1 00:00:18,530 --> 00:00:22,400 Speaker 1: Hello and welcome to Hollywoodland. My name is Seth Lundy, writer, showrunner, 2 00:00:22,560 --> 00:00:25,660 Speaker 1: and good doctor here at Double Elvis. And it's Friday, 3 00:00:25,700 --> 00:00:28,380 Speaker 1: which means it's time once again for another installment of 4 00:00:28,420 --> 00:00:31,530 Speaker 1: The Screening Room, our weekly episode of the pod in 5 00:00:31,570 --> 00:00:33,409 Speaker 1: which we watch a movie that has something to do 6 00:00:33,430 --> 00:00:36,370 Speaker 1: with our main episode subject and themes of the week, 7 00:00:36,890 --> 00:00:39,510 Speaker 1: and then we talk about it. This week, we featured 8 00:00:39,550 --> 00:00:43,620 Speaker 1: Tim Allen as our main episode subject, ran our Tim 9 00:00:43,670 --> 00:00:46,479 Speaker 1: Allen episode from the archive back on Monday. And to 10 00:00:46,600 --> 00:00:49,600 Speaker 1: be honest, there really isn't a Tim Allen movie out 11 00:00:49,640 --> 00:00:52,550 Speaker 1: there that I wanted to cover here no shade to 12 00:00:52,560 --> 00:00:56,690 Speaker 1: the excellent Toy Story franchise, no shade to Galaxy Quest 13 00:00:56,790 --> 00:00:59,750 Speaker 1: and its legion of fans, but nothing really fit in 14 00:00:59,790 --> 00:01:03,010 Speaker 1: my mind. And obviously, the movies we talk about in 15 00:01:03,030 --> 00:01:06,350 Speaker 1: the screening room don't have to feature our full episode 16 00:01:06,410 --> 00:01:09,929 Speaker 1: subject in them. Sometimes we draw some thematic lines, which 17 00:01:09,970 --> 00:01:12,149 Speaker 1: is what I'm going to do here today by choosing 18 00:01:12,190 --> 00:01:15,310 Speaker 1: a film called 25th Hour. And I'm choosing this film 19 00:01:15,330 --> 00:01:17,949 Speaker 1: because in it, Edward Norton plays a drug dealer who 20 00:01:18,010 --> 00:01:20,190 Speaker 1: is living out his last day in New York City, 21 00:01:20,560 --> 00:01:23,800 Speaker 1: before he goes to prison for seven years. And that 22 00:01:23,880 --> 00:01:26,500 Speaker 1: story mirrors the real life of Tim Allen, who was 23 00:01:26,620 --> 00:01:30,550 Speaker 1: once arrested for dealing drugs and faced a potential life 24 00:01:30,709 --> 00:01:35,069 Speaker 1: sentence himself. 25th Hour was directed by Spike Lee. It 25 00:01:35,110 --> 00:01:39,690 Speaker 1: stars Edward Norton, Philip Seymour Hoffman, Barry Pepper, Rosario Dawson, 26 00:01:40,050 --> 00:01:43,510 Speaker 1: Anna Paquin, Brian Cox, and many others. It was written 27 00:01:43,550 --> 00:01:46,510 Speaker 1: by David Benioff based on his novel of the same 28 00:01:46,590 --> 00:01:51,710 Speaker 1: name published the year prior in 2001. Benioff is probably 29 00:01:51,770 --> 00:01:54,690 Speaker 1: best known as one of the co-creators and showrunners for 30 00:01:54,730 --> 00:01:59,060 Speaker 1: the HBO series adaptation of Game of Thrones, but here 31 00:01:59,260 --> 00:02:02,559 Speaker 1: he was still an MFA student at UCAL Irvine, and 32 00:02:02,600 --> 00:02:06,470 Speaker 1: this book was actually his thesis. From the sounds of it, 33 00:02:06,820 --> 00:02:09,680 Speaker 1: it was a hard go finding a publisher to pick 34 00:02:09,720 --> 00:02:12,060 Speaker 1: this up. He got a lot of rejection, but then 35 00:02:12,160 --> 00:02:15,480 Speaker 1: finally it was picked up, and six months before it 36 00:02:15,540 --> 00:02:20,100 Speaker 1: was released, galleys were sent out to Hollywood producers. Tobey Maguire, 37 00:02:20,700 --> 00:02:24,600 Speaker 1: the actor, who I guess was also producing at this point, 38 00:02:25,550 --> 00:02:27,850 Speaker 1: which surprises me a little bit. But I guess most 39 00:02:28,590 --> 00:02:32,410 Speaker 1: successful actors have production companies like this. But Tobey Maguire 40 00:02:32,450 --> 00:02:35,670 Speaker 1: latched onto it pretty quickly. He wanted to actually play Monty, 41 00:02:36,050 --> 00:02:39,889 Speaker 1: the main character that Edward Norton would ultimately play. But 42 00:02:39,970 --> 00:02:43,450 Speaker 1: Tobey Maguire's obligations with the Spider-Man movies he was making 43 00:02:43,490 --> 00:02:46,610 Speaker 1: with Sam Raimi around this time took precedent. So he 44 00:02:46,850 --> 00:02:49,180 Speaker 1: remained on as one of the film's producers, but he's 45 00:02:49,220 --> 00:02:53,270 Speaker 1: not in the film. Benioff's screenplay version of his novel 46 00:02:53,389 --> 00:02:56,010 Speaker 1: wound up with Spike Lee, and Spike really wanted to 47 00:02:56,050 --> 00:02:59,430 Speaker 1: make this movie. Spike was in the zone. He just 48 00:02:59,490 --> 00:03:02,869 Speaker 1: made 13 movies in almost as many years. He made 49 00:03:02,870 --> 00:03:06,890 Speaker 1: 13 movies in 14 years, which is wild. Starting in 50 00:03:06,889 --> 00:03:11,370 Speaker 1: 86 with She's Gotta Have It, 88, School Days, 89, 51 00:03:11,350 --> 00:03:14,310 Speaker 1: Do the Right Thing, 1990, Mo' Better Blues, 1991, Jungle Fever, 52 00:03:14,310 --> 00:03:23,580 Speaker 1: 92 is Malcolm X, 94 is Crooklyn. 95 is Clockers. 96, 53 00:03:23,580 --> 00:03:27,290 Speaker 1: he makes Girl 6 and Get on the Bus. 98, 54 00:03:27,290 --> 00:03:31,290 Speaker 1: he got Game. 99, Summer of Sam. In the year 2000, 55 00:03:31,290 --> 00:03:34,110 Speaker 1: he made Bamboozled, which I believe was the first movie 56 00:03:34,490 --> 00:03:37,350 Speaker 1: he shot on digital. He shot that like on a 57 00:03:37,390 --> 00:03:40,900 Speaker 1: small Sony camera. Obviously, by the way, this movie looks 58 00:03:40,940 --> 00:03:45,220 Speaker 1: 25th Hour. He's gone back to film stock. So they're 59 00:03:45,240 --> 00:03:48,570 Speaker 1: in production. It's 2001. They're planning to make this film, 60 00:03:48,790 --> 00:03:51,910 Speaker 1: which again is about a drug dealer, Monty Brogan, who 61 00:03:51,930 --> 00:03:53,910 Speaker 1: was about to go away for seven years after the 62 00:03:53,970 --> 00:03:56,870 Speaker 1: DEA showed up at his apartment with a warrant and 63 00:03:56,930 --> 00:03:59,290 Speaker 1: found a shit ton of products stashed in his couch. 64 00:03:59,430 --> 00:04:04,360 Speaker 1: I'm assuming heroin. And then the 9-11 attacks happen. So 65 00:04:04,920 --> 00:04:07,940 Speaker 1: instead of shutting down the film and saying, nah, I 66 00:04:07,980 --> 00:04:09,660 Speaker 1: want to do something else, maybe something that is more 67 00:04:09,780 --> 00:04:13,020 Speaker 1: literally about what happened to my city after the attacks, 68 00:04:13,880 --> 00:04:18,680 Speaker 1: Spike Lee puts this story in the city, in the 69 00:04:18,720 --> 00:04:22,839 Speaker 1: immediate aftermath of 9-11. So this is not a 9-11 70 00:04:22,880 --> 00:04:26,820 Speaker 1: movie like the 2006 film World Trade Center. This is 71 00:04:26,860 --> 00:04:29,849 Speaker 1: a 9-11 movie in which the real city, just weeks 72 00:04:30,020 --> 00:04:33,070 Speaker 1: and months after the fact, serves as a backdrop for 73 00:04:33,089 --> 00:04:36,549 Speaker 1: this fictional story, one of the so-called 8 million stories 74 00:04:36,589 --> 00:04:39,290 Speaker 1: happening in the naked city, as it were. So you're 75 00:04:39,330 --> 00:04:41,510 Speaker 1: seeing the blue lights that shoot up into the sky 76 00:04:41,550 --> 00:04:44,210 Speaker 1: where the towers used to be You're seeing the American 77 00:04:44,270 --> 00:04:48,490 Speaker 1: flag draped outside a shop along the street. Barry Pepper 78 00:04:49,029 --> 00:04:51,990 Speaker 1: plays a day trader whose apartment window overlooks the spot 79 00:04:52,370 --> 00:04:55,120 Speaker 1: where the Twin Towers once stood, this concave of dirt 80 00:04:55,480 --> 00:04:58,200 Speaker 1: that's being pushed around by construction equipment in the middle 81 00:04:58,220 --> 00:05:01,260 Speaker 1: of the night. And Barry Pepper's character, Frank, along with 82 00:05:01,300 --> 00:05:05,460 Speaker 1: Philip Seymour Hoffman's character, Jacob, they stand at this window 83 00:05:05,540 --> 00:05:07,420 Speaker 1: at night and they don't look down on the whole 84 00:05:07,480 --> 00:05:11,770 Speaker 1: scene and wax philosophical about it in the most obvious way. Instead, 85 00:05:11,850 --> 00:05:14,860 Speaker 1: Jacob's just like, holy shit, like he hasn't seen this 86 00:05:14,940 --> 00:05:18,000 Speaker 1: from this POV because, well, he hasn't. And then he says, 87 00:05:18,400 --> 00:05:21,260 Speaker 1: the New York Times says the air is bad down there. 