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Speaker 1: Hello, everyone, Welcome to another episode of I Saw What

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Speaker 1: You Did.

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Speaker 2: My name is Millie to Jericho, I'm Daniel Henderson.

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Speaker 1: And folks, we are here to talk about the wonderful

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Speaker 1: world of cinema with you, Danielle. What's happening at you?

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Speaker 2: Really?

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Speaker 1: Through you?

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Speaker 2: Not much? I had. I had an incident that has

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Speaker 2: been a long time coming but has finally arrived, and

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Speaker 2: I handled it exactly as poorly as I thought I would.

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Speaker 2: I had a mouse in my house and I can't

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Speaker 2: handle that. Oh, I can't handle that. So essentially what

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Speaker 2: happened is I'm in bed. It's just just turned dark,

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Speaker 2: because you know, I go to bed at like six o'clock,

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Speaker 2: so it's just gotten dark.

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Speaker 1: So the Sidefelt reruns are still playing before the primetime programming.

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Speaker 2: Judge Judy is still on, like and I'm just like

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Speaker 2: snoring away. If i'ven't had my dinner by the time

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Speaker 2: Judge Judy comes on, then something's gone wrong with my day.

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Speaker 1: Hard is not on television and it's.

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Speaker 2: In one of his many many shows. So I'm just relaxing.

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Speaker 2: I'm reading a book. I've got my nightlight on. I'm

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Speaker 2: just reading a book and in bed and I hear

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Speaker 2: carrot in the hallway, and my cat is he's very

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Speaker 2: very chill, very low key. He doesn't do a lot

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Speaker 2: of like he doesn't have the zoomies very often. He doesn't.

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Speaker 2: You know, I've had cats that spent all night running

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Speaker 2: around in circles on my head, and like, he doesn't

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Speaker 2: do any of that. He's just like, oh, it's bedtime, cool,

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Speaker 2: let's relax, let's go to thiss.

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Speaker 1: Yes.

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Speaker 2: So he's in the hallway and he's, you know, he's

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Speaker 2: kind of having his nighttime snack, and I hear him

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Speaker 2: kind of. He always scratches up the rug, which I

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Speaker 2: encourage because I'm getting rid of that rug that carpet

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Speaker 2: any day now. And I'm like, yeah, knock yourself out,

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Speaker 2: rip it to shreds.

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Speaker 1: Yeah, better that carpet than a couch or take something,

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Speaker 1: thank you.

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Speaker 2: Like I will do the training when the training needs

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Speaker 2: to happen where he can't scratch. But right now he's

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Speaker 2: focused on this rug, this carpet that will eventually be gone,

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Speaker 2: so I'm fine with it. Sure, his toys are all

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Speaker 2: very brightly colored, and they mostly if they're not straight

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Speaker 2: up catnip toys, they tend to make a lot of noise,

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Speaker 2: like they crinkle in a very specific way. So I

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Speaker 2: see him like batten something around right outside my bedroom door.

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Speaker 2: Oh no, And I was like, none of his toys

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Speaker 2: are small dark balls, Like what is that? Did he

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Speaker 2: get into something? Like did he crawl into the trash case?

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Speaker 2: Like what is he? What did he find? So I

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Speaker 2: turned the light on in the hallway and it's a

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Speaker 2: fucking mouth.

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Speaker 1: Was it alive?

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Speaker 2: Oh yeah, because let me tell you, carrot as a

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Speaker 2: cat useless. Nah. He was looking at me and he

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Speaker 2: kind of looked at me and me out and was like, hey,

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Speaker 2: look what I found, but was making no effort to

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Speaker 2: harm it. He was just literally batting it around in

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Speaker 2: his soft little paws like his nails weren't out. He

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Speaker 2: was just like, cool, thanks for the toy, this very

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Speaker 2: realistic mouse toy. So naturally I screamed, and I you know,

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Speaker 2: as you know, from me screaming it deer that I

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Speaker 2: think are dogs. I always scream the most ridiculous thing

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Speaker 2: that comes to mind, full sentences, full sentences. Yeah, So

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Speaker 2: I look at this mouse and I screamed, what are

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Speaker 2: you doing here? Like your invite is not until next

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Speaker 2: week Thursday at noon, What are you doing here? I

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Speaker 2: was just so panicked immediately, and like all of my

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Speaker 2: like the hair in my arm stood up, and I

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Speaker 2: was just like, ugh, God. I know that I live

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Speaker 2: in a converted barn. I know that I have a barn.

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Speaker 2: I know that I have a silo. I know that

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Speaker 2: I live in the country. I do not want to

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Speaker 2: live with animals in my home. And it's what I

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Speaker 2: spend most of my time and money on is keeping

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Speaker 2: them out of it.

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Speaker 1: Oh duh, Like I don't want to live with bugs.

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Speaker 1: I don't want to live with a lot of things.

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Speaker 1: So I yeah, animals for shore, rodents for damn sure.

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Speaker 2: And the thing about mice that I can can't stand

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Speaker 2: is that, like if you see one, you just have

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Speaker 2: the guess that there are more. And I don't know

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Speaker 2: how he got in, and I don't know where he

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Speaker 2: got in, Like he was in the hallway. There's no

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Speaker 2: holes in the wall, there's no like he traveled from

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Speaker 2: a distance to be in that hallway.

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Speaker 1: Wait, let me let me ask you a few exploratory questions.

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Speaker 1: Go for it, does carrot ever go outside the main house?

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Speaker 1: Like would he ever go in the garage or in

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Speaker 1: a crawl space, So it wasn't something he could conceivably

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Speaker 1: like bring in from somewhere, because you know how cats

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Speaker 1: love to do that, They like present you with the

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Speaker 1: fucking gross thing and they're like, I did it, mom, exactly,

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Speaker 1: and here's your present.

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Speaker 2: He is so not that cat. He's just like, eh,

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Speaker 2: Like whenever he sees anything like a like a spider

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Speaker 2: or something, he's just like, yeah, yeah, look at that.

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Speaker 2: He makes no attempt to like get it or do anything.

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Speaker 2: He doesn't even bring me gross stuff. He's just like, yeah, hey,

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Speaker 2: what's up. Yeah, So this this animal, like I was

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Speaker 2: looking for a like a fucking bindle, Like I don't

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Speaker 2: know where this mouse came from, but he traveled some

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Speaker 2: distance to be in that hallway. Uh uh, so I was,

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Speaker 2: and that makes me more upset not knowing where it

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Speaker 2: came from, Like what the fuck? So that night was

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Speaker 2: very red, yeah, because I'm like even if this mouse,

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Speaker 2: like I kind of shouted like what are you doing here?

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Speaker 2: And had a whole paragraph conversation with this thing, and

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Speaker 2: then it went away and it ran away, it ran

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Speaker 2: into So the room where I keep Carrott's litter box

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Speaker 2: is one day going to be my office and it's

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Speaker 2: a room and then it has like a loft on

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Speaker 2: the third floor or like it's like the only room

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Speaker 2: in the house that has more space and it has

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Speaker 2: a loft.

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Speaker 1: And he's still in his mid century ship box, right

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Speaker 1: he's still in his mid century ship box.

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Speaker 2: Fucking loves that thing, his.

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Speaker 1: Fucking atomic ranch ass toilet that you that you had

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Speaker 1: built for him, which I fucking love.

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Speaker 2: Still he's still in his brick shit house. He is

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Speaker 2: just like he has zoned out house inside, and he looks.

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Speaker 1: You need to get that property assessed because I'm sure

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Speaker 1: it's going for a lot right now for really want

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Speaker 1: that proper.

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Speaker 2: In this area for post pandemic, for real. The valuation

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Speaker 2: has gone up on the ship house. And so it

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Speaker 2: runs into that room, and that room is pretty much empty,

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Speaker 2: like I keep his stuff in there, like he's got

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Speaker 2: some toys and some scratchers and then he has you know,

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Speaker 2: it's like it's his room, is what I call it.

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Speaker 2: Like it's his room right now. It's not going to

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Speaker 2: be my office for a while because I have so

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Speaker 2: much work to do in there. And so it runs

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Speaker 2: in and it's dark in that room, so I don't

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Speaker 2: know where it went It could have gone into a heater,

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Speaker 2: it could have gone under the door into the closet

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Speaker 2: next to the guest bathroom, like I don't know where

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Speaker 2: it fucking went, right, but it went in that room.

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Speaker 2: And I'm like, Okay, I can't close the door. And

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Speaker 2: even if I did, who cares? Because mouse mice can

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Speaker 2: get into anything. They just slide under any fucking space

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Speaker 2: with their boneless bodies and just get into your life.

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Speaker 2: And so I couldn't close the door. So I just

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Speaker 2: kind of sat in bed with like the covers pulled

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Speaker 2: up to my neck like an old timey cartoon, I know,

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Speaker 2: And I was like, Oh, it's it gonna get me tonight.

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Speaker 2: The next day, I call my past control guy, who

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Speaker 2: I love, my new past control guy, and I say new,

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Speaker 2: but he's been working with me for since I got

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Speaker 2: rid of the old guy, the other guy. And I

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Speaker 2: called Jerry and I said, hey, I'm not sure what

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Speaker 2: your schedule's like today, but I saw a mouse in

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Speaker 2: my house and I've left you a key. And then

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Speaker 2: I got in my car and I drove to Connecticut

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Speaker 2: and I was not planning on being in my house

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Speaker 2: until he came and did his thing and set a

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Speaker 2: trap or did whatever the fuck he's gonna do. I'm like,

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Speaker 2: I will not be home today, so good luck, I

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Speaker 2: will even be in this state today. I'm driving to

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Speaker 2: another state. And I just I went and I went

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Speaker 2: to a bookstore and I had lunch in my car

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Speaker 2: and then I drove home.

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Speaker 1: So what happened? Did he get him?

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Speaker 2: He came and he did his assessment. He had to

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Speaker 2: what I like about Jerry's He uses all kinds of

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Speaker 2: like natural products, so it's not heavy chemicals or anything

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Speaker 2: like that. And I feel like when you have elderly

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Speaker 2: people and pets, and I just don't want like hard

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Speaker 2: chemicals in my house. So he came over and like

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Speaker 2: he does his thing with mice, but he's like, yeah,

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Speaker 2: like I set some traps and I'll put out some bait,

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Speaker 2: and you know, I try to put him in places

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Speaker 2: where you wouldn't see and where Kara can't get to.

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Speaker 2: And he was very chill about it. He's like, well,

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Speaker 2: you know, one way or another, you'll either get it

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Speaker 2: or it'll leave. And I was like, it's way too

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Speaker 2: calm for what I'm experiencing right now, because now I

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Speaker 2: have spent the rest of the week stomping around my

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Speaker 2: house like a monster, like announcing myself every room I

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Speaker 2: go into, like I'm just like, I'm here, mouth if

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Speaker 2: you're here, like Hi, do whatever you gotta do. Oh

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Speaker 2: my god, because I swear I went into another room,

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Speaker 2: and I swear I saw him duck under a heater

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Speaker 2: or into a like I saw a little flash in

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Speaker 2: the corner of my eye, and I was like, fuck this. Yeah,

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Speaker 2: So now I stomp around my house like fucking godzilla,

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Speaker 2: and if I see it again, I'm gonna light a

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Speaker 2: match and walk away.

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Speaker 1: Connecticut is lovely this time of year. Maybe you can

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Speaker 1: make a permanent residence there.

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Speaker 2: No, but I'm doing I am definitely doing that thing too.

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Speaker 2: Where Now I drive around and I look at other

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Speaker 2: houses wistfully, like, oh man, that house looks done and new,

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Speaker 2: and I bet they have a kitchen. I bet they

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Speaker 2: have running water and all the rooms they want running

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Speaker 2: water in, and I bet they don't have any construction

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Speaker 2: going on. It looks so nice, looks so nice.

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Speaker 1: I've been been doing that all my adult life, being like, oh,

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Speaker 1: look at this beautiful house that I don't own, and

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Speaker 1: I'll just go back to my shitty ass apartment. My

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Speaker 1: one bedroom apartment where I have to do laundry in

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Speaker 1: the basement with eighty year old Russian people. So good,

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Speaker 1: I hear you, But I will say this. You got

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Speaker 1: a couple of things going for you. So you got

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Speaker 1: your bro, your pest control bro. But then Carrot, here's

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Speaker 1: the things. As much as you say he's a lazy

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Speaker 1: piece of shit when it comes to like cat behaviors,

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Speaker 1: he at least was batting it around, so he was

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Speaker 1: he was stirred by a mouse. But you know, whether

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Speaker 1: or not he'll actually like kill the thing is a

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Speaker 1: little TVD. But I'm just saying at least that he

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Speaker 1: wasn't like laying around and being like all right, yeah,

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Speaker 1: here comes this thing that I know my mom doesn't

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Speaker 1: want here, and I'm just gonna literally lay here and

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Speaker 1: let nothing happens.

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Speaker 2: That is very true. He didn't just let it stalk

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Speaker 2: by him like a little parade, like a little parade

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Speaker 2: Majorrette with his fucking stick and his baton, like we

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Speaker 2: are here. He was like, oh no, like maybe that

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Speaker 2: was enough for this mouse to be like stunned and

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Speaker 2: rolled around like a fucking soccer ball. Yes, He's like,

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Speaker 2: I ain't going back in there. I would rather he

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Speaker 2: killed me. He just knocked me around.

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Speaker 1: Yeah, So on a scale of like Tom from Tom

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Speaker 1: and Jerry, where he's setting up intricate anvil situations to

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Speaker 1: like kill this thing, to like catatonic like he's he's

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Speaker 1: like at least in the middle. He's not like doing

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Speaker 1: absolutely nothing, but he's also not.

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Speaker 2: Making a rude Goldberg machine for this thing or whatever,

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Speaker 2: So you know, it's a completely worthless let's just say

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Speaker 2: that it's a healthy middle because I think Kara is

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Speaker 2: smart enough to set up like a marble madness don't

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Speaker 2: wake daddy kind of situation. Like I can fully see

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Speaker 2: him be like, oh there's a man, and he would

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Speaker 2: hop downstairs and like go into the garage and get

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Speaker 2: some cardboard boxes and some fucking like he could do.

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Speaker 2: I fully believe my cat is smart enough to do that.

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Speaker 2: Oh yeah, he says a lot about me. It says

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Speaker 2: a lot about me.

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Speaker 1: He's gonna go to his workshop and roll out this

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Speaker 1: like you know, browned paper where he's gonna you know,

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Speaker 1: write down all of his intricate plans like the fucking

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Speaker 1: coach from the cutting edge, and then he's just gonna

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Speaker 1: present it to me like this is this is what

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Speaker 1: I've created to kill this intruder.

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Speaker 2: I'm gonna do a triple axle over the threshold.

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Speaker 1: Yes, you're going back to that drywall store so you

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Speaker 1: can buy all this shit that he needs for it.

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Speaker 2: Like they'll give me a list, like I need drywall screws,

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Speaker 2: I need a nail gun, I need an Exacto knife,

253
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Speaker 2: I need he needs some spackle and some puddy and

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Speaker 2: like he will give me a full fucking lists. So

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Speaker 2: I'm hoping that he just stunned it enough. And here's

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Speaker 2: the other thing. I have not seen it since, nor

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Speaker 2: have I seen any trace of it. So I haven't

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Speaker 2: seen any like droppings or anything like that. And if

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Speaker 2: you ever lived with a mouse, you kind of you

260
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Speaker 2: always know when they're around, like you can see the

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Speaker 2: traces of them being around, like they just eat nibble

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Speaker 2: as shit, and like, I haven't seen anything like that,

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Speaker 2: So I hope he just like was just a wayward

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Speaker 2: traveler that got lost from his like separated from his

265
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Speaker 2: flock and came into this house of horrors and was

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Speaker 2: like absolutely not, there's some weirdo when there that just

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Speaker 2: wants to like roll me around. And then he just

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Speaker 2: left that is my hope. But yeah, Carrot, I also

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Speaker 2: I was kind of thinking too, and you have you

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Speaker 2: have a dog, so you might understand this. I kind

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Speaker 2: of like that he didn't kill it, because then I

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Speaker 2: would have been paranoid in a completely different way. I

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Speaker 2: would have been like, all right, do we have to

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Speaker 2: go to the vet? Do you have rabies? Now? Like

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Speaker 2: what's going on?

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Speaker 1: Sure?

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Speaker 2: Sure? Oh?

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Speaker 1: Yeah? Like I mean, I get Sophie all her shots.

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Speaker 1: I mean, she's kind of not a fighter. She's kind

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Speaker 1: of like she's very curious. She's like a very curious hippie.

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Speaker 1: That's what kind of how I see her. So when

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Speaker 1: she and there's tons of neighborhood cats like squrill scrappers

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Speaker 1: in my neighborhood, and like you know, there are times

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Speaker 1: where she just like will dive in the bushes and

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Speaker 1: I'm just like, holy shit. And it's not to like fight,

286
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Speaker 1: it's mostly just like I want to see you, I

287
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Speaker 1: want to see what you're doing. I want to sniff

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Speaker 1: you out, like and so I'm just afraid that that's

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Speaker 1: gonna happen. And some like you know, real Heathcliff asks,

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Speaker 1: the motherfucker is gonna swater in the face. And that's

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Speaker 1: why I'm like, yo, I gotta keep her up on

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Speaker 1: her rabies. And I even get that, yeah, what do

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Speaker 1: you call it? The kettle cough thing? Like I'm just like,

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Speaker 1: I don't want to risk it at all.

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Speaker 2: Exactly. I'm the same way. I'm My carrot is a

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Speaker 2: very healthy cat, and every time I take him to

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Speaker 2: the vet, they're like, he's really happy and healthy. I'm like, oh, thanks,

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Speaker 2: he he drools. I had to ask the vet I'll

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Speaker 2: take him to the vet for any reason. As you know,

300
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Speaker 2: the cat had a fucking ivy for dehydration in la.

301
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Speaker 1: His UTIs have been solved, yes, multiple utes.

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Speaker 2: Right Like, I'm like, i will take this cat to

303
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Speaker 2: the bed and I'm like, he's not peeing, right like?

304
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Speaker 2: That is my duty as his as his war, I'm

305
00:16:14,280 --> 00:16:17,200
Speaker 2: his ward essentially, and I will take care of him.

306
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Speaker 2: So I definitely, like he said, I don't know, he

307
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Speaker 2: just drools all the time because he's so happy and

308
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Speaker 2: like whenever I pantedm me starts to drooling like a

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Speaker 2: little maniac. And he's so cute and he does he keeps.

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Speaker 2: He earns his keep in this house just by being adorable.

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Speaker 2: But I'm really happy that he didn't bite into him,

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Speaker 2: because I'm like, that would have been a host of horrors.

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Speaker 2: I had to, like I wipe down his paws and

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Speaker 2: he's like, dude, it's it's a mouse, Like I'm naturally

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Speaker 2: supposed to do this. And I'm like, oh, but you're

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Speaker 2: you touched it, so let me wipe your paws before

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Speaker 2: you get back on this bed.

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Speaker 1: Yeah, no, that's smart and listen. Another thing too, hopefully

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Speaker 1: this will put your mind at ease, is that it's springtime.

320
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Speaker 1: So it's that thing where you're like there are like

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Speaker 1: animals coming in, like they're all waking up from the winter,

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Speaker 1: and they're just kind of like, let's go find some food,

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Speaker 1: let's go find some water, you know, and they're just

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Speaker 1: like stretching out. Because that I found a wasp in

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Speaker 1: my house like a few days ago, and you know,

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Speaker 1: I was freaked out about a wasp, okay, because I'm like, yo,

327
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Speaker 1: it's the same thing with mice, Like if there's one wasp,

328
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Speaker 1: then there's got to be some nests just like somewhere.

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Speaker 1: And it was in the office where I record this

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Speaker 1: very podcast, so of course I was like, holy shit.

331
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Speaker 1: It was in you know how like you could hear

332
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Speaker 1: when when a bug is like in the window, yeah,

333
00:17:41,600 --> 00:17:44,760
Speaker 1: and it's between the blinds and the window, yeah. And

334
00:17:44,800 --> 00:17:46,600
Speaker 1: I could feel it buzzing around in there, and I

335
00:17:46,640 --> 00:17:48,960
Speaker 1: was like, holy fucking shit. And I was like, I

336
00:17:49,000 --> 00:17:51,400
Speaker 1: don't know how to kill a wasp. So I ran

337
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Speaker 1: to the laundry room and I grabbed some w D

338
00:17:54,000 --> 00:17:55,880
Speaker 1: forty and I was like, I guess I'll spray this

339
00:17:55,880 --> 00:18:00,000
Speaker 1: thing with WD forty. Literally sprayed it for like I

340
00:18:00,000 --> 00:18:02,520
Speaker 1: he was probably half a can the thing, and the

341
00:18:02,600 --> 00:18:06,000
Speaker 1: thing fell. The thing fell off the window, but then

342
00:18:06,480 --> 00:18:09,640
Speaker 1: it kind of like hit the floor and then kind

343
00:18:09,640 --> 00:18:16,159
Speaker 1: of rolled into this tiny crack between the hardwood floor

344
00:18:16,320 --> 00:18:19,000
Speaker 1: and the crown molding or not. It's not crown molding,

345
00:18:19,040 --> 00:18:22,040
Speaker 1: but it's like the baseboard or whatever. And I was like,

346
00:18:23,040 --> 00:18:25,640
Speaker 1: is this thing dead? Like I'm like, I don't know,

347
00:18:25,840 --> 00:18:28,000
Speaker 1: it's gone. And I tried to suck it up with

348
00:18:28,040 --> 00:18:31,639
Speaker 1: the vacuum and then I'm like, it's got at least

349
00:18:31,840 --> 00:18:36,040
Speaker 1: like a half a can of WD forty covered covering

350
00:18:36,080 --> 00:18:39,439
Speaker 1: its body. So I'm like, you know what, Like I

351
00:18:39,480 --> 00:18:43,360
Speaker 1: don't know if that thing survived. It's very lubricated if

352
00:18:43,400 --> 00:18:45,000
Speaker 1: it did survive, but I'm.

