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Speaker 1: Film Spotting is presented by Regal Unlimited, the all you

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Speaker 1: can watch movie subscription pass that pays for itself in

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Speaker 1: just two visits. See any standard two D movie anytime

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Speaker 1: use code film spot twenty six to receive fifteen percent off.

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

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Speaker 2: You're not interested in art?

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Speaker 3: Now?

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Speaker 2: No, Look, we're going to do this thing. We're going

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Speaker 2: to have a conversation from Chicago.

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Speaker 1: This is film Spotting.

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Speaker 2: I'm Josh Larson and I'm Adam Kempinar. You play very well?

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Speaker 2: Oh yeah, so do you? Oh god, what a dumb

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Speaker 2: thing to say, right, I mean, you say you play well,

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Speaker 2: and then.

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Speaker 1: Right away I have to say you play well?

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Speaker 3: Oh oh god, Annie, well? Oh well?

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Speaker 1: Ladi Da, Lotti Da.

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Speaker 2: When the Great Diane Keaton died fall, we knew we

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Speaker 2: owed her some time on the show. We also felt

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Speaker 2: like we could benefit from some homework.

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Speaker 1: Baby Boom not the unflinching critique of the post World

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Speaker 1: War two generation. I was expecting, Adam our top five

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Speaker 1: Diane Keaton scenes and more ahead on film Spotting.

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Speaker 2: Are you telling me that I inherited this baby from

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Speaker 2: a cousin I had seen since ninety four? Later in

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Speaker 2: the show, Josh, we'll take a break from talking about

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Speaker 2: movies to talk about music, or at least the music

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Speaker 2: that could be found on movie soundtracks in the nineteen nineties.

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Speaker 2: I'm not going to mention the titles now, but I

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Speaker 2: know you know the titles that comprise the current deeply

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Speaker 2: flawed film Spotting poll. You've read Sam's weekly newsletter that

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Speaker 2: goes out to film Spotting family members, and I just

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Speaker 2: want to know, did you own at least one of

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Speaker 2: those movie soundtracks in the nineties, and do you still

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Speaker 2: own any of those movie soundtracks?

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Speaker 1: I'll get into that with a poll out. Adam much

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Speaker 1: to say about Sam's choices, Yes, I can say yes.

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Speaker 1: I can also say definitively, the nineteen nineties the best

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Speaker 1: decade for movie soundtracks, and and my mahpirical evidence for that,

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Speaker 1: that was the decade I bought the most movie soundtracks.

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Speaker 2: So right, fair enough, we will have this week that

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Speaker 2: nineties movie soundtrack poll question. Can't wait. Also, listeners tell

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Speaker 2: us about their favorite Diane Keaton character and we'll also

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Speaker 2: recognize the passing of Catherine O'Hara. A quick reminder, Film

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Speaker 2: Spotting is now available as a video podcast. You can

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Speaker 2: find us on YouTube, YouTube dot com slash film spotting.

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Speaker 2: For a link to video episodes, you can also go

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Speaker 2: to film spotting dot net slash episodes. First up, our

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Speaker 2: tribute to Diane Keaton. It's always tough, or we always

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Speaker 2: debate this when we want to pay tribute to a performer.

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Speaker 2: Do we do movies, do we do characters? Do we

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Speaker 2: do scenes? And we did ultimately decide that we wanted

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Speaker 2: to do scenes. That has been oura of late. It

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Speaker 2: really allows us to dig into what seems essential about

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Speaker 2: these performers. What is it that makes them special? How

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Speaker 2: did the process go for you, Josh?

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Speaker 1: It helped me, I think appreciate the range that Keaton

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Speaker 1: had and scenes that approach. Yeah, it allows you to

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Speaker 1: really dig into the granular elements of the techniques and

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Speaker 1: actor employees and expand beyond. Maybe characters I think would

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Speaker 1: have fit for Keaton. I think she's known for some

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Speaker 1: iconic characters and that would have been a good way

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Speaker 1: to go about it. But I think by choosing scenes,

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Speaker 1: I was also able to look at other movies that

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Speaker 1: maybe we wouldn't say, you know is the first character

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Speaker 1: that comes to mind with dian Keaton, but show really

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Speaker 1: well what she was good at, and the thing that

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Speaker 1: I came around to with her, I wouldn't say it

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Speaker 1: was a revelation. Sometimes we'll do these adamant and realize

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Speaker 1: I had a misperception of this performer, or maybe just

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Speaker 1: a slightly skewed idea. I think I came to better

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Speaker 1: appreciate what my understanding of her was, which is this

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Speaker 1: presence in most of her movies. She had a feisty feminist.

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Speaker 2: Core to her.

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Speaker 1: But the first thing that came to mind for me

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Speaker 1: when I thought of Diane Keaton previously was that it

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Speaker 1: came in a flighty package. And revisiting these scenes made

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Speaker 1: me appreciate the core a little bit more, I think,

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Speaker 1: and the way she managed to balance that, because that's

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Speaker 1: a tricky balance, right. We think of maybe feminist characters

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Speaker 1: as being take charge figures or you know, kicking in

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Speaker 1: the door, and I don't know if Keaton often led

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Speaker 1: with that sort of sensibility, but that doesn't mean she

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Speaker 1: didn't have that inner again feistiness about around these principles

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Speaker 1: of her character's experiences as women.

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Speaker 2: So to add to your litany of f words, there

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Speaker 2: was a little bit more fierceness in her performances and

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Speaker 2: with her characters then maybe you had expected as you

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Speaker 2: looked at her films. Yeah, and I think that's something

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Speaker 2: I noticed as well, something producer Sam and I talked

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Speaker 2: about as we were thinking about this top five list

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Speaker 2: and this show, and it's something I was aware of.

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Speaker 2: I don't know that I was shocked, but it is

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Speaker 2: something I hadn't fully processed, the extent to which she

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Speaker 2: had these dry spells in her career. And it happened

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Speaker 2: in the eighties, and then she came back right and

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Speaker 2: then she went a long time before she had any

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Speaker 2: really big hits, and then she had some more hits

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Speaker 2: in the two thousands, and then she was hot again.

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Speaker 2: And it's something where I think when you look at

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Speaker 2: her filmography, it's a little disappointing. As good as she was,

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Speaker 2: and as good as she is in so many movies

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Speaker 2: and in so many roles and performances that we're going

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Speaker 2: to talk about, you wish that someone with her talent

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Speaker 2: had five to ten more great movie on her list.

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Speaker 2: Don't you.

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Speaker 1: I think that's I think that's accurate, and that's not

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Speaker 1: on her, that's on Hollywood, right, you know, that's evidence

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Speaker 1: that the industry was underutilizing her skills for certain periods

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Speaker 1: across her career, for sure.

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Speaker 2: So real quick, a little bit of homework I did

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Speaker 2: as part of my New Year's resolution. I listened to

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Speaker 2: her audiobook, her Memoir then again from twenty twelve, and well,

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Speaker 2: that's the only way I can get through a book

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Speaker 2: these days is to listen to it. I just had

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Speaker 2: to stop listening to podcasts and start listening to audiobooks.

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Speaker 2: But also there's a real benefit here, and that is

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Speaker 2: it's read by her. So getting to hear her perform

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Speaker 2: her own words was really satisfying because, as you can imagine,

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Speaker 2: she didn't just kind of go through the motions. She

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Speaker 2: really does perform it. It's a little eerie, Josh, because

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Speaker 2: it's not really about her career, though that is covered

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Speaker 2: and I'm going to mention some parts from the book

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Speaker 2: where she covers it, but it's mainly about her family,

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Speaker 2: and it's really about mortality because her father's death and

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Speaker 2: her mother's death are largely the impetus for the book,

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Speaker 2: and the framework what she quotes from extensively are her

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Speaker 2: mother's journals, which her mother kept for several decades, and

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Speaker 2: that's really profound. And there's even a part where one

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Speaker 2: of her young kids and she's writing this book in

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Speaker 2: her early sixties. She didn't adopt children until her fifties.

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Speaker 2: One of the kids asks, and I don't remember the

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Speaker 2: exact phrasing, but ask something like, Mom, will you still

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Speaker 2: lay in bed with me when you're eighty? And all

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Speaker 2: I'm thinking about is how she died when she was

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Speaker 2: seventy nine. Yeah, there, You know. It's tough. It's tough

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Speaker 2: to hear that. It's tough to hear her read that,

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Speaker 2: you know, and seems like, I.

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Speaker 1: Mean, just so young, even not knowing that context, but

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Speaker 1: to hear that really drives home how young that actually is.

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Speaker 2: There was also a major reveal the book that of

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Speaker 2: course came out as major news at the time now

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Speaker 2: that I look back and see articles about it on Google,

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Speaker 2: but it's not something I remember hearing at the time,

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Speaker 2: and that is she didn't finally reveal a Josh until

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Speaker 2: the book, but in her twenties she suffered from bolimia.

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Speaker 2: She finally came out and admitted it in the twenty

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Speaker 2: twelve memoir. I don't remember the exact number, but she

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Speaker 2: details how starting when she was on Broadway in hair

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Speaker 2: and through some portion of her twenties. She eventually did

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Speaker 2: overcome it with therapy. But when she was dealing with this,

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Speaker 2: she would consume something, you know, tens of thousands of

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Speaker 2: calories per day. It was it was almost like a

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Speaker 2: full time job. How she had to buy the food,

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Speaker 2: sneak it back to her apartment in New York, and

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Speaker 2: obviously eat it, and do this all in secret. It

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Speaker 2: was something that was a great shame for her that

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Speaker 2: she finally revealed in the books. So all of that

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Speaker 2: was with something really interesting to hear how she dealt

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Speaker 2: with that issue. And you know, for me, she's known

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Speaker 2: for her chattiness. I love the word you use, her flightiness.

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Speaker 2: There is plenty of that in my scenes. I didn't

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Speaker 2: fully realize, Josh, until I was maybe three quarters of

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Speaker 2: the way through my notes. I had already picked all

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Speaker 2: my scenes, how much I was drawn to how expertly

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Speaker 2: she uses her face and silences pauses. I mean, she

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Speaker 2: really was a master. So with that, I can't wait

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Speaker 2: to hear your number five, all right?

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Speaker 1: And number five I'm going with a pick from nineteen

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Speaker 1: eighty seven's Baby Boom. I'm going to call this the

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Speaker 1: mother scene. So different. Don't confuse it with Darren Aronofsky's

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Speaker 1: mother mother missus mother mother, more of a yeah mother

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Speaker 1: And somehow, I don't know. I saw Baby Boom when

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Speaker 1: it came out in eighty seven, and maybe I tagged

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Speaker 1: along with my parents for some reason. I mean, I

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Speaker 1: would not in the target market. It could have been

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Speaker 1: like a VHS watch at someone else's house more likely,

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Speaker 1: But I did give it a revisit for this list,

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Speaker 1: and I don't know, we'll see. I think you watched

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Speaker 1: it too. What you thought of the movie overall? I

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Speaker 1: don't know if it held up incredibly well. It was

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Speaker 1: extremely broad and really more of a screwball fantasy than

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Speaker 1: than any sort of pointed feminist critique for me. But

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Speaker 1: I'll say, if it holds up at all, it's because

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Speaker 1: of Keaton and what is she she is bringing to

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Speaker 1: this part and this story. She plays a J. C. Wyatt,

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Speaker 1: who is a New York City management consultant, and she's

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Speaker 1: basically on the fast tracked partnership thanks to her smarts

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Speaker 1: thanks to her workaholic attitude, until she unexpectedly inherits a toddler.

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Speaker 3: What is it?

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Speaker 2: A million dollars at Pega Button? What is it?

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Speaker 3: I mean, what is it that I inherited?

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Speaker 2: What?

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Speaker 3: Elizabeth?

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Speaker 2: Of course you'll cousin Andrews, Eizabeth, are you joking? Keaton

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Speaker 2: really gives this stuff life.

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Speaker 1: I mean there's a sharpness to the dialogue delivery that

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Speaker 1: I don't know the dialogue itself has. And for me,

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Speaker 1: the key to this performance was very much the deft

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Speaker 1: physical comedy that she works into almost every scene. My

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Speaker 1: favorite example of that comes from this scene. It's when

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Speaker 1: she arrives at the airport to pick up the package

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Speaker 1: that she's inherited. She doesn't know what it is and

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Speaker 1: is promptly handed a little kid. So this is an

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Speaker 1: illogical scenario, right broadly set up. There's no way this

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Speaker 1: would go down like this in any world. Somehow Keaton

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Speaker 1: makes it work when she's handed the baby. I love

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Speaker 1: how her instinct is to immediately kind of drop the

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Speaker 1: kid out of frame, like not to the floor, but

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Speaker 1: just like you would when you're handed a book or

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Speaker 1: something you don't that's a pain to be given where.

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Speaker 2: You're like, I don't need a loaded weight. Loaded weight just.

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Speaker 1: Drops the kid out of the scene then quickly hands

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Speaker 1: her back to the woman. And I think in this

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Speaker 1: scene she actually hands the kid back twice. There's like

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Speaker 1: a double refusal. And really every movement she makes here

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Speaker 1: is just on point. I love how she acts surprised

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Speaker 1: whenever the kid moves or makes a noise. It's like

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Speaker 1: she doesn't understand how the package suddenly became sentient, right,

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Speaker 1: And even like the next three or four scenes, she's

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Speaker 1: carrying this kid around like luggage. It's just a nice,

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Speaker 1: amusing touch. I got to say too. Throughout this movie,

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Speaker 1: the toddler's played by twins Christina and Michelle Kennedy, and

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Speaker 1: Little Elizabeth is the girl's name in the movie. They're

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Speaker 1: kind of amazing how they interact with adults, and they

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Speaker 1: actually add a little something to their scenes as well,

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Speaker 1: and Keaton of course plays off that beautifully. I also

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Speaker 1: want to give a little crewdit here to the director

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Speaker 1: Charles Schier for this airport sequence, because just a nice

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Speaker 1: touch where the camera pushes in at the end for

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Speaker 1: that moment when the girl kind of mumbles something, and

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Speaker 1: that's where Keaton just did a panic, says mother mother,

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Speaker 1: So really nice little bit of filmmaking to add to

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Speaker 1: the comedy there. Speaking of Shier, he wrote Baby Boom

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Speaker 1: with Nancy Myers, and there's a line in here from

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Speaker 1: Jac's boss. He tells her Something's got to give. And

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Speaker 1: of course, yeah, that'll become the title of a Meyers

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Speaker 1: written and directed Keaton's starring film. Maybe they'll come up later.

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Speaker 1: Just two thousand and three, Something's got to Give with

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Speaker 1: Keaton there and Jack Nicholson. So yeah, we'll see what

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Speaker 1: happens when it comes to the rest of our picks.

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Speaker 1: But Baby Boom was a fun rewatch solely on the

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Speaker 1: strength of Keaton.

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Speaker 2: A great choice. My only disappointment in you choosing it

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Speaker 2: is I was pretty sure that we would have at

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Speaker 2: least two overlapping films, if not scenes maybe a third

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Speaker 2: overlapping film, and I thought one of the ways to

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Speaker 2: distinguish our list, so one of the films that would

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Speaker 2: distinguish our lists, I thought it might be Baby Boom.

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Speaker 2: But there you go, choosing Baby Boom at five and Josh,

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Speaker 2: I also have Baby Boom at five, And I didn't

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Speaker 2: have to rewatch Baby Boom because I watched it enough

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Speaker 2: times in nineteen eighty seven, in nineteen eighty eight. It's

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Speaker 2: a film that was on HBO constantly. My family, my

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Speaker 2: parents enjoyed the movie quite a bit. We almost surely

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Speaker 2: recorded it our own VHS copy off of HBO, so

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Speaker 2: when it went off HBO, we could watch it whenever

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Speaker 2: we wanted. And I was thinking about this too. It

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Speaker 2: was it had to be my introduction to Keaton. It

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Speaker 2: had to be my first Diane Keaton. Yeah, that makes sense.

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Speaker 2: Uh huh. Now you said, if it works, it's attributed

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Speaker 2: to her, But let's not forget that Sam Shepherd's pretty

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Speaker 2: great and almost everything he's in and I do think

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Speaker 2: their chemistry is part of what works here. I'm a romantic.

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Speaker 2: I'm a romantic.

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Speaker 1: They maybe the most absurd element in the film, but

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Speaker 1: you're right, you have comists.

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Speaker 2: When when when he is looking at her in front

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Speaker 2: of a refrigerator, or he moves in for the kiss

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Speaker 2: when changing the tire, it works And those are scenes

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Speaker 2: that I considered. But what I went with the payoff scene,

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Speaker 2: her declining the big offer for Country Baby, and the

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Speaker 2: financial windfall and the title and the power she's been

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Speaker 2: chasing the whole movie is so satisfying. What I really love, though,

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Speaker 2: is the walk from the bathroom back to the boardroom.

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Speaker 2: She's taken a few minutes to think it over, she

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Speaker 2: has stepped out, but the reality is that she knows,

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Speaker 2: and we as the audience know, or we feel like

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Speaker 2: we know, based on her body language, that she's taken

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Speaker 2: the deal. She's taking it right. And speaking of body language,

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Speaker 2: one of the great comedic bits, one of the great

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Speaker 2: little bits of physical comedy in the Boardroom by Keaton

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Speaker 2: is how she starts bouncing her legs up and down

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Speaker 2: so quickly under the table once the money starts getting mentioned,

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Speaker 2: like one of the business guys has to comment on

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Speaker 2: it because he doesn't know where that noise is coming from.

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Speaker 2: But it's just her bouncing her knees underneath the table.

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Speaker 2: She goes to the bathroom, she's in front of the

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Speaker 2: mirror and she says it.

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Speaker 3: I'm back.

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Speaker 2: I'm yeah, I'm back. That's right. It's what she's been

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Speaker 2: building towards the entire movie, and she's finally got it.

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Speaker 2: But she does end up walking into the boardroom and

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Speaker 2: declining the offer and Josh in twenty seconds, it's twenty

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Speaker 2: seconds of screen time walking down the hallway from the

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Speaker 2: bathroom to the boardroom, and Keaton has to convince us

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Speaker 2: in those twenty seconds that it takes that everything she

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Speaker 2: has chased the entire movie, her entire career, is worth rejecting,

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Speaker 2: because it would mean sacrificing the type of love she's

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Speaker 2: built with her daughter, the type of life she's built,

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Speaker 2: the home they've built, the man she's in love with.

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Speaker 2: That she would be sacrificing that love, that life, all

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Speaker 2: just to be back in the rat race. And we

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Speaker 2: have to believe that she has thought about all of

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Speaker 2: that and come to a new decision. In those twenty seconds,

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Speaker 2: you get a little bit of a wistful bill CONTI score,

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Speaker 2: but that's it. And I'm going to give Charles Shier,

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Speaker 2: the director, some credit here myself, because the camera is

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Speaker 2: just on Keaton and it's a subtle tracking shot that

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Speaker 2: just pulls back as she walks forward. And I think

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Speaker 2: a lot of directors here wouldn't have trusted the audience,

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Speaker 2: and maybe wouldn't have trusted the actress, would have gone

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Speaker 2: for the schmaltz, and they would have felt the need

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Speaker 2: to layer in shots of the baby, shots of Shepherd

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Speaker 2: moments from the movie that we've seen of them laughing

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Speaker 2: and loving, so we were absolutely clear that that's what

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Speaker 2: she's thinking about, that that's what she's processing, and that's

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Speaker 2: why she's about to walk into the boardroom and reject

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Speaker 2: the deal. But he doesn't need to do that, Josh,

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Speaker 2: because he's got Diane Keaton, and she does deliver all

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Speaker 2: of that. We see it play out on her face

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Speaker 2: in those twenty seconds, the fast confidence gait as she

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Speaker 2: walks out of the bathroom that gets slower, and her

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Speaker 2: eyes tilting down and around instead of forward where she

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Speaker 2: was focused right on that door, the breath getting a

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Speaker 2: little heavier. There is this one look and she does

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Speaker 2: this in every great scene of Keaton's I found there's

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Speaker 2: one moment like this, Josh. There's one look and gesture

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Speaker 2: she makes. And in the YouTube clip that I'm going

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Speaker 2: to post on our top five page and I'll post

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Speaker 2: in the show notes. We'll link to that top five page,

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Speaker 2: or if you just go to YouTube and google it,

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Speaker 2: google Baby Boom an investment opportunity. It's the moment on

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Speaker 2: her face at the six minutes seventeen mark. Okay, it's

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Speaker 2: just something very very subtle. She does with her mouth

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Speaker 2: and with her eyes that you sort of feel like

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Speaker 2: Keaton can only deliver. And that's the moment where she's

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Speaker 2: registering that she now knows what to do, that it's clicked,

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Speaker 2: she gets it, and after that the confidence is back,

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Speaker 2: the eyes are forward again, but the mission is different.

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Speaker 2: And then of course the boardroom rejection itself is a

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Speaker 2: lot of fun because all of those chauvinus in the

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Speaker 2: room get there, come up, and so that we've kind

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Speaker 2: of been hoping for as viewers the entire time. So

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Speaker 2: bathroom to boardroom is my favorite. It's my favorite Diane

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Speaker 2: Keaton acting moment in the film for sure.

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Speaker 1: Yeah, smart move to just trust her with that moment

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Speaker 1: as well. And maybe this is an instance too, that

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Speaker 1: entire sequence, that climactic sequence where you see that feisty

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Speaker 1: core coming a little bit more to the forefront compared

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Speaker 1: to some of her other performances too. Adam, you know

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Speaker 1: I missed twenty eight years later The Bone Temple when

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Speaker 1: it first came out. You had Roxanna Hadadi on the

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Speaker 1: show to review that one. I had to see it,

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Speaker 1: and I had to see it on a big screen,

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Speaker 1: and I was starting to get worried that it was

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Speaker 1: going to leave and make its way to streaming and DVD.

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Speaker 1: So this past week I did that. I rushed to

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Speaker 1: the closest theater to me to get that big screen experience.

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Speaker 1: And yeah, we'll have to talk about The Bone Temple

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Speaker 1: at some point because it is a wild, wild movie.

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Speaker 1: I know most of our listeners feel the same way.

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00:21:16,765 --> 00:21:18,205
Speaker 1: I mean, they watch a lot of stuff at home,

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Speaker 1: but it is that big screen experience that they prioritize.

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Speaker 1: They go to the theater regularly, and those listeners need

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Speaker 2: All right, So at number.

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Speaker 1: Four, I'm going to call this one ingmar Bergmann and

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Speaker 1: it comes from Manhattan. Yeah, so Keaton and Allen, all right,

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Speaker 1: we have to talk about her work with Woody Hellen,

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Speaker 1: of course, in order to consider the full scope of

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Speaker 1: her career. Manhattan, I don't know, probably more of a

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Speaker 1: problem picture than Annie Hall in this sense. I mean

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Speaker 1: Allen's character with dating is dating a seventeen year old

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Speaker 1: played primary Levingway.

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Speaker 2: That's evident in the scene you chose Josh.

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Speaker 1: Yes exactly, and you know, Yeah, I'll just say this,

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Speaker 1: if you can separate art from artist, and I personally

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Speaker 1: find it especially difficult to do that with Alan, but

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Speaker 1: if you can, Manhattan as a whole is a formidable

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Speaker 1: movie for a lot of reasons. And Keaton is absolutely

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Speaker 1: great in it. You're right. The scene that I want

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Speaker 1: to talk about, Hemingway is in it. It's after Keaton's

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Speaker 1: Mary has been introduced to Alan and Hemingway's cares at

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Speaker 1: an art gallery. So they're talking. They're all talking as

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00:23:24,605 --> 00:23:27,805
Speaker 1: a group while walking down the street. Michael Murphy's Yale

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Speaker 1: is with them as well, so there's four of them

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Speaker 1: and they're discussing quote unquote overrated artists.

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Speaker 2: You guys don't want to leave out Mozart. I mean

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Speaker 2: a lot of your trashing people.

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Speaker 1: Oh well, how about Vincent ben got or in more

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Speaker 1: artist In a sense in this scene, Keaton's breezy sort

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Speaker 1: of pontificating her. Mary is kind of an Allen type, right,

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Speaker 1: the opinionating the pattern. You can easily imagine him delivering

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Speaker 1: some of these same lines about overrated artists in another movie.

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Speaker 1: Makes sense he wrote the script. For me, it's not

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Speaker 1: so much Mary's perspective on art in this sequence that

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Speaker 1: necessarily makes this a great scene. I mean, forget Bergman,

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Speaker 1: cheap handwaves, Vincent van Gogh. She's really really going for

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Speaker 1: it here, yes and pronouncing it, you know, the Dutch way.

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Speaker 2: Of course.

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Speaker 1: For me, it's more about the way Keaton wields may

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Speaker 1: Mary's opinions like a scalpel to absolutely nail the woody

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Speaker 1: Allen ethos doing. You see don't you guys see that

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Speaker 1: it is the dignifying of one's own psychological and sexual

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Speaker 1: hangups by attaching him to these grandiose philosophical issues.

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Speaker 3: That's what it is.

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Speaker 1: That's in a nutshell when it comes to Allan's work.

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Speaker 1: And yes, we understand the metal levels at play here

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Speaker 1: with alan s screenwriter, what Mary is saying about Bergman,

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Speaker 1: Woody Allan is saying about Woody Allen. We can debate

431
00:24:50,245 --> 00:24:53,245
Speaker 1: how much value there is in self awareness without self correction.

432
00:24:53,365 --> 00:24:56,285
Speaker 1: That's a whole other topic overall. Again, for me, the

433
00:24:56,325 --> 00:25:00,845
Speaker 1: scene works because it's being delivered by Keaton so expertly.

