WEBVTT - Paul Schneider on Cape Fear 0:00:00.200 --> 0:00:02.960 Welcome to Movie Crush, a production of I Heart Radio. 0:00:28.600 --> 0:00:31.639 Hey everybody, and welcome to Movie Crush Friday Interview edition 0:00:31.760 --> 0:00:34.360 with friend of the show and friend in real life, 0:00:35.479 --> 0:00:39.480 Mr Paul Schneider. Hello, I've got one thing to say 0:00:39.479 --> 0:00:43.800 to you, Chuck oh boys looking for the neuro quote. 0:00:43.960 --> 0:00:47.839 It's this, I am like God and God like me. 0:00:48.240 --> 0:00:50.640 I am as large as God. He is as small 0:00:50.760 --> 0:00:54.360 as I. He cannot above me, nor I beneath him. 0:00:54.400 --> 0:01:01.560 Be it's a laziest century. You're accent is so much 0:01:01.600 --> 0:01:04.520 better because you were from North Carolina. It's crazy how 0:01:04.560 --> 0:01:07.839 bad his is. Yeah, here's the thing. We'll go ahead 0:01:07.840 --> 0:01:09.440 and talk about the accent in Cape Fire right off 0:01:09.440 --> 0:01:10.800 the name. But I do want to talk about something 0:01:10.800 --> 0:01:12.760 else before we even talk about the movie. But the 0:01:12.800 --> 0:01:15.800 accent is something that I had to get over and 0:01:15.800 --> 0:01:18.520 reckon with over the years, and now I actually like 0:01:18.640 --> 0:01:22.520 it for it's sort of fun be movie quality. Yeah, 0:01:22.600 --> 0:01:25.600 but it is by no means an authentic Southern accent. No. 0:01:26.160 --> 0:01:28.039 I couldn't get over it at the at the first 0:01:28.080 --> 0:01:30.360 time I saw it, I was I was so um 0:01:31.640 --> 0:01:35.000 like aggrieved as a Southerner, you know, I was like, 0:01:35.400 --> 0:01:37.400 you know, I was like a deal with us? Is 0:01:37.440 --> 0:01:39.480 that such a hard accent to get right? And the 0:01:39.880 --> 0:01:43.760 movies always way way way overdo it. And not just that, 0:01:43.800 --> 0:01:46.840 but every Southern you know, the default Southern character with 0:01:46.959 --> 0:01:51.040 a Southern accent in all media is an idiot. Yes, 0:01:51.640 --> 0:01:55.480 you know, he's a clown. And obviously us and other 0:01:55.480 --> 0:01:59.200 people like us have a problem with that because we're 0:01:59.240 --> 0:02:03.560 Southern guys and we're we have fairly smart individuals, yeah 0:02:04.200 --> 0:02:07.120 with um with low self esteems, and we just want 0:02:07.160 --> 0:02:08.840 everybody to you know, we want to we want to 0:02:08.880 --> 0:02:12.959 place at the table spending your life defending this out 0:02:13.639 --> 0:02:17.680 in conversation. Do you like me too much? Yeah, it's 0:02:17.680 --> 0:02:19.320 a big thing because it's just like now, we're not 0:02:19.360 --> 0:02:21.880 all dump crackers. Can be very progressive, we can be 0:02:21.960 --> 0:02:24.679 very intelligent. And then I try to give like literary 0:02:24.720 --> 0:02:28.760 examples to back up myself, and I can't remember anything. 0:02:28.760 --> 0:02:32.840 I'm like Faulkner, right, yeah, that's our guy, and there's 0:02:32.880 --> 0:02:36.800 like okay, and I'm like, you know, Wanta Matapeia County, 0:02:37.440 --> 0:02:43.320 all the books. I might even say all the books. Oh, 0:02:43.480 --> 0:02:45.600 so before we get going on Cape Fear and Earnest, 0:02:45.960 --> 0:02:49.040 you just got finished shooting a motion picture in Louisiana 0:02:49.639 --> 0:02:51.519 and as I'm springing this on you, but is it 0:02:51.639 --> 0:02:53.440 something you can you can talk about or you gotta 0:02:53.480 --> 0:02:57.480 keep it under wraps um, Who fucking knows h I 0:02:57.520 --> 0:03:01.560 never get those emails. But it's it's enough there, you know, 0:03:01.639 --> 0:03:05.280 not unlike Cape Fear. It's a it's a it's a 0:03:05.560 --> 0:03:07.760 yeah production for blum House, and it kind of has 0:03:07.800 --> 0:03:12.679 this great pulpy, kind of pulpy quality. You know. It's 0:03:12.840 --> 0:03:15.720 you know, it's sort of an action family adventure, but 0:03:16.080 --> 