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Speaker 1: This episode is brought to you by Peloton break through

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Speaker 1: at one Peloton dot com.

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Speaker 2: What kind of a show you guys putting.

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Speaker 3: On here today?

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

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

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Speaker 3: From Chicago. This is Film Spotting celebrating our twentieth year.

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Speaker 3: I'm Josh Larson and I'm Adam Kempinar.

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Speaker 4: No, it's not a revolution.

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Speaker 3: The message is clear. I'll be seeing you very soon.

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Speaker 3: Let of us see you first.

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Speaker 5: Paul Thomas Anderson's One Battle after Another may not be

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Speaker 5: a revolution, but it is one of the movie events

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Speaker 5: of the year.

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Speaker 3: We've got a review, plus the new doc Predators, Massacre

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Speaker 3: Theater and more ahead on Film Spotting.

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Speaker 4: I don't know what freedom is, no fear, Just like.

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Speaker 5: Tom Cruise, Welcome to Film spotting a new film from

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Speaker 5: Paul Thomas Anderson is always a big deal, Josh, but

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Speaker 5: one Battle after another it does feel bigger, and not

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Speaker 5: just because of the Imax screenings the VistaVision screenings. Did

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Speaker 5: you get to partake in either of those in Scotland?

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Speaker 2: You know?

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Speaker 3: The Scotland theater adventure continues. We tried out another one

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Speaker 3: and it was not Imax or VistaVision, but it was

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Speaker 3: a giant screen. It was a beautiful presentation, huge theater.

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Speaker 3: So yeah, excited about that. And a quick thanks to

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Speaker 3: listener Heather who just before we signed on here, she

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Speaker 3: left a note about the DCA in Dundee. Dundee is

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Speaker 3: the town we've been traveling to to see Move and

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Speaker 3: that's a smaller, almost art gallery slash theater, and yeah,

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Speaker 3: I hope to get there as well. They have fewer screens,

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Speaker 3: I've heard, they're not quite as big as the one

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Speaker 3: where I did see One Battle after Another, and yeah,

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Speaker 3: I knew I wanted to see that one on as

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Speaker 3: big of a screen as possible.

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Speaker 5: I didn't have a special experience myself, but I did

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Speaker 5: see it on the big screen at theater Number one

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Speaker 5: at my local multiplex so that's the best that I

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Speaker 5: could do. We will have a review of one battle

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Speaker 5: after another here in moments. Plus I'll have a few

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Speaker 5: thoughts on the new documentary Predators. Yes, it is a

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Speaker 5: documentary Predators, not about the making of any of those

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Speaker 5: Schwarzenegger movies. And we will play Massacre theater. A quick

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Speaker 5: reminder that film Spotting is now available as a video podcast.

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Speaker 5: You mentioned, Heather. That was a comment that came in

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Speaker 5: Josh via Spotify that I shared with you. And if

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Speaker 5: you are a listener on Spotify, you can toggleween video

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Speaker 5: and audio. But you can also watch the show on YouTube,

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Speaker 5: and you can find the link to our video episodes

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Speaker 5: over at film spotting dot net slash episodes.

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Speaker 6: Well look, look, maybe I can maybe I can give

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Speaker 6: you some information and then you give me some information.

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Speaker 6: All right, we'll just share a little information. My name

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Speaker 6: is Bob Ferguson. I don't know if you've ever heard

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Speaker 6: of any all right. I was part of French seventy

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Speaker 6: five for years, years and years. All right. They used

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Speaker 6: to call me ghetto pat rocketman stuff like that. Only

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Speaker 6: problem is I've fried my brain since then. Man. I

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Speaker 6: have abused drugs and alcohol for the past thirty years. Man,

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Speaker 6: I'm a drug and alcohol lover, and I cannot remember

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Speaker 6: for the life of me or the life of my

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Speaker 6: only child. The answer to your question, what time is it?

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Speaker 3: Fifteen?

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Speaker 2: Now?

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Speaker 6: I need this rendezvous point. You understand what I'm saying.

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Speaker 6: I need it.

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Speaker 3: I understand.

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Speaker 5: And the question is I think it's appropriate for this movie, Josh?

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Speaker 5: How it just throws us right into this sort of past,

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Speaker 5: sort of present world. We're going to jump right in

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Speaker 5: to one battle after another. And I thought I might

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Speaker 5: go see it with a friend who lives about twenty

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Speaker 5: minutes away from me, Scott, and Scott's one of the

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Speaker 5: biggest movie fans I know. Of course, he beat me

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Speaker 5: to it as soon as it was available. He went

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Speaker 5: and saw it. So I was going to go see

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Speaker 5: it all alone. And he texted me back and he

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Speaker 5: pointed out something that I had missed that Paul Thomas

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Speaker 5: Anderson that night was programming TCM with movies that inspired

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Speaker 5: one battle after another. And here was the lineup. Yeah,

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Speaker 5: here was the lineup. And this will of course, since

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Speaker 5: you have seen his new movie, this should feel appropriate.

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Speaker 5: The movies were running on empty midnight run The French

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Speaker 5: Connection and The Battle of Algiers. Run through those real

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Speaker 5: quick right, running on empty the Sydney Lamette film with

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Speaker 5: River Phoenix. Of course that makes sense, right, You've got

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Speaker 5: former activist parents now in the wind, on the run,

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Speaker 5: struggling with raising their teenage kids. Check Midnight Run a

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Speaker 5: film spotting Pantheon movie. This new one from pta Is

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Speaker 5: is kind of a road movie, and you've got the

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Speaker 5: angle with de Niro and an element here of almost

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Speaker 5: estranged father and daughter, right, the French connection, the obsessed

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Speaker 5: authority figure that we have in this film played by

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Speaker 5: Sean Penn, and also the conspiracy element. Oh and how

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Speaker 5: about lengthy and very intense car chases or extended chase

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Speaker 5: sequences period, and then well, the Battle of Algiers.

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Speaker 3: That's an easy one.

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Speaker 5: If there if there was one film that seems like

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Speaker 5: it's the movie that most inspired one battle after another,

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Speaker 5: it probably has to be The Battle of Algiers. Oh

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Speaker 5: and it is the movie that is directly called out

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Speaker 5: in this movie right where you have Leonardo DiCaprio's Bob Ferguson.

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Speaker 5: Now this aged hippie who is getting high one night

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Speaker 5: and since he's no longer in the game, all he

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Speaker 5: can do is sort of fall back on the greatest hits.

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Speaker 5: He actually puts in the Battle of Algiers so he

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Speaker 5: can watch it and kind of quote along with the

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Speaker 5: movie and relive his glory days through what is I

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Speaker 5: suppose essentially the manual, you know, the Manual for the

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Speaker 5: Revolutionary the Battle of Algiers. So I'm curious as as

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Speaker 5: you hear that, I believe for the first time those

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Speaker 5: four movies, though you probably saw the influence of some

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Speaker 5: of those, and of course the Battle of Algiers, any

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Speaker 5: of those really resonate with you in particular? What did

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Speaker 5: you make of any influences and did any others strike

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Speaker 5: you as you watch this movie or did you see

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Speaker 5: this as as purely a Paul Thomas Anderson film.

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Speaker 3: Boy, I want to get to that. I think the

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Speaker 3: influences are interesting. It was something I thought about. But

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Speaker 3: first I've got to get out of my system at him,

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Speaker 3: because I haven't really been able to talk to many

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Speaker 3: people besides Debbie, who is with me. This is the

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Speaker 3: movie I've been waiting for all year, and it delivered astonishingly.

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Speaker 3: I knew I knew nothing of its context going in,

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Speaker 3: had not watched the trailer. I had no idea it

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Speaker 3: was going to be this topical. If you remember when

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Speaker 3: we did a Sacred Cow review of Dogged Afternoon not

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Speaker 3: too long ago, I wondered what films and filmmakers are

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Speaker 3: going to rise to the challenge that we're in right now,

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Speaker 3: the way Sidney Lumett and al Pacino did. There. Of course,

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Speaker 3: we talked about responding to this notion of state violence

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Speaker 3: Mickey seventeen. We split on I thought it took a

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Speaker 3: good sci fi swing at satirizing the state of things.

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Speaker 3: Not everyone agreed, Eddington. I thought that was interesting, but

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Speaker 3: felt a little bit behind the times given its lockdown setting.

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Speaker 3: I know some folks took comfort in Superman as a

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Speaker 3: tonal reprieve from what we're going through. You and I

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Speaker 3: did not. For me, one battle after another? Is it?

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Speaker 3: This is it? This is the movie, This is the

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Speaker 3: movie we need right now? It is. Yes, it's exaggerated

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Speaker 3: what we see in this film, but nothing in here

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Speaker 3: is not happening to some degree right now in America.

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Speaker 3: And I am in Scotland, but I am keeping an

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Speaker 3: eye in Chicago. You better believe it. Ice agents, they're

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Speaker 3: arresting and assaulting journalists, instigating violence. I mean, I could

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Speaker 3: not believe what was on the screen in front of

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Speaker 3: me and how it was reflecting what we are experiencing

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Speaker 3: in America and what can we do in the midst

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Speaker 3: of this. I think a lot of us feel paralyzed.

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Speaker 3: But you know what, filmmakers can make films like this,

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Speaker 3: Critics can champion them, and these are maybe small gestures,

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Speaker 3: but you know, they add up or they're something, And

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Speaker 3: at the end of one after another, I just I

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Speaker 3: felt so galvanized about the littlest something because to my mind,

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Speaker 3: there are a whole lot of people doing nothing and

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Speaker 3: to see a formal filmmaker like Paul Thomas Anderson take

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Speaker 3: this on and absolutely just kill the assignment was so

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Speaker 3: thrilling to me. So just had to get that out

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Speaker 3: of my system. Maybe we'll come back. I'm sure we'll

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Speaker 3: come back to the politics of it. But I was

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Speaker 3: thinking about these influences, this question, and I think what's

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Speaker 3: so exciting about one battle after another on that front

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Speaker 3: Adam is that this might be I would put this

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Speaker 3: in the category of his most singular works, something like

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Speaker 3: Punch Drunk Love in particular, where yes, the influences are there,

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Speaker 3: but it's not something like you know, I would say,

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Speaker 3: Phantom Thread is so obviously my favorite movie. By the way,

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Speaker 3: I'm not knocking him for this. My favorite Paul Thomas

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Speaker 3: Anderson movie, Phantom Threat very influenced by Hitchcock, right, among

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Speaker 3: other things. It's all over it. There will be blood

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Speaker 3: to me, you know, is so influenced by something like

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Speaker 3: Citizen Kane, and you go down the line of his filmography.

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Speaker 3: But I look at Punch Drunk Love, and that's a

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Speaker 3: movie that, like only Paul Thomas Anderson could come up with,

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Speaker 3: I feel like, and some people might feel that way

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Speaker 3: about something like The Master perhaps, but I am definitely

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Speaker 3: thinking that way about one battle after another. That being said, yes,

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Speaker 3: Battle of Algiers, you know, just what a touchstone as

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Speaker 3: well as a funny a funny side in that scene,

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Speaker 3: as you mentioned, I thought of that before it did

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Speaker 3: pop up in the movie French Connection, other seventies paranoid thrillers.

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Speaker 3: The propulsion of those movies is what I think he

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Speaker 3: borrows here. Yeah, and you know, just thematically, I thought

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Speaker 3: about Alfonso Koran's Children of Men, which is more of

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Speaker 3: a prophetic many many years now, a prophetic envisioning of

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Speaker 3: what in that in the UK to teller Terrrian government

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Speaker 3: response to refugees might look like. I think that's a

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Speaker 3: more I don't want to say grim, but Children of

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Speaker 3: Men is a more serious take on the subject. But

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Speaker 3: that doesn't make one battle after another any more important,

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Speaker 3: and its take on the subject just because it is

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Speaker 3: this absurd, comic, hysterical satire that saying a lot of

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Speaker 3: trenchant immediately needed things.

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Speaker 5: Yeah, I'm with you on so much of what you said,

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Speaker 5: including a couple words you just used right there at

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Speaker 5: the end. So let me get out just kind of

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Speaker 5: my single sentence take on this film. It is a

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Speaker 5: beautifully choreographed fever dream of resistance and reckoning, blending absurd

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Speaker 5: of satire with a poignant meditation on parental legacy.

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Speaker 3: That's the thing. There is such an emotional.

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Speaker 5: Core to this movie as well that I'm sure we

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Speaker 5: will get into. And I suppose this also indicates how

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Speaker 5: long we've been doing this show. Though I don't know

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Speaker 5: that I can remember examples of you telling me this.

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Speaker 5: I think I always think about you, Josh when I'm

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Speaker 5: at the movies. But I was watching this film and

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Speaker 5: I was seeing certain scenes and different themes were being

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Speaker 5: brought up, and I was thinking about the police state

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Speaker 5: evidence in this film, evident in this film, and the

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Speaker 5: state sanctioned violence. And I was thinking about our conversation

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Speaker 5: about Dog Day Afternoon, and I was going, Josh is

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Speaker 5: eating this up right now, Josh is halfway around the

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Speaker 5: world eating this movie up. I was having very similar

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Speaker 5: thoughts about the film, and I was.

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Speaker 3: As well, cross the Atlantic.

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Speaker 5: Yeah, yeah, I think so. In terms of the influences,

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Speaker 5: one that maybe he just couldn't program the fifth film,

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Speaker 5: but I have to imagine that the fifth influence, and

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Speaker 5: maybe this is just too easy picking, but come on,

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Speaker 5: the fifth influence had to be Doctor Strangelove. Right with

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Speaker 5: Sean Penn's character makes sense. His name is Colonel Lockjaw,

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Speaker 5: after Jack t Ripper. His name is Colonel Lockjaw. He's

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Speaker 5: a military figure. He's full of all sorts of interesting

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Speaker 5: ticks and behavioral quirks. He's got that great haircut, and

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Speaker 5: he will assert his authority unilaterally. And at one point

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Speaker 5: he does speak of bodily fluids and his power being

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Speaker 5: taken from him. So that seems like a pretty clear

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Speaker 5: call or reference to Doctor Strangelove.

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Speaker 3: To me, Jack, Jack, tell me, tell me Jack, when

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Speaker 3: did you first well developed this there well.

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Speaker 2: I I first became aware of it, Man Drake, during

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Speaker 2: the physical act of love. Yes, a profound sense of fatigue,

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Speaker 2: feeling of emptiness followed. Luckily I was able to interpret

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Speaker 2: these feelings correctly. Loss of essence. I can assure you

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Speaker 2: it has not recurred, Man Drake.

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Speaker 5: Where those references ended up bearing fruit for me a

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Speaker 5: little bit and thinking about this film, it actually was

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Speaker 5: the first one Running on Empty, which is a movie

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Speaker 5: I haven't thought about in a long time, but I

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Speaker 5: remember watching a lot when I was a kid. I

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Speaker 5: think it was just a movie that was on HBO,

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Speaker 5: and for some reason it always really resonated with me.

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Speaker 5: And one difference here is that because it is very similar,

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Speaker 5: you have the parents. And maybe while I'm talking you

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Speaker 5: can look it up because I can see I can

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Speaker 5: see the actress in my head and cannot place her name,

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Speaker 5: and it's killing me, right, jud Hirsh's the dad, River

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Speaker 5: Phoenix is the sun, the talented musician's son. Man Christine Lottie,

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Speaker 5: I just got it. Christine Lotti is the mom, isn't it?

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Speaker 3: You got it? Nice time? Do I get two points?

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Speaker 5: So Christine Lotti is the mom and they were activists,

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Speaker 5: and they were involved in a bombing and someone died,

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Speaker 5: as I recall it, unintentionally, someone wasn't supposed to be

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Speaker 5: at the building they bombed, and they've been on the

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Speaker 5: run ever since. I don't think this is a movie.

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Speaker 5: You can disagree with me on this, or we can

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Speaker 5: talk about it, But as I reflect on my lone

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Speaker 5: viewing of this film, I don't think this is a

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Speaker 5: movie that really cares about whether or not the acts

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Speaker 5: that Bob or Perfidia, who we haven't mentioned, Tayana Taylor's Perfidia,

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Speaker 5: Beverly Hills, the mother, the acts that they committed in

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Speaker 5: the name of injustice, in the name of oppression, in

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Speaker 5: the name of revolution, were right or wrong. The conscience

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Speaker 5: of what they did, that's not on the mind of

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Speaker 5: this movie. Whether Bob or anyone else should have pangs

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Speaker 5: of moral guilt, that is on the mind of Running

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Speaker 5: on Empty very much. That movie is concerned about whether

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Speaker 5: or not the sins of the father and mother should

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Speaker 5: be passed on to or whether it's fair that they're

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Speaker 5: passed on to the children. And this film is concerned

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Speaker 5: with that question. Like Running on Empty, it's concerned about

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Speaker 5: whether or not the sins of the father in this

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Speaker 5: case and the mother should be passed on to the children,

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Speaker 5: passed on to the daughter Willa. But it also asks,

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Speaker 5: and maybe we'll get to this in more detail as

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Speaker 5: we get into our conversation, but I think it also asks,

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Speaker 5: really interestingly the opposite. It almost asks, should we allow

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Speaker 5: the sins of the father and mother to be passed

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Speaker 5: down to the children. It's almost like the movie is

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Speaker 5: saying it needs to be we need that child, It's

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Speaker 5: okay for that child to have that consciousness and they

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Speaker 5: need to be enlightened about it and engaged in that.

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Speaker 5: And I think that's an interesting spin on that question.

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Speaker 3: Yeah, that's the you know, dancing around spoilers. I think

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Speaker 3: the movie leaves us in exactly that place. And that's

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Speaker 3: what I found so stirring is, you know, not that

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Speaker 3: it's too late for us to participate, but man, this

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Speaker 3: this thing is going to be a long haul. I

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Speaker 3: think we're starting to realize those who are paying attention

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Speaker 3: to the.

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Speaker 5: Movie might say it's actually too late for us, Josh,

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Speaker 5: And that's okay.

