WEBVTT - Selects: Some Movies That Changed Filmmaking 0:00:00.880 --> 0:00:03.640 Hey, everybody, it's me Josh. And since it's summertime, it's 0:00:03.680 --> 0:00:06.840 movie time. I am oh. So I've chosen our super 0:00:06.920 --> 0:00:10.960 interesting two thousand fifteen movie Talk episode some movies that 0:00:11.119 --> 0:00:14.160 changed filmmaking. You don't have to be a cinema file 0:00:14.240 --> 0:00:16.880 to enjoy this episode, so don't be scared off. And 0:00:17.120 --> 0:00:19.480 there's a part right around the beginning of listener mail 0:00:19.600 --> 0:00:22.080 where we talk about making a movie podcast that I 0:00:22.120 --> 0:00:25.360 now wonder was possibly the seed that Chuck's Movie Crush 0:00:25.440 --> 0:00:28.960 podcast sprouted from. Maybe, which if you like this, go 0:00:29.080 --> 0:00:32.239 listen to the extensive Movie Crush catalog anywhere you get 0:00:32.280 --> 0:00:39.800 your podcasts. In the meantime, I hope you enjoy Welcome 0:00:39.920 --> 0:00:49.080 to Stuff you Should Know, a production of I Heart Radio. Hey, 0:00:49.120 --> 0:00:52.320 and welcome to the podcast. I'm Josh Clark. There's Charles W. 0:00:52.640 --> 0:00:57.000 Chuck Bryant, A k A. Ciskel, and Ebert save with 0:00:57.080 --> 0:01:00.520 Sea I'll see, and Jerry's over there. I guess she's 0:01:00.600 --> 0:01:06.000 Jeane Shallott. That's that's the stuff. If you should know, 0:01:06.120 --> 0:01:09.440 trium for it. I don't know why that took on 0:01:09.520 --> 0:01:11.679 me so much, because Jeane sell it's a funny looking 0:01:11.760 --> 0:01:15.399 I guess Jerry's not. I'm just picturing her with a 0:01:15.400 --> 0:01:18.440 big afro and a mustache and like a tweed jacket 0:01:18.480 --> 0:01:21.160 and bad opinions about movies. Jane Shell. It had a 0:01:21.200 --> 0:01:25.520 look for sure. Still though he's around right, Oh yeah, 0:01:25.680 --> 0:01:29.000 I think so? Yeah, r I p both cisk Lanni, 0:01:29.040 --> 0:01:32.320 but it's so sad. Um. Have you seen the Roger 0:01:32.319 --> 0:01:35.480 Ebert documentary? No, I've heard nothing but good things, really 0:01:35.520 --> 0:01:40.240 really good, very touching. Yeah. What is it? Uh? Something Life, 0:01:41.160 --> 0:01:45.959 Life like Mine, Life with Me, Life on Top, Life Itself, 0:01:46.000 --> 0:01:50.040 Life with thumbs, Life itself, Life itself, Life with thumbs. 0:01:50.680 --> 0:01:52.560 It was really great and I watched it and it 0:01:52.600 --> 0:01:54.320 made the mistake of watching on a plane, and I 0:01:54.360 --> 0:01:57.120 was just like, my allergies are acting up, so yeah, 0:01:57.360 --> 0:02:00.920 oh yeah I was. I was watering because you're allergies. No, 0:02:01.080 --> 0:02:03.800 because it was sad. I was crying. Do you want 0:02:03.800 --> 0:02:06.160 me to say it? Yeah, crying on a plane. I 0:02:06.280 --> 0:02:09.200 was confused there for a second. That's better than when 0:02:09.240 --> 0:02:11.520 I watch other movies that are on my laptop that 0:02:11.560 --> 0:02:15.480 are like like bad violence or or nudity or something. 0:02:15.520 --> 0:02:17.760 I'm always just like, oh, then I kind of lower 0:02:17.800 --> 0:02:20.440 the laptop and it's like I didn't realize this was 0:02:20.480 --> 0:02:21.840 in here, and the lady next to me, he's just 0:02:21.880 --> 0:02:26.959 like you disgusted me. Yeah, because I don't I want 0:02:26.960 --> 0:02:28.440 to be sensitive people around me. You know, I'm not 0:02:28.440 --> 0:02:30.120 one of those jerks just like just lives in my 0:02:30.120 --> 0:02:32.560 own bubble. It's like watching some sex scene on Blane. 0:02:32.880 --> 0:02:36.720 You're like elbowing the lake. So no, I hate it. 0:02:36.760 --> 0:02:38.280 That's it was so embarrassed that happened to me a 0:02:38.320 --> 0:02:40.240 couple of times. I'm like, I needed to start going 0:02:40.280 --> 0:02:45.480 PG on movies like airplanes, Judd Apples. How Am I right? 