0:03:18.600 in essence, just like this one, it's a family that 0:03:19.800 --> 0:03:23.520 you know, has to deal with itself, um because of 0:03:23.560 --> 0:03:28.480 this sort of dangerous um you know, because you know, 0:03:29.040 --> 0:03:33.239 because of this dangerous incident that goes. Yeah, yeah, we 0:03:33.280 --> 0:03:35.400 don't want to give it anything away. You already spoiled 0:03:35.400 --> 0:03:38.360 it for me privately, And I was like, well, thanks 0:03:38.360 --> 0:03:40.120 a lot, man, I guess I don't need to see 0:03:40.120 --> 0:03:42.560 it now. Yeah, of course I'm going to see it. 0:03:42.600 --> 0:03:45.000 But it sounds like a fun little thriller with some 0:03:45.040 --> 0:03:48.640 good twist and turns um a little little straw dogs 0:03:49.280 --> 0:03:52.440 element to it, which is great, and it did. Watching 0:03:52.480 --> 0:03:55.080 Cape Fear yesterday, I kept thinking, I was like, well, 0:03:55.120 --> 0:03:58.320 Schidor just did a movie that's not completely unlike this, 0:03:59.360 --> 0:04:04.000 because they're some certain themes and cape fear that especially 0:04:04.000 --> 0:04:10.640 I get now more as a father and husband about them, 0:04:11.360 --> 0:04:13.800 whether it's right or wrong, the pressure a man might 0:04:13.840 --> 0:04:17.920 put on himself to be a protector, and and guys 0:04:18.000 --> 0:04:21.719 like us probably feeling fairly incapable like Nick Nulty was 0:04:21.760 --> 0:04:24.880 in this movie, of being the projector Yeah, I mean, 0:04:25.800 --> 0:04:31.440 you know it. It's funny how the decisions that Sam 0:04:31.560 --> 0:04:35.640 has made kind of you know, kind of strip them 0:04:35.680 --> 0:04:38.680 of his power. And the fact that he married Lee, 0:04:38.960 --> 0:04:43.200 this very beautiful, very intelligent woman. Um, you know, she 0:04:43.360 --> 0:04:46.640 reminds him of this in these insidious sort of cutting 0:04:46.680 --> 0:04:50.919 ways all the way through Oh yeah, the film. And 0:04:50.960 --> 0:04:54.400 one thing that I um, one thing that I read was, 0:04:55.560 --> 0:04:59.479 you know, Scorsese was interested in making this if If. 0:04:59.480 --> 0:05:03.520 In the re make, they pumped up the disintegration of 0:05:03.720 --> 0:05:10.080 the family and the deceit and the duplicitousness of the 0:05:10.200 --> 0:05:14.120 family and how much they tear each other apart. And 0:05:14.279 --> 0:05:17.880 in the in the DVD extras Blu Ray extras, they 0:05:17.920 --> 0:05:21.440 talked about how you know, they used Bernard Herman's score. 0:05:22.320 --> 0:05:28.200 Oh man, I know that Elmer Bernstein conducted and arranged, 0:05:28.600 --> 0:05:33.279 and I you know, I met Elmer Bernstein at in 0:05:33.360 --> 0:05:36.480 film school and he came to visit. But what they 0:05:36.520 --> 0:05:39.919 did is they used some of the most, um like 0:05:40.000 --> 0:05:45.000 the heaviest, most dramatic pieces of Herman's score in the 0:05:45.080 --> 0:05:49.000 family scenes. In the family sequences, you know, not as 0:05:49.080 --> 0:05:52.720 Katie is coming after you know, coming after Sam with 0:05:52.800 --> 0:05:56.960 a pipe or you know, you know, is he you know, 0:05:57.000 --> 0:06:01.240 breaking into the house. It was in these moments of 0:06:02.279 --> 0:06:05.400 you know, there's this great moment where Danny Juliet Lewis 0:06:06.440 --> 0:06:10.680 she says, she's so good. Oh man, there's a whole 0:06:10.880 --> 0:06:13.040 I mean, there's a whole movie crush on her. I 0:06:13.320 --> 0:06:17.360 don't know. I mean that's one of the great one 0:06:17.360 --> 0:06:19.640 of the great sort of I don't want to say 0:06:19.720 --> 0:06:26.560 kid performances, but like young adults performances, because she fits, 0:06:26.680 --> 0:06:30.039 she fits right into the movie. But she's doing something 0:06:30.240 --> 0:06:34.479 else that's insane. You know, she's like she's like, um, 0:06:34.560 --> 0:06:38.160 she's like an extremely well trained actor and a completely 