WEBVTT - Listener Mail: Making Mr. Right

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey, welcome to Stuff to Blow your Mind. Listener mail.

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<v Speaker 2>This is Robert Lamb.

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<v Speaker 3>And this is Joe McCormick. And it's Monday, the day

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<v Speaker 3>of each week that we read back some messages from

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<v Speaker 3>the Stuff to Blow your Mind mail bag mail box.

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<v Speaker 3>I realized I say both. If you have never gotten

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<v Speaker 3>in touch with us before and you would like to,

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<v Speaker 3>why not give it a try. You can email us

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<v Speaker 3>at contact at stuff to Blow your Mind dot com.

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<v Speaker 3>Any kind of correspondence is fair game. You can email

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<v Speaker 3>us feedback on recent episodes. If you have something interesting

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<v Speaker 3>you'd like to add to something we talked about. If

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<v Speaker 3>you have questions, corrections, suggestions for future topics, send it

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<v Speaker 3>all in contact at stuff to Blow your Mind dot com.

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<v Speaker 3>Let's see Rob, Do you mind if I kick things

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<v Speaker 3>off here with this message from Brett about the horse hook.

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<v Speaker 2>Let's do it.

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<v Speaker 3>Brett says, Hello, gentlemen, It's been a minute since I've

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<v Speaker 3>written in, but I wanted to make a quick comment

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<v Speaker 3>on horse hooves. I've always wondered the same thing you

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<v Speaker 3>both described, which is why the horse has single wide hoofs,

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<v Speaker 3>which seem to be different from other large hoofs of animals.

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<v Speaker 3>I wondered if this allows them to be steady in

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<v Speaker 3>damp soil and would allow them to still have power

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<v Speaker 3>to move themselves out of trouble. I think of it

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<v Speaker 3>similarly to the Eiffel Tower. The wide hooves can spread

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<v Speaker 3>out the weight of the animal as its powerful legs

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<v Speaker 3>can propel them quickly if the horse so desires, whether

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<v Speaker 3>on dry or wet ground. Just to thought, hope your

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<v Speaker 3>summer is off to a wonderful start, Brett. Well, Brett,

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<v Speaker 3>that's an interesting idea. But actually, the more I thought

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<v Speaker 3>about it, I was kind of thinking in the opposite direction,

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<v Speaker 3>because this reminded me of some stuff I covered think

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<v Speaker 3>a while back in a listener mail episode that I

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<v Speaker 3>did solo, where a listener got in touch about seeing

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<v Speaker 3>his dogs running on top of snow, and I ended

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<v Speaker 3>up talking about some stuff I was reading about wolf

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<v Speaker 3>pause being adapted for running on snow, specifically because they

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<v Speaker 3>can spread the toes out wide and distribute the body

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<v Speaker 3>weight across a larger surface area with that kind of

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<v Speaker 3>you know, big wide webbed foot, which in some cases

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<v Speaker 3>allows them to run more quickly in snowy conditions, because

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<v Speaker 3>they can run up on top of the frozen crust

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<v Speaker 3>at the top of the snow layer, whereas the prey

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<v Speaker 3>animal like a the hoofed point of a deer leg

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<v Speaker 3>will punch through the crust and then the deer will

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<v Speaker 3>get bogged down wading through the snow. So I don't know.

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<v Speaker 3>I would tend to think that having a larger, wider

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<v Speaker 3>foot with multiple toes would give you more stability on

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<v Speaker 3>wet or soft or unstable ground, whereas having a smaller

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<v Speaker 3>footprint would allow you to I don't know. I guess

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<v Speaker 3>have maybe less friction and less less drag if you're

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<v Speaker 3>trying to move quickly.

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<v Speaker 2>Interesting by the way, Joe, on the question of box

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<v Speaker 2>or bag, I have looked inside carney our mail bot,

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<v Speaker 2>and it does appear to be more of a horseshoe

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<v Speaker 2>shaped cylinder. I guess it has to curve around some

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<v Speaker 2>important wiring and so forth.

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<v Speaker 3>Yes, okay, I understand all right.

