Speaker 1: Welcome to Movie Crush, a production of I Heart Radio.
Speaker 1: I am reading the brand new Oliver Stone autobiography. You know,
Speaker 1: I know, he's like a he's a he's a figure
Speaker 1: with a rep right now and he's had a bad
Speaker 1: one for the last few years. But I read some
Speaker 1: reviews of this book that that praised it for it's
Speaker 1: like honesty and it's cutting honesty about its writer, and
Speaker 1: I thought, you know, that's the sort of autobiography i'd
Speaker 1: like to read, especially about a guy like Oliver Stone,
Speaker 1: like beating the shoot out of himself. And I'm almost
Speaker 1: done with it and I've I've really enjoyed the experience.
Speaker 1: I think it's a it's a very fun book to read,
Speaker 1: and it seems like the first of a series that
Speaker 1: he's writing because this is his first four movies. Is
Speaker 1: the autobiography, it's his his youth up to the first
Speaker 1: four and I'm expecting there to be uh yeah, yeah,
Speaker 1: a sequel. So I really like it. That's interesting. That
Speaker 1: makes me want to go through and break his career
Speaker 1: down into four film sets if he sticks with that,
Speaker 1: although he made since he's covered his childhood, might bought
Speaker 1: off more movies on this next one. Yeah, yeah, I
Speaker 1: mean it's a it's funny to hear he really gives
Speaker 1: no fox and I think that's been on, that's been
Speaker 1: obvious for a long time. But like he lets it
Speaker 1: fly on guys, guys like James Woods and a bunch
Speaker 1: of yeah, that's just great. Yeah yeah yeah yeah. And
Speaker 1: so The Doors a movie that we watched for Friendly Fire,
Speaker 1: and I had I wish that I had read this
Speaker 1: book before we did that episode, because there were some
Speaker 1: interesting nuggets in there. I listen to that process. Yeah,
Speaker 1: I remember it. Well, that's a good one. Um. I
Speaker 1: read a lot of We're gonna have you on the
Speaker 1: show next week? Next week? Is that next week? Or no?
Speaker 1: We we don't even have a date lined up. All right,
Speaker 1: we got going? We really do. I want to get
Speaker 1: you on that show. No, no no, no, we'll do it. Um.
Speaker 1: I've been reading. I've read a lot of biographies, a
Speaker 1: lot of rock biographies and music biography. So I think
Speaker 1: that Oliver Stone that lines up. Well, maybe I'll check
Speaker 1: that out. I'll send it to you when I'm done, okay, hardback, Yeah,
Speaker 1: of course, I'll send you a little care package. How
Speaker 1: does that sound like? Drugs and Oliver Stone books. I
Speaker 1: mean it would be appropriate, wouldn't it. Yeah, I mean,
Speaker 1: how many Oliver Stone books have been shipped with drugs
Speaker 1: in the past, like a few months, probably a few
Speaker 1: Oliver Stone classically. It's like, you know, I only did
Speaker 1: cocaine socially. It was never a problem for me to quit.
Speaker 1: Is that really what he said? Yeah? I mean, here's
Speaker 1: the thing, like this is this is eighties Oliver Stone
Speaker 1: talking about it, like around the time he won the
Speaker 1: the Oscar and he sets it down a little while
Speaker 1: after that. So I don't believe that's in reference to
Speaker 1: any more recent cocaine binges. But at the time, that's
Speaker 1: what he said about his habit. I could see that actually,
Speaker 1: and I'm not I'm not condoning casual use of cocaine,
Speaker 1: but I could see Oliver Stone being one of those
Speaker 1: guys that like partied hard with certain crowds and while
Speaker 1: he was doing a movie maybe and then and then
Speaker 1: putting it away. Eighties cocaine just seems like a different,
Speaker 1: different cat, different vibe maybe, So who knows, you know what,
Speaker 1: I want to keep all this stuff because this is
Speaker 1: movie related. So I'll say, hey, welcome to movie crush.
Speaker 1: I'm here with Adam Pranica, my old friend, Uh to
Speaker 1: talk to continue our series on P. T. Anderson with
Speaker 1: another in the line of difficult movies with unlikable characters
Speaker 1: called the Master. That's why you have me on for
Speaker 1: this series. Difficult person, very unlikable. You're the easiest and
Speaker 1: you're the most likable. Are you kidding me? It's good
Speaker 1: to see your face again, man. Yeah, it's been a
Speaker 1: while since we've done the show together. I know it's Uh,
Speaker 1: I feel like there will be blood was maybe too
Speaker 1: long ago. Uh, and these are you know you call
Speaker 1: it movie therapy. I think, yeah, just get our heads right.
Speaker 1: I did call it movie therapy because it it feels
Speaker 1: so good to talk about such bad people for a
Speaker 1: couple of hours and then UH, have a couple of
Speaker 1: drinks with you in the process. Yeah. So what do
Speaker 1: we drinking tonight? What are you drinking? I am drinking
Speaker 1: a tequila soda in uh in the classic proportions. My
Speaker 1: classic proportions is about three quarters Cosumi goos blanco tequila
Speaker 1: and a little splash club soda twist of lime and
Speaker 1: what the soda is just to give it a little
Speaker 1: fizz and a great, big, great big Stanley double walled cup. Uh,
Speaker 1: so you go, cos Ami goes blanco. I do for
Speaker 1: for the for the splash of soda purposes. I think
Speaker 1: it's just a delicious sipping tequila. It's been. It's been
Speaker 1: my favorite for a long time. It is, man, I
Speaker 1: have the I mean, Emily likes the blanco. I like
Speaker 1: the gold. Uh she looks the gold too. But yeah,
Speaker 1: it's really just tasty. I think the reason I like
Speaker 1: the blancos because I like it cold. If I were
Speaker 1: drinking the darker tequilas, I would just fill a glass
Speaker 1: with it with probably no ice. And it's really hot
Speaker 1: here lately. So yeah, what's going on out there? I've heard?
Speaker 1: Is it like it was onus? It was like one
Speaker 1: eighteen over the weekend? Are you serious? Not insanea mon
Speaker 1: not insantam Anica. A little more eastward, a little more inland,
Speaker 1: it's called Uh it got terrifically hot, but not much cooler.
Speaker 1: In Santa Monica. It was around a hundred Jesus man,
Speaker 1: that's hot. I don't think. I mean, you know, Atlanta,
Speaker 1: it's just hot as hell. But you got that wet
Speaker 1: heat though, Yeah, it's wet heat. But we've got smoke
Speaker 1: heat now. Yeah, I don't think we've had a hundred
Speaker 1: this summer even heat index. I don't think we've gotten
Speaker 1: up that high. Yeah, but you know it'll it's starting
Speaker 1: to cool down like a tiny, tiny bit, but it
Speaker 1: stays hot through you know, indo October generally in Atlanta.
Speaker 1: Bet getting good fall though. Yeah. Your your leaves are
Speaker 1: gonna change any moment. You know, they're starting to fall
Speaker 1: a little bit, but it should be a good one.
Speaker 1: Listen to this old man talking about foliage. Yeah, this
Speaker 1: sounds sounds like a Coen Brothers movie title. So I'm
Speaker 1: drinking Gin and Tonic. You texted me what am I drinking?
Speaker 1: And because of the Master, I made the joke that
Speaker 1: we should drink rocket fuel and paint thinner. If you
Speaker 1: haven't seen the movie, this will all be clear pretty
Speaker 1: soon why we made that joke. But I'm drinking Hendricks
Speaker 1: and Tonic, a big fat double and a big glass
Speaker 1: so I didn't have to go up again. In a
Speaker 1: Yetti mug. It's like a yetti coffee mug, but they're giant, uh,
Speaker 1: and a couple of basically half of a lime squeezed
Speaker 1: in there. Fever treat fever treat tonic. You hipped me
Speaker 1: to the Yetty family of products a year or two ago.
Speaker 1: I a type of cup I kind of turned my
Speaker 1: nose up to for a time. But I'm a believer
Speaker 1: now those things work. I'm telling you, man, I'm a
Speaker 1: big fan of iced water and just generally anything I
Speaker 1: put ice in, I wanted to stay that way. And
Speaker 1: if you care about their thermodynamics at all, you're gonna
Speaker 1: be a fan of the Yetti products. Yeah, you can
Speaker 1: throw ice water in that thing, put it on your nightstand,
Speaker 1: and then the next morning you've got ice water. It's great.
Speaker 1: You not only have ice water, you don't have a
Speaker 1: sweaty cup on your nightstand making all kinds of unsightly rings.
Speaker 1: That's right. So Elaine is not mad at you, and
Speaker 1: you don't want that, No, it's yeah, it's all about
Speaker 1: reducing the chances of of your wife being mad at you.
Speaker 1: We do a pretty good job of that, Adam. I think,
Speaker 1: uh so, Hey, the talk of rocket fuel brings a
Speaker 1: question to mind, and I hope you don't mind me
Speaker 1: throwing a bomb in the right in the beginning of
Speaker 1: your show, What's what's the worst thing you've ever drank alcoholically,
Speaker 1: because I think there's a lot of scenes like like
Speaker 1: a a shot react, like a reaction to drinking something
Speaker 1: terrible is like a great You get that a bunch
Speaker 1: in this movie. And it really made me think of like,
Speaker 1: what's the worst shot I've taken or what's the worst
Speaker 1: drink I've ever had? Well, you know, I've got a
Speaker 1: really quick and easy answer, to be honest. At first,
Speaker 1: I was like, wait a minute, what could that be?
Speaker 1: And then two things bring to mind, and one that
Speaker 1: I know you've had because it's become a maximum tradition.
Speaker 1: But my lord, uh describe it. It's wormwood liqueur. Is
Speaker 1: that that's yeah, it's it's all the quote unquote fun
Speaker 1: of absinthe, but it's like amplified herbaceous nous. It is
Speaker 1: just so hyperry. Is that what absinthe tastes like like absinthe?
Speaker 1: For it's it's wormwoody flavor. But this is like wormwood
Speaker 1: and a whole bunch of other flavors in it. It's
Speaker 1: it's a lot it's allowed to take on. And I
Speaker 1: don't find it particularly Bernie. Okay, well no it's not Bernie.
Speaker 1: It's just that tastes it stays with you for a while. Yeah,
Speaker 1: it's a taste that lingers. I just literally thought of
Speaker 1: the worst ad joke ever. It just popped into my head,
Speaker 1: and I don't even though if I should say it.
Speaker 1: You got you have to now. Oh god, this is
Speaker 1: a window into how my brain works. We're talking about absinthe,
Speaker 1: and my joke that popped into my head was you know,
Speaker 1: I've had absinthe, but last time I had it, it
Speaker 1: got it was really gassy because you know what they say,
Speaker 1: absinthe makes the farts grow stronger. Yeah, that's something you
Speaker 1: should have kept to yourself. How did that just pop
Speaker 1: into my head? That's uh So, the worst thing I've
Speaker 1: had is malort as far as that after taste, it's
Speaker 1: really bad. And it's only the only reason I ever
Speaker 1: have it is at Max Fun when everyone's passing the
Speaker 1: bottle around, which is very risky these days. Boy, it
Speaker 1: really is passing a bottle around a room of people.
Speaker 1: Uh so that and uh, you know when you first
Speaker 1: start drinking in college and stuff, or that's when I
Speaker 1: started drinking. But whenever that was, you experiment with some
Speaker 1: really weird things and I drank I had one really
Speaker 1: really long Bad Night with Mad Dog quote unquote wine, Yeah,
Speaker 1: threw up bad stuff passed out in the freshman storm.
Speaker 1: For me in college, I was I was definitely looking
Speaker 1: for proof, right Like I didn't know what I want
Speaker 1: at all. I know. All I knew is that I
Speaker 1: wanted it to be strong, and so like the Mad
Speaker 1: Dog is strong, the the Hurricane ice forties or strong.
Speaker 1: It's like one of the many like off brand mall
Speaker 1: liquors that you could get in a in a forty
Speaker 1: ounce format at the time. I don't even know if
Speaker 1: they still make it anymore, not that, but like Schlitz
Speaker 1: and cul used to go down that road totally. But
Speaker 1: like liquor wise, I would always want like not the
Speaker 1: not the eight proof, but the one proof, like if
Speaker 1: I'm if I'm giving an older person money to buy
Speaker 1: me something like I wanted to be strong and those
Speaker 1: were often like really big mistakes. Um Yukon Jack comes
Speaker 1: to mind as one of the one of the bottles
Speaker 1: I used to get from time to time, Goldschlager. I do,
Speaker 1: I do remember that gold Schlager after shock Avalanche was
Speaker 1: the was the was the cools of of that type
Speaker 1: of liqueur, right, Minty flavor and after shock Man, Yeah,
Speaker 1: mistakes were made, and I used to drink like uh.
