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Speaker 1: Film Spotting is presented by Regal Unlimited. Regal Unlimited is

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Speaker 1: the all you can watch movie subscription pass that pays

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Speaker 1: or at rgmovies dot com Slash Unlimited.

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Speaker 2: What kind of a show you guys putting on here today?

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Speaker 2: You're not interested in art? Now? No, Look, we're going

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Speaker 2: to do this thing. We're going to have a conversation.

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Speaker 1: From Chicago. This is Film Spotting.

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Speaker 3: I'm Josh Larson and I Metam Kempinard.

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Speaker 2: How do you live? Well? I live with the conference

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Speaker 2: of my believe in myself. The money will follow. And

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Speaker 2: what do you plan to do if this whole dream

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Speaker 2: of yours doesn't work? It?

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Speaker 4: It doesn't even enter my consciousness?

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Speaker 1: Maybe it should. In Marty Supreme, Timothy Shalome is a

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Speaker 1: fifty era table tennis player bent on success at any cost.

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Speaker 1: Josh Saftie's film is part of this week's slate of reviews.

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Speaker 4: Also this week, Gus Van Zant's new one, dead Man's

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Speaker 4: Wire and James Cameron's Avatar Fire and Ash. It's all

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Speaker 4: ahead on Film Spotting. Welcome to Film Spotting. Happy New

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Speaker 4: Year to all of our listeners. Happy new Year to you, Josh.

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Speaker 4: It's been a little while since we've seen each other,

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Speaker 4: though we have been churning out the content still for

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Speaker 4: our listeners.

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Speaker 3: How are you?

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Speaker 4: How is your holiday season? And I think we've talked

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Speaker 4: about this before. Any resolutions you want to share, you

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Speaker 4: don't strike me as a resolution kind of guy.

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Speaker 1: Oof. Well, happy new Year to you as well. Yeah,

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Speaker 1: it's been a good break from school from the show. Honestly,

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Speaker 1: a lot of the stuff we've been sharing is stuff

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Speaker 1: you and Michael putting the can months ago and even

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Speaker 1: as far back as Film Spotting Fest last March. So yeah,

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Speaker 1: it's been a nice break. I can't wait to get

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Speaker 1: back to doing this. And yeah, no resolutions for me,

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Speaker 1: I mean, can can I just say I plan to

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Speaker 1: finish this master's program, I'll come back from Scotland hope

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Speaker 1: to get that dissertation in. That should be. That's enough, right,

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Speaker 1: I don't need to add anything on top of that.

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Speaker 4: I think you have enough on your plate. It is

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Speaker 4: a new year, but we are going to remain in

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Speaker 4: twenty twenty five for a little bit. Next week we

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Speaker 4: will have our year end rap party. It's going to

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Speaker 4: be a quiet affair. We will be doing it as

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Speaker 4: we are recording right now, from the comfort of our homes.

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Speaker 4: As that goes anyway, Josh, can we call what you're

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Speaker 4: in a home?

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Speaker 1: Yeah? I mean I'm supposed to say flat over here now,

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Speaker 1: but it's a flood feels homey at this point. It

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Speaker 1: is not going to be as much fun as our

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Speaker 1: live shows, Adam though, which most of these rap parties

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Speaker 1: have been really throughout the show's history. I think, you know,

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Speaker 1: during COVID obviously there was a year, maybe two or

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Speaker 1: maybe even three we did it remotely. We're going to

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Speaker 1: return to that this year. But the topics these are

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Speaker 1: always fun, so I think we're still going to have

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Speaker 1: a good time.

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Speaker 3: We will.

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Speaker 4: It's our scenes of the year, and we expect to

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Speaker 4: get back to a live show rap party at some point,

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Speaker 4: but this year we are going to be doing it

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Speaker 4: remotely and we will share our scenes of the year

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Speaker 4: opening scene, funniest and most moving moment, our favorite music moment,

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Speaker 4: and of course we will crown our scenes of the year.

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Speaker 4: You can be part of that show. Send your picks

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Speaker 4: to feedback at filmspotting dot net. And since we are

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Speaker 4: a video show now, you know you don't have to

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Speaker 4: just send an audio voicemail. You could send us a

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Speaker 4: video with your phone and be part of the video

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Speaker 4: show too, right, Josh.

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Speaker 1: Brave New World. I hadn't thought about that. I don't

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Speaker 1: think we've done that yet. So that way we have

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Speaker 1: an exciting way to just shake it up in twenty

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Speaker 1: twenty six.

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Speaker 4: Again that email feedback at filmspotting dot net. This week

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Speaker 4: you are our correspondent. You were, you were live on

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Speaker 4: the scene. You're gonna fill us in on Avatar, Fire

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Speaker 4: and Ash. I can't wait, you.

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Speaker 1: Know what, Adam, I can I can breathe on Pandora

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Speaker 1: Now I don't need the mask anymore.

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Speaker 3: It's amazing whole new experience.

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Speaker 4: I'm sure I can report on Gus van zant'ce new one,

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Speaker 4: dead Man's Wire, which opens this weekend in limited release.

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Speaker 4: And we also have a new pull for you looking ahead.

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Speaker 4: We want to know your most anticipated film of twenty

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Speaker 4: twenty six. Though we do have the asterisk that comes

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Speaker 4: out pre Memorial Day, so the first test of twenty

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Speaker 4: twenty six. As we just said, we are going to

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Speaker 4: remind you that Film Spotting is now available as a

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Speaker 4: video podcast. If you're a Spotify listener, you can toggle

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Speaker 4: between audio and video. You can also watch the show

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Speaker 4: on YouTube. Our YouTube is YouTube dot com slash film

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Speaker 4: Spotting and for a link to all of our episodes

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Speaker 4: and a link to those video episodes, just go to

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Speaker 4: filmspotting dot net slash.

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Speaker 1: But first, Marty Supreme.

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Speaker 2: What you're doing today?

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Speaker 4: During part one of our Top ten show, Alison Wilmore

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Speaker 4: spoke at length about her number nine film of the year,

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Speaker 4: So why not start with the insightful foundation she provided?

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Speaker 4: Alison described the tale of aspiring table tennis champion Marty Mauser,

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Speaker 4: loosely based on the real life story of Martyriesman, as

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Speaker 4: a quote spectacularly entertaining, chaotic, stressful, wonderful experience unquote. Invoking

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Speaker 4: the Cone brother's creative split, she spoke of the Saftie

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Speaker 4: brother's individual output, allowing us perhaps to understand how Josh's

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Speaker 4: contributions are unique from Benny's. Marty Supreme suggests that what

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Speaker 4: she considers the Safti Brothers sensibility that desire to center

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Speaker 4: movies on characters who are basically addicted to writing on

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Speaker 4: the edge of chaos and courting disaster almost compulsively should

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Speaker 4: be attributed to Josh. She called Marty someone who believes

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Speaker 4: he has an obligation to pursue his talent, and that

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Speaker 4: Safdi and his co screenwriter and co editor Ronald Bronstein

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Speaker 4: are using this compelling and repellent character her words, to

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Speaker 4: represent everything compelling and repellent about the American dream, our

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Speaker 4: capacity for self mythologizing, and the achievement of individual success.

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Speaker 4: As for the actor portraying Marty, this is Timothy Shalomey's

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Speaker 4: best role to date, in large part because his charisma

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Speaker 4: and conviction are such that, despite being so destructive and

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Speaker 4: irritating to everyone who is close to him or comes

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Speaker 4: into contact with him, you never doubt why people continue

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Speaker 4: to help him. I think the ways in which it

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Speaker 4: manages to have this character be both so appealing and

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Speaker 4: so kind of awful is an incredible art, summarized Alison formally,

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Speaker 4: she praised Darius Kanji's cinematography and Jack Fist's production design

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Speaker 4: for How Lived In the early nineteen fifties setting feels

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Speaker 4: bearing none of the weight of nostalgia. Such period pieces

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Speaker 4: typically do as well as the eclectic array of faces

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Speaker 4: assembled by Safty and casting director Jennifer Vendetti, which includes

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Speaker 4: business mogul Kevin O'Leary, an indie filmmaker Abel Ferrara, plus

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Speaker 4: relative newcomer Odessa Zion, who plays Marty's childhood friend and

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Speaker 4: lover Rachel, to compliment established stars like Gwyneth Paltrow as

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Speaker 4: a former Hollywood star and socialite named Kay Stone who

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Speaker 4: has an affair with Marty. Ultimately, Alison loved all that

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Speaker 4: the movie shares with the Safti's uncut gems, but also

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Speaker 4: believes that it and specifically the ending, which I think

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Speaker 4: we might get too in some separate spoiler talk, offers

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Speaker 4: something more substantial than the sheer thrills of watching a

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Speaker 4: chaos addict. Josh, I know you like Marty Supreme. I

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Speaker 4: know you like Marty Supreme because I saw your three

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Speaker 4: and a half star letterboxed rating. That should tell me

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Speaker 4: you like it. Apparently, I can't know for sure unless

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Speaker 4: you click the heart next to it. Four out of

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Speaker 4: five could mean didn't like. Two out of five could

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Speaker 4: mean did like up is down, Black as white numbers

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Speaker 4: are meaningless whatever, I'm not that chaos. Come on, here

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Speaker 4: are some more numbers. It didn't make your top ten

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Speaker 4: nor your top twenty five. With Allison's case in mind,

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Speaker 4: tell me the biggest reason why you did click the

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Speaker 4: little letterboxed heart for Marty Supreme? I saw it, But

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Speaker 4: more importantly, what muted your enthusiasm for a movie that

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Speaker 4: seems destined for multiple Oscar nominations? And I'm going to repeat,

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Speaker 4: just briefly here your menu of choices, The abundant energy

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Speaker 4: that accompanies the Josh Safti's sensibility to follow a character

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Speaker 4: who compulsively courts disaster, Timothy Shalomay's lead performance, the inspired

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Speaker 4: supporting performances and cameos, the cinematography and production design, its

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Speaker 4: examination of the American dream, and or any other lofty

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Speaker 4: ideas the film provoked you to ponder.

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Speaker 1: I think I appreciated every element on that list, just

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Speaker 1: obviously a degree less than Allison, and I think a

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Speaker 1: degree less than most people. I don't really even have

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Speaker 1: a significant bone to pick with this movie, minor quibbles.

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Speaker 1: It was a great movie year, and that's why it

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Speaker 1: was a little bit lower. I think other films from

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Speaker 1: twenty twenty five did some of these things better, and

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Speaker 1: in fact, where I had quibbles in particular, movies like

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Speaker 1: one that did make my top ten, Kelly Reichertz, The Mastermind,

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Speaker 1: when it came to this American dream question, I found

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Speaker 1: to be a more provocative exploration of that. The ending

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Speaker 1: of Marty Supreme, which we are going to get into,

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Speaker 1: I don't have major problems with. I think it's far

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Speaker 1: less successful than the ending of the Mastermind. And this

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Speaker 1: wasn't something where I was comparing the two side by side,

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Speaker 1: even while I was watching The Mastermind in the wake

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Speaker 1: of them. While I was watching I should say Marty

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Speaker 1: Supreme after watching The Mastermind. This is more I'm putting

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Speaker 1: in this context because of our top ten lists. So

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Speaker 1: I think it was just a matter of finding other

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Speaker 1: films that did similar things a little bit better for

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Speaker 1: me in twenty twenty five. That said, I don't know

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Speaker 1: that I found a film that had this level of

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Speaker 1: hurtling intensity, compounding chaos thrill ride experience as Marty Supreme.

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Speaker 1: And so I completely understand the rapturous responses people are

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Speaker 1: having to this movie, especially freshly coming out of it,

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Speaker 1: catching your breath and wondering what you just watched. I

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Speaker 1: think it delivers on that front and is extremely exciting,

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Speaker 1: simultaneously troubling on that front. I could say the same

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Speaker 1: of Uncut Gems. And I think perhaps a reason why

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Speaker 1: Marty Supreme is now is high on my list from

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Speaker 1: last year is because I do appreciate Uncut Gems a

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Speaker 1: bit better in treading similar ground. I think that's the

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Speaker 1: case in terms of the propulsion the performances. And I

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Speaker 1: would say the ending of Uncut Gems too, which I

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Speaker 1: had quibbles with but had a conviction. I want to

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Speaker 1: say that perhaps I don't find it Marety Supreme. But

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Speaker 1: before we get to those quibbles, I do want to

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Speaker 1: spend more time hearing from you what you liked about it.

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Speaker 1: I think you are higher on it than me, though

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Speaker 1: it didn't make your top ten list either. And yeah,

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Speaker 1: I want to spend some time having fun with this

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Speaker 1: movie because it was one of the more unique experiences

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Speaker 1: of last year in the theater.

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Speaker 4: Yeah, and it's funny I mentioned this on that Top

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Speaker 4: ten roundtable show. We're on opposite ends now with the

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Speaker 4: two movies you mentioned in terms of the endings. You

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Speaker 4: very much approve of the ending of The Mastermind, me

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Speaker 4: not so much. You quibble with the ending of Marty Supreme.

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Speaker 4: I'm now fully on board with the ending of Marty Supreme.

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Speaker 4: But yeah, Sam tried to shame both of us this

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Speaker 4: week in the Family newsletter for not liking Marty Supreme enough,

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Speaker 4: even though I had it as my number fourteen film

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Speaker 4: of the year. I do get it, though, when you

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Speaker 4: really swoon for a movie and have it as your

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Speaker 4: number two of the year, as he did, it can

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Speaker 4: feel like anything anything less is an insufficient level of

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Speaker 4: an excitement.

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Speaker 3: Right again, I get it.

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Speaker 4: I did just rewatch this two days ago because it

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Speaker 4: had been at least a month since I saw it.

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Speaker 4: I felt like I needed to revisit it. Unfortunately, had

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Speaker 4: a chance to do that. My estimation for the film

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Speaker 4: did only grow, largely because it did allow me to

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Speaker 4: work through something that was holding me back a little

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Speaker 4: bit from embracing it more strongly. And it is something

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Speaker 4: we're gonna mention it again, even though I don't know

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Speaker 4: that our non family members are going to get a

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Speaker 4: chance to hear it. It allowed me to work through

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Speaker 4: something with the ending and It's something that Alison Wilmore

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Speaker 4: and I, it turns out, actually disagree about generally speaking,

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Speaker 4: though Alison and I couldn't be more in line. And

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Speaker 4: why don't we start with Shalam. I'm not prepared to

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Speaker 4: start breaking down and comparing all of his lead performances,

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Speaker 4: but she's right. His combination of appeal and awfulness I

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Speaker 4: think is an art. He's magnetic, and he's maddening. The

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Speaker 4: contradiction that Chalomy gets is that Marty has an outsized

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Speaker 4: ego and sense of pride, but absolutely no shame, no

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Speaker 4: shame whatsoever. And I know you know this bit because

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Speaker 4: you have just seen this film in the past couple

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Speaker 4: of years and are a big fan of it. As

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Speaker 4: I am The Color of Money, the Martin Scorsese film.

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Speaker 4: You know that bit early on in the film where

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Speaker 4: Eddie says to Vincent, you're some piece of work. You're

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Speaker 4: also a natural character, and Vince misunderstands him and says,

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Speaker 4: you see, he's saying I got natural I got natural character.

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Speaker 4: And he says, that's not what I said, kid, I

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Speaker 4: said you are a natural character. You're an incredible flake.

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Speaker 4: Vincent has got nothing on Marty in the Flake department,

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Speaker 4: and Marty two is even more of a character. But

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Speaker 4: Chalame plays him so magnetically but also so naturally, so unaffectedly,

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Speaker 4: that you never see him. I never saw him as

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Speaker 4: a character. I never saw him playing that character. You

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Speaker 4: see his humanity, you understand his ambition, and you can

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Speaker 4: admire his drive and his single mindedness, even as his

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Speaker 4: choices do consistently sometimes they shock you, consistently, disappoint you,

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Speaker 4: and disappoint others around him.

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Speaker 3: And I do think this.

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Speaker 4: I think that he's good at convincing people to give

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Speaker 4: him what he wants, not necessarily because he's an exceptional

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Speaker 4: con man. I think it's because he makes everyone around

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Speaker 4: him feel alive. He has a line that alludes to that.

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Speaker 4: That's kind of a throwaway line that happens over the

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Speaker 4: course of an argument, but he says to someone, I

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Speaker 4: give you meaning. He gives you money, I give you meaning.

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Speaker 4: And Chaloma as a performer has to live up to

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Speaker 4: that with Marty, where you feel like he gives everyone

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Speaker 4: around him meaning, and I think he does. There's a

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Speaker 4: generosity that Chalomey has to bring to balance out the

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Speaker 4: selfishness of the character, and he may be lying almost

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Speaker 4: all the time. But Josh, he's always authentically himself, which

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Speaker 4: I think is also what separates him from some of

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Speaker 4: the other people in the movie who may seem more

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Speaker 4: straightforwardly honest. And maybe that's something that's uniquely Saftian actually

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Speaker 4: about this character and some of those other characters, is

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Speaker 4: that the irony is that maybe he's the only one

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Speaker 4: in the movie who isn't actually a phony. He's exactly

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Speaker 4: who he is all the time, even if sometimes he

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Speaker 4: has to play a role to get what he wants.

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Speaker 4: There's never any question about his identity and his sense

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Speaker 4: of purpose.

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Speaker 1: The brilliant moments in this performance are the ones not

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Speaker 1: where he is lying bald face lying to people, because

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Speaker 1: he does do that quite a bit right, and he's

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Speaker 1: mesmerizing and charismatic and convincing and entrancing. When he's doing that,

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Speaker 1: he has to be for the people to buy his lie,

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Speaker 1: and then we're caught up in it as well as

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Speaker 1: the audience. The scenes that show you what a great

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Speaker 1: performance this is are the ones where he's talking to

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Speaker 1: someone who knows pretty much who he is but has

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Speaker 1: not kicked him out of their life yet. Yes, and

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Speaker 1: so he's doing exactly what you just described, he's being

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Speaker 1: his authentic, genuine self. He's not lying to their face.

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Speaker 1: What he's doing is selling his mania and conviction and

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Speaker 1: single mindedness and manages still to get them to buy.

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Speaker 1: So is he tricking them? Is he lying to them?

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Speaker 2: No?

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Speaker 1: Is he being good to them? Is he being a

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Speaker 1: healthy presence in their life? No? Do they still follow along?

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Speaker 1: In most cases? Yes? And I think that's the magic

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Speaker 1: of the performance, is getting us to buy that. One

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Speaker 1: of my hiccups, however, I will say, is that a

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Speaker 1: performance I really like better Chelamage was just outside my

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Speaker 1: ballot for best performances of the year. As we talked

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Speaker 1: on that show, Odessa Azion as Rachel did make my ballot,

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Speaker 1: and it's it's because the moment I didn't quite believe

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Speaker 1: is when the script required her to still follow through

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Speaker 1: with him longer on the film, because I felt her

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Speaker 1: performance was so strong and authentic and independent that you

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Speaker 1: sense this woman who she was as she was being

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Speaker 1: performed might have been the one to say, hold up,

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Speaker 1: this is enough, I'm getting off this train. So that's

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Speaker 1: maybe not It's not a fault of his performance because

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Speaker 1: in those scenes with her, I think he's he's threading

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Speaker 1: that same needle, and I think that's when Shalomy is

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Speaker 1: at his best. Another thing that's interesting about him here

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Speaker 1: And though in this movie, and this is entirely unfair,

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Speaker 1: I'll confess to it, it's been hard for me to

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Speaker 1: separate Marty the campaigner for the for the direction of

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Speaker 1: his life, for this Ping Pong Championship, and shallow May

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Speaker 1: the campaigner for the best actor Oscar and I think

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Speaker 1: it's working.

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Speaker 3: I haven't seen any of that.

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Speaker 1: Fortunately, There's there's been so much, you know, interesting like

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Speaker 1: meta stuff like he's campaigning as a campaigner and and

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Speaker 1: it's it's funny, it's but it but it's also the

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Speaker 1: same manner and I'm sure it's meant to me. It's

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Speaker 1: the same energy as Marty, and so it's hard for

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Speaker 1: me in a sense to kind of separate that, even

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Speaker 1: though I know I should. There's a line actually that

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Speaker 1: speaks to this directly that Marty says at one point,

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Speaker 1: great line in the context of the movie, but kind

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Speaker 1: of captures all what I've been talking about. Drama or

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Speaker 1: is very important to me. I don't want to undercut

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Speaker 1: the drama. I mean, it's great. I think he's talking

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Speaker 1: at that point, trying to convince the sponsor about the

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Speaker 1: ping pong tournament in Japan, right, and he's saying, this

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Speaker 1: is how they have to set it up. There has

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Speaker 1: to be drama involved, and I think you definitely feel

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Speaker 1: that extra textural sense of pursuing the drama seeping into

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Speaker 1: the movie. I don't know that there's any other way

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Speaker 1: to do this role.

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Speaker 4: Though, sure I am with you on Odessa Zion's performance.

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Speaker 4: I think this movie and I hear I'll say, there's

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Speaker 4: a lot to unpack.

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Speaker 3: I don't know if we'll get to it.

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Speaker 4: There's a lot to un with the depiction of female

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Speaker 4: characters in this movie, and certainly with her character Rachel

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Speaker 4: as well. But the movie as it's scripted still needs

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Speaker 4: her especially but every character in this movie to still

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Speaker 4: needs need them to be orbiting around Marty. So I

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Speaker 4: never had any doubts about or the doubt that you

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Speaker 4: expressed about whether or not she would ever shoot off

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Speaker 4: from that orbit. She's always still within his gravitational pull.

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Speaker 4: But that said, the brilliance of the performance for me,

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Speaker 4: and I'll give you the exact moment where it really clicked.

