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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 2: Hello, and welcome to Weird House Cinema. My name is

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Speaker 2: Joe McCormick. My regular co host Robert Lamb is out

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Speaker 2: today and so sitting in the guest co host chair

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Speaker 2: we have and I'm so excited to welcome him onto

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Speaker 2: the side of the mic for the first time. Our

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Speaker 2: longtime audio producer JJ Posway. Jj. How you doing? Man?

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Speaker 2: Hey doing pretty well? How are you, Joe? I'm doing great.

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Speaker 2: To be honest, actually I'm incredibly tired, but I'm not

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Speaker 2: but I think we're gonna have a great time today.

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Speaker 2: I'm truly, genuinely so excited for you to come on

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Speaker 2: the show. We've been talking about doing this for a

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Speaker 2: while and I'm glad we're doing it with a weird

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Speaker 2: House pick. So today on Weird House Cinema, we're going

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Speaker 2: to be talking about a movie that you selected, and

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Speaker 2: that is the twenty nineteen French black comedy Deer Skin,

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Speaker 2: directed by about to say a French name, Quentin Depew.

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Speaker 2: How's that yeah?

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Speaker 3: I think that's probably about how I'm going to say

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Speaker 3: it too. It's okay, Quantin Depew, Quanton dep I'll probably

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Speaker 3: say Quentin Depew.

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Speaker 2: Yeah, in English, it looks like Quintin, so Quentin might

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Speaker 2: say Quentin Depew. So I had never seen a movie

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Speaker 2: by this filmmaker before. Obviously this is more recent than

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Speaker 2: a lot of the films we cover, but nothing wrong

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Speaker 2: with that. So what got you excited about Deer Skin?

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Speaker 2: What's your relationship with this movie?

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Speaker 3: To be completely honest, it's when I only watched a

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Speaker 3: couple of weeks ago. I have a couple of friends

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Speaker 3: named Ian and Terrence who have watched most of Depew's movies,

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Speaker 3: and they started introducing me to his work, and at

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Speaker 3: this point of watched like five or six of them.

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Speaker 3: They're absurd and surreal. There are a lot of on coincidentally,

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Speaker 3: last week watching the movie incredible but true. I thought

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Speaker 3: one of his movies would make a good Weird House

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Speaker 3: Cinema episode, and I definitely recommend that one, but Deer

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Speaker 3: Skin kind of felt like the best fit for an

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Speaker 3: episode of Weird House.

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Speaker 2: Well, I'm glad you picked this one because I loved it.

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Speaker 2: I thought it was really weird and funny, just fantastic.

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Speaker 2: I liked the pathetic, understated sense of humor in it,

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Speaker 2: and yeah, kind of. It's the kind of absurd groove

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Speaker 2: that it gets into. I think you probably know what

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Speaker 2: I mean by this. The pacing of the increase in

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Speaker 2: absurdity is really exquisite here.

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Speaker 3: Absolutely.

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Speaker 2: Yeah.

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Speaker 3: It's slow but steady, and I think groove is the

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Speaker 3: right word. There is like a strange musicality to it.

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Speaker 2: Yeah, not to It actually has good music in it. Oh,

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Speaker 2: It's not like a musical movie that's like dominated by

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Speaker 2: musical motifs, but it has like a few recurring things

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Speaker 2: like these ominous horns that come in, these little bleats

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Speaker 2: every now and then that are just kind of sound

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Speaker 2: like something's wrong. But sometimes it's just when it's a

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Speaker 2: guy looking in a mirror. Yeah, yeah, now, incredible but true.

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Speaker 2: That's another depew movie. That's the one with the robot penis.

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Speaker 2: We're not talking about that one.

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Speaker 3: Yeah, that one didn't seem right for the show, but

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Speaker 3: I do highly recommend that one. That one has a

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Speaker 3: little more of a like a sci fi thing going on,

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Speaker 3: if you could call it that. I think it's a

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Speaker 3: really good primer. But every movie I've seen of his

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Speaker 3: has been really great and pretty. He's got a consistent tone.

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Speaker 3: I read this letterboxed review of Incredible but True, and

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Speaker 3: it was actually a disparaging review. But the way they

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Speaker 3: started off I thought was pretty apt in calling Depew

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Speaker 3: a premise generator. Yeah, and I think he's really great

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Speaker 3: at these just absurd premises, setting them up and letting

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Speaker 3: them play out for usually like an hour and fifteen

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Speaker 3: minutes or so. They're not often long movies.

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Speaker 2: So I guess we could go ahead and say what

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Speaker 2: the absurd premise of Deer Skin is? How would I

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Speaker 2: put it? I'd say it's about a kind of pathetic

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Speaker 2: middle aged man who goes through some sort of personal

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Speaker 2: crisis and becomes enamored of a new deer skin motorcycle

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Speaker 2: jacket that he paid too much money for. And as

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Speaker 2: his love affair with this jacket and how he looks

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Speaker 2: in it deepens, it goes to increasingly bizarre places, and

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Speaker 2: he eventually becomes a co conspirator with the jacket, and

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Speaker 2: they together decide that they must eliminate all other jacket

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Speaker 2: wearing phenomena from planet Earth, and this will be the

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Speaker 2: only jacket human duo that should be allowed to exist.

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Speaker 3: I think that's a great summary.

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Speaker 2: Okay, now, having only seen this, depu film. I can

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Speaker 2: see how somebody might describe his style as premise generator,

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Speaker 2: because while the I think you could call this the

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Speaker 2: style of filmmaking like absurdist or absurd comedy, it's actually,

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Speaker 2: I think quite logical. It's just a very B follows,

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Speaker 2: a C follows, be kind of logical progression pursuing this

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Speaker 2: absurd premise where if you take the absurd premise on,

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Speaker 2: everything just kind of flows and it makes sense totally.

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Speaker 3: There's a quote I want to share later that I

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Speaker 3: think Get said that same sentiment, and Yeah, what is

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Speaker 3: so fun about it is the just the slow ratcheting

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Speaker 3: up of that absurdity.

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Speaker 2: Another thing I want to establish here at the top.

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Speaker 2: It is hard not to see the main characters increasingly

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Speaker 2: bizarre and toxic relationship with his leather jacket as having

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Speaker 2: something to do with the way lonely people become obsessed

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Speaker 2: with things. And I feel like this is something I've

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Speaker 2: seen in my life has happened with people I know.

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Speaker 2: In fact, I can feel little threads of it in

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Speaker 2: myself at different times in my life, the way that

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Speaker 2: when you feel kind of alienated or you are lacking

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Speaker 2: in a rich, well entangled, you know, sense of human

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Speaker 2: connections and human networks. When you're lacking in friendship and

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Speaker 2: family life and stuff like that, it seems like maybe

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Speaker 2: you are more prone to find a new thing and

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Speaker 2: then make that thing your entire personality. This is like

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Speaker 2: all you know, I've discovered that. Now I'm into a

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Speaker 2: new hobby or a new artist that I like or

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Speaker 2: something like that, and that's literally all I can think

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Speaker 2: and talk about, and all subject matter is now I

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Speaker 2: now relate back to this thing.

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Speaker 3: Yeah. I agree with that completely, and I think Depew

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Speaker 3: from what I've read, has a similar view.

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Speaker 2: Oh okay, well, maybe we'll get into that as we

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Speaker 2: go along. Elevator pitch. I guess I've already given the

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Speaker 2: straightforward description of what happens in the movie thematic Elevator pitches.

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Speaker 2: I'd say it's a film about loneliness, falsity, and authenticity, obsession,

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Speaker 2: and of course killer style, both in the earnest and

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Speaker 2: the ironic sense.

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Speaker 3: Absolutely. Yeah, all right, we're going to play a little

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Speaker 3: bit of the trailer audio.

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Speaker 4: Well, now, j J.

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Speaker 2: We we kind of had to put this episode together fast,

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Speaker 2: so I ended up streaming the movie. But you were

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Speaker 2: able to get ahold of a disc.

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Speaker 3: Yeah, I rented from Video Drome here in Atlanta. It's

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Speaker 3: also available on Apple and Amazon Prime.

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Speaker 2: Though now, as usual on a Weird House Cinema episode,

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Speaker 2: we're gonna end up discussing the plot in a lot

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Speaker 2: of detail. So if you haven't seen the movie and

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Speaker 2: you want to see Deer Skin without knowing everything in advance,

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Speaker 2: there are some fun surprises in it. Here is your

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Speaker 2: warning pause the episode. Here, go watch the movie first.

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Speaker 2: But if you think you'll never see it, or you

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Speaker 2: just don't care, if we describe the whole story in advance,

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Speaker 2: let's plow right on ahead. All right, Well, let's move

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Speaker 2: on and talk about the connections and discuss some of

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Speaker 2: the key people involved. I think you had some stuff

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Speaker 2: on Quinton Depew, the director writer also, I think yes, he's.

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Speaker 3: The director, writer, cinematographer and editor. Depew's a French filmmaker

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Speaker 3: a musician. He makes music under the name mister Waso

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Speaker 3: and put out his first EP in nineteen ninety seven

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Speaker 3: via the label f Communications. A few years later, in

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Speaker 3: nineteen ninety nine, he'd released a single called flat Beat,

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Speaker 3: which was a hit in Europe. The music video for

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Speaker 3: Flatbeat was directed by De Pew himself and featured a

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Speaker 3: puppet named flat Eric. De Pew created Flat Eric with

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Speaker 3: Jim Henson's Creature Shop, and the puppet, as well as

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Speaker 3: the song flat Beat, were used in a series of

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Speaker 3: Levi's commercials that he directed.

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Speaker 2: What kind of animal is he? He's like a yellow

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Speaker 2: dog but without ears, but with the like little beaty

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Speaker 2: bits of coal for eyes.

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Speaker 3: Yeah, I'd say that's an app description. But also a

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Speaker 3: little guy.

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Speaker 2: Yeah, yeah, he's cutee. I mean is he cute or

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Speaker 2: is he cruel? And does he wish me harm?

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Speaker 3: I feel like that exact intersection is where his music,

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Speaker 3: as mister Waso, at least the stuff I've listened to

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Speaker 3: seems to.

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Speaker 2: Live so I haven't listened to any mister Waso. What's

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Speaker 2: the what's the style of music? Like? How would you

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Speaker 2: describe it?

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Speaker 3: It falls broadly under the umbrellas of like electro and house.

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Speaker 3: He makes electronic music, And I mean, I think you

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Speaker 3: put it best just in describing Flat Eric. There's like

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Speaker 3: a very playful sinisterness. There's like always a layer of humor.

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Speaker 2: Is it like in Deer Skin when there are those

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Speaker 2: scenes of George sharpening the fan blade to turn it

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Speaker 2: into a machete, but he's like playing with it. He's

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Speaker 2: playing with the with the watermelon and just having a

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Speaker 2: good time. It's like it's like a like a cute

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Speaker 2: having fun montage, but he's making a Jason Vorhees implement.

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Speaker 3: Yeah, yeah, kind of. I linked one of these Levi's

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Speaker 3: commercials that has a I think paints a pretty good

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Speaker 3: picture of flat Eric that features the song flat Beat.

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Speaker 2: I'm gonna pull this up right now. Hold on, I

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Speaker 2: gotta order some jeans. No, it's good. It's like, I mean,

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Speaker 2: it's got that Oh, here's where I don't have the

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Speaker 2: correct terminology. It's got a kind of fuzzy, malfunctioning electronics

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Speaker 2: sound to the to the tones in there, there's something

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Speaker 2: that sounds like a like an incomplete connection in the wiring.

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Speaker 2: But also it's a little bit jaunty, you know. It's

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Speaker 2: it's like something you can nod your head to. It's

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Speaker 2: not like, you know, industrial downbeat kind of stuff. It's fun,

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Speaker 2: but but something sounds a little wrong.

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Speaker 3: Yeah. Yeah, it's like a little distorted, and ultimately it's fun,

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Speaker 3: but there's just like a tinge of menace to it,

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Speaker 3: the most playful kind of menace.

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Speaker 2: Though, but also in this levice commercial, it's like a

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Speaker 2: guy driving with flat Eric the puppet. They get pulled

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Speaker 2: over by a cop and flat Eric quickly tries to

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Speaker 2: make his car look less threatening, so he like turns

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Speaker 2: around like a pin up picture, and just on the

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Speaker 2: other side, it's a picture of a horse in a meadow.

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Speaker 3: So he's still active as mister Waso, and some of

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Speaker 3: his movies have featured his music under that name, and

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Speaker 3: he is always credited as mister Waso when he makes

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Speaker 3: music for his movies. His first movie, titled non Film,

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Speaker 3: was released in two thousand and one, but his breakthrough

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Speaker 3: movie was twenty ten's Rubber, a movie about assentient killer

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Speaker 3: tire with psychokinetic powers.

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Speaker 2: So I've never seen Rubber. I had entirely the wrong

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Speaker 2: idea about what it was, though I'd seen the cover,

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Speaker 2: not the movie itself, and I assumed it was a

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Speaker 2: like self conscious ironic schlock comedy horror movie, something more

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Speaker 2: like Sharknado in like irony zone stuff. And now I

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Speaker 2: assume that's not really what it's like. It is probably

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Speaker 2: something a little bit closer to Deer Skin, but more

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Speaker 2: firmly in the absurd horror Vein.

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Speaker 3: Yeah, I think it's somewhere in between. I definitely don't

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Speaker 3: think it's a full sort of Shark Nato situation. I

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Speaker 3: actually watched it last night just to get a good

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Speaker 3: sense of what that was, and it is closer to

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Speaker 3: Deer Skin than something like Shark Nato, though I do

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Speaker 3: feel like I kind of prefer where he goes after Rubber.

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Speaker 2: Okay, so that's not his peak. It's not all downhill

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Speaker 2: from there.

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Speaker 3: At least, you know, in my opinion, But I think

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Speaker 3: that that's one that he's pretty well known for, and

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Speaker 3: it was the first of four films he'd make in America,

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Speaker 3: followed by twenty twelve's Wrong, twenty thirteen's Wrong Cops, and

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Speaker 3: twenty fourteen's Reality. He returned to France after the release

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Speaker 3: of Reality and put out his first film produced there

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Speaker 3: in twenty eighteen. He's been pretty prolific since, sometimes releasing

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Speaker 3: multiple movies a year, with his most recent at the

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Speaker 3: time of recording being The Piano Accident, which was just

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Speaker 3: released in France a couple weeks ago. The writer Savina

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Speaker 3: Petkova has a piece on Deer Skin from twenty twenty

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Speaker 3: one on the publication The Quietest that I think aptly

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Speaker 3: describes to Pew's appeal when she writes his films are

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Speaker 3: laden with characters, situations, and spoofs that produce a hypnogogic effect,

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Speaker 3: but the reality status is never questioned. Deer Skin represents

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Speaker 3: the opposite of skepticism in relation to the uncanny, a

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Speaker 3: film that gladly jumps on the bandwagon of unforeseen ideas

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Speaker 3: with an ease that resembles a dream.

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Speaker 2: Yeah. I could agree with that there is something dream

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Speaker 2: like about it, but not in every way. One of

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Speaker 2: the we sort of got into this earlier. But one

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Speaker 2: of the ways I would say it is not like

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Speaker 2: a dream is that dreams often feel more random, like

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Speaker 2: just random new introduction of new elements, Whereas it seems

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Speaker 2: to me that once Deer Skin gets going, sort of

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Speaker 2: like I was saying earlier, everything just kind of follows logically.

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Speaker 2: If you buy into the initial dream, it's like a

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Speaker 2: real world that operates fully on the logic of physics

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Speaker 2: and cause and effect, and people behave in some ways normally,

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Speaker 2: except this real world was created by an absurdist demi

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Speaker 2: urge who is, like, you know, a man in a

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Speaker 2: jacket will decide that they must be the only man

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Speaker 2: in jacket that can be together.

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Speaker 3: Yeah, I totally agree with that. Moving on to our protagonist.

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Speaker 3: Jean Dujardins plays George born nineteen seventy two, French actor

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Speaker 3: and comedian. Worked as a stand up comedian in France

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Speaker 3: and has been in many films as an actor. Some

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Speaker 3: of the most well known include The Artist from twenty eleven,

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Speaker 3: the comedic reboot of the French spy series OSS one

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Speaker 3: hundred and seventeen, and The Wolf of Wall Street. As George,

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Speaker 3: he portrays a bit of an idiot, but he's a

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Speaker 3: confident idiot, and that confidence mostly successfully carries him as

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Speaker 3: he reinvents himself around a new jacket on the fly.