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Speaker 3: Our job and our generation, our job, and.

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Speaker 5: This is to support the next generation. Might be what

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Speaker 5: the takeaway is.

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Speaker 3: I think I think that's completely fair, and I do

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Speaker 3: want to take a moment to point out as to

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Speaker 3: that moral question, because I know this is going to

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Speaker 3: be a talking point once this movie, you know, gets out,

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Speaker 3: and those who aren't aren't ready to root for it

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Speaker 3: see it. It is very clear to me what you

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Speaker 3: pointed out, that the movie itself is not necessarily endorsing

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Speaker 3: the tactics employed by this group that Leonardo Dicaproo's character

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Speaker 3: is involved with at the start of the film before

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Speaker 3: we jump ahead sixteen years. It does not denounce them,

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Speaker 3: but to your point, it is interested in other things.

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Speaker 3: And also, just because a group is using tactics you

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Speaker 3: might object to, does not legitimize the clearly unconstitutional anti

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Speaker 3: American tactics that were initially employed. So I just want

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Speaker 3: to get that out of the way in terms of,

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Speaker 3: you know, this is not endorsing one battle after another.

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Speaker 3: It's not endorsing such things. I think it's interested in

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Speaker 3: other questions, those personal ones. And this even relates to

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Speaker 3: the Sean Penn character Lockjaw, because I think it's really

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Speaker 3: key that while he is not at any point sympathetic,

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Speaker 3: he is depicted as a human being with you know,

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Speaker 3: some perversities because of the way I read the sense

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Speaker 3: of unchecked authority he's been given, which means there are

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Speaker 3: no guardrails for him at all. But at the same

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Speaker 3: time it is one of the supreme comic performances in

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Speaker 3: the film, just that constipated walk Penn has and the

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Speaker 3: way he carries himself. It I'm sorry, but as I said,

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Speaker 3: like I've seen this on Chicago streets, the performative nature

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Speaker 3: of these ice guys is it's clownish, and that is

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Speaker 3: what Penn is tapping into here. I want to see

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Speaker 3: on a protest sign, speaking of the kids, some kid

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Speaker 3: holding up what Bob's daughter when we meet her as

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Speaker 3: a teenager, later says to Pen in a crucial scene,

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Speaker 3: why is your shirt so tight? That just killed me,

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Speaker 3: because it's only a great line, but it gets at

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Speaker 3: the root of the performative nature of There's something about

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Speaker 3: if you are not morally sure of your actions, you're

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Speaker 3: going to perform them even more. And that is what

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Speaker 3: we are seeing now, and that's what we see in

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Speaker 3: the film in Penn's character. But I do like that

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Speaker 3: we also get him, as you know, we don't agree

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Speaker 3: with any of his choices really but this is not

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Speaker 3: just some faceless monolith that is conducting these things. This

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Speaker 3: is an actual human being with motivations that are yes distorted,

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Speaker 3: But I think that's key. It's almost connected to what

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Speaker 3: you were talking about this movie, having a heart and

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Speaker 3: being interested in the relationships here. This is not a

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Speaker 3: socio political tract. This is a story about a family

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Speaker 3: deeply connected and you know pen is related to this,

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Speaker 3: deeply connected to these events. How it affects them on

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Speaker 3: a day to day relational basis, you have to understand

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Speaker 3: and will me and Mom we used to run around

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Speaker 3: and do some real batches. They got hurt.

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Speaker 6: Now they're coming after us.

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Speaker 4: Sorry, I didn't ask for this.

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Speaker 2: That's just how the cards were.

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Speaker 3: Rolled out for me.

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Speaker 6: It's not cards.

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Speaker 3: You don't roll cards. It's dice.

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Speaker 6: Dex's wrong with you?

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Speaker 3: You're right, let's go.

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Speaker 5: I think you made a good case for how for

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Speaker 5: you anyway, this this almost feels like a bit of

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Speaker 5: a departure for PTA. But let me maybe try to

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Speaker 5: make a case for how it fits into a certain

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Speaker 5: paradigm and we'll see if it works for you or not.

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Speaker 5: When you think about his filmography, he is often reckoned

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Speaker 5: with America's present through its past. Many of his films

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Speaker 5: have been period pieces, and here he brings the battle

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Speaker 5: from the past into the present. Though, as I alluded

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Speaker 5: to earlier, and I think I haven't read it. I

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Speaker 5: think this comes from the Pension novel. I may have

375
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Speaker 5: heard this somewhere. I could be wrong that even though

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Speaker 5: that was set in a different time, that that there

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Speaker 5: is a sort of blending, right, And I felt that

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Speaker 5: watching the film, that you're seeing it and you're not

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Speaker 5: quite sure even when we're watching the prologue, when exactly

380
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Speaker 5: is this taking place? And this feels like the present,

381
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Speaker 5: but when exactly is this the present? That feels by

382
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Speaker 5: design and it feels coherently incoherent in an appropriate way

383
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Speaker 5: for the times in which we currently live, right, And

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Speaker 5: so not every film follows this, of course, But I've

385
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Speaker 5: certainly talked about his emphasis on mentor protege relationships that

386
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Speaker 5: often takes the form of fathers and sons or surrogate

387
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Speaker 5: fathers and sons. Con Men as well are often found

388
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Speaker 5: populating his films, and those are among the most enduring

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Speaker 5: and evocative figures in all of American fiction. Neither seem

390
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Speaker 5: to be what this movie is concerned with, though maybe

391
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Speaker 5: we should consider is it one battle after another about

392
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Speaker 5: the absence of a mentor protege relationship, the mother daughter

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Speaker 5: activist dynamic that should be here, but also the father

394
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Speaker 5: daughter one. Since Bob is wallowing an apathy and you

395
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Speaker 5: have Willa constantly looking to him, wanting that direction, craving

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Speaker 5: it and not getting it because he is, he is

397
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Speaker 5: completely absent, and according to my reading anyway, to some degree,

398
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Speaker 5: isn't isn't Bob sort of a con man? You could argue,

399
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Speaker 5: You could argue he's barely playing the role of a father.

400
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Speaker 5: But I'm really talking about how we meet him in

401
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Speaker 5: the prologue.

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Speaker 3: Isn't he? Even with that name Ghetto Pat?

403
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Speaker 5: I think it supports this, and I think DiCaprio's performance

404
00:23:32,280 --> 00:23:38,119
Speaker 5: supports this. The nervousness, that anxiety, how Perfidia has to

405
00:23:38,440 --> 00:23:41,240
Speaker 5: urge him on, how he constantly seems to be having

406
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Speaker 5: to prove himself that he's worthy to be with her,

407
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Speaker 5: that he's worthy to be part of this resistance group,

408
00:23:48,359 --> 00:23:52,880
Speaker 5: the French seventy five. The ease then, also with which

409
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Speaker 5: he falls into fatherhood and domesticity. Right, Ghetto Pat seems

410
00:23:58,040 --> 00:24:00,920
Speaker 5: to be an upper middle class white boy from Ohio

411
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Speaker 5: who joined the revolution.

412
00:24:03,160 --> 00:24:03,360
Speaker 3: Right.

413
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Speaker 5: And I have to say Ohio because I'm from Iowa.

414
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Speaker 5: Otherwise I'd say from Iowa.

415
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Speaker 3: Right.

416
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Speaker 5: But there's a key line, and I may not have

417
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Speaker 5: it exactly right. You maybe have it in your notes.

418
00:24:13,680 --> 00:24:16,960
Speaker 5: My notes were completely worthless to me. But there's a

419
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Speaker 5: scene where he's talking to his mother in law, Perfidy's mother,

420
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Speaker 5: and she says to him something like, you'll never be

421
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Speaker 5: good enough for her, You'll never be up to her

422
00:24:29,040 --> 00:24:31,680
Speaker 5: standard my daughter and for my daughter. And I think

423
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Speaker 5: I think she says something like she's a runner. I

424
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Speaker 5: think the words like a runner and that will that

425
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Speaker 5: will have or something along those lines, and that will

426
00:24:40,920 --> 00:24:43,760
Speaker 5: have residents later. But in the moment, it's clear that

427
00:24:43,840 --> 00:24:48,080
Speaker 5: what she's saying is, you know, Perfidy is she's a hunter.

428
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Speaker 5: She is always on the move, she is volatile, She's

429
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Speaker 5: never going to be contained. And it's kind of like

430
00:24:55,840 --> 00:25:00,720
Speaker 5: she's saying, you're a lump. You just you don't belong here, really,

431
00:25:00,960 --> 00:25:04,320
Speaker 5: you don't belong with her. And and you know, even

432
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Speaker 5: if you reject everything I've said, what are those mentor

433
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Speaker 5: protege relationships fundamentally predicated on and even what are con

434
00:25:14,600 --> 00:25:18,959
Speaker 5: artists manipulating. I do think it's all about power, and

435
00:25:19,000 --> 00:25:22,760
Speaker 5: that's at the core of every dynamic and decision that's

436
00:25:22,800 --> 00:25:26,439
Speaker 5: made in this movie. If you look at every single

437
00:25:26,440 --> 00:25:29,400
Speaker 5: one of them, including of course that key scene, that

438
00:25:29,720 --> 00:25:34,080
Speaker 5: scene where we meet Perfidia and Lockjaw, and where we

439
00:25:34,119 --> 00:25:37,159
Speaker 5: see them interacting in other scenes too, it's fundamentally the

440
00:25:37,160 --> 00:25:40,800
Speaker 5: story of America. And oh what is that type of power?

441
00:25:40,880 --> 00:25:43,560
Speaker 5: It is specifically white power, right, and that's what this

442
00:25:43,720 --> 00:25:47,639
Speaker 5: movie hilariously excoriates.

443
00:25:48,119 --> 00:25:51,480
Speaker 3: Yeah, I think that's right, and I think the mentor

444
00:25:52,000 --> 00:25:55,600
Speaker 3: protege dynamic is at play, even if to me it's

445
00:25:55,640 --> 00:25:58,879
Speaker 3: a little more scene through the prism of the father

446
00:25:58,960 --> 00:26:01,080
Speaker 3: and daughter. Actually wish I'd probably say at this point

447
00:26:01,080 --> 00:26:03,440
Speaker 3: Willa his daughter as a teenager. We do jump ahead

448
00:26:03,520 --> 00:26:06,560
Speaker 3: after the opening section sixteen years, played really well by

449
00:26:06,680 --> 00:26:12,160
Speaker 3: Chase Infinity, a relative newcomer. It's almost about Bob coming

450
00:26:12,280 --> 00:26:17,200
Speaker 3: into maybe mentor is a strong word, but coming into

451
00:26:17,200 --> 00:26:22,359
Speaker 3: the realization that for him to be the best dad

452
00:26:22,760 --> 00:26:26,600
Speaker 3: to this young woman, he's going to have to shake

453
00:26:26,640 --> 00:26:28,919
Speaker 3: off the apathy and he's going to have to be

454
00:26:29,080 --> 00:26:31,800
Speaker 3: more than what as you're describing. I think you're right,

455
00:26:31,840 --> 00:26:34,199
Speaker 3: he was probably something of a hanger on in that

456
00:26:34,280 --> 00:26:38,879
Speaker 3: opening scene where we see Perfidia leading an attack on

457
00:26:39,280 --> 00:26:43,080
Speaker 3: a detention center and he's the explosives expert and she's

458
00:26:43,240 --> 00:26:45,439
Speaker 3: telling him what do I almost thought he was just

459
00:26:45,520 --> 00:26:47,639
Speaker 3: the way DiCaprio carries himself, he's kind of like a

460
00:26:47,680 --> 00:26:50,240
Speaker 3: gun for hire. I didn't know what sort of convictions

461
00:26:50,240 --> 00:26:53,480
Speaker 3: he had. And then we realize they're in a romantic relationship, that.

462
00:26:53,520 --> 00:26:55,520
Speaker 5: There's a other question is just real quick you get

463
00:26:55,520 --> 00:26:58,400
Speaker 5: the dynamic that maybe it is almost like he's proving himself,

464
00:26:58,440 --> 00:27:00,720
Speaker 5: like they aren't in a full fledged relationship be yet

465
00:27:00,920 --> 00:27:01,639
Speaker 5: you could read.

466
00:27:01,520 --> 00:27:04,399
Speaker 3: It maybe that too, but they're basically the point is

467
00:27:04,880 --> 00:27:08,400
Speaker 3: you don't sense the cause is what's primarily driving him.

468
00:27:09,080 --> 00:27:11,400
Speaker 3: At least didn't. I didn't give that sense. I don't

469
00:27:11,400 --> 00:27:13,200
Speaker 3: think it was objecting to it. But he's a little

470
00:27:13,200 --> 00:27:16,760
Speaker 3: bit along for the ride. And I think in terms

471
00:27:16,800 --> 00:27:20,840
Speaker 3: of this dynamic you're talking about mentor protege. You know,

472
00:27:20,880 --> 00:27:23,479
Speaker 3: maybe it reverses where the daughter becomes the mentor to

473
00:27:23,520 --> 00:27:27,000
Speaker 3: the to the father as the movie goes on. Yeah,

474
00:27:27,040 --> 00:27:29,320
Speaker 3: let's talk a little bit more about DiCaprio's performance. I

475
00:27:29,640 --> 00:27:33,320
Speaker 3: think he's just this is a first rate dimmed bulb

476
00:27:33,560 --> 00:27:36,879
Speaker 3: in the line of the likes of of course, you know,

477
00:27:37,000 --> 00:27:39,800
Speaker 3: we're thinking about Jeff Bridges and the big Lebowski or

478
00:27:40,000 --> 00:27:43,920
Speaker 3: Joaquin Phoenix in the other pinchin adaptation from Paul Thomas

479
00:27:43,960 --> 00:27:46,760
Speaker 3: Anderson right and here and vice. He's as good, I

480
00:27:46,760 --> 00:27:49,320
Speaker 3: think as well. He's almost as good as both of

481
00:27:49,359 --> 00:27:53,640
Speaker 3: them in those films. I really enjoyed him here, not

482
00:27:53,720 --> 00:27:57,240
Speaker 3: only the way he dims his bulb like that. It's

483
00:27:57,280 --> 00:27:59,560
Speaker 3: clearly because of the drugs, right, but it's also because

484
00:27:59,560 --> 00:28:03,080
Speaker 3: of the psyche weight of this failed revolution and the

485
00:28:03,080 --> 00:28:05,919
Speaker 3: burden of raising a child in this climate, because we

486
00:28:06,080 --> 00:28:09,000
Speaker 3: learn that sixteen years have gone by and if anything,

487
00:28:09,080 --> 00:28:13,640
Speaker 3: things have only gotten worse. Right, their movement people are

488
00:28:13,680 --> 00:28:17,640
Speaker 3: scattered because of an incident. We won't detail their underground

489
00:28:17,680 --> 00:28:21,320
Speaker 3: as he is hiding, and he's trying to make sense

490
00:28:21,359 --> 00:28:26,119
Speaker 3: of raising a teenager in this environment. It took a while, Adam,

491
00:28:26,160 --> 00:28:27,919
Speaker 3: but I knew I was on board with the performance.

492
00:28:28,160 --> 00:28:30,959
Speaker 3: It shifts into high comic gear when he shows up

493
00:28:31,000 --> 00:28:37,280
Speaker 3: at a parent teacher meeting, stoned but also weepy.

494
00:28:38,000 --> 00:28:41,120
Speaker 5: He just if I takes a drag, he takes a

495
00:28:41,200 --> 00:28:44,120
Speaker 5: drag during it. But you're right, he gets emotional.

496
00:28:44,680 --> 00:28:47,560
Speaker 3: If I get emotional, it's just tears of joy, that's all.

497
00:28:48,040 --> 00:28:51,720
Speaker 3: But the thing about the performance is he's not just

498
00:28:51,760 --> 00:28:54,760
Speaker 3: trying to cover up. He is, but he also means it.

499
00:28:54,920 --> 00:28:57,080
Speaker 3: He really means it because he's got a good report

500
00:28:57,120 --> 00:29:00,280
Speaker 3: about his daughter at school. Yes, and this is just

501
00:29:00,640 --> 00:29:03,400
Speaker 3: what DiCaprio's trying to balance as this character. And yeah,

502
00:29:03,400 --> 00:29:06,680
Speaker 3: from that scene, none, he puts the pedal down and

503
00:29:06,840 --> 00:29:09,760
Speaker 3: never lets up through the rest of the movie.

504
00:29:10,240 --> 00:29:12,960
Speaker 5: No, I don't or I haven't come up with yet

505
00:29:12,960 --> 00:29:17,600
Speaker 5: the right adjective to describe what I'm thinking about DiCaprio's performance.

506
00:29:17,600 --> 00:29:18,760
Speaker 3: But I like that.

507
00:29:18,840 --> 00:29:21,200
Speaker 5: Of course, the touch points for it have to be

508
00:29:22,200 --> 00:29:25,960
Speaker 5: Doc Sportello because it's Pta and it's it's a pinchin adaptation.

509
00:29:26,600 --> 00:29:29,800
Speaker 5: But it's a very different performance, and it's very different

510
00:29:29,880 --> 00:29:32,440
Speaker 5: than the other go to, which is Lebowski. It just

511
00:29:32,520 --> 00:29:36,440
Speaker 5: it doesn't it doesn't have that same stoner vibe to it.

