WEBVTT - Top 5 Diane Keaton Scenes | #1051 0:00:21.244 --> 0:00:24.604 Film Spotting is presented by Regal Unlimited, the all you 0:00:24.645 --> 0:00:27.565 can watch movie subscription pass that pays for itself in 0:00:27.685 --> 0:00:31.365 just two visits. See any standard two D movie anytime 0:00:31.725 --> 0:00:34.805 with no blackoutdates or restrictions. Sign up now on the 0:00:34.885 --> 0:00:37.284 Regal app or at the link in our description and 0:00:37.445 --> 0:00:41.685 use code film spot twenty six to receive fifteen percent off. 0:00:45.885 --> 0:00:48.325 What kind of a show you guys putting on here today? 0:00:48.445 --> 0:00:49.565 You're not interested in art? 0:00:49.724 --> 0:00:49.804 Now? 0:00:50.084 --> 0:00:51.724 No, Look, we're going to do this thing. We're going 0:00:51.724 --> 0:00:55.805 to have a conversation from Chicago. 0:00:55.925 --> 0:00:56.844 This is film Spotting. 0:00:57.005 --> 0:01:00.925 I'm Josh Larson and I'm Adam Kempinar. You play very well? 0:01:01.084 --> 0:01:05.084 Oh yeah, so do you? Oh god, what a dumb 0:01:05.125 --> 0:01:07.684 thing to say, right, I mean, you say you play well, 0:01:07.685 --> 0:01:08.044 and then. 0:01:08.005 --> 0:01:10.365 Right away I have to say you play well? 0:01:11.125 --> 0:01:15.165 Oh oh god, Annie, well? Oh well? 0:01:16.685 --> 0:01:19.045 Ladi Da, Lotti Da. 0:01:19.245 --> 0:01:22.165 When the Great Diane Keaton died fall, we knew we 0:01:22.205 --> 0:01:24.884 owed her some time on the show. We also felt 0:01:24.925 --> 0:01:26.765 like we could benefit from some homework. 0:01:27.045 --> 0:01:31.365 Baby Boom not the unflinching critique of the post World 0:01:31.444 --> 0:01:34.964 War two generation. I was expecting, Adam our top five 0:01:35.045 --> 0:01:38.325 Diane Keaton scenes and more ahead on film Spotting. 0:01:38.645 --> 0:01:40.605 Are you telling me that I inherited this baby from 0:01:40.604 --> 0:01:46.125 a cousin I had seen since ninety four? Later in 0:01:46.164 --> 0:01:48.285 the show, Josh, we'll take a break from talking about 0:01:48.325 --> 0:01:51.485 movies to talk about music, or at least the music 0:01:51.525 --> 0:01:54.965 that could be found on movie soundtracks in the nineteen nineties. 0:01:55.085 --> 0:01:57.525 I'm not going to mention the titles now, but I 0:01:57.605 --> 0:02:01.165 know you know the titles that comprise the current deeply 0:02:01.205 --> 0:02:05.805 flawed film Spotting poll. You've read Sam's weekly newsletter that 0:02:05.885 --> 0:02:08.005 goes out to film Spotting family members, and I just 0:02:08.045 --> 0:02:12.365 want to know, did you own at least one of 0:02:12.405 --> 0:02:15.005 those movie soundtracks in the nineties, and do you still 0:02:15.045 --> 0:02:17.125 own any of those movie soundtracks? 0:02:17.605 --> 0:02:20.044 I'll get into that with a poll out. Adam much 0:02:20.085 --> 0:02:24.204 to say about Sam's choices, Yes, I can say yes. 0:02:24.245 --> 0:02:26.965 I can also say definitively, the nineteen nineties the best 0:02:27.005 --> 0:02:32.325 decade for movie soundtracks, and and my mahpirical evidence for that, 0:02:32.325 --> 0:02:35.165 that was the decade I bought the most movie soundtracks. 0:02:35.204 --> 0:02:38.965 So right, fair enough, we will have this week that 0:02:39.085 --> 0:02:42.644 nineties movie soundtrack poll question. Can't wait. Also, listeners tell 0:02:42.725 --> 0:02:46.285 us about their favorite Diane Keaton character and we'll also 0:02:46.325 --> 0:02:50.245 recognize the passing of Catherine O'Hara. A quick reminder, Film 0:02:50.245 --> 0:02:52.924 Spotting is now available as a video podcast. You can 0:02:52.965 --> 0:02:56.805 find us on YouTube, YouTube dot com slash film spotting. 0:02:57.165 --> 0:02:59.005 For a link to video episodes, you can also go 0:02:59.005 --> 0:03:03.364 to film spotting dot net slash episodes. First up, our 0:03:03.445 --> 0:03:07.524 tribute to Diane Keaton. It's always tough, or we always 0:03:07.565 --> 0:03:10.645 debate this when we want to pay tribute to a performer. 0:03:10.764 --> 0:03:14.485 Do we do movies, do we do characters? Do we 0:03:14.525 --> 0:03:19.125 do scenes? And we did ultimately decide that we wanted 0:03:19.125 --> 0:03:21.885 to do scenes. That has been oura of late. It 0:03:21.924 --> 0:03:27.845 really allows us to dig into what seems essential about 0:03:28.005 --> 0:03:32.405 these performers. What is it that makes them special? How 0:03:32.405 --> 0:03:34.925 did the process go for you, Josh? 0:03:35.005 --> 0:03:38.285 It helped me, I think appreciate the range that Keaton 0:03:38.845 --> 0:03:43.125 had and scenes that approach. Yeah, it allows you to 0:03:43.165 --> 0:03:47.445 really dig into the granular elements of the techniques and 0:03:47.565 --> 0:03:52.365 actor employees and expand beyond. Maybe characters I think would 0:03:52.405 --> 0:03:55.045 have fit for Keaton. I think she's known for some 0:03:55.325 --> 0:03:57.845 iconic characters and that would have been a good way 0:03:57.925 --> 0:04:00.285 to go about it. But I think by choosing scenes, 0:04:00.445 --> 0:04:04.205 I was also able to look at other movies that 0:04:04.445 --> 0:04:07.405 maybe we wouldn't say, you know is the first character 0:04:07.445 --> 0:04:09.645 that comes to mind with dian Keaton, but show really 0:04:09.725 --> 0:04:14.365 well what she was good at, and the thing that 0:04:14.445 --> 0:04:17.645 I came around to with her, I wouldn't say it 0:04:17.685 --> 0:04:20.925 was a revelation. Sometimes we'll do these adamant and realize 0:04:21.285 --> 0:04:24.325 I had a misperception of this performer, or maybe just 0:04:24.365 --> 0:04:27.605 a slightly skewed idea. I think I came to better 0:04:27.605 --> 0:04:31.165 appreciate what my understanding of her was, which is this 0:04:32.045 --> 0:04:36.964 presence in most of her movies. She had a feisty feminist. 0:04:36.925 --> 0:04:38.085 Core to her. 0:04:38.565 --> 0:04:40.525 But the first thing that came to mind for me 0:04:40.565 --> 0:04:43.005 when I thought of Diane Keaton previously was that it 0:04:43.125 --> 0:04:47.285 came in a flighty package. And revisiting these scenes made 0:04:47.325 --> 0:04:50.885 me appreciate the core a little bit more, I think, 0:04:50.964 --> 0:04:52.885 and the way she managed to balance that, because that's 0:04:52.925 --> 0:04:56.645 a tricky balance, right. We think of maybe feminist characters 0:04:56.485 --> 0:05:01.284 as being take charge figures or you know, kicking in 0:05:01.365 --> 0:05:04.245 the door, and I don't know if Keaton often led 0:05:04.284 --> 0:05:07.284 with that sort of sensibility, but that doesn't mean she 0:05:07.325 --> 0:05:13.445 didn't have that inner again feistiness about around these principles 0:05:14.284 --> 0:05:16.284 of her character's experiences as women. 0:05:16.565 --> 0:05:18.645 So to add to your litany of f words, there 0:05:18.685 --> 0:05:22.285 was a little bit more fierceness in her performances and 0:05:22.365 --> 0:05:25.205 with her characters then maybe you had expected as you 0:05:25.245 --> 0:05:27.844 looked at her films. Yeah, and I think that's something 0:05:27.925 --> 0:05:32.404 I noticed as well, something producer Sam and I talked 0:05:32.404 --> 0:05:35.604 about as we were thinking about this top five list 0:05:35.805 --> 0:05:38.044 and this show, and it's something I was aware of. 0:05:38.085 --> 0:05:41.365 I don't know that I was shocked, but it is 0:05:41.404 --> 0:05:45.565 something I hadn't fully processed, the extent to which she 0:05:45.725 --> 0:05:50.245 had these dry spells in her career. And it happened 0:05:50.245 --> 0:05:52.565 in the eighties, and then she came back right and 0:05:52.565 --> 0:05:54.365 then she went a long time before she had any 0:05:54.365 --> 0:05:56.925 really big hits, and then she had some more hits 0:05:56.925 --> 0:05:58.924 in the two thousands, and then she was hot again. 0:05:59.284 --> 0:06:02.484 And it's something where I think when you look at 0:06:02.525 --> 0:06:07.805 her filmography, it's a little disappointing. As good as she was, 0:06:07.964 --> 0:06:10.325 and as good as she is in so many movies 0:06:10.365 --> 0:06:12.845 and in so many roles and performances that we're going 0:06:12.925 --> 0:06:16.125 to talk about, you wish that someone with her talent 0:06:17.165 --> 0:06:21.844 had five to ten more great movie on her list. 0:06:21.964 --> 0:06:22.325 Don't you. 0:06:22.925 --> 0:06:25.964 I think that's I think that's accurate, and that's not 0:06:26.125 --> 0:06:29.365 on her, that's on Hollywood, right, you know, that's evidence 0:06:29.445 --> 0:06:34.484 that the industry was underutilizing her skills for certain periods 0:06:34.485 --> 0:06:35.685 across her career, for sure. 0:06:36.205 --> 0:06:38.845 So real quick, a little bit of homework I did 0:06:39.045 --> 0:06:43.325 as part of my New Year's resolution. I listened to 0:06:44.005 --> 0:06:49.645 her audiobook, her Memoir then again from twenty twelve, and well, 0:06:50.165 --> 0:06:51.725 that's the only way I can get through a book 0:06:51.765 --> 0:06:53.685 these days is to listen to it. I just had 0:06:53.685 --> 0:06:56.565 to stop listening to podcasts and start listening to audiobooks. 0:06:56.805 --> 0:06:59.205 But also there's a real benefit here, and that is 0:06:59.645 --> 0:07:04.565 it's read by her. So getting to hear her perform 0:07:05.165 --> 0:07:09.205 her own words was really satisfying because, as you can imagine, 0:07:09.205 --> 0:07:11.445 she didn't just kind of go through the motions. She 0:07:11.565 --> 0:07:15.645 really does perform it. It's a little eerie, Josh, because 0:07:15.685 --> 0:07:18.285 it's not really about her career, though that is covered 0:07:18.485 --> 0:07:21.565 and I'm going to mention some parts from the book 0:07:22.245 --> 0:07:24.565 where she covers it, but it's mainly about her family, 0:07:24.765 --> 0:07:27.885 and it's really about mortality because her father's death and 0:07:27.925 --> 0:07:31.165 her mother's death are largely the impetus for the book, 0:07:31.205 --> 0:07:34.925 and the framework what she quotes from extensively are her 0:07:34.925 --> 0:07:39.245 mother's journals, which her mother kept for several decades, and 0:07:39.565 --> 0:07:43.205 that's really profound. And there's even a part where one 0:07:43.205 --> 0:07:45.725 of her young kids and she's writing this book in 0:07:45.765 --> 0:07:50.205 her early sixties. She didn't adopt children until her fifties. 0:07:50.805 --> 0:07:53.364 One of the kids asks, and I don't remember the 0:07:53.405 --> 0:07:56.845 exact phrasing, but ask something like, Mom, will you still 0:07:56.965 --> 0:07:59.685 lay in bed with me when you're eighty? And all 0:07:59.685 --> 0:08:01.645 I'm thinking about is how she died when she was 0:08:01.645 --> 0:08:06.365 seventy nine. Yeah, there, You know. It's tough. It's tough 0:08:06.405 --> 0:08:08.364 to hear that. It's tough to hear her read that, 0:08:09.125 --> 0:08:11.245 you know, and seems like, I. 0:08:11.165 --> 0:08:14.725 Mean, just so young, even not knowing that context, but 0:08:14.765 --> 0:08:18.405 to hear that really drives home how young that actually is. 0:08:19.205 --> 0:08:22.285 There was also a major reveal the book that of 0:08:22.325 --> 0:08:25.365 course came out as major news at the time now 0:08:25.365 --> 0:08:27.605 that I look back and see articles about it on Google, 0:08:27.645 --> 0:08:30.645 but it's not something I remember hearing at the time, 0:08:30.685 --> 0:08:33.805 and that is she didn't finally reveal a Josh until 0:08:33.845 --> 0:08:36.485 the book, but in her twenties she suffered from bolimia. 0:08:37.245 --> 0:08:39.645 She finally came out and admitted it in the twenty 0:08:39.645 --> 0:08:42.565 twelve memoir. I don't remember the exact number, but she 0:08:42.845 --> 0:08:47.925 details how starting when she was on Broadway in hair 0:08:48.565 --> 0:08:52.125 and through some portion of her twenties. She eventually did 0:08:52.605 --> 0:08:58.285 overcome it with therapy. But when she was dealing with this, 0:08:58.965 --> 0:09:02.965 she would consume something, you know, tens of thousands of 0:09:03.085 --> 0:09:06.325 calories per day. It was it was almost like a 0:09:06.325 --> 0:09:10.325 full time job. How she had to buy the food, 0:09:10.684 --> 0:09:13.604 sneak it back to her apartment in New York, and 0:09:13.965 --> 0:09:17.085 obviously eat it, and do this all in secret. It 0:09:17.125 --> 0:09:19.045 was something that was a great shame for her that 0:09:19.125 --> 0:09:21.684 she finally revealed in the books. So all of that 0:09:21.845 --> 0:09:25.485 was with something really interesting to hear how she dealt 0:09:25.525 --> 0:09:29.045 with that issue. And you know, for me, she's known 0:09:29.325 --> 0:09:32.325 for her chattiness. I love the word you use, her flightiness. 0:09:32.885 --> 0:09:35.405 There is plenty of that in my scenes. I didn't 0:09:35.445 --> 0:09:38.444 fully realize, Josh, until I was maybe three quarters of 0:09:38.445 --> 0:09:41.565 the way through my notes. I had already picked all 0:09:41.564 --> 0:09:45.605 my scenes, how much I was drawn to how expertly 0:09:45.684 --> 0:09:51.684 she uses her face and silences pauses. I mean, she 0:09:52.445 --> 0:09:55.885 really was a master. So with that, I can't wait 0:09:55.885 --> 0:09:58.045 to hear your number five, all right? 0:09:58.085 --> 0:10:00.405 And number five I'm going with a pick from nineteen 0:10:00.445 --> 0:10:03.205 eighty seven's Baby Boom. I'm going to call this the 0:10:04.005 --> 0:10:08.645 mother scene. So different. Don't confuse it with Darren Aronofsky's 0:10:08.684 --> 0:10:12.845 mother mother missus mother mother, more of a yeah mother 0:10:13.605 --> 0:10:16.045 And somehow, I don't know. I saw Baby Boom when 0:10:16.085 --> 0:10:18.165 it came out in eighty seven, and maybe I tagged 0:10:18.165 --> 0:10:20.724 along with my parents for some reason. I mean, I 0:10:20.725 --> 0:10:23.405 would not in the target market. It could have been 0:10:23.485 --> 0:10:26.925 like a VHS watch at someone else's house more likely, 0:10:27.485 --> 0:10:29.405 But I did give it a revisit for this list, 0:10:29.684 --> 0:10:33.605 and I don't know, we'll see. I think you watched 0:10:33.605 --> 0:10:35.325 it too. What you thought of the movie overall? I 0:10:35.325 --> 0:10:37.965 don't know if it held up incredibly well. It was 0:10:38.005 --> 0:10:41.365 extremely broad and really more of a screwball fantasy than 0:10:41.885 --> 0:10:45.365 than any sort of pointed feminist critique for me. But 0:10:45.965 --> 0:10:48.525 I'll say, if it holds up at all, it's because 0:10:48.525 --> 0:10:51.045 of Keaton and what is she she is bringing to 0:10:51.085 --> 0:10:55.324 this part and this story. She plays a J. C. Wyatt, 0:10:55.325 --> 0:10:58.445 who is a New York City management consultant, and she's 0:10:58.485 --> 0:11:01.845 basically on the fast tracked partnership thanks to her smarts 0:11:01.845 --> 0:11:07.085 thanks to her workaholic attitude, until she unexpectedly inherits a toddler. 0:11:07.485 --> 0:11:07.885 What is it? 0:11:07.925 --> 0:11:12.685 A million dollars at Pega Button? What is it? 0:11:12.725 --> 0:11:14.165 I mean, what is it that I inherited? 0:11:17.405 --> 0:11:17.485 What? 0:11:17.564 --> 0:11:18.045 Elizabeth? 0:11:18.165 --> 0:11:26.645 Of course you'll cousin Andrews, Eizabeth, are you joking? Keaton 0:11:26.725 --> 0:11:28.005 really gives this stuff life. 0:11:28.045 --> 0:11:30.885 I mean there's a sharpness to the dialogue delivery that 0:11:30.965 --> 0:11:35.205 I don't know the dialogue itself has. And for me, 0:11:35.605 --> 0:11:38.085 the key to this performance was very much the deft 0:11:38.125 --> 0:11:43.005 physical comedy that she works into almost every scene. My 0:11:43.165 --> 0:11:46.045 favorite example of that comes from this scene. It's when 0:11:46.085 --> 0:11:49.684 she arrives at the airport to pick up the package 0:11:49.765 --> 0:11:52.365 that she's inherited. She doesn't know what it is and 0:11:52.445 --> 0:11:56.085 is promptly handed a little kid. So this is an 0:11:56.245 --> 0:11:59.605 illogical scenario, right broadly set up. There's no way this 0:11:59.725 --> 0:12:02.725 would go down like this in any world. Somehow Keaton 0:12:02.765 --> 0:12:06.685 makes it work when she's handed the baby. I love 0:12:06.684 --> 0:12:09.964 how her instinct is to immediately kind of drop the 0:12:10.085 --> 0:12:12.045 kid out of frame, like not to the floor, but 0:12:12.165 --> 0:12:15.165 just like you would when you're handed a book or 0:12:15.205 --> 0:12:17.925 something you don't that's a pain to be given where. 0:12:17.725 --> 0:12:21.365 You're like, I don't need a loaded weight. Loaded weight just. 0:12:21.405 --> 0:12:24.525 Drops the kid out of the scene then quickly hands 0:12:24.525 --> 0:12:27.125 her back to the woman. And I think in this 0:12:27.205 --> 0:12:29.965 scene she actually hands the kid back twice. There's like 0:12:30.285 --> 0:12:34.845 a double refusal. And really every movement she makes here 0:12:35.045 --> 0:12:38.204 is just on point. I love how she acts surprised 0:12:38.885 --> 0:12:42.245 whenever the kid moves or makes a noise. It's like 0:12:42.325 --> 0:12:46.125 she doesn't understand how the package suddenly became sentient, right, 0:12:47.325 --> 0:12:50.205 And even like the next three or four scenes, she's 0:12:50.205 --> 0:12:52.964 carrying this kid around like luggage. It's just a nice, 0:12:53.564 --> 0:12:57.645 amusing touch. I got to say too. Throughout this movie, 0:12:58.165 --> 0:13:01.325 the toddler's played by twins Christina and Michelle Kennedy, and 0:13:01.485 --> 0:13:04.725 Little Elizabeth is the girl's name in the movie. They're 0:13:04.765 --> 0:13:07.925 kind of amazing how they interact with adults, and they 0:13:08.005 --> 0:13:12.645 actually add a little something to their scenes as well, 0:13:12.684 --> 0:13:16.525 and Keaton of course plays off that beautifully. I also 0:13:16.564 --> 0:13:18.165 want to give a little crewdit here to the director 0:13:18.245 --> 0:13:21.685 Charles Schier for this airport sequence, because just a nice 0:13:21.684 --> 0:13:25.405 touch where the camera pushes in at the end for 0:13:26.205 --> 0:13:29.804 that moment when the girl kind of mumbles something, and 0:13:29.845 --> 0:13:32.844 that's where Keaton just did a panic, says mother mother, 0:13:33.405 --> 0:13:36.325 So really nice little bit of filmmaking to add to 0:13:36.365 --> 0:13:40.045 the comedy there. Speaking of Shier, he wrote Baby Boom 0:13:40.085 --> 0:13:42.725 with Nancy Myers, and there's a line in here from 0:13:42.845 --> 0:13:47.045 Jac's boss. He tells her Something's got to give. And 0:13:47.245 --> 0:13:49.805 of course, yeah, that'll become the title of a Meyers 0:13:49.885 --> 0:13:54.045 written and directed Keaton's starring film. Maybe they'll come up later. 0:13:54.325 --> 0:13:57.125 Just two thousand and three, Something's got to Give with 0:13:57.245 --> 0:13:59.405 Keaton there and Jack Nicholson. So yeah, we'll see what 0:13:59.405 --> 0:14:01.765 happens when it comes to the rest of our picks. 0:14:01.804 --> 0:14:06.724 But Baby Boom was a fun rewatch solely on the 0:14:06.765 --> 0:14:07.804 strength of Keaton. 0:14:07.845 --> 0:14:11.245 A great choice. My only disappointment in you choosing it 0:14:11.325 --> 0:14:14.285 is I was pretty sure that we would have at 0:14:14.365 --> 0:14:19.005 least two overlapping films, if not scenes maybe a third 0:14:19.405 --> 0:14:23.045 overlapping film, and I thought one of the ways to 0:14:23.165 --> 0:14:25.565 distinguish our list, so one of the films that would 0:14:25.645 --> 0:14:29.685 distinguish our lists, I thought it might be Baby Boom. 0:14:29.885 --> 0:14:33.405 But there you go, choosing Baby Boom at five and Josh, 0:14:33.565 --> 0:14:36.605 I also have Baby Boom at five, And I didn't 0:14:36.725 --> 0:14:40.885 have to rewatch Baby Boom because I watched it enough 0:14:40.965 --> 0:14:44.205 times in nineteen eighty seven, in nineteen eighty eight. It's 0:14:44.245 --> 0:14:48.885 a film that was on HBO constantly. My family, my 0:14:49.085 --> 0:14:53.645 parents enjoyed the movie quite a bit. We almost surely 0:14:54.165 --> 0:14:57.845 recorded it our own VHS copy off of HBO, so 0:14:57.885 --> 0:15:00.445 when it went off HBO, we could watch it whenever 0:15:00.485 --> 0:15:02.605 we wanted. And I was thinking about this too. It 0:15:02.685 --> 0:15:07.245 was it had to be my introduction to Keaton. It 0:15:07.285 --> 0:15:10.805 had to be my first Diane Keaton. Yeah, that makes sense. 