's the one I was referring to 1:05:23.680 --> 1:05:25.120 when I had a quick aside and I said, it's 1:05:25.120 --> 1:05:27.160 the only one that doesn't really fit. But like Josh, 1:05:27.240 --> 1:05:29.520 I was very into the Gonzo ending. The part of 1:05:29.520 --> 1:05:31.280 the ending that really didn't work for me is the 1:05:31.360 --> 1:05:34.760 voiceover over the final image. I might suggest listeners who 1:05:34.760 --> 1:05:37.800 haven't seen weapons yet plug their ears the moment that 1:05:37.920 --> 1:05:41.400 thing happens to that character and watch the last thirty 1:05:41.400 --> 1:05:44.680 seconds of the movie listening to your own heartbeat. It 1:05:44.720 --> 1:05:48.560 will make for a much more powerful final moment. So, Josh, 1:05:48.560 --> 1:05:54.640 I would actually love for you to maybe fully express 1:05:55.000 --> 1:05:58.800 or paint a picture of what Aviv is articulating there, 1:05:58.840 --> 1:06:03.080 because I don't know if I fully remember exactly what 1:06:03.120 --> 1:06:06.280 he's referring to here, what's being said, what that final 1:06:06.280 --> 1:06:10.040 image is, and do you agree with what he is saying? 1:06:11.440 --> 1:06:15.040 Yes? And I don't recall the exact final image, But 1:06:15.160 --> 1:06:18.760 there is a PostScript epilogue. I don't know what you'd 1:06:18.800 --> 1:06:23.040 want to call it. But and you do understand Craiger 1:06:23.080 --> 1:06:25.040 maybe wanting to giv in the audience this and not 1:06:25.200 --> 1:06:29.600 ending with the kids tearing the witch apart. Right, You're worrying, 1:06:29.680 --> 1:06:32.880 like what happens to these kids now? Right? You're still 1:06:33.440 --> 1:06:34.720 so I know we want to see them. 1:06:34.640 --> 1:06:37.440 But it was. Yeah, it was sort of some of 1:06:37.480 --> 1:06:39.800 them might even talk again or something like that. 1:06:39.840 --> 1:06:42.400 And this is the voiceover. The movie starts with this 1:06:42.520 --> 1:06:46.680 child's voiceover describing about, you know, that day was like 1:06:46.720 --> 1:06:49.200 any other day, and I understand the sort of fairy 1:06:49.280 --> 1:06:52.960 tale fable element. Again, I've likened this to the Pied Piper, 1:06:53.080 --> 1:06:57.200 so I'd like that choice, but I don't know who's talking, 1:06:57.360 --> 1:07:00.680 what the timeframe is. They seem to be talking as 1:07:00.680 --> 1:07:03.560 if this happened years ago. But then the voice appears 1:07:03.920 --> 1:07:06.680 right at the end of the like we see parents 1:07:07.160 --> 1:07:09.600 coming to gather their children up right, and I think 1:07:09.680 --> 1:07:13.600 Josh Brolin reconnects with his son. Yeah, and the voiceover 1:07:13.680 --> 1:07:17.600 tells us like some of the kids eventually spoke again, 1:07:18.280 --> 1:07:22.640 and yes, to me, I guess the way that was 1:07:22.760 --> 1:07:27.080 handled was it opened more questions to me about the 1:07:27.120 --> 1:07:33.000 timeline about what the kids experienced, because I think those 1:07:33.080 --> 1:07:37.600 who express concern that children, or at least child characters 1:07:38.200 --> 1:07:42.280 are forced to endure such horror in this movie, you know, 1:07:42.720 --> 1:07:45.120 you don't want that to be flippant. And so maybe 1:07:45.160 --> 1:07:49.320 this is a gesture on Craiger's part to attend to 1:07:49.480 --> 1:07:53.120 these kids as actual children, but to me. It the 1:07:53.240 --> 1:07:58.080 way it was done again just confused me. I didn't 1:07:58.160 --> 1:08:01.840 quite understand are these kids now? Why are they out 1:08:01.880 --> 1:08:06.680 of the spell? And other characters were under different spells. 1:08:06.760 --> 1:08:09.720 It started to open this can of worms that it 1:08:09.760 --> 1:08:12.360 then did not squeeze back in by the. 1:08:12.320 --> 1:08:12.840 Time the movie. 1:08:12.880 --> 1:08:15.919 It doesn't seem to make sense, isn't there. I don't 1:08:15.920 --> 1:08:19.200 recall there being something that would make it a contradiction 1:08:19.320 --> 1:08:23.400 that as soon as well, she hasn't otherwise died, So 1:08:23.479 --> 1:08:26.000 doesn't it make sense that if she dies the spell 1:08:26.120 --> 1:08:30.120 is broken? I guess yes, that's how I interpreted it. 1:08:30.160 --> 1:08:32.559 So the spell is broken. But I'd have to watch 1:08:32.640 --> 1:08:35.120 I'd have to watch that ending again. As as I 1:08:35.160 --> 1:08:37.200 said here, when I asked you that question, I kind 1:08:37.200 --> 1:08:39.400 of forgot about. I mean, I didn't forget it. It 1:08:39.400 --> 1:08:42.600 came back to me, but I wasn't really reckoning with 1:08:42.720 --> 1:08:45.800 the ending as far as that final line or that. 1:08:45.880 --> 1:08:49.080 For me, Yeah, it was something that bothered me. I 1:08:49.120 --> 1:08:51.679 was thinking about the ending in terms of the number 1:08:51.720 --> 1:08:54.519 they pull on Gladys right and how crazy it was. 1:08:54.920 --> 1:08:59.400 But I guess I would say, at least in quick response, 1:08:59.479 --> 1:09:04.160 that your defense of it, even as it didn't totally 1:09:04.160 --> 1:09:06.120 work for you. I do think is the right one 1:09:06.160 --> 1:09:10.680 in that the risk Krigger takes as a filmmaker is 1:09:10.680 --> 1:09:13.320 if you end on that note of the spell is 1:09:13.360 --> 1:09:16.840 broken because they just tore her limb from limb, and 1:09:16.880 --> 1:09:20.960 then the movie ends somehow just with the kids kind 1:09:20.960 --> 1:09:24.200 of walking off into the neighborhood or the parents reuniting 1:09:24.240 --> 1:09:28.280 with them or whatever is, then it does almost it 1:09:28.320 --> 1:09:32.720 potentially lends. I think that actually potentially opens up the 1:09:32.720 --> 1:09:36.040 door for more questions than answers, because then it makes 1:09:36.120 --> 1:09:38.040 us think, well, maybe they just all go back to 1:09:38.160 --> 1:09:41.000 normal after that, and that opens the door for us 1:09:41.080 --> 1:09:45.000 to think that somehow the trauma, the trauma's over and 1:09:45.040 --> 1:09:48.080 at least this ending tells us that, no, they're probably 1:09:48.120 --> 1:09:50.479 never going to be the same after this experience, whether 1:09:50.600 --> 1:09:51.760 the spell is broken or not. 1:09:52.080 --> 1:09:54.960 Yeah, And I think that's the right instinct on the 1:09:55.000 --> 1:09:57.800 storytelling part. I guess it's just the execution of that 1:09:58.360 --> 1:09:59.200 impulse for me. 1:09:59.479 --> 1:09:59.879 Yeah. 1:10:00.080 --> 1:10:03.200 So we're going to move on to a few emails 1:10:03.240 --> 1:10:06.160 here on the addiction theme in Weapons, and the first 1:10:06.160 --> 1:10:10.679 one comes from Emilio Barrientos, longtime listener and first time writer. 1:10:10.840 --> 1:10:13.639 After listening to your review of Weapons, I felt compelled 1:10:13.680 --> 1:10:15.920 to send in some thoughts in the movie after some 1:10:15.960 --> 1:10:19.320 conversations on Reddit really unlocked the movie for me. I 1:10:19.360 --> 1:10:22.640 also easily latched onto the school shooting aspect of the 1:10:22.680 --> 1:10:25.200 film on my first viewing, but the theme I missed 1:10:25.200 --> 1:10:30.120 out on was that of addiction and perhaps specifically alcoholism. 1:10:30.720 --> 1:10:33.560 Several Reddit users pointed out that the triangle inside of 1:10:33.600 --> 1:10:35.360 the circle that was seen in the beginning of the 1:10:35.360 --> 1:10:39.080 movie is the symbol for alcoholics anonymous. From my limited 1:10:39.080 --> 1:10:42.320 Internet research, it sounds like alcoholism and addiction is touch 1:10:42.400 --> 1:10:46.000 Kreger's life significantly, and that he wrote Weapons in response 1:10:46.040 --> 1:10:49.800 to his longtime collaborator Trevor Moore's death, which sounds like 1:10:49.920 --> 1:10:53.479 it was in part caused due to being intoxicated. I 1:10:53.479 --> 1:10:55.920 think this theme unlocks the movie in a lot of ways. 1:10:55.960 --> 1:10:59.320 The school shooting theme does not not that both cannot 1:10:59.360 --> 1:11:01.679 be in the movie, but from the characters we follow 1:11:01.760 --> 1:11:05.040 to the idea of transference of pain. I think the 1:11:05.040 --> 1:11:08.360 addiction theme is the stronger theme of the movie. Once 1:11:08.400 --> 1:11:11.679 I started thinking about addiction, I started seeing it everywhere 1:11:11.680 --> 1:11:13.720 in the movie, and I am curious as to your 1:11:13.720 --> 1:11:18.160 thoughts on this as well. I also have taken issue 1:11:18.160 --> 1:11:20.000 with people seeing the final scene as just kind of 1:11:20.040 --> 1:11:22.439 bonkers and random. To me, this scene is vital to 1:11:22.479 --> 1:11:25.040 the idea of the youth being abandoned and leeched off 1:11:25.080 --> 1:11:28.360 from their elders, elders who are fine with stealing their 1:11:28.439 --> 1:11:32.400 children and grandchildren's future for their present. Once that younger 1:11:32.439 --> 1:11:36.439 generation has had enough, they will rebel and tear everything down, 1:11:36.800 --> 1:11:39.120 and it will feel fun, crazy and satisfying until it's 1:11:39.120 --> 1:11:42.680 over and everyone realizes the problem still needs solving and 1:11:42.760 --> 1:11:45.800 they have been left with few tools to solve them. 1:11:46.439 --> 1:11:48.479 Hmm, that's a deep breeding. 1:11:48.800 --> 1:11:50.040 Yeah, it's a lot of good standing. 1:11:50.200 --> 1:11:52.040 I don't know quite what to make of it, right, 1:11:52.479 --> 1:11:56.600 I don't necessarily have a response. I can't say I 1:11:56.640 --> 1:12:00.920 feel like it's misguided. I also can't say that I 1:12:00.960 --> 1:12:03.640 totally agree with it. It's an interesting read on the 1:12:03.720 --> 1:12:04.280 end of film. 1:12:04.840 --> 1:12:07.800 Yeah, Well, his point at the end there about how 1:12:07.840 --> 1:12:10.599 the movie concludes and the generations I think does tie 1:12:10.640 --> 1:12:14.040 into what I eventually laughed on too, was the school 1:12:14.040 --> 1:12:17.120 shooting interpretation, and I think that applies, as I said, 1:12:17.240 --> 1:12:20.960 sacrificing kids at the idol of gun rights. So that 1:12:21.080 --> 1:12:23.960 works for me. But when we go back to what 1:12:24.000 --> 1:12:26.080 are you was saying at the top, and this being 1:12:26.240 --> 1:12:33.040 maybe perhaps intended as an allegory a parable about addiction. 1:12:34.320 --> 1:12:36.880 Here's where I'll say, this is what I love about 1:12:36.920 --> 1:12:39.960 Weapons is that I saw that there. I didn't know 1:12:40.080 --> 1:12:46.120 either that the triangle in the title represented alcoholics anonymous. 1:12:45.560 --> 1:12:47.280 Like we all see the triangle in the A. 1:12:47.760 --> 1:12:50.680 I didn't know that. Obviously, I traced that several characters 1:12:51.280 --> 1:12:56.320 are alcoholic, you know, suffering from alcoholism, and so I 1:12:56.400 --> 1:13:00.240 recognize that as a narrative thread. It didn't register with 1:13:00.360 --> 1:13:05.240 me as strongly as the Pied Piper School shooting interpretation. 1:13:05.960 --> 1:13:08.200 But yeah, that's why Weapons is so great is because 1:13:08.240 --> 1:13:11.439 I think both are valid to me, and your interpretation too, 1:13:11.479 --> 1:13:14.559 Adam about transference of pain, that is valid as well. 1:13:14.920 --> 1:13:18.040 So a good movie opens it up to these readings 1:13:18.439 --> 1:13:20.920 as long as what's on the screen can support each 1:13:20.960 --> 1:13:23.280 of them, and I think it to support you know, 1:13:23.400 --> 1:13:26.559 those three that we just mentioned and possibly some more. 1:13:26.840 --> 1:13:30.560 Yeah, that was it for me, because there are multiple, 1:13:30.680 --> 1:13:33.800 in fact, at least three characters in the film who 1:13:33.880 --> 1:13:38.439 have addiction issues. That's there, that's clearly text, and so 1:13:38.560 --> 1:13:41.680 for me, I thought, well, what else might he be 1:13:41.840 --> 1:13:45.799 dealing with here clearly based on what people have written 1:13:45.840 --> 1:13:49.320 in and said the movie was inspired by. I mean 1:13:49.479 --> 1:13:52.400 we have to allow for that. I don't think that necessarily. 1:13:52.760 --> 1:13:55.719 That doesn't suggest that we have to read the movie 1:13:55.760 --> 1:14:00.560 only one way, but objectively, if what inspired movie was 1:14:00.680 --> 1:14:03.479 him dealing with the death of a friend and that 1:14:03.600 --> 1:14:07.360 was brought on by someone who had a problem with addiction, 1:14:07.640 --> 1:14:10.000 and maybe that was also addiction to something that touched 1:14:10.040 --> 1:14:13.720 his life prior to that, then yes, that's something he's 1:14:13.800 --> 1:14:16.280 working through. But that doesn't mean that's the only thing 1:14:16.439 --> 1:14:19.360 that that's the only thing this movie is about. That 1:14:19.360 --> 1:14:22.679 can open the door to lots of kinds of pain 1:14:22.880 --> 1:14:26.000 or lots of kinds of issues. But yes, this is 1:14:26.000 --> 1:14:28.360 fascinating and it's really interesting to hear from people like 1:14:28.760 --> 1:14:32.479 Emilio and like this one from Mike Bell in Dallas. 1:14:32.520 --> 1:14:36.519 And as I read this, if anyone hearing it says, oh, 1:14:36.640 --> 1:14:39.719 is Mike really comfortable with Adam sharing this on air? 1:14:40.280 --> 1:14:43.960 This is usually very private. Yes, Mike is a longtime listener. 1:14:44.000 --> 1:14:46.400 And I asked him if he was okay with this 1:14:46.600 --> 1:14:48.160 or if he just wanted to keep it between us, 1:14:48.160 --> 1:14:51.960 and he said absolutely, read it. I went straight from 1:14:52.000 --> 1:14:53.920 a certain meeting that I go to every Thursday to 1:14:53.920 --> 1:14:57.080 see weapons. Imagine my surprise when the symbol adorning the 1:14:57.120 --> 1:14:59.479 door at the very meeting that I had attended a 1:14:59.520 --> 1:15:02.240 triangle embedded in a circle appeared in the title of 1:15:02.280 --> 1:15:04.760 the movie. Imagine my greater surprise at the fact that 1:15:04.760 --> 1:15:07.880 the movie thematized the subject matter of the meeting I 1:15:07.920 --> 1:15:11.640 had attended, and even mentioned such meetings in Alden Ehrenreich's 1:15:11.680 --> 1:15:15.200 phone conversation with his fiance. Imagine my even greater surprise 1:15:15.240 --> 1:15:18.360 when one character successfully tempted another to do what we 1:15:18.479 --> 1:15:22.160 call going back out, leading to regret and ruin. I 1:15:22.200 --> 1:15:24.479 don't know exactly how it all adds up, but clearly 1:15:24.560 --> 1:15:27.320 alcoholism is somewhere near the forefront of Craiger's mind. Here 1:15:27.560 --> 1:15:29.960 I read an interview in which Craigor, himself a recovering 1:15:30.000 --> 1:15:32.720 alcoholic and the son of an alcoholic who died of cirrhosis, 1:15:33.080 --> 1:15:35.120 said that he intended the final segment to be a 1:15:35.160 --> 1:15:38.759 metaphor for living with an alcoholic parent. A nefarious force 1:15:38.760 --> 1:15:41.759 invades the house, taking away the personality of the parent 1:15:41.760 --> 1:15:44.200 you once knew. It's food for thought, and I'll need 1:15:44.240 --> 1:15:46.280 to see the movie again to develop a stronger read 1:15:46.320 --> 1:15:49.000 on it. But there's something there. I was a longtime 1:15:49.040 --> 1:15:51.360 listener from the beginning of the show until around twenty fifteen. 