434
00:25:00,925 --> 00:25:03,685
Speaker 1: I've described her before as the Woody Allen tonic I

435
00:25:03,765 --> 00:25:07,605
Speaker 1: need in their movies together, and certainly that's what she's

436
00:25:07,605 --> 00:25:09,885
Speaker 1: doing here in the scene from Manhattan.

437
00:25:10,645 --> 00:25:12,845
Speaker 2: Yeah, I understand why if you had to put a

438
00:25:12,925 --> 00:25:15,445
Speaker 2: label on it, you'd call it Ingmar Bergman, but I

439
00:25:15,565 --> 00:25:18,605
Speaker 2: probably would call it Van Goch because that's the most

440
00:25:18,645 --> 00:25:21,645
Speaker 2: memorable part of that scene is the mis unciation of

441
00:25:21,645 --> 00:25:24,765
Speaker 2: that and how how Alan has to turn to Hemingway

442
00:25:24,805 --> 00:25:27,205
Speaker 2: and he just can't believe that that she's even mis

443
00:25:27,485 --> 00:25:31,485
Speaker 2: pronouncing it. In addition to, you know, saying something terrible

444
00:25:31,645 --> 00:25:35,685
Speaker 2: about his work. It's not even yeah, that's the Dutch way, Adam.

445
00:25:35,725 --> 00:25:38,165
Speaker 1: We oh, we had, of course, we had a seminar

446
00:25:38,485 --> 00:25:41,365
Speaker 1: here at my program and it was wonderful because someone

447
00:25:41,445 --> 00:25:44,565
Speaker 1: was presenting on van Go and the professor introducing was like,

448
00:25:44,605 --> 00:25:47,325
Speaker 1: we're getting this out of the way. Okay, everyone here

449
00:25:47,765 --> 00:25:49,245
Speaker 1: can say it however they want.

450
00:25:49,525 --> 00:25:50,565
Speaker 2: There is no shame.

451
00:25:51,205 --> 00:25:53,925
Speaker 1: We're just going to have a conversation and don't worry

452
00:25:53,925 --> 00:25:55,085
Speaker 1: about how you're pronouncing the name.

453
00:25:55,165 --> 00:25:57,325
Speaker 2: I was like, oh this I like this place. Okay,

454
00:25:57,365 --> 00:26:00,525
Speaker 2: so yeah, I shouldn't say that it's being pronounced incorrectly.

455
00:26:01,125 --> 00:26:03,805
Speaker 2: It's just not being pronounced the way anybody else in

456
00:26:03,845 --> 00:26:06,525
Speaker 2: New York cud. He probably says it and she's being

457
00:26:06,525 --> 00:26:09,405
Speaker 2: a little pretentious or a lot party little, right, a little,

458
00:26:09,525 --> 00:26:12,805
Speaker 2: and that's what he's He's trying to skeure Alan's character

459
00:26:12,925 --> 00:26:16,405
Speaker 2: there in the film. It's not even and I'm just

460
00:26:16,485 --> 00:26:19,165
Speaker 2: gonna mention this, right, it's not that Hemingway's in the

461
00:26:19,205 --> 00:26:22,765
Speaker 2: scene that that makes it problematic. It's the fact that

462
00:26:23,445 --> 00:26:26,365
Speaker 2: Mary even calls out the fact what do you do?

463
00:26:26,445 --> 00:26:30,685
Speaker 2: And she says, I'm in high school and she books Knabokoff. Okay,

464
00:26:31,005 --> 00:26:33,645
Speaker 2: but we'll move on from Manhattan. It's not going to

465
00:26:33,685 --> 00:26:36,445
Speaker 2: come up on my list, even though I feel the

466
00:26:36,445 --> 00:26:40,045
Speaker 2: same way about the film that you do. So here's

467
00:26:40,085 --> 00:26:43,685
Speaker 2: another one where I fear we're going to have some overlap,

468
00:26:43,965 --> 00:26:48,925
Speaker 2: and it's a scene from the movie Reds, directed by

469
00:26:49,165 --> 00:26:52,205
Speaker 2: Warren Batty, who in the book she talks about this

470
00:26:52,365 --> 00:26:56,365
Speaker 2: there really were kind of three great loves of her life,

471
00:26:56,485 --> 00:27:01,085
Speaker 2: three great romances, and the most fleeting of them because

472
00:27:01,085 --> 00:27:03,125
Speaker 2: I don't know to what extent other than Anette Benning

473
00:27:03,605 --> 00:27:07,325
Speaker 2: Warren Batty ever had any real significant romances. You know,

474
00:27:07,365 --> 00:27:11,685
Speaker 2: she had a relationship with Warren. She had a relationship

475
00:27:11,845 --> 00:27:16,285
Speaker 2: with Woody Allen obviously, and then the man that she

476
00:27:17,165 --> 00:27:21,925
Speaker 2: most was enamored with and wanted to marry, but he

477
00:27:22,005 --> 00:27:25,885
Speaker 2: would never reciprocate that desire anyway. But they were very

478
00:27:25,925 --> 00:27:29,005
Speaker 2: much in love for a long time is al Pacino. Actually.

479
00:27:29,525 --> 00:27:33,685
Speaker 2: But back to Warren Batty and Red's. I use this

480
00:27:33,765 --> 00:27:37,085
Speaker 2: scene during our top five Jack Nicholson scenes, and I thought,

481
00:27:37,525 --> 00:27:40,245
Speaker 2: why not just approach it now from the other perspective,

482
00:27:40,445 --> 00:27:45,005
Speaker 2: because it's a two hander. She plays Louise Bryant, who

483
00:27:45,085 --> 00:27:48,165
Speaker 2: was the suffragist and a journalist, leaves her husband to

484
00:27:48,205 --> 00:27:53,485
Speaker 2: marry the charismatic John Reid played by Baty. They meet

485
00:27:53,685 --> 00:27:57,205
Speaker 2: some more activists like Eugene O'Neil, the playwright played by Nicholson,

486
00:27:57,245 --> 00:27:59,885
Speaker 2: and Greenwich Village, and then they end up moving out

487
00:27:59,925 --> 00:28:05,205
Speaker 2: to whereas it Provincetown in Massachusetts to get involved in

488
00:28:05,245 --> 00:28:08,365
Speaker 2: the theater. O'Neill's there, right, and she's doing some acting

489
00:28:09,045 --> 00:28:15,005
Speaker 2: there in his plays. What's interesting about this, Josh, is

490
00:28:15,005 --> 00:28:18,445
Speaker 2: that she got nominated for Best Supporting Actress. She didn't win,

491
00:28:18,485 --> 00:28:20,965
Speaker 2: but she got nominated for it. I know you love

492
00:28:21,165 --> 00:28:23,205
Speaker 2: this movie now that you've seen it. I've always loved

493
00:28:23,205 --> 00:28:26,325
Speaker 2: this movie, and I really love this performance. In the book,

494
00:28:27,285 --> 00:28:29,525
Speaker 2: she doesn't dwell on the making of the movie much,

495
00:28:29,685 --> 00:28:31,725
Speaker 2: but most of what she says about it is how

496
00:28:31,765 --> 00:28:35,525
Speaker 2: hard it was to make and how she didn't work

497
00:28:35,605 --> 00:28:39,565
Speaker 2: well with Warren, not because of any romantic involvement that

498
00:28:39,605 --> 00:28:42,085
Speaker 2: they had previously, but just because he was a perfectionist

499
00:28:42,405 --> 00:28:44,725
Speaker 2: and that's his reputation, right. That's not the way she

500
00:28:44,805 --> 00:28:47,285
Speaker 2: likes to work. He was one of those perfectionist directors

501
00:28:47,325 --> 00:28:51,005
Speaker 2: who shot forty takes of everything. This is how she

502
00:28:51,085 --> 00:28:54,205
Speaker 2: describes it, sometimes it felt like I was being stun gunned.

503
00:28:54,645 --> 00:28:57,085
Speaker 2: Even now, I can't say my performance is my own.

504
00:28:57,405 --> 00:29:00,325
Speaker 2: It was more like a reaction to Warren. Yeah, that's

505
00:29:00,365 --> 00:29:05,085
Speaker 2: what it was, a response to the effect of Warren Batty. Well,

506
00:29:05,605 --> 00:29:08,925
Speaker 2: you know what a performance that's a response to the

507
00:29:08,965 --> 00:29:11,885
Speaker 2: effect of Warren Batty, I guess is still pretty darn

508
00:29:11,925 --> 00:29:17,845
Speaker 2: effective the way that manifests on screen. She also mentions

509
00:29:17,925 --> 00:29:21,965
Speaker 2: Josh that it took shooting the train scene, which is

510
00:29:22,005 --> 00:29:25,885
Speaker 2: the reunion moment in this film for those two characters,

511
00:29:26,165 --> 00:29:29,805
Speaker 2: for her to find any or to take any pride

512
00:29:29,805 --> 00:29:32,725
Speaker 2: in the character. And that scene alone took like sixty

513
00:29:32,765 --> 00:29:36,445
Speaker 2: five takes, but she did. That's where she finally broke

514
00:29:36,525 --> 00:29:39,325
Speaker 2: through with her own character, and the way she frames

515
00:29:39,365 --> 00:29:43,005
Speaker 2: it like she stopped judging the character and finally loved

516
00:29:43,725 --> 00:29:46,485
Speaker 2: the character. The reason she didn't like her, I do

517
00:29:46,525 --> 00:29:49,205
Speaker 2: want to mention this, She says that she wasn't prepared

518
00:29:49,245 --> 00:29:52,325
Speaker 2: to play Louise Bryant. She was less romantic than she

519
00:29:52,405 --> 00:29:55,685
Speaker 2: had imagined. She became my cross to bear. I didn't

520
00:29:55,805 --> 00:29:59,045
Speaker 2: like her. There was nothing charming about her will to

521
00:29:59,085 --> 00:30:02,165
Speaker 2: be recognized as an artist in her own right. She

522
00:30:02,325 --> 00:30:05,405
Speaker 2: says that her pursuit of John Reid was suspect and

523
00:30:05,445 --> 00:30:10,005
Speaker 2: frankly laced with envy. I hated her. It was a problem. Wow,

524
00:30:10,045 --> 00:30:12,525
Speaker 2: that's how she described the character she was playing. So

525
00:30:12,885 --> 00:30:15,005
Speaker 2: I don't know what point in the shoot they shot

526
00:30:15,085 --> 00:30:17,445
Speaker 2: the train scene, but it took that for her to

527
00:30:17,845 --> 00:30:20,725
Speaker 2: get over this cross that she was bearing for Louise Bryant.

528
00:30:21,045 --> 00:30:25,045
Speaker 2: So you can see I think in this scene with Nicholson,

529
00:30:25,205 --> 00:30:28,245
Speaker 2: with Eugene O'Neil in Provence sound why she might have

530
00:30:28,325 --> 00:30:34,485
Speaker 2: struggled with this character. The number of emotions that she

531
00:30:34,605 --> 00:30:39,405
Speaker 2: has to evoke in what is a five minute scene

532
00:30:39,525 --> 00:30:43,205
Speaker 2: is daunting. She starts off as the fawning actress, and

533
00:30:43,245 --> 00:30:47,245
Speaker 2: then she turns sore and apologetic, and then she's seductive

534
00:30:47,285 --> 00:30:50,125
Speaker 2: and trying to assume power, and that's all Josh within

535
00:30:50,405 --> 00:30:53,805
Speaker 2: thirty seconds or less. And then and then she's defiant

536
00:30:53,845 --> 00:30:59,125
Speaker 2: and abrasive, and the way Bryant, the character of course

537
00:30:59,205 --> 00:31:03,965
Speaker 2: Keaton portraying her, betrays herself. There's a line where she says,

538
00:31:04,485 --> 00:31:07,645
Speaker 2: you may feel that way I don't about something that

539
00:31:08,405 --> 00:31:11,605
Speaker 2: he has zinged her with, and she says it with

540
00:31:11,645 --> 00:31:14,405
Speaker 2: some smugness, like she's kind of above it all. You know,

541
00:31:14,485 --> 00:31:17,805
Speaker 2: she's refuting his charge. And I love I love what

542
00:31:17,805 --> 00:31:19,925
Speaker 2: she does. And this is something that she does playing

543
00:31:19,965 --> 00:31:24,965
Speaker 2: Mary too. She plays Mary in Manhattan, a character who

544
00:31:25,005 --> 00:31:29,845
Speaker 2: is not insecure or who projects confidence. Notice how her

545
00:31:29,925 --> 00:31:33,725
Speaker 2: posture is like perfect. She's very rigid, the way she

546
00:31:33,765 --> 00:31:36,125
Speaker 2: walks in this scene, in this moment when she has

547
00:31:36,165 --> 00:31:39,565
Speaker 2: to project this confidence. All of a sudden, when the

548
00:31:39,565 --> 00:31:42,445
Speaker 2: camera cuts back to her, she's like she's sitting back

549
00:31:42,445 --> 00:31:45,125
Speaker 2: in the chair, her shoulders are completely back. In this

550
00:31:45,205 --> 00:31:49,045
Speaker 2: whiskey bottle that's been a prop throughout the scene, she's

551
00:31:49,085 --> 00:31:51,165
Speaker 2: now holding it and she's holding it off to the

552
00:31:51,245 --> 00:31:54,125
Speaker 2: side in her hand like she's a pirate with a

553
00:31:54,165 --> 00:31:56,525
Speaker 2: whiskey bottle. You know, it's almost like she she's all

554
00:31:56,525 --> 00:31:59,845
Speaker 2: of a sudden, got this this machismo about her. Almost

555
00:31:59,885 --> 00:32:03,765
Speaker 2: it's it's anything but you know, a quote unquote feeble woman.

556
00:32:04,365 --> 00:32:08,485
Speaker 2: And and then he he says something else about how

557
00:32:08,565 --> 00:32:12,485
Speaker 2: he would treat her, and and how John isn't John

558
00:32:12,525 --> 00:32:16,605
Speaker 2: Reid isn't possessive enough about her, and she describes that

559
00:32:16,645 --> 00:32:20,485
Speaker 2: as a waste of time. And and Keaton, she tells

560
00:32:20,485 --> 00:32:24,005
Speaker 2: you that the case characters lying just by looking away.

561
00:32:24,165 --> 00:32:27,325
Speaker 2: She looks away and you see in her eyes how this,

562
00:32:27,565 --> 00:32:30,685
Speaker 2: how this registers with her, that she's trying to deny it.

563
00:32:31,445 --> 00:32:34,685
Speaker 2: But it's clearly hitting it's clearly striking a chord, it

564
00:32:34,725 --> 00:32:37,045
Speaker 2: is hitting a mark with her. And I mentioned the

565
00:32:37,045 --> 00:32:40,605
Speaker 2: whiskey bottle because it's it's changing hands and it's it's

566
00:32:40,645 --> 00:32:43,245
Speaker 2: moving around in this scene. I would I would recommend

567
00:32:44,005 --> 00:32:47,405
Speaker 2: to any actors or actresses out there, any performers out there,

568
00:32:47,565 --> 00:32:49,925
Speaker 2: if you need a scene study and you're doing anything

569
00:32:50,085 --> 00:32:54,285
Speaker 2: about how to incorporate props and do a scene, watch

570
00:32:54,365 --> 00:32:56,845
Speaker 2: the watch this scene and watch how the whiskey bottle

571
00:32:56,925 --> 00:33:01,165
Speaker 2: is used, because it it's a key part of the movie.

572
00:33:01,365 --> 00:33:05,245
Speaker 2: She hands it to him at this point, but Josh,

573
00:33:05,285 --> 00:33:08,325
Speaker 2: the moment of the scene, the moment the dagger, it's

574
00:33:08,405 --> 00:33:11,885
Speaker 2: Nicholson's best moment, but it doesn't work without Keaton's response.

575
00:33:12,645 --> 00:33:16,205
Speaker 2: I I focused on this during the Nicholson Top five

576
00:33:16,325 --> 00:33:19,205
Speaker 2: when he says to her, it's it's still just maybe

577
00:33:19,765 --> 00:33:24,125
Speaker 2: honestly one of the best, one of the best written

578
00:33:24,125 --> 00:33:28,725
Speaker 2: lines in all of movies, because it's romantic as hell,

579
00:33:29,405 --> 00:33:33,205
Speaker 2: it's sexy as hell, but it's also mean.

580
00:33:33,925 --> 00:33:36,245
Speaker 3: If you were mine. I wouldn't share you with anybody

581
00:33:36,365 --> 00:33:40,565
Speaker 3: or anything. It would be just you and me. You'd

582
00:33:40,605 --> 00:33:45,245
Speaker 3: be at the center of it all, you know, I

583
00:33:45,245 --> 00:33:47,685
Speaker 3: would feel a lot more like love than being left

584
00:33:47,725 --> 00:33:48,685
Speaker 3: alone with your work.

585
00:33:49,605 --> 00:33:53,885
Speaker 2: And you see her still face and Keaton's eyes are glistening.

586
00:33:54,685 --> 00:33:57,445
Speaker 2: You can tell what she's trying to hold back. And

587
00:33:57,885 --> 00:33:59,965
Speaker 2: when he gets to that word center, she does this.

588
00:34:00,125 --> 00:34:03,005
Speaker 2: Here's this gesture, Josh. She does this, just little thing

589
00:34:03,045 --> 00:34:06,445
Speaker 2: with her mouth and eyebrow, as if what it says

590
00:34:06,485 --> 00:34:08,964
Speaker 2: to me, I'd love for one hundred people to watch

591
00:34:08,965 --> 00:34:11,685
Speaker 2: it and tell me what you think she's saying with

592
00:34:11,725 --> 00:34:14,685
Speaker 2: her mouth and eyebrow. To me, it's like she's saying

593
00:34:14,765 --> 00:34:18,325
Speaker 2: back to him, oh, oh, that's what you would do, right,

594
00:34:18,445 --> 00:34:24,045
Speaker 2: because love's that easy. Sure, But it's almost like that

595
00:34:24,085 --> 00:34:27,125
Speaker 2: gesture in Baby Boom in the hallway, just this silent,

596
00:34:27,645 --> 00:34:33,445
Speaker 2: small moment that you feel like, somehow only she could deliver.

597
00:34:33,845 --> 00:34:37,445
Speaker 2: And here, at this point in the scene, it's the

598
00:34:37,485 --> 00:34:39,765
Speaker 2: most wounded this character has been and the most vulnerable

599
00:34:39,805 --> 00:34:42,205
Speaker 2: the character has been. And then she's back to rustling

600
00:34:42,205 --> 00:34:44,645
Speaker 2: papers and trying to act like she's in complete control.

601
00:34:45,645 --> 00:34:49,325
Speaker 2: The difficulty it would have been or how difficult it

602
00:34:49,325 --> 00:34:53,165
Speaker 2: would have been to play Louise Bryant. I can see,

603
00:34:53,725 --> 00:34:57,085
Speaker 2: I can see why she might have struggled with this character.

604
00:34:57,485 --> 00:35:00,525
Speaker 2: But you watch scenes like this and you feel like

605
00:35:01,245 --> 00:35:03,925
Speaker 2: you feel like Keaton was in control of the character somehow.

606
00:35:04,605 --> 00:35:06,925
Speaker 1: It's funny you mentioned the whiskey bottle. I've got a

607
00:35:06,925 --> 00:35:10,485
Speaker 1: pick involving not centering around, but does involve her use

608
00:35:10,485 --> 00:35:13,404
Speaker 1: of a wine bottle, which came to mind. We'll get

609
00:35:13,445 --> 00:35:15,285
Speaker 1: that into that in a bit, and we'll get to

610
00:35:15,325 --> 00:35:17,485
Speaker 1: Reds in a bit. I'd love to reshuffle things so

611
00:35:17,525 --> 00:35:20,005
Speaker 1: that we could continue talking about Reds, because you're right.

612
00:35:20,045 --> 00:35:21,965
Speaker 1: I did kind of in love with it when I

613
00:35:22,005 --> 00:35:25,045
Speaker 1: caught up with it, but so much to the point

614
00:35:25,085 --> 00:35:26,765
Speaker 1: that I've got it higher on my list, and I

615
00:35:26,805 --> 00:35:29,605
Speaker 1: need to get to a few other picks first. So

616
00:35:30,005 --> 00:35:33,805
Speaker 1: at number three, I'm going with this line from The

617
00:35:33,805 --> 00:35:37,325
Speaker 1: Godfather Part two. At this moment, I feel no love.

618
00:35:37,205 --> 00:35:39,325
Speaker 2: For you at all.

619
00:35:39,445 --> 00:35:43,725
Speaker 1: If people tend to forget or downplay that Diane Keaton

620
00:35:44,085 --> 00:35:47,364
Speaker 1: is in the Godfather films, it's no fault of her.

621
00:35:47,565 --> 00:35:51,445
Speaker 1: She is terrific in the few scenes she has, and

622
00:35:51,525 --> 00:35:55,165
Speaker 1: working mostly in a different register than what I think

623
00:35:55,245 --> 00:35:58,445
Speaker 1: we're used to, and so as a nod to her

624
00:35:58,445 --> 00:36:03,445
Speaker 1: performance performances as Kay Adam's wife of al Pacino's Michael Carlyon,

625
00:36:03,525 --> 00:36:06,165
Speaker 1: I'm going to go with this scene from The Godfather

626
00:36:06,245 --> 00:36:10,125
Speaker 1: Part two. So this is shortly after the movie's intermission,

627
00:36:10,965 --> 00:36:14,485
Speaker 1: and it's a meeting between Kay and Michael where she

628
00:36:14,685 --> 00:36:19,565
Speaker 1: tells him she's leaving and she's taking the children. Kay,

629
00:36:19,685 --> 00:36:24,045
Speaker 1: as many people know, is essentially the conscience of these movies,

630
00:36:24,285 --> 00:36:27,925
Speaker 1: but often in the background, right and just she's the

631
00:36:27,965 --> 00:36:32,725
Speaker 1: observer here. Finally, she directly calls him out, telling him

632
00:36:32,805 --> 00:36:37,645
Speaker 1: he's become blind to his own moral decay. And I

633
00:36:37,725 --> 00:36:40,565
Speaker 1: want to talk about stillness too, Adam in terms of

634
00:36:40,605 --> 00:36:44,525
Speaker 1: the performance, and focus on how still she is in

635
00:36:44,525 --> 00:36:48,725
Speaker 1: this scene, because, as we've touched on, very common to

636
00:36:48,765 --> 00:36:51,805
Speaker 1: think of her as being in motion verbally in motion,

637
00:36:52,965 --> 00:36:57,485
Speaker 1: physically in motion, something with her arms, or even just

638
00:36:57,485 --> 00:37:00,885
Speaker 1: just circling the room in a scene. She's frequently walking

639
00:37:00,965 --> 00:37:02,365
Speaker 1: around a room.

640
00:37:02,765 --> 00:37:04,805
Speaker 2: In the scene. To use another f word.

641
00:37:05,085 --> 00:37:10,125
Speaker 1: Yeah yeah, maybe yeah yeah. Here No, it's totally different.

642
00:37:10,125 --> 00:37:12,925
Speaker 1: It's totally that Michael tries to shut her down at

643
00:37:12,965 --> 00:37:15,845
Speaker 1: one point, just just screams over at her and you

644
00:37:15,885 --> 00:37:19,125
Speaker 1: know in most of his meetings, that is the end

645
00:37:19,165 --> 00:37:24,165
Speaker 1: of it. But she just gets very still, very focused,

646
00:37:25,045 --> 00:37:28,965
Speaker 1: very quiet, and delivers just that brutal line with calm precision.

647
00:37:29,005 --> 00:37:31,605
Speaker 1: At this moment, I feel no love for you at all.

648
00:37:31,605 --> 00:37:34,525
Speaker 1: But her control doesn't last last that long. There's a

649
00:37:34,525 --> 00:37:37,005
Speaker 1: lot of as the red scene you just described, there's

650
00:37:37,045 --> 00:37:40,165
Speaker 1: a lot of fluctuations and variations and up and ups

651
00:37:40,205 --> 00:37:43,085
Speaker 1: and downs in this long scene. So he brings up

652
00:37:43,125 --> 00:37:46,885
Speaker 1: their lost baby, which he thinks was a miscarriage, and

653
00:37:46,965 --> 00:37:49,765
Speaker 1: she just goes fierce at this point.

654
00:37:49,805 --> 00:37:51,005
Speaker 3: Michael, you are blind.

655
00:37:53,685 --> 00:37:56,405
Speaker 2: It wasn't a miscarriage.

656
00:37:58,285 --> 00:37:59,245
Speaker 3: It was an abortion.

657
00:38:01,685 --> 00:38:06,445
Speaker 2: An abortion, Michael, just like our marriage is an abortion,

658
00:38:07,845 --> 00:38:11,085
Speaker 2: something that's unholy, an evil.

659
00:38:11,325 --> 00:38:15,085
Speaker 1: You get a sense that Kay was not planning to

660
00:38:15,165 --> 00:38:19,525
Speaker 1: bring this into her confrontation, but he went there. So

661
00:38:19,605 --> 00:38:22,565
Speaker 1: that's when she tells him she had an abortion because

662
00:38:22,565 --> 00:38:26,205
Speaker 1: she wouldn't bring another one of your sons into this world.

663
00:38:26,325 --> 00:38:30,844
Speaker 1: And there is a real nastiness to the performance here

664
00:38:30,885 --> 00:38:34,645
Speaker 1: because this is where Kay is hitting Michael absolutely where

665
00:38:34,645 --> 00:38:38,765
Speaker 1: it hurts, because he has this mythological, reverential idea of

666
00:38:38,805 --> 00:38:42,845
Speaker 1: the family right, completely hypocritical, we all know, but to

667
00:38:42,925 --> 00:38:46,405
Speaker 1: him in his mind, it's all about the family, and

668
00:38:47,205 --> 00:38:51,405
Speaker 1: she's she's used what power she had to obliterate that.

