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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did. My name is Millie to Jericho.

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Speaker 2: Oh, I'm Daniel Henderson, and we're here to.

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Speaker 3: Talk some sense into you about movies.

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Speaker 1: We're concerned. We want you to have a good life.

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Speaker 1: We want you to be happy. What's up, girl?

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Speaker 2: Oh god, I love it that much.

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Speaker 4: I'm having a good, a good morning, mostly because we've

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Speaker 4: made plans to hang out soon. I know.

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Speaker 2: I cannot believe it.

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Speaker 4: I'm so psyched. I miss you so much. I'm miss

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Speaker 4: hanging out with you. I'm so excited I get to

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Speaker 4: see you soon.

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Speaker 2: I know. So that's very exciting.

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Speaker 1: Way, we have a question question, Yeah, how many how

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Speaker 1: many duncans are we doing?

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Speaker 3: Or how many ll beans are we doing? Probably zero

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Speaker 3: l beans right this time.

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Speaker 4: The LL bean count this time is going to be

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Speaker 4: disastrous compared to last time.

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Speaker 2: I know. I don't think we can go to any Yeah,

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Speaker 2: maybe there's one in.

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Speaker 4: Like a strip mall in Bergen County, New Jersey or

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Speaker 4: something that we can hit up.

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Speaker 2: But the duncan will be unstoppable.

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Speaker 1: Yes, oh no, I'm I am psyched for this.

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Speaker 4: You're gonna be levitating. You're like your feet will not

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Speaker 4: touch the ground. They will be We're filled with so

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Speaker 4: much coffee, shit and gas station rolls.

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Speaker 1: I'm gonna be like fucking Chris Angel ascending with like

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Speaker 1: egg and cheese bagel in one hand and a and

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Speaker 1: a buttered.

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Speaker 4: Roll in the other, like David Blaine on the street,

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Speaker 4: freaking people out, like, oh.

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Speaker 2: Shit, here she comes again, that floating lady.

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Speaker 1: No, this is great. It's it's great. And it's like,

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Speaker 1: I don't know spring. I think it's cuz you know,

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Speaker 1: we both had rough years last year and wintertime always sucks,

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Speaker 1: and now we're like in the big spring moment and

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Speaker 1: I'm like fucking stoked, Like I'm like, let's go.

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Speaker 2: I'm feeling it this spring.

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Speaker 4: I don't know what's so different, but I really feel

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Speaker 4: a palpable move towards happiness. Yeah, Like the minute that

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Speaker 4: it started getting lighter out outside. Even an hour later,

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Speaker 4: I was like, oh.

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Speaker 2: Yeah, we're here. It's still cold, yeah, but like we're here.

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Speaker 1: I know, it's like a happiness, it's a horniness, it's

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Speaker 1: a pollen infuse media. I'm going crazy. I'm going fucking crazy.

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Speaker 4: I'm just imagining you like sitting on the couch, just

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Speaker 4: like shaking your head.

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Speaker 2: Like Beavis and butt Head. I know.

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Speaker 1: Like I was like going through my playlist on Spotify

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Speaker 1: and was like I need pure juice, Like I don't

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Speaker 1: need any more depressing stuff. I'm listening to fucking this

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Speaker 1: playlist that I made like a long time ago that

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Speaker 1: has like every popular young artist that came out in

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Speaker 1: the last like ten years. So it's got like fucking

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Speaker 1: Justin Bieber and Katie Perry and you know, like Dua

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Speaker 1: Lipa and like kpop and all this stuff from just

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Speaker 1: like ah, I'm a maniac. I'm like running around like

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Speaker 1: listening too like happy dance music, and like, you know,

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Speaker 1: I don't know what's a feeling.

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Speaker 2: It's amazing.

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Speaker 4: The best playlist that you've ever made that you've shared,

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Speaker 4: I think is you have a playlist called tight Pants Workout. Ah. Yeah,

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Speaker 4: it's like all metal songs in like eighties metal and

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Speaker 4: Jim Saw and there's like so many bangers in there.

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Speaker 2: It's so funny. I listened to that constantly.

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Speaker 1: Dude, I should republish that because now, okay, like I've

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Speaker 1: noticed this because I think I just am inclined to

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Speaker 1: notice it, but like there have been so many eighties

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Speaker 1: inspired like Muscle People movies lately. Have you noticed this?

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Speaker 4: Yes?

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Speaker 2: So many?

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Speaker 1: Yeah, between like Love Lies Bleeding and Iron Claw and

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Speaker 1: like all these like kind of weird eighties throwbacks of

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Speaker 1: like gym like muscle Bound gym People, And I'm like, man,

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Speaker 1: they need that playlist.

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Speaker 2: I think they need a tight pants workout playlist. It's amazing. Yeah,

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Speaker 2: lead a Ford and Ozzy Osbourne on there.

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Speaker 1: You and I of course everybody knows we're on the

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Speaker 1: same age. This was like fuel for us when we

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Speaker 1: were like, you know, kids. But then I also think

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Speaker 1: sometimes to them, like god, what do like young people

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Speaker 1: think of hair metal? Like is it like Mozart?

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Speaker 2: To them? Is it Broms? Like what are those?

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Speaker 4: Like?

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Speaker 2: What are these like old people wailing on the guitar?

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Speaker 1: And you know, like just the sound of it must

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Speaker 1: be so different, you know.

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Speaker 2: Because it is. It's like it's so music heavy. It's

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Speaker 2: it's instrument heavy.

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Speaker 4: Yeah, and now we're more of a vocal heavy phase

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Speaker 4: of music. But yeah, to here's something that's instrument heavy

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Speaker 4: sounding like Brahms is fucking great. I hope it sounds

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Speaker 4: like like the brown Note to them? Do I get

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Speaker 4: this that way?

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Speaker 1: Or like maybe like you know, I was a kid,

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Speaker 1: and I guess prog rock was the thing that like

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Speaker 1: our dads listened to, and so it was just like

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Speaker 1: noodle eg like fucking Tom Sawyer rush shit. And I

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Speaker 1: was like, what the hell is this is so like

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Speaker 1: this for like Wizards, This is like wizard jams.

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Speaker 4: Fucking aqua lung Like is this guy playing a flute

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Speaker 4: on the radio?

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Speaker 1: Yeah, And meanwhile I'm like jamming like Debbie Gibson and

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Speaker 1: my I was like, God, that sounds like shit, that's

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Speaker 1: like old people's stuff. So I'm sure people like, you know,

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Speaker 1: my my nephews are like, you know, I don't know.

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Speaker 1: Is Rat Like? Is Rat the new Tchaikovsky?

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Speaker 2: What are we saying?

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Speaker 4: Is Pantera the new Chaucer? Is that how time works?

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Speaker 1: I love that playlist. I'm so glad you listened to it.

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Speaker 1: That's so funny.

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Speaker 2: It's so good. It's so good.

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Speaker 4: And I listened to it during my rage workouts and

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Speaker 4: just in the car just in general.

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Speaker 2: I listened to it all the time. It cracks me up.

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Speaker 1: Well, we're need playlists for our travels.

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Speaker 4: Again, so I know, Oh, I'm so psyche. We're gonna

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Speaker 4: do a little we can well, I guess they call

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Speaker 4: it a mini road trip. Will be built in Yeah,

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Speaker 4: in there, there'll be a little traveling in there.

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Speaker 1: We're gonna have to pick me up from the airport,

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Speaker 1: So that's a road.

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Speaker 2: Trip for sure. For sure.

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Speaker 4: Oh I think last time I picked you up at

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Speaker 4: the airport was I blame back that ass up.

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Speaker 1: It was this playlist of yours. And I get it

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Speaker 1: because I do that sometimes too, where I'm like, I'm

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Speaker 1: just gonna chunk a bunch of songs I like on

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Speaker 1: a playlist and it doesn't matter like what the flow is,

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Speaker 1: if it's like vibe curated or whatever, it's just stuff

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Speaker 1: I like. But I was like really impressed by the

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Speaker 1: diversity of that list. I'll just say, I.

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Speaker 4: Mean, if you want to go from back that ass

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Speaker 4: up into an Anita Franco song I'm Your Woman.

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Speaker 2: I got you covered, check out this range.

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Speaker 4: I mean, let's listen to Cat Stevens and then throw

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Speaker 4: on some little Wayne.

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Speaker 2: Yeah.

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Speaker 1: Oh, it was like something like the saddest song top

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Speaker 1: five sadas songs ever created in the history of music,

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Speaker 1: and then like chingy or something like. It was like

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Speaker 1: some it would be like some really really sad piano

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Speaker 1: based song and then like watch me Naye or something.

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Speaker 1: I don't know, it's like something like that.

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Speaker 4: Also, do you like how I called him Little Wayne

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Speaker 4: instead of Lil Wayne.

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Speaker 1: Little Wayne's Little.

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Speaker 4: Wayne is Little Wayne up to today?

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Speaker 1: It's like a a masterpiece theater, my Baby SA production

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Speaker 1: of Little Wayne.

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Speaker 4: That's what I think the youth really thinks of us

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Speaker 4: is They're like, listen to them try to say this name.

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Speaker 4: There's an artist whose name is I Believe Black, but

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Speaker 4: he spells it b L the number six c K

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Speaker 4: and I'm like, is it blizzak?

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Speaker 2: Is it black? Act? Like, what is it?

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Speaker 1: Yo? One of my favorite rap for names ever is

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Speaker 1: this rapper named Kirko Bangs and he spells it like

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Speaker 1: k I r ko b A n g Z I

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Speaker 1: believe that.

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Speaker 2: I'm like, that is fucking brilliant, dude. I love it.

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Speaker 4: I will as long as I can pronounce it. But

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Speaker 4: like you start throwing like alphanumerics together. Oh, and I'm like,

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Speaker 4: is your name a password for your bank account? Like?

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Speaker 4: I can't understand how incompetent this makes me feel, as

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Speaker 4: someone who's been reading for over forty years of my life.

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Speaker 1: Yeah, It's like, who's that I believe he's a fallen rapper.

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Speaker 1: So I r I P king. I suppose unless you're

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Speaker 1: problematic than just r ip right. Is it X extenon extension.

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Speaker 2: Oh, there's like three x's.

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Speaker 4: Yeah, extension XX extension, you know, ex extension. I've seen

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Speaker 4: the name and I thought it was a boner pill.

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Speaker 4: I didn't know it was a rapper. I was reading

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Speaker 4: this article, like, why are they writing about this boner

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Speaker 4: pill on People magazine?

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Speaker 1: See, I totally thought it was the Vin Diesel movie

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Speaker 1: Triple X extension.

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Speaker 2: Tipple xkin chab.

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Speaker 4: Or is it like triple X? And then there's tension,

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Speaker 4: like things are fraught?

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Speaker 1: Say more, it's like Successisleven lucky numbersuslevenleven.

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Speaker 2: Just stop putting numbers in words for my sake. It's

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Speaker 2: just they're.

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Speaker 1: Just trying to be very creative. It's very creative, and

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Speaker 1: we're just not getting it, I suppose. But it's it's

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Speaker 1: hard and also too, like doesn't it like affect the

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Speaker 1: way that people search your name too? Because I feel

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Speaker 1: like I read something where there was a story about

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Speaker 1: and I want to say it was like in like

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Speaker 1: a news organization story, not just like so he wrote

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Speaker 1: on Twitter. But it was like about some rapper or

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Speaker 1: some R and B artists that had a name that

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Speaker 1: was fucking him over on like searches on like Apple

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Speaker 1: Music or Spotify because his name was so fucked up

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Speaker 1: and like so he was like losing streams because nobody

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Speaker 1: knew how to like type the name in properly or something.

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Speaker 1: And I was like, well, see, they're shooting your own foot.

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Speaker 2: Off, dude.

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Speaker 4: Feels racist, not racist. Feels racists that you can't look

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Speaker 4: this man up. But it's not racist. It's like I

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Speaker 4: don't know how to spell that. Yeah, give us a

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Speaker 4: little glyph, give us some code right that we can

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Speaker 4: break for you.

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Speaker 1: But it's not like I mean, I think it's just

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Speaker 1: because there's so many like characters and underscores and shit

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Speaker 1: like in the actual name of the artists that I

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Speaker 1: was like, yeah, dude, you can't count on people one

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Speaker 1: handed like searching or name and then having to do

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Speaker 1: like an underscore and like a pound sign and a

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Speaker 1: bunch of stuff because people are fucking that. Shut up,

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Speaker 1: they're not getting right.

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Speaker 4: I feel like one day soon, like in the next

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Speaker 4: four or five years, we're gonna swing back the other

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Speaker 4: way and just start seeing artists named like Gary, Bubba.

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Speaker 2: Brenda Gary. Somebody named their band Gary.

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Speaker 4: Come on, y'all, someone has definitely named their baby Gary

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Speaker 4: within the last fifteen years.

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Speaker 2: He's the last Gary. But somebody would spell a G

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Speaker 2: A r r r r r r y g R

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Speaker 2: four y. You're like, is it garfy? Is it garfy

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Speaker 2: GFOORI why don't know?

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Speaker 3: We're makeup today. I'm already crying.

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Speaker 4: Like, my name is Gary, but I spell it the

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Speaker 4: way you would a woodland elf in another dimension.

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Speaker 1: With the two dots.

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Speaker 4: Oh my gosh, we've got lumlouds, we've got underscores, we've

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Speaker 4: got emoji, we've got.

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Speaker 2: We've got hieroglyphics. My name is Gary the Order of Operations.

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Speaker 4: Somehow this four letter name has seventeen items in it.

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Speaker 2: I can't wait.

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Speaker 3: Yeah, it's it's just creativity.

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Speaker 1: It's limitless.

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Speaker 2: Oh it's beautiful. I love it. I welcome it.

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Speaker 4: I will never know how to pronounce it, and that's okay,

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Speaker 4: it's not for me to pronounce.

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Speaker 2: I can just enjoy. It's weird and maybe philosophically.

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Speaker 4: Wonderful to be able to enjoy something that you cannot

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Speaker 4: access in any way.

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Speaker 2: Like, I love this.

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Speaker 4: Can't find out a fucking thing about you, but thank

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Speaker 4: you for making this song that I like.

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Speaker 2: I will never know your maiden name.

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Speaker 1: The ultimate pleasure in life is loving something that you

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Speaker 1: don't know and cannot access.

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Speaker 4: So you can't it's unknowable. You're an unknowable entity. You're

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Speaker 4: just You're just art, pure and simple. Speaking of art,

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Speaker 4: pure and simple. Yes, I just want to quickly read

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Speaker 4: an email that we received about an episode that we

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Speaker 4: put out a couple of weeks ago, and I was

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Speaker 4: gonna save it for a bonus, but it just hit

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Speaker 4: me so heavily and was so kind and wonderful. I

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Speaker 4: just thought I'd read it and set us up because

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Speaker 4: this episode is going to be off the hook, so

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Speaker 4: I thought, let's, you know, ease people into it.

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Speaker 2: Let's fucking cow a little bit.

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Speaker 4: So this email is from Destiny, and Destiny says.

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Speaker 2: Hello Danielle and Millie.

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Speaker 4: First, I wanted to say how thankful I am that

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Speaker 4: you both bring your friendship, ideas, commentary, and opinions to

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Speaker 4: the exactly right channel. I've been tuning in every episode

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Speaker 4: since episode one. This is my absolute favorite podcast. I

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Speaker 4: laughed my ass off while listening to you all, but

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Speaker 4: I really wanted to email today to just let you

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Speaker 4: know how inspiring and awesome you both are. What I

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Speaker 4: love the most about your podcast is how you two

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Speaker 4: engage with one another and how you are two real

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Speaker 4: human beings who are not bitches or assholes. To me,

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Speaker 4: you both always come off as two genuine and authentic

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Speaker 4: souls who are in honest in all ways, emotions, ideas,

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Speaker 4: and concepts. As a twenty five year old black and

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Speaker 4: Puerto Rican woman who has been called weird my whole

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Speaker 4: life for my love of quote white people, shit, I eat, film,

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Speaker 4: creative writing, reading, Incubis three eleven Hot topic. I have

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Speaker 4: loved hearing you talk about your love for similar things

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Speaker 4: yet also being so supportive and unapologetically POC women. Most importantly,

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Speaker 4: hearing you two speak about your lives is POC women,

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Speaker 4: creators and educators has been more inspiring than you all

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Speaker 4: could ever know. Because of you, I decided I wanted

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Speaker 4: to get my master's degree in Arts administration and get

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Speaker 4: into academia. I just graduated in December, and I'm actively

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Speaker 4: exploring life in a way that I can be gentle

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Speaker 4: with myself yet empowered to explore as much or how

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Speaker 4: I want to you two show me what's possible for

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Speaker 4: POC women involved in the arts and academia.

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Speaker 2: Thank you.

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Speaker 4: I know you do not know your listeners and that

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Speaker 4: we don't know you either, but I'm so happy to

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Speaker 4: get to witness the parts of you all that you

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Speaker 4: share on the pod.

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Speaker 2: Thank you so very much.

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Speaker 4: I wish I was able to make it when you

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Speaker 4: all visited the Wexner and Columbus a few years ago.

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Speaker 4: I'm in Cleveland and really hope you all visit nearby

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Speaker 4: again one day. I would just love to tell you

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Speaker 4: too how awesome you are in real life.

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Speaker 2: Much love, Destiny, Yo, I love that, so so sweet,

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Speaker 2: It's so nice.

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Speaker 4: A few weeks ago on the episode, thank you for

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Speaker 4: the healing. You know, we were talking in the beginning

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Speaker 4: about language and how you know, not denigrating myself anymore,

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Speaker 4: and you know we've had a big conversation about how

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Speaker 4: people talk to.

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Speaker 2: Us and Destiny.

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Speaker 4: This is just really sweet and thankful, and a lot

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Speaker 4: of people wrote in and thank you so much for

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Speaker 4: all of your feedback.

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Speaker 2: But I just love this one.

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Speaker 4: Like I said, it just kind of hit me in

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Speaker 4: a very special way, and I just feel like it's

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Speaker 4: amazing that you're getting into arts administration and academia, but

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Speaker 4: even more amazing is that you're looking to build the

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Speaker 4: life for yourself where you can be gentle with yourself

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Speaker 4: and explore or and have fun and have creativity. That's

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Speaker 4: just amazing that we could be even a fraction of

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Speaker 4: a part of that journey for you.

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Speaker 1: Yeah, I'm so glad that you wrote into because I

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Speaker 1: don't know, I like it when people are positively affected

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Speaker 1: by the first part of the podcast, when we're just

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Speaker 1: kind of talking talking stuff, and a lot of times

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Speaker 1: it's like unplanned. I mean, we're just talking stuff out.

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Speaker 1: It's not even like we're sitting here going okay, here

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Speaker 1: are the points I'm trying to make in this intro

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Speaker 1: about personal stuff or whatever.

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Speaker 3: It's just literally the odd top of mind.

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Speaker 1: So it feels like more emotional I think for us

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Speaker 1: when we do this kind of thing, like when we

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Speaker 1: come to the podcast with kind of something on our

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Speaker 1: mind that we want to talk about. So yeah, I

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Speaker 1: think it's nice when somebody connects and sends us a

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Speaker 1: really nice email like this.

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Speaker 2: I think it's it.

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Speaker 3: Just feels good. It just feels very good.

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Speaker 2: Feels very nice. And I'm just so proud of you, Destiny.

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Speaker 4: I think it's really cool that you've made this decision

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Speaker 4: at a point in your life that normally it takes people,

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Speaker 4: me as a primary example, like over twenty years later.

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Speaker 2: Than you have to figure this out.

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Speaker 4: So that you figured this out at twenty five is

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Speaker 4: so inspiring, and I just wish you all the.

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Speaker 2: Luck in the world. And it's okay to like white

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Speaker 2: people shit.

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Speaker 4: I mean, we'll have a deeper conversation one day about that,

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Speaker 4: But it took me a long time to realize it's

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Speaker 4: okay to like white people shit. But I think that

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Speaker 4: there's such a fallacy in how we consider art that

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Speaker 4: is valid or culturally important as white people shit, even

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Speaker 4: though most of the people making that art are not.

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Speaker 4: That's an essay for another day. But like what you like,

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Speaker 4: be weird. There are a lot of us out here

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Speaker 4: to support you on your journey as you make your

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Speaker 4: way through the world.

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Speaker 2: And thank you so much for writing in Destiny.

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Speaker 1: Yes, And by the way, I love Cleveland. I just

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Speaker 1: went there for the first time last year and it

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Speaker 1: is fun as shit.

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Speaker 2: It's so fun.

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Speaker 1: So we're all gonna have to go to this, like

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Speaker 1: really fun museum called the Buckland Museum of Witchcraft and Magic.

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Speaker 1: Oh shit, it kind of reminds me of, and I

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Speaker 1: say this with all love, the Museum of Death in

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Speaker 1: La Yeah, but better curation.

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Speaker 2: Let's just say that nice.

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Speaker 1: There's this like very homemade vibe to it. But it's

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Speaker 1: fun and it's kind of small and manageable, and it's

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Speaker 1: just kind of like a collection of stuff. But it's like,

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Speaker 1: I don't know, it was like so quirky and fun,

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Speaker 1: and I'm like, I love this place.

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Speaker 2: Let's go. I'm on board. Say no more. I want

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Speaker 2: to see a little withered hand.

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Speaker 4: I want to see whatever they got, whatever, which shit

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Speaker 4: they got?

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Speaker 1: I'm in cauldrons, daggers, yes, a giant poster of like

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Speaker 1: the Love Witch. So it was just a very varied

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Speaker 1: collection of things relating to witchcraft and magic. But it

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Speaker 1: was fun. I just love places like that. I love

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Speaker 1: like small, very curatorial museums like that.

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Speaker 2: Me too.

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Speaker 1: And the city's fun. It was really fun to go

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Speaker 1: there for the first time.

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Speaker 2: Oh yeah, Cleveland's a blast.

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Speaker 4: Yeah, underrated, underrated for sure, but I always had a

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Speaker 4: good time Cleveland. So Destiny, get ready your two weird

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Speaker 4: answer coming to town, and we're going to take you

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Speaker 4: out to a witch museum.

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Speaker 2: And we will listen to three eleven the whole ride.

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Speaker 2: You know, I got a playlist for that.

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Speaker 1: We'll crack that up, you know I have one.

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Speaker 5: Oh lord, let's get into these movies. Tell them what

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Speaker 5: the theme is, Hobie. I think you know what the

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Speaker 5: theme is. Y'all come on that. This is a time

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Speaker 5: honor tradition. And I saw what you did.

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Speaker 2: We love it. You love it.

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Speaker 1: We're doing another episode called baby Girl, What Is You Doing?

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Speaker 4: And I have to say, both movies, but especially your movie,

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00:19:48,880 --> 00:19:50,800
Speaker 4: are the most baby Girl What Is You Do?

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Speaker 2: In movies of all time.

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Speaker 1: It's like, how many times have we done this theme?

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Speaker 2: Like freely sport time?

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Speaker 1: And we're just tucking in the best, most representative ones.

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Speaker 2: Now, how could we have not led with this combo?

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Speaker 4: We had to really work ourselves up to this over

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Speaker 4: three years.

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Speaker 1: Yeah, and I love that your movie this week was

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Speaker 1: one that we both wanted to do at some point,

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Speaker 1: Like we were both like going back and forth about it. Absolutely,

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Speaker 1: and I was happy to give it to you because,

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Speaker 1: especially when you brought up the You're like, we could

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Speaker 1: just do a baby Girl as you doing, And I

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Speaker 1: was like, oh, yeah, done.

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Speaker 4: Just came in with the clincher, just held the high

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Speaker 4: heat till the very end, and then fucking strike.

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Speaker 2: Yeah.

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Speaker 1: I think we got a lot of excitement, yes, when

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Speaker 1: we posted the movies on our social.

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Speaker 2: Media, excitement confusion.

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Speaker 4: People are starting to get angry about not being able

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Speaker 4: to guess the theme. They're like, it's been over one

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Speaker 4: hundred episodes, can you lob it in once?