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<v Speaker 2>This next bit of listener mail comes to us from Taylor,

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<v Speaker 2>and this concerns of the beaver. This is another animal

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<v Speaker 2>based series that we did. Taylor says, Hello, Robin, Joe,

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<v Speaker 2>I loved your recent two part a on beaver's wonderful

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<v Speaker 2>work as always. For the past few years, I have

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<v Speaker 2>worked with the Forest Service to manage a visitor center

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<v Speaker 2>at Silver Lake in Utah Wastoche Mountains. Silver Lake is

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<v Speaker 2>a beaver engineered body of water, so I've had the

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<v Speaker 2>pleasure to introduce countless tourists to our resident rodents of

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<v Speaker 2>unusual size, and thought i'd share a few insights from

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<v Speaker 2>my experience. Few people realize that beavers live in their

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<v Speaker 2>lodges instead of their dams. Even fewer know that several

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<v Speaker 2>commensal species cohabit with beavers in their lodges. Muskrats, another

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<v Speaker 2>large semi aquatic rodent, have been known to cohabit with beavers.

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<v Speaker 2>This relationship may even represent a form of mutualism, as

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<v Speaker 2>some authors have argued that the muskrat may help beavers

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<v Speaker 2>keep an eye on for predators and provide additional body

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<v Speaker 2>heat for the lodge in cold winter months. I have

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<v Speaker 2>heard some accounts of other rodent species and even some

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<v Speaker 2>mustlids like mink and otters, cohabiting with beavers, but these

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<v Speaker 2>relationships seem less well established in reputal literature. In any case,

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<v Speaker 2>we can confidently add landlord to our list of beaver pons.

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<v Speaker 2>Along with architecture and engineering, I also have a few

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<v Speaker 2>anecdotes to contribute to the discussion of beaver intelligence. While

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<v Speaker 2>I've never seen beavers use anything that looked like a

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<v Speaker 2>constructed ladder to get higher up a trunk, I have

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<v Speaker 2>observed our local beavers mounting boulder stumps and the snowpack

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<v Speaker 2>to reach aspen trunks of their favored diameter about four inches.

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<v Speaker 2>I am quite skeptical that a beaver would use a

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<v Speaker 2>log it fell to reach a higher point on another trunk,

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<v Speaker 2>particularly because the beaver's webbed feet make it ungainly on land,

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<v Speaker 2>let alone climbing a log so narrow as those they

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<v Speaker 2>prefer to fell. But I can highlight another beaver behavior

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<v Speaker 2>that borders on the nebulus realm of tool use. In

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<v Speaker 2>addition to the trees they fell themselves, beavers opportunistically feed

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<v Speaker 2>from and build with trunks and branches fell by windstorms.

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<v Speaker 2>I and many rangers I have worked with, have observed

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<v Speaker 2>that beavers often abandoned trees they have been gnawing when

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<v Speaker 2>the trees are nearly felled, only to return later after

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<v Speaker 2>a storm has knocked them down. Of course, it is

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<v Speaker 2>impossible to ascribe real intention to the beavers, but it

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<v Speaker 2>is possible the beavers have developed the behavior of letting

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<v Speaker 2>the wind finish the last dangerous step of felling the

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<v Speaker 2>trees to save some effort and avoid being crushed. I've

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<v Speaker 2>had difficulty finding any writing about this, and if it

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<v Speaker 2>is the case that beavers sometimes outsource their work to storms,

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<v Speaker 2>it would be difficult to distinguish from their usual nocturnal labors. Nevertheless,

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<v Speaker 2>the more time one spends around these weird and noble rodents,

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<v Speaker 2>the easier it is to imagine a thoughtful intellect behind

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<v Speaker 2>those big orange incisors. All the best, Taylor, Oh wow,

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<v Speaker 2>great email. Thank you for sending Taylor. That is an

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<v Speaker 2>interesting observation, and multiple things we were reading really highlighted

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<v Speaker 2>how much beavers seem to want to get off of

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<v Speaker 2>land when they're on it, like they don't want to

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<v Speaker 2>spend any more time out of water than they have to.

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<v Speaker 2>So I don't know, I could imagine, yeah, maybe an

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<v Speaker 2>adaptation where if they think they can save some time

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<v Speaker 2>and energy by not finishing off the tree themselves and

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<v Speaker 2>coming back to it later, I could see that being possible. Yeah, yeah,

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<v Speaker 2>so I absolutely agree wonderful insight and observation added, Thanks Taylor.