88 00:05:21,660 --> 00:05:24,339 Speaker 1: And Frank goes, fuck the Times, I read the Post. 89 00:05:24,920 --> 00:05:28,860 Speaker 1: To which Jacob replies, well, somebody's lying. It's almost like 90 00:05:28,900 --> 00:05:32,900 Speaker 1: the world we live in now is being seen here 91 00:05:32,980 --> 00:05:35,860 Speaker 1: in this film in some sort of crystal ball, you know, 92 00:05:36,660 --> 00:05:38,960 Speaker 1: in the wake of great tragedies that are supposed to 93 00:05:39,000 --> 00:05:42,260 Speaker 1: bring us together. You know, we're given this narrative that 94 00:05:42,380 --> 00:05:45,820 Speaker 1: it's going to bring us together. We instead find ourselves fractured, 95 00:05:46,580 --> 00:05:50,679 Speaker 1: unable to sort out the truth, distrustful of one story 96 00:05:50,740 --> 00:05:55,040 Speaker 1: or another, one news outlet or another, distrustful of each other. 97 00:05:55,480 --> 00:05:59,640 Speaker 1: Monty becomes distrustful of his living girlfriend, Naturelle, played by 98 00:05:59,690 --> 00:06:02,310 Speaker 1: Rosaria Dawson, who he thinks was the one who got 99 00:06:02,370 --> 00:06:04,409 Speaker 1: him touched, as he puts it, who ratted him out. 100 00:06:05,510 --> 00:06:08,770 Speaker 1: But this movie does not shy away from what's complicated 101 00:06:09,210 --> 00:06:12,820 Speaker 1: or what's difficult. Monty Brogan is far from a perfect hero. 102 00:06:13,240 --> 00:06:15,920 Speaker 1: He is a drug dealer who has worked presumably his 103 00:06:15,980 --> 00:06:19,880 Speaker 1: entire adult life running dope for the Russian mob, which 104 00:06:19,900 --> 00:06:23,419 Speaker 1: has afforded him a beautiful apartment with this incredible framed 105 00:06:23,500 --> 00:06:25,900 Speaker 1: poster of the Paul Newman Phil Cool Hand Luke on 106 00:06:25,920 --> 00:06:29,820 Speaker 1: the wall, by the way. His occupation has also funded 107 00:06:29,900 --> 00:06:34,140 Speaker 1: his former firefighter father's Irish pub. But make no mistake, 108 00:06:34,300 --> 00:06:36,820 Speaker 1: he has been putting illegal drugs out into the streets 109 00:06:36,900 --> 00:06:39,880 Speaker 1: of his fair city, and now he's paying the consequences. 110 00:06:40,370 --> 00:06:43,190 Speaker 1: And then there's one of his friends, Jacob, the Philip 111 00:06:43,210 --> 00:06:46,340 Speaker 1: Seymour Hoffman character, who's a quiet high school English teacher 112 00:06:47,279 --> 00:06:49,360 Speaker 1: who is not so quietly crushing on one of his 113 00:06:49,440 --> 00:06:52,500 Speaker 1: female students who happens to be only 17 years old. 114 00:06:52,580 --> 00:06:55,620 Speaker 1: These are flawed people. And Spike Lee does not shy 115 00:06:55,640 --> 00:06:59,180 Speaker 1: away from showing their flaws. Just like, to bring this 116 00:06:59,220 --> 00:07:03,580 Speaker 1: full circle, Spike doesn't shy away from a post-9-11 world. 117 00:07:03,880 --> 00:07:08,310 Speaker 1: Things were weird post-9-11, all right? There were songs that 118 00:07:08,490 --> 00:07:14,050 Speaker 1: commercial terrestrial radio were told not to play. I worked 119 00:07:14,230 --> 00:07:17,510 Speaker 1: in corporate radio in the wake of 9-11, and I 120 00:07:17,550 --> 00:07:20,070 Speaker 1: can attest to this fact. There was actually a sheet 121 00:07:20,150 --> 00:07:23,660 Speaker 1: that was faxed around from station to station that came 122 00:07:23,700 --> 00:07:28,440 Speaker 1: down on high that listed the 100-plus songs you were 123 00:07:28,460 --> 00:07:30,920 Speaker 1: not allowed to play. You could not hear John Lennon's 124 00:07:31,080 --> 00:07:35,710 Speaker 1: Imagine on the radio anymore. Films that were in production 125 00:07:36,070 --> 00:07:38,030 Speaker 1: at that time that had shots of the New York 126 00:07:38,050 --> 00:07:41,060 Speaker 1: City skyline in them with the Twin Towers visible were 127 00:07:41,160 --> 00:07:43,820 Speaker 1: either recut to remove the shot or the towers were 128 00:07:43,900 --> 00:07:49,990 Speaker 1: digitally edited out. Kissing Jessica Stein, Igby Goes Down, and Spider-Man, 129 00:07:50,030 --> 00:07:53,330 Speaker 1: the film that had kept Tobey Maguire away from playing 130 00:07:53,410 --> 00:07:57,590 Speaker 1: Monty in the 25th hour, they all removed shots from 131 00:07:57,610 --> 00:08:01,710 Speaker 1: their final cuts. Other films like Serendipity and Zoolander just 132 00:08:01,850 --> 00:08:05,830 Speaker 1: digitally erased them in post. No one was being allowed 133 00:08:05,870 --> 00:08:08,210 Speaker 1: to either show an image of the World Trade Center 134 00:08:08,240 --> 00:08:10,450 Speaker 1: or or show an image of where the World Trade 135 00:08:10,490 --> 00:08:13,370 Speaker 1: Center used to be. It was like this out of sight, 136 00:08:13,510 --> 00:08:16,220 Speaker 1: out of mind thing. It was like a, we are 137 00:08:16,360 --> 00:08:19,060 Speaker 1: unsure what emotions will be dredged up by showing or 138 00:08:19,120 --> 00:08:22,680 Speaker 1: not showing this kind of thing. But Spike Lee was like, 139 00:08:22,900 --> 00:08:26,440 Speaker 1: fuck that. I'm showing it. I'm showing the 88 searchlights 140 00:08:26,490 --> 00:08:29,470 Speaker 1: that were combined to form two beams of bright blue 141 00:08:29,530 --> 00:08:32,710 Speaker 1: light shooting up into the sky. I'm showing the rubble 142 00:08:33,050 --> 00:08:36,309 Speaker 1: down there at ground zero. And it's incredible what it 143 00:08:36,510 --> 00:08:39,760 Speaker 1: adds to the story. The story alone is compelling enough. 144 00:08:40,040 --> 00:08:43,359 Speaker 1: You know, white-collar drug dealer spending his last day before 145 00:08:43,380 --> 00:08:45,680 Speaker 1: he goes to prison for seven years, hanging out with 146 00:08:45,720 --> 00:08:50,060 Speaker 1: his two best friends, his father, his girlfriend, his mob associates, 147 00:08:50,240 --> 00:08:53,380 Speaker 1: and his dog Doyle, all of whom he has complicated 148 00:08:53,420 --> 00:08:58,620 Speaker 1: relationships with. But with this 9-11 backdrop, it makes the 149 00:08:58,660 --> 00:09:03,059 Speaker 1: story feel real. It was the San Francisco film critic 150 00:09:03,280 --> 00:09:06,280 Speaker 1: Mick LaSalle who wrote that the 25th hour was, quote, 151 00:09:06,790 --> 00:09:10,700 Speaker 1: as much an urban historical document as Rossellini's Open City, 152 00:09:11,150 --> 00:09:15,220 Speaker 1: filmed in the immediate aftermath of the Nazi occupation of Rome, unquote. 153 00:09:15,840 --> 00:09:18,620 Speaker 1: And I got to agree. This is a film about 154 00:09:18,920 --> 00:09:22,800 Speaker 1: day traders and high school teachers, about Russian mobsters and 155 00:09:22,860 --> 00:09:25,620 Speaker 1: dogs nursed back from the dead. It's about the weight 156 00:09:25,780 --> 00:09:28,540 Speaker 1: of an uncertain world bearing down. And we're going to 157 00:09:28,559 --> 00:09:55,650 Speaker 1: get into it right after this. All right, guys, I have, 158 00:09:56,860 --> 00:10:00,520 Speaker 1: let's see, let me tally these up here. I came unprepared. 159 00:10:00,880 --> 00:10:02,770 Speaker 1: I have seven things I want to talk about when 160 00:10:02,790 --> 00:10:04,990 Speaker 1: I talk about The 25th Hour, which by the way, 161 00:10:05,530 --> 00:10:08,690 Speaker 1: I keep saying The 25th Hour. The title of the 162 00:10:08,890 --> 00:10:12,670 Speaker 1: book that came first is The 25th Hour. The title 163 00:10:12,750 --> 00:10:17,770 Speaker 1: of the film is simply 25th Hour. But it just 164 00:10:17,790 --> 00:10:19,410 Speaker 1: sounds right sometimes to say it. So that's why I 165 00:10:19,450 --> 00:10:23,070 Speaker 1: keep saying it. It's kind of like saying Pixies or 166 00:10:23,110 --> 00:10:25,900 Speaker 1: The Pixies, right? All right, seven things I want to 167 00:10:25,940 --> 00:10:29,710 Speaker 1: talk about when I talk about 25th Hour. Number one, Disney. 168 00:10:30,380 --> 00:10:34,050 Speaker 1: When Touchstone Pictures came on board to distribute this film, 169 00:10:34,130 --> 00:10:38,189 Speaker 1: Touchstone Pictures, who were owned by Disney, they told Spike 170 00:10:38,250 --> 00:10:41,069 Speaker 1: Lee he had to get rid of the scene that 171 00:10:41,250 --> 00:10:44,970 Speaker 1: writer David Benioff lovingly refers to as the fuck monologue. 