669
00:38:51,645 --> 00:38:54,165
Speaker 1: So I do think Keaton has asked to use very

670
00:38:54,165 --> 00:38:57,765
Speaker 1: different tools in the Godfather films. I just think she

671
00:38:57,845 --> 00:39:00,725
Speaker 1: does it incredibly well. So wanted to go with a

672
00:39:00,765 --> 00:39:02,005
Speaker 1: scene from one of them.

673
00:39:02,205 --> 00:39:06,125
Speaker 2: Yeah, I get it with The Godfather. In the book,

674
00:39:06,645 --> 00:39:10,285
Speaker 2: she speaks of it reverentially and talks about how important

675
00:39:10,285 --> 00:39:13,445
Speaker 2: it was, of course, but she spends almost no time

676
00:39:13,565 --> 00:39:17,485
Speaker 2: talking about the making of it or portraying Kay And

677
00:39:18,485 --> 00:39:20,685
Speaker 2: she is a little bit dismissive of it, Josh, because

678
00:39:20,685 --> 00:39:23,445
Speaker 2: she based says she doesn't know why she was cast

679
00:39:23,445 --> 00:39:26,805
Speaker 2: as that character. She was nothing like that character, and

680
00:39:27,285 --> 00:39:31,765
Speaker 2: she does admit that the character doesn't kind of exist,

681
00:39:32,125 --> 00:39:35,725
Speaker 2: that there's very little to that character, and that does

682
00:39:35,765 --> 00:39:38,045
Speaker 2: seem fair based on what we see in the movie.

683
00:39:38,565 --> 00:39:42,805
Speaker 2: That said, the moments that she gets like this one

684
00:39:43,805 --> 00:39:47,525
Speaker 2: Keaton delivers. Keaton makes up for that in moments Yeah,

685
00:39:47,605 --> 00:39:49,484
Speaker 2: like this one for sure. And you know, it's funny

686
00:39:49,525 --> 00:39:52,645
Speaker 2: about Keaton. We were talking about how maybe when you

687
00:39:52,685 --> 00:39:56,125
Speaker 2: look at the totality of her filmography, you don't see

688
00:39:56,485 --> 00:39:59,685
Speaker 2: it's top heavy. You see a couple of amazing movies

689
00:39:59,725 --> 00:40:02,805
Speaker 2: and amazing performances, and maybe not as much depth as

690
00:40:02,845 --> 00:40:06,525
Speaker 2: you would really like. But I think about iconic moments,

691
00:40:06,725 --> 00:40:08,925
Speaker 2: and I think about memorable lines, and maybe this is

692
00:40:08,965 --> 00:40:11,565
Speaker 2: only really memorable to me. But to go back to

693
00:40:11,605 --> 00:40:14,725
Speaker 2: your Manhattan scene, forget, you know, Van Gock. I will

694
00:40:14,765 --> 00:40:18,525
Speaker 2: always hear in my head, Mary, I'll always hear Keaton

695
00:40:18,565 --> 00:40:21,405
Speaker 2: saying I loved it at Radcliffe, but you get over it,

696
00:40:21,445 --> 00:40:23,924
Speaker 2: You absolutely get over it, you know, just the way

697
00:40:24,005 --> 00:40:26,965
Speaker 2: she says it, her cadence, and I will always hear, like,

698
00:40:27,005 --> 00:40:29,645
Speaker 2: I can't see. Here's where we're different, Josh. Here. I mean,

699
00:40:29,805 --> 00:40:31,484
Speaker 2: we're different in a lot of ways, but we've talked

700
00:40:31,485 --> 00:40:34,685
Speaker 2: about this. Here's where we're very different. You just talked

701
00:40:34,725 --> 00:40:37,565
Speaker 2: about that scene and you did not, at any point

702
00:40:37,565 --> 00:40:42,005
Speaker 2: feel compelled to go it was an abortion, Michael. I

703
00:40:42,045 --> 00:40:44,285
Speaker 2: would have had to say it that way. I would

704
00:40:44,285 --> 00:40:49,205
Speaker 2: have had to try gen mimic why ruined? Why would

705
00:40:49,205 --> 00:40:52,165
Speaker 2: I read because the great because trying to mimic it.

706
00:40:52,725 --> 00:40:55,205
Speaker 2: Because I can't. I can't have those words in my

707
00:40:55,325 --> 00:40:58,285
Speaker 2: head and not try to say them that way. That

708
00:40:58,685 --> 00:41:01,525
Speaker 2: they that sentence can't be said any other way. That's

709
00:41:01,645 --> 00:41:04,924
Speaker 2: that's how it sticks with me. Right, So there's another

710
00:41:04,965 --> 00:41:07,765
Speaker 2: one of these coming up. So she's given us some great,

711
00:41:08,165 --> 00:41:10,924
Speaker 2: great line readings. But for my number three, I'm gonna

712
00:41:10,965 --> 00:41:13,605
Speaker 2: go back. I'm gonna go back to Jack and Diane.

713
00:41:14,885 --> 00:41:17,965
Speaker 2: I'm not gonna I'm not gonna call it a great movie, Josh,

714
00:41:18,005 --> 00:41:19,805
Speaker 2: but this is the homework that I did that I

715
00:41:19,885 --> 00:41:24,404
Speaker 2: did find the most rewarding, especially because I found out

716
00:41:24,565 --> 00:41:26,725
Speaker 2: a few days later in the book that it's the

717
00:41:26,725 --> 00:41:31,005
Speaker 2: movie she calls her favorite of all of her movies.

718
00:41:31,085 --> 00:41:35,125
Speaker 2: It is Something's got to Give Now. Context is a

719
00:41:35,165 --> 00:41:39,045
Speaker 2: major part two thousand and three. She was fifty seven

720
00:41:39,205 --> 00:41:43,404
Speaker 2: and by her own words, she was washed up. This

721
00:41:43,525 --> 00:41:47,405
Speaker 2: movie brought her back, that's part of it. But working

722
00:41:47,445 --> 00:41:53,285
Speaker 2: with Nicholson again, she talks about as this magical energizing

723
00:41:53,885 --> 00:41:57,404
Speaker 2: experience and which you can feel, you can feel, and

724
00:41:58,205 --> 00:42:02,005
Speaker 2: she goes into great detail about how difficult it was

725
00:42:02,045 --> 00:42:04,565
Speaker 2: for her. In one one key scene, it's that it's

726
00:42:04,565 --> 00:42:07,445
Speaker 2: a scene where they come back in from where you

727
00:42:07,525 --> 00:42:10,245
Speaker 2: really see them connecting and you see the romance really

728
00:42:10,285 --> 00:42:12,725
Speaker 2: spark and they come in from the storm, and it's

729
00:42:12,765 --> 00:42:14,844
Speaker 2: when they have their first kiss. She talks about how

730
00:42:15,165 --> 00:42:17,605
Speaker 2: it was almost impossible for her. She kept screwing up

731
00:42:17,685 --> 00:42:22,325
Speaker 2: lines because it was impossible for her to separate Diane

732
00:42:23,045 --> 00:42:28,005
Speaker 2: and Erica the character from her. So that's that's what

733
00:42:28,045 --> 00:42:30,765
Speaker 2: it felt like for her to make that movie. Now

734
00:42:31,165 --> 00:42:33,485
Speaker 2: there is another part of it. It's I think, just

735
00:42:34,045 --> 00:42:39,285
Speaker 2: a great story to mention and speaks to the generosity

736
00:42:39,285 --> 00:42:43,365
Speaker 2: of Nicholson. She said that on the last day of

737
00:42:43,405 --> 00:42:47,085
Speaker 2: the shoot, Nicholson came up to her. They have this

738
00:42:47,125 --> 00:42:50,285
Speaker 2: great time together. Nicholson came up to her and whispered

739
00:42:50,285 --> 00:42:54,245
Speaker 2: something in her ear, a sentence, a phrase or something,

740
00:42:54,485 --> 00:42:58,685
Speaker 2: and she didn't really understand it. She kind of heard

741
00:42:58,685 --> 00:43:00,445
Speaker 2: a word or two, but really didn't get it, and

742
00:43:00,485 --> 00:43:02,485
Speaker 2: just kind of, you know, laughed or whatever. And they

743
00:43:02,525 --> 00:43:05,805
Speaker 2: embraced and he went on his way, and then the

744
00:43:05,845 --> 00:43:09,965
Speaker 2: movie came out and it's a big hit. And a

745
00:43:10,085 --> 00:43:14,125
Speaker 2: year later, or however long it is later, she goes

746
00:43:14,165 --> 00:43:18,325
Speaker 2: to the mail and a check shows up and the

747
00:43:18,405 --> 00:43:21,005
Speaker 2: checks goot as she you know, I think she described

748
00:43:21,205 --> 00:43:24,085
Speaker 2: that the checks got all these zeros after it. And

749
00:43:24,125 --> 00:43:26,805
Speaker 2: the thing that Nicholson whispered to her on the last

750
00:43:26,885 --> 00:43:30,685
Speaker 2: day of the shoot was that when he was negotiating

751
00:43:30,725 --> 00:43:33,725
Speaker 2: his contract for the movie. He gave her some of

752
00:43:33,725 --> 00:43:38,085
Speaker 2: his points on the movie that weren't in her contract,

753
00:43:38,325 --> 00:43:40,925
Speaker 2: So instead of just getting a salary for the movie,

754
00:43:41,045 --> 00:43:43,445
Speaker 2: he gave her at least a point on the movie.

755
00:43:43,445 --> 00:43:46,765
Speaker 2: She got a percentage because of Nicholson, and so she

756
00:43:47,205 --> 00:43:49,525
Speaker 2: got very rich off of Something's Got to Give, which

757
00:43:49,565 --> 00:43:52,965
Speaker 2: was another reason why she was eternally grateful to Nicholson

758
00:43:53,005 --> 00:43:55,605
Speaker 2: in that movie. Now I have to say, Keanu Reeves

759
00:43:55,685 --> 00:43:58,205
Speaker 2: is the younger doctor who's madly in love with her.

760
00:43:58,925 --> 00:44:01,325
Speaker 2: He might actually be my favorite performance in the movie.

761
00:44:01,605 --> 00:44:03,685
Speaker 2: But the scene that I'm going with the scene that

762
00:44:03,725 --> 00:44:06,725
Speaker 2: really stuck with me. And you know, so far, I

763
00:44:06,725 --> 00:44:12,125
Speaker 2: have largely picked scenes where her heavier emotional side comes through,

764
00:44:12,165 --> 00:44:14,565
Speaker 2: even though she is largely known as this comedic actress.

765
00:44:14,845 --> 00:44:17,165
Speaker 2: But the Baby Boom scene is one where we watch

766
00:44:17,205 --> 00:44:21,285
Speaker 2: her transform kind of from comedy to drama before our eyes.

767
00:44:21,605 --> 00:44:23,325
Speaker 2: And I think this scene is also so full of

768
00:44:23,325 --> 00:44:28,645
Speaker 2: pathos that I really identify that with with Keaton. It's

769
00:44:28,685 --> 00:44:34,165
Speaker 2: the scene right after they have finally slept together, and

770
00:44:35,125 --> 00:44:40,965
Speaker 2: this this night together has been incredible everything she and

771
00:44:41,045 --> 00:44:44,325
Speaker 2: it seems he could have hoped that it would be.

772
00:44:45,485 --> 00:44:48,725
Speaker 2: But then you have the awkward moment of where do

773
00:44:48,765 --> 00:44:52,765
Speaker 2: we go from here? What do we do now? And

774
00:44:53,725 --> 00:44:57,005
Speaker 2: Nicholson's character says, I think I should go back to

775
00:44:57,045 --> 00:45:00,765
Speaker 2: my room, and she has to take that in and

776
00:45:00,885 --> 00:45:04,845
Speaker 2: process what that means, what he's really saying when he

777
00:45:04,845 --> 00:45:07,045
Speaker 2: says that, because he's he's staying at her house, he

778
00:45:07,125 --> 00:45:09,845
Speaker 2: was initially just a guest at her house. Long story

779
00:45:09,845 --> 00:45:11,925
Speaker 2: if you haven't seen the movie. He's saying, I think

780
00:45:11,925 --> 00:45:14,125
Speaker 2: I should go back to my room, and she says,

781
00:45:14,285 --> 00:45:17,885
Speaker 2: all right, you usually send the girl home, but I

782
00:45:17,925 --> 00:45:23,245
Speaker 2: am home. The realization the moment Keaton has to realize

783
00:45:24,005 --> 00:45:28,165
Speaker 2: what he's really saying, that he is, as he describes himself,

784
00:45:28,325 --> 00:45:32,605
Speaker 2: an old dog who can't be taught new tricks, and

785
00:45:32,605 --> 00:45:35,005
Speaker 2: and she has to think about what what could she

786
00:45:35,045 --> 00:45:39,445
Speaker 2: have expected? You know, every everything she is expressing without

787
00:45:39,525 --> 00:45:43,805
Speaker 2: expressing it literally is how could I? How could I

788
00:45:43,845 --> 00:45:47,165
Speaker 2: have been so stupid? Right? But also she can't help

789
00:45:47,205 --> 00:45:50,525
Speaker 2: the way she feels, and and that's the conflict that

790
00:45:50,565 --> 00:45:53,725
Speaker 2: you just see in every in everything she's doing here

791
00:45:54,085 --> 00:45:57,005
Speaker 2: in this scene. She's trying to be so mature about

792
00:45:57,005 --> 00:46:01,645
Speaker 2: it because she is mature. She is this mature, intelligent woman.

793
00:46:01,725 --> 00:46:04,605
Speaker 2: But but she has feelings for this man that are

794
00:46:04,645 --> 00:46:07,925
Speaker 2: almost like, you know, a teenage girl, you know, or

795
00:46:07,965 --> 00:46:09,885
Speaker 2: almost like she feels like she's falling in love for

796
00:46:09,925 --> 00:46:13,485
Speaker 2: the first time, and she's so wounded by this. And

797
00:46:13,485 --> 00:46:18,884
Speaker 2: and here again, I'm drawn to gestures and pauses. She says, hey,

798
00:46:18,925 --> 00:46:24,405
Speaker 2: it's perfectly whatever, perfectly whatever. She suddenly tilts her head

799
00:46:24,525 --> 00:46:27,844
Speaker 2: and smiles just for a flash, like it reminded me

800
00:46:27,925 --> 00:46:30,485
Speaker 2: of I don't know, I'm gonna really date myself, even

801
00:46:30,525 --> 00:46:32,845
Speaker 2: though I wasn't. I wasn't alive when these movies were on.

802
00:46:33,045 --> 00:46:35,525
Speaker 2: I'm just aware of them. But it reminds me of

803
00:46:35,605 --> 00:46:39,245
Speaker 2: like a Nette Funicello or something like Beach Blanket Bingo.

804
00:46:39,485 --> 00:46:41,485
Speaker 2: Like she does this quick gesture with her head, like

805
00:46:41,525 --> 00:46:43,445
Speaker 2: a bob of her head and kind of you know,

806
00:46:43,485 --> 00:46:47,205
Speaker 2: bobs her hair, like she's trying to express it's fine,

807
00:46:47,325 --> 00:46:49,645
Speaker 2: everything's great. Let's let's just move on with our lives.

808
00:46:49,765 --> 00:46:52,885
Speaker 2: But Josh, just as quickly as she does it, it's over,

809
00:46:53,245 --> 00:46:55,364
Speaker 2: you know, and she's back to the reality of the

810
00:46:55,405 --> 00:46:59,005
Speaker 2: devastation of the moment. It's such a clear contradiction of

811
00:46:59,045 --> 00:47:02,685
Speaker 2: how she's really feeling, an expression of who she knows.

812
00:47:02,725 --> 00:47:05,165
Speaker 2: She's supposed to be in the moment who she wants

813
00:47:05,205 --> 00:47:07,725
Speaker 2: to be, that she's a big girl, that she can

814
00:47:07,765 --> 00:47:11,565
Speaker 2: take it, but but she can't and and I can't

815
00:47:11,565 --> 00:47:14,685
Speaker 2: do it justice anymore. Just just watch the scene. Just

816
00:47:14,725 --> 00:47:17,565
Speaker 2: watch the scene, and then and then after that, watch

817
00:47:17,605 --> 00:47:20,925
Speaker 2: her say, Watch Keaton say, this was a great night

818
00:47:21,085 --> 00:47:25,285
Speaker 2: for me. It's heartbreaking. That scene. It's it's funny, it

819
00:47:25,365 --> 00:47:28,405
Speaker 2: has elements of humor. I even think that that bob

820
00:47:28,445 --> 00:47:30,844
Speaker 2: of her head is kind of funny. But then it goes,

821
00:47:30,965 --> 00:47:34,364
Speaker 2: it goes right from that instantly into heartbreak. And that's

822
00:47:34,405 --> 00:47:36,365
Speaker 2: what Keaton can pull off in a scene without it

823
00:47:36,485 --> 00:47:42,444
Speaker 2: feeling ever like that. It's inconsistent at all. I really

824
00:47:42,525 --> 00:47:43,645
Speaker 2: like something. It's got to give.

825
00:47:43,685 --> 00:47:46,165
Speaker 1: So I'm glad it made your list. And the thing

826
00:47:46,165 --> 00:47:49,364
Speaker 1: about Keaton and Nicholson, you know, having that magic too,

827
00:47:49,845 --> 00:47:53,085
Speaker 1: it's not always. It doesn't just happen when I'm sure

828
00:47:53,125 --> 00:47:56,205
Speaker 1: the casting was this will be great, right, and the

829
00:47:56,285 --> 00:47:59,445
Speaker 1: instinct that it'll be great is right on. But they

830
00:47:59,525 --> 00:48:01,965
Speaker 1: also have to bring something and make it work in

831
00:48:02,005 --> 00:48:04,685
Speaker 1: the moment I can't think of I don't know. Wasn't

832
00:48:04,685 --> 00:48:08,365
Speaker 1: there like a George clooneya Julia Roberts Reunite Reunion in the.

833
00:48:08,405 --> 00:48:09,365
Speaker 2: Last couple of years.

834
00:48:09,405 --> 00:48:11,805
Speaker 1: That yet I caught up with and just kind of

835
00:48:11,845 --> 00:48:14,925
Speaker 1: fell flat, and you would think, no brain are there, right, so,

836
00:48:15,645 --> 00:48:18,165
Speaker 1: but that's not always the case. And so I think

837
00:48:18,245 --> 00:48:23,445
Speaker 1: they are doing the work as well as individual actors

838
00:48:23,525 --> 00:48:26,365
Speaker 1: in each of those scenes, including the one you picked.

839
00:48:26,405 --> 00:48:28,925
Speaker 1: So so, yeah, good movie. You glad you caught up

840
00:48:28,965 --> 00:48:29,205
Speaker 1: with it.

841
00:48:30,765 --> 00:48:31,045
Speaker 2: All right.

842
00:48:31,085 --> 00:48:33,364
Speaker 1: I'm going at number two with one that I think

843
00:48:33,485 --> 00:48:36,765
Speaker 1: pretty much everyone has seen, Annie Hall.

844
00:48:37,085 --> 00:48:38,045
Speaker 2: It is one I.

845
00:48:38,045 --> 00:48:41,045
Speaker 1: Revisited for this list because it had been quite a

846
00:48:41,045 --> 00:48:43,805
Speaker 1: while since since I'd seen it. It's sort of her

847
00:48:43,845 --> 00:48:47,285
Speaker 1: definitive iconic character. This is where we'd have to go

848
00:48:47,365 --> 00:48:49,605
Speaker 1: if we had done the character's list.

849
00:48:51,165 --> 00:48:51,605
Speaker 2: I don't know.

850
00:48:51,725 --> 00:48:54,485
Speaker 1: I was maybe a little disappointed by it, Adam, And

851
00:48:54,645 --> 00:48:56,925
Speaker 1: I'm not just talking about the Alan Ick factor. I

852
00:48:56,965 --> 00:49:00,445
Speaker 1: mean that's kind of built in for me with these things.

853
00:49:01,525 --> 00:49:04,925
Speaker 1: I did appreciate again, the meta stuff, you know, addressing

854
00:49:04,965 --> 00:49:08,605
Speaker 1: the camera, the Marshall McLuhan cameo, very clever, very inventive.

855
00:49:09,085 --> 00:49:11,445
Speaker 1: A lot of groaners here, though, I gotta tell you,

856
00:49:11,485 --> 00:49:16,565
Speaker 1: from Allen and maybe more pertinent to this list, maybe

857
00:49:16,605 --> 00:49:19,285
Speaker 1: not enough of the title character. I mean, she and

858
00:49:19,325 --> 00:49:24,085
Speaker 1: Allen have great repartee. They're very much working you know,

859
00:49:25,005 --> 00:49:27,645
Speaker 1: as co equals as a team in their scenes. But

860
00:49:27,645 --> 00:49:30,365
Speaker 1: there's not a ton of moments where the spotlight is

861
00:49:30,405 --> 00:49:33,805
Speaker 1: just on Annie, which just you know, she is the

862
00:49:33,805 --> 00:49:38,205
Speaker 1: title character. So you would have thought, maybe I expected

863
00:49:38,245 --> 00:49:40,525
Speaker 1: in my memory that there were more of those. We

864
00:49:40,605 --> 00:49:43,565
Speaker 1: get one, though that works that way at least one.

865
00:49:43,565 --> 00:49:45,924
Speaker 1: There's probably more than one. But there's this brilliant scene

866
00:49:45,925 --> 00:49:46,805
Speaker 1: that I'm picking.

867
00:49:46,525 --> 00:49:47,165
Speaker 2: Which does this.

868
00:49:47,485 --> 00:49:51,725
Speaker 1: And this is not long after Annie and Alan's eldie

869
00:49:51,765 --> 00:49:54,245
Speaker 1: Singer have met for the first time, and she's telling

870
00:49:54,365 --> 00:49:58,925
Speaker 1: him this winding story about her family, including she's basically

871
00:49:58,925 --> 00:50:01,845
Speaker 1: introducing him to her family members. There are some pictures

872
00:50:01,885 --> 00:50:04,205
Speaker 1: on the wall, so that gets her going just about

873
00:50:04,205 --> 00:50:08,925
Speaker 1: all her extended family, including this narcoleptic uncle George, whose

874
00:50:09,005 --> 00:50:13,565
Speaker 1: final bout of narcolepsy, well it's his last while while

875
00:50:13,605 --> 00:50:15,805
Speaker 1: he's in line for a free turkey.

876
00:50:16,285 --> 00:50:21,445
Speaker 2: So George is standing in line, oh dude, getting his turkey.

877
00:50:21,525 --> 00:50:25,165
Speaker 1: But the thing is is that he falls asleep and he.

878
00:50:25,085 --> 00:50:30,325
Speaker 2: Never wakes up, so he's dead. He's did.

879
00:50:30,925 --> 00:50:35,525
Speaker 1: Yeah, it's a darkly funny story, but this is all

880
00:50:35,565 --> 00:50:38,005
Speaker 1: about the delivery for me. I mean, Keat not only

881
00:50:38,605 --> 00:50:41,245
Speaker 1: makes it funny because of the beats she gives to it,

882
00:50:41,285 --> 00:50:44,844
Speaker 1: the pauses, and again the motion, which I'll get to.

883
00:50:45,565 --> 00:50:49,165
Speaker 1: What I love about this is she uses this story

884
00:50:49,365 --> 00:50:52,765
Speaker 1: again early on to give us a full sense of

885
00:50:52,845 --> 00:51:00,685
Speaker 1: who Annie is. She's instinctively amused by things She's instinctively amusing.

886
00:51:01,645 --> 00:51:05,844
Speaker 1: She's also self aware in a way that say, an

887
00:51:05,885 --> 00:51:09,485
Speaker 1: early Greta Gerwig character who had to have been influenced

888
00:51:09,525 --> 00:51:12,645
Speaker 1: those characters by any Hall. I think of those characters

889
00:51:12,645 --> 00:51:15,365
Speaker 1: by Gerwig. As delightful as they are, they're not always

890
00:51:15,405 --> 00:51:18,205
Speaker 1: self aware. But you get a sense that Annie is

891
00:51:18,245 --> 00:51:21,605
Speaker 1: as she's telling this story, she's realizing that, yes, this

892
00:51:21,725 --> 00:51:25,685
Speaker 1: is a silly story, but it's not. It's dark, and

893
00:51:25,725 --> 00:51:27,805
Speaker 1: I'm kind of silly for handling it that way, but

894
00:51:28,285 --> 00:51:28,924
Speaker 1: I don't care.

895
00:51:29,245 --> 00:51:30,165
Speaker 2: This is who I am.

896
00:51:31,285 --> 00:51:33,364
Speaker 1: And now the movement that I was talking about, here's

897
00:51:33,365 --> 00:51:35,645
Speaker 1: where the wine bottle comes in, because she's been looking

898
00:51:35,765 --> 00:51:39,965
Speaker 1: for a bottle of wine. Throughout this sequence, she's offered

899
00:51:40,085 --> 00:51:43,485
Speaker 1: Alvi a bottle or a glass of wine, and the

900
00:51:43,605 --> 00:51:46,325
Speaker 1: camera has to pan to keep her in the frame.

901
00:51:46,445 --> 00:51:50,485
Speaker 1: At one point, her arms her hands, they're all a

902
00:51:50,605 --> 00:51:54,805
Speaker 1: twirl as she's telling this story. And then the faces

903
00:51:54,845 --> 00:52:00,485
Speaker 1: she pulls, and the different faces when she's again amusing herself,

904
00:52:00,645 --> 00:52:03,805
Speaker 1: realizing she shouldn't be amused by herself and she shouldn't

905
00:52:03,845 --> 00:52:04,325
Speaker 1: be laughing.

906
00:52:04,405 --> 00:52:05,245
Speaker 2: But it is funny.