512
00:29:36,680 --> 00:29:39,400
Speaker 5: There is something different about it, and I think I

513
00:29:39,400 --> 00:29:42,080
Speaker 5: think one of the things that's different about it is

514
00:29:42,640 --> 00:29:45,760
Speaker 5: that it just doesn't feel But I think in a

515
00:29:45,760 --> 00:29:48,840
Speaker 5: good way. It doesn't feel quite as lived in it

516
00:29:48,960 --> 00:29:53,960
Speaker 5: feels like someone who was transplanted into that character and

517
00:29:54,080 --> 00:29:56,520
Speaker 5: is still taking it on in some way. And I'm

518
00:29:56,520 --> 00:29:59,560
Speaker 5: really glad that you you mentioned that psychic weight, because

519
00:29:59,720 --> 00:30:02,760
Speaker 5: in the few comments I've seen about him here and

520
00:30:02,800 --> 00:30:06,400
Speaker 5: there or about the character, everyone talks about him just

521
00:30:06,480 --> 00:30:09,520
Speaker 5: as and we have so far as this apathetic character

522
00:30:09,680 --> 00:30:13,640
Speaker 5: or someone who, you know, the revolution's been gone for

523
00:30:13,680 --> 00:30:15,640
Speaker 5: a while, so now he's just hanging around and he's

524
00:30:15,680 --> 00:30:19,080
Speaker 5: getting drunk and stoned and doesn't feel like there's a

525
00:30:19,080 --> 00:30:22,000
Speaker 5: fight anymore, or he's too lazy or not willing to fight.

526
00:30:22,840 --> 00:30:24,960
Speaker 5: Going back to what we've said about the emotional core

527
00:30:25,000 --> 00:30:28,120
Speaker 5: of this film, I still see him as fundamentally a

528
00:30:28,160 --> 00:30:29,440
Speaker 5: heartbroken character.

529
00:30:29,600 --> 00:30:31,000
Speaker 3: Yes, josh as Air.

530
00:30:32,280 --> 00:30:35,160
Speaker 5: I think that is also part of who he is,

531
00:30:35,240 --> 00:30:38,360
Speaker 5: and that's driving so much of his apathy. It's not

532
00:30:38,680 --> 00:30:41,000
Speaker 5: just that what was me, you know, quote unquote the

533
00:30:41,040 --> 00:30:44,720
Speaker 5: sixties aren't here anymore. I think he's a heartbroken character.

534
00:30:45,080 --> 00:30:47,760
Speaker 5: I used a word earlier at the start of my

535
00:30:47,800 --> 00:30:50,120
Speaker 5: comments that I want to come back to a little

536
00:30:50,160 --> 00:30:54,160
Speaker 5: bit because it relates to Paul Thomas Anderson in the filmmaking,

537
00:30:54,400 --> 00:30:56,320
Speaker 5: and you have to be careful a little bit, how

538
00:30:56,320 --> 00:30:58,640
Speaker 5: often you go to certain words or phrases as a

539
00:30:58,680 --> 00:31:02,840
Speaker 5: critic when praising movies, especially in the same year when

540
00:31:02,840 --> 00:31:06,960
Speaker 5: we talked about Sinners, I spoke about it having the

541
00:31:07,040 --> 00:31:11,400
Speaker 5: rhythms and audaciousness of some of our boldest musicals. I

542
00:31:11,440 --> 00:31:14,240
Speaker 5: know that Punch Drunk Love feels to many like a

543
00:31:14,320 --> 00:31:18,840
Speaker 5: musical despite their being no singing in it. And of

544
00:31:18,840 --> 00:31:21,760
Speaker 5: course there are numerous sequences we can point to in

545
00:31:21,760 --> 00:31:24,640
Speaker 5: Paul Thomas Anderson's filmography where we can single out the

546
00:31:24,680 --> 00:31:28,440
Speaker 5: fluidity in the intricacy of the camera, the elaborate nature

547
00:31:28,480 --> 00:31:32,760
Speaker 5: of the shots right, the coordination with the performers. But

548
00:31:32,840 --> 00:31:35,600
Speaker 5: with Battle, I had a different sense, and it was

549
00:31:35,760 --> 00:31:39,680
Speaker 5: largely in that extended I'm gonna call it the extended

550
00:31:39,760 --> 00:31:44,280
Speaker 5: raid on back ten Cross, especially when we haven't mentioned

551
00:31:44,360 --> 00:31:48,240
Speaker 5: him yet, especially when Benisil del Toro, Oh gosh, was

552
00:31:48,280 --> 00:31:50,240
Speaker 5: on screen, and.

553
00:31:49,800 --> 00:31:50,840
Speaker 3: I wonder if you were thinking.

554
00:31:51,240 --> 00:31:52,840
Speaker 5: I wonder if you were thinking the same thing I was,

555
00:31:52,960 --> 00:31:55,200
Speaker 5: because even though you liked the movie more than me,

556
00:31:55,560 --> 00:31:58,560
Speaker 5: we were both a little down on the mellowness of

557
00:31:58,600 --> 00:32:02,520
Speaker 5: Beniicil del Toro and Phoenician scheme. And here it couldn't

558
00:32:02,560 --> 00:32:07,920
Speaker 5: have served this movie better. He is so good as

559
00:32:08,000 --> 00:32:12,120
Speaker 5: this senseay in this movie who who ends up coming

560
00:32:12,160 --> 00:32:14,960
Speaker 5: to the aid not only of Bob when he most

561
00:32:15,040 --> 00:32:19,280
Speaker 5: needs it, but also so many other people in a

562
00:32:19,320 --> 00:32:22,120
Speaker 5: scenario that he even himself describes it as as a

563
00:32:22,160 --> 00:32:26,040
Speaker 5: Harriet Tubman like situation, going on, Oh wait, wait, a

564
00:32:26,160 --> 00:32:28,040
Speaker 5: Latino Harriet Tubman situation.

565
00:32:28,240 --> 00:32:31,080
Speaker 3: There you go, right, That's exactly what it is.

566
00:32:31,320 --> 00:32:34,440
Speaker 5: But when he's on screen it it relates to how

567
00:32:34,440 --> 00:32:39,560
Speaker 5: the camera Josh slows to match the calmness of that character,

568
00:32:39,960 --> 00:32:45,000
Speaker 5: who truly is like the conductor of the Latino Harriet

569
00:32:45,000 --> 00:32:49,920
Speaker 5: Tubman like situation. All the movements that are occurring. I was,

570
00:32:50,200 --> 00:32:55,360
Speaker 5: I was keenly aware of the blocking everything that was occurring,

571
00:32:55,600 --> 00:32:58,880
Speaker 5: not of the camera how it was moving, but everything

572
00:32:58,880 --> 00:33:03,400
Speaker 5: that was occurring within the frame, the choreography of it.

573
00:33:03,480 --> 00:33:07,160
Speaker 5: That's the word for the camera to capture, not not

574
00:33:07,280 --> 00:33:09,840
Speaker 5: how the camera again was moving within the space, but

575
00:33:09,920 --> 00:33:15,760
Speaker 5: how the camera was there to observe for us, how

576
00:33:15,800 --> 00:33:18,560
Speaker 5: we were then able to observe in that space with

577
00:33:18,640 --> 00:33:21,560
Speaker 5: a sense of often real time urgency. It wasn't like

578
00:33:21,640 --> 00:33:24,040
Speaker 5: the long shot in Boogie Knights right where you know

579
00:33:24,760 --> 00:33:28,600
Speaker 5: we see William H. Macy's character kill himself right, and

580
00:33:28,640 --> 00:33:32,000
Speaker 5: it's it draws a lot of attention to itself. It's

581
00:33:32,040 --> 00:33:35,680
Speaker 5: about us being able to observe in real time and

582
00:33:35,720 --> 00:33:39,240
Speaker 5: that that sense of intimacy and urgency. But it's not overwhelming.

583
00:33:39,800 --> 00:33:43,800
Speaker 5: It's heightened, but it's steady. Bodies are constantly in motion,

584
00:33:43,960 --> 00:33:47,160
Speaker 5: but it never feels jagged or jarring, the only way

585
00:33:47,160 --> 00:33:50,200
Speaker 5: I could really describe it. And and here it's just

586
00:33:50,240 --> 00:33:52,400
Speaker 5: a little bit of a trick that Pta pulls off.

587
00:33:52,560 --> 00:33:55,880
Speaker 5: He somehow creates a serene intensity.

588
00:33:56,520 --> 00:34:02,080
Speaker 3: I need you, brother Sencing, please courage Bob Carriage. It

589
00:34:02,200 --> 00:34:04,680
Speaker 3: did good.

590
00:34:05,800 --> 00:34:13,480
Speaker 6: Yeah, thank you, hey, thank you, since thank you, thank you, God,

591
00:34:13,560 --> 00:34:13,960
Speaker 6: damn it.

592
00:34:18,080 --> 00:34:21,520
Speaker 3: That's a great, great description of it. The one thing

593
00:34:21,560 --> 00:34:23,680
Speaker 3: I had to put out there in blue sky after

594
00:34:23,719 --> 00:34:25,960
Speaker 3: I saw this was maybe Benicio del Toro will save

595
00:34:26,040 --> 00:34:28,720
Speaker 3: us all, because that's what I can help. So thinking

596
00:34:29,000 --> 00:34:32,560
Speaker 3: he has this, it's this bemused spiritual calm. You know,

597
00:34:32,719 --> 00:34:35,640
Speaker 3: we should say this is when the town has been

598
00:34:35,680 --> 00:34:39,520
Speaker 3: taken over by the military. The streets, they've instigated among

599
00:34:39,600 --> 00:34:46,200
Speaker 3: protesters an attack, and that is what precedes the underground

600
00:34:46,239 --> 00:34:48,479
Speaker 3: railroad to go into effect to get some of these

601
00:34:49,040 --> 00:34:53,560
Speaker 3: mostly women and children not violent criminals, women and tru

602
00:34:53,880 --> 00:34:57,399
Speaker 3: children who are being targeted by the military, and del

603
00:34:57,480 --> 00:35:05,640
Speaker 3: Toro's calm balances with DiCaprio's antickness. This relates to our

604
00:35:05,760 --> 00:35:09,280
Speaker 3: discussion of how invested in the cause is Bob, because

605
00:35:09,840 --> 00:35:12,440
Speaker 3: there isn't until there's a moment where Del Toro has

606
00:35:12,440 --> 00:35:16,120
Speaker 3: given him clear, calm directions about what to do, where

607
00:35:16,160 --> 00:35:19,600
Speaker 3: to go, and Bob pauses, catches a breath, and that's

608
00:35:19,640 --> 00:35:22,120
Speaker 3: when he screams out, Viva la revolution.

609
00:35:22,760 --> 00:35:22,920
Speaker 7: Right.

610
00:35:23,000 --> 00:35:26,759
Speaker 3: Yeah, it's not it's not so much because he's about to,

611
00:35:27,080 --> 00:35:31,279
Speaker 3: you know, to make a blow against the authorities. It's

612
00:35:31,280 --> 00:35:34,719
Speaker 3: because he knows what to do. He's he's been told

613
00:35:34,760 --> 00:35:37,919
Speaker 3: what's do. But del Toro in this scene and yeah,

614
00:35:37,920 --> 00:35:41,040
Speaker 3: the blocking and the camera because we're following him upstairs, downstairs,

615
00:35:41,080 --> 00:35:44,680
Speaker 3: through back rooms, in and out of shops. This elaborate

616
00:35:44,719 --> 00:35:49,719
Speaker 3: system he's put together, but he just has this this

617
00:35:49,920 --> 00:35:57,399
Speaker 3: sense of assuredness to him that is so reassuring. And

618
00:35:57,480 --> 00:35:59,440
Speaker 3: to your point about the Phoenician scheme, Yeah, that was

619
00:35:59,480 --> 00:36:04,040
Speaker 3: one of my My main qualms about that movie is

620
00:36:04,040 --> 00:36:07,040
Speaker 3: how is it constricted Del Toro into a Wes Anderson

621
00:36:07,360 --> 00:36:10,799
Speaker 3: type of character. Other actors have given their best performances

622
00:36:10,840 --> 00:36:13,160
Speaker 3: as to that type, but to me, it just did

623
00:36:13,239 --> 00:36:18,200
Speaker 3: not fit del Toro, who needs to have a certain looseness.

624
00:36:18,480 --> 00:36:20,439
Speaker 3: I don't know if I identified it as much while

625
00:36:20,440 --> 00:36:23,719
Speaker 3: watching the Phoenician Scheme until I saw him here, and

626
00:36:23,760 --> 00:36:25,719
Speaker 3: I think this might be a career best turn for him,

627
00:36:26,239 --> 00:36:29,640
Speaker 3: because there is even when he's playing villains, like really

628
00:36:29,680 --> 00:36:32,320
Speaker 3: scary guys, which he's done in the past, there's this

629
00:36:32,480 --> 00:36:36,280
Speaker 3: same sense of calm or looseness where he's not always

630
00:36:36,280 --> 00:36:39,879
Speaker 3: he's not necessarily taking the scene or the actions as

631
00:36:39,920 --> 00:36:42,320
Speaker 3: seriously as you think he should be, but it's because

632
00:36:42,360 --> 00:36:45,239
Speaker 3: he knows what he has a firmer grasp on it,

633
00:36:46,120 --> 00:36:48,800
Speaker 3: and this whole sequence just allows him to be this

634
00:36:49,200 --> 00:36:54,239
Speaker 3: grumbly sage whose she's rumbling through these halls not being

635
00:36:54,280 --> 00:36:56,279
Speaker 3: hurried because he knows exactly what to do.

636
00:36:56,719 --> 00:37:01,439
Speaker 5: It's wonderful in addition to the politics of the film

637
00:37:01,480 --> 00:37:04,080
Speaker 5: as we're describing it, that we were on board with

638
00:37:04,160 --> 00:37:06,520
Speaker 5: the emotional core of it that we've talked about that

639
00:37:07,160 --> 00:37:12,000
Speaker 5: did resonate with us. The humor of the film. You

640
00:37:12,000 --> 00:37:14,200
Speaker 5: can find humor in all of PTA's movies. I'm pretty

641
00:37:14,200 --> 00:37:15,920
Speaker 5: sure I had a scene from liquorice pizza is my

642
00:37:15,920 --> 00:37:17,840
Speaker 5: funniest moment of twenty twenty one, or it was the

643
00:37:17,920 --> 00:37:20,280
Speaker 5: runner up. I'm certain I had a scene from Inherent

644
00:37:20,360 --> 00:37:23,600
Speaker 5: Vice as my funniest moment of twenty fourteen. I'd probably

645
00:37:23,680 --> 00:37:27,480
Speaker 5: still put Boogie Knights as his funniest film, but I

646
00:37:27,560 --> 00:37:31,080
Speaker 5: think this would be my number two, Josh. And it's

647
00:37:31,280 --> 00:37:36,200
Speaker 5: also obviously his most action oriented film, his most suspenseful.

648
00:37:36,520 --> 00:37:39,160
Speaker 5: Despite that steadiness I was talking about, and there is

649
00:37:39,200 --> 00:37:41,200
Speaker 5: a chase scene at the end. This is one of

650
00:37:41,239 --> 00:37:43,160
Speaker 5: those movies where I'm sitting in my seat with my

651
00:37:43,239 --> 00:37:48,720
Speaker 5: knee bouncing in rhythm to the score, you know, wondering

652
00:37:48,719 --> 00:37:52,399
Speaker 5: where this is exactly going, and feeling the intensity of it.

653
00:37:52,520 --> 00:37:55,600
Speaker 5: And actually it is a steadiness where you're feeling it

654
00:37:56,080 --> 00:37:59,680
Speaker 5: kind of the entire film. So you've got that, right,

655
00:37:59,800 --> 00:38:04,640
Speaker 5: You've got that intensity that's maintained for almost the entire

656
00:38:04,800 --> 00:38:07,919
Speaker 5: two hour and fifty minute running time. But all those

657
00:38:07,920 --> 00:38:13,080
Speaker 5: elements are culminating with that humor. And even though I'm

658
00:38:13,200 --> 00:38:17,920
Speaker 5: not someone who has read Pension, I understand that pension

659
00:38:18,040 --> 00:38:20,759
Speaker 5: esque some of it through films like in Hair and Vice,

660
00:38:20,960 --> 00:38:25,239
Speaker 5: that pension esque postmodern sensibility tinged with paranoia, as it

661
00:38:25,280 --> 00:38:29,719
Speaker 5: is here that absurdist sensibility. And the bottom line is,

662
00:38:29,760 --> 00:38:31,759
Speaker 5: we haven't mentioned this part of the story yet, and

663
00:38:31,960 --> 00:38:33,799
Speaker 5: I want to mention it here because it relates to

664
00:38:33,840 --> 00:38:34,240
Speaker 5: the humor.

665
00:38:34,560 --> 00:38:36,719
Speaker 3: I mean, Hail Saint Nick.

666
00:38:37,680 --> 00:38:39,640
Speaker 5: This will mean something to you when you see the

667
00:38:39,680 --> 00:38:42,080
Speaker 5: movie if you haven't. While Saint Nick is one of

668
00:38:42,120 --> 00:38:46,160
Speaker 5: the funniest three word phrases you'll hear all the year

669
00:38:46,640 --> 00:38:48,680
Speaker 5: at the movies. And I want to praise I want

670
00:38:48,680 --> 00:38:51,759
Speaker 5: to praise Paul Thomas Anderson and whoever I should look

671
00:38:51,800 --> 00:38:57,080
Speaker 5: it up, whoever his casting agent is, because whoever is

672
00:38:57,160 --> 00:39:02,880
Speaker 5: responsible for coming up with this group of completely unrecognizable

673
00:39:02,920 --> 00:39:08,800
Speaker 5: for the most part, unrecognizable but innocuous looking, evil, middle

674
00:39:08,840 --> 00:39:09,880
Speaker 5: aged white.

675
00:39:09,680 --> 00:39:12,280
Speaker 3: Dudes, they deserve a raise.

676
00:39:12,560 --> 00:39:14,800
Speaker 5: I'm thinking, I'm thinking, And I went for the record.

677
00:39:14,840 --> 00:39:17,600
Speaker 5: I wanted to give them praise. I went to IMDb,

678
00:39:17,680 --> 00:39:19,480
Speaker 5: and I just did not have the time to scroll

679
00:39:19,520 --> 00:39:21,719
Speaker 5: through every name and try to identify them.

680
00:39:21,760 --> 00:39:22,280
Speaker 3: I couldn't.