0:02:45.520 --> 0:02:50.639 He's unpredictable? Yeah? Alright, so Chuck, this is your episode 0:02:50.639 --> 0:02:54.120 to shine Man, is it? Yes, you're a movie guy too. 0:02:54.160 --> 0:02:58.000 Though I like movies, but I've I almost consciously don't 0:02:58.080 --> 0:03:02.880 let myself watch movies on a like a film aficionado 0:03:03.000 --> 0:03:06.080 level kid pure enjoyment. Yeah. I don't never want to 0:03:06.440 --> 0:03:10.519 see the individual shots and just be like, oh, well 0:03:11.040 --> 0:03:14.120 that could have been better whatever, um and and just 0:03:14.240 --> 0:03:17.120 miss the movie as a whole. Yeah. I fall somewhere 0:03:17.160 --> 0:03:19.040 in the middle of that. I try to let go, 0:03:19.200 --> 0:03:23.560 but um like, our our video producer director, Casey Is 0:03:23.560 --> 0:03:25.760 is pretty bad about that, and our Buddy Scotty who 0:03:25.800 --> 0:03:29.919 shot our TV show. He's the worst. He's just a 0:03:29.919 --> 0:03:35.480 camera working. That lighting in that scene's awesome. Hey, Casey, 0:03:35.800 --> 0:03:37.440 they're all in here with this in spirit, and hey, 0:03:37.480 --> 0:03:40.120 this is the last show in the studio. Ye, last 0:03:40.160 --> 0:03:44.120 episode in the old office, the murder Room. Couldn't feel 0:03:44.160 --> 0:03:48.080 more neutral about it. I actually feel less than neutral, 0:03:48.480 --> 0:03:51.520 less than zero. It's it's weird. That was a good movie. 0:03:51.880 --> 0:03:54.440 You great shots. I say thank you as if I 0:03:54.480 --> 0:03:57.920 directed it a lot, right, I not only directed it, 0:03:58.040 --> 0:04:03.040 also played Andrew McCarthy. Uh. Yeah, I'm ready to get 0:04:03.040 --> 0:04:04.880 the heck out of here. Man. I can't wait to 0:04:04.880 --> 0:04:07.400 get in that new office and that it's gonna be good, 0:04:07.400 --> 0:04:11.920 tiny little dedicated studio, whole new world. All right, let's 0:04:11.920 --> 0:04:14.840 do this. Okay, So, Chuck films, you've seen one or 0:04:14.880 --> 0:04:16.920 two of them in your time. Have you seen any 0:04:16.920 --> 0:04:18.800 of the ones in this list? I know you've seen 0:04:18.800 --> 0:04:20.120 a few of them, but have you seen like some 0:04:20.200 --> 0:04:22.880 of the early ones I've seen. Well it we'll just 0:04:22.920 --> 0:04:28.200 go piece by piece because I have not seen Battleship Penkin. Okay, Um, 0:04:28.240 --> 0:04:31.440 but I do love Mandy Patankin. It's a little different 0:04:32.120 --> 0:04:36.799 in spelling pronunciation meaning the whole thing. But it's close, 0:04:36.880 --> 0:04:41.359 I guess. But we're talking, of course about films that 0:04:41.440 --> 0:04:45.320 change filmmaking and somewhere or another, and the first one 0:04:45.320 --> 0:04:49.120 on the list is from Battleship Patankin. That's hard for 0:04:49.120 --> 0:04:51.000 me to say, which is not the first movie, by 0:04:51.040 --> 0:04:53.520 the way. The first screen movie was Workers Leaving the 0:04:53.600 --> 0:04:56.560 Lumier Factory, which is forty seven seconds long. I'm the 0:04:56.560 --> 0:04:59.560 most boring piece of celluloid anyone's ever put together, But 0:04:59.640 --> 0:05:02.760 it was the first, that's right. This was many years. 0:05:02.760 --> 0:05:05.640 That was a full thirty years before Battleship Potempkin. By 0:05:05.640 --> 0:05:08.200 the time thirty years had passed, like we were doing 0:05:08.240 --> 0:05:11.640 like narratives and there was banning and all sorts of 0:05:11.640 --> 0:05:16.520 great stuff, and battleship pretention fell under both of those umbrellas. 0:05:16.720 --> 0:05:19.600 It was a narrative story. It was a silent movie, right, 0:05:19.760 --> 0:05:21.840 but it told a pretty clear story. And it was 0:05:21.880 --> 0:05:24.679 a bit of Russian propaganda as well. Yeah, it tells 0:05:24.680 --> 0:05:28.000 the story of a nineteen o five uprising in uh 0:05:28.160 --> 0:05:32.000 where there were Russian sailors. Basically, there was a mutiny 0:05:32.040 --> 0:05:34.960 aboard a ship and then the bad guys, the Cossacks 0:05:35.000 --> 0:05:39.719 came in looking for revenge. Yeah ninety five, that would 0:05:39.760 --> 0:05:43.040 have been rising up against tyranny, would have been rising 0:05:43.120 --> 0:05:49.000 up against the romanof monarchy, I guess. But it was made. 0:05:49.680 --> 0:05:53.200 So this is a time when you know, Lenin and 0:05:53.279 --> 0:05:56.200 Trotsky and all those dudes were running around trying to 0:05:56.440 --> 0:06:00.560 do the great experiment, and uh it ends up. It 0:06:00.600 --> 0:06:04.680 turns out that the battleship Potempkin was banned in some countries. 