0:06:38.320 --> 0:06:41.680 non actor all at the same time. Yeah, what are 0:06:41.720 --> 0:06:44.039 you saying about her? Though? I cut you off and 0:06:44.080 --> 0:06:46.680 you had a relevant point about her. Oh so there 0:06:46.720 --> 0:06:49.479 was I was noticing last night when I watched it again, 0:06:49.520 --> 0:06:53.560 that you know, these juxtapositions between you know a lot, 0:06:53.720 --> 0:06:56.000 you know, what what's happening on you know, what's happening 0:06:56.080 --> 0:06:59.159 in the character of the narrative and what happens in 0:06:59.200 --> 0:07:03.200 the camera. So Danny says, I thought we were supposed 0:07:03.200 --> 0:07:06.279 to be relaxed now, and as as the camera is 0:07:06.320 --> 0:07:09.000 like charging towards her at a hundred miles an hour. 0:07:10.000 --> 0:07:13.600 And yeah, you know, there's that scene at the dinner 0:07:13.600 --> 0:07:15.680 table when Sam is saying, you know, they hired Joe 0:07:15.720 --> 0:07:17.600 Don Baker as a private eye, and he's like, yeah, 0:07:17.640 --> 0:07:18.840 you know, I think this guy is really going to 0:07:18.960 --> 0:07:20.840 work out. You know, he seems gonna be really enjoying it, 0:07:20.880 --> 0:07:26.160 and then the phone rings and everyone. It's one of 0:07:26.160 --> 0:07:30.080 my favorite moments. And Danny too, is the one. She's 0:07:30.120 --> 0:07:32.800 the one, the first one later in the movie, in 0:07:32.880 --> 0:07:35.560 the movie at the climax and that last amazing sequence 0:07:35.560 --> 0:07:39.600 that we'll get do in depth later, but uh, she's 0:07:39.640 --> 0:07:44.600 the first one that immediately has the instinct to try 0:07:44.640 --> 0:07:50.840 and manipulate his sexuality and his emotions right off the Batman. 0:07:50.920 --> 0:07:52.920 She's the first one that's like, you know, I thought 0:07:52.960 --> 0:07:55.480 we had this connection. Oh no, no, no, Jessica Lane 0:07:55.480 --> 0:07:58.320 talks about the connection, but she's talking about reading nexus. 0:07:58.720 --> 0:08:01.240 Yeah right right, yeah, She's like, I read that thing, 0:08:01.280 --> 0:08:03.600 you know, like let's connect on that you know which 0:08:03.680 --> 0:08:06.720 part in Like right away, this girl is the one 0:08:06.760 --> 0:08:09.800 that's leading the charge while Dad's tied up outside and 0:08:09.880 --> 0:08:14.320 Jessica Lang is at first just understandably completely freaked out, 0:08:14.760 --> 0:08:17.840 and she uses language. It was something like he says 0:08:17.880 --> 0:08:20.720 something like, you know, did you read all of those parts? 0:08:20.720 --> 0:08:22.640 And she says, yeah, I read those parts as if 0:08:22.640 --> 0:08:25.800 they're they're talking about something that Lee and Sam don't 0:08:26.160 --> 0:08:29.760 know about. Um. And it's like, in this weird way, 0:08:29.760 --> 0:08:33.200 she like curls under his wing to sort of to 0:08:33.520 --> 0:08:36.640 you know, to fool him, to to try to get, 0:08:36.640 --> 0:08:40.240 you know, find a chink in his armor. Um, and 0:08:40.280 --> 0:08:43.720 of course there's not one. It doesn't work. But but 0:08:45.080 --> 0:08:49.680 it's funny. Both of those women are so crafty, I 0:08:49.679 --> 0:08:52.320 would say, like cunning and crafty in the way that 0:08:52.400 --> 0:08:56.920 they are, you know, trying to to to beat Max. 0:08:57.960 --> 0:09:02.280 And the way Sam goes about it is like caveman. Yeah. 0:09:02.360 --> 0:09:04.439 And I don't mean that as a pejorative. I mean 0:09:04.480 --> 0:09:10.120 like literally he's trying to smash his head with a rock. Yeah, 0:09:10.160 --> 0:09:12.040 that's the only thing he knows to do, because he 0:09:12.120 --> 0:09:15.000 just makes a series after series of missteps and dealing 0:09:15.280 --> 0:09:19.640 and trying to handle this is the husband, whether it's 0:09:19.679 --> 0:09:23.920 like as the lawyer. Yeah, well yeah, and maybe, you know, 0:09:24.000 --> 0:09:27.440 maybe his journey in the story is to