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Speaker 1: But I think your movie is definitely it seems to

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Speaker 1: be creating a lot of content on our social media,

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Speaker 1: which I'm very excited by it.

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Speaker 4: Well, I also have to say that your film is

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Speaker 4: a first watch for me. M Yes, and I have

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Speaker 4: never been so rattled and terrified in my entire life.

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Speaker 4: I did something that I have literally never done before

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Speaker 4: watching your movie. I was feeling so anxious, like my

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Speaker 4: heart was beating. I was like hot. I was feeling

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Speaker 4: so physically anxious by your film that I had to

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Speaker 4: pause it and look up the Wikipedia to read what

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Speaker 4: happens because I couldn't take it. I couldn't take it.

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Speaker 4: I was like, what is going to happen? I have

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Speaker 4: never done that before.

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Speaker 2: Oh my god. And then when the movie was over.

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Speaker 4: I watched it on the Criterion channel and there were

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Speaker 4: all these interviews. There's this one interview with the director

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Speaker 4: and you know the writer, and you know one of

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Speaker 4: the stars, and it's an hour long, and I watched

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Speaker 4: the whole thing and I'm like, I have to know

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Speaker 4: more about this. There was like just two or three

443
00:21:56,800 --> 00:21:59,159
Speaker 4: different interviews and I watched them all. So I engage

444
00:21:59,160 --> 00:22:01,960
Speaker 4: with your movie for like for almost five hours this

445
00:22:02,000 --> 00:22:04,600
Speaker 4: week because I could not relax after watching it.

446
00:22:04,640 --> 00:22:06,600
Speaker 3: Okay, first of all, welcome to the club. I do

447
00:22:06,680 --> 00:22:08,800
Speaker 3: that every week with your movie, usually.

448
00:22:09,359 --> 00:22:10,840
Speaker 2: Especially when it's a first watch.

449
00:22:10,920 --> 00:22:13,560
Speaker 1: When it's a first watch, I mean, I'm still looking

450
00:22:13,600 --> 00:22:14,679
Speaker 1: up info about border.

451
00:22:14,960 --> 00:22:17,959
Speaker 4: I know, and I know I've said this before, and

452
00:22:18,080 --> 00:22:19,960
Speaker 4: every time before that I have said this, I have

453
00:22:20,040 --> 00:22:20,560
Speaker 4: been wrong.

454
00:22:21,000 --> 00:22:28,119
Speaker 2: This is my Hereditary, A thought provoking, disturbing.

455
00:22:27,680 --> 00:22:31,200
Speaker 4: Your movie this week categorically is my Hereditary.

456
00:22:31,280 --> 00:22:32,840
Speaker 2: It was amazing, amazing.

457
00:22:32,920 --> 00:22:35,520
Speaker 1: First of all, I'm very happy that that happened to you,

458
00:22:35,640 --> 00:22:38,520
Speaker 1: because I feel like that's, like, you know, I'm all

459
00:22:38,560 --> 00:22:44,159
Speaker 1: about like rabbit holes and falling into researches, matrixes and

460
00:22:44,200 --> 00:22:46,640
Speaker 1: stuff like that. So I'm very happy that it happened.

461
00:22:46,720 --> 00:22:49,440
Speaker 1: And so I'm going first this week, I think right, yes,

462
00:22:49,520 --> 00:22:52,200
Speaker 1: I feel like, yes, I'm floating, and I'm gonna float

463
00:22:52,200 --> 00:22:54,760
Speaker 1: an idea of what I think the movie is about,

464
00:22:55,160 --> 00:22:57,359
Speaker 1: because this is that type of movie to me. Yes,

465
00:22:57,520 --> 00:23:00,440
Speaker 1: And you don't think it will be because you're like, oh, oh, yeah,

466
00:23:00,480 --> 00:23:02,159
Speaker 1: this is just kind of like a standard kind of

467
00:23:02,160 --> 00:23:03,000
Speaker 1: coming of age tail.

468
00:23:03,160 --> 00:23:05,560
Speaker 3: But then it just turns in a direction and then

469
00:23:05,600 --> 00:23:07,480
Speaker 3: you're like, now what happened?

470
00:23:08,440 --> 00:23:09,040
Speaker 2: I have a take.

471
00:23:09,080 --> 00:23:10,920
Speaker 1: I'm sure you have a take. I'm sure everybody out

472
00:23:10,920 --> 00:23:13,679
Speaker 1: there has a take. Yes, this week is gonna be

473
00:23:13,840 --> 00:23:15,119
Speaker 1: a barn burner.

474
00:23:15,960 --> 00:23:18,320
Speaker 4: Get into it. It might be a four hour episode.

475
00:23:18,320 --> 00:23:21,080
Speaker 4: I don't know our producer can can hang out that long.

476
00:23:21,160 --> 00:23:24,480
Speaker 4: But we're gonna use all the time we have this week.

477
00:23:24,520 --> 00:23:28,200
Speaker 1: Draped the fucking this is gonna be like the rush

478
00:23:28,320 --> 00:23:33,120
Speaker 1: song of our podcast. Is gonna be a long meandering.

479
00:23:32,640 --> 00:23:37,159
Speaker 2: It's like Neil Pert drumming underwater. That's that's right now.

480
00:23:37,200 --> 00:23:41,840
Speaker 4: We're just fucking going Neil Pert fucking fastest rummer in

481
00:23:41,840 --> 00:23:46,680
Speaker 4: the world. And I'll like Muhammad ad Lead boxing underwater,

482
00:23:46,760 --> 00:23:49,560
Speaker 4: all the under the fucking Nirvana baby underwater, all the

483
00:23:49,840 --> 00:23:52,160
Speaker 4: underwater references that you can Muster.

484
00:23:52,400 --> 00:23:53,520
Speaker 2: That's us right now.

485
00:23:53,640 --> 00:23:55,400
Speaker 1: This episode is entirely underwater.

486
00:23:55,760 --> 00:23:56,440
Speaker 3: I cannot wait.

487
00:23:57,760 --> 00:24:01,960
Speaker 1: Okay, you ready for this already? All right, let's let's go.

488
00:24:02,320 --> 00:24:05,120
Speaker 1: My movie for the theme, Baby Girl, what is You Doing?

489
00:24:05,840 --> 00:24:08,760
Speaker 1: Is from nineteen eighty five. It was written by Tom Cole,

490
00:24:09,080 --> 00:24:12,760
Speaker 1: directed by Joyce Chropra, and it's called Smooth Talk.

491
00:24:13,680 --> 00:24:17,120
Speaker 2: I want to induce myself. I'm Ronald Friend and that's

492
00:24:17,160 --> 00:24:18,639
Speaker 2: my real name, and that's what I want to be

493
00:24:18,680 --> 00:24:19,119
Speaker 2: to you.

494
00:24:19,280 --> 00:24:22,240
Speaker 1: Holy shit, So I'll admit something to you as well.

495
00:24:22,280 --> 00:24:24,600
Speaker 1: So this is the first time watched for you. I

496
00:24:24,760 --> 00:24:26,280
Speaker 1: just saw this movie in the past year.

497
00:24:26,520 --> 00:24:26,760
Speaker 2: Yeah.

498
00:24:27,080 --> 00:24:32,080
Speaker 1: Yeah, I blind bought the Criterion Blu ray because of

499
00:24:32,160 --> 00:24:35,120
Speaker 1: the people in it essentially right, and sort of having

500
00:24:35,119 --> 00:24:38,000
Speaker 1: a general sense of what it was about, like via

501
00:24:38,119 --> 00:24:39,760
Speaker 1: the cover and just sort of like I don't know,

502
00:24:39,840 --> 00:24:43,040
Speaker 1: like the reviews on IMDb or some shit like that. Yeah,

503
00:24:43,080 --> 00:24:46,800
Speaker 1: but once I saw it, I couldn't believe that I

504
00:24:46,840 --> 00:24:48,280
Speaker 1: had never seen it before.

505
00:24:48,440 --> 00:24:50,040
Speaker 2: I know, I know, and.

506
00:24:49,960 --> 00:24:52,080
Speaker 4: It came out in nineteen eighty five, Like I think

507
00:24:52,119 --> 00:24:54,760
Speaker 4: part of for me when I knew that it existed,

508
00:24:54,920 --> 00:24:57,639
Speaker 4: like when I finally first heard about it. The cover

509
00:24:57,800 --> 00:24:59,840
Speaker 4: is what prevented me from wanting to see it because

510
00:24:59,840 --> 00:25:01,880
Speaker 4: I I thought, well, this looks like a Babysitters Club

511
00:25:02,160 --> 00:25:06,920
Speaker 4: movie based on the cover. It is absolutely not. No,

512
00:25:07,119 --> 00:25:09,080
Speaker 4: but I thought, well, maybe one day I'll get around

513
00:25:09,080 --> 00:25:11,200
Speaker 4: to this, you know, like Lord durn Coming of Age movie.

514
00:25:11,200 --> 00:25:12,880
Speaker 2: But yeah, because I.

515
00:25:12,920 --> 00:25:15,320
Speaker 1: Was like, how did I not cross paths with this

516
00:25:15,440 --> 00:25:18,679
Speaker 1: at all? And it wasn't until like I think on

517
00:25:18,760 --> 00:25:23,400
Speaker 1: the special features talking with Joyce Chopra about how when

518
00:25:23,400 --> 00:25:25,879
Speaker 1: this movie came out, nobody wanted to see it. Like

519
00:25:26,080 --> 00:25:28,840
Speaker 1: the movie that you know, the kids actually wanted to

520
00:25:28,840 --> 00:25:30,719
Speaker 1: see was like Pretty and Pink. They weren't ready for

521
00:25:30,760 --> 00:25:37,520
Speaker 1: this kind of slower paced, sort of meditative, creepy teenage movie, right.

522
00:25:37,600 --> 00:25:40,080
Speaker 1: So it's like maybe that's part of the reason why

523
00:25:40,119 --> 00:25:42,000
Speaker 1: it got kind of like caught up with all the

524
00:25:42,040 --> 00:25:45,040
Speaker 1: other teen comedies. Yeah, and it just kind of got

525
00:25:45,119 --> 00:25:47,240
Speaker 1: buried maybe I don't know. I mean, I'm making that

526
00:25:47,280 --> 00:25:49,399
Speaker 1: excuse for myself, but I don't know if that's actually

527
00:25:49,400 --> 00:25:52,679
Speaker 1: what happened. But it's fascinating and like I said, I

528
00:25:52,720 --> 00:25:55,359
Speaker 1: just feel shame that I had only seen it in

529
00:25:55,359 --> 00:25:55,880
Speaker 1: the past year.

530
00:25:55,920 --> 00:25:58,679
Speaker 4: Well, don't feel shame. That's what Criterion is for. That

531
00:25:58,760 --> 00:26:00,760
Speaker 4: is what those sales are for. That's what the channel

532
00:26:00,880 --> 00:26:03,040
Speaker 4: is for, where you're like, I can take a gander

533
00:26:03,040 --> 00:26:05,000
Speaker 4: at this, it's you know, it's fifteen bucks.

534
00:26:05,280 --> 00:26:05,919
Speaker 2: Yes, you know.

535
00:26:05,960 --> 00:26:09,000
Speaker 4: There are several times a year sale I'll pick up

536
00:26:09,040 --> 00:26:10,560
Speaker 4: tons of movies that I'm like, Oh, I always meant

537
00:26:10,560 --> 00:26:12,960
Speaker 4: to watch that. That's what it's for. So we watched

538
00:26:13,000 --> 00:26:15,359
Speaker 4: it right in the exactly in the right amount of

539
00:26:15,359 --> 00:26:16,159
Speaker 4: time we needed to.

540
00:26:16,560 --> 00:26:17,920
Speaker 2: Yeah, Oh absolutely.

541
00:26:18,560 --> 00:26:22,800
Speaker 1: The director, Joyce Schopper, has made two feature length narrative films,

542
00:26:23,080 --> 00:26:27,760
Speaker 1: including this one. She's mostly known as a documentarian, and

543
00:26:28,160 --> 00:26:32,199
Speaker 1: she apprenticed with the famous documentarian Da Pennamaker in the

544
00:26:32,240 --> 00:26:35,320
Speaker 1: sixties and then was making sort of these very personal

545
00:26:36,000 --> 00:26:40,040
Speaker 1: feminist documentaries and was sort of involved with these like

546
00:26:40,040 --> 00:26:43,680
Speaker 1: feminist documentarian groups in the seventies, like kind of as

547
00:26:43,760 --> 00:26:46,119
Speaker 1: part of the kind of second wave of feminism. So

548
00:26:46,160 --> 00:26:49,200
Speaker 1: it's interesting that that's her background, especially when you think

549
00:26:49,240 --> 00:26:51,280
Speaker 1: of a movie like this, because this movie is very

550
00:26:51,359 --> 00:26:54,320
Speaker 1: much rooted in the female experience, the teenage female experience.

551
00:26:55,000 --> 00:26:57,600
Speaker 1: And also I've seen her talk about the ways in

552
00:26:57,680 --> 00:27:00,600
Speaker 1: which this movie is also about mothers and daughters. We'll

553
00:27:00,600 --> 00:27:02,840
Speaker 1: get to that in a second, I'm sure, but yeah,

554
00:27:02,880 --> 00:27:05,119
Speaker 1: I mean, I think this is obviously a movie that

555
00:27:05,359 --> 00:27:07,639
Speaker 1: was despite the fact that it was written by a

556
00:27:07,640 --> 00:27:10,760
Speaker 1: man who was her husband actually or was her husband

557
00:27:10,760 --> 00:27:12,600
Speaker 1: he passed away, but then it was made by a

558
00:27:12,600 --> 00:27:15,040
Speaker 1: woman and kind of like has that sensibility to it,

559
00:27:15,040 --> 00:27:17,720
Speaker 1: which I think is important when you think about this movie.

560
00:27:17,760 --> 00:27:21,000
Speaker 4: Absolutely, and it's also I mean, it's based on a

561
00:27:21,000 --> 00:27:24,120
Speaker 4: short story by Joyce Carol Oates, which also helps. Yes,

562
00:27:24,400 --> 00:27:26,120
Speaker 4: I was watching some of these interviews and some people

563
00:27:26,119 --> 00:27:29,440
Speaker 4: talking about the film after I watched it, and there's

564
00:27:29,480 --> 00:27:33,240
Speaker 4: a clear shift in the narrative, and it doesn't feel

565
00:27:33,240 --> 00:27:35,960
Speaker 4: when you're watching it. It doesn't feel incongruous. It doesn't

566
00:27:35,960 --> 00:27:40,119
Speaker 4: feel at all, Jenkie. It's very very smooth how that

567
00:27:40,160 --> 00:27:43,840
Speaker 4: transition happens. But I didn't realize until watching those interviews

568
00:27:43,880 --> 00:27:47,639
Speaker 4: that the transition point is where Joyce Carroll Oates short

569
00:27:47,640 --> 00:27:51,159
Speaker 4: story begins. So everything before that was created by the

570
00:27:51,160 --> 00:27:54,200
Speaker 4: writer and the director to kind of add some layering

571
00:27:54,240 --> 00:27:56,800
Speaker 4: to the story and then so there's a clear line

572
00:27:56,840 --> 00:27:58,840
Speaker 4: of delineation. But I think that's also why it's so

573
00:27:59,400 --> 00:28:02,679
Speaker 4: expertly explores really the truth of what it feels like

574
00:28:02,680 --> 00:28:04,560
Speaker 4: to be a teenage girl because they're exploring it from

575
00:28:04,600 --> 00:28:06,200
Speaker 4: all these different facets.

576
00:28:05,720 --> 00:28:08,639
Speaker 1: So oh absolutely, I mean, honestly, I feel like the

577
00:28:08,720 --> 00:28:13,639
Speaker 1: nuances of being a teenage girl are just really perfectly

578
00:28:13,720 --> 00:28:17,480
Speaker 1: executed in this movie in a way that is like

579
00:28:17,760 --> 00:28:20,439
Speaker 1: really affecting for me, Like I was, you know, like

580
00:28:21,119 --> 00:28:23,880
Speaker 1: we've talked about this so many times on certain films,

581
00:28:24,040 --> 00:28:26,800
Speaker 1: you know that we've done on the podcast, the feeling

582
00:28:26,920 --> 00:28:29,920
Speaker 1: of like being at an age where you're just curious

583
00:28:30,119 --> 00:28:33,640
Speaker 1: about you know, if you're a straight girl, you're interested

584
00:28:33,840 --> 00:28:37,280
Speaker 1: in boys and trying to figure that whole world out.

585
00:28:37,640 --> 00:28:41,120
Speaker 1: And to me, it was you know, I remember like

586
00:28:41,280 --> 00:28:44,960
Speaker 1: there are certain very very small moments in this movie

587
00:28:45,000 --> 00:28:47,080
Speaker 1: where I was like, oh my god, I remember running

588
00:28:47,120 --> 00:28:51,080
Speaker 1: past a things remembered and a tinder box in the mall.

589
00:28:51,160 --> 00:28:53,040
Speaker 1: I mean with my friends.

590
00:28:53,240 --> 00:28:56,040
Speaker 4: The onslaught of memories that came back from watching this

591
00:28:56,160 --> 00:28:59,000
Speaker 4: film of just being in the mall, laughing and running

592
00:28:59,000 --> 00:28:59,640
Speaker 4: with your friends.

593
00:28:59,800 --> 00:29:02,640
Speaker 1: Oh yeah, And I watched this movie with a couple

594
00:29:02,680 --> 00:29:05,920
Speaker 1: of my friends and I remember turning to them at

595
00:29:05,920 --> 00:29:09,320
Speaker 1: one point and saying, do you remember when kids and

596
00:29:09,360 --> 00:29:11,920
Speaker 1: maybe they still do this, who knows, but when you

597
00:29:11,960 --> 00:29:15,800
Speaker 1: would just like push your friend into somebody to like

598
00:29:15,960 --> 00:29:18,920
Speaker 1: kind of embarrass them or to like make them have

599
00:29:19,040 --> 00:29:22,360
Speaker 1: to confront a person that they thought was cute, where

600
00:29:22,400 --> 00:29:22,720
Speaker 1: you were.

601
00:29:22,640 --> 00:29:24,480
Speaker 2: Just like, hey, you go talk to that guy and

602
00:29:24,600 --> 00:29:25,000
Speaker 2: you just.

603
00:29:24,920 --> 00:29:29,040
Speaker 1: Push their body into another person's body and introverts.

604
00:29:29,120 --> 00:29:29,600
Speaker 2: Nightmare.

605
00:29:29,840 --> 00:29:31,560
Speaker 4: Hi, this is why you have to have a diverse

606
00:29:31,600 --> 00:29:34,720
Speaker 4: amount of friend because if you will never talk to

607
00:29:34,760 --> 00:29:36,760
Speaker 4: someone that you're interested in, you need the friend who

608
00:29:36,760 --> 00:29:40,520
Speaker 4: will physically fucking make that happen. Sometimes it's so cruel

609
00:29:40,560 --> 00:29:42,520
Speaker 4: but also so hilarious to me.

610
00:29:42,840 --> 00:29:45,480
Speaker 2: I know, it was like such a thing. I remember

611
00:29:45,880 --> 00:29:47,000
Speaker 2: I had one.

612
00:29:47,520 --> 00:29:50,760
Speaker 1: Boyfriend when I was in middle school. It was literally

613
00:29:50,840 --> 00:29:54,520
Speaker 1: for one day and one night, Like it was like

614
00:29:54,640 --> 00:30:00,760
Speaker 1: the stupidest relationship. It was sixth grade, one day, one night,

615
00:30:01,840 --> 00:30:06,560
Speaker 1: and I remember sort of like agreeing to the relationship

616
00:30:06,840 --> 00:30:12,400
Speaker 1: in like fourth period, and then sixth period comes along

617
00:30:12,520 --> 00:30:15,000
Speaker 1: and we're all in like gym. So we're walking down

618
00:30:15,040 --> 00:30:18,120
Speaker 1: this like long hallway towards the gym, and I remember

619
00:30:18,160 --> 00:30:21,240
Speaker 1: this like fucking jokester dude, who was like, you know,

620
00:30:21,680 --> 00:30:24,160
Speaker 1: probably like he probably dress like Howie Mandel or some

621
00:30:24,280 --> 00:30:28,400
Speaker 1: shit in the eighties. He's like forcing us to walk

622
00:30:28,600 --> 00:30:31,000
Speaker 1: together down the hallway and he was like I remember

623
00:30:31,040 --> 00:30:33,400
Speaker 1: he was like pushing the guy with his shoulder and

624
00:30:33,400 --> 00:30:36,320
Speaker 1: being like, come on, walk closer. Would you do it?

625
00:30:36,480 --> 00:30:39,160
Speaker 2: Like just touch shoulders, you know, like what's going on?

626
00:30:39,200 --> 00:30:43,920
Speaker 1: And I'm like dying. I'm like, please do not make

627
00:30:44,000 --> 00:30:45,480
Speaker 1: me touch this boy.

628
00:30:45,280 --> 00:30:46,880
Speaker 2: That I'm in a relationship with.

629
00:30:47,080 --> 00:30:49,840
Speaker 1: I mean, it's just so insane like it was, And

630
00:30:49,840 --> 00:30:51,120
Speaker 1: in this movie brought.

631
00:30:50,960 --> 00:30:55,280
Speaker 4: Up all that shit, Like I swear it totally did

632
00:30:55,360 --> 00:31:00,160
Speaker 4: for me as well. I've never had a boyfriend when

633
00:31:00,160 --> 00:31:03,280
Speaker 4: I was in middle school or high school boohoo. But

634
00:31:03,960 --> 00:31:06,240
Speaker 4: I would go to dances. I used to dance like

635
00:31:06,240 --> 00:31:08,360
Speaker 4: a motherfucker when I was a kid. Do not stop

636
00:31:08,360 --> 00:31:10,560
Speaker 4: me when is ice Baby comes on? I had moves

637
00:31:12,200 --> 00:31:13,240
Speaker 4: fucking on Vogue.

638
00:31:13,280 --> 00:31:14,840
Speaker 2: I was on that shit.

639
00:31:15,040 --> 00:31:20,280
Speaker 4: If anyone ever unearths their parents BCR tapes, I'm in

640
00:31:20,400 --> 00:31:22,880
Speaker 4: for a rude and embarrassing awakening. Yeah.

641
00:31:22,920 --> 00:31:24,800
Speaker 1: And by the way, this is not some fucking like

642
00:31:24,840 --> 00:31:26,880
Speaker 1: shoulder drake shoulder shit.

643
00:31:27,160 --> 00:31:30,960
Speaker 2: This was hard dancing. This was new Jack swing hard.

644
00:31:31,000 --> 00:31:36,600
Speaker 6: Dancing, new Jack swing on dance, Are you kidding?

645
00:31:36,640 --> 00:31:39,760
Speaker 2: It was like literally running in place. Oh this is fun,

646
00:31:40,080 --> 00:31:44,040
Speaker 2: croptop and spandex. You cannot stop us. Yeah, this is

647
00:31:44,640 --> 00:31:48,560
Speaker 2: a thick para sox scrunched down into your rebox.

648
00:31:48,720 --> 00:31:52,320
Speaker 1: Yeah, this is not little Wayne bobbing up and down

649
00:31:52,360 --> 00:31:58,960
Speaker 1: in place. This is actual calisthetics, all that New Jack

650
00:31:58,960 --> 00:32:02,400
Speaker 1: swing music. I mean, well, I danced so fucking hard.

651
00:32:02,800 --> 00:32:03,440
Speaker 2: Oh my god.

652
00:32:03,480 --> 00:32:06,360
Speaker 4: Look, he had a lot to prove, a lot to prove,

653
00:32:06,400 --> 00:32:08,040
Speaker 4: and sixth grade Danielle was like.

654
00:32:07,960 --> 00:32:09,520
Speaker 2: I don't know about any of that. I don't even

655
00:32:09,520 --> 00:32:11,280
Speaker 2: know who David Bowie is yet. I don't even know

656
00:32:11,280 --> 00:32:14,120
Speaker 2: that you sampled the song I love this. Yes, I

657
00:32:14,160 --> 00:32:15,360
Speaker 2: would go to a fucking.