681
00:39:22,280 --> 00:39:24,720
Speaker 5: I couldn't pick them out. You know, the pictures didn't

682
00:39:24,719 --> 00:39:27,760
Speaker 5: line up or whatever. But I'm thinking of the second

683
00:39:27,760 --> 00:39:32,160
Speaker 5: in command to Lockjaw, who we see interrogate some people. Yeah,

684
00:39:32,200 --> 00:39:36,239
Speaker 5: perfect right, every single person, and one of them. I

685
00:39:36,239 --> 00:39:39,799
Speaker 5: can't believe I didn't. I didn't recognize this guy, even

686
00:39:39,840 --> 00:39:44,160
Speaker 5: though now of course I see it. He's the bar owner, yes,

687
00:39:44,239 --> 00:39:46,759
Speaker 5: But but other than Tony Goldwyn, who you do most

688
00:39:46,800 --> 00:39:49,279
Speaker 5: of us do know? The one guy who we see

689
00:39:49,400 --> 00:39:52,160
Speaker 5: later in the house who at first is silent and

690
00:39:52,160 --> 00:39:54,000
Speaker 5: we're not sure that he's going to talk. Oh yeah,

691
00:39:54,160 --> 00:39:58,960
Speaker 5: that's that's Kevin Tigue. That's Kevin Tigue from the bar

692
00:39:59,080 --> 00:40:04,000
Speaker 5: owner of the Double D in Roadhouse. So fairly a classic.

693
00:40:04,040 --> 00:40:04,480
Speaker 3: That guy.

694
00:40:04,719 --> 00:40:08,319
Speaker 5: We kind of recognize him, right, But otherwise all those

695
00:40:08,360 --> 00:40:11,600
Speaker 5: other guys are that guys that we don't know. And

696
00:40:11,640 --> 00:40:15,920
Speaker 5: I'm calling these innocuous looking, evil, middle aged white dudes

697
00:40:16,000 --> 00:40:19,279
Speaker 5: the Tony Goldwyn all stars, and every one of them

698
00:40:19,320 --> 00:40:21,720
Speaker 5: in this movie. Josh is just so perfect.

699
00:40:22,360 --> 00:40:26,000
Speaker 3: This is the Christmas Adventures Club, This is the Christmas Conspiracy,

700
00:40:26,360 --> 00:40:30,239
Speaker 3: pulling the strings we learn, and it's so funny. I

701
00:40:30,280 --> 00:40:32,560
Speaker 3: saw it just on Blue Sky today. Alyssa Wilkinson, the

702
00:40:32,560 --> 00:40:35,480
Speaker 3: New York Times critic, say something about being out in

703
00:40:35,480 --> 00:40:37,600
Speaker 3: New York and she's pretty sure she's I think she

704
00:40:37,640 --> 00:40:39,720
Speaker 3: said something like pretty sure. I saw a member walking

705
00:40:39,760 --> 00:40:43,040
Speaker 3: down the street, and I'm sure we had the same

706
00:40:43,080 --> 00:40:45,680
Speaker 3: thing here. Debbie and I were walking down and we

707
00:40:45,680 --> 00:40:48,840
Speaker 3: saw a guy sitting like a really nice house in

708
00:40:48,920 --> 00:40:50,600
Speaker 3: town here and he was out in his yard, just

709
00:40:50,640 --> 00:40:54,319
Speaker 3: sitting on the patio in like a you know, innocuous

710
00:40:54,320 --> 00:40:58,000
Speaker 3: but very expensive, clearly like sweater vest. And we both

711
00:40:58,000 --> 00:40:59,719
Speaker 3: were like, we looked at her, like, oh, he's in

712
00:40:59,760 --> 00:41:04,640
Speaker 3: the Smith's Adventures Club. Yeah, it has to be. So

713
00:41:04,800 --> 00:41:07,520
Speaker 3: this is so funny, and it is, it is really

714
00:41:07,520 --> 00:41:11,040
Speaker 3: fun and it's sometimes it's beautifully I'm gonna call it

715
00:41:11,080 --> 00:41:14,080
Speaker 3: a sequence that has the humor and also the filmmaking chops.

716
00:41:14,120 --> 00:41:17,480
Speaker 3: And this is actually part of the entire sense sequence.

717
00:41:17,840 --> 00:41:21,200
Speaker 3: But at this point, del Toro's character has sent Bob

718
00:41:21,280 --> 00:41:23,799
Speaker 3: off with some skaters. He said, these guys will get

719
00:41:23,840 --> 00:41:26,840
Speaker 3: you safe where you need to go. And the route

720
00:41:27,239 --> 00:41:29,920
Speaker 3: is across the rooftops because, as I said, the military

721
00:41:29,920 --> 00:41:32,040
Speaker 3: has taken over the streets and are just you know,

722
00:41:32,120 --> 00:41:36,759
Speaker 3: shooting at random. Below this is shot by Anderson and

723
00:41:36,840 --> 00:41:41,839
Speaker 3: cinematographer Michael Bauman from a distance and in silhouette. And

724
00:41:41,920 --> 00:41:46,040
Speaker 3: so you have these these skaters, these younger guys with

725
00:41:46,080 --> 00:41:50,040
Speaker 3: their boards just you know, very beautifully leaping in silhouette

726
00:41:50,040 --> 00:41:52,319
Speaker 3: from one building to the other end just as you're

727
00:41:52,320 --> 00:41:54,759
Speaker 3: thinking like, oh, this is a I have this sense

728
00:41:54,800 --> 00:41:59,160
Speaker 3: of like mythical resistance, and then we have Bob stumbling

729
00:41:59,239 --> 00:42:03,920
Speaker 3: behind them, barely able to keep up. And that's just

730
00:42:04,080 --> 00:42:06,359
Speaker 3: you know, the This is what's so great about this movie, too,

731
00:42:06,400 --> 00:42:10,920
Speaker 3: is it's willing to puncture those moments. It's not taking

732
00:42:10,960 --> 00:42:14,160
Speaker 3: itself too seriously, even though it's probably going to be

733
00:42:14,200 --> 00:42:17,120
Speaker 3: the most serious movie that comes out in the United

734
00:42:17,120 --> 00:42:21,960
Speaker 3: States this year, But it doesn't carry itself this way.

735
00:42:22,200 --> 00:42:24,040
Speaker 6: Hi, what's up?

736
00:42:25,040 --> 00:42:25,680
Speaker 3: What's upon me?

737
00:42:25,719 --> 00:42:29,080
Speaker 6: It's it's me again, Bob Ferguson. I don't know if

738
00:42:29,080 --> 00:42:31,799
Speaker 6: you remember what we we we spoke earlier on the

739
00:42:31,840 --> 00:42:34,680
Speaker 6: on the phone. I think we had a little misunderstanding.

740
00:42:35,440 --> 00:42:37,400
Speaker 6: I think we got off on the wrong foot. I

741
00:42:37,440 --> 00:42:40,040
Speaker 6: was trying to get the rendezvous point for my daughter,

742
00:42:40,440 --> 00:42:40,799
Speaker 6: right will.

743
00:42:41,600 --> 00:42:44,680
Speaker 3: If you can't answer, what time is it, I cannot

744
00:42:44,800 --> 00:42:48,280
Speaker 3: give you. The rendezvous point is the relion.

745
00:42:48,640 --> 00:42:49,200
Speaker 1: I'm surprised.

746
00:42:50,239 --> 00:42:51,520
Speaker 3: I don't know if you are.

747
00:42:52,160 --> 00:42:56,480
Speaker 5: I do love that it punctures that mythos there, but

748
00:42:57,680 --> 00:43:02,120
Speaker 5: what it does with that imagery still astounding, that shot,

749
00:43:02,400 --> 00:43:06,239
Speaker 5: that silhouetted shot of those those younger men on the

750
00:43:06,280 --> 00:43:12,520
Speaker 5: skateboard is still among the most vivid shots in his filmography.

751
00:43:12,680 --> 00:43:15,480
Speaker 5: And think about what he's given us through ten films.

752
00:43:16,280 --> 00:43:20,279
Speaker 3: I have one that wowed me even more, and it's

753
00:43:20,360 --> 00:43:23,440
Speaker 3: during the climactic car chase, which we won't even say

754
00:43:23,440 --> 00:43:26,840
Speaker 3: who's involved, but it is taking place on this stretch

755
00:43:26,880 --> 00:43:31,520
Speaker 3: of desert hills and at one point it's they must

756
00:43:31,520 --> 00:43:33,759
Speaker 3: have placed the camera on the hood of one of

757
00:43:33,760 --> 00:43:37,840
Speaker 3: the cars. Three cars are involved, and as the vehicle

758
00:43:38,120 --> 00:43:41,479
Speaker 3: kind of lolls up and down this road, the road

759
00:43:41,560 --> 00:43:47,000
Speaker 3: is like an undulating road, and the experience of watching

760
00:43:47,040 --> 00:43:51,279
Speaker 3: it from that point of view was it was anxious

761
00:43:51,800 --> 00:43:56,280
Speaker 3: but also mesmerizing, and it was inducing in me because

762
00:43:56,280 --> 00:43:59,360
Speaker 3: it kind of is repeated and goes on, and it

763
00:43:59,400 --> 00:44:02,879
Speaker 3: was inducing in me like a nausea but also a sleepiness.

764
00:44:03,440 --> 00:44:07,440
Speaker 3: And the only thing I could think about is when

765
00:44:07,520 --> 00:44:09,239
Speaker 3: I got out of the movie, and even a day

766
00:44:09,320 --> 00:44:11,320
Speaker 3: or two later, like what was that all about?

767
00:44:11,480 --> 00:44:11,600
Speaker 7: Is?

768
00:44:11,719 --> 00:44:14,440
Speaker 3: Oh, That's how I felt. For the last ten years,

769
00:44:15,040 --> 00:44:19,359
Speaker 3: I've exact life has felt like being on that road

770
00:44:19,480 --> 00:44:23,600
Speaker 3: of dipping up and down and not knowing what's over

771
00:44:23,640 --> 00:44:26,000
Speaker 3: the next hill, and what it might do to you,

772
00:44:26,239 --> 00:44:30,600
Speaker 3: and my goodness, however, they got that shot and sustained

773
00:44:30,600 --> 00:44:32,799
Speaker 3: it so that it works in terms of suspense, but

774
00:44:32,920 --> 00:44:36,799
Speaker 3: also on a certain level just pure beauty is incredible.

775
00:44:37,280 --> 00:44:39,000
Speaker 5: Well, it kind of goes back to what I was

776
00:44:39,040 --> 00:44:44,480
Speaker 5: saying and we were talking about. It is intense and suspenseful,

777
00:44:44,880 --> 00:44:48,640
Speaker 5: and yet it feels I remember the feeling of watching

778
00:44:48,719 --> 00:44:51,399
Speaker 5: it and what you're talking about with the undulation, there's

779
00:44:51,440 --> 00:44:54,120
Speaker 5: a certain serenity to it as well, isn't it. So

780
00:44:55,040 --> 00:45:00,840
Speaker 5: it's crazy how they managed to balance that in this film.

781
00:45:01,640 --> 00:45:05,280
Speaker 5: There is I think we've had the discussion we probably

782
00:45:05,320 --> 00:45:07,799
Speaker 5: wanted to have, and we could close here, but I

783
00:45:07,840 --> 00:45:11,799
Speaker 5: will at least raise that I knew within about ten

784
00:45:11,840 --> 00:45:16,600
Speaker 5: minutes of this film that among the conversations that were

785
00:45:16,640 --> 00:45:19,200
Speaker 5: going to be had about this film, there was definitely

786
00:45:19,280 --> 00:45:24,040
Speaker 5: going to be the discourse around a certain issue with

787
00:45:24,120 --> 00:45:27,479
Speaker 5: the movie, one that the two of us probably aren't

788
00:45:27,480 --> 00:45:29,480
Speaker 5: the best people to weigh in on, but I knew

789
00:45:29,480 --> 00:45:32,279
Speaker 5: there was going to be a discourse, and sure enough,

790
00:45:32,360 --> 00:45:36,440
Speaker 5: I woke up this morning and I actually these days

791
00:45:36,480 --> 00:45:39,480
Speaker 5: I'm not on social media much at all, but I

792
00:45:39,560 --> 00:45:41,680
Speaker 5: will usually wake up and just sort of check in

793
00:45:42,080 --> 00:45:46,480
Speaker 5: and the very first thing I saw this morning, it

794
00:45:46,560 --> 00:45:48,960
Speaker 5: had begun. Josh, I don't know if you know what

795
00:45:49,000 --> 00:45:52,240
Speaker 5: I'm referring to, but I guess I will throw out vaguely,

796
00:45:53,280 --> 00:45:54,759
Speaker 5: do you want to get into it or do you

797
00:45:54,800 --> 00:45:58,680
Speaker 5: want to wait until feedback on an upcoming show and

798
00:45:58,719 --> 00:46:01,120
Speaker 5: get into whatever or this discourse might be.

799
00:46:01,880 --> 00:46:05,640
Speaker 3: Yeah, I mean we're gonna have to. I'm unaware of it.

800
00:46:04,719 --> 00:46:08,839
Speaker 3: I was in a bunker before seeing this, and I've

801
00:46:08,920 --> 00:46:11,880
Speaker 3: tried to be in a bunker aside from you know

802
00:46:11,920 --> 00:46:15,240
Speaker 3: that Alyssa Wilkinson comments and a few other things since

803
00:46:15,400 --> 00:46:19,400
Speaker 3: until we've had this conversation. I cannot wait till tomorrow

804
00:46:19,760 --> 00:46:22,759
Speaker 3: to be able to dive into all the critics who

805
00:46:22,840 --> 00:46:25,560
Speaker 3: I respect their takes, and I'm sure there's gonna be

806
00:46:26,000 --> 00:46:29,719
Speaker 3: some pushback. I surprise it hasn't started already because so

807
00:46:29,760 --> 00:46:32,239
Speaker 3: far it's just been a wave of raves seen star

808
00:46:32,360 --> 00:46:36,959
Speaker 3: ratings come through on Letterbox. So yeah, I'm gonna dive

809
00:46:36,960 --> 00:46:40,560
Speaker 3: into all of that tomorrow and perhaps we'll pick it up. Yeah,

810
00:46:40,560 --> 00:46:42,640
Speaker 3: when we get some feedback, which may.

811
00:46:42,560 --> 00:46:46,520
Speaker 5: Be a lot of those lines I had thoughts because

812
00:46:46,560 --> 00:46:49,960
Speaker 5: they relate to the experience I had watching the movie.

813
00:46:50,400 --> 00:46:54,680
Speaker 5: They don't relate to the thoughts or I should say,

814
00:46:54,800 --> 00:46:59,319
Speaker 5: the specific criticisms that this person had, because they just

815
00:46:59,320 --> 00:47:01,120
Speaker 5: came out this morning and I didn't have time to

816
00:47:01,160 --> 00:47:04,640
Speaker 5: read those. So I wasn't going to be reacting to

817
00:47:04,760 --> 00:47:07,880
Speaker 5: that article necessarily or not at all. I was just

818
00:47:07,920 --> 00:47:09,960
Speaker 5: going to be talking about what I saw on the

819
00:47:10,000 --> 00:47:11,440
Speaker 5: screen now.

820
00:47:11,239 --> 00:47:11,799
Speaker 3: As it is.

821
00:47:12,160 --> 00:47:15,960
Speaker 5: The discourse will pick up in the days before our

822
00:47:16,000 --> 00:47:18,759
Speaker 5: next episode, and maybe we will be more informed and

823
00:47:18,800 --> 00:47:19,760
Speaker 5: we can talk about.

824
00:47:19,560 --> 00:47:21,759
Speaker 3: It, and hey, this is a movie that needs to

825
00:47:21,760 --> 00:47:25,080
Speaker 3: be interrogated. I mean, just because I'm in line with

826
00:47:25,600 --> 00:47:28,359
Speaker 3: it's totally relative politics, if you want to say that

827
00:47:29,239 --> 00:47:33,000
Speaker 3: doesn't mean that it's a film that has everything lined

828
00:47:33,080 --> 00:47:36,879
Speaker 3: up perfectly right. It's capturing chaos and capturing a way

829
00:47:36,920 --> 00:47:41,359
Speaker 3: to honorably respond to that chaos from my point of view,

830
00:47:41,360 --> 00:47:44,280
Speaker 3: But it doesn't mean that it has everything right along

831
00:47:44,320 --> 00:47:46,879
Speaker 3: those lines. So I'll be curious to see that. And

832
00:47:47,480 --> 00:47:49,160
Speaker 3: I think, you know, the only other thing I would

833
00:47:49,160 --> 00:47:52,759
Speaker 3: say on the political front is I almost pardon me,

834
00:47:52,880 --> 00:47:55,520
Speaker 3: was like, this doesn't even really feel political, because it's

835
00:47:55,920 --> 00:47:59,759
Speaker 3: it's not arguing against, you know, a political direction we

836
00:47:59,800 --> 00:48:02,799
Speaker 3: may be heading towards. You know or and it's not

837
00:48:02,840 --> 00:48:06,680
Speaker 3: even offering an alternative political vision to our current circumstances.

838
00:48:06,760 --> 00:48:09,200
Speaker 3: That goes to your point about, you know, whether it's

839
00:48:09,280 --> 00:48:14,560
Speaker 3: it's endorsing the this gorilla group's actions, it's it's just

840
00:48:14,680 --> 00:48:18,760
Speaker 3: mirroring what we're in right through this comically absurdist lens.

841
00:48:18,840 --> 00:48:22,600
Speaker 3: And all I can say is that by doing that,

842
00:48:23,040 --> 00:48:24,359
Speaker 3: it goes back to what I said at the top.

843
00:48:24,440 --> 00:48:27,200
Speaker 3: It felt like this desperately needed fresh air. To me,

844
00:48:27,400 --> 00:48:30,440
Speaker 3: It's like that, this is what I've just been feeling.

845
00:48:30,480 --> 00:48:34,200
Speaker 3: Why are we not talking? Why are we recognizing this?

846
00:48:34,400 --> 00:48:40,479
Speaker 3: And and One Battle after Another is at least doing that?