1:15:51.400 --> 1:15:53.240 I used to write in from Staten Island and later 1:15:53.280 --> 1:15:55.840 a story of Queens. But I only recently returned to 1:15:55.880 --> 1:15:58.240 the fold glad to see the show is still growing strong. 1:15:58.880 --> 1:15:59.479 Thank you, Mike. 1:16:00.280 --> 1:16:03.960 Yeah, thanks for that, Mike. The description nefarious force that 1:16:04.040 --> 1:16:08.559 definitely describes the boys' parents when they're overtaken by the 1:16:08.600 --> 1:16:11.400 Witch's curse. Right, so it does, so that track does, 1:16:11.600 --> 1:16:13.720 but even it applies to Gladys of course as well. 1:16:13.760 --> 1:16:18.280 Who is causing that? Like that that specific part there 1:16:18.320 --> 1:16:20.920 is something that really resonates with me when you think 1:16:20.960 --> 1:16:21.360 about that. 1:16:21.600 --> 1:16:24.639 Right. Also on this topic, we got this from Michael 1:16:24.680 --> 1:16:28.640 in Kiel, Germany. I'm gonna say Kiel, yes, m hm. 1:16:29.000 --> 1:16:31.479 And here is Michael going into a little more detail 1:16:31.520 --> 1:16:34.320 about a few of those points for me. Michael says, 1:16:34.360 --> 1:16:37.559 the chapter with Alex had an interesting subtext. It reminded 1:16:37.600 --> 1:16:40.440 me of children who live with parents that are alcoholics 1:16:40.479 --> 1:16:43.360 or drug addicts. These children have to grow up way 1:16:43.360 --> 1:16:45.600 too fast, take care of their parents, feel shame and 1:16:45.640 --> 1:16:48.000 guilt and don't dare to ask anyone for help, but 1:16:48.080 --> 1:16:52.599 instead try to maintain the facade of a functioning family. Finally, 1:16:52.640 --> 1:16:55.040 I want to highlight the cinematography. I generally love it 1:16:55.080 --> 1:16:58.240 when filmmakers use long, uncut takes as they make a 1:16:58.280 --> 1:17:01.439 movie more immersive. Weapons was full of these, and I 1:17:01.479 --> 1:17:03.960 really love them. You already discussed the one with Justine 1:17:04.000 --> 1:17:06.559 sleeping in the car. I agree that it worked great, 1:17:06.640 --> 1:17:09.080 especially the part where we only hear the car door 1:17:09.120 --> 1:17:12.120 and don't see what is happening. Oh, I'm already getting 1:17:12.120 --> 1:17:15.479 goosebumps there. I'd like to add two more examples that 1:17:15.520 --> 1:17:19.120 were more dynamic. When Paul chases James and the camera 1:17:19.280 --> 1:17:21.080 is in the car, it really feels like we are 1:17:21.120 --> 1:17:23.000 sitting in the backseat and taking part of the chase. 1:17:23.280 --> 1:17:25.880 It also made the geography of the space much easier 1:17:25.880 --> 1:17:28.519 to understand. If the chase had been shown with many 1:17:28.520 --> 1:17:31.680 cuts instead, we would have needed to reorient ourselves after 1:17:31.720 --> 1:17:34.559 each one, whereas here we always know who is where. 1:17:34.920 --> 1:17:37.360 Another long take highlight for me was at the end 1:17:37.520 --> 1:17:39.679 when the camera follows one of the kids running through 1:17:39.720 --> 1:17:43.080 gardens and houses and jumping through windows. In my opinion, 1:17:43.160 --> 1:17:46.800 the movie deserves an Oscar nomination for Best Cinematography. 1:17:48.080 --> 1:17:49.880 Really good stuff there for Michael, and I like the 1:17:49.920 --> 1:17:53.600 way he expanded on the point there that Michael in 1:17:53.720 --> 1:17:57.400 Dallas Mike and Dallas made so thank you everybody for that. 1:17:57.479 --> 1:18:00.360 We'll close with this one from Alex. You know he's 1:18:00.360 --> 1:18:04.320 a longtime listener because he has his Sam van Holgren nickname, 1:18:04.560 --> 1:18:08.080 very handy, Alex, Mitch and Murray a near in San Francisco. 1:18:08.320 --> 1:18:10.799 I know that Alex is such a long time listener 1:18:11.120 --> 1:18:15.120 that if he had just said Alex Anear, I would 1:18:15.120 --> 1:18:18.200 have been able to tell you his Sam van Halgren nickname. 1:18:18.600 --> 1:18:19.240 Impressive. 1:18:19.600 --> 1:18:20.960 I know it's Mitch and Murray, and. 1:18:21.560 --> 1:18:22.920 I would have recognized I wouldn't have. 1:18:22.880 --> 1:18:25.640 Known before I would have been able to pull out 1:18:25.640 --> 1:18:28.559 the Glengarry glen Ross reference there. He says, I almost 1:18:28.560 --> 1:18:31.040 never write about a movie, but something about weapons compelled 1:18:31.040 --> 1:18:33.960 me on Letterbox. I saw Sam's review, and I'm pretty 1:18:34.000 --> 1:18:36.000 much right where he is on it. Here's what I wrote. 1:18:36.240 --> 1:18:38.640 I'm angry at the movie, not for ethical reasons but 1:18:38.720 --> 1:18:41.839 merely movie watching ones. I was so hooked in the beginning, 1:18:41.880 --> 1:18:43.559 and there were so many interesting things he could have 1:18:43.600 --> 1:18:46.559 done with the setup. The motif of alcohol addiction and 1:18:46.600 --> 1:18:49.519 how it impacts people differently, the gas station incident with 1:18:49.560 --> 1:18:52.160 the cheated on wife where she douses Justine, and Boo's 1:18:52.400 --> 1:18:54.960 parental concern slash grief, where I was really hoping it 1:18:54.960 --> 1:18:57.320 would spend more time being a parent of a toddler. 1:18:57.600 --> 1:19:01.719 Police procedural drug abuse, school closures, COVID came to mind 1:19:01.960 --> 1:19:04.559 a Rascha Man riff, which came to mind watching these 1:19:04.600 --> 1:19:08.720 slightly differing recollections of the police slash junkie interaction from 1:19:08.760 --> 1:19:12.040 each perspective. But no, we get a much more rote 1:19:12.160 --> 1:19:16.400 witch story. Yeah, because we needed more cursaba in this show, Josh, 1:19:15.880 --> 1:19:18.800 and boy do we get a witch story. By the end, 1:19:18.840 --> 1:19:21.960 you almost entirely forget about all those other far more 1:19:21.960 --> 1:19:24.840 interesting avenues. The movie ops to bypass, and like you 1:19:24.880 --> 1:19:27.360 guys pointed out, we had some gory fun while getting there. 1:19:27.800 --> 1:19:30.479 I believe I get what he's getting at, namely a 1:19:30.520 --> 1:19:33.880 school shooting allegory, But other than showing, or rather telling, 1:19:33.960 --> 1:19:35.680 at the very end, the impact of the trauma and 1:19:35.680 --> 1:19:38.880 the survivors, it skips over that idea. The very real 1:19:38.920 --> 1:19:41.840 and wrenching story turns into a total supernatural cop out. 1:19:42.080 --> 1:19:43.760 Tying the whole movie up in a nice bow so 1:19:43.800 --> 1:19:46.439 you don't have to think about it after leaving the theater. Welp, 1:19:46.600 --> 1:19:49.400 it was just a witch. That explains it. The filmmaking 1:19:49.400 --> 1:19:52.400 style is excellent, the acting is superb, the setup is gripping, 1:19:52.680 --> 1:19:54.759 and instead of what could have been a powerful evocation 1:19:54.840 --> 1:19:57.280 of an all two real social problem, it becomes a 1:19:57.320 --> 1:20:00.719 boring old witch story like any Blumhouse Jumps Scarre movie. 1:20:00.760 --> 1:20:02.920 What a shame. I'm definitely a game to keep seeing 1:20:02.920 --> 1:20:05.559 Craiger movies, but I wish he'd done so much more 1:20:05.600 --> 1:20:09.360 with the potential here cheers to twenty years. Please keep 1:20:09.439 --> 1:20:10.240 up the great work. 1:20:11.000 --> 1:20:14.800 Welp. I disagree with Alex, but I can't be too 1:20:14.880 --> 1:20:18.800 hard on him because he's essentially presenting the argument I 1:20:18.920 --> 1:20:23.360 made when we reviewed together that it had, you know, 1:20:23.400 --> 1:20:27.920 this central metaphor allegory as a horror movie, and to 1:20:28.040 --> 1:20:32.000 my mind, tantalized us with a few ways it could 1:20:32.000 --> 1:20:34.599 have gone and didn't really follow any of those tracks, 1:20:34.600 --> 1:20:38.680 and it was just content to really explore, honestly, a 1:20:38.720 --> 1:20:42.599 lot of the gorish, gory possibilities of its metaphor. So 1:20:43.280 --> 1:20:45.600 this is an eye of the beholder thing. I go 1:20:45.680 --> 1:20:49.080 to Weapons, and I find a movie that Alex isn't wrong. 1:20:49.320 --> 1:20:53.799 It is ultimately a witch story, but in this case 1:20:54.720 --> 1:20:59.120 it's a loaded witch story that, as we've been discussing 1:20:59.160 --> 1:21:01.960 now for a of minutes in concert with a number 1:21:01.960 --> 1:21:07.479 of listeners, did sustain the readings that Alex described with 1:21:07.720 --> 1:21:12.360 enough on text evidence to support them. So that's I 1:21:12.360 --> 1:21:14.920 need to think more about why Together didn't work for 1:21:15.000 --> 1:21:19.000 me and Weapons did in this central issue of having 1:21:19.000 --> 1:21:22.000 an easy explanation for your horror story, but it can 1:21:22.040 --> 1:21:25.800 hold deeper resonance. Together didn't Weapons did. I think the 1:21:25.800 --> 1:21:28.120 answer I would give right now is that I find 1:21:28.240 --> 1:21:32.040 more support for the interpretation I latched onto on the screen, 1:21:32.280 --> 1:21:36.280 as well as your interpretation, Adam, and the addiction one 1:21:36.320 --> 1:21:39.360 we've been talking about. I think it's a richly conceived 1:21:39.439 --> 1:21:43.600 enough film that it can hold all of those interpretations 1:21:43.920 --> 1:21:48.280 at once while being a simple witch story. And I'll 1:21:48.280 --> 1:21:50.479 go to another witch story that does that. The Witch, 1:21:51.240 --> 1:21:54.200 you know, I think that is clearly, at the end 1:21:54.200 --> 1:21:55.840 of the day, a witch story, but it's also about 1:21:55.880 --> 1:22:00.519 religious oppression and fundamentalism and all these other things. In 1:22:00.600 --> 1:22:02.720 ways you know, it holds all those things too. I 1:22:02.800 --> 1:22:05.439 think I think Weapons does that for me at least. 1:22:06.000 --> 1:22:09.200 Yeah, I get the connection you're making between the two films, 1:22:09.280 --> 1:22:12.200 but I don't think it's a stretch to say that 1:22:12.720 --> 1:22:17.640 Weapons is a more finely crafted film than Together is, 1:22:17.760 --> 1:22:21.920 and more importantly, right, more importantly, though, they're trying to 1:22:21.960 --> 1:22:23.880 do very different things, and that I don't think Together 1:22:24.000 --> 1:22:27.800 is trying to be mysterious. It it does want to 1:22:27.840 --> 1:22:31.160 wrap itself up very neatly and tell you exactly what 1:22:31.280 --> 1:22:32.559 kind of movie it is. And Weapons. 1:22:32.960 --> 1:22:36.479 That's what Alex is saying though, that that Weapons, and I. 1:22:36.400 --> 1:22:38.200 Guess I'm pushing back on that a little bit, and 1:22:38.240 --> 1:22:40.639 I'm saying that Weapons Weapons wants to be a more 1:22:40.680 --> 1:22:44.040 mysterious movie. I think it is inherently a more mysterious 1:22:44.080 --> 1:22:47.360 movie that clearly does open itself up for more interpretation. 1:22:48.080 --> 1:22:50.920 Now here's where I'll talk out of both sides of 1:22:50.920 --> 1:22:53.000 my mouth, if you will. I think I think it's 1:22:53.000 --> 1:22:55.759 a little more nuanced than that. I think that's true, 1:22:55.800 --> 1:22:58.800 and that's why I'm more positive on Weapons than Alex is, 1:22:59.560 --> 1:23:01.439 and why I like it more than I like Together. 1:23:02.000 --> 1:23:04.840 But where Alex and I agree a little bit, because 1:23:04.840 --> 1:23:08.519 I expressed this a little bit during the review is 1:23:08.640 --> 1:23:12.920 unlike you, rather than having that moment of catharsis when 1:23:12.960 --> 1:23:16.360 the when the witch was being torn apart, all the 1:23:16.400 --> 1:23:21.280 witch stuff only distracted me from the Catharsis I wanted, 1:23:21.479 --> 1:23:25.480 which was more about the Catharsis of the characters themselves, 1:23:25.960 --> 1:23:29.599 Alex and his parents, Josh brol and Archer and Matthew, 1:23:30.360 --> 1:23:34.200 Justine and all of her storylines, Like that's that's why 1:23:34.240 --> 1:23:37.519 I was invested in. Yeah, and maybe going back to 1:23:37.520 --> 1:23:40.240 how we started this conversation about you know, where the 1:23:40.240 --> 1:23:44.439 movie ultimately wraps up. I left the theater kind of 1:23:44.479 --> 1:23:48.000 like Alex did, just thinking, Oh, it's kind of a 1:23:48.000 --> 1:23:50.400 silly witch movie. Even though I still was thinking about 1:23:50.400 --> 1:23:53.160 pain and all that stuff. I kind of was thinking, oh, 1:23:53.200 --> 1:23:54.760 that was kind of a that was kind of a 1:23:54.800 --> 1:24:00.080 silly witch movie, rather than thinking about the characters and 1:24:00.120 --> 1:24:05.040 their pain and how the story resolved or didn't resolve 1:24:05.040 --> 1:24:08.000 around them, because I was too busy still thinking about 1:24:08.080 --> 1:24:09.320 the absurdity of the ending. 1:24:09.600 --> 1:24:12.559 Yeah, so we don't, you know, neither of us tries 1:24:12.600 --> 1:24:16.080 to get into here's what the filmmakers should have done conversation. 1:24:16.479 --> 1:24:19.360 But all of this feedback does make me think what 1:24:19.439 --> 1:24:23.160 weapons would have been like if Craiger had chosen rather 1:24:23.200 --> 1:24:27.160 than that voice over ending that you know I've argued 1:24:27.200 --> 1:24:32.000 doesn't entirely work, had gone back to the multiple story 1:24:32.360 --> 1:24:37.559 structure and given us a PostScript from each person's perspective. Yeah, 1:24:37.840 --> 1:24:40.320 like yes, and maybe it could have been a year later, 1:24:40.479 --> 1:24:43.439 maybe it could have been from that those same last 1:24:43.560 --> 1:24:47.240 three minutes. But because I think you're onto something good 1:24:47.240 --> 1:24:49.799 here is it spent so much time with those characters. 