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

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

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

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

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Speaker 1: You're not interested in art?

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Speaker 2: Now?

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Speaker 1: Look, we're going to do this thing. We're going to

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Speaker 1: have a conversation.

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Speaker 3: From Chicago. This is film Spotting.

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Speaker 1: I'm Madam Kempinar and I'm Josh Larson.

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Speaker 4: I just thought she was the prettiest thing that I'd

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Speaker 4: ever seen, and she was there with somebody else. She

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Speaker 4: was very popular back then. She had dozens of boyfriends, hundreds, hundreds. Yeah,

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Speaker 4: I did not know that.

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Speaker 3: Cookie Fleck, Deliadets, Kate McCallister and Moira Rose. We lost

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Speaker 3: the one and only Catherine O'Hara last month.

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Speaker 1: This week we paid tribute with our top five Catherine

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Speaker 1: O'Hara characters that more ahead on film Spotty.

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Speaker 4: Sally is.

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Speaker 3: Welcome to Film Spotting. Josh favorite Paul McCartney and Wings

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Speaker 3: song go.

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Speaker 1: Uh Lifeline, Can I call my dad? You can? I

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Speaker 1: don't know if I should be insulted by that or not.

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Speaker 3: I mean, I guess I wasn't alive really when Wings

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Speaker 3: was in its full glory, but not even a maybe

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Speaker 3: I'm amazed.

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Speaker 1: Yeah, sure, okay, I can hear that one in my head.

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Speaker 3: Yeah, great favorite, we were okay, Yeah, it's a great tune.

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Speaker 3: We were planning to include my conversation with director Morgan

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Speaker 3: Neville about his new film Paul McCartney Man on the

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Speaker 3: Run in this show. Neville an Oscar winner, of course,

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Speaker 3: for the twenty thirteen documentary Twenty Feet from Stardom. He

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Speaker 3: also made the mister Rogers doc Won't You Be My Name?

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Speaker 3: And twenty twenty four is piece by piece the lego

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Speaker 3: fied bio doc about Froh Williams. But we decided to

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Speaker 3: drop it into the film spotting Feed earlier this week

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Speaker 3: as a standalone episode, so by the time people are

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Speaker 3: hearing this, Josh, hopefully they have already heard that what

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Speaker 3: I thought was a fun conversation with Morgan Neville, even

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Speaker 3: if it really was just the two of us, it

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Speaker 3: turns out two bass players geeking out about how good

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Speaker 3: Paul McCartney is.

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Speaker 1: Well, I think the real reason is there's a rumor

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Speaker 1: that we have a singing Masacre theater coming up later

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Speaker 1: in this show, and we just didn't want, we didn't want,

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Speaker 1: like a discussion about good legendary music to share any

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Speaker 1: space with what is about to go down later.

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Speaker 3: Okay, did producer Sam sneak this by? Because I wasn't

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Speaker 3: aware I missed this. I should read the dot It's.

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Speaker 1: Going to be rough. It's gonna be rough. Yeah, just

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Speaker 1: buckle up.

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Speaker 3: That conversation with morganev was recorded as a video conversation

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Speaker 3: like this very episode we are taping right now. Film

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Speaker 3: Spotting is available as a video podcast. You can watch

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Speaker 3: that interview. You can watch this show on YouTube. For

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Speaker 3: a link to video episodes, go to YouTube YouTube dot

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Speaker 3: com slash film spotting or go to film spotting dot

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Speaker 3: net slash episodes. Time now to talk Catherine O'Hara, and

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Speaker 3: I know that we are despite the sad occasion, we

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Speaker 3: are excited to talk about Catherine O'Hara, to share these characters,

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Speaker 3: to share these scenes, and I don't think it's going

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Speaker 3: to be a surprise, despite the great many of characters

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Speaker 3: she's played in a great many wonderful films. We are

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Speaker 3: going to have a fair amount of overlap here, and

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Speaker 3: I think we probably have a fair amount of overlap

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Speaker 3: with most people listening to this show, Josh.

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Speaker 1: Yeah, I mean there are a couple of iconic characters

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Speaker 1: who come to mind when you hear Katherine O'Hara, and

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Speaker 1: we're going to give those roles plenty of time. I

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Speaker 1: am surprised the way things ultimately shook out, though Adam

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Speaker 1: is a little more outlier. Talk to use the language

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Speaker 1: we apply to our top ten show and those titles

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Speaker 1: at the end of the year, the best of the

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Speaker 1: year that maybe only one panelist picks. I think we

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Speaker 1: each maybe ended up with two outliers. But yeah, to

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Speaker 1: your point, that means there are three consensus, and more tellingly,

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Speaker 1: I think the three consensus we all have ranked within

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Speaker 1: the top three. So it seemed like something that might

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Speaker 1: be more more fitting for a general conversation and then

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Speaker 1: we can talk about where we actually placed these characters.

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Speaker 1: But yeah, Catherine O'Hara, definitely you have one or two

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Speaker 1: faces that come to mind right away, for sure. How

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Speaker 1: do you want to get started?

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Speaker 5: Go?

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Speaker 1: I want to share something on just to cover us

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Speaker 1: a little bit because and ask a more general question

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Speaker 1: about her. Basically, when this news came down, it was

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Speaker 1: a shock, as we said when we first talked about

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Speaker 1: it afterwards on the show, given how young she was,

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Speaker 1: and felt like a loss. I don't know, I don't

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Speaker 1: want to say out of proportion. Definitely not out of

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Speaker 1: proportion with the talent, but maybe out of proportion with

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Speaker 1: the stature in the sense that she wasn't really a

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Speaker 1: star in the traditional meaning right where she had all

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Speaker 1: of these films built around her. She never anchored a

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Speaker 1: movie exactly on her own. So some of the legends

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Speaker 1: we've been talking about in the last year who have

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Speaker 1: passed away, she was in a different stratosphere. Yet for

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Speaker 1: a lot of us, I think it felt like as

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Speaker 1: monumental as a loss, just sort of emotionally and instinctively,

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Speaker 1: it was like, ooh, one of those And so I

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Speaker 1: was curious, you know, what was that? And I sent

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Speaker 1: out an email asking this when I was asking for

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Speaker 1: people for their favorite characters, and I got this back

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Speaker 1: from Jacob Allen, which I wanted to share because I

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Speaker 1: think he's onto something that also speaks for the nineties kids.

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Speaker 1: Because this is an Ohara character I don't think either

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Speaker 1: of us are going to include. But Jacob shared this

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Speaker 1: about why losing her felt so monumental. I wonder if

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Speaker 1: because so many of our earliest associations with her is

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Speaker 1: as the devoted mother in Home Alone, she feels like

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Speaker 1: the motherly matron saint to the film community. It sounds

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Speaker 1: odd to say, but I feel so comforted by her

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Speaker 1: screen presence, just as the presence of my own bomb

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Speaker 1: puts me at ease. That's my favorite performance of hers

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Speaker 1: has to be that of Gail in After Hours. So yeah,

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Speaker 1: I think we might hear more about Gail in just

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Speaker 1: a bit. But thanks for that, Jacob. That gets us

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Speaker 1: to nod to Home Alone as well. But I do

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Speaker 1: think raw emotionally speaking for a certain generation, maybe maybe

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Speaker 1: he's onto something here. Yeah.

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Speaker 3: I know there are Home Alone fans out there. I

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Speaker 3: know you're not one of those, Josh, and I really

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Speaker 3: have no. I don't have strong feelings about the film

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Speaker 3: one way or the other. It's definitely not going to

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Speaker 3: come up on this list, and it's interesting to think

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Speaker 3: that maybe in the recesses of my brain, it's entirely

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Speaker 3: possible that the first time I really thought about Catherine

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Speaker 3: O'Hara on screen, like processed who she was, really saw

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Speaker 3: that face, it might have been home alone. Now I

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Speaker 3: had seen Beetlejuice before that, so ald in that way instead.

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Speaker 3: But yes, it's possible that, certainly for a lot of

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Speaker 3: people listening it was home alone. And so there is

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Speaker 3: something comforting about thinking about her as Kate McAllister, and

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Speaker 3: and in your subconscious you will always think of her

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Speaker 3: in that way. I do like that sentiment as well,

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Speaker 3: you know, for me, as I was especially going back

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Speaker 3: through these characters and considering different people and watching different scenes,

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Speaker 3: I was thinking about a line from a character played

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Speaker 3: by another person who we very tragically lost this year,

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Speaker 3: who we haven't paid tribute to yet, but I believe

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Speaker 3: we have plans to later this year, and that's Rob Reiner.

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Speaker 3: He plays a character in the film Bullets Over Broadway

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Speaker 3: who famously, or maybe even infamously says, an artist creates

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Speaker 3: his own moral universe. Again, watching all of these scenes,

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Speaker 3: I feel like with every character Catherine O'Hara plays, she

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Speaker 3: is consistently creating her own moral universe, and not just

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Speaker 3: moral universe, just her own universe, she is operating. Her

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Speaker 3: characters are always operating by their own set of principles, moral, ethical,

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Speaker 3: you know, you name it, any framework for the world.

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Speaker 3: They will never be denied. They are completely individual and idiosyncratic,

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Speaker 3: and I think that's what makes them, part of what

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Speaker 3: makes them so memorable.

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Speaker 1: Ye, their own reality is living comfortably within their own

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Speaker 1: reality and wondering what the rest of us are doing.

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Speaker 3: Exactly right, So get us started. You can name your

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Speaker 3: number five. We'll see where, we'll see where we land.

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Speaker 1: Yeah, I've got an outlier here at number five, which

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Speaker 1: is a vocal performance. It's Judith from Where the Wild

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Speaker 1: Things Are. And I did want to nod to O'Hara's

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Speaker 1: voice work. She's done more recently the Wild Robot or

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Speaker 1: something like Elemental years earlier, franken WEENI. She's done a

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Speaker 1: lot of voice work, and to me, maybe the most

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Speaker 1: interesting vocal performance she gave us in Spike Jones's Where

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Speaker 1: the Wild Things Are. This is two thousand and nine,

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Speaker 1: and Judith is a particularly prickly wild thing. For those

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Speaker 1: who haven't seen this, it's a live action adaptation of

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Speaker 1: the Maurice Sundeck children's book about a kid who runs

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Speaker 1: away to a land of furry monsters. And it's just

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Speaker 1: one of our most unique integration of imagination, live action

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Speaker 1: and special effects. So you have Max Records, young actor

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Speaker 1: playing Max, this main character, and then the wild things

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Speaker 1: are played by performers in these giant monster suits. Some

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Speaker 1: sort of digital manipulation is used for their facial expressions.

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Speaker 1: It's all completely seamless. If you haven't seen it, it works.

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Speaker 1: I mean it's it really does work. The suit performer.

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Speaker 1: On that note, I should credit for Judith. The O'Hara

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Speaker 1: character is Nick Farnell, and then of course she is

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Speaker 1: the voice and it's an interesting performance from her because

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Speaker 1: she doesn't just go for laughs, though there are those.

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Speaker 1: There's a real threat to Judith. It looks like this

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Speaker 1: three horned monster, and she's always dancing on the line

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Speaker 1: between teasing Max and then being serious about eating him,

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Speaker 1: which is a continual danger in the film. Just beyond

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Speaker 1: O'Hara though, where the Wild a stellar example a voice

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Speaker 1: casting for talent not name recognition. This is where producers

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Speaker 1: always go wrong when they go for the star. Sometimes

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Speaker 1: that works Tom Hanks brilliant voice actor. More often than

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Speaker 1: not it doesn't. So here you have you're going for

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Speaker 1: the voice talent. You're going for James Gandolfini, Chris Cooper,

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Speaker 1: Forrest Whittaker, Paul Dano, they all voice other wild Things.

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Speaker 1: O'Hara is, you know, one of the standouts among them.

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Speaker 1: So yeah, throwing that into the mix. Officially my number five.

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Speaker 1: But starting things off with Judith from Where the Wild

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Speaker 1: Things Are.

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Speaker 3: I haven't seen that since it was reviewed very positively

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Speaker 3: here on Film Spotting when it came out. But I

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Speaker 3: love what you said there about how it's funny and

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Speaker 3: she gets the laughs, but there's also that sense of danger.

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Speaker 3: There's a threat there because those same and I'm not

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Speaker 3: gonna say layers. I think it's more aligne. She's consistently

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Speaker 3: able to walk with her characters. And the reason why

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Speaker 3: I'm going to say that line versus layers may go

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Speaker 3: back to something I think you alluded to earlier, Josh,

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Speaker 3: which is not that in any of these roles that

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Speaker 3: we're going to talk about her. In any of these movies,

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Speaker 3: she's not playing a significant role, obviously, but she usually

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Speaker 3: is part of an ensemble or she is a supporting

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Speaker 3: character as opposed to the lead in the film, so

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Speaker 3: she doesn't necessarily get a chance to show all of

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Speaker 3: these layers over the course of a huge narrative character arc. Right,

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Speaker 3: she has to come in and deliver in a brief

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Speaker 3: scene sometimes or an extended scene, but she has to

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Speaker 3: walk various lines. She has to give us different different shades,

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Speaker 3: and her ability to do that is something It's going

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Speaker 3: to come up again and again in my picks, and

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Speaker 3: we're going to start with number five. I already mentioned

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Speaker 3: this movie, and I was sure when we did this.

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Speaker 3: I love I mean, your picks are great, so I

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Speaker 3: don't begrudge you, and I'm glad I get to include

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Speaker 3: it now as my outlier. But I know that even

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Speaker 3: though I really like this film, you like it even more.

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Speaker 3: I know that, even though I really like this director,

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Speaker 3: you like this director even more. I am going with

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Speaker 3: Delia Deets from Beetlejuice. And it's been ages, Josh since

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Speaker 3: since I've seen this movie, certainly in full. I have

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Speaker 3: seen a few scenes from it here and there when

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Speaker 3: it's popped on TV, and it usually is fun to watch.

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Speaker 3: And I enjoyed her to some extent in Beetlejuice. Beetlejuice

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Speaker 3: as well. I'm gonna give credit to O'Hara for that,

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Speaker 3: even if I really didn't like that movie. But what

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Speaker 3: struck me rewatching scenes for this top five, and it

236
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Speaker 3: really shouldn't have surprised me, is not how good O'Hara

237
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Speaker 3: is at making Delia the vampy, kind of evil step

238
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Speaker 3: mom character, this unhinged, self absorbed artist that we get

239
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Speaker 3: to laugh at. Of course those elements are there. Maybe

240
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Speaker 3: I did assume, Josh because it's been so long that

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Speaker 3: it was a little bit more while hilarious, a little

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Speaker 3: bit more one note like that, and it's so not right.

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Speaker 3: You get that in moments that really deliver, for instance,

244
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Speaker 3: the incredible side eye then turn of the head that

245
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Speaker 3: she gives Charles, her husband, when they first show up

246
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Speaker 3: at the house and you know she's already looking to

247
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Speaker 3: redo all of the decorating, and he says to her

248
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Speaker 3: that she'll finally be able to cook a decent meal

249
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Speaker 3: in the kitchen. That look, no words, The look says

250
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Speaker 3: everything that she gives him is so perfect and watching

251
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Speaker 3: it is it that he insults.

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Speaker 1: Her cooking that makes her so mad?

253
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Speaker 3: Or is it that he insults her identity as a

254
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Speaker 3: brilliant artist by reducing her to a mere housewife or

255
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Speaker 3: is it both right? It doesn't really matter. But you

256
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Speaker 3: know she's just staring daggers at him. But what O'Hara

257
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Speaker 3: gives Delia in this scene, but also in every scene,

258
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Speaker 3: without a hint of sentimentality, is real human emotion. She

259
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Speaker 3: is as insecure and needy as she is abrasive.

260
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Speaker 1: I love it.

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Speaker 3: In this same scene, when they move in, when she

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Speaker 3: has she has to, she is so compelled to tell

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Speaker 3: the mover who she feels like. She has to remind

264
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Speaker 3: him to be careful with this sculpture that it's her sculpture,

265
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Speaker 3: not hers, like she bought it. She owns it, Josh hers,

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Speaker 3: she made it, careful.

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Speaker 1: That's my sculpture, and I don't mean my's and I

268
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Speaker 1: bought it.

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Speaker 2: I mean I made it.

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Speaker 3: It's my sculpture.

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Speaker 2: Put it on the table.

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Speaker 3: When she sees that he's just giving her a blank

273
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Speaker 3: stare back that's completely utterly meaningless to him, she then

274
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Speaker 3: she then becomes in front of him a completely normal person.

275
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Speaker 3: The pretense completely fades because she realizes that she's powerless

276
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Speaker 3: in front of a guy like this who does not care.

277
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Speaker 3: That does not impress him one bit. And you see

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Speaker 3: the facade completely crumble in that moment, and so watching

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Speaker 3: some scenes form Beald Juice again, you realize that it's

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Speaker 3: not O'Hara playing Deliadiads. It's O'Hara playing Deliadiads, who is

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Speaker 3: playing the best slash version of herself.

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Speaker 1: The entire time.

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Speaker 3: There's that sort of meta layer to that character. And

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Speaker 3: she doesn't, of course, like any good comedic performer, which

285
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Speaker 3: she doesn't play the comedy. She finds the humor in

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Speaker 3: the heart of the character.

287
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Speaker 1: Yeah, this really should have been my outlier pick to

288
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Speaker 1: a degree, and it was on my rough draft. It

289
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Speaker 1: was heard the news and started thinking about this. I

290
00:17:17,365 --> 00:17:22,725
Speaker 1: think it is definitely more layered as you gust. It's

291
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Speaker 1: for me, would have been a surefire thing if we

292
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Speaker 1: had done O'Hara scenes, because she kicks off the Deo

293
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Speaker 1: banana boat musical sequence. Yes, and that is just a

294
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Speaker 1: tour de force of comedy just going for you know,

295
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Speaker 1: this experience of being musically possessed but also snapping in

296
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Speaker 1: and out of it. It's you know, it's like Delia

297
00:17:44,165 --> 00:17:47,525
Speaker 1: doesn't just suddenly get possessed and starts singing. It's like

298
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Speaker 1: it happens and then she comes out and recognizes asks

299
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Speaker 1: what's happening to me? And then goes back in and

300
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Speaker 1: the deafness O'Hara has in that sequence, yeah, I think

301
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Speaker 1: is among her best scenes for sure. It's interesting what

302
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Speaker 1: you say. I think we're going to come across this

303
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Speaker 1: repeatedly in that they're our roles she's been given, which

304
00:18:10,445 --> 00:18:15,005
Speaker 1: basically have one clear comic signifier to them. And I

305
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Speaker 1: think you could say this to Delia too. And then

306
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Speaker 1: the magic is what O'Hara weaves and rings into making

307
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Speaker 1: this character even more than that, as you say, without

308
00:18:27,845 --> 00:18:31,365
Speaker 1: necessarily the most screen time among the ensembles, she still

309
00:18:31,405 --> 00:18:34,805
Speaker 1: manages to pull it off. Yeah, my other outlier I

310
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Speaker 1: actually have ranked quite Let's let's be anire. I could

311
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Speaker 1: do that, or I could just go to number four.

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Speaker 3: Yeah, okay, I like that. No, let's let's go with

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Speaker 3: your other outlier.

314
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Speaker 1: Why not? Okay, let's hit our outliers first, and I

315
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Speaker 1: put Moira Rose from Shit's Creek at number two. I know,

316
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Speaker 1: I know, breaking some rules here. This is a television

317
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Speaker 1: it's television performance. We're gonna listeners will expose themselves. Who

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00:19:01,085 --> 00:19:05,365
Speaker 1: are the comrade Josh's or Adams right in in a fury.

319
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Speaker 1: H huh I could. I had to do it. I

320
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Speaker 1: just had to do it because this is especially the

321
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Speaker 1: sentimentality of doing this list now after her passing, and

322
00:19:18,845 --> 00:19:21,605
Speaker 1: the joy to know that near the end of her

323
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Speaker 1: career she was given an opportunity like this, a multi

324
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Speaker 1: season opportunity to delve into all her improvisational comic gifts,

325
00:19:31,885 --> 00:19:35,325
Speaker 1: create a character over a long series of time. This

326
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Speaker 1: is an ensemble show, too, Adam, but in a way,

327
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Speaker 1: this is her lead role. This is the one that

328
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Speaker 1: maybe she didn't get in film throughout her career, And yeah,

329
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Speaker 1: I just thought it had to be recognized here. I

330
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Speaker 1: think my list would have been paltry without it. This

331
00:19:52,845 --> 00:19:55,845
Speaker 1: is on Netflix if people haven't caught up with Shit's Creek,

332
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Speaker 1: So right now, we're about halfway through our rewatch. We

333
00:19:58,925 --> 00:20:01,605
Speaker 1: watched it when it first aired and loved it. Moira

334
00:20:01,725 --> 00:20:05,805
Speaker 1: Rose is basically the disgraced former actress who's trying to

335
00:20:05,805 --> 00:20:10,245
Speaker 1: rebuild her life with her spoiled family after they are

336
00:20:10,325 --> 00:20:14,365
Speaker 1: forced to move to a small town having I'm not

337
00:20:14,405 --> 00:20:16,165
Speaker 1: going to get to into the plot. Basically, they've lost

338
00:20:16,165 --> 00:20:18,685
Speaker 1: all their wealth. Her husband here a name that's going

339
00:20:18,765 --> 00:20:21,485
Speaker 1: to come up a lot Eugene Levy get to have

340
00:20:21,565 --> 00:20:25,525
Speaker 1: them working off of each other and man, Adam your

341
00:20:25,525 --> 00:20:29,205
Speaker 1: description at the top of her creating this own moral

342
00:20:29,285 --> 00:20:30,045
Speaker 1: universe or.

