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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did.

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Speaker 2: My name is Millie to Jericho.

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Speaker 3: I'm Danielle Henderson, and we.

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Speaker 2: Are back with you to talk about.

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Speaker 4: Film, pictures, movies, talkies, the cinema, the cinema.

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Speaker 3: What's up? What's up with you?

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Speaker 2: Well, I guess this is a good time to mention.

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Speaker 1: I uh just finished writing a book, literally like a

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Speaker 1: week or two ago.

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Speaker 3: I turned it in. That's huge.

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Speaker 4: Do you want to tell people what it is or

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Speaker 4: just kind of leave it at I did this thing

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Speaker 4: and I'll tell you later.

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Speaker 1: Yeah, not to be all daniel Henderson about this, but

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Speaker 1: I was like, am I even allowed to? And then

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Speaker 1: I was like forantically looking through emails, being like, am

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Speaker 1: I gonna get sued if I talk about this book?

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Speaker 3: I don't know.

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Speaker 1: So I'm just gonna say a book it's about movies,

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Speaker 1: about cult movies specifically, and then I just will.

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Speaker 3: Leave it at that. I am so proud of you,

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Speaker 3: Thank you so much.

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Speaker 1: Obviously I have many times shaken you down for information.

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Speaker 1: I think like the first week I started, like, I

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Speaker 1: sent you a message and I was like, how do

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Speaker 1: you write a book?

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Speaker 3: And you were like, what.

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Speaker 4: It is? Passively the favorite text I've ever received, yeah, or.

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Speaker 1: Just I think it was like, what's your process? I

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Speaker 1: was very much like, I want to know how you

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Speaker 1: do it? And you gave me, you know, sort of

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Speaker 1: your your vibe and all the tips and tricks that

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Speaker 1: you have to write.

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Speaker 2: And I still procrastinated.

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Speaker 3: So it doesn't even matter.

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Speaker 2: All that one out the window, all the advice.

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Speaker 3: I hate to say, that's.

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Speaker 4: The one bit of advice I can't give anyone, Like

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Speaker 4: I do not know how to tell people to not procrastinate,

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Speaker 4: because it feels so good to procrastinate.

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Speaker 3: Yeah, and it also.

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Speaker 4: Is part of the process for a lot of people,

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Speaker 4: like the actual procrastination as part of the writing.

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Speaker 3: You know.

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Speaker 1: Yeah, I hate that this is my personality, but I

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Speaker 1: thrive on deadlines, like I'm always I've always been that

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Speaker 1: way throughout school.

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Speaker 3: Everything, and I but I hate it.

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Speaker 1: I get I'm resentful of my own procrastinations.

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Speaker 3: So yeah, I feel you.

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Speaker 4: I was like that in school and you know, at

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Speaker 4: a lot of jobs, and I had to, like I

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Speaker 4: had to actively work to change it. I think this

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Speaker 4: is why, like when I tell people my schedule, they're

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Speaker 4: like what, and I'm like, no, I have to do

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Speaker 4: this or else I don't get anything done. It's why

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Speaker 4: I became a morning person. Oh yeah, I became a

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Speaker 4: morning person because when I was in LA I thought, well,

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Speaker 4: if I wake up and have three hours to myself

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Speaker 4: before anyone gets to work, that I won't be tempted

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Speaker 4: to procrastinate with emails and all that stuff. And I

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Speaker 4: got this program from my computer where I could turn

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Speaker 4: off internet access for however many hours I want. And

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Speaker 4: I had to like literally force myself to become a

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Speaker 4: different kind of person in order to not procrastinate anymore.

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Speaker 4: And it took years. Took at least two years to

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Speaker 4: really catch on.

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Speaker 1: So I feel you, Yeah, yeah, I I've learned a

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Speaker 1: lot about myself throughout this process, and a couple of things.

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Speaker 1: Is one the time management obviously was a big thing

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Speaker 1: for me. I got it done under the gun, but

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Speaker 1: it's that thing where I was like, I should be

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Speaker 1: better at this. So that's something I will work on

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Speaker 1: in the future if I ever do this again, which

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Speaker 1: if you talk to me right now, I'm like, huh,

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Speaker 1: that was hard. I don't think I want to do

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Speaker 1: that again, but who knows. But then the other thing

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Speaker 1: is that I don't recommend writing a book when you.

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Speaker 3: Have like two other jobs.

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Speaker 1: Yeah, the entire time, I was looking at you, going,

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Speaker 1: how do you even stand it? Like I was literally like,

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Speaker 1: I can't believe I'm doing all this stuff in one

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Speaker 1: Like there's too many, too many things going on.

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Speaker 4: It's too many things. It's hard to do, and I

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Speaker 4: have to tell you, I don't know how I do it.

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Speaker 4: I think part of the reason that I'm able to

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Speaker 4: do it is nobody is in my face or in

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Speaker 4: my vagina.

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Speaker 5: Yes, like, like I don't live with kids, I don't

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Speaker 5: have a partner, and you know, the one person I

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Speaker 5: take care of on this planet I have help with,

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Speaker 5: Like I have hired a nurse to help with my grandma.

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Speaker 4: Yeah, and that's truly the only way I think I'm

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Speaker 4: able because I need to utilize every possible minute of

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Speaker 4: my schedule for myself right now.

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Speaker 2: Yeah, no kidding. I just kept thinking that too.

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Speaker 1: I was like, Wow, it's like, there's no way this

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Speaker 1: could happen if there was literally anybody else around me.

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Speaker 1: But hey, we'll see what happens. Like I said, it

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Speaker 1: just churned it in. There's a lot more to do.

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Speaker 1: But I was thinking about you the entire time, So

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Speaker 1: actually it made me admire you more. Not that I

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Speaker 1: hold you in such highest statement, it's like basically impossible

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Speaker 1: for it to be any higher. But at the same time,

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Speaker 1: I was like, damn, I'm really impressed by Danielle and

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Speaker 1: her and her jobs and her writing and her time

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Speaker 1: management and everything.

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Speaker 3: So thanks, friend, I appreciate that.

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Speaker 4: And you have also definitely been on the receiving end

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Speaker 4: of some like ah like panic text for me. So

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Speaker 4: that's also a good way to do it, to just

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Speaker 4: have a valve a release valve. Yeah, you shouting to ether,

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Speaker 4: But I'm super proud of you. I think it's a

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Speaker 4: cool project. To be fair, I don't think you were

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Speaker 4: set up for a lot of time management success, but

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Speaker 4: you still manage to do it, which is huge, and

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Speaker 4: I just I am really really proud of you, and

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Speaker 4: I think this is just the first step of many

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Speaker 4: books to come in your name.

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Speaker 2: Well, we will see.

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Speaker 1: Maybe I'll just be like one of those rich people

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Speaker 1: that hires a ghostwriter and I'll just sit on a

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Speaker 1: lawn chair and I'll just like recount my memoirs and

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Speaker 1: then have some like young person with a lot of

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Speaker 1: energy like write it all and then be like I

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Speaker 1: wrote it.

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Speaker 4: I was approached to be a ghostwriter just this week.

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Speaker 4: What And I said, nope, Wow, yeah, it was wild.

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Speaker 4: It's why because I know they exist. I know it's

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Speaker 4: a job. I know it's legit, it's out there. But

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Speaker 4: it was a person I wasn't really familiar with, and

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Speaker 4: so I was like, I can't for someone I don't

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Speaker 4: really know at all. And it was a very very

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Speaker 4: young person and who was let's just say that next

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Speaker 4: to this person, I would look like Gollum, so like

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Speaker 4: we don't even have the same life, like we have

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Speaker 4: no adjacent lifestyle things at all.

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Speaker 2: So you're saying it's Timothy shallow May.

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Speaker 3: Yes, it's old tim tim tim tim ccs.

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Speaker 4: Timothy shallow May could never write a book, he could

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Speaker 4: never He needed me, And I said, no, it's not him.

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Speaker 3: It's not him. People, it's not him.

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Speaker 2: Stop editing his Wikipedia, put.

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Speaker 3: The phone down, do not call my lawyer. Well, what

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Speaker 3: else is up?

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Speaker 4: Well, while you were traversing the world of literary heights,

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Speaker 4: I was wondering. I spent a good deal in time

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Speaker 4: wondering this week whether or not I have a dump

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Speaker 4: truck butt or if I just have a big butt.

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Speaker 3: I can't tell what is a dump.

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Speaker 2: Truck butt, just for clarification, that's the question.

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Speaker 3: I don't fucking know.

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Speaker 4: I think a dump truck butt has to have a

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Speaker 4: bit of a shelf to it, Okay, But I don't

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Speaker 4: know because I've seen some butts referred to as dump

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Speaker 4: truck butts across the genders.

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Speaker 3: By the way, yes, that don't have the shelf.

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Speaker 4: So I don't know if I have a clear understanding

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Speaker 4: enough of what a dump truck butt is to know

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Speaker 4: if I have one. But my butt is bigger than

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Speaker 4: it used to be. Mmm, And so it just got

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Speaker 4: me curious, like am I in a new category or

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Speaker 4: is it just the same old big butt.

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Speaker 1: Look, I'm gonna be completely honest with you. Even in

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Speaker 1: the Cisco days when he said dumps like a truck,

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Speaker 1: I still I was kind of unclearer even then.

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Speaker 3: Yeah, what it really meant? Like, ma'am, what are you

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Speaker 3: talking about?

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Speaker 1: I just assumed it meant like big butt, But I

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Speaker 1: wasn't sure if there was an architecture behind it.

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Speaker 3: Well, yeah, like our dumps cheeks, right, what are dumps?

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Speaker 3: What are dumps? Because dumps come also out of the butt.

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Speaker 2: Dumplings dump Is that?

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Speaker 3: What about dumplings? Hard to say?

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Speaker 1: Dump truck? Is it just the Because now I'm like,

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Speaker 1: what is a dump truck? I'm gonna google dump.

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Speaker 4: Truck and I'm I'm afraid to google it because you

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Speaker 4: know what things are like.

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Speaker 3: When you googled dump truck butt, it'll be pure filth.

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Speaker 1: Well, if you just google dump truck, you will see

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Speaker 1: a lot of children's toys, So that's kind of nice.

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Speaker 3: Okay.

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Speaker 1: I guess I was thinking a dump truck was an excavator,

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Speaker 1: So there we go. Fuck that up immediately. A dump

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Speaker 1: truck is exactly what you think it is, which is

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Speaker 1: that it's like a big truck that has the back

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Speaker 1: that flips up so that all of the shit can

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Speaker 1: come out of it.

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Speaker 3: So is this like a intestinal compliment because I feel

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Speaker 3: like you take big dumps? Is that what they're saying?

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Speaker 3: Is that what that means? I don't think that's what

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Speaker 3: they mean, Millie.

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Speaker 4: I do not think the children are saying dump truck

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Speaker 4: butt and they mean, hey, good job cleaning out your

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Speaker 4: freakin colon?

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Speaker 3: Can you clean out of colon? I know nothing about nothing.

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Speaker 1: Okay, I'm gonna read you the Urban Dictionary definition okay,

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Speaker 1: and there's two. There's one for dump truck booty and

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Speaker 1: there's one for dump truck ass.

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Speaker 2: So I feel like we need to make that distation.

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Speaker 1: Dump truck booty says a trending metaphorical term to describe

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Speaker 1: a specific type of large booty. Dump truck refers to

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Speaker 1: a booty that typically exceeds the measurement of forty inches

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Speaker 1: forty inches?

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Speaker 3: But which way across? Yes, that is not made clear.

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Speaker 3: Heng on forty inches is most human adults. I gotta say, right.

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Speaker 2: Do you have a tape measure I don't.

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Speaker 1: I would measure it now to find out what the

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Speaker 1: circumference is, but is.

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Speaker 4: Definitely I don't think it's forty inches across solid? But

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Speaker 4: I know what my pants measurements are, like forty.

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Speaker 2: Inches is like three feet and some change?

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Speaker 3: Am I wrong about that?

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Speaker 4: I mean, are they talking about circumference? Are they talking

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Speaker 4: about the measurement from lower back around the cheeks?

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Speaker 2: Twelve twenty four thirty.

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Speaker 3: Six add for what does dump truck ass?

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Speaker 4: Okay, I have to say, maybe that'll give us some

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Speaker 4: more clarification.

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Speaker 2: Okay, here we go. You might be onto something. Dump

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Speaker 2: truck ass is a noun I just thought you should know.

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Speaker 1: It's a noun, a bodaciously large ass that slams and

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Speaker 1: bounces with each step. Usually there is a ripple that

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Speaker 1: bounces throughout the cheek as the foot hits the ground.

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Speaker 4: Okay, so we went very specific the other way in

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Speaker 4: a way that also is not helpful because that to

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Speaker 4: me just sounds like a human ass.

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Speaker 1: Listen, these are two very different definitions, if you ask me,

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Speaker 1: because one suggests it's a size thing, right. The other

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Speaker 1: suggests that it's a motion thing. Right, because with a

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Speaker 1: dump truck ass, you can technically have any size of butt, right,

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Speaker 1: but as long as it does the motion of jigglin,

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Speaker 1: then it's a dump truck ass. But the other, the

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Speaker 1: dump truck booty, says it has to be.

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Speaker 2: At least forty inches.

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Speaker 1: Well, this is so oh weirdly fascinating to me because

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Speaker 1: it's like I guess, as a nation, we're sort of

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Speaker 1: torn by what it could be. But I still we

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Speaker 1: still haven't really found out what it actually is, because

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Speaker 1: those are two very different things. Like I said, yeah,

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Speaker 1: so which one would you pick if it was up

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Speaker 1: to you.

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Speaker 4: If it was up to me, I would pick dump

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Speaker 4: truck ass because I can't be confined by math, Yes,

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Speaker 4: Like I don't want my ass to be confined by math.

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Speaker 4: If it's bouncing and there's a ripple through the cheek,

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Speaker 4: then I want to be in the club of the

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Speaker 4: dump truck ass well.

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Speaker 1: But then also to like with dumb truck booty. Where

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Speaker 1: does the forty inches come from? Is this like a regulation?

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Speaker 1: Like is it the Olympic standard?

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Speaker 3: Like how does it? Who came up with forty inches?

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Speaker 3: Is it the Olympic standard? Ma'am?

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Speaker 4: You cannot get in this pool unless you have a

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Speaker 4: forty inch ass across or perpendicular.

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Speaker 3: We don't know. Get forty inches out of that asked for?

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Speaker 4: You? Dare come swimming in this pool with Michael Phelps.

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Speaker 1: It's kind of like when you watch the dog show

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Speaker 1: and you look at all these dogs that are like

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Speaker 1: to breed specification or breed standard, and I'm like, who

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Speaker 1: decided that?

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Speaker 2: Like, I guess it?

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Speaker 3: Is it history?

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Speaker 1: Did somebody look at a poodle in like the sixteen

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Speaker 1: hundreds and says this is the way the poodle should look,

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Speaker 1: and so as shall be written. And in twenty twenty

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Speaker 1: one they will have a contest and make sure that

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Speaker 1: all those dogs have this perfect haircut. You know, I

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Speaker 1: don't understand where it came from.

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Speaker 4: All I want to know is was Cisco on this committee?

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Speaker 4: Does Cisco have to attend a un style meeting annually

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Speaker 4: to help decide the definition of dump truke?

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Speaker 1: Is he?

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Speaker 3: Is he the ambassador of the ass? Listen?

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Speaker 1: Cisco had to go all the way out of the

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Speaker 1: courthouse downtown fill out the paperwork.

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Speaker 3: He was like, who else is going to do this job?

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Speaker 3: Sir mix a Lot, Nope, he's busy.

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Speaker 4: No one else is filling out this four oh one

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Speaker 4: C three for this regulation.

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Speaker 3: Ass?

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Speaker 2: Somebody has to decide.

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Speaker 3: Who decides? Is it myself?

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Speaker 1: Cisco the Dragon, Sir mix a Lot, two Live Crew,

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Speaker 1: Megan thee Stallions?

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Speaker 3: Is it three people? Is it? Like? I mean, who

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Speaker 3: can it be?

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Speaker 4: I just am like, here's what I know to be true,

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Speaker 4: and I will have to check with the un faction

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Speaker 4: of Cisco to make sure. But my ass is bigger

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Speaker 4: than it used to be the last time I checked

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Speaker 4: on my ass, which was years ago. It's bigger. It

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Speaker 4: looks like it's been hit with a ball, peen hammer.

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Speaker 4: It's a different ass than I'm used to looking at.

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Speaker 4: And that's all, I just wondered, it's a totally different

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Speaker 4: ass since the last time I looked at my ass.

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Speaker 4: So I was just kind of curious if I've upgraded, downgraded,

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Speaker 4: down shifted.

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Speaker 3: I don't know.

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Speaker 1: Well, you're never gonna know officially unless you have Rex

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Speaker 1: and effect weigh in a ah, you might actually have

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Speaker 1: to get juvenile and mystical and perhaps a black eyed piece.

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Speaker 4: I want Rex and Effects. I want juvenile. I want

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Speaker 4: like the national anthem of the dump truck booty to

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Speaker 4: be a mix of all of these songs, like the

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Speaker 4: ultimate DJ mix of shake your Ass back, that ass

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Speaker 4: up and thong.

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Speaker 1: Song, my Hum's Booty Delicious, Yes, rumpshaker Baby got back.

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Speaker 1: I mean, this is clearly a shadow government, and they've

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Speaker 1: decided to create this Urban Dictionary entry to give us

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Speaker 1: the exact measurements of a dump truck booty forty inches.

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Speaker 4: This shadow government of ass, which is also what we

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Speaker 4: are calling this episode, has given us so much and

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Speaker 4: just decided or explained so little, so little.

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Speaker 3: But listen, here's the thing.

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Speaker 1: If you really want to get serious about this ass thing, Okay,

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Speaker 1: you know I do. My ass has probably changed too,

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Speaker 1: and I feel like it hasn't. It's just gotten wider,

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Speaker 1: but not round like. So it's just now it's just

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Speaker 1: flat and medium. Now it's just flat and big. I

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Speaker 1: don't have the roundness. I've never had the roundness. I've

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Speaker 1: just had a flatness to my butt.

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Speaker 3: I feel you.

