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

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

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

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Speaker 1: What kind of a show you guys putting on here today?

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Speaker 1: You're not interested in armed now? No, Look, we're going

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Speaker 1: to do this thing.

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Speaker 2: We're going to have a conversation from Chicago. This is

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Speaker 2: film Spotting. I'm Adam Kempinar and I'm Josh Larsa. The

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Speaker 2: sun is dying. You're the only scientists who might know

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Speaker 2: what this is. I'm just a teacher at Grover Cleveland

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Speaker 2: Middle We have a doctorate in molecular biology. I need

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Speaker 2: you to come with us.

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Speaker 1: Ryan Gosling will save us Adam, and he might save

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Speaker 1: the movies too.

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Speaker 2: Gosling stars in Project tail Mary, which opened last weekend

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Speaker 2: to big box office over one hundred and fifty million

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Speaker 2: dollars worldwide. Big laughs and maybe a few tears.

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Speaker 1: Our review plus Hitchcock Versus Kurrasawa Bambi versus Jimmy Stewart.

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Speaker 1: It's Round two of nineteen forty's Madness. That more on

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Speaker 1: Film Spotting.

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Speaker 2: Welcome to Film Spotting Round two of forties Madness. Josh

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Speaker 2: no less mad than Round one. Bamby somehow outlasted Jimmy

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Speaker 2: Cagney in White Heat and whatever was in that suitcase.

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Speaker 2: But how will it fare against another Jimmy Jimmy Stewart

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Speaker 2: in the holiday classic It's a Wonderful Life. I think

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Speaker 2: Jimmy Stewart will play a little.

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Speaker 1: More fair I would expect. So who's cuddlier Bambi for

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Speaker 1: Jimmy Stewart. I don't know.

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Speaker 2: Question, it's a toss up, it is. The Round two

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Speaker 2: matchups are live. You can vote now at filmspotting dot Net.

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Speaker 2: We'll talk through Round one results and some of Round

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Speaker 2: two's toughest matchups later in the show. I've got four

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Speaker 2: that I really had to pause on Josh, not in

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Speaker 2: this episode, but already in the Film Spotting feed wherever

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Speaker 2: you get your podcasts. What I thought was a really lively,

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Speaker 2: really in depth, fun conversation about Kelly Reikert's Meek's cut Off.

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Speaker 2: That film was one of nine movies that's been nominated

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Speaker 2: for induction in the film Spotting Pantheon. I don't want to,

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Speaker 2: you know, spoil anything or put this out there, but

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Speaker 2: Meek's cutoff has to be in real contention for your vote,

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Speaker 2: doesn't it, Josh? One of your votes for the film

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Speaker 2: Spotting Panthers.

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Speaker 1: Yeah? Absolutely. I mean this is going to be tough

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Speaker 1: when we get to it, but yeah, who would have

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Speaker 1: thought we could have gotten a rich conversation out of

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Speaker 1: what you said? It's a shared top twenty five film

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Speaker 1: of the century between us, right, Yes, so there was

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Speaker 1: a lot to dig into for this film. The first

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Speaker 1: time we were able to do that together. It was fun,

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Speaker 1: that's right. Yeah.

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Speaker 2: We reviewed it here on Film Spotting in twenty eleven,

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Speaker 2: just before you joined the show. We did have to

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Speaker 2: give it an official Adam and Josh review for it

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Speaker 2: to be Pantheon eligible. I don't know how long I

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Speaker 2: should have looked this up. How long the original conversation was.

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Speaker 2: I know it wasn't as long as this conversation was now.

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Speaker 2: In fairness, any second conversation is almost certainly going to

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Speaker 2: be longer. But we do have atenially how it works

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Speaker 2: to talk more these days? Here on film Spotting again.

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Speaker 2: To hear that review, go to film spotting dot net

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Speaker 2: or find it wherever you get your podcasts. And you

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Speaker 2: can find more about our little film Spotting Pantheon project

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Speaker 2: at filmspotting dot net slash pantheon. A quick reminder, film

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

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Speaker 2: the show at film spotting dot net or i should

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Speaker 2: say YouTube dot com slash film spotting, and at film

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Speaker 2: spotting dot net you can find all of our episodes,

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Speaker 2: including links to those shows on YouTube. First up, Josh Project,

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Speaker 2: Hail mayor I'm Grace, I'm gonna call you Rocky.

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Speaker 1: We're here for the same reason.

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Speaker 2: His son is eyeing too. We're going to say to

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Speaker 2: our planets, we have to learn how to communicate.

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Speaker 1: Check this out. We've with about two hundred and fifty words.

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Speaker 1: Let's find you a voice. Why in the space? Nope?

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Speaker 2: Why is a scorchyo in space? Tu? This?

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Speaker 1: I am Rocky. I like imagine that you're lost in space,

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Speaker 1: adam a drift desperate for home. You can choose one

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Speaker 1: cinematic space castaway to be stuck with. Here are your options.

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Speaker 1: Matt Damon's no nonsense NASA astronaut in The Martian, Brad

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Speaker 1: Pitt's Estranged Neptune Bound Sun in ad Astra, Ryan Goslin's

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Speaker 1: middle school science teacher in Project hail Mary, who wakes

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Speaker 1: up from a coma on a spaceship in a distant

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Speaker 1: star system with two dead crewmates and little memory of

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Speaker 1: how he got there. While you mull those options, Adam,

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Speaker 1: give a bit more background about the newest of those movies,

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Speaker 1: Project hail Mary. There's a clear connection with the Martian here.

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Speaker 1: Both films are adapted from Andy Weir novels by screenwriter

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Speaker 1: Drew Goddard. While The Martian had Ridley Scott as director.

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Speaker 1: Project hail Mary has been guided by the team behind

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Speaker 1: the Lego movie, Phil Lord and Christopher Miller. Along with Gosling,

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Speaker 1: Hail Mary also stars Sandra Huler as the head of

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Speaker 1: the international agency that sent Gosling's Ryland Grace across the

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Speaker 1: stars on a research mission to find a way to

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Speaker 1: save our dying son. So who do you want to

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Speaker 1: be stuck with, Adam picked your fellow cinematic space castaway,

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Speaker 1: the practical damon the Mopi Pit, or the genial Gosling.

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Speaker 1: I really do want answer, but Honestly, this is just

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Speaker 1: a roundabout way of asking what you think of Gosling's

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Speaker 1: performance here, how does he handle what I guess is

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Speaker 1: now a write of actorly passage the space Bound solo flight.

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Speaker 2: Okay, well let's unpack this. But first I do want

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Speaker 2: to say we put that Meeks cut Off conversation in

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Speaker 2: the feed separately. But I do love it when there's

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Speaker 2: just a little bit of coincidence spotting, because of course

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Speaker 2: we can never plan these things. We could have never

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Speaker 2: known that we'd talk about Meeks Cutoff on the same

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Speaker 2: show or in the same week as Project Hail Mary.

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Speaker 2: And I'm watching Meeks cut Off after Project Hail Mary,

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Speaker 2: and we get to the scene where we've got these

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Speaker 2: these settlers trying to communicate with a member of the

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Speaker 2: Cayuse tribe, and of course they can't understand a word

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Speaker 2: this Native American is saying. And I thought, well, well

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Speaker 2: they if they only had Ryan Gosling's Ryland Grace here,

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Speaker 2: they'd figure out some way to communicate, just like he does.

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Speaker 2: True the alien in Project Hail Mary. No, they're not

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Speaker 2: that sophisticated, and it doesn't go as well, but I'm

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Speaker 2: I'm going to try to unpack your your little hypothetical

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Speaker 2: here because because I love it, and and it makes

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Speaker 2: sense too, because there's so many movies that you have

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Speaker 2: to think about when you watch this movie. You're not

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Speaker 2: only thinking about the Martian, which makes total sense for

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Speaker 2: the reasons you mentioned, but because of the language component,

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Speaker 2: I'm thinking about a rival. But then you're also thinking

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Speaker 2: about how he's communicating essentially with a rock, like Tom

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Speaker 2: Hanks is communicating with a volleyball in in Castaway. And

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Speaker 2: I don't know, I'm sure I have others listed in

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Speaker 2: my notes, So there's a lot of other movies that

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Speaker 2: you do have in mind as you watch this one.

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Speaker 2: The character that you mentioned that I'm the most like,

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Speaker 2: and let's be clear in temperament or damage psychology only,

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Speaker 2: would be be Brad Pitt's character in ad Astra, which

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Speaker 2: is precisely why I could not choose to be stuck

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Speaker 2: with him in Space. I was gonna say, you're gonna

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Speaker 2: weight with yourself? No, the weight of all that sad sollipsism.

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Speaker 2: It would be like a Bergmann movie. Yeah, And that's

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Speaker 2: just that's too heavy. I can't I can't do that.

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Speaker 2: Between the two Andy, we're characters Gosling's Grace and Damon's

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Speaker 2: Mark Wattney.

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Speaker 1: I think that's his name.

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Speaker 2: I'm nothing like either. They're they're scientifically minded, they're resilient,

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Speaker 2: they're resourceful, they're they're good with their hands. Remember Josh,

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Speaker 2: I'm I'm the guy who doesn't want to go camping

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Speaker 2: even if you spotted me the tent so so true.

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Speaker 2: There there's no overlap there. But I think if if

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Speaker 2: your question is who would I who would I rather

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Speaker 2: be stuck with? If I had to choose, it would

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Speaker 2: be Matt Damon's Wotney, Okay, and it's it's because of

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Speaker 2: that kind of more serious, straightforward, no nonsense approach, at

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Speaker 2: least compared to Grace. But I do want to say,

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Speaker 2: let's not forget the hilarious fact that The Martian won

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Speaker 2: the Golden Globe for Best Picture Musical or Comedy. And

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Speaker 2: it wasn't because of the dance numbers. Watney. It did

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Speaker 2: job that, it really did. Wotney is funny too, that's

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Speaker 2: part of the movie's charm, at least a small movies charm.

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Speaker 2: But but he is decidedly more more deadpanned, and I

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Speaker 2: just need someone to balance out my my high strung neuroses,

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Speaker 2: and I think I think Watney's more likely to do

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Speaker 2: that than the also high strung and neurotic Rylan Grace.

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Speaker 2: But here's what I'll say about Grace as we we

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Speaker 2: actually get into talking about this movie, and and one

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Speaker 2: of the main reasons why I like it is that

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Speaker 2: with Grace, if you're stuck with him for two and

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Speaker 2: a half hours in the movie Theater is You, you

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Speaker 2: kind of get three and one. He's kind of a

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Speaker 2: combination of Pitt's character and Damon's character, but he also

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Speaker 2: gives you something that that they don't. As I said,

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Speaker 2: he gives you all of all of Wotney's resourcefulness and

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Speaker 2: scientific brilliance, but there is also just enough of a

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Speaker 2: melancholy about him because of the circumstances that brought him

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Speaker 2: to the ship, which he pieces together as his memory

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Speaker 2: comes back, because of this semi disgraced scientific career that

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Speaker 2: has him teaching middle school. Now he may genuinely like

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Speaker 2: teaching middle school, that doesn't change the fact that he'd

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Speaker 2: probably rather be doing what he's doing more of with

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Speaker 2: this project because of the absence of someone back at

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Speaker 2: home to be brave for. As the movie frames it,

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Speaker 2: also just the circumstances of this mission, right, the dreadful

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Speaker 2: circumstances on which it's needed. But also the fact that

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Speaker 2: I don't think this is a spoiler. It's a one

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Speaker 2: way trip. It's supposed to be a one way trip.

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Speaker 2: That's the whole conceit of this right. So with that

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Speaker 2: all in mind, you can imagine, or you can understand

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Speaker 2: why he might be a little melancholy or more similar

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Speaker 2: to Pitt's character in that regard. And I think Gosling

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Speaker 2: is a serious enough and strong enough drum actor in

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Speaker 2: addition to obviously strong enough comedic talent that he infuses

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Speaker 2: Grace with just enough, you know, just enough McRoy McBride

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Speaker 2: the ad Astra character like tormentedness. That that suggests that

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Speaker 2: the thing that makes him really distinct here from the

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Speaker 2: other two is is that constant verbal banter and even

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Speaker 2: his physical humor, that that that isn't a matter of

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Speaker 2: him just being a really good, impulsive comedian, which there's

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Speaker 2: some of that, of course, but it also seems like

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Speaker 2: it's a defense mechanism. And I think then that there

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Speaker 2: there are enough hinted at, or there are enough on

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Speaker 2: the surface layers to Grace that Gosling and Goddard and

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Speaker 2: Lord and Miller provide that that give a little bit

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Speaker 2: of weight to this character. And I think there's there's

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Speaker 2: a good rule of thumb. I was thinking about this

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Speaker 2: walking out of the movie. Maybe a good rule of

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Speaker 2: thumb that you can apply to almost any movie to

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Speaker 2: know that the marriage of material and lead performers has

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Speaker 2: enough magic to it. And that's when you walk out

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Speaker 2: and you try to consider whether or not any other

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Speaker 2: actor or actress of their generation, of their type, let's say,

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Speaker 2: could play that part, no matter how talented or how

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Speaker 2: much you've enjoyed them in other roles, and you fail

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Speaker 2: or you can't really imagine anyone but Ryan Gosling nailing

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Speaker 2: this part the way Gosling does, And I can't. I

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Speaker 2: can't imagine anyone without Gosling's particular set of skills nailing

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Speaker 2: Ryland Grace. Now, if someone else played it, the reality

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Speaker 2: is I'd probably walk out and think I can't imagine

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Speaker 2: anyone but them doing it. But that's my point, though,

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Speaker 2: is that when it works, you walk out thinking how

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Speaker 2: could anyone but Ryan Gosling play this character? And that

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Speaker 2: is how I felt leaving the theater.

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Speaker 1: Yeah, I get your point. I think that's fair, and

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Speaker 1: I think it's right. I think I'm with you on

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Speaker 1: you know how you saw this character and how you

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Speaker 1: enjoyed the movie. This is This is a good film.

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Speaker 1: I'm glad I saw it. I didn't really have particular

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Speaker 1: expectations for it, except for knowing some of the talent involved,

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Speaker 1: and I think it succeeds along, yeah, along the lines

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Speaker 1: that I probably would have hoped for from this group.

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Speaker 1: I think it's a good test case a role like this.

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Speaker 1: It's more than just star, a marriage of star and material.

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Speaker 1: It's like the star really has to carry the material,

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Speaker 1: you know. I mean, we'll get into the co star here,

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Speaker 1: who eventually Ryland spends a lot of time with, but

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Speaker 1: this is his story and he's alone on the screen

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Speaker 1: for a lot of it. Real quickly to get the

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Speaker 1: silliness out of the way, I think you convinced me

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Speaker 1: that Matt Damon and the Martian is the way to go.

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Speaker 1: My instinct would have been, you know, gossling.

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Speaker 2: Here because he is more entertaining.

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Speaker 1: More entertaining. But then you know, by year three, you'd

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Speaker 1: probably want to kill the guy.

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Speaker 2: As to kill the guy, I knew for sure, Damon,

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Speaker 2: was your answer, I know you better than you know you.

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Speaker 1: Okay, come on, Maybe I mean, yeah, that is the

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Speaker 1: right answer now that I think about it. But maybe

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Speaker 1: it speaks to how much I enjoyed gossling in this room.

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Speaker 1: I just think, and you tapped into, I think the

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Speaker 1: key part. You know, we could have predicted he'd be charismatic,

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Speaker 1: we could have predicted to be charming, predicted to be funny,

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Speaker 1: but there is that other level of melancholy that isn't

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Speaker 1: pushed too hard. But there's a crucial scene fairly early

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Speaker 1: on where I was like, it's a touching scene, but also,

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Speaker 1: you know, the analytical of my mind was, oh, I'm

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Speaker 1: glad we got that. So this isn't going to be

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Speaker 1: a late night show routine the whole time, which I

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Speaker 1: regret using that phrase already. I don't think any of

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Speaker 1: this movie is that, but it could have been that, right,

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Speaker 1: But there's the scene where his two crewmates who have

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Speaker 1: passed away, he's moving their bodies to another part of

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Speaker 1: the ship. He's collected their gat he's essentially recreating a

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Speaker 1: form of funeral for them, and he gives these eulogies

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Speaker 1: and he again his memory has not come back yet.

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Speaker 1: He doesn't know anything about them, so he's basing everything

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Speaker 1: on their polaroids. And there's a hint of humor to

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Speaker 1: what he says, but really there's a genuine effort to

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Speaker 1: offer something personable and meaning personal and meaningful about these people.

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Speaker 2: Yes, and I.

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Speaker 1: Found that incredibly poignant. It gave a needed layer to

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Speaker 1: this movie that also pops up in other instances and

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Speaker 1: also in the performance. So I think, you know, I

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Speaker 1: think it's really strong. And the thing you mentioned about

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Speaker 1: him being a middle school teacher, there is that qualifier

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Speaker 1: that he had set out to be, you know, a

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Speaker 1: research scientist in some form and proposed a theory that

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Speaker 1: was laughed away and now he's teaching. But I think

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Speaker 1: key to this is that. And we see him in

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Speaker 1: the classroom early on. He really likes it. He loves

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Speaker 1: interacting with these kids. He's really good at it. He

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Speaker 1: brings genuine enthusiasm, he likes the kids. And here Adam

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Speaker 1: the he is why this works. When we do move

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Speaker 1: to this relationship with Rocky. This we're going to spoil this.