343
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Speaker 3: I'm thinking of her, I definitely, yeah, it's.

344
00:20:33,765 --> 00:20:36,685
Speaker 1: A multiverse depending on what wig Moira Wit decides to

345
00:20:36,685 --> 00:20:42,205
Speaker 1: wear that day the point. And I think half of

346
00:20:42,245 --> 00:20:46,885
Speaker 1: Eugene Levy's wide eyed reaction shots, which is probably like

347
00:20:46,925 --> 00:20:49,765
Speaker 1: eighty five percent of his performance on the show come

348
00:20:49,805 --> 00:20:55,965
Speaker 1: from one of Moira's absurd proclamations. And this is in

349
00:20:56,045 --> 00:20:59,845
Speaker 1: terms of both content what she says and how she

350
00:20:59,885 --> 00:21:03,725
Speaker 1: says it. I think O'Hara has invented her own accent

351
00:21:04,085 --> 00:21:07,725
Speaker 1: for this part. It is it is a posh draw

352
00:21:08,325 --> 00:21:13,045
Speaker 1: if that's a thing. It's it's like Catherine Hepburn, but

353
00:21:13,885 --> 00:21:17,725
Speaker 1: tipsy and slurring her speech. Maybe I mean to give

354
00:21:17,725 --> 00:21:19,405
Speaker 1: you a sense of this. There is a super cut

355
00:21:19,645 --> 00:21:24,805
Speaker 1: on YouTube her just pronouncing baby as Bebe. It's throughout

356
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Speaker 1: the series, Yes, I seen. I think the accent work

357
00:21:28,845 --> 00:21:31,245
Speaker 1: here is you know, is just a tour de fouresid

358
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Speaker 1: its own. It's no idea of.

359
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Speaker 2: The toller Bebe can take on its mother or it's

360
00:21:36,005 --> 00:21:36,645
Speaker 2: mother's mother.

361
00:21:37,165 --> 00:21:38,605
Speaker 3: Where is Bebe's chamber.

362
00:21:39,765 --> 00:21:40,885
Speaker 4: You're right we should go.

363
00:21:41,085 --> 00:21:42,965
Speaker 3: Justcen has that beepe thing time?

364
00:21:43,045 --> 00:21:45,845
Speaker 1: Did you said you couldn't make it because of the

365
00:21:45,845 --> 00:21:50,405
Speaker 1: bebe I'm curious about this too. Rewatching it on the

366
00:21:50,485 --> 00:21:53,125
Speaker 1: first watch, I thought, and this speaks to your point too, Adam,

367
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Speaker 1: Moira might be the one in this family. So there's

368
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Speaker 1: the two adult children and then her husband, who grows

369
00:22:00,125 --> 00:22:02,645
Speaker 1: the least, like over four or five seasons, there might

370
00:22:02,685 --> 00:22:07,485
Speaker 1: be they all kind of some grown, become humbled, or

371
00:22:08,125 --> 00:22:12,125
Speaker 1: recognize value in others. In my first watch, I felt

372
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Speaker 1: like Moira was, let's say, the most steadfast. But I

373
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Speaker 1: don't know. Maybe you know, especially now as we're as

374
00:22:18,845 --> 00:22:21,885
Speaker 1: we're picking up on these nuances she brings to characters.

375
00:22:22,085 --> 00:22:25,325
Speaker 1: I'll be eager to watch these last two seasons or

376
00:22:25,325 --> 00:22:27,845
Speaker 1: so and see if I missed something and she might

377
00:22:27,925 --> 00:22:31,165
Speaker 1: have might have snuck something in there on us to

378
00:22:31,165 --> 00:22:33,285
Speaker 1: Moira as well. I wouldn't be surprised, But at the

379
00:22:33,325 --> 00:22:36,005
Speaker 1: same time wouldn't be surprised if she had that that

380
00:22:36,085 --> 00:22:39,565
Speaker 1: conviction to Moira's own reality.

381
00:22:40,125 --> 00:22:42,885
Speaker 3: Yeah, steadfast is such a charitable way of putting it.

382
00:22:43,005 --> 00:22:43,525
Speaker 1: I love it.

383
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Speaker 3: I didn't include it in part because I absolutely knew

384
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Speaker 3: you would. I figured I could leave it off because

385
00:22:50,165 --> 00:22:53,245
Speaker 3: of the TV technicality, and also, not only have I

386
00:22:53,285 --> 00:22:56,045
Speaker 3: not watched It's Creek twice or am not on my

387
00:22:56,085 --> 00:23:00,245
Speaker 3: second viewing, I haven't finished it once. I've seen certainly

388
00:23:00,885 --> 00:23:04,365
Speaker 3: the bulk of the episodes. I know my wife has

389
00:23:04,405 --> 00:23:08,125
Speaker 3: seen the entire series, but I still have some homework

390
00:23:08,165 --> 00:23:09,925
Speaker 3: to do, Josh. So I don't feel like I have

391
00:23:10,005 --> 00:23:13,005
Speaker 3: any claim to Moira Rose like you do.

392
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Speaker 1: You've got a lot of good stuff waiting for you.

393
00:23:16,085 --> 00:23:19,165
Speaker 1: Had you gotten to the point where she was filming

394
00:23:19,205 --> 00:23:22,565
Speaker 1: her schlocky horror movie The Crows have ice three the

395
00:23:22,605 --> 00:23:24,845
Speaker 1: Crow name. Did you get to that yet? I did

396
00:23:24,885 --> 00:23:27,085
Speaker 1: not get to that. Okay, you got good stuff ahead.

397
00:23:27,085 --> 00:23:27,765
Speaker 1: I'll just say that.

398
00:23:28,285 --> 00:23:33,845
Speaker 3: Well, actually a perfect transition because every actor, or almost

399
00:23:33,925 --> 00:23:37,205
Speaker 3: every actor, you may know them for a breakout role,

400
00:23:37,685 --> 00:23:40,485
Speaker 3: but you go look at their IMDb and they probably

401
00:23:40,525 --> 00:23:45,405
Speaker 3: have some kind of schlocky horror, schlocky thriller right first

402
00:23:45,445 --> 00:23:48,565
Speaker 3: as their first feature, maybe after their TV work, or

403
00:23:48,605 --> 00:23:51,445
Speaker 3: thrown into their TV work there near the end, before

404
00:23:51,445 --> 00:23:54,005
Speaker 3: they really transition to the big time.

405
00:23:54,085 --> 00:23:54,245
Speaker 1: Right.

406
00:23:54,885 --> 00:23:59,005
Speaker 3: Catherine O'Hara is no different. Double negative is what the

407
00:23:59,045 --> 00:24:04,165
Speaker 3: movie's called a nineteen eighty thriller that she is in.

408
00:24:04,925 --> 00:24:08,485
Speaker 3: But I'm going with my outlier and I'm just gonna

409
00:24:08,565 --> 00:24:09,325
Speaker 3: keep going in order.

410
00:24:09,325 --> 00:24:09,445
Speaker 5: Here.

411
00:24:09,485 --> 00:24:13,125
Speaker 3: I've got it at number four. Already mentioned by the

412
00:24:13,405 --> 00:24:17,885
Speaker 3: listener that you quoted Josh Gail from After Hours, and

413
00:24:18,405 --> 00:24:21,725
Speaker 3: not only is it a great performance, I truly believe,

414
00:24:21,845 --> 00:24:25,045
Speaker 3: but deserves recognition I think on this list because after

415
00:24:25,125 --> 00:24:28,525
Speaker 3: double negative, well, let me just set that aside. It

416
00:24:28,605 --> 00:24:33,405
Speaker 3: really was her first notable screen appearance, certainly a major

417
00:24:33,445 --> 00:24:38,085
Speaker 3: studio film, working with a major director, obviously in Martin Scorsese.

418
00:24:38,485 --> 00:24:42,325
Speaker 3: It's the first time she was really widely recognized as

419
00:24:42,365 --> 00:24:44,805
Speaker 3: a comedic performer on screen.

420
00:24:44,925 --> 00:24:45,445
Speaker 1: First time.

421
00:24:45,605 --> 00:24:49,205
Speaker 3: You know, critics were taking note of her as well,

422
00:24:49,285 --> 00:24:53,045
Speaker 3: and you know, you talked about the magic of O'Hara.

423
00:24:53,165 --> 00:24:58,205
Speaker 3: The magic of this performance as Gail lies for me

424
00:24:58,885 --> 00:25:01,445
Speaker 3: in what I was saying before about her performance as

425
00:25:01,525 --> 00:25:05,565
Speaker 3: Delia as well. It lies in how she grounds this character,

426
00:25:05,725 --> 00:25:10,725
Speaker 3: because this in this movie that's completely ungrounded, right, This

427
00:25:10,925 --> 00:25:14,205
Speaker 3: mister softy ice cream truck driver. That's what she does

428
00:25:14,245 --> 00:25:16,485
Speaker 3: for a living, and she wants to tell you that

429
00:25:17,405 --> 00:25:19,925
Speaker 3: she is a mister softy ice cream truck driver. She

430
00:25:20,325 --> 00:25:25,805
Speaker 3: is the embo of chaos. She absolutely takes to another level,

431
00:25:26,085 --> 00:25:31,565
Speaker 3: helps escalate the already highly escalated absurdity of this night

432
00:25:31,765 --> 00:25:36,565
Speaker 3: for Griffin Dunn's Paul character. And how does O'Hara play her.

433
00:25:37,285 --> 00:25:39,645
Speaker 3: I wasn't able to rewatch the entire movie, Josh, But

434
00:25:39,765 --> 00:25:43,285
Speaker 3: I don't know if Gail's heart rate gets above like

435
00:25:43,645 --> 00:25:48,285
Speaker 3: one oh five. It's just it's just pretty steady and

436
00:25:48,365 --> 00:25:51,645
Speaker 3: calm the entire time. She does not play the comedy.

437
00:25:51,965 --> 00:25:57,765
Speaker 3: She doesn't play the chaos at all. She just plays Gail.

438
00:25:57,885 --> 00:26:00,445
Speaker 3: And in just one scene which I think is probably

439
00:26:00,525 --> 00:26:02,925
Speaker 3: universally the most famous scene of hers in the movie,

440
00:26:03,245 --> 00:26:06,805
Speaker 3: it's the scene where she and Paul meet out out

441
00:26:06,845 --> 00:26:08,085
Speaker 3: on the street in an alley.

442
00:26:08,325 --> 00:26:09,045
Speaker 1: He gets hurt.

443
00:26:09,445 --> 00:26:13,605
Speaker 3: She brings him up to her apartment ostensibly to help

444
00:26:13,885 --> 00:26:16,325
Speaker 3: bandage up is his wounded arm, like she's going to

445
00:26:16,405 --> 00:26:20,445
Speaker 3: take care of him. It's just under five minutes, and Josh,

446
00:26:20,805 --> 00:26:24,645
Speaker 3: I'm probably even missing a few different layers here, but

447
00:26:25,045 --> 00:26:30,565
Speaker 3: she gives us Gail as genuinely sympathetic, look at your arm,

448
00:26:30,645 --> 00:26:34,525
Speaker 3: it's bleeding. I'll get you a bandage right into sweetly

449
00:26:34,565 --> 00:26:37,885
Speaker 3: self absorbed I have my own mister, softy truck, even

450
00:26:37,925 --> 00:26:40,405
Speaker 3: though he didn't ask. He has no interest in what

451
00:26:40,485 --> 00:26:44,685
Speaker 3: she does for a living, right into accommodating do you

452
00:26:44,725 --> 00:26:46,805
Speaker 3: need a pencil as he tries to write down a

453
00:26:46,805 --> 00:26:52,085
Speaker 3: phone number, then right into playing the jesture, saying random

454
00:26:52,205 --> 00:26:57,165
Speaker 3: numbers out loud to discombobulate him so he can't remember

455
00:26:57,605 --> 00:26:59,205
Speaker 3: the numbers that he's supposed to dial.

456
00:26:59,565 --> 00:27:04,405
Speaker 1: Five eight one, nine six.

457
00:27:06,165 --> 00:27:13,325
Speaker 4: Two.

458
00:27:14,725 --> 00:27:16,565
Speaker 1: That was funny, That was funny.

459
00:27:16,805 --> 00:27:19,205
Speaker 3: This poor guy just needs a break, and all she

460
00:27:19,325 --> 00:27:22,845
Speaker 3: wants to do is torment him and confuse him so

461
00:27:22,925 --> 00:27:25,325
Speaker 3: he can't make this phone call. The best part of

462
00:27:25,365 --> 00:27:29,045
Speaker 3: the scene, though, Josh, is that devilish grin. She has

463
00:27:29,125 --> 00:27:33,725
Speaker 3: that joyful, devilish face she makes when he calls the

464
00:27:33,765 --> 00:27:38,405
Speaker 3: operator again. Take two, and she makes a face like

465
00:27:38,965 --> 00:27:41,725
Speaker 3: almost like your mom makes when you're a little kid

466
00:27:41,805 --> 00:27:43,405
Speaker 3: and she's about to tickle you again.

467
00:27:44,045 --> 00:27:48,325
Speaker 1: Oh, here it comes. You're gonna do it again? Five

468
00:27:48,525 --> 00:27:57,885
Speaker 1: eight six two, don't nine three eight zero? Sure enough?

469
00:27:58,485 --> 00:28:03,405
Speaker 3: More numbers out loud and he loses them again. Then

470
00:28:03,485 --> 00:28:06,125
Speaker 3: she lets out this laugh, almost like she's the joker,

471
00:28:06,525 --> 00:28:08,605
Speaker 3: but you know, a more benevolent joker.

472
00:28:09,245 --> 00:28:10,605
Speaker 1: And then Josh, she goes back to.

473
00:28:10,565 --> 00:28:13,885
Speaker 3: Being caring again, except and this, this is what you

474
00:28:13,925 --> 00:28:16,885
Speaker 3: were saying about where the wild things are? This is

475
00:28:17,085 --> 00:28:20,885
Speaker 3: we can trace it back to this moment. Here she's caring,

476
00:28:21,365 --> 00:28:24,605
Speaker 3: except there is just a little bit of menace in

477
00:28:24,645 --> 00:28:28,685
Speaker 3: her voice. The danger is there, Like if he wasn't

478
00:28:28,885 --> 00:28:34,765
Speaker 3: so desperate, Sureley Paul would recognize that something is off

479
00:28:35,365 --> 00:28:38,245
Speaker 3: with this woman. And I just think if you saw

480
00:28:38,405 --> 00:28:41,685
Speaker 3: SCTV and then you went to the movies, the new

481
00:28:41,685 --> 00:28:45,245
Speaker 3: Martin Scorsese movie, and you saw Catherine O'Hara on screen,

482
00:28:45,525 --> 00:28:47,605
Speaker 3: none of this maybe would have surprised you about her,

483
00:28:47,725 --> 00:28:49,965
Speaker 3: right you would have said, oh, of course, I expect

484
00:28:49,965 --> 00:28:54,805
Speaker 3: this transition to movies. But if you never saw SCTV

485
00:28:54,965 --> 00:28:57,005
Speaker 3: and you just went out to the movies and saw

486
00:28:57,405 --> 00:29:02,565
Speaker 3: this woman playing Gail, I think my first reaction would

487
00:29:02,565 --> 00:29:05,165
Speaker 3: have been something like, how have I missed her? Because

488
00:29:05,685 --> 00:29:09,325
Speaker 3: surely this comedic actress has been in like twenty films already.

489
00:29:09,405 --> 00:29:11,325
Speaker 3: She's just too polished and too funny.

490
00:29:11,845 --> 00:29:14,285
Speaker 1: Yeah, you don't know what's coming next with Gail. I

491
00:29:14,325 --> 00:29:19,285
Speaker 1: think this character is also an example of what I think.

492
00:29:19,365 --> 00:29:22,485
Speaker 1: I mentioned this when we shared the news on that episode,

493
00:29:22,765 --> 00:29:26,645
Speaker 1: after just hearing about her passing, how O'Hara comes into

494
00:29:26,685 --> 00:29:30,045
Speaker 1: a movie and can often no matter what movie you've

495
00:29:30,045 --> 00:29:33,045
Speaker 1: been watching and whoever she's playing, you suddenly kind of

496
00:29:33,125 --> 00:29:37,125
Speaker 1: wish the movie became that character's movie and you could

497
00:29:37,165 --> 00:29:39,565
Speaker 1: follow them. Now, that might be a dangerous proposition with

498
00:29:39,645 --> 00:29:43,285
Speaker 1: Gail because it could go potentially to some very dark places,

499
00:29:43,285 --> 00:29:45,685
Speaker 1: but it could go to some fun places too. It

500
00:29:45,045 --> 00:29:47,925
Speaker 1: could be some ice cream involved. I mean, really, who knows?

501
00:29:48,325 --> 00:29:50,365
Speaker 1: It would have been a wild, a wild ride when

502
00:29:50,405 --> 00:29:53,885
Speaker 1: it comes to Gail. All right, So I think here's

503
00:29:53,925 --> 00:29:57,165
Speaker 1: where we'll have some splitting of hairs, of ranking but

504
00:29:57,365 --> 00:30:04,725
Speaker 1: shared shared characters. Because Sheila Albertson in waiting for Guffman,

505
00:30:06,485 --> 00:30:10,245
Speaker 1: wants her time in the spotlight and deserves her time

506
00:30:10,965 --> 00:30:14,765
Speaker 1: in the spotlight. She's not paired O'Hara's not paired here

507
00:30:14,765 --> 00:30:19,125
Speaker 1: with Eugene Levy. Even though this is a Christopher Guest mockumentary,

508
00:30:19,205 --> 00:30:22,645
Speaker 1: this time it is Fred Willard Ron and Sheila Albertson,

509
00:30:22,725 --> 00:30:27,325
Speaker 1: the overly confident travel agent couple who you know have

510
00:30:27,485 --> 00:30:30,285
Speaker 1: some performance experience and they are very eager to be

511
00:30:30,325 --> 00:30:32,805
Speaker 1: part of the community theater production. At the heart of

512
00:30:32,845 --> 00:30:34,925
Speaker 1: this film, their audition.

513
00:30:34,925 --> 00:30:40,085
Speaker 2: Scene, you surprised how did you find me?

514
00:30:40,445 --> 00:30:43,045
Speaker 1: I have my ways? Would you like to come in

515
00:30:43,085 --> 00:30:46,605
Speaker 1: for coffee? You don't need to ask.

516
00:30:47,165 --> 00:30:50,725
Speaker 2: They just don't need to speak.

517
00:30:51,205 --> 00:30:56,125
Speaker 1: It's so loud, they're saying, it's just so loud. And

518
00:30:57,205 --> 00:31:01,325
Speaker 1: she has no concern for really hitting a note. And

519
00:31:01,405 --> 00:31:04,245
Speaker 1: I think, if I'm noticing that, Adam, it must be

520
00:31:04,325 --> 00:31:05,645
Speaker 1: really bad. Right.

521
00:31:05,685 --> 00:31:08,045
Speaker 3: We're all Bob Balaban in that scene.

522
00:31:07,965 --> 00:31:10,765
Speaker 1: Right, just like reaching for the glass of water, not

523
00:31:10,845 --> 00:31:14,645
Speaker 1: sure what to do, whereas guests Corky Saint Clair's smitten,

524
00:31:14,925 --> 00:31:18,085
Speaker 1: just Smith's in right with the passion, with the passion

525
00:31:18,085 --> 00:31:21,405
Speaker 1: they're showing. How about the double date at the Chinese

526
00:31:21,485 --> 00:31:27,725
Speaker 1: restaurant where she drunkenly brings up her husband's penis reduction surgery, right,

527
00:31:27,965 --> 00:31:33,605
Speaker 1: and you think you know, okay, low hanging fruit, right,

528
00:31:34,605 --> 00:31:38,525
Speaker 1: fun intended? You just you just give you give that

529
00:31:38,645 --> 00:31:41,165
Speaker 1: as the script, if that was even in the script.

530
00:31:41,565 --> 00:31:46,405
Speaker 1: But oh my gosh, the comic chaos. She again, like

531
00:31:46,525 --> 00:31:48,005
Speaker 1: Gail induces with it.