get back 0:09:27.480 --> 0:09:29.800 to a fun to be a fucking caveman and like 0:09:29.920 --> 0:09:33.760 sort of reclaim his monkey male nous, you know, and 0:09:33.800 --> 0:09:36.400 like yeah, because he certainly doesn't have that all the 0:09:36.440 --> 0:09:41.240 way through the movie, you know, No, And then uh, 0:09:41.280 --> 0:09:45.800 Sam or not Sam? I can't remember Jessica Lange's character name, 0:09:46.840 --> 0:09:51.840 Yeah Lee Man that monologue at the end when she's 0:09:53.120 --> 0:09:56.520 change handcuffed to the thing and breaking down and saying 0:09:56.559 --> 0:09:58.240 the things that you know, will you just do those 0:09:58.280 --> 0:10:01.520 things to me and not her? It's it's like, I 0:10:01.600 --> 0:10:03.680 used I love this movie in college. We watched it 0:10:03.720 --> 0:10:05.600 a lot, and I saw it many many times back 0:10:05.640 --> 0:10:07.000 then that this is the first time I've seen it 0:10:07.000 --> 0:10:10.400 in many years, and certainly since I've been a father 0:10:10.760 --> 0:10:15.319 and maybe even a husband. But that ship wrecked me 0:10:15.800 --> 0:10:21.439 this time scene Jessicaaling, it's so good. She should have 0:10:21.440 --> 0:10:23.839 been nominated I'm so mad that she did. Juliet Lewis 0:10:23.960 --> 0:10:26.160 was to her credit, which is great, nominated for an 0:10:26.160 --> 0:10:30.680 Oscar for Supporting Actress, and lost to Mercedes Rule for 0:10:30.800 --> 0:10:33.400 Fisher King, which is another favorite performance of mine. So 0:10:33.400 --> 0:10:36.040 it's really hard to and awards are all dumb anyway, 0:10:36.080 --> 0:10:39.440 but just the acting in this movie across the board 0:10:39.520 --> 0:10:42.439 is just amazing. And she's sort of and Jessica Lank 0:10:42.520 --> 0:10:47.200 sort of pathetically pulls at the strap or not the strap, 0:10:47.240 --> 0:10:50.000 but like sort of the top of her shirt as 0:10:50.080 --> 0:10:54.200 this like kind of like pathetic or Loren like, please 0:10:54.240 --> 0:10:55.760 do this with the you know, and she kind of 0:10:55.800 --> 0:10:57.760 refers back to the time when she was putting on 0:10:57.880 --> 0:11:00.480 lipstick after she and Salmon made love and she was 0:11:00.600 --> 0:11:05.840 looking out at this you know, this blue screen Max Katie. 0:11:05.960 --> 0:11:07.839 But I want to I want to talk about one 0:11:07.880 --> 0:11:11.839 thing that I was blown away by this when I 0:11:11.880 --> 0:11:16.120 saw it a couple months ago, and this time too, 0:11:17.240 --> 0:11:20.240 is the speed of the narrative. And I wrote this down. 0:11:20.280 --> 0:11:23.599 I mean, I you know, I paused and rewound and 0:11:23.679 --> 0:11:25.880 I wrote this all down. So this is what we 0:11:25.960 --> 0:11:31.520 know in six minutes. We know about the existence of 0:11:31.600 --> 0:11:34.600 Cape Fear being a dreamy dangerous place. We know that 0:11:34.640 --> 0:11:36.840 Max Katie has been released from prison, and he's not 0:11:36.880 --> 0:11:40.880 an idiot because he read all his books. You know that, Yeah, alread. 0:11:42.760 --> 0:11:45.640 And we know that Danny relates more to Graciela the 0:11:45.679 --> 0:11:48.840 housekeeper than she does her mother or family. We know 0:11:48.920 --> 0:11:51.240 that Lee is a graphic designer who loves her dog 0:11:51.320 --> 0:11:55.520 more than her daughter. And in yeah, definitely, and in 0:11:55.559 --> 0:12:00.000 my opinion, you know, she the fact that her character 0:12:00.120 --> 0:12:03.679 or is this artsy smoker. To me, it also tells 0:12:03.720 --> 0:12:05.760 me that she doesn't want to be a wife or 0:12:05.800 --> 0:12:09.200 mother anymore. Yeah. And then we set up Sam as 0:12:09.240 --> 0:12:12.000 a lawyer who traffics in a world of privilege and 0:12:12.120 --> 0:12:17.239 favors because he gets the judge to push the alimony 0:12:17.320 --> 0:12:21.439 hearing of Fred Thompson's daughter mh. And finally we get 0:12:21.440 --> 0:12:24.840 a taste of Katie in