1
00:00:00,880 --> 00:00:03,640
Speaker 1: Hey, everybody, it's me Josh. And since it's summertime, it's

2
00:00:03,680 --> 00:00:06,840
Speaker 1: movie time. I am oh. So I've chosen our super

3
00:00:06,920 --> 00:00:10,960
Speaker 1: interesting two thousand fifteen movie Talk episode some movies that

4
00:00:11,119 --> 00:00:14,160
Speaker 1: changed filmmaking. You don't have to be a cinema file

5
00:00:14,240 --> 00:00:16,880
Speaker 1: to enjoy this episode, so don't be scared off. And

6
00:00:17,120 --> 00:00:19,480
Speaker 1: there's a part right around the beginning of listener mail

7
00:00:19,600 --> 00:00:22,080
Speaker 1: where we talk about making a movie podcast that I

8
00:00:22,120 --> 00:00:25,360
Speaker 1: now wonder was possibly the seed that Chuck's Movie Crush

9
00:00:25,440 --> 00:00:28,960
Speaker 1: podcast sprouted from. Maybe, which if you like this, go

10
00:00:29,080 --> 00:00:32,239
Speaker 1: listen to the extensive Movie Crush catalog anywhere you get

11
00:00:32,280 --> 00:00:39,800
Speaker 1: your podcasts. In the meantime, I hope you enjoy Welcome

12
00:00:39,920 --> 00:00:49,080
Speaker 1: to Stuff you Should Know, a production of I Heart Radio. Hey,

13
00:00:49,120 --> 00:00:52,320
Speaker 1: and welcome to the podcast. I'm Josh Clark. There's Charles W.

14
00:00:52,640 --> 00:00:57,000
Speaker 1: Chuck Bryant, A k A. Ciskel, and Ebert save with

15
00:00:57,080 --> 00:01:00,520
Speaker 1: Sea I'll see, and Jerry's over there. I guess she's

16
00:01:00,600 --> 00:01:06,000
Speaker 1: Jeane Shallott. That's that's the stuff. If you should know,

17
00:01:06,120 --> 00:01:09,440
Speaker 1: trium for it. I don't know why that took on

18
00:01:09,520 --> 00:01:11,679
Speaker 1: me so much, because Jeane sell it's a funny looking

19
00:01:11,760 --> 00:01:15,399
Speaker 1: I guess Jerry's not. I'm just picturing her with a

20
00:01:15,400 --> 00:01:18,440
Speaker 1: big afro and a mustache and like a tweed jacket

21
00:01:18,480 --> 00:01:21,160
Speaker 1: and bad opinions about movies. Jane Shell. It had a

22
00:01:21,200 --> 00:01:25,520
Speaker 1: look for sure. Still though he's around right, Oh yeah,

23
00:01:25,680 --> 00:01:29,000
Speaker 1: I think so? Yeah, r I p both cisk Lanni,

24
00:01:29,040 --> 00:01:32,320
Speaker 1: but it's so sad. Um. Have you seen the Roger

25
00:01:32,319 --> 00:01:35,480
Speaker 1: Ebert documentary? No, I've heard nothing but good things, really

26
00:01:35,520 --> 00:01:40,240
Speaker 1: really good, very touching. Yeah. What is it? Uh? Something Life,

27
00:01:41,160 --> 00:01:45,959
Speaker 1: Life like Mine, Life with Me, Life on Top, Life Itself,

28
00:01:46,000 --> 00:01:50,040
Speaker 1: Life with thumbs, Life itself, Life itself, Life with thumbs.

29
00:01:50,680 --> 00:01:52,560
Speaker 1: It was really great and I watched it and it

30
00:01:52,600 --> 00:01:54,320
Speaker 1: made the mistake of watching on a plane, and I

31
00:01:54,360 --> 00:01:57,120
Speaker 1: was just like, my allergies are acting up, so yeah,

32
00:01:57,360 --> 00:02:00,920
Speaker 1: oh yeah I was. I was watering because you're allergies. No,

33
00:02:01,080 --> 00:02:03,800
Speaker 1: because it was sad. I was crying. Do you want

34
00:02:03,800 --> 00:02:06,160
Speaker 1: me to say it? Yeah, crying on a plane. I

35
00:02:06,280 --> 00:02:09,200
Speaker 1: was confused there for a second. That's better than when

36
00:02:09,240 --> 00:02:11,520
Speaker 1: I watch other movies that are on my laptop that

37
00:02:11,560 --> 00:02:15,480
Speaker 1: are like like bad violence or or nudity or something.

38
00:02:15,520 --> 00:02:17,760
Speaker 1: I'm always just like, oh, then I kind of lower

39
00:02:17,800 --> 00:02:20,440
Speaker 1: the laptop and it's like I didn't realize this was

40
00:02:20,480 --> 00:02:21,840
Speaker 1: in here, and the lady next to me, he's just

41
00:02:21,880 --> 00:02:26,959
Speaker 1: like you disgusted me. Yeah, because I don't I want

42
00:02:26,960 --> 00:02:28,440
Speaker 1: to be sensitive people around me. You know, I'm not

43
00:02:28,440 --> 00:02:30,120
Speaker 1: one of those jerks just like just lives in my

44
00:02:30,120 --> 00:02:32,560
Speaker 1: own bubble. It's like watching some sex scene on Blane.

45
00:02:32,880 --> 00:02:36,720
Speaker 1: You're like elbowing the lake. So no, I hate it.

46
00:02:36,760 --> 00:02:38,280
Speaker 1: That's it was so embarrassed that happened to me a

47
00:02:38,320 --> 00:02:40,240
Speaker 1: couple of times. I'm like, I needed to start going

48
00:02:40,280 --> 00:02:45,480
Speaker 1: PG on movies like airplanes, Judd Apples. How Am I right?

49
00:02:45,520 --> 00:02:50,639
Speaker 1: He's unpredictable? Yeah? Alright, so Chuck, this is your episode

50
00:02:50,639 --> 00:02:54,120
Speaker 1: to shine Man, is it? Yes, you're a movie guy too.

51
00:02:54,160 --> 00:02:58,000
Speaker 1: Though I like movies, but I've I almost consciously don't

52
00:02:58,080 --> 00:03:02,880
Speaker 1: let myself watch movies on a like a film aficionado

53
00:03:03,000 --> 00:03:06,080
Speaker 1: level kid pure enjoyment. Yeah. I don't never want to

54
00:03:06,440 --> 00:03:10,519
Speaker 1: see the individual shots and just be like, oh, well

55
00:03:11,040 --> 00:03:14,120
Speaker 1: that could have been better whatever, um and and just

56
00:03:14,240 --> 00:03:17,120
Speaker 1: miss the movie as a whole. Yeah. I fall somewhere

57
00:03:17,160 --> 00:03:19,040
Speaker 1: in the middle of that. I try to let go,

58
00:03:19,200 --> 00:03:23,560
Speaker 1: but um like, our our video producer director, Casey Is

59
00:03:23,560 --> 00:03:25,760
Speaker 1: is pretty bad about that, and our Buddy Scotty who

60
00:03:25,800 --> 00:03:29,919
Speaker 1: shot our TV show. He's the worst. He's just a

61
00:03:29,919 --> 00:03:35,480
Speaker 1: camera working. That lighting in that scene's awesome. Hey, Casey,

62
00:03:35,800 --> 00:03:37,440
Speaker 1: they're all in here with this in spirit, and hey,

63
00:03:37,480 --> 00:03:40,120
Speaker 1: this is the last show in the studio. Ye, last

64
00:03:40,160 --> 00:03:44,120
Speaker 1: episode in the old office, the murder Room. Couldn't feel

65
00:03:44,160 --> 00:03:48,080
Speaker 1: more neutral about it. I actually feel less than neutral,

66
00:03:48,480 --> 00:03:51,520
Speaker 1: less than zero. It's it's weird. That was a good movie.

67
00:03:51,880 --> 00:03:54,440
Speaker 1: You great shots. I say thank you as if I

68
00:03:54,480 --> 00:03:57,920
Speaker 1: directed it a lot, right, I not only directed it,

69
00:03:58,040 --> 00:04:03,040
Speaker 1: also played Andrew McCarthy. Uh. Yeah, I'm ready to get

70
00:04:03,040 --> 00:04:04,880
Speaker 1: the heck out of here. Man. I can't wait to

71
00:04:04,880 --> 00:04:07,400
Speaker 1: get in that new office and that it's gonna be good,

72
00:04:07,400 --> 00:04:11,920
Speaker 1: tiny little dedicated studio, whole new world. All right, let's

73
00:04:11,920 --> 00:04:14,840
Speaker 1: do this. Okay, So, Chuck films, you've seen one or

74
00:04:14,880 --> 00:04:16,920
Speaker 1: two of them in your time. Have you seen any

75
00:04:16,920 --> 00:04:18,800
Speaker 1: of the ones in this list? I know you've seen

76
00:04:18,800 --> 00:04:20,120
Speaker 1: a few of them, but have you seen like some

77
00:04:20,200 --> 00:04:22,880
Speaker 1: of the early ones I've seen. Well it we'll just

78
00:04:22,920 --> 00:04:28,200
Speaker 1: go piece by piece because I have not seen Battleship Penkin. Okay, Um,

79
00:04:28,240 --> 00:04:31,440
Speaker 1: but I do love Mandy Patankin. It's a little different

80
00:04:32,120 --> 00:04:36,799
Speaker 1: in spelling pronunciation meaning the whole thing. But it's close,

81
00:04:36,880 --> 00:04:41,359
Speaker 1: I guess. But we're talking, of course about films that

82
00:04:41,440 --> 00:04:45,320
Speaker 1: change filmmaking and somewhere or another, and the first one

83
00:04:45,320 --> 00:04:49,120
Speaker 1: on the list is from Battleship Patankin. That's hard for

84
00:04:49,120 --> 00:04:51,000
Speaker 1: me to say, which is not the first movie, by

85
00:04:51,040 --> 00:04:53,520
Speaker 1: the way. The first screen movie was Workers Leaving the

86
00:04:53,600 --> 00:04:56,560
Speaker 1: Lumier Factory, which is forty seven seconds long. I'm the

87
00:04:56,560 --> 00:04:59,560
Speaker 1: most boring piece of celluloid anyone's ever put together, But

88
00:04:59,640 --> 00:05:02,760
Speaker 1: it was the first, that's right. This was many years.

89
00:05:02,760 --> 00:05:05,640
Speaker 1: That was a full thirty years before Battleship Potempkin. By

90
00:05:05,640 --> 00:05:08,200
Speaker 1: the time thirty years had passed, like we were doing

91
00:05:08,240 --> 00:05:11,640
Speaker 1: like narratives and there was banning and all sorts of

92
00:05:11,640 --> 00:05:16,520
Speaker 1: great stuff, and battleship pretention fell under both of those umbrellas.

93
00:05:16,720 --> 00:05:19,600
Speaker 1: It was a narrative story. It was a silent movie, right,

94
00:05:19,760 --> 00:05:21,840
Speaker 1: but it told a pretty clear story. And it was

95
00:05:21,880 --> 00:05:24,679
Speaker 1: a bit of Russian propaganda as well. Yeah, it tells

96
00:05:24,680 --> 00:05:28,000
Speaker 1: the story of a nineteen o five uprising in uh

97
00:05:28,160 --> 00:05:32,000
Speaker 1: where there were Russian sailors. Basically, there was a mutiny

98
00:05:32,040 --> 00:05:34,960
Speaker 1: aboard a ship and then the bad guys, the Cossacks

99
00:05:35,000 --> 00:05:39,719
Speaker 1: came in looking for revenge. Yeah ninety five, that would

100
00:05:39,760 --> 00:05:43,040
Speaker 1: have been rising up against tyranny, would have been rising

101
00:05:43,120 --> 00:05:49,000
Speaker 1: up against the romanof monarchy, I guess. But it was made.

102
00:05:49,680 --> 00:05:53,200
Speaker 1: So this is a time when you know, Lenin and

103
00:05:53,279 --> 00:05:56,200
Speaker 1: Trotsky and all those dudes were running around trying to

104
00:05:56,440 --> 00:06:00,560
Speaker 1: do the great experiment, and uh it ends up. It

105
00:06:00,600 --> 00:06:04,680
Speaker 1: turns out that the battleship Potempkin was banned in some countries.

106
00:06:04,839 --> 00:06:08,040
Speaker 1: Some countries are like, we don't want this Rusky propaganda, right,

107
00:06:08,440 --> 00:06:11,680
Speaker 1: But Russia itself later on banned it when Stallin came

108
00:06:11,720 --> 00:06:14,640
Speaker 1: to power because he was a self aware dictator. Was

109
00:06:14,680 --> 00:06:18,080
Speaker 1: that the deal? Yeah, okay, he knew this could be

110
00:06:18,839 --> 00:06:22,880
Speaker 1: a metaphor for rising up against my dictatorship. So I'm

111
00:06:22,880 --> 00:06:25,040
Speaker 1: gonna just bay in this. Uh yeah, even though it's

112
00:06:25,080 --> 00:06:29,719
Speaker 1: Russian propaganda. Well, filmatically, I need to bring the history,

113
00:06:29,720 --> 00:06:33,160
Speaker 1: by the way, uh, Filmatically speaking, it was a landmark

114
00:06:33,240 --> 00:06:38,080
Speaker 1: film because of the montage, most notably the Russian or

115
00:06:38,120 --> 00:06:42,760
Speaker 1: Soviet theory of montage, which is basically that, um, your

116
00:06:42,800 --> 00:06:45,719
Speaker 1: impact is going to come from juxtaposition of shots and

117
00:06:45,760 --> 00:06:50,880
Speaker 1: not necessarily smooth sequence of shots. Um, and it should

118
00:06:50,880 --> 00:06:53,880
Speaker 1: be rhythmic instead of necessarily being tied to the story.