658
00:32:15,120 --> 00:32:18,040
Speaker 4: Middle school dance and dance my heart out. Yeah, And

659
00:32:18,520 --> 00:32:21,200
Speaker 4: of course the slow song starts. And there was at

660
00:32:21,200 --> 00:32:26,280
Speaker 4: one point during one dance where my friends, the pushers,

661
00:32:26,920 --> 00:32:29,400
Speaker 4: were like, you should go dance with that guy because

662
00:32:29,440 --> 00:32:31,880
Speaker 4: he was tall, Like he was taller than me and

663
00:32:31,920 --> 00:32:33,880
Speaker 4: I was, you know, six feet tall when I was thirteen.

664
00:32:34,320 --> 00:32:36,080
Speaker 4: So he was like, he's tall, you should dance with him.

665
00:32:36,080 --> 00:32:37,880
Speaker 4: He's cute and he's tall, and I was like eah.

666
00:32:37,920 --> 00:32:40,640
Speaker 4: So they kind of like pushed us together and matched

667
00:32:40,720 --> 00:32:42,440
Speaker 4: us up and we're like, you guys should dance to

668
00:32:42,480 --> 00:32:42,960
Speaker 4: this song.

669
00:32:43,360 --> 00:32:44,680
Speaker 2: It was Stairway to Heaven.

670
00:32:44,960 --> 00:32:49,200
Speaker 4: Oh my god, the longest slow song that turns into

671
00:32:49,200 --> 00:32:51,920
Speaker 4: a fucking rock song of all time.

672
00:32:51,960 --> 00:32:54,640
Speaker 1: Who the fuck was the DJ at your middle school

673
00:32:54,640 --> 00:32:55,280
Speaker 1: playing that shit?

674
00:32:55,440 --> 00:32:58,800
Speaker 4: Someone who had bowel issues clearly, So I'm like, oh,

675
00:32:58,840 --> 00:33:01,000
Speaker 4: you just need to throw this on for nine minutes

676
00:33:01,200 --> 00:33:02,160
Speaker 4: and go take a dump.

677
00:33:02,240 --> 00:33:04,520
Speaker 1: He had to play a douchie jam, that's what you're

678
00:33:04,520 --> 00:33:04,880
Speaker 1: telling me.

679
00:33:05,000 --> 00:33:07,440
Speaker 4: Yeah, he needed a fucking cigarette. Whoever this DJ was,

680
00:33:10,400 --> 00:33:11,400
Speaker 4: we needed a slam too.

681
00:33:11,400 --> 00:33:11,880
Speaker 2: Cigarette.

682
00:33:11,920 --> 00:33:14,200
Speaker 4: So we were dance slow dancing the stairway to Heaven

683
00:33:14,200 --> 00:33:16,800
Speaker 4: and it was so rigid, like my arms were on

684
00:33:16,880 --> 00:33:18,760
Speaker 4: his shoulders, like my hands were on his shoulders and

685
00:33:18,800 --> 00:33:20,480
Speaker 4: his hands were on my waist, and we were just

686
00:33:20,560 --> 00:33:23,200
Speaker 4: kind of like rocking back and forth like Little Frankenstein's.

687
00:33:23,640 --> 00:33:26,200
Speaker 2: I swear to fucking God.

688
00:33:27,160 --> 00:33:30,360
Speaker 4: About halfway through the song, I couldn't even look him

689
00:33:30,360 --> 00:33:32,800
Speaker 4: in the eye. I looked up and he was rolling

690
00:33:32,840 --> 00:33:37,400
Speaker 4: his eyes and yawning. Halfway through the song while we

691
00:33:37,400 --> 00:33:40,880
Speaker 4: were dancing, I wanted to fucking collapse into the earth.

692
00:33:40,920 --> 00:33:43,560
Speaker 4: And I was so mad at my friends, and I'm like,

693
00:33:43,560 --> 00:33:46,760
Speaker 4: this guy is literally bored, like he does not want

694
00:33:46,800 --> 00:33:49,480
Speaker 4: to be doing this at all. We could not have

695
00:33:49,520 --> 00:33:51,800
Speaker 4: been farther away just because we were tall. My fucking

696
00:33:51,880 --> 00:33:55,680
Speaker 4: pusher friends made me have this experience a boring a man.

697
00:33:55,720 --> 00:33:56,720
Speaker 2: To tears.

698
00:33:58,120 --> 00:34:01,720
Speaker 4: While we're just rocking around like little fucking Frankenstein monsters.

699
00:34:02,000 --> 00:34:03,400
Speaker 2: I'm gonna say, that is not you.

700
00:34:03,480 --> 00:34:07,800
Speaker 1: That is the song. I hope that you know that.

701
00:34:06,960 --> 00:34:07,840
Speaker 2: That's not you.

702
00:34:08,000 --> 00:34:11,440
Speaker 1: That is that stupid ass fifteen minute song.

703
00:34:12,400 --> 00:34:12,600
Speaker 2: Oh.

704
00:34:12,719 --> 00:34:14,439
Speaker 4: By this point in my life, I've had men fall

705
00:34:14,480 --> 00:34:16,640
Speaker 4: asleep on me during sex, Like I don't care about.

706
00:34:16,400 --> 00:34:19,959
Speaker 2: Any of that shit, Like I know, I know my shit,

707
00:34:20,120 --> 00:34:23,399
Speaker 2: it's tight, like that's you, Oh my god. But yeah,

708
00:34:23,480 --> 00:34:24,799
Speaker 2: it was so embarrassing.

709
00:34:25,040 --> 00:34:27,879
Speaker 1: Look, I would have been your like Rosie Perez friend

710
00:34:27,880 --> 00:34:30,080
Speaker 1: that like gets in somebody's face and he's like, why

711
00:34:30,120 --> 00:34:31,359
Speaker 1: are you fall asleep.

712
00:34:31,040 --> 00:34:34,800
Speaker 2: On my girl? Adam, wait for Adam. I'm gonna stop

713
00:34:34,840 --> 00:34:37,200
Speaker 2: your foot. Look alive, bitch, look alive.

714
00:34:37,360 --> 00:34:37,839
Speaker 1: What the heck?

715
00:34:37,880 --> 00:34:39,799
Speaker 2: Come on, bitch, we got five more minutes. You can

716
00:34:39,880 --> 00:34:41,880
Speaker 2: do it. You go. I see you in gym class

717
00:34:41,920 --> 00:34:43,280
Speaker 2: every day playing kickball.

718
00:34:43,360 --> 00:34:45,799
Speaker 4: You can make it through stairway to heaven dancing with

719
00:34:45,840 --> 00:34:49,440
Speaker 4: someone you do not give a shit about. Also, he

720
00:34:49,640 --> 00:34:51,840
Speaker 4: immediately came out of the closet we were in high school.

721
00:34:51,880 --> 00:34:52,359
Speaker 2: He had it.

722
00:34:52,520 --> 00:34:54,399
Speaker 1: I was gonna say, what happened to him?

723
00:34:54,520 --> 00:34:57,840
Speaker 4: Like, stop matching me up with these fucking freakishly tall girls.

724
00:34:58,320 --> 00:35:00,920
Speaker 2: I like boys, I'm dune, I was like.

725
00:35:01,120 --> 00:35:03,040
Speaker 1: And his name is George Santos.

726
00:35:05,800 --> 00:35:07,880
Speaker 2: He became a leading Republican politician.

727
00:35:10,200 --> 00:35:12,120
Speaker 3: Look, this is what I love about this movie though.

728
00:35:12,160 --> 00:35:14,520
Speaker 1: It is like bringing up all of these feelings, and

729
00:35:15,440 --> 00:35:20,160
Speaker 1: I think that's interesting that that happens. But also this

730
00:35:20,239 --> 00:35:22,160
Speaker 1: other thing happens, and we'll talk about it in just

731
00:35:22,160 --> 00:35:26,040
Speaker 1: a second, which is that the movie shifts tone, like

732
00:35:26,080 --> 00:35:29,839
Speaker 1: you said, And to go back to Joyce Carol Oates. Right,

733
00:35:30,080 --> 00:35:33,640
Speaker 1: So this movie was based off of one of her

734
00:35:33,680 --> 00:35:36,760
Speaker 1: short stories, which is called where are You Going?

735
00:35:36,960 --> 00:35:37,759
Speaker 2: Where Have You Been?

736
00:35:38,000 --> 00:35:44,560
Speaker 1: From nineteen sixty six, and her story was essentially inspired

737
00:35:44,600 --> 00:35:50,600
Speaker 1: by this real life psychopath who was called the Pied

738
00:35:50,640 --> 00:35:55,520
Speaker 1: Piper of Tucson. His real name is Charles Schmid. And

739
00:35:55,680 --> 00:35:58,200
Speaker 1: I actually wanted to read this. If you don't mind, yeah,

740
00:35:58,280 --> 00:36:00,680
Speaker 1: go for it. So, Joyce Carol Oates, I wrote about

741
00:36:00,840 --> 00:36:03,440
Speaker 1: Smooth Talk when it came out, I believe it was

742
00:36:03,440 --> 00:36:06,399
Speaker 1: in the New York Times, and I wanted to read

743
00:36:06,400 --> 00:36:10,399
Speaker 1: the first two paragraphs that she wrote about the Pied

744
00:36:10,440 --> 00:36:13,280
Speaker 1: Piper of Tucson, who is kind of who the character

745
00:36:13,360 --> 00:36:15,840
Speaker 1: of Arnold Friend is sort of based off of, because

746
00:36:15,840 --> 00:36:17,319
Speaker 1: I think it really kind of sets the tone for

747
00:36:17,400 --> 00:36:20,160
Speaker 1: like who this guy is supposed to be inspired by.

748
00:36:20,440 --> 00:36:24,440
Speaker 1: And then maybe it informs, you know, the character that

749
00:36:24,480 --> 00:36:27,319
Speaker 1: you see with Lord Dern interacted with Lord Darn's character. Right,

750
00:36:27,560 --> 00:36:30,919
Speaker 1: So this is a quote from Joyce Carrolwitz. Some years

751
00:36:30,960 --> 00:36:34,880
Speaker 1: ago in the American Southwest, there surfaced a tabloid psychopath

752
00:36:35,080 --> 00:36:36,520
Speaker 1: known as the Pied Piper of Tucson.

753
00:36:36,920 --> 00:36:40,320
Speaker 3: I'd forgotten his name, but his specialty was the seduction

754
00:36:40,520 --> 00:36:44,480
Speaker 3: and occasional murder of teenage girls. He may or may

755
00:36:44,480 --> 00:36:48,160
Speaker 3: not have had actual accomplices, but his bizarre activities were

756
00:36:48,200 --> 00:36:51,240
Speaker 3: known among a circle of teenagers in the Tucson area.

757
00:36:51,800 --> 00:36:55,920
Speaker 3: For some reason, they kept his secret deliberately, not inform

758
00:36:56,200 --> 00:37:00,200
Speaker 3: parents or police. It was this fact, not the fact

759
00:37:00,280 --> 00:37:03,000
Speaker 3: of the mass murderer himself, that struck me at the time.

760
00:37:03,440 --> 00:37:06,279
Speaker 3: And this was a pre Manson time, early or mid

761
00:37:06,400 --> 00:37:10,840
Speaker 3: nineteen sixties. The Pied Piper mimicked teenagers and talk dress

762
00:37:10,840 --> 00:37:13,600
Speaker 3: and behavior, but he was not a teenager. He was

763
00:37:13,640 --> 00:37:17,320
Speaker 3: a man in his early thirties rather short. He stuffed

764
00:37:17,440 --> 00:37:20,600
Speaker 3: rags in his leather boots to give him height, and

765
00:37:20,680 --> 00:37:25,120
Speaker 3: sometimes walked unsteadily as a consequence. Did none among his

766
00:37:25,320 --> 00:37:30,759
Speaker 3: admiring constituency notice he charmed his victims as charismatic psychopaths

767
00:37:30,800 --> 00:37:33,959
Speaker 3: have always charmed their victims, to the bewilderment of others

768
00:37:34,000 --> 00:37:38,960
Speaker 3: who fancy themselves free of all lunatic attractions. The Piper

769
00:37:39,000 --> 00:37:44,600
Speaker 3: of Tucson a trashy dream, a tabloid archetype, sheer artifice,

770
00:37:44,880 --> 00:37:50,800
Speaker 3: comedy cartoon, surrounded, however, improbably and finally tragically by real people.

771
00:37:51,160 --> 00:37:53,359
Speaker 3: You think that if you look twice, he won't be there,

772
00:37:54,160 --> 00:38:00,000
Speaker 3: But there he is. End quote, damn chills, no shit, do.

773
00:38:00,600 --> 00:38:04,160
Speaker 4: Fucking That guy was really monitrous too, and he wore

774
00:38:04,320 --> 00:38:06,680
Speaker 4: makeup and shit. And there was like such a weirdness,

775
00:38:06,760 --> 00:38:08,879
Speaker 4: like she says in what you just read that there's

776
00:38:08,880 --> 00:38:11,280
Speaker 4: such a weirdness in how he was able to coerce

777
00:38:11,320 --> 00:38:14,279
Speaker 4: people into keeping his secrets when he was clearly not

778
00:38:14,400 --> 00:38:18,440
Speaker 4: a teenager. There's something so weird about the veil that

779
00:38:18,600 --> 00:38:22,440
Speaker 4: comes down, I think specifically in teenage lives for the

780
00:38:22,480 --> 00:38:25,680
Speaker 4: most part, when you want something so badly to be true. Yes,

781
00:38:25,880 --> 00:38:28,200
Speaker 4: Like you're looking for an experience, You're looking for something

782
00:38:28,239 --> 00:38:30,279
Speaker 4: to justify your own feelings, so you just kind of

783
00:38:30,280 --> 00:38:34,080
Speaker 4: ignore these very simple basic ideas about who is actually

784
00:38:34,080 --> 00:38:34,840
Speaker 4: standing in front of you.

785
00:38:34,960 --> 00:38:37,160
Speaker 1: Yeah, and like this is the thing that I was gonna,

786
00:38:37,400 --> 00:38:39,319
Speaker 1: you know, eventually talk about. And it goes back to

787
00:38:39,320 --> 00:38:42,520
Speaker 1: this conversation we just had about like our own childhoods

788
00:38:42,560 --> 00:38:46,720
Speaker 1: and these archetypes. Almost because I swear our old friend,

789
00:38:46,880 --> 00:38:50,320
Speaker 1: the character in Smooth Talk who's played by Tree Williams.

790
00:38:49,920 --> 00:38:53,920
Speaker 2: Rip King, gone too soon, Gone too.

791
00:38:53,760 --> 00:38:58,759
Speaker 1: Soon for sure. Like this guy he just reminds me

792
00:38:58,840 --> 00:39:01,319
Speaker 1: of like the famous creep that I knew when I

793
00:39:01,360 --> 00:39:03,920
Speaker 1: was a child. And I say child, but I was

794
00:39:03,920 --> 00:39:07,120
Speaker 1: like a teenager, right, it's like anywhere between fourteen to

795
00:39:07,560 --> 00:39:10,320
Speaker 1: you know, eighteen, when I was around people who drove,

796
00:39:10,520 --> 00:39:12,239
Speaker 1: I was kind of in the mix more of like

797
00:39:12,280 --> 00:39:15,880
Speaker 1: going out, going downtown, going, you know, just like third

798
00:39:15,880 --> 00:39:18,759
Speaker 1: Spaces all the time. And this dude is like a

799
00:39:18,840 --> 00:39:22,120
Speaker 1: dude that was prevalent in my teenage years. I mean

800
00:39:22,160 --> 00:39:24,200
Speaker 1: he was like a notorious dude with.

801
00:39:24,160 --> 00:39:25,640
Speaker 2: A weird, memorable car.

802
00:39:25,760 --> 00:39:29,200
Speaker 1: As we'll talk about, like he always had some like

803
00:39:29,280 --> 00:39:33,239
Speaker 1: weird friend in toe who like never said anything, you know,

804
00:39:34,239 --> 00:39:36,359
Speaker 1: and everybody knew who he was. And he would come

805
00:39:36,600 --> 00:39:39,440
Speaker 1: clank clank clanking down the street with like his weird

806
00:39:40,080 --> 00:39:43,160
Speaker 1: peacocky car, and he was he was like much older

807
00:39:43,200 --> 00:39:44,680
Speaker 1: than everybody, and he was just like what's.

808
00:39:44,520 --> 00:39:49,480
Speaker 4: Up, Like, hey, it is amazing how every town has

809
00:39:49,520 --> 00:39:49,879
Speaker 4: that guy.

810
00:39:50,040 --> 00:39:51,920
Speaker 1: Yes, this is crazy.

811
00:39:52,120 --> 00:39:55,799
Speaker 2: He gets amazing. Yeah, somebody asked to study that.

812
00:39:56,080 --> 00:39:59,960
Speaker 1: Oh god. And it's like that archetype persists through the deck.

813
00:40:00,239 --> 00:40:02,320
Speaker 3: It's like he doesn't even have to do anything.

814
00:40:02,360 --> 00:40:04,240
Speaker 1: Like That's the thing is I know in this film

815
00:40:04,440 --> 00:40:07,480
Speaker 1: it gets pretty intense, but like, you know, I don't

816
00:40:07,520 --> 00:40:09,520
Speaker 1: even have to talk to that guy to know who

817
00:40:09,560 --> 00:40:12,400
Speaker 1: that guy is. Right, he's in the ether as a teenager.

818
00:40:13,040 --> 00:40:16,680
Speaker 1: But the fact that like this character was sort of

819
00:40:16,760 --> 00:40:19,600
Speaker 1: rooted in this like real life guy who was a

820
00:40:19,800 --> 00:40:25,120
Speaker 1: complete maniac and you know, a criminal and a horrible

821
00:40:25,120 --> 00:40:28,640
Speaker 1: person is interesting to me. It's not a true crime

822
00:40:28,680 --> 00:40:31,640
Speaker 1: film because it's not super based in his real character,

823
00:40:31,719 --> 00:40:35,600
Speaker 1: but it takes things from this person that is very

824
00:40:35,640 --> 00:40:36,279
Speaker 1: interesting to me.

825
00:40:36,640 --> 00:40:39,200
Speaker 4: Well, and what's also fascinating to me is that Joyce

826
00:40:39,239 --> 00:40:42,920
Speaker 4: Carol Oates would read about this guy and the story

827
00:40:43,040 --> 00:40:46,359
Speaker 4: she wrote was from the perspective of his victims. Yes,

828
00:40:46,680 --> 00:40:50,719
Speaker 4: like crafting this whole character Connie around, who was he

829
00:40:50,800 --> 00:40:53,160
Speaker 4: able to manipulate? Like, let me figure out who that

830
00:40:53,200 --> 00:40:54,759
Speaker 4: person was. That's fascinating to me.

831
00:40:54,960 --> 00:40:55,360
Speaker 2: Yeah.

832
00:40:55,400 --> 00:40:59,640
Speaker 1: Absolutely, So just a quick one sentence synopsis if you

833
00:40:59,680 --> 00:41:04,280
Speaker 1: haven't figured it out already about smooth Talk. A bold,

834
00:41:04,440 --> 00:41:09,080
Speaker 1: curious teenage girl desperate for independence is enchanted by a

835
00:41:09,160 --> 00:41:10,640
Speaker 1: dangerous older man.

836
00:41:10,840 --> 00:41:11,280
Speaker 2: Perfect.

837
00:41:11,560 --> 00:41:11,640
Speaker 4: So.

838
00:41:12,040 --> 00:41:15,279
Speaker 1: The fifteen year old girl named Connie is played by

839
00:41:15,480 --> 00:41:22,240
Speaker 1: Laura Dern. This was her first starring role. She was technically,

840
00:41:22,280 --> 00:41:25,600
Speaker 1: I think eighteen when she filmed this movie. She's playing fifteen,

841
00:41:25,719 --> 00:41:28,239
Speaker 1: not a stretch, even though there are moments of the

842
00:41:28,280 --> 00:41:31,719
Speaker 1: movie where she seems very adult. Yeah, but then other

843
00:41:31,760 --> 00:41:34,480
Speaker 1: times where she seems like a child, and that is

844
00:41:34,760 --> 00:41:36,800
Speaker 1: teenaged ness, I think in a nutshell.

845
00:41:36,880 --> 00:41:39,840
Speaker 2: Absolutely, And she was cast when she was fifteen.

846
00:41:39,880 --> 00:41:41,720
Speaker 4: I think it took a while to make the actual film,

847
00:41:41,800 --> 00:41:45,200
Speaker 4: but like I think the Joyce Chopra kind of commented

848
00:41:45,239 --> 00:41:46,960
Speaker 4: on that as well, that it was amazing to find

849
00:41:47,000 --> 00:41:48,680
Speaker 4: an actress who could do that, who could walk that

850
00:41:48,760 --> 00:41:51,440
Speaker 4: line between childlike and adult.

851
00:41:51,800 --> 00:41:53,960
Speaker 1: Yeah, And I think that treet Williams in the special

852
00:41:54,000 --> 00:41:57,880
Speaker 1: features says like it's because her parents were actors that

853
00:41:57,920 --> 00:42:01,000
Speaker 1: she was kind of mostly fearles and was kind of

854
00:42:01,040 --> 00:42:03,280
Speaker 1: going for it, which, again, I think that's like something

855
00:42:03,320 --> 00:42:03,960
Speaker 1: she's taken with.

856
00:42:03,920 --> 00:42:04,719
Speaker 2: Her her whole life.

857
00:42:04,719 --> 00:42:07,240
Speaker 1: I mean, yeah, in the David Lynch films, but also

858
00:42:07,440 --> 00:42:10,399
Speaker 1: just in her the roles that she's played on TV

859
00:42:10,480 --> 00:42:13,320
Speaker 1: and film. I mean, she's just such a great actress.

860
00:42:12,920 --> 00:42:14,440
Speaker 2: For that, She's fantastic.

861
00:42:14,520 --> 00:42:16,080
Speaker 4: And in her real life too, I think she's just

862
00:42:16,200 --> 00:42:17,920
Speaker 4: very bold and very cool.

863
00:42:18,239 --> 00:42:20,880
Speaker 1: Yeah, we got to do her for staunch women sometime,

864
00:42:21,760 --> 00:42:24,960
Speaker 1: let's do it. So she's fifteen, this girl Connie. She's

865
00:42:24,960 --> 00:42:26,960
Speaker 1: living in this kind of rural town, which I feel

866
00:42:26,960 --> 00:42:28,919
Speaker 1: like is sort of northern California.

867
00:42:29,000 --> 00:42:31,719
Speaker 3: I don't know if you if they set it specifically.

868
00:42:31,880 --> 00:42:33,320
Speaker 4: I don't know if it was one of the extras

869
00:42:33,400 --> 00:42:35,239
Speaker 4: or not, but they mentioned Pedaluma, so I don't know

870
00:42:35,239 --> 00:42:37,600
Speaker 4: if that's where they filmed or if that's where it's set,

871
00:42:38,239 --> 00:42:42,760
Speaker 4: but it's definitely like a northern California, non beachy town, yeah,

872
00:42:43,280 --> 00:42:44,000
Speaker 4: with like a lake.

873
00:42:44,840 --> 00:42:48,640
Speaker 1: Yeah, and also like lemons or something. I was like

874
00:42:48,719 --> 00:42:50,960
Speaker 1: lemon trees or some kind of fruit trees in the yards.

875
00:42:51,000 --> 00:42:54,319
Speaker 1: So I kind of thought somewhere in northern California is so,

876
00:42:54,800 --> 00:42:58,000
Speaker 1: you know, perhaps due to Connie's age and her location,

877
00:42:58,160 --> 00:43:02,240
Speaker 1: it's kind of slightly rural. Say she's going through a phase.

