WEBVTT - One Battle After Another Review, Predators 0:00:00.760 --> 0:00:03.360 This episode is brought to you by Peloton break through 0:00:03.400 --> 0:00:05.840 the busiest time of year with the brand new Peloton 0:00:05.920 --> 0:00:09.600 Cross Training tread Plus powered by Peloton Iq. With real 0:00:09.640 --> 0:00:12.719 time guidance and endless ways to move, you can personalize 0:00:12.720 --> 0:00:15.960 your workouts and train with confidence, helping you reach your 0:00:15.960 --> 0:00:20.120 goals in less time. Let yourself run, lift, sculpt, push 0:00:20.239 --> 0:00:23.479 and go. Explore the new Peloton Cross Training tread Plus 0:00:23.600 --> 0:00:29.720 at one Peloton dot com. 0:00:29.760 --> 0:00:31.880 What kind of a show you guys putting. 0:00:31.600 --> 0:00:32.200 On here today? 0:00:32.320 --> 0:00:34.720 You're not interested in art? Now? No, Look, we're going 0:00:34.760 --> 0:00:36.920 to do this thing. We're going to have a conversation. 0:00:38.800 --> 0:00:42.280 From Chicago. This is Film Spotting celebrating our twentieth year. 0:00:42.440 --> 0:00:44.680 I'm Josh Larson and I'm Adam Kempinar. 0:00:45.680 --> 0:00:46.640 No, it's not a revolution. 0:00:48.880 --> 0:00:51.760 The message is clear. I'll be seeing you very soon. 0:00:52.280 --> 0:00:54.480 Let of us see you first. 0:00:56.240 --> 0:00:59.040 Paul Thomas Anderson's One Battle after Another may not be 0:00:59.120 --> 0:01:01.920 a revolution, but it is one of the movie events 0:01:01.920 --> 0:01:02.440 of the year. 0:01:02.680 --> 0:01:06.319 We've got a review, plus the new doc Predators, Massacre 0:01:06.400 --> 0:01:08.960 Theater and more ahead on Film Spotting. 0:01:11.360 --> 0:01:14.560 I don't know what freedom is, no fear, Just like. 0:01:14.640 --> 0:01:21.320 Tom Cruise, Welcome to Film spotting a new film from 0:01:21.360 --> 0:01:23.760 Paul Thomas Anderson is always a big deal, Josh, but 0:01:24.200 --> 0:01:27.800 one Battle after another it does feel bigger, and not 0:01:28.120 --> 0:01:32.240 just because of the Imax screenings the VistaVision screenings. Did 0:01:32.240 --> 0:01:34.680 you get to partake in either of those in Scotland? 0:01:35.520 --> 0:01:35.800 You know? 0:01:36.160 --> 0:01:39.880 The Scotland theater adventure continues. We tried out another one 0:01:40.080 --> 0:01:43.280 and it was not Imax or VistaVision, but it was 0:01:43.319 --> 0:01:46.600 a giant screen. It was a beautiful presentation, huge theater. 0:01:46.800 --> 0:01:49.920 So yeah, excited about that. And a quick thanks to 0:01:50.120 --> 0:01:54.560 listener Heather who just before we signed on here, she 0:01:54.760 --> 0:01:58.120 left a note about the DCA in Dundee. Dundee is 0:01:58.160 --> 0:02:00.640 the town we've been traveling to to see Move and 0:02:01.480 --> 0:02:06.800 that's a smaller, almost art gallery slash theater, and yeah, 0:02:06.920 --> 0:02:09.560 I hope to get there as well. They have fewer screens, 0:02:09.600 --> 0:02:11.959 I've heard, they're not quite as big as the one 0:02:11.960 --> 0:02:14.520 where I did see One Battle after Another, and yeah, 0:02:14.560 --> 0:02:17.000 I knew I wanted to see that one on as 0:02:17.040 --> 0:02:18.680 big of a screen as possible. 0:02:19.400 --> 0:02:23.520 I didn't have a special experience myself, but I did 0:02:23.520 --> 0:02:26.399 see it on the big screen at theater Number one 0:02:26.639 --> 0:02:29.520 at my local multiplex so that's the best that I 0:02:29.840 --> 0:02:32.600 could do. We will have a review of one battle 0:02:32.639 --> 0:02:35.240 after another here in moments. Plus I'll have a few 0:02:35.280 --> 0:02:38.320 thoughts on the new documentary Predators. Yes, it is a 0:02:38.440 --> 0:02:42.679 documentary Predators, not about the making of any of those 0:02:42.800 --> 0:02:47.160 Schwarzenegger movies. And we will play Massacre theater. A quick 0:02:47.200 --> 0:02:51.480 reminder that film Spotting is now available as a video podcast. 0:02:51.560 --> 0:02:53.920 You mentioned, Heather. That was a comment that came in 0:02:54.040 --> 0:02:57.280 Josh via Spotify that I shared with you. And if 0:02:57.280 --> 0:03:00.880 you are a listener on Spotify, you can toggleween video 0:03:01.120 --> 0:03:04.800 and audio. But you can also watch the show on YouTube, 0:03:05.120 --> 0:03:07.680 and you can find the link to our video episodes 0:03:07.919 --> 0:03:11.080 over at film spotting dot net slash episodes. 0:03:12.360 --> 0:03:14.760 Well look, look, maybe I can maybe I can give 0:03:14.800 --> 0:03:17.280 you some information and then you give me some information. 0:03:17.320 --> 0:03:19.639 All right, we'll just share a little information. My name 0:03:19.680 --> 0:03:21.240 is Bob Ferguson. I don't know if you've ever heard 0:03:21.280 --> 0:03:23.440 of any all right. I was part of French seventy 0:03:23.440 --> 0:03:25.840 five for years, years and years. All right. They used 0:03:25.880 --> 0:03:30.080 to call me ghetto pat rocketman stuff like that. Only 0:03:30.120 --> 0:03:34.960 problem is I've fried my brain since then. Man. I 0:03:35.000 --> 0:03:40.119 have abused drugs and alcohol for the past thirty years. Man, 0:03:40.240 --> 0:03:43.880 I'm a drug and alcohol lover, and I cannot remember 0:03:44.560 --> 0:03:46.720 for the life of me or the life of my 0:03:46.920 --> 0:03:50.840 only child. The answer to your question, what time is it? 0:03:51.680 --> 0:03:52.560 Fifteen? 0:03:52.800 --> 0:03:52.960 Now? 0:03:53.000 --> 0:03:56.120 I need this rendezvous point. You understand what I'm saying. 0:03:56.600 --> 0:03:57.160 I need it. 0:03:57.320 --> 0:03:58.160 I understand. 0:03:58.600 --> 0:04:03.040 And the question is I think it's appropriate for this movie, Josh? 0:04:03.120 --> 0:04:07.240 How it just throws us right into this sort of past, 0:04:07.440 --> 0:04:10.920 sort of present world. We're going to jump right in 0:04:10.960 --> 0:04:13.280 to one battle after another. And I thought I might 0:04:13.320 --> 0:04:16.039 go see it with a friend who lives about twenty 0:04:16.040 --> 0:04:18.760 minutes away from me, Scott, and Scott's one of the 0:04:18.760 --> 0:04:22.080 biggest movie fans I know. Of course, he beat me 0:04:22.160 --> 0:04:25.039 to it as soon as it was available. He went 0:04:25.080 --> 0:04:27.440 and saw it. So I was going to go see 0:04:27.440 --> 0:04:30.680 it all alone. And he texted me back and he 0:04:30.760 --> 0:04:34.800 pointed out something that I had missed that Paul Thomas 0:04:34.800 --> 0:04:40.840 Anderson that night was programming TCM with movies that inspired 0:04:41.200 --> 0:04:44.440 one battle after another. And here was the lineup. Yeah, 0:04:44.480 --> 0:04:47.440 here was the lineup. And this will of course, since 0:04:47.600 --> 0:04:50.880 you have seen his new movie, this should feel appropriate. 0:04:51.200 --> 0:04:56.920 The movies were running on empty midnight run The French 0:04:56.920 --> 0:05:01.160 Connection and The Battle of Algiers. Run through those real 0:05:01.240 --> 0:05:05.520 quick right, running on empty the Sydney Lamette film with 0:05:06.279 --> 0:05:09.719 River Phoenix. Of course that makes sense, right, You've got 0:05:09.800 --> 0:05:13.920 former activist parents now in the wind, on the run, 0:05:14.080 --> 0:05:19.880 struggling with raising their teenage kids. Check Midnight Run a 0:05:19.920 --> 0:05:24.520 film spotting Pantheon movie. This new one from pta Is 0:05:24.520 --> 0:05:27.039 is kind of a road movie, and you've got the 0:05:27.080 --> 0:05:32.040 angle with de Niro and an element here of almost 0:05:32.200 --> 0:05:38.240 estranged father and daughter, right, the French connection, the obsessed 0:05:38.960 --> 0:05:42.760 authority figure that we have in this film played by 0:05:42.960 --> 0:05:46.920 Sean Penn, and also the conspiracy element. Oh and how 0:05:46.960 --> 0:05:53.440 about lengthy and very intense car chases or extended chase 0:05:53.480 --> 0:05:57.680 sequences period, and then well, the Battle of Algiers. 0:05:57.880 --> 0:05:58.720 That's an easy one. 0:05:58.760 --> 0:06:01.080 If there if there was one film that seems like 0:06:01.200 --> 0:06:05.520 it's the movie that most inspired one battle after another, 0:06:06.080 --> 0:06:08.320 it probably has to be The Battle of Algiers. Oh 0:06:08.400 --> 0:06:11.320 and it is the movie that is directly called out 0:06:11.480 --> 0:06:16.160 in this movie right where you have Leonardo DiCaprio's Bob Ferguson. 0:06:16.560 --> 0:06:21.039 Now this aged hippie who is getting high one night 0:06:21.080 --> 0:06:24.039 and since he's no longer in the game, all he 0:06:24.080 --> 0:06:26.400 can do is sort of fall back on the greatest hits. 0:06:26.600 --> 0:06:29.440 He actually puts in the Battle of Algiers so he 0:06:29.480 --> 0:06:32.360 can watch it and kind of quote along with the 0:06:32.400 --> 0:06:36.880 movie and relive his glory days through what is I 0:06:36.920 --> 0:06:40.360 suppose essentially the manual, you know, the Manual for the 0:06:40.400 --> 0:06:44.840 Revolutionary the Battle of Algiers. So I'm curious as as 0:06:44.839 --> 0:06:47.200 you hear that, I believe for the first time those 0:06:47.240 --> 0:06:51.000 four movies, though you probably saw the influence of some 0:06:51.120 --> 0:06:53.680 of those, and of course the Battle of Algiers, any 0:06:53.720 --> 0:06:57.360 of those really resonate with you in particular? What did 0:06:57.360 --> 0:07:00.920 you make of any influences and did any others strike 0:07:01.000 --> 0:07:03.440 you as you watch this movie or did you see 0:07:03.440 --> 0:07:07.640 this as as purely a Paul Thomas Anderson film. 0:07:07.920 --> 0:07:09.880 Boy, I want to get to that. I think the 0:07:09.920 --> 0:07:12.600 influences are interesting. It was something I thought about. But 0:07:12.680 --> 0:07:14.960 first I've got to get out of my system at him, 0:07:15.000 --> 0:07:17.080 because I haven't really been able to talk to many 0:07:17.160 --> 0:07:20.080 people besides Debbie, who is with me. This is the 0:07:20.120 --> 0:07:26.160 movie I've been waiting for all year, and it delivered astonishingly. 0:07:26.360 --> 0:07:29.600 I knew I knew nothing of its context going in, 0:07:29.760 --> 0:07:31.720 had not watched the trailer. I had no idea it 0:07:31.760 --> 0:07:34.760 was going to be this topical. If you remember when 0:07:34.800 --> 0:07:37.560 we did a Sacred Cow review of Dogged Afternoon not 0:07:37.600 --> 0:07:40.800 too long ago, I wondered what films and filmmakers are 0:07:40.800 --> 0:07:44.280 going to rise to the challenge that we're in right now, 0:07:44.560 --> 0:07:47.160 the way Sidney Lumett and al Pacino did. There. Of course, 0:07:47.200 --> 0:07:50.679 we talked about responding to this notion of state violence 0:07:51.600 --> 0:07:54.000 Mickey seventeen. We split on I thought it took a 0:07:54.000 --> 0:07:57.320 good sci fi swing at satirizing the state of things. 0:07:57.920 --> 0:08:00.800 Not everyone agreed, Eddington. I thought that was interesting, but 0:08:00.840 --> 0:08:03.800 felt a little bit behind the times given its lockdown setting. 0:08:04.360 --> 0:08:07.880 I know some folks took comfort in Superman as a 0:08:07.960 --> 0:08:11.320 tonal reprieve from what we're going through. You and I 0:08:11.360 --> 0:08:15.160 did not. For me, one battle after another? Is it? 0:08:15.280 --> 0:08:17.440 This is it? This is the movie, This is the 0:08:17.440 --> 0:08:20.880 movie we need right now? It is. Yes, it's exaggerated 0:08:20.880 --> 0:08:23.200 what we see in this film, but nothing in here 0:08:23.840 --> 0:08:26.880 is not happening to some degree right now in America. 0:08:27.400 --> 0:08:29.960 And I am in Scotland, but I am keeping an 0:08:29.960 --> 0:08:33.199 eye in Chicago. You better believe it. Ice agents, they're 0:08:33.400 --> 0:08:38.000 arresting and assaulting journalists, instigating violence. I mean, I could 0:08:38.000 --> 0:08:40.679 not believe what was on the screen in front of 0:08:40.679 --> 0:08:44.120 me and how it was reflecting what we are experiencing 0:08:44.160 --> 0:08:47.000 in America and what can we do in the midst 0:08:47.040 --> 0:08:48.960 of this. I think a lot of us feel paralyzed. 0:08:48.960 --> 0:08:51.120 But you know what, filmmakers can make films like this, 0:08:51.720 --> 0:08:55.359 Critics can champion them, and these are maybe small gestures, 0:08:55.400 --> 0:08:58.880 but you know, they add up or they're something, And 0:08:59.000 --> 0:09:02.280 at the end of one after another, I just I 0:09:02.400 --> 0:09:08.560 felt so galvanized about the littlest something because to my mind, 0:09:08.960 --> 0:09:11.520 there are a whole lot of people doing nothing and 0:09:11.679 --> 0:09:16.040 to see a formal filmmaker like Paul Thomas Anderson take 0:09:16.120 --> 0:09:21.480 this on and absolutely just kill the assignment was so 0:09:21.640 --> 0:09:23.960 thrilling to me. So just had to get that out 0:09:24.000 --> 0:09:25.800 of my system. Maybe we'll come back. I'm sure we'll 0:09:25.840 --> 0:09:29.520 come back to the politics of it. But I was 0:09:29.559 --> 0:09:33.319 thinking about these influences, this question, and I think what's 0:09:33.400 --> 0:09:36.680 so exciting about one battle after another on that front 0:09:37.240 --> 0:09:41.439 Adam is that this might be I would put this 0:09:41.520 --> 0:09:45.440 in the category of his most singular works, something like 0:09:45.480 --> 0:09:49.280 Punch Drunk Love in particular, where yes, the influences are there, 0:09:49.720 --> 0:09:53.240 but it's not something like you know, I would say, 0:09:53.240 --> 0:09:55.679 Phantom Thread is so obviously my favorite movie. By the way, 0:09:55.679 --> 0:09:58.080 I'm not knocking him for this. My favorite Paul Thomas 0:09:58.120 --> 0:10:01.080 Anderson movie, Phantom Threat very influenced by Hitchcock, right, among 0:10:01.120 --> 0:10:03.720 other things. It's all over it. There will be blood 0:10:03.800 --> 0:10:06.560 to me, you know, is so influenced by something like 0:10:06.600 --> 0:10:09.000 Citizen Kane, and you go down the line of his filmography. 0:10:09.040 --> 0:10:11.360 But I look at Punch Drunk Love, and that's a 0:10:11.400 --> 0:10:15.560 movie that, like only Paul Thomas Anderson could come up with, 0:10:15.760 --> 0:10:18.560 I feel like, and some people might feel that way 0:10:18.559 --> 0:10:22.640 about something like The Master perhaps, but I am definitely 0:10:22.720 --> 0:10:28.360 thinking that way about one battle after another. That being said, yes, 0:10:28.440 --> 0:10:32.200 Battle of Algiers, you know, just what a touchstone as 0:10:32.280 --> 0:10:35.680 well as a funny a funny side in that scene, 0:10:35.760 --> 0:10:38.600 as you mentioned, I thought of that before it did 0:10:38.679 --> 0:10:43.439 pop up in the movie French Connection, other seventies paranoid thrillers. 