Speaker 1: I thought it was very refined when I started drinking
Speaker 1: seven and sevens, you know, yeah, which is funny. You
Speaker 1: really need a sherpa at that age, don't you. Someone
Speaker 1: I was never I was. I think I was always
Speaker 1: around the youngest person of the group, so I never
Speaker 1: got to become the guy who bought for other people
Speaker 1: the way that my friends often were. But I really
Speaker 1: I feel like I would have had the heart to
Speaker 1: to be the liquor serpa for someone to be, like,
Speaker 1: you know, the eight proof absolute is actually better and
Speaker 1: more mixable than the red label one hundred that you're getting.
Speaker 1: Trust me on this. Yeah. If if you and I
Speaker 1: don't make an animated cartoon soon called Booze Srpa, then
Speaker 1: we're doing the wrong thing in life. Yeah, I mean,
Speaker 1: animations the only thing in production right now. Let go
Speaker 1: for that. Uh. And So the reason you mentioned that
Speaker 1: worst thing we've ever had is because of the Master
Speaker 1: and the fact that a really big not big but
Speaker 1: a substantial part of this movie has to do with
Speaker 1: this character of freddie Quell walking Phoenix's character drinking these
Speaker 1: homemade chemical drinks literally made out of rocket fuel or
Speaker 1: paint thinner, I imagine. I mean, those are the only
Speaker 1: two kind of brands you see. I think he drinks lysol,
Speaker 1: just straight up liquid lysol. I love like you. You
Speaker 1: see the first moment of this early on, and then
Speaker 1: I feel like it's it's repeated throughout the film. But
Speaker 1: one of the moments that that confused me almost was
Speaker 1: that when he's working as the photographer and he's in
Speaker 1: the he's in the room where he exposes the film,
Speaker 1: and he's using tongs to to muddle some limes. I
Speaker 1: was like, Oh, this guy really he started like dedicating
Speaker 1: himself to the craft. This looks like a real cocktail
Speaker 1: he's making. No, he's just making it out of photomat chemicals. Totally, dude,
Speaker 1: He is drinking developing chemicals. He's drinking stop bath. Yeah.
Speaker 1: Did you ever do any of that dark room dark
Speaker 1: room stuff? Not drinking it? But I love the idea
Speaker 1: of like improvised alcoholic beverages being called dark room stuff,
Speaker 1: and I think that that should be that should be
Speaker 1: than for us. Do you ever go to dark room? Jack?
Speaker 1: Did you ever develop pictures or anything? Did you ever
Speaker 1: do that? No? No, I never did. Yeah, it's a
Speaker 1: lot of fun, and I could obviously you wouldn't want
Speaker 1: to drink any of that stuff. Even that stuff is
Speaker 1: just it is nasty, raw chemical solutions. Like what does
Speaker 1: that do to you? It's it's stuff you want to
Speaker 1: wear a mask two two use right because the fumes
Speaker 1: are so intent. No, you don't have to wear a
Speaker 1: mask in there, but it's pretty stinky. And like, uh,
Speaker 1: what I wondered through all this was because the character
Speaker 1: of um Lancaster Dodd, another great named character from P. T. Anderson. Uh,
Speaker 1: he really takes a shine to this booze that he's making.
Speaker 1: And I wonder, like I never went down the road
Speaker 1: of experimenting with like robatus in blasting and all that
Speaker 1: stuff that I saw other people doing, but I think
Speaker 1: it might be something like that where it's like it's
Speaker 1: not drunk, even it's a different feeling. Yeah. I was
Speaker 1: never into purple drink myself, nor did I really know
Speaker 1: anyone who was. When I was in college. For us
Speaker 1: it was very specifically booze beer or drugs, like actual drugs,
Speaker 1: not over the counter drugs. And that's so weird, right,
Speaker 1: Like why would we have risked taking ecstasy from a
Speaker 1: source that you can't corroborate instead of yeah, I mean,
Speaker 1: none of us are thinking clearly at the time, so yeah,
Speaker 1: I mean I felt myself just trying to make an
Speaker 1: argument that drinking robotusts and in large quantities is really
Speaker 1: bad for you, but ecstasy is just fine. I'm not
Speaker 1: going to make that argument, but I do know that, like,
Speaker 1: there were kids in the grades below me in high
Speaker 1: school that were drinking row with us in and doing
Speaker 1: glade hits like sprink glade through a towel and then
Speaker 1: inhaling it. And we'd never messed with any of that stuff. Man,
Speaker 1: that was like, I don't know, that just seems stupid.
Speaker 1: I grew up with really painful migraines, like debilitating put
Speaker 1: you on the floor, make you throw up kind of migraines,
Speaker 1: and so I as I grew older, I got the
Speaker 1: migraines went away, but my fear of headaches really grew.
Speaker 1: And I think that was one of the main reasons
Speaker 1: I never wanted to funk around with that stuff. Was
Speaker 1: stuff like like inhaling other things and and uh and
Speaker 1: drinking super high proof alcohol like it was hangover almost
Speaker 1: instantaneously and I really resisted anything that that would do that.
Speaker 1: I really tried my best not to endure a hangover
Speaker 1: for that reason. Yeah, it's interesting how it's played in
Speaker 1: this movie though, because is alcoholism is a big part
Speaker 1: of Freddy's character. Um, that's the I mean, he's he's
Speaker 1: got a lot of problems, let's be honest, but his
Speaker 1: alcoholism is definitely definitely one of them. And then, uh,
Speaker 1: Phil Hoffman's character, Lancaster Dodd is he's into it, but
Speaker 1: like you get the feeling that he has to keep
Speaker 1: that pretty quiet. You know, he's so amused by Freddie,
Speaker 1: like off the bat, and I love how ambiguous that
Speaker 1: relationship is even throughout the film, right, Like there's the
Speaker 1: it's pretty clearly like a a project he sees in him,
Speaker 1: Like if he could fix Freddie Quell, that would be
Speaker 1: a tangible example of his greatness, right instead of just
Speaker 1: the book writing and the and the quote unquote cult
Speaker 1: that he's constructed. Like if he could get through to him,
Speaker 1: that would be proof that he's got he's got the
Speaker 1: supernatural powers that that maybe his believers believe him to have.
Speaker 1: But also like there's a way that Philip Symore Hoffman
Speaker 1: looks at Joaquin Phoenix in this movie that is like
Speaker 1: it's so warm. Yeah, it's warmth. And I think you
Speaker 1: could read it as romantic love in certain scenes, but
Speaker 1: if it's not that, it's like the sort of warmth
Speaker 1: that you want any of your closest pals to see
Speaker 1: you with. It's I found myself really taken by it.
Speaker 1: And it might just be because I love and miss
Speaker 1: Phillips you Moore Hoffman as much as I do, and
Speaker 1: that like I really really gravitate towards that stuff. Yeah. No,
Speaker 1: that definitely played in my mind too. Um was missing
Speaker 1: him and how like kind of charming and lovable he
Speaker 1: can be at times in this movie. Um, but he does.
Speaker 1: And you know, there's plenty of speculation through critics online
Speaker 1: about whether or not it was homo erotic and romantic,
Speaker 1: and I read it as more of a how you
Speaker 1: would look at a really old friend of yours or
Speaker 1: something and he you know, at some point where we
Speaker 1: need to talk about the fact that he does say
Speaker 1: that they were they were together in the past life
Speaker 1: and you finally get the story at the end, which
Speaker 1: maybe we'll save that, but uh, that maybe that was
Speaker 1: what it was, was that He looked at him as
Speaker 1: like this guy that I love, that I've been through
Speaker 1: so much with, but he was someone that he just met. Yeah,
Speaker 1: you know that's a great observation because that's there's some
Speaker 1: repetition of that throughout the film, Like I feel like
Speaker 1: I know you. I'll figure it out eventually, definitely know
Speaker 1: you from somewhere. Yeah, when was you saw this in
Speaker 1: the theater? I take it. I did. I went out
Speaker 1: to see it. It's screened in seventy in Seattle, so
Speaker 1: I made sure I got out to see it during
Speaker 1: one of those screenings. I think I did too. Actually, Uh,
Speaker 1: I think I went with my friend Scotty. And you know,
Speaker 1: it's a beautiful, big movie in that seventy millimeter. Uh.
Speaker 1: I think he shot it in sixty five, just and
Speaker 1: exhibited in seventy, which I didn't know quite was a thing. Um,
Speaker 1: how does that work? As a ex projectionist, I can
Speaker 1: tell you that you want those millimeters between sixty five
Speaker 1: and seventy four your soundtrack. Those are the those are
Speaker 1: going to be your soundtrack waveforms in the cellulos. Because
Speaker 1: you sixteen millimeter, then it should be thirty two, but
Speaker 1: it's thirty five for the soundtrack, Is that right? I
Speaker 1: don't know how it works for sixteen millimeter, Okay, I
Speaker 1: will say as a projectionist for thirty five millimeter and
Speaker 1: for seventy millimeter, that's how it worked, all right, So
Speaker 1: it looked great. I mean this he's uh at think,
Speaker 1: especially after there will be blood or these two pair together,
Speaker 1: he is really at this point in his career come
Speaker 1: into his own as just an absolute master of the
Speaker 1: visual that you're seeing on screen and book. You know,
Speaker 1: it's all that stuff look look great and fine. But
Speaker 1: these two man is where he goes like into john
Speaker 1: Ford territory of like some some of the all time
Speaker 1: masters of like the visual aspects. It's so beautiful and
Speaker 1: it's you know, like like john Ford was so good
Speaker 1: at like territorial like wide open space gorgeousness. But the
Speaker 1: master has so many different types of settings. Right, There's
Speaker 1: there's on the ocean, there's on the beach, there's on
Speaker 1: the boat, there's inside the boat. There's inside that old
Speaker 1: timey house. Yeah, there's there's inside the that what I
Speaker 1: what's probably a mansion in England. Yeah, so many different
Speaker 1: places made to look beautiful. Yeah, yeah, Yeah, it's kind
Speaker 1: of broken down. Almost each act is has its own
Speaker 1: sort of main setting. I mean, that whole first third
Speaker 1: is at sea with a little New York, and then
Speaker 1: that whole middle chunk is at that house. Uh and
Speaker 1: I guess where is that Is that in northern California.
Speaker 1: I'm not really sure where it's supposed to Uh yeah,
Speaker 1: I mean, yeah, well it's supposed to be Philly, I guess,
Speaker 1: but I don't know if they shot it there. But
Speaker 1: then that last bit is Phoenix and the desert stuff
Speaker 1: in the salt flats. But it's an interesting visual. I mean,
Speaker 1: some gorgeous shots, Like all the stuff at sea is amazing.
Speaker 1: That shot of him passed out on the top of
Speaker 1: the boat when they're throwing sh at him is just unbelievable.
Speaker 1: The shot of the the Sea Org and I'm gonna
Speaker 1: mix in scientology stuff because let's be honest, the one
Speaker 1: of the Sea Org boat going under the Golden Gate
Speaker 1: Bridge with the sun going down just unbelievable, so beautiful,
Speaker 1: so great. I it's it's unfair, really to watch a
Speaker 1: film like this right now. I mean not to date
Speaker 1: this episode at all, but not a lot of brand
Speaker 1: new movies are coming out right now or or in
Speaker 1: the short term, and it I think it's one of
Speaker 1: the things that makes this project we're doing so gratifying,
Speaker 1: is is returning to things that are great and remembering
Speaker 1: how awesome it is to see great movies. Yeah. God,
Speaker 1: the shot in the um, like the money he has
Speaker 1: in the artists that he can hire to create these worlds,
Speaker 1: um that shopping mall, the department store where he takes
Speaker 1: on work as a photographer, and that long tracking shot
Speaker 1: with the floor model just sort of weaving in and
Speaker 1: out of stuff, and just the art direc action is
Speaker 1: just incredible, Dude, It's amazing. Bob Elswit is like frequently
Speaker 1: Paul Thomas Anderson's camp for his movies, and he was
Speaker 1: not in this one. Did you read about who this
Speaker 1: guy was? I figured, yeah, I figured it was too.