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Speaker 1: If you don't know anything, this is your point to

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Speaker 1: fast forward. It comes in maybe a third into the

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Speaker 1: third of the way into the movie, maybe halfway at

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Speaker 1: any rate. Once Ryland has made to this destination where

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Speaker 1: he's going trying to figure out what's happening to this

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Speaker 1: other son, he encounters this other spaceship, there's a creature Rocky,

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Speaker 1: that reaches out to him that is essentially mostly what

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Speaker 1: I understand puppetry. Looks like a rock spider to me,

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Speaker 1: multiple legs. Some CGI is involved, but mostly puppetry. I

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Speaker 1: want to talk about James Ortiz giving the vocal and

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Speaker 1: the puppeteer performance here, but going back to Gosling's performance,

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Speaker 1: he relates to Rocky not condescendingly, but the way Ryland

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Speaker 1: related to his students again enthusiastically, affirmingly, as he's trying

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Speaker 1: to learn from him. He's trying to teach Rocky things. Yes,

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Speaker 1: And I think it's a key character trait that this

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Speaker 1: guy's a really good mood middle school teacher, which is

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Speaker 1: like a treasure right too. I mean that's like someone

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Speaker 1: who has that talent is a real gift, and Goslyn

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Speaker 1: has it. It made me think, you know, the puppetry

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Speaker 1: part too. He must have been on the Muppets at

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Speaker 1: some point, right, because he just has that facility for

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Speaker 1: interacting with with and it suns out. It turns out

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Speaker 1: he hasn't. I guess he did like a promo social

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Speaker 1: media thing with Almo for this movie. But unless unless

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Speaker 1: my quick research missed it, he hasn't, and he would

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Speaker 1: just he would nail something like that right, being able

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Speaker 1: to be. I'm charismatic with these imaginary, imaginary creatures. So

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Speaker 1: I think Goslin. Goslyn really pulled this off. Hi Grace,

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Speaker 1: you're in a ball so Rocky no di in great atmosphere.

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Speaker 1: I come up, Oh, you're coming up.

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Speaker 2: Detect him Graven Rocky big sign how to kill after it?

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Speaker 2: I really love that connection you're making because obviously you

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Speaker 2: can see him in the role. There's that clear connection

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Speaker 2: of him acting like a teacher and him, you know,

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Speaker 2: writing like he's sort of writing on a chalkboard, and

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Speaker 2: there's that element of teaching and learning, the reciprocal nature

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Speaker 2: of that. But Rocky is even obviously he has a

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Speaker 2: lot of wisdom that his middle school kids don't have,

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Speaker 2: and he and he learns from them, probably more than

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Speaker 2: he learns from Rocky, probably a little bit more than

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Speaker 2: he learns from his students. But nevertheless, just like middle

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Speaker 2: school or or middle school students nevertheless can teach you

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Speaker 2: something if you listen to them, if you're willing to.

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Speaker 2: And just like those middle school students, Rocky is a

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Speaker 2: little bit too energetic and over excitable. It's right, and

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Speaker 2: he has to learn how to. He has to kind

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Speaker 2: of keep him tethered down a little bit right and

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Speaker 2: try to just you know, keep him focused. So there

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Speaker 2: is there is something to that, absolutely, and and it's

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Speaker 2: actually a perfect transition. I'm really glad that you sing

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Speaker 2: out that scene and and and why that works, and

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Speaker 2: why it gives the movie just enough poignancy, and how

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Speaker 2: it speaks to where the movie doesn't go too far

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Speaker 2: I think pushing the sentimentality or pushing the poignancy, but

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Speaker 2: also gives us just enough comedy. The eulogy scene. Eulogies

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Speaker 2: often are sometimes different people. I was at one, actually,

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Speaker 2: I was at a service this Saturday where it was

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Speaker 2: very poignant, but the person giving it was an actor,

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Speaker 2: and so of course they leaned into the humor. They

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Speaker 2: leaned into the performance, and you know what, it it

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Speaker 2: worked like Gangbusters. They pulled it off, they nailed it.

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Speaker 2: So there was a lot more humor there but eulogies

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Speaker 2: tend to have some jokes in them. They need they

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Speaker 2: need similarvity to cut that right. So there's a little

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Speaker 2: bit of that there, But you're absolutely right. For the

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Speaker 2: most part, it's about honoring those two people. It's meaningful,

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Speaker 2: and there's a real sensitivity and emotion and that Grace

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Speaker 2: as the movie tends to refer to him, so I'll

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Speaker 2: call him Grace. That grace shows in that scene. So

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Speaker 2: this is the next thing I wanted to say about

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Speaker 2: why I think the movie works and why I think

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Speaker 2: Gosling works in the role is and it's not just

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Speaker 2: praise for him. It speaks to this marriage of the

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Speaker 2: collaborators and their shared sensibility. Is Gosling's unabashed sensitivity, and

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Speaker 2: I think all speak to I won't spoil it, but

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Speaker 2: there's a scene where there is, let's say, a particularly

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Speaker 2: major revelation and once we get that and we know

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Speaker 2: he's going to feel all sorts of ways about it,

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Speaker 2: and it cuts to a close up of him and Gosling.

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Speaker 2: His character is immediately in tears, and Josh, I think

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Speaker 2: a lot of other actors playing this character, even playing

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Speaker 2: him ostensibly as nerdy as Gosling plays him a lot

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Speaker 2: of other actors. Honestly, I think would still be trying

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Speaker 2: to play that in a more conventionally masculine way. I

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Speaker 2: think they would be trying to fight back the tears.

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Speaker 2: They'd be trying to play it a little more tougher,

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Speaker 2: a little tougher they'd be. They'd be playing up the arc.

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Speaker 2: And there's this element I referenced this earlier. They'd be

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Speaker 2: playing the arc more of of whether or not he's

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Speaker 2: he's finally being brave or not. And I think they'd

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Speaker 2: be trying to show that bravery gozzling Lord Miller, Goddard.

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Speaker 2: They have no problems just going right to tears in

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Speaker 2: that scene. And and I think, and and I think

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Speaker 2: that that character's lack of bravery, lack of conventional masculine bravery,

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Speaker 2: is a key underpinning of the story. And I think

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Speaker 2: that that sensitivity and that willingness to show it is

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Speaker 2: something that really makes this film work. And it's tapping

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Speaker 2: into something that is not unique to Gosling, but but

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Speaker 2: it is something that that he certainly has available to him.

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Speaker 2: It's a it's a faculty he has as an actor.

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Speaker 2: But here's the other thing he has, maybe even more

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Speaker 2: than that that they tap into Josh, And I wonder

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Speaker 2: if you you noticed this too, or if I'm making

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Speaker 2: too much out of it, because I know this is

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Speaker 2: something that you are often really struck by and tend

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Speaker 2: to be more judgmental about, at least when it's it's

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Speaker 2: something that's a more blatant element of movies. That joke

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Speaker 2: before about The Martian winning the Globe for Best Picture

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Speaker 2: Musical or Comedy, even though it actually did. Project Hail

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Speaker 2: Mary probably will too, and it would actually deserve it,

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Speaker 2: because it's not only more of a comedy, but there

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Speaker 2: are scenes where Gosling really gets to move. And I

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Speaker 2: don't just mean those kind of silly scenes with Rocky

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Speaker 2: where he actually dances yea and Rocky, you know, mirrors him,

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Speaker 2: which which are fine, But I mean how often Lord

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Speaker 2: and Miller take advantage of Gosling's body in motion. And

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Speaker 2: I think this is another way too that the movie.

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Speaker 2: There is and and and it's not just the physical

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Speaker 2: comedy jokes though, which is a huge part of it.

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Speaker 2: But I think this is another way the movie distinguishes

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Speaker 2: itself from The Martian, at least in my memory, where

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Speaker 2: Damon is either often sitting still, or he's just more

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Speaker 2: of a straight line kind of physical performer. But because

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Speaker 2: of Gosling's dexterity as a dancer, not only do these

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Speaker 2: ships twirl and whirl in space, but frequently so does Grace.

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Speaker 2: Sometimes it's not even in space. So I remember early on.

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Speaker 2: I didn't jot it down. I remember early on, even

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Speaker 2: in the classroom, the way he moves is a bit

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Speaker 2: like a dancer. Scenes with Carl he's just so he's

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Speaker 2: so physically aggressive, and he's so graceful when he's moving.

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Speaker 2: It was it seemed to me a very intentional effort

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Speaker 2: on the part of the filmmakers to take advantage of

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Speaker 2: Gosling's ability to move. And I mean even as a dancer.

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Speaker 2: And I'm referencing with the twirling and whirling. You know,

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Speaker 2: there's a scene where it's almost a musical number. The

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Speaker 2: violin start, the music starts, the ships start twirling with

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Speaker 2: each other in a centrifugal way. But along with that

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Speaker 2: is the way the way Grace moves, the way he

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Speaker 2: the way he leaps in certain scenes, and I just

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Speaker 2: think that it's it's fun to watch Gosling move like that.

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Speaker 1: Yeah, No, I appreciated that as as well. I mean,

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Speaker 1: they do some of them do verge on musical numbers.

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Speaker 1: I think they get a lot of humor out of it, honestly,

424
00:24:45,405 --> 00:24:49,365
Speaker 1: that that I enjoyed early on. There's the entire montage

425
00:24:49,445 --> 00:24:54,605
Speaker 1: when he wakes up from this coma completely confused and

426
00:24:55,125 --> 00:24:59,165
Speaker 1: is exploring the space station, and how do they how

427
00:24:59,165 --> 00:25:02,965
Speaker 1: do they handle that montage comically? Right'll his head will

428
00:25:03,045 --> 00:25:05,365
Speaker 1: like suddenly you'll have a shot of a long tunnel

429
00:25:05,405 --> 00:25:07,925
Speaker 1: of the spaceship and then you have Gosling's head just

430
00:25:07,965 --> 00:25:10,925
Speaker 1: pop up like a mirrkat, you know, And there's a

431
00:25:11,045 --> 00:25:14,405
Speaker 1: there's a couple of shots like that. And you mentioned

432
00:25:14,565 --> 00:25:16,805
Speaker 1: there's a lot of visual humor in the filmmaking here,

433
00:25:16,885 --> 00:25:19,125
Speaker 1: which I suppose we should expect from Lord and Miller.

434
00:25:19,165 --> 00:25:23,085
Speaker 1: But I like the marriage of that with this two

435
00:25:23,125 --> 00:25:27,125
Speaker 1: thousand and one setting of grandeur, and which we get

436
00:25:27,165 --> 00:25:29,605
Speaker 1: some very especially use of color, Like there is some

437
00:25:29,725 --> 00:25:33,845
Speaker 1: visual beauty here, but there's also a comic sensibility approach.

438
00:25:33,885 --> 00:25:37,525
Speaker 1: So here the famous two thousand and one Oh gosh,

439
00:25:37,605 --> 00:25:40,125
Speaker 1: what the Blue Danube is? That? Is that the music

440
00:25:40,485 --> 00:25:43,405
Speaker 1: that's played in the sequence of the space you're going

441
00:25:43,445 --> 00:25:43,805
Speaker 1: to make.

442
00:25:43,685 --> 00:25:46,405
Speaker 2: Both of us look better. It's sad being able to.

443
00:25:46,765 --> 00:25:50,285
Speaker 1: I'll guarantee you it sure entirely incorrect. I'm mispronouncing it,

444
00:25:50,325 --> 00:25:52,285
Speaker 1: so either way I lost. But you know what I'm

445
00:25:52,285 --> 00:25:55,645
Speaker 1: talking about. The version here, the Blue Danube, You were right,

446
00:25:56,125 --> 00:25:59,244
Speaker 1: Blue Danube. Okay, thank you. The version here is a

447
00:25:59,285 --> 00:26:04,325
Speaker 1: comic one where this is after Gosling has recognized Rocky ship.

448
00:26:04,405 --> 00:26:07,325
Speaker 1: They haven't contacted yet, but the ship has appeared and

449
00:26:07,365 --> 00:26:10,325
Speaker 1: his instinct is to panic and fly away from it,

450
00:26:10,685 --> 00:26:14,205
Speaker 1: and then Rocky ship follows him. Right. Well, this could

451
00:26:14,285 --> 00:26:17,725
Speaker 1: be a tense dramatic chase sequence, but no, Lord and

452
00:26:17,725 --> 00:26:20,885
Speaker 1: Miller play it for comedy, where you have you have

453
00:26:21,485 --> 00:26:24,845
Speaker 1: Grace's ship just jut forward across the cosmos like a

454
00:26:24,885 --> 00:26:28,085
Speaker 1: little bit, and then Rockies follow it a little bit more.

455
00:26:28,405 --> 00:26:31,685
Speaker 1: And that doesn't sound funny, of course, but visually it

456
00:26:31,765 --> 00:26:33,765
Speaker 1: is something you'd see more, let's just say, in a

457
00:26:33,765 --> 00:26:36,765
Speaker 1: Looney Tunes cartoon than in a Kubrick space picture. And

458
00:26:36,845 --> 00:26:40,605
Speaker 1: it works. And I do like that they brought a

459
00:26:40,605 --> 00:26:45,205
Speaker 1: little bit different of a sensibility to this space grandeur

460
00:26:45,405 --> 00:26:48,245
Speaker 1: that we would normally get with a story like this

461
00:26:48,645 --> 00:26:53,045
Speaker 1: without lampooning it or making it silly, right, They still

462
00:26:53,085 --> 00:26:56,525
Speaker 1: recognize the grandeurs there, but they're having some with some

463
00:26:56,605 --> 00:27:00,205
Speaker 1: fun with the comic visual possibilities as well.

464
00:27:00,285 --> 00:27:03,845
Speaker 2: You alluded to this earlier or mentioned it earlier as well,

465
00:27:03,885 --> 00:27:05,245
Speaker 2: and I want to single it out as a real

466
00:27:05,285 --> 00:27:08,285
Speaker 2: strength of this movie. I didn't learn until after I

467
00:27:08,285 --> 00:27:11,485
Speaker 2: saw it that there was apparently no green screen used

468
00:27:11,525 --> 00:27:14,605
Speaker 2: on the movie. But you know, obviously with a movie

469
00:27:14,605 --> 00:27:16,525
Speaker 2: like this, there are going to be some digital effects,

470
00:27:16,525 --> 00:27:21,565
Speaker 2: there's going to be cgi but watching it, you get

471
00:27:21,605 --> 00:27:26,165
Speaker 2: the feeling that it is predominantly practical. You can tell,

472
00:27:26,325 --> 00:27:29,125
Speaker 2: and this movie needs to be because it is about

473
00:27:29,205 --> 00:27:32,805
Speaker 2: these resourceful, resilient characters. That is that is built into

474
00:27:32,845 --> 00:27:38,325
Speaker 2: the DNA of apparently these Andy Weir novels. At least

475
00:27:38,725 --> 00:27:42,085
Speaker 2: it's about duct tape. The movie has to feel that way.

476
00:27:42,525 --> 00:27:46,165
Speaker 2: It has to emanate off the screen or the film

477
00:27:46,285 --> 00:27:50,565
Speaker 2: doesn't work. And you understand in every moment of the

478
00:27:50,565 --> 00:27:53,885
Speaker 2: movie that it is an actual set and that Rocky

479
00:27:54,245 --> 00:27:57,765
Speaker 2: feels like a physical entity. And so there's a physicality

480
00:27:57,765 --> 00:28:00,605
Speaker 2: to Gosling that works. But there's a physicality to Rocky

481
00:28:00,885 --> 00:28:04,805
Speaker 2: and also to the actual spaces that they inhabit. It's

482
00:28:04,845 --> 00:28:09,605
Speaker 2: crucial to the movie's success. And it absolutely works here.

