1
00:00:00,320 --> 00:00:05,600
Speaker 1: Today's episode contains spoilers for The Witch and The Lighthouse,

2
00:00:05,760 --> 00:00:25,440
Speaker 1: so be prepared for that. Hello, my name is Joel Lenique.

3
00:00:25,680 --> 00:00:28,240
Speaker 2: And I am Carmen Laurent and.

4
00:00:28,200 --> 00:00:30,760
Speaker 1: Welcome to Xtra Vision Extras, an X ray vision series

5
00:00:30,760 --> 00:00:34,440
Speaker 1: where we dive deep into even more of your favorite shows, movies, comics,

6
00:00:34,440 --> 00:00:38,040
Speaker 1: and pop culture. Every superhero team meets side Quest, and

7
00:00:38,120 --> 00:00:40,680
Speaker 1: our rotating panel of producers and guest hosts will be

8
00:00:40,720 --> 00:00:43,000
Speaker 1: suiting up to help Jason and Rosie cover all of

9
00:00:43,040 --> 00:00:44,600
Speaker 1: the amazing nerd content out there.

10
00:00:45,040 --> 00:00:49,040
Speaker 2: Today in the series of Robert Egger's coverage, we are

11
00:00:49,080 --> 00:00:55,080
Speaker 2: covering the movie from twenty nineteen, The Lighthouse, and in

12
00:00:55,120 --> 00:00:57,400
Speaker 2: our this is all in our lead up to the

13
00:00:57,600 --> 00:01:00,840
Speaker 2: movie coming out on Christmas Day this year No Speratu,

14
00:01:01,160 --> 00:01:05,119
Speaker 2: so get ready for that and like I said, get

15
00:01:05,160 --> 00:01:06,119
Speaker 2: all your gas out now.

16
00:01:07,280 --> 00:01:12,679
Speaker 1: Tired of these damn farts. But first, yes, previously on okay,

17
00:01:12,760 --> 00:01:15,119
Speaker 1: let's try to have you listened to The Witch. Last

18
00:01:15,120 --> 00:01:16,960
Speaker 1: week we had a very chaotic recap. We're going to

19
00:01:17,000 --> 00:01:20,240
Speaker 1: try to duplicate recapping the Stillness Sour. I was thinking

20
00:01:20,240 --> 00:01:23,880
Speaker 1: about Essel's watching and I was like, it's so big

21
00:01:24,000 --> 00:01:28,840
Speaker 1: and nebulous. This movie that it's really hard to beyond

22
00:01:28,880 --> 00:01:31,280
Speaker 1: the basic description, which I think would go something like

23
00:01:31,319 --> 00:01:35,240
Speaker 1: this young man gets hired to go to a lighthouse

24
00:01:35,520 --> 00:01:42,840
Speaker 1: where he meets an over zealous aged lighthouse watcher. Uh huh,

25
00:01:43,319 --> 00:01:47,440
Speaker 1: as he's pushed to the edge of his sanity to

26
00:01:47,440 --> 00:01:51,120
Speaker 1: anyone with an overzealous boss can easily identify with a

27
00:01:51,200 --> 00:01:55,440
Speaker 1: battle ensues between the two of them, centered specifically on

28
00:01:55,520 --> 00:02:02,240
Speaker 1: their masculinity. Over time, power exchanges hands more and more rapidly,

29
00:02:02,280 --> 00:02:04,800
Speaker 1: to the point where sometimes you're talking two minutes of

30
00:02:04,840 --> 00:02:07,360
Speaker 1: a character being in a position of power before somebody

31
00:02:07,360 --> 00:02:11,560
Speaker 1: else overtakes that. Uh. They are driven mad by isolation,

32
00:02:12,160 --> 00:02:13,359
Speaker 1: bad weather.

33
00:02:13,320 --> 00:02:16,440
Speaker 2: And the sea, maybe even the lighthouse.

34
00:02:16,720 --> 00:02:19,960
Speaker 1: Possibly, Oh, we're going to get into Possibly the lighthouse

35
00:02:20,040 --> 00:02:23,280
Speaker 1: is doing it, and they're both driven to a state

36
00:02:23,280 --> 00:02:26,120
Speaker 1: of madness that sort of ends up in a BDSM

37
00:02:26,240 --> 00:02:31,160
Speaker 1: pet play relationships. There are a spackling of great Shakespearean

38
00:02:31,200 --> 00:02:35,600
Speaker 1: monologues where Egres gets to showcase his knowledge of the

39
00:02:35,639 --> 00:02:39,240
Speaker 1: bard An attempt to do some of his own monologue writing,

40
00:02:40,080 --> 00:02:45,000
Speaker 1: and mysterious ending did we do it, didn't we do it?

41
00:02:45,160 --> 00:02:54,400
Speaker 2: Yeah, it's very it's very I mean, this is like

42
00:02:54,680 --> 00:02:57,000
Speaker 2: and we're gonna we're gonna talk about it in the

43
00:02:57,040 --> 00:03:01,040
Speaker 2: discussion here, but it's very much like a very cosmic horror,

44
00:03:01,240 --> 00:03:04,519
Speaker 2: and that is what leads to it being kind of,

45
00:03:04,560 --> 00:03:08,320
Speaker 2: I think, so confusing and also fun to watch, or

46
00:03:08,320 --> 00:03:10,239
Speaker 2: all of the cosmic elements of this.

47
00:03:11,040 --> 00:03:14,240
Speaker 1: So glad you said cosmic horror, because the whole time

48
00:03:14,320 --> 00:03:18,880
Speaker 1: I was thinking about space. Hear me out, Yes, like

49
00:03:19,000 --> 00:03:23,720
Speaker 1: the ocean being this vast unknown, the ocean maybe being

50
00:03:23,760 --> 00:03:27,880
Speaker 1: a stand in for women. I had this thought of, like, Okay,

51
00:03:28,080 --> 00:03:31,600
Speaker 1: maybe this film is saying the ocean is like women

52
00:03:31,680 --> 00:03:34,800
Speaker 1: in that they are deep and unknowable, and they are

53
00:03:34,960 --> 00:03:37,839
Speaker 1: a horizon you cannot touch, especially if you're a man

54
00:03:37,960 --> 00:03:42,200
Speaker 1: isolated on an island with another man, which was like,

55
00:03:42,840 --> 00:03:45,800
Speaker 1: that's the the layers of visual artistry we're dealing with.

56
00:03:46,080 --> 00:03:47,640
Speaker 1: Let's go over some of the stats of this film

57
00:03:47,640 --> 00:03:51,240
Speaker 1: before we get too far into a breakdown. So this

58
00:03:51,280 --> 00:03:54,320
Speaker 1: is released May nineteen, twenty nineteen. It can October eighteenth.

59
00:03:54,400 --> 00:03:56,880
Speaker 1: It comes to US theaters. It's got a budget of

60
00:03:56,920 --> 00:03:59,560
Speaker 1: eleven million and does a box office of about eighteen

61
00:03:59,640 --> 00:04:02,840
Speaker 1: point three, which for a sophomore film coming off the

62
00:04:02,880 --> 00:04:08,400
Speaker 1: success of The Witch. Yeah, it's interesting. I think from

63
00:04:08,560 --> 00:04:12,240
Speaker 1: a producer investor perspective, this might have been a little

64
00:04:12,240 --> 00:04:18,480
Speaker 1: bit disappointing. But from an artistic director standpoint, if your

65
00:04:18,520 --> 00:04:23,520
Speaker 1: movie makes money, you did it. We can pay back

66
00:04:23,560 --> 00:04:26,560
Speaker 1: the investors. Everyone got a small percentage. We didn't make

67
00:04:26,560 --> 00:04:28,080
Speaker 1: as much money as we were hoping, but we got

68
00:04:28,080 --> 00:04:29,520
Speaker 1: our percentages off.

69
00:04:29,800 --> 00:04:33,120
Speaker 2: That's a seven million, seven million, you know.

70
00:04:33,120 --> 00:04:36,440
Speaker 1: What, Damn straight seven million is enough to start funding

71
00:04:36,480 --> 00:04:38,919
Speaker 1: the next film. We can put it that way. Jarren

72
00:04:39,000 --> 00:04:42,320
Speaker 1: Blashki is the cinematographer.

73
00:04:41,480 --> 00:04:45,279
Speaker 2: Sorry, also basically the same team he used for The

74
00:04:45,360 --> 00:04:50,880
Speaker 2: Witch Yes music and cinematography, which is great.

75
00:04:51,000 --> 00:04:54,400
Speaker 1: I think I really appreciate a director who's like, this

76
00:04:54,600 --> 00:04:57,720
Speaker 1: is my crew, because if you have spent a lot

77
00:04:57,720 --> 00:05:00,560
Speaker 1: of time on a crew, it's just really good. I'm Carmen.

78
00:05:00,600 --> 00:05:02,600
Speaker 1: You spent your first was that your first time working

79
00:05:02,640 --> 00:05:05,520
Speaker 1: with the film crew when you were down in Texas?

80
00:05:05,800 --> 00:05:07,640
Speaker 2: No, we did it here in Atlanta. We did it

81
00:05:08,000 --> 00:05:13,120
Speaker 2: at the Atlanta Capital. That was with Lisa from The

82
00:05:13,160 --> 00:05:14,679
Speaker 2: Fake Doctor's Real Friends production.

83
00:05:15,240 --> 00:05:15,400
Speaker 1: Yea.

84
00:05:15,640 --> 00:05:17,400
Speaker 2: And of course I've been on I've been on a

85
00:05:17,440 --> 00:05:21,000
Speaker 2: set when we did our Toyota film, our Toyota commercial,

86
00:05:21,600 --> 00:05:25,479
Speaker 2: and I've been on another set with Violet when she

87
00:05:25,600 --> 00:05:29,600
Speaker 2: shot her music video for Fade de Grae, the cover

88
00:05:29,760 --> 00:05:33,400
Speaker 2: of the song Fade Degrae. So I've seen a couple,

89
00:05:33,680 --> 00:05:35,920
Speaker 2: you know, small productions, but that was my first time

90
00:05:35,960 --> 00:05:38,800
Speaker 2: actually working on a production and a lot of fun.

91
00:05:39,880 --> 00:05:41,920
Speaker 1: It is a lot of fun, and I think when

92
00:05:41,960 --> 00:05:44,560
Speaker 1: you're coming back to the same cruise repeatedly, there's a

93
00:05:44,680 --> 00:05:49,120
Speaker 1: level of artistic creativity and pushing one another that you

94
00:05:49,160 --> 00:05:51,760
Speaker 1: get to do. Uh. And he's worked with Giant on

95
00:05:51,800 --> 00:05:53,680
Speaker 1: all of this films. So he also shoots The Northman

96
00:05:53,839 --> 00:05:54,680
Speaker 1: and The Witch.

97
00:05:55,160 --> 00:05:58,680
Speaker 2: Does he shoot the uh, the Nose Frauty movie?

98
00:05:59,040 --> 00:06:04,000
Speaker 1: Yeah, yep, Wow, that's awesome. Yeah. Well, you know, I'll

99
00:06:04,000 --> 00:06:06,920
Speaker 1: do some deeper research on Jarn's you talk about him

100
00:06:06,920 --> 00:06:08,400
Speaker 1: when we talk about the north film, because I actually

101
00:06:08,400 --> 00:06:10,160
Speaker 1: had a lot of questions and we're going to get

102
00:06:10,160 --> 00:06:12,960
Speaker 1: into some color theory on this black and white film

103
00:06:13,000 --> 00:06:15,359
Speaker 1: because I have a lot of thoughts about that. Okay,

104
00:06:15,400 --> 00:06:18,400
Speaker 1: So Mark Korn does the music. It's got a respectable

105
00:06:18,480 --> 00:06:20,640
Speaker 1: runtime of one hundred and nine minutes. I thought this

106
00:06:20,680 --> 00:06:24,560
Speaker 1: movie was longer. I remember it feeling very long. It

107
00:06:24,040 --> 00:06:30,240
Speaker 1: does because of the stress Hunters. It's really chaotic. How

108
00:06:30,279 --> 00:06:31,200
Speaker 1: do you feel about the run time?

109
00:06:31,600 --> 00:06:34,760
Speaker 2: The tension builds very slowly throughout the movie, just like

110
00:06:34,800 --> 00:06:38,159
Speaker 2: in The Witch. Similarly, there's a lot of similarities between

111
00:06:38,160 --> 00:06:40,680
Speaker 2: this movie and The Witch. I find there and we

112
00:06:40,720 --> 00:06:43,760
Speaker 2: are going to hark. I also wanted to say, Jaron,

113
00:06:44,040 --> 00:06:48,680
Speaker 2: he is the one who pushed Robert Egger's to shoot

114
00:06:48,720 --> 00:06:52,560
Speaker 2: in this almost square aspect ratio. So it's like one

115
00:06:52,600 --> 00:06:56,919
Speaker 2: point one nine to one aspect ratio with black and

116
00:06:56,960 --> 00:07:00,919
Speaker 2: white thirty five millimeter film on these like teak lenses.

117
00:07:01,480 --> 00:07:04,400
Speaker 2: So I think that's where some of the budget went

118
00:07:04,680 --> 00:07:08,960
Speaker 2: in comparison to The Witch. This was also shot in Canada,

119
00:07:09,040 --> 00:07:13,400
Speaker 2: Nova Scotia. It was shot at Cape Horseshoe is what

120
00:07:13,440 --> 00:07:16,760
Speaker 2: it's called, and they built the lighthouse themselves, which I

121
00:07:16,800 --> 00:07:18,240
Speaker 2: found to be very interesting.

122
00:07:19,040 --> 00:07:23,320
Speaker 1: I cannot wait to talk to you about Edgar's dollhouse theory,

123
00:07:24,040 --> 00:07:26,840
Speaker 1: especially when it was so much more prominent in this

124
00:07:26,920 --> 00:07:29,520
Speaker 1: movie than in The Witch, and I thought it was

125
00:07:29,560 --> 00:07:30,239
Speaker 1: used a great effect.

126
00:07:30,320 --> 00:07:30,720
Speaker 2: Yeah The Witch.

127
00:07:30,720 --> 00:07:34,600
Speaker 1: Okay, so let's talk about first reactions and experiences watching

128
00:07:34,600 --> 00:07:36,680
Speaker 1: this film. Do you remember the first time you saw

129
00:07:36,720 --> 00:07:37,160
Speaker 1: this film?

130
00:07:38,720 --> 00:07:44,080
Speaker 2: Yes? I actually okay, so I just recently watched this

131
00:07:44,120 --> 00:07:46,360
Speaker 2: for the first time. I want to say, back in

132
00:07:46,600 --> 00:07:52,080
Speaker 2: late September early October, and it was around the same

133
00:07:52,120 --> 00:07:57,320
Speaker 2: time I actually watched the first episode of the Uzumaki anime,

134
00:07:57,360 --> 00:08:00,000
Speaker 2: which first episode was great and then it went on

135
00:08:00,040 --> 00:08:05,840
Speaker 2: on a downward spiral. And I remember thinking after I

136
00:08:05,880 --> 00:08:09,480
Speaker 2: watched the Uzamaki first episode and then watching this, I

137
00:08:09,520 --> 00:08:12,200
Speaker 2: remember thinking, Wow, there's a lot of similarities between this

138
00:08:12,440 --> 00:08:16,320
Speaker 2: and Uzumaki. Obviously they're different subject matter, but they are

139
00:08:16,360 --> 00:08:20,480
Speaker 2: both cosmic horrors, and they are both in black and white.

140
00:08:20,760 --> 00:08:23,360
Speaker 2: And the kind of droning, especially at the beginning of

141
00:08:23,400 --> 00:08:27,640
Speaker 2: the movie, you have that like droning horn sound that

142
00:08:28,040 --> 00:08:31,440
Speaker 2: is played throughout all kind of gave me same like

143
00:08:31,920 --> 00:08:35,520
Speaker 2: atmospheric vibes of the Uza Maki and this is just

144
00:08:35,559 --> 00:08:38,840
Speaker 2: like The Witch is another movie that is very much vibes.