0:06:04.839 --> 0:06:08.040 Some countries are like, we don't want this Rusky propaganda, right, 0:06:08.440 --> 0:06:11.680 But Russia itself later on banned it when Stallin came 0:06:11.720 --> 0:06:14.640 to power because he was a self aware dictator. Was 0:06:14.680 --> 0:06:18.080 that the deal? Yeah, okay, he knew this could be 0:06:18.839 --> 0:06:22.880 a metaphor for rising up against my dictatorship. So I'm 0:06:22.880 --> 0:06:25.040 gonna just bay in this. Uh yeah, even though it's 0:06:25.080 --> 0:06:29.719 Russian propaganda. Well, filmatically, I need to bring the history, 0:06:29.720 --> 0:06:33.160 by the way, uh, Filmatically speaking, it was a landmark 0:06:33.240 --> 0:06:38.080 film because of the montage, most notably the Russian or 0:06:38.120 --> 0:06:42.760 Soviet theory of montage, which is basically that, um, your 0:06:42.800 --> 0:06:45.719 impact is going to come from juxtaposition of shots and 0:06:45.760 --> 0:06:50.880 not necessarily smooth sequence of shots. Um, and it should 0:06:50.880 --> 0:06:53.880 be rhythmic instead of necessarily being tied to the story. 0:06:53.920 --> 0:06:58.520 It was like a rhythmic series of shots. And um, 0:06:58.560 --> 0:07:01.800 this one is popular. It was The Odessa Steps sequence 0:07:02.400 --> 0:07:06.600 is one of the five acts, and it is huge 0:07:06.920 --> 0:07:11.440 because it has been aped and um mimicked and mocked 0:07:11.720 --> 0:07:15.400 and um homaged, probably more than I don't know about more, 0:07:15.480 --> 0:07:18.000 but a lot of times in film history. Well, yeah, 0:07:18.000 --> 0:07:22.680 the montage it's like a go to editing technique, right, 0:07:22.760 --> 0:07:25.120 Oh yeah, well the montage in general, but specifically the 0:07:25.120 --> 0:07:28.720 Odessa Steps. There are two notable parts in that sequence. 0:07:28.960 --> 0:07:32.000 One is the you know, it's basically a big charge 0:07:32.040 --> 0:07:34.080 on these these grand steps leading up to a building 0:07:34.120 --> 0:07:39.240 in a big battle Odessa, Texas. And um, there's a 0:07:39.280 --> 0:07:41.200 part of it where there's the old the old baby 0:07:41.240 --> 0:07:44.000 carriage going down the steps. You know what's going to 0:07:44.080 --> 0:07:46.840 happen to the baby And it sounds tired because we've 0:07:46.880 --> 0:07:51.800 seen that in uh, you know, The Untouchables. Notably that 0:07:51.960 --> 0:07:55.440 I did not find it tiresome Naked Gun thirty three 0:07:55.440 --> 0:07:59.360 and a third everything is illuminated the great movie by 0:07:59.560 --> 0:08:04.920 leaf Shaw. Ever, um that was from directly from the 0:08:05.000 --> 0:08:09.400 Odessa Step sequence and Battleship Patinkin the Baby Carriage and 0:08:09.600 --> 0:08:12.360 the old um shot through the shot in the eye 0:08:12.400 --> 0:08:15.440 through the glasses. Oh cool, that comes from this movie too. 0:08:15.440 --> 0:08:17.520 They were the first ones to do it. Yeah. Um, 0:08:17.560 --> 0:08:19.920 And you've seen that in Woody Allen's Love and Death 0:08:19.960 --> 0:08:23.760 and Bananas and of course The Godfather. The great sequence 0:08:23.800 --> 0:08:26.160 where Mo Green's getting the massage and he looks up 0:08:26.200 --> 0:08:29.240 and puts on his glasses during a montage. Yeah, that's 0:08:29.240 --> 0:08:33.520 exactly the whole Yeah, because there was an assassination on 0:08:33.559 --> 0:08:36.679 the steps as well. Oh yes, that was definitely a 0:08:36.720 --> 0:08:39.800 double Who was that? That was Francis Ford Coppola. Yeah, 0:08:39.960 --> 0:08:43.400 he was clearly aware of battleship attemptin clearly. I was 