532
00:31:49,525 --> 00:31:54,525
Speaker 2: We'll talk what's it like to be with the circumsessment I.

533
00:31:56,205 --> 00:31:59,525
Speaker 1: Ask you more about that? But Hern said the whole

534
00:31:59,685 --> 00:32:06,245
Speaker 1: jew things and then acting like she isn't doing anything

535
00:32:06,285 --> 00:32:11,365
Speaker 1: unusual that everyone else at the table. Adam is being

536
00:32:11,445 --> 00:32:16,285
Speaker 1: weird by how they're responding to her bringing it up.

537
00:32:16,405 --> 00:32:19,045
Speaker 1: There you go in her own reality, right, her own reality.

538
00:32:19,165 --> 00:32:21,605
Speaker 1: And you know what this made me realize. I wonder

539
00:32:22,405 --> 00:32:25,645
Speaker 1: if she is an influence, if O'Hara is an influence

540
00:32:26,285 --> 00:32:30,085
Speaker 1: at all on Tim Robinson, who you know with I

541
00:32:30,085 --> 00:32:31,485
Speaker 1: think you should leave. I think that was the name

542
00:32:31,525 --> 00:32:36,765
Speaker 1: of his the cringe comedy. You know that he specializes

543
00:32:37,565 --> 00:32:40,685
Speaker 1: in friendship. That was the Paul Rudd. I think a

544
00:32:40,885 --> 00:32:44,485
Speaker 1: movie from last year, just a guy who walks into

545
00:32:44,485 --> 00:32:48,365
Speaker 1: a scene is as weird as possible and doesn't understand

546
00:32:48,405 --> 00:32:50,485
Speaker 1: why people are reacting that way. There's a there's a

547
00:32:50,565 --> 00:32:53,525
Speaker 1: variation of that happening here in this sequence, and I

548
00:32:53,525 --> 00:32:57,365
Speaker 1: think in a lot of the scenes with O'Hara characters. Yeah,

549
00:32:57,365 --> 00:32:59,005
Speaker 1: it was a delight to just watch some of these

550
00:32:59,045 --> 00:33:01,445
Speaker 1: waiting for Guffman sequences. Again, I haven't watched it in

551
00:33:01,525 --> 00:33:03,445
Speaker 1: years and years. I think the key to this movie

552
00:33:03,525 --> 00:33:06,725
Speaker 1: is really that this production they're trying to put on

553
00:33:07,125 --> 00:33:09,685
Speaker 1: isn't that terrible. I mean it's bad, don't get me wrong,

554
00:33:09,765 --> 00:33:12,925
Speaker 1: it's bad, but it's it never pushes. The movie never

555
00:33:12,965 --> 00:33:17,125
Speaker 1: pushes beyond the comic familiar ribbing, you know, into something

556
00:33:17,205 --> 00:33:21,005
Speaker 1: that's that's just kind of ripping them apart for their idiocy.

557
00:33:21,085 --> 00:33:23,925
Speaker 1: It never goes that far. And I think that O'Hara,

558
00:33:25,125 --> 00:33:28,725
Speaker 1: even in a scene like that restaurant, manages a shred

559
00:33:28,725 --> 00:33:34,245
Speaker 1: of idiosyncratic dignity to Sheila. That is crucial. It's the

560
00:33:34,245 --> 00:33:37,085
Speaker 1: only way, that's the only way she can act like

561
00:33:37,125 --> 00:33:44,205
Speaker 1: she's being the completely normal one. Adam, you hear Scream

562
00:33:44,325 --> 00:33:47,365
Speaker 1: seven and you might think, come on, how many of

563
00:33:47,365 --> 00:33:51,565
Speaker 1: these do we really need? Well, if I look at

564
00:33:51,605 --> 00:33:56,405
Speaker 1: my Scream ranked list, I actually have the two most

565
00:33:56,565 --> 00:33:59,925
Speaker 1: recent Scream films twenty twenty two and twenty twenty three,

566
00:34:00,805 --> 00:34:03,205
Speaker 1: kind of high up there. I have them as number

567
00:34:03,245 --> 00:34:05,925
Speaker 1: three and number four of the Scream film So all

568
00:34:05,925 --> 00:34:10,885
Speaker 1: that to say, might be worth checking out Scream seven

569
00:34:11,165 --> 00:34:14,445
Speaker 1: if you are interested in the franchise, if you're interested

570
00:34:14,525 --> 00:34:19,325
Speaker 1: in horror in general, and you know we all know horror,

571
00:34:19,405 --> 00:34:22,085
Speaker 1: you've got to see in a you've got to see

572
00:34:22,085 --> 00:34:25,725
Speaker 1: this with a crowd. You want to scream alongside others.

573
00:34:25,805 --> 00:34:28,165
Speaker 1: So if you want to do that, have that experience

574
00:34:28,205 --> 00:34:31,045
Speaker 1: with Scream seven. You could have it for free with

575
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576
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583
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587
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588
00:35:22,285 --> 00:35:25,165
Speaker 3: I have Sheila at number three on my list, and

589
00:35:25,565 --> 00:35:28,005
Speaker 3: you know I talked about the range that you see

590
00:35:28,045 --> 00:35:31,805
Speaker 3: just within that one after hour scene. What's fun about

591
00:35:32,005 --> 00:35:34,565
Speaker 3: the guest performances that we're going to talk about. We're

592
00:35:34,605 --> 00:35:36,805
Speaker 3: talking about just three, but you think about the other

593
00:35:37,005 --> 00:35:41,805
Speaker 3: films as well. Is how vastly different these characters are.

594
00:35:42,165 --> 00:35:45,605
Speaker 3: And maybe that sounds obvious, but there's no sort of

595
00:35:45,725 --> 00:35:49,485
Speaker 3: type casting with her. Fred Willard, as brilliant as he is,

596
00:35:49,485 --> 00:35:51,525
Speaker 3: is always kind of Fred Willard, right. But if you

597
00:35:51,565 --> 00:35:53,725
Speaker 3: think about the three characters we're going to mention with

598
00:35:53,845 --> 00:35:57,645
Speaker 3: Catherine O'Hara, she's she's not remotely the same person. She's

599
00:35:57,685 --> 00:36:01,085
Speaker 3: not remotely playing the same character. That's probably true across

600
00:36:01,125 --> 00:36:03,685
Speaker 3: the seven or eight or however many it is different

601
00:36:03,765 --> 00:36:05,844
Speaker 3: characters that we're going to mention over the course of

602
00:36:05,885 --> 00:36:08,525
Speaker 3: this list, and I think that just speaks to how

603
00:36:08,565 --> 00:36:12,765
Speaker 3: talented she is now in every case here that I'm

604
00:36:12,845 --> 00:36:14,805
Speaker 3: I'm going to mention, and I think maybe maybe so

605
00:36:14,925 --> 00:36:17,125
Speaker 3: far other than you know, where the wild Things are,

606
00:36:18,085 --> 00:36:22,525
Speaker 3: she is coupled with a man, and there is never

607
00:36:22,605 --> 00:36:26,965
Speaker 3: an impulse, it seems for us as viewers watching her,

608
00:36:27,125 --> 00:36:29,165
Speaker 3: there never seems to be an impulse to be anything

609
00:36:29,205 --> 00:36:34,565
Speaker 3: but supportive, and I mean supportive in the way ensemble

610
00:36:34,885 --> 00:36:39,525
Speaker 3: and improvisational comedy has to be that anyone of any

611
00:36:39,605 --> 00:36:43,645
Speaker 3: gender has to be within that type of environment. There's

612
00:36:43,645 --> 00:36:47,885
Speaker 3: just a complete absence of ego. There's an understanding, and

613
00:36:47,925 --> 00:36:50,885
Speaker 3: in this case, you know, it's that Fred Willard is

614
00:36:50,965 --> 00:36:55,125
Speaker 3: Fred Willard, and both his persona and this character are

615
00:36:55,165 --> 00:36:59,325
Speaker 3: predicated on being blowhards who are going to ramble on

616
00:36:59,405 --> 00:37:01,964
Speaker 3: a bit. They're going to make every conversation and every

617
00:37:02,005 --> 00:37:06,245
Speaker 3: moment about themselves, and he'll be hilarious and she's going

618
00:37:06,325 --> 00:37:10,685
Speaker 3: to set him up. Or like in the scene that

619
00:37:10,925 --> 00:37:12,565
Speaker 3: I want to single out, which is the.

620
00:37:12,445 --> 00:37:17,405
Speaker 5: One where they're talking about their dreams of going to Hollywood,

621
00:37:18,085 --> 00:37:22,845
Speaker 5: not Broadway, going to Hollywood, and he does his awful

622
00:37:23,605 --> 00:37:24,725
Speaker 5: actor impressions.

623
00:37:25,285 --> 00:37:30,404
Speaker 3: She just like us, has no idea who he's actually impersonating, right,

624
00:37:30,485 --> 00:37:31,205
Speaker 3: But what does she do?

625
00:37:31,365 --> 00:37:34,245
Speaker 1: Like what does her character do? And he even mentions it?

626
00:37:34,525 --> 00:37:37,845
Speaker 3: She laughs, She laughs right along, you know, she supports

627
00:37:37,885 --> 00:37:41,325
Speaker 3: him right and giggles with him, like, oh, you're doing

628
00:37:41,405 --> 00:37:43,725
Speaker 3: such a good job, even though again she has absolutely

629
00:37:43,805 --> 00:37:44,805
Speaker 3: no clue what he's doing.

630
00:37:45,445 --> 00:37:46,605
Speaker 1: But what ends up happening?

631
00:37:46,605 --> 00:37:48,885
Speaker 3: What does O'Hara end up happening, especially since we know

632
00:37:48,925 --> 00:37:51,844
Speaker 3: the dynamic and we know how these these scenes are

633
00:37:51,845 --> 00:37:54,085
Speaker 3: shot for the most part, in these Christopher Guest movies,

634
00:37:54,285 --> 00:37:58,685
Speaker 3: what ends up happening? She just waits for exactly her

635
00:37:58,725 --> 00:38:01,805
Speaker 3: moment and she delivers. And I think not just here

636
00:38:01,885 --> 00:38:05,005
Speaker 3: Josh in this scene, but probably in every scene in

637
00:38:05,005 --> 00:38:08,205
Speaker 3: this movie and most scenes in all of the guest

638
00:38:08,245 --> 00:38:10,725
Speaker 3: movies that she's in. She waits for her moment and

639
00:38:10,765 --> 00:38:14,325
Speaker 3: she delivers what is usually the most memorable part of

640
00:38:14,365 --> 00:38:14,925
Speaker 3: the scene.

641
00:38:15,365 --> 00:38:17,125
Speaker 2: You know, I want to try that less as more

642
00:38:17,245 --> 00:38:20,285
Speaker 2: kind of acting where you just when you're talking to someone,

643
00:38:20,485 --> 00:38:22,525
Speaker 2: you close your eyes and then you look at them.

644
00:38:22,805 --> 00:38:24,485
Speaker 1: When you're not talking to the person.

645
00:38:24,245 --> 00:38:26,205
Speaker 2: I mean, you open your eyes when you're looking away,

646
00:38:26,245 --> 00:38:27,645
Speaker 2: but then when you talk to the person, you like that,

647
00:38:28,005 --> 00:38:29,405
Speaker 2: and you open your eyes and then you look.

648
00:38:29,325 --> 00:38:29,925
Speaker 1: Back at the person.

649
00:38:29,965 --> 00:38:32,645
Speaker 3: That's the funniest part of that scene, without a doubt,

650
00:38:32,685 --> 00:38:34,485
Speaker 3: you know. And she just she just waits, she just

651
00:38:34,525 --> 00:38:38,165
Speaker 3: waits her turn patiently for that moment to happen. And

652
00:38:38,205 --> 00:38:42,605
Speaker 3: you know, Fred's character here is an idiot, and you

653
00:38:42,725 --> 00:38:46,925
Speaker 3: laugh at him, and that's great. He understands that. Guest

654
00:38:47,005 --> 00:38:50,405
Speaker 3: understands that. I think I think O'Hara understands that about Fred.

655
00:38:50,605 --> 00:38:53,404
Speaker 3: But you just really can't laugh. You can't laugh at

656
00:38:53,445 --> 00:38:56,125
Speaker 3: Sheila or I think most of, if not all, of

657
00:38:56,445 --> 00:39:00,525
Speaker 3: O'Hara's characters, because not only do they have the human

658
00:39:00,805 --> 00:39:03,485
Speaker 3: part that we've talked about, they're just and this is

659
00:39:03,485 --> 00:39:06,365
Speaker 3: true certainly of Sheila. I think they're just so damn earnest.

660
00:39:06,725 --> 00:39:10,685
Speaker 3: They're so earnest. You you just you you you like

661
00:39:10,805 --> 00:39:13,925
Speaker 3: them and you can't laugh at them. And that's that's

662
00:39:14,485 --> 00:39:17,565
Speaker 3: what I felt anyway, watching Sheila in this scene, which

663
00:39:17,565 --> 00:39:20,045
Speaker 3: still just cracks me up every time I watch it

664
00:39:20,085 --> 00:39:23,085
Speaker 3: and think about her. Less is more approach to acting.

665
00:39:23,685 --> 00:39:26,364
Speaker 1: There's a through line now that we're talking about it,

666
00:39:27,005 --> 00:39:30,325
Speaker 1: of that supportive element to Yeah, so much of what

667
00:39:30,405 --> 00:39:37,045
Speaker 1: she does, and in terms of being there and allowing

668
00:39:37,085 --> 00:39:40,245
Speaker 1: her co star to do what they need to do

669
00:39:40,605 --> 00:39:43,125
Speaker 1: and giving them something tied to that, I think that's

670
00:39:43,165 --> 00:39:45,285
Speaker 1: going to be a crucial part to what is likely

671
00:39:45,325 --> 00:39:48,005
Speaker 1: our shared number one. So I'll save that and maybe

672
00:39:48,045 --> 00:39:53,005
Speaker 1: I'll move to my number three because this element of

673
00:39:53,445 --> 00:39:56,924
Speaker 1: a co star and supporting them and still making room

674
00:39:57,005 --> 00:40:00,925
Speaker 1: for her own comedy is not only crucial to her character.

675
00:40:01,085 --> 00:40:03,165
Speaker 1: I think it's crucial. This is the one I rewatched

676
00:40:03,205 --> 00:40:07,605
Speaker 1: for this list. I think it's crucial to best in Show. Overall.

677
00:40:08,085 --> 00:40:10,885
Speaker 1: I liked this. I've always liked this movie, but I

678
00:40:11,005 --> 00:40:13,285
Speaker 1: liked it so much more this time. I think because

679
00:40:13,365 --> 00:40:17,484
Speaker 1: I realized that there were certain couples who we meet

680
00:40:17,685 --> 00:40:20,245
Speaker 1: who are going to this dog show. Some are just

681
00:40:20,365 --> 00:40:22,645
Speaker 1: terrible for you each other and terrible to each other, right,

682
00:40:23,245 --> 00:40:26,885
Speaker 1: and those are funny, But the ones that stick with us,

683
00:40:27,285 --> 00:40:30,565
Speaker 1: uh huh are those who we get to know that

684
00:40:31,085 --> 00:40:34,005
Speaker 1: it's more about how they're there for each other. And

685
00:40:34,125 --> 00:40:40,565
Speaker 1: I think Cookie, Cookie, Cookie, Google's Cooky, She's Cookie. Yeah.

686
00:40:40,645 --> 00:40:44,125
Speaker 1: Cookie and her husband played by Eugene Levy in this case,

687
00:40:44,405 --> 00:40:50,205
Speaker 1: of course, are so wonderfully supportive of each other in

688
00:40:50,325 --> 00:40:55,205
Speaker 1: some very awkward situations, most of them due to the

689
00:40:55,205 --> 00:40:58,285
Speaker 1: fact that we learn along the way, as her husband

690
00:40:58,365 --> 00:41:01,085
Speaker 1: does on this trip to the dog show, that Cookie

691
00:41:01,125 --> 00:41:05,364
Speaker 1: had a lively romantic life before they married. And this

692
00:41:05,645 --> 00:41:07,565
Speaker 1: is this is an example, Adam, I think of like

693
00:41:07,605 --> 00:41:09,445
Speaker 1: the one note I was talking about, like.

694
00:41:09,605 --> 00:41:11,605
Speaker 3: I was going to go there if you didn't. Yes, right,

695
00:41:11,645 --> 00:41:14,125
Speaker 3: It's kind of like one joke with Cookie, one joke.

696
00:41:14,245 --> 00:41:17,885
Speaker 1: Cookie has this promiscuous past, okay, and it could have

697
00:41:17,885 --> 00:41:20,924
Speaker 1: been a gag that got tired. But I have to think,

698
00:41:21,365 --> 00:41:23,085
Speaker 1: you know, Levy, I think is a co writer here

699
00:41:23,085 --> 00:41:25,404
Speaker 1: with guests. I have to think they like trusted her

700
00:41:26,125 --> 00:41:28,725
Speaker 1: to just say this is all you need and we

701
00:41:28,845 --> 00:41:34,325
Speaker 1: know what you'll do with it, because the improvisational possibilities

702
00:41:34,685 --> 00:41:38,685
Speaker 1: that knowing you're getting served a fastball in every one

703
00:41:38,725 --> 00:41:41,645
Speaker 1: of your scenes, and you can choose to hit it

704
00:41:41,685 --> 00:41:44,605
Speaker 1: to right field to let me dumbside, like you just

705
00:41:44,725 --> 00:41:49,245
Speaker 1: know what's coming. And here's what she does. Every guy

706
00:41:49,285 --> 00:41:53,205
Speaker 1: who comes up and recognizes her and shares their memory

707
00:41:53,765 --> 00:41:58,005
Speaker 1: with her, each guy is different because of how she responds,

708
00:41:58,445 --> 00:42:01,925
Speaker 1: and each situation is different because of how she plays it,

709
00:42:01,965 --> 00:42:07,565
Speaker 1: and you get a sense of their particular relationship, which

710
00:42:07,605 --> 00:42:12,725
Speaker 1: is unique every time. Doesn't she look fantastic? Well, thank you?

711
00:42:12,965 --> 00:42:14,605
Speaker 1: Well you've got that right, good one.

712
00:42:14,685 --> 00:42:19,405
Speaker 2: I don't know. Eighteen nineteen years Louisville, the mint Julip.

713
00:42:19,165 --> 00:42:24,485
Speaker 1: You were working as a waitress thing. Wow, welcome Malcolm,

714
00:42:24,485 --> 00:42:27,844
Speaker 1: Malcolm Malcolm, Oh yeah, you know I've banged a lot

715
00:42:27,885 --> 00:42:31,205
Speaker 1: of waitresses to my dave you you you were the best.

716
00:42:31,325 --> 00:42:33,285
Speaker 1: You do forget.

717
00:42:34,045 --> 00:42:36,005
Speaker 2: Oh Jerry, Jerry.

718
00:42:36,125 --> 00:42:38,405
Speaker 1: I think part of you know, Jerry is her husband.

719
00:42:38,445 --> 00:42:41,364
Speaker 1: And then this goes back to the supporting thing. Part

720
00:42:41,405 --> 00:42:44,525
Speaker 1: of the cookie persona is the way during each one

721
00:42:44,565 --> 00:42:51,085
Speaker 1: of these encounters she makes room for Jerry's feelings of discomfort. Now, yeah,

722
00:42:51,245 --> 00:42:55,525
Speaker 1: she doesn't apologize. Let's be clear, there's nothing for her

723
00:42:55,565 --> 00:42:58,805
Speaker 1: to apologize for this. You know, this was before she

724
00:42:58,845 --> 00:43:03,165
Speaker 1: met Jerry, but you know, she's she doesn't just turn

725
00:43:03,245 --> 00:43:06,245
Speaker 1: all her attention to these men. There's and this too

726
00:43:06,325 --> 00:43:11,005
Speaker 1: she gives variations to depending on Jerry's reaction, how how

727
00:43:11,245 --> 00:43:14,965
Speaker 1: like mortified he is, she'll alter her response. It's just

728
00:43:15,085 --> 00:43:20,125
Speaker 1: that she acknowledges his discomfort. So this is some of

729
00:43:20,165 --> 00:43:22,965
Speaker 1: the nuanced some of the layers she brings to it.

730
00:43:23,685 --> 00:43:27,645
Speaker 1: Can we just also say, I don't know what O'Hara

731
00:43:27,725 --> 00:43:32,645
Speaker 1: did with her leg, but after Cookie sprains her knee

732
00:43:32,765 --> 00:43:36,605
Speaker 1: just before the climactic final show competition, uh huh, and

733
00:43:36,685 --> 00:43:41,085
Speaker 1: she's wobbling in a circle around that backstage. I don't

734
00:43:41,085 --> 00:43:43,565
Speaker 1: know how she did that physically, but it is disturbing

735
00:43:43,965 --> 00:43:46,045
Speaker 1: and it is hilarious. And I don't know how much

736
00:43:46,045 --> 00:43:49,885
Speaker 1: physical comedy we get from from O'Hara, but but she

737
00:43:50,005 --> 00:43:53,845
Speaker 1: definitely throws them out there in this movie and it

738
00:43:53,885 --> 00:43:54,725
Speaker 1: works quite well.