145
00:08:39,160 --> 00:08:41,040
Speaker 2: There's a lot of vibes and a lot of atmosphere

146
00:08:41,080 --> 00:08:41,640
Speaker 2: going on here.

147
00:08:42,040 --> 00:08:45,760
Speaker 1: Both get into some weird cerebral body horror as well.

148
00:08:46,480 --> 00:08:50,440
Speaker 1: I consider The Mermaid vagina body horror. I'm just gonna look,

149
00:08:50,520 --> 00:08:52,040
Speaker 1: you guys, it's so weird.

150
00:08:51,800 --> 00:08:53,440
Speaker 2: The tentacles and all of that.

151
00:08:53,920 --> 00:08:56,800
Speaker 1: Yeah, definitely, you see a lot of reputation there.

152
00:08:56,880 --> 00:08:57,120
Speaker 3: Okay.

153
00:08:57,160 --> 00:08:59,839
Speaker 1: I first saw this at TIFF and there was a

154
00:08:59,880 --> 00:09:03,320
Speaker 1: lot of buzz obviously coming after Can and the question

155
00:09:03,440 --> 00:09:06,240
Speaker 1: was sort of, will general audiences like this like they

156
00:09:06,400 --> 00:09:09,079
Speaker 1: liked The Witch. The answer was for a lot of

157
00:09:09,160 --> 00:09:13,080
Speaker 1: critics was no. I think box office suggests that's true.

158
00:09:13,440 --> 00:09:17,400
Speaker 1: It's not as in my mind accessible as The Witch.

159
00:09:17,520 --> 00:09:21,360
Speaker 1: But I remember leaning back in the theater and being like, oh,

160
00:09:21,440 --> 00:09:24,920
Speaker 1: this is brilliant, like just for I like a movie

161
00:09:24,960 --> 00:09:28,880
Speaker 1: that makes me feel And I think, yeah, that's not

162
00:09:28,920 --> 00:09:33,360
Speaker 1: an experience everyone vibes with, particularly and perhaps I've been

163
00:09:33,360 --> 00:09:35,160
Speaker 1: talking to a lot of folks who don't like horror,

164
00:09:35,480 --> 00:09:37,920
Speaker 1: almost all men, by the way, who were like, I

165
00:09:37,960 --> 00:09:40,360
Speaker 1: am not interested in horror films. I don't want to

166
00:09:40,400 --> 00:09:44,960
Speaker 1: watch Aaron and abou our producers here don't like horror.

167
00:09:45,040 --> 00:09:48,720
Speaker 1: They we were like passes to nostraati. They're like, well, literally,

168
00:09:48,760 --> 00:09:49,880
Speaker 1: pass We're not interested.

169
00:09:51,120 --> 00:09:53,199
Speaker 2: My boyfriend not at all interested.

170
00:09:53,520 --> 00:09:57,160
Speaker 1: Really, Okay, so this is fast. Please write in and

171
00:09:57,160 --> 00:10:00,000
Speaker 1: tell us if you're a man who doesn't enjoy horror

172
00:10:00,080 --> 00:10:02,679
Speaker 1: or why. I just want to hear more about this.

173
00:10:02,800 --> 00:10:05,560
Speaker 1: A lot of the guys I've talked to have an

174
00:10:05,600 --> 00:10:09,640
Speaker 1: issue there, like I don't like the feeling of being terrified.

175
00:10:09,800 --> 00:10:13,120
Speaker 1: It puts me on edge. I can't relax. I don't

176
00:10:13,200 --> 00:10:17,640
Speaker 1: understand why you're having fun with this. I think women

177
00:10:17,679 --> 00:10:19,920
Speaker 1: are always afraid and being.

178
00:10:19,800 --> 00:10:21,720
Speaker 2: Able exactly what I was gonna say.

179
00:10:22,160 --> 00:10:24,720
Speaker 1: Being able to practice it in a safe environment where

180
00:10:24,760 --> 00:10:28,559
Speaker 1: you can't actually be hurt is a wonderful fun bonding

181
00:10:28,600 --> 00:10:31,280
Speaker 1: experience with your galp hoals And because and we sort

182
00:10:31,320 --> 00:10:32,920
Speaker 1: of talked about this before on some of our other

183
00:10:33,040 --> 00:10:36,280
Speaker 1: horror episodes, but having a final girl that you can

184
00:10:36,320 --> 00:10:38,959
Speaker 1: really lean into you and love is such a joy.

185
00:10:40,120 --> 00:10:42,760
Speaker 1: And I think that's what makes horror great. And with

186
00:10:42,920 --> 00:10:46,800
Speaker 1: that thought in mind, I would talk about like the

187
00:10:47,360 --> 00:10:52,079
Speaker 1: gender identity in Egger's films, if we have what He's

188
00:10:52,120 --> 00:10:54,160
Speaker 1: like again. Eggars didn't call it a feminist film, but

189
00:10:54,200 --> 00:10:56,839
Speaker 1: said that he was proud or excited. I can't remember

190
00:10:56,840 --> 00:10:59,880
Speaker 1: his exact adjective. That people felt like The Witch was

191
00:11:00,120 --> 00:11:04,200
Speaker 1: feminist film, and to me, I think you could categorize

192
00:11:04,240 --> 00:11:07,000
Speaker 1: it as that there's some possibly if there aren't that

193
00:11:07,000 --> 00:11:09,720
Speaker 1: many women involved directly in the storytelling, is it feminist.

194
00:11:10,679 --> 00:11:15,040
Speaker 1: I think the narrative I would put is leans heavily

195
00:11:15,080 --> 00:11:17,320
Speaker 1: into a lot of feminist shows. Specifically, if you're looking

196
00:11:17,400 --> 00:11:21,440
Speaker 1: at the wich is an evil entity in America. Okay, great, Absolutely,

197
00:11:21,520 --> 00:11:25,040
Speaker 1: this film is absolutely about toxic masculinity. He said that

198
00:11:25,080 --> 00:11:27,520
Speaker 1: he sort of stumbled upon that as they were writing,

199
00:11:27,559 --> 00:11:31,320
Speaker 1: so not his agenda in starting the project. He saw

200
00:11:31,440 --> 00:11:34,160
Speaker 1: his brother brought him the story, a real story of

201
00:11:34,160 --> 00:11:38,600
Speaker 1: two men who were like abandoned or something in a lighthouse,

202
00:11:38,600 --> 00:11:40,720
Speaker 1: and they were like, oh, that's an interesting story.

203
00:11:41,120 --> 00:11:44,760
Speaker 2: It's called the Smalls Lighthouse Tragedy. It's a real story

204
00:11:44,800 --> 00:11:48,120
Speaker 2: of an accident that happened at a lighthouse in Wales,

205
00:11:48,280 --> 00:11:51,800
Speaker 2: which I found very interesting. And it was partly inspired

206
00:11:51,800 --> 00:11:55,679
Speaker 2: by the Edgar Allan Poe short story of the same

207
00:11:55,840 --> 00:11:57,880
Speaker 2: name that he never got to finish before he died.

208
00:11:58,000 --> 00:12:00,840
Speaker 2: So he started it like months before death, and then

209
00:12:01,440 --> 00:12:03,000
Speaker 2: and yeah, and then die.

210
00:12:03,080 --> 00:12:06,720
Speaker 1: I love say, I love that Edgars is so into

211
00:12:06,960 --> 00:12:09,960
Speaker 1: historical village. He's such a nerd uh. And then there's

212
00:12:10,000 --> 00:12:13,680
Speaker 1: something I really appreciate and vibe with, Like, you know,

213
00:12:13,679 --> 00:12:15,679
Speaker 1: I Greyl and Poe didn't get to finished. I want

214
00:12:15,720 --> 00:12:17,520
Speaker 1: to do a horror in a lighthouse. I wouldn't need

215
00:12:17,559 --> 00:12:21,959
Speaker 1: turned to that as inspiration. That's beautiful. So he was

216
00:12:22,000 --> 00:12:24,000
Speaker 1: like as we're rioting, and if you're dealing with two

217
00:12:24,000 --> 00:12:27,280
Speaker 1: guys who are isolated in a job that is considered

218
00:12:27,360 --> 00:12:31,720
Speaker 1: rather masculine but also requires a lot of feminine tasks, Yep.

219
00:12:32,280 --> 00:12:34,640
Speaker 2: All placed on Robert Pattins's character.

220
00:12:36,280 --> 00:12:39,760
Speaker 1: Because he's the young and new one and less experienced one,

221
00:12:39,840 --> 00:12:42,600
Speaker 1: and therefore is considered the lesser of the men, and

222
00:12:42,640 --> 00:12:45,720
Speaker 1: so he's forced to do women's work, which he finds

223
00:12:45,760 --> 00:12:50,720
Speaker 1: extremely degrading and keeps bringing it up. And then he

224
00:12:50,840 --> 00:12:54,360
Speaker 1: has a reaction like I think many a woman has

225
00:12:54,440 --> 00:12:57,000
Speaker 1: had in her life for someone's like, oh this isn't

226
00:12:57,000 --> 00:13:00,080
Speaker 1: done well. He was like, bitch, what do you I

227
00:12:59,840 --> 00:13:04,080
Speaker 1: have scrubb Queen's maid could come here and not do

228
00:13:04,320 --> 00:13:07,480
Speaker 1: as good a job as I had you. Oh, he

229
00:13:07,640 --> 00:13:11,960
Speaker 1: was angry, he was upset. And because of that you

230
00:13:11,960 --> 00:13:16,000
Speaker 1: get like you do start like stripping away women as

231
00:13:16,080 --> 00:13:23,120
Speaker 1: Alia dog. Yes, yes, the stripping women away. It totally

232
00:13:23,320 --> 00:13:27,760
Speaker 1: is Carmen, And there's like there's it's just such an

233
00:13:27,800 --> 00:13:31,920
Speaker 1: interesting way to explore like what is masculinity? Right? And

234
00:13:31,960 --> 00:13:34,520
Speaker 1: I think a lot of times when people try to

235
00:13:34,559 --> 00:13:38,040
Speaker 1: explore toxic masculinity, what you're doing is you're looking at

236
00:13:38,080 --> 00:13:41,040
Speaker 1: the end result of it, which is to say, oh,

237
00:13:41,240 --> 00:13:46,079
Speaker 1: violence against women is like the root of toxic but

238
00:13:46,200 --> 00:13:49,400
Speaker 1: really it's like the root of toxic masculinity is an

239
00:13:49,400 --> 00:13:52,719
Speaker 1: insecurity in men, right, Like it's it's your own insecurities

240
00:13:54,280 --> 00:13:56,440
Speaker 1: of what it means to be a man. These unfair

241
00:13:57,360 --> 00:13:59,600
Speaker 1: societal pressures and been created to put on other men

242
00:13:59,600 --> 00:14:01,040
Speaker 1: of like what does it mean to be a man?

243
00:14:01,080 --> 00:14:03,280
Speaker 1: And throughout the film you get a back and forth

244
00:14:03,320 --> 00:14:06,520
Speaker 1: exchange of that. Okay, so you have younger guy comes

245
00:14:06,520 --> 00:14:09,440
Speaker 1: saying clearly you're inferior. Okay, but I'm physically stronger than

246
00:14:09,480 --> 00:14:12,800
Speaker 1: you are a man, I'm superior. Okay. Well I have more

247
00:14:13,040 --> 00:14:16,439
Speaker 1: experience and I'm more intelligent than you, but I'm more

248
00:14:16,440 --> 00:14:19,920
Speaker 1: modern and I'm more adept at working in these situations. Okay,

249
00:14:19,960 --> 00:14:22,800
Speaker 1: but it's literally my lighthouse line and your boss. I

250
00:14:22,880 --> 00:14:25,520
Speaker 1: have more experience than you. I'm on top. Okay, but

251
00:14:25,600 --> 00:14:27,800
Speaker 1: I could Okay, And then you get a twist, so

252
00:14:27,840 --> 00:14:29,720
Speaker 1: we've run out of things to top each other with.

253
00:14:30,680 --> 00:14:33,800
Speaker 1: So now it's yeah, and I'm lonely and I hate

254
00:14:33,800 --> 00:14:35,840
Speaker 1: this place, and this place is so hard. Now I'm

255
00:14:35,840 --> 00:14:38,320
Speaker 1: codependent on you and I have and Okay, so we're

256
00:14:38,320 --> 00:14:41,359
Speaker 1: sparking up a friendship, but we can only bond.

257
00:14:41,640 --> 00:14:43,400
Speaker 2: Each other while we're drunk and dancing.

258
00:14:43,720 --> 00:14:46,880
Speaker 1: Yeah, we only bond with each other through being super drunk,

259
00:14:47,520 --> 00:14:50,720
Speaker 1: through fighting, and once we reach the depths of that,

260
00:14:50,800 --> 00:14:54,560
Speaker 1: our repression comes out. You know, we're repressed. We're not

261
00:14:54,600 --> 00:14:56,960
Speaker 1: He's not even supposed to masturbate, like, which is crazy.

262
00:14:57,120 --> 00:14:59,000
Speaker 1: It's like, bro, we're alone on an island with no

263
00:14:59,080 --> 00:15:03,440
Speaker 1: TV and apparently enough books, books and teens. Day would

264
00:15:03,440 --> 00:15:06,280
Speaker 1: have been a dream for me. Women would have nailed this.

265
00:15:06,400 --> 00:15:08,800
Speaker 1: I just want to say, if women had been had

266
00:15:08,880 --> 00:15:10,880
Speaker 1: just been women at the Lighthouse, this is a very

267
00:15:10,920 --> 00:15:16,320
Speaker 1: different movie. Last Yeah, totally. It's just quiet and there

268
00:15:16,320 --> 00:15:19,520
Speaker 1: are no men, and it's scenic and beautiful and it's

269
00:15:19,520 --> 00:15:21,920
Speaker 1: gonna storm tonight. I have books and good food. We

270
00:15:21,960 --> 00:15:22,160
Speaker 1: can go.

271
00:15:22,680 --> 00:15:23,160
Speaker 2: We're good.

272
00:15:23,720 --> 00:15:27,760
Speaker 1: We're truly living a blessed life. About your coachy sweater weather,

273
00:15:28,160 --> 00:15:30,200
Speaker 1: stop it. I'm fine. The only thing I'm worried about

274
00:15:30,240 --> 00:15:32,840
Speaker 1: is cleanliness, and we can figure it out. So yeah,

275
00:15:32,880 --> 00:15:36,520
Speaker 1: So I'm really curious to hear your thoughts on both

276
00:15:36,880 --> 00:15:41,600
Speaker 1: the way masculinity is portrayed throughout the film and also

277
00:15:42,000 --> 00:15:45,800
Speaker 1: the way these two specific performers sort of go back

278
00:15:45,840 --> 00:15:48,600
Speaker 1: and forth in there, like it's a really interesting pairing

279
00:15:49,880 --> 00:15:55,600
Speaker 1: Robert Pattinson and Willem Dafoe. Willem Dafoe is, you know,

280
00:15:55,600 --> 00:15:58,760
Speaker 1: known for doing these big, over the top characters. She's

281
00:15:58,800 --> 00:16:02,720
Speaker 1: got this incredible thing, and Robert has, you know, post

282
00:16:02,760 --> 00:16:05,160
Speaker 1: Twilight has been very interesting and sort of the same

283
00:16:05,200 --> 00:16:10,000
Speaker 1: way that Daniel Bradcliffe has been on choosing weird roles

284
00:16:10,000 --> 00:16:12,840
Speaker 1: that just speak to and challenge, and he's not even

285
00:16:12,880 --> 00:16:16,320
Speaker 1: afraid of going into something like a Batman a blockbuster

286
00:16:16,640 --> 00:16:18,720
Speaker 1: as long as he can be weird about it. He's like,

287
00:16:18,800 --> 00:16:22,360
Speaker 1: I'll be there. And so to allow these two really

288
00:16:22,440 --> 00:16:26,440
Speaker 1: incredible performers to be at the peak of weird talking

289
00:16:26,440 --> 00:16:29,200
Speaker 1: about masculinity like, I just think it's a stroke of brilliance.