0:08:43.440 --> 0:08:45.640 trying to think of other examples of montages and the 0:08:45.640 --> 0:08:47.160 only thing I could come up with was the a 0:08:47.320 --> 0:08:52.520 team building something. But that counts as a montage, right, Yeah. Yeah. 0:08:52.600 --> 0:08:56.680 It's like some related in some way related shots that 0:08:56.760 --> 0:08:59.920 are kind of put together that a little bit transand 0:09:00.000 --> 0:09:03.960 and like a story in itself, like Rocky training for 0:09:04.000 --> 0:09:06.320 a fight. Yeah, that's another good A lot of times 0:09:06.320 --> 0:09:08.640 to set to music. Yeah, I love that. That's the 0:09:08.679 --> 0:09:10.680 only one you can think of. And in the Great 0:09:10.679 --> 0:09:13.080 Movie Brazil too has the shot through the glasses bit 0:09:13.679 --> 0:09:16.600 as I like to call it. So that's a Battleship 0:09:16.600 --> 0:09:19.040 at Tamkins, doesn't one of the Nazis and Raiders have 0:09:19.120 --> 0:09:23.120 lost art gets shot through the glasses. Maybe that wouldn't 0:09:23.120 --> 0:09:27.480 surprise me. It's been it's been off homaged, you know. Yeah, 0:09:27.840 --> 0:09:30.520 So Battleship at Tempkin was a It made a pretty 0:09:30.559 --> 0:09:35.720 big splash in ninety six. The following year, the next 0:09:35.720 --> 0:09:39.880 movie on the list. Um, it wasn't his first, but 0:09:39.920 --> 0:09:43.920 it really solidified I think his stardom Buster Keaton stardom, Yeah, 0:09:44.000 --> 0:09:47.319 the general rightfully so too. Yeah, he was one of 0:09:47.360 --> 0:09:50.640 the great Um well, some people call him the greatest 0:09:50.679 --> 0:09:54.000 stuntman to ever live. He's done some stuff that I 0:09:54.000 --> 0:09:56.679 think earns him that, yeah, because I mean this is 0:09:56.720 --> 0:09:59.200 back in the day two where he was legitimately risking 0:09:59.240 --> 0:10:03.120 his life, you know, like the the very famously where 0:10:03.160 --> 0:10:05.800 he's standing on the street in front of a house 0:10:05.840 --> 0:10:07.880 and then the whole front of the house falls over 0:10:07.960 --> 0:10:10.439 him and the window he just goes right around him. 0:10:11.040 --> 0:10:15.880 I watched that again today. It is I can't believe 0:10:15.920 --> 0:10:18.280 he did that. And there's actually a half of a 0:10:18.360 --> 0:10:21.480 second where his arm jerks up because he startled as 0:10:21.559 --> 0:10:24.800 the house finally makes its way like into his peripheral vision, 0:10:25.600 --> 0:10:28.560 and it has to be one of the most dangerous 0:10:28.559 --> 0:10:31.200 things that human beings ever done on film. I'm sure 0:10:31.280 --> 0:10:34.680 the whole time before that was like, we did the 0:10:34.679 --> 0:10:36.800 math right, he did the math. Do the math again, 0:10:36.840 --> 0:10:38.880 do the math again, Show me the math right, show 0:10:38.920 --> 0:10:41.199 me the math, because that's all it was. It was 0:10:41.280 --> 0:10:44.320 math and measurements. But yeah, he could have been squashed 0:10:44.320 --> 0:10:45.840 and killed very easily, and he had a lot of 0:10:45.880 --> 0:10:49.200 faith in everybody who was pulling off the stunt with him. 0:10:49.240 --> 0:10:50.960 You know, he had to just stand there. That was 0:10:51.000 --> 0:10:53.120 his whole thing is he had to just stand there. 0:10:53.280 --> 0:10:56.439 And his bit was that he um was he played 0:10:56.480 --> 0:11:00.360 it straight constantly. He was a stone faced actor. Yeah, deadpan. Yeah, 0:11:00.400 --> 0:11:02.920 he kind of started that whole thing because his big um. 0:11:03.200 --> 0:11:05.960 I was about to say rival, but I guess um 0:11:06.000 --> 0:11:10.120 just contemporary Charlie Chaplin, while similar in some ways, was 0:11:10.280 --> 0:11:14.040 completely different because Chaplin was constantly mugging for the camera 0:11:14.160 --> 0:11:17.680 and like asking for the audience, uh sympathy, raising his 0:11:17.720 --> 0:11:20.120 eyebrows or yeah, like look what's happening to me? Come on? 0:11:20.160 --> 0:11:22.200 Come on? Whereas