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Speaker 1: Hey, everybody, welcome to a very special episode of I

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

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Speaker 2: I'm Daniel Henderson. And why are.

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Speaker 1: We so special? You're asking?

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Speaker 2: This is our one hundredth episode. Two hundred movies. That's

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Speaker 2: a lot of movies that we have presented to the

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Speaker 2: to the public at large, and I can't believe it.

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Speaker 2: It's kind of wild.

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Speaker 1: How are you feeling about one hundred episodes in the

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Speaker 1: in the in the bank.

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Speaker 2: It feels great, it feels like it's I don't know,

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Speaker 2: it feels like a real accomplishment. Oh, I totally agree.

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Speaker 1: I mean sometimes when I'm in the podcast streets and

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Speaker 1: I'm like, oh, there's only like seven episodes of this podcast,

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Speaker 1: I'm like, okay, noted. And then when I see a

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Speaker 1: podcast that's been on for like hundreds of episodes.

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Speaker 2: Of like, holy crap, that's a lot.

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Speaker 1: That's a lot to sink into if I've never heard it,

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Speaker 1: you know.

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Speaker 2: Yeah, and just thinking about like who we like, who

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Speaker 2: and where we were when we started the podcast versus

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Speaker 2: where we are now and how our lives have changed,

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Speaker 2: and it's kind of a nice constant.

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Speaker 1: Am I gonna put you on the spot right now

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Speaker 1: if I ask you, give me like your top three

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Speaker 1: favorite double features that we've done.

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Speaker 2: Oh yeah, it's totally putting me on the spot. But

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Speaker 2: hang on, I know.

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Speaker 1: I'm like, let's go back and look at what we've

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Speaker 1: done right quick, because.

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Speaker 2: I know right off the bat that I really loved

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Speaker 2: the Fly and seconds our first New Year knew me.

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Speaker 2: Oh yeah, that was so fun, so fun. I really

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Speaker 2: loved Ourganja and Hess and Losing Ground episode, the Bill

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Speaker 2: gun episode.

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Speaker 1: Oh yeah, Oh my god. I was thinking about Bill

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Speaker 1: Gunn today because of our.

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Speaker 2: Theme this week.

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Speaker 1: But anyway, we'll talk about it.

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Speaker 2: No, I love that in the La Rebellion, like when

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Speaker 2: we did to Sleep with Anger and Penitentiary, Yeah, was great.

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Speaker 2: I have a real softness in my heart for the

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Speaker 2: Burbs and Rear Window, our Neighborhood Creeps episode when you

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Speaker 2: delicately told everyone that Jimmy Stewart's bowner was breaking through

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Speaker 2: his cast.

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Speaker 3: That.

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Speaker 1: Yeah. People have asked me about that in like in

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Speaker 1: later days, and I've been like, oh, I was dissociating

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Speaker 1: when we recorded that episode. I remember saying it. It

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Speaker 1: was so filthy.

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Speaker 2: That's the best way to podcast when you're just like

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Speaker 2: my brain's off.

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Speaker 1: See that's your method. Though You've said that many times

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Speaker 1: about how like you barely remember what you did, Like,

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Speaker 1: oh yeah, we're done with the episodes. You can't remember

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Speaker 1: what you said, And I actually, I think that's a

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Speaker 1: good way to go.

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Speaker 2: Yeah. It's just like it's very natural, very organic, and

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Speaker 2: I'm not holding myself back. It's just what comes out

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Speaker 2: is what comes out in the moment. Yeah, And I

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Speaker 2: think in terms of that that kind of ethos for

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Speaker 2: our show. It's hard for me to narrow this down

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Speaker 2: to three, as you can tell, but I think that

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Speaker 2: if you are new to the podcast or you want

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Speaker 2: people to listen to the podcast, and you're like, what

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Speaker 2: should I what's the best representation of Millie and Danielle,

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Speaker 2: it has to be our Flores Lava episode when we

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Speaker 2: did Joe versus the Volcano and Dante's Peak. I love

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Speaker 2: that episode.

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Speaker 1: Do you think I'm trying to think? Now, what movie

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Speaker 1: did we like collectively laugh the hardest at as we

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Speaker 1: were recording, And it might be Dante's Peak. It might

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Speaker 1: be like we both could not stop laughing just thinking

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Speaker 1: about the movie.

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Speaker 2: It could be Dante's Peak. We laughed our asses off

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Speaker 2: but also all the way up.

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Speaker 1: Oh yeah, yeah that too, that too, he got owner problem. No,

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Speaker 1: I swear like, you know, I think I will say

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Speaker 1: to our credit, I think we cover good spread in

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Speaker 1: terms of the kinds of movies that we watch, right,

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Speaker 1: because we do talk about movies seriously and we have

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Speaker 1: serious episodes, But then we have episodes where we're just

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Speaker 1: like laughing at the film and it's not I don't

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Speaker 1: think in a mean way. It's almost just like our

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Speaker 1: way of processing what we're watching on the screen, which

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Speaker 1: I'm not saying like every movie that we've watched is art, right,

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Speaker 1: hell yeah, And when it when it's not art, it's

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Speaker 1: just funny. It's funny to talk with you about it.

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Speaker 1: And you know, like there are so many episodes like

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Speaker 1: that where I feel like, you know, I don't think

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Speaker 1: we're trying to, you know, say anything more than just

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Speaker 1: like having a genuine love and appreciation for how the

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Speaker 1: movie just makes us laugh, you know what I mean.

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Speaker 1: It's not like we're not coming mean, we're just celebrating

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Speaker 1: the absurdity absolutely.

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Speaker 3: Well.

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Speaker 2: That's one of the things I really love about doing

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Speaker 2: this podcast is that it's you know, we are genuinely

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Speaker 2: presenting movies to each other, and I just like hearing.

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Speaker 2: I like how we both have different takes on some things,

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Speaker 2: and it's just the types of movies we pick and

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Speaker 2: the movies that we do pick for our themes are

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Speaker 2: it gives us an ability to be like at our

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Speaker 2: best in all possible ways, Like we can be funny,

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Speaker 2: we can be smart, we can be thoughtful. It just

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Speaker 2: really it's a good mix. It's a good mix, and

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Speaker 2: it's exactly what we wanted to do, Like we I'm

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Speaker 2: just I'm so I'm so happy because I feel like

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Speaker 2: what we set out to do was create a podcast

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Speaker 2: that introduce people to films or help people kind of

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Speaker 2: have a different way to access film and film discussions.

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Speaker 2: And that's exactly what we've done, and people constantly, Like

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Speaker 2: even just recently, people were saying, you know, someone commented

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Speaker 2: on Instagram that they'd never seen Harold and Maud before

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Speaker 2: and they watched it on a plane and it's now

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Speaker 2: like one of their favorite movies. Yeah.

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Speaker 1: Actually, somebody approached me in Atlanta not too long ago

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Speaker 1: and said that they had never seen Whatever Happened to

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Speaker 1: Baby Jane, and then they listened to that episode that

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Speaker 1: we did which by the way, was the hereditary episode.

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Speaker 1: You just set the point that out a legendary episode

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Speaker 1: for sure. But yeah, she came up to me and

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Speaker 1: said that she now loves Betty Davis and wants to

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Speaker 1: watch all the Betty Davis movies. And I'm just like

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Speaker 1: that just made me very happy.

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Speaker 2: I do get messages about people just saying great things

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Speaker 2: about you, which I love, Like I love when people

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Speaker 2: send me send me messages and said, like, Millie is

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Speaker 2: so cool and so smart, and I love this movie

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Speaker 2: that she picked, and I love this and I loved

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Speaker 2: your friendship. And that's something that I think we maybe

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Speaker 2: didn't expect, but of both kind of I feel like

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Speaker 2: we've both kind of gotten used to it a little bit.

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Speaker 2: More is that people comment on our friendship a lot,

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Speaker 2: and I didn't expect that when we started this podcast,

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Speaker 2: that like our friendship would be part of the show

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Speaker 2: in a way that made people want to comment. But

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Speaker 2: you know, they kind of really like how we support

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Speaker 2: each other and how we talk to each other, which

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Speaker 2: is interesting and cool.

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Speaker 1: Yeah, I mean, I'm not gonna lie. I kind of did.

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Speaker 1: I kind of expected people because I feel like, I

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Speaker 1: don't know, I think about the kinds of podcasts that

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Speaker 1: I want to listen to, and I think that in

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Speaker 1: a way, you have to kind of invest in who's

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Speaker 1: talking to you, you know what I mean, and like, uh,

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Speaker 1: it's audio is such an intimate medium, and you know,

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Speaker 1: if you don't if you don't really like somebody, it's

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Speaker 1: very obvious very quickly, you know. And there are people

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Speaker 1: over you know, who will not listen to the because

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Speaker 1: they can't stand the way that I talk or something

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Speaker 1: or whatever. They don't like. That's fine.

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Speaker 2: My favorite is when they're like, we don't like laughter,

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Speaker 2: and I'm like, oh, you got to check in with

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Speaker 2: your heart on that one. But I get it. That's fine.

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Speaker 2: You want someone to like. So a lot of people

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Speaker 2: just like podcasts where people are just reading them book reports,

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Speaker 2: like they're reading the shipping news, and I'm like, all right,

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Speaker 2: we're not bad.

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Speaker 1: One hundred percent. It's the same people. It was so

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Speaker 1: funny because I was on Twitter the other day and

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Speaker 1: Alonzo Gerralde. I know, I don't know if you know

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Speaker 1: who he is, but you know, he hosts many podcasts.

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Speaker 1: He's a film a story and he's very very smart.

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Speaker 1: He quoted this this one tweet that was written by

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Speaker 1: somebody I don't know who it was talking about how

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Speaker 1: he can't The person who wrote the original tweet says

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Speaker 1: he doesn't understand why people talk at the begin beginning

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Speaker 1: of podcasts about their personal lives, and he is like,

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Speaker 1: I can't believe they just don't like immediately get into

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Speaker 1: what they're supposed to be talking about. And Alonso said

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Speaker 1: something to the effect of, well, that's the dividing line

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Speaker 1: between someone who wouldn't listen to our podcast and someone

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Speaker 1: who would, do you know what I mean?

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Speaker 2: Like absolutely, Yeah, there are a lot of people who

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Speaker 2: I'm like, oh, you want to be told a story

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Speaker 2: from start to finish, and that is not this, Like,

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Speaker 2: there are many different types of podcasts, many different ways

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Speaker 2: into podcasting, and if we're not your cup of tea,

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Speaker 2: that's completely fine, but it's for me, it's weird to

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Speaker 2: listen to a podcast and not know anything about the

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Speaker 2: person I'm listening to. Yeah, Like, I don't prefer that,

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Speaker 2: even if it's at the top where somebody's like I'm

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Speaker 2: a journalist or like tell me something like give me

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Speaker 2: some way into why I'm listening to you specifically.

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Speaker 1: I really feel this, and I feel like when it

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Speaker 1: comes to what we're trying to do, Like, I mean,

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Speaker 1: anybody can review movies, right, Like, there are hundreds of

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Speaker 1: movie podcasts where people are just kind of giving their takes, right.

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Speaker 1: I feel like what our podcast is doing is sort

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Speaker 1: of trying to get people to understand the relationship between like,

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Speaker 1: you know, the viewer and a film.

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Speaker 2: Right.

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Speaker 1: So it's not like we're not always coming from this

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Speaker 1: like exalted place of expertise and you know and sort

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Speaker 1: of knowledge film history knowledge. Sometimes it's like, here's who

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Speaker 1: am I in the world, and how do I process films?

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Speaker 1: Because a lot of times these films were not made

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Speaker 1: for me. They were made for you know, people who

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Speaker 1: have like the general experience of you know, white straight,

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Speaker 1: you know, says set supremacy or whatever. So it's that

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Speaker 1: thing of like I don't feel like we can just

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Speaker 1: jump on the mic and be like, here's my review

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Speaker 1: or here's my take of this movie without giving a

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Speaker 1: little context about who we are as people exactly.

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Speaker 2: And that's why we wanted to do this show in

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Speaker 2: the first place, because I feel like we we have

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Speaker 2: listened to so many and consume so many critical, you know,

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Speaker 2: films through a critical lens that weren't from our perspective

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Speaker 2: or didn't speak to us and did feel a little

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Speaker 2: bit like inaccessible. And so I think that, yeah, like

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Speaker 2: makes sense to hear us talking about like love and

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Speaker 2: basketball and brown sugar in an episode if you didn't

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Speaker 2: know anything about us growing up in the nineties or

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Speaker 2: us as people in kind of the cultural place that

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Speaker 2: we come from.

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Speaker 1: Yeah, I mean, honestly, like I I'd rather hear from

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Speaker 1: somebody like you about a movie like Hood or like

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Speaker 1: a movie like even Gleaming the Cube. You know, it's like,

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Speaker 1: I know what, like most teenage boys thought of Gleaming

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Speaker 1: the Cube when that movie came out, But like, what

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Speaker 1: about you, Like who were you when it came out?

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Speaker 1: And like what's your specific experience that made you either

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Speaker 1: appreciate or not appreciate a film? I mean, I don't know.

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Speaker 1: I just think that that's interesting. And maybe some people

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Speaker 1: just don't want the personality. They just were like, well,

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Speaker 1: I just want the facts, And I'm like, well, you

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Speaker 1: will not enjoy our.

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Speaker 2: Podcast that exactly.

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Speaker 1: Just keep it not gonna happen for you, and I.

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Speaker 2: Keep it fucking move in, keep it moving. My favorite though. Ah,

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Speaker 2: we are so thankful for our audience, which I'll talk

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Speaker 2: about in a minute, but my absolute favorite review of

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Speaker 2: all time of our podcast is someone gave us one

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Speaker 2: star and just wrote nope with an exclamation.