907
00:52:05,565 --> 00:52:10,085
Speaker 1: I mean, the gyrations, the facial gyrations are incredible. And

908
00:52:10,165 --> 00:52:12,245
Speaker 1: what I do love about is that she's not covering

909
00:52:12,325 --> 00:52:15,725
Speaker 1: up her giggling at all, because, above all, Annie's not

910
00:52:15,725 --> 00:52:19,364
Speaker 1: putting on a performance for Alvi. Here, she just is

911
00:52:20,005 --> 00:52:24,365
Speaker 1: who she is, unapologetically and and yeah, in the process,

912
00:52:24,525 --> 00:52:26,844
Speaker 1: you know, she's putting out a great Keaton's putting out

913
00:52:26,845 --> 00:52:29,884
Speaker 1: a great performance for us. So I'm going at number

914
00:52:29,885 --> 00:52:32,924
Speaker 1: two with the Uncle George story from Annie Hall.

915
00:52:33,405 --> 00:52:36,765
Speaker 2: Okay, the only surprise there is that Annie Hall's at

916
00:52:36,885 --> 00:52:40,165
Speaker 2: number two. I'm gonna hold off. I'm gonna hold off

917
00:52:40,165 --> 00:52:44,525
Speaker 2: on any more Annie Hall talk for now my number two.

918
00:52:45,885 --> 00:52:49,364
Speaker 2: I guess if I needed an apotheosis, I needed I

919
00:52:49,365 --> 00:52:52,165
Speaker 2: needed some way to cap off my list or as

920
00:52:52,165 --> 00:52:54,844
Speaker 2: we're nearing the top, I needed a choice that that

921
00:52:55,085 --> 00:53:01,285
Speaker 2: really spoke to the expressive power of Keaton's face and

922
00:53:01,485 --> 00:53:06,725
Speaker 2: her use of silence. This this had to be it okay,

923
00:53:06,885 --> 00:53:09,085
Speaker 2: and I want to say I love her in this scene.

924
00:53:09,565 --> 00:53:12,245
Speaker 2: But if we are, if we are doing top five

925
00:53:12,285 --> 00:53:14,965
Speaker 2: Diane Keaton scenes, it's great and all. If we can

926
00:53:15,005 --> 00:53:17,085
Speaker 2: sit here and try to find, like we always do

927
00:53:17,165 --> 00:53:20,165
Speaker 2: with these top five, top five lists, these little personal

928
00:53:20,205 --> 00:53:24,085
Speaker 2: moments that speak to us that quite honestly, very few

929
00:53:24,125 --> 00:53:28,805
Speaker 2: people listening may actually be able to immediately recall when

930
00:53:28,805 --> 00:53:32,925
Speaker 2: we mention them. How about including a moment that is

931
00:53:33,205 --> 00:53:37,805
Speaker 2: one of the most memorable cinematic moments of the nineteen seventies.

932
00:53:38,285 --> 00:53:41,045
Speaker 2: And I'm going to give you, Josh, because it's short.

933
00:53:41,805 --> 00:53:45,685
Speaker 2: I'm going to give you the scene as it appears

934
00:53:45,805 --> 00:53:51,245
Speaker 2: in at least the screenplay version I found online. Kay

935
00:53:51,725 --> 00:53:56,165
Speaker 2: Anthony say goodbye. Your mama loves you, Anthony, Goodbye. She

936
00:53:56,245 --> 00:53:59,245
Speaker 2: restrains any tears. She's become too strong for tears. Kay

937
00:53:59,325 --> 00:54:02,165
Speaker 2: starts to go, picks up Mary, kisses her, and starts

938
00:54:02,165 --> 00:54:05,205
Speaker 2: to go. New view. She steps out the kitchen door.

939
00:54:05,405 --> 00:54:08,685
Speaker 2: Then she cannot help herself, crouches down outside and calls

940
00:54:08,725 --> 00:54:12,285
Speaker 2: to her son. Kay Anthony kiss me once. Then she

941
00:54:12,325 --> 00:54:16,285
Speaker 2: looks up and slowly rises her view. Michael has stepped

942
00:54:16,325 --> 00:54:19,125
Speaker 2: into the dining room. He seems older somehow, as though

943
00:54:19,165 --> 00:54:21,765
Speaker 2: some sickness has taken more years away from him. View

944
00:54:21,765 --> 00:54:25,125
Speaker 2: on Ka looks at him instinctively, she takes a step back.

945
00:54:25,485 --> 00:54:28,925
Speaker 2: View on Michael slowly steps toward her. View on Ka

946
00:54:29,565 --> 00:54:33,085
Speaker 2: another step back. The door is still open. View on Michael.

947
00:54:33,285 --> 00:54:36,325
Speaker 2: He moves closer to the door, stops, looks at her,

948
00:54:36,845 --> 00:54:41,005
Speaker 2: and then closes it, obscuring any view of her. Minute

949
00:54:41,445 --> 00:54:45,325
Speaker 2: a little bit over a minute, Pacino and Keaton just

950
00:54:45,445 --> 00:54:51,285
Speaker 2: looking at each other, no dialogue heavy, and it's sad

951
00:54:51,405 --> 00:54:55,485
Speaker 2: enough that she that Kay has to sneak in to

952
00:54:55,565 --> 00:54:58,484
Speaker 2: see her kids because of the scene that you talked

953
00:54:58,525 --> 00:55:02,645
Speaker 2: about Josh and what she admitted to there, what she

954
00:55:02,765 --> 00:55:06,325
Speaker 2: confessed to. Then you've got her son Anthony taking his

955
00:55:06,405 --> 00:55:11,165
Speaker 2: emotional cues from daddy with holding his love and affection

956
00:55:11,765 --> 00:55:16,125
Speaker 2: for his mother. I don't know if this line from

957
00:55:16,165 --> 00:55:18,245
Speaker 2: the script was ever really meant to be translated to

958
00:55:18,245 --> 00:55:21,565
Speaker 2: the screen, the line he seems older some how, as

959
00:55:21,565 --> 00:55:24,165
Speaker 2: though some sickness has taken more years away from him.

960
00:55:24,205 --> 00:55:27,565
Speaker 2: We're gonna see that with Michael and with Pacino. I'm

961
00:55:27,605 --> 00:55:30,445
Speaker 2: going to counter and say, if you rewatch this moment,

962
00:55:31,405 --> 00:55:34,645
Speaker 2: at least for me part of what makes the scene

963
00:55:35,845 --> 00:55:39,725
Speaker 2: extra tense and emotional is that I don't know if

964
00:55:39,765 --> 00:55:43,444
Speaker 2: al Pacino actually has ever looked hotter in any movie ever.

965
00:55:44,005 --> 00:55:46,685
Speaker 2: Like when he's walking towards the door, he's wearing that

966
00:55:46,765 --> 00:55:50,085
Speaker 2: maroon shirt. Is that camel hair, Josh, I don't know.

967
00:55:50,285 --> 00:55:53,404
Speaker 2: You're a scarf guy. He's wearing like a camel hair

968
00:55:53,485 --> 00:55:57,645
Speaker 2: scarf and jacket. Yeah, he's He's still put together. He's

969
00:55:57,685 --> 00:55:58,285
Speaker 2: pretty dapper.

970
00:55:58,405 --> 00:56:00,565
Speaker 1: What I think about in that scene is how he

971
00:56:00,645 --> 00:56:05,365
Speaker 1: almost floats into it, like like he has this supernatural quality.

972
00:56:05,405 --> 00:56:06,485
Speaker 1: Is what comes to mind for me.

973
00:56:07,165 --> 00:56:10,365
Speaker 2: Yes, that's part of it. The jet black hair. He

974
00:56:10,405 --> 00:56:12,725
Speaker 2: doesn't look old at all. And in fact, I don't

975
00:56:12,725 --> 00:56:15,205
Speaker 2: remember exactly what point in the movie this takes place.

976
00:56:15,285 --> 00:56:18,645
Speaker 2: It's it's fairly late. He's he's returning home from either

977
00:56:18,685 --> 00:56:23,725
Speaker 2: Miami or probably Cuba. He looks well tanned. And then yes,

978
00:56:24,125 --> 00:56:28,765
Speaker 2: the gliding to the door, his lips pierced, his face,

979
00:56:29,005 --> 00:56:34,205
Speaker 2: betraying neither love nor hate. It's completely neutral. So the

980
00:56:34,245 --> 00:56:37,165
Speaker 2: stakes of the scene are such that we are in

981
00:56:37,205 --> 00:56:39,925
Speaker 2: the same position as viewers that Kay is in, where

982
00:56:40,925 --> 00:56:43,565
Speaker 2: we are not sure. We are not one hundred percent

983
00:56:43,645 --> 00:56:46,885
Speaker 2: sure how this is gonna end where this is going

984
00:56:46,965 --> 00:56:50,085
Speaker 2: to go. Whether or not Michael in this moment might

985
00:56:50,285 --> 00:56:55,364
Speaker 2: actually show some compassion for her, the possibility is there,

986
00:56:55,525 --> 00:56:59,165
Speaker 2: and honestly, something about how how great they both look,

987
00:56:59,365 --> 00:57:03,045
Speaker 2: how beautiful they are, And with some passage of time

988
00:57:03,085 --> 00:57:05,605
Speaker 2: between the scene that you described in this one, you

989
00:57:05,645 --> 00:57:09,645
Speaker 2: think about this, this crevice between them. We know it

990
00:57:09,685 --> 00:57:12,085
Speaker 2: can never be breached. We know that because of what

991
00:57:12,165 --> 00:57:15,885
Speaker 2: she's done, Michael's never going to forgive her. But somehow,

992
00:57:15,965 --> 00:57:19,325
Speaker 2: like I said, in this moment, just for this fleeting

993
00:57:20,245 --> 00:57:24,765
Speaker 2: few seconds, it seems like it's possible. And Josh, it's

994
00:57:24,805 --> 00:57:27,685
Speaker 2: really only like three seconds of screen time, all just

995
00:57:27,765 --> 00:57:31,925
Speaker 2: with her eyes and her face, Kay expresses that hope.

996
00:57:32,285 --> 00:57:35,605
Speaker 2: She expresses the hope that he might he might invite

997
00:57:35,605 --> 00:57:39,125
Speaker 2: her in, or he might say something with any hint

998
00:57:39,165 --> 00:57:45,245
Speaker 2: of warmth towards her, and then the hope is completely

999
00:57:45,325 --> 00:57:47,045
Speaker 2: drained from her. And of course the way she expresses

1000
00:57:47,085 --> 00:57:51,245
Speaker 2: the fear of him initially too, the hope is completely drained.

1001
00:57:51,325 --> 00:57:54,725
Speaker 2: You see the death of that hope, and the despair

1002
00:57:54,925 --> 00:57:58,045
Speaker 2: sink in because you know, even if she and Michael

1003
00:57:58,085 --> 00:58:00,685
Speaker 2: can never heal, you think maybe there's some room for

1004
00:58:00,725 --> 00:58:03,205
Speaker 2: her and her kids. You see that, you see that

1005
00:58:03,245 --> 00:58:06,165
Speaker 2: dissipate completely. And then of course you've got the symbolic

1006
00:58:06,205 --> 00:58:09,405
Speaker 2: echo of this scene to the door closing on Kay

1007
00:58:09,445 --> 00:58:11,685
Speaker 2: at the end of Godfather One, when Michael has made

1008
00:58:11,685 --> 00:58:17,725
Speaker 2: the dawn makes the scene even more impactful. It's it's

1009
00:58:17,925 --> 00:58:21,845
Speaker 2: it's just an incredible bit of acting from from those

1010
00:58:21,925 --> 00:58:24,405
Speaker 2: two heavyweights in that moment.

1011
00:58:25,885 --> 00:58:28,845
Speaker 1: Yeah, and I was thinking about, you know, that gap

1012
00:58:29,125 --> 00:58:33,005
Speaker 1: between these two scenes that you just described. If I'm

1013
00:58:33,005 --> 00:58:36,445
Speaker 1: remembering correctly, there's a long amount of screen time. But

1014
00:58:36,525 --> 00:58:38,685
Speaker 1: this might be the the next time we see k

1015
00:58:39,085 --> 00:58:42,405
Speaker 1: after the argument. This might be the next time she appears, believe,

1016
00:58:42,605 --> 00:58:44,045
Speaker 1: And yeah, I think it is. I think it is

1017
00:58:44,125 --> 00:58:46,605
Speaker 1: like maybe within the last ten minutes of the movie,

1018
00:58:46,765 --> 00:58:52,005
Speaker 1: perhaps that she's dismissed in that way, which which Yeah, Keaton,

1019
00:58:52,805 --> 00:58:57,685
Speaker 1: Keaton handles brilliantly. All right, my number one, And yeah,

1020
00:58:57,725 --> 00:59:01,445
Speaker 1: it's coming, it's coming from Reds. I just watching Reds

1021
00:59:02,085 --> 00:59:05,965
Speaker 1: the entire movie. I really went for, but Keaton in

1022
00:59:06,045 --> 00:59:09,565
Speaker 1: particular here as as you said, the activist and writer

1023
00:59:09,685 --> 00:59:13,845
Speaker 1: Louise Bryant not a quintessential Keaton performance. I'd put it

1024
00:59:13,925 --> 00:59:17,725
Speaker 1: up there. Maybe overall, taking the movie in totality, not

1025
00:59:17,925 --> 00:59:21,885
Speaker 1: just considering scenes, but maybe her best. Fascinating to hear

1026
00:59:21,965 --> 00:59:25,285
Speaker 1: you describe how she described it in her memoir and

1027
00:59:25,325 --> 00:59:29,845
Speaker 1: that experience, and you know, just sometimes what an actor's

1028
00:59:29,925 --> 00:59:32,605
Speaker 1: experiences compared to what we end up getting on the screen,

1029
00:59:33,685 --> 00:59:37,405
Speaker 1: how those things can differ. I honestly I wrestled with

1030
00:59:37,885 --> 00:59:40,085
Speaker 1: what scene to go with here, Adam, which is why

1031
00:59:40,125 --> 00:59:42,125
Speaker 1: I do think this might be her best performance. I

1032
00:59:42,205 --> 00:59:45,325
Speaker 1: definitely considered because I was familiar with it from your

1033
00:59:45,365 --> 00:59:48,005
Speaker 1: pick in our top five Jack Nicholson moments, the ones

1034
00:59:48,045 --> 00:59:51,645
Speaker 1: you talked about, she is, you know, Nicholson's equal in

1035
00:59:51,725 --> 00:59:54,685
Speaker 1: making that scene work. As you said, I love this

1036
00:59:54,805 --> 00:59:56,685
Speaker 1: is just a moment, so it wouldn't count as a scene.

1037
00:59:56,685 --> 00:59:59,245
Speaker 1: But very early on, this is when Louise is in Portland.

1038
00:59:59,325 --> 01:00:02,645
Speaker 1: She's still married to you know this, this kind of

1039
01:00:02,685 --> 01:00:05,445
Speaker 1: dismissive husband, and he's trying.

1040
01:00:05,205 --> 01:00:05,885
Speaker 2: To direct her.

1041
01:00:05,885 --> 01:00:08,885
Speaker 1: I think this is at a party or something, and

1042
01:00:09,125 --> 01:00:12,645
Speaker 1: she just kind of instinctively the moment he puts his

1043
01:00:12,725 --> 01:00:15,765
Speaker 1: hand near her, she kind of just wipes it away.

1044
01:00:16,245 --> 01:00:19,245
Speaker 1: And it's just a beautiful character touch of who she is,

1045
01:00:19,445 --> 01:00:23,485
Speaker 1: even if she can't be who she is yet in

1046
01:00:23,525 --> 01:00:26,645
Speaker 1: this scenario, So a little hint there she gives us.

1047
01:00:27,125 --> 01:00:29,085
Speaker 1: And then the other one comes early on too, So

1048
01:00:29,245 --> 01:00:31,645
Speaker 1: this is at the point she's met John Reid. She

1049
01:00:31,765 --> 01:00:35,525
Speaker 1: has this little art studio she goes to and they're

1050
01:00:35,565 --> 01:00:39,125
Speaker 1: hanging out there and she has to juggle his flirtation

1051
01:00:39,325 --> 01:00:41,925
Speaker 1: with her, which she's open to but also wanting to

1052
01:00:41,965 --> 01:00:45,525
Speaker 1: be taken seriously as an artist. And so watching Keaton

1053
01:00:45,685 --> 01:00:48,765
Speaker 1: juggle all of that, there's a great moment. And here's

1054
01:00:48,805 --> 01:00:52,525
Speaker 1: where Bedia's director, you know, helps out. The camera is

1055
01:00:52,565 --> 01:00:55,045
Speaker 1: on them and she's on a couch. They're on a couch,

1056
01:00:55,085 --> 01:00:57,525
Speaker 1: I think, and then she leans over to pick up

1057
01:00:57,525 --> 01:01:00,085
Speaker 1: her portfolio away from him, and the camera kind of

1058
01:01:00,125 --> 01:01:03,645
Speaker 1: slides with her and her arm and kind of like

1059
01:01:03,765 --> 01:01:07,165
Speaker 1: pushes him away visually, just to catch that tension. But

1060
01:01:07,205 --> 01:01:10,565
Speaker 1: she's so good in that scene as well. I'm going

1061
01:01:10,645 --> 01:01:12,965
Speaker 1: to go with another one though, between Keaton and Beattie,

1062
01:01:13,845 --> 01:01:19,765
Speaker 1: who you know, as you said, here director star and

1063
01:01:20,365 --> 01:01:24,605
Speaker 1: you know, just really making this his magnum opus. This

1064
01:01:24,685 --> 01:01:27,965
Speaker 1: scene is early on in their relationship and she's trying

1065
01:01:28,005 --> 01:01:31,005
Speaker 1: to figure out what sort of writer she actually wants

1066
01:01:31,045 --> 01:01:33,245
Speaker 1: to be at this point, and he's moving to New York,

1067
01:01:33,325 --> 01:01:35,005
Speaker 1: So he invites her to move with him.

1068
01:01:35,085 --> 01:01:36,445
Speaker 2: That's where all the writers.

1069
01:01:36,045 --> 01:01:39,405
Speaker 1: Are, he says. And they go back and forth about

1070
01:01:39,445 --> 01:01:43,325
Speaker 1: this until she finally just you know, comes out with

1071
01:01:43,365 --> 01:01:48,405
Speaker 1: what she really is thinking about this proposal and asks him,

1072
01:01:48,845 --> 01:01:51,525
Speaker 1: what as all right, wait, let.

1073
01:01:51,365 --> 01:01:52,765
Speaker 2: Me get this straight. You want me to come with

1074
01:01:52,845 --> 01:01:53,485
Speaker 2: you to New York?

1075
01:01:54,725 --> 01:01:55,685
Speaker 1: Yeah?

1076
01:01:55,725 --> 01:01:56,125
Speaker 2: What is?

1077
01:01:57,085 --> 01:01:57,485
Speaker 1: What is?

1078
01:01:57,605 --> 01:01:58,325
Speaker 3: What?

1079
01:01:57,765 --> 01:01:58,045
Speaker 1: I mean?

1080
01:01:58,325 --> 01:02:00,045
Speaker 3: What is your girlfriend?

1081
01:02:01,165 --> 01:02:01,885
Speaker 1: What does that mean?

1082
01:02:02,005 --> 01:02:05,925
Speaker 2: What as your girlfriend? Your mistress, your paramour, your concubine.

1083
01:02:06,685 --> 01:02:09,525
Speaker 1: And I think answering that question, like what am I

1084
01:02:09,605 --> 01:02:13,525
Speaker 1: going to New York City with you as? What does

1085
01:02:13,565 --> 01:02:15,805
Speaker 1: he think of her? How does he regard and respect her?

1086
01:02:16,125 --> 01:02:18,685
Speaker 1: That's sort of the crux of their shared life together,

1087
01:02:18,725 --> 01:02:20,405
Speaker 1: which is really what Reds.

1088
01:02:20,165 --> 01:02:20,885
Speaker 2: Is all about.

1089
01:02:21,045 --> 01:02:25,485
Speaker 1: It's not necessarily a read biopic or a historical document.

1090
01:02:25,765 --> 01:02:28,605
Speaker 1: This is what kind of took me by surprise. It's

1091
01:02:28,845 --> 01:02:31,285
Speaker 1: it's their relationship is really at the center. It's about

1092
01:02:31,285 --> 01:02:34,965
Speaker 1: these historical figures, yes, who are trying to balance the

1093
01:02:35,005 --> 01:02:38,525
Speaker 1: personal and political in this tumultuous moment. And you know,

1094
01:02:38,525 --> 01:02:40,805
Speaker 1: in some ways, I think be to crack the biopic

1095
01:02:40,925 --> 01:02:43,245
Speaker 1: code with Reds in a lot of ways, a lot

1096
01:02:43,285 --> 01:02:44,125
Speaker 1: of formal ways.

1097
01:02:45,005 --> 01:02:45,725
Speaker 2: So Keaton.

1098
01:02:46,005 --> 01:02:49,365
Speaker 1: You know, again, we've talked about her as a you know,

1099
01:02:49,645 --> 01:02:53,445
Speaker 1: stellar comedian, as a performer, maybe that's how she comes

1100
01:02:53,485 --> 01:02:55,245
Speaker 1: to mind for people first.

1101
01:02:55,325 --> 01:02:57,005
Speaker 2: But this scene, you.

1102
01:02:56,885 --> 01:02:59,525
Speaker 1: Know, we get is of just of a woman pushing

1103
01:02:59,565 --> 01:03:02,925
Speaker 1: back against her time and place in a way that

1104
01:03:03,045 --> 01:03:08,685
Speaker 1: feels absolutely of the period yet also thoroughly modern. And

1105
01:03:08,765 --> 01:03:12,885
Speaker 1: I think that's what Keaton brings to this part. There's

1106
01:03:12,925 --> 01:03:16,645
Speaker 1: a way she balances the historical setting which is a

1107
01:03:16,725 --> 01:03:22,005
Speaker 1: necessity and that thoroughly modern woman that we see sort

1108
01:03:22,045 --> 01:03:24,125
Speaker 1: of at the forefront in something like Annie Hall or

1109
01:03:24,125 --> 01:03:28,005
Speaker 1: even Manhattan. And yeah, I put Reds at number one

1110
01:03:28,005 --> 01:03:29,925
Speaker 1: because here's here's something else I like about it. It

1111
01:03:30,325 --> 01:03:34,845
Speaker 1: seems to me that the best of Keaton's career has

1112
01:03:35,005 --> 01:03:39,725
Speaker 1: come while she's had to juggle a male co star expertly,

1113
01:03:40,365 --> 01:03:45,405
Speaker 1: of course, Woody Allen, al Pacino, Jack Nicholson, and then

1114
01:03:45,525 --> 01:03:48,485
Speaker 1: Warren Batty here And to be clear, I do think

1115
01:03:48,485 --> 01:03:52,765
Speaker 1: Baty is an especially generous collaborator on Reds. Did not

1116
01:03:52,925 --> 01:03:55,165
Speaker 1: know that what you shared about, you know, is perfectionist

1117
01:03:55,205 --> 01:03:57,965
Speaker 1: tendencies as a director, but I think, you know, you

1118
01:03:57,965 --> 01:04:01,245
Speaker 1: can also see this generousness as a fellow performer and

1119
01:04:01,805 --> 01:04:05,445
Speaker 1: as a director too. Yeah, I mean kind of goes

1120
01:04:05,485 --> 01:04:07,485
Speaker 1: back to what we were saying about and what you

1121
01:04:07,565 --> 01:04:11,285
Speaker 1: mentioned about these maybe gaps in her filmography or long stretches.

1122
01:04:11,325 --> 01:04:13,605
Speaker 1: You know, she didn't get the chance to be the

1123
01:04:13,645 --> 01:04:17,125
Speaker 1: focus of a film very often, but man, when she was,

1124
01:04:17,205 --> 01:04:20,245
Speaker 1: when she was clicking, she proved she didn't need that

1125
01:04:20,325 --> 01:04:24,205
Speaker 1: focus to rab our attention or our affection. And you

1126
01:04:24,285 --> 01:04:28,045
Speaker 1: see that in this performance as as read. She may

1127
01:04:28,045 --> 01:04:30,165
Speaker 1: not have had a lot of affection for Louise Bryant,

1128
01:04:30,245 --> 01:04:32,045
Speaker 1: but but she managed to get me to have it.

1129
01:04:32,405 --> 01:04:36,245
Speaker 2: So yeah, you know, I agree it worked. Yeah, I

1130
01:04:36,285 --> 01:04:40,045
Speaker 2: do love that scene, and it's it's funny because as

1131
01:04:40,085 --> 01:04:43,765
Speaker 2: you talk about it and you focus on that question

1132
01:04:44,045 --> 01:04:47,765
Speaker 2: from Louise Bryant, what as it brings me back to

1133
01:04:47,805 --> 01:04:51,125
Speaker 2: my number three and something's got to give? And what as?

1134
01:04:51,565 --> 01:04:55,565
Speaker 2: What am I to you? Is essentially the same question Erica,

1135
01:04:55,685 --> 01:04:59,125
Speaker 2: her character is asking Jack Nicholson's character in that movie

1136
01:04:59,605 --> 01:05:03,005
Speaker 2: after they've slept together. Yeah, what am I to you? What?

1137
01:05:03,005 --> 01:05:06,565
Speaker 2: What does this mean? She's she's processing and trying to

1138
01:05:06,685 --> 01:05:10,245
Speaker 2: navigate in the aftermath of it, what she thinks she

1139
01:05:10,405 --> 01:05:12,525
Speaker 2: is or what she should be and having to face

1140
01:05:13,045 --> 01:05:16,685
Speaker 2: that it's uncertain and that he's going to get to

1141
01:05:16,765 --> 01:05:20,445
Speaker 2: define it for her and go back to something like

1142
01:05:20,485 --> 01:05:23,925
Speaker 2: Baby Boom. Josh, that's all about what role do you

1143
01:05:24,005 --> 01:05:28,165
Speaker 2: decide to play? Are you the tiger lady executive or

1144
01:05:28,205 --> 01:05:32,565
Speaker 2: are you the domesticated mom? Right? And you have to

1145
01:05:32,605 --> 01:05:35,405
Speaker 2: pick between them. It's funny how in movies and in

1146
01:05:35,445 --> 01:05:38,965
Speaker 2: real life men don't ever have to choose between those roles.