119
00:06:53,920 --> 00:06:58,520
Speaker 1: It was like a rhythmic series of shots. And um,

120
00:06:58,560 --> 00:07:01,800
Speaker 1: this one is popular. It was The Odessa Steps sequence

121
00:07:02,400 --> 00:07:06,600
Speaker 1: is one of the five acts, and it is huge

122
00:07:06,920 --> 00:07:11,440
Speaker 1: because it has been aped and um mimicked and mocked

123
00:07:11,720 --> 00:07:15,400
Speaker 1: and um homaged, probably more than I don't know about more,

124
00:07:15,480 --> 00:07:18,000
Speaker 1: but a lot of times in film history. Well, yeah,

125
00:07:18,000 --> 00:07:22,680
Speaker 1: the montage it's like a go to editing technique, right,

126
00:07:22,760 --> 00:07:25,120
Speaker 1: Oh yeah, well the montage in general, but specifically the

127
00:07:25,120 --> 00:07:28,720
Speaker 1: Odessa Steps. There are two notable parts in that sequence.

128
00:07:28,960 --> 00:07:32,000
Speaker 1: One is the you know, it's basically a big charge

129
00:07:32,040 --> 00:07:34,080
Speaker 1: on these these grand steps leading up to a building

130
00:07:34,120 --> 00:07:39,240
Speaker 1: in a big battle Odessa, Texas. And um, there's a

131
00:07:39,280 --> 00:07:41,200
Speaker 1: part of it where there's the old the old baby

132
00:07:41,240 --> 00:07:44,000
Speaker 1: carriage going down the steps. You know what's going to

133
00:07:44,080 --> 00:07:46,840
Speaker 1: happen to the baby And it sounds tired because we've

134
00:07:46,880 --> 00:07:51,800
Speaker 1: seen that in uh, you know, The Untouchables. Notably that

135
00:07:51,960 --> 00:07:55,440
Speaker 1: I did not find it tiresome Naked Gun thirty three

136
00:07:55,440 --> 00:07:59,360
Speaker 1: and a third everything is illuminated the great movie by

137
00:07:59,560 --> 00:08:04,920
Speaker 1: leaf Shaw. Ever, um that was from directly from the

138
00:08:05,000 --> 00:08:09,400
Speaker 1: Odessa Step sequence and Battleship Patinkin the Baby Carriage and

139
00:08:09,600 --> 00:08:12,360
Speaker 1: the old um shot through the shot in the eye

140
00:08:12,400 --> 00:08:15,440
Speaker 1: through the glasses. Oh cool, that comes from this movie too.

141
00:08:15,440 --> 00:08:17,520
Speaker 1: They were the first ones to do it. Yeah. Um,

142
00:08:17,560 --> 00:08:19,920
Speaker 1: And you've seen that in Woody Allen's Love and Death

143
00:08:19,960 --> 00:08:23,760
Speaker 1: and Bananas and of course The Godfather. The great sequence

144
00:08:23,800 --> 00:08:26,160
Speaker 1: where Mo Green's getting the massage and he looks up

145
00:08:26,200 --> 00:08:29,240
Speaker 1: and puts on his glasses during a montage. Yeah, that's

146
00:08:29,240 --> 00:08:33,520
Speaker 1: exactly the whole Yeah, because there was an assassination on

147
00:08:33,559 --> 00:08:36,679
Speaker 1: the steps as well. Oh yes, that was definitely a

148
00:08:36,720 --> 00:08:39,800
Speaker 1: double Who was that? That was Francis Ford Coppola. Yeah,

149
00:08:39,960 --> 00:08:43,400
Speaker 1: he was clearly aware of battleship attemptin clearly. I was

150
00:08:43,440 --> 00:08:45,640
Speaker 1: trying to think of other examples of montages and the

151
00:08:45,640 --> 00:08:47,160
Speaker 1: only thing I could come up with was the a

152
00:08:47,320 --> 00:08:52,520
Speaker 1: team building something. But that counts as a montage, right, Yeah. Yeah.

153
00:08:52,600 --> 00:08:56,680
Speaker 1: It's like some related in some way related shots that

154
00:08:56,760 --> 00:08:59,920
Speaker 1: are kind of put together that a little bit transand

155
00:09:00,000 --> 00:09:03,960
Speaker 1: and like a story in itself, like Rocky training for

156
00:09:04,000 --> 00:09:06,320
Speaker 1: a fight. Yeah, that's another good A lot of times

157
00:09:06,320 --> 00:09:08,640
Speaker 1: to set to music. Yeah, I love that. That's the

158
00:09:08,679 --> 00:09:10,680
Speaker 1: only one you can think of. And in the Great

159
00:09:10,679 --> 00:09:13,080
Speaker 1: Movie Brazil too has the shot through the glasses bit

160
00:09:13,679 --> 00:09:16,600
Speaker 1: as I like to call it. So that's a Battleship

161
00:09:16,600 --> 00:09:19,040
Speaker 1: at Tamkins, doesn't one of the Nazis and Raiders have

162
00:09:19,120 --> 00:09:23,120
Speaker 1: lost art gets shot through the glasses. Maybe that wouldn't

163
00:09:23,120 --> 00:09:27,480
Speaker 1: surprise me. It's been it's been off homaged, you know. Yeah,

164
00:09:27,840 --> 00:09:30,520
Speaker 1: So Battleship at Tempkin was a It made a pretty

165
00:09:30,559 --> 00:09:35,720
Speaker 1: big splash in ninety six. The following year, the next

166
00:09:35,720 --> 00:09:39,880
Speaker 1: movie on the list. Um, it wasn't his first, but

167
00:09:39,920 --> 00:09:43,920
Speaker 1: it really solidified I think his stardom Buster Keaton stardom, Yeah,

168
00:09:44,000 --> 00:09:47,319
Speaker 1: the general rightfully so too. Yeah, he was one of

169
00:09:47,360 --> 00:09:50,640
Speaker 1: the great Um well, some people call him the greatest

170
00:09:50,679 --> 00:09:54,000
Speaker 1: stuntman to ever live. He's done some stuff that I

171
00:09:54,000 --> 00:09:56,679
Speaker 1: think earns him that, yeah, because I mean this is

172
00:09:56,720 --> 00:09:59,200
Speaker 1: back in the day two where he was legitimately risking

173
00:09:59,240 --> 00:10:03,120
Speaker 1: his life, you know, like the the very famously where

174
00:10:03,160 --> 00:10:05,800
Speaker 1: he's standing on the street in front of a house

175
00:10:05,840 --> 00:10:07,880
Speaker 1: and then the whole front of the house falls over

176
00:10:07,960 --> 00:10:10,439
Speaker 1: him and the window he just goes right around him.

177
00:10:11,040 --> 00:10:15,880
Speaker 1: I watched that again today. It is I can't believe

178
00:10:15,920 --> 00:10:18,280
Speaker 1: he did that. And there's actually a half of a

179
00:10:18,360 --> 00:10:21,480
Speaker 1: second where his arm jerks up because he startled as

180
00:10:21,559 --> 00:10:24,800
Speaker 1: the house finally makes its way like into his peripheral vision,

181
00:10:25,600 --> 00:10:28,560
Speaker 1: and it has to be one of the most dangerous

182
00:10:28,559 --> 00:10:31,200
Speaker 1: things that human beings ever done on film. I'm sure

183
00:10:31,280 --> 00:10:34,680
Speaker 1: the whole time before that was like, we did the

184
00:10:34,679 --> 00:10:36,800
Speaker 1: math right, he did the math. Do the math again,

185
00:10:36,840 --> 00:10:38,880
Speaker 1: do the math again, Show me the math right, show

186
00:10:38,920 --> 00:10:41,199
Speaker 1: me the math, because that's all it was. It was

187
00:10:41,280 --> 00:10:44,320
Speaker 1: math and measurements. But yeah, he could have been squashed

188
00:10:44,320 --> 00:10:45,840
Speaker 1: and killed very easily, and he had a lot of

189
00:10:45,880 --> 00:10:49,200
Speaker 1: faith in everybody who was pulling off the stunt with him.

190
00:10:49,240 --> 00:10:50,960
Speaker 1: You know, he had to just stand there. That was

191
00:10:51,000 --> 00:10:53,120
Speaker 1: his whole thing is he had to just stand there.

192
00:10:53,280 --> 00:10:56,439
Speaker 1: And his bit was that he um was he played

193
00:10:56,480 --> 00:11:00,360
Speaker 1: it straight constantly. He was a stone faced actor. Yeah, deadpan. Yeah,

194
00:11:00,400 --> 00:11:02,920
Speaker 1: he kind of started that whole thing because his big um.

195
00:11:03,200 --> 00:11:05,960
Speaker 1: I was about to say rival, but I guess um

196
00:11:06,000 --> 00:11:10,120
Speaker 1: just contemporary Charlie Chaplin, while similar in some ways, was

197
00:11:10,280 --> 00:11:14,040
Speaker 1: completely different because Chaplin was constantly mugging for the camera

198
00:11:14,160 --> 00:11:17,680
Speaker 1: and like asking for the audience, uh sympathy, raising his

199
00:11:17,720 --> 00:11:20,120
Speaker 1: eyebrows or yeah, like look what's happening to me? Come on?

200
00:11:20,160 --> 00:11:22,200
Speaker 1: Come on? Whereas Buster Keaton was just he had that

201
00:11:22,240 --> 00:11:24,240
Speaker 1: dead pan look the whole time. Yeah, he would go

202
00:11:24,360 --> 00:11:28,240
Speaker 1: from like a house falling around him to jumping on

203
00:11:28,280 --> 00:11:31,080
Speaker 1: a train or something like that with just the same

204
00:11:31,400 --> 00:11:34,480
Speaker 1: blank facial expression. Yeah. And the reason this is a

205
00:11:34,559 --> 00:11:37,320
Speaker 1: highly influential film the generals because it kind of showcases

206
00:11:37,360 --> 00:11:40,440
Speaker 1: the best of both, um, the the amazing stunts that

207
00:11:40,480 --> 00:11:43,800
Speaker 1: would be mimicked in throughout the years and built upon,

208
00:11:43,920 --> 00:11:49,199
Speaker 1: and then the dead pan style that influenced everyone from

209
00:11:49,200 --> 00:11:51,960
Speaker 1: Obviously Bill Murray is one of the great dead pan

210
00:11:51,960 --> 00:11:55,360
Speaker 1: actors of all time. Like you can count the number

211
00:11:55,360 --> 00:11:57,840
Speaker 1: of time Bill Murray even smiles in a movie on

212
00:11:57,960 --> 00:12:01,319
Speaker 1: like two hands, much less like apes or laughs or anything.

213
00:12:01,559 --> 00:12:04,600
Speaker 1: Michael Sarah's mentioned in here, and I'm like he, I

214
00:12:04,600 --> 00:12:06,960
Speaker 1: think he might have Bill Murray beat as far as

215
00:12:07,640 --> 00:12:10,320
Speaker 1: actor goes. Well. Zach Galfin Akiss is on the list,

216
00:12:10,320 --> 00:12:14,960
Speaker 1: he's super deadpan, um Leslie Nielsen, of course, Amy Poehler.

217
00:12:15,120 --> 00:12:17,959
Speaker 1: I think is a is a woman that's a very

218
00:12:17,960 --> 00:12:21,800
Speaker 1: dead pan has a dead pan style. Jason Schwartzman, Yes,

219
00:12:22,200 --> 00:12:24,280
Speaker 1: but people say this is this all is a direct

220
00:12:24,280 --> 00:12:27,199
Speaker 1: descendant of Buster Keaton's work. Yeah, And if you think

221
00:12:27,200 --> 00:12:31,720
Speaker 1: we're overstating this. Go watch any Buster Keaton movie. You

222
00:12:31,760 --> 00:12:35,079
Speaker 1: will be thrilled and delighted. And if your attention span

223
00:12:35,120 --> 00:12:37,520
Speaker 1: has been shredded to ribbons by the Internet, just go

224
00:12:37,600 --> 00:12:40,360
Speaker 1: on to YouTube and type in Buster Keaton and it'll

225
00:12:40,360 --> 00:12:44,040
Speaker 1: bring up all sorts of um clips of his awesome stunts.

226
00:12:44,040 --> 00:12:46,319
Speaker 1: Pretty great. He will be thrilled in amazed, I promise. Yeah,

227
00:12:46,320 --> 00:12:47,880
Speaker 1: And I think I made a note here by the way,

228
00:12:47,920 --> 00:12:51,760
Speaker 1: that we have a fatty Arbuckle retraction to make. Remember

229
00:12:51,760 --> 00:12:55,240
Speaker 1: when we we called him out as the rapist murderer,

230
00:12:55,720 --> 00:12:58,800
Speaker 1: I didn't say murderer, well, we said rapists at least,

231
00:12:59,400 --> 00:13:01,760
Speaker 1: but we were taken a task by fan he was

232
00:13:01,800 --> 00:13:04,000
Speaker 1: he had, he was acquitted of all that stuff and

233
00:13:04,040 --> 00:13:09,320
Speaker 1: apparently didn't do uh either act and um, his career

234
00:13:09,360 --> 00:13:12,360
Speaker 1: in life and family name were ruined forever. So he

235
00:13:12,440 --> 00:13:15,920
Speaker 1: was evidently done a grave miss justice, and we sort

236
00:13:15,960 --> 00:13:19,160
Speaker 1: of cavalierly just still called him that today. Yeah, I

237
00:13:19,160 --> 00:13:21,640
Speaker 1: need to look into it more, all right, So next

238
00:13:21,760 --> 00:13:25,640
Speaker 1: up we have the Jazz Singer the edition not the

239
00:13:25,679 --> 00:13:28,080
Speaker 1: Neil Diamond one. No, and there was one in between

240
00:13:28,080 --> 00:13:32,760
Speaker 1: two with Danny Thomas. I believe, Um, I like Neil Diamonds.