0:15:10.965 --> 0:15:14.165 Uh huh. Now you said, if it works, it's attributed 0:15:14.285 --> 0:15:18.845 to her, But let's not forget that Sam Shepherd's pretty 0:15:18.845 --> 0:15:21.885 great and almost everything he's in and I do think 0:15:21.965 --> 0:15:28.445 their chemistry is part of what works here. I'm a romantic. 0:15:28.605 --> 0:15:29.365 I'm a romantic. 0:15:31.045 --> 0:15:34.604 They maybe the most absurd element in the film, but 0:15:35.165 --> 0:15:36.845 you're right, you have comists. 0:15:36.525 --> 0:15:39.725 When when when he is looking at her in front 0:15:39.725 --> 0:15:43.365 of a refrigerator, or he moves in for the kiss 0:15:43.565 --> 0:15:46.685 when changing the tire, it works And those are scenes 0:15:46.725 --> 0:15:51.085 that I considered. But what I went with the payoff scene, 0:15:51.125 --> 0:15:56.045 her declining the big offer for Country Baby, and the 0:15:56.405 --> 0:16:00.605 financial windfall and the title and the power she's been 0:16:00.685 --> 0:16:05.285 chasing the whole movie is so satisfying. What I really love, though, 0:16:05.805 --> 0:16:10.205 is the walk from the bathroom back to the boardroom. 0:16:10.805 --> 0:16:13.565 She's taken a few minutes to think it over, she 0:16:13.765 --> 0:16:18.645 has stepped out, but the reality is that she knows, 0:16:18.725 --> 0:16:22.205 and we as the audience know, or we feel like 0:16:22.245 --> 0:16:24.765 we know, based on her body language, that she's taken 0:16:25.725 --> 0:16:28.885 the deal. She's taking it right. And speaking of body language, 0:16:28.925 --> 0:16:31.085 one of the great comedic bits, one of the great 0:16:31.125 --> 0:16:34.245 little bits of physical comedy in the Boardroom by Keaton 0:16:34.525 --> 0:16:37.085 is how she starts bouncing her legs up and down 0:16:37.445 --> 0:16:41.685 so quickly under the table once the money starts getting mentioned, 0:16:41.725 --> 0:16:43.885 like one of the business guys has to comment on 0:16:43.925 --> 0:16:46.805 it because he doesn't know where that noise is coming from. 0:16:46.805 --> 0:16:50.805 But it's just her bouncing her knees underneath the table. 0:16:51.445 --> 0:16:53.604 She goes to the bathroom, she's in front of the 0:16:53.605 --> 0:16:54.805 mirror and she says it. 0:16:55.365 --> 0:16:55.885 I'm back. 0:16:57.525 --> 0:17:06.605 I'm yeah, I'm back. That's right. It's what she's been 0:17:06.645 --> 0:17:10.565 building towards the entire movie, and she's finally got it. 0:17:11.845 --> 0:17:14.645 But she does end up walking into the boardroom and 0:17:14.685 --> 0:17:18.484 declining the offer and Josh in twenty seconds, it's twenty 0:17:18.525 --> 0:17:22.245 seconds of screen time walking down the hallway from the 0:17:22.285 --> 0:17:25.005 bathroom to the boardroom, and Keaton has to convince us 0:17:25.085 --> 0:17:28.925 in those twenty seconds that it takes that everything she 0:17:28.965 --> 0:17:34.325 has chased the entire movie, her entire career, is worth rejecting, 0:17:35.005 --> 0:17:38.485 because it would mean sacrificing the type of love she's 0:17:38.525 --> 0:17:41.645 built with her daughter, the type of life she's built, 0:17:41.885 --> 0:17:44.765 the home they've built, the man she's in love with. 0:17:44.845 --> 0:17:47.925 That she would be sacrificing that love, that life, all 0:17:48.125 --> 0:17:49.605 just to be back in the rat race. And we 0:17:49.645 --> 0:17:52.565 have to believe that she has thought about all of 0:17:52.605 --> 0:17:57.125 that and come to a new decision. In those twenty seconds, 0:17:57.645 --> 0:18:00.885 you get a little bit of a wistful bill CONTI score, 0:18:01.445 --> 0:18:03.725 but that's it. And I'm going to give Charles Shier, 0:18:03.765 --> 0:18:07.045 the director, some credit here myself, because the camera is 0:18:07.245 --> 0:18:10.845 just on Keaton and it's a subtle tracking shot that 0:18:11.005 --> 0:18:14.365 just pulls back as she walks forward. And I think 0:18:14.405 --> 0:18:17.885 a lot of directors here wouldn't have trusted the audience, 0:18:18.245 --> 0:18:21.565 and maybe wouldn't have trusted the actress, would have gone 0:18:21.605 --> 0:18:24.005 for the schmaltz, and they would have felt the need 0:18:24.685 --> 0:18:29.165 to layer in shots of the baby, shots of Shepherd 0:18:29.605 --> 0:18:32.765 moments from the movie that we've seen of them laughing 0:18:33.165 --> 0:18:37.045 and loving, so we were absolutely clear that that's what 0:18:37.085 --> 0:18:40.245 she's thinking about, that that's what she's processing, and that's 0:18:40.245 --> 0:18:43.165 why she's about to walk into the boardroom and reject 0:18:43.325 --> 0:18:45.605 the deal. But he doesn't need to do that, Josh, 0:18:46.085 --> 0:18:50.245 because he's got Diane Keaton, and she does deliver all 0:18:50.285 --> 0:18:53.885 of that. We see it play out on her face 0:18:54.365 --> 0:18:58.285 in those twenty seconds, the fast confidence gait as she 0:18:58.325 --> 0:19:01.085 walks out of the bathroom that gets slower, and her 0:19:01.125 --> 0:19:04.245 eyes tilting down and around instead of forward where she 0:19:04.325 --> 0:19:06.965 was focused right on that door, the breath getting a 0:19:06.965 --> 0:19:11.085 little heavier. There is this one look and she does 0:19:11.125 --> 0:19:14.525 this in every great scene of Keaton's I found there's 0:19:14.605 --> 0:19:18.365 one moment like this, Josh. There's one look and gesture 0:19:18.445 --> 0:19:22.165 she makes. And in the YouTube clip that I'm going 0:19:22.165 --> 0:19:25.765 to post on our top five page and I'll post 0:19:25.765 --> 0:19:29.125 in the show notes. We'll link to that top five page, 0:19:29.205 --> 0:19:31.805 or if you just go to YouTube and google it, 0:19:32.165 --> 0:19:36.244 google Baby Boom an investment opportunity. It's the moment on 0:19:36.285 --> 0:19:40.485 her face at the six minutes seventeen mark. Okay, it's 0:19:40.525 --> 0:19:44.245 just something very very subtle. She does with her mouth 0:19:44.285 --> 0:19:46.285 and with her eyes that you sort of feel like 0:19:46.445 --> 0:19:51.445 Keaton can only deliver. And that's the moment where she's 0:19:51.565 --> 0:19:55.285 registering that she now knows what to do, that it's clicked, 0:19:55.845 --> 0:19:59.405 she gets it, and after that the confidence is back, 0:19:59.525 --> 0:20:02.765 the eyes are forward again, but the mission is different. 0:20:03.165 --> 0:20:06.685 And then of course the boardroom rejection itself is a 0:20:06.685 --> 0:20:09.325 lot of fun because all of those chauvinus in the 0:20:09.405 --> 0:20:12.445 room get there, come up, and so that we've kind 0:20:12.445 --> 0:20:14.965 of been hoping for as viewers the entire time. So 0:20:15.525 --> 0:20:19.365 bathroom to boardroom is my favorite. It's my favorite Diane 0:20:19.405 --> 0:20:21.645 Keaton acting moment in the film for sure. 0:20:22.565 --> 0:20:25.725 Yeah, smart move to just trust her with that moment 0:20:25.805 --> 0:20:27.925 as well. And maybe this is an instance too, that 0:20:28.165 --> 0:20:31.885 entire sequence, that climactic sequence where you see that feisty 0:20:31.965 --> 0:20:35.245 core coming a little bit more to the forefront compared 0:20:35.285 --> 0:20:41.085 to some of her other performances too. Adam, you know 0:20:41.165 --> 0:20:44.405 I missed twenty eight years later The Bone Temple when 0:20:44.765 --> 0:20:48.165 it first came out. You had Roxanna Hadadi on the 0:20:48.165 --> 0:20:51.685 show to review that one. I had to see it, 0:20:51.965 --> 0:20:53.725 and I had to see it on a big screen, 0:20:54.005 --> 0:20:56.285 and I was starting to get worried that it was 0:20:56.365 --> 0:21:00.565 going to leave and make its way to streaming and DVD. 0:21:00.805 --> 0:21:04.365 So this past week I did that. I rushed to 0:21:04.405 --> 0:21:08.205 the closest theater to me to get that big screen experience. 0:21:08.325 --> 0:21:10.365 And yeah, we'll have to talk about The Bone Temple 0:21:10.725 --> 0:21:14.125 at some point because it is a wild, wild movie. 0:21:14.405 --> 0:21:16.685 I know most of our listeners feel the same way. 0:21:16.765 --> 0:21:18.205 I mean, they watch a lot of stuff at home, 0:21:18.245 --> 0:21:22.165 but it is that big screen experience that they prioritize. 0:21:22.285 --> 0:21:26.205 They go to the theater regularly, and those listeners need 0:21:26.325 --> 0:21:30.045 to sign up for Regal Unlimited because they could see 0:21:30.045 --> 0:21:33.325 something like The Bone Temple for free. Regal Unlimited is 0:21:33.365 --> 0:21:36.445 the all you can watch movie subscription pass that pays 0:21:36.445 --> 0:21:39.485 for itself in just two visits. And right now Regal 0:21:39.605 --> 0:21:43.244 is offering film spotting listeners endless movies for less. If 0:21:43.285 --> 0:21:45.925 you sign up for Regal Unlimited and use the code 0:21:45.925 --> 0:21:48.805 film spot twenty five, then you're gonna get ten percent 0:21:48.885 --> 0:21:52.565 off a three month subscription. Regal Unlimited is the only 0:21:52.565 --> 0:21:55.565 truly limitless movie subscription pass. You can see any standard 0:21:55.605 --> 0:21:59.445 two D movie anytime. There are no blackout dates or restrictions. 0:21:59.885 --> 0:22:01.125 Also, with Regal. 0:22:00.845 --> 0:22:03.765 Unlimited, you won't just save money on tickets, you're going 0:22:03.805 --> 0:22:06.885 to save on snacks. Members get ten percent off all 0:22:06.925 --> 0:22:08.605 non alcoholic concessions. 0:22:09.165 --> 0:22:10.085 So sign up. 0:22:09.965 --> 0:22:12.285 Now in the regal app or at the link in 0:22:12.325 --> 0:22:15.605 the description and use code film Spot twenty five to 0:22:15.645 --> 0:22:16.685 receive your discount. 0:22:23.005 --> 0:22:24.205 All right, So at number. 0:22:23.925 --> 0:22:26.885 Four, I'm going to call this one ingmar Bergmann and 0:22:26.965 --> 0:22:30.685 it comes from Manhattan. Yeah, so Keaton and Allen, all right, 0:22:30.725 --> 0:22:32.565 we have to talk about her work with Woody Hellen, 0:22:32.645 --> 0:22:34.925 of course, in order to consider the full scope of 0:22:34.965 --> 0:22:39.244 her career. Manhattan, I don't know, probably more of a 0:22:39.285 --> 0:22:43.405 problem picture than Annie Hall in this sense. I mean 0:22:43.445 --> 0:22:46.885 Allen's character with dating is dating a seventeen year old 0:22:46.965 --> 0:22:48.205 played primary Levingway. 0:22:48.565 --> 0:22:51.485 That's evident in the scene you chose Josh. 0:22:51.365 --> 0:22:58.085 Yes exactly, and you know, Yeah, I'll just say this, 0:22:58.165 --> 0:23:01.005 if you can separate art from artist, and I personally 0:23:01.005 --> 0:23:04.245 find it especially difficult to do that with Alan, but 0:23:04.325 --> 0:23:07.125 if you can, Manhattan as a whole is a formidable 0:23:07.965 --> 0:23:11.765 movie for a lot of reasons. And Keaton is absolutely 0:23:12.165 --> 0:23:15.125 great in it. You're right. The scene that I want 0:23:15.165 --> 0:23:17.965 to talk about, Hemingway is in it. It's after Keaton's 0:23:17.965 --> 0:23:21.645 Mary has been introduced to Alan and Hemingway's cares at 0:23:21.645 --> 0:23:24.605 an art gallery. So they're talking. They're all talking as 0:23:24.605 --> 0:23:27.805 a group while walking down the street. Michael Murphy's Yale 0:23:27.925 --> 0:23:29.765 is with them as well, so there's four of them 0:23:30.285 --> 0:23:34.005 and they're discussing quote unquote overrated artists. 0:23:34.045 --> 0:23:35.605 You guys don't want to leave out Mozart. I mean 0:23:35.605 --> 0:23:36.885 a lot of your trashing people. 0:23:36.965 --> 0:23:39.605 Oh well, how about Vincent ben got or in more 0:23:39.845 --> 0:23:47.125 artist In a sense in this scene, Keaton's breezy sort 0:23:47.165 --> 0:23:51.045 of pontificating her. Mary is kind of an Allen type, right, 0:23:51.285 --> 0:23:54.925 the opinionating the pattern. You can easily imagine him delivering 0:23:55.005 --> 0:23:58.285 some of these same lines about overrated artists in another movie. 0:23:58.405 --> 0:24:01.405 Makes sense he wrote the script. For me, it's not 0:24:01.525 --> 0:24:04.885 so much Mary's perspective on art in this sequence that 0:24:05.045 --> 0:24:08.525 necessarily makes this a great scene. I mean, forget Bergman, 0:24:08.685 --> 0:24:13.165 cheap handwaves, Vincent van Gogh. She's really really going for 0:24:13.245 --> 0:24:16.605 it here, yes and pronouncing it, you know, the Dutch way. 0:24:16.685 --> 0:24:17.085 Of course. 0:24:17.885 --> 0:24:20.925 For me, it's more about the way Keaton wields may 0:24:21.005 --> 0:24:25.885 Mary's opinions like a scalpel to absolutely nail the woody 0:24:25.965 --> 0:24:29.485 Allen ethos doing. You see don't you guys see that 0:24:29.605 --> 0:24:32.685 it is the dignifying of one's own psychological and sexual 0:24:32.725 --> 0:24:36.045 hangups by attaching him to these grandiose philosophical issues. 0:24:36.085 --> 0:24:36.725 That's what it is. 0:24:37.165 --> 0:24:40.005 That's in a nutshell when it comes to Allan's work. 0:24:40.165 --> 0:24:43.685 And yes, we understand the metal levels at play here 0:24:43.685 --> 0:24:46.925 with alan s screenwriter, what Mary is saying about Bergman, 0:24:47.165 --> 0:24:50.205 Woody Allan is saying about Woody Allen. We can debate 0:24:50.245 --> 0:24:53.245 how much value there is in self awareness without self correction. 0:24:53.365 --> 0:24:56.285 That's a whole other topic overall. Again, for me, the 0:24:56.325 --> 0:25:00.845 scene works because it's being delivered by Keaton so expertly. 0:25:00.925 --> 0:25:03.685 I've described her before as the Woody Allen tonic I 0:25:03.765 --> 0:25:07.605 need in their movies together, and certainly that's what she's 0:25:07.605 --> 0:25:09.885 doing here in the scene from Manhattan. 0:25:10.645 --> 0:25:12.845 Yeah, I understand why if you had to put a 0:25:12.925 --> 0:25:15.445 label on it, you'd call it Ingmar Bergman, but I 0:25:15.565 --> 0:25:18.605 probably would call it Van Goch because that's the most 0:25:18.645 --> 0:25:21.645 memorable part of that scene is the mis unciation of 0:25:21.645 --> 0:25:24.765 that and how how Alan has to turn to Hemingway 0:25:24.805 --> 0:25:27.205 and he just can't believe that that she's even mis 0:25:27.485 --> 0:25:31.485 pronouncing it. In addition to, you know, saying something terrible 0:25:31.645 --> 0:25:35.685 about his work. It's not even yeah, that's the Dutch way, Adam. 0:25:35.725 --> 0:25:38.165 We oh, we had, of course, we had a seminar 0:25:38.485 --> 0:25:41.365 here at my program and it was wonderful because someone 0:25:41.445 --> 0:25:44.565 was presenting on van Go and the professor introducing was like, 0:25:44.605 --> 0:25:47.325 we're getting this out of the way. Okay, everyone here 0:25:47.765 --> 0:25:49.245 can say it however they want. 0:25:49.525 --> 0:25:50.565 There is no shame. 0:25:51.205 --> 0:25:53.925 We're just going to have a conversation and don't worry 0:25:53.925 --> 0:25:55.085 about how you're pronouncing the name. 0:25:55.165 --> 0:25:57.325 I was like, oh this I like this place. Okay, 0:25:57.365 --> 0:26:00.525 so yeah, I shouldn't say that it's being pronounced incorrectly. 0:26:01.125 --> 0:26:03.805 It's just not being pronounced the way anybody else in 0:26:03.845 --> 0:26:06.525 New York cud. He probably says it and she's being 0:26:06.525 --> 0:26:09.405 a little pretentious or a lot party little, right, a little, 0:26:09.525 --> 0:26:12.805 and that's what he's He's trying to skeure Alan's character 0:26:12.925 --> 0:26:16.405 there in the film. It's not even and I'm just 0:26:16.485 --> 0:26:19.165 gonna mention this, right, it's not that Hemingway's in the 0:26:19.205 --> 0:26:22.765 scene that that makes it problematic. It's the fact that 0:26:23.445 --> 0:26:26.365 Mary even calls out the fact what do you do? 0:26:26.445 --> 0:26:30.685 And she says, I'm in high school and she books Knabokoff. Okay, 0:26:31.005 --> 0:26:33.645 but we'll move on from Manhattan. It's not going to 0:26:33.685 --> 0:26:36.445 come up on my list, even though I feel the 0:26:36.445 --> 0:26:40.045 same way about the film that you do. So here's 0:26:40.085 --> 0:26:43.685 another one where I fear we're going to have some overlap, 0:26:43.965 --> 0:26:48.925 and it's a scene from the movie Reds, directed by 0:26:49.165 --> 0:26:52.205 Warren Batty, who in the book she talks about this 0:26:52.365 --> 0:26:56.365 there really were kind of three great loves of her life, 0:26:56.485 --> 0:27:01.085 three great romances, and the most fleeting of them because 0:27:01.085 --> 0:27:03.125 I don't know to what extent other than Anette Benning 0:27:03.605 --> 0:27:07.325 Warren Batty ever had any real significant romances. You know, 0:27:07.365 --> 0:27:11.685 she had a relationship with Warren. She had a relationship 0:27:11.845 --> 0:27:16.285 with Woody Allen obviously, and then the man that she 0:27:17.165 --> 0:27:21.925 most was enamored with and wanted to marry, but he 0:27:22.005 --> 0:27:25.885 would never reciprocate that desire anyway. But they were very 0:27:25.925 --> 0:27:29.005 much in love for a long time is al Pacino. Actually. 0:27:29.525 --> 0:27:33.685 But back to Warren Batty and Red's. I use this 0:27:33.765 --> 0:27:37.085 scene during our top five Jack Nicholson scenes, and I thought, 0:27:37.525 --> 0:27:40.245 why not just approach it now from the other perspective, 0:27:40.445 --> 0:27:45.005 because it's a two hander. She plays Louise Bryant, who 0:27:45.085 --> 0:27:48.165 was the suffragist and a journalist, leaves her husband to 0:27:48.205 --> 0:27:53.485 marry the charismatic John Reid played by Baty. They meet 0:27:53.685 --> 0:27:57.205 some more activists like Eugene O'Neil, the playwright played by Nicholson, 0:27:57.245 --> 0:27:59.885 and Greenwich Village, and then they end up moving out 0:27:59.925 --> 0:28:05.205 to whereas it Provincetown in Massachusetts to get involved in 0:28:05.245 --> 0:28:08.365 the theater. O'Neill's there, right, and she's doing some acting 0:28:09.045 --> 0:28:15.005 there in his plays. What's interesting about this, Josh, is 0:28:15.005 --> 0:28:18.445 that she got nominated for Best Supporting Actress. She didn't win, 0:28:18.485 --> 0:28:20.965 but she got nominated for it. I know you love 0:28:21.165 --> 0:28:23.205 this movie now that you've seen it. I've always loved 0:28:23.205 --> 0:28:26.325 this movie, and I really love this performance. In the book, 0:28:27.285 --> 0:28:29.525 she doesn't dwell on the making of the movie much, 0:28:29.685 --> 0:28:31.725 but most of what she says about it is how 0:28:31.765 --> 0:28:35.525 hard it was to make and how she didn't work 0:28:35.605 --> 0:28:39.565 well with Warren, not because of any romantic involvement that 0:28:39.605 --> 0:28:42.085 they had previously, but just because he was a perfectionist 0:28:42.405 --> 0:28:44.725 and that's his reputation, right. That's not the way she 0:28:44.805 --> 0:28:47.285 likes to work. He was one of those perfectionist directors 0:28:47.325 --> 0:28:51.005 who shot forty takes of everything. This is how she 0:28:51.085 --> 0:28:54.205 describes it, sometimes it felt like I was being stun gunned. 