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Speaker 2: Yes, yeah, I like you flagging the confidence there and

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Speaker 2: how much it how much it works like. He's a

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Speaker 2: pathetic character, but a different kind of movie I think

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Speaker 2: would have more of everybody around him just treating him

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Speaker 2: as a fool and treating him with scorn and actually

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Speaker 2: he you know, he gets some pushback in skepticism, but

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Speaker 2: he also gets pretty far just on being a foolish, overconfident,

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Speaker 2: pathetic person.

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Speaker 3: Yeah, he gets remarkably far. He gets remarkably little pushback

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Speaker 3: there's like one exception that isn't even really overt pushback

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Speaker 3: in that sort of sends him over the edge.

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Speaker 2: Yeah, So I thought Douchardon was good in this role,

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Speaker 2: and I knew I recognized him from somewhere, but I

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Speaker 2: couldn't place it at first. I actually have not seen

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Speaker 2: the Artist I think he was. Did he win like

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Speaker 2: a Best Actor Oscar for that?

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Speaker 3: Oh man, I'm not sure.

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Speaker 2: Yeah, sorry, we just had to look this up. He

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Speaker 2: did win the Academy Award for Best Actor for his

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Speaker 2: role in The Artist from twenty eleven. Again, I have

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Speaker 2: not seen that one, but I realized what I knew

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Speaker 2: him from was that he is the corrupt Swiss banker

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Speaker 2: in Wolf of Wall Street. He's the guy who's like

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Speaker 2: trying to telepathically make make slimy deals with Leonardo DiCaprio.

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Speaker 3: It's been a while since I've seen that one, so

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Speaker 3: I don't remember that. But he's great in this.

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Speaker 2: Yeah, he is. There is a there's a soft spoken,

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Speaker 2: matter of factus to the way that he resists anything

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Speaker 2: that challenges his delusions that is so good. One of

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Speaker 2: my favorite moments of the movie is when he's been

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Speaker 2: like doing stuff that's impossible to explain without getting more

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Speaker 2: into the plot first, but doing weird stuff that he's

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Speaker 2: like paying these actors to be in these bizarre scenes.

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Speaker 2: And one of the actors is like, this movie you're

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Speaker 2: making it's a bit weird. No, he says, it's not weird,

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Speaker 2: it's amazing. It's really good delivery on that line. It's

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Speaker 2: in French, but yeah, it comes through.

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Speaker 3: Yeah, agree completely. I love his delivery. I love his

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Speaker 3: whole demeanor in this movie. It really sells it.

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Speaker 2: Yes, similar things I would say about the next actor

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Speaker 2: we're going to talk about, is this Adele nel Yeah.

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Speaker 3: Annelle born nineteen eighty nine is our second lead. She

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Speaker 3: made her film debut at the age of twelve in

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Speaker 3: the two thousand and two movie Le Diaba. In twenty fourteen,

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Speaker 3: she won the CESAR Award for Best Supporting Actress for

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Speaker 3: her role in the twenty thirteen movie Suzanne, and in

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Speaker 3: twenty nineteen she appeared in three movies, Deer Skin being

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Speaker 3: one of them and the other two being Heroes Don't

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Speaker 3: Die and Portrait of a Lady on Fire, which is

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Speaker 3: where I knew her from. She retired from the film

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Speaker 3: industry in twenty twenty three. Citing that the industry defended

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Speaker 3: a capital, patriarchal, racist, sexist world of structural inequality. She's

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Speaker 3: since been active in theater and as a political activist.

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Speaker 2: Well respect her critique of the industry, both from within

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Speaker 2: and without, but I also I think she's so great here, Like,

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Speaker 2: I love the way that our empathy for this character

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Speaker 2: evolves as we come to understand her better. So like

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Speaker 2: the evolution goes something like when we first meet her.

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Speaker 2: In classic comedy terms, this character, Denise is what do

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Speaker 2: you call, like the feed or the straight character, the

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Speaker 2: comedic foil of the act's main buffoon, which is George. Here,

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Speaker 2: this kind of character is the stand in for the audience,

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Speaker 2: the normal person who is there to react skeptically to

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Speaker 2: the funny man's antics. And that is what she feels

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Speaker 2: like in the first few scenes with her. But then

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Speaker 2: as our main weirdo evolves to become more criminal, basically

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Speaker 2: more sinister, the drama shifts and she becomes the victim

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Speaker 2: of his lies and scams, and we feel a totally

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Speaker 2: different way about her. We start to feel pity for

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Speaker 2: her while he's like, you know, lying to her and

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Speaker 2: draining her bank account. And then she reveals that she

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Speaker 2: was actually always aware of the fact that he was

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Speaker 2: a fraud, and then she becomes part of the antics

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Speaker 2: and scams. In essence, she becomes the weirdo, and in fact,

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Speaker 2: maybe even weirder than the weirdo that came before. She

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Speaker 2: starts kind of trying to give orders, and so I

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Speaker 2: love that evolution. You feel like three totally different ways

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Speaker 2: about her as the movie goes on, and it's a

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Speaker 2: very seamless kind of transition. Yeah.

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Speaker 3: I love this too. I was reading an interview on

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Speaker 3: the publication Dazed that Depew did in support of Deer Skin,

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Speaker 3: and to quote that interview, Originally, Depew planned for Denise

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Speaker 3: to be down to earth every woman to counteract George's quirkiness. However,

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Speaker 3: Nnel insisted that Denise should adore blood and slaughter without

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Speaker 3: changing a line in the script. We decided that she's crazy,

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Speaker 3: the director says, and because she's an amazing actress, you

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Speaker 3: see it in her eyes. Suddenly every scene looks different,

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Speaker 3: and Jean looks stupid in front of her. She's evil

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Speaker 3: and he's just a kid.

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Speaker 2: That's brilliant. Yeah, I love that.

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Speaker 3: So, yeah, totally agree. The composer is Yanko Niovich. I

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Speaker 3: think that's how you pronounce it. As far as I

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Speaker 3: can tell. He was born in nineteen forty one. He

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Speaker 3: did the score. He's a prolific Paris based musician who

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Speaker 3: has released over thirty albums since the early nineteen sixties,

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Speaker 3: mostly library music, essentially work for higher albums made to

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Speaker 3: be easily licensed for productions. He's made music under a

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Speaker 3: variety of pseudonyms, one of which was Mad Unity. Under

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Speaker 3: the mad Unity name, he released one of his most

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Speaker 3: well regarded albums, Funky Tramway. I checked out the title

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Speaker 3: track of this one, and it definitely sounds like a

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Speaker 3: funky tramway. Flattering, it's frenetic, and then there's a bunch

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Speaker 3: of like wah guitar. You gotta check it. It's a

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Speaker 3: funky tramway for sure.

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Speaker 2: Okay.

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Speaker 3: His music has been sampled by artists like Jay Z,

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Speaker 3: Doctor Dre the Alchemist, and Freddie Gibbs and Schoolboy Q

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Speaker 3: to name a few. He seems to be sampled quite

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Speaker 3: a bit actually, and as of twenty twenty two, he's

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Speaker 3: still making new music. And I found news from twenty

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Speaker 3: twenty three of a documentary called The Sample Return of

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Speaker 3: Yanko Niovich. That's currently in production, I guess. According to

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Speaker 3: an interview Depew did with Dazed during Deerskin's post production,

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Speaker 3: he scrap plans to record an electronic soundtrack himself, saying

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Speaker 3: that quote to me, it's a dead serious movie. It's funny,

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Speaker 3: but not what we call it comedy. And actually I

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Speaker 3: never used funny comedy music or whatever. I decided to

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Speaker 3: only use music from the seventies to match the jacket.

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Speaker 2: Oh that's interesting, because yeah, the music in this movie, well,

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Speaker 2: first of all, there are some there's some great like

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Speaker 2: needle drops in it. In the closing credits, it uses

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Speaker 2: the song by Della Humphrey that I don't know if

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Speaker 2: I'd ever heard before, when Good Girls Go Bad. That

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Speaker 2: one's fantastic excellence.

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Speaker 3: It's a great closing song. Yeah, I loved it.

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Speaker 2: But also the original score for it, Yeah, it doesn't

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Speaker 2: sound like goofy dump de dump comedy music. It sounds

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Speaker 2: like something that could be in like a dark Michael

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Speaker 2: Chimino movie from the seventies or something.

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Speaker 3: And finally, I wasn't able to find a ton of

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Speaker 3: info on her. But Jean le Barux, the production designer,

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Speaker 3: this is Depew's wife and the production designer on seemingly

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Speaker 3: all of his movies from twenty Twelve's Wrong onward and

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Speaker 3: according to an interview, I ran and she's the only

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Speaker 3: person he will run edits the movie by before finalizing them.

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Speaker 2: All Right, you ready to talk about the plot? Ja, ja, Yeah,

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Speaker 2: let's do it cool. So I think we're going to

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Speaker 2: talk about a lot of like direct in scene texture

404
00:25:23,119 --> 00:25:24,960
Speaker 2: in this one, because that's a lot of where the

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00:25:24,960 --> 00:25:27,159
Speaker 2: pleasure of the movie lies. So it starts off with

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Speaker 2: the cold open in like a big empty room that

407
00:25:30,680 --> 00:25:33,760
Speaker 2: looks like it could be a warehouse or parking garage.

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Speaker 2: And there are several young men and women. They stand

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Speaker 2: lined up behind a car with the car trunk hanging open,

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Speaker 2: and they're all holding piles of clothing in their arms.

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Speaker 2: And the first guy, sort of a guy with red

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Speaker 2: hair and a mustache, he looks straight into the camera

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Speaker 2: and he says, I swear never to wear a jacket

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Speaker 2: as long as I live. And then he's got this

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Speaker 2: stack of clothes in his arms. You realize they're all jackets.

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Speaker 2: He dumps the jackets into the car's trunk gets out

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Speaker 2: of the way. The next man in line steps up

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Speaker 2: to the car. He looks into the camera with a

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Speaker 2: kind of smirk, and he says the same thing, I

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Speaker 2: swear never to wear a jacket as long as I live. Dump.

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Speaker 2: A woman steps up from behind. She seems a little

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Speaker 2: less good humored than the first two guys. She dumps

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Speaker 2: in her pile of jackets and says the same thing,

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Speaker 2: though she has to be prompted by somebody off screen

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Speaker 2: to get the words right. And then a voice behind

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Speaker 2: the camera tells them to close the trunk. She slams

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Speaker 2: it and we cut to black. There's a good WTF opening.

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Speaker 2: Don't see that every day? And then the action reopens

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Speaker 2: on our protagonist, George. This is again is Jean dou

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Speaker 2: Chartin and he is a quiet, bearded man in his forties.

431
00:26:45,119 --> 00:26:48,760
Speaker 2: He's dressed in a corduroy blazer and a button up

432
00:26:48,760 --> 00:26:52,240
Speaker 2: shirt tucked into his pants. He's driving a sedan along

433
00:26:52,280 --> 00:26:56,200
Speaker 2: the highway in France by himself, somewhere in rural France,

434
00:26:56,960 --> 00:27:01,200
Speaker 2: and he passes toll stations. He stops for gas, and

435
00:27:01,320 --> 00:27:03,600
Speaker 2: at the service station where he's putting gas in the car,

436
00:27:03,800 --> 00:27:06,520
Speaker 2: he stares at his reflection in the window of his

437
00:27:06,520 --> 00:27:09,680
Speaker 2: car and it seems like he doesn't like the way

438
00:27:09,720 --> 00:27:12,040
Speaker 2: he looks. He's kind of pulling and adjusting at his

439
00:27:12,160 --> 00:27:14,800
Speaker 2: jacket to try to look better, but just doesn't seem happy.

440
00:27:15,520 --> 00:27:18,440
Speaker 2: So he goes to the bathroom at the service station,

441
00:27:18,880 --> 00:27:22,400
Speaker 2: where he takes off his blazer, wads it up, crams

442
00:27:22,400 --> 00:27:25,120
Speaker 2: it into the toilet, and then tries to flush it down.

443
00:27:25,960 --> 00:27:29,159
Speaker 2: Now this doesn't work. The toilet begins to overflow, and

444
00:27:29,200 --> 00:27:31,760
Speaker 2: he starts like stomping on it and the toilet bowl,

445
00:27:31,840 --> 00:27:34,080
Speaker 2: trying to jam it down the hole. But how's that

446
00:27:34,119 --> 00:27:36,320
Speaker 2: going to work. You're not even supposed to flush paper towels,

447
00:27:36,359 --> 00:27:38,120
Speaker 2: you know, Are you gonna get a blazer down there?

448
00:27:38,880 --> 00:27:41,920
Speaker 2: So it doesn't work. Everything's just flooding in the bathroom,

449
00:27:42,000 --> 00:27:45,640
Speaker 2: and he flees the scene in his car. So George

450
00:27:45,800 --> 00:27:49,160
Speaker 2: is on a journey. We see him sleeping in his

451
00:27:49,160 --> 00:27:52,480
Speaker 2: car overnight beside the highway, and then later he is

452
00:27:52,600 --> 00:27:56,280
Speaker 2: following a map, winding his way up these narrow, twisting

453
00:27:56,359 --> 00:28:00,880
Speaker 2: country roads, and eventually George comes to an old farmhouse

454
00:28:00,960 --> 00:28:04,800
Speaker 2: on a hillside. At the door, he rings the buzzer

455
00:28:04,880 --> 00:28:07,760
Speaker 2: and he announces that he's following up about an advertisement,

456
00:28:08,119 --> 00:28:11,760
Speaker 2: and an older man lets him inside inside this house,

457
00:28:11,800 --> 00:28:16,000
Speaker 2: it's rustic, a lot of simple varnished wood, and George

458
00:28:16,080 --> 00:28:19,680
Speaker 2: is here about a product that this guy has advertised

459
00:28:19,680 --> 00:28:23,320
Speaker 2: for sale. George says, he's very anxious to see the item.

460
00:28:23,400 --> 00:28:25,680
Speaker 2: So the old man goes and gets it out from

461
00:28:25,760 --> 00:28:28,920
Speaker 2: a chest, this big treasure chest looking thing in the

462
00:28:29,240 --> 00:28:33,080
Speaker 2: other room. And then the old man comes into the

463
00:28:33,119 --> 00:28:37,480
Speaker 2: room with George holding up this object like a highrafant

464
00:28:37,640 --> 00:28:41,920
Speaker 2: showing off the sacred relics. It is a leather jacket,

465
00:28:42,280 --> 00:28:45,440
Speaker 2: tawny brown. I'm not sure what you call this cut,

466
00:28:45,440 --> 00:28:48,280
Speaker 2: but his kind of motorcycle style with a wide collar

467
00:28:48,360 --> 00:28:50,680
Speaker 2: and a zipper in front. But it's the zipper's not

468
00:28:50,800 --> 00:28:53,280
Speaker 2: straight down the middle. It's a little offset to the side,

469
00:28:53,880 --> 00:28:57,400
Speaker 2: with big stripes of leather fringe in a V shape

470
00:28:57,400 --> 00:29:00,160
Speaker 2: across the chest, and then the fringe wrapping all the

471
00:29:00,160 --> 00:29:03,360
Speaker 2: way around the back. That I miss any important details, JJ,

472
00:29:03,480 --> 00:29:05,720
Speaker 2: I feel like we've got to describe the jacket.

473
00:29:05,520 --> 00:29:08,040
Speaker 3: Right right, Yeah, No, I think that's a pretty good description.

474
00:29:08,360 --> 00:29:12,880
Speaker 2: Okay. The old man says, meet the beast, one hundred

475
00:29:12,920 --> 00:29:17,640
Speaker 2: percent deer skin, and George is obviously impressed. It's love

476
00:29:17,680 --> 00:29:20,520
Speaker 2: at first sight. The old man says that he wore

477
00:29:20,520 --> 00:29:22,720
Speaker 2: it for about a year, but then it went out

478
00:29:22,760 --> 00:29:25,360
Speaker 2: of style, so he put it away. He also says

479
00:29:25,400 --> 00:29:28,040
Speaker 2: that it made him itch a little bit. So George

480
00:29:28,240 --> 00:29:31,040
Speaker 2: takes the jacket, he looks at himself in the mirror,

481
00:29:31,160 --> 00:29:33,440
Speaker 2: He tries it on, looks in the mirror, and he

482
00:29:33,640 --> 00:29:36,320
Speaker 2: loves it. He makes an offer to the old man

483
00:29:36,520 --> 00:29:38,640
Speaker 2: and pays him in cash, and the old man is

484
00:29:39,000 --> 00:29:44,040
Speaker 2: very pleased. He's counting the money while George is admiring

485
00:29:44,120 --> 00:29:48,280
Speaker 2: himself in the mirror, and George is saying, look at yourself,

486
00:29:48,640 --> 00:29:53,560
Speaker 2: how elegant. And here I've got a question. I think

487
00:29:53,600 --> 00:29:56,280
Speaker 2: this is a serious question about the craft of the film.