Buster Keaton was just he had that 0:11:22.240 --> 0:11:24.240 dead pan look the whole time. Yeah, he would go 0:11:24.360 --> 0:11:28.240 from like a house falling around him to jumping on 0:11:28.280 --> 0:11:31.080 a train or something like that with just the same 0:11:31.400 --> 0:11:34.480 blank facial expression. Yeah. And the reason this is a 0:11:34.559 --> 0:11:37.320 highly influential film the generals because it kind of showcases 0:11:37.360 --> 0:11:40.440 the best of both, um, the the amazing stunts that 0:11:40.480 --> 0:11:43.800 would be mimicked in throughout the years and built upon, 0:11:43.920 --> 0:11:49.199 and then the dead pan style that influenced everyone from 0:11:49.200 --> 0:11:51.960 Obviously Bill Murray is one of the great dead pan 0:11:51.960 --> 0:11:55.360 actors of all time. Like you can count the number 0:11:55.360 --> 0:11:57.840 of time Bill Murray even smiles in a movie on 0:11:57.960 --> 0:12:01.319 like two hands, much less like apes or laughs or anything. 0:12:01.559 --> 0:12:04.600 Michael Sarah's mentioned in here, and I'm like he, I 0:12:04.600 --> 0:12:06.960 think he might have Bill Murray beat as far as 0:12:07.640 --> 0:12:10.320 actor goes. Well. Zach Galfin Akiss is on the list, 0:12:10.320 --> 0:12:14.960 he's super deadpan, um Leslie Nielsen, of course, Amy Poehler. 0:12:15.120 --> 0:12:17.959 I think is a is a woman that's a very 0:12:17.960 --> 0:12:21.800 dead pan has a dead pan style. Jason Schwartzman, Yes, 0:12:22.200 --> 0:12:24.280 but people say this is this all is a direct 0:12:24.280 --> 0:12:27.199 descendant of Buster Keaton's work. Yeah, And if you think 0:12:27.200 --> 0:12:31.720 we're overstating this. Go watch any Buster Keaton movie. You 0:12:31.760 --> 0:12:35.079 will be thrilled and delighted. And if your attention span 0:12:35.120 --> 0:12:37.520 has been shredded to ribbons by the Internet, just go 0:12:37.600 --> 0:12:40.360 on to YouTube and type in Buster Keaton and it'll 0:12:40.360 --> 0:12:44.040 bring up all sorts of um clips of his awesome stunts. 0:12:44.040 --> 0:12:46.319 Pretty great. He will be thrilled in amazed, I promise. Yeah, 0:12:46.320 --> 0:12:47.880 And I think I made a note here by the way, 0:12:47.920 --> 0:12:51.760 that we have a fatty Arbuckle retraction to make. Remember 0:12:51.760 --> 0:12:55.240 when we we called him out as the rapist murderer, 0:12:55.720 --> 0:12:58.800 I didn't say murderer, well, we said rapists at least, 0:12:59.400 --> 0:13:01.760 but we were taken a task by fan he was 0:13:01.800 --> 0:13:04.000 he had, he was acquitted of all that stuff and 0:13:04.040 --> 0:13:09.320 apparently didn't do uh either act and um, his career 0:13:09.360 --> 0:13:12.360 in life and family name were ruined forever. So he 0:13:12.440 --> 0:13:15.920 was evidently done a grave miss justice, and we sort 0:13:15.960 --> 0:13:19.160 of cavalierly just still called him that today. Yeah, I 0:13:19.160 --> 0:13:21.640 need to look into it more, all right, So next 0:13:21.760 --> 0:13:25.640 up we have the Jazz Singer the edition not the 0:13:25.679 --> 0:13:28.080 Neil Diamond one. No, and there was one in between 0:13:28.080 --> 0:13:32.760 two with Danny Thomas. I believe, Um, I like Neil Diamonds. 0:13:33.800 --> 0:13:36.400 It's good. I never saw do you ever see it? No? No, 0:13:36.440 --> 0:13:39.160 it's not bad. Um. But this is the original from 0:13:39.200 --> 0:13:43.240 Alan cross Land, and it is notable because it was 0:13:44.920 --> 0:13:51.120 the first feature link uh movie that was at least 0:13:52.600 --> 0:13:57.160 spoken dialogue. Does that make sense? Yeah, it's totally new. Yeah, 0:13:57.160 --> 0:13:58.960 it wasn't. It wasn't the first talkie because they had 0:13:59.000 --> 0:14:01.120 short films that were talking key's. And there was a 0:14:01.160 --> 0:14:04.599 movie the next year I'm sorry, yeah, called Lights of 0:14:04.640 --> 0:14:09.240 New York that had full spoken dialogue, but the jazz 0:14:09.240 --> 0:14:14.120 singer had a mix of music and spoken dialogue. The 0:14:14.160 --> 