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Speaker 4: I've got a roundness anything in my body that is

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Speaker 4: working for me in a positive way.

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Speaker 3: It's purely genetic.

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Speaker 4: I have done nothing to enhance any part of my being,

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Speaker 4: including exercise, including but not limited to, any exercise at all.

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Speaker 3: So yeah, I feel you.

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Speaker 4: I think that the changing shape of the ass is

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Speaker 4: a ted talk that I'm interested in, and I don't

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Speaker 4: think anyone's going to give me that talk. So I

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Speaker 4: would like to define my own ass. I want to

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Speaker 4: define my own ass before someone defines.

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Speaker 3: It for me.

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Speaker 1: I agree, but I argue too that like I personally

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Speaker 1: have done many squats in my life and have deadlifted

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Speaker 1: Sonny Corleone with the best of them, I had never

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Speaker 1: noticed a change to my ass when I've been concentrating

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Speaker 1: on it in a workout like I don't think it's

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Speaker 1: gotten any rounder, any bigger.

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Speaker 2: It's just sits there.

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Speaker 1: Maybe more muscular, but not yes, but it's like a

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Speaker 1: hard muscle. It's not a roundness, it's not anything that

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Speaker 1: make it look better. It's just sort of like, well,

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Speaker 1: now my butt has muscles, my cheeks have muscles, but

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Speaker 1: it doesn't really mean anything. It just feels tighter, but

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Speaker 1: it's not changing the way it looks. So I have

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Speaker 1: a feeling that people who say that that people look,

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Speaker 1: I'm not a fucking expert.

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Speaker 2: I'm not a physiologist or whatever.

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Speaker 1: But like, I feel like a lot of people, especially

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Speaker 1: like Instagram, that claim that you can do exercises that

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Speaker 1: make your butt look incredible are maybe, uh, stretching the

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Speaker 1: truth a little bit.

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Speaker 3: That's all I said.

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Speaker 4: I would have to agree. I'd have to agree. I

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Speaker 4: don't think it's it's a naturally worked outable. Otherwise, would

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Speaker 4: we not have seen We've all been hopefully to a

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Speaker 4: museum at some point in our lives, and we've seen

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Speaker 4: the caveman exhibits, and we've seen the prehistoric exhibits. Would

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Speaker 4: Cave of all people, would cave not have had dump

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Speaker 4: truck asses. All they did was work, They worked for food,

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Speaker 4: they worked for shelter. I have never gone to the

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Speaker 4: Museum of Natural History and seen a dump truck ass.

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Speaker 2: I'm just saying, especially when we don't even know what

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Speaker 2: it is.

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Speaker 1: Yes, really, and certainly they would have had a definition

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Speaker 1: for it back then, Oh.

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Speaker 4: For sure, for sure they would have called in the

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Speaker 4: prehistoric what would the prehistoric dump truck bud have been called?

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Speaker 4: This is an early assoolgical roundifficus, stunning specimen.

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Speaker 1: It was in case at Amber and we found it

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Speaker 1: underneath the ground, a perfect.

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Speaker 3: Forty inch ass. We have no idea what direction. Ah,

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Speaker 3: we just know it's forty inches.

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Speaker 4: We have unearthed a forty inch ass.

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Speaker 3: Oh lord, Well.

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Speaker 4: That's what I'm thinking about this week. I know the

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Speaker 4: holidays are upon us, the end of the year is

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Speaker 4: upon us, and I'm thinking about ma.

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Speaker 1: But well, I'm sorry I wasn't able to give you

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Speaker 1: any clarification. But personally, I think our butts get better

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Speaker 1: as we age. Yes, they do get pools, those Patrick

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00:18:09,280 --> 00:18:13,600
Speaker 1: Wilson ass pools. I think that will eventually become something

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Speaker 1: that people will come to appreciate, if they haven't already.

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Speaker 3: So I hope so.

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Speaker 4: And if nothing else, I am walking away from this

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Speaker 4: conversation with my own definition of dump truck booty being

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Speaker 4: about my intestinal capacity.

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Speaker 3: That's the best route.

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Speaker 2: To me.

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Speaker 1: I feel like, if we're not talking about leaders of

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Speaker 1: pure human shit measured, then why were we even messing around?

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Speaker 3: My forty inch butt takes on a totally.

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00:18:42,280 --> 00:18:47,919
Speaker 4: Different meaning if we're thinking about intestinal capacity. Oh god,

398
00:18:48,320 --> 00:18:50,920
Speaker 4: let's please give these people a theme. Oh my god,

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00:18:51,000 --> 00:18:53,119
Speaker 4: so I could stop talking about my booty. How do

400
00:18:53,160 --> 00:18:55,760
Speaker 4: we even segue? How is it even possible?

401
00:18:56,240 --> 00:18:58,920
Speaker 3: There is no seg only theme.

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00:18:59,040 --> 00:19:06,760
Speaker 2: No segue, just name. All right, well, what is our

403
00:19:06,800 --> 00:19:07,639
Speaker 2: theme this week?

404
00:19:08,119 --> 00:19:12,359
Speaker 3: Our theme this week is all in one night?

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Speaker 1: Yes, yes, yes, yes, that is movies that happen all

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00:19:18,960 --> 00:19:20,800
Speaker 1: in one night or all in one day. The whole

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00:19:20,800 --> 00:19:23,840
Speaker 1: movie takes place in a twenty four hour span.

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00:19:24,320 --> 00:19:24,679
Speaker 3: Yes.

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Speaker 1: I like the time restriction of this theme because I

410
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Speaker 1: think with certain movies it's like, it's fun to know

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00:19:32,720 --> 00:19:34,920
Speaker 1: the entire movie is happening in a very short period

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Speaker 1: of time. And also movies that happen all in one night,

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00:19:37,800 --> 00:19:39,919
Speaker 1: it's kind of exciting because it's so sort of like,

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00:19:40,160 --> 00:19:43,680
Speaker 1: what are the possibilities night versus day, twenty four hours

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00:19:43,760 --> 00:19:46,760
Speaker 1: versus a week versus a month, you know, just it's interesting.

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00:19:47,160 --> 00:19:50,760
Speaker 4: I appreciate this timeframe for a film as well, because

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Speaker 4: it gives you that that feeling of what could happen,

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00:19:53,760 --> 00:19:56,000
Speaker 4: like it kind of puts a clock on things. Yes,

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00:19:56,160 --> 00:19:58,720
Speaker 4: And it also in both of our films, we're looking

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Speaker 4: at two completely different cities and two totally opposite coasts

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00:20:02,160 --> 00:20:05,400
Speaker 4: of yes, the United States, and so it is interesting

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00:20:05,400 --> 00:20:07,199
Speaker 4: to see what could one get up to in a

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00:20:07,240 --> 00:20:10,480
Speaker 4: twenty four hour span in each particular place. There was

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Speaker 4: a moment where I was thinking about choosing the film

425
00:20:13,600 --> 00:20:15,879
Speaker 4: Night on Earth, which is about the cab drivers in

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Speaker 4: different cities.

427
00:20:16,760 --> 00:20:18,560
Speaker 3: Yeah, beautiful film that should be watched.

428
00:20:18,640 --> 00:20:22,000
Speaker 4: Jim Jarmish, yep, Jim Jarmish, and I definitely thought that

429
00:20:22,080 --> 00:20:24,439
Speaker 4: could be a contender, But then I decided instead to

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00:20:24,440 --> 00:20:26,640
Speaker 4: throw a three hour movie in there, just to shake

431
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Speaker 4: things up at the end of the year.

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Speaker 1: Well, I have to say, I have not seen your

433
00:20:33,560 --> 00:20:36,800
Speaker 1: movie since it came out in the movie theater, and

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Speaker 1: I have so many thoughts excellent and yeah, and it's

435
00:20:41,560 --> 00:20:43,560
Speaker 1: going to get deep, folks, That's all I gotta say.

436
00:20:43,600 --> 00:20:44,480
Speaker 3: It's going to get deep.

437
00:20:44,680 --> 00:20:47,320
Speaker 4: And you know, like, if you've listened to our bonus episodes,

438
00:20:47,359 --> 00:20:51,320
Speaker 4: you know that I've mentioned that I watched Magnolia several

439
00:20:51,400 --> 00:20:52,680
Speaker 4: times during Lockdown.

440
00:20:52,760 --> 00:20:54,720
Speaker 3: Wow, wow several times.

441
00:20:54,720 --> 00:20:56,760
Speaker 4: It was like a comfort film for me in many ways,

442
00:20:56,760 --> 00:20:59,560
Speaker 4: and I think that it was because of the sprawling

443
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Speaker 4: nature of the film and the cast that it felt

444
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Speaker 4: like I was hanging out with people wow when I wasn't.

445
00:21:05,280 --> 00:21:07,439
Speaker 4: Oh my god, I'm so pathetic, but it did. It

446
00:21:07,440 --> 00:21:09,680
Speaker 4: felt kind of like again, even if I knew these

447
00:21:09,720 --> 00:21:12,399
Speaker 4: stories and I knew what was coming, it took me

448
00:21:12,480 --> 00:21:15,359
Speaker 4: out of my head for three entire hours, which I needed.

449
00:21:15,800 --> 00:21:19,000
Speaker 1: Yeah, I'm gonna be very curious to talk to you

450
00:21:19,080 --> 00:21:22,840
Speaker 1: about this because I've I don't know what to say.

451
00:21:23,000 --> 00:21:26,200
Speaker 2: Let's just get into the movies, I guess, all right.

452
00:21:26,280 --> 00:21:28,840
Speaker 1: So my film for the theme, All in One Night,

453
00:21:29,320 --> 00:21:31,840
Speaker 1: is a movie from nineteen eighty five. It was written

454
00:21:31,840 --> 00:21:35,320
Speaker 1: by Joseph Minion, directed by Martin Scorsese, and it's called

455
00:21:35,359 --> 00:21:36,160
Speaker 1: After Hours.

456
00:21:36,960 --> 00:21:38,639
Speaker 3: They're all trying to kill me. I mean, I just

457
00:21:38,680 --> 00:21:39,320
Speaker 3: wanted to leave.

458
00:21:39,800 --> 00:21:42,439
Speaker 1: You know, my apartment made me meet a nice girl, and

459
00:21:42,480 --> 00:21:44,000
Speaker 1: now I've gotta die for it.

460
00:21:44,080 --> 00:21:47,159
Speaker 3: You know, what do you want from me? What have

461
00:21:47,240 --> 00:21:51,240
Speaker 3: I done? I'm just a work processor, damn it.

462
00:21:52,119 --> 00:21:56,600
Speaker 1: So before I get into this wild ride, I just

463
00:21:56,600 --> 00:21:59,200
Speaker 1: want to talk a little bit about how this movie

464
00:21:59,320 --> 00:22:01,920
Speaker 1: came to be made. We talked a little bit about

465
00:22:01,920 --> 00:22:06,840
Speaker 1: Martin Scorsese before in episode nine when I talked about

466
00:22:06,840 --> 00:22:09,480
Speaker 1: Wolf of Wall Street, and we didn't go into much

467
00:22:09,520 --> 00:22:12,359
Speaker 1: detail about it because we figured you could get that

468
00:22:12,440 --> 00:22:16,240
Speaker 1: info on hundreds, if not thousands, of other film podcasts.

469
00:22:16,440 --> 00:22:19,240
Speaker 1: In fact, I just have to say I watched a

470
00:22:19,280 --> 00:22:23,280
Speaker 1: couple of Scorsese videos talking about After Hours when I

471
00:22:23,320 --> 00:22:27,040
Speaker 1: was preparing for this episode, and even Scorsese himself is like,

472
00:22:27,440 --> 00:22:29,720
Speaker 1: I could give you my background, but I don't really remember.

473
00:22:29,800 --> 00:22:32,240
Speaker 2: Just go read the books that were written about this movie.

474
00:22:32,520 --> 00:22:36,000
Speaker 4: And I was like, Okay, that is such a baller move,

475
00:22:36,119 --> 00:22:38,160
Speaker 4: like I don't need to remember my own life because

476
00:22:38,160 --> 00:22:39,520
Speaker 4: somebody will write about it.

477
00:22:41,280 --> 00:22:44,359
Speaker 1: But the weird part is he actually does remember details

478
00:22:44,640 --> 00:22:47,439
Speaker 1: very well, like he remembers a lot of specific dates,

479
00:22:47,440 --> 00:22:49,360
Speaker 1: which I thought was really impressive. But I just think

480
00:22:49,359 --> 00:22:52,240
Speaker 1: it's funny that even this director is like, just listen

481
00:22:52,240 --> 00:22:53,800
Speaker 1: to somebody else talk about me. I don't want to

482
00:22:53,800 --> 00:22:56,800
Speaker 1: talk about myself. So I think that means we're in

483
00:22:56,800 --> 00:23:00,520
Speaker 1: the clear, is what I'm saying. But personally, I think

484
00:23:00,640 --> 00:23:05,080
Speaker 1: that After Hours is one of the gems in his filmography,

485
00:23:06,080 --> 00:23:12,600
Speaker 1: and Scorsese made it in almost a reaction to the

486
00:23:12,600 --> 00:23:16,800
Speaker 1: frustrations that he experienced when he was making his film

487
00:23:16,840 --> 00:23:19,919
Speaker 1: The Last Temptation of Christ. Now, this was a passion

488
00:23:19,960 --> 00:23:22,080
Speaker 1: project that he'd wanted to do for a long time.

489
00:23:22,359 --> 00:23:25,680
Speaker 1: He finally got the chance to do the movie in

490
00:23:25,720 --> 00:23:28,680
Speaker 1: the early eighties, and he wanted to do it right

491
00:23:28,720 --> 00:23:32,879
Speaker 1: after King of Comedy in eighty two, but stuff was happening.

492
00:23:33,119 --> 00:23:36,520
Speaker 1: He staffed the whole movie, they were about to start

493
00:23:36,520 --> 00:23:40,639
Speaker 1: shooting in Morocco, and the studio decided to pull the plug,

494
00:23:41,000 --> 00:23:44,520
Speaker 1: and it later was made. It was made actually in

495
00:23:44,600 --> 00:23:47,320
Speaker 1: nineteen eighty eight, so like basically six years after he

496
00:23:47,359 --> 00:23:51,720
Speaker 1: initially kind of planned to do it. But what happened

497
00:23:52,000 --> 00:23:54,919
Speaker 1: was he made After Hours as sort of a reaction to,

498
00:23:55,400 --> 00:23:57,280
Speaker 1: like I said, the frustrations, and it's just sort of

499
00:23:57,320 --> 00:23:59,880
Speaker 1: the heartache of wanting to do this movie and then

500
00:24:00,200 --> 00:24:03,000
Speaker 1: not getting to do it at least then. And so

501
00:24:03,240 --> 00:24:05,880
Speaker 1: I think that that really kind of informs the way

502
00:24:05,920 --> 00:24:09,280
Speaker 1: that After Hours looks certainly like I think that After

503
00:24:09,359 --> 00:24:15,000
Speaker 1: Hours is sort of this like stylistic filmmaking excess, almost

504
00:24:15,240 --> 00:24:17,760
Speaker 1: especially for Scorsese. I mean, he's always had like good

505
00:24:17,800 --> 00:24:21,159
Speaker 1: looking films and he has a lot of tricks up

506
00:24:21,200 --> 00:24:23,719
Speaker 1: his sleeve that he uses in a lot of his movies.

507
00:24:23,800 --> 00:24:27,560
Speaker 1: But I think that this movie in particular is very stylish,

508
00:24:27,960 --> 00:24:30,160
Speaker 1: very of the time, and I think that was sort

509
00:24:30,200 --> 00:24:31,840
Speaker 1: of intended to be that way.

510
00:24:32,040 --> 00:24:33,760
Speaker 3: Yeah, And it was written.

511
00:24:33,440 --> 00:24:37,840
Speaker 1: By basically like a first time screenwriter, this twenty six

512
00:24:37,920 --> 00:24:41,960
Speaker 1: year old right out of Columbia, Joseph Minion. He had

513
00:24:41,960 --> 00:24:45,919
Speaker 1: never done anything before, and his screenplay essentially was like

514
00:24:45,960 --> 00:24:50,439
Speaker 1: a school project that was purchased by the production company

515
00:24:50,440 --> 00:24:53,560
Speaker 1: that's owned by Griffin Dunn and Amy Robinson and they've

516
00:24:53,560 --> 00:24:56,400
Speaker 1: done many films together, but they actually bought his screenplay

517
00:24:56,440 --> 00:24:56,879
Speaker 1: and then.

518
00:24:56,880 --> 00:24:58,040
Speaker 3: Scorsese directed it.

519
00:24:58,680 --> 00:25:01,359
Speaker 1: So one sentence synopsis of After Hours goes a little

520
00:25:01,359 --> 00:25:05,480
Speaker 1: something like this. Paul Hackett, a computer lackey from uptown

521
00:25:05,760 --> 00:25:08,960
Speaker 1: New York City, is board one night, decides to go

522
00:25:09,040 --> 00:25:12,800
Speaker 1: out and proceeds to have the weirdest evening of his

523
00:25:13,080 --> 00:25:13,720
Speaker 1: entire life.

524
00:25:15,400 --> 00:25:16,080
Speaker 3: Fantastic.

525
00:25:16,280 --> 00:25:17,120
Speaker 2: That's it.

526
00:25:17,119 --> 00:25:18,879
Speaker 3: It's just short and sweet, fantastic.

527
00:25:19,400 --> 00:25:22,440
Speaker 1: Paul Hackett is played by Griffin Dunn, one of my

528
00:25:22,480 --> 00:25:23,600
Speaker 1: favorite actors of all time.

529
00:25:24,000 --> 00:25:25,840
Speaker 2: Not sure how you feel about Griffin Dunn, You know,

530
00:25:25,960 --> 00:25:26,760
Speaker 2: I love him, of.

531
00:25:26,720 --> 00:25:28,560
Speaker 3: Course, How could you not. You know he he gets

532
00:25:28,560 --> 00:25:30,399
Speaker 3: better with age like a fine wine.

533
00:25:30,760 --> 00:25:34,120
Speaker 1: I agree. I will fight anybody that hates Gryffin done.

534
00:25:34,160 --> 00:25:35,120
Speaker 1: I will fight them.