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Speaker 1: Oh yeah, I saw that. I was hoping they were

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Speaker 1: talking about the Jordan Peele movie Nope.

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Speaker 2: But I guess no. No, They're like just nope, And

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Speaker 2: I'm like, great, solid, you don't need to get more

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Speaker 2: into it. It's not for you. That's fine. But it

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Speaker 2: just made me laugh so fucking hard that it was

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Speaker 2: like one star nope. But I do think that in

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Speaker 2: that way because I am again We've talked about this

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Speaker 2: in previous episodes, and we talk about this a lot,

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Speaker 2: but I'm more private than people would assume I am.

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Speaker 2: And so I've you know, I've deactivated my Twitter account.

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Speaker 2: I don't allow messages on my Instagram from people I

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Speaker 2: don't know, Like I'm pretty shut off in a lot

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Speaker 2: of ways. So reading reviews, reading comments is kind of

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Speaker 2: like the way that I like to neck to our audience.

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Speaker 2: And y'all are fucking hilarious, and your emails, like you

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Speaker 2: guys are so funny and smart and thoughtful. I just

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Speaker 2: I feel truly like we have the greatest audience, like

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Speaker 2: people who have our same sense of humor, who are

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Speaker 2: very quick to laugh and just like you know, kind

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Speaker 2: of lighter side of life and but again really thoughtful

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Speaker 2: and emotional and vulnerable. And I don't think you get

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Speaker 2: that from a lot of audiences. I just feel like

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Speaker 2: we've cultivated something really special.

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Speaker 1: I agree, And yeah, very thankful for this experience and

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Speaker 1: for connecting with so many people. And you know, I

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Speaker 1: you know, obviously for me, it's it's a joy because

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Speaker 1: I feel like I can just really be myself in

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Speaker 1: a lot of ways in this podcast. I mean, you know,

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Speaker 1: like I said, not that I'm not myself on some

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Speaker 1: of the other stuff that I do, but it's just

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Speaker 1: a different world, I feel like, you know. And when

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Speaker 1: I'm out there like doing things sort of professionally for

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Speaker 1: my career that kind of stuff, like I just feel

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Speaker 1: a little bit more pressure to you know, I don't know,

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Speaker 1: present myself as like a polished like individual. And with

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Speaker 1: this podcast, it's like I can just like say that,

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Speaker 1: say the F word all the time and talk about

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Speaker 1: boner shattering casts and stuff like that. I mean, it's

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Speaker 1: a it's it's like a way for me to kind

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Speaker 1: of relax and and also I feel like too with

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Speaker 1: with the movies we pick, I like that the structure

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Speaker 1: is where we choose our own movies right right, because

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Speaker 1: a lot of times with other film podcasts, you don't

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Speaker 1: choose the movies. It's part of some theme of the

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Speaker 1: show or you know, like I've done so many podcasts

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Speaker 1: where they're like, we're only going to talk about movies

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Speaker 1: from nineteen sixty one and nineteen sixty nine, and you

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Speaker 1: have to pick that's the you know, right, the metric,

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Speaker 1: and then I'm like, oh my god, like I gotta

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Speaker 1: go and do all this legwork and kind of figure

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Speaker 1: out what I'm gonna say. But you know, for this one,

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Speaker 1: and it's fun because we pick our own movies so.

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Speaker 2: Well that and that's the thing I'm going to ask

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Speaker 2: you to and not not to put you on the spot,

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Speaker 2: but I think that in terms of the movies that

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Speaker 2: we pick, I think it showcases a lot of who

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Speaker 2: we are and what we like to watch. And has

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Speaker 2: it impacted your professional career, like now that you're moving

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Speaker 2: into a different stage of your career, Like, do you

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Speaker 2: think that the work we do on the podcast is

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Speaker 2: going to influence what you do going forward, Like do

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Speaker 2: you want to do more things where you feel like yourself?

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Speaker 2: Do you want to be more of an expert? Do

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Speaker 2: you want to be more of like a traditional role,

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Speaker 2: a non traditional role, like not necessarily forcing you to

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Speaker 2: think of what you're going to do next, but just

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Speaker 2: curious about how this experience where you do get to

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Speaker 2: be so free and be so much yourself has impacted

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Speaker 2: like the rest of your film career. Yeah.

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Speaker 1: I mean, honestly, I'm a lot more broad on this

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Speaker 1: show than I ever was, you know. Okay, So when

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Speaker 1: I was a programmer, you know over at TCM, like

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Speaker 1: I programmed all kinds of stuff there too, Like you know,

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Speaker 1: a lot of people thought I only did like cult movies,

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Speaker 1: and I was like the cult movie girl, and that

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Speaker 1: was just my only interest. I mean I programmed that

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Speaker 1: the whole rest of that network too, you know, alongside

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Speaker 1: my coworkers of course, but you know I did. You know,

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Speaker 1: I worked on Noir Alley with Eddie. I worked on

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Speaker 1: Silent Sunday Nights with Jacqueline, like I did Imports with Alicia.

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Speaker 1: So that's like, you know, foreign films, silence, noirs that

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Speaker 1: I programmed like pretty much stuff during the day and

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Speaker 1: on the weekend, so Sundays with Grandpa that was all

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Speaker 1: my shit, like all of the Westerns and like all

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Speaker 1: of the rom coms and stuff. So it's like it

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Speaker 1: was broad for me in that way. And I think

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Speaker 1: a lot of people though, didn't understand that I was

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Speaker 1: doing that. So they were like, Oh, you only program

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Speaker 1: like weird, crazy cult movies and that is the only

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Speaker 1: thing that we want to talk to you about, right,

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Speaker 1: It's like, what's your take on this cult movie? What's

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Speaker 1: your take on you know, X, Y and Z. With

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Speaker 1: the podcast, I feel like in a way, I sort

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Speaker 1: of went away from that where I felt like I

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Speaker 1: was talking a lot more about like seventies, eighties, nineties,

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Speaker 1: like more recent movies. Of course, you know, I don't

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Speaker 1: watch movies. I have not watched movies past two thousand,

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Speaker 1: so I'm learning thanks to you about movies from the

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Speaker 1: two thousands and later. But even like being able to

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Speaker 1: talk about you know, I don't know, like the way

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Speaker 1: we were or you know, even like stuff that you've picked,

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Speaker 1: like nineties films and Hereditary and you know, that kind

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Speaker 1: of stuff that's interesting to me too, And so I

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Speaker 1: feel like, yeah, maybe like in this new phase of life,

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Speaker 1: maybe I'll be able to kind of like expand my

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Speaker 1: I guess my expertise more or at least verbalizing my expertise.

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Speaker 2: Right, Yes, yeah, because you already have it and it's

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Speaker 2: a part of who you are. And it's even thinking

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Speaker 2: back to like, you know, you being in school, in

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Speaker 2: film school and going back for your graduate degree and

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Speaker 2: and you know you're focusing more on on gender politics,

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Speaker 2: and like it's all there already. It's just that like

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Speaker 2: you haven't been given a platform to really vocalize that

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Speaker 2: until now. So I'm just I'm really happy that you

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Speaker 2: get to show off a little bit and the kind

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Speaker 2: of showcase that you are knowledgeable about film in many

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Speaker 2: different ways, not just cult classics or cult films, but

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Speaker 2: that you have just the kind of built in institutional

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Speaker 2: knowledge about that world.

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Speaker 1: Yeah. Well no, yeah, And I'm glad again to be

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Speaker 1: in this space with you because I know that when

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Speaker 1: we first started, you know, we were kind of like, Okay,

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Speaker 1: well obviously, like I'm a film programmer and you're a

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Speaker 1: television writer and we just go to the movies all

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Speaker 1: the time, and that's set up, right, But I feel

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Speaker 1: like I feel like you maybe at the beginning thought.

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Speaker 1: You know, I mean, I can understand it being kind

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Speaker 1: of intimidating to do a film podcast because there's just

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Speaker 1: so many like film podcast stereotypes out there, and I

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Speaker 1: know that it was our mission to make something that.

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Speaker 2: Was not that right.

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Speaker 1: But I feel like you've become intimidated by this world

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Speaker 1: over time, and I feel like you're really in it.

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Speaker 1: You're in it, you have a critical opinion, you have

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Speaker 1: something to say. You you know, it doesn't matter if

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Speaker 1: you didn't go to film school or whatever at this point,

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Speaker 1: like you're just here to process the films that you watch.

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Speaker 1: And I think a lot of people like really lean

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Speaker 1: into your perspective, which is awesome and necessary.

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Speaker 2: So thank you. Yeah, I do. I feel really comfortable,

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Speaker 2: Like I feel like like this has really given me

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Speaker 2: a chance to be more confident about the fact that,

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Speaker 2: you know, I've always been a film enthusiast. I've always

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Speaker 2: loved movies, and that I don't have to think about

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Speaker 2: that or talk about it in a very specific way

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Speaker 2: to be taken seriously, I think it's okay to just

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Speaker 2: love movies. And you know, I have a lot of

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Speaker 2: absurd movies that I love, a lot of classics that

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Speaker 2: I love things that I try to, like when we

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Speaker 2: did that Cleo from nine to five and Guess Food

387
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Speaker 2: Lodging episode, Like you know me talking about how there

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Speaker 2: there is a way into French cinema if you want

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Speaker 2: to get into it, and you don't have to know

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Speaker 2: everything about Godard to get into it or a lend

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Speaker 2: Alon like you can there's a starting point. So I

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Speaker 2: kind of feel like if that's who I am to

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Speaker 2: our audience, I love it, Like I like being kind

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Speaker 2: of the person who can let it be okay for

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Speaker 2: you to introduce things into your own life that you

396
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Speaker 2: normally wouldn't have watched. And I just I really love movies,

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Speaker 2: and I really love talking about movies. I think it's

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Speaker 2: one of the art forms that gives me the most

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Speaker 2: access to my own thoughts and my own feelings. And

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Speaker 2: I just I love it. I love being transported to

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Speaker 2: another world. I just I really love film and so

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Speaker 2: I think it's not only is it okay that I

403
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Speaker 2: haven't gone to film school. I think it's kind of

404
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Speaker 2: in some ways better in some instances, Like there are

405
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Speaker 2: definitely times where I'm like, I just want to talk

406
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Speaker 2: about the urbs, like I don't have to go to

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Speaker 2: film school for that, you know, I just want to

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Speaker 2: talk about this impactful movie that I watched constantly as

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Speaker 2: a kid that has definitely impacted my personality as an adult.

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Speaker 1: Well, And like, listen, this is not to begrudge film school,

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Speaker 1: because I you know, I went through it and I

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Speaker 1: actually thought it was great. I had a great experience

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Speaker 1: in film school. But like, I don't know, as I'm

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Speaker 1: moving through the world now and talking to younger people,

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Speaker 1: especially like when you and I talk to younger people,

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Speaker 1: like people in college, like undergrad college, and especially like

417
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Speaker 1: high school, I feel like that traditional stuffy film school

418
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Speaker 1: environment is changing a lot. And I feel like, you know,

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Speaker 1: obviously the interests of people are changing when it comes

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Speaker 1: to film, and streaming has done that, like TikTok has

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Speaker 1: done that, the Internet has done that where you know,

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Speaker 1: I don't know necessarily if having that like two and

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Speaker 1: a half hour lecture on Goodard is like as important

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Speaker 1: as it was for somebody my age who went to

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Speaker 1: film school, right. I mean, I definitely think that history

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Speaker 1: is important. I think that people should learn the history

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Speaker 1: and learn the foundations of what they love. I mean,

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Speaker 1: like that's why people need to take art appreciation classes.

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Speaker 1: That's why, you know, foundations classes exist for literature and

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Speaker 1: you know, art and everything. But I also don't think

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Speaker 1: that it means that you're an idiot if you're if

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Speaker 1: you're not really fucking wanting to learn about the ins

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Speaker 1: and outs of a tour theory, you know. I mean,

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Speaker 1: I think that I don't know, it's it's gonna be

435
00:22:27,440 --> 00:22:31,720
Speaker 1: interesting to see like what film education is going to

436
00:22:31,760 --> 00:22:36,119
Speaker 1: be in the next like ten fifteen years, because you know,

437
00:22:36,280 --> 00:22:38,960
Speaker 1: I don't know. It's it's a different environment and there's

438
00:22:38,960 --> 00:22:41,959
Speaker 1: a lot of like there's the gatekeepers are pretty much

439
00:22:42,000 --> 00:22:44,320
Speaker 1: gone at this point, and I think people are out there,

440
00:22:44,960 --> 00:22:48,600
Speaker 1: like starting film podcasts with only just a genuine love

441
00:22:48,680 --> 00:22:50,719
Speaker 1: of movies without any like formal training.

442
00:22:51,280 --> 00:22:54,560
Speaker 2: Absolutely, I love I love that world I liked. I

443
00:22:54,680 --> 00:22:56,760
Speaker 2: like to see that openness and I like to see

444
00:22:56,760 --> 00:22:59,080
Speaker 2: that people are doing it and the same way we did,

445
00:22:59,119 --> 00:23:00,480
Speaker 2: which is like we just like this and we want

446
00:23:00,480 --> 00:23:03,200
Speaker 2: to try it. And you know, I'm really grateful to

447
00:23:03,280 --> 00:23:07,120
Speaker 2: Karen and Georgia and everyone and exactly right for kind

448
00:23:07,119 --> 00:23:10,719
Speaker 2: of seeing that that was valuable in a way that

449
00:23:10,960 --> 00:23:12,879
Speaker 2: you know, they they valued the fact that it was

450
00:23:12,880 --> 00:23:14,960
Speaker 2: important to us and they thought that we had something

451
00:23:14,960 --> 00:23:17,439
Speaker 2: to offer, and I just think that's really special and

452
00:23:17,520 --> 00:23:20,439
Speaker 2: cool and it's great to be part of, you know,

453
00:23:20,760 --> 00:23:22,959
Speaker 2: a network that believes in us.