1:24:50.280 --> 1:24:54.519 It is a little disappointing not to find a bit 1:24:54.560 --> 1:24:57.519 of closure with each of them. And maybe that would 1:24:57.560 --> 1:25:00.320 be Maybe that's a terrible idea in unga only a 1:25:00.320 --> 1:25:01.600 way to do it, but it just popped in my 1:25:01.640 --> 1:25:03.360 head as you were talking there. Yeah. 1:25:03.600 --> 1:25:05.519 Well, if you do have more thoughts you like to 1:25:05.520 --> 1:25:08.160 share on weapons, we would love to hear them or 1:25:08.240 --> 1:25:10.360 anything else we talk about here on the show, email 1:25:10.439 --> 1:25:14.679 us feedback at film spotting dot net and Josh. The 1:25:14.720 --> 1:25:19.160 conversation around weapons does not stop here when it comes 1:25:19.160 --> 1:25:21.160 to the Film Spotting Network of shows. 1:25:21.200 --> 1:25:23.720 It seems that's right the next Picture show looking at 1:25:23.720 --> 1:25:26.760 Cinema's present via It's past their new pairing. It's the 1:25:26.800 --> 1:25:29.720 one Scott Tobias hope to get. When I talked to 1:25:29.800 --> 1:25:32.200 him coming out of that Weapons screening, he thought right 1:25:32.240 --> 1:25:36.240 away about Adam Agoian's nineteen ninety eight Oscar nominee The 1:25:36.280 --> 1:25:38.960 Sweet Hair, after you brought it up in our review, Adam, 1:25:39.320 --> 1:25:43.360 that it popped in mind to you while you're watching Weapons, 1:25:43.400 --> 1:25:46.720 and yet it really is a good pairing. So right 1:25:46.760 --> 1:25:48.680 now they're going to be talking about The Sweet Hair 1:25:48.680 --> 1:25:50.799 after and then they will get to their Weapons review 1:25:50.840 --> 1:25:54.280 on the following episode. New episodes of The Next Picture 1:25:54.320 --> 1:25:57.400 Show drop every Tuesday and you can find them wherever 1:25:57.439 --> 1:25:58.440 you get your podcasts. 1:25:58.840 --> 1:26:02.160 Next week here on Phil Spotting, we're off sort of. 1:26:02.240 --> 1:26:05.599 We never really take a week off. We still will 1:26:05.600 --> 1:26:09.759 have a show to drop, but it's Labor Day week, 1:26:10.120 --> 1:26:15.360 it's my anniversary week, and it's Josh Larsen off to 1:26:15.640 --> 1:26:21.800 Scotland week. Scott Yeah, not just not just a vacation. 1:26:22.320 --> 1:26:25.400 So we will have something in your feed, and we 1:26:25.520 --> 1:26:28.160 think right now we still have to have some conversations 1:26:28.160 --> 1:26:30.320 here behind the scenes, but our plan right now, you know, 1:26:30.320 --> 1:26:34.120 we've been sharing some film spotting Fest audio from March, 1:26:34.920 --> 1:26:38.679 dolling that out over the course of the past few months, 1:26:38.760 --> 1:26:44.240 and we haven't shared yet our conversation with Coganata about 1:26:44.320 --> 1:26:47.200 the movie Columbus from Film Spotting Fest, and with his 1:26:47.280 --> 1:26:49.960 new movie coming out here in September, we thought we 1:26:49.960 --> 1:26:53.680 would share that. We might also share your conversation with 1:26:53.680 --> 1:26:58.760 a Dana Stevens wonderful conversation about pother Panchali She was 1:26:58.800 --> 1:27:01.400 rt he was so good, so we might share that 1:27:01.439 --> 1:27:03.400 as well, or we'll save that for later in the year. 1:27:03.520 --> 1:27:06.519 So you will have you will have new audio or 1:27:06.800 --> 1:27:08.800 audio you haven't heard before unless you were in the 1:27:08.800 --> 1:27:12.240 audience at Film spotting Fest in your feed next week 1:27:12.280 --> 1:27:15.439 and then the following week, we're planning on another Sacred Cow, 1:27:15.520 --> 1:27:21.800 another Pantheon project review thirty fifth anniversary. We're finally doing it. 1:27:22.320 --> 1:27:24.479 Been in the Pantheon all this time, but we've never 1:27:24.520 --> 1:27:27.600 discussed Martin Scorsese's Goodfellas. 1:27:27.960 --> 1:27:29.120 Yeah, how is that possible? 1:27:29.240 --> 1:27:31.519 I mean, I don't know, I don't know, and I 1:27:31.840 --> 1:27:34.720 don't remember. You know, it's one of those with Goodfellas. 1:27:34.800 --> 1:27:36.680 It's one of those movies where if you ask me, 1:27:36.720 --> 1:27:39.960 when is the last time I saw it? You know, 1:27:40.200 --> 1:27:43.200 I don't know if if I've seen the movie in 1:27:43.280 --> 1:27:46.519 one sitting, maybe since I was in high school when 1:27:46.520 --> 1:27:49.360 it came out. But I've seen the movie four thousand times, 1:27:49.880 --> 1:27:53.719 you know, like it comes on TV. If it ever 1:27:54.000 --> 1:27:56.640 has come on TV, I watch it. If I'm at 1:27:56.720 --> 1:27:59.760 someone's house and it's on, Yeah, I watch it, like 1:28:00.479 --> 1:28:03.400 I know every scene from that movie almost by heart. 1:28:03.760 --> 1:28:08.360 So yeah, I think the last time so The Irishman 1:28:08.479 --> 1:28:11.920 was what twenty nineteen, twenty twenty around there, something like 1:28:11.960 --> 1:28:14.519 that seventeen eighteen nineteen. So I did a rewatch of 1:28:14.560 --> 1:28:18.080 all of Scorsese's gangster movies back when Think Christian was 1:28:18.120 --> 1:28:21.000 still a thing, exploring sort of the morality of the 1:28:21.000 --> 1:28:24.640 mobster and the laws that all the mobsters have to 1:28:24.680 --> 1:28:28.360 follow even though they're criminals, and revisit Goodfellows for that, 1:28:28.920 --> 1:28:32.559 which was fascinating. Spoiler, Adam, it holds up. 1:28:33.280 --> 1:28:35.080 I think you will say. 1:28:35.160 --> 1:28:37.320 I think even watching it all in its entirety, you 1:28:37.360 --> 1:28:38.639 will find that it's a good film. 1:28:38.800 --> 1:28:41.559 Yeah, yeah, I have a feeling it will. And you 1:28:41.560 --> 1:28:44.760 were right twenty nineteen on The Irishman. We will also 1:28:44.760 --> 1:28:47.840 have results from the current deeply flawed film spotting pull. 1:28:48.240 --> 1:28:50.080 We thought this was going to be a real death 1:28:50.120 --> 1:28:53.160 match that was going to just tear people apart, and 1:28:53.200 --> 1:28:57.360 based on the comments. Some people were really in conflict 1:28:57.400 --> 1:28:59.360 about this. But if you look at the overall voting 1:29:00.920 --> 1:29:05.040 or studio jubilee, you can only choose one. There is 1:29:05.080 --> 1:29:07.559 a clear winner in this one, Josh, it's not close. 1:29:08.160 --> 1:29:12.120 That confounds me. And now I don't know which way 1:29:12.120 --> 1:29:18.000 to go, like our listeners leaning more, you know, like 1:29:18.400 --> 1:29:20.680 the art house, I guess pick you would say, and 1:29:20.720 --> 1:29:21.519 going to what do you. 1:29:21.520 --> 1:29:23.479 Think about film Spotting listeners? What's your guy? 1:29:25.439 --> 1:29:27.080 I think possibly that's it? 1:29:27.640 --> 1:29:31.200 Yeah, yeah, you might be right, really, you might be right. Yeah, 1:29:31.560 --> 1:29:33.680 So if you want to try to even things out 1:29:33.680 --> 1:29:36.280 a little bit in Pixar's favor, you can vote now 1:29:36.520 --> 1:29:39.040 have film Spotting dot Net. The polls are still open 1:29:39.200 --> 1:29:42.840 for another week. And yes, we'll we'll see. I don't 1:29:42.840 --> 1:29:45.519 know if Josh will get to anything. As he's moving 1:29:45.560 --> 1:29:48.200 into his dorm room. What's your dorm room gonna be? Like, Josh? 1:29:48.200 --> 1:29:50.760 Are you gonna hang up with a poster of Apocalypse? Now? 1:29:51.120 --> 1:29:52.000 Reservoir dogs? 1:29:52.280 --> 1:29:55.760 I'm worried about my roommate quite frankly, and what they 1:29:55.760 --> 1:29:56.160 think of. 1:29:56.120 --> 1:30:01.960 My wife exactly. How's that gonna go? And we'll see 1:30:01.960 --> 1:30:04.599 if we are able to view anything else. We're both 1:30:04.680 --> 1:30:08.599 curious about Darren Aronofsky's caught stealing with Austin Butler. There's 1:30:08.600 --> 1:30:10.840 a few things coming out that we'll see if we 1:30:10.880 --> 1:30:13.800 can catch up with. For a current show schedule, you 1:30:13.840 --> 1:30:17.559 can visit Filmspotting dot Net slash episodes. 1:30:17.400 --> 1:30:20.160 Time out for Massacre Theater, we perform a scene and 1:30:20.240 --> 1:30:22.560 you get a chance to win a film Spotting prize. 1:30:23.360 --> 1:30:42.600 Last time we massacred, Oh boy, this scene. 1:30:34.520 --> 1:30:36.800 And they've been bad and they have kept the change 1:30:36.840 --> 1:30:37.960 in that room. 1:30:38.160 --> 1:30:39.519 But it was for your button. 1:30:44.960 --> 1:30:48.400 Don't you remember what I used to sing to you? 1:30:49.160 --> 1:30:53.679 You A little block of bye baby on the tree top. 1:30:55.120 --> 1:30:56.400 When the wind. 1:30:56.080 --> 1:31:01.920 Blows that cradle we'll buy when Bob Bray that great 1:31:02.120 --> 1:31:03.040 a will fall. 1:31:05.840 --> 1:31:06.040 Right. 1:31:09.320 --> 1:31:10.479 I only dropped you once. 1:31:13.200 --> 1:31:16.880 That was John Matusak as Sloth and Anne Ramsey as 1:31:16.920 --> 1:31:21.120 Mama Fratellia nineteen eighty five's The Gooties, written by Chris 1:31:21.160 --> 1:31:24.519 Columbus and directed by Richard Donner. That massacre was part 1:31:24.520 --> 1:31:27.360 of our weapons show a couple of weeks ago. There's 1:31:27.400 --> 1:31:30.519 always a tie in. So why that scene from the Goonies. 1:31:31.520 --> 1:31:36.040 Colton Butcher says, superb performance, stunning oscar Worthy. I just 1:31:36.080 --> 1:31:38.400 got to introduce the Goonies to a friend's tween for 1:31:38.439 --> 1:31:40.479 the first time, and he loved it. It's an evergreen 1:31:40.560 --> 1:31:43.639 summer favorite of mine. As for connections, I assume it's 1:31:43.680 --> 1:31:45.840 Josh Brolin is the dad searching for his kid in 1:31:45.920 --> 1:31:48.720 weapons and as the older brother following the kids on 1:31:48.760 --> 1:31:52.080 their adventure and Goonies. It's a stretch, not really, but 1:31:52.160 --> 1:31:55.040 you also mentioned the cinematographer is the same guy that 1:31:55.120 --> 1:31:58.000 shot Everything Everywhere all at once, which stars a grown 1:31:58.080 --> 1:32:00.560 up data key Akwon. 1:32:01.200 --> 1:32:05.360 Wow, what a poll. Coulton. Yeah, nice, we heard from 1:32:05.479 --> 1:32:09.160 Kemo Watanabe from Rose Park, Utah. It's been a while 1:32:09.240 --> 1:32:12.000 since I knew the movie Massacre Theater, and you are 1:32:12.120 --> 1:32:14.600 one hundred percent correct. The real winners are all of 1:32:14.680 --> 1:32:17.360 us who got to hear that ha ha talk about 1:32:17.400 --> 1:32:20.639 unlocking a core memory. I'm glad that you didn't veto 1:32:20.720 --> 1:32:24.640 this one. Josh was completely nailing those sloth articulations with 1:32:24.680 --> 1:32:29.040 an accuracy that was both incredible and incredibly disturbing. I 1:32:29.040 --> 1:32:31.919 guess it's probably equally disturbing that I know how accurate 1:32:31.920 --> 1:32:35.160 they are. This was maybe my favorite movie, Massacre Theater ever. 1:32:35.520 --> 1:32:39.640 Adam's Ma Fratelli kudos to you for really going for it. 1:32:39.960 --> 1:32:43.760 Half James Cagney, half Gonzo All and Ramsey. 1:32:44.320 --> 1:32:47.240 So don't notice, Josh, there's a lip seson there, and 1:32:47.280 --> 1:32:50.719 that's because he had a line from the script in there, 1:32:50.800 --> 1:32:52.960 and I didn't want to have to try to replicate it. 1:32:53.040 --> 1:32:54.920 I didn't count on the fact that you might be 1:32:55.000 --> 1:32:57.120 the one reading it. You could have done it. 1:32:57.360 --> 1:33:01.800 Oh no, I think you're performed was immortal and should 1:33:01.880 --> 1:33:03.760 be enshrined and never duplicated. 1:33:04.600 --> 1:33:08.040 Here's Frederick from Norway. This is great. Well, my gym 1:33:08.080 --> 1:33:11.280 membership may finally get revoked. It's not uncommon for me 1:33:11.320 --> 1:33:13.479 to listen to your show while exercising, and sure it 1:33:13.520 --> 1:33:16.760 promotes the occasional giggle, but your mescer theater performance of 1:33:16.800 --> 1:33:18.920 the Goonies had me laughing out loud in a way 1:33:19.000 --> 1:33:23.280 I'm sure dissuaded the use of treadmills in my immediate proximity. 1:33:23.680 --> 1:33:26.439 So thanks for that. Not having seen Weapons yet, I'm 1:33:26.479 --> 1:33:28.840 sure there are many connections between Goonies and this week's 1:33:28.880 --> 1:33:31.479 show I missed, but the most obvious one was that 1:33:31.720 --> 1:33:34.960 it features Josh Brolin. Brolin has said he believes Weapons 1:33:35.040 --> 1:33:36.920 is a project that has the potential to have a 1:33:36.960 --> 1:33:39.840 lasting impact in the same way as Goonies. This was 1:33:39.880 --> 1:33:42.240 somewhat echoed by Josh and that he believes the imagery 1:33:42.640 --> 1:33:44.800 of the kid's running arms spread out into the night 1:33:44.880 --> 1:33:48.439 is something that could become something lasting and iconic. Again, 1:33:48.479 --> 1:33:51.000 I have not seen weapons, and it does not arrive 1:33:51.040 --> 1:33:53.400 in theaters in my little backwater part of Norway for 1:33:53.439 --> 1:33:56.000 a couple of weeks. But your review has me excited 1:33:56.040 --> 1:33:58.439 and I'm looking forward to checking it out. As always. 1:33:58.520 --> 1:33:59.439 Keep up the good work. 1:33:59.640 --> 1:34:02.080 Well, thank you, Frederick. I hope they let you back 1:34:02.120 --> 1:34:05.800 into the gym. Here's Patricia Collins. You must have wanted 1:34:05.840 --> 1:34:08.519 to hear from all your Oregon listeners and eighties kids 1:34:08.520 --> 1:34:11.120 with your Masacar theater choice. I'm not great at this game, 1:34:11.160 --> 1:34:14.360 but got this scene by the second line. The performances 1:34:14.360 --> 1:34:17.360 were so spectacular that I played it for my partner, 1:34:17.360 --> 1:34:20.280 who also got it before you were done. Goonies is 1:34:20.320 --> 1:34:23.040 such a part of Oregon Coast culture that one of 1:34:23.080 --> 1:34:26.120 the hotels in Cannon Beach I recently stayed at had 1:34:26.200 --> 1:34:31.000 three DVD cop Why you need three such high demand? 1:34:31.560 --> 1:34:34.679 Uh huh, because what else would you do while staying 1:34:34.720 --> 1:34:37.240 at a place that overlooks Haystack Rock, then revisit the 1:34:37.320 --> 1:34:39.400 quest for One Eyed Willie's Treasure. 1:34:40.840 --> 1:34:44.320 Finally, here's Brian Spinks. It may seem absurd now, but 1:34:44.439 --> 1:34:46.679 watching this film as a kid, a couple of years 1:34:46.680 --> 1:34:49.959 younger than Mikey, it felt like only one small compass 1:34:50.000 --> 1:34:51.400 click away from our reality. 1:34:51.640 --> 1:34:52.360 I get it, Brian. 