290
00:16:29,240 --> 00:16:30,040
Speaker 1: How did it touch you?

291
00:16:30,560 --> 00:16:31,040
Speaker 2: Yeah?

292
00:16:31,120 --> 00:16:31,360
Speaker 1: Yeah?

293
00:16:31,360 --> 00:16:34,600
Speaker 2: And it's interesting too because they both personally reached out

294
00:16:34,640 --> 00:16:38,760
Speaker 2: to Robert Eggers after they saw The Witch and told

295
00:16:38,880 --> 00:16:40,880
Speaker 2: Robert Eggers that they wanted to be involved in his

296
00:16:40,960 --> 00:16:41,720
Speaker 2: next project.

297
00:16:42,080 --> 00:16:46,560
Speaker 1: Robert, what a dream? What a yeah, right, what a

298
00:16:46,640 --> 00:16:49,120
Speaker 1: dream to get these too? Yeah?

299
00:16:49,400 --> 00:16:52,200
Speaker 2: What a dream to get these two big names in

300
00:16:52,240 --> 00:16:55,160
Speaker 2: Hollywood for your next film that are just like down

301
00:16:55,200 --> 00:16:59,720
Speaker 2: for whatever and super excited to work on your next project.

302
00:17:00,480 --> 00:17:02,960
Speaker 2: You know, I want to tie back the conversation of

303
00:17:02,960 --> 00:17:07,639
Speaker 2: toxic masculinity. And I don't know if this exactly answers

304
00:17:07,680 --> 00:17:12,359
Speaker 2: the question, but the subject of toxic masculinity being like

305
00:17:12,440 --> 00:17:15,399
Speaker 2: the centerpiece of the movie, I think it ties in

306
00:17:15,800 --> 00:17:19,480
Speaker 2: also into how men, just like we were also talking

307
00:17:19,480 --> 00:17:22,320
Speaker 2: about it at the top, how men don't like horror

308
00:17:22,359 --> 00:17:27,119
Speaker 2: movies is because not only because they don't like to

309
00:17:27,960 --> 00:17:31,600
Speaker 2: feel afraid, but feeling afraid is something that I think

310
00:17:31,720 --> 00:17:34,720
Speaker 2: challenges a lot of men's masculinity in a way that

311
00:17:34,760 --> 00:17:38,080
Speaker 2: they're not comfortable with. And I'm not calling anyone out,

312
00:17:38,280 --> 00:17:39,160
Speaker 2: you know, but.

313
00:17:39,800 --> 00:17:40,960
Speaker 1: No, but I think that's fair.

314
00:17:42,240 --> 00:17:44,840
Speaker 2: Yeah, And I you know, another thing I wanted to

315
00:17:44,840 --> 00:17:46,840
Speaker 2: add to that too, is like all of my gay

316
00:17:47,080 --> 00:17:49,679
Speaker 2: male friends love horror.

317
00:17:49,840 --> 00:17:51,560
Speaker 1: Oh my god, that's so true.

318
00:17:53,200 --> 00:17:57,480
Speaker 2: And it's I think because they are not tied to

319
00:17:59,040 --> 00:18:02,200
Speaker 2: masculinity in the same way is that, you know, sis,

320
00:18:02,240 --> 00:18:03,840
Speaker 2: straight men are tied to masculinity.

321
00:18:03,840 --> 00:18:10,240
Speaker 1: They're not asked to perform the ideology of masculinity exact way,

322
00:18:10,280 --> 00:18:13,040
Speaker 1: so our community sort of allows them to you feel

323
00:18:13,040 --> 00:18:15,280
Speaker 1: how you feel, Okay, wow, Okay, go on.

324
00:18:16,160 --> 00:18:21,120
Speaker 2: Yeah. Yeah, So in the movie, I just think that

325
00:18:21,240 --> 00:18:24,280
Speaker 2: they do such a great job, you know, with monologuing

326
00:18:24,320 --> 00:18:28,040
Speaker 2: each other and and kind of you can with each

327
00:18:28,240 --> 00:18:31,760
Speaker 2: thing that Willem Dafoe's character says to Robert Pattins's character,

328
00:18:32,280 --> 00:18:34,960
Speaker 2: you can just see in Robert Pattens's face, like how

329
00:18:35,000 --> 00:18:38,159
Speaker 2: annoyed he's getting with Willem Dafoe, and that tension is

330
00:18:38,200 --> 00:18:41,320
Speaker 2: just slowly and slowly building until they finally, you know,

331
00:18:41,440 --> 00:18:45,520
Speaker 2: have this huge fight which is also during a storm,

332
00:18:45,760 --> 00:18:48,240
Speaker 2: which I think is also a really perfect like symbolism

333
00:18:48,480 --> 00:18:52,800
Speaker 2: of kind of of the anger that men can like

334
00:18:52,840 --> 00:18:55,719
Speaker 2: hold up inside of themselves. It can be very destructive

335
00:18:56,359 --> 00:18:59,720
Speaker 2: and it literally, if I'm not mistaken, it destroys the

336
00:18:59,760 --> 00:19:03,919
Speaker 2: how you know, it destroys where they're where they're staying.

337
00:19:04,280 --> 00:19:07,159
Speaker 2: So there's a lot of like symbolism in the movie

338
00:19:07,520 --> 00:19:12,560
Speaker 2: I find with that and and toxic masculinity, I agree.

339
00:19:12,800 --> 00:19:16,679
Speaker 1: When we come back, we're going to talk about the

340
00:19:16,680 --> 00:19:23,439
Speaker 1: black and white, the aspect ratio, and what does the

341
00:19:23,520 --> 00:19:28,680
Speaker 1: lighthouse mean? What's happening up there? Is it is it real?

342
00:19:28,840 --> 00:19:31,119
Speaker 1: Is it magic? What what's going on?

343
00:19:31,320 --> 00:19:32,119
Speaker 2: Is it dreams?

344
00:19:32,640 --> 00:19:46,680
Speaker 1: Is it dreams? We'll be right back. Okay, and we're

345
00:19:46,720 --> 00:19:50,480
Speaker 1: back all right. So we've been talking about the ways

346
00:19:50,560 --> 00:19:54,680
Speaker 1: toxic masculinity are explored throughout the film. I want to

347
00:19:54,720 --> 00:19:56,800
Speaker 1: talk a little bit about the visual imagery and work

348
00:19:56,840 --> 00:20:00,440
Speaker 1: our way back to this idea. So yeah, I think

349
00:20:00,480 --> 00:20:04,440
Speaker 1: it was an inspired choice to shoot in this aspect ratio.

350
00:20:04,640 --> 00:20:09,640
Speaker 1: It's almost a perfect square. It did make projecting it difficult.

351
00:20:09,760 --> 00:20:11,399
Speaker 1: You had to have a screen of a certain size

352
00:20:11,400 --> 00:20:12,520
Speaker 1: in order to shoot it.

353
00:20:12,760 --> 00:20:15,960
Speaker 2: And I'm also curious what the IMAX experience would have

354
00:20:15,960 --> 00:20:17,400
Speaker 2: been like with this movie.

355
00:20:18,040 --> 00:20:20,560
Speaker 1: I saw it in an Imax projection. I'm pretty sure

356
00:20:20,600 --> 00:20:23,800
Speaker 1: that was an IMAX projected theater. My screening it, the

357
00:20:23,800 --> 00:20:26,720
Speaker 1: screenings at any film festival, but especially one OF's large

358
00:20:26,720 --> 00:20:30,600
Speaker 1: at TIFF is like one of the five Oscar qualifiers. Immaculate,

359
00:20:30,760 --> 00:20:35,760
Speaker 1: like really really gorgeous, deep deep blacks, like stunning, stunning visually,

360
00:20:36,240 --> 00:20:38,920
Speaker 1: and they, you know, found a way to I think

361
00:20:38,920 --> 00:20:41,760
Speaker 1: they used the classic Kurrasawa I believe. I remember reading

362
00:20:41,800 --> 00:20:44,440
Speaker 1: that effect of putting ink in water to make rain

363
00:20:44,560 --> 00:20:47,720
Speaker 1: pop in a black and white film, right, because the

364
00:20:47,800 --> 00:20:49,720
Speaker 1: rain is gorgeous in it. But it's hard to shoot

365
00:20:49,800 --> 00:20:51,639
Speaker 1: rain in black and white because it just kind of

366
00:20:51,640 --> 00:20:54,280
Speaker 1: looks grainy, so you really have to give it a

367
00:20:54,280 --> 00:20:57,360
Speaker 1: different saturation of color. And this really pushes Eggeries as

368
00:20:57,440 --> 00:21:00,359
Speaker 1: a director to shoot in black and white. It's not

369
00:21:01,920 --> 00:21:05,960
Speaker 1: for those of you unfamiliar with like filming processes. The

370
00:21:06,000 --> 00:21:08,399
Speaker 1: best way to explain this is to encourage you to

371
00:21:08,440 --> 00:21:10,919
Speaker 1: look up with picture of the set of the Monsters

372
00:21:10,960 --> 00:21:13,920
Speaker 1: from the nineteen sixties. It is pastel as hell.

373
00:21:14,280 --> 00:21:16,240
Speaker 2: It is light the Monsters.

374
00:21:16,800 --> 00:21:19,159
Speaker 1: Yeah, so if you look at the Monsters set photos

375
00:21:19,520 --> 00:21:22,640
Speaker 1: from the sixties and seventies, so the Monsters were shot

376
00:21:22,640 --> 00:21:26,240
Speaker 1: in black and white, but their set is almost pestel.

377
00:21:26,359 --> 00:21:30,080
Speaker 1: You can also do this with looking at old black

378
00:21:30,119 --> 00:21:34,000
Speaker 1: and white makeup tests. In color women wore green lipstick

379
00:21:34,119 --> 00:21:36,879
Speaker 1: to appear red on screen, So you have to be

380
00:21:37,000 --> 00:21:40,040
Speaker 1: so in your bag on your color theory to shoot

381
00:21:40,080 --> 00:21:42,560
Speaker 1: in black and white. Well, it is a challenge a

382
00:21:42,600 --> 00:21:45,199
Speaker 1: lot of directors get excited about, but it's difficult to

383
00:21:45,280 --> 00:21:48,560
Speaker 1: pull off. I thought Eggers did a really great job

384
00:21:49,040 --> 00:21:52,840
Speaker 1: of finding like such a great balance. Everything is very visible,

385
00:21:53,080 --> 00:21:57,680
Speaker 1: the contrasts are like really strong. This is very technically

386
00:21:57,760 --> 00:22:00,879
Speaker 1: difficult work to do, and I thought it was beautiful.

387
00:22:00,920 --> 00:22:05,600
Speaker 1: And the square framing of the film highlights the claustrophobia

388
00:22:05,720 --> 00:22:07,600
Speaker 1: in such a way that it like, I have a

389
00:22:07,640 --> 00:22:10,240
Speaker 1: fear of claustrophobia. I don't like being in small or

390
00:22:10,320 --> 00:22:14,439
Speaker 1: tight spaces. And I think by like, there was a

391
00:22:14,640 --> 00:22:18,280
Speaker 1: there's a shot where Robert is up in the lighthouse

392
00:22:18,400 --> 00:22:21,399
Speaker 1: obviously not touching the light yet because he's not alive,

393
00:22:23,080 --> 00:22:28,080
Speaker 1: and Dafoe is climbing up the ladder, and uh, it's

394
00:22:28,119 --> 00:22:31,960
Speaker 1: two separate shots. So one shot of Dafoe looking down

395
00:22:32,040 --> 00:22:35,440
Speaker 1: on him, Robert is standing above him. At this point

396
00:22:35,480 --> 00:22:38,280
Speaker 1: in the film is still pretty early. I would say

397
00:22:38,320 --> 00:22:40,639
Speaker 1: the film is divided almost into two parts. It's or

398
00:22:40,680 --> 00:22:43,959
Speaker 1: maybe three. It's like his early arrival, and then you

399
00:22:44,000 --> 00:22:47,600
Speaker 1: get this time when they're sort of bonded to the

400
00:22:47,600 --> 00:22:49,760
Speaker 1: time he's supposed to leave, and then you get off

401
00:22:50,000 --> 00:22:53,840
Speaker 1: full hour, which is insane. It's so much time between

402
00:22:53,800 --> 00:22:55,800
Speaker 1: the time he's supposed to leave and doesn't get picked

403
00:22:55,880 --> 00:22:58,840
Speaker 1: up to the end. And that's where really the downward

404
00:22:58,880 --> 00:23:02,960
Speaker 1: spiral just goes completely out of control. So in this shot,

405
00:23:03,240 --> 00:23:06,159
Speaker 1: these two solo shots, you're bouncing back and forth, and

406
00:23:06,320 --> 00:23:10,520
Speaker 1: the eye line is diagonal, it's across the frame. When

407
00:23:10,560 --> 00:23:13,119
Speaker 1: you're cutting between the two of them. They feel like

408
00:23:13,160 --> 00:23:16,920
Speaker 1: they're standing like Robert is standing on top of Defot's shoulders,

409
00:23:17,320 --> 00:23:20,359
Speaker 1: almost because there's such a tight frame that when you

410
00:23:20,440 --> 00:23:24,680
Speaker 1: have someone looking across and down, it like shoots their

411
00:23:24,720 --> 00:23:29,600
Speaker 1: height way up visually, and it really makes you like again,

412
00:23:29,680 --> 00:23:32,800
Speaker 1: it just cramps everything together and makes it so tight.

413
00:23:32,920 --> 00:23:35,880
Speaker 1: You feel like you're in this lighthouse and there's literally

414
00:23:36,440 --> 00:23:40,160
Speaker 1: zero reprieve. It never comes. You are always this tight

415
00:23:40,640 --> 00:23:43,800
Speaker 1: and locked in. And I think shooting that way again

416
00:23:44,119 --> 00:23:47,119
Speaker 1: technically difficult when you're used to having all of this space,

417
00:23:47,160 --> 00:23:49,000
Speaker 1: you have a lot of them. You have to use

418
00:23:49,040 --> 00:23:51,400
Speaker 1: a lot of economy of space to pull it off

419
00:23:51,440 --> 00:23:54,600
Speaker 1: and make it look good. And so I think what

420
00:23:54,760 --> 00:23:58,320
Speaker 1: really impresses me. I think sophomore films are such a

421
00:23:58,440 --> 00:24:01,159
Speaker 1: challenge to pull off. And if you think, Okay, I'm

422
00:24:01,200 --> 00:24:06,080
Speaker 1: getting really theoretical here, and there's no proof of anything

423
00:24:06,080 --> 00:24:07,840
Speaker 1: I'm about to say, so I feel free to disregard it.

424
00:24:08,960 --> 00:24:10,879
Speaker 1: I think it's a very interesting subject for Egers to

425
00:24:10,920 --> 00:24:15,119
Speaker 1: go from a film he's excited to have people call feminist.

426
00:24:15,760 --> 00:24:19,399
Speaker 1: Being lauded as an extremely successful early director like this

427
00:24:19,520 --> 00:24:22,159
Speaker 1: is huge. You could do one of two things. You

428
00:24:22,200 --> 00:24:24,879
Speaker 1: could take on a great, big studio project, because I'm

429
00:24:24,880 --> 00:24:28,040
Speaker 1: sure they were offered to him. You could repeat and

430
00:24:28,200 --> 00:24:32,280
Speaker 1: lean into becoming a horror director, or you could turn

431
00:24:32,320 --> 00:24:34,200
Speaker 1: your back on all that and say it was really

432
00:24:34,280 --> 00:24:38,520
Speaker 1: important to me is telling stories I'm excited about period,

433
00:24:38,560 --> 00:24:40,679
Speaker 1: and what excites me is writing my own stories. He

434
00:24:40,840 --> 00:24:45,679
Speaker 1: stayed small when he could have. We've seen directors and

435
00:24:45,680 --> 00:24:47,879
Speaker 1: that was really the era of these. Like if you

436
00:24:47,920 --> 00:24:51,080
Speaker 1: think the guy that did Jurassic Park one hit Steven

437
00:24:51,080 --> 00:24:52,680
Speaker 1: spielg wurds like I love you, He's like, great, I'll

438
00:24:52,720 --> 00:24:54,760
Speaker 1: make I'll direct Jurassic Park. Next.