847
00:48:40,640 --> 00:48:45,040
Speaker 3: Is it doing it perfectly? Probably not? And yeah, well

848
00:48:45,480 --> 00:48:48,399
Speaker 3: we'll see what qualms other people might have about it.

849
00:48:48,400 --> 00:48:48,920
Speaker 3: It's a good thing.

850
00:48:49,000 --> 00:48:52,600
Speaker 5: I don't expect perfection from art, even from Paul Thomas Anderson.

851
00:48:52,960 --> 00:48:55,640
Speaker 5: One Battle after Another is currently playing in wide release.

852
00:48:55,719 --> 00:48:58,200
Speaker 5: If you see it and agree or disagree, you can

853
00:48:58,239 --> 00:49:00,759
Speaker 5: email us feedback at film spot Net.

854
00:49:01,560 --> 00:49:03,760
Speaker 4: This episode is brought to you by dead Man's Wire,

855
00:49:03,960 --> 00:49:07,319
Speaker 4: the new film from Roque Entertainment. Dead Man's Wire is

856
00:49:07,320 --> 00:49:10,600
Speaker 4: the incredible true story of the nineteen seventy seven kidnapping

857
00:49:10,640 --> 00:49:13,719
Speaker 4: that turned an aspiring entrepreneur into an outlaw folk era

858
00:49:14,719 --> 00:49:18,080
Speaker 4: directed by legendary filmmaker Gus van Zant. Dead Man's Wire

859
00:49:18,120 --> 00:49:21,840
Speaker 4: stars Bill Scarsguard Daker, Montgomery, Carry Always, and Mahalla with

860
00:49:21,920 --> 00:49:26,400
Speaker 4: Coleman Domingo and al Pacino, now playing in select theaters everywhere,

861
00:49:26,480 --> 00:49:27,480
Speaker 4: January sixteenth.

862
00:49:28,040 --> 00:49:30,279
Speaker 3: Well, listening is the number one thing you can do

863
00:49:30,320 --> 00:49:34,120
Speaker 3: to support an independently produced show like ours. Here are

864
00:49:34,120 --> 00:49:36,440
Speaker 3: a couple of other things you can do. Take a

865
00:49:36,480 --> 00:49:38,719
Speaker 3: minute to give us a rating or a review on

866
00:49:38,800 --> 00:49:41,879
Speaker 3: Apple Podcasts. You can also do this on Spotify if

867
00:49:41,880 --> 00:49:44,040
Speaker 3: you listen to us there. It doesn't matter if you're

868
00:49:44,080 --> 00:49:46,640
Speaker 3: brand new, this is the first show you're hearing, or

869
00:49:46,640 --> 00:49:49,000
Speaker 3: if you've been listening for twenty years. Every one of

870
00:49:49,040 --> 00:49:52,520
Speaker 3: these reviews does help us reach new listeners. Now to

871
00:49:52,520 --> 00:49:56,040
Speaker 3: go even further, a very substantial way to support us

872
00:49:56,120 --> 00:49:58,960
Speaker 3: is to join the Film Spotting Family, which you can

873
00:49:58,960 --> 00:50:01,920
Speaker 3: do at Film Spotting fas family dot com. We want

874
00:50:01,960 --> 00:50:05,560
Speaker 3: to thank family member Remi must Say and Leland Michigan.

875
00:50:05,920 --> 00:50:09,719
Speaker 3: Remi's letterbox handle is R M A S S E. Yeah.

876
00:50:09,719 --> 00:50:13,400
Speaker 5: This is tough because producer Sam did a great job

877
00:50:13,800 --> 00:50:18,080
Speaker 5: of phonetically spelling out the name, and I'm not sure

878
00:50:18,080 --> 00:50:20,000
Speaker 5: where he got that from. Maybe he reached out to

879
00:50:20,040 --> 00:50:23,279
Speaker 5: this family member. But the problem is you do have

880
00:50:23,360 --> 00:50:27,600
Speaker 5: to put where the the emphasis is. So is it

881
00:50:28,400 --> 00:50:30,040
Speaker 5: Remi or is it Remy?

882
00:50:30,160 --> 00:50:33,400
Speaker 3: This is me because I would be I would be

883
00:50:33,440 --> 00:50:39,759
Speaker 3: saying this, and I think it's Remy. I'm gonna go.

884
00:50:40,920 --> 00:50:44,000
Speaker 3: I checked it on fourvoh, so we'll see, we'll hear

885
00:50:44,040 --> 00:50:46,680
Speaker 3: from and see what they say.

886
00:50:46,880 --> 00:50:49,560
Speaker 5: From here on out. We're gonna call him he and

887
00:50:49,600 --> 00:50:50,799
Speaker 5: I'm gonna hope that's right.

888
00:50:51,800 --> 00:50:53,080
Speaker 3: Please tell us.

889
00:50:53,239 --> 00:50:58,239
Speaker 5: Remy or Remy which pronunciation is correct. After moving to

890
00:50:58,280 --> 00:51:02,040
Speaker 5: a city where I knew nobody than my now wonderful wife,

891
00:51:02,560 --> 00:51:05,760
Speaker 5: I found myself missing the movie conversations that regularly sprung

892
00:51:05,840 --> 00:51:08,600
Speaker 5: up with my college housemates. After watching The Banshees of

893
00:51:08,680 --> 00:51:11,800
Speaker 5: Na Sharon, I was desperate to have a discussion with someone, anyone.

894
00:51:12,160 --> 00:51:15,239
Speaker 5: Film spotting was the first result online, and Adam and

895
00:51:15,320 --> 00:51:18,880
Speaker 5: Josh hooked me in and haven't let go since a

896
00:51:18,920 --> 00:51:22,600
Speaker 5: favorite review or segment Top five Movies for Graduates found

897
00:51:22,640 --> 00:51:25,600
Speaker 5: me at the right time. The respect for hyomi Izaki

898
00:51:25,600 --> 00:51:27,239
Speaker 5: from both Adam and Josh let me know I was

899
00:51:27,239 --> 00:51:29,520
Speaker 5: in the right place, and because of their top fives.

900
00:51:29,560 --> 00:51:32,560
Speaker 5: I watched Columbus and Hikaru for the first time and

901
00:51:32,640 --> 00:51:36,440
Speaker 5: adored both. Good job by us. What review did we

902
00:51:36,520 --> 00:51:39,160
Speaker 5: get wrong? I can't find it on film spotting, but

903
00:51:39,239 --> 00:51:42,240
Speaker 5: here at Kazu Karata's Monster, I thought it was brilliant

904
00:51:42,239 --> 00:51:44,600
Speaker 5: and one of my favorites of the year. Sorry, Josh,

905
00:51:44,680 --> 00:51:46,640
Speaker 5: you didn't like that movie, Josh.

906
00:51:46,200 --> 00:51:47,919
Speaker 3: Yeah, I was a little down on it, but hey,

907
00:51:48,320 --> 00:51:52,840
Speaker 3: in the case of Karita, I'm probably wrong, so that's fine.

908
00:51:53,320 --> 00:51:56,000
Speaker 5: Letterbox Top four spirited it away. I mean, here, you

909
00:51:56,040 --> 00:51:58,480
Speaker 5: guys are simpatico again. Fantastic mister Fox.

910
00:51:59,080 --> 00:52:01,160
Speaker 3: There will be Blood one, There will Be Blood is

911
00:52:01,200 --> 00:52:05,080
Speaker 3: great in the Fall. I love well, Okay, Tarsum saying.

912
00:52:05,239 --> 00:52:10,320
Speaker 5: A favorite movie that Remy revisited recently Bong Juno's Memories

913
00:52:10,320 --> 00:52:13,399
Speaker 5: of Murder Good one. A random filmmaker that he loves

914
00:52:13,480 --> 00:52:15,920
Speaker 5: Rob Reiner, not necessarily because I think he's one of

915
00:52:15,920 --> 00:52:18,359
Speaker 5: the great filmmakers, but he certainly doesn't get enough love

916
00:52:18,400 --> 00:52:22,240
Speaker 5: from film nerds. A movie you credit with becoming a cinophile,

917
00:52:22,280 --> 00:52:24,200
Speaker 5: he says. My dad loved Jim Carrey movies when I

918
00:52:24,239 --> 00:52:25,920
Speaker 5: was a kid, and after showing my brother and I

919
00:52:25,960 --> 00:52:29,280
Speaker 5: ace Ventura when Nature Calls. We watched The Truman Show

920
00:52:29,480 --> 00:52:32,040
Speaker 5: and it completely altered what I loved about movies. I

921
00:52:32,080 --> 00:52:36,000
Speaker 5: can still love a terrible exquisite film like ace Ventura,

922
00:52:36,040 --> 00:52:37,880
Speaker 5: but the Truman Show led me down a path of

923
00:52:37,920 --> 00:52:39,000
Speaker 5: loving movies for.

924
00:52:39,000 --> 00:52:42,719
Speaker 3: Something a little different. I can see that terrible exquisite

925
00:52:42,920 --> 00:52:44,839
Speaker 3: for ace. That's kind of great.

926
00:52:45,440 --> 00:52:47,480
Speaker 5: Thank you, Remy for joining the family and for all

927
00:52:47,520 --> 00:52:50,040
Speaker 5: those years of listening. In addition to keeping us doing

928
00:52:50,040 --> 00:52:52,839
Speaker 5: what we're doing, your support comes with perks, Josh. They

929
00:52:52,840 --> 00:52:54,719
Speaker 5: get to listen early in ad free. I'm not sure

930
00:52:54,719 --> 00:52:57,120
Speaker 5: if you're aware. They get our weekly newsletter. They get

931
00:52:57,160 --> 00:53:00,760
Speaker 5: exclusive opportunities like being part of the Film Spotting Family

932
00:53:00,840 --> 00:53:04,759
Speaker 5: discord just an unruly bunch now, actually they're they're quite

933
00:53:04,800 --> 00:53:07,919
Speaker 5: really great group of Film Spotting Family members over there

934
00:53:07,920 --> 00:53:13,960
Speaker 5: having wonderfully insightful and sometimes absolutely absurd conversations. And you

935
00:53:14,000 --> 00:53:17,319
Speaker 5: get our monthly bonus shows. We have channels over there

936
00:53:17,320 --> 00:53:23,200
Speaker 5: devoted to music, books, sports, food, but yes, also movies,

937
00:53:23,560 --> 00:53:28,720
Speaker 5: new releases, older films, TV, you name it. September Bonus

938
00:53:28,719 --> 00:53:34,000
Speaker 5: Show was our Trivia Spotting edition that is now available, Josh.

939
00:53:34,040 --> 00:53:36,759
Speaker 5: The one you know you slept through because you're in Scotland.

940
00:53:37,360 --> 00:53:37,800
Speaker 1: I did.

941
00:53:37,960 --> 00:53:40,480
Speaker 3: I slept quite well. How did you do? Where did

942
00:53:40,520 --> 00:53:42,000
Speaker 3: you place? That's all I really want to know.

943
00:53:42,800 --> 00:53:46,400
Speaker 5: I did not podium, Oh I didn't. I didn't make

944
00:53:46,440 --> 00:53:49,880
Speaker 5: the top three. But but my team fared well. I

945
00:53:49,920 --> 00:53:52,600
Speaker 5: mean we I think we got at least seven right

946
00:53:52,680 --> 00:53:56,839
Speaker 5: both rounds. And I went quite deep in the in

947
00:53:56,880 --> 00:53:58,960
Speaker 5: the Lightning round, the Captain's Lightning Round.

948
00:53:58,960 --> 00:54:00,320
Speaker 3: I think I was a topic.

949
00:54:01,400 --> 00:54:03,960
Speaker 5: It was uh, it was directors, and it was of

950
00:54:04,120 --> 00:54:07,719
Speaker 5: directors of sun Dance winning films. I think I was

951
00:54:07,800 --> 00:54:12,160
Speaker 5: the last. I was the third from last out, so

952
00:54:12,239 --> 00:54:16,200
Speaker 5: I had it. I had a shot. And and the one,

953
00:54:16,440 --> 00:54:18,760
Speaker 5: the one I went out on, is so depressing because,

954
00:54:19,280 --> 00:54:21,759
Speaker 5: as Sam and I were talking about later, there were

955
00:54:21,800 --> 00:54:26,360
Speaker 5: ones throughout where you were you were just praising the

956
00:54:26,400 --> 00:54:29,239
Speaker 5: Lord that you didn't get because you you should have known,

957
00:54:29,840 --> 00:54:31,279
Speaker 5: but you just could not pull the name.

958
00:54:31,400 --> 00:54:33,399
Speaker 3: You know, Josh how it is, but you can't pull

959
00:54:33,440 --> 00:54:33,799
Speaker 3: the name.

960
00:54:34,560 --> 00:54:37,600
Speaker 5: And and and then there were others that that you knew,

961
00:54:37,760 --> 00:54:41,560
Speaker 5: and you were so grateful that you got those. The

962
00:54:41,560 --> 00:54:44,560
Speaker 5: one that I went out on, the one that I

963
00:54:44,600 --> 00:54:51,080
Speaker 5: went out on, for me, it was hump day one

964
00:54:51,120 --> 00:54:54,680
Speaker 5: of my favorites, like one of my movies, the movie

965
00:54:54,760 --> 00:54:59,560
Speaker 5: that I championed years ago on the show, and I

966
00:54:59,640 --> 00:55:04,359
Speaker 5: missed Bacon, Lee said the Duplas Brothers because I thought

967
00:55:04,360 --> 00:55:07,719
Speaker 5: about Mark Duplas being in the film. Now right right,

968
00:55:08,239 --> 00:55:12,080
Speaker 5: I'm not going to say, well, I'm gonna say that

969
00:55:12,560 --> 00:55:14,839
Speaker 5: I thought Thomas was a little too quick on the draw,

970
00:55:14,880 --> 00:55:16,719
Speaker 5: and I think you should be allowed to think out

971
00:55:16,800 --> 00:55:20,279
Speaker 5: loud for a second, like why does the first thing.

972
00:55:20,200 --> 00:55:21,440
Speaker 3: You say to Thomas?

973
00:55:21,960 --> 00:55:23,440
Speaker 5: Why does the first thing you say have to be

974
00:55:23,480 --> 00:55:27,520
Speaker 5: your final answer? Why can't you think out loud? But

975
00:55:27,640 --> 00:55:30,279
Speaker 5: right after I said it and everyone jumped on me

976
00:55:30,440 --> 00:55:33,920
Speaker 5: for being stupid, I it hit me, of course that

977
00:55:34,440 --> 00:55:39,640
Speaker 5: like Lynn Shelton there. Lynn Shelton of course directed hump Day.

978
00:55:39,680 --> 00:55:41,400
Speaker 5: I mean I knew it. It took me a second,

979
00:55:41,480 --> 00:55:42,640
Speaker 5: but wow.

980
00:55:42,480 --> 00:55:45,359
Speaker 3: That's the way it goes. Yeah it is can go.

981
00:55:46,000 --> 00:55:48,920
Speaker 5: Yeah, it's a bummer. October Bonus, we are going to

982
00:55:48,960 --> 00:55:53,000
Speaker 5: do a draft with a family member. Looking forward to that.

983
00:55:53,680 --> 00:55:56,600
Speaker 5: Please do learn more about becoming a member and supporting

984
00:55:56,640 --> 00:56:00,760
Speaker 5: the show at film spotting family dot com.

985
00:55:59,760 --> 00:56:08,440
Speaker 3: Hi, you sound so sweet. Are you nervous about talking

986
00:56:08,480 --> 00:56:08,840
Speaker 3: to me?

987
00:56:09,400 --> 00:56:11,440
Speaker 6: Yeah?

988
00:56:12,239 --> 00:56:18,160
Speaker 3: You know, we gotta be like really careful about doing this. Yeah, Adam,

989
00:56:18,239 --> 00:56:21,960
Speaker 3: you caught up with a new film called Predators, as

990
00:56:22,000 --> 00:56:25,200
Speaker 3: you mentioned earlier. This shouldn't be confused with the animated

991
00:56:25,400 --> 00:56:29,160
Speaker 3: predator Killer of Killers, which came out earlier this year.

992
00:56:29,200 --> 00:56:32,200
Speaker 3: Still hoped to catch up with or Predator bad Lands,

993
00:56:32,239 --> 00:56:35,760
Speaker 3: which is coming to theaters next month. This is totally different.

994
00:56:35,800 --> 00:56:40,200
Speaker 3: Predators is a documentary from director David Osset about the

995
00:56:40,239 --> 00:56:44,799
Speaker 3: reality TV program To Catch a Predator. The premise of

996
00:56:44,840 --> 00:56:48,879
Speaker 3: this show was basically hunt down child predators, lure them

997
00:56:48,920 --> 00:56:51,600
Speaker 3: to a film set where they would be interviewed and

998
00:56:51,640 --> 00:56:55,759
Speaker 3: then arrested. It ran from two thousand and four to

999
00:56:55,840 --> 00:57:01,480
Speaker 3: two thousand and seven. So yeah, fascinating idea for a documentary.

1000
00:57:01,480 --> 00:57:05,879
Speaker 3: I'd love to hear what they do with this sort

1001
00:57:05,920 --> 00:57:07,560
Speaker 3: of material in the dock.

1002
00:57:07,680 --> 00:57:10,279
Speaker 5: They do a lot. Yeah, they do a lot. And

1003
00:57:10,320 --> 00:57:12,200
Speaker 5: I don't know, I could be wrong. I don't know

1004
00:57:12,239 --> 00:57:15,200
Speaker 5: if they actually lured them to a TV set or

1005
00:57:15,200 --> 00:57:17,960
Speaker 5: if they lured them to an actual house that had

1006
00:57:17,960 --> 00:57:21,320
Speaker 5: basically been turned into a TV set. But I'll say this,

1007
00:57:21,600 --> 00:57:27,560
Speaker 5: the opening of the trailer that you just heard is

1008
00:57:27,600 --> 00:57:31,040
Speaker 5: also the opening of the movie. So yes, right from

1009
00:57:31,080 --> 00:57:34,760
Speaker 5: the start, it is as deeply unsettling as you might

1010
00:57:34,840 --> 00:57:41,920
Speaker 5: expect this material to be predators lingers long after the

1011
00:57:41,960 --> 00:57:47,880
Speaker 5: final frame. I remember to Catch a Predator on TV.