535
00:25:35,359 --> 00:25:38,560
Speaker 3: I don't even want to know that person exists.

536
00:25:38,800 --> 00:25:41,600
Speaker 1: Yeah, how dare you? You have to be a true monster,

537
00:25:41,920 --> 00:25:45,240
Speaker 1: a true monster. And at the beginning of After Hours,

538
00:25:45,680 --> 00:25:48,840
Speaker 1: Paul Hackett is at work. He's trading a new guy

539
00:25:48,960 --> 00:25:51,960
Speaker 1: in his office bell key bar Takamos. Yes, I was

540
00:25:52,000 --> 00:25:55,159
Speaker 1: gonna say. The guy's played by Bronson Pinchot, who I

541
00:25:55,200 --> 00:25:57,879
Speaker 1: actually love seeing him in eighties movies when he pops up.

542
00:25:57,960 --> 00:26:01,399
Speaker 1: I know Beverly Hills, cop et cetera. But Paul is

543
00:26:01,520 --> 00:26:04,440
Speaker 1: totally having his Joe versus.

544
00:26:04,200 --> 00:26:06,480
Speaker 2: The Volcano moment. It's basically what's happening.

545
00:26:06,920 --> 00:26:10,120
Speaker 1: He hates his job so much, he hates the office

546
00:26:10,119 --> 00:26:14,199
Speaker 1: culture and the guy that he's training. Bronson Pinchot is

547
00:26:14,280 --> 00:26:18,000
Speaker 1: already telling him he's quitting and he's not doing this forever.

548
00:26:19,240 --> 00:26:22,400
Speaker 2: It's like, I can't do this forever. I've got plans.

549
00:26:23,119 --> 00:26:26,159
Speaker 4: Is there nothing better than when you are on a

550
00:26:26,280 --> 00:26:30,119
Speaker 4: job with somebody who's like, ps, this sucks ass, and

551
00:26:30,160 --> 00:26:31,600
Speaker 4: I would refuse to do it.

552
00:26:31,640 --> 00:26:32,360
Speaker 3: As long as you.

553
00:26:32,400 --> 00:26:35,920
Speaker 1: Have I will say, I had a job once where

554
00:26:35,920 --> 00:26:38,439
Speaker 1: somebody actually did this to me. Like I had been

555
00:26:38,480 --> 00:26:41,040
Speaker 1: at the job for several years and I was training

556
00:26:41,080 --> 00:26:43,520
Speaker 1: somebody and they were extremely young, and they were like, yeah,

557
00:26:43,520 --> 00:26:45,120
Speaker 1: I don't think i'll be here that long. I think

558
00:26:45,119 --> 00:26:47,040
Speaker 1: I'll just be here for like a year and maybe dip.

559
00:26:47,040 --> 00:26:48,960
Speaker 1: And I was like, great, I've been here for a

560
00:26:49,000 --> 00:26:51,040
Speaker 1: long time. Feels good that you said that to me.

561
00:26:51,200 --> 00:26:54,360
Speaker 3: I'm so glad. I'm putting my energy into this. Yeah,

562
00:26:55,440 --> 00:26:56,600
Speaker 3: I'm training you.

563
00:26:56,680 --> 00:26:58,959
Speaker 1: So let him training you, and it's gonna mean nothing.

564
00:26:59,200 --> 00:27:04,560
Speaker 1: You're just gonna leave. I mean, Paul is essentially like

565
00:27:04,600 --> 00:27:07,520
Speaker 1: I said, he's having his moment. He's thinking, is that

566
00:27:07,720 --> 00:27:10,640
Speaker 1: all there is? Right? So Paul goes home that night,

567
00:27:10,880 --> 00:27:13,720
Speaker 1: watches some TV, he can't sleep, and then decides that

568
00:27:13,760 --> 00:27:14,800
Speaker 1: he's just going to go out to.

569
00:27:14,720 --> 00:27:15,400
Speaker 3: A coffee shop.

570
00:27:15,560 --> 00:27:19,520
Speaker 2: And this is his first mistake leaving the house.

571
00:27:24,880 --> 00:27:25,760
Speaker 3: He left the house.

572
00:27:26,560 --> 00:27:29,520
Speaker 4: How many of our own nights begin exactly.

573
00:27:30,000 --> 00:27:32,280
Speaker 1: So he's out at the shop and he meets a

574
00:27:32,280 --> 00:27:35,800
Speaker 1: woman named Marcy who's played by Roseanne Arquette, very cute

575
00:27:36,160 --> 00:27:40,119
Speaker 1: in this role, adorable, so cute, and she's noticing him

576
00:27:40,520 --> 00:27:43,560
Speaker 1: across the restaurant. He's reading a Henry Miller book, Tropic

577
00:27:43,600 --> 00:27:46,480
Speaker 1: of Cancer, and they start chatting, and you know.

578
00:27:46,440 --> 00:27:48,199
Speaker 2: He's kind of thinking, hey, she's kind of cute.

579
00:27:48,240 --> 00:27:51,800
Speaker 1: And then eventually she's like, I'm leaving, but hey, come

580
00:27:51,800 --> 00:27:55,280
Speaker 1: to Soho where I'm staying with my friend. She's a sculptor,

581
00:27:55,359 --> 00:27:57,640
Speaker 1: and maybe you can buy one of her pieces from her.

582
00:27:57,960 --> 00:28:00,480
Speaker 1: It was like something like a plaster of Paras bagel

583
00:28:00,520 --> 00:28:01,359
Speaker 1: and cream cheese.

584
00:28:01,359 --> 00:28:05,600
Speaker 4: That was the cell a plaster of Paris bagel and

585
00:28:05,640 --> 00:28:09,440
Speaker 4: cream cheese, which one is the weirdest pickup line I've

586
00:28:09,480 --> 00:28:10,280
Speaker 4: ever heard.

587
00:28:11,640 --> 00:28:12,840
Speaker 3: And would not work for me.

588
00:28:13,000 --> 00:28:14,720
Speaker 4: If I said to someone, hey, you should come to

589
00:28:14,760 --> 00:28:18,760
Speaker 4: my friend's studio. She's selling a plaster of Paris piece

590
00:28:18,760 --> 00:28:22,800
Speaker 4: of chicken, like baked chicken or grilled salmon salad, I

591
00:28:22,840 --> 00:28:25,879
Speaker 4: would not see that person ever again.

592
00:28:26,320 --> 00:28:28,960
Speaker 1: And that's I think a testament to the horniness of

593
00:28:29,040 --> 00:28:31,359
Speaker 1: Paul is that he was like, I'm gonna go forty

594
00:28:31,359 --> 00:28:35,720
Speaker 1: five minutes downtown for this plaster of Paris bagel and

595
00:28:35,760 --> 00:28:39,360
Speaker 1: cream cheese that this random stranger is gonna try to sell.

596
00:28:39,120 --> 00:28:42,480
Speaker 3: Me, which is a euphemism for six for boutet.

597
00:28:42,760 --> 00:28:46,080
Speaker 2: Yes, and listen to this point.

598
00:28:46,320 --> 00:28:49,000
Speaker 1: A big part of this movie is that it takes

599
00:28:49,080 --> 00:28:52,960
Speaker 1: place in New York City, specifically Soho in the nineteen eighties,

600
00:28:53,160 --> 00:28:56,400
Speaker 1: which was a very artsy part of town. Yes, and

601
00:28:56,960 --> 00:28:59,840
Speaker 1: Paul Hackett is not from downtown, He's from uptown. In

602
00:29:00,120 --> 00:29:04,080
Speaker 1: my mind, this movie, this concept, this setup right in

603
00:29:04,080 --> 00:29:07,040
Speaker 1: my mind, there were actually quite a few movies in

604
00:29:07,080 --> 00:29:11,400
Speaker 1: the eighties that were about this concept, right, the uptown

605
00:29:11,520 --> 00:29:16,840
Speaker 1: versus downtown movie, or more specifically, the straight guy who

606
00:29:16,880 --> 00:29:19,040
Speaker 1: was wooed by the downtown artsy girl.

607
00:29:19,480 --> 00:29:21,760
Speaker 3: Okay, yes, and I'm.

608
00:29:21,640 --> 00:29:25,960
Speaker 1: Thinking of movies like Something Wild by Jonathan Demi, Miracle Mile,

609
00:29:26,120 --> 00:29:29,120
Speaker 1: Into the Night, movies about these sort of straight laced,

610
00:29:29,480 --> 00:29:33,000
Speaker 1: kind of yuppie guys who fall into these high jinks

611
00:29:33,080 --> 00:29:36,680
Speaker 1: with these like free spirited, sort of artsy women, the

612
00:29:36,720 --> 00:29:41,160
Speaker 1: prototype for the manic pixie dream girl almost right, absolutely

613
00:29:41,280 --> 00:29:44,960
Speaker 1: very astute. Yes, Yes, But what happens to Paul Hackett

614
00:29:45,120 --> 00:29:48,840
Speaker 1: in After Hours is that so he's tempted, right with

615
00:29:48,880 --> 00:29:51,680
Speaker 1: what might happen with this woman Marcy that he just met.

616
00:29:51,760 --> 00:29:55,600
Speaker 1: There's this promise of romantic adventure there, and she's this

617
00:29:55,720 --> 00:29:59,600
Speaker 1: kind of slightly kooky downtown girl. Like I said, but

618
00:29:59,640 --> 00:30:02,720
Speaker 1: what what happens to Paul Hackett is just an onslaught

619
00:30:02,840 --> 00:30:05,920
Speaker 1: of very odd events that roll out all on the

620
00:30:05,960 --> 00:30:12,520
Speaker 1: course of this one night. And it's very slapstick meets Hitchcock, right,

621
00:30:12,560 --> 00:30:15,240
Speaker 1: It's kind of this like absurd and funny, but it's

622
00:30:15,280 --> 00:30:18,400
Speaker 1: also like this Kafka esque nightmare, right.

623
00:30:18,880 --> 00:30:19,520
Speaker 3: Absolutely.

624
00:30:19,720 --> 00:30:24,360
Speaker 1: And Paul, once he leaves his neck of the woods

625
00:30:24,360 --> 00:30:27,840
Speaker 1: and goes downtown, goes to Soho, He's thrust into this

626
00:30:27,920 --> 00:30:31,680
Speaker 1: world of these like downtown characters, including Mercy, but also

627
00:30:31,760 --> 00:30:35,959
Speaker 1: her roommate Kiki, who is played by Linda Fiorantino, and

628
00:30:36,080 --> 00:30:39,160
Speaker 1: she is the sculptor of this bagel and cream cheese thing.

629
00:30:39,600 --> 00:30:41,360
Speaker 2: She's very much.

630
00:30:41,120 --> 00:30:44,400
Speaker 1: That like picture of like the kind of artsy, sort

631
00:30:44,440 --> 00:30:46,640
Speaker 1: of punk woman. She kind of dabbles at s and

632
00:30:46,800 --> 00:30:49,040
Speaker 1: m she's not afraid to be topless.

633
00:30:49,080 --> 00:30:51,240
Speaker 2: It's just kind of that archetype, right.

634
00:30:51,680 --> 00:30:54,640
Speaker 1: And he's at their loft and he's just out of

635
00:30:54,720 --> 00:30:58,440
Speaker 1: his element, and he just notices all these like weird

636
00:30:58,480 --> 00:31:02,479
Speaker 1: details about everyone that seems slightly ominous, but he's not

637
00:31:02,520 --> 00:31:06,520
Speaker 1: sure why. And at one point he's sort of he's

638
00:31:06,560 --> 00:31:09,080
Speaker 1: been there for a while. He's just finding out kind

639
00:31:09,080 --> 00:31:11,560
Speaker 1: of more and more kind of weird information about the

640
00:31:11,560 --> 00:31:14,720
Speaker 1: two of them, and it just he's just tired, wants

641
00:31:14,760 --> 00:31:18,560
Speaker 1: to go back uptown, and he tries to go to

642
00:31:18,640 --> 00:31:21,120
Speaker 1: the subway, finds out the fares were increased, so he

643
00:31:21,160 --> 00:31:23,080
Speaker 1: doesn't have enough money to go home, so he ends

644
00:31:23,160 --> 00:31:25,800
Speaker 1: up going to a bar and he starts talking with

645
00:31:25,880 --> 00:31:28,280
Speaker 1: the waitress at the bar and she's played by Terry

646
00:31:28,320 --> 00:31:31,800
Speaker 1: Garr and the bartender who is played by John Hurt.

647
00:31:32,040 --> 00:31:34,000
Speaker 4: And this is this is an incredible evening up to

648
00:31:34,040 --> 00:31:38,240
Speaker 4: this point because this cab ride, my god, it is

649
00:31:38,280 --> 00:31:40,440
Speaker 4: an iconic cab ride in film.

650
00:31:40,480 --> 00:31:42,920
Speaker 3: For him to even get downtown.

651
00:31:42,440 --> 00:31:45,720
Speaker 1: Yeah, I heard Scorsese talk about the cab ride scene,

652
00:31:45,760 --> 00:31:50,160
Speaker 1: which happens like as he's going downtown to Kiki's loft. Yeah,

653
00:31:50,200 --> 00:31:53,560
Speaker 1: and about how Scorsese used to love, like, you know,

654
00:31:53,640 --> 00:31:56,000
Speaker 1: the idea of like being in a cab, you know,

655
00:31:56,120 --> 00:32:00,320
Speaker 1: going across Manhattan at night, and he just thought that

656
00:32:00,400 --> 00:32:03,120
Speaker 1: was like the best, like one of the best experiences

657
00:32:03,160 --> 00:32:04,120
Speaker 1: of being a New Yorker.

658
00:32:04,680 --> 00:32:09,320
Speaker 4: It is fucking magical, and it is like, there's something

659
00:32:09,360 --> 00:32:11,920
Speaker 4: about the scenes that you've described so far that are

660
00:32:12,000 --> 00:32:14,000
Speaker 4: so New York to me in the best possible way.

661
00:32:14,080 --> 00:32:16,800
Speaker 4: And what I mean by that is it makes me

662
00:32:16,840 --> 00:32:18,360
Speaker 4: feel like I'm in New York, or it makes me

663
00:32:18,440 --> 00:32:20,760
Speaker 4: remember the best parts of being in New York. And

664
00:32:20,840 --> 00:32:23,200
Speaker 4: so him going down to the subway and being like

665
00:32:23,520 --> 00:32:26,000
Speaker 4: the fair changed at midnight and now I can't get

666
00:32:26,000 --> 00:32:30,720
Speaker 4: home is a very real feeling. Even including a metro

667
00:32:30,840 --> 00:32:34,240
Speaker 4: card like upgrade, like it is still a very real feeling,

668
00:32:34,560 --> 00:32:37,600
Speaker 4: or like your train has changed now this line doesn't exist.

669
00:32:37,400 --> 00:32:38,800
Speaker 3: After midnight, or something like that.

670
00:32:39,120 --> 00:32:42,040
Speaker 4: But the cab ride, in particular, it's very A cab

671
00:32:42,120 --> 00:32:44,640
Speaker 4: ride in New York is a rarity for most people.

672
00:32:45,000 --> 00:32:49,520
Speaker 4: It's expensive, it's convenient, but it is not financially a

673
00:32:49,600 --> 00:32:52,280
Speaker 4: solvent thing to do. And so the ability to take

674
00:32:52,760 --> 00:32:56,640
Speaker 4: or the drunkenness to take a cab is you get

675
00:32:56,680 --> 00:32:59,080
Speaker 4: to see so much of the city in such a

676
00:32:59,080 --> 00:33:01,800
Speaker 4: different way usually don't get to see. So I just

677
00:33:01,920 --> 00:33:05,320
Speaker 4: I appreciate riding up the FDR, or just like I

678
00:33:05,320 --> 00:33:07,920
Speaker 4: have very good memories of driving home in a cab

679
00:33:08,040 --> 00:33:12,160
Speaker 4: at night, a little sauced and just really loving New York.

680
00:33:12,480 --> 00:33:15,640
Speaker 1: Yeah, and as he's on this hell ride, his money

681
00:33:15,640 --> 00:33:17,280
Speaker 1: flies out the window, which is why he doesn't have

682
00:33:17,360 --> 00:33:19,920
Speaker 1: enough money to get on the subway, which is why

683
00:33:19,920 --> 00:33:20,600
Speaker 1: he's in the bar.

684
00:33:20,720 --> 00:33:22,360
Speaker 3: With Terry Garr and John Hurd.

685
00:33:22,520 --> 00:33:25,960
Speaker 1: Right, Yes, so he's in the bar and you know,

686
00:33:26,200 --> 00:33:29,680
Speaker 1: John Hurd, the bartender offers to give him some cash

687
00:33:29,680 --> 00:33:31,880
Speaker 1: so he can get home. And here's the thing about

688
00:33:32,000 --> 00:33:35,640
Speaker 1: this is that Paul is constantly getting offers from these

689
00:33:35,920 --> 00:33:39,880
Speaker 1: strangers that he's meeting as he's going through this evening,

690
00:33:40,280 --> 00:33:44,080
Speaker 1: and for some reason, they just keep going awry, Like

691
00:33:44,200 --> 00:33:48,520
Speaker 1: every experience that he has with every stranger just gets

692
00:33:48,560 --> 00:33:51,960
Speaker 1: more and more complicated and intertwined, which leads me to wonder,

693
00:33:52,400 --> 00:33:55,680
Speaker 1: why do you keep going into stranger's apartments? Because he

694
00:33:55,760 --> 00:33:58,800
Speaker 1: does that many times in the course of this evening.

695
00:33:58,840 --> 00:34:01,800
Speaker 1: And I'm just like, there's second problem. A. You left

696
00:34:01,800 --> 00:34:05,080
Speaker 1: the house. B you're going into other people's houses where

697
00:34:05,080 --> 00:34:08,440
Speaker 1: you don't know them. So I mean, I don't want to,

698
00:34:08,520 --> 00:34:10,759
Speaker 1: you know, say, hey, you could have prevented this, But

699
00:34:10,800 --> 00:34:13,560
Speaker 1: I'm just saying there's some choices made, you know what

700
00:34:13,560 --> 00:34:13,879
Speaker 1: I mean.