0:10:43.920 --> 0:10:46.920 The propulsion of those movies is what I think he 0:10:47.040 --> 0:10:51.559 borrows here. Yeah, and you know, just thematically, I thought 0:10:51.600 --> 0:10:55.480 about Alfonso Koran's Children of Men, which is more of 0:10:55.520 --> 0:10:58.880 a prophetic many many years now, a prophetic envisioning of 0:10:58.920 --> 0:11:03.000 what in that in the UK to teller Terrrian government 0:11:03.040 --> 0:11:08.440 response to refugees might look like. I think that's a 0:11:08.559 --> 0:11:13.800 more I don't want to say grim, but Children of 0:11:13.800 --> 0:11:17.800 Men is a more serious take on the subject. But 0:11:17.880 --> 0:11:21.680 that doesn't make one battle after another any more important, 0:11:22.080 --> 0:11:24.160 and its take on the subject just because it is 0:11:24.640 --> 0:11:31.200 this absurd, comic, hysterical satire that saying a lot of 0:11:31.360 --> 0:11:33.839 trenchant immediately needed things. 0:11:34.200 --> 0:11:37.760 Yeah, I'm with you on so much of what you said, 0:11:37.800 --> 0:11:40.360 including a couple words you just used right there at 0:11:40.360 --> 0:11:42.320 the end. So let me get out just kind of 0:11:42.360 --> 0:11:45.960 my single sentence take on this film. It is a 0:11:46.000 --> 0:11:52.160 beautifully choreographed fever dream of resistance and reckoning, blending absurd 0:11:52.160 --> 0:11:56.079 of satire with a poignant meditation on parental legacy. 0:11:56.360 --> 0:11:59.400 That's the thing. There is such an emotional. 0:11:58.840 --> 0:12:01.920 Core to this movie as well that I'm sure we 0:12:01.960 --> 0:12:05.199 will get into. And I suppose this also indicates how 0:12:05.240 --> 0:12:08.480 long we've been doing this show. Though I don't know 0:12:08.559 --> 0:12:10.720 that I can remember examples of you telling me this. 0:12:10.840 --> 0:12:13.160 I think I always think about you, Josh when I'm 0:12:13.200 --> 0:12:16.280 at the movies. But I was watching this film and 0:12:16.520 --> 0:12:20.240 I was seeing certain scenes and different themes were being 0:12:20.240 --> 0:12:23.160 brought up, and I was thinking about the police state 0:12:23.280 --> 0:12:26.079 evidence in this film, evident in this film, and the 0:12:27.120 --> 0:12:30.160 state sanctioned violence. And I was thinking about our conversation 0:12:30.200 --> 0:12:33.120 about Dog Day Afternoon, and I was going, Josh is 0:12:33.200 --> 0:12:36.000 eating this up right now, Josh is halfway around the 0:12:36.000 --> 0:12:39.720 world eating this movie up. I was having very similar 0:12:39.760 --> 0:12:41.480 thoughts about the film, and I was. 0:12:43.040 --> 0:12:44.240 As well, cross the Atlantic. 0:12:44.800 --> 0:12:49.640 Yeah, yeah, I think so. In terms of the influences, 0:12:50.120 --> 0:12:53.199 one that maybe he just couldn't program the fifth film, 0:12:53.520 --> 0:12:57.000 but I have to imagine that the fifth influence, and 0:12:57.000 --> 0:13:00.120 maybe this is just too easy picking, but come on, 0:13:00.160 --> 0:13:03.640 the fifth influence had to be Doctor Strangelove. Right with 0:13:03.760 --> 0:13:07.120 Sean Penn's character makes sense. His name is Colonel Lockjaw, 0:13:09.800 --> 0:13:13.160 after Jack t Ripper. His name is Colonel Lockjaw. He's 0:13:13.200 --> 0:13:16.480 a military figure. He's full of all sorts of interesting 0:13:17.559 --> 0:13:22.360 ticks and behavioral quirks. He's got that great haircut, and 0:13:22.880 --> 0:13:28.120 he will assert his authority unilaterally. And at one point 0:13:28.640 --> 0:13:33.040 he does speak of bodily fluids and his power being 0:13:33.280 --> 0:13:36.360 taken from him. So that seems like a pretty clear 0:13:37.480 --> 0:13:40.000 call or reference to Doctor Strangelove. 0:13:40.320 --> 0:13:44.520 To me, Jack, Jack, tell me, tell me Jack, when 0:13:44.559 --> 0:13:51.040 did you first well developed this there well. 0:13:51.160 --> 0:13:57.040 I I first became aware of it, Man Drake, during 0:13:57.080 --> 0:14:03.880 the physical act of love. Yes, a profound sense of fatigue, 0:14:04.800 --> 0:14:09.720 feeling of emptiness followed. Luckily I was able to interpret 0:14:09.760 --> 0:14:16.920 these feelings correctly. Loss of essence. I can assure you 0:14:16.960 --> 0:14:18.200 it has not recurred, Man Drake. 0:14:18.800 --> 0:14:22.640 Where those references ended up bearing fruit for me a 0:14:22.640 --> 0:14:24.880 little bit and thinking about this film, it actually was 0:14:24.920 --> 0:14:27.880 the first one Running on Empty, which is a movie 0:14:27.920 --> 0:14:29.920 I haven't thought about in a long time, but I 0:14:30.000 --> 0:14:32.360 remember watching a lot when I was a kid. I 0:14:32.360 --> 0:14:34.000 think it was just a movie that was on HBO, 0:14:34.400 --> 0:14:37.600 and for some reason it always really resonated with me. 0:14:38.000 --> 0:14:42.480 And one difference here is that because it is very similar, 0:14:42.680 --> 0:14:45.240 you have the parents. And maybe while I'm talking you 0:14:45.240 --> 0:14:47.640 can look it up because I can see I can 0:14:47.680 --> 0:14:51.840 see the actress in my head and cannot place her name, 0:14:51.880 --> 0:14:54.720 and it's killing me, right, jud Hirsh's the dad, River 0:14:54.800 --> 0:14:59.600 Phoenix is the sun, the talented musician's son. Man Christine Lottie, 0:14:59.680 --> 0:15:01.920 I just got it. Christine Lotti is the mom, isn't it? 0:15:02.600 --> 0:15:05.760 You got it? Nice time? Do I get two points? 0:15:06.040 --> 0:15:10.000 So Christine Lotti is the mom and they were activists, 0:15:10.000 --> 0:15:12.360 and they were involved in a bombing and someone died, 0:15:12.520 --> 0:15:15.920 as I recall it, unintentionally, someone wasn't supposed to be 0:15:16.000 --> 0:15:18.600 at the building they bombed, and they've been on the 0:15:18.680 --> 0:15:23.560 run ever since. I don't think this is a movie. 0:15:23.760 --> 0:15:25.480 You can disagree with me on this, or we can 0:15:25.480 --> 0:15:28.040 talk about it, But as I reflect on my lone 0:15:28.120 --> 0:15:29.640 viewing of this film, I don't think this is a 0:15:29.640 --> 0:15:33.520 movie that really cares about whether or not the acts 0:15:33.800 --> 0:15:39.440 that Bob or Perfidia, who we haven't mentioned, Tayana Taylor's Perfidia, 0:15:39.480 --> 0:15:43.040 Beverly Hills, the mother, the acts that they committed in 0:15:43.040 --> 0:15:46.520 the name of injustice, in the name of oppression, in 0:15:46.560 --> 0:15:50.280 the name of revolution, were right or wrong. The conscience 0:15:50.360 --> 0:15:54.600 of what they did, that's not on the mind of 0:15:54.800 --> 0:15:59.000 this movie. Whether Bob or anyone else should have pangs 0:15:59.080 --> 0:16:01.880 of moral guilt, that is on the mind of Running 0:16:01.880 --> 0:16:06.960 on Empty very much. That movie is concerned about whether 0:16:07.080 --> 0:16:11.320 or not the sins of the father and mother should 0:16:11.400 --> 0:16:14.720 be passed on to or whether it's fair that they're 0:16:14.760 --> 0:16:21.960 passed on to the children. And this film is concerned 0:16:21.960 --> 0:16:25.080 with that question. Like Running on Empty, it's concerned about 0:16:25.080 --> 0:16:26.720 whether or not the sins of the father in this 0:16:26.840 --> 0:16:29.520 case and the mother should be passed on to the children, 0:16:29.960 --> 0:16:32.920 passed on to the daughter Willa. But it also asks, 0:16:32.920 --> 0:16:34.600 and maybe we'll get to this in more detail as 0:16:34.600 --> 0:16:37.400 we get into our conversation, but I think it also asks, 0:16:38.000 --> 0:16:42.560 really interestingly the opposite. It almost asks, should we allow 0:16:43.440 --> 0:16:45.960 the sins of the father and mother to be passed 0:16:45.960 --> 0:16:48.320 down to the children. It's almost like the movie is 0:16:48.360 --> 0:16:52.600 saying it needs to be we need that child, It's 0:16:52.640 --> 0:16:55.960 okay for that child to have that consciousness and they 0:16:56.000 --> 0:17:00.040 need to be enlightened about it and engaged in that. 0:17:00.160 --> 0:17:02.520 And I think that's an interesting spin on that question. 0:17:03.320 --> 0:17:07.200 Yeah, that's the you know, dancing around spoilers. I think 0:17:07.200 --> 0:17:10.680 the movie leaves us in exactly that place. And that's 0:17:10.680 --> 0:17:14.119 what I found so stirring is, you know, not that 0:17:14.160 --> 0:17:17.119 it's too late for us to participate, but man, this 0:17:17.119 --> 0:17:18.800 this thing is going to be a long haul. I 0:17:18.840 --> 0:17:21.200 think we're starting to realize those who are paying attention 0:17:21.240 --> 0:17:21.399 to the. 0:17:21.400 --> 0:17:24.600 Movie might say it's actually too late for us, Josh, 0:17:24.640 --> 0:17:25.440 And that's okay. 0:17:25.760 --> 0:17:28.720 Our job and our generation, our job, and. 0:17:28.800 --> 0:17:31.880 This is to support the next generation. Might be what 0:17:31.920 --> 0:17:32.800 the takeaway is. 0:17:33.440 --> 0:17:36.160 I think I think that's completely fair, and I do 0:17:36.400 --> 0:17:38.439 want to take a moment to point out as to 0:17:38.480 --> 0:17:41.000 that moral question, because I know this is going to 0:17:41.040 --> 0:17:44.800 be a talking point once this movie, you know, gets out, 0:17:44.840 --> 0:17:47.720 and those who aren't aren't ready to root for it 0:17:47.840 --> 0:17:52.879 see it. It is very clear to me what you 0:17:52.960 --> 0:17:58.680 pointed out, that the movie itself is not necessarily endorsing 0:17:58.720 --> 0:18:03.760 the tactics employed by this group that Leonardo Dicaproo's character 0:18:03.960 --> 0:18:05.760 is involved with at the start of the film before 0:18:05.800 --> 0:18:08.880 we jump ahead sixteen years. It does not denounce them, 0:18:09.040 --> 0:18:11.240 but to your point, it is interested in other things. 0:18:11.840 --> 0:18:17.359 And also, just because a group is using tactics you 0:18:17.440 --> 0:18:24.159 might object to, does not legitimize the clearly unconstitutional anti 0:18:24.240 --> 0:18:27.760 American tactics that were initially employed. So I just want 0:18:27.840 --> 0:18:30.160 to get that out of the way in terms of, 0:18:30.560 --> 0:18:33.280 you know, this is not endorsing one battle after another. 0:18:33.320 --> 0:18:35.920 It's not endorsing such things. I think it's interested in 0:18:35.960 --> 0:18:38.679 other questions, those personal ones. And this even relates to 0:18:38.720 --> 0:18:41.919 the Sean Penn character Lockjaw, because I think it's really 0:18:43.240 --> 0:18:46.320 key that while he is not at any point sympathetic, 0:18:47.320 --> 0:18:50.760 he is depicted as a human being with you know, 0:18:52.040 --> 0:18:57.280 some perversities because of the way I read the sense 0:18:57.320 --> 0:19:00.680 of unchecked authority he's been given, which means there are 0:19:00.720 --> 0:19:04.480 no guardrails for him at all. But at the same 0:19:04.520 --> 0:19:07.480 time it is one of the supreme comic performances in 0:19:07.520 --> 0:19:12.520 the film, just that constipated walk Penn has and the 0:19:12.520 --> 0:19:15.600 way he carries himself. It I'm sorry, but as I said, 0:19:15.680 --> 0:19:19.760 like I've seen this on Chicago streets, the performative nature 0:19:20.240 --> 0:19:24.800 of these ice guys is it's clownish, and that is 0:19:24.840 --> 0:19:27.720 what Penn is tapping into here. I want to see 0:19:27.760 --> 0:19:30.280 on a protest sign, speaking of the kids, some kid 0:19:30.320 --> 0:19:33.560 holding up what Bob's daughter when we meet her as 0:19:33.600 --> 0:19:36.800 a teenager, later says to Pen in a crucial scene, 0:19:36.960 --> 0:19:40.840 why is your shirt so tight? That just killed me, 0:19:40.920 --> 0:19:43.040 because it's only a great line, but it gets at 0:19:43.040 --> 0:19:48.560 the root of the performative nature of There's something about 0:19:49.200 --> 0:19:54.040 if you are not morally sure of your actions, you're 0:19:54.080 --> 0:19:57.760 going to perform them even more. And that is what 0:19:57.760 --> 0:20:00.480 we are seeing now, and that's what we see in 0:20:00.480 --> 0:20:03.440 the film in Penn's character. But I do like that 0:20:03.480 --> 0:20:07.440 we also get him, as you know, we don't agree 0:20:07.480 --> 0:20:09.639 with any of his choices really but this is not 0:20:09.720 --> 0:20:15.119 just some faceless monolith that is conducting these things. This 0:20:15.200 --> 0:20:21.040 is an actual human being with motivations that are yes distorted, 0:20:21.359 --> 0:20:23.320 But I think that's key. It's almost connected to what 0:20:23.320 --> 0:20:25.600 you were talking about this movie, having a heart and 0:20:25.640 --> 0:20:28.720 being interested in the relationships here. This is not a 0:20:28.760 --> 0:20:32.080 socio political tract. This is a story about a family 0:20:32.840 --> 0:20:36.040 deeply connected and you know pen is related to this, 0:20:36.280 --> 0:20:38.720 deeply connected to these events. How it affects them on 0:20:38.760 --> 0:20:41.639 a day to day relational basis, you have to understand 0:20:41.680 --> 0:20:45.720 and will me and Mom we used to run around 0:20:45.720 --> 0:20:50.280 and do some real batches. They got hurt. 0:20:51.160 --> 0:20:52.280 Now they're coming after us. 0:20:52.880 --> 0:20:54.320 Sorry, I didn't ask for this. 0:20:54.400 --> 0:20:55.480 That's just how the cards were. 0:20:55.440 --> 0:20:56.040 Rolled out for me. 0:20:56.440 --> 0:20:57.280 It's not cards. 