1012
00:57:48,120 --> 00:57:52,000
Speaker 5: I remember seeing bits of it. This isn't revisionist history,

1013
00:57:52,040 --> 00:57:56,120
Speaker 5: because anybody who did watch it regularly, if they watch

1014
00:57:56,200 --> 00:57:59,760
Speaker 5: this show, they might after it feel like maybe I

1015
00:57:59,760 --> 00:58:01,680
Speaker 5: should and say that out loud, or maybe I should

1016
00:58:01,680 --> 00:58:04,400
Speaker 5: feel guilty about it. I'll let others wrestle with their

1017
00:58:04,480 --> 00:58:07,880
Speaker 5: conscience or not. I do remember seeing maybe an episode

1018
00:58:07,920 --> 00:58:10,920
Speaker 5: or two, but I certainly was not familiar with the

1019
00:58:11,080 --> 00:58:14,600
Speaker 5: lore around it, or the fact that people would go

1020
00:58:14,640 --> 00:58:18,800
Speaker 5: to conventions around of course true crime and Chris Hansen.

1021
00:58:18,960 --> 00:58:21,360
Speaker 5: I knew he was a celebrity, but I didn't realize

1022
00:58:21,400 --> 00:58:24,840
Speaker 5: that he was a celebrity to the extent that he was,

1023
00:58:25,040 --> 00:58:27,600
Speaker 5: and that there were all these to Catch a Predator

1024
00:58:28,120 --> 00:58:31,200
Speaker 5: wannabes now on YouTube basically.

1025
00:58:30,680 --> 00:58:31,960
Speaker 3: Doing this same world.

1026
00:58:31,960 --> 00:58:35,440
Speaker 5: And to be fair, just like Chris Hansen, they are

1027
00:58:35,720 --> 00:58:40,960
Speaker 5: working usually with police, with authorities, and they are catching

1028
00:58:41,320 --> 00:58:46,160
Speaker 5: actual predators. Right, so you can point to real justice

1029
00:58:46,920 --> 00:58:51,560
Speaker 5: being done. But there is a downside to a lot

1030
00:58:51,600 --> 00:58:55,880
Speaker 5: of this. Whenever, whenever you have punishment as entertainment. There

1031
00:58:55,920 --> 00:58:58,760
Speaker 5: is a downside to this that this movie and you

1032
00:58:58,760 --> 00:59:04,080
Speaker 5: can imagine that. Well, this movie explores that. And I

1033
00:59:04,240 --> 00:59:06,800
Speaker 5: mentioned that I didn't know the war. I also didn't

1034
00:59:06,840 --> 00:59:11,920
Speaker 5: know about some of the recurring gags almost on the show,

1035
00:59:12,040 --> 00:59:14,400
Speaker 5: or some of the catchphrases. At the end of the trailer,

1036
00:59:14,800 --> 00:59:19,040
Speaker 5: you hear the documentarians say to Chris Hansen, you're free

1037
00:59:19,080 --> 00:59:19,360
Speaker 5: to go.

1038
00:59:22,160 --> 00:59:26,120
Speaker 6: Some people watching this may feel like you have something

1039
00:59:26,160 --> 00:59:27,040
Speaker 6: to answer for.

1040
00:59:28,280 --> 00:59:29,080
Speaker 2: What do you say that.

1041
00:59:34,640 --> 00:59:35,280
Speaker 3: They're free to go?

1042
00:59:37,880 --> 00:59:40,400
Speaker 5: Apparently that's what Chris Hansen would say to all these

1043
00:59:40,440 --> 00:59:43,800
Speaker 5: predators who would, somehow and the movie talks about this,

1044
00:59:44,600 --> 00:59:47,960
Speaker 5: would stay there and talk to him rather than run

1045
00:59:48,000 --> 00:59:50,000
Speaker 5: out the door. But it wouldn't have mattered either way.

1046
00:59:50,080 --> 00:59:51,680
Speaker 5: He says, you're free to go. Of course, they're not

1047
00:59:51,720 --> 00:59:53,320
Speaker 5: free to go. As soon as they walk out the door.

1048
00:59:53,440 --> 00:59:57,960
Speaker 5: They're police there to apprehend them. But when I say

1049
00:59:57,960 --> 01:00:00,960
Speaker 5: deeply unsettling, I want to be clear that, yes, occasionally

1050
01:00:01,040 --> 01:00:05,600
Speaker 5: it's the behavior of predators like the guy we hear

1051
01:00:05,960 --> 01:00:09,439
Speaker 5: there on the phone in the trailer, but mostly it's

1052
01:00:09,720 --> 01:00:12,480
Speaker 5: it's the movie's project in a good way. It's the

1053
01:00:12,720 --> 01:00:17,000
Speaker 5: it's the questions that it wants to and does pose

1054
01:00:17,240 --> 01:00:21,120
Speaker 5: that there are just no answers to Josh. I mean

1055
01:00:21,520 --> 01:00:23,320
Speaker 5: that that you're going to be wrestling with, I said,

1056
01:00:23,320 --> 01:00:25,720
Speaker 5: it lingers the questions you're going to be wrestling with

1057
01:00:25,840 --> 01:00:29,240
Speaker 5: throughout and and maybe for days after. Like I was,

1058
01:00:29,440 --> 01:00:31,920
Speaker 5: I can answer the question of whether or not the

1059
01:00:31,960 --> 01:00:34,960
Speaker 5: show is terrible. I think it was terrible, even if

1060
01:00:34,960 --> 01:00:38,760
Speaker 5: it did result in legitimate predators being caught, even if

1061
01:00:38,800 --> 01:00:42,480
Speaker 5: it did provide something in some cases cathartic for victims

1062
01:00:42,520 --> 01:00:48,000
Speaker 5: of sexual abuse. But the movie considers what it wants

1063
01:00:48,080 --> 01:00:51,240
Speaker 5: us to think about, what it poses as its main

1064
01:00:52,640 --> 01:00:54,560
Speaker 5: goal is to get us to think about and get

1065
01:00:54,560 --> 01:00:57,080
Speaker 5: some of the people on camera to think about, is

1066
01:00:57,120 --> 01:01:00,200
Speaker 5: what happens when the camera turns off and we see

1067
01:01:00,640 --> 01:01:04,280
Speaker 5: when we have to see these people as people, as

1068
01:01:04,360 --> 01:01:05,120
Speaker 5: human beings.

1069
01:01:05,520 --> 01:01:07,920
Speaker 3: Can we do that? Should we do that?

1070
01:01:08,720 --> 01:01:10,480
Speaker 5: And there are two scenes I will say, and I

1071
01:01:10,480 --> 01:01:12,040
Speaker 5: won't get into a lot of details because I want

1072
01:01:12,080 --> 01:01:15,000
Speaker 5: people to see the movie, to see this and experience

1073
01:01:15,040 --> 01:01:17,240
Speaker 5: it for themselves, But there are two scenes in the movie, Josh,

1074
01:01:17,280 --> 01:01:21,760
Speaker 5: where you watch catchers of predators, both pretty hard line,

1075
01:01:22,560 --> 01:01:31,240
Speaker 5: both inured to this. When confronted with their humanity, they soften.

1076
01:01:32,360 --> 01:01:35,800
Speaker 3: They do. They do see their humanity.

1077
01:01:36,360 --> 01:01:41,680
Speaker 5: And what I appreciate about the movie is that the documentarian,

1078
01:01:41,800 --> 01:01:46,400
Speaker 5: the director, Oh Sit, he doesn't take those moments as

1079
01:01:46,480 --> 01:01:49,840
Speaker 5: clear victories. He doesn't try to simplify things. He actually

1080
01:01:49,880 --> 01:01:54,120
Speaker 5: reminds you usually in these moments that let's not forget

1081
01:01:54,200 --> 01:01:59,439
Speaker 5: that these people, these predators, did show up because they

1082
01:02:00,280 --> 01:02:02,040
Speaker 5: were going to have sex. They thought they were going

1083
01:02:02,080 --> 01:02:04,840
Speaker 5: to have sex with someone under age, and in one case,

1084
01:02:05,120 --> 01:02:08,080
Speaker 5: they brought alcohol because they thought they were going to

1085
01:02:08,080 --> 01:02:10,640
Speaker 5: have sex with a fourteen year old. Preters is a

1086
01:02:10,640 --> 01:02:15,040
Speaker 5: documentary that that dares to question everything, including itself, and

1087
01:02:15,080 --> 01:02:18,840
Speaker 5: I think that's really bold about the project. So from

1088
01:02:18,880 --> 01:02:21,840
Speaker 5: the comfort of my TV, I can sit here as

1089
01:02:22,520 --> 01:02:26,520
Speaker 5: an enlightened liberal man and talk about how we need

1090
01:02:26,560 --> 01:02:31,480
Speaker 5: to see their humanity. But what if it was my child?

1091
01:02:31,800 --> 01:02:35,400
Speaker 5: Would I really be feeling so generous? And I can't

1092
01:02:35,440 --> 01:02:37,800
Speaker 5: wait to discuss this movie with someone who's seen it.

1093
01:02:37,840 --> 01:02:40,600
Speaker 5: I haven't had that chance yet, Josh, because I am

1094
01:02:40,920 --> 01:02:43,080
Speaker 5: as much as I do appreciate the movie and I do,

1095
01:02:43,360 --> 01:02:46,880
Speaker 5: I really recommend people see it. I'm very conflicted about

1096
01:02:46,920 --> 01:02:49,760
Speaker 5: the ending. It's not a spoiler because it's in the

1097
01:02:49,800 --> 01:02:53,240
Speaker 5: trailer and I alluded to it earlier, but I didn't

1098
01:02:53,280 --> 01:02:55,280
Speaker 5: know it. I hadn't seen the trailer. I was waiting

1099
01:02:55,360 --> 01:02:57,920
Speaker 5: the whole movie, and I said to Sarah, who was

1100
01:02:57,920 --> 01:02:59,919
Speaker 5: watching it with me, I'm like, when are we going

1101
01:02:59,880 --> 01:03:02,040
Speaker 5: to find out? The whole movie has been building to this?

1102
01:03:02,120 --> 01:03:05,000
Speaker 5: It has to be building to it. Are they going

1103
01:03:05,080 --> 01:03:10,120
Speaker 5: to interview Chris Hansen? They have to confront Chris Hansen?

1104
01:03:11,240 --> 01:03:13,000
Speaker 5: Or they have to tell us that they tried to

1105
01:03:13,000 --> 01:03:15,760
Speaker 5: get Chris Hansen on camera and he refused to be interviewed.

1106
01:03:15,800 --> 01:03:18,800
Speaker 5: But if they don't, if we don't get the interview,

1107
01:03:18,880 --> 01:03:22,760
Speaker 5: or we don't get the disclaimer, honestly, the movie is

1108
01:03:23,280 --> 01:03:26,120
Speaker 5: almost worthless because the whole movie has been in some

1109
01:03:26,200 --> 01:03:29,480
Speaker 5: way building up to it. Osi would be derelict in

1110
01:03:29,560 --> 01:03:33,520
Speaker 5: his duties as a documentarian and the journalistic enterprise would

1111
01:03:33,520 --> 01:03:37,440
Speaker 5: be sunk here. Well, he gets him, He gets him,

1112
01:03:37,480 --> 01:03:41,760
Speaker 5: and the interview is is entirely appropriate. I think the inquisition,

1113
01:03:41,920 --> 01:03:45,600
Speaker 5: if you will, is entirely appropriate. But how it concludes,

1114
01:03:46,560 --> 01:03:54,000
Speaker 5: how it concludes esthetically, I feel icky about. I'm not

1115
01:03:54,080 --> 01:03:59,720
Speaker 5: sure I'm on board with the choices that Osi makes. Again,

1116
01:03:59,800 --> 01:04:03,880
Speaker 5: some thing I would love to discuss with someone.

1117
01:04:03,000 --> 01:04:06,720
Speaker 3: So, I mean, this is grueling subject matter, and you know,

1118
01:04:06,800 --> 01:04:09,000
Speaker 3: someone who watches Predators may not be in the mood

1119
01:04:09,040 --> 01:04:11,960
Speaker 3: to see something else along these lines. But the way

1120
01:04:12,000 --> 01:04:15,320
Speaker 3: you're talking about the humanity and the question of that

1121
01:04:15,440 --> 01:04:18,439
Speaker 3: in it reminds me of this documentary I saw way back,

1122
01:04:18,480 --> 01:04:22,360
Speaker 3: I think twenty fifteen at Sundance called Pervert Park, and

1123
01:04:22,600 --> 01:04:26,760
Speaker 3: it was about a Florida trailer park that was basically

1124
01:04:26,800 --> 01:04:30,480
Speaker 3: founded to provide a place for registered sex offenders to

1125
01:04:30,520 --> 01:04:34,360
Speaker 3: live because their options are severely limited, you know, can't

1126
01:04:34,400 --> 01:04:37,640
Speaker 3: live by schools, can't because a condition of their parole.

1127
01:04:37,840 --> 01:04:40,919
Speaker 3: And it's a movie that's very much about you know,

1128
01:04:41,320 --> 01:04:45,200
Speaker 3: that One aspect it sounds like Predators is partially interested

1129
01:04:45,240 --> 01:04:51,120
Speaker 3: in is what humanity might there be in people like this? Now,

1130
01:04:51,160 --> 01:04:54,000
Speaker 3: this is on the other side of justice in this case,

1131
01:04:54,000 --> 01:04:56,840
Speaker 3: so it sounds like it's very different to that end,

1132
01:04:56,880 --> 01:05:00,959
Speaker 3: but still interested in that question. So yeah, if people

1133
01:05:00,960 --> 01:05:04,240
Speaker 3: are up for thinking about these sorts of really difficult

1134
01:05:04,280 --> 01:05:07,360
Speaker 3: issues a little bit more, i'd also recommend Pervert Park.

1135
01:05:08,120 --> 01:05:13,000
Speaker 5: Okay, Predators is currently playing in limited release next week.

1136
01:05:13,000 --> 01:05:16,600
Speaker 5: Here on Film Spotting, we've got a top five inspired

1137
01:05:17,040 --> 01:05:22,600
Speaker 5: by our conversation about one battle after another with Leonardo DiCaprio.

1138
01:05:22,840 --> 01:05:24,880
Speaker 5: I think I've read this or heard this somewhere that

1139
01:05:25,400 --> 01:05:27,560
Speaker 5: it was a dream of his to get to work

1140
01:05:27,560 --> 01:05:31,560
Speaker 5: with Paul Thomas Anderson. And certainly fans of PTA's work

1141
01:05:31,760 --> 01:05:33,840
Speaker 5: like I am, and so many people are, and I

1142
01:05:33,880 --> 01:05:37,440
Speaker 5: know you are, Josh as well, it only seemed fitting

1143
01:05:37,480 --> 01:05:41,000
Speaker 5: that we finally got a big star like Leo working

1144
01:05:41,280 --> 01:05:45,440
Speaker 5: with Paul Thomas Anderson. So what are the actor director

1145
01:05:45,520 --> 01:05:48,880
Speaker 5: combos that we haven't had that we'd like to see.

1146
01:05:48,920 --> 01:05:50,640
Speaker 5: I should know the answer to this, because when I

1147
01:05:50,720 --> 01:05:53,720
Speaker 5: propose this top five at a film spotting production meeting

1148
01:05:54,160 --> 01:05:57,080
Speaker 5: several weeks ago, I think I looked up, or maybe

1149
01:05:57,080 --> 01:05:59,920
Speaker 5: on the call we looked up. We've done something similar

1150
01:06:00,080 --> 01:06:02,960
Speaker 5: to this before. I can't remember if we've done exactly

1151
01:06:02,960 --> 01:06:06,680
Speaker 5: this top five or something like it, but either way,

1152
01:06:07,400 --> 01:06:10,240
Speaker 5: certainly worth revisiting because it's been a while that we've

1153
01:06:10,240 --> 01:06:13,040
Speaker 5: done something like it, and I haven't started the work yet,

1154
01:06:13,040 --> 01:06:14,520
Speaker 5: but I'm excited to do it.

1155
01:06:15,520 --> 01:06:18,640
Speaker 3: Yeah, I'm struggling where do I start. Do I start

1156
01:06:18,640 --> 01:06:21,360
Speaker 3: with the directors or do I start with the actors?

1157
01:06:21,760 --> 01:06:21,960
Speaker 7: Yeah?

1158
01:06:22,520 --> 01:06:26,760
Speaker 3: Yeah, right now I'm feeling like starting with the actors

1159
01:06:26,880 --> 01:06:32,200
Speaker 3: might be a bit more fun. Yeah, because there I

1160
01:06:32,200 --> 01:06:34,160
Speaker 3: can certainly think of five and I'm not going to

1161
01:06:34,320 --> 01:06:38,240
Speaker 3: name them here about like five, you know, relatively new names,

1162
01:06:38,240 --> 01:06:40,480
Speaker 3: and it doesn't have to be it could be veterans

1163
01:06:40,520 --> 01:06:42,360
Speaker 3: we could go with. But right now I'm thinking about

1164
01:06:42,360 --> 01:06:44,200
Speaker 3: new names who I'm excited about where they're at in

1165
01:06:44,200 --> 01:06:46,760
Speaker 3: their career and thinking about where they might go. And

1166
01:06:47,400 --> 01:06:51,120
Speaker 3: you know, pairing up with a top flight director is

1167
01:06:51,160 --> 01:06:54,400
Speaker 3: a way to kind of move up in your career.

1168
01:06:54,520 --> 01:06:57,880
Speaker 3: So I'm leaning towards that path. But yeah, I haven't

1169
01:06:57,920 --> 01:06:59,600
Speaker 3: really sat down to think about it much yet.