701
00:34:14,360 --> 00:34:18,880
Speaker 4: I mean, it is astonishing how many strangers are so

702
00:34:19,400 --> 00:34:20,839
Speaker 4: weirdly trustworthy in this.

703
00:34:20,840 --> 00:34:22,839
Speaker 1: Film, right, And I think that that's the thing about

704
00:34:22,840 --> 00:34:25,959
Speaker 1: Paul is that he sort of has like good intentions,

705
00:34:26,000 --> 00:34:28,920
Speaker 1: but he just he's in a place that he's not familiar,

706
00:34:29,680 --> 00:34:31,759
Speaker 1: and it's obviously a big part of the comedy of

707
00:34:31,760 --> 00:34:34,759
Speaker 1: this film is that he's just like, doesn't know what

708
00:34:34,800 --> 00:34:39,040
Speaker 1: the fuck he's doing, and he's always depending on people

709
00:34:39,080 --> 00:34:42,000
Speaker 1: that he doesn't know and getting caught more and more

710
00:34:42,080 --> 00:34:44,359
Speaker 1: in this web of craziness.

711
00:34:44,560 --> 00:34:47,239
Speaker 4: Yes, because it's such a not New York thing to do,

712
00:34:47,400 --> 00:34:52,560
Speaker 4: to count on anyone. Yeah, that is fundamentally not a

713
00:34:52,600 --> 00:34:53,200
Speaker 4: New York.

714
00:34:53,000 --> 00:34:53,440
Speaker 3: Thing to do.

715
00:34:53,640 --> 00:34:56,560
Speaker 1: Yeah, I mean, that is definitely the crux of the

716
00:34:56,640 --> 00:34:59,759
Speaker 1: comedy of the film. And you know, at parts of

717
00:34:59,800 --> 00:35:03,680
Speaker 1: this film it is actually very Hitchcockian in that way,

718
00:35:03,800 --> 00:35:06,760
Speaker 1: because at one point, you know, he's kind of gone

719
00:35:06,800 --> 00:35:09,120
Speaker 1: through the whole thing with the Terry gar character and

720
00:35:09,120 --> 00:35:11,719
Speaker 1: the John Hurd character, and then he gets caught in

721
00:35:11,760 --> 00:35:14,880
Speaker 1: this case of mistake and identity where this entire building

722
00:35:14,920 --> 00:35:17,759
Speaker 1: and then this entire community believes that he is responsible

723
00:35:18,000 --> 00:35:21,920
Speaker 1: for this string of burglaries, and the mob is headed

724
00:35:22,080 --> 00:35:24,960
Speaker 1: by this maniacal ice cream truck.

725
00:35:24,760 --> 00:35:27,040
Speaker 2: Driver who's played by Catherine O'Hara.

726
00:35:27,400 --> 00:35:29,120
Speaker 3: Fantastic and I.

727
00:35:29,040 --> 00:35:31,200
Speaker 1: Mean she's wonderful. Listen, there are a lot of great

728
00:35:31,200 --> 00:35:33,319
Speaker 1: women in this film. I'll tell you know, it's just

729
00:35:33,680 --> 00:35:38,319
Speaker 1: with everybody that I've previously mentioned, like Katherine O'Hara, Linda Fiorentino,

730
00:35:38,480 --> 00:35:41,160
Speaker 1: like Terry garr Rosette Arquette.

731
00:35:41,440 --> 00:35:43,400
Speaker 2: I mean, it's incredible.

732
00:35:43,480 --> 00:35:45,560
Speaker 1: But the thing about Paul is that you're kind of

733
00:35:45,560 --> 00:35:47,759
Speaker 1: feeling sorry for him, but you also just can't help

734
00:35:47,840 --> 00:35:49,320
Speaker 1: laughing at.

735
00:35:48,960 --> 00:35:50,000
Speaker 3: Just him being a schmuck.

736
00:35:50,200 --> 00:35:52,800
Speaker 1: It's both slapstick and comedic but also kind of scary,

737
00:35:52,840 --> 00:35:55,640
Speaker 1: and Scorsese is always keeping you on her toes with that.

738
00:35:56,160 --> 00:35:58,880
Speaker 1: He is using a lot of his filmmaking techniques that

739
00:35:58,920 --> 00:36:01,399
Speaker 1: he's using his other films, like the fast close ups,

740
00:36:01,440 --> 00:36:04,279
Speaker 1: and he'll focus in on certain objects. It's like, who

741
00:36:04,280 --> 00:36:06,640
Speaker 1: knows if they'll be relevant later on, but you just

742
00:36:06,719 --> 00:36:09,920
Speaker 1: have to notice, right, And so there's this feeling of

743
00:36:10,000 --> 00:36:13,360
Speaker 1: uneasiness but also comedy at the same time. And the

744
00:36:13,600 --> 00:36:16,160
Speaker 1: joy of this movie for me, honestly, is just watching

745
00:36:16,239 --> 00:36:19,799
Speaker 1: somebody like Gryffin Dunn, who is an inherently.

746
00:36:19,280 --> 00:36:20,719
Speaker 2: Likable actor, right.

747
00:36:20,800 --> 00:36:23,279
Speaker 1: I mean, he's a likable guy, meaning you want him

748
00:36:23,280 --> 00:36:26,279
Speaker 1: to win for the most part in this film, but

749
00:36:26,400 --> 00:36:28,040
Speaker 1: he is an uptown guy and he's out of his

750
00:36:28,080 --> 00:36:32,200
Speaker 1: element in downtown New York City. Where he's surrounded by

751
00:36:32,280 --> 00:36:35,400
Speaker 1: all these like quote unquote wirdos. He's around artists and

752
00:36:35,440 --> 00:36:38,239
Speaker 1: gay people and punk rock guys with mohawks. And you know,

753
00:36:38,360 --> 00:36:41,240
Speaker 1: my favorite scene of the movie is actually where Paul

754
00:36:41,440 --> 00:36:45,279
Speaker 1: goes to Club Berlin and it's the bouncer tells him

755
00:36:45,280 --> 00:36:49,960
Speaker 1: it's mohawk night, and when he's in the club, the

756
00:36:50,040 --> 00:36:53,440
Speaker 1: clubgoers actually pull him aside and try to shave his head,

757
00:36:54,040 --> 00:36:57,960
Speaker 1: and Bad Brains Pay to Come is blasting on the speakers,

758
00:36:58,000 --> 00:37:00,520
Speaker 1: and Gryffin Dunn's is just screaming.

759
00:37:00,560 --> 00:37:02,200
Speaker 3: He's screaming and trying to get.

760
00:37:02,000 --> 00:37:05,040
Speaker 1: Away from these like punk rock eyes and it's so

761
00:37:05,840 --> 00:37:06,719
Speaker 1: fucking funny to me.

762
00:37:07,280 --> 00:37:09,719
Speaker 3: And they've taken like a clump out of his head.

763
00:37:10,880 --> 00:37:12,759
Speaker 4: Yeah, and this is a guy who's dressed in like,

764
00:37:13,040 --> 00:37:16,000
Speaker 4: oh white he owns and is wearing a white linen suit.

765
00:37:16,080 --> 00:37:17,240
Speaker 3: Yeah, Like, he's that guy.

766
00:37:17,320 --> 00:37:19,719
Speaker 1: Exactly, And he's just the type of guy to think

767
00:37:19,760 --> 00:37:23,360
Speaker 1: that people who lived in Soho are weird quote unquote Do.

768
00:37:23,320 --> 00:37:23,960
Speaker 3: You know what I mean?

769
00:37:24,400 --> 00:37:26,480
Speaker 1: And listen, if you were a child in the eighties,

770
00:37:26,520 --> 00:37:28,880
Speaker 1: I mean, you definitely saw a lot of movies about

771
00:37:28,960 --> 00:37:32,960
Speaker 1: this place called downtown and how scary it was, And

772
00:37:33,360 --> 00:37:36,200
Speaker 1: the funny thing is that it always had the opposite

773
00:37:36,280 --> 00:37:37,040
Speaker 1: effect on me.

774
00:37:37,480 --> 00:37:39,080
Speaker 3: Yeah, you know what.

775
00:37:39,120 --> 00:37:41,480
Speaker 1: I mean, Like you would watch a movie like this,

776
00:37:41,560 --> 00:37:43,640
Speaker 1: You would watch a movie like Adventures in Babysitting or

777
00:37:43,680 --> 00:37:45,680
Speaker 1: something like where you're like, oh my god, downtown is

778
00:37:45,719 --> 00:37:49,399
Speaker 1: a scary place, but I wanted to go downtown.

779
00:37:49,840 --> 00:37:52,880
Speaker 3: That explains so much about you, girl, and same.

780
00:37:52,960 --> 00:37:56,360
Speaker 1: Oh my god, listen when you grew up in Georgia,

781
00:37:56,960 --> 00:37:59,200
Speaker 1: I mean I thought that that's where my people were.

782
00:37:59,400 --> 00:38:02,239
Speaker 2: Like down, I was like, that's where it's happening. That's

783
00:38:02,239 --> 00:38:03,000
Speaker 2: where it's happening.

784
00:38:03,560 --> 00:38:03,880
Speaker 3: To me.

785
00:38:04,640 --> 00:38:08,719
Speaker 1: Hell was the rich white suburbs. That's where hell is

786
00:38:08,920 --> 00:38:11,279
Speaker 1: to me. I was like, Downtown, I can't wait to

787
00:38:11,320 --> 00:38:14,759
Speaker 1: be with all the diversity and like the culture and

788
00:38:14,800 --> 00:38:16,240
Speaker 1: the arts and everything.

789
00:38:16,239 --> 00:38:17,400
Speaker 2: I just wanted to be a part of it.

790
00:38:17,560 --> 00:38:20,239
Speaker 4: Well, especially as a kid, because I feel like as

791
00:38:20,280 --> 00:38:24,960
Speaker 4: a kid, I was interested enough to want that kind

792
00:38:24,960 --> 00:38:27,879
Speaker 4: of excitement, but naive enough to not think anything bad

793
00:38:27,920 --> 00:38:31,040
Speaker 4: could happen to me. Yeah, So Downtown was very appealing

794
00:38:31,080 --> 00:38:32,839
Speaker 4: in that way because I'm like, oh, yeah, I might

795
00:38:32,880 --> 00:38:35,040
Speaker 4: go to this club and you know people where people

796
00:38:35,080 --> 00:38:37,680
Speaker 4: get their their head shave, but not me, and even

797
00:38:37,719 --> 00:38:40,080
Speaker 4: if it does happen, Oh well, that's part of the adventure. Like,

798
00:38:40,120 --> 00:38:43,360
Speaker 4: it was just very easy to kind of encapsulate downtown

799
00:38:43,520 --> 00:38:47,200
Speaker 4: and downtown happenings as like everything is part of the ride, right,

800
00:38:47,400 --> 00:38:49,560
Speaker 4: So it just made me like very excited to be

801
00:38:49,600 --> 00:38:51,760
Speaker 4: in a place where anything could happen, because the suburbs

802
00:38:51,760 --> 00:38:53,880
Speaker 4: are the exact fucking opposite.

803
00:38:54,239 --> 00:38:58,920
Speaker 1: Yeah, I think Atlanta, Downtown Atlanta in the nineties, especially

804
00:38:58,960 --> 00:39:02,040
Speaker 1: in the early nineties when I was going through high

805
00:39:02,080 --> 00:39:04,200
Speaker 1: school and sort of getting a car for the first

806
00:39:04,200 --> 00:39:07,640
Speaker 1: time early to mid nineties, was definitely not what it

807
00:39:07,719 --> 00:39:10,160
Speaker 1: is today. And I think that's the same for New

808
00:39:10,280 --> 00:39:15,319
Speaker 1: York City too. Downtown Atlanta was definitely terrifying. But like

809
00:39:15,400 --> 00:39:17,640
Speaker 1: you said, I just felt game for it all and

810
00:39:17,680 --> 00:39:20,000
Speaker 1: I you know, and I think that was a naive

811
00:39:20,280 --> 00:39:22,560
Speaker 1: instinct maybe in a lot of ways where I thought,

812
00:39:22,920 --> 00:39:25,080
Speaker 1: I don't know, I just thought, even if I get

813
00:39:25,080 --> 00:39:27,600
Speaker 1: my car broken into, it's part of the experience. And

814
00:39:27,640 --> 00:39:29,920
Speaker 1: I'm just sort of like, wow, that's a weird that's

815
00:39:29,920 --> 00:39:31,800
Speaker 1: a young person's way of thinking about things.

816
00:39:31,960 --> 00:39:36,600
Speaker 4: Admit, I love it. I love this movie so so much.

817
00:39:36,680 --> 00:39:39,439
Speaker 4: It is such a ride, Like, ye, the whole time

818
00:39:39,440 --> 00:39:41,680
Speaker 4: you're watching it, you just feel like you're on a

819
00:39:41,840 --> 00:39:44,960
Speaker 4: roller coaster of an adventure. Like I feel it in

820
00:39:45,040 --> 00:39:47,839
Speaker 4: my chest when I watched this movie. Yeah, like all

821
00:39:47,840 --> 00:39:50,799
Speaker 4: the harrowing parts and all the funny parts. And if

822
00:39:50,840 --> 00:39:53,879
Speaker 4: you are a long time Internet user, you've definitely seen

823
00:39:53,880 --> 00:39:56,239
Speaker 4: the meme of Griffin Dunn looking in the mirror and

824
00:39:56,280 --> 00:39:58,520
Speaker 4: then looking to his left and seeing the guy with

825
00:39:58,600 --> 00:39:59,839
Speaker 4: a shark eating his dick.

826
00:40:00,160 --> 00:40:01,399
Speaker 3: Yes, I'll say this.

827
00:40:01,480 --> 00:40:02,880
Speaker 1: I'm not going to give away the ending of this

828
00:40:03,000 --> 00:40:05,839
Speaker 1: film because I just won't because this movie is too

829
00:40:05,880 --> 00:40:07,880
Speaker 1: good for me to do that. But the ending of

830
00:40:07,920 --> 00:40:10,480
Speaker 1: this movie is perfect. Yes, it's just perfect. It's the

831
00:40:10,480 --> 00:40:14,440
Speaker 1: perfect summation of life. And the second perfect summation of

832
00:40:14,440 --> 00:40:16,759
Speaker 1: life is the drawing of the shark buying the guy's

833
00:40:16,800 --> 00:40:20,440
Speaker 1: boner that policy is on the wall in the bathroom.

834
00:40:20,480 --> 00:40:22,520
Speaker 1: I mean it is like those two things, like the

835
00:40:22,600 --> 00:40:24,360
Speaker 1: ending of this film. And then sort of like that

836
00:40:24,520 --> 00:40:27,200
Speaker 1: scene of just the way that he looks and sees

837
00:40:27,280 --> 00:40:28,040
Speaker 1: that shark.

838
00:40:28,440 --> 00:40:31,319
Speaker 2: It's like a sharpie drawing or whatever. I'm just like,

839
00:40:31,480 --> 00:40:34,160
Speaker 2: beautiful exactly. It's the meaning of life right there.

840
00:40:35,360 --> 00:40:37,480
Speaker 4: I'm so glad you picked this movie. Thank you so much.

841
00:40:37,520 --> 00:40:38,400
Speaker 4: For picking it.

842
00:40:38,320 --> 00:40:39,680
Speaker 2: Well, thank you, listen.

843
00:40:39,760 --> 00:40:43,800
Speaker 1: I also enjoy seeing normal people's teeth and normal people's

844
00:40:43,840 --> 00:40:45,560
Speaker 1: eyebrows in this film.

845
00:40:45,840 --> 00:40:47,920
Speaker 3: I would be remiss if I didn't say that. So oh,

846
00:40:48,080 --> 00:40:51,000
Speaker 3: I mean not you brow was not a problem back then.

847
00:40:51,239 --> 00:40:54,239
Speaker 4: Yes, no one was fucking, nobody was waxing, nobody gave

848
00:40:54,440 --> 00:40:55,000
Speaker 4: a shit.

849
00:40:55,719 --> 00:40:56,000
Speaker 2: Yeah.

850
00:40:56,040 --> 00:40:59,520
Speaker 1: And Griffinson and Roseanna Arquette's teeth in the diner, I'm

851
00:40:59,560 --> 00:41:01,640
Speaker 1: just like this, this is what normal people's teeth look like.

852
00:41:01,719 --> 00:41:02,560
Speaker 3: What happened to that?

853
00:41:02,680 --> 00:41:05,680
Speaker 1: I guess Hollywood was like, no more cigarette stained teeth.

854
00:41:07,120 --> 00:41:08,680
Speaker 2: Everybody has to get veneers.

855
00:41:09,120 --> 00:41:13,840
Speaker 4: Sorry, Hollywood said, no, sharps, we can't have any sharp teeth,

856
00:41:13,920 --> 00:41:15,040
Speaker 4: yes at all.

857
00:41:15,840 --> 00:41:20,040
Speaker 3: They all have to be smooth and square. Yes.

858
00:41:20,200 --> 00:41:22,399
Speaker 1: So this is a great film, one of my all

859
00:41:22,400 --> 00:41:24,280
Speaker 1: time favorite All in one night movies.

860
00:41:24,400 --> 00:41:25,400
Speaker 2: And that's it.

861
00:41:25,680 --> 00:41:27,600
Speaker 3: Great pick, Thank you, great pick.

862
00:41:27,800 --> 00:41:30,840
Speaker 4: And I think it pairs nicely with mine in a

863
00:41:31,000 --> 00:41:34,880
Speaker 4: very opposite dark way, like minus seems like the dark

864
00:41:35,200 --> 00:41:37,120
Speaker 4: side of the coin to after Hours.

865
00:41:37,239 --> 00:41:39,720
Speaker 3: Mmmm, he goes not movie.

866
00:41:40,360 --> 00:41:42,560
Speaker 4: So my film that I picked for the theme of

867
00:41:42,680 --> 00:41:45,799
Speaker 4: All in One Night was released in nineteen ninety nine,

868
00:41:46,480 --> 00:41:50,440
Speaker 4: written and directed by Paul Thomas, Anderson, and my movie

869
00:41:50,520 --> 00:41:59,160
Speaker 4: is Magnolia. Sometimes people need a little help, sometimes people

870
00:41:59,200 --> 00:41:59,960
Speaker 4: need to be forgiven.