739
00:43:55,405 --> 00:43:58,685
Speaker 3: Yeah, I've got Cookie Fleck from Best in Show as

740
00:43:58,925 --> 00:44:02,725
Speaker 3: my number two and she might be the best character

741
00:44:03,325 --> 00:44:06,125
Speaker 3: in the movie, even though I am going to say,

742
00:44:06,165 --> 00:44:07,964
Speaker 3: and she's part of this obviously part of the scene

743
00:44:07,965 --> 00:44:11,445
Speaker 3: and part of what makes this joke work, the single

744
00:44:11,525 --> 00:44:14,565
Speaker 3: best joke in the movie, and it might be the

745
00:44:14,605 --> 00:44:17,445
Speaker 3: single I'm gonna say, I'm gonna go bold here, Josh.

746
00:44:17,525 --> 00:44:21,125
Speaker 3: The single best joke maybe in all of the the

747
00:44:21,205 --> 00:44:25,605
Speaker 3: Christopher Guest universe, is one that belongs to Eugene Levy

748
00:44:25,645 --> 00:44:29,205
Speaker 3: in the scene Well Levy and Christopher Guest, and it's

749
00:44:29,285 --> 00:44:32,205
Speaker 3: when they're talking about how they met on the dance

750
00:44:32,285 --> 00:44:35,765
Speaker 3: floor and how he's protesting, no, I can't dance.

751
00:44:35,805 --> 00:44:36,484
Speaker 1: I can't dance.

752
00:44:36,525 --> 00:44:38,765
Speaker 3: I've got two left feet, and she says, I thought

753
00:44:38,805 --> 00:44:42,045
Speaker 3: he was kidding, and there's a pause. So I rewatched

754
00:44:42,045 --> 00:44:44,925
Speaker 3: this too, Josh, and I hadn't seen Best in Show

755
00:44:45,045 --> 00:44:48,125
Speaker 3: in I don't know how long, at least ten years, right,

756
00:44:48,365 --> 00:44:52,484
Speaker 3: so I didn't remember exactly what was going to happen here.

757
00:44:52,645 --> 00:44:56,565
Speaker 3: And I am telling you truthfully, in this moment, it's

758
00:44:56,645 --> 00:45:01,205
Speaker 3: like Christopher Guest knew. I think he did know, right.

759
00:45:01,445 --> 00:45:03,925
Speaker 3: He was smart enough to know that every audience member

760
00:45:05,045 --> 00:45:07,525
Speaker 3: understood that we were watching a Christopher Guest movie and

761
00:45:07,565 --> 00:45:11,805
Speaker 3: that anything could happen here. And when he says, you know,

762
00:45:12,685 --> 00:45:15,365
Speaker 3: I have two left feet, and when the camera pauses

763
00:45:16,725 --> 00:45:19,445
Speaker 3: that the reality could be that he actually has two

764
00:45:19,525 --> 00:45:22,844
Speaker 3: left feet, and the pause allows for that. And I

765
00:45:22,925 --> 00:45:25,364
Speaker 3: actually set out loud on my couch, even though I've

766
00:45:25,405 --> 00:45:28,605
Speaker 3: seen this movie before, I set out loud, don't do it,

767
00:45:29,605 --> 00:45:32,805
Speaker 3: like like, no, you're not, actually you're not gonna do it.

768
00:45:32,845 --> 00:45:34,845
Speaker 3: And then he's in right is right after I finished

769
00:45:34,845 --> 00:45:39,525
Speaker 3: the word it. But I wasn't in the slope pan

770
00:45:39,765 --> 00:45:45,085
Speaker 3: down and Josh, that alone, that alone, that sort of

771
00:45:45,125 --> 00:45:48,965
Speaker 3: interaction with the audience, and the notion that he actually

772
00:45:49,045 --> 00:45:52,165
Speaker 3: has two left feet, the slope pan that that could

773
00:45:52,245 --> 00:45:55,325
Speaker 3: be enough. That's enough to make it brilliant. But of

774
00:45:55,365 --> 00:45:58,125
Speaker 3: course they take it to another level. They had a

775
00:45:58,245 --> 00:46:03,845
Speaker 3: nickname for me. They called me Loopy because I walked

776
00:46:03,885 --> 00:46:06,805
Speaker 3: in circles. I mean, I I just I don't know,

777
00:46:06,845 --> 00:46:07,965
Speaker 3: I don't know if it could be topped.

778
00:46:08,405 --> 00:46:12,005
Speaker 1: Can I point out the callback to this that I

779
00:46:12,325 --> 00:46:14,485
Speaker 1: didn't catch. Debbie caught this when we were watching it.

780
00:46:15,365 --> 00:46:18,725
Speaker 1: This is why he wins. Yeah, because when he's walking

781
00:46:18,765 --> 00:46:24,285
Speaker 1: the dog, he has to go in circles. Of course, yes, yes,

782
00:46:24,405 --> 00:46:27,965
Speaker 1: Jerry was born for this. I know, I know, I know.

783
00:46:28,085 --> 00:46:31,165
Speaker 3: Yeah, he's he's very limited, but it actually it actually.

784
00:46:30,965 --> 00:46:33,844
Speaker 1: Pays this case. Circles is a skill.

785
00:46:35,125 --> 00:46:38,885
Speaker 3: So Cookie, you know, she just she takes no offense.

786
00:46:38,965 --> 00:46:42,605
Speaker 3: Of course, at the vulgarity of all these men who

787
00:46:42,685 --> 00:46:45,525
Speaker 3: approached them right in front of her husband Noah's We

788
00:46:45,605 --> 00:46:49,685
Speaker 3: think we think she might be like, oh, you know,

789
00:46:49,765 --> 00:46:52,884
Speaker 3: that's that's in the past, you know, don't say that.

790
00:46:53,205 --> 00:46:56,325
Speaker 3: We think she might have more respect for her husband's feelings.

791
00:46:56,365 --> 00:47:00,965
Speaker 3: But no, yeah, exactly, she tries to thread the needle

792
00:47:01,845 --> 00:47:02,965
Speaker 3: and and.

793
00:47:03,285 --> 00:47:06,725
Speaker 1: In uh in that seed, you know, in this in

794
00:47:06,765 --> 00:47:10,485
Speaker 1: this one of the very memorable scenes, right, the character says,

795
00:47:11,045 --> 00:47:14,245
Speaker 1: I've banged a lot of cocktail waitresses in my day,

796
00:47:14,365 --> 00:47:15,685
Speaker 1: but you never forget the best.

797
00:47:15,725 --> 00:47:18,605
Speaker 3: And again she doesn't. There's no offense in that because

798
00:47:18,725 --> 00:47:21,565
Speaker 3: in fact, she takes pride. She says, you know, forget

799
00:47:21,565 --> 00:47:25,485
Speaker 3: the best, right like she knows she's the best in

800
00:47:25,565 --> 00:47:26,125
Speaker 3: that moment.

801
00:47:26,245 --> 00:47:27,444
Speaker 1: So that is the joke.

802
00:47:27,565 --> 00:47:30,245
Speaker 3: The joke for her is that recurring gag of men,

803
00:47:30,525 --> 00:47:34,005
Speaker 3: every man showing up and then her sort of unrepentant

804
00:47:34,085 --> 00:47:38,325
Speaker 3: you know, shameless horniness or the feminism of cookie Fleck

805
00:47:38,445 --> 00:47:41,365
Speaker 3: because you know, she's she's not going to let society

806
00:47:41,765 --> 00:47:44,805
Speaker 3: or her marriage vows. I'm gonna say, you know, restrict

807
00:47:44,805 --> 00:47:48,285
Speaker 3: her choices, Josh, because or her fond recollections, but her

808
00:47:48,365 --> 00:47:51,045
Speaker 3: choices because these aren't just choices in the past the

809
00:47:51,085 --> 00:47:53,565
Speaker 3: movie suggests, right, like, let's not forget that when they

810
00:47:53,605 --> 00:47:56,605
Speaker 3: go to Larry Miller's house. They stop off at Larry

811
00:47:56,645 --> 00:48:00,725
Speaker 3: Miller's house, there is that scene where they just disappear.

812
00:48:01,845 --> 00:48:03,805
Speaker 3: They just disappear in the house. And I don't think

813
00:48:03,845 --> 00:48:07,765
Speaker 3: he was like showing her as bowling trophies, you know, like,

814
00:48:08,885 --> 00:48:10,725
Speaker 3: I think we know what they were getting up to

815
00:48:10,965 --> 00:48:14,005
Speaker 3: in that scene. But but you mentioned this, and I

816
00:48:14,005 --> 00:48:17,525
Speaker 3: do think this is what makes the character work so well.

817
00:48:17,525 --> 00:48:20,445
Speaker 3: And it is about it's about cutting that sort of

818
00:48:20,605 --> 00:48:23,285
Speaker 3: edge of the one note. It's about adding in the

819
00:48:23,325 --> 00:48:26,405
Speaker 3: real human element that we've talked about so much. Do

820
00:48:26,445 --> 00:48:29,085
Speaker 3: you ever feel like, you know, you talked about the

821
00:48:29,365 --> 00:48:32,005
Speaker 3: characters who support each other. Do you ever feel like

822
00:48:32,365 --> 00:48:36,525
Speaker 3: despite this, despite in any real marriage, any any man

823
00:48:36,565 --> 00:48:40,525
Speaker 3: really you know, obviously being even more disturbed by this

824
00:48:40,685 --> 00:48:43,325
Speaker 3: and you know, not allowing it. Do you ever feel

825
00:48:43,325 --> 00:48:46,965
Speaker 3: like Cookie is using Jerry for something? Do you ever

826
00:48:47,005 --> 00:48:50,005
Speaker 3: feel like she's she's using him for his money or

827
00:48:50,085 --> 00:48:54,405
Speaker 3: just some kind of stability. No, it seems like she

828
00:48:54,645 --> 00:48:59,765
Speaker 3: genuinely loves her husband and she's she's taking no pleasure

829
00:49:00,005 --> 00:49:04,445
Speaker 3: in cooking him in this way. She just has a

830
00:49:04,565 --> 00:49:09,444
Speaker 3: voracious sexual appetite and and I think, I think it's

831
00:49:09,445 --> 00:49:12,845
Speaker 3: the end scene for me, Josh, because here again you

832
00:49:12,845 --> 00:49:15,725
Speaker 3: think how many different variations on this joke, but also

833
00:49:15,805 --> 00:49:19,085
Speaker 3: her response to it. Can she give us and have

834
00:49:19,205 --> 00:49:23,085
Speaker 3: them still be as frish and and as brilliant as

835
00:49:23,285 --> 00:49:25,645
Speaker 3: as the last one? And they're in this they're in

836
00:49:25,685 --> 00:49:30,085
Speaker 3: the recording studio. They're singing the Terrier song. And by

837
00:49:30,165 --> 00:49:34,205
Speaker 3: now you think, maybe you know, he's been triumphant, he won, right,

838
00:49:34,325 --> 00:49:38,445
Speaker 3: he won for them. Maybe maybe this is behind them now,

839
00:49:38,845 --> 00:49:41,805
Speaker 3: you know, maybe maybe he'll have some more respect and

840
00:49:42,245 --> 00:49:44,845
Speaker 3: maybe some some of these men won't. You know, this

841
00:49:44,965 --> 00:49:46,525
Speaker 3: is a part of the film, but you're just thinking,

842
00:49:46,565 --> 00:49:49,605
Speaker 3: maybe you know, he's got some status and he can

843
00:49:49,645 --> 00:49:52,325
Speaker 3: move on with his life and this won't haunt him anymore.

844
00:49:52,445 --> 00:49:53,205
Speaker 1: And what happens.

845
00:49:53,925 --> 00:49:56,485
Speaker 3: They're in the recording studio, and of course the engineer

846
00:49:57,285 --> 00:49:58,165
Speaker 3: recognizes her.

847
00:49:58,285 --> 00:50:03,285
Speaker 4: Cookie Yeah, Cookie Google man, Yeah.

848
00:50:02,765 --> 00:50:07,765
Speaker 1: Does this ring a bell? I'm not wearing underwear?

849
00:50:08,525 --> 00:50:08,765
Speaker 3: Fault?

850
00:50:09,285 --> 00:50:14,245
Speaker 1: Yeah, that's me. Yeah, it's me.

851
00:50:15,165 --> 00:50:21,405
Speaker 3: And this moment, Josh O'Hara's moment, that focused look that

852
00:50:21,525 --> 00:50:24,685
Speaker 3: she gives the guy, and that little cough and the

853
00:50:24,805 --> 00:50:27,245
Speaker 3: lowering of the voice, which she says he's He says,

854
00:50:27,285 --> 00:50:30,005
Speaker 3: you look good girl, whatever, and she goes you too.

855
00:50:30,405 --> 00:50:34,365
Speaker 1: You look fantastic too. You've grown.

856
00:50:35,285 --> 00:50:37,805
Speaker 4: I'm growing right now, girl, I'm just looking at you.

857
00:50:38,805 --> 00:50:42,245
Speaker 3: Poor Jerry, right, I mean Levy Levi starts banging his

858
00:50:42,325 --> 00:50:43,725
Speaker 3: head against the microphone.

859
00:50:43,765 --> 00:50:44,805
Speaker 1: That's my favorite.

860
00:50:44,885 --> 00:50:48,165
Speaker 3: I think that is my favorite Cookie fleck line delivery

861
00:50:48,245 --> 00:50:51,485
Speaker 3: in the entire film. You two, you've grown, like you

862
00:50:51,645 --> 00:50:55,445
Speaker 3: just know like it's over. It's over for Jerry, Like,

863
00:50:55,805 --> 00:50:58,725
Speaker 3: do not let do not let Bulge come out from

864
00:50:58,765 --> 00:51:01,965
Speaker 3: behind that side of the glass, Do not let Cookie

865
00:51:02,325 --> 00:51:05,444
Speaker 3: go into that side of the studio. Just just leave

866
00:51:05,845 --> 00:51:07,045
Speaker 3: as fast as you can.

867
00:51:08,165 --> 00:51:11,325
Speaker 1: Yeah, I want to watch that and see you know

868
00:51:12,165 --> 00:51:14,565
Speaker 1: what she does to acknowledge Jerry, Like, is that the

869
00:51:14,685 --> 00:51:18,045
Speaker 1: rare moment where she's like, he's not here as far

870
00:51:18,085 --> 00:51:19,445
Speaker 1: as I'm concerned, he doesn't.

871
00:51:19,605 --> 00:51:21,765
Speaker 3: She doesn't look at all at him. She is straight

872
00:51:21,845 --> 00:51:22,805
Speaker 3: on with Bulge.

873
00:51:22,965 --> 00:51:27,205
Speaker 1: Yeah, Yeah, because there's because there's Yeah, most scenes she'll

874
00:51:27,525 --> 00:51:30,325
Speaker 1: she'll try to make space for for Harry as well,

875
00:51:30,365 --> 00:51:35,165
Speaker 1: which is Yeah, it's a it's a really much more,

876
00:51:35,805 --> 00:51:38,285
Speaker 1: much funnier and more. I always used to credit a

877
00:51:38,365 --> 00:51:39,925
Speaker 1: Mighty Wind, which I think we're about to get to

878
00:51:40,365 --> 00:51:45,885
Speaker 1: with being the more thoughtful and resonant Christopher Guest's documentary.

879
00:51:45,925 --> 00:51:47,805
Speaker 1: But there was a lot of that invest in show

880
00:51:48,085 --> 00:51:50,605
Speaker 1: and the and you know, especially the other couple besides

881
00:51:50,685 --> 00:51:54,125
Speaker 1: Cookie and Jerry. I think of where Michael McKeon and

882
00:51:54,205 --> 00:51:58,725
Speaker 1: John Michael Higgins as Stefan and Scott like you just

883
00:51:58,765 --> 00:51:59,485
Speaker 1: realized for it.

884
00:51:59,685 --> 00:52:02,205
Speaker 2: Listen to Laugh with Me a podcast with Jeremy Odom

885
00:52:02,405 --> 00:52:06,844
Speaker 2: right here on the iHeartRadio app, Apple podcast or wherever

886
00:52:07,165 --> 00:52:11,285
Speaker 2: you get your podcast. I'm j oh I'm your host, baby,

887
00:52:11,485 --> 00:52:14,685
Speaker 2: and here's a little taste of what you are gonna

888
00:52:14,685 --> 00:52:17,085
Speaker 2: find on Laugh with Me. And they're like, what happened.

889
00:52:17,125 --> 00:52:18,965
Speaker 2: I'm like, I got Peppi's braid, and everybody's like, oh

890
00:52:19,005 --> 00:52:21,005
Speaker 2: my god, what happened? I got Beavorence braid.

891
00:52:21,045 --> 00:52:21,765
Speaker 1: I just told you.

892
00:52:22,285 --> 00:52:26,125
Speaker 2: And listen to Laugh with Me on the iHeartRadio app,

893
00:52:26,205 --> 00:52:29,685
Speaker 2: Apple podcast or wherever you get your podcasts.

894
00:52:29,765 --> 00:52:33,925
Speaker 1: You know, outrageous and you know, stereotypical. We would say

895
00:52:34,445 --> 00:52:38,165
Speaker 1: this couple presents like there is They are there for

896
00:52:38,205 --> 00:52:41,805
Speaker 1: each other in every moment and in every way, and

897
00:52:41,845 --> 00:52:45,685
Speaker 1: there was something like just so sweet about that amidst

898
00:52:45,765 --> 00:52:49,005
Speaker 1: all the laughs, and I think even with Jerry and Cookie,

899
00:52:49,045 --> 00:52:52,885
Speaker 1: there is something sweet amidst all the perversity, perhaps so

900
00:52:53,645 --> 00:52:57,045
Speaker 1: without a doubt. So we're at our shared number one

901
00:52:57,365 --> 00:53:01,365
Speaker 1: if I've been following correctly, And this is in terms

902
00:53:01,485 --> 00:53:06,444
Speaker 1: of the carving her own space alongside a co star,

903
00:53:06,845 --> 00:53:09,965
Speaker 1: but delivering that support. I think her performance is Mickey

904
00:53:10,525 --> 00:53:15,045
Speaker 1: in a Mighty Wind is to me the definitive Ohara character,

905
00:53:15,805 --> 00:53:19,805
Speaker 1: and you know, really a distinctive performance in the way

906
00:53:20,005 --> 00:53:24,085
Speaker 1: it it pumps the breaks on the comedy a little bit,

907
00:53:24,805 --> 00:53:27,725
Speaker 1: not saying that she isn't quite funny in a Mighty Win.

908
00:53:27,885 --> 00:53:30,365
Speaker 1: She's one half of Mitch and Mickey. So Eugene Levy

909
00:53:30,405 --> 00:53:33,285
Speaker 1: is the other half. Christopher guest again and they're a

910
00:53:33,365 --> 00:53:38,245
Speaker 1: folk duo who they separated years before professionally and romantically

911
00:53:38,325 --> 00:53:41,725
Speaker 1: and have now been reunited for this memorial concert. And

912
00:53:41,885 --> 00:53:44,484
Speaker 1: I think both of them, I think Levy two, they're

913
00:53:44,485 --> 00:53:50,005
Speaker 1: really layering their improvisational genius with a feel for fully

914
00:53:50,085 --> 00:53:53,765
Speaker 1: formed characters. It feels like this is something they've been

915
00:53:53,845 --> 00:53:59,165
Speaker 1: working towards as collaborators on screen, collaborators through some of

916
00:53:59,205 --> 00:54:02,085
Speaker 1: the movies. We've been talking about and Mitch and Mickey

917
00:54:02,125 --> 00:54:04,005
Speaker 1: are just something special. I actually had them as my

918
00:54:04,085 --> 00:54:07,085
Speaker 1: number two movie band when we did that Top five

919
00:54:07,165 --> 00:54:10,245
Speaker 1: that was episode five oh three. And yeah, I think

920
00:54:10,285 --> 00:54:15,404
Speaker 1: with O'Hara here you can see how she's maybe it's calibration, right,

921
00:54:15,485 --> 00:54:18,165
Speaker 1: it's not choosing one thing over the other, it's where

922
00:54:18,205 --> 00:54:22,404
Speaker 1: am I going to modulate? And I feel like here

923
00:54:22,485 --> 00:54:29,925
Speaker 1: she's going slightly more. She's slightly privileging sincerity overhumor while

924
00:54:30,005 --> 00:54:34,245
Speaker 1: allowing both to be part of every moment that she's in.