241
00:13:33,800 --> 00:13:36,400
Speaker 1: It's good. I never saw do you ever see it? No? No,

242
00:13:36,440 --> 00:13:39,160
Speaker 1: it's not bad. Um. But this is the original from

243
00:13:39,200 --> 00:13:43,240
Speaker 1: Alan cross Land, and it is notable because it was

244
00:13:44,920 --> 00:13:51,120
Speaker 1: the first feature link uh movie that was at least

245
00:13:52,600 --> 00:13:57,160
Speaker 1: spoken dialogue. Does that make sense? Yeah, it's totally new. Yeah,

246
00:13:57,160 --> 00:13:58,960
Speaker 1: it wasn't. It wasn't the first talkie because they had

247
00:13:59,000 --> 00:14:01,120
Speaker 1: short films that were talking key's. And there was a

248
00:14:01,160 --> 00:14:04,599
Speaker 1: movie the next year I'm sorry, yeah, called Lights of

249
00:14:04,640 --> 00:14:09,240
Speaker 1: New York that had full spoken dialogue, but the jazz

250
00:14:09,240 --> 00:14:14,120
Speaker 1: singer had a mix of music and spoken dialogue. The

251
00:14:14,160 --> 00:14:16,520
Speaker 1: first big, big daddy feature length film to do so

252
00:14:16,720 --> 00:14:21,360
Speaker 1: right with substantial dialogue, right, Yeah, and they they did

253
00:14:21,400 --> 00:14:24,840
Speaker 1: it in the most roundabout difficult way that you could

254
00:14:24,840 --> 00:14:28,920
Speaker 1: possibly do it, which is too record the audio and

255
00:14:29,000 --> 00:14:33,560
Speaker 1: the soundtrack, both the dialogue and the music, onto vinyl

256
00:14:33,600 --> 00:14:38,280
Speaker 1: records probably wax records really, and then um, the projectionists

257
00:14:38,280 --> 00:14:40,720
Speaker 1: had to sink the record up with the film strip

258
00:14:41,240 --> 00:14:44,120
Speaker 1: so everything was in sync. Yeah. It was a device

259
00:14:44,160 --> 00:14:47,200
Speaker 1: called a Vita phone that Warner Brothers sunk about half

260
00:14:47,200 --> 00:14:50,560
Speaker 1: a million into. Uh. This company called Western Electric who

261
00:14:50,600 --> 00:14:54,920
Speaker 1: invented it, and it was actually physically connected to the

262
00:14:54,960 --> 00:14:59,240
Speaker 1: projector's motor. Um, so they did while they did have

263
00:14:59,280 --> 00:15:01,520
Speaker 1: to sink it. It was it was a physical connection

264
00:15:01,960 --> 00:15:06,480
Speaker 1: between the phonograph player and the projection. Uh real, I guess.

265
00:15:07,280 --> 00:15:09,160
Speaker 1: And it went on to gross three and a half

266
00:15:09,160 --> 00:15:13,440
Speaker 1: million bucks a lot of dough. That's a ton of dough.

267
00:15:13,520 --> 00:15:18,600
Speaker 1: That's like five six million dollars today at least at least,

268
00:15:19,040 --> 00:15:22,640
Speaker 1: but uh, it was ineligible for the Best Picture because

269
00:15:22,640 --> 00:15:25,040
Speaker 1: they were just like, you can't compete with the rest.

270
00:15:25,080 --> 00:15:27,720
Speaker 1: It's not fair, oh wow, because everything else is silent

271
00:15:27,880 --> 00:15:31,160
Speaker 1: and everyone's going to vote for you. So that changed

272
00:15:31,240 --> 00:15:35,520
Speaker 1: the whole game for sure. We will continue on with

273
00:15:35,560 --> 00:15:59,360
Speaker 1: our awesome and engrossing list right after this, So Chuck,

274
00:15:59,680 --> 00:16:03,040
Speaker 1: if you will notice the first three movies in our list,

275
00:16:03,080 --> 00:16:08,320
Speaker 1: the first three films that changed everything happened in twenty seven.

276
00:16:08,360 --> 00:16:10,720
Speaker 1: Things were changing vast they really were. I mean, like

277
00:16:10,920 --> 00:16:13,800
Speaker 1: we buy leaps and bounds. But you can also make

278
00:16:13,840 --> 00:16:16,840
Speaker 1: the case that there was a lot of new ground

279
00:16:16,880 --> 00:16:20,040
Speaker 1: to cover. So just about anybody who did anything new

280
00:16:20,080 --> 00:16:24,880
Speaker 1: that was noteworthy. Yeah, it was a big innovation. Harder

281
00:16:24,880 --> 00:16:27,480
Speaker 1: to innovate these days, it is um And if you'll

282
00:16:27,520 --> 00:16:30,960
Speaker 1: notice on the list. Um, So the earliest ones where

283
00:16:31,040 --> 00:16:35,680
Speaker 1: like technical editing, innovations. Um. Now, starting with Citizen Kane

284
00:16:35,680 --> 00:16:40,800
Speaker 1: from we start to get into innovations and storytelling, which

285
00:16:40,880 --> 00:16:44,880
Speaker 1: is a lot more nuanced than you know, um, doing

286
00:16:44,880 --> 00:16:48,160
Speaker 1: your own stunts or using a montage or something. It's

287
00:16:48,400 --> 00:16:51,960
Speaker 1: it's figuring out how to tell a story in a

288
00:16:52,120 --> 00:16:57,080
Speaker 1: much less linear narrative fashion. And Citizen King was one

289
00:16:57,120 --> 00:17:00,000
Speaker 1: of the early ones to pioneer a non linear narrative

290
00:17:00,040 --> 00:17:03,680
Speaker 1: of Yeah, did you you saw this? Yeah? Yeah, I

291
00:17:03,720 --> 00:17:06,360
Speaker 1: didn't see it until I mean it was probably like

292
00:17:08,359 --> 00:17:11,119
Speaker 1: probably about fifteen years ago, but like way later than

293
00:17:11,200 --> 00:17:12,800
Speaker 1: you would think I would have seen this as a

294
00:17:12,840 --> 00:17:15,720
Speaker 1: big film buff. I saw it in college at a

295
00:17:16,800 --> 00:17:21,880
Speaker 1: in a film class. Yeah. Often. Yeah, if you sign

296
00:17:21,920 --> 00:17:24,200
Speaker 1: up for a film class, you're gonna study Citizen exactly

297
00:17:24,280 --> 00:17:27,000
Speaker 1: pretty much. And I finally found out where Rosebud was.

298
00:17:28,040 --> 00:17:31,800
Speaker 1: Don't ruin it. I won't. But it is a landmark

299
00:17:31,880 --> 00:17:34,960
Speaker 1: film in every way, and it has often been top

300
00:17:35,000 --> 00:17:39,400
Speaker 1: of best Films of All Time lists for great reasons, UM,

301
00:17:39,480 --> 00:17:41,760
Speaker 1: one of which, like you said, the non linear narrative

302
00:17:41,920 --> 00:17:45,520
Speaker 1: was really unique thing at the time. UM. Although Flashback

303
00:17:45,600 --> 00:17:49,000
Speaker 1: wasn't brand new it was the first time it had

304
00:17:49,000 --> 00:17:52,440
Speaker 1: been this extensive and effective in the story because I

305
00:17:52,480 --> 00:17:56,480
Speaker 1: mean it's substantial enough that it really cuts up the flow. Yeah,

306
00:17:56,600 --> 00:17:58,600
Speaker 1: you know, it's not like a quick flashback and they

307
00:17:58,680 --> 00:18:01,160
Speaker 1: come back and the actor is like staring off into

308
00:18:01,160 --> 00:18:04,960
Speaker 1: space to transition back into the present again. I mean

309
00:18:05,000 --> 00:18:08,520
Speaker 1: like it was all over the place. Yeah. Uh. Some

310
00:18:08,640 --> 00:18:16,000
Speaker 1: of the more concrete cinematic landmarks. One was using deep focus. Uh.

311
00:18:16,200 --> 00:18:20,440
Speaker 1: Director of photography Greg Toland Legend used he had used

312
00:18:20,480 --> 00:18:23,720
Speaker 1: deep focus before on a movie called Long Voyage Home,

313
00:18:23,800 --> 00:18:26,680
Speaker 1: But um, it's all over the place in Citizen Kane.

314
00:18:26,720 --> 00:18:29,679
Speaker 1: And that basically means if you see a shot where

315
00:18:30,400 --> 00:18:33,840
Speaker 1: something very far away is in focus in the shot,

316
00:18:34,560 --> 00:18:36,840
Speaker 1: basically where everything is in focus, or the background in

317
00:18:36,920 --> 00:18:39,480
Speaker 1: the foreground or in focus, so you can press pause

318
00:18:39,520 --> 00:18:42,240
Speaker 1: and look around exactly like you're sticking your head into

319
00:18:42,280 --> 00:18:45,000
Speaker 1: a box. Yeah, that's called deep focus. And it was

320
00:18:45,080 --> 00:18:48,800
Speaker 1: brand new. Uh, as far as Citizen Kane goes. It's

321
00:18:48,840 --> 00:18:51,720
Speaker 1: how extensive it used it. One of the other things

322
00:18:51,800 --> 00:18:55,720
Speaker 1: was off center framing. Um it was a big, you know,

323
00:18:55,760 --> 00:19:00,280
Speaker 1: pretty common thing to just center whatever the main act was,

324
00:19:00,320 --> 00:19:04,000
Speaker 1: either the character or the object, and um, Citizen Kane

325
00:19:04,040 --> 00:19:06,320
Speaker 1: had a lot of things where the main focus of

326
00:19:06,480 --> 00:19:10,119
Speaker 1: the scene the character, maybe even off screen, which was

327
00:19:10,160 --> 00:19:12,040
Speaker 1: really weird at the time. People didn't know what to

328
00:19:12,040 --> 00:19:18,080
Speaker 1: think of it. Um expressionistic lighting. Uh back then everything

329
00:19:18,080 --> 00:19:20,080
Speaker 1: that they just lit it there, like make sure everything's

330
00:19:20,119 --> 00:19:23,560
Speaker 1: well lit. Um. But auto premature also like a big

331
00:19:23,600 --> 00:19:27,240
Speaker 1: pioneer with that. Yeah, I think so with um Dalin

332
00:19:27,359 --> 00:19:30,720
Speaker 1: for Murder, I think he directed that. Was that Hitchcock?

333
00:19:30,800 --> 00:19:33,359
Speaker 1: I think that was Hitchcock? Was it? Okay? Well, auto

334
00:19:33,359 --> 00:19:36,080
Speaker 1: premature directed stuff like that, though right he was. He

335
00:19:36,200 --> 00:19:38,639
Speaker 1: used moody lighting and shadows and stuff a lot. I

336
00:19:38,720 --> 00:19:40,919
Speaker 1: probably messed that up. People are going to be Dalin

337
00:19:41,000 --> 00:19:45,359
Speaker 1: for murder. I think it was premature, okay, Um, but

338
00:19:45,560 --> 00:19:48,360
Speaker 1: U orson Welles of course. I don't think we even

339
00:19:48,400 --> 00:19:52,280
Speaker 1: mentioned that who wrote, directed, and started and produced, and

340
00:19:52,320 --> 00:19:54,480
Speaker 1: I think he even edited A Citizen Kane. Yeah, I

341
00:19:54,600 --> 00:19:57,440
Speaker 1: just assumed everybody knew that, you know. Yeah. Um. He

342
00:19:57,480 --> 00:20:00,800
Speaker 1: came from the theater, where uh you create mood with

343
00:20:00,920 --> 00:20:04,160
Speaker 1: lighting only certain parts of the stage, so he brought

344
00:20:04,160 --> 00:20:08,280
Speaker 1: that into the movies and uh it was very um

345
00:20:08,280 --> 00:20:11,240
Speaker 1: evocative and set the mood well. And people are like, man,

346
00:20:11,600 --> 00:20:14,000
Speaker 1: why are we lighting everything all bright all the time?

347
00:20:14,560 --> 00:20:18,960
Speaker 1: Look at Citizen Kane, which really worked. Um. A couple

348
00:20:19,000 --> 00:20:22,240
Speaker 1: of other things, one of which I know you will appreciate, sir,

349
00:20:22,880 --> 00:20:26,000
Speaker 1: is that he pretty much invented the wipe. Oh, the

350
00:20:26,080 --> 00:20:29,880
Speaker 1: star wipe, not the star wipe, but it followed. Yeah,

351
00:20:29,920 --> 00:20:32,240
Speaker 1: the star wipe followed, which I know is your favorite

352
00:20:32,640 --> 00:20:36,399
Speaker 1: transition in cinema. Oh, it's all Star wars Star because

353
00:20:36,400 --> 00:20:40,840
Speaker 1: it almost makes a beop sound, you know. Uh. And

354
00:20:40,880 --> 00:20:42,679
Speaker 1: one of the way, I want to say, you're right, Dallan.

355
00:20:42,720 --> 00:20:46,119
Speaker 1: For murder, it was Hitchcock. Okay, what was premature? Did

356
00:20:46,160 --> 00:20:48,280
Speaker 1: you look that up? He did one called Laura the

357
00:20:48,280 --> 00:20:50,439
Speaker 1: Man with the Golden Arm. It's not who I'm thinking of.

358
00:20:50,480 --> 00:20:53,879
Speaker 1: I'm thinking of a director named Auto who directed in

359
00:20:53,920 --> 00:20:59,119
Speaker 1: like the twenties or thirties, and he directed like moody um,

360
00:20:59,160 --> 00:21:05,400
Speaker 1: like like moody movies like yeah, murder movies, yeah, filmore, yes,

361
00:21:05,560 --> 00:21:07,800
Speaker 1: film noir. That's exactly what I was going for. And

362
00:21:07,840 --> 00:21:10,560
Speaker 1: I don't remember who it was. Maybe his name is

363
00:21:10,600 --> 00:21:15,280
Speaker 1: Otto film Moore, He's French. Um. And then one final thing,

364
00:21:15,320 --> 00:21:17,639
Speaker 1: of course, that you could study Citizen Kane for a

365
00:21:17,640 --> 00:21:19,960
Speaker 1: week in the film class. So this is an overview.

366
00:21:20,040 --> 00:21:24,639
Speaker 1: But um, the low angle shots. Um, people didn't use

367
00:21:24,640 --> 00:21:26,280
Speaker 1: a lot of low er high angle shots back then.