439
00:24:56,000 --> 00:24:59,640
Speaker 2: I read that Robert Eggers was actually being offered lots

440
00:24:59,680 --> 00:25:04,280
Speaker 2: of studio, big studio projects, but he was not interested

441
00:25:04,320 --> 00:25:08,240
Speaker 2: in any of them, and instead his brother Max brought

442
00:25:08,240 --> 00:25:10,240
Speaker 2: this story to him and that's when he really like

443
00:25:10,240 --> 00:25:12,840
Speaker 2: piqued his interest. So he really is like a director

444
00:25:12,840 --> 00:25:16,840
Speaker 2: who seems to choose things that he's passionate about or

445
00:25:16,880 --> 00:25:21,400
Speaker 2: things that he's really interested in, versus what Hollywood wants

446
00:25:21,480 --> 00:25:22,639
Speaker 2: him to do. You know.

447
00:25:22,880 --> 00:25:25,120
Speaker 1: Yeah, and we saw that in that era, like with

448
00:25:25,320 --> 00:25:30,320
Speaker 1: Gareth Edwards, who directed the new Directsic Park trilogy, was

449
00:25:30,359 --> 00:25:33,960
Speaker 1: also offered Rogue one. Both of those films not as

450
00:25:33,960 --> 00:25:36,160
Speaker 1: well received. But if you were a white man who

451
00:25:36,160 --> 00:25:40,320
Speaker 1: had a successful indie film Rogue one, Yes, but he's

452
00:25:40,359 --> 00:25:42,880
Speaker 1: replaced his director towards the end and they reshoot most

453
00:25:42,920 --> 00:25:46,320
Speaker 1: of it right before it releases. Yeah, one is my

454
00:25:46,359 --> 00:25:48,639
Speaker 1: favorite Star Wars film. But yeah, behind the scenes a

455
00:25:48,680 --> 00:25:51,560
Speaker 1: lot of issues. And to be truthful and honest, it

456
00:25:51,640 --> 00:25:53,560
Speaker 1: is very, very difficult to go for making an indie

457
00:25:53,600 --> 00:25:57,040
Speaker 1: to doing a big studio project because so much more

458
00:25:57,160 --> 00:25:59,200
Speaker 1: is required of you. There's so much more money, there's

459
00:25:59,240 --> 00:26:02,639
Speaker 1: so much more pressure. Oftentimes you're now dealing with stars

460
00:26:02,680 --> 00:26:05,040
Speaker 1: instead of actors who were just excited to work, and

461
00:26:05,080 --> 00:26:07,320
Speaker 1: that comes with the whole other set of conditions. You

462
00:26:07,359 --> 00:26:09,159
Speaker 1: need to know how to speak with and work with

463
00:26:09,200 --> 00:26:11,800
Speaker 1: those people so that you both have their respect and

464
00:26:11,880 --> 00:26:16,760
Speaker 1: their attention slash devotion. Like, it's a very hard it's

465
00:26:16,880 --> 00:26:19,600
Speaker 1: much more political than people think to make a big

466
00:26:19,600 --> 00:26:24,600
Speaker 1: studio film, and so like it makes sense to and

467
00:26:24,640 --> 00:26:27,040
Speaker 1: who I think it takes a really big person, or

468
00:26:27,080 --> 00:26:28,280
Speaker 1: it feels to me like it would take a really

469
00:26:28,320 --> 00:26:30,800
Speaker 1: big person to turn down all of that money, all

470
00:26:30,880 --> 00:26:34,720
Speaker 1: that opportunity, all of that praise to come do something small,

471
00:26:35,400 --> 00:26:38,800
Speaker 1: but to and especially with your sophomore project to land

472
00:26:38,880 --> 00:26:41,680
Speaker 1: that plane is really really difficult. I think he did

473
00:26:42,000 --> 00:26:43,960
Speaker 1: a great job. He gets his brothers in space to

474
00:26:44,000 --> 00:26:46,280
Speaker 1: work on his writing, which I love, and he comes

475
00:26:46,359 --> 00:26:49,679
Speaker 1: up with this idea of like, okay, if we're if

476
00:26:49,720 --> 00:26:51,520
Speaker 1: I'm turning my back on all of that, let me

477
00:26:51,600 --> 00:26:53,800
Speaker 1: really examine what I'm turning like. I really think a

478
00:26:53,840 --> 00:26:55,679
Speaker 1: lot of there's a lot of toxic masculinity. This is

479
00:26:55,720 --> 00:26:57,879
Speaker 1: me too, Era, It's just lining up for me. And

480
00:26:57,920 --> 00:27:01,480
Speaker 1: whether that's a bunch of coincidences or just how the

481
00:27:01,560 --> 00:27:04,160
Speaker 1: universes were happening to unfold. In other words, all these

482
00:27:04,160 --> 00:27:06,520
Speaker 1: things are around, and so of course you're comparing what's

483
00:27:06,560 --> 00:27:08,320
Speaker 1: coming out of this film where you can't say for

484
00:27:08,359 --> 00:27:10,639
Speaker 1: sure that this is what's Ineggar's heart is. He's working

485
00:27:10,680 --> 00:27:13,760
Speaker 1: on it, but it was I think it came an

486
00:27:13,800 --> 00:27:16,720
Speaker 1: interesting time for me as a viewer, I'll say, to

487
00:27:16,760 --> 00:27:19,240
Speaker 1: be exploring all those things. It was really a felt

488
00:27:19,480 --> 00:27:22,240
Speaker 1: uh difficult as a woman to get into this movie.

489
00:27:22,280 --> 00:27:30,480
Speaker 1: At first, the farts are yes, this is a dirty.

490
00:27:28,680 --> 00:27:31,000
Speaker 2: It really is. They really want you to be annoyed

491
00:27:31,000 --> 00:27:33,560
Speaker 2: with Willem Dafoe and just like damn, this old man

492
00:27:33,680 --> 00:27:38,959
Speaker 2: is so crotchety and disgusting, and he's really effective at that,

493
00:27:39,280 --> 00:27:42,760
Speaker 2: you know. But at the same time he also there

494
00:27:42,760 --> 00:27:46,000
Speaker 2: are times when he earns your respect just with his

495
00:27:46,240 --> 00:27:50,479
Speaker 2: wisdom and like the knowledge that he has of being

496
00:27:50,520 --> 00:27:54,600
Speaker 2: a seafarer somebody who lives on an isolated island, Like

497
00:27:54,600 --> 00:27:57,600
Speaker 2: he knows what he's talking about. But he's also very,

498
00:27:57,680 --> 00:27:58,560
Speaker 2: very hard to deal with.

499
00:27:59,480 --> 00:28:02,639
Speaker 1: Yeah, here's another thing that's interesting. When you're doing two

500
00:28:02,760 --> 00:28:05,480
Speaker 1: actors in a show like this, so there's there's no

501
00:28:05,640 --> 00:28:08,920
Speaker 1: supporting castors. There's excuse me. There is a mermaid who's

502
00:28:08,920 --> 00:28:12,040
Speaker 1: played by a woman who is here and she but

503
00:28:12,119 --> 00:28:15,000
Speaker 1: she's not giving a lot of interaction, right, Like the

504
00:28:15,160 --> 00:28:17,800
Speaker 1: thing she's almost all of her shots are like one shots.

505
00:28:17,880 --> 00:28:21,320
Speaker 1: It's just her, you know, she's isolated, almost like these birds,

506
00:28:21,359 --> 00:28:25,400
Speaker 1: until maybe she's pulled into it's like maybe Robert's hands

507
00:28:25,400 --> 00:28:26,399
Speaker 1: are there or something like that.

508
00:28:26,480 --> 00:28:30,040
Speaker 2: Yeah, but in the sex scene, I.

509
00:28:30,000 --> 00:28:34,040
Speaker 1: Mean, I loved that. The Twilight girlies it Robert's doing

510
00:28:34,080 --> 00:28:38,239
Speaker 1: what in this movie? We'll be there and they were like,

511
00:28:39,120 --> 00:28:42,560
Speaker 1: he is a masturbating a shirtless his asses out a

512
00:28:42,560 --> 00:28:47,400
Speaker 1: little bit. Enjoy Listen. He's beautiful even when he's that filthy.

513
00:28:47,440 --> 00:28:49,880
Speaker 1: I have many Okay, so one, you can smell Robert

514
00:28:49,880 --> 00:28:53,400
Speaker 1: Egger's films, and that's something we're seeing a lot. It's

515
00:28:53,400 --> 00:28:55,680
Speaker 1: things that people who've seen No Satu are already commenting

516
00:28:55,760 --> 00:28:59,320
Speaker 1: on the fact that you can almost smell how dirty

517
00:28:59,360 --> 00:29:03,960
Speaker 1: the film is. When Robert goes just throw the absolutely

518
00:29:04,040 --> 00:29:06,000
Speaker 1: not this is a film my life. I've ever seen

519
00:29:06,000 --> 00:29:08,200
Speaker 1: Aggers's film in forty I don't need to smell it.

520
00:29:08,240 --> 00:29:11,440
Speaker 1: Oh gross. When Robert throws the shit over the side

521
00:29:11,440 --> 00:29:14,440
Speaker 1: and it blows back up into his face, I was like,

522
00:29:15,240 --> 00:29:18,000
Speaker 1: I was having such a hard time. But again, if

523
00:29:18,040 --> 00:29:19,760
Speaker 1: we go back to this core idea of this is

524
00:29:19,760 --> 00:29:22,840
Speaker 1: an exploration of masculinity and what it means to be

525
00:29:22,880 --> 00:29:26,640
Speaker 1: an or what two men thinks it means to be

526
00:29:26,720 --> 00:29:30,960
Speaker 1: a man, and they're going and their ideas are constantly

527
00:29:31,000 --> 00:29:33,280
Speaker 1: a conflict in war with each other. Picking up on

528
00:29:33,320 --> 00:29:36,800
Speaker 1: what you said about Defoe's performance, there are times where

529
00:29:36,800 --> 00:29:38,600
Speaker 1: you're really not sure if this is a guy who's like,

530
00:29:38,600 --> 00:29:41,160
Speaker 1: I need to put you through your paces because this

531
00:29:41,200 --> 00:29:43,880
Speaker 1: is a difficult job and I've been here for a while,

532
00:29:43,920 --> 00:29:45,400
Speaker 1: so screw you. I'm not doing all the story. If

533
00:29:45,400 --> 00:29:47,680
Speaker 1: you're young, you can do it like get to work,

534
00:29:48,080 --> 00:29:52,080
Speaker 1: or it is my intention to drive you literally mad

535
00:29:52,360 --> 00:29:55,800
Speaker 1: because it's fun for me. Right, You cannot tell, and

536
00:29:55,880 --> 00:29:58,480
Speaker 1: it feels like it changes from time to time, which

537
00:29:58,520 --> 00:30:03,840
Speaker 1: is something I learned recently on American Psycho. Defoe in

538
00:30:03,880 --> 00:30:07,479
Speaker 1: that film plays three different versions of his character, so

539
00:30:07,520 --> 00:30:10,640
Speaker 1: they would have him do three takes. Right, So the

540
00:30:10,680 --> 00:30:15,880
Speaker 1: first take it is like he believes everything that Christian

541
00:30:15,880 --> 00:30:19,920
Speaker 1: Bale's character is saying, he doesn't believe anything, and the

542
00:30:19,960 --> 00:30:22,360
Speaker 1: third take he doesn't know what to believe, and then

543
00:30:22,400 --> 00:30:25,600
Speaker 1: they would mix up those takes, so you get a

544
00:30:25,760 --> 00:30:30,760
Speaker 1: very confused, unsure off foot character. I have mixed feelings

545
00:30:30,800 --> 00:30:35,640
Speaker 1: about that As somebody who studied directing, I think, yeah,

546
00:30:35,680 --> 00:30:37,640
Speaker 1: a part of me is like, it feels disrespectful to

547
00:30:37,680 --> 00:30:39,720
Speaker 1: the actor not to give them the space to make

548
00:30:39,760 --> 00:30:43,480
Speaker 1: these choices to create a character. And anybody who's edited

549
00:30:43,520 --> 00:30:47,120
Speaker 1: a film knows you can absolutely make beautiful or destroy

550
00:30:47,240 --> 00:30:50,360
Speaker 1: a performance within an edit. I think they did a

551
00:30:50,400 --> 00:30:52,880
Speaker 1: great job with it. In the end. It turned out

552
00:30:52,920 --> 00:30:55,400
Speaker 1: to be a decision that works for the movie. But

553
00:30:55,600 --> 00:30:59,400
Speaker 1: I imagine Edgar sort of gave him the space to

554
00:30:59,400 --> 00:31:01,520
Speaker 1: make these choices and it works just as well here

555
00:31:01,560 --> 00:31:04,360
Speaker 1: with somebody who is maybe all three of these things

556
00:31:04,400 --> 00:31:07,920
Speaker 1: at different times. And that's also very legit for the character.

557
00:31:08,640 --> 00:31:10,880
Speaker 1: It makes everything Robert gets to do like you are

558
00:31:11,040 --> 00:31:13,920
Speaker 1: so with him in this of like this guy is

559
00:31:14,040 --> 00:31:16,440
Speaker 1: driving me creat When he lets him carry a barrel

560
00:31:16,480 --> 00:31:18,680
Speaker 1: all the way up the spirals in your.

561
00:31:18,600 --> 00:31:20,920
Speaker 2: Case and take it back down, He's.

562
00:31:20,800 --> 00:31:23,200
Speaker 1: Like, catch your breath, Catch your breath, boy, Okay, I

563
00:31:23,320 --> 00:31:25,840
Speaker 1: take that back downstairs. I would kill him right there.

564
00:31:26,280 --> 00:31:28,680
Speaker 1: There'd be no in your sleep for me. I'd be like, well,

565
00:31:28,760 --> 00:31:31,120
Speaker 1: you have to die, because that's like let's but to

566
00:31:31,160 --> 00:31:33,760
Speaker 1: be fair, his next response is, if you don't want

567
00:31:33,800 --> 00:31:36,480
Speaker 1: to set this whole lighthouse on fire, take that back

568
00:31:36,520 --> 00:31:38,400
Speaker 1: down if it's not safe. But why did you let

569
00:31:38,480 --> 00:31:40,360
Speaker 1: me get my ass all the way up here, old man,

570
00:31:40,520 --> 00:31:45,800
Speaker 1: just to teach me a lesson. It's like it's infuriating.

571
00:31:45,800 --> 00:31:47,480
Speaker 2: And it does make you think it that is like

572
00:31:47,800 --> 00:31:50,200
Speaker 2: his goal is to like either teach a lesson, drive

573
00:31:50,280 --> 00:31:54,760
Speaker 2: him insane, or or or just have fun with tormenting

574
00:31:54,800 --> 00:31:57,280
Speaker 2: this poor guy. I wanted to say too, just to

575
00:31:57,320 --> 00:32:02,040
Speaker 2: your point about like if Robert Eggar, if Robert Eggers

576
00:32:02,040 --> 00:32:05,080
Speaker 2: gave Willem Dafoe the space to make that decision. I

577
00:32:05,080 --> 00:32:07,680
Speaker 2: really think he did, because I get the impression just

578
00:32:07,680 --> 00:32:10,520
Speaker 2: from an interview I watched about the lighthouse that I

579
00:32:10,560 --> 00:32:15,520
Speaker 2: think Robert Eggers takes the opinion of his actors to heart.

580
00:32:16,120 --> 00:32:20,600
Speaker 2: Like there is a moment in the interview where he

581
00:32:20,640 --> 00:32:25,200
Speaker 2: talks about the first lighthouse that they scouted for the

582
00:32:25,320 --> 00:32:28,480
Speaker 2: movie was the one that they had decided on, and

583
00:32:28,560 --> 00:32:32,040
Speaker 2: they took the actors the crew there and the actress

584
00:32:32,040 --> 00:32:36,240
Speaker 2: who plays the mermaid, her name is Valeria Karaman, She's Russian,

585
00:32:36,560 --> 00:32:41,000
Speaker 2: and she immediately said, what is this ugly Soviet bullshit?