488
00:29:56,760 --> 00:30:01,040
Speaker 2: Is the jacket actually supposed to look good on George?

489
00:30:01,640 --> 00:30:04,920
Speaker 2: As in, obviously he likes it, But is it supposed

490
00:30:04,960 --> 00:30:08,960
Speaker 2: to look good to us the audience. On one hand,

491
00:30:09,120 --> 00:30:12,280
Speaker 2: it's it's I think you could say it's a cool

492
00:30:12,320 --> 00:30:15,960
Speaker 2: looking jacket, but it is also ostentatious, like it has

493
00:30:16,000 --> 00:30:19,160
Speaker 2: all this fringe and stuff, and you know, the deerskin

494
00:30:19,240 --> 00:30:21,840
Speaker 2: element is obviously I don't know, maybe some people are

495
00:30:22,280 --> 00:30:25,040
Speaker 2: really into that or not, but it also looks kind

496
00:30:25,040 --> 00:30:28,080
Speaker 2: of short to me, like you can see a gap

497
00:30:28,320 --> 00:30:31,920
Speaker 2: between the jacket and the top of his pants, where

498
00:30:31,960 --> 00:30:34,200
Speaker 2: his button up shirt is just kind of sticking out

499
00:30:34,240 --> 00:30:36,200
Speaker 2: in a way that looks silly. Maybe that's just the

500
00:30:36,240 --> 00:30:39,360
Speaker 2: style of how you wear this, but I genuinely couldn't

501
00:30:39,400 --> 00:30:42,640
Speaker 2: tell whether the jacket is supposed to look cool on

502
00:30:42,720 --> 00:30:44,720
Speaker 2: George or not. It's sort of somewhere in the middle.

503
00:30:45,120 --> 00:30:49,479
Speaker 3: Yeah. No, I agree, it looks a little goofy. He

504
00:30:49,560 --> 00:30:52,560
Speaker 3: loves the jacket, though he stands up, his mouth is

505
00:30:52,680 --> 00:30:55,680
Speaker 3: a gape in its presence and has to sit down

506
00:30:55,960 --> 00:30:58,400
Speaker 3: with his hand over his mouth, just overcome by its

507
00:30:58,440 --> 00:31:02,000
Speaker 3: beauty when he sees the fringe on the back and

508
00:31:02,080 --> 00:31:04,560
Speaker 3: speaking to whether or not the jacket looks good, I

509
00:31:04,560 --> 00:31:08,120
Speaker 3: guess to Pew tried like ten or twelve jackets on

510
00:31:08,640 --> 00:31:11,960
Speaker 3: John saying that quote. We loved that the jacket was

511
00:31:12,000 --> 00:31:17,800
Speaker 3: good looking, but too short. Something's wrong. Oh okay, Yeah,

512
00:31:18,280 --> 00:31:20,080
Speaker 3: I think it looks a little goofy. As I said,

513
00:31:20,200 --> 00:31:23,680
Speaker 3: I feel like he hasn't fully crossed into goofball territory yet,

514
00:31:23,720 --> 00:31:26,960
Speaker 3: which I'm excited for. I also want to point out

515
00:31:27,000 --> 00:31:29,880
Speaker 3: that he pays seventy five hundred euros for this jacket,

516
00:31:29,920 --> 00:31:34,640
Speaker 3: which today converts to roughly eight thousand, six hundred and

517
00:31:34,680 --> 00:31:38,880
Speaker 3: ninety one dollars, which is a steal, of course, exactly. Yes,

518
00:31:39,240 --> 00:31:41,400
Speaker 3: And we get a shot of a deer looking directly

519
00:31:41,440 --> 00:31:43,480
Speaker 3: into the camera before he puts on the jacket.

520
00:31:44,120 --> 00:31:45,880
Speaker 2: Okay, I think here's the way I would put it.

521
00:31:46,560 --> 00:31:50,760
Speaker 2: George is he doesn't look clownish in the jacket, but

522
00:31:50,840 --> 00:31:54,040
Speaker 2: he is not quite pulling it off. I think it's

523
00:31:54,080 --> 00:31:57,440
Speaker 2: the kind of jacket that like would look really cool

524
00:31:57,720 --> 00:32:02,440
Speaker 2: on somebody who usually looks really cool. You know. That's

525
00:32:03,000 --> 00:32:05,160
Speaker 2: it's kind of an unfair thing about fashion, right, Like

526
00:32:05,440 --> 00:32:07,760
Speaker 2: there are a lot of clothing items that look really

527
00:32:07,800 --> 00:32:10,640
Speaker 2: cool only on people for whom everything they wear looks cool.

528
00:32:11,400 --> 00:32:14,400
Speaker 2: And this jacket might be in that zone on George.

529
00:32:14,520 --> 00:32:19,560
Speaker 2: It is. It is definitely somewhere near the border of ridiculousness.

530
00:32:20,040 --> 00:32:22,640
Speaker 3: Yeah, and I think it's funnier for that, Like if

531
00:32:22,640 --> 00:32:25,080
Speaker 3: it was over the top, it wouldn't have the same

532
00:32:25,440 --> 00:32:26,200
Speaker 3: sort of effect.

533
00:32:26,680 --> 00:32:29,400
Speaker 2: Anyway. The old man is so happy with this deal

534
00:32:29,440 --> 00:32:31,320
Speaker 2: that George is. You know, George is like, here's seventy

535
00:32:31,320 --> 00:32:33,920
Speaker 2: five hundred euros for this old thing you're getting rid of.

536
00:32:34,360 --> 00:32:37,760
Speaker 2: He decides to give George an extra gift. It is

537
00:32:37,920 --> 00:32:41,920
Speaker 2: a digital video camera, and as he says, digital is

538
00:32:41,960 --> 00:32:42,440
Speaker 2: the best.

539
00:32:42,840 --> 00:32:43,960
Speaker 3: You can't top digital.

540
00:32:44,240 --> 00:32:48,320
Speaker 2: Yeah, which is very confusing because admittedly I haven't used

541
00:32:48,360 --> 00:32:51,640
Speaker 2: a lot of digital video cameras, but I assume a

542
00:32:51,720 --> 00:32:55,080
Speaker 2: digital video camera means that you're like recording to a

543
00:32:55,160 --> 00:32:58,600
Speaker 2: memory card or chip or something. But then later in

544
00:32:58,640 --> 00:33:01,280
Speaker 2: the movie there's like a significant plot point about needing

545
00:33:01,360 --> 00:33:04,840
Speaker 2: cassettes for the video camera. So I don't know, I

546
00:33:04,880 --> 00:33:06,080
Speaker 2: didn't know what to make of any of that.

547
00:33:06,640 --> 00:33:09,120
Speaker 3: We're gonna get into this. Oh, and he pulls the

548
00:33:09,120 --> 00:33:12,840
Speaker 3: camera out. I have a whole tangent to bring us

549
00:33:12,880 --> 00:33:14,200
Speaker 3: down perfect.

550
00:33:14,240 --> 00:33:16,480
Speaker 2: I can't wait. I love it. Love a technology run

551
00:33:16,520 --> 00:33:20,720
Speaker 2: down in movie props. So George leaves and he checks

552
00:33:20,800 --> 00:33:23,400
Speaker 2: in at a nearby hotel, telling the clerk that he

553
00:33:23,440 --> 00:33:26,920
Speaker 2: plans to be there for a month. He has no money.

554
00:33:27,000 --> 00:33:28,880
Speaker 2: I think he spent all his money on the jacket,

555
00:33:29,760 --> 00:33:32,760
Speaker 2: and he says there is a problem with his credit card,

556
00:33:33,200 --> 00:33:35,640
Speaker 2: so he's going to get that sorted out the next day,

557
00:33:35,680 --> 00:33:38,680
Speaker 2: but in order to stay the first night, he takes

558
00:33:38,800 --> 00:33:41,040
Speaker 2: a gold ring off of his finger. I'm pretty sure

559
00:33:41,120 --> 00:33:44,080
Speaker 2: this is a wedding ring, and he leaves it with

560
00:33:44,160 --> 00:33:47,240
Speaker 2: the clerk as collateral, promising to pay the bill the

561
00:33:47,280 --> 00:33:50,480
Speaker 2: following day. And then George goes up to his room

562
00:33:50,520 --> 00:33:54,400
Speaker 2: and he oogles himself in the mirror, offering these quiet

563
00:33:54,480 --> 00:33:59,240
Speaker 2: little statements of commentary, sort of complimenting himself. He says

564
00:33:59,280 --> 00:34:04,520
Speaker 2: things like stoking killer style, it's it's really tender, you know,

565
00:34:04,640 --> 00:34:09,240
Speaker 2: he's it's I like these little, these little moments, especially

566
00:34:09,239 --> 00:34:12,520
Speaker 2: how quietly he says these things. And then after checking

567
00:34:12,560 --> 00:34:14,640
Speaker 2: into his room, we also see him leaning out of

568
00:34:14,640 --> 00:34:17,479
Speaker 2: his window playing around with the video camera he got,

569
00:34:17,480 --> 00:34:20,239
Speaker 2: like he's I think he starts focusing it up on

570
00:34:20,280 --> 00:34:22,600
Speaker 2: the mountain across the way from the hotel.

571
00:34:23,520 --> 00:34:26,960
Speaker 3: Yeah, and this movie is heavy on the beige in

572
00:34:27,000 --> 00:34:29,359
Speaker 3: the tan, and this hotel room is like maybe the

573
00:34:29,400 --> 00:34:32,560
Speaker 3: beigest thing of all, and it sort of mirrors the jacket.

574
00:34:32,880 --> 00:34:35,600
Speaker 3: I also want to point out that the wallpaper extends

575
00:34:35,600 --> 00:34:39,279
Speaker 3: into the shower. I'm not sure how normal that is.

576
00:34:39,880 --> 00:34:43,239
Speaker 2: Does this hotel room have a bathroom? There is the

577
00:34:43,320 --> 00:34:45,600
Speaker 2: showers in the corner of the room.

578
00:34:46,120 --> 00:34:48,440
Speaker 3: That's a good question. It might just all be in

579
00:34:48,440 --> 00:34:51,480
Speaker 3: one room, Okay, Because you're right, the shower is just

580
00:34:51,640 --> 00:34:52,320
Speaker 3: in the corner.

581
00:34:52,520 --> 00:34:55,800
Speaker 2: It's like a ned Flanders house that love built situation

582
00:34:55,920 --> 00:34:59,719
Speaker 2: where the toilet is in the kitchen. Maybe this I

583
00:34:59,760 --> 00:35:01,600
Speaker 2: don't I mean to make fun. Actually, I wonder if

584
00:35:01,600 --> 00:35:03,879
Speaker 2: this is something that's actually common in like some French

585
00:35:03,920 --> 00:35:06,960
Speaker 2: hotel rooms or something, maybe maybe in older buildings or

586
00:35:07,040 --> 00:35:07,680
Speaker 2: something like that.

587
00:35:07,800 --> 00:35:10,600
Speaker 3: Yeah, I was wondering the same thing. And this is

588
00:35:10,640 --> 00:35:15,480
Speaker 3: where George removes the almost new digital camquarder from its bag.

589
00:35:16,320 --> 00:35:20,200
Speaker 3: And I spent too long trying to find the exact

590
00:35:20,320 --> 00:35:23,560
Speaker 3: model camquarder this was, so I'm gonna go on that

591
00:35:23,560 --> 00:35:28,560
Speaker 3: brief tangent I was mentioning earlier for some reason I

592
00:35:28,600 --> 00:35:31,960
Speaker 3: needed to know, and I think it's a Sony DCR

593
00:35:32,360 --> 00:35:38,080
Speaker 3: PC one handycam. It's a mini DV camquarder and according

594
00:35:38,120 --> 00:35:44,279
Speaker 3: to the camquorder pedia wiki, sorry, it was introduced in

595
00:35:44,320 --> 00:35:45,279
Speaker 3: two thousand and one.

596
00:35:45,640 --> 00:35:47,120
Speaker 2: Oh so it's almost new.

597
00:35:47,480 --> 00:35:49,120
Speaker 3: Is almost new perfect.

598
00:35:49,640 --> 00:35:52,000
Speaker 2: Most things are almost new if you think about it.

599
00:35:53,160 --> 00:35:59,439
Speaker 3: And we talked off Mike earlier too about why this

600
00:36:00,120 --> 00:36:05,319
Speaker 3: digital camcorder uses little tapes. This came up when I

601
00:36:05,320 --> 00:36:07,480
Speaker 3: was watching with my friends Terrence and Ian as well.

602
00:36:08,320 --> 00:36:11,959
Speaker 3: So I'm going to offer a brief, very basic explanation

603
00:36:12,440 --> 00:36:15,400
Speaker 3: of the DV format because I went down a whole

604
00:36:15,600 --> 00:36:17,720
Speaker 3: rabbit hole to be able to talk about this camera

605
00:36:17,760 --> 00:36:18,279
Speaker 3: a little bit.

606
00:36:18,520 --> 00:36:21,320
Speaker 2: Absolutely, fill me in, man, make it make sense.

607
00:36:21,920 --> 00:36:25,360
Speaker 3: I'm going to try, Okay, I did some cursory research.

608
00:36:26,840 --> 00:36:31,719
Speaker 3: DV was a format developed by Sony and Panasonic that

609
00:36:31,840 --> 00:36:35,759
Speaker 3: was introduced in nineteen ninety five. DV tapes came in

610
00:36:35,760 --> 00:36:38,960
Speaker 3: a variety of sizes, the smallest of which many DV

611
00:36:39,320 --> 00:36:42,760
Speaker 3: being very popular. That's what we see in this movie.

612
00:36:43,440 --> 00:36:47,560
Speaker 3: DV tape store compressed video in glorious for ADP so

613
00:36:48,160 --> 00:36:52,880
Speaker 3: DVD quality, and uncompressed audio at sixteen bit forty eight

614
00:36:52,960 --> 00:36:56,920
Speaker 3: K when recorded in stereo, so that's higher than CD quality.

615
00:36:57,600 --> 00:37:01,239
Speaker 3: While it was mostly a consumer grade format, it was

616
00:37:01,280 --> 00:37:05,160
Speaker 3: also used professionally sometimes, and a notable example is that

617
00:37:05,320 --> 00:37:09,600
Speaker 3: David Lynch actually shot Inland Empire on the DV format

618
00:37:10,080 --> 00:37:12,920
Speaker 3: using a Sony DSR PD one F.

619
00:37:13,480 --> 00:37:17,120
Speaker 2: I've actually never seen that Lynch movie. I've heard some

620
00:37:17,160 --> 00:37:19,200
Speaker 2: people who have seen it describe it as one of

621
00:37:19,200 --> 00:37:21,280
Speaker 2: his least accessible films.

622
00:37:21,480 --> 00:37:26,759
Speaker 3: I'd agree with that, but I really love it. I

623
00:37:26,800 --> 00:37:28,360
Speaker 3: could not recommend it more.

624
00:37:28,360 --> 00:37:31,520
Speaker 2: Well, of course, I love David Lynch, So on your recommendation.