Speaker 1: His name is Mahailamare Jr. He's Romanian and he had
Speaker 1: a just a couple of credits before the Master. Imagine
Speaker 1: being Mahai and getting and getting the call. How did
Speaker 1: he get it? Looks like he did a couple of
Speaker 1: couple of films, but like in two thousand nineven couple
Speaker 1: of films and then uh, and then he gets the
Speaker 1: call to do the master, Like that's a lot of
Speaker 1: trust for a P. T A. But this is also
Speaker 1: I feel like a version of Paul Thomas Anderson that
Speaker 1: that has become way more interested in moving his own
Speaker 1: cameras around, in in creating his own compositions, and taking
Speaker 1: a heavier hand in the camera in the camera department
Speaker 1: specifically than maybe he ever has. And this is like
Speaker 1: a trend for him throughout his career. Yeah, I mean
Speaker 1: that that just one shot. I mean he's known for
Speaker 1: his sort of long, long, single take shots, but they
Speaker 1: usually entail sort of like the stuff in Boogie Knights,
Speaker 1: like the camera doing these crazy things like going up
Speaker 1: on a cherry picker and moving around. But this was
Speaker 1: just a very sort of elegant, uh steadicam shot I guess,
Speaker 1: kind of weaving through this department store. You know what's
Speaker 1: insane about P t A. One of the things is
Speaker 1: that like he's that director that sits underneath the camera
Speaker 1: and works with actors and looks at it at expression
Speaker 1: and and experiences it on a on a personal level.
Speaker 1: Like he's not a director who looks into the monitor
Speaker 1: and ship and that's it's crazy to think that he's
Speaker 1: getting these kind of compositions and sequences like what you're describing,
Speaker 1: and I'm not sure he's seeing that through the monitor.
Speaker 1: He's looking over at his cinematographer and going, did we
Speaker 1: get it? And he's being told that they did. And
Speaker 1: what he's watching is is life. If it looks real
Speaker 1: in life, then it's good enough for him. And that
Speaker 1: feels so risky, it does. You know? I have not
Speaker 1: directed a movie, but I uh, I was going to
Speaker 1: at one point, and I was sort of been halfway
Speaker 1: through raising some money for a very small independent film
Speaker 1: and had written the script and I was going to
Speaker 1: uh do that that way. I was not going to
Speaker 1: be in an attempt looking at a monitor. I wanted
Speaker 1: to be really near the camera and watching the scene
Speaker 1: play out in front of me. You want to be
Speaker 1: an actor's director? That seems to be really way to go. Yeah, um,
Speaker 1: I'll probably never know, but I mean, you've directed stuff,
Speaker 1: what did you do? I mean, the the the seduction
Speaker 1: of doing it, like P. T. A Is has always
Speaker 1: been there, Like I, like I mostly did corporate stuff,
Speaker 1: but I still worked with professional actors barely often, and
Speaker 1: like I always wanted to give it that kind of juice.
Speaker 1: I always wanted to be an actor's director, and it's
Speaker 1: just it's hard. It's hard when you're not working with
Speaker 1: Hollywood budgets, and it's hard when you're not working with
Speaker 1: Hollywood cinematographers. Like the level of trust that you get
Speaker 1: from working in a system like PTA has been able
Speaker 1: to I think allows for that kind of thing in
Speaker 1: a way that you and I could probably never experience it.
Speaker 1: I feel like it would be very stressful for you
Speaker 1: and I to sit cross a good beneath the camera
Speaker 1: and watch a scene unfold and just believe that it's
Speaker 1: getting captured in the way that you're seeing it. See.
Speaker 1: I think I would have a lot easier time because
Speaker 1: I was not a camera guy. I would hire people
Speaker 1: that knew what they were doing and just say, like,
Speaker 1: I've trust that you're getting this and we'll look at
Speaker 1: it afterward. But I gotta I gotta stand here and
Speaker 1: watch these actors. I think it becomes so much easier
Speaker 1: when it's Bob Ellis went over your shoulder, Like I
Speaker 1: wouldn't even think about it. If you were him, it
Speaker 1: would be done. I mean, let's let's talk about these characters,
Speaker 1: maybe kind of one at a time Freddie Quell, the alcoholic,
Speaker 1: sort of depraved. Um, there's nothing likable about this guy.
Speaker 1: It's really not the kind of character you see a
Speaker 1: lot in movies, as you're kind of protagonist in a way. Um,
Speaker 1: like I would argue it's his it's really about both
Speaker 1: these guys, but it's kind of his movie, even more
Speaker 1: than a movie about Lancaster Dodd. But um, just such
Speaker 1: a depraved, disgusting, troubled, troubled guy. We talk a lot
Speaker 1: on Friendly Fire about how much we respect an actor
Speaker 1: willing to give up their vanity for a role, and
Speaker 1: this feels like that kind of role. This is a
Speaker 1: Joaquin Phoenix who had just come off of the weird
Speaker 1: art project of of what was that called I'm Not There?
Speaker 1: I think, oh, his like documentary thing. I think this
Speaker 1: was the first film he did after that. This was
Speaker 1: his return to think your professionalism, maybe i'd call it.
Speaker 1: And I think you could make the case right now
Speaker 1: in in the year twenty like, if you're drafting actors
Speaker 1: in a kind of fantasy actor draft, how is he
Speaker 1: not one of the top picks. He's I think he's
Speaker 1: one of the greatest living actors we have. And I
Speaker 1: think This is an example of that. It's so much
Speaker 1: more than just uh an ability to read a line.
Speaker 1: It's like a totally inhabited character physically in a way
Speaker 1: that is repulsive. Yeah. Yeah, that's a good word. I
Speaker 1: kept saying disgusting, but repulsive is really the word I mean.
Speaker 1: And they set it up so well in the beginning
Speaker 1: with the navy stuff, drinking the rocket fuel. Um standing
Speaker 1: there before he jumps onto the sandcastle naked lady and
Speaker 1: and has sex with her. Is when he when he's
Speaker 1: standing there all hunched over and he stands with his
Speaker 1: you know, he's he has that messed up shoulder and
Speaker 1: he really plays that up, makes those shoulders go forward,
Speaker 1: puts his arms on like sort of the back of
Speaker 1: his hips in his side, and just sort of snarls
Speaker 1: at the scene and and then just like gets in
Speaker 1: there and starts humping the sandcastle like in the first
Speaker 1: five minutes of the movie. There's something like oddly familiar
Speaker 1: about him and his posture, Like I feel like, growing up,
Speaker 1: I knew I encountered old World War Two vets who
Speaker 1: with the high waisted pants, who were like bent over
Speaker 1: at the waist, who looked like this. Yeah, that's kind
Speaker 1: of true. It really feels real. Yeah, and it and
Speaker 1: it felt very uh he he very much looked like
Speaker 1: a guy from nineteen fifty um. And you know, he's
Speaker 1: he's an he's a guy who has the shoulder thing.
Speaker 1: He's a guy who has his the scar or whatever.
Speaker 1: I'm not sure how that happened on his lip, the
Speaker 1: cleft pallette thing. Was it a cleft pallet? I wasn't sure.
Speaker 1: I think so. Yeah. But these are like both called
Speaker 1: traits that he has used his advantage in his career,
Speaker 1: um like in a big way. I think he's really
Speaker 1: leaned into both of them. The I've always respected and
Speaker 1: been just horrified by an actor's willingness to change their
Speaker 1: body for a role, you know, like like the the
Speaker 1: Clooney and Sicario or the stallone in Copland where it's inverse,
Speaker 1: which is like an emaciated Joaquin Phoenix, Like you know
Speaker 1: what he looks like normally, and he's a beautiful person.
Speaker 1: But to see him folded in on himself and with
Speaker 1: the sunken cheeks and and the crazy eyes, it's it's
Speaker 1: really incredible to see an actor do this to themselves. Yeah,
Speaker 1: and just his his acting in this movie is just incredible.
Speaker 1: It's unbelievable, Like you so understand who this guy is
Speaker 1: without being even able to understand, like on a personal level,
Speaker 1: like you don't identify, but you fully get who this
Speaker 1: dude is. It's so uh, it's so vital to have
Speaker 1: Lancaster DoD look at him with love. And I think
Speaker 1: he's inserted into this story as soon as possible to
Speaker 1: cut off of viewers inclination to just dismiss Freddie Quell
Speaker 1: right away. I think, like we get we get the
Speaker 1: beginning of the movie belongs to Freddie Quell, but I
Speaker 1: think before the of viewers sees him as an utterly
Speaker 1: lost cause, we get right up to that line, but
Speaker 1: then we get the affection from Lancaster DoD for him,
Speaker 1: and it's it stops it just short of of being irredeemable,
Speaker 1: because I think I don't think you could do two
Speaker 1: and a half hours with Freddy Quell unless you were
Speaker 1: at least on some level rooting for his redemption, right
Speaker 1: And I think they're be a point of no return
Speaker 1: with him that that I think the film knows, and
Speaker 1: it's trying to position itself indefensive him, maybe using Lancaster
Speaker 1: dot as a way to to prevent you from hating
Speaker 1: him in an irredeemable way. See, I don't think I
Speaker 1: hated him, but I don't know if I ever rooted
Speaker 1: for him in the sense that I was thinking, you know,
Speaker 1: let's let's get this guy turned around, Like I didn't care.
Speaker 1: I really didn't care about this guy being okay. It
Speaker 1: was to me more of a voyeuristic sort of study
Speaker 1: of you know, it's it's almost like watching bar Fly
Speaker 1: or something, or or thinking about like hanging out with
Speaker 1: Charles Bukowski is like irredeemable. Like that's not for me
Speaker 1: to say. All I know is I didn't I wasn't
Speaker 1: rooting for him. Ever, let's try to let's try to
Speaker 1: rewind like the endings of Paul Thomas Anderson films, because
Speaker 1: when I saw this film for the first time, I
Speaker 1: was almost expecting a Freddie Quell lays in Amy Amy
Speaker 1: Adams lap in the end kind of end of Boogie
Speaker 1: Night's style redemption for the character. Were you when you
Speaker 1: saw this film for the first time, were you expecting
Speaker 1: that kind of thing, or were you so turned off
Speaker 1: by Quell in the beginning that you were like, well,
Speaker 1: I'm just gonna watch this car crash for for two
Speaker 1: hours and and be entertained by two of the greatest
Speaker 1: living actors. I think I could have seen it. I
Speaker 1: don't know if I was hoping for it, but I
Speaker 1: think I definitely could have seen it going that way.
Speaker 1: When he goes to England at the end, that could
Speaker 1: have been Marky Mark going or you know, I mean,
Speaker 1: this is just like all those other movies. It's a
Speaker 1: father son thing going on. Or I could have seen
Speaker 1: it going the way of Daniel plain View. I think
Speaker 1: I kept waiting for one of them to kill the other. Yeah, yeah,
Speaker 1: but none of his made it clear that that was
Speaker 1: on the table. He definitely did um but that. I
Speaker 1: think I was waiting for that to happen more than
Speaker 1: I was waiting for the Boogie Night's ending. But neither
Speaker 1: one of him happened. I wonder to what extent he
Speaker 1: knew that in constructing the story, Like if he's playing
Speaker 1: with expectations in that way, maybe Yeah. I also think
Speaker 1: that P. T. Anderson doesn't think about an audience at all.
Speaker 1: I hope he doesn't. I don't. I hope he doesn't
Speaker 1: think of me for a second when we're done with
Speaker 1: this project. I would like someone to like tweet it
Speaker 1: to him maybe, but sure, I don't want to. Uh no,
Speaker 1: I don't think he should be doing that. I want
Speaker 1: to point out, but yeah, I think he's he's he's
Speaker 1: doing his own thing at this point in his career.
Speaker 1: Like starting with Their Will Be Blood, I think we
Speaker 1: both agreed, was when he really um as sort of
Speaker 1: kind of risky as Magnolia wasn't and aspects, uh, he
Speaker 1: really kind of took a right turn. I think There
Speaker 1: Will Be Blood And then following following up this movie.
Speaker 1: It's crazy, it really is. Did either one of them
Speaker 1: win an Academy Award? It's so much more open ended
Speaker 1: than his other films, it is. Did it win an
Speaker 1: Academy Award? Did either one of the guys? Did they
Speaker 1: get nominated for Academy Awards for this? Joaquin, Philip Symore, Hoffman,
Speaker 1: Amy Adams were nominated for Academy Awards? None of them won?
Speaker 1: All right, interesting, Amy Adams was good. I don't know
Speaker 1: about Oscar Worthy. She was good. I mean, she was great,
Speaker 1: but there wasn't a ton Therefore, I love that boil
Speaker 1: happening inside her, like that coiled spring that you knew
Speaker 1: was there, and I think I think phillipsy Moore Hoffman
Speaker 1: also had that quality in this movie of like an
Speaker 1: ability to explode, and he explodes a couple of times
Speaker 1: in this movie. Had Amy Adams also had that quality
Speaker 1: and in a way that I really appreciated, Like there
Speaker 1: were she was definitely a puppet master for Lancaster Dad
Speaker 1: in a very interesting way, in a way that the
Speaker 1: film does not deeply dive into, but you can tell.
Speaker 1: They give her a couple of scenes where where there
Speaker 1: is a there's a power to her. The hand jobs.
Speaker 1: Oh yeah, you know. I mean, it's funny to like
Speaker 1: think about that scene, but I think that's really the
Speaker 1: sort of the point of it all was um, I mean,
Speaker 1: he is uh completely beholden to her in that scene.