1170
01:07:00,080 --> 01:07:02,400
Speaker 5: As soon as you said it, I have to say

1171
01:07:02,440 --> 01:07:06,160
Speaker 5: my immediate thought was to start actor because I think

1172
01:07:06,280 --> 01:07:10,600
Speaker 5: I can build the director off of I can match

1173
01:07:10,640 --> 01:07:12,320
Speaker 5: the sensibility.

1174
01:07:11,600 --> 01:07:13,280
Speaker 3: Of the director to the performer.

1175
01:07:13,480 --> 01:07:16,160
Speaker 5: I know doesn't the opposite two, but for some reason,

1176
01:07:16,160 --> 01:07:19,080
Speaker 5: it feels more natural for me to match the director

1177
01:07:19,120 --> 01:07:19,680
Speaker 5: to the actor.

1178
01:07:20,280 --> 01:07:22,960
Speaker 3: Doesn't This go back to the Del Toro conversation, and

1179
01:07:23,160 --> 01:07:25,800
Speaker 3: maybe with Wes Anderson. Now, I think he's brilliant in

1180
01:07:25,840 --> 01:07:28,680
Speaker 3: Wes Anderson's The French Dispatch, but that allowed him to

1181
01:07:28,760 --> 01:07:31,439
Speaker 3: have in that case a little bit of the mournfulness

1182
01:07:31,480 --> 01:07:34,440
Speaker 3: that he can carry in some of his performances, whereas

1183
01:07:34,440 --> 01:07:38,320
Speaker 3: the Phoenician scheme was at a little bit more prescriptive

1184
01:07:38,520 --> 01:07:41,080
Speaker 3: of what he needed to do. So yeah, it's I

1185
01:07:41,080 --> 01:07:43,840
Speaker 3: don't know if I would have ever said Benicio del Toro,

1186
01:07:44,400 --> 01:07:47,560
Speaker 3: an actor I love, he needs to pair with Wes Anderson.

1187
01:07:47,680 --> 01:07:49,120
Speaker 3: I probably wouldn't have thought of that. I don't know

1188
01:07:49,120 --> 01:07:51,920
Speaker 3: if I would have thought with Paul Thomas Anderson either,

1189
01:07:52,120 --> 01:07:55,280
Speaker 3: and would have missed out on one battle after another.

1190
01:07:55,400 --> 01:07:59,520
Speaker 3: But but yeah, it's yeah, it'll be an interesting experiment

1191
01:07:59,800 --> 01:08:00,600
Speaker 3: to conduct.

1192
01:08:01,360 --> 01:08:04,400
Speaker 5: Sam had a very good related prompt in the film

1193
01:08:04,440 --> 01:08:09,320
Speaker 5: Spotting Family Discord and in the newsletter this week, he said,

1194
01:08:09,360 --> 01:08:12,280
Speaker 5: Paul Thomas Anderson can only make one more film, and

1195
01:08:12,320 --> 01:08:14,920
Speaker 5: I'm gonna knock on wood and hope that that doesn't happen.

1196
01:08:15,360 --> 01:08:19,160
Speaker 5: The star of the film can't be anyone that he's

1197
01:08:19,160 --> 01:08:23,519
Speaker 5: ever worked with before. Who is that star? And I

1198
01:08:23,560 --> 01:08:26,240
Speaker 5: think I might take up that mantle for one of

1199
01:08:26,240 --> 01:08:27,040
Speaker 5: my five picks?

1200
01:08:27,040 --> 01:08:27,360
Speaker 3: Why not?

1201
01:08:27,479 --> 01:08:30,280
Speaker 5: I mean, I'd love to, I'd love to. I'd love

1202
01:08:30,320 --> 01:08:35,639
Speaker 5: to do the DiCaprio Pta pairing that inspired the Top five.

1203
01:08:35,680 --> 01:08:37,400
Speaker 5: Why not go ahead and use it for one of

1204
01:08:37,439 --> 01:08:38,280
Speaker 5: my picks?

1205
01:08:38,520 --> 01:08:41,479
Speaker 3: Yeah, I like it fun. I'll steer away from that

1206
01:08:41,560 --> 01:08:44,519
Speaker 3: and let you have that one. Okay, thank you. You can.

1207
01:08:44,720 --> 01:08:46,840
Speaker 5: You can go with Wes Anderson and we'll have the

1208
01:08:46,920 --> 01:08:52,880
Speaker 5: battle one battle about Anderson after another. You can send

1209
01:08:52,880 --> 01:08:55,719
Speaker 5: your actor director combo picks to feedback at film spotting

1210
01:08:55,760 --> 01:08:58,320
Speaker 5: dot net, and yes, we would love to share some

1211
01:08:58,640 --> 01:09:02,160
Speaker 5: on next weeks show. Also next week results and your

1212
01:09:02,200 --> 01:09:06,200
Speaker 5: comments from the current deeply flawed and deeply difficult Film

1213
01:09:06,200 --> 01:09:09,360
Speaker 5: Spotting poll. I said, you know, it's actually not a

1214
01:09:09,400 --> 01:09:12,720
Speaker 5: deeply flawed poll. It's a really good one when it

1215
01:09:12,800 --> 01:09:18,000
Speaker 5: feels impossible to answer and I will stall and procrastinate

1216
01:09:18,200 --> 01:09:20,760
Speaker 5: and do almost anything to avoid answering it.

1217
01:09:20,800 --> 01:09:23,040
Speaker 3: You agreed. The other way you know it's.

1218
01:09:22,880 --> 01:09:28,320
Speaker 5: A really, really good poll is when the answers are

1219
01:09:28,439 --> 01:09:33,640
Speaker 5: almost evenly split. I have not looked at the results, Josh,

1220
01:09:34,080 --> 01:09:37,519
Speaker 5: in about five days, so it's possible that it has changed,

1221
01:09:37,560 --> 01:09:39,880
Speaker 5: that there's been a shift, But the last time I

1222
01:09:39,920 --> 01:09:43,599
Speaker 5: looked it was about thirty three thirty three thirty three,

1223
01:09:43,680 --> 01:09:47,200
Speaker 5: And in fact, right now, wow, the number one answer

1224
01:09:47,240 --> 01:09:49,679
Speaker 5: has has taken a little bit more of a lead,

1225
01:09:49,720 --> 01:09:55,240
Speaker 5: but it's currently thirty six thirty three thirty Yeah, think.

1226
01:09:55,160 --> 01:09:58,759
Speaker 3: About difficult, deeply difficult, not deeply flawed.

1227
01:09:59,479 --> 01:10:03,200
Speaker 5: Okay, you can still vote at filmspotting dot net and yes,

1228
01:10:03,280 --> 01:10:04,920
Speaker 5: we would love for you to leave a comment. We

1229
01:10:05,000 --> 01:10:08,720
Speaker 5: might share your thoughts on air. If you'd like to

1230
01:10:08,760 --> 01:10:11,720
Speaker 5: see our current show schedule, some of the episodes we

1231
01:10:11,760 --> 01:10:14,519
Speaker 5: have planned, the reviews we have coming up. Go to

1232
01:10:14,560 --> 01:10:17,240
Speaker 5: filmspotting dot net and click on episodes.

1233
01:10:17,880 --> 01:10:19,640
Speaker 3: We want to keep you up to date on what

1234
01:10:19,840 --> 01:10:22,720
Speaker 3: they're doing on our sister podcast, The Next Picture Show,

1235
01:10:22,760 --> 01:10:26,160
Speaker 3: looking at cinema's present via its past. It's part two

1236
01:10:26,280 --> 01:10:29,920
Speaker 3: of their Till You Drop pairing. So this week they're

1237
01:10:29,960 --> 01:10:33,240
Speaker 3: talking about the Stephen King adaptation The Long Walk, which

1238
01:10:33,400 --> 01:10:37,120
Speaker 3: just came out. Previously, they set that conversation up by

1239
01:10:37,160 --> 01:10:41,400
Speaker 3: looking at Sidney Pollack's nineteen sixty nine film They Shoot Horses,

1240
01:10:41,439 --> 01:10:45,320
Speaker 3: don't they That one featuring Jane Fonda. New episodes of

1241
01:10:45,320 --> 01:10:48,000
Speaker 3: The Next Picture Show drop every Tuesday, and you can

1242
01:10:48,040 --> 01:10:49,920
Speaker 3: find them wherever you get your podcasts.

1243
01:10:50,160 --> 01:10:52,840
Speaker 5: I want to mention one more time, maybe we'll get

1244
01:10:52,960 --> 01:10:55,920
Speaker 5: another plug in, but at least one Film Spotting family

1245
01:10:55,920 --> 01:10:58,080
Speaker 5: member posted in the discord they heard me plug this

1246
01:10:58,200 --> 01:11:01,040
Speaker 5: last week, Josh, and they must be somewhat in the

1247
01:11:01,080 --> 01:11:05,240
Speaker 5: area because they heard the promotion and said that sounds great.

1248
01:11:05,840 --> 01:11:08,120
Speaker 5: I got to get a pass. I'm going to Refocus.

1249
01:11:08,720 --> 01:11:12,000
Speaker 5: If you're anywhere in the vicinity of Iowa City, Iowa

1250
01:11:12,600 --> 01:11:17,839
Speaker 5: Film Scene is having their fourth annual Refocus Film Festival,

1251
01:11:17,920 --> 01:11:21,960
Speaker 5: celebrating the art of adaptation. It's October ninth through the twelfth,

1252
01:11:22,000 --> 01:11:24,800
Speaker 5: and you can come see a live taping of a

1253
01:11:24,880 --> 01:11:29,840
Speaker 5: film spotting Top five segment Friday, October tenth, four thirty pm.

1254
01:11:30,080 --> 01:11:32,679
Speaker 5: That will be with me, And since I can't record

1255
01:11:32,680 --> 01:11:34,599
Speaker 5: with you, I'm going to bring on, you know, our

1256
01:11:34,640 --> 01:11:39,759
Speaker 5: great third Wheel, our regular third Wheel, Michael Phillips, will.

1257
01:11:39,520 --> 01:11:41,120
Speaker 3: Be taping that with me.

1258
01:11:41,760 --> 01:11:45,679
Speaker 5: We are going to share our top five Iowa writers,

1259
01:11:45,800 --> 01:11:50,479
Speaker 5: basically grads of the famed Iowa Writers' Workshop or people

1260
01:11:51,120 --> 01:11:54,000
Speaker 5: people who were born in Iowa the films that have

1261
01:11:54,040 --> 01:11:57,800
Speaker 5: been adapted from their works. One of the things I'll say,

1262
01:11:57,840 --> 01:12:00,840
Speaker 5: we haven't totally ruled this out yet. I guess I

1263
01:12:00,840 --> 01:12:02,800
Speaker 5: haven't made a ruling, but I think I know where

1264
01:12:02,800 --> 01:12:06,719
Speaker 5: I'm going to lean. What you have to also consider

1265
01:12:06,760 --> 01:12:08,720
Speaker 5: is what do you do with people who are famous

1266
01:12:08,920 --> 01:12:12,360
Speaker 5: for teaching at the Iowa Writers' Workshop, not that there's

1267
01:12:12,400 --> 01:12:15,280
Speaker 5: a lot of great film adaptations of his work, but

1268
01:12:15,760 --> 01:12:18,160
Speaker 5: if you go that route it opens you up to

1269
01:12:18,200 --> 01:12:23,080
Speaker 5: all of Kurt Vonnegut's adaptations, for example Josh. So you

1270
01:12:23,120 --> 01:12:27,360
Speaker 5: know there's different criteria you could include. But some great

1271
01:12:27,360 --> 01:12:29,920
Speaker 5: films I mentioned last week, The new Park Chinook film

1272
01:12:30,280 --> 01:12:33,479
Speaker 5: is playing. The new film Train Dream starring Joel Edgerton

1273
01:12:33,840 --> 01:12:38,080
Speaker 5: is playing at the fest. The Zodiac Killer Project new

1274
01:12:38,400 --> 01:12:42,280
Speaker 5: documentary from Charlie Shackleton which is very grill and trying. Yeah,

1275
01:12:42,360 --> 01:12:45,160
Speaker 5: playing at the fest, so worth getting a pass. If

1276
01:12:45,160 --> 01:12:48,120
Speaker 5: you're in the area, please do check it out. Refocus

1277
01:12:48,320 --> 01:12:49,920
Speaker 5: Film Festival dot org.

1278
01:12:50,920 --> 01:12:53,040
Speaker 7: We all want to stay in the know, especially when

1279
01:12:53,080 --> 01:12:55,240
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1280
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1286
01:13:12,120 --> 01:13:14,680
Speaker 7: get financial tools built to grow with you. When our

1287
01:13:14,680 --> 01:13:18,160
Speaker 7: Bank Smartley solutions meet your financial goals, we are stronger together.

1288
01:13:18,439 --> 01:13:20,559
Speaker 7: That's the power of us. Member FDIC.

1289
01:13:20,840 --> 01:13:24,280
Speaker 3: All right, let's embarrass ourselves with some Massacre theater. This

1290
01:13:24,400 --> 01:13:26,640
Speaker 3: is where we perform a scene and you get a

1291
01:13:26,720 --> 01:13:30,640
Speaker 3: chance to win a film spotting prize. Last time, was

1292
01:13:30,680 --> 01:13:34,040
Speaker 3: this the video debut of Massacre Theater? Adam that I

1293
01:13:34,080 --> 01:13:37,840
Speaker 3: think there's an addition to floating somewhere with video on

1294
01:13:37,880 --> 01:13:38,120
Speaker 3: the end.

1295
01:13:38,240 --> 01:13:41,600
Speaker 5: Yeah, but really the official debut. And yes, you have

1296
01:13:41,760 --> 01:13:44,240
Speaker 5: me totally self conscious now, but that's fine.

1297
01:13:44,280 --> 01:13:47,680
Speaker 3: We'll get to that. All right. Well, last time we

1298
01:13:47,800 --> 01:13:49,679
Speaker 3: massacred this scene smoking to your.

1299
01:13:58,040 --> 01:14:05,400
Speaker 5: We're on a flowers math. He's already on us.

1300
01:14:10,200 --> 01:14:15,040
Speaker 3: Oh, this is Tom Cruise and Miles Tuller in twenty

1301
01:14:15,080 --> 01:14:19,280
Speaker 3: twenty two's Top Gun Maverick, written by Eric Warren Singer,

1302
01:14:19,360 --> 01:14:23,680
Speaker 3: Aaron Krueger, and Christopher McCrory and directed by Joseph Kasinski.

1303
01:14:24,120 --> 01:14:27,000
Speaker 3: That massacre was part of our five Years Five Movies show.

1304
01:14:27,120 --> 01:14:29,920
Speaker 3: A couple weeks back. We also had reviews of Spinal

1305
01:14:29,960 --> 01:14:32,960
Speaker 3: Tap two and the History of Sound on that show.

1306
01:14:33,120 --> 01:14:36,479
Speaker 3: There is always a tie in. So why that scene

1307
01:14:36,560 --> 01:14:38,280
Speaker 3: from Top Gun Maverick?

1308
01:14:39,160 --> 01:14:42,840
Speaker 5: Well, Alexa Debly has the answer. I believe the Masacer

1309
01:14:42,920 --> 01:14:46,040
Speaker 5: Theater was Top Gun Maverick. The tie in would be

1310
01:14:46,120 --> 01:14:48,559
Speaker 5: a movie sequel that was released years and ay decades

1311
01:14:48,640 --> 01:14:51,720
Speaker 5: after the original was released, as is the case with

1312
01:14:51,800 --> 01:14:53,880
Speaker 5: Spinal Tap two. And I'm just going to put this

1313
01:14:53,920 --> 01:14:57,519
Speaker 5: out there so all the true tap heads get it.

1314
01:14:58,400 --> 01:15:03,519
Speaker 5: Are you sure it's deubly and not doubly? There you go, Josh,

1315
01:15:03,560 --> 01:15:04,880
Speaker 5: I'm sure they appreciated that.

1316
01:15:05,479 --> 01:15:09,240
Speaker 3: Yep. Here's David Allen who said it's got to be

1317
01:15:09,280 --> 01:15:12,080
Speaker 3: Top Gun Maverick. Here are the connections. One, Like Spinal

1318
01:15:12,120 --> 01:15:14,320
Speaker 3: Tap two, this is a sequel that came many years

1319
01:15:14,320 --> 01:15:17,879
Speaker 3: after its predecessor two. One could say Tom Cruise feels

1320
01:15:17,920 --> 01:15:22,880
Speaker 3: like a continuation of Robert Redford's dashing smile and swagger.

1321
01:15:23,000 --> 01:15:24,559
Speaker 3: I don't know. We may have to discuss on our

1322
01:15:24,680 --> 01:15:29,599
Speaker 3: upcoming top five Robert Redford movies, Adam. David Allen's third point,

1323
01:15:29,600 --> 01:15:32,759
Speaker 3: The Right Stuff has some thematic crossover with the Top

1324
01:15:32,800 --> 01:15:37,280
Speaker 3: Gun movies, and I believe that came up on your list, Adam. Four.

1325
01:15:37,520 --> 01:15:40,400
Speaker 3: Glenn Powell's next vehicle is The Running Man, which, like

1326
01:15:40,520 --> 01:15:45,880
Speaker 3: Rear Window, is an examination of voyeur culture. Okay, Rear

1327
01:15:45,920 --> 01:15:48,360
Speaker 3: Window on my list, that's right.

1328
01:15:48,760 --> 01:15:51,720
Speaker 5: We close with Ron and Havertown, Pa. You both went

1329
01:15:51,760 --> 01:15:54,280
Speaker 5: above and beyond on this Mascar theater. I laughed out

1330
01:15:54,280 --> 01:15:56,439
Speaker 5: loud on hearing you both pretend to have masks on

1331
01:15:56,840 --> 01:15:59,559
Speaker 5: playing out the pivotal ending scene where Tom Cruise, Maverick

1332
01:15:59,560 --> 01:16:02,680
Speaker 5: and Miles Teller Rooster are in a dogfight against the

1333
01:16:02,760 --> 01:16:05,320
Speaker 5: nameless bad guys flying next Gen Fighters.