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Speaker 4: I mean, I liked her from the moment she appeared

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Speaker 4: on screen. But where it really clicked for me I'll

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Speaker 4: get to in a moment on paper. If I just

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Speaker 4: started listing for you who Rachel is, her traits and

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Speaker 4: the basic demographics about her and what she does in

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Speaker 4: the movie, even just sort of listing them as facts,

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Speaker 4: I think you'd get a very different picture of her

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Speaker 4: than the wilful, complex woman that des Ion portrayed. Yes,

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Speaker 4: and that's it. That's where I'm going.

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Speaker 1: She can't talk.

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Speaker 4: She that's it right. She can't talk like Marty does.

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Speaker 4: No one in the movie can, even though she does

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Speaker 4: have some of the same desires. So her eyes, her

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Speaker 4: eyes have to do the work for her of saying

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Speaker 4: and expressing a lot of the things that her character can't.

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Speaker 4: And the unlocked for me happened for the character and

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Speaker 4: the performance. It's the scene where we realize that she's

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Speaker 4: willing to hustle to get what she wants just as

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Speaker 4: much as he is, and she might even be as

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Speaker 4: good a hustler, or an even better hustler than him,

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Speaker 4: that she can perform that well, even if it means

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Speaker 4: hustling him as much as she loves him. And what Marty,

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Speaker 4: what Schalamey through Marty expresses in that moment too. There's

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Speaker 4: a little pause in this scene that I love. What Marty,

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Speaker 4: what Shallamy expresses in that pause is simultaneously both a

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Speaker 4: sense of complete betrayal and hurt and also respect. Total

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Speaker 4: respect is like game needs a game. He gets it

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Speaker 4: in that moment.

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Speaker 1: Yeah, and she has. You know, she has a face

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Speaker 1: that's easier to believe, which you know, I think is

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Speaker 1: why she might be better at this than Marty if

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Speaker 1: she really wanted to go down this path. And I

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Speaker 1: will say that without spoiling it. The story gives her

390
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Speaker 1: a reason where you could believe she might stick with

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Speaker 1: him through all this out of desperation, out of no

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Speaker 1: other choice. I don't know that the script plays it

393
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Speaker 1: that way. That might have been a little bit more honest.

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Speaker 1: I found that it played it more romantically, which I

395
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Speaker 1: didn't quite buy. I would agree you could point to

396
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Speaker 1: that as a defense. This is why she does not

397
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Speaker 1: exit stage left and instead sticks with him.

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Speaker 4: So sure, I do want to keep going with that

399
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Speaker 4: eclectic array of faces though, because I do think that

400
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Speaker 4: is an incredible strength of this film, the ensemble. I

401
00:23:09,680 --> 00:23:13,119
Speaker 4: don't know whether some of these names or the majority

402
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Speaker 4: of the names that you would see if you go

403
00:23:15,800 --> 00:23:18,240
Speaker 4: to IMDb have done a lot of acting, if they've

404
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Speaker 4: done no acting. I know that there are cases where

405
00:23:21,320 --> 00:23:25,920
Speaker 4: nobody has done acting, but it doesn't matter the fact

406
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Speaker 4: that they're unique faces that in some cases they are

407
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Speaker 4: unknown to me. They give this movie so much texture.

408
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Speaker 4: How about just in that opening scene, Ralph Calucci, the

409
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Speaker 4: guy who plays Lloyd, is someone I could watch, I

410
00:23:42,280 --> 00:23:45,600
Speaker 4: could watch all day. Luke Manley, the guy who plays Dion,

411
00:23:45,720 --> 00:23:48,959
Speaker 4: who who he enlists to help him with the orange

412
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Speaker 4: ping pong balls. But even someone like Gizeroric as Kletzky,

413
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Speaker 4: the British Open champion that he defeats and that he's

414
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Speaker 4: really close friends with, who gives us one of the

415
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Speaker 4: most interesting scenes of the year at the at the

416
00:24:02,600 --> 00:24:06,359
Speaker 4: dinner scene with with Kevin O'Leary as well. And here's

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Speaker 4: someone I know because I looked him up just to

418
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Speaker 4: make sure someone like you know, this is such a

419
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Speaker 4: minor scene in the grand scheme of things, But I'm

420
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Speaker 4: just giving an example of adding that texture. Someone like

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Speaker 4: Donado p. Diaderio, who's Officer sal in the scene where

422
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Speaker 4: his uncle is trying to teach him a lesson and

423
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Speaker 4: he pays off a cop friend of his right to

424
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Speaker 4: handcuff him and you know, work him over a little bit,

425
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Speaker 4: make him think he might actually take him to jail.

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Speaker 4: That that is one of those faces that just feels

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Speaker 4: so authentic, And yeah, I looked him up. Of course,

428
00:24:40,600 --> 00:24:43,760
Speaker 4: he has no other acting credits. And the point here

429
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Speaker 4: is that you could list one hundred with this film,

430
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Speaker 4: and and that doesn't That, of course, isn't stunt casting.

431
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Speaker 4: But there are others that are stunts, even if there

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00:24:54,920 --> 00:24:57,760
Speaker 4: are subtle stunts, because you may not be aware of it.

433
00:24:57,880 --> 00:25:00,119
Speaker 3: For example, I mean, you're a bigger basketball f and

434
00:25:00,119 --> 00:25:00,359
Speaker 3: then me.

435
00:25:00,440 --> 00:25:04,000
Speaker 4: But I'm guessing you didn't recognize that the guy who

436
00:25:04,320 --> 00:25:09,200
Speaker 4: owns the place that he goes to practice ping pong

437
00:25:09,280 --> 00:25:14,280
Speaker 4: and he occasionally sleeps, that's George Gervin, George the Iceman Gervin.

438
00:25:14,600 --> 00:25:14,800
Speaker 3: Right.

439
00:25:14,840 --> 00:25:17,240
Speaker 4: I had no idea until I look that up just yesterday.

440
00:25:17,440 --> 00:25:22,400
Speaker 4: But he's another interesting face on screen, another interesting presence

441
00:25:22,440 --> 00:25:25,119
Speaker 4: on screen and sneaking in. Yeah, this time I couldn't

442
00:25:25,160 --> 00:25:28,040
Speaker 4: believe it because I admitted I didn't pick him out somehow,

443
00:25:28,560 --> 00:25:30,879
Speaker 4: and Allison told me, you know, Mammot was the stage

444
00:25:30,880 --> 00:25:33,960
Speaker 4: director of course he was. Now before I even saw him,

445
00:25:33,960 --> 00:25:36,320
Speaker 4: I heard his voice and I knew it was David Mammott,

446
00:25:36,320 --> 00:25:38,640
Speaker 4: and then he appears on screen. But then you get

447
00:25:38,640 --> 00:25:42,080
Speaker 4: to someone Josh like Abel Ferrara, who I've never seen before.

448
00:25:42,400 --> 00:25:44,359
Speaker 4: I don't know what he looks like. I didn't know

449
00:25:44,480 --> 00:25:49,080
Speaker 4: that was him. The filmmaker playing that character Ezra, and

450
00:25:49,200 --> 00:25:53,720
Speaker 4: he is both the most terrifying and maybe the most

451
00:25:54,160 --> 00:25:58,879
Speaker 4: sympathetic character in the movie, and he's completely unforgettable.

452
00:25:59,240 --> 00:26:02,240
Speaker 1: Well, it's the train he makes from being and I

453
00:26:02,240 --> 00:26:04,800
Speaker 1: think this is representative. Though he gets more screen time

454
00:26:04,840 --> 00:26:07,959
Speaker 1: than all these people you're listening, I think it's representative

455
00:26:08,080 --> 00:26:11,840
Speaker 1: of why they work. That character makes the transition from

456
00:26:11,840 --> 00:26:16,600
Speaker 1: being doing one bit for one moment to becoming a thread,

457
00:26:16,920 --> 00:26:20,639
Speaker 1: and you start to see him as a more whole person.

458
00:26:21,000 --> 00:26:23,520
Speaker 1: Now what you learn is terrifying, and you maybe wish

459
00:26:23,560 --> 00:26:25,879
Speaker 1: you'd hadn't learned it. But when we first meet him,

460
00:26:25,920 --> 00:26:30,879
Speaker 1: he's entirely sympathetic, and that's captured yeah, in the performance.

461
00:26:30,960 --> 00:26:35,520
Speaker 1: But I think Adam, even these two three seen people

462
00:26:35,600 --> 00:26:39,719
Speaker 1: we've been describing like, they manage to not only bring

463
00:26:39,760 --> 00:26:43,680
Speaker 1: that unique texture because they don't look like stars or familiar,

464
00:26:44,440 --> 00:26:46,320
Speaker 1: but they also and this is where the writing should

465
00:26:46,359 --> 00:26:50,000
Speaker 1: get some credit to, like get lines that speak to

466
00:26:50,119 --> 00:26:54,439
Speaker 1: who they are in this life beyond just who they

467
00:26:54,480 --> 00:26:58,919
Speaker 1: are to Marty. And you know, I think his friend

468
00:26:59,080 --> 00:27:02,320
Speaker 1: or cousin who you mentioned, I'm forgetting the name, but

469
00:27:02,320 --> 00:27:04,120
Speaker 1: who comes up with the idea for the orange ping

470
00:27:04,200 --> 00:27:07,440
Speaker 1: poles dungballs. Yeah, Like he's a perfect example of that.

471
00:27:07,720 --> 00:27:10,720
Speaker 1: All of his scenes are very short, but by the

472
00:27:10,880 --> 00:27:12,480
Speaker 1: end of each of them, I feel like I know

473
00:27:12,520 --> 00:27:15,560
Speaker 1: that guy's whole life. I know how it relates to Marty,

474
00:27:15,840 --> 00:27:17,520
Speaker 1: but I also feel like I know how it relates

475
00:27:17,560 --> 00:27:22,920
Speaker 1: to his parents, his desires for his own life. And

476
00:27:23,119 --> 00:27:27,280
Speaker 1: it's rare that you get a movie that allows these

477
00:27:27,359 --> 00:27:29,879
Speaker 1: bit parts to have that sort of richness. And richness

478
00:27:29,920 --> 00:27:31,240
Speaker 1: I think is a good word for this movie. It

479
00:27:31,280 --> 00:27:34,720
Speaker 1: goes back to a lot of these more technical craft

480
00:27:35,320 --> 00:27:39,639
Speaker 1: elements we've been talking about, from the cinematography and and

481
00:27:39,680 --> 00:27:42,840
Speaker 1: other elements like that the production design. There is a

482
00:27:43,000 --> 00:27:48,560
Speaker 1: texture to this movie that is also I think rare.

483
00:27:48,320 --> 00:27:52,199
Speaker 4: There definitely is, and I know now. I mean I

484
00:27:52,200 --> 00:27:54,119
Speaker 4: felt it the first time I saw it. I certainly

485
00:27:54,160 --> 00:27:56,240
Speaker 4: felt it again the second time I saw it, and

486
00:27:56,280 --> 00:28:00,520
Speaker 4: then having rewatched it, I took producer Sam's advice, and

487
00:28:00,680 --> 00:28:04,800
Speaker 4: just yesterday, Josh I listened to the DGA podcast where

488
00:28:04,840 --> 00:28:07,879
Speaker 4: Ben Affleck interviews Josh Safty and guess what, It's not

489
00:28:07,960 --> 00:28:12,359
Speaker 4: an accident. It's not just randomly or some weird alchemy

490
00:28:12,400 --> 00:28:15,800
Speaker 4: that's happening on screen that we feel all this texture

491
00:28:15,840 --> 00:28:19,000
Speaker 4: and everything you just described in terms of these characters

492
00:28:19,000 --> 00:28:21,679
Speaker 4: feeling like they're bringing an entire life to the screen,

493
00:28:22,160 --> 00:28:27,320
Speaker 4: Josh Safty wrote backgrounds for every single one of the extras,

494
00:28:27,680 --> 00:28:30,959
Speaker 4: they know at minimum, if not their entire life story.

495
00:28:31,359 --> 00:28:35,439
Speaker 4: They know exactly what that character was doing in the

496
00:28:35,480 --> 00:28:40,360
Speaker 4: scene before their scene and in the scene after that scene,

497
00:28:40,440 --> 00:28:45,560
Speaker 4: what they were bringing to that moment. For every single extra,

498
00:28:45,840 --> 00:28:49,040
Speaker 4: there are thirty eight hundred extras in the movie. Thirty

499
00:28:49,040 --> 00:28:51,880
Speaker 4: eight hundred. They cast all of them, which means they

500
00:28:51,920 --> 00:28:55,200
Speaker 4: didn't just say, hey, company, go out and get one

501
00:28:55,280 --> 00:28:57,400
Speaker 4: hundred one thousand extras and have them show up on

502
00:28:57,440 --> 00:29:01,240
Speaker 4: the day. No, they cast each one of them specifically

503
00:29:01,400 --> 00:29:05,240
Speaker 4: for this movie, and he provided them with that background,

504
00:29:05,360 --> 00:29:08,040
Speaker 4: that richness, so that they brought that to the film

505
00:29:08,280 --> 00:29:11,080
Speaker 4: and it's there on the screen. We are all sensing

506
00:29:11,120 --> 00:29:14,280
Speaker 4: it there on the screen. It's really remarkable and you

507
00:29:14,320 --> 00:29:16,840
Speaker 4: could definitely feel that is. Yeah, I was gonna say,

508
00:29:16,880 --> 00:29:20,400
Speaker 4: for sure, I wish I wish someone like fran Drescher

509
00:29:20,920 --> 00:29:23,880
Speaker 4: as his mother had a little bit more to do,

510
00:29:24,320 --> 00:29:26,840
Speaker 4: got a little bit more of that depth. She still

511
00:29:26,880 --> 00:29:29,680
Speaker 4: brings a bit of mystery to an otherwise one note

512
00:29:30,200 --> 00:29:31,000
Speaker 4: minor character.

513
00:29:31,400 --> 00:29:33,160
Speaker 1: Great couple of scenes, I think.

514
00:29:33,200 --> 00:29:36,120
Speaker 4: Great couple of scenes. And I do think you can

515
00:29:36,160 --> 00:29:41,160
Speaker 4: tell that Kevin O'Leary isn't an actor, especially when he's

516
00:29:41,160 --> 00:29:46,040
Speaker 4: in scenes with so many incredibly talented actors, but when

517
00:29:46,080 --> 00:29:49,040
Speaker 4: he's saying lines like what is now the most famous

518
00:29:49,080 --> 00:29:51,440
Speaker 4: line maybe in this movie. I was born in sixteen

519
00:29:51,480 --> 00:29:55,120
Speaker 4: oh one. I'm a vampire. I've been around forever. I'm okay,

520
00:29:55,240 --> 00:29:58,640
Speaker 4: Josh with it feeling a little forced because everything that

521
00:29:58,720 --> 00:30:03,640
Speaker 4: guy does is overbearing and is a little too insistent,

522
00:30:03,720 --> 00:30:07,800
Speaker 4: and you understand who that guy is, and you understand

523
00:30:07,880 --> 00:30:11,200
Speaker 4: how overbearing and honestly, how kind of awful he is

524
00:30:11,480 --> 00:30:14,600
Speaker 4: the moment he appears on screen and that's enough.

525
00:30:14,840 --> 00:30:17,120
Speaker 1: Hey, he sold me in that moment. I was like,

526
00:30:17,800 --> 00:30:19,920
Speaker 1: maybe he is a vampire like that, he could be.

527
00:30:20,120 --> 00:30:22,320
Speaker 1: That might be unlocking a lot of things here.

528
00:30:23,200 --> 00:30:23,720
Speaker 3: Exactly.

529
00:30:24,640 --> 00:30:29,160
Speaker 4: Yeah, in terms of the formal elements too, bringing up

530
00:30:29,240 --> 00:30:34,720
Speaker 4: the production design and the cinematography is well. The first

531
00:30:34,800 --> 00:30:38,200
Speaker 4: time I saw this, it was a screener and our

532
00:30:38,200 --> 00:30:40,280
Speaker 4: friends got to bias. I was texting with him that

533
00:30:40,400 --> 00:30:43,360
Speaker 4: day that morning and I mentioned to him that I

534
00:30:43,360 --> 00:30:45,320
Speaker 4: was going to see Marty Supreme later that day. And

535
00:30:45,360 --> 00:30:47,640
Speaker 4: I didn't understand why he said this, but I was

536
00:30:47,680 --> 00:30:51,200
Speaker 4: able to put it together, especially later after seeing it.

537
00:30:51,320 --> 00:30:53,840
Speaker 4: He said, play it loud. I think you put it

538
00:30:53,880 --> 00:30:57,280
Speaker 4: in all caps. Play it loud, right, So then I

539
00:30:57,400 --> 00:31:01,280
Speaker 4: got it that this is a bombastic film in every way,

540
00:31:01,360 --> 00:31:04,400
Speaker 4: but including with the sound design. Well I got I

541
00:31:04,440 --> 00:31:07,080
Speaker 4: got to see it the second time in the theater.

542
00:31:07,360 --> 00:31:09,960
Speaker 4: I got to see it at film Scene in Iowa

543
00:31:10,000 --> 00:31:14,560
Speaker 4: City and Sophie r Pa, my daughter, she works at

544
00:31:14,600 --> 00:31:17,160
Speaker 4: film Scene, and she says that they have been getting

545
00:31:17,720 --> 00:31:22,840
Speaker 4: killed with complaints from some of the older clientele who

546
00:31:22,840 --> 00:31:26,440
Speaker 4: have been coming out in droves saying you have to

547
00:31:26,480 --> 00:31:30,240
Speaker 4: turn it down too loud, and of course they can't

548
00:31:30,280 --> 00:31:33,120
Speaker 4: turn it down. That's the way. That's the way this

549
00:31:33,200 --> 00:31:37,760
Speaker 4: movie is calibrated. It is just calibrated at that volume.

550
00:31:37,800 --> 00:31:40,719
Speaker 4: And and for me, especially seeing in the theater and

551
00:31:40,760 --> 00:31:44,520
Speaker 4: really feeling it that that propulsiveness that we've talked about,

552
00:31:44,520 --> 00:31:48,200
Speaker 4: but getting the volume on full blast for those anachronistic

553
00:31:48,280 --> 00:31:50,880
Speaker 4: needle drops and that Daniel Lopatten's score.

554
00:31:51,320 --> 00:31:53,360
Speaker 3: What a treat, What a treat that was.

555
00:31:53,400 --> 00:31:55,680
Speaker 4: And I hear again, I couldn't agree more with with

556
00:31:55,800 --> 00:32:01,400
Speaker 4: Alison that with this focus that Saftie's born bringing to

557
00:32:01,520 --> 00:32:07,080
Speaker 4: the casting with authenticity, there's nothing overly reverential or nostalgic

558
00:32:07,240 --> 00:32:09,960
Speaker 4: in the visual approach as well, And I think part

559
00:32:09,960 --> 00:32:13,160
Speaker 4: of that is how reliant it is in its construction

560
00:32:13,960 --> 00:32:16,680
Speaker 4: on medium close ups and close ups, and this is

561
00:32:16,720 --> 00:32:19,240
Speaker 4: something we see in Uncut Gems too. Right, that's part

562
00:32:19,280 --> 00:32:22,920
Speaker 4: of the jittery, the handheld approach that makes it feel

563
00:32:22,960 --> 00:32:25,680
Speaker 4: really claustrophobic, right, is there's not a lot of extra

564
00:32:25,800 --> 00:32:29,000
Speaker 4: room in the frame when when it's that close to

565
00:32:29,040 --> 00:32:31,000
Speaker 4: the characters, and you feel like you're that close to

566
00:32:31,000 --> 00:32:34,840
Speaker 4: the characters. But that's not what's happening here. This movie

567
00:32:34,880 --> 00:32:39,720
Speaker 4: doesn't feel the same as Uncut Gems feels, and thank god, right,

568
00:32:39,920 --> 00:32:42,600
Speaker 4: I think it does feel very different. But it never

569
00:32:42,720 --> 00:32:47,320
Speaker 4: is about showcasing the location. It's never about wasting time

570
00:32:47,640 --> 00:32:51,960
Speaker 4: with establishing shots. It isn't about making you dizzy, like

571
00:32:52,000 --> 00:32:54,160
Speaker 4: I said with uncut gems. But I do think that

572
00:32:54,240 --> 00:32:58,520
Speaker 4: Safty and Kanji are almost always they're they're tracking characters

573
00:32:58,560 --> 00:33:02,320
Speaker 4: and they're showing characters with these tight shots, and it

574
00:33:02,360 --> 00:33:06,280
Speaker 4: does create urgency, it creates intimacy with the characters. I

575
00:33:06,280 --> 00:33:09,520
Speaker 4: think it's another reason why we're talking about the textures

576
00:33:09,520 --> 00:33:12,280
Speaker 4: that all these characters bring in the layers of the performances,

577
00:33:12,400 --> 00:33:15,000
Speaker 4: because we see all the nuances. We see the nuances

578
00:33:15,000 --> 00:33:17,520
Speaker 4: in their faces, in their their emotions, and there in

579
00:33:17,600 --> 00:33:21,680
Speaker 4: their reactions. And when when do we widen out? When

580
00:33:21,680 --> 00:33:24,880
Speaker 4: we widen out like with great dance numbers, it's with

581
00:33:24,960 --> 00:33:28,200
Speaker 4: the ping pong scenes where we see the full physicality

582
00:33:28,840 --> 00:33:32,000
Speaker 4: on display. That's when that's when he brings the camera

583
00:33:32,520 --> 00:33:34,719
Speaker 4: fully out so we can see the table, we can

584
00:33:34,760 --> 00:33:38,960
Speaker 4: see the bodies in motion, and that that's remarkable as well.