878
00:43:03,000 --> 00:43:08,360
Speaker 1: Let's just say that. Okay, she goes to the beach

879
00:43:08,360 --> 00:43:11,000
Speaker 1: in the mall with her friends, and this is again

880
00:43:11,080 --> 00:43:13,920
Speaker 1: we have said it. It is high eighties mall culture.

881
00:43:15,239 --> 00:43:19,160
Speaker 1: So they're doing the thing where it's basically like, hey,

882
00:43:19,160 --> 00:43:21,520
Speaker 1: mom and dad, drop me off at the movie so

883
00:43:21,560 --> 00:43:23,920
Speaker 1: we can go see fucking fible Goes.

884
00:43:23,760 --> 00:43:25,160
Speaker 2: West or wherever the hell you watch.

885
00:43:25,520 --> 00:43:28,680
Speaker 1: And then you go into the bathroom put on all

886
00:43:28,719 --> 00:43:31,959
Speaker 1: your like slutty accessories, like you put your hair back,

887
00:43:32,080 --> 00:43:34,319
Speaker 1: you take your bangle bracelets out and push them up

888
00:43:34,360 --> 00:43:37,240
Speaker 1: your arms. It's like a quick change in the bathroom

889
00:43:37,320 --> 00:43:38,240
Speaker 1: to be more adult.

890
00:43:40,480 --> 00:43:41,200
Speaker 2: It's so great.

891
00:43:41,200 --> 00:43:43,880
Speaker 4: At what point, the girls are walking and Connie is

892
00:43:43,960 --> 00:43:45,759
Speaker 4: just kind of like she just kind of takes off

893
00:43:45,760 --> 00:43:47,759
Speaker 4: her belt while she's talking, and it's such a move

894
00:43:47,760 --> 00:43:49,440
Speaker 4: because you're like, oh, yeah, she remembers that she has

895
00:43:49,480 --> 00:43:50,719
Speaker 4: to take off her costume.

896
00:43:51,040 --> 00:43:52,920
Speaker 2: Yeah, exactly.

897
00:43:53,120 --> 00:43:55,399
Speaker 1: But then they just would go to the mall and

898
00:43:55,560 --> 00:43:59,000
Speaker 1: just run around the mall chasing boys, you know, And

899
00:43:59,040 --> 00:44:01,120
Speaker 1: this is her entire life, like this is like what

900
00:44:01,160 --> 00:44:03,400
Speaker 1: she loves to do, and this is the summertime, you know.

901
00:44:03,440 --> 00:44:07,320
Speaker 1: They're just kind of like running around pushing their friends.

902
00:44:06,920 --> 00:44:09,520
Speaker 3: Into boys that they think are cute at the mall.

903
00:44:09,960 --> 00:44:12,640
Speaker 1: And she's got these parents, this mother and father who

904
00:44:12,680 --> 00:44:16,920
Speaker 1: are very interestingly played by Mary kay Place, who of

905
00:44:16,960 --> 00:44:20,200
Speaker 1: course we've talked about from The Big Chill, amongst other things.

906
00:44:20,719 --> 00:44:24,120
Speaker 1: And Levon Helm, who you may know is in the

907
00:44:24,200 --> 00:44:28,720
Speaker 1: band The Band right, and he did acting as well.

908
00:44:29,040 --> 00:44:30,880
Speaker 2: But when it comes down to it, they.

909
00:44:31,200 --> 00:44:36,319
Speaker 1: Have two completely different techniques in handling this rebellious teenage daughter.

910
00:44:36,840 --> 00:44:37,040
Speaker 2: Right.

911
00:44:37,680 --> 00:44:41,919
Speaker 1: The dad classic blissfully fucking unaware of what the fuck

912
00:44:42,000 --> 00:44:45,600
Speaker 1: is going on, like one foot out of child wearing

913
00:44:45,800 --> 00:44:48,400
Speaker 1: just like I'm smoking a cigarette in the yard with

914
00:44:48,520 --> 00:44:50,640
Speaker 1: a lawn chair, like isn't it great?

915
00:44:51,280 --> 00:44:53,960
Speaker 4: Meanwhile, his daughter's leaning next to him on a wall

916
00:44:54,000 --> 00:44:57,200
Speaker 4: in emotional torment and he's like, hey, life's awesome. And

917
00:44:57,280 --> 00:44:58,480
Speaker 4: she's like, I beg to differ.

918
00:44:58,680 --> 00:44:59,400
Speaker 2: I beg to differ.

919
00:44:59,560 --> 00:45:02,360
Speaker 1: It's like Mom served hot tuna fish and I can't

920
00:45:02,400 --> 00:45:06,239
Speaker 1: stand it. That's the topic of the day. Meanwhile, you're

921
00:45:06,280 --> 00:45:12,080
Speaker 1: an anguish, You're an anguish, and I recognize none of it.

922
00:45:12,400 --> 00:45:13,040
Speaker 2: So insane.

923
00:45:13,280 --> 00:45:16,560
Speaker 4: Ah, she gave me a fucking salad for dinner and

924
00:45:16,640 --> 00:45:23,440
Speaker 4: I'm pissed, but I'm gonna let it roll off me.

925
00:45:23,440 --> 00:45:27,560
Speaker 1: Meanwhile, her mom is, you know, trying to wrangle her

926
00:45:28,080 --> 00:45:32,120
Speaker 1: and it's not working, you know. And they have a

927
00:45:32,280 --> 00:45:37,480
Speaker 1: very strained relationship, I would say, which is made even

928
00:45:37,560 --> 00:45:42,440
Speaker 1: worse by Connie's sister, who was essentially like a ninety

929
00:45:42,480 --> 00:45:44,800
Speaker 1: year old woman in a teenager's body.

930
00:45:45,480 --> 00:45:48,520
Speaker 4: She's the total opposite of Connie. She stays in a

931
00:45:48,560 --> 00:45:54,200
Speaker 4: Holly Hobby pajama dress. Yes, I'm like, how old is

932
00:45:54,200 --> 00:45:56,480
Speaker 4: your older sister? And is she actually your mom? Is

933
00:45:56,480 --> 00:45:58,799
Speaker 4: it gonna be one of those weird family reveals where

934
00:45:58,800 --> 00:46:00,840
Speaker 4: they're like, your mom is your grand and your sister

935
00:46:00,960 --> 00:46:01,399
Speaker 4: is your mom?

936
00:46:02,880 --> 00:46:05,800
Speaker 1: There were times where I was going, is that her aunt?

937
00:46:06,160 --> 00:46:09,399
Speaker 1: Why is she acted like her older aunt? Her much

938
00:46:09,400 --> 00:46:11,880
Speaker 1: older aunt. And the craziest part too, I don't know

939
00:46:11,920 --> 00:46:15,840
Speaker 1: if you noticed this, the sister is always sitting so

940
00:46:16,080 --> 00:46:19,600
Speaker 1: close to the mom, like they're always together, Like she's

941
00:46:19,640 --> 00:46:22,400
Speaker 1: doing like needle point and sitting like super close to

942
00:46:22,440 --> 00:46:22,840
Speaker 1: the mom.

943
00:46:23,000 --> 00:46:24,960
Speaker 2: And I'm just like, what's that about?

944
00:46:25,080 --> 00:46:27,960
Speaker 1: Like it's like this moment where you're like, Connie is

945
00:46:28,000 --> 00:46:32,440
Speaker 1: an alien. She is a complete being that's totally outside

946
00:46:32,760 --> 00:46:35,520
Speaker 1: of this little unit. She doesn't even look like the

947
00:46:35,560 --> 00:46:38,279
Speaker 1: rest of them. She's got blonde terror and she's like

948
00:46:38,840 --> 00:46:42,400
Speaker 1: six feet tall. But it's like the sister is so

949
00:46:43,360 --> 00:46:47,240
Speaker 1: completely absorbed into the family dynamic, and it's kind of at.

950
00:46:47,080 --> 00:46:50,200
Speaker 3: The cost of Connie being so outside.

951
00:46:50,480 --> 00:46:52,520
Speaker 4: Yeah, I feel like it's a great observation, and I

952
00:46:52,520 --> 00:46:55,200
Speaker 4: feel like it has to have been intentional because the

953
00:46:55,280 --> 00:46:57,879
Speaker 4: director must have looked at it and thought that June

954
00:46:57,960 --> 00:47:01,560
Speaker 4: is ingratiatingly like always around. Yeah, it just feels intentional

955
00:47:01,560 --> 00:47:04,200
Speaker 4: to me that she would say this daughter is physically

956
00:47:04,239 --> 00:47:07,920
Speaker 4: closer because the mother actually likes her more. Yes, And

957
00:47:07,960 --> 00:47:10,240
Speaker 4: she's also kind of like June feels like she's trying

958
00:47:10,280 --> 00:47:14,279
Speaker 4: to replicate being her mother, Like she doesn't seem to

959
00:47:14,280 --> 00:47:16,000
Speaker 4: have her own personality. There a certain point in the

960
00:47:16,000 --> 00:47:17,919
Speaker 4: movie where a little bit of her personality comes out

961
00:47:18,400 --> 00:47:20,719
Speaker 4: in a startling way. But yeah, for the most part,

962
00:47:20,800 --> 00:47:22,280
Speaker 4: she's just like mom junior.

963
00:47:22,640 --> 00:47:26,680
Speaker 1: Yeah, totally totally, So okay, this is the dynamic of

964
00:47:26,719 --> 00:47:30,400
Speaker 1: the family. And you know, again, Connie's out kind of

965
00:47:30,480 --> 00:47:34,360
Speaker 1: running around town with her girlfriends. One night, they decide

966
00:47:34,360 --> 00:47:38,040
Speaker 1: that they're going to run across the highway over to

967
00:47:38,080 --> 00:47:41,680
Speaker 1: this hot dog stand where basically all these older kids

968
00:47:41,760 --> 00:47:46,520
Speaker 1: hang out. And the crossing of the highway is huge.

969
00:47:46,880 --> 00:47:48,480
Speaker 1: I feel like in this movie, I feel like it's

970
00:47:48,520 --> 00:47:49,400
Speaker 1: a portal.

971
00:47:49,320 --> 00:47:52,160
Speaker 2: That is such a big baby girl. What as you

972
00:47:52,160 --> 00:47:53,600
Speaker 2: do in moment for me? Oh?

973
00:47:54,360 --> 00:47:56,080
Speaker 4: They do it constantly, and I'm like, this is not

974
00:47:56,239 --> 00:47:57,319
Speaker 4: frogger stop it.

975
00:47:59,440 --> 00:48:00,320
Speaker 2: But it's like.

976
00:48:00,200 --> 00:48:04,759
Speaker 1: This, this is getting deep, y'all. Sorry, It's this physical

977
00:48:04,880 --> 00:48:08,680
Speaker 1: space that they have to cross in order to go

978
00:48:08,840 --> 00:48:12,320
Speaker 1: to this other side where they're kind of exploring their older,

979
00:48:12,800 --> 00:48:13,680
Speaker 1: darker side.

980
00:48:13,800 --> 00:48:16,480
Speaker 2: Right. Yeah, they're physically running towards their desire.

981
00:48:16,960 --> 00:48:19,799
Speaker 1: Yeah, I mean, the shit is not lost on me.

982
00:48:20,600 --> 00:48:23,200
Speaker 1: I'm saying, and you and I are the two bitches

983
00:48:23,239 --> 00:48:26,759
Speaker 1: to do it. We're gonna make this movie spooky as hell.

984
00:48:27,440 --> 00:48:31,600
Speaker 1: They've gone through a portal. This hou's gonna be this week, y'all.

985
00:48:33,560 --> 00:48:38,600
Speaker 1: So they run across the highway and they're just doing

986
00:48:38,640 --> 00:48:41,440
Speaker 1: the thing where again they cross the highway, they go

987
00:48:41,520 --> 00:48:44,560
Speaker 1: into the place, go into the bathroom and they're like, yo,

988
00:48:44,719 --> 00:48:47,840
Speaker 1: let's get into our to our slutty clothes. One of

989
00:48:47,920 --> 00:48:51,920
Speaker 1: the central themes of this film is the power of

990
00:48:51,960 --> 00:48:55,400
Speaker 1: the slutty top. When you are a teenager and you

991
00:48:55,480 --> 00:48:58,000
Speaker 1: like save all your money and you buy that one

992
00:48:58,719 --> 00:49:01,440
Speaker 1: outfit or that one top that makes you like really

993
00:49:01,480 --> 00:49:05,160
Speaker 1: older and cool and sexy and alluring, and this is

994
00:49:05,200 --> 00:49:07,040
Speaker 1: like the top that you wear every time you go out,

995
00:49:07,120 --> 00:49:09,640
Speaker 1: Like it's like some outfit that is like your power

996
00:49:09,960 --> 00:49:10,720
Speaker 1: bitch outfit.

997
00:49:10,880 --> 00:49:14,799
Speaker 4: It's usually the first time you're intentionally exposing yourself to people.

998
00:49:14,840 --> 00:49:17,160
Speaker 2: There's something very vulnerable and powerful about that.

999
00:49:17,440 --> 00:49:20,719
Speaker 4: Yeah, the going out top, it's a crucial part of

1000
00:49:20,760 --> 00:49:21,200
Speaker 4: growing up.

1001
00:49:21,440 --> 00:49:24,880
Speaker 1: Yeah, Mine, I did not do those types of tops

1002
00:49:24,920 --> 00:49:28,280
Speaker 1: because I just did not have the body for that top.

1003
00:49:28,680 --> 00:49:31,640
Speaker 1: Her like weird kind of like tied up like boxing

1004
00:49:31,760 --> 00:49:36,439
Speaker 1: glove top. She's like, man, I could not get away

1005
00:49:36,440 --> 00:49:37,799
Speaker 1: with shit like that at all.

1006
00:49:37,840 --> 00:49:41,560
Speaker 4: I could not wear a pleather boxing glove. And my

1007
00:49:42,320 --> 00:49:44,480
Speaker 4: going out top when I was a teenager was just

1008
00:49:44,520 --> 00:49:46,360
Speaker 4: a bra because it was the fucking nineties.

1009
00:49:46,560 --> 00:49:49,759
Speaker 1: Yeah, Paisley bra, that's a shirt. I think mine was

1010
00:49:49,800 --> 00:49:52,960
Speaker 1: a jacket. Is a jean jacket, even worse jeane jacket.

1011
00:49:52,960 --> 00:49:54,040
Speaker 2: No shirt underneath there.

1012
00:49:53,960 --> 00:49:57,040
Speaker 4: You go, Yeah, button up one button after're going out top.

1013
00:49:57,160 --> 00:49:59,040
Speaker 4: Oh yeah, I think that'd be a fascinating essay too,

1014
00:49:59,120 --> 00:50:02,080
Speaker 4: that kind of look at the differences in the types

1015
00:50:02,120 --> 00:50:06,080
Speaker 4: of clothing that are part of who you're now representing

1016
00:50:07,239 --> 00:50:10,080
Speaker 4: yourself to be as you're growing into that person. So

1017
00:50:10,120 --> 00:50:14,400
Speaker 4: it's almost it's aspirational. It's an aspirational top, Like I

1018
00:50:14,440 --> 00:50:16,480
Speaker 4: want to be this person. I want to be this

1019
00:50:16,560 --> 00:50:19,759
Speaker 4: girl who's like sexy and free. I'm still thirteen, but

1020
00:50:19,800 --> 00:50:20,920
Speaker 4: I want to be this person.

1021
00:50:21,320 --> 00:50:23,600
Speaker 1: Yeah, I feel like I said this in a very

1022
00:50:23,600 --> 00:50:25,319
Speaker 1: early episode many years ago.

1023
00:50:25,440 --> 00:50:29,080
Speaker 3: Now, many years ago when we started this podcast.

1024
00:50:29,480 --> 00:50:33,440
Speaker 1: My goal when I was like around this age was

1025
00:50:33,480 --> 00:50:37,560
Speaker 1: I wanted to be slutty. I wanted to communicate that

1026
00:50:37,719 --> 00:50:41,239
Speaker 1: I was like a woman of the world right. And

1027
00:50:41,320 --> 00:50:44,759
Speaker 1: whenever I saw like girls who had that confidence that

1028
00:50:44,840 --> 00:50:47,880
Speaker 1: were just kind of walking around wearing like skimpy clothing,

1029
00:50:47,960 --> 00:50:50,560
Speaker 1: and you know, again, this is the era of you know,

1030
00:50:50,719 --> 00:50:53,399
Speaker 1: I don't know, like coming out of the like hair

1031
00:50:53,440 --> 00:50:57,480
Speaker 1: metal era, moving towards the alternative era. So I would

1032
00:50:57,560 --> 00:50:59,800
Speaker 1: see these two girls, I see Connie and her friend

1033
00:51:00,600 --> 00:51:02,040
Speaker 1: and Connie at this top and be like, god, I

1034
00:51:02,080 --> 00:51:03,000
Speaker 1: wish I could pull that off.

1035
00:51:03,160 --> 00:51:04,880
Speaker 2: I would have done it if I could, is what I'm.

1036
00:51:04,760 --> 00:51:07,880
Speaker 4: Saying, And there's something too about that moment in history

1037
00:51:07,880 --> 00:51:11,200
Speaker 4: that you're describing between hair metal and grunge, where it's

1038
00:51:11,280 --> 00:51:13,880
Speaker 4: unfortunate that the only language we had for it was

1039
00:51:13,960 --> 00:51:16,480
Speaker 4: being slutty, because it's such a pejorative kind of term.

1040
00:51:16,600 --> 00:51:18,600
Speaker 2: Of course, but we have now.

1041
00:51:18,640 --> 00:51:20,520
Speaker 4: I think what more people have now and what I

1042
00:51:20,560 --> 00:51:23,040
Speaker 4: wish we had then was this notion of oh, no,

1043
00:51:23,200 --> 00:51:25,480
Speaker 4: I want to be sexually free, I want to be

1044
00:51:25,760 --> 00:51:30,200
Speaker 4: sexually exploratory, I want to figure my shit out, And

1045
00:51:30,239 --> 00:51:32,760
Speaker 4: so we use the language of the time that we had,

1046
00:51:33,400 --> 00:51:36,200
Speaker 4: But that's really what was happening, is like a bunch

1047
00:51:36,200 --> 00:51:38,680
Speaker 4: of young girls kind of deciding and this is again

1048
00:51:38,719 --> 00:51:42,080
Speaker 4: regardless of sexuality, like just deciding like this is what.

1049
00:51:42,680 --> 00:51:43,720
Speaker 2: I'm running towards.

1050
00:51:44,680 --> 00:51:47,279
Speaker 4: So we wanted to run towards that thing that would

1051
00:51:47,280 --> 00:51:49,160
Speaker 4: differentiate us from our child selves.

1052
00:51:49,360 --> 00:51:52,480
Speaker 1: Yeah, of course, And you're right, I obviously think now

1053
00:51:52,880 --> 00:51:56,160
Speaker 1: the term slut is a pejorative, is a bad term,

1054
00:51:56,800 --> 00:52:01,080
Speaker 1: but I'm using it in the way that we understood

1055
00:52:01,080 --> 00:52:05,799
Speaker 1: it as teenagels, but making it a positive term for

1056
00:52:05,880 --> 00:52:09,080
Speaker 1: me because I was like I wanted to that was aspirational.

1057
00:52:09,239 --> 00:52:11,680
Speaker 4: You were one of the first people who was reclaiming

1058
00:52:11,760 --> 00:52:12,240
Speaker 4: a term.

1059
00:52:13,680 --> 00:52:15,879
Speaker 2: You're like, oh, I'll take this shit and I'll turn

1060
00:52:15,920 --> 00:52:19,040
Speaker 2: it up to eleven. Yeah, this is.

1061
00:52:19,040 --> 00:52:22,680
Speaker 1: Just my own experience being a deep nerd. Right, Okay,

1062
00:52:22,880 --> 00:52:25,319
Speaker 1: So here's the deal. So they're out at the hot

1063
00:52:25,360 --> 00:52:28,120
Speaker 1: dog stand, and you know, Connie's kind of like walking

1064
00:52:28,120 --> 00:52:30,840
Speaker 1: around meeting boys and stuff, and then she kind of

1065
00:52:30,840 --> 00:52:32,960
Speaker 1: sees this like much older man who is kind of

1066
00:52:32,960 --> 00:52:35,160
Speaker 1: looking her over and calling her out in the parking lot,

1067
00:52:35,239 --> 00:52:38,359
Speaker 1: doing this like weird creepy like pointing at her like

1068
00:52:38,600 --> 00:52:41,040
Speaker 1: what's up, girl, I see you, like kind of.

1069
00:52:41,040 --> 00:52:44,080
Speaker 2: Thing that finger very very disturbing.

1070
00:52:44,400 --> 00:52:49,040
Speaker 1: But you know, at the time, she's like intrigued because

1071
00:52:49,840 --> 00:52:52,880
Speaker 1: any guy that notices her in this top that she

1072
00:52:52,960 --> 00:52:54,960
Speaker 1: loves so much is interesting.

1073
00:52:55,880 --> 00:52:57,839
Speaker 2: Right. Meanwhile, you know.

1074
00:52:57,760 --> 00:53:01,160
Speaker 1: She's kind of tussling with the mother, the sister. She's

1075
00:53:01,239 --> 00:53:04,200
Speaker 1: kind of going back and forth. You know, she's going

1076
00:53:04,280 --> 00:53:07,239
Speaker 1: to the hot dog stand, taking rides with guys that

1077
00:53:07,280 --> 00:53:09,920
Speaker 1: are kind of around more her age, if not a

1078
00:53:09,920 --> 00:53:13,200
Speaker 1: couple of years older, having kind of makeout sessions that

1079
00:53:13,239 --> 00:53:18,759
Speaker 1: are sometimes great, sometimes scary, and kind of navigating that

1080
00:53:18,800 --> 00:53:22,680
Speaker 1: whole thing. So this is like i'd say, the first

1081
00:53:23,239 --> 00:53:26,799
Speaker 1: two thirds of the film and then the last part

1082
00:53:26,800 --> 00:53:28,560
Speaker 1: of the film happens. And this is I think what

1083
00:53:28,680 --> 00:53:31,480
Speaker 1: Daniel is alluding to, this kind of like tonal shift

1084
00:53:31,560 --> 00:53:35,359
Speaker 1: or this kind of third act of the film, which

1085
00:53:35,400 --> 00:53:39,439
Speaker 1: is that this fateful afternoon, Connie's whole family is about

1086
00:53:39,440 --> 00:53:41,560
Speaker 1: to go to this barbecue, and Connie's like, I don't

1087
00:53:41,560 --> 00:53:43,239
Speaker 1: want to go to the fucking barbecue. I'm staying home,

1088
00:53:43,480 --> 00:53:46,279
Speaker 1: and the mom's like, fine, you know whatever, So they

1089
00:53:46,320 --> 00:53:52,360
Speaker 1: go off. After they leave, this convertible comes creeping slowly

1090
00:53:52,400 --> 00:53:55,040
Speaker 1: up the driveway and it is the guy from Hot

1091
00:53:55,080 --> 00:54:00,080
Speaker 1: Dog Stand who pulls up with his weird friend, and

1092
00:54:00,560 --> 00:54:04,120
Speaker 1: as we talked about before, he introduces himself as this

1093
00:54:04,160 --> 00:54:10,200
Speaker 1: guy named Arnold Friend, and his name is painted on

1094
00:54:10,360 --> 00:54:11,240
Speaker 1: the door of his.

1095
00:54:11,120 --> 00:54:14,680
Speaker 2: Car next to a beer can with angel wings. So

1096
00:54:15,040 --> 00:54:15,520
Speaker 2: it is.

1097
00:54:17,480 --> 00:54:20,799
Speaker 1: A fucking stunt to end all stunts for this guy

1098
00:54:20,840 --> 00:54:23,080
Speaker 1: to come rolling up being like, what's up.

1099
00:54:23,280 --> 00:54:25,359
Speaker 3: My name is Arnold Friend and that's what I want

1100
00:54:25,400 --> 00:54:26,960
Speaker 3: you to think of me as a friend.