483
00:28:09,885 --> 00:28:12,645
Speaker 2: And I'll say a couple of times, and this is

484
00:28:12,725 --> 00:28:15,365
Speaker 2: just on me. It's it's I'm going to use it

485
00:28:15,365 --> 00:28:17,725
Speaker 2: as praise for the movie, not an example of me

486
00:28:17,965 --> 00:28:20,885
Speaker 2: being pulled out. It's on me for doing it. But

487
00:28:21,445 --> 00:28:24,845
Speaker 2: you know that it's working. The the sort of miracle

488
00:28:24,925 --> 00:28:26,845
Speaker 2: of it or the magic of the movie, because there

489
00:28:26,845 --> 00:28:28,484
Speaker 2: were a couple of times Josh for I had to

490
00:28:28,605 --> 00:28:30,205
Speaker 2: I had to just kind of sit back and go,

491
00:28:31,805 --> 00:28:35,925
Speaker 2: this is Ryan Gosling sitting on a set talking to

492
00:28:36,005 --> 00:28:38,445
Speaker 2: a rock, talking to a you know what I mean,

493
00:28:38,605 --> 00:28:41,805
Speaker 2: Like these these kinds this isn't happening. Of course, it's

494
00:28:41,805 --> 00:28:44,645
Speaker 2: you know, it's like it's like, you know, Tom Hanks

495
00:28:44,645 --> 00:28:47,885
Speaker 2: talking to a volleyball, you know, and yet and yet

496
00:28:48,005 --> 00:28:52,085
Speaker 2: watching it the magic of movies, you truly do feel

497
00:28:52,285 --> 00:28:56,645
Speaker 2: as if it is they are they are two buddies,

498
00:28:56,885 --> 00:28:59,365
Speaker 2: they are they are friends. You feel like they are

499
00:28:59,485 --> 00:29:03,045
Speaker 2: linked for life, and you you feel as strongly about

500
00:29:03,125 --> 00:29:07,205
Speaker 2: Rocky as a as a character as you do about

501
00:29:07,245 --> 00:29:09,765
Speaker 2: Grace and and the fact that that move the movie

502
00:29:09,805 --> 00:29:13,645
Speaker 2: can pull it off because of the writing, but also

503
00:29:13,725 --> 00:29:16,085
Speaker 2: because of the practical effects. I think is a key

504
00:29:16,125 --> 00:29:19,885
Speaker 2: part of it. That that here again is why it's

505
00:29:19,885 --> 00:29:20,805
Speaker 2: how you know the movie is.

506
00:29:20,805 --> 00:29:25,485
Speaker 1: Work absolutely And yeah, just to call out James Ortiz again,

507
00:29:25,565 --> 00:29:28,445
Speaker 1: who I was looking up, you know, was the puppeteer

508
00:29:28,445 --> 00:29:31,405
Speaker 1: for Rocky originally hired for that had done i think

509
00:29:31,445 --> 00:29:35,765
Speaker 1: some Broadway work that was similar in terms of being

510
00:29:35,805 --> 00:29:40,325
Speaker 1: a puppeteer and gave the voice performance and they heavily

511
00:29:40,365 --> 00:29:43,005
Speaker 1: filtered it and ended up using that for the final

512
00:29:43,085 --> 00:29:45,765
Speaker 1: voice of Rocky as well. And you get this combo.

513
00:29:45,885 --> 00:29:49,885
Speaker 1: It's like a tech garble. It actually reminded me of

514
00:29:50,005 --> 00:29:52,365
Speaker 1: a film we both liked a lot at recent film

515
00:29:52,365 --> 00:29:55,525
Speaker 1: Tuesday with Julia Louis Dreyfuss, and featured this giant talking

516
00:29:55,605 --> 00:30:00,005
Speaker 1: macaw and that was, you know, performed on set by

517
00:30:00,205 --> 00:30:03,725
Speaker 1: Rinzay Kenney who also provided the voice, and then effects

518
00:30:03,725 --> 00:30:06,045
Speaker 1: were layered on top of that. But just this sense

519
00:30:06,045 --> 00:30:09,565
Speaker 1: of having something on set for an actor to respond to,

520
00:30:10,805 --> 00:30:14,725
Speaker 1: in both cases providing acting as well non traditional acting.

521
00:30:15,405 --> 00:30:17,245
Speaker 1: But that's a key part of it, you know. That's

522
00:30:17,245 --> 00:30:19,085
Speaker 1: why I like that you mentioned this is a collaboration.

523
00:30:19,165 --> 00:30:21,605
Speaker 1: You have to have an actor like Gostling who's capable

524
00:30:21,645 --> 00:30:25,525
Speaker 1: of something like this or teas with these very particular talents,

525
00:30:25,525 --> 00:30:27,925
Speaker 1: and then Lord Miller, who are able to you know,

526
00:30:28,045 --> 00:30:32,205
Speaker 1: manage all of these sensibilities together. So yeah, it really,

527
00:30:32,325 --> 00:30:34,565
Speaker 1: it really does work. There's a lot of things about

528
00:30:34,605 --> 00:30:37,925
Speaker 1: Project tel Mary that could have not only not worked,

529
00:30:38,005 --> 00:30:41,565
Speaker 1: but not worked in a really bad way, and I

530
00:30:41,645 --> 00:30:47,165
Speaker 1: think instead they managed to make this a really entertaining,

531
00:30:47,245 --> 00:30:48,605
Speaker 1: thought provoking experience.

532
00:30:49,365 --> 00:30:51,485
Speaker 2: One other quick note about Ortiz. I don't know if

533
00:30:51,525 --> 00:30:53,525
Speaker 2: you saw this. I think it it popped up in

534
00:30:53,565 --> 00:30:55,845
Speaker 2: my Instagram reels, but it kind of reminds me of

535
00:30:55,885 --> 00:30:59,525
Speaker 2: the story about David Lynch. Apparently, you know, one of

536
00:30:59,565 --> 00:31:03,925
Speaker 2: the most infamous characters in TV history, Bob from Twin Peaks,

537
00:31:04,285 --> 00:31:07,125
Speaker 2: and the guy who plays Bob is just you know,

538
00:31:07,205 --> 00:31:09,245
Speaker 2: some guy on the set who had some other role

539
00:31:09,485 --> 00:31:11,005
Speaker 2: and they just kind of put him in. Not that

540
00:31:11,045 --> 00:31:14,045
Speaker 2: it's apples to apples, but James Ortiz, apparently, you know,

541
00:31:14,325 --> 00:31:20,005
Speaker 2: was just hired to be the puppeteer. Yeah, and what

542
00:31:20,085 --> 00:31:22,445
Speaker 2: they found he was not going to do the voice work.

543
00:31:22,885 --> 00:31:26,725
Speaker 2: But what they found was, of course because he was

544
00:31:26,805 --> 00:31:31,405
Speaker 2: doing all the physical work. He was such a good collaborator.

545
00:31:31,685 --> 00:31:36,285
Speaker 2: He knew he understood Rocky so well, and he was

546
00:31:36,485 --> 00:31:40,085
Speaker 2: he was playing off of Goslings so well he understood

547
00:31:40,085 --> 00:31:43,245
Speaker 2: how Rocky thought, and he not only moved, but thought

548
00:31:43,565 --> 00:31:46,325
Speaker 2: basically that they realized that it's like, what are we doing?

549
00:31:46,365 --> 00:31:49,525
Speaker 2: He needs to be Rocky and that's how it ended

550
00:31:49,605 --> 00:31:51,565
Speaker 2: up happening. And it's funny because he talked about how

551
00:31:51,565 --> 00:31:53,965
Speaker 2: he's actually now you won't be able to unhear it

552
00:31:54,005 --> 00:31:56,885
Speaker 2: a little bit. He's channeling Catherine Hepburn a little bit

553
00:31:57,285 --> 00:31:59,885
Speaker 2: with his rocky voice. So it is, I think, a

554
00:31:59,925 --> 00:32:02,285
Speaker 2: really great performance and I do want at least mention

555
00:32:02,365 --> 00:32:05,965
Speaker 2: before we go. I mean, not surprising because we've loved

556
00:32:05,965 --> 00:32:09,605
Speaker 2: her in other films, but Sondra Huler I think brings

557
00:32:09,925 --> 00:32:12,525
Speaker 2: exactly I mean the right tone to this as well,

558
00:32:12,565 --> 00:32:17,165
Speaker 2: because she has a role that could be thankless and

559
00:32:17,205 --> 00:32:19,885
Speaker 2: actually could derail this movie a little bit. She has

560
00:32:19,925 --> 00:32:23,685
Speaker 2: to be the international ice queen, you know, talk about

561
00:32:23,725 --> 00:32:25,845
Speaker 2: no nonsense, you know. She she has to be the

562
00:32:25,925 --> 00:32:30,205
Speaker 2: just completely serious boss who's completely ruthless, who's just about

563
00:32:30,285 --> 00:32:32,245
Speaker 2: you know. Yes, she wants to save the planet, so

564
00:32:32,285 --> 00:32:35,285
Speaker 2: of course she has compassion, but she will do whatever

565
00:32:35,285 --> 00:32:39,045
Speaker 2: it takes and that's that's who she is. And she

566
00:32:39,165 --> 00:32:44,085
Speaker 2: barely if ever cracks a smile, and and she could

567
00:32:44,125 --> 00:32:47,125
Speaker 2: then veer. It'd be very easy for a performer, I think,

568
00:32:47,165 --> 00:32:51,205
Speaker 2: to veer too far into that and and almost actually

569
00:32:51,285 --> 00:32:57,605
Speaker 2: lean into comic territory because they're overplaying that sternness. And

570
00:32:57,605 --> 00:33:00,565
Speaker 2: and here, like I was saying, with Gosling, who plays

571
00:33:00,605 --> 00:33:04,245
Speaker 2: the comedy and shows just enough of the dramatic or

572
00:33:04,285 --> 00:33:09,205
Speaker 2: the poignancy, I think she she shows just enough. She

573
00:33:09,205 --> 00:33:12,005
Speaker 2: she cracks just enough of a smile without ever showing

574
00:33:12,005 --> 00:33:14,205
Speaker 2: her teeth. Yeah, you under you right that you know there,

575
00:33:14,245 --> 00:33:16,165
Speaker 2: You know there's a person in there. You see the

576
00:33:16,205 --> 00:33:19,805
Speaker 2: person beneath the boss all of the time. And I

577
00:33:19,845 --> 00:33:24,165
Speaker 2: don't know about you, but that that moment where we

578
00:33:24,285 --> 00:33:27,765
Speaker 2: get a musical performance has to be a contender for

579
00:33:27,965 --> 00:33:30,405
Speaker 2: music moment or it's gonna go on the list. And

580
00:33:30,565 --> 00:33:32,245
Speaker 2: I think the reason why is because not only is

581
00:33:32,285 --> 00:33:36,245
Speaker 2: she a great she's a pretty good at least musical performer.

582
00:33:36,405 --> 00:33:39,925
Speaker 2: And we knew that because she has won a music

583
00:33:40,005 --> 00:33:44,605
Speaker 2: moment previously the show's history. But but that moment actually

584
00:33:45,645 --> 00:33:49,965
Speaker 2: serves a dramatic function. It serves a practical function in

585
00:33:50,005 --> 00:33:52,325
Speaker 2: the construct of the story as well. And with her

586
00:33:52,405 --> 00:33:53,725
Speaker 2: character in Grace's character.

587
00:33:54,205 --> 00:33:56,405
Speaker 1: Yeah, I was. When that moment came, I was like, oh,

588
00:33:56,525 --> 00:33:58,765
Speaker 1: is this why she's in this movie? Like that they

589
00:33:58,805 --> 00:34:00,045
Speaker 1: saw Tony Erdman.

590
00:34:00,165 --> 00:34:02,605
Speaker 2: And are like, oh, or is apparently it wasn't originally

591
00:34:02,605 --> 00:34:03,245
Speaker 2: in the script?

592
00:34:03,685 --> 00:34:06,485
Speaker 1: Well or did she demand it? She's like, I'll be

593
00:34:06,525 --> 00:34:08,685
Speaker 1: in her movie, but I gotta get to sing. But

594
00:34:08,725 --> 00:34:11,125
Speaker 1: I agree with you. She's I'm still not quite sure

595
00:34:11,125 --> 00:34:14,045
Speaker 1: why she's in the movie, but she's about as good

596
00:34:14,085 --> 00:34:16,685
Speaker 1: as you could be in this part. And she's good.

597
00:34:16,364 --> 00:34:20,165
Speaker 1: She's she's dryly funny, which to your point, the part

598
00:34:20,285 --> 00:34:23,725
Speaker 1: needs to have to be just like twenty percent more interesting,

599
00:34:23,844 --> 00:34:24,605
Speaker 1: and it is so.

600
00:34:25,765 --> 00:34:29,125
Speaker 2: Projectail Mary currently playing in wide release. If you've seen it,

601
00:34:29,205 --> 00:34:32,325
Speaker 2: and we're guessing you have because a lot of the

602
00:34:32,325 --> 00:34:35,404
Speaker 2: world has, and if you agree or disagree with our thoughts,

603
00:34:35,445 --> 00:34:39,125
Speaker 2: we would love to hear from feedback at filmspotting dot net.

604
00:34:41,645 --> 00:34:43,285
Speaker 1: Adam, we had a lot of good things to say

605
00:34:43,365 --> 00:34:46,844
Speaker 1: about projectail Mary, and we touched on this, but could

606
00:34:46,845 --> 00:34:51,085
Speaker 1: have spent more time on the visual splendor of this

607
00:34:51,165 --> 00:34:54,485
Speaker 1: space movie, which I think is one of its qualities

608
00:34:54,525 --> 00:34:57,485
Speaker 1: along with all the other things we discussed in detail.

609
00:34:57,605 --> 00:35:01,445
Speaker 1: And I'm so glad that I had a chance to

610
00:35:01,525 --> 00:35:03,445
Speaker 1: see it not just in a theater, but a theater

611
00:35:04,005 --> 00:35:06,844
Speaker 1: with a big screen, the sort of screens you're going

612
00:35:06,885 --> 00:35:12,285
Speaker 1: to find at Regal Cinemas, and a movie like Projectail Mary.

613
00:35:12,325 --> 00:35:15,285
Speaker 1: If you had Regal Unlimited, you would have a chance

614
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Speaker 1: to see it for free through this program. Regal Unlimited

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Speaker 1: now in the Regal app or at the link in

626
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Speaker 1: our description and use code film Spot twenty six to

627
00:36:03,885 --> 00:36:11,844
Speaker 1: receive your discount. Adam, let's thank a couple of our

628
00:36:11,885 --> 00:36:16,765
Speaker 1: film spotting family members. But first let's tell folks who

629
00:36:16,805 --> 00:36:19,085
Speaker 1: have enjoined the family. Why they should. Here's what you

630
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632
00:36:26,805 --> 00:36:30,605
Speaker 1: can join the Family discord whenever you want. Sam writes

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00:36:30,685 --> 00:36:34,245
Speaker 1: a weekly film spotting Family newsletter, and then we offer

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Speaker 1: pre sales and discounts for our special events. That's all

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636
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637
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Speaker 2: Yeah, I'm going to say pro rated. I'm not good

638
00:36:46,845 --> 00:36:49,205
Speaker 2: with business. I don't know if I'm using that term correctly,

639
00:36:49,245 --> 00:36:51,565
Speaker 2: but if you pro rated it out to just five

640
00:36:51,685 --> 00:36:55,285
Speaker 2: seventy five per month, you also get complete archive access

641
00:36:55,325 --> 00:36:58,045
Speaker 2: in addition to all of the things you mentioned. Going

642
00:36:58,085 --> 00:37:00,285
Speaker 2: back the archive to two thousand and five, it's like

643
00:37:00,325 --> 00:37:04,364
Speaker 2: twelve hundred plus episodes total. That is just seventy six

644
00:37:04,445 --> 00:37:08,525
Speaker 2: cents more per month with that annual Family plus plan.

645
00:37:09,125 --> 00:37:13,285
Speaker 2: Producer Sam has decided to spell it out even further.

646
00:37:13,645 --> 00:37:16,565
Speaker 2: You want math, it's less than seven hundreds of a

647
00:37:16,605 --> 00:37:22,325
Speaker 2: penny per archive episode. Okay, so we've done a lot

648
00:37:22,365 --> 00:37:26,245
Speaker 2: of talking over the years, and that seems like, you know,

649
00:37:26,925 --> 00:37:28,485
Speaker 2: a very small sum to.

650
00:37:28,445 --> 00:37:34,364
Speaker 1: Pay seven hundredths of a penny per archive episode. Yeah,

651
00:37:34,485 --> 00:37:37,445
Speaker 1: let's let's get that all over social media, print the

652
00:37:37,445 --> 00:37:42,965
Speaker 1: T shirts. Yeah that's great, But I think let's also

653
00:37:43,045 --> 00:37:46,765
Speaker 1: thank family plus members Eric Jensen, who's in Union, New Jersey,

654
00:37:46,805 --> 00:37:50,285
Speaker 1: and Brady in southern California. Eric wrote in although I

655
00:37:50,325 --> 00:37:53,364
Speaker 1: can't recall how I started listening to Film Spotting, I

656
00:37:53,405 --> 00:37:55,445
Speaker 1: can tell you from going back and listening to old

657
00:37:55,485 --> 00:37:58,725
Speaker 1: episodes why I've been listening weekly for a decade. The

658
00:37:58,725 --> 00:38:01,805
Speaker 1: show has always felt natural, nothing feels forced, feels like

659
00:38:01,845 --> 00:38:04,325
Speaker 1: we've been invited to hang with two friends who genuinely

660
00:38:04,365 --> 00:38:06,525
Speaker 1: love movies and want to share their love with us.

661
00:38:06,805 --> 00:38:09,685
Speaker 1: I can safely say that Film Spotting has been, if

662
00:38:09,685 --> 00:38:11,805
Speaker 1: not the reason I became a centophile, one of the

663
00:38:11,805 --> 00:38:12,685
Speaker 1: main reasons.