0:20:57.280 --> 0:20:58.760 You don't roll cards. It's dice. 0:20:59.320 --> 0:21:00.960 Dex's wrong with you? 0:21:00.520 --> 0:21:01.840 You're right, let's go. 0:21:03.200 --> 0:21:05.080 I think you made a good case for how for 0:21:05.240 --> 0:21:08.879 you anyway, this this almost feels like a bit of 0:21:08.880 --> 0:21:13.639 a departure for PTA. But let me maybe try to 0:21:13.640 --> 0:21:16.760 make a case for how it fits into a certain 0:21:16.920 --> 0:21:19.800 paradigm and we'll see if it works for you or not. 0:21:20.760 --> 0:21:24.280 When you think about his filmography, he is often reckoned 0:21:24.560 --> 0:21:28.959 with America's present through its past. Many of his films 0:21:28.960 --> 0:21:32.800 have been period pieces, and here he brings the battle 0:21:33.240 --> 0:21:35.720 from the past into the present. Though, as I alluded 0:21:35.760 --> 0:21:38.480 to earlier, and I think I haven't read it. I 0:21:38.600 --> 0:21:41.480 think this comes from the Pension novel. I may have 0:21:41.560 --> 0:21:43.720 heard this somewhere. I could be wrong that even though 0:21:43.760 --> 0:21:47.520 that was set in a different time, that that there 0:21:47.600 --> 0:21:49.840 is a sort of blending, right, And I felt that 0:21:49.960 --> 0:21:52.320 watching the film, that you're seeing it and you're not 0:21:52.440 --> 0:21:55.720 quite sure even when we're watching the prologue, when exactly 0:21:55.760 --> 0:21:58.000 is this taking place? And this feels like the present, 0:21:58.040 --> 0:22:00.879 but when exactly is this the present? That feels by 0:22:01.000 --> 0:22:06.760 design and it feels coherently incoherent in an appropriate way 0:22:07.040 --> 0:22:10.560 for the times in which we currently live, right, And 0:22:10.640 --> 0:22:13.720 so not every film follows this, of course, But I've 0:22:13.760 --> 0:22:18.439 certainly talked about his emphasis on mentor protege relationships that 0:22:18.560 --> 0:22:21.400 often takes the form of fathers and sons or surrogate 0:22:21.440 --> 0:22:24.840 fathers and sons. Con Men as well are often found 0:22:25.119 --> 0:22:29.520 populating his films, and those are among the most enduring 0:22:29.720 --> 0:22:34.520 and evocative figures in all of American fiction. Neither seem 0:22:34.640 --> 0:22:38.080 to be what this movie is concerned with, though maybe 0:22:38.119 --> 0:22:41.720 we should consider is it one battle after another about 0:22:42.560 --> 0:22:48.399 the absence of a mentor protege relationship, the mother daughter 0:22:49.200 --> 0:22:54.080 activist dynamic that should be here, but also the father 0:22:54.240 --> 0:22:58.639 daughter one. Since Bob is wallowing an apathy and you 0:22:58.720 --> 0:23:05.280 have Willa constantly looking to him, wanting that direction, craving 0:23:05.320 --> 0:23:08.080 it and not getting it because he is, he is 0:23:08.119 --> 0:23:13.040 completely absent, and according to my reading anyway, to some degree, 0:23:13.200 --> 0:23:17.160 isn't isn't Bob sort of a con man? You could argue, 0:23:17.240 --> 0:23:19.399 You could argue he's barely playing the role of a father. 0:23:19.680 --> 0:23:23.440 But I'm really talking about how we meet him in 0:23:23.480 --> 0:23:24.240 the prologue. 0:23:24.880 --> 0:23:28.359 Isn't he? Even with that name Ghetto Pat? 0:23:28.640 --> 0:23:31.880 I think it supports this, and I think DiCaprio's performance 0:23:32.280 --> 0:23:38.119 supports this. The nervousness, that anxiety, how Perfidia has to 0:23:38.440 --> 0:23:41.240 urge him on, how he constantly seems to be having 0:23:41.280 --> 0:23:45.000 to prove himself that he's worthy to be with her, 0:23:45.240 --> 0:23:48.280 that he's worthy to be part of this resistance group, 0:23:48.359 --> 0:23:52.880 the French seventy five. The ease then, also with which 0:23:52.880 --> 0:23:58.040 he falls into fatherhood and domesticity. Right, Ghetto Pat seems 0:23:58.040 --> 0:24:00.920 to be an upper middle class white boy from Ohio 0:24:01.520 --> 0:24:02.560 who joined the revolution. 0:24:03.160 --> 0:24:03.360 Right. 0:24:03.520 --> 0:24:05.920 And I have to say Ohio because I'm from Iowa. 0:24:06.000 --> 0:24:07.560 Otherwise I'd say from Iowa. 0:24:07.920 --> 0:24:08.120 Right. 0:24:08.560 --> 0:24:10.919 But there's a key line, and I may not have 0:24:11.000 --> 0:24:13.640 it exactly right. You maybe have it in your notes. 0:24:13.680 --> 0:24:16.960 My notes were completely worthless to me. But there's a 0:24:17.000 --> 0:24:22.040 scene where he's talking to his mother in law, Perfidy's mother, 0:24:22.440 --> 0:24:26.240 and she says to him something like, you'll never be 0:24:26.320 --> 0:24:29.000 good enough for her, You'll never be up to her 0:24:29.040 --> 0:24:31.680 standard my daughter and for my daughter. And I think 0:24:31.880 --> 0:24:35.600 I think she says something like she's a runner. I 0:24:35.600 --> 0:24:38.600 think the words like a runner and that will that 0:24:38.640 --> 0:24:40.920 will have or something along those lines, and that will 0:24:40.920 --> 0:24:43.760 have residents later. But in the moment, it's clear that 0:24:43.840 --> 0:24:48.080 what she's saying is, you know, Perfidy is she's a hunter. 0:24:48.720 --> 0:24:52.280 She is always on the move, she is volatile, She's 0:24:52.560 --> 0:24:55.800 never going to be contained. And it's kind of like 0:24:55.840 --> 0:25:00.720 she's saying, you're a lump. You just you don't belong here, really, 0:25:00.960 --> 0:25:04.320 you don't belong with her. And and you know, even 0:25:04.359 --> 0:25:08.720 if you reject everything I've said, what are those mentor 0:25:08.840 --> 0:25:14.480 protege relationships fundamentally predicated on and even what are con 0:25:14.600 --> 0:25:18.959 artists manipulating. I do think it's all about power, and 0:25:19.000 --> 0:25:22.760 that's at the core of every dynamic and decision that's 0:25:22.800 --> 0:25:26.439 made in this movie. If you look at every single 0:25:26.440 --> 0:25:29.400 one of them, including of course that key scene, that 0:25:29.720 --> 0:25:34.080 scene where we meet Perfidia and Lockjaw, and where we 0:25:34.119 --> 0:25:37.159 see them interacting in other scenes too, it's fundamentally the 0:25:37.160 --> 0:25:40.800 story of America. And oh what is that type of power? 0:25:40.880 --> 0:25:43.560 It is specifically white power, right, and that's what this 0:25:43.720 --> 0:25:47.639 movie hilariously excoriates. 0:25:48.119 --> 0:25:51.480 Yeah, I think that's right, and I think the mentor 0:25:52.000 --> 0:25:55.600 protege dynamic is at play, even if to me it's 0:25:55.640 --> 0:25:58.879 a little more scene through the prism of the father 0:25:58.960 --> 0:26:01.080 and daughter. Actually wish I'd probably say at this point 0:26:01.080 --> 0:26:03.440 Willa his daughter as a teenager. We do jump ahead 0:26:03.520 --> 0:26:06.560 after the opening section sixteen years, played really well by 0:26:06.680 --> 0:26:12.160 Chase Infinity, a relative newcomer. It's almost about Bob coming 0:26:12.280 --> 0:26:17.200 into maybe mentor is a strong word, but coming into 0:26:17.200 --> 0:26:22.359 the realization that for him to be the best dad 0:26:22.760 --> 0:26:26.600 to this young woman, he's going to have to shake 0:26:26.640 --> 0:26:28.919 off the apathy and he's going to have to be 0:26:29.080 --> 0:26:31.800 more than what as you're describing. I think you're right, 0:26:31.840 --> 0:26:34.199 he was probably something of a hanger on in that 0:26:34.280 --> 0:26:38.879 opening scene where we see Perfidia leading an attack on 0:26:39.280 --> 0:26:43.080 a detention center and he's the explosives expert and she's 0:26:43.240 --> 0:26:45.439 telling him what do I almost thought he was just 0:26:45.520 --> 0:26:47.639 the way DiCaprio carries himself, he's kind of like a 0:26:47.680 --> 0:26:50.240 gun for hire. I didn't know what sort of convictions 0:26:50.240 --> 0:26:53.480 he had. And then we realize they're in a romantic relationship, that. 0:26:53.520 --> 0:26:55.520 There's a other question is just real quick you get 0:26:55.520 --> 0:26:58.400 the dynamic that maybe it is almost like he's proving himself, 0:26:58.440 --> 0:27:00.720 like they aren't in a full fledged relationship be yet 0:27:00.920 --> 0:27:01.639 you could read. 0:27:01.520 --> 0:27:04.399 It maybe that too, but they're basically the point is 0:27:04.880 --> 0:27:08.400 you don't sense the cause is what's primarily driving him. 0:27:09.080 --> 0:27:11.400 At least didn't. I didn't give that sense. I don't 0:27:11.400 --> 0:27:13.200 think it was objecting to it. But he's a little 0:27:13.200 --> 0:27:16.760 bit along for the ride. And I think in terms 0:27:16.800 --> 0:27:20.840 of this dynamic you're talking about mentor protege. You know, 0:27:20.880 --> 0:27:23.479 maybe it reverses where the daughter becomes the mentor to 0:27:23.520 --> 0:27:27.000 the to the father as the movie goes on. Yeah, 0:27:27.040 --> 0:27:29.320 let's talk a little bit more about DiCaprio's performance. I 0:27:29.640 --> 0:27:33.320 think he's just this is a first rate dimmed bulb 0:27:33.560 --> 0:27:36.879 in the line of the likes of of course, you know, 0:27:37.000 --> 0:27:39.800 we're thinking about Jeff Bridges and the big Lebowski or 0:27:40.000 --> 0:27:43.920 Joaquin Phoenix in the other pinchin adaptation from Paul Thomas 0:27:43.960 --> 0:27:46.760 Anderson right and here and vice. He's as good, I 0:27:46.760 --> 0:27:49.320 think as well. He's almost as good as both of 0:27:49.359 --> 0:27:53.640 them in those films. I really enjoyed him here, not 0:27:53.720 --> 0:27:57.240 only the way he dims his bulb like that. It's 0:27:57.280 --> 0:27:59.560 clearly because of the drugs, right, but it's also because 0:27:59.560 --> 0:28:03.080 of the psyche weight of this failed revolution and the 0:28:03.080 --> 0:28:05.919 burden of raising a child in this climate, because we 0:28:06.080 --> 0:28:09.000 learn that sixteen years have gone by and if anything, 0:28:09.080 --> 0:28:13.640 things have only gotten worse. Right, their movement people are 0:28:13.680 --> 0:28:17.640 scattered because of an incident. We won't detail their underground 0:28:17.680 --> 0:28:21.320 as he is hiding, and he's trying to make sense 0:28:21.359 --> 0:28:26.119 of raising a teenager in this environment. It took a while, Adam, 0:28:26.160 --> 0:28:27.919 but I knew I was on board with the performance. 0:28:28.160 --> 0:28:30.959 It shifts into high comic gear when he shows up 0:28:31.000 --> 0:28:37.280 at a parent teacher meeting, stoned but also weepy. 0:28:38.000 --> 0:28:41.120 He just if I takes a drag, he takes a 0:28:41.200 --> 0:28:44.120 drag during it. But you're right, he gets emotional. 0:28:44.680 --> 0:28:47.560 If I get emotional, it's just tears of joy, that's all. 0:28:48.040 --> 0:28:51.720 But the thing about the performance is he's not just 0:28:51.760 --> 0:28:54.760 trying to cover up. He is, but he also means it. 0:28:54.920 --> 0:28:57.080 He really means it because he's got a good report 0:28:57.120 --> 0:29:00.280 about his daughter at school. Yes, and this is just 0:29:00.640 --> 0:29:03.400 what DiCaprio's trying to balance as this character. And yeah, 0:29:03.400 --> 0:29:06.680 from that scene, none, he puts the pedal down and 0:29:06.840 --> 0:29:09.760 never lets up through the rest of the movie. 0:29:10.240 --> 0:29:12.960 No, I don't or I haven't come up with yet 0:29:12.960 --> 0:29:17.600 the right adjective to describe what I'm thinking about DiCaprio's performance. 0:29:17.600 --> 0:29:18.760 But I like that. 0:29:18.840 --> 0:29:21.200 Of course, the touch points for it have to be 0:29:22.200 --> 0:29:25.960 Doc Sportello because it's Pta and it's it's a pinchin adaptation. 0:29:26.600 --> 0:29:29.800 But it's a very different performance, and it's very different 0:29:29.880 --> 0:29:32.440 than the other go to, which is Lebowski. It just 0:29:32.520 --> 0:29:36.440 it doesn't it doesn't have that same stoner vibe to it. 0:29:36.680 --> 0:29:39.400 There is something different about it, and I think I 0:29:39.400 --> 0:29:42.080 think one of the things that's different about it is 0:29:42.640 --> 0:29:45.760 that it just doesn't feel But I think in a 0:29:45.760 --> 0:29:48.840 good way. It doesn't feel quite as lived in it 0:29:48.960 --> 0:29:53.960 feels like someone who was transplanted into that character and 0:29:54.080 --> 0:29:56.520 is still taking it on in some way. And I'm 0:29:56.520 --> 0:29:59.560 really glad that you you mentioned that psychic weight, because 0:29:59.720 --> 0:30:02.760 in the few comments I've seen about him here and 0:30:02.800 --> 0:30:06.400 there or about the character, everyone talks about him just 0:30:06.480 --> 0:30:09.520 as and we have so far as this apathetic character 0:30:09.680 --> 0:30:13.640 or someone who, you know, the revolution's been gone for 0:30:13.680 --> 0:30:15.640 a while, so now he's just hanging around and he's 0:30:15.680 --> 0:30:19.080 getting drunk and stoned and doesn't feel like there's a 0:30:19.080 --> 0:30:22.000 fight anymore, or he's too lazy or not willing to fight. 0:30:22.840 --> 0:30:24.960 Going back to what we've said about the emotional core 0:30:25.000 --> 0:30:28.120 of this film, I still see him as fundamentally a 0:30:28.160 --> 0:30:29.440 heartbroken character. 0:30:29.600 --> 0:30:31.000 Yes, josh as Air. 0:30:32.280 --> 0:30:35.160 I think that is also part of who he is, 0:30:35.240 --> 0:30:38.360 and that's driving so much of his apathy. It's not 0:30:38.680 --> 0:30:41.000 just that what was me, you know, quote unquote the 0:30:41.040 --> 0:30:44.720 sixties aren't here anymore. I think he's a heartbroken character. 0:30:45.080 --> 0:30:47.760 I used a word earlier at the start of my 0:30:47.800 --> 0:30:50.120 comments that I want to come back to a little 0:30:50.160 --> 0:30:54.160 bit because it relates to Paul Thomas Anderson in the filmmaking, 0:30:54.400 --> 0:30:56.320 and you have to be careful a little bit, how 0:30:56.320 --> 0:30:58.640 often you go to certain words or phrases as a 0:30:58.680 --> 0:31:02.840 critic when praising movies, especially in the same year when 0:31:02.840 --> 0:31:06.960 we talked about Sinners, I spoke about it having the 0:31:07.040 --> 0:31:11.400 rhythms and audaciousness of some of our boldest musicals. I 0:31:11.440 --> 0:31:14.240 know that Punch Drunk Love feels to many like a 0:31:14.320 --> 0:31:18.840 musical despite their being no singing in it. And of 0:31:18.840 --> 0:31:21.760 course there are numerous sequences we can point to in 0:31:21.760 --> 0:31:24.640 Paul Thomas Anderson's filmography where we can single out the 0:31:24.680 --> 0:31:28.440 fluidity in the intricacy of the camera, the elaborate nature 0:31:28.480 --> 0:31:32.760 of the shots right, the coordination with the performers. But 0:31:32.840 --> 0:31:35.600 with Battle, I had a different sense, and it was 0:31:35.760 --> 0:31:39.680 largely in that extended I'm gonna call it the extended 0:31:39.760 --> 0:31:44.280 raid on back ten Cross, especially when we haven't mentioned 0:31:44.360 --> 0:31:48.240 him yet, especially when Benisil del Toro, Oh gosh, was 0:31:48.280 --> 0:31:50.240 on screen, and. 0:31:49.800 --> 0:31:50.840 I wonder if you were thinking. 