353
00:18:44,800 --> 00:18:48,600
Speaker 2: That wasp went back to its little nest and was

354
00:18:48,600 --> 00:18:51,600
Speaker 2: was cosplaying as Chip Chelios for the rest of the

355
00:18:51,680 --> 00:18:54,560
Speaker 2: day to all of its little wasp friends. But me,

356
00:18:54,600 --> 00:18:57,840
Speaker 2: I'm slick now. And then it just survived because that

357
00:18:57,920 --> 00:18:59,760
Speaker 2: is that you need. What you need is a shoe

358
00:19:00,320 --> 00:19:02,480
Speaker 2: when you see that shit come in. And I'm sorry

359
00:19:02,480 --> 00:19:05,560
Speaker 2: for all the million and I are very hippie like

360
00:19:06,080 --> 00:19:09,440
Speaker 2: in our countenance, but I will squash a wasp with

361
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Speaker 2: a fucking shoe.

362
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Speaker 1: Well, I was just afraid. My fear was that I

363
00:19:13,560 --> 00:19:15,639
Speaker 1: was gonna try to hit it and then miss, and

364
00:19:15,680 --> 00:19:17,479
Speaker 1: then that thing would be pissed off at me and

365
00:19:17,520 --> 00:19:19,560
Speaker 1: come for me, you know what I mean, Because I'm

366
00:19:19,600 --> 00:19:22,480
Speaker 1: just like, it's not it's if it was like a fly,

367
00:19:22,880 --> 00:19:25,200
Speaker 1: or if it was anything other than like a scary

368
00:19:25,280 --> 00:19:29,040
Speaker 1: ass fucking you know, singing bug, I would have been like,

369
00:19:29,200 --> 00:19:31,680
Speaker 1: fucking I'll just swat it a few times and hope

370
00:19:31,680 --> 00:19:34,040
Speaker 1: I get it. But I was like, if I missed once,

371
00:19:35,080 --> 00:19:36,879
Speaker 1: oh it's gonna it's all over, and so I'm like,

372
00:19:37,000 --> 00:19:39,879
Speaker 1: let's just spray it. But the thing is is that

373
00:19:39,920 --> 00:19:42,840
Speaker 1: I did call the pest guy too, because I want

374
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Speaker 1: to talk to the pest but also like you know,

375
00:19:45,119 --> 00:19:47,240
Speaker 1: I was like, yo, I found a wasp in the house,

376
00:19:47,280 --> 00:19:50,520
Speaker 1: But it's like exactly your situation where it was like one,

377
00:19:51,040 --> 00:19:57,400
Speaker 1: it was alone, alone, gunman, and couldn't couldn't find it

378
00:19:57,520 --> 00:20:00,440
Speaker 1: after it fucked off, couldn't find it again. So I

379
00:20:00,480 --> 00:20:05,479
Speaker 1: don't know if it left died, who knows. But then

380
00:20:05,600 --> 00:20:09,440
Speaker 1: haven't seen any evidence of other wasps since, right, So

381
00:20:10,200 --> 00:20:11,920
Speaker 1: I'm just saying I think that both of us now

382
00:20:12,000 --> 00:20:16,639
Speaker 1: are living in fear, you know, and point we're just

383
00:20:16,680 --> 00:20:17,840
Speaker 1: hoping it doesn't come back.

384
00:20:18,119 --> 00:20:20,040
Speaker 2: Right, You're you're gonna be asleep one night and hear

385
00:20:20,080 --> 00:20:22,080
Speaker 2: a little buzzing and then as it gets closer, it's

386
00:20:22,080 --> 00:20:24,240
Speaker 2: going to be that little wasp singing, let the bodies

387
00:20:24,280 --> 00:20:26,240
Speaker 2: hit the floor, shit, and you're gonna be like, what

388
00:20:26,280 --> 00:20:29,200
Speaker 2: the fuck, dude, I have I have already.

389
00:20:29,600 --> 00:20:32,600
Speaker 1: Have you ever seen the cover of that Dario Argento

390
00:20:32,680 --> 00:20:35,960
Speaker 1: movie called Phenomena, where it's like Jennifer Conley with the

391
00:20:36,040 --> 00:20:40,439
Speaker 1: fucking creepers in her hand. I was like, I'll be

392
00:20:40,520 --> 00:20:44,160
Speaker 1: goddamned if that's me, I'll be goddamned. I don't want those.

393
00:20:44,040 --> 00:20:48,320
Speaker 2: Living in fear and calling calling at you. You have

394
00:20:48,560 --> 00:20:50,639
Speaker 2: your best relationship with your home is going to be

395
00:20:50,640 --> 00:20:53,679
Speaker 2: with your pest control guy. Yeah, a good pest control

396
00:20:53,720 --> 00:20:55,920
Speaker 2: guy and a good contractor, and you could you could

397
00:20:55,960 --> 00:20:59,520
Speaker 2: rule the roost y, oh yeah. And I will call

398
00:20:59,560 --> 00:21:01,639
Speaker 2: him for any thing. That was crucial to the to

399
00:21:01,680 --> 00:21:03,720
Speaker 2: the beginning of our relationship. But I was like, first

400
00:21:03,720 --> 00:21:07,080
Speaker 2: and foremost, Jerry, you gotta listen to me when I like,

401
00:21:07,119 --> 00:21:10,760
Speaker 2: don't don't be cutting my trees willy nilly and hacking

402
00:21:10,840 --> 00:21:14,080
Speaker 2: through my shit without asking me. And also you have

403
00:21:14,119 --> 00:21:16,639
Speaker 2: to know that I will call you for any fucking reason.

404
00:21:17,160 --> 00:21:19,920
Speaker 1: Yes, And don't expect that you're getting a man cave

405
00:21:19,960 --> 00:21:22,480
Speaker 1: in here. You have, you have a place to live,

406
00:21:22,640 --> 00:21:23,600
Speaker 1: don't ask to move.

407
00:21:23,480 --> 00:21:27,199
Speaker 2: In, don't insinuate yourself into any part of my house.

408
00:21:29,960 --> 00:21:32,080
Speaker 2: And just know that I will call you in the

409
00:21:32,200 --> 00:21:35,399
Speaker 2: dead of night if I see a be outside or

410
00:21:35,400 --> 00:21:37,199
Speaker 2: some whatever the fuck, like I will call you for

411
00:21:37,400 --> 00:21:38,960
Speaker 2: And he was like, it's totally fine, that's my job.

412
00:21:38,960 --> 00:21:41,159
Speaker 2: And I'm like we will get along, great love. And

413
00:21:41,200 --> 00:21:45,119
Speaker 2: he's been wonderful. He has been a huge change, super

414
00:21:45,359 --> 00:21:49,480
Speaker 2: wonderful and just very proactive about keeping things at it.

415
00:21:49,560 --> 00:21:51,280
Speaker 2: So he was kind of devastated when I told him

416
00:21:51,320 --> 00:21:52,520
Speaker 2: like I saw a mouse in the house, and he

417
00:21:52,560 --> 00:21:54,600
Speaker 2: was like, oh my god, no, And I was like, Jerry,

418
00:21:54,600 --> 00:21:56,680
Speaker 2: it's cool. I live in a barn, like a literal bar,

419
00:21:57,560 --> 00:22:00,399
Speaker 2: Like this is not a failure on your part. This

420
00:22:00,560 --> 00:22:04,840
Speaker 2: is just life in the wood. Yeah, So he was

421
00:22:05,080 --> 00:22:06,920
Speaker 2: he was a little sad, and I'm like, no, it's okay,

422
00:22:06,960 --> 00:22:08,879
Speaker 2: it's okay. I just want you to know that I'm

423
00:22:08,960 --> 00:22:12,200
Speaker 2: leaving the state for the day so that you can

424
00:22:12,200 --> 00:22:14,600
Speaker 2: come do your thing and then we will both feel better.

425
00:22:14,680 --> 00:22:16,440
Speaker 2: But yeah, living in fear, living in fear.

426
00:22:16,840 --> 00:22:19,040
Speaker 1: Listen, let's just hope for both you and I. It's

427
00:22:19,080 --> 00:22:21,520
Speaker 1: a one and done scenario and we can move on

428
00:22:21,560 --> 00:22:24,199
Speaker 1: with our lives. We're not gonna have to move to

429
00:22:24,240 --> 00:22:27,359
Speaker 1: our sleeping with the enemy house, yes, to get away.

430
00:22:27,560 --> 00:22:28,320
Speaker 1: We'll be fine.

431
00:22:28,520 --> 00:22:33,840
Speaker 2: Like I'll start smashing light bulbs tomorrow, like s os, motherfucker,

432
00:22:33,840 --> 00:22:38,680
Speaker 2: don't come to this house drive by. But I also

433
00:22:38,720 --> 00:22:41,199
Speaker 2: feel like I don't know. I like to think, and

434
00:22:41,280 --> 00:22:43,760
Speaker 2: I know you're the same way, Like we're strong, independent

435
00:22:43,800 --> 00:22:45,520
Speaker 2: women and we can do anything. And then I see

436
00:22:45,560 --> 00:22:48,359
Speaker 2: a mouse and I'm like a fucking Looney Tunes cartoon.

437
00:22:48,200 --> 00:22:51,479
Speaker 1: That has nothing to do with anybody like honestly, like

438
00:22:52,080 --> 00:22:56,360
Speaker 1: a bug in a rodent and all that stuff is

439
00:22:56,880 --> 00:22:59,639
Speaker 1: always like, to me, I feel like it's kind of

440
00:22:59,640 --> 00:23:04,199
Speaker 1: a union versal fear right, Like I know people who

441
00:23:04,760 --> 00:23:06,640
Speaker 1: and to me, I think it's actually a country versus

442
00:23:06,680 --> 00:23:08,040
Speaker 1: city thing at the end of the day, because I know,

443
00:23:08,119 --> 00:23:10,080
Speaker 1: like there's certain people that just kind of like grew

444
00:23:10,160 --> 00:23:12,159
Speaker 1: up with that kind of stuff and so they're so

445
00:23:12,359 --> 00:23:14,600
Speaker 1: used to being able to they like know what to

446
00:23:14,680 --> 00:23:16,760
Speaker 1: do when shit like that pops off. I mean, I know,

447
00:23:16,880 --> 00:23:20,120
Speaker 1: like grown men who have lived in Manhattan their entire

448
00:23:20,160 --> 00:23:23,920
Speaker 1: lives that once the minute they see something like an ants,

449
00:23:23,960 --> 00:23:27,040
Speaker 1: like a fucking sugar ant, they're just like, that's it.

450
00:23:28,000 --> 00:23:31,400
Speaker 1: I'm breaking the least, I'm out of here. Like they

451
00:23:31,400 --> 00:23:32,560
Speaker 1: don't even want to deal with it.

452
00:23:32,640 --> 00:23:35,560
Speaker 2: So, you know, I think it to our credit, it's

453
00:23:35,600 --> 00:23:41,040
Speaker 2: fine for us to be terrified of bugs in mice.

454
00:23:41,240 --> 00:23:45,160
Speaker 1: But you know, we got people. That's the best part

455
00:23:45,200 --> 00:23:47,800
Speaker 1: about it is that we got people. We got to

456
00:23:47,840 --> 00:23:49,119
Speaker 1: support system.

457
00:23:49,320 --> 00:23:51,720
Speaker 2: You gotta have support from when this shit happens, because

458
00:23:51,720 --> 00:23:53,080
Speaker 2: there's no one in my life I can call. You

459
00:23:53,119 --> 00:23:55,000
Speaker 2: think I'm calling Corey to be like, hey, there's a

460
00:23:55,040 --> 00:23:57,119
Speaker 2: mouse in my house, to play good luck with that.

461
00:23:58,080 --> 00:24:02,359
Speaker 1: Yeah, man, like just us call your pest control guy.

462
00:24:02,800 --> 00:24:06,439
Speaker 1: You who has become you know, like a person in

463
00:24:06,480 --> 00:24:08,720
Speaker 1: your family at this point in value.

464
00:24:08,800 --> 00:24:10,159
Speaker 2: I talked to him more than I talk to my

465
00:24:10,200 --> 00:24:15,040
Speaker 2: family members, truly. Yeah, I'm constantly, constantly in contact with Jerry.

466
00:24:15,040 --> 00:24:17,000
Speaker 2: I'm like, Jerry, what's going on this month? What are

467
00:24:17,000 --> 00:24:19,040
Speaker 2: you doing? What are you spraying? Where do you baiting?

468
00:24:19,560 --> 00:24:21,560
Speaker 2: What's going on with the ground I did see a groundhog.

469
00:24:21,600 --> 00:24:23,840
Speaker 2: I was out on my deck. I was stapling up

470
00:24:23,880 --> 00:24:28,960
Speaker 2: some some screening because during the last windstorm some of

471
00:24:29,000 --> 00:24:34,560
Speaker 2: the screens blew out. So I'm repairing my screens. And

472
00:24:34,600 --> 00:24:36,679
Speaker 2: I see him and I know that motion now, that

473
00:24:36,720 --> 00:24:39,920
Speaker 2: little fat, fucking waddly body. I'm well aware of it.

474
00:24:40,840 --> 00:24:44,199
Speaker 2: And I saw a groundhog. And I again, because I

475
00:24:44,280 --> 00:24:47,720
Speaker 2: talked to animals in full sentences. I'm standing on my

476
00:24:47,760 --> 00:24:49,280
Speaker 2: porch and I looked at him and I just went,

477
00:24:49,480 --> 00:24:51,880
Speaker 2: I see you, I see you over there. Go back

478
00:24:51,880 --> 00:24:53,720
Speaker 2: to the woods. And he did. He waddled back to

479
00:24:53,760 --> 00:24:55,760
Speaker 2: the woods, and I was like, that's that's where you live.

480
00:24:56,200 --> 00:24:57,280
Speaker 2: Don't fucking come in this.

481
00:24:57,359 --> 00:25:01,280
Speaker 1: Yah, don't you dare come in here with your Theodore

482
00:25:01,359 --> 00:25:03,480
Speaker 1: Roosevelt ass get out of there.

483
00:25:04,119 --> 00:25:05,840
Speaker 2: I was like, I see you, and he kind of stopped,

484
00:25:05,840 --> 00:25:08,679
Speaker 2: like they understand you, they understand your your urgency. So

485
00:25:08,760 --> 00:25:12,000
Speaker 2: yes I am. It is spring and spring brings the

486
00:25:12,040 --> 00:25:14,240
Speaker 2: animals and I will just never get used to that.

487
00:25:14,440 --> 00:25:16,399
Speaker 2: And I'm going to put a biodome over this fucking

488
00:25:16,400 --> 00:25:17,040
Speaker 2: house one day.

489
00:25:20,800 --> 00:25:23,199
Speaker 1: Well make sure you've got some good plans for that.

490
00:25:23,240 --> 00:25:25,119
Speaker 1: Get a good contractor for that biodome.

491
00:25:25,800 --> 00:25:27,480
Speaker 2: You know. I know I'll have some good movies to

492
00:25:27,520 --> 00:25:28,400
Speaker 2: watch while I'm in here.

493
00:25:28,840 --> 00:25:31,560
Speaker 1: Oh, I know you will. I know you will, because

494
00:25:31,640 --> 00:25:41,679
Speaker 1: guess what we got to today that are epic. So

495
00:25:42,480 --> 00:25:45,240
Speaker 1: we're bringing back a theme or recurring theme. Do you

496
00:25:45,320 --> 00:25:46,800
Speaker 1: want to tell them what the theme is?

497
00:25:47,400 --> 00:25:49,880
Speaker 2: Oh? I can't wait. It's one of my favorites. Our

498
00:25:49,960 --> 00:25:52,920
Speaker 2: theme is Sundays with Granddad.

499
00:25:53,760 --> 00:25:56,800
Speaker 1: That's right. You might have guessed it. Maybe you haven't.

500
00:25:56,880 --> 00:26:00,000
Speaker 1: We haven't done this one in a while, but Daniel

501
00:26:00,160 --> 00:26:02,359
Speaker 1: tell us a little bit. I know when we first

502
00:26:02,440 --> 00:26:05,639
Speaker 1: did this theme, you kind of talked about the origins

503
00:26:05,680 --> 00:26:08,840
Speaker 1: of it, but maybe for people who didn't who had

504
00:26:08,880 --> 00:26:12,320
Speaker 1: listened to that episode, like, what what is Sunday's Granddad

505
00:26:12,400 --> 00:26:12,600
Speaker 1: to you?

506
00:26:12,920 --> 00:26:17,639
Speaker 2: So this theme is basically movies that remind us of

507
00:26:17,680 --> 00:26:20,560
Speaker 2: our grandfathers, because they were the kind of people who

508
00:26:21,160 --> 00:26:23,600
Speaker 2: would have sat and watched these on a Sunday on

509
00:26:23,840 --> 00:26:26,320
Speaker 2: WPIX at two o'clock in the afternoon, like this is

510
00:26:26,640 --> 00:26:28,679
Speaker 2: the type of if your granddad's going to relax for

511
00:26:28,760 --> 00:26:32,480
Speaker 2: even a minute and calm down for a second, these

512
00:26:32,480 --> 00:26:34,280
Speaker 2: were the movies that they would calm down to, Like

513
00:26:34,320 --> 00:26:37,919
Speaker 2: they would sit and watch their baseball game and then

514
00:26:37,920 --> 00:26:40,600
Speaker 2: they would put on one of these one of these films.

515
00:26:40,960 --> 00:26:43,560
Speaker 2: And it just reminded me of and I think I

516
00:26:43,560 --> 00:26:45,080
Speaker 2: talked about this in the first time we did it,

517
00:26:45,119 --> 00:26:50,480
Speaker 2: but it just reminded me of how I kind of

518
00:26:50,520 --> 00:26:53,359
Speaker 2: developed a vibrant movie watching life because of both of

519
00:26:53,400 --> 00:26:56,640
Speaker 2: my grandparents. But my grandfather kind of tended towards more

520
00:26:56,680 --> 00:27:00,720
Speaker 2: of the easy, you know, expansive movies, and my grandmother

521
00:27:00,760 --> 00:27:03,439
Speaker 2: just wanted to see people getting killed. So it was

522
00:27:03,480 --> 00:27:07,679
Speaker 2: a nice balance in my house of learning a different

523
00:27:07,720 --> 00:27:10,600
Speaker 2: type of language for film from both of them in

524
00:27:10,800 --> 00:27:11,879
Speaker 2: very different ways.

525
00:27:12,440 --> 00:27:16,480
Speaker 1: Yeah, well, that but that is actually kind of that's

526
00:27:16,640 --> 00:27:20,080
Speaker 1: I think the crossroads of the Western Right is sort

527
00:27:20,080 --> 00:27:24,239
Speaker 1: of that inherently is is a genre of you know,

528
00:27:24,920 --> 00:27:30,800
Speaker 1: easy peaceful feelings mixed with killing. Yes, So really it's

529
00:27:30,840 --> 00:27:34,240
Speaker 1: a genre for both grandmas and grandpas if we want

530
00:27:34,280 --> 00:27:36,639
Speaker 1: to get down to breastacks or maybe just yours. But

531
00:27:38,080 --> 00:27:40,400
Speaker 1: that's what I think I love about this theme too,

532
00:27:40,520 --> 00:27:44,240
Speaker 1: is that we get to talk about the Western as

533
00:27:44,280 --> 00:27:48,040
Speaker 1: a genre and sort of what about it makes it

534
00:27:48,160 --> 00:27:52,760
Speaker 1: appealing to Grandpa's for sure, but also our own history

535
00:27:52,800 --> 00:27:55,520
Speaker 1: with the Western, because you've talked about this. We talked

536
00:27:55,560 --> 00:27:58,320
Speaker 1: about this not on a Sundays with Granddad episode, but

537
00:27:58,359 --> 00:28:01,320
Speaker 1: we did it like very early on in one of

538
00:28:01,320 --> 00:28:04,040
Speaker 1: our episodes where we talked about hood. But you know,

539
00:28:04,160 --> 00:28:07,600
Speaker 1: you had like you traditionally did not gravitate towards Westerns

540
00:28:07,600 --> 00:28:11,040
Speaker 1: for a very long time, and quite honestly, I didn't either.

541
00:28:11,119 --> 00:28:13,640
Speaker 1: I thought they were kind of boring for a very

542
00:28:14,000 --> 00:28:16,920
Speaker 1: big part of my life. But then as I got older,

543
00:28:17,520 --> 00:28:22,960
Speaker 1: I became so interested in watching them, and then I

544
00:28:23,160 --> 00:28:25,560
Speaker 1: now I kind of have this like weird obsession with

545
00:28:25,600 --> 00:28:28,960
Speaker 1: them and I don't. And maybe I'll talk about that

546
00:28:29,040 --> 00:28:31,000
Speaker 1: a little bit later when I get into my movie.

547
00:28:31,000 --> 00:28:33,119
Speaker 1: But I just think the Western is such an interesting

548
00:28:33,160 --> 00:28:37,040
Speaker 1: genre because it's it's kind of an Initially, it was

549
00:28:37,040 --> 00:28:40,920
Speaker 1: initially a very American genre, but then now it's been

550
00:28:41,720 --> 00:28:45,120
Speaker 1: taken by a lot of different types of people, like women,

551
00:28:45,480 --> 00:28:49,760
Speaker 1: people from outside of the US, and you know, now

552
00:28:50,200 --> 00:28:52,560
Speaker 1: the Western is so many different things. And that's what

553
00:28:52,640 --> 00:28:55,280
Speaker 1: I think is I would love to pick your brain

554
00:28:55,320 --> 00:28:57,760
Speaker 1: about for your movie this week, because it's like kind

555
00:28:57,760 --> 00:29:01,920
Speaker 1: of one of the first revisionist westerns. Yes, and that's

556
00:29:02,360 --> 00:29:05,160
Speaker 1: really fascinating and I think, you know, that'll be really

557
00:29:05,160 --> 00:29:08,320
Speaker 1: fun to talk about. But in terms of so when

558
00:29:08,360 --> 00:29:11,880
Speaker 1: you when your movie, when you thought about your Western,

559
00:29:12,720 --> 00:29:15,240
Speaker 1: was this something that you remember your granddad watching?

560
00:29:16,120 --> 00:29:18,600
Speaker 2: No, this is and this is one of the films

561
00:29:18,680 --> 00:29:21,800
Speaker 2: that I think he probably would have liked. I don't

562
00:29:21,800 --> 00:29:23,720
Speaker 2: know if it was available to him, because he was

563
00:29:23,760 --> 00:29:26,000
Speaker 2: never going out and renting a Western, or going out

564
00:29:26,040 --> 00:29:27,800
Speaker 2: and renting any of these films. It was like whatever

565
00:29:27,920 --> 00:29:29,960
Speaker 2: was on TV exacts what he was watching.