0:28:54.645 --> 0:28:57.085 Even now, I can't say my performance is my own. 0:28:57.405 --> 0:29:00.325 It was more like a reaction to Warren. Yeah, that's 0:29:00.365 --> 0:29:05.085 what it was, a response to the effect of Warren Batty. Well, 0:29:05.605 --> 0:29:08.925 you know what a performance that's a response to the 0:29:08.965 --> 0:29:11.885 effect of Warren Batty, I guess is still pretty darn 0:29:11.925 --> 0:29:17.845 effective the way that manifests on screen. She also mentions 0:29:17.925 --> 0:29:21.965 Josh that it took shooting the train scene, which is 0:29:22.005 --> 0:29:25.885 the reunion moment in this film for those two characters, 0:29:26.165 --> 0:29:29.805 for her to find any or to take any pride 0:29:29.805 --> 0:29:32.725 in the character. And that scene alone took like sixty 0:29:32.765 --> 0:29:36.445 five takes, but she did. That's where she finally broke 0:29:36.525 --> 0:29:39.325 through with her own character, and the way she frames 0:29:39.365 --> 0:29:43.005 it like she stopped judging the character and finally loved 0:29:43.725 --> 0:29:46.485 the character. The reason she didn't like her, I do 0:29:46.525 --> 0:29:49.205 want to mention this, She says that she wasn't prepared 0:29:49.245 --> 0:29:52.325 to play Louise Bryant. She was less romantic than she 0:29:52.405 --> 0:29:55.685 had imagined. She became my cross to bear. I didn't 0:29:55.805 --> 0:29:59.045 like her. There was nothing charming about her will to 0:29:59.085 --> 0:30:02.165 be recognized as an artist in her own right. She 0:30:02.325 --> 0:30:05.405 says that her pursuit of John Reid was suspect and 0:30:05.445 --> 0:30:10.005 frankly laced with envy. I hated her. It was a problem. Wow, 0:30:10.045 --> 0:30:12.525 that's how she described the character she was playing. So 0:30:12.885 --> 0:30:15.005 I don't know what point in the shoot they shot 0:30:15.085 --> 0:30:17.445 the train scene, but it took that for her to 0:30:17.845 --> 0:30:20.725 get over this cross that she was bearing for Louise Bryant. 0:30:21.045 --> 0:30:25.045 So you can see I think in this scene with Nicholson, 0:30:25.205 --> 0:30:28.245 with Eugene O'Neil in Provence sound why she might have 0:30:28.325 --> 0:30:34.485 struggled with this character. The number of emotions that she 0:30:34.605 --> 0:30:39.405 has to evoke in what is a five minute scene 0:30:39.525 --> 0:30:43.205 is daunting. She starts off as the fawning actress, and 0:30:43.245 --> 0:30:47.245 then she turns sore and apologetic, and then she's seductive 0:30:47.285 --> 0:30:50.125 and trying to assume power, and that's all Josh within 0:30:50.405 --> 0:30:53.805 thirty seconds or less. And then and then she's defiant 0:30:53.845 --> 0:30:59.125 and abrasive, and the way Bryant, the character of course 0:30:59.205 --> 0:31:03.965 Keaton portraying her, betrays herself. There's a line where she says, 0:31:04.485 --> 0:31:07.645 you may feel that way I don't about something that 0:31:08.405 --> 0:31:11.605 he has zinged her with, and she says it with 0:31:11.645 --> 0:31:14.405 some smugness, like she's kind of above it all. You know, 0:31:14.485 --> 0:31:17.805 she's refuting his charge. And I love I love what 0:31:17.805 --> 0:31:19.925 she does. And this is something that she does playing 0:31:19.965 --> 0:31:24.965 Mary too. She plays Mary in Manhattan, a character who 0:31:25.005 --> 0:31:29.845 is not insecure or who projects confidence. Notice how her 0:31:29.925 --> 0:31:33.725 posture is like perfect. She's very rigid, the way she 0:31:33.765 --> 0:31:36.125 walks in this scene, in this moment when she has 0:31:36.165 --> 0:31:39.565 to project this confidence. All of a sudden, when the 0:31:39.565 --> 0:31:42.445 camera cuts back to her, she's like she's sitting back 0:31:42.445 --> 0:31:45.125 in the chair, her shoulders are completely back. In this 0:31:45.205 --> 0:31:49.045 whiskey bottle that's been a prop throughout the scene, she's 0:31:49.085 --> 0:31:51.165 now holding it and she's holding it off to the 0:31:51.245 --> 0:31:54.125 side in her hand like she's a pirate with a 0:31:54.165 --> 0:31:56.525 whiskey bottle. You know, it's almost like she she's all 0:31:56.525 --> 0:31:59.845 of a sudden, got this this machismo about her. Almost 0:31:59.885 --> 0:32:03.765 it's it's anything but you know, a quote unquote feeble woman. 0:32:04.365 --> 0:32:08.485 And and then he he says something else about how 0:32:08.565 --> 0:32:12.485 he would treat her, and and how John isn't John 0:32:12.525 --> 0:32:16.605 Reid isn't possessive enough about her, and she describes that 0:32:16.645 --> 0:32:20.485 as a waste of time. And and Keaton, she tells 0:32:20.485 --> 0:32:24.005 you that the case characters lying just by looking away. 0:32:24.165 --> 0:32:27.325 She looks away and you see in her eyes how this, 0:32:27.565 --> 0:32:30.685 how this registers with her, that she's trying to deny it. 0:32:31.445 --> 0:32:34.685 But it's clearly hitting it's clearly striking a chord, it 0:32:34.725 --> 0:32:37.045 is hitting a mark with her. And I mentioned the 0:32:37.045 --> 0:32:40.605 whiskey bottle because it's it's changing hands and it's it's 0:32:40.645 --> 0:32:43.245 moving around in this scene. I would I would recommend 0:32:44.005 --> 0:32:47.405 to any actors or actresses out there, any performers out there, 0:32:47.565 --> 0:32:49.925 if you need a scene study and you're doing anything 0:32:50.085 --> 0:32:54.285 about how to incorporate props and do a scene, watch 0:32:54.365 --> 0:32:56.845 the watch this scene and watch how the whiskey bottle 0:32:56.925 --> 0:33:01.165 is used, because it it's a key part of the movie. 0:33:01.365 --> 0:33:05.245 She hands it to him at this point, but Josh, 0:33:05.285 --> 0:33:08.325 the moment of the scene, the moment the dagger, it's 0:33:08.405 --> 0:33:11.885 Nicholson's best moment, but it doesn't work without Keaton's response. 0:33:12.645 --> 0:33:16.205 I I focused on this during the Nicholson Top five 0:33:16.325 --> 0:33:19.205 when he says to her, it's it's still just maybe 0:33:19.765 --> 0:33:24.125 honestly one of the best, one of the best written 0:33:24.125 --> 0:33:28.725 lines in all of movies, because it's romantic as hell, 0:33:29.405 --> 0:33:33.205 it's sexy as hell, but it's also mean. 0:33:33.925 --> 0:33:36.245 If you were mine. I wouldn't share you with anybody 0:33:36.365 --> 0:33:40.565 or anything. It would be just you and me. You'd 0:33:40.605 --> 0:33:45.245 be at the center of it all, you know, I 0:33:45.245 --> 0:33:47.685 would feel a lot more like love than being left 0:33:47.725 --> 0:33:48.685 alone with your work. 0:33:49.605 --> 0:33:53.885 And you see her still face and Keaton's eyes are glistening. 0:33:54.685 --> 0:33:57.445 You can tell what she's trying to hold back. And 0:33:57.885 --> 0:33:59.965 when he gets to that word center, she does this. 0:34:00.125 --> 0:34:03.005 Here's this gesture, Josh. She does this, just little thing 0:34:03.045 --> 0:34:06.445 with her mouth and eyebrow, as if what it says 0:34:06.485 --> 0:34:08.964 to me, I'd love for one hundred people to watch 0:34:08.965 --> 0:34:11.685 it and tell me what you think she's saying with 0:34:11.725 --> 0:34:14.685 her mouth and eyebrow. To me, it's like she's saying 0:34:14.765 --> 0:34:18.325 back to him, oh, oh, that's what you would do, right, 0:34:18.445 --> 0:34:24.045 because love's that easy. Sure, But it's almost like that 0:34:24.085 --> 0:34:27.125 gesture in Baby Boom in the hallway, just this silent, 0:34:27.645 --> 0:34:33.445 small moment that you feel like, somehow only she could deliver. 0:34:33.845 --> 0:34:37.445 And here, at this point in the scene, it's the 0:34:37.485 --> 0:34:39.765 most wounded this character has been and the most vulnerable 0:34:39.805 --> 0:34:42.205 the character has been. And then she's back to rustling 0:34:42.205 --> 0:34:44.645 papers and trying to act like she's in complete control. 0:34:45.645 --> 0:34:49.325 The difficulty it would have been or how difficult it 0:34:49.325 --> 0:34:53.165 would have been to play Louise Bryant. I can see, 0:34:53.725 --> 0:34:57.085 I can see why she might have struggled with this character. 0:34:57.485 --> 0:35:00.525 But you watch scenes like this and you feel like 0:35:01.245 --> 0:35:03.925 you feel like Keaton was in control of the character somehow. 0:35:04.605 --> 0:35:06.925 It's funny you mentioned the whiskey bottle. I've got a 0:35:06.925 --> 0:35:10.485 pick involving not centering around, but does involve her use 0:35:10.485 --> 0:35:13.404 of a wine bottle, which came to mind. We'll get 0:35:13.445 --> 0:35:15.285 that into that in a bit, and we'll get to 0:35:15.325 --> 0:35:17.485 Reds in a bit. I'd love to reshuffle things so 0:35:17.525 --> 0:35:20.005 that we could continue talking about Reds, because you're right. 0:35:20.045 --> 0:35:21.965 I did kind of in love with it when I 0:35:22.005 --> 0:35:25.045 caught up with it, but so much to the point 0:35:25.085 --> 0:35:26.765 that I've got it higher on my list, and I 0:35:26.805 --> 0:35:29.605 need to get to a few other picks first. So 0:35:30.005 --> 0:35:33.805 at number three, I'm going with this line from The 0:35:33.805 --> 0:35:37.325 Godfather Part two. At this moment, I feel no love. 0:35:37.205 --> 0:35:39.325 For you at all. 0:35:39.445 --> 0:35:43.725 If people tend to forget or downplay that Diane Keaton 0:35:44.085 --> 0:35:47.364 is in the Godfather films, it's no fault of her. 0:35:47.565 --> 0:35:51.445 She is terrific in the few scenes she has, and 0:35:51.525 --> 0:35:55.165 working mostly in a different register than what I think 0:35:55.245 --> 0:35:58.445 we're used to, and so as a nod to her 0:35:58.445 --> 0:36:03.445 performance performances as Kay Adam's wife of al Pacino's Michael Carlyon, 0:36:03.525 --> 0:36:06.165 I'm going to go with this scene from The Godfather 0:36:06.245 --> 0:36:10.125 Part two. So this is shortly after the movie's intermission, 0:36:10.965 --> 0:36:14.485 and it's a meeting between Kay and Michael where she 0:36:14.685 --> 0:36:19.565 tells him she's leaving and she's taking the children. Kay, 0:36:19.685 --> 0:36:24.045 as many people know, is essentially the conscience of these movies, 0:36:24.285 --> 0:36:27.925 but often in the background, right and just she's the 0:36:27.965 --> 0:36:32.725 observer here. Finally, she directly calls him out, telling him 0:36:32.805 --> 0:36:37.645 he's become blind to his own moral decay. And I 0:36:37.725 --> 0:36:40.565 want to talk about stillness too, Adam in terms of 0:36:40.605 --> 0:36:44.525 the performance, and focus on how still she is in 0:36:44.525 --> 0:36:48.725 this scene, because, as we've touched on, very common to 0:36:48.765 --> 0:36:51.805 think of her as being in motion verbally in motion, 0:36:52.965 --> 0:36:57.485 physically in motion, something with her arms, or even just 0:36:57.485 --> 0:37:00.885 just circling the room in a scene. She's frequently walking 0:37:00.965 --> 0:37:02.365 around a room. 0:37:02.765 --> 0:37:04.805 In the scene. To use another f word. 0:37:05.085 --> 0:37:10.125 Yeah yeah, maybe yeah yeah. Here No, it's totally different. 0:37:10.125 --> 0:37:12.925 It's totally that Michael tries to shut her down at 0:37:12.965 --> 0:37:15.845 one point, just just screams over at her and you 0:37:15.885 --> 0:37:19.125 know in most of his meetings, that is the end 0:37:19.165 --> 0:37:24.165 of it. But she just gets very still, very focused, 0:37:25.045 --> 0:37:28.965 very quiet, and delivers just that brutal line with calm precision. 0:37:29.005 --> 0:37:31.605 At this moment, I feel no love for you at all. 0:37:31.605 --> 0:37:34.525 But her control doesn't last last that long. There's a 0:37:34.525 --> 0:37:37.005 lot of as the red scene you just described, there's 0:37:37.045 --> 0:37:40.165 a lot of fluctuations and variations and up and ups 0:37:40.205 --> 0:37:43.085 and downs in this long scene. So he brings up 0:37:43.125 --> 0:37:46.885 their lost baby, which he thinks was a miscarriage, and 0:37:46.965 --> 0:37:49.765 she just goes fierce at this point. 0:37:49.805 --> 0:37:51.005 Michael, you are blind. 0:37:53.685 --> 0:37:56.405 It wasn't a miscarriage. 0:37:58.285 --> 0:37:59.245 It was an abortion. 0:38:01.685 --> 0:38:06.445 An abortion, Michael, just like our marriage is an abortion, 0:38:07.845 --> 0:38:11.085 something that's unholy, an evil. 0:38:11.325 --> 0:38:15.085 You get a sense that Kay was not planning to 0:38:15.165 --> 0:38:19.525 bring this into her confrontation, but he went there. So 0:38:19.605 --> 0:38:22.565 that's when she tells him she had an abortion because 0:38:22.565 --> 0:38:26.205 she wouldn't bring another one of your sons into this world. 0:38:26.325 --> 0:38:30.844 And there is a real nastiness to the performance here 0:38:30.885 --> 0:38:34.645 because this is where Kay is hitting Michael absolutely where 0:38:34.645 --> 0:38:38.765 it hurts, because he has this mythological, reverential idea of 0:38:38.805 --> 0:38:42.845 the family right, completely hypocritical, we all know, but to 0:38:42.925 --> 0:38:46.405 him in his mind, it's all about the family, and 0:38:47.205 --> 0:38:51.405 she's she's used what power she had to obliterate that. 0:38:51.645 --> 0:38:54.165 So I do think Keaton has asked to use very 0:38:54.165 --> 0:38:57.765 different tools in the Godfather films. I just think she 0:38:57.845 --> 0:39:00.725 does it incredibly well. So wanted to go with a 0:39:00.765 --> 0:39:02.005 scene from one of them. 0:39:02.205 --> 0:39:06.125 Yeah, I get it with The Godfather. In the book, 0:39:06.645 --> 0:39:10.285 she speaks of it reverentially and talks about how important 0:39:10.285 --> 0:39:13.445 it was, of course, but she spends almost no time 0:39:13.565 --> 0:39:17.485 talking about the making of it or portraying Kay And 0:39:18.485 --> 0:39:20.685 she is a little bit dismissive of it, Josh, because 0:39:20.685 --> 0:39:23.445 she based says she doesn't know why she was cast 0:39:23.445 --> 0:39:26.805 as that character. She was nothing like that character, and 0:39:27.285 --> 0:39:31.765 she does admit that the character doesn't kind of exist, 0:39:32.125 --> 0:39:35.725 that there's very little to that character, and that does 0:39:35.765 --> 0:39:38.045 seem fair based on what we see in the movie. 0:39:38.565 --> 0:39:42.805 That said, the moments that she gets like this one 0:39:43.805 --> 0:39:47.525 Keaton delivers. Keaton makes up for that in moments Yeah, 0:39:47.605 --> 0:39:49.484 like this one for sure. And you know, it's funny 0:39:49.525 --> 0:39:52.645 about Keaton. We were talking about how maybe when you 0:39:52.685 --> 0:39:56.125 look at the totality of her filmography, you don't see 0:39:56.485 --> 0:39:59.685 it's top heavy. You see a couple of amazing movies 0:39:59.725 --> 0:40:02.805 and amazing performances, and maybe not as much depth as 0:40:02.845 --> 0:40:06.525 you would really like. But I think about iconic moments, 0:40:06.725 --> 0:40:08.925 and I think about memorable lines, and maybe this is 0:40:08.965 --> 0:40:11.565 only really memorable to me. But to go back to 0:40:11.605 --> 0:40:14.725 your Manhattan scene, forget, you know, Van Gock. I will 0:40:14.765 --> 0:40:18.525 always hear in my head, Mary, I'll always hear Keaton 0:40:18.565 --> 0:40:21.405 saying I loved it at Radcliffe, but you get over it, 0:40:21.445 --> 0:40:23.924 You absolutely get over it, you know, just the way 0:40:24.005 --> 0:40:26.965 she says it, her cadence, and I will always hear, like, 0:40:27.005 --> 0:40:29.645 I can't see. Here's where we're different, Josh. Here. I mean, 0:40:29.805 --> 0:40:31.484 we're different in a lot of ways, but we've talked 0:40:31.485 --> 0:40:34.685 about this. Here's where we're very different. You just talked 0:40:34.725 --> 0:40:37.565 about that scene and you did not, at any point 0:40:37.565 --> 0:40:42.005 feel compelled to go it was an abortion, Michael. I 0:40:42.045 --> 0:40:44.285 would have had to say it that way. I would 0:40:44.285 --> 0:40:49.205 have had to try gen mimic why ruined? Why would 0:40:49.205 --> 0:40:52.165 I read because the great because trying to mimic it. 0:40:52.725 --> 0:40:55.205 Because I can't. I can't have those words in my 0:40:55.325 --> 0:40:58.285 head and not try to say them that way. That 0:40:58.685 --> 0:41:01.525 they that sentence can't be said any other way. That's 0:41:01.645 --> 0:41:04.924 that's how it sticks with me. Right, So there's another 0:41:04.965 --> 0:41:07.765 one of these coming up. So she's given us some great, 0:41:08.165 --> 0:41:10.924 great line readings. But for my number three, I'm gonna 0:41:10.965 --> 0:41:13.605 go back. I'm gonna go back to Jack and Diane. 0:41:14.885 --> 0:41:17.965 I'm not gonna I'm not gonna call it a great movie, Josh, 0:41:18.005 --> 0:41:19.805 but this is the homework that I did that I 0:41:19.885 --> 0:41:24.404 did find the most rewarding, especially because I found out 0:41:24.565 --> 0:41:26.725 a few days later in the book that it's the 0:41:26.725 --> 0:41:31.005 movie she calls her favorite of all of her movies. 0:41:31.085 --> 0:41:35.125 It is Something's got to Give Now. Context is a 0:41:35.165 --> 0:41:39.045 major part two thousand and three. She was fifty seven 0:41:39.205 --> 0:41:43.404 and by her own words, she was washed up. This 0:41:43.525 --> 0:41:47.405 movie brought her back, that's part of it. But working 0:41:47.445 --> 0:41:53.285 with Nicholson again, she talks about as this magical energizing 0:41:53.885 --> 0:41:57.404 experience and which you can feel, you can feel, and 0:41:58.205 --> 0:42:02.005 she goes into great detail about how difficult it was 0:42:02.045 --> 0:42:04.565 for her. In one one key scene, it's that it's 0:42:04.565 --> 0:42:07.445 a scene where they come back in from where you 0:42:07.525 --> 0:42:10.245 really see them connecting and you see the romance really 0:42:10.285 --> 0:42:12.725 spark and they come in from the storm, and it's 0:42:12.765 --> 0:42:14.844 when they have their first kiss. She talks about how 0:42:15.165 --> 0:42:17.605 it was almost impossible for her. She kept screwing up 0:42:17.685 --> 0:42:22.325 lines because it was impossible for her to separate Diane 0:42:23.045 --> 0:42:28.005 and Erica the character from her. So that's that's what 0:42:28.045 --> 0:42:30.765 it felt like for her to make that movie. Now 0:42:31.165 --> 0:42:33.485 there is another part of it. It's I think, just 0:42:34.045 --> 0:42:39.285 a great story to mention and speaks to the generosity 0:42:39.285 --> 0:42:43.365 of Nicholson. She said that on the last day of 0:42:43.405 --> 0:42:47.085 the shoot, Nicholson came up to her. They have this 0:42:47.125 --> 0:42:50.285 great time together. Nicholson came up to her and whispered 0:42:50.285 --> 0:42:54.245 something in her ear, a sentence, a phrase or something, 0:42:54.485 --> 0:42:58.685 and she didn't really understand it. She kind of heard 0:42:58.685 --> 0:43:00.445 a word or two, but really didn't get it, and 0:43:00.485 --> 0:43:02.485 just kind of, you know, laughed or whatever. And they 0:43:02.525 --> 0:43:05.805 embraced and he went on his way, and then the 0:43:05.845 --> 0:43:09.965 movie came out and it's a big hit. And a 0:43:10.085 --> 0:43:14.125 year later, or however long it is later, she goes 0:43:14.165 --> 0:43:18.325 to the mail and a check shows up and the 0:43:18.405 --> 0:43:21.005 checks goot as she you know, I think she described 0:43:21.205 --> 0:43:24.085 that the checks got all these zeros after it. And 0:43:24.125 --> 0:43:26.805 the thing that Nicholson whispered to her on the last 0:43:26.885 --> 0:43:30.685 day of the shoot was that when he was negotiating 0:43:30.725 --> 0:43:33.725 his contract for the movie. He gave her some of 0:43:33.725 --> 0:43:38.085 his points on the movie that weren't in her contract, 0:43:38.325 --> 0:43:40.925 So instead of just getting a salary for the movie, 0:43:41.045 --> 0:43:43.445 he gave her at least a point on the movie. 0:43:43.445 --> 0:43:46.765 She got a percentage because of Nicholson, and so she 0:43:47.205 --> 0:43:49.525 got very rich off of Something's Got to Give, which 0:43:49.565 --> 0:43:52.965 was another reason why she was eternally grateful to Nicholson 0:43:53.005 --> 0:43:55.605 in that movie. Now I have to say, Keanu Reeves 0:43:55.685 --> 0:43:58.205 is the younger doctor who's madly in love with her. 0:43:58.925 --> 0:44:01.325 He might actually be my favorite performance in the movie. 0:44:01.605 --> 0:44:03.685 But the scene that I'm going with the scene that 0:44:03.725 --> 0:44:06.725 really stuck with me. And you know, so far, I 0:44:06.725 --> 0:44:12.125 have largely picked scenes where her heavier emotional side comes through, 0:44:12.165 --> 0:44:14.565 even though she is largely known as this comedic actress. 