454
00:23:23,280 --> 00:23:27,480
Speaker 1: Yeah, I definitely agree, And thanks to everybody who supported us,

455
00:23:27,560 --> 00:23:31,480
Speaker 1: like you know, throughout the years. We couldn't have made

456
00:23:31,480 --> 00:23:35,240
Speaker 1: it to one hundred years young without you guys, so

457
00:23:35,920 --> 00:23:36,880
Speaker 1: we appreciate it.

458
00:23:37,320 --> 00:23:39,200
Speaker 2: We could not have made this podcast for one hundred

459
00:23:39,280 --> 00:23:43,960
Speaker 2: years without you and Lestatte and a lot of border

460
00:23:44,000 --> 00:23:47,240
Speaker 2: black magic. We need to have.

461
00:23:47,760 --> 00:23:49,960
Speaker 1: God I wish, I wish we had one of those

462
00:23:50,040 --> 00:23:54,120
Speaker 1: like highlight reels. It's like one hundred years of I

463
00:23:54,160 --> 00:23:57,840
Speaker 1: saw what you did, and then it's like, you know

464
00:23:58,160 --> 00:24:01,880
Speaker 1: us like in a buzz busby Berkeley stage, like doing

465
00:24:01,960 --> 00:24:05,960
Speaker 1: rockhet kicks, and then we're like in our moody James

466
00:24:06,000 --> 00:24:10,240
Speaker 1: Dean moment, and then we're like in our Godfather phase,

467
00:24:10,280 --> 00:24:13,280
Speaker 1: and then it was like almost like fuck, I'm sorry,

468
00:24:13,359 --> 00:24:15,400
Speaker 1: did I just reveal the end of Babylon? But that's

469
00:24:15,480 --> 00:24:18,800
Speaker 1: exactly what should we should have This podcast.

470
00:24:18,440 --> 00:24:21,480
Speaker 2: Is a well I think we should not only that,

471
00:24:21,520 --> 00:24:23,920
Speaker 2: I think we should hand this podcast off like a baton,

472
00:24:24,640 --> 00:24:27,040
Speaker 2: like when we're ready to call it quits be like,

473
00:24:27,080 --> 00:24:30,720
Speaker 2: we have picked two successors to keep this shit going.

474
00:24:31,520 --> 00:24:33,879
Speaker 2: And then like someone comes in, like a fucking nineteen

475
00:24:33,920 --> 00:24:36,720
Speaker 2: year old comes in on a hoverboard. It's like, what's up, chumps,

476
00:24:37,640 --> 00:24:40,520
Speaker 2: We're here to talk about TikTok and TikTok only or whatever.

477
00:24:40,560 --> 00:24:43,520
Speaker 2: The new version of TikTok is like hologram videos.

478
00:24:44,880 --> 00:24:48,280
Speaker 1: I'm actually just an AI creation. I'm not even a

479
00:24:48,320 --> 00:24:50,040
Speaker 1: human be Oh my god.

480
00:24:50,040 --> 00:24:52,639
Speaker 2: Could we gift this podcast to AI to carry on

481
00:24:52,680 --> 00:24:53,720
Speaker 2: the legacy forever?

482
00:24:56,000 --> 00:25:01,400
Speaker 1: Imagine an AI version of this podcast? Who would talk

483
00:25:01,440 --> 00:25:04,240
Speaker 1: about dumps the way that we do?

484
00:25:04,400 --> 00:25:06,480
Speaker 2: Thank you? I just want to know, Like, who would

485
00:25:06,520 --> 00:25:09,080
Speaker 2: give Casey Hazard pay every time I talk about my butt?

486
00:25:11,160 --> 00:25:13,800
Speaker 2: What would an AI? What movies would AI pick?

487
00:25:14,840 --> 00:25:20,600
Speaker 1: They would pick AI number one, But their their origin story,

488
00:25:21,040 --> 00:25:23,040
Speaker 1: that's their Casablanca.

489
00:25:24,080 --> 00:25:26,960
Speaker 2: Is there anything? Do you have any hopes or dreams

490
00:25:26,960 --> 00:25:28,440
Speaker 2: for the next one hundred episodes?

491
00:25:29,680 --> 00:25:32,240
Speaker 1: Oh my gosh, yeah, I don't know. I just you know,

492
00:25:32,640 --> 00:25:34,720
Speaker 1: I want us to have fun. That's all I want

493
00:25:34,760 --> 00:25:38,520
Speaker 1: to do is have fun, you know, And I hope that,

494
00:25:38,920 --> 00:25:42,560
Speaker 1: you know, I just hope that, you know, more people

495
00:25:43,520 --> 00:25:45,760
Speaker 1: come on the ride with us. Obviously, like if you

496
00:25:45,840 --> 00:25:49,359
Speaker 1: know somebody that would enjoy something like this. Tell a friend,

497
00:25:50,680 --> 00:25:56,919
Speaker 1: tell me five, Yeah, tell five, Tell one hundred friends. Also,

498
00:25:57,119 --> 00:26:00,119
Speaker 1: I would love to try to do some live stuff.

499
00:26:00,320 --> 00:26:01,200
Speaker 2: Yeah.

500
00:26:01,240 --> 00:26:04,720
Speaker 1: I know that live episodes of podcasts are a little

501
00:26:04,800 --> 00:26:09,440
Speaker 1: like TVD sometimes, but I feel like we could have fun.

502
00:26:09,880 --> 00:26:13,879
Speaker 1: We've done it before. We didn't record it obviously, but

503
00:26:13,960 --> 00:26:15,800
Speaker 1: I would love to and I would love to go

504
00:26:15,920 --> 00:26:19,919
Speaker 1: to like other places besides the US, if you know,

505
00:26:20,119 --> 00:26:22,959
Speaker 1: like we hear from people in Europe a lot, and

506
00:26:23,400 --> 00:26:26,040
Speaker 1: you know, in Australia and New Zealand, so it would

507
00:26:26,080 --> 00:26:28,440
Speaker 1: be fun to go there too, to do they agree

508
00:26:28,480 --> 00:26:29,040
Speaker 1: live stuff.

509
00:26:29,720 --> 00:26:31,720
Speaker 2: I think. I think the key to doing a good

510
00:26:31,880 --> 00:26:34,400
Speaker 2: live podcast is that you don't record it, because there's

511
00:26:34,440 --> 00:26:37,240
Speaker 2: nothing weirder than listening to a live podcast and they're

512
00:26:37,240 --> 00:26:41,399
Speaker 2: doing stuff visually on stage without explaining it, and then

513
00:26:41,400 --> 00:26:43,199
Speaker 2: you're like, I don't understand what's happening here. This is

514
00:26:43,240 --> 00:26:45,440
Speaker 2: not fun for me. So we do it, and then

515
00:26:45,480 --> 00:26:47,600
Speaker 2: the joy is you get to come see us live

516
00:26:47,640 --> 00:26:48,960
Speaker 2: and you don't know what you're gonna get, you don't

517
00:26:48,960 --> 00:26:51,960
Speaker 2: know what's gonna happen. And I think that that's the key,

518
00:26:52,119 --> 00:26:53,800
Speaker 2: is like we just do it without recording it and

519
00:26:53,880 --> 00:26:56,080
Speaker 2: just go and meet some people who are great our

520
00:26:56,160 --> 00:26:56,840
Speaker 2: great audience.

521
00:26:57,440 --> 00:27:00,400
Speaker 1: Well, unless we had Keanu live, like a live event,

522
00:27:00,520 --> 00:27:02,960
Speaker 1: then we'd have to record it to prove that it happened.

523
00:27:03,760 --> 00:27:06,640
Speaker 2: Oh Pictures would do that. Although there there is that

524
00:27:06,720 --> 00:27:12,200
Speaker 2: weird fake Keanu Instagram. Have you ever seen that? No,

525
00:27:12,320 --> 00:27:15,399
Speaker 2: I cannot believe. I haven't sent you one. Okay for

526
00:27:15,520 --> 00:27:18,520
Speaker 2: the listeners, all I do on Instagram is menace Milly

527
00:27:18,720 --> 00:27:23,320
Speaker 2: with like sending her dms. I just my goal is

528
00:27:23,359 --> 00:27:28,760
Speaker 2: only to make her laugh as hard as possible. I specifically,

529
00:27:29,040 --> 00:27:32,760
Speaker 2: my specific corner of that is. Uh. There are a

530
00:27:32,800 --> 00:27:35,680
Speaker 2: couple of people who do these like age regression videos

531
00:27:35,680 --> 00:27:38,119
Speaker 2: where they show a celebrity now and then they go

532
00:27:38,200 --> 00:27:44,360
Speaker 2: back to I don't know why I love them so much,

533
00:27:44,359 --> 00:27:45,679
Speaker 2: and I don't know why I love sending them to

534
00:27:45,680 --> 00:27:48,400
Speaker 2: you so much. But there is an account where it's

535
00:27:48,440 --> 00:27:51,719
Speaker 2: like a fake, like a deep fake Keanu doing stuff

536
00:27:52,000 --> 00:27:54,960
Speaker 2: like cleaning a toilet or whatever, yeah, like cooking.

537
00:27:55,359 --> 00:27:59,840
Speaker 1: Look if we could get him the real Keanu, well

538
00:28:00,119 --> 00:28:02,560
Speaker 1: a fake toilet on stage, We'll get them to clean

539
00:28:02,600 --> 00:28:06,040
Speaker 1: it while talking to us about point break or No,

540
00:28:06,160 --> 00:28:09,000
Speaker 1: I honestly like, I'm so excited to be here with you.

541
00:28:09,040 --> 00:28:12,320
Speaker 1: After one hundred episodes. It's such a fucking pleasure doing

542
00:28:12,320 --> 00:28:14,280
Speaker 1: the podcast with you. As I say at the end

543
00:28:14,320 --> 00:28:18,960
Speaker 1: of every episode, and here's to one hundred, two hundred, three.

544
00:28:18,840 --> 00:28:20,120
Speaker 2: Hundred more high five.

545
00:28:26,000 --> 00:28:28,320
Speaker 1: This is our one hundredth episode, but it is also

546
00:28:28,400 --> 00:28:32,800
Speaker 1: an episode that we're doing to celebrate Black History Month.

547
00:28:33,640 --> 00:28:36,000
Speaker 1: We've done one previous a couple weeks ago, we did

548
00:28:36,040 --> 00:28:40,360
Speaker 1: the Aliyah double feature and Danielle, why don't you tell

549
00:28:41,160 --> 00:28:43,320
Speaker 1: everybody what we're going to focus on this week?

550
00:28:44,240 --> 00:28:48,160
Speaker 2: Well, our theme this week is our first famous Tyson.

551
00:28:49,360 --> 00:28:53,240
Speaker 2: We're talking, of course about Sicily Tyson, and we decided

552
00:28:53,240 --> 00:28:56,960
Speaker 2: to focus on legacy for this version of Black History Month.

553
00:28:57,480 --> 00:29:02,040
Speaker 2: And I think Cicily Tyson is a primo example of

554
00:29:02,120 --> 00:29:06,240
Speaker 2: the legacy of black actors and black film, black filmmaking.

555
00:29:07,760 --> 00:29:10,800
Speaker 2: So we just kind of picked two movies that we

556
00:29:10,840 --> 00:29:14,600
Speaker 2: think she's great in and just again wanted to really

557
00:29:14,640 --> 00:29:21,400
Speaker 2: talk about legacy. Cicily Tyson died last year, and she

558
00:29:21,560 --> 00:29:25,440
Speaker 2: released her memoir Just As I Am two days before

559
00:29:25,480 --> 00:29:30,360
Speaker 2: she died, and what a life. I mean, A lot

560
00:29:30,360 --> 00:29:32,720
Speaker 2: of what I'm going to read from and quote is

561
00:29:32,720 --> 00:29:36,160
Speaker 2: from her new York Times obituary, and you want to

562
00:29:36,240 --> 00:29:38,680
Speaker 2: lead a life that leads you to this kind of obituary,

563
00:29:38,840 --> 00:29:41,719
Speaker 2: I highly recommend reading the whole thing. I highly recommend

564
00:29:41,760 --> 00:29:44,520
Speaker 2: reading her book. I just started the book, actually, But

565
00:29:45,080 --> 00:29:48,200
Speaker 2: she's led such an interesting life and from the beginning

566
00:29:48,280 --> 00:29:52,120
Speaker 2: has really been someone who held onto her morals and

567
00:29:52,160 --> 00:29:55,280
Speaker 2: her values at a time when that was really difficult

568
00:29:55,280 --> 00:29:56,840
Speaker 2: to do if you wanted to be a black actor

569
00:29:56,960 --> 00:30:00,200
Speaker 2: who made a name for themselves. So you know, she

570
00:30:00,200 --> 00:30:03,920
Speaker 2: died at ninety six. She was making films, movies, and

571
00:30:03,960 --> 00:30:06,920
Speaker 2: acting in plays for seventy over seventy years, she had

572
00:30:06,960 --> 00:30:12,040
Speaker 2: seven decades in this business, which is huge, huge, And

573
00:30:12,080 --> 00:30:16,600
Speaker 2: she won Tony's and Emmy's, and she won an honorary

574
00:30:16,640 --> 00:30:21,400
Speaker 2: Oscar a few years again before her death, and was

575
00:30:21,480 --> 00:30:24,840
Speaker 2: nominated for an Oscar for my film. One thing I

576
00:30:24,880 --> 00:30:27,560
Speaker 2: can say about Cecily Tyson is that she's always been

577
00:30:28,320 --> 00:30:35,760
Speaker 2: a real bastion of possibility for black culture. And what

578
00:30:35,800 --> 00:30:39,560
Speaker 2: I mean by that is that she was really idolized

579
00:30:40,480 --> 00:30:44,800
Speaker 2: by black culture long before she was idolized by white culture.