1101
00:54:27,640 --> 00:54:29,840
Speaker 2: Uh uh. I was like, how many times have you

1102
00:54:29,880 --> 00:54:30,959
Speaker 2: fucking said that line?

1103
00:54:31,080 --> 00:54:31,360
Speaker 5: Dude?

1104
00:54:31,520 --> 00:54:31,719
Speaker 1: Oh?

1105
00:54:32,120 --> 00:54:34,200
Speaker 2: Just smarm dripping off of him.

1106
00:54:34,200 --> 00:54:36,279
Speaker 4: But also because it's Treat Williams there just like an

1107
00:54:36,280 --> 00:54:38,319
Speaker 4: innocent little faith attached to it.

1108
00:54:39,000 --> 00:54:43,240
Speaker 1: Okay, I was like, are we gonna talk about this? Because,

1109
00:54:43,280 --> 00:54:48,120
Speaker 1: first of all, Treat Williams in this role. What they're

1110
00:54:48,200 --> 00:54:52,120
Speaker 1: doing in this movie is they are essentially creating a

1111
00:54:52,320 --> 00:54:55,440
Speaker 1: perfect balance, and Treat Williams is the dude to do

1112
00:54:55,520 --> 00:54:59,080
Speaker 1: it because he's such a fucking creep, as by the car,

1113
00:54:59,520 --> 00:55:02,640
Speaker 1: as by the dance that's happening in this scene. But

1114
00:55:02,840 --> 00:55:08,920
Speaker 1: he's hot as shit and very flirty and very physical

1115
00:55:09,320 --> 00:55:13,800
Speaker 1: in his movements. Yes, he's like playing around, like balancing

1116
00:55:13,880 --> 00:55:16,560
Speaker 1: himself on his car and doing all these like things.

1117
00:55:16,719 --> 00:55:17,840
Speaker 1: It's like a ballet.

1118
00:55:18,200 --> 00:55:20,640
Speaker 2: Yeah, it's gorgeous to watch the scene.

1119
00:55:20,840 --> 00:55:25,520
Speaker 1: This is I think the absolute crucial part of the

1120
00:55:25,560 --> 00:55:29,080
Speaker 1: film and what makes this film so good to me

1121
00:55:29,320 --> 00:55:31,600
Speaker 1: is just this dance of him.

1122
00:55:31,440 --> 00:55:34,239
Speaker 3: Like being like, what's up? So I saw you?

1123
00:55:35,040 --> 00:55:37,799
Speaker 1: And you know what's your name and who you know

1124
00:55:37,920 --> 00:55:40,560
Speaker 1: and what you're doing and you know, and he knows

1125
00:55:40,600 --> 00:55:42,160
Speaker 1: his body, he knows what he's doing.

1126
00:55:42,239 --> 00:55:43,160
Speaker 2: This is like an.

1127
00:55:43,160 --> 00:55:48,160
Speaker 1: Entire rehearsed ballet dance performance. And she's got a part

1128
00:55:48,239 --> 00:55:51,440
Speaker 1: in it. She's talking to him too and leaning against

1129
00:55:51,440 --> 00:55:53,960
Speaker 1: the car and they're kind of doing the thing where

1130
00:55:53,960 --> 00:55:58,359
Speaker 1: they're circling around each other. But bottom line is that

1131
00:55:58,400 --> 00:56:02,160
Speaker 1: he's a fucking creepy Jane Dean. Basically, he's got his

1132
00:56:02,239 --> 00:56:07,120
Speaker 1: slaves rolled up, he's wearing those Aviator sunglasses and there's

1133
00:56:07,120 --> 00:56:10,279
Speaker 1: something weird about it. It's very unsettling.

1134
00:56:10,520 --> 00:56:13,399
Speaker 2: At the same time, it is instant terror for me. Yes,

1135
00:56:13,440 --> 00:56:14,239
Speaker 2: Like when he comes up.

1136
00:56:14,280 --> 00:56:17,680
Speaker 4: There's just an unsettling feeling that starts when he starts

1137
00:56:17,760 --> 00:56:19,919
Speaker 4: rolling up the driveway and it does not go away,

1138
00:56:19,920 --> 00:56:22,799
Speaker 4: it only increases in intensity.

1139
00:56:23,160 --> 00:56:28,800
Speaker 1: Yeah, I mean, he's basically like a matinee idol version

1140
00:56:28,920 --> 00:56:33,120
Speaker 1: of Bobby Peru from Wild Atthearts. Like he's ah that

1141
00:56:33,400 --> 00:56:37,800
Speaker 1: same menacing, creepy dude that Laura Dern has to interact

1142
00:56:37,800 --> 00:56:38,480
Speaker 1: with in a film.

1143
00:56:38,680 --> 00:56:43,000
Speaker 4: And it's fascinating to watch her because she's so guarded

1144
00:56:43,080 --> 00:56:47,120
Speaker 4: at certain points. Yeah, but then she's kind of physically

1145
00:56:47,120 --> 00:56:50,040
Speaker 4: pushing forward and like exiting her house and going out

1146
00:56:50,080 --> 00:56:51,840
Speaker 4: to the car, and then she pulls back again. Like

1147
00:56:51,920 --> 00:56:55,320
Speaker 4: to watch the physicality of the actors and then listen

1148
00:56:55,400 --> 00:56:58,240
Speaker 4: to this dance they're doing, this verbal dance they're doing.

1149
00:56:58,680 --> 00:56:59,720
Speaker 2: It's really amazing.

1150
00:57:00,000 --> 00:57:02,680
Speaker 4: This is truly one of the I think one of

1151
00:57:02,719 --> 00:57:04,879
Speaker 4: the best sequences I've ever seen in the film. Oh,

1152
00:57:04,920 --> 00:57:08,160
Speaker 4: in terms of that emotional balance and tenderness.

1153
00:57:08,360 --> 00:57:12,280
Speaker 3: Yeah, and I feel like I want to ruin the movie?

1154
00:57:12,400 --> 00:57:13,320
Speaker 2: Is that? Okay? Yeah?

1155
00:57:13,320 --> 00:57:15,359
Speaker 1: Should I? Okay, We're gonna ruin this movie. So if

1156
00:57:15,360 --> 00:57:16,919
Speaker 1: you don't, if you don't want to know the ending,

1157
00:57:17,000 --> 00:57:18,160
Speaker 1: then cut it off.

1158
00:57:18,400 --> 00:57:19,880
Speaker 2: That's part a bit. Okay.

1159
00:57:20,280 --> 00:57:23,160
Speaker 1: So what ends up happening is that this goes on

1160
00:57:23,200 --> 00:57:25,040
Speaker 1: for a very long time. I mean, this is like

1161
00:57:25,080 --> 00:57:27,440
Speaker 1: twenty minutes or so. This is like the big sequence

1162
00:57:27,480 --> 00:57:31,480
Speaker 1: in the film, and she is getting freaked out. At first,

1163
00:57:31,520 --> 00:57:34,400
Speaker 1: it's sort again kind of like playing along with it,

1164
00:57:34,440 --> 00:57:37,280
Speaker 1: has her own curiosities for him. But then I think

1165
00:57:37,360 --> 00:57:40,680
Speaker 1: she realizes that there's something intense happening, and she's like.

1166
00:57:40,640 --> 00:57:42,720
Speaker 2: That's it. I got to go back in the house. Okay.

1167
00:57:43,040 --> 00:57:46,000
Speaker 3: However, she goes in the house and she's not like

1168
00:57:46,080 --> 00:57:49,160
Speaker 3: locking the doors, she's not like running upstairs. She's there,

1169
00:57:49,280 --> 00:57:51,800
Speaker 3: She's still physically present, and he is.

1170
00:57:51,800 --> 00:57:53,200
Speaker 2: Not entering the house.

1171
00:57:53,800 --> 00:57:57,520
Speaker 4: Very important, right, and even says at one point, I

1172
00:57:57,520 --> 00:57:58,600
Speaker 4: don't want to come in the house.

1173
00:57:58,640 --> 00:58:00,760
Speaker 2: I'm not going to do that. Whole point is for

1174
00:58:00,800 --> 00:58:02,560
Speaker 2: you to come out here, right.

1175
00:58:02,720 --> 00:58:05,040
Speaker 3: And that's like some predator fucking logic.

1176
00:58:05,080 --> 00:58:07,320
Speaker 1: That's him saying, while I'm not gonna come and run

1177
00:58:07,320 --> 00:58:10,320
Speaker 1: and grab you, you, I'm gonna make you come to me,

1178
00:58:10,840 --> 00:58:16,720
Speaker 1: which is psychotic, terrifying, psychotic behavior. Again spoiler alert, she

1179
00:58:16,840 --> 00:58:19,240
Speaker 1: goes with him. He's like, take a drive with me, Like,

1180
00:58:19,560 --> 00:58:22,760
Speaker 1: we're gonna take this friend that I brought randomly, who's

1181
00:58:22,800 --> 00:58:24,560
Speaker 1: just listening to the radio. We're gonna put him in

1182
00:58:24,560 --> 00:58:27,800
Speaker 1: your house. He's gonna listen to your records. So bring

1183
00:58:27,880 --> 00:58:30,600
Speaker 1: this strange guy in her house and let him wait

1184
00:58:30,720 --> 00:58:32,479
Speaker 1: while we go off and take a drive.

1185
00:58:32,640 --> 00:58:36,280
Speaker 4: And that is a fucking fascinating scene because they're like,

1186
00:58:36,320 --> 00:58:40,880
Speaker 4: let's leave him behind, let's eat Ellie behind, and.

1187
00:58:41,240 --> 00:58:42,040
Speaker 2: We'll go for a drive.

1188
00:58:42,080 --> 00:58:44,640
Speaker 4: So you're watching her drive away, and they don't instantly

1189
00:58:44,680 --> 00:58:49,640
Speaker 4: cut to, you know, Connie driving away with Arnold's friend, right,

1190
00:58:49,880 --> 00:58:53,960
Speaker 4: they cut to Ellie walking around the house, going through

1191
00:58:53,960 --> 00:58:57,480
Speaker 4: the records, going through the kitchen. There's something so unseemly

1192
00:58:57,560 --> 00:59:00,560
Speaker 4: and scary, And what's translated there for me in that

1193
00:59:00,640 --> 00:59:03,360
Speaker 4: moment is we have now infiltrated every part of your

1194
00:59:03,360 --> 00:59:05,800
Speaker 4: safety and security. Yes, every part of your life that

1195
00:59:05,800 --> 00:59:08,400
Speaker 4: felt safe now belongs to us. Yeah, like, I've left

1196
00:59:08,400 --> 00:59:12,560
Speaker 4: someone here to kind of soil the safety of your home,

1197
00:59:12,680 --> 00:59:14,680
Speaker 4: and then you're going to go away with me in

1198
00:59:14,720 --> 00:59:16,160
Speaker 4: this dangerous.

1199
00:59:15,600 --> 00:59:18,280
Speaker 1: Like rifling through her bedroom and her records and stuff.

1200
00:59:18,280 --> 00:59:21,040
Speaker 1: I mean, it's like a you know, it's basically like

1201
00:59:21,400 --> 00:59:25,200
Speaker 1: the consequence of this arrangement that's happening is that now

1202
00:59:25,240 --> 00:59:28,320
Speaker 1: her personal space is totally violated in every single way. Right,

1203
00:59:29,200 --> 00:59:32,160
Speaker 1: So here's the vibe of the rest of this movie.

1204
00:59:32,240 --> 00:59:33,960
Speaker 3: To the end of the movie, she.

1205
00:59:33,960 --> 00:59:37,080
Speaker 1: Goes on or drive with him. It cuts to a

1206
00:59:37,120 --> 00:59:39,680
Speaker 1: scene of a car in a field. They're not in

1207
00:59:39,720 --> 00:59:43,600
Speaker 1: the car, and then it cuts to basically him dropping

1208
00:59:43,640 --> 00:59:49,280
Speaker 1: her off and her house, and it's very ambiguous about

1209
00:59:49,320 --> 00:59:50,440
Speaker 1: what has happened.

1210
00:59:50,680 --> 00:59:52,720
Speaker 2: Purposely ambiguous too, Yeah.

1211
00:59:52,400 --> 00:59:55,800
Speaker 1: I believe it's purposely even though I feel like there

1212
00:59:55,880 --> 00:59:58,320
Speaker 1: was an interview with Joyce Stroper who where she gave

1213
00:59:58,400 --> 01:00:02,080
Speaker 1: her kind of assessment of what actually happened. But visually,

1214
01:00:02,560 --> 01:00:07,360
Speaker 1: narratively it is so open ended. I mean, and like,

1215
01:00:07,480 --> 01:00:09,640
Speaker 1: this is the thing about this movie that's so genius

1216
01:00:09,680 --> 01:00:12,800
Speaker 1: is that I'm sitting here clock in every fucking second

1217
01:00:13,000 --> 01:00:17,000
Speaker 1: of this interaction. Because they pull up, he like reaches

1218
01:00:17,040 --> 01:00:19,320
Speaker 1: over and opens the door for her. We don't know

1219
01:00:19,360 --> 01:00:22,600
Speaker 1: if that's discussed, We don't know if that's respect. We

1220
01:00:22,680 --> 01:00:26,080
Speaker 1: don't know what happened, like did he get laid, did

1221
01:00:26,080 --> 01:00:26,960
Speaker 1: he get what he wanted?

1222
01:00:27,080 --> 01:00:29,640
Speaker 3: Or did nothing happen? And he's like, get the fuck out, you.

1223
01:00:29,600 --> 01:00:32,880
Speaker 2: Know, did he just enjoy the terror of freaking her out? Right?

1224
01:00:33,400 --> 01:00:36,240
Speaker 1: And all these like context clues are gonna be no

1225
01:00:36,400 --> 01:00:39,720
Speaker 1: help because there's no way of knowing because everything seems

1226
01:00:39,760 --> 01:00:44,080
Speaker 1: totally like just visually her, she's obviously there's something going

1227
01:00:44,120 --> 01:00:46,040
Speaker 1: on with her, but we don't know what that is.

1228
01:00:46,080 --> 01:00:50,360
Speaker 1: We don't know if that's nothing happened or everything happened, right,

1229
01:00:50,480 --> 01:00:53,040
Speaker 1: It's very hard to tell. And then you know, it

1230
01:00:53,120 --> 01:00:55,560
Speaker 1: kind of ends with her and the sister in the house,

1231
01:00:55,640 --> 01:00:58,920
Speaker 1: and and even in that moment, the sister's like, so

1232
01:00:59,000 --> 01:01:01,520
Speaker 1: what happened with that dude, and she's just like, nothing happened,

1233
01:01:01,560 --> 01:01:04,920
Speaker 1: Actually everything happened. Actually nothing happened. So there's not a clear.

1234
01:01:04,760 --> 01:01:05,840
Speaker 3: Story at all.

1235
01:01:06,760 --> 01:01:10,640
Speaker 1: So what I want to propose to you, yes, is

1236
01:01:11,320 --> 01:01:14,960
Speaker 1: my read on the movie okay, which is that I

1237
01:01:15,080 --> 01:01:19,360
Speaker 1: think this is a supernatural event. I think that he

1238
01:01:19,520 --> 01:01:23,080
Speaker 1: is like the devil and that he is not actually

1239
01:01:23,760 --> 01:01:28,080
Speaker 1: a corporeal being in the film, he's a demon or

1240
01:01:28,120 --> 01:01:29,000
Speaker 1: like a bad spirit.

1241
01:01:29,280 --> 01:01:32,160
Speaker 3: Okay, is that too off the rails?

1242
01:01:32,920 --> 01:01:35,920
Speaker 4: No, I can get there easily because here's what I

1243
01:01:36,040 --> 01:01:39,200
Speaker 4: was thinking. There's a moment where her family leaves to

1244
01:01:39,240 --> 01:01:43,479
Speaker 4: go to this barbecue and she's outside just innervating suit,

1245
01:01:43,520 --> 01:01:45,160
Speaker 4: kind of having a little tan session.

1246
01:01:45,560 --> 01:01:45,880
Speaker 1: Yeah.

1247
01:01:45,920 --> 01:01:47,640
Speaker 2: And when I watch when I watched.

1248
01:01:47,360 --> 01:01:50,600
Speaker 4: This at real long interview with the three, you know,

1249
01:01:50,640 --> 01:01:55,160
Speaker 4: the director, writer in the lead, somebody asked the question

1250
01:01:55,360 --> 01:01:58,640
Speaker 4: and pose the question, did she fall asleep?

1251
01:01:58,680 --> 01:02:00,400
Speaker 2: And was this all a dream? Yes?

1252
01:02:01,760 --> 01:02:05,160
Speaker 4: And I thought that when I was watching it, I'm like,

1253
01:02:05,240 --> 01:02:09,720
Speaker 4: maybe this is just a dreamer. She's imagining herself in

1254
01:02:09,760 --> 01:02:14,560
Speaker 4: the most tense, dangerous, sexy situation she can. But then

1255
01:02:15,320 --> 01:02:18,720
Speaker 4: both Joyce Choprah and Joyce Carol Oates and even Laura

1256
01:02:18,800 --> 01:02:22,920
Speaker 4: Dern were like, it's amazing because so many people like

1257
01:02:23,160 --> 01:02:25,160
Speaker 4: this happened during a screening where somebody said, oh, well,

1258
01:02:25,160 --> 01:02:27,120
Speaker 4: it was clearly a dream, and she said it was

1259
01:02:27,160 --> 01:02:29,840
Speaker 4: amazing that half of the audience thought that it was

1260
01:02:29,840 --> 01:02:32,520
Speaker 4: a dream and they had to they couldn't handle what

1261
01:02:32,560 --> 01:02:35,480
Speaker 4: was happening, the terror of what was happening, and they

1262
01:02:35,520 --> 01:02:38,200
Speaker 4: had to make up a story about it not being real,

1263
01:02:38,320 --> 01:02:42,480
Speaker 4: and that on its own is fucking fascinating as I

1264
01:02:42,520 --> 01:02:44,480
Speaker 4: had just done the same thing like twenty minutes earlier.

1265
01:02:44,680 --> 01:02:47,680
Speaker 1: Yeah, because you have to like soften the blow of

1266
01:02:47,720 --> 01:02:51,400
Speaker 1: this extremely terrifying, intense scenario that's happening to this young girl.

1267
01:02:51,840 --> 01:02:54,360
Speaker 4: Yeah, so him being like a demon or a devil,

1268
01:02:54,400 --> 01:02:55,400
Speaker 4: like I can get behind that.

1269
01:02:55,640 --> 01:02:55,960
Speaker 2: Okay.

1270
01:02:56,000 --> 01:02:58,120
Speaker 1: The reason why I'm taking it into this realm, the

1271
01:02:58,200 --> 01:03:02,240
Speaker 1: dream realm, the supernatural devil, the demon, whatever it is,

1272
01:03:02,360 --> 01:03:06,960
Speaker 1: right is because the movie is so geniusly like not

1273
01:03:07,040 --> 01:03:10,280
Speaker 1: giving you everything you need to like make a decision

1274
01:03:10,320 --> 01:03:12,480
Speaker 1: other way, one way or the other. Because then you

1275
01:03:12,520 --> 01:03:14,560
Speaker 1: start looking back into the earlier parts of the film

1276
01:03:14,600 --> 01:03:17,560
Speaker 1: where you're like, okay, so maybe her friend noticed like

1277
01:03:17,720 --> 01:03:19,920
Speaker 1: that a guy was looking for her, But does she

1278
01:03:20,040 --> 01:03:22,400
Speaker 1: name him by name? Does she say like, oh, this

1279
01:03:22,600 --> 01:03:25,080
Speaker 1: arnold friend guy is looking for you. So in a

1280
01:03:25,080 --> 01:03:28,760
Speaker 1: weird way, it can be conceivable that no one else

1281
01:03:28,800 --> 01:03:31,840
Speaker 1: in the film knows that this guy exists. Yeah, so

1282
01:03:31,880 --> 01:03:34,160
Speaker 1: it could be like something.

1283
01:03:33,840 --> 01:03:35,600
Speaker 2: Where it could be a dream.

1284
01:03:35,760 --> 01:03:39,320
Speaker 1: It could be sort of like an evil spirit that's

1285
01:03:39,800 --> 01:03:41,640
Speaker 1: invading her dreams.

1286
01:03:41,680 --> 01:03:43,520
Speaker 3: Her I don't know, unconscious or something.

1287
01:03:43,760 --> 01:03:46,000
Speaker 2: Yes, And so that's the thing is that then you.

1288
01:03:45,880 --> 01:03:47,200
Speaker 1: Go into the back to the mist of film and

1289
01:03:47,200 --> 01:03:49,480
Speaker 1: you're like, oh, yeah, this is like maybe he didn't

1290
01:03:49,520 --> 01:03:51,920
Speaker 1: exist at all, He only existed in her mind.

1291
01:03:52,200 --> 01:03:55,680
Speaker 4: Oh you know, in so many ways, in so many ways,

1292
01:03:55,680 --> 01:03:57,400
Speaker 4: you want that to be the case, that this is

1293
01:03:58,640 --> 01:04:01,760
Speaker 4: something that's happening to her, but it's of her own design,

1294
01:04:02,000 --> 01:04:05,040
Speaker 4: or it's a supernatural event, because this cannot be happening

1295
01:04:05,560 --> 01:04:09,720
Speaker 4: because there's something also that's so sinister about her going

1296
01:04:09,760 --> 01:04:12,680
Speaker 4: with him. Yes, as someone who again in this baby

1297
01:04:12,680 --> 01:04:15,320
Speaker 4: girlood as you do in realm, that we're constantly thinking

1298
01:04:15,320 --> 01:04:19,320
Speaker 4: in you're wondering if she feels comfortable going with him,

1299
01:04:19,320 --> 01:04:21,640
Speaker 4: because she knows this is not a real scenario.

1300
01:04:21,360 --> 01:04:21,840
Speaker 2: But it is.

1301
01:04:22,120 --> 01:04:24,400
Speaker 4: It is, So that makes it even more complicated, and

1302
01:04:24,440 --> 01:04:29,480
Speaker 4: you're like, wait, she actively participated in what was possibly

1303
01:04:30,400 --> 01:04:34,040
Speaker 4: something extraordinarily dangerous to her. And I know a lot

1304
01:04:34,080 --> 01:04:36,840
Speaker 4: of people don't understand that thinking. But if you have

1305
01:04:36,960 --> 01:04:40,959
Speaker 4: been a teenage girl that feels very familiar to me, yes,

1306
01:04:41,360 --> 01:04:43,680
Speaker 4: of course you will get in cars with people, you

1307
01:04:43,760 --> 01:04:46,720
Speaker 4: will go to the unfamiliar place, you will tempt danger

1308
01:04:47,480 --> 01:04:50,880
Speaker 4: because that is the only way to have a new experience.

1309
01:04:50,320 --> 01:04:51,880
Speaker 1: One hundred percent. And this is the thing is that

1310
01:04:51,920 --> 01:04:55,920
Speaker 1: I feel like, in a way, the whole that exact

1311
01:04:55,960 --> 01:04:57,800
Speaker 1: point that you made about her actually going with him,

1312
01:04:57,960 --> 01:05:00,000
Speaker 1: but then just the fact that she's in the house

1313
01:05:00,000 --> 01:05:03,240
Speaker 1: else she's completely freaked out, but he still has access

1314
01:05:03,280 --> 01:05:05,280
Speaker 1: to her visually, like he's going up to the window.

1315
01:05:05,480 --> 01:05:07,560
Speaker 1: She's just sitting in a chair, and he's still like

1316
01:05:07,640 --> 01:05:09,360
Speaker 1: able to like kind of interact with her.

1317
01:05:09,520 --> 01:05:12,840
Speaker 3: She doesn't lock the doors, she's not like I mean.