a small way, terrorizing the 0:12:24.920 --> 0:12:31.640 family at the movie theater watching Problem Child. Yeah, I 0:12:31.679 --> 0:12:34.640 mean one of the great scenes that silhouette man in 0:12:34.679 --> 0:12:43.760 those that'sh my bikini lighter, that big humorously fat cigar. Uh. 0:12:44.000 --> 0:12:46.560 There's so many and I don't know de Niro's really 0:12:47.640 --> 0:12:49.400 as our most actors. And I'd love to get your 0:12:49.400 --> 0:12:53.080 perspective on this too. When it comes to picking props 0:12:53.120 --> 0:12:55.960 and wardrobe and stuff like that. I know that he 0:12:56.080 --> 0:13:00.720 is meticulous and known for like trying on d jackets 0:13:00.760 --> 0:13:02.680 until he finds the right one. Like what is that 0:13:02.760 --> 0:13:06.600 like for you as an actor when you get into that, Um, 0:13:06.840 --> 0:13:09.360 it really is. I mean it really depends on whether 0:13:09.440 --> 0:13:13.720 or not you're Robert de Niro. Um, like having the 0:13:13.720 --> 0:13:20.000 opportunity to kinding the power to hopefully you have a director, um, 0:13:20.120 --> 0:13:23.079 hopefully of a director and a costume designer and a 0:13:23.160 --> 0:13:28.320 makeup department who's able to collaborate and kind of confident 0:13:28.559 --> 0:13:33.480 enough to collaborate. And you know, sometimes you walk into 0:13:33.480 --> 0:13:36.600 a situation where they're you know, they're hemming and halland 0:13:36.600 --> 0:13:38.440 and they kind of want to give you a little 0:13:38.440 --> 0:13:41.920 bit of of room, but they basically have all your 0:13:41.920 --> 0:13:45.600 clothes picked out right, And for me, I just want 0:13:45.760 --> 0:13:50.760 someone to say like, hey, dude, um, you know this 0:13:50.840 --> 0:13:52.600 is what I've got picked out, So can we talk 0:13:52.640 --> 0:13:55.679 about this instead of kind of like letting you you know, 0:13:55.880 --> 0:13:57.960 kind of letting you go a little bit and coming 0:13:58.040 --> 0:13:59.880 up with ideas that you know they're going to shut 0:13:59.880 --> 0:14:04.640 the door on. It's like just yeah, just fucking tell me. 0:14:04.720 --> 0:14:06.600 You know, they had this idea that actors are this 0:14:06.720 --> 0:14:08.600 artie FARTZI a lot who can't you know, who are 0:14:08.640 --> 0:14:12.079 too sensitive and can't take you know, can't take decisions 0:14:12.160 --> 0:14:16.960 or can't take Um yeah, I can't take notes. Um, 0:14:17.000 --> 0:14:19.520 but I just don't, you know, I don't feel that way. 0:14:19.600 --> 0:14:21.120 You know. If I feel like somebody is not going 0:14:21.120 --> 0:14:25.480 to collaborate, I just won't do their movie. Um. But 0:14:25.560 --> 0:14:29.440 it it it's really hit or miss, depending on who 0:14:29.520 --> 0:14:32.560 you're working with. And it really sucks because most of 0:14:32.560 --> 0:14:36.040 the time they want they cast you because they want to, um, 0:14:36.120 --> 0:14:38.280 kind of dress you in the clothes of the movie 0:14:38.320 --> 0:14:42.600 they last saw you in. Oh interesting, because they cast 0:14:42.640 --> 0:14:45.960 you as that guy, right, And so I end up 0:14:45.960 --> 0:14:48.680 wearing the same brown shoes every fucking movie I do. 0:14:49.160 --> 0:14:53.040 Really Yeah, But then you have people like Jane Campion, 0:14:53.080 --> 0:14:56.200 and all of a sudden, I'm like, you know, like 0:14:56.280 --> 0:15:00.800 in clothes I've never worn before or period obviously exactly, 0:15:01.040 --> 0:15:03.960 but who can see who can see past? You know, 0:15:04.040 --> 0:15:07.520 the last character you played is getting in that wardrobe. 0:15:07.560 --> 0:15:10.520 Is that a real important thing to you or is 0:15:10.560 --> 0:15:13.800 it just kind of part of everything? If it's specific enough, 0:15:14.200 --> 0:15:18.440 absolutely okay. Yeah, and if it's a period piece ship man, 0:15:18.440 --> 0:15:22.280 it like it does the acting for anything. Yeah, that's amazing. 