172 00:10:45,650 --> 00:10:49,270 Speaker 1: The fuck monologue originally appeared in Benioff's book, but he 173 00:10:49,309 --> 00:10:52,050 Speaker 1: had taken it out of his first script draft because 174 00:10:52,090 --> 00:10:54,939 Speaker 1: he didn't think it would be very cinematic. But Spike 175 00:10:54,980 --> 00:10:56,480 Speaker 1: Lee was like, nah, it's got to be in there, 176 00:10:56,559 --> 00:10:59,740 Speaker 1: and I have an idea. And thus was born the 177 00:10:59,840 --> 00:11:02,680 Speaker 1: idea for one of two of the greatest sequences in 178 00:11:02,720 --> 00:11:06,300 Speaker 1: this film, a sequence which Disney told Spike he could 179 00:11:06,340 --> 00:11:11,880 Speaker 1: not include. The scene takes place at Monty's father's pub, Brogan's, 180 00:11:12,420 --> 00:11:16,020 Speaker 1: where there are memorials to fallen firefighters all over. Monty 181 00:11:16,070 --> 00:11:18,280 Speaker 1: is in there having this conversation with his father over 182 00:11:18,330 --> 00:11:20,910 Speaker 1: some food. His father is played with this real hang 183 00:11:20,929 --> 00:11:24,420 Speaker 1: dog vibe by Brian Cox's And the father is laying 184 00:11:24,460 --> 00:11:26,540 Speaker 1: this trip on Monty like, you know, years ago when 185 00:11:26,580 --> 00:11:29,090 Speaker 1: your mom died, I started drinking. And if I hadn't 186 00:11:29,110 --> 00:11:31,730 Speaker 1: started drinking, then maybe I could have helped you and 187 00:11:31,750 --> 00:11:33,630 Speaker 1: you wouldn't have gone down this path you went down 188 00:11:33,690 --> 00:11:35,050 Speaker 1: and you wouldn't be on your way to the who's 189 00:11:35,070 --> 00:11:38,150 Speaker 1: gal now. You know, Monty is like, dad, my profession 190 00:11:38,210 --> 00:11:40,309 Speaker 1: paid for the bar we're sitting in right now. Like, 191 00:11:40,350 --> 00:11:43,010 Speaker 1: you can't say that. You can't play the shoulda, coulda, 192 00:11:43,190 --> 00:11:45,750 Speaker 1: woulda game. We all know this is the worst game 193 00:11:45,790 --> 00:11:48,880 Speaker 1: to play. The shoulda, coulda, woulda game. The regret game. 194 00:11:50,140 --> 00:11:51,819 Speaker 1: So Monty's all fired up and he goes in the 195 00:11:51,860 --> 00:11:54,260 Speaker 1: bathroom to chill out. and he stares at his reflection 196 00:11:54,280 --> 00:11:56,449 Speaker 1: in the mirror. And down on the bottom right of 197 00:11:56,470 --> 00:12:00,310 Speaker 1: the mirror, someone has written, fuck you in silver marker, 198 00:12:00,510 --> 00:12:04,580 Speaker 1: exclamation point underlines beneath each word. And he looks at it, 199 00:12:04,830 --> 00:12:07,350 Speaker 1: stares back at the words, and he says, you know, 200 00:12:07,429 --> 00:12:10,850 Speaker 1: fuck you too. To which his reflection says back to him, 201 00:12:11,410 --> 00:12:15,089 Speaker 1: fuck me, fuck you. And then he goes on this 202 00:12:15,290 --> 00:12:20,230 Speaker 1: incredible rant, holds nothing back, says fuck the whole city, 203 00:12:20,950 --> 00:12:25,170 Speaker 1: Fuck the panhandlers, the squeegee men, the Pakistanis, the Sikhs, 204 00:12:25,390 --> 00:12:28,429 Speaker 1: he says, fuck the terrorists in training, the Chelsea boys 205 00:12:28,450 --> 00:12:31,550 Speaker 1: with their wax chests, the Korean grocers, the Russians in 206 00:12:31,590 --> 00:12:36,210 Speaker 1: Brighton Beach, mobster thugs, Wall Street brokers, Michael Douglas, Gordon Gekko, 207 00:12:36,270 --> 00:12:42,540 Speaker 1: wannabe motherfuckers, Enron, Bush, Cheney, Puerto Ricans, Dominicans, Bensonhurst Italians, 208 00:12:43,000 --> 00:12:46,460 Speaker 1: Upper East Side wives with overfed faces getting pulled and lifted, 209 00:12:46,860 --> 00:12:50,380 Speaker 1: taut and shiny, He says, fuck the Uptown Brothers. They 210 00:12:50,400 --> 00:12:52,880 Speaker 1: never pass the ball. They take five steps on every layup. 211 00:12:53,220 --> 00:12:55,890 Speaker 1: Fuck the corrupt cops, the priests. And while you're at it, 212 00:12:55,900 --> 00:13:00,330 Speaker 1: he says, fuck JC. Fuck Osama Bin Laden, Al-Qaeda. Fuck 213 00:13:00,370 --> 00:13:03,510 Speaker 1: his friends Jacob and Frank and his girlfriend, Naturale. Fuck 214 00:13:03,550 --> 00:13:07,750 Speaker 1: his father. Fuck this whole city. And fuck everyone in it, right? 215 00:13:08,450 --> 00:13:13,220 Speaker 1: The monologue is incredible. It does not hold back, as 216 00:13:13,260 --> 00:13:17,780 Speaker 1: you can tell by what I've just said. Spike is masterfully... 217 00:13:18,020 --> 00:13:21,270 Speaker 1: cutting in all this other footage while Edward Norton is 218 00:13:21,330 --> 00:13:24,230 Speaker 1: ranting on. There's news footage. There's like man on the 219 00:13:24,309 --> 00:13:27,270 Speaker 1: street shots with that restless camera of his that bounds 220 00:13:27,350 --> 00:13:31,410 Speaker 1: up off the curb and into someone's face. It's a 221 00:13:31,450 --> 00:13:34,339 Speaker 1: real like chest puffing in your face kind of scene. 222 00:13:34,559 --> 00:13:40,320 Speaker 1: And meanwhile, Terrence Blanchard's incredible score is rising. It's sweeping. 223 00:13:40,400 --> 00:13:45,850 Speaker 1: It's building with intensity and intention. These few minutes are 100% 224 00:13:45,850 --> 00:13:48,670 Speaker 1: reminiscent of a similar scene from a decade plus prior 225 00:13:49,240 --> 00:13:51,480 Speaker 1: from Spike Lee's Do the Right Thing, that scene where 226 00:13:51,500 --> 00:13:54,620 Speaker 1: a handful of characters take turns talking shit about another 227 00:13:54,679 --> 00:13:57,120 Speaker 1: race or another group of people inside New York City. 228 00:13:57,800 --> 00:14:01,360 Speaker 1: And it's also 100% reminiscent of Travis Bickle's narration rant 229 00:14:01,800 --> 00:14:04,660 Speaker 1: as he's driving through the city in Taxi Driver. You know, 230 00:14:04,750 --> 00:14:06,630 Speaker 1: someday a real rain will come down and wash this 231 00:14:06,670 --> 00:14:10,090 Speaker 1: scum from the streets kind of a thing. So for 232 00:14:10,150 --> 00:14:14,610 Speaker 1: obvious reasons, Disney's like, no. No. This is too provocative, 233 00:14:15,130 --> 00:14:17,890 Speaker 1: too racist, too raw. It hasn't been long enough since 234 00:14:17,929 --> 00:14:20,490 Speaker 1: the attacks. And aren't we all supposed to be healing 235 00:14:20,550 --> 00:14:24,550 Speaker 1: together right now as one? But Spike would not back down. 236 00:14:24,850 --> 00:14:27,090 Speaker 1: He said this was the heart of the film. And 237 00:14:27,110 --> 00:14:31,520 Speaker 1: I think he's right because Monty is unleashing his anger 238 00:14:32,040 --> 00:14:35,580 Speaker 1: and his rage at anyone and everyone that he ever 239 00:14:35,640 --> 00:14:38,580 Speaker 1: encountered in the city to blame for what happened to him. 240 00:14:39,240 --> 00:14:42,100 Speaker 1: Just as New York and the country and the world 241 00:14:42,580 --> 00:14:45,540 Speaker 1: continued to unleash its rage and anger at anyone and 242 00:14:45,620 --> 00:14:48,290 Speaker 1: everyone in the wake of 9-11. And it all comes 243 00:14:48,330 --> 00:14:51,609 Speaker 1: from fear, fear of the unknown, fear that it will 244 00:14:52,010 --> 00:14:55,110 Speaker 1: get worse, or you don't really need a reason for 245 00:14:55,170 --> 00:14:59,790 Speaker 1: fear beyond fear. And that's where it's coming from. Monty's 246 00:14:59,840 --> 00:15:04,120 Speaker 1: experiencing it. New York is experiencing it. We all are, right? 247 00:15:05,320 --> 00:15:09,520 Speaker 1: Number two, it all came so close to never happening. 248 00:15:10,790 --> 00:15:12,930 Speaker 1: All right, I said earlier that the fuck monologue is 249 00:15:12,980 --> 00:15:14,960 Speaker 1: one of the two best sequences in the film. Perhaps 250 00:15:15,050 --> 00:15:17,840 Speaker 1: I should say it's one of the two most impressive 251 00:15:18,040 --> 00:15:20,020 Speaker 1: sequences in the film, because there are a lot more 252 00:15:20,680 --> 00:15:23,680 Speaker 1: quieter moments here that would qualify for one of the best. 253 00:15:24,460 --> 00:15:26,260 Speaker 1: But there's another sequence near the end of the film 254 00:15:26,300 --> 00:15:29,680 Speaker 1: that's in conversation with the fuck monologue, and it's a 255 00:15:29,720 --> 00:15:32,820 Speaker 1: fantasy sequence. We're taken out of what we know to 256 00:15:32,860 --> 00:15:36,700 Speaker 1: be real by Monty's father, who is driving Monty to 257 00:15:36,760 --> 00:15:42,050 Speaker 1: prison the next morning. His father says, I don't have 258 00:15:42,070 --> 00:15:44,110 Speaker 1: to take you there, right? Like we can just take 259 00:15:44,150 --> 00:15:46,850 Speaker 1: this exit and then we'll drive. We'll just keep driving. 