1334
01:16:05,760 --> 01:16:07,200
Speaker 3: Thank you for making my day.

1335
01:16:07,240 --> 01:16:10,839
Speaker 5: You're welcome, Ron, You're welcome. Everyone you know who's not welcome,

1336
01:16:10,920 --> 01:16:13,720
Speaker 5: all the people who just wrote in Top Gun the original,

1337
01:16:13,880 --> 01:16:16,080
Speaker 5: it's not the original, it's the sequel. Josh, of course,

1338
01:16:16,240 --> 01:16:19,959
Speaker 5: just like spinal TEP two our listeners, So, yeah.

1339
01:16:19,800 --> 01:16:22,720
Speaker 3: Can you imagine, Adam, if we had a prop budget, like,

1340
01:16:22,800 --> 01:16:25,400
Speaker 3: how good we would have been if we had actual masks?

1341
01:16:25,800 --> 01:16:29,000
Speaker 3: Okay not just use our hands maybe next time.

1342
01:16:29,040 --> 01:16:33,960
Speaker 5: And yes, as at least one listener one entrant pointed out,

1343
01:16:34,200 --> 01:16:37,000
Speaker 5: we did go with Cole for the name of Maverick,

1344
01:16:37,080 --> 01:16:39,960
Speaker 5: referencing Cole Trickle from Days of Thunder. We went with

1345
01:16:40,080 --> 01:16:46,240
Speaker 5: Andrew from Miles Teller's Rooster, a reference Yes to whip Lash, Josh,

1346
01:16:46,280 --> 01:16:50,080
Speaker 5: reach into the not very brimming film spotting hat and

1347
01:16:50,160 --> 01:16:51,599
Speaker 5: pick out this week's winner.

1348
01:16:52,479 --> 01:16:55,519
Speaker 3: Our winner is David Zobel from Roswell, Georgia.

1349
01:16:55,840 --> 01:16:59,320
Speaker 5: Congratulations David. Email feedback at Filmspotting dot net and we

1350
01:16:59,360 --> 01:17:01,679
Speaker 5: will set you up your very own film Spotting t shirt,

1351
01:17:01,960 --> 01:17:05,120
Speaker 5: film Spotting tote bag, or trial membership to the Film

1352
01:17:05,160 --> 01:17:11,439
Speaker 5: Spotting Family Broadsheet. Journalists have described my impressions as stunningly accurate.

1353
01:17:11,640 --> 01:17:12,519
Speaker 3: Well, they're wrong.

1354
01:17:12,840 --> 01:17:14,599
Speaker 2: I've not heard you, Michael o kay, but I assume

1355
01:17:14,640 --> 01:17:17,200
Speaker 2: it basically along the lines of I'm okai.

1356
01:17:17,320 --> 01:17:18,559
Speaker 3: That is where you are so wrong.

1357
01:17:20,680 --> 01:17:23,840
Speaker 5: We move on now to this week's edition of Massacre Theater.

1358
01:17:24,000 --> 01:17:26,759
Speaker 5: I think the tie in is going to be pretty

1359
01:17:26,760 --> 01:17:31,559
Speaker 5: obvious here, Josh. And we don't have any fancy sound

1360
01:17:31,560 --> 01:17:36,360
Speaker 5: effects that we need to employ here, no masks that

1361
01:17:36,400 --> 01:17:39,360
Speaker 5: we have to pretend to be putting on. Though Producer

1362
01:17:39,360 --> 01:17:43,240
Speaker 5: Sam picked a scene that does involve throwing our voices

1363
01:17:43,400 --> 01:17:45,719
Speaker 5: a bit, multiple voices.

1364
01:17:45,840 --> 01:17:50,400
Speaker 3: Yeah, he's basically making us each play two characters. Yeah,

1365
01:17:51,080 --> 01:17:54,679
Speaker 3: and you should enough each play a single character.

1366
01:17:55,000 --> 01:17:58,000
Speaker 5: That's that's correct. I struggle playing myself every week. How

1367
01:17:58,439 --> 01:18:00,240
Speaker 5: alo expect me to do this?

1368
01:18:00,960 --> 01:18:03,920
Speaker 3: Apparently he thinks I've been about a month in in

1369
01:18:04,000 --> 01:18:07,040
Speaker 3: the UK here, and I have a firm command. Yes,

1370
01:18:07,240 --> 01:18:10,400
Speaker 3: of a British accent, but I'm up in Scotland. It's

1371
01:18:10,439 --> 01:18:13,760
Speaker 3: totally different saying I'm I have hearing people like this.

1372
01:18:14,160 --> 01:18:17,760
Speaker 5: I mean, come on, yeah, this is this is going

1373
01:18:17,840 --> 01:18:20,599
Speaker 5: to be rough. It's going to be rough, but we're

1374
01:18:20,600 --> 01:18:22,679
Speaker 5: going to go for it. You are going to hear

1375
01:18:23,040 --> 01:18:27,479
Speaker 5: us attempt multiple voices in at least one instance, maybe

1376
01:18:27,560 --> 01:18:31,880
Speaker 5: maybe two back to back, and we are going to

1377
01:18:31,960 --> 01:18:35,000
Speaker 5: change the names in a couple of cases, as we

1378
01:18:35,560 --> 01:18:37,920
Speaker 5: are wont to do here on Masacre Theater.

1379
01:18:38,040 --> 01:18:42,479
Speaker 3: Josh, you started off. Are you ready? Yeah, let's do it.

1380
01:18:43,040 --> 01:18:50,600
Speaker 3: And action? Where are we? Canterbury? We're close? Anyone know

1381
01:18:50,640 --> 01:18:55,320
Speaker 3: if there's a hotel around here? What lind to promise me?

1382
01:18:55,360 --> 01:18:58,120
Speaker 3: A little bit of action? You still like it in

1383
01:18:58,160 --> 01:19:02,000
Speaker 3: the afternoon? Would you do rob a train, blow up

1384
01:19:02,040 --> 01:19:06,559
Speaker 3: a building? You told me he was swavek as a drunk.

1385
01:19:07,280 --> 01:19:09,760
Speaker 3: He's suave. Should have seen him in the old days

1386
01:19:09,920 --> 01:19:13,200
Speaker 3: when he was a real activist. You were an activist.

1387
01:19:13,320 --> 01:19:14,639
Speaker 3: I just wanted to get laid.

1388
01:19:15,439 --> 01:19:17,479
Speaker 5: One time the police came to throw us out of

1389
01:19:17,479 --> 01:19:20,560
Speaker 5: our squat and Dalton invited them up for coffee to negotiate.

1390
01:19:20,840 --> 01:19:23,640
Speaker 5: Only coffee was spiked with ketamine.

1391
01:19:23,880 --> 01:19:29,840
Speaker 3: And scene. See I played, we got I played an

1392
01:19:29,880 --> 01:19:31,599
Speaker 3: American there. That was easy.

1393
01:19:32,520 --> 01:19:35,840
Speaker 5: I don't know that I performed otherwise. If you know

1394
01:19:35,880 --> 01:19:38,760
Speaker 5: what film we just massacred, email the movie's title in

1395
01:19:38,760 --> 01:19:41,040
Speaker 5: your name and location to feedback at filmspotting dot net.

1396
01:19:41,040 --> 01:19:44,280
Speaker 5: Your deadline is Monday, October thirteenth. We'll select the winner

1397
01:19:44,360 --> 01:19:48,040
Speaker 5: randomly from all the correct entries. I'm expecting just a

1398
01:19:48,080 --> 01:19:51,720
Speaker 5: big full Film Spotting hat and announce it in a

1399
01:19:51,800 --> 01:19:53,240
Speaker 5: couple of weeks.

1400
01:19:53,520 --> 01:19:56,960
Speaker 3: Josh, that's our show. If you want to connect with

1401
01:19:57,040 --> 01:19:59,840
Speaker 3: us on social media, you can find Adam and the

1402
01:19:59,840 --> 01:20:05,719
Speaker 3: Sho show on Instagram, Facebook, letterboxed, YouTube, all as film Spotting,

1403
01:20:05,880 --> 01:20:08,800
Speaker 3: I'm at those places, also hanging out on Blue Sky

1404
01:20:09,240 --> 01:20:14,520
Speaker 3: as Larsen on film. We are independently produced and listener supported.

1405
01:20:14,560 --> 01:20:16,919
Speaker 3: You can support the show by joining the film Spotting

1406
01:20:17,000 --> 01:20:21,320
Speaker 3: Family at filmspottingfamily dot com. You can listen early and

1407
01:20:21,479 --> 01:20:24,720
Speaker 3: ad free. You'll also get a weekly newsletter from producer

1408
01:20:24,800 --> 01:20:29,240
Speaker 3: Sam monthly bonus episodes our latest just went out, as

1409
01:20:29,280 --> 01:20:32,639
Speaker 3: well as access to the entire show archive. For show

1410
01:20:32,680 --> 01:20:35,920
Speaker 3: t shirts and other merch go to film spotting dot

1411
01:20:36,000 --> 01:20:37,320
Speaker 3: net slash.

1412
01:20:36,840 --> 01:20:41,559
Speaker 5: Shop in that film Spotting archive, you can get past

1413
01:20:41,840 --> 01:20:45,679
Speaker 5: Paul Thomas Anderson conversations like our review of Liquorice Pizza

1414
01:20:45,720 --> 01:20:48,759
Speaker 5: eight fifty three, Phantom Thread that was episode six sixty

1415
01:20:48,800 --> 01:20:51,960
Speaker 5: four in here and weis episode five seventeen. The Master

1416
01:20:52,520 --> 01:20:55,439
Speaker 5: was episode four fifteen. There Will Be Blood episode one

1417
01:20:55,520 --> 01:20:59,280
Speaker 5: ninety three. The more in depth conversation was for its

1418
01:20:59,280 --> 01:21:03,280
Speaker 5: tenth annivers episode six fifty eight, and we talked about

1419
01:21:03,280 --> 01:21:06,920
Speaker 5: Magnolia on episode seven point fifty two. That was part

1420
01:21:06,920 --> 01:21:08,800
Speaker 5: of our nine from ninety nine series, and we just

1421
01:21:08,840 --> 01:21:11,479
Speaker 5: put that back in our feed a little from the

1422
01:21:11,680 --> 01:21:14,960
Speaker 5: archive episode just this past week, so you can find

1423
01:21:15,040 --> 01:21:19,439
Speaker 5: that available to all listeners in the main film Spotting feed.

1424
01:21:20,080 --> 01:21:22,479
Speaker 3: Quick note, Adam, as you were going through that list,

1425
01:21:22,600 --> 01:21:25,000
Speaker 3: I meant to say, while we were reviewing one battle

1426
01:21:25,040 --> 01:21:28,040
Speaker 3: after another and talking about the humor Phantom Thread, you

1427
01:21:28,080 --> 01:21:31,240
Speaker 3: know underrated for how funny it is. You're very dry,

1428
01:21:31,680 --> 01:21:33,240
Speaker 3: very dry, but quite hilarious.

1429
01:21:33,439 --> 01:21:39,360
Speaker 5: Yes, almost anytime or Woodcock admonishes, anyone is high comedy

1430
01:21:39,680 --> 01:21:40,479
Speaker 5: right exactly?

1431
01:21:40,640 --> 01:21:40,880
Speaker 3: Yep.

1432
01:21:41,040 --> 01:21:44,799
Speaker 5: Okay, streaming or out vod you can see play Dirty.

1433
01:21:44,920 --> 01:21:48,080
Speaker 5: This is La Keith Stanfield and Keegan Michael Key, written

1434
01:21:48,080 --> 01:21:50,280
Speaker 5: and directed by Shane Black, in order to score a

1435
01:21:50,280 --> 01:21:53,440
Speaker 5: major Heisen expert thief played by Mark Wahlberg must outsmart

1436
01:21:53,439 --> 01:21:56,519
Speaker 5: a South American dictator, the New York Mob, and the

1437
01:21:56,520 --> 01:22:00,960
Speaker 5: World's Richest Man. Okay, I'm curious. The Lost Bus is out.

1438
01:22:01,040 --> 01:22:03,519
Speaker 5: Paul Greengrass has a new movie out, Josh. A man

1439
01:22:03,560 --> 01:22:07,559
Speaker 5: rescues a teacher and her students from a wildfire with

1440
01:22:07,800 --> 01:22:12,439
Speaker 5: Matthew McConaughey and America Ferrera. Huh been a while since

1441
01:22:12,439 --> 01:22:17,240
Speaker 5: we've heard from Yeah, mister Greengrass obviously very interested in

1442
01:22:17,280 --> 01:22:20,559
Speaker 5: this one. Anemone. Daniel day Lewis returns to the screen

1443
01:22:20,640 --> 01:22:24,599
Speaker 5: in Son Ronan's feature directing debut, Hope to catch up

1444
01:22:24,640 --> 01:22:28,720
Speaker 5: with that one good boy. As dark entities threaten his

1445
01:22:28,800 --> 01:22:31,719
Speaker 5: human companion, a dog must fight to protect the one

1446
01:22:31,760 --> 01:22:35,200
Speaker 5: he loves most. Yes, it's a horror movie, Josh told

1447
01:22:35,200 --> 01:22:39,280
Speaker 5: from the perspective of the family dog. Indy Wire gives

1448
01:22:39,280 --> 01:22:42,040
Speaker 5: it four and a half stars, saying one of the

1449
01:22:42,120 --> 01:22:45,400
Speaker 5: year's scariest movies and one that doubles as a tribute

1450
01:22:45,439 --> 01:22:47,840
Speaker 5: to the bond between people and their four legged friends.

1451
01:22:48,200 --> 01:22:51,439
Speaker 3: This is killing me. I was going to try to

1452
01:22:51,439 --> 01:22:53,400
Speaker 3: fit this in at him and then, as you know,

1453
01:22:53,439 --> 01:22:56,200
Speaker 3: and listeners and viewers probably can tell got hit with

1454
01:22:56,240 --> 01:22:59,479
Speaker 3: a bug and have been down and out so had

1455
01:22:59,520 --> 01:23:01,840
Speaker 3: to take it off the viewing list. But man, come on,

1456
01:23:01,960 --> 01:23:04,680
Speaker 3: that sounds great. You know you want to see that?

1457
01:23:05,280 --> 01:23:07,280
Speaker 5: Can you see that? Or is that one that maybe

1458
01:23:07,320 --> 01:23:08,320
Speaker 5: you can get a screen or two.

1459
01:23:09,000 --> 01:23:10,880
Speaker 3: I was going to ask for a screener, lank, but

1460
01:23:11,040 --> 01:23:13,719
Speaker 3: maybe it'll maybe it'll get a release around these parts

1461
01:23:13,760 --> 01:23:15,760
Speaker 3: as well. Okay, happy end.

1462
01:23:15,800 --> 01:23:19,000
Speaker 5: This is a feature debut from Japanese American director Neo Sora,

1463
01:23:19,280 --> 01:23:22,880
Speaker 5: a near future japan bracist for a devastating earthquake. Mitchell

1464
01:23:22,920 --> 01:23:26,320
Speaker 5: bo Pray, our friend says, maybe the best looking film

1465
01:23:26,400 --> 01:23:30,840
Speaker 5: of the year. Also outlimited is Predators, the documentary recommended

1466
01:23:30,880 --> 01:23:34,439
Speaker 5: by me earlier in the show. GoldenEye is being re

1467
01:23:34,439 --> 01:23:39,120
Speaker 5: released for its anniversary. And very eager to see this one.

1468
01:23:39,240 --> 01:23:43,639
Speaker 5: Benny Safdi's solo directed The Smashing Machine. It's the story

1469
01:23:43,640 --> 01:23:48,400
Speaker 5: of MMA fighter Mark Kerr starring Dwayne Johnson. Hope to

1470
01:23:48,439 --> 01:23:51,599
Speaker 5: see that one. But next week we are planning our

1471
01:23:51,600 --> 01:23:55,400
Speaker 5: top five actor director combos. We'd like to see. If

1472
01:23:55,439 --> 01:23:59,360
Speaker 5: you've got a pairing you want us to consider or

1473
01:23:59,840 --> 01:24:02,080
Speaker 5: just want us to read on air, send it our

1474
01:24:02,120 --> 01:24:04,120
Speaker 5: way feedback at filmspotting dot net.

1475
01:24:05,120 --> 01:24:08,360
Speaker 3: Film Spotting is produced by Golden Joe Disso and Sam

1476
01:24:08,479 --> 01:24:12,000
Speaker 3: van Holgren. Without Sam and Golden Joe, this show wouldn't go.

1477
01:24:12,439 --> 01:24:16,360
Speaker 3: Our production assistant is Sophie Kempinar. Special thanks to everyone

1478
01:24:16,400 --> 01:24:21,760
Speaker 3: at wbeazy Chicago. More information is available at wbez dot

1479
01:24:21,880 --> 01:24:25,639
Speaker 3: org for film Spotting, I'm Josh Larson and I'm Adam Kempinar.

1480
01:24:25,800 --> 01:24:26,599
Speaker 3: Thanks for listening.

1481
01:24:26,720 --> 01:24:29,720
Speaker 2: This conversation can serve no purpose anymore.

1482
01:24:30,600 --> 01:24:31,320
Speaker 3: The burn.

1483
01:24:47,600 --> 01:24:50,559
Speaker 5: Film Spotting is listeners supported. Join the film Spotting Family

1484
01:24:50,600 --> 01:24:53,519
Speaker 5: at film spottingfamily dot com and get access to ad

1485
01:24:53,560 --> 01:24:56,960
Speaker 5: free episodes, monthly bonus shows, our weekly newsletter, and for

1486
01:24:57,000 --> 01:24:59,639
Speaker 5: the first time, all into one place, the entire film

1487
01:24:59,640 --> 01:25:02,360
Speaker 5: Spotting archive going back to two thousand and five. That's

1488
01:25:02,400 --> 01:25:09,560
Speaker 5: a film Spotting Family dot com pantibly h