585
00:33:39,200 --> 00:33:42,720
Speaker 3: Can we go back to the needle drops, Yeah, let's

586
00:33:42,760 --> 00:33:42,880
Speaker 3: do it.

587
00:33:43,000 --> 00:33:45,760
Speaker 1: Not a fan. Not a fan, I gotta say. And

588
00:33:45,760 --> 00:33:48,880
Speaker 1: and this isn't because they're anachronistic or that I'm opposed

589
00:33:48,880 --> 00:33:52,480
Speaker 1: to needle drops in general. I just found it to

590
00:33:52,560 --> 00:33:57,000
Speaker 1: be somewhat tied to a pattern a little bit related

591
00:33:57,000 --> 00:33:59,120
Speaker 1: to what I was talking about with Chalame's performance, and

592
00:33:59,160 --> 00:34:02,360
Speaker 1: again perhaps on fairly having the campaign in my mind,

593
00:34:03,080 --> 00:34:06,479
Speaker 1: an insistence that for me was a little separate from

594
00:34:06,520 --> 00:34:10,360
Speaker 1: the propulsion of the film. They're they're related, but to me,

595
00:34:10,480 --> 00:34:16,120
Speaker 1: there were two separate things where the movie was insisting

596
00:34:16,280 --> 00:34:23,280
Speaker 1: on its own intensity at times, where Uncut Gems felt

597
00:34:23,680 --> 00:34:27,640
Speaker 1: like that was just in the air where you breathed,

598
00:34:28,320 --> 00:34:33,000
Speaker 1: you just breathe the chaos. In Uncut Gems, you felt

599
00:34:33,040 --> 00:34:35,680
Speaker 1: the construction of the chaos just a tad more here.

600
00:34:36,040 --> 00:34:37,920
Speaker 1: I do think it's a it's a as I said

601
00:34:37,960 --> 00:34:41,680
Speaker 1: at the top, it's a remarkable distinct quality of the film.

602
00:34:41,719 --> 00:34:44,480
Speaker 1: And perhaps this is just an unfair comparison Uncut Gems,

603
00:34:44,840 --> 00:34:47,600
Speaker 1: but the needle drops are connected to this. It just

604
00:34:47,640 --> 00:34:50,080
Speaker 1: felt like it's trying a little bit harder. The recurring

605
00:34:50,120 --> 00:34:53,319
Speaker 1: bit with the dog. There's like maybe one scene with

606
00:34:53,440 --> 00:34:57,719
Speaker 1: the dog where I'm like, we we we've got it.

607
00:34:57,840 --> 00:35:01,759
Speaker 1: We know we're already quite dressed about the dog. We

608
00:35:02,080 --> 00:35:03,120
Speaker 1: don't need another one.

609
00:35:03,239 --> 00:35:05,960
Speaker 4: And I feel like, separate from the music, is that

610
00:35:05,960 --> 00:35:06,879
Speaker 4: what you're separate.

611
00:35:06,600 --> 00:35:09,520
Speaker 1: From the music. But it's the same insistence to me, Okay,

612
00:35:09,560 --> 00:35:12,120
Speaker 1: Like there's an insistence to Chella May's performance, there's an

613
00:35:12,160 --> 00:35:14,960
Speaker 1: insistence to the dog scenes. Yeah, And there's there's an

614
00:35:15,000 --> 00:35:18,640
Speaker 1: insistence to like, I'm insisting this needle drop in here

615
00:35:20,760 --> 00:35:25,000
Speaker 1: that is maybe just pushing it. Just the movie wants

616
00:35:25,040 --> 00:35:28,319
Speaker 1: to impress us as much as Marty wants to impress us,

617
00:35:28,960 --> 00:35:31,280
Speaker 1: and a little bit of space between those two things

618
00:35:32,120 --> 00:35:33,479
Speaker 1: I think would have gone a long way.

619
00:35:34,480 --> 00:35:38,480
Speaker 4: I think I didn't feel that, especially because from the

620
00:35:38,480 --> 00:35:43,200
Speaker 4: moment we got Forever Young in that credit sequence and

621
00:35:43,560 --> 00:35:49,439
Speaker 4: the entire fertilization moment, if you will, which actually does

622
00:35:49,480 --> 00:35:51,920
Speaker 4: Someone reminded me of this. A colleague that I was

623
00:35:51,960 --> 00:35:54,640
Speaker 4: texting with reminded me that uncut Gems I'd forgot this

624
00:35:54,719 --> 00:35:59,120
Speaker 4: opens with something similar with the kolonoscopy, right, So I

625
00:35:59,600 --> 00:36:03,640
Speaker 4: was I is so on board from that moment that

626
00:36:03,640 --> 00:36:06,719
Speaker 4: that those never felt Those needle drops to me somehow

627
00:36:06,840 --> 00:36:10,560
Speaker 4: never felt obtrusive. Now, it's funny that you bring up

628
00:36:10,560 --> 00:36:14,600
Speaker 4: the dog, because this transitions nicely into something I did

629
00:36:14,680 --> 00:36:16,399
Speaker 4: want to bring up in terms of just kind of

630
00:36:16,440 --> 00:36:19,279
Speaker 4: what for me, what the film's all about and the

631
00:36:19,400 --> 00:36:22,880
Speaker 4: experience I had the second time, and why I'm so

632
00:36:23,239 --> 00:36:25,960
Speaker 4: why I'm actually so much on board with it more

633
00:36:26,040 --> 00:36:27,920
Speaker 4: the second time, even though I really liked it the

634
00:36:27,920 --> 00:36:31,319
Speaker 4: first time. And one of the one of the revelations

635
00:36:31,360 --> 00:36:34,160
Speaker 4: I suppose I had is I'm watching this film and

636
00:36:34,200 --> 00:36:37,200
Speaker 4: I realize, Okay, this film really is.

637
00:36:38,880 --> 00:36:39,640
Speaker 3: Two halves.

638
00:36:40,440 --> 00:36:44,040
Speaker 4: It It is a movie that's about Marty up through

639
00:36:44,080 --> 00:36:47,279
Speaker 4: the British Open, with that that first match that he

640
00:36:47,360 --> 00:36:52,040
Speaker 4: has with Endo, the Japanese table tennis player, and then

641
00:36:52,080 --> 00:36:53,640
Speaker 4: it's it's really it's.

642
00:36:53,480 --> 00:36:55,000
Speaker 3: Post British Open.

643
00:36:55,520 --> 00:36:58,960
Speaker 4: And the second half is where it really feels like

644
00:36:59,000 --> 00:36:59,960
Speaker 4: a Safty film.

645
00:37:00,280 --> 00:37:00,440
Speaker 3: Right.

646
00:37:00,840 --> 00:37:03,800
Speaker 4: That's that's where Alison talked about Marty as a chaos addict.

647
00:37:04,320 --> 00:37:07,840
Speaker 4: That's that's all there, Marty getting getting himself into deeper

648
00:37:07,840 --> 00:37:11,120
Speaker 4: and deeper trouble. Everything seems to be just going off

649
00:37:11,160 --> 00:37:16,960
Speaker 4: the rails, getting progressively crazier. I recognize that this is

650
00:37:17,000 --> 00:37:19,600
Speaker 4: what made it distinct. In the moment I was watching

651
00:37:19,640 --> 00:37:22,160
Speaker 4: it the first time, I was feeling, well, this is

652
00:37:22,520 --> 00:37:26,239
Speaker 4: this is that Safty insensibility. I like that this is

653
00:37:26,320 --> 00:37:30,120
Speaker 4: essentially a sports movie, but they're doing something. He's doing

654
00:37:30,200 --> 00:37:34,960
Speaker 4: something so dramatically weird and different with it. But I

655
00:37:35,000 --> 00:37:38,279
Speaker 4: have to be honest, I found it unwieldy, like you

656
00:37:38,680 --> 00:37:42,560
Speaker 4: Josh the hustle at the bowling alley. You're like, dude,

657
00:37:42,640 --> 00:37:44,520
Speaker 4: am I really gonna have to sit through this entire

658
00:37:44,680 --> 00:37:46,880
Speaker 4: Like we know how this is gonna end. This is

659
00:37:46,880 --> 00:37:49,520
Speaker 4: feeling a little long. How how long is this going

660
00:37:49,560 --> 00:37:51,319
Speaker 4: to take to play out the stuff with the dog?

661
00:37:52,040 --> 00:37:53,040
Speaker 3: We're back at the.

662
00:37:53,000 --> 00:37:58,040
Speaker 4: House now with the dog. I got, I got the excess.

663
00:37:58,160 --> 00:38:03,799
Speaker 4: I understood it intellectually. My attention was waning. But where

664
00:38:03,800 --> 00:38:08,160
Speaker 4: the second viewing was clarifying was was that structure. What's

665
00:38:08,200 --> 00:38:10,920
Speaker 4: the structure of Marty Supreme. It's actually a pretty conventional

666
00:38:10,920 --> 00:38:14,959
Speaker 4: sports movie in this respect anyway. It's an athlete trying

667
00:38:14,960 --> 00:38:19,560
Speaker 4: to avenge an earlier loss to arrival. Act one, he loses.

668
00:38:19,640 --> 00:38:21,560
Speaker 4: Act two is the build up to the rematch and

669
00:38:21,600 --> 00:38:23,879
Speaker 4: the rematch itself, and I'll leave it at that, where

670
00:38:23,920 --> 00:38:27,879
Speaker 4: the hero trains and through hard work and grit and determination,

671
00:38:28,360 --> 00:38:33,320
Speaker 4: hopefully usually in sports movies, the hero wins.

672
00:38:34,200 --> 00:38:35,080
Speaker 3: Except here.

673
00:38:36,160 --> 00:38:39,520
Speaker 4: This is the brilliance of the screenplay here and what

674
00:38:39,920 --> 00:38:42,560
Speaker 4: saf d and Ronald Bronstein are bringing to the table.

675
00:38:42,760 --> 00:38:43,359
Speaker 3: Except here.

676
00:38:43,800 --> 00:38:47,919
Speaker 4: The training is about thirty seconds of actual ping pong

677
00:38:48,000 --> 00:38:51,880
Speaker 4: practice and ninety minutes of hard work and grit and

678
00:38:51,960 --> 00:38:56,600
Speaker 4: determination just to get the money to buy the plane

679
00:38:56,640 --> 00:39:01,719
Speaker 4: ticket to travel to get to the rematch. It's kind

680
00:39:01,760 --> 00:39:05,040
Speaker 4: of incredible when you think about it, and so the

681
00:39:05,080 --> 00:39:10,359
Speaker 4: epiphany for me. And I'm open to anyone quibbling with this.

682
00:39:10,840 --> 00:39:14,760
Speaker 4: I'm quibbling with Allison's take on the film and others

683
00:39:14,800 --> 00:39:20,720
Speaker 4: who might be associating Marty too closely with Howard Rattner

684
00:39:20,960 --> 00:39:25,520
Speaker 4: in uncut Gems. I don't think Marty is addicted to chaos.

685
00:39:25,719 --> 00:39:29,440
Speaker 4: I don't think he is courting chaos. I think he

686
00:39:29,600 --> 00:39:32,239
Speaker 4: is more comfortable with it than a lot of us are.

687
00:39:32,560 --> 00:39:35,040
Speaker 4: He sure seems to find it. I don't think he's

688
00:39:35,080 --> 00:39:38,960
Speaker 4: afraid of it. But he isn't just hustling for the

689
00:39:39,040 --> 00:39:43,560
Speaker 4: sake of hustling. He is hustling with purpose because he

690
00:39:43,719 --> 00:39:46,279
Speaker 4: has a purpose. There's even a line at one point

691
00:39:46,320 --> 00:39:49,400
Speaker 4: in the movie he says, everything in my life's falling apart,

692
00:39:49,600 --> 00:39:51,399
Speaker 4: but I'm going to figure it out. In the second

693
00:39:51,440 --> 00:39:54,920
Speaker 4: half he says that someone who's courting disaster, courting chaos,

694
00:39:54,920 --> 00:39:57,960
Speaker 4: doesn't say everything in my life's falling apart. And what

695
00:39:58,000 --> 00:40:01,279
Speaker 4: does he say to Rachel, I have a purpose? If

696
00:40:01,280 --> 00:40:02,680
Speaker 4: you think that it's some kind of blessing.

697
00:40:02,719 --> 00:40:03,000
Speaker 3: It's not.

698
00:40:03,800 --> 00:40:05,920
Speaker 4: It means I have an obligation to see a very

699
00:40:05,920 --> 00:40:09,640
Speaker 4: specific thing through And so maybe I still didn't necessarily

700
00:40:09,640 --> 00:40:13,040
Speaker 4: need Josh the second trip with the Dog. But what

701
00:40:13,080 --> 00:40:16,000
Speaker 4: I can tell you is is that watching it again

702
00:40:16,520 --> 00:40:19,760
Speaker 4: and having that click into place and realize that every

703
00:40:19,840 --> 00:40:22,759
Speaker 4: single thing that happens in the second act, it's not

704
00:40:22,960 --> 00:40:28,520
Speaker 4: just an introduction of a new example of chaos yet

705
00:40:28,560 --> 00:40:32,680
Speaker 4: again Marty's spinning out of control. It's actually just step

706
00:40:32,719 --> 00:40:37,000
Speaker 4: by step, him doing everything he can do the thing

707
00:40:37,080 --> 00:40:40,600
Speaker 4: that's directly in front of him to earn enough money

708
00:40:41,080 --> 00:40:43,560
Speaker 4: to get a plane ticket to go to Tokyo.

709
00:40:44,040 --> 00:40:44,520
Speaker 3: That's it.

710
00:40:44,800 --> 00:40:49,480
Speaker 4: He's singularly focused on only that objective. Once I realize

711
00:40:49,520 --> 00:40:52,000
Speaker 4: that that he's just too broke to go to Tokyo

712
00:40:52,400 --> 00:40:57,520
Speaker 4: and if he can't compete, then he can't fulfill his purpose.

713
00:40:58,800 --> 00:41:00,920
Speaker 4: I had a different experience with the film, with the

714
00:41:00,960 --> 00:41:04,000
Speaker 4: second half of the film certainly, and it didn't feel

715
00:41:04,000 --> 00:41:06,520
Speaker 4: like excessive storytelling to me. It actually felt like a

716
00:41:06,560 --> 00:41:07,880
Speaker 4: pretty efficient storytelling.

717
00:41:09,120 --> 00:41:12,200
Speaker 1: Yeah, this raises a question that we can't it's a

718
00:41:12,200 --> 00:41:14,680
Speaker 1: crucial question, but we can't really know the answer to

719
00:41:16,160 --> 00:41:19,359
Speaker 1: until we see the next movie and we find out

720
00:41:19,400 --> 00:41:25,120
Speaker 1: what Marty does next, because I think I agree that

721
00:41:25,360 --> 00:41:30,600
Speaker 1: he's not addicted to chaos, he's not seeking new forms

722
00:41:30,600 --> 00:41:36,040
Speaker 1: of chaos. He definitely has a goal. But what I

723
00:41:36,120 --> 00:41:39,680
Speaker 1: do wonder, you know, if you consider Marty to be

724
00:41:39,760 --> 00:41:44,040
Speaker 1: like a narcissistic personality. And I don't know that we

725
00:41:44,360 --> 00:41:46,960
Speaker 1: know for sure enough to say that, but there's hints

726
00:41:47,000 --> 00:41:50,960
Speaker 1: that it's possible, right money of evidence. Yes, So for

727
00:41:51,080 --> 00:41:55,239
Speaker 1: someone like that, is it really the goal? Or is

728
00:41:55,280 --> 00:41:59,600
Speaker 1: it that having a goal reshapes the world and everyone

729
00:41:59,640 --> 00:42:03,239
Speaker 1: around them to be about their needs? And I think

730
00:42:03,280 --> 00:42:06,239
Speaker 1: that's different both from what Allison was talking about in

731
00:42:06,320 --> 00:42:09,800
Speaker 1: terms of pursuing chaos and if I'm hearing you correctly,

732
00:42:09,800 --> 00:42:12,360
Speaker 1: different from what you're talking about, which.

733
00:42:12,200 --> 00:42:13,959
Speaker 4: Is closer to what I'm talking about.

734
00:42:14,760 --> 00:42:19,359
Speaker 1: Yeah, but you're you know, if I'm hearing you, it's

735
00:42:19,360 --> 00:42:22,520
Speaker 1: similar to what I read the movie as wanting, is like,

736
00:42:23,360 --> 00:42:29,640
Speaker 1: his methods may be unhealthy, but his purpose is in

737
00:42:29,680 --> 00:42:35,799
Speaker 1: a way noble, and by achieving it he will have

738
00:42:36,000 --> 00:42:42,840
Speaker 1: attained something valuable. And I wonder, based on the character

739
00:42:42,920 --> 00:42:47,720
Speaker 1: traits we see, if I had to put money on it,

740
00:42:47,719 --> 00:42:51,279
Speaker 1: it's that the next day no matter what's happened to

741
00:42:51,360 --> 00:42:54,080
Speaker 1: him in the final scene, Marty will have a new

742
00:42:54,120 --> 00:42:59,480
Speaker 1: goal that will require everyone to once again and I

743
00:42:59,560 --> 00:43:04,799
Speaker 1: mean the new people now to orbit themselves around his

744
00:43:04,960 --> 00:43:09,680
Speaker 1: next goal. That's my instinct from what I've seen in

745
00:43:09,760 --> 00:43:12,120
Speaker 1: terms of his behavior and how he's treated people throughout

746
00:43:12,120 --> 00:43:17,840
Speaker 1: this film. And so that's why I think if you

747
00:43:17,880 --> 00:43:20,680
Speaker 1: do see Marty Supreme as a redemption story of some way,

748
00:43:20,719 --> 00:43:22,960
Speaker 1: it doesn't ring true to me. I don't know that's

749
00:43:22,960 --> 00:43:26,800
Speaker 1: how we're supposed to see it, but it's more difficult

750
00:43:26,840 --> 00:43:28,960
Speaker 1: for me to see it that way because I'm a

751
00:43:28,960 --> 00:43:34,120
Speaker 1: little suspicious of this goal really giving him the meaning

752
00:43:34,200 --> 00:43:35,040
Speaker 1: he expects it to.

753
00:43:35,600 --> 00:43:36,680
Speaker 3: Okay, does that mean sense?

754
00:43:37,280 --> 00:43:40,120
Speaker 4: Yes, it does, because I think your read of it

755
00:43:40,239 --> 00:43:43,080
Speaker 4: seems to fall in line with most people that I've

756
00:43:43,120 --> 00:43:45,120
Speaker 4: talked to, and it is a little bit different than

757
00:43:45,160 --> 00:43:50,280
Speaker 4: my read, and that that discussion will have to wait

758
00:43:50,760 --> 00:43:54,160
Speaker 4: for spoiler talk, a little bit of yes, separate spoiler

759
00:43:54,200 --> 00:43:56,680
Speaker 4: talk that we will record. But I want to say this,

760
00:43:57,480 --> 00:44:02,600
Speaker 4: and the fun thing, the great thing about having this conversation,

761
00:44:02,680 --> 00:44:06,279
Speaker 4: and I have seen some things online and I know

762
00:44:06,360 --> 00:44:09,000
Speaker 4: that there's discussion out there about Marty as a character

763
00:44:09,120 --> 00:44:14,600
Speaker 4: and there's I find the handwringing, the moralizing about characters

764
00:44:14,640 --> 00:44:18,279
Speaker 4: and movies to be a bit much, you know, I mean,

765
00:44:18,320 --> 00:44:20,759
Speaker 4: when did we start to expect art to be so

766
00:44:20,960 --> 00:44:25,279
Speaker 4: reassuring and so comforting as opposed to something that is

767
00:44:26,040 --> 00:44:30,560
Speaker 4: challenging and our characters to be complicated. That's the point

768
00:44:30,800 --> 00:44:34,960
Speaker 4: is that they should be complicated, and they're not real.

769
00:44:35,280 --> 00:44:38,120
Speaker 4: In this case, he's certainly not real, whether or he's

770
00:44:38,160 --> 00:44:41,239
Speaker 4: based in some way loosely on a real person. So

771
00:44:41,640 --> 00:44:46,560
Speaker 4: we get to observe and contemplate and think about these

772
00:44:46,600 --> 00:44:48,920
Speaker 4: things and have these these kind of moral and ethical

773
00:44:49,360 --> 00:44:51,400
Speaker 4: provocations because of the character.

774
00:44:51,640 --> 00:44:52,640
Speaker 3: So the.

775
00:44:54,760 --> 00:44:58,920
Speaker 4: Wanting to dismiss Marty that some people I know want

776
00:44:58,960 --> 00:45:01,920
Speaker 4: to do and this the movie because they don't like

777
00:45:02,080 --> 00:45:06,680
Speaker 4: Marty and his behavior, I simply don't understand. And when

778
00:45:06,719 --> 00:45:11,080
Speaker 4: I say I'm going to soften my read of Marty

779
00:45:11,120 --> 00:45:13,200
Speaker 4: a little bit, I don't mean I want to make

780
00:45:13,280 --> 00:45:16,879
Speaker 4: him be a better a better person. I don't care

781
00:45:16,960 --> 00:45:19,600
Speaker 4: whether or not for this conversation he's he's a good

782
00:45:19,600 --> 00:45:20,880
Speaker 4: person or a bad person.

783
00:45:20,960 --> 00:45:21,600
Speaker 3: I I don't.

784
00:45:21,680 --> 00:45:25,720
Speaker 4: I don't like the the binary nature of those terms.