664
00:38:13,045 --> 00:38:16,525
Speaker 2: That's nice to hear. Brady says. A couple of years ago,

665
00:38:16,605 --> 00:38:19,165
Speaker 2: I watched Paris, Texas for the first time and was

666
00:38:19,205 --> 00:38:22,125
Speaker 2: floored this. This has one of my favorite lines in

667
00:38:22,525 --> 00:38:25,245
Speaker 2: a recent listener email. In it, Josh, I thought, why

668
00:38:25,285 --> 00:38:27,725
Speaker 2: aren't more people talking about this movie? I should be

669
00:38:27,765 --> 00:38:30,925
Speaker 2: having water cooler conversations about this movie at work. They

670
00:38:30,965 --> 00:38:33,325
Speaker 2: should be talking about this movie on the news.

671
00:38:34,805 --> 00:38:35,085
Speaker 1: Wow.

672
00:38:36,885 --> 00:38:39,645
Speaker 2: I mean what a world where it was almost my

673
00:38:39,765 --> 00:38:42,924
Speaker 2: reaction to Paris Texas. We loved it. I went looking

674
00:38:42,965 --> 00:38:45,885
Speaker 2: for podcasts to hear what more articulate cinephiles had to

675
00:38:45,885 --> 00:38:48,445
Speaker 2: say about it. I found the Paris Texas episode, was

676
00:38:48,445 --> 00:38:51,605
Speaker 2: hooked by the dialogue and have been keeping up ever since.

677
00:38:51,605 --> 00:38:54,765
Speaker 2: And you know, I should dig into this a little

678
00:38:54,805 --> 00:38:59,445
Speaker 2: further with Brady because Paris Texas was originally a bonus

679
00:38:59,485 --> 00:39:04,125
Speaker 2: conversation just for family members, if I recall correctly, I

680
00:39:04,205 --> 00:39:07,285
Speaker 2: think at some point we did there was a reason

681
00:39:07,325 --> 00:39:09,725
Speaker 2: why we dropped it in the main feed, which we

682
00:39:09,765 --> 00:39:12,925
Speaker 2: don't usually do exclusive contents exclusive content, but I think

683
00:39:12,965 --> 00:39:15,405
Speaker 2: there was a reason why we did. So maybe Brady

684
00:39:15,925 --> 00:39:18,685
Speaker 2: found it, he heard it in the in the in

685
00:39:18,765 --> 00:39:21,725
Speaker 2: the main feed, and then became a family member because

686
00:39:21,725 --> 00:39:24,525
Speaker 2: of it, or maybe he saw that it was exclusive

687
00:39:24,525 --> 00:39:27,085
Speaker 2: content and became a family member to hear it. I'll

688
00:39:27,085 --> 00:39:29,165
Speaker 2: have to check that out with Brady. But yeah, that

689
00:39:29,205 --> 00:39:31,445
Speaker 2: was a that was a really good, good review, at

690
00:39:31,565 --> 00:39:34,045
Speaker 2: least I remember fondly good fun.

691
00:39:34,885 --> 00:39:37,965
Speaker 1: I hope Brady isn't like splicing into the cable cord

692
00:39:38,045 --> 00:39:41,085
Speaker 1: and stealing bonus episodes, and that how he that's how

693
00:39:41,085 --> 00:39:41,485
Speaker 1: he got.

694
00:39:41,525 --> 00:39:43,485
Speaker 2: I'm sure, I'm sure not. And you know, you know,

695
00:39:43,525 --> 00:39:46,045
Speaker 2: Sam's gonna include this comment from Eric that his favorite

696
00:39:46,045 --> 00:39:49,645
Speaker 2: show segment is Massacre Theater. It's almost always, he says,

697
00:39:49,765 --> 00:39:52,325
Speaker 2: a lock for a good laugh. So that means sometimes

698
00:39:52,565 --> 00:39:55,444
Speaker 2: it's not good for a laugh. See, I'm gonna draw

699
00:39:55,525 --> 00:39:59,005
Speaker 2: on that, but he says, Eric says, long live Massacre Theater.

700
00:39:59,765 --> 00:40:02,525
Speaker 1: There you go, Eric, appreciate the support, all right. The

701
00:40:02,525 --> 00:40:05,205
Speaker 1: film that Brady credits with becoming a cinophile, this is

702
00:40:05,245 --> 00:40:08,765
Speaker 1: this is kind of wild, The blurir Witch Project. When

703
00:40:08,765 --> 00:40:11,245
Speaker 1: I was seven, I snuck into the back of the

704
00:40:11,245 --> 00:40:14,245
Speaker 1: living room after bedtime. I knew my parents were planning

705
00:40:14,285 --> 00:40:16,765
Speaker 1: to watch a rented VHS tape of this new movie

706
00:40:17,005 --> 00:40:19,525
Speaker 1: that had taken the country by storm. I made it

707
00:40:19,605 --> 00:40:23,045
Speaker 1: deep into the runtime before I was finally caught. I

708
00:40:23,165 --> 00:40:26,005
Speaker 1: begged to finish the movie, and by some miracle, convinced

709
00:40:26,005 --> 00:40:29,685
Speaker 1: my parents that I could separate fiction from reality. I

710
00:40:29,725 --> 00:40:32,685
Speaker 1: was allowed to stay on the condition that I don't

711
00:40:32,725 --> 00:40:36,485
Speaker 1: tell my classmates or teacher. In the post movie debrief,

712
00:40:37,045 --> 00:40:39,805
Speaker 1: my parents emphasized how amazing it was that we had

713
00:40:39,845 --> 00:40:41,845
Speaker 1: all been terrified by something that looked like one of

714
00:40:41,845 --> 00:40:45,765
Speaker 1: our home videos. It was an eye opening experience realizing

715
00:40:45,805 --> 00:40:48,405
Speaker 1: what some kids with the camera had pulled off. I

716
00:40:48,445 --> 00:40:50,765
Speaker 1: really do credit blair Witch with showing me that movies

717
00:40:50,845 --> 00:40:54,725
Speaker 1: can create thought provoking emotional experiences. Also, my mom says

718
00:40:54,725 --> 00:40:57,285
Speaker 1: I made it about a week before I let slip

719
00:40:57,325 --> 00:41:00,725
Speaker 1: that I recognized the birch trees in my science textbook

720
00:41:00,805 --> 00:41:07,685
Speaker 1: from somewhere else. Uh oh Man, school counselor appointment immediately?

721
00:41:07,885 --> 00:41:08,885
Speaker 1: Is that what happened?

722
00:41:09,365 --> 00:41:12,365
Speaker 2: How about that though age seven and in the impulse

723
00:41:12,725 --> 00:41:16,685
Speaker 2: was to keep watching, not to run away terrified, like

724
00:41:16,765 --> 00:41:17,844
Speaker 2: my response would have been.

725
00:41:18,485 --> 00:41:21,765
Speaker 1: I mean, I think it was about seven when I

726
00:41:21,925 --> 00:41:26,725
Speaker 1: was inappropriately confronted with Friday the thirteenth. I've shared this

727
00:41:26,765 --> 00:41:28,245
Speaker 1: story on the show before, so I'm not going to

728
00:41:28,285 --> 00:41:31,285
Speaker 1: go into it in detail. And I think I would

729
00:41:31,285 --> 00:41:33,525
Speaker 1: wish that on a kid at seven over the blair

730
00:41:33,565 --> 00:41:38,645
Speaker 1: Witch Project, honestly. I mean, that's some pretty rough going there, Brady.

731
00:41:39,165 --> 00:41:40,725
Speaker 2: I don't know. I was always one of those kids

732
00:41:40,765 --> 00:41:43,165
Speaker 2: who was drawn to those movies and then as soon

733
00:41:43,165 --> 00:41:45,165
Speaker 2: as it got scary, ran out of the room and

734
00:41:45,405 --> 00:41:47,965
Speaker 2: had nightmares about it and never never came back. So

735
00:41:48,365 --> 00:41:48,725
Speaker 2: I don't know.

736
00:41:49,285 --> 00:41:49,525
Speaker 1: Eric.

737
00:41:49,925 --> 00:41:53,325
Speaker 2: Eric says his first theater experience was seeing Speed at

738
00:41:53,325 --> 00:41:56,325
Speaker 2: a far too young age. He credits it with his

739
00:41:56,445 --> 00:42:00,125
Speaker 2: love of movies and the theater. Yon Debant, I love it.

740
00:42:00,205 --> 00:42:01,845
Speaker 2: Well done, Well done, Eric, I understand.

741
00:42:01,885 --> 00:42:02,685
Speaker 1: We think understand.

742
00:42:02,725 --> 00:42:05,485
Speaker 2: Yeah, we think Eric and Brady for being family plus

743
00:42:05,485 --> 00:42:08,045
Speaker 2: members and for all of those years of listening. If

744
00:42:08,085 --> 00:42:10,325
Speaker 2: you would like to follow them, and they're they're very

745
00:42:10,365 --> 00:42:15,525
Speaker 2: discerning taste on letterboxed. Brady is bird man. That's b

746
00:42:15,725 --> 00:42:20,404
Speaker 2: U r R ed. I'm going birdman, Josh. And Eric

747
00:42:20,565 --> 00:42:24,285
Speaker 2: is sand is overrated, and that is that is exactly

748
00:42:24,285 --> 00:42:28,965
Speaker 2: what I said, all one word, sand is overrated. We

749
00:42:29,005 --> 00:42:32,325
Speaker 2: remind you there, Eric, Yeah, we remind you that your

750
00:42:32,325 --> 00:42:35,485
Speaker 2: membership does come with all of those perks, and your

751
00:42:35,525 --> 00:42:38,125
Speaker 2: April bonus will be and ask us anything we love,

752
00:42:38,205 --> 00:42:41,325
Speaker 2: ask us anything you throw out questions. We talk about

753
00:42:41,325 --> 00:42:44,645
Speaker 2: things we don't normally talk about on the show. If

754
00:42:44,685 --> 00:42:46,445
Speaker 2: you'd like to be part of that, you can be

755
00:42:46,445 --> 00:42:48,445
Speaker 2: part of the Film Spotting Family and you can do

756
00:42:48,485 --> 00:42:51,925
Speaker 2: that by visiting Film Spotting Family dot com. You can

757
00:42:51,965 --> 00:42:55,965
Speaker 2: also rate or review us on Apple Podcasts or Spotify.

758
00:42:56,085 --> 00:43:00,045
Speaker 2: We thank you for any or all of that. All right,

759
00:43:00,125 --> 00:43:02,325
Speaker 2: So before we got married, we did this thing or

760
00:43:02,365 --> 00:43:03,605
Speaker 2: we said the worst thing we've ever done.

761
00:43:04,285 --> 00:43:05,725
Speaker 1: I'll tell mine if we all do it.

762
00:43:05,805 --> 00:43:10,925
Speaker 2: Promise, what did you do this doll, beer bottles and

763
00:43:11,045 --> 00:43:16,405
Speaker 2: porn left? Yeah?

764
00:43:16,565 --> 00:43:21,965
Speaker 1: Okay, I are you serious?

765
00:43:22,365 --> 00:43:26,605
Speaker 2: Opening next weekend, Zendeia and Robert Pattinson are a soon

766
00:43:26,605 --> 00:43:29,925
Speaker 2: to be married couple in the drama. We will have

767
00:43:29,965 --> 00:43:32,965
Speaker 2: a review of that the following week. Next week is

768
00:43:33,005 --> 00:43:35,765
Speaker 2: a sort of week off for the show. Hey, we

769
00:43:35,845 --> 00:43:37,565
Speaker 2: deserve a little bit of a spring break, but we

770
00:43:37,605 --> 00:43:40,605
Speaker 2: will have content. We're always going to deliver some content

771
00:43:40,965 --> 00:43:45,165
Speaker 2: into your feed. Part of that content will be Forty's

772
00:43:45,245 --> 00:43:49,165
Speaker 2: Madness Round two results. That means we will be telling

773
00:43:49,205 --> 00:43:54,125
Speaker 2: you which movies are advancing to the Suite sixteen, and

774
00:43:54,485 --> 00:43:57,685
Speaker 2: we'll have another archive drop for you, a really good

775
00:43:57,685 --> 00:44:00,365
Speaker 2: one tying in with the drama. Our top five movies

776
00:44:00,405 --> 00:44:04,924
Speaker 2: about marriage from twenty nineteen. I wonder if I wonder

777
00:44:04,965 --> 00:44:07,165
Speaker 2: if we got personal or not with that one. Josh,

778
00:44:07,245 --> 00:44:09,725
Speaker 2: do you have any recollection? Did we talk about our marriages?

779
00:44:09,925 --> 00:44:12,045
Speaker 2: My wife would murder me if I did. I don't

780
00:44:12,085 --> 00:44:15,845
Speaker 2: know about yours. I think we played it very careful,

781
00:44:16,085 --> 00:44:18,285
Speaker 2: is mine? We probably did. Yeah, you can find the

782
00:44:18,285 --> 00:44:22,005
Speaker 2: film Spotting schedule at Filmspotting dot Net episodes.

783
00:44:22,365 --> 00:44:25,125
Speaker 1: Quick note about our sister podcast, The Next Picture Show,

784
00:44:25,165 --> 00:44:28,605
Speaker 1: looking at cinema's present via its past. They're on to

785
00:44:28,685 --> 00:44:31,404
Speaker 1: part two of their Couples get Away Pairing. That means

786
00:44:31,405 --> 00:44:35,685
Speaker 1: they're talking about the Bride and in the context of

787
00:44:35,725 --> 00:44:38,125
Speaker 1: the film they discussed in part one, which was nineteen

788
00:44:38,165 --> 00:44:41,085
Speaker 1: sixty seven's Bonnie and Clyde, one of the many, many,

789
00:44:41,525 --> 00:44:45,045
Speaker 1: many many many influences on the Bride, which you know

790
00:44:45,325 --> 00:44:48,165
Speaker 1: I liked, so can't wait to hear them dig into

791
00:44:48,725 --> 00:44:51,444
Speaker 1: that conversation. New episodes of The Next Picture Show drop

792
00:44:51,445 --> 00:44:54,165
Speaker 1: every Tuesday wherever you get your podcasts.

793
00:44:54,445 --> 00:44:57,725
Speaker 2: We do have another save the date reminder for you

794
00:45:00,085 --> 00:45:03,285
Speaker 2: two Fest two film spotting. That's what we're going with

795
00:45:03,325 --> 00:45:06,685
Speaker 2: this time, yep. That is, in fact, that needs to

796
00:45:06,725 --> 00:45:09,325
Speaker 2: be the title. I think I am a follow right

797
00:45:09,325 --> 00:45:12,365
Speaker 2: after this with our graphic designer, and I think that

798
00:45:12,365 --> 00:45:16,925
Speaker 2: that has to be the graphic. June twenty seventh and

799
00:45:17,005 --> 00:45:22,005
Speaker 2: twenty eighth in Chicago, Three movies on Saturday at one venue,

800
00:45:22,365 --> 00:45:25,645
Speaker 2: one on Sunday at another. Who will be there? Josh

801
00:45:25,685 --> 00:45:29,525
Speaker 2: will be there. Yes, he will return from Scotland if

802
00:45:29,525 --> 00:45:33,805
Speaker 2: they let him back in the country and Golden Joe

803
00:45:33,845 --> 00:45:39,404
Speaker 2: to so all be there. Producer Sam, Michael Phillips, and

804
00:45:39,645 --> 00:45:44,364
Speaker 2: other guests and family members Film Spotting family members. You'll

805
00:45:44,365 --> 00:45:47,365
Speaker 2: get access to tickets before everyone else. You'll get a

806
00:45:47,365 --> 00:45:51,045
Speaker 2: discount on those festival passes. You'll also get a special

807
00:45:51,285 --> 00:45:54,885
Speaker 2: meet and greet opportunity. So you want to be part of.

808
00:45:54,885 --> 00:45:57,925
Speaker 1: It, Adam, do you remember where you ranked too Fast,

809
00:45:57,965 --> 00:46:00,845
Speaker 1: too Furious on your Fast and Furious ranking?

810
00:46:01,685 --> 00:46:05,485
Speaker 2: I am going to say it. Did you look this up?

811
00:46:06,125 --> 00:46:09,125
Speaker 1: No? No, no, I show Okay, I'm just guessing. Think

812
00:46:09,125 --> 00:46:10,205
Speaker 1: you do that much work?

813
00:46:10,685 --> 00:46:12,965
Speaker 2: I I think I probably put it last.

814
00:46:13,765 --> 00:46:16,085
Speaker 1: Yeah for me. If it's not last, I think it's

815
00:46:16,085 --> 00:46:19,765
Speaker 1: second to last. So nevertheless, we will stick with two

816
00:46:19,805 --> 00:46:24,965
Speaker 1: fest to fear to best spotty film. Yeah, that's really goodurse.

817
00:46:25,085 --> 00:46:27,765
Speaker 1: I wish I came up with that, but you can.