580
00:30:45,040 --> 00:30:48,760
Speaker 2: For a couple of reasons, right off the bat, early

581
00:30:48,800 --> 00:30:54,640
Speaker 2: in her career, she refused to do roles that showcased

582
00:30:55,080 --> 00:30:58,960
Speaker 2: black people in a negative light, like she didn't want

583
00:30:58,960 --> 00:31:01,600
Speaker 2: to do anything that Denniger I did black folks. And

584
00:31:01,640 --> 00:31:03,959
Speaker 2: again this is from her obituary The New York Times,

585
00:31:04,000 --> 00:31:08,040
Speaker 2: but I quote she was adamant about dramatic roles. We

586
00:31:08,160 --> 00:31:11,680
Speaker 2: black actresses have played so many prostitutes and drug addicts

587
00:31:11,720 --> 00:31:15,920
Speaker 2: and housemaids, always negative. She told Parade magazine in nineteen

588
00:31:16,000 --> 00:31:19,520
Speaker 2: seventy two. I won't play that kind of characterless role anymore,

589
00:31:19,840 --> 00:31:22,760
Speaker 2: even if I have to go back to starving. So

590
00:31:23,040 --> 00:31:25,040
Speaker 2: again we're looking at a time that she came up

591
00:31:25,120 --> 00:31:29,880
Speaker 2: and you know, started acting in the fifties and just

592
00:31:29,920 --> 00:31:33,320
Speaker 2: really refused to lean into what was a large part

593
00:31:33,320 --> 00:31:36,040
Speaker 2: of the cultural stereotype at the time for black actors.

594
00:31:36,400 --> 00:31:37,920
Speaker 2: And she's like, I won't do it. There's got to

595
00:31:37,920 --> 00:31:42,320
Speaker 2: be something else. And part of what helped her launch

596
00:31:42,360 --> 00:31:45,800
Speaker 2: her into acting in a way that she felt comfortable

597
00:31:46,080 --> 00:31:51,160
Speaker 2: was my movie Sounder in nineteen seventy two and she

598
00:31:51,240 --> 00:31:55,520
Speaker 2: plays Rebecca, who's the wife of this Louisiana sharecropper, and

599
00:31:55,560 --> 00:32:00,160
Speaker 2: it really is a story of our history of black history,

600
00:32:00,560 --> 00:32:02,280
Speaker 2: but it also shows a lot of strength and I

601
00:32:02,320 --> 00:32:03,960
Speaker 2: think I picked it for that reason too, that it

602
00:32:04,000 --> 00:32:08,040
Speaker 2: shows some strength and some humility and some reality, and

603
00:32:08,080 --> 00:32:10,640
Speaker 2: it didn't make so many of these films that you know,

604
00:32:10,680 --> 00:32:14,640
Speaker 2: I watched that showcase. You know, Depression era black folks

605
00:32:14,800 --> 00:32:19,480
Speaker 2: or southern black folks in that era are always just

606
00:32:19,520 --> 00:32:22,240
Speaker 2: filled with strife, misery. There is a lot of that

607
00:32:22,320 --> 00:32:24,560
Speaker 2: in the film, but you're also looking at a family,

608
00:32:24,640 --> 00:32:26,760
Speaker 2: and you're also looking at a very strong mother who

609
00:32:26,840 --> 00:32:29,200
Speaker 2: kept a family together in the midst of one of

610
00:32:29,200 --> 00:32:33,400
Speaker 2: their greatest heartaches. So what she says about the film

611
00:32:33,440 --> 00:32:35,760
Speaker 2: is that the story of Sounder is a part of

612
00:32:35,800 --> 00:32:40,200
Speaker 2: our history, a testimony to the strength of humankind. Our

613
00:32:40,200 --> 00:32:43,600
Speaker 2: whole black heritage is that of struggle, pride, and dignity.

614
00:32:44,000 --> 00:32:47,000
Speaker 2: The black woman has never been shown on the screen

615
00:32:47,240 --> 00:32:51,040
Speaker 2: this way before, So I think that, you know, when

616
00:32:51,080 --> 00:32:53,520
Speaker 2: I saw this film versus a younger person, then watched

617
00:32:53,520 --> 00:32:56,640
Speaker 2: it many many times over the years, that was evident

618
00:32:56,800 --> 00:33:00,360
Speaker 2: right away, and it felt different, and it felt very

619
00:33:01,040 --> 00:33:03,600
Speaker 2: personally interesting to me to be able to see a

620
00:33:03,640 --> 00:33:05,320
Speaker 2: black woman portrayed in that way, because that's what I

621
00:33:05,360 --> 00:33:07,400
Speaker 2: lived with, That's who my family was, that's what I

622
00:33:07,480 --> 00:33:10,800
Speaker 2: was raised with, were a bunch of women who just

623
00:33:10,840 --> 00:33:14,080
Speaker 2: pulled it the fuck together and just you know, kept

624
00:33:14,440 --> 00:33:19,040
Speaker 2: not only families alive, but neighborhoods and culture and beyond.

625
00:33:19,400 --> 00:33:21,640
Speaker 2: You know, since it's Black History Month, I think, and

626
00:33:21,680 --> 00:33:27,240
Speaker 2: since we just just had the holiday celebrating Reverend doctor

627
00:33:27,280 --> 00:33:31,920
Speaker 2: Martin Luther King, I think it's also important that, like nowadays,

628
00:33:31,920 --> 00:33:36,560
Speaker 2: when I look back at historically at black women in culture,

629
00:33:38,160 --> 00:33:40,840
Speaker 2: I think it's important for me to recognize that they

630
00:33:41,800 --> 00:33:43,880
Speaker 2: held a lot of strength and dignity and pride and

631
00:33:43,920 --> 00:33:47,480
Speaker 2: what they did, particularly if if you're not following Bernice King,

632
00:33:49,240 --> 00:33:52,120
Speaker 2: Martin Luther King Junior's daughter, one of his daughter, one

633
00:33:52,160 --> 00:33:56,640
Speaker 2: of his kids. She constantly whenever she references her father,

634
00:33:57,680 --> 00:34:01,600
Speaker 2: she also references her mother, corret asks King, and I

635
00:34:01,680 --> 00:34:03,640
Speaker 2: just really love that where she'll show herself like a

636
00:34:03,680 --> 00:34:07,120
Speaker 2: picture of herself as a child playing violin next to

637
00:34:07,120 --> 00:34:09,279
Speaker 2: her mother who's playing the piano and say, you know,

638
00:34:09,400 --> 00:34:12,719
Speaker 2: my mother taught us too, Like my mother also taught

639
00:34:12,800 --> 00:34:15,719
Speaker 2: us about what it meant to be a strong and

640
00:34:15,760 --> 00:34:19,200
Speaker 2: proud black Black woman or strong and proud black person.

641
00:34:20,280 --> 00:34:23,759
Speaker 2: And I think about how interesting it is that for

642
00:34:24,160 --> 00:34:27,520
Speaker 2: women like Cecily Tyson and Correta Scott King and beyond that,

643
00:34:28,360 --> 00:34:32,640
Speaker 2: they often take the back burner to their more famous partners.

644
00:34:32,680 --> 00:34:37,120
Speaker 2: So Cicily Tyson was famously married to Miles Davis from

645
00:34:37,160 --> 00:34:39,600
Speaker 2: nineteen eighty one to nineteen eighty nine, and I think

646
00:34:39,640 --> 00:34:42,920
Speaker 2: that it's, you know again, I don't feel like she

647
00:34:43,040 --> 00:34:46,200
Speaker 2: was she lost anything for being married to him, but

648
00:34:46,280 --> 00:34:48,960
Speaker 2: it definitely was a time in her life and in

649
00:34:49,000 --> 00:34:51,759
Speaker 2: her career where the focus was more on who she

650
00:34:51,800 --> 00:34:54,360
Speaker 2: was married to instead of who she was. But she

651
00:34:54,480 --> 00:34:55,960
Speaker 2: just kept this. I don't know, she just has there's

652
00:34:55,960 --> 00:34:58,600
Speaker 2: something very regal about her. She was kind of the

653
00:34:58,640 --> 00:35:02,480
Speaker 2: idol of the Black is Beautiful movement, and she really

654
00:35:04,239 --> 00:35:06,800
Speaker 2: just kind of embraced blackness in a way that again,

655
00:35:06,840 --> 00:35:09,960
Speaker 2: at the time that she was doing it, it wasn't popular.

656
00:35:10,920 --> 00:35:14,799
Speaker 2: So again from her obituary, Ms Tyson was an idol

657
00:35:14,840 --> 00:35:17,480
Speaker 2: of the Blackest Beautiful movement. Regal in an African turban

658
00:35:17,520 --> 00:35:21,120
Speaker 2: in Kaftan, her face gracing the covers of Ebony, Essence

659
00:35:21,120 --> 00:35:26,120
Speaker 2: and Jet magazines. She was a vegetarian, a teetotaler, a runner,

660
00:35:26,400 --> 00:35:30,000
Speaker 2: a meditator, and from nineteen eighty one to nineteen eighty nine,

661
00:35:30,080 --> 00:35:34,399
Speaker 2: the wife of jazz trumpeter and composer Miles Davis. Since

662
00:35:34,440 --> 00:35:37,760
Speaker 2: the nineteen sixties, she had inspired black women to embrace

663
00:35:37,800 --> 00:35:41,600
Speaker 2: their own standards of beauty, including helping to popularize the

664
00:35:41,600 --> 00:35:46,880
Speaker 2: afro and Vanessa Williams said she is our Meryl Streep

665
00:35:47,120 --> 00:35:49,960
Speaker 2: in twenty thirteen. She was the person you wanted to

666
00:35:50,000 --> 00:35:52,239
Speaker 2: be like in terms of an actress, in terms of

667
00:35:52,280 --> 00:35:55,200
Speaker 2: the role she got and how serious she took her craft.

668
00:35:55,360 --> 00:36:00,480
Speaker 2: She still is. She also helped found the d Theater

669
00:36:00,600 --> 00:36:03,359
Speaker 2: of Harlem, and the East Harlan building where she lived

670
00:36:03,360 --> 00:36:07,000
Speaker 2: as a kid, was named for her. You know, there

671
00:36:07,000 --> 00:36:09,040
Speaker 2: are magnet there are a schools named for her, there

672
00:36:09,080 --> 00:36:12,319
Speaker 2: are performing arts places name for her. She really had

673
00:36:12,400 --> 00:36:16,480
Speaker 2: a huge impact on black culture and on culture in

674
00:36:16,560 --> 00:36:20,359
Speaker 2: general for her whole life, but her impact in her

675
00:36:20,440 --> 00:36:24,200
Speaker 2: legacy was built into who she was as a person.

676
00:36:25,120 --> 00:36:28,359
Speaker 2: And that's something that's also very interesting to me about

677
00:36:28,360 --> 00:36:30,439
Speaker 2: her film career is that you don't feel like there's

678
00:36:30,440 --> 00:36:33,360
Speaker 2: a separation. You can feel that she's of course acting,

679
00:36:33,840 --> 00:36:35,560
Speaker 2: but you don't feel like there's a separation. And I

680
00:36:35,600 --> 00:36:38,640
Speaker 2: think it's because of the roles that she chose that

681
00:36:38,760 --> 00:36:41,200
Speaker 2: helped us to see her in a more full light

682
00:36:41,840 --> 00:36:43,759
Speaker 2: that we also got to see what that looked like

683
00:36:44,400 --> 00:36:46,200
Speaker 2: at large on screen.

684
00:36:46,760 --> 00:36:53,640
Speaker 1: Yeah, well, gosh, that's a great tribute to Cicely Tyson,

685
00:36:53,680 --> 00:36:57,040
Speaker 1: who is the focus of our episode this week. I'm

686
00:36:57,080 --> 00:36:59,319
Speaker 1: so surprising to me that you said that she was

687
00:36:59,400 --> 00:37:02,320
Speaker 1: a vegetarian and a teetotal war because she was ninety

688
00:37:02,400 --> 00:37:06,480
Speaker 1: six when she died, so she was healthy, healthy, healthy,

689
00:37:06,719 --> 00:37:07,319
Speaker 1: and she.