785
00:45:26,080 --> 00:45:29,279
Speaker 4: What I think the movie in terms of its complexity

786
00:45:30,280 --> 00:45:34,280
Speaker 4: is getting at though through Marty and through his ambition

787
00:45:34,960 --> 00:45:39,759
Speaker 4: and through this sense of purpose is I think I

788
00:45:39,760 --> 00:45:44,080
Speaker 4: think all of the things that build his identity matter.

789
00:45:44,480 --> 00:45:48,960
Speaker 4: I think his class matters. I think his Jewishness matters.

790
00:45:48,960 --> 00:45:51,120
Speaker 4: And there's a reason why that comes up in multiple

791
00:45:51,160 --> 00:45:53,960
Speaker 4: ways in the film and multiple times in the film.

792
00:45:54,360 --> 00:45:57,399
Speaker 4: Everything he does in the movie, as I read it,

793
00:45:58,480 --> 00:46:00,840
Speaker 4: no matter how misguided it is. And again, this doesn't

794
00:46:00,920 --> 00:46:04,440
Speaker 4: justify everything he does, but everything he does, as he

795
00:46:04,520 --> 00:46:09,600
Speaker 4: sees it, is in service of his obligation. And so

796
00:46:09,719 --> 00:46:13,960
Speaker 4: what makes Marty supreme great to me is that Safty

797
00:46:14,040 --> 00:46:19,759
Speaker 4: transforms a sports saga into a biding portrait of ambition, class,

798
00:46:19,960 --> 00:46:26,080
Speaker 4: and identity. It's a relentless odyssey of purpose and survival

799
00:46:26,440 --> 00:46:33,600
Speaker 4: where every hustle feels like a claim to value in

800
00:46:33,640 --> 00:46:36,120
Speaker 4: a world that's eager to deny it. Like not just

801
00:46:36,200 --> 00:46:40,000
Speaker 4: claim to greatness, which he is aspiring to, but by

802
00:46:40,080 --> 00:46:44,160
Speaker 4: aspiring to greatness, he's just he's just claiming that he

803
00:46:44,280 --> 00:46:47,920
Speaker 4: has value. I think Marty recognizes the myth of the

804
00:46:47,920 --> 00:46:52,719
Speaker 4: American dream, or he understands that as an outsider, that

805
00:46:52,840 --> 00:46:56,000
Speaker 4: the American dream doesn't exist, that the notion that is

806
00:46:56,080 --> 00:46:58,760
Speaker 4: open to everybody, and it's just there for the taking

807
00:46:58,800 --> 00:47:03,040
Speaker 4: if you work hard. Is in fact that myth and

808
00:47:03,080 --> 00:47:07,520
Speaker 4: that the outsider is what he is and what everybody

809
00:47:07,640 --> 00:47:11,800
Speaker 4: is constantly looking to relegate him too. And the only

810
00:47:11,840 --> 00:47:15,000
Speaker 4: way for him to not be that outsider and get

811
00:47:15,000 --> 00:47:17,480
Speaker 4: what he wants and take what he wants is to

812
00:47:17,600 --> 00:47:22,319
Speaker 4: not play by those rules. Yeah, find a shortcut, find it,

813
00:47:22,440 --> 00:47:27,120
Speaker 4: take take whatever shortcut he can. And I think those

814
00:47:27,160 --> 00:47:30,120
Speaker 4: are some of the larger questions that the movie opens.

815
00:47:29,920 --> 00:47:33,680
Speaker 1: Up for me, Yeah, which are all interesting and totally

816
00:47:33,719 --> 00:47:37,200
Speaker 1: agree with you about. You know, Yes, we should be

817
00:47:37,239 --> 00:47:42,520
Speaker 1: able to watch movies featuring characters, main characters who we

818
00:47:42,600 --> 00:47:47,560
Speaker 1: disapprove of, and that can still be interesting and informative.

819
00:47:47,880 --> 00:47:53,520
Speaker 1: And I think the more nuanced conversation, again, we keep

820
00:47:53,520 --> 00:47:55,160
Speaker 1: saying this, but maybe that will come up in our

821
00:47:55,200 --> 00:47:59,080
Speaker 1: spoiler talk is how successful do we think Marty Supreme

822
00:47:59,200 --> 00:48:02,799
Speaker 1: is at doing that compared to other movies I had

823
00:48:02,800 --> 00:48:05,960
Speaker 1: in the back of my head from the nineteen seventies,

824
00:48:06,560 --> 00:48:10,800
Speaker 1: the great anti hero performances. Last year we had occasion

825
00:48:10,840 --> 00:48:13,040
Speaker 1: to consider a couple of these, you know, Gene Hackman

826
00:48:13,120 --> 00:48:16,759
Speaker 1: and Scarecrow or Jack Nicholson in the last detail, and

827
00:48:17,400 --> 00:48:25,279
Speaker 1: you know what the movies attitudes were towards those characters

828
00:48:25,320 --> 00:48:29,080
Speaker 1: in relationship to the audience's expectations and the willingness to

829
00:48:29,200 --> 00:48:33,719
Speaker 1: subvert those or to comfort the audience. That's where I

830
00:48:33,800 --> 00:48:37,200
Speaker 1: saw distinction a little bit between Marty Supreme and some

831
00:48:37,280 --> 00:48:41,399
Speaker 1: of those seventies movies. And man, the people who are

832
00:48:41,440 --> 00:48:44,879
Speaker 1: disturbed by Marty Supreme because it features someone who makes

833
00:48:44,920 --> 00:48:47,239
Speaker 1: you uncomfortable. I don't know what they do if they

834
00:48:47,239 --> 00:48:51,440
Speaker 1: watch some of those seventies movies with like Hackevian Nicholson, right,

835
00:48:51,520 --> 00:48:53,520
Speaker 1: it would Josh blow their minds.

836
00:48:54,000 --> 00:48:57,440
Speaker 4: I think you're I think you're right. Whether this ends

837
00:48:57,560 --> 00:49:01,520
Speaker 4: up being part of a qualitative judgment in your analysis

838
00:49:01,520 --> 00:49:04,319
Speaker 4: of this film or not. All you have to all

839
00:49:04,320 --> 00:49:07,800
Speaker 4: you have to do is is well, first watch this film.

840
00:49:07,840 --> 00:49:11,560
Speaker 4: I would say watch uncut Gems as well. But also

841
00:49:11,600 --> 00:49:15,160
Speaker 4: if you want read anything either Saftie brother has said

842
00:49:15,200 --> 00:49:18,839
Speaker 4: about Howard Rattner or what they said to me in

843
00:49:18,920 --> 00:49:22,240
Speaker 4: my interview with them on this show, which we dropped

844
00:49:22,239 --> 00:49:24,960
Speaker 4: into the feed earlier this week, or what Josh Safti

845
00:49:25,080 --> 00:49:26,320
Speaker 4: has said about this character.

846
00:49:27,160 --> 00:49:28,719
Speaker 3: They they love.

847
00:49:29,320 --> 00:49:33,680
Speaker 4: These men, They they genuinely. That doesn't mean they approve

848
00:49:33,960 --> 00:49:38,080
Speaker 4: of every choice they make. That's something different. But they

849
00:49:38,120 --> 00:49:39,920
Speaker 4: love these men in a way that I think is

850
00:49:40,000 --> 00:49:43,600
Speaker 4: very different from the types of characters you're talking about

851
00:49:43,640 --> 00:49:47,320
Speaker 4: in the relationship those directors, those writers and directors probably

852
00:49:47,640 --> 00:49:50,760
Speaker 4: probably had with with the figures you're mentioning.

853
00:49:51,280 --> 00:49:54,040
Speaker 1: Maybe, and if that's the case, maybe that's the distinction

854
00:49:54,120 --> 00:49:59,480
Speaker 1: I'm picking up. And yeah, the end result, maybe I

855
00:49:59,520 --> 00:50:00,719
Speaker 1: prefer one over the other.

856
00:50:01,480 --> 00:50:04,239
Speaker 4: Yeah, I think there's there's romance here. I think they

857
00:50:04,400 --> 00:50:07,680
Speaker 4: I think there's a romanticization. If I said that correctly,

858
00:50:08,200 --> 00:50:12,760
Speaker 4: of a romanticizing of characters like Howard Gatner and Marty Supreme,

859
00:50:12,920 --> 00:50:15,120
Speaker 4: that there is not there.

860
00:50:15,000 --> 00:50:17,040
Speaker 1: More Marty than Howard, more Marty than.

861
00:50:16,920 --> 00:50:20,760
Speaker 4: Howard, maybe more Marty than Howard. But we as viewers

862
00:50:20,800 --> 00:50:26,759
Speaker 4: may romanticize someone like ba in The Last Detail or R. P.

863
00:50:26,920 --> 00:50:29,760
Speaker 4: McMurphy and One Floor with the Cuckoo's as more perhaps

864
00:50:29,760 --> 00:50:33,080
Speaker 4: than the filmmakers themselves offer us on screen. I think

865
00:50:33,120 --> 00:50:37,160
Speaker 4: that's that's a fair distinction. We will stop there with

866
00:50:37,719 --> 00:50:41,160
Speaker 4: Marty Supreme for now. Marty Supreme is playing in wide release.

867
00:50:41,320 --> 00:50:43,520
Speaker 4: If you have seen it and agree or disagree with

868
00:50:43,560 --> 00:50:46,320
Speaker 4: our takes, you can email us feedback at film spotting

869
00:50:46,400 --> 00:50:49,319
Speaker 4: dot Net. We may share some of that feedback on

870
00:50:49,400 --> 00:50:50,040
Speaker 4: a future show.

871
00:50:55,239 --> 00:50:56,839
Speaker 3: And it's only a matter of time before I'm staring

872
00:50:56,840 --> 00:50:58,360
Speaker 3: at you from the cover of the Laity's box.

873
00:50:59,400 --> 00:51:01,600
Speaker 1: You think it's that's yeah, I do.

874
00:51:05,160 --> 00:51:05,879
Speaker 2: Want to.

875
00:51:10,920 --> 00:51:14,520
Speaker 1: Adam. You know, when we like to talk about Regal Unlimited,

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Speaker 1: from twenty twenty five still playing now than Avatar, Fire

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Speaker 1: and Ash. That's where I saw it on the big screen,

883
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Speaker 1: to be enveloped in Pandora, where yes, we're still trying

884
00:51:42,840 --> 00:51:46,640
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885
00:51:46,680 --> 00:51:49,680
Speaker 1: got in. I loved what I saw, really good film

886
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Speaker 1: and needed that giant screen. If you want to have

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Speaker 1: the Pandora Avatar Fire and Ash experience on a big screen,

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903
00:52:56,440 --> 00:52:58,320
Speaker 1: I we just wrapped up I think at least a

904
00:52:58,360 --> 00:53:02,520
Speaker 1: half hour of spoiler talk. I'm Marty Supreme. We have

905
00:53:02,680 --> 00:53:06,280
Speaker 1: very different takes. Let's just say that on maybe the film,

906
00:53:06,560 --> 00:53:08,440
Speaker 1: maybe the film as a whole, we might have discovered

907
00:53:08,480 --> 00:53:10,040
Speaker 1: at the end of that conversation it.

908
00:53:10,000 --> 00:53:12,160
Speaker 4: Turns out it's pretty nuanced and might just be a

909
00:53:12,160 --> 00:53:14,640
Speaker 4: matter of semantics. But we still talked about it for

910
00:53:14,680 --> 00:53:15,920
Speaker 4: thirty minutes plus.

911
00:53:16,320 --> 00:53:19,040
Speaker 1: And all of that is going to be in the

912
00:53:19,040 --> 00:53:23,680
Speaker 1: film Spotting. Family Member feed a special offering for family

913
00:53:23,680 --> 00:53:25,359
Speaker 1: members who we want to take a moment to thank

914
00:53:25,440 --> 00:53:29,120
Speaker 1: because they are crucial support in allowing us to do

915
00:53:29,280 --> 00:53:33,160
Speaker 1: this show. We want to thank one particular family plus

916
00:53:33,160 --> 00:53:37,160
Speaker 1: member we should say, and that is Grant Averett in Lexington, Kentucky.

917
00:53:37,719 --> 00:53:40,839
Speaker 1: Grant is on letterbox, as so many of us are.

918
00:53:41,000 --> 00:53:44,480
Speaker 1: If you want to follow Grant there, look for Grant six'

919
00:53:44,719 --> 00:53:48,480
Speaker 1: nine two now filling out our. Questionnaire grant wrote this

920
00:53:48,920 --> 00:53:51,320
Speaker 1: a friend recommended Film spotting to me in twenty twelve or,

921
00:53:51,360 --> 00:53:54,200
Speaker 1: so and THEN i listened To adam And Michael phillips

922
00:53:54,520 --> 00:53:57,800
Speaker 1: review it follows and their top five twenty first century horror.

923
00:53:57,840 --> 00:54:01,560
Speaker 1: Movies it got me. Hooked a review we got wrong

924
00:54:01,680 --> 00:54:05,680
Speaker 1: For Grant Everything Marx Brothers Duck soup is one of

925
00:54:05,719 --> 00:54:09,000
Speaker 1: the greatest and funniest comedies of all. TIME i Think

926
00:54:09,040 --> 00:54:11,320
Speaker 1: grant Has michael's support on that, Right.

927
00:54:11,200 --> 00:54:13,480
Speaker 3: Adam, Yes i'm pretty sure that he.

928
00:54:13,520 --> 00:54:17,279
Speaker 1: Does michael holds that against. Us grant also shared a

929
00:54:17,320 --> 00:54:21,120
Speaker 1: movie that he credits with becoming a, Cinephile. CASABLANCA i

930
00:54:21,200 --> 00:54:23,280
Speaker 1: watched it at a summer camp during the summer before

931
00:54:23,320 --> 00:54:25,600
Speaker 1: my senior year of high, school and it blew my.

932
00:54:25,640 --> 00:54:28,960
Speaker 1: Mind i've seen hundreds and hundreds of films, since but

933
00:54:29,120 --> 00:54:31,319
Speaker 1: none of them have been better good.

934
00:54:31,360 --> 00:54:35,239
Speaker 4: TIMING i just watched last night in preparation for our

935
00:54:35,360 --> 00:54:39,560
Speaker 4: Upcoming Diane keaton. TRIBUTE i just Watched Played Against, sam

936
00:54:40,120 --> 00:54:45,000
Speaker 4: and of course that that whole film is really about

937
00:54:45,080 --> 00:54:48,160
Speaker 4: in some Ways. Casablanca it opens, With it opens with

938
00:54:48,280 --> 00:54:51,279
Speaker 4: like seven. Minutes the ending of that, movie and the

939
00:54:51,400 --> 00:54:54,680
Speaker 4: ending Of played Against sam steals directly from it as.

940
00:54:54,719 --> 00:54:57,200
Speaker 4: Well so have that film very much in, mind and

941
00:54:57,239 --> 00:55:00,759
Speaker 4: guess what good Movie? Casablanca, josh not sure if you.

942
00:55:00,760 --> 00:55:02,200
Speaker 1: WERE i like it, Too i'm a.

943
00:55:02,200 --> 00:55:04,160
Speaker 3: Fan, Okay, yeah.

944
00:55:03,719 --> 00:55:05,919
Speaker 4: We do Thank grant for being a family member and

945
00:55:06,000 --> 00:55:09,160
Speaker 4: for all of his years of. Listening it does come

946
00:55:09,160 --> 00:55:11,160
Speaker 4: with perks being a family. Member you get to listen

947
00:55:11,200 --> 00:55:13,440
Speaker 4: early in ad, free you get the weekly, newsletter you

948
00:55:13,480 --> 00:55:16,640
Speaker 4: get exclusive opportunities like being part of the Film Spotting family.

949
00:55:16,680 --> 00:55:19,560
Speaker 4: Discord and, yes you do get monthly bonus shows or

950
00:55:19,960 --> 00:55:24,839
Speaker 4: just monthly or regular bonus. Content you might get consistent

951
00:55:25,120 --> 00:55:30,200
Speaker 4: spoiler talk like That Marty supreme spoiler. Talk josh was,

952
00:55:30,239 --> 00:55:34,719
Speaker 4: Mentioning we're not exactly sure as we are recording in this.

953
00:55:34,880 --> 00:55:37,680
Speaker 4: MOMENT i could do a live, update but the voting

954
00:55:37,680 --> 00:55:41,719
Speaker 4: has not ended, Yet, josh as we're, recording give me a.

955
00:55:41,640 --> 00:55:45,280
Speaker 1: Live of votes are still. Exciting, OOH i, mean, oh

956
00:55:45,320 --> 00:55:45,759
Speaker 1: this is the.

957
00:55:45,840 --> 00:55:49,840
Speaker 4: Thing it's so. Close so family members get to. Vote

958
00:55:50,400 --> 00:55:55,400
Speaker 4: we gave them three. Options january bonus is we were wrong,

959
00:55:55,440 --> 00:55:59,239
Speaker 4: once so we take a movie that at least one

960
00:55:59,280 --> 00:56:03,040
Speaker 4: of us was probably wrong. About the consensus is this

961
00:56:03,120 --> 00:56:05,320
Speaker 4: is a great. Movie one of, us maybe on the,

962
00:56:05,320 --> 00:56:09,000
Speaker 4: show maybe not on the, show had a different opinion

963
00:56:09,040 --> 00:56:12,600
Speaker 4: about and the options we came up with were Boogie,

964
00:56:12,680 --> 00:56:17,040
Speaker 4: nights bringing Up, baby And. Collateral real, Quick i'm the

965
00:56:17,120 --> 00:56:20,040
Speaker 4: naysayer On, collateral we have never talked about it on the.

966
00:56:20,040 --> 00:56:24,759
Speaker 4: Show bringing Up, Baby sam AND i are the naysayers on.

967
00:56:24,800 --> 00:56:26,399
Speaker 4: THAT i don't know how you feel about, It, josh

968
00:56:26,480 --> 00:56:28,520
Speaker 4: you can chime. In but that was part of Our

969
00:56:28,560 --> 00:56:32,000
Speaker 4: Screwball comedies marathon back in like two thousand and five or,

970
00:56:32,040 --> 00:56:35,719
Speaker 4: six And sam AND i somehow didn't go for That

971
00:56:35,760 --> 00:56:37,439
Speaker 4: Howard hawk's classic at.

972
00:56:37,440 --> 00:56:40,440
Speaker 1: All that's hard to believe for some, reason ESPECIALLY i

973
00:56:40,480 --> 00:56:42,880
Speaker 1: feel On sam's. Part BUT i THINK i was cool

974
00:56:43,080 --> 00:56:45,960
Speaker 1: on bringing Up baby WHEN i first saw. IT i

975
00:56:46,000 --> 00:56:48,560
Speaker 1: don't know THAT i actively AND i checked my. WEBSITE

976
00:56:48,560 --> 00:56:50,319
Speaker 1: i don't have a written review. THERE i don't know

977
00:56:50,360 --> 00:56:53,360
Speaker 1: THAT i actively disliked, it BUT i THINK i was definitely,

978
00:56:53,560 --> 00:56:56,960
Speaker 1: lower certainly than those who considered a screwball classic.

979
00:56:57,960 --> 00:56:58,880
Speaker 3: And Then Boogie.

980
00:56:58,960 --> 00:57:01,640
Speaker 4: Nights maybe a little bit of a weird, choice But,

981
00:57:02,160 --> 00:57:07,440
Speaker 4: january it's still one battle after another, time and we

982
00:57:07,560 --> 00:57:10,439
Speaker 4: are going to give some time to one battle after

983
00:57:10,480 --> 00:57:12,240
Speaker 4: another as a sacred cow.

984
00:57:12,680 --> 00:57:14,320
Speaker 3: Review we have that coming.

985
00:57:14,400 --> 00:57:18,040
Speaker 4: Up and maybe that was on Producer sam's mind when

986
00:57:18,400 --> 00:57:22,480
Speaker 4: he suggested A Boogie knight's. CONVERSATION i Love Boogie. Knights

987
00:57:22,480 --> 00:57:26,360
Speaker 4: that's in my top Five Paul Thomas anderson. Films But,

988
00:57:27,320 --> 00:57:29,919
Speaker 4: josh you have it at number eight on your list

989
00:57:30,080 --> 00:57:31,960
Speaker 4: And sam has it at number. Nine so to be,

990
00:57:32,000 --> 00:57:34,520
Speaker 4: CLEAR i don't think either of you are Saying Boogie

991
00:57:34,560 --> 00:57:37,720
Speaker 4: knights is a bad. Film you do have it ranked very.

992
00:57:38,080 --> 00:57:41,400
Speaker 1: Low, yeah AND i think you, know my original star

993
00:57:41,520 --> 00:57:44,600
Speaker 1: rating was like three out of, four when most ptas

994
00:57:44,640 --> 00:57:47,200
Speaker 1: are generally like three and a half or higher for,

995
00:57:47,320 --> 00:57:51,240
Speaker 1: Me so, yeah lower. Tier Perhaps i'm, wrong and it

996
00:57:51,320 --> 00:57:54,240
Speaker 1: is as good as his. Best if that's where listeners

997
00:57:54,320 --> 00:57:56,240
Speaker 1: vote will get a chance to consider.

998
00:57:56,280 --> 00:57:59,480
Speaker 4: That so the live update again as we are, taping

999
00:57:59,800 --> 00:58:02,200
Speaker 4: the poles are still open for about nine more, hours

1000
00:58:02,240 --> 00:58:05,160
Speaker 4: so we'll see where it shakes. Out But Boogie nights

1001
00:58:05,200 --> 00:58:07,600
Speaker 4: is in the, lead but only by two votes, over

1002
00:58:07,640 --> 00:58:12,919
Speaker 4: bringing up two votes over two, votes bringing up, Yeah,

1003
00:58:12,960 --> 00:58:16,720
Speaker 4: OKAY i Think collateral is not not going to be in.