Speaker 1: He feels he never feels more like a sort of
Speaker 1: broken old man than when he's standing there at the
Speaker 1: sink getting jerked off by his wife, who's sort of
Speaker 1: like you know the mom in that scene. Almost the
Speaker 1: way she's talking to him, it's a little creepy. Will
Speaker 1: you come for me? When you come for me? Like,
Speaker 1: I mean, she's great. I don't know why I said
Speaker 1: she shouldn't have gotten nominated. Not it was very understated role,
Speaker 1: but that doesn't mean it was. Are you suggesting that
Speaker 1: that would have been a good a good real to
Speaker 1: show for her for her nomination, Like they throw to
Speaker 1: Amy Adams in the crowd, like clapping a couple of times.
Speaker 1: That's me. That's a powerful scene though, will never this
Speaker 1: is the chat. One of the many tragedies of Philip
Speaker 1: Symore Hoffman's death is that, like we we won't get
Speaker 1: a film for film year after year competition of who's
Speaker 1: the greatest living actor? The way that like he could
Speaker 1: have gone back and forth with Paul Thomas Anderson films
Speaker 1: with Daniel day Lewis, like like was there a cut
Speaker 1: scene of Daniel day Lewis getting a hand job and
Speaker 1: will be blood? And could we possibly measure them against
Speaker 1: each other? Yeah? Yeah, man, I miss I miss him
Speaker 1: so much. He was such a good actor. And I
Speaker 1: read up a little bit more today about his drug
Speaker 1: use and how he went out and it's just so
Speaker 1: fucking sad and tragic. Had a family and like this
Speaker 1: kind of secret addiction after being clean forever, I mean
Speaker 1: he was clean for twenty three years. Yeah, you can
Speaker 1: never let up with addiction. That's a. That's the thing
Speaker 1: our our friend John Roderick has said, it's a it's
Speaker 1: a struggle every day there is. Speaking of the scene,
Speaker 1: I wanted to just emphasize how great the sound that
Speaker 1: Philips you more Hofmun makes if he's either in pain,
Speaker 1: like from taking a shot of some firewater coming sound,
Speaker 1: or like in the mattress Man commercial Punch Drunk Glove
Speaker 1: when he falls onto the ground that, Oh god, it's
Speaker 1: so great. I so noticed that in this every time
Speaker 1: he took a drink of his moonshine for lack of
Speaker 1: a better word, and then when he when he when
Speaker 1: he finally came in the hand job scene, it was
Speaker 1: the exact same, like sort of painful release sound. It's
Speaker 1: one of my favorite sounds in the entire world. Is
Speaker 1: that so funny? It is so fucking funny. If if
Speaker 1: you're listening to this show and you haven't seen the
Speaker 1: mattress Man commercial from Punch Drunk Glove, it's a it's
Speaker 1: an extra feature on the DVD and you can see
Speaker 1: it on YouTube. It's awesome. It's I'm not even gonna
Speaker 1: spoil it, just watch it. Yeah, it's great. I saw that.
Speaker 1: I had that I had that DVD back in the day.
Speaker 1: Um So the other thing with Freddie is his uh
Speaker 1: these fights that he gets in, these physical altercations ranging
Speaker 1: from and and each one sort of happens the same way.
Speaker 1: He is one provocateur. Each time he is not like
Speaker 1: he's starting it. He's not getting picked on. He always
Speaker 1: just goes after these guys. And a lot of times
Speaker 1: I want to say for no reason that the guy
Speaker 1: in the photography studio, he just completely goes after, like
Speaker 1: moving those lights in and like attacking this dude. I
Speaker 1: love how awkward and painful looking all of the fights
Speaker 1: are and that includes and that includes like the fight
Speaker 1: he gets into on the lawn with Lancaster Dad later,
Speaker 1: Like they're dirty and and awkward, and you hear like
Speaker 1: the slap sounds and like it's I have never been
Speaker 1: in in like a real fist fight, like in a
Speaker 1: fight fight. Yeah, same here, But it seems like it
Speaker 1: seems like how they really are in this movie versus
Speaker 1: like the punching each other, like the fully sound, punched
Speaker 1: for punched rocky style fighting that so often we get
Speaker 1: in in movies. Yeah, these are very real and he
Speaker 1: you can tell that Joaquin as an actor is really
Speaker 1: fucking going for it. Like they're very physical and kind
Speaker 1: of brutal, although there aren't a lot of punches thrown.
Speaker 1: Um that that fight in the department store early on
Speaker 1: really looked like it might have heard him in a
Speaker 1: couple of spots that guy is hitting him and throwing him.
Speaker 1: He kind of kicked his ass a little bit, which
Speaker 1: I love that that guy. Uh. And it's interesting. I
Speaker 1: read the New Yorker review from this movie and it said, um,
Speaker 1: something about and you know, the first time we meet
Speaker 1: Lancaster dott is when he gets his picture taken in
Speaker 1: the mall and attacks him. And I was like, that
Speaker 1: wasn't Lancaster Dodd. And then it had a little asterisk
Speaker 1: and it had a note that said edit. I was
Speaker 1: told afterwards that this was in fact credited to another actor.
Speaker 1: And I think that pet Anderson tried to. I think
Speaker 1: he was clearly trying to make it seem like the
Speaker 1: same person. I was like, no, we what's that come? Like?
Speaker 1: You just fucking got that wrong, dude, Like just wait
Speaker 1: to wait to cover yourself. Yeah, it was pretty bad
Speaker 1: because it was clearly just some other guy. Um. But
Speaker 1: the reason he love that it's sort of a like
Speaker 1: the most insane Jerry McGwire style quitting your job because
Speaker 1: he takes the girl with him. Yeah, he does actually
Speaker 1: grabs her hand any Um. The reason he gets in
Speaker 1: these fights though, is really interesting, Like this one was
Speaker 1: I think just some sort of that pent up rage
Speaker 1: that he had as a as a person. But then
Speaker 1: the other ones were almost all in defense of Lancaster Dodd,
Speaker 1: and I got the feeling after like that last one
Speaker 1: when the Bill comes down to the basement and the
Speaker 1: book has been released that he wrote, and he's just
Speaker 1: literally just sort of criticizing, like, man, I think you
Speaker 1: should have just made it a pamphlet and it's too
Speaker 1: long and meandering and it doesn't make much sense, like
Speaker 1: he was offering a genuine critique as a fan of his,
Speaker 1: And I started to get the impression that he was
Speaker 1: getting in these fights with these guys not because he
Speaker 1: was defending him, but because they were bringing to light
Speaker 1: what he really knows, which is that he's a fraud.
Speaker 1: And it made the truth. Yeah, it made him angry
Speaker 1: that he had he's been falling for it, and it
Speaker 1: makes him feel good. Well, I mean to put it
Speaker 1: into a modern context, I think that is a reaction
Speaker 1: that a lot of people have towards uh, confronting uncomfortable
Speaker 1: truths right about their belief system even Uh, in no
Speaker 1: way could you brook any sort of criticism of of
Speaker 1: your beliefs if you're if you're Freddie Quell. There's such
Speaker 1: a tension drawn out in that scene, Chuck, where they're
Speaker 1: they're in that basement next to the printing press. But
Speaker 1: he walks him out, Yeah, here, let's go outside, let's
Speaker 1: take a walk. And as he's taking the walk, the
Speaker 1: guy I had to put on the subtitles, but he
Speaker 1: was he was talking about what a great mystic. He is,
Speaker 1: one of the great mystics. So it's not like he
Speaker 1: was against him even And he gets him out there
Speaker 1: and just like throws him on the ground and basically
Speaker 1: tries to like bury his head in the concrete. There's
Speaker 1: no faking this sort of of pain during a fight, Like, yeah,
Speaker 1: go ahead and like roll around on a sidewalk if
Speaker 1: you don't believe me, Like it's it's hard and it sucks.
Speaker 1: And there are so many scenes like this, and this
Speaker 1: fight scene is one of those examples. Like this looks
Speaker 1: so painful. I don't know how many takes you get
Speaker 1: out of actors stuff like this. It's two actors who
Speaker 1: have have come to an agreement, you know that. Listen,
Speaker 1: we're we're gonna we're gonna go for it on this
Speaker 1: one and uh, and it's gonna hurt a little bit, Like,
Speaker 1: but this is what I mean. Want to be the
Speaker 1: guy who accidentally breaks Joaquin Phoenix's nose with a with
Speaker 1: an errant knee though, And that's that's the thing that
Speaker 1: feels so dangerous if you're if you're not a top
Speaker 1: line actor in a film and you're asked to like
Speaker 1: go ahead and roll around with him. Yeah, totally. Um.
Speaker 1: And there are a lot of like pt Anderson kind
Speaker 1: of actors, sort of like there will be blood in
Speaker 1: this these people that just have a scene or two
Speaker 1: that have these great faces. Um yeah. And you know,
Speaker 1: it has a great regular cast like Jesse Plemons. And
Speaker 1: I didn't even know who Rommy Malick was at the time.
Speaker 1: I kind of forgotten that was neither. When he popped up,
Speaker 1: I was like, oh my god. There is Freddie Mercury,
Speaker 1: the the guy who plays Mr Moore, the guy who
Speaker 1: speaks up at the meeting. Yeah, He's like what he's, he's,
Speaker 1: he's one of that guy like he's he's he's a
Speaker 1: guy with a great voice and a great face. You know,
Speaker 1: he's made a rear out of a great voice and
Speaker 1: a great face. Well he did. He's dead, Yeah, Christopher
Speaker 1: Revan Welch was it was in Silicon Valley is recently. Yeah,
Speaker 1: he's awesome. He narrated something too that I saw. He's
Speaker 1: narrated a bunch of stuff, but he was a prominent
Speaker 1: narrator of something, and I didn't I looked him up today.
Speaker 1: I didn't realize that he'd very sadly died of young
Speaker 1: lung cancer in his mid forties. Brutal. Yeah, it's it's
Speaker 1: a weird thing about watching movies is like the acceptance
Speaker 1: so often, like the acceptance of death right, Like you're
Speaker 1: watching films from even the last decade, and to know
Speaker 1: that that a lot of these guys aren't around anymore
Speaker 1: is is awful. It's awful and amazing too to like
Speaker 1: have an artifact to appreciate them. But but it's sad too.
Speaker 1: It's sad at the same time. So they dot and
Speaker 1: and quell meet um very much by happenstance. I mean,
Speaker 1: um Freddie Quell. Basically, I love that we're an hour
Speaker 1: into this and we're like, well, let's talk about when
Speaker 1: they meet. Well, we're jumping all around. It's not even
Speaker 1: we're going three hours tonight check no. Um. You know,
Speaker 1: he basically poisons this guy and and Selina's and takes
Speaker 1: off that great fucking shot where he's running, you know,
Speaker 1: across that that dirt field, being chased by those guys.
Speaker 1: But he just happens to stow away on this ship
Speaker 1: like they meet by such happenstance, and he's so immediately
Speaker 1: taken into the fold um and then rises to the
Speaker 1: top as the sort of right hand man man. Even
Speaker 1: though there's a bunch of other people around, a bunch
Speaker 1: of other men that could have been in that position.
Speaker 1: There was some connection there, um, And the only thing
Speaker 1: I could figure out was that he was sort of
Speaker 1: there's a very yin yang thing going on with these
Speaker 1: two guys, like he was He's the animal that he
Speaker 1: needed at his side in a way, this kind of
Speaker 1: crazy pit bull. I love that we're given the task
Speaker 1: of stitching those two scenes together, right because there's kind
Speaker 1: of an elliptical edit we see, like one of low
Speaker 1: key My favorite compositions in the movie is is we're
Speaker 1: overwalking Phoenix's shoulder and we're racking the the focus back
Speaker 1: and forth like we're getting those beautiful uh the light
Speaker 1: is turning beautiful as we're changing the focal point between
Speaker 1: the ship and Freddy Quell's shoulder. And then as soon
Speaker 1: as he hops on board in like a really elegant
Speaker 1: way avoiding detection, we wake up with him the next
Speaker 1: day in the bunk. And I love how we aren't
Speaker 1: given a specific story about how he's there or why
Speaker 1: he isn't kicked out, And I like that it's up
Speaker 1: to us to imagine what that scene was like. Between
Speaker 1: between the scenes, I mean, yeah, like at some point
Speaker 1: someone had to go to Dot and say, hey, listen
Speaker 1: to stowaway came aboard. But it's very I don't know.
Speaker 1: I think you're right, like you didn't need that drama. Um.
Speaker 1: Another thing I wanted to mention in that shot, though
Speaker 1: I didn't notice it until I think it's the third
Speaker 1: time I've seen it. I didn't notice it until today.