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<v Speaker 3>All right now. We also got a bunch of messages

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<v Speaker 3>in response to Weird House Cinema. Several answers came in

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<v Speaker 3>after a listener named Michelle gave us a query last week.

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<v Speaker 3>Michelle was trying to find the name of a movie

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<v Speaker 3>she remembered about a woman who breaks up with her

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<v Speaker 3>human boyfriend in favor of a robot suitor who was

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<v Speaker 3>more sensitive and caring. We got several different answers to this.

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<v Speaker 3>One came from Sheldan. Sheldine says, Hi, guys, might the

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<v Speaker 3>movie that Michelle is recalling be making? Mister Wright, I

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<v Speaker 3>vaguely remember watching it in the eighties and I thought

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<v Speaker 3>it starred Ali Sheety, but I am wrong. It stars

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<v Speaker 3>John Malkovich as a scientist who makes a robot version

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<v Speaker 3>of himself, and the female lead is played by Anne Magnuson,

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<v Speaker 3>who falls in love with the robot. Thanks Sheldane, and

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<v Speaker 3>also wanted to note there was another listener named David

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<v Speaker 3>who suggested the same movie that this is the movie

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<v Speaker 3>Michelle might be thinking of.

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<v Speaker 2>Hmmm, I have never seen it, but it looks it

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<v Speaker 2>looks interesting. Robot John Malkovich as a lever.

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<v Speaker 3>Okay, One thing I recall Michelle saying, well, I recall

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<v Speaker 3>her saying that the movie was in black and white

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<v Speaker 3>and was probably from the fifties that would not match here,

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<v Speaker 3>and also saying that the human boyfriend was was too macho,

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<v Speaker 3>which is not how I would usually imagine John Malkovich.

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<v Speaker 2>True. True, you know, unless this is a you know,

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<v Speaker 2>an altered memory, this would seem to be going against

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<v Speaker 2>type for John Malcovich. Though, I have to say, looking

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<v Speaker 2>at the the images from this movie, I mean, it

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<v Speaker 2>is a different on Malcovich that I'm used to seeing. Anyway.

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<v Speaker 2>He has like a full head of like blonde hair

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<v Speaker 2>in it, and it is clearly playing some sort of

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<v Speaker 2>an altered, unnatural human. So I don't know. I'm intrigued.

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<v Speaker 3>Who would leave John Malkovich's character from Burn after reading

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<v Speaker 3>for a Robot? How could you imagine that?

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<v Speaker 2>Yeah, I don't know. Nineteen eighty seven's John Malkovich is

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<v Speaker 2>a slightly different flavor.

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<v Speaker 3>Okay, But we also got a different suggestion of a

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<v Speaker 3>movie from Chris. Chris says Joe and Robert Listener. Michelle

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<v Speaker 3>wrote to you about a science fiction film from the

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<v Speaker 3>nineteen fifties, in which a woman rejected her human boyfriend

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<v Speaker 3>in favor of a robot. Although she said it was

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<v Speaker 3>in black and white, that plot element struck a chord

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<v Speaker 3>in my aged brain about a film that I recollected

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<v Speaker 3>as being in color. A bit of appropriate Internet searching

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<v Speaker 3>resulted in Creation of the Humanoids from nineteen sixty two,

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<v Speaker 3>which I've not seen in more decades than I care

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<v Speaker 3>to think about. Let's just say that I paid the

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<v Speaker 3>huge sum of fifty cents from my mowing earnings to

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<v Speaker 3>watch it at a local theater. This might be the

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<v Speaker 3>film she's remembering, even if not, might be worth an

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<v Speaker 3>investigation for Weird House Cinema.

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<v Speaker 2>Chris, Yeah, nineteen sixty two is the Creation of the Humanoids.

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<v Speaker 2>I haven't seen it, but I knew I had seen

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<v Speaker 2>the title somewhere, and I quickly realized this is because

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<v Speaker 2>this features a cast that includes Dudley man Love of

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<v Speaker 2>Plan nine from Outer Space fame.

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<v Speaker 3>It is Dudley Man Love Arrows, the alien bad guy.

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<v Speaker 2>I think he's the one. Your stupid mind, stupid, stupid, that.

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<v Speaker 3>One that's enough out of you.