625
00:37:31,560 --> 00:37:34,839
Speaker 2: I'm gonna reprioritize Inland Empire. I'm gonna move it up

626
00:37:34,840 --> 00:37:37,439
Speaker 2: my list and try to see it sooner. But yeah,

627
00:37:37,480 --> 00:37:40,600
Speaker 2: i'd heard people say it's one of his less accessible movies,

628
00:37:40,600 --> 00:37:44,480
Speaker 2: and I think maybe i'd heard different things about the

629
00:37:44,520 --> 00:37:46,600
Speaker 2: way it looked. I know some people didn't love the

630
00:37:46,640 --> 00:37:48,680
Speaker 2: way that it looked or found it kind of murky

631
00:37:48,840 --> 00:37:52,319
Speaker 2: or something. And I not that I would really think

632
00:37:52,440 --> 00:37:57,160
Speaker 2: David Lynch would be a part of this wave. I

633
00:37:57,200 --> 00:37:59,319
Speaker 2: don't know, maybe, but I do remember there was sort

634
00:37:59,360 --> 00:38:02,839
Speaker 2: of a thing, wasn't there In like the early to

635
00:38:02,960 --> 00:38:06,960
Speaker 2: mid two thousands were more mainstream feature film directors were

636
00:38:06,960 --> 00:38:11,160
Speaker 2: experimenting with using digital formats. I remember associating this with

637
00:38:11,320 --> 00:38:14,120
Speaker 2: twenty eight Days Later, had a kind of digital look.

638
00:38:14,120 --> 00:38:15,880
Speaker 2: I don't know how that was actually shot.

639
00:38:16,400 --> 00:38:18,719
Speaker 3: You know what, that one's also shot on DV.

640
00:38:19,120 --> 00:38:21,880
Speaker 2: Oh okay, cool? Well, yeah, I remember associating it with

641
00:38:22,320 --> 00:38:24,880
Speaker 2: that look and some other films of that time getting

642
00:38:24,920 --> 00:38:29,080
Speaker 2: into that thing. And I wonder how film like that

643
00:38:29,239 --> 00:38:32,160
Speaker 2: is sort of being evaluated in retrospect. I haven't read

644
00:38:32,200 --> 00:38:34,959
Speaker 2: that much about it, but I do know it can

645
00:38:35,120 --> 00:38:40,320
Speaker 2: have its own aesthetic virtues like there's another film actually

646
00:38:40,680 --> 00:38:42,440
Speaker 2: that I don't know what it was shot on, but

647
00:38:42,520 --> 00:38:46,160
Speaker 2: it has that digital look and I think it contributes

648
00:38:46,200 --> 00:38:48,640
Speaker 2: to the aesthetic effect of the film. And that is

649
00:38:49,239 --> 00:38:52,000
Speaker 2: one of the weirdest cop movies I've ever seen, The

650
00:38:52,080 --> 00:38:55,640
Speaker 2: Michael Man Miami Vice movie from what is it like

651
00:38:55,680 --> 00:38:58,080
Speaker 2: two thousand and six or something. Do you know what

652
00:38:58,160 --> 00:38:58,960
Speaker 2: I'm talking about?

653
00:38:59,080 --> 00:39:01,200
Speaker 3: I do. I know that it has a lot of

654
00:39:02,160 --> 00:39:03,920
Speaker 3: a lot of people really love that movie.

655
00:39:04,400 --> 00:39:08,160
Speaker 2: I saw it a few years back and was mesmerized

656
00:39:08,400 --> 00:39:11,360
Speaker 2: by it. I would call it the cop movie at

657
00:39:11,440 --> 00:39:15,200
Speaker 2: the End of the World. So in content, it is

658
00:39:15,280 --> 00:39:18,200
Speaker 2: a you know, it has a kind of dark romantic subplot,

659
00:39:18,280 --> 00:39:21,520
Speaker 2: but overall it's like a you know, drug busts and

660
00:39:22,239 --> 00:39:25,600
Speaker 2: raids and you know, cops and criminals kind of movie.

661
00:39:26,040 --> 00:39:29,360
Speaker 2: But there is something about it that feels so doomed

662
00:39:29,800 --> 00:39:34,360
Speaker 2: and uh and bleak, and like it takes place in

663
00:39:34,480 --> 00:39:38,000
Speaker 2: a world where where all happiness and meaning has been

664
00:39:38,120 --> 00:39:42,239
Speaker 2: lost and now all that there is left is is

665
00:39:42,400 --> 00:39:46,839
Speaker 2: cop and crime and and maybe and maybe there's there's

666
00:39:46,880 --> 00:39:49,520
Speaker 2: the illusion that there could be love, but but that's

667
00:39:49,560 --> 00:39:50,800
Speaker 2: really also doomed.

668
00:39:51,480 --> 00:39:51,600
Speaker 4: Uh.

669
00:39:51,800 --> 00:39:54,319
Speaker 2: It's it's a unique film. I would say it's not

670
00:39:54,400 --> 00:39:56,600
Speaker 2: what you think of when you think Miami Vice. At

671
00:39:56,680 --> 00:39:58,960
Speaker 2: least it's not what I imagined Miami Vice would be.

672
00:39:59,440 --> 00:40:02,240
Speaker 3: Yeah, I mean from watching Inland Empire, I can totally

673
00:40:02,239 --> 00:40:06,880
Speaker 3: see that, because I think the way Inland Empire looks

674
00:40:07,160 --> 00:40:11,120
Speaker 3: gives it that same sort of quality. I definitely think

675
00:40:11,200 --> 00:40:14,520
Speaker 3: it is augmented by looking like that, and I think

676
00:40:14,520 --> 00:40:19,400
Speaker 3: it was something David Lynch went into very deliberately.

677
00:40:19,840 --> 00:40:22,080
Speaker 2: Okay, well, I'm going to watch in lond Empire. But wait,

678
00:40:22,239 --> 00:40:25,440
Speaker 2: so we were getting into the technical details here. So

679
00:40:25,480 --> 00:40:27,279
Speaker 2: what's the deal with the tape? So it's digital, but

680
00:40:27,320 --> 00:40:28,360
Speaker 2: there are still tapes.

681
00:40:28,719 --> 00:40:32,840
Speaker 3: Yeah, sorry for the tangent to address the tapes. Tangent

682
00:40:34,200 --> 00:40:37,560
Speaker 3: to address the tapes. The video in the audio info

683
00:40:37,880 --> 00:40:43,000
Speaker 3: is store digitally. Put very very simply, the video and

684
00:40:43,040 --> 00:40:46,960
Speaker 3: audio information are converted to digital information, so a sequence

685
00:40:46,960 --> 00:40:50,360
Speaker 3: of ones and zeros, and that digital info is encoded

686
00:40:50,480 --> 00:40:54,200
Speaker 3: onto magnetic tape. When you play the tape back on

687
00:40:54,239 --> 00:40:57,319
Speaker 3: the camcorder or on a DV deck like we'll see

688
00:40:57,360 --> 00:41:01,560
Speaker 3: later in the film, that digital and is converted back

689
00:41:01,600 --> 00:41:02,640
Speaker 3: to video and audio.

690
00:41:03,080 --> 00:41:06,200
Speaker 2: Okay, So maybe I just had the wrong idea of

691
00:41:06,239 --> 00:41:11,800
Speaker 2: what digital means. A recording in storage context totally.

692
00:41:11,840 --> 00:41:14,960
Speaker 3: This was new to me too, though I think maybe

693
00:41:15,000 --> 00:41:17,520
Speaker 3: if you like live in camera world and you're more

694
00:41:17,560 --> 00:41:21,200
Speaker 3: involved in film, this might be a little less novel.

695
00:41:21,280 --> 00:41:24,080
Speaker 3: But I also thought this was pretty cool and I

696
00:41:24,120 --> 00:41:26,520
Speaker 3: started researching how exactly it works. But I got in

697
00:41:26,640 --> 00:41:29,040
Speaker 3: over my head pretty quickly, and while I have a

698
00:41:29,040 --> 00:41:32,640
Speaker 3: loose grasp of it involves magnets, I definitely don't understand

699
00:41:32,640 --> 00:41:34,600
Speaker 3: it well enough to explain it. So if you're a

700
00:41:34,640 --> 00:41:37,200
Speaker 3: listener who wants to elaborate on this or roast me

701
00:41:37,360 --> 00:41:40,920
Speaker 3: on my short explanation, I would love to hear about it,

702
00:41:40,960 --> 00:41:43,239
Speaker 3: and you can write in at contact at stuff to

703
00:41:43,239 --> 00:41:46,960
Speaker 3: blowermind dot com. But anyways, Yeah, it's a mini dvcamcorder,

704
00:41:47,080 --> 00:41:49,160
Speaker 3: so it is digital video, but it's stored on little

705
00:41:49,160 --> 00:41:49,840
Speaker 3: cassette tapes.

706
00:41:58,000 --> 00:42:00,520
Speaker 2: Okay, so we're coming back to the plot. So, like

707
00:42:00,600 --> 00:42:03,880
Speaker 2: George has been playing with his dvcam quorder and then

708
00:42:03,920 --> 00:42:05,879
Speaker 2: he goes out walking in the evening and we hear

709
00:42:06,239 --> 00:42:09,480
Speaker 2: voiceover of a phone conversation between George and a woman.

710
00:42:10,360 --> 00:42:13,160
Speaker 2: The woman says, why are you calling? What's the point?

711
00:42:13,760 --> 00:42:16,320
Speaker 2: George says, to tell you, I'm far away. I left

712
00:42:16,480 --> 00:42:19,839
Speaker 2: it's done. Want to know where? And the woman says, no,

713
00:42:20,160 --> 00:42:24,400
Speaker 2: you're nowhere, George, you no longer exist. And then George

714
00:42:24,480 --> 00:42:27,839
Speaker 2: finishes the conversation standing outside a bar in the rain.

715
00:42:28,239 --> 00:42:30,560
Speaker 2: When it's over, he throws his cell phone into the

716
00:42:30,600 --> 00:42:33,680
Speaker 2: garbage can and goes inside. So he's done with the

717
00:42:33,719 --> 00:42:37,399
Speaker 2: cell phone. No more cell phone. And I think we

718
00:42:38,640 --> 00:42:40,760
Speaker 2: it seems pretty clear to me this is to imply

719
00:42:40,880 --> 00:42:44,400
Speaker 2: that George is at some kind of breaking point in

720
00:42:44,440 --> 00:42:47,120
Speaker 2: a relationship. I think this is his wife he's talking to,

721
00:42:47,200 --> 00:42:49,920
Speaker 2: and it's the end of their relationship for some reason

722
00:42:50,040 --> 00:42:53,200
Speaker 2: that it's not exactly explained. So at the bar we

723
00:42:53,280 --> 00:42:56,920
Speaker 2: meet a new character, Denise, the bartender, played by Adele

724
00:42:57,000 --> 00:43:00,640
Speaker 2: and l And this scene gets funny and so like

725
00:43:00,680 --> 00:43:02,359
Speaker 2: a lot of the humor in the movie, it's it's

726
00:43:02,480 --> 00:43:07,480
Speaker 2: understated humor, but so I'll describe it. Denise is speaking

727
00:43:07,520 --> 00:43:09,440
Speaker 2: with a patron at the other end of the bar

728
00:43:09,960 --> 00:43:13,560
Speaker 2: while George is having a whiskey by himself, and they're

729
00:43:13,920 --> 00:43:17,040
Speaker 2: talking about somebody they know. They're just kind of like saying, oh,

730
00:43:17,080 --> 00:43:19,239
Speaker 2: you know, can you believe he said that? No, what's

731
00:43:19,239 --> 00:43:22,400
Speaker 2: she going to do? You know? Standard kind of social

732
00:43:22,920 --> 00:43:26,799
Speaker 2: gossip and then George suddenly confronts them and says, you're

733
00:43:26,840 --> 00:43:32,000
Speaker 2: talking about my jacket, aren't you. I loved this, and

734
00:43:32,080 --> 00:43:35,440
Speaker 2: they act confused. They're like, no, we were not talking

735
00:43:35,440 --> 00:43:39,120
Speaker 2: about your jacket. And he's like, oh, sorry, people always

736
00:43:39,120 --> 00:43:41,240
Speaker 2: talk about it sometimes they stop me in the street.

737
00:43:41,440 --> 00:43:44,920
Speaker 2: I'm just used to getting it noticed. Sorry. And Denise

738
00:43:45,000 --> 00:43:47,799
Speaker 2: is kind of skeptical and she says, really, what do

739
00:43:47,880 --> 00:43:50,160
Speaker 2: they stop you to say about it? And he doesn't

740
00:43:50,200 --> 00:43:52,520
Speaker 2: really answer. He's just like, as you can see, it

741
00:43:52,600 --> 00:43:53,880
Speaker 2: is no ordinary jacket.

742
00:43:54,719 --> 00:43:56,840
Speaker 3: He has like a slight pause where he looks a

743
00:43:56,840 --> 00:43:59,400
Speaker 3: little lost for a second before saying that.

744
00:44:00,080 --> 00:44:03,719
Speaker 2: Yeah, it's really good. So George, Denise and the other

745
00:44:03,800 --> 00:44:05,880
Speaker 2: lady start chatting. They ask him what he does for

746
00:44:05,960 --> 00:44:09,120
Speaker 2: a living. He thinks back to his video camera and

747
00:44:09,160 --> 00:44:11,879
Speaker 2: he says, oh, actually, I'm a filmmaker and I might

748
00:44:11,960 --> 00:44:14,160
Speaker 2: be working on a film while I'm here in this

749
00:44:14,239 --> 00:44:17,359
Speaker 2: little town. Yeah, that's the ticket, that's what it is.

750
00:44:18,080 --> 00:44:21,920
Speaker 3: Yeah. They ask if he's shooting now and he says yeah, possibly,

751
00:44:22,440 --> 00:44:23,960
Speaker 3: totally possibly.

752
00:44:25,920 --> 00:44:29,240
Speaker 2: And then in the next scene, George is walking home.

753
00:44:29,640 --> 00:44:32,280
Speaker 2: He's going back to the hotel and the bar, not Denise,

754
00:44:32,320 --> 00:44:35,759
Speaker 2: but the bar patron she was talking to pulls up

755
00:44:35,760 --> 00:44:38,520
Speaker 2: beside him in her car and she's like, you know, hey,

756
00:44:38,800 --> 00:44:40,880
Speaker 2: you know what, I used to act in porn twenty

757
00:44:40,960 --> 00:44:45,200
Speaker 2: years ago. She assumes he's a porn director, and he's like,

758
00:44:45,239 --> 00:44:47,920
Speaker 2: why would you assume that I don't make porn? And

759
00:44:48,000 --> 00:44:50,279
Speaker 2: she's like, well, you don't look like you work in

760
00:44:50,360 --> 00:44:53,640
Speaker 2: real film, and he says, I do work in real film,

761
00:44:53,680 --> 00:44:58,759
Speaker 2: don't you see my killer style? And she calls him

762
00:44:58,760 --> 00:45:02,120
Speaker 2: a loser and drives away. But back in his hotel room,

763
00:45:02,160 --> 00:45:05,440
Speaker 2: George is about to start working in real film. So

764
00:45:05,520 --> 00:45:08,319
Speaker 2: he's lying in bed, playing with the video camera, and

765
00:45:08,440 --> 00:45:10,800
Speaker 2: across the room from him, hanging on the back of

766
00:45:10,840 --> 00:45:13,560
Speaker 2: the chair where it will often be in these little scenes,

767
00:45:14,000 --> 00:45:17,080
Speaker 2: is the jacket, and he frames it with his camera

768
00:45:18,000 --> 00:45:23,839
Speaker 2: and he starts talking, and as he talks, there are

769
00:45:23,880 --> 00:45:27,880
Speaker 2: these little modulations of his voice, as if in different

770
00:45:27,920 --> 00:45:32,239
Speaker 2: sentences it might actually be different people talking, if you

771
00:45:32,280 --> 00:45:34,960
Speaker 2: know what I mean. His mouth is always moving, but

772
00:45:35,160 --> 00:45:38,279
Speaker 2: he's like doing little different voices. So he says, hey, you,

773
00:45:38,680 --> 00:45:42,600
Speaker 2: where are you from? I come from Italy. I come

774
00:45:42,600 --> 00:45:45,160
Speaker 2: from Italy. The jacket is Italian, by the way, it

775
00:45:45,200 --> 00:45:49,640
Speaker 2: comes from Italy. And then he says, that's good from Italy.

776
00:45:49,840 --> 00:45:53,160
Speaker 2: You're so classy. You look great on camera, and who

777
00:45:53,160 --> 00:45:56,239
Speaker 2: are you. I'm your new owner. I think we'll make

778
00:45:56,280 --> 00:45:59,520
Speaker 2: a nice team. I'm fine with being teammates, but I'm

779
00:45:59,600 --> 00:46:00,920
Speaker 2: the one in charge. Okay.

780
00:46:01,360 --> 00:46:01,560
Speaker 4: Yeah.