260 00:15:47,310 --> 00:15:49,360 Speaker 1: Just give me the word and we'll go. Which of 261 00:15:49,400 --> 00:15:51,380 Speaker 1: course is what a father would do, a certain kind 262 00:15:51,420 --> 00:15:55,760 Speaker 1: of father. I asked myself watching this last night, you know, 263 00:15:56,880 --> 00:15:58,560 Speaker 1: if I were in that father's shoes, would I make 264 00:15:58,600 --> 00:16:03,880 Speaker 1: a similar offer, especially in a world gone wrong? But 265 00:16:03,920 --> 00:16:06,180 Speaker 1: he suggests, you know, we could drive out west. There's 266 00:16:06,230 --> 00:16:08,170 Speaker 1: no sirens out there. There's no one yelling at you, 267 00:16:08,230 --> 00:16:10,580 Speaker 1: no one looking for you. somewhere out in the desert, 268 00:16:10,900 --> 00:16:14,120 Speaker 1: middle of nowhere. You can get a job. It'll pay cash. 269 00:16:14,140 --> 00:16:17,140 Speaker 1: Your boss won't ask you questions. After a few years, 270 00:16:17,180 --> 00:16:19,800 Speaker 1: you'll send word from natural, bring her out. You'll start 271 00:16:19,840 --> 00:16:22,360 Speaker 1: a family. And then long after I'm dead, this is 272 00:16:22,380 --> 00:16:25,400 Speaker 1: the dad talking, you'll gather your children around. You'll tell 273 00:16:25,420 --> 00:16:28,100 Speaker 1: them the truth. You'll tell them the whole story about 274 00:16:28,160 --> 00:16:30,280 Speaker 1: how lucky they are to be here and how this 275 00:16:30,380 --> 00:16:34,350 Speaker 1: life of theirs came so close to never happening. This 276 00:16:34,450 --> 00:16:37,990 Speaker 1: life came so close to never happening. Ain't it the truth? 277 00:16:39,030 --> 00:16:42,290 Speaker 1: the sequence is so great because like the last one, 278 00:16:42,370 --> 00:16:45,010 Speaker 1: Spike is shooting this all as if it's actually playing out. 279 00:16:45,070 --> 00:16:48,070 Speaker 1: You see Monty fleeing New York, starting this new life, 280 00:16:48,150 --> 00:16:52,910 Speaker 1: going into hiding, growing old with his family and everything is, 281 00:16:53,170 --> 00:16:56,110 Speaker 1: is okay in the end. But of course that doesn't happen. 282 00:16:56,170 --> 00:16:58,230 Speaker 1: Or maybe it does. We don't know because when we 283 00:16:58,270 --> 00:17:01,190 Speaker 1: return to the here and the now, we're still in 284 00:17:01,230 --> 00:17:04,449 Speaker 1: the car with father and son and we're seeing the 285 00:17:04,490 --> 00:17:06,600 Speaker 1: faces of all the people on the street of streets 286 00:17:06,630 --> 00:17:09,300 Speaker 1: of New York that, uh, that Monty had called out 287 00:17:09,580 --> 00:17:13,000 Speaker 1: in that mirror in the pub long ago. We're still 288 00:17:13,100 --> 00:17:18,500 Speaker 1: on our way to the unknown. Number three, Barry Pepper. 289 00:17:18,859 --> 00:17:23,179 Speaker 1: What happened to this guy? Saving Private Ryan, The Green Mile, 290 00:17:23,700 --> 00:17:26,990 Speaker 1: Enemy of the State, True Grit. In the early 2000s, 291 00:17:27,030 --> 00:17:30,370 Speaker 1: Barry Pepper was this incredibly compelling, dependable character actor. And 292 00:17:30,590 --> 00:17:34,030 Speaker 1: I know he's still working today. I believe he's in 293 00:17:34,270 --> 00:17:40,100 Speaker 1: some franchise based on a, maybe a YA novel series. 294 00:17:41,440 --> 00:17:43,609 Speaker 1: But the kinds of roles he's continued to play in 295 00:17:43,630 --> 00:17:46,450 Speaker 1: the films he's been offered just changed at some point. 296 00:17:46,490 --> 00:17:48,189 Speaker 1: And they're just, for whatever reason, they're the ones I'm 297 00:17:48,210 --> 00:17:51,710 Speaker 1: not watching. So I'm just saying out loud, putting it 298 00:17:51,730 --> 00:17:53,149 Speaker 1: out in the universe, I wish that he was more 299 00:17:53,210 --> 00:18:00,100 Speaker 1: visible and being used by directors more. Number four, Sheet. 300 00:18:01,260 --> 00:18:05,000 Speaker 1: This movie features the great Isaiah Whitlock Jr., rest in peace, 301 00:18:05,609 --> 00:18:09,330 Speaker 1: as the lead DEA agent who harasses and arrests Monty 302 00:18:09,470 --> 00:18:14,350 Speaker 1: in his apartment. He comes in hot with this trademark 303 00:18:14,570 --> 00:18:18,590 Speaker 1: she-it exclamation, which he repeats numerous times throughout the movie, 304 00:18:19,070 --> 00:18:22,640 Speaker 1: and some listeners will know was also his trademark expression 305 00:18:23,180 --> 00:18:25,939 Speaker 1: as Senator Clay Davis in the HBO series The Wire. 306 00:18:26,460 --> 00:18:29,399 Speaker 1: The Wire debuted the same year as this film, and 307 00:18:29,520 --> 00:18:31,480 Speaker 1: I don't think we knew how lucky we were to 308 00:18:31,520 --> 00:18:37,640 Speaker 1: be living in the age of she-it. Often, imitated, never duplicated. 309 00:18:37,960 --> 00:18:41,619 Speaker 1: Once again, RIP to the great Isaiah Whitlock Jr. Speaking 310 00:18:41,640 --> 00:18:44,510 Speaker 1: of RIPs to the greats, number five, Philip Seymour Hoffman. 311 00:18:44,570 --> 00:18:48,230 Speaker 1: Dude was the greatest. He makes this movie Between Red Dragon, 312 00:18:48,710 --> 00:18:50,889 Speaker 1: in which he plays a reporter who's brutally murdered by 313 00:18:50,930 --> 00:18:54,389 Speaker 1: a serial killer, and a film called Owning Mahoney, in 314 00:18:54,410 --> 00:18:56,950 Speaker 1: which he plays a bank employee who embezzles a ton 315 00:18:56,970 --> 00:19:00,480 Speaker 1: of money to fuel his gambling addiction. Around this time, 316 00:19:00,980 --> 00:19:03,500 Speaker 1: he played Mattress Man in Punch Drunk Love, He played 317 00:19:03,520 --> 00:19:05,919 Speaker 1: the Reverend in Cold Mountain, he played Sandy Lyle, the 318 00:19:06,000 --> 00:19:09,280 Speaker 1: former child actor, and the guy who single-handedly makes the 319 00:19:09,400 --> 00:19:14,410 Speaker 1: otherwise dumb rom-com Along Came Polly worth watching. The guy 320 00:19:14,470 --> 00:19:18,270 Speaker 1: could do it all. Here in 25th Hour, Philip Seymour 321 00:19:18,310 --> 00:19:21,609 Speaker 1: Hoffman is operating in the happiness slash boogie night zone, 322 00:19:22,070 --> 00:19:26,360 Speaker 1: very introverted, bookish character. He's obviously having a very hard 323 00:19:26,420 --> 00:19:29,340 Speaker 1: time not giving in to his very problematic impulse, which 324 00:19:29,400 --> 00:19:34,150 Speaker 1: is to kiss his 17-year-old student, played by Anna Paquin. Which, 325 00:19:34,290 --> 00:19:36,600 Speaker 1: you know, of course, it's inevitable. You see this coming 326 00:19:36,640 --> 00:19:39,399 Speaker 1: a mile away. They're out at a club, a VIP club, 327 00:19:39,460 --> 00:19:43,320 Speaker 1: where Monty has allowed the student to tag along with 328 00:19:43,400 --> 00:19:47,250 Speaker 1: him and the boys in natural. He's essentially enabling Philip 329 00:19:47,270 --> 00:19:50,420 Speaker 1: Seymour Hoffman's Jacob character here, because now she's in the club. 330 00:19:51,100 --> 00:19:54,180 Speaker 1: He can't avoid her. She's drinking champagne. She's doing E. 331 00:19:54,220 --> 00:19:57,180 Speaker 1: She's hitting on him, sweating, and he's just sitting there 332 00:19:57,200 --> 00:20:01,140 Speaker 1: in the booth doing his own sweating and eventually follows 333 00:20:01,180 --> 00:20:04,600 Speaker 1: her into the bathroom where he kisses her. This moment 334 00:20:05,460 --> 00:20:08,420 Speaker 1: is bookended by one of Spike Lee's signature camera moves, 335 00:20:08,460 --> 00:20:10,879 Speaker 1: the one where The camera and the actor are on 336 00:20:10,920 --> 00:20:12,719 Speaker 1: a dolly together, and the actor just seems to be 337 00:20:12,800 --> 00:20:15,960 Speaker 1: floating through a scene. You know what I'm talking about? First, 338 00:20:16,020 --> 00:20:18,740 Speaker 1: it's Anna Paquin as she's rolling on E, making her 339 00:20:18,780 --> 00:20:21,100 Speaker 1: way through the club, and then it's Philip Seymour Hoffman 340 00:20:21,180 --> 00:20:24,800 Speaker 1: as he leaves the bathroom after apologizing for what he's done, 341 00:20:25,580 --> 00:20:27,580 Speaker 1: and I think in some sort of shock over what 342 00:20:27,619 --> 00:20:29,540 Speaker 1: he's done, even though we all knew it was coming. 