1:34:52.479 --> 1:34:54.599 Could there be a lost treasure map in our attics, 1:34:54.920 --> 1:34:59.519 among the dusty detritus of the past. Possibly. What adults 1:34:59.520 --> 1:35:01.600 saw as a fun romp was to us kids a 1:35:01.640 --> 1:35:05.240 call to action, the makings of a plan, join forces 1:35:05.240 --> 1:35:08.360 with your friends, and, despite any adversity, go on life 1:35:08.439 --> 1:35:12.000 changing adventures. Unbeknownst to our parents or lack thereof, To 1:35:12.120 --> 1:35:14.920 us kids, Goonies was as real as the evening News. 1:35:15.360 --> 1:35:18.640 The performances Donner derives from these kids are spectacular. I 1:35:18.680 --> 1:35:21.200 think if this film is existing in the spielburghing in 1:35:21.240 --> 1:35:24.799 school of directing kids, Spielberg having served as the original 1:35:24.840 --> 1:35:31.120 story writer and producer, it's our time down here. Feel that, Josh, 1:35:31.160 --> 1:35:32.040 did you feel that? 1:35:32.680 --> 1:35:36.880 Inspiring Brian and Goonies is fine? 1:35:37.360 --> 1:35:39.160 It almost makes me want to like the movie. 1:35:39.280 --> 1:35:43.200 It's fine. We just ruined it. 1:35:43.560 --> 1:35:44.720 We had to built up so. 1:35:44.720 --> 1:35:48.519 Much we could. We could have just gone, I know 1:35:48.760 --> 1:35:53.040 it's not that great, it's fine. You're right, it's fine. 1:35:53.680 --> 1:35:56.960 Reach into the brimming the brimming film Spotting Cat Brian. 1:35:57.000 --> 1:36:00.559 That really was inspired, though I'm not I'm not joking. 1:36:00.560 --> 1:36:03.720 It moved me. Three stars in your email, two and 1:36:03.760 --> 1:36:04.760 a half out of the four. 1:36:04.840 --> 1:36:08.200 For goodness, Reach into that hat it is brimming, and 1:36:08.240 --> 1:36:09.360 pick out this week's winner. 1:36:09.479 --> 1:36:11.080 Our winner is Ethan Johnson. 1:36:11.680 --> 1:36:14.479 Yeah, and he didn't include a location, but I'm pretty 1:36:14.479 --> 1:36:17.320 sure Ethan Johnson is from Fergus Falls, Minnesota, or at 1:36:17.400 --> 1:36:19.040 least at one point in his life was. So that's 1:36:19.040 --> 1:36:23.080 what I'm gonna say. Congratulations Ethan. Email feedback at film 1:36:23.160 --> 1:36:25.360 spotting dot net. Let us know if you would like 1:36:26.080 --> 1:36:28.599 your film Spotting t shirt, a film Spotting tote bag, 1:36:28.720 --> 1:36:32.640 or a trial membership to the film Spotting Family. The 1:36:32.800 --> 1:36:36.360 sound goes through the cable to the box. A man 1:36:36.439 --> 1:36:39.960 records it on a big record in wax, but you 1:36:40.320 --> 1:36:40.840 have to. 1:36:40.920 --> 1:36:46.480 Talk into the mic first. In the bush. 1:36:46.560 --> 1:36:49.679 We move on now to this week's edition of Massacre Theater. 1:36:51.360 --> 1:36:55.920 A couple things. So this scene actually has a plethora 1:36:56.000 --> 1:36:59.240 of voices in it, and we are we are combining 1:36:59.280 --> 1:37:04.439 them into obviously just two voices. There's one character and 1:37:04.479 --> 1:37:07.960 he's versus a bunch of other characters. So one of 1:37:08.040 --> 1:37:10.759 us will play that character and the other will play 1:37:11.000 --> 1:37:12.440 all the other characters. 1:37:12.120 --> 1:37:15.679 Which will be me. So I'm like, imagine a bunch 1:37:15.680 --> 1:37:19.080 of demons possessing my body. 1:37:18.800 --> 1:37:20.960 But not yes, because that's in your body, but not 1:37:21.040 --> 1:37:22.240 actually on screen. 1:37:22.320 --> 1:37:24.920 And then speaking through one voice. So that's what I'm 1:37:24.920 --> 1:37:27.080 going to be channeling. This is not a horror movie, 1:37:27.120 --> 1:37:27.479 by the way. 1:37:27.760 --> 1:37:30.200 Let's it is definitely not a horror movie. Here's the 1:37:30.320 --> 1:37:32.519 Here's the other hint I'm going to give you. Well, first, 1:37:33.160 --> 1:37:37.040 it does tie in with this show, though Josh, is 1:37:37.040 --> 1:37:40.040 it fair to say it may be it is a 1:37:40.200 --> 1:37:42.360 clear tie in, but it may be a little bit 1:37:42.400 --> 1:37:43.240 of a deeper. 1:37:43.000 --> 1:37:46.760 Cut once usual, it's. 1:37:46.560 --> 1:37:49.000 Not as clear as like Josh Brolin's in the Goonies, 1:37:49.080 --> 1:37:50.920 Andy's in Weapons. It's not that clear. 1:37:52.000 --> 1:37:52.400 Okay. 1:37:52.800 --> 1:37:54.559 The other thing I'm going to say is we recently 1:37:54.600 --> 1:37:59.920 talked about how film Spotting Madness. The upcoming film spot 1:38:00.200 --> 1:38:04.240 Madness goes way back to the nineteen forties, and the 1:38:04.439 --> 1:38:10.760 further back you go in time, the fewer movies generally 1:38:11.880 --> 1:38:15.400 people have seen. And I bring that up only because 1:38:15.439 --> 1:38:17.679 I'm not telling you what decade is from. But I'm 1:38:17.720 --> 1:38:22.439 going to say that it does suggest we may have 1:38:23.479 --> 1:38:26.200 a case where the hat is not going to be 1:38:26.240 --> 1:38:28.240 as brimming as the Goonies was. 1:38:28.400 --> 1:38:29.760 You're worried about submissions. 1:38:30.080 --> 1:38:32.840 I am a little worried, but but I like the 1:38:32.960 --> 1:38:35.400 tie in. I don't know if I'm going to like 1:38:35.439 --> 1:38:37.599 the performance. I don't know what's going to come out 1:38:37.600 --> 1:38:39.400 of my mouth in about five seconds. 1:38:39.840 --> 1:38:43.120 I mean that's how every massacre theater should begin. 1:38:43.720 --> 1:38:46.479 Yeah, but you usually do the funny voices or the 1:38:46.520 --> 1:38:50.960 attempts at funny voices, and here I am, so are 1:38:51.000 --> 1:38:53.000 you ready? I mean, I are we going to Are 1:38:53.000 --> 1:38:54.439 we going to change the one name in it? 1:38:54.479 --> 1:38:54.719 Though? 1:38:55.000 --> 1:38:57.599 No, let's just go okay. 1:38:57.800 --> 1:39:02.040 I love Josha's approach. Josha's roach to scene study is 1:39:02.080 --> 1:39:07.320 don't overthink it action. I'm going into the hills for winter. 1:39:08.080 --> 1:39:09.680 Where am I going to get the food for my 1:39:09.760 --> 1:39:13.519 men bird or grow it or maybe even work for 1:39:13.600 --> 1:39:17.240 it somehow. I don't think you've solved my problem. 1:39:17.800 --> 1:39:22.760 Solving your problems is entire mind. We deal in lead, friend. 1:39:22.920 --> 1:39:26.880 So do I. We're in the same business. Huh, only 1:39:26.920 --> 1:39:32.120 as competitors, Why not as partners? Suppose I offer you 1:39:32.240 --> 1:39:39.679 equal shares and what everything to the last grain and. 1:39:39.640 --> 1:39:42.720 The people in the village? What about them? 1:39:43.280 --> 1:39:46.640 I leave it to you. Can men of our profession 1:39:46.720 --> 1:39:51.160 worry about things like that, may even be sacrilegious. But 1:39:51.240 --> 1:39:53.640 if God didn't want them sheared, he would not have 1:39:53.680 --> 1:39:56.000 made them sheep. What do you say? 1:39:56.680 --> 1:39:57.120 Right on? 1:39:57.840 --> 1:40:01.760 You hear that Sotero? You hear what he said right 1:40:01.840 --> 1:40:03.600 on to me? 1:40:06.360 --> 1:40:11.200 And scene wow? I mean I argued we had to 1:40:11.280 --> 1:40:14.240 keep that last line and I because it was so important. 1:40:14.280 --> 1:40:15.479 I didn't know you were going to do that. 1:40:16.120 --> 1:40:19.680 Well, it's because you argued for the line that I 1:40:19.760 --> 1:40:20.799 knew I had to deliver. 1:40:20.920 --> 1:40:23.960 Did I deliver? Oh? Yeah, Oh you delivered? Nice? 1:40:23.960 --> 1:40:26.400 It would show a film. We just massacred. Email the 1:40:26.439 --> 1:40:29.519 movie's title and your name and location to feedback at 1:40:29.520 --> 1:40:32.960 film spotting dot net. The deadline is Monday, September fifteenth. 1:40:32.960 --> 1:40:35.040 And Josh, when you brought up the demon thing, I 1:40:35.080 --> 1:40:39.919 didn't realize you were actually going to do separate voices. 1:40:40.040 --> 1:40:43.120 I didn't either, Adam show us No, that wasn't my 1:40:43.160 --> 1:40:47.479 plan or possessed as I often am in massacre theater. 1:40:47.640 --> 1:40:50.599 Wow, your deadline's Monday, September fifteenth, will select the window 1:40:50.640 --> 1:40:53.120 randomly from all the craged entries had announced it in 1:40:53.160 --> 1:40:54.280 a couple of weeks. 1:40:55.280 --> 1:40:59.839 There is a creature alive today who has survived millions 1:40:59.880 --> 1:41:07.200 of years of evolution, without change, without passion, and without logic. 1:41:08.479 --> 1:41:16.080 It lives to kill. A mindless eating machine. It will 1:41:16.120 --> 1:41:24.439 attack and devour anything. It is as if God created 1:41:24.479 --> 1:41:28.200 the devil and gave him Jaws. 1:41:30.400 --> 1:41:33.760 We couldn't resist Jaws, one of the greatest movies of 1:41:33.760 --> 1:41:37.280 all time. Josh, It's back in theaters for its fiftieth anniversary. 1:41:37.479 --> 1:41:37.960 Go see it. 1:41:38.000 --> 1:41:40.360 We didn't want to wait. We couldn't wait till it's fiftieth. 1:41:40.400 --> 1:41:43.600 Back when it was celebrating its forty fifth birthday, we 1:41:43.680 --> 1:41:47.120 gave it the sacred cow treatment. We had what we 1:41:47.160 --> 1:41:50.160 thought was a pretty long and pretty thorough, pretty eye 1:41:50.160 --> 1:41:55.000 opening conversation about the film. At the time, we thought 1:41:55.080 --> 1:41:58.559 it was worth sharing. We'll see if this leads to 1:41:59.520 --> 1:42:03.719 another two, two or three comments on Apple Podcasts telling 1:42:03.800 --> 1:42:04.639 us that we're too woke. 1:42:04.880 --> 1:42:07.280 That's right, what do you think I believe we may 1:42:07.320 --> 1:42:11.839 have lost six or seven listeners. Yeah, last time so 1:42:11.960 --> 1:42:14.840 if that happens again, we'll be struggling. But yeah, this 1:42:15.000 --> 1:42:16.120 was a fun one, and. 1:42:16.040 --> 1:42:19.960 We'll still replay it at fifty five and sixty doesn't 1:42:19.960 --> 1:42:22.720 matter to us. From June twenty twenty, here is that 1:42:22.880 --> 1:42:27.640 sacred cow review of Jaws. Sometimes, probably often, we have 1:42:27.680 --> 1:42:30.280 a convenient hook for one of these setups that doesn't 1:42:30.320 --> 1:42:33.559 really reflect the whole substance of our conversation about a movie. 1:42:33.840 --> 1:42:37.559 But a convenient hook is a convenient hook, Which is 1:42:37.720 --> 1:42:40.280 all to say for those of you who aren't particularly 1:42:40.280 --> 1:42:43.280 interested in hearing a discussion of Jaws framed around our 1:42:43.320 --> 1:42:46.680 current administration, just give us a little wiggle room here. 1:42:46.760 --> 1:42:49.400 I'm pretty confident we're both more excited to talk about 1:42:49.439 --> 1:42:53.960 Steven Spielberg's camera tricks than his politics. But it's a 1:42:54.000 --> 1:42:57.559 little eerie how precient his game changing nineteen seventy five 1:42:57.600 --> 1:43:01.439 blockbuster is forty five years later. The movie that promised 1:43:01.479 --> 1:43:04.240 Will Never Go in the Water Again also presents an 1:43:04.280 --> 1:43:07.880 all too dangerously familiar type of huckster politician during a 1:43:07.920 --> 1:43:12.360 crisis who fails to heed the warnings of scientists, dramatically 1:43:12.400 --> 1:43:15.960 downplays and dismisses the potential loss of life. Can't wait 1:43:16.000 --> 1:43:18.719 to pat himself and his cronies on the back, loves 1:43:18.760 --> 1:43:22.160 to preen for a TV camera, and who demands those 1:43:22.200 --> 1:43:27.200 beaches be open because business demands they be open. Yep, Sorry, 1:43:27.560 --> 1:43:31.320 even the scary shark movie is actually about coronavirus. And 1:43:31.800 --> 1:43:34.000 I'm far from the only one who has noticed. My 1:43:34.080 --> 1:43:37.280 Twitter timeline has jumped the snark over the past couple 1:43:37.280 --> 1:43:39.920 of months, including this from Frank Rich just a few 1:43:40.000 --> 1:43:43.000 nights ago, commenting on a New York Times breaking news 1:43:43.000 --> 1:43:46.519 tweet that read Vice President Mike Pence encourage governors to 1:43:46.600 --> 1:43:51.240 repeat a misleading claim about coronavirus outbreaks, Rich wrote, Pence 1:43:51.280 --> 1:43:56.120 makes the Jaws Mayor look like Churchill. Mayor Vaughan is 1:43:56.160 --> 1:44:00.360 played with a Penzian affable smugness by Murray Hans Hamilton, 1:44:00.720 --> 1:44:02.680 and one line I had always kind of overlooked this 1:44:02.720 --> 1:44:05.240 struck me on this rewatch is when he's spurning the 1:44:05.280 --> 1:44:09.040 pleas of Roy Scheider's chief Martin Brody and Richard Dreyfus's 1:44:09.040 --> 1:44:11.880 Matt Hooper to keep the beaches closed. On July fourth, 1:44:12.080 --> 1:44:17.320 America's data celebrate its independence and pre eminence, and he explains, 1:44:17.680 --> 1:44:20.360 I don't think either one of you are familiar with 1:44:20.479 --> 1:44:25.320 our problems, our problems. You see, Matt is a visitor 1:44:25.360 --> 1:44:28.599 to Amity, and the chief, well, he's an interloper. He's 1:44:28.600 --> 1:44:30.559 a cop from New York City who just moved his 1:44:30.600 --> 1:44:33.840 family to the island a year ago. Mayor Vaughan translated, 1:44:34.200 --> 1:44:36.840 why should I take advice on what my people should 1:44:36.880 --> 1:44:40.240 do from you foreigners? Maybe he would have listened to 1:44:40.280 --> 1:44:42.200 the warnings of a police chief who was a born 1:44:42.240 --> 1:44:46.040 and bred Islander. Maybe not, but Martin's otherness sure makes 1:44:46.120 --> 1:44:49.800 him really easy to ignore. So, Josh, I'm curious. As 1:44:49.840 --> 1:44:53.040 a starting point anyway, on this viewing, was your mind 1:44:53.120 --> 1:44:57.600 still mostly blown by Jaws remarkable craft or in the 1:44:57.640 --> 1:45:02.200 midst of this pandemic starring Inn satiable predacious virus that's 1:45:02.240 --> 1:45:06.040 always lurking out of sight? Was it the movie surprising 1:45:06.160 --> 1:45:08.639 relevancy that had you jumping out of your seat. 1:45:08.840 --> 1:45:10.760 Yeah, we'll get to the craft. I mean, that's the 1:45:10.800 --> 1:45:15.320 reason this movie is ultimately still so masterful these many 1:45:15.360 --> 1:45:18.680 decades later. But I'm glad you're starting here, because obviously 1:45:19.439 --> 1:45:22.599 this came to mind even if you hadn't revisited Jaws 1:45:22.640 --> 1:45:25.200 recently as soon as I mean, even if we hadn't 1:45:25.200 --> 1:45:27.799 had the one to one correlation of beaches people desperately 1:45:27.840 --> 1:45:30.080 wanting beaches to be open, I think this would have 1:45:30.120 --> 1:45:32.200 come to mind, and you're right, it was all over Twitter. 