1318
01:05:12,680 --> 01:05:16,800
Speaker 1: If this was reality, I'll say quote reality, if I

1319
01:05:16,880 --> 01:05:18,720
Speaker 1: was that girl and I was that freaked out by him,

1320
01:05:18,720 --> 01:05:20,600
Speaker 1: I would have like shut all the doors in the windows,

1321
01:05:20,640 --> 01:05:22,880
Speaker 1: locked it all up, like ran and hid under the

1322
01:05:22,920 --> 01:05:25,880
Speaker 1: bed waiting for him to go away. But the fact

1323
01:05:25,960 --> 01:05:28,440
Speaker 1: that she's still in his orbit, I feel like that's

1324
01:05:28,520 --> 01:05:31,320
Speaker 1: for some reason, I think that's like a there's something

1325
01:05:31,360 --> 01:05:33,600
Speaker 1: else happening, and I feel like it's a dream. It's

1326
01:05:33,640 --> 01:05:36,880
Speaker 1: like maybe like some kind of scenario modeling thing in

1327
01:05:36,920 --> 01:05:39,120
Speaker 1: her head, supernatural thing.

1328
01:05:39,160 --> 01:05:39,560
Speaker 2: I don't know.

1329
01:05:39,640 --> 01:05:43,840
Speaker 1: It just creates this other level of ambiguity that is

1330
01:05:43,920 --> 01:05:46,360
Speaker 1: so open to interpretation completely.

1331
01:05:46,480 --> 01:05:49,520
Speaker 2: Yeah, this film is an incredibly rich text.

1332
01:05:49,600 --> 01:05:52,240
Speaker 1: Oh, one hundred percent and I hope I didn't freak

1333
01:05:52,280 --> 01:05:55,880
Speaker 1: all out going down this like psychedelic highway of meaning

1334
01:05:56,160 --> 01:05:59,760
Speaker 1: and intertextuality where I'm like, yo, it could be a

1335
01:06:00,320 --> 01:06:01,600
Speaker 1: me all like whatever, but.

1336
01:06:01,960 --> 01:06:03,640
Speaker 2: No, these are the things that have to be explored.

1337
01:06:04,000 --> 01:06:06,600
Speaker 1: Yeah, and it's like, that's what's so great about the

1338
01:06:06,600 --> 01:06:09,720
Speaker 1: movie is it's like very very thought provoking in that way.

1339
01:06:10,640 --> 01:06:13,520
Speaker 3: I like that it's not giving you the information.

1340
01:06:13,760 --> 01:06:16,520
Speaker 2: I like that it's ambiguous. I don't know.

1341
01:06:16,640 --> 01:06:18,680
Speaker 1: It's again, I cannot.

1342
01:06:18,320 --> 01:06:19,920
Speaker 2: Believe I just saw this movie for the first time

1343
01:06:19,960 --> 01:06:20,520
Speaker 2: a year ago.

1344
01:06:20,640 --> 01:06:21,280
Speaker 1: What the fuck?

1345
01:06:21,600 --> 01:06:21,800
Speaker 2: I know.

1346
01:06:21,880 --> 01:06:23,200
Speaker 4: I can't believe I us off for the first time

1347
01:06:23,280 --> 01:06:28,480
Speaker 4: last night, and I'm gonna watch it again knowing that

1348
01:06:28,560 --> 01:06:32,080
Speaker 4: it makes my heart literally race, like it is physically

1349
01:06:32,280 --> 01:06:35,520
Speaker 4: uncomfortable to watch this movie, but you cannot help but

1350
01:06:35,600 --> 01:06:36,040
Speaker 4: watching it.

1351
01:06:36,080 --> 01:06:39,520
Speaker 2: And that is a masterful creative stroke of the people

1352
01:06:39,520 --> 01:06:40,360
Speaker 2: who made this film.

1353
01:06:40,440 --> 01:06:43,600
Speaker 1: Yeah, I one hundred percent agree, and honestly, like would

1354
01:06:43,600 --> 01:06:46,920
Speaker 1: have never expected it again based on like just picking

1355
01:06:47,000 --> 01:06:48,960
Speaker 1: up the DVD box and even just watching the first

1356
01:06:48,960 --> 01:06:50,960
Speaker 1: like twenty minutes of the film, you wouldn't have expected

1357
01:06:50,960 --> 01:06:54,080
Speaker 1: any of this to happen. No, But as a movie,

1358
01:06:54,200 --> 01:06:58,360
Speaker 1: as a text, it is so rich, so interesting. The

1359
01:06:58,400 --> 01:07:02,360
Speaker 1: height of baby girl, what is you do ism?

1360
01:07:02,400 --> 01:07:05,840
Speaker 4: Every turn, just crossing the street is infused with baby

1361
01:07:05,840 --> 01:07:08,800
Speaker 4: girling as you're doing. Every person they interact with and

1362
01:07:08,880 --> 01:07:11,200
Speaker 4: talk to the mall like. This is such a rich

1363
01:07:11,240 --> 01:07:13,880
Speaker 4: tags that is. What's also fascinating to me is that

1364
01:07:14,200 --> 01:07:16,280
Speaker 4: if you want to or if you are a person

1365
01:07:16,320 --> 01:07:20,680
Speaker 4: who will frame things in this way, there is danger.

1366
01:07:20,360 --> 01:07:21,840
Speaker 2: At every turn for the teen girl.

1367
01:07:22,080 --> 01:07:25,880
Speaker 4: Yep, the most innocent things become fraught with danger if

1368
01:07:25,920 --> 01:07:27,480
Speaker 4: you are a person thinking in that way.

1369
01:07:27,760 --> 01:07:29,440
Speaker 2: Yeah. Oh unreal.

1370
01:07:29,600 --> 01:07:31,800
Speaker 1: I have to say glad we did this one this week.

1371
01:07:31,920 --> 01:07:33,560
Speaker 1: Took about three and a half years for us to

1372
01:07:33,600 --> 01:07:36,640
Speaker 1: get to it, but then now we are going to

1373
01:07:37,240 --> 01:07:41,440
Speaker 1: magnificently transition into your film.

1374
01:07:42,640 --> 01:07:55,200
Speaker 4: I am so sorry, y'all. I am so sorry because

1375
01:07:55,240 --> 01:07:57,280
Speaker 4: my film was released in nineteen ninety six.

1376
01:07:58,400 --> 01:08:01,160
Speaker 2: It was written and directed by me, Matthew Bright. My

1377
01:08:01,320 --> 01:08:05,080
Speaker 2: movie is Freeway. I can't believe sentiteening we a little guns?

1378
01:08:05,080 --> 01:08:06,360
Speaker 1: Did you make mess out of something?

1379
01:08:06,400 --> 01:08:09,280
Speaker 4: One cannot even wait to hear what clip you pulled?

1380
01:08:09,280 --> 01:08:13,000
Speaker 4: This movie has more quotable lines than anything I've ever experienced.

1381
01:08:13,680 --> 01:08:17,320
Speaker 1: It's gonna be trashy, I know. That it's unreal.

1382
01:08:17,640 --> 01:08:19,840
Speaker 4: So I'll start with my one sentence synopsis because if

1383
01:08:19,840 --> 01:08:20,559
Speaker 4: I don't say it.

1384
01:08:20,479 --> 01:08:22,439
Speaker 2: Now, I will forget yea. Because there is a lot

1385
01:08:22,479 --> 01:08:22,920
Speaker 2: to get through.

1386
01:08:23,000 --> 01:08:26,040
Speaker 4: Sure, a bright and volatile young woman runs away from

1387
01:08:26,080 --> 01:08:29,080
Speaker 4: her incompetent, drug addicted mother, only to come face to

1388
01:08:29,120 --> 01:08:33,559
Speaker 4: face with a murderous psychopath on the road. Absolutely, so

1389
01:08:33,880 --> 01:08:37,720
Speaker 4: this film is very clearly from the credits on a

1390
01:08:37,720 --> 01:08:41,040
Speaker 4: Little Red Riding Hood parable yes, allegorical story yep.

1391
01:08:41,400 --> 01:08:43,520
Speaker 2: And the main character.

1392
01:08:43,200 --> 01:08:45,880
Speaker 4: Of Vanessa Lut's played by Bryese Witherspoon is Little Red

1393
01:08:45,960 --> 01:08:48,400
Speaker 4: Riding Hood And then Keifer Sutherland, who's this man she

1394
01:08:48,439 --> 01:08:49,360
Speaker 4: meets when she's on the road.

1395
01:08:49,400 --> 01:08:50,600
Speaker 2: It's called Bob Wolverton.

1396
01:08:50,680 --> 01:08:53,519
Speaker 4: So they're not making any effort to conceal that this

1397
01:08:53,640 --> 01:08:56,960
Speaker 4: is an allegorical story. I had to look up who

1398
01:08:57,000 --> 01:09:00,240
Speaker 4: the fuck Matthew Bright was, okay, because I have no

1399
01:09:00,320 --> 01:09:03,400
Speaker 4: memory of this movie being as wild as it is,

1400
01:09:03,760 --> 01:09:06,080
Speaker 4: and I was like, he had to have made other things,

1401
01:09:06,120 --> 01:09:08,680
Speaker 4: like this is so bonkers, like this is how his

1402
01:09:08,720 --> 01:09:09,320
Speaker 4: brain works.

1403
01:09:10,200 --> 01:09:12,679
Speaker 2: And Matthew Bright, as it turns out, was a childhood

1404
01:09:12,680 --> 01:09:15,320
Speaker 2: friend of Danny Elfman, who also did the music for

1405
01:09:15,400 --> 01:09:19,960
Speaker 2: this film. So Danny Elfman of Oingo Boingo grew up

1406
01:09:20,000 --> 01:09:23,120
Speaker 2: with Matthew Bride. He was a childhood friend, and he

1407
01:09:23,160 --> 01:09:25,880
Speaker 2: did make a couple of other films, but he was

1408
01:09:25,920 --> 01:09:28,719
Speaker 2: so disenchanted with the process of making his last film

1409
01:09:28,720 --> 01:09:32,080
Speaker 2: that he dropped off the planet. Like there was nothing.

1410
01:09:32,560 --> 01:09:36,840
Speaker 4: I could find, no information about Matthew Bright beyond the

1411
01:09:36,920 --> 01:09:40,160
Speaker 4: last film he made. That was you know, in his

1412
01:09:40,280 --> 01:09:42,720
Speaker 4: the Wikipedia article and in the last interview or whatever,

1413
01:09:42,720 --> 01:09:45,040
Speaker 4: that he was just so disenchanted or something happened during

1414
01:09:45,080 --> 01:09:47,040
Speaker 4: the process of filming that he was so unhappy with.

1415
01:09:48,080 --> 01:09:51,320
Speaker 4: And can't find out anything else about him, not a thing.

1416
01:09:51,479 --> 01:09:52,800
Speaker 1: How bizarre.

1417
01:09:53,280 --> 01:09:54,720
Speaker 2: I don't know if he's alive. I don't know where

1418
01:09:54,720 --> 01:09:55,839
Speaker 2: he lives. I don't know anything.

1419
01:09:56,200 --> 01:10:00,000
Speaker 4: And beyond that, he has such a unique mind, clearly

1420
01:10:00,840 --> 01:10:03,080
Speaker 4: a little bit unique in a way that feels a

1421
01:10:03,080 --> 01:10:06,519
Speaker 4: little dangerous. That it's amazing to me that he hasn't

1422
01:10:06,800 --> 01:10:09,560
Speaker 4: made more work that was publicly available.

1423
01:10:09,720 --> 01:10:10,680
Speaker 2: That is fascinating.

1424
01:10:11,120 --> 01:10:12,960
Speaker 4: Yeah, so there's not a lot of information about the

1425
01:10:12,960 --> 01:10:15,360
Speaker 4: guy who wrote and directed this movie, but I will

1426
01:10:15,400 --> 01:10:19,560
Speaker 4: say that his next film after this was a direct.

1427
01:10:21,080 --> 01:10:23,599
Speaker 2: Direct I can't even say it.

1428
01:10:23,720 --> 01:10:25,080
Speaker 1: I think I know what you're about to say.

1429
01:10:25,240 --> 01:10:28,519
Speaker 2: It was a direct to video film called Freeway two

1430
01:10:28,960 --> 01:10:37,160
Speaker 2: Confessions of a Trick, Baby My God, starring Natasha Leone. Wow.

1431
01:10:36,760 --> 01:10:39,880
Speaker 1: Wow, I'm sure people have seen it. I'm sure people

1432
01:10:39,960 --> 01:10:41,840
Speaker 1: listening right now are like going to the comps and

1433
01:10:41,880 --> 01:10:45,280
Speaker 1: be like Freeway two, dude, Like it's probably on twob

1434
01:10:45,520 --> 01:10:49,160
Speaker 1: Like yeah, oh, one hundred and thousand percent, I'm sure.

1435
01:10:50,040 --> 01:10:55,800
Speaker 4: So this film, this film starts with Vanessa in class.

1436
01:10:55,840 --> 01:10:58,960
Speaker 4: He's a high school student and she's in a class

1437
01:10:59,000 --> 01:11:00,799
Speaker 4: that you can tell she's kind of she's kind struggling

1438
01:11:00,840 --> 01:11:03,840
Speaker 4: to read a simple sentence in the beginning of the film.

1439
01:11:03,880 --> 01:11:07,160
Speaker 4: And she's in a class that you know, it's kind

1440
01:11:07,200 --> 01:11:08,880
Speaker 4: of designed to help students who need a little bit

1441
01:11:08,920 --> 01:11:12,400
Speaker 4: more help. And her boyfriend is also in that class.

1442
01:11:12,439 --> 01:11:15,240
Speaker 4: Who her boyfriend is named Choppery's played by bohem Woodbine.

1443
01:11:15,840 --> 01:11:19,200
Speaker 4: And they look happy, they look like, you know, they're learning.

1444
01:11:19,280 --> 01:11:21,040
Speaker 2: They're fine. There's a scene with them.

1445
01:11:21,280 --> 01:11:23,720
Speaker 4: He's kind of peddling his bike and she's sitting on

1446
01:11:23,760 --> 01:11:25,840
Speaker 4: the handlebars and they look so happy.

1447
01:11:26,680 --> 01:11:27,080
Speaker 1: They're cute.

1448
01:11:27,080 --> 01:11:27,800
Speaker 2: Oh, they're booted up.

1449
01:11:27,880 --> 01:11:32,200
Speaker 4: But then she goes home and also before this, I

1450
01:11:32,240 --> 01:11:35,280
Speaker 4: need to also mention that this movie seems to take

1451
01:11:35,320 --> 01:11:40,040
Speaker 4: place in southern California, and Reese Witherspoon maintains a Southern

1452
01:11:40,080 --> 01:11:41,840
Speaker 4: accent throughout with no explanation.

1453
01:11:42,240 --> 01:11:45,000
Speaker 1: Yeah, very interesting, just.

1454
01:11:44,920 --> 01:11:46,759
Speaker 2: Being her herself throughout.

1455
01:11:46,840 --> 01:11:49,920
Speaker 4: It's very very funny, and she's kind of a complicated

1456
01:11:50,240 --> 01:11:52,760
Speaker 4: character when you first meet her, Like, she's very interesting,

1457
01:11:52,880 --> 01:11:56,320
Speaker 4: and she's very quick to defend herself, and she's got

1458
01:11:56,320 --> 01:11:59,840
Speaker 4: this kind of like snarling, feral quality to her that

1459
01:11:59,840 --> 01:12:03,200
Speaker 4: I always love seeing in teenage girls, like yeah, tell

1460
01:12:03,240 --> 01:12:05,200
Speaker 4: them what to get the fuck away from you, Like, yeah,

1461
01:12:05,360 --> 01:12:09,080
Speaker 4: protect yourself. But in short order you realize why she

1462
01:12:09,160 --> 01:12:12,840
Speaker 4: has developed those qualities, and it's because she lives in

1463
01:12:12,880 --> 01:12:16,200
Speaker 4: a very chaotic situation. So she lives in a motel

1464
01:12:16,280 --> 01:12:20,120
Speaker 4: with her mother and her mother's husband. Her mother is

1465
01:12:20,120 --> 01:12:23,719
Speaker 4: played by Amanda Plummer, who is always going to ten.

1466
01:12:23,680 --> 01:12:27,880
Speaker 1: Oh god, Like we've actually talked about doing her for

1467
01:12:27,960 --> 01:12:28,759
Speaker 1: all the way up.

1468
01:12:28,800 --> 01:12:32,599
Speaker 2: Exact, like she is always all the way up. Yeah.

1469
01:12:32,640 --> 01:12:34,360
Speaker 2: I adore her as an actor.

1470
01:12:34,400 --> 01:12:37,120
Speaker 4: I think she's funny, hilarious and wonderful and she makes

1471
01:12:37,320 --> 01:12:40,599
Speaker 4: very interesting choices. Agreed, And so in this film, she's

1472
01:12:41,000 --> 01:12:43,960
Speaker 4: kind of portraying the most aggressive sex worker of all time,

1473
01:12:44,720 --> 01:12:47,479
Speaker 4: Like the way she's approaching cars on the street in

1474
01:12:47,520 --> 01:12:49,599
Speaker 4: a way that you think, is she going to carjack

1475
01:12:49,680 --> 01:12:51,080
Speaker 4: me or proposition me?

1476
01:12:51,280 --> 01:12:51,960
Speaker 2: Like, we don't know.

1477
01:12:52,680 --> 01:12:55,920
Speaker 4: Again, it's a very interesting way to media character right away.

1478
01:12:56,560 --> 01:12:57,439
Speaker 2: But then in the.

1479
01:12:57,400 --> 01:13:01,240
Speaker 4: Motel behind her is her husband who who this guy

1480
01:13:01,439 --> 01:13:05,000
Speaker 4: who is much younger than her and super sleazy and

1481
01:13:05,200 --> 01:13:08,479
Speaker 4: also just really not present in a weird way. Like

1482
01:13:08,520 --> 01:13:11,080
Speaker 4: it's eventually you realize that drugs are involved, but he's

1483
01:13:11,160 --> 01:13:14,280
Speaker 4: kind of a like he picks on Vanessa and you know,

1484
01:13:14,400 --> 01:13:17,960
Speaker 4: kind of just laughs things off that are very serious, Yeah,

1485
01:13:18,120 --> 01:13:20,320
Speaker 4: and he just seems to not take anything seriously.

1486
01:13:20,479 --> 01:13:21,800
Speaker 2: And then he gets high.

1487
01:13:22,160 --> 01:13:27,760
Speaker 4: And there's a cutaway when her mother gets arrested, and

1488
01:13:28,320 --> 01:13:33,280
Speaker 4: they cut back to the hotel and Vanessa is in

1489
01:13:33,320 --> 01:13:38,360
Speaker 4: bed with her stepfather. Yeah, so the cops kind of

1490
01:13:38,360 --> 01:13:39,760
Speaker 4: come in and they're like, you know, one of the

1491
01:13:39,760 --> 01:13:42,040
Speaker 4: cops asks her, you know, are you having a sexual

1492
01:13:42,080 --> 01:13:47,280
Speaker 4: relationship with your stepfather? And the camera cuts away before

1493
01:13:47,320 --> 01:13:49,639
Speaker 4: she answers, but the look on her face indicates yes,

1494
01:13:50,280 --> 01:13:53,360
Speaker 4: and it indicates that it there's no talk of consent.

1495
01:13:53,680 --> 01:13:56,800
Speaker 4: But she's a child, she's a teenager, right, So there's

1496
01:13:56,840 --> 01:13:58,800
Speaker 4: a look of shame in her face, but there's also

1497
01:13:58,840 --> 01:14:00,320
Speaker 4: a look of like, what are you going to do it?

1498
01:14:00,360 --> 01:14:02,519
Speaker 4: Kind of in her It's just a very interesting acting moment,

1499
01:14:02,560 --> 01:14:05,639
Speaker 4: I think for Reese Withutherspoon. But the result is that

1500
01:14:05,880 --> 01:14:08,360
Speaker 4: child services are called, naturally because both of these people

1501
01:14:08,400 --> 01:14:10,799
Speaker 4: are being taken away. So the stepfather is going away

1502
01:14:11,000 --> 01:14:15,960
Speaker 4: because he's broken parole by being high on drugs. Mom's

1503
01:14:15,960 --> 01:14:19,439
Speaker 4: going away because she's been arrested for solicitation, so they

1504
01:14:19,439 --> 01:14:22,479
Speaker 4: have to call child services. And in this moment, as

1505
01:14:22,479 --> 01:14:26,639
Speaker 4: this is all happening, we also get just some amazing lines,

1506
01:14:26,840 --> 01:14:29,439
Speaker 4: like the jokes and the language in this film is

1507
01:14:29,479 --> 01:14:32,000
Speaker 4: so funny. At one point, Larry, the stepfather, is kind

1508
01:14:32,000 --> 01:14:35,080
Speaker 4: of like poking and prodding at Vanessa and she just

1509
01:14:35,120 --> 01:14:37,200
Speaker 4: turns and goes, gets your hands off my anatomy.

1510
01:14:37,880 --> 01:14:40,680
Speaker 2: She's just so weird in that way, right.

1511
01:14:41,120 --> 01:14:43,439
Speaker 4: And there's this kind of news story going on in

1512
01:14:43,439 --> 01:14:46,840
Speaker 4: the background about this guy called the I five killer,

1513
01:14:46,960 --> 01:14:49,800
Speaker 4: and all of these sex workers have been showing up

1514
01:14:49,800 --> 01:14:52,280
Speaker 4: on the sides of highways being you know, having been killed,

1515
01:14:52,439 --> 01:14:54,880
Speaker 4: and this is the new story that's going on in

1516
01:14:54,880 --> 01:14:57,599
Speaker 4: the background, and Vanessa seems interested in it, so she's

1517
01:14:57,640 --> 01:15:01,680
Speaker 4: aware of it, but she's not invested in it. So

1518
01:15:01,800 --> 01:15:06,479
Speaker 4: Children's Services comes, and actually it's not Children's Services, it's

1519
01:15:06,720 --> 01:15:09,559
Speaker 4: the parole officer. And she shows up and her name's

1520
01:15:09,600 --> 01:15:12,240
Speaker 4: Missus Sheets. Because Vanessa has been in juvie before, like

1521
01:15:12,280 --> 01:15:14,680
Speaker 4: she's been in trouble before, and she doesn't want to

1522
01:15:14,680 --> 01:15:18,200
Speaker 4: go into foster care again. So Vanessa kind of lightly

1523
01:15:18,240 --> 01:15:21,040
Speaker 4: suggests that she could go visit her grandmother again Little

1524
01:15:21,040 --> 01:15:23,919
Speaker 4: Red Riding Hood. She can go visit her grandmother in Stockton,

1525
01:15:23,960 --> 01:15:27,840
Speaker 4: even though her grandmother has never met her, and Missus

1526
01:15:27,840 --> 01:15:30,720
Speaker 4: Sheets is like, that is not a good idea, but

1527
01:15:30,840 --> 01:15:35,280
Speaker 4: Vanessa thinks it is. So she handcuffs Missus Sheets by

1528
01:15:35,320 --> 01:15:41,040
Speaker 4: the ankle to her bed, steals a car and bolts,

1529
01:15:41,080 --> 01:15:43,639
Speaker 4: and when she leaves the motel, she is literally carrying

1530
01:15:43,640 --> 01:15:45,840
Speaker 4: a red basket like she's not carrying a suitcase or

1531
01:15:45,840 --> 01:15:49,160
Speaker 4: anything like that. So this is, you know, Babe in

1532
01:15:49,160 --> 01:15:51,960
Speaker 4: the woods going off into the wild. She goes to

1533
01:15:51,960 --> 01:15:54,800
Speaker 4: say goodbye to Chopper, and actually she goes to get

1534
01:15:54,880 --> 01:15:56,559
Speaker 4: him at first, and he's like, I can't go. I've

1535
01:15:56,560 --> 01:15:58,280
Speaker 4: got court and if I don't show up next week

1536
01:15:58,320 --> 01:16:01,000
Speaker 4: to court, then I'm definitely going to jail and he

1537
01:16:01,040 --> 01:16:03,479
Speaker 4: can't go, but he does give her a gun from Spain.