1004
00:58:16,760 --> 00:58:21,280
Speaker 4: Contention it's going to Be boogie Versus. Baby so you

1005
00:58:21,320 --> 00:58:23,640
Speaker 4: have that to look forward to if you are a family,

1006
00:58:23,640 --> 00:58:26,800
Speaker 4: member a conversation about one of those. Films and if

1007
00:58:26,840 --> 00:58:29,840
Speaker 4: you are potentially looking to become A Film spotting family,

1008
00:58:29,840 --> 00:58:33,720
Speaker 4: member we have a promo code for you Through january. Thirty,

1009
00:58:33,760 --> 00:58:38,880
Speaker 4: first you can take twenty percent off A Film Spotting family,

1010
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Speaker 4: membership Any Film Spotting family. Membership just use the promo Code.

1011
00:58:43,160 --> 00:58:43,880
Speaker 4: Josh you'll like this.

1012
00:58:43,920 --> 00:58:44,280
Speaker 3: One.

1013
00:58:44,560 --> 00:58:53,280
Speaker 4: Supreme use promo Code. Supreme Film spottingfamily dot com is

1014
00:58:53,280 --> 00:58:55,480
Speaker 4: where you can help us. Out and another way you

1015
00:58:55,520 --> 00:58:58,320
Speaker 4: can help us, out take a, minute give us a

1016
00:58:58,400 --> 00:59:02,160
Speaker 4: rating or a review On Apple podcast Or. Spotify every

1017
00:59:02,480 --> 00:59:05,000
Speaker 4: review or rating does help us reach new.

1018
00:59:05,040 --> 00:59:06,360
Speaker 3: Listeners this.

1019
00:59:08,920 --> 00:59:12,840
Speaker 2: Is the only pure thing in this. World the fire

1020
00:59:12,960 --> 00:59:18,960
Speaker 2: came from the mountain that our forest, Forest my people

1021
00:59:20,160 --> 00:59:26,320
Speaker 2: cried for, help For, alm But eva did not.

1022
00:59:26,600 --> 00:59:28,080
Speaker 3: Come such a.

1023
00:59:28,080 --> 00:59:31,480
Speaker 4: Bummer josh turns out my passport To pandora has been.

1024
00:59:31,520 --> 00:59:35,680
Speaker 4: Revoked couldn't take the. Trip but, yeah you've. Taken you've

1025
00:59:35,680 --> 00:59:41,480
Speaker 4: taken all three trips, enthusiastically and you you have a

1026
00:59:41,520 --> 00:59:46,480
Speaker 4: report From James CAMERON'S cgi. PLAYGROUND i would love to

1027
00:59:46,520 --> 00:59:51,280
Speaker 4: hear whether or Not Avatar fire And ash was enjoyable for.

1028
00:59:51,320 --> 00:59:52,800
Speaker 1: YOU i, MEAN i can help you with.

1029
00:59:52,840 --> 00:59:53,160
Speaker 3: THAT i.

1030
00:59:53,200 --> 00:59:55,880
Speaker 1: THINK i think if you apply for the tourist, visa

1031
00:59:56,720 --> 01:00:00,840
Speaker 1: it's easier to get. In so okay for, four for, four, eight,

1032
01:00:00,920 --> 01:00:02,760
Speaker 1: nine and, ten we'll get that worked out for. You

1033
01:00:04,040 --> 01:00:06,560
Speaker 1: this is a good. Movie this IS i think it's

1034
01:00:06,600 --> 01:00:09,240
Speaker 1: the second. BEST i really went for the First avatar

1035
01:00:10,240 --> 01:00:16,760
Speaker 1: just as this blindingly inventive visual extravaganza And way Of

1036
01:00:16,800 --> 01:00:21,000
Speaker 1: WATER i thought was. Interesting here's What fire And ash Gives,

1037
01:00:21,000 --> 01:00:25,400
Speaker 1: adam and you're never gonna believe. It, okay compelling CHARACTERS

1038
01:00:26,360 --> 01:00:30,960
Speaker 1: i have never PRAISED i have never praised any of

1039
01:00:31,000 --> 01:00:35,880
Speaker 1: these movies for compelling. Characters BUT i think what helps

1040
01:00:36,080 --> 01:00:38,360
Speaker 1: is That The way Of water dumped on us a

1041
01:00:38,360 --> 01:00:42,200
Speaker 1: whole bunch of new. Characters here we now know who they,

1042
01:00:42,240 --> 01:00:46,400
Speaker 1: are which, helps AND i think it's more in the

1043
01:00:46,440 --> 01:00:51,080
Speaker 1: screenplay as, well that is now giving us time to

1044
01:00:52,480 --> 01:00:57,200
Speaker 1: meet these characters as fully realized. Individuals And cameron is

1045
01:00:57,240 --> 01:01:00,959
Speaker 1: writing here With Rick jaffa And Amanda. Silm they also

1046
01:01:01,040 --> 01:01:04,800
Speaker 1: Did way Of, water but they were also instrumental in

1047
01:01:04,920 --> 01:01:07,480
Speaker 1: The planet of The apes films that we both have

1048
01:01:07,560 --> 01:01:11,040
Speaker 1: appreciated as, screenwriters AND i don't think you've felt their

1049
01:01:11,040 --> 01:01:12,920
Speaker 1: hand In way Of water as much as you do.

1050
01:01:13,040 --> 01:01:16,120
Speaker 1: Here the result for me is that we still have

1051
01:01:16,240 --> 01:01:19,400
Speaker 1: this wide scale conflict right between the invading humans and

1052
01:01:19,400 --> 01:01:22,680
Speaker 1: the Indigenous navi On. Pandora this is not going to

1053
01:01:22,680 --> 01:01:24,840
Speaker 1: convince you to see this or the next, One. Adam

1054
01:01:25,280 --> 01:01:27,560
Speaker 1: that conflict is still unfolding at the end of this

1055
01:01:27,600 --> 01:01:31,440
Speaker 1: three and a half hour. Movie, Okay but what's crucial,

1056
01:01:31,480 --> 01:01:34,120
Speaker 1: here and THAT i did appreciate and actually liked quite a,

1057
01:01:34,200 --> 01:01:37,440
Speaker 1: bit this one is more about what the conflict means

1058
01:01:37,600 --> 01:01:42,640
Speaker 1: for individual characters and their evolving understanding of. Themselves and

1059
01:01:42,760 --> 01:01:45,040
Speaker 1: this is really across the board for a number of.

1060
01:01:45,160 --> 01:01:47,120
Speaker 1: Characters i'm just going to highlight two in the sake

1061
01:01:47,160 --> 01:01:50,640
Speaker 1: of our own, time but one Is, natiri who we've

1062
01:01:50,680 --> 01:01:54,800
Speaker 1: met since the. Beginning this Is Zoe saldana playing The

1063
01:01:55,160 --> 01:01:58,960
Speaker 1: nave who falls in love With Sam worthington's. Marine in

1064
01:01:59,000 --> 01:02:03,280
Speaker 1: the first, film the Marine Jake sully becomes is transformed Into.

1065
01:02:03,840 --> 01:02:06,560
Speaker 1: Navi they have this relationship In weight Of. Water they have,

1066
01:02:06,640 --> 01:02:09,560
Speaker 1: kids and now they're a couple who's been together and

1067
01:02:09,560 --> 01:02:13,840
Speaker 1: they have these growing, children And naitiri has come to

1068
01:02:13,920 --> 01:02:17,880
Speaker 1: regret in this film her involvement with, humans and the

1069
01:02:17,960 --> 01:02:22,240
Speaker 1: performance is ferocious and. Hissing she gets lines LIKE i

1070
01:02:22,320 --> 01:02:25,800
Speaker 1: hate their pink little. Hands and what's interesting here is

1071
01:02:25,840 --> 01:02:28,520
Speaker 1: that they, have you, know in our, terms we would

1072
01:02:28,560 --> 01:02:32,560
Speaker 1: say biracial kids, essentially and these two have a conversation

1073
01:02:32,680 --> 01:02:36,400
Speaker 1: about this And natiri's grief over what has been lost

1074
01:02:36,440 --> 01:02:39,919
Speaker 1: In way Of water from her. Son it's, real it's.

1075
01:02:39,960 --> 01:02:44,440
Speaker 1: Palpable you understand again how this conflict has affected, her

1076
01:02:45,120 --> 01:02:48,400
Speaker 1: how it's changed, her and the anger she. Has the

1077
01:02:48,480 --> 01:02:52,280
Speaker 1: performance is so crucial to, that and the animation of the.

1078
01:02:52,320 --> 01:02:55,480
Speaker 1: FACES i think there's even an advancement in this movie

1079
01:02:55,880 --> 01:02:58,680
Speaker 1: that helps that to. Register all. Right the other Character

1080
01:02:58,720 --> 01:03:01,439
Speaker 1: i'll talk about is a new, One, varrag played By Una,

1081
01:03:01,560 --> 01:03:06,480
Speaker 1: chaplin who is new to the. Series part witch and part.

1082
01:03:06,520 --> 01:03:11,360
Speaker 1: Warrior verrang leads This navi. Clan they're somewhat like. Pirates

1083
01:03:12,240 --> 01:03:15,320
Speaker 1: she stalks the screen in this movie as if like

1084
01:03:15,440 --> 01:03:19,560
Speaker 1: everything on the screen is potential. Prey it's an incredible physical.

1085
01:03:19,560 --> 01:03:22,800
Speaker 1: Performance but what's also interesting is That varrang has this

1086
01:03:23,360 --> 01:03:26,760
Speaker 1: theologically compelling. BACKGROUND i Know i'm gonna lose you, Here,

1087
01:03:26,800 --> 01:03:29,600
Speaker 1: adam hang, on hang on a Wah do you remember A,

1088
01:03:29,760 --> 01:03:34,760
Speaker 1: wa the goddess figure Of. Pandora, okay supposed to keep,

1089
01:03:34,800 --> 01:03:40,240
Speaker 1: everything everything in. Unity is WHAT aa was supposed to,

1090
01:03:40,280 --> 01:03:43,520
Speaker 1: do all. Right So, varrang this new, character her. CLAN

1091
01:03:44,680 --> 01:03:47,880
Speaker 1: a volcano wiped almost wiped them all out before. That

1092
01:03:47,960 --> 01:03:49,720
Speaker 1: she tells us this in a. Story at one point

1093
01:03:49,880 --> 01:03:53,200
Speaker 1: she had prayed To, awa save, us rescue. Us wasn't.

1094
01:03:53,240 --> 01:03:57,280
Speaker 1: Rescued so she has decided to defy this goddess and

1095
01:03:57,400 --> 01:04:00,600
Speaker 1: embraced the fire of the volcano and just became basically this,

1096
01:04:00,880 --> 01:04:05,600
Speaker 1: violent you, know leader of this pirate. Clan she falls

1097
01:04:05,600 --> 01:04:09,120
Speaker 1: in with the invading. Humans so she colludes because there's

1098
01:04:09,200 --> 01:04:14,040
Speaker 1: promise of, weapons and it's a compelling character rooted in

1099
01:04:14,120 --> 01:04:17,400
Speaker 1: a you, know the great villains need good reasons for their,

1100
01:04:17,480 --> 01:04:22,160
Speaker 1: villainy And varrang has. That Now i'll say before we

1101
01:04:22,200 --> 01:04:25,280
Speaker 1: get out of here, that of course there have always

1102
01:04:25,320 --> 01:04:29,120
Speaker 1: been problems With avatar in this equation that's making between

1103
01:04:29,160 --> 01:04:32,960
Speaker 1: The navi and indigenous people On earth, right and how

1104
01:04:33,000 --> 01:04:36,240
Speaker 1: awkward that is Is Camera cameron appropriating here is he?

1105
01:04:36,320 --> 01:04:39,600
Speaker 1: Honoring And varrang is kind of like a flashpoint for,

1106
01:04:39,680 --> 01:04:43,800
Speaker 1: that because terrible decision to have her clan these pirates

1107
01:04:43,800 --> 01:04:46,480
Speaker 1: that she leads like hoot and, holler like you're watching

1108
01:04:46,520 --> 01:04:49,920
Speaker 1: some Fifties western and they're the quote unquote. Savages you know,

1109
01:04:49,960 --> 01:04:53,080
Speaker 1: what why why does the movie do? That completely? Unnecessary

1110
01:04:53,840 --> 01:04:57,720
Speaker 1: the same, Time varrang has this interesting, backstory so she's

1111
01:04:57,760 --> 01:05:01,320
Speaker 1: definitely a. Flashpoint AND i want to point people to

1112
01:05:01,560 --> 01:05:05,800
Speaker 1: one review that's just obliterating fire and ash on this

1113
01:05:05,920 --> 01:05:09,760
Speaker 1: point in terms of the, representation and That's Walter, chow

1114
01:05:10,760 --> 01:05:13,120
Speaker 1: Who i've gotten to know for my time out In

1115
01:05:13,320 --> 01:05:16,480
Speaker 1: Denver boulder, area And i'll link to this in the show.

1116
01:05:16,520 --> 01:05:20,200
Speaker 1: Notes but he just, like, yeah takes a flamethrower like

1117
01:05:20,320 --> 01:05:24,520
Speaker 1: verieng likes to the movie for some of these. Notions

1118
01:05:24,520 --> 01:05:27,280
Speaker 1: SO i do want to acknowledge, that and whenever this comes,

1119
01:05:27,360 --> 01:05:30,360
Speaker 1: up you, KNOW i think there's a more nuanced portrayal

1120
01:05:30,480 --> 01:05:33,880
Speaker 1: of her in the. Movie BUT i always see the

1121
01:05:33,880 --> 01:05:36,400
Speaker 1: point to those who are you, know have personal background

1122
01:05:36,440 --> 01:05:39,520
Speaker 1: at stake when these issues are, raised AND i Think

1123
01:05:39,560 --> 01:05:42,120
Speaker 1: walter does make some interesting points to, consider so again

1124
01:05:42,160 --> 01:05:44,400
Speaker 1: we'll link to. THAT, i, however am a fan Of

1125
01:05:44,400 --> 01:05:47,120
Speaker 1: fire And. ASH i think it's in the area of

1126
01:05:47,320 --> 01:05:52,520
Speaker 1: character and, narrative a significant advancement and honestly gives me

1127
01:05:52,600 --> 01:05:55,720
Speaker 1: hope for the series if we do indeed get more of.

1128
01:05:55,680 --> 01:05:57,760
Speaker 3: These thoughtful as always.

1129
01:05:57,960 --> 01:06:00,920
Speaker 4: INSIGHTFUL i don't know if it's convince sing Enough josh

1130
01:06:01,200 --> 01:06:01,560
Speaker 4: to get.

1131
01:06:01,560 --> 01:06:03,040
Speaker 3: Me there's there's going to be another.

1132
01:06:03,080 --> 01:06:06,800
Speaker 1: ONE i knew that. ONE i don't, know Don't they

1133
01:06:06,800 --> 01:06:08,520
Speaker 1: always say they have to see how much money it.

1134
01:06:08,560 --> 01:06:11,640
Speaker 1: Makes and this thing's already bringing, in, like you, know,

1135
01:06:11,720 --> 01:06:13,439
Speaker 1: millions possibly, billions so.

1136
01:06:14,320 --> 01:06:17,880
Speaker 4: Likely there Is, YEAH i. Know this is the joke

1137
01:06:18,120 --> 01:06:19,960
Speaker 4: about this. Movie at least it seems to be on

1138
01:06:20,320 --> 01:06:25,080
Speaker 4: social media that no one actually knows anybody who loves these,

1139
01:06:25,120 --> 01:06:27,800
Speaker 4: movies who really loves these, Movies like who are the

1140
01:06:27,840 --> 01:06:30,640
Speaker 4: people that are that are just dying to See? Avatar

1141
01:06:30,760 --> 01:06:34,760
Speaker 4: and yet the box office proves that these movies are

1142
01:06:35,200 --> 01:06:38,720
Speaker 4: reliable and people are obviously excited about, them and you

1143
01:06:38,760 --> 01:06:40,520
Speaker 4: think that's justified at least with fire and.

1144
01:06:40,560 --> 01:06:43,920
Speaker 1: Ash, yeah And i'll say, too you, know to point

1145
01:06:44,120 --> 01:06:47,360
Speaker 1: to point to another conversation pop Culture Happy. Hour i'm

1146
01:06:47,400 --> 01:06:49,840
Speaker 1: sorry it was a guest. Critic i'm not pulling their

1147
01:06:49,920 --> 01:06:52,160
Speaker 1: name right, now but they they're one of those people

1148
01:06:52,240 --> 01:06:55,000
Speaker 1: like THEY i believe they said they Watched way To

1149
01:06:55,040 --> 01:06:58,240
Speaker 1: water like three or four times a year And avatar,

1150
01:06:58,280 --> 01:07:02,920
Speaker 1: itself so they're, yeah these you, know these. Movies it

1151
01:07:03,040 --> 01:07:04,800
Speaker 1: seems like the most obvious thing in the world to,

1152
01:07:04,840 --> 01:07:09,760
Speaker 1: say but, yes they've struck a. Chord, okay what do

1153
01:07:09,880 --> 01:07:10,320
Speaker 1: you hear In?

1154
01:07:10,320 --> 01:07:14,320
Speaker 2: Indianapolis it Is, Tuesday february.

1155
01:07:14,440 --> 01:07:15,680
Speaker 1: Eighth i'm D.

1156
01:07:15,840 --> 01:07:16,280
Speaker 2: J Fred.

1157
01:07:16,280 --> 01:07:18,080
Speaker 1: TEMPLE i thank you for.

1158
01:07:18,200 --> 01:07:21,960
Speaker 3: Listening Mister, Temple, sir you have a CALLER.

1159
01:07:21,840 --> 01:07:23,520
Speaker 1: I have done in thirty, minutes is WHAT i?

1160
01:07:23,560 --> 01:07:26,040
Speaker 4: Have That Tony kurtz's fellows on the line and he's

1161
01:07:26,040 --> 01:07:26,720
Speaker 4: asking to speak to.

1162
01:07:26,800 --> 01:07:29,680
Speaker 2: You good guy with the shotgun in the man's, neck

1163
01:07:30,600 --> 01:07:31,400
Speaker 2: he should open with that.

1164
01:07:31,480 --> 01:07:34,480
Speaker 1: Shit james Dead Man's wire is the latest From Gus.

1165
01:07:34,520 --> 01:07:38,720
Speaker 1: VanZant it's The milk And goodwill hunting directors first since

1166
01:07:38,800 --> 01:07:42,360
Speaker 1: twenty Eighteen's Don't. Worry he won't get far on. Foot

1167
01:07:42,560 --> 01:07:44,880
Speaker 1: this is based on the nineteen seventy seven true story

1168
01:07:44,880 --> 01:07:48,160
Speaker 1: of a man who wired himself with the explosive Dead

1169
01:07:48,160 --> 01:07:51,840
Speaker 1: Man's wire of the title and kidnaps the mortgage banker

1170
01:07:51,880 --> 01:07:57,040
Speaker 1: who did him. Wrong Bill skarsgard And Daker Montgomery, starr

1171
01:07:57,080 --> 01:08:00,960
Speaker 1: along With Al pacino And Coleman. Domingo it opens in

1172
01:08:01,080 --> 01:08:06,320
Speaker 1: limited release this. Weekend adam Does Van sant still have

1173
01:08:06,720 --> 01:08:07,320
Speaker 1: the filmmaking?

1174
01:08:07,400 --> 01:08:11,600
Speaker 4: Chops, yeah it's good to see him. Back he's crafted a,

1175
01:08:11,760 --> 01:08:17,840
Speaker 4: tense slyly funny caper anchored by a nervy performance from

1176
01:08:17,880 --> 01:08:22,120
Speaker 4: Scars guard that flips The Dog Day afternoon Script what

1177
01:08:22,200 --> 01:08:27,080
Speaker 4: If sonny had a? Plan one of the pleasures of

1178
01:08:27,120 --> 01:08:30,160
Speaker 4: Watching Dead Man's wire is it just thinking about the

1179
01:08:30,200 --> 01:08:33,800
Speaker 4: movie in relation To Dog Day. Afternoon both are mid

1180
01:08:34,000 --> 01:08:38,519
Speaker 4: seventy set crime movies that involve, banks, hostages and the

1181
01:08:38,560 --> 01:08:44,760
Speaker 4: hostage takers become full heros of. Sorts but it's considering

1182
01:08:44,800 --> 01:08:50,840
Speaker 4: whether this full Hero Tony kurtzis Saw Dog Day afternoon

1183
01:08:51,120 --> 01:08:53,760
Speaker 4: and was possibly even influenced by. It the movie came

1184
01:08:53,760 --> 01:08:57,160
Speaker 4: out In september nineteen seventy, five and this event occurs

1185
01:08:57,200 --> 01:09:02,519
Speaker 4: In february nineteen seventy, seven walks into the bank as

1186
01:09:02,560 --> 01:09:04,479
Speaker 4: far AS i, know AS i, recall the movie never

1187
01:09:04,520 --> 01:09:08,040
Speaker 4: directly References this movie never directly references Dog. Day but

1188
01:09:08,200 --> 01:09:10,880
Speaker 4: he even walks into the bank carrying one of those

1189
01:09:10,960 --> 01:09:15,439
Speaker 4: long florist, boxes just Like, sonny except it turns out

1190
01:09:15,720 --> 01:09:18,000
Speaker 4: it's a bit of a. Surprise there's no there's no

1191
01:09:18,080 --> 01:09:21,120
Speaker 4: absurd tap dance with the, shotgun and it turns out

1192
01:09:21,120 --> 01:09:24,280
Speaker 4: there's not even a shotgun in. It there's a blueprint

1193
01:09:24,840 --> 01:09:27,479
Speaker 4: for this. Rig he's actually got the gun on, him

1194
01:09:27,800 --> 01:09:30,879
Speaker 4: but there's a blueprint for this rig that he's created

1195
01:09:30,880 --> 01:09:34,080
Speaker 4: that that dead man's wire to keep his, hostage and

1196
01:09:34,080 --> 01:09:36,240
Speaker 4: it's it's this Guy, dick who is played By Daker,

1197
01:09:36,520 --> 01:09:40,599
Speaker 4: montgomery just in case anything were to happen that might separate.