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<v Speaker 2>The Creation of the Humanoids looks interesting, though it is

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<v Speaker 2>apparently in color and not black and white, So I

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<v Speaker 2>don't know that. Perhaps the mystery remains. But I looked

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<v Speaker 2>into this in a little bit. I think a lot

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<v Speaker 2>of people did not like it. I think Michael Weldon

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<v Speaker 2>said it was fun, sounds perfect, Okay.

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<v Speaker 1>All right.

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<v Speaker 2>We also heard from someone's sort of giving my own

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<v Speaker 2>take on this whole idea about how sometimes we have

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<v Speaker 2>partial bits of movies stuck in our head from when

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<v Speaker 2>we caught part of them on television. Lawrence writes in

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<v Speaker 2>and says, Hi, Rob, Joe, and JJ Happy Monday. During

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<v Speaker 2>your last listener mail, Rob mentioned a movie about two

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<v Speaker 2>kids looking for their parents. If it was animated. I'm

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<v Speaker 2>pretty sure he's thinking of Grave of the Fireflies. It

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<v Speaker 2>won't be a letdown in terms of quality, but it

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<v Speaker 2>is an incredibly sad and harrowing film. Yeah, it's not

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<v Speaker 2>a Grave of the Fireflies, which I haven't seen, but

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<v Speaker 2>the thing I'm half remembering is not animated. Grave of

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<v Speaker 2>the Fireflies is one that I've It's been on my

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<v Speaker 2>to watch list for a long time. But I know,

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<v Speaker 2>I know it's an important film, but I know it

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<v Speaker 2>is sad and harrowing, so I keep putting it off.

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<v Speaker 2>This is, of course, a nineteen eighty eight Japanese film

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<v Speaker 2>that came out from Studio Ghibli if memory serves, and

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<v Speaker 2>it yeah, deals with like the tragedies of war anyway,

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<v Speaker 2>Lawrence continues, I watched seconds based on your spoiler warnings

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<v Speaker 2>for the movie, and I'm glad I did. I liked

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<v Speaker 2>your conversation about Eastern religious interpretations of the film. If

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<v Speaker 2>I can suggest a good double feature, nineteen seventy four's

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<v Speaker 2>The Parallax View with Warren Batty seems fitting. It has

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<v Speaker 2>a similarly distinct visual style, also gained a mixed reception

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<v Speaker 2>upon release due to its ending and his age into

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<v Speaker 2>a better reception. I'd be really curious to hear your

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<v Speaker 2>thoughts on it. Thanks for all you do, Lawrence.

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<v Speaker 3>I haven't seen it. It is on my radar.

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<v Speaker 2>Same Yeah, I haven't seen this one, but you know

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<v Speaker 2>it's a quick glance. You got Stacy Keach Sr. And anthony'

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<v Speaker 2>zerba in it, so I mean I'm already a little

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<v Speaker 2>interested as well.

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<v Speaker 3>Did ever tell you I've met Anthony zerbe?

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<v Speaker 2>Really? Yeah?

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<v Speaker 3>Yeah?

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<v Speaker 2>How did this come around?

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<v Speaker 3>I truly have no idea what he was doing. Some

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<v Speaker 3>kind of event or something in the town where I

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<v Speaker 3>went to college when I was in college, and so

0:13:04.360 --> 0:13:06.360
<v Speaker 3>he gave some kind of talk and I went to it,

0:13:06.400 --> 0:13:08.920
<v Speaker 3>and I don't know, there was just a general chatting

0:13:08.960 --> 0:13:11.520
<v Speaker 3>around afterwards. So I don't know I met him in

0:13:11.559 --> 0:13:14.280
<v Speaker 3>some capacity. I don't really remember anything about it.

0:13:14.360 --> 0:13:17.280
<v Speaker 2>Hmm. Interesting. I don't know that we've actually watched a

0:13:17.320 --> 0:13:20.080
<v Speaker 2>film on Weird House with him in it. But he's

0:13:20.120 --> 0:13:23.520
<v Speaker 2>such an interesting and commanding presence when he does show up.

0:13:24.040 --> 0:13:26.600
<v Speaker 3>What are his mystery science theater movies? I know there

0:13:26.679 --> 0:13:29.800
<v Speaker 3>was there was sometimes kind of an Anthony's Erbe watch

0:13:30.000 --> 0:13:30.600
<v Speaker 3>on the show.

0:13:30.880 --> 0:13:33.000
<v Speaker 2>Oh Man. You know, I'm not not sure off him.