0:31:51.240 --> 0:31:52.840 I wonder if you were thinking the same thing I was, 0:31:52.960 --> 0:31:55.200 because even though you liked the movie more than me, 0:31:55.560 --> 0:31:58.560 we were both a little down on the mellowness of 0:31:58.600 --> 0:32:02.520 Beniicil del Toro and Phoenician scheme. And here it couldn't 0:32:02.560 --> 0:32:07.920 have served this movie better. He is so good as 0:32:08.000 --> 0:32:12.120 this senseay in this movie who who ends up coming 0:32:12.160 --> 0:32:14.960 to the aid not only of Bob when he most 0:32:15.040 --> 0:32:19.280 needs it, but also so many other people in a 0:32:19.320 --> 0:32:22.120 scenario that he even himself describes it as as a 0:32:22.160 --> 0:32:26.040 Harriet Tubman like situation, going on, Oh wait, wait, a 0:32:26.160 --> 0:32:28.040 Latino Harriet Tubman situation. 0:32:28.240 --> 0:32:31.080 There you go, right, That's exactly what it is. 0:32:31.320 --> 0:32:34.440 But when he's on screen it it relates to how 0:32:34.440 --> 0:32:39.560 the camera Josh slows to match the calmness of that character, 0:32:39.960 --> 0:32:45.000 who truly is like the conductor of the Latino Harriet 0:32:45.000 --> 0:32:49.920 Tubman like situation. All the movements that are occurring. I was, 0:32:50.200 --> 0:32:55.360 I was keenly aware of the blocking everything that was occurring, 0:32:55.600 --> 0:32:58.880 not of the camera how it was moving, but everything 0:32:58.880 --> 0:33:03.400 that was occurring within the frame, the choreography of it. 0:33:03.480 --> 0:33:07.160 That's the word for the camera to capture, not not 0:33:07.280 --> 0:33:09.840 how the camera again was moving within the space, but 0:33:09.920 --> 0:33:15.760 how the camera was there to observe for us, how 0:33:15.800 --> 0:33:18.560 we were then able to observe in that space with 0:33:18.640 --> 0:33:21.560 a sense of often real time urgency. It wasn't like 0:33:21.640 --> 0:33:24.040 the long shot in Boogie Knights right where you know 0:33:24.760 --> 0:33:28.600 we see William H. Macy's character kill himself right, and 0:33:28.640 --> 0:33:32.000 it's it draws a lot of attention to itself. It's 0:33:32.040 --> 0:33:35.680 about us being able to observe in real time and 0:33:35.720 --> 0:33:39.240 that that sense of intimacy and urgency. But it's not overwhelming. 0:33:39.800 --> 0:33:43.800 It's heightened, but it's steady. Bodies are constantly in motion, 0:33:43.960 --> 0:33:47.160 but it never feels jagged or jarring, the only way 0:33:47.160 --> 0:33:50.200 I could really describe it. And and here it's just 0:33:50.240 --> 0:33:52.400 a little bit of a trick that Pta pulls off. 0:33:52.560 --> 0:33:55.880 He somehow creates a serene intensity. 0:33:56.520 --> 0:34:02.080 I need you, brother Sencing, please courage Bob Carriage. It 0:34:02.200 --> 0:34:04.680 did good. 0:34:05.800 --> 0:34:13.480 Yeah, thank you, hey, thank you, since thank you, thank you, God, 0:34:13.560 --> 0:34:13.960 damn it. 0:34:18.080 --> 0:34:21.520 That's a great, great description of it. The one thing 0:34:21.560 --> 0:34:23.680 I had to put out there in blue sky after 0:34:23.719 --> 0:34:25.960 I saw this was maybe Benicio del Toro will save 0:34:26.040 --> 0:34:28.720 us all, because that's what I can help. So thinking 0:34:29.000 --> 0:34:32.560 he has this, it's this bemused spiritual calm. You know, 0:34:32.719 --> 0:34:35.640 we should say this is when the town has been 0:34:35.680 --> 0:34:39.520 taken over by the military. The streets, they've instigated among 0:34:39.600 --> 0:34:46.200 protesters an attack, and that is what precedes the underground 0:34:46.239 --> 0:34:48.479 railroad to go into effect to get some of these 0:34:49.040 --> 0:34:53.560 mostly women and children not violent criminals, women and tru 0:34:53.880 --> 0:34:57.399 children who are being targeted by the military, and del 0:34:57.480 --> 0:35:05.640 Toro's calm balances with DiCaprio's antickness. This relates to our 0:35:05.760 --> 0:35:09.280 discussion of how invested in the cause is Bob, because 0:35:09.840 --> 0:35:12.440 there isn't until there's a moment where Del Toro has 0:35:12.440 --> 0:35:16.120 given him clear, calm directions about what to do, where 0:35:16.160 --> 0:35:19.600 to go, and Bob pauses, catches a breath, and that's 0:35:19.640 --> 0:35:22.120 when he screams out, Viva la revolution. 0:35:22.760 --> 0:35:22.920 Right. 0:35:23.000 --> 0:35:26.759 Yeah, it's not it's not so much because he's about to, 0:35:27.080 --> 0:35:31.279 you know, to make a blow against the authorities. It's 0:35:31.280 --> 0:35:34.719 because he knows what to do. He's he's been told 0:35:34.760 --> 0:35:37.919 what's do. But del Toro in this scene and yeah, 0:35:37.920 --> 0:35:41.040 the blocking and the camera because we're following him upstairs, downstairs, 0:35:41.080 --> 0:35:44.680 through back rooms, in and out of shops. This elaborate 0:35:44.719 --> 0:35:49.719 system he's put together, but he just has this this 0:35:49.920 --> 0:35:57.399 sense of assuredness to him that is so reassuring. And 0:35:57.480 --> 0:35:59.440 to your point about the Phoenician scheme, Yeah, that was 0:35:59.480 --> 0:36:04.040 one of my My main qualms about that movie is 0:36:04.040 --> 0:36:07.040 how is it constricted Del Toro into a Wes Anderson 0:36:07.360 --> 0:36:10.799 type of character. Other actors have given their best performances 0:36:10.840 --> 0:36:13.160 as to that type, but to me, it just did 0:36:13.239 --> 0:36:18.200 not fit del Toro, who needs to have a certain looseness. 0:36:18.480 --> 0:36:20.439 I don't know if I identified it as much while 0:36:20.440 --> 0:36:23.719 watching the Phoenician Scheme until I saw him here, and 0:36:23.760 --> 0:36:25.719 I think this might be a career best turn for him, 0:36:26.239 --> 0:36:29.640 because there is even when he's playing villains, like really 0:36:29.680 --> 0:36:32.320 scary guys, which he's done in the past, there's this 0:36:32.480 --> 0:36:36.280 same sense of calm or looseness where he's not always 0:36:36.280 --> 0:36:39.879 he's not necessarily taking the scene or the actions as 0:36:39.920 --> 0:36:42.320 seriously as you think he should be, but it's because 0:36:42.360 --> 0:36:45.239 he knows what he has a firmer grasp on it, 0:36:46.120 --> 0:36:48.800 and this whole sequence just allows him to be this 0:36:49.200 --> 0:36:54.239 grumbly sage whose she's rumbling through these halls not being 0:36:54.280 --> 0:36:56.279 hurried because he knows exactly what to do. 0:36:56.719 --> 0:37:01.439 It's wonderful in addition to the politics of the film 0:37:01.480 --> 0:37:04.080 as we're describing it, that we were on board with 0:37:04.160 --> 0:37:06.520 the emotional core of it that we've talked about that 0:37:07.160 --> 0:37:12.000 did resonate with us. The humor of the film. You 0:37:12.000 --> 0:37:14.200 can find humor in all of PTA's movies. I'm pretty 0:37:14.200 --> 0:37:15.920 sure I had a scene from liquorice pizza is my 0:37:15.920 --> 0:37:17.840 funniest moment of twenty twenty one, or it was the 0:37:17.920 --> 0:37:20.280 runner up. I'm certain I had a scene from Inherent 0:37:20.360 --> 0:37:23.600 Vice as my funniest moment of twenty fourteen. I'd probably 0:37:23.680 --> 0:37:27.480 still put Boogie Knights as his funniest film, but I 0:37:27.560 --> 0:37:31.080 think this would be my number two, Josh. And it's 0:37:31.280 --> 0:37:36.200 also obviously his most action oriented film, his most suspenseful. 0:37:36.520 --> 0:37:39.160 Despite that steadiness I was talking about, and there is 0:37:39.200 --> 0:37:41.200 a chase scene at the end. This is one of 0:37:41.239 --> 0:37:43.160 those movies where I'm sitting in my seat with my 0:37:43.239 --> 0:37:48.720 knee bouncing in rhythm to the score, you know, wondering 0:37:48.719 --> 0:37:52.399 where this is exactly going, and feeling the intensity of it. 0:37:52.520 --> 0:37:55.600 And actually it is a steadiness where you're feeling it 0:37:56.080 --> 0:37:59.680 kind of the entire film. So you've got that, right, 0:37:59.800 --> 0:38:04.640 You've got that intensity that's maintained for almost the entire 0:38:04.800 --> 0:38:07.919 two hour and fifty minute running time. But all those 0:38:07.920 --> 0:38:13.080 elements are culminating with that humor. And even though I'm 0:38:13.200 --> 0:38:17.920 not someone who has read Pension, I understand that pension 0:38:18.040 --> 0:38:20.759 esque some of it through films like in Hair and Vice, 0:38:20.960 --> 0:38:25.239 that pension esque postmodern sensibility tinged with paranoia, as it 0:38:25.280 --> 0:38:29.719 is here that absurdist sensibility. And the bottom line is, 0:38:29.760 --> 0:38:31.759 we haven't mentioned this part of the story yet, and 0:38:31.960 --> 0:38:33.799 I want to mention it here because it relates to 0:38:33.840 --> 0:38:34.240 the humor. 0:38:34.560 --> 0:38:36.719 I mean, Hail Saint Nick. 0:38:37.680 --> 0:38:39.640 This will mean something to you when you see the 0:38:39.680 --> 0:38:42.080 movie if you haven't. While Saint Nick is one of 0:38:42.120 --> 0:38:46.160 the funniest three word phrases you'll hear all the year 0:38:46.640 --> 0:38:48.680 at the movies. And I want to praise I want 0:38:48.680 --> 0:38:51.759 to praise Paul Thomas Anderson and whoever I should look 0:38:51.800 --> 0:38:57.080 it up, whoever his casting agent is, because whoever is 0:38:57.160 --> 0:39:02.880 responsible for coming up with this group of completely unrecognizable 0:39:02.920 --> 0:39:08.800 for the most part, unrecognizable but innocuous looking, evil, middle 0:39:08.840 --> 0:39:09.880 aged white. 0:39:09.680 --> 0:39:12.280 Dudes, they deserve a raise. 0:39:12.560 --> 0:39:14.800 I'm thinking, I'm thinking, And I went for the record. 0:39:14.840 --> 0:39:17.600 I wanted to give them praise. I went to IMDb, 0:39:17.680 --> 0:39:19.480 and I just did not have the time to scroll 0:39:19.520 --> 0:39:21.719 through every name and try to identify them. 0:39:21.760 --> 0:39:22.280 I couldn't. 0:39:22.280 --> 0:39:24.720 I couldn't pick them out. You know, the pictures didn't 0:39:24.719 --> 0:39:27.760 line up or whatever. But I'm thinking of the second 0:39:27.760 --> 0:39:32.160 in command to Lockjaw, who we see interrogate some people. Yeah, 0:39:32.200 --> 0:39:36.239 perfect right, every single person, and one of them. I 0:39:36.239 --> 0:39:39.799 can't believe I didn't. I didn't recognize this guy, even 0:39:39.840 --> 0:39:44.160 though now of course I see it. He's the bar owner, yes, 0:39:44.239 --> 0:39:46.759 But but other than Tony Goldwyn, who you do most 0:39:46.800 --> 0:39:49.279 of us do know? The one guy who we see 0:39:49.400 --> 0:39:52.160 later in the house who at first is silent and 0:39:52.160 --> 0:39:54.000 we're not sure that he's going to talk. Oh yeah, 0:39:54.160 --> 0:39:58.960 that's that's Kevin Tigue. That's Kevin Tigue from the bar 0:39:59.080 --> 0:40:04.000 owner of the Double D in Roadhouse. So fairly a classic. 0:40:04.040 --> 0:40:04.480 That guy. 0:40:04.719 --> 0:40:08.319 We kind of recognize him, right, But otherwise all those 0:40:08.360 --> 0:40:11.600 other guys are that guys that we don't know. And 0:40:11.640 --> 0:40:15.920 I'm calling these innocuous looking, evil, middle aged white dudes 0:40:16.000 --> 0:40:19.279 the Tony Goldwyn all stars, and every one of them 0:40:19.320 --> 0:40:21.720 in this movie. Josh is just so perfect. 0:40:22.360 --> 0:40:26.000 This is the Christmas Adventures Club, This is the Christmas Conspiracy, 0:40:26.360 --> 0:40:30.239 pulling the strings we learn, and it's so funny. I 0:40:30.280 --> 0:40:32.560 saw it just on Blue Sky today. Alyssa Wilkinson, the 0:40:32.560 --> 0:40:35.480 New York Times critic, say something about being out in 0:40:35.480 --> 0:40:37.600 New York and she's pretty sure she's I think she 0:40:37.640 --> 0:40:39.720 said something like pretty sure. I saw a member walking 0:40:39.760 --> 0:40:43.040 down the street, and I'm sure we had the same 0:40:43.080 --> 0:40:45.680 thing here. Debbie and I were walking down and we 0:40:45.680 --> 0:40:48.840 saw a guy sitting like a really nice house in 0:40:48.920 --> 0:40:50.600 town here and he was out in his yard, just 0:40:50.640 --> 0:40:54.319 sitting on the patio in like a you know, innocuous 0:40:54.320 --> 0:40:58.000 but very expensive, clearly like sweater vest. And we both 0:40:58.000 --> 0:40:59.719 were like, we looked at her, like, oh, he's in 0:40:59.760 --> 0:41:04.640 the Smith's Adventures Club. Yeah, it has to be. So 0:41:04.800 --> 0:41:07.520 this is so funny, and it is, it is really 0:41:07.520 --> 0:41:11.040 fun and it's sometimes it's beautifully I'm gonna call it 0:41:11.080 --> 0:41:14.080 a sequence that has the humor and also the filmmaking chops. 0:41:14.120 --> 0:41:17.480 And this is actually part of the entire sense sequence. 0:41:17.840 --> 0:41:21.200 But at this point, del Toro's character has sent Bob 0:41:21.280 --> 0:41:23.799 off with some skaters. He said, these guys will get 0:41:23.840 --> 0:41:26.840 you safe where you need to go. And the route 0:41:27.239 --> 0:41:29.920 is across the rooftops because, as I said, the military 0:41:29.920 --> 0:41:32.040 has taken over the streets and are just you know, 0:41:32.120 --> 0:41:36.759 shooting at random. Below this is shot by Anderson and 0:41:36.840 --> 0:41:41.839 cinematographer Michael Bauman from a distance and in silhouette. And 0:41:41.920 --> 0:41:46.040 so you have these these skaters, these younger guys with 0:41:46.080 --> 0:41:50.040 their boards just you know, very beautifully leaping in silhouette 0:41:50.040 --> 0:41:52.319 from one building to the other end just as you're 0:41:52.320 --> 0:41:54.759 thinking like, oh, this is a I have this sense 0:41:54.800 --> 0:41:59.160 of like mythical resistance, and then we have Bob stumbling 0:41:59.239 --> 0:42:03.920 behind them, barely able to keep up. And that's just 0:42:04.080 --> 0:42:06.359 you know, the This is what's so great about this movie, too, 0:42:06.400 --> 0:42:10.920 is it's willing to puncture those moments. It's not taking 0:42:10.960 --> 0:42:14.160 itself too seriously, even though it's probably going to be 0:42:14.200 --> 0:42:17.120 the most serious movie that comes out in the United 0:42:17.120 --> 0:42:21.960 States this year, But it doesn't carry itself this way. 0:42:22.200 --> 0:42:24.040 Hi, what's up? 0:42:25.040 --> 0:42:25.680 What's upon me? 0:42:25.719 --> 0:42:29.080 It's it's me again, Bob Ferguson. I don't know if 0:42:29.080 --> 0:42:31.799 you remember what we we we spoke earlier on the 0:42:31.840 --> 0:42:34.680 on the phone. I think we had a little misunderstanding. 