0:44:14.845 --> 0:44:17.165 But the Baby Boom scene is one where we watch 0:44:17.205 --> 0:44:21.285 her transform kind of from comedy to drama before our eyes. 0:44:21.605 --> 0:44:23.325 And I think this scene is also so full of 0:44:23.325 --> 0:44:28.645 pathos that I really identify that with with Keaton. It's 0:44:28.685 --> 0:44:34.165 the scene right after they have finally slept together, and 0:44:35.125 --> 0:44:40.965 this this night together has been incredible everything she and 0:44:41.045 --> 0:44:44.325 it seems he could have hoped that it would be. 0:44:45.485 --> 0:44:48.725 But then you have the awkward moment of where do 0:44:48.765 --> 0:44:52.765 we go from here? What do we do now? And 0:44:53.725 --> 0:44:57.005 Nicholson's character says, I think I should go back to 0:44:57.045 --> 0:45:00.765 my room, and she has to take that in and 0:45:00.885 --> 0:45:04.845 process what that means, what he's really saying when he 0:45:04.845 --> 0:45:07.045 says that, because he's he's staying at her house, he 0:45:07.125 --> 0:45:09.845 was initially just a guest at her house. Long story 0:45:09.845 --> 0:45:11.925 if you haven't seen the movie. He's saying, I think 0:45:11.925 --> 0:45:14.125 I should go back to my room, and she says, 0:45:14.285 --> 0:45:17.885 all right, you usually send the girl home, but I 0:45:17.925 --> 0:45:23.245 am home. The realization the moment Keaton has to realize 0:45:24.005 --> 0:45:28.165 what he's really saying, that he is, as he describes himself, 0:45:28.325 --> 0:45:32.605 an old dog who can't be taught new tricks, and 0:45:32.605 --> 0:45:35.005 and she has to think about what what could she 0:45:35.045 --> 0:45:39.445 have expected? You know, every everything she is expressing without 0:45:39.525 --> 0:45:43.805 expressing it literally is how could I? How could I 0:45:43.845 --> 0:45:47.165 have been so stupid? Right? But also she can't help 0:45:47.205 --> 0:45:50.525 the way she feels, and and that's the conflict that 0:45:50.565 --> 0:45:53.725 you just see in every in everything she's doing here 0:45:54.085 --> 0:45:57.005 in this scene. She's trying to be so mature about 0:45:57.005 --> 0:46:01.645 it because she is mature. She is this mature, intelligent woman. 0:46:01.725 --> 0:46:04.605 But but she has feelings for this man that are 0:46:04.645 --> 0:46:07.925 almost like, you know, a teenage girl, you know, or 0:46:07.965 --> 0:46:09.885 almost like she feels like she's falling in love for 0:46:09.925 --> 0:46:13.485 the first time, and she's so wounded by this. And 0:46:13.485 --> 0:46:18.884 and here again, I'm drawn to gestures and pauses. She says, hey, 0:46:18.925 --> 0:46:24.405 it's perfectly whatever, perfectly whatever. She suddenly tilts her head 0:46:24.525 --> 0:46:27.844 and smiles just for a flash, like it reminded me 0:46:27.925 --> 0:46:30.485 of I don't know, I'm gonna really date myself, even 0:46:30.525 --> 0:46:32.845 though I wasn't. I wasn't alive when these movies were on. 0:46:33.045 --> 0:46:35.525 I'm just aware of them. But it reminds me of 0:46:35.605 --> 0:46:39.245 like a Nette Funicello or something like Beach Blanket Bingo. 0:46:39.485 --> 0:46:41.485 Like she does this quick gesture with her head, like 0:46:41.525 --> 0:46:43.445 a bob of her head and kind of you know, 0:46:43.485 --> 0:46:47.205 bobs her hair, like she's trying to express it's fine, 0:46:47.325 --> 0:46:49.645 everything's great. Let's let's just move on with our lives. 0:46:49.765 --> 0:46:52.885 But Josh, just as quickly as she does it, it's over, 0:46:53.245 --> 0:46:55.364 you know, and she's back to the reality of the 0:46:55.405 --> 0:46:59.005 devastation of the moment. It's such a clear contradiction of 0:46:59.045 --> 0:47:02.685 how she's really feeling, an expression of who she knows. 0:47:02.725 --> 0:47:05.165 She's supposed to be in the moment who she wants 0:47:05.205 --> 0:47:07.725 to be, that she's a big girl, that she can 0:47:07.765 --> 0:47:11.565 take it, but but she can't and and I can't 0:47:11.565 --> 0:47:14.685 do it justice anymore. Just just watch the scene. Just 0:47:14.725 --> 0:47:17.565 watch the scene, and then and then after that, watch 0:47:17.605 --> 0:47:20.925 her say, Watch Keaton say, this was a great night 0:47:21.085 --> 0:47:25.285 for me. It's heartbreaking. That scene. It's it's funny, it 0:47:25.365 --> 0:47:28.405 has elements of humor. I even think that that bob 0:47:28.445 --> 0:47:30.844 of her head is kind of funny. But then it goes, 0:47:30.965 --> 0:47:34.364 it goes right from that instantly into heartbreak. And that's 0:47:34.405 --> 0:47:36.365 what Keaton can pull off in a scene without it 0:47:36.485 --> 0:47:42.444 feeling ever like that. It's inconsistent at all. I really 0:47:42.525 --> 0:47:43.645 like something. It's got to give. 0:47:43.685 --> 0:47:46.165 So I'm glad it made your list. And the thing 0:47:46.165 --> 0:47:49.364 about Keaton and Nicholson, you know, having that magic too, 0:47:49.845 --> 0:47:53.085 it's not always. It doesn't just happen when I'm sure 0:47:53.125 --> 0:47:56.205 the casting was this will be great, right, and the 0:47:56.285 --> 0:47:59.445 instinct that it'll be great is right on. But they 0:47:59.525 --> 0:48:01.965 also have to bring something and make it work in 0:48:02.005 --> 0:48:04.685 the moment I can't think of I don't know. Wasn't 0:48:04.685 --> 0:48:08.365 there like a George clooneya Julia Roberts Reunite Reunion in the. 0:48:08.405 --> 0:48:09.365 Last couple of years. 0:48:09.405 --> 0:48:11.805 That yet I caught up with and just kind of 0:48:11.845 --> 0:48:14.925 fell flat, and you would think, no brain are there, right, so, 0:48:15.645 --> 0:48:18.165 but that's not always the case. And so I think 0:48:18.245 --> 0:48:23.445 they are doing the work as well as individual actors 0:48:23.525 --> 0:48:26.365 in each of those scenes, including the one you picked. 0:48:26.405 --> 0:48:28.925 So so, yeah, good movie. You glad you caught up 0:48:28.965 --> 0:48:29.205 with it. 0:48:30.765 --> 0:48:31.045 All right. 0:48:31.085 --> 0:48:33.364 I'm going at number two with one that I think 0:48:33.485 --> 0:48:36.765 pretty much everyone has seen, Annie Hall. 0:48:37.085 --> 0:48:38.045 It is one I. 0:48:38.045 --> 0:48:41.045 Revisited for this list because it had been quite a 0:48:41.045 --> 0:48:43.805 while since since I'd seen it. It's sort of her 0:48:43.845 --> 0:48:47.285 definitive iconic character. This is where we'd have to go 0:48:47.365 --> 0:48:49.605 if we had done the character's list. 0:48:51.165 --> 0:48:51.605 I don't know. 0:48:51.725 --> 0:48:54.485 I was maybe a little disappointed by it, Adam, And 0:48:54.645 --> 0:48:56.925 I'm not just talking about the Alan Ick factor. I 0:48:56.965 --> 0:49:00.445 mean that's kind of built in for me with these things. 0:49:01.525 --> 0:49:04.925 I did appreciate again, the meta stuff, you know, addressing 0:49:04.965 --> 0:49:08.605 the camera, the Marshall McLuhan cameo, very clever, very inventive. 0:49:09.085 --> 0:49:11.445 A lot of groaners here, though, I gotta tell you, 0:49:11.485 --> 0:49:16.565 from Allen and maybe more pertinent to this list, maybe 0:49:16.605 --> 0:49:19.285 not enough of the title character. I mean, she and 0:49:19.325 --> 0:49:24.085 Allen have great repartee. They're very much working you know, 0:49:25.005 --> 0:49:27.645 as co equals as a team in their scenes. But 0:49:27.645 --> 0:49:30.365 there's not a ton of moments where the spotlight is 0:49:30.405 --> 0:49:33.805 just on Annie, which just you know, she is the 0:49:33.805 --> 0:49:38.205 title character. So you would have thought, maybe I expected 0:49:38.245 --> 0:49:40.525 in my memory that there were more of those. We 0:49:40.605 --> 0:49:43.565 get one, though that works that way at least one. 0:49:43.565 --> 0:49:45.924 There's probably more than one. But there's this brilliant scene 0:49:45.925 --> 0:49:46.805 that I'm picking. 0:49:46.525 --> 0:49:47.165 Which does this. 0:49:47.485 --> 0:49:51.725 And this is not long after Annie and Alan's eldie 0:49:51.765 --> 0:49:54.245 Singer have met for the first time, and she's telling 0:49:54.365 --> 0:49:58.925 him this winding story about her family, including she's basically 0:49:58.925 --> 0:50:01.845 introducing him to her family members. There are some pictures 0:50:01.885 --> 0:50:04.205 on the wall, so that gets her going just about 0:50:04.205 --> 0:50:08.925 all her extended family, including this narcoleptic uncle George, whose 0:50:09.005 --> 0:50:13.565 final bout of narcolepsy, well it's his last while while 0:50:13.605 --> 0:50:15.805 he's in line for a free turkey. 0:50:16.285 --> 0:50:21.445 So George is standing in line, oh dude, getting his turkey. 0:50:21.525 --> 0:50:25.165 But the thing is is that he falls asleep and he. 0:50:25.085 --> 0:50:30.325 Never wakes up, so he's dead. He's did. 0:50:30.925 --> 0:50:35.525 Yeah, it's a darkly funny story, but this is all 0:50:35.565 --> 0:50:38.005 about the delivery for me. I mean, Keat not only 0:50:38.605 --> 0:50:41.245 makes it funny because of the beats she gives to it, 0:50:41.285 --> 0:50:44.844 the pauses, and again the motion, which I'll get to. 0:50:45.565 --> 0:50:49.165 What I love about this is she uses this story 0:50:49.365 --> 0:50:52.765 again early on to give us a full sense of 0:50:52.845 --> 0:51:00.685 who Annie is. She's instinctively amused by things She's instinctively amusing. 0:51:01.645 --> 0:51:05.844 She's also self aware in a way that say, an 0:51:05.885 --> 0:51:09.485 early Greta Gerwig character who had to have been influenced 0:51:09.525 --> 0:51:12.645 those characters by any Hall. I think of those characters 0:51:12.645 --> 0:51:15.365 by Gerwig. As delightful as they are, they're not always 0:51:15.405 --> 0:51:18.205 self aware. But you get a sense that Annie is 0:51:18.245 --> 0:51:21.605 as she's telling this story, she's realizing that, yes, this 0:51:21.725 --> 0:51:25.685 is a silly story, but it's not. It's dark, and 0:51:25.725 --> 0:51:27.805 I'm kind of silly for handling it that way, but 0:51:28.285 --> 0:51:28.924 I don't care. 0:51:29.245 --> 0:51:30.165 This is who I am. 0:51:31.285 --> 0:51:33.364 And now the movement that I was talking about, here's 0:51:33.365 --> 0:51:35.645 where the wine bottle comes in, because she's been looking 0:51:35.765 --> 0:51:39.965 for a bottle of wine. Throughout this sequence, she's offered 0:51:40.085 --> 0:51:43.485 Alvi a bottle or a glass of wine, and the 0:51:43.605 --> 0:51:46.325 camera has to pan to keep her in the frame. 0:51:46.445 --> 0:51:50.485 At one point, her arms her hands, they're all a 0:51:50.605 --> 0:51:54.805 twirl as she's telling this story. And then the faces 0:51:54.845 --> 0:52:00.485 she pulls, and the different faces when she's again amusing herself, 0:52:00.645 --> 0:52:03.805 realizing she shouldn't be amused by herself and she shouldn't 0:52:03.845 --> 0:52:04.325 be laughing. 0:52:04.405 --> 0:52:05.245 But it is funny. 0:52:05.565 --> 0:52:10.085 I mean, the gyrations, the facial gyrations are incredible. And 0:52:10.165 --> 0:52:12.245 what I do love about is that she's not covering 0:52:12.325 --> 0:52:15.725 up her giggling at all, because, above all, Annie's not 0:52:15.725 --> 0:52:19.364 putting on a performance for Alvi. Here, she just is 0:52:20.005 --> 0:52:24.365 who she is, unapologetically and and yeah, in the process, 0:52:24.525 --> 0:52:26.844 you know, she's putting out a great Keaton's putting out 0:52:26.845 --> 0:52:29.884 a great performance for us. So I'm going at number 0:52:29.885 --> 0:52:32.924 two with the Uncle George story from Annie Hall. 0:52:33.405 --> 0:52:36.765 Okay, the only surprise there is that Annie Hall's at 0:52:36.885 --> 0:52:40.165 number two. I'm gonna hold off. I'm gonna hold off 0:52:40.165 --> 0:52:44.525 on any more Annie Hall talk for now my number two. 0:52:45.885 --> 0:52:49.364 I guess if I needed an apotheosis, I needed I 0:52:49.365 --> 0:52:52.165 needed some way to cap off my list or as 0:52:52.165 --> 0:52:54.844 we're nearing the top, I needed a choice that that 0:52:55.085 --> 0:53:01.285 really spoke to the expressive power of Keaton's face and 0:53:01.485 --> 0:53:06.725 her use of silence. This this had to be it okay, 0:53:06.885 --> 0:53:09.085 and I want to say I love her in this scene. 0:53:09.565 --> 0:53:12.245 But if we are, if we are doing top five 0:53:12.285 --> 0:53:14.965 Diane Keaton scenes, it's great and all. If we can 0:53:15.005 --> 0:53:17.085 sit here and try to find, like we always do 0:53:17.165 --> 0:53:20.165 with these top five, top five lists, these little personal 0:53:20.205 --> 0:53:24.085 moments that speak to us that quite honestly, very few 0:53:24.125 --> 0:53:28.805 people listening may actually be able to immediately recall when 0:53:28.805 --> 0:53:32.925 we mention them. How about including a moment that is 0:53:33.205 --> 0:53:37.805 one of the most memorable cinematic moments of the nineteen seventies. 0:53:38.285 --> 0:53:41.045 And I'm going to give you, Josh, because it's short. 0:53:41.805 --> 0:53:45.685 I'm going to give you the scene as it appears 0:53:45.805 --> 0:53:51.245 in at least the screenplay version I found online. Kay 0:53:51.725 --> 0:53:56.165 Anthony say goodbye. Your mama loves you, Anthony, Goodbye. She 0:53:56.245 --> 0:53:59.245 restrains any tears. She's become too strong for tears. Kay 0:53:59.325 --> 0:54:02.165 starts to go, picks up Mary, kisses her, and starts 0:54:02.165 --> 0:54:05.205 to go. New view. She steps out the kitchen door. 0:54:05.405 --> 0:54:08.685 Then she cannot help herself, crouches down outside and calls 0:54:08.725 --> 0:54:12.285 to her son. Kay Anthony kiss me once. Then she 0:54:12.325 --> 0:54:16.285 looks up and slowly rises her view. Michael has stepped 0:54:16.325 --> 0:54:19.125 into the dining room. He seems older somehow, as though 0:54:19.165 --> 0:54:21.765 some sickness has taken more years away from him. View 0:54:21.765 --> 0:54:25.125 on Ka looks at him instinctively, she takes a step back. 0:54:25.485 --> 0:54:28.925 View on Michael slowly steps toward her. View on Ka 0:54:29.565 --> 0:54:33.085 another step back. The door is still open. View on Michael. 0:54:33.285 --> 0:54:36.325 He moves closer to the door, stops, looks at her, 0:54:36.845 --> 0:54:41.005 and then closes it, obscuring any view of her. Minute 0:54:41.445 --> 0:54:45.325 a little bit over a minute, Pacino and Keaton just 0:54:45.445 --> 0:54:51.285 looking at each other, no dialogue heavy, and it's sad 0:54:51.405 --> 0:54:55.485 enough that she that Kay has to sneak in to 0:54:55.565 --> 0:54:58.484 see her kids because of the scene that you talked 0:54:58.525 --> 0:55:02.645 about Josh and what she admitted to there, what she 0:55:02.765 --> 0:55:06.325 confessed to. Then you've got her son Anthony taking his 0:55:06.405 --> 0:55:11.165 emotional cues from daddy with holding his love and affection 0:55:11.765 --> 0:55:16.125 for his mother. I don't know if this line from 0:55:16.165 --> 0:55:18.245 the script was ever really meant to be translated to 0:55:18.245 --> 0:55:21.565 the screen, the line he seems older some how, as 0:55:21.565 --> 0:55:24.165 though some sickness has taken more years away from him. 0:55:24.205 --> 0:55:27.565 We're gonna see that with Michael and with Pacino. I'm 0:55:27.605 --> 0:55:30.445 going to counter and say, if you rewatch this moment, 0:55:31.405 --> 0:55:34.645 at least for me part of what makes the scene 0:55:35.845 --> 0:55:39.725 extra tense and emotional is that I don't know if 0:55:39.765 --> 0:55:43.444 al Pacino actually has ever looked hotter in any movie ever. 0:55:44.005 --> 0:55:46.685 Like when he's walking towards the door, he's wearing that 0:55:46.765 --> 0:55:50.085 maroon shirt. Is that camel hair, Josh, I don't know. 0:55:50.285 --> 0:55:53.404 You're a scarf guy. He's wearing like a camel hair 0:55:53.485 --> 0:55:57.645 scarf and jacket. Yeah, he's He's still put together. He's 0:55:57.685 --> 0:55:58.285 pretty dapper. 0:55:58.405 --> 0:56:00.565 What I think about in that scene is how he 0:56:00.645 --> 0:56:05.365 almost floats into it, like like he has this supernatural quality. 0:56:05.405 --> 0:56:06.485 Is what comes to mind for me. 0:56:07.165 --> 0:56:10.365 Yes, that's part of it. The jet black hair. He 0:56:10.405 --> 0:56:12.725 doesn't look old at all. And in fact, I don't 0:56:12.725 --> 0:56:15.205 remember exactly what point in the movie this takes place. 0:56:15.285 --> 0:56:18.645 It's it's fairly late. He's he's returning home from either 0:56:18.685 --> 0:56:23.725 Miami or probably Cuba. He looks well tanned. And then yes, 0:56:24.125 --> 0:56:28.765 the gliding to the door, his lips pierced, his face, 0:56:29.005 --> 0:56:34.205 betraying neither love nor hate. It's completely neutral. So the 0:56:34.245 --> 0:56:37.165 stakes of the scene are such that we are in 0:56:37.205 --> 0:56:39.925 the same position as viewers that Kay is in, where 0:56:40.925 --> 0:56:43.565 we are not sure. We are not one hundred percent 0:56:43.645 --> 0:56:46.885 sure how this is gonna end where this is going 0:56:46.965 --> 0:56:50.085 to go. Whether or not Michael in this moment might 0:56:50.285 --> 0:56:55.364 actually show some compassion for her, the possibility is there, 0:56:55.525 --> 0:56:59.165 and honestly, something about how how great they both look, 0:56:59.365 --> 0:57:03.045 how beautiful they are, And with some passage of time 0:57:03.085 --> 0:57:05.605 between the scene that you described in this one, you 0:57:05.645 --> 0:57:09.645 think about this, this crevice between them. We know it 0:57:09.685 --> 0:57:12.085 can never be breached. We know that because of what 0:57:12.165 --> 0:57:15.885 she's done, Michael's never going to forgive her. But somehow, 0:57:15.965 --> 0:57:19.325 like I said, in this moment, just for this fleeting 0:57:20.245 --> 0:57:24.765 few seconds, it seems like it's possible. And Josh, it's 0:57:24.805 --> 0:57:27.685 really only like three seconds of screen time, all just 0:57:27.765 --> 0:57:31.925 with her eyes and her face, Kay expresses that hope. 0:57:32.285 --> 0:57:35.605 She expresses the hope that he might he might invite 0:57:35.605 --> 0:57:39.125 her in, or he might say something with any hint 0:57:39.165 --> 0:57:45.245 of warmth towards her, and then the hope is completely 0:57:45.325 --> 0:57:47.045 drained from her. And of course the way she expresses 0:57:47.085 --> 0:57:51.245 the fear of him initially too, the hope is completely drained. 0:57:51.325 --> 0:57:54.725 You see the death of that hope, and the despair 0:57:54.925 --> 0:57:58.045 sink in because you know, even if she and Michael 0:57:58.085 --> 0:58:00.685 can never heal, you think maybe there's some room for 0:58:00.725 --> 0:58:03.205 her and her kids. You see that, you see that 0:58:03.245 --> 0:58:06.165 dissipate completely. And then of course you've got the symbolic 0:58:06.205 --> 0:58:09.405 echo of this scene to the door closing on Kay 0:58:09.445 --> 0:58:11.685 at the end of Godfather One, when Michael has made 0:58:11.685 --> 0:58:17.725 the dawn makes the scene even more impactful. It's it's 0:58:17.925 --> 0:58:21.845 it's just an incredible bit of acting from from those 0:58:21.925 --> 0:58:24.405 two heavyweights in that moment. 