368
00:21:26,280 --> 00:21:27,919
Speaker 1: It was kind of just shot from straight on and

369
00:21:28,520 --> 00:21:31,600
Speaker 1: um Orson Welles even dugout cut out the floor a

370
00:21:31,640 --> 00:21:34,199
Speaker 1: lot of times to get the camera lower. And for

371
00:21:34,240 --> 00:21:37,720
Speaker 1: the first time we saw ceilings in view in a

372
00:21:37,800 --> 00:21:40,240
Speaker 1: movie because quite often things were shot on a sound

373
00:21:40,240 --> 00:21:43,280
Speaker 1: stage where you don't have ceilings, and um, he wanted

374
00:21:43,280 --> 00:21:47,200
Speaker 1: those low angle shots, so they used um fabric most

375
00:21:47,240 --> 00:21:50,240
Speaker 1: times to act as a ceiling, but very effective shots

376
00:21:50,280 --> 00:21:54,960
Speaker 1: of from below of orson Wells. As I mean, it

377
00:21:55,040 --> 00:21:58,320
Speaker 1: wasn't exactly William Randolph first, but it was an approximation

378
00:21:58,440 --> 00:22:01,680
Speaker 1: of William Randolph first, a very effective low angle stuff

379
00:22:02,200 --> 00:22:06,160
Speaker 1: that now, I mean we take for granted all these things, Um,

380
00:22:06,200 --> 00:22:08,800
Speaker 1: but you know, there would be no pulp fiction and

381
00:22:08,880 --> 00:22:12,520
Speaker 1: that non linear storytelling if there was no well maybe

382
00:22:12,560 --> 00:22:15,359
Speaker 1: somebody would have done it, but maybe eventually. But the

383
00:22:15,440 --> 00:22:18,159
Speaker 1: first he did the first, and and that's why it

384
00:22:18,240 --> 00:22:22,239
Speaker 1: was innovative. Exactly. It's Fritz Lang. Yeah, there you go,

385
00:22:22,640 --> 00:22:27,600
Speaker 1: Fritz Lang Metropolis and m just um, that's okay, Yeah,

386
00:22:27,600 --> 00:22:30,320
Speaker 1: it's all making sense that get confused. Yeah, but you

387
00:22:30,359 --> 00:22:33,239
Speaker 1: were right, You were right there. Fritz and Auto are

388
00:22:33,320 --> 00:22:36,680
Speaker 1: not close. I mean they're both Jerreman, but that's about it. Yeah,

389
00:22:36,720 --> 00:22:39,280
Speaker 1: but do you know the difference between M and dial M?

390
00:22:39,600 --> 00:22:44,800
Speaker 1: Just a telephone? What's up next, Chuck Breathless? One of

391
00:22:44,880 --> 00:22:48,600
Speaker 1: my faiths. So I am going to rely on you

392
00:22:48,680 --> 00:22:51,840
Speaker 1: mostly for this one because I looked up what the

393
00:22:51,840 --> 00:22:56,239
Speaker 1: French New Wave really did, what did accounted for? And

394
00:22:56,320 --> 00:23:00,760
Speaker 1: like all of the essays I found were are they

395
00:23:00,760 --> 00:23:04,760
Speaker 1: were dense, Yeah, and I didn't really understand. I understood

396
00:23:04,760 --> 00:23:07,359
Speaker 1: that the French New Wave like changed everything, yea, and

397
00:23:07,400 --> 00:23:09,520
Speaker 1: that a lot of the movies that I know and

398
00:23:09,560 --> 00:23:13,560
Speaker 1: love today are the offspring of the French New Wave,

399
00:23:13,600 --> 00:23:17,480
Speaker 1: but I still didn't get exactly specifically what the French

400
00:23:17,560 --> 00:23:20,439
Speaker 1: New Wave did. And you're going to rely on me

401
00:23:20,480 --> 00:23:25,520
Speaker 1: to summarize this, no pressure. Well, for me, the French

402
00:23:25,560 --> 00:23:30,040
Speaker 1: New Wave basically ushered in an era of what now

403
00:23:30,160 --> 00:23:34,359
Speaker 1: I think most people might associate with in d filmmaking Okay, okay,

404
00:23:34,840 --> 00:23:39,000
Speaker 1: like uh, handheld camera work and what some people at

405
00:23:39,040 --> 00:23:43,439
Speaker 1: the time considered amateurish camera work. UM movies where maybe

406
00:23:43,720 --> 00:23:46,919
Speaker 1: not a lot seemingly happens you know, nothing grant happens,

407
00:23:46,920 --> 00:23:49,040
Speaker 1: which was the case in Breathless. A lot of people

408
00:23:49,080 --> 00:23:50,800
Speaker 1: didn't like it at the time because it was like,

409
00:23:51,640 --> 00:23:55,240
Speaker 1: you know, not much happens. You know that the the

410
00:23:55,280 --> 00:23:58,680
Speaker 1: two leads in the movie, uh, Jean Paul Belmondo and

411
00:23:58,760 --> 00:24:02,000
Speaker 1: Jean c. Berg weren't really lie didn't show express a

412
00:24:02,000 --> 00:24:04,440
Speaker 1: whole lot of deep love, and there weren't these big

413
00:24:04,600 --> 00:24:08,800
Speaker 1: moments of love and affection and these huge action sequences.

414
00:24:08,920 --> 00:24:12,840
Speaker 1: And it was described as flat by a lot of people. Um,

415
00:24:12,880 --> 00:24:14,359
Speaker 1: and I think a lot of indie movies do that,

416
00:24:14,480 --> 00:24:16,679
Speaker 1: just kind of show life as it happens. Yeah, So

417
00:24:16,760 --> 00:24:21,200
Speaker 1: without Breathless, we wouldn't have like Bottle Rocket. Maybe. Wes

418
00:24:21,280 --> 00:24:26,280
Speaker 1: Anderson is definitely a big French New wave guy for sure. Um,

419
00:24:26,320 --> 00:24:30,040
Speaker 1: but uh go dar John Luc Goodard who directed it,

420
00:24:30,080 --> 00:24:35,080
Speaker 1: and Trufaux and some other um French New wave forefathers

421
00:24:35,080 --> 00:24:38,639
Speaker 1: were film critics at first. Yeah. Yeah, and they decided

422
00:24:38,720 --> 00:24:40,520
Speaker 1: as a group like we want to look at cinnam

423
00:24:40,560 --> 00:24:44,439
Speaker 1: in a new way, um and do something different. So

424
00:24:44,440 --> 00:24:46,919
Speaker 1: they would and started making their own movies. That's like

425
00:24:47,280 --> 00:24:50,480
Speaker 1: James Fenimore Cooper, Yeah, the guy who wrote Less of

426
00:24:50,480 --> 00:24:53,919
Speaker 1: the Mohicans. Yeah. He apparently used to complain that, like

427
00:24:54,080 --> 00:24:58,080
Speaker 1: nobody wrote good books anymore, and so I think his

428
00:24:58,119 --> 00:25:00,040
Speaker 1: wife or something said, well, why don't you do a

429
00:25:00,240 --> 00:25:02,800
Speaker 1: big shot? And he did. And the books he wrote

430
00:25:02,800 --> 00:25:05,320
Speaker 1: really weren't so great, but he he went and wrote

431
00:25:05,359 --> 00:25:07,920
Speaker 1: him and he wrote a bunch of them too. One

432
00:25:07,920 --> 00:25:10,520
Speaker 1: of my favorite four sides ever, is the second to

433
00:25:10,560 --> 00:25:13,879
Speaker 1: the last of the Mohicans. It's just a line of

434
00:25:13,960 --> 00:25:16,080
Speaker 1: Native Americans. In the second to the last one, they're

435
00:25:16,119 --> 00:25:18,520
Speaker 1: online facing away. He just sort of turning around and

436
00:25:18,560 --> 00:25:21,720
Speaker 1: waving at the camera, I guess the camera at Gary

437
00:25:21,800 --> 00:25:26,119
Speaker 1: Larson's hand. Um. So Breathless is notable for those reasons.

438
00:25:26,119 --> 00:25:28,000
Speaker 1: It kind of kicked off the French New Wave. But

439
00:25:28,240 --> 00:25:31,199
Speaker 1: the use of jump cut editing, which we see so

440
00:25:31,280 --> 00:25:33,679
Speaker 1: much now. It was the first movie and it was

441
00:25:33,800 --> 00:25:36,840
Speaker 1: very jarring at the time to see jump cuts in

442
00:25:36,840 --> 00:25:41,320
Speaker 1: a movie. And that's when you're showing, like, I guess

443
00:25:41,359 --> 00:25:44,919
Speaker 1: the best way to describe it as um, multiple shots

444
00:25:44,920 --> 00:25:49,840
Speaker 1: of the same subject or thing from different angles. Right,

445
00:25:49,880 --> 00:25:53,960
Speaker 1: It's like, um, you indicate the progression of time or

446
00:25:54,000 --> 00:25:57,359
Speaker 1: movement or something by just cutting quickly rather than focusing

447
00:25:57,359 --> 00:26:01,480
Speaker 1: on somebody walking down the street for five minutes. You

448
00:26:01,640 --> 00:26:03,359
Speaker 1: cut a couple of times, and all of a sudden

449
00:26:03,359 --> 00:26:05,119
Speaker 1: they're just closer to the camera, and then closer and closer,

450
00:26:05,119 --> 00:26:07,760
Speaker 1: and then they're past the camera. It's a jump cut, yeah,

451
00:26:08,000 --> 00:26:10,320
Speaker 1: or even as simple. Something as simple is like you're

452
00:26:10,320 --> 00:26:11,920
Speaker 1: going to leave the house, so you go and pick

453
00:26:12,000 --> 00:26:13,800
Speaker 1: up your keys and you put on your coat. Instead

454
00:26:13,840 --> 00:26:16,439
Speaker 1: of showing all that you come out of the bedroom, Boom,

455
00:26:16,520 --> 00:26:18,680
Speaker 1: you're putting on your coat. Boom, you're putting the keys

456
00:26:18,680 --> 00:26:20,640
Speaker 1: in the door, right exactly, you're just showing the high

457
00:26:20,760 --> 00:26:24,000
Speaker 1: highlights of this progression of stuff, where that would otherwise

458
00:26:24,040 --> 00:26:26,520
Speaker 1: be boring to watch the whole thing. But it also

459
00:26:27,119 --> 00:26:32,359
Speaker 1: um is used to create tension too, because it's it's

460
00:26:32,520 --> 00:26:35,479
Speaker 1: um jarring. I guess it's probably why it creates tension.

461
00:26:35,720 --> 00:26:39,440
Speaker 1: And Scorsese famously used it in Goodfellas at the end

462
00:26:39,480 --> 00:26:44,360
Speaker 1: when Henry Hill is like like trying to sell some guns. Yeah,

463
00:26:44,359 --> 00:26:46,760
Speaker 1: he's coat to the gills, right, and he's like trying

464
00:26:46,760 --> 00:26:48,720
Speaker 1: to sell some guns to Nero but they don't fit

465
00:26:48,760 --> 00:26:52,760
Speaker 1: the silencers, and like he's the helicopters following him. He's

466
00:26:52,760 --> 00:26:55,680
Speaker 1: got the sauce going and all this stuff is being

467
00:26:55,720 --> 00:26:58,640
Speaker 1: represented and compressed in a very short amount of time

468
00:26:59,000 --> 00:27:03,040
Speaker 1: by the use of jump cuts. Very effective and for

469
00:27:03,320 --> 00:27:09,040
Speaker 1: budding filmmakers, it's a great way to hide mistakes. UM

470
00:27:09,840 --> 00:27:11,720
Speaker 1: of things you may not have gotten that you thought

471
00:27:11,720 --> 00:27:14,400
Speaker 1: you got. UM. Jump cutting is a really easy way

472
00:27:14,440 --> 00:27:17,680
Speaker 1: to to just sort of uh yeah, to hide your errors.

473
00:27:18,560 --> 00:27:20,159
Speaker 1: I did a lot. In other words, when I was

474
00:27:20,160 --> 00:27:23,960
Speaker 1: making those shorts, I UM, I was. I realized that

475
00:27:23,960 --> 00:27:27,560
Speaker 1: in my head I was referencing the UM shot in

476
00:27:27,720 --> 00:27:31,119
Speaker 1: Soul Taker. Have you seen that mystery signs three thousand

477
00:27:31,200 --> 00:27:34,920
Speaker 1: with it's um. His last name is Estevez is Martin

478
00:27:34,960 --> 00:27:38,920
Speaker 1: Sheen's brother, and he is a soul taker and he's

479
00:27:38,960 --> 00:27:43,280
Speaker 1: next to this guy who's a soul taker. You just

480
00:27:43,320 --> 00:27:45,800
Speaker 1: have to see this. But anyway, they're they're walking down

481
00:27:45,800 --> 00:27:48,200
Speaker 1: the road and this jump cut like has this progression

482
00:27:48,240 --> 00:27:52,680
Speaker 1: of them. It's so unnecessary, but it's like a great

483
00:27:52,760 --> 00:27:54,760
Speaker 1: use of jump cut. You could tell the director was like,

484
00:27:54,800 --> 00:27:56,680
Speaker 1: I can't wait to use a jump cut, and that's

485
00:27:56,720 --> 00:27:59,400
Speaker 1: what she did. She used it on UM. But go

486
00:28:00,280 --> 00:28:03,000
Speaker 1: watch the MSc three K. It's a good one. Man.

487
00:28:03,040 --> 00:28:05,520
Speaker 1: You did you see every single one of those episodes? No,

488
00:28:05,760 --> 00:28:08,600
Speaker 1: it's still I still run across the ones that I

489
00:28:08,600 --> 00:28:13,199
Speaker 1: haven't seen. Yeah, nice, um hey, and the shout out

490
00:28:13,240 --> 00:28:15,760
Speaker 1: to Bill Corbett, who I know as a listener. Oh yeah,

491
00:28:15,840 --> 00:28:17,439
Speaker 1: he isn't. Yeah. I don't know if he's gonna hear

492
00:28:17,480 --> 00:28:23,560
Speaker 1: this one, but the great Bill Corbett, so take care. Uh. Next,

493
00:28:23,600 --> 00:28:28,879
Speaker 1: we're gonna move on to Federico Fellini's eight and a half.