871
00:42:02,160 --> 00:42:04,120
Speaker 3: Oh boy, Magnolia.

872
00:42:04,239 --> 00:42:06,880
Speaker 4: Now look, as you know, if you are a longtime

873
00:42:06,880 --> 00:42:09,120
Speaker 4: listener of the cast, this is not going to be

874
00:42:09,160 --> 00:42:13,040
Speaker 4: a deep dive into Paul Thomas Anderson's career and works.

875
00:42:13,160 --> 00:42:16,239
Speaker 4: What I will say is that he is considered by

876
00:42:16,280 --> 00:42:20,880
Speaker 4: many to be an auteur and a genius, and he

877
00:42:20,960 --> 00:42:25,160
Speaker 4: has many accolades. He is well loved by the film community.

878
00:42:25,280 --> 00:42:28,640
Speaker 4: You can look up several of his films, like you know,

879
00:42:28,680 --> 00:42:32,080
Speaker 4: there will be Blood and Punch, Drunk Love, and I

880
00:42:32,120 --> 00:42:34,120
Speaker 4: mean Boogie Nights. I mean, the list goes on and

881
00:42:34,200 --> 00:42:37,640
Speaker 4: on and on. He has made several good films. You

882
00:42:37,680 --> 00:42:40,040
Speaker 4: probably have a favorite that I have not mentioned here

883
00:42:40,200 --> 00:42:43,560
Speaker 4: or will not mention here, and that's okay. But he

884
00:42:43,560 --> 00:42:45,640
Speaker 4: he's one of my favorite filmmakers as well. Like I

885
00:42:45,760 --> 00:42:49,040
Speaker 4: just really I appreciate that every time one of his

886
00:42:49,160 --> 00:42:52,120
Speaker 4: movies comes out is going to be beautiful and or

887
00:42:52,160 --> 00:42:54,719
Speaker 4: brilliant in a way that I was not expecting. Like,

888
00:42:54,760 --> 00:42:57,319
Speaker 4: none of his movies are exactly the same. You know,

889
00:42:57,360 --> 00:43:00,520
Speaker 4: The Master does not look anything like Magnolia and doesn't

890
00:43:00,520 --> 00:43:02,600
Speaker 4: feel the same way, and it's you know, he has

891
00:43:02,600 --> 00:43:05,640
Speaker 4: a real sensibility about him, for sure, but it's not

892
00:43:06,000 --> 00:43:09,000
Speaker 4: the same thing regurgitated over and over again. He surprises

893
00:43:09,040 --> 00:43:13,840
Speaker 4: me every time, And for some reason, I got really

894
00:43:13,880 --> 00:43:17,600
Speaker 4: into Magnolia during Lockdown. It might be my favorite of

895
00:43:17,600 --> 00:43:20,400
Speaker 4: his films. I think that Phantom Thread is high up

896
00:43:20,440 --> 00:43:23,920
Speaker 4: there as well. But there's something about this movie, and

897
00:43:23,960 --> 00:43:27,799
Speaker 4: it's kind of a dirty, gritty movie for him, that

898
00:43:27,920 --> 00:43:30,359
Speaker 4: I just really appreciate more and more as time goes on.

899
00:43:30,560 --> 00:43:33,440
Speaker 4: It was released in nineteen ninety nine, feel like, you know,

900
00:43:33,600 --> 00:43:37,839
Speaker 4: twenty plus years later, it really changes for me every

901
00:43:37,840 --> 00:43:40,080
Speaker 4: time I see it. And because this is an ensemble

902
00:43:40,120 --> 00:43:43,120
Speaker 4: cast and it's a film that has a bevy of

903
00:43:43,239 --> 00:43:47,880
Speaker 4: actors in it that are working so beautifully together but

904
00:43:47,960 --> 00:43:52,319
Speaker 4: also enacting these deeply separate storylines, I just kind of

905
00:43:52,320 --> 00:43:55,640
Speaker 4: find something else to attach myself too, like every time,

906
00:43:55,840 --> 00:43:56,600
Speaker 4: and I love it.

907
00:43:57,239 --> 00:43:57,359
Speaker 3: So.

908
00:43:57,560 --> 00:44:00,680
Speaker 4: It was nominated for two Golden Globes, and Cruise won

909
00:44:00,719 --> 00:44:04,560
Speaker 4: the Golden Globe for Best Supporting Actor in a Motion Picture.

910
00:44:04,920 --> 00:44:07,399
Speaker 4: We will get to him later, but we're gonna start

911
00:44:07,400 --> 00:44:10,840
Speaker 4: with my one sentence synopsis, which I don't know if

912
00:44:10,880 --> 00:44:11,520
Speaker 4: it's good or bad.

913
00:44:11,560 --> 00:44:11,959
Speaker 3: This week.

914
00:44:12,160 --> 00:44:16,280
Speaker 4: I don't know, but my one sentence synopsis of Magnolia

915
00:44:17,000 --> 00:44:21,319
Speaker 4: is the San Fernando Valley will never stop trying to

916
00:44:21,360 --> 00:44:22,399
Speaker 4: fuck you the fuck up.

917
00:44:27,600 --> 00:44:28,360
Speaker 2: Wow.

918
00:44:28,880 --> 00:44:31,440
Speaker 4: Wow, it's so big. I don't know what else, how

919
00:44:31,440 --> 00:44:34,440
Speaker 4: else encapsulated. I could go on about, like the lives

920
00:44:34,440 --> 00:44:37,480
Speaker 4: of the intersecting blah blah blah, the San Fernando Valley

921
00:44:37,520 --> 00:44:39,400
Speaker 4: will never stop trying to find ways to fuck you

922
00:44:39,440 --> 00:44:40,000
Speaker 4: the fuck up.

923
00:44:41,200 --> 00:44:44,439
Speaker 1: You know. It's interesting too, because obviously when I saw

924
00:44:44,520 --> 00:44:47,480
Speaker 1: this film, and I saw a lot of his early films,

925
00:44:47,800 --> 00:44:52,600
Speaker 1: I hadn't lived in La yet, so I didn't really understand.

926
00:44:52,960 --> 00:44:57,280
Speaker 2: The sort of tie that he has with the valley.

927
00:44:58,080 --> 00:45:01,520
Speaker 1: And now that I have habits exparents of living in La,

928
00:45:01,760 --> 00:45:04,759
Speaker 1: I'm like, it makes more sense now. I don't think

929
00:45:04,840 --> 00:45:08,000
Speaker 1: that that translates as well unless you kind of have

930
00:45:08,080 --> 00:45:10,600
Speaker 1: spent a lot of time there or lived there. But then, yeah,

931
00:45:10,640 --> 00:45:13,680
Speaker 1: once I figured that out, because I haven't seen this movie,

932
00:45:13,719 --> 00:45:16,840
Speaker 1: like I said, since it came out, and uh yeah,

933
00:45:16,880 --> 00:45:19,480
Speaker 1: and now that I have that experience of living in La,

934
00:45:19,600 --> 00:45:22,440
Speaker 1: I'm like, wow, that's like almost like a different movie

935
00:45:22,480 --> 00:45:25,759
Speaker 1: because of the location. Just from being aware of what

936
00:45:26,000 --> 00:45:27,760
Speaker 1: he's talking about now right.

937
00:45:27,680 --> 00:45:28,760
Speaker 3: Now, I completely agree.

938
00:45:28,800 --> 00:45:30,920
Speaker 4: Like, now that I have lived there, I have a

939
00:45:30,960 --> 00:45:33,880
Speaker 4: sense of the sprawl, yeah, and the scope of the

940
00:45:33,920 --> 00:45:35,400
Speaker 4: movie in a way that I hadn't before.

941
00:45:35,560 --> 00:45:36,360
Speaker 3: Yeah, for sure.

942
00:45:36,480 --> 00:45:38,320
Speaker 4: And I think that, you know, the valley is always

943
00:45:38,360 --> 00:45:42,000
Speaker 4: an interesting way to talk about southern California, the lives

944
00:45:42,040 --> 00:45:44,399
Speaker 4: of you know, kind of more more day to day

945
00:45:44,440 --> 00:45:46,920
Speaker 4: people and not just focusing on the glitz and the

946
00:45:46,920 --> 00:45:48,480
Speaker 4: glam and the hills.

947
00:45:48,080 --> 00:45:48,960
Speaker 3: And all that kind of shit.

948
00:45:49,000 --> 00:45:51,040
Speaker 4: And I just appreciate that he doesn't mind getting in

949
00:45:51,040 --> 00:45:52,360
Speaker 4: there and talking about that.

950
00:45:52,560 --> 00:45:53,600
Speaker 3: Yeah. And it's weird.

951
00:45:53,600 --> 00:45:55,600
Speaker 4: It's kind of like, whenever I pick a movie like this,

952
00:45:55,840 --> 00:45:59,480
Speaker 4: I feel weirdly underqualified to talk about it because I'm

953
00:45:59,520 --> 00:46:02,400
Speaker 4: like going to give his whole background and do the

954
00:46:02,440 --> 00:46:03,200
Speaker 4: deep dive thing.

955
00:46:03,320 --> 00:46:03,759
Speaker 3: But I do.

956
00:46:03,920 --> 00:46:07,120
Speaker 4: It's not because I don't appreciate him as a creator.

957
00:46:07,480 --> 00:46:09,720
Speaker 4: It's just that I that's not what this is about

958
00:46:09,760 --> 00:46:11,719
Speaker 4: for us, Like, I want to just talk about this

959
00:46:11,800 --> 00:46:13,840
Speaker 4: movie and kind of have people get into it in

960
00:46:13,880 --> 00:46:14,320
Speaker 4: this way.

961
00:46:14,600 --> 00:46:14,920
Speaker 2: Yeah.

962
00:46:14,960 --> 00:46:17,200
Speaker 4: The way that I want to start talking about this movie,

963
00:46:17,239 --> 00:46:19,440
Speaker 4: because it is so big, it is so sprawling, is

964
00:46:19,480 --> 00:46:22,600
Speaker 4: to talk about the characters and what each character is

965
00:46:22,640 --> 00:46:24,960
Speaker 4: going through in the film and then maybe talk about

966
00:46:24,960 --> 00:46:26,240
Speaker 4: some of my favorite moments.

967
00:46:26,560 --> 00:46:29,600
Speaker 3: So this is for me more than anything.

968
00:46:29,680 --> 00:46:32,200
Speaker 4: If I were going to do a one sentence synopsis

969
00:46:32,200 --> 00:46:33,880
Speaker 4: that was a little bit longer, if I was going

970
00:46:33,960 --> 00:46:35,760
Speaker 4: to try to sum it up in a different way,

971
00:46:36,280 --> 00:46:39,400
Speaker 4: I would say that this movie, for me is primarily

972
00:46:39,640 --> 00:46:44,720
Speaker 4: about pain and regret and the coincidence of life and

973
00:46:45,080 --> 00:46:47,919
Speaker 4: how we move through pain and regret as we bump

974
00:46:48,000 --> 00:46:50,520
Speaker 4: up against each other and all of our coincidences, you know,

975
00:46:50,600 --> 00:46:53,280
Speaker 4: kind of being part of that ride. So we're gonna

976
00:46:53,280 --> 00:46:57,440
Speaker 4: start with talking about Linda, who's a character played by

977
00:46:57,520 --> 00:46:59,600
Speaker 4: Julianne Moore who.

978
00:46:59,880 --> 00:47:02,440
Speaker 3: Is so good in this movie.

979
00:47:02,840 --> 00:47:07,080
Speaker 4: Linda plays the wife of a dying man, and she

980
00:47:07,280 --> 00:47:13,920
Speaker 4: is constantly judged and questioned for her need to procure pills,

981
00:47:13,960 --> 00:47:18,880
Speaker 4: and she is stuck in this chasm of grief because

982
00:47:18,920 --> 00:47:22,359
Speaker 4: she just can't handle watching this man die. And her

983
00:47:22,480 --> 00:47:25,480
Speaker 4: regret is that she doesn't think she treated him well.

984
00:47:25,520 --> 00:47:27,040
Speaker 4: She doesn't think she was a good wife to him,

985
00:47:27,480 --> 00:47:30,640
Speaker 4: and she started to love him after he got sick

986
00:47:30,840 --> 00:47:34,799
Speaker 4: and is feeling the heaviness of how much time was

987
00:47:34,880 --> 00:47:39,000
Speaker 4: lost I think in their relationship and her husband, the

988
00:47:39,000 --> 00:47:42,120
Speaker 4: man who's dying is named Earl. Earl Partridge played by

989
00:47:42,239 --> 00:47:46,080
Speaker 4: Jason Robards. What's wild in watching this film and maybe

990
00:47:46,200 --> 00:47:48,640
Speaker 4: makes it more poignant for me, is that Jason Robards

991
00:47:48,760 --> 00:47:51,480
Speaker 4: was dying when this film was being made, and he

992
00:47:51,560 --> 00:47:54,120
Speaker 4: is an incredible actor who has had an astonishing career,

993
00:47:54,680 --> 00:48:00,160
Speaker 4: and he took this role to another level with the

994
00:48:00,239 --> 00:48:02,879
Speaker 4: sounds and the realness of it. It's really it's hard

995
00:48:02,880 --> 00:48:06,680
Speaker 4: for me to watch because he's dying of cancer and again,

996
00:48:06,800 --> 00:48:10,200
Speaker 4: filled with pain, filled with regret, he drops this bombshell

997
00:48:10,280 --> 00:48:13,080
Speaker 4: to his nurse that he has a son that he

998
00:48:13,120 --> 00:48:15,880
Speaker 4: hasn't seen in years and he wants to see before

999
00:48:15,920 --> 00:48:18,680
Speaker 4: he dies, his son Jack. But what's so hard for

1000
00:48:18,719 --> 00:48:21,560
Speaker 4: me to watch with Earl is that since the last

1001
00:48:21,560 --> 00:48:24,120
Speaker 4: time I watched this film before I started watching it

1002
00:48:24,160 --> 00:48:27,799
Speaker 4: repeatedly during lockdown, is I watched my aunt die of

1003
00:48:27,840 --> 00:48:31,040
Speaker 4: cancer in that time. So the sounds that he was making,

1004
00:48:31,120 --> 00:48:35,160
Speaker 4: the groans, it was very, very real, the kind of

1005
00:48:35,200 --> 00:48:37,319
Speaker 4: way that you're kind of out of it a little bit,

1006
00:48:37,360 --> 00:48:39,000
Speaker 4: like you kind of know what's happening, but you're not

1007
00:48:39,080 --> 00:48:42,840
Speaker 4: quite present. It is a very visceral thing to see

1008
00:48:42,840 --> 00:48:47,120
Speaker 4: replicated on screen. And again that Jason Robards was dying

1009
00:48:47,280 --> 00:48:49,399
Speaker 4: at the time of filming. This made it even more

1010
00:48:49,520 --> 00:48:51,600
Speaker 4: spectacular to me that he was able to do that.

1011
00:48:51,960 --> 00:48:54,640
Speaker 4: So Earl is dying. Linda's his wife. She spends most

1012
00:48:54,640 --> 00:48:56,840
Speaker 4: of the movie running around. He calls her a wacko,

1013
00:48:57,239 --> 00:49:00,640
Speaker 4: but he loves her. And his nurse is Phil, played

1014
00:49:00,800 --> 00:49:05,960
Speaker 4: by late the great Philip Seymour Hoffman, and this to

1015
00:49:06,080 --> 00:49:09,880
Speaker 4: me is one of the more, possibly the most beautiful

1016
00:49:09,960 --> 00:49:13,520
Speaker 4: role I think he's ever played. And Phil is this

1017
00:49:13,640 --> 00:49:17,040
Speaker 4: nurse who ends up helping Earl look for his son Jack.

1018
00:49:17,440 --> 00:49:22,920
Speaker 4: But he is so full of tenderness, and he's so funny,

1019
00:49:23,239 --> 00:49:27,799
Speaker 4: and he's so he's just so teary eyed and gorgeous

1020
00:49:27,800 --> 00:49:29,400
Speaker 4: in this movie. There's no other way for me to

1021
00:49:29,440 --> 00:49:32,799
Speaker 4: describe it. It's a truly gorgeous moment from him. In

1022
00:49:32,840 --> 00:49:37,239
Speaker 4: his again astounding acting career. He is a frequent collaborator

1023
00:49:37,280 --> 00:49:42,120
Speaker 4: with Paul Thomas Anderson, who always got really fascinating stuff

1024
00:49:42,160 --> 00:49:44,120
Speaker 4: from him. But this, to me is one of his

1025
00:49:44,160 --> 00:49:46,720
Speaker 4: most beautiful roles, and he has some of the funniest lines.

1026
00:49:46,560 --> 00:49:47,000
Speaker 3: In the movie.

1027
00:49:47,120 --> 00:49:48,759
Speaker 4: And he really does have some of the funniest scenes

1028
00:49:48,760 --> 00:49:50,880
Speaker 4: in the movies, which are all played with like just

1029
00:49:50,920 --> 00:49:52,280
Speaker 4: such a boyishness.

1030
00:49:52,520 --> 00:49:54,239
Speaker 3: I don't know, I just really I dig him.

1031
00:49:54,440 --> 00:49:58,080
Speaker 4: Earl's son who Phil is helping him look for is

1032
00:49:58,239 --> 00:50:02,279
Speaker 4: Frank Frank TJ. Mackie, whose real name is Jack, and

1033
00:50:02,320 --> 00:50:05,040
Speaker 4: he is everywhere. He is everywhere. This film kind of

1034
00:50:05,080 --> 00:50:08,800
Speaker 4: for me, has two beginnings. There's the beginning that Ricky

1035
00:50:08,920 --> 00:50:12,719
Speaker 4: Jay talks about coincidence and he gives the three vignettes

1036
00:50:12,840 --> 00:50:17,040
Speaker 4: of coincidence through time. But then there's also the beginning,

1037
00:50:17,160 --> 00:50:20,560
Speaker 4: like after the film properly starts, where you get to

1038
00:50:20,719 --> 00:50:23,600
Speaker 4: run through the city looking at all the characters as

1039
00:50:23,600 --> 00:50:26,840
Speaker 4: they're being introduced, and Frank TJ. Mackie is in the

1040
00:50:26,840 --> 00:50:29,919
Speaker 4: background of almost all of them because he is this

1041
00:50:30,760 --> 00:50:38,600
Speaker 4: inspirational speaking dating guru, misogynist shithead who has like this

1042
00:50:39,040 --> 00:50:43,120
Speaker 4: seduce and destroy concept that he is marketing in the

1043
00:50:43,239 --> 00:50:47,800
Speaker 4: form of seminars on how to get women to obey

1044
00:50:47,920 --> 00:50:49,800
Speaker 4: you and respect the.