781
00:46:01,600 --> 00:46:03,640
Speaker 3: He takes a minute here to kind of figure out

782
00:46:03,680 --> 00:46:06,239
Speaker 3: what the Jacket's voice is. It starts off a little

783
00:46:06,320 --> 00:46:11,160
Speaker 3: higher and it slowly falls to a calmer place.

784
00:46:11,560 --> 00:46:14,000
Speaker 2: Oh, that's right. I didn't think about it that way,

785
00:46:14,040 --> 00:46:16,440
Speaker 2: but you're right. He's like experimenting. He's like, what does

786
00:46:16,480 --> 00:46:19,400
Speaker 2: the jacket sound like? And the jacket actually has a

787
00:46:19,400 --> 00:46:22,880
Speaker 2: different voice than George, though he's again his mouth is

788
00:46:22,920 --> 00:46:25,600
Speaker 2: always moving, so he's the one talking, but the voice

789
00:46:25,600 --> 00:46:30,720
Speaker 2: he does for the jacket is lower and more authoritative

790
00:46:31,000 --> 00:46:36,440
Speaker 2: and confident, self assured and decisive. Totally. So anyway, he

791
00:46:36,480 --> 00:46:39,000
Speaker 2: closes the camera and he says good night to the jacket,

792
00:46:39,080 --> 00:46:41,400
Speaker 2: goes to sleep, and then later that night there's a

793
00:46:41,400 --> 00:46:44,200
Speaker 2: little moment where there's like a loud crashing sound. George

794
00:46:44,200 --> 00:46:46,359
Speaker 2: comes out into the hall to investigate what was that,

795
00:46:46,600 --> 00:46:49,360
Speaker 2: but there's no answer, So we'll get follow up on

796
00:46:49,400 --> 00:46:51,600
Speaker 2: that later. So the next day we see George go

797
00:46:51,719 --> 00:46:54,719
Speaker 2: to the atm wearing his jacket, of course, and he

798
00:46:54,760 --> 00:46:57,440
Speaker 2: tries to get money out, but no money is forthcoming,

799
00:46:57,880 --> 00:47:00,719
Speaker 2: and he's very mad. He digs some food out of

800
00:47:00,760 --> 00:47:04,320
Speaker 2: a trash can and starts eating it while this boy

801
00:47:04,480 --> 00:47:07,800
Speaker 2: stands watching him from across the alley, and he yells

802
00:47:07,840 --> 00:47:09,000
Speaker 2: at the boy to get lost.

803
00:47:09,520 --> 00:47:13,160
Speaker 3: Yeah. The boy's just looking at him completely blankly.

804
00:47:12,960 --> 00:47:18,120
Speaker 2: Doesn't say anything, just stands there, stonefaced. Yeah. And then

805
00:47:18,160 --> 00:47:21,000
Speaker 2: after this, George stops at a book shop. He checks

806
00:47:21,040 --> 00:47:24,319
Speaker 2: out a book about filmmaking, and then he shoplifts it

807
00:47:24,400 --> 00:47:27,600
Speaker 2: by stuffing it into his jacket. The jacket's just coming

808
00:47:27,640 --> 00:47:31,120
Speaker 2: through on all levels. And then next he goes to

809
00:47:31,160 --> 00:47:35,160
Speaker 2: the bank and he speaks to a worker there. He

810
00:47:35,239 --> 00:47:37,480
Speaker 2: finds out that he can't withdraw money from his bank

811
00:47:37,480 --> 00:47:40,440
Speaker 2: account because his wife has placed a security hold on

812
00:47:40,520 --> 00:47:43,359
Speaker 2: the account. This morning. This was I think, after he

813
00:47:43,400 --> 00:47:46,239
Speaker 2: withdrew seventy five hundred euros the day before to buy

814
00:47:46,280 --> 00:47:50,239
Speaker 2: the jacket, and George does not take this well. Back

815
00:47:50,280 --> 00:47:52,680
Speaker 2: at the hotel, he showers while talking to the jacket,

816
00:47:52,680 --> 00:47:56,680
Speaker 2: and the jacket is kind of watching him while he's

817
00:47:56,719 --> 00:48:00,400
Speaker 2: rinsing his body with the detachable shower head. And he's like,

818
00:48:00,440 --> 00:48:02,680
Speaker 2: don't worry, I'll find us some money. I'm going to

819
00:48:02,719 --> 00:48:06,120
Speaker 2: take care of us. And then later back at the

820
00:48:06,160 --> 00:48:08,880
Speaker 2: same bar as he was at the night before, George

821
00:48:08,880 --> 00:48:12,479
Speaker 2: talks with Denise the bartender. She is interested in what

822
00:48:12,600 --> 00:48:15,400
Speaker 2: kind of film work he's doing, because she herself is

823
00:48:15,440 --> 00:48:19,280
Speaker 2: an amateur film editor. She talks about how she enjoys

824
00:48:19,360 --> 00:48:23,080
Speaker 2: re editing other people's finished movies just for fun. For example,

825
00:48:23,520 --> 00:48:27,279
Speaker 2: she says she took pulp fiction directed by Quentin Tarantino

826
00:48:27,480 --> 00:48:30,920
Speaker 2: and put all the scenes in chronological order to discover

827
00:48:31,040 --> 00:48:35,719
Speaker 2: that it sucked. And there are plenty of things that

828
00:48:35,880 --> 00:48:39,400
Speaker 2: should be read flags about George in this conversation, like

829
00:48:39,800 --> 00:48:43,160
Speaker 2: he asks her if she has a special machine that

830
00:48:43,280 --> 00:48:45,879
Speaker 2: allows her to put the scenes of a film in order,

831
00:48:46,520 --> 00:48:49,800
Speaker 2: and she says no, she uses a computer like everyone else.

832
00:48:51,400 --> 00:48:54,480
Speaker 2: But she says that film editing is her passion and

833
00:48:54,520 --> 00:48:56,560
Speaker 2: she would love to do it for a living. So

834
00:48:56,680 --> 00:48:59,800
Speaker 2: here she is meeting an actual filmmaker, and she clearly

835
00:49:00,040 --> 00:49:03,720
Speaker 2: he sees an opportunity. I think she's so excited about

836
00:49:03,760 --> 00:49:06,239
Speaker 2: what this could mean for her that she's maybe just

837
00:49:06,320 --> 00:49:07,800
Speaker 2: looking past the red flags.

838
00:49:08,400 --> 00:49:11,520
Speaker 3: I love the exchange of her saying I'd love to

839
00:49:11,520 --> 00:49:15,239
Speaker 3: do it as my real job, in George's response being

840
00:49:15,440 --> 00:49:19,600
Speaker 3: something along the lines of they really are amazing jobs.

841
00:49:20,480 --> 00:49:23,000
Speaker 3: For sure.

842
00:49:22,800 --> 00:49:25,959
Speaker 2: There are a number of moments that are of really

843
00:49:26,000 --> 00:49:29,920
Speaker 2: good comedy where what happens is you would expect in

844
00:49:29,960 --> 00:49:32,680
Speaker 2: another script that George would come up with some kind

845
00:49:32,719 --> 00:49:35,520
Speaker 2: of funny bluff or lie, but what he actually does

846
00:49:35,680 --> 00:49:38,640
Speaker 2: is fail to come up with anything to say, so

847
00:49:38,680 --> 00:49:42,280
Speaker 2: he just says like, they are amazing jobs. So later

848
00:49:42,320 --> 00:49:45,200
Speaker 2: we see George walking home and arguing with himself or

849
00:49:45,239 --> 00:49:48,240
Speaker 2: maybe arguing with the jacket about whether he should should

850
00:49:48,280 --> 00:49:51,080
Speaker 2: have claimed to be a movie director or not. You

851
00:49:51,280 --> 00:49:56,160
Speaker 2: see him having some kind of you know, moral dissent

852
00:49:56,320 --> 00:49:59,120
Speaker 2: within himself. He's like, maybe I shouldn't be lying about this.

853
00:49:59,480 --> 00:50:02,480
Speaker 2: But then he he also defends himself to himself, saying,

854
00:50:02,800 --> 00:50:04,879
Speaker 2: a guy who films is like a guy who makes

855
00:50:04,920 --> 00:50:07,560
Speaker 2: a film. You could say here a filmmaker. Yeah. So,

856
00:50:07,840 --> 00:50:10,800
Speaker 2: back at his hotel room, George is trying to read

857
00:50:11,000 --> 00:50:13,480
Speaker 2: the book about filmmaking that he stole from the store,

858
00:50:14,160 --> 00:50:16,439
Speaker 2: but the Jacket hanging on the chair across the room

859
00:50:16,560 --> 00:50:19,719
Speaker 2: just keeps calling out to him. And again we can

860
00:50:19,760 --> 00:50:22,600
Speaker 2: see that whenever the jacket is speaking. George is the

861
00:50:22,600 --> 00:50:25,680
Speaker 2: one talking. He moves his own mouth, but he's giving

862
00:50:25,680 --> 00:50:28,480
Speaker 2: this different voice to the jacket, the deeper, more confident,

863
00:50:28,600 --> 00:50:31,719
Speaker 2: less emotional than his own voice is kind of more monotone,

864
00:50:32,320 --> 00:50:35,080
Speaker 2: and the jacket interrupts his reading to ask him, do

865
00:50:35,120 --> 00:50:38,120
Speaker 2: you want to know my greatest dream? Here we get

866
00:50:38,200 --> 00:50:42,200
Speaker 2: into the here the stews really cooking now. The Jacket's

867
00:50:42,360 --> 00:50:46,920
Speaker 2: greatest dream is to be the only jacket in the world.

868
00:50:47,320 --> 00:50:49,600
Speaker 2: I want us to be able to walk the streets

869
00:50:49,920 --> 00:50:54,520
Speaker 2: without seeing other jackets. Well, George confesses this is perfect

870
00:50:54,960 --> 00:50:58,120
Speaker 2: because his greatest dream is to be the only person

871
00:50:58,160 --> 00:51:01,279
Speaker 2: in the world who can wear a jacket, and the

872
00:51:01,360 --> 00:51:04,960
Speaker 2: Jacket asks, kind of ominously, how are we going to

873
00:51:05,000 --> 00:51:05,880
Speaker 2: realize this stream?

874
00:51:05,960 --> 00:51:10,160
Speaker 3: George, Yeah, an ominous cut to a deer after, how

875
00:51:10,200 --> 00:51:13,320
Speaker 3: do you intend to realize this dream? I wish I

876
00:51:13,360 --> 00:51:19,680
Speaker 3: could convey His conversations with the jacket in words over

877
00:51:19,680 --> 00:51:23,000
Speaker 3: a podcast. They're just so goofy. He's trying to tell

878
00:51:23,040 --> 00:51:25,760
Speaker 3: the Jacket that they can talk later while he's reading,

879
00:51:25,800 --> 00:51:30,720
Speaker 3: but the jacket successfully gets him to talk right now,

880
00:51:30,760 --> 00:51:32,920
Speaker 3: and he like closes the book and tosses it aside.

881
00:51:32,960 --> 00:51:35,880
Speaker 3: In exasperation, like as if he has to stop reading

882
00:51:35,880 --> 00:51:38,080
Speaker 3: and listen to this jacket. Yes, as if he's not

883
00:51:38,360 --> 00:51:40,440
Speaker 3: completely in control of the entire situation.

884
00:51:40,760 --> 00:51:45,319
Speaker 2: Yeah, it's really good. Okay. So next thing is there's

885
00:51:45,360 --> 00:51:48,080
Speaker 2: a scene with George discussing his payment problems with the

886
00:51:48,080 --> 00:51:52,400
Speaker 2: hotel manager, and George finds out that the first clerk

887
00:51:52,480 --> 00:51:55,719
Speaker 2: he talked to, the guy the day before, the one

888
00:51:55,760 --> 00:51:58,920
Speaker 2: to whom he gave his gold wedding ring, has died.

889
00:51:59,320 --> 00:52:04,799
Speaker 2: He died by suicide two nights before. Bizarrely, the new

890
00:52:04,840 --> 00:52:08,840
Speaker 2: guy at the hotel desk tells George that the clerk's

891
00:52:08,920 --> 00:52:12,080
Speaker 2: body is being stored in one of the hotel rooms

892
00:52:12,200 --> 00:52:15,479
Speaker 2: until the undertaker arrives, and that the room is open

893
00:52:15,520 --> 00:52:19,640
Speaker 2: if George would like to go say goodbye. So George

894
00:52:19,800 --> 00:52:22,640
Speaker 2: goes to the room and the guy is laying there

895
00:52:22,640 --> 00:52:26,240
Speaker 2: with a giant bullet hole in his face. But George

896
00:52:26,360 --> 00:52:29,120
Speaker 2: gets fixated on something. He's not looking really at the

897
00:52:29,160 --> 00:52:33,000
Speaker 2: dead guy. He's looking at in the clerk's hands. There

898
00:52:33,080 --> 00:52:36,719
Speaker 2: is a hat. It's clasped over his midsection. It is

899
00:52:36,760 --> 00:52:40,480
Speaker 2: a wide brimmed Fedora style hat made of some kind

900
00:52:40,520 --> 00:52:45,839
Speaker 2: of leather swayed material and George pries the hat out

901
00:52:45,880 --> 00:52:48,360
Speaker 2: of the dead man's hands and investigates the tag on

902
00:52:48,400 --> 00:52:52,280
Speaker 2: the inside and it says one hundred percent deer skin,

903
00:52:52,880 --> 00:52:57,200
Speaker 2: and George goes ah bingo, and then he's trying it

904
00:52:57,239 --> 00:53:00,839
Speaker 2: on in the mirror. It's killer style, so he steals it.

905
00:53:00,920 --> 00:53:02,960
Speaker 2: He also takes his ring back. He has to like

906
00:53:03,080 --> 00:53:05,400
Speaker 2: use his mouth to get it off the dead guy's hand,

907
00:53:06,239 --> 00:53:08,600
Speaker 2: and then leaves the ring with the new hotel clerk

908
00:53:08,640 --> 00:53:09,320
Speaker 2: as collateral.

909
00:53:09,360 --> 00:53:12,680
Speaker 3: Once again, the scene with him putting on the hat

910
00:53:12,760 --> 00:53:16,560
Speaker 3: in the mirror just gets me every time. This is

911
00:53:16,600 --> 00:53:20,080
Speaker 3: where he crosses into total goofball territory. He looks like

912
00:53:20,120 --> 00:53:23,880
Speaker 3: a like a store brand Indiana Jones, and he just

913
00:53:23,920 --> 00:53:25,359
Speaker 3: looks so psyched about it.

914
00:53:25,640 --> 00:53:30,200
Speaker 2: Yeah. Killer style. So after getting the hat, he has

915
00:53:30,239 --> 00:53:33,799
Speaker 2: another meeting with Denise the bartender. He spins out some

916
00:53:33,880 --> 00:53:35,640
Speaker 2: lies to make it sound like he's in the middle

917
00:53:35,680 --> 00:53:38,560
Speaker 2: of a big, expensive production. He's like, oh, yeah, my producers,

918
00:53:38,560 --> 00:53:42,879
Speaker 2: they're stuck in Siberia filming the big fight scene and

919
00:53:42,920 --> 00:53:45,600
Speaker 2: I can't get they can't get cell reception. But he

920
00:53:45,680 --> 00:53:48,359
Speaker 2: tells her great news, I do not yet have an

921
00:53:48,520 --> 00:53:52,279
Speaker 2: editor for my film. Though he accidentally says creditor, and

922
00:53:53,239 --> 00:53:54,879
Speaker 2: I don't have a creditor. I don't know if there's

923
00:53:54,880 --> 00:53:57,600
Speaker 2: supposed to be some kind of double meaning there, But

924
00:53:57,640 --> 00:54:00,280
Speaker 2: she's like, do you mean editor? And he's like, oh, yeah, yeah,

925
00:54:00,680 --> 00:54:03,880
Speaker 2: you can have the job. She's very excited and agrees,

926
00:54:04,000 --> 00:54:06,520
Speaker 2: but doesn't he want to see her work first? No,

927
00:54:06,719 --> 00:54:10,719
Speaker 2: no need. He trusts her, but she does need to

928
00:54:10,760 --> 00:54:14,800
Speaker 2: take off her jacket, and she's immediately suspicious. She's like,

929
00:54:14,840 --> 00:54:16,239
Speaker 2: wait a minute, are you trying to get me to

930
00:54:16,280 --> 00:54:19,280
Speaker 2: strip or something? He promises or no, no, no, nothing

931
00:54:19,360 --> 00:54:22,600
Speaker 2: like that, nothing sexual. It's just very important to him

932
00:54:23,239 --> 00:54:25,000
Speaker 2: that he be the only person who gets to wear

933
00:54:25,040 --> 00:54:25,560
Speaker 2: a jacket.