0:58:25.885 --> 0:58:28.845 Yeah, and I was thinking about, you know, that gap 0:58:29.125 --> 0:58:33.005 between these two scenes that you just described. If I'm 0:58:33.005 --> 0:58:36.445 remembering correctly, there's a long amount of screen time. But 0:58:36.525 --> 0:58:38.685 this might be the the next time we see k 0:58:39.085 --> 0:58:42.405 after the argument. This might be the next time she appears, believe, 0:58:42.605 --> 0:58:44.045 And yeah, I think it is. I think it is 0:58:44.125 --> 0:58:46.605 like maybe within the last ten minutes of the movie, 0:58:46.765 --> 0:58:52.005 perhaps that she's dismissed in that way, which which Yeah, Keaton, 0:58:52.805 --> 0:58:57.685 Keaton handles brilliantly. All right, my number one, And yeah, 0:58:57.725 --> 0:59:01.445 it's coming, it's coming from Reds. I just watching Reds 0:59:02.085 --> 0:59:05.965 the entire movie. I really went for, but Keaton in 0:59:06.045 --> 0:59:09.565 particular here as as you said, the activist and writer 0:59:09.685 --> 0:59:13.845 Louise Bryant not a quintessential Keaton performance. I'd put it 0:59:13.925 --> 0:59:17.725 up there. Maybe overall, taking the movie in totality, not 0:59:17.925 --> 0:59:21.885 just considering scenes, but maybe her best. Fascinating to hear 0:59:21.965 --> 0:59:25.285 you describe how she described it in her memoir and 0:59:25.325 --> 0:59:29.845 that experience, and you know, just sometimes what an actor's 0:59:29.925 --> 0:59:32.605 experiences compared to what we end up getting on the screen, 0:59:33.685 --> 0:59:37.405 how those things can differ. I honestly I wrestled with 0:59:37.885 --> 0:59:40.085 what scene to go with here, Adam, which is why 0:59:40.125 --> 0:59:42.125 I do think this might be her best performance. I 0:59:42.205 --> 0:59:45.325 definitely considered because I was familiar with it from your 0:59:45.365 --> 0:59:48.005 pick in our top five Jack Nicholson moments, the ones 0:59:48.045 --> 0:59:51.645 you talked about, she is, you know, Nicholson's equal in 0:59:51.725 --> 0:59:54.685 making that scene work. As you said, I love this 0:59:54.805 --> 0:59:56.685 is just a moment, so it wouldn't count as a scene. 0:59:56.685 --> 0:59:59.245 But very early on, this is when Louise is in Portland. 0:59:59.325 --> 1:00:02.645 She's still married to you know this, this kind of 1:00:02.685 --> 1:00:05.445 dismissive husband, and he's trying. 1:00:05.205 --> 1:00:05.885 To direct her. 1:00:05.885 --> 1:00:08.885 I think this is at a party or something, and 1:00:09.125 --> 1:00:12.645 she just kind of instinctively the moment he puts his 1:00:12.725 --> 1:00:15.765 hand near her, she kind of just wipes it away. 1:00:16.245 --> 1:00:19.245 And it's just a beautiful character touch of who she is, 1:00:19.445 --> 1:00:23.485 even if she can't be who she is yet in 1:00:23.525 --> 1:00:26.645 this scenario, So a little hint there she gives us. 1:00:27.125 --> 1:00:29.085 And then the other one comes early on too, So 1:00:29.245 --> 1:00:31.645 this is at the point she's met John Reid. She 1:00:31.765 --> 1:00:35.525 has this little art studio she goes to and they're 1:00:35.565 --> 1:00:39.125 hanging out there and she has to juggle his flirtation 1:00:39.325 --> 1:00:41.925 with her, which she's open to but also wanting to 1:00:41.965 --> 1:00:45.525 be taken seriously as an artist. And so watching Keaton 1:00:45.685 --> 1:00:48.765 juggle all of that, there's a great moment. And here's 1:00:48.805 --> 1:00:52.525 where Bedia's director, you know, helps out. The camera is 1:00:52.565 --> 1:00:55.045 on them and she's on a couch. They're on a couch, 1:00:55.085 --> 1:00:57.525 I think, and then she leans over to pick up 1:00:57.525 --> 1:01:00.085 her portfolio away from him, and the camera kind of 1:01:00.125 --> 1:01:03.645 slides with her and her arm and kind of like 1:01:03.765 --> 1:01:07.165 pushes him away visually, just to catch that tension. But 1:01:07.205 --> 1:01:10.565 she's so good in that scene as well. I'm going 1:01:10.645 --> 1:01:12.965 to go with another one though, between Keaton and Beattie, 1:01:13.845 --> 1:01:19.765 who you know, as you said, here director star and 1:01:20.365 --> 1:01:24.605 you know, just really making this his magnum opus. This 1:01:24.685 --> 1:01:27.965 scene is early on in their relationship and she's trying 1:01:28.005 --> 1:01:31.005 to figure out what sort of writer she actually wants 1:01:31.045 --> 1:01:33.245 to be at this point, and he's moving to New York, 1:01:33.325 --> 1:01:35.005 So he invites her to move with him. 1:01:35.085 --> 1:01:36.445 That's where all the writers. 1:01:36.045 --> 1:01:39.405 Are, he says. And they go back and forth about 1:01:39.445 --> 1:01:43.325 this until she finally just you know, comes out with 1:01:43.365 --> 1:01:48.405 what she really is thinking about this proposal and asks him, 1:01:48.845 --> 1:01:51.525 what as all right, wait, let. 1:01:51.365 --> 1:01:52.765 Me get this straight. You want me to come with 1:01:52.845 --> 1:01:53.485 you to New York? 1:01:54.725 --> 1:01:55.685 Yeah? 1:01:55.725 --> 1:01:56.125 What is? 1:01:57.085 --> 1:01:57.485 What is? 1:01:57.605 --> 1:01:58.325 What? 1:01:57.765 --> 1:01:58.045 I mean? 1:01:58.325 --> 1:02:00.045 What is your girlfriend? 1:02:01.165 --> 1:02:01.885 What does that mean? 1:02:02.005 --> 1:02:05.925 What as your girlfriend? Your mistress, your paramour, your concubine. 1:02:06.685 --> 1:02:09.525 And I think answering that question, like what am I 1:02:09.605 --> 1:02:13.525 going to New York City with you as? What does 1:02:13.565 --> 1:02:15.805 he think of her? How does he regard and respect her? 1:02:16.125 --> 1:02:18.685 That's sort of the crux of their shared life together, 1:02:18.725 --> 1:02:20.405 which is really what Reds. 1:02:20.165 --> 1:02:20.885 Is all about. 1:02:21.045 --> 1:02:25.485 It's not necessarily a read biopic or a historical document. 1:02:25.765 --> 1:02:28.605 This is what kind of took me by surprise. It's 1:02:28.845 --> 1:02:31.285 it's their relationship is really at the center. It's about 1:02:31.285 --> 1:02:34.965 these historical figures, yes, who are trying to balance the 1:02:35.005 --> 1:02:38.525 personal and political in this tumultuous moment. And you know, 1:02:38.525 --> 1:02:40.805 in some ways, I think be to crack the biopic 1:02:40.925 --> 1:02:43.245 code with Reds in a lot of ways, a lot 1:02:43.285 --> 1:02:44.125 of formal ways. 1:02:45.005 --> 1:02:45.725 So Keaton. 1:02:46.005 --> 1:02:49.365 You know, again, we've talked about her as a you know, 1:02:49.645 --> 1:02:53.445 stellar comedian, as a performer, maybe that's how she comes 1:02:53.485 --> 1:02:55.245 to mind for people first. 1:02:55.325 --> 1:02:57.005 But this scene, you. 1:02:56.885 --> 1:02:59.525 Know, we get is of just of a woman pushing 1:02:59.565 --> 1:03:02.925 back against her time and place in a way that 1:03:03.045 --> 1:03:08.685 feels absolutely of the period yet also thoroughly modern. And 1:03:08.765 --> 1:03:12.885 I think that's what Keaton brings to this part. There's 1:03:12.925 --> 1:03:16.645 a way she balances the historical setting which is a 1:03:16.725 --> 1:03:22.005 necessity and that thoroughly modern woman that we see sort 1:03:22.045 --> 1:03:24.125 of at the forefront in something like Annie Hall or 1:03:24.125 --> 1:03:28.005 even Manhattan. And yeah, I put Reds at number one 1:03:28.005 --> 1:03:29.925 because here's here's something else I like about it. It 1:03:30.325 --> 1:03:34.845 seems to me that the best of Keaton's career has 1:03:35.005 --> 1:03:39.725 come while she's had to juggle a male co star expertly, 1:03:40.365 --> 1:03:45.405 of course, Woody Allen, al Pacino, Jack Nicholson, and then 1:03:45.525 --> 1:03:48.485 Warren Batty here And to be clear, I do think 1:03:48.485 --> 1:03:52.765 Baty is an especially generous collaborator on Reds. Did not 1:03:52.925 --> 1:03:55.165 know that what you shared about, you know, is perfectionist 1:03:55.205 --> 1:03:57.965 tendencies as a director, but I think, you know, you 1:03:57.965 --> 1:04:01.245 can also see this generousness as a fellow performer and 1:04:01.805 --> 1:04:05.445 as a director too. Yeah, I mean kind of goes 1:04:05.485 --> 1:04:07.485 back to what we were saying about and what you 1:04:07.565 --> 1:04:11.285 mentioned about these maybe gaps in her filmography or long stretches. 1:04:11.325 --> 1:04:13.605 You know, she didn't get the chance to be the 1:04:13.645 --> 1:04:17.125 focus of a film very often, but man, when she was, 1:04:17.205 --> 1:04:20.245 when she was clicking, she proved she didn't need that 1:04:20.325 --> 1:04:24.205 focus to rab our attention or our affection. And you 1:04:24.285 --> 1:04:28.045 see that in this performance as as read. She may 1:04:28.045 --> 1:04:30.165 not have had a lot of affection for Louise Bryant, 1:04:30.245 --> 1:04:32.045 but but she managed to get me to have it. 1:04:32.405 --> 1:04:36.245 So yeah, you know, I agree it worked. Yeah, I 1:04:36.285 --> 1:04:40.045 do love that scene, and it's it's funny because as 1:04:40.085 --> 1:04:43.765 you talk about it and you focus on that question 1:04:44.045 --> 1:04:47.765 from Louise Bryant, what as it brings me back to 1:04:47.805 --> 1:04:51.125 my number three and something's got to give? And what as? 1:04:51.565 --> 1:04:55.565 What am I to you? Is essentially the same question Erica, 1:04:55.685 --> 1:04:59.125 her character is asking Jack Nicholson's character in that movie 1:04:59.605 --> 1:05:03.005 after they've slept together. Yeah, what am I to you? What? 1:05:03.005 --> 1:05:06.565 What does this mean? She's she's processing and trying to 1:05:06.685 --> 1:05:10.245 navigate in the aftermath of it, what she thinks she 1:05:10.405 --> 1:05:12.525 is or what she should be and having to face 1:05:13.045 --> 1:05:16.685 that it's uncertain and that he's going to get to 1:05:16.765 --> 1:05:20.445 define it for her and go back to something like 1:05:20.485 --> 1:05:23.925 Baby Boom. Josh, that's all about what role do you 1:05:24.005 --> 1:05:28.165 decide to play? Are you the tiger lady executive or 1:05:28.205 --> 1:05:32.565 are you the domesticated mom? Right? And you have to 1:05:32.605 --> 1:05:35.405 pick between them. It's funny how in movies and in 1:05:35.445 --> 1:05:38.965 real life men don't ever have to choose between those roles. 1:05:39.765 --> 1:05:42.445 Yeah, And that's the incisive thing I will say about 1:05:42.485 --> 1:05:46.885 Baby Boom is like, I think it's under underlying message 1:05:46.925 --> 1:05:49.325 if you want to say that is dead on about 1:05:49.405 --> 1:05:53.085 hyper capitalism and the corporate environment. And to your point, 1:05:53.365 --> 1:05:58.885 you know, it's a self inflicted wound that really was 1:05:58.965 --> 1:06:02.645 mostly placed on women. But you can see how that 1:06:02.805 --> 1:06:06.205 environment that her character in Baby Boom is in it 1:06:06.285 --> 1:06:12.005 really negates fruitful parenthood for men and women. Like it's 1:06:12.165 --> 1:06:15.045 just that the women are expected in the movie, right 1:06:15.085 --> 1:06:16.725 to make it, to make it work. 1:06:17.365 --> 1:06:19.125 Yeah, that could be its own marathon. As soon as 1:06:19.125 --> 1:06:21.325 I put Baby Boom on, I was like, nineteen eighty 1:06:21.365 --> 1:06:24.205 seven Baby Boom, you got Working Girl coming out the 1:06:24.285 --> 1:06:26.365 next year. There was this whole space movies and they 1:06:26.365 --> 1:06:30.005 weren't all with women there's a whole spade of these capitalistic, 1:06:30.445 --> 1:06:33.605 you know, corporate environment movies like that, and and and 1:06:33.645 --> 1:06:36.085 a lot of them were about can women have it? 1:06:36.125 --> 1:06:40.405 All from that that you had, mister mom, you did 1:06:40.765 --> 1:06:44.045 a little bit earlier, but you had it. You're absolutely right. Okay, 1:06:44.125 --> 1:06:49.085 So number one, I am going with Annie Hall and 1:06:49.765 --> 1:06:52.285 you not only have in common with The Godfather and 1:06:52.325 --> 1:06:56.405 The Godfather Part two of movie movies that that star 1:06:56.645 --> 1:06:59.925 or feature Diane Keaton and that were Best Picture winners, 1:06:59.925 --> 1:07:04.725 but also shot by the great Gordon willis one of 1:07:04.765 --> 1:07:09.445 the reasons that Annie Hall is elevated from your average 1:07:10.005 --> 1:07:13.165 romantic movie of the time or what we you know, 1:07:13.205 --> 1:07:15.845 think of as a romantic comedy. It's funny what you 1:07:15.885 --> 1:07:19.205 said about your reservations watching it. Any Hall for me 1:07:20.005 --> 1:07:23.925 was a transfer normative film. It's a film I don't 1:07:23.925 --> 1:07:27.845 even know how many times I've seen and have always 1:07:27.885 --> 1:07:33.685 had the same experience loving it. According to Letterbox, the 1:07:33.725 --> 1:07:35.645 last time I saw it was nine years ago. It 1:07:35.645 --> 1:07:37.485 didn't feel like it was that long ago. Was nine 1:07:37.525 --> 1:07:41.165 years ago. That was the first time where I'll borrow 1:07:41.205 --> 1:07:43.045 your word, that was the first time where I actually 1:07:43.085 --> 1:07:46.365 noticed some groaners, where I actually noticed some jokes not 1:07:46.685 --> 1:07:49.805 landing with me the way they used to land with me. 1:07:51.165 --> 1:07:54.085 That said, when I was watching scenes from Anny Hall 1:07:54.445 --> 1:07:59.205 in preparation for this list, I'm watching Alan and Keaton 1:07:59.245 --> 1:08:05.085 together cooking lobster. I'm watching Keaton inviting Alan over to 1:08:05.165 --> 1:08:09.085 kill the spider in her apartment. I'm watching the great 1:08:09.165 --> 1:08:13.285 Honest subtitles scene right where after they've met. Yeah, that's 1:08:13.325 --> 1:08:16.085 a nice having a drink and you know, am I 1:08:16.125 --> 1:08:18.285 smart enough for him? And he doesn't know if he's 1:08:18.285 --> 1:08:20.005 smart enough for her? As he keeps you know, all 1:08:20.045 --> 1:08:23.285 those all those things. Every scene I watched was like, well, 1:08:23.285 --> 1:08:26.125 I could, I could pick this scene. These are all fantastic. 1:08:27.965 --> 1:08:31.884 I'm gonna keep the theme going of iconic seventy scenes. 1:08:31.925 --> 1:08:35.005 I think it. I think it does qualify. We may 1:08:35.125 --> 1:08:38.325 meet Annie for the first time on the tennis court, 1:08:38.645 --> 1:08:42.285 but we don't really meet Annie Hall until she and 1:08:42.325 --> 1:08:46.165 Alvie meet in the lobby after the round of tennis. 1:08:46.765 --> 1:08:53.405 You want a lift? Oh? Why? Uh? You got a car? No, 1:08:53.485 --> 1:08:56.325 I'm I was gonna take a cam. Oh no, I 1:08:56.405 --> 1:08:57.285 have a car. 1:08:58.725 --> 1:09:00.325 Do you have a car? 1:09:01.045 --> 1:09:03.845 So I understand what if you have a car, So 1:09:03.925 --> 1:09:06.165 then then why why did you say, do. 1:09:06.125 --> 1:09:07.885 You have a car like you want a lift? 1:09:09.045 --> 1:09:10.205 I don't, I don't. 1:09:10.365 --> 1:09:14.764 I geez, I don't know. I wasn't. It's an iconic 1:09:14.805 --> 1:09:19.445 seventy scene because of an iconic character in an iconic outfit, 1:09:20.565 --> 1:09:25.685 the pan, the vest, the tie, the Boalero hat. And 1:09:26.085 --> 1:09:29.885 in the book she gives credit to Alan for every 1:09:30.005 --> 1:09:32.925 choice that was made in that movie. She's very clear 1:09:32.925 --> 1:09:36.125 about that. But she does also say that he largely 1:09:36.165 --> 1:09:39.365 gave her freedom. There wasn't really like a costume budget 1:09:39.525 --> 1:09:42.885 or someone who imposed that on her. He gave her 1:09:42.925 --> 1:09:45.085 freedom to wear what she wanted to wear, and she 1:09:45.165 --> 1:09:49.684 brought those clothes. But she was just stealing the look, 1:09:50.005 --> 1:09:53.125 she says, from women she saw who she thought look 1:09:53.245 --> 1:09:56.805 cool on the streets of New York. And the hat 1:09:57.165 --> 1:10:02.525 was actually stolen from the wife of the production designer 1:10:02.565 --> 1:10:05.604 of The Godfather, Dean Tavalius The Godfather Part two. I'm 1:10:05.645 --> 1:10:08.045 presuming his wife showed up on the set one day 1:10:08.325 --> 1:10:11.045 and was wearing the hat and she thought it looked great, 1:10:11.485 --> 1:10:14.685 and she always remembered it, and that was, you know, 1:10:14.805 --> 1:10:18.645 the final thing she needed to complete the ensemble. And 1:10:18.725 --> 1:10:21.885 it becomes then this this classic look that even you 1:10:21.925 --> 1:10:25.965 see some people where even today is like Halloween costumes, right, 1:10:26.085 --> 1:10:28.365 or some people just just wear it because they like 1:10:28.845 --> 1:10:32.765 they like the look. And rewatching this scene if you 1:10:33.205 --> 1:10:35.604 go back, what's so great about it, Josh, is you 1:10:35.645 --> 1:10:37.724 see Alan or we will see Alan in a second, 1:10:37.765 --> 1:10:40.845 like zipping up his bag and he's turned away from 1:10:40.845 --> 1:10:43.085 the camera. But the way it starts is that she 1:10:43.205 --> 1:10:46.844 actually kind of emerges out of frame left, like she ducks. 1:10:47.085 --> 1:10:48.965 She's not completely out of the frame, but she kind 1:10:48.965 --> 1:10:52.445 of ducks her head into the frame and is saying hi. 1:10:52.925 --> 1:10:55.925 And it just immediately sets the tone that that it's 1:10:56.005 --> 1:10:58.045 just a little bit she's she maybe is just a 1:10:58.045 --> 1:11:01.605 little bit clumsy and just a little bit goofy. You know, 1:11:01.925 --> 1:11:04.645 there's something weird about her entering the frame with a 1:11:04.885 --> 1:11:06.885 with a complete lack of confidence. It's not like she 1:11:06.965 --> 1:11:09.325 walked in. It's almost like she knows or feels like 1:11:09.365 --> 1:11:13.805 she might be imposing on someone else's scene somehow, you know. 1:11:14.205 --> 1:11:18.445 And then when she says when she says by in 1:11:18.485 --> 1:11:21.885 a little bit, she doesn't turn and walk away to 1:11:21.925 --> 1:11:25.365 the door like a normal person. She says bye and 1:11:25.405 --> 1:11:29.965 then backs away to the door, which clearly suggests that 1:11:30.285 --> 1:11:33.525 she's hoping he's going to continue the conversation and won't 1:11:33.565 --> 1:11:36.285 say bye back, and all of that just stuff out 1:11:36.285 --> 1:11:39.644 like makes her feel like a character, like a character 1:11:39.805 --> 1:11:42.845 on a stage, like backing into a curtain or something, 1:11:42.925 --> 1:11:45.285 or entering from stage left or something about it that 1:11:45.325 --> 1:11:47.845 I just love. And I do think it's one of 1:11:47.885 --> 1:11:51.605 the great rom com meet cutes. And it's because of 1:11:51.645 --> 1:11:55.604 the wit of the dialogue, the undeniable chemistry between Keaton 1:11:55.605 --> 1:11:57.884 and Allen that's on display here but was on display 1:11:57.965 --> 1:12:01.125 in films prior to this as well. And it is 1:12:01.165 --> 1:12:05.245 about Keaton's ability to play a character who could be 1:12:05.365 --> 1:12:08.085 played if you just were going off the page, could 1:12:08.085 --> 1:12:14.125 be played as dumb and maybe annoying, and make her 1:12:14.165 --> 1:12:17.925 just a little awkward and make her charming. And I 1:12:17.965 --> 1:12:21.285 think it's because you actually helped unlock this for me, Josh. 1:12:21.725 --> 1:12:25.325 It's because of the word you used, self awareness. It's 1:12:25.365 --> 1:12:28.365 because of her self awareness. It's actually built into the character. 1:12:28.525 --> 1:12:31.325 I think Keaton implicitly brings it as a performer, but 1:12:31.365 --> 1:12:35.005 it's built into the character, right, the great dialogue, you know, 1:12:35.365 --> 1:12:39.365 the way she's constantly questioning herself, going oh, oh, of 1:12:39.405 --> 1:12:41.285 course that was dumb, or why did you say that. 1:12:41.365 --> 1:12:44.685 You know, she's she's saying those things to herself, those asides. 1:12:44.805 --> 1:12:48.365 That's what makes her extra charming, that's what makes you 1:12:49.245 --> 1:12:53.445 find her, find her adorable in that moment and that 1:12:53.525 --> 1:12:56.485 back and forth between them. The banter is what makes 1:12:56.485 --> 1:12:58.445 it work. But her self awareness is I think what 1:12:59.005 --> 1:13:03.205 elevates that scene and that that character. Oh God, what 1:13:03.325 --> 1:13:05.965 a dumb thing to say, right, I mean, you say 1:13:06.205 --> 1:13:07.604 you play well, and then right. 