0:13:33.000 --> 0:13:34.880
<v Speaker 2>They would often make references to him.

0:13:35.840 --> 0:13:38.600
<v Speaker 3>Uh maybe maybe he wasn't actually in a movie they did.

0:13:38.640 --> 0:13:40.640
<v Speaker 3>They would just say, like, you know, if it's a

0:13:40.679 --> 0:13:43.200
<v Speaker 3>seventies movie, they're like, Okay, where's Anthony's Abbe?

0:13:44.960 --> 0:13:47.079
<v Speaker 2>Yeah, yeah, you know, he was. Of course, when I

0:13:47.120 --> 0:13:48.640
<v Speaker 2>think of him, of course I think of the Omega

0:13:48.679 --> 0:13:53.160
<v Speaker 2>man and the vampire character who plays in that where

0:13:53.160 --> 0:13:55.520
<v Speaker 2>he's talking about, you know, creature of the wheel and

0:13:55.559 --> 0:13:58.160
<v Speaker 2>so forth. Or I think about him exploding in that

0:13:58.200 --> 0:14:02.480
<v Speaker 2>one James Bond film. But yeah, you had a number

0:14:02.480 --> 0:14:06.520
<v Speaker 2>of interesting credits.

0:14:11.400 --> 0:14:14.760
<v Speaker 3>Okay, This next message is from Shana, who has gotten

0:14:14.800 --> 0:14:17.360
<v Speaker 3>in touch many times before. Shana says Howdy howdy and

0:14:17.480 --> 0:14:21.640
<v Speaker 3>kicks things off by sharing some info about movie theaters

0:14:22.040 --> 0:14:24.120
<v Speaker 3>that I think this year are going to be running

0:14:24.240 --> 0:14:27.040
<v Speaker 3>classic studio ghibli films. I don't know if that's just

0:14:27.120 --> 0:14:30.200
<v Speaker 3>local or in locations all over, but thanks for sharing that.

0:14:30.280 --> 0:14:32.720
<v Speaker 3>But anyway, SHANEA goes on to say, after catching one

0:14:32.720 --> 0:14:35.960
<v Speaker 3>of my absolute favorite films of all time, Conan the

0:14:35.960 --> 0:14:40.800
<v Speaker 3>Barbarian in theater's Last Fall the fortieth anniversary screening, I

0:14:40.840 --> 0:14:43.600
<v Speaker 3>am convinced that if one loves a film but has

0:14:43.640 --> 0:14:45.840
<v Speaker 3>never seen it on the big screen, it is worth

0:14:45.840 --> 0:14:48.480
<v Speaker 3>the money in time to try to do so. I

0:14:48.520 --> 0:14:51.000
<v Speaker 3>had watched Conan dozens of times in my life, but

0:14:51.080 --> 0:14:55.200
<v Speaker 3>saw details I'd never noticed on the small screen. And yes,

0:14:55.440 --> 0:14:58.080
<v Speaker 3>please do nausicaa as a weird house movie. It is

0:14:58.120 --> 0:15:03.920
<v Speaker 3>so beautiful, moving and relevant. Thanks as always for the podcasts, Shana, Shana,

0:15:04.080 --> 0:15:06.440
<v Speaker 3>thank you, and I will say I can second the

0:15:06.480 --> 0:15:10.160
<v Speaker 3>idea of seeing a film you already love from home

0:15:10.240 --> 0:15:13.360
<v Speaker 3>video in a theater. It's a completely different experience. I

0:15:13.360 --> 0:15:15.920
<v Speaker 3>guess that's probably a cliche I've heard people say that before,

0:15:15.960 --> 0:15:18.840
<v Speaker 3>but it is true. The main examples I can think

0:15:18.880 --> 0:15:24.640
<v Speaker 3>of are mostly horror movies, but I'm real standout experiences

0:15:24.720 --> 0:15:29.160
<v Speaker 3>are seeing The Exorcist in theaters, seeing Alien and The

0:15:29.200 --> 0:15:32.920
<v Speaker 3>Shining in theaters. All three were like seeing a whole

0:15:32.960 --> 0:15:36.040
<v Speaker 3>different movie. And I don't know, in a way, I

0:15:36.080 --> 0:15:39.200
<v Speaker 3>feel kind of kind of guilty about this because I

0:15:39.400 --> 0:15:42.720
<v Speaker 3>don't go out and see movies in theaters as often

0:15:42.760 --> 0:15:45.120
<v Speaker 3>as I would like to a lot of times. You know,

0:15:45.160 --> 0:15:47.960
<v Speaker 3>it's just the same problems most people have. It's difficult

0:15:48.000 --> 0:15:50.600
<v Speaker 3>to find time to plan ahead, leave the house, etc.