934
00:54:26,160 --> 00:54:30,760
Speaker 3: Yeah, it's as important to me as editing is to you, Bravo.

935
00:54:31,239 --> 00:54:34,000
Speaker 2: And so she's suspicious, but she really wants this job,

936
00:54:34,120 --> 00:54:36,719
Speaker 2: so she agrees, and once the jacket is off, you

937
00:54:36,719 --> 00:54:39,960
Speaker 2: can see George relaxes. He kind of like settles down,

938
00:54:40,040 --> 00:54:43,640
Speaker 2: like okay, and he gives her something. It is a

939
00:54:43,680 --> 00:54:46,319
Speaker 2: cassette from his video camera. He tells her that it

940
00:54:46,400 --> 00:54:49,720
Speaker 2: is stuff for her to edit, and she's like, okay,

941
00:54:50,080 --> 00:54:53,800
Speaker 2: I need to copy the script though, and he's like, yeah,

942
00:54:53,880 --> 00:54:55,960
Speaker 2: we'll talk about that. We'll talk about that later. So

943
00:54:56,320 --> 00:54:59,279
Speaker 2: somebody stole my credit card, and next thing, they're in

944
00:54:59,320 --> 00:55:01,839
Speaker 2: an ATM and she's getting money out to loan him.

945
00:55:02,160 --> 00:55:04,879
Speaker 2: Of course, the producers will reimburse her once they get

946
00:55:04,960 --> 00:55:07,799
Speaker 2: cell phone reception again after they get off of the

947
00:55:07,800 --> 00:55:11,160
Speaker 2: glacier in Siberia. And then we see Denise at home

948
00:55:11,200 --> 00:55:14,600
Speaker 2: getting out some old video equipment, cassette reader and maybe

949
00:55:14,600 --> 00:55:16,200
Speaker 2: a digitizer of some kind.

950
00:55:16,719 --> 00:55:19,120
Speaker 3: Yeah, I think that's right. She has to diget out

951
00:55:19,160 --> 00:55:21,360
Speaker 3: of a drawer. And I'm a little less sure on

952
00:55:21,400 --> 00:55:25,160
Speaker 3: this than the camera, but I think it's a Sony

953
00:55:25,440 --> 00:55:31,920
Speaker 3: gv HD seven hundred hdv video walk man. Yeah, it

954
00:55:32,000 --> 00:55:34,080
Speaker 3: seems to be like a VCR with a built in

955
00:55:34,160 --> 00:55:36,920
Speaker 3: screen that allows for some basic editing. I was going

956
00:55:37,000 --> 00:55:38,560
Speaker 3: to look a little more into this thing, but I

957
00:55:38,600 --> 00:55:41,279
Speaker 3: got totally sidetracked by the camera rabbit hole.

958
00:55:41,560 --> 00:55:44,440
Speaker 2: So yeah, she starts reviewing his footage. She's seeing like

959
00:55:44,560 --> 00:55:48,279
Speaker 2: scenery of the mountain beside the village, shots of the

960
00:55:48,400 --> 00:55:51,640
Speaker 2: fringe on the deerskin jacket, George posing in the mirror

961
00:55:51,680 --> 00:55:57,000
Speaker 2: with the jacket, and Denise seems amused. George meanwhile, it's

962
00:55:57,080 --> 00:56:00,520
Speaker 2: time to go shopping shopping spree and what is he

963
00:56:00,560 --> 00:56:02,000
Speaker 2: going to get? Is he going to get some more

964
00:56:02,000 --> 00:56:07,320
Speaker 2: cassette tapes? No, he gets some deer skin boots, Killer style,

965
00:56:07,880 --> 00:56:10,440
Speaker 2: and it's time for an incredible montage. So with the

966
00:56:10,480 --> 00:56:14,040
Speaker 2: deerskin jacket, the deer skin hat, and the boots, George

967
00:56:14,080 --> 00:56:19,200
Speaker 2: starts filming scenes. He hires, He puts out ads, and

968
00:56:19,239 --> 00:56:23,480
Speaker 2: he hires local non actors to be in his movie.

969
00:56:24,200 --> 00:56:26,759
Speaker 2: He tells them to bring all the jackets they own,

970
00:56:27,200 --> 00:56:29,680
Speaker 2: and then he films them putting the jackets into the

971
00:56:29,719 --> 00:56:32,640
Speaker 2: trunk of his car and vowing never to wear a

972
00:56:32,680 --> 00:56:35,040
Speaker 2: jacket again as long as they live. This is what

973
00:56:35,040 --> 00:56:37,759
Speaker 2: we saw in the cold opening of the film, and

974
00:56:37,840 --> 00:56:41,520
Speaker 2: this is where we get that amazing exchange where one guy,

975
00:56:41,560 --> 00:56:44,080
Speaker 2: after doing this says, sorry, but isn't your movie weird?

976
00:56:44,200 --> 00:56:46,320
Speaker 2: And he says, it's ut weird, it's amazing.

977
00:56:47,440 --> 00:56:49,680
Speaker 3: Yeah, you can't make sense of it now, but it.

978
00:56:49,640 --> 00:56:53,880
Speaker 2: Rocks, But it rocks. And then once the scene is

979
00:56:53,920 --> 00:56:57,080
Speaker 2: over and the actors have been paid, George steals the jackets.

980
00:56:57,080 --> 00:56:59,479
Speaker 2: He just drives away with them while people are like, wait,

981
00:56:59,520 --> 00:57:02,480
Speaker 2: I need my need that back. So after one of

982
00:57:02,480 --> 00:57:06,120
Speaker 2: these shoots, George notices a kid watching him it's the

983
00:57:06,200 --> 00:57:08,319
Speaker 2: same kid who was staring at him while he was

984
00:57:08,320 --> 00:57:11,440
Speaker 2: eating out of the garbage can earlier, and George yells

985
00:57:11,440 --> 00:57:13,520
Speaker 2: at him to go away, but the kid just stands there,

986
00:57:13,640 --> 00:57:16,720
Speaker 2: stone faced, looking at him, and then getting really annoyed,

987
00:57:16,880 --> 00:57:19,680
Speaker 2: George picks up a rock and throws it at the kid,

988
00:57:19,760 --> 00:57:23,520
Speaker 2: hitting him in the face. Oh, and then also says

989
00:57:23,560 --> 00:57:26,240
Speaker 2: to the actor the jacket doner, who's just standing there,

990
00:57:26,240 --> 00:57:28,960
Speaker 2: He says, you saw nothing, and then George drives away.

991
00:57:29,640 --> 00:57:31,560
Speaker 3: Yeah, this is kind of what I was referring to

992
00:57:32,120 --> 00:57:38,240
Speaker 3: before about there being one notable exception to people buying

993
00:57:38,360 --> 00:57:44,840
Speaker 3: his whole persona this kid that does not even really

994
00:57:44,880 --> 00:57:47,920
Speaker 3: seem to be questioning him as much as he's staring blankly,

995
00:57:48,160 --> 00:57:52,160
Speaker 3: and George is projecting something onto this kid.

996
00:57:52,440 --> 00:57:56,000
Speaker 2: I feel like all of the other characters either they

997
00:57:56,280 --> 00:58:00,320
Speaker 2: buy into George enough and like they either kind of

998
00:58:00,320 --> 00:58:03,840
Speaker 2: play along with him, or they ignore him and move on.

999
00:58:04,720 --> 00:58:07,520
Speaker 2: His kid is the only person who doesn't do one

1000
00:58:07,560 --> 00:58:12,280
Speaker 2: of those two things. This kid is continuing to engage

1001
00:58:12,320 --> 00:58:15,040
Speaker 2: with George, but not by like playing along with him,

1002
00:58:15,080 --> 00:58:18,280
Speaker 2: instead just by staring at him and making him feel weird.

1003
00:58:18,840 --> 00:58:20,640
Speaker 3: Yeah, I think that's a better way of putting it.

1004
00:58:20,760 --> 00:58:21,320
Speaker 3: I agree.

1005
00:58:21,760 --> 00:58:24,080
Speaker 2: Oh, but also the actor as George is driving away,

1006
00:58:24,120 --> 00:58:25,920
Speaker 2: he's like, wait, what about my jackets? There in new

1007
00:58:25,960 --> 00:58:28,680
Speaker 2: trunk and George says, you swore never to wear a

1008
00:58:28,720 --> 00:58:32,560
Speaker 2: jacket again. I have filmed proof their mind now. I

1009
00:58:32,560 --> 00:58:38,320
Speaker 2: think he says, your f to their mind now. And

1010
00:58:38,320 --> 00:58:40,760
Speaker 2: then there's a there's a creepy scene outside a movie

1011
00:58:40,800 --> 00:58:43,240
Speaker 2: theater I like this where he like pulls up alongside

1012
00:58:43,240 --> 00:58:46,160
Speaker 2: a guy walking in the snow. He's filming the guy.

1013
00:58:46,200 --> 00:58:49,120
Speaker 2: The guy's wearing a jacket. He's confused about what George

1014
00:58:49,200 --> 00:58:51,520
Speaker 2: is doing, and then we cut away before we see

1015
00:58:51,520 --> 00:58:53,680
Speaker 2: how it resolves. We'll see more of this scene later.

1016
00:58:54,640 --> 00:58:57,280
Speaker 2: But then George meets back up with Denise at the bar,

1017
00:58:58,560 --> 00:59:01,280
Speaker 2: and she has been editing film the stuff he already

1018
00:59:01,280 --> 00:59:04,080
Speaker 2: gave her. I don't think this includes the new stuff,

1019
00:59:04,080 --> 00:59:06,720
Speaker 2: all of the jacket theft and the pledges of never again.

1020
00:59:07,240 --> 00:59:10,040
Speaker 2: It's the earlier tape. And she says she likes his movie.

1021
00:59:10,120 --> 00:59:13,560
Speaker 2: She says it's like a mockumentary. So we get the

1022
00:59:13,600 --> 00:59:16,000
Speaker 2: sense that maybe she's going along with it because she

1023
00:59:16,160 --> 00:59:19,320
Speaker 2: thinks it's supposed to be funny, or she's interpreting it

1024
00:59:19,720 --> 00:59:23,720
Speaker 2: in a different spirit than he is. But she does

1025
00:59:23,760 --> 00:59:25,520
Speaker 2: say it's hard to figure out what to do with

1026
00:59:25,560 --> 00:59:28,360
Speaker 2: the footage without a script, but she put it together

1027
00:59:28,400 --> 00:59:30,880
Speaker 2: in a way that made sense to her, and she says,

1028
00:59:30,960 --> 00:59:33,680
Speaker 2: this is just my interpretation, but the real subject of

1029
00:59:33,680 --> 00:59:37,880
Speaker 2: the film is the jacket, or the fact that we

1030
00:59:38,080 --> 00:59:41,600
Speaker 2: all hide behind a shell to protect ourselves from the world.

1031
00:59:42,320 --> 00:59:45,080
Speaker 2: And he seems intrigued. He asks her, should that be

1032
00:59:45,160 --> 00:59:48,680
Speaker 2: what it's about? Good question? Should that be what it's about?

1033
00:59:49,800 --> 00:59:51,960
Speaker 2: And then next thing, they're like back at the ATM

1034
00:59:52,000 --> 00:59:54,400
Speaker 2: and she's trying to withdraw more funds to give him,

1035
00:59:54,400 --> 00:59:56,440
Speaker 2: but I think she's maxed out at this point. She

1036
00:59:56,960 --> 00:59:59,360
Speaker 2: can't get more than like eighty euros. And he gets

1037
00:59:59,480 --> 01:00:02,959
Speaker 2: angry and starts freaking out and eventually just says chow

1038
01:00:03,120 --> 01:00:14,440
Speaker 2: and storms off into the night. So here's where things

1039
01:00:14,480 --> 01:00:17,560
Speaker 2: are about to start getting darker. George later reviews the

1040
01:00:17,600 --> 01:00:19,760
Speaker 2: footage he took of the man in the street by

1041
01:00:19,800 --> 01:00:22,160
Speaker 2: the movie theater, and we see more of the conversation.

1042
01:00:22,720 --> 01:00:25,480
Speaker 2: George starts badgering the man to take off his jacket,

1043
01:00:25,560 --> 01:00:29,240
Speaker 2: the man refuses. They become increasingly hostile to each other

1044
01:00:29,480 --> 01:00:32,200
Speaker 2: before the guy eventually says George will have to kill

1045
01:00:32,280 --> 01:00:34,400
Speaker 2: him to make him do it, and then the filming

1046
01:00:34,440 --> 01:00:38,160
Speaker 2: stops and in the room, the Jacket speaks to George.

1047
01:00:38,600 --> 01:00:41,480
Speaker 2: The Jacket says, the plan is not working at this rate.

1048
01:00:41,480 --> 01:00:43,600
Speaker 2: It's going to take a thousand years for us to

1049
01:00:43,840 --> 01:00:46,640
Speaker 2: have the only jacket in the world. And George tries

1050
01:00:46,680 --> 01:00:49,520
Speaker 2: to argue, He's like, our dream is not reasonable. There

1051
01:00:49,520 --> 01:00:51,400
Speaker 2: are so many jackets it will take a lot of

1052
01:00:51,440 --> 01:00:55,360
Speaker 2: time to accomplish. But the Jacket, after a long pause, says,

1053
01:00:55,840 --> 01:01:00,720
Speaker 2: I know what we'll do, and George then began taking

1054
01:01:00,760 --> 01:01:04,840
Speaker 2: apart the appliances. He disassembles the ceiling fan in his

1055
01:01:04,880 --> 01:01:08,960
Speaker 2: hotel room and removes one of its blades, and then

1056
01:01:09,040 --> 01:01:11,160
Speaker 2: goes out driving in the night, leaning out of the

1057
01:01:11,200 --> 01:01:13,720
Speaker 2: door of his car, dragging the fan blade along the

1058
01:01:13,800 --> 01:01:16,480
Speaker 2: road as he drives, and you can hear it grinding

1059
01:01:16,560 --> 01:01:18,560
Speaker 2: and see it like shooting up sparks in the dark.

1060
01:01:18,960 --> 01:01:22,240
Speaker 2: And I was like, wait, is he sharpening it? And yes,

1061
01:01:22,360 --> 01:01:24,600
Speaker 2: in fact, that is exactly what he's doing. Next there

1062
01:01:24,680 --> 01:01:27,960
Speaker 2: is like a there's a watermelon chopping scene where we

1063
01:01:28,160 --> 01:01:30,800
Speaker 2: learned he has turned this fan blade into a deadly

1064
01:01:31,240 --> 01:01:35,360
Speaker 2: machete and he drives around some more, eating the watermelon.

1065
01:01:36,240 --> 01:01:39,760
Speaker 2: Eventually he finds a couple of guys standing outside talking

1066
01:01:39,800 --> 01:01:42,320
Speaker 2: in the snow. He drives up to them, gets out,

1067
01:01:42,520 --> 01:01:45,400
Speaker 2: approaches with his fan blade, and asks if they would

1068
01:01:45,440 --> 01:01:48,440
Speaker 2: like to help him realize his dream. Then we cut away.

1069
01:01:49,320 --> 01:01:52,320
Speaker 2: So here's where things sort of take a twist, because

1070
01:01:52,360 --> 01:01:55,680
Speaker 2: next thing we see is Denise. She receives a letter

1071
01:01:55,760 --> 01:01:59,440
Speaker 2: in her mailbox, along with a drawing of George in

1072
01:01:59,480 --> 01:02:01,840
Speaker 2: the jacket, presumably by George.

1073
01:02:02,040 --> 01:02:04,480
Speaker 3: Yeah. They show this just sort of briefly, and I

1074
01:02:04,520 --> 01:02:05,280
Speaker 3: love this drawing.

1075
01:02:05,680 --> 01:02:09,400
Speaker 2: Yeah, the letter goes Denise. Despite not having money, I

1076
01:02:09,440 --> 01:02:11,680
Speaker 2: shot a scene tonight. By the sweat of my brow.