Speaker 1: But when you see that first shot of the boat,
Speaker 1: the party's going on up top, but he's down on
Speaker 1: that below deck Lancaster Dot is having a cigarette, having
Speaker 1: a cool by himself, I think, or there may be
Speaker 1: one other person with him. Yeah, but it doesn't like
Speaker 1: focus on him or anything. He's just sort of there,
Speaker 1: like you don't even know who it is yet at
Speaker 1: this point in the minor. Yeah, I love how non
Speaker 1: confrontational the film is about all of the ways that
Speaker 1: Lancaster Dot uses other people, like like the inference that
Speaker 1: the boat was not paid for in the end, that
Speaker 1: he ended up using the woman who owned the boat,
Speaker 1: as well as as the home that they had that
Speaker 1: that parlor party in later on, Like we're we're so
Speaker 1: indirect with our knowledge of those things. And I like
Speaker 1: being given the respect as a viewer to put that together. Yeah,
Speaker 1: I mean this, nothing about this movie is very straightforward.
Speaker 1: I think a lot of critics, the ones who didn't
Speaker 1: like it were kind of like, what was it about? Even? Yeah,
Speaker 1: And you know, there are arguments that it's it's a
Speaker 1: movie sort of about an acting exercise in a way, Um,
Speaker 1: there aren't these big character arcs that you're used to
Speaker 1: seeing where people change and they overcome the obstacle, and
Speaker 1: like he really throws all those conventions kind of about
Speaker 1: the door with this movie. I mean, as I'm gesturing
Speaker 1: towards you as a professional film critic that you are
Speaker 1: that I am on the on the hit podcast Friendly Fire.
Speaker 1: I think it really it really blows up the film
Speaker 1: criticism industrial complex to make a film like this because
Speaker 1: I think so often you are looking for that meaning
Speaker 1: and what if, what if there isn't one. Yeah, I
Speaker 1: mean at the end of the movie, in that last scene,
Speaker 1: you you expect some kind of like he goes all
Speaker 1: the way to England. He's called on a telephone in
Speaker 1: the middle of an anty theater, which is great, and
Speaker 1: he goes to England and you get your your waiting
Speaker 1: for that thing to happen, and it doesn't happen. And
Speaker 1: in fact, one of the great lines of the movie
Speaker 1: to me is Joaquin, I think it's sort of trying
Speaker 1: to make good a little bit and says, you know,
Speaker 1: maybe in the next life, like kind of a throwaway saying,
Speaker 1: and he goes very seriously, if we meet in the
Speaker 1: next life, you will be my mortal in me and
Speaker 1: I will I will show you no mercy. It's such
Speaker 1: a great kind of fuck you at the end of
Speaker 1: this thing. It's the way that I want to toast
Speaker 1: and be toasted for the rest of my life, Like
Speaker 1: the next time I see you, Chuck, I hope that's
Speaker 1: the toast with me that we share well. And we'll
Speaker 1: do it in the in the bar in the valley
Speaker 1: right the Boogie the Magnolia Bar. Let's do that because
Speaker 1: we're gonna buy the Boogie Night's house. I can't wait. Yeah. Uh,
Speaker 1: I meant to mention earlier too. You know, my grandfather
Speaker 1: was a was a drunk who would who would do
Speaker 1: stuff like this. He was my dad's dad was and
Speaker 1: he died when I was like five or something, so
Speaker 1: I didn't really know him, but he he was an
Speaker 1: old school forties fifties mean ast drunk who would when
Speaker 1: he was out of booze, he would drink whatever was
Speaker 1: in the medicine cabinet. You know. Wow. Uh not a
Speaker 1: good guy to my dad. But I did not have
Speaker 1: the pleasure or displeasure of knowing him very well. But
Speaker 1: I've heard quite a few stories of stuff like drinking
Speaker 1: turpentine and and Lisall and ship like that. Crazy. You
Speaker 1: don't get to choose what kind of drunk you are.
Speaker 1: And I'm grateful I am that I am a jovial,
Speaker 1: sleepy drunk instead of of the other kind. Yeah, me too, man,
Speaker 1: fighting fighting drunks. You can't control it, no, and you
Speaker 1: can't even hang out with those guys, no, now, you
Speaker 1: The best you can do is surround yourself from the
Speaker 1: surround yourself with the same kind. Yeah I was. When
Speaker 1: I lived in Arizona for a year, I was friends
Speaker 1: with this one guy, sort of not even he was
Speaker 1: just sort of in the group that I partied with.
Speaker 1: And boy, this guy was one of those dudes that
Speaker 1: would get in a fight every weekend, and I just
Speaker 1: I couldn't be around him because I was always and
Speaker 1: I was always, you know, I was the guy I
Speaker 1: was always trying to be like, oh no, man, it's cool,
Speaker 1: don't do that, like that's gonna ruin everyone's night. Like
Speaker 1: co moh man, let's go have fun, let's go be here,
Speaker 1: commit let's go over here. It was always let's go
Speaker 1: over here, let's get away from what you're mad at
Speaker 1: and just come on over here, because that will ruin
Speaker 1: the night for everyone, like it does every weekend. But
Speaker 1: you couldn't do it, you know, he would, you would
Speaker 1: see it in his head and he would go find
Speaker 1: that find that guy later at the party and beat
Speaker 1: his ass. It's just like those people are angry at life,
Speaker 1: you know, sort of like it's pretty hard to chill
Speaker 1: out in life anyway. And I just don't understand the
Speaker 1: seeking it out the way that is. But that's I mean,
Speaker 1: it's a disease, right like like that kind of that
Speaker 1: kind of consumption can't be controlled. No, he's I mean
Speaker 1: something bad happened to that guy when he was a kid,
Speaker 1: you know, had Uh yeah, that's why you you thin
Speaker 1: those guys out from your social heart. You surround yourself
Speaker 1: with the sleepy laughers like you and me, and then
Speaker 1: you're not worrying about punch him out anymore sleepy laughers. Um,
Speaker 1: let's talk about the scene, and it's a a sort
Speaker 1: of a sequence but really just sort of two scenes
Speaker 1: when he first the first processing scene, so, um, it
Speaker 1: would be the analog to uh in scientology, what's it
Speaker 1: called a I used to know because I did deep
Speaker 1: dives in scientology. Oh really, yeah, your on your hip podcast.
Speaker 1: Well I read the book and I did I was
Speaker 1: sort of obsessed with it for a little while. Um,
Speaker 1: not processing, oh ship, I can't remember now. People are
Speaker 1: yelling at their radios. But it's a seventeen minute scene, dude,
Speaker 1: where he and there's a little bit of flashback because
Speaker 1: you get a little bit of the Doris story there,
Speaker 1: but um, it keeps coming back and it's seventeen minutes long,
Speaker 1: which is crazy. This film really kind of exists out
Speaker 1: of time. Because the reason I say that is because
Speaker 1: I almost don't believe you when you say that at
Speaker 1: seventeen minutes it is. It's so yeah, because there's the
Speaker 1: beginning part where he sort of does the processing and
Speaker 1: then he farts and that's the end of that part.
Speaker 1: And I love that part too, because Phil Hoffman is
Speaker 1: just like you, silly animal, but he loves it, you know.
Speaker 1: I mean, this is this is what you get when
Speaker 1: you're of the caliber of Paul Thomas Anderson. Right, you
Speaker 1: get your seventeen minutes scene if you want it. Right,
Speaker 1: So you get that beginning part where they sort of
Speaker 1: do it but not really, and then it goes into
Speaker 1: that really intense around two when he's doing that don't
Speaker 1: blink and he's firing the questions and uh, they walk
Speaker 1: out of there like that's their bond. Man. That's when
Speaker 1: they really fucking come together, and I feel like Freddie
Speaker 1: feels like he was really helped. You can see it's
Speaker 1: almost like primal screen therapy or something. You can see
Speaker 1: on this face, like I actually feel good and I
Speaker 1: haven't felt good in a long time. You need those
Speaker 1: moments in a movie like this, right, You need you
Speaker 1: need the pressure released. You can't always exist in Freddie's mind.
Speaker 1: I don't think that's a thing you can endure for
Speaker 1: for two and a half hours. And so it feels
Speaker 1: good to get like a little victory with him, even
Speaker 1: if it's even if it's fake, even if it's a
Speaker 1: charlatan making it happen. I mean, this is the same
Speaker 1: feeling I had when he went from wall to window,
Speaker 1: like the wall the window seen as another example of
Speaker 1: of like the insanity of this practice, and it's it's
Speaker 1: a weird kind of montage, right, this is like the
Speaker 1: rudy montage of him getting better at football. He's getting
Speaker 1: better at hypnotizing himself as things go on, and you
Speaker 1: kind of like exalt in his victory at the end
Speaker 1: of of him finally getting it, even if it is insane,
Speaker 1: even if it is coming from inside himself or from
Speaker 1: Lancaster Dodd. Yeah, and that's part of a sequence to where, uh,
Speaker 1: it's right after the family dinner happens, where they're all like,
Speaker 1: we've got to get rid of this guy. Man, he's
Speaker 1: a legit danger and very magnanimously. Uh, Lancaster Dodd just
Speaker 1: sort of says, well, then we have failed him if
Speaker 1: we allow him to go um tis tis that not true?
Speaker 1: He's he's guy's a tis uh And then they all
Speaker 1: begin this sort of there's that sequence intercut with Amy
Speaker 1: Adams reading him sort of softcore porn, but he does
Speaker 1: not want to hear that from her, which is interesting,
Speaker 1: like she's he's sort of the only woman in this
Speaker 1: movie he doesn't objectify. And then the Ramy Malick stuff
Speaker 1: that sort of face to face uh therapy that they're
Speaker 1: going through. They're they're just breaking him down basically, they're
Speaker 1: do doing that therapy because all three of them know
Speaker 1: about Rammy Malick's wives attempted hand job. Right. Is that
Speaker 1: not part of the thing too? I think so? I
Speaker 1: mean she says I think he wants me, and he's definitely.
Speaker 1: I feel like they know he's a threat to their marriage.
Speaker 1: Do you feel like it's intentional that Rami Malick's wife
Speaker 1: in this movie, which is one of Dodd's daughters, looks
Speaker 1: a lot like the department store lady. Now, I think
Speaker 1: that was probably purposeful. They look a lot alike. Yeah,
Speaker 1: I think that attractions natural. He sounds like the guy
Speaker 1: from the New Yorker. Do you think I mean, do
Speaker 1: you think she finally got her hand job with him? Like,
Speaker 1: no movie, no Hollywood film can have two hand job scenes.
Speaker 1: So that's one of the rules of Hollywood, right, Like
Speaker 1: I think, so you gotta pick one and cut the other. Uh, yeah,
Speaker 1: but you could I think if you're going to read
Speaker 1: between the lines and stuff that happens off screen, I
Speaker 1: could see a dalliance having happened. Yeah, And it's kind
Speaker 1: of cool not to know and not to show that.
Speaker 1: You know, it's fun to watch a Rami Maleck in
Speaker 1: this movie like pre height of his powers, and also
Speaker 1: like to a certain extent, Jesse Plemons, like like those
Speaker 1: two actors are capital G great actors and you can
Speaker 1: like to have them on the periphery of this movie
Speaker 1: and this story is like God, what a gift. Yeah,
Speaker 1: Plemons is awesome and he has one of the lines
Speaker 1: um that I love so much, which is he's making
Speaker 1: you know, he's just making this stuff up as he
Speaker 1: goes and apparently that line and I think you probably
Speaker 1: know this, but um p t Anderson's screen this for
Speaker 1: Tom Cruise, his buddy very obviously noted scientologists, and it's
Speaker 1: very clear this is a movie that it was inspired
Speaker 1: by l Ron Hubbard in the beginnings of scientology, even
Speaker 1: though all he did and all Harvey Weinstein and Mirrimax
Speaker 1: and everyone did was like, no, it's not about scientology
Speaker 1: at all. It's like super amount to believe Harvey Weinstein
Speaker 1: with whatever he tells you. Yeah, very trustworthy guy. But um,
Speaker 1: I wish it. What was I just saying, screened it
Speaker 1: for Tom Cruise? Yeah, yeah, screen it for Cruise. And
Speaker 1: that was the biggest part that he had a problem with.
Speaker 1: He was really upset about that scene where he said
Speaker 1: he's making it up as he goes along. That was
Speaker 1: low key. One of the really that was one of
Speaker 1: my favorite compositions of the film is like Freddie Quell
Speaker 1: staggering out to the porch, you know, finishing his flask.
Speaker 1: Maybe he knows that Val is out there, maybe he doesn't,
Speaker 1: but it doesn't really matter. And that confrontation. It's it's
Speaker 1: just a really beautiful scene. I think it's one of
Speaker 1: my favorite scenes in the movie. And like it's that
Speaker 1: that energy. I feel like so many characters have the
Speaker 1: energy in this film of suppressing their true feelings, suppressing
Speaker 1: their true nature. Val Dot is one of those characters.