343 00:20:30,680 --> 00:20:34,159 Speaker 1: After which, we get an R. Kelly joke, because Jacob 344 00:20:34,710 --> 00:20:36,850 Speaker 1: tells Frank that he kissed her, and Frank says, who 345 00:20:36,869 --> 00:20:39,610 Speaker 1: are you trying to be, R. Kelly? So right there, 346 00:20:39,690 --> 00:20:42,130 Speaker 1: more proof that even way back in 2002, the whole 347 00:20:42,170 --> 00:20:46,670 Speaker 1: world knew what was going on there. Number six, stutter cuts. 348 00:20:47,410 --> 00:20:49,390 Speaker 1: I think this is what these are called, stutter cuts 349 00:20:49,450 --> 00:20:52,600 Speaker 1: or repeat cuts. They're like visual echoes and they are 350 00:20:52,780 --> 00:20:55,720 Speaker 1: all over this film. Like someone shuts a car door 351 00:20:56,020 --> 00:20:57,760 Speaker 1: or someone goes in for a hug and there's a 352 00:20:57,859 --> 00:20:59,760 Speaker 1: cut as it's happening and then we get the same 353 00:20:59,940 --> 00:21:04,240 Speaker 1: action again from a slightly different angle or shot. I 354 00:21:04,260 --> 00:21:06,780 Speaker 1: think this is just part of Spike Lee's juice here. 355 00:21:07,300 --> 00:21:10,830 Speaker 1: It's like one of his hero's, Martin Scorsese, who also 356 00:21:10,850 --> 00:21:13,350 Speaker 1: has a hard time being still with the camera. And 357 00:21:13,510 --> 00:21:18,520 Speaker 1: I just find his visual language so electric and propulsive. 358 00:21:18,900 --> 00:21:21,879 Speaker 1: This move is very similar to an em dash in writing. 359 00:21:22,280 --> 00:21:24,600 Speaker 1: Someone once said an em dash is like a quick 360 00:21:24,840 --> 00:21:27,780 Speaker 1: jab of a dagger. I forget who said this, but 361 00:21:27,840 --> 00:21:31,730 Speaker 1: they are completely right. And yes, em dashes are totally that. 362 00:21:32,170 --> 00:21:35,070 Speaker 1: They are thrusts of the dagger. And that's why I 363 00:21:35,109 --> 00:21:37,990 Speaker 1: love them more than a colon or an ellipsis. And 364 00:21:38,010 --> 00:21:43,850 Speaker 1: that's probably why I love stutter cuts as well. Number seven, music. First, 365 00:21:44,470 --> 00:21:47,730 Speaker 1: there's Terrence Blanchard's score, which I've already touched upon earlier. 366 00:21:48,290 --> 00:21:53,330 Speaker 1: Terrence Blanchard's work sounds like some epic Aaron Copland Americana shit. 367 00:21:53,390 --> 00:21:56,460 Speaker 1: His stuff is so intertwined with Spike Lee's films now, 368 00:21:56,540 --> 00:21:59,820 Speaker 1: for me, that I can't imagine a Spike film without him. 369 00:22:00,100 --> 00:22:03,240 Speaker 1: Although I don't think he scored Spike Lee's latest film, 370 00:22:03,280 --> 00:22:06,419 Speaker 1: Highest to Lowest, and perhaps that contributed to that one 371 00:22:06,460 --> 00:22:08,649 Speaker 1: not really working for me. By the way, if you 372 00:22:08,670 --> 00:22:11,820 Speaker 1: want to hear more about Terrence Blanchard and his role 373 00:22:11,970 --> 00:22:14,260 Speaker 1: in the Spike Lee universe, check out the Rap Party 374 00:22:14,320 --> 00:22:17,480 Speaker 1: episode here in your feed from two days ago. Jake 375 00:22:17,540 --> 00:22:21,060 Speaker 1: Brennan and I talk at length about Terrence Blanchard's score 376 00:22:21,540 --> 00:22:26,469 Speaker 1: for Spike Lee's film Clockers. But beyond the Blanchard score, 377 00:22:26,790 --> 00:22:28,870 Speaker 1: there's a lot of other needle drops in this film 378 00:22:28,890 --> 00:22:31,750 Speaker 1: which are outstanding. A bunch happened at this club. There's 379 00:22:31,790 --> 00:22:35,330 Speaker 1: a prolonged club scene here. Some great hip-hop drops, Melly Mell. 380 00:22:35,920 --> 00:22:38,400 Speaker 1: But there are three songs from a British funk group 381 00:22:38,500 --> 00:22:44,980 Speaker 1: called Samunday. It's spelled like simand. It's spelled C-Y-M-A-N-D-E, but 382 00:22:45,000 --> 00:22:50,119 Speaker 1: it's pronounced Samunday. This is from a 1972 self-titled record. 383 00:22:51,220 --> 00:22:55,260 Speaker 1: Three songs here, Bra, Dove, and The Message. Some serious 384 00:22:55,520 --> 00:22:59,350 Speaker 1: crate-digging funk and soul from a bygone era that will 385 00:22:59,420 --> 00:23:03,210 Speaker 1: certainly sound delightful in someone's ears this weekend. So check 386 00:23:03,230 --> 00:23:06,310 Speaker 1: that out if you are so inclined. And speaking of 387 00:23:06,369 --> 00:23:10,430 Speaker 1: musical delights, let's turn the power on our Yamaha double 388 00:23:10,470 --> 00:23:14,649 Speaker 1: cassette tape deck here and make a hypothetical, theoretical, metaphorical, 389 00:23:14,710 --> 00:23:19,439 Speaker 1: potentially possible mixtape inspired by the film 25th Hour. We're 390 00:23:19,460 --> 00:23:21,880 Speaker 1: going to do that right after this. Don't go anywhere. 391 00:23:34,560 --> 00:23:37,880 Speaker 1: All right, gang, we're back. Dr. Lundy Esquire hanging here 392 00:23:37,900 --> 00:23:41,640 Speaker 1: with you in the Hollywoodland screening room. I already mentioned 393 00:23:41,660 --> 00:23:44,879 Speaker 1: that Spike Lee's film 25th Hour has an incredible score 394 00:23:45,180 --> 00:23:48,090 Speaker 1: by Terrence Blanchard. It also has a number of incredible 395 00:23:48,150 --> 00:23:51,489 Speaker 1: needle drops on it. But here in our show, we 396 00:23:51,530 --> 00:23:55,330 Speaker 1: like to make what we call a hypothetical, theoretical, metaphorical, 397 00:23:55,390 --> 00:24:00,310 Speaker 1: potentially possible mixtape inspired by our film this week. Like 398 00:24:00,350 --> 00:24:01,609 Speaker 1: if you were going to make a mixtape for a 399 00:24:01,650 --> 00:24:05,270 Speaker 1: friend back in 1993, and you wanted it to be 400 00:24:05,330 --> 00:24:08,530 Speaker 1: inspired by this film that you just saw. That's our 401 00:24:08,590 --> 00:24:11,729 Speaker 1: line of thinking here, okay? I'm going to start this out, 402 00:24:12,109 --> 00:24:15,330 Speaker 1: kind of obvious, with a song called My City of 403 00:24:15,470 --> 00:24:20,500 Speaker 1: Ruins by Bruce Springsteen from his record, The Rising, which 404 00:24:20,560 --> 00:24:23,280 Speaker 1: is kind of like Springsteen's version of 25th Hour. This 405 00:24:23,320 --> 00:24:27,020 Speaker 1: was the record that he wrote in reaction to the 406 00:24:27,040 --> 00:24:30,699 Speaker 1: 9-11 attacks in New York City. It's one of the 407 00:24:30,720 --> 00:24:35,010 Speaker 1: standout songs on this record. I remember... getting this record 408 00:24:35,030 --> 00:24:37,350 Speaker 1: for the first time. I remember when 9-11 happened, I 409 00:24:37,550 --> 00:24:40,370 Speaker 1: had just moved to Los Angeles and I was crashing 410 00:24:40,410 --> 00:24:43,740 Speaker 1: for a few days with some friends in Pasadena while 411 00:24:43,820 --> 00:24:46,340 Speaker 1: I was looking for my own apartment. These friends did 412 00:24:46,380 --> 00:24:50,340 Speaker 1: not own a TV. And this was 2001. So while 413 00:24:50,359 --> 00:24:53,050 Speaker 1: they had a computer there, I did not have like 414 00:24:53,090 --> 00:24:54,850 Speaker 1: a laptop of my own, but they had a computer 415 00:24:54,869 --> 00:24:59,409 Speaker 1: in their office. And the internet was most definitely dial 416 00:24:59,470 --> 00:25:02,139 Speaker 1: up back then, right? So It wasn't like we were 417 00:25:02,220 --> 00:25:04,940 Speaker 1: online all the time. And even when you did go online, 418 00:25:06,560 --> 00:25:09,280 Speaker 1: you didn't encounter the same amount of images and video 419 00:25:09,300 --> 00:25:14,580 Speaker 1: that you do today. So I remember hearing about 9-11 420 00:25:14,660 --> 00:25:19,200 Speaker 1: primarily on the radio. I remember seeing headlines and photos 421 00:25:19,440 --> 00:25:21,400 Speaker 1: on the front of the LA Times as I walked 422 00:25:21,460 --> 00:25:25,560 Speaker 1: by those newspaper boxes, but never bought a copy of 423 00:25:25,580 --> 00:25:28,760 Speaker 1: the paper because I was literally so damn broke that 424 00:25:28,780 --> 00:25:31,150 Speaker 1: I didn't even have walking around money. And I just 425 00:25:31,190 --> 00:25:37,080 Speaker 1: remember feeling so disconnected, like wondering, what the fuck have 426 00:25:37,119 --> 00:25:39,960 Speaker 1: I done? Moving all the way across the country, away 427 00:25:40,000 --> 00:25:43,060 Speaker 1: from everybody that I knew back East. My very first 428 00:25:43,119 --> 00:25:47,010 Speaker 1: job before I moved to LA out of college was 429 00:25:47,090 --> 00:25:51,190 Speaker 1: working at John Hancock in Boston, which is also a 430 00:25:51,830 --> 00:25:55,810 Speaker 1: giant tower, right? I worked on the 53rd floor of 431 00:25:55,830 --> 00:25:58,280 Speaker 1: the Hancock building, so far up that when you went 432 00:25:58,320 --> 00:26:00,139 Speaker 1: to the bathroom and you looked down at the toilet, 433 00:26:00,859 --> 00:26:03,119 Speaker 1: you could see the water moving from side to side 434 00:26:03,280 --> 00:26:05,000 Speaker 1: in the bowl of the toilet because the building was 435 00:26:05,200 --> 00:26:08,199 Speaker 1: on some sort of like, someone explained it to me once, 436 00:26:08,240 --> 00:26:10,080 Speaker 1: some sort of like roller system way down in its 437 00:26:10,140 --> 00:26:12,919 Speaker 1: base so that it wouldn't fall over or whatever in 438 00:26:12,940 --> 00:26:17,139 Speaker 1: the wind, whatever the engineering feat that is there. And 439 00:26:17,160 --> 00:26:19,929 Speaker 1: I remember when 9-11 happened and I heard from some 440 00:26:19,950 --> 00:26:22,350 Speaker 1: of my former colleagues back in Boston who were just like, 441 00:26:22,470 --> 00:26:25,290 Speaker 1: fuck it, I'm not going back to that building. I'm 442 00:26:25,369 --> 00:26:27,429 Speaker 1: not going back to that job. I'm not working in 443 00:26:27,470 --> 00:26:30,470 Speaker 1: a 60-story building ever again. There was this feeling of 444 00:26:30,609 --> 00:26:32,709 Speaker 1: dread that set in, even for those of us who 445 00:26:32,730 --> 00:26:35,889 Speaker 1: were thousands of miles away, looking up at the sky 446 00:26:35,950 --> 00:26:38,389 Speaker 1: and seeing no planes in the sky. And then I 447 00:26:38,390 --> 00:26:41,470 Speaker 1: remember Springsteen put out this record, The Rising, and I 448 00:26:41,869 --> 00:26:44,810 Speaker 1: was so moved by it, by the title track especially, 449 00:26:44,830 --> 00:26:49,090 Speaker 1: but by the whole thing, just really emotionally moved. And 450 00:26:49,109 --> 00:26:52,790 Speaker 1: I think Bruce did a similar thing here that Spike 451 00:26:52,830 --> 00:26:55,330 Speaker 1: did with 25th Hour. He wrote a record about what 452 00:26:55,350 --> 00:26:59,379 Speaker 1: had happened without making the record about the thing. Do 453 00:26:59,400 --> 00:27:03,120 Speaker 1: you know what I mean? He made it about... I mean, 454 00:27:03,340 --> 00:27:05,260 Speaker 1: it's a record about humans, and you can listen to 455 00:27:05,300 --> 00:27:10,119 Speaker 1: that record now and not essentially tie it to those events. 456 00:27:10,380 --> 00:27:13,330 Speaker 1: The songs can live outside those events, just like Spike 457 00:27:13,350 --> 00:27:16,990 Speaker 1: Lee's movie can. Well, Spike Lee's movie has a harder 458 00:27:17,030 --> 00:27:20,510 Speaker 1: time living outside those events because you're visually being reminded 459 00:27:20,550 --> 00:27:22,750 Speaker 1: of it the whole time that you're walking through New 460 00:27:22,790 --> 00:27:27,310 Speaker 1: York at that time. Incidentally... The Fuse, a song from 461 00:27:27,430 --> 00:27:30,750 Speaker 1: the Rising album, plays over the end credits in 25th Hour. 462 00:27:30,790 --> 00:27:33,250 Speaker 1: So they're bringing it all back home there. All right, 463 00:27:33,270 --> 00:27:36,600 Speaker 1: the next song here is a song called The Wait 464 00:27:36,950 --> 00:27:39,400 Speaker 1: by The Band. This is a very well-known song. This 465 00:27:39,460 --> 00:27:43,459 Speaker 1: comes from their debut record, Music from Big Pink. This 466 00:27:43,500 --> 00:27:47,380 Speaker 1: was cut after they did their time touring with Bob 467 00:27:47,400 --> 00:27:50,980 Speaker 1: Dylan as his backing band, shocking audiences around the globe 468 00:27:51,020 --> 00:27:53,239 Speaker 1: who were expecting to see folky Bob. And instead, they 469 00:27:53,280 --> 00:27:56,490 Speaker 1: got ear-splitting rock and roll Bob. I'm picking this because 470 00:27:56,530 --> 00:27:58,909 Speaker 1: of the line, you know, like, take Jack, my dog, 471 00:27:58,990 --> 00:28:02,120 Speaker 1: feed him if you can. Monty has a dog, Doyle, 472 00:28:02,200 --> 00:28:06,000 Speaker 1: in this film. The film opens, 25th hour, with this 473 00:28:06,080 --> 00:28:09,740 Speaker 1: scene where, from years in the past, where Monty comes 474 00:28:09,800 --> 00:28:13,820 Speaker 1: across this dog who's been wounded, like, horribly wounded by people. 475 00:28:14,240 --> 00:28:16,410 Speaker 1: Probably was a dog that was used for dog fights 476 00:28:16,450 --> 00:28:19,450 Speaker 1: and was just abandoned. And he comes across this dog, 477 00:28:19,550 --> 00:28:22,630 Speaker 1: and his first thought is to get out his gun and, like, 478 00:28:22,710 --> 00:28:25,290 Speaker 1: shoot him and mercy kill him. But then he decides 479 00:28:25,350 --> 00:28:29,010 Speaker 1: to take him in and try to rehabilitate him. And 480 00:28:29,050 --> 00:28:32,330 Speaker 1: then we cut two years later, and he's by his 481 00:28:32,390 --> 00:28:35,109 Speaker 1: side all the time. And at the end of the movie, 482 00:28:36,010 --> 00:28:37,570 Speaker 1: he's got to find someone to take his dog when 483 00:28:37,609 --> 00:28:39,510 Speaker 1: he goes to prison, because he can't bring the dog 484 00:28:39,610 --> 00:28:42,290 Speaker 1: to prison. So I had dogs on the brain, and 485 00:28:42,310 --> 00:28:45,030 Speaker 1: I thought about this line, take Jack, my dog, feed 486 00:28:45,050 --> 00:28:47,690 Speaker 1: him if you can. All I'm going to say about 487 00:28:47,730 --> 00:28:52,540 Speaker 1: the band is that it's nearly Thanksgiving. Thanksgiving is around 488 00:28:52,560 --> 00:28:55,480 Speaker 1: the corner, which means for those of us who celebrate, 489 00:28:55,560 --> 00:28:59,140 Speaker 1: it's time for our annual rewatch of The Last Waltz, 490 00:28:59,240 --> 00:29:03,340 Speaker 1: Martin Scorsese's documentary that was shot on Thanksgiving Day back 491 00:29:03,440 --> 00:29:06,630 Speaker 1: in 1970-something, featuring the band and a lot of their friends. 492 00:29:07,770 --> 00:29:10,550 Speaker 1: I believe that Jake and I are going to cover 493 00:29:10,650 --> 00:29:13,650 Speaker 1: this movie and this film should be played loud in 494 00:29:13,710 --> 00:29:16,890 Speaker 1: November for Thanksgiving, which is our, for those of you 495 00:29:16,910 --> 00:29:20,330 Speaker 1: who don't know, that's our video podcast episode. available exclusively 496 00:29:20,490 --> 00:29:23,690 Speaker 1: on Patreon, Disgraced Land All Access on Patreon. And then 497 00:29:23,730 --> 00:29:25,969 Speaker 1: I will say one more thing about this, which is 498 00:29:26,710 --> 00:29:29,840 Speaker 1: the weight is in this movie, but the weight is, 499 00:29:30,260 --> 00:29:34,960 Speaker 1: it doesn't take place at the full concert with everything 500 00:29:35,000 --> 00:29:38,180 Speaker 1: else that happens in this film. It was shot after 501 00:29:38,220 --> 00:29:41,640 Speaker 1: the fact on a soundstage. with the Staples singers. And 502 00:29:41,660 --> 00:29:44,420 Speaker 1: I love the version. Both Mavis and Pop Staples take 503 00:29:44,960 --> 00:29:48,180 Speaker 1: verses on this, and I love their soulful voices they 504 00:29:48,220 --> 00:29:50,740 Speaker 1: bring to it and Pop's guitar. But it's shot on 505 00:29:50,790 --> 00:29:53,230 Speaker 1: a soundstage, and it's so obvious that they are lip 506 00:29:53,250 --> 00:29:57,170 Speaker 1: syncing to the recording, the real recording that they had made. 507 00:29:58,060 --> 00:29:59,700 Speaker 1: But the fact that it's on a soundstage and it's 508 00:29:59,740 --> 00:30:02,570 Speaker 1: lip synced, it just kind of takes me out of 509 00:30:02,630 --> 00:30:04,310 Speaker 1: the film a little bit. It's always taken me out 510 00:30:04,330 --> 00:30:06,690 Speaker 1: of the film a little bit. And I've always thought 511 00:30:06,730 --> 00:30:08,430 Speaker 1: that one year I'm going to come around to really 512 00:30:08,470 --> 00:30:10,650 Speaker 1: liking that scene. But I got to say, I think 513 00:30:10,690 --> 00:30:13,050 Speaker 1: it's my least favorite scene in the movie, which is 514 00:30:13,090 --> 00:30:16,060 Speaker 1: tough because it's a great song. All right. There's a 515 00:30:16,080 --> 00:30:18,820 Speaker 1: moment in the movie here where Rosario Dawson asks Edward 516 00:30:18,860 --> 00:30:20,740 Speaker 1: Norton what he wants. And he says, I want to 517 00:30:20,760 --> 00:30:22,960 Speaker 1: be like that girl in the X-Men. I want to 518 00:30:23,000 --> 00:30:27,250 Speaker 1: walk through walls. So Let's include a song called Walking 519 00:30:27,290 --> 00:30:32,180 Speaker 1: Through Walls by John Bryan from his solo debut record, Meaningless. 