0:15:51.000 --> 0:15:53.600
<v Speaker 3>Lives are busy, and it is easier to make room

0:15:53.680 --> 0:15:56.160
<v Speaker 3>for streaming half of a movie on your TV before

0:15:56.200 --> 0:15:57.800
<v Speaker 3>you go to bed than it is to go out

0:15:57.840 --> 0:16:01.440
<v Speaker 3>to a scheduled theater showing. But it's especially when I

0:16:01.480 --> 0:16:03.360
<v Speaker 3>see a movie on the big screen that I have

0:16:03.560 --> 0:16:07.960
<v Speaker 3>already seen before on the small screen that I really

0:16:08.200 --> 0:16:12.440
<v Speaker 3>understand like the difference. I realize how different the experience is,

0:16:12.520 --> 0:16:15.880
<v Speaker 3>and that for the most part, this is how movies

0:16:15.880 --> 0:16:18.200
<v Speaker 3>are made to be seen. The home viewing experience is

0:16:18.320 --> 0:16:21.000
<v Speaker 3>kind of a fac simile. But then again, I mean,

0:16:21.040 --> 0:16:24.160
<v Speaker 3>I understand why people are often not going out to theaters.

0:16:24.200 --> 0:16:26.880
<v Speaker 3>I live it too. Life is busy, you just it's

0:16:26.960 --> 0:16:28.920
<v Speaker 3>it's tough to make time to go out and see

0:16:28.920 --> 0:16:29.760
<v Speaker 3>a schedule showing.

0:16:30.120 --> 0:16:31.920
<v Speaker 2>I think when it's when I go to an AMC

0:16:32.080 --> 0:16:34.680
<v Speaker 2>theater showing these days, there's a there's a long intro

0:16:34.800 --> 0:16:38.560
<v Speaker 2>in which I think Nicole Kidman is giving a like

0:16:38.600 --> 0:16:43.480
<v Speaker 2>a long pitch for why the theater experience is the

0:16:43.520 --> 0:16:46.040
<v Speaker 2>best and how it's like it basically completes us as

0:16:46.400 --> 0:16:48.680
<v Speaker 2>human beings. It's just the other half of our soul.

0:16:49.240 --> 0:16:52.680
<v Speaker 2>And and I'm always like, Okay, I'm already here, Nicole Kidman,

0:16:52.880 --> 0:16:55.280
<v Speaker 2>I don't need the whole pitch. So I don't want

0:16:55.320 --> 0:16:58.080
<v Speaker 2>to sound too much like that, but but it is true,

0:16:58.080 --> 0:16:59.800
<v Speaker 2>Like you know, there's something about seeing it on the

0:16:59.800 --> 0:17:04.200
<v Speaker 2>big screen. I think it's a there's something about the way,

0:17:04.520 --> 0:17:08.120
<v Speaker 2>hopefully it's captivating our attention in different ways, in ways

0:17:08.160 --> 0:17:10.000
<v Speaker 2>that being on our couch wouldn't. Maybe we're a little

0:17:10.000 --> 0:17:12.359
<v Speaker 2>more inclined to put our phone away, maybe we're a

0:17:12.400 --> 0:17:16.760
<v Speaker 2>little more inclined to just absorb it as spectacle on

0:17:17.119 --> 0:17:20.679
<v Speaker 2>the screen. There. I had an experience with this, actually

0:17:20.720 --> 0:17:22.960
<v Speaker 2>very recently. It was a big screen, but it was

0:17:23.000 --> 0:17:26.480
<v Speaker 2>like it wasn't one of the studio ghibli showings that

0:17:26.520 --> 0:17:28.720
<v Speaker 2>were alluded to earlier. This is like a kid's birthday party.