1538
01:16:04,000 --> 01:16:07,320
Speaker 4: He makes sure to mention so that she can sell

1539
01:16:07,360 --> 01:16:09,080
Speaker 4: it for money. He's like, here's this gun you can

1540
01:16:09,080 --> 01:16:10,920
Speaker 4: sell for money. I can't go with you. And she's

1541
01:16:10,960 --> 01:16:11,200
Speaker 4: kind of.

1542
01:16:11,200 --> 01:16:13,679
Speaker 2: Saying goodbye forever. She's crying, she's upset.

1543
01:16:14,080 --> 01:16:17,840
Speaker 4: As soon as she leaves, Chopper gets shot and killed

1544
01:16:18,000 --> 01:16:22,240
Speaker 4: in the most dramatic way possible. I mean, there is

1545
01:16:22,439 --> 01:16:28,320
Speaker 4: so much fence holding, stumbling, chest grabbing, it's an unreal scene.

1546
01:16:28,840 --> 01:16:29,719
Speaker 2: So he gets shot.

1547
01:16:30,000 --> 01:16:35,800
Speaker 4: Also, her car breaks down immediately, Yeah, like r smoke

1548
01:16:35,840 --> 01:16:38,240
Speaker 4: pouring all over the place. Car brings out immediately. As

1549
01:16:38,240 --> 01:16:41,520
Speaker 4: soon as she gets on the freeway, car is shot.

1550
01:16:42,040 --> 01:16:49,519
Speaker 4: But who shows up but Key for Sutherland, Bob Wolverton himself.

1551
01:16:50,640 --> 01:16:52,600
Speaker 4: And if you can't tell that this dude is a

1552
01:16:52,640 --> 01:16:56,920
Speaker 4: serial killer from Jump, you have to be a very

1553
01:16:57,000 --> 01:17:00,000
Speaker 4: naive person. Because he is wearing a full ass corduroy

1554
01:17:00,120 --> 01:17:03,240
Speaker 4: jacket in the middle of the day in southern California.

1555
01:17:03,360 --> 01:17:05,800
Speaker 1: He looks like he's he works at a coffee shop

1556
01:17:05,840 --> 01:17:08,439
Speaker 1: in Silver Lake. I mean, just imagine.

1557
01:17:08,479 --> 01:17:11,519
Speaker 4: He's got the glasses with the bar in the middle. Yes,

1558
01:17:12,080 --> 01:17:15,599
Speaker 4: and he's very sweaty and sleezy. Like to me, he's

1559
01:17:15,680 --> 01:17:18,080
Speaker 4: very sweaty and sleazy. And then she gets in his car.

1560
01:17:18,160 --> 01:17:20,839
Speaker 4: That doesn't change. So he indicates that he's a counselor

1561
01:17:20,880 --> 01:17:23,679
Speaker 4: for a school for boys with emotional trouble. So there's

1562
01:17:23,720 --> 01:17:26,439
Speaker 4: a psychological element now that has been introduced into this

1563
01:17:27,400 --> 01:17:29,360
Speaker 4: interaction where she's in the front seat of the car

1564
01:17:29,439 --> 01:17:32,760
Speaker 4: and she just kind of starts telling him about her

1565
01:17:32,840 --> 01:17:37,439
Speaker 4: life and again, dialogue amazing. At one point, he's asking

1566
01:17:37,479 --> 01:17:39,840
Speaker 4: her about like questions about herself and her background, and

1567
01:17:39,840 --> 01:17:41,759
Speaker 4: she goes, I do got trauma.

1568
01:17:41,880 --> 01:17:43,160
Speaker 2: Huh, I'm just.

1569
01:17:43,240 --> 01:17:45,479
Speaker 4: Very mad, like she's just figured it out for the

1570
01:17:45,479 --> 01:17:47,480
Speaker 4: first sil like, I do have trauma.

1571
01:17:47,200 --> 01:17:48,799
Speaker 1: You said a mouthful yeah.

1572
01:17:48,840 --> 01:17:50,960
Speaker 4: And then as she's telling him about all of this trauma,

1573
01:17:51,000 --> 01:17:55,639
Speaker 4: which involves a lot of sexual and physical abuse, he drops,

1574
01:17:55,840 --> 01:17:59,200
Speaker 4: can I try this new psychological technique on you? Which, bitch,

1575
01:17:59,240 --> 01:18:01,360
Speaker 4: I am rolling out of the car. I am rolling

1576
01:18:01,439 --> 01:18:04,920
Speaker 4: down the I five again. You cannot get me into

1577
01:18:05,000 --> 01:18:07,880
Speaker 4: your new powerful psychological technique.

1578
01:18:07,479 --> 01:18:09,840
Speaker 2: While we're on the road, Stranger.

1579
01:18:09,400 --> 01:18:11,840
Speaker 1: Yeah, that's some hannibal lecture shit. He's trying to hand

1580
01:18:11,840 --> 01:18:12,720
Speaker 1: able lecture.

1581
01:18:12,439 --> 01:18:13,479
Speaker 2: Her for real.

1582
01:18:13,560 --> 01:18:15,840
Speaker 4: And also, if you're really going to be the kind

1583
01:18:15,840 --> 01:18:18,439
Speaker 4: of killer to use a psychological technique, don't tell people

1584
01:18:18,439 --> 01:18:20,559
Speaker 4: about it. Just do it and they won't even know

1585
01:18:20,560 --> 01:18:22,439
Speaker 4: what's happening. He's very bad at his job.

1586
01:18:23,080 --> 01:18:26,400
Speaker 1: He's got like the DSM five book in his fucking car.

1587
01:18:27,000 --> 01:18:30,639
Speaker 1: So it's like, you already gave it away.

1588
01:18:31,640 --> 01:18:34,479
Speaker 4: We already know your game, dude, Like, at least make

1589
01:18:34,520 --> 01:18:37,880
Speaker 4: it challenging for me. Yeah, But she's telling him all

1590
01:18:37,880 --> 01:18:41,320
Speaker 4: of this stuff about her background and doesn't realize until

1591
01:18:41,360 --> 01:18:44,400
Speaker 4: one very specific question comes up that she's deeply uncomfortable.

1592
01:18:44,400 --> 01:18:47,280
Speaker 4: She's made deeply uncomfortable by this man, and she tries

1593
01:18:47,320 --> 01:18:49,519
Speaker 4: to get out of the car and he holds.

1594
01:18:49,360 --> 01:18:50,320
Speaker 2: Up the door handle.

1595
01:18:50,600 --> 01:18:53,080
Speaker 4: Oh, he's ripped the door handle off, and he's holding

1596
01:18:53,200 --> 01:18:56,360
Speaker 4: a knife, and he basically kind of like you know,

1597
01:18:56,400 --> 01:18:58,760
Speaker 4: grabs her by the head and threatens to kill her.

1598
01:18:59,280 --> 01:19:00,720
Speaker 2: He cuts off her ponytail.

1599
01:19:00,960 --> 01:19:03,920
Speaker 4: Oh no, which, again, if we're thinking of back to

1600
01:19:03,960 --> 01:19:08,479
Speaker 4: our smooth talk conversation, kind of forcibly removing her innocence

1601
01:19:08,479 --> 01:19:11,200
Speaker 4: so to speak, by cutting off this ponytail.

1602
01:19:11,600 --> 01:19:13,920
Speaker 2: And then she just flat out asks him, Hey, you

1603
01:19:13,960 --> 01:19:14,599
Speaker 2: the guy who's been.

1604
01:19:14,600 --> 01:19:19,200
Speaker 4: Killing all those girls, and he lodges into this tirade

1605
01:19:19,320 --> 01:19:23,439
Speaker 4: without saying yes, I've noticed in this rewatch he does

1606
01:19:23,479 --> 01:19:26,440
Speaker 4: not clearly say yes. He just kind of smiles very deviously.

1607
01:19:26,840 --> 01:19:30,160
Speaker 4: But then he launches into this tirade about how he

1608
01:19:30,240 --> 01:19:34,080
Speaker 4: truly feels about people and how he kind of can't stand,

1609
01:19:34,760 --> 01:19:38,519
Speaker 4: you know, how sloppy and low class people are, and

1610
01:19:38,600 --> 01:19:41,040
Speaker 4: especially women like her, girls like her who come from

1611
01:19:41,040 --> 01:19:44,120
Speaker 4: like these, you know, drug addicted situations or whatever. He

1612
01:19:44,160 --> 01:19:46,280
Speaker 4: just kind of goes off, and this is when she

1613
01:19:46,360 --> 01:19:48,320
Speaker 4: turns to him and she says my favorite line of

1614
01:19:48,320 --> 01:19:52,439
Speaker 4: the whole film, Hey, I ain't no trick baby. She's like,

1615
01:19:52,640 --> 01:19:54,479
Speaker 4: call me what you want, but do not call me that.

1616
01:19:54,560 --> 01:19:56,559
Speaker 4: And guess what, he didn't call her that, because who

1617
01:19:56,600 --> 01:19:57,320
Speaker 4: would ever say that?

1618
01:19:57,760 --> 01:19:59,320
Speaker 2: Yeah, but she.

1619
01:19:59,479 --> 01:20:02,519
Speaker 4: Is kind of fighting back, so she kind of tricks

1620
01:20:02,560 --> 01:20:04,400
Speaker 4: him and gets into the back seat and she gets

1621
01:20:04,400 --> 01:20:07,280
Speaker 4: the gun that Chopper gave her and is like, now,

1622
01:20:07,320 --> 01:20:08,679
Speaker 4: what are we gonna do? Do you wanna get shot

1623
01:20:08,720 --> 01:20:11,280
Speaker 4: a whole bunch of times because I can do that,

1624
01:20:11,960 --> 01:20:15,439
Speaker 4: And she takes him gun to his head to a

1625
01:20:15,479 --> 01:20:20,320
Speaker 4: desolate road, shoots him in the neck. Is kind of

1626
01:20:20,400 --> 01:20:23,640
Speaker 4: nauseous by it, like made nauseous by it. Yeah, but

1627
01:20:23,720 --> 01:20:26,840
Speaker 4: he is not even dead, so she does in fact shoot.

1628
01:20:26,600 --> 01:20:28,759
Speaker 2: Him a whole bunch of times when.

1629
01:20:28,560 --> 01:20:31,120
Speaker 1: He crawls out of the car, and like it's such

1630
01:20:31,160 --> 01:20:36,840
Speaker 1: a catharsis okay, because he is truly fucked up in

1631
01:20:36,920 --> 01:20:40,240
Speaker 1: the car sequence, yes, right, Like that entire sequence where

1632
01:20:40,240 --> 01:20:42,879
Speaker 1: they're in the car together is very intense. The conversation

1633
01:20:43,040 --> 01:20:45,240
Speaker 1: is really intense, and the things that he says to

1634
01:20:45,280 --> 01:20:49,320
Speaker 1: her early intense. So when that happens, like you're like,

1635
01:20:49,840 --> 01:20:54,240
Speaker 1: oh man, thank god, get away from this fucking guy. Yeah,

1636
01:20:54,280 --> 01:20:56,120
Speaker 1: she shot him a bunch of times, and we love

1637
01:20:56,160 --> 01:20:58,280
Speaker 1: it because he deserves it.

1638
01:20:58,160 --> 01:21:01,640
Speaker 2: And also he very clearly he is or could be

1639
01:21:01,760 --> 01:21:02,280
Speaker 2: this killer.

1640
01:21:02,600 --> 01:21:06,000
Speaker 4: Yes, so there's a weird push and pull going on

1641
01:21:06,040 --> 01:21:08,240
Speaker 4: of like, well, if he is the killer, okay, she

1642
01:21:08,320 --> 01:21:11,760
Speaker 4: defended herself from what was her inevitable death. Yes, But

1643
01:21:11,800 --> 01:21:13,680
Speaker 4: if he's not, he was also just being kind of

1644
01:21:13,680 --> 01:21:14,080
Speaker 4: a prick.

1645
01:21:14,240 --> 01:21:18,040
Speaker 7: Maybe he did not deserve so he's deserve to be

1646
01:21:18,080 --> 01:21:24,120
Speaker 7: shot a budding dimes, But in either case, in either scenario,

1647
01:21:24,240 --> 01:21:25,480
Speaker 7: she is defending herself.

1648
01:21:25,880 --> 01:21:28,080
Speaker 4: She doesn't know what's gonna happen with this man, of course,

1649
01:21:28,560 --> 01:21:32,439
Speaker 4: especially hilarious though is he doesn't even die.

1650
01:21:32,280 --> 01:21:33,000
Speaker 2: From the gunshot.

1651
01:21:33,040 --> 01:21:36,559
Speaker 4: So there's this beautiful scene after she shoots him and

1652
01:21:36,600 --> 01:21:38,680
Speaker 4: takes three hundred bucks from his wallet where she just

1653
01:21:38,720 --> 01:21:41,040
Speaker 4: goes to a diner and is absolutely covered in blood

1654
01:21:41,080 --> 01:21:44,120
Speaker 4: and doesn't even seem to realize it. So there's this again,

1655
01:21:44,160 --> 01:21:46,360
Speaker 4: this theme of red and this theme of you know,

1656
01:21:46,479 --> 01:21:47,920
Speaker 4: cleansing blood and all that.

1657
01:21:47,960 --> 01:21:50,360
Speaker 2: Kind of shit. So she goes to a diner.

1658
01:21:51,400 --> 01:21:55,640
Speaker 4: He crawls to a hospital somehow and is fucked the

1659
01:21:55,640 --> 01:21:59,200
Speaker 4: fuck up, like he is being given zero anesthetic while

1660
01:21:59,200 --> 01:22:00,479
Speaker 4: they take all these bullet it's out.

1661
01:22:00,400 --> 01:22:02,920
Speaker 2: Of him and cut his asshole out of his body.

1662
01:22:03,080 --> 01:22:04,400
Speaker 4: They're like, oh, we have to give him a color

1663
01:22:04,400 --> 01:22:07,240
Speaker 4: ectomy or whatever, like they are fucking this dude up.

1664
01:22:07,240 --> 01:22:09,120
Speaker 2: And he is just screaming the entire time.

1665
01:22:09,920 --> 01:22:14,679
Speaker 4: And then his wife, Brooks Shields, shows up and she's

1666
01:22:14,720 --> 01:22:16,800
Speaker 4: like I want that fucking whoever did this that was

1667
01:22:16,840 --> 01:22:20,559
Speaker 4: them arrested, like this is crazy, and they basically figure

1668
01:22:20,600 --> 01:22:23,680
Speaker 4: out that it was Vanessa who shot him.

1669
01:22:23,680 --> 01:22:24,479
Speaker 2: They show him.

1670
01:22:24,320 --> 01:22:27,960
Speaker 4: Her picture and her picture is so like her school

1671
01:22:28,000 --> 01:22:29,200
Speaker 4: picture is hilarious.

1672
01:22:29,439 --> 01:22:32,560
Speaker 1: I am posted that on our social media, please do.

1673
01:22:32,880 --> 01:22:35,000
Speaker 2: I already screen grabbed it and I was gonna text

1674
01:22:35,000 --> 01:22:37,519
Speaker 2: it to you later. Oh my god, I was due,

1675
01:22:37,640 --> 01:22:40,680
Speaker 2: but oh my god, dude, because Dan Headea shows up.

1676
01:22:40,680 --> 01:22:43,719
Speaker 1: He's like her suit King Danhdea.

1677
01:22:43,160 --> 01:22:45,280
Speaker 2: As we've talked about him on this podcast before.

1678
01:22:45,560 --> 01:22:47,400
Speaker 1: Him and his partner show up and they're trying to

1679
01:22:47,400 --> 01:22:50,240
Speaker 1: figure out, okay, who shot you, and like Keeper is

1680
01:22:50,400 --> 01:22:55,160
Speaker 1: like going for fits, like he's like bandaged up, like

1681
01:22:55,200 --> 01:22:59,320
Speaker 1: the invisible Man. He's like screaming, he is like bloodied

1682
01:22:59,360 --> 01:23:02,479
Speaker 1: and he's like ah, They're like, is this the woman

1683
01:23:02,560 --> 01:23:06,879
Speaker 1: that shot you? And then the cutaway of the picture

1684
01:23:07,280 --> 01:23:11,479
Speaker 1: is so genius. I laughed every single time I've seen it,

1685
01:23:12,080 --> 01:23:14,760
Speaker 1: and it's just like the best like comedic moment in

1686
01:23:14,800 --> 01:23:19,720
Speaker 1: this scene. I'm posting it on our social media immediately.

1687
01:23:19,439 --> 01:23:22,080
Speaker 2: So, oh god, you have to post it tomorrow. It's

1688
01:23:22,120 --> 01:23:25,599
Speaker 2: so good. Yeah. Well, it's such a funny fucking moment.

1689
01:23:25,640 --> 01:23:28,160
Speaker 4: And it's also strange because in this this is when

1690
01:23:28,200 --> 01:23:30,400
Speaker 4: you start to realize, like him screaming in pain, his

1691
01:23:30,600 --> 01:23:33,680
Speaker 4: pure agony helps you to realize that, yes, this is

1692
01:23:33,680 --> 01:23:35,920
Speaker 4: a little red riding hood story, but the tables have

1693
01:23:36,000 --> 01:23:39,960
Speaker 4: fucking been turned. Yeah, and this is not a little

1694
01:23:39,960 --> 01:23:42,080
Speaker 4: red riding hood who's waiting for someone to save her

1695
01:23:42,320 --> 01:23:44,360
Speaker 4: or who can't get away from this wolf, like she

1696
01:23:44,400 --> 01:23:48,720
Speaker 4: has fucked Wolverton up. And they go and arrest her

1697
01:23:48,960 --> 01:23:51,080
Speaker 4: and she's like, oh, come on, really, like she's very

1698
01:23:51,320 --> 01:23:52,120
Speaker 4: she's just kind of like.

1699
01:23:52,080 --> 01:23:54,040
Speaker 2: Oh God, I can't believe you're arresting me.

1700
01:23:54,439 --> 01:23:58,760
Speaker 4: And she tries to explain her case clearly, because when

1701
01:23:58,760 --> 01:24:01,000
Speaker 4: she meets with Dan Hadean and his partner, she's saying,

1702
01:24:01,000 --> 01:24:03,519
Speaker 4: you know, yeah, I shot him because he is the

1703
01:24:03,560 --> 01:24:05,479
Speaker 4: I five killer. Yeah, and they're like, well, there's no

1704
01:24:05,520 --> 01:24:06,960
Speaker 4: way for us to prove that. So to us, it

1705
01:24:07,000 --> 01:24:08,519
Speaker 4: just looks like she shot an innocent man.

1706
01:24:08,400 --> 01:24:09,080
Speaker 2: And robbed him.

1707
01:24:09,600 --> 01:24:13,200
Speaker 4: Yeah, And you know, she calls Chopper and this is

1708
01:24:13,200 --> 01:24:16,360
Speaker 4: where she finds out that Chopper has died. The movie

1709
01:24:16,400 --> 01:24:18,880
Speaker 4: kind of shifts into a different direction at that point

1710
01:24:18,920 --> 01:24:21,080
Speaker 4: because she's put in a position now where she's on trial.

1711
01:24:21,760 --> 01:24:26,599
Speaker 4: So they initially in her in her first court date

1712
01:24:27,120 --> 01:24:28,840
Speaker 4: and trying to decide whether or not she should be

1713
01:24:28,920 --> 01:24:31,880
Speaker 4: tried as an adult. It's kind of funny to watch

1714
01:24:31,920 --> 01:24:34,000
Speaker 4: everyone around her say, well, she's just a kid, and

1715
01:24:34,040 --> 01:24:36,320
Speaker 4: she's just a victim of her circumstances. But then she

1716
01:24:36,400 --> 01:24:40,320
Speaker 4: pops off, so hard because when Wolverton comes into the courtroom,

1717
01:24:43,320 --> 01:24:47,000
Speaker 4: he looks absolutely like.

1718
01:24:46,960 --> 01:24:48,519
Speaker 2: Somebody who's been shot a bunch of times.

1719
01:24:48,680 --> 01:24:52,880
Speaker 4: His eye is blown out like Terminator two, but it's

1720
01:24:52,920 --> 01:24:55,080
Speaker 4: not the silver, it's just flesh, like it's just a

1721
01:24:55,120 --> 01:24:57,680
Speaker 4: blown out, melted blob of an eye.

1722
01:24:59,360 --> 01:25:01,240
Speaker 2: He has a one corner of.

1723
01:25:01,240 --> 01:25:05,639
Speaker 4: His face permanently arched towards his eye, like his cheek

1724
01:25:05,680 --> 01:25:09,639
Speaker 4: is just permanently arch to kind of again bare his teeth.

1725
01:25:09,920 --> 01:25:14,759
Speaker 4: Running home, he's drooling because he can't close his fucking

1726
01:25:14,800 --> 01:25:18,200
Speaker 4: mouth anymore. He has a voice box that sounds like

1727
01:25:18,240 --> 01:25:22,839
Speaker 4: a Chips radio, like a California Highway Patrol radio, attached

1728
01:25:22,840 --> 01:25:27,040
Speaker 4: to his shirt, and with one eye, he's just like

1729
01:25:27,160 --> 01:25:29,400
Speaker 4: snarling and looking at her. She's like, man, you are

1730
01:25:29,479 --> 01:25:31,760
Speaker 4: fucking ugly. You are fuck the fuck up.

1731
01:25:32,120 --> 01:25:33,760
Speaker 2: She's like, I can't believe you're still a lie.

1732
01:25:35,080 --> 01:25:38,599
Speaker 1: It's probably my favorite scene in the movie No Remorse.

1733
01:25:40,560 --> 01:25:45,200
Speaker 1: He is obliterated and it is so fucking funny.

1734
01:25:45,240 --> 01:25:47,559
Speaker 4: He's got the head brace on, like when he just

1735
01:25:47,560 --> 01:25:51,520
Speaker 4: gets wheeled into the courtroom and she just starts like fucking.

1736
01:25:51,280 --> 01:25:52,600
Speaker 2: Railing on him the minute he.

1737
01:25:53,120 --> 01:25:56,639
Speaker 1: Comes in, and I was like, oh my god, this

1738
01:25:56,720 --> 01:25:58,920
Speaker 1: is so over the top, Like I think it's on

1739
01:25:59,000 --> 01:26:01,479
Speaker 1: purpose to be over the top.

1740
01:26:01,680 --> 01:26:07,040
Speaker 4: Yes, he is grotesque for comedy, and she is grotesquely

1741
01:26:08,120 --> 01:26:11,599
Speaker 4: bucking against this notion that she is just an innocent child.

1742
01:26:11,640 --> 01:26:13,439
Speaker 4: She's like, with my life and all I've seen and

1743
01:26:13,520 --> 01:26:16,360
Speaker 4: all I've done, Yes, I am not the babe in

1744
01:26:16,360 --> 01:26:18,320
Speaker 4: the woods that you think I am. Yep, And I

1745
01:26:18,439 --> 01:26:20,720
Speaker 4: fucking got that guy and look at him now, and

1746
01:26:20,760 --> 01:26:22,960
Speaker 4: it is, like you said, the height of comm It's

1747
01:26:23,040 --> 01:26:27,240
Speaker 4: played off as a comedic moment, yes, because you want

1748
01:26:27,280 --> 01:26:30,000
Speaker 4: in that moment to also find a reason to root

1749
01:26:30,080 --> 01:26:30,919
Speaker 4: for Vanessa.

1750
01:26:31,240 --> 01:26:33,800
Speaker 2: Yes, Like if you're feeling bad for him, you're not

1751
01:26:33,920 --> 01:26:35,679
Speaker 2: rooting for her, right right.

1752
01:26:37,200 --> 01:26:41,240
Speaker 4: So they send her to Juvie, where she meets Brittany Murphy,

1753
01:26:41,400 --> 01:26:43,719
Speaker 4: who kind of plays the same character in every film.

1754
01:26:43,840 --> 01:26:46,280
Speaker 1: I was gonna say, this is very similar to things

1755
01:26:46,280 --> 01:26:46,920
Speaker 1: I've seen her.