566
00:29:30,160 --> 00:29:30,400
Speaker 1: Yep.

567
00:29:30,480 --> 00:29:34,080
Speaker 2: So I think in hindsight he would have loved this movie.

568
00:29:34,240 --> 00:29:36,040
Speaker 2: So it's for me, it's more of the tone of

569
00:29:36,080 --> 00:29:39,280
Speaker 2: it and the pacing of it, because it starts out

570
00:29:39,280 --> 00:29:42,680
Speaker 2: in such a slow it's it unravels like my movie

571
00:29:42,760 --> 00:29:45,600
Speaker 2: kind of unravels like an onion, and it has more

572
00:29:45,680 --> 00:29:48,840
Speaker 2: modern stars and has more, so I think he would

573
00:29:48,840 --> 00:29:52,480
Speaker 2: have dug it. But it reminds me of a Sundays

574
00:29:52,520 --> 00:29:57,240
Speaker 2: with Granddad kind of movie because of the tone of it.

575
00:29:57,720 --> 00:30:00,480
Speaker 1: Yeah, total, I totally agree. I hadn't I hadn't seen

576
00:30:00,520 --> 00:30:03,320
Speaker 1: your movie in a while actually, and it's but it's fantastic.

577
00:30:03,440 --> 00:30:05,760
Speaker 1: I love it so much. But that's what I thing

578
00:30:05,880 --> 00:30:08,360
Speaker 1: is going to be great about this week too, because

579
00:30:09,040 --> 00:30:13,680
Speaker 1: our westerns are so different. Mine is like a very

580
00:30:13,960 --> 00:30:19,280
Speaker 1: classic Hollywood Western, and you can almost see the through

581
00:30:19,320 --> 00:30:22,320
Speaker 1: line between mine and yours, So you know, mine is

582
00:30:22,360 --> 00:30:26,719
Speaker 1: of that classic Western era, and then here's yours that

583
00:30:26,800 --> 00:30:29,640
Speaker 1: has come along like twenty years later or whatever, and

584
00:30:29,760 --> 00:30:32,760
Speaker 1: it's like a total retelling of that kind of you know,

585
00:30:33,000 --> 00:30:36,160
Speaker 1: Western tale. So I'm excited. I'm excited.

586
00:30:38,040 --> 00:30:40,920
Speaker 2: Well, let's get into it. Then I think that my

587
00:30:41,000 --> 00:30:43,320
Speaker 2: movie is first, so I will just go right ahead

588
00:30:43,360 --> 00:30:47,320
Speaker 2: and jump in. My film was released in nineteen seventy one.

589
00:30:47,840 --> 00:30:51,480
Speaker 2: It was directed by Robert Altman. The screenplay is by

590
00:30:51,640 --> 00:30:54,640
Speaker 2: Robert Altman and Brian McKay and it's based on the

591
00:30:54,680 --> 00:30:59,640
Speaker 2: book McCabe by Edmund Naughton. And my film is McCabe

592
00:30:59,800 --> 00:31:01,440
Speaker 2: and Missus Miller. Excuse me.

593
00:31:01,480 --> 00:31:06,080
Speaker 1: You know already got a whorehouse operating crip cows.

594
00:31:06,440 --> 00:31:09,240
Speaker 2: I'm talking about a proper sport nails with class girls.

595
00:31:09,240 --> 00:31:13,000
Speaker 2: I'm clean linen and a proper origene. Well, I don't

596
00:31:13,040 --> 00:31:15,480
Speaker 2: think you're going to find my clientele up here too

597
00:31:15,520 --> 00:31:16,640
Speaker 2: interested in that sort of thing.

598
00:31:17,280 --> 00:31:19,000
Speaker 1: They will, they once to get a taste of it.

599
00:31:19,120 --> 00:31:20,440
Speaker 1: Oh boy, I love this one.

600
00:31:21,840 --> 00:31:24,959
Speaker 2: So we have talked extensively about Robert Altman in our

601
00:31:25,000 --> 00:31:28,560
Speaker 2: Three Women episode, but he's a very well known director,

602
00:31:28,840 --> 00:31:31,840
Speaker 2: but he was really experimental in a lot of his films,

603
00:31:31,880 --> 00:31:34,960
Speaker 2: and a lot of people, maybe not at the time

604
00:31:35,080 --> 00:31:38,480
Speaker 2: that it came out, but especially now as I'm reading

605
00:31:38,560 --> 00:31:40,400
Speaker 2: essays about it, and you know, as it's kind of

606
00:31:40,400 --> 00:31:44,640
Speaker 2: being released in Criterion and being released in higher definition,

607
00:31:45,080 --> 00:31:47,560
Speaker 2: a lot of people are calling this an anti Western

608
00:31:47,840 --> 00:31:51,720
Speaker 2: or like a revisionist Western, which I can definitely see.

609
00:31:51,840 --> 00:31:54,200
Speaker 2: But it has something that I think, like you said,

610
00:31:54,200 --> 00:31:56,480
Speaker 2: both of our films have this week, which is that

611
00:31:56,600 --> 00:32:01,040
Speaker 2: whole trope of a stranger comes to town and it has,

612
00:32:01,280 --> 00:32:03,640
Speaker 2: you know, the all of the trappings of a Western,

613
00:32:03,840 --> 00:32:08,720
Speaker 2: but it's telling a very modern tale, not as modern

614
00:32:08,760 --> 00:32:10,560
Speaker 2: as like a girl walks home alone at night, which

615
00:32:10,560 --> 00:32:14,520
Speaker 2: we discussed a few months ago, but it's definitely has

616
00:32:14,600 --> 00:32:17,760
Speaker 2: that vibe and this movie. Just what I love about

617
00:32:17,800 --> 00:32:22,120
Speaker 2: this movie is it just has such a great overall

618
00:32:22,440 --> 00:32:27,719
Speaker 2: tone and it really I won't go so far as

619
00:32:27,720 --> 00:32:31,280
Speaker 2: to say that it's timeless, but it's very classic or

620
00:32:31,280 --> 00:32:36,200
Speaker 2: it has become a classic because it has the style

621
00:32:36,400 --> 00:32:38,480
Speaker 2: of it, both in the clothing and the way the

622
00:32:38,560 --> 00:32:41,440
Speaker 2: characters carry themselves and the way they talk, but especially

623
00:32:41,480 --> 00:32:44,200
Speaker 2: the subject matter of it. I think is just a

624
00:32:44,240 --> 00:32:47,720
Speaker 2: really classic story that you see replicated in things like

625
00:32:47,800 --> 00:32:51,400
Speaker 2: Deadwood or like even Justified, which is a more modern

626
00:32:51,480 --> 00:32:55,640
Speaker 2: Western TV show Caple eight, Like you just kind of

627
00:32:55,680 --> 00:32:58,560
Speaker 2: see these things coming again and again, and I believe

628
00:32:58,600 --> 00:33:01,680
Speaker 2: that this is one of those movies that was one

629
00:33:01,720 --> 00:33:04,520
Speaker 2: of the first of its kind to really turn the

630
00:33:04,600 --> 00:33:07,240
Speaker 2: genre on its head. So I really like how it

631
00:33:07,560 --> 00:33:12,120
Speaker 2: has that staying power even though it really isn't classically

632
00:33:12,200 --> 00:33:15,800
Speaker 2: part of this genre. I will give you my one

633
00:33:15,840 --> 00:33:20,280
Speaker 2: sentence synopsis. One sentence synopsis of McCabe and Missus Miller

634
00:33:21,160 --> 00:33:25,160
Speaker 2: is a man builds a business on a lie, then

635
00:33:25,280 --> 00:33:29,000
Speaker 2: risks losing everything when the prevailing gender dynamics of the

636
00:33:29,080 --> 00:33:32,000
Speaker 2: day have him refusing to listen to his partner.

637
00:33:32,680 --> 00:33:36,400
Speaker 1: Yeah, God, this is a guy that does not want

638
00:33:36,440 --> 00:33:36,840
Speaker 1: to take.

639
00:33:36,720 --> 00:33:39,080
Speaker 2: A bath, doesn't want to do anything. He does not

640
00:33:39,080 --> 00:33:41,560
Speaker 2: want to be told what to do across the fucking

641
00:33:41,920 --> 00:33:47,160
Speaker 2: board an which we will talk about for sure. But

642
00:33:47,240 --> 00:33:51,320
Speaker 2: the cast is phenomenal. You've got Warren Batty playing John

643
00:33:51,360 --> 00:33:57,400
Speaker 2: Pudgy McCabe just referred to by his last name. Julie

644
00:33:57,480 --> 00:34:01,440
Speaker 2: Christie plays Constance Miller, and Julie Christie was his real

645
00:34:01,480 --> 00:34:03,840
Speaker 2: life They were dating in real life when they made

646
00:34:03,840 --> 00:34:08,839
Speaker 2: this film. More Baby and Julie Christie. Renee albert Jeonnois

647
00:34:08,960 --> 00:34:15,600
Speaker 2: who I knew from Benson was my introduction to Renee Alberta.

648
00:34:16,480 --> 00:34:19,239
Speaker 2: But he is a great actor and a lot of

649
00:34:19,280 --> 00:34:21,880
Speaker 2: people probably know him from that Star Trek show that

650
00:34:21,920 --> 00:34:25,600
Speaker 2: he did to like he's he's reinvented himself every decade

651
00:34:25,840 --> 00:34:29,520
Speaker 2: while he was still with us. William Devaane and young

652
00:34:29,560 --> 00:34:33,239
Speaker 2: William Devaine is in this film. Shelley Duval, Keith Carradine

653
00:34:33,680 --> 00:34:37,920
Speaker 2: like it has a pretty intensively cool cast and Julie Christie.

654
00:34:38,800 --> 00:34:41,359
Speaker 2: I love her in this movie and she's you would

655
00:34:41,360 --> 00:34:45,760
Speaker 2: know her from Doctor Jivago. Don't Look Now, Shampoo Heaven

656
00:34:45,800 --> 00:34:51,719
Speaker 2: can Wait. She had a really distinctive look and was

657
00:34:51,719 --> 00:34:55,400
Speaker 2: this British actress who kind of just had a really

658
00:34:55,840 --> 00:35:00,240
Speaker 2: different kind of sexy approach to even non sexy role.

659
00:35:00,400 --> 00:35:02,480
Speaker 2: I don't know how else to describe her, but she

660
00:35:02,560 --> 00:35:05,239
Speaker 2: just she has a presence, Like she has a real

661
00:35:05,320 --> 00:35:09,080
Speaker 2: presence that a lot of actors can't. You can't fake that,

662
00:35:09,320 --> 00:35:11,319
Speaker 2: Like she just kind of has this presence. So her

663
00:35:11,400 --> 00:35:16,720
Speaker 2: in this role was wonderful casting. And the essential story

664
00:35:16,760 --> 00:35:21,600
Speaker 2: of this film is that McCabe is this former gunslinger

665
00:35:22,120 --> 00:35:27,719
Speaker 2: turned businessman and in this pivotal opening scene, and we'll

666
00:35:27,760 --> 00:35:31,439
Speaker 2: get to why it's pivotal in a minute, we kind

667
00:35:31,440 --> 00:35:34,000
Speaker 2: of see him rolling into town and setting up a

668
00:35:34,040 --> 00:35:37,280
Speaker 2: card game and in she AND's restaurant, that's the Renee

669
00:35:37,280 --> 00:35:42,359
Speaker 2: Abergeonoir character, and she And is going around like just

670
00:35:42,440 --> 00:35:46,120
Speaker 2: telling everybody he can get his hands on that McCabe

671
00:35:46,239 --> 00:35:49,440
Speaker 2: is the one who shot Billy Rountree, like this hardcore

672
00:35:50,840 --> 00:35:54,520
Speaker 2: you know dude, and McCabe's the one who killed him.

673
00:35:54,920 --> 00:35:57,480
Speaker 2: So McCabe's just kind of like, yeah, I'm just here

674
00:35:57,520 --> 00:36:00,360
Speaker 2: doing my thing. I got my gold tooth, you know,

675
00:36:00,360 --> 00:36:02,640
Speaker 2: I'm just here doing my thing. I'm just setting up shop.

676
00:36:02,640 --> 00:36:06,040
Speaker 2: I'm trying to change my life. He was like the

677
00:36:06,160 --> 00:36:11,040
Speaker 2: proto Stringer Bell where he's like, I will use my

678
00:36:11,040 --> 00:36:14,480
Speaker 2: my former dirty dealings to be a legitimate business person.

679
00:36:15,960 --> 00:36:18,480
Speaker 2: And shean loves that. Shean wants to partner with him

680
00:36:18,600 --> 00:36:21,040
Speaker 2: and is like, Yo, McCabe, we've got this is a

681
00:36:21,080 --> 00:36:24,279
Speaker 2: small town. We can't handle having too much business here,

682
00:36:24,680 --> 00:36:26,640
Speaker 2: but if we partner with each other, we can keep

683
00:36:26,640 --> 00:36:29,800
Speaker 2: everyone else out and just like, run this bitch, and

684
00:36:30,040 --> 00:36:31,840
Speaker 2: McCabe is just like, nah, I don't think so, Like

685
00:36:31,880 --> 00:36:35,040
Speaker 2: I'm cool on my own. He's a lone wolf in

686
00:36:35,080 --> 00:36:40,000
Speaker 2: that way. Until Constance Miller shows up on a train,

687
00:36:40,600 --> 00:36:44,280
Speaker 2: the same train that's carrying Shelley Duval to her husband

688
00:36:44,320 --> 00:36:47,200
Speaker 2: who she's never met. She's meeting her husband for the

689
00:36:47,239 --> 00:36:50,759
Speaker 2: first time. Oh yeah, and that again totally common. She

690
00:36:50,800 --> 00:36:52,759
Speaker 2: would roll into the you know, women would roll into

691
00:36:52,760 --> 00:36:54,600
Speaker 2: town and be like, I guess you're the person I'm

692
00:36:54,600 --> 00:36:57,400
Speaker 2: supposed to marry. Fine, my dad made this arrangement or

693
00:36:57,440 --> 00:37:00,919
Speaker 2: whatever the fuck I guess we're getting we're married. Yeah.

694
00:37:00,920 --> 00:37:03,440
Speaker 1: It's a total Westward the Women scenario where it's like

695
00:37:03,480 --> 00:37:06,840
Speaker 1: there's just a train of women marrying these minor guys like,

696
00:37:06,960 --> 00:37:10,400
Speaker 1: I don't know they picked them out of a catalog

697
00:37:10,560 --> 00:37:12,520
Speaker 1: or something from the East Coast. I don't know.

698
00:37:13,440 --> 00:37:15,239
Speaker 2: That's what I always think too, is like how are

699
00:37:15,280 --> 00:37:18,160
Speaker 2: these matches even made? Like I'm very curious about the

700
00:37:18,239 --> 00:37:22,480
Speaker 2: history of that western time in this country, Like where

701
00:37:22,520 --> 00:37:27,480
Speaker 2: did you even get the women? Worrying mouth? Like what

702
00:37:27,520 --> 00:37:29,399
Speaker 2: the fuck? Yeah?

703
00:37:29,480 --> 00:37:33,120
Speaker 1: No, no, it's it. It's they The first batch came

704
00:37:33,120 --> 00:37:36,160
Speaker 1: from like a place someplace called bear Pod, right, isn't

705
00:37:36,160 --> 00:37:38,560
Speaker 1: that like where they're like, oh, the first batch comes

706
00:37:38,600 --> 00:37:41,120
Speaker 1: from bear Pond, and then the second match came from Seattle,

707
00:37:41,800 --> 00:37:45,560
Speaker 1: the fancy town. And I'm like, what is again? I think,

708
00:37:45,680 --> 00:37:48,480
Speaker 1: you know, we always talk about like the business affairs

709
00:37:48,520 --> 00:37:51,840
Speaker 1: in people of people's characters and movies, and this is

710
00:37:51,880 --> 00:37:53,960
Speaker 1: a what this is one I definitely want to look

711
00:37:54,000 --> 00:37:57,240
Speaker 1: into one of these days, absolutely.

712
00:37:56,360 --> 00:37:58,120
Speaker 2: Like I will I will start a blog. I don't

713
00:37:58,120 --> 00:38:00,399
Speaker 2: know what I have to do to get go back

714
00:38:00,400 --> 00:38:02,800
Speaker 2: to school. I don't know I'm gonna get this info somehow.

715
00:38:03,360 --> 00:38:07,560
Speaker 2: But missus Miller shows up and McCabe is kind of

716
00:38:07,640 --> 00:38:10,480
Speaker 2: like he has these three women that he's taken from

717
00:38:10,480 --> 00:38:14,480
Speaker 2: bear Bah and brought them to this site that's not

718
00:38:14,520 --> 00:38:18,120
Speaker 2: barely a town, and she shows up and is like

719
00:38:18,520 --> 00:38:20,759
Speaker 2: kind of gets the lay of the land and then

720
00:38:20,880 --> 00:38:24,000
Speaker 2: basically says to him, you don't know what you're doing,

721
00:38:24,280 --> 00:38:26,440
Speaker 2: and I want to start a business with you, So

722
00:38:26,560 --> 00:38:29,360
Speaker 2: if you build the brothel, I'll take care of the

723
00:38:29,400 --> 00:38:33,799
Speaker 2: sex workers. And she just again comes into town and

724
00:38:33,960 --> 00:38:36,880
Speaker 2: is such a fully formed character. She eats like a monster,

725
00:38:37,480 --> 00:38:41,600
Speaker 2: she orders like it is the most stunning scene to

726
00:38:41,719 --> 00:38:46,160
Speaker 2: watch him. Watching her eat is hilarious and always makes

727
00:38:46,200 --> 00:38:48,920
Speaker 2: me laugh every time I see this, because she's just like,

728
00:38:48,960 --> 00:38:50,759
Speaker 2: I want four eggs, I want some stew, I want

729
00:38:50,760 --> 00:38:52,759
Speaker 2: some tea. Bring it. I will eat it all in

730
00:38:52,800 --> 00:38:56,439
Speaker 2: one sitting without speaking to you. Yeah, and I will

731
00:38:56,440 --> 00:39:01,799
Speaker 2: not open my mouth until I'm done talk shop. But

732
00:39:01,880 --> 00:39:06,000
Speaker 2: she also calls mckaybe out on his bullshit right away,

733
00:39:06,280 --> 00:39:08,919
Speaker 2: because McCabe is like for all of his bluster, because

734
00:39:08,960 --> 00:39:12,360
Speaker 2: he is he's very a very blustery, braggy kind of character.

735
00:39:13,360 --> 00:39:15,440
Speaker 2: But she calls him out right away. She's like, you're

736
00:39:15,440 --> 00:39:19,000
Speaker 2: bad at math, you're bad at business. You fucking belch

737
00:39:19,120 --> 00:39:22,800
Speaker 2: all over town and you have a bad temper. Yeah

738
00:39:22,800 --> 00:39:25,760
Speaker 2: and yeah, you know for her and meeting this character,

739
00:39:25,840 --> 00:39:28,640
Speaker 2: because she calls him out in that way, you realize

740
00:39:28,640 --> 00:39:34,000
Speaker 2: that she is very opinionated, she lacks patience, and she's also,

741
00:39:34,320 --> 00:39:37,120
Speaker 2: as it's revealed, addicted to opium. So this is like

742
00:39:37,120 --> 00:39:40,440
Speaker 2: a perfect match of misfits that are going into this

743
00:39:40,520 --> 00:39:41,320
Speaker 2: business together.

744
00:39:42,000 --> 00:39:44,840
Speaker 1: Well, and this is a this is a big, you know,

745
00:39:44,880 --> 00:39:48,359
Speaker 1: a big point of the film that makes it a

746
00:39:48,560 --> 00:39:52,880
Speaker 1: revisionist Western, right, because traditionally in the Western, like the

747
00:39:52,960 --> 00:39:56,800
Speaker 1: women are and this is seen in my movie for sure,

748
00:39:56,880 --> 00:39:59,080
Speaker 1: the women are just kind of pretty little things. They

749
00:39:59,120 --> 00:40:02,040
Speaker 1: don't talk back, they don't definitely don't know how to

750
00:40:02,480 --> 00:40:04,680
Speaker 1: run a business, and they don't have the street savvy

751
00:40:04,719 --> 00:40:08,160
Speaker 1: to be like, you know, hey, I can actually run

752
00:40:08,239 --> 00:40:10,840
Speaker 1: this thing better than you can. And here's why, because

753
00:40:10,840 --> 00:40:13,360
Speaker 1: you're not thinking of X, Y and Z. You know,

754
00:40:13,600 --> 00:40:16,720
Speaker 1: they don't have that kind They're supposed to be very feminine,

755
00:40:16,800 --> 00:40:19,520
Speaker 1: very quiet, right, So already at the gate, you know,

756
00:40:20,400 --> 00:40:22,600
Speaker 1: missus Miller is like, I'm not that type of woman.

757
00:40:22,680 --> 00:40:25,400
Speaker 1: And that's exactly I think, very much is what makes

758
00:40:25,520 --> 00:40:27,520
Speaker 1: this film a revisionous Western, right.

759
00:40:27,800 --> 00:40:29,920
Speaker 2: I could not agree more. And I think you're right

760
00:40:29,960 --> 00:40:33,560
Speaker 2: that it's not just the way that she kind of

761
00:40:33,600 --> 00:40:37,600
Speaker 2: comes into town. Is that she has enough confidence instantly

762
00:40:37,960 --> 00:40:39,560
Speaker 2: to kind of say like here's who I am, and

763
00:40:39,560 --> 00:40:41,600
Speaker 2: I'm not putting up with bullshit. And you get the

764
00:40:41,640 --> 00:40:44,480
Speaker 2: feeling that if he didn't say yes to this arrangement,

765
00:40:44,920 --> 00:40:47,440
Speaker 2: she was going to like run him over. She's like,

766
00:40:47,480 --> 00:40:50,240
Speaker 2: I will do this business one way or another. Yeah,

767
00:40:50,360 --> 00:40:53,600
Speaker 2: I'm giving you the chance to not be like throttled

768
00:40:53,680 --> 00:40:53,960
Speaker 2: by me.