925
00:54:34,965 --> 00:54:39,125
Speaker 1: And I think there's a dexterity there that's quite special.

926
00:54:40,045 --> 00:54:43,085
Speaker 1: And then to put over the top you have you know,

927
00:54:43,165 --> 00:54:47,205
Speaker 1: their climactic performance at this reunion concert of kiss at

928
00:54:47,205 --> 00:54:50,845
Speaker 1: the end of the Rainbow. I think here is where

929
00:54:50,965 --> 00:54:55,725
Speaker 1: O'Hara is going for sincerity and it's funny. At my

930
00:54:56,165 --> 00:54:58,925
Speaker 1: notes after watching this again are so in line with

931
00:54:59,125 --> 00:55:04,045
Speaker 1: what we've been talking about because that sequence, we're all

932
00:55:04,085 --> 00:55:05,845
Speaker 1: waiting to see if they're going to kiss at the

933
00:55:05,925 --> 00:55:07,685
Speaker 1: end of the song, right, this is what they used

934
00:55:07,725 --> 00:55:10,045
Speaker 1: to do traditionally the audience is waiting for We now

935
00:55:10,165 --> 00:55:13,285
Speaker 1: vicariously as movie viewers, are waiting to see if they're

936
00:55:13,325 --> 00:55:16,565
Speaker 1: going to do this and watching it this time, I

937
00:55:16,605 --> 00:55:21,005
Speaker 1: think I realized that Mickey was giving that kiss as

938
00:55:21,085 --> 00:55:26,685
Speaker 1: a gift to Mitch. So it wasn't this romantic thing

939
00:55:26,805 --> 00:55:29,445
Speaker 1: between the two of them. It was more of a

940
00:55:29,445 --> 00:55:31,125
Speaker 1: one side It struck me this time as more of

941
00:55:31,125 --> 00:55:33,925
Speaker 1: a one sided gift, knowing he needed it even if

942
00:55:33,965 --> 00:55:38,525
Speaker 1: she didn't. And so it's not even a romantic need

943
00:55:39,165 --> 00:55:43,325
Speaker 1: Micky's fulfilling here. But this is a gesture of affirmation,

944
00:55:44,685 --> 00:55:48,605
Speaker 1: which I think is something quite sophisticated to try to

945
00:55:48,845 --> 00:55:53,405
Speaker 1: perform and a choice rather than just going for that romance.

946
00:55:53,445 --> 00:55:56,565
Speaker 1: But I think it's true to to who this character is,

947
00:55:56,605 --> 00:56:01,045
Speaker 1: who Mickey is through throughout the movie. And I want

948
00:56:01,085 --> 00:56:02,845
Speaker 1: to real quick before I thought to you, share something

949
00:56:02,845 --> 00:56:05,405
Speaker 1: from a listener Luke Standaway, because I saw his letterbox

950
00:56:05,445 --> 00:56:09,005
Speaker 1: review of A Mighty Wind. Must have watched it after

951
00:56:09,525 --> 00:56:12,844
Speaker 1: O'Hara passed, and he said this, Catherine O'Hara can make

952
00:56:12,885 --> 00:56:16,365
Speaker 1: you laugh your pants off and then with the faintest expression,

953
00:56:16,765 --> 00:56:20,725
Speaker 1: break your heart. And if yeah, there's no reason or

954
00:56:20,725 --> 00:56:23,444
Speaker 1: there's a clear reason he wrote that for a Mighty Wind.

955
00:56:23,485 --> 00:56:25,605
Speaker 1: After watching A Mighty Wind, right, I think that's absolutely

956
00:56:25,605 --> 00:56:26,765
Speaker 1: what she does here.

957
00:56:27,685 --> 00:56:30,885
Speaker 3: Yeah, I did have Cookie as my number one for

958
00:56:30,925 --> 00:56:34,285
Speaker 3: the longest time, and then, as sometimes happens, you end

959
00:56:34,365 --> 00:56:37,645
Speaker 3: up rearranging your list. The more you think about the films,

960
00:56:38,005 --> 00:56:41,525
Speaker 3: the more you the more you start justifying your picks,

961
00:56:42,205 --> 00:56:45,445
Speaker 3: and all of a sudden, I found myself going, no,

962
00:56:45,925 --> 00:56:48,045
Speaker 3: it's got to be Mickey. It's got to be a

963
00:56:48,125 --> 00:56:50,525
Speaker 3: mighty wind at number one. And a big part of

964
00:56:50,565 --> 00:56:54,525
Speaker 3: it is that you you said it, Josh, is that

965
00:56:55,285 --> 00:56:57,964
Speaker 3: this character, even though she is part of this duo,

966
00:56:59,525 --> 00:57:04,085
Speaker 3: it's wrestling with this very notion of supportive or being

967
00:57:04,325 --> 00:57:09,045
Speaker 3: fifty percent of a whole versus being one hundred percent

968
00:57:09,085 --> 00:57:12,364
Speaker 3: of yourself, and that that's what the character's wrestling with.

969
00:57:12,405 --> 00:57:15,645
Speaker 3: And we see, you know O'Hara then getting to kind

970
00:57:15,685 --> 00:57:21,525
Speaker 3: of bring that out in her performance. This character is singular,

971
00:57:21,685 --> 00:57:25,565
Speaker 3: and I think that that separates her. She she's not

972
00:57:25,725 --> 00:57:29,805
Speaker 3: there just to support Levy, certainly for most of this film.

973
00:57:30,245 --> 00:57:34,085
Speaker 3: She's she's separated and thus separate and and she's not

974
00:57:34,565 --> 00:57:37,965
Speaker 3: defined in any way as wife of right or partner

975
00:57:38,005 --> 00:57:40,605
Speaker 3: of and I think that that that is a distinction,

976
00:57:40,725 --> 00:57:43,485
Speaker 3: that that matters, and even at the end when we

977
00:57:43,605 --> 00:57:46,365
Speaker 3: see post kiss, and that's what really matters to me.

978
00:57:46,645 --> 00:57:49,165
Speaker 3: As good as the kiss is and as amazing as

979
00:57:49,205 --> 00:57:51,885
Speaker 3: it makes me feel watching it, even watching it again

980
00:57:52,445 --> 00:57:56,405
Speaker 3: just on YouTube, the aftermath is what really gets me, Josh,

981
00:57:56,445 --> 00:57:58,165
Speaker 3: and what I want to talk about. And and you

982
00:57:58,205 --> 00:58:00,445
Speaker 3: know she's playing Is she playing the harp? One of

983
00:58:00,485 --> 00:58:03,005
Speaker 3: those it's not a harpsichord.

984
00:58:02,445 --> 00:58:04,285
Speaker 1: Is it? She's something like that.

985
00:58:04,645 --> 00:58:06,885
Speaker 3: It's like something like I can't believe I'm blanking on that,

986
00:58:06,925 --> 00:58:09,005
Speaker 3: but she's she's at some kind of trade show or

987
00:58:09,045 --> 00:58:10,885
Speaker 3: something where no one's paying attention to her. But she

988
00:58:10,925 --> 00:58:14,285
Speaker 3: even says, I'm a musician again. You know, I'm a

989
00:58:14,365 --> 00:58:17,765
Speaker 3: musician again, Like I can do this on my own.

990
00:58:17,885 --> 00:58:20,045
Speaker 3: She she is on her own. And I think that

991
00:58:20,165 --> 00:58:24,085
Speaker 3: declaration matters for that character. But you're not wrong that

992
00:58:24,125 --> 00:58:26,765
Speaker 3: they deserve. Mickey and Mitch Vicky deserve to be a

993
00:58:26,765 --> 00:58:30,885
Speaker 3: top five movie band with that song. That's the song incredible,

994
00:58:31,005 --> 00:58:33,365
Speaker 3: so good. It has to be right, It has to

995
00:58:33,405 --> 00:58:35,845
Speaker 3: deliver for us to believe that this movie is going

996
00:58:35,885 --> 00:58:39,205
Speaker 3: to build to it, and that all the characters think

997
00:58:39,245 --> 00:58:42,005
Speaker 3: about think about what Guest has to pull off there,

998
00:58:42,045 --> 00:58:46,165
Speaker 3: not only musically but emotionally. If if the entire film

999
00:58:46,245 --> 00:58:49,485
Speaker 3: hinges on, we have to believe that all those people

1000
00:58:49,525 --> 00:58:52,005
Speaker 3: backstage are going to come to the side of the

1001
00:58:52,005 --> 00:58:54,885
Speaker 3: stage and look, and we as viewers to everyone in

1002
00:58:54,925 --> 00:58:59,325
Speaker 3: the audience, everyone watching the screen and everyone watching from

1003
00:58:59,365 --> 00:59:01,005
Speaker 3: the side of the stage, we're all looking for the

1004
00:59:01,085 --> 00:59:03,245
Speaker 3: same thing. And we're all listening to that music and

1005
00:59:03,285 --> 00:59:04,245
Speaker 3: being moved by it.

1006
00:59:04,685 --> 00:59:07,045
Speaker 1: And it works.

1007
00:59:07,125 --> 00:59:10,645
Speaker 3: And as I said, there's poignancy absolutely in the kiss itself,

1008
00:59:11,485 --> 00:59:14,165
Speaker 3: that kind of will they or won't they? Suspense that

1009
00:59:14,165 --> 00:59:18,325
Speaker 3: that really matters, and that anticipation building because of all

1010
00:59:18,365 --> 00:59:21,725
Speaker 3: the onlookers. And there's a joke in there too, right,

1011
00:59:21,925 --> 00:59:24,805
Speaker 3: you know when when in the aftermath, there's a joke

1012
00:59:24,885 --> 00:59:29,485
Speaker 3: in there, like there's always going to be when Nicky says,

1013
00:59:30,005 --> 00:59:32,805
Speaker 3: my sister said, well, you shouldn't have let him on.

1014
00:59:33,125 --> 00:59:34,805
Speaker 3: You shouldn't have kissed him if you weren't going to

1015
00:59:34,845 --> 00:59:37,125
Speaker 3: go all the way. It's what she says, you know,

1016
00:59:37,205 --> 00:59:41,005
Speaker 3: like this this nineteen fifties view of teenagers dating or

1017
00:59:41,045 --> 00:59:44,005
Speaker 3: something like, it's so stupid, right, but it's also in

1018
00:59:44,045 --> 00:59:48,805
Speaker 3: a way accurate, you know, it's accurate as in, if

1019
00:59:48,845 --> 00:59:53,285
Speaker 3: all the way actually meant falling back in love, you know, reuniting,

1020
00:59:53,365 --> 00:59:55,685
Speaker 3: you shouldn't have kissed him if you weren't willing to

1021
00:59:55,805 --> 00:59:59,565
Speaker 3: commit to being all in with him, if you take

1022
00:59:59,605 --> 01:00:01,805
Speaker 3: it to mean that it has a serious component to

1023
01:00:01,885 --> 01:00:05,165
Speaker 3: it as well as in everything that kiss could could pressage.

1024
01:00:05,205 --> 01:00:08,045
Speaker 3: So here again with O'Hara and with Guest, we get

1025
01:00:08,285 --> 01:00:11,045
Speaker 3: after a punchline comes from real pathos, right.

1026
01:00:11,725 --> 01:00:13,765
Speaker 1: But what I love, Josh.

1027
01:00:13,805 --> 01:00:16,805
Speaker 3: And I'm I'm maybe going to push back a little

1028
01:00:16,845 --> 01:00:20,405
Speaker 3: bit because on your on your reading, because this is

1029
01:00:20,445 --> 01:00:23,965
Speaker 3: a revelation I think I had for the first time,

1030
01:00:24,685 --> 01:00:26,445
Speaker 3: and I say, I think I'll explain why I say

1031
01:00:26,485 --> 01:00:29,245
Speaker 3: I think I had for the first time watching it

1032
01:00:30,045 --> 01:00:33,805
Speaker 3: a few times prepping for this top five. What I

1033
01:00:33,885 --> 01:00:39,565
Speaker 3: love about the end of this film post kiss, and

1034
01:00:40,005 --> 01:00:44,045
Speaker 3: their individual explanations of what it means and where they

1035
01:00:44,045 --> 01:00:49,445
Speaker 3: are now as individuals, is that the film structure by

1036
01:00:49,485 --> 01:00:57,765
Speaker 3: putting Nicky first, that that order creates the impression that

1037
01:00:58,565 --> 01:01:02,565
Speaker 3: she's the reasonable one. She's the one who sort of

1038
01:01:02,605 --> 01:01:05,405
Speaker 3: set a boundary. She's the one who doesn't feel the

1039
01:01:05,485 --> 01:01:08,765
Speaker 3: same way about Mitch that he feels about her. She

1040
01:01:09,085 --> 01:01:12,085
Speaker 3: is the She's not the one who took the kiss seriously,

1041
01:01:12,325 --> 01:01:17,325
Speaker 3: while Mitch might have. And so maybe when we watch

1042
01:01:17,405 --> 01:01:22,085
Speaker 3: him explaining to us that he that he wasn't moved

1043
01:01:22,125 --> 01:01:24,125
Speaker 3: by it either and it didn't mean anything, and he

1044
01:01:24,165 --> 01:01:26,125
Speaker 3: feels sorry for her because she.

1045
01:01:26,205 --> 01:01:27,485
Speaker 1: Might have taken it too seriously.

1046
01:01:27,885 --> 01:01:31,405
Speaker 3: It feels to us as viewers like he's quite possibly

1047
01:01:31,445 --> 01:01:36,285
Speaker 3: deceiving himself, But that's because that's because Micky got to

1048
01:01:36,365 --> 01:01:41,325
Speaker 3: talk first. So does guests choice to give Micky primacy

1049
01:01:41,405 --> 01:01:44,165
Speaker 3: mean that he wants to leave us with that question?

1050
01:01:44,965 --> 01:01:48,405
Speaker 3: As in Micky is speaking from a place of conviction

1051
01:01:48,565 --> 01:01:51,765
Speaker 3: and honesty. She feels the way she feels as she

1052
01:01:51,885 --> 01:01:55,765
Speaker 3: explained it, and she's worried that you know, Mitch did

1053
01:01:55,805 --> 01:01:58,525
Speaker 3: take it too seriously and she just wanted the drama.

1054
01:01:58,605 --> 01:02:02,125
Speaker 3: It was just performance and that was it. Or is

1055
01:02:02,165 --> 01:02:06,405
Speaker 3: the ambiguity there to make us consider And I'm going

1056
01:02:06,485 --> 01:02:09,325
Speaker 3: to argue that I think we have to that it's

1057
01:02:09,405 --> 01:02:13,845
Speaker 3: quite likely that Micky took the kiss no less seriously

1058
01:02:13,925 --> 01:02:18,365
Speaker 3: than niche, and she's also rationalizing just like he is.

1059
01:02:18,685 --> 01:02:21,365
Speaker 3: I think the ambiguity leaves the door open that you know,

1060
01:02:21,565 --> 01:02:25,645
Speaker 3: both are really tender people, both are too scared of

1061
01:02:25,685 --> 01:02:29,365
Speaker 3: what the kiss could mean. Both are maybe protecting themselves,

1062
01:02:30,045 --> 01:02:32,845
Speaker 3: both are protecting each other, or maybe it's only one

1063
01:02:32,885 --> 01:02:36,245
Speaker 3: of them, Josh. But maybe it's Micky not Mitch that

1064
01:02:36,365 --> 01:02:38,645
Speaker 3: feels the way we all think, Mitch, does you know

1065
01:02:38,645 --> 01:02:40,565
Speaker 3: what I mean? Like, I think the ambiguity is there,

1066
01:02:40,765 --> 01:02:44,165
Speaker 3: that we read it a certain way because Nicky talks first,

1067
01:02:44,325 --> 01:02:46,685
Speaker 3: but maybe that's not the way we should feel about it.

1068
01:02:47,765 --> 01:02:49,685
Speaker 1: Yeah, I guess I'm you know, I didn't watch the

1069
01:02:49,805 --> 01:02:52,085
Speaker 1: ending scene, so I don't think I was so influenced

1070
01:02:52,325 --> 01:02:56,725
Speaker 1: by the positioning of their testimonies as we might describe

1071
01:02:56,765 --> 01:03:01,245
Speaker 1: it as just the scene itself and my understanding of

1072
01:03:02,125 --> 01:03:06,165
Speaker 1: who Mickey's been up until that point where it did.

1073
01:03:06,245 --> 01:03:08,725
Speaker 1: It did seem to me like she was in a

1074
01:03:08,805 --> 01:03:12,245
Speaker 1: more secure place, and you know, Mitch, Mitch is the

1075
01:03:12,245 --> 01:03:17,565
Speaker 1: one who had the like serious breakdown over this, right.

1076
01:03:17,645 --> 01:03:23,005
Speaker 1: It's it's almost like that goes back to my notion

1077
01:03:23,085 --> 01:03:26,045
Speaker 1: of the kiss being a gift. Is her understanding that

1078
01:03:26,405 --> 01:03:29,005
Speaker 1: maybe this isn't a chance for us to rekindle our romance,

1079
01:03:29,445 --> 01:03:32,325
Speaker 1: but this is a chance for me. This would be

1080
01:03:32,365 --> 01:03:36,845
Speaker 1: Mickey thinking to end things well where I didn't before.

1081
01:03:37,605 --> 01:03:41,845
Speaker 1: And I'm basing that mostly again in O'Hara's performance in

1082
01:03:41,925 --> 01:03:46,205
Speaker 1: the actual kiss scene, in the actual moment where where

1083
01:03:46,325 --> 01:03:50,045
Speaker 1: she's she's walking a fine line there too, both as

1084
01:03:50,925 --> 01:03:56,245
Speaker 1: O'Hara performer and as Mickey performer. Right. But of course,

1085
01:03:56,245 --> 01:03:59,045
Speaker 1: to your point, like you have to allow those ambiguities,

1086
01:03:59,085 --> 01:04:01,525
Speaker 1: for this to even be envisioned as an either or

1087
01:04:02,365 --> 01:04:05,205
Speaker 1: in terms of its scripting or it's performing, would have

1088
01:04:05,285 --> 01:04:07,685
Speaker 1: ruined it, right if you want, you want all those

1089
01:04:07,765 --> 01:04:10,805
Speaker 1: human complications to be at play, And I think you

1090
01:04:10,845 --> 01:04:13,645
Speaker 1: see that on the part of both performers to allow

1091
01:04:13,725 --> 01:04:15,885
Speaker 1: us to ask these questions. Yeah, for sure.

1092
01:04:15,965 --> 01:04:20,005
Speaker 3: And what makes it even more dramatically interesting is everything

1093
01:04:20,085 --> 01:04:24,405
Speaker 3: you've said it makes it makes for dramatic irony that

1094
01:04:24,525 --> 01:04:27,685
Speaker 3: maybe this entire time she's viewed it this way and

1095
01:04:27,725 --> 01:04:30,845
Speaker 3: she's been that character, and she's the one who separated

1096
01:04:30,845 --> 01:04:33,165
Speaker 3: herself from him, and then at the end she actually

1097
01:04:33,165 --> 01:04:35,925
Speaker 3: found herself in the moment feeling more moved by it

1098
01:04:36,365 --> 01:04:37,325
Speaker 3: than she expected.

1099
01:04:37,405 --> 01:04:39,525
Speaker 1: Yeah, I slash absolutely that, right.

1100
01:04:39,605 --> 01:04:44,045
Speaker 3: Yeah Slash, he did even you know that could be possible, right?

1101
01:04:44,085 --> 01:04:46,445
Speaker 3: And so when I said when I said I think so,

1102
01:04:47,045 --> 01:04:50,125
Speaker 3: I think this was a revelation of ambiguity I had.

1103
01:04:50,245 --> 01:04:52,485
Speaker 3: It's only because I went back and looked at my

1104
01:04:52,565 --> 01:04:55,565
Speaker 3: letterboxed review and I just really had a paragraph on it.

1105
01:04:55,605 --> 01:04:59,405
Speaker 3: Though it's one of the ones that I've gotten more comments.

1106
01:04:59,445 --> 01:05:01,565
Speaker 3: I don't know it's in my top fifteen or something.

1107
01:05:01,885 --> 01:05:04,285
Speaker 3: And I said, I said, despite the brilliance of the

1108
01:05:04,285 --> 01:05:07,485
Speaker 3: lines above, and I quote I quote John Michael Hughes

1109
01:05:07,525 --> 01:05:10,925
Speaker 3: his character when he said, Wow, what a what a

1110
01:05:10,925 --> 01:05:13,965
Speaker 3: line deliverer, A comedic line deliver when he says, there

1111
01:05:14,005 --> 01:05:16,045
Speaker 3: had been abuse in my family, but it was mostly

1112
01:05:16,205 --> 01:05:18,845
Speaker 3: musical in nature. My father used to lock me out

1113
01:05:18,885 --> 01:05:20,685
Speaker 3: a way. My father used to lock me away in

1114
01:05:20,725 --> 01:05:23,205
Speaker 3: a room with nothing but the Percy Faith recording of

1115
01:05:23,285 --> 01:05:26,085
Speaker 3: Bim Bam Boom and then send me to bed with

1116
01:05:26,125 --> 01:05:30,845
Speaker 3: nothing but dessert. Okay, So I said, despite the brilliance

1117
01:05:30,845 --> 01:05:32,925
Speaker 3: of the lines above, I can't say Wind is quite

1118
01:05:32,925 --> 01:05:35,685
Speaker 3: as funny as Best in Show or Guffman. And actually

1119
01:05:35,725 --> 01:05:37,965
Speaker 3: I'm not sure I still feel that way. I need

1120
01:05:38,005 --> 01:05:41,245
Speaker 3: to revisit all these films. But it is certainly more poignant.