1198
01:09:40,640 --> 01:09:44,040
Speaker 4: Him it's, ingenius, Right if any cop comes, up any

1199
01:09:44,120 --> 01:09:48,599
Speaker 4: sudden movements of any, Kind dick is going to get blown.

1200
01:09:48,800 --> 01:09:53,479
Speaker 4: Away And tony's not exactly, cool but you, know he's

1201
01:09:53,520 --> 01:09:56,400
Speaker 4: a bit on. Edge but but he has thought every

1202
01:09:56,640 --> 01:10:02,559
Speaker 4: aspect of this. Through he's rehearsed. It he's in, control Unlike,

1203
01:10:02,640 --> 01:10:05,640
Speaker 4: sonny even when something goes. Wrong the opening of the

1204
01:10:05,680 --> 01:10:08,840
Speaker 4: film is him showing up in his, car and when

1205
01:10:08,880 --> 01:10:12,400
Speaker 4: he turns the Ignition, josh the key breaks off in

1206
01:10:12,479 --> 01:10:15,920
Speaker 4: the ignition and he can't restart his. Car the plan

1207
01:10:16,040 --> 01:10:19,719
Speaker 4: was to leave in his, car but there's no, panic

1208
01:10:20,320 --> 01:10:20,920
Speaker 4: just kind of.

1209
01:10:20,920 --> 01:10:21,880
Speaker 3: Amusement he.

1210
01:10:22,439 --> 01:10:25,760
Speaker 4: Adapts he carries on the cherry on top of it.

1211
01:10:25,800 --> 01:10:29,120
Speaker 4: All you said his name is the casting of Al

1212
01:10:29,120 --> 01:10:33,320
Speaker 4: pacino As dick's father in the. Movie and he's the

1213
01:10:33,360 --> 01:10:36,800
Speaker 4: Man tony actually has the biggest beef. With he's the

1214
01:10:36,800 --> 01:10:40,439
Speaker 4: Guy tony actually intended to take hostage that, day ended

1215
01:10:40,520 --> 01:10:43,599
Speaker 4: up taking his son instead because the dad was on.

1216
01:10:43,720 --> 01:10:49,080
Speaker 4: Vacation another big difference here is That sonny is an

1217
01:10:49,120 --> 01:10:54,599
Speaker 4: accidental rager against the. Machine his intentions are, personal not.

1218
01:10:54,680 --> 01:10:59,760
Speaker 4: Political For, tony the personal is, political his outrage is

1219
01:10:59,840 --> 01:11:03,800
Speaker 4: the and Van zant clearly wants to relate his situation

1220
01:11:04,800 --> 01:11:08,000
Speaker 4: to economic conditions today and for us to sympathize with

1221
01:11:08,080 --> 01:11:11,760
Speaker 4: him as a victim of this mortgage, company as a

1222
01:11:11,840 --> 01:11:14,960
Speaker 4: victim of these sinister forces that a little guy like

1223
01:11:15,080 --> 01:11:18,560
Speaker 4: him simply can't. Combat and this is his opportunity to

1224
01:11:19,080 --> 01:11:21,240
Speaker 4: take back some of the, power which is what of

1225
01:11:21,280 --> 01:11:26,040
Speaker 4: course gets get some of that admiration and affection from

1226
01:11:26,160 --> 01:11:28,400
Speaker 4: the public and really gets the public on his.

1227
01:11:28,560 --> 01:11:31,240
Speaker 3: SIDE a lot of worried folk out.

1228
01:11:31,240 --> 01:11:31,840
Speaker 2: Here this is.

1229
01:11:31,920 --> 01:11:35,160
Speaker 3: Unbelievable, Okay, dad if you wanted to take him moment to,

1230
01:11:35,200 --> 01:11:37,240
Speaker 3: APOLOGIZE i think it would this release.

1231
01:11:37,280 --> 01:11:42,280
Speaker 2: Process i'm not going to admit guilty. SOMETHING i just

1232
01:11:42,360 --> 01:11:43,280
Speaker 2: apologize what you.

1233
01:11:43,320 --> 01:11:43,560
Speaker 4: Did just.

1234
01:11:43,640 --> 01:11:51,439
Speaker 3: Apologize, No, Tony, no stay strong chard what's?

1235
01:11:51,479 --> 01:11:54,839
Speaker 4: True in what's? Fiction and all of THIS i don't.

1236
01:11:55,240 --> 01:11:57,559
Speaker 4: Know i've picked up a little bit here and. THERE

1237
01:11:57,680 --> 01:12:01,880
Speaker 4: i know THAT i Liked scarsguard's, skittish verging on, derangement

1238
01:12:02,160 --> 01:12:04,720
Speaker 4: but balanced BY i, mean you have to be a

1239
01:12:04,720 --> 01:12:07,599
Speaker 4: little bit deranged to do this, right but balanced by

1240
01:12:07,680 --> 01:12:12,880
Speaker 4: rationality and focused indignation and when he needs. IT i

1241
01:12:12,960 --> 01:12:17,280
Speaker 4: mentioned the, humor self effacing humor and. Charm and you

1242
01:12:17,360 --> 01:12:19,679
Speaker 4: have to watch the way he walks in this. MOVIE

1243
01:12:20,080 --> 01:12:22,400
Speaker 4: i said he was. Edgy he walks always just a

1244
01:12:22,400 --> 01:12:27,760
Speaker 4: bit slouched, forward like he's consistently being pressed down. Upon

1245
01:12:27,960 --> 01:12:31,480
Speaker 4: and then you've Got Coleman, domingo who's a Prominent indianapolis

1246
01:12:31,560 --> 01:12:36,160
Speaker 4: RADIO dj Named Fred. Temple real real, guy like all

1247
01:12:36,200 --> 01:12:39,640
Speaker 4: of these these guys, are And tony respects him and

1248
01:12:39,720 --> 01:12:43,360
Speaker 4: confides in, him and the movie really takes advantage Of domingo's,

1249
01:12:43,400 --> 01:12:47,000
Speaker 4: voice his great voice and his natural, charisma and that

1250
01:12:47,120 --> 01:12:51,040
Speaker 4: character really adds to the revolutionary spirit of the. MOVIE

1251
01:12:51,160 --> 01:12:55,040
Speaker 4: i wish there was more with that, Character, josh AND

1252
01:12:55,080 --> 01:12:58,519
Speaker 4: i think it would have served that revolution aspect of the,

1253
01:12:58,520 --> 01:13:00,800
Speaker 4: film the political aspect of the film a little bit,

1254
01:13:00,800 --> 01:13:06,360
Speaker 4: better because he really just becomes an extension of THE

1255
01:13:06,439 --> 01:13:11,640
Speaker 4: fbi and the police in helping them Against. Tony and

1256
01:13:11,680 --> 01:13:15,040
Speaker 4: not That i'm SUGGESTING i think that character should be Helping,

1257
01:13:15,120 --> 01:13:18,400
Speaker 4: tony but there's never any sense really of, conflict like

1258
01:13:19,160 --> 01:13:23,080
Speaker 4: he's helping the man in this AND i think it

1259
01:13:23,120 --> 01:13:25,240
Speaker 4: would have been interesting to sense a little bit of that,

1260
01:13:25,280 --> 01:13:29,519
Speaker 4: antipathy especially when everybody else in the public feels like

1261
01:13:30,080 --> 01:13:32,840
Speaker 4: feels Like tony is the righteous one in this. Case

1262
01:13:32,880 --> 01:13:37,200
Speaker 4: And Daker montgomery is SOMEONE i didn't recognize As Dick.

1263
01:13:37,240 --> 01:13:40,439
Speaker 4: HALL i guess he was a power ranger at one.

1264
01:13:40,439 --> 01:13:43,160
Speaker 4: Point he was In Stranger things for like five. Years

1265
01:13:43,479 --> 01:13:46,639
Speaker 4: He's you're gonna be seeing a lot more Of Daker.

1266
01:13:46,680 --> 01:13:50,799
Speaker 4: Montgomery he brings some real depth to this privileged, character

1267
01:13:51,160 --> 01:13:53,040
Speaker 4: and you understand that he has a little he is

1268
01:13:53,040 --> 01:13:56,280
Speaker 4: a little bit more in common With tony Than tony

1269
01:13:56,320 --> 01:13:58,559
Speaker 4: may want to believe than he may want to. Believe

1270
01:13:58,600 --> 01:14:01,040
Speaker 4: and and he's just such an interesting counter To tony

1271
01:14:01,080 --> 01:14:04,600
Speaker 4: Because tony is physically he's such a fast, talker but

1272
01:14:04,640 --> 01:14:09,599
Speaker 4: he is again that jittery kind of, mover and because

1273
01:14:09,600 --> 01:14:13,600
Speaker 4: of the nature of how he's, confined everything About montgomery

1274
01:14:13,640 --> 01:14:17,559
Speaker 4: has to be internalized and completely still and. Quiet and

1275
01:14:17,600 --> 01:14:20,840
Speaker 4: so watching those two play off each other is one

1276
01:14:20,880 --> 01:14:23,400
Speaker 4: of the enjoyable aspects of this. Movie AND i think

1277
01:14:23,400 --> 01:14:25,320
Speaker 4: it's fun to see van zandt in his bag here

1278
01:14:25,360 --> 01:14:28,160
Speaker 4: a little, bit not just with the effective use of

1279
01:14:28,640 --> 01:14:32,000
Speaker 4: the handheld, camera but he does incorporate real footage or

1280
01:14:32,280 --> 01:14:35,120
Speaker 4: footage that's made to look like REAL tv news. Footage

1281
01:14:35,360 --> 01:14:37,240
Speaker 4: i'm guessing there's a little bit of. BOTH i don't

1282
01:14:37,240 --> 01:14:40,080
Speaker 4: know for. Sure like there's one scene early on when

1283
01:14:40,080 --> 01:14:43,400
Speaker 4: he's walking With dick and the police are surrounding, them

1284
01:14:43,400 --> 01:14:45,600
Speaker 4: but there's nothing they can really. Do they're walking To

1285
01:14:45,720 --> 01:14:47,960
Speaker 4: dick's car because of course he can't get in his,

1286
01:14:48,000 --> 01:14:53,559
Speaker 4: car and a car just a normal citizen is driving a.

1287
01:14:53,600 --> 01:14:55,880
Speaker 4: Car they come around a corner and of course they

1288
01:14:56,200 --> 01:15:00,559
Speaker 4: come upon this incredible scene and instant the they come

1289
01:15:01,160 --> 01:15:04,000
Speaker 4: come around and they go off into the into the,

1290
01:15:04,080 --> 01:15:07,559
Speaker 4: side into a, snowbank and that that footage then cuts

1291
01:15:07,560 --> 01:15:12,519
Speaker 4: in that moment two FOOTAGE tv news style footage of that,

1292
01:15:12,880 --> 01:15:16,240
Speaker 4: happening and it looks exact as if it's it's matching,

1293
01:15:16,280 --> 01:15:19,960
Speaker 4: Perfectly AND i don't think it adds very, similitude though it,

1294
01:15:20,360 --> 01:15:22,040
Speaker 4: does BUT i don't think the purpose of it is

1295
01:15:22,080 --> 01:15:24,120
Speaker 4: that so much as it it just kind of adds

1296
01:15:24,160 --> 01:15:27,400
Speaker 4: to the chaos of the moment without the movie ever

1297
01:15:27,479 --> 01:15:32,360
Speaker 4: really feeling like a sensory. Assault and there is ONE

1298
01:15:32,680 --> 01:15:35,120
Speaker 4: i did look this up to confirm this wasn't an,

1299
01:15:35,200 --> 01:15:38,920
Speaker 4: invention and it's kind of, Incredible, josh there's a magical

1300
01:15:39,000 --> 01:15:42,800
Speaker 4: coincidence that that happened here in real, life that That

1301
01:15:42,920 --> 01:15:46,280
Speaker 4: Van zant exploits in the, movie and the Screenwriter Austin

1302
01:15:46,360 --> 01:15:51,439
Speaker 4: kladney exploits here when when life and art, collide it

1303
01:15:52,000 --> 01:15:57,559
Speaker 4: required no extra, manufacturing just just a little, modulating, maybe he.

1304
01:15:57,680 --> 01:15:59,960
Speaker 4: INSISTS i won't go into too many, details but it

1305
01:16:00,080 --> 01:16:02,880
Speaker 4: at one Point tony insists that he has to have

1306
01:16:02,920 --> 01:16:06,160
Speaker 4: a press conference and it has to go ON tv,

1307
01:16:07,200 --> 01:16:13,200
Speaker 4: nationally and to accommodate, that they cut into THE tv,

1308
01:16:13,320 --> 01:16:16,760
Speaker 4: stations cut into The People's Choice, awards and this is

1309
01:16:16,840 --> 01:16:19,000
Speaker 4: nineteen seventy, seven and they actually do cut into The

1310
01:16:19,000 --> 01:16:23,280
Speaker 4: People's Choice awards right As John wayne is accepting A

1311
01:16:23,280 --> 01:16:28,679
Speaker 4: People's Choice award For Favorite. Actor and this is eight

1312
01:16:28,760 --> 01:16:33,000
Speaker 4: years After True. Grit he's still he's done some, movies

1313
01:16:33,040 --> 01:16:35,360
Speaker 4: he's done The shootest, recently but this is this Is

1314
01:16:35,439 --> 01:16:38,160
Speaker 4: John wayne at the tail end of his, career and

1315
01:16:38,200 --> 01:16:40,080
Speaker 4: this is kind of a tribute to. Him and they're

1316
01:16:40,120 --> 01:16:43,959
Speaker 4: even playing we see the montage of. Him the montage

1317
01:16:44,000 --> 01:16:47,719
Speaker 4: is him entirely just shooting, people you, know Mostly Native,

1318
01:16:47,720 --> 01:16:53,639
Speaker 4: americans but just entirely shooting. People and that that moment

1319
01:16:53,720 --> 01:16:57,160
Speaker 4: and that, montage it really does encapsulate something that the

1320
01:16:57,160 --> 01:16:59,200
Speaker 4: movie is getting at in terms of this question of

1321
01:17:00,160 --> 01:17:03,400
Speaker 4: who are our, heroes who are the real, heroes who

1322
01:17:03,439 --> 01:17:06,920
Speaker 4: are our fake? Heroes what's real violence and what's fake?

1323
01:17:07,520 --> 01:17:10,800
Speaker 4: Violence where do these lines kind of start to, blur you,

1324
01:17:10,840 --> 01:17:14,640
Speaker 4: know and, really what are we willing to? Accept what

1325
01:17:14,680 --> 01:17:17,719
Speaker 4: are we not willing to? ACCEPT i don't have answers

1326
01:17:17,760 --> 01:17:20,479
Speaker 4: to those. Questions those are some of the questions that

1327
01:17:20,120 --> 01:17:24,559
Speaker 4: the movie provokes with sequences like. That SO i Enjoyed

1328
01:17:25,160 --> 01:17:25,639
Speaker 4: Dead Man's.

1329
01:17:25,640 --> 01:17:28,800
Speaker 1: Wire i'm so glad to hear. It this is just

1330
01:17:29,160 --> 01:17:31,040
Speaker 1: and that you made time for it and are giving

1331
01:17:31,040 --> 01:17:33,240
Speaker 1: it some. Attention it's just part of the craziness of

1332
01:17:33,280 --> 01:17:36,360
Speaker 1: this year end that we have a filmmaker Like. Vincey

1333
01:17:36,880 --> 01:17:38,960
Speaker 1: this is happening with the New Jim jarmush. MOVIE i

1334
01:17:39,000 --> 01:17:42,160
Speaker 1: think just this torrent of releases at the end of

1335
01:17:42,160 --> 01:17:46,240
Speaker 1: the year from huge names in. Filmmaking so, yeah good

1336
01:17:46,240 --> 01:17:49,400
Speaker 1: to hear That Van sant is out there still doing important.

1337
01:17:49,479 --> 01:17:52,799
Speaker 1: Work Dead Man's wire is currently playing in limited.

1338
01:17:52,840 --> 01:17:56,400
Speaker 4: Release next week will be our year End Rap, party

1339
01:17:56,439 --> 01:18:00,639
Speaker 4: The studio. Edition those opening, scenes funniest scene, means, music,

1340
01:18:00,680 --> 01:18:03,719
Speaker 4: moment and. More we remind you to send your, picks

1341
01:18:04,439 --> 01:18:07,760
Speaker 4: video or audio feedback at film spotting dot. Net we

1342
01:18:07,840 --> 01:18:12,719
Speaker 4: will also announce the twenty twenty Five Golden brick winner five.

1343
01:18:12,840 --> 01:18:18,439
Speaker 4: Finalists josh and, you as the, listener not only get a,

1344
01:18:18,520 --> 01:18:22,280
Speaker 4: vote you are one of four votes that determines that,

1345
01:18:22,360 --> 01:18:27,360
Speaker 4: winner but we award the listener's, choice so it's an important.

1346
01:18:27,439 --> 01:18:30,599
Speaker 4: Vote please do go to film spotting dot net slash

1347
01:18:30,720 --> 01:18:34,519
Speaker 4: bricks and vote now for The. Brick and here's the

1348
01:18:34,560 --> 01:18:37,080
Speaker 4: thing you especially need to. Know we did not give

1349
01:18:37,080 --> 01:18:40,280
Speaker 4: you much, time but you, know this is just how it.

1350
01:18:40,360 --> 01:18:42,640
Speaker 4: Worked we kind of we had to cut off in

1351
01:18:42,680 --> 01:18:45,840
Speaker 4: the past of Around, thanksgiving but then that forced us

1352
01:18:45,840 --> 01:18:48,840
Speaker 4: to leave off some titles that that we thought really

1353
01:18:48,840 --> 01:18:52,280
Speaker 4: were deserving of a. Nomination and in this, Case Zodiac

1354
01:18:52,400 --> 01:18:55,000
Speaker 4: Killer project is a movie that if you were in

1355
01:18:55,040 --> 01:18:58,599
Speaker 4: a city that played it during its limited, run then

1356
01:18:58,640 --> 01:19:00,920
Speaker 4: you had a chance to see. It, wise it just

1357
01:19:01,040 --> 01:19:06,200
Speaker 4: came OUT vod the day we're recording this Actually, Tuesday january,

1358
01:19:06,280 --> 01:19:09,559
Speaker 4: sixth so as you're hearing, this it's out. Now but

1359
01:19:09,720 --> 01:19:14,439
Speaker 4: voting for the brick Closes sunday, night the, eleventh at,

1360
01:19:14,439 --> 01:19:17,680
Speaker 4: Midnight so hopefully you're hearing this before then and you

1361
01:19:17,720 --> 01:19:20,160
Speaker 4: have a chance to see that. MOVIE i will tell you,

1362
01:19:20,200 --> 01:19:22,840
Speaker 4: this and this isn't about swaying the vote at. ALL

1363
01:19:23,560 --> 01:19:27,160
Speaker 4: i don't think it's probably going to determine anything in the, End.

1364
01:19:27,280 --> 01:19:31,439
Speaker 4: Josh it really is just encouraging people to seek this movie,

1365
01:19:31,439 --> 01:19:34,000
Speaker 4: out that it's worth seeking it. Out at the end

1366
01:19:34,120 --> 01:19:38,000
Speaker 4: here having a little bit of. Urgency listeners get a,

1367
01:19:38,080 --> 01:19:39,920
Speaker 4: VOTE i get a, Vote you get a. Vote Producer

1368
01:19:39,920 --> 01:19:43,920
Speaker 4: sam gets a. Vote at least one of us Has

1369
01:19:44,000 --> 01:19:48,200
Speaker 4: Zodiac Killer project number one on Their Golden brick. Ballot,

1370
01:19:48,720 --> 01:19:54,160
Speaker 4: Okay so so it is worth your time and hopefully

1371
01:19:54,200 --> 01:19:56,559
Speaker 4: you will have the time to see it and do

1372
01:19:56,960 --> 01:19:58,680
Speaker 4: finish up your homework and.

1373
01:19:59,080 --> 01:20:02,200
Speaker 1: Vote it'd be. Great, YEAH i mean hopefully did you

1374
01:20:02,240 --> 01:20:04,240
Speaker 1: run through these? Titles SHOULD i do that real? Quickly

1375
01:20:04,280 --> 01:20:07,120
Speaker 1: the others please go ahead and where people can find, them.

1376
01:20:07,120 --> 01:20:10,920
Speaker 1: Hopefully Zodia Killer, project as you mentioned ON vod right,

1377
01:20:10,960 --> 01:20:13,879
Speaker 1: now is the last one and listeners have been dutiful

1378
01:20:13,880 --> 01:20:15,479
Speaker 1: and that's all they have to knock. Out and you've

1379
01:20:15,479 --> 01:20:19,040
Speaker 1: already Seen Boys go To jupiter if you, haven't that's

1380
01:20:19,080 --> 01:20:23,400
Speaker 1: ON vod right. Now Grand Theft hamlet is available only

1381
01:20:23,800 --> 01:20:26,720
Speaker 1: Via MOVIE a top ten lister for me, though SO

1382
01:20:26,800 --> 01:20:31,439
Speaker 1: i think it's worth checking Out predators Available Paramount plus

1383
01:20:31,880 --> 01:20:35,360
Speaker 1: and then our last finalist here a little bit more

1384
01:20:35,439 --> 01:20:39,360
Speaker 1: availability sorry, baby you can find ON, Hbo max OR

1385
01:20:39,479 --> 01:20:45,040
Speaker 1: vod as. Well so five really compelling titles to give

1386
01:20:45,080 --> 01:20:48,559
Speaker 1: some thought to and choose your favorite for The Golden

1387
01:20:48,600 --> 01:20:50,080
Speaker 1: Brick award next.