1147
01:05:39,765 --> 01:05:42,445
Speaker 1: Yeah, And that's the incisive thing I will say about

1148
01:05:42,485 --> 01:05:46,885
Speaker 1: Baby Boom is like, I think it's under underlying message

1149
01:05:46,925 --> 01:05:49,325
Speaker 1: if you want to say that is dead on about

1150
01:05:49,405 --> 01:05:53,085
Speaker 1: hyper capitalism and the corporate environment. And to your point,

1151
01:05:53,365 --> 01:05:58,885
Speaker 1: you know, it's a self inflicted wound that really was

1152
01:05:58,965 --> 01:06:02,645
Speaker 1: mostly placed on women. But you can see how that

1153
01:06:02,805 --> 01:06:06,205
Speaker 1: environment that her character in Baby Boom is in it

1154
01:06:06,285 --> 01:06:12,005
Speaker 1: really negates fruitful parenthood for men and women. Like it's

1155
01:06:12,165 --> 01:06:15,045
Speaker 1: just that the women are expected in the movie, right

1156
01:06:15,085 --> 01:06:16,725
Speaker 1: to make it, to make it work.

1157
01:06:17,365 --> 01:06:19,125
Speaker 2: Yeah, that could be its own marathon. As soon as

1158
01:06:19,125 --> 01:06:21,325
Speaker 2: I put Baby Boom on, I was like, nineteen eighty

1159
01:06:21,365 --> 01:06:24,205
Speaker 2: seven Baby Boom, you got Working Girl coming out the

1160
01:06:24,285 --> 01:06:26,365
Speaker 2: next year. There was this whole space movies and they

1161
01:06:26,365 --> 01:06:30,005
Speaker 2: weren't all with women there's a whole spade of these capitalistic,

1162
01:06:30,445 --> 01:06:33,605
Speaker 2: you know, corporate environment movies like that, and and and

1163
01:06:33,645 --> 01:06:36,085
Speaker 2: a lot of them were about can women have it?

1164
01:06:36,125 --> 01:06:40,405
Speaker 2: All from that that you had, mister mom, you did

1165
01:06:40,765 --> 01:06:44,045
Speaker 2: a little bit earlier, but you had it. You're absolutely right. Okay,

1166
01:06:44,125 --> 01:06:49,085
Speaker 2: So number one, I am going with Annie Hall and

1167
01:06:49,765 --> 01:06:52,285
Speaker 2: you not only have in common with The Godfather and

1168
01:06:52,325 --> 01:06:56,405
Speaker 2: The Godfather Part two of movie movies that that star

1169
01:06:56,645 --> 01:06:59,925
Speaker 2: or feature Diane Keaton and that were Best Picture winners,

1170
01:06:59,925 --> 01:07:04,725
Speaker 2: but also shot by the great Gordon willis one of

1171
01:07:04,765 --> 01:07:09,445
Speaker 2: the reasons that Annie Hall is elevated from your average

1172
01:07:10,005 --> 01:07:13,165
Speaker 2: romantic movie of the time or what we you know,

1173
01:07:13,205 --> 01:07:15,845
Speaker 2: think of as a romantic comedy. It's funny what you

1174
01:07:15,885 --> 01:07:19,205
Speaker 2: said about your reservations watching it. Any Hall for me

1175
01:07:20,005 --> 01:07:23,925
Speaker 2: was a transfer normative film. It's a film I don't

1176
01:07:23,925 --> 01:07:27,845
Speaker 2: even know how many times I've seen and have always

1177
01:07:27,885 --> 01:07:33,685
Speaker 2: had the same experience loving it. According to Letterbox, the

1178
01:07:33,725 --> 01:07:35,645
Speaker 2: last time I saw it was nine years ago. It

1179
01:07:35,645 --> 01:07:37,485
Speaker 2: didn't feel like it was that long ago. Was nine

1180
01:07:37,525 --> 01:07:41,165
Speaker 2: years ago. That was the first time where I'll borrow

1181
01:07:41,205 --> 01:07:43,045
Speaker 2: your word, that was the first time where I actually

1182
01:07:43,085 --> 01:07:46,365
Speaker 2: noticed some groaners, where I actually noticed some jokes not

1183
01:07:46,685 --> 01:07:49,805
Speaker 2: landing with me the way they used to land with me.

1184
01:07:51,165 --> 01:07:54,085
Speaker 2: That said, when I was watching scenes from Anny Hall

1185
01:07:54,445 --> 01:07:59,205
Speaker 2: in preparation for this list, I'm watching Alan and Keaton

1186
01:07:59,245 --> 01:08:05,085
Speaker 2: together cooking lobster. I'm watching Keaton inviting Alan over to

1187
01:08:05,165 --> 01:08:09,085
Speaker 2: kill the spider in her apartment. I'm watching the great

1188
01:08:09,165 --> 01:08:13,285
Speaker 2: Honest subtitles scene right where after they've met. Yeah, that's

1189
01:08:13,325 --> 01:08:16,085
Speaker 2: a nice having a drink and you know, am I

1190
01:08:16,125 --> 01:08:18,285
Speaker 2: smart enough for him? And he doesn't know if he's

1191
01:08:18,285 --> 01:08:20,005
Speaker 2: smart enough for her? As he keeps you know, all

1192
01:08:20,045 --> 01:08:23,285
Speaker 2: those all those things. Every scene I watched was like, well,

1193
01:08:23,285 --> 01:08:26,125
Speaker 2: I could, I could pick this scene. These are all fantastic.

1194
01:08:27,965 --> 01:08:31,884
Speaker 2: I'm gonna keep the theme going of iconic seventy scenes.

1195
01:08:31,925 --> 01:08:35,005
Speaker 2: I think it. I think it does qualify. We may

1196
01:08:35,125 --> 01:08:38,325
Speaker 2: meet Annie for the first time on the tennis court,

1197
01:08:38,645 --> 01:08:42,285
Speaker 2: but we don't really meet Annie Hall until she and

1198
01:08:42,325 --> 01:08:46,165
Speaker 2: Alvie meet in the lobby after the round of tennis.

1199
01:08:46,765 --> 01:08:53,405
Speaker 2: You want a lift? Oh? Why? Uh? You got a car? No,

1200
01:08:53,485 --> 01:08:56,325
Speaker 2: I'm I was gonna take a cam. Oh no, I

1201
01:08:56,405 --> 01:08:57,285
Speaker 2: have a car.

1202
01:08:58,725 --> 01:09:00,325
Speaker 3: Do you have a car?

1203
01:09:01,045 --> 01:09:03,845
Speaker 1: So I understand what if you have a car, So

1204
01:09:03,925 --> 01:09:06,165
Speaker 1: then then why why did you say, do.

1205
01:09:06,125 --> 01:09:07,885
Speaker 2: You have a car like you want a lift?

1206
01:09:09,045 --> 01:09:10,205
Speaker 1: I don't, I don't.

1207
01:09:10,365 --> 01:09:14,764
Speaker 2: I geez, I don't know. I wasn't. It's an iconic

1208
01:09:14,805 --> 01:09:19,445
Speaker 2: seventy scene because of an iconic character in an iconic outfit,

1209
01:09:20,565 --> 01:09:25,685
Speaker 2: the pan, the vest, the tie, the Boalero hat. And

1210
01:09:26,085 --> 01:09:29,885
Speaker 2: in the book she gives credit to Alan for every

1211
01:09:30,005 --> 01:09:32,925
Speaker 2: choice that was made in that movie. She's very clear

1212
01:09:32,925 --> 01:09:36,125
Speaker 2: about that. But she does also say that he largely

1213
01:09:36,165 --> 01:09:39,365
Speaker 2: gave her freedom. There wasn't really like a costume budget

1214
01:09:39,525 --> 01:09:42,885
Speaker 2: or someone who imposed that on her. He gave her

1215
01:09:42,925 --> 01:09:45,085
Speaker 2: freedom to wear what she wanted to wear, and she

1216
01:09:45,165 --> 01:09:49,684
Speaker 2: brought those clothes. But she was just stealing the look,

1217
01:09:50,005 --> 01:09:53,125
Speaker 2: she says, from women she saw who she thought look

1218
01:09:53,245 --> 01:09:56,805
Speaker 2: cool on the streets of New York. And the hat

1219
01:09:57,165 --> 01:10:02,525
Speaker 2: was actually stolen from the wife of the production designer

1220
01:10:02,565 --> 01:10:05,604
Speaker 2: of The Godfather, Dean Tavalius The Godfather Part two. I'm

1221
01:10:05,645 --> 01:10:08,045
Speaker 2: presuming his wife showed up on the set one day

1222
01:10:08,325 --> 01:10:11,045
Speaker 2: and was wearing the hat and she thought it looked great,

1223
01:10:11,485 --> 01:10:14,685
Speaker 2: and she always remembered it, and that was, you know,

1224
01:10:14,805 --> 01:10:18,645
Speaker 2: the final thing she needed to complete the ensemble. And

1225
01:10:18,725 --> 01:10:21,885
Speaker 2: it becomes then this this classic look that even you

1226
01:10:21,925 --> 01:10:25,965
Speaker 2: see some people where even today is like Halloween costumes, right,

1227
01:10:26,085 --> 01:10:28,365
Speaker 2: or some people just just wear it because they like

1228
01:10:28,845 --> 01:10:32,765
Speaker 2: they like the look. And rewatching this scene if you

1229
01:10:33,205 --> 01:10:35,604
Speaker 2: go back, what's so great about it, Josh, is you

1230
01:10:35,645 --> 01:10:37,724
Speaker 2: see Alan or we will see Alan in a second,

1231
01:10:37,765 --> 01:10:40,845
Speaker 2: like zipping up his bag and he's turned away from

1232
01:10:40,845 --> 01:10:43,085
Speaker 2: the camera. But the way it starts is that she

1233
01:10:43,205 --> 01:10:46,844
Speaker 2: actually kind of emerges out of frame left, like she ducks.

1234
01:10:47,085 --> 01:10:48,965
Speaker 2: She's not completely out of the frame, but she kind

1235
01:10:48,965 --> 01:10:52,445
Speaker 2: of ducks her head into the frame and is saying hi.

1236
01:10:52,925 --> 01:10:55,925
Speaker 2: And it just immediately sets the tone that that it's

1237
01:10:56,005 --> 01:10:58,045
Speaker 2: just a little bit she's she maybe is just a

1238
01:10:58,045 --> 01:11:01,605
Speaker 2: little bit clumsy and just a little bit goofy. You know,

1239
01:11:01,925 --> 01:11:04,645
Speaker 2: there's something weird about her entering the frame with a

1240
01:11:04,885 --> 01:11:06,885
Speaker 2: with a complete lack of confidence. It's not like she

1241
01:11:06,965 --> 01:11:09,325
Speaker 2: walked in. It's almost like she knows or feels like

1242
01:11:09,365 --> 01:11:13,805
Speaker 2: she might be imposing on someone else's scene somehow, you know.

1243
01:11:14,205 --> 01:11:18,445
Speaker 2: And then when she says when she says by in

1244
01:11:18,485 --> 01:11:21,885
Speaker 2: a little bit, she doesn't turn and walk away to

1245
01:11:21,925 --> 01:11:25,365
Speaker 2: the door like a normal person. She says bye and

1246
01:11:25,405 --> 01:11:29,965
Speaker 2: then backs away to the door, which clearly suggests that

1247
01:11:30,285 --> 01:11:33,525
Speaker 2: she's hoping he's going to continue the conversation and won't

1248
01:11:33,565 --> 01:11:36,285
Speaker 2: say bye back, and all of that just stuff out

1249
01:11:36,285 --> 01:11:39,644
Speaker 2: like makes her feel like a character, like a character

1250
01:11:39,805 --> 01:11:42,845
Speaker 2: on a stage, like backing into a curtain or something,

1251
01:11:42,925 --> 01:11:45,285
Speaker 2: or entering from stage left or something about it that

1252
01:11:45,325 --> 01:11:47,845
Speaker 2: I just love. And I do think it's one of

1253
01:11:47,885 --> 01:11:51,605
Speaker 2: the great rom com meet cutes. And it's because of

1254
01:11:51,645 --> 01:11:55,604
Speaker 2: the wit of the dialogue, the undeniable chemistry between Keaton

1255
01:11:55,605 --> 01:11:57,884
Speaker 2: and Allen that's on display here but was on display

1256
01:11:57,965 --> 01:12:01,125
Speaker 2: in films prior to this as well. And it is

1257
01:12:01,165 --> 01:12:05,245
Speaker 2: about Keaton's ability to play a character who could be

1258
01:12:05,365 --> 01:12:08,085
Speaker 2: played if you just were going off the page, could

1259
01:12:08,085 --> 01:12:14,125
Speaker 2: be played as dumb and maybe annoying, and make her

1260
01:12:14,165 --> 01:12:17,925
Speaker 2: just a little awkward and make her charming. And I

1261
01:12:17,965 --> 01:12:21,285
Speaker 2: think it's because you actually helped unlock this for me, Josh.

1262
01:12:21,725 --> 01:12:25,325
Speaker 2: It's because of the word you used, self awareness. It's

1263
01:12:25,365 --> 01:12:28,365
Speaker 2: because of her self awareness. It's actually built into the character.

1264
01:12:28,525 --> 01:12:31,325
Speaker 2: I think Keaton implicitly brings it as a performer, but

1265
01:12:31,365 --> 01:12:35,005
Speaker 2: it's built into the character, right, the great dialogue, you know,

1266
01:12:35,365 --> 01:12:39,365
Speaker 2: the way she's constantly questioning herself, going oh, oh, of

1267
01:12:39,405 --> 01:12:41,285
Speaker 2: course that was dumb, or why did you say that.

1268
01:12:41,365 --> 01:12:44,685
Speaker 2: You know, she's she's saying those things to herself, those asides.

1269
01:12:44,805 --> 01:12:48,365
Speaker 2: That's what makes her extra charming, that's what makes you

1270
01:12:49,245 --> 01:12:53,445
Speaker 2: find her, find her adorable in that moment and that

1271
01:12:53,525 --> 01:12:56,485
Speaker 2: back and forth between them. The banter is what makes

1272
01:12:56,485 --> 01:12:58,445
Speaker 2: it work. But her self awareness is I think what

1273
01:12:59,005 --> 01:13:03,205
Speaker 2: elevates that scene and that that character. Oh God, what

1274
01:13:03,325 --> 01:13:05,965
Speaker 2: a dumb thing to say, right, I mean, you say

1275
01:13:06,205 --> 01:13:07,604
Speaker 2: you play well, and then right.

1276
01:13:07,525 --> 01:13:09,684
Speaker 1: Away I have to say you play well.

1277
01:13:10,445 --> 01:13:17,565
Speaker 2: Oh oh god, Annie, well, oh well, Ladi da laid.

1278
01:13:19,085 --> 01:13:24,165
Speaker 2: In terms of the auto biographicalness of it all, she

1279
01:13:24,165 --> 01:13:26,445
Speaker 2: does point out, I mean it's evident from the beginning

1280
01:13:26,445 --> 01:13:28,845
Speaker 2: of the book that you know her real name is

1281
01:13:29,725 --> 01:13:34,365
Speaker 2: Diane Hall, so die Annie Hall Keaton was her mother's

1282
01:13:34,365 --> 01:13:37,245
Speaker 2: maid name. She had to change her name for sag reasons,

1283
01:13:37,285 --> 01:13:39,045
Speaker 2: you know, as that often happens, and so she went

1284
01:13:39,085 --> 01:13:42,285
Speaker 2: with she went with Diane Keaton, so that that comes

1285
01:13:42,485 --> 01:13:45,645
Speaker 2: you know, Alan wrote the script based on based on

1286
01:13:45,805 --> 01:13:49,365
Speaker 2: her and based on her name, and yeah, based on

1287
01:13:49,725 --> 01:13:53,365
Speaker 2: her family to some extent. And she says about the

1288
01:13:53,445 --> 01:13:55,925
Speaker 2: character when she or the role, when she started getting

1289
01:13:57,125 --> 01:13:59,485
Speaker 2: the accolades and everything that was coming in, she kind

1290
01:13:59,485 --> 01:14:01,365
Speaker 2: of couldn't see what all the fuss was about, because

1291
01:14:01,405 --> 01:14:05,165
Speaker 2: she did see herself as to some extent, playing herself.

1292
01:14:06,005 --> 01:14:09,965
Speaker 2: She's seeing her face, her voice, her mannerisms, all these

1293
01:14:09,965 --> 01:14:13,525
Speaker 2: things that kind of bothered her on screen. And you know,

1294
01:14:13,605 --> 01:14:18,445
Speaker 2: everyone assumed, well, this must be the relationship between the

1295
01:14:18,485 --> 01:14:22,925
Speaker 2: two of them just being translated to the screen, especially

1296
01:14:23,005 --> 01:14:26,005
Speaker 2: because she wanted to be a singer in real life,

1297
01:14:26,245 --> 01:14:28,564
Speaker 2: that they really did have a romance. That she was

1298
01:14:28,565 --> 01:14:32,885
Speaker 2: someone who was insecure and and that kind of her

1299
01:14:32,965 --> 01:14:36,405
Speaker 2: own word was like groping for words. She was someone

1300
01:14:36,445 --> 01:14:38,405
Speaker 2: who groped for words. And there you see it in

1301
01:14:38,445 --> 01:14:41,205
Speaker 2: her character. We see it in a lot of her characters, right, Well,

1302
01:14:41,205 --> 01:14:45,365
Speaker 2: that's because that's that's a naturalness that she brings to some,

1303
01:14:45,645 --> 01:14:49,365
Speaker 2: not all of her characters. And her mom, in one

1304
01:14:49,405 --> 01:14:51,725
Speaker 2: of her journals after seeing the premiere of Annie Hall said,

1305
01:14:52,365 --> 01:14:55,644
Speaker 2: Annie's camera in her hand, her gum chewing, her lack

1306
01:14:55,685 --> 01:15:01,485
Speaker 2: of confidence, pure Diane the Hall scenes. Josh, you know,

1307
01:15:02,885 --> 01:15:06,645
Speaker 2: Diane says, you know, their their comic relief. It was

1308
01:15:06,685 --> 01:15:10,485
Speaker 2: this generic wasp family, you know, sort of obvious caricature

1309
01:15:10,685 --> 01:15:12,365
Speaker 2: that she didn't pay a whole lot of attention to

1310
01:15:12,445 --> 01:15:15,445
Speaker 2: and no one really got offended by even though it

1311
01:15:15,485 --> 01:15:19,724
Speaker 2: was clearly modeled in some way off the actual Hall family,

1312
01:15:20,125 --> 01:15:23,365
Speaker 2: including even and you know, Dwayne is model off her

1313
01:15:23,365 --> 01:15:26,205
Speaker 2: brother Randy, who who did end up being a pretty

1314
01:15:26,245 --> 01:15:30,285
Speaker 2: sad story. You know, he's someone who suffered from mental

1315
01:15:30,285 --> 01:15:34,725
Speaker 2: illness his entire life, and and that may have not

1316
01:15:34,765 --> 01:15:37,605
Speaker 2: been fully diagnosed when when the script was written, but

1317
01:15:38,325 --> 01:15:41,405
Speaker 2: with someone who dealt with mental illness and bipolar disorder,

1318
01:15:41,725 --> 01:15:44,165
Speaker 2: and so those elements have some truth to it. But

1319
01:15:44,445 --> 01:15:46,085
Speaker 2: I just have to point this out because it did

1320
01:15:46,565 --> 01:15:50,405
Speaker 2: make me laugh. She kind of she doesn't handwave it off,

1321
01:15:50,485 --> 01:15:52,925
Speaker 2: but she just kind of says what is undoubtedly true.

1322
01:15:53,005 --> 01:15:55,085
Speaker 2: Of course it's based on it's not meant to be

1323
01:15:55,165 --> 01:15:57,485
Speaker 2: one to one. He doesn't line up one to one

1324
01:15:57,805 --> 01:16:01,365
Speaker 2: with all of the characters. That said, there is a

1325
01:16:01,405 --> 01:16:05,605
Speaker 2: part later in the book where she's describing her grandmother.

1326
01:16:06,765 --> 01:16:08,884
Speaker 2: I swear to you there's a part where she's describing

1327
01:16:08,925 --> 01:16:13,285
Speaker 2: her grandmother and some scene that's taking place and somebody

1328
01:16:13,325 --> 01:16:16,685
Speaker 2: they know is mentioned. And and you know, I may

1329
01:16:16,685 --> 01:16:19,564
Speaker 2: be misremembering some of the exact details, but someone they

1330
01:16:19,565 --> 01:16:21,405
Speaker 2: know is mentioned, and the first thing out of the

1331
01:16:21,445 --> 01:16:24,205
Speaker 2: grandmother's mouth is something like, did you know he was

1332
01:16:24,245 --> 01:16:29,845
Speaker 2: a jew? Okay, so it's not it's not too far off.

1333
01:16:30,885 --> 01:16:34,205
Speaker 2: It can't be too far off at some point, yea,

1334
01:16:34,645 --> 01:16:37,525
Speaker 2: he may have. But but back to the movie, you know,

1335
01:16:38,365 --> 01:16:42,445
Speaker 2: the the boldness of it as as a romantic comedy

1336
01:16:42,485 --> 01:16:46,605
Speaker 2: it was, it was his first and and what she

1337
01:16:46,845 --> 01:16:48,684
Speaker 2: loves about it, and I think one of the reasons

1338
01:16:48,685 --> 01:16:52,045
Speaker 2: why this movie does still linger in our consciousness, one

1339
01:16:52,045 --> 01:16:55,925
Speaker 2: of the reasons why we may still revisit this movie. Right.

1340
01:16:56,005 --> 01:16:57,644
Speaker 2: She talks about in terms of being a movie where

1341
01:16:57,645 --> 01:17:00,085
Speaker 2: he had the courage to write a film, a romantic

1342
01:17:00,165 --> 01:17:04,684
Speaker 2: movie where ultimately the message is love fades. She says,

1343
01:17:04,725 --> 01:17:06,645
Speaker 2: what do you let the audience feel the sadness of

1344
01:17:06,685 --> 01:17:09,285
Speaker 2: goodbye in a funny movie? And so for me, you

1345
01:17:09,285 --> 01:17:12,685
Speaker 2: know that that kind of ties into why any Hall

1346
01:17:12,725 --> 01:17:14,805
Speaker 2: had to be Number one why I do think it's

1347
01:17:14,845 --> 01:17:18,125
Speaker 2: the defining Keaton performance. I think what we all did

1348
01:17:18,365 --> 01:17:22,525
Speaker 2: understand watching it, that we knew anything at all about

1349
01:17:22,565 --> 01:17:25,604
Speaker 2: her real life or not, how closely it seems to

1350
01:17:25,645 --> 01:17:30,885
Speaker 2: capture Diane Hall, with all of her quirks and her humor,

1351
01:17:31,125 --> 01:17:36,285
Speaker 2: but also getting at some pathos, some underlying sadness that

1352
01:17:36,365 --> 01:17:39,725
Speaker 2: Tinge of sadness, and I just think it's expressed more

1353
01:17:39,765 --> 01:17:42,485
Speaker 2: forcefully in some of the other scenes that I chose,

1354
01:17:42,525 --> 01:17:46,005
Speaker 2: but it is at the core of Annie Hall as well.

1355
01:17:46,205 --> 01:17:51,725
Speaker 2: And Lotti Da Josh, the expression where you try to,

1356
01:17:52,245 --> 01:17:57,165
Speaker 2: you try to with words wash away whatever might be

1357
01:17:57,805 --> 01:18:00,644
Speaker 2: meddling in your life at that moment. Lotti Da Lotti

1358
01:18:00,725 --> 01:18:03,005
Speaker 2: Da La La. That is my number one.

1359
01:18:03,245 --> 01:18:08,045
Speaker 1: Yeah, and you almost admire the performance more learning as

1360
01:18:08,085 --> 01:18:10,965
Speaker 1: you're describing that it was that close to her I

1361
01:18:10,965 --> 01:18:14,845
Speaker 1: mean to be, to not just play yourself, but to

1362
01:18:14,925 --> 01:18:18,805
Speaker 1: bring some of these subtleties that are distinct that we've

1363
01:18:18,805 --> 01:18:21,325
Speaker 1: been touching on in both of our picks, you know,

1364
01:18:21,445 --> 01:18:25,685
Speaker 1: makes it just another reason why it's such an impressive performance.

1365
01:18:26,685 --> 01:18:31,564
Speaker 2: Those are our top five Diane Keaton scenes. We hope

1366
01:18:31,605 --> 01:18:36,765
Speaker 2: we paid appropriate tribute to a great performer. You can

1367
01:18:36,885 --> 01:18:40,644
Speaker 2: send your picks two feedback at Film Spotting dot Nette.

1368
01:18:40,645 --> 01:18:43,285
Speaker 2: We would love to hear them. Do you have any

1369
01:18:43,485 --> 01:18:46,165
Speaker 2: honorable mentions you'd like to throw in, Josh.

1370
01:18:46,285 --> 01:18:50,005
Speaker 1: I would have for my number six, try to narrow

1371
01:18:50,125 --> 01:18:52,604
Speaker 1: down something from something's got to give. It's just her

1372
01:18:52,645 --> 01:18:55,445
Speaker 1: with Nicholson. You know, I do think I'm glad as

1373
01:18:55,485 --> 01:18:57,724
Speaker 1: I said you recognize it. I do think it stands

1374
01:18:57,765 --> 01:19:00,684
Speaker 1: out among her filmography. And then I'll share one from

1375
01:19:01,045 --> 01:19:05,445
Speaker 1: a listener. Chad Camello subscribes to my larsen On Film newsletter.