769
00:40:54,960 --> 00:40:59,960
Speaker 1: Yeah. And his character God is so like the bird

770
00:41:00,160 --> 00:41:02,880
Speaker 1: being and this like he does that you know and

771
00:41:03,000 --> 00:41:05,960
Speaker 1: later you know, obviously it reminds me a lot of

772
00:41:06,040 --> 00:41:08,919
Speaker 1: like the Elliott Gould character and The Long Goodbye, which

773
00:41:08,960 --> 00:41:11,640
Speaker 1: is also amen movie. But the mumbling that he does

774
00:41:11,680 --> 00:41:13,960
Speaker 1: where he's just like I ain't taking not myth, Like

775
00:41:13,960 --> 00:41:15,640
Speaker 1: you can't get read a down this shit blah blah

776
00:41:15,640 --> 00:41:21,320
Speaker 1: blah blah blah. I was like, like he Warren Beatty

777
00:41:21,320 --> 00:41:24,640
Speaker 1: in this movie is hilarious for that, Like he's so funny.

778
00:41:24,760 --> 00:41:28,240
Speaker 2: He has full conversations with himself, Like under his breath

779
00:41:30,160 --> 00:41:32,480
Speaker 2: full conversations, he's like he ain't telling me what to do,

780
00:41:32,640 --> 00:41:35,360
Speaker 2: and he's like drinking and like he's just such a

781
00:41:35,400 --> 00:41:37,680
Speaker 2: mess of a human being.

782
00:41:38,320 --> 00:41:39,680
Speaker 1: Yeah.

783
00:41:39,960 --> 00:41:44,239
Speaker 2: Such, and he's so funny. It's like unintentional hilarity. But

784
00:41:44,280 --> 00:41:46,839
Speaker 2: he is very, very funny in this movie. And Warren

785
00:41:46,880 --> 00:41:49,640
Speaker 2: Beatty again, he's like, you know everything about him. He's

786
00:41:49,640 --> 00:41:52,640
Speaker 2: a classic actor. He's been in everything. But this was

787
00:41:52,719 --> 00:41:54,600
Speaker 2: kind of a departure, I think, for him at that

788
00:41:54,680 --> 00:41:56,600
Speaker 2: point because he'd done all these like kind of pretty

789
00:41:56,640 --> 00:41:59,759
Speaker 2: boy roles and like Splendor in the Grass kind of

790
00:41:59,840 --> 00:42:03,960
Speaker 2: like you know, young, young, hot guy Hollywood movies. So

791
00:42:04,000 --> 00:42:06,640
Speaker 2: to see him in like this disgusting fur coat, he

792
00:42:06,680 --> 00:42:10,320
Speaker 2: looked like a bear, like a this gross fur coat.

793
00:42:10,760 --> 00:42:14,239
Speaker 2: It's all matted and like he's always wet and like damp.

794
00:42:13,960 --> 00:42:18,280
Speaker 1: And big bear gold tooth like you mentioned.

795
00:42:18,360 --> 00:42:21,560
Speaker 2: It's like he was a mess. No, he was a

796
00:42:21,600 --> 00:42:24,840
Speaker 2: total mess. So they decide to go into business together.

797
00:42:25,080 --> 00:42:28,239
Speaker 2: And missus Miller has reigned for all these women to

798
00:42:28,320 --> 00:42:31,279
Speaker 2: come and work in this brothel. And the women arrive

799
00:42:31,360 --> 00:42:34,120
Speaker 2: on this rainy day like their cart's broken down. They

800
00:42:34,280 --> 00:42:37,240
Speaker 2: they get a ride from the barber. Like to his credit,

801
00:42:37,320 --> 00:42:40,840
Speaker 2: Robert Altman found a way to add some black people

802
00:42:40,920 --> 00:42:46,200
Speaker 2: to this movie in nineteen seventy won He's like, here's

803
00:42:46,200 --> 00:42:48,480
Speaker 2: two black people. He's a barber, she's his wife, and

804
00:42:48,640 --> 00:42:50,959
Speaker 2: we will barely see them again. But they were there,

805
00:42:51,080 --> 00:42:53,840
Speaker 2: they brought they brought the sex workers. Yes, and buses.

806
00:42:54,280 --> 00:42:57,879
Speaker 2: Business starts, and business is good except for the fact

807
00:42:57,960 --> 00:43:02,040
Speaker 2: that none of the men want to bathe. And when

808
00:43:02,400 --> 00:43:05,600
Speaker 2: when missus Miller is running down a list of like

809
00:43:06,120 --> 00:43:11,200
Speaker 2: why McCabe should partner with her, tops on the list

810
00:43:11,400 --> 00:43:15,920
Speaker 2: is basically y'all nasty. Yes, She's like, you will have

811
00:43:16,040 --> 00:43:18,640
Speaker 2: clap running through this fucking camp in no time. You

812
00:43:18,680 --> 00:43:22,200
Speaker 2: got to watch them dicks. You gotta take some time

813
00:43:22,840 --> 00:43:25,120
Speaker 2: to take care of yourself and take care of the women,

814
00:43:25,640 --> 00:43:28,200
Speaker 2: Like what the fuck? She could not believe how like

815
00:43:28,520 --> 00:43:32,880
Speaker 2: gross place was. And the women that he brought with him,

816
00:43:32,920 --> 00:43:34,520
Speaker 2: the three women that we see in the beginning of

817
00:43:34,520 --> 00:43:38,520
Speaker 2: the film that he's kind of purchased. They're mad. They're like,

818
00:43:38,560 --> 00:43:41,719
Speaker 2: I cannot believe I was sold into this disgusting life. Yeah,

819
00:43:41,920 --> 00:43:44,400
Speaker 2: they are pissed off well and like that.

820
00:43:44,400 --> 00:43:46,200
Speaker 1: That to me is like one of the most fascinating

821
00:43:46,239 --> 00:43:48,640
Speaker 1: parts of the film, just because it's like, I don't know,

822
00:43:48,680 --> 00:43:53,000
Speaker 1: it's she was she's basically trying to create this like

823
00:43:53,160 --> 00:43:57,239
Speaker 1: civilized establishment, right, and she's like, you are not We're

824
00:43:57,239 --> 00:43:59,800
Speaker 1: not putting up these fuck tents and you're not gonna

825
00:43:59,840 --> 00:44:02,600
Speaker 1: like have these nasty guys in here, like these girls

826
00:44:02,640 --> 00:44:05,440
Speaker 1: are stabbing them because they're so bad and they're so gross,

827
00:44:05,440 --> 00:44:08,239
Speaker 1: Like you know, we're gonna have like a real business.

828
00:44:08,360 --> 00:44:10,880
Speaker 1: This is gonna run this I run a tight ship

829
00:44:11,320 --> 00:44:15,480
Speaker 1: and you know. And that to me was like hell yeah,

830
00:44:15,680 --> 00:44:18,279
Speaker 1: gotta get that woman in there and running this shit,

831
00:44:18,400 --> 00:44:21,640
Speaker 1: because otherwise, if it was up to McCabe, he'd just

832
00:44:21,640 --> 00:44:24,279
Speaker 1: be like whatever, like, yeah, put some blankets out in

833
00:44:24,320 --> 00:44:26,960
Speaker 1: the mud. I guess I'll just fucking make my money

834
00:44:27,000 --> 00:44:29,719
Speaker 1: that way. But she she tries to encourage him to

835
00:44:29,840 --> 00:44:33,000
Speaker 1: like think bigger, Like you can make money if you

836
00:44:33,080 --> 00:44:35,000
Speaker 1: think bigger, right, And.

837
00:44:34,920 --> 00:44:37,000
Speaker 2: She wants him to have some decorum because she's like,

838
00:44:37,040 --> 00:44:38,880
Speaker 2: not only do you have to think bigger as a

839
00:44:38,920 --> 00:44:42,280
Speaker 2: business person, right, but you have to have some fucking

840
00:44:42,320 --> 00:44:45,759
Speaker 2: decorum to keep your employees happy, which is exactly what's

841
00:44:45,800 --> 00:44:49,000
Speaker 2: happening here. Is they're fucking miserable. And you can see

842
00:44:49,040 --> 00:44:52,399
Speaker 2: from the beg from the beginning that again, these three

843
00:44:52,400 --> 00:44:54,719
Speaker 2: women that he brings with him are miserable. But when

844
00:44:54,800 --> 00:44:57,680
Speaker 2: her ladies arrive on the train, they're like singing and

845
00:44:58,040 --> 00:45:00,320
Speaker 2: you know, they're taking their bath and having a good time,

846
00:45:00,360 --> 00:45:03,839
Speaker 2: and like it's just a different vibe because they are

847
00:45:03,960 --> 00:45:06,520
Speaker 2: they are used to a different, different level of clientele.

848
00:45:07,120 --> 00:45:09,920
Speaker 1: Well, and like the I think the best example of

849
00:45:09,960 --> 00:45:13,840
Speaker 1: this is that conversation that Missus Miller has with the

850
00:45:13,880 --> 00:45:17,680
Speaker 1: Shelley Duval character, where the Shelley Deval character is basically like, oh,

851
00:45:17,719 --> 00:45:20,480
Speaker 1: it's my duty to serve this guy, and missus Miller's like, no,

852
00:45:20,560 --> 00:45:23,080
Speaker 1: it eight, it's about you paying your rent. So don't

853
00:45:23,360 --> 00:45:25,440
Speaker 1: you know, don't think that you're here to be like

854
00:45:25,520 --> 00:45:28,960
Speaker 1: subservient to these men like you are doing you and

855
00:45:29,120 --> 00:45:29,799
Speaker 1: never forget that.

856
00:45:30,600 --> 00:45:33,720
Speaker 2: I loved that whole scene because again, like Shelley Duvall,

857
00:45:34,200 --> 00:45:36,839
Speaker 2: her character Ada rolls in to get married to this

858
00:45:36,880 --> 00:45:39,720
Speaker 2: guy Bart, and Bart ends up dying like pretty quickly,

859
00:45:40,080 --> 00:45:44,640
Speaker 2: Like he dies in this brawl because someone insinuated that

860
00:45:44,760 --> 00:45:48,400
Speaker 2: she was already working in this brothel. Bart lost his

861
00:45:48,480 --> 00:45:50,759
Speaker 2: shit and someone cracked him on the fucking head and

862
00:45:50,840 --> 00:45:53,040
Speaker 2: so he's dead. And then she ends up working in

863
00:45:53,040 --> 00:45:56,759
Speaker 2: the brothel and missus missus Miller is just like, don't

864
00:45:56,760 --> 00:45:59,479
Speaker 2: forget like why you're here and how you got here,

865
00:45:59,560 --> 00:46:02,080
Speaker 2: and you're my role now is to take care of

866
00:46:02,120 --> 00:46:05,680
Speaker 2: yourself and so she's she's just kind of a better

867
00:46:06,640 --> 00:46:09,000
Speaker 2: She has a better countenance for this kind of work

868
00:46:09,040 --> 00:46:13,000
Speaker 2: than McCabe does, because McCabe McKay brings his personality to

869
00:46:13,080 --> 00:46:15,600
Speaker 2: his work, which is like disgusting and fast and loose

870
00:46:15,640 --> 00:46:19,399
Speaker 2: and kind of like just real down and dirty, and

871
00:46:19,440 --> 00:46:23,400
Speaker 2: she brings her level of business. She brings her personality

872
00:46:23,440 --> 00:46:27,640
Speaker 2: to her business, which is very caring and specific and

873
00:46:27,680 --> 00:46:30,400
Speaker 2: pointed and like money money oriented.

874
00:46:30,600 --> 00:46:32,560
Speaker 1: Yeah. More professional, Yeah, totally.

875
00:46:32,520 --> 00:46:35,680
Speaker 2: Way more professional. So things are pretty okay, Like things

876
00:46:35,719 --> 00:46:38,960
Speaker 2: are going well. She's showing him the money and telling

877
00:46:39,040 --> 00:46:40,879
Speaker 2: him like, you got to get your fucking books in order.

878
00:46:41,480 --> 00:46:44,600
Speaker 2: And then this guy named Sears rolls into town and

879
00:46:44,680 --> 00:46:47,919
Speaker 2: Sears is like, hey, your business is real good, and

880
00:46:48,480 --> 00:46:52,280
Speaker 2: me and my friend Holland are here. Want to buy it? Yeah,

881
00:46:52,320 --> 00:46:55,360
Speaker 2: and we're going to give you five five hundred dollars

882
00:46:55,400 --> 00:46:58,959
Speaker 2: for it. And McCay, because again this is just how

883
00:46:59,000 --> 00:47:01,880
Speaker 2: he is, he's like, oh, well, I'm going to negotiate

884
00:47:01,920 --> 00:47:03,840
Speaker 2: it with these guys, and I think it's worth fourteen

885
00:47:03,920 --> 00:47:08,680
Speaker 2: thousand dollars, which could be a good business strategy if

886
00:47:08,680 --> 00:47:10,320
Speaker 2: you knew what you were doing, if you knew the

887
00:47:10,400 --> 00:47:12,440
Speaker 2: value of your business was and if you knew what

888
00:47:12,480 --> 00:47:16,239
Speaker 2: you were getting into, he absolutely doesn't. He's just winging it.

889
00:47:16,320 --> 00:47:19,239
Speaker 2: He's like, oh, you said five, uh, fourteen thousand. It's

890
00:47:19,280 --> 00:47:21,640
Speaker 2: like when you're talking to a little kid and they're like,

891
00:47:21,640 --> 00:47:25,120
Speaker 2: I want one hundred million billion dollars for this crayon

892
00:47:25,640 --> 00:47:28,840
Speaker 2: and you're like, you don't know what you're saying. You

893
00:47:28,880 --> 00:47:31,960
Speaker 2: have no concept of money. And so McCabe is like,

894
00:47:32,160 --> 00:47:34,520
Speaker 2: thinks he's a great negotiator, Like these guys walk away

895
00:47:34,520 --> 00:47:36,320
Speaker 2: and he's like, yeah, yeah, yeah, we'll talk of the morning.

896
00:47:36,719 --> 00:47:38,960
Speaker 2: And they walk away and they're like, oh, we're just

897
00:47:39,000 --> 00:47:41,160
Speaker 2: gonna kill this dude, Like we're not going to negotiate

898
00:47:41,280 --> 00:47:45,560
Speaker 2: with this motherfucker. Yeah. They fucking leave, and Miller is

899
00:47:45,600 --> 00:47:48,239
Speaker 2: telling him the whole time, like you don't know what

900
00:47:48,280 --> 00:47:50,680
Speaker 2: you're doing. You don't know who you're dealing with, Like

901
00:47:50,719 --> 00:47:52,600
Speaker 2: these are the kinds of guys who will just come

902
00:47:52,640 --> 00:47:55,080
Speaker 2: back and kill you instead of paying you a dime.

903
00:47:55,800 --> 00:47:58,319
Speaker 2: And he's like, na, no, Nah, I got this. And

904
00:47:58,360 --> 00:48:02,440
Speaker 2: that's precisely what happens as they leave, and then suddenly

905
00:48:02,520 --> 00:48:04,640
Speaker 2: and as they after they leave, you kind of realize

906
00:48:04,680 --> 00:48:09,480
Speaker 2: that McCabe and Miller are developing this kind of romance,

907
00:48:10,000 --> 00:48:14,840
Speaker 2: but it's really interesting romance because he is still paying

908
00:48:14,880 --> 00:48:17,799
Speaker 2: her for sex, like it's still a business transaction for

909
00:48:17,880 --> 00:48:20,600
Speaker 2: her and for him. He's like, you know, if you

910
00:48:20,600 --> 00:48:22,880
Speaker 2: could just be sweet to me for a minute, if

911
00:48:22,920 --> 00:48:27,440
Speaker 2: you could just like be kind to me, that I

912
00:48:27,600 --> 00:48:30,440
Speaker 2: could totally see myself falling in love with you. And

913
00:48:30,480 --> 00:48:32,440
Speaker 2: she's like, or you could just continue to pay me

914
00:48:32,440 --> 00:48:34,440
Speaker 2: and we can treat this like a business transaction even

915
00:48:34,440 --> 00:48:36,680
Speaker 2: though I also kind of love you. I'm always gonna

916
00:48:36,719 --> 00:48:40,320
Speaker 2: get that bread. She's just can't turn it off. Yeah,

917
00:48:40,360 --> 00:48:44,760
Speaker 2: and I'll turn it off. So Sears and Hollander send

918
00:48:44,800 --> 00:48:49,439
Speaker 2: this guy Butler to town with his two cronies, and

919
00:48:49,800 --> 00:48:52,160
Speaker 2: he kind of comes in and starts to big time

920
00:48:52,400 --> 00:48:55,520
Speaker 2: the big timer. So, like I said, that pivot that

921
00:48:55,600 --> 00:48:58,239
Speaker 2: scene in the first scene that we see McCabe in

922
00:48:59,320 --> 00:49:04,919
Speaker 2: becomes pivotal because in that scene you see him kind

923
00:49:04,920 --> 00:49:08,480
Speaker 2: of big timing Shean where he's just like, I'm the

924
00:49:08,520 --> 00:49:11,480
Speaker 2: new shit in town and I got this shit and

925
00:49:11,520 --> 00:49:14,279
Speaker 2: you can't tell me nothing. And then Butler comes to

926
00:49:14,280 --> 00:49:16,680
Speaker 2: town and does the same fucking thing to McCabe where

927
00:49:16,719 --> 00:49:18,799
Speaker 2: he's playing mind games and he's like, oh, I'm not

928
00:49:18,840 --> 00:49:22,320
Speaker 2: negotiating with you. And he's like, oh, uh a, fine,

929
00:49:22,400 --> 00:49:25,919
Speaker 2: I guess he's like playing it real close to the best,

930
00:49:25,960 --> 00:49:28,400
Speaker 2: and like he is big timing, the big timer, And

931
00:49:28,440 --> 00:49:31,480
Speaker 2: it scares the shit out of McCabe because, as it

932
00:49:31,560 --> 00:49:35,839
Speaker 2: has starts to be starts to be pretty obvious, he

933
00:49:35,880 --> 00:49:39,160
Speaker 2: actually didn't kill Billy Rountree. He's never killed anyone in

934
00:49:39,160 --> 00:49:42,480
Speaker 2: his fucking life. So he has built his whole business

935
00:49:42,920 --> 00:49:47,120
Speaker 2: and his whole persona on the charisma of a lie

936
00:49:48,320 --> 00:49:55,799
Speaker 2: tending yeah like falls val stolen valor, and Butler is like, yeah,

937
00:49:55,840 --> 00:49:57,719
Speaker 2: I see you. You've never killed a fucking dude in

938
00:49:57,760 --> 00:50:01,480
Speaker 2: your life. This is gonna be real easy, and so

939
00:50:01,680 --> 00:50:05,160
Speaker 2: as so McCabe's scared shit list. Miller's like, we got

940
00:50:05,160 --> 00:50:06,680
Speaker 2: to get the fuck out of here. This is not

941
00:50:06,719 --> 00:50:09,160
Speaker 2: worth dying for. And I don't want to ruin the

942
00:50:09,239 --> 00:50:12,759
Speaker 2: end of the movie. But stuff does start popping off,

943
00:50:12,960 --> 00:50:17,360
Speaker 2: and McCabe does start fearing for his life and maybe

944
00:50:17,440 --> 00:50:20,279
Speaker 2: get some of the maybe starts to feel some of

945
00:50:20,320 --> 00:50:24,600
Speaker 2: the repercussions of his actions. But the thing I do

946
00:50:24,680 --> 00:50:26,200
Speaker 2: want to talk about, even though I don't want to

947
00:50:26,239 --> 00:50:30,080
Speaker 2: talk about the end of this film, in particular what

948
00:50:30,160 --> 00:50:33,040
Speaker 2: I've read again and all these essays I've read recently,

949
00:50:33,080 --> 00:50:34,880
Speaker 2: and the things that have come out in the years

950
00:50:34,880 --> 00:50:38,320
Speaker 2: since this movie has been available. A lot of people

951
00:50:38,400 --> 00:50:42,680
Speaker 2: now are framing this movie as a feminist masterpiece, and

952
00:50:42,760 --> 00:50:45,879
Speaker 2: I really want your thoughts on that. Do you think

953
00:50:45,920 --> 00:50:47,520
Speaker 2: this movie is a feminist masterpiece?

954
00:50:48,920 --> 00:50:55,520
Speaker 1: I mean, Matt Okay, I will say this, I definitely

955
00:50:55,600 --> 00:51:02,000
Speaker 1: think in the traditional Western genre, this is like Missus

956
00:51:02,000 --> 00:51:04,759
Speaker 1: Miller is a character that is just not seen in

957
00:51:05,080 --> 00:51:09,319
Speaker 1: classic westerns, like from the classic movie era, right, it

958
00:51:09,360 --> 00:51:12,239
Speaker 1: didn't take it didn't happen really until the sixties and

959
00:51:12,320 --> 00:51:16,000
Speaker 1: seventies were directors like Altman and Peck and Pod all

960
00:51:16,040 --> 00:51:18,720
Speaker 1: these people were trying to create sort of like different

961
00:51:19,239 --> 00:51:21,640
Speaker 1: ways to tell the Western. And a lot of the

962
00:51:21,680 --> 00:51:24,320
Speaker 1: reason why people consider this an anti Western is because

963
00:51:25,040 --> 00:51:27,560
Speaker 1: the shit that happens in westerns isn't happening where you

964
00:51:27,680 --> 00:51:32,880
Speaker 1: have subservient women. You have this like really incredible, you know,

965
00:51:33,640 --> 00:51:36,920
Speaker 1: hero that has a lot of morality, and you know

966
00:51:37,080 --> 00:51:39,719
Speaker 1: it's in these I mean even visually, this movie does

967
00:51:39,760 --> 00:51:43,640
Speaker 1: not look like my Western. I mean it's dark, it's snowing,

968
00:51:44,000 --> 00:51:47,240
Speaker 1: it's muddy, it's like, you know, people are wearing fucking

969
00:51:47,320 --> 00:51:50,040
Speaker 1: shitty clothes. It's like, you know, it's like really kind

970
00:51:50,080 --> 00:51:53,279
Speaker 1: of a dark looking film too, But to the to

971
00:51:53,320 --> 00:51:57,800
Speaker 1: the point of it being a feminist masterpiece. I mean, honestly,

972
00:51:58,440 --> 00:52:01,040
Speaker 1: I do think it's a femine film. I do think

973
00:52:01,040 --> 00:52:05,160
Speaker 1: that that Missus Miller. The character of Missus Miller is

974
00:52:06,120 --> 00:52:10,920
Speaker 1: pretty pretty much her own kind of woman, and she

975
00:52:10,960 --> 00:52:14,480
Speaker 1: doesn't get pushed around. She's smarter than him, she's more

976
00:52:14,520 --> 00:52:18,640
Speaker 1: capable than him, and she kind of like sets the

977
00:52:18,800 --> 00:52:23,799
Speaker 1: romance on her terms, right, She's like, I run this

978
00:52:24,040 --> 00:52:27,200
Speaker 1: you don't you know, like you you're sprung and I'm

979
00:52:27,239 --> 00:52:29,640
Speaker 1: just trying to keep you out at arm's length. And

980
00:52:29,719 --> 00:52:33,840
Speaker 1: I mean, and without giving away the ending, the ending

981
00:52:34,000 --> 00:52:39,080
Speaker 1: I think is very much underscoring all of that, right.