690
00:37:07,280 --> 00:37:11,520
Speaker 2: Read and she meditated. Yeah, it's amazing. And you know

691
00:37:11,560 --> 00:37:14,200
Speaker 2: what's also interesting to me is that I read about

692
00:37:14,239 --> 00:37:17,439
Speaker 2: how because I remember hearing this when, you know, after

693
00:37:17,520 --> 00:37:21,120
Speaker 2: she had had passed away her services at the Ebyssinian

694
00:37:21,280 --> 00:37:24,280
Speaker 2: Church in Harlem, which is a very famous church. It's gorgeous,

695
00:37:24,680 --> 00:37:27,640
Speaker 2: and Tyler Perry, you know, gave part of her eulogy

696
00:37:27,719 --> 00:37:29,440
Speaker 2: or you know, kind of stood up and spoke, and

697
00:37:29,480 --> 00:37:31,839
Speaker 2: she writes about this in her book. And he said

698
00:37:31,880 --> 00:37:34,200
Speaker 2: that even though she was a really proud woman because

699
00:37:34,200 --> 00:37:36,040
Speaker 2: she wrote about it in her book, he felt okay

700
00:37:36,120 --> 00:37:38,959
Speaker 2: saying it out loud, that he took care of her

701
00:37:39,000 --> 00:37:41,640
Speaker 2: for the last fifteen years of her life. He paid

702
00:37:41,680 --> 00:37:44,960
Speaker 2: her a million dollars for one day on a film,

703
00:37:45,480 --> 00:37:48,120
Speaker 2: and he really took care of her needs for the

704
00:37:48,200 --> 00:37:51,320
Speaker 2: last fifteen years of her life. And that's because even

705
00:37:51,360 --> 00:37:56,400
Speaker 2: though she is this incredible and prominent and hugely important

706
00:37:56,480 --> 00:38:00,600
Speaker 2: actress and hugely important person, she was not paid well

707
00:38:00,680 --> 00:38:02,960
Speaker 2: or rewarded for that work. She got paid six thousand

708
00:38:02,960 --> 00:38:06,840
Speaker 2: dollars for Sounder, and you can give all the honorary

709
00:38:06,840 --> 00:38:12,680
Speaker 2: oscars you want, but that is meaningful to focus on

710
00:38:13,080 --> 00:38:15,160
Speaker 2: the fact that this woman who meant so much to

711
00:38:15,200 --> 00:38:19,160
Speaker 2: so many was not rewarded for her work monetarily and

712
00:38:19,239 --> 00:38:23,480
Speaker 2: reached a point in her later years where without the

713
00:38:23,520 --> 00:38:25,480
Speaker 2: help of Tyler Perry, she may have been in really

714
00:38:25,520 --> 00:38:28,960
Speaker 2: dire straits. And it makes me so sad for her,

715
00:38:29,120 --> 00:38:32,960
Speaker 2: so sad for our world that that's how we treat

716
00:38:33,120 --> 00:38:38,040
Speaker 2: our elders. But it also makes me really just kind

717
00:38:38,040 --> 00:38:40,080
Speaker 2: of happy that she had the kind of respect and

718
00:38:40,600 --> 00:38:43,040
Speaker 2: he talks about it in that way that he wanted

719
00:38:43,040 --> 00:38:44,799
Speaker 2: to pay her the respect that he thought she was

720
00:38:44,840 --> 00:38:45,720
Speaker 2: owed her whole life.

721
00:38:46,160 --> 00:38:51,880
Speaker 1: Yeah, so yeah, Well, I have to say I'm excited

722
00:38:51,920 --> 00:38:54,640
Speaker 1: about this double feature this week. I mean, your film

723
00:38:54,840 --> 00:38:57,960
Speaker 1: is a masterpiece in my mind, and I'm so glad

724
00:38:58,000 --> 00:39:01,560
Speaker 1: that I'm so so excited to hear you talk about it,

725
00:39:02,000 --> 00:39:04,320
Speaker 1: and then my film this week, I know I'm going first,

726
00:39:05,480 --> 00:39:08,040
Speaker 1: is her first movie so, and it was made only

727
00:39:08,080 --> 00:39:10,560
Speaker 1: a couple of years before Sounder. So I think it's

728
00:39:10,560 --> 00:39:14,759
Speaker 1: a pretty good representation of the films that she was

729
00:39:15,560 --> 00:39:17,400
Speaker 1: she was in and in her acting and what she

730
00:39:17,520 --> 00:39:21,680
Speaker 1: was capable of. And I'm excited to get started me too.

731
00:39:21,920 --> 00:39:25,160
Speaker 2: And I really think it's in. We could have had

732
00:39:25,160 --> 00:39:29,040
Speaker 2: two different themes for this as well, one being movies

733
00:39:29,080 --> 00:39:32,600
Speaker 2: based on books, which both of our films are. Or

734
00:39:33,200 --> 00:39:36,640
Speaker 2: I think a good alt for this week's theme is

735
00:39:37,120 --> 00:39:43,920
Speaker 2: Cicily Tyson is going to get that leg. Cicily Tyson's

736
00:39:43,960 --> 00:39:46,000
Speaker 2: coming for that leg. Men, beware.

737
00:39:49,320 --> 00:39:56,160
Speaker 1: Leg trauma. I did not realize that that was a

738
00:39:56,160 --> 00:39:59,200
Speaker 1: another theme we could have gone onto this week.

739
00:39:59,640 --> 00:40:03,000
Speaker 2: Holy I know what it means. I was watching, I'm like, Oh,

740
00:40:03,040 --> 00:40:06,359
Speaker 2: she's coming for that leg. If not her personally being

741
00:40:06,400 --> 00:40:08,360
Speaker 2: part of her orbit means watch those legs.

742
00:40:08,760 --> 00:40:14,840
Speaker 1: Yeah. Wow, holy shit. Well on that note, I My

743
00:40:14,920 --> 00:40:20,120
Speaker 1: movie this week is from nineteen sixty eight. The screenplay

744
00:40:20,200 --> 00:40:24,560
Speaker 1: was written by Thomas Ryan, obviously from a book of

745
00:40:24,560 --> 00:40:28,040
Speaker 1: the same name by Carson McCullers, directed by Robert Ellis Miller,

746
00:40:28,080 --> 00:40:29,920
Speaker 1: and it's called The Heart is a Lonely Hunter.

747
00:40:30,480 --> 00:40:35,279
Speaker 2: I felt very old and it was like something was

748
00:40:35,320 --> 00:40:40,520
Speaker 2: heavy inside me. I'd become a grown person now, whether

749
00:40:40,600 --> 00:40:42,839
Speaker 2: I want it to be or not. I love your

750
00:40:42,880 --> 00:40:45,120
Speaker 2: movie so much.

751
00:40:45,320 --> 00:40:48,640
Speaker 1: I do too, I really do. And you know, like

752
00:40:48,680 --> 00:40:53,440
Speaker 1: I said it, as everyone probably knows, this is the

753
00:40:53,440 --> 00:40:57,480
Speaker 1: film adaptation of the Carson mccullor's book. Carson mccullors was

754
00:40:57,480 --> 00:41:00,000
Speaker 1: twenty three when that book came out, which I think

755
00:41:00,200 --> 00:41:04,200
Speaker 1: is pretty remarkable. But you know me, I'm a Southern gal,

756
00:41:04,440 --> 00:41:07,680
Speaker 1: so I'm a fan of kind of that Southern gothic writing.

757
00:41:09,040 --> 00:41:11,080
Speaker 1: So I had to see this movie at some point.

758
00:41:11,320 --> 00:41:14,920
Speaker 1: And you know, the book takes place in the nineteen thirties,

759
00:41:15,480 --> 00:41:19,799
Speaker 1: but the movie is in modern times, so what it

760
00:41:19,880 --> 00:41:23,200
Speaker 1: was made so the sixties. So it's interesting because this

761
00:41:23,280 --> 00:41:25,600
Speaker 1: movie is kind of like there's a lot going on.

762
00:41:26,000 --> 00:41:29,279
Speaker 1: It's kind of like a slice of life type film,

763
00:41:29,520 --> 00:41:32,000
Speaker 1: and it has a lot of different storylines. So I'll

764
00:41:32,040 --> 00:41:34,880
Speaker 1: just probably try to give like the bigger points of

765
00:41:34,920 --> 00:41:37,120
Speaker 1: the film hopefully and maybe just talk about some of

766
00:41:37,120 --> 00:41:42,520
Speaker 1: the characters a little bit. So this movie is centered

767
00:41:42,560 --> 00:41:46,280
Speaker 1: around a man named John Singer, and he is played

768
00:41:46,360 --> 00:41:48,240
Speaker 1: by a young Alan Arkin.

769
00:41:49,440 --> 00:41:52,800
Speaker 2: Absolute Royalty Royalty.

770
00:41:53,440 --> 00:41:57,880
Speaker 1: I was trying to remember when the first time I

771
00:41:58,239 --> 00:42:01,080
Speaker 1: saw Alan Arkin was, and I have to say I

772
00:42:01,120 --> 00:42:04,120
Speaker 1: think it was in So I Married an ex murderer

773
00:42:07,800 --> 00:42:11,960
Speaker 1: when he plays the like police chief of the Anthony

774
00:42:12,040 --> 00:42:13,160
Speaker 1: LaPaglia character.

775
00:42:13,920 --> 00:42:18,439
Speaker 2: Okay, same same, same, yeah, And then I'm like, wait,

776
00:42:18,520 --> 00:42:21,200
Speaker 2: he's been around for a long time, like oh my god.

777
00:42:21,360 --> 00:42:26,719
Speaker 1: And that is the thing that always happens when so like, yeah,

778
00:42:26,800 --> 00:42:28,880
Speaker 1: when you see like an older actor that's in like

779
00:42:28,920 --> 00:42:31,080
Speaker 1: a broad comedy, like a Mike Myers movie or like

780
00:42:31,120 --> 00:42:33,680
Speaker 1: a jud Appatat movie, and you're like, oh, that old

781
00:42:33,680 --> 00:42:36,080
Speaker 1: guy is really funny, and then you're like, oh, he's

782
00:42:36,120 --> 00:42:40,520
Speaker 1: been around since like the fifties and sixties, right, And

783
00:42:40,920 --> 00:42:44,080
Speaker 1: that's kind of like what happened unfortunately for me and

784
00:42:44,120 --> 00:42:46,240
Speaker 1: Alan Arkin was. I was like, Elan Arkin's so funny,

785
00:42:46,239 --> 00:42:47,680
Speaker 1: and so I married an ex murderer. And this is

786
00:42:47,680 --> 00:42:49,719
Speaker 1: like in middle school when I first saw you know,

787
00:42:49,880 --> 00:42:52,080
Speaker 1: so I read a next murder and then you're like, oh,

788
00:42:52,120 --> 00:42:56,440
Speaker 1: wait a minute. But he's been around forever, so he is.

789
00:42:57,160 --> 00:43:00,879
Speaker 1: He's wearing lots of suits in this, so you may

790
00:43:00,920 --> 00:43:05,040
Speaker 1: not recognize him maybe at first, but it's definitely him

791
00:43:05,360 --> 00:43:11,440
Speaker 1: and his character singer is deaf and doesn't speak and

792
00:43:11,520 --> 00:43:13,480
Speaker 1: he's living in a small town in the rural south

793
00:43:13,600 --> 00:43:16,680
Speaker 1: right where he works as an engraver. I guess he

794
00:43:16,960 --> 00:43:18,360
Speaker 1: engraves silver.

795
00:43:19,160 --> 00:43:21,080
Speaker 2: And in an all timeline, he would have been the

796
00:43:21,080 --> 00:43:22,280
Speaker 2: founder of Things Remembered.

797
00:43:27,360 --> 00:43:30,400
Speaker 1: I don't know when Things Remembered was started, but maybe

798
00:43:30,480 --> 00:43:31,760
Speaker 1: that is the origin story.

799
00:43:32,280 --> 00:43:35,000
Speaker 2: That would be a great origin story for Things Remembered.

800
00:43:37,440 --> 00:43:41,840
Speaker 1: Alan Arkan just like hammering out little old English letters.

801
00:43:43,040 --> 00:43:48,239
Speaker 1: Our founder sat in the back, didn't want to talk

802
00:43:48,239 --> 00:43:49,399
Speaker 1: to anybody, did.

803
00:43:49,360 --> 00:43:51,680
Speaker 2: Not want to talk to anybody, could absolutely read lips,

804
00:43:51,680 --> 00:43:53,040
Speaker 2: did not want to hear from any of y'all.

805
00:43:53,360 --> 00:43:58,880
Speaker 3: Yeah, but he he has a friend, so Singer, you know,

806
00:43:59,239 --> 00:44:03,680
Speaker 3: obviously death doesn't doesn't speak, and but he has his

807
00:44:03,800 --> 00:44:10,080
Speaker 3: friend named Spiro's, okay, and Spiro's has a cognitive disability,

808
00:44:11,200 --> 00:44:14,680
Speaker 3: and Singer basically looks after him.

809
00:44:15,000 --> 00:44:18,400
Speaker 1: And in the book, I think that they like live together.

810
00:44:19,640 --> 00:44:22,040
Speaker 1: I don't think that they really flesh that out in

811
00:44:22,120 --> 00:44:24,920
Speaker 1: the film, but you know, you understand pretty quickly at

812
00:44:24,920 --> 00:44:29,279
Speaker 1: the very beginning of the film that they're connected and

813
00:44:29,280 --> 00:44:31,879
Speaker 1: that's and that Singer is kind of taking care of Spiro's, right.

814
00:44:32,760 --> 00:44:35,399
Speaker 1: So at the beginning of the movie, very beginning, uh,

815
00:44:35,400 --> 00:44:37,239
Speaker 1: Spiros Rob's a pastry store.

816
00:44:38,360 --> 00:44:38,480
Speaker 3: Uh.

817
00:44:38,560 --> 00:44:41,840
Speaker 1: Turns out he's obsessed with sweets, which I mean, I

818
00:44:41,880 --> 00:44:45,919
Speaker 1: get it. There's there's a moment where Spiro's is being

819
00:44:45,960 --> 00:44:49,280
Speaker 1: wooed with a Witman's sampler or like a Whitman's box

820
00:44:49,320 --> 00:44:51,319
Speaker 1: of chocolates, and I was like, I have been there.

821
00:44:51,400 --> 00:44:57,520
Speaker 1: Unfortunately I've been wooed with with chocolates in a box.