1376
01:19:05,565 --> 01:19:08,005
Speaker 1: He sent me an email with this pick. As a

1377
01:19:08,005 --> 01:19:11,485
Speaker 1: certified defender of the family Stone, my pick for favorite

1378
01:19:11,525 --> 01:19:15,885
Speaker 1: Diane Keaton scene comes from that modern Christmas classic where Keaton, Sibyl,

1379
01:19:16,005 --> 01:19:19,085
Speaker 1: the matriarch of the Stone family, finally hashes it out

1380
01:19:19,125 --> 01:19:22,805
Speaker 1: with her eldest son played by Dermott Maroney, about both

1381
01:19:22,845 --> 01:19:25,125
Speaker 1: the drama with his fiance and coming to terms with

1382
01:19:25,165 --> 01:19:29,165
Speaker 1: Sybyl's cancer diagnosis. The way Keaton maneuvers from playful banter

1383
01:19:29,325 --> 01:19:33,724
Speaker 1: to emotional sincerity is a masterclass in range and grounding

1384
01:19:33,765 --> 01:19:34,845
Speaker 1: a character in the moment.

1385
01:19:36,645 --> 01:19:39,685
Speaker 2: For me, I could have found scenes from some of

1386
01:19:39,725 --> 01:19:43,045
Speaker 2: those other Allen films, the earlier ones like Sleeper played

1387
01:19:43,085 --> 01:19:46,245
Speaker 2: against Sam, Love and Death, or just after Annie Hall

1388
01:19:46,365 --> 01:19:49,805
Speaker 2: even Interiors, which, to go back to Mary and her

1389
01:19:49,885 --> 01:19:54,085
Speaker 2: disliking mar Bergman is very much Diane Keaton in a

1390
01:19:54,125 --> 01:19:57,485
Speaker 2: woody Allen slashing mar Bergman film. If I was going

1391
01:19:57,525 --> 01:20:00,805
Speaker 2: to go with another Alan choice, though it would be

1392
01:20:00,845 --> 01:20:03,965
Speaker 2: in Manhattan, I definitely would have considered the Academy of

1393
01:20:04,005 --> 01:20:07,125
Speaker 2: the overrated, or it probably would have been the Queensboro

1394
01:20:07,245 --> 01:20:10,564
Speaker 2: Bridge sequence, the night they spend out together where they

1395
01:20:10,685 --> 01:20:13,125
Speaker 2: really get to know each other and spend all night,

1396
01:20:13,165 --> 01:20:15,525
Speaker 2: and of course the iconic shot that everyone thinks about

1397
01:20:15,565 --> 01:20:18,205
Speaker 2: with that movie. The others I've mentioned other scenes from

1398
01:20:18,205 --> 01:20:23,245
Speaker 2: Anny Hall. Other scene or two I mentioned Boom, I

1399
01:20:23,365 --> 01:20:25,965
Speaker 2: go with one in my top ten from The First

1400
01:20:25,965 --> 01:20:29,644
Speaker 2: Wives Club. I really like the scene. And here's where

1401
01:20:29,685 --> 01:20:33,844
Speaker 2: we get that character, especially Josh that she plays. Annie

1402
01:20:34,005 --> 01:20:40,045
Speaker 2: is very flighty, and part of the character that the

1403
01:20:40,165 --> 01:20:43,125
Speaker 2: other two women you know, played by Goldie Han and

1404
01:20:43,125 --> 01:20:45,085
Speaker 2: Bett Miller, they give her so much grief for is

1405
01:20:45,085 --> 01:20:49,725
Speaker 2: how nice she is and and she's kind of gullible

1406
01:20:49,845 --> 01:20:53,005
Speaker 2: and can be taken advantage of. And so when that

1407
01:20:53,205 --> 01:20:57,485
Speaker 2: character finally does get fierce, when that character Annie finally

1408
01:20:57,485 --> 01:21:01,405
Speaker 2: stands up for herself and gets back at her husband

1409
01:21:01,645 --> 01:21:05,845
Speaker 2: by buying out her husband's advertising business, it's it's kind

1410
01:21:05,885 --> 01:21:09,165
Speaker 2: of a it's kind of a relative a spiritual successor

1411
01:21:09,245 --> 01:21:13,205
Speaker 2: scene to the boardroom scene in Baby Boom, just a

1412
01:21:13,525 --> 01:21:15,965
Speaker 2: smaller version that with just her and her husband buying

1413
01:21:15,965 --> 01:21:18,525
Speaker 2: her husband out. It's really good. So I go with

1414
01:21:18,525 --> 01:21:21,925
Speaker 2: that from First Wives Club again. Email tell us your choices,

1415
01:21:22,285 --> 01:21:26,085
Speaker 2: feedback at film spotting dot net, and you can go

1416
01:21:26,165 --> 01:21:28,564
Speaker 2: to film spotting dot Net see all of our picks

1417
01:21:28,845 --> 01:21:32,724
Speaker 2: see links to our clips just click on film spotting

1418
01:21:32,765 --> 01:21:34,205
Speaker 2: dot Net slash list.

1419
01:21:34,605 --> 01:21:36,525
Speaker 1: Before we move on, Adam, we want to thank our

1420
01:21:36,565 --> 01:21:41,405
Speaker 1: Film Spotting family members who help support the show. Thanks

1421
01:21:41,405 --> 01:21:46,845
Speaker 1: to advisory board member Bob Taylor from Lakewood, Ohio, Bob

1422
01:21:46,885 --> 01:21:49,925
Speaker 1: gets to make the big decisions as a Film Spotting

1423
01:21:49,965 --> 01:21:53,205
Speaker 1: Advisory board member. He wrote that he found the show

1424
01:21:53,205 --> 01:21:56,085
Speaker 1: back in twenty twenty two, episode eight seventy, when we

1425
01:21:56,125 --> 01:21:59,965
Speaker 1: did our top five Nicholas Cage performances. Bob said, Cage

1426
01:22:00,045 --> 01:22:02,644
Speaker 1: is a truly singular performer who will go down as

1427
01:22:02,725 --> 01:22:06,045
Speaker 1: one of the great legendary American actors.

1428
01:22:06,645 --> 01:22:08,925
Speaker 2: I'm not going to argue with him, and if I

1429
01:22:09,005 --> 01:22:13,525
Speaker 2: remember correctly, the guy who who literally wrote the book

1430
01:22:13,525 --> 01:22:17,165
Speaker 2: on Nicholas Cage, Keith Pipps, joined us for that top

1431
01:22:17,245 --> 01:22:21,405
Speaker 2: five A favorite show segment of Bob's hard to pick one.

1432
01:22:21,765 --> 01:22:25,644
Speaker 2: So many insightful episodes with wide ranging titles, directors and artists.

1433
01:22:25,685 --> 01:22:28,485
Speaker 2: Did Sam write that I absolutely love the annual Top

1434
01:22:28,525 --> 01:22:31,525
Speaker 2: ten episodes so wonderful to hear the diverse perspectives. It

1435
01:22:31,525 --> 01:22:33,564
Speaker 2: truly is an annual highlight from which my wife and

1436
01:22:33,605 --> 01:22:36,925
Speaker 2: I line up for our weekly Sunday night movie nights.

1437
01:22:37,045 --> 01:22:39,325
Speaker 2: Great ooh love that idea, Bob.

1438
01:22:40,165 --> 01:22:42,325
Speaker 1: We asked if there was a review we got wrong,

1439
01:22:42,525 --> 01:22:45,005
Speaker 1: and Bob said a split review for A Nightmare on

1440
01:22:45,045 --> 01:22:48,165
Speaker 1: Elm Street, Come On, Adam. Undoubtedly one of the greatest

1441
01:22:48,205 --> 01:22:51,805
Speaker 1: horror films of all time, exploring the ultimate realm of fear,

1442
01:22:52,245 --> 01:22:54,285
Speaker 1: the subconscious.

1443
01:22:54,205 --> 01:22:58,525
Speaker 2: And maybe maybe your subconscious. Maybe Josh's This.

1444
01:22:58,565 --> 01:23:01,005
Speaker 1: Next comment from Bob maybe explains why he went that way.

1445
01:23:01,285 --> 01:23:04,925
Speaker 1: Here's what he credits with becoming a sinophile, sneaking out

1446
01:23:04,925 --> 01:23:07,525
Speaker 1: of bed and down the hall to sneak a peek

1447
01:23:07,565 --> 01:23:11,965
Speaker 1: at Texas Chainsaw massacre from the kitchen steps. I don't

1448
01:23:11,965 --> 01:23:15,205
Speaker 1: think we want to know how young, inappropriately young Bob

1449
01:23:15,285 --> 01:23:16,445
Speaker 1: might have been for watching that.

1450
01:23:17,205 --> 01:23:22,165
Speaker 2: Yeah, as longtime listeners know, I was traumatized by every

1451
01:23:22,205 --> 01:23:25,005
Speaker 2: horror movie moment of my childhood, so that might explain

1452
01:23:25,045 --> 01:23:28,205
Speaker 2: why I didn't fully embrace A Nightmare on Elm Street.

1453
01:23:28,445 --> 01:23:31,045
Speaker 2: His favorite book about movies or movie making. It's a

1454
01:23:31,045 --> 01:23:33,925
Speaker 2: good one. Also on my bookshelf, a Cinema of Loneliness,

1455
01:23:33,965 --> 01:23:38,564
Speaker 2: pen Kubrick, Scorsese, Spielberg, Altman by Robert P. Kolker. We

1456
01:23:38,645 --> 01:23:41,564
Speaker 2: thank Bob for being an advisory board member. We have

1457
01:23:42,245 --> 01:23:45,045
Speaker 2: our next Film Spotting Advisory Board meeting coming up. We're

1458
01:23:45,045 --> 01:23:50,525
Speaker 2: going to discuss and ultimately decide our next Film Spotting

1459
01:23:50,725 --> 01:23:56,005
Speaker 2: Marathon topic. That's coming up February twelfth, very soon. We

1460
01:23:56,405 --> 01:23:59,165
Speaker 2: are looking forward to that. And in addition to keeping

1461
01:23:59,245 --> 01:24:01,485
Speaker 2: us doing what we're doing her on Film Spotting, being

1462
01:24:01,525 --> 01:24:03,645
Speaker 2: a Film Spotting Family member does come with perks. You

1463
01:24:03,685 --> 01:24:05,645
Speaker 2: get to listen early in ad free, you get our

1464
01:24:05,645 --> 01:24:07,525
Speaker 2: weekly newsletter, you get to be part of the great

1465
01:24:07,525 --> 01:24:10,285
Speaker 2: Film Spotting Family discord, you get monthly bonus shows. And

1466
01:24:10,325 --> 01:24:13,924
Speaker 2: in February, Josh, we are going to do blind Spotting.

1467
01:24:14,205 --> 01:24:19,365
Speaker 2: We're gonna find three titles, probably nineteen forties madness titles

1468
01:24:19,405 --> 01:24:21,805
Speaker 2: that we haven't seen that we need to catch up

1469
01:24:21,805 --> 01:24:25,245
Speaker 2: on some homework, and we'll ask our family members to vote,

1470
01:24:25,325 --> 01:24:27,604
Speaker 2: and that's the movie we'll see and talk about. Should

1471
01:24:27,605 --> 01:24:27,965
Speaker 2: be fun.

1472
01:24:28,085 --> 01:24:30,445
Speaker 1: Yeah, we got to get rolling on that madness nineteen

1473
01:24:30,485 --> 01:24:32,045
Speaker 1: forties comed around the Corner.

1474
01:24:32,485 --> 01:24:35,805
Speaker 2: Indeed. More about joining the Film Spotting Family is available

1475
01:24:35,845 --> 01:24:40,005
Speaker 2: at film, Spottingfamily dot Com and don't forget. You can

1476
01:24:40,045 --> 01:24:43,205
Speaker 2: also help us just by rating us Apple Podcasts or

1477
01:24:43,205 --> 01:24:46,525
Speaker 2: Spotify rating us giving us a review. It does help

1478
01:24:46,605 --> 01:24:48,165
Speaker 2: us reach new listeners.

1479
01:24:49,285 --> 01:24:53,125
Speaker 1: I'll talk what's it like to be with a circumcised man?

1480
01:24:54,605 --> 01:24:56,765
Speaker 1: Because when Ron had his surgery, all right, all right,

1481
01:24:56,805 --> 01:24:59,165
Speaker 1: all right, Ron had a surgery, I said, hey, circumcise

1482
01:24:59,245 --> 01:25:01,005
Speaker 1: it while you're at it, you know, just because I

1483
01:25:01,085 --> 01:25:02,405
Speaker 1: had never been with anyone else.

1484
01:25:02,805 --> 01:25:05,925
Speaker 2: Just as we're in the final stages of preparing for

1485
01:25:06,325 --> 01:25:09,604
Speaker 2: this tribute show to Diane Keaton, one of the great

1486
01:25:09,605 --> 01:25:13,805
Speaker 2: screen comedians, we get the news that Catherine O'Hara has

1487
01:25:13,845 --> 01:25:18,285
Speaker 2: passed away age seventy one, and Josh when we inevitably

1488
01:25:18,405 --> 01:25:20,685
Speaker 2: we haven't talked about it yet, but when we inevitably

1489
01:25:20,725 --> 01:25:24,125
Speaker 2: paid tribute to her, we could do scenes. But with

1490
01:25:24,205 --> 01:25:29,885
Speaker 2: Catherine O'Hara, it's almost like lines or individual words. I mean,

1491
01:25:29,925 --> 01:25:32,604
Speaker 2: what do you do with Catherine O'Hara when when almost

1492
01:25:32,685 --> 01:25:36,605
Speaker 2: everything she did on screen was comedic gold?

1493
01:25:36,765 --> 01:25:39,764
Speaker 1: You could go that granular with her, you could, actually,

1494
01:25:40,085 --> 01:25:43,325
Speaker 1: but then the choices are endless. I don't know, I'm

1495
01:25:43,325 --> 01:25:47,245
Speaker 1: almost I think characters might be the way we go

1496
01:25:48,005 --> 01:25:50,205
Speaker 1: with her the point, Yeah, I would love to do

1497
01:25:50,245 --> 01:25:52,405
Speaker 1: this at some point. I mean, I could give you

1498
01:25:52,445 --> 01:25:54,325
Speaker 1: a quick riff top five. But if we think we're

1499
01:25:54,325 --> 01:25:56,925
Speaker 1: doing it, no, I think we'll do it, I will

1500
01:25:56,925 --> 01:25:57,365
Speaker 1: pocket that.

1501
01:25:59,085 --> 01:26:01,605
Speaker 2: Yeah, exactly, I will. Here's what I'll do.

1502
01:26:01,685 --> 01:26:05,365
Speaker 1: I will encourage people to Debbie and I have started

1503
01:26:05,405 --> 01:26:08,485
Speaker 1: rewatching Shit's Creek, the recent TV series she did with

1504
01:26:08,565 --> 01:26:11,485
Speaker 1: Eugene Levy. It's on Netflix right now, So if you

1505
01:26:11,565 --> 01:26:14,845
Speaker 1: have not checked that out for whatever reason, it is

1506
01:26:16,285 --> 01:26:19,805
Speaker 1: hilarious and she is maybe the funniest part of it,

1507
01:26:19,965 --> 01:26:23,245
Speaker 1: though that's there's comp tition for that. So really, if

1508
01:26:23,285 --> 01:26:25,085
Speaker 1: you never got around to Shit's Creak, now is the

1509
01:26:25,125 --> 01:26:28,485
Speaker 1: time as you're thinking about Katherine O'Hara. And yeah, I mean,

1510
01:26:28,605 --> 01:26:34,245
Speaker 1: seventy one, maddeningly too young, surely had chances to do

1511
01:26:35,045 --> 01:26:38,445
Speaker 1: a lot more great work. She was incredibly active as

1512
01:26:38,445 --> 01:26:42,325
Speaker 1: Shits Creak shows still And you know, Adam, we sometimes

1513
01:26:42,365 --> 01:26:46,045
Speaker 1: talk about character actors supporting you know, actors, However, you

1514
01:26:46,085 --> 01:26:49,525
Speaker 1: want to classify someone who's had the roles like she

1515
01:26:49,685 --> 01:26:52,205
Speaker 1: has had, Sometimes we'll say, you know what, one of

1516
01:26:52,205 --> 01:26:53,965
Speaker 1: those people when they showed up on the screen, you

1517
01:26:54,045 --> 01:26:55,724
Speaker 1: just immediately got excited.

1518
01:26:56,525 --> 01:26:57,085
Speaker 2: I think it was.

1519
01:26:57,045 --> 01:26:59,325
Speaker 1: Different with Catherine O'Hara. I think when she came on

1520
01:26:59,365 --> 01:27:02,725
Speaker 1: the screen, you were rooting for her character, whoever it was,

1521
01:27:03,245 --> 01:27:05,405
Speaker 1: to just become the focus of the movie. It's like,

1522
01:27:05,445 --> 01:27:07,645
Speaker 1: I don't care what we were watching or what I

1523
01:27:07,725 --> 01:27:10,724
Speaker 1: paid to come see. Can we just follow her now?

1524
01:27:11,325 --> 01:27:17,445
Speaker 1: She just brought that level of unpredictability and comic chaos

1525
01:27:17,605 --> 01:27:19,604
Speaker 1: that you just wanted to ride with her the rest

1526
01:27:19,645 --> 01:27:24,685
Speaker 1: of the film. So yeah, we incredible loss in the

1527
01:27:24,685 --> 01:27:25,885
Speaker 1: world of comedy.

1528
01:27:26,365 --> 01:27:29,405
Speaker 2: And Shit's Creek is so good and she's so good

1529
01:27:29,445 --> 01:27:33,205
Speaker 2: as moy were in that show that you could almost

1530
01:27:33,205 --> 01:27:37,445
Speaker 2: see breaking a rule. Oh we're breaking it. You're you're already,

1531
01:27:37,445 --> 01:27:40,205
Speaker 2: you're already dictating the boy res eligible. I'm just telling

1532
01:27:40,205 --> 01:27:40,485
Speaker 2: you what.

1533
01:27:40,685 --> 01:27:42,885
Speaker 1: I'm breaking it, and you know we can see what

1534
01:27:42,925 --> 01:27:43,645
Speaker 1: happens when I do.

1535
01:27:44,445 --> 01:27:47,045
Speaker 2: I'm calling it a gray Hawk ten. Here we go.

1536
01:27:47,125 --> 01:27:48,564
Speaker 2: I'm calling in the gray Hawk ten.

1537
01:27:48,805 --> 01:27:55,165
Speaker 1: Already bust out before comra, Josh, come on.

1538
01:27:55,685 --> 01:27:59,564
Speaker 2: Okay, Well, some other choices, actual movie choices that Josh

1539
01:27:59,645 --> 01:28:03,365
Speaker 2: will consider. Christopher Guest waiting for Guthman, best in show

1540
01:28:03,685 --> 01:28:06,564
Speaker 2: A Mighty Wind. Of course, there's some Tim Burton choices,

1541
01:28:06,605 --> 01:28:10,804
Speaker 2: Beetle Juice, last year's sequel, The Nightmare Before Christmas, Home Alone,

1542
01:28:10,845 --> 01:28:14,525
Speaker 2: Away we Go, Where the Wild Things Are Other TV options, Josh,

1543
01:28:14,605 --> 01:28:16,325
Speaker 2: you want to go back to sc TV while we're

1544
01:28:16,325 --> 01:28:19,724
Speaker 2: at it. You could do that with John Candy, Eugene Levy,

1545
01:28:19,965 --> 01:28:23,485
Speaker 2: Martin Short, Rick Moran, Andrew Martin, Dave Thomas, Joe Flaherty

1546
01:28:23,525 --> 01:28:26,405
Speaker 2: the original cast members there and Yeah, five time Emmy

1547
01:28:26,405 --> 01:28:30,445
Speaker 2: nominee for acting, most recently just last year for the network,

1548
01:28:30,485 --> 01:28:33,644
Speaker 2: and she did win for the final season of Shit's

1549
01:28:33,685 --> 01:28:36,125
Speaker 2: Creek and that show. We don't need to say more

1550
01:28:36,125 --> 01:28:38,285
Speaker 2: about it, but I don't know. I don't know if

1551
01:28:38,285 --> 01:28:40,405
Speaker 2: it's one of those things. It feels to me like

1552
01:28:40,445 --> 01:28:43,085
Speaker 2: one of those shows that I hope it doesn't happen,

1553
01:28:43,485 --> 01:28:46,485
Speaker 2: if it hasn't happened already. There that there almost should

1554
01:28:46,485 --> 01:28:51,165
Speaker 2: be a backlash too, because it's too universally loved. I

1555
01:28:51,245 --> 01:28:53,885
Speaker 2: know people who are our age, so many people our

1556
01:28:53,925 --> 01:28:55,805
Speaker 2: age who love it. I know people who are in

1557
01:28:55,845 --> 01:28:57,765
Speaker 2: their twenties and thirties that love it, yeah, and then

1558
01:28:57,765 --> 01:28:59,965
Speaker 2: I and then I know plenty of people that are

1559
01:28:59,965 --> 01:29:02,685
Speaker 2: our parents' age, right, Yeah, who love it. And so

1560
01:29:02,965 --> 01:29:05,085
Speaker 2: it's just one of those things that crosses generations.

1561
01:29:05,285 --> 01:29:07,085
Speaker 1: I think you're right. I think that's one of the

1562
01:29:07,125 --> 01:29:08,885
Speaker 1: delightful things about it. All I can tell you is

1563
01:29:08,925 --> 01:29:11,805
Speaker 1: I know it holds up I mean, and it has that,

1564
01:29:12,165 --> 01:29:14,805
Speaker 1: you know. I think sitcoms in particular can have this

1565
01:29:14,925 --> 01:29:18,085
Speaker 1: where you've lived with characters so long, you know them

1566
01:29:18,085 --> 01:29:20,684
Speaker 1: so well. You start on a second watch, you start

1567
01:29:20,685 --> 01:29:23,965
Speaker 1: to end anticipate how they're going to react to any

1568
01:29:23,965 --> 01:29:26,365
Speaker 1: given situation. Yeah, and then that becomes part of the

1569
01:29:26,365 --> 01:29:27,085
Speaker 1: fun as well.

1570
01:29:27,325 --> 01:29:29,725
Speaker 2: That will be a fun top five. We'll have to

1571
01:29:29,765 --> 01:29:32,604
Speaker 2: discuss the timing of that, but you can look forward

1572
01:29:32,685 --> 01:29:35,205
Speaker 2: to that down the road, and you can check out

1573
01:29:35,445 --> 01:29:39,085
Speaker 2: future episodes. We do have planned filmspotting dot Net slash

1574
01:29:39,285 --> 01:29:44,245
Speaker 2: episodes next week on the show. An anniversary review we

1575
01:29:44,285 --> 01:29:47,045
Speaker 2: could not overlook again because we've done it plenty. We

1576
01:29:47,085 --> 01:29:49,205
Speaker 2: did not talk about it for its tenth anniversary, or

1577
01:29:49,245 --> 01:29:52,045
Speaker 2: it's fifteenth, or its twentieth, or it's twenty fifth. Now,

1578
01:29:52,085 --> 01:29:54,285
Speaker 2: to be fair, I don't think we actually discussed it

1579
01:29:54,405 --> 01:29:56,685
Speaker 2: at any of these points. It's not like we rejected it.

1580
01:29:57,085 --> 01:30:01,165
Speaker 2: We just just overlooked it. For it's thirtieth. We've decided

1581
01:30:01,205 --> 01:30:04,285
Speaker 2: we can't overlook it any longer, we are going to

1582
01:30:04,325 --> 01:30:08,205
Speaker 2: give our namesake finally the sacred cow treatment. Now, to

1583
01:30:08,245 --> 01:30:11,045
Speaker 2: be clear for any new listeners of the show, we

1584
01:30:11,125 --> 01:30:14,925
Speaker 2: did not call the show Film Spotting because at the

1585
01:30:15,005 --> 01:30:20,925
Speaker 2: time we were necessarily myself and Sam, we were so

1586
01:30:21,005 --> 01:30:24,765
Speaker 2: such gigantic fans of the movie Train Spotting. We both

1587
01:30:24,885 --> 01:30:26,965
Speaker 2: liked the movie Train Spotting. We thought it was a

1588
01:30:26,965 --> 01:30:30,285
Speaker 2: pretty cool movie, and we certainly thought it was cool

1589
01:30:30,405 --> 01:30:35,285
Speaker 2: enough that if our name referenced that that movie, that worked.

1590
01:30:35,845 --> 01:30:39,605
Speaker 2: But the reference wasn't necessarily what what drove us to

1591
01:30:39,645 --> 01:30:41,765
Speaker 2: the name, and and quite honestly, what drove us to

1592
01:30:41,805 --> 01:30:44,285
Speaker 2: the name is we needed to finally pick a name,

1593
01:30:44,325 --> 01:30:47,285
Speaker 2: and it was the best of all the options we had,

1594
01:30:47,565 --> 01:30:49,644
Speaker 2: which is sometimes where you end up.

1595
01:30:50,285 --> 01:30:52,765
Speaker 1: I think, I think it's worked out. I think, he

1596
01:30:55,285 --> 01:30:59,564
Speaker 1: later Josh, just fine, we haven't changed it. Yeah, really,

1597
01:30:59,645 --> 01:31:01,165
Speaker 1: you know why we've been waiting so long to do

1598
01:31:01,205 --> 01:31:01,724
Speaker 1: this review.