586
00:32:41,720 --> 00:32:44,320
Speaker 2: You know, like, what is this horrible mids It was

587
00:32:44,360 --> 00:32:47,920
Speaker 2: a mid century designed lighthouse, and that's when Robert Eggers

588
00:32:47,960 --> 00:32:49,600
Speaker 2: was like, yeah, you know what, we can't use this

589
00:32:49,800 --> 00:32:52,560
Speaker 2: because it's it's not right, and she didn't like it,

590
00:32:52,640 --> 00:32:55,000
Speaker 2: So we're going to build our own lighthouse on this cape.

591
00:32:55,000 --> 00:32:57,680
Speaker 2: So I think he does value and that's what I

592
00:32:57,720 --> 00:33:01,400
Speaker 2: think is respectable in a directors, when they actually value

593
00:33:01,400 --> 00:33:03,640
Speaker 2: the opinions of their talent and stuff.

594
00:33:04,400 --> 00:33:07,640
Speaker 1: Yeah, I think there's a balance of trust that needs

595
00:33:07,640 --> 00:33:12,800
Speaker 1: to be established, and not always, but sometimes it bodes

596
00:33:12,880 --> 00:33:16,800
Speaker 1: well when actors frequently return with directors because you understand

597
00:33:16,800 --> 00:33:21,200
Speaker 1: there's a sense of trust and relationship building there that

598
00:33:21,360 --> 00:33:23,400
Speaker 1: brings them back and it makes you feel good. And

599
00:33:23,440 --> 00:33:25,400
Speaker 1: by that I mean I work in this industry and

600
00:33:25,440 --> 00:33:27,520
Speaker 1: I know how toxic and awful it can be. And

601
00:33:27,560 --> 00:33:30,440
Speaker 1: so when there's ever a glimmer of hope that maybe

602
00:33:30,840 --> 00:33:34,000
Speaker 1: this is a director that people, particularly women, seem to

603
00:33:34,000 --> 00:33:37,200
Speaker 1: feel good and safe around and creatively free, like, that's

604
00:33:37,240 --> 00:33:43,760
Speaker 1: always exciting. Yeah, let's talk a little bit about the Light,

605
00:33:44,040 --> 00:33:46,640
Speaker 1: which is something we've sort of speculated on at the

606
00:33:46,640 --> 00:33:51,680
Speaker 1: beginning of this episode. At first, I was like, oh,

607
00:33:51,800 --> 00:33:53,920
Speaker 1: this is a metaphor for when I'm being in my

608
00:33:54,000 --> 00:33:56,440
Speaker 1: most base instinct. Okay, this is a metaphor for a woman.

609
00:33:56,520 --> 00:33:58,920
Speaker 1: It's this thing that they long for that they can't see.

610
00:33:59,440 --> 00:34:02,960
Speaker 1: But then it's like, no, this is our responsibility and

611
00:34:03,000 --> 00:34:05,720
Speaker 1: without women. Okay again, if you're going along the American

612
00:34:05,760 --> 00:34:08,000
Speaker 1: idealized idea of like what a man is this whole

613
00:34:08,000 --> 00:34:13,600
Speaker 1: like Cowboy, rugged, independent, A key factor, a high key factor.

614
00:34:13,600 --> 00:34:16,000
Speaker 1: If you've been watching Cross on Amazon, they talk about

615
00:34:16,000 --> 00:34:19,239
Speaker 1: this a lot, or like, really exploit this idea. If

616
00:34:19,239 --> 00:34:21,480
Speaker 1: you're a man, you're supposed to be a savior or

617
00:34:21,480 --> 00:34:23,880
Speaker 1: a hero or a protector or at the very least

618
00:34:23,920 --> 00:34:28,480
Speaker 1: a provider. At the very least, your responsibility is to

619
00:34:28,760 --> 00:34:34,200
Speaker 1: financially and with like care and taking of the land.

620
00:34:35,280 --> 00:34:37,960
Speaker 1: That is your responsibility. That is the thing that defines

621
00:34:38,000 --> 00:34:40,080
Speaker 1: you as a man. And if there are no women

622
00:34:40,719 --> 00:34:45,200
Speaker 1: to protect, but you have this lighthouse, this responsibility of

623
00:34:45,239 --> 00:34:49,640
Speaker 1: like protecting your fellow man. But it's so offhands right,

624
00:34:49,640 --> 00:34:51,600
Speaker 1: Like you're not actively in it with your fellow man.

625
00:34:51,640 --> 00:34:55,400
Speaker 1: You're literally separated from and from a distance supposed to

626
00:34:55,440 --> 00:34:57,719
Speaker 1: be trying to help them. It's like, so, okay, so

627
00:34:57,920 --> 00:35:02,040
Speaker 1: is the light this idea of their But then they

628
00:35:02,080 --> 00:35:05,719
Speaker 1: literally become like consumed and obsessed over this thing, and

629
00:35:05,960 --> 00:35:09,600
Speaker 1: you think, okay, well maybe that's about like greed.

630
00:35:10,160 --> 00:35:10,360
Speaker 3: You know.

631
00:35:10,520 --> 00:35:11,719
Speaker 1: He's like, I want to take care of les, like

632
00:35:11,719 --> 00:35:15,000
Speaker 1: it's my responsibility. You're not their young buck, I can

633
00:35:15,200 --> 00:35:17,520
Speaker 1: slow your role. He's like, no, okay. Maybe it's a

634
00:35:17,520 --> 00:35:21,080
Speaker 1: metaphor for like when do you lose your manhood? Like

635
00:35:21,080 --> 00:35:24,480
Speaker 1: Willumdafoe's aging, he's older, is he going to age out

636
00:35:24,480 --> 00:35:26,720
Speaker 1: of this job? And what will he do once it happens.

637
00:35:27,000 --> 00:35:29,080
Speaker 1: Robert's trying to make his way, He's trying to get

638
00:35:29,440 --> 00:35:31,360
Speaker 1: enough money to support himself and build this house and

639
00:35:31,360 --> 00:35:34,000
Speaker 1: starts to fan like they're at they're both trying to

640
00:35:34,120 --> 00:35:38,200
Speaker 1: use this pinnacle and they understand inherently one thing that

641
00:35:38,200 --> 00:35:41,080
Speaker 1: they can't do it together, and is that the light.

642
00:35:41,560 --> 00:35:43,640
Speaker 1: I have a lot of maybe the light changes, what

643
00:35:43,680 --> 00:35:45,399
Speaker 1: does it mean for you? How does it come off

644
00:35:45,440 --> 00:35:47,080
Speaker 1: for you?

645
00:35:45,560 --> 00:35:49,080
Speaker 2: You know, I hadn't thought about it like that, but

646
00:35:49,120 --> 00:35:53,960
Speaker 2: I like the idea that the lighthouse is this symbol

647
00:35:54,000 --> 00:35:56,880
Speaker 2: of a woman. And you could even if we're if

648
00:35:56,880 --> 00:36:00,279
Speaker 2: we're going with that analogy, you could even say the

649
00:36:00,280 --> 00:36:02,279
Speaker 2: conflict they have of like, well, when am I going

650
00:36:02,360 --> 00:36:04,560
Speaker 2: to take care of the lighthouse? Is sort of like

651
00:36:05,719 --> 00:36:09,960
Speaker 2: is like when two men are are fighting over a woman,

652
00:36:10,480 --> 00:36:13,680
Speaker 2: you know, and and who gets to be the one

653
00:36:13,719 --> 00:36:19,080
Speaker 2: that cares for and looks after this woman? And you

654
00:36:19,120 --> 00:36:22,920
Speaker 2: can really tell with Robert Pattens through Robert Pattenson's character,

655
00:36:23,520 --> 00:36:26,000
Speaker 2: that is something that he's really consumed with with his

656
00:36:26,040 --> 00:36:31,080
Speaker 2: little soap carving of a mermaid, his dream dreams or

657
00:36:31,400 --> 00:36:35,720
Speaker 2: actual encounters with the mermaid. Who knows what's actually happening there,

658
00:36:36,680 --> 00:36:38,960
Speaker 2: but he is really consumed with this idea of a

659
00:36:39,040 --> 00:36:42,839
Speaker 2: woman when there are no women around, So I think

660
00:36:42,880 --> 00:36:45,520
Speaker 2: it could. I think the analogy of the lighthouse being

661
00:36:45,560 --> 00:36:48,320
Speaker 2: a woman does work for me, But I think it

662
00:36:48,360 --> 00:36:51,120
Speaker 2: could also be fluid in the sense that it at

663
00:36:51,120 --> 00:36:54,320
Speaker 2: different times means different things. But the fact that Willem

664
00:36:54,360 --> 00:36:57,719
Speaker 2: Dafoe like gets naked and like goes up there and

665
00:36:58,640 --> 00:37:01,880
Speaker 2: you know, bathes in the light feels very much like

666
00:37:01,960 --> 00:37:03,880
Speaker 2: you know, a guy like going to a strip club

667
00:37:04,000 --> 00:37:08,080
Speaker 2: and like, you know, enjoying the entertainment of women and

668
00:37:08,080 --> 00:37:11,640
Speaker 2: stuff like that. So I think it's an interesting analogy

669
00:37:11,680 --> 00:37:12,479
Speaker 2: to look at it that way.

670
00:37:13,560 --> 00:37:18,279
Speaker 1: Yeah, I love the Again, the nebulousness of it has

671
00:37:18,560 --> 00:37:22,680
Speaker 1: got the uh two thousand and one Space Odyssey vibes

672
00:37:23,080 --> 00:37:27,400
Speaker 1: of like, who is how supposed to like represent or be?

673
00:37:28,280 --> 00:37:33,680
Speaker 1: You know, is how your own enterdemon is. The outreach

674
00:37:33,719 --> 00:37:37,319
Speaker 1: of man trying to explore beyond this whole earth that

675
00:37:37,320 --> 00:37:41,560
Speaker 1: we've been given is a you know more about I

676
00:37:41,560 --> 00:37:43,759
Speaker 1: don't want to break down this movie. I'm sorry, we're

677
00:37:43,800 --> 00:37:47,440
Speaker 1: on the Lighthouse, but that's the idea of just just

678
00:37:47,480 --> 00:37:51,719
Speaker 1: to compare it as a cosmic horror, This idea of

679
00:37:51,760 --> 00:37:56,799
Speaker 1: the unknown and the desire that you can't reach is

680
00:37:56,880 --> 00:37:59,600
Speaker 1: so fascinating, and we talked a lot in The Witch

681
00:37:59,640 --> 00:38:03,920
Speaker 1: about vibes in tone, and this film starts off in

682
00:38:04,080 --> 00:38:08,840
Speaker 1: a fog of cloudy haze, like it's really trying to

683
00:38:08,920 --> 00:38:12,080
Speaker 1: sell you on the idea of not being able to

684
00:38:12,120 --> 00:38:15,719
Speaker 1: see what's directly in front of you. And I think

685
00:38:15,760 --> 00:38:17,920
Speaker 1: that's really interesting because what these two guys are never

686
00:38:18,000 --> 00:38:22,080
Speaker 1: able to do is find a real partnership, right Like

687
00:38:22,120 --> 00:38:24,440
Speaker 1: you're really what's supposed to be happening here is your

688
00:38:24,480 --> 00:38:27,400
Speaker 1: two dudes who are running a lighthouse. This shouldn't be

689
00:38:27,440 --> 00:38:30,600
Speaker 1: that complicate. There's enough food, there's enough drink, there's enough

690
00:38:30,680 --> 00:38:34,920
Speaker 1: jobs for everyone to be doing. But immediately Defoe is like,

691
00:38:35,000 --> 00:38:38,840
Speaker 1: I need to be on top, And immediately Robert's character

692
00:38:39,000 --> 00:38:43,440
Speaker 1: is coming from a place of I need to establish

693
00:38:43,480 --> 00:38:46,800
Speaker 1: myself here in order to go back and make more money,

694
00:38:46,840 --> 00:38:50,239
Speaker 1: like he's he's formally like a logger. They're both coming

695
00:38:50,239 --> 00:38:54,439
Speaker 1: off with some pretty traumatic experiences and neither can give

696
00:38:54,480 --> 00:38:58,800
Speaker 1: each other the space to sort of be their own person.

697
00:38:59,160 --> 00:39:03,960
Speaker 1: There is this need to be the most dominant figure

698
00:39:04,200 --> 00:39:05,239
Speaker 1: in the space.

699
00:39:05,400 --> 00:39:08,560
Speaker 2: And Robert Pattinson's character is also lying about who he

700
00:39:08,640 --> 00:39:14,840
Speaker 2: really is true, and he takes over the place of

701
00:39:14,880 --> 00:39:18,600
Speaker 2: the real Frahim Winslow and pretends to be Frahim Winslow,

702
00:39:18,640 --> 00:39:21,840
Speaker 2: which I think is what also kind of maybe is

703
00:39:21,920 --> 00:39:26,440
Speaker 2: part of because he is trying to conceal something about himself,

704
00:39:27,080 --> 00:39:33,160
Speaker 2: he's unable to actually connect and be genuine and authentic

705
00:39:33,239 --> 00:39:37,359
Speaker 2: with Willem Dafoe's character. Oh man, does that make sense?

706
00:39:37,960 --> 00:39:43,000
Speaker 1: Yeah, No, that's definitely. That's definitely was my takeaway as well.

707
00:39:43,200 --> 00:39:45,480
Speaker 1: When we come back, we're gonna talk about the Dollhouse

708
00:39:46,080 --> 00:39:48,640
Speaker 1: and what that means to Eggers and how it impacts

709
00:39:48,640 --> 00:40:03,440
Speaker 1: this film. So stay tuned. Okay, we're back. Last week

710
00:40:03,440 --> 00:40:09,600
Speaker 1: we talked about the Dollhouse. Edgers when he was designing films, right,

711
00:40:09,719 --> 00:40:12,560
Speaker 1: he has a background in production design, that's sort of

712
00:40:12,600 --> 00:40:15,080
Speaker 1: what he was studying in college. He goes on to

713
00:40:15,120 --> 00:40:19,040
Speaker 1: become a filmmaker and when he's staging his films in

714
00:40:19,040 --> 00:40:21,600
Speaker 1: his head and he's writing the scripts. Eggers gave a

715
00:40:21,640 --> 00:40:25,200
Speaker 1: long talk where he was explaining that his films are

716
00:40:25,239 --> 00:40:28,280
Speaker 1: overwritten because he writes them for himself and he wants

717
00:40:29,120 --> 00:40:33,680
Speaker 1: investors and producers and everyone involved to understand what the

718
00:40:33,719 --> 00:40:38,880
Speaker 1: tonality is because they're so reliant on nailing that. So

719
00:40:39,680 --> 00:40:43,160
Speaker 1: part of that is building literally a dollhouse where he's

720
00:40:43,719 --> 00:40:46,960
Speaker 1: sketching out like what happens in each moment, and then

721
00:40:47,440 --> 00:40:49,520
Speaker 1: he was saying that it's really his goal to walk

722
00:40:49,560 --> 00:40:52,520
Speaker 1: people through that dollhouse in his film. The opening of

723
00:40:52,560 --> 00:40:55,160
Speaker 1: his film come off off the foggy water, and then

724
00:40:55,239 --> 00:40:59,200
Speaker 1: it's a slow walk through the lighthouse and exploration of

725
00:40:59,239 --> 00:41:03,520
Speaker 1: this whole space. It is both. I think it's like

726
00:41:03,880 --> 00:41:07,360
Speaker 1: two and a half to three minutes something in there

727
00:41:07,520 --> 00:41:12,760
Speaker 1: of just scenery and looking around. It builds a creep factor,

728
00:41:12,840 --> 00:41:16,400
Speaker 1: to be sure. But what I think it does more

729
00:41:16,480 --> 00:41:20,279
Speaker 1: than that is imbue you to this space as like

730
00:41:21,280 --> 00:41:25,200
Speaker 1: a setting. That's a really poor way of saying it,

731
00:41:25,400 --> 00:41:30,440
Speaker 1: but I just rewatched Young Frankenstein and the Lutro credits.