822
00:44:58,080 --> 00:45:03,880
Speaker 1: But essentially, you know, Spiro's's uncle, who owns a store

823
00:45:04,000 --> 00:45:06,439
Speaker 1: in the town, is like, I don't want to deal

824
00:45:06,480 --> 00:45:08,480
Speaker 1: with him anymore, and I'm thinking about just kind of

825
00:45:08,520 --> 00:45:12,440
Speaker 1: sending him away to an institution like miles from here,

826
00:45:12,520 --> 00:45:17,000
Speaker 1: hundreds of miles from here, right, and Singer. After that happened,

827
00:45:17,040 --> 00:45:20,080
Speaker 1: Singer decides to move closer to the hospital and he

828
00:45:20,200 --> 00:45:23,400
Speaker 1: ends up writing a room with this working class family,

829
00:45:24,400 --> 00:45:27,480
Speaker 1: and the teenage daughter of this working class family is

830
00:45:27,560 --> 00:45:31,200
Speaker 1: named Mick and she's played by the actress Sondra Locke,

831
00:45:31,840 --> 00:45:36,600
Speaker 1: whom I love. And I want to just really encourage

832
00:45:36,640 --> 00:45:39,680
Speaker 1: people to read about Sondra Locke if you can, like,

833
00:45:39,880 --> 00:45:43,560
Speaker 1: even if it's just like her Wikipedia article, because she

834
00:45:43,719 --> 00:45:48,800
Speaker 1: also led a really fascinating life and there's a lot

835
00:45:48,960 --> 00:45:54,800
Speaker 1: of point details in her life story, which are very interesting.

836
00:45:54,880 --> 00:45:58,640
Speaker 1: She was with Clint Eastwood for many years. It was

837
00:45:58,800 --> 00:46:02,800
Speaker 1: very tumultuous with the two of them, especially towards the

838
00:46:02,880 --> 00:46:05,920
Speaker 1: end of their relationship, and her kind of place in Hollywood.

839
00:46:06,160 --> 00:46:11,960
Speaker 1: And yeah, and but she's also like she was like

840
00:46:12,000 --> 00:46:16,040
Speaker 1: in an open marriage for like fifty years. She was

841
00:46:16,080 --> 00:46:21,359
Speaker 1: one of the first women celebrities to discuss abortion and

842
00:46:21,680 --> 00:46:24,120
Speaker 1: you know, talk about you shouldn't have kids, and she

843
00:46:24,120 --> 00:46:26,160
Speaker 1: didn't want kids. So there's like a lot in her

844
00:46:26,280 --> 00:46:28,200
Speaker 1: story that I think is really interesting too. So just

845
00:46:28,920 --> 00:46:30,839
Speaker 1: if you get a moment, go look her up. She's

846
00:46:30,960 --> 00:46:35,840
Speaker 1: very interesting. But the thing about Mick, her character in

847
00:46:35,880 --> 00:46:37,960
Speaker 1: this film is that she wants like all the stuff

848
00:46:38,000 --> 00:46:40,880
Speaker 1: that teenage girls want, Like she wants to like, you know,

849
00:46:41,400 --> 00:46:43,400
Speaker 1: go out with friends and have parties and have a

850
00:46:43,400 --> 00:46:45,800
Speaker 1: boyfriend and listen to music. But her family is poor.

851
00:46:45,840 --> 00:46:48,520
Speaker 1: Her dad is out of work, he's suffering from an injury,

852
00:46:49,200 --> 00:46:51,520
Speaker 1: and her mom is you know, a real hard ass,

853
00:46:51,680 --> 00:46:55,239
Speaker 1: like it really doesn't want her to kind of do

854
00:46:55,719 --> 00:47:00,000
Speaker 1: anything more than just you know, contribute to the family

855
00:47:00,880 --> 00:47:03,239
Speaker 1: and not bother anybody. Right.

856
00:47:03,920 --> 00:47:06,279
Speaker 2: Yeah, she's the oldest of three kids, and it's just

857
00:47:06,360 --> 00:47:09,000
Speaker 2: kind of like her mom is just so withholding and

858
00:47:09,080 --> 00:47:11,320
Speaker 2: just kind of sees her as like chattel.

859
00:47:12,000 --> 00:47:15,520
Speaker 1: Yeah, pretty much. And I mean that's something too. I

860
00:47:15,560 --> 00:47:18,840
Speaker 1: think about. The link between our films is poverty and

861
00:47:19,280 --> 00:47:23,200
Speaker 1: the idea of people who have to sacrifice education for

862
00:47:23,640 --> 00:47:30,560
Speaker 1: you know, for economic stability, for the family mix. One

863
00:47:30,560 --> 00:47:33,560
Speaker 1: of mixed like younger siblings. I have to say, is

864
00:47:33,600 --> 00:47:38,239
Speaker 1: this like real classic, little smart ass eight year old.

865
00:47:39,440 --> 00:47:42,880
Speaker 2: Okay, we got to talk about Bubber because one of

866
00:47:42,920 --> 00:47:48,359
Speaker 2: my favorite fucking things about this movie is everything Bubber says. Yes,

867
00:47:48,560 --> 00:47:51,720
Speaker 2: but also the fact that he has a friend called

868
00:47:51,760 --> 00:47:54,480
Speaker 2: Spare Ribs. Ha. That is literally right.

869
00:47:54,600 --> 00:47:58,080
Speaker 1: My last sentence in this paragraph I wrote was that

870
00:47:58,160 --> 00:48:05,080
Speaker 1: most importantly he has a friend named Spare Ribs. And

871
00:48:05,120 --> 00:48:07,120
Speaker 1: there's a there's a scene in the movie where like

872
00:48:08,080 --> 00:48:10,359
Speaker 1: Mick ends up having a party for like her high

873
00:48:10,360 --> 00:48:12,600
Speaker 1: school friends, and then like the three like her younger

874
00:48:12,640 --> 00:48:14,680
Speaker 1: brother and maybe two of his friends are over and

875
00:48:14,719 --> 00:48:17,439
Speaker 1: they're like shooting off fireworks and like rooting or party,

876
00:48:17,480 --> 00:48:17,920
Speaker 1: and I'm like.

877
00:48:18,040 --> 00:48:21,560
Speaker 2: Which one is Spare Ribs. Spare Ribs at the party.

878
00:48:23,000 --> 00:48:26,680
Speaker 2: I gotta know. I love he's like classic little brother

879
00:48:26,800 --> 00:48:28,919
Speaker 2: but just plays it to a fucking tea.

880
00:48:29,680 --> 00:48:32,000
Speaker 1: Yeah, I mean he's like one of the Like he's

881
00:48:32,080 --> 00:48:33,920
Speaker 1: kind of got like a you know, a.

882
00:48:33,880 --> 00:48:35,440
Speaker 2: Real smarmy attitude.

883
00:48:35,480 --> 00:48:37,319
Speaker 1: You know, we love talking about like little brothers and

884
00:48:37,360 --> 00:48:41,040
Speaker 1: sisters in film. Uh, and he's he's he's one. He's

885
00:48:41,120 --> 00:48:44,560
Speaker 1: up there. He's definitely one of the best. So here's

886
00:48:44,560 --> 00:48:47,240
Speaker 1: the thing about Singer. So Singer's living in this house,

887
00:48:47,400 --> 00:48:50,720
Speaker 1: you know, and you know, Mick has sort of drawn

888
00:48:50,760 --> 00:48:54,200
Speaker 1: towards him because he's interesting and like he's a stranger

889
00:48:54,280 --> 00:48:58,759
Speaker 1: and you know, obviously, like the family understands that he,

890
00:48:59,600 --> 00:49:04,880
Speaker 1: you know, is deaf and mute, and you know, there's

891
00:49:04,960 --> 00:49:08,000
Speaker 1: a little bit of insensitivity towards that obviously with kids,

892
00:49:08,000 --> 00:49:10,319
Speaker 1: because they're just kind of saying things, they're using really

893
00:49:10,320 --> 00:49:15,600
Speaker 1: outdated terms for things. But she kind of like takes

894
00:49:15,600 --> 00:49:18,319
Speaker 1: a shine to him and he and starts kind of

895
00:49:18,320 --> 00:49:20,719
Speaker 1: confiding in him a little bit about like her love

896
00:49:20,760 --> 00:49:24,640
Speaker 1: of classical music, and you know, she wants to get

897
00:49:24,680 --> 00:49:26,600
Speaker 1: a piano for the house, but the family can't afford it.

898
00:49:26,640 --> 00:49:30,560
Speaker 1: But so one day, Singer's at a diner and he's

899
00:49:30,560 --> 00:49:32,959
Speaker 1: sitting there and all of a sudden, this drunk guy

900
00:49:33,040 --> 00:49:35,000
Speaker 1: comes in and the drunk guy is played by my

901
00:49:35,200 --> 00:49:37,240
Speaker 1: man Stacy Keach.

902
00:49:38,800 --> 00:49:40,960
Speaker 2: I love how much in the way that we only

903
00:49:41,160 --> 00:49:44,359
Speaker 2: up until Sneakers showcase Robert Redford in a certain lay

904
00:49:44,400 --> 00:49:47,040
Speaker 2: on this podcast. I love that we have only talked

905
00:49:47,040 --> 00:49:49,960
Speaker 2: about Stacy Heach's most dirtbag roles.

906
00:49:50,440 --> 00:49:53,760
Speaker 1: Okay, his role in the Heart is a lonely hunter

907
00:49:54,440 --> 00:49:57,359
Speaker 1: is kind of like this spiritual ancestor to his role

908
00:49:57,400 --> 00:50:00,879
Speaker 1: in Fat City. Yeah, Like it's another guy who's down

909
00:50:00,880 --> 00:50:06,360
Speaker 1: on his luck and he drinks too much. Right, that's that's.

910
00:50:07,880 --> 00:50:09,080
Speaker 2: To put it mildly.

911
00:50:09,680 --> 00:50:14,319
Speaker 1: Yes, to note, this is Stacy Keach's first movie, too so,

912
00:50:15,640 --> 00:50:18,600
Speaker 1: and he comes out all guns blazing, like he's just

913
00:50:18,680 --> 00:50:22,680
Speaker 1: like harassing people in this diner. They kick him out.

914
00:50:22,960 --> 00:50:25,240
Speaker 1: Then he goes outside and he starts throwing himself against

915
00:50:25,280 --> 00:50:27,560
Speaker 1: a wall. I mean, he's in real he's in a

916
00:50:27,600 --> 00:50:32,960
Speaker 1: real state. Okay. And singer comes out and wants to

917
00:50:32,960 --> 00:50:36,960
Speaker 1: help this guy, right, and out of the corner of

918
00:50:36,960 --> 00:50:41,360
Speaker 1: his eye he sees this black doctor who's walking by. Okay,

919
00:50:41,760 --> 00:50:44,680
Speaker 1: and this doctor is played by Percy Rodriguez, the actor

920
00:50:44,719 --> 00:50:48,920
Speaker 1: Percy Rodriguez, and singer you know, communicates, hey, can you

921
00:50:48,920 --> 00:50:51,879
Speaker 1: help this guy out? He's bloodied and you know, he's

922
00:50:52,239 --> 00:50:56,239
Speaker 1: killing himself basically, and the doctor straight up says, I

923
00:50:56,320 --> 00:50:59,160
Speaker 1: do not help white people. You know, like I'm not

924
00:50:59,239 --> 00:51:04,200
Speaker 1: helping this man, and you know you're like very compelled

925
00:51:04,239 --> 00:51:07,200
Speaker 1: by the reasoning for that obviously. But then you know,

926
00:51:07,239 --> 00:51:09,799
Speaker 1: Singer sort of like plays with him a little bit

927
00:51:09,840 --> 00:51:11,080
Speaker 1: and then he finally agrees.

928
00:51:11,640 --> 00:51:11,799
Speaker 3: Right.

929
00:51:12,960 --> 00:51:15,919
Speaker 1: So the character of doctor Copeland now kind of enters

930
00:51:15,960 --> 00:51:20,680
Speaker 1: the story and he becomes friends with Singer at a

931
00:51:20,719 --> 00:51:23,680
Speaker 1: certain point, and you know, Singer is offering to pay

932
00:51:23,760 --> 00:51:27,080
Speaker 1: him for helping out the Stacy Keach character, but you know,

933
00:51:27,120 --> 00:51:29,880
Speaker 1: the doctor doesn't want his money, and then they finally

934
00:51:30,000 --> 00:51:34,560
Speaker 1: agree to a situation where you know, Singer can help

935
00:51:34,600 --> 00:51:37,520
Speaker 1: one of his patients who also is deaf, and so

936
00:51:37,640 --> 00:51:41,560
Speaker 1: it's it's they kind of develop a friendship. And then

937
00:51:41,640 --> 00:51:44,240
Speaker 1: you know, much like the mad character, the doctor begins

938
00:51:44,239 --> 00:51:47,640
Speaker 1: to kind of tell Singer about the complicated relationship that

939
00:51:47,640 --> 00:51:50,239
Speaker 1: he has with his daughter Portia, who is played by

940
00:51:50,280 --> 00:51:55,759
Speaker 1: Cecily Tyson. Right, And you know, this relationship in the

941
00:51:55,760 --> 00:51:59,120
Speaker 1: film I think is really important because it kind of

942
00:51:59,160 --> 00:52:01,160
Speaker 1: shows it's doing lot of things, because you know, this

943
00:52:01,239 --> 00:52:03,560
Speaker 1: movie I think is doing a lot. It's it's talking

944
00:52:03,560 --> 00:52:10,719
Speaker 1: about disability. Obviously, You're right, it's talking about class, it's

945
00:52:10,760 --> 00:52:14,399
Speaker 1: talking about race, and at the center of it is

946
00:52:14,480 --> 00:52:20,040
Speaker 1: the Singer character, right, And I understand like what the

947
00:52:20,120 --> 00:52:23,600
Speaker 1: narrative is trying to communicate, which is that isn't it

948
00:52:23,640 --> 00:52:27,880
Speaker 1: interesting that this man who doesn't talk is now kind

949
00:52:27,880 --> 00:52:30,960
Speaker 1: of like hearing everybody else in town talk.