818
00:46:27,885 --> 00:46:32,445
Speaker 1: You can safely assume that if it's really funny. Producer

819
00:46:32,485 --> 00:46:35,685
Speaker 1: Sam probably put it in my notes. I only about

820
00:46:35,805 --> 00:46:37,685
Speaker 1: two out of one hundred times did I come up

821
00:46:37,685 --> 00:46:40,725
Speaker 1: with it, So all right, DM Sam van Holgren, I

822
00:46:40,765 --> 00:46:44,125
Speaker 1: love it. Also in the future, also possibly put on

823
00:46:44,165 --> 00:46:47,605
Speaker 1: your calendars though it's coming pretty quickly here. Sorry for

824
00:46:47,685 --> 00:46:51,285
Speaker 1: the late notice, but Berlin meet up anyone love it?

825
00:46:51,365 --> 00:46:55,125
Speaker 1: Let me know April ten, a Friday. I'm going to

826
00:46:55,165 --> 00:46:57,605
Speaker 1: be in Berlin and would love to hang out if

827
00:46:57,925 --> 00:47:01,525
Speaker 1: any listeners are in the vicinity, so just let us know.

828
00:47:01,725 --> 00:47:04,645
Speaker 1: You could email feedback at film spotting dot net or

829
00:47:04,725 --> 00:47:09,525
Speaker 1: find me on social Facebook, Instagram, blue Sky. Probably the

830
00:47:09,525 --> 00:47:11,844
Speaker 1: best place is Larsen on film l A R S

831
00:47:11,965 --> 00:47:14,205
Speaker 1: E N. And yeah, let's try to get together in

832
00:47:14,245 --> 00:47:16,005
Speaker 1: Berlin on April ten.

833
00:47:16,405 --> 00:47:19,965
Speaker 2: You had so much success with Copenhagen, why not why

834
00:47:20,005 --> 00:47:21,405
Speaker 2: not advance? I mean Germany.

835
00:47:21,885 --> 00:47:26,364
Speaker 1: The Copenhagen accords are strong, but yeah, we want it

836
00:47:26,365 --> 00:47:28,844
Speaker 1: from Berlin. We want to build on more.

837
00:47:29,525 --> 00:47:33,085
Speaker 2: I love it. Nobody else has ever danced the Red

838
00:47:33,125 --> 00:47:36,685
Speaker 2: Shoes since you left. Nobody else ever shall.

839
00:47:36,645 --> 00:47:38,565
Speaker 1: Like I probably should have told you this before, but

840
00:47:38,685 --> 00:47:42,605
Speaker 1: you see, well in sanity runs in my family.

841
00:47:43,045 --> 00:47:45,805
Speaker 2: If I could only get inside that brain of yours

842
00:47:45,845 --> 00:47:49,925
Speaker 2: and understand what makes you do these crazy twisted things,

843
00:47:50,245 --> 00:47:52,085
Speaker 2: put on the red shoes, Ikey.

844
00:47:53,325 --> 00:47:54,765
Speaker 1: And dance for us again.

845
00:47:55,485 --> 00:48:01,285
Speaker 2: That smart Sam doing some handy work with the intro.

846
00:48:01,885 --> 00:48:05,365
Speaker 2: He's he's expanding it. We're getting some forties films in

847
00:48:05,405 --> 00:48:07,364
Speaker 2: the intro. But you know, we still have to end

848
00:48:07,445 --> 00:48:12,125
Speaker 2: strong with the standby rule one is you can't take

849
00:48:12,165 --> 00:48:15,965
Speaker 2: Sparta out of the Madness intro. But we remind you

850
00:48:16,085 --> 00:48:18,885
Speaker 2: Round two of forties Madness is live. Vote now at

851
00:48:18,925 --> 00:48:22,445
Speaker 2: film spotting dot net. Polls closed as they always will

852
00:48:22,685 --> 00:48:26,605
Speaker 2: Mondays eleven to fifty nine pm Central time. The new round,

853
00:48:26,605 --> 00:48:30,405
Speaker 2: the Sweet sixteen, will then open on Tuesday at noon,

854
00:48:31,245 --> 00:48:33,285
Speaker 2: and you can find everything you need to know on

855
00:48:33,325 --> 00:48:36,405
Speaker 2: our website filmspotting dot net. But the direct route, the

856
00:48:36,485 --> 00:48:38,965
Speaker 2: most direct route, because yes, I bought the domain name

857
00:48:39,165 --> 00:48:44,405
Speaker 2: several years ago, is film spotting Madness dot com. Josh,

858
00:48:44,885 --> 00:48:49,645
Speaker 2: let's highlight a few notable Round one results. No, we're

859
00:48:49,685 --> 00:48:52,125
Speaker 2: not going to go through all thirty two or anywhere

860
00:48:52,165 --> 00:48:56,805
Speaker 2: close to all thirty two matchups, but some of the

861
00:48:56,845 --> 00:49:00,765
Speaker 2: more interesting or at least some of the closer battles.

862
00:49:00,845 --> 00:49:03,205
Speaker 2: And here's what we have to say. I think I

863
00:49:03,205 --> 00:49:04,645
Speaker 2: don't know if this is the first time this has

864
00:49:04,645 --> 00:49:09,884
Speaker 2: ever happened or not, but praise, I suppose is due

865
00:49:09,885 --> 00:49:14,165
Speaker 2: for the selection committee because there was not a single

866
00:49:15,085 --> 00:49:19,765
Speaker 2: upset every movie. I mean, that's boring, so maybe there

867
00:49:19,765 --> 00:49:22,165
Speaker 2: shouldn't be praise for the selectction committee. But that does

868
00:49:22,325 --> 00:49:26,405
Speaker 2: mean that every every title that Sam and myself thought

869
00:49:26,725 --> 00:49:30,485
Speaker 2: quote unquote should win slash would win, did win.

870
00:49:31,285 --> 00:49:33,565
Speaker 1: Got it? You had a rank more highly than we

871
00:49:33,605 --> 00:49:36,645
Speaker 1: had a rank and it and it took took it.

872
00:49:36,725 --> 00:49:39,085
Speaker 2: Okay, Yeah, that's that's how it played out.

873
00:49:39,325 --> 00:49:42,605
Speaker 1: Yeah, maybe we'll get some upsets as we move forward here,

874
00:49:43,325 --> 00:49:46,125
Speaker 1: but for now, what are we looking at. It looks

875
00:49:46,165 --> 00:49:50,325
Speaker 1: like Bambi did move on as we suggested I think earlier,

876
00:49:50,445 --> 00:49:53,885
Speaker 1: taking out James Cagney in White Heat. And yeah, fifty

877
00:49:53,925 --> 00:49:57,924
Speaker 1: five percent to forty five percent, So you know, kind

878
00:49:57,925 --> 00:50:02,325
Speaker 1: of close there that we love getting. That's the closest okay.

879
00:50:03,205 --> 00:50:05,484
Speaker 2: One we yeah, we I'll just say real quick, Josh,

880
00:50:05,485 --> 00:50:07,485
Speaker 2: to set it up, we only had four matchups decided

881
00:50:07,525 --> 00:50:11,005
Speaker 2: by ten percent or less. There just were no real nailbiders.

882
00:50:11,085 --> 00:50:12,165
Speaker 2: So that's that's where we're at.

883
00:50:12,605 --> 00:50:15,645
Speaker 1: Okay, Well, here's a comment, and please do share your

884
00:50:15,685 --> 00:50:17,925
Speaker 1: comments as you vote so that we can share them

885
00:50:18,005 --> 00:50:21,844
Speaker 1: on the show. Uh. For this matchup, w Day Lichty said,

886
00:50:21,885 --> 00:50:25,045
Speaker 1: Bambi is cinematic art. I think that gets lost since

887
00:50:25,125 --> 00:50:27,805
Speaker 1: it's now part of the Disney genre. But I would

888
00:50:27,845 --> 00:50:32,445
Speaker 1: even put it above Fantasia for Artistry, and yeah, Bamby

889
00:50:32,485 --> 00:50:37,085
Speaker 1: took out Fantasia pre tournament and is moving on here

890
00:50:37,165 --> 00:50:38,965
Speaker 1: as well by taking out White Heat.

891
00:50:39,605 --> 00:50:43,605
Speaker 2: I have to correct you. Fantasia in round one, Josh,

892
00:50:43,805 --> 00:50:47,765
Speaker 2: but but maybe not advancing. Yeah, yeah, it was Bamby.

893
00:50:48,005 --> 00:50:53,245
Speaker 2: Bamby was up against Dumbo, I think right right? Oh, yes, yes,

894
00:50:53,365 --> 00:50:58,005
Speaker 2: but Fantasia was part of round one. It unfortunately is

895
00:50:58,045 --> 00:51:01,405
Speaker 2: not advancing to round two. So Bambi is representing Disney

896
00:51:01,885 --> 00:51:04,525
Speaker 2: after taking out Jimmy Cagney. Now I said last week,

897
00:51:04,565 --> 00:51:06,725
Speaker 2: I thought this one was a tough one to predict,

898
00:51:07,205 --> 00:51:11,125
Speaker 2: and considering it was only a nine percent difference, I

899
00:51:11,165 --> 00:51:14,525
Speaker 2: guess I am vindicated. Vincent Maneli's Meet Me in Saint

900
00:51:14,525 --> 00:51:18,685
Speaker 2: Louis up against Billy Wilder's The Lost Weekend, and Meet

901
00:51:18,725 --> 00:51:22,045
Speaker 2: Me in Saint Louis did take it, but fifty four

902
00:51:22,085 --> 00:51:26,005
Speaker 2: percent to forty six percent. Joseph Carr says, I kind

903
00:51:26,005 --> 00:51:28,325
Speaker 2: of detested the schmaltz of Meet Me in Saint Louis,

904
00:51:28,565 --> 00:51:31,245
Speaker 2: but boy has it stuck around in my head. Judy

905
00:51:31,285 --> 00:51:33,045
Speaker 2: Garland will do that to you, so it gets the

906
00:51:33,125 --> 00:51:36,365
Speaker 2: vote for me. Peter Ketder says, perhaps someone will do

907
00:51:36,405 --> 00:51:40,924
Speaker 2: a musical version of the Lost Weekend. Hmmm, I'm I'm

908
00:51:40,965 --> 00:51:43,685
Speaker 2: not sure about that. Now. One last one, we're gonna

909
00:51:43,685 --> 00:51:46,645
Speaker 2: mention to you the closest matchup that was only six percent,

910
00:51:46,685 --> 00:51:49,485
Speaker 2: and Josh, it works out perfectly. I think that we're

911
00:51:49,485 --> 00:51:52,285
Speaker 2: alternating here and you get to highlight this one because

912
00:51:52,325 --> 00:51:55,445
Speaker 2: if I saw correctly, did you see one of these

913
00:51:55,485 --> 00:51:58,085
Speaker 2: two movies for the first time and also rate it

914
00:51:58,125 --> 00:51:59,485
Speaker 2: four out of four stars.

915
00:52:00,125 --> 00:52:04,245
Speaker 1: Part of my homework? Yeah? Yes. Jacques Tournaire directed noir

916
00:52:04,445 --> 00:52:09,325
Speaker 1: Out of the Past. I watched specifically for madness, and

917
00:52:09,525 --> 00:52:12,245
Speaker 1: I think it might have jumped into maybe one of

918
00:52:12,245 --> 00:52:15,405
Speaker 1: my top five noirs at it's so good. It is

919
00:52:16,285 --> 00:52:19,765
Speaker 1: so good, the riches, the level of riches you have

920
00:52:20,485 --> 00:52:23,845
Speaker 1: in Out of the Past. You've got Tornaire, who you know,

921
00:52:23,965 --> 00:52:26,685
Speaker 1: also directed Cat People. I Walked with a Zombie just

922
00:52:27,085 --> 00:52:30,045
Speaker 1: at the top of his game. Here Robert Mitcham. I

923
00:52:30,325 --> 00:52:36,205
Speaker 1: don't know if anyone's so casually held the screen in

924
00:52:36,285 --> 00:52:39,725
Speaker 1: such a tight grip as Robert Mitcham does here. Two

925
00:52:39,805 --> 00:52:42,565
Speaker 1: Femmes fatale, you get Jane Greer and Ronda Fleming and

926
00:52:42,645 --> 00:52:45,525
Speaker 1: Kurt Kirk Douglas. I didn't know. I mean, this just

927
00:52:45,525 --> 00:52:47,685
Speaker 1: shows how naive I was. I didn't know going in.

928
00:52:47,805 --> 00:52:49,285
Speaker 1: I knew it was mitcham, I knew some of this

929
00:52:49,325 --> 00:52:52,765
Speaker 1: other stuff. Kirk Douglas pops up in like the third

930
00:52:53,285 --> 00:52:57,005
Speaker 1: role as sort of the crime boss, pulling the strings,

931
00:52:57,085 --> 00:52:58,965
Speaker 1: and I think it's I think it might have been

932
00:52:59,045 --> 00:53:04,245
Speaker 1: his third or fourth screen performance, and he's incredible. So yeah,

933
00:53:04,365 --> 00:53:07,685
Speaker 1: out of the Past, man, this is what madness is about,

934
00:53:07,725 --> 00:53:11,285
Speaker 1: like a quote unquote discovery for me. Now we do

935
00:53:11,365 --> 00:53:15,205
Speaker 1: have someone who disagrees with me, though, Jordan Jersik wrote

936
00:53:15,245 --> 00:53:18,565
Speaker 1: in and said this about this matchup. Out of the

937
00:53:18,605 --> 00:53:21,445
Speaker 1: Past is a really effective noir that I quite enjoyed.

938
00:53:21,445 --> 00:53:23,725
Speaker 1: But to Be or Not to Be is on a

939
00:53:23,725 --> 00:53:28,285
Speaker 1: completely different level, hilarious, political, expertly crafted, making fun of

940
00:53:28,365 --> 00:53:30,565
Speaker 1: Nazis before it was cool. If you haven't had the

941
00:53:30,605 --> 00:53:33,205
Speaker 1: pleasure make time for this one.

942
00:53:33,125 --> 00:53:35,325
Speaker 2: I'm with you. I voted for out of the Past.

943
00:53:35,765 --> 00:53:40,085
Speaker 2: I'm against Jordan on that one. But as we transition

944
00:53:40,245 --> 00:53:44,525
Speaker 2: into highlighting some round two matchups, out of the Past

945
00:53:44,605 --> 00:53:47,965
Speaker 2: is going to come up again for me, Josh, because

946
00:53:48,925 --> 00:53:52,605
Speaker 2: it's definitely part of a matchup that is very, very

947
00:53:52,805 --> 00:53:55,645
Speaker 2: tough to pick. Why don't you start us off though,

948
00:53:55,685 --> 00:53:59,085
Speaker 2: with one or two, or however many you'd like to highlight.

949
00:53:59,285 --> 00:54:00,965
Speaker 2: Did you look at round two? Have you had a

950
00:54:01,045 --> 00:54:06,045
Speaker 2: chance yet and did any strike you as as particularly troubling?

951
00:54:07,245 --> 00:54:10,805
Speaker 1: Yeah, I did so. With the timing here actually and

952
00:54:11,245 --> 00:54:14,565
Speaker 1: having a course right after these matchups go live, I

953
00:54:14,765 --> 00:54:16,685
Speaker 1: only had a chance take a quick glance. But I

954
00:54:16,765 --> 00:54:19,085
Speaker 1: do have a few that stood out, and I'll start

955
00:54:19,085 --> 00:54:22,405
Speaker 1: with the toughest to pick me me. There's a handful

956
00:54:22,445 --> 00:54:24,165
Speaker 1: of them that looked tough, but the one that really

957
00:54:24,245 --> 00:54:29,245
Speaker 1: jumped out was personally Best Years of our Lives versus

958
00:54:29,245 --> 00:54:33,964
Speaker 1: Mildred Pierce. And yeah, I think at this point Best

959
00:54:34,085 --> 00:54:37,685
Speaker 1: Years has become I'm fair to say, a film spotting

960
00:54:37,725 --> 00:54:41,205
Speaker 1: title after our Thiah Weiler Marathon. I mean, we shared

961
00:54:41,245 --> 00:54:45,365
Speaker 1: it as our favorite picture of the marathon, and I

962
00:54:45,405 --> 00:54:48,285
Speaker 1: know I've had it on top five lists. I just

963
00:54:48,525 --> 00:54:52,485
Speaker 1: really respect that film. At the same time, Mildred Piers

964
00:54:52,605 --> 00:54:57,005
Speaker 1: might be my favorite Joan Crawford melodrama, and that's after

965
00:54:57,125 --> 00:54:59,845
Speaker 1: doing what came up on the show recently, you know,

966
00:55:00,005 --> 00:55:03,364
Speaker 1: during COVID the Family Joan Crawford Marathon. So I've seen

967
00:55:03,365 --> 00:55:07,165
Speaker 1: a fair amount of her stuff, and man, Mildred pierces

968
00:55:08,285 --> 00:55:10,405
Speaker 1: it's a tough one in all the good ways as

969
00:55:10,445 --> 00:55:13,445
Speaker 1: a Joan Crawford melodrama should be. So I'm gonna have

970
00:55:13,485 --> 00:55:15,205
Speaker 1: to sit and wrestle with this one for a while.