982
00:52:38,960 --> 00:52:41,600
Speaker 2: Really, see that is that is interesting to me because

983
00:52:41,640 --> 00:52:44,279
Speaker 2: I think up to a point it is absolutely a

984
00:52:44,280 --> 00:52:47,640
Speaker 2: feminist film. Yeah, just like in everything you've discussed. But

985
00:52:47,680 --> 00:52:50,799
Speaker 2: then when I take into consideration the ending, and it's

986
00:52:50,800 --> 00:52:54,480
Speaker 2: an ending in which nobody gets what they actually want. Yeah,

987
00:52:54,680 --> 00:52:58,960
Speaker 2: So I'm left and with her character in particular, I'm

988
00:52:59,040 --> 00:53:02,400
Speaker 2: left to wonder is she getting what she wants in

989
00:53:02,440 --> 00:53:06,759
Speaker 2: the end of this film, considering how vocal and passionate

990
00:53:06,920 --> 00:53:11,680
Speaker 2: and you know, fearce she's been throughout. Is she getting

991
00:53:11,719 --> 00:53:13,880
Speaker 2: what she wants at the end of this movie? And

992
00:53:15,040 --> 00:53:17,200
Speaker 2: I don't know, just the ending to me painted a

993
00:53:17,200 --> 00:53:21,000
Speaker 2: more bleak survival for her than it did when we

994
00:53:21,040 --> 00:53:23,560
Speaker 2: first met her. But I do think that I agree

995
00:53:23,600 --> 00:53:25,960
Speaker 2: with you completely up to that point that it's like,

996
00:53:26,280 --> 00:53:28,359
Speaker 2: this is like nothing we'd ever seen before. These are

997
00:53:28,480 --> 00:53:31,239
Speaker 2: even for nineteen seventy one, let alone the timeframe that

998
00:53:31,320 --> 00:53:34,680
Speaker 2: they are trying to portray. You know, I think this

999
00:53:34,800 --> 00:53:36,719
Speaker 2: is just not women that we've seen. These are not

1000
00:53:36,760 --> 00:53:39,359
Speaker 2: women that we were used to seeing in this timeframe.

1001
00:53:39,760 --> 00:53:43,520
Speaker 1: Yeah, it's really hard for me to It's gonna be

1002
00:53:43,520 --> 00:53:47,640
Speaker 1: really hard for me to give you my argument for

1003
00:53:47,840 --> 00:53:51,520
Speaker 1: this without spoiling the movie, to be honest, because I

1004
00:53:51,560 --> 00:53:58,760
Speaker 1: feel like the inherent end of this film is definitely

1005
00:54:00,640 --> 00:54:02,480
Speaker 1: I mean, at least it's on her terms in the

1006
00:54:02,520 --> 00:54:08,160
Speaker 1: sense of of how she in another Western from an

1007
00:54:08,200 --> 00:54:11,840
Speaker 1: earlier time, she would not be doing what she was doing.

1008
00:54:11,600 --> 00:54:14,040
Speaker 2: At the end of this movie. She would be.

1009
00:54:14,120 --> 00:54:17,680
Speaker 1: Doing a completely other thing, and it would have been

1010
00:54:19,120 --> 00:54:25,800
Speaker 1: more of that kind of traditional romantic Hollywood ending, right, Yes, Yes,

1011
00:54:26,120 --> 00:54:29,239
Speaker 1: so in that regard. That's kind of why I think it.

1012
00:54:29,560 --> 00:54:33,200
Speaker 1: It is like, I feel like the ending does serve

1013
00:54:33,680 --> 00:54:38,959
Speaker 1: her character and her characters maybe feminism or her autonomy,

1014
00:54:40,200 --> 00:54:41,839
Speaker 1: you know. And like I said, I don't, I'm kind

1015
00:54:41,840 --> 00:54:44,080
Speaker 1: of dancing around this because again, we don't want to

1016
00:54:44,120 --> 00:54:46,399
Speaker 1: say the ending, and I'm just like, you know, at

1017
00:54:46,400 --> 00:54:48,359
Speaker 1: the end, it's like, at the end of it, like,

1018
00:54:48,600 --> 00:54:54,320
Speaker 1: is that character you know, honest to who she is? Yes,

1019
00:54:54,400 --> 00:54:58,399
Speaker 1: and who she was before she showed up. Now, whether

1020
00:54:58,480 --> 00:55:01,319
Speaker 1: or not her character will be be happy with that

1021
00:55:02,280 --> 00:55:05,560
Speaker 1: later is a little TVD right, But in the moment,

1022
00:55:06,600 --> 00:55:07,600
Speaker 1: it is who she is.

1023
00:55:09,280 --> 00:55:12,400
Speaker 2: Happiness never fact, that is something that is definitely a

1024
00:55:12,440 --> 00:55:16,080
Speaker 2: part of the Western genre that is on display here.

1025
00:55:16,520 --> 00:55:20,399
Speaker 2: Happiness is not the point of anyone's life, like survival,

1026
00:55:20,880 --> 00:55:23,120
Speaker 2: survival is it. They don't care if they're happy while

1027
00:55:23,120 --> 00:55:25,520
Speaker 2: they're doing it. They just want to survive. So I

1028
00:55:25,560 --> 00:55:29,560
Speaker 2: think that in that case, she's doing her and she

1029
00:55:29,719 --> 00:55:32,200
Speaker 2: is very much the person she was when she arrived

1030
00:55:32,280 --> 00:55:34,000
Speaker 2: at the end of the film, even if it's not

1031
00:55:34,160 --> 00:55:38,239
Speaker 2: the ending that we would normally see for her. I

1032
00:55:38,280 --> 00:55:40,839
Speaker 2: think that, yeah, and I do. I wanted to hear

1033
00:55:40,880 --> 00:55:43,480
Speaker 2: your thoughts on it. Because I definitely I just always

1034
00:55:43,520 --> 00:55:46,719
Speaker 2: value your opinion in this kind of way. But I

1035
00:55:47,160 --> 00:55:50,600
Speaker 2: kind of whenever I see someone say like, this is

1036
00:55:50,680 --> 00:55:53,360
Speaker 2: definitely a feminist masterpiece, and it just makes it just

1037
00:55:53,360 --> 00:55:55,319
Speaker 2: gives me pause because I think people play it real

1038
00:55:55,400 --> 00:56:00,000
Speaker 2: Lucy goosey with revisionist history sometimes and this is one

1039
00:56:00,040 --> 00:56:01,960
Speaker 2: one of the cases where I think it actually is

1040
00:56:01,960 --> 00:56:04,640
Speaker 2: is on point where it is very much a feminist film,

1041
00:56:06,080 --> 00:56:09,479
Speaker 2: and it's a very interesting feminist film that is made

1042
00:56:09,520 --> 00:56:13,400
Speaker 2: by this male director and written by these these guys right.

1043
00:56:13,239 --> 00:56:15,640
Speaker 1: Well, and that's and that's kind of I think maybe

1044
00:56:15,840 --> 00:56:22,000
Speaker 1: the the small caveat I will say to my to

1045
00:56:22,080 --> 00:56:24,880
Speaker 1: my opinion whether or not this film is feminist is

1046
00:56:24,880 --> 00:56:26,360
Speaker 1: because it is that thing where it's like, Okay, you

1047
00:56:26,440 --> 00:56:30,839
Speaker 1: have a director like Altman, very famous director. There are

1048
00:56:30,840 --> 00:56:33,960
Speaker 1: many other points of this film where the other women

1049
00:56:34,040 --> 00:56:37,040
Speaker 1: in town are not treated as well, and there is

1050
00:56:37,080 --> 00:56:42,040
Speaker 1: some you know, slight racism to the films, and but

1051
00:56:42,080 --> 00:56:47,239
Speaker 1: you do see this this uh, this female madam or

1052
00:56:47,560 --> 00:56:52,120
Speaker 1: sex worker who has a business sense and is doesn't

1053
00:56:52,120 --> 00:56:54,960
Speaker 1: want to be used, knows exactly what she's doing. That

1054
00:56:55,000 --> 00:56:58,600
Speaker 1: feels very empowering. Yeah, I don't know, I mean I

1055
00:56:58,640 --> 00:57:03,560
Speaker 1: definitely think there is feminism at work in this film. Yeah,

1056
00:57:03,600 --> 00:57:08,839
Speaker 1: and I definitely think that has as it contributes to

1057
00:57:09,160 --> 00:57:12,960
Speaker 1: an anti Western. This is it. I mean, basically, he's

1058
00:57:13,000 --> 00:57:17,360
Speaker 1: telling a tale of like the West that's very dark

1059
00:57:17,640 --> 00:57:21,200
Speaker 1: and depressing at times. And it isn't the thing where

1060
00:57:21,200 --> 00:57:23,840
Speaker 1: it's like all the stage coaches ride out to the

1061
00:57:23,840 --> 00:57:25,960
Speaker 1: West coast, you know, West Coast and then it's like, oh,

1062
00:57:25,960 --> 00:57:28,920
Speaker 1: they see a valley of poppies and it's like everything's

1063
00:57:28,960 --> 00:57:31,880
Speaker 1: happy and everybody builds their log houses. Is like, no,

1064
00:57:31,920 --> 00:57:35,560
Speaker 1: it's it's kind of it's kind of rough, and you know,

1065
00:57:35,680 --> 00:57:38,080
Speaker 1: a lot of a lot of you know, sort of

1066
00:57:38,080 --> 00:57:40,920
Speaker 1: the stories that I had heard about, you know, when

1067
00:57:40,960 --> 00:57:43,200
Speaker 1: you watch shows like Deadwood or when you when you

1068
00:57:43,320 --> 00:57:48,439
Speaker 1: read about the West, is that whole brothel thing where

1069
00:57:48,520 --> 00:57:51,800
Speaker 1: you you know, that is a part of that Western tradition.

1070
00:57:52,640 --> 00:57:55,520
Speaker 1: And I like that that movie is about that, you

1071
00:57:55,560 --> 00:57:56,360
Speaker 1: know exactly.

1072
00:57:56,400 --> 00:57:59,160
Speaker 2: I agree, I completely agree. I like that it's centered

1073
00:57:59,200 --> 00:58:02,800
Speaker 2: in the movie. It's not just a peripheral thing, and

1074
00:58:02,840 --> 00:58:05,760
Speaker 2: that her she's a real character. She's a real and

1075
00:58:05,840 --> 00:58:08,400
Speaker 2: full character. And it's it even it I mean, it's

1076
00:58:08,960 --> 00:58:10,880
Speaker 2: it's evident in the title. You know the title of

1077
00:58:10,960 --> 00:58:16,200
Speaker 2: the of the book is McCabe, but Altman added and

1078
00:58:16,280 --> 00:58:19,360
Speaker 2: missus Miller, Like, this is clearly in the title. He's

1079
00:58:19,360 --> 00:58:23,080
Speaker 2: telling you this is about both of them, not just him.

1080
00:58:23,760 --> 00:58:26,600
Speaker 1: Yeah, it's really smart and hey, in nineteen seventy one,

1081
00:58:27,160 --> 00:58:30,320
Speaker 1: like that, look where we're at right when this film came.

1082
00:58:30,400 --> 00:58:34,240
Speaker 1: It's right on time for the women's movement and just

1083
00:58:34,320 --> 00:58:38,000
Speaker 1: for some of that cultural upheaval that was happening at

1084
00:58:38,000 --> 00:58:41,560
Speaker 1: the time. So yeah, I mean this that makes perfect sense.

1085
00:58:41,440 --> 00:58:45,880
Speaker 2: Right absolutely, And I just yeah, I like this movie.

1086
00:58:45,920 --> 00:58:48,720
Speaker 2: As with most older films, you always brace yourself a

1087
00:58:48,720 --> 00:58:51,680
Speaker 2: little bit when you hear the digs at race and

1088
00:58:52,320 --> 00:58:54,400
Speaker 2: all that kind of shit. But it's it's I will

1089
00:58:54,440 --> 00:58:58,480
Speaker 2: say again that it's not it's not overwhelming the way

1090
00:58:58,560 --> 00:59:01,120
Speaker 2: that some older films can be, and it doesn't take

1091
00:59:01,160 --> 00:59:03,640
Speaker 2: you didn't take me out of the narrative entirely the

1092
00:59:03,640 --> 00:59:06,400
Speaker 2: way some other films. I'm like, what Like, I just

1093
00:59:06,520 --> 00:59:10,439
Speaker 2: really appreciated the scope of this film as well as

1094
00:59:10,520 --> 00:59:14,080
Speaker 2: like the subject matter of the narrative, the tone, everything.

1095
00:59:14,120 --> 00:59:16,080
Speaker 2: I just really liked the scope of this movie and

1096
00:59:17,000 --> 00:59:19,120
Speaker 2: I think it's a great one to watch if you

1097
00:59:19,200 --> 00:59:21,840
Speaker 2: haven't given it a shot. You're in for a treat,

1098
00:59:22,360 --> 00:59:24,360
Speaker 2: and if you have seen it and you haven't seen

1099
00:59:24,360 --> 00:59:26,400
Speaker 2: it in a long time, I think it's definitely worth

1100
00:59:26,400 --> 00:59:27,000
Speaker 2: a rewatch.

1101
00:59:27,800 --> 00:59:32,200
Speaker 1: Oh yeah, I mean I love this movie and one

1102
00:59:32,200 --> 00:59:34,440
Speaker 1: of the best parts I mean I said it's like

1103
00:59:34,480 --> 00:59:36,480
Speaker 1: a mood, right, I mean, it definitely is a mood.

1104
00:59:36,560 --> 00:59:39,520
Speaker 1: But like the part of why that is is because

1105
00:59:39,680 --> 00:59:42,240
Speaker 1: of that Leonard Cohen soundtrack too.

1106
00:59:42,520 --> 00:59:43,120
Speaker 2: Or it's like.

1107
00:59:43,320 --> 00:59:47,080
Speaker 1: Those songs, it's crazy, like how they just so fit,

1108
00:59:47,480 --> 00:59:50,600
Speaker 1: like they're kind of these like it's just this kind

1109
00:59:50,600 --> 00:59:54,200
Speaker 1: of like steady metronome in the film is like his

1110
00:59:54,320 --> 00:59:56,720
Speaker 1: voice pops up and he's singing the song and it's like, oh,

1111
00:59:56,800 --> 00:59:59,800
Speaker 1: the lyrics of the song are kind of matching of

1112
01:00:00,080 --> 01:00:03,560
Speaker 1: what's happening in the film, and yeah, creates a big mood.

1113
01:00:04,160 --> 01:00:07,240
Speaker 2: Oh, and it's it completely is in line with I mean,

1114
01:00:07,360 --> 01:00:10,880
Speaker 2: Leonard Cohen's songs are. They of course have the ability

1115
01:00:10,920 --> 01:00:13,439
Speaker 2: to be very morose to begin with. He has that low,

1116
01:00:13,480 --> 01:00:16,880
Speaker 2: gravelly voice and he's singing about heartache and all these

1117
01:00:17,000 --> 01:00:20,240
Speaker 2: very deep things. But what I love about how they

1118
01:00:20,320 --> 01:00:23,480
Speaker 2: use they use it sparingly, but they use it so pointedly.

1119
01:00:23,960 --> 01:00:27,200
Speaker 2: His songs and his soundtrack, and they use the same

1120
01:00:27,360 --> 01:00:30,560
Speaker 2: song at certain points, Like there are a few songs

1121
01:00:30,560 --> 01:00:34,360
Speaker 2: that they kind of bounce between. But when he's singing,

1122
01:00:34,400 --> 01:00:37,400
Speaker 2: like a very specific song, the song that opens the film,

1123
01:00:37,840 --> 01:00:39,720
Speaker 2: when they play it again, you're like, oh, this is

1124
01:00:39,760 --> 01:00:43,080
Speaker 2: setting the mood for the uncertainty that we felt at

1125
01:00:43,080 --> 01:00:45,800
Speaker 2: the beginning of the film. They're kind of telegraphing to

1126
01:00:45,880 --> 01:00:48,160
Speaker 2: us this is also going to be a moment of uncertainty,

1127
01:00:48,640 --> 01:00:50,480
Speaker 2: or it's just kind of I love the way they

1128
01:00:50,520 --> 01:00:54,080
Speaker 2: bounce back and forth. And he has such a distinctive sound,

1129
01:00:54,840 --> 01:00:57,600
Speaker 2: and it's there. These are his earlier songs too. So

1130
01:00:57,680 --> 01:00:59,840
Speaker 2: his earlier songs are very like, you know, him and

1131
01:00:59,880 --> 01:01:04,680
Speaker 2: a guitar and like, you know, just very simple and

1132
01:01:04,720 --> 01:01:08,080
Speaker 2: bare bones. And I think that that is not something

1133
01:01:08,120 --> 01:01:11,200
Speaker 2: you're used to in a Western either. It's usually somebody

1134
01:01:11,200 --> 01:01:13,919
Speaker 2: with a fiddle in a corner. Yeah, you know, kind

1135
01:01:13,920 --> 01:01:21,080
Speaker 2: of exactly. So I like that it lent itself to

1136
01:01:22,080 --> 01:01:26,760
Speaker 2: the seventies and to that time frame where things were

1137
01:01:26,880 --> 01:01:30,120
Speaker 2: very again, like it's just the soundtrack definitely places it

1138
01:01:30,160 --> 01:01:32,880
Speaker 2: in a moment in time. It would be like if

1139
01:01:32,920 --> 01:01:35,720
Speaker 2: we had I don't know, like if a movie now

1140
01:01:36,680 --> 01:01:40,000
Speaker 2: was made like if it was a merchant Ivory film

1141
01:01:40,760 --> 01:01:43,240
Speaker 2: and the Weekend did the soundtrack, like guess, kind of

1142
01:01:43,280 --> 01:01:45,520
Speaker 2: a cognitive dissonance, but this kind.

1143
01:01:45,320 --> 01:01:51,280
Speaker 1: Of works totally, totally, No, it's it's great. I'm so

1144
01:01:51,480 --> 01:01:55,360
Speaker 1: glad that you brought this to the table because it's

1145
01:01:55,440 --> 01:01:57,720
Speaker 1: it's a movie that I'd seen several times but I

1146
01:01:57,720 --> 01:02:00,800
Speaker 1: hadn't seen in a while and got to watch it

1147
01:02:00,840 --> 01:02:04,760
Speaker 1: on Criterion. Looked fucking incredible, and so you know what,

1148
01:02:04,960 --> 01:02:07,520
Speaker 1: like I'm always gonna be in the mood for this.

1149
01:02:08,280 --> 01:02:10,920
Speaker 1: I definitely like to watch it in the winter or

1150
01:02:10,920 --> 01:02:12,800
Speaker 1: in the you know, in the fall, because it's that

1151
01:02:12,920 --> 01:02:15,840
Speaker 1: kind of movie. But shit, here we are in spring

1152
01:02:15,880 --> 01:02:17,960
Speaker 1: and I'm loving it. I'm like, bring me to that

1153
01:02:18,160 --> 01:02:21,560
Speaker 1: snowy ass Like all of the I was noticing like

1154
01:02:21,600 --> 01:02:23,480
Speaker 1: as they're building up the town, they have these like

1155
01:02:23,600 --> 01:02:26,439
Speaker 1: planks that they like walk across, and I'm like, look

1156
01:02:26,480 --> 01:02:29,240
Speaker 1: at this, like little Wooden City. This is like a

1157
01:02:29,240 --> 01:02:32,280
Speaker 1: little Hobbit town for these for these folks, it's kind

1158
01:02:32,280 --> 01:02:32,760
Speaker 1: of awesome.

1159
01:02:33,480 --> 01:02:37,080
Speaker 2: But yeah, it's It's also kind of funny because if

1160
01:02:37,120 --> 01:02:40,160
Speaker 2: you've ever been you've ever been on a film set,

1161
01:02:40,200 --> 01:02:43,120
Speaker 2: it's still very similar to that where it's like, here's

1162
01:02:43,160 --> 01:02:45,880
Speaker 2: where you can walk. We put out a path for you.

1163
01:02:46,000 --> 01:02:49,200
Speaker 2: You don't walk anywhere else. So it's kind of funny

1164
01:02:49,200 --> 01:02:53,200
Speaker 2: to me that they like just implemented that into the movie, like, yeah,

1165
01:02:53,360 --> 01:02:54,720
Speaker 2: here's where you can be.

1166
01:02:55,760 --> 01:02:57,960
Speaker 1: Yeah, no, it's it's it's it's so cool. It's such

1167
01:02:57,960 --> 01:03:01,360
Speaker 1: a great film. So so glad picked it, as I

1168
01:03:01,440 --> 01:03:02,520
Speaker 1: always say.

1169
01:03:02,560 --> 01:03:04,120
Speaker 2: Well, I'm glad you picked your movie.

1170
01:03:04,840 --> 01:03:09,960
Speaker 1: Well, on the other side, it's this high wattage. It's

1171
01:03:10,120 --> 01:03:13,760
Speaker 1: very different visually from the movie that you just talked about.

1172
01:03:14,200 --> 01:03:16,840
Speaker 1: But we're gonna get into it for sure. So my

1173
01:03:16,960 --> 01:03:21,280
Speaker 1: movie for the theme. Sundays with Granddad is a movie

1174
01:03:21,320 --> 01:03:25,560
Speaker 1: from nineteen fifty three. It was written by Aby Guthrie

1175
01:03:25,640 --> 01:03:31,440
Speaker 1: Junior from a novel by Jack Schaefer, directed by George Stevens,

1176
01:03:31,760 --> 01:03:34,720
Speaker 1: and the film is called Shane.