1:13:07.525 --> 1:13:09.684 Away I have to say you play well. 1:13:10.445 --> 1:13:17.565 Oh oh god, Annie, well, oh well, Ladi da laid. 1:13:19.085 --> 1:13:24.165 In terms of the auto biographicalness of it all, she 1:13:24.165 --> 1:13:26.445 does point out, I mean it's evident from the beginning 1:13:26.445 --> 1:13:28.845 of the book that you know her real name is 1:13:29.725 --> 1:13:34.365 Diane Hall, so die Annie Hall Keaton was her mother's 1:13:34.365 --> 1:13:37.245 maid name. She had to change her name for sag reasons, 1:13:37.285 --> 1:13:39.045 you know, as that often happens, and so she went 1:13:39.085 --> 1:13:42.285 with she went with Diane Keaton, so that that comes 1:13:42.485 --> 1:13:45.645 you know, Alan wrote the script based on based on 1:13:45.805 --> 1:13:49.365 her and based on her name, and yeah, based on 1:13:49.725 --> 1:13:53.365 her family to some extent. And she says about the 1:13:53.445 --> 1:13:55.925 character when she or the role, when she started getting 1:13:57.125 --> 1:13:59.485 the accolades and everything that was coming in, she kind 1:13:59.485 --> 1:14:01.365 of couldn't see what all the fuss was about, because 1:14:01.405 --> 1:14:05.165 she did see herself as to some extent, playing herself. 1:14:06.005 --> 1:14:09.965 She's seeing her face, her voice, her mannerisms, all these 1:14:09.965 --> 1:14:13.525 things that kind of bothered her on screen. And you know, 1:14:13.605 --> 1:14:18.445 everyone assumed, well, this must be the relationship between the 1:14:18.485 --> 1:14:22.925 two of them just being translated to the screen, especially 1:14:23.005 --> 1:14:26.005 because she wanted to be a singer in real life, 1:14:26.245 --> 1:14:28.564 that they really did have a romance. That she was 1:14:28.565 --> 1:14:32.885 someone who was insecure and and that kind of her 1:14:32.965 --> 1:14:36.405 own word was like groping for words. She was someone 1:14:36.445 --> 1:14:38.405 who groped for words. And there you see it in 1:14:38.445 --> 1:14:41.205 her character. We see it in a lot of her characters, right, Well, 1:14:41.205 --> 1:14:45.365 that's because that's that's a naturalness that she brings to some, 1:14:45.645 --> 1:14:49.365 not all of her characters. And her mom, in one 1:14:49.405 --> 1:14:51.725 of her journals after seeing the premiere of Annie Hall said, 1:14:52.365 --> 1:14:55.644 Annie's camera in her hand, her gum chewing, her lack 1:14:55.685 --> 1:15:01.485 of confidence, pure Diane the Hall scenes. Josh, you know, 1:15:02.885 --> 1:15:06.645 Diane says, you know, their their comic relief. It was 1:15:06.685 --> 1:15:10.485 this generic wasp family, you know, sort of obvious caricature 1:15:10.685 --> 1:15:12.365 that she didn't pay a whole lot of attention to 1:15:12.445 --> 1:15:15.445 and no one really got offended by even though it 1:15:15.485 --> 1:15:19.724 was clearly modeled in some way off the actual Hall family, 1:15:20.125 --> 1:15:23.365 including even and you know, Dwayne is model off her 1:15:23.365 --> 1:15:26.205 brother Randy, who who did end up being a pretty 1:15:26.245 --> 1:15:30.285 sad story. You know, he's someone who suffered from mental 1:15:30.285 --> 1:15:34.725 illness his entire life, and and that may have not 1:15:34.765 --> 1:15:37.605 been fully diagnosed when when the script was written, but 1:15:38.325 --> 1:15:41.405 with someone who dealt with mental illness and bipolar disorder, 1:15:41.725 --> 1:15:44.165 and so those elements have some truth to it. But 1:15:44.445 --> 1:15:46.085 I just have to point this out because it did 1:15:46.565 --> 1:15:50.405 make me laugh. She kind of she doesn't handwave it off, 1:15:50.485 --> 1:15:52.925 but she just kind of says what is undoubtedly true. 1:15:53.005 --> 1:15:55.085 Of course it's based on it's not meant to be 1:15:55.165 --> 1:15:57.485 one to one. He doesn't line up one to one 1:15:57.805 --> 1:16:01.365 with all of the characters. That said, there is a 1:16:01.405 --> 1:16:05.605 part later in the book where she's describing her grandmother. 1:16:06.765 --> 1:16:08.884 I swear to you there's a part where she's describing 1:16:08.925 --> 1:16:13.285 her grandmother and some scene that's taking place and somebody 1:16:13.325 --> 1:16:16.685 they know is mentioned. And and you know, I may 1:16:16.685 --> 1:16:19.564 be misremembering some of the exact details, but someone they 1:16:19.565 --> 1:16:21.405 know is mentioned, and the first thing out of the 1:16:21.445 --> 1:16:24.205 grandmother's mouth is something like, did you know he was 1:16:24.245 --> 1:16:29.845 a jew? Okay, so it's not it's not too far off. 1:16:30.885 --> 1:16:34.205 It can't be too far off at some point, yea, 1:16:34.645 --> 1:16:37.525 he may have. But but back to the movie, you know, 1:16:38.365 --> 1:16:42.445 the the boldness of it as as a romantic comedy 1:16:42.485 --> 1:16:46.605 it was, it was his first and and what she 1:16:46.845 --> 1:16:48.684 loves about it, and I think one of the reasons 1:16:48.685 --> 1:16:52.045 why this movie does still linger in our consciousness, one 1:16:52.045 --> 1:16:55.925 of the reasons why we may still revisit this movie. Right. 1:16:56.005 --> 1:16:57.644 She talks about in terms of being a movie where 1:16:57.645 --> 1:17:00.085 he had the courage to write a film, a romantic 1:17:00.165 --> 1:17:04.684 movie where ultimately the message is love fades. She says, 1:17:04.725 --> 1:17:06.645 what do you let the audience feel the sadness of 1:17:06.685 --> 1:17:09.285 goodbye in a funny movie? And so for me, you 1:17:09.285 --> 1:17:12.685 know that that kind of ties into why any Hall 1:17:12.725 --> 1:17:14.805 had to be Number one why I do think it's 1:17:14.845 --> 1:17:18.125 the defining Keaton performance. I think what we all did 1:17:18.365 --> 1:17:22.525 understand watching it, that we knew anything at all about 1:17:22.565 --> 1:17:25.604 her real life or not, how closely it seems to 1:17:25.645 --> 1:17:30.885 capture Diane Hall, with all of her quirks and her humor, 1:17:31.125 --> 1:17:36.285 but also getting at some pathos, some underlying sadness that 1:17:36.365 --> 1:17:39.725 Tinge of sadness, and I just think it's expressed more 1:17:39.765 --> 1:17:42.485 forcefully in some of the other scenes that I chose, 1:17:42.525 --> 1:17:46.005 but it is at the core of Annie Hall as well. 1:17:46.205 --> 1:17:51.725 And Lotti Da Josh, the expression where you try to, 1:17:52.245 --> 1:17:57.165 you try to with words wash away whatever might be 1:17:57.805 --> 1:18:00.644 meddling in your life at that moment. Lotti Da Lotti 1:18:00.725 --> 1:18:03.005 Da La La. That is my number one. 1:18:03.245 --> 1:18:08.045 Yeah, and you almost admire the performance more learning as 1:18:08.085 --> 1:18:10.965 you're describing that it was that close to her I 1:18:10.965 --> 1:18:14.845 mean to be, to not just play yourself, but to 1:18:14.925 --> 1:18:18.805 bring some of these subtleties that are distinct that we've 1:18:18.805 --> 1:18:21.325 been touching on in both of our picks, you know, 1:18:21.445 --> 1:18:25.685 makes it just another reason why it's such an impressive performance. 1:18:26.685 --> 1:18:31.564 Those are our top five Diane Keaton scenes. We hope 1:18:31.605 --> 1:18:36.765 we paid appropriate tribute to a great performer. You can 1:18:36.885 --> 1:18:40.644 send your picks two feedback at Film Spotting dot Nette. 1:18:40.645 --> 1:18:43.285 We would love to hear them. Do you have any 1:18:43.485 --> 1:18:46.165 honorable mentions you'd like to throw in, Josh. 1:18:46.285 --> 1:18:50.005 I would have for my number six, try to narrow 1:18:50.125 --> 1:18:52.604 down something from something's got to give. It's just her 1:18:52.645 --> 1:18:55.445 with Nicholson. You know, I do think I'm glad as 1:18:55.485 --> 1:18:57.724 I said you recognize it. I do think it stands 1:18:57.765 --> 1:19:00.684 out among her filmography. And then I'll share one from 1:19:01.045 --> 1:19:05.445 a listener. Chad Camello subscribes to my larsen On Film newsletter. 1:19:05.565 --> 1:19:08.005 He sent me an email with this pick. As a 1:19:08.005 --> 1:19:11.485 certified defender of the family Stone, my pick for favorite 1:19:11.525 --> 1:19:15.885 Diane Keaton scene comes from that modern Christmas classic where Keaton, Sibyl, 1:19:16.005 --> 1:19:19.085 the matriarch of the Stone family, finally hashes it out 1:19:19.125 --> 1:19:22.805 with her eldest son played by Dermott Maroney, about both 1:19:22.845 --> 1:19:25.125 the drama with his fiance and coming to terms with 1:19:25.165 --> 1:19:29.165 Sybyl's cancer diagnosis. The way Keaton maneuvers from playful banter 1:19:29.325 --> 1:19:33.724 to emotional sincerity is a masterclass in range and grounding 1:19:33.765 --> 1:19:34.845 a character in the moment. 1:19:36.645 --> 1:19:39.685 For me, I could have found scenes from some of 1:19:39.725 --> 1:19:43.045 those other Allen films, the earlier ones like Sleeper played 1:19:43.085 --> 1:19:46.245 against Sam, Love and Death, or just after Annie Hall 1:19:46.365 --> 1:19:49.805 even Interiors, which, to go back to Mary and her 1:19:49.885 --> 1:19:54.085 disliking mar Bergman is very much Diane Keaton in a 1:19:54.125 --> 1:19:57.485 woody Allen slashing mar Bergman film. If I was going 1:19:57.525 --> 1:20:00.805 to go with another Alan choice, though it would be 1:20:00.845 --> 1:20:03.965 in Manhattan, I definitely would have considered the Academy of 1:20:04.005 --> 1:20:07.125 the overrated, or it probably would have been the Queensboro 1:20:07.245 --> 1:20:10.564 Bridge sequence, the night they spend out together where they 1:20:10.685 --> 1:20:13.125 really get to know each other and spend all night, 1:20:13.165 --> 1:20:15.525 and of course the iconic shot that everyone thinks about 1:20:15.565 --> 1:20:18.205 with that movie. The others I've mentioned other scenes from 1:20:18.205 --> 1:20:23.245 Anny Hall. Other scene or two I mentioned Boom, I 1:20:23.365 --> 1:20:25.965 go with one in my top ten from The First 1:20:25.965 --> 1:20:29.644 Wives Club. I really like the scene. And here's where 1:20:29.685 --> 1:20:33.844 we get that character, especially Josh that she plays. Annie 1:20:34.005 --> 1:20:40.045 is very flighty, and part of the character that the 1:20:40.165 --> 1:20:43.125 other two women you know, played by Goldie Han and 1:20:43.125 --> 1:20:45.085 Bett Miller, they give her so much grief for is 1:20:45.085 --> 1:20:49.725 how nice she is and and she's kind of gullible 1:20:49.845 --> 1:20:53.005 and can be taken advantage of. And so when that 1:20:53.205 --> 1:20:57.485 character finally does get fierce, when that character Annie finally 1:20:57.485 --> 1:21:01.405 stands up for herself and gets back at her husband 1:21:01.645 --> 1:21:05.845 by buying out her husband's advertising business, it's it's kind 1:21:05.885 --> 1:21:09.165 of a it's kind of a relative a spiritual successor 1:21:09.245 --> 1:21:13.205 scene to the boardroom scene in Baby Boom, just a 1:21:13.525 --> 1:21:15.965 smaller version that with just her and her husband buying 1:21:15.965 --> 1:21:18.525 her husband out. It's really good. So I go with 1:21:18.525 --> 1:21:21.925 that from First Wives Club again. Email tell us your choices, 1:21:22.285 --> 1:21:26.085 feedback at film spotting dot net, and you can go 1:21:26.165 --> 1:21:28.564 to film spotting dot Net see all of our picks 1:21:28.845 --> 1:21:32.724 see links to our clips just click on film spotting 1:21:32.765 --> 1:21:34.205 dot Net slash list. 1:21:34.605 --> 1:21:36.525 Before we move on, Adam, we want to thank our 1:21:36.565 --> 1:21:41.405 Film Spotting family members who help support the show. Thanks 1:21:41.405 --> 1:21:46.845 to advisory board member Bob Taylor from Lakewood, Ohio, Bob 1:21:46.885 --> 1:21:49.925 gets to make the big decisions as a Film Spotting 1:21:49.965 --> 1:21:53.205 Advisory board member. He wrote that he found the show 1:21:53.205 --> 1:21:56.085 back in twenty twenty two, episode eight seventy, when we 1:21:56.125 --> 1:21:59.965 did our top five Nicholas Cage performances. Bob said, Cage 1:22:00.045 --> 1:22:02.644 is a truly singular performer who will go down as 1:22:02.725 --> 1:22:06.045 one of the great legendary American actors. 1:22:06.645 --> 1:22:08.925 I'm not going to argue with him, and if I 1:22:09.005 --> 1:22:13.525 remember correctly, the guy who who literally wrote the book 1:22:13.525 --> 1:22:17.165 on Nicholas Cage, Keith Pipps, joined us for that top 1:22:17.245 --> 1:22:21.405 five A favorite show segment of Bob's hard to pick one. 1:22:21.765 --> 1:22:25.644 So many insightful episodes with wide ranging titles, directors and artists. 1:22:25.685 --> 1:22:28.485 Did Sam write that I absolutely love the annual Top 1:22:28.525 --> 1:22:31.525 ten episodes so wonderful to hear the diverse perspectives. It 1:22:31.525 --> 1:22:33.564 truly is an annual highlight from which my wife and 1:22:33.605 --> 1:22:36.925 I line up for our weekly Sunday night movie nights. 1:22:37.045 --> 1:22:39.325 Great ooh love that idea, Bob. 1:22:40.165 --> 1:22:42.325 We asked if there was a review we got wrong, 1:22:42.525 --> 1:22:45.005 and Bob said a split review for A Nightmare on 1:22:45.045 --> 1:22:48.165 Elm Street, Come On, Adam. Undoubtedly one of the greatest 1:22:48.205 --> 1:22:51.805 horror films of all time, exploring the ultimate realm of fear, 1:22:52.245 --> 1:22:54.285 the subconscious. 1:22:54.205 --> 1:22:58.525 And maybe maybe your subconscious. Maybe Josh's This. 1:22:58.565 --> 1:23:01.005 Next comment from Bob maybe explains why he went that way. 1:23:01.285 --> 1:23:04.925 Here's what he credits with becoming a sinophile, sneaking out 1:23:04.925 --> 1:23:07.525 of bed and down the hall to sneak a peek 1:23:07.565 --> 1:23:11.965 at Texas Chainsaw massacre from the kitchen steps. I don't 1:23:11.965 --> 1:23:15.205 think we want to know how young, inappropriately young Bob 1:23:15.285 --> 1:23:16.445 might have been for watching that. 1:23:17.205 --> 1:23:22.165 Yeah, as longtime listeners know, I was traumatized by every 1:23:22.205 --> 1:23:25.005 horror movie moment of my childhood, so that might explain 1:23:25.045 --> 1:23:28.205 why I didn't fully embrace A Nightmare on Elm Street. 1:23:28.445 --> 1:23:31.045 His favorite book about movies or movie making. It's a 1:23:31.045 --> 1:23:33.925 good one. Also on my bookshelf, a Cinema of Loneliness, 1:23:33.965 --> 1:23:38.564 pen Kubrick, Scorsese, Spielberg, Altman by Robert P. Kolker. We 1:23:38.645 --> 1:23:41.564 thank Bob for being an advisory board member. We have 1:23:42.245 --> 1:23:45.045 our next Film Spotting Advisory Board meeting coming up. We're 1:23:45.045 --> 1:23:50.525 going to discuss and ultimately decide our next Film Spotting 1:23:50.725 --> 1:23:56.005 Marathon topic. That's coming up February twelfth, very soon. We 1:23:56.405 --> 1:23:59.165 are looking forward to that. And in addition to keeping 1:23:59.245 --> 1:24:01.485 us doing what we're doing her on Film Spotting, being 1:24:01.525 --> 1:24:03.645 a Film Spotting Family member does come with perks. You 1:24:03.685 --> 1:24:05.645 get to listen early in ad free, you get our 1:24:05.645 --> 1:24:07.525 weekly newsletter, you get to be part of the great 1:24:07.525 --> 1:24:10.285 Film Spotting Family discord, you get monthly bonus shows. And 1:24:10.325 --> 1:24:13.924 in February, Josh, we are going to do blind Spotting. 1:24:14.205 --> 1:24:19.365 We're gonna find three titles, probably nineteen forties madness titles 1:24:19.405 --> 1:24:21.805 that we haven't seen that we need to catch up 1:24:21.805 --> 1:24:25.245 on some homework, and we'll ask our family members to vote, 1:24:25.325 --> 1:24:27.604 and that's the movie we'll see and talk about. Should 1:24:27.605 --> 1:24:27.965 be fun. 1:24:28.085 --> 1:24:30.445 Yeah, we got to get rolling on that madness nineteen 1:24:30.485 --> 1:24:32.045 forties comed around the Corner. 1:24:32.485 --> 1:24:35.805 Indeed. More about joining the Film Spotting Family is available 1:24:35.845 --> 1:24:40.005 at film, Spottingfamily dot Com and don't forget. You can 1:24:40.045 --> 1:24:43.205 also help us just by rating us Apple Podcasts or 1:24:43.205 --> 1:24:46.525 Spotify rating us giving us a review. It does help 1:24:46.605 --> 1:24:48.165 us reach new listeners. 1:24:49.285 --> 1:24:53.125 I'll talk what's it like to be with a circumcised man? 1:24:54.605 --> 1:24:56.765 Because when Ron had his surgery, all right, all right, 1:24:56.805 --> 1:24:59.165 all right, Ron had a surgery, I said, hey, circumcise 1:24:59.245 --> 1:25:01.005 it while you're at it, you know, just because I 1:25:01.085 --> 1:25:02.405 had never been with anyone else. 1:25:02.805 --> 1:25:05.925 Just as we're in the final stages of preparing for 1:25:06.325 --> 1:25:09.604 this tribute show to Diane Keaton, one of the great 1:25:09.605 --> 1:25:13.805 screen comedians, we get the news that Catherine O'Hara has 1:25:13.845 --> 1:25:18.285 passed away age seventy one, and Josh when we inevitably 1:25:18.405 --> 1:25:20.685 we haven't talked about it yet, but when we inevitably 1:25:20.725 --> 1:25:24.125 paid tribute to her, we could do scenes. But with 1:25:24.205 --> 1:25:29.885 Catherine O'Hara, it's almost like lines or individual words. I mean, 1:25:29.925 --> 1:25:32.604 what do you do with Catherine O'Hara when when almost 1:25:32.685 --> 1:25:36.605 everything she did on screen was comedic gold? 1:25:36.765 --> 1:25:39.764 You could go that granular with her, you could, actually, 1:25:40.085 --> 1:25:43.325 but then the choices are endless. I don't know, I'm 1:25:43.325 --> 1:25:47.245 almost I think characters might be the way we go 1:25:48.005 --> 1:25:50.205 with her the point, Yeah, I would love to do 1:25:50.245 --> 1:25:52.405 this at some point. I mean, I could give you 1:25:52.445 --> 1:25:54.325 a quick riff top five. But if we think we're 1:25:54.325 --> 1:25:56.925 doing it, no, I think we'll do it, I will 1:25:56.925 --> 1:25:57.365 pocket that. 1:25:59.085 --> 1:26:01.605 Yeah, exactly, I will. Here's what I'll do. 1:26:01.685 --> 1:26:05.365 I will encourage people to Debbie and I have started 1:26:05.405 --> 1:26:08.485 rewatching Shit's Creek, the recent TV series she did with 1:26:08.565 --> 1:26:11.485 Eugene Levy. It's on Netflix right now, So if you 1:26:11.565 --> 1:26:14.845 have not checked that out for whatever reason, it is 1:26:16.285 --> 1:26:19.805 hilarious and she is maybe the funniest part of it, 1:26:19.965 --> 1:26:23.245 though that's there's comp tition for that. So really, if 1:26:23.285 --> 1:26:25.085 you never got around to Shit's Creak, now is the 1:26:25.125 --> 1:26:28.485 time as you're thinking about Katherine O'Hara. And yeah, I mean, 1:26:28.605 --> 1:26:34.245 seventy one, maddeningly too young, surely had chances to do 1:26:35.045 --> 1:26:38.445 a lot more great work. She was incredibly active as 1:26:38.445 --> 1:26:42.325 Shits Creak shows still And you know, Adam, we sometimes 1:26:42.365 --> 1:26:46.045 talk about character actors supporting you know, actors, However, you 1:26:46.085 --> 1:26:49.525 want to classify someone who's had the roles like she 1:26:49.685 --> 1:26:52.205 has had, Sometimes we'll say, you know what, one of 1:26:52.205 --> 1:26:53.965 those people when they showed up on the screen, you 1:26:54.045 --> 1:26:55.724 just immediately got excited. 1:26:56.525 --> 1:26:57.085 I think it was. 1:26:57.045 --> 1:26:59.325 Different with Catherine O'Hara. I think when she came on 1:26:59.365 --> 1:27:02.725 the screen, you were rooting for her character, whoever it was, 1:27:03.245 --> 1:27:05.405 to just become the focus of the movie. It's like, 1:27:05.445 --> 1:27:07.645 I don't care what we were watching or what I 1:27:07.725 --> 1:27:10.724 paid to come see. Can we just follow her now? 1:27:11.325 --> 1:27:17.445 She just brought that level of unpredictability and comic chaos 1:27:17.605 --> 1:27:19.604 that you just wanted to ride with her the rest 1:27:19.645 --> 1:27:24.685 of the film. So yeah, we incredible loss in the 1:27:24.685 --> 1:27:25.885 world of comedy. 