0:42:35.440 --> 0:42:37.400 I think we got off on the wrong foot. I 0:42:37.440 --> 0:42:40.040 was trying to get the rendezvous point for my daughter, 0:42:40.440 --> 0:42:40.799 right will. 0:42:41.600 --> 0:42:44.680 If you can't answer, what time is it, I cannot 0:42:44.800 --> 0:42:48.280 give you. The rendezvous point is the relion. 0:42:48.640 --> 0:42:49.200 I'm surprised. 0:42:50.239 --> 0:42:51.520 I don't know if you are. 0:42:52.160 --> 0:42:56.480 I do love that it punctures that mythos there, but 0:42:57.680 --> 0:43:02.120 what it does with that imagery still astounding, that shot, 0:43:02.400 --> 0:43:06.239 that silhouetted shot of those those younger men on the 0:43:06.280 --> 0:43:12.520 skateboard is still among the most vivid shots in his filmography. 0:43:12.680 --> 0:43:15.480 And think about what he's given us through ten films. 0:43:16.280 --> 0:43:20.279 I have one that wowed me even more, and it's 0:43:20.360 --> 0:43:23.440 during the climactic car chase, which we won't even say 0:43:23.440 --> 0:43:26.840 who's involved, but it is taking place on this stretch 0:43:26.880 --> 0:43:31.520 of desert hills and at one point it's they must 0:43:31.520 --> 0:43:33.759 have placed the camera on the hood of one of 0:43:33.760 --> 0:43:37.840 the cars. Three cars are involved, and as the vehicle 0:43:38.120 --> 0:43:41.479 kind of lolls up and down this road, the road 0:43:41.560 --> 0:43:47.000 is like an undulating road, and the experience of watching 0:43:47.040 --> 0:43:51.279 it from that point of view was it was anxious 0:43:51.800 --> 0:43:56.280 but also mesmerizing, and it was inducing in me because 0:43:56.280 --> 0:43:59.360 it kind of is repeated and goes on, and it 0:43:59.400 --> 0:44:02.879 was inducing in me like a nausea but also a sleepiness. 0:44:03.440 --> 0:44:07.440 And the only thing I could think about is when 0:44:07.520 --> 0:44:09.239 I got out of the movie, and even a day 0:44:09.320 --> 0:44:11.320 or two later, like what was that all about? 0:44:11.480 --> 0:44:11.600 Is? 0:44:11.719 --> 0:44:14.440 Oh, That's how I felt. For the last ten years, 0:44:15.040 --> 0:44:19.359 I've exact life has felt like being on that road 0:44:19.480 --> 0:44:23.600 of dipping up and down and not knowing what's over 0:44:23.640 --> 0:44:26.000 the next hill, and what it might do to you, 0:44:26.239 --> 0:44:30.600 and my goodness, however, they got that shot and sustained 0:44:30.600 --> 0:44:32.799 it so that it works in terms of suspense, but 0:44:32.920 --> 0:44:36.799 also on a certain level just pure beauty is incredible. 0:44:37.280 --> 0:44:39.000 Well, it kind of goes back to what I was 0:44:39.040 --> 0:44:44.480 saying and we were talking about. It is intense and suspenseful, 0:44:44.880 --> 0:44:48.640 and yet it feels I remember the feeling of watching 0:44:48.719 --> 0:44:51.399 it and what you're talking about with the undulation, there's 0:44:51.440 --> 0:44:54.120 a certain serenity to it as well, isn't it. So 0:44:55.040 --> 0:45:00.840 it's crazy how they managed to balance that in this film. 0:45:01.640 --> 0:45:05.280 There is I think we've had the discussion we probably 0:45:05.320 --> 0:45:07.799 wanted to have, and we could close here, but I 0:45:07.840 --> 0:45:11.799 will at least raise that I knew within about ten 0:45:11.840 --> 0:45:16.600 minutes of this film that among the conversations that were 0:45:16.640 --> 0:45:19.200 going to be had about this film, there was definitely 0:45:19.280 --> 0:45:24.040 going to be the discourse around a certain issue with 0:45:24.120 --> 0:45:27.479 the movie, one that the two of us probably aren't 0:45:27.480 --> 0:45:29.480 the best people to weigh in on, but I knew 0:45:29.480 --> 0:45:32.279 there was going to be a discourse, and sure enough, 0:45:32.360 --> 0:45:36.440 I woke up this morning and I actually these days 0:45:36.480 --> 0:45:39.480 I'm not on social media much at all, but I 0:45:39.560 --> 0:45:41.680 will usually wake up and just sort of check in 0:45:42.080 --> 0:45:46.480 and the very first thing I saw this morning, it 0:45:46.560 --> 0:45:48.960 had begun. Josh, I don't know if you know what 0:45:49.000 --> 0:45:52.240 I'm referring to, but I guess I will throw out vaguely, 0:45:53.280 --> 0:45:54.759 do you want to get into it or do you 0:45:54.800 --> 0:45:58.680 want to wait until feedback on an upcoming show and 0:45:58.719 --> 0:46:01.120 get into whatever or this discourse might be. 0:46:01.880 --> 0:46:05.640 Yeah, I mean we're gonna have to. I'm unaware of it. 0:46:04.719 --> 0:46:08.839 I was in a bunker before seeing this, and I've 0:46:08.920 --> 0:46:11.880 tried to be in a bunker aside from you know 0:46:11.920 --> 0:46:15.240 that Alyssa Wilkinson comments and a few other things since 0:46:15.400 --> 0:46:19.400 until we've had this conversation. I cannot wait till tomorrow 0:46:19.760 --> 0:46:22.759 to be able to dive into all the critics who 0:46:22.840 --> 0:46:25.560 I respect their takes, and I'm sure there's gonna be 0:46:26.000 --> 0:46:29.719 some pushback. I surprise it hasn't started already because so 0:46:29.760 --> 0:46:32.239 far it's just been a wave of raves seen star 0:46:32.360 --> 0:46:36.959 ratings come through on Letterbox. So yeah, I'm gonna dive 0:46:36.960 --> 0:46:40.560 into all of that tomorrow and perhaps we'll pick it up. Yeah, 0:46:40.560 --> 0:46:42.640 when we get some feedback, which may. 0:46:42.560 --> 0:46:46.520 Be a lot of those lines I had thoughts because 0:46:46.560 --> 0:46:49.960 they relate to the experience I had watching the movie. 0:46:50.400 --> 0:46:54.680 They don't relate to the thoughts or I should say, 0:46:54.800 --> 0:46:59.319 the specific criticisms that this person had, because they just 0:46:59.320 --> 0:47:01.120 came out this morning and I didn't have time to 0:47:01.160 --> 0:47:04.640 read those. So I wasn't going to be reacting to 0:47:04.760 --> 0:47:07.880 that article necessarily or not at all. I was just 0:47:07.920 --> 0:47:09.960 going to be talking about what I saw on the 0:47:10.000 --> 0:47:11.440 screen now. 0:47:11.239 --> 0:47:11.799 As it is. 0:47:12.160 --> 0:47:15.960 The discourse will pick up in the days before our 0:47:16.000 --> 0:47:18.759 next episode, and maybe we will be more informed and 0:47:18.800 --> 0:47:19.760 we can talk about. 0:47:19.560 --> 0:47:21.759 It, and hey, this is a movie that needs to 0:47:21.760 --> 0:47:25.080 be interrogated. I mean, just because I'm in line with 0:47:25.600 --> 0:47:28.359 it's totally relative politics, if you want to say that 0:47:29.239 --> 0:47:33.000 doesn't mean that it's a film that has everything lined 0:47:33.080 --> 0:47:36.879 up perfectly right. It's capturing chaos and capturing a way 0:47:36.920 --> 0:47:41.359 to honorably respond to that chaos from my point of view, 0:47:41.360 --> 0:47:44.280 But it doesn't mean that it has everything right along 0:47:44.320 --> 0:47:46.879 those lines. So I'll be curious to see that. And 0:47:47.480 --> 0:47:49.160 I think, you know, the only other thing I would 0:47:49.160 --> 0:47:52.759 say on the political front is I almost pardon me, 0:47:52.880 --> 0:47:55.520 was like, this doesn't even really feel political, because it's 0:47:55.920 --> 0:47:59.759 it's not arguing against, you know, a political direction we 0:47:59.800 --> 0:48:02.799 may be heading towards. You know or and it's not 0:48:02.840 --> 0:48:06.680 even offering an alternative political vision to our current circumstances. 0:48:06.760 --> 0:48:09.200 That goes to your point about, you know, whether it's 0:48:09.280 --> 0:48:14.560 it's endorsing the this gorilla group's actions, it's it's just 0:48:14.680 --> 0:48:18.760 mirroring what we're in right through this comically absurdist lens. 0:48:18.840 --> 0:48:22.600 And all I can say is that by doing that, 0:48:23.040 --> 0:48:24.359 it goes back to what I said at the top. 0:48:24.440 --> 0:48:27.200 It felt like this desperately needed fresh air. To me, 0:48:27.400 --> 0:48:30.440 It's like that, this is what I've just been feeling. 0:48:30.480 --> 0:48:34.200 Why are we not talking? Why are we recognizing this? 0:48:34.400 --> 0:48:40.479 And and One Battle after Another is at least doing that? 0:48:40.640 --> 0:48:45.040 Is it doing it perfectly? Probably not? And yeah, well 0:48:45.480 --> 0:48:48.399 we'll see what qualms other people might have about it. 0:48:48.400 --> 0:48:48.920 It's a good thing. 0:48:49.000 --> 0:48:52.600 I don't expect perfection from art, even from Paul Thomas Anderson. 0:48:52.960 --> 0:48:55.640 One Battle after Another is currently playing in wide release. 0:48:55.719 --> 0:48:58.200 If you see it and agree or disagree, you can 0:48:58.239 --> 0:49:00.759 email us feedback at film spot Net. 0:49:01.560 --> 0:49:03.760 This episode is brought to you by dead Man's Wire, 0:49:03.960 --> 0:49:07.319 the new film from Roque Entertainment. Dead Man's Wire is 0:49:07.320 --> 0:49:10.600 the incredible true story of the nineteen seventy seven kidnapping 0:49:10.640 --> 0:49:13.719 that turned an aspiring entrepreneur into an outlaw folk era 0:49:14.719 --> 0:49:18.080 directed by legendary filmmaker Gus van Zant. Dead Man's Wire 0:49:18.120 --> 0:49:21.840 stars Bill Scarsguard Daker, Montgomery, Carry Always, and Mahalla with 0:49:21.920 --> 0:49:26.400 Coleman Domingo and al Pacino, now playing in select theaters everywhere, 0:49:26.480 --> 0:49:27.480 January sixteenth. 0:49:28.040 --> 0:49:30.279 Well, listening is the number one thing you can do 0:49:30.320 --> 0:49:34.120 to support an independently produced show like ours. Here are 0:49:34.120 --> 0:49:36.440 a couple of other things you can do. Take a 0:49:36.480 --> 0:49:38.719 minute to give us a rating or a review on 0:49:38.800 --> 0:49:41.879 Apple Podcasts. You can also do this on Spotify if 0:49:41.880 --> 0:49:44.040 you listen to us there. It doesn't matter if you're 0:49:44.080 --> 0:49:46.640 brand new, this is the first show you're hearing, or 0:49:46.640 --> 0:49:49.000 if you've been listening for twenty years. Every one of 0:49:49.040 --> 0:49:52.520 these reviews does help us reach new listeners. Now to 0:49:52.520 --> 0:49:56.040 go even further, a very substantial way to support us 0:49:56.120 --> 0:49:58.960 is to join the Film Spotting Family, which you can 0:49:58.960 --> 0:50:01.920 do at Film Spotting fas family dot com. We want 0:50:01.960 --> 0:50:05.560 to thank family member Remi must Say and Leland Michigan. 0:50:05.920 --> 0:50:09.719 Remi's letterbox handle is R M A S S E. Yeah. 0:50:09.719 --> 0:50:13.400 This is tough because producer Sam did a great job 0:50:13.800 --> 0:50:18.080 of phonetically spelling out the name, and I'm not sure 0:50:18.080 --> 0:50:20.000 where he got that from. Maybe he reached out to 0:50:20.040 --> 0:50:23.279 this family member. But the problem is you do have 0:50:23.360 --> 0:50:27.600 to put where the the emphasis is. So is it 0:50:28.400 --> 0:50:30.040 Remi or is it Remy? 0:50:30.160 --> 0:50:33.400 This is me because I would be I would be 0:50:33.440 --> 0:50:39.759 saying this, and I think it's Remy. I'm gonna go. 0:50:40.920 --> 0:50:44.000 I checked it on fourvoh, so we'll see, we'll hear 0:50:44.040 --> 0:50:46.680 from and see what they say. 0:50:46.880 --> 0:50:49.560 From here on out. We're gonna call him he and 0:50:49.600 --> 0:50:50.799 I'm gonna hope that's right. 0:50:51.800 --> 0:50:53.080 Please tell us. 0:50:53.239 --> 0:50:58.239 Remy or Remy which pronunciation is correct. After moving to 0:50:58.280 --> 0:51:02.040 a city where I knew nobody than my now wonderful wife, 0:51:02.560 --> 0:51:05.760 I found myself missing the movie conversations that regularly sprung 0:51:05.840 --> 0:51:08.600 up with my college housemates. After watching The Banshees of 0:51:08.680 --> 0:51:11.800 Na Sharon, I was desperate to have a discussion with someone, anyone. 0:51:12.160 --> 0:51:15.239 Film spotting was the first result online, and Adam and 0:51:15.320 --> 0:51:18.880 Josh hooked me in and haven't let go since a 0:51:18.920 --> 0:51:22.600 favorite review or segment Top five Movies for Graduates found 0:51:22.640 --> 0:51:25.600 me at the right time. The respect for hyomi Izaki 0:51:25.600 --> 0:51:27.239 from both Adam and Josh let me know I was 0:51:27.239 --> 0:51:29.520 in the right place, and because of their top fives. 0:51:29.560 --> 0:51:32.560 I watched Columbus and Hikaru for the first time and 0:51:32.640 --> 0:51:36.440 adored both. Good job by us. What review did we 0:51:36.520 --> 0:51:39.160 get wrong? I can't find it on film spotting, but 0:51:39.239 --> 0:51:42.240 here at Kazu Karata's Monster, I thought it was brilliant 0:51:42.239 --> 0:51:44.600 and one of my favorites of the year. Sorry, Josh, 0:51:44.680 --> 0:51:46.640 you didn't like that movie, Josh. 0:51:46.200 --> 0:51:47.919 Yeah, I was a little down on it, but hey, 0:51:48.320 --> 0:51:52.840 in the case of Karita, I'm probably wrong, so that's fine. 0:51:53.320 --> 0:51:56.000 Letterbox Top four spirited it away. I mean, here, you 0:51:56.040 --> 0:51:58.480 guys are simpatico again. Fantastic mister Fox. 0:51:59.080 --> 0:52:01.160 There will be Blood one, There will Be Blood is 0:52:01.200 --> 0:52:05.080 great in the Fall. I love well, Okay, Tarsum saying. 0:52:05.239 --> 0:52:10.320 A favorite movie that Remy revisited recently Bong Juno's Memories 0:52:10.320 --> 0:52:13.399 of Murder Good one. A random filmmaker that he loves 0:52:13.480 --> 0:52:15.920 Rob Reiner, not necessarily because I think he's one of 0:52:15.920 --> 0:52:18.359 the great filmmakers, but he certainly doesn't get enough love 0:52:18.400 --> 0:52:22.240 from film nerds. A movie you credit with becoming a cinophile, 0:52:22.280 --> 0:52:24.200 he says. My dad loved Jim Carrey movies when I 0:52:24.239 --> 0:52:25.920 was a kid, and after showing my brother and I 0:52:25.960 --> 0:52:29.280 ace Ventura when Nature Calls. We watched The Truman Show 0:52:29.480 --> 0:52:32.040 and it completely altered what I loved about movies. I 0:52:32.080 --> 0:52:36.000 can still love a terrible exquisite film like ace Ventura, 0:52:36.040 --> 0:52:37.880 but the Truman Show led me down a path of 0:52:37.920 --> 0:52:39.000 loving movies for. 0:52:39.000 --> 0:52:42.719 Something a little different. I can see that terrible exquisite 0:52:42.920 --> 0:52:44.839 for ace. That's kind of great. 