0:17:28.760 --> 0:17:31.240
<v Speaker 2>But still they played Totoro on the big screen and

0:17:31.880 --> 0:17:34.159
<v Speaker 2>it was magical. It was a movie I've seen a

0:17:34.160 --> 0:17:36.639
<v Speaker 2>million times, and I really was expecting to be kind

0:17:36.680 --> 0:17:38.680
<v Speaker 2>of checked out on it. But I really got to

0:17:38.720 --> 0:17:41.159
<v Speaker 2>appreciate a lot of the details, you know, as if

0:17:41.160 --> 0:17:44.359
<v Speaker 2>for the first time you know the ways that the

0:17:44.440 --> 0:17:47.639
<v Speaker 2>children move in that movie, and just the raw and

0:17:47.680 --> 0:17:49.440
<v Speaker 2>beautiful imagination of the whole thing.

0:17:49.720 --> 0:17:52.000
<v Speaker 3>Oh yeah, I can imagine. And I want to say

0:17:52.000 --> 0:17:54.240
<v Speaker 3>one more thing about the difference with the theater experience,

0:17:54.240 --> 0:17:58.760
<v Speaker 3>which is we often refer to the difference by metonymy

0:17:58.840 --> 0:18:01.280
<v Speaker 3>I guess as saying like the big screen, as if

0:18:01.280 --> 0:18:03.119
<v Speaker 3>it's like the size of the screen that is the

0:18:03.160 --> 0:18:07.000
<v Speaker 3>major difference. That's one difference, But I think it's really

0:18:07.000 --> 0:18:10.520
<v Speaker 3>the whole environment. It's like the big, darkened room, and

0:18:10.840 --> 0:18:14.919
<v Speaker 3>especially the sound. The sound experience is totally different in

0:18:14.920 --> 0:18:17.440
<v Speaker 3>the theater for multiple reasons. I mean, they have good

0:18:17.520 --> 0:18:19.600
<v Speaker 3>you know, a good theater as a good sound system

0:18:19.600 --> 0:18:23.159
<v Speaker 3>where it sounds good, but also you can listen to

0:18:23.359 --> 0:18:26.320
<v Speaker 3>the movie at a volume that I at least am

0:18:26.359 --> 0:18:29.560
<v Speaker 3>not comfortable watching a movie at home because it just

0:18:29.600 --> 0:18:31.800
<v Speaker 3>feels too loud for my house.

0:18:32.320 --> 0:18:34.840
<v Speaker 2>Yeah, and another issue is this is something that I

0:18:34.880 --> 0:18:36.680
<v Speaker 2>often forget about because when I go to a theater,

0:18:37.320 --> 0:18:41.440
<v Speaker 2>my sort of selfish experience is that I just don't

0:18:41.680 --> 0:18:44.119
<v Speaker 2>want to hear other people. I want to have it

0:18:44.160 --> 0:18:46.040
<v Speaker 2>both ways. I want to have the big theater, a

0:18:46.040 --> 0:18:48.920
<v Speaker 2>big screen experience, but I don't want to feel like

0:18:48.960 --> 0:18:52.080
<v Speaker 2>I'm actually in there with any other human beings, you know.

0:18:52.520 --> 0:18:56.480
<v Speaker 2>But I was recently reading about some Bollywood films because

0:18:56.640 --> 0:18:59.000
<v Speaker 2>I'm hoping that we can cover a Bollywood film in

0:18:59.040 --> 0:19:03.080
<v Speaker 2>the near future on Weird House Cinema, and one of

0:19:03.119 --> 0:19:05.639
<v Speaker 2>the commentators was saying, like, look, if you're trying to

0:19:05.640 --> 0:19:09.200
<v Speaker 2>watch this film on your own on like your TV,

0:19:09.720 --> 0:19:13.040
<v Speaker 2>you're going to have a different experience than what was intended.

0:19:13.080 --> 0:19:14.760
<v Speaker 2>Like this is a movie that was supposed to be

0:19:15.440 --> 0:19:19.119
<v Speaker 2>consumed in a theater packed with other people, and like

0:19:19.160 --> 0:19:22.000
<v Speaker 2>you're missing out on that whole communal aspect of the viewing.

0:19:22.840 --> 0:19:25.840
<v Speaker 2>So you know, to whatever extent each of us individually

0:19:25.840 --> 0:19:29.040
<v Speaker 2>agrees with that for our own viewing preferences, it's something

0:19:29.040 --> 0:19:31.640
<v Speaker 2>to keep in mind when consuming various pictures.