Speaker 1: Like the way that he is told repeatedly, I can
Speaker 1: see the resemblance is so painful to him. You can
Speaker 1: see it every time. And it's great casting to cast
Speaker 1: Plemons as a young Philip Stymore Hoffman to get that
Speaker 1: when you don't believe anything about your father is like
Speaker 1: there's a repetition in that that is is great, Like
Speaker 1: it's really well used. Yeah, I'm aware, I'm I understand
Speaker 1: that feeling. I look just like my dad. And every
Speaker 1: time I see a relative that sort of out of
Speaker 1: the loop and they just talk a glow about how
Speaker 1: much I look like my dad, and I was like,
Speaker 1: let's just stop talking about that. At at one point
Speaker 1: in my career, I worked for the same company that
Speaker 1: my dad did, with many of the same people after
Speaker 1: he retired, and it was something that I heard fairly
Speaker 1: often and it cut every time, not a compliment. Yeah, Well,
Speaker 1: I'm glad we have that in common, dude, at least
Speaker 1: we can. That's why we're doing this pt Anderson series, right, right, right,
Speaker 1: this is why this is therapy. Um. I do love
Speaker 1: that scene too, when when he attacks him. Basically, I
Speaker 1: feel like it's for that same reason, not like, no,
Speaker 1: your dad is a genius and a brilliant man. It's no,
Speaker 1: don't say these things that, Like, this is the only
Speaker 1: person who likes me and this is the only sort
Speaker 1: of goodness that I have going in my life, and
Speaker 1: I know it's fake, and I don't want to be
Speaker 1: told it's fake, right, Like he never believes it, right, No,
Speaker 1: I mean that seems impossible, but you you never want
Speaker 1: to be told that. I mean, this is another thing
Speaker 1: about contemporary society, Like you never want to be told
Speaker 1: that your belief system is wrong or fucked up or
Speaker 1: that hurts other people. Yeah, uh, that's it's I feel
Speaker 1: like it's a part of human nature to defend that
Speaker 1: as much as you can, because because you you just
Speaker 1: take it personally. Yeah, I feel like that that Freddie
Speaker 1: Quell is just h He has found a sort of
Speaker 1: weird families, just like Marky Mark did that accepted him
Speaker 1: he doesn't have to work. He is fed and clothed
Speaker 1: and kept in booze, and um, I feel like he's
Speaker 1: passing the time with these people. I never felt like
Speaker 1: he believed it, But he's participating though, like genuinely participating.
Speaker 1: That's part of the fun in this film. I think
Speaker 1: is is going back and forth between what he may
Speaker 1: or may not believe, and I think it's part of
Speaker 1: It's part of the weird, like dreamlike quality of this movie, right, Like,
Speaker 1: are you sure what is real and what isn't in
Speaker 1: this movie? I feel like I knew the rules of
Speaker 1: the film up until the point that he took the
Speaker 1: phone call in the movie theater, which I know you
Speaker 1: agree with me. You should never take a phone call
Speaker 1: in the movie theater. Yeah, but that that definitely seemed
Speaker 1: like an impossibility. We realize that that's a fantasy that
Speaker 1: he acts upon before he goes out to Europe. But like,
Speaker 1: knowing that that scene exists in a film like this,
Speaker 1: are you sure of any other scene actually existing here?
Speaker 1: Are you sure that Freddie Quell's entire story isn't made up?
Speaker 1: Because when he ends up in the sand next to
Speaker 1: next to sand boobs, again, I'm I'm not so sure. Really,
Speaker 1: I'm willing to believe that that the entire thing is
Speaker 1: a fantasy. It doesn't ruin the film at all for me,
Speaker 1: but interesting, but I think it suggests a squishiness and
Speaker 1: the reality for Freddie Quell. Yeah, I think I didn't
Speaker 1: think too much about the phone call other than like, well,
Speaker 1: there's no way you can know he was there, um,
Speaker 1: But yeah, that does sort of throw throw a seed
Speaker 1: of doubt into the whole thing, kind of finishing up
Speaker 1: on that one scene though, it's one of my favorite
Speaker 1: lines in the movie. God Phil Hoffman is so good
Speaker 1: in this, but when he comes out when the cops
Speaker 1: are there to get him, and he's just so incredulous,
Speaker 1: just like l Ron Hubbard, Like you get I mean,
Speaker 1: it's a really good portrayal. You get a sense this
Speaker 1: is just how l Ron Hubbard would have been if
Speaker 1: the cops showed up and he goes, this is comic opera.
Speaker 1: Such a great line, is it illegal in the city
Speaker 1: to get better? It's too bad we'll never get a
Speaker 1: real l Ron Harvard movie because there's a there's a
Speaker 1: ton of like fascinating shit about that guy. But why,
Speaker 1: why don't you think we will. I think we could.
Speaker 1: I think I think scientology is a very powerful force.
Speaker 1: I don't think they are as much as they once were.
Speaker 1: I don't think they can shudge yeah, man, I think
Speaker 1: they've been exposed to a degree in where they can't
Speaker 1: shut it down like they used to. Look, man, I
Speaker 1: live in l A. I don't want to be chained
Speaker 1: to a radiator in in some in some boats somewhere. Man,
Speaker 1: you're not gonna hear me besmirch scientology on this show.
Speaker 1: Another one of my favorite lines, and it's one of
Speaker 1: the two times that Philip seymourhof and let's that rage
Speaker 1: come out, is when he's being questioned by the guy
Speaker 1: and he goes, if you already know the answers to
Speaker 1: your question, then why do you ask? Big? How how
Speaker 1: many times have you rewind that scene today? Get three times?
Speaker 1: It's so rewatchable and as great of a director as
Speaker 1: Paul Thomas Anderson is, I don't know that you evoke
Speaker 1: that out of Philip Sumour Hoffman. I think that's within
Speaker 1: him to do. And I could get I could get
Speaker 1: a hundred runs at that line reading and and never
Speaker 1: do it the way that Philip Sumore Hoffman does. There's
Speaker 1: like half of it is sticato and the other half
Speaker 1: isn't so good. And it's such a build up of
Speaker 1: like interruption, right working on a thing and some fucking
Speaker 1: guys excuse asking a question, Excuse me, this isn't the
Speaker 1: Q and a portion of the thing. Guy. He successfully
Speaker 1: ignores him enough, and the guy keeps saying, excuse me.
Speaker 1: Um oh man, it's so good and and you know
Speaker 1: it's it's the built up, uh taught, coiled spring of
Speaker 1: having to always be defending yourself. But I think where
Speaker 1: why it works so well is they didn't show any
Speaker 1: of that in this movie. Hardly they should that there's
Speaker 1: that scene, there's and that's kind of it. I mean,
Speaker 1: there's the two times he blows up actually very innocently.
Speaker 1: Laura Dern's character kind of calls him on his bullshit
Speaker 1: and he gets caught kind of red handed delivering bullshit,
Speaker 1: and his his excuses it very good and he knows it,
Speaker 1: so he just blows up at her. You know who
Speaker 1: I love, And both of those scenes. I love Laura
Speaker 1: Dern and I love Amy Adams because there's we cut
Speaker 1: away to Amy Adams and that first disruption and you
Speaker 1: can see her coiled rage is never released. You can
Speaker 1: just see it like vibrating there. And you can, to
Speaker 1: a certain extent, see the same thing in Laura Dern,
Speaker 1: like like she's put off an incredulous and she never
Speaker 1: gets her release either. And I think and I think
Speaker 1: they they do such work in this movie in in
Speaker 1: like you need to cut away right, like technically you
Speaker 1: can't just stay on Dodd for his spring and explosion.
Speaker 1: You need reactions, and and the reactions in this film
Speaker 1: are are so useful and good. Yeah, I'd be interested
Speaker 1: to know what's on the cutting room floor of this
Speaker 1: movie if there's a three hour version. Yeah, I could
Speaker 1: see some some uh, I could see some scenes being
Speaker 1: in this that weren't that could have benefited it. But
Speaker 1: that's not to knock it, Like I think it's a
Speaker 1: great film. Maybe there's a second hand job, you know,
Speaker 1: I hope um. And And the interesting thing too about
Speaker 1: when he blows up at Laura Dern. It's sort of
Speaker 1: that third act that cracks are forming feeling Yeah a
Speaker 1: little bit, you know, but he didn't hammer at home.
Speaker 1: It's not like I think a less or maybe more
Speaker 1: obvious filmmaker might have really had a bunch of scenes
Speaker 1: where people are onto him and there's a news report
Speaker 1: and there's the media, but like they're really in a
Speaker 1: bubble with the cause. There's not a lot of outsiders ever.
Speaker 1: That's a really great observation. We never get outside of
Speaker 1: this ecosystem, and even like the outsiders that we get
Speaker 1: are still inside it. Right, Like that guy's at the
Speaker 1: meeting the questions is there, Yeah, John Moore like got
Speaker 1: an invitation, right, He's allowed to go to the party.
Speaker 1: Is that the same party that ends up being naked later?
Speaker 1: According to Freddie quele Yea, the singing scene um really interesting,
Speaker 1: Like that was it felt very kubricky in somehow great
Speaker 1: call and not just and not just because of eyes
Speaker 1: watch Shutt. Just something about it, like this alternate reality
Speaker 1: of this guy imagining every every woman in there being
Speaker 1: naked with this giant merkins. Imagine being the the casting
Speaker 1: director that's like, all right, seventy four year old actor, like,
Speaker 1: you've done You've done the lines perfectly. We really love
Speaker 1: your performance. How comfortable are you with nudity? And the
Speaker 1: actors Like, I mean I read the scene, there's no
Speaker 1: suggestion of nudity whatsoever. What are we talking about here.
Speaker 1: Have you seen a Kubrick movie? Right, here's your giant
Speaker 1: Gabe Kaplan Merkin. God, Hey, here's the question. I don't
Speaker 1: mean to put you on the spot. Do it. You're
Speaker 1: casting a Paul Thomas Anderson movie, but the condition is
Speaker 1: you go to hang dong? Do you do it like
Speaker 1: I'm the actor? Yeah, you're in the party scene, Chuck Adam.
Speaker 1: There is not an amount of money in the world
Speaker 1: where I would hang dong for other people to see. Wow,
Speaker 1: I grew up Southern Baptist dude, I am. I am
Speaker 1: ashamed of nudity. I am also my My wife makes
Speaker 1: fun of me for being an ever nude. I don't
Speaker 1: even like to undress in front of her. There's no
Speaker 1: way would you. I think it says a lot about
Speaker 1: my appreciation for Paul town Miss Anderson that I would think.
Speaker 1: I really would just imagine that cemented in time forever,
Speaker 1: like the dong of the present that is on that
Speaker 1: blue ray evermore. Uh yeah, I mean the only way
Speaker 1: I do that as if I had a a complete
Speaker 1: face covering mask. Give me the Mark Wahlberg dong, give
Speaker 1: me the boogie nights. Don't break that thing out of
Speaker 1: the safe. Yeah, I do that. Um, let's talk about
Speaker 1: the jail scene. Uh, you know, the cops come. Freddie
Speaker 1: gets in a fight on the front porch with the cops.
Speaker 1: Another great fight in the movie. Uh, kind of brutal,
Speaker 1: and they end up in adjoining cells. Lancaster Dat is
Speaker 1: already in there and they dump Freddy in there next
Speaker 1: to him, handcuffed, And because he's handcuffs, he can't punch
Speaker 1: the wall like he wants to, so he reacts like
Speaker 1: an animal again and just is banging his shoulders against
Speaker 1: the cot and like he breaks the fucking toilet with
Speaker 1: his boot. I mean, it's it's really really a great,
Speaker 1: great scene. The like filmmaker and me saw him break
Speaker 1: that toilet and go like, oh fuck, Like do we
Speaker 1: have to shoot the second take? And like a couple
Speaker 1: of cells over are we just moving down? I don't
Speaker 1: think that it was an accident, but I think it's
Speaker 1: one of those moments where you watch it as a
Speaker 1: as a director and go like, this is why you
Speaker 1: cast Joaquin Phoenix. That was my It's okay that he
Speaker 1: destroyed your set. That was that was my question watching it,
Speaker 1: And my question for you your take is that he
Speaker 1: just did that, and my I was wondering, was it
Speaker 1: a rigged toilet that they reset every time? It certainly
Speaker 1: feels like it just happened in the moment. But the magic, Hey,
Speaker 1: when we start a band, can we call it rigged toilet?