732
00:41:30,680 --> 00:41:34,719
Speaker 1: It's a great fucking movie. And the introduction of that

733
00:41:34,800 --> 00:41:39,440
Speaker 1: film is classic, right. It's the old world. It's inspired

734
00:41:39,480 --> 00:41:41,600
Speaker 1: by the films of the thirties. In fact, the entire

735
00:41:41,680 --> 00:41:44,839
Speaker 1: set comes from a production designer in the thirties who

736
00:41:44,840 --> 00:41:46,480
Speaker 1: they went to his house and they were like, hey,

737
00:41:46,480 --> 00:41:47,759
Speaker 1: can you tell us how to make this stuff? He's like,

738
00:41:47,800 --> 00:41:49,399
Speaker 1: I actually have all of it in my garage. If

739
00:41:49,400 --> 00:41:51,319
Speaker 1: you want it, you can just piece together and make

740
00:41:51,320 --> 00:41:53,200
Speaker 1: your own set out of all these old set pieces

741
00:41:53,239 --> 00:41:57,000
Speaker 1: I have. I think it was the original Frankenstein film

742
00:41:57,000 --> 00:41:58,600
Speaker 1: that this guy did, and they just took all that

743
00:41:58,640 --> 00:42:01,239
Speaker 1: stuff and read right, reset it up here, which is

744
00:42:01,360 --> 00:42:04,400
Speaker 1: very cool. But the opening of that film is just

745
00:42:04,440 --> 00:42:07,719
Speaker 1: the castle. It's the castle. It's cracks of lightning and

746
00:42:07,880 --> 00:42:11,120
Speaker 1: credits and what it's like. Okay, so you're in this

747
00:42:11,160 --> 00:42:13,480
Speaker 1: old world caped place. You see there's some lights. It

748
00:42:13,480 --> 00:42:16,280
Speaker 1: gets your brain thinking. And we talked a lot about

749
00:42:16,280 --> 00:42:20,840
Speaker 1: this last week as well, the three aspects of Edgar's films.

750
00:42:21,320 --> 00:42:25,080
Speaker 1: I really think that just pacing the floorboards allows you

751
00:42:25,120 --> 00:42:27,600
Speaker 1: to think, how would I survive in this situation? And

752
00:42:27,600 --> 00:42:30,480
Speaker 1: again not a life or desk situation, but I'm isolated.

753
00:42:30,560 --> 00:42:33,279
Speaker 1: It's kind of beautiful. It's a little creepy though, it's

754
00:42:33,320 --> 00:42:37,600
Speaker 1: all like washed out. It's but it seems scenicd but

755
00:42:37,600 --> 00:42:39,799
Speaker 1: it's also what if I get hurt? Who would come?

756
00:42:39,840 --> 00:42:43,960
Speaker 1: How would you get here? It's so isolated and allowing

757
00:42:44,000 --> 00:42:45,919
Speaker 1: you to sort of sink in and settle into that

758
00:42:46,160 --> 00:42:50,879
Speaker 1: space before you meet your main characters. I mean, it's

759
00:42:50,920 --> 00:42:55,360
Speaker 1: putting your setting first. It's saying the story couldn't happen anywhere,

760
00:42:55,800 --> 00:42:59,160
Speaker 1: but here. I think it elevates and makes special everything

761
00:42:59,200 --> 00:43:01,680
Speaker 1: you're about to see because it's like in a mooge

762
00:43:01,680 --> 00:43:04,920
Speaker 1: booth bosh. I don't speak the language. I'm sure I'm

763
00:43:04,920 --> 00:43:09,920
Speaker 1: not French. Likely a palate cleanser.

764
00:43:10,960 --> 00:43:14,600
Speaker 2: Yeah, yeah, no, it really is. And then that first

765
00:43:14,680 --> 00:43:18,279
Speaker 2: shot that we get of Robert Pattenson and Willem Dafoe

766
00:43:18,400 --> 00:43:20,719
Speaker 2: standing next to each other with all their stuff, it's

767
00:43:20,760 --> 00:43:24,760
Speaker 2: just like they just look they just look so grim

768
00:43:25,000 --> 00:43:28,000
Speaker 2: and like like, why the fuck are we here? You know,

769
00:43:28,280 --> 00:43:30,799
Speaker 2: they just don't look happy. They don't look happy. So

770
00:43:30,880 --> 00:43:32,240
Speaker 2: it really also sets the tone.

771
00:43:32,920 --> 00:43:37,000
Speaker 1: It does. It's yeah, it's it's a hell of a movie.

772
00:43:37,160 --> 00:43:42,840
Speaker 1: I guess we should talk about the ending now. Yes, okay,

773
00:43:43,480 --> 00:43:50,040
Speaker 1: so we spent this whole movie watching these two men

774
00:43:50,080 --> 00:43:53,360
Speaker 1: try to one up each other. There is a power

775
00:43:53,440 --> 00:43:57,680
Speaker 1: struggle and it yeah, really I kept going backwards and

776
00:43:57,719 --> 00:44:02,719
Speaker 1: forwards in the last maybe half hour to track the

777
00:44:03,040 --> 00:44:06,759
Speaker 1: exchange of power, and there's I mean literally, if you

778
00:44:06,800 --> 00:44:09,040
Speaker 1: were to just rewind and fast forward through this part

779
00:44:09,080 --> 00:44:12,319
Speaker 1: like I did, it's every two minutes, every three to

780
00:44:12,360 --> 00:44:16,640
Speaker 1: five minutes, and what is changing is not always clear.

781
00:44:17,040 --> 00:44:18,560
Speaker 1: And we talked a little bit about it earlier. My

782
00:44:18,560 --> 00:44:21,320
Speaker 1: big takeaway from watching this film initially was like, Oh,

783
00:44:21,600 --> 00:44:25,400
Speaker 1: it's strange. How if there's only two people in a room,

784
00:44:25,719 --> 00:44:28,560
Speaker 1: you will become what you need to each other. Maybe

785
00:44:28,600 --> 00:44:31,640
Speaker 1: not in a healthy way, but at some point they're

786
00:44:31,680 --> 00:44:35,680
Speaker 1: parenting each other. At some point, they're brothers, at some point,

787
00:44:35,719 --> 00:44:38,319
Speaker 1: they're coworkers, at some point their families, at some point

788
00:44:38,360 --> 00:44:43,920
Speaker 1: their potential lovers. Like they're going through every possible relationship

789
00:44:44,040 --> 00:44:47,320
Speaker 1: you could have with a person through this time frame.

790
00:44:47,400 --> 00:44:50,160
Speaker 1: And if that's the case, then what your characters are

791
00:44:50,200 --> 00:44:52,760
Speaker 1: left with is really they're fighting themselves and their entertainments,

792
00:44:52,800 --> 00:44:55,640
Speaker 1: which again is the core in space of where masculinity,

793
00:44:56,040 --> 00:45:00,719
Speaker 1: any kind of insecurity lives. And it builds to a

794
00:45:00,760 --> 00:45:07,399
Speaker 1: point where Defoe's character is reduced to a dog and

795
00:45:07,840 --> 00:45:15,560
Speaker 1: Pattenson's character is his owner. It is somewhat bondage puppy

796
00:45:15,600 --> 00:45:21,600
Speaker 1: play maybe, but also just a complete psychotic break and

797
00:45:21,760 --> 00:45:27,239
Speaker 1: instead of you know, you might you would expect an

798
00:45:27,360 --> 00:45:32,239
Speaker 1: unwell person to maybe like beat the dog or to

799
00:45:32,440 --> 00:45:37,640
Speaker 1: shun and like abandon the dog. Maybe again an unwell

800
00:45:37,640 --> 00:45:39,480
Speaker 1: person take the dog out and like shoot it. But

801
00:45:39,560 --> 00:45:45,480
Speaker 1: what he does is he buries it alive. Yeah, what

802
00:45:45,480 --> 00:45:49,960
Speaker 1: what what does this this meaning ending mean to you?

803
00:45:50,280 --> 00:45:55,000
Speaker 1: And also if if this is a film about toxic masculine,

804
00:45:55,000 --> 00:45:58,680
Speaker 1: what do you think Edgar's takeaway is with this this

805
00:45:58,800 --> 00:46:00,800
Speaker 1: part of the conclusion it's a conclusion.

806
00:46:02,120 --> 00:46:04,960
Speaker 2: Yeah, you know, I don't even know if I have

807
00:46:05,120 --> 00:46:09,520
Speaker 2: like a fully formed idea yet of what it means

808
00:46:09,520 --> 00:46:11,240
Speaker 2: to me. But I will say the first time I

809
00:46:11,280 --> 00:46:14,880
Speaker 2: watched it, I was like, what the hell is happening?

810
00:46:15,640 --> 00:46:18,439
Speaker 2: What in the hell? Where did how did we get

811
00:46:18,560 --> 00:46:23,080
Speaker 2: to this? But then you do go there is an

812
00:46:23,239 --> 00:46:26,720
Speaker 2: escalation that gets us to that point, and I think,

813
00:46:27,880 --> 00:46:32,400
Speaker 2: you know, I think maybe burying him alive might be

814
00:46:32,640 --> 00:46:38,440
Speaker 2: a symbolism of like him Robert Pattinson's character, burying his shame,

815
00:46:38,840 --> 00:46:43,600
Speaker 2: burying his you know, inadequacyes, those kinds of things. But

816
00:46:44,640 --> 00:46:46,560
Speaker 2: I don't even know if I have like a fully

817
00:46:46,600 --> 00:46:50,880
Speaker 2: formed idea of what exactly it means yet. You know,

818
00:46:50,920 --> 00:46:52,319
Speaker 2: I think I'm gonna have to watch it a few

819
00:46:52,320 --> 00:46:55,520
Speaker 2: more times to really kind of understand it, especially after

820
00:46:55,560 --> 00:46:58,160
Speaker 2: this conversation, because you've really kind of given me a

821
00:46:58,200 --> 00:47:03,319
Speaker 2: new light on on the movie. But yeah, I think,

822
00:47:04,040 --> 00:47:06,960
Speaker 2: if anything, he feels ashamed about a lot of things,

823
00:47:08,280 --> 00:47:13,640
Speaker 2: replacing the actual Frahim winslow lying doing all of this

824
00:47:13,760 --> 00:47:16,800
Speaker 2: like power dynamic stuff, and then it evolves into a

825
00:47:16,880 --> 00:47:21,160
Speaker 2: very homo erotic direction where he is really more attracted

826
00:47:21,160 --> 00:47:24,279
Speaker 2: to women, or supposed to be attracted to women. There

827
00:47:24,320 --> 00:47:27,520
Speaker 2: could be like a bevarying of shame going on there.

828
00:47:27,560 --> 00:47:28,839
Speaker 2: I think, you know, I.

829
00:47:28,760 --> 00:47:31,680
Speaker 1: Really like that read. I want to bring up. I'm

830
00:47:31,719 --> 00:47:37,200
Speaker 1: trying to see if HBO will let me share this

831
00:47:37,480 --> 00:47:40,680
Speaker 1: audio because I think the final speech.

832
00:47:41,200 --> 00:47:43,840
Speaker 2: Yeah, Edgars is.

833
00:47:43,120 --> 00:47:48,240
Speaker 1: A prolific Shakespeare scholar, studied in school at the collegiate level,

834
00:47:48,440 --> 00:47:50,960
Speaker 1: like really really loves Shakespeare. Talked a lot about his

835
00:47:51,040 --> 00:47:53,400
Speaker 1: love of Shakespeare when he was doing The Witch. And

836
00:47:53,480 --> 00:47:58,239
Speaker 1: I think because this movie is predominantly monologues between men

837
00:47:58,360 --> 00:48:02,160
Speaker 1: swinging erratically between emotions, no states of being can really

838
00:48:02,160 --> 00:48:05,680
Speaker 1: get to embrace that idea. And because you're also dealing

839
00:48:05,719 --> 00:48:10,080
Speaker 1: with death and sort of this operatic level of power,

840
00:48:10,280 --> 00:48:12,279
Speaker 1: it works well. And so I just want to play

841
00:48:12,280 --> 00:48:15,600
Speaker 1: a little bit of the speech that Defoe is as

842
00:48:15,640 --> 00:48:17,319
Speaker 1: he's being buried alive.

843
00:48:21,080 --> 00:48:30,960
Speaker 3: Shut up all all ship breastwork, oh right, aproaching arm

844
00:48:31,160 --> 00:48:34,920
Speaker 3: sway him up from men's minds and men and heart

845
00:48:35,000 --> 00:48:40,760
Speaker 3: Promathian plunder stoking eyes with divine shames and horror.

846
00:48:43,400 --> 00:48:44,560
Speaker 2: I'm casting them.

847
00:48:44,400 --> 00:48:48,840
Speaker 1: Down to David jonas he others.

848
00:48:50,680 --> 00:48:58,840
Speaker 4: Stay mind yet in it see oh, the divine passion,

849
00:49:02,560 --> 00:49:11,200
Speaker 4: the fedders green scent, where no man suffered, what toil is.

850
00:49:13,440 --> 00:49:16,920
Speaker 1: Actually flab.

851
00:49:21,280 --> 00:49:22,120
Speaker 3: Dot changing.

852
00:49:24,320 --> 00:49:29,720
Speaker 4: Yes, the sha who gurdles round the globe.

853
00:49:32,239 --> 00:49:37,520
Speaker 3: That's true, go Mesh.

854
00:49:38,440 --> 00:49:42,160
Speaker 2: Very Shakespearean in the sense that I had to google

855
00:49:42,200 --> 00:49:46,319
Speaker 2: a lot of those phrases to actually understand what the

856
00:49:46,360 --> 00:49:47,680
Speaker 2: hell any of it meant.

857
00:49:47,880 --> 00:49:51,200
Speaker 1: I know Davy Jones, but yeah, I was like, okay,

858
00:49:51,280 --> 00:49:54,200
Speaker 1: so sent to Davy Jones is thrown undersea. To me,

859
00:49:54,560 --> 00:49:57,000
Speaker 1: the I was just looking. I actually was in the

860
00:49:57,000 --> 00:49:59,520
Speaker 1: process of looking at Philler's Greeds Afterlife, where there is

861
00:49:59,600 --> 00:50:03,320
Speaker 1: prepa mirth okay, a filler never stops playing, and dancers

862
00:50:03,360 --> 00:50:06,600
Speaker 1: you never tire, okay. So talking about being sent to

863
00:50:06,640 --> 00:50:10,160
Speaker 1: the afterlife. But to me rewatching that scene and re

864
00:50:10,239 --> 00:50:14,560
Speaker 1: listening to the speech now and having had this conversation

865
00:50:14,640 --> 00:50:18,360
Speaker 1: with you, I do wonder if this is about And

866
00:50:18,440 --> 00:50:21,319
Speaker 1: again I don't think Eggars is so literal. I think

867
00:50:21,520 --> 00:50:26,000
Speaker 1: his films are open enough to leave it to your interpretation,

868
00:50:26,160 --> 00:50:28,520
Speaker 1: which is to me one of the best forms of art.

869
00:50:28,560 --> 00:50:32,320
Speaker 1: I really like art that is specific enough that it

870
00:50:32,360 --> 00:50:35,200
Speaker 1: becomes universal. This is a really hard element to achieve.

871
00:50:35,360 --> 00:50:40,560
Speaker 1: Oh God. Mir Kari, who's a Japanese fashion designer, talks

872
00:50:40,600 --> 00:50:45,160
Speaker 1: a lot about this in their approach, which is essentially

873
00:50:45,200 --> 00:50:50,279
Speaker 1: like the simpler, smaller, more unique you can be, the

874
00:50:50,400 --> 00:50:54,440
Speaker 1: more universally people will understand, reflect and be able to

875
00:50:54,480 --> 00:50:56,759
Speaker 1: attach to your artwork. That's a very broad way of

876
00:50:56,800 --> 00:50:59,920
Speaker 1: explaining that, but I think Eggers were a lot of it.