1:45:32.680 --> 1:45:36.160 But sitting down to watch the movie again, it's the 1:45:36.320 --> 1:45:40.960 details that are so one to one that did absolutely 1:45:41.120 --> 1:45:43.559 shock me. And I want to say at the start, 1:45:43.600 --> 1:45:46.719 you know, I realize that this is not as cut 1:45:46.760 --> 1:45:49.759 and dried. On the one hand that the administration wants 1:45:49.760 --> 1:45:51.559 things to seem, it's, you know, not as cut and 1:45:51.600 --> 1:45:54.760 dried maybe for some people. On the other hand, I 1:45:54.800 --> 1:45:57.400 don't own a small family business, you know, but my 1:45:57.520 --> 1:46:01.360 livelihood is not tied to something that is directly affected 1:46:01.360 --> 1:46:03.960 by these closings. So I do get it that this 1:46:04.040 --> 1:46:07.240 is a real issue for some people. Yet the broad 1:46:07.320 --> 1:46:10.240 scale opening I think that the White House has been 1:46:10.240 --> 1:46:13.880 pushing not only seems unwise but is very much in 1:46:13.920 --> 1:46:17.479 line with what we see Amity's mayor pushing for in 1:46:17.520 --> 1:46:21.519 this movie. And just quotes like Murray Hamilton saying we 1:46:21.600 --> 1:46:24.599 need summer dollars. You know, you can just you basically 1:46:24.760 --> 1:46:28.240 have been hearing that for two months now. And I 1:46:28.240 --> 1:46:32.080 think there are other details worth mentioning. The Pence correlation, 1:46:32.280 --> 1:46:37.519 Adam is absolutely the amended autopsy report, right. They fudge 1:46:37.520 --> 1:46:40.280 the autopsy report to make it not look like a 1:46:40.360 --> 1:46:43.720 shark attack. That's what's going on in the case. In 1:46:43.760 --> 1:46:47.920 this recent case of Pence, you mentioned Hooper, and there's 1:46:47.960 --> 1:46:51.000 this distrust of Hooper. I don't I didn't make the 1:46:51.360 --> 1:46:55.720 you know, the outsider immigrant connection quite as much. I 1:46:55.720 --> 1:46:58.599 think that's that's really smart. But I think of him 1:46:58.640 --> 1:47:03.000 as like the outside experts, who's bringing scientific evidence and data? 1:47:03.240 --> 1:47:06.799 Right This is who is immediately distrusted, is the person 1:47:06.840 --> 1:47:10.240 with the facts. And that again is all we're seeing 1:47:10.479 --> 1:47:13.080 from up on top right now, the eagerness for an 1:47:13.080 --> 1:47:17.320 easy solution. When the fishermen catch the first shark and 1:47:17.439 --> 1:47:20.280 right away it's like, let's have a parade. It's over. 1:47:20.680 --> 1:47:24.120 Everybody get in the water immediately. And how about this one. 1:47:24.160 --> 1:47:27.040 This is a more subtle one that it's maybe not 1:47:27.160 --> 1:47:31.160 as easy to laugh about. But the distraction from the 1:47:31.280 --> 1:47:35.120 issue at hand, I mean, how much nonsense we're always 1:47:35.120 --> 1:47:37.280 putting up with nonsense coming out of the White House, 1:47:37.479 --> 1:47:41.000 But how much did that amp up after COVID nineteen hit. 1:47:41.120 --> 1:47:45.759 And it's very much in line with that conversation Hooper 1:47:46.080 --> 1:47:49.840 and Brody and the mayor have underneath the amity sign 1:47:50.280 --> 1:47:54.639 and it's been vandalized, right and so immediately for the mayor, 1:47:55.120 --> 1:47:57.200 that's issue number one. 1:47:57.040 --> 1:47:58.080 Sick vandalism. 1:47:58.600 --> 1:48:02.400 That is a deliberate utilation of a public service message. 1:48:02.880 --> 1:48:05.840 Now I want those little paint happy baskets caught and 1:48:05.960 --> 1:48:07.360 hung up by their busker Brown. 1:48:07.640 --> 1:48:11.200 That's it. That's to him, what's plaguing the island, law 1:48:11.240 --> 1:48:14.920 and order, Law and order. Let's get that and not 1:48:15.040 --> 1:48:18.320 worry about all this other stuff. So you know all 1:48:18.360 --> 1:48:21.080 that said, the other revelation to me, as long as 1:48:21.080 --> 1:48:23.559 we're dumping on Trump, which I'm happy to do all day, 1:48:24.200 --> 1:48:26.720 I don't think he's the mayor. I mentioned this when 1:48:26.760 --> 1:48:29.880 I right after I revisited it on letterbox because it 1:48:29.960 --> 1:48:33.559 struck me. Remember the scene where there's a scare in 1:48:33.600 --> 1:48:36.320 the water. Everyone's on the beach and it's just chaos. 1:48:36.400 --> 1:48:40.080 Everyone is rushing to get to shore. There's one guy, 1:48:40.520 --> 1:48:42.840 there's one guy who a was dumb enough to go 1:48:42.880 --> 1:48:45.479 in the water, right, but then when things go bad, 1:48:45.960 --> 1:48:49.080 he pushes those kids off the raft and steals it 1:48:49.240 --> 1:48:53.200 and desperately paddles back to shore in terror. That's Trump. 1:48:53.280 --> 1:48:55.240 If you want to look for Trump in that movie 1:48:55.240 --> 1:48:59.479 and how he's behaved throughout his presidency and particularly when 1:48:59.560 --> 1:49:02.120 crisis hits, he's that dumb guy. 1:49:02.960 --> 1:49:06.799 Man, I am so willing to buy the Trumpian elements 1:49:06.840 --> 1:49:09.519 to both the mayor and to that guy, which I 1:49:09.560 --> 1:49:12.920 don't think I had never really noticed before until this viewing. 1:49:13.160 --> 1:49:16.960 And it's also so perfect, right because this terrible thing 1:49:17.080 --> 1:49:21.840 he does, this horrible act of prioritizing his safety over 1:49:21.880 --> 1:49:25.320 these kids. Yeah, is also so stupid because wouldn't he 1:49:25.360 --> 1:49:27.920 probably move faster if he just swam instead of not 1:49:28.000 --> 1:49:31.240 only yaking the float but trying to use the float? Now, 1:49:31.320 --> 1:49:33.639 is the flow going to get him to shore any quicker? 1:49:33.760 --> 1:49:37.000 He speaks to the panic. Yeah, it speaks to the panic. 1:49:37.320 --> 1:49:39.400 It speaks to the selfishness, It speaks to all the 1:49:39.439 --> 1:49:42.160 things that we're talking about. And yes, we definitely will 1:49:42.200 --> 1:49:45.000 geek out on the formal elements of this movie, I'm sure, 1:49:45.400 --> 1:49:48.840 But having not really devoted a lot of time to 1:49:48.880 --> 1:49:52.360 studying this movie or having discussed it in detail before 1:49:52.520 --> 1:49:55.360 on this show, I got all the Twitter jokes over 1:49:55.400 --> 1:49:58.080 the past couple of months, But it was because, Yeah, 1:49:58.120 --> 1:50:00.000 of course, I've always just kind of taken the idiot 1:50:00.080 --> 1:50:02.360 it may or aspect. For granted, that was part of 1:50:02.360 --> 1:50:05.040 the story. It wasn't really some kind of statement on 1:50:05.080 --> 1:50:10.240 Spielberg's part with regard to American politics or Americans in general. 1:50:10.520 --> 1:50:12.640 But it is very hard to watch it now and 1:50:12.720 --> 1:50:15.439 separate that aspect, and even more interesting for me than 1:50:15.439 --> 1:50:18.160 all the parallels that were touching on and you really 1:50:18.400 --> 1:50:23.560 nicely articulated. For me, what's fascinating is where the political 1:50:23.680 --> 1:50:26.240 and the personal intersect in this film, which I think 1:50:26.240 --> 1:50:29.639 fits nicely with what this movie does as a whole, 1:50:29.760 --> 1:50:33.160 so very well, which is mixing the horror and those 1:50:33.280 --> 1:50:37.840 thriller adventure aspects with the personal too. It's in getting 1:50:37.880 --> 1:50:41.400 to know these people, it's having an attachment to Chief 1:50:41.439 --> 1:50:45.519 Brody in his family. That great scene at the dinner 1:50:45.520 --> 1:50:48.160 table after the slap is one of my favorites. I 1:50:48.200 --> 1:50:49.760 think I may have had it in my top five 1:50:50.040 --> 1:50:53.519 Spielberg moments. But just going off memory, coming into this film, 1:50:53.720 --> 1:50:56.920 I thought of Chief Brody as this purely heroic figure 1:50:57.479 --> 1:50:59.799 and that it was the idiot mayor and the greed 1:50:59.840 --> 1:51:02.720 of the townspeople that prevent this guy, this stand up 1:51:02.800 --> 1:51:05.880 righteous man, from doing his job and saving lives, and 1:51:06.000 --> 1:51:09.599 that he's almost this Cassandra like figure who unfortunately is ignored, 1:51:10.040 --> 1:51:12.840 except when you watch closely, you realize he doesn't really 1:51:12.920 --> 1:51:16.200 put up a fight when the medical examiner changes the 1:51:16.200 --> 1:51:19.479 police report, as you pointed out, from a shark attack 1:51:19.520 --> 1:51:23.800 to a boting accident. He doesn't actually really protest. What 1:51:23.880 --> 1:51:26.640 he does is what so many of us do. He 1:51:26.720 --> 1:51:28.880 just tries to cover his ass. The exact lines are, 1:51:29.000 --> 1:51:31.040 that's not what you told me over the phone. And 1:51:31.080 --> 1:51:33.559 when theme says I was wrong, we'll have to amend 1:51:33.560 --> 1:51:36.280 our reports, Brody says, and you'll stand by that. So, 1:51:36.320 --> 1:51:38.639 in other words, as long as the medical examiner will 1:51:38.640 --> 1:51:41.000 go on the record and say that that's the cause 1:51:41.040 --> 1:51:43.639 of death, then Chief Brody's willing to wash his hands 1:51:43.640 --> 1:51:46.000 of it. Right, And when they catch the tiger shark, 1:51:46.240 --> 1:51:49.839 and they all do preemptively celebrate, he's all too eager, 1:51:50.200 --> 1:51:54.960 Like how much attention Spielberg pays to Shier smiling, and 1:51:55.520 --> 1:51:58.320 how willing he is to congratulate everyone and even pose 1:51:58.360 --> 1:52:01.720 for the picture himself triumphantly. Right, it's not because, like 1:52:01.800 --> 1:52:04.439 the others, he really probably wants the glory and he 1:52:04.479 --> 1:52:06.920 wants the publicity. I think we understand that about who 1:52:06.960 --> 1:52:09.720 he is as a person, but you know what it is. 1:52:10.200 --> 1:52:13.320 It does make life so much easier, doesn't it. If 1:52:13.520 --> 1:52:16.639 the shark was caught, it makes his life so much easier. 1:52:16.720 --> 1:52:20.000 So he's immediately willing again, like so many of us are. 1:52:20.120 --> 1:52:23.640 He's immediately willing to assume the truth of what is 1:52:23.680 --> 1:52:26.479 told to him and what seems to be shown to him, 1:52:26.920 --> 1:52:30.080 rather than dig deeper and actually confront the truth. And 1:52:30.080 --> 1:52:34.120 what finally does prompt moments of reckoning for both Brody 1:52:34.200 --> 1:52:37.040 and the mayor. I think it's really worth pointing out 1:52:37.160 --> 1:52:40.960 that it isn't until missus Kittner slaps him. Brody doesn't 1:52:40.960 --> 1:52:43.559 show much remorse. You can tell that this is weighing 1:52:43.640 --> 1:52:46.080 on him, but he is willing to celebrate, as I said, 1:52:46.080 --> 1:52:48.639 in that moment, and he doesn't reflect or really show 1:52:48.680 --> 1:52:52.679 remorse or awareness of his guilt that Alex's death could 1:52:52.720 --> 1:52:56.120 have been prevented if he hadn't been complicit in basically 1:52:56.160 --> 1:52:59.720 covering up the shark attack. And for the mayor, it's 1:52:59.760 --> 1:53:02.559 the same. It's when he says, my kids were on 1:53:02.600 --> 1:53:05.840 that beach too, So it's that Hooper line that's actually 1:53:05.880 --> 1:53:09.519 the response to the line I quoted in the setup 1:53:09.760 --> 1:53:12.680 from the mayor about not wanting to hear from them. 1:53:12.720 --> 1:53:15.360 They don't understand our problems. He says, I think that 1:53:15.400 --> 1:53:17.240 I'm familiar with the fact that you're going to ignore 1:53:17.240 --> 1:53:19.840 this particular problem until it swims up and bites you 1:53:19.920 --> 1:53:22.880 on the ass, until it swims up and bites them 1:53:22.920 --> 1:53:24.920 on the ass. The chief is willing to look the 1:53:25.000 --> 1:53:27.120 other way, the mayor is willing to look the other way. 1:53:27.439 --> 1:53:29.360 A lot of us are willing to look the other way. 1:53:29.520 --> 1:53:32.560 Yeah, I think you're right about Brody. It is more complicated. 1:53:32.600 --> 1:53:35.599 You know, he does have an immediate instinct to protect right. 1:53:35.680 --> 1:53:37.839 His instinct is to have the deputy make the beaches 1:53:37.920 --> 1:53:42.760 closed signs. But once things get complicated and political, his 1:53:42.960 --> 1:53:46.040 position shifts a little bit. And here's another resonance with 1:53:46.320 --> 1:53:49.680 you know, COVID nineteen that I'll just say I've been experiencing. 1:53:49.840 --> 1:53:52.920 How about the fact that Brody lets his kids go 1:53:52.960 --> 1:53:55.880 in the water, but they go in the pond, right, 1:53:55.920 --> 1:53:58.120 And so there's a negotiation there. And I don't know 1:53:58.160 --> 1:54:00.720 about you, but as things are open up and we're 1:54:00.720 --> 1:54:05.360 trying to follow what actual experts say is safe to 1:54:05.360 --> 1:54:08.599 do right now, just not governmental bodies who have perhaps 1:54:08.680 --> 1:54:11.679 other interests. Yet at the same time, we have teenage 1:54:11.760 --> 1:54:16.280 kids who are desperate to associate with their friends, and 1:54:16.680 --> 1:54:19.360 we have some friends whose families are making some decisions, 1:54:19.400 --> 1:54:22.479 some who are making other decisions. We're kind of like, 1:54:22.920 --> 1:54:24.600 do we let our kids go in the water? Like? 1:54:24.640 --> 1:54:27.559 Which body of water do we let our kids go into? 1:54:28.040 --> 1:54:30.800 And how are we making our own compromises. So I'm 1:54:30.800 --> 1:54:33.320 glad you brought that up about Brody because it does 1:54:33.400 --> 1:54:36.080 complicate things in a way that I think is more 1:54:36.120 --> 1:54:38.840 true to life. And it adds absolutely And maybe here's 1:54:38.840 --> 1:54:40.839 where we can get into other aspects of the film. 1:54:41.200 --> 1:54:44.280 Into what you were talking about, Adam, is how personal 1:54:44.360 --> 1:54:49.240 this film is not only tied to Brodie's family, but 1:54:49.320 --> 1:54:52.920 really to an extent, this community at large. And let 1:54:53.000 --> 1:54:54.880 me give you an example that'll also get us into 1:54:54.920 --> 1:54:57.880 the craft. It was Michael Phillips number three Spielberg scene, 1:54:58.280 --> 1:55:02.280 and it is that first bea attack sequence. First of all, 1:55:02.400 --> 1:55:04.800 just the patience of the filmmaking there watching it again, 1:55:04.920 --> 1:55:08.040 how much time is spent on building the suspense. But 1:55:08.160 --> 1:55:10.920 here's here's what I mean about it being personal. Each 1:55:11.040 --> 1:55:15.520 potential victim in that sequence gets a story it's patient 1:55:15.600 --> 1:55:17.160 enough to give them a story. So we have the 1:55:17.640 --> 1:55:20.760 boy who's begging to go back in the water. Right, 1:55:21.040 --> 1:55:24.000 that's a mini picture of a real family right there. 1:55:24.280 --> 1:55:27.000 Any of us with kids know that conversation. There's also 1:55:27.040 --> 1:55:30.520 the woman floating peacefully alone. The shot is long enough 1:55:30.520 --> 1:55:32.839 to wonder is she just at the beach by herself? 1:55:33.160 --> 1:55:35.440 You know? Is what is she? You know, just chilling 1:55:35.480 --> 1:55:37.919 for the day? What's her story? Then how about. 1:55:37.720 --> 1:55:40.320 Teenage couple the horse play the horse. 