1177
01:03:35,240 --> 01:03:36,200
Speaker 2: Call Me Shane.

1178
01:03:36,840 --> 01:03:41,200
Speaker 1: Shane who attracted the woman with his quiet strength, who

1179
01:03:41,280 --> 01:03:43,880
Speaker 1: fascinated the boy with a glint of his gun. I

1180
01:03:43,920 --> 01:03:48,040
Speaker 1: tried to do my best little Joey impression that it'll

1181
01:03:48,080 --> 01:03:50,400
Speaker 1: I'm sure I will take another stab at it. Don't worry.

1182
01:03:52,360 --> 01:03:53,240
Speaker 2: I hope you do.

1183
01:03:53,520 --> 01:03:57,640
Speaker 1: Yeah. God, So you know this is a movie obviously

1184
01:03:57,800 --> 01:04:01,080
Speaker 1: that I had heard of many times before I actually

1185
01:04:01,120 --> 01:04:07,720
Speaker 1: saw it. Okay, it's considered one of the best westerns

1186
01:04:07,720 --> 01:04:12,600
Speaker 1: of all time, not just by the nation's Grandpas, of course,

1187
01:04:12,960 --> 01:04:17,560
Speaker 1: but the AFI, the American Film Institute says it's it's

1188
01:04:17,560 --> 01:04:20,880
Speaker 1: one of the top five most important American Westerns of

1189
01:04:20,920 --> 01:04:26,000
Speaker 1: all time, alongside stuff like The Searchers and High Noon,

1190
01:04:27,400 --> 01:04:31,000
Speaker 1: two movies that I definitely need to talk about at

1191
01:04:31,000 --> 01:04:35,400
Speaker 1: some point on this podcast. I just rewatched The Searchers recently,

1192
01:04:35,600 --> 01:04:38,320
Speaker 1: got I gotta find a way to talk about that movie.

1193
01:04:38,400 --> 01:04:39,760
Speaker 2: Man, let's make a theme.

1194
01:04:40,040 --> 01:04:44,080
Speaker 1: Yeah, well, we'll have to weave it in sometime. But

1195
01:04:44,080 --> 01:04:46,680
Speaker 1: but yeah, So we talked a little bit about George

1196
01:04:46,680 --> 01:04:48,920
Speaker 1: Stevens when we talked about A Place in the Sun.

1197
01:04:49,240 --> 01:04:52,919
Speaker 1: That's who directed Shane. So you know, it's gonna look

1198
01:04:53,120 --> 01:04:56,320
Speaker 1: really good and and and that's part of I think

1199
01:04:56,400 --> 01:05:00,520
Speaker 1: why it's beloved, because it's it's very visually stunning and

1200
01:05:00,520 --> 01:05:03,240
Speaker 1: and a lot of it is just that it's a

1201
01:05:03,400 --> 01:05:08,360
Speaker 1: fifties color western, right, It's it's got that Douglas Cirque thing.

1202
01:05:08,400 --> 01:05:12,400
Speaker 1: There's just like the colors in the saturation. It looks great.

1203
01:05:13,720 --> 01:05:19,440
Speaker 1: But also it was filmed in Wyoming. Which did you

1204
01:05:19,560 --> 01:05:22,439
Speaker 1: drive through Wyoming when you went to Alaska at all?

1205
01:05:22,560 --> 01:05:25,280
Speaker 2: Oh? Yeah, well I'm one of the times I did

1206
01:05:25,360 --> 01:05:27,480
Speaker 2: a cross country road trip. I've been through Wyoming. Yeah.

1207
01:05:27,520 --> 01:05:32,880
Speaker 1: Yeah, I've driven straight through Wyoming twice. And for my money,

1208
01:05:33,360 --> 01:05:38,040
Speaker 1: in my vote, it's probably the prettiest state besides New Mexico.

1209
01:05:38,440 --> 01:05:41,600
Speaker 2: Yeah, it's for me, the best kept secret. And they

1210
01:05:41,600 --> 01:05:44,520
Speaker 2: don't want us there. No one in Wyoming wants us there,

1211
01:05:45,200 --> 01:05:47,800
Speaker 2: so they never talk about it. They're like, yeah, yeah,

1212
01:05:47,840 --> 01:05:50,560
Speaker 2: we're like super right wing and guns or whatever. It's

1213
01:05:50,800 --> 01:05:51,920
Speaker 2: gorgeous there.

1214
01:05:51,920 --> 01:05:54,920
Speaker 1: Yeah, because they're keeping it to themselves. They're just like,

1215
01:05:55,080 --> 01:05:57,880
Speaker 1: y'all can't come here because it's too pretty. And also

1216
01:05:58,400 --> 01:06:01,959
Speaker 1: like there were times where when I was driving through,

1217
01:06:02,040 --> 01:06:05,200
Speaker 1: so just a quick sidebar. I was on a road

1218
01:06:05,200 --> 01:06:08,919
Speaker 1: trip with my friend April Richardson, who I've talked about

1219
01:06:08,960 --> 01:06:14,600
Speaker 1: this podcast before. We drove a mini van through Wyoming

1220
01:06:14,920 --> 01:06:19,360
Speaker 1: two times, and there were points of the trip where

1221
01:06:19,520 --> 01:06:23,320
Speaker 1: we were the only car on the two lane road

1222
01:06:23,400 --> 01:06:27,720
Speaker 1: for literal hours yep, right, and there was no speed

1223
01:06:27,760 --> 01:06:29,920
Speaker 1: limit sides like she was going like one hundred and

1224
01:06:30,000 --> 01:06:33,200
Speaker 1: twenty miles an hour in this minivan. I swear to god,

1225
01:06:33,240 --> 01:06:35,320
Speaker 1: I thought that all the car parts were gonna fly

1226
01:06:35,480 --> 01:06:38,640
Speaker 1: off the minivan. I was like, there's nobody driving a

1227
01:06:38,680 --> 01:06:41,480
Speaker 1: minivan at one twenty. Just because it says it on

1228
01:06:41,560 --> 01:06:44,480
Speaker 1: the dashboard doesn't mean you can actually do it. But

1229
01:06:44,520 --> 01:06:47,720
Speaker 1: the whole thing was rattling. I mean, it was kind

1230
01:06:47,720 --> 01:06:50,840
Speaker 1: of amazing, Like it was just like, well, I.

1231
01:06:50,800 --> 01:06:53,000
Speaker 2: Don't know if it's Montana or Wyoming, but I think

1232
01:06:53,160 --> 01:06:57,160
Speaker 2: didn't Kanye West by a bunch of land in Wyoming? Yeah?

1233
01:06:57,840 --> 01:07:00,760
Speaker 1: Ted Turner did. May I can't remember a lot of people,

1234
01:07:00,760 --> 01:07:04,680
Speaker 1: a lot of rich people by land in those parts

1235
01:07:04,720 --> 01:07:05,600
Speaker 1: of the world.

1236
01:07:05,880 --> 01:07:08,760
Speaker 2: To turn is Montana, Yeah, but I think that like

1237
01:07:08,840 --> 01:07:12,919
Speaker 2: Montana's kind of where the Hollywood folks gravitate too, Okay,

1238
01:07:12,920 --> 01:07:17,200
Speaker 2: But Wyoming's where it's at. Wyoming is real and it's

1239
01:07:17,280 --> 01:07:21,160
Speaker 2: expansive and it's gorgeous, and if you are a single

1240
01:07:21,200 --> 01:07:23,800
Speaker 2: black woman driving a car with New York plates on it,

1241
01:07:24,160 --> 01:07:27,120
Speaker 2: you absolutely will think you're gonna get lynched like it is.

1242
01:07:28,200 --> 01:07:30,320
Speaker 2: I'm sorry, Wyoming, but that is just the feeling I

1243
01:07:30,320 --> 01:07:32,400
Speaker 2: get because it's just too big. It's just like it's

1244
01:07:32,440 --> 01:07:36,160
Speaker 2: too open. You're like, anything could happen here, good or bad, right,

1245
01:07:36,600 --> 01:07:37,520
Speaker 2: but it's gorgeous.

1246
01:07:37,600 --> 01:07:41,040
Speaker 1: But then here's the thing they Shane was filmed sort

1247
01:07:41,080 --> 01:07:45,160
Speaker 1: of near Jackson Jackson Hole, which is like where rich

1248
01:07:45,240 --> 01:07:50,160
Speaker 1: people hang out, Like, yes, people like helicopter into Jackson

1249
01:07:50,160 --> 01:07:53,040
Speaker 1: Hole and do rich people things. And there's actually in

1250
01:07:53,080 --> 01:07:55,840
Speaker 1: the film there are shots of the Grand Tetons, which

1251
01:07:56,440 --> 01:07:59,920
Speaker 1: is my favorite national park. When I saw the Grand Teeton,

1252
01:08:00,160 --> 01:08:04,720
Speaker 1: I was like, this looks like the label from a coures.

1253
01:08:05,040 --> 01:08:10,440
Speaker 1: It's like beautiful, it doesn't seem real, like anyway gorgeous.

1254
01:08:10,440 --> 01:08:12,520
Speaker 1: So this is where they filmed this movie, in this

1255
01:08:12,800 --> 01:08:17,559
Speaker 1: very gorgeous part of the world. So I'll give you

1256
01:08:17,840 --> 01:08:22,120
Speaker 1: a one sentenced synopsis of shame. Okay, I'm laughing already

1257
01:08:22,120 --> 01:08:22,960
Speaker 1: and I'm sorry.

1258
01:08:23,439 --> 01:08:24,080
Speaker 2: Oh good luck.

1259
01:08:26,160 --> 01:08:34,080
Speaker 1: A mysterious cowboy with gorgeous, luscious blonde locks wanders onto

1260
01:08:34,080 --> 01:08:38,600
Speaker 1: a small town of rural homesteaders and literally everyone in

1261
01:08:38,640 --> 01:08:43,880
Speaker 1: this one family falls in love with him, literally every

1262
01:08:43,920 --> 01:08:49,640
Speaker 1: member of the family. So more about that later, obviously.

1263
01:08:49,800 --> 01:08:54,800
Speaker 2: So the titular character, before you start, I just have

1264
01:08:54,920 --> 01:09:00,240
Speaker 2: to say, the million doesn't have any lights on, and

1265
01:09:00,320 --> 01:09:04,679
Speaker 2: it's like so it's like this this film is being

1266
01:09:04,720 --> 01:09:08,600
Speaker 2: dictated by like a shadowy dark figure. You know, I

1267
01:09:08,640 --> 01:09:10,519
Speaker 2: see it's like your hands every once in a while

1268
01:09:10,640 --> 01:09:12,599
Speaker 2: going up in the sunlight in the window. It's very,

1269
01:09:12,680 --> 01:09:13,320
Speaker 2: very funny.

1270
01:09:13,600 --> 01:09:17,559
Speaker 1: Okay, it's because I'm in a my parents guest bedroom

1271
01:09:17,640 --> 01:09:21,240
Speaker 1: again where we started this podcast. We started this podcast

1272
01:09:21,240 --> 01:09:24,759
Speaker 1: in my parents guest bedroom, and they have a lamp

1273
01:09:24,920 --> 01:09:27,080
Speaker 1: in here that has no light bulb in it, and

1274
01:09:27,120 --> 01:09:30,760
Speaker 1: I don't know where their light bulbs are, and either

1275
01:09:30,800 --> 01:09:34,519
Speaker 1: do they and neither do they. Hold pause. I'm gonna

1276
01:09:34,520 --> 01:09:37,080
Speaker 1: try to open the blinds. Maybe that'll help because I

1277
01:09:37,080 --> 01:09:38,320
Speaker 1: can't see myself either.

1278
01:09:38,640 --> 01:09:42,719
Speaker 2: Hold on, she's back. Okay.

1279
01:09:43,320 --> 01:09:46,920
Speaker 1: So I didn't realize I have my notes above my

1280
01:09:47,520 --> 01:09:51,040
Speaker 1: above my camera or you know, my face. So I

1281
01:09:51,040 --> 01:09:53,320
Speaker 1: didn't realize I was completely in the dark. That cracks

1282
01:09:53,360 --> 01:09:53,840
Speaker 1: me up.

1283
01:09:55,840 --> 01:09:59,240
Speaker 2: Totally. It was like a like a mime or like

1284
01:09:59,240 --> 01:10:03,200
Speaker 2: remember this movement shots people with like like this is

1285
01:10:03,200 --> 01:10:05,040
Speaker 2: some movement shots. Shit, I love it. Yeah.

1286
01:10:05,080 --> 01:10:08,360
Speaker 1: No, I just moved my uh my word document and

1287
01:10:08,400 --> 01:10:10,519
Speaker 1: then I was like, holy fuck, I can't see anything.

1288
01:10:13,160 --> 01:10:17,040
Speaker 1: Oh shit, man, all right, back to Shane. Back to Shane.

1289
01:10:17,280 --> 01:10:24,599
Speaker 1: So so, okay. Shane is played by the classic actor

1290
01:10:24,760 --> 01:10:29,479
Speaker 1: Alan Ladd, whom he was basically known for two kinds

1291
01:10:29,520 --> 01:10:31,760
Speaker 1: of films, right, So he did a lot of westerns

1292
01:10:32,120 --> 01:10:35,280
Speaker 1: and he did film noir, the latter.

1293
01:10:35,840 --> 01:10:36,400
Speaker 2: He was in.

1294
01:10:36,439 --> 01:10:40,840
Speaker 1: Movies, most notably with the actress Veronica Lake. They were

1295
01:10:40,880 --> 01:10:43,080
Speaker 1: in stuff. You know, they were in films like The

1296
01:10:43,080 --> 01:10:46,599
Speaker 1: Glass Key and The Blue Dahlia. She Veronica Lake. If

1297
01:10:46,600 --> 01:10:49,400
Speaker 1: you don't know who she is, she's the lady who

1298
01:10:49,439 --> 01:10:52,680
Speaker 1: basically created the swoopy bang. Like if you if you

1299
01:10:52,760 --> 01:10:55,240
Speaker 1: google pictures of Veronica Lake, you're like, oh, that's the

1300
01:10:55,280 --> 01:10:57,400
Speaker 1: prototype for Jessica Rabbit or whomever.

1301
01:10:57,680 --> 01:10:57,880
Speaker 2: You know.

1302
01:10:57,920 --> 01:11:03,439
Speaker 1: It's Likeanica Lake, and then you know Gilda or whatever.

1303
01:11:03,479 --> 01:11:06,400
Speaker 1: But anyway, Veronica Lake was known for that swoopy bang.

1304
01:11:06,840 --> 01:11:09,960
Speaker 1: And when her and Alan Ladd were in the Wars together,

1305
01:11:10,120 --> 01:11:15,240
Speaker 1: they were pretty smoking, just a couple of cute little blondes. Because,

1306
01:11:15,400 --> 01:11:18,479
Speaker 1: by the way, they were both sort of known for

1307
01:11:18,520 --> 01:11:25,599
Speaker 1: being like tiny people, like smaller statued people, so they

1308
01:11:25,600 --> 01:11:28,559
Speaker 1: fit really well together because they were like.

1309
01:11:28,520 --> 01:11:33,200
Speaker 2: These I'm telling you actors are small. Actors are small people.

1310
01:11:33,320 --> 01:11:39,679
Speaker 1: Yes, But in spite of that, in Shane Okay, they

1311
01:11:40,400 --> 01:11:43,920
Speaker 1: they make Alan Ladd look like such a fucking stud, right,

1312
01:11:44,040 --> 01:11:48,600
Speaker 1: and like, listen, I get that this movie is called Shane, right, Like,

1313
01:11:49,400 --> 01:11:52,719
Speaker 1: I get it, it's about him, but I also think

1314
01:11:52,840 --> 01:11:58,000
Speaker 1: that visually they really put this character on a pedestal

1315
01:11:58,120 --> 01:12:02,840
Speaker 1: in this slightly insane way to me, like the way

1316
01:12:02,920 --> 01:12:06,880
Speaker 1: that he's shot. Okay, especially at the beginning when he's

1317
01:12:06,920 --> 01:12:12,960
Speaker 1: like introduced, right, he looks like this smiling blonde angel.

1318
01:12:13,040 --> 01:12:15,360
Speaker 2: And they're shooting him from like like blows, so he's

1319
01:12:15,360 --> 01:12:17,640
Speaker 2: always looks like the jolly green giants.

1320
01:12:17,720 --> 01:12:21,519
Speaker 1: In the beginning, he shows up and there's this like

1321
01:12:22,120 --> 01:12:24,920
Speaker 1: there's this single shot of him and there's like the

1322
01:12:24,960 --> 01:12:28,000
Speaker 1: background and he's smiling and he's like hi, and You're

1323
01:12:28,040 --> 01:12:31,280
Speaker 1: just like, holy shit. It's very high glam to me,

1324
01:12:32,479 --> 01:12:35,000
Speaker 1: which is a part of this movie that I actually appreciate.

1325
01:12:35,120 --> 01:12:40,519
Speaker 1: But so also in this film is the child actor

1326
01:12:40,680 --> 01:12:45,240
Speaker 1: Brandon Dewilda, who was also Lonnie in hud from like

1327
01:12:45,320 --> 01:12:49,200
Speaker 1: our second or third episode, right, He's like a little

1328
01:12:49,240 --> 01:12:53,559
Speaker 1: little kid in this film and maybe has the most

1329
01:12:53,600 --> 01:13:02,120
Speaker 1: severe undershave I've ever seen. That hair cut is wild.

1330
01:13:03,120 --> 01:13:06,919
Speaker 2: Does him no favor, Nuns.

1331
01:13:07,640 --> 01:13:11,799
Speaker 1: I will say this, anytime he says the word Shane,

1332
01:13:12,200 --> 01:13:15,679
Speaker 1: it comes off as slightly deranged, and I love it.

1333
01:13:16,280 --> 01:13:17,040
Speaker 1: I love it.

1334
01:13:17,280 --> 01:13:23,439
Speaker 2: This kid is like he's the human embodiment of a tumbleweed. Yeah,

1335
01:13:23,520 --> 01:13:24,720
Speaker 2: it's fantastic.

1336
01:13:25,120 --> 01:13:26,720
Speaker 1: I don't know if I'd like this movie so much

1337
01:13:26,800 --> 01:13:28,800
Speaker 1: if this kid was not in it, because he is

1338
01:13:30,160 --> 01:13:33,800
Speaker 1: so weird and is completely love it. I love it.

1339
01:13:33,840 --> 01:13:34,320
Speaker 2: I love it.

1340
01:13:34,479 --> 01:13:40,040
Speaker 1: So Shane is about ostensibly this this family of homesteaders, okay,

1341
01:13:40,320 --> 01:13:42,080
Speaker 1: and they're trying to build this community out on the

1342
01:13:42,120 --> 01:13:44,840
Speaker 1: open range. And he got this guy named Joe Starlett

1343
01:13:44,880 --> 01:13:48,479
Speaker 1: played by Van Heflin, and his wife Marian, who is

1344
01:13:48,520 --> 01:13:51,439
Speaker 1: played by the actress Jean Arthur you might know her

1345
01:13:51,680 --> 01:13:55,280
Speaker 1: from Mister Smith goes to Washington a lot of other films,

1346
01:13:56,080 --> 01:13:59,280
Speaker 1: and she actually kind of came out of semi retirement

1347
01:13:59,320 --> 01:14:03,400
Speaker 1: to the to do this movie, and then she actually

1348
01:14:03,439 --> 01:14:06,280
Speaker 1: retired after this movie. So she's like, I'll come back

1349
01:14:06,280 --> 01:14:08,760
Speaker 1: for one more baby and then I'm out. But they

1350
01:14:08,800 --> 01:14:11,960
Speaker 1: had this young son named Joey, who again is played

1351
01:14:11,960 --> 01:14:15,800
Speaker 1: by Brandon Dewilden. And one day they're just out in

1352
01:14:15,800 --> 01:14:21,240
Speaker 1: the yard and this mysterious blonde drifter cowboy comes mosying

1353
01:14:21,320 --> 01:14:25,120
Speaker 1: through their property okay, and the little Joey character looks

1354
01:14:25,160 --> 01:14:27,880
Speaker 1: at him and it's just immediately like, who is this

1355
01:14:28,000 --> 01:14:32,400
Speaker 1: strange blonde hunk, like he's just immediately impressed with him. Right,

1356
01:14:32,680 --> 01:14:33,719
Speaker 1: Joey is the first.

1357
01:14:33,520 --> 01:14:33,920
Speaker 2: Of the fall.

1358
01:14:34,479 --> 01:14:39,519
Speaker 1: Yeah, Joey falls instantly, Okay, And really it's just that

1359
01:14:39,600 --> 01:14:42,280
Speaker 1: Joey he's just this very sweet kid. He wants to

1360
01:14:42,360 --> 01:14:45,880
Speaker 1: learn how to shoot his little baby rifle, and he

1361
01:14:45,920 --> 01:14:47,280
Speaker 1: wants to hang out with the big dudes. He just

1362
01:14:47,360 --> 01:14:50,479
Speaker 1: wants to be like a cowboy, right, and I would

1363
01:14:50,520 --> 01:14:52,519
Speaker 1: say he's probably like what seven or eight years old?

1364
01:14:52,880 --> 01:14:53,720
Speaker 2: Yeah. That.

1365
01:14:54,840 --> 01:14:58,160
Speaker 1: So meanwhile, there, so there's this group of bad guys

1366
01:14:58,200 --> 01:15:01,479
Speaker 1: in town, right, these cattlemen who are I think it's

1367
01:15:01,560 --> 01:15:04,479
Speaker 1: like there's two guys named Riker, but then they're just

1368
01:15:04,560 --> 01:15:07,479
Speaker 1: called the Rikers. Like the whole posse is called the Rikers.

1369
01:15:08,080 --> 01:15:11,040
Speaker 1: They're basically trying to run off these homesteaders. So there's

1370
01:15:11,080 --> 01:15:13,439
Speaker 1: like the Startlets and then a bunch of other people

1371
01:15:13,520 --> 01:15:16,680
Speaker 1: who are home setting in this area and they want this.