494
00:28:29,240 --> 00:28:31,560
Speaker 1: Have you ever seen this one? No? I haven't. Now

495
00:28:31,600 --> 00:28:34,200
Speaker 1: I understand why it's called that. Yeah. It was one

496
00:28:34,240 --> 00:28:37,040
Speaker 1: of the first, although not the first, movies about movie

497
00:28:37,080 --> 00:28:43,640
Speaker 1: making and uh, starring the great Marcello Mastriani Masterroianni from

498
00:28:43,720 --> 00:28:48,560
Speaker 1: Ludulta Vita. Amuse of Felini's over the years too, And

499
00:28:48,680 --> 00:28:52,480
Speaker 1: this one, Um, this one really kicked off the surrealist

500
00:28:52,560 --> 00:28:56,280
Speaker 1: filmmaking and sort of saying you can play around and

501
00:28:56,840 --> 00:29:00,160
Speaker 1: shoot a dream sequence where the guys in traffic and

502
00:29:00,200 --> 00:29:02,120
Speaker 1: then he leaves his car and floats up in the

503
00:29:02,160 --> 00:29:04,240
Speaker 1: air and is you know, being pulled down to the

504
00:29:04,280 --> 00:29:06,920
Speaker 1: ground on the beach from a rope tied around his ankle,

505
00:29:07,240 --> 00:29:10,760
Speaker 1: just like go nuts. Yeah, and successive filmmakers did go

506
00:29:10,880 --> 00:29:14,080
Speaker 1: nuts like um Gondry did. Uh eternal sunch out of

507
00:29:14,080 --> 00:29:17,800
Speaker 1: the Spotless Mine. Oh yeah, he's hugely influenced. Um, Darren

508
00:29:17,800 --> 00:29:22,360
Speaker 1: Aronofsky did some weird stuff here there, Yeah, David Lynch

509
00:29:22,400 --> 00:29:26,480
Speaker 1: and Terry Gilliam. Of course. Just basically surrealism is is

510
00:29:26,560 --> 00:29:30,200
Speaker 1: what I'm taking Felini introduced into this, Yeah, for real.

511
00:29:30,320 --> 00:29:35,640
Speaker 1: And um, besides the surrealism, uh, that opening sequence of

512
00:29:35,640 --> 00:29:38,800
Speaker 1: eight and a half where the director of um, he's

513
00:29:38,840 --> 00:29:42,040
Speaker 1: the director in the movie, Uh, Guido is stuck in traffic.

514
00:29:42,040 --> 00:29:45,600
Speaker 1: It's really claustrophobic feeling, and that's why he floats away,

515
00:29:45,880 --> 00:29:48,640
Speaker 1: uh and escapes. You know that, that traffic jam. But

516
00:29:49,040 --> 00:29:51,360
Speaker 1: that was directly mimicked in like R E. M S.

517
00:29:51,400 --> 00:29:55,480
Speaker 1: Everybody Hurts video, And Um, the beginning of the movie

518
00:29:55,520 --> 00:29:57,920
Speaker 1: Falling Down. Do you remember that that started with the

519
00:29:57,960 --> 00:30:01,320
Speaker 1: traffic jam. Michael Douglas just laughed. He doesn't float, he

520
00:30:01,480 --> 00:30:04,280
Speaker 1: gets I saw that again the other day. Most of

521
00:30:04,320 --> 00:30:09,360
Speaker 1: it it's weird. It alternately felt way ahead of its

522
00:30:09,360 --> 00:30:14,400
Speaker 1: time and also very dated. Yeah, because the stuff that

523
00:30:14,440 --> 00:30:16,480
Speaker 1: Michael Douglas is doing felt way ahead of its time.

524
00:30:17,880 --> 00:30:20,720
Speaker 1: But then there was I just forgot about that whole

525
00:30:21,080 --> 00:30:25,960
Speaker 1: um weird subplots with Robert Duval retiring and he had

526
00:30:26,040 --> 00:30:29,320
Speaker 1: this wife that was him pecking them, and like this

527
00:30:29,400 --> 00:30:32,560
Speaker 1: retirement party they were trying to throw off. Forgot that. Yeah,

528
00:30:32,600 --> 00:30:35,200
Speaker 1: it was just so unnecessary and felt really weird and

529
00:30:35,200 --> 00:30:37,400
Speaker 1: out of place. The other day when I was watching

530
00:30:37,440 --> 00:30:40,040
Speaker 1: it was there like a jump cut montage where he's

531
00:30:40,080 --> 00:30:44,840
Speaker 1: putting on his watch, his gold retirement watch. No, but

532
00:30:44,920 --> 00:30:47,680
Speaker 1: then to the Barbara Hershey, you know, is in venice

533
00:30:47,720 --> 00:30:50,000
Speaker 1: at home with the daughter, and he spends a whole

534
00:30:50,080 --> 00:30:53,760
Speaker 1: day coming there to grab them basically, and the whole

535
00:30:53,760 --> 00:30:55,440
Speaker 1: time she just keeps calling the cops like a no,

536
00:30:55,560 --> 00:30:57,640
Speaker 1: he's coming, and no, he's coming. And I was watching

537
00:30:57,640 --> 00:31:00,680
Speaker 1: the other day, I was like, freaking leave, what are

538
00:31:00,720 --> 00:31:05,640
Speaker 1: you doing there? That's a movie character thing, you know.

539
00:31:05,800 --> 00:31:08,840
Speaker 1: That's just bad writing, bad directing. When you just walk

540
00:31:08,960 --> 00:31:13,280
Speaker 1: right past the ability to leave, there's you. You missed

541
00:31:13,280 --> 00:31:16,120
Speaker 1: a huge step. Where were we falling down? Yeah? I

542
00:31:16,200 --> 00:31:17,920
Speaker 1: think that pretty much sums up eight and a half.

543
00:31:18,000 --> 00:31:21,120
Speaker 1: I think so too, falling down boom, so chuck. We

544
00:31:21,200 --> 00:31:23,280
Speaker 1: got a little more left, we got more films. Is

545
00:31:23,320 --> 00:31:26,400
Speaker 1: this making you want to watch films? Yeah? Me too.

546
00:31:26,520 --> 00:31:30,760
Speaker 1: I feel like eating ice cream watching a film and

547
00:31:30,840 --> 00:31:34,160
Speaker 1: scratching from poison Ivy lately and burning this office down.

548
00:31:35,320 --> 00:31:37,560
Speaker 1: Uh you know if that happens now, suspicion is going

549
00:31:37,600 --> 00:31:40,120
Speaker 1: to fall on you for saying that's all right. Uh,

550
00:31:40,160 --> 00:32:02,560
Speaker 1: we'll be right back after this. Alright, So we're back

551
00:32:02,840 --> 00:32:05,840
Speaker 1: with our awesome jingles, which, by the way, um, we

552
00:32:05,840 --> 00:32:11,960
Speaker 1: we have to thank John bagonin John begin begin to begin.

553
00:32:12,160 --> 00:32:15,440
Speaker 1: He even emailed with the pronunciation of his name, but he, um,

554
00:32:15,480 --> 00:32:18,480
Speaker 1: the original guy who did our jingle, the first jingle ever,

555
00:32:18,640 --> 00:32:24,080
Speaker 1: Rusty Maddius Mattias Man, I'm not good with the pronunciation.

556
00:32:24,440 --> 00:32:27,640
Speaker 1: Uh well, anyway, Rusty who's banned the sheep Dogs are

557
00:32:27,640 --> 00:32:31,280
Speaker 1: on tour right now. Um, just because his work was

558
00:32:31,520 --> 00:32:33,920
Speaker 1: so original, we contacted him and said, hey, we got

559
00:32:33,920 --> 00:32:36,480
Speaker 1: this other guy who's done like covers of your work.

560
00:32:36,920 --> 00:32:40,840
Speaker 1: Can we use these is like totally and John's been

561
00:32:40,920 --> 00:32:44,040
Speaker 1: making awesome like versions of it ever since. Yeah, they're

562
00:32:44,040 --> 00:32:46,600
Speaker 1: both great and talented. Thanks to you both. And go

563
00:32:46,680 --> 00:32:48,640
Speaker 1: check out I think that what you say. They're on

564
00:32:48,680 --> 00:32:50,920
Speaker 1: tour right yeah, the sheep Dogs. Go check out the

565
00:32:50,920 --> 00:32:55,000
Speaker 1: sheep Dogs in town here you Yeah, all right, let's

566
00:32:55,200 --> 00:32:58,840
Speaker 1: finish with these two in reverse order. Okay. Toy story

567
00:32:59,200 --> 00:33:03,800
Speaker 1: was a big one, hugely innovative, huge, And again it's

568
00:33:03,840 --> 00:33:06,840
Speaker 1: one of those things where now almost everything about it

569
00:33:06,840 --> 00:33:10,360
Speaker 1: seems pedestrian or what it did. See. It's still a

570
00:33:10,360 --> 00:33:14,280
Speaker 1: great movie, I'm sure, um, but the innovations that it

571
00:33:14,640 --> 00:33:17,920
Speaker 1: undertook her it's just seemed pedestrian. But at the time

572
00:33:17,960 --> 00:33:22,560
Speaker 1: it was totally groundbreaking. It was the first, um, the

573
00:33:22,600 --> 00:33:25,640
Speaker 1: first c g I movie, all c g I movie ever. Yeah,

574
00:33:26,000 --> 00:33:29,280
Speaker 1: that was enormous. Well yeah, and I remember at the

575
00:33:29,320 --> 00:33:32,840
Speaker 1: time seeing it and just being like, Wow, this is

576
00:33:32,920 --> 00:33:36,680
Speaker 1: the future of animated films. What's the best all c

577
00:33:36,840 --> 00:33:40,560
Speaker 1: g I animated film you've ever seen? Visually? Uh? Well,

578
00:33:40,680 --> 00:33:42,600
Speaker 1: I haven't seen a lot of them these days because

579
00:33:42,640 --> 00:33:45,600
Speaker 1: Emily doesn't like those. So I probably wouldn't be the

580
00:33:45,680 --> 00:33:49,360
Speaker 1: best person to ask Holly from stuff mom or sophiasts

581
00:33:49,400 --> 00:33:51,520
Speaker 1: and history class, she'd probably be the one to ask

582
00:33:52,320 --> 00:33:56,360
Speaker 1: for my money. Have you seen The Adventures of Tintin? Oh? Yeah,

583
00:33:56,440 --> 00:34:00,760
Speaker 1: that was amazing, mind blow. Yeah. I saw that on

584
00:34:00,800 --> 00:34:03,400
Speaker 1: your recommendation and really really liked it. Yeah. The story

585
00:34:03,560 --> 00:34:06,640
Speaker 1: was great, the action was great, the characters were great.

586
00:34:06,960 --> 00:34:10,960
Speaker 1: But the c g I, the computer animation is but

587
00:34:11,120 --> 00:34:13,839
Speaker 1: I think possibly the best ever done. Yeah, And that's

588
00:34:13,880 --> 00:34:16,320
Speaker 1: a bit of a different style than say like UP

589
00:34:16,480 --> 00:34:19,319
Speaker 1: or Um The Incredible. It's not nearly his cartoons. It's

590
00:34:19,360 --> 00:34:22,080
Speaker 1: like the I think it's the motion capture. Yeah, I

591
00:34:22,080 --> 00:34:23,640
Speaker 1: think that's what they did for that. Oh yeah, with

592
00:34:23,760 --> 00:34:26,839
Speaker 1: UP it would strictly be totally just animation, right, yeah,

593
00:34:26,880 --> 00:34:30,160
Speaker 1: but I mean they're both animation. Um. But yeah, man, Tinton,

594
00:34:30,160 --> 00:34:32,080
Speaker 1: that was really good. It was good. I'm surprised how

595
00:34:32,160 --> 00:34:34,160
Speaker 1: much I like that. But UP was good too, and

596
00:34:34,280 --> 00:34:36,200
Speaker 1: Toy Story was good too. And but all of these

597
00:34:36,200 --> 00:34:38,799
Speaker 1: things came as a result of the ground that Toy

598
00:34:38,840 --> 00:34:43,520
Speaker 1: Story broke absolutely in Um, like you said, what seems

599
00:34:43,560 --> 00:34:46,640
Speaker 1: like a common thing today, could I mean, you don't

600
00:34:46,640 --> 00:34:49,399
Speaker 1: see sell animation anymore. It's almost I know, I kind

601
00:34:49,400 --> 00:34:51,960
Speaker 1: of miss it. I totally miss like the new Um,

602
00:34:52,000 --> 00:34:55,560
Speaker 1: Mickey Mouse is all weird and CG like stuff from

603
00:34:55,560 --> 00:34:58,640
Speaker 1: our generation should have just been discontinued, and then you

604
00:34:58,800 --> 00:35:00,640
Speaker 1: just come up with all new stuff off that's CG.

605
00:35:00,719 --> 00:35:03,160
Speaker 1: I start very shortcake not supposed to be c G.

606
00:35:03,360 --> 00:35:06,560
Speaker 1: I it just all looks weird now. Yeah, I wish

607
00:35:06,640 --> 00:35:09,600
Speaker 1: there would have people would have done a little bit

608
00:35:09,640 --> 00:35:13,280
Speaker 1: of both still, because I think Sell animation like Uh.