1:27:26.365 --> 1:27:29.405 And Shit's Creek is so good and she's so good 1:27:29.445 --> 1:27:33.205 as moy were in that show that you could almost 1:27:33.205 --> 1:27:37.445 see breaking a rule. Oh we're breaking it. You're you're already, 1:27:37.445 --> 1:27:40.205 you're already dictating the boy res eligible. I'm just telling 1:27:40.205 --> 1:27:40.485 you what. 1:27:40.685 --> 1:27:42.885 I'm breaking it, and you know we can see what 1:27:42.925 --> 1:27:43.645 happens when I do. 1:27:44.445 --> 1:27:47.045 I'm calling it a gray Hawk ten. Here we go. 1:27:47.125 --> 1:27:48.564 I'm calling in the gray Hawk ten. 1:27:48.805 --> 1:27:55.165 Already bust out before comra, Josh, come on. 1:27:55.685 --> 1:27:59.564 Okay, Well, some other choices, actual movie choices that Josh 1:27:59.645 --> 1:28:03.365 will consider. Christopher Guest waiting for Guthman, best in show 1:28:03.685 --> 1:28:06.564 A Mighty Wind. Of course, there's some Tim Burton choices, 1:28:06.605 --> 1:28:10.804 Beetle Juice, last year's sequel, The Nightmare Before Christmas, Home Alone, 1:28:10.845 --> 1:28:14.525 Away we Go, Where the Wild Things Are Other TV options, Josh, 1:28:14.605 --> 1:28:16.325 you want to go back to sc TV while we're 1:28:16.325 --> 1:28:19.724 at it. You could do that with John Candy, Eugene Levy, 1:28:19.965 --> 1:28:23.485 Martin Short, Rick Moran, Andrew Martin, Dave Thomas, Joe Flaherty 1:28:23.525 --> 1:28:26.405 the original cast members there and Yeah, five time Emmy 1:28:26.405 --> 1:28:30.445 nominee for acting, most recently just last year for the network, 1:28:30.485 --> 1:28:33.644 and she did win for the final season of Shit's 1:28:33.685 --> 1:28:36.125 Creek and that show. We don't need to say more 1:28:36.125 --> 1:28:38.285 about it, but I don't know. I don't know if 1:28:38.285 --> 1:28:40.405 it's one of those things. It feels to me like 1:28:40.445 --> 1:28:43.085 one of those shows that I hope it doesn't happen, 1:28:43.485 --> 1:28:46.485 if it hasn't happened already. There that there almost should 1:28:46.485 --> 1:28:51.165 be a backlash too, because it's too universally loved. I 1:28:51.245 --> 1:28:53.885 know people who are our age, so many people our 1:28:53.925 --> 1:28:55.805 age who love it. I know people who are in 1:28:55.845 --> 1:28:57.765 their twenties and thirties that love it, yeah, and then 1:28:57.765 --> 1:28:59.965 I and then I know plenty of people that are 1:28:59.965 --> 1:29:02.685 our parents' age, right, Yeah, who love it. And so 1:29:02.965 --> 1:29:05.085 it's just one of those things that crosses generations. 1:29:05.285 --> 1:29:07.085 I think you're right. I think that's one of the 1:29:07.125 --> 1:29:08.885 delightful things about it. All I can tell you is 1:29:08.925 --> 1:29:11.805 I know it holds up I mean, and it has that, 1:29:12.165 --> 1:29:14.805 you know. I think sitcoms in particular can have this 1:29:14.925 --> 1:29:18.085 where you've lived with characters so long, you know them 1:29:18.085 --> 1:29:20.684 so well. You start on a second watch, you start 1:29:20.685 --> 1:29:23.965 to end anticipate how they're going to react to any 1:29:23.965 --> 1:29:26.365 given situation. Yeah, and then that becomes part of the 1:29:26.365 --> 1:29:27.085 fun as well. 1:29:27.325 --> 1:29:29.725 That will be a fun top five. We'll have to 1:29:29.765 --> 1:29:32.604 discuss the timing of that, but you can look forward 1:29:32.685 --> 1:29:35.205 to that down the road, and you can check out 1:29:35.445 --> 1:29:39.085 future episodes. We do have planned filmspotting dot Net slash 1:29:39.285 --> 1:29:44.245 episodes next week on the show. An anniversary review we 1:29:44.285 --> 1:29:47.045 could not overlook again because we've done it plenty. We 1:29:47.085 --> 1:29:49.205 did not talk about it for its tenth anniversary, or 1:29:49.245 --> 1:29:52.045 it's fifteenth, or its twentieth, or it's twenty fifth. Now, 1:29:52.085 --> 1:29:54.285 to be fair, I don't think we actually discussed it 1:29:54.405 --> 1:29:56.685 at any of these points. It's not like we rejected it. 1:29:57.085 --> 1:30:01.165 We just just overlooked it. For it's thirtieth. We've decided 1:30:01.205 --> 1:30:04.285 we can't overlook it any longer, we are going to 1:30:04.325 --> 1:30:08.205 give our namesake finally the sacred cow treatment. Now, to 1:30:08.245 --> 1:30:11.045 be clear for any new listeners of the show, we 1:30:11.125 --> 1:30:14.925 did not call the show Film Spotting because at the 1:30:15.005 --> 1:30:20.925 time we were necessarily myself and Sam, we were so 1:30:21.005 --> 1:30:24.765 such gigantic fans of the movie Train Spotting. We both 1:30:24.885 --> 1:30:26.965 liked the movie Train Spotting. We thought it was a 1:30:26.965 --> 1:30:30.285 pretty cool movie, and we certainly thought it was cool 1:30:30.405 --> 1:30:35.285 enough that if our name referenced that that movie, that worked. 1:30:35.845 --> 1:30:39.605 But the reference wasn't necessarily what what drove us to 1:30:39.645 --> 1:30:41.765 the name, and and quite honestly, what drove us to 1:30:41.805 --> 1:30:44.285 the name is we needed to finally pick a name, 1:30:44.325 --> 1:30:47.285 and it was the best of all the options we had, 1:30:47.565 --> 1:30:49.644 which is sometimes where you end up. 1:30:50.285 --> 1:30:52.765 I think, I think it's worked out. I think, he 1:30:55.285 --> 1:30:59.564 later Josh, just fine, we haven't changed it. Yeah, really, 1:30:59.645 --> 1:31:01.165 you know why we've been waiting so long to do 1:31:01.205 --> 1:31:01.724 this review. 1:31:01.765 --> 1:31:03.405 We were waiting for me to move to Scotland. 1:31:03.925 --> 1:31:07.764 And and now that I'm regularly taking the train into Edinburgh, 1:31:07.805 --> 1:31:11.485 I will be able to be the authenticity judge for 1:31:11.885 --> 1:31:14.205 you know, I'm I'm just kidding. I've been there maybe 1:31:14.245 --> 1:31:17.685 eight times now I've seen nothing like what we what 1:31:17.805 --> 1:31:20.685 goes on in Train Spotting, and I'm I'm grateful for it. 1:31:21.245 --> 1:31:25.205 Okay, this does say a letterboxed I should say says 1:31:25.245 --> 1:31:28.604 that I last watched train Spotting eight years ago, and 1:31:28.805 --> 1:31:32.564 that would correspond with the rewatch for T two Train Spotting. 1:31:32.605 --> 1:31:34.965 But yeah, more than that, I didn't watch it necessarily 1:31:35.005 --> 1:31:37.245 because I felt like I had to to watch the sequel. 1:31:37.565 --> 1:31:39.405 I felt like I had to for the top five 1:31:39.485 --> 1:31:42.365 list that we did with Danny Boyle, the top five 1:31:42.565 --> 1:31:45.764 Danny Boyle characters with Danny Boyle here on the show. 1:31:46.005 --> 1:31:48.005 That's why I rewatched it, And that was only the 1:31:48.045 --> 1:31:51.285 second time I had seen it since watching it originally. 1:31:51.685 --> 1:31:53.724 Yeah, I think I'm in and in the same place 1:31:53.765 --> 1:31:56.925 and enjoyed that rewatch, and yeah, happy to have this 1:31:57.045 --> 1:31:59.724 chance to take another look and then really dig into 1:31:59.725 --> 1:32:00.085 it with you. 1:32:00.725 --> 1:32:03.925 Okay. Also next week our twenty twenty six I have 1:32:04.045 --> 1:32:06.805 not thought about this at all. I have so much 1:32:06.845 --> 1:32:09.445 work to do for next week our twenty twenty six 1:32:09.965 --> 1:32:14.965 Pantheon nominees. It is time to put two more films 1:32:15.005 --> 1:32:18.205 into the film Spotting Pantheon. Who knows, maybe Trainspotting will 1:32:18.245 --> 1:32:22.525 be among them, you me, producer saying, over the course 1:32:22.565 --> 1:32:24.445 of the next few weeks, well, actually next week, you 1:32:24.485 --> 1:32:27.205 will hear us nominate three films. Each one of them 1:32:27.245 --> 1:32:30.325 has to be a former Marathon title, one of them 1:32:30.365 --> 1:32:32.764 has to be a film that's already gotten the Sacred 1:32:32.805 --> 1:32:35.405 Cow treatment, and then one has to be a title 1:32:35.485 --> 1:32:38.125 that's never been reviewed on the show. It's not a Marathon, 1:32:38.285 --> 1:32:40.925 it's not a Sacred Cow. It wasn't discussed when the 1:32:40.965 --> 1:32:43.165 movie came out, so it can't be something from the 1:32:43.245 --> 1:32:45.564 last twenty years that was talked about on the show. 1:32:45.885 --> 1:32:48.604 It is just a movie that one of us thinks 1:32:48.725 --> 1:32:53.165 is really great and pantheon worthy but has never gotten 1:32:53.205 --> 1:32:55.765 its due. Here on the show, we come with three 1:32:55.765 --> 1:32:57.765 of those, and we try to will down those nine 1:32:57.845 --> 1:33:03.365 choices eventually to two with the help of Film Spotting Nation. 1:33:03.525 --> 1:33:06.844 Everybody gets a vote, two of those go into the pantheon. 1:33:07.485 --> 1:33:09.604 Okay, I have not thought about this at all either. 1:33:10.005 --> 1:33:14.165 Question for comrade Adam, do you think we should be 1:33:15.805 --> 1:33:19.685 disallowed from repeating previous nominations or maybe no? 1:33:19.885 --> 1:33:22.085 Maybe no at all. Okay, I was. 1:33:22.085 --> 1:33:25.765 Gonna say, maybe we should be disallowed from repeating what 1:33:25.805 --> 1:33:29.165 we nominated last year, but we could go back further, 1:33:29.605 --> 1:33:30.845 or it's all fair game. 1:33:31.965 --> 1:33:34.085 All it's all fair game. I think that is something 1:33:34.125 --> 1:33:37.125 we we did talk about last year that if you 1:33:37.405 --> 1:33:40.485 if you had a movie last year that you nominated 1:33:41.165 --> 1:33:43.925 that did not get chosen, especially if it was a 1:33:43.965 --> 1:33:47.445 movie that came close to getting chosen, you feel really 1:33:47.485 --> 1:33:52.005 strongly about, don't worry about it sounding like boring content. 1:33:52.445 --> 1:33:54.765 We have nine films to talk about, and I'm sure 1:33:54.805 --> 1:33:59.684 we will fill the time somehow. So bring bring whatever movies. 1:34:00.085 --> 1:34:03.845 Three movies you genuinely think I deserve to go into 1:34:03.845 --> 1:34:07.165 the pantheon, even if you have previously nominated them. I mean, 1:34:07.485 --> 1:34:09.925 look at it this way. Last year, the movies that 1:34:10.005 --> 1:34:13.604 went in were Singing in the Rain in Sherlock Junior. 1:34:14.085 --> 1:34:17.645 Sherlock Junior was Sam's nominee. It was going to be 1:34:17.725 --> 1:34:20.325 my nominee, but he beat me to it, so I 1:34:20.365 --> 1:34:22.325 had to pivot and go with another silent film, and 1:34:22.365 --> 1:34:25.724 I nominated Sunrise, a Song of two Humans. I think 1:34:25.765 --> 1:34:29.605 I nominated Singing in the Rain. So the two the 1:34:29.605 --> 1:34:33.285 three films you nominated are all three available, right? Yeah, 1:34:33.365 --> 1:34:36.925 okay from last year? All right, you could revisit them. 1:34:37.125 --> 1:34:38.965 Feel free that's good. If you have a film you 1:34:38.965 --> 1:34:41.525 think should be in the film spotting pantheon, or you 1:34:41.525 --> 1:34:43.885 have any thoughts on train spotting, you could write us 1:34:44.085 --> 1:34:46.564 feedback at film spotting dot net, or you know, send 1:34:46.605 --> 1:34:50.884 us an audio or video message feedback at film spotting 1:34:51.165 --> 1:34:55.485 dot net. And now we get to everybody's new favorite 1:34:55.845 --> 1:35:01.325 recurring segment on film spotting. Where in the world is Josh. 1:35:01.365 --> 1:35:04.365 Well, Josh is in Scotland at the moment, but I 1:35:04.965 --> 1:35:09.285 will be heading. Bizarrely, our program, the spring Break is happening, 1:35:09.685 --> 1:35:12.485 you know, in a couple of weeks here, So Debbie 1:35:12.525 --> 1:35:14.525 and I are going to take that opportunity to do 1:35:14.645 --> 1:35:18.205 a little traveling and I'd love to have another film 1:35:18.245 --> 1:35:20.405 spotting meet up as part of that, as we did 1:35:20.405 --> 1:35:23.925 in Spain. I'm looking to meet with any listeners who 1:35:23.965 --> 1:35:27.165 might be in Copenhagen. So we're going to be in 1:35:27.205 --> 1:35:30.285 Stockholm first. But actually while we're there, Adam, it'll be 1:35:30.525 --> 1:35:35.405 once again a double remote film spotting recording, so away 1:35:35.405 --> 1:35:37.325 from home, away from home, I'll be lugging the mic 1:35:37.365 --> 1:35:40.605 in my suitcase and recording in Stockholm, so not as 1:35:40.685 --> 1:35:43.885 much free time there. But when we get to Copenhagen, 1:35:43.925 --> 1:35:46.165 we'll have a couple of open nights, so this is 1:35:46.525 --> 1:35:47.564 the first week of March. 1:35:48.125 --> 1:35:49.005 About if you're. 1:35:48.885 --> 1:35:53.685 A listener in nearby Denmark and might want to meet up, 1:35:54.085 --> 1:35:57.405 either email the show at feedback at filmspotting dot net, 1:35:57.485 --> 1:36:00.045 raise your hand, or you can find me on social too. 1:36:00.165 --> 1:36:04.125 If you're on Blue Sky or Instagram or Facebook, you 1:36:04.165 --> 1:36:09.005 can find me at Larsen on film and yeah, hopefully 1:36:09.125 --> 1:36:10.085 we can hang out. 1:36:10.765 --> 1:36:14.725 I'm not convinced, Josh, that you've spent any time in Scotland. 1:36:14.725 --> 1:36:16.805 I think you've been traveling this entire time, and I 1:36:16.845 --> 1:36:19.605 think that that is one of those fake zoom backgrounds. 1:36:21.045 --> 1:36:25.725 Well, you should be familiar with the academic calendar at 1:36:25.725 --> 1:36:26.604 this point, Adam. 1:36:26.765 --> 1:36:29.604 You know, so your seems like gets way more open 1:36:29.645 --> 1:36:33.485 than mine. Well I was. It's a little different exactly. 1:36:34.885 --> 1:36:38.005 I mean, you know, we had the month off over 1:36:38.045 --> 1:36:42.445 the holidays, and yeah, took advantage of that while you 1:36:42.485 --> 1:36:45.085 were in your you know, little hovel grating. So I 1:36:45.085 --> 1:36:45.805 don't know what to tell you. 1:36:46.445 --> 1:36:48.445 Okay, moving on, all right. 1:36:49.205 --> 1:36:51.325 Our sister podcast, The Next Picture Show, wanted to give 1:36:51.325 --> 1:36:54.285 your heads up on their programming because they have a 1:36:54.285 --> 1:36:57.965 new pairing going on right now. It is part two 1:36:58.165 --> 1:37:01.764 actually of their both sides of the aisle pairing. 1:37:01.845 --> 1:37:04.485 That's I S. L E. 1:37:05.125 --> 1:37:08.005 So they paired Lena Vert Muellers Swept Away from nineteen 1:37:08.045 --> 1:37:12.445 seventy four with Sam Raimis Send Help and you can 1:37:12.525 --> 1:37:16.365 catch those episodes every Tuesday and you can find the 1:37:16.365 --> 1:37:18.845 next Picture show wherever you get your podcasts. 1:37:19.085 --> 1:37:22.564 Like you never told me you knew Giant? Come, hey, 1:37:22.805 --> 1:37:24.165 you want to meet him? 1:37:24.205 --> 1:37:27.485 Oh, my father helped him in his career. 1:37:28.485 --> 1:37:36.285 He did. Hell to the song. It is time for 1:37:36.605 --> 1:37:39.165 poll results. A couple of weeks ago, we asked you 1:37:39.245 --> 1:37:43.445 to choose one and only one Diane Keaton character, the 1:37:43.565 --> 1:37:47.205 character we were thinking that best represented all of Keaton's 1:37:47.205 --> 1:37:49.525 many talents. We probably framed it that way, but you know, 1:37:49.565 --> 1:37:51.245 at the end of the day, you can vote however 1:37:51.285 --> 1:37:53.844 you want to vote your options, which did not include 1:37:53.845 --> 1:37:57.405 the film that we think would have won unanimously any 1:37:57.485 --> 1:38:03.325 hall were these Kay Adams, The Godfather, Erica Barry, Something's 1:38:03.325 --> 1:38:08.165 Got to Give, Louise Bryant, Red's J. C. Wyatt Baby Boom. 1:38:08.485 --> 1:38:11.965 All four of those made our list. Josh five an 1:38:12.085 --> 1:38:14.725 a parody, The First Wives Club an honorable mention for 1:38:14.765 --> 1:38:19.005 me six Mary Wilkie on your list or seven. You 1:38:19.045 --> 1:38:22.005 could go other and write in your choice. How did 1:38:22.005 --> 1:38:22.405 it come out? 1:38:22.445 --> 1:38:25.724 Josh a tie for last place between other and Anna 1:38:25.885 --> 1:38:27.684 Parody from The First Wives Club. 1:38:28.205 --> 1:38:28.445 J C. 1:38:28.565 --> 1:38:31.564 Wyatt from Baby Boom came in at thirteen percent, Louise 1:38:31.565 --> 1:38:35.645 Bryant from Red's with fourteen percent, moving up to a 1:38:35.765 --> 1:38:38.965 fifteen percent vote for Erica Berry from Something That's Got 1:38:38.965 --> 1:38:41.845 to give Mary Wilkie in second place here with eighteen 1:38:41.845 --> 1:38:47.125 percent of the vote. But taking this, taking this, and I, yes, 1:38:47.765 --> 1:38:51.845 I'm a little this is perplexing. Kay Adams from The Godfather. 1:38:52.525 --> 1:38:55.405 I know you were perplexed by by the way the 1:38:55.485 --> 1:38:58.085 vote was trending. Adam, and I hadn't done a lot 1:38:58.085 --> 1:39:01.245 of you know, revisiting of scenes or thinking about this. 1:39:02.045 --> 1:39:05.644 I'm kind of with you now that I see the result. 1:39:06.245 --> 1:39:10.965 And yeah, curious how Kay Adams took this vote. 1:39:11.005 --> 1:39:15.005 In terms of character, yeah, it does not feel like 1:39:15.165 --> 1:39:20.285 the best representation of all of Keaton's talents, she thought. 1:39:20.325 --> 1:39:22.245 And here again, this is kind of separate from the 1:39:22.245 --> 1:39:24.325 point I just made. She thought there wasn't much of 1:39:24.325 --> 1:39:27.804 a character there. Apparently our listeners think there's an incredible 1:39:27.885 --> 1:39:31.405 character there, and we certainly saw many great moments from 1:39:31.685 --> 1:39:34.085 powerful moments from that character, like we talked about in 1:39:34.125 --> 1:39:37.125 the film, and those must be resonating Josh with the 1:39:37.165 --> 1:39:40.684 audience because twenty nine percent, and of course that movie, 1:39:41.485 --> 1:39:44.805 that movie is one that's resonating with our audience. We 1:39:44.845 --> 1:39:49.125 have Michael Brandner. He is echoing a choice on my list. 1:39:49.205 --> 1:39:51.325 Kay looking at her husband through the half open door 1:39:51.365 --> 1:39:53.245 at the end of The Godfather Ie is one of 1:39:53.285 --> 1:39:55.485 the most memorable shots in movie history. How could I 1:39:55.525 --> 1:39:58.564 pick anything else? So he's going with the first part 1:39:58.565 --> 1:40:01.245 of my mirror door shots. 1:40:00.925 --> 1:40:04.125 And maybe I mean maybe Michael was thinking of character, 1:40:04.205 --> 1:40:07.085 but here describing a specific scene. You know this, If 1:40:07.085 --> 1:40:08.965 he had done a Keaton scene list, maybe this would 1:40:08.965 --> 1:40:10.765 have been on it for him. We also heard from 1:40:10.845 --> 1:40:14.325 Abby Woslawek. Admittedly I haven't seen all of these, but 1:40:14.485 --> 1:40:18.285 watching Meek and Insecure Annie Parody discover self love was 1:40:18.325 --> 1:40:22.285 inspiring and fun, judging from many social after her passing, 1:40:22.365 --> 1:40:24.725 the First Wives Club rendition of you Don't Own Me 1:40:24.845 --> 1:40:27.644 remains an empowering anthem for many. 1:40:28.045 --> 1:40:30.285 Yeah, it's fun. It's a fun scene and we get 1:40:30.285 --> 1:40:32.764 I think two versions of that in the movie. Jeffrey 1:40:32.765 --> 1:40:35.205 Overstreet says, I'm voting other, and it's a toss up 1:40:35.245 --> 1:40:38.845 between Keaton's Luna Schlosser in nineteen seventy three's Sleeper and 1:40:38.885 --> 1:40:41.604 her Sonya in seventy five's Love and Death. These were 1:40:41.605 --> 1:40:43.724 the characters that made me love Keaton in the first place, 1:40:43.725 --> 1:40:46.685 and both characters are endlessly quotable. Woody Allen did not 1:40:46.765 --> 1:40:48.844 cast her to merely set him up for his signature 1:40:48.885 --> 1:40:51.805 punch lines. He cast her as his hilarious equal. While 1:40:51.845 --> 1:40:53.885 I have to clench my teeth now whenever I press 1:40:53.965 --> 1:40:55.965 play on a Woody Allen film for reasons that should 1:40:55.965 --> 1:40:58.445 be obvious by now, I quickly remind myself that there 1:40:58.445 --> 1:41:00.685 are so many great performances in these films to make 1:41:00.725 --> 1:41:04.045 them worthwhile, and Keaton's contributions are my favorites. 1:41:04.445 --> 1:41:07.644 One more common here from Hollyboyd. I voted for Looking 1:41:07.725 --> 1:41:09.925 for Mister Goodbar as it was one of my favorite 1:41:09.965 --> 1:41:13.965 discoveries of twenty twenty five, partly due to Keaton's fearless performance, 1:41:14.005 --> 1:41:17.685 which showcases the independence and originality that made her one 1:41:17.725 --> 1:41:20.765 of the all time greats. Keaton shown at bringing complexity 1:41:20.805 --> 1:41:25.165 and fully realized personality to all her characters, always elevating 1:41:25.245 --> 1:41:28.644 every film with her presence and goodbar provides her material 1:41:28.925 --> 1:41:30.365 worthy of her talents. 