1121
01:05:41,725 --> 01:05:45,365
Speaker 3: Everything hinges on the Mitch and Mickey performance to your point,

1122
01:05:45,445 --> 01:05:49,005
Speaker 3: Josh and that kiss, past and present collapsing and colliding,

1123
01:05:49,285 --> 01:05:52,685
Speaker 3: which Levy and O'Hara nail naturally. Most affecting, though, is

1124
01:05:52,725 --> 01:05:56,085
Speaker 3: the aftermath where guest lets the former lovers each frame

1125
01:05:56,125 --> 01:05:58,645
Speaker 3: the moment and its meaning. If there's a more sensitive,

1126
01:05:59,285 --> 01:06:02,765
Speaker 3: sad example of the human capacity for rationalization and all

1127
01:06:02,765 --> 01:06:05,365
Speaker 3: of Guest's work, I'd love to see it. So rereading

1128
01:06:05,405 --> 01:06:10,125
Speaker 3: that when I say rationalization, clearly I was seeing it

1129
01:06:10,205 --> 01:06:14,245
Speaker 3: in at least one of the characters, the idea being

1130
01:06:14,325 --> 01:06:17,725
Speaker 3: as as it's played straight. If you take Mickey at

1131
01:06:17,725 --> 01:06:22,325
Speaker 3: face value, it's Mitch who's rationalizing, protecting him and going, oh,

1132
01:06:22,485 --> 01:06:26,205
Speaker 3: I hope Mickey didn't take that too seriously, and I

1133
01:06:26,285 --> 01:06:29,765
Speaker 3: hope she's okay, right, and he's the one who's rationalizing.

1134
01:06:30,645 --> 01:06:32,765
Speaker 3: I think that's how I meant it right, not that

1135
01:06:32,845 --> 01:06:35,325
Speaker 3: both of them were potentially rationalizing, but I love to

1136
01:06:35,325 --> 01:06:37,765
Speaker 3: think about it now is maybe, wow, what if they

1137
01:06:37,765 --> 01:06:41,045
Speaker 3: both for what if Mickey actually is still kind of

1138
01:06:41,965 --> 01:06:43,965
Speaker 3: reeling from this kiss?

1139
01:06:44,365 --> 01:06:46,965
Speaker 1: It's fun thinking. I think O'Hara's performance is, you know,

1140
01:06:47,205 --> 01:06:50,645
Speaker 1: sophisticated enough in a broad comedy like this to allow

1141
01:06:50,685 --> 01:06:51,605
Speaker 1: for that possibility.

1142
01:06:52,085 --> 01:06:56,845
Speaker 3: Well, those are our top five Catherine O'Hara characters. Any

1143
01:06:57,405 --> 01:07:00,285
Speaker 3: additional characters you want to throw in honorable mentions?

1144
01:07:00,605 --> 01:07:03,965
Speaker 1: I mean you had my honorable mention, you know, Delia

1145
01:07:04,205 --> 01:07:06,205
Speaker 1: in in beat old Juice. I do think that's a

1146
01:07:06,245 --> 01:07:08,885
Speaker 1: great performance. Actually, I'll throw in one more as we're

1147
01:07:08,885 --> 01:07:13,005
Speaker 1: talking about Christopher Guest too. For your consideration, is the

1148
01:07:13,125 --> 01:07:16,645
Speaker 1: rare mockumentary Misfire. I think it's pretty general. We agreed,

1149
01:07:17,165 --> 01:07:22,165
Speaker 1: but O'Hara's actually one of the elements that works. She

1150
01:07:22,565 --> 01:07:26,325
Speaker 1: plays a career actress who becomes undone a little bit

1151
01:07:26,405 --> 01:07:31,125
Speaker 1: by this acclaim she receives during the Hollywood Award season.

1152
01:07:31,485 --> 01:07:33,845
Speaker 1: And you know, I haven't watched this. I don't think

1153
01:07:33,845 --> 01:07:36,285
Speaker 1: I've watched this twice, but I do wonder if there

1154
01:07:36,285 --> 01:07:39,325
Speaker 1: are maybe seeds of Moira Rose in some way in

1155
01:07:39,365 --> 01:07:43,645
Speaker 1: that character. So wouldn't recommend for your consideration necessarily to

1156
01:07:43,725 --> 01:07:46,045
Speaker 1: go catch up with. But I do think if you've

1157
01:07:46,085 --> 01:07:49,485
Speaker 1: seen everything else O'Hara has done and have not seen

1158
01:07:49,525 --> 01:07:52,045
Speaker 1: that because it didn't get great reviews, maybe check it out,

1159
01:07:52,085 --> 01:07:54,405
Speaker 1: because my memory is she is at least quite good

1160
01:07:54,405 --> 01:07:57,285
Speaker 1: in it. And then I will mention I listened to

1161
01:07:57,525 --> 01:08:01,125
Speaker 1: on occasion the Julia Louis Dreyfus podcast Wiser than Me,

1162
01:08:01,765 --> 01:08:04,365
Speaker 1: and she had maybe a year and a half ago,

1163
01:08:04,525 --> 01:08:07,565
Speaker 1: maybe it was a little longer. She had Catherine O'Hara

1164
01:08:07,645 --> 01:08:11,645
Speaker 1: on as a guest and just to listen to these

1165
01:08:11,805 --> 01:08:18,684
Speaker 1: two improvisational, you know, sketch comedians to talk about all

1166
01:08:18,724 --> 01:08:21,845
Speaker 1: sorts of stuff beyond the business. But you know that

1167
01:08:22,365 --> 01:08:26,485
Speaker 1: business stuff is just gold. So I would recommend tracking

1168
01:08:26,525 --> 01:08:29,845
Speaker 1: that conversation down. That podcast is called Wiser than Me.

1169
01:08:30,485 --> 01:08:32,804
Speaker 3: Yeah, that's a good pull. I definitely I wasn't aware

1170
01:08:32,845 --> 01:08:35,005
Speaker 3: of that, and I would like to hear it for me.

1171
01:08:35,805 --> 01:08:38,325
Speaker 3: Moyer Rose is definitely one, obviously, as I said, I

1172
01:08:38,405 --> 01:08:42,725
Speaker 3: considered she I think is maybe in the movie for

1173
01:08:42,845 --> 01:08:45,405
Speaker 3: only one scene, but it is as you would expect.

1174
01:08:45,445 --> 01:08:48,965
Speaker 3: A memorable scene The Paper, the Michael Keaton and Robert

1175
01:08:49,005 --> 01:08:51,885
Speaker 3: Duvall film from nineteen ninety four. She is in a

1176
01:08:51,885 --> 01:08:56,884
Speaker 3: scene where she's meeting Marissa Tomey, who is Michael Keaton's wife,

1177
01:08:57,605 --> 01:09:02,965
Speaker 3: for lunch in the daytime, and she's a former journalist herself,

1178
01:09:03,045 --> 01:09:05,685
Speaker 3: like Marissa Tomay's character who gave it up, you know,

1179
01:09:05,845 --> 01:09:08,645
Speaker 3: to kind of be there as the supportive wife to

1180
01:09:08,725 --> 01:09:11,165
Speaker 3: her husband, gave up her career to raise the kids,

1181
01:09:11,485 --> 01:09:14,365
Speaker 3: and as the camera in Marisa Tomey's point of view

1182
01:09:14,405 --> 01:09:18,285
Speaker 3: as her eyes keep noticing it's O'Hara's character who keeps

1183
01:09:18,285 --> 01:09:20,965
Speaker 3: filling the wineglass, you know, basically up to the top

1184
01:09:21,365 --> 01:09:23,885
Speaker 3: in the middle of the day, you know, and she's

1185
01:09:24,005 --> 01:09:26,365
Speaker 3: she's a little bit of cerbic there in that scene.

1186
01:09:26,445 --> 01:09:28,764
Speaker 3: Let's just say she's not too happy about the choices

1187
01:09:29,165 --> 01:09:32,764
Speaker 3: that she has made. And in addition to Shit's Creek.

1188
01:09:32,805 --> 01:09:35,725
Speaker 3: From a TV standpoint, you know, she did win for

1189
01:09:36,125 --> 01:09:39,885
Speaker 3: the Studio as Patty Lee. And I haven't seen all

1190
01:09:39,925 --> 01:09:42,085
Speaker 3: of The Studio. I haven't finished that season, but I

1191
01:09:42,125 --> 01:09:46,644
Speaker 3: have seen enough episodes to really enjoy her performance as

1192
01:09:46,685 --> 01:09:49,685
Speaker 3: Patty and that I did want to even though I

1193
01:09:49,725 --> 01:09:51,845
Speaker 3: haven't seen it at all. But in a lot of

1194
01:09:51,885 --> 01:09:59,365
Speaker 3: remembrances of O'Hara her performance as another another Gale, I

1195
01:09:59,445 --> 01:10:03,604
Speaker 3: believe in the Last of Us, Josh is someone who

1196
01:10:04,205 --> 01:10:06,405
Speaker 3: gets called out in a fair number of you know,

1197
01:10:06,525 --> 01:10:12,285
Speaker 3: top ten O'Hara characters and in or on one website

1198
01:10:12,605 --> 01:10:17,165
Speaker 3: a list that paid tribute to her Consequence of Sound,

1199
01:10:17,645 --> 01:10:20,405
Speaker 3: they said this O'Hara got an Emmy nomination for her

1200
01:10:20,445 --> 01:10:23,485
Speaker 3: portrayal the therapist who has no interest in healing herself

1201
01:10:23,525 --> 01:10:25,844
Speaker 3: after the death of her husband, a death she blames

1202
01:10:26,245 --> 01:10:29,125
Speaker 3: Joel Pedro Pascal for as lovely and Sonny as her

1203
01:10:29,125 --> 01:10:31,205
Speaker 3: onscreen persona could be the role of Gail was a

1204
01:10:31,205 --> 01:10:34,125
Speaker 3: powerful reminder of how much deep emotion she brought to

1205
01:10:34,165 --> 01:10:36,485
Speaker 3: her work. Not to mention her talent, for here's the

1206
01:10:36,485 --> 01:10:39,445
Speaker 3: word of Cerbic for her. For a cerbic turns of phrase.

1207
01:10:39,725 --> 01:10:42,485
Speaker 3: Your heart broke for Gail and you also related to her,

1208
01:10:42,725 --> 01:10:45,285
Speaker 3: no fucks to give any more attitude. The Last of

1209
01:10:45,365 --> 01:10:48,685
Speaker 3: Us both some memorable performances, and O'Hara's tender Emmy nominated

1210
01:10:48,685 --> 01:10:50,925
Speaker 3: turn as Gail is no exception. So if you're looking

1211
01:10:50,965 --> 01:10:56,005
Speaker 3: for a it sounds like almost deadly serious performance from O'Hara.

1212
01:10:56,085 --> 01:10:59,405
Speaker 3: The Last of Us maybe one to check out. And

1213
01:10:59,445 --> 01:11:03,365
Speaker 3: once again, those are our top five Catherine O'Hara performances.

1214
01:11:03,405 --> 01:11:05,445
Speaker 3: You can check out our lists and the scenes we

1215
01:11:05,565 --> 01:11:09,205
Speaker 3: mention links to those on YouTube by going to film

1216
01:11:09,245 --> 01:11:12,365
Speaker 3: spotting dot net slash list.

1217
01:11:12,965 --> 01:11:16,165
Speaker 1: Let's take a moment to thank our film Spotting family

1218
01:11:16,205 --> 01:11:19,125
Speaker 1: members for their support of the show. We want to

1219
01:11:19,205 --> 01:11:25,285
Speaker 1: especially thank Maggie Gilmore for Wichita and Brad in Vancouver Island, Canada.

1220
01:11:25,685 --> 01:11:29,165
Speaker 1: Brad included an exclamation point there at the end of Canada.

1221
01:11:29,245 --> 01:11:32,525
Speaker 1: Sure we'll give Canada an exclamation point, Maggie wrote in

1222
01:11:32,565 --> 01:11:34,445
Speaker 1: this I know I've been a listener for at least

1223
01:11:34,485 --> 01:11:36,205
Speaker 1: eight years, but I can't, for the life of me,

1224
01:11:36,325 --> 01:11:39,405
Speaker 1: remember how I found Film Spotting. I'm also a longtime

1225
01:11:39,405 --> 01:11:42,764
Speaker 1: listener of Sillier movie podcasts, The Flophouse and Doug Love's Movies,

1226
01:11:42,885 --> 01:11:46,205
Speaker 1: so I probably stumbled across Film Spotting on a recommendation

1227
01:11:46,285 --> 01:11:49,245
Speaker 1: list and haven't looked back since. One early episode I

1228
01:11:49,285 --> 01:11:53,085
Speaker 1: remember really enjoying was The Florida Project, because that film

1229
01:11:53,205 --> 01:11:55,885
Speaker 1: shot up to one of my all time favorites after

1230
01:11:55,925 --> 01:11:59,365
Speaker 1: watching it based on your review. Love hearing that. Maggie

1231
01:11:59,405 --> 01:12:03,885
Speaker 1: Brad also shared a bit here circus twenty seventeen, What

1232
01:12:04,005 --> 01:12:06,525
Speaker 1: an awesome year for film I stumbled upon the pod

1233
01:12:06,645 --> 01:12:11,365
Speaker 1: after seeking out recommendations on Reddit. The Phantom Thread review

1234
01:12:11,485 --> 01:12:14,485
Speaker 1: stands out in retrospect. I was working at an independent

1235
01:12:14,565 --> 01:12:17,165
Speaker 1: two screen cinema at the time it was showing, and

1236
01:12:17,205 --> 01:12:20,165
Speaker 1: your insights and perspectives helped it climb the ranks of

1237
01:12:20,205 --> 01:12:23,445
Speaker 1: my personal all time favorites. Wonderful.

1238
01:12:23,845 --> 01:12:27,205
Speaker 3: Maggie says her favorite show segment is Film Spotting Madness.

1239
01:12:27,245 --> 01:12:29,085
Speaker 3: It's a favorite every year because there's nothing I love

1240
01:12:29,125 --> 01:12:31,525
Speaker 3: more than an excuse to make a list and check

1241
01:12:31,645 --> 01:12:34,724
Speaker 3: things off of it. Oh, Maggie, we should get together

1242
01:12:34,765 --> 01:12:38,165
Speaker 3: and go bowling sometime. Brad says, I treasure the year

1243
01:12:38,245 --> 01:12:40,644
Speaker 3: end top ten lists such a wide variety of films,

1244
01:12:40,925 --> 01:12:43,485
Speaker 3: and it's always a joy to discover new favorites.

1245
01:12:44,765 --> 01:12:46,965
Speaker 1: We asked them both if they had a random favorite

1246
01:12:46,965 --> 01:12:52,245
Speaker 1: film or filmmaker. Maggie suggested strictly. Ballroom said, I think

1247
01:12:52,325 --> 01:12:56,525
Speaker 1: it's an underrated boz lerman Jem. For Brad, he's going

1248
01:12:56,805 --> 01:13:01,525
Speaker 1: with a Charlie Kaufman. He's going with Charlie Kaufman, saying

1249
01:13:01,645 --> 01:13:05,845
Speaker 1: I love my existential dread and yeah, maybe there's a

1250
01:13:05,845 --> 01:13:11,485
Speaker 1: good time to note Adam that, speaking of actors passing,

1251
01:13:11,605 --> 01:13:15,245
Speaker 1: veteran character actor Tom Noonan news that he died and

1252
01:13:15,445 --> 01:13:18,805
Speaker 1: Tom Noonan appeared in two Kaufman films, Senecticky New York

1253
01:13:18,965 --> 01:13:22,925
Speaker 1: and A Noma Lisa, the voice of I think all

1254
01:13:22,965 --> 01:13:26,285
Speaker 1: the characters in a Nomaly. That sounds right. It's been

1255
01:13:26,325 --> 01:13:33,165
Speaker 1: a long time, pretty remarkable concept that Noonan made work brilliantly.

1256
01:13:33,885 --> 01:13:38,645
Speaker 3: He is Francis Dollide aka the Tooth Fairy and Manhunter,

1257
01:13:38,725 --> 01:13:41,564
Speaker 3: and he's Kelso, the wheelchair bound Hacker and heat he

1258
01:13:41,685 --> 01:13:44,485
Speaker 3: was in ty West House of the Devil and Last

1259
01:13:44,525 --> 01:13:48,045
Speaker 3: Action Hero RoboCop two. He's in Jarmish's Mystery Train Man

1260
01:13:48,085 --> 01:13:52,045
Speaker 3: Heaven's Gate in that infamous movie. And Todd Haynes Wonderstruck

1261
01:13:52,085 --> 01:13:56,405
Speaker 3: as well, a very very memorable character actor and sad

1262
01:13:56,485 --> 01:13:59,645
Speaker 3: too to hear that news. Sam shared this with me,

1263
01:13:59,725 --> 01:14:02,165
Speaker 3: and for some reason I came across it recently. I

1264
01:14:02,165 --> 01:14:04,525
Speaker 3: think I think I actually played it, maybe Josh in

1265
01:14:04,565 --> 01:14:07,764
Speaker 3: a class for for some reason where I was talking

1266
01:14:07,805 --> 01:14:10,725
Speaker 3: about Senectic Key, New York. I played the scene if

1267
01:14:10,765 --> 01:14:13,005
Speaker 3: you can find it on YouTube, the scene that's the

1268
01:14:13,045 --> 01:14:18,005
Speaker 3: audition scene where he is playing he's auditioning to play

1269
01:14:18,005 --> 01:14:21,925
Speaker 3: the role of the Philip Seymour Hoffman character and how

1270
01:14:21,925 --> 01:14:23,165
Speaker 3: he's going to embody him.

1271
01:14:23,205 --> 01:14:25,845
Speaker 1: And it is it is something. It's it's really good.

1272
01:14:26,125 --> 01:14:28,564
Speaker 3: A movie you credit with becoming a cinophile. Maggie says,

1273
01:14:28,645 --> 01:14:31,884
Speaker 3: I distinctly remember coming back from winter Break in January

1274
01:14:31,965 --> 01:14:35,045
Speaker 3: two thousand and two, after having my mind blown by

1275
01:14:35,085 --> 01:14:38,245
Speaker 3: the Fellowship of the Rings and being deeply disappointed that

1276
01:14:38,245 --> 01:14:41,085
Speaker 3: none of my fellow sixth graders had any idea what

1277
01:14:41,165 --> 01:14:45,845
Speaker 3: I was talking about. Yeah, kids, Brad says, Okay, I

1278
01:14:45,885 --> 01:14:51,405
Speaker 3: love this fifty to fifty. I'm so serious. Everybody listening

1279
01:14:51,525 --> 01:14:54,805
Speaker 3: right now is typing into their computer or phone. What's

1280
01:14:54,925 --> 01:14:58,804
Speaker 3: fifty to fifty? Yes, the Joseph Gordon Levitt Seth Rogan movie.

1281
01:14:59,205 --> 01:15:03,485
Speaker 3: And Sam Sam notes here that last week a family

1282
01:15:03,485 --> 01:15:05,725
Speaker 3: member had the Gordon Levit starting. Yes, that's true, five

1283
01:15:05,765 --> 01:15:08,085
Speaker 3: hundred days a summer in this slot. I do remember that, Sam,

1284
01:15:08,445 --> 01:15:09,724
Speaker 3: And here we have fifty to fifty.

1285
01:15:09,925 --> 01:15:10,205
Speaker 1: Now.

1286
01:15:10,285 --> 01:15:13,365
Speaker 3: I do remember talking about fifty to fifty. I think

1287
01:15:13,405 --> 01:15:16,885
Speaker 3: I may have even given it a recommendation, maybe a

1288
01:15:16,925 --> 01:15:18,605
Speaker 3: mild one, but a recommendation.

1289
01:15:18,885 --> 01:15:19,604
Speaker 1: Fifty to fifty.