0:19:32.040 --> 0:19:34.280
<v Speaker 3>Oh yeah, I mean for some types of entertainment, the

0:19:34.320 --> 0:19:36.480
<v Speaker 3>rest of the crowd is part of the experience, Like

0:19:36.520 --> 0:19:39.439
<v Speaker 3>you know, seeing a concert, it's having the crowd with

0:19:39.480 --> 0:19:42.200
<v Speaker 3>you there, and the audience is part of what makes

0:19:42.240 --> 0:19:45.199
<v Speaker 3>it fun. I would say for movies, it depends on

0:19:45.240 --> 0:19:48.760
<v Speaker 3>the kind of movie. I mean, you know, more serious,

0:19:48.880 --> 0:19:51.080
<v Speaker 3>quiet or more thoughtful movies. Yeah, I don't want to

0:19:51.240 --> 0:19:55.040
<v Speaker 3>be hearing people's popcorn and stuff. But for like say

0:19:55.320 --> 0:19:58.800
<v Speaker 3>a low brow like a slasher movie or something like that,

0:19:58.920 --> 0:20:01.439
<v Speaker 3>I would like a pack to and people making noise.

0:20:01.960 --> 0:20:04.200
<v Speaker 2>Yeah yeah. Or if you know, you catch an opening

0:20:04.280 --> 0:20:06.480
<v Speaker 2>night doing of something and everyone who's there is really

0:20:06.600 --> 0:20:09.600
<v Speaker 2>enthusiastic for it. You know, they came out for this picture,

0:20:09.640 --> 0:20:12.600
<v Speaker 2>and so there's kind of like a built in I

0:20:12.640 --> 0:20:16.000
<v Speaker 2>would say, good faith viewing going on there. You know

0:20:16.040 --> 0:20:18.160
<v Speaker 2>that that can be a lot of fun. All right, Well,

0:20:18.160 --> 0:20:19.960
<v Speaker 2>on that note, we're gonna go ahead and seal up

0:20:20.000 --> 0:20:24.760
<v Speaker 2>the horseshoe shaped tube in Carneye the mail Bots Torso,

0:20:25.080 --> 0:20:27.840
<v Speaker 2>and we're gonna close this episode out. But we'd love

0:20:27.880 --> 0:20:30.320
<v Speaker 2>to hear from everyone out there if you have thoughts

0:20:30.359 --> 0:20:32.119
<v Speaker 2>on any of the topics we discussed in this listener

0:20:32.200 --> 0:20:36.480
<v Speaker 2>Mail episode or you know, feedback, ideas, experiences, et cetera,

0:20:36.800 --> 0:20:40.040
<v Speaker 2>concerning any past episodes of Stuff to Blow Your Mind,

0:20:40.359 --> 0:20:44.240
<v Speaker 2>the Artifact, Monster Fact, Weird House Cinema. It's all fair game.

0:20:44.960 --> 0:20:47.480
<v Speaker 2>Just a reminder that those episodes of Listener Mail they

0:20:47.520 --> 0:20:50.680
<v Speaker 2>air on Mondays, Core episodes on Tuesdays and Thursdays, Artifactor

0:20:50.760 --> 0:20:52.840
<v Speaker 2>Monster Fact on Wednesday, and on Fridays. We set aside

0:20:52.920 --> 0:20:55.080
<v Speaker 2>most serious concerns just took up at a weird film on

0:20:55.160 --> 0:20:56.159
<v Speaker 2>Weird House Cinema.

0:20:56.440 --> 0:20:59.960
<v Speaker 3>Huge thanks to our excellent audio producer JJ Posway. If

0:21:00.080 --> 0:21:01.520
<v Speaker 3>you would like to get in touch with us with

0:21:01.560 --> 0:21:04.000
<v Speaker 3>feedback on this episode or any other, to suggest a

0:21:04.040 --> 0:21:06.119
<v Speaker 3>topic for the future, or just to say hello, you

0:21:06.160 --> 0:21:09.080
<v Speaker 3>can email us at contact at stuff to Blow your

0:21:09.160 --> 0:21:17.400
<v Speaker 3>Mind dot com.

0:21:17.520 --> 0:21:20.080
<v Speaker 1>Stuff to Blow Your Mind is a production of iHeartRadio.

0:21:20.400 --> 0:21:23.359
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