1388
01:20:50,120 --> 01:20:52,960
Speaker 4: Week it might just be The Rap party and the

1389
01:20:53,000 --> 01:20:55,960
Speaker 4: announcement of The Golden. Brick certainly that will be enough.

1390
01:20:56,000 --> 01:20:59,400
Speaker 4: Show but you said, It. Josh some other titles are

1391
01:20:59,479 --> 01:21:02,639
Speaker 4: rolling out and expanding to more, theaters and it really

1392
01:21:02,680 --> 01:21:05,240
Speaker 4: is just a matter well at least for. ME i

1393
01:21:05,240 --> 01:21:08,120
Speaker 4: don't know where you are how much availability there is

1394
01:21:08,160 --> 01:21:10,920
Speaker 4: with some of these, titles but it's a matter of

1395
01:21:11,000 --> 01:21:14,320
Speaker 4: time for, me and The jarmish Film Father Mother Sister

1396
01:21:14,360 --> 01:21:17,200
Speaker 4: brother is. EXPANDING i have an opportunity to see, that

1397
01:21:17,680 --> 01:21:19,160
Speaker 4: may be able to see it and talk about it

1398
01:21:19,160 --> 01:21:22,120
Speaker 4: on next week's, show and then a title THAT i

1399
01:21:22,240 --> 01:21:23,879
Speaker 4: know has gotten a lot of love.

1400
01:21:23,680 --> 01:21:24,600
Speaker 3: Here end of.

1401
01:21:24,720 --> 01:21:28,479
Speaker 4: Year some listeners have written in and said that this

1402
01:21:28,560 --> 01:21:32,559
Speaker 4: is a movie that needs to be, seen that may

1403
01:21:32,840 --> 01:21:35,000
Speaker 4: be in fact the best film of the, year and

1404
01:21:35,000 --> 01:21:38,519
Speaker 4: may contain the best scene of the. Year that's B gond's.

1405
01:21:38,680 --> 01:21:42,840
Speaker 4: Resurrection that's, expanding and apparently it's one you have to

1406
01:21:42,840 --> 01:21:45,760
Speaker 4: see on the big, Screen. Josh so MAYBE i will

1407
01:21:45,800 --> 01:21:46,759
Speaker 4: and Maybe i'll report.

1408
01:21:46,800 --> 01:21:47,559
Speaker 3: Back we'll.

1409
01:21:47,560 --> 01:21:50,519
Speaker 1: See would love to do that as. WELL i don't

1410
01:21:50,560 --> 01:21:53,639
Speaker 1: know if, availability plus the fact THAT i have travel coming,

1411
01:21:53,720 --> 01:21:55,840
Speaker 1: up will make that. POSSIBLE i will say this about

1412
01:21:55,920 --> 01:22:00,960
Speaker 1: next week's, show THOUGH i am leaning towards MOSTLY i

1413
01:22:01,000 --> 01:22:05,400
Speaker 1: think choosing scenes for our rap party from films that

1414
01:22:05,960 --> 01:22:08,200
Speaker 1: were not on my top ten, List so there will

1415
01:22:08,240 --> 01:22:11,880
Speaker 1: be some, variety maybe hitting some titles that listeners were,

1416
01:22:11,920 --> 01:22:14,840
Speaker 1: wondering where was? That why didn't that come? Up Will

1417
01:22:14,880 --> 01:22:17,920
Speaker 1: resurrection be in? There will, father, mother sister brother be in?

1418
01:22:17,960 --> 01:22:20,720
Speaker 1: There maybe likely not for, me but we'll see what

1419
01:22:20,760 --> 01:22:21,439
Speaker 1: happens in the next.

1420
01:22:21,479 --> 01:22:24,559
Speaker 4: Week so, wait you came up with a policy for

1421
01:22:24,600 --> 01:22:26,679
Speaker 4: your your rap party?

1422
01:22:26,680 --> 01:22:29,200
Speaker 3: List you. Didn't you didn't share this not a.

1423
01:22:29,240 --> 01:22:32,400
Speaker 1: POLICY i just, honestly it kind of happened. Naturally AS

1424
01:22:32,560 --> 01:22:37,200
Speaker 1: i leaned towards those picks that came to the, TOP i, thought,

1425
01:22:37,240 --> 01:22:40,040
Speaker 1: well that's kind of. Nice we haven't actually talked a

1426
01:22:40,040 --> 01:22:42,519
Speaker 1: lot about that, Film so, YEAH i think it'll shake

1427
01:22:42,560 --> 01:22:42,800
Speaker 1: out that.

1428
01:22:42,840 --> 01:22:46,880
Speaker 4: Way, OKAY i am excited to hear about some of these.

1429
01:22:46,880 --> 01:22:49,479
Speaker 4: Titles it's, Likely, JOSH i haven't seen some of the

1430
01:22:49,479 --> 01:22:50,120
Speaker 4: ones you're going to.

1431
01:22:50,160 --> 01:22:53,719
Speaker 1: Mention we'll find. Out quick note here about our sister,

1432
01:22:53,800 --> 01:22:56,599
Speaker 1: podcast The Next Picture show looking At Cinema's present Via It's.

1433
01:22:56,640 --> 01:23:00,880
Speaker 1: Past in case our lengthy conversation About Marty's supreme was not,

1434
01:23:01,280 --> 01:23:04,880
Speaker 1: enough they are going to be discussing it as, well

1435
01:23:05,080 --> 01:23:10,639
Speaker 1: in conjunction With The. Hustler such a great. FILM i Don't,

1436
01:23:10,920 --> 01:23:14,120
Speaker 1: adam you might need to send The Next Picture show

1437
01:23:14,160 --> 01:23:17,400
Speaker 1: folks an email and tell Them Marty supreme is not a.

1438
01:23:17,479 --> 01:23:20,559
Speaker 1: HUSTLER i don't this is you negate this, pairing this,

1439
01:23:20,640 --> 01:23:24,040
Speaker 1: Doesn't this doesn't compute for. You oh can consult?

1440
01:23:24,040 --> 01:23:24,800
Speaker 3: Me maybe not.

1441
01:23:24,920 --> 01:23:26,880
Speaker 1: CONSULTANT i don't know WHAT'S i don't know what's wrong

1442
01:23:26,920 --> 01:23:29,240
Speaker 1: with those. Folks, also if you would like more talk

1443
01:23:29,360 --> 01:23:34,200
Speaker 1: About Avatar fire And ash that is in their. Feed

1444
01:23:34,680 --> 01:23:38,280
Speaker 1: that's a conversation With Tasha robinson And Keith. PHIPPS i

1445
01:23:38,320 --> 01:23:41,840
Speaker 1: was just listening to that, today their reactions after Seeing

1446
01:23:41,920 --> 01:23:44,719
Speaker 1: fire And ash and, yeah the next picture. Show folks

1447
01:23:44,760 --> 01:23:48,360
Speaker 1: do have their best of twenty twenty five show dropping.

1448
01:23:48,600 --> 01:23:52,479
Speaker 1: Soon you can find new episodes Every tuesday wherever you

1449
01:23:52,520 --> 01:23:57,680
Speaker 1: get your. Podcasts what do you do?

1450
01:23:57,800 --> 01:24:08,400
Speaker 2: Heat if you were RICH i suppose and All Richmond.

1451
01:24:08,120 --> 01:24:12,719
Speaker 4: New time for a new deeply flawed film spotting. Poll

1452
01:24:12,800 --> 01:24:15,360
Speaker 4: in a couple of, weeks we will do our twenty

1453
01:24:15,439 --> 01:24:19,280
Speaker 4: twenty six preview now in our, notes Producer sam has

1454
01:24:19,320 --> 01:24:24,120
Speaker 4: a question in what format we haven't discussed that time

1455
01:24:24,160 --> 01:24:27,439
Speaker 4: for a little on air production meeting, Now, josh back

1456
01:24:27,439 --> 01:24:30,920
Speaker 4: in the, day and this even includes since you joined the,

1457
01:24:30,920 --> 01:24:33,639
Speaker 4: show we used to do a crazy. Thing we would

1458
01:24:33,720 --> 01:24:37,599
Speaker 4: just do a straightforward top five our most anticipated movies

1459
01:24:37,640 --> 01:24:39,720
Speaker 4: of the year five to.

1460
01:24:39,840 --> 01:24:40,200
Speaker 3: One.

1461
01:24:41,479 --> 01:24:44,920
Speaker 4: Yeah, now SOMETIMES i THINK i was able to convince

1462
01:24:44,960 --> 01:24:47,720
Speaker 4: you to do something that YOU i know hate to,

1463
01:24:47,760 --> 01:24:50,680
Speaker 4: do which is we would we would set, aside kind

1464
01:24:50,680 --> 01:24:53,120
Speaker 4: of put in the penalty box some of the overly

1465
01:24:53,200 --> 01:24:56,200
Speaker 4: obvious ones like nobody needs to hear us talk about

1466
01:24:56,240 --> 01:24:58,519
Speaker 4: how excited we are about the New Wes anderson. Film

1467
01:24:58,760 --> 01:25:01,160
Speaker 4: but for the most, part we would do a straight top.

1468
01:25:01,200 --> 01:25:05,320
Speaker 4: Five then we switched to the questions format o our

1469
01:25:05,360 --> 01:25:09,160
Speaker 4: top five questions about the Movie. Yere then we went

1470
01:25:09,240 --> 01:25:15,439
Speaker 4: to please do the honors fully a do Fully dutch. Matches,

1471
01:25:16,240 --> 01:25:20,400
Speaker 4: yeah we We we pitted two upcoming movies against each

1472
01:25:20,439 --> 01:25:23,400
Speaker 4: other and we had to choose which one we were

1473
01:25:23,400 --> 01:25:24,080
Speaker 4: most excited.

1474
01:25:24,120 --> 01:25:27,800
Speaker 1: About, inspired we wait to ask if you're inspired by

1475
01:25:27,840 --> 01:25:30,800
Speaker 1: your writing love for Jo joker fully ad that's?

1476
01:25:30,840 --> 01:25:32,439
Speaker 3: It, yeah of, course.

1477
01:25:32,240 --> 01:25:34,600
Speaker 1: You just always wanted ways to fit that into the.

1478
01:25:34,600 --> 01:25:35,599
Speaker 3: Show that's right.

1479
01:25:35,640 --> 01:25:37,400
Speaker 4: NOW i can't wait to ask you this question BECAUSE

1480
01:25:37,439 --> 01:25:41,320
Speaker 4: i would bet a significant amount of money that you

1481
01:25:41,400 --> 01:25:46,680
Speaker 4: have zero recollection of how we did, this and to be,

1482
01:25:46,880 --> 01:25:50,400
Speaker 4: fair to be, FAIR i knew what it, was but

1483
01:25:50,439 --> 01:25:52,720
Speaker 4: WHEN i looked it, up there was a detail THAT

1484
01:25:52,760 --> 01:25:55,280
Speaker 4: i had, forgotten so SO i didn't know it one.

1485
01:25:55,960 --> 01:25:59,800
Speaker 4: Either do you recall what our approach was last year

1486
01:26:00,040 --> 01:26:00,240
Speaker 4: with our?

1487
01:26:00,280 --> 01:26:03,960
Speaker 1: MOVIE i THINK i have an informed guess AND i

1488
01:26:04,000 --> 01:26:06,719
Speaker 1: need to back up though and fill in the history.

1489
01:26:06,760 --> 01:26:10,519
Speaker 1: Here the reason we went away from the questions is

1490
01:26:10,560 --> 01:26:14,120
Speaker 1: because we discovered that our questions were too unique and

1491
01:26:14,200 --> 01:26:17,559
Speaker 1: we weren't talking about the biggest movies of the, year,

1492
01:26:17,880 --> 01:26:19,680
Speaker 1: right the bigger movie then we. Were then we were

1493
01:26:19,680 --> 01:26:23,400
Speaker 1: getting feedback, like whide are you doing a twenty twenty whatever?

1494
01:26:23,439 --> 01:26:27,040
Speaker 1: Preview and you don't mention The Wes. Anderson so then

1495
01:26:27,080 --> 01:26:27,360
Speaker 1: we had.

1496
01:26:27,320 --> 01:26:30,759
Speaker 4: Become in sometimes, well we actually had too many movies

1497
01:26:30,760 --> 01:26:32,479
Speaker 4: that it ended up we Didn't we didn't end.

1498
01:26:32,479 --> 01:26:34,040
Speaker 3: Up, reviewing so we were.

1499
01:26:34,040 --> 01:26:37,000
Speaker 4: Obscured we were talking about the movies that were in our.

1500
01:26:37,120 --> 01:26:39,839
Speaker 4: Previews so, yeah so it's all it's all a vicious.

1501
01:26:39,840 --> 01:26:44,439
Speaker 4: Cycle and then we had The folia due debacle and uh,

1502
01:26:44,280 --> 01:26:45,439
Speaker 4: HUH i know what we.

1503
01:26:45,479 --> 01:26:49,280
Speaker 1: Did here's my. Guests we also went through an EXTREME

1504
01:26:49,560 --> 01:26:51,360
Speaker 1: i don't think we were fully out of, it but

1505
01:26:51,360 --> 01:26:54,280
Speaker 1: we went through an extreme draft for a phase where

1506
01:26:54,320 --> 01:26:55,240
Speaker 1: everything had to be a.

1507
01:26:55,320 --> 01:26:59,439
Speaker 3: Draft was last year's preview a. Draft it was a draft.

1508
01:26:59,600 --> 01:27:00,519
Speaker 1: There it was a.

1509
01:27:00,600 --> 01:27:04,679
Speaker 4: Draft the detail THAT i forgot was we did a top.

1510
01:27:04,760 --> 01:27:07,280
Speaker 4: Ten we did a top, ten so we each had five,

1511
01:27:07,400 --> 01:27:11,720
Speaker 4: picks but it was just ten picks.

1512
01:27:10,439 --> 01:27:10,920
Speaker 3: In, order.

1513
01:27:11,120 --> 01:27:14,679
Speaker 4: Alternating you had the first. Pick you picked the movie

1514
01:27:14,720 --> 01:27:17,360
Speaker 4: you were most excited. About that that, title by the,

1515
01:27:17,360 --> 01:27:22,760
Speaker 4: Way mickey. Seventeen THEN i picked my. NUMBER i got

1516
01:27:22,760 --> 01:27:26,080
Speaker 4: my number one pick turns out pretty. Smart one one

1517
01:27:26,120 --> 01:27:28,360
Speaker 4: battle after. Another, yeah in the.

1518
01:27:28,360 --> 01:27:30,360
Speaker 1: Nuther, one the number one of the. Year that would

1519
01:27:30,360 --> 01:27:30,599
Speaker 1: have been.

1520
01:27:30,600 --> 01:27:32,360
Speaker 3: PERFECT i, KNOW i.

1521
01:27:32,400 --> 01:27:34,240
Speaker 4: Know and then we just we just went back and

1522
01:27:34,240 --> 01:27:36,840
Speaker 4: forth until we had ten titles that were our most

1523
01:27:36,880 --> 01:27:41,360
Speaker 4: anticipated of the. Year so we obviously have lots of.

1524
01:27:41,400 --> 01:27:42,640
Speaker 4: Options what are we going to?

1525
01:27:42,720 --> 01:27:46,879
Speaker 1: Do so despite the, SHADE i just threw at the draft,

1526
01:27:47,320 --> 01:27:51,800
Speaker 1: IDEA i kind of like. THAT i like that we work.

1527
01:27:51,880 --> 01:27:54,439
Speaker 1: TOO i thought it was good we covered that many.

1528
01:27:54,600 --> 01:27:59,040
Speaker 1: Titles let's bring it up at our real production meeting

1529
01:27:59,040 --> 01:28:01,640
Speaker 1: With sam this, week, okay and see if he feels the.

1530
01:28:01,680 --> 01:28:03,400
Speaker 1: Same but that's kind of Where i'm.

1531
01:28:03,479 --> 01:28:06,960
Speaker 4: LEANING i am as, well and we'll see.

1532
01:28:06,960 --> 01:28:09,320
Speaker 3: What, listen the.

1533
01:28:09,240 --> 01:28:12,080
Speaker 1: Fact that it was his idea probably and that we

1534
01:28:12,160 --> 01:28:14,560
Speaker 1: both like. It Knowing, sam that means he's going to

1535
01:28:14,640 --> 01:28:18,840
Speaker 1: come in with some kakamemi new idea that we will

1536
01:28:18,880 --> 01:28:21,160
Speaker 1: never have conceived, of and we'll be doing.

1537
01:28:21,200 --> 01:28:23,240
Speaker 3: That, sam bring it to the. Table.

1538
01:28:23,320 --> 01:28:26,679
Speaker 4: Listeners you can bring your ideas to the table as.

1539
01:28:26,720 --> 01:28:28,719
Speaker 4: Well now let's get back to the matter at. Hand

1540
01:28:28,800 --> 01:28:31,240
Speaker 4: our new poll question asked you to choose your most

1541
01:28:31,240 --> 01:28:36,160
Speaker 4: anticipated film of the new movie year that comes out

1542
01:28:36,280 --> 01:28:40,800
Speaker 4: Before Memorial. Day so most anticipated film that comes out

1543
01:28:41,080 --> 01:28:44,600
Speaker 4: first half of the, Year, josh please give our listeners the.

1544
01:28:44,640 --> 01:28:50,480
Speaker 1: Options Emerald fanel With Wuthering heights that's Starring Margot robbie

1545
01:28:50,520 --> 01:28:54,400
Speaker 1: And jacob Eh, Loordi Maggie Gillenhall's The bride With Jesse

1546
01:28:54,479 --> 01:28:59,400
Speaker 1: buckley And Christian, Bale lord And Miller's Project Hail, Mary Ryan,

1547
01:28:59,479 --> 01:29:04,120
Speaker 1: GOSLING i know nothing about. This sounds, Great i've seen the. Preview, yeah.

1548
01:29:04,160 --> 01:29:08,320
Speaker 1: Okay how About zendeia And Robert pattinson in the? Drama,

1549
01:29:09,000 --> 01:29:15,920
Speaker 1: Sure David lowry's pop world drama horror. Movie, Hmm Mother, Mary,

1550
01:29:16,680 --> 01:29:19,160
Speaker 1: Okay i'm not sure what a pop world drama, is

1551
01:29:19,240 --> 01:29:21,759
Speaker 1: But i'm ready for it me. Either the Stars Anne

1552
01:29:21,840 --> 01:29:27,320
Speaker 1: hathaway And Mikayla. Cole The Devil Wear's prada two is another,

1553
01:29:27,360 --> 01:29:30,839
Speaker 1: option and then we will give you the choice of Other.

1554
01:29:31,080 --> 01:29:34,679
Speaker 4: Yes you can write in your pick if your most

1555
01:29:34,720 --> 01:29:39,080
Speaker 4: anticipated film is not there of those. Options, josh, well

1556
01:29:39,160 --> 01:29:41,599
Speaker 4: it turns out you don't know what most of those titles,

1557
01:29:41,600 --> 01:29:42,799
Speaker 4: are AND i barely.

1558
01:29:43,160 --> 01:29:46,920
Speaker 3: Know so it's. Hard it's hard to. Pick it's hard to.

1559
01:29:46,920 --> 01:29:50,320
Speaker 4: PICK i, guess just going off of actor or, director

1560
01:29:50,479 --> 01:29:53,320
Speaker 4: what stands. OUT i, mean The. Bride The bride probably

1561
01:29:53,360 --> 01:29:55,760
Speaker 4: stands out to some. Extent i've been aware of The

1562
01:29:55,800 --> 01:29:59,000
Speaker 4: bride for quite some. Time i'm still on A frankenstein and.

1563
01:29:59,160 --> 01:30:01,360
Speaker 1: Was on our preview line last. YEAR i think it

1564
01:30:01,439 --> 01:30:04,479
Speaker 1: WAS i think it, Was, Yeah Del. Toro's you, Know

1565
01:30:04,520 --> 01:30:10,719
Speaker 1: frankenstein almost made my top. Ten I'm i'm like, belated

1566
01:30:10,760 --> 01:30:14,559
Speaker 1: but fully on board With Jesse buckley After. Haminet SO

1567
01:30:15,520 --> 01:30:17,680
Speaker 1: i want to go, there you know. WHAT i Think

1568
01:30:17,680 --> 01:30:22,519
Speaker 1: i'm gonna go there because excited About Weathering heights really

1569
01:30:22,720 --> 01:30:26,080
Speaker 1: a NOVEL i, Love but you, know it's just an.

1570
01:30:26,120 --> 01:30:29,360
Speaker 1: Adaptation The bride seems to be doing something a little.

1571
01:30:29,360 --> 01:30:35,479
Speaker 1: Differently i'm leaning towards The Zendeia Robert pattinson BECAUSE i

1572
01:30:35,520 --> 01:30:38,320
Speaker 1: appreciate both of them so much as, actors And i'm

1573
01:30:38,360 --> 01:30:43,439
Speaker 1: assuming the drama is an original. Concept perhaps. NOT i

1574
01:30:43,439 --> 01:30:47,439
Speaker 1: mean it's not like, something, okay not as familiar As

1575
01:30:47,439 --> 01:30:51,519
Speaker 1: frankenstein Or Wathering. Heights so right Now i'm torn between

1576
01:30:51,640 --> 01:30:55,080
Speaker 1: the drama knowing nothing else and The. Bride how about?