1045
00:50:49,960 --> 00:50:52,160
Speaker 3: Cock and tame the cunt and all that shit.

1046
00:50:52,320 --> 00:50:56,000
Speaker 4: Yea, but he this again, like to me and to

1047
00:50:56,160 --> 00:51:01,000
Speaker 4: many people, is one of Tom Cruise's best roles. One

1048
00:51:01,040 --> 00:51:06,600
Speaker 4: of my favorite professional haters, Janet Maslin, truly had almost.

1049
00:51:06,280 --> 00:51:08,200
Speaker 3: Nothing going to say about this movie.

1050
00:51:08,200 --> 00:51:10,600
Speaker 4: In the beginning of her review, she's like they stop

1051
00:51:10,640 --> 00:51:13,080
Speaker 4: and burst into song at one point, like this is horrible.

1052
00:51:13,480 --> 00:51:16,880
Speaker 4: But she absolutely loved Tom Cruise in this film as

1053
00:51:16,920 --> 00:51:19,440
Speaker 4: well the way that she described it, and I will

1054
00:51:19,480 --> 00:51:21,480
Speaker 4: quote her here. This is Janet Maslin for The New

1055
00:51:21,560 --> 00:51:25,960
Speaker 4: York Times in her film review that's entitled Entangled Lives

1056
00:51:25,960 --> 00:51:29,680
Speaker 4: on the Cusp of the Millennium, and she said that

1057
00:51:29,880 --> 00:51:32,520
Speaker 4: quote its single biggest surprise is Tom Cruise in the

1058
00:51:32,600 --> 00:51:37,400
Speaker 4: role of strutting, obscenity spouting cult figure named Frank Mackie.

1059
00:51:37,800 --> 00:51:41,000
Speaker 4: Frank's brand of celebrity as a macho self help guru

1060
00:51:41,160 --> 00:51:44,640
Speaker 4: is seen as symptomatic of the film's time and place,

1061
00:51:45,160 --> 00:51:48,520
Speaker 4: but she goes on to say that mister Anderson creates

1062
00:51:48,560 --> 00:51:51,160
Speaker 4: a Susan trial by fire for Frank and shows how

1063
00:51:51,200 --> 00:51:54,800
Speaker 4: each of the film's initially secure seeming characters is actually

1064
00:51:55,160 --> 00:51:59,680
Speaker 4: so vulnerable and needy, and that is potentially one of

1065
00:51:59,680 --> 00:52:02,120
Speaker 4: my favorit or things about this Frank McKee character is

1066
00:52:02,160 --> 00:52:05,280
Speaker 4: we get to watch him come in at his height.

1067
00:52:05,400 --> 00:52:07,759
Speaker 4: He is at full power, he's at full strength. He

1068
00:52:07,880 --> 00:52:11,080
Speaker 4: is dominating the stage during one of his presentations, and

1069
00:52:11,120 --> 00:52:14,480
Speaker 4: then he has an interview with an actress named April

1070
00:52:14,520 --> 00:52:19,480
Speaker 4: Grace who slowly and methodically rips him to fucking shreds

1071
00:52:19,480 --> 00:52:21,799
Speaker 4: simply by asking him to tell the truth. It is

1072
00:52:21,960 --> 00:52:25,479
Speaker 4: one of the best sequences in film I've seen in

1073
00:52:25,480 --> 00:52:26,319
Speaker 4: my lifetime.

1074
00:52:26,560 --> 00:52:27,480
Speaker 3: Yeah, truly.

1075
00:52:27,880 --> 00:52:30,920
Speaker 1: So this Frank TJ mckiy character, like I think I

1076
00:52:30,960 --> 00:52:33,480
Speaker 1: remember at the time when I first saw the film,

1077
00:52:34,040 --> 00:52:38,320
Speaker 1: just thinking that he was ridiculous, like obviously completely overblown

1078
00:52:38,920 --> 00:52:42,440
Speaker 1: and a buffoon, and you know, he just kind of

1079
00:52:42,480 --> 00:52:45,279
Speaker 1: reminds you of like the guys that that book The

1080
00:52:45,440 --> 00:52:48,840
Speaker 1: Game was written about, that Neil Strauss book, which I

1081
00:52:48,840 --> 00:52:50,719
Speaker 1: don't know if anybody's read it, but I read it

1082
00:52:50,760 --> 00:52:53,480
Speaker 1: and it was like the same feeling of like, these

1083
00:52:53,480 --> 00:52:57,120
Speaker 1: guys are ridiculous and this is actually horrifying. But now,

1084
00:52:57,200 --> 00:53:00,720
Speaker 1: like having watched it again obviously when we were recording

1085
00:53:00,760 --> 00:53:03,960
Speaker 1: this podcast in twenty twenty one, I was like, wow,

1086
00:53:04,000 --> 00:53:08,600
Speaker 1: this is insane. Like the level of misogyny that Frank TJ.

1087
00:53:08,800 --> 00:53:12,520
Speaker 1: Mackie has, like this character has is kind of like

1088
00:53:12,719 --> 00:53:15,480
Speaker 1: it's almost like too much to take sometimes.

1089
00:53:15,960 --> 00:53:18,760
Speaker 2: And that part that you're just talking.

1090
00:53:18,560 --> 00:53:21,480
Speaker 1: About, the interview part, and I mean, trust me, I

1091
00:53:21,520 --> 00:53:26,839
Speaker 1: am fucking thrilled that she shuts him down because at

1092
00:53:26,840 --> 00:53:29,520
Speaker 1: one point he is literally in his underwear in front

1093
00:53:29,520 --> 00:53:30,480
Speaker 1: of her, yes.

1094
00:53:30,840 --> 00:53:33,880
Speaker 4: And You're just like, what the fuck And he's panting

1095
00:53:33,960 --> 00:53:38,000
Speaker 4: like a tiger and like pacing, and yeah, it was psychotic.

1096
00:53:38,120 --> 00:53:40,799
Speaker 1: Like I don't remember thinking that back then, but I

1097
00:53:40,840 --> 00:53:43,160
Speaker 1: think now now that I'm older, I was like, this

1098
00:53:43,239 --> 00:53:45,279
Speaker 1: guy is absolutely fucking psychotic.

1099
00:53:45,520 --> 00:53:48,440
Speaker 4: Yeah, I could see how you would think that because

1100
00:53:48,520 --> 00:53:53,360
Speaker 4: he want, Yeah, he is. He's completely What I like

1101
00:53:53,440 --> 00:53:56,719
Speaker 4: about it because he is in the psychosis of his

1102
00:53:56,760 --> 00:53:59,680
Speaker 4: own creation. But what I like about this character and

1103
00:53:59,680 --> 00:54:02,799
Speaker 4: what I think makes this one of Tom Cruise's best

1104
00:54:02,800 --> 00:54:06,359
Speaker 4: performances for me, is that we get to see him

1105
00:54:06,480 --> 00:54:10,560
Speaker 4: cracked wide open and understand why he is the way

1106
00:54:10,600 --> 00:54:13,520
Speaker 4: he is. So when you get his full story, it

1107
00:54:13,600 --> 00:54:17,359
Speaker 4: becomes clearer how much of an act this is. But

1108
00:54:17,400 --> 00:54:20,600
Speaker 4: that also just exacerbates how insane it is that he

1109
00:54:20,719 --> 00:54:24,040
Speaker 4: acts like this, and it is unforgivable, like it is

1110
00:54:24,080 --> 00:54:27,160
Speaker 4: almost unforgivable. But then by the end of the movie

1111
00:54:27,840 --> 00:54:30,880
Speaker 4: you kind of realize that he doesn't forgive himself, so

1112
00:54:30,920 --> 00:54:34,600
Speaker 4: how could he act in any other way. It's really

1113
00:54:34,640 --> 00:54:38,960
Speaker 4: complicated and interesting, and again not to say that, you know,

1114
00:54:39,320 --> 00:54:42,480
Speaker 4: Frank TJ. Mackie is a character who left that film

1115
00:54:42,640 --> 00:54:44,640
Speaker 4: at the end of the film, you know, became a

1116
00:54:44,680 --> 00:54:48,480
Speaker 4: different or better person. I just think that he something

1117
00:54:48,520 --> 00:54:51,200
Speaker 4: cracked open in him. That What I like about what

1118
00:54:51,320 --> 00:54:53,720
Speaker 4: Paul Thomas Anderson did with it is it left us wondering,

1119
00:54:53,719 --> 00:54:55,840
Speaker 4: like is he going to take advantage of that or not? Like,

1120
00:54:55,920 --> 00:54:58,680
Speaker 4: now that that has been revealed and his core has

1121
00:54:58,719 --> 00:54:59,880
Speaker 4: been revealed.

1122
00:54:59,760 --> 00:55:00,680
Speaker 3: What will he do with it?

1123
00:55:00,880 --> 00:55:02,960
Speaker 4: Yeah, And I thought that was a really like a

1124
00:55:03,080 --> 00:55:05,560
Speaker 4: much better place to leave that character than to see

1125
00:55:05,600 --> 00:55:09,719
Speaker 4: a full turn or a false regression and slide back

1126
00:55:09,719 --> 00:55:13,279
Speaker 4: into misogyny. Like I like wondering and not knowing what

1127
00:55:13,320 --> 00:55:15,600
Speaker 4: this character would have done. It kind of takes a

1128
00:55:15,640 --> 00:55:18,520
Speaker 4: shift from there, like there's some overlap with those four characters,

1129
00:55:19,160 --> 00:55:22,080
Speaker 4: and then we get a little more overlap with the

1130
00:55:22,120 --> 00:55:26,600
Speaker 4: next few characters. We have Claudia, who plays this very

1131
00:55:26,719 --> 00:55:33,200
Speaker 4: high key woman who snorts coke a lot. She's very promiscuous,

1132
00:55:33,800 --> 00:55:37,719
Speaker 4: and she hates her father. Her father is and Claudia,

1133
00:55:37,760 --> 00:55:42,560
Speaker 4: by the way, is played by Melaura Walters. She just

1134
00:55:42,600 --> 00:55:46,040
Speaker 4: hates Jimmy Gator and Jimmy Gator is played by Philip

1135
00:55:46,040 --> 00:55:50,319
Speaker 4: Baker Hall and he again another frequent collaborator of Paul

1136
00:55:50,360 --> 00:55:54,360
Speaker 4: Thomas Anderson's, and he plays this game show host. He

1137
00:55:54,400 --> 00:55:57,759
Speaker 4: hosts the game show for kids called What the Kids Know,

1138
00:55:58,600 --> 00:56:00,680
Speaker 4: and he finds out the be ginning of the film

1139
00:56:00,680 --> 00:56:03,480
Speaker 4: that he's dying of cancer. He tries to go to

1140
00:56:03,520 --> 00:56:07,279
Speaker 4: Claudia's apartment to tell her, and she freaks out in

1141
00:56:07,320 --> 00:56:10,280
Speaker 4: a way that at the time seems.

1142
00:56:10,280 --> 00:56:14,560
Speaker 3: Overwrought, like over the top, freaks.

1143
00:56:14,200 --> 00:56:16,600
Speaker 4: Out about him being in her apartment and tells him

1144
00:56:16,640 --> 00:56:20,440
Speaker 4: to get out, and is saying very strange things like

1145
00:56:20,480 --> 00:56:22,239
Speaker 4: you think I'm a whore and stuff like that. She's

1146
00:56:22,280 --> 00:56:26,799
Speaker 4: just a very again, high strong, high key character. And

1147
00:56:27,120 --> 00:56:29,239
Speaker 4: he hosts this game show. He's very well known, he's

1148
00:56:29,320 --> 00:56:31,799
Speaker 4: very famous. They do not have a good relationship at all.

1149
00:56:32,480 --> 00:56:35,360
Speaker 4: And then you have Donnie, who's played by William H.

1150
00:56:35,480 --> 00:56:39,200
Speaker 4: Macy and quiz kid Donnie Smith was a big winner

1151
00:56:39,440 --> 00:56:41,920
Speaker 4: in the sixties on this game show that's been running forever.

1152
00:56:42,000 --> 00:56:43,759
Speaker 4: One of the running themes of this movie is that

1153
00:56:43,800 --> 00:56:47,719
Speaker 4: the game show is now approaching its twelve thousandth episode,

1154
00:56:47,800 --> 00:56:51,560
Speaker 4: so it's a big celebration, and Donnie is like this

1155
00:56:51,760 --> 00:56:56,360
Speaker 4: very love sick forlorn sort of failure, which is strange

1156
00:56:56,360 --> 00:56:58,320
Speaker 4: because the premise of the game show is that the

1157
00:56:58,400 --> 00:57:02,240
Speaker 4: kids are all really smart, like smarter than most adults.

1158
00:57:02,480 --> 00:57:04,919
Speaker 3: And he works at this appliance.

1159
00:57:04,360 --> 00:57:06,759
Speaker 4: Store that he gets fired from at the beginning of

1160
00:57:06,800 --> 00:57:10,000
Speaker 4: the movie, and I just kept wondering because this is

1161
00:57:10,040 --> 00:57:13,200
Speaker 4: a character who's drowning in debt and doesn't have a

1162
00:57:13,200 --> 00:57:15,399
Speaker 4: lot of ambition and doesn't have a lot of opportunity,

1163
00:57:15,680 --> 00:57:17,960
Speaker 4: and you just wonder, like, how does someone so book

1164
00:57:18,000 --> 00:57:20,880
Speaker 4: smart end up like this? And some of that is

1165
00:57:20,960 --> 00:57:24,080
Speaker 4: answered in the film. We learned that his parents took

1166
00:57:24,120 --> 00:57:26,919
Speaker 4: his money, his winnings, which is part of it, and

1167
00:57:27,160 --> 00:57:29,800
Speaker 4: that he also just never really learned where to place

1168
00:57:29,800 --> 00:57:32,320
Speaker 4: his feelings, and like he never just seems like the

1169
00:57:32,440 --> 00:57:35,160
Speaker 4: kind of kid or adult who didn't have a lot

1170
00:57:35,280 --> 00:57:39,520
Speaker 4: of help as a kid becoming a person. So he

1171
00:57:39,600 --> 00:57:41,240
Speaker 4: was smart and they kind of left it at that,

1172
00:57:41,320 --> 00:57:43,720
Speaker 4: but he never learned how to progress beyond that into

1173
00:57:43,760 --> 00:57:46,320
Speaker 4: becoming a full person. And the thing that he says

1174
00:57:46,360 --> 00:57:49,240
Speaker 4: over and over again because he's getting braces because he's

1175
00:57:49,280 --> 00:57:52,720
Speaker 4: in love with a bartender who has braces. And these

1176
00:57:53,080 --> 00:57:57,000
Speaker 4: very revealing and wonderful scenes with Henry Gibson, who plays

1177
00:57:57,320 --> 00:58:01,080
Speaker 4: a character named Thurston, and yeah, he just kind of

1178
00:58:01,920 --> 00:58:03,520
Speaker 4: he's just kind of love sick. He's just kind of

1179
00:58:03,560 --> 00:58:05,880
Speaker 4: a lost, a lost puppy of a person. And he

1180
00:58:05,880 --> 00:58:08,000
Speaker 4: gets tries to get these braces and he keeps saying,

1181
00:58:08,160 --> 00:58:09,480
Speaker 4: you know, I have a lot of love to give,

1182
00:58:10,280 --> 00:58:12,320
Speaker 4: and you know I'll treat you well, that kind of thing.

1183
00:58:12,360 --> 00:58:13,320
Speaker 3: It's just it's very sad.

1184
00:58:13,360 --> 00:58:16,600
Speaker 4: It's very sad, but he kind of We also get

1185
00:58:16,840 --> 00:58:21,600
Speaker 4: the modern day version of Donnie in the Stanley character.

1186
00:58:21,720 --> 00:58:24,600
Speaker 4: So there's this character named Stanley played by Jeremy Blackman,

1187
00:58:24,800 --> 00:58:27,920
Speaker 4: and he is like a big winner on this game show,

1188
00:58:28,040 --> 00:58:30,480
Speaker 4: but we also get to see that he is completely

1189
00:58:30,520 --> 00:58:35,680
Speaker 4: mistreated by his father. He is ignored, he is isolated.

1190
00:58:36,000 --> 00:58:38,120
Speaker 4: He at one point tells his other teammates that he

1191
00:58:38,120 --> 00:58:39,960
Speaker 4: doesn't have to go to classes anymore. They just let

1192
00:58:40,040 --> 00:58:42,360
Speaker 4: him sit in the library all day. He carries four

1193
00:58:42,400 --> 00:58:46,080
Speaker 4: bags of books to school, and he's this very gentle

1194
00:58:46,240 --> 00:58:49,760
Speaker 4: kid who's trying to relate to the world, but they

1195
00:58:49,760 --> 00:58:52,600
Speaker 4: treat him like a freak, like a sideshow freak, and

1196
00:58:53,160 --> 00:58:56,760
Speaker 4: it's absolutely heartbreaking. He is one of the more heartbreaking

1197
00:58:56,840 --> 00:58:59,520
Speaker 4: characters for me, because he sees the world so clearly,

1198
00:58:59,520 --> 00:59:02,240
Speaker 4: but he's too young to do anything about it. And

1199
00:59:02,240 --> 00:59:05,360
Speaker 4: then we also have one of our final people who

1200
00:59:05,480 --> 00:59:10,560
Speaker 4: rounds out this lovely display is Jim played by John

1201
00:59:10,600 --> 00:59:13,640
Speaker 4: c Riley, and he's just kind of this incompetent cop

1202
00:59:14,040 --> 00:59:18,040
Speaker 4: who is also not lucky in love and not lucky

1203
00:59:18,080 --> 00:59:21,720
Speaker 4: in life, but is really committed to his job and

1204
00:59:21,800 --> 00:59:24,680
Speaker 4: he's really committed to Claudia when they meet.