0:15:22.720 --> 0:15:26.800 And apparently he apparently DeNiro was like working out, you know, 0:15:26.880 --> 0:15:30.760 at night, and they shot all the stuff where he 0:15:30.800 --> 0:15:33.600 takes his shirt off towards the end of productions so 0:15:33.640 --> 0:15:37.880 he could be as Max cut yeah, lowest b m 0:15:37.960 --> 0:15:41.640 I or something. Dude, I remember seeing this in the theater. 0:15:42.480 --> 0:15:44.640 I think I probably did see in the theater in college. 0:15:45.200 --> 0:15:48.800 Um in that first reveal of him in the cell 0:15:49.760 --> 0:15:52.240 when he's got that long, slick back hair and his 0:15:52.320 --> 0:15:57.000 body is just chiseled out of fucking stone. With those tattoos, man, 0:15:57.080 --> 0:16:00.120 and that back tattoo with that big cross, it's like 0:16:00.920 --> 0:16:04.400 intimidation overload right off the bat and just so effective. 0:16:04.960 --> 0:16:09.320 And it had to be that way and the and 0:16:09.360 --> 0:16:12.040 it was sort of like pre everyone has a tattoo, 0:16:12.680 --> 0:16:15.560 yeah yeah, yeah yeah, and for like the shocking shocking 0:16:15.640 --> 0:16:18.280 level of tattoos. Yeah yeah, and and for too like 0:16:18.760 --> 0:16:22.680 X youth group, you know, church youth group kids. All 0:16:22.720 --> 0:16:27.440 those Bible verses were like extra but yeah, they hit 0:16:27.520 --> 0:16:29.960 me and you probably harder, just like the Exorcist hit 0:16:30.000 --> 0:16:32.840 me and you harder. You know whoa like this is 0:16:33.760 --> 0:16:35.680 this is really not what my mom wants me to 0:16:35.720 --> 0:16:49.240 be near. Uh yeah, he was just crazy. Let's talk 0:16:49.280 --> 0:16:51.240 a little bit about and you know, we can jump 0:16:51.240 --> 0:16:52.680 all over the place, but I would like to talk 0:16:52.720 --> 0:16:57.760 a little bit about Scorsese's methods here and uh, just 0:16:57.800 --> 0:17:02.840 what a wild movie he made with the um with 0:17:02.840 --> 0:17:07.480 with the changing the film stock to the to the negative, 0:17:07.520 --> 0:17:10.160 and then these washes of color and then from negative 0:17:10.240 --> 0:17:13.000 back to color, and those sequences where it would just 0:17:13.040 --> 0:17:16.359 sort of flow and drift back and forth, and blue 0:17:16.359 --> 0:17:21.480 screen and diopters and jump cuts and unmotivated camera and 0:17:22.240 --> 0:17:25.360 also everything is in it, like he really didn't hold 0:17:25.440 --> 0:17:28.480 anything back. Well, I was thinking to myself, like, this 0:17:28.520 --> 0:17:31.800 is a movie that celebrates the fact that it's a movie. 0:17:31.840 --> 0:17:37.119 I mean, it's a pulpy, over the top, neo noir cartoon. 0:17:37.520 --> 0:17:40.720 And if people watch it trying to you know, trying 0:17:40.760 --> 0:17:43.960 to watch like a super super serious, you know, tight 0:17:44.280 --> 0:17:48.320 you know, suspense thriller, well this isn't this isn't bad. 0:17:48.400 --> 0:17:51.520 It's not super serious, you know, it's sort of like, yeah, 0:17:51.640 --> 0:17:55.720 it's not even reality tethered almost like I haven't here 0:17:55.800 --> 0:17:59.600 Somewhere in my notes it's a real movie movie. It's 0:17:59.600 --> 0:18:02.600 got this it's got this heightened sense of reality, and 0:18:02.680 --> 0:18:05.640 it doesn't feel like real life. It feels just off. 0:18:05.840 --> 0:18:08.639 It feels like a bad dream. Yeah. I mean in 0:18:08.840 --> 0:18:11.280 in the way that he when they do the strip 0:18:11.280 --> 0:18:14.440 search scene, you have these like sort of like Nazi 0:18:14.520 --> 0:18:19.320 adjacent tattoos. You know, he's got these these thunderbolts that 0:18:19.359 --> 0:18:23.520 are kind of like Stormtrooper thunderbolts, and then these obviously 0:18:23.600 --> 0:18:26.400 the Bible Old Testament tattoos. And then he takes off 0:18:26.440 --> 0:18:30.359 his pants and he's wearing like silk bikini briefs the 0:18:30.920 --> 0:18:34.520 d skin. That was such an interesting choice, you