971
00:55:15,605 --> 00:55:18,045
Speaker 2: Okay, I didn't have it on my tough list, but

972
00:55:18,445 --> 00:55:22,165
Speaker 2: you're not wrong. I mean I hesitated because maybe it's

973
00:55:22,245 --> 00:55:25,605
Speaker 2: recency bias. I love both films. I think they're both.

974
00:55:25,965 --> 00:55:30,085
Speaker 2: I think they're both excellent, and because of the recent

975
00:55:30,645 --> 00:55:35,485
Speaker 2: Wiler marathon and how giddy I suppose I was for

976
00:55:35,525 --> 00:55:37,885
Speaker 2: best years of our lives, I have it. I have

977
00:55:37,965 --> 00:55:40,085
Speaker 2: it just higher. But you're right. Mildred Pierce is a

978
00:55:40,085 --> 00:55:43,245
Speaker 2: movie I've written about. It's a movie I've seen multiple

979
00:55:43,285 --> 00:55:48,085
Speaker 2: times and love love as a noir. So it should

980
00:55:48,125 --> 00:55:50,605
Speaker 2: be a tough choice because they're both really excellent films.

981
00:55:50,725 --> 00:55:52,005
Speaker 2: So I'm with you.

982
00:55:52,005 --> 00:55:53,725
Speaker 1: What were your toughest on this round? Then?

983
00:55:53,885 --> 00:55:56,565
Speaker 2: Well, I'll I had I had four I voted. I

984
00:55:56,605 --> 00:55:58,364
Speaker 2: had four that I had to stop at and just

985
00:55:58,365 --> 00:56:00,565
Speaker 2: be like, I don't I don't know what to do

986
00:56:00,645 --> 00:56:05,165
Speaker 2: with these. And one of the four I still haven't

987
00:56:05,205 --> 00:56:07,205
Speaker 2: voted in, and I'm not sure I can bring myself

988
00:56:07,245 --> 00:56:11,285
Speaker 2: to vote in. But I'll count down from easiest to

989
00:56:11,325 --> 00:56:13,844
Speaker 2: so easiest of the hard to the to the one

990
00:56:13,885 --> 00:56:17,765
Speaker 2: that I'm still mad about. The first two Josh are

991
00:56:17,845 --> 00:56:25,965
Speaker 2: Hitchcock related. Rebecca advanced past Red River, Rebecca beat out

992
00:56:26,005 --> 00:56:30,605
Speaker 2: Howard Hawks, but now is up against Kerrosawa and a

993
00:56:30,645 --> 00:56:34,565
Speaker 2: movie we talked about fairly recently in Stray Dog. And

994
00:56:35,005 --> 00:56:38,205
Speaker 2: you know, we're talking about two masters in Kurrosawa and Hitchcock.

995
00:56:39,125 --> 00:56:42,245
Speaker 2: I think that there are much better Hitchcock films than

996
00:56:42,965 --> 00:56:46,525
Speaker 2: the Hitchcock films that are in this tournament. Of all

997
00:56:46,565 --> 00:56:49,605
Speaker 2: the Hitchcock films that are in the bracket, and we've

998
00:56:49,605 --> 00:56:54,165
Speaker 2: got Notorious Rebecca, we've got Rope, and we have Shadow

999
00:56:54,205 --> 00:56:58,045
Speaker 2: of a Doubt, which did advance by beating by beating Pinocchio.

1000
00:56:58,205 --> 00:57:00,925
Speaker 2: Shadow of a Doubt is my favorite, and Shadow of

1001
00:57:01,005 --> 00:57:03,925
Speaker 2: Doubt is going to go down, I think unfortunately. Pretty hard.

1002
00:57:04,325 --> 00:57:07,245
Speaker 2: I say unfortunately because it's my favorite of the ones

1003
00:57:07,285 --> 00:57:11,565
Speaker 2: I just highlighted, But it's gonna run into a buzzsaw,

1004
00:57:11,645 --> 00:57:14,725
Speaker 2: I think in round two, and that movie is the

1005
00:57:14,805 --> 00:57:18,045
Speaker 2: number six seed, the Red Shoes. I do think the

1006
00:57:18,045 --> 00:57:20,565
Speaker 2: Red Shoes will take it down from the Sweet sixteen.

1007
00:57:20,725 --> 00:57:23,285
Speaker 2: But there's a lot of love for Hitchcock out there

1008
00:57:23,845 --> 00:57:28,485
Speaker 2: amongst film spotting listeners. I do like Rebecca quite a bit,

1009
00:57:28,605 --> 00:57:33,445
Speaker 2: maybe here again recency, and maybe even appreciating Kurosawa a

1010
00:57:33,485 --> 00:57:36,325
Speaker 2: little bit more. I just can't get that excited about Rebecca,

1011
00:57:36,925 --> 00:57:39,325
Speaker 2: and I'm gonna even though I had to pause, I'm

1012
00:57:39,365 --> 00:57:42,125
Speaker 2: going with the upset. I think stray Dog. I'd hope

1013
00:57:42,125 --> 00:57:44,805
Speaker 2: stray Dog would win. I don't think it will. The

1014
00:57:44,845 --> 00:57:49,365
Speaker 2: next one is Notorious versus Sullivan's Travels. Now, I like

1015
00:57:49,445 --> 00:57:53,645
Speaker 2: Notorious more. I like Notorious more than Rebecca. This is harder.

1016
00:57:54,085 --> 00:57:57,325
Speaker 2: But I also I also kind of think Sullivan's Travels

1017
00:57:57,405 --> 00:58:04,605
Speaker 2: is a masterpiece, like a legitimate Hollywood masterpiece, And for

1018
00:58:04,645 --> 00:58:09,845
Speaker 2: that reason, I'm nudging Hitchcock out again, and I would

1019
00:58:09,845 --> 00:58:12,885
Speaker 2: go with the upset. I finally voted, and I picked

1020
00:58:13,045 --> 00:58:16,285
Speaker 2: Sullivan's Travels over Notorious.

1021
00:58:16,805 --> 00:58:19,205
Speaker 1: The Past do you I've got that one real quick

1022
00:58:19,405 --> 00:58:21,685
Speaker 1: In my hardest to predict, that was the one that

1023
00:58:21,765 --> 00:58:23,965
Speaker 1: jumped out at me, because I do think you have

1024
00:58:25,525 --> 00:58:28,365
Speaker 1: this might be hitchcockick the Hitchcock at the top of

1025
00:58:28,405 --> 00:58:33,485
Speaker 1: his spy game, possibly with Notorious and then but Sulivan's Travels.

1026
00:58:33,525 --> 00:58:35,125
Speaker 1: I think you might have sturg just at the top

1027
00:58:35,165 --> 00:58:38,525
Speaker 1: of his game. Altogether. So I don't know how, you know,

1028
00:58:38,685 --> 00:58:41,205
Speaker 1: anyone gets their mind around that. It's going to be difficult.

1029
00:58:41,245 --> 00:58:43,405
Speaker 1: For me, not the most difficult, but I think for

1030
00:58:43,485 --> 00:58:46,685
Speaker 1: most viewers it will be a tough one. So for me,

1031
00:58:46,725 --> 00:58:48,045
Speaker 1: it's hardest to predict.

1032
00:58:48,325 --> 00:58:52,485
Speaker 2: Okay, my number two toughest to pick. The film you

1033
00:58:52,565 --> 00:58:55,045
Speaker 2: just talked about, Out of the Past, one of my

1034
00:58:55,165 --> 00:59:00,445
Speaker 2: favorite noirs. It's going up against a very, very highly

1035
00:59:00,485 --> 00:59:03,805
Speaker 2: seated and rightfully so, the Third Man. I think the

1036
00:59:03,845 --> 00:59:06,565
Speaker 2: Third Man is going to kill it, and I think

1037
00:59:06,565 --> 00:59:09,005
Speaker 2: that's because it's a beloved film. I think Out of

1038
00:59:09,005 --> 00:59:12,805
Speaker 2: the Past is still probably a little under seen compared

1039
00:59:12,845 --> 00:59:17,205
Speaker 2: to the Third Man. It it isn't It isn't going

1040
00:59:17,245 --> 00:59:18,565
Speaker 2: to win. And I was just going to look up

1041
00:59:18,605 --> 00:59:21,365
Speaker 2: real quick while we're talking, what the seeding is. The

1042
00:59:21,365 --> 00:59:23,365
Speaker 2: Third Man is the five seed. Out of the Past

1043
00:59:23,445 --> 00:59:27,965
Speaker 2: is fairly highly seeded. Realistically, selection committee, we probably put

1044
00:59:27,965 --> 00:59:29,965
Speaker 2: it a little too high, not that it doesn't deserve

1045
00:59:30,005 --> 00:59:32,085
Speaker 2: to be this high, but just in terms of how

1046
00:59:32,125 --> 00:59:34,685
Speaker 2: I think it would go, twenty eight is probably a

1047
00:59:34,685 --> 00:59:36,765
Speaker 2: little too high for it. But there's a reason why

1048
00:59:36,845 --> 00:59:40,725
Speaker 2: the Third Man is the number five seed, and I

1049
00:59:40,725 --> 00:59:43,445
Speaker 2: don't think it's going to win. But Josh, here again

1050
00:59:43,725 --> 00:59:45,325
Speaker 2: it Well, I was gonna say it might be a

1051
00:59:45,365 --> 00:59:48,365
Speaker 2: case of recency bias, but I haven't seen either of

1052
00:59:48,405 --> 00:59:50,365
Speaker 2: these movies in a long time. I can trace Out

1053
00:59:50,405 --> 00:59:53,605
Speaker 2: of the Past back to it's noir marathon here on

1054
00:59:53,645 --> 00:59:56,645
Speaker 2: film Spotting, so maybe two thousand and six. I hadn't

1055
00:59:56,645 --> 01:00:00,045
Speaker 2: seen it before that. The Third Man, I don't remember

1056
01:00:00,085 --> 01:00:01,765
Speaker 2: when I saw it, but I've only seen it once.

1057
01:00:01,805 --> 01:00:04,885
Speaker 2: And while I do, while I do really like that movie,

1058
01:00:05,685 --> 01:00:09,125
Speaker 2: for me, it's not it's not one of those all timers,

1059
01:00:09,405 --> 01:00:11,285
Speaker 2: you know. It's not one of my top ten or twenty,

1060
01:00:11,405 --> 01:00:14,005
Speaker 2: or or even top fifty movies like I think it

1061
01:00:14,045 --> 01:00:16,965
Speaker 2: is for a lot of people. If I had to choose,

1062
01:00:16,965 --> 01:00:18,645
Speaker 2: if I could only watch one of the two films,

1063
01:00:18,685 --> 01:00:20,685
Speaker 2: now I do need to rewatch The Third Man, But

1064
01:00:20,725 --> 01:00:23,045
Speaker 2: if I I could only rewatch one of these two

1065
01:00:23,085 --> 01:00:26,645
Speaker 2: films for the rest of my life, I'd go with

1066
01:00:26,765 --> 01:00:28,845
Speaker 2: Out of the Past for all the reasons that some

1067
01:00:28,885 --> 01:00:31,245
Speaker 2: of the reasons anyway, that you've already talked about.

1068
01:00:31,365 --> 01:00:33,405
Speaker 1: Yeah, it's tough for me too, and I can't even

1069
01:00:33,485 --> 01:00:37,485
Speaker 1: fairly The recency thing is just you know, for me,

1070
01:00:37,565 --> 01:00:40,205
Speaker 1: it's not even fair to compare a movie you watched

1071
01:00:40,245 --> 01:00:42,445
Speaker 1: a week ago to one it's spent like at least

1072
01:00:42,445 --> 01:00:44,725
Speaker 1: ten years. So yeah, that's a tough one.

1073
01:00:44,805 --> 01:00:46,685
Speaker 2: And for me, it's been longer The Third Man. I mean,

1074
01:00:46,885 --> 01:00:48,845
Speaker 2: I'll just say it, it's probably been at least twenty

1075
01:00:48,885 --> 01:00:52,645
Speaker 2: five years since I've seen The Third Man. So I'll

1076
01:00:52,685 --> 01:00:56,005
Speaker 2: set that aside, and that brings me to number one.

1077
01:00:56,085 --> 01:00:59,365
Speaker 2: I know this isn't tough for you, but you can

1078
01:00:59,405 --> 01:01:03,765
Speaker 2: surely understand why it's tough for me. And Sam and

1079
01:01:03,805 --> 01:01:07,645
Speaker 2: I both saw this coming as a very likely Sweet

1080
01:01:07,685 --> 01:01:13,725
Speaker 2: sixteen matchup. We saw the poetry, the awful poetry I

1081
01:01:13,765 --> 01:01:21,205
Speaker 2: suppose in this, this British matchup, this great Britain, and

1082
01:01:21,285 --> 01:01:24,285
Speaker 2: matchup of one of the if not the all time

1083
01:01:24,365 --> 01:01:29,125
Speaker 2: friendship movie and one of the all time tragic, if

1084
01:01:29,125 --> 01:01:33,325
Speaker 2: not the all time tragic love stories. Don't get me wrong,

1085
01:01:33,485 --> 01:01:37,045
Speaker 2: I think Brief Encounter is going to beat the Life

1086
01:01:37,045 --> 01:01:39,085
Speaker 2: and Death of Colonel Blump. I don't think it's going

1087
01:01:39,125 --> 01:01:41,605
Speaker 2: to be even that close. The Life and Death of

1088
01:01:41,645 --> 01:01:45,845
Speaker 2: Colonel Blump from the Archers is number twenty four seed.

1089
01:01:46,405 --> 01:01:50,445
Speaker 2: It's not as highly regarded by everyone as The Red Shoes.

1090
01:01:50,525 --> 01:01:52,565
Speaker 2: I even am pretty sure I have the Red Shoes

1091
01:01:52,845 --> 01:01:58,245
Speaker 2: higher on my Archer's ranked list, but it's up against

1092
01:01:58,325 --> 01:02:02,245
Speaker 2: you know, Brief Encounter, which I also love, and it's

1093
01:02:02,245 --> 01:02:06,685
Speaker 2: the nine seed. I think both movies are masterpieces. Both

1094
01:02:06,725 --> 01:02:11,045
Speaker 2: movies are films that I had not seen until I

1095
01:02:11,125 --> 01:02:14,245
Speaker 2: discussed them here on Film Spotting. I consider them both

1096
01:02:14,685 --> 01:02:19,005
Speaker 2: quote unquote film spotting movies. I think they're both essential.

1097
01:02:19,285 --> 01:02:20,965
Speaker 2: That's that's the only other way I can refer to it.

1098
01:02:21,165 --> 01:02:23,485
Speaker 2: That's that's how strongly I do feel about the life

1099
01:02:23,485 --> 01:02:26,885
Speaker 2: and death of Colonel Blimp. I think most people understand

1100
01:02:27,205 --> 01:02:29,685
Speaker 2: why we might feel that way about Brief Encounter, but

1101
01:02:30,165 --> 01:02:33,805
Speaker 2: that's how I feel about Colonel Blimp as well. And

1102
01:02:35,805 --> 01:02:38,485
Speaker 2: it makes me really mad. It makes me really mad

1103
01:02:38,565 --> 01:02:41,405
Speaker 2: to have to vote one way or another. Josh. That's

1104
01:02:41,445 --> 01:02:44,925
Speaker 2: all I can say this is this is madness. I'm angry.

1105
01:02:45,285 --> 01:02:49,205
Speaker 2: I have no one to blame but myself and Sam.

1106
01:02:49,245 --> 01:02:53,885
Speaker 2: I'm I'm actually, I really am actually leaning Colonel Blimp.

1107
01:02:54,205 --> 01:02:57,525
Speaker 2: There there there are just there are things about Colonel Blimp,

1108
01:02:58,045 --> 01:03:01,805
Speaker 2: the riches of that movie, the richness of that movie,

1109
01:03:02,125 --> 01:03:07,045
Speaker 2: the layers to that movie. There there are depths to

1110
01:03:07,085 --> 01:03:10,045
Speaker 2: it that that have me wanting to go back to

1111
01:03:10,085 --> 01:03:14,165
Speaker 2: it again and again that that maybe have me putting

1112
01:03:14,205 --> 01:03:17,245
Speaker 2: it just slightly higher than Brief Encounter, even though, like

1113
01:03:17,285 --> 01:03:19,685
Speaker 2: I said, I think Brief Encounter is an essential film.

1114
01:03:19,725 --> 01:03:22,405
Speaker 2: So if I if I forced myself right now, I've

1115
01:03:22,445 --> 01:03:26,805
Speaker 2: got four incredibly tough to pick matchups, but in all

1116
01:03:26,885 --> 01:03:31,605
Speaker 2: four I think I would pick the underdog to win,

1117
01:03:32,085 --> 01:03:35,925
Speaker 2: even though to be clear, I don't think the underdog

1118
01:03:35,965 --> 01:03:38,245
Speaker 2: will win in any of these four matchups, and actually,

1119
01:03:38,565 --> 01:03:41,405
Speaker 2: maybe again kind of boring, I think we're going to

1120
01:03:41,485 --> 01:03:44,325
Speaker 2: have another round where all of the favorites are going

1121
01:03:44,325 --> 01:03:46,725
Speaker 2: to advance, just like in round one.