0:14:16.520 first big, big daddy feature length film to do so 0:14:16.720 --> 0:14:21.360 right with substantial dialogue, right, Yeah, and they they did 0:14:21.400 --> 0:14:24.840 it in the most roundabout difficult way that you could 0:14:24.840 --> 0:14:28.920 possibly do it, which is too record the audio and 0:14:29.000 --> 0:14:33.560 the soundtrack, both the dialogue and the music, onto vinyl 0:14:33.600 --> 0:14:38.280 records probably wax records really, and then um, the projectionists 0:14:38.280 --> 0:14:40.720 had to sink the record up with the film strip 0:14:41.240 --> 0:14:44.120 so everything was in sync. Yeah. It was a device 0:14:44.160 --> 0:14:47.200 called a Vita phone that Warner Brothers sunk about half 0:14:47.200 --> 0:14:50.560 a million into. Uh. This company called Western Electric who 0:14:50.600 --> 0:14:54.920 invented it, and it was actually physically connected to the 0:14:54.960 --> 0:14:59.240 projector's motor. Um, so they did while they did have 0:14:59.280 --> 0:15:01.520 to sink it. It was it was a physical connection 0:15:01.960 --> 0:15:06.480 between the phonograph player and the projection. Uh real, I guess. 0:15:07.280 --> 0:15:09.160 And it went on to gross three and a half 0:15:09.160 --> 0:15:13.440 million bucks a lot of dough. That's a ton of dough. 0:15:13.520 --> 0:15:18.600 That's like five six million dollars today at least at least, 0:15:19.040 --> 0:15:22.640 but uh, it was ineligible for the Best Picture because 0:15:22.640 --> 0:15:25.040 they were just like, you can't compete with the rest. 0:15:25.080 --> 0:15:27.720 It's not fair, oh wow, because everything else is silent 0:15:27.880 --> 0:15:31.160 and everyone's going to vote for you. So that changed 0:15:31.240 --> 0:15:35.520 the whole game for sure. We will continue on with 0:15:35.560 --> 0:15:59.360 our awesome and engrossing list right after this, So Chuck, 0:15:59.680 --> 0:16:03.040 if you will notice the first three movies in our list, 0:16:03.080 --> 0:16:08.320 the first three films that changed everything happened in twenty seven. 0:16:08.360 --> 0:16:10.720 Things were changing vast they really were. I mean, like 0:16:10.920 --> 0:16:13.800 we buy leaps and bounds. But you can also make 0:16:13.840 --> 0:16:16.840 the case that there was a lot of new ground 0:16:16.880 --> 0:16:20.040 to cover. So just about anybody who did anything new 0:16:20.080 --> 0:16:24.880 that was noteworthy. Yeah, it was a big innovation. Harder 0:16:24.880 --> 0:16:27.480 to innovate these days, it is um And if you'll 0:16:27.520 --> 0:16:30.960 notice on the list. Um, So the earliest ones where 0:16:31.040 --> 0:16:35.680 like technical editing, innovations. Um. Now, starting with Citizen Kane 0:16:35.680 --> 0:16:40.800 from we start to get into innovations and storytelling, which 0:16:40.880 --> 0:16:44.880 is a lot more nuanced than you know, um, doing 0:16:44.880 --> 0:16:48.160 your own stunts or using a montage or something. It's 0:16:48.400 --> 0:16:51.960 it's figuring out how to tell a story in a 0:16:52.120 --> 0:16:57.080 much less linear narrative fashion. And Citizen King was one 0:16:57.120 --> 0:17:00.000 of the early ones to pioneer a non linear narrative 0:17:00.040 --> 0:17:03.680 of Yeah, did you you saw this? Yeah? Yeah, I 0:17:03.720 --> 0:17:06.360 didn't see it until I mean it was probably like 0:17:08.359 --> 0:17:11.119 probably about fifteen years ago, but like way later than 0:17:11.200 --> 0:17:12.800 you would think I would have seen this as a 0:17:12.840 --> 0:17:15.720 big film buff. I saw it in college at a 0:17:16.800 --> 0:17:21.880 in a film class. Yeah. Often. Yeah, if you sign 0:17:21.920 --> 0:17:24.200 up for a film class, you're gonna study Citizen exactly 0:17:24.280 --> 0:17:27.000 pretty much. And I finally found out where Rosebud was. 0:17:28.040 --> 0:17:31.800 Don't ruin it. I won't. But it is a landmark 0:17:31.880 --> 0:17:34.960 film in every way, and it has often been top 0:17:35.000 --> 0:17:39.400 of best Films of All Time lists for great reasons, UM, 0:17:39.480 --> 