1077
01:02:12,120 --> 01:02:14,640
Speaker 2: Enjoyed these images for they may be the last. I

1078
01:02:14,680 --> 01:02:18,120
Speaker 2: think something awful must have happened in Siberia for the

1079
01:02:18,120 --> 01:02:20,920
Speaker 2: producers to leave me with no news. I doubt I

1080
01:02:20,920 --> 01:02:24,280
Speaker 2: can finish this film without the financing it deserves, unless,

1081
01:02:24,320 --> 01:02:26,560
Speaker 2: of course, you can find a way to help. And

1082
01:02:26,600 --> 01:02:30,520
Speaker 2: then he includes another cassette tape of himself. On this tape,

1083
01:02:30,520 --> 01:02:34,160
Speaker 2: he has filmed himself going on a murder spree, whacking

1084
01:02:34,240 --> 01:02:37,640
Speaker 2: people with his fan sword and then stealing the jackets

1085
01:02:37,680 --> 01:02:41,520
Speaker 2: of the people He kills. Denise watches this footage and

1086
01:02:41,560 --> 01:02:45,720
Speaker 2: she is thrilled. She's watching it there. Her eyes are big,

1087
01:02:45,760 --> 01:02:48,960
Speaker 2: and she says to herself. Yes. So she comes to

1088
01:02:49,000 --> 01:02:51,240
Speaker 2: his hotel room and she's like, you know, George, I

1089
01:02:51,280 --> 01:02:54,480
Speaker 2: saw the new footage. It's wild. She says, I'm into it.

1090
01:02:54,960 --> 01:02:57,880
Speaker 2: And before they discuss any further, he does make her

1091
01:02:57,880 --> 01:02:58,720
Speaker 2: take off her jacket.

1092
01:02:59,120 --> 01:03:01,800
Speaker 3: Yeah, there's the room, he says, you know why.

1093
01:03:03,360 --> 01:03:07,000
Speaker 2: But she is now, She's now all in on his

1094
01:03:07,040 --> 01:03:10,040
Speaker 2: film project. She's got an advance from her boss at

1095
01:03:10,080 --> 01:03:13,560
Speaker 2: the bar, so she has more money now. She also

1096
01:03:13,600 --> 01:03:16,880
Speaker 2: has brought a present for George, wrapped in newspaper. It

1097
01:03:16,960 --> 01:03:20,720
Speaker 2: is a pair of one hundred percent deer skin pants

1098
01:03:20,840 --> 01:03:25,200
Speaker 2: with fringes running down the leg. And George, he says,

1099
01:03:25,560 --> 01:03:28,120
Speaker 2: damn classy. I love my life. Thanks.

1100
01:03:29,360 --> 01:03:30,000
Speaker 3: Yeah, I love that.

1101
01:03:30,240 --> 01:03:32,840
Speaker 2: It sounds like a Facebook post somebody would make.

1102
01:03:35,160 --> 01:03:37,760
Speaker 3: I love that. She gives him the pants as an

1103
01:03:37,760 --> 01:03:41,280
Speaker 3: apology for my card maxing out yesterday.

1104
01:03:41,480 --> 01:03:45,560
Speaker 2: Yeah. Yeah. So they go on to discuss the project,

1105
01:03:45,960 --> 01:03:47,680
Speaker 2: and you know, for a while in the middle of

1106
01:03:47,680 --> 01:03:50,120
Speaker 2: the movie here we've been thinking like, oh no, poor Denise,

1107
01:03:50,200 --> 01:03:54,640
Speaker 2: like George is scamming her. Exploiting her, but the tables

1108
01:03:54,640 --> 01:03:57,440
Speaker 2: are kind of turning. Denise is like, Okay, I think

1109
01:03:57,480 --> 01:03:59,600
Speaker 2: I can get a lot more money soon, enough to

1110
01:03:59,640 --> 01:04:03,000
Speaker 2: finance it's the whole movie. But she's like, George, I

1111
01:04:03,040 --> 01:04:05,120
Speaker 2: need you to shoot more footage so that I can

1112
01:04:05,280 --> 01:04:08,120
Speaker 2: edit a teaser. And then she starts giving him notes

1113
01:04:08,160 --> 01:04:10,560
Speaker 2: on style. She's like, you got a position, the camera

1114
01:04:10,680 --> 01:04:14,640
Speaker 2: closer to the subject, needs more action, more blood. Is

1115
01:04:14,680 --> 01:04:17,800
Speaker 2: she giving the orders now? Yes, she is, and she

1116
01:04:17,920 --> 01:04:21,240
Speaker 2: hands him some money and it seems like she may

1117
01:04:21,240 --> 01:04:24,040
Speaker 2: be the boss of this film suddenly. So at this point,

1118
01:04:24,040 --> 01:04:27,040
Speaker 2: George is Jason Vorhees. He goes out into the night

1119
01:04:27,160 --> 01:04:30,880
Speaker 2: following random people, filming them, killing them with the fan blade,

1120
01:04:31,160 --> 01:04:33,400
Speaker 2: chopping the heads in half, like stabbing them through the

1121
01:04:33,440 --> 01:04:36,800
Speaker 2: guts and everything, and of course always stealing their jackets.

1122
01:04:37,600 --> 01:04:40,000
Speaker 2: And he's like wearing a rain slicker, of course to

1123
01:04:40,040 --> 01:04:42,920
Speaker 2: avoid getting blood on his deer skin. And there were

1124
01:04:42,960 --> 01:04:45,240
Speaker 2: some funny music choices, I mean throughout the film, but

1125
01:04:45,360 --> 01:04:49,200
Speaker 2: especially here. There's groovy lounge music in this montage where

1126
01:04:49,200 --> 01:04:53,360
Speaker 2: he's whacking people with the machete, and eventually the jacket

1127
01:04:53,400 --> 01:04:56,120
Speaker 2: starts talking at George while he's asleep. It's like saying

1128
01:04:56,200 --> 01:04:58,600
Speaker 2: his name over and over as if it's impatient. He's

1129
01:04:58,600 --> 01:04:59,840
Speaker 2: not moving fast enough.

1130
01:05:00,480 --> 01:05:03,640
Speaker 3: Yeah, my friend Ian pointed this part out to me

1131
01:05:03,800 --> 01:05:06,160
Speaker 3: is maybe secretly the funniest part of the movie, and

1132
01:05:06,760 --> 01:05:10,080
Speaker 3: just the fact that George is either not waking up

1133
01:05:10,160 --> 01:05:13,080
Speaker 3: or pretending to not wake up while he like voices

1134
01:05:13,120 --> 01:05:15,400
Speaker 3: the Jacket trying to rouse him from his sleep.

1135
01:05:16,120 --> 01:05:18,600
Speaker 2: Oh yeah, it's earlier. It's like when he was doing

1136
01:05:18,640 --> 01:05:20,760
Speaker 2: the voice of the Jacket trying to get his attention

1137
01:05:20,880 --> 01:05:22,760
Speaker 2: to make him stop reading and he has to put

1138
01:05:22,800 --> 01:05:30,240
Speaker 2: the book away. Yeah, so George, he's out with his camera.

1139
01:05:31,040 --> 01:05:33,400
Speaker 2: There's another scene where he like directs a man who

1140
01:05:33,440 --> 01:05:36,200
Speaker 2: operates an excavator and he makes this guy dig a

1141
01:05:36,200 --> 01:05:38,400
Speaker 2: big hole in the ground. And I was thinking, what

1142
01:05:38,520 --> 01:05:40,680
Speaker 2: is he going to bury a bunch of bodies in there? Nope,

1143
01:05:40,680 --> 01:05:43,040
Speaker 2: he's gonna bury the jackets. He's gonna get rid of

1144
01:05:43,040 --> 01:05:45,680
Speaker 2: all the jackets. His car is full of them. The

1145
01:05:45,680 --> 01:05:48,720
Speaker 2: bodies he just leaves wherever. So oh, and also he

1146
01:05:48,800 --> 01:05:51,920
Speaker 2: sort of beats and abuses the jackets before he covers

1147
01:05:51,960 --> 01:05:54,080
Speaker 2: them with earth, Like he's beating one of the jackets

1148
01:05:54,080 --> 01:05:56,760
Speaker 2: with a pipe, and then he covers them up with

1149
01:05:56,840 --> 01:06:01,480
Speaker 2: earth and then he but there's kind of an interesting

1150
01:06:01,480 --> 01:06:04,160
Speaker 2: moment after this where he leans over a rushing mountain

1151
01:06:04,240 --> 01:06:07,120
Speaker 2: stream and drinks from the water like a wild animal,

1152
01:06:07,200 --> 01:06:11,760
Speaker 2: like a deer. Yeah. So George meets with Denise yet again.

1153
01:06:12,200 --> 01:06:14,520
Speaker 2: Now she's got a ton of cash. She says, her

1154
01:06:14,560 --> 01:06:17,800
Speaker 2: father sold his butcher shop and now she's loaded. She

1155
01:06:17,840 --> 01:06:21,480
Speaker 2: has fifty thousand euros and she announces that she is

1156
01:06:21,520 --> 01:06:25,360
Speaker 2: officially taking over production. She's the producer. Now what can

1157
01:06:25,400 --> 01:06:27,840
Speaker 2: he do about it? She's bringing the money. How can

1158
01:06:27,840 --> 01:06:31,160
Speaker 2: he argue? She says he needs guidance in his work.

1159
01:06:31,160 --> 01:06:33,240
Speaker 2: It's a mess, and she's going to have to instruct

1160
01:06:33,280 --> 01:06:36,800
Speaker 2: him on the art of filmmaking. He's frustrated. He kind

1161
01:06:36,800 --> 01:06:39,480
Speaker 2: of tries to resist, but he also just wants the money,

1162
01:06:40,440 --> 01:06:43,200
Speaker 2: and she explains, look, the money is not for you,

1163
01:06:43,480 --> 01:06:47,000
Speaker 2: it is for the film. This is business here, and

1164
01:06:47,080 --> 01:06:49,720
Speaker 2: she says that in fact, she knows he's been lying

1165
01:06:49,880 --> 01:06:53,160
Speaker 2: about being a filmmaker, lying about the producers in Siberia.

1166
01:06:53,640 --> 01:06:55,680
Speaker 2: And there's a great cover here where he's like, I'm

1167
01:06:55,680 --> 01:06:58,280
Speaker 2: not lying. They sent a fax this morning telling me

1168
01:06:58,320 --> 01:07:00,760
Speaker 2: they had died in an avalanche. That's why I couldn't

1169
01:07:00,800 --> 01:07:04,040
Speaker 2: reach them and I don't know. Something's not lighting up there.

1170
01:07:04,080 --> 01:07:06,240
Speaker 2: They died, but they sent a fax and he says

1171
01:07:06,360 --> 01:07:10,720
Speaker 2: we But she's known since the beginning that it was

1172
01:07:10,760 --> 01:07:14,160
Speaker 2: all a fraud. And she says, you're nothing, no one,

1173
01:07:14,400 --> 01:07:17,880
Speaker 2: no producers, just a guy alone. He points out that

1174
01:07:17,960 --> 01:07:21,080
Speaker 2: she is in fact alone too, and then she says

1175
01:07:21,280 --> 01:07:25,720
Speaker 2: everyone is alone. Oh good, come back. But she does

1176
01:07:25,800 --> 01:07:27,880
Speaker 2: want to make a film, and that's what they're gonna do.

1177
01:07:28,240 --> 01:07:30,400
Speaker 2: She says, we can be alone together and we can

1178
01:07:30,440 --> 01:07:34,560
Speaker 2: make a great movie. Now. He tentatively agrees, but first

1179
01:07:34,680 --> 01:07:38,400
Speaker 2: he needs to do something. He needs deer skin gloves,

1180
01:07:38,720 --> 01:07:41,120
Speaker 2: so she's got to buy them for him. So the

1181
01:07:41,160 --> 01:07:43,800
Speaker 2: next thing, they're like at a clothing shop and he's

1182
01:07:43,840 --> 01:07:46,240
Speaker 2: trying on deer skin gloves in the mirror, getting all

1183
01:07:46,320 --> 01:07:49,840
Speaker 2: hyped up, and Denise is encouraging him. She's like, yeah, yeah,

1184
01:07:50,080 --> 01:07:53,200
Speaker 2: and the shop worker asks if he's interested maybe in

1185
01:07:53,240 --> 01:07:56,560
Speaker 2: trying on some synthetic leather gloves. He says, do I

1186
01:07:56,600 --> 01:07:59,520
Speaker 2: look like the synthetic type? Denise says, don't you see

1187
01:07:59,520 --> 01:08:03,720
Speaker 2: his killers style? So next George and Denise, he's like

1188
01:08:03,840 --> 01:08:07,640
Speaker 2: fully suited now head to toe deer skin, and they

1189
01:08:07,680 --> 01:08:11,120
Speaker 2: go out driving on the mountain roads and George he

1190
01:08:11,480 --> 01:08:14,440
Speaker 2: stops at one point along the highway and gives the

1191
01:08:14,480 --> 01:08:18,519
Speaker 2: camera to Denise and tells her to film him. So

1192
01:08:18,560 --> 01:08:21,160
Speaker 2: he climbs up on a hill beside the highway and

1193
01:08:21,280 --> 01:08:25,160
Speaker 2: dances around, showing off his glorious head to toe deer

1194
01:08:25,160 --> 01:08:28,479
Speaker 2: skin outfit and saying over and over again for Denise

1195
01:08:28,560 --> 01:08:31,400
Speaker 2: to film him. And then suddenly, from out of nowhere,

1196
01:08:31,760 --> 01:08:35,000
Speaker 2: a shot rings out and George falls over dead. He's

1197
01:08:35,040 --> 01:08:37,400
Speaker 2: been hitting the head by a bullet. And we see

1198
01:08:37,439 --> 01:08:40,639
Speaker 2: from far away a man holding a rifle who shot George.

1199
01:08:41,120 --> 01:08:43,920
Speaker 2: It was the father of the boy who George hit

1200
01:08:44,040 --> 01:08:46,559
Speaker 2: with the rock the other day. The boy is in

1201
01:08:46,560 --> 01:08:49,479
Speaker 2: the car with like a bandage on his head.

1202
01:08:49,360 --> 01:08:51,280
Speaker 3: And he's sitting there eating a sandwich.

1203
01:08:51,880 --> 01:08:54,439
Speaker 2: I didn't notice the sandwich. I should go back and

1204
01:08:54,439 --> 01:08:59,360
Speaker 2: look for that. Yeah, eating a sandwich at the execution. Yeah,

1205
01:09:00,120 --> 01:09:02,439
Speaker 2: But anyway, so George gets hit with the bullet. He

1206
01:09:02,479 --> 01:09:06,839
Speaker 2: falls down and Denise keeps filming. She approaches George's body

1207
01:09:07,280 --> 01:09:09,960
Speaker 2: and begins to take off his deer skin. She takes

1208
01:09:10,000 --> 01:09:12,960
Speaker 2: off the gloves and the jacket, filming the whole time

1209
01:09:13,479 --> 01:09:16,240
Speaker 2: then she puts the jacket on herself and looks into

1210
01:09:16,240 --> 01:09:19,519
Speaker 2: the camera and it's, you know, there's a transformation. It's

1211
01:09:19,560 --> 01:09:22,599
Speaker 2: like I am deer skin now. And that's the end

1212
01:09:22,600 --> 01:09:25,439
Speaker 2: of the main actions. She dons the deer skin, we

1213
01:09:25,520 --> 01:09:28,000
Speaker 2: get the credits. There is a post credits scene where

1214
01:09:28,040 --> 01:09:31,439
Speaker 2: we see video footage playing on a TV screen and

1215
01:09:31,520 --> 01:09:33,960
Speaker 2: it shows a herd of deer wandering on a ridge

1216
01:09:34,000 --> 01:09:36,120
Speaker 2: in the woods, and then the camera turns back and

1217
01:09:36,160 --> 01:09:39,320
Speaker 2: we see George is holding it. But after this we

1218
01:09:39,360 --> 01:09:41,880
Speaker 2: go to the closing credits music, which is a great

1219
01:09:41,880 --> 01:09:45,200
Speaker 2: needle drop of I can't remember if we mentioned this

1220
01:09:45,280 --> 01:09:48,360
Speaker 2: already on Mike, but it's a wonderful song that I

1221
01:09:48,400 --> 01:09:51,080
Speaker 2: was not familiar with before, called Don't Make the Good

1222
01:09:51,120 --> 01:09:54,599
Speaker 2: Girls Go Bad by Della Humphrey. It's awesome. Yeah.