1290
01:15:19,605 --> 01:15:22,285
Speaker 3: Those one of those films Josh to compile a list

1291
01:15:22,285 --> 01:15:26,885
Speaker 3: someday of the like the movies that time forgot on

1292
01:15:26,965 --> 01:15:29,445
Speaker 3: film spotting, You know, movies that you just sort of go,

1293
01:15:30,285 --> 01:15:32,605
Speaker 3: really that was that was a film. You know, you

1294
01:15:32,845 --> 01:15:35,685
Speaker 3: almost don't remember that it ever came out, that you

1295
01:15:35,805 --> 01:15:38,925
Speaker 3: talked about it, that you reviewed it. But when someone

1296
01:15:39,205 --> 01:15:42,085
Speaker 3: says it, you go, oh, yeah, I think that was

1297
01:15:42,125 --> 01:15:44,724
Speaker 3: a thing. Well apparently it was a thing. Brad remembers

1298
01:15:44,765 --> 01:15:45,765
Speaker 3: it is.

1299
01:15:46,005 --> 01:15:48,965
Speaker 1: This is why I have my Larson Film website. It

1300
01:15:49,005 --> 01:15:51,325
Speaker 1: may be public facing, Adam, but it's really for me

1301
01:15:51,565 --> 01:15:55,525
Speaker 1: so I can answer such questions. And this I did.

1302
01:15:55,565 --> 01:15:57,685
Speaker 1: Remember this was a cancer drama. I knew that when

1303
01:15:57,685 --> 01:16:01,765
Speaker 1: I heard the title. Okay, and apparently big fan three

1304
01:16:01,805 --> 01:16:03,405
Speaker 1: and a half out of four stars, three and a half,

1305
01:16:03,445 --> 01:16:07,525
Speaker 1: I said it was deeply affecting and admirably even keeled.

1306
01:16:07,685 --> 01:16:10,764
Speaker 1: So there you go. Fifty to fifty Okay.

1307
01:16:11,005 --> 01:16:13,485
Speaker 3: Thank you Maggie and Brad for being family members and

1308
01:16:13,525 --> 01:16:15,605
Speaker 3: for all of those years of listening. If you'd like

1309
01:16:15,645 --> 01:16:18,285
Speaker 3: to follow them on letterbox, you can follow Maggie. She

1310
01:16:18,445 --> 01:16:22,885
Speaker 3: is Maggie Gilmore and Brad is be Rad. I think

1311
01:16:22,925 --> 01:16:25,005
Speaker 3: you get the gist with both of their names there.

1312
01:16:25,245 --> 01:16:27,604
Speaker 3: In addition to keeping us doing what we're doing, membership

1313
01:16:27,645 --> 01:16:29,525
Speaker 3: does come with perks. You get to listen early in

1314
01:16:29,565 --> 01:16:31,925
Speaker 3: ad free, you get our weekly newsletter, you get to

1315
01:16:31,965 --> 01:16:34,325
Speaker 3: be part of the film Spotting Family discord, and you

1316
01:16:34,365 --> 01:16:38,445
Speaker 3: get monthly bonus shows. Just earlier this week, you got

1317
01:16:38,485 --> 01:16:43,405
Speaker 3: our conversation with producer Sam about a Kira Kurasawa's Drunken Angel,

1318
01:16:43,765 --> 01:16:46,005
Speaker 3: a blind spot for all three of us, we're all

1319
01:16:46,005 --> 01:16:50,085
Speaker 3: pretty happy that we did finally see that movie. Not

1320
01:16:50,205 --> 01:16:57,045
Speaker 3: surprisingly pretty good film with Toshiro Maffune. Yeah, we went

1321
01:16:57,045 --> 01:17:00,005
Speaker 3: for it spoilers. More information about joining the Film Spotting

1322
01:17:00,045 --> 01:17:04,005
Speaker 3: Family is available at film Spottingfamily dot com, and you

1323
01:17:04,005 --> 01:17:07,165
Speaker 3: can also help out the show by rating or reviewing

1324
01:17:07,245 --> 01:17:10,765
Speaker 3: us at Apple Podcasts or Spotify. Go ahead, just take

1325
01:17:10,805 --> 01:17:12,445
Speaker 3: a second, just click five stars.

1326
01:17:12,485 --> 01:17:17,525
Speaker 1: Why not? We thought you up.

1327
01:17:21,125 --> 01:17:31,325
Speaker 3: All the pigo. Next week here on the show Josh,

1328
01:17:31,325 --> 01:17:35,765
Speaker 3: we will continue our Film Spotting Pantheon project homework with

1329
01:17:35,845 --> 01:17:41,005
Speaker 3: the Kira Kurosawa's Raschoman. The director is nineteen fifty masterpiece.

1330
01:17:41,045 --> 01:17:43,525
Speaker 3: This is one we have both seen, though it has

1331
01:17:43,605 --> 01:17:47,045
Speaker 3: probably been a while. It is the second of three

1332
01:17:47,085 --> 01:17:50,285
Speaker 3: films that we are taking another look at before they

1333
01:17:50,365 --> 01:17:55,405
Speaker 3: become officially eligible for the Pantheon. I believe it was

1334
01:17:56,125 --> 01:18:01,165
Speaker 3: producer Sam who nominated this as as a marathon movie,

1335
01:18:01,525 --> 01:18:06,445
Speaker 3: a former marathon titled It Bounds. He wants to be eligible,

1336
01:18:06,485 --> 01:18:10,165
Speaker 3: He wants it to be considered for the Pantheon. Nine

1337
01:18:10,245 --> 01:18:13,005
Speaker 3: total nominees is how we do it now. Six have

1338
01:18:13,085 --> 01:18:15,645
Speaker 3: been reviewed on the show, discussed in depth by the

1339
01:18:15,685 --> 01:18:18,045
Speaker 3: two of us, But then we have three that haven't.

1340
01:18:18,285 --> 01:18:20,365
Speaker 3: Maybe they've been talked about on the show before and

1341
01:18:20,405 --> 01:18:23,525
Speaker 3: it's twenty years history but not really been dug into

1342
01:18:23,565 --> 01:18:26,205
Speaker 3: by the two of us and Rashomon's one of those

1343
01:18:26,205 --> 01:18:29,285
Speaker 3: two films, and one of those other films was John

1344
01:18:29,325 --> 01:18:31,925
Speaker 3: Ford's How Green Was My Valley, But we took care

1345
01:18:31,965 --> 01:18:36,205
Speaker 3: of that on our last show, Josh, and I'm looking

1346
01:18:36,205 --> 01:18:38,805
Speaker 3: at that film spotting family Discord. I don't know, it's

1347
01:18:38,845 --> 01:18:40,685
Speaker 3: only a couple posts, but we seem to be kind

1348
01:18:40,685 --> 01:18:43,245
Speaker 3: of in the minority in terms of how much we

1349
01:18:43,685 --> 01:18:44,804
Speaker 3: enjoyed that film.

1350
01:18:45,125 --> 01:18:46,965
Speaker 1: I mean, I think we just need a few more

1351
01:18:46,965 --> 01:18:50,485
Speaker 1: people to watch How Green Was My Valley. I know

1352
01:18:50,645 --> 01:18:53,604
Speaker 1: those who didn't quite go for it have seen it,

1353
01:18:54,045 --> 01:18:57,925
Speaker 1: but yeah, I was so heartened by your really enthusiastic

1354
01:18:58,045 --> 01:18:59,805
Speaker 1: response to it that I think there have to be

1355
01:18:59,845 --> 01:19:02,405
Speaker 1: others who would enjoy it quite as much. And it matters,

1356
01:19:02,485 --> 01:19:07,365
Speaker 1: right we put these Pantheon eligible films to a vote

1357
01:19:07,405 --> 01:19:10,645
Speaker 1: to decide which two. At the end of this process,

1358
01:19:10,845 --> 01:19:13,525
Speaker 1: in I don't know, maybe a month or so, we'll

1359
01:19:13,525 --> 01:19:15,685
Speaker 1: put it to a vote and see which two of

1360
01:19:15,845 --> 01:19:19,885
Speaker 1: these nine nominees actually get in. So, yeah, watch the

1361
01:19:19,925 --> 01:19:23,165
Speaker 1: movies that were actual discussing on the show. Heck, watch

1362
01:19:23,165 --> 01:19:25,405
Speaker 1: all nine if you want, if you have time and

1363
01:19:25,485 --> 01:19:28,005
Speaker 1: be an informed voter, and yeah, let us know what

1364
01:19:28,045 --> 01:19:29,765
Speaker 1: you think about how green was my value? If you've

1365
01:19:29,765 --> 01:19:31,245
Speaker 1: never seen it before, let us know what you think

1366
01:19:31,245 --> 01:19:34,325
Speaker 1: about Raschaman if you watch it a second or third

1367
01:19:34,365 --> 01:19:37,765
Speaker 1: time in preparation for our discussion next week, you can

1368
01:19:37,805 --> 01:19:38,085
Speaker 1: do that.

1369
01:19:38,725 --> 01:19:42,685
Speaker 3: Watch Raschoman on the Criterion Channel, also HBO Max and

1370
01:19:42,965 --> 01:19:48,804
Speaker 3: available on other platforms. Vod Our plan next week tying

1371
01:19:48,845 --> 01:19:53,285
Speaker 3: in with Raschoman is to share our top five unreliable narrators.

1372
01:19:53,325 --> 01:19:55,764
Speaker 3: Turns out, in the twenty plus year history of the show,

1373
01:19:56,365 --> 01:20:00,045
Speaker 3: we have done our top five movies with narrators. That

1374
01:20:00,205 --> 01:20:02,885
Speaker 3: was done in like the first year or two of

1375
01:20:02,925 --> 01:20:06,445
Speaker 3: film spotting, but we have never devoted a top five

1376
01:20:06,525 --> 01:20:08,565
Speaker 3: to unreliable narrators.

1377
01:20:08,605 --> 01:20:10,604
Speaker 1: I think it'll be good. Who would have thought there

1378
01:20:10,645 --> 01:20:13,604
Speaker 1: was still an obvious top five that we could tackle

1379
01:20:14,125 --> 01:20:17,645
Speaker 1: for a show. And can we have a quick on

1380
01:20:17,725 --> 01:20:23,365
Speaker 1: air production meeting? Yes? Clarification, okay, top five unreliable narrators?

1381
01:20:23,445 --> 01:20:28,245
Speaker 1: Are we choosing the actual narrators or are we choosing

1382
01:20:28,245 --> 01:20:32,845
Speaker 1: the films? So, because that really good question makes a

1383
01:20:32,885 --> 01:20:35,565
Speaker 1: distinction for which way I go, I don't have a

1384
01:20:35,605 --> 01:20:39,685
Speaker 1: preference necessarily. I have not started.

1385
01:20:39,285 --> 01:20:44,085
Speaker 3: Forming my list, so I have not faced this conundrum myself.

1386
01:20:44,605 --> 01:20:47,885
Speaker 3: But my initial response Josh is this is one of

1387
01:20:47,925 --> 01:20:52,764
Speaker 3: those cases where unreliable narrators is more fun and easy

1388
01:20:52,765 --> 01:20:56,805
Speaker 3: to say than unreliable narrator movies. But yeah, I think

1389
01:20:56,845 --> 01:21:00,885
Speaker 3: we're talking about the movies, not the narrators. Okay, that's

1390
01:21:00,925 --> 01:21:03,165
Speaker 3: that's how I think. But I also know that, like

1391
01:21:03,565 --> 01:21:06,684
Speaker 3: Sam's probably now listening to this, going, no, you're wrong, Adam,

1392
01:21:07,405 --> 01:21:10,205
Speaker 3: of course, it's the characters that are more interesting, and

1393
01:21:10,485 --> 01:21:12,925
Speaker 3: we'll change our mind by the time we actually record

1394
01:21:12,925 --> 01:21:14,205
Speaker 3: the next shows.

1395
01:21:14,565 --> 01:21:19,365
Speaker 1: What do you think it's very possible? I think my

1396
01:21:19,485 --> 01:21:21,684
Speaker 1: instinct was to think of it the same way you did,

1397
01:21:21,805 --> 01:21:24,005
Speaker 1: because yes, we have many top fives where you just

1398
01:21:24,045 --> 01:21:28,045
Speaker 1: don't tag movies on the end. I also think I

1399
01:21:28,165 --> 01:21:31,205
Speaker 1: like the freedom of that, because there's no reason you

1400
01:21:31,285 --> 01:21:36,604
Speaker 1: can't choose a top five unreliable narrator movie and focus

1401
01:21:36,645 --> 01:21:41,285
Speaker 1: on the actual narrator. Whereas, if we say it has

1402
01:21:41,365 --> 01:21:44,165
Speaker 1: to be your the narrator we're choosing, that's kind of

1403
01:21:44,205 --> 01:21:46,604
Speaker 1: like what you have to you know what I mean.

1404
01:21:46,605 --> 01:21:49,604
Speaker 1: It's almost like a character versus movie. And I think

1405
01:21:49,645 --> 01:21:51,805
Speaker 1: what might be more interesting for a list like this

1406
01:21:51,925 --> 01:21:55,325
Speaker 1: is to talk about how the movies as a whole

1407
01:21:55,405 --> 01:21:59,485
Speaker 1: are unreliable. Agree, and the narrator is obviously the most

1408
01:21:59,485 --> 01:22:02,764
Speaker 1: crucial part of that. But you know, maybe the narrator

1409
01:22:02,805 --> 01:22:06,245
Speaker 1: is unreliable in a different way that the movie is unreliable,

1410
01:22:06,365 --> 01:22:08,685
Speaker 1: and so there's just more places to go.

1411
01:22:08,845 --> 01:22:11,885
Speaker 3: Maybe I initially agree, and I think that's how we

1412
01:22:11,925 --> 01:22:12,605
Speaker 3: should approach it.

1413
01:22:12,725 --> 01:22:14,445
Speaker 1: Let's we will, we will.

1414
01:22:14,565 --> 01:22:18,525
Speaker 3: Let's get our supposal to say, yeah, okay, we'll plan

1415
01:22:18,605 --> 01:22:21,684
Speaker 3: on that. You can send your initial picks to feedback

1416
01:22:21,685 --> 01:22:23,925
Speaker 3: at film spotting dot net, and you know, do it,

1417
01:22:24,005 --> 01:22:26,685
Speaker 3: do it soon, because we will take any help that

1418
01:22:26,725 --> 01:22:30,125
Speaker 3: we can get. In two weeks the weekend right before

1419
01:22:30,205 --> 01:22:35,205
Speaker 3: the Oscars, we will drop our Oscar special with Michael Phillips.

1420
01:22:35,205 --> 01:22:37,445
Speaker 3: Who will win, who should win, and who should have

1421
01:22:37,445 --> 01:22:40,085
Speaker 3: been nominated? You get a say in all of this too.

1422
01:22:40,165 --> 01:22:42,285
Speaker 3: You can go to film spotting dot net right now

1423
01:22:42,365 --> 01:22:47,845
Speaker 3: and submit your official Film Spotting Ranked Choice Best Picture ballot.

1424
01:22:48,205 --> 01:22:50,965
Speaker 3: It is right there, a link on the main page.

1425
01:22:51,005 --> 01:22:55,085
Speaker 3: We will announce the winner with all due solemnity on

1426
01:22:55,445 --> 01:22:58,005
Speaker 3: that Oscars special. Have you submitted yours?

1427
01:22:58,125 --> 01:23:01,485
Speaker 1: Josh? I have not. No, Okay, I wait till the

1428
01:23:01,525 --> 01:23:02,325
Speaker 1: last one I have neither.

1429
01:23:02,725 --> 01:23:04,805
Speaker 3: You wait, you wait until the end Procrastinator.

1430
01:23:04,845 --> 01:23:05,125
Speaker 1: Okay.

1431
01:23:05,645 --> 01:23:07,885
Speaker 3: To get a glimpse of what we have planned for

1432
01:23:07,925 --> 01:23:10,325
Speaker 3: future episodes, you can go to film Spotting dot Net

1433
01:23:10,365 --> 01:23:13,605
Speaker 3: and click on episodes right there at the top of

1434
01:23:13,645 --> 01:23:14,005
Speaker 3: the page.

1435
01:23:14,445 --> 01:23:17,564
Speaker 1: There's been a lot of nineties nostalgia going on at

1436
01:23:17,885 --> 01:23:20,805
Speaker 1: at our sister podcast, The Next Picture Show, Looking at

1437
01:23:20,805 --> 01:23:25,405
Speaker 1: Some was present via its past. It's their pop classics pairing,

1438
01:23:25,805 --> 01:23:30,605
Speaker 1: so they first delved into Boz Luhrmann's Romeo plus Juliet

1439
01:23:30,765 --> 01:23:35,445
Speaker 1: nineteen ninety six. Man, I think I kind of want

1440
01:23:35,445 --> 01:23:39,805
Speaker 1: to watch that again now after hearing their discussion. Of course,

1441
01:23:39,805 --> 01:23:44,485
Speaker 1: they're pairing this with Wathering Heights, which we reviewed recently

1442
01:23:44,565 --> 01:23:47,525
Speaker 1: on the show. It's kind of an inspired pairing, especially

1443
01:23:47,645 --> 01:23:50,965
Speaker 1: if you've seen Weathering Heights. So yeah, I've enjoyed that

1444
01:23:51,005 --> 01:23:54,405
Speaker 1: first episode. The Wathering Heights one is out now, so

1445
01:23:54,445 --> 01:23:56,165
Speaker 1: you can listen to these back to back if you

1446
01:23:56,285 --> 01:23:58,644
Speaker 1: so choose. New episodes of The Next Picture Show drop

1447
01:23:58,725 --> 01:24:01,604
Speaker 1: every Tuesday and you can find them wherever you get

1448
01:24:01,645 --> 01:24:05,325
Speaker 1: your podcasts. Okay, time now for Massacre Theater, where Adam

1449
01:24:05,365 --> 01:24:07,564
Speaker 1: and I perform a scene and you get a chance

1450
01:24:07,605 --> 01:24:11,325
Speaker 1: to win a Film Spotting prize. Last time we mascreed

1451
01:24:11,445 --> 01:24:12,005
Speaker 1: this scene.

1452
01:24:12,325 --> 01:24:13,205
Speaker 2: I can't do this.

1453
01:24:13,685 --> 01:24:18,645
Speaker 1: Sure you come there. That's my queen right here we go.

1454
01:24:20,245 --> 01:24:22,325
Speaker 2: I'm not wanting to get I want to stay single

1455
01:24:22,365 --> 01:24:23,845
Speaker 2: and let my hair from the wind.

1456
01:24:23,845 --> 01:24:27,485
Speaker 1: Does I ride through the glen firing odors into the sunset.

1457
01:24:28,005 --> 01:24:31,325
Speaker 1: That was Billy Connelly and Ama Thompson in twenty twelve's Brave,

1458
01:24:31,405 --> 01:24:36,085
Speaker 1: written by Mark andrews Irene Metchi, Steve Purcell and Brenda Chapman,

1459
01:24:36,245 --> 01:24:39,724
Speaker 1: directed by Chapman and andrews Our Massacre of that scene

1460
01:24:39,805 --> 01:24:43,685
Speaker 1: was part of our train spotting at thirty show. We

1461
01:24:43,765 --> 01:24:47,525
Speaker 1: also shared our Pantheon nominees on that episode, and there's

1462
01:24:47,525 --> 01:24:49,965
Speaker 1: always a tie in. So why that scene from Brave.

1463
01:24:50,405 --> 01:24:55,365
Speaker 3: Here's Daniel Fuguccio in Blue Mountains that's west of Sydney, Australia.

1464
01:24:55,445 --> 01:24:58,885
Speaker 3: Sounds lovely, he says, been a listener and supporter at

1465
01:24:58,885 --> 01:25:01,885
Speaker 3: one stage. I was labeled beyond platinum. Thank you Daniel

1466
01:25:02,125 --> 01:25:03,925
Speaker 3: for twenty odd years, and I think this may be

1467
01:25:04,045 --> 01:25:06,485
Speaker 3: the first time I've entered Massacre theater. I think it

1468
01:25:06,565 --> 01:25:09,525
Speaker 3: is Eleanor, Emma Thompson and Ferguson. Billy Connolly, You're right

1469
01:25:09,645 --> 01:25:13,045
Speaker 3: in Disney. Pixar's Brave. They are discussing their daughter Meredith

1470
01:25:13,205 --> 01:25:17,205
Speaker 3: Kelly McDonald and there's your Train Spotting link, fierce independent streak.

1471
01:25:17,445 --> 01:25:19,405
Speaker 3: The funny thing is I watched this just two days

1472
01:25:19,445 --> 01:25:21,325
Speaker 3: ago as I decided I wanted to go back to

1473
01:25:21,365 --> 01:25:24,725
Speaker 3: my favorite Pixar films, and this is one of my favorite.

1474
01:25:24,925 --> 01:25:28,525
Speaker 1: All Right, nice taste, Daniel. Here's Josh Glover from West Fargo,

1475
01:25:28,645 --> 01:25:32,604
Speaker 1: North Dakota. Tie ins include Kevin McKidd, who is in

1476
01:25:32,685 --> 01:25:36,165
Speaker 1: both films as Tommy and Train Spotting and the voice

1477
01:25:36,165 --> 01:25:38,645
Speaker 1: of Lord mcguffin and Brave. I didn't Yeah, we knew that.