1:41:31.005 --> 1:41:33.965 We do think everyone who voted and left a comment 1:41:34.885 --> 1:41:37.445 it's time for a new poll next week. As we mention, 1:41:37.645 --> 1:41:42.845 we're giving Trainspotting another look for its thirtieth anniversary. Another look, Josh, 1:41:42.885 --> 1:41:46.205 and with that movie it really means another listen. The 1:41:46.285 --> 1:41:51.205 Danny Boyle film is full of memorable music moments, Iggy Pops, 1:41:51.285 --> 1:41:55.245 Lust for Life, lou Read's Perfect Day, Born, Slippy from Underworld, 1:41:55.725 --> 1:41:58.325 all of it captured on one of the relics of 1:41:58.325 --> 1:42:03.724 the nineties, the original motion Picture Soundtrack on compact disc. 1:42:04.925 --> 1:42:08.925 The deeply flawed poll that producer Sam and with a 1:42:08.965 --> 1:42:12.885 little contribution from me, that he is concocted for you, 1:42:13.485 --> 1:42:16.725 and by you we mean apparently you young adults of 1:42:16.765 --> 1:42:20.485 the nineties, not so much of the nineties. Kids choose life, 1:42:21.405 --> 1:42:25.805 choose only one nineties movie soundtrack deathmatch rules apply, and 1:42:25.845 --> 1:42:28.125 that that pretty much goes for any poll question here 1:42:28.125 --> 1:42:31.125 on film Spotting. So that means that whichever ones you 1:42:31.125 --> 1:42:34.445 don't choose, they go into the nineties landfill. You can't 1:42:34.445 --> 1:42:36.125 get them back. They're gone forever. 1:42:36.245 --> 1:42:39.165 You take that compact disc in one hand and you. 1:42:39.205 --> 1:42:43.045 Just crack it. That's it. That's it. No one hears it, 1:42:43.125 --> 1:42:47.805 including you ever again, Josh, give them their options. 1:42:47.685 --> 1:42:52.125 All right, clueless, which includes the muffs kids in America, radioheads, 1:42:52.125 --> 1:42:55.925 fake plastic trees, and Jill oh Man. I didn't have 1:42:55.965 --> 1:42:58.564 this one out, Jill Sobuel, so Bull. You didn't listen 1:42:58.605 --> 1:43:00.604 to enough radio back then. She was on all the time. 1:43:01.205 --> 1:43:04.005 Oh so Radio. I listened to the radio in the nineties. 1:43:04.045 --> 1:43:07.325 Come on, Jill Sobule's Supermodel. I'm sure I'd recognize it. 1:43:07.325 --> 1:43:10.365 Didn't buy that one, though, Dazed and confused. Aerosmith's Sweet 1:43:10.365 --> 1:43:14.245 Emotion of course, Alice Cooper School's Out of Course, Dylan's Hurricane. 1:43:14.485 --> 1:43:18.125 How about the Crow? Loved hearing in Sam's newsletter for 1:43:18.205 --> 1:43:21.165 family members that he was a big crow soundtrack guy, 1:43:21.565 --> 1:43:25.925 the Cure, nine inch nails, rage against the Machine, that 1:43:26.005 --> 1:43:27.125 there's a side to Sam. 1:43:27.165 --> 1:43:30.285 I need to know. Yet he was a drama guy, Josh, 1:43:30.325 --> 1:43:32.365 I keep that in mind. Okay, okay, he was always 1:43:32.365 --> 1:43:33.885 a theater kid. Pull fiction. 1:43:33.965 --> 1:43:36.125 I mean everyone can hear it already, Jungle Boogie, son 1:43:36.165 --> 1:43:36.925 of a Preacher Man. 1:43:37.165 --> 1:43:38.005 How about Boz. 1:43:37.845 --> 1:43:43.445 Luhrman's Romeo and Juliet Garbage ever clear, the Cardigan's Love 1:43:43.525 --> 1:43:47.525 Fool reality bites. I did have this one, Lisa Lobe stay, 1:43:47.565 --> 1:43:51.485 I missed you, My Sharona, You Twoe. Lenny Kravitz singles 1:43:51.765 --> 1:43:55.405 all right, getting into some grunge here, Pearl Jam Alison 1:43:55.525 --> 1:43:56.644 Chains sound Garden. 1:43:56.725 --> 1:43:57.125 I don't know. 1:43:57.525 --> 1:43:59.525 I wasn't all that into grunge. Do those last two 1:43:59.605 --> 1:44:02.604 counts Adam as grunge Alison Chain's sound guards. 1:44:02.565 --> 1:44:05.005 They yeah, I don't know. Yeah, I mean not just 1:44:05.045 --> 1:44:07.685 hard rock. Some people listening might really take issue with that, 1:44:07.765 --> 1:44:11.645 but they're they're part of that Seattle scene, so theyently 1:44:11.685 --> 1:44:12.845 be grunge adjacent. 1:44:13.285 --> 1:44:18.644 Okay, Trainspotting we mentioned, is your last option aside from 1:44:18.805 --> 1:44:22.525 other and do you have any others you want to 1:44:22.525 --> 1:44:23.564 throw in the hat at him? 1:44:24.045 --> 1:44:26.285 You've been part of the doule, so you're probably they 1:44:26.365 --> 1:44:28.684 don't for me. A couple ones that I would consider 1:44:28.805 --> 1:44:30.325 are are in there for sure. 1:44:30.325 --> 1:44:34.644 Okay, So Sam suggested here under other Empire records gross 1:44:34.685 --> 1:44:38.085 point blank above the rim I'm with him on Empire Records. 1:44:38.125 --> 1:44:41.405 We owned that one. Yeah, As listeners can already tell, 1:44:41.445 --> 1:44:44.885 the nostalgia runs deep for all three of us on 1:44:44.965 --> 1:44:48.485 this one. This was prime CD by in years I think, 1:44:49.285 --> 1:44:51.125 you know, right in the mid nineties W and I 1:44:51.165 --> 1:44:54.965 got married and merged. Are can I say, quite impressive 1:44:55.005 --> 1:44:57.925 CD collections. So here's what I'm going to throw in 1:44:57.965 --> 1:44:58.925 as other options. 1:44:59.045 --> 1:45:00.325 Not that this is how I'd vote. 1:45:00.845 --> 1:45:03.325 I just want to bring us back to the era 1:45:04.005 --> 1:45:07.325 and let people consider them as right ends. We had 1:45:07.885 --> 1:45:10.645 the soundtrack for Jim Jarmush's ghost Stock The Way of 1:45:10.685 --> 1:45:16.644 the Samurai had no Adam have because we got rid 1:45:16.685 --> 1:45:18.805 of I'd still regret this. All of our CDs with 1:45:18.805 --> 1:45:21.965 the move we had to downsize. The one we kept 1:45:22.245 --> 1:45:25.205 was ghost Dog The Way of the Samurai. Well, it 1:45:25.285 --> 1:45:27.405 was stuck in our cair CD player, so so we 1:45:27.445 --> 1:45:29.885 still have it and it turns on over in a while. 1:45:30.485 --> 1:45:34.365 I'm also also gonna throw in their Batman Forever, PJ. Harvey, 1:45:35.005 --> 1:45:39.485 Mazzie Star, Sunny Day Real Estate. Okay, bad Rushmore? Come 1:45:39.525 --> 1:45:42.245 on all those British invasion classics. 1:45:43.085 --> 1:45:47.245 You know what Josh right right? See this could rush 1:45:47.285 --> 1:45:48.365 pull sucks. 1:45:48.165 --> 1:45:49.564 Could Rushmore win it? 1:45:50.085 --> 1:45:54.564 This whole question the other vote. Come on, Rushmore, you 1:45:54.685 --> 1:45:58.325 just nailed it. You just nailed one more. Why why 1:45:58.325 --> 1:46:01.085 aren't you in the slack, Josh pointing this out earlier, 1:46:01.125 --> 1:46:02.365 I mean on air. 1:46:02.805 --> 1:46:05.045 I just I was trying to keep up with everything 1:46:05.085 --> 1:46:06.965 going on in the slack and couldn't couldn't get to 1:46:07.005 --> 1:46:11.045 this them vendors Until the End of the World. This 1:46:11.125 --> 1:46:13.165 is where I might actually vote in terms of the 1:46:13.405 --> 1:46:17.085 like Rushmore's soundtrack is just a blast, great songs on it, 1:46:17.165 --> 1:46:20.125 so much fun. But in terms of like how it 1:46:20.165 --> 1:46:24.165 worked with the movie, and I think just the artistry 1:46:24.325 --> 1:46:28.445 of the bands included here and what they contributed. Irim 1:46:28.685 --> 1:46:34.604 lou Reid talking heads, you two depeche Mode. If you've 1:46:34.685 --> 1:46:37.485 never heard the Until the End of the World soundtrack, 1:46:37.645 --> 1:46:40.805 this is your impetus to go check it. Okay, so 1:46:41.045 --> 1:46:43.085 haven't I think we've made the case, Adam. But with 1:46:43.125 --> 1:46:45.845 all these options for the nineties as the definitive movie 1:46:45.885 --> 1:46:47.564 soundtrack that decade, right. 1:46:48.445 --> 1:46:50.845 I think it is. I think that's fair. Of course, 1:46:51.165 --> 1:46:53.325 I haven't given a lot of thought to what other 1:46:53.365 --> 1:46:57.644 options would be there, but the nineties seems definitive. And 1:46:58.245 --> 1:47:01.445 I thought this was an easier pull than now it 1:47:01.485 --> 1:47:03.564 turns out to be. And I say easy because for 1:47:03.685 --> 1:47:06.885 me it came down to only two options. I only 1:47:06.925 --> 1:47:10.644 owned two of these. There are songs scattered through here 1:47:11.045 --> 1:47:14.285 that I liked, some maybe that I even loved, and 1:47:14.325 --> 1:47:17.885 there are some uses in the films that I quite enjoyed. 1:47:18.445 --> 1:47:21.125 I could probably say that The Days Did in Confused soundtrack, 1:47:21.125 --> 1:47:23.365 in terms of how the music is employed, might even 1:47:23.405 --> 1:47:26.485 be the most essential. But I got burned out on 1:47:26.565 --> 1:47:30.564 classic rock before I was even out of college, just 1:47:30.685 --> 1:47:34.165 having had to consume so much of it growing up. 1:47:34.205 --> 1:47:36.845 We didn't have a lot of great radio stations growing 1:47:36.925 --> 1:47:39.325 up in Iowa. It was a lot of classic rock. 1:47:39.565 --> 1:47:41.805 And even though I played some of that stuff, I 1:47:41.845 --> 1:47:44.804 played Schools Out in my band. I played Sweet Emotion 1:47:45.165 --> 1:47:47.725 in my band. More reasons why I got burned out 1:47:48.005 --> 1:47:50.724 on classic rock. So love how it's used in the movie. 1:47:51.405 --> 1:47:53.645 Don't need to listen to The Days Did in con 1:47:53.685 --> 1:47:58.525 View soundtrack maybe ever, and I didn't. I never bought it, 1:47:58.565 --> 1:48:01.525 so for me, the only two that I owned on 1:48:01.605 --> 1:48:04.205 here and the only two that I would still put 1:48:04.205 --> 1:48:07.365 in my CD player, and I did keep almost all 1:48:07.405 --> 1:48:11.285 my CDs, so maybe I have them somewhere if I 1:48:11.325 --> 1:48:15.564 can find them in the boxes. Josh were pulp fiction 1:48:16.925 --> 1:48:22.285 and singles, and my initial instinct was to go singles. 1:48:22.965 --> 1:48:26.005 But the thing is, it's not because of it's not 1:48:26.085 --> 1:48:29.804 because of the Seattle stuff, which is ironic, because that's 1:48:30.125 --> 1:48:33.925 that's what the soundtrack is full of, and the movie 1:48:33.965 --> 1:48:36.725 is said in Seattle, and that's what's so essential to 1:48:36.805 --> 1:48:39.365 the movie. But the reason why I love I like 1:48:39.405 --> 1:48:41.325 the par you know, state of Love and Trust is good. 1:48:41.525 --> 1:48:43.845 The reason why I love the single soundtrack so much 1:48:44.405 --> 1:48:47.485 is the Paul Westerberg tunes, and that that has nothing 1:48:47.525 --> 1:48:52.205 to do with Seattle, right talking about it. Yeah, So 1:48:52.285 --> 1:48:56.045 I don't know if I can justify keeping the single 1:48:56.125 --> 1:48:59.125 soundtrack on there just for Paul Westerberg, which is the 1:48:59.165 --> 1:49:03.445 primary reason why I would keep it. Pulp fiction. You 1:49:03.485 --> 1:49:08.485 think about the eclectic assortment of tunes and good songs 1:49:08.485 --> 1:49:11.165 that you you've never heard, that I had never heard 1:49:11.885 --> 1:49:16.125 but but are so damn catchy, and that we're fun 1:49:16.165 --> 1:49:18.125 to listen to, both in the context of the movie 1:49:18.165 --> 1:49:21.845 but also out of context, that that were fun to 1:49:21.885 --> 1:49:24.765 just put on your CD player and listen to, and 1:49:24.765 --> 1:49:27.325 then you know, suffused with the little moments from the film. 1:49:28.165 --> 1:49:30.885 I was all set to say that that pulp fiction 1:49:31.045 --> 1:49:33.365 is the answer, and and I guess once I ruled 1:49:33.365 --> 1:49:36.805 out singles. Pulp fiction was the clear answer. But Josh, 1:49:37.165 --> 1:49:39.965 you know, if the Royal Tenebombs was made in the nineties, 1:49:40.005 --> 1:49:43.005 it would it would be competition with with Rushmore, but 1:49:43.045 --> 1:49:47.165 it wasn't. So you know now that you mentioned Rushmore 1:49:47.205 --> 1:49:52.365 and I completely blanked on it that that might be 1:49:52.445 --> 1:49:54.764 my pick. That might mean, but it hits that because 1:49:54.845 --> 1:49:58.724 it hits the sweet making time with creation. 1:49:59.085 --> 1:50:02.845 Oh yeah, yeah, pulp fiction did this too, but not 1:50:02.925 --> 1:50:05.765 that these were unknown songs but they didn't. Yes, you know, 1:50:05.965 --> 1:50:08.485 they didn't get radio play in the in the eighties 1:50:08.525 --> 1:50:12.725 or nineties necessarily, right, And they're gems and they're employed 1:50:12.765 --> 1:50:16.045 so effectively in the movie. They're not wallpaper at all, right, 1:50:16.645 --> 1:50:20.045 and you can listen to it all the way through. 1:50:21.085 --> 1:50:23.765 It has that quality. I do think that's the standard 1:50:23.765 --> 1:50:26.325 we should consider. What you were describing with pulp fiction, 1:50:26.445 --> 1:50:29.085 is that it works on those two levels. I would 1:50:29.125 --> 1:50:32.045 say of the choices, yeah, I mean, for the record 1:50:32.085 --> 1:50:36.725 of our options, what we owned were pulp fiction, reality bites, singles, 1:50:36.765 --> 1:50:41.085 and train Spotting. I would seriously consider pulp fiction or 1:50:41.085 --> 1:50:45.245 train Spotting. Honestly, I think that's that's worth considering. That 1:50:45.285 --> 1:50:48.325 it hits on these couple of levels and then until 1:50:48.325 --> 1:50:51.365 the end of the world. As I said, but yeah, 1:50:52.365 --> 1:50:54.165 might be Rushmore for me. I might have to use 1:50:54.205 --> 1:50:55.285 that right in. 1:50:56.285 --> 1:50:59.205 Okay, I'm really glad you thought about that one. I 1:50:59.685 --> 1:51:02.925 will close with this, and some people may vote this way, 1:51:03.045 --> 1:51:07.205 especially after I pointed out. One thing that Sam and 1:51:07.245 --> 1:51:10.885 I discussed, and this was the conundrum of this poll, 1:51:11.605 --> 1:51:14.285 is that he really wanted to go with and I 1:51:14.365 --> 1:51:17.325 understand this inclination. He really wanted to go with nineties 1:51:17.725 --> 1:51:23.965 soundtracks that were comprised primarily of nineties music, so they 1:51:24.085 --> 1:51:27.485 felt like they felt like they were truly of the nineties. 1:51:27.565 --> 1:51:29.724 That's trans spotting, right, That's that's where. 1:51:30.365 --> 1:51:32.845 But kind of but kind of because when you really 1:51:32.845 --> 1:51:34.564 look at Trainspotting, and I don't have the track list 1:51:34.565 --> 1:51:36.005 in front of me, and I'm not going to do 1:51:36.045 --> 1:51:38.804 an exact breakdown, but even when you look at train Spotting, 1:51:39.365 --> 1:51:42.685 what you think of is like iggy pop, you think 1:51:42.725 --> 1:51:45.045 of you think a lot of the classic hits, not 1:51:45.845 --> 1:51:48.325 some of the newer stuff. Right, And so this is 1:51:48.365 --> 1:51:51.205 where singles would have an advantage because it feels of 1:51:51.245 --> 1:51:54.644 its time, right. Yeah, pulp fiction doesn't feel of its time. 1:51:54.685 --> 1:51:57.165 It has it has one song by a current band, 1:51:57.205 --> 1:51:59.405 and it's a cover of an old song. Days and 1:51:59.445 --> 1:52:03.765 Confused is all seventies stuff. Rushmore is is other than 1:52:03.845 --> 1:52:07.285 Mark Mothersboss stuff. It's all the Kinks and you know 1:52:07.645 --> 1:52:11.604 it's it's it's British pop. So it's not stuff that 1:52:11.725 --> 1:52:16.005 you you would equate with the nineties. Now that said, 1:52:17.285 --> 1:52:21.485 it was then very hard to field a poll. Clueless 1:52:21.525 --> 1:52:23.645 would be one that felt of its time, but it 1:52:23.645 --> 1:52:25.285 would be hard to feel the poll with a lot 1:52:25.285 --> 1:52:28.165 of choices, enough choices. If you were just going by, 1:52:28.725 --> 1:52:32.525 it had to be all nineties music. That's what's us anyway. 1:52:32.845 --> 1:52:35.765 What you're saying is Batman Forever for the win. 1:52:36.085 --> 1:52:40.365 Maybe maybe maybe we would love to hear how you vote. 1:52:40.405 --> 1:52:42.245 We'd love to get the results, but we'd also like 1:52:42.325 --> 1:52:45.125 to hear your explanation. You can vote and leave a 1:52:45.165 --> 1:52:48.205 comment at film spotting dot net. I think this could 1:52:48.205 --> 1:52:52.245 be one of our more engaging polls, Josh. 1:52:52.485 --> 1:52:54.925 We actually we actually owned Batman Forever too. 1:52:55.565 --> 1:52:57.845 Of course you did, of course you did. We will 1:52:57.885 --> 1:53:00.485 share results and you'll feedback in a couple of weeks. 1:53:00.525 --> 1:53:03.245 Once again, you can vote at filmspotting dot net. Josh, 1:53:03.325 --> 1:53:04.325 that is our show. 1:53:05.245 --> 1:53:07.245 If you want to find Adam and the show on 1:53:07.285 --> 1:53:11.525 social media, you can look for film Spotting at Instagram, Facebook, letterbox, 1:53:11.725 --> 1:53:14.365 and YouTube. You can find me at those places. As 1:53:14.445 --> 1:53:18.085 Larsen on film. We are independently produced and listeners supported. 1:53:18.205 --> 1:53:21.325 You can support the show by joining the film Spotting Family. 1:53:21.805 --> 1:53:23.765 You can do that at film Spotting family dot com. 1:53:23.765 --> 1:53:26.245 That way you'll listen early in ad Free. You'll also 1:53:26.285 --> 1:53:29.245 get Sam's weekly newsletter, monthly bonus episodes, and. 1:53:29.205 --> 1:53:31.365 Access to the entire show archive. 1:53:31.925 --> 1:53:34.405 For show t shirts another merch go to film spotting 1:53:34.485 --> 1:53:35.125 dot Net. 1:53:35.285 --> 1:53:40.165 Slash Shop out in limited release this weekend. Alexander Scarsgard 1:53:40.245 --> 1:53:43.644 takes Henry Melling On as his submissive in Pillion. Okay, 1:53:43.685 --> 1:53:47.365 you piqued my curiosity? In wide release lup Besson's Dracula 1:53:47.525 --> 1:53:51.765 with Caleb Landry Jones as the Count Kevin James in 1:53:51.845 --> 1:53:58.645 the Italian set romance solo Meo and The Strangers Chapter three, No, 1:53:59.085 --> 1:54:02.564 you're not imagining things The Strangers Chapter two, which Rennie 1:54:02.565 --> 1:54:06.565 Harlan also directed, that that did just come out last September. 1:54:06.725 --> 1:54:08.485 Are we going to do like a fast and furious 1:54:08.565 --> 1:54:12.965 type visiting of all the Strangers movies Josh a marathon. 1:54:13.205 --> 1:54:15.445 No, but no, but we are going to do a 1:54:15.445 --> 1:54:19.285 a you know, make Adam choose. You know, usually we 1:54:19.365 --> 1:54:21.644 do this to each other, but I think this week 1:54:21.845 --> 1:54:25.365 is particularly painful for you. Are you going to see 1:54:25.405 --> 1:54:31.045 Luke Beason's Dracula for the Kevin James Italian romance? So 1:54:31.285 --> 1:54:34.245 or I'll give you I'll let you out a little bit. 1:54:34.285 --> 1:54:36.805 You don't have to go see Strangers chapters one and 1:54:36.845 --> 1:54:38.964 two to do your homework. 1:54:39.245 --> 1:54:41.245 You can just go to chapter three if you're leaving 1:54:41.285 --> 1:54:43.405 out the limited release Pillion and I just have to 1:54:43.485 --> 1:54:47.245 choose from the three wide Relily, I would definitely, I 1:54:47.245 --> 1:54:50.765 would definitely go see Dracula. Okay, yeah, I think I 1:54:50.805 --> 1:54:53.965 go see I think i'd join you. Perhaps perhaps we'll 1:54:53.965 --> 1:54:57.885 have a review next week. Maybe you never know, next week, 1:54:58.165 --> 1:55:00.965 maybe we'll have that Dracula review. We are definitely planning 1:55:01.005 --> 1:55:04.965 that train Spotting at thirty conversation and to share our 1:55:05.005 --> 1:55:08.525 nominees for this year's induction into the Film Spotting Pantheon. 1:55:09.245 --> 1:55:11.685 Film Spotting is produced by Golden Joe Toso and Sam 1:55:11.765 --> 1:55:15.325 Van Halgren. Without Sam and Golden Joe, this show wouldn't go. 1:55:15.805 --> 1:55:20.205 Our production assistant is Sophie Kempenar Special thanks to everyone. 1:55:19.845 --> 1:55:21.405 At wbeazy S Chicago. 1:55:21.525 --> 1:55:26.325 More information is available at wbez dot org. For film spotting, 1:55:26.405 --> 1:55:27.765 I'm Josh Larson. 1:55:27.605 --> 1:55:29.605 And I'm Adam Kempinar. Thanks for listening. 1:55:29.805 --> 1:55:34.165 This conversation can serve no purpose anymore but bine