Speaker 1: The magic of movie making? Though? You know it goes dude, like,
Speaker 1: would you be disappointed to learn that, like, oh no, no no, no,
Speaker 1: we had a toilet that broke away and we reset
Speaker 1: it every time because it looks so great. Would that
Speaker 1: disappoint you? There's something so dangerous about this entire scene that, like,
Speaker 1: I want to believe that this was the one cell
Speaker 1: that they could use side by side and these were
Speaker 1: the steaks, because it's a film about steaks in a
Speaker 1: lot of ways, and this is a scene that's emblematic
Speaker 1: of that. Like the split screenness of it, the stillness
Speaker 1: of one side at the diptych and and the tornado
Speaker 1: happening on the other is so amazing. I think it's
Speaker 1: one of the great scenes in all of movies. Yeah,
Speaker 1: and Dodd's dialogue is so good in that scene, Like,
Speaker 1: I just I can't imagine how much fun it was
Speaker 1: to sit down and write some of his dialogue as
Speaker 1: a screenwriter. I love the idea of a spike piss,
Speaker 1: like I'm a piss at the end of the scene
Speaker 1: in my in my still put together toilet that you
Speaker 1: don't have. I forgot about that. That was the perfect
Speaker 1: way that to put the cherry on that scene. It's
Speaker 1: so it's so passive aggressive um. And you know that
Speaker 1: sort of spends us into our third act, which is
Speaker 1: the desert location. They go to Phoenix for the the
Speaker 1: unveiling of book Too, and they and and it's such
Speaker 1: a It's so funny to me that Paul Thomas Anderson
Speaker 1: with a straight face could say, like, no, this isn't
Speaker 1: really based on scientology. Lenny's smoking cools and he has
Speaker 1: this this box buried in the middle of the desert
Speaker 1: containing his lfe's work in it. Like that is so
Speaker 1: l Ron Hubbard. It's straight out of South Park, for sure.
Speaker 1: And then the book sucks. What was it called the
Speaker 1: uh the the cut lists. Yeah, there's something two Sides
Speaker 1: of the Saber or something like that. Yeah, yeah, it is,
Speaker 1: but uh. And when they're printing it, you see the
Speaker 1: sort of subtitle a book for a book for Homo
Speaker 1: sapiens or something like that, A gift. Yeah, it's always
Speaker 1: a gift, isn't it. It's so great though, Man, they
Speaker 1: dig up this box and that that whole desert sequence
Speaker 1: is so weird because it's just the notion of this
Speaker 1: game called pick a spot. It's so dumb, but it works.
Speaker 1: Have you ever ridden a motorcycle? So when I was
Speaker 1: a kid, I had a friend with a dirt bike
Speaker 1: and I would ride that a little bit. And then
Speaker 1: later on my dad had a motorcycle for one summer
Speaker 1: when I was like ten, and I rode on the
Speaker 1: back of that a couple of times. But he wrecked
Speaker 1: it with me on it when we were going camping once.
Speaker 1: It wasn't It was kind of the deal where we
Speaker 1: were pulling into a camping like a dirt road from
Speaker 1: the main road like to go camping, and there was
Speaker 1: all this fresh grabble and uh so it was slow,
Speaker 1: but I remember, it's so funny. I remember seeing that
Speaker 1: grabble and being like, we're gonna go down and he
Speaker 1: and he pulled in and slow and started a slide
Speaker 1: and I bailed because I kind of saw it coming,
Speaker 1: so I didn't get hurt, but he burned his leg
Speaker 1: on the muffler and that was kind of it. I mean,
Speaker 1: it was a very low speed thing. But other than that,
Speaker 1: I've never driven a motorcycle. Have you know. The closest
Speaker 1: I've gotten is a is a quad like everritten, ever
Speaker 1: ridden sand dunes and not close, my friend. I know
Speaker 1: it's not. It's not, but but it's it's close in
Speaker 1: terms of temperature and sound. It's hot and loud. Yeah,
Speaker 1: and you've got handlebars. Yeah. Yeah, it's not the same.
Speaker 1: But boy, the idea of going out into the desert
Speaker 1: or to a salt flat or something and doing this
Speaker 1: very interesting to me. I would do it if you would.
Speaker 1: It looks exhilarating. I do it if you would. I mean,
Speaker 1: Philip smore hopping looked like he was having at the
Speaker 1: time of his life. Yeah, he was hooting in holler
Speaker 1: and I was I sort of think I remember seeing
Speaker 1: this for the first time, thinking that this was he
Speaker 1: was trying to get Freddy to die by his own
Speaker 1: hand for some reason. And I even thought that a
Speaker 1: little bit today, like he brought him out there to
Speaker 1: sort of stage and accident, that that really happened. There
Speaker 1: is even a suggestion of that when we when we're
Speaker 1: in very close on Lancaster Dad's face and he, I
Speaker 1: don't know. He says something ambiguous about what he's seeing,
Speaker 1: as if he's witnessed the death of Freddie Quell that
Speaker 1: that you're expecting it. It's setting you up for that
Speaker 1: did not personally set me up for him just riding
Speaker 1: away forever and he just kept going. A great shot
Speaker 1: of them walking with a car behind him at the
Speaker 1: end was fantastic, Like he wouldn't even get the motorcycle. Uh.
Speaker 1: That's another one of my favorite lines is I don't
Speaker 1: know if you caught it. I had to subtitle it.
Speaker 1: But when he tells Freddie to pick a spot and
Speaker 1: he said, tell me what it is, and he goes
Speaker 1: from that point over there, at that point in mountain,
Speaker 1: he goes, uh, he goes that head and he went,
Speaker 1: it's an alligator's head. It's such a cool line, like
Speaker 1: do you write that or just Phil Hoffman make that
Speaker 1: up on the in the moment because it looked like
Speaker 1: an alligator. I mean, Lancaster Died is a character who's
Speaker 1: who sees things that in a different way, like he's
Speaker 1: all I feel like he's always going to describe things
Speaker 1: in that way, in a way that impresses the people
Speaker 1: around him. Yeah, and the same. It also reminds me
Speaker 1: of the way that he would And this was so
Speaker 1: l Ron Hubbard in Scientology, that sequence where the book
Speaker 1: is coming out and they're doing sort of the promo photography,
Speaker 1: and that great sequence when he's he's got the cowboy
Speaker 1: outfit and he's the rancher and then he's at the
Speaker 1: desk with that giant quill and inc incpin and it's
Speaker 1: just so like l Ron Hubbard in the fifties, so serious.
Speaker 1: I think. I think that's the scene that stuck out
Speaker 1: to me in the movie trailer was I feel like
Speaker 1: there was a montage of those portraits being taken of
Speaker 1: Philip Seymour Hoffmann and that like that serious portrait studio
Speaker 1: hands clasped, perfectly lit quality I mean, and and going
Speaker 1: back to the very beginning of the film, like the
Speaker 1: quality of family portraiture in a department store of that time.
Speaker 1: It's so perfect and beautiful looking. Well, dude, the colors.
Speaker 1: I'm glad you mentioned that because that was one of
Speaker 1: the things from my list from earlier that I didn't mention.
Speaker 1: The the color in the in the composition of those
Speaker 1: shots early on that fifties technicolor. It's just it's like
Speaker 1: magic looking. It really is. I mean, you and I
Speaker 1: have production experience, like I don't I want where how
Speaker 1: do you even do that? How do you like intentionally
Speaker 1: make it look so perfect? It's it's one of the
Speaker 1: magic tricks of this film. It's great and it's one
Speaker 1: of the things that like that establishes Freddie Quell's otherness.
Speaker 1: Like he's seeing families get together to take these pictures
Speaker 1: that he gets to observe over and over again. He's
Speaker 1: experiencing this as an outside observer, just taking pictures. He
Speaker 1: never gets to be in the photo. Yeah, and I
Speaker 1: think that's, you know, sort of like the p. T
Speaker 1: Anderson theme that we keep talking about with these weird families.
Speaker 1: He doesn't have that. He is the market mark character. Um,
Speaker 1: he's just disgusting, sort of depraved guy who had this
Speaker 1: one maybe shot at love. But you also sort of
Speaker 1: don't even get the feeling that Doris was I think
Speaker 1: only in his mind was she Were they really going
Speaker 1: to be a thing that just didn't quite work out.
Speaker 1: I'm so glad that in the minute we're finally bringing
Speaker 1: up Doris, who maybe the reason for the whole thing. Yeah, right, Doris,
Speaker 1: Doris of a strong Norwegian family. You know, Doris's family
Speaker 1: going to take her back to the homeland to meet
Speaker 1: the rest of the family. I mean, these are concepts
Speaker 1: that are totally alien to a Freddie quell. Yeah, he
Speaker 1: tells her not to go. Yeah, before he does, I know,
Speaker 1: and then it's like, I'm out of here. You should
Speaker 1: go to Norway or whatever. I love the actor who
Speaker 1: plays Doris's mom in that scene. I love so much
Speaker 1: about this scene because it is an It's an example
Speaker 1: of Freddie turning the corner. Like everything that Lancaster Dot
Speaker 1: has impregnated in him about suppressing his animalism is here
Speaker 1: because this is the test, right. Yeah, Like she's she
Speaker 1: is almost uniquely suited to pressing every bruise that he's got,
Speaker 1: and he's just absorbing the pain over and over again
Speaker 1: with every line. And she's so like, she's so like
Speaker 1: Nork Nork chill in a way that if you know
Speaker 1: people who are like, it's just perfect. Yeah. I mean
Speaker 1: that was a tense scene. You keep I mean, you're
Speaker 1: waiting for him, yeah, to hurt her or just to explode.
Speaker 1: And the last time he was at this house he
Speaker 1: like tore out the window. Yeah, but it sort of
Speaker 1: gives you the idea that I mean in that Act
Speaker 1: three he's a little bit of a success story, but
Speaker 1: in the way that P. T. Anderson would do it,
Speaker 1: which is again not to be obvious and show him like,
Speaker 1: you know, it's some great job and he's really succeeding
Speaker 1: in life. But it hints that he's gotten a little
Speaker 1: better because of the cause. I want to float something
Speaker 1: at you right now. This is that's going to feel
Speaker 1: a little film papery. Oh here we go, which is
Speaker 1: like you remember the Jason Robard's monologue at the end
Speaker 1: of Magnolia about like the most corrosive aspect to a
Speaker 1: person's life is like the regret, goddamn regret. Exactly what
Speaker 1: do you think this is? Like? This is the same thing.
Speaker 1: This is like, this is the idea of the regret
Speaker 1: of doing a thing and failing is not nearly as
Speaker 1: bad as the not doing of a thing at all.
Speaker 1: And this is the confrontation that Freddie Quell has with
Speaker 1: that idea, Like he had a chance to make a
Speaker 1: thing with Doris and and he he punched out, He
Speaker 1: hit the eject button before he had a asked to
Speaker 1: truly realize it. Well, do go out on that limb.
Speaker 1: I think you're right on the money, because earlier in
Speaker 1: the processing scene two of the very pointed questions he asked,
Speaker 1: or do you regret your life's actions or whatever? Do
Speaker 1: you have your life regrets? And then, um, what was
Speaker 1: the other one? It wasn't life regrets? Oh well, he
Speaker 1: sort of asked him about uh, when he has sex
Speaker 1: with his aunt, he asked them, he asked him if
Speaker 1: he regrets doing that, and like why he did that?
Speaker 1: And I think both of those sort of tie in.
Speaker 1: It feels like the superficial question about Paul Thomas anderson
Speaker 1: films might be are they about family and the like
Speaker 1: the Varsity team question that that you and I play
Speaker 1: for is are his films about regret? Yeah? And I
Speaker 1: believe they are. Yeah. I think you're right. I think
Speaker 1: all of his films you can sort of tie that
Speaker 1: thread through, you know. Yeah, Yeah, I think that's why
Speaker 1: they hit so hard. Yeah, because this, again, this is
Speaker 1: a movie that doesn't have characters that you really relate
Speaker 1: to our root for in a traditional sense, but it
Speaker 1: still hits hard. And it's usually those other things that
Speaker 1: do hit hard is you're relating or feeling for these people,
Speaker 1: So he's pulling like he's got a toolbox here that
Speaker 1: you don't see a lot. Like everyone knows what it's
Speaker 1: like to exist in a family. You know whether or
Speaker 1: not that that relationship is positive or negative. But like,
Speaker 1: I feel like a person's relationship with regret is so
Speaker 1: much more relatable person to person, like you and I.
Speaker 1: You and I can share in what our regrets are
Speaker 1: in a way that like makes that uh, that feeling
Speaker 1: a transaction and there's like a currency to that that
Speaker 1: that feels even the the and and like while our
Speaker 1: families might be a friend, I feel like our regrets
Speaker 1: might be at a at a far more acute level
Speaker 1: of feeling. And that might be like, like if you're
Speaker 1: really trying to make a film or a series of
Speaker 1: films that makes you feel a thing like what is
Speaker 1: what is like the what's the deepest part of being
Speaker 1: a human being that that levels the playing field? What's
Speaker 1: the thing that that that I can relate to you
Speaker 1: on on a level even though we've had totally separate lives.