877
00:51:00,040 --> 00:51:02,240
Speaker 1: It's inside of that bubble. And because he's a director

878
00:51:02,239 --> 00:51:05,120
Speaker 1: who doesn't talk too much about his work, he doesn't

879
00:51:05,200 --> 00:51:08,080
Speaker 1: wind up cornering it into a very solid idea. And

880
00:51:08,160 --> 00:51:11,040
Speaker 1: so what I get out of this scene is okay,

881
00:51:11,200 --> 00:51:14,560
Speaker 1: if really like at this is patentson having quote one right.

882
00:51:14,880 --> 00:51:17,920
Speaker 1: The masculinity race is one by the younger, more up

883
00:51:17,920 --> 00:51:20,680
Speaker 1: and coming guy, and this is the old guy being

884
00:51:21,719 --> 00:51:25,800
Speaker 1: accepting his end, accepting that he's no longer sort of

885
00:51:25,840 --> 00:51:31,000
Speaker 1: a masculine dominant, accepting that it is his time to go. Yeah,

886
00:51:31,080 --> 00:51:34,839
Speaker 1: but in a strangely in a merry way. And so

887
00:51:34,880 --> 00:51:36,719
Speaker 1: I don't have to toil anymore. I don't have to

888
00:51:36,760 --> 00:51:39,960
Speaker 1: work hard. I don't have to any longer adhere to

889
00:51:40,000 --> 00:51:42,319
Speaker 1: these ideas of masculinity because I'm going to a place

890
00:51:42,320 --> 00:51:45,400
Speaker 1: where that no longer matters and I can experience genuine

891
00:51:45,560 --> 00:51:49,799
Speaker 1: joy I think I experience with him. Yeah, And I

892
00:51:49,800 --> 00:51:53,880
Speaker 1: think that's a really interesting way, because you see in

893
00:51:53,960 --> 00:51:58,880
Speaker 1: Patentson's performance that his character isn't getting any kind of

894
00:51:58,920 --> 00:52:02,359
Speaker 1: joy out of this, even in the light at the end,

895
00:52:02,360 --> 00:52:04,040
Speaker 1: which where we come to the second ending. Right, So

896
00:52:04,080 --> 00:52:07,360
Speaker 1: the first ending is Defoe's character is literally buried alive,

897
00:52:08,360 --> 00:52:11,160
Speaker 1: perhaps accepting that and being excited to leave this plane

898
00:52:11,160 --> 00:52:13,279
Speaker 1: and don't have to deal with this bullshit anymore. Who

899
00:52:13,320 --> 00:52:18,680
Speaker 1: couldn't identify Robert's Like, finally me and this light get

900
00:52:18,719 --> 00:52:21,399
Speaker 1: to be together, and also I'm gonna burn this whole

901
00:52:21,400 --> 00:52:25,879
Speaker 1: place down because I'm crazy, Okay, cool. So he gets

902
00:52:25,960 --> 00:52:28,319
Speaker 1: up to the light and it sort of radiates and

903
00:52:28,360 --> 00:52:32,040
Speaker 1: takes over everything, and this is sort of the final imagery.

904
00:52:32,680 --> 00:52:35,840
Speaker 2: Yeah, the first the only color we see in the film,

905
00:52:35,880 --> 00:52:37,759
Speaker 2: which I think is really fascinating too.

906
00:52:39,239 --> 00:52:42,000
Speaker 1: Whenever the purple I think of purple hearts, right, like

907
00:52:42,120 --> 00:52:46,160
Speaker 1: the idea of the wounded warrior, the fact that maybe

908
00:52:46,440 --> 00:52:51,719
Speaker 1: no man gets out unscathed by the ideals of masculinity. Again,

909
00:52:51,760 --> 00:52:54,480
Speaker 1: I don't think this is a film that's meant to

910
00:52:54,600 --> 00:52:56,239
Speaker 1: say this is what it is to be a man.

911
00:52:56,280 --> 00:53:00,440
Speaker 1: But it's a film interrogating the ideals of masculine and

912
00:53:00,480 --> 00:53:04,520
Speaker 1: the way that they shape and harm the men who

913
00:53:04,560 --> 00:53:07,279
Speaker 1: have to live under them, which is a profound and

914
00:53:07,760 --> 00:53:10,520
Speaker 1: beautiful and weird and absolutely disgusting thing. You had. It

915
00:53:10,680 --> 00:53:15,600
Speaker 1: was so so FROs but it worked on a lot

916
00:53:15,680 --> 00:53:18,360
Speaker 1: of levels. This is a film that I don't know

917
00:53:18,440 --> 00:53:21,279
Speaker 1: if I'll be visiting again soon, but that I have

918
00:53:21,360 --> 00:53:25,839
Speaker 1: a deep appreciation for. Like I appreciate that everyone here

919
00:53:25,960 --> 00:53:29,279
Speaker 1: was willing to be like weird and uncomfortable. I appreciate

920
00:53:29,320 --> 00:53:33,200
Speaker 1: that this is a film that wanted to interrogate masculinity

921
00:53:33,239 --> 00:53:37,680
Speaker 1: in a way that like Fight Club is similarly trying

922
00:53:37,719 --> 00:53:42,759
Speaker 1: to explore this ideal masculinity, but unfortunately became cool and

923
00:53:42,800 --> 00:53:44,640
Speaker 1: guys were like, yes, this is what I would have liked.

924
00:53:44,800 --> 00:53:47,120
Speaker 1: It completely missed, like many people will miss the point.

925
00:53:47,920 --> 00:53:50,800
Speaker 2: I don't think the light House will do that. I think, yeah,

926
00:53:51,239 --> 00:53:52,120
Speaker 2: stay free of that.

927
00:53:52,360 --> 00:53:55,400
Speaker 1: Yeah you may miss the point, but you won't be

928
00:53:55,520 --> 00:53:57,319
Speaker 1: like I want to be like these guys.

929
00:53:57,400 --> 00:54:01,080
Speaker 2: Right, I want to model myself after Yeah, I want to.

930
00:54:01,080 --> 00:54:05,000
Speaker 1: Be as hot and Vicious's Brad pitt You know, none

931
00:54:05,080 --> 00:54:08,760
Speaker 1: of that here, even though Pattinson is bringing the body,

932
00:54:08,800 --> 00:54:12,200
Speaker 1: it's just it's not the same. And so I really

933
00:54:12,239 --> 00:54:15,239
Speaker 1: appreciate that you love the space that I appreciate the

934
00:54:15,360 --> 00:54:18,480
Speaker 1: odd ratio. I appreciate that he went back to working

935
00:54:18,520 --> 00:54:22,160
Speaker 1: with animals despite having a terrible time working with him. Yeah,

936
00:54:22,160 --> 00:54:25,759
Speaker 1: and his first film, he really to mine Eyes has

937
00:54:25,800 --> 00:54:29,200
Speaker 1: pushed himself as a director to get better and try

938
00:54:29,400 --> 00:54:31,719
Speaker 1: new things and get out of his comfort zone. And

939
00:54:31,760 --> 00:54:35,719
Speaker 1: I think that's where great art is made. What is

940
00:54:36,080 --> 00:54:38,200
Speaker 1: the Lighthouse leave you with? And how likely are you

941
00:54:38,239 --> 00:54:40,040
Speaker 1: to watch it again sometime soon?

942
00:54:40,840 --> 00:54:42,960
Speaker 2: Well, this was the second time I watched it in

943
00:54:43,000 --> 00:54:45,839
Speaker 2: one gear. I do think I want to go back

944
00:54:45,840 --> 00:54:48,680
Speaker 2: and watch it again, maybe in the new year, and

945
00:54:48,800 --> 00:54:52,800
Speaker 2: just to kind of again process everything that we talked about,

946
00:54:53,520 --> 00:54:56,359
Speaker 2: because you know, on my first two watches, I was

947
00:54:56,560 --> 00:55:02,800
Speaker 2: a little bit confused as to how what the ending meant,

948
00:55:03,040 --> 00:55:10,040
Speaker 2: you know, but I still respected as like some as

949
00:55:10,080 --> 00:55:13,040
Speaker 2: you said that something that can you can add your

950
00:55:13,080 --> 00:55:16,000
Speaker 2: own interpretation to. I like the fact that he doesn't

951
00:55:16,040 --> 00:55:17,799
Speaker 2: like lay it on thick in the sense like this

952
00:55:17,880 --> 00:55:21,280
Speaker 2: is exactly what it's supposed to mean and that people

953
00:55:21,320 --> 00:55:26,120
Speaker 2: can really add their own, you know, their own thoughts

954
00:55:26,200 --> 00:55:28,080
Speaker 2: and beliefs into it and just kind of see their

955
00:55:28,080 --> 00:55:31,480
Speaker 2: own reflection in it. But yeah, as a woman, it

956
00:55:31,520 --> 00:55:37,799
Speaker 2: doesn't necessarily particularly speak to me because I'm just like,

957
00:55:38,120 --> 00:55:41,160
Speaker 2: you know, can can everybody stop being such guys about

958
00:55:41,200 --> 00:55:44,719
Speaker 2: everything and just you know, actually talk and connect with

959
00:55:44,800 --> 00:55:50,640
Speaker 2: each other and just chill. But you know, it's it's

960
00:55:50,719 --> 00:55:55,880
Speaker 2: It's definitely one that I think probably leaves more men

961
00:55:56,640 --> 00:55:59,160
Speaker 2: with like these thoughts of like, wow, what is my

962
00:55:59,239 --> 00:56:03,000
Speaker 2: masculinity actually mean? And so I would be curious to

963
00:56:03,080 --> 00:56:06,160
Speaker 2: get I would be curious. I tried to get my

964
00:56:06,200 --> 00:56:07,960
Speaker 2: boyfriend to watch this one with me, and he wouldn't

965
00:56:07,960 --> 00:56:09,520
Speaker 2: watch it with me because he was.

966
00:56:09,480 --> 00:56:13,760
Speaker 1: Like, my boyfriend is not that scary. It's more trippy,

967
00:56:14,120 --> 00:56:15,200
Speaker 1: even scary. Come.

968
00:56:16,320 --> 00:56:18,560
Speaker 2: So I really want to get a man's read for

969
00:56:18,680 --> 00:56:20,799
Speaker 2: how they feel about what men.

970
00:56:21,480 --> 00:56:23,799
Speaker 1: Twice we have asked for your opinion, it probably won't

971
00:56:23,840 --> 00:56:26,680
Speaker 1: happen again, so feel free to just really let us

972
00:56:26,719 --> 00:56:29,560
Speaker 1: know how you feel about the horror movies and why,

973
00:56:29,760 --> 00:56:33,080
Speaker 1: and specifically how you feel about this movie before we go.

974
00:56:33,360 --> 00:56:35,120
Speaker 1: I just want to say with the black and white,

975
00:56:35,160 --> 00:56:36,880
Speaker 1: I find it really interesting. I actually, while I was

976
00:56:36,920 --> 00:56:40,120
Speaker 1: watching this, was really thinking about No Serratu, the story

977
00:56:40,200 --> 00:56:43,319
Speaker 1: and what we have already, and I had to go

978
00:56:43,360 --> 00:56:45,960
Speaker 1: and I was like, wait, is it in black and white? Nos? Not,

979
00:56:46,000 --> 00:56:48,760
Speaker 1: It's in color. But if you look at the images

980
00:56:48,760 --> 00:56:53,719
Speaker 1: they've released so far, it is very heavily leaning into grayscale,

981
00:56:54,080 --> 00:56:56,759
Speaker 1: which is a new and fun way. Like again, it's

982
00:56:56,760 --> 00:57:02,200
Speaker 1: like living yeah, not that shitty filtered blue. Like it's

983
00:57:02,280 --> 00:57:04,320
Speaker 1: very exciting to me to be like, oh, you're working

984
00:57:04,360 --> 00:57:07,319
Speaker 1: mostly in black and white, gray scale in it within

985
00:57:07,360 --> 00:57:09,719
Speaker 1: a color film. And then it seems to me to

986
00:57:09,760 --> 00:57:13,600
Speaker 1: be really leaning into fire and light a sort of

987
00:57:13,600 --> 00:57:16,560
Speaker 1: a contrast to that element. And if you watch The Northman,

988
00:57:16,600 --> 00:57:19,320
Speaker 1: which you should because we're gonna cover it next week, Uh,

989
00:57:19,920 --> 00:57:23,120
Speaker 1: they use the blue of the night sky and fire

990
00:57:23,200 --> 00:57:27,320
Speaker 1: as contrasting points of visual color throughout that film in

991
00:57:27,400 --> 00:57:30,520
Speaker 1: a resting way. I cannot wait to talk about The Northman.

992
00:57:31,000 --> 00:57:31,120
Speaker 4: Uh.

993
00:57:31,680 --> 00:57:34,760
Speaker 1: I really love this film, like kind of unapologetically and

994
00:57:34,960 --> 00:57:38,600
Speaker 1: very much into it. This is another film that explores masculinity,

995
00:57:38,640 --> 00:57:40,720
Speaker 1: but in a different kind of way, more in an

996
00:57:40,760 --> 00:57:45,320
Speaker 1: inherited father to son way than a general societal pressure way.

997
00:57:45,640 --> 00:57:49,120
Speaker 1: And also Anya's back in a very fun, different type

998
00:57:49,120 --> 00:57:51,680
Speaker 1: of witchy role, so there can be a lot for

999
00:57:51,760 --> 00:57:53,160
Speaker 1: us to break down in the Northmen.

1000
00:57:53,800 --> 00:57:56,280
Speaker 2: And it's the one ager's movie the guys on our

1001
00:57:56,440 --> 00:57:58,080
Speaker 2: on our team have watched.

1002
00:57:58,720 --> 00:58:04,680
Speaker 1: Oh yeah, Aaron, my peachy, that's gonna be exciting. Yeah.

1003
00:58:04,760 --> 00:58:06,360
Speaker 1: Is there anything else you want to say about the

1004
00:58:06,440 --> 00:58:08,680
Speaker 1: Lighthouse before we get out of here? No?

1005
00:58:08,800 --> 00:58:11,280
Speaker 2: I just love it and it really feels and I

1006
00:58:11,320 --> 00:58:14,680
Speaker 2: know that, you know, Lovecraft is a controversial figure, but

1007
00:58:14,880 --> 00:58:18,440
Speaker 2: I just I love the use of these there. What

1008
00:58:18,600 --> 00:58:21,000
Speaker 2: really captivated me the first time I watched it was

1009
00:58:21,040 --> 00:58:24,320
Speaker 2: the use of that ultraviolet kind of purple color, which

1010
00:58:24,320 --> 00:58:26,560
Speaker 2: is which is known to be kind of like a

1011
00:58:26,640 --> 00:58:30,600
Speaker 2: cosmic horror sort of color. I love the use of

1012
00:58:30,640 --> 00:58:33,200
Speaker 2: like the tentacles and all of these things that make

1013
00:58:33,240 --> 00:58:35,880
Speaker 2: you think like, is there some sort of like monster,

1014
00:58:36,360 --> 00:58:39,080
Speaker 2: Like is there some sort of like unseen monster going

1015
00:58:39,080 --> 00:58:41,840
Speaker 2: on here? Because it really adds to all of the

1016
00:58:41,880 --> 00:58:47,240
Speaker 2: mystique and the mystery surrounding the movie. So those are

1017
00:58:47,240 --> 00:58:48,960
Speaker 2: the things that I think I really enjoyed about. And

1018
00:58:48,960 --> 00:58:52,360
Speaker 2: of course the performances from Willem Dafoe and Robert Pattinson.

1019
00:58:52,400 --> 00:58:57,160
Speaker 2: Willem Dafoe really nailed. He really nailed his character and

1020
00:58:57,520 --> 00:58:58,240
Speaker 2: really might have.

1021
00:58:58,200 --> 00:59:01,480
Speaker 1: Been a missed opportunity for Oscars. Too disgusting for the Oscars.

1022
00:59:01,480 --> 00:59:04,400
Speaker 1: But yeah, I'd love to go back and wait. Let's actually,

1023
00:59:04,440 --> 00:59:07,400
Speaker 1: let's see who were the If this movie comes out

1024
00:59:07,400 --> 00:59:11,320
Speaker 1: in twenty nineteen, then it's eligible for twenty twenty Oscars.