1577
01:30:55,120 --> 01:30:59,200
Speaker 4: You it's it's written and directed by Someone i'm not familiar,

1578
01:30:59,240 --> 01:31:03,599
Speaker 4: With Christopher. Borglely the log line here is a happily

1579
01:31:03,640 --> 01:31:06,160
Speaker 4: engaged couple is put to the test when an unexpected

1580
01:31:06,200 --> 01:31:10,280
Speaker 4: turn sends their wedding week off the. Rails april third

1581
01:31:10,600 --> 01:31:13,280
Speaker 4: is when the drama is scheduled to come.

1582
01:31:13,320 --> 01:31:14,519
Speaker 3: Out, Josh so.

1583
01:31:14,880 --> 01:31:18,000
Speaker 1: For some reason that towards, here that pushes me towards The.

1584
01:31:18,000 --> 01:31:19,200
Speaker 1: BRIDE i just.

1585
01:31:20,000 --> 01:31:22,800
Speaker 4: Heard you heard wedding and you're, LIKE i don't need,

1586
01:31:22,800 --> 01:31:24,040
Speaker 4: It But i'm there done.

1587
01:31:24,040 --> 01:31:26,520
Speaker 3: That let's go With. YEAH i WISH i could.

1588
01:31:26,840 --> 01:31:30,400
Speaker 4: Go in a major different, direction BUT i the, bride

1589
01:31:30,560 --> 01:31:33,920
Speaker 4: and especially with that, cast is Where i'm.

1590
01:31:34,000 --> 01:31:35,880
Speaker 3: Leaning So i'm going to pick The.

1591
01:31:35,920 --> 01:31:37,800
Speaker 4: Bride you can vote in that poll and leave a

1592
01:31:37,840 --> 01:31:40,559
Speaker 4: comment at film spotting dot. Net we will share your

1593
01:31:40,560 --> 01:31:41,720
Speaker 4: results in a couple of.

1594
01:31:41,720 --> 01:31:46,680
Speaker 3: Weeks how to make that?

1595
01:31:46,840 --> 01:32:02,479
Speaker 2: Visual, hello.

1596
01:32:04,400 --> 01:32:08,360
Speaker 4: We do have one more quick review to get. In

1597
01:32:08,680 --> 01:32:11,559
Speaker 4: this is just some Viewing, josh THAT i did right

1598
01:32:11,640 --> 01:32:17,680
Speaker 4: before we started. Recording as harrowing as the experience, WAS

1599
01:32:18,200 --> 01:32:21,080
Speaker 4: i thought it was important to try to fit. In

1600
01:32:21,680 --> 01:32:26,360
Speaker 4: and the movie is Called The voice Of Hinned, rajab

1601
01:32:26,880 --> 01:32:30,200
Speaker 4: directed by and written by AND i apologize If i'm

1602
01:32:30,400 --> 01:32:35,080
Speaker 4: mispronouncing the name Here cawther Ben, hania who may be

1603
01:32:35,200 --> 01:32:37,639
Speaker 4: familiar to. YOU i can't, Remember. Josh we did talk

1604
01:32:37,680 --> 01:32:42,360
Speaker 4: about and Recommend Four daughters on the, Show but was

1605
01:32:42,400 --> 01:32:45,559
Speaker 4: that one THAT i recommended or did we discuss that movie?

1606
01:32:45,600 --> 01:32:47,800
Speaker 4: Together do you recall reviewing that?

1607
01:32:47,880 --> 01:32:51,720
Speaker 1: Movie, yeah oh, yeah, yeah it's if it's the ONE

1608
01:32:51,760 --> 01:32:55,720
Speaker 1: i think, Thought, yeah, yeah it's Three i'm enough.

1609
01:32:55,800 --> 01:33:00,400
Speaker 4: NOW a fascinating, Film, yeah a really interesting, film, blending

1610
01:33:01,160 --> 01:33:06,479
Speaker 4: blending fiction and. Nonfiction and that is a MOVIE i

1611
01:33:06,560 --> 01:33:09,599
Speaker 4: put in the CATEGORY i talked about it in terms

1612
01:33:09,640 --> 01:33:15,240
Speaker 4: of the ecstatic truth documentary, style very very hurt zoggy

1613
01:33:15,280 --> 01:33:21,000
Speaker 4: and right where you have a woman who lost her two, daughters,

1614
01:33:21,320 --> 01:33:24,439
Speaker 4: who without getting into the, details are no longer part

1615
01:33:24,479 --> 01:33:28,840
Speaker 4: of her, family and so the filmmaker casts two young

1616
01:33:28,840 --> 01:33:34,200
Speaker 4: women to play her, daughters and in that artifice or

1617
01:33:34,280 --> 01:33:38,120
Speaker 4: through that, artifice hopes to find some kind of answers

1618
01:33:38,320 --> 01:33:42,120
Speaker 4: and find some kind Of catharsis in that really good.

1619
01:33:42,160 --> 01:33:47,759
Speaker 4: Movie the voice Of hinrijab is doing something somewhat, similar

1620
01:33:48,479 --> 01:33:51,320
Speaker 4: only only in the basic way that it is blurring

1621
01:33:51,360 --> 01:34:00,320
Speaker 4: fiction and. Nonfiction it is deeply disturbing and. Vital the

1622
01:34:00,360 --> 01:34:07,120
Speaker 4: film is About Red crescent volunteers who receive an emergency.

1623
01:34:07,160 --> 01:34:10,559
Speaker 4: Call it is based on a true story of a

1624
01:34:10,600 --> 01:34:14,719
Speaker 4: five or six year old girl named Him, rejab who

1625
01:34:15,520 --> 01:34:18,360
Speaker 4: is in a, car was in a car traveling with

1626
01:34:18,920 --> 01:34:21,840
Speaker 4: four of her cousins and her aunt and, uncle and

1627
01:34:22,120 --> 01:34:26,839
Speaker 4: she gets caught in fire in a firefight In gaza

1628
01:34:27,840 --> 01:34:31,759
Speaker 4: and ends up on the phone pleading for Rescue, josh

1629
01:34:31,840 --> 01:34:35,280
Speaker 4: and she is only this little girl is only you,

1630
01:34:35,280 --> 01:34:40,559
Speaker 4: know is only eight minutes away from these. Volunteers but

1631
01:34:40,680 --> 01:34:44,519
Speaker 4: of course getting an ambulance to her is not is

1632
01:34:44,560 --> 01:34:50,000
Speaker 4: not as simple as it should certainly. Be the blurring

1633
01:34:50,240 --> 01:34:55,840
Speaker 4: here is that everyone who performs in the, movie it

1634
01:34:55,880 --> 01:34:59,160
Speaker 4: is it is completely focused on The Red crescent. Volunteers

1635
01:34:59,680 --> 01:35:03,720
Speaker 4: they are all actors and they are all performing from

1636
01:35:03,720 --> 01:35:08,559
Speaker 4: a script that Then hania has has. Written but we

1637
01:35:08,640 --> 01:35:12,160
Speaker 4: hear the real, girl the real Hind, rajab that is

1638
01:35:12,200 --> 01:35:29,280
Speaker 4: all her, audio the actual audio from the. Call you

1639
01:35:29,320 --> 01:35:35,920
Speaker 4: can imagine how horrifying it is to to in what

1640
01:35:36,040 --> 01:35:40,240
Speaker 4: feels like real, time to have to sit with those,

1641
01:35:40,360 --> 01:35:45,439
Speaker 4: characters knowing how helpless they are despite all of their

1642
01:35:45,479 --> 01:35:49,479
Speaker 4: efforts to try to get to. Her and and something

1643
01:35:49,479 --> 01:35:53,599
Speaker 4: that stands out to me from the film is there

1644
01:35:53,680 --> 01:35:59,120
Speaker 4: there are two moments where the manager of this center

1645
01:35:59,680 --> 01:36:02,240
Speaker 4: he brings up to the character who, first the man

1646
01:36:02,240 --> 01:36:04,240
Speaker 4: who first took the, call that this guy Named.

1647
01:36:04,240 --> 01:36:08,040
Speaker 3: Omar he's deeply.

1648
01:36:07,680 --> 01:36:10,559
Speaker 4: Affected by, this as you would, expect and he twice

1649
01:36:10,640 --> 01:36:12,559
Speaker 4: lights up a cigarette or tries to light up a,

1650
01:36:12,560 --> 01:36:15,000
Speaker 4: cigarette and the manager tells, him you can't smoke in.

1651
01:36:15,040 --> 01:36:16,639
Speaker 3: Here and.

1652
01:36:18,080 --> 01:36:22,720
Speaker 4: These moments pass By josh very, quickly but you just

1653
01:36:22,760 --> 01:36:26,559
Speaker 4: can't help but watch and hear that and think about

1654
01:36:26,560 --> 01:36:30,280
Speaker 4: the absurdity in a way right of this THIS i

1655
01:36:30,320 --> 01:36:31,720
Speaker 4: don't know what to call, it other than a call,

1656
01:36:31,800 --> 01:36:34,120
Speaker 4: center that's what it feels. Like and there's a sterility

1657
01:36:34,520 --> 01:36:40,639
Speaker 4: and a banality to the setting. Here we never see

1658
01:36:41,000 --> 01:36:43,480
Speaker 4: we never see the, girl we never see the, firefight

1659
01:36:43,720 --> 01:36:47,240
Speaker 4: only we only hear, it and otherwise we are focused

1660
01:36:47,280 --> 01:36:50,320
Speaker 4: only on those volunteers at the call, center and you

1661
01:36:50,680 --> 01:36:56,880
Speaker 4: think about the absurdity of this world in which everything

1662
01:36:56,920 --> 01:37:01,160
Speaker 4: is dictated by. Protocols the word coordinate is used one

1663
01:37:01,240 --> 01:37:04,200
Speaker 4: hundred times in the, movie except everything seems to be

1664
01:37:04,320 --> 01:37:08,000
Speaker 4: uncoordinated and, nothing nothing is working the way it should

1665
01:37:08,479 --> 01:37:11,080
Speaker 4: and it's a. Mess and think about just the horror,

1666
01:37:11,120 --> 01:37:14,680
Speaker 4: itself about what's occurring and what kind of just world

1667
01:37:14,800 --> 01:37:18,280
Speaker 4: do these things? Occur what rules are being followed that

1668
01:37:18,360 --> 01:37:22,880
Speaker 4: allow these types of atrocities to, Occur and yet in

1669
01:37:22,920 --> 01:37:27,320
Speaker 4: this place you can't light up a. Cigarette there's rules

1670
01:37:27,360 --> 01:37:30,080
Speaker 4: forbidding that that have to be. Followed and then as

1671
01:37:30,120 --> 01:37:32,760
Speaker 4: absurd as that, is you, think, well that also that does.

1672
01:37:32,840 --> 01:37:37,559
Speaker 4: Matter that's important that we have rules that in places

1673
01:37:37,600 --> 01:37:42,080
Speaker 4: where where civility does, exist we need to keep making

1674
01:37:42,120 --> 01:37:46,320
Speaker 4: sure that we're enforcing. Rules and those are some of

1675
01:37:46,400 --> 01:37:50,719
Speaker 4: the things that the movie makes you consider while you're

1676
01:37:51,600 --> 01:37:54,920
Speaker 4: thinking about so many other things watching. It and certainly

1677
01:37:55,000 --> 01:37:56,840
Speaker 4: it's not a. Movie it's not a movie that you

1678
01:37:57,240 --> 01:38:01,880
Speaker 4: have to be a parent two to have a very

1679
01:38:01,880 --> 01:38:04,639
Speaker 4: tough viewing experience with or to be affected by.

1680
01:38:04,640 --> 01:38:05,960
Speaker 3: Emotionally absolutely.

1681
01:38:06,000 --> 01:38:09,080
Speaker 4: Not but especially when you have a five or six

1682
01:38:09,120 --> 01:38:11,439
Speaker 4: year old young girl at home LIKE i, do and

1683
01:38:11,479 --> 01:38:14,479
Speaker 4: you're when you, hear when you hear your daughter and

1684
01:38:14,840 --> 01:38:18,519
Speaker 4: she is suffering in any kind of, way and your

1685
01:38:18,560 --> 01:38:21,439
Speaker 4: only instinct is to try to help. Her and you

1686
01:38:21,479 --> 01:38:23,840
Speaker 4: hear this girl on the phone and you think about

1687
01:38:24,080 --> 01:38:28,160
Speaker 4: the way she's suffering and understand that nobody can help.

1688
01:38:28,200 --> 01:38:32,840
Speaker 4: Her it's that that's where the angst for lack of

1689
01:38:32,880 --> 01:38:35,759
Speaker 4: a better, word really really does occur watching this. Film

1690
01:38:35,760 --> 01:38:37,400
Speaker 4: but AS i, SAID i, THINK i think it's an

1691
01:38:37,400 --> 01:38:41,760
Speaker 4: important film that the people need to see that is out.

1692
01:38:41,800 --> 01:38:47,880
Speaker 1: Now, yeah that that mixture of fact and, dramatization you,

1693
01:38:47,920 --> 01:38:51,280
Speaker 1: know which as you, Said Four daughters. Includes In Four,

1694
01:38:51,360 --> 01:38:54,080
Speaker 1: daughters it made me think also Her zog as you,

1695
01:38:54,080 --> 01:38:57,720
Speaker 1: said but a Bass kiostami and films Like Close, up you,

1696
01:38:57,720 --> 01:39:02,200
Speaker 1: know being in that, tradition, uh of pursuing truths about

1697
01:39:02,200 --> 01:39:07,200
Speaker 1: the human experience through the use of both tools of,

1698
01:39:08,000 --> 01:39:15,720
Speaker 1: fact harrowing fact and also dramatization that maybe brings us

1699
01:39:15,760 --> 01:39:18,280
Speaker 1: into the moment in a different. Way it, sounds as you,

1700
01:39:18,280 --> 01:39:21,599
Speaker 1: said like a tough, watch but, yeah a crucial, one

1701
01:39:21,680 --> 01:39:24,320
Speaker 1: especially you think about hearing these stories like. THIS i

1702
01:39:24,360 --> 01:39:27,439
Speaker 1: remember when this, broke you, know and it had made

1703
01:39:28,000 --> 01:39:33,479
Speaker 1: headlines in The, states and then the next tragedy happens

1704
01:39:33,479 --> 01:39:35,360
Speaker 1: and you kind of forget about, it so there's also

1705
01:39:35,400 --> 01:39:38,280
Speaker 1: something IMPORTANT i think about bringing this back to the

1706
01:39:38,360 --> 01:39:42,679
Speaker 1: fore because the situation that it describes is still.

1707
01:39:42,880 --> 01:39:47,360
Speaker 4: Ongoing The voice Of Henry jab is out now in limited,

1708
01:39:47,600 --> 01:39:49,160
Speaker 4: release And, josh that's our.

1709
01:39:49,160 --> 01:39:51,880
Speaker 1: Show if you'd like to connect with us on social,

1710
01:39:51,920 --> 01:39:55,920
Speaker 1: media you can Find adam and the show On, Instagram, facebook,

1711
01:39:56,400 --> 01:40:01,160
Speaker 1: letterboxed and YouTube all at Film. Spotting i'm, YEAH i

1712
01:40:01,280 --> 01:40:03,400
Speaker 1: Think i'm at each of those places as. Well you

1713
01:40:03,439 --> 01:40:07,560
Speaker 1: can find me At larsen on. Film we are independently

1714
01:40:07,600 --> 01:40:11,040
Speaker 1: produced and listeners. Supported you can support the show by

1715
01:40:11,160 --> 01:40:15,719
Speaker 1: joining the Film Spotting family at film spottingfamily dot. Com

1716
01:40:15,880 --> 01:40:18,559
Speaker 1: you can listen early and ad. Free you'll get a weekly,

1717
01:40:18,680 --> 01:40:21,960
Speaker 1: newsletter monthly bonus, episodes and access to the entire show.

1718
01:40:22,120 --> 01:40:24,800
Speaker 1: Archive for show t shirts and other merch go to

1719
01:40:24,840 --> 01:40:26,719
Speaker 1: film spotting dot net slash.

1720
01:40:26,760 --> 01:40:29,599
Speaker 4: Shop in that Film spotting, archive you can find two

1721
01:40:29,600 --> 01:40:33,679
Speaker 4: conversations with The safti brothers talking About Uncut gems episode

1722
01:40:33,680 --> 01:40:36,799
Speaker 4: seven to fifty seven And Good time episode six forty.

1723
01:40:36,800 --> 01:40:40,080
Speaker 4: Five and, yes There's avatar talk before you join the,

1724
01:40:40,080 --> 01:40:43,760
Speaker 4: Show josh A Film Spotting fix From january twenty, ten

1725
01:40:43,960 --> 01:40:47,759
Speaker 4: and then Later Avatar The way Of water From december

1726
01:40:48,000 --> 01:40:53,720
Speaker 4: twenty twenty two in limited Release Jim jarmish's, Father, mother

1727
01:40:53,840 --> 01:40:57,200
Speaker 4: sister brother With Adam, Driver Kate, Blanchette Tom waits And Charlotte.

1728
01:40:57,280 --> 01:40:59,559
Speaker 4: Rampling this is the winner of The Golden lion at

1729
01:40:59,640 --> 01:41:02,960
Speaker 4: last year Is Venice Film. Festival Krista stewart's directing, Debut

1730
01:41:03,040 --> 01:41:05,400
Speaker 4: The chronology Of water with image In poots And Thora

1731
01:41:05,479 --> 01:41:08,080
Speaker 4: birch and AS i, mentioned the voice Of Hin rejab

1732
01:41:08,560 --> 01:41:11,960
Speaker 4: from the director of twenty twenty Three's Four daughters in wide,

1733
01:41:11,960 --> 01:41:16,200
Speaker 4: release the sequel to twenty twenties Comments Striking earth Movie

1734
01:41:16,240 --> 01:41:23,320
Speaker 4: greenland With Gerard Butler greenland two colon. Migration are you, Ready?

1735
01:41:23,400 --> 01:41:24,400
Speaker 1: Josh do you.

1736
01:41:26,000 --> 01:41:26,200
Speaker 4: Do you?

1737
01:41:26,240 --> 01:41:29,080
Speaker 1: THINK i was just thinking about? This Can Gerard butler

1738
01:41:29,560 --> 01:41:33,160
Speaker 1: Save greenland from The Trump? ADMINISTRATION i certainly certainly hope.

1739
01:41:33,200 --> 01:41:37,320
Speaker 4: SO i hope so as. Well also primate the feature

1740
01:41:37,400 --> 01:41:39,960
Speaker 4: length version of the most entertaining trailer of the new movie,

1741
01:41:40,040 --> 01:41:46,120
Speaker 4: year the Tagline there's something wrong With. Ben ben is

1742
01:41:46,160 --> 01:41:48,439
Speaker 4: a chimp and here's the thing wrong with.

1743
01:41:48,560 --> 01:41:53,679
Speaker 1: Him It's rabi's come, on come, on, hey it seems

1744
01:41:53,680 --> 01:41:56,920
Speaker 1: to be, Anyway As flight of The concord, said leave

1745
01:41:56,960 --> 01:41:59,240
Speaker 1: those poor monkeys. Alone they've got problems enough of their.

1746
01:41:59,240 --> 01:41:59,400
Speaker 3: Area.

1747
01:41:59,479 --> 01:42:03,960
Speaker 4: Yeah in other, news It's january at The multiplex next.

1748
01:42:03,960 --> 01:42:06,400
Speaker 4: Week as we have mentioned a few, times come on

1749
01:42:06,520 --> 01:42:10,960
Speaker 4: back for Our scenes of the year and we'll see

1750
01:42:10,960 --> 01:42:11,800
Speaker 4: what else we get up.

1751
01:42:11,840 --> 01:42:14,960
Speaker 1: To Film spotting is produced By Golden Joe desso And

1752
01:42:15,080 --> 01:42:18,360
Speaker 1: Sam Van. Halgren Without sam And Golden, joe this show wouldn't.

1753
01:42:18,400 --> 01:42:22,200
Speaker 1: Go our production assistant Is Sophie. Kampanar special thanks to

1754
01:42:22,200 --> 01:42:27,519
Speaker 1: everyone at Wbeazy. Chicago more information is available at wbez dot.

1755
01:42:27,600 --> 01:42:30,520
Speaker 1: Org for Film, Spotting I'm Josh larson.

1756
01:42:30,240 --> 01:42:31,960
Speaker 3: And I'm Adam. Kempinar thanks for.

1757
01:42:32,000 --> 01:42:37,160
Speaker 2: Listening this conversation can serve no purpose. Anymore the burn.

1758
01:42:45,320 --> 01:42:48,280
Speaker 4: Film spotting is listeners. Supported join the Film Spotting family

1759
01:42:48,360 --> 01:42:51,519
Speaker 4: at film spottingfamily dot com and get access to ad free,

1760
01:42:51,520 --> 01:42:55,080
Speaker 4: episodes monthly bonus, shows our weekly, newsletter, and for the first,

1761
01:42:55,080 --> 01:42:58,120
Speaker 4: time all in one, place the entire Film spotting archive

1762
01:42:58,200 --> 01:43:00,439
Speaker 4: going back to two thousand and. Five that's a Film

1763
01:43:00,520 --> 01:43:05,320
Speaker 4: Spotting family dot com panably

1764
01:43:07,200 --> 01:43:07,240
Speaker 1: H