know, 0:18:34.600 --> 0:18:37.960 Like sometimes I talked to filmmakers and directors, you know, 0:18:38.359 --> 0:18:40.800 we're making something and I'm telling them, like, guys, let's 0:18:40.800 --> 0:18:43.920 go for broke, you know, like we can always take 0:18:44.000 --> 0:18:47.119 something out, we can't put anything in, Like let's put 0:18:47.160 --> 0:18:51.960 everything in um And obviously for this one, they put 0:18:52.040 --> 0:18:54.440 everything in. You know. He celebrates the fact that it's 0:18:54.440 --> 0:18:58.240 a it's a movie movie. And I mean I look 0:18:58.280 --> 0:19:00.159 at it the same way that I look at at 0:19:00.200 --> 0:19:03.080 Lawrence Arabia. Like, to me, Lawrence Arabia as a cartoon. 0:19:04.280 --> 0:19:06.120 If I see it as a cartoon. I can really 0:19:06.200 --> 0:19:08.320 enjoy it if I'm picking through that, you know, if 0:19:08.359 --> 0:19:10.880 I've got Wikipedia open and I'm trying to fact check, 0:19:11.040 --> 0:19:15.199 you know, it's just, yeah, it's not that. Um. I 0:19:15.200 --> 0:19:20.320 think like that that opening uh sequence where it shows 0:19:20.359 --> 0:19:23.720 him in prison getting released from prison, you know, he's 0:19:23.760 --> 0:19:27.320 got nobody coming for him, and that shot of him 0:19:27.400 --> 0:19:30.119 leaving the prison with that storm coming in the background 0:19:30.480 --> 0:19:33.639 and he walked straight up to camera and basically, you know, 0:19:33.760 --> 0:19:35.600 that's the film school one on one thing where they're like, 0:19:35.640 --> 0:19:38.439 don't ever do that shot where you it's such a 0:19:38.440 --> 0:19:41.600 trophy like film student shot. But Scorsese did it, and 0:19:41.640 --> 0:19:44.040 you get the feeling it's just like he's laying it 0:19:44.080 --> 0:19:45.800 all out there right there with that shot. It's like, 0:19:46.000 --> 0:19:48.320 just buckle up everyone, because this is a monster movie 0:19:48.960 --> 0:19:50.880 and it's a little bit like this film I love 0:19:50.920 --> 0:19:56.480 called a Christmas Tale um uh, with kr Mastrianni and 0:19:56.600 --> 0:19:59.760 Katherine Denev and a whole bunch of other people. Um. 0:19:59.800 --> 0:20:03.200 And the guy are no depletion. I don't know how 0:20:03.200 --> 0:20:04.720 to say his last name, but that's what I think 0:20:04.760 --> 0:20:08.200 it is. He he right off the bat, he uses 0:20:08.359 --> 0:20:12.560 every filmic technique almost if to you know, almost as 0:20:12.560 --> 0:20:15.760 if to completely sort of level you in terms of 0:20:15.800 --> 0:20:18.880 your expectations at the table. Yeah. So if I could, 0:20:18.880 --> 0:20:21.320 if I do everything within the first five minutes, then 0:20:21.359 --> 0:20:24.600 you can't sort of bit or a moan about anything. Yeah, 0:20:24.680 --> 0:20:26.280 you know, yeah, like you could get up and leave 0:20:26.400 --> 0:20:28.600 right now if this isn't your bag. Yeah exactly. This 0:20:28.640 --> 0:20:31.240 is what we're gonna do here, everybody. And the differences 0:20:31.320 --> 0:20:34.040 is that these guys, you know, Freddie Francis obviously, but 0:20:34.200 --> 0:20:37.000 like these guys are doing this. You know, in film 0:20:37.040 --> 0:20:39.160 school they were like, make sure all your camera movements 0:20:39.160 --> 0:20:42.680 are motivated, you know, make sure you're lighting is natural, 0:20:42.920 --> 0:20:45.440 you know, like Sam and Lee are are Sam and 0:20:45.520 --> 0:20:47.680 Lee are having sex in that one scene and there's 0:20:47.720 --> 0:20:51.240 like the fire why are there fireworks? I don't know, Man, 0:20:51.280 --> 0:20:53.440 I thought the same thing. I never questioned it until 0:20:53.720 --> 0:20:56.960 last night or yesterday afternoon when I watched it. But man, 0:20:57.080 --> 0:21:00.040 it looks awesome, that does I mean I had of 0:21:00.160 --> 0:21:02.359 stand that it's July fourth or whatever there's that scene, 0:21:02.359 --> 0:21:07.199 but it's not July four on that