1:55:40.080 --> 1:55:42.840 Play, and then how about the teen with the dog? 1:55:42.960 --> 1:55:45.880 The dog who gets a name Pippin and that turns 1:55:45.920 --> 1:55:48.000 out to be Alex Kittner, who is the one who 1:55:48.000 --> 1:55:52.200 obviously gets killed. So just the time spent where it's 1:55:52.240 --> 1:55:55.200 not just a shark attack on these strangers who are screaming, 1:55:55.640 --> 1:55:57.760 it's all of these people who, yes, we don't get 1:55:57.800 --> 1:56:01.400 to know intimately, but we formed. Spielberg is patient enough, 1:56:01.960 --> 1:56:06.800 and the shot selection is intentional enough to allow us 1:56:06.880 --> 1:56:09.560 to form a little bit of relationship so that when 1:56:09.600 --> 1:56:11.720 the chaos strikes it's all the more terrifying. 1:56:11.960 --> 1:56:15.160 Yeah, you are so right, and the math doesn't work out. 1:56:15.200 --> 1:56:17.280 But when I heard Pippen is the dog name here, 1:56:17.440 --> 1:56:19.400 I of course, thought about Roy Scheider in one of 1:56:19.440 --> 1:56:21.880 my all time favorite films, All That Jazz playing Bob 1:56:21.920 --> 1:56:25.720 Fosse and Pippen was one of his seminal musicals, one 1:56:25.760 --> 1:56:28.000 of his real master works that he got a lot 1:56:28.040 --> 1:56:31.080 of acclaim for. But obviously this film came before, not 1:56:31.200 --> 1:56:34.680 before Pippen, but before All That Jazz. I don't think 1:56:34.720 --> 1:56:36.680 I had that. I didn't go back and look at 1:56:36.680 --> 1:56:38.920 our top five list, which you can find over at 1:56:38.920 --> 1:56:41.240 filmspotting dot net just click on lists. I don't remember 1:56:41.280 --> 1:56:44.360 my exact top five Spielberg moments, but if I was 1:56:44.440 --> 1:56:48.640 redoing it now, that sequence wouldn't be just at number three, 1:56:48.720 --> 1:56:52.480 it would probably be at number one. And let's be honest, 1:56:52.520 --> 1:56:55.320 we could do at minimum a top five moments just 1:56:55.360 --> 1:56:56.640 from this film. 1:56:56.680 --> 1:56:57.040 For sure. 1:56:57.200 --> 1:57:02.360 Forget Spielberg's filmography, but I do think, certainly on this rewatch, 1:57:02.480 --> 1:57:07.480 that prelude to the Alex Kittner attack is the sequence 1:57:07.640 --> 1:57:13.240 of this film Brody on the Beach. He's watching obsessively, 1:57:13.840 --> 1:57:15.840 and I'm going to come back to why I think 1:57:15.880 --> 1:57:18.080 that part of it is actually important in a second, 1:57:18.840 --> 1:57:23.160 and we get those wipe cuts on movement, the residents, 1:57:23.440 --> 1:57:27.040 the residents walking in front of him, almost like it's 1:57:27.320 --> 1:57:29.960 the blinking of his eye, and every time we get 1:57:29.960 --> 1:57:33.560 one of those blinks, we get closer to his face, 1:57:34.000 --> 1:57:36.840 and it does just take everything you were talking about. 1:57:36.840 --> 1:57:40.200 All that tension, all that dread is just mounting, and 1:57:40.240 --> 1:57:44.200 it mounts with every single one of those little innocent cuts, 1:57:44.240 --> 1:57:48.040 those little innocent blinks, and it's all just sound, right. 1:57:48.080 --> 1:57:52.480 There's no real dialogue, there's no music at this point. 1:57:52.520 --> 1:57:55.280 It's all just sound and motion, sound and motion, which 1:57:55.320 --> 1:57:58.800 is filmmaking, right, Filmmaking at its core is sound and motion. 1:57:59.120 --> 1:58:02.120 And even then we get that shot where Spielberg employs 1:58:02.160 --> 1:58:04.920 a little trick that is a preview of another trick 1:58:04.960 --> 1:58:09.120 that's going to come, where Brody's perspective is obscured by 1:58:09.160 --> 1:58:12.280 the guy, another guy who kind of gets a story, Josh, 1:58:12.320 --> 1:58:15.000 to your point, Yeah, the guy we all know who's 1:58:15.040 --> 1:58:19.640 the busybody who only cares about what the reckless holmbs 1:58:19.680 --> 1:58:21.840 in town or whatever are doing to him. And he's 1:58:21.880 --> 1:58:23.680 really got to take a look at that he's telling 1:58:23.760 --> 1:58:26.560 the chief, right, and his perspective is obscured by that 1:58:26.600 --> 1:58:30.360 guy in his shoulder, and we watch as Brody does 1:58:30.400 --> 1:58:32.800 what we want him to do. Lifts his eyes, lifts 1:58:32.800 --> 1:58:35.360 his head over the guy's shoulders so we can see, 1:58:35.720 --> 1:58:37.920 and then we get a diopter shot. I'm pretty sure 1:58:37.920 --> 1:58:41.000 it's a diopter shot that obscures the perspective between what 1:58:41.040 --> 1:58:44.080 Brody's seeing and in the foreground that guy's face and 1:58:44.120 --> 1:58:47.520 then in the water what he's looking at, which again 1:58:48.000 --> 1:58:51.040 it does just continue to heighten the tension. Something seems 1:58:51.160 --> 1:58:53.760 very off in that moment, and that diopter shot actually 1:58:53.760 --> 1:58:56.880 comes the second before a scream, But it's a scream 1:58:56.880 --> 1:58:59.080 in the water that isn't the attack yet, so it's 1:58:59.080 --> 1:59:01.360 all just to tease to well, it's the scream of 1:59:01.400 --> 1:59:04.080 those kids who are playing in the water, the teenagers, 1:59:04.400 --> 1:59:08.480 and all of that is what actually sets up the 1:59:08.560 --> 1:59:12.440 classic shot, the vertigo trick shot. It's one thing to 1:59:12.480 --> 1:59:14.920 think of that when you take it just on its 1:59:14.960 --> 1:59:19.440 own as a scene to analyze, and you recognize that 1:59:19.720 --> 1:59:23.320 he is zooming forward at the same time he is 1:59:23.360 --> 1:59:26.919 pulling back. That's the technique that gives that amazing effect 1:59:26.960 --> 1:59:30.680 of fear and awareness of what's happening when the Kittner 1:59:30.680 --> 1:59:34.440 attack actually begins, as the camera focuses in on Brody. 1:59:34.600 --> 1:59:37.839 But that's exactly what it's doing just as the shots 1:59:37.920 --> 1:59:41.280 before it, those cuts were playing with distance and playing 1:59:41.320 --> 1:59:44.840 with perspective at once. That's what's happening here. Time and 1:59:44.880 --> 1:59:47.040 space is completely collapsing in that moment. 1:59:47.480 --> 1:59:50.680 So we've both mentioned the editing in this sequence. We 1:59:50.680 --> 1:59:54.680 should probably point out Jaws edited by Verna Fields, and 1:59:54.760 --> 1:59:57.000 looking at her credits, this was her last credit at 1:59:57.040 --> 2:00:01.320 least at IMDb, but before that edited me Paper Moon 2:00:01.480 --> 2:00:05.400 American Graffiti with Spielberg here on the sugar Land Express 2:00:05.960 --> 2:00:10.760 as well. So man, just masterful, masterful work, the camera work, 2:00:10.800 --> 2:00:14.520 but also the editing in this sequence. And I agree. 2:00:14.640 --> 2:00:16.840 You know, my pick from Jaws for our top five 2:00:16.880 --> 2:00:19.400 Spielberg scenes, which will probably get to though I went 2:00:19.440 --> 2:00:21.080 on and on and on when we did that episode, 2:00:21.160 --> 2:00:23.280 is show Me the Way to Go Home, the comparing 2:00:23.360 --> 2:00:26.480 scours scene. But I do agree in terms of craft, 2:00:26.800 --> 2:00:29.160 maybe in terms of characterization, that's the best scene in 2:00:29.160 --> 2:00:31.320 the film. In terms of craft, it's this one here 2:00:31.360 --> 2:00:33.720 that we've been talking about. But you know you're in 2:00:33.760 --> 2:00:36.520 for this high level of craft from the very start 2:00:36.560 --> 2:00:38.520 of this film, And one thing I did not remember 2:00:38.560 --> 2:00:42.160 watching it again is that John Williams score is the 2:00:42.200 --> 2:00:45.480 first thing we get I think before even any images, 2:00:45.560 --> 2:00:49.400 we're getting that score. So how supremely confident the filmmakers 2:00:49.440 --> 2:00:52.840 were right of William's work here to do that. And 2:00:52.880 --> 2:00:56.400 then we get the teenagers on the beach at night time, 2:00:56.960 --> 2:01:01.040 and I loved how the camera movement shift here and 2:01:01.200 --> 2:01:03.520 really moves us into the terror because when they're on 2:01:03.560 --> 2:01:06.160 the beach hanging out, there's a tracking shot along all 2:01:06.200 --> 2:01:09.320 of them that shows us clearly we're on stable ground. 2:01:09.400 --> 2:01:13.680 It's a smooth shot. Right before we get on the water. 2:01:13.880 --> 2:01:17.680 Things are smooth. Then the two of them run to 2:01:18.280 --> 2:01:21.280 the water and the movement increases, the camera picks up speed, 2:01:21.320 --> 2:01:24.560 still tracks, but is going faster now, a little jostling. 2:01:25.040 --> 2:01:27.920 And then finally when we get in the water, it 2:01:28.000 --> 2:01:30.320 is when we start to have that sort of lulling 2:01:30.400 --> 2:01:33.720 effect that we'll have throughout much of the film. And 2:01:34.120 --> 2:01:36.280 that's just kind of a way to take us from 2:01:36.640 --> 2:01:40.400 from stable land to a place of instability and fear. 2:01:41.000 --> 2:01:44.640 And I think, you know, that attack itself is scary 2:01:44.920 --> 2:01:49.160 because at first she's confused. You know, we know what's 2:01:49.200 --> 2:01:51.760 happening because we're here to see Jaws, even if this 2:01:51.800 --> 2:01:53.760 is the first time we saw it, right, But she 2:01:53.960 --> 2:01:56.680 does not doesn't understand what's happening to her. Then she 2:01:56.760 --> 2:01:59.360 gets that moment of reprieve hanging on to the buoy. 2:02:00.480 --> 2:02:02.920 Then the final bite comes pulls her under and we 2:02:03.040 --> 2:02:06.720 have stillness and silence. So all of this establishes the 2:02:06.760 --> 2:02:08.960 water as a place of danger compared to the land. 2:02:09.080 --> 2:02:11.240 And what do we get after this sequence? The first 2:02:11.240 --> 2:02:14.680 shot Brody uneasily looking out the window of his house 2:02:15.040 --> 2:02:17.760 at the bay, at the water. So you know you're 2:02:17.800 --> 2:02:21.680 in the hands already of someone where every shot is 2:02:21.720 --> 2:02:24.960 going to count. Not a second is wasted. Even think 2:02:24.960 --> 2:02:27.360 of that moment right there with Brody and his wife, 2:02:27.400 --> 2:02:29.760 who I do want to get to. There's another shot. 2:02:29.760 --> 2:02:31.560 I don't know if it's a diopter, but he takes 2:02:31.600 --> 2:02:34.440 the phone call in their kitchen in the foreground while 2:02:34.440 --> 2:02:38.800 the mother and son are attending to the child's cut. 2:02:39.200 --> 2:02:41.880 In the background. Blood, right, that's what we're getting. There 2:02:41.960 --> 2:02:44.840 is more blood in the background again, a little kind 2:02:44.880 --> 2:02:47.680 of a setup scene for the narrative. But Spielberg is 2:02:47.680 --> 2:02:51.600 doing so much, squeezing so much efficiency and important imagery 2:02:51.640 --> 2:02:52.680 into that shot as well. 2:02:52.800 --> 2:02:54.440 Yeah, there are so many moments like that. I even 2:02:54.480 --> 2:02:59.120 think about when they are finally departing with Quint, Hooper 2:02:59.400 --> 2:03:02.080 and Brody. They're heading off on the boat and we 2:03:02.120 --> 2:03:04.560 get a moment, if I remember the sequence right where 2:03:05.040 --> 2:03:08.160 he cuts to that shot from inside Quint's little shack 2:03:08.360 --> 2:03:12.160 and the big jaws of the shark, and the camera 2:03:12.280 --> 2:03:14.760 is moving forward, and then we cut to outside and 2:03:14.800 --> 2:03:16.880 the camera is still moving, but now it's pulling back 2:03:16.880 --> 2:03:19.480 a little bit. He's just always playing with movement right 2:03:19.560 --> 2:03:22.320 in a really really fascinating way, and all of those 2:03:22.320 --> 2:03:24.480 shots matter. I think I went with when we did 2:03:24.480 --> 2:03:27.320 that top five Spielberg moments my cliche, and there are 2:03:27.360 --> 2:03:29.400 so many of them that are just so great and 2:03:29.400 --> 2:03:31.120 so classic from this movie to pick from, I think 2:03:31.160 --> 2:03:35.000 I went with the Chalkboard sequence, right, the one where 2:03:35.280 --> 2:03:37.000 we get that great, one of the all time great 2:03:37.080 --> 2:03:40.520 character introductions into cinema to Quint. But the other one 2:03:40.560 --> 2:03:42.920 that a lot of people would point to, and it's 2:03:42.920 --> 2:03:45.520 still great no matter how many times you watch it, 2:03:45.600 --> 2:03:49.960 is the Indianapolis speech. And I did notice one thing 2:03:50.000 --> 2:03:52.520 this time. There was always obvious before, I just never 2:03:52.960 --> 2:03:56.320 zeroed in on. It is one little touch, one little 2:03:56.320 --> 2:03:59.680 decision with the framing I think Spielberg makes that heightens 2:03:59.680 --> 2:04:03.320 every thing with that speech is that he keeps Richard 2:04:03.400 --> 2:04:08.480 Dreyfus in the shot. We know how invested Matt Hooper 2:04:08.600 --> 2:04:13.800 is in all things sharks, right, yeah, and their history, 2:04:14.120 --> 2:04:16.920 their legacy almost if you will. He knows that story. 2:04:17.040 --> 2:04:19.560 We know without him even saying it that he knows, 2:04:19.560 --> 2:04:22.240 and he does actually verbalize it, I think at one point, 2:04:22.240 --> 2:04:25.120 but we know that he probably is familiar with all 2:04:25.200 --> 2:04:28.760 of the lore of the Indianapolis, and he's also fascinated 2:04:28.800 --> 2:04:32.240 by and also terrorized by to an extent, Quint. Yes, 2:04:32.480 --> 2:04:35.360 And so when Quinn starts telling a story that puts 2:04:35.440 --> 2:04:38.720 him in that place and having had that experience, he's 2:04:38.760 --> 2:04:42.240 in awe and just by keeping him in the right 2:04:42.280 --> 2:04:46.959 of the frame visible the entire time Dreyfus plays it perfectly, 2:04:47.040 --> 2:04:51.760 doesn't react at all, is just completely focused on Quint's words, 2:04:52.160 --> 2:04:56.080 his investment in the story that becomes our investment, and 2:04:56.320 --> 2:04:58.839 it already is a reflection of our investment as viewers. 2:04:58.960 --> 2:05:01.560 But I think then we're just hanging on every word 2:05:01.600 --> 2:05:03.840 in a way that maybe we wouldn't even if it 2:05:03.920 --> 2:05:06.040 wasn't for the fact that we've got a surrogate there 2:05:06.040 --> 2:05:10.080 in the scene who is showing us how important every 2:05:10.120 --> 2:05:13.839 word is, how important this experience is, and how important 2:05:13.880 --> 2:05:16.640 the storytelling itself is, the act of storytelling. 