0:17:41.760 one of which, like you said, the non linear narrative 0:17:41.920 --> 0:17:45.520 was really unique thing at the time. UM. Although Flashback 0:17:45.600 --> 0:17:49.000 wasn't brand new it was the first time it had 0:17:49.000 --> 0:17:52.440 been this extensive and effective in the story because I 0:17:52.480 --> 0:17:56.480 mean it's substantial enough that it really cuts up the flow. Yeah, 0:17:56.600 --> 0:17:58.600 you know, it's not like a quick flashback and they 0:17:58.680 --> 0:18:01.160 come back and the actor is like staring off into 0:18:01.160 --> 0:18:04.960 space to transition back into the present again. I mean 0:18:05.000 --> 0:18:08.520 like it was all over the place. Yeah. Uh. Some 0:18:08.640 --> 0:18:16.000 of the more concrete cinematic landmarks. One was using deep focus. Uh. 0:18:16.200 --> 0:18:20.440 Director of photography Greg Toland Legend used he had used 0:18:20.480 --> 0:18:23.720 deep focus before on a movie called Long Voyage Home, 0:18:23.800 --> 0:18:26.680 But um, it's all over the place in Citizen Kane. 0:18:26.720 --> 0:18:29.679 And that basically means if you see a shot where 0:18:30.400 --> 0:18:33.840 something very far away is in focus in the shot, 0:18:34.560 --> 0:18:36.840 basically where everything is in focus, or the background in 0:18:36.920 --> 0:18:39.480 the foreground or in focus, so you can press pause 0:18:39.520 --> 0:18:42.240 and look around exactly like you're sticking your head into 0:18:42.280 --> 0:18:45.000 a box. Yeah, that's called deep focus. And it was 0:18:45.080 --> 0:18:48.800 brand new. Uh, as far as Citizen Kane goes. It's 0:18:48.840 --> 0:18:51.720 how extensive it used it. One of the other things 0:18:51.800 --> 0:18:55.720 was off center framing. Um it was a big, you know, 0:18:55.760 --> 0:19:00.280 pretty common thing to just center whatever the main act was, 0:19:00.320 --> 0:19:04.000 either the character or the object, and um, Citizen Kane 0:19:04.040 --> 0:19:06.320 had a lot of things where the main focus of 0:19:06.480 --> 0:19:10.119 the scene the character, maybe even off screen, which was 0:19:10.160 --> 0:19:12.040 really weird at the time. People didn't know what to 0:19:12.040 --> 0:19:18.080 think of it. Um expressionistic lighting. Uh back then everything 0:19:18.080 --> 0:19:20.080 that they just lit it there, like make sure everything's 0:19:20.119 --> 0:19:23.560 well lit. Um. But auto premature also like a big 0:19:23.600 --> 0:19:27.240 pioneer with that. Yeah, I think so with um Dalin 0:19:27.359 --> 0:19:30.720 for Murder, I think he directed that. Was that Hitchcock? 0:19:30.800 --> 0:19:33.359 I think that was Hitchcock? Was it? Okay? Well, auto 0:19:33.359 --> 0:19:36.080 premature directed stuff like that, though right he was. He 0:19:36.200 --> 0:19:38.639 used moody lighting and shadows and stuff a lot. I 0:19:38.720 --> 0:19:40.919 probably messed that up. People are going to be Dalin 0:19:41.000 --> 0:19:45.359 for murder. I think it was premature, okay, Um, but 0:19:45.560 --> 0:19:48.360 U orson Welles of course. I don't think we even 0:19:48.400 --> 0:19:52.280 mentioned that who wrote, directed, and started and produced, and 0:19:52.320 --> 0:19:54.480 I think he even edited A Citizen Kane. Yeah, I 0:19:54.600 --> 0:19:57.440 just assumed everybody knew that, you know. Yeah. Um. He 0:19:57.480 --> 0:20:00.800 came from the theater, where uh you create mood with 0:20:00.920 --> 0:20:04.160 lighting only certain parts of the stage, so he brought 0:20:04.160 --> 0:20:08.280 that into the movies and uh it was very um 0:20:08.280 --> 0:20:11.240 evocative and set the mood well. And people are like, man, 0:20:11.600 --> 0:20:14.000 why are we lighting everything all bright all the time? 0:20:14.560 --> 0:20:18.960 Look at Citizen Kane, which really worked. Um. A couple 0:20:19.000 --> 0:20:22.240 of other things, one of which I know you will appreciate, sir, 0:20:22.880 --> 0:20:26.000 is that he pretty much invented the wipe. Oh, the 0:20:26.080 --> 0:20:29.880 star wipe, not the star wipe, but it followed. Yeah, 0:20:29.920 --> 0:20:32.240 the star wipe followed, which I know is your favorite 0:20:32.640 --> 0:20:36.399 transition in cinema. Oh, it's all Star wars Star because 0:20:36.400 --> 0:20:40.840 it almost makes a beop sound, you know. Uh. And 0:20:40.880 --> 0:20:42.679 one of the way, I want to say, you're right, Dallan. 