1372
01:15:16,920 --> 01:15:19,120
Speaker 1: The Rikers want to raise their cattle on this range,

1373
01:15:19,160 --> 01:15:22,000
Speaker 1: and they're like trying to get these people out. So

1374
01:15:22,680 --> 01:15:25,320
Speaker 1: Shane when he shows up, sort of immediately sticks up

1375
01:15:25,360 --> 01:15:28,720
Speaker 1: for joe when the Rikers come over to intimidate them,

1376
01:15:28,720 --> 01:15:30,719
Speaker 1: which is something that they're doing like all the time,

1377
01:15:31,320 --> 01:15:34,720
Speaker 1: So Shane's kind of hanging out. It's like, don't mess

1378
01:15:34,760 --> 01:15:36,920
Speaker 1: with my dude. And so then of course immediately it's

1379
01:15:36,920 --> 01:15:38,800
Speaker 1: like you're invited to dinner and hey, you want to

1380
01:15:38,800 --> 01:15:42,120
Speaker 1: spend the night? Sure, So like he's already like being

1381
01:15:42,120 --> 01:15:47,280
Speaker 1: invited to join this family. And then you're like thinking, okay,

1382
01:15:47,280 --> 01:15:48,040
Speaker 1: who is Shane?

1383
01:15:48,400 --> 01:15:48,800
Speaker 2: All Right?

1384
01:15:49,520 --> 01:15:56,719
Speaker 1: He's this luminous, wavy haired cowboy. Okay, but he's also

1385
01:15:56,880 --> 01:15:59,599
Speaker 1: like jumpy too and slightly sugar happy.

1386
01:16:00,120 --> 01:16:03,880
Speaker 2: Right. He's if he were in if this character we're

1387
01:16:03,960 --> 01:16:06,840
Speaker 2: in like a mob movie, he'd be the one who

1388
01:16:06,880 --> 01:16:10,439
Speaker 2: always has to face the door, yes, yes, because he

1389
01:16:10,640 --> 01:16:14,000
Speaker 2: can't stand anything happening around him that he's not expecting.

1390
01:16:14,120 --> 01:16:17,160
Speaker 2: Like he jumps ten feet in the air if a

1391
01:16:17,240 --> 01:16:20,799
Speaker 2: cow moves nears him, Yes, like a fucking buddy jumps

1392
01:16:20,800 --> 01:16:23,439
Speaker 2: by and his pistols out immediately, He's just like, don't

1393
01:16:23,479 --> 01:16:26,160
Speaker 2: fucking touch me. And you're so you're like, okay, he's

1394
01:16:26,200 --> 01:16:31,439
Speaker 2: this like magnanimous, beautiful man, but also like seems kind

1395
01:16:31,439 --> 01:16:34,960
Speaker 2: of troubled, right, so you're like, uh, oh, you know

1396
01:16:35,000 --> 01:16:35,519
Speaker 2: how this.

1397
01:16:35,400 --> 01:16:38,880
Speaker 1: Is going to turn out immediately? Right, And he doesn't

1398
01:16:38,920 --> 01:16:43,120
Speaker 1: ever like really talk about his past, which to me

1399
01:16:43,240 --> 01:16:47,040
Speaker 1: and you is very sus But I guess back in

1400
01:16:47,080 --> 01:16:48,720
Speaker 1: this era is fine. I don't know.

1401
01:16:49,479 --> 01:16:52,080
Speaker 2: Well, that's the thing, Like, back in this era, drifting

1402
01:16:52,640 --> 01:16:55,040
Speaker 2: was normal. It's like you work on a ranch, you

1403
01:16:55,080 --> 01:16:56,840
Speaker 2: work a place, and then you move it along and

1404
01:16:56,880 --> 01:16:59,439
Speaker 2: work somewhere else, and you know, try to get ahead

1405
01:16:59,479 --> 01:17:02,280
Speaker 2: of the dust and the depression and all that shit

1406
01:17:02,360 --> 01:17:05,280
Speaker 2: that's come in and like just stay stayed wiley, you

1407
01:17:05,320 --> 01:17:08,360
Speaker 2: stayed on the move. But he you can be wiley

1408
01:17:08,880 --> 01:17:12,400
Speaker 2: and still have a pest that you're willing to discuss

1409
01:17:12,439 --> 01:17:14,600
Speaker 2: and be like, oh, yeah, I grew up in Maine

1410
01:17:14,640 --> 01:17:15,439
Speaker 2: like something.

1411
01:17:16,200 --> 01:17:19,559
Speaker 1: Yes, But but he's He's basically like, but they'll just

1412
01:17:19,560 --> 01:17:23,000
Speaker 1: be hypnotized by these locks, by this beautiful wavy hair,

1413
01:17:23,080 --> 01:17:26,439
Speaker 1: and maybe they won't ask any questions. I'm chill with that, right, So, like,

1414
01:17:26,640 --> 01:17:28,639
Speaker 1: because that's the thing, is that like just as you said,

1415
01:17:28,680 --> 01:17:31,439
Speaker 1: like the next day, Shane is invited to work for

1416
01:17:31,600 --> 01:17:35,679
Speaker 1: Joe on his property, and you know, like I also said,

1417
01:17:35,800 --> 01:17:39,960
Speaker 1: the Rikers are like bullying all these homesteaders constantly, and

1418
01:17:40,280 --> 01:17:42,639
Speaker 1: one by one these families are coming up to Joe

1419
01:17:42,720 --> 01:17:45,040
Speaker 1: and they're like, yo, we're dipping. We can't this is

1420
01:17:45,080 --> 01:17:48,360
Speaker 1: too much for us. We can't handle this. And Joe,

1421
01:17:48,840 --> 01:17:52,840
Speaker 1: of course, is like fuck that, I'm staying. They're not

1422
01:17:52,960 --> 01:17:57,439
Speaker 1: pushing me off this land. I built this log cabin

1423
01:17:57,560 --> 01:18:02,519
Speaker 1: with an axe, which honestly seems like a lot of work.

1424
01:18:02,840 --> 01:18:07,519
Speaker 2: Oh only an axe. Like he didn't even have like

1425
01:18:08,360 --> 01:18:10,799
Speaker 2: mortar or any like. He didn't even have like water

1426
01:18:10,960 --> 01:18:13,880
Speaker 2: to make anything to stick those fucking things together. There

1427
01:18:13,960 --> 01:18:17,080
Speaker 2: was nothing but trees that he had to haul in

1428
01:18:17,120 --> 01:18:18,640
Speaker 2: from the fucking Grand Tetons.

1429
01:18:18,800 --> 01:18:20,679
Speaker 1: Oh yeah, yeah.

1430
01:18:20,720 --> 01:18:21,719
Speaker 2: And like van.

1431
01:18:21,640 --> 01:18:24,759
Speaker 1: Heflin is, there's many scenes of van Heflin like literally

1432
01:18:24,840 --> 01:18:26,920
Speaker 1: chopping wood. I'm like, damn, this is gonna take all

1433
01:18:27,040 --> 01:18:30,400
Speaker 1: day to chop just is like this one log. I'm like, damn,

1434
01:18:31,000 --> 01:18:33,040
Speaker 1: like this is this is a lot of work. So

1435
01:18:33,080 --> 01:18:36,479
Speaker 1: of course he's like, I'm not leaving. I will be

1436
01:18:36,800 --> 01:18:40,920
Speaker 1: an artismal beef guy and no one's gonna fucking push

1437
01:18:40,960 --> 01:18:46,280
Speaker 1: me off my land or whatever. So Shane eventually he's

1438
01:18:46,360 --> 01:18:49,760
Speaker 1: loyal to Joe and becomes part of this family. And

1439
01:18:50,520 --> 01:18:56,040
Speaker 1: I cannot stress this enough. Okay, he's not only accepted

1440
01:18:56,200 --> 01:19:01,439
Speaker 1: by them, but dare I say, one by one, Joe,

1441
01:19:01,800 --> 01:19:04,840
Speaker 1: Marion and little Joey are all just falling in love

1442
01:19:04,880 --> 01:19:08,200
Speaker 1: with him, like falling in love with him. Like I'm

1443
01:19:08,320 --> 01:19:11,280
Speaker 1: sure there is somebody who's written academically about this, but

1444
01:19:11,360 --> 01:19:14,559
Speaker 1: like Shane is so hypnotic. I mean, it's like he's

1445
01:19:14,600 --> 01:19:17,760
Speaker 1: basically like the hairy styles of the Old West. Like

1446
01:19:18,280 --> 01:19:21,120
Speaker 1: men and women want to be with him, children want

1447
01:19:21,120 --> 01:19:25,639
Speaker 1: to be him, Like it's insane. Like there's this one scene,

1448
01:19:25,840 --> 01:19:28,000
Speaker 1: Oh my god, I gotta say, there's this one scene

1449
01:19:28,240 --> 01:19:31,680
Speaker 1: where Joe and Shane are like trying to work this

1450
01:19:31,800 --> 01:19:36,480
Speaker 1: giant stump or something in the ground. Shane is shirtless

1451
01:19:36,800 --> 01:19:40,280
Speaker 1: and he's glistening. He's like his muscles are glistening, and

1452
01:19:40,360 --> 01:19:43,680
Speaker 1: like everyone is just watching him, like Marian and Little Joe.

1453
01:19:43,800 --> 01:19:47,400
Speaker 1: Everyone's watching him. And Joe's like, holy shit, Like this

1454
01:19:47,479 --> 01:19:49,800
Speaker 1: man clear the stumps. I've been working on this for

1455
01:19:49,880 --> 01:19:54,080
Speaker 1: like two years. Who is this blonde god that wandered

1456
01:19:54,200 --> 01:19:54,559
Speaker 1: up here?

1457
01:19:55,200 --> 01:19:58,200
Speaker 2: Joe gets so psyched because they're like talking about the

1458
01:19:58,240 --> 01:20:00,760
Speaker 2: possibility that maybe Shane will work for them, and then

1459
01:20:00,840 --> 01:20:04,400
Speaker 2: Shane disappears and all of a sudden, they're like, oh shit,

1460
01:20:04,640 --> 01:20:09,479
Speaker 2: he's out there doing that stump. You just like gets

1461
01:20:09,520 --> 01:20:11,680
Speaker 2: so excited. He's like yeah, like let me grab my

1462
01:20:11,720 --> 01:20:14,559
Speaker 2: axe and go out there, and he's smiling. No one

1463
01:20:14,600 --> 01:20:17,160
Speaker 2: has smiled as much swinging an axe as Joe did

1464
01:20:17,160 --> 01:20:19,719
Speaker 2: in that scene. He was so happy to be working

1465
01:20:19,760 --> 01:20:20,320
Speaker 2: with Shane.

1466
01:20:20,640 --> 01:20:24,880
Speaker 1: Yeah, I mean there is something. I mean, there's something

1467
01:20:25,160 --> 01:20:27,679
Speaker 1: strange about that stump scene. And I can't really put

1468
01:20:27,680 --> 01:20:30,519
Speaker 1: my finger on it, but it feels very sexual and

1469
01:20:30,600 --> 01:20:32,760
Speaker 1: I don't I don't know if it's because Alan Ladd

1470
01:20:32,840 --> 01:20:35,559
Speaker 1: is shirt listened, but I'm like, what is going on here?

1471
01:20:36,680 --> 01:20:39,879
Speaker 1: And there are several moments for this where this happens

1472
01:20:39,920 --> 01:20:45,440
Speaker 1: in this movie. But here's the thing. Marian, Okay, Marian

1473
01:20:45,800 --> 01:20:50,320
Speaker 1: is staring at Shane in every scene and is basically

1474
01:20:50,400 --> 01:20:55,760
Speaker 1: like trying to like send a telepathic message to Shane, like, yo,

1475
01:20:55,960 --> 01:20:58,320
Speaker 1: I will leave my husband for you, just say the word.

1476
01:20:59,320 --> 01:21:01,759
Speaker 2: And my kid like I will just leave them.

1477
01:21:01,640 --> 01:21:05,720
Speaker 1: Boat in fact, and then the thing about little Joey.

1478
01:21:05,880 --> 01:21:10,599
Speaker 1: He actually says to her at one point, I love

1479
01:21:10,840 --> 01:21:14,760
Speaker 1: Shane as much as I love my dad. Is that okay?

1480
01:21:15,320 --> 01:21:15,679
Speaker 2: Okay?

1481
01:21:15,840 --> 01:21:18,639
Speaker 1: He actually asked my question's like is that okay?

1482
01:21:19,800 --> 01:21:23,760
Speaker 2: And she's like, oh damn. The pivotal parenting moment that

1483
01:21:23,800 --> 01:21:24,719
Speaker 2: we're in right now.

1484
01:21:25,040 --> 01:21:27,000
Speaker 1: But she's also like, but I get it. I get it,

1485
01:21:27,080 --> 01:21:29,280
Speaker 1: little guy. I get it because I'm in love with

1486
01:21:29,360 --> 01:21:30,840
Speaker 1: him too. Everyone's in love.

1487
01:21:30,720 --> 01:21:31,640
Speaker 2: With Shane, you know.

1488
01:21:32,479 --> 01:21:35,720
Speaker 1: So here's the thing this, So Shane is beloved by

1489
01:21:35,760 --> 01:21:39,760
Speaker 1: this family. But guess what the Rikers are like, who

1490
01:21:39,840 --> 01:21:41,920
Speaker 1: is this new guy in town? We don't like you.

1491
01:21:42,120 --> 01:21:46,960
Speaker 1: They're calling him a sodbuster and a pig farmer, which

1492
01:21:47,000 --> 01:21:49,639
Speaker 1: I was like, well, what's wrong with being a pig farmer? Honestly,

1493
01:21:49,920 --> 01:21:54,439
Speaker 1: I don't know. It's fine, Yeah, what's wrong with being

1494
01:21:54,479 --> 01:21:57,320
Speaker 1: a sodbuster? I guess too. Like these guys, there's just

1495
01:21:57,400 --> 01:22:01,120
Speaker 1: so fucking masculine. It's weird to be a armor. But

1496
01:22:01,200 --> 01:22:03,639
Speaker 1: there's this I want to talk about this because it's

1497
01:22:03,640 --> 01:22:06,800
Speaker 1: actually like, probably one of the most memorable parts of

1498
01:22:06,840 --> 01:22:13,439
Speaker 1: this movie is this epically long saloon brawl okay, where

1499
01:22:14,560 --> 01:22:19,679
Speaker 1: they're fucking with him. Shane decides to that he's had enough.

1500
01:22:20,320 --> 01:22:23,040
Speaker 1: He takes on like seven guys by himself.

1501
01:22:24,000 --> 01:22:26,559
Speaker 2: Oh this movie is like two hours long, and this

1502
01:22:26,640 --> 01:22:28,760
Speaker 2: bar brawl is about a half hour of it.

1503
01:22:28,840 --> 01:22:32,200
Speaker 1: Oh God, it is long, and like Shane takes on

1504
01:22:32,320 --> 01:22:35,840
Speaker 1: these seven guys way before Joe actually steps in with

1505
01:22:36,000 --> 01:22:38,720
Speaker 1: like a baseball bat and starts hitting people. But like

1506
01:22:38,800 --> 01:22:42,920
Speaker 1: before that, Shane was by himself kicking all these dud's asses.

1507
01:22:43,240 --> 01:22:47,040
Speaker 1: And I know you're gonna love this because I love it.

1508
01:22:47,080 --> 01:22:49,759
Speaker 1: They fucking trash this bar.

1509
01:22:51,439 --> 01:22:56,000
Speaker 2: Like a laugh because you're thinking about Joe building this

1510
01:22:56,160 --> 01:22:59,320
Speaker 2: log cabin with his bare hands. This poor bar, this

1511
01:22:59,360 --> 01:23:03,160
Speaker 2: poor saloon owner was like, mother fucker, I would have

1512
01:23:03,320 --> 01:23:05,559
Speaker 2: rather you just lit a match to this place than

1513
01:23:05,640 --> 01:23:08,599
Speaker 2: do this kind of damage to it. Fuck, I'm never

1514
01:23:08,720 --> 01:23:09,960
Speaker 2: gonna recover from this.

1515
01:23:10,720 --> 01:23:14,200
Speaker 1: It's like it rivals the house at the end of

1516
01:23:14,240 --> 01:23:17,600
Speaker 1: The Lost Boys, like in terms of it being trashed

1517
01:23:17,760 --> 01:23:21,439
Speaker 1: right like this, this saloon is is like a pile

1518
01:23:21,479 --> 01:23:25,400
Speaker 1: of wood after this fight. And the funniest part is

1519
01:23:25,439 --> 01:23:30,000
Speaker 1: that little Joey. They cuts the shots of this little kid,

1520
01:23:30,080 --> 01:23:34,040
Speaker 1: little Joey, sitting in the corner eating a candy cane

1521
01:23:36,760 --> 01:23:42,720
Speaker 1: Christmas Yes, watching his dad get a chair broken over

1522
01:23:42,800 --> 01:23:47,240
Speaker 1: his fucking head. Like the kid's just like, oh.

1523
01:23:46,200 --> 01:23:52,320
Speaker 2: Like crunch, it is another Tuesday for Joey.

1524
01:23:52,600 --> 01:23:55,320
Speaker 1: Dude. It is so funny, Like anytime they cut to

1525
01:23:55,360 --> 01:23:57,240
Speaker 1: the shot of him with a candy can in his mouth,

1526
01:23:57,280 --> 01:23:59,639
Speaker 1: I just start laughing because it's like so funny, right,

1527
01:24:00,439 --> 01:24:05,360
Speaker 1: so you know now that Shansontown. It's basically the homestetters

1528
01:24:05,360 --> 01:24:07,000
Speaker 1: are like, yo, we got this guy on our side,

1529
01:24:07,080 --> 01:24:09,280
Speaker 1: like maybe we got some muscle. This is pretty cool.

1530
01:24:09,800 --> 01:24:11,920
Speaker 1: But the Rikers are like, fuck it, we're calling in

1531
01:24:11,960 --> 01:24:17,120
Speaker 1: the closer, okay, So they bring in They bring in

1532
01:24:17,160 --> 01:24:22,800
Speaker 1: this guy who's basically this like slightly homo erotic gunslinger

1533
01:24:23,080 --> 01:24:27,360
Speaker 1: named Wilson, and he's played by Jack Palance who you

1534
01:24:27,439 --> 01:24:31,639
Speaker 1: might know. Wilson is basically a psycho, like he ends

1535
01:24:31,720 --> 01:24:36,400
Speaker 1: up shooting this like little shit talking homestetterer guy named

1536
01:24:36,439 --> 01:24:40,360
Speaker 1: Stonewall Tory, who is of course, played by the great

1537
01:24:40,360 --> 01:24:45,800
Speaker 1: Elishah Cook Junior. And that's when Joe, after Stonewall gets

1538
01:24:45,840 --> 01:24:51,080
Speaker 1: shot in cold blood by this fucking psycho Wilson. Joe's

1539
01:24:51,120 --> 01:24:53,759
Speaker 1: in like full beast mode. He's like, I gotta duel

1540
01:24:53,840 --> 01:24:57,200
Speaker 1: this guy. And you know, I've had it with these

1541
01:24:57,200 --> 01:25:00,920
Speaker 1: guys like they're out for blood now, you know. And

1542
01:25:01,160 --> 01:25:02,280
Speaker 1: Marian is losing it.

1543
01:25:02,320 --> 01:25:06,120
Speaker 2: She's basically like she hates guns. You know, she doesn't

1544
01:25:06,160 --> 01:25:08,800
Speaker 2: want this to happen obviously because she knows what's gonna happen.

1545
01:25:08,920 --> 01:25:13,760
Speaker 2: And then Shame is like, nah, dude, look you got

1546
01:25:13,760 --> 01:25:15,920
Speaker 2: a family, You got a whole thing here.

1547
01:25:16,640 --> 01:25:20,120
Speaker 1: I'm the weird drifter guy with no ties, and maybe

1548
01:25:20,160 --> 01:25:23,519
Speaker 1: I have a death wish. But listen, you fed me,

1549
01:25:23,840 --> 01:25:26,160
Speaker 1: you let me square dance with your lady, and I

1550
01:25:26,240 --> 01:25:29,599
Speaker 1: became a surrogate father to your child. I'm going I'm

1551
01:25:29,640 --> 01:25:32,840
Speaker 1: gonna fight. We'll send you stay here and Jack Palance.

1552
01:25:33,080 --> 01:25:36,519
Speaker 2: This movie always reminds me that Jack Palance has looked

1553
01:25:37,320 --> 01:25:44,880
Speaker 2: like a tight skinned skeleton forever. That wasn't just like

1554
01:25:45,520 --> 01:25:48,280
Speaker 2: because of his age when he was in like city slickers,

1555
01:25:48,040 --> 01:25:51,640
Speaker 2: or he has always looked like his skin was just

1556
01:25:52,200 --> 01:25:58,519
Speaker 2: hanging on. For dear wife, they chiseled his face from

1557
01:25:58,560 --> 01:26:01,400
Speaker 2: a rock. I don't know what, like he might be

1558
01:26:01,880 --> 01:26:03,880
Speaker 2: the King of the Crag. I mean just that his

1559
01:26:04,040 --> 01:26:08,400
Speaker 2: face is so pointy. It is so it's like a

1560
01:26:08,400 --> 01:26:12,479
Speaker 2: car fucking tune. It is like like the fucking Lemony

1561
01:26:12,520 --> 01:26:18,000
Speaker 2: Snicket character, the Evil Guy and Lemony Snicket, but like

1562
01:26:18,040 --> 01:26:20,040
Speaker 2: the cartoon version of him come to life.

1563
01:26:20,360 --> 01:26:23,639
Speaker 1: Exactly exactly, and you know, it's a it's a great

1564
01:26:23,720 --> 01:26:26,840
Speaker 1: villain character because he's he's just he's got the black

1565
01:26:26,920 --> 01:26:29,160
Speaker 1: hat on and he's real pointy, and of course he's

1566
01:26:29,479 --> 01:26:34,439
Speaker 1: fucking crazy. And Shane is basically like, I'm gonna go

1567
01:26:34,479 --> 01:26:39,280
Speaker 1: get him because Joe is gonna risk too much if

1568
01:26:39,280 --> 01:26:42,160
Speaker 1: he goes, and you know how it's gonna go.

1569
01:26:42,200 --> 01:26:44,720
Speaker 2: I mean, I'm not gonna give away the ending, but I.