2:05:16.720 --> 2:05:19.200 Yeah, he's like an audience plant in a way, and 2:05:19.240 --> 2:05:21.960 it works. It works perfectly. And I don't know if 2:05:21.960 --> 2:05:23.640 this came up when we talked about this scene on 2:05:23.680 --> 2:05:26.640 that show, but I had forgotten and so I had 2:05:26.640 --> 2:05:28.600 to look it up again that this speech was not 2:05:28.720 --> 2:05:32.160 in the Peter Benchley novel. So found, you know, just 2:05:32.240 --> 2:05:37.160 doing some googling that Spielberg credited Howard Sackler for coming 2:05:37.240 --> 2:05:40.080 up with that. Now, Sackler didn't get screenplay credit, but 2:05:40.240 --> 2:05:42.560 Spielberg mentioned that he came up with the idea and 2:05:42.640 --> 2:05:45.600 inserted it, and then John Millius apparently did some work 2:05:45.640 --> 2:05:49.120 on the speech at some point, and then Robert Shaw himself, 2:05:49.160 --> 2:05:52.280 you know, brought his own addition, Spielberg said, which you 2:05:52.280 --> 2:05:54.400 can imagine. So I think I kind of cheated and 2:05:54.560 --> 2:05:56.920 rolled the Show Me the Way to Go Home Scar 2:05:56.960 --> 2:06:00.120 scene right into Indianapolis, and that was my pick. But 2:06:00.520 --> 2:06:03.920 at a little touch I noticed this time was after they 2:06:04.440 --> 2:06:06.920 the two are comparing their scars, so Quint and Hooper, 2:06:07.280 --> 2:06:10.160 and it's really like, you know, they're they're pretty close 2:06:10.200 --> 2:06:15.000 Hooper's had some tough experiences there, even compared to quint. 2:06:15.480 --> 2:06:17.920 At the end of that, Brody pulls up his shirt 2:06:18.000 --> 2:06:20.360 quietly in the corner away from them. He's not at 2:06:20.360 --> 2:06:22.560 the table, and we see he's got a scar too 2:06:22.680 --> 2:06:25.680 across his abdomen. He just looks at it and pulls 2:06:25.680 --> 2:06:28.000 his shirt down and it looks like a you know, 2:06:28.320 --> 2:06:30.960 a pretty big scar like I don't think it was 2:06:31.000 --> 2:06:33.960 just like a bike accident, but still it's just like, 2:06:34.280 --> 2:06:36.680 you know, the levels of manliness at play among the 2:06:36.680 --> 2:06:38.720 three of them, it's not enough for him to enter 2:06:38.760 --> 2:06:42.320 that contest. Another great character touch that I love. What's 2:06:42.360 --> 2:06:42.720 that one? 2:06:43.640 --> 2:06:50.200 What that one on your arm? Oh? I got that? Remove? 2:06:50.320 --> 2:06:50.840 Don't tell me? 2:06:51.520 --> 2:06:53.560 Don't tell me, mother. 2:07:05.600 --> 2:07:10.720 Tuba. That's the US, says Indianapolis. 2:07:13.400 --> 2:07:17.840 I am glad that we've mentioned all the other screenwriters 2:07:17.880 --> 2:07:19.920 who maybe had a role in this movie. We haven't 2:07:19.960 --> 2:07:23.000 mentioned Carl Gottlieb yet, who is the credited screenwriter on 2:07:23.040 --> 2:07:25.240 this film. And I don't know the original version of 2:07:25.240 --> 2:07:27.720 the script. I haven't read the Benchley novel either, But 2:07:27.800 --> 2:07:31.280 in talking about whatever pointed statements it may be making 2:07:31.400 --> 2:07:34.280 about America that are still very timely and relevant now, 2:07:34.680 --> 2:07:38.320 probably some credit should go to Gottlieb and his interpretation 2:07:38.400 --> 2:07:41.000 of the Benchley source material. But another new thing for 2:07:41.080 --> 2:07:44.160 me watching this time, Josh, And this is where I 2:07:44.240 --> 2:07:47.680 was going when I was hinting at the obsessiveness of 2:07:48.040 --> 2:07:53.040 Roy's watching, is I don't think that classic shot on 2:07:53.120 --> 2:07:58.160 the beach, the zoom pull back is the only Hitchcock 2:07:58.320 --> 2:08:02.040 theft in this film or the only direct homage to 2:08:02.200 --> 2:08:04.600 Vertigo even in this film, right, because that's where it 2:08:04.640 --> 2:08:07.240 comes from, right, And maybe there are other instances in 2:08:07.640 --> 2:08:13.280 cinema history, But famously that shot in Vertigo Scotty Jimmy 2:08:13.320 --> 2:08:16.280 Stewart hanging over the ledge looking down. We get that 2:08:16.360 --> 2:08:20.000 same effect zooming and pulling back in that disorienting sense 2:08:20.440 --> 2:08:24.640 that it gives us as viewers. Well, Brody is a 2:08:24.640 --> 2:08:30.280 lot like Scotti in Vertigo. Both are cops, both effectively 2:08:30.400 --> 2:08:34.080 are retired from being police officers. There's some little character 2:08:34.160 --> 2:08:37.000 details that we get that I'd also never paid attention 2:08:37.040 --> 2:08:39.720 to really before, about what being on the beat or 2:08:39.720 --> 2:08:41.600 being on the job in New York City was like 2:08:41.680 --> 2:08:46.840 and how different that is. And instead of heights, what's 2:08:46.880 --> 2:08:50.800 his fear, he's afraid of water? Right, it's elemental. He 2:08:50.880 --> 2:08:54.760 does not want to go near the water. So there's 2:08:54.800 --> 2:08:58.160 a perfect correlation here actually to Vertigo. And I do 2:08:58.240 --> 2:09:02.480 think that whether that's just spiel film school playfulness at 2:09:02.520 --> 2:09:05.160 work and we can geek out about that a little bit, 2:09:05.440 --> 2:09:09.120 that fear and making that a psychological foundation for Brody 2:09:09.520 --> 2:09:12.520 is something that really gives this film a richness that 2:09:12.800 --> 2:09:15.920 maybe another filmmaker would not bring to what could have 2:09:16.000 --> 2:09:18.160 been obviously just kind of a B movie where the 2:09:18.160 --> 2:09:22.240 types of scares we get when the face pops out 2:09:22.520 --> 2:09:25.800 at Hooper under the water, and maybe some of the 2:09:25.800 --> 2:09:28.000 shark attacks could have been more gruesome and bloody. We 2:09:28.000 --> 2:09:30.080 could have gotten that type of bee picture here. But 2:09:30.120 --> 2:09:32.800 it's not just the craft. It's those character touches that 2:09:32.840 --> 2:09:36.440 you have pointed out, and it's also that psychological underpinning 2:09:36.480 --> 2:09:36.880 that's there. 2:09:37.040 --> 2:09:39.840 Yeah, and that fear comes to fruition when he gets 2:09:39.840 --> 2:09:42.000 on the boat later right for the last third, it's 2:09:42.000 --> 2:09:45.040 that we understand that he's out of his element in 2:09:45.120 --> 2:09:48.680 so many ways at that point, he's almost he's almost helpless. 2:09:49.000 --> 2:09:50.800 The only thing that doesn't you know, I would say, 2:09:50.840 --> 2:09:52.720 in terms of you think of Jimmy Stewart being so 2:09:52.880 --> 2:09:55.960 such an obsessive character in Vertigo. The most obsessive character 2:09:56.000 --> 2:09:58.680 in this movie is the shark. This thing for sure 2:09:58.840 --> 2:10:01.960 will not give up. And I love the touch of 2:10:02.000 --> 2:10:04.640 the show off touch of the shark. At this point, 2:10:04.640 --> 2:10:07.080 I think it has three barrels harpooned to it should 2:10:07.120 --> 2:10:09.680 be impossible to go underwater at all. Not only does 2:10:09.760 --> 2:10:12.040 it go underwater, it goes under the boat right to 2:10:12.160 --> 2:10:13.960 just kind of like kind of give them a little 2:10:14.000 --> 2:10:16.160 middle finger that really with them, to tally with them. 2:10:16.680 --> 2:10:19.320 I do want to jump back because I mentioned her 2:10:19.400 --> 2:10:22.600 character briefly, Brodie's wife, but not the actress Lorraine Gary 2:10:23.040 --> 2:10:26.440 as Allen, and I just you know, I think she 2:10:26.640 --> 2:10:29.080 stands in a line of it. I don't want to 2:10:29.080 --> 2:10:33.480 give Stielberg too much credit here. He's a male dominant filmmaker, absolutely, 2:10:33.920 --> 2:10:36.400 but Lorraine Gary as Allen is in a line of 2:10:36.480 --> 2:10:40.760 fully envisioned and fully performed women characters. Again, they're sidelined 2:10:41.240 --> 2:10:43.440 because they never really get their full stories. But think 2:10:43.480 --> 2:10:46.000 of Karen Allen in Raiders of the Lost Dark, think 2:10:46.040 --> 2:10:50.040 of d Wallace in Et the Extraterrestrial, Terry Ghar in 2:10:50.120 --> 2:10:55.160 Close Encounters. Again, you could reorient most of those movies 2:10:55.200 --> 2:10:58.680 perhaps around each of those women, and they might be 2:10:58.920 --> 2:11:03.600 just as interesting different experiences, and it's sad that we 2:11:03.640 --> 2:11:06.840 haven't gotten a cinema like that alongside the cinema of men. 2:11:07.280 --> 2:11:10.680 But for the amount of screen time they have, I 2:11:10.720 --> 2:11:13.959 think they are given attention by Spielberg as a filmmaker, 2:11:14.000 --> 2:11:18.320 and I think the actors these actresses give such great performances. 2:11:18.600 --> 2:11:21.839 Lorraine Gary here, I love how she's supportive of Brody, 2:11:22.120 --> 2:11:24.760 like you know, she's got his back, but she also 2:11:24.840 --> 2:11:27.360 has her own ideas, like she pushes back on him. 2:11:27.400 --> 2:11:29.840 She has her own ideas about their family, but when 2:11:29.880 --> 2:11:32.120 it comes to if it's going to come down to 2:11:32.160 --> 2:11:35.840 the island or them, she's gonna stand right next to 2:11:35.920 --> 2:11:39.160 him and protect the family against the island and the 2:11:39.160 --> 2:11:41.120 mayor and that sort of stuff. She also has a 2:11:41.120 --> 2:11:46.520 sardonic sense of humor about that community. She deflates their pretensions. 2:11:46.960 --> 2:11:49.520 I love the little line like how much work does 2:11:49.520 --> 2:11:52.160 a line like this do? And the delivery by Gary 2:11:52.480 --> 2:11:54.839 when she just says want to get drunk and full around. 2:11:55.160 --> 2:11:57.800 I mean, in a second, you have that marriage right, 2:11:57.880 --> 2:12:00.880 you know them, and it's it's because of how she 2:12:01.040 --> 2:12:04.800 delivers it. And again you mentioned the dinner family scene, 2:12:05.000 --> 2:12:08.640 just another wonderful domestic touch, which was such a strength 2:12:08.640 --> 2:12:12.280 of Spielberg's early films, in particular when it ends with 2:12:12.480 --> 2:12:15.640 Brody's son mimicking him and Brody just says to him, 2:12:15.640 --> 2:12:18.440 give us a kiss, you know. And again another line 2:12:18.520 --> 2:12:23.040 interaction delivery where this family becomes so fully formed even 2:12:23.080 --> 2:12:26.200 though it's not really about them. This story isn't meant 2:12:26.240 --> 2:12:28.400 to be about them, but it still becomes so much 2:12:28.440 --> 2:12:30.560 about them because of performances like this. 2:12:30.960 --> 2:12:33.080 If they weren't there, this is such a lesser film. 2:12:33.120 --> 2:12:35.760 Oh and everything that happens on the boat we would 2:12:35.800 --> 2:12:38.400 probably still be impressed by because of the craft of 2:12:38.440 --> 2:12:40.280 so much of it, but we would not be drawn 2:12:40.320 --> 2:12:44.320 to this film. We would not all continually consistently come 2:12:44.360 --> 2:12:47.560 back to this film as an all time American great 2:12:47.600 --> 2:12:49.840 if it wasn't for all of these elements we're talking about, 2:12:49.960 --> 2:12:52.760 including its timelessness. And I'm really glad you brought up 2:12:52.760 --> 2:12:55.440 Lorrange Gary, because I agree with everything you said, and 2:12:55.480 --> 2:12:57.440 I also get to point out that if someone would 2:12:57.520 --> 2:13:00.640 like to while they're listening, go to Google and type 2:13:00.640 --> 2:13:03.200 in Lorraine Gary Jaws and look at her hair and 2:13:03.280 --> 2:13:06.080 hairstyle and see if it maybe reminds you of someone 2:13:06.160 --> 2:13:09.520 like I don't know Kim Novak from Vertigo, just a 2:13:09.520 --> 2:13:11.960 little bit that blonde hair, the way it's up. But 2:13:12.160 --> 2:13:14.520 I will also point to a character moment with her 2:13:14.880 --> 2:13:17.440 that I love that I also think is so indicative 2:13:17.880 --> 2:13:21.800 of human nature. It just speaks to who she is, 2:13:21.880 --> 2:13:24.040 but who we all are. And it's in that moment 2:13:24.120 --> 2:13:27.480 where after the first attack, I think, after the first 2:13:27.480 --> 2:13:29.680 body is washed up on shore, he's reading all the 2:13:29.680 --> 2:13:33.040 books and he's trying to learn what he can about sharks. 2:13:33.280 --> 2:13:36.080 And he looks out and he shouts at his kids 2:13:36.120 --> 2:13:37.600 who are out in their little boat that one of 2:13:37.640 --> 2:13:40.200 them got for his birthday. But they're just along the dock, 2:13:40.560 --> 2:13:42.320 and the mom's like, what are you doing? What are 2:13:42.320 --> 2:13:44.080 you doing? They're just along the dock, they're in the boat. 2:13:44.160 --> 2:13:47.400 They're fine. But then what happens. She glances down at 2:13:47.440 --> 2:13:50.600 a page in the book where a boat is being 2:13:50.600 --> 2:13:54.080 attacked by a shark, and in that moment, she then 2:13:54.160 --> 2:13:56.040 screams at the boys to come in, and Brody has 2:13:56.080 --> 2:13:59.280 no idea what's happening. And I love that because wouldn't 2:13:59.320 --> 2:14:01.520 we all do that very same thing? You have that 2:14:01.640 --> 2:14:05.800 initial dismissal, you go, they're fine, what are we worried about? 2:14:05.920 --> 2:14:07.640 But the moment, and this kind of goes back to 2:14:07.760 --> 2:14:10.879 what we were talking about earlier, the moment it becomes visual, 2:14:11.240 --> 2:14:13.880 the moment it becomes real in your mind and you 2:14:13.920 --> 2:14:16.839 can actually imagine what you just saw in that book 2:14:17.120 --> 2:14:20.480 happening to your children on that boat right the second 2:14:20.840 --> 2:14:24.040 Then the panic sets in. Then the protective instinct sets in, 2:14:24.360 --> 2:14:26.760 and she shouts at the boys to come in, speaking 2:14:26.760 --> 2:14:28.760 of fear. I will also say this, and this is 2:14:28.800 --> 2:14:31.600 not an exaggeration at all. So I go back all 2:14:31.640 --> 2:14:34.600 the jokes about this movie making people afraid to go 2:14:34.640 --> 2:14:36.800 in the water. I think I've alluded to this before. 2:14:37.640 --> 2:14:42.160 I remember as a kid being afraid. I'd lay in 2:14:42.200 --> 2:14:45.880 my bed. This is like from ages maybe seven to ten, 2:14:46.840 --> 2:14:49.080 or maybe maybe past that. Josh, we don't have to 2:14:49.080 --> 2:14:50.600 get into the numbers here. Who's counting? 2:14:51.360 --> 2:14:52.880 But eight? 2:14:53.000 --> 2:14:56.000 Yeah, at least I would lay in my bed, and 2:14:56.320 --> 2:15:00.800 I would not lay with my legs fully extend, even 2:15:00.840 --> 2:15:03.240 though they didn't go off the bed. I would not 2:15:04.000 --> 2:15:06.680 lay with my legs fully extended because just the thought 2:15:06.760 --> 2:15:10.560 of my toes sort of dangling or it was some 2:15:10.680 --> 2:15:13.280 monsters I'm sure I was afraid of, but I also 2:15:13.440 --> 2:15:15.960 was very afraid of this idea of Jos. I was 2:15:16.000 --> 2:15:19.680 afraid of the shark somehow being in my bedroom and 2:15:20.320 --> 2:15:22.320 being able to get my feet and I am not 2:15:22.440 --> 2:15:24.800 kidding you, it was like I was seven years old 2:15:24.800 --> 2:15:27.800 all over again. I'm watching this movie. I'm sitting on 2:15:28.040 --> 2:15:31.520 the couch in my office sort of viewing area, and 2:15:31.560 --> 2:15:34.480 it's one of those where the side also reclines like 2:15:34.520 --> 2:15:36.960 a chair. And there were two moments where I caught 2:15:37.000 --> 2:15:41.120 myself pulling my feet back off of the extension. I 2:15:41.120 --> 2:15:44.600 couldn't let myself fully recline because my toes were dangling 2:15:44.600 --> 2:15:45.840 on the floor and Jos was going. 