1478
01:25:38,685 --> 01:25:43,045
Speaker 1: Gosh huh voiced? Did you know this one, Adam? I'm

1479
01:25:43,045 --> 01:25:46,165
Speaker 1: sure you did. McKidd also voiced the character of Fenn

1480
01:25:46,285 --> 01:25:50,525
Speaker 1: Rau in the Star Wars Rebels series, which features the

1481
01:25:50,565 --> 01:25:55,445
Speaker 1: final final battle between Darth Maul and one Obi Wan Kenobi, who,

1482
01:25:55,965 --> 01:25:58,125
Speaker 1: while not voiced by him there, was played in the

1483
01:25:58,165 --> 01:26:01,405
Speaker 1: live action pre boots of the Star Wars the Clone

1484
01:26:01,405 --> 01:26:04,405
Speaker 1: Wars series by Ewan McGregor, who is also in Train Spotty.

1485
01:26:04,605 --> 01:26:07,564
Speaker 1: Also maybe because I'm a big train I'm a big

1486
01:26:07,605 --> 01:26:08,205
Speaker 1: Rebels guy.

1487
01:26:08,325 --> 01:26:10,045
Speaker 3: Yeah, it's my favorite of all the series.

1488
01:26:10,165 --> 01:26:13,885
Speaker 1: I was good go by, but sorry to not allow

1489
01:26:13,925 --> 01:26:18,245
Speaker 1: you space to say that. Also, Josh continues, maybe because

1490
01:26:18,285 --> 01:26:21,365
Speaker 1: both Train Spotting and Brave are set in Scottland, and

1491
01:26:21,445 --> 01:26:24,804
Speaker 1: Kelly McDonald is in both as Diane and the voice

1492
01:26:24,845 --> 01:26:28,165
Speaker 1: of Mereda, the name of which was changed to Carla

1493
01:26:28,245 --> 01:26:31,445
Speaker 1: Jean in the homage to her for No Country for

1494
01:26:31,605 --> 01:26:34,405
Speaker 1: Old Men character, That is correct.

1495
01:26:34,405 --> 01:26:38,205
Speaker 3: Here's Dan Wright in Saint Louis. He says, Josh, great

1496
01:26:38,245 --> 01:26:41,325
Speaker 3: accent work this week. It ends with the question mark

1497
01:26:41,445 --> 01:26:42,125
Speaker 3: I don't know why.

1498
01:26:42,445 --> 01:26:44,604
Speaker 1: I think that's I think that's supposed to be an

1499
01:26:44,605 --> 01:26:47,405
Speaker 1: exclamation point like in Canada. Yeah, it's a typo.

1500
01:26:47,965 --> 01:26:50,564
Speaker 3: This week's Masacar Theater is Pixar's Brave, a movie I

1501
01:26:50,565 --> 01:26:51,965
Speaker 3: loved when I saw in the theater and have not

1502
01:26:52,045 --> 01:26:54,405
Speaker 3: put much thought into it. Sense it might be time

1503
01:26:54,445 --> 01:26:56,765
Speaker 3: for a revisit. Well, there you go, Like Daniel, why

1504
01:26:56,765 --> 01:26:57,644
Speaker 3: not one.

1505
01:26:57,445 --> 01:27:01,005
Speaker 1: More common here from Dylan dom and Blair Nebraska. It's

1506
01:27:01,125 --> 01:27:06,005
Speaker 1: Josh's beloved and boring. Sorry, Josh, brave ouch. I'd love

1507
01:27:06,005 --> 01:27:09,604
Speaker 1: to hear Joshua Adam take on Kelly McDonald's No Country

1508
01:27:09,645 --> 01:27:11,804
Speaker 1: for Old Men accent next.

1509
01:27:12,125 --> 01:27:17,405
Speaker 3: That might be more painful than Scottish West Texas.

1510
01:27:16,605 --> 01:27:19,925
Speaker 1: Someday, Dylan, you might, you might get your dream.

1511
01:27:20,085 --> 01:27:23,765
Speaker 3: All right, the hat pretty brimming, Josh, This one, I

1512
01:27:23,765 --> 01:27:27,205
Speaker 3: guess was fairly easy. Go ahead, reach into it and

1513
01:27:27,285 --> 01:27:28,724
Speaker 3: pick out this week's winner.

1514
01:27:29,045 --> 01:27:31,845
Speaker 1: Our winner is Abby from Denton, Texas.

1515
01:27:32,605 --> 01:27:35,325
Speaker 3: I love that Abby won, Josh, because, if I'm remembering

1516
01:27:35,405 --> 01:27:39,285
Speaker 3: her email correctly, she's actually this this may anger some people.

1517
01:27:39,445 --> 01:27:42,165
Speaker 3: She's actually not really a Film Spotting listener. It's her

1518
01:27:42,245 --> 01:27:45,005
Speaker 3: husband who listens to the show. She just likes to

1519
01:27:45,045 --> 01:27:46,245
Speaker 3: listen to Massacre Theater.

1520
01:27:46,725 --> 01:27:47,845
Speaker 1: She's a listener to the show.

1521
01:27:47,925 --> 01:27:51,125
Speaker 3: Then I guess that counts right, and she she won

1522
01:27:51,205 --> 01:27:53,884
Speaker 3: her husband a prize in this case, come on.

1523
01:27:54,205 --> 01:27:56,804
Speaker 1: It works. You're legit. You're legit.

1524
01:27:57,445 --> 01:28:01,085
Speaker 3: Congrats Abby and Abby's husband. You can email Feedback at

1525
01:28:01,125 --> 01:28:04,205
Speaker 3: film spotting dot net to claim your prize, film Spotting

1526
01:28:04,245 --> 01:28:07,925
Speaker 3: tote bag, film Spotting t shirt, or a trial membership

1527
01:28:08,125 --> 01:28:09,645
Speaker 3: to the Film Spotting Family.

1528
01:28:11,005 --> 01:28:12,565
Speaker 1: With the symbol.

1529
01:28:14,685 --> 01:28:20,605
Speaker 2: Would the wou would The was Why do you say that?

1530
01:28:20,645 --> 01:28:20,925
Speaker 1: Why do you?

1531
01:28:22,045 --> 01:28:22,245
Speaker 3: Well?

1532
01:28:22,365 --> 01:28:23,644
Speaker 1: You said say it like I said.

1533
01:28:25,245 --> 01:28:28,724
Speaker 3: We move on to this week's edition of Massacre Theater,

1534
01:28:28,965 --> 01:28:31,885
Speaker 3: and I guess I have to well, I have to

1535
01:28:31,925 --> 01:28:34,765
Speaker 3: hate Sam because he's gonna make me sing, which is

1536
01:28:34,805 --> 01:28:39,085
Speaker 3: something I can't do at all. Everyone's going to hear

1537
01:28:39,125 --> 01:28:42,604
Speaker 3: that in a moment, Josh. But this is the first

1538
01:28:42,645 --> 01:28:46,045
Speaker 3: opportunity I get to to break out my brand new guitar.

1539
01:28:46,125 --> 01:28:51,645
Speaker 1: I just bought this. Whoa wow. Yeah, you know what,

1540
01:28:51,725 --> 01:28:54,684
Speaker 1: first performance you get to write it off as an expense.

1541
01:28:55,125 --> 01:28:59,325
Speaker 3: There you go, exactly, that's right. It is an electric guitar.

1542
01:28:59,405 --> 01:29:01,005
Speaker 3: I don't have it plugged in. I'm not going to

1543
01:29:01,045 --> 01:29:03,445
Speaker 3: play the acoustic because I want to play this. So

1544
01:29:03,685 --> 01:29:08,285
Speaker 3: it is a musical number here anything else.

1545
01:29:09,565 --> 01:29:13,125
Speaker 1: Not. Only am I distressed because I was literally kicked

1546
01:29:13,165 --> 01:29:18,884
Speaker 1: out of middle school choir for I'm gonna say sixty

1547
01:29:18,925 --> 01:29:23,125
Speaker 1: performance reasons and forty percent behavioral reasons. So really it's

1548
01:29:23,125 --> 01:29:26,165
Speaker 1: because I couldn't sing. So I have that hanging over

1549
01:29:26,205 --> 01:29:30,764
Speaker 1: my head. Also, the rehearsal process for MASCAR theater is

1550
01:29:31,045 --> 01:29:34,005
Speaker 1: usually Sam will suggests a scene, I'll watch it, Sure,

1551
01:29:34,045 --> 01:29:36,564
Speaker 1: we'll do that, and then just before we record it,

1552
01:29:36,605 --> 01:29:39,245
Speaker 1: we'll watch it again. Right, So I did watch this

1553
01:29:39,365 --> 01:29:42,085
Speaker 1: scene maybe eight ten hours ago. I don't know what's

1554
01:29:42,125 --> 01:29:44,805
Speaker 1: going on with my VPN. I can't access it here

1555
01:29:44,805 --> 01:29:48,205
Speaker 1: in Scotland. The YouTube clip that Sam shared so I'm

1556
01:29:48,205 --> 01:29:51,845
Speaker 1: pretty much going in half blind, half blind with no

1557
01:29:51,965 --> 01:29:55,285
Speaker 1: sense of tune listeners enjoy.

1558
01:29:56,325 --> 01:30:00,165
Speaker 3: Enjoy is not the right word for this. I actually

1559
01:30:00,205 --> 01:30:02,005
Speaker 3: started off with the guitar. So you're going to give

1560
01:30:02,045 --> 01:30:05,245
Speaker 3: me the action. I am as ready as I am

1561
01:30:05,325 --> 01:30:08,045
Speaker 3: going to be Josh and.

1562
01:30:09,445 --> 01:30:16,125
Speaker 1: Action. Whoa whoa, whoa, whoa, whoa whoa? What do you singing? There?

1563
01:30:16,565 --> 01:30:22,325
Speaker 1: You got the root? And sing? You singing the root? No? Uh? Singing?

1564
01:30:23,325 --> 01:30:25,405
Speaker 3: Everybody's gonna sing.

1565
01:30:26,085 --> 01:30:28,725
Speaker 1: Didn't I give you a sixth? I don't think so?

1566
01:30:29,205 --> 01:30:31,205
Speaker 1: Can you give me a sixth? There? Can you sing

1567
01:30:31,245 --> 01:30:33,684
Speaker 1: a sixth? Everybody's gonna sing?

1568
01:30:34,485 --> 01:30:38,804
Speaker 3: No, everybody's gonna sing sing.

1569
01:30:38,885 --> 01:30:43,525
Speaker 1: Sure, let's try it again? One, two, three? Huh? Can

1570
01:30:43,565 --> 01:30:47,365
Speaker 1: I say what? I'm sorry? Go ahead? No, you got

1571
01:30:47,405 --> 01:30:48,365
Speaker 1: a problem on the bridge?

1572
01:30:48,925 --> 01:30:52,245
Speaker 3: No, I was gonna Can I switch? Can I change

1573
01:30:52,245 --> 01:30:53,045
Speaker 3: out of my costume?

1574
01:30:53,405 --> 01:30:55,965
Speaker 1: Costume? Are you hot? Yeah?

1575
01:30:56,005 --> 01:30:58,285
Speaker 3: But also, I mean I've been wearing it for a month.

1576
01:30:58,725 --> 01:31:01,684
Speaker 1: You know the policy we all gotta wear. We all

1577
01:31:01,725 --> 01:31:04,325
Speaker 1: gotta wear the uniform until we're ready to take it off.

1578
01:31:04,805 --> 01:31:07,485
Speaker 1: I think you're real close. I just don't think you're

1579
01:31:07,525 --> 01:31:10,765
Speaker 1: quite there yet. You did not sing that sixth? And

1580
01:31:10,805 --> 01:31:13,605
Speaker 1: I want to see you sing that sixth and.

1581
01:31:14,325 --> 01:31:19,564
Speaker 3: Scene as anyone out there, like listeners like Taylor Cole

1582
01:31:20,285 --> 01:31:23,125
Speaker 3: in the Chicago area, anyone out there is a music teacher.

1583
01:31:23,445 --> 01:31:26,365
Speaker 3: They all know that neither one of us came anywhere

1584
01:31:26,405 --> 01:31:27,925
Speaker 3: close to singing a sixth.

1585
01:31:28,285 --> 01:31:31,445
Speaker 1: I played the sixth. I don't even know what that means, So.

1586
01:31:32,085 --> 01:31:33,925
Speaker 3: I know what it means, and I played it, but

1587
01:31:34,045 --> 01:31:35,165
Speaker 3: neither of us sang it.

1588
01:31:35,525 --> 01:31:38,205
Speaker 1: So that that.

1589
01:31:38,445 --> 01:31:40,885
Speaker 3: Is it for this week's edition on Massacre Theater.

1590
01:31:41,005 --> 01:31:43,645
Speaker 1: If you know what film we mercifully survived.

1591
01:31:44,525 --> 01:31:47,005
Speaker 3: If you know what film we just massacred, email the

1592
01:31:47,045 --> 01:31:50,165
Speaker 3: movie's title, your name, and location to feedback at filmspotting

1593
01:31:50,245 --> 01:31:54,045
Speaker 3: dot net. The deadline is Monday, March ninth. We will

1594
01:31:54,085 --> 01:31:56,965
Speaker 3: select the winner randomly from all the correct entries and

1595
01:31:57,005 --> 01:31:59,085
Speaker 3: announce it in a couple of weeks. But honestly, Josh,

1596
01:31:59,085 --> 01:32:01,165
Speaker 3: everyone got to hear that they're all the winners.

1597
01:32:02,045 --> 01:32:05,405
Speaker 1: Sure, and that's the show. Yeah, we killed the show.

1598
01:32:06,365 --> 01:32:09,125
Speaker 3: I love it when we end with these kind of numbers,

1599
01:32:09,165 --> 01:32:11,405
Speaker 3: You know, the mascer Theater are just like, there's nowhere

1600
01:32:11,445 --> 01:32:11,725
Speaker 3: to go.

1601
01:32:11,965 --> 01:32:15,325
Speaker 1: Just mean it for some reason. If after that you

1602
01:32:15,365 --> 01:32:17,885
Speaker 1: want to connect with the show on social media. I

1603
01:32:17,925 --> 01:32:23,684
Speaker 1: guess you could find Adam and the show on Instagram, Facebook, letterbox, YouTube.

1604
01:32:23,965 --> 01:32:27,485
Speaker 1: He's at film Spotting. I promise I won't sing at

1605
01:32:27,525 --> 01:32:30,965
Speaker 1: you on my social channels. I'm at Larson on film.

1606
01:32:31,565 --> 01:32:35,685
Speaker 1: Film Spotting is independently produced and listener supported. You can

1607
01:32:35,725 --> 01:32:38,365
Speaker 1: support the show by joining the film Spotting Family at

1608
01:32:38,365 --> 01:32:41,644
Speaker 1: filmspottingfamily dot com. That way you'll be able to listen

1609
01:32:41,725 --> 01:32:44,924
Speaker 1: early and ad free. You'll also get a weekly newsletter,

1610
01:32:45,085 --> 01:32:48,965
Speaker 1: monthly bonus episodes, and access to the entire show archive.

1611
01:32:49,485 --> 01:32:51,925
Speaker 1: For show t shirts another merch go to film spotting

1612
01:32:51,965 --> 01:32:53,644
Speaker 1: dot net slash shop.

1613
01:32:54,005 --> 01:32:57,085
Speaker 3: In the archive that Film Spotting archive, we have some

1614
01:32:57,285 --> 01:32:59,805
Speaker 3: Catherine O'Hara conversations, though you have to go way back.

1615
01:33:00,325 --> 01:33:02,765
Speaker 3: Sam has noted where the wild Things are episode two

1616
01:33:02,845 --> 01:33:05,405
Speaker 3: seventy eight, Away we go. Yes, she was in that

1617
01:33:05,485 --> 01:33:09,365
Speaker 3: episode two sixty one, and Sam swears we reviewed for

1618
01:33:09,485 --> 01:33:12,325
Speaker 3: your consideration in two thousand and six. He might be right,

1619
01:33:13,045 --> 01:33:14,644
Speaker 3: but he says he can't find it in the Film

1620
01:33:14,645 --> 01:33:18,445
Speaker 3: Spotting Guide to the archives and now listener Bill McLaughlin

1621
01:33:18,525 --> 01:33:20,285
Speaker 3: is just going to be off in a wild goose chase.

1622
01:33:20,325 --> 01:33:22,845
Speaker 3: He's going to think it's something wrong. I'm not sure

1623
01:33:22,885 --> 01:33:25,965
Speaker 3: we reviewed it, so I don't know. We'll get some

1624
01:33:26,005 --> 01:33:30,564
Speaker 3: detectives on the case. In limited release, Pillion is expanding.

1625
01:33:30,645 --> 01:33:32,804
Speaker 3: I'm definitely hoping to catch up with that one. Jessica

1626
01:33:32,925 --> 01:33:36,485
Speaker 3: Chastain is a socialite engaged in a dangerous affair with

1627
01:33:36,565 --> 01:33:40,564
Speaker 3: the Mexican ballet dancer Okay in Michelle Franco's class critique Dreams.

1628
01:33:40,885 --> 01:33:44,925
Speaker 3: Werner Hertzog has a new documentary, How Josh Ghost Elephants?

1629
01:33:45,085 --> 01:33:45,685
Speaker 1: How about that?

1630
01:33:46,165 --> 01:33:51,365
Speaker 3: I'm intrigued in wide release Scream seven. If I had said,

1631
01:33:51,605 --> 01:33:53,725
Speaker 3: if you weren't looking at the page in front of you,

1632
01:33:53,805 --> 01:33:56,405
Speaker 3: and I had said, Josh, there's a new Scream movie

1633
01:33:56,445 --> 01:34:00,725
Speaker 3: coming out. What number do you think goes on appends

1634
01:34:00,765 --> 01:34:03,005
Speaker 3: to the end of it, what would you have said?

1635
01:34:03,045 --> 01:34:06,085
Speaker 1: Would you have known it was seven? I would have

1636
01:34:06,125 --> 01:34:08,485
Speaker 1: guessed six or seven. I am, up to this point

1637
01:34:08,525 --> 01:34:12,005
Speaker 1: Adam a Scream completist. So I'm gonna need I'm gonna

1638
01:34:12,005 --> 01:34:15,125
Speaker 1: need to see this and probably will because the last

1639
01:34:15,165 --> 01:34:18,005
Speaker 1: two I think there's two are the most you know,

1640
01:34:18,085 --> 01:34:22,285
Speaker 1: not like the reimagined ones. They've been interesting. I wouldn't

1641
01:34:22,285 --> 01:34:24,205
Speaker 1: say they've been anything like the first film, but they've

1642
01:34:24,245 --> 01:34:27,765
Speaker 1: been interesting. So so yeah, I might have to catch

1643
01:34:27,845 --> 01:34:30,085
Speaker 1: up with this and report back. Okay.

1644
01:34:30,325 --> 01:34:34,685
Speaker 3: Also available vod you can see or streaming you can

1645
01:34:34,725 --> 01:34:37,005
Speaker 3: see on Prime. Paul McCartney Man on the Run the

1646
01:34:37,085 --> 01:34:39,285
Speaker 3: latest documentary from Morgan Neville, and if you haven't heard

1647
01:34:39,285 --> 01:34:43,925
Speaker 3: it already, check out the Film Spotting feed and hear

1648
01:34:44,005 --> 01:34:47,205
Speaker 3: my conversation with the director Morgan Neville. Next week on

1649
01:34:47,245 --> 01:34:50,045
Speaker 3: the show, we will have a discussion for our Pantheon

1650
01:34:50,165 --> 01:34:55,085
Speaker 3: project of Akira Kurasawa's renown Rascho Man, and we will

1651
01:34:55,085 --> 01:34:58,125
Speaker 3: share our top five unreliable narrators.

1652
01:34:58,445 --> 01:35:01,285
Speaker 1: Film Spotting is produced by Golden Joe Deso and Sam

1653
01:35:01,405 --> 01:35:04,725
Speaker 1: Van Hagren. Without Sam and Golden Joe, this show wouldn't go.

1654
01:35:05,005 --> 01:35:08,564
Speaker 1: Our production assistant is Sophie Kempinar. Special thanks to everyone

1655
01:35:08,645 --> 01:35:13,005
Speaker 1: at wb easy Chicago. More information is available at wbeazy

1656
01:35:13,285 --> 01:35:16,485
Speaker 1: dot org for Film Spotting. I'm Josh Larson and.

1657
01:35:16,445 --> 01:35:18,445
Speaker 3: I'm Medam Kempinar. Thanks for listening.

1658
01:35:18,805 --> 01:35:29,205
Speaker 4: This conversation can serve no purpose us anymore. Good Bye.