609
00:35:13,320 --> 00:35:15,600
Speaker 1: I think The Iron Giant came out after Toy Story

610
00:35:15,680 --> 00:35:18,960
Speaker 1: and they did sell animation and that was great, great

611
00:35:18,960 --> 00:35:22,560
Speaker 1: movie that it was really good, you'd like it. Uh

612
00:35:22,719 --> 00:35:25,319
Speaker 1: Like it was a movie for grown ups, and Toy

613
00:35:25,360 --> 00:35:28,200
Speaker 1: Story sort of laid the way for that because it

614
00:35:28,239 --> 00:35:31,160
Speaker 1: was one of the first movies. Um, I guess cartoony

615
00:35:31,200 --> 00:35:34,040
Speaker 1: kids movies to really have a lot of dialogue that

616
00:35:34,400 --> 00:35:36,680
Speaker 1: flew over kids heads that adults got a little nod

617
00:35:36,680 --> 00:35:39,319
Speaker 1: in a wink. What Toy Story. Yeah, yeah, not like

618
00:35:39,360 --> 00:35:41,520
Speaker 1: dirty humor, but it's not like f it's the cat

619
00:35:41,680 --> 00:35:43,520
Speaker 1: no no no, but a little entendre here and there

620
00:35:43,520 --> 00:35:46,600
Speaker 1: that adults might appreciate that kids won't understand. Those are

621
00:35:46,600 --> 00:35:52,279
Speaker 1: the best jokes. Um. And now we have you know,

622
00:35:52,400 --> 00:35:58,200
Speaker 1: best animated uh feature in the Oscars, which definitely came

623
00:35:58,280 --> 00:36:01,480
Speaker 1: straight out of the original Toy Sto worry because movies

624
00:36:01,480 --> 00:36:05,160
Speaker 1: started being considered before they created its own category up

625
00:36:05,200 --> 00:36:07,480
Speaker 1: in Toy Story. Three were actually nominated for a regular

626
00:36:07,520 --> 00:36:10,319
Speaker 1: Best Picture, and I think everyone's like, oh, we need

627
00:36:10,320 --> 00:36:12,640
Speaker 1: to get in their own category because you can't have

628
00:36:12,719 --> 00:36:14,960
Speaker 1: an animated movie when best Picture it came well up

629
00:36:14,960 --> 00:36:19,720
Speaker 1: would have come after. Um, the the best Animated Picture

630
00:36:20,040 --> 00:36:23,480
Speaker 1: category came out, really, so that kind of goes as

631
00:36:23,520 --> 00:36:26,600
Speaker 1: a testament to just how amazing that movie is. Yeah,

632
00:36:27,120 --> 00:36:30,040
Speaker 1: but it was still for Best Picture. Oh, it was both.

633
00:36:30,640 --> 00:36:32,280
Speaker 1: I don't know if it was up for it probably

634
00:36:32,360 --> 00:36:34,319
Speaker 1: was up for Best Animated as well, but it was

635
00:36:34,360 --> 00:36:37,400
Speaker 1: definitely also up for Best Picture while there was an

636
00:36:37,440 --> 00:36:41,120
Speaker 1: animated category. Yeah, I never considered that. Bam, that was

637
00:36:41,160 --> 00:36:44,960
Speaker 1: a good movie. Yeah, it was sweet. Um, so I

638
00:36:45,000 --> 00:36:47,680
Speaker 1: got nothing else in toy Story. Well then what about

639
00:36:47,719 --> 00:36:53,400
Speaker 1: the last one? Yeah, two thousand one Space Odyssey quite

640
00:36:53,440 --> 00:36:57,960
Speaker 1: a film. You sent this, uh essay on Criterion I

641
00:36:58,000 --> 00:37:00,680
Speaker 1: think Criterion dot com, but you know the criteria in collection.

642
00:37:01,320 --> 00:37:04,920
Speaker 1: Um it was written, I guess in even though it

643
00:37:05,000 --> 00:37:08,239
Speaker 1: says posted in it's like there wasn't an internet to

644
00:37:08,280 --> 00:37:10,879
Speaker 1: post it on in night. Maybe it means posted it

645
00:37:11,000 --> 00:37:15,759
Speaker 1: like in the mail. Maybe. Um. But I realized, like

646
00:37:15,880 --> 00:37:21,000
Speaker 1: I can read film essays about Stanley Kubrick's work all

647
00:37:21,080 --> 00:37:24,840
Speaker 1: day long, Like I love that documentary Room two to

648
00:37:25,040 --> 00:37:31,919
Speaker 1: seven two three seven six seven, you know the one

649
00:37:32,000 --> 00:37:34,880
Speaker 1: about the shining conspiracy theory. Yeah, then the number of

650
00:37:34,920 --> 00:37:37,120
Speaker 1: the room is amazing. I can't remember though. Um, I

651
00:37:37,480 --> 00:37:41,439
Speaker 1: read a bunch of articles is I think two thirty seven. Um,

652
00:37:41,480 --> 00:37:43,920
Speaker 1: I read a bunch of articles around the release of

653
00:37:43,960 --> 00:37:48,239
Speaker 1: that documentary, which we're basically like film essays on on

654
00:37:48,280 --> 00:37:52,120
Speaker 1: the shining. I read this one amazing one um from

655
00:37:52,160 --> 00:37:55,399
Speaker 1: several years ago about Eyes Wide Shut about how it's

656
00:37:55,440 --> 00:38:02,399
Speaker 1: like a masterpiece of sociology, studying sociology. People hate that movie. Um.

657
00:38:02,440 --> 00:38:04,759
Speaker 1: And then now this like two thousand one. I'm sure

658
00:38:04,760 --> 00:38:07,120
Speaker 1: there's tons out there to consume, but I can just

659
00:38:07,160 --> 00:38:09,359
Speaker 1: read that stuff all day long because that guy was

660
00:38:09,560 --> 00:38:14,320
Speaker 1: so just amazingly detailed as a director. Yeah, I agree.

661
00:38:14,360 --> 00:38:18,080
Speaker 1: I can read more about his work critical essays on

662
00:38:18,160 --> 00:38:21,120
Speaker 1: his work than any other director. It's just unbelievable. It's

663
00:38:21,160 --> 00:38:24,600
Speaker 1: almost like its genre. It is, you know rick. Yeah,

664
00:38:24,600 --> 00:38:28,360
Speaker 1: it's got a word named after it, and well it should. Um.

665
00:38:28,440 --> 00:38:33,000
Speaker 1: So two thousand one of Space Odyssey, Um, blue minds

666
00:38:33,040 --> 00:38:37,279
Speaker 1: back then, blows minds today one for its uh just

667
00:38:37,320 --> 00:38:41,319
Speaker 1: the amazing look and the technical achievement. Um. A eight

668
00:38:41,480 --> 00:38:43,480
Speaker 1: is really well. I mean, if you see a movie

669
00:38:43,520 --> 00:38:45,960
Speaker 1: from nine about out of Space, it still looks like

670
00:38:46,000 --> 00:38:48,440
Speaker 1: the future. Yeah, he don't expect it to hold up well,

671
00:38:48,800 --> 00:38:51,920
Speaker 1: but it totally does. Um so much so that a

672
00:38:51,920 --> 00:38:54,440
Speaker 1: lot of the you know, George Lucas and Ridley Scott

673
00:38:54,480 --> 00:38:57,000
Speaker 1: were just like it's done, Like we might as well

674
00:38:57,000 --> 00:38:59,600
Speaker 1: give up. Yeah, George Lucas when Star Wars came out

675
00:38:59,680 --> 00:39:03,439
Speaker 1: said Star Wars is technically comparable, but for my money,

676
00:39:03,480 --> 00:39:05,960
Speaker 1: two thousand one was by far the better movie. Yeah,

677
00:39:06,000 --> 00:39:09,160
Speaker 1: everyone was sort of intimidated, I think by how talented

678
00:39:09,239 --> 00:39:12,520
Speaker 1: Kubrick was. Well. Plus also, um, you have to take

679
00:39:12,560 --> 00:39:15,200
Speaker 1: into account that he made this movie at a time

680
00:39:15,600 --> 00:39:19,919
Speaker 1: when other sci fi movies were just pure schlock. So

681
00:39:20,320 --> 00:39:23,920
Speaker 1: not only to make the movie in this way this

682
00:39:24,239 --> 00:39:29,680
Speaker 1: visually amazing and amazing with an audio soundtrack and just

683
00:39:29,840 --> 00:39:33,440
Speaker 1: totally innovative, it also took like that mindset. It is

684
00:39:33,560 --> 00:39:36,319
Speaker 1: completely go in a different direction that everybody else has

685
00:39:36,360 --> 00:39:39,080
Speaker 1: as well. Yeah, of course I think about Ridley Scott

686
00:39:39,120 --> 00:39:40,680
Speaker 1: saying that, and then he goes on to make Alien

687
00:39:40,680 --> 00:39:46,480
Speaker 1: and Blade Runner after that. So I mean he helped Prometheus. Man. Yeah,

688
00:39:46,520 --> 00:39:49,560
Speaker 1: people are like Prometheus. I don't care. It's a cool movie. No,

689
00:39:49,719 --> 00:39:54,040
Speaker 1: I liked it too. I thought, Okay, one flaw, the

690
00:39:54,080 --> 00:39:58,200
Speaker 1: big flaw to me was and I'm sure it's like

691
00:39:58,680 --> 00:40:01,640
Speaker 1: part of the subtext, the context, or one of the texts,

692
00:40:02,320 --> 00:40:07,319
Speaker 1: but um, the engineer coming back to life or coming

693
00:40:07,360 --> 00:40:11,120
Speaker 1: out of hibernation after however long and just immediately like

694
00:40:11,200 --> 00:40:15,480
Speaker 1: inflicting violence on these p brained humans who are showing

695
00:40:15,560 --> 00:40:21,920
Speaker 1: him no threat whatsoever. I just thought it was a little, uh,

696
00:40:22,280 --> 00:40:25,560
Speaker 1: it wasn't explained well enough for my taste. Yeah, I

697
00:40:25,640 --> 00:40:27,680
Speaker 1: don't think I agree with you, But when I'm watching

698
00:40:27,680 --> 00:40:30,800
Speaker 1: a Ridley Scott movie, I just assume if I'm missing something,

699
00:40:31,360 --> 00:40:34,840
Speaker 1: he has an explanation for it. I'm just not catching it. Yeah,

700
00:40:35,040 --> 00:40:36,960
Speaker 1: I know what you mean. I'd like I think I

701
00:40:37,040 --> 00:40:40,880
Speaker 1: read some stuff about how it tied into the alien

702
00:40:41,560 --> 00:40:44,480
Speaker 1: cannon and realized I need to go see it again

703
00:40:44,520 --> 00:40:47,360
Speaker 1: with all this knowledge that I wasn't really thinking about,

704
00:40:47,640 --> 00:40:49,319
Speaker 1: and maybe i'd like it more. Yeah, but I haven't

705
00:40:49,360 --> 00:40:52,919
Speaker 1: done that yet, So back to two thousand one. It

706
00:40:53,000 --> 00:40:58,120
Speaker 1: was also notable for being bookended basically with thirty minutes

707
00:40:58,120 --> 00:41:00,719
Speaker 1: of silence on both ends of the movie. The first

708
00:41:00,719 --> 00:41:02,680
Speaker 1: thirty minutes or and when I say silent, I mean

709
00:41:02,719 --> 00:41:06,080
Speaker 1: no dialogue in the last thirty minutes have no dialogue. Yeah,

710
00:41:06,080 --> 00:41:08,520
Speaker 1: the last line comes like a full thirty minutes before

711
00:41:08,560 --> 00:41:11,160
Speaker 1: the end. Yeah, and over the hundred and forty six minutes.

712
00:41:11,200 --> 00:41:13,560
Speaker 1: There are only forty minutes of dialogue and the whole thing.

713
00:41:14,400 --> 00:41:18,040
Speaker 1: And um, that's why I just when people compare something

714
00:41:18,080 --> 00:41:21,960
Speaker 1: like Interstellar and call it kubricky in, I just want

715
00:41:21,960 --> 00:41:26,279
Speaker 1: to smash do you know like Interstellar? Not really? Oh,

716
00:41:26,320 --> 00:41:30,000
Speaker 1: I liked it. I was super let down despite McConaughey

717
00:41:30,040 --> 00:41:34,120
Speaker 1: doing Waterson in the future. I still liked it. I

718
00:41:34,120 --> 00:41:35,920
Speaker 1: even liked him in it. I liked a lot of

719
00:41:35,960 --> 00:41:39,360
Speaker 1: the parts of it. But um, to me, it's anti

720
00:41:39,440 --> 00:41:44,319
Speaker 1: kubricky in because every ten minutes they're explaining everything that's

721
00:41:44,320 --> 00:41:49,200
Speaker 1: going on again another thing. Just like Inception, Ellen Page's

722
00:41:49,400 --> 00:41:52,239
Speaker 1: entire character was written in to explain what was going

723
00:41:52,280 --> 00:41:54,840
Speaker 1: on every ten minutes. Yeah, and I felt like Interstellar

724
00:41:54,880 --> 00:41:56,719
Speaker 1: was the same way. It's like Christopher Nolan needs to

725
00:41:56,800 --> 00:41:59,040
Speaker 1: just trust his audience a little bit like kubrick did

726
00:41:59,080 --> 00:42:02,160
Speaker 1: and say figure it out or don't. Yeah that I'm

727
00:42:02,200 --> 00:42:05,600
Speaker 1: not gonna stop every ten minutes just to explain everything.

728
00:42:05,920 --> 00:42:09,080
Speaker 1: Here's just going on. Remember if you didn't get it right,

729
00:42:09,200 --> 00:42:11,680
Speaker 1: here's what's going on again. Well, I think if they

730
00:42:11,719 --> 00:42:15,719
Speaker 1: are labeling something like Interstellar, is Kubrickian right, one of

731
00:42:15,760 --> 00:42:18,160
Speaker 1: the ways that you can interpret that is that he

732
00:42:18,320 --> 00:42:25,640
Speaker 1: was he rooted his two thousand one in science fact right,

733
00:42:25,719 --> 00:42:29,040
Speaker 1: So like the stuff that the astronauts are like dealing

734
00:42:29,080 --> 00:42:31,320
Speaker 1: with and the things that are going on and the

735
00:42:31,719 --> 00:42:36,359
Speaker 1: conditions of space, it was all factual. Whereas with Interstellar,

736
00:42:36,560 --> 00:42:39,120
Speaker 1: same thing. They went to really great lengths to do

737
00:42:39,239 --> 00:42:43,319
Speaker 1: what they could to make everything scientifically factual. Aside from

738
00:42:43,320 --> 00:42:46,000
Speaker 1: the fact that the idea that you could go into

739
00:42:46,040 --> 00:42:47,880
Speaker 1: a black hole and then come back out or something

740
00:42:47,920 --> 00:42:51,560
Speaker 1: like that drifting in space, that's not gonna happen. But

741
00:42:51,680 --> 00:42:55,279
Speaker 1: for the most part, Interstellar was scientifically accurate. So maybe

742
00:42:55,280 --> 00:42:57,800
Speaker 1: that's what they meant when they called it Kubrickian, because

743
00:42:57,800 --> 00:43:01,960
Speaker 1: you're absolutely right, like they did blaming a lot and

744
00:43:02,040 --> 00:43:04,240
Speaker 1: went to great links to explain a lot, whereas with

745
00:43:04,239 --> 00:43:07,160
Speaker 1: with two thousand one, you just watch it the first

746
00:43:07,160 --> 00:43:10,440
Speaker 1: five times like what just happened? Yeah, And apparently Carry

747
00:43:10,440 --> 00:43:13,720
Speaker 1: Grant had that same reaction as well. That was rock Hudson,

748
00:43:13,840 --> 00:43:16,760
Speaker 1: Rock Hudson, that's right. Yeah, the original screening that Roger

749
00:43:16,800 --> 00:43:19,200
Speaker 1: Ebert was at in l A. Rock Hudson just left

750
00:43:19,239 --> 00:43:21,000
Speaker 1: and said, can somebody tell me what the hell that

751
00:43:21,040 --> 00:43:25,360
Speaker 1: was about? Yeah? And it wasn't even over yet. Yeah. Um.