2:15:45.800 --> 2:15:49.680 To get them recoiling from the movie. Yeah, it's that effective. 2:15:49.920 --> 2:15:53.480 Would you Would you ever do I've seen park districts 2:15:53.520 --> 2:15:55.800 do this where they have pools. They'll do a screening 2:15:55.880 --> 2:15:58.520 of Jaws and you sit in an inner tube and 2:15:58.600 --> 2:16:01.240 watch it in the pool. I would kind of love 2:16:01.280 --> 2:16:04.720 to try that sometimes. But just to go back to 2:16:04.760 --> 2:16:07.000 your note about the books, the pictures in the books, 2:16:07.240 --> 2:16:09.760 it's effective in that scene as a character development and 2:16:10.000 --> 2:16:12.920 motivation for that moment, but also I noticed you know, 2:16:13.000 --> 2:16:14.800 we've talked, I'm sure at some point on the show, 2:16:14.840 --> 2:16:17.360 and everyone talks about all the filmmaking tricks Spielberg had 2:16:17.360 --> 2:16:20.200 to do to get around this faulty mechanical shark, right, 2:16:21.120 --> 2:16:23.680 John Williams score is one thing. Using the camera point 2:16:23.720 --> 2:16:25.920 of view as the shark is another way. But it 2:16:26.000 --> 2:16:28.760 struck me this time. That's why we get so many 2:16:28.800 --> 2:16:32.240 insert shots I think of these books is because he 2:16:32.280 --> 2:16:36.480 can't show the shark attacking. So let's show something even scarier, 2:16:36.640 --> 2:16:41.520 not like a yankee mechanical shark, but actual photos of 2:16:41.600 --> 2:16:45.119 attacks from real life, and the autopsy description that Hooper 2:16:45.480 --> 2:16:48.720 can barely get through that serves the same purpose. So 2:16:48.760 --> 2:16:51.120 those are just a few other things that stand in 2:16:51.200 --> 2:16:53.840 place of the actual shark here, in addition to the 2:16:53.840 --> 2:16:56.879 more traditional ones people mentioned, like the barrels or like 2:16:56.920 --> 2:16:59.800 the peer breaking and then turning around and coming after 2:16:59.879 --> 2:17:04.119 the Yeah, there's just again. It goes back to the efficiency, 2:17:04.560 --> 2:17:08.800 the killer great white shark like efficiency of this movie, 2:17:08.920 --> 2:17:12.160 where yes, even an insert shot of a shark attack 2:17:12.200 --> 2:17:15.000 in a book is going to serve multiple purposes for 2:17:15.080 --> 2:17:15.520 the film. 2:17:15.720 --> 2:17:18.520 Yeah, And that efficiency and that sense of how to 2:17:18.600 --> 2:17:21.520 use the camera and get around the shark problem if 2:17:21.520 --> 2:17:24.640 you will also manifest itself so clearly in just the 2:17:24.720 --> 2:17:29.080 decision to focus on using point of view as a tool. Yeah, 2:17:29.400 --> 2:17:32.080 it goes back to the feet of the woman dangling 2:17:32.120 --> 2:17:36.120 in the water below the surface, and we are the 2:17:36.160 --> 2:17:38.400 shark in that moment. And how many times throughout the 2:17:38.400 --> 2:17:40.960 film instead of showing us the shark does he show 2:17:41.040 --> 2:17:43.240 us what the shark would see. And that's all we 2:17:43.280 --> 2:17:46.440 need to experience to really feel the horror of Jaws. 2:17:47.120 --> 2:17:57.279 Roy Scheider, Robert Shaw, Richard Dreyfuss, Jaws. See it before 2:17:57.320 --> 2:17:58.119 you go swimming. 2:17:59.080 --> 2:18:02.920 Hope you enjoyed that June twenty twenty Sacred Cow review 2:18:03.120 --> 2:18:07.000 of Jaws. For now, that's our show. If you'd like 2:18:07.080 --> 2:18:09.640 to connect with us on social media, you can find 2:18:09.760 --> 2:18:13.320 Adam and film Spotting on Instagram, Facebook, letterbox, and how 2:18:13.320 --> 2:18:18.440 about this YouTube that's all at film Spotting I'm at 2:18:18.959 --> 2:18:21.400 I think, Yeah, I'm at all those places and throw 2:18:21.480 --> 2:18:24.640 Bluesky in there as well. You can find me Larson 2:18:24.800 --> 2:18:29.000 on film We are independently produced and listeners supported. You 2:18:29.040 --> 2:18:31.680 can support the show by joining the film Spotting Family 2:18:31.760 --> 2:18:35.920 at film spottingfamily dot com, listen early and ad free 2:18:36.000 --> 2:18:40.119 get a weekly newsletter. Get monthly bonus episodes and access 2:18:40.160 --> 2:18:43.400 to the entire show archive. For show t shirts and 2:18:43.480 --> 2:18:46.760 other merch go to film spotting dot net slash shop. 2:18:47.120 --> 2:18:50.119 In that archive, you can hear our top five Denzel 2:18:50.280 --> 2:18:53.520 Washington performances from twenty seventeen. We had a guest on 2:18:53.560 --> 2:18:57.200 for that, comedian TV host and film director w caamal Beell. 2:18:57.600 --> 2:19:00.000 He's the host of the Denzel Washington is the Great 2:19:00.160 --> 2:19:03.120 actor of all time period podcast makes sense. We had 2:19:03.200 --> 2:19:05.560 him on right. We did share that in our feed 2:19:06.040 --> 2:19:09.680 earlier this week. And my favorite part of that top 2:19:09.760 --> 2:19:13.480 five is when I was certain I was going to 2:19:13.520 --> 2:19:18.199 get praise from camal Bell for including that deep cut 2:19:18.879 --> 2:19:22.720 of Deja Vu in my top five, only to have 2:19:22.840 --> 2:19:27.200 him laugh at me for putting it on my list. 2:19:27.520 --> 2:19:29.600 You didn't have to bring that up again for everyone 2:19:29.640 --> 2:19:31.560 to hear, Adam, you know what I want. 2:19:31.600 --> 2:19:33.720 I want people to go ahead and listen to it. 2:19:33.720 --> 2:19:36.959 It is what it is. It happened, and it filled 2:19:36.959 --> 2:19:37.480 me with shame. 2:19:37.680 --> 2:19:40.120 And it also in the Ardnights. 2:19:39.680 --> 2:19:42.880 Yeah twenty eighteen, episode six ninety three, we shared our 2:19:42.879 --> 2:19:46.320 top five spike Lee shots other spike Lee conversations. Do 2:19:46.360 --> 2:19:48.840 the right Thing at thirty five Episode nine to seventy five, 2:19:49.160 --> 2:19:53.120 American Utopia, The David Byrne Collaboration Episode seven ninety seven 2:19:53.200 --> 2:19:56.680 to five, Bloods seven eighty one, Black Clansman six ninety three, 2:19:56.760 --> 2:20:02.000 Shyraq five sixty six, Old Boy Episode four seventy seven. 2:20:02.320 --> 2:20:07.000 That's for seventy Actually An Inside Man episode eighty nine 2:20:07.680 --> 2:20:11.600 out new on vod The Thursday Murder Club. Actually this 2:20:11.680 --> 2:20:16.360 is on Netflix streaming. A retirement community or friends from 2:20:16.400 --> 2:20:19.320 a retired community form the club of the title to 2:20:19.360 --> 2:20:22.600 work on cold cases for fun when they find themselves 2:20:22.600 --> 2:20:25.520 in the middle of a live murder case. It's directed 2:20:25.520 --> 2:20:28.840 by Chris Columbus, but the cast Helen Mirren, Ben Kingsley, 2:20:28.879 --> 2:20:29.640 Pierce Brosnan. 2:20:29.920 --> 2:20:31.920 You know what, I for some reason I thought this 2:20:32.080 --> 2:20:35.360 was a streaming series, and I was like, could be good, 2:20:35.400 --> 2:20:38.720 but I'm not cold, Okay, sit down, knock it out movie. 2:20:38.760 --> 2:20:39.400 Maybe I'm in. 2:20:39.800 --> 2:20:44.480 Maybe in limited release A Little Prayer. David Strathern tries 2:20:44.520 --> 2:20:46.400 to protect his daughter in law when he discovers that 2:20:46.440 --> 2:20:49.680 his son is having an affair. It's directed by Angus McLaughlin, 2:20:49.760 --> 2:20:52.520 who wrote the movie Junebug. It premiered at the twenty 2:20:52.560 --> 2:20:55.160 twenty three Sun Dance to pretty strong reviews. It's just 2:20:55.200 --> 2:20:59.520 getting a theatrical release. Brian Tallerico says, a gentle dramedy 2:20:59.560 --> 2:21:02.879 about a decent man realizing he hasn't raised a decent sun. 2:21:03.320 --> 2:21:07.880 Phenomenal work from Strathurn. Really great. He's He's always great. Also, 2:21:07.920 --> 2:21:09.720 we should mention the Tell You Write Film Festival is 2:21:09.760 --> 2:21:12.200 starting through September first. If you happen to be out 2:21:12.240 --> 2:21:14.560 there now, this is a good one. I've actually never 2:21:14.600 --> 2:21:17.800 seen this somehow, despite being a huge Prince fan. Prince 2:21:17.879 --> 2:21:21.080 Sign of the Times in Imax in limited release. This 2:21:21.280 --> 2:21:24.960 was originally out in nineteen eighty seven. Now it's out 2:21:25.000 --> 2:21:29.480 in Imax. Producer Sam this is his four star letterbox review, 2:21:30.600 --> 2:21:32.600 Like if gene Kelly directed porn. 2:21:32.879 --> 2:21:36.000 I mean Sam would know, And I'm just gonna leave 2:21:36.000 --> 2:21:40.320 it that there, or leave it there Sam, Sam really 2:21:40.400 --> 2:21:43.320 likes gene Kelly. I feel I have to say. 2:21:43.200 --> 2:21:46.000 It, Josh, we need to leave it there. It was 2:21:46.040 --> 2:21:50.920 funnier when you left it there. Suspended Time directed by 2:21:51.040 --> 2:21:54.080 Olivier Asseas, the director of Personal Shopper and Clouds of 2:21:54.080 --> 2:21:56.760 Sils Maria and Carlos. I really want to see this one, 2:21:56.800 --> 2:22:00.120 he returns to his childhood home and discovers isolation to 2:22:00.160 --> 2:22:03.240 be an artistic curative. It was shot during the pandemic 2:22:03.680 --> 2:22:06.880 out in wide release. Aeronofsky's new film Caught Stealing, a 2:22:06.959 --> 2:22:10.240 nineties crime drama starring Austin Butler as a former baseball 2:22:10.240 --> 2:22:12.520 player who finds himself mixed up in New York City's 2:22:12.560 --> 2:22:16.360 criminal underbelly. This also has a really good cast Zoey Kravitz, 2:22:16.440 --> 2:22:21.440 Regina King, Matt Smith, Lee Have Schreiber, Vincent Dinafrio, and others. 2:22:22.200 --> 2:22:25.560 The Roses I've never been interested. I wasn't interested in 2:22:25.560 --> 2:22:28.920 the Michael Douglas Kathleen Turner version. If you just on 2:22:29.040 --> 2:22:32.720 paper seeing another version of the eighties black comedy The 2:22:32.760 --> 2:22:36.040 War of the Roses, this one with Olivia Coleman and 2:22:36.080 --> 2:22:40.360 Bennett Cumberbatch, Andy Samberg's in it, Kate mckinning, Alison Janney 2:22:40.760 --> 2:22:43.160 on paper, I don't care. I've seen the trailer a 2:22:43.160 --> 2:22:46.640 few times though, and maybe it's just how game Coleman 2:22:46.680 --> 2:22:48.920 and cumber Batch are. Looks kind of fun. 2:22:49.240 --> 2:22:52.360 They are game, and every once in a while, I mean, 2:22:52.360 --> 2:22:55.120 Debbie's open for most movies, not horror, but most movies 2:22:55.640 --> 2:22:57.320 that I want to go to. But this is one 2:22:57.360 --> 2:22:59.360 where she came up to me. It was like, can 2:22:59.400 --> 2:23:02.600 we go see this? She saw the trailer somewhere and 2:23:02.640 --> 2:23:04.840 so maybe I'll maybe we'll check it out and I'll 2:23:04.840 --> 2:23:05.440 report back. 2:23:05.959 --> 2:23:10.640 Okay, there you go. Also out The Toxic Avenger. I 2:23:10.640 --> 2:23:13.280 think Debbie has this number one on her priority list. 2:23:13.520 --> 2:23:16.480 It's a remake of the cold eighties film directed by 2:23:16.520 --> 2:23:20.280 Mace Macon Blair from Blue Ruin, with Peter Dinklage as 2:23:20.320 --> 2:23:24.320 the Avenger, plus Kevin Bacon, Elijah Wood, and Taylor Page. 2:23:24.480 --> 2:23:28.039 It was the opening film at twenty twenty three's Fantastic Fest, 2:23:28.520 --> 2:23:33.320 didn't get distribution. It's in theaters now in an unrated version. 2:23:33.840 --> 2:23:36.560 Tasha Robinson, our friend from the Next Picture Show, caught 2:23:36.560 --> 2:23:38.920 it back in twenty twenty three and said this, there's 2:23:38.959 --> 2:23:42.080 a whole lot of huh. I've never seen anyone explode 2:23:42.200 --> 2:23:46.320 quite like that before in this extremely goofy, utterly self 2:23:46.320 --> 2:23:49.600 aware remake. Also, there is no scenery left in the 2:23:49.760 --> 2:23:52.720 entire world because Kevin Bacon has now eaten it all. 2:23:53.000 --> 2:23:55.000 I don't know. I think you got a little in 2:23:55.080 --> 2:23:58.840 Massacre Theater, you babe, found something to eat? Yeah, I 2:23:58.879 --> 2:24:01.080 will not be seeing this w If I see it, 2:24:01.080 --> 2:24:05.039 it'll be alone in the theater, which is maybe how 2:24:05.200 --> 2:24:07.560 the Toxic Avenger was meant to be seen, So that'll 2:24:07.600 --> 2:24:08.160 be just fine. 2:24:08.680 --> 2:24:13.000 Of course, Jaws in Imax as well. Next week we 2:24:13.040 --> 2:24:16.600 are off no new content, but new to you content 2:24:17.120 --> 2:24:21.080 sharing at least one film spotting fest Q and A 2:24:21.440 --> 2:24:24.240 and maybe more. Look for that come back in a 2:24:24.280 --> 2:24:26.920 couple of weeks. We'll have our Pantheon Project review of 2:24:26.959 --> 2:24:29.600 Goodfellas at thirty five, and I'm really looking forward to 2:24:29.640 --> 2:24:31.840 the debut of Josh's Scottish bro. 2:24:33.360 --> 2:24:35.840 Well, we're gonna have a problem, Adam, if you can 2:24:35.879 --> 2:24:40.520 no longer understand me, true, true, Well, actually it'll be 2:24:40.600 --> 2:24:42.039 probably business as usual. 2:24:42.480 --> 2:24:42.960 There you go. 2:24:43.879 --> 2:24:46.480 Film Spotting is produced by Golden Joe, Des and Sam 2:24:46.640 --> 2:24:50.039 van Holgren. Without Sam and Golden Joe, this show wouldn't go. 2:24:50.520 --> 2:24:54.000 Our production assistant is Sophiekampanar special thanks to everyone at 2:24:54.080 --> 2:24:59.280 wb easy Chicago. More information is available at wbeazy dot org. 2:24:59.560 --> 2:25:01.759 For a film spotting I'm Josh Larson. 2:25:01.640 --> 2:25:03.840 And I Madam Kempinar. Thanks for listening. 2:25:04.120 --> 2:25:32.800 This conversation can serve no purpose anymore. Good fine. 2:25:24.959 --> 2:25:27.920 Film Spotting is Listeners supported join the film Spotting Family 2:25:28.000 --> 2:25:30.520 at film spotting family dot com and get access to 2:25:30.640 --> 2:25:34.160 ad free episodes, monthly bonus shows, our weekly newsletter, and, 2:25:34.280 --> 2:25:36.560 for the first time, all in one place, the entire 2:25:36.800 --> 2:25:39.280 film spotting archive going back to two thousand and five. 2:25:39.560 --> 2:25:44.959 That's a film Spotting Family dot com panomly