0:52:45.440 --> 0:52:47.480 Thank you, Remy for joining the family and for all 0:52:47.520 --> 0:52:50.040 those years of listening. In addition to keeping us doing 0:52:50.040 --> 0:52:52.839 what we're doing, your support comes with perks, Josh. They 0:52:52.840 --> 0:52:54.719 get to listen early in ad free. I'm not sure 0:52:54.719 --> 0:52:57.120 if you're aware. They get our weekly newsletter. They get 0:52:57.160 --> 0:53:00.760 exclusive opportunities like being part of the Film Spotting Family 0:53:00.840 --> 0:53:04.759 discord just an unruly bunch now, actually they're they're quite 0:53:04.800 --> 0:53:07.919 really great group of Film Spotting Family members over there 0:53:07.920 --> 0:53:13.960 having wonderfully insightful and sometimes absolutely absurd conversations. And you 0:53:14.000 --> 0:53:17.319 get our monthly bonus shows. We have channels over there 0:53:17.320 --> 0:53:23.200 devoted to music, books, sports, food, but yes, also movies, 0:53:23.560 --> 0:53:28.720 new releases, older films, TV, you name it. September Bonus 0:53:28.719 --> 0:53:34.000 Show was our Trivia Spotting edition that is now available, Josh. 0:53:34.040 --> 0:53:36.759 The one you know you slept through because you're in Scotland. 0:53:37.360 --> 0:53:37.800 I did. 0:53:37.960 --> 0:53:40.480 I slept quite well. How did you do? Where did 0:53:40.520 --> 0:53:42.000 you place? That's all I really want to know. 0:53:42.800 --> 0:53:46.400 I did not podium, Oh I didn't. I didn't make 0:53:46.440 --> 0:53:49.880 the top three. But but my team fared well. I 0:53:49.920 --> 0:53:52.600 mean we I think we got at least seven right 0:53:52.680 --> 0:53:56.839 both rounds. And I went quite deep in the in 0:53:56.880 --> 0:53:58.960 the Lightning round, the Captain's Lightning Round. 0:53:58.960 --> 0:54:00.320 I think I was a topic. 0:54:01.400 --> 0:54:03.960 It was uh, it was directors, and it was of 0:54:04.120 --> 0:54:07.719 directors of sun Dance winning films. I think I was 0:54:07.800 --> 0:54:12.160 the last. I was the third from last out, so 0:54:12.239 --> 0:54:16.200 I had it. I had a shot. And and the one, 0:54:16.440 --> 0:54:18.760 the one I went out on, is so depressing because, 0:54:19.280 --> 0:54:21.759 as Sam and I were talking about later, there were 0:54:21.800 --> 0:54:26.360 ones throughout where you were you were just praising the 0:54:26.400 --> 0:54:29.239 Lord that you didn't get because you you should have known, 0:54:29.840 --> 0:54:31.279 but you just could not pull the name. 0:54:31.400 --> 0:54:33.399 You know, Josh how it is, but you can't pull 0:54:33.440 --> 0:54:33.799 the name. 0:54:34.560 --> 0:54:37.600 And and and then there were others that that you knew, 0:54:37.760 --> 0:54:41.560 and you were so grateful that you got those. The 0:54:41.560 --> 0:54:44.560 one that I went out on, the one that I 0:54:44.600 --> 0:54:51.080 went out on, for me, it was hump day one 0:54:51.120 --> 0:54:54.680 of my favorites, like one of my movies, the movie 0:54:54.760 --> 0:54:59.560 that I championed years ago on the show, and I 0:54:59.640 --> 0:55:04.359 missed Bacon, Lee said the Duplas Brothers because I thought 0:55:04.360 --> 0:55:07.719 about Mark Duplas being in the film. Now right right, 0:55:08.239 --> 0:55:12.080 I'm not going to say, well, I'm gonna say that 0:55:12.560 --> 0:55:14.839 I thought Thomas was a little too quick on the draw, 0:55:14.880 --> 0:55:16.719 and I think you should be allowed to think out 0:55:16.800 --> 0:55:20.279 loud for a second, like why does the first thing. 0:55:20.200 --> 0:55:21.440 You say to Thomas? 0:55:21.960 --> 0:55:23.440 Why does the first thing you say have to be 0:55:23.480 --> 0:55:27.520 your final answer? Why can't you think out loud? But 0:55:27.640 --> 0:55:30.279 right after I said it and everyone jumped on me 0:55:30.440 --> 0:55:33.920 for being stupid, I it hit me, of course that 0:55:34.440 --> 0:55:39.640 like Lynn Shelton there. Lynn Shelton of course directed hump Day. 0:55:39.680 --> 0:55:41.400 I mean I knew it. It took me a second, 0:55:41.480 --> 0:55:42.640 but wow. 0:55:42.480 --> 0:55:45.359 That's the way it goes. Yeah it is can go. 0:55:46.000 --> 0:55:48.920 Yeah, it's a bummer. October Bonus, we are going to 0:55:48.960 --> 0:55:53.000 do a draft with a family member. Looking forward to that. 0:55:53.680 --> 0:55:56.600 Please do learn more about becoming a member and supporting 0:55:56.640 --> 0:56:00.760 the show at film spotting family dot com. 0:55:59.760 --> 0:56:08.440 Hi, you sound so sweet. Are you nervous about talking 0:56:08.480 --> 0:56:08.840 to me? 0:56:09.400 --> 0:56:11.440 Yeah? 0:56:12.239 --> 0:56:18.160 You know, we gotta be like really careful about doing this. Yeah, Adam, 0:56:18.239 --> 0:56:21.960 you caught up with a new film called Predators, as 0:56:22.000 --> 0:56:25.200 you mentioned earlier. This shouldn't be confused with the animated 0:56:25.400 --> 0:56:29.160 predator Killer of Killers, which came out earlier this year. 0:56:29.200 --> 0:56:32.200 Still hoped to catch up with or Predator bad Lands, 0:56:32.239 --> 0:56:35.760 which is coming to theaters next month. This is totally different. 0:56:35.800 --> 0:56:40.200 Predators is a documentary from director David Osset about the 0:56:40.239 --> 0:56:44.799 reality TV program To Catch a Predator. The premise of 0:56:44.840 --> 0:56:48.879 this show was basically hunt down child predators, lure them 0:56:48.920 --> 0:56:51.600 to a film set where they would be interviewed and 0:56:51.640 --> 0:56:55.759 then arrested. It ran from two thousand and four to 0:56:55.840 --> 0:57:01.480 two thousand and seven. So yeah, fascinating idea for a documentary. 0:57:01.480 --> 0:57:05.879 I'd love to hear what they do with this sort 0:57:05.920 --> 0:57:07.560 of material in the dock. 0:57:07.680 --> 0:57:10.279 They do a lot. Yeah, they do a lot. And 0:57:10.320 --> 0:57:12.200 I don't know, I could be wrong. I don't know 0:57:12.239 --> 0:57:15.200 if they actually lured them to a TV set or 0:57:15.200 --> 0:57:17.960 if they lured them to an actual house that had 0:57:17.960 --> 0:57:21.320 basically been turned into a TV set. But I'll say this, 0:57:21.600 --> 0:57:27.560 the opening of the trailer that you just heard is 0:57:27.600 --> 0:57:31.040 also the opening of the movie. So yes, right from 0:57:31.080 --> 0:57:34.760 the start, it is as deeply unsettling as you might 0:57:34.840 --> 0:57:41.920 expect this material to be predators lingers long after the 0:57:41.960 --> 0:57:47.880 final frame. I remember to Catch a Predator on TV. 0:57:48.120 --> 0:57:52.000 I remember seeing bits of it. This isn't revisionist history, 0:57:52.040 --> 0:57:56.120 because anybody who did watch it regularly, if they watch 0:57:56.200 --> 0:57:59.760 this show, they might after it feel like maybe I 0:57:59.760 --> 0:58:01.680 should and say that out loud, or maybe I should 0:58:01.680 --> 0:58:04.400 feel guilty about it. I'll let others wrestle with their 0:58:04.480 --> 0:58:07.880 conscience or not. I do remember seeing maybe an episode 0:58:07.920 --> 0:58:10.920 or two, but I certainly was not familiar with the 0:58:11.080 --> 0:58:14.600 lore around it, or the fact that people would go 0:58:14.640 --> 0:58:18.800 to conventions around of course true crime and Chris Hansen. 0:58:18.960 --> 0:58:21.360 I knew he was a celebrity, but I didn't realize 0:58:21.400 --> 0:58:24.840 that he was a celebrity to the extent that he was, 0:58:25.040 --> 0:58:27.600 and that there were all these to Catch a Predator 0:58:28.120 --> 0:58:31.200 wannabes now on YouTube basically. 0:58:30.680 --> 0:58:31.960 Doing this same world. 0:58:31.960 --> 0:58:35.440 And to be fair, just like Chris Hansen, they are 0:58:35.720 --> 0:58:40.960 working usually with police, with authorities, and they are catching 0:58:41.320 --> 0:58:46.160 actual predators. Right, so you can point to real justice 0:58:46.920 --> 0:58:51.560 being done. But there is a downside to a lot 0:58:51.600 --> 0:58:55.880 of this. Whenever, whenever you have punishment as entertainment. There 0:58:55.920 --> 0:58:58.760 is a downside to this that this movie and you 0:58:58.760 --> 0:59:04.080 can imagine that. Well, this movie explores that. And I 0:59:04.240 --> 0:59:06.800 mentioned that I didn't know the war. I also didn't 0:59:06.840 --> 0:59:11.920 know about some of the recurring gags almost on the show, 0:59:12.040 --> 0:59:14.400 or some of the catchphrases. At the end of the trailer, 0:59:14.800 --> 0:59:19.040 you hear the documentarians say to Chris Hansen, you're free 0:59:19.080 --> 0:59:19.360 to go. 0:59:22.160 --> 0:59:26.120 Some people watching this may feel like you have something 0:59:26.160 --> 0:59:27.040 to answer for. 0:59:28.280 --> 0:59:29.080 What do you say that. 0:59:34.640 --> 0:59:35.280 They're free to go? 0:59:37.880 --> 0:59:40.400 Apparently that's what Chris Hansen would say to all these 0:59:40.440 --> 0:59:43.800 predators who would, somehow and the movie talks about this, 0:59:44.600 --> 0:59:47.960 would stay there and talk to him rather than run 0:59:48.000 --> 0:59:50.000 out the door. But it wouldn't have mattered either way. 0:59:50.080 --> 0:59:51.680 He says, you're free to go. Of course, they're not 0:59:51.720 --> 0:59:53.320 free to go. As soon as they walk out the door. 0:59:53.440 --> 0:59:57.960 They're police there to apprehend them. But when I say 0:59:57.960 --> 1:00:00.960 deeply unsettling, I want to be clear that, yes, occasionally 1:00:01.040 --> 1:00:05.600 it's the behavior of predators like the guy we hear 1:00:05.960 --> 1:00:09.439 there on the phone in the trailer, but mostly it's 1:00:09.720 --> 1:00:12.480 it's the movie's project in a good way. It's the 1:00:12.720 --> 1:00:17.000 it's the questions that it wants to and does pose 1:00:17.240 --> 1:00:21.120 that there are just no answers to Josh. I mean 1:00:21.520 --> 1:00:23.320 that that you're going to be wrestling with, I said, 1:00:23.320 --> 1:00:25.720 it lingers the questions you're going to be wrestling with 1:00:25.840 --> 1:00:29.240 throughout and and maybe for days after. Like I was, 1:00:29.440 --> 1:00:31.920 I can answer the question of whether or not the 1:00:31.960 --> 1:00:34.960 show is terrible. I think it was terrible, even if 1:00:34.960 --> 1:00:38.760 it did result in legitimate predators being caught, even if 1:00:38.800 --> 1:00:42.480 it did provide something in some cases cathartic for victims 1:00:42.520 --> 1:00:48.000 of sexual abuse. But the movie considers what it wants 1:00:48.080 --> 1:00:51.240 us to think about, what it poses as its main 1:00:52.640 --> 1:00:54.560 goal is to get us to think about and get 1:00:54.560 --> 1:00:57.080 some of the people on camera to think about, is 1:00:57.120 --> 1:01:00.200 what happens when the camera turns off and we see 1:01:00.640 --> 1:01:04.280 when we have to see these people as people, as 1:01:04.360 --> 1:01:05.120 human beings. 1:01:05.520 --> 1:01:07.920 Can we do that? Should we do that? 1:01:08.720 --> 1:01:10.480 And there are two scenes I will say, and I 1:01:10.480 --> 1:01:12.040 won't get into a lot of details because I want 1:01:12.080 --> 1:01:15.000 people to see the movie, to see this and experience 1:01:15.040 --> 1:01:17.240 it for themselves, But there are two scenes in the movie, Josh, 1:01:17.280 --> 1:01:21.760 where you watch catchers of predators, both pretty hard line, 1:01:22.560 --> 1:01:31.240 both inured to this. When confronted with their humanity, they soften. 1:01:32.360 --> 1:01:35.800 They do. They do see their humanity. 1:01:36.360 --> 1:01:41.680 And what I appreciate about the movie is that the documentarian, 1:01:41.800 --> 1:01:46.400 the director, Oh Sit, he doesn't take those moments as 1:01:46.480 --> 1:01:49.840 clear victories. He doesn't try to simplify things. He actually 1:01:49.880 --> 1:01:54.120 reminds you usually in these moments that let's not forget 1:01:54.200 --> 1:01:59.439 that these people, these predators, did show up because they 1:02:00.280 --> 1:02:02.040 were going to have sex. They thought they were going 1:02:02.080 --> 1:02:04.840 to have sex with someone under age, and in one case, 1:02:05.120 --> 1:02:08.080 they brought alcohol because they thought they were going to 1:02:08.080 --> 1:02:10.640 have sex with a fourteen year old. Preters is a 1:02:10.640 --> 1:02:15.040 documentary that that dares to question everything, including itself, and 1:02:15.080 --> 1:02:18.840 I think that's really bold about the project. So from 1:02:18.880 --> 1:02:21.840 the comfort of my TV, I can sit here as 1:02:22.520 --> 1:02:26.520 an enlightened liberal man and talk about how we need 1:02:26.560 --> 1:02:31.480 to see their humanity. But what if it was my child? 1:02:31.800 --> 1:02:35.400 Would I really be feeling so generous? And I can't 1:02:35.440 --> 1:02:37.800 wait to discuss this movie with someone who's seen it. 1:02:37.840 --> 1:02:40.600 I haven't had that chance yet, Josh, because I am 1:02:40.920 --> 1:02:43.080 as much as I do appreciate the movie and I do, 1:02:43.360 --> 1:02:46.880 I really recommend people see it. I'm very conflicted about 1:02:46.920 --> 1:02:49.760 the ending. It's not a spoiler because it's in the 1:02:49.800 --> 1:02:53.240 trailer and I alluded to it earlier, but I didn't 1:02:53.280 --> 1:02:55.280 know it. I hadn't seen the trailer. I was waiting 1:02:55.360 --> 1:02:57.920 the whole movie, and I said to Sarah, who was 1:02:57.920 --> 1:02:59.919 watching it with me, I'm like, when are we going 1:02:59.880 --> 1:03:02.040 to find out? The whole movie has been building to this? 1:03:02.120 --> 1:03:05.000 It has to be building to it. Are they going 1:03:05.080 --> 1:03:10.120 to interview Chris Hansen? They have to confront Chris Hansen? 1:03:11.240 --> 1:03:13.000 Or they have to tell us that they tried to 1:03:13.000 --> 1:03:15.760 get Chris Hansen on camera and he refused to be interviewed. 1:03:15.800 --> 1:03:18.800 But if they don't, if we don't get the interview, 1:03:18.880 --> 1:03:22.760 or we don't get the disclaimer, honestly, the movie is 1:03:23.280 --> 1:03:26.120 almost worthless because the whole movie has been in some 1:03:26.200 --> 1:03:29.480 way building up to it. Osi would be derelict in 1:03:29.560 --> 1:03:33.520 his duties as a documentarian and the journalistic enterprise would 1:03:33.520 --> 1:03:37.440 be sunk here. Well, he gets him, He gets him, 1:03:37.480 --> 1:03:41.760 and the interview is is entirely appropriate. I think the inquisition, 1:03:41.920 --> 1:03:45.600 if you will, is entirely appropriate. But how it concludes, 1:03:46.560 --> 1:03:54.000 how it concludes esthetically, I feel icky about. I'm not 1:03:54.080 --> 1:03:59.720 sure I'm on board with the choices that Osi makes. Again, 1:03:59.800 --> 1:04:03.880 some thing I would love to discuss with someone. 