752
00:43:25,440 --> 00:43:30,000
Speaker 1: Well the reason it it uh has science fact and

753
00:43:30,040 --> 00:43:33,240
Speaker 1: not science fiction is because Kubrick and Arthur C. Clark,

754
00:43:33,320 --> 00:43:35,799
Speaker 1: who it wasn't actually a book that was made into

755
00:43:35,800 --> 00:43:38,080
Speaker 1: a movie. It was a movie B book made after

756
00:43:38,120 --> 00:43:43,440
Speaker 1: a movie, and they collaborated on both. And um, they

757
00:43:43,440 --> 00:43:46,360
Speaker 1: went to Carl Sagan, um of course of Cosmos and

758
00:43:46,400 --> 00:43:51,319
Speaker 1: said he said, you're gonna make billions and billions. That

759
00:43:51,400 --> 00:43:54,759
Speaker 1: was pretty good, it wasn't. Yeah, that's a lot like them. Um.

760
00:43:54,840 --> 00:43:56,799
Speaker 1: They went to Carl Sagan said, hey, we want to

761
00:43:57,160 --> 00:44:03,839
Speaker 1: portray these extraterrestrials. Are they maybe the Star Child is uh?

762
00:44:04,120 --> 00:44:07,040
Speaker 1: Or they turned Dave into the Star Child? Are they humanoids?

763
00:44:07,040 --> 00:44:09,160
Speaker 1: What are they gonna look like? And Sagan was like

764
00:44:09,320 --> 00:44:13,040
Speaker 1: they were very unlikely to be humanoid. So Kubrick did

765
00:44:13,040 --> 00:44:14,880
Speaker 1: the smart thing and was just like, well, we just

766
00:44:14,880 --> 00:44:17,720
Speaker 1: won't show him at all, instead of making a fool

767
00:44:17,719 --> 00:44:23,400
Speaker 1: of myself like signs and making some dumb looking at man, man,

768
00:44:24,640 --> 00:44:30,600
Speaker 1: let me just not show the aliens. Very smart move. Um.

769
00:44:30,640 --> 00:44:34,760
Speaker 1: Getting back to the story of two thousand one, although

770
00:44:34,800 --> 00:44:40,320
Speaker 1: I think the Village is underrated, Yeah I can stomach

771
00:44:40,360 --> 00:44:43,040
Speaker 1: that one. What about well, you like the six cents, right,

772
00:44:43,080 --> 00:44:46,200
Speaker 1: everybody like the sixth Cents. I guess that was it

773
00:44:46,320 --> 00:44:51,040
Speaker 1: for him. I loved Unbreakable. Unbreakable that was one where like, yeah,

774
00:44:51,080 --> 00:44:53,479
Speaker 1: I think it was maybe even better the second time. Yeah,

775
00:44:53,640 --> 00:44:56,439
Speaker 1: I still like that movie. Uh. But then he also

776
00:44:56,480 --> 00:44:59,880
Speaker 1: made that Lady in the Water movie and the the

777
00:45:00,040 --> 00:45:05,120
Speaker 1: one with Marky Mark the people were jumping off no

778
00:45:06,239 --> 00:45:10,440
Speaker 1: three kings. Uh is it the one in the elevator? No,

779
00:45:10,640 --> 00:45:12,720
Speaker 1: he just produced Oh I know what you're talking about,

780
00:45:12,840 --> 00:45:14,520
Speaker 1: the one where people like jumping off of buildings and

781
00:45:14,520 --> 00:45:18,040
Speaker 1: stuff inexplicably. Yeah. That I didn't even I didn't see that.

782
00:45:18,080 --> 00:45:21,080
Speaker 1: You couldn't get through ten minutes of that movie. So um.

783
00:45:21,320 --> 00:45:24,560
Speaker 1: Two thousand one Back to Good Movies was had a

784
00:45:24,600 --> 00:45:28,759
Speaker 1: three x three part structure, but not a conventional three

785
00:45:28,760 --> 00:45:31,440
Speaker 1: act structure that you might be used to in movies,

786
00:45:31,600 --> 00:45:34,920
Speaker 1: which is why it confounded people like Rock Hudson. The

787
00:45:34,960 --> 00:45:37,800
Speaker 1: first they called the movements. The first movement was the

788
00:45:38,280 --> 00:45:42,160
Speaker 1: Dawn of Man sequence with the the the apes with

789
00:45:42,680 --> 00:45:47,319
Speaker 1: a monolith um and uh, he has that great part

790
00:45:47,320 --> 00:45:49,080
Speaker 1: where he throws his little bone tool up in the

791
00:45:49,120 --> 00:45:51,839
Speaker 1: air and then it morphs into well not Morse but

792
00:45:52,719 --> 00:45:57,360
Speaker 1: maybe it's a dissolve into the spinning and outer space.

793
00:45:57,480 --> 00:46:01,320
Speaker 1: It's called the match cut. Yeah, match cut and um

794
00:46:01,320 --> 00:46:03,719
Speaker 1: of the rotation of what we now know was a

795
00:46:03,800 --> 00:46:07,799
Speaker 1: nuclear warhead. Because I read that little article twenty Things

796
00:46:07,840 --> 00:46:10,000
Speaker 1: you Didn't Know about two thousand one, I didn't know

797
00:46:10,000 --> 00:46:13,120
Speaker 1: those are nuclear warheads necessarily in outer space. They made

798
00:46:13,120 --> 00:46:14,880
Speaker 1: it a little more vague, and initially it was going

799
00:46:14,920 --> 00:46:18,320
Speaker 1: to be more explicit and they were going to explode

800
00:46:18,360 --> 00:46:20,800
Speaker 1: it in outer space. But he said, now it's a

801
00:46:20,840 --> 00:46:25,120
Speaker 1: little too close to uh, the ending of strange. Yeah,

802
00:46:25,160 --> 00:46:27,959
Speaker 1: so let's not do that. Yeah, probably a good choice, Yeah,

803
00:46:28,000 --> 00:46:31,040
Speaker 1: but some as a result, some people have taken it

804
00:46:31,080 --> 00:46:34,000
Speaker 1: to mean that, like it was a That match cut

805
00:46:34,040 --> 00:46:37,120
Speaker 1: was supposed to show how far humans have come from

806
00:46:37,200 --> 00:46:41,120
Speaker 1: using a bone to murder somebody to satellites in space.

807
00:46:41,560 --> 00:46:44,240
Speaker 1: But if you know that the satellite is actually loaded

808
00:46:44,280 --> 00:46:48,560
Speaker 1: down with nuclear warheads, that match cut demonstrates how little

809
00:46:48,640 --> 00:46:51,680
Speaker 1: humans have changed from using a bone to murder somebody

810
00:46:51,719 --> 00:46:55,319
Speaker 1: to using satellites to murder somebody. The the motif is

811
00:46:55,320 --> 00:46:58,399
Speaker 1: still the same, and it's murder. Yeah. He was going

812
00:46:58,440 --> 00:47:01,160
Speaker 1: for some deep things. Oh yeah, a lot of metaphor happening.

813
00:47:01,840 --> 00:47:04,520
Speaker 1: I mean supposedly in every single shot, because he started

814
00:47:04,560 --> 00:47:07,960
Speaker 1: out as a still photographer, right, supposedly every frame of

815
00:47:08,000 --> 00:47:13,280
Speaker 1: a Kubrick movie. You there is nothing that isn't unintentional

816
00:47:13,400 --> 00:47:15,400
Speaker 1: in place there by him. He did a lot of

817
00:47:15,440 --> 00:47:18,520
Speaker 1: his own set decorating. Yeah, Like the pencil holder on

818
00:47:18,560 --> 00:47:20,239
Speaker 1: the desk in the office of the guy at the

819
00:47:20,239 --> 00:47:23,200
Speaker 1: Shining Hotel was where it's supposed to be, right, and

820
00:47:23,239 --> 00:47:25,799
Speaker 1: if like if it has like a picture of a

821
00:47:25,880 --> 00:47:30,799
Speaker 1: goat head inscribed on it, that means something. It's not accidental. Yeah,

822
00:47:30,840 --> 00:47:33,319
Speaker 1: Although I will say Room two thirty seven, which I

823
00:47:33,320 --> 00:47:35,799
Speaker 1: think may have been the point, is a little bit

824
00:47:35,880 --> 00:47:39,160
Speaker 1: like these people are crazy, not like, oh man, I

825
00:47:39,560 --> 00:47:41,640
Speaker 1: just see what they're saying in all this, right, I

826
00:47:41,760 --> 00:47:44,160
Speaker 1: was just thinking, these people are nuts, right, It's it

827
00:47:44,239 --> 00:47:47,120
Speaker 1: was just kind of enjoyable to hear their interpretations of

828
00:47:47,120 --> 00:47:48,560
Speaker 1: it well, and I think it had a It was

829
00:47:48,600 --> 00:47:52,920
Speaker 1: a comment on obsession and fandom more so than the

830
00:47:52,960 --> 00:47:56,880
Speaker 1: Shining but there I thought there some of their ideas

831
00:47:56,880 --> 00:48:00,720
Speaker 1: were interesting. I said Room to two sid didn't I

832
00:48:00,760 --> 00:48:06,040
Speaker 1: like going out with conspiracy theorists like Mary. Wasn't Room

833
00:48:06,040 --> 00:48:08,319
Speaker 1: two two seven like a sitcom? Yeah. It was just

834
00:48:08,360 --> 00:48:13,600
Speaker 1: called to seven. Okat. Remember was Jack k She'd be like, Mary, Okay,

835
00:48:14,040 --> 00:48:16,120
Speaker 1: that's what my impression was. What do you think I

836
00:48:16,160 --> 00:48:17,840
Speaker 1: was doing? Well? I wasn't sure what. You must be

837
00:48:18,000 --> 00:48:22,680
Speaker 1: a weirdo. Yeah, okay. The second movement was, of course

838
00:48:22,719 --> 00:48:27,040
Speaker 1: the house sequence, the computer, the how was it? The

839
00:48:27,040 --> 00:48:31,600
Speaker 1: How nine thousand um really creepy and How ended up

840
00:48:31,640 --> 00:48:34,120
Speaker 1: being a lot of people's favorite character, even though it

841
00:48:34,239 --> 00:48:37,840
Speaker 1: was just a voice the supercomputer on the Discovery ship. Remember,

842
00:48:37,880 --> 00:48:40,640
Speaker 1: he's like, what are you doing to you? It's so creepy.

843
00:48:41,320 --> 00:48:43,480
Speaker 1: I had the Mad Magazine spoof of two thousand one

844
00:48:43,480 --> 00:48:45,879
Speaker 1: when I was a kid. It was great. And then

845
00:48:45,880 --> 00:48:51,080
Speaker 1: the third movement is when Dave moves on to the

846
00:48:51,080 --> 00:48:54,080
Speaker 1: next stage of human development with these extraterrestrials that you

847
00:48:54,200 --> 00:48:59,439
Speaker 1: know only here and um. Basically, it's when it comes

848
00:48:59,480 --> 00:49:04,400
Speaker 1: full circle the third movement, and the third movement is

849
00:49:04,440 --> 00:49:07,160
Speaker 1: the one that has almost well, it's really just the

850
00:49:07,200 --> 00:49:11,880
Speaker 1: second movement. That's it's dialogue. Yeah yeah. Uh. Some of

851
00:49:11,920 --> 00:49:15,000
Speaker 1: the alternate titles for two thousand one Journey Beyond the Stars,

852
00:49:15,600 --> 00:49:22,080
Speaker 1: Terrible Universe, not bad, Tunnel to the Stars, not so great,

853
00:49:22,120 --> 00:49:25,319
Speaker 1: Planet Fall, that sounds bad. It sounds like good James

854
00:49:25,360 --> 00:49:27,799
Speaker 1: Pond movie. And then how the Solar System was one

855
00:49:28,600 --> 00:49:31,080
Speaker 1: as a play on how the West was one, Yeah,

856
00:49:31,120 --> 00:49:35,520
Speaker 1: which like movie geeks would find that appealing, but everybody

857
00:49:35,520 --> 00:49:38,920
Speaker 1: else would say that's dumb. He ruined everything, Yeah, and

858
00:49:39,120 --> 00:49:41,200
Speaker 1: Kubrick was this is the last thing I have. He

859
00:49:41,280 --> 00:49:47,000
Speaker 1: was so obsessive with protecting his material that he allegedly, uh,

860
00:49:47,120 --> 00:49:49,520
Speaker 1: I don't think allegedly. I think he did have all

861
00:49:49,520 --> 00:49:53,200
Speaker 1: the sets and props and miniatures destroyed after he shot

862
00:49:53,239 --> 00:49:55,000
Speaker 1: it so they would never be reused, which is a

863
00:49:55,000 --> 00:49:57,239
Speaker 1: common thing at the time, like, hey, we're doing a

864
00:49:57,239 --> 00:50:00,480
Speaker 1: space movie, go get the go get that space from

865
00:50:00,480 --> 00:50:03,719
Speaker 1: Stanley set. Yeah, let's reuse it for a planet fall.