Speaker 1: It's how our regrets make us feel. I feel like
Speaker 1: those are very similar feelings person to person. How that
Speaker 1: feels deeply Yeah, it's it's sort of the great equalizer,
Speaker 1: Like it doesn't matter what the regret is, it's that
Speaker 1: same underlying feeling. Yeah, yeah, that's really interesting. That might
Speaker 1: be the great late motif of Paul Thomas Anderson films. Yeah,
Speaker 1: we should get him on here and ask him. I'd
Speaker 1: love to. Let's let's do the interview at the boogie
Speaker 1: unit's house that you and I buy as a business expense.
Speaker 1: So let's wrap it up here with that scene when
Speaker 1: he finally goes back to England and he you know,
Speaker 1: he he meets them in this uh, cavernous off I mean,
Speaker 1: you can't even call it an office. He set up
Speaker 1: his desk in this you know, sort of palatial room
Speaker 1: and um, amy at us. How great is the lighting
Speaker 1: of this scene, right, It's like it's shriekingly back lit. Yeah. Yeah,
Speaker 1: and yet and yet like everything's bounced back up in
Speaker 1: his face. It's yeah, we don't I feel like we,
Speaker 1: as in people who talk about movies, do not call
Speaker 1: attention to like the work of those who light scenes
Speaker 1: in a way that we should, because this scene in
Speaker 1: particular is incredibly lit. Yeah, it's a lot of work
Speaker 1: to light a room that big with that much natural light. Um,
Speaker 1: but Amy Adams isn't having it, you know. She just
Speaker 1: sort of dismisses him as is still on the drink
Speaker 1: and you can't handle this life straight and she leaves
Speaker 1: and you you feel like that had to happen in
Speaker 1: the scene because there's almost that moment there kind of
Speaker 1: is that's that moment where they both look at each
Speaker 1: other like, well, I'm glad she's gone and it's and
Speaker 1: it's us just us. Whatever. Did you notice her eyes
Speaker 1: were black in that scene? Now where are they? Now?
Speaker 1: I'm just teasing, but you were ready to believe that, right,
Speaker 1: it was because after that scene where she said to
Speaker 1: change your ey color or whatever. There's kind of a
Speaker 1: supernatural quality to Amy Adams in this movie, yeah, I think,
Speaker 1: And this is a scene that demonstrates it. Yeah, Like
Speaker 1: like like Lancaster Dad is in fear of his wife,
Speaker 1: or at least the sort of respect of a wife
Speaker 1: that allows for that kind of fear, And when she
Speaker 1: leaves the room, you're totally right, Chuck like his shoulder slump.
Speaker 1: He's like, God, I can finally get into these four
Speaker 1: packs of cools with my buddy, Yeah, you brought him
Speaker 1: the cools. Such a solid man. But you know that
Speaker 1: scene though, is very uh, it did not go the
Speaker 1: way that you would expect it to go in a
Speaker 1: in a movie, you know, that's usually a big reconciliation
Speaker 1: or something, and and it's, uh, he gets this great
Speaker 1: story about where they where he feels like they met
Speaker 1: before that's just batshit about them being on the pigeon
Speaker 1: force or whatever with the Prussians bearing down on them,
Speaker 1: and like, it's so great. How do you write that ship?
Speaker 1: Is this a war movie? Chuck? Like, given the torpedo
Speaker 1: beginning and and the balloon ending, it's so great, Like,
Speaker 1: how do you write that out? It's crazy to think of,
Speaker 1: like Paul Thomas Anderson thinking of that, like where would
Speaker 1: they have met? Because he could have done anything. You
Speaker 1: feel like Lancaster Dad doesn't even believe it when you're
Speaker 1: saying it right sort of. I got that feeling, did you.
Speaker 1: I don't know, man, I couldn't tell, Like the Iron
Speaker 1: Hubbards of the world. That's why I'm so fascinated by
Speaker 1: it all. I can never suss out if they eventually
Speaker 1: bought into their own ship or if they were just
Speaker 1: Charlatan's to the bone. This is a magic of working
Speaker 1: with the greatest actors. Though, Like if it isn't the truth,
Speaker 1: then as Paul Thomas Anderson going, can you give me
Speaker 1: a nine point five on the story? Yeah, just roll
Speaker 1: a little bit off of it, because I feel like
Speaker 1: there's a little bit rolled off of this story you
Speaker 1: think at the end. Yeah, I don't think his heart's
Speaker 1: in it the way that it's in everything else. And
Speaker 1: it maybe just like the passage of time has suggested
Speaker 1: an amount of fatigue in the sort of leadership style
Speaker 1: storytelling that that leads us to this point in this
Speaker 1: character story. But I don't know, maybe neither of them
Speaker 1: believe it. Maybe maybe Lancaster Dodd does utterly the way
Speaker 1: he believes everything else about himself. But well, that's the
Speaker 1: scene I'm gonna watch again after we're done. Um, I'm
Speaker 1: gonna cue that one up because boy, I was you know,
Speaker 1: I would think I've talked about this before. I'd always
Speaker 1: try to picture the writer at a computer or at
Speaker 1: a laptop actually like writing this stuff, and that that
Speaker 1: that bit of dialogue about them being in the war
Speaker 1: sending these balloons up, because he could have done anything
Speaker 1: they could have met anywhere. He could have said they
Speaker 1: were cavemen together and that the Paleolithic era or whatever like.
Speaker 1: He could have on in any direction throughout history, and
Speaker 1: they could have done They could have been Chimney sweeps
Speaker 1: in London, they could have whatever. They could have been,
Speaker 1: butch Cassidy in the Sundance Kid, And it was important
Speaker 1: that they did something important, and it was important that
Speaker 1: there was a statistical specificity to it. I feel like
Speaker 1: this is that a lot of magicians use, like like
Speaker 1: this has got to be true because it's so specific, Right,
Speaker 1: only two balloons were lost. That's a detail that that
Speaker 1: a practiced leader would use, right, Yeah, yeah, absolutely, man,
Speaker 1: And it's very it's very clear that he's being specific
Speaker 1: about that we only lost two balloons through the whole thing. Yeah, yeah,
Speaker 1: Like Jachin's probably Freddy's probably impressed by that. I mean,
Speaker 1: the tears you see from him, you could understand, are
Speaker 1: like this is this is would buy between them. But
Speaker 1: it's also maybe finally a recognition of the lie of
Speaker 1: the whole thing. Oh wow, yeah, how could you How
Speaker 1: could you not convince Freddie Quell of anything? He's so
Speaker 1: he's so suggestible he's so drunk and dumb. But this
Speaker 1: is the maybe maybe the point that's that's too far,
Speaker 1: and maybe the tears are from that as well. Yeah,
Speaker 1: you wonder if he uh, if you went in there
Speaker 1: almost hoping that the story would be I think you
Speaker 1: you know, you took my friends picture at the mall
Speaker 1: one day and I was there shopping in a like
Speaker 1: something believable, and like when he gets this fantastical story,
Speaker 1: he's just like it's it's fully seals the deal that, Yeah,
Speaker 1: this guy is so full of shit. Yeah, yeah, there
Speaker 1: is a I feel like you could make the case
Speaker 1: that the film could end there. Yeah, but you get
Speaker 1: that last scene, you do, you get you get the
Speaker 1: lady at the bar freddie Quell still in Europe. He
Speaker 1: he makes eyes with the lady across the bar. He
Speaker 1: gets her to buy him a drink, which chuck, I
Speaker 1: don't know by you, I don't know. I don't know
Speaker 1: if that's ever happened to me. I don't think that's
Speaker 1: ever happened to me either. I'm buying my own drinks, brother,
Speaker 1: and uh. And they end up going back to wherever.
Speaker 1: Here's the thing. They go back to where she's staying right, yeah,
Speaker 1: I think so, there's no chance that Freddie's got a
Speaker 1: place to stay. And he kind of gives her the business, yea,
Speaker 1: the questions business. Yeah, and he is delighted by her answers. Yeah,
Speaker 1: Like you get the herd feeling. This is the beginning
Speaker 1: of something for them. Right. She's great. I like her
Speaker 1: a lot. She's good and he and he's he's still
Speaker 1: sort of the animal because it fell out. Put it
Speaker 1: back in. We've all had it fallout, Chuck, We've all
Speaker 1: asked for it to be put back in. Oh boy,
Speaker 1: good stuff. This is a very very familiar moment. What
Speaker 1: a movie man, I mean, yeah, Like, I think what
Speaker 1: I respect most about pt Anderson at this point in
Speaker 1: this phase in his career when he made this and
Speaker 1: There Will Be Blood, was that he wasn't, like I said,
Speaker 1: he forgot about the audience. He wasn't even out to
Speaker 1: entertain necessarily. I think I don't know what was going
Speaker 1: through his head. But I love these movies. They're challenging
Speaker 1: as hell. I think I like There Will Be Blood more. Yeah,
Speaker 1: it's not like a band lee eater who like turns
Speaker 1: his back to the audience, who doesn't want them to
Speaker 1: see the music being played like. It's not that inscrutable,
Speaker 1: but it's very much a feeling of this is the
Speaker 1: story I'm trying to tell. Try to keep up, try
Speaker 1: to project your own life onto it in a way
Speaker 1: that's satisfying. It really God, it's I I might agree
Speaker 1: with you that that the film that came before might
Speaker 1: be the favorite of the two, but it's no less
Speaker 1: satisfying to watch the master It's there's so much here.
Speaker 1: It's really great just to watch the acting. It's like
Speaker 1: it's just a masterclass. Man. It's ridiculous, it really is,
Speaker 1: And that's what makes it great and sad in a
Speaker 1: way that, like so many PTA films are great and sad,
Speaker 1: absolutely good stuff. Dude talks, Yeah, I think we did.
Speaker 1: And good job by you. We get to talk about
Speaker 1: our dads. It's always with pt Anderson, we always we
Speaker 1: always get to dig in there. Yeah, yeah, sure do
Speaker 1: All right, we'll save some of that for the after show. Well,
Speaker 1: I think what what's next is Inherent Vice, right, which,
Speaker 1: as you know, is somehow a movie I did not see.
Speaker 1: WHOA What I didn't see it. Man, it got such
Speaker 1: ship that it got by me, and I was like,
Speaker 1: I don't want to see it if it's no good.
Speaker 1: And then just as a film student and p T.
Speaker 1: Anderson fan, I like just dropped the ball. There's no excuse.
Speaker 1: I mean, if you're working with Joaquin Phoenix, you want
Speaker 1: to work with him again, right, Like definitely, I can
Speaker 1: definitely understand that. But also, if you're Paul Thomas Anderson,
Speaker 1: let's just say that you have a number of films
Speaker 1: to do in your career, Okay, I mean it's to
Speaker 1: adapt something else I think is an interesting exercise. But
Speaker 1: as a consumer of film and a consumer of his
Speaker 1: work specifically, like I would not make that trade. Like
Speaker 1: I would always choose an original work written and directed
Speaker 1: by Paul Thomas Anderson than an adaptation of a work,
Speaker 1: which is what this next one is. But I can
Speaker 1: totally understand a creative person's instinct to get uncomfortable and
Speaker 1: try something different. So I I respect it and I
Speaker 1: love it, but I hope it's not at the expense
Speaker 1: of a project that he makes himself. Because he's so
Speaker 1: he's so great. I can't wait to see it. Uh,
Speaker 1: And that'll be interesting too because it'll be super fresh
Speaker 1: for me. And uh yeah, that'll be a different sort
Speaker 1: of episode for us. We need more therapy clearly, well
Speaker 1: movie therapy specifically. All right, brother, well that was a
Speaker 1: good one. I hope the listeners are still enjoying the
Speaker 1: pt Anderson series. We want to get it to him
Speaker 1: one day. I think that will happen. I think he
Speaker 1: needs and he needs to hear these shows. I'd love
Speaker 1: that very much. Let's do the wrap up show with
Speaker 1: him at the Boogie Night's House. Absolutely all right. I
Speaker 1: think you've got that kind of pull shit. Good way
Speaker 1: to end. Thanks buddy, Thank you man. It's great to
Speaker 1: do this again. I missed you a lot. I missed
Speaker 1: you too. Louie Crush has produced, edited, and engineered by
Speaker 1: Ramsey unt here in our home studio at Pont City Market, Atlanta, Georgia.
Speaker 1: For I Heart Radio. For more podcasts for my Heart Radio,
Speaker 1: visit the I Heart Radio app, Apple podcast, or wherever
Speaker 1: you listen to your favorite shows.