520 00:30:32,380 --> 00:30:34,360 Speaker 1: I think this came out in like 2000, and it's 521 00:30:34,420 --> 00:30:38,560 Speaker 1: still his only solo record, I believe. John Bryan, of course, 522 00:30:38,860 --> 00:30:43,580 Speaker 1: former Boston guy, former Till Tuesday touring guitarist, formerly in 523 00:30:43,680 --> 00:30:47,000 Speaker 1: an underrated power pop band with Jason Faulkner called The Greys, 524 00:30:47,660 --> 00:30:53,620 Speaker 1: producer for everyone from Amy Mann to Kanye West, or Ye, Yeezus. 525 00:30:54,110 --> 00:30:57,270 Speaker 1: He made this around the same time Amy Mann did 526 00:30:57,290 --> 00:31:02,790 Speaker 1: the Magnolia songs with him, and he scored Magnolia. And 527 00:31:02,850 --> 00:31:06,820 Speaker 1: so this very much sounds in conversation sonically with that. 528 00:31:07,340 --> 00:31:09,280 Speaker 1: It's a very good sort of like companion piece if 529 00:31:09,300 --> 00:31:14,080 Speaker 1: you're into Amy Mann's Magnolia soundtrack songs or Bachelor No. 2, 530 00:31:14,080 --> 00:31:15,920 Speaker 1: the other records she made around that time. This is 531 00:31:15,940 --> 00:31:18,700 Speaker 1: a good companion piece record to that. Another LA story. 532 00:31:19,080 --> 00:31:20,580 Speaker 1: When I lived in LA, I don't know if he 533 00:31:20,600 --> 00:31:23,120 Speaker 1: still does this. I know the club has moved. But 534 00:31:23,140 --> 00:31:26,140 Speaker 1: there was a small club called Largo where musicians and 535 00:31:26,180 --> 00:31:31,740 Speaker 1: comedians would perform. And you could often see artists who 536 00:31:32,140 --> 00:31:34,600 Speaker 1: would usually not play a club that small doing something 537 00:31:34,640 --> 00:31:37,240 Speaker 1: really small and intimate there. And they had a recurring 538 00:31:37,330 --> 00:31:40,190 Speaker 1: show with John Bryan where he did this one-man band thing. 539 00:31:40,630 --> 00:31:42,250 Speaker 1: He would get on stage. There was a drum kit. 540 00:31:42,270 --> 00:31:43,690 Speaker 1: There was a bass. There was a guitar. There was 541 00:31:43,710 --> 00:31:47,330 Speaker 1: a piano. And he had a looper set up. So 542 00:31:47,370 --> 00:31:50,510 Speaker 1: he would go up there and he would you know, 543 00:31:50,730 --> 00:31:54,270 Speaker 1: start playing the drums, and after, you know, a few bars, 544 00:31:54,310 --> 00:31:57,630 Speaker 1: like through a verse and a chorus, he would stomp 545 00:31:57,670 --> 00:31:59,290 Speaker 1: on a button with his foot, and then he'd get up, 546 00:31:59,310 --> 00:32:02,210 Speaker 1: and you'd hear the drums playing over the speakers, and 547 00:32:02,230 --> 00:32:03,490 Speaker 1: he'd grab the bass, and he'd lay down on the 548 00:32:03,510 --> 00:32:05,550 Speaker 1: bass line, do the same thing, hit a button with 549 00:32:05,590 --> 00:32:07,730 Speaker 1: his foot, go to the guitar, go to the piano, 550 00:32:08,360 --> 00:32:11,300 Speaker 1: and basically he'd build this song before your very eyes. 551 00:32:11,360 --> 00:32:14,420 Speaker 1: He'd build this band, this multi-track thing that he would 552 00:32:14,460 --> 00:32:17,520 Speaker 1: then front as the front man. So he'd get up 553 00:32:17,540 --> 00:32:20,200 Speaker 1: to the mic with his guitar strapped around his shoulder, 554 00:32:20,700 --> 00:32:24,220 Speaker 1: and he would sing, perform whatever song he was making 555 00:32:24,760 --> 00:32:27,250 Speaker 1: with himself backing him up, if that makes sense. He 556 00:32:27,290 --> 00:32:29,930 Speaker 1: also would take requests. I once saw him take a 557 00:32:30,630 --> 00:32:34,130 Speaker 1: request for a Velvet Underground song in the style of 558 00:32:34,290 --> 00:32:38,130 Speaker 1: Tom Waits. So he did the Velvet Underground's Who Loves 559 00:32:38,170 --> 00:32:40,770 Speaker 1: the Sun as if Tom Waits was doing it, which 560 00:32:40,810 --> 00:32:43,080 Speaker 1: was great. I don't know. I think he may still 561 00:32:43,120 --> 00:32:44,580 Speaker 1: do this from time to time. And again, I know 562 00:32:44,620 --> 00:32:48,420 Speaker 1: that Largo moved from its original location. Maybe someone out 563 00:32:48,440 --> 00:32:53,060 Speaker 1: there who's listening has been to Largo recently and can 564 00:32:53,120 --> 00:32:55,660 Speaker 1: report back here on what's happening. I do follow them 565 00:32:55,680 --> 00:32:57,660 Speaker 1: on Instagram, so I see from time to time some 566 00:32:57,680 --> 00:33:02,050 Speaker 1: cool shit. Thinking of the fuck monologue, let's put a 567 00:33:02,150 --> 00:33:05,990 Speaker 1: song by the LA punk band Fear on our mixtape. 568 00:33:06,030 --> 00:33:09,210 Speaker 1: It's called I Don't Care About You. Again, this is 569 00:33:09,270 --> 00:33:14,520 Speaker 1: from their 1981 debut record, and I'm including it because 570 00:33:14,560 --> 00:33:17,940 Speaker 1: it has the chorus, I don't care about you, fuck you, 571 00:33:19,780 --> 00:33:23,520 Speaker 1: which is an incredible chorus. This is the punk band 572 00:33:23,560 --> 00:33:26,180 Speaker 1: that played an infamous set on Saturday Night Live that 573 00:33:26,220 --> 00:33:28,680 Speaker 1: caused a riot. They were invited there by John Belushi, 574 00:33:29,080 --> 00:33:33,200 Speaker 1: who was a big fan. I discovered this song just recently, actually. 575 00:33:33,280 --> 00:33:35,760 Speaker 1: I know very little about Fear, but when I was 576 00:33:35,860 --> 00:33:40,080 Speaker 1: watching the Penelope Spheres documentary, The Decline of Western Civilization, 577 00:33:40,460 --> 00:33:43,720 Speaker 1: while I was researching the Alice Bag and the Bags 578 00:33:43,800 --> 00:33:47,040 Speaker 1: episode for Disgraceland. That's where I heard the song for 579 00:33:47,060 --> 00:33:48,320 Speaker 1: the first time, and I was kind of blown away 580 00:33:48,360 --> 00:33:53,730 Speaker 1: by it. It's pretty great. Okay, next song here, Inside 581 00:33:53,930 --> 00:33:58,310 Speaker 1: the Club Scene. Someone, I think Anna Paquin says, Daft 582 00:33:58,350 --> 00:34:00,930 Speaker 1: Punk was in here. So let's put some Daft Punk 583 00:34:01,150 --> 00:34:04,090 Speaker 1: on this. I am a basic bitch, so my favorite 584 00:34:04,110 --> 00:34:07,380 Speaker 1: Daft Punk album is Discovery, which I think is a 585 00:34:07,410 --> 00:34:09,910 Speaker 1: perfect record from start to finish. And I want to 586 00:34:09,930 --> 00:34:13,540 Speaker 1: choose something that reflects the melancholy floating around in this film. 587 00:34:13,580 --> 00:34:16,020 Speaker 1: So let's not do a banger track from Discovery, but 588 00:34:16,040 --> 00:34:18,340 Speaker 1: let's do one of the chill ones. Let's go with 589 00:34:19,300 --> 00:34:23,080 Speaker 1: Veritas Quo. I love repetition in pop music, and this 590 00:34:23,160 --> 00:34:26,420 Speaker 1: record is all about repetition. This track especially has a 591 00:34:26,460 --> 00:34:29,799 Speaker 1: few counter melodies that snake together and just go on 592 00:34:29,840 --> 00:34:32,200 Speaker 1: and on and on. I love that. I never got 593 00:34:32,219 --> 00:34:34,299 Speaker 1: a chance to see Daft Punk perform live. I was 594 00:34:34,360 --> 00:34:37,299 Speaker 1: jealous that some friends of mine did go to see 595 00:34:37,320 --> 00:34:40,509 Speaker 1: them in New York City. They saw that Spaceships tour, 596 00:34:40,550 --> 00:34:43,770 Speaker 1: like the thing that opened up at the middle, lifted up, 597 00:34:43,790 --> 00:34:45,930 Speaker 1: and there they are with their helmets. But I did 598 00:34:46,870 --> 00:34:50,149 Speaker 1: see LCD Sound System on their very first tour with 599 00:34:50,330 --> 00:34:53,930 Speaker 1: MIA opening at the Roxy or the El Rey, one 600 00:34:53,950 --> 00:34:56,350 Speaker 1: of those places in LA. And I am 150% sure 601 00:34:56,489 --> 00:35:00,350 Speaker 1: that LCD Sound System played Daft Punk is playing at 602 00:35:00,430 --> 00:35:05,220 Speaker 1: my house. My house. All right, guys, what do you got? 603 00:35:05,320 --> 00:35:07,469 Speaker 1: Songs that one could put on a mixtape if one 604 00:35:07,530 --> 00:35:11,370 Speaker 1: was so inclined to make a mixtape inspired by 25th 605 00:35:11,410 --> 00:35:14,230 Speaker 1: Hour in some way. Get at me and let me know. 617-906-6638. 