1025
00:59:12,080 --> 00:59:15,600
Speaker 1: Let's see twenty twenty eight Oscars. The other question, do

1026
00:59:15,640 --> 00:59:19,600
Speaker 1: you think he would have been best supporting or.

1027
00:59:20,840 --> 00:59:25,480
Speaker 2: Lead should have been made? I think Robert Pattinson felt

1028
00:59:25,520 --> 00:59:28,960
Speaker 2: more I know that he was kind of the main character,

1029
00:59:29,280 --> 00:59:36,360
Speaker 2: but Robert Patson felt more like a supporting character to

1030
00:59:36,480 --> 00:59:39,680
Speaker 2: Willem Dafoe's performances because his performances were so big and

1031
00:59:39,720 --> 00:59:43,880
Speaker 2: they were so like grand you know. It's funny Parasite

1032
00:59:43,920 --> 00:59:47,640
Speaker 2: won Best Picture that year and Joker had eleven nominations.

1033
00:59:48,080 --> 00:59:49,960
Speaker 1: Yeah, that was a sad year. It's also the year

1034
00:59:49,960 --> 00:59:52,280
Speaker 1: of Jojo Rabbit, which initially I liked and then I

1035
00:59:52,320 --> 00:59:55,040
Speaker 1: was like, I'm not quite sure how I feel about it.

1036
00:59:55,440 --> 00:59:57,760
Speaker 1: Marriage Story nine seventeen. Once upon a time, we were

1037
00:59:57,880 --> 01:00:00,320
Speaker 1: dealing with some great films and I'm not even gonna lie.

1038
01:00:00,560 --> 01:00:03,360
Speaker 1: I think was that the year? Oh god, what Best

1039
01:00:03,360 --> 01:00:04,240
Speaker 1: Supporting Actor?

1040
01:00:04,760 --> 01:00:08,040
Speaker 2: He didn't even get Best Director nomination? What the hell?

1041
01:00:08,160 --> 01:00:12,120
Speaker 1: Mm mmm, yeah, it was a strange year. No, to

1042
01:00:12,160 --> 01:00:15,240
Speaker 1: your point, Carmenate, don't think that there were any nominations

1043
01:00:15,280 --> 01:00:20,280
Speaker 1: for this film. Okay, Best Supporting Actor Brad pitt One

1044
01:00:20,320 --> 01:00:22,280
Speaker 1: from Once Point a Time in Hollywood is clipped booth.

1045
01:00:22,560 --> 01:00:26,200
Speaker 1: Tom Hanks was nominated for a Beautiful Day in the

1046
01:00:26,200 --> 01:00:29,240
Speaker 1: Neighborhood is Fred Rogers? Now, how is he Best Supporting Actor?

1047
01:00:29,440 --> 01:00:32,240
Speaker 1: Someone make it makes sense. He's a titular character. But

1048
01:00:32,440 --> 01:00:35,840
Speaker 1: oh my god. Anthony Hopkins was nominated for two Popes

1049
01:00:35,840 --> 01:00:39,000
Speaker 1: Appacino for The Irishman and Joe Peshy also for The Irishman.

1050
01:00:39,040 --> 01:00:41,520
Speaker 1: The Irishman. Yeah, I don't think anyone. Again, I'm not

1051
01:00:41,520 --> 01:00:43,680
Speaker 1: sure anybody would have voted for this. It's very disgusting.

1052
01:00:43,720 --> 01:00:45,160
Speaker 1: It's not an Oscar winner.

1053
01:00:45,880 --> 01:00:49,800
Speaker 2: Yeah, the Oscars are not. As we know, the Oscars

1054
01:00:49,840 --> 01:00:53,520
Speaker 2: are not a barometer for what's actually good the culture.

1055
01:00:53,680 --> 01:00:58,920
Speaker 1: Necessarily, it gave a keen phoenix his Oscar for playing

1056
01:00:58,960 --> 01:01:04,560
Speaker 1: the Joker, which, okay, fine, listen, it's a solid performance

1057
01:01:04,560 --> 01:01:05,840
Speaker 1: in a shitty film. To me.

1058
01:01:06,800 --> 01:01:10,760
Speaker 2: It had one nomination. Oh they did win for Okay,

1059
01:01:10,800 --> 01:01:14,360
Speaker 2: it nominated for was nominated at the Oscars for Best Cinematography,

1060
01:01:14,880 --> 01:01:18,040
Speaker 2: which feels okay, Yeah, I mean that's good, but it

1061
01:01:18,080 --> 01:01:22,120
Speaker 2: still feels like I feel like Robert Eckers maybe deserved

1062
01:01:22,160 --> 01:01:24,000
Speaker 2: Best Director nomination at least.

1063
01:01:24,120 --> 01:01:26,480
Speaker 1: I mean, he's really getting a lot out of these actors.

1064
01:01:26,560 --> 01:01:30,600
Speaker 1: And it's an argument I would have heard, Wait a minute,

1065
01:01:30,600 --> 01:01:33,040
Speaker 1: Best Directors, Bonking home one for Parasite. He should have

1066
01:01:33,640 --> 01:01:36,680
Speaker 1: Sam Mendez nineteen seventeen. That film is a doozy to

1067
01:01:36,720 --> 01:01:40,280
Speaker 1: get through, really like emotionally impactful. I agree with that nomination.

1068
01:01:40,320 --> 01:01:42,440
Speaker 1: Tarantino for a Once upon a Time in Hollywood, Okay,

1069
01:01:42,800 --> 01:01:47,880
Speaker 1: Todd Philips for Joker Again, I say, okay, gets nominated.

1070
01:01:48,600 --> 01:01:51,160
Speaker 1: I could kick Todd or Tarantino out of this category

1071
01:01:51,200 --> 01:01:54,200
Speaker 1: to make room for Eggers in this I would absolutely

1072
01:01:54,240 --> 01:01:57,600
Speaker 1: hear that argument. I didn't think we're gonna get to

1073
01:01:57,600 --> 01:01:59,760
Speaker 1: Awards talk. But you know, there's a lot of this

1074
01:02:00,280 --> 01:02:03,080
Speaker 1: is again. I really admire the way it's strived to

1075
01:02:03,160 --> 01:02:06,360
Speaker 1: achieve and then accomplished a lot of what its drived

1076
01:02:06,360 --> 01:02:09,280
Speaker 1: to do. I think it is as disgusting as it

1077
01:02:09,320 --> 01:02:11,760
Speaker 1: is it's genuinely beautiful. I do think you're getting some

1078
01:02:12,160 --> 01:02:16,160
Speaker 1: truly great performances. The range these guys have to go through,

1079
01:02:16,560 --> 01:02:19,160
Speaker 1: the way they're pushing each other, supporting each other too,

1080
01:02:19,480 --> 01:02:22,600
Speaker 1: and no one is ever outperforming. They're only sort of

1081
01:02:22,600 --> 01:02:27,960
Speaker 1: bolstering each other's performances. The dialogue. I mean, really, someone

1082
01:02:27,960 --> 01:02:31,800
Speaker 1: give this man a script writing nod, because the language

1083
01:02:31,840 --> 01:02:33,360
Speaker 1: and the way we didn't talk too much about it

1084
01:02:33,360 --> 01:02:36,320
Speaker 1: today and we do have to go. But the language

1085
01:02:36,720 --> 01:02:40,680
Speaker 1: and the way he manipulates and authenticates language from the

1086
01:02:40,720 --> 01:02:43,720
Speaker 1: era in the same way that he's manuscripts and stuff

1087
01:02:43,760 --> 01:02:46,200
Speaker 1: to craft the language for it's the wish and use

1088
01:02:46,240 --> 01:02:48,840
Speaker 1: the actual words of children who felt they were possessed

1089
01:02:49,560 --> 01:02:52,080
Speaker 1: and gave it to his characters. Here he found a

1090
01:02:52,120 --> 01:02:56,440
Speaker 1: woman who broke down the lexicon of different dialects along

1091
01:02:56,480 --> 01:02:59,680
Speaker 1: the eastern coast of America, and he used her book

1092
01:02:59,720 --> 01:03:02,160
Speaker 1: to really to write his own lines. He feels iffy

1093
01:03:02,160 --> 01:03:04,000
Speaker 1: about taking the words of other people and putting it

1094
01:03:04,040 --> 01:03:06,720
Speaker 1: on characters. He's like he was trying to be respectful

1095
01:03:06,720 --> 01:03:08,520
Speaker 1: then he wasn't sure if it was or wasn't. I'm

1096
01:03:08,560 --> 01:03:10,520
Speaker 1: not really sure where I fall along that line, but

1097
01:03:10,560 --> 01:03:12,560
Speaker 1: I do love that he has put so much effort

1098
01:03:12,600 --> 01:03:16,920
Speaker 1: into bringing these languages to life. The you versus ye

1099
01:03:17,120 --> 01:03:21,919
Speaker 1: conversations like battle they have yees you ye. Yeah. It's

1100
01:03:21,920 --> 01:03:24,600
Speaker 1: magnetic and it exemplifies so much of like they're from

1101
01:03:24,640 --> 01:03:30,080
Speaker 1: different spaces, they had different trades like it really livens

1102
01:03:30,440 --> 01:03:33,160
Speaker 1: the characters, and there is something to be said for

1103
01:03:33,200 --> 01:03:36,920
Speaker 1: being able to write that dialogue and for people who've

1104
01:03:36,920 --> 01:03:39,240
Speaker 1: never heard it before to be able to understand it clearly,

1105
01:03:39,840 --> 01:03:42,160
Speaker 1: you know, not just in the addiction of the actors,

1106
01:03:42,200 --> 01:03:45,080
Speaker 1: but in these words for the most part makes sense.

1107
01:03:45,080 --> 01:03:47,800
Speaker 1: And if they don't, I can at least interpret from

1108
01:03:47,800 --> 01:03:51,000
Speaker 1: the performance what's happening. Yes, that happens a lot in Shakespeare.

1109
01:03:51,000 --> 01:03:53,600
Speaker 1: It's a difficult thing to pull off. I think he

1110
01:03:53,640 --> 01:03:56,400
Speaker 1: does beautifully, So yeah, I don't. Should we end by

1111
01:03:56,440 --> 01:03:57,600
Speaker 1: ranking the film?

1112
01:03:58,000 --> 01:04:03,280
Speaker 2: I still think The Witch remains my favorite, agree, but

1113
01:04:03,400 --> 01:04:08,320
Speaker 2: this would be my my close second for sure. Oh,

1114
01:04:08,360 --> 01:04:11,120
Speaker 2: to be completely transparent here, I have yet to watch

1115
01:04:11,160 --> 01:04:12,040
Speaker 2: The Northmen, I.

1116
01:04:11,960 --> 01:04:14,640
Speaker 1: Compose, Oh my God, imply.

1117
01:04:14,680 --> 01:04:16,680
Speaker 2: But I am going to watch it on Thanksgiving, so

1118
01:04:16,800 --> 01:04:18,560
Speaker 2: it is going to be my Thanksgiving watch.

1119
01:04:19,000 --> 01:04:21,600
Speaker 1: Okay, I can't wait to hear your thoughts. I think

1120
01:04:21,680 --> 01:04:24,280
Speaker 1: I'm with you right now. Since we haven't reviewed The Northmen,

1121
01:04:24,400 --> 01:04:25,960
Speaker 1: I will keep it based off of these two. The

1122
01:04:25,960 --> 01:04:27,440
Speaker 1: Witch wins slightly ahead.

1123
01:04:27,480 --> 01:04:27,720
Speaker 3: For me.

1124
01:04:27,960 --> 01:04:34,600
Speaker 1: I think the tension in this is oftentimes as as

1125
01:04:34,640 --> 01:04:37,320
Speaker 1: good as the Witch. But to me, the little spaces

1126
01:04:37,320 --> 01:04:41,960
Speaker 1: in between the Witch are not as laborious, and by

1127
01:04:42,000 --> 01:04:45,600
Speaker 1: that I mean ye beats and I can understand more

1128
01:04:45,680 --> 01:04:50,320
Speaker 1: innately myself, like the looks between the parents and the

1129
01:04:50,360 --> 01:04:53,760
Speaker 1: looks between the kids, like there's something more happening there

1130
01:04:53,800 --> 01:04:56,200
Speaker 1: than for me, Like sometimes we're just looking at like

1131
01:04:56,280 --> 01:04:59,640
Speaker 1: house equipment for like thirteen seconds, You're like, oh, Robert,

1132
01:04:59,720 --> 01:05:03,000
Speaker 1: what what are we doing here? To the next thing? Please,

1133
01:05:03,000 --> 01:05:06,600
Speaker 1: for the love of God. But again, Boody Tony fun

1134
01:05:07,280 --> 01:05:10,120
Speaker 1: gets under your skin. Performance is so dynamic you can't

1135
01:05:10,160 --> 01:05:13,640
Speaker 1: look away from the scream. A solid film and definitely

1136
01:05:13,680 --> 01:05:15,680
Speaker 1: we're checking out. If you somehow got through this podcast

1137
01:05:15,720 --> 01:05:18,280
Speaker 1: and have never watched a film and you weren't sure

1138
01:05:18,320 --> 01:05:20,840
Speaker 1: about it, I highly suggest watching it. It is not

1139
01:05:21,080 --> 01:05:25,480
Speaker 1: very scary. It does sort of mess with your brain. Yeah,

1140
01:05:25,520 --> 01:05:27,720
Speaker 1: but it's good. Carmen, we did it. Thank you so

1141
01:05:27,800 --> 01:05:30,240
Speaker 1: much again for being here. This was a lot of fun.

1142
01:05:30,280 --> 01:05:32,040
Speaker 1: I cannot wait for our next one.

1143
01:05:32,600 --> 01:05:33,840
Speaker 2: I know, I'm so excited.

1144
01:05:34,480 --> 01:05:37,000
Speaker 1: Thank y'all, So thank you guys for listening. You can

1145
01:05:37,080 --> 01:05:39,959
Speaker 1: join us back here tomorrow as we have our first

1146
01:05:40,000 --> 01:05:43,720
Speaker 1: roundtable with They Had It Coming, an episode where we

1147
01:05:43,800 --> 01:05:47,320
Speaker 1: discussed our favorite deserves death from film and television. That

1148
01:05:47,440 --> 01:05:49,880
Speaker 1: on Wednesday, A book is us our next guide of

1149
01:05:50,120 --> 01:05:54,960
Speaker 1: Dude Prophecy. Thursday, we're looking back at our favorite video

1150
01:05:54,960 --> 01:05:58,280
Speaker 1: games of twenty twenty four. I didn't play many, but

1151
01:05:58,320 --> 01:06:01,200
Speaker 1: I'm excited to hear what y'all loved. Thinking him back

1152
01:06:01,240 --> 01:06:03,520
Speaker 1: on Monday, where Carmen and are going to break down

1153
01:06:03,520 --> 01:06:07,640
Speaker 1: Egger's most recent film, The Norseman. That's the episode. Thanks

1154
01:06:07,640 --> 01:06:16,600
Speaker 1: for listening, Bye y'all. X ray Vision is hosted by

1155
01:06:16,680 --> 01:06:17,120
Speaker 1: Jason N.

1156
01:06:17,200 --> 01:06:21,600
Speaker 5: Supsion and Rosie Knight and is a production of iHeart Podcasts.

1157
01:06:22,240 --> 01:06:26,040
Speaker 5: Our executive producers are Joelle Smith and Aaron Kaufman. Our

1158
01:06:26,080 --> 01:06:30,920
Speaker 5: supervising producer is a Boo Zafar. Our producers are Carmen

1159
01:06:31,040 --> 01:06:35,800
Speaker 5: Laurent and Mia Taylor. Our theme song is by Brian Basquez.

1160
01:06:36,280 --> 01:06:40,560
Speaker 5: Special thanks to Soul Rubin and Chris Lord, Kenny Goodman

1161
01:06:40,920 --> 01:06:43,000
Speaker 5: and Heidi on Disco Moderata