1122
01:03:47,085 --> 01:03:51,085
Speaker 1: Yeah, I think you're not entirely alone with your Blimp favoritism,

1123
01:03:51,245 --> 01:03:55,365
Speaker 1: though I wonder even if I mean, there are Archers

1124
01:03:55,405 --> 01:03:58,045
Speaker 1: fanatics who will definitely vote for it over a Brief Encounter,

1125
01:03:58,125 --> 01:04:01,965
Speaker 1: And I do wonder if Brief Encounter might still be

1126
01:04:02,125 --> 01:04:04,685
Speaker 1: to your point about out of the past, a bit underseen.

1127
01:04:05,125 --> 01:04:07,245
Speaker 1: It seems to me like the people who I was

1128
01:04:07,325 --> 01:04:09,845
Speaker 1: late to catching up with it. You know, it's not

1129
01:04:09,885 --> 01:04:13,045
Speaker 1: necessarily where you start with lean right, you kind of

1130
01:04:13,085 --> 01:04:17,845
Speaker 1: get there eventually and just astounded by what I discovered there.

1131
01:04:18,405 --> 01:04:20,845
Speaker 1: But I wonder if there are a fair amount of

1132
01:04:21,045 --> 01:04:26,605
Speaker 1: people who have that similar trajectory, and maybe they'll be

1133
01:04:26,805 --> 01:04:30,085
Speaker 1: counteracted by the Archers fanatics who just love Blimp. We'll

1134
01:04:30,125 --> 01:04:30,685
Speaker 1: have to see.

1135
01:04:30,965 --> 01:04:34,005
Speaker 2: Yeah, maybe, So while while you're talking, you know, sometimes

1136
01:04:34,205 --> 01:04:37,565
Speaker 2: I reference this when I'm trying to make choices and

1137
01:04:37,605 --> 01:04:42,845
Speaker 2: it gives you. It doesn't always tell you what direction

1138
01:04:42,965 --> 01:04:46,685
Speaker 2: you should go, because it's not always indicative of our audience.

1139
01:04:46,925 --> 01:04:50,645
Speaker 2: It is indicative, obviously of the Letterboxed audience. The Life

1140
01:04:50,645 --> 01:04:53,885
Speaker 2: and Death of Colonel Blimp has been seen by thirty

1141
01:04:54,005 --> 01:04:59,365
Speaker 2: nine thousand people logged on Letterboxed, and it has thirteen thousand,

1142
01:04:59,805 --> 01:05:03,805
Speaker 2: so a third exactly a third like it, and it

1143
01:05:03,805 --> 01:05:06,125
Speaker 2: actually shows up. It has the crown next to it,

1144
01:05:06,165 --> 01:05:09,005
Speaker 2: which means it's number two fifty five in the letterbox

1145
01:05:09,085 --> 01:05:13,005
Speaker 2: top five hundred. So it's highly regarded to be two

1146
01:05:13,045 --> 01:05:15,005
Speaker 2: fifty five in the top five hundred, even though it's

1147
01:05:15,045 --> 01:05:19,005
Speaker 2: only been seen by thirty nine thousand people's that's relatively

1148
01:05:19,085 --> 01:05:21,765
Speaker 2: low when we're talking about the top five hundred movies

1149
01:05:21,885 --> 01:05:24,285
Speaker 2: compared to some of the other titles, and the number

1150
01:05:24,325 --> 01:05:28,405
Speaker 2: of views I know that they have brief encounter by comparison,

1151
01:05:29,365 --> 01:05:32,685
Speaker 2: has one hundred and forty five thousand views, oh and

1152
01:05:32,885 --> 01:05:37,205
Speaker 2: fifty fifty six thousand likes, And so that's like four

1153
01:05:37,405 --> 01:05:41,565
Speaker 2: four times at least, right the likes and four times

1154
01:05:41,605 --> 01:05:44,485
Speaker 2: the views, and it's it's number one thirty six on

1155
01:05:44,525 --> 01:05:47,365
Speaker 2: that top five hundred. So that that does make me

1156
01:05:47,405 --> 01:05:50,525
Speaker 2: think Encounter. See, Yeah, I think it's going to triumph. Now.

1157
01:05:50,645 --> 01:05:53,525
Speaker 2: One forty five is still much lower than a lot

1158
01:05:53,525 --> 01:05:56,125
Speaker 2: of the other films we're talking about. Yeah, in this bracket,

1159
01:05:56,685 --> 01:06:00,525
Speaker 2: but it's it's more than Colonel Blimp. And I do

1160
01:06:00,645 --> 01:06:05,605
Speaker 2: think I do think Colonel Blimp is heading for a defeat. Now.

1161
01:06:06,045 --> 01:06:10,845
Speaker 2: Toughest to predict, Like I said, I think it's going

1162
01:06:10,925 --> 01:06:13,765
Speaker 2: to be chalk as they say, I think the favorites

1163
01:06:14,085 --> 01:06:17,605
Speaker 2: are going to advance once again. But I do have

1164
01:06:17,645 --> 01:06:20,805
Speaker 2: one where I think it could be close, and maybe

1165
01:06:20,805 --> 01:06:23,605
Speaker 2: not surprisingly. It's the one matchup where the seeds are

1166
01:06:23,605 --> 01:06:26,125
Speaker 2: the closest. But you mentioned this earlier. Do you do

1167
01:06:26,165 --> 01:06:27,805
Speaker 2: you have a couple or just one that you think

1168
01:06:27,885 --> 01:06:28,645
Speaker 2: is tough to predict.

1169
01:06:29,685 --> 01:06:33,285
Speaker 1: The toughest one you already mentioned for me is Notorious

1170
01:06:33,365 --> 01:06:35,605
Speaker 1: versus Sullivan's Travels. I don't know if that's what you

1171
01:06:35,605 --> 01:06:37,005
Speaker 1: were thinking of, or if you were going to.

1172
01:06:36,965 --> 01:06:39,125
Speaker 2: Know, I have one different one. Yeah, I have one

1173
01:06:39,165 --> 01:06:42,405
Speaker 2: other one that I'm not sure what to make of it,

1174
01:06:42,845 --> 01:06:46,485
Speaker 2: and it's the number fifteen. Here it involves the Archers again.

1175
01:06:46,805 --> 01:06:49,805
Speaker 2: You know, I guess they're really confounding me. It's a

1176
01:06:49,805 --> 01:06:53,405
Speaker 2: matter of life and death, which I love. I love

1177
01:06:53,405 --> 01:06:55,365
Speaker 2: all these films by the Archers. It's a matter of

1178
01:06:55,405 --> 01:07:00,365
Speaker 2: life and death against the Philadelphia Story, which is considered

1179
01:07:00,485 --> 01:07:06,165
Speaker 2: maybe the all time best romantic comedy. And here here

1180
01:07:06,205 --> 01:07:08,085
Speaker 2: is a case again where you look at the numbers.

1181
01:07:08,645 --> 01:07:11,365
Speaker 2: A Matter of Life and Death seventy six thousand views,

1182
01:07:11,405 --> 01:07:14,365
Speaker 2: twenty nine thousand likes, but it is number two oh

1183
01:07:14,485 --> 01:07:18,125
Speaker 2: nine in that top five hundred, So seventy six and

1184
01:07:18,445 --> 01:07:21,925
Speaker 2: twenty nine Philadelphia Story, by contrast one hundred and forty

1185
01:07:22,005 --> 01:07:26,285
Speaker 2: nine and forty seven, so very clearly it's double. It's

1186
01:07:26,285 --> 01:07:30,285
Speaker 2: double the likes and double the views. But the Philadelphia

1187
01:07:30,285 --> 01:07:32,525
Speaker 2: Story is not in the top five hundred, and A

1188
01:07:32,565 --> 01:07:35,045
Speaker 2: Matter of Life and Death is two nine. So there

1189
01:07:35,125 --> 01:07:37,845
Speaker 2: is that prestige factory a matter of life and death

1190
01:07:37,925 --> 01:07:41,485
Speaker 2: that comes with the Archers. That is why I'm pretty

1191
01:07:41,485 --> 01:07:45,605
Speaker 2: sure that that in the aggregate there are more people

1192
01:07:45,645 --> 01:07:49,605
Speaker 2: listening who have probably seen the Philadelphia story, but the

1193
01:07:49,725 --> 01:07:52,085
Speaker 2: people listening who have seen a matter of life and

1194
01:07:52,125 --> 01:07:54,565
Speaker 2: death probably feel stronger about it.

1195
01:07:54,645 --> 01:07:54,845
Speaker 1: Love.

1196
01:07:54,965 --> 01:07:57,605
Speaker 2: Yeah, and that right, and that that may get out

1197
01:07:57,645 --> 01:07:59,925
Speaker 2: the vote if you will. And I could see the

1198
01:08:00,005 --> 01:08:03,365
Speaker 2: number eighteen seed potentially winning or at least giving the

1199
01:08:03,365 --> 01:08:07,045
Speaker 2: Philadelphia story a really close close contest.

1200
01:08:07,165 --> 01:08:09,365
Speaker 1: Yeah, and there was one year for our prediction brackets.

1201
01:08:09,405 --> 01:08:12,925
Speaker 1: I just, you know, played the letterbox game entirely, and

1202
01:08:12,965 --> 01:08:16,644
Speaker 1: it's doesn't as I think you suggested earlier, it doesn't

1203
01:08:16,845 --> 01:08:21,165
Speaker 1: entirely match up necessarily with film spotting listenerships. So so

1204
01:08:21,205 --> 01:08:23,485
Speaker 1: it's a good guide. I think it's more helpful than

1205
01:08:23,525 --> 01:08:28,125
Speaker 1: not in making your predictions. But it's not necessarily a

1206
01:08:28,165 --> 01:08:31,205
Speaker 1: lock by gathering those stats.

1207
01:08:31,445 --> 01:08:34,884
Speaker 2: No, it's not. Now we do have to highlight before

1208
01:08:34,965 --> 01:08:40,445
Speaker 2: we move on the bracket prediction contest. And I know

1209
01:08:40,525 --> 01:08:44,525
Speaker 2: that the burning question on everybody's mind, or I assume

1210
01:08:44,525 --> 01:08:46,965
Speaker 2: it is, because it certainly was the burning question on

1211
01:08:47,005 --> 01:08:50,085
Speaker 2: my mind. The first thing I looked at this morning, Josh,

1212
01:08:50,165 --> 01:08:53,245
Speaker 2: after where do I rank? The first thing I looked

1213
01:08:53,245 --> 01:08:55,485
Speaker 2: at is where does Ricky Kendall rank?

1214
01:08:55,645 --> 01:08:55,885
Speaker 1: Right?

1215
01:08:56,045 --> 01:09:00,885
Speaker 2: Yeah, because Ricky Kendall one one year, I think he

1216
01:09:01,005 --> 01:09:05,085
Speaker 2: actually predicted every matchup correctly and one year only got

1217
01:09:05,125 --> 01:09:08,005
Speaker 2: one wrong. And how you could get a perfect bracket

1218
01:09:08,125 --> 01:09:12,165
Speaker 2: or even one wrong, just you know, I don't know

1219
01:09:12,205 --> 01:09:15,325
Speaker 2: how that's possible. So I wanted to magic Ricky.

1220
01:09:15,685 --> 01:09:17,205
Speaker 1: Yeah, dark magic.

1221
01:09:17,005 --> 01:09:20,445
Speaker 2: Where Ricky stood. Now, obviously, after round one there's only

1222
01:09:20,645 --> 01:09:23,165
Speaker 2: the high score you can get his thirty two. Each

1223
01:09:23,205 --> 01:09:26,325
Speaker 2: win each matchup gets you one point, So there's gonna

1224
01:09:26,325 --> 01:09:29,885
Speaker 2: be a lot of ties. And right now I will

1225
01:09:29,925 --> 01:09:32,885
Speaker 2: tell the world, sorry, sorry, Ricky, that I'm calling you

1226
01:09:32,965 --> 01:09:36,485
Speaker 2: out for being in one hundred and ninetieth place. But

1227
01:09:36,485 --> 01:09:39,165
Speaker 2: but Ricky, Ricky so far. Not that Ricky's dead by

1228
01:09:39,165 --> 01:09:46,085
Speaker 2: any means, but Ricky is tied for one hundred and ninetieth. No, actually,

1229
01:09:46,165 --> 01:09:49,285
Speaker 2: you know what, Oh gosh, you know what, Josh, I'm wrong.

1230
01:09:50,205 --> 01:09:52,405
Speaker 2: I'm wrong. I should mean I should I should we

1231
01:09:52,405 --> 01:09:56,605
Speaker 2: should have Sam edit that out. I besch he's not

1232
01:09:56,845 --> 01:10:00,005
Speaker 2: he's not winning, but he's in much better standing than

1233
01:10:00,045 --> 01:10:04,125
Speaker 2: I suggested. He's in. He's tied for twenty third. Okay, okay,

1234
01:10:05,485 --> 01:10:07,805
Speaker 2: he's in the running. He has one hundred and ninety

1235
01:10:07,845 --> 01:10:10,805
Speaker 2: points that he could earn. He he got thirty right,

1236
01:10:10,845 --> 01:10:13,485
Speaker 2: he only missed on two Okay, so he got thirty right,

1237
01:10:13,805 --> 01:10:16,205
Speaker 2: but already he's missed more than he missed the last

1238
01:10:16,245 --> 01:10:17,724
Speaker 2: two badnesses combined.

1239
01:10:17,765 --> 01:10:19,005
Speaker 1: He's he's on a slide.

1240
01:10:19,405 --> 01:10:21,724
Speaker 2: He's on a slide, but he is tied for twenty third,

1241
01:10:22,005 --> 01:10:25,845
Speaker 2: so he's doing okay. All right, let's highlight. We do

1242
01:10:26,005 --> 01:10:29,445
Speaker 2: like to highlight who the leaders are, and we do

1243
01:10:29,645 --> 01:10:34,485
Speaker 2: have five people who are tied for first perfect brackets

1244
01:10:35,045 --> 01:10:40,045
Speaker 2: after round one, and I think I can call them out, Sam, Sam,

1245
01:10:40,125 --> 01:10:44,005
Speaker 2: Mike Marrigan the film Spide Matters, Godfather. I think I

1246
01:10:44,045 --> 01:10:46,365
Speaker 2: can call them out by name because their names are

1247
01:10:46,365 --> 01:10:48,445
Speaker 2: in their email, and I hope they won't mind. We

1248
01:10:48,525 --> 01:10:52,045
Speaker 2: have Matthew Emery, we have Owen Bloom, we have Anthony Reich,

1249
01:10:52,405 --> 01:10:55,925
Speaker 2: we have Patrick McCoy, and we have one other that

1250
01:10:56,045 --> 01:10:58,604
Speaker 2: I don't have the full name, but Shadrick is in

1251
01:10:58,645 --> 01:11:02,805
Speaker 2: the email. Those five have perfect so far, thirty two

1252
01:11:02,845 --> 01:11:05,804
Speaker 2: out of thirty two. And we'll we'll start keep tabs

1253
01:11:05,845 --> 01:11:08,564
Speaker 2: and as this develops, we'll give them a chance to

1254
01:11:08,645 --> 01:11:12,205
Speaker 2: share their their wisdom and their tricks with our eyes.

1255
01:11:13,405 --> 01:11:15,965
Speaker 1: Yeah, so you know, enjoy it now, is what I

1256
01:11:16,005 --> 01:11:20,005
Speaker 1: would say, and we'll see how you do in the future.

1257
01:11:20,485 --> 01:11:24,325
Speaker 2: Yes, now speaking of that that bracket competition that we

1258
01:11:24,365 --> 01:11:27,445
Speaker 2: have every year with you and me and Sam and

1259
01:11:27,485 --> 01:11:31,285
Speaker 2: Mike Marrigan are our listener who is the founding father,

1260
01:11:31,525 --> 01:11:34,805
Speaker 2: the godfather of film spoting madness. We do compete, and

1261
01:11:34,885 --> 01:11:37,325
Speaker 2: really what we compete for is not supremacy, but just

1262
01:11:37,405 --> 01:11:38,724
Speaker 2: to to not lose.

1263
01:11:39,405 --> 01:11:39,564
Speaker 1: Yes.

1264
01:11:40,005 --> 01:11:44,005
Speaker 2: In this case, there there's good news and bad news

1265
01:11:44,005 --> 01:11:48,125
Speaker 2: for me. I am in the lead at the moment,

1266
01:11:48,605 --> 01:11:51,525
Speaker 2: even though I am I'm tied for one hundred and

1267
01:11:51,525 --> 01:11:56,805
Speaker 2: first because I got three wrong. Okay, Mike Marrigan is

1268
01:11:56,805 --> 01:11:59,725
Speaker 2: one hundred and twentieth. We're not doing well, Josh. Mike

1269
01:11:59,765 --> 01:12:02,885
Speaker 2: Merrigan is one hundred and twentieth. He got four wrong,

1270
01:12:03,365 --> 01:12:07,085
Speaker 2: all right, Sam, one hundred and eighty first, he missed five.