1:04:03.000 --> 1:04:06.720 So, I mean, this is grueling subject matter, and you know, 1:04:06.800 --> 1:04:09.000 someone who watches Predators may not be in the mood 1:04:09.040 --> 1:04:11.960 to see something else along these lines. But the way 1:04:12.000 --> 1:04:15.320 you're talking about the humanity and the question of that 1:04:15.440 --> 1:04:18.439 in it reminds me of this documentary I saw way back, 1:04:18.480 --> 1:04:22.360 I think twenty fifteen at Sundance called Pervert Park, and 1:04:22.600 --> 1:04:26.760 it was about a Florida trailer park that was basically 1:04:26.800 --> 1:04:30.480 founded to provide a place for registered sex offenders to 1:04:30.520 --> 1:04:34.360 live because their options are severely limited, you know, can't 1:04:34.400 --> 1:04:37.640 live by schools, can't because a condition of their parole. 1:04:37.840 --> 1:04:40.919 And it's a movie that's very much about you know, 1:04:41.320 --> 1:04:45.200 that One aspect it sounds like Predators is partially interested 1:04:45.240 --> 1:04:51.120 in is what humanity might there be in people like this? Now, 1:04:51.160 --> 1:04:54.000 this is on the other side of justice in this case, 1:04:54.000 --> 1:04:56.840 so it sounds like it's very different to that end, 1:04:56.880 --> 1:05:00.959 but still interested in that question. So yeah, if people 1:05:00.960 --> 1:05:04.240 are up for thinking about these sorts of really difficult 1:05:04.280 --> 1:05:07.360 issues a little bit more, i'd also recommend Pervert Park. 1:05:08.120 --> 1:05:13.000 Okay, Predators is currently playing in limited release next week. 1:05:13.000 --> 1:05:16.600 Here on Film Spotting, we've got a top five inspired 1:05:17.040 --> 1:05:22.600 by our conversation about one battle after another with Leonardo DiCaprio. 1:05:22.840 --> 1:05:24.880 I think I've read this or heard this somewhere that 1:05:25.400 --> 1:05:27.560 it was a dream of his to get to work 1:05:27.560 --> 1:05:31.560 with Paul Thomas Anderson. And certainly fans of PTA's work 1:05:31.760 --> 1:05:33.840 like I am, and so many people are, and I 1:05:33.880 --> 1:05:37.440 know you are, Josh as well, it only seemed fitting 1:05:37.480 --> 1:05:41.000 that we finally got a big star like Leo working 1:05:41.280 --> 1:05:45.440 with Paul Thomas Anderson. So what are the actor director 1:05:45.520 --> 1:05:48.880 combos that we haven't had that we'd like to see. 1:05:48.920 --> 1:05:50.640 I should know the answer to this, because when I 1:05:50.720 --> 1:05:53.720 propose this top five at a film spotting production meeting 1:05:54.160 --> 1:05:57.080 several weeks ago, I think I looked up, or maybe 1:05:57.080 --> 1:05:59.920 on the call we looked up. We've done something similar 1:06:00.080 --> 1:06:02.960 to this before. I can't remember if we've done exactly 1:06:02.960 --> 1:06:06.680 this top five or something like it, but either way, 1:06:07.400 --> 1:06:10.240 certainly worth revisiting because it's been a while that we've 1:06:10.240 --> 1:06:13.040 done something like it, and I haven't started the work yet, 1:06:13.040 --> 1:06:14.520 but I'm excited to do it. 1:06:15.520 --> 1:06:18.640 Yeah, I'm struggling where do I start. Do I start 1:06:18.640 --> 1:06:21.360 with the directors or do I start with the actors? 1:06:21.760 --> 1:06:21.960 Yeah? 1:06:22.520 --> 1:06:26.760 Yeah, right now I'm feeling like starting with the actors 1:06:26.880 --> 1:06:32.200 might be a bit more fun. Yeah, because there I 1:06:32.200 --> 1:06:34.160 can certainly think of five and I'm not going to 1:06:34.320 --> 1:06:38.240 name them here about like five, you know, relatively new names, 1:06:38.240 --> 1:06:40.480 and it doesn't have to be it could be veterans 1:06:40.520 --> 1:06:42.360 we could go with. But right now I'm thinking about 1:06:42.360 --> 1:06:44.200 new names who I'm excited about where they're at in 1:06:44.200 --> 1:06:46.760 their career and thinking about where they might go. And 1:06:47.400 --> 1:06:51.120 you know, pairing up with a top flight director is 1:06:51.160 --> 1:06:54.400 a way to kind of move up in your career. 1:06:54.520 --> 1:06:57.880 So I'm leaning towards that path. But yeah, I haven't 1:06:57.920 --> 1:06:59.600 really sat down to think about it much yet. 1:07:00.080 --> 1:07:02.400 As soon as you said it, I have to say 1:07:02.440 --> 1:07:06.160 my immediate thought was to start actor because I think 1:07:06.280 --> 1:07:10.600 I can build the director off of I can match 1:07:10.640 --> 1:07:12.320 the sensibility. 1:07:11.600 --> 1:07:13.280 Of the director to the performer. 1:07:13.480 --> 1:07:16.160 I know doesn't the opposite two, but for some reason, 1:07:16.160 --> 1:07:19.080 it feels more natural for me to match the director 1:07:19.120 --> 1:07:19.680 to the actor. 1:07:20.280 --> 1:07:22.960 Doesn't This go back to the Del Toro conversation, and 1:07:23.160 --> 1:07:25.800 maybe with Wes Anderson. Now, I think he's brilliant in 1:07:25.840 --> 1:07:28.680 Wes Anderson's The French Dispatch, but that allowed him to 1:07:28.760 --> 1:07:31.439 have in that case a little bit of the mournfulness 1:07:31.480 --> 1:07:34.440 that he can carry in some of his performances, whereas 1:07:34.440 --> 1:07:38.320 the Phoenician scheme was at a little bit more prescriptive 1:07:38.520 --> 1:07:41.080 of what he needed to do. So yeah, it's I 1:07:41.080 --> 1:07:43.840 don't know if I would have ever said Benicio del Toro, 1:07:44.400 --> 1:07:47.560 an actor I love, he needs to pair with Wes Anderson. 1:07:47.680 --> 1:07:49.120 I probably wouldn't have thought of that. I don't know 1:07:49.120 --> 1:07:51.920 if I would have thought with Paul Thomas Anderson either, 1:07:52.120 --> 1:07:55.280 and would have missed out on one battle after another. 1:07:55.400 --> 1:07:59.520 But but yeah, it's yeah, it'll be an interesting experiment 1:07:59.800 --> 1:08:00.600 to conduct. 1:08:01.360 --> 1:08:04.400 Sam had a very good related prompt in the film 1:08:04.440 --> 1:08:09.320 Spotting Family Discord and in the newsletter this week, he said, 1:08:09.360 --> 1:08:12.280 Paul Thomas Anderson can only make one more film, and 1:08:12.320 --> 1:08:14.920 I'm gonna knock on wood and hope that that doesn't happen. 1:08:15.360 --> 1:08:19.160 The star of the film can't be anyone that he's 1:08:19.160 --> 1:08:23.519 ever worked with before. Who is that star? And I 1:08:23.560 --> 1:08:26.240 think I might take up that mantle for one of 1:08:26.240 --> 1:08:27.040 my five picks? 1:08:27.040 --> 1:08:27.360 Why not? 1:08:27.479 --> 1:08:30.280 I mean, I'd love to, I'd love to. I'd love 1:08:30.320 --> 1:08:35.639 to do the DiCaprio Pta pairing that inspired the Top five. 1:08:35.680 --> 1:08:37.400 Why not go ahead and use it for one of 1:08:37.439 --> 1:08:38.280 my picks? 1:08:38.520 --> 1:08:41.479 Yeah, I like it fun. I'll steer away from that 1:08:41.560 --> 1:08:44.519 and let you have that one. Okay, thank you. You can. 1:08:44.720 --> 1:08:46.840 You can go with Wes Anderson and we'll have the 1:08:46.920 --> 1:08:52.880 battle one battle about Anderson after another. You can send 1:08:52.880 --> 1:08:55.719 your actor director combo picks to feedback at film spotting 1:08:55.760 --> 1:08:58.320 dot net, and yes, we would love to share some 1:08:58.640 --> 1:09:02.160 on next weeks show. Also next week results and your 1:09:02.200 --> 1:09:06.200 comments from the current deeply flawed and deeply difficult Film 1:09:06.200 --> 1:09:09.360 Spotting poll. I said, you know, it's actually not a 1:09:09.400 --> 1:09:12.720 deeply flawed poll. It's a really good one when it 1:09:12.800 --> 1:09:18.000 feels impossible to answer and I will stall and procrastinate 1:09:18.200 --> 1:09:20.760 and do almost anything to avoid answering it. 1:09:20.800 --> 1:09:23.040 You agreed. The other way you know it's. 1:09:22.880 --> 1:09:28.320 A really, really good poll is when the answers are 1:09:28.439 --> 1:09:33.640 almost evenly split. I have not looked at the results, Josh, 1:09:34.080 --> 1:09:37.519 in about five days, so it's possible that it has changed, 1:09:37.560 --> 1:09:39.880 that there's been a shift, But the last time I 1:09:39.920 --> 1:09:43.599 looked it was about thirty three thirty three thirty three, 1:09:43.680 --> 1:09:47.200 And in fact, right now, wow, the number one answer 1:09:47.240 --> 1:09:49.679 has has taken a little bit more of a lead, 1:09:49.720 --> 1:09:55.240 but it's currently thirty six thirty three thirty Yeah, think. 1:09:55.160 --> 1:09:58.759 About difficult, deeply difficult, not deeply flawed. 1:09:59.479 --> 1:10:03.200 Okay, you can still vote at filmspotting dot net and yes, 1:10:03.280 --> 1:10:04.920 we would love for you to leave a comment. We 1:10:05.000 --> 1:10:08.720 might share your thoughts on air. If you'd like to 1:10:08.760 --> 1:10:11.720 see our current show schedule, some of the episodes we 1:10:11.760 --> 1:10:14.519 have planned, the reviews we have coming up. Go to 1:10:14.560 --> 1:10:17.240 filmspotting dot net and click on episodes. 1:10:17.880 --> 1:10:19.640 We want to keep you up to date on what 1:10:19.840 --> 1:10:22.720 they're doing on our sister podcast, The Next Picture Show, 1:10:22.760 --> 1:10:26.160 looking at cinema's present via its past. It's part two 1:10:26.280 --> 1:10:29.920 of their Till You Drop pairing. So this week they're 1:10:29.960 --> 1:10:33.240 talking about the Stephen King adaptation The Long Walk, which 1:10:33.400 --> 1:10:37.120 just came out. Previously, they set that conversation up by 1:10:37.160 --> 1:10:41.400 looking at Sidney Pollack's nineteen sixty nine film They Shoot Horses, 1:10:41.439 --> 1:10:45.320 don't they That one featuring Jane Fonda. New episodes of 1:10:45.320 --> 1:10:48.000 The Next Picture Show drop every Tuesday, and you can 1:10:48.040 --> 1:10:49.920 find them wherever you get your podcasts. 1:10:50.160 --> 1:10:52.840 I want to mention one more time, maybe we'll get 1:10:52.960 --> 1:10:55.920 another plug in, but at least one Film Spotting family 1:10:55.920 --> 1:10:58.080 member posted in the discord they heard me plug this 1:10:58.200 --> 1:11:01.040 last week, Josh, and they must be somewhat in the 1:11:01.080 --> 1:11:05.240 area because they heard the promotion and said that sounds great. 1:11:05.840 --> 1:11:08.120 I got to get a pass. I'm going to Refocus. 1:11:08.720 --> 1:11:12.000 If you're anywhere in the vicinity of Iowa City, Iowa 1:11:12.600 --> 1:11:17.839 Film Scene is having their fourth annual Refocus Film Festival, 1:11:17.920 --> 1:11:21.960 celebrating the art of adaptation. It's October ninth through the twelfth, 1:11:22.000 --> 1:11:24.800 and you can come see a live taping of a 1:11:24.880 --> 1:11:29.840 film spotting Top five segment Friday, October tenth, four thirty pm. 1:11:30.080 --> 1:11:32.679 That will be with me, And since I can't record 1:11:32.680 --> 1:11:34.599 with you, I'm going to bring on, you know, our 1:11:34.640 --> 1:11:39.759 great third Wheel, our regular third Wheel, Michael Phillips, will. 1:11:39.520 --> 1:11:41.120 Be taping that with me. 1:11:41.760 --> 1:11:45.679 We are going to share our top five Iowa writers, 1:11:45.800 --> 1:11:50.479 basically grads of the famed Iowa Writers' Workshop or people 1:11:51.120 --> 1:11:54.000 people who were born in Iowa the films that have 1:11:54.040 --> 1:11:57.800 been adapted from their works. One of the things I'll say, 1:11:57.840 --> 1:12:00.840 we haven't totally ruled this out yet. I guess I 1:12:00.840 --> 1:12:02.800 haven't made a ruling, but I think I know where 1:12:02.800 --> 1:12:06.719 I'm going to lean. What you have to also consider 1:12:06.760 --> 1:12:08.720 is what do you do with people who are famous 1:12:08.920 --> 1:12:12.360 for teaching at the Iowa Writers' Workshop, not that there's 1:12:12.400 --> 1:12:15.280 a lot of great film adaptations of his work, but 1:12:15.760 --> 1:12:18.160 if you go that route it opens you up to 1:12:18.200 --> 1:12:23.080 all of Kurt Vonnegut's adaptations, for example Josh. So you 1:12:23.120 --> 1:12:27.360 know there's different criteria you could include. But some great 1:12:27.360 --> 1:12:29.920 films I mentioned last week, The new Park Chinook film 1:12:30.280 --> 1:12:33.479 is playing. The new film Train Dream starring Joel Edgerton 1:12:33.840 --> 1:12:38.080 is playing at the fest. The Zodiac Killer Project new 1:12:38.400 --> 1:12:42.280 documentary from Charlie Shackleton which is very grill and trying. Yeah, 1:12:42.360 --> 1:12:45.160 playing at the fest, so worth getting a pass. If 1:12:45.160 --> 1:12:48.120 you're in the area, please do check it out. Refocus 1:12:48.320 --> 1:12:49.920 Film Festival dot org. 1:12:50.920 --> 1:12:53.040 We all want to stay in the know, especially when 1:12:53.080 --> 1:12:55.240 it comes to our money. With the US Bank Smartley 1:12:55.320 --> 1:12:58.080 sweet you take control and make confident money moves while 1:12:58.080 --> 1:13:01.120 staying connected to your finances. The US Bank Smartley Suite 1:13:01.240 --> 1:13:03.439 lets you bundle your checking, savings and credit card in 1:13:03.479 --> 1:13:06.400 one place, working together to give you more. As part 1:13:06.400 --> 1:13:09.160 of the US Banks Martley Suite, you'll unlock tailored rates 1:13:09.160 --> 1:13:12.080 and awards just by bundling your accounts. Switch today and 1:13:12.120 --> 1:13:14.680 get financial tools built to grow with you. When our 1:13:14.680 --> 1:13:18.160 Bank Smartley solutions meet your financial goals, we are stronger together. 1:13:18.439 --> 1:13:20.559 That's the power of us. Member FDIC. 1:13:20.840 --> 1:13:24.280 All right, let's embarrass ourselves with some Massacre theater. This 1:13:24.400 --> 1:13:26.640 is where we perform a scene and you get a 1:13:26.720 --> 1:13:30.640 chance to win a film spotting prize. Last time, was 1:13:30.680 --> 1:13:34.040 this the video debut of Massacre Theater? Adam that I 1:13:34.080 --> 1:13:37.840 think there's an addition to floating somewhere with video on 1:13:37.880 --> 1:13:38.120 the end. 1:13:38.240 --> 1:13:41.600 Yeah, but really the official debut. And yes, you have 1:13:41.760 --> 1:13:44.240 me totally self conscious now, but that's fine. 1:13:44.280 --> 1:13:47.680 We'll get to that. All right. Well, last time we 1:13:47.800 --> 1:13:49.679 massacred this scene smoking to your. 1:13:58.040 --> 1:14:05.400 We're on a flowers math. He's already on us. 1:14:10.200 --> 1:14:15.040 Oh, this is Tom Cruise and Miles Tuller in twenty 1:14:15.080 --> 1:14:19.280 twenty two's Top Gun Maverick, written by Eric Warren Singer, 1:14:19.360 --> 1:14:23.680 Aaron Krueger, and Christopher McCrory and directed by Joseph Kasinski. 