day, right, And 0:21:07.240 --> 0:21:09.520 where are they they're living in and I know they 0:21:09.520 --> 0:21:12.240 shot it in Florida, but this is um just the 0:21:12.240 --> 0:21:14.000 setting of this film, the sort of low country of 0:21:14.080 --> 0:21:18.320 South Carolina. I know you're from the Carolinas, and I'm 0:21:18.359 --> 0:21:20.880 sure that and I know for a fact because we've 0:21:20.880 --> 0:21:23.719 talked about it, that that whole sort of low country 0:21:23.760 --> 0:21:27.439 outer banks see vibe is so appealing and so evocative 0:21:27.480 --> 0:21:29.320 and can be so creepy, and it's such a great 0:21:29.359 --> 0:21:31.919 setting for a movie like this totally. I mean, it's 0:21:32.000 --> 0:21:38.159 what obviously, it's what David Lynch locked onto in Velvet Um, 0:21:38.200 --> 0:21:41.680 but yeah, he I mean, these these guys are using 0:21:41.720 --> 0:21:43.800 all the tropes, but the fact that they know what 0:21:43.840 --> 0:21:49.639 they're doing obviously Filma schoon mocker schuon mocker um legend. Yeah, like, 0:21:50.240 --> 0:21:51.920 I mean, I mean, these people are doing all the 0:21:52.040 --> 0:21:55.080 silly things, but it's just that they really know what 0:21:55.119 --> 0:21:58.280 they're doing. You know, they're doing all the silly things, 0:21:58.680 --> 0:22:02.240 and and they're the asked at it, so they're kind 0:22:02.240 --> 0:22:03.959 of like they know all the rules so they can 0:22:04.000 --> 0:22:07.320 break them kind of thing. Yeah, she really she's the editor. 0:22:07.400 --> 0:22:09.760 For those of you who don't know, She's was scored 0:22:09.760 --> 0:22:11.960 Casey's editor for a long time and just a legend 0:22:12.000 --> 0:22:14.240 of the business and really had her work cut out 0:22:14.280 --> 0:22:17.639 for in this film, but also I imagine it was 0:22:17.680 --> 0:22:21.320 probably a lot of fun to edit this movie totally. 0:22:22.080 --> 0:22:26.679 I mean because because it's it's a fable m hm, 0:22:27.320 --> 0:22:30.520 and it doesn't you know, yeah, exactly, and I feel 0:22:30.520 --> 0:22:33.160 I mean exactly in the scene with Juliet Lewis yea, 0:22:34.080 --> 0:22:37.000 which is fascinating. Now when we're when we're living in 0:22:37.080 --> 0:22:40.760 sort of like the me to me too moment, how 0:22:40.760 --> 0:22:46.760 do you how do you create those electric um, you know, 0:22:46.920 --> 0:22:55.040 upsetting Yeah, you know, physical sexual moments as an actor. Um. 0:22:55.080 --> 0:22:56.840 I mean, obviously there are ways to do that. But 0:22:56.960 --> 0:22:59.000 when when I was watching the scene again where I 0:22:59.000 --> 0:23:01.520 mean the whole point of that of that scene, the 0:23:01.560 --> 0:23:04.720 whole the reason why it's so electric is that obviously 0:23:05.040 --> 0:23:07.560 de Niro didn't tell you, Juliet Louis he was going 0:23:07.600 --> 0:23:11.720 to put his thumb in her mouth and he didn't know, 0:23:12.320 --> 0:23:15.440 no man, And she talks about that. I mean, first 0:23:15.440 --> 0:23:18.480 of all, that to one of the most you know, 0:23:18.480 --> 0:23:22.440 it's like for me, it's like fift very um u 0:23:23.280 --> 0:23:28.679 um disturbing and also sort of as an actor, like 0:23:28.920 --> 0:23:32.840 holy shit, how effective? Oh yeah, I mean that whole 0:23:32.840 --> 0:23:35.720 scene is I mean, it's one of the iconic scenes 0:23:35.720 --> 0:23:39.720 in movie history now, I think is that drama department scene. Um, 0:23:41.240 --> 0:23:43.399 she's so good in it, the way she plays that 0:23:43.800 --> 0:23:47.679 so innocently and so like the way I even noticed 0:23:47.720 --> 0:23:51.719 the way she after he kissed her. She was eighteen 0:23:51.800 --> 0:23:54.879 at the time of filming, obviously still very creepy stuff 0:23:54.920 --> 0:23:58.560 to do, but they and he looks young, super young, yeah, 0:23:58.560 --> 0:24:02.320 but looked fifteen or sixteenyears is what she played. Um, 0:24:02.440 --> 0:24:06.760