1756
01:26:46,800 --> 01:26:49,640
Speaker 4: In before, like Rest in Peace, Queen, but like it

1757
01:26:49,680 --> 01:26:51,280
Speaker 4: was always very like this.

1758
01:26:55,920 --> 01:26:58,439
Speaker 2: She had a very specific style. I will just say that.

1759
01:26:58,640 --> 01:27:02,240
Speaker 4: Yes, And Vanessa gets in a fight immediately she is

1760
01:27:02,360 --> 01:27:05,880
Speaker 4: not here for it. She's like the biggest, baddest motherfucker

1761
01:27:05,920 --> 01:27:07,479
Speaker 4: tries to step to her.

1762
01:27:07,520 --> 01:27:10,720
Speaker 2: Right away and she's like, oh, I'll fuck you the

1763
01:27:10,720 --> 01:27:13,760
Speaker 2: fuck up. Yeah, and she does.

1764
01:27:13,840 --> 01:27:15,880
Speaker 4: She slams this poor girl's head into the ground and

1765
01:27:15,880 --> 01:27:18,240
Speaker 4: it's just like all over all over her.

1766
01:27:18,640 --> 01:27:19,320
Speaker 2: Yeah.

1767
01:27:19,360 --> 01:27:21,080
Speaker 4: So then we get to cut to this beautiful scene

1768
01:27:21,080 --> 01:27:25,000
Speaker 4: where she's just casually making a shive in her solitary

1769
01:27:25,080 --> 01:27:29,760
Speaker 4: confinement room. When she gets she gets worth and she's

1770
01:27:29,800 --> 01:27:33,519
Speaker 4: gonna be tried as an adult, and then she gets

1771
01:27:33,720 --> 01:27:36,920
Speaker 4: put back in gen pop essentially, and Wolverton is on

1772
01:27:36,960 --> 01:27:40,679
Speaker 4: the news and his wife again played by Brooke Shields,

1773
01:27:40,720 --> 01:27:44,040
Speaker 4: is like, oh my god, it's so bad. He's so disfigured.

1774
01:27:44,040 --> 01:27:47,400
Speaker 4: He can't have sex anymore. Vanessa should be locked up forever.

1775
01:27:47,560 --> 01:27:50,800
Speaker 4: And you're like, can't have sex anymore. The man cannot breathe,

1776
01:27:50,960 --> 01:27:53,320
Speaker 4: he cannot swallow, he cannot speak.

1777
01:27:53,840 --> 01:27:56,000
Speaker 2: Get your mind off his dick for a minute. Oh

1778
01:27:56,000 --> 01:27:59,360
Speaker 2: my god, And it's cut. It's hilarious.

1779
01:27:59,400 --> 01:28:01,680
Speaker 4: And then also during this time, the cops are kind

1780
01:28:01,720 --> 01:28:05,639
Speaker 4: of interviewing people in Vanessa's life to get some more

1781
01:28:05,680 --> 01:28:09,760
Speaker 4: background on this case. They're finally doing the casework of this,

1782
01:28:10,400 --> 01:28:13,360
Speaker 4: and there's just again one hilarious line where they go

1783
01:28:13,400 --> 01:28:15,800
Speaker 4: to the school and Dan today and his partner are

1784
01:28:15,800 --> 01:28:18,320
Speaker 4: talking and his partner's like, have you seen these kids?

1785
01:28:18,320 --> 01:28:19,800
Speaker 4: This is the most fucked up group of kids I've

1786
01:28:19,800 --> 01:28:23,840
Speaker 4: ever seen in my life. We're gonna get nothing here.

1787
01:28:26,360 --> 01:28:28,920
Speaker 4: So the girl that Vanessa fucked up in Juvie, her

1788
01:28:29,000 --> 01:28:33,120
Speaker 4: name is Mosquita, and she and Mosquita kind of team

1789
01:28:33,240 --> 01:28:35,360
Speaker 4: up when they're they're kind of coming back in a

1790
01:28:35,439 --> 01:28:37,280
Speaker 4: van from their court date and they kind of team

1791
01:28:37,400 --> 01:28:41,360
Speaker 4: up to escape, so they you know, kind of attack

1792
01:28:41,439 --> 01:28:44,280
Speaker 4: the guards and their guardian and they escape during transit,

1793
01:28:44,360 --> 01:28:47,200
Speaker 4: and Mosquita's friends get Vanessa a gun and a car.

1794
01:28:47,560 --> 01:28:51,559
Speaker 4: And guess who Mosquita's boyfriend is. It's Millie's boy Giermo Diaz.

1795
01:28:51,640 --> 01:28:52,120
Speaker 2: That's right.

1796
01:28:52,240 --> 01:28:57,040
Speaker 4: But Crush mcgae Crush, La Crush, La Crush doesn't want

1797
01:28:57,080 --> 01:29:01,200
Speaker 4: me at all, but I think he's so cute and

1798
01:29:01,280 --> 01:29:04,200
Speaker 4: I don't care who knows it. The first person you

1799
01:29:04,240 --> 01:29:08,280
Speaker 4: saw when you got to La your own damn crush

1800
01:29:08,439 --> 01:29:09,960
Speaker 4: Gambo Diaz number one.

1801
01:29:10,000 --> 01:29:12,280
Speaker 2: Crush He love him.

1802
01:29:12,320 --> 01:29:12,760
Speaker 1: Love him.

1803
01:29:13,040 --> 01:29:16,760
Speaker 4: Meanwhile, well, this escape is happening because in the midst

1804
01:29:16,800 --> 01:29:18,559
Speaker 4: of all this, Vanessa is still trying to get to

1805
01:29:18,600 --> 01:29:19,280
Speaker 4: her grandmother.

1806
01:29:20,000 --> 01:29:22,160
Speaker 2: Yeah, and in the midst.

1807
01:29:21,840 --> 01:29:24,479
Speaker 4: Of all this, the cops finally find evidence in her

1808
01:29:24,680 --> 01:29:26,760
Speaker 4: cut off ponytail and some other things that have been

1809
01:29:27,200 --> 01:29:30,280
Speaker 4: scattered about the site that yeah, Wolverton probably is the

1810
01:29:30,280 --> 01:29:31,000
Speaker 4: I five killer.

1811
01:29:31,360 --> 01:29:32,040
Speaker 2: So they go to his.

1812
01:29:32,040 --> 01:29:35,880
Speaker 4: House and from this point on the movie gets so

1813
01:29:36,120 --> 01:29:38,720
Speaker 4: wild that I do not want to ruin it. But

1814
01:29:39,160 --> 01:29:41,320
Speaker 4: instead of getting caught because he sees all these cops

1815
01:29:41,320 --> 01:29:44,320
Speaker 4: at his house, something happens with his wife. He escapes

1816
01:29:44,880 --> 01:29:47,160
Speaker 4: and he's smoking a cigarette and the diner and the

1817
01:29:47,200 --> 01:29:50,160
Speaker 4: creepiest way possible when you realize he still has a

1818
01:29:50,160 --> 01:29:53,679
Speaker 4: picture of Vanessa's grandmother with the address and they're both

1819
01:29:53,720 --> 01:29:54,759
Speaker 4: headed to the same place.

1820
01:29:54,760 --> 01:29:56,000
Speaker 2: So that is all I'm gonna say.

1821
01:29:56,280 --> 01:29:59,439
Speaker 4: Yes, But the end of this movie is and I

1822
01:29:59,520 --> 01:30:01,719
Speaker 4: tried not to say this word ever, but this movie

1823
01:30:01,800 --> 01:30:03,040
Speaker 4: is fucking crazy.

1824
01:30:03,360 --> 01:30:06,120
Speaker 2: At the end of this movie is fucking crazy.

1825
01:30:05,880 --> 01:30:08,120
Speaker 4: Truly, and it is a baby girl. What as you

1826
01:30:08,200 --> 01:30:10,800
Speaker 4: do in from start to fucking finish? Oh my god,

1827
01:30:12,439 --> 01:30:16,000
Speaker 4: the decision she's making, even if they are defensive, You're like,

1828
01:30:16,040 --> 01:30:17,559
Speaker 4: why are you in this position? Why if you put

1829
01:30:17,560 --> 01:30:19,559
Speaker 4: yourself in this position? Why you know you're not taking

1830
01:30:19,600 --> 01:30:23,080
Speaker 4: the help that's being offered. It's just at every turn

1831
01:30:23,120 --> 01:30:25,080
Speaker 4: she's just making decisions that you're like, this is going

1832
01:30:25,120 --> 01:30:26,000
Speaker 4: to end badly for you.

1833
01:30:26,200 --> 01:30:27,799
Speaker 2: Yes, and it always does.

1834
01:30:28,040 --> 01:30:33,360
Speaker 1: And it's kind of what propels our are wanting to

1835
01:30:33,479 --> 01:30:34,839
Speaker 1: root her on though.

1836
01:30:34,680 --> 01:30:36,599
Speaker 2: You know what I mean, it's like it's very complicated.

1837
01:30:36,640 --> 01:30:39,640
Speaker 1: You're just like you're making bad choices. You probably just

1838
01:30:39,680 --> 01:30:43,680
Speaker 1: shouldn't have handcuffed can shudder Farrell to the bed at

1839
01:30:43,680 --> 01:30:46,320
Speaker 1: the very beginning of the movie. That would have saved

1840
01:30:46,479 --> 01:30:49,240
Speaker 1: all of the rest of this, all this subsequent stuff,

1841
01:30:49,400 --> 01:30:51,599
Speaker 1: if that just wouldn't have happened. Maybe that's the portal

1842
01:30:51,840 --> 01:30:52,639
Speaker 1: for this movie.

1843
01:30:53,000 --> 01:30:54,160
Speaker 2: Maybe that's the portal.

1844
01:30:54,400 --> 01:30:58,360
Speaker 1: But she didn't want to go to Juvie, right, Like,

1845
01:30:58,400 --> 01:31:00,919
Speaker 1: who the fuck wants to go to Juvie's blame.

1846
01:31:00,880 --> 01:31:02,800
Speaker 2: Even though she ends up there anyway, who can fucking

1847
01:31:02,840 --> 01:31:03,320
Speaker 2: blame her?

1848
01:31:03,800 --> 01:31:06,320
Speaker 1: It's like she'd want to go to foster care. So

1849
01:31:06,360 --> 01:31:09,559
Speaker 1: it's like, you know, I understand that she's like not

1850
01:31:09,680 --> 01:31:10,400
Speaker 1: won this life.

1851
01:31:11,360 --> 01:31:13,880
Speaker 2: Yeah, but also there's a moment where I can shot.

1852
01:31:13,640 --> 01:31:16,200
Speaker 4: If Ferrell looks at her and is like, literally, anything

1853
01:31:16,200 --> 01:31:17,920
Speaker 4: would be better than the life you have right now,

1854
01:31:18,000 --> 01:31:20,519
Speaker 4: if foster care is not the nightmare scenario that.

1855
01:31:20,479 --> 01:31:21,040
Speaker 2: You think it is.

1856
01:31:21,479 --> 01:31:23,880
Speaker 4: Even though she does tell a story later on about

1857
01:31:23,880 --> 01:31:26,240
Speaker 4: how she did have a terrible experience in one of

1858
01:31:26,240 --> 01:31:28,599
Speaker 4: her foster cares. That's why she doesn't want to go. Yeah,

1859
01:31:28,680 --> 01:31:32,200
Speaker 4: this one of the foster care fathers broke her jaw. Yeah,

1860
01:31:32,200 --> 01:31:36,160
Speaker 4: so she has reasons, good reasons. Yeah, I did not

1861
01:31:36,280 --> 01:31:40,320
Speaker 4: want to go. Yeah, but you're right that portal could

1862
01:31:40,320 --> 01:31:43,760
Speaker 4: have been closed immediately, but it would knowing this character though,

1863
01:31:43,760 --> 01:31:45,400
Speaker 4: I think the way this character has been developed, it

1864
01:31:45,400 --> 01:31:49,160
Speaker 4: would have been just another strange circumstance that would have

1865
01:31:49,200 --> 01:31:53,160
Speaker 4: brought her to another fatally disastrous encounter.

1866
01:31:53,600 --> 01:31:57,120
Speaker 1: Right listen. Part of what I think people really love

1867
01:31:57,520 --> 01:32:01,680
Speaker 1: about this movie is race weatherspo doing stuff like this

1868
01:32:01,840 --> 01:32:04,519
Speaker 1: because now we know her as you know, I don't know,

1869
01:32:04,560 --> 01:32:09,280
Speaker 1: hello Sunshine lady. But to see the like early days

1870
01:32:09,320 --> 01:32:13,160
Speaker 1: of stuff like this is so fun. It's just a

1871
01:32:13,320 --> 01:32:16,479
Speaker 1: fun way of seeing an actor who's in a very

1872
01:32:16,560 --> 01:32:21,479
Speaker 1: over the top, cartoonishly ridiculous film.

1873
01:32:21,320 --> 01:32:22,360
Speaker 2: Just like going for it.

1874
01:32:22,439 --> 01:32:23,880
Speaker 1: Just go fucking going.

1875
01:32:23,680 --> 01:32:27,040
Speaker 2: For it, you know. And this is pre cruel intentions,

1876
01:32:27,160 --> 01:32:28,760
Speaker 2: Like she's playing a teen.

1877
01:32:28,760 --> 01:32:32,280
Speaker 4: That you don't usually see on screen, yeah, or don't

1878
01:32:32,320 --> 01:32:35,439
Speaker 4: usually see her playing on screen. Like there's nothing upscale

1879
01:32:35,479 --> 01:32:38,200
Speaker 4: about her. She seems to be having fun with it. Yeah,

1880
01:32:38,360 --> 01:32:40,920
Speaker 4: and it's just really going for it. I kind of

1881
01:32:41,000 --> 01:32:44,679
Speaker 4: love watching her just go for it. Yes, but you're right,

1882
01:32:44,760 --> 01:32:47,200
Speaker 4: like the incongruous nature of who we know her to

1883
01:32:47,200 --> 01:32:49,160
Speaker 4: be now versus who she was in this movie is

1884
01:32:49,280 --> 01:32:50,640
Speaker 4: always going to be hilarious to me.

1885
01:32:53,400 --> 01:32:58,080
Speaker 2: Go back, Reese, go to her Ross. I just think

1886
01:32:58,120 --> 01:33:01,160
Speaker 2: she's making fit Dasky. Put on those eco jeans again.

1887
01:33:01,240 --> 01:33:04,160
Speaker 4: Girl, But I have those fucking junko jeans with the

1888
01:33:04,240 --> 01:33:05,400
Speaker 4: men's underwear hanging out.

1889
01:33:06,720 --> 01:33:07,280
Speaker 2: I love it.

1890
01:33:08,400 --> 01:33:09,759
Speaker 1: I love it so funny.

1891
01:33:10,080 --> 01:33:12,479
Speaker 4: Go hop on your bike with your boyfriend and have

1892
01:33:12,680 --> 01:33:15,320
Speaker 4: a blast. I wish you could have been like crystallized

1893
01:33:15,360 --> 01:33:16,320
Speaker 4: in that moment.

1894
01:33:17,080 --> 01:33:21,639
Speaker 1: Before he died a very John Singleton esque death, Like

1895
01:33:22,240 --> 01:33:24,520
Speaker 1: they could have been happy. It could have been beautiful.

1896
01:33:24,760 --> 01:33:28,719
Speaker 1: But oh god, you couldn't have picked a better movie,

1897
01:33:28,840 --> 01:33:30,920
Speaker 1: honestly for this thing. You couldn't have picked a better one.

1898
01:33:31,240 --> 01:33:31,760
Speaker 2: Swear to god.

1899
01:33:32,600 --> 01:33:35,440
Speaker 4: The text messages that you've been sending and the screenshots

1900
01:33:35,439 --> 01:33:35,800
Speaker 4: from this.

1901
01:33:40,080 --> 01:33:41,840
Speaker 2: Choice like just keeping me going.

1902
01:33:42,840 --> 01:33:46,960
Speaker 1: I cannot handle how funny Keifer Sutherland is. Like, it's

1903
01:33:47,080 --> 01:33:53,760
Speaker 1: just so fucking funny that he's so shredded, just destroyed physically.

1904
01:33:53,240 --> 01:33:56,000
Speaker 4: And that's what's fun that she demolished him to that

1905
01:33:56,040 --> 01:33:58,920
Speaker 4: Point's funny. You sent me one text message that was

1906
01:33:58,960 --> 01:34:00,680
Speaker 4: a picture of him coming in the courtroom when you

1907
01:34:00,720 --> 01:34:02,160
Speaker 4: first see how fucked up he is.

1908
01:34:02,400 --> 01:34:07,559
Speaker 6: And underneath just wrote hello, my baby, Hello, my darling,

1909
01:34:11,160 --> 01:34:13,280
Speaker 6: Hello my baby, Hello my darling.

1910
01:34:13,800 --> 01:34:14,240
Speaker 1: Yeah.

1911
01:34:14,360 --> 01:34:16,439
Speaker 4: I want to print and frame that text message. It

1912
01:34:16,439 --> 01:34:18,680
Speaker 4: makes me laugh when every time I think about it.

1913
01:34:19,600 --> 01:34:21,280
Speaker 2: Holy shit, this movie.

1914
01:34:21,040 --> 01:34:26,280
Speaker 1: Is so over the top, so fun, ridiculous, you know, gruesome,

1915
01:34:27,479 --> 01:34:30,040
Speaker 1: out of control. So I'm just glad I got to

1916
01:34:30,040 --> 01:34:31,400
Speaker 1: watch it again because it had been a while since

1917
01:34:31,439 --> 01:34:33,799
Speaker 1: I sayed it. Actually I saw it like maybe a couple.

1918
01:34:33,680 --> 01:34:34,240
Speaker 2: Of years ago.

1919
01:34:34,280 --> 01:34:36,800
Speaker 1: But we both wanted to do this movie at some

1920
01:34:36,880 --> 01:34:40,080
Speaker 1: point completely, and I think that the listeners.

1921
01:34:39,640 --> 01:34:42,080
Speaker 3: Wanted it too, So it's good that it happened.

1922
01:34:42,120 --> 01:34:44,280
Speaker 4: And also, this is a classic example of a film

1923
01:34:44,280 --> 01:34:47,439
Speaker 4: that I think it's very easy to overthink to draw

1924
01:34:47,479 --> 01:34:49,479
Speaker 4: different connections to, and I'm glad to have that. I'm

1925
01:34:49,479 --> 01:34:51,080
Speaker 4: glad to have a way to kind of make these

1926
01:34:51,120 --> 01:34:53,559
Speaker 4: connections to the little Red writinghood story, or to the

1927
01:34:53,600 --> 01:34:55,720
Speaker 4: smooth Talk, or the things you're talking about before about

1928
01:34:55,760 --> 01:34:58,200
Speaker 4: the world we live in. It's primarily a movie that

1929
01:34:58,240 --> 01:35:01,479
Speaker 4: you can just fucking enjoy. Yes, exactly, like it's just

1930
01:35:01,520 --> 01:35:04,160
Speaker 4: a fun, weird movie. Yeah, and we don't have enough

1931
01:35:04,160 --> 01:35:04,519
Speaker 4: of those.

1932
01:35:04,880 --> 01:35:06,080
Speaker 2: Yeah, I agree.

1933
01:35:07,000 --> 01:35:09,720
Speaker 1: Oh my god. Well listen. If you want to email us,

1934
01:35:09,760 --> 01:35:11,160
Speaker 1: we are at I Saw What You Did pot at

1935
01:35:11,200 --> 01:35:14,759
Speaker 1: gmail dot com. Please send us questions for the bonus episodes.

1936
01:35:14,840 --> 01:35:17,680
Speaker 1: Sometimes Danielle reads them on the main ones though, so

1937
01:35:18,120 --> 01:35:20,160
Speaker 1: keep that in mind. We also have a PO box

1938
01:35:20,160 --> 01:35:23,400
Speaker 1: if you want to send us letters, and you.

1939
01:35:23,320 --> 01:35:25,559
Speaker 4: Can find us on our social media at I Saw Pod,

1940
01:35:25,640 --> 01:35:29,240
Speaker 4: on Instagram, Blue Sky, and x. You can also find

1941
01:35:29,360 --> 01:35:32,120
Speaker 4: the address for our PO box on our social media

1942
01:35:32,160 --> 01:35:34,680
Speaker 4: and our link tree, and you can also send us

1943
01:35:34,680 --> 01:35:36,920
Speaker 4: a voicemail to play on the show. All you have

1944
01:35:36,960 --> 01:35:38,679
Speaker 4: to do is record a voice memo on your phone

1945
01:35:38,680 --> 01:35:40,360
Speaker 4: and email it to I Saw You Did put at

1946
01:35:40,400 --> 01:35:43,599
Speaker 4: gmail dot com. Please make it sixty seconds or less

1947
01:35:43,640 --> 01:35:45,320
Speaker 4: and please record it in a quiet space.

1948
01:35:45,560 --> 01:35:45,960
Speaker 1: That's right.

1949
01:35:46,040 --> 01:35:46,880
Speaker 2: And we have merch.

1950
01:35:47,000 --> 01:35:49,960
Speaker 1: We just had a big sale, so we are probably

1951
01:35:50,680 --> 01:35:53,320
Speaker 1: revamping some things. Just to put that in your hat,

1952
01:35:53,360 --> 01:35:56,880
Speaker 1: but go to exactly right store dot com to find it.

1953
01:35:57,160 --> 01:35:59,839
Speaker 4: New merch is coming, yeah, and we have bonus episodes

1954
01:35:59,880 --> 01:36:02,720
Speaker 4: as yea. Now new bonus episodes are dropping on the

1955
01:36:02,760 --> 01:36:06,000
Speaker 4: main feed every third Thursday of the month.

1956
01:36:06,800 --> 01:36:09,680
Speaker 2: Oh my god, I just looked at the title for

1957
01:36:09,760 --> 01:36:16,160
Speaker 2: the I just thought that theme too, the title, and

1958
01:36:16,200 --> 01:36:21,240
Speaker 2: I was laughing all over again. What is wrong with us?

1959
01:36:21,760 --> 01:36:22,479
Speaker 2: Oh God?

1960
01:36:22,880 --> 01:36:26,720
Speaker 1: Okay, so we're not giving you the title of the

1961
01:36:26,800 --> 01:36:30,920
Speaker 1: episode yet obviously, but the movies you have to watch

1962
01:36:30,920 --> 01:36:35,640
Speaker 1: for next week are Poltergeist from nineteen eighty two and

1963
01:36:35,960 --> 01:36:38,320
Speaker 1: Lone Star from nineteen ninety six.

1964
01:36:41,720 --> 01:36:43,360
Speaker 2: I came on with you, I.

1965
01:36:43,320 --> 01:36:47,200
Speaker 4: Swear I cannot wait for every single episode of this

1966
01:36:47,520 --> 01:36:50,479
Speaker 4: podcast to be entered into a psychological text.

1967
01:36:53,320 --> 01:36:57,920
Speaker 1: Oh my god, as always clearly obviously a fucking pleasure

1968
01:36:57,960 --> 01:36:59,120
Speaker 1: doing this podcast.

1969
01:36:58,680 --> 01:37:02,360
Speaker 2: With you the best every time. Oh I love you,

1970
01:37:02,760 --> 01:37:11,759
Speaker 2: bye bye say This has been an exactly right production.

1971
01:37:12,000 --> 01:37:15,479
Speaker 4: Produced by Casey O'Brien, Episode mixing and theme music by

1972
01:37:15,479 --> 01:37:19,479
Speaker 4: Tom Bryfogel, artwork by Garrett Ross. Our executive producers are

1973
01:37:19,560 --> 01:37:22,880
Speaker 4: Georgia Hartstart caringkle Gareff, and Daniel Kramer. You can follow

1974
01:37:22,960 --> 01:37:25,880
Speaker 4: us on Instagram and Twitter at I Saw Pod, and

1975
01:37:25,960 --> 01:37:27,960
Speaker 4: you can email us at I Saw What You Did

1976
01:37:28,000 --> 01:37:28,960
Speaker 4: Pod at Gmail