866
00:50:04,239 --> 00:50:08,680
Speaker 1: He he also destroyed all of the footage that didn't

867
00:50:08,719 --> 00:50:13,560
Speaker 1: make it into the original theatrical release. Yeah, destroyed it's gone. Yeah,

868
00:50:13,600 --> 00:50:15,759
Speaker 1: so they wouldn't one day after his death recut it,

869
00:50:16,000 --> 00:50:19,080
Speaker 1: which they invariably probably would have done. Yep, he's a

870
00:50:19,120 --> 00:50:22,080
Speaker 1: smart man. Yeah, I could. We should just do a

871
00:50:22,080 --> 00:50:27,160
Speaker 1: podcast on Kubrick. Okay, he was I'm down for that challenge.

872
00:50:27,480 --> 00:50:33,120
Speaker 1: Be a dude, Yes, one of my heroes. Yeah, cinematically,

873
00:50:33,360 --> 00:50:35,759
Speaker 1: you got anything else? I got nothing else. Uh. If

874
00:50:35,800 --> 00:50:37,759
Speaker 1: you want to know more about movies, if you like

875
00:50:37,840 --> 00:50:41,719
Speaker 1: this one, you probably also love our exploitation episode exploitation

876
00:50:41,760 --> 00:50:43,879
Speaker 1: movie episode fun one. What else have we talked about

877
00:50:43,920 --> 00:50:48,120
Speaker 1: movies in Cannonball Run? Oh yeah, I had a lot

878
00:50:48,200 --> 00:50:51,040
Speaker 1: to do with the movie. Yeah. Our James Bonda episode. Yeah.

879
00:50:51,360 --> 00:50:53,239
Speaker 1: Uh yeah. We've had a few of these, and people

880
00:50:53,280 --> 00:50:55,120
Speaker 1: always respond to these, were like, you guys should have

881
00:50:55,120 --> 00:50:58,160
Speaker 1: a spin off, should do an all movie podcast maybe

882
00:50:58,160 --> 00:51:01,320
Speaker 1: one day. May remember if you're confront any of these,

883
00:51:01,440 --> 00:51:04,560
Speaker 1: UM press control F or Apple F in your web

884
00:51:04,560 --> 00:51:08,399
Speaker 1: browser and search that way on our podcast archive page. Uh.

885
00:51:08,480 --> 00:51:13,080
Speaker 1: You can also search for this article on how stuff

886
00:51:13,120 --> 00:51:15,759
Speaker 1: works by typing movies in and seeing what comes up.

887
00:51:16,160 --> 00:51:18,480
Speaker 1: And since I said how stuff works, is time for

888
00:51:18,520 --> 00:51:23,240
Speaker 1: a listener mail. I'm gonna call this Mike. Could DuPont

889
00:51:23,280 --> 00:51:27,239
Speaker 1: really clear something up for us on scientific method? Hey guys,

890
00:51:27,360 --> 00:51:30,040
Speaker 1: it was a great um Well, actually he doesn't say

891
00:51:30,040 --> 00:51:31,480
Speaker 1: it was great. I think I just made that up.

892
00:51:31,800 --> 00:51:34,960
Speaker 1: Hey guys, your Scientific Method podcast has a consistent misuse

893
00:51:35,560 --> 00:51:37,680
Speaker 1: of what a scientific law is in relation to uh,

894
00:51:37,880 --> 00:51:40,960
Speaker 1: to the working of the scientific method. Uh. It appears

895
00:51:40,960 --> 00:51:42,680
Speaker 1: that you believe that a law e g. Newton's law

896
00:51:42,680 --> 00:51:46,120
Speaker 1: of gravity isn't held uh in higher esteem than theory,

897
00:51:46,520 --> 00:51:49,560
Speaker 1: and that eventually a theory matures into a law. Um.

898
00:51:49,719 --> 00:51:52,360
Speaker 1: I think I probably did think that because of politics,

899
00:51:53,040 --> 00:51:55,839
Speaker 1: you know, bill becomes a law right exactly, he says,

900
00:51:55,840 --> 00:51:58,479
Speaker 1: when in fact, theory is considerably more robust than a law.

901
00:51:58,960 --> 00:52:02,920
Speaker 1: A law is a mathematical model that describes observed behavior,

902
00:52:03,200 --> 00:52:08,200
Speaker 1: does not answer the why. Theory does answer why something happens.

903
00:52:08,360 --> 00:52:11,440
Speaker 1: Did we not say that? I thought we did, Like

904
00:52:11,600 --> 00:52:13,799
Speaker 1: I I knew that. I remember finding that out from

905
00:52:13,840 --> 00:52:15,680
Speaker 1: the research. I just can't believe it didn't come out

906
00:52:15,680 --> 00:52:18,840
Speaker 1: of my mouth. He claims, we did not, and I

907
00:52:18,840 --> 00:52:20,920
Speaker 1: I feel like I'm learning this So I definitely did not.

908
00:52:21,920 --> 00:52:24,520
Speaker 1: But you may have. For example, Newton's law of gravitational

909
00:52:24,560 --> 00:52:27,680
Speaker 1: attraction describes the action of two bodies that can be

910
00:52:27,760 --> 00:52:30,600
Speaker 1: used for pretty much everything. Um. It is perfect for

911
00:52:30,640 --> 00:52:32,880
Speaker 1: describing what happens, but it cannot tell you why the

912
00:52:32,880 --> 00:52:36,480
Speaker 1: two items are attracted or drill down to the underlying mechanism. Yeah,

913
00:52:36,560 --> 00:52:39,359
Speaker 1: law is like much more succinct. It just is what

914
00:52:39,400 --> 00:52:42,759
Speaker 1: it is. Uh. Nor is the law even universal and

915
00:52:42,760 --> 00:52:48,160
Speaker 1: could not be used to explain the para helion procession

916
00:52:48,200 --> 00:52:53,080
Speaker 1: of Mercury's orbit burn. In comparison, Einstein's theory of general

917
00:52:53,120 --> 00:52:56,560
Speaker 1: relativity was eventually used to solve the mercury issue. Oh yeah,

918
00:52:56,600 --> 00:53:00,200
Speaker 1: the mercury issue. Uh, and the standard model, along with

919
00:53:00,400 --> 00:53:02,919
Speaker 1: the recent discovery the Higgs boson on my sern, can

920
00:53:02,960 --> 00:53:08,040
Speaker 1: answer the why do these two masses attracted to each other? Question?

921
00:53:08,360 --> 00:53:10,439
Speaker 1: I think what you mean is, why are these two

922
00:53:10,440 --> 00:53:16,319
Speaker 1: masses attracted to one another? Mike, it's pretty teleological theory

923
00:53:16,400 --> 00:53:18,600
Speaker 1: is considerably more developed and richer than a scientific law,

924
00:53:18,640 --> 00:53:20,960
Speaker 1: which is more of a tool that is applicable to

925
00:53:20,960 --> 00:53:23,080
Speaker 1: a wide range of applications. Keep up the good work

926
00:53:23,360 --> 00:53:26,560
Speaker 1: that is, Mike DuPont. Thanks Mike, thanks for that of

927
00:53:26,680 --> 00:53:30,520
Speaker 1: the Valley Forge DuPont's I think so, huh have you

928
00:53:30,560 --> 00:53:33,200
Speaker 1: seen Fox Catcher? Oh no, I've heard it's good. Is

929
00:53:33,200 --> 00:53:37,040
Speaker 1: a good? No? Really, I don't think so. Now. I've

930
00:53:37,040 --> 00:53:42,200
Speaker 1: heard it's kind of slow. It's beyond slow. Really, I

931
00:53:42,200 --> 00:53:47,040
Speaker 1: I can understand why, Um, the Academy loved it, or

932
00:53:48,360 --> 00:53:50,080
Speaker 1: a lot of people. I'm sure, do you like it?

933
00:53:50,200 --> 00:53:52,359
Speaker 1: I was not a fan of Fox Kich. I think

934
00:53:52,360 --> 00:53:55,040
Speaker 1: people generally seeing like a turn by an actor like

935
00:53:55,080 --> 00:53:58,400
Speaker 1: Steve Girl doing something really different. They're knocked out by that. No,

936
00:53:59,239 --> 00:54:02,560
Speaker 1: I still can't believe you didn't like Birdman. No spoiler

937
00:54:02,600 --> 00:54:04,960
Speaker 1: alert for people who have not seen Birdman. The following

938
00:54:05,000 --> 00:54:08,480
Speaker 1: conversation is full of spoilers. Yes, what didn't you like

939
00:54:08,520 --> 00:54:13,399
Speaker 1: about it? Um? So I thought? I thought Michael Keaton

940
00:54:13,440 --> 00:54:18,360
Speaker 1: was good? Okay? Um? Who plays his daughter Emily Blunt?

941
00:54:18,400 --> 00:54:22,400
Speaker 1: Is that? Who that is? Emma Stone? Emma Stone? Excellent? Okay?

942
00:54:22,680 --> 00:54:25,560
Speaker 1: Um Edward and even pretty good? Okay? So the acting

943
00:54:25,600 --> 00:54:28,839
Speaker 1: was fine? Who is Naomi Watts was in it? Yeah?

944
00:54:28,920 --> 00:54:31,840
Speaker 1: She did great? Okay, So yes, the acting, the acting

945
00:54:31,920 --> 00:54:34,759
Speaker 1: was fine. Sure that the acting was fine. I thought

946
00:54:34,840 --> 00:54:38,719
Speaker 1: the photography was amazing. The whole seemingly one take thing

947
00:54:39,160 --> 00:54:41,799
Speaker 1: kind of knocked you out. Probably I didn't even pick

948
00:54:41,880 --> 00:54:45,080
Speaker 1: up on that, but yes it did. Um. It was

949
00:54:45,120 --> 00:54:51,359
Speaker 1: more the the for me, the juxtaposition of the story,

950
00:54:51,680 --> 00:54:56,759
Speaker 1: which was pretty boring in realistic and everyday life. Even

951
00:54:56,800 --> 00:54:58,680
Speaker 1: though it was about a Broadway production, it was still

952
00:54:58,680 --> 00:55:02,840
Speaker 1: about the everyday life of it. Sure, against the surrealism

953
00:55:02,960 --> 00:55:06,320
Speaker 1: that's like threaded and embedded in throughout the whole movie.

954
00:55:06,560 --> 00:55:08,880
Speaker 1: I didn't like that it was like choose one or

955
00:55:08,880 --> 00:55:13,120
Speaker 1: the other? Man? It irked me. Um and uh. And

956
00:55:13,160 --> 00:55:15,880
Speaker 1: then just so that one part with the critic or

957
00:55:16,000 --> 00:55:18,400
Speaker 1: Michael Keaton tells off the critic. I thought Michael Keaton

958
00:55:18,400 --> 00:55:21,960
Speaker 1: did a wonderful job, but just the whole point that

959
00:55:22,000 --> 00:55:25,920
Speaker 1: it was in there of like the director, you know,

960
00:55:26,360 --> 00:55:28,880
Speaker 1: using Michael Keaton's character to tell off all the critics

961
00:55:28,880 --> 00:55:32,839
Speaker 1: he's ever wanted to. I just thought it was pretentious

962
00:55:33,280 --> 00:55:35,040
Speaker 1: and I thought it was kind of clumsy in that

963
00:55:35,080 --> 00:55:39,480
Speaker 1: sense too, and it was enough that it it. Yeah,

964
00:55:39,960 --> 00:55:43,399
Speaker 1: and then the ending. I did not like the ending

965
00:55:43,480 --> 00:55:47,720
Speaker 1: at all at all. That'll ruin a good movie because

966
00:55:47,760 --> 00:55:51,520
Speaker 1: it was completely went contrary to all the other stuff

967
00:55:51,560 --> 00:55:53,359
Speaker 1: that he went out of his way to point out

968
00:55:53,480 --> 00:55:56,880
Speaker 1: was fake or fraud and they're not real. And then

969
00:55:56,880 --> 00:56:01,160
Speaker 1: all of a sudden it is what no choose one

970
00:56:01,239 --> 00:56:05,360
Speaker 1: or the other? The director refused to make very important decisions,

971
00:56:05,360 --> 00:56:07,719
Speaker 1: and I think that that ruined the movie. That is

972
00:56:07,719 --> 00:56:11,000
Speaker 1: a very well uh thought out the criticism. I think

973
00:56:11,040 --> 00:56:14,920
Speaker 1: you thank you very much? Sure, uh man. That was

974
00:56:14,960 --> 00:56:17,800
Speaker 1: the end of Listener Mail even, wasn't it? Yeah? Because

975
00:56:17,800 --> 00:56:19,879
Speaker 1: now I'm not like she's Josh is weird? He didn't

976
00:56:19,880 --> 00:56:21,719
Speaker 1: like Birdman. Now I'm like just in like Birdman. He

977
00:56:21,719 --> 00:56:24,640
Speaker 1: has good reasons. Thank you, Thank you. UM. I like

978
00:56:24,760 --> 00:56:29,440
Speaker 1: justifying my opinion, don't we all? So? If you want

979
00:56:29,480 --> 00:56:32,000
Speaker 1: to get in touch with Chuck and I or Jerry,

980
00:56:32,760 --> 00:56:36,480
Speaker 1: who I apparently just spoiled Birdman for UM, you can

981
00:56:36,520 --> 00:56:39,560
Speaker 1: contact us via Twitter at s Y s K podcast.

982
00:56:39,800 --> 00:56:42,000
Speaker 1: You can join us on Facebook, dot com slash Stuff

983
00:56:42,040 --> 00:56:43,719
Speaker 1: you Should Know. You can send us an email. This

984
00:56:43,760 --> 00:56:45,960
Speaker 1: stuff podcast at how Stuff Works dot com and has

985
00:56:46,000 --> 00:56:48,200
Speaker 1: always joined us at Home on the web. Stuff you

986
00:56:48,200 --> 00:56:53,000
Speaker 1: Should Know dot com. Stuff you Should Know is a

987
00:56:53,000 --> 00:56:56,400
Speaker 1: production of I Heart Radio. For more podcasts my heart Radio,

988
00:56:56,600 --> 00:56:59,480
Speaker 1: visit the I heart Radio app, Apple Podcasts, or where

989
00:56:59,480 --> 00:57:03,960
Speaker 1: every list into your favorite shows. H