1205
00:59:25,000 --> 00:59:26,400
Speaker 3: He meets Claudia.

1206
00:59:26,080 --> 00:59:29,040
Speaker 4: After he goes to her house for a noise complaint

1207
00:59:29,040 --> 00:59:32,520
Speaker 4: because she's playing her music really loud and doing drugs.

1208
00:59:32,560 --> 00:59:34,520
Speaker 3: So that's kind of the setup of the film.

1209
00:59:34,920 --> 00:59:38,960
Speaker 4: And there are so many different moments of this movie

1210
00:59:39,360 --> 00:59:42,840
Speaker 4: that make me want to just kind of curl up

1211
00:59:42,840 --> 00:59:45,880
Speaker 4: and cry, but I also really love the pace of

1212
00:59:45,920 --> 00:59:48,520
Speaker 4: the movie. So there's the one thing that I think

1213
00:59:48,560 --> 00:59:52,440
Speaker 4: pt Anderson did that was unique and wonderful is he

1214
00:59:52,720 --> 00:59:57,840
Speaker 4: used Amy Mann for the soundtrack. And Amy Mann's voice

1215
00:59:58,080 --> 01:00:00,360
Speaker 4: is kind of the through line of all these stories.

1216
01:00:01,080 --> 01:00:02,720
Speaker 4: And there's even a point where he uses some of

1217
01:00:02,720 --> 01:00:05,760
Speaker 4: the lyrics for one of her songs as a conversation

1218
01:00:05,840 --> 01:00:09,480
Speaker 4: between the characters. And again, these characters do at one

1219
01:00:09,480 --> 01:00:11,520
Speaker 4: point breakout into song, which I think a lot of

1220
01:00:11,520 --> 01:00:14,400
Speaker 4: people probably didn't like her thought was weird at the time,

1221
01:00:15,000 --> 01:00:18,160
Speaker 4: but his sense been replicated by shows like Euphoria and

1222
01:00:18,200 --> 01:00:21,680
Speaker 4: like a ton of other things. I really appreciate how

1223
01:00:22,120 --> 01:00:26,240
Speaker 4: this soundtrack was a unique and interesting way to tie

1224
01:00:26,240 --> 01:00:29,040
Speaker 4: the stories together, because these are also disparate people when

1225
01:00:29,040 --> 01:00:32,919
Speaker 4: we get to see how they come together at the end,

1226
01:00:33,240 --> 01:00:36,160
Speaker 4: but their stories are just so interesting in the telling.

1227
01:00:36,560 --> 01:00:39,400
Speaker 1: There's a lot going on, a lot of characters, a

1228
01:00:39,440 --> 01:00:45,200
Speaker 1: lot of really hard saands to watch. There was a

1229
01:00:45,280 --> 01:00:47,920
Speaker 1: point where I had to shut the movie off and

1230
01:00:48,040 --> 01:00:49,720
Speaker 1: kind of like walk out of the room.

1231
01:00:49,960 --> 01:00:51,400
Speaker 3: What part do you mind me asking?

1232
01:00:52,400 --> 01:00:56,800
Speaker 1: The part with Jason Robarts talking about his high school

1233
01:00:56,840 --> 01:00:58,200
Speaker 1: Was it this high school girlfriend?

1234
01:00:58,360 --> 01:00:59,680
Speaker 3: Yes, Lily Frank's mother.

1235
01:00:59,760 --> 01:01:00,000
Speaker 4: Yeah.

1236
01:01:00,320 --> 01:01:00,760
Speaker 2: Yeah.

1237
01:01:01,120 --> 01:01:04,080
Speaker 1: I had a hard time watching that all the way through.

1238
01:01:04,680 --> 01:01:07,240
Speaker 1: I thought it was very sad.

1239
01:01:07,160 --> 01:01:07,400
Speaker 3: You know.

1240
01:01:07,480 --> 01:01:10,520
Speaker 1: I think for me, there were moments where I felt

1241
01:01:10,520 --> 01:01:16,560
Speaker 1: a little like triggered by the illness scenes because of,

1242
01:01:16,960 --> 01:01:21,400
Speaker 1: you know, just having experiences with being sick and seeing

1243
01:01:21,440 --> 01:01:22,120
Speaker 1: other people sick.

1244
01:01:22,160 --> 01:01:24,480
Speaker 2: It was just hard. It was hard to watch.

1245
01:01:24,920 --> 01:01:27,400
Speaker 1: Yeah, And I'm not saying that that's I don't want

1246
01:01:27,440 --> 01:01:30,360
Speaker 1: to like say that this movie is bad because it

1247
01:01:30,440 --> 01:01:33,960
Speaker 1: made me feel bad, right, because I actually think the

1248
01:01:34,040 --> 01:01:37,480
Speaker 1: opposite a lot of times, that movies are good because

1249
01:01:37,480 --> 01:01:42,760
Speaker 1: they make you feel bad or they provoke a lot

1250
01:01:42,800 --> 01:01:45,880
Speaker 1: of like very gut emotions.

1251
01:01:46,200 --> 01:01:48,520
Speaker 2: Right, But I'm like torn about this film.

1252
01:01:48,600 --> 01:01:51,000
Speaker 1: I gotta be honest, because I haven't seen it in

1253
01:01:51,000 --> 01:01:53,080
Speaker 1: a long time, and when I first saw it, I

1254
01:01:53,160 --> 01:01:56,280
Speaker 1: actually didn't like it. But I was actually really looking

1255
01:01:56,280 --> 01:01:58,960
Speaker 1: forward to watching it again and I had a different experience.

1256
01:01:59,040 --> 01:02:01,480
Speaker 1: I mean, there were moments where I thought this movie

1257
01:02:01,520 --> 01:02:08,160
Speaker 1: was too real, like too real, it's very visceral. Yeah, yeah,

1258
01:02:08,200 --> 01:02:09,760
Speaker 1: And like I said, not to say that that's a

1259
01:02:09,840 --> 01:02:11,320
Speaker 1: bad thing for me.

1260
01:02:11,560 --> 01:02:13,000
Speaker 2: I was like, I gotta take a break.

1261
01:02:13,040 --> 01:02:14,800
Speaker 3: I got I gotta take a break with some of this.

1262
01:02:15,320 --> 01:02:18,160
Speaker 2: And you know, I understand that.

1263
01:02:18,600 --> 01:02:21,400
Speaker 1: You know, he basically does this like kind of like

1264
01:02:21,560 --> 01:02:24,600
Speaker 1: Robert Altman esque type of thing where he takes all

1265
01:02:24,600 --> 01:02:28,240
Speaker 1: these characters and he shows you what they're all about,

1266
01:02:28,360 --> 01:02:30,360
Speaker 1: and then he kind of shows you how they all

1267
01:02:30,480 --> 01:02:31,240
Speaker 1: are connected.

1268
01:02:31,680 --> 01:02:33,800
Speaker 2: And as it turns out, they've got commonalities.

1269
01:02:33,880 --> 01:02:34,080
Speaker 3: Right.

1270
01:02:34,200 --> 01:02:41,680
Speaker 1: It's resentment, guilt, grief, abuse, disappointment. That's the universality between

1271
01:02:41,720 --> 01:02:44,800
Speaker 1: all these characters. It's just like all these emotions. There

1272
01:02:44,800 --> 01:02:47,280
Speaker 1: were times where I felt like, Ooh, we are really

1273
01:02:47,360 --> 01:02:51,080
Speaker 1: really going there, Like we're really getting into these dark

1274
01:02:51,160 --> 01:02:53,560
Speaker 1: places with these characters. And I just really hope that

1275
01:02:53,600 --> 01:02:55,680
Speaker 1: I can stick with this and see how it all

1276
01:02:55,720 --> 01:02:58,840
Speaker 1: comes together. And I hope that this movie isn't too sad.

1277
01:02:59,240 --> 01:03:00,000
Speaker 3: At the end.

1278
01:03:00,160 --> 01:03:03,840
Speaker 1: Where I'm not gonna like it, I was really scared,

1279
01:03:03,960 --> 01:03:05,800
Speaker 1: Like I was just basically like I don't know what's

1280
01:03:05,800 --> 01:03:07,440
Speaker 1: going to happen. I felt kind of like on this

1281
01:03:07,640 --> 01:03:12,400
Speaker 1: terror ride, you know, and where did you land? It

1282
01:03:12,440 --> 01:03:15,480
Speaker 1: feels a little bit more of a mixed back than

1283
01:03:15,520 --> 01:03:17,640
Speaker 1: I did when I saw it the first time. That's fair,

1284
01:03:18,040 --> 01:03:20,240
Speaker 1: but I think that that's good. I think it's a

1285
01:03:20,280 --> 01:03:23,760
Speaker 1: good thing to be challenged by films. And you know,

1286
01:03:23,760 --> 01:03:26,440
Speaker 1: I don't want to place too much importance on this film.

1287
01:03:26,480 --> 01:03:28,160
Speaker 1: I don't want to give the impression that I'm like,

1288
01:03:28,320 --> 01:03:30,400
Speaker 1: this is like the deepest text I've ever seen and

1289
01:03:30,440 --> 01:03:33,000
Speaker 1: I can't, you know, get out of it, and I

1290
01:03:33,080 --> 01:03:35,520
Speaker 1: have to, like, you know, really unravel it as if

1291
01:03:35,560 --> 01:03:38,280
Speaker 1: it was like the Bible or something. But also there's

1292
01:03:38,320 --> 01:03:40,600
Speaker 1: a lot of biblical references in the movie too.

1293
01:03:41,080 --> 01:03:43,760
Speaker 3: Yeah, so yeah, it's it's a lot.

1294
01:03:44,000 --> 01:03:47,160
Speaker 1: But I also think that there are moments of bliss

1295
01:03:47,200 --> 01:03:52,120
Speaker 1: of like you know, where there was that moment of yes,

1296
01:03:52,320 --> 01:03:56,000
Speaker 1: like that character is standing up for themselves or is

1297
01:03:56,120 --> 01:03:59,960
Speaker 1: sort of having a reckoning, and you know during the interview,

1298
01:04:00,240 --> 01:04:03,800
Speaker 1: the Frank interview was one of them when the son

1299
01:04:04,200 --> 01:04:06,360
Speaker 1: went up to his father and told them that he

1300
01:04:06,400 --> 01:04:10,360
Speaker 1: needs to be treated better. Yes, you know, the moments

1301
01:04:10,400 --> 01:04:14,000
Speaker 1: of seeing Philip Seymour Hoffman upset and crying. I mean

1302
01:04:14,040 --> 01:04:16,360
Speaker 1: I just was sort of like really shook by that,

1303
01:04:17,560 --> 01:04:20,560
Speaker 1: but also like it felt like a release almost in

1304
01:04:20,640 --> 01:04:23,640
Speaker 1: a way too, because of just his role and who

1305
01:04:23,680 --> 01:04:25,880
Speaker 1: he was to the Jason Robard's character.

1306
01:04:26,440 --> 01:04:27,640
Speaker 3: So yeah, I don't know.

1307
01:04:27,720 --> 01:04:30,000
Speaker 1: I mean, like I said, like, it's a really hard

1308
01:04:30,120 --> 01:04:32,880
Speaker 1: movie to talk about because there's so many details, there's

1309
01:04:32,920 --> 01:04:36,160
Speaker 1: so many storylines, and it is just so emotional. I mean,

1310
01:04:36,160 --> 01:04:38,880
Speaker 1: it's an epic film. It's really epic in that way.

1311
01:04:39,000 --> 01:04:41,440
Speaker 4: It truly is it truly? And thank you for saying that,

1312
01:04:41,480 --> 01:04:44,080
Speaker 4: because I think that that is. I wanted to talk

1313
01:04:44,120 --> 01:04:46,680
Speaker 4: about this film on the podcast since we started.

1314
01:04:46,240 --> 01:04:49,520
Speaker 3: The podcast, but I didn't know how it would fit best.

1315
01:04:50,080 --> 01:04:53,360
Speaker 4: Yeah, and this felt like a gentle way into a

1316
01:04:53,400 --> 01:04:57,200
Speaker 4: really incredible film that is so big and you're right,

1317
01:04:57,240 --> 01:04:59,680
Speaker 4: it's hard, and it's I'm interested to see what I'll

1318
01:04:59,680 --> 01:05:01,640
Speaker 4: feel like in twenty years when I watch it, you know,

1319
01:05:01,920 --> 01:05:05,240
Speaker 4: I just it's remarkable to me for that reason that

1320
01:05:05,320 --> 01:05:07,240
Speaker 4: it is a film you can come back to again

1321
01:05:07,280 --> 01:05:10,600
Speaker 4: and again, but also that you're right, it's really challenging.

1322
01:05:10,640 --> 01:05:13,880
Speaker 4: I think that I empathized this year when I watched

1323
01:05:13,880 --> 01:05:17,520
Speaker 4: it a lot. I empathized so much with Frank Mackie

1324
01:05:17,680 --> 01:05:22,560
Speaker 4: when he finally gets to his father and is just

1325
01:05:22,720 --> 01:05:27,600
Speaker 4: like so angry and like grasping his hands, kind of

1326
01:05:27,640 --> 01:05:32,480
Speaker 4: holding back tears through gritted teeth, angry man, but also saying,

1327
01:05:32,640 --> 01:05:33,400
Speaker 4: you know, don't.

1328
01:05:33,240 --> 01:05:34,200
Speaker 3: Die, you asshole.

1329
01:05:34,480 --> 01:05:38,040
Speaker 4: He needed his father to come back to him when

1330
01:05:38,080 --> 01:05:40,960
Speaker 4: he was fourteen. He's just kind of regressed to this

1331
01:05:41,040 --> 01:05:43,720
Speaker 4: fourteen year old who just watched his own mother die

1332
01:05:43,720 --> 01:05:46,280
Speaker 4: of cancer, and now he's doing the same thing with

1333
01:05:46,320 --> 01:05:49,720
Speaker 4: his estranged father, and those emotions came right back to

1334
01:05:49,760 --> 01:05:52,880
Speaker 4: the surface, and that was fucking hard to watch. And

1335
01:05:52,920 --> 01:05:55,640
Speaker 4: I think that Tom Cruise did a really good job,

1336
01:05:56,240 --> 01:05:58,960
Speaker 4: I mean, just say the least of playing that part.

1337
01:05:59,040 --> 01:06:01,320
Speaker 4: It's memorable to me for that more than it is

1338
01:06:01,360 --> 01:06:03,480
Speaker 4: for the clownish Frank Mackey on stage.

1339
01:06:03,960 --> 01:06:07,200
Speaker 1: I think what makes Tom Cruise so good in this

1340
01:06:07,440 --> 01:06:12,120
Speaker 1: film is that his character, this Frank TJ McKey character,

1341
01:06:12,800 --> 01:06:18,520
Speaker 1: is the personality and the bravado is a performance. And

1342
01:06:18,960 --> 01:06:23,040
Speaker 1: I think what's interesting is seeing the actor Tom Cruise

1343
01:06:23,600 --> 01:06:28,520
Speaker 1: have to play this type of person which is ostensibly

1344
01:06:28,560 --> 01:06:32,000
Speaker 1: a performance. Like his character is like this bigger than

1345
01:06:32,120 --> 01:06:36,200
Speaker 1: life insane person, right, which is what I think a

1346
01:06:36,280 --> 01:06:39,000
Speaker 1: lot of people have maybe accused Tom Cruise of being

1347
01:06:39,600 --> 01:06:42,120
Speaker 1: just in his life that he is also this bigger

1348
01:06:42,200 --> 01:06:44,480
Speaker 1: than life performative weirdo.

1349
01:06:45,120 --> 01:06:46,760
Speaker 2: And there's a moment where.

1350
01:06:46,560 --> 01:06:49,680
Speaker 1: I'm like, that's so interesting to see Tom Cruise playing

1351
01:06:49,840 --> 01:06:53,320
Speaker 1: this kind of guy. Yes, and with the whole presentation

1352
01:06:53,560 --> 01:06:55,800
Speaker 1: and everything that we know about Tom Cruise and the

1353
01:06:56,000 --> 01:06:59,520
Speaker 1: you know, the scientology stuff, I just thought, wow, like

1354
01:07:00,120 --> 01:07:03,760
Speaker 1: it just really hit me, like how kind of bold

1355
01:07:03,880 --> 01:07:06,760
Speaker 1: that was for him to be asked it's kind of

1356
01:07:06,760 --> 01:07:10,360
Speaker 1: a bold move for both Pta and Tom Cruise to

1357
01:07:10,600 --> 01:07:13,240
Speaker 1: even have this character to begin with, but also have

1358
01:07:13,360 --> 01:07:14,000
Speaker 1: him play.

1359
01:07:13,800 --> 01:07:16,960
Speaker 4: It exactly you know. Yeah, because of the moment in

1360
01:07:17,040 --> 01:07:19,920
Speaker 4: time for sure, Yeah, for sure. And it wasn't a parody.

1361
01:07:19,960 --> 01:07:22,240
Speaker 4: It didn't feel to me like a parody of himself. Yeah,

1362
01:07:22,240 --> 01:07:24,439
Speaker 4: it felt like he was playing that role for sure,

1363
01:07:24,600 --> 01:07:27,320
Speaker 4: like to a t. Yeah, but the similarities are too

1364
01:07:27,320 --> 01:07:30,880
Speaker 4: close to be ignored. But yet you also know he

1365
01:07:30,920 --> 01:07:33,360
Speaker 4: wasn't playing himself, so yeah.

1366
01:07:33,120 --> 01:07:35,800
Speaker 1: Right, and that he's playing a character that has to

1367
01:07:35,800 --> 01:07:39,120
Speaker 1: interact with his father who is dying, played by an

1368
01:07:39,120 --> 01:07:40,440
Speaker 1: actor who is dying.

1369
01:07:40,560 --> 01:07:42,960
Speaker 2: It's just like really intense.

1370
01:07:43,360 --> 01:07:46,240
Speaker 1: And that scene of the two of them towards the

1371
01:07:46,360 --> 01:07:48,640
Speaker 1: end is I mean, obviously it's talked about so much,

1372
01:07:48,680 --> 01:07:52,000
Speaker 1: but yeah, very hard to watch a lot of times.