1599
01:31:01,765 --> 01:31:03,405
Speaker 2: We were waiting for me to move to Scotland.

1600
01:31:03,925 --> 01:31:07,764
Speaker 1: And and now that I'm regularly taking the train into Edinburgh,

1601
01:31:07,805 --> 01:31:11,485
Speaker 1: I will be able to be the authenticity judge for

1602
01:31:11,885 --> 01:31:14,205
Speaker 1: you know, I'm I'm just kidding. I've been there maybe

1603
01:31:14,245 --> 01:31:17,685
Speaker 1: eight times now I've seen nothing like what we what

1604
01:31:17,805 --> 01:31:20,685
Speaker 1: goes on in Train Spotting, and I'm I'm grateful for it.

1605
01:31:21,245 --> 01:31:25,205
Speaker 2: Okay, this does say a letterboxed I should say says

1606
01:31:25,245 --> 01:31:28,604
Speaker 2: that I last watched train Spotting eight years ago, and

1607
01:31:28,805 --> 01:31:32,564
Speaker 2: that would correspond with the rewatch for T two Train Spotting.

1608
01:31:32,605 --> 01:31:34,965
Speaker 2: But yeah, more than that, I didn't watch it necessarily

1609
01:31:35,005 --> 01:31:37,245
Speaker 2: because I felt like I had to to watch the sequel.

1610
01:31:37,565 --> 01:31:39,405
Speaker 2: I felt like I had to for the top five

1611
01:31:39,485 --> 01:31:42,365
Speaker 2: list that we did with Danny Boyle, the top five

1612
01:31:42,565 --> 01:31:45,764
Speaker 2: Danny Boyle characters with Danny Boyle here on the show.

1613
01:31:46,005 --> 01:31:48,005
Speaker 2: That's why I rewatched it, And that was only the

1614
01:31:48,045 --> 01:31:51,285
Speaker 2: second time I had seen it since watching it originally.

1615
01:31:51,685 --> 01:31:53,724
Speaker 1: Yeah, I think I'm in and in the same place

1616
01:31:53,765 --> 01:31:56,925
Speaker 1: and enjoyed that rewatch, and yeah, happy to have this

1617
01:31:57,045 --> 01:31:59,724
Speaker 1: chance to take another look and then really dig into

1618
01:31:59,725 --> 01:32:00,085
Speaker 1: it with you.

1619
01:32:00,725 --> 01:32:03,925
Speaker 2: Okay. Also next week our twenty twenty six I have

1620
01:32:04,045 --> 01:32:06,805
Speaker 2: not thought about this at all. I have so much

1621
01:32:06,845 --> 01:32:09,445
Speaker 2: work to do for next week our twenty twenty six

1622
01:32:09,965 --> 01:32:14,965
Speaker 2: Pantheon nominees. It is time to put two more films

1623
01:32:15,005 --> 01:32:18,205
Speaker 2: into the film Spotting Pantheon. Who knows, maybe Trainspotting will

1624
01:32:18,245 --> 01:32:22,525
Speaker 2: be among them, you me, producer saying, over the course

1625
01:32:22,565 --> 01:32:24,445
Speaker 2: of the next few weeks, well, actually next week, you

1626
01:32:24,485 --> 01:32:27,205
Speaker 2: will hear us nominate three films. Each one of them

1627
01:32:27,245 --> 01:32:30,325
Speaker 2: has to be a former Marathon title, one of them

1628
01:32:30,365 --> 01:32:32,764
Speaker 2: has to be a film that's already gotten the Sacred

1629
01:32:32,805 --> 01:32:35,405
Speaker 2: Cow treatment, and then one has to be a title

1630
01:32:35,485 --> 01:32:38,125
Speaker 2: that's never been reviewed on the show. It's not a Marathon,

1631
01:32:38,285 --> 01:32:40,925
Speaker 2: it's not a Sacred Cow. It wasn't discussed when the

1632
01:32:40,965 --> 01:32:43,165
Speaker 2: movie came out, so it can't be something from the

1633
01:32:43,245 --> 01:32:45,564
Speaker 2: last twenty years that was talked about on the show.

1634
01:32:45,885 --> 01:32:48,604
Speaker 2: It is just a movie that one of us thinks

1635
01:32:48,725 --> 01:32:53,165
Speaker 2: is really great and pantheon worthy but has never gotten

1636
01:32:53,205 --> 01:32:55,765
Speaker 2: its due. Here on the show, we come with three

1637
01:32:55,765 --> 01:32:57,765
Speaker 2: of those, and we try to will down those nine

1638
01:32:57,845 --> 01:33:03,365
Speaker 2: choices eventually to two with the help of Film Spotting Nation.

1639
01:33:03,525 --> 01:33:06,844
Speaker 2: Everybody gets a vote, two of those go into the pantheon.

1640
01:33:07,485 --> 01:33:09,604
Speaker 1: Okay, I have not thought about this at all either.

1641
01:33:10,005 --> 01:33:14,165
Speaker 1: Question for comrade Adam, do you think we should be

1642
01:33:15,805 --> 01:33:19,685
Speaker 1: disallowed from repeating previous nominations or maybe no?

1643
01:33:19,885 --> 01:33:22,085
Speaker 2: Maybe no at all. Okay, I was.

1644
01:33:22,085 --> 01:33:25,765
Speaker 1: Gonna say, maybe we should be disallowed from repeating what

1645
01:33:25,805 --> 01:33:29,165
Speaker 1: we nominated last year, but we could go back further,

1646
01:33:29,605 --> 01:33:30,845
Speaker 1: or it's all fair game.

1647
01:33:31,965 --> 01:33:34,085
Speaker 2: All it's all fair game. I think that is something

1648
01:33:34,125 --> 01:33:37,125
Speaker 2: we we did talk about last year that if you

1649
01:33:37,405 --> 01:33:40,485
Speaker 2: if you had a movie last year that you nominated

1650
01:33:41,165 --> 01:33:43,925
Speaker 2: that did not get chosen, especially if it was a

1651
01:33:43,965 --> 01:33:47,445
Speaker 2: movie that came close to getting chosen, you feel really

1652
01:33:47,485 --> 01:33:52,005
Speaker 2: strongly about, don't worry about it sounding like boring content.

1653
01:33:52,445 --> 01:33:54,765
Speaker 2: We have nine films to talk about, and I'm sure

1654
01:33:54,805 --> 01:33:59,684
Speaker 2: we will fill the time somehow. So bring bring whatever movies.

1655
01:34:00,085 --> 01:34:03,845
Speaker 2: Three movies you genuinely think I deserve to go into

1656
01:34:03,845 --> 01:34:07,165
Speaker 2: the pantheon, even if you have previously nominated them. I mean,

1657
01:34:07,485 --> 01:34:09,925
Speaker 2: look at it this way. Last year, the movies that

1658
01:34:10,005 --> 01:34:13,604
Speaker 2: went in were Singing in the Rain in Sherlock Junior.

1659
01:34:14,085 --> 01:34:17,645
Speaker 2: Sherlock Junior was Sam's nominee. It was going to be

1660
01:34:17,725 --> 01:34:20,325
Speaker 2: my nominee, but he beat me to it, so I

1661
01:34:20,365 --> 01:34:22,325
Speaker 2: had to pivot and go with another silent film, and

1662
01:34:22,365 --> 01:34:25,724
Speaker 2: I nominated Sunrise, a Song of two Humans. I think

1663
01:34:25,765 --> 01:34:29,605
Speaker 2: I nominated Singing in the Rain. So the two the

1664
01:34:29,605 --> 01:34:33,285
Speaker 2: three films you nominated are all three available, right? Yeah,

1665
01:34:33,365 --> 01:34:36,925
Speaker 2: okay from last year? All right, you could revisit them.

1666
01:34:37,125 --> 01:34:38,965
Speaker 2: Feel free that's good. If you have a film you

1667
01:34:38,965 --> 01:34:41,525
Speaker 2: think should be in the film spotting pantheon, or you

1668
01:34:41,525 --> 01:34:43,885
Speaker 2: have any thoughts on train spotting, you could write us

1669
01:34:44,085 --> 01:34:46,564
Speaker 2: feedback at film spotting dot net, or you know, send

1670
01:34:46,605 --> 01:34:50,884
Speaker 2: us an audio or video message feedback at film spotting

1671
01:34:51,165 --> 01:34:55,485
Speaker 2: dot net. And now we get to everybody's new favorite

1672
01:34:55,845 --> 01:35:01,325
Speaker 2: recurring segment on film spotting. Where in the world is Josh.

1673
01:35:01,365 --> 01:35:04,365
Speaker 1: Well, Josh is in Scotland at the moment, but I

1674
01:35:04,965 --> 01:35:09,285
Speaker 1: will be heading. Bizarrely, our program, the spring Break is happening,

1675
01:35:09,685 --> 01:35:12,485
Speaker 1: you know, in a couple of weeks here, So Debbie

1676
01:35:12,525 --> 01:35:14,525
Speaker 1: and I are going to take that opportunity to do

1677
01:35:14,645 --> 01:35:18,205
Speaker 1: a little traveling and I'd love to have another film

1678
01:35:18,245 --> 01:35:20,405
Speaker 1: spotting meet up as part of that, as we did

1679
01:35:20,405 --> 01:35:23,925
Speaker 1: in Spain. I'm looking to meet with any listeners who

1680
01:35:23,965 --> 01:35:27,165
Speaker 1: might be in Copenhagen. So we're going to be in

1681
01:35:27,205 --> 01:35:30,285
Speaker 1: Stockholm first. But actually while we're there, Adam, it'll be

1682
01:35:30,525 --> 01:35:35,405
Speaker 1: once again a double remote film spotting recording, so away

1683
01:35:35,405 --> 01:35:37,325
Speaker 1: from home, away from home, I'll be lugging the mic

1684
01:35:37,365 --> 01:35:40,605
Speaker 1: in my suitcase and recording in Stockholm, so not as

1685
01:35:40,685 --> 01:35:43,885
Speaker 1: much free time there. But when we get to Copenhagen,

1686
01:35:43,925 --> 01:35:46,165
Speaker 1: we'll have a couple of open nights, so this is

1687
01:35:46,525 --> 01:35:47,564
Speaker 1: the first week of March.

1688
01:35:48,125 --> 01:35:49,005
Speaker 2: About if you're.

1689
01:35:48,885 --> 01:35:53,685
Speaker 1: A listener in nearby Denmark and might want to meet up,

1690
01:35:54,085 --> 01:35:57,405
Speaker 1: either email the show at feedback at filmspotting dot net,

1691
01:35:57,485 --> 01:36:00,045
Speaker 1: raise your hand, or you can find me on social too.

1692
01:36:00,165 --> 01:36:04,125
Speaker 1: If you're on Blue Sky or Instagram or Facebook, you

1693
01:36:04,165 --> 01:36:09,005
Speaker 1: can find me at Larsen on film and yeah, hopefully

1694
01:36:09,125 --> 01:36:10,085
Speaker 1: we can hang out.

1695
01:36:10,765 --> 01:36:14,725
Speaker 2: I'm not convinced, Josh, that you've spent any time in Scotland.

1696
01:36:14,725 --> 01:36:16,805
Speaker 2: I think you've been traveling this entire time, and I

1697
01:36:16,845 --> 01:36:19,605
Speaker 2: think that that is one of those fake zoom backgrounds.

1698
01:36:21,045 --> 01:36:25,725
Speaker 1: Well, you should be familiar with the academic calendar at

1699
01:36:25,725 --> 01:36:26,604
Speaker 1: this point, Adam.

1700
01:36:26,765 --> 01:36:29,604
Speaker 2: You know, so your seems like gets way more open

1701
01:36:29,645 --> 01:36:33,485
Speaker 2: than mine. Well I was. It's a little different exactly.

1702
01:36:34,885 --> 01:36:38,005
Speaker 1: I mean, you know, we had the month off over

1703
01:36:38,045 --> 01:36:42,445
Speaker 1: the holidays, and yeah, took advantage of that while you

1704
01:36:42,485 --> 01:36:45,085
Speaker 1: were in your you know, little hovel grating. So I

1705
01:36:45,085 --> 01:36:45,805
Speaker 1: don't know what to tell you.

1706
01:36:46,445 --> 01:36:48,445
Speaker 2: Okay, moving on, all right.

1707
01:36:49,205 --> 01:36:51,325
Speaker 1: Our sister podcast, The Next Picture Show, wanted to give

1708
01:36:51,325 --> 01:36:54,285
Speaker 1: your heads up on their programming because they have a

1709
01:36:54,285 --> 01:36:57,965
Speaker 1: new pairing going on right now. It is part two

1710
01:36:58,165 --> 01:37:01,764
Speaker 1: actually of their both sides of the aisle pairing.

1711
01:37:01,845 --> 01:37:04,485
Speaker 2: That's I S. L E.

1712
01:37:05,125 --> 01:37:08,005
Speaker 1: So they paired Lena Vert Muellers Swept Away from nineteen

1713
01:37:08,045 --> 01:37:12,445
Speaker 1: seventy four with Sam Raimis Send Help and you can

1714
01:37:12,525 --> 01:37:16,365
Speaker 1: catch those episodes every Tuesday and you can find the

1715
01:37:16,365 --> 01:37:18,845
Speaker 1: next Picture show wherever you get your podcasts.

1716
01:37:19,085 --> 01:37:22,564
Speaker 2: Like you never told me you knew Giant? Come, hey,

1717
01:37:22,805 --> 01:37:24,165
Speaker 2: you want to meet him?

1718
01:37:24,205 --> 01:37:27,485
Speaker 3: Oh, my father helped him in his career.

1719
01:37:28,485 --> 01:37:36,285
Speaker 2: He did. Hell to the song. It is time for

1720
01:37:36,605 --> 01:37:39,165
Speaker 2: poll results. A couple of weeks ago, we asked you

1721
01:37:39,245 --> 01:37:43,445
Speaker 2: to choose one and only one Diane Keaton character, the

1722
01:37:43,565 --> 01:37:47,205
Speaker 2: character we were thinking that best represented all of Keaton's

1723
01:37:47,205 --> 01:37:49,525
Speaker 2: many talents. We probably framed it that way, but you know,

1724
01:37:49,565 --> 01:37:51,245
Speaker 2: at the end of the day, you can vote however

1725
01:37:51,285 --> 01:37:53,844
Speaker 2: you want to vote your options, which did not include

1726
01:37:53,845 --> 01:37:57,405
Speaker 2: the film that we think would have won unanimously any

1727
01:37:57,485 --> 01:38:03,325
Speaker 2: hall were these Kay Adams, The Godfather, Erica Barry, Something's

1728
01:38:03,325 --> 01:38:08,165
Speaker 2: Got to Give, Louise Bryant, Red's J. C. Wyatt Baby Boom.

1729
01:38:08,485 --> 01:38:11,965
Speaker 2: All four of those made our list. Josh five an

1730
01:38:12,085 --> 01:38:14,725
Speaker 2: a parody, The First Wives Club an honorable mention for

1731
01:38:14,765 --> 01:38:19,005
Speaker 2: me six Mary Wilkie on your list or seven. You

1732
01:38:19,045 --> 01:38:22,005
Speaker 2: could go other and write in your choice. How did

1733
01:38:22,005 --> 01:38:22,405
Speaker 2: it come out?

1734
01:38:22,445 --> 01:38:25,724
Speaker 1: Josh a tie for last place between other and Anna

1735
01:38:25,885 --> 01:38:27,684
Speaker 1: Parody from The First Wives Club.

1736
01:38:28,205 --> 01:38:28,445
Speaker 2: J C.

1737
01:38:28,565 --> 01:38:31,564
Speaker 1: Wyatt from Baby Boom came in at thirteen percent, Louise

1738
01:38:31,565 --> 01:38:35,645
Speaker 1: Bryant from Red's with fourteen percent, moving up to a

1739
01:38:35,765 --> 01:38:38,965
Speaker 1: fifteen percent vote for Erica Berry from Something That's Got

1740
01:38:38,965 --> 01:38:41,845
Speaker 1: to give Mary Wilkie in second place here with eighteen

1741
01:38:41,845 --> 01:38:47,125
Speaker 1: percent of the vote. But taking this, taking this, and I, yes,

1742
01:38:47,765 --> 01:38:51,845
Speaker 1: I'm a little this is perplexing. Kay Adams from The Godfather.

1743
01:38:52,525 --> 01:38:55,405
Speaker 1: I know you were perplexed by by the way the

1744
01:38:55,485 --> 01:38:58,085
Speaker 1: vote was trending. Adam, and I hadn't done a lot

1745
01:38:58,085 --> 01:39:01,245
Speaker 1: of you know, revisiting of scenes or thinking about this.

1746
01:39:02,045 --> 01:39:05,644
Speaker 1: I'm kind of with you now that I see the result.

1747
01:39:06,245 --> 01:39:10,965
Speaker 1: And yeah, curious how Kay Adams took this vote.

1748
01:39:11,005 --> 01:39:15,005
Speaker 2: In terms of character, yeah, it does not feel like

1749
01:39:15,165 --> 01:39:20,285
Speaker 2: the best representation of all of Keaton's talents, she thought.

1750
01:39:20,325 --> 01:39:22,245
Speaker 2: And here again, this is kind of separate from the

1751
01:39:22,245 --> 01:39:24,325
Speaker 2: point I just made. She thought there wasn't much of

1752
01:39:24,325 --> 01:39:27,804
Speaker 2: a character there. Apparently our listeners think there's an incredible

1753
01:39:27,885 --> 01:39:31,405
Speaker 2: character there, and we certainly saw many great moments from

1754
01:39:31,685 --> 01:39:34,085
Speaker 2: powerful moments from that character, like we talked about in

1755
01:39:34,125 --> 01:39:37,125
Speaker 2: the film, and those must be resonating Josh with the

1756
01:39:37,165 --> 01:39:40,684
Speaker 2: audience because twenty nine percent, and of course that movie,

1757
01:39:41,485 --> 01:39:44,805
Speaker 2: that movie is one that's resonating with our audience. We

1758
01:39:44,845 --> 01:39:49,125
Speaker 2: have Michael Brandner. He is echoing a choice on my list.

1759
01:39:49,205 --> 01:39:51,325
Speaker 2: Kay looking at her husband through the half open door

1760
01:39:51,365 --> 01:39:53,245
Speaker 2: at the end of The Godfather Ie is one of

1761
01:39:53,285 --> 01:39:55,485
Speaker 2: the most memorable shots in movie history. How could I

1762
01:39:55,525 --> 01:39:58,564
Speaker 2: pick anything else? So he's going with the first part

1763
01:39:58,565 --> 01:40:01,245
Speaker 2: of my mirror door shots.

1764
01:40:00,925 --> 01:40:04,125
Speaker 1: And maybe I mean maybe Michael was thinking of character,

1765
01:40:04,205 --> 01:40:07,085
Speaker 1: but here describing a specific scene. You know this, If

1766
01:40:07,085 --> 01:40:08,965
Speaker 1: he had done a Keaton scene list, maybe this would

1767
01:40:08,965 --> 01:40:10,765
Speaker 1: have been on it for him. We also heard from

1768
01:40:10,845 --> 01:40:14,325
Speaker 1: Abby Woslawek. Admittedly I haven't seen all of these, but

1769
01:40:14,485 --> 01:40:18,285
Speaker 1: watching Meek and Insecure Annie Parody discover self love was

1770
01:40:18,325 --> 01:40:22,285
Speaker 1: inspiring and fun, judging from many social after her passing,

1771
01:40:22,365 --> 01:40:24,725
Speaker 1: the First Wives Club rendition of you Don't Own Me

1772
01:40:24,845 --> 01:40:27,644
Speaker 1: remains an empowering anthem for many.

1773
01:40:28,045 --> 01:40:30,285
Speaker 2: Yeah, it's fun. It's a fun scene and we get

1774
01:40:30,285 --> 01:40:32,764
Speaker 2: I think two versions of that in the movie. Jeffrey

1775
01:40:32,765 --> 01:40:35,205
Speaker 2: Overstreet says, I'm voting other, and it's a toss up

1776
01:40:35,245 --> 01:40:38,845
Speaker 2: between Keaton's Luna Schlosser in nineteen seventy three's Sleeper and

1777
01:40:38,885 --> 01:40:41,604
Speaker 2: her Sonya in seventy five's Love and Death. These were

1778
01:40:41,605 --> 01:40:43,724
Speaker 2: the characters that made me love Keaton in the first place,

1779
01:40:43,725 --> 01:40:46,685
Speaker 2: and both characters are endlessly quotable. Woody Allen did not

1780
01:40:46,765 --> 01:40:48,844
Speaker 2: cast her to merely set him up for his signature

1781
01:40:48,885 --> 01:40:51,805
Speaker 2: punch lines. He cast her as his hilarious equal. While

1782
01:40:51,845 --> 01:40:53,885
Speaker 2: I have to clench my teeth now whenever I press

1783
01:40:53,965 --> 01:40:55,965
Speaker 2: play on a Woody Allen film for reasons that should

1784
01:40:55,965 --> 01:40:58,445
Speaker 2: be obvious by now, I quickly remind myself that there

1785
01:40:58,445 --> 01:41:00,685
Speaker 2: are so many great performances in these films to make

1786
01:41:00,725 --> 01:41:04,045
Speaker 2: them worthwhile, and Keaton's contributions are my favorites.

1787
01:41:04,445 --> 01:41:07,644
Speaker 1: One more common here from Hollyboyd. I voted for Looking

1788
01:41:07,725 --> 01:41:09,925
Speaker 1: for Mister Goodbar as it was one of my favorite

1789
01:41:09,965 --> 01:41:13,965
Speaker 1: discoveries of twenty twenty five, partly due to Keaton's fearless performance,

1790
01:41:14,005 --> 01:41:17,685
Speaker 1: which showcases the independence and originality that made her one

1791
01:41:17,725 --> 01:41:20,765
Speaker 1: of the all time greats. Keaton shown at bringing complexity

1792
01:41:20,805 --> 01:41:25,165
Speaker 1: and fully realized personality to all her characters, always elevating

1793
01:41:25,245 --> 01:41:28,644
Speaker 1: every film with her presence and goodbar provides her material

1794
01:41:28,925 --> 01:41:30,365
Speaker 1: worthy of her talents.

1795
01:41:31,005 --> 01:41:33,965
Speaker 2: We do think everyone who voted and left a comment

1796
01:41:34,885 --> 01:41:37,445
Speaker 2: it's time for a new poll next week. As we mention,

1797
01:41:37,645 --> 01:41:42,845
Speaker 2: we're giving Trainspotting another look for its thirtieth anniversary. Another look, Josh,

1798
01:41:42,885 --> 01:41:46,205
Speaker 2: and with that movie it really means another listen. The

1799
01:41:46,285 --> 01:41:51,205
Speaker 2: Danny Boyle film is full of memorable music moments, Iggy Pops,

1800
01:41:51,285 --> 01:41:55,245
Speaker 2: Lust for Life, lou Read's Perfect Day, Born, Slippy from Underworld,

1801
01:41:55,725 --> 01:41:58,325
Speaker 2: all of it captured on one of the relics of

1802
01:41:58,325 --> 01:42:03,724
Speaker 2: the nineties, the original motion Picture Soundtrack on compact disc.

1803
01:42:04,925 --> 01:42:08,925
Speaker 2: The deeply flawed poll that producer Sam and with a

1804
01:42:08,965 --> 01:42:12,885
Speaker 2: little contribution from me, that he is concocted for you,

1805
01:42:13,485 --> 01:42:16,725
Speaker 2: and by you we mean apparently you young adults of

1806
01:42:16,765 --> 01:42:20,485
Speaker 2: the nineties, not so much of the nineties. Kids choose life,

1807
01:42:21,405 --> 01:42:25,805
Speaker 2: choose only one nineties movie soundtrack deathmatch rules apply, and

1808
01:42:25,845 --> 01:42:28,125
Speaker 2: that that pretty much goes for any poll question here

1809
01:42:28,125 --> 01:42:31,125
Speaker 2: on film Spotting. So that means that whichever ones you

1810
01:42:31,125 --> 01:42:34,445
Speaker 2: don't choose, they go into the nineties landfill. You can't

1811
01:42:34,445 --> 01:42:36,125
Speaker 2: get them back. They're gone forever.

1812
01:42:36,245 --> 01:42:39,165
Speaker 1: You take that compact disc in one hand and you.

1813
01:42:39,205 --> 01:42:43,045
Speaker 2: Just crack it. That's it. That's it. No one hears it,

1814
01:42:43,125 --> 01:42:47,805
Speaker 2: including you ever again, Josh, give them their options.

1815
01:42:47,685 --> 01:42:52,125
Speaker 1: All right, clueless, which includes the muffs kids in America, radioheads,

1816
01:42:52,125 --> 01:42:55,925
Speaker 1: fake plastic trees, and Jill oh Man. I didn't have

1817
01:42:55,965 --> 01:42:58,564
Speaker 1: this one out, Jill Sobuel, so Bull. You didn't listen

1818
01:42:58,605 --> 01:43:00,604
Speaker 1: to enough radio back then. She was on all the time.

1819
01:43:01,205 --> 01:43:04,005
Speaker 1: Oh so Radio. I listened to the radio in the nineties.

1820
01:43:04,045 --> 01:43:07,325
Speaker 1: Come on, Jill Sobule's Supermodel. I'm sure I'd recognize it.

1821
01:43:07,325 --> 01:43:10,365
Speaker 1: Didn't buy that one, though, Dazed and confused. Aerosmith's Sweet

1822
01:43:10,365 --> 01:43:14,245
Speaker 1: Emotion of course, Alice Cooper School's Out of Course, Dylan's Hurricane.