950
00:52:31,080 --> 00:52:33,880
Speaker 2: Right, And he's kind of like the like the Forest

951
00:52:33,920 --> 00:52:36,880
Speaker 2: Gump centerpiece of this film, Like this could also be

952
00:52:36,920 --> 00:52:40,440
Speaker 2: a Forest Gump origin story, Like he impacts all of

953
00:52:40,480 --> 00:52:44,240
Speaker 2: these lives and his him simply being part of people's

954
00:52:44,239 --> 00:52:47,480
Speaker 2: lives changes their lives and impacts their lives deeply.

955
00:52:47,840 --> 00:52:51,000
Speaker 1: Right, right, which I know has its own like connotations.

956
00:52:51,000 --> 00:52:55,040
Speaker 1: But it's also like, I think that Singer has a

957
00:52:55,120 --> 00:52:58,560
Speaker 1: genuine need to help people, and he he wants to

958
00:52:59,000 --> 00:53:04,359
Speaker 1: and I think he does care to be in these

959
00:53:04,400 --> 00:53:07,080
Speaker 1: people's lives. But the thing about doctor Copeland and his

960
00:53:07,160 --> 00:53:09,480
Speaker 1: daughter is that there's all these like, you know, doctor

961
00:53:09,480 --> 00:53:14,719
Speaker 1: Copeland is a successful doctor, right, and he's black in

962
00:53:15,000 --> 00:53:20,480
Speaker 1: the South in a time of you know, horrible racism

963
00:53:20,600 --> 00:53:23,920
Speaker 1: and white supremacy, and so it's just it's got a

964
00:53:23,960 --> 00:53:29,239
Speaker 1: lot of things going on because Portia, you know, is

965
00:53:30,280 --> 00:53:33,480
Speaker 1: sort of at this point in her life where you know,

966
00:53:33,600 --> 00:53:37,080
Speaker 1: her father wanted her to be a doctor. The mother

967
00:53:37,160 --> 00:53:40,120
Speaker 1: had passed away, and he was kind of putting all

968
00:53:40,160 --> 00:53:44,560
Speaker 1: of his hopes into the daughter, and she decided instead

969
00:53:44,600 --> 00:53:48,719
Speaker 1: to marry you know, a man who has you know,

970
00:53:48,880 --> 00:53:51,759
Speaker 1: a very like working class job and just sort of

971
00:53:51,920 --> 00:53:54,799
Speaker 1: she decides that she wants to be a housekeeper and

972
00:53:54,840 --> 00:53:58,480
Speaker 1: like so his his the dad is just very like

973
00:54:00,440 --> 00:54:02,880
Speaker 1: she can't understand why she would not want to follow

974
00:54:02,880 --> 00:54:07,080
Speaker 1: in his footsteps, right, And you know, I think that

975
00:54:07,719 --> 00:54:10,799
Speaker 1: the Poorsha character is it's kind of the center of

976
00:54:10,880 --> 00:54:14,160
Speaker 1: their strife is the idea that he doesn't like who

977
00:54:14,160 --> 00:54:17,480
Speaker 1: she is and what she wants to do.

978
00:54:17,840 --> 00:54:21,759
Speaker 2: Right. Yeah, there's so much disappointment baked into their relationship

979
00:54:21,760 --> 00:54:25,040
Speaker 2: from the beginning, and her the way she reacts to

980
00:54:25,120 --> 00:54:26,719
Speaker 2: him is kind of like I don't care, Like I'm

981
00:54:26,760 --> 00:54:31,640
Speaker 2: a modern woman making my own choices. And it's nice

982
00:54:31,640 --> 00:54:34,600
Speaker 2: to see that on screen because again, usually we see

983
00:54:35,120 --> 00:54:37,520
Speaker 2: in a more traditional film, we would have seen this

984
00:54:37,560 --> 00:54:39,319
Speaker 2: as like, well, she's part of the talent to tenth

985
00:54:39,400 --> 00:54:41,279
Speaker 2: and you know, she should be a doctor and she

986
00:54:41,320 --> 00:54:44,120
Speaker 2: should succeed and she should be carrying on her father's legacy,

987
00:54:44,960 --> 00:54:46,960
Speaker 2: but she's kind of looking at it from a more

988
00:54:47,000 --> 00:54:49,640
Speaker 2: modern perspective and saying, like, I am happy. I made

989
00:54:49,680 --> 00:54:52,200
Speaker 2: a choice to be in love, and I made a

990
00:54:52,280 --> 00:54:55,080
Speaker 2: choice to love who I wanted to love, and that

991
00:54:55,080 --> 00:54:57,960
Speaker 2: should be enough for you, because it's already enough for me,

992
00:54:58,040 --> 00:55:01,080
Speaker 2: which is again, I guess something I really appreciate about

993
00:55:01,080 --> 00:55:03,680
Speaker 2: seeing that kind of character on screen. And it's revolutionary

994
00:55:03,719 --> 00:55:05,359
Speaker 2: at this point in time to see somebody like that

995
00:55:05,400 --> 00:55:06,200
Speaker 2: on screen.

996
00:55:06,520 --> 00:55:09,120
Speaker 1: Right and like and their relationship reminds me a lot

997
00:55:09,160 --> 00:55:12,320
Speaker 1: of you know, Carrie Washington and her father in Scandal

998
00:55:12,400 --> 00:55:16,279
Speaker 1: or something. It's like, you know, like the father, you know,

999
00:55:16,360 --> 00:55:20,120
Speaker 1: the reason why he's reluctant to help white people is

1000
00:55:20,120 --> 00:55:23,400
Speaker 1: because they've never helped him. They don't respect him. They

1001
00:55:23,719 --> 00:55:25,600
Speaker 1: don't respect him in spite of him being like the

1002
00:55:25,640 --> 00:55:28,960
Speaker 1: best person he could be, right, a doctor, a successful doctor.

1003
00:55:29,080 --> 00:55:33,839
Speaker 1: So it's that situation where's he's basically communicating to her,

1004
00:55:34,120 --> 00:55:35,799
Speaker 1: you have to work twice as hard to be half

1005
00:55:35,840 --> 00:55:37,840
Speaker 1: as good as all these other people, and she's just

1006
00:55:37,920 --> 00:55:40,120
Speaker 1: kind of like, well, I'm not going to because I've

1007
00:55:40,200 --> 00:55:42,879
Speaker 1: choose a different life. And I just it was very

1008
00:55:43,120 --> 00:55:48,040
Speaker 1: a very interesting relationship and so things get even more

1009
00:55:48,040 --> 00:55:50,759
Speaker 1: complicated for them too when one night, Portia and her

1010
00:55:50,840 --> 00:55:52,719
Speaker 1: husband are out at the fair and then these three

1011
00:55:52,960 --> 00:55:56,400
Speaker 1: young white guys basically accuse her husband of assaulting one

1012
00:55:56,400 --> 00:55:58,760
Speaker 1: of their girlfriends, and they attack him with a knife,

1013
00:55:58,800 --> 00:56:01,800
Speaker 1: and in self defense, rabs the knife as they're tussling

1014
00:56:02,280 --> 00:56:05,040
Speaker 1: and defends himself, which then sets up this whole chain

1015
00:56:05,080 --> 00:56:08,439
Speaker 1: of events for them. And you know, Porscho really wants

1016
00:56:08,480 --> 00:56:12,440
Speaker 1: her father to save her husband, because again, here you

1017
00:56:12,520 --> 00:56:16,520
Speaker 1: have a black man who is essentially, you know, being

1018
00:56:16,560 --> 00:56:19,799
Speaker 1: set up to be this like this person who's assaulted

1019
00:56:19,840 --> 00:56:23,680
Speaker 1: these white guys. And she's like, well, you know, I

1020
00:56:23,719 --> 00:56:27,279
Speaker 1: know that my father has power in subway, in the neighborhood,

1021
00:56:27,280 --> 00:56:29,600
Speaker 1: and so if she can talk, you know, if he

1022
00:56:29,640 --> 00:56:32,080
Speaker 1: can talk to the sheriff and say like you were there,

1023
00:56:32,160 --> 00:56:34,080
Speaker 1: you saw everything, and you know that he didn't do it,

1024
00:56:34,120 --> 00:56:36,800
Speaker 1: he didn't start to fight, but he sort of refuses

1025
00:56:36,840 --> 00:56:39,000
Speaker 1: because he doesn't want to lie and he you know,

1026
00:56:39,080 --> 00:56:42,600
Speaker 1: so it's very very complicated and uh and she really

1027
00:56:42,680 --> 00:56:46,960
Speaker 1: like is disappointed by her father for not doing that right,

1028
00:56:47,120 --> 00:56:51,120
Speaker 1: for not helping them out, and you know, their their

1029
00:56:51,200 --> 00:56:54,160
Speaker 1: story again like kind of gets even more complicated than

1030
00:56:54,239 --> 00:56:56,319
Speaker 1: that at a certain point. I won't give it away.

1031
00:56:57,000 --> 00:56:59,239
Speaker 1: But the thing about it is like, again, there's all

1032
00:56:59,280 --> 00:57:01,520
Speaker 1: these like different stories, so there's all these different people

1033
00:57:01,600 --> 00:57:04,680
Speaker 1: coming together, and it's all kind of Singer the Alan

1034
00:57:04,760 --> 00:57:07,719
Speaker 1: Arkin characters in the middle of everything. And you know,

1035
00:57:07,880 --> 00:57:09,800
Speaker 1: like I said, I think the messaging of the film

1036
00:57:09,880 --> 00:57:12,200
Speaker 1: is basically like look who you know, Look at all

1037
00:57:12,200 --> 00:57:15,160
Speaker 1: these people who are kind of like this character of

1038
00:57:15,239 --> 00:57:17,760
Speaker 1: Singer is woven into the all these different people's lives

1039
00:57:17,800 --> 00:57:20,520
Speaker 1: and it transcends kind of like class and race, and

1040
00:57:21,000 --> 00:57:26,120
Speaker 1: you know, he's kind and helpful, but there's also maybe

1041
00:57:26,160 --> 00:57:28,919
Speaker 1: like a part of him that's lonely, and that really

1042
00:57:28,960 --> 00:57:31,280
Speaker 1: comes across with the character. I think he kind of

1043
00:57:31,360 --> 00:57:34,760
Speaker 1: like communicates that he's lonely and maybe wants to be

1044
00:57:34,800 --> 00:57:37,200
Speaker 1: cared for too, because a lot of what people do

1045
00:57:37,280 --> 00:57:39,680
Speaker 1: is they kind of enter into his life. He ends

1046
00:57:39,760 --> 00:57:43,320
Speaker 1: up helping and then they kind of go away, which

1047
00:57:43,320 --> 00:57:45,560
Speaker 1: I think is mostly like what happens with the Stacy

1048
00:57:45,640 --> 00:57:48,320
Speaker 1: Keach character, because I guess what happens with Stacy Keach

1049
00:57:48,440 --> 00:57:50,840
Speaker 1: is that he cleans himself up and gets a job,

1050
00:57:51,560 --> 00:57:53,960
Speaker 1: and you know he was supposed to have you know,

1051
00:57:54,000 --> 00:57:56,800
Speaker 1: this standing chess game with Singer and then he's like, well,

1052
00:57:56,800 --> 00:57:58,680
Speaker 1: I got a job, so I can't can't hang out

1053
00:57:58,680 --> 00:58:00,280
Speaker 1: with you. Now see you later, you know. Oh, And

1054
00:58:01,200 --> 00:58:04,240
Speaker 1: Singer is kind of like bond because it's like, Okay,

1055
00:58:04,400 --> 00:58:08,400
Speaker 1: well I help this guy out and now you know, yeah,

1056
00:58:08,440 --> 00:58:10,400
Speaker 1: it's kind of over and I don't know how I

1057
00:58:10,440 --> 00:58:14,800
Speaker 1: fit in with people, which is a very interesting concept

1058
00:58:14,840 --> 00:58:17,520
Speaker 1: to me, right, because as people we think about that

1059
00:58:17,560 --> 00:58:20,120
Speaker 1: all the time. Right, We're like, well, do I really

1060
00:58:20,160 --> 00:58:24,160
Speaker 1: have friends or am I just helping people out?

1061
00:58:24,800 --> 00:58:25,360
Speaker 2: That's bleak.

1062
00:58:27,400 --> 00:58:31,640
Speaker 1: Listen, I never said this was gonna be a blast.

1063
00:58:32,880 --> 00:58:35,720
Speaker 2: But it's true. It's like usually there the way we

1064
00:58:35,720 --> 00:58:38,040
Speaker 2: can sceptualize loneliness is that there are people that stay

1065
00:58:38,080 --> 00:58:42,720
Speaker 2: away from from other people. And in this film and book,

1066
00:58:42,760 --> 00:58:45,880
Speaker 2: it's like, well, he's someone who's trying his hardest to

1067
00:58:45,960 --> 00:58:50,400
Speaker 2: be part of his community and still feels lonely. It's

1068
00:58:50,480 --> 00:58:52,280
Speaker 2: so sad ough this movie.

1069
00:58:52,960 --> 00:58:54,480
Speaker 1: Yeah, and you know, I'm like, I won't give the

1070
00:58:54,520 --> 00:58:57,120
Speaker 1: rest of the movie away simply because there's just a

1071
00:58:57,160 --> 00:59:00,480
Speaker 1: lot going on, and then again, like there's a lot

1072
00:59:00,560 --> 00:59:06,160
Speaker 1: that happens afterwards. But to me, I feel like like

1073
00:59:06,240 --> 00:59:09,840
Speaker 1: this kind of character study is really appealing to me,

1074
00:59:10,000 --> 00:59:12,960
Speaker 1: Like I love the Slice of Life films, and I

1075
00:59:13,000 --> 00:59:16,200
Speaker 1: love seeing all these characters interacting and how they're kind

1076
00:59:16,240 --> 00:59:19,840
Speaker 1: of like in this town and you know, for our

1077
00:59:19,880 --> 00:59:22,439
Speaker 1: purposes of this episode, I mean Cicily Tyson in terms

1078
00:59:22,480 --> 00:59:24,840
Speaker 1: of it being her first movie, she's incredible, Like she

1079
00:59:24,880 --> 00:59:29,160
Speaker 1: has very traumatic scenes and you know, she's really like

1080
00:59:29,640 --> 00:59:32,240
Speaker 1: she shows like a full range of emotions. Like there's

1081
00:59:32,640 --> 00:59:35,320
Speaker 1: parts where she's like crying and anguish, and there's parts

1082
00:59:35,320 --> 00:59:38,240
Speaker 1: where she's having a blast at the carnival, which was

1083
00:59:38,280 --> 00:59:41,160
Speaker 1: really fun to see, you know before obviously the violent

1084
00:59:41,400 --> 00:59:45,240
Speaker 1: part that happened later. But yeah, I don't know.