606 00:35:16,850 --> 00:35:20,670 Speaker 1: You can email me at disgracelandpod at gmail.com. If you're 607 00:35:20,690 --> 00:35:23,930 Speaker 1: a member of Disgraceland, I'll access over on Patreon. Just 608 00:35:24,050 --> 00:35:27,689 Speaker 1: jump into the chat and let me know what you think. 609 00:35:28,130 --> 00:35:30,620 Speaker 1: By the way, if you're not a member of Disgraceland 610 00:35:30,640 --> 00:35:33,339 Speaker 1: All Access, and I've just piqued your interest here with 611 00:35:33,400 --> 00:35:37,080 Speaker 1: our video podcast. This film should be played loud. Just 612 00:35:37,100 --> 00:35:41,300 Speaker 1: go to disgracelandpod.com for more information and to sign up. 613 00:35:41,410 --> 00:35:43,689 Speaker 1: And while you're doing that, I'm going to take another 614 00:35:43,710 --> 00:35:45,630 Speaker 1: quick break here, but I will be right back in 615 00:35:45,650 --> 00:36:01,080 Speaker 1: the flashes of flashes. All right, gang, there you go. 616 00:36:01,320 --> 00:36:04,380 Speaker 1: 25th hour. I don't know what Spike Lee is working 617 00:36:04,440 --> 00:36:07,540 Speaker 1: on next, but I hope it's dope. I mentioned earlier 618 00:36:07,560 --> 00:36:11,549 Speaker 1: that I was disappointed with Highest to Lowest. I thought 619 00:36:11,570 --> 00:36:14,569 Speaker 1: it had some great moments in general. I thought the 620 00:36:14,610 --> 00:36:18,250 Speaker 1: second half was way stronger than the first half. But overall, 621 00:36:18,270 --> 00:36:20,210 Speaker 1: it just kind of fell flat for me. And it's 622 00:36:20,250 --> 00:36:22,089 Speaker 1: not to say that Spike is no longer making great 623 00:36:22,530 --> 00:36:26,149 Speaker 1: films because of his recent work. I really loved Black 624 00:36:26,170 --> 00:36:31,170 Speaker 1: Klansman and Defy Bloods as well. So with that in mind, 625 00:36:31,390 --> 00:36:33,319 Speaker 1: I'm going to do, I'm not going to rank all 626 00:36:33,340 --> 00:36:35,620 Speaker 1: of Spike Lee's films because there's just too many to 627 00:36:35,640 --> 00:36:37,840 Speaker 1: do right now, but I'm going to do a Spike 628 00:36:37,940 --> 00:36:42,080 Speaker 1: top 10 right now off the dome, reverse 10 to one, okay? 629 00:36:42,860 --> 00:36:49,069 Speaker 1: Number 10, Summer of Sam. Number nine, Defy Bloods. Number eight, Mo' 630 00:36:49,090 --> 00:36:55,710 Speaker 1: Betta Blues. Number seven, Black Klansman. Number six, Clockers. Number five, Crooklyn. 631 00:36:56,310 --> 00:37:01,360 Speaker 1: Number four, Inside Man. Number three, 25th Hour. Number two, 632 00:37:01,900 --> 00:37:06,000 Speaker 1: Malcolm X. And number one, Do the Right Thing. What 633 00:37:06,020 --> 00:37:07,860 Speaker 1: do you guys think? Do you agree? Do you have 634 00:37:07,880 --> 00:37:10,219 Speaker 1: a different lineup? Maybe there's some films that didn't make 635 00:37:10,260 --> 00:37:12,540 Speaker 1: it into my top 10 that are in yours. Maybe 636 00:37:12,560 --> 00:37:15,069 Speaker 1: we've got some big She's Gotta Have It fans out here. 637 00:37:15,760 --> 00:37:17,529 Speaker 1: Give me a call or shoot me a text and 638 00:37:17,570 --> 00:37:23,930 Speaker 1: let me know. 617-906-6638. Coming at you guys next week 639 00:37:24,130 --> 00:37:27,130 Speaker 1: on Monday, we've got our fully scripted and sound design 640 00:37:27,170 --> 00:37:31,509 Speaker 1: episode from The Archive all about the poltergeist curse. If 641 00:37:31,530 --> 00:37:33,850 Speaker 1: you don't know about this, a number of actors who 642 00:37:33,890 --> 00:37:40,030 Speaker 1: were in the poltergeist film series died, some mysteriously, within 643 00:37:40,290 --> 00:37:42,950 Speaker 1: the span of just a few years. It was very strange. 644 00:37:44,030 --> 00:37:46,390 Speaker 1: Dominic Dunn, who was in the original film, she was 645 00:37:46,430 --> 00:37:49,120 Speaker 1: brutally murdered. And so in this episode, we sort of 646 00:37:49,160 --> 00:37:51,299 Speaker 1: explore what was going on here. Was it just some 647 00:37:51,340 --> 00:37:54,219 Speaker 1: big coincidence, or was there something else going on? And 648 00:37:54,660 --> 00:37:57,060 Speaker 1: it's a doozy of a story, guys. So check that 649 00:37:57,140 --> 00:38:01,049 Speaker 1: out on Monday. over in our sister show, Disgraceland, we've 650 00:38:01,090 --> 00:38:05,640 Speaker 1: got an episode next week, Halloween-themed episode all about Alice 651 00:38:05,739 --> 00:38:09,270 Speaker 1: Cooper that's coming out on Tuesday. And if you missed it, 652 00:38:09,840 --> 00:38:12,840 Speaker 1: there is an episode that came out in the Disgraceland 653 00:38:12,880 --> 00:38:17,520 Speaker 1: feed this week about the Christian metalcore band As I 654 00:38:17,580 --> 00:38:21,920 Speaker 1: Lay Dying, which tells a wild story about a frontman 655 00:38:22,440 --> 00:38:26,660 Speaker 1: for a Christian metal band who tried to hire a 656 00:38:26,739 --> 00:38:32,310 Speaker 1: hitman to murder his estranged wife. Does not sound very 657 00:38:32,350 --> 00:38:37,190 Speaker 1: Christian to me, guys, but it happened. And then, of course, 658 00:38:37,250 --> 00:38:41,910 Speaker 1: if you're looking for more Hollywoodland and Disgraceland content, head 659 00:38:41,950 --> 00:38:45,759 Speaker 1: over to Patreon. Disgraceland, all access on Patreon. Take a 660 00:38:45,780 --> 00:38:48,780 Speaker 1: look at our video podcast. This film should be played loud. 661 00:38:48,960 --> 00:38:51,739 Speaker 1: We have a new episode on Gross Point Blank, the 662 00:38:51,760 --> 00:38:54,879 Speaker 1: John Cusack film from the 90s that just dropped over there. 663 00:38:54,940 --> 00:38:57,680 Speaker 1: We're working on a brand new episode on Shaun of 664 00:38:57,700 --> 00:39:04,610 Speaker 1: the Dead, the great Edgar Wright comedy that lampoons zombie movies. 665 00:39:05,320 --> 00:39:08,230 Speaker 1: That'll be coming out, let's see, the last Wednesday of 666 00:39:08,250 --> 00:39:11,370 Speaker 1: this month. So the 29th, 30th, something like, whatever that is. 667 00:39:12,410 --> 00:39:15,000 Speaker 1: I hope you guys have a excellent weekend lined up. 668 00:39:15,790 --> 00:39:18,070 Speaker 1: And I want to just say thank you for listening. 669 00:39:18,210 --> 00:39:20,290 Speaker 1: Thank you for tuning in every week. I know there's 670 00:39:20,310 --> 00:39:22,469 Speaker 1: a lot of you who are catching up on old episodes. 671 00:39:23,390 --> 00:39:27,910 Speaker 1: Love having you here. Always, always, always feel free to 672 00:39:27,989 --> 00:39:33,980 Speaker 1: bug me, okay? 617. 617-906-6638. You can leave a voicemail 673 00:39:34,000 --> 00:39:36,760 Speaker 1: or send a text or send an email to disgracelandpod 674 00:39:36,940 --> 00:39:40,319 Speaker 1: at gmail.com. And if you don't want me reading your 675 00:39:40,340 --> 00:39:43,150 Speaker 1: message or playing your voicemail, just let me know and 676 00:39:43,190 --> 00:39:45,630 Speaker 1: we won't. But if you don't say that, then it's 677 00:39:45,690 --> 00:39:49,290 Speaker 1: fair game and you may hear your message heard. here 678 00:39:49,450 --> 00:39:52,969 Speaker 1: in the Rat Party, all right? Okay, I'm gonna go, 679 00:39:53,160 --> 00:39:55,960 Speaker 1: but I'm gonna leave you guys here with this. This 680 00:39:56,020 --> 00:39:58,580 Speaker 1: is what America was watching at the movies in December 2002, 681 00:39:58,580 --> 00:40:04,339 Speaker 1: the month that 25th Hour was released in theaters. Number one, 682 00:40:04,800 --> 00:40:07,480 Speaker 1: The Lord of the Rings, The Two Towers, directed by 683 00:40:07,560 --> 00:40:11,830 Speaker 1: Peter Jackson. Number two, Catch Me If You Can, directed 684 00:40:11,850 --> 00:40:16,770 Speaker 1: by Steven Spielberg. Number three, Made in Manhattan, directed by 685 00:40:16,830 --> 00:40:21,220 Speaker 1: Wang Wei. Number five, Number four, Die Another Day, directed 686 00:40:21,260 --> 00:40:25,780 Speaker 1: by Lee Tomohori. Number five, Harry Potter and the Chamber 687 00:40:25,800 --> 00:40:31,160 Speaker 1: of Secrets, directed by Chris Columbus. Number six, Two Weeks Notice, 688 00:40:31,719 --> 00:40:37,149 Speaker 1: directed by Mark Lawrence. Number seven, Drumline, directed by Charles Stone. 689 00:40:39,270 --> 00:40:42,450 Speaker 1: Quit talking and start mixing, sheep.