1570
01:26:44,680 --> 01:26:48,000
Speaker 1: Will say this, the ending is is now kind of

1571
01:26:48,000 --> 01:26:51,320
Speaker 1: seen as a very classic Western ending where it's sort

1572
01:26:51,320 --> 01:26:54,840
Speaker 1: of like, it's not the happiest ending, but it's the

1573
01:26:54,840 --> 01:26:59,800
Speaker 1: most honorable thing to happen, right, which is, but it's

1574
01:26:59,800 --> 01:27:02,280
Speaker 1: still different from the ending of your film. I will

1575
01:27:02,280 --> 01:27:04,760
Speaker 1: say that there's some there's some kind of like mid

1576
01:27:04,840 --> 01:27:07,040
Speaker 1: level depression happening at the end of your film, where

1577
01:27:07,080 --> 01:27:10,000
Speaker 1: as for my film, it's like, of course, but like

1578
01:27:11,600 --> 01:27:14,640
Speaker 1: you know, I mean, it's it's a little bit more hopeful.

1579
01:27:14,960 --> 01:27:18,479
Speaker 1: Let's just say that. But that I think is why

1580
01:27:19,000 --> 01:27:22,000
Speaker 1: the ending, without giving it away, is I'm sure why

1581
01:27:22,080 --> 01:27:24,479
Speaker 1: Grandpa's love it so much, right because it is kind

1582
01:27:24,520 --> 01:27:27,960
Speaker 1: of a morality tale. But also to me, and this

1583
01:27:28,040 --> 01:27:31,599
Speaker 1: is why I like Shane so much, and maybe sort

1584
01:27:31,600 --> 01:27:33,960
Speaker 1: of looking at films from the like looking at these

1585
01:27:34,000 --> 01:27:37,640
Speaker 1: Westerns from the fifties, especially like there are moments of

1586
01:27:37,680 --> 01:27:39,920
Speaker 1: Shane that I think are very over the top and

1587
01:27:40,000 --> 01:27:44,880
Speaker 1: slightly corny, which I love. I love that little corny moment, right,

1588
01:27:46,080 --> 01:27:50,200
Speaker 1: But I also am I'm a sucker for finding these

1589
01:27:50,280 --> 01:27:56,480
Speaker 1: like very camp moments in these very traditionally masculine genres.

1590
01:27:57,000 --> 01:28:00,040
Speaker 1: So that's what I love about Shane is finding the

1591
01:28:00,240 --> 01:28:03,200
Speaker 1: like moments of the film that I'm like, huh, that's

1592
01:28:03,240 --> 01:28:07,080
Speaker 1: an interesting choice, Like visually what he looks like a

1593
01:28:07,120 --> 01:28:10,360
Speaker 1: glowing angel, right, And I'm like, and everybody's in love

1594
01:28:10,360 --> 01:28:12,160
Speaker 1: of them, the men, the women, and the children, and

1595
01:28:12,280 --> 01:28:15,679
Speaker 1: like there's something to that that I find very amusing.

1596
01:28:15,720 --> 01:28:19,120
Speaker 1: But I also feel like is it does contribute to

1597
01:28:19,960 --> 01:28:22,439
Speaker 1: the story in a way, And I do like the

1598
01:28:22,560 --> 01:28:25,760
Speaker 1: narrative of the story, you know, there is that is

1599
01:28:25,960 --> 01:28:27,840
Speaker 1: very eternal. I think, like you said at the very

1600
01:28:27,880 --> 01:28:31,839
Speaker 1: beginning of the episode of this lone this lone wolf

1601
01:28:31,880 --> 01:28:36,439
Speaker 1: that kind of wanders into town and then kind of

1602
01:28:36,920 --> 01:28:39,960
Speaker 1: you know, makes his own fate and kind of changes

1603
01:28:40,000 --> 01:28:41,760
Speaker 1: the lives of everybody in the town. That's a very

1604
01:28:41,760 --> 01:28:46,559
Speaker 1: Western thing. But I will say, yes, this is a

1605
01:28:46,640 --> 01:28:51,920
Speaker 1: very classic Western, not as revisionist as your film, but

1606
01:28:52,040 --> 01:28:54,840
Speaker 1: also has weird moments too, which is great, you know.

1607
01:28:54,960 --> 01:28:56,799
Speaker 2: Like it's like it's fun.

1608
01:28:57,000 --> 01:28:59,759
Speaker 1: Yeah, No, I I I'm glad you think it's fun, because,

1609
01:29:00,560 --> 01:29:02,640
Speaker 1: like I said, this is a big one. This is

1610
01:29:02,680 --> 01:29:05,960
Speaker 1: one that people talk about a lot. And I was like, well,

1611
01:29:06,000 --> 01:29:09,720
Speaker 1: it's finally time to do Shane. So and Okay, I

1612
01:29:10,080 --> 01:29:15,200
Speaker 1: don't know if you remember this when I we initially pitched,

1613
01:29:15,520 --> 01:29:18,840
Speaker 1: when I pitched this movie, it was originally in a

1614
01:29:18,880 --> 01:29:19,559
Speaker 1: different theme.

1615
01:29:19,720 --> 01:29:21,880
Speaker 2: Do you remember that this is part of our pitch

1616
01:29:21,920 --> 01:29:25,600
Speaker 2: to exactly right, to get us the show? Was it?

1617
01:29:25,760 --> 01:29:31,160
Speaker 1: Really I forgot? I think the original the original theme

1618
01:29:31,320 --> 01:29:33,240
Speaker 1: I think that we were gonna put this under was

1619
01:29:33,400 --> 01:29:38,240
Speaker 1: a theme about blondes, sexy blondes coming into like wreck families,

1620
01:29:40,479 --> 01:29:40,920
Speaker 1: and the.

1621
01:29:40,760 --> 01:29:47,920
Speaker 2: Theme was don't get fucking Shaned, don't get Shane. Would

1622
01:29:47,960 --> 01:29:50,280
Speaker 2: you like our show? Here's an example of something that

1623
01:29:50,320 --> 01:29:52,879
Speaker 2: we would do as a theme, don't get.

1624
01:29:52,680 --> 01:29:56,479
Speaker 1: Fucking Shaned, don't let a blonde come in and wreck

1625
01:29:56,520 --> 01:29:58,760
Speaker 1: hav it. The other film I think was The Head

1626
01:29:58,840 --> 01:30:00,799
Speaker 1: that Rocks the Crazy.

1627
01:30:00,160 --> 01:30:03,720
Speaker 2: It was, Yes, it was, and we might still have

1628
01:30:03,800 --> 01:30:05,559
Speaker 2: to do that. We might still have to do that.

1629
01:30:05,560 --> 01:30:09,680
Speaker 1: Thet dude, I that cracks me up. That feels like

1630
01:30:09,920 --> 01:30:11,800
Speaker 1: so long ago, even though I really wasn't.

1631
01:30:11,840 --> 01:30:16,479
Speaker 2: But I just love this. This is such a classic

1632
01:30:16,560 --> 01:30:19,519
Speaker 2: Sundays with Granddad movie. This is one of those movies where,

1633
01:30:19,960 --> 01:30:23,000
Speaker 2: like you or I will stop and watch, you know,

1634
01:30:23,040 --> 01:30:25,559
Speaker 2: like thirteen going on thirty or whatever, every time it's on,

1635
01:30:26,320 --> 01:30:29,679
Speaker 2: Granddad would stop TV. He would watch Shane from any

1636
01:30:29,720 --> 01:30:32,080
Speaker 2: point anytime it was on because it was a quote

1637
01:30:32,160 --> 01:30:35,880
Speaker 2: unquote a good picture. Yeah, and this one just grabbed

1638
01:30:35,920 --> 01:30:40,120
Speaker 2: the hearts and minds of granddads for several generations. Oh.

1639
01:30:40,240 --> 01:30:43,439
Speaker 1: I put it on the other night while I was

1640
01:30:43,520 --> 01:30:46,240
Speaker 1: here at my parents' house, and my dad wanders in

1641
01:30:46,280 --> 01:30:49,519
Speaker 1: and goes, holy shit, I haven't seen this movie in forever?

1642
01:30:49,840 --> 01:30:56,240
Speaker 1: Are you watching Shane fell back? Shane? And I'm like, okay, Like,

1643
01:30:56,400 --> 01:30:59,000
Speaker 1: my dad's a granddad, so I guess it is true

1644
01:30:59,040 --> 01:31:02,240
Speaker 1: all granddads. This is like a granddad classic.

1645
01:31:02,479 --> 01:31:04,880
Speaker 2: So it's a clarion call the granddad.

1646
01:31:08,680 --> 01:31:13,360
Speaker 1: Well. I personally love doing this theme because I love

1647
01:31:13,439 --> 01:31:17,479
Speaker 1: hearing you talk about your family, and I feel like

1648
01:31:17,560 --> 01:31:20,559
Speaker 1: this theme is very connected to your family, which is

1649
01:31:20,720 --> 01:31:23,240
Speaker 1: it always makes me feel good when anytime that happens.

1650
01:31:23,560 --> 01:31:25,000
Speaker 1: So thank you me too.

1651
01:31:25,120 --> 01:31:29,000
Speaker 2: I love hearing about your your grandpa and your dad,

1652
01:31:29,200 --> 01:31:32,000
Speaker 2: and just like and also again like your how you

1653
01:31:32,040 --> 01:31:35,240
Speaker 2: started to develop a relationship to film through your family

1654
01:31:35,320 --> 01:31:38,120
Speaker 2: or with you know, even though they didn't have necessarily,

1655
01:31:38,320 --> 01:31:41,719
Speaker 2: you know, they were not watching movies NonStop. I think

1656
01:31:41,760 --> 01:31:45,120
Speaker 2: that the Sundays with Granddad was is crucial for that reason,

1657
01:31:45,120 --> 01:31:48,160
Speaker 2: because it gave us another way into this this life.

1658
01:31:48,760 --> 01:31:52,479
Speaker 1: Yeah, and I and I do like that any time

1659
01:31:53,000 --> 01:31:54,920
Speaker 1: we do a theme where we get to talk about

1660
01:31:54,960 --> 01:31:57,200
Speaker 1: a genre, like we've done it, ye, like we talk

1661
01:31:57,200 --> 01:32:02,040
Speaker 1: about horror, we talk about you know, hig movies or Westerns.

1662
01:32:02,040 --> 01:32:05,400
Speaker 1: And I think what the Western thing for the both

1663
01:32:05,400 --> 01:32:08,920
Speaker 1: of us is an interesting genre to talk about because

1664
01:32:09,000 --> 01:32:10,680
Speaker 1: I feel, like I think I said this at the

1665
01:32:11,000 --> 01:32:13,800
Speaker 1: when we did HUD, this is a genre that just

1666
01:32:14,000 --> 01:32:18,760
Speaker 1: was not welcoming for people like us, right, And I

1667
01:32:18,800 --> 01:32:23,520
Speaker 1: think a lot of people of color have that weirdness

1668
01:32:23,560 --> 01:32:26,639
Speaker 1: with the Western because they feel it feels very white,

1669
01:32:26,880 --> 01:32:31,680
Speaker 1: very American, very male. And so I just think it's

1670
01:32:31,720 --> 01:32:33,960
Speaker 1: interesting that you and I can come to the table

1671
01:32:34,000 --> 01:32:37,200
Speaker 1: and sort of talk about these Westerns from our perspective

1672
01:32:37,320 --> 01:32:39,360
Speaker 1: because you know, like I said, when you're on the

1673
01:32:39,400 --> 01:32:41,679
Speaker 1: outside of something, it's kind of interesting when you sort

1674
01:32:41,680 --> 01:32:45,479
Speaker 1: of develop a you know, an appreciation or an affinity for.

1675
01:32:45,479 --> 01:32:48,720
Speaker 2: Something you know completely completely, Yeah, like we made our

1676
01:32:48,760 --> 01:32:53,280
Speaker 2: way eventually into finding out what about these movies worked

1677
01:32:53,280 --> 01:32:55,920
Speaker 2: for us, so that we could watch them with the

1678
01:32:55,960 --> 01:32:59,240
Speaker 2: same kind of academic eye or fun or whatever, like

1679
01:32:59,280 --> 01:33:01,240
Speaker 2: the way that we watch films. I think that's really

1680
01:33:01,640 --> 01:33:03,679
Speaker 2: it's really wonderful. It's great because I would have missed

1681
01:33:03,680 --> 01:33:07,080
Speaker 2: out in this whole genre. Yeah, if I hadn't eventually

1682
01:33:07,720 --> 01:33:10,600
Speaker 2: taken my granddad's advice and watch some of these movies.

1683
01:33:11,360 --> 01:33:15,519
Speaker 1: Oh, totally totally agree. Thanks to the grandpas. Once again,

1684
01:33:16,160 --> 01:33:21,200
Speaker 1: love your grandpa's Uh well, hey.

1685
01:33:21,280 --> 01:33:22,360
Speaker 2: Listen, we did it again.

1686
01:33:22,520 --> 01:33:28,120
Speaker 1: Which we did it again. So Jill, do you want

1687
01:33:28,160 --> 01:33:30,719
Speaker 1: to tell them what the movies are for next week?

1688
01:33:31,520 --> 01:33:36,840
Speaker 2: I sure do, because our movies for next week are

1689
01:33:38,120 --> 01:33:42,200
Speaker 2: The Skin I Live In from twenty eleven and Eyes

1690
01:33:42,240 --> 01:33:46,200
Speaker 2: Without a Face from nineteen sixty And it is very

1691
01:33:46,320 --> 01:33:49,080
Speaker 2: rare for us to do so. But I am personally

1692
01:33:49,160 --> 01:33:52,000
Speaker 2: going to say that The Skin I Live In is

1693
01:33:52,000 --> 01:33:54,960
Speaker 2: a movie that could be very heavy for some of

1694
01:33:54,960 --> 01:33:56,920
Speaker 2: you to watch, So maybe read about it first if

1695
01:33:56,960 --> 01:34:01,280
Speaker 2: you're at all skittish about certain certain things, but try

1696
01:34:01,360 --> 01:34:05,519
Speaker 2: to guess that theme anyway. Uh. For The Skin I

1697
01:34:05,560 --> 01:34:07,680
Speaker 2: Live In and Eyes without a Face.

1698
01:34:08,320 --> 01:34:10,240
Speaker 1: I'll say this. I mean, I don't know if I've

1699
01:34:10,280 --> 01:34:14,880
Speaker 1: ever mentioned this, but maybe going forward, So if you

1700
01:34:14,960 --> 01:34:19,400
Speaker 1: go to IMDb, there is actually a tab within every

1701
01:34:19,400 --> 01:34:21,679
Speaker 1: movie entry that will give you the kind of It's

1702
01:34:21,680 --> 01:34:24,960
Speaker 1: called Parent's Guide or the parental Guide, and a lot

1703
01:34:25,000 --> 01:34:28,840
Speaker 1: of times they will tell you what's in the film

1704
01:34:28,920 --> 01:34:34,880
Speaker 1: that has anything to do with like sex, profanity, violence,

1705
01:34:35,120 --> 01:34:37,040
Speaker 1: you know, that kind of stuff. So if that is

1706
01:34:37,080 --> 01:34:39,760
Speaker 1: your thing where you were like, well, I don't know,

1707
01:34:40,360 --> 01:34:44,680
Speaker 1: should I watch Hereditary with my mom? If you if

1708
01:34:44,720 --> 01:34:46,840
Speaker 1: you go into it, you might be able to find out,

1709
01:34:46,880 --> 01:34:48,719
Speaker 1: like what's in it, so you could make a little

1710
01:34:48,760 --> 01:34:52,759
Speaker 1: bit more of an informed choice. But I'm just throwing

1711
01:34:52,840 --> 01:34:53,719
Speaker 1: that out there for people.

1712
01:34:53,760 --> 01:34:56,960
Speaker 2: That's a great a great point and a great reminder,

1713
01:34:57,000 --> 01:34:59,280
Speaker 2: and thank you for doing that, because it's it's true.

1714
01:34:59,360 --> 01:35:03,519
Speaker 2: We can't we can't maybe direct you to every movie

1715
01:35:03,600 --> 01:35:06,840
Speaker 2: that will be great and non offensive for you, but

1716
01:35:06,880 --> 01:35:08,960
Speaker 2: we can at least try to help you figure that

1717
01:35:09,040 --> 01:35:10,679
Speaker 2: out on your own right.

1718
01:35:11,120 --> 01:35:13,080
Speaker 1: And if you go in blind that's fine too.

1719
01:35:13,600 --> 01:35:13,800
Speaker 2: Yeah.

1720
01:35:13,800 --> 01:35:16,400
Speaker 1: Some of the craziest times I've ever had was going

1721
01:35:16,439 --> 01:35:21,439
Speaker 1: in blind things. So there's nine of my life. Well,

1722
01:35:21,439 --> 01:35:26,800
Speaker 1: we got to move to Alaska shore whatever, driving through wyoming.

1723
01:35:26,880 --> 01:35:30,200
Speaker 1: Why the hell? Yeah? Why well listen, if you want

1724
01:35:30,200 --> 01:35:32,280
Speaker 1: to email us, we are at I saw what you did,

1725
01:35:32,320 --> 01:35:35,120
Speaker 1: pot of Gmail. Send us your questions for the bonus

1726
01:35:35,160 --> 01:35:40,759
Speaker 1: episodes or stories about your movie experiences like awkwardly watching

1727
01:35:40,840 --> 01:35:44,719
Speaker 1: films with your family, working in movie theaters and video stores,

1728
01:35:45,200 --> 01:35:47,759
Speaker 1: forcing your film club to watch movies that we featured

1729
01:35:47,800 --> 01:35:50,360
Speaker 1: on the show. Let us know, I saw what you did,

1730
01:35:50,360 --> 01:35:51,000
Speaker 1: pot of Gmail.

1731
01:35:51,680 --> 01:35:53,559
Speaker 2: And we also have a po box if you want

1732
01:35:53,560 --> 01:35:56,760
Speaker 2: to send us handwritten letters, they will go to Millie

1733
01:35:57,320 --> 01:35:59,759
Speaker 2: and she will let me know if they are dangerous

1734
01:35:59,840 --> 01:36:04,200
Speaker 2: or But in the meantime, you can find us on

1735
01:36:04,320 --> 01:36:07,240
Speaker 2: our social media. We are at. I saw pod on

1736
01:36:07,320 --> 01:36:11,320
Speaker 2: Instagram and Twitter and look, tell five friends to follow us,

1737
01:36:11,360 --> 01:36:14,200
Speaker 2: and then tell ten friends to leave us five star reviews.

1738
01:36:14,920 --> 01:36:16,400
Speaker 2: It really helps and it really matters.

1739
01:36:17,080 --> 01:36:22,320
Speaker 1: Yes, And also if you are following our Facebook page, congratulations.

1740
01:36:22,360 --> 01:36:24,320
Speaker 1: I'm like, I actually went in there the other day

1741
01:36:24,320 --> 01:36:26,759
Speaker 1: and I was like, look at all these people chatting away,

1742
01:36:27,360 --> 01:36:30,519
Speaker 1: like we love it, we see it, We're looking at it.

1743
01:36:30,680 --> 01:36:34,519
Speaker 1: Sometimes I go in there and comment. So that Facebook

1744
01:36:34,560 --> 01:36:37,000
Speaker 1: page is kind of like a little secret club. I

1745
01:36:37,080 --> 01:36:39,639
Speaker 1: kind of love it. But also listen, if you want

1746
01:36:39,720 --> 01:36:42,680
Speaker 1: merch for any reason, we have got it in the

1747
01:36:42,960 --> 01:36:45,719
Speaker 1: exactly Right Shop at Exactlyrightmedia dot com.

1748
01:36:46,200 --> 01:36:48,439
Speaker 2: Yeah, buy a T shirt? Come on, what else are

1749
01:36:48,439 --> 01:36:51,000
Speaker 2: you doing with your day? Buy a T shirt? Let

1750
01:36:51,080 --> 01:36:52,560
Speaker 2: people look at you weird when you go to the

1751
01:36:52,600 --> 01:36:56,080
Speaker 2: post office. And remember that. You can listen to new

1752
01:36:56,120 --> 01:37:00,720
Speaker 2: episodes one week early on Amazon Music or early and

1753
01:37:01,000 --> 01:37:06,040
Speaker 2: ad free plus our bonus episodes by subscribing to Wondery

1754
01:37:06,040 --> 01:37:08,519
Speaker 2: Plus in the Wondery app Amazing.

1755
01:37:08,600 --> 01:37:13,519
Speaker 1: Well listen, Danielle. It's been a pleasure as always. Thank

1756
01:37:13,560 --> 01:37:14,160
Speaker 1: you so much.

1757
01:37:15,560 --> 01:37:19,440
Speaker 2: Loved this episode, love talking about this with you, and

1758
01:37:19,080 --> 01:37:21,600
Speaker 2: I just really dig that we have this space to

1759
01:37:21,680 --> 01:37:24,599
Speaker 2: talk about movies. I love fucking movies. I love them.

1760
01:37:24,840 --> 01:37:27,680
Speaker 1: Yes, and I ain't taking a bath. I don't care

1761
01:37:27,720 --> 01:37:28,320
Speaker 1: what you say.

1762
01:37:29,439 --> 01:37:44,599
Speaker 2: I am watching this dick, Bye bye. This has been

1763
01:37:44,640 --> 01:37:47,679
Speaker 2: an exactly Right production, produced and mixed by Casey O'Brien.

1764
01:37:47,960 --> 01:37:50,720
Speaker 2: Our theme song is by Tom bry Foegel. Artwork by

1765
01:37:50,720 --> 01:37:54,400
Speaker 2: Garrett Ross. Our executive producers are Georgia Hartstark, Caring Kill,

1766
01:37:54,439 --> 01:37:57,480
Speaker 2: Gareth and Danielle Kramer. You can follow us on Instagram

1767
01:37:57,520 --> 01:38:00,559
Speaker 2: and Twitter at I saw Pod, and you can email

1768
01:38:00,640 --> 01:38:03,840
Speaker 2: us at I Saw What You Did pod at Gmail, listen,

1769
01:38:04,000 --> 01:38:07,200
Speaker 2: follow and leave us a review on Amazon Music, Apple Podcasts,

1770
01:38:07,280 --> 01:38:10,120
Speaker 2: or wherever you get your podcasts and don't forget. You

1771
01:38:10,160 --> 01:38:13,040
Speaker 2: could listen to new episodes one week early on Amazon

1772
01:38:13,120 --> 01:38:17,000
Speaker 2: Music or early and ad free, plus bonus episodes by

1773
01:38:17,040 --> 01:38:19,400
Speaker 2: subscribing to Wondery Plus in the Wondery app