1085
00:59:45,320 --> 00:59:45,920
Speaker 2: I mean to me.

1086
00:59:46,040 --> 00:59:49,720
Speaker 1: Again, like the original book was something that I read

1087
00:59:49,760 --> 00:59:53,240
Speaker 1: like a long time ago in high school, and seeing

1088
00:59:53,240 --> 00:59:55,080
Speaker 1: this movie again made me want to pick the book

1089
00:59:55,160 --> 00:59:57,920
Speaker 1: up again and reread it because it's been a long time.

1090
00:59:59,320 --> 01:00:03,800
Speaker 1: But yeah, I mean, this movie hits. I love it great.

1091
01:00:03,840 --> 01:00:05,439
Speaker 2: It's so good and it's such a great like you said,

1092
01:00:05,440 --> 01:00:08,320
Speaker 2: it's such a great initial role for someone. It's such

1093
01:00:08,320 --> 01:00:11,320
Speaker 2: a great first role in film for someone, and I

1094
01:00:11,320 --> 01:00:14,040
Speaker 2: think that like the way that she plays it is

1095
01:00:14,120 --> 01:00:16,720
Speaker 2: so full of life and so full of humanity. And

1096
01:00:17,080 --> 01:00:19,040
Speaker 2: you know this scene where she's drunk and there's like

1097
01:00:19,200 --> 01:00:23,560
Speaker 2: she just really she's playing a very free spirited person

1098
01:00:23,720 --> 01:00:27,160
Speaker 2: and it just translates so well because of her ability

1099
01:00:27,920 --> 01:00:30,800
Speaker 2: to see the humanity in black and black people. Like,

1100
01:00:30,800 --> 01:00:32,640
Speaker 2: like she said from the beginning, like she's not going

1101
01:00:32,720 --> 01:00:34,160
Speaker 2: to do roles where she doesn't get to do that,

1102
01:00:34,560 --> 01:00:36,520
Speaker 2: so right, Yeah, it could not have been a more

1103
01:00:36,560 --> 01:00:37,080
Speaker 2: perfect fit.

1104
01:00:37,600 --> 01:00:40,720
Speaker 1: Yeah, and it's a great movie that takes place. It's

1105
01:00:40,720 --> 01:00:43,200
Speaker 1: supposed to take place in Georgia, but it was actually

1106
01:00:43,240 --> 01:00:46,040
Speaker 1: filmed in Selma, Alabama, which I think is really cool,

1107
01:00:46,400 --> 01:00:51,080
Speaker 1: and shot by the incredible cinematographer James Wonghaw. We've talked

1108
01:00:51,120 --> 01:00:55,000
Speaker 1: about him before, So yeah, such a gem. And you know,

1109
01:00:55,360 --> 01:00:58,480
Speaker 1: Sondra Locke and Alan Arkin were nominated for Oscars, you know,

1110
01:00:58,720 --> 01:01:00,880
Speaker 1: so I don't know if you know seeing it, check

1111
01:01:00,920 --> 01:01:02,560
Speaker 1: it out. It's a good flick.

1112
01:01:03,400 --> 01:01:06,320
Speaker 2: Great choice, a great choice.

1113
01:01:06,520 --> 01:01:09,000
Speaker 1: I cannot. I was like, let's get this part going

1114
01:01:09,080 --> 01:01:14,080
Speaker 1: so we can talk about sounder. Oh My, My My

1115
01:01:14,200 --> 01:01:16,920
Speaker 1: movie was released in nineteen seventy two. It is also

1116
01:01:17,440 --> 01:01:21,440
Speaker 1: based on a book by the same name by William h. Armstrong,

1117
01:01:22,000 --> 01:01:25,520
Speaker 1: written by Lonnie Elder. The third and directed by Martin Ritt.

1118
01:01:25,880 --> 01:01:27,400
Speaker 1: My movie is sounder what.

1119
01:01:27,480 --> 01:01:31,720
Speaker 2: We make it too, another season share cropping bowman working

1120
01:01:31,760 --> 01:01:33,600
Speaker 2: our sales at desks so you can get rich, and

1121
01:01:33,640 --> 01:01:36,160
Speaker 2: we can't even eat when cropping time is done. So

1122
01:01:36,680 --> 01:01:39,680
Speaker 2: I have I do have a one sentence synopsis. A

1123
01:01:39,720 --> 01:01:42,640
Speaker 2: family is thrown into heartache and turmoil in depression era

1124
01:01:42,920 --> 01:01:45,800
Speaker 2: Louisiana after their father is sent to jail for simply

1125
01:01:45,840 --> 01:01:48,680
Speaker 2: trying to feed them. But don't worry, Mama is there

1126
01:01:48,680 --> 01:01:49,440
Speaker 2: to pick up the slack.

1127
01:01:51,000 --> 01:01:52,160
Speaker 1: That's absolutely right.

1128
01:01:52,760 --> 01:01:55,040
Speaker 2: So I think that a lot of the way that

1129
01:01:55,080 --> 01:01:57,560
Speaker 2: this film was conceptualized is that it's a story of

1130
01:01:57,840 --> 01:02:00,120
Speaker 2: it's a boy's journey from you know, being a boy

1131
01:02:00,160 --> 01:02:03,840
Speaker 2: to being a man. But it's so much more layer

1132
01:02:03,920 --> 01:02:07,560
Speaker 2: than that, and it's so much more important that Cicely

1133
01:02:07,600 --> 01:02:10,400
Speaker 2: Tyson has a more important role in that, because yes,

1134
01:02:10,440 --> 01:02:13,680
Speaker 2: it is very much about the little boy played whose

1135
01:02:14,120 --> 01:02:18,000
Speaker 2: name is David Lee. He's played by Kevin Hooks and

1136
01:02:18,040 --> 01:02:21,560
Speaker 2: Paul Winfield plays his father, Nathan Lee, and so it's

1137
01:02:21,640 --> 01:02:23,600
Speaker 2: very much a story about a boy and his father,

1138
01:02:23,800 --> 01:02:27,040
Speaker 2: you know, a boy on his own. But Cicely Tyson

1139
01:02:27,160 --> 01:02:32,000
Speaker 2: is so incredible in this movie, and it just really

1140
01:02:32,960 --> 01:02:35,680
Speaker 2: if you haven't seen it, it's really not just a

1141
01:02:35,720 --> 01:02:38,960
Speaker 2: story of a particular time like nineteen thirty three Louisiana,

1142
01:02:39,440 --> 01:02:44,840
Speaker 2: but it's a story of the continued sacrifice that black

1143
01:02:44,880 --> 01:02:48,440
Speaker 2: women often have to make so that they can ensure

1144
01:02:48,440 --> 01:02:53,320
Speaker 2: the survival of their family and of themselves. So the

1145
01:02:53,400 --> 01:02:56,960
Speaker 2: movie starts out with a very intense raccoon chase and

1146
01:02:57,000 --> 01:03:01,520
Speaker 2: the loudest dog that has ever fucking existed, and the

1147
01:03:01,600 --> 01:03:02,720
Speaker 2: dog is named Sounder.

1148
01:03:04,240 --> 01:03:07,280
Speaker 1: Real, right off the bat, I must be a fucking

1149
01:03:07,480 --> 01:03:11,880
Speaker 1: moron because I didn't realize that raccoon's hissed when they

1150
01:03:11,880 --> 01:03:12,680
Speaker 1: were mad.

1151
01:03:13,920 --> 01:03:16,680
Speaker 2: Like a cat does. Raccoons are fucking mean.

1152
01:03:17,480 --> 01:03:20,800
Speaker 1: Yeah, that raccoon is in the on the branch going

1153
01:03:21,080 --> 01:03:24,080
Speaker 1: a hat, and I was like, WHOA. I guess I've

1154
01:03:24,120 --> 01:03:28,400
Speaker 1: never seen a raccoon mad before. I've only seen them, like,

1155
01:03:28,440 --> 01:03:30,080
Speaker 1: I guess, hang out in front of dumpsters and being

1156
01:03:30,160 --> 01:03:31,520
Speaker 1: very happy because.

1157
01:03:31,280 --> 01:03:32,840
Speaker 2: They're like, look at all this food, look at look

1158
01:03:32,960 --> 01:03:37,120
Speaker 2: at the fucking jackpot. No, raccoons are fucking mean, and

1159
01:03:37,160 --> 01:03:40,160
Speaker 2: you've never unless you've chased one with a lantern at night.

1160
01:03:40,960 --> 01:03:42,880
Speaker 2: They're probably gonna just kind of stay out of the way.

1161
01:03:43,200 --> 01:03:45,160
Speaker 2: But once you're chasing them with a loud dog and

1162
01:03:45,240 --> 01:03:47,280
Speaker 2: a lantern at night. They're like, fuck off, I know

1163
01:03:47,280 --> 01:03:49,160
Speaker 2: what's happening here. You're trying to put me on your table.

1164
01:03:49,480 --> 01:03:53,360
Speaker 2: Oh wow, yeah, time to get loud. But it's like

1165
01:03:53,440 --> 01:03:55,080
Speaker 2: this chase through the woods and you get to see

1166
01:03:55,080 --> 01:03:57,800
Speaker 2: a lot of the landscape of where we're living or

1167
01:03:57,840 --> 01:04:02,920
Speaker 2: where you know, this family family lives, and it's not successful,

1168
01:04:02,920 --> 01:04:06,800
Speaker 2: like the dad does not catch this raccoon and he's like, fuck,

1169
01:04:06,800 --> 01:04:09,160
Speaker 2: there's gonna be no meat on the table, Like I'm

1170
01:04:09,200 --> 01:04:11,840
Speaker 2: just bummed out. But we did our best. Like you

1171
01:04:11,840 --> 01:04:14,200
Speaker 2: can tell from the introduction that he has such a

1172
01:04:14,280 --> 01:04:17,560
Speaker 2: genial approach to life and he's not mean to his children.

1173
01:04:17,600 --> 01:04:21,160
Speaker 2: He's not mean to David Lee, who's like right next

1174
01:04:21,160 --> 01:04:25,160
Speaker 2: to him. It's kind of like his sidekick. And so

1175
01:04:25,200 --> 01:04:27,600
Speaker 2: he shows his frustration but then immediately pulls back and

1176
01:04:27,720 --> 01:04:29,000
Speaker 2: is like, but we did our best and we'll get

1177
01:04:29,000 --> 01:04:32,680
Speaker 2: it next time. And he's just really like a supportive dad,

1178
01:04:33,400 --> 01:04:35,400
Speaker 2: Like he just really is like right off the bat,

1179
01:04:35,880 --> 01:04:40,000
Speaker 2: and you can tell that David Lee really enjoys being

1180
01:04:40,080 --> 01:04:41,760
Speaker 2: part of his father's life in that way, like he's

1181
01:04:41,760 --> 01:04:43,920
Speaker 2: starting to feel a sense of importance he's the oldest

1182
01:04:43,920 --> 01:04:46,160
Speaker 2: of three children, and you know, his dad kind of

1183
01:04:46,200 --> 01:04:50,960
Speaker 2: relies on him for a lot, but he also has

1184
01:04:51,240 --> 01:04:54,680
Speaker 2: his own goals, his own dreams, much like Mick in

1185
01:04:55,040 --> 01:04:57,920
Speaker 2: the Heart is only Hunter. So they go home and

1186
01:04:57,960 --> 01:05:01,000
Speaker 2: we get to meet Rebecca, who is sis Tyson's character,

1187
01:05:01,480 --> 01:05:06,040
Speaker 2: and Rebecca is their mother, and she's so pissed because

1188
01:05:06,040 --> 01:05:09,400
Speaker 2: she's like, I just shelled all these fucking walnuts and

1189
01:05:09,720 --> 01:05:11,720
Speaker 2: I'm trying to go into town and sell them. And

1190
01:05:11,800 --> 01:05:13,960
Speaker 2: David Lee just came home from this fucking hunt and

1191
01:05:14,160 --> 01:05:18,600
Speaker 2: ate half of them, Like I get it, but damn.

1192
01:05:19,240 --> 01:05:21,280
Speaker 2: But you get to see like where they live and

1193
01:05:21,400 --> 01:05:25,920
Speaker 2: kind of the fact that they are sharecroppers, And if

1194
01:05:25,960 --> 01:05:29,800
Speaker 2: you don't know what sharecropping is, sharecropping was a system

1195
01:05:29,840 --> 01:05:34,360
Speaker 2: where a landlord or a person who owned a chunk

1196
01:05:34,400 --> 01:05:38,000
Speaker 2: of land kind of allowed a tenant to live there

1197
01:05:38,080 --> 01:05:41,480
Speaker 2: and use the land in exchange for a share of

1198
01:05:41,520 --> 01:05:44,000
Speaker 2: the crop. So it's like, all right, you're growing corn,

1199
01:05:44,240 --> 01:05:45,880
Speaker 2: give me half your corn, and you can live here

1200
01:05