0:20:42.720 --> 0:20:46.119 For murder, it was Hitchcock. Okay, what was premature? Did 0:20:46.160 --> 0:20:48.280 you look that up? He did one called Laura the 0:20:48.280 --> 0:20:50.439 Man with the Golden Arm. It's not who I'm thinking of. 0:20:50.480 --> 0:20:53.879 I'm thinking of a director named Auto who directed in 0:20:53.920 --> 0:20:59.119 like the twenties or thirties, and he directed like moody um, 0:20:59.160 --> 0:21:05.400 like like moody movies like yeah, murder movies, yeah, filmore, yes, 0:21:05.560 --> 0:21:07.800 film noir. That's exactly what I was going for. And 0:21:07.840 --> 0:21:10.560 I don't remember who it was. Maybe his name is 0:21:10.600 --> 0:21:15.280 Otto film Moore, He's French. Um. And then one final thing, 0:21:15.320 --> 0:21:17.639 of course, that you could study Citizen Kane for a 0:21:17.640 --> 0:21:19.960 week in the film class. So this is an overview. 0:21:20.040 --> 0:21:24.639 But um, the low angle shots. Um, people didn't use 0:21:24.640 --> 0:21:26.280 a lot of low er high angle shots back then. 0:21:26.280 --> 0:21:27.919 It was kind of just shot from straight on and 0:21:28.520 --> 0:21:31.600 um Orson Welles even dugout cut out the floor a 0:21:31.640 --> 0:21:34.199 lot of times to get the camera lower. And for 0:21:34.240 --> 0:21:37.720 the first time we saw ceilings in view in a 0:21:37.800 --> 0:21:40.240 movie because quite often things were shot on a sound 0:21:40.240 --> 0:21:43.280 stage where you don't have ceilings, and um, he wanted 0:21:43.280 --> 0:21:47.200 those low angle shots, so they used um fabric most 0:21:47.240 --> 0:21:50.240 times to act as a ceiling, but very effective shots 0:21:50.280 --> 0:21:54.960 of from below of orson Wells. As I mean, it 0:21:55.040 --> 0:21:58.320 wasn't exactly William Randolph first, but it was an approximation 0:21:58.440 --> 0:22:01.680 of William Randolph first, a very effective low angle stuff 0:22:02.200 --> 0:22:06.160 that now, I mean we take for granted all these things, Um, 0:22:06.200 --> 0:22:08.800 but you know, there would be no pulp fiction and 0:22:08.880 --> 0:22:12.520 that non linear storytelling if there was no well maybe 0:22:12.560 --> 0:22:15.359 somebody would have done it, but maybe eventually. But the 0:22:15.440 --> 0:22:18.159 first he did the first, and and that's why it 0:22:18.240 --> 0:22:22.239 was innovative. Exactly. It's Fritz Lang. Yeah, there you go, 0:22:22.640 --> 0:22:27.600 Fritz Lang Metropolis and m just um, that's okay, Yeah, 0:22:27.600 --> 0:22:30.320 it's all making sense that get confused. Yeah, but you 0:22:30.359 --> 0:22:33.239 were right, You were right there. Fritz and Auto are 0:22:33.320 --> 0:22:36.680 not close. I mean they're both Jerreman, but that's about it. Yeah, 0:22:36.720 --> 0:22:39.280 but do you know the difference between M and dial M? 0:22:39.600 --> 0:22:44.800 Just a telephone? What's up next, Chuck Breathless? One of 0:22:44.880 --> 0:22:48.600 my faiths. So I am going to rely on you 0:22:48.680 --> 0:22:51.840 mostly for this one because I looked up what the 0:22:51.840 --> 0:22:56.239 French New Wave really did, what did accounted for? And 0:22:56.320 --> 0:23:00.760 like all of the essays I found were are they 0:23:00.760 --> 0:23:04.760 were dense, Yeah, and I didn't really understand. I understood 0:23:04.760 --> 0:23:07.359 that the French New Wave like changed everything, yea, and 0:23:07.400 --> 0:23:09.520 that a lot of the movies that I know and 0:23:09.560 --> 0:23:13.560 love today are the offspring of the French New Wave, 0:23:13.600 --> 0:23:17.480 but I still didn't get exactly specifically what the French 0:23:17.560 --> 0:23:20.439 New Wave did. And you're going to rely on me 0:23:20.480 --> 0:23:25.520