1271
01:12:07,765 --> 01:12:10,684
Speaker 2: You also missed five, but you're two hundred and seconds,

1272
01:12:10,765 --> 01:12:14,125
Speaker 2: so one of the ones you missed must must affect

1273
01:12:14,805 --> 01:12:16,725
Speaker 2: future matchups.

1274
01:12:16,805 --> 01:12:20,165
Speaker 1: I'm guessing you love trust you, this is already. You

1275
01:12:20,165 --> 01:12:23,485
Speaker 1: don't want me to call it out, No, I believe you.

1276
01:12:23,805 --> 01:12:26,245
Speaker 1: I don't need I don't need to see the work

1277
01:12:26,485 --> 01:12:27,485
Speaker 1: future embarrassment.

1278
01:12:27,605 --> 01:12:31,365
Speaker 2: Okay, So here's where here's where it's good news for

1279
01:12:31,445 --> 01:12:35,445
Speaker 2: you though, and Mike and Sam in bad news for me. True,

1280
01:12:35,605 --> 01:12:38,045
Speaker 2: I only miss three and I'm higher ranked, but I

1281
01:12:38,805 --> 01:12:44,285
Speaker 2: did hint at this. Last week. I got a little aggressive,

1282
01:12:44,485 --> 01:12:48,564
Speaker 2: thinking that there'd be some Disney magic that might propel

1283
01:12:49,045 --> 01:12:56,245
Speaker 2: Fantasia as our Cinderella, and I thought Fantasia would actually

1284
01:12:56,445 --> 01:13:01,205
Speaker 2: not only when it's round one matchup, I thought Fantasia

1285
01:13:01,325 --> 01:13:03,564
Speaker 2: might win. No, I thought it would win it's round

1286
01:13:03,645 --> 01:13:11,045
Speaker 2: two matchup and take down the Philadelphia story. But it

1287
01:13:11,205 --> 01:13:13,325
Speaker 2: didn't beat a matter of life and death, that's not

1288
01:13:13,325 --> 01:13:16,325
Speaker 2: gonna happen. The Philadelphia story happened. So I already have

1289
01:13:16,445 --> 01:13:21,485
Speaker 2: one of my Sweet sixteen out, which doesn't ode well

1290
01:13:22,325 --> 01:13:22,605
Speaker 2: for me.

1291
01:13:23,485 --> 01:13:28,725
Speaker 1: All Right, I will confess I was under a bit

1292
01:13:28,765 --> 01:13:36,005
Speaker 1: of duress submitting my bracket this year and mostly made

1293
01:13:36,245 --> 01:13:39,604
Speaker 1: my picks based on instinct, and then a final pick

1294
01:13:39,645 --> 01:13:43,325
Speaker 1: for winner based on an excuse to name my team.

1295
01:13:43,845 --> 01:13:48,325
Speaker 2: So I like your name, by the way, share it please? Well?

1296
01:13:48,605 --> 01:13:50,125
Speaker 1: Should I? Or I don't want to.

1297
01:13:50,205 --> 01:13:52,525
Speaker 2: I don't know if I want to give you that. Okay,

1298
01:13:52,645 --> 01:13:53,125
Speaker 2: I don't know.

1299
01:13:53,365 --> 01:13:53,765
Speaker 1: I don't know.

1300
01:13:53,885 --> 01:13:56,325
Speaker 2: Yeah, No, that's fine, that's fine. I think I think

1301
01:13:56,365 --> 01:14:00,765
Speaker 2: only myself and Sam as the administrators can see the

1302
01:14:00,965 --> 01:14:04,885
Speaker 2: emails attached the names attached to the brackets, but you

1303
01:14:04,885 --> 01:14:09,205
Speaker 2: you missed Gaslight lost to the Archers. It's not just

1304
01:14:09,245 --> 01:14:11,205
Speaker 2: an all Archers bracket, by the way, but it could

1305
01:14:11,205 --> 01:14:15,725
Speaker 2: be Arcissus one Rome, Open City did not beat the

1306
01:14:15,765 --> 01:14:19,925
Speaker 2: Grapes of Wrath, and the Lost Weekend did not beat

1307
01:14:19,925 --> 01:14:22,365
Speaker 2: Me Me in Saint Louis, spell Bound did not take

1308
01:14:22,405 --> 01:14:27,525
Speaker 2: down Ozoo's Late Spring, and The Great Dictator in fact,

1309
01:14:27,845 --> 01:14:30,805
Speaker 2: did beat John Ford's My Darling Clementine. Those were the

1310
01:14:30,845 --> 01:14:35,885
Speaker 2: five that you lost on Josh. So all right, well, yeah.

1311
01:14:35,685 --> 01:14:39,285
Speaker 1: We'll see there's zero live, many many rounds to go.

1312
01:14:40,165 --> 01:14:45,125
Speaker 2: Indeed, but the round two poles, as we've mentioned, are live,

1313
01:14:46,045 --> 01:14:49,285
Speaker 2: and the Bracket Challenge, well you can't enter it anymore,

1314
01:14:50,005 --> 01:14:53,925
Speaker 2: but we're going to be keeping tabs on those results

1315
01:14:53,965 --> 01:14:57,724
Speaker 2: and sharing them with you every week. Remember that we'll

1316
01:14:57,805 --> 01:15:02,285
Speaker 2: announce the Sweet sixteen here next week on film Spotting,

1317
01:15:02,365 --> 01:15:06,724
Speaker 2: and those poles will open on Tuesday. That's Tuesday, March thirty,

1318
01:15:06,805 --> 01:15:10,965
Speaker 2: first noon Central time. You can find all the madness

1319
01:15:11,165 --> 01:15:15,005
Speaker 2: at film Spotting, madness dot com and Josh That's our show.

1320
01:15:16,045 --> 01:15:18,205
Speaker 1: If you'd like to connect with us on social media,

1321
01:15:18,245 --> 01:15:22,884
Speaker 1: you can find Adam and the show on Instagram, Facebook, letterboxed, YouTube,

1322
01:15:22,925 --> 01:15:26,365
Speaker 1: at film Spotting, I'm at those places as Larson on film.

1323
01:15:26,765 --> 01:15:30,285
Speaker 1: We are independently produced, and listeners supported support and the show.

1324
01:15:30,325 --> 01:15:34,165
Speaker 1: By joining the film Spotting Family. At film spottingfamily dot com,

1325
01:15:34,205 --> 01:15:37,445
Speaker 1: you can listen early and ad free, plus get monthly

1326
01:15:37,525 --> 01:15:40,925
Speaker 1: bonus episodes, a weekly newsletter, and access to the entire

1327
01:15:41,005 --> 01:15:44,245
Speaker 1: show archive. For show t shirts and other merch go

1328
01:15:44,325 --> 01:15:46,844
Speaker 1: to film spotting dot net slash shop.

1329
01:15:47,285 --> 01:15:50,045
Speaker 2: In the film Spotting archive, there's other Lord and Miller

1330
01:15:50,085 --> 01:15:52,085
Speaker 2: and I know there's more than this, but you can

1331
01:15:52,125 --> 01:15:55,365
Speaker 2: definitely find the Lego movie episode four seventy eight, your

1332
01:15:55,445 --> 01:15:58,564
Speaker 2: number one film of twenty fourteen. Dit it was yeah

1333
01:15:58,605 --> 01:16:02,684
Speaker 2: true twenty one Jump Street reviewed on episode three ninety four.

1334
01:16:03,365 --> 01:16:05,485
Speaker 2: I don't know that we got a review of Claudi

1335
01:16:05,565 --> 01:16:09,285
Speaker 2: with the Chance of Meatballs in but good maybe it

1336
01:16:09,365 --> 01:16:11,085
Speaker 2: is a good movie. I'll have to search the archive

1337
01:16:11,485 --> 01:16:14,965
Speaker 2: for that. Streaming and vod out now. Mike and Nick

1338
01:16:15,165 --> 01:16:18,564
Speaker 2: and Nick and Alice. Okay, a time travel gangster comedy

1339
01:16:18,965 --> 01:16:23,085
Speaker 2: with two Vince Vaughn's plus James Mark and Iza Gonzales

1340
01:16:23,445 --> 01:16:27,325
Speaker 2: in limited release. Yes, Josh, Julia Duke Cornell, I saw,

1341
01:16:27,365 --> 01:16:30,085
Speaker 2: I just saw the trailer for this over the weekend

1342
01:16:30,125 --> 01:16:33,365
Speaker 2: before Project Hail Mary Alpha is finally getting its US

1343
01:16:33,485 --> 01:16:37,564
Speaker 2: release after premiering at the twenty twenty five can Film Festival.

1344
01:16:37,605 --> 01:16:39,924
Speaker 2: It is her follow up to twenty twenty one's Titan,

1345
01:16:40,285 --> 01:16:45,205
Speaker 2: and it looks crazy, I'm sure.

1346
01:16:45,205 --> 01:16:47,485
Speaker 1: And I hate when this happens. It's you know, I

1347
01:16:47,525 --> 01:16:52,045
Speaker 1: was so high on Raw her debut Titan was, you know,

1348
01:16:52,365 --> 01:16:55,605
Speaker 1: a wild ride. I'm still processing, I think, but the

1349
01:16:55,685 --> 01:16:59,045
Speaker 1: fact that this got caught in limbo a little bit

1350
01:16:59,205 --> 01:17:01,604
Speaker 1: means I mean, I'll have to catch up with it.

1351
01:17:02,325 --> 01:17:04,685
Speaker 1: Who cares about release dates and all that. I am

1352
01:17:04,725 --> 01:17:07,045
Speaker 1: excited that we're finally getting a chance to see the

1353
01:17:07,165 --> 01:17:09,965
Speaker 1: new Julia Duke Cornell, even though yeah, I better buckle up.

1354
01:17:09,965 --> 01:17:10,445
Speaker 1: I'm sure.

1355
01:17:11,365 --> 01:17:15,604
Speaker 2: A Magnificent Life is out from French animator Sylvan Chome,

1356
01:17:16,045 --> 01:17:18,925
Speaker 2: who did the Triplets of Belleville and Sophia Coppola has

1357
01:17:18,925 --> 01:17:21,764
Speaker 2: a new documentary out. It's a documentary port of designer

1358
01:17:21,805 --> 01:17:25,725
Speaker 2: Mark Jacobs called Mark by Sophia in wide release. A

1359
01:17:25,845 --> 01:17:29,405
Speaker 2: witchy film fem Cult is the setting of Forbidden Fruits.

1360
01:17:29,685 --> 01:17:32,565
Speaker 2: Our friend Robert Daniels caught it at south By Southwest

1361
01:17:32,685 --> 01:17:36,525
Speaker 2: and calls it a reverentally silly teen girl slasher Okay,

1362
01:17:37,045 --> 01:17:40,405
Speaker 2: they Will Kill You also debuted at south By Southwest,

1363
01:17:40,445 --> 01:17:43,604
Speaker 2: and that is about a young woman who finds herself

1364
01:17:43,645 --> 01:17:48,205
Speaker 2: working as a housekeeper for a satanic cult. Okay, so horror, Josh,

1365
01:17:48,245 --> 01:17:51,884
Speaker 2: just horror upon horror. There's also a Speaking of Horror.

1366
01:17:51,925 --> 01:17:56,405
Speaker 2: An AI doc or How I Became an Apocalyoptimist. I

1367
01:17:56,445 --> 01:18:00,045
Speaker 2: think I said that right is from director Daniel Rhorr,

1368
01:18:00,085 --> 01:18:03,965
Speaker 2: who gave us Navalny and Once We're Brothers, Once Werer Brothers.

1369
01:18:04,285 --> 01:18:06,724
Speaker 2: It takes a personal journey into the world of AI.

1370
01:18:07,045 --> 01:18:10,725
Speaker 2: And finally, two thousand and ones, The Mummy Returns is

1371
01:18:10,725 --> 01:18:13,685
Speaker 2: getting a re release. Where's the Sacred Cow on The

1372
01:18:13,765 --> 01:18:17,205
Speaker 2: Mummy Returns? It? Would you know what, though, I'm gonna

1373
01:18:17,205 --> 01:18:19,445
Speaker 2: have to say this, I think I've admitted this. It

1374
01:18:19,485 --> 01:18:22,365
Speaker 2: would have to be part Blackpotting. It'd be a blind cow.

1375
01:18:22,445 --> 01:18:23,165
Speaker 2: I've never seen it.

1376
01:18:23,405 --> 01:18:25,804
Speaker 1: Wait, you've never seen The Mummy or The Mummy Returns?

1377
01:18:26,125 --> 01:18:28,804
Speaker 2: Well neither, I've never seen any Mummy movie.

1378
01:18:29,245 --> 01:18:30,245
Speaker 1: What are we doing here?

1379
01:18:30,605 --> 01:18:33,564
Speaker 2: Wait it says we revisited it in twenty twenty. Did

1380
01:18:33,565 --> 01:18:36,485
Speaker 2: we watch the Mummy? I have no recollection of talking

1381
01:18:36,485 --> 01:18:38,925
Speaker 2: about the Mummy. Did we talk about the Mummy?

1382
01:18:39,045 --> 01:18:39,205
Speaker 1: Oh?

1383
01:18:39,245 --> 01:18:42,205
Speaker 2: We did talk about what about sad is? If we did,

1384
01:18:43,005 --> 01:18:44,405
Speaker 2: Rachel Weiss, we did.

1385
01:18:44,525 --> 01:18:46,965
Speaker 1: It's one thing to say that, Adam about a review

1386
01:18:47,045 --> 01:18:52,205
Speaker 1: that's like ten years ten years or more. But apparently

1387
01:18:52,245 --> 01:18:53,725
Speaker 1: we did this in twenty twenty four.

1388
01:18:54,005 --> 01:18:55,564
Speaker 2: It was like a year and a half ago.

1389
01:18:56,085 --> 01:19:00,165
Speaker 1: Okay, so fair enough. I don't think you were wild

1390
01:19:00,165 --> 01:19:04,125
Speaker 1: about it time. It's a really fun movie. My Mummy returns,

1391
01:19:04,485 --> 01:19:07,445
Speaker 1: The Mummy returns. I don't you know, unless we want

1392
01:19:07,485 --> 01:19:10,165
Speaker 1: to get into what the Rock meant for cinema and

1393
01:19:10,285 --> 01:19:12,725
Speaker 1: start at the beginning. Yeah, I don't know if we

1394
01:19:12,885 --> 01:19:13,365
Speaker 1: I don't know.

1395
01:19:13,285 --> 01:19:15,245
Speaker 2: If we really We'll have that show coming up and

1396
01:19:15,645 --> 01:19:20,285
Speaker 2: I'll promptly forget about it Episode nine sixty four, almost

1397
01:19:20,325 --> 01:19:24,285
Speaker 2: exactly two years ago. The Mummy at twenty five, along

1398
01:19:24,325 --> 01:19:27,884
Speaker 2: with our fifth movie and our and our William Wyler marathon.

1399
01:19:27,925 --> 01:19:30,085
Speaker 2: How did I forget that I've seen the Mummy?

1400
01:19:30,125 --> 01:19:32,564
Speaker 1: Okay, how did we ever convince you to even do that?

1401
01:19:32,725 --> 01:19:33,245
Speaker 1: Is the question.

1402
01:19:33,245 --> 01:19:36,165
Speaker 2: I know. I think it was my idea. Now that

1403
01:19:36,205 --> 01:19:39,485
Speaker 2: it's flooding back to me, Wow, next week we will

1404
01:19:39,525 --> 01:19:42,925
Speaker 2: have some forties madness sweet sixteen talk for you. We'll

1405
01:19:42,925 --> 01:19:44,005
Speaker 2: see what else we get up to.

1406
01:19:44,445 --> 01:19:46,645
Speaker 1: Film Spotting is produced by Golden Joe to So and

1407
01:19:46,685 --> 01:19:49,604
Speaker 1: Sam van Holgren. Without Sam and Golden Joe, this show

1408
01:19:49,645 --> 01:19:53,885
Speaker 1: wouldn't go. Our production assistant is Sophie Kempinar. Special thanks

1409
01:19:53,885 --> 01:19:57,005
Speaker 1: to everyone at wb e Z Chicago. More information is

1410
01:19:57,045 --> 01:20:01,885
Speaker 1: available at wbeazy dot org for Film Spotting, I'm Josh Larson.

1411
01:20:01,685 --> 01:20:05,165
Speaker 2: And I Madam Kempinar. Thanks for listening. This conversation can

1412
01:20:05,245 --> 01:20:06,885
Speaker 2: serve no purpose anymore.

1413
01:20:07,765 --> 01:20:08,205
Speaker 1: The Barn