1223
01:09:54,640 --> 01:09:57,559
Speaker 3: I really enjoyed this too, And I wasn't sure how

1224
01:09:57,600 --> 01:10:01,240
Speaker 3: to exactly how to take that post credit scene. He's

1225
01:10:01,280 --> 01:10:04,360
Speaker 3: also sort of like either pointing or reaching back towards

1226
01:10:04,400 --> 01:10:04,800
Speaker 3: the deer.

1227
01:10:05,280 --> 01:10:07,600
Speaker 2: Yeah. Yeah, I didn't know exactly what to make of

1228
01:10:07,640 --> 01:10:09,720
Speaker 2: it either. I mean, if it's like he was so

1229
01:10:10,000 --> 01:10:13,559
Speaker 2: he's putting on these deer skinned products, so in one sense,

1230
01:10:13,600 --> 01:10:16,960
Speaker 2: he's putting on a deer suit, but you could also

1231
01:10:17,520 --> 01:10:19,880
Speaker 2: it's always like he's becoming a deer, but you could

1232
01:10:19,880 --> 01:10:24,360
Speaker 2: also think that he's consuming deer. I mean, like deer

1233
01:10:24,439 --> 01:10:26,720
Speaker 2: have to be killed to make these products, and so

1234
01:10:27,439 --> 01:10:30,120
Speaker 2: he is. You know, he could be looking at them

1235
01:10:30,160 --> 01:10:32,360
Speaker 2: in a predatory way, like he wants to harvest all

1236
01:10:32,360 --> 01:10:35,040
Speaker 2: of their skin and wear it all. Or if I

1237
01:10:35,040 --> 01:10:38,480
Speaker 2: don't know, I don't know what the sense of identification

1238
01:10:38,600 --> 01:10:41,280
Speaker 2: there is it a predatory gaze and a gaze of

1239
01:10:41,320 --> 01:10:44,960
Speaker 2: identification and becoming like I wouldn't be you. I'm not

1240
01:10:45,280 --> 01:10:51,559
Speaker 2: quite sure what is it George wants is? It seems

1241
01:10:51,600 --> 01:10:54,439
Speaker 2: to me what he wants. You know, you could imagine

1242
01:10:54,520 --> 01:11:00,439
Speaker 2: versions of this story that have a more mature and

1243
01:11:00,600 --> 01:11:04,240
Speaker 2: meaningful and identifiable sense of longing, you know, people who

1244
01:11:04,320 --> 01:11:07,080
Speaker 2: want kind of freedom, or people in middle age who

1245
01:11:07,520 --> 01:11:10,120
Speaker 2: are unhappy with their choices and want another chance at

1246
01:11:10,160 --> 01:11:13,519
Speaker 2: life and things like that. So maybe you can see

1247
01:11:13,600 --> 01:11:16,320
Speaker 2: little flashes of that here and there in George. But

1248
01:11:16,400 --> 01:11:19,679
Speaker 2: it seems like the main thing he wants is killer style.

1249
01:11:20,280 --> 01:11:22,640
Speaker 2: He wants to be He wants to look cool and

1250
01:11:22,720 --> 01:11:26,599
Speaker 2: be seen as cool, and there is a fundamental kind

1251
01:11:26,640 --> 01:11:31,120
Speaker 2: of childishness and like boyish immaturity to him.

1252
01:11:31,520 --> 01:11:35,280
Speaker 3: Yeah, he makes a lot of Jacket first decisions. Was

1253
01:11:35,320 --> 01:11:38,639
Speaker 3: the way I kept thinking about it, Like, I agree

1254
01:11:38,680 --> 01:11:41,280
Speaker 3: with you that, and I feel like I started off

1255
01:11:42,280 --> 01:11:45,200
Speaker 3: maybe even the first or second time I watched this movie.

1256
01:11:45,240 --> 01:11:47,599
Speaker 3: I watched it a couple times just to prepare for this,

1257
01:11:48,720 --> 01:11:50,840
Speaker 3: But on my initial viewing of it, I think I

1258
01:11:51,280 --> 01:11:54,280
Speaker 3: read a little more into it, and I saw it

1259
01:11:54,320 --> 01:12:00,840
Speaker 3: as something more akin to this person obsessed with like

1260
01:12:01,160 --> 01:12:06,040
Speaker 3: the identity of being a filmmaker or an artist over

1261
01:12:06,400 --> 01:12:12,080
Speaker 3: the substance of actually doing that art or that filmmaking.

1262
01:12:12,439 --> 01:12:14,120
Speaker 2: Oh yeah, okay.

1263
01:12:13,800 --> 01:12:16,759
Speaker 3: And when he does start to do some of the work,

1264
01:12:16,880 --> 01:12:20,080
Speaker 3: he likes to do the stuff that will reinforce his

1265
01:12:20,200 --> 01:12:24,760
Speaker 3: identity as Jacket where exactly all jacket first decisions.

1266
01:12:24,960 --> 01:12:26,720
Speaker 2: I can see what you're saying there, Yeah, there are.

1267
01:12:27,320 --> 01:12:33,959
Speaker 2: I mean, people have vocational or artistic dreams for themselves

1268
01:12:34,080 --> 01:12:36,000
Speaker 2: or is like I want to be a filmmaker, I

1269
01:12:36,040 --> 01:12:38,720
Speaker 2: want to be an artist or a writer or you know,

1270
01:12:38,800 --> 01:12:42,519
Speaker 2: a musician or something like that. And I think a

1271
01:12:42,520 --> 01:12:47,040
Speaker 2: lot of those desires really can be decomposed into very

1272
01:12:47,080 --> 01:12:50,559
Speaker 2: different kinds of desires. Like somebody who wants to be

1273
01:12:50,920 --> 01:12:55,920
Speaker 2: a musician. Could be somebody who loves the act of

1274
01:12:56,080 --> 01:12:59,200
Speaker 2: like playing and writing music. They like being in the process.

1275
01:12:59,280 --> 01:13:03,160
Speaker 2: It's like the doing that they're excited about. Or somebody

1276
01:13:03,160 --> 01:13:05,120
Speaker 2: could be like, I want to be a musician because

1277
01:13:05,439 --> 01:13:08,000
Speaker 2: I want to be up on stage and look cool

1278
01:13:08,160 --> 01:13:10,479
Speaker 2: and have people think I'm cool. And you know, I

1279
01:13:10,520 --> 01:13:14,439
Speaker 2: want to have my identity associated with the things that

1280
01:13:14,520 --> 01:13:18,680
Speaker 2: I associate with being a musician. And those are like

1281
01:13:19,000 --> 01:13:21,639
Speaker 2: different desires. And I'm sure that in you know, many people,

1282
01:13:21,640 --> 01:13:24,400
Speaker 2: they can sort of intermingle in different ad mixtures, like

1283
01:13:24,600 --> 01:13:27,880
Speaker 2: very different amounts. But I think you're exactly right that

1284
01:13:28,400 --> 01:13:31,479
Speaker 2: there's something in here about that that like he he

1285
01:13:31,520 --> 01:13:33,800
Speaker 2: does get very hung up on this idea of being

1286
01:13:33,840 --> 01:13:37,640
Speaker 2: a filmmaker. But like like Denise points out, like he

1287
01:13:37,680 --> 01:13:41,000
Speaker 2: doesn't he doesn't seem to be paying any attention to style.

1288
01:13:41,120 --> 01:13:45,000
Speaker 2: Like he's not paying attention to the art of filmmaking

1289
01:13:45,040 --> 01:13:47,840
Speaker 2: and doesn't seem to care much about it. It's more

1290
01:13:47,880 --> 01:13:51,959
Speaker 2: about being able to say he's a filmmaker in service

1291
01:13:52,160 --> 01:13:55,040
Speaker 2: of being the coolest looking guy in the world, the

1292
01:13:55,120 --> 01:13:58,000
Speaker 2: only guy in the world who can wear this jacket.

1293
01:13:57,760 --> 01:14:00,160
Speaker 3: Right, I mean, the whole reason he even says he's

1294
01:14:00,000 --> 01:14:02,320
Speaker 3: as a filmmakers. It's the first thing he thinks of

1295
01:14:02,439 --> 01:14:04,559
Speaker 3: when he's put in a situation where he has to

1296
01:14:04,800 --> 01:14:06,920
Speaker 3: justify why he's wearing the jacket.

1297
01:14:07,160 --> 01:14:11,320
Speaker 2: Yes, yeah, you know. By contrast, it seems like Denise

1298
01:14:11,400 --> 01:14:15,040
Speaker 2: really does love the doing of the filmmaking, Like when

1299
01:14:15,080 --> 01:14:18,080
Speaker 2: she's talking about enjoying being an editor, it sounds like

1300
01:14:18,160 --> 01:14:21,439
Speaker 2: she likes being in the process, even if it is

1301
01:14:21,439 --> 01:14:23,679
Speaker 2: not necessarily a great end product, like she talks about

1302
01:14:23,680 --> 01:14:27,080
Speaker 2: how much she liked re editing pulp fiction when she

1303
01:14:27,120 --> 01:14:31,400
Speaker 2: says the final product sucked, right, yeah, yeah, And one

1304
01:14:31,400 --> 01:14:33,320
Speaker 2: more thing before we wrap up, I wanted to come

1305
01:14:33,360 --> 01:14:36,000
Speaker 2: back to it. Does seem also like something here is

1306
01:14:36,040 --> 01:14:40,320
Speaker 2: about an interaction between these these pursuits and loneliness. Right.

1307
01:14:40,360 --> 01:14:42,280
Speaker 2: I think we talked about this at the beginning, that

1308
01:14:42,400 --> 01:14:46,519
Speaker 2: Denise and George both seem like characters who aren't not

1309
01:14:47,000 --> 01:14:53,000
Speaker 2: having fulfilling, functional relationships. They're both they both seem like

1310
01:14:53,080 --> 01:14:57,640
Speaker 2: loners or lonely people in a way, and not necessarily

1311
01:14:57,680 --> 01:15:01,480
Speaker 2: by choice. And it does seem like that is contributing

1312
01:15:01,520 --> 01:15:05,640
Speaker 2: to or manifesting in some way as these bizarre obsessions

1313
01:15:05,800 --> 01:15:09,639
Speaker 2: that end up kind of blossoming into aberrant behavior.

1314
01:15:10,560 --> 01:15:14,760
Speaker 3: Yeah, totally. And to Pew himself said that we're all

1315
01:15:14,800 --> 01:15:17,080
Speaker 3: a little bit George. Any of us can have that

1316
01:15:17,120 --> 01:15:21,640
Speaker 3: moment where something snaps and everything collapses into obsession.

1317
01:15:22,200 --> 01:15:24,240
Speaker 2: Okay, does that do it for deer Skin?

1318
01:15:24,760 --> 01:15:25,200
Speaker 3: I think so.

1319
01:15:25,720 --> 01:15:28,160
Speaker 2: Jj. I really hope you have enjoyed your first turn

1320
01:15:28,280 --> 01:15:30,720
Speaker 2: on Mike on Weird House Cinema, and I hope you'll

1321
01:15:30,720 --> 01:15:31,639
Speaker 2: do it again in the future.

1322
01:15:31,920 --> 01:15:34,280
Speaker 3: Yeah, for sure. Is fun talking about this movie with you.

1323
01:15:34,880 --> 01:15:37,080
Speaker 2: Absolutely, I'm glad you picked it. I don't know if

1324
01:15:37,120 --> 01:15:39,800
Speaker 2: I would have seen it otherwise, but it's a hit.

1325
01:15:40,320 --> 01:15:42,920
Speaker 2: All right. Well, I guess that does it. So Hey,

1326
01:15:42,960 --> 01:15:44,960
Speaker 2: if you are new to the show, let me explain

1327
01:15:45,000 --> 01:15:47,240
Speaker 2: a little bit about what we do here. So our

1328
01:15:47,280 --> 01:15:50,680
Speaker 2: main show is Stuff to Blow your mind. That is

1329
01:15:50,760 --> 01:15:55,160
Speaker 2: our core science and culture show, where most episodes have

1330
01:15:55,200 --> 01:15:56,880
Speaker 2: something to do with science, but we also have a

1331
01:15:56,920 --> 01:16:01,720
Speaker 2: kind of interdisciplinary approach. We like to talk about history, mythology,

1332
01:16:01,720 --> 01:16:05,360
Speaker 2: and religion, literature and things like that, and those are

1333
01:16:05,400 --> 01:16:09,000
Speaker 2: our Tuesday Thursday episodes. Every week on Fridays we do

1334
01:16:09,120 --> 01:16:11,759
Speaker 2: this show Weird House Cinema. We're usually my co host

1335
01:16:11,880 --> 01:16:15,240
Speaker 2: Rob Lamb and I just talk about a weird movie,

1336
01:16:15,439 --> 01:16:18,200
Speaker 2: and they can. These movies can be old or new,

1337
01:16:18,439 --> 01:16:21,040
Speaker 2: good or bad, well known or obscure. The only real

1338
01:16:21,040 --> 01:16:24,720
Speaker 2: criterion is that it has to be weird. So we

1339
01:16:24,760 --> 01:16:27,360
Speaker 2: do these every Fridays. On Wednesdays, we do a short

1340
01:16:27,400 --> 01:16:32,120
Speaker 2: form episode on Saturdays, and Mondays we feature older episodes

1341
01:16:32,160 --> 01:16:34,880
Speaker 2: of the show. So yeah, if you're new, stick around,

1342
01:16:34,960 --> 01:16:38,680
Speaker 2: listen to some more, and of course subscribe wherever you

1343
01:16:38,720 --> 01:16:41,920
Speaker 2: get your podcasts. You can also if you would like

1344
01:16:41,960 --> 01:16:45,240
Speaker 2: to get just the Weird House Cinema episodes by themselves,

1345
01:16:45,520 --> 01:16:47,920
Speaker 2: without everything else, you can look up Weird House Cinema

1346
01:16:47,960 --> 01:16:49,920
Speaker 2: and I think you can subscribe to that as its

1347
01:16:49,960 --> 01:16:52,920
Speaker 2: own playlist or feed. Though of course I encourage you

1348
01:16:53,000 --> 01:16:56,080
Speaker 2: to check out all of our offerings. If you want

1349
01:16:56,120 --> 01:16:58,439
Speaker 2: to follow us on social media, we're on some of

1350
01:16:58,479 --> 01:17:01,320
Speaker 2: those I think we're on I think I think we've

1351
01:17:01,360 --> 01:17:04,120
Speaker 2: been building up a new Instagram page after we got

1352
01:17:04,160 --> 01:17:06,280
Speaker 2: somehow locked out of our old one a while back.

1353
01:17:06,800 --> 01:17:10,360
Speaker 2: We're on some of the other socials you can find

1354
01:17:10,439 --> 01:17:16,040
Speaker 2: us on Letterboxed. Letterboxed is a sort of community film

1355
01:17:16,040 --> 01:17:19,040
Speaker 2: sharing site. You can find us there under Weird House

1356
01:17:19,520 --> 01:17:21,559
Speaker 2: and Let's see I guess that's it for now, so

1357
01:17:22,280 --> 01:17:25,920
Speaker 2: JJ thanks once again, thanks as always for being our

1358
01:17:26,000 --> 01:17:29,040
Speaker 2: excellent audio producer, but double thanks today for joining me

1359
01:17:29,080 --> 01:17:31,080
Speaker 2: on Mike. I really really appreciate it and I had

1360
01:17:31,080 --> 01:17:34,479
Speaker 2: a great time talking to you and let's see. Oh

1361
01:17:34,600 --> 01:17:36,519
Speaker 2: last thing, of course, if you would like to get

1362
01:17:36,560 --> 01:17:39,120
Speaker 2: in touch with us with feedback on this episode or

1363
01:17:39,120 --> 01:17:41,680
Speaker 2: any other, to suggest a topic for the future, or

1364
01:17:41,760 --> 01:17:44,560
Speaker 2: just to say hello, you can email us at contact

1365
01:17:44,640 --> 01:17:53,400
Speaker 2: at stuff to Blow your Mind dot com.

1366
01:17:53,600 --> 01:17:56,519
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1367
01:17:56,600 --> 01:18:00,440
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio appp podcasts,

1368
01:18:00,520 --> 01:18:02,840
Speaker 1: or wherever you listen to your favorite shows.