1:14:24.120 --> 1:14:27.000 That massacre was part of our five Years Five Movies show. 1:14:27.120 --> 1:14:29.920 A couple weeks back. We also had reviews of Spinal 1:14:29.960 --> 1:14:32.960 Tap two and the History of Sound on that show. 1:14:33.120 --> 1:14:36.479 There is always a tie in. So why that scene 1:14:36.560 --> 1:14:38.280 from Top Gun Maverick? 1:14:39.160 --> 1:14:42.840 Well, Alexa Debly has the answer. I believe the Masacer 1:14:42.920 --> 1:14:46.040 Theater was Top Gun Maverick. The tie in would be 1:14:46.120 --> 1:14:48.559 a movie sequel that was released years and ay decades 1:14:48.640 --> 1:14:51.720 after the original was released, as is the case with 1:14:51.800 --> 1:14:53.880 Spinal Tap two. And I'm just going to put this 1:14:53.920 --> 1:14:57.519 out there so all the true tap heads get it. 1:14:58.400 --> 1:15:03.519 Are you sure it's deubly and not doubly? There you go, Josh, 1:15:03.560 --> 1:15:04.880 I'm sure they appreciated that. 1:15:05.479 --> 1:15:09.240 Yep. Here's David Allen who said it's got to be 1:15:09.280 --> 1:15:12.080 Top Gun Maverick. Here are the connections. One, Like Spinal 1:15:12.120 --> 1:15:14.320 Tap two, this is a sequel that came many years 1:15:14.320 --> 1:15:17.879 after its predecessor two. One could say Tom Cruise feels 1:15:17.920 --> 1:15:22.880 like a continuation of Robert Redford's dashing smile and swagger. 1:15:23.000 --> 1:15:24.559 I don't know. We may have to discuss on our 1:15:24.680 --> 1:15:29.599 upcoming top five Robert Redford movies, Adam. David Allen's third point, 1:15:29.600 --> 1:15:32.759 The Right Stuff has some thematic crossover with the Top 1:15:32.800 --> 1:15:37.280 Gun movies, and I believe that came up on your list, Adam. Four. 1:15:37.520 --> 1:15:40.400 Glenn Powell's next vehicle is The Running Man, which, like 1:15:40.520 --> 1:15:45.880 Rear Window, is an examination of voyeur culture. Okay, Rear 1:15:45.920 --> 1:15:48.360 Window on my list, that's right. 1:15:48.760 --> 1:15:51.720 We close with Ron and Havertown, Pa. You both went 1:15:51.760 --> 1:15:54.280 above and beyond on this Mascar theater. I laughed out 1:15:54.280 --> 1:15:56.439 loud on hearing you both pretend to have masks on 1:15:56.840 --> 1:15:59.559 playing out the pivotal ending scene where Tom Cruise, Maverick 1:15:59.560 --> 1:16:02.680 and Miles Teller Rooster are in a dogfight against the 1:16:02.760 --> 1:16:05.320 nameless bad guys flying next Gen Fighters. 1:16:05.760 --> 1:16:07.200 Thank you for making my day. 1:16:07.240 --> 1:16:10.839 You're welcome, Ron, You're welcome. Everyone you know who's not welcome, 1:16:10.920 --> 1:16:13.720 all the people who just wrote in Top Gun the original, 1:16:13.880 --> 1:16:16.080 it's not the original, it's the sequel. Josh, of course, 1:16:16.240 --> 1:16:19.959 just like spinal TEP two our listeners, So, yeah. 1:16:19.800 --> 1:16:22.720 Can you imagine, Adam, if we had a prop budget, like, 1:16:22.800 --> 1:16:25.400 how good we would have been if we had actual masks? 1:16:25.800 --> 1:16:29.000 Okay not just use our hands maybe next time. 1:16:29.040 --> 1:16:33.960 And yes, as at least one listener one entrant pointed out, 1:16:34.200 --> 1:16:37.000 we did go with Cole for the name of Maverick, 1:16:37.080 --> 1:16:39.960 referencing Cole Trickle from Days of Thunder. We went with 1:16:40.080 --> 1:16:46.240 Andrew from Miles Teller's Rooster, a reference Yes to whip Lash, Josh, 1:16:46.280 --> 1:16:50.080 reach into the not very brimming film spotting hat and 1:16:50.160 --> 1:16:51.599 pick out this week's winner. 1:16:52.479 --> 1:16:55.519 Our winner is David Zobel from Roswell, Georgia. 1:16:55.840 --> 1:16:59.320 Congratulations David. Email feedback at Filmspotting dot net and we 1:16:59.360 --> 1:17:01.679 will set you up your very own film Spotting t shirt, 1:17:01.960 --> 1:17:05.120 film Spotting tote bag, or trial membership to the Film 1:17:05.160 --> 1:17:11.439 Spotting Family Broadsheet. Journalists have described my impressions as stunningly accurate. 1:17:11.640 --> 1:17:12.519 Well, they're wrong. 1:17:12.840 --> 1:17:14.599 I've not heard you, Michael o kay, but I assume 1:17:14.640 --> 1:17:17.200 it basically along the lines of I'm okai. 1:17:17.320 --> 1:17:18.559 That is where you are so wrong. 1:17:20.680 --> 1:17:23.840 We move on now to this week's edition of Massacre Theater. 1:17:24.000 --> 1:17:26.759 I think the tie in is going to be pretty 1:17:26.760 --> 1:17:31.559 obvious here, Josh. And we don't have any fancy sound 1:17:31.560 --> 1:17:36.360 effects that we need to employ here, no masks that 1:17:36.400 --> 1:17:39.360 we have to pretend to be putting on. Though Producer 1:17:39.360 --> 1:17:43.240 Sam picked a scene that does involve throwing our voices 1:17:43.400 --> 1:17:45.719 a bit, multiple voices. 1:17:45.840 --> 1:17:50.400 Yeah, he's basically making us each play two characters. Yeah, 1:17:51.080 --> 1:17:54.679 and you should enough each play a single character. 1:17:55.000 --> 1:17:58.000 That's that's correct. I struggle playing myself every week. How 1:17:58.439 --> 1:18:00.240 alo expect me to do this? 1:18:00.960 --> 1:18:03.920 Apparently he thinks I've been about a month in in 1:18:04.000 --> 1:18:07.040 the UK here, and I have a firm command. Yes, 1:18:07.240 --> 1:18:10.400 of a British accent, but I'm up in Scotland. It's 1:18:10.439 --> 1:18:13.760 totally different saying I'm I have hearing people like this. 1:18:14.160 --> 1:18:17.760 I mean, come on, yeah, this is this is going 1:18:17.840 --> 1:18:20.599 to be rough. It's going to be rough, but we're 1:18:20.600 --> 1:18:22.679 going to go for it. You are going to hear 1:18:23.040 --> 1:18:27.479 us attempt multiple voices in at least one instance, maybe 1:18:27.560 --> 1:18:31.880 maybe two back to back, and we are going to 1:18:31.960 --> 1:18:35.000 change the names in a couple of cases, as we 1:18:35.560 --> 1:18:37.920 are wont to do here on Masacre Theater. 1:18:38.040 --> 1:18:42.479 Josh, you started off. Are you ready? Yeah, let's do it. 1:18:43.040 --> 1:18:50.600 And action? Where are we? Canterbury? We're close? Anyone know 1:18:50.640 --> 1:18:55.320 if there's a hotel around here? What lind to promise me? 1:18:55.360 --> 1:18:58.120 A little bit of action? You still like it in 1:18:58.160 --> 1:19:02.000 the afternoon? Would you do rob a train, blow up 1:19:02.040 --> 1:19:06.559 a building? You told me he was swavek as a drunk. 1:19:07.280 --> 1:19:09.760 He's suave. Should have seen him in the old days 1:19:09.920 --> 1:19:13.200 when he was a real activist. You were an activist. 1:19:13.320 --> 1:19:14.639 I just wanted to get laid. 1:19:15.439 --> 1:19:17.479 One time the police came to throw us out of 1:19:17.479 --> 1:19:20.560 our squat and Dalton invited them up for coffee to negotiate. 1:19:20.840 --> 1:19:23.640 Only coffee was spiked with ketamine. 1:19:23.880 --> 1:19:29.840 And scene. See I played, we got I played an 1:19:29.880 --> 1:19:31.599 American there. That was easy. 1:19:32.520 --> 1:19:35.840 I don't know that I performed otherwise. If you know 1:19:35.880 --> 1:19:38.760 what film we just massacred, email the movie's title in 1:19:38.760 --> 1:19:41.040 your name and location to feedback at filmspotting dot net. 1:19:41.040 --> 1:19:44.280 Your deadline is Monday, October thirteenth. We'll select the winner 1:19:44.360 --> 1:19:48.040 randomly from all the correct entries. I'm expecting just a 1:19:48.080 --> 1:19:51.720 big full Film Spotting hat and announce it in a 1:19:51.800 --> 1:19:53.240 couple of weeks. 1:19:53.520 --> 1:19:56.960 Josh, that's our show. If you want to connect with 1:19:57.040 --> 1:19:59.840 us on social media, you can find Adam and the 1:19:59.840 --> 1:20:05.719 Sho show on Instagram, Facebook, letterboxed, YouTube, all as film Spotting, 1:20:05.880 --> 1:20:08.800 I'm at those places, also hanging out on Blue Sky 1:20:09.240 --> 1:20:14.520 as Larsen on film. We are independently produced and listener supported. 1:20:14.560 --> 1:20:16.919 You can support the show by joining the film Spotting 1:20:17.000 --> 1:20:21.320 Family at filmspottingfamily dot com. You can listen early and 1:20:21.479 --> 1:20:24.720 ad free. You'll also get a weekly newsletter from producer 1:20:24.800 --> 1:20:29.240 Sam monthly bonus episodes our latest just went out, as 1:20:29.280 --> 1:20:32.639 well as access to the entire show archive. For show 1:20:32.680 --> 1:20:35.920 t shirts and other merch go to film spotting dot 1:20:36.000 --> 1:20:37.320 net slash. 1:20:36.840 --> 1:20:41.559 Shop in that film Spotting archive, you can get past 1:20:41.840 --> 1:20:45.679 Paul Thomas Anderson conversations like our review of Liquorice Pizza 1:20:45.720 --> 1:20:48.759 eight fifty three, Phantom Thread that was episode six sixty 1:20:48.800 --> 1:20:51.960 four in here and weis episode five seventeen. The Master 1:20:52.520 --> 1:20:55.439 was episode four fifteen. There Will Be Blood episode one 1:20:55.520 --> 1:20:59.280 ninety three. The more in depth conversation was for its 1:20:59.280 --> 1:21:03.280 tenth annivers episode six fifty eight, and we talked about 1:21:03.280 --> 1:21:06.920 Magnolia on episode seven point fifty two. That was part 1:21:06.920 --> 1:21:08.800 of our nine from ninety nine series, and we just 1:21:08.840 --> 1:21:11.479 put that back in our feed a little from the 1:21:11.680 --> 1:21:14.960 archive episode just this past week, so you can find 1:21:15.040 --> 1:21:19.439 that available to all listeners in the main film Spotting feed. 1:21:20.080 --> 1:21:22.479 Quick note, Adam, as you were going through that list, 1:21:22.600 --> 1:21:25.000 I meant to say, while we were reviewing one battle 1:21:25.040 --> 1:21:28.040 after another and talking about the humor Phantom Thread, you 1:21:28.080 --> 1:21:31.240 know underrated for how funny it is. You're very dry, 1:21:31.680 --> 1:21:33.240 very dry, but quite hilarious. 1:21:33.439 --> 1:21:39.360 Yes, almost anytime or Woodcock admonishes, anyone is high comedy 1:21:39.680 --> 1:21:40.479 right exactly? 1:21:40.640 --> 1:21:40.880 Yep. 1:21:41.040 --> 1:21:44.799 Okay, streaming or out vod you can see play Dirty. 1:21:44.920 --> 1:21:48.080 This is La Keith Stanfield and Keegan Michael Key, written 1:21:48.080 --> 1:21:50.280 and directed by Shane Black, in order to score a 1:21:50.280 --> 1:21:53.440 major Heisen expert thief played by Mark Wahlberg must outsmart 1:21:53.439 --> 1:21:56.519 a South American dictator, the New York Mob, and the 1:21:56.520 --> 1:22:00.960 World's Richest Man. Okay, I'm curious. The Lost Bus is out. 1:22:01.040 --> 1:22:03.519 Paul Greengrass has a new movie out, Josh. A man 1:22:03.560 --> 1:22:07.559 rescues a teacher and her students from a wildfire with 1:22:07.800 --> 1:22:12.439 Matthew McConaughey and America Ferrera. Huh been a while since 1:22:12.439 --> 1:22:17.240 we've heard from Yeah, mister Greengrass obviously very interested in 1:22:17.280 --> 1:22:20.559 this one. Anemone. Daniel day Lewis returns to the screen 1:22:20.640 --> 1:22:24.599 in Son Ronan's feature directing debut, Hope to catch up 1:22:24.640 --> 1:22:28.720 with that one good boy. As dark entities threaten his 1:22:28.800 --> 1:22:31.719 human companion, a dog must fight to protect the one 1:22:31.760 --> 1:22:35.200 he loves most. Yes, it's a horror movie, Josh told 1:22:35.200 --> 1:22:39.280 from the perspective of the family dog. Indy Wire gives 1:22:39.280 --> 1:22:42.040 it four and a half stars, saying one of the 1:22:42.120 --> 1:22:45.400 year's scariest movies and one that doubles as a tribute 1:22:45.439 --> 1:22:47.840 to the bond between people and their four legged friends. 1:22:48.200 --> 1:22:51.439 This is killing me. I was going to try to 1:22:51.439 --> 1:22:53.400 fit this in at him and then, as you know, 1:22:53.439 --> 1:22:56.200 and listeners and viewers probably can tell got hit with 1:22:56.240 --> 1:22:59.479 a bug and have been down and out so had 1:22:59.520 --> 1:23:01.840 to take it off the viewing list. But man, come on, 1:23:01.960 --> 1:23:04.680 that sounds great. You know you want to see that? 1:23:05.280 --> 1:23:07.280 Can you see that? Or is that one that maybe 1:23:07.320 --> 1:23:08.320 you can get a screen or two. 1:23:09.000 --> 1:23:10.880 I was going to ask for a screener, lank, but 1:23:11.040 --> 1:23:13.719 maybe it'll maybe it'll get a release around these parts 1:23:13.760 --> 1:23:15.760 as well. Okay, happy end. 1:23:15.800 --> 1:23:19.000 This is a feature debut from Japanese American director Neo Sora, 1:23:19.280 --> 1:23:22.880 a near future japan bracist for a devastating earthquake. Mitchell 1:23:22.920 --> 1:23:26.320 bo Pray, our friend says, maybe the best looking film 1:23:26.400 --> 1:23:30.840 of the year. Also outlimited is Predators, the documentary recommended 1:23:30.880 --> 1:23:34.439 by me earlier in the show. GoldenEye is being re 1:23:34.439 --> 1:23:39.120 released for its anniversary. And very eager to see this one. 1:23:39.240 --> 1:23:43.639 Benny Safdi's solo directed The Smashing Machine. It's the story 1:23:43.640 --> 1:23:48.400 of MMA fighter Mark Kerr starring Dwayne Johnson. Hope to 1:23:48.439 --> 1:23:51.599 see that one. But next week we are planning our 1:23:51.600 --> 1:23:55.400 top five actor director combos. We'd like to see. If 1:23:55.439 --> 1:23:59.360 you've got a pairing you want us to consider or 1:23:59.840 --> 1:24:02.080 just want us to read on air, send it our 1:24:02.120 --> 1:24:04.120 way feedback at filmspotting dot net. 1:24:05.120 --> 1:24:08.360 Film Spotting is produced by Golden Joe Disso and Sam 1:24:08.479 --> 1:24:12.000 van Holgren. Without Sam and Golden Joe, this show wouldn't go. 1:24:12.439 --> 1:24:16.360 Our production assistant is Sophie Kempinar. Special thanks to everyone 1:24:16.400 --> 1:24:21.760 at wbeazy Chicago. More information is available at wbez dot 1:24:21.880 --> 1:24:25.639 org for film Spotting, I'm Josh Larson and I'm Adam Kempinar. 1:24:25.800 --> 1:24:26.599 Thanks for listening. 1:24:26.720 --> 1:24:29.720 This conversation can serve no purpose anymore. 1:24:30.600 --> 1:24:31.320 The burn. 1:24:47.600 --> 1:24:50.559 Film Spotting is listeners supported. Join the film Spotting Family 1:24:50.600 --> 1:24:53.519 at film spottingfamily dot com and get access to ad 1:24:53.560 --> 1:24:56.960 free episodes, monthly bonus shows, our weekly newsletter, and for 1:24:57.000 --> 1:24:59.639 the first time, all into one place, the entire film 1:24:59.640 --> 1:25:02.360 Spotting archive going back to two thousand and five. That's 1:25:02.400 --> 1:25:09.560 a film Spotting Family dot com pantibly h