1823
01:43:14,485 --> 01:43:18,125
Speaker 1: How about the Crow? Loved hearing in Sam's newsletter for

1824
01:43:18,205 --> 01:43:21,165
Speaker 1: family members that he was a big crow soundtrack guy,

1825
01:43:21,565 --> 01:43:25,925
Speaker 1: the Cure, nine inch nails, rage against the Machine, that

1826
01:43:26,005 --> 01:43:27,125
Speaker 1: there's a side to Sam.

1827
01:43:27,165 --> 01:43:30,285
Speaker 2: I need to know. Yet he was a drama guy, Josh,

1828
01:43:30,325 --> 01:43:32,365
Speaker 2: I keep that in mind. Okay, okay, he was always

1829
01:43:32,365 --> 01:43:33,885
Speaker 2: a theater kid. Pull fiction.

1830
01:43:33,965 --> 01:43:36,125
Speaker 1: I mean everyone can hear it already, Jungle Boogie, son

1831
01:43:36,165 --> 01:43:36,925
Speaker 1: of a Preacher Man.

1832
01:43:37,165 --> 01:43:38,005
Speaker 2: How about Boz.

1833
01:43:37,845 --> 01:43:43,445
Speaker 1: Luhrman's Romeo and Juliet Garbage ever clear, the Cardigan's Love

1834
01:43:43,525 --> 01:43:47,525
Speaker 1: Fool reality bites. I did have this one, Lisa Lobe stay,

1835
01:43:47,565 --> 01:43:51,485
Speaker 1: I missed you, My Sharona, You Twoe. Lenny Kravitz singles

1836
01:43:51,765 --> 01:43:55,405
Speaker 1: all right, getting into some grunge here, Pearl Jam Alison

1837
01:43:55,525 --> 01:43:56,644
Speaker 1: Chains sound Garden.

1838
01:43:56,725 --> 01:43:57,125
Speaker 2: I don't know.

1839
01:43:57,525 --> 01:43:59,525
Speaker 1: I wasn't all that into grunge. Do those last two

1840
01:43:59,605 --> 01:44:02,604
Speaker 1: counts Adam as grunge Alison Chain's sound guards.

1841
01:44:02,565 --> 01:44:05,005
Speaker 2: They yeah, I don't know. Yeah, I mean not just

1842
01:44:05,045 --> 01:44:07,685
Speaker 2: hard rock. Some people listening might really take issue with that,

1843
01:44:07,765 --> 01:44:11,645
Speaker 2: but they're they're part of that Seattle scene, so theyently

1844
01:44:11,685 --> 01:44:12,845
Speaker 2: be grunge adjacent.

1845
01:44:13,285 --> 01:44:18,644
Speaker 1: Okay, Trainspotting we mentioned, is your last option aside from

1846
01:44:18,805 --> 01:44:22,525
Speaker 1: other and do you have any others you want to

1847
01:44:22,525 --> 01:44:23,564
Speaker 1: throw in the hat at him?

1848
01:44:24,045 --> 01:44:26,285
Speaker 2: You've been part of the doule, so you're probably they

1849
01:44:26,365 --> 01:44:28,684
Speaker 2: don't for me. A couple ones that I would consider

1850
01:44:28,805 --> 01:44:30,325
Speaker 2: are are in there for sure.

1851
01:44:30,325 --> 01:44:34,644
Speaker 1: Okay, So Sam suggested here under other Empire records gross

1852
01:44:34,685 --> 01:44:38,085
Speaker 1: point blank above the rim I'm with him on Empire Records.

1853
01:44:38,125 --> 01:44:41,405
Speaker 1: We owned that one. Yeah, As listeners can already tell,

1854
01:44:41,445 --> 01:44:44,885
Speaker 1: the nostalgia runs deep for all three of us on

1855
01:44:44,965 --> 01:44:48,485
Speaker 1: this one. This was prime CD by in years I think,

1856
01:44:49,285 --> 01:44:51,125
Speaker 1: you know, right in the mid nineties W and I

1857
01:44:51,165 --> 01:44:54,965
Speaker 1: got married and merged. Are can I say, quite impressive

1858
01:44:55,005 --> 01:44:57,925
Speaker 1: CD collections. So here's what I'm going to throw in

1859
01:44:57,965 --> 01:44:58,925
Speaker 1: as other options.

1860
01:44:59,045 --> 01:45:00,325
Speaker 2: Not that this is how I'd vote.

1861
01:45:00,845 --> 01:45:03,325
Speaker 1: I just want to bring us back to the era

1862
01:45:04,005 --> 01:45:07,325
Speaker 1: and let people consider them as right ends. We had

1863
01:45:07,885 --> 01:45:10,645
Speaker 1: the soundtrack for Jim Jarmush's ghost Stock The Way of

1864
01:45:10,685 --> 01:45:16,644
Speaker 1: the Samurai had no Adam have because we got rid

1865
01:45:16,685 --> 01:45:18,805
Speaker 1: of I'd still regret this. All of our CDs with

1866
01:45:18,805 --> 01:45:21,965
Speaker 1: the move we had to downsize. The one we kept

1867
01:45:22,245 --> 01:45:25,205
Speaker 1: was ghost Dog The Way of the Samurai. Well, it

1868
01:45:25,285 --> 01:45:27,405
Speaker 1: was stuck in our cair CD player, so so we

1869
01:45:27,445 --> 01:45:29,885
Speaker 1: still have it and it turns on over in a while.

1870
01:45:30,485 --> 01:45:34,365
Speaker 1: I'm also also gonna throw in their Batman Forever, PJ. Harvey,

1871
01:45:35,005 --> 01:45:39,485
Speaker 1: Mazzie Star, Sunny Day Real Estate. Okay, bad Rushmore? Come

1872
01:45:39,525 --> 01:45:42,245
Speaker 1: on all those British invasion classics.

1873
01:45:43,085 --> 01:45:47,245
Speaker 2: You know what Josh right right? See this could rush

1874
01:45:47,285 --> 01:45:48,365
Speaker 2: pull sucks.

1875
01:45:48,165 --> 01:45:49,564
Speaker 1: Could Rushmore win it?

1876
01:45:50,085 --> 01:45:54,564
Speaker 2: This whole question the other vote. Come on, Rushmore, you

1877
01:45:54,685 --> 01:45:58,325
Speaker 2: just nailed it. You just nailed one more. Why why

1878
01:45:58,325 --> 01:46:01,085
Speaker 2: aren't you in the slack, Josh pointing this out earlier,

1879
01:46:01,125 --> 01:46:02,365
Speaker 2: I mean on air.

1880
01:46:02,805 --> 01:46:05,045
Speaker 1: I just I was trying to keep up with everything

1881
01:46:05,085 --> 01:46:06,965
Speaker 1: going on in the slack and couldn't couldn't get to

1882
01:46:07,005 --> 01:46:11,045
Speaker 1: this them vendors Until the End of the World. This

1883
01:46:11,125 --> 01:46:13,165
Speaker 1: is where I might actually vote in terms of the

1884
01:46:13,405 --> 01:46:17,085
Speaker 1: like Rushmore's soundtrack is just a blast, great songs on it,

1885
01:46:17,165 --> 01:46:20,125
Speaker 1: so much fun. But in terms of like how it

1886
01:46:20,165 --> 01:46:24,165
Speaker 1: worked with the movie, and I think just the artistry

1887
01:46:24,325 --> 01:46:28,445
Speaker 1: of the bands included here and what they contributed. Irim

1888
01:46:28,685 --> 01:46:34,604
Speaker 1: lou Reid talking heads, you two depeche Mode. If you've

1889
01:46:34,685 --> 01:46:37,485
Speaker 1: never heard the Until the End of the World soundtrack,

1890
01:46:37,645 --> 01:46:40,805
Speaker 1: this is your impetus to go check it. Okay, so

1891
01:46:41,045 --> 01:46:43,085
Speaker 1: haven't I think we've made the case, Adam. But with

1892
01:46:43,125 --> 01:46:45,845
Speaker 1: all these options for the nineties as the definitive movie

1893
01:46:45,885 --> 01:46:47,564
Speaker 1: soundtrack that decade, right.

1894
01:46:48,445 --> 01:46:50,845
Speaker 2: I think it is. I think that's fair. Of course,

1895
01:46:51,165 --> 01:46:53,325
Speaker 2: I haven't given a lot of thought to what other

1896
01:46:53,365 --> 01:46:57,644
Speaker 2: options would be there, but the nineties seems definitive. And

1897
01:46:58,245 --> 01:47:01,445
Speaker 2: I thought this was an easier pull than now it

1898
01:47:01,485 --> 01:47:03,564
Speaker 2: turns out to be. And I say easy because for

1899
01:47:03,685 --> 01:47:06,885
Speaker 2: me it came down to only two options. I only

1900
01:47:06,925 --> 01:47:10,644
Speaker 2: owned two of these. There are songs scattered through here

1901
01:47:11,045 --> 01:47:14,285
Speaker 2: that I liked, some maybe that I even loved, and

1902
01:47:14,325 --> 01:47:17,885
Speaker 2: there are some uses in the films that I quite enjoyed.

1903
01:47:18,445 --> 01:47:21,125
Speaker 2: I could probably say that The Days Did in Confused soundtrack,

1904
01:47:21,125 --> 01:47:23,365
Speaker 2: in terms of how the music is employed, might even

1905
01:47:23,405 --> 01:47:26,485
Speaker 2: be the most essential. But I got burned out on

1906
01:47:26,565 --> 01:47:30,564
Speaker 2: classic rock before I was even out of college, just

1907
01:47:30,685 --> 01:47:34,165
Speaker 2: having had to consume so much of it growing up.

1908
01:47:34,205 --> 01:47:36,845
Speaker 2: We didn't have a lot of great radio stations growing

1909
01:47:36,925 --> 01:47:39,325
Speaker 2: up in Iowa. It was a lot of classic rock.

1910
01:47:39,565 --> 01:47:41,805
Speaker 2: And even though I played some of that stuff, I

1911
01:47:41,845 --> 01:47:44,804
Speaker 2: played Schools Out in my band. I played Sweet Emotion

1912
01:47:45,165 --> 01:47:47,725
Speaker 2: in my band. More reasons why I got burned out

1913
01:47:48,005 --> 01:47:50,724
Speaker 2: on classic rock. So love how it's used in the movie.

1914
01:47:51,405 --> 01:47:53,645
Speaker 2: Don't need to listen to The Days Did in con

1915
01:47:53,685 --> 01:47:58,525
Speaker 2: View soundtrack maybe ever, and I didn't. I never bought it,

1916
01:47:58,565 --> 01:48:01,525
Speaker 2: so for me, the only two that I owned on

1917
01:48:01,605 --> 01:48:04,205
Speaker 2: here and the only two that I would still put

1918
01:48:04,205 --> 01:48:07,365
Speaker 2: in my CD player, and I did keep almost all

1919
01:48:07,405 --> 01:48:11,285
Speaker 2: my CDs, so maybe I have them somewhere if I

1920
01:48:11,325 --> 01:48:15,564
Speaker 2: can find them in the boxes. Josh were pulp fiction

1921
01:48:16,925 --> 01:48:22,285
Speaker 2: and singles, and my initial instinct was to go singles.

1922
01:48:22,965 --> 01:48:26,005
Speaker 2: But the thing is, it's not because of it's not

1923
01:48:26,085 --> 01:48:29,804
Speaker 2: because of the Seattle stuff, which is ironic, because that's

1924
01:48:30,125 --> 01:48:33,925
Speaker 2: that's what the soundtrack is full of, and the movie

1925
01:48:33,965 --> 01:48:36,725
Speaker 2: is said in Seattle, and that's what's so essential to

1926
01:48:36,805 --> 01:48:39,365
Speaker 2: the movie. But the reason why I love I like

1927
01:48:39,405 --> 01:48:41,325
Speaker 2: the par you know, state of Love and Trust is good.

1928
01:48:41,525 --> 01:48:43,845
Speaker 2: The reason why I love the single soundtrack so much

1929
01:48:44,405 --> 01:48:47,485
Speaker 2: is the Paul Westerberg tunes, and that that has nothing

1930
01:48:47,525 --> 01:48:52,205
Speaker 2: to do with Seattle, right talking about it. Yeah, So

1931
01:48:52,285 --> 01:48:56,045
Speaker 2: I don't know if I can justify keeping the single

1932
01:48:56,125 --> 01:48:59,125
Speaker 2: soundtrack on there just for Paul Westerberg, which is the

1933
01:48:59,165 --> 01:49:03,445
Speaker 2: primary reason why I would keep it. Pulp fiction. You

1934
01:49:03,485 --> 01:49:08,485
Speaker 2: think about the eclectic assortment of tunes and good songs

1935
01:49:08,485 --> 01:49:11,165
Speaker 2: that you you've never heard, that I had never heard

1936
01:49:11,885 --> 01:49:16,125
Speaker 2: but but are so damn catchy, and that we're fun

1937
01:49:16,165 --> 01:49:18,125
Speaker 2: to listen to, both in the context of the movie

1938
01:49:18,165 --> 01:49:21,845
Speaker 2: but also out of context, that that were fun to

1939
01:49:21,885 --> 01:49:24,765
Speaker 2: just put on your CD player and listen to, and

1940
01:49:24,765 --> 01:49:27,325
Speaker 2: then you know, suffused with the little moments from the film.

1941
01:49:28,165 --> 01:49:30,885
Speaker 2: I was all set to say that that pulp fiction

1942
01:49:31,045 --> 01:49:33,365
Speaker 2: is the answer, and and I guess once I ruled

1943
01:49:33,365 --> 01:49:36,805
Speaker 2: out singles. Pulp fiction was the clear answer. But Josh,

1944
01:49:37,165 --> 01:49:39,965
Speaker 2: you know, if the Royal Tenebombs was made in the nineties,

1945
01:49:40,005 --> 01:49:43,005
Speaker 2: it would it would be competition with with Rushmore, but

1946
01:49:43,045 --> 01:49:47,165
Speaker 2: it wasn't. So you know now that you mentioned Rushmore

1947
01:49:47,205 --> 01:49:52,365
Speaker 2: and I completely blanked on it that that might be

1948
01:49:52,445 --> 01:49:54,764
Speaker 2: my pick. That might mean, but it hits that because

1949
01:49:54,845 --> 01:49:58,724
Speaker 2: it hits the sweet making time with creation.

1950
01:49:59,085 --> 01:50:02,845
Speaker 1: Oh yeah, yeah, pulp fiction did this too, but not

1951
01:50:02,925 --> 01:50:05,765
Speaker 1: that these were unknown songs but they didn't. Yes, you know,

1952
01:50:05,965 --> 01:50:08,485
Speaker 1: they didn't get radio play in the in the eighties

1953
01:50:08,525 --> 01:50:12,725
Speaker 1: or nineties necessarily, right, And they're gems and they're employed

1954
01:50:12,765 --> 01:50:16,045
Speaker 1: so effectively in the movie. They're not wallpaper at all, right,

1955
01:50:16,645 --> 01:50:20,045
Speaker 1: and you can listen to it all the way through.

1956
01:50:21,085 --> 01:50:23,765
Speaker 1: It has that quality. I do think that's the standard

1957
01:50:23,765 --> 01:50:26,325
Speaker 1: we should consider. What you were describing with pulp fiction,

1958
01:50:26,445 --> 01:50:29,085
Speaker 1: is that it works on those two levels. I would

1959
01:50:29,125 --> 01:50:32,045
Speaker 1: say of the choices, yeah, I mean, for the record

1960
01:50:32,085 --> 01:50:36,725
Speaker 1: of our options, what we owned were pulp fiction, reality bites, singles,

1961
01:50:36,765 --> 01:50:41,085
Speaker 1: and train Spotting. I would seriously consider pulp fiction or

1962
01:50:41,085 --> 01:50:45,245
Speaker 1: train Spotting. Honestly, I think that's that's worth considering. That

1963
01:50:45,285 --> 01:50:48,325
Speaker 1: it hits on these couple of levels and then until

1964
01:50:48,325 --> 01:50:51,365
Speaker 1: the end of the world. As I said, but yeah,

1965
01:50:52,365 --> 01:50:54,165
Speaker 1: might be Rushmore for me. I might have to use

1966
01:50:54,205 --> 01:50:55,285
Speaker 1: that right in.

1967
01:50:56,285 --> 01:50:59,205
Speaker 2: Okay, I'm really glad you thought about that one. I

1968
01:50:59,685 --> 01:51:02,925
Speaker 2: will close with this, and some people may vote this way,

1969
01:51:03,045 --> 01:51:07,205
Speaker 2: especially after I pointed out. One thing that Sam and

1970
01:51:07,245 --> 01:51:10,885
Speaker 2: I discussed, and this was the conundrum of this poll,

1971
01:51:11,605 --> 01:51:14,285
Speaker 2: is that he really wanted to go with and I

1972
01:51:14,365 --> 01:51:17,325
Speaker 2: understand this inclination. He really wanted to go with nineties

1973
01:51:17,725 --> 01:51:23,965
Speaker 2: soundtracks that were comprised primarily of nineties music, so they

1974
01:51:24,085 --> 01:51:27,485
Speaker 2: felt like they felt like they were truly of the nineties.

1975
01:51:27,565 --> 01:51:29,724
Speaker 1: That's trans spotting, right, That's that's where.

1976
01:51:30,365 --> 01:51:32,845
Speaker 2: But kind of but kind of because when you really

1977
01:51:32,845 --> 01:51:34,564
Speaker 2: look at Trainspotting, and I don't have the track list

1978
01:51:34,565 --> 01:51:36,005
Speaker 2: in front of me, and I'm not going to do

1979
01:51:36,045 --> 01:51:38,804
Speaker 2: an exact breakdown, but even when you look at train Spotting,

1980
01:51:39,365 --> 01:51:42,685
Speaker 2: what you think of is like iggy pop, you think

1981
01:51:42,725 --> 01:51:45,045
Speaker 2: of you think a lot of the classic hits, not

1982
01:51:45,845 --> 01:51:48,325
Speaker 2: some of the newer stuff. Right, And so this is

1983
01:51:48,365 --> 01:51:51,205
Speaker 2: where singles would have an advantage because it feels of

1984
01:51:51,245 --> 01:51:54,644
Speaker 2: its time, right. Yeah, pulp fiction doesn't feel of its time.

1985
01:51:54,685 --> 01:51:57,165
Speaker 2: It has it has one song by a current band,

1986
01:51:57,205 --> 01:51:59,405
Speaker 2: and it's a cover of an old song. Days and

1987
01:51:59,445 --> 01:52:03,765
Speaker 2: Confused is all seventies stuff. Rushmore is is other than

1988
01:52:03,845 --> 01:52:07,285
Speaker 2: Mark Mothersboss stuff. It's all the Kinks and you know

1989
01:52:07,645 --> 01:52:11,604
Speaker 2: it's it's it's British pop. So it's not stuff that

1990
01:52:11,725 --> 01:52:16,005
Speaker 2: you you would equate with the nineties. Now that said,

1991
01:52:17,285 --> 01:52:21,485
Speaker 2: it was then very hard to field a poll. Clueless

1992
01:52:21,525 --> 01:52:23,645
Speaker 2: would be one that felt of its time, but it

1993
01:52:23,645 --> 01:52:25,285
Speaker 2: would be hard to feel the poll with a lot

1994
01:52:25,285 --> 01:52:28,165
Speaker 2: of choices, enough choices. If you were just going by,

1995
01:52:28,725 --> 01:52:32,525
Speaker 2: it had to be all nineties music. That's what's us anyway.

1996
01:52:32,845 --> 01:52:35,765
Speaker 1: What you're saying is Batman Forever for the win.

1997
01:52:36,085 --> 01:52:40,365
Speaker 2: Maybe maybe maybe we would love to hear how you vote.

1998
01:52:40,405 --> 01:52:42,245
Speaker 2: We'd love to get the results, but we'd also like

1999
01:52:42,325 --> 01:52:45,125
Speaker 2: to hear your explanation. You can vote and leave a

2000
01:52:45,165 --> 01:52:48,205
Speaker 2: comment at film spotting dot net. I think this could

2001
01:52:48,205 --> 01:52:52,245
Speaker 2: be one of our more engaging polls, Josh.

2002
01:52:52,485 --> 01:52:54,925
Speaker 1: We actually we actually owned Batman Forever too.

2003
01:52:55,565 --> 01:52:57,845
Speaker 2: Of course you did, of course you did. We will

2004
01:52:57,885 --> 01:53:00,485
Speaker 2: share results and you'll feedback in a couple of weeks.

2005
01:53:00,525 --> 01:53:03,245
Speaker 2: Once again, you can vote at filmspotting dot net. Josh,

2006
01:53:03,325 --> 01:53:04,325
Speaker 2: that is our show.

2007
01:53:05,245 --> 01:53:07,245
Speaker 1: If you want to find Adam and the show on

2008
01:53:07,285 --> 01:53:11,525
Speaker 1: social media, you can look for film Spotting at Instagram, Facebook, letterbox,

2009
01:53:11,725 --> 01:53:14,365
Speaker 1: and YouTube. You can find me at those places. As

2010
01:53:14,445 --> 01:53:18,085
Speaker 1: Larsen on film. We are independently produced and listeners supported.

2011
01:53:18,205 --> 01:53:21,325
Speaker 1: You can support the show by joining the film Spotting Family.

2012
01:53:21,805 --> 01:53:23,765
Speaker 1: You can do that at film Spotting family dot com.

2013
01:53:23,765 --> 01:53:26,245
Speaker 1: That way you'll listen early in ad Free. You'll also

2014
01:53:26,285 --> 01:53:29,245
Speaker 1: get Sam's weekly newsletter, monthly bonus episodes, and.

2015
01:53:29,205 --> 01:53:31,365
Speaker 2: Access to the entire show archive.

2016
01:53:31,925 --> 01:53:34,405
Speaker 1: For show t shirts another merch go to film spotting

2017
01:53:34,485 --> 01:53:35,125
Speaker 1: dot Net.

2018
01:53:35,285 --> 01:53:40,165
Speaker 2: Slash Shop out in limited release this weekend. Alexander Scarsgard

2019
01:53:40,245 --> 01:53:43,644
Speaker 2: takes Henry Melling On as his submissive in Pillion. Okay,

2020
01:53:43,685 --> 01:53:47,365
Speaker 2: you piqued my curiosity? In wide release lup Besson's Dracula

2021
01:53:47,525 --> 01:53:51,765
Speaker 2: with Caleb Landry Jones as the Count Kevin James in

2022
01:53:51,845 --> 01:53:58,645
Speaker 2: the Italian set romance solo Meo and The Strangers Chapter three, No,

2023
01:53:59,085 --> 01:54:02,564
Speaker 2: you're not imagining things The Strangers Chapter two, which Rennie

2024
01:54:02,565 --> 01:54:06,565
Speaker 2: Harlan also directed, that that did just come out last September.

2025
01:54:06,725 --> 01:54:08,485
Speaker 2: Are we going to do like a fast and furious

2026
01:54:08,565 --> 01:54:12,965
Speaker 2: type visiting of all the Strangers movies Josh a marathon.

2027
01:54:13,205 --> 01:54:15,445
Speaker 1: No, but no, but we are going to do a

2028
01:54:15,445 --> 01:54:19,285
Speaker 1: a you know, make Adam choose. You know, usually we

2029
01:54:19,365 --> 01:54:21,644
Speaker 1: do this to each other, but I think this week

2030
01:54:21,845 --> 01:54:25,365
Speaker 1: is particularly painful for you. Are you going to see

2031
01:54:25,405 --> 01:54:31,045
Speaker 1: Luke Beason's Dracula for the Kevin James Italian romance? So

2032
01:54:31,285 --> 01:54:34,245
Speaker 1: or I'll give you I'll let you out a little bit.

2033
01:54:34,285 --> 01:54:36,805
Speaker 1: You don't have to go see Strangers chapters one and

2034
01:54:36,845 --> 01:54:38,964
Speaker 1: two to do your homework.

2035
01:54:39,245 --> 01:54:41,245
Speaker 2: You can just go to chapter three if you're leaving

2036
01:54:41,285 --> 01:54:43,405
Speaker 2: out the limited release Pillion and I just have to

2037
01:54:43,485 --> 01:54:47,245
Speaker 2: choose from the three wide Relily, I would definitely, I

2038
01:54:47,245 --> 01:54:50,765
Speaker 2: would definitely go see Dracula. Okay, yeah, I think I

2039
01:54:50,805 --> 01:54:53,965
Speaker 2: go see I think i'd join you. Perhaps perhaps we'll

2040
01:54:53,965 --> 01:54:57,885
Speaker 2: have a review next week. Maybe you never know, next week,

2041
01:54:58,165 --> 01:55:00,965
Speaker 2: maybe we'll have that Dracula review. We are definitely planning

2042
01:55:01,005 --> 01:55:04,965
Speaker 2: that train Spotting at thirty conversation and to share our

2043
01:55:05,005 --> 01:55:08,525
Speaker 2: nominees for this year's induction into the Film Spotting Pantheon.

2044
01:55:09,245 --> 01:55:11,685
Speaker 1: Film Spotting is produced by Golden Joe Toso and Sam

2045
01:55:11,765 --> 01:55:15,325
Speaker 1: Van Halgren. Without Sam and Golden Joe, this show wouldn't go.

2046
01:55:15,805 --> 01:55:20,205
Speaker 1: Our production assistant is Sophie Kempenar Special thanks to everyone.

2047
01:55:19,845 --> 01:55:21,405
Speaker 2: At wbeazy S Chicago.

2048
01:55:21,525 --> 01:55:26,325
Speaker 1: More information is available at wbez dot org. For film spotting,

2049
01:55:26,405 --> 01:55:27,765
Speaker 1: I'm Josh Larson.

2050
01:55:27,605 --> 01:55:29,605
Speaker 2: And I'm Adam Kempinar. Thanks for listening.

2051
01:55:29,805 --> 01:55:34,165
Speaker 3: This conversation can serve no purpose anymore but bine