1373
01:07:52,200 --> 01:07:54,240
Speaker 4: And another one that's hard for me to watch, and

1374
01:07:54,360 --> 01:07:56,280
Speaker 4: it has been since the first time I saw, but

1375
01:07:56,320 --> 01:08:00,240
Speaker 4: I think it's compounded more as time goes on that

1376
01:08:00,280 --> 01:08:03,000
Speaker 4: scene with Julianne Moore in the pharmacy, she's handed over

1377
01:08:03,040 --> 01:08:05,960
Speaker 4: all these prescriptions after we've watched her kind of quickly

1378
01:08:06,000 --> 01:08:09,960
Speaker 4: and furiously collect them from the doctors. So the vibe

1379
01:08:09,960 --> 01:08:12,120
Speaker 4: that you get from watching her is she's just a

1380
01:08:12,160 --> 01:08:13,959
Speaker 4: pill head. She's going to try to get as many,

1381
01:08:14,120 --> 01:08:16,400
Speaker 4: you know, as many prescriptions as possible. But then she

1382
01:08:16,520 --> 01:08:20,240
Speaker 4: goes to this pharmacy and the young pharmacist played by

1383
01:08:20,280 --> 01:08:23,120
Speaker 4: Pat Healy instantly judges her as like, wow, this is

1384
01:08:23,120 --> 01:08:26,639
Speaker 4: a lot of prescriptions, and then he goes to fill

1385
01:08:26,680 --> 01:08:29,519
Speaker 4: them with the older pharmacist and they're both kind of

1386
01:08:29,520 --> 01:08:32,479
Speaker 4: looking at her, and she's watching them watch her while

1387
01:08:32,520 --> 01:08:34,840
Speaker 4: she's all she's doing is standing at the counter. The

1388
01:08:34,880 --> 01:08:38,080
Speaker 4: young pharmacist comes back and says, you know, starts talking

1389
01:08:38,120 --> 01:08:41,120
Speaker 4: about each individual prescription, like, well, this one is really harsh.

1390
01:08:41,160 --> 01:08:43,360
Speaker 4: You know you shouldn't mix these, and you know you

1391
01:08:43,360 --> 01:08:46,920
Speaker 4: shouldn't mix this one's really intense. And she goes through

1392
01:08:47,040 --> 01:08:51,760
Speaker 4: such this emotional ride and the deeply emotional scene where

1393
01:08:51,800 --> 01:08:54,400
Speaker 4: she's like, you don't know my life, I lived with death,

1394
01:08:54,479 --> 01:08:57,760
Speaker 4: like I have death all around me, and just that

1395
01:08:57,920 --> 01:09:00,360
Speaker 4: it kind of brings up some personal things there about

1396
01:09:00,400 --> 01:09:04,720
Speaker 4: you know how, like medical racism and medical mistreatment and

1397
01:09:04,760 --> 01:09:07,559
Speaker 4: how hard it is to be your own advocate. For

1398
01:09:07,640 --> 01:09:09,240
Speaker 4: me in my life has been really hard to be

1399
01:09:09,280 --> 01:09:11,559
Speaker 4: my own advocate when it comes to medical stuff. But

1400
01:09:11,600 --> 01:09:14,320
Speaker 4: it's also just the grief of watching someone who doesn't

1401
01:09:14,360 --> 01:09:16,760
Speaker 4: know how to watch someone die, or how to help them,

1402
01:09:16,840 --> 01:09:18,559
Speaker 4: or how to grief for them, or how to get

1403
01:09:18,560 --> 01:09:22,439
Speaker 4: through this. And she's so emotional in that scene, but

1404
01:09:22,479 --> 01:09:25,840
Speaker 4: she's so fierce, like she's fiercely protective of the fact

1405
01:09:25,880 --> 01:09:28,200
Speaker 4: that she doesn't want these people to judge her. She

1406
01:09:28,200 --> 01:09:30,800
Speaker 4: won't allow it. They're trying to do it anyway, but

1407
01:09:30,840 --> 01:09:33,960
Speaker 4: she won't allow it. And it's just a fucking incredible

1408
01:09:34,080 --> 01:09:36,400
Speaker 4: scene to watch. And she has a couple, she has

1409
01:09:36,520 --> 01:09:38,800
Speaker 4: quite a few in this movie. I think that that

1410
01:09:39,000 --> 01:09:42,000
Speaker 4: is the one to me that stands out as one

1411
01:09:42,040 --> 01:09:45,240
Speaker 4: of her most dynamic performances on film.

1412
01:09:45,320 --> 01:09:46,000
Speaker 3: Yeah.

1413
01:09:46,080 --> 01:09:48,519
Speaker 1: I wanted to kill pat Heley in that moment of

1414
01:09:48,560 --> 01:09:50,840
Speaker 1: that scene, Oh my god, because I was basically like,

1415
01:09:51,240 --> 01:09:52,400
Speaker 1: is that even legal?

1416
01:09:52,479 --> 01:09:54,920
Speaker 2: Are you allowed to even make comments like this?

1417
01:09:55,280 --> 01:09:59,599
Speaker 1: But her reaction to it was so absolutely right justified

1418
01:09:59,760 --> 01:10:03,200
Speaker 1: y But it also, like again, was a way for

1419
01:10:03,320 --> 01:10:07,439
Speaker 1: us to see the inside of this character. Yes, and

1420
01:10:07,479 --> 01:10:10,360
Speaker 1: that's intense. That's a very intense thing to watch. And

1421
01:10:10,800 --> 01:10:13,240
Speaker 1: there's just so much to this film. I know that

1422
01:10:13,280 --> 01:10:17,240
Speaker 1: it's probably impossible to even talk about in the short

1423
01:10:17,240 --> 01:10:20,120
Speaker 1: amount of time that we have on this podcast, but

1424
01:10:20,560 --> 01:10:26,040
Speaker 1: all I'll say is that it completely made me reevaluate

1425
01:10:26,080 --> 01:10:29,080
Speaker 1: the film. I'm so happy that you chose it for

1426
01:10:29,160 --> 01:10:31,360
Speaker 1: this theme because it forced me to watch it again.

1427
01:10:31,800 --> 01:10:35,280
Speaker 1: Sometimes you don't have this like redemptive experience with the

1428
01:10:35,280 --> 01:10:36,640
Speaker 1: film where you're like, oh, I used to hate this

1429
01:10:36,680 --> 01:10:39,360
Speaker 1: movie and now I love it. Sometimes you did like

1430
01:10:39,400 --> 01:10:41,519
Speaker 1: this movie, but now you think about it in a

1431
01:10:41,560 --> 01:10:44,559
Speaker 1: different way, for better or for worse. And I think

1432
01:10:44,600 --> 01:10:48,080
Speaker 1: that that's totally necessary as a person who is into

1433
01:10:48,200 --> 01:10:49,200
Speaker 1: art of any kind.

1434
01:10:49,520 --> 01:10:53,160
Speaker 2: It helps you just be a better patron of art.

1435
01:10:53,600 --> 01:10:56,679
Speaker 1: Yes, And like I said, I am just so I'm

1436
01:10:56,760 --> 01:10:59,240
Speaker 1: so pleased that I got to watch it again and

1437
01:10:59,400 --> 01:11:02,160
Speaker 1: process it as hard as it was in points, I'm

1438
01:11:02,200 --> 01:11:03,519
Speaker 1: just I'm glad I got to.

1439
01:11:03,479 --> 01:11:06,599
Speaker 2: See it again. So thank you, of course, thank you.

1440
01:11:06,760 --> 01:11:08,840
Speaker 4: And yeah, it's one of my favorite all in one

1441
01:11:08,920 --> 01:11:12,320
Speaker 4: night movies, all in one day movies, because it is

1442
01:11:12,360 --> 01:11:15,200
Speaker 4: so sprawling and I can't believe that he is able

1443
01:11:15,240 --> 01:11:18,920
Speaker 4: to write a movie that gets this much into one day.

1444
01:11:18,920 --> 01:11:20,560
Speaker 4: But that's also part of the joy of it, is

1445
01:11:20,920 --> 01:11:23,519
Speaker 4: to realize that so much happens in a day for

1446
01:11:23,560 --> 01:11:26,360
Speaker 4: everybody I know, and it's you know, it seems like

1447
01:11:26,560 --> 01:11:29,120
Speaker 4: every day is just like, eh, whatever, But there's so

1448
01:11:29,240 --> 01:11:31,960
Speaker 4: much happening in a day for every person on this planet.

1449
01:11:32,160 --> 01:11:34,720
Speaker 4: And yeah, I just I like, I like having that

1450
01:11:34,800 --> 01:11:38,080
Speaker 4: reminder and to see these fully realized characters and this

1451
01:11:38,200 --> 01:11:41,600
Speaker 4: full display, this full emotional display, and I know that

1452
01:11:41,640 --> 01:11:44,840
Speaker 4: people are probably screaming about actors I forgot to mention

1453
01:11:45,040 --> 01:11:49,840
Speaker 4: like Alfred Molina and Louis Guzman and Ricky Jay and yes,

1454
01:11:49,880 --> 01:11:51,679
Speaker 4: and they're in here as well. And it's a great

1455
01:11:51,720 --> 01:11:54,000
Speaker 4: movie but has a huge fucking cast. And this is

1456
01:11:54,040 --> 01:11:56,040
Speaker 4: the cast that I'm talking about today. Maybe we'll come

1457
01:11:56,040 --> 01:11:58,240
Speaker 4: back to Magnolia and I'll talk about everyone else.

1458
01:11:58,360 --> 01:11:58,639
Speaker 3: Listen.

1459
01:11:58,760 --> 01:12:01,679
Speaker 1: I feel like, if you want to dedicate an entire

1460
01:12:02,200 --> 01:12:04,400
Speaker 1: bonus episode to it, I'm sure people would love it.

1461
01:12:04,479 --> 01:12:06,600
Speaker 1: I mean, you could get the full thoughts on a

1462
01:12:06,640 --> 01:12:10,080
Speaker 1: bonus episode because I mean, like I said, I was like, ooh,

1463
01:12:10,080 --> 01:12:11,559
Speaker 1: she's taking a crack at this one.

1464
01:12:11,640 --> 01:12:14,080
Speaker 4: Okay, Oh my god, I'm trying and I feel insane.

1465
01:12:14,120 --> 01:12:16,040
Speaker 4: I feel insane that I even tried it.

1466
01:12:16,120 --> 01:12:18,160
Speaker 3: But no, I'm proud of you.

1467
01:12:18,439 --> 01:12:21,439
Speaker 1: But I also know what it's like to not be

1468
01:12:21,520 --> 01:12:23,680
Speaker 1: able to say all the things that you want to

1469
01:12:23,680 --> 01:12:26,760
Speaker 1: say about a film and then people are in the

1470
01:12:26,760 --> 01:12:27,360
Speaker 1: comments like.

1471
01:12:27,280 --> 01:12:30,519
Speaker 2: You forgot this, you forgot this. It's a three hour movie, people, Come.

1472
01:12:30,400 --> 01:12:37,880
Speaker 4: On, I could genuinely dedicate an episode to every character, like, hey,

1473
01:12:38,600 --> 01:12:41,040
Speaker 4: I truly could, that is how big this movie is.

1474
01:12:41,320 --> 01:12:43,760
Speaker 4: But you know, tried to crack it. I tried to

1475
01:12:43,840 --> 01:12:46,960
Speaker 4: crack it open just to get you interested. If you

1476
01:12:47,040 --> 01:12:49,040
Speaker 4: haven't seen it, or if you haven't seen it in

1477
01:12:49,080 --> 01:12:53,000
Speaker 4: a while, watch it again. If you are no longer

1478
01:12:53,080 --> 01:12:57,200
Speaker 4: a teenager, watch it again. Yes, and if you are

1479
01:12:57,560 --> 01:12:59,960
Speaker 4: someone who's never seen it before, give it a try.

1480
01:13:00,439 --> 01:13:04,280
Speaker 3: Totally one hundred percent. Oh boil boy.

1481
01:13:04,520 --> 01:13:08,800
Speaker 4: Well, I think next week is gonna be a little

1482
01:13:08,800 --> 01:13:09,639
Speaker 4: bit less harrowing.

1483
01:13:12,200 --> 01:13:14,800
Speaker 2: Are you sure it is the holidays after all?

1484
01:13:15,080 --> 01:13:17,439
Speaker 3: Exactly? I was just gonna say maybe not, maybe not.

1485
01:13:17,560 --> 01:13:18,360
Speaker 3: I spoke too soon.

1486
01:13:18,560 --> 01:13:20,680
Speaker 4: But do you want to tell these fine folks what

1487
01:13:20,760 --> 01:13:21,960
Speaker 4: our films are next week?

1488
01:13:22,439 --> 01:13:22,679
Speaker 3: Oh?

1489
01:13:22,720 --> 01:13:23,000
Speaker 2: Sure?

1490
01:13:23,240 --> 01:13:26,920
Speaker 1: So films for next week are Kiss, Kiss, Bang Bang

1491
01:13:27,040 --> 01:13:31,919
Speaker 1: from two thousand and five and Black Christmas from nineteen

1492
01:13:32,120 --> 01:13:33,120
Speaker 1: seventy four.

1493
01:13:33,760 --> 01:13:36,120
Speaker 3: Yay spell theme.

1494
01:13:37,640 --> 01:13:41,240
Speaker 1: Okay, So, if you want to email us, if you

1495
01:13:41,240 --> 01:13:44,200
Speaker 1: have thoughts on Magnolia on after hours, if you want

1496
01:13:44,200 --> 01:13:47,200
Speaker 1: to tell us a crazy one night that you had,

1497
01:13:47,520 --> 01:13:49,599
Speaker 1: email us I saw what you did pod at gmail

1498
01:13:49,640 --> 01:13:50,240
Speaker 1: dot com.

1499
01:13:50,479 --> 01:13:53,680
Speaker 4: And if you want to show us photos from that

1500
01:13:53,720 --> 01:13:56,240
Speaker 4: one night, you can find us on our social media

1501
01:13:56,439 --> 01:13:58,879
Speaker 4: at I saw pod on Instagram and Twitter.

1502
01:13:59,280 --> 01:14:04,240
Speaker 1: Also, we've we've got holiday merg people. Yes, that's right,

1503
01:14:04,360 --> 01:14:06,599
Speaker 1: We've got Danielle's book in the shop.

1504
01:14:06,680 --> 01:14:10,920
Speaker 2: We got those Bargello kits which are selling like hotcakes.

1505
01:14:11,240 --> 01:14:12,920
Speaker 4: Yeah, I get them while you can because it's a

1506
01:14:12,920 --> 01:14:16,000
Speaker 4: limited edition. Oh yeah, and same is same with the book.

1507
01:14:16,160 --> 01:14:18,280
Speaker 4: I signed a few books and that's it. Once they're gone,

1508
01:14:18,320 --> 01:14:18,760
Speaker 4: they're gone.

1509
01:14:19,080 --> 01:14:19,439
Speaker 3: Yeah.

1510
01:14:19,560 --> 01:14:23,400
Speaker 1: So if they're not already sold out, you can get everything,

1511
01:14:23,479 --> 01:14:26,439
Speaker 1: including the old stuff, at the Exactly Right shop at

1512
01:14:26,439 --> 01:14:28,120
Speaker 1: exactlyrightmedia dot com.

1513
01:14:28,400 --> 01:14:30,280
Speaker 4: And if you want even more from us, we've got

1514
01:14:30,360 --> 01:14:34,280
Speaker 4: a slew of bonus episodes up on Stitcher Premium. You

1515
01:14:34,320 --> 01:14:38,439
Speaker 4: can also use the promo code SAW for a free month.

1516
01:14:38,800 --> 01:14:42,280
Speaker 1: Well, Danielle, as always as a pleasure. So glad to

1517
01:14:42,320 --> 01:14:43,639
Speaker 1: talk movies with you every.

1518
01:14:43,479 --> 01:14:47,439
Speaker 4: Week, always always, And look, it is nearing the end

1519
01:14:47,439 --> 01:14:49,599
Speaker 4: of the year, so I hope people are finding more

1520
01:14:49,600 --> 01:14:52,160
Speaker 4: time to watch movies instead of less, and that you

1521
01:14:52,280 --> 01:14:56,000
Speaker 4: are taking time to enjoy your friendships. I'm glad that

1522
01:14:56,040 --> 01:14:58,719
Speaker 4: I got to see you within the last month. Yes,

1523
01:14:58,760 --> 01:15:01,920
Speaker 4: in Ohio we got to hang It was great. Yes,

1524
01:15:02,160 --> 01:15:03,719
Speaker 4: And I hope I get to see you again really

1525
01:15:03,760 --> 01:15:04,720
Speaker 4: soon you will.

1526
01:15:04,800 --> 01:15:07,479
Speaker 2: I'm taking my dump truck booty up to your.

1527
01:15:10,040 --> 01:15:16,000
Speaker 1: Bye bye.

1528
01:15:17,840 --> 01:15:20,160
Speaker 4: This has been an exactly right production Our producer is

1529
01:15:20,160 --> 01:15:21,080
Speaker 4: Alessis sam Rosi.

1530
01:15:21,320 --> 01:15:22,759
Speaker 3: Our engineer is Ryo Baum.

1531
01:15:23,080 --> 01:15:26,479
Speaker 4: Our theme song is by Tom Bryfogel artwork by Garrett Ross.

1532
01:15:26,760 --> 01:15:30,599
Speaker 4: Our executive producers are Georgia Hartstar, Karen Kilgareth and Danielle Kramer.

1533
01:15:30,840 --> 01:15:33,200
Speaker 4: You can follow us on Instagram and Twitter at I

1534
01:15:33,280 --> 01:15:35,680
Speaker 4: Saw Pod. You can email us at I Saw What

1535
01:15:35,720 --> 01:15:38,599
Speaker 4: You Did Pod at Gmail, and please don't forget to listen,

1536
01:15:38,680 --> 01:15:42,080
Speaker 4: Subscribe and leave us a review on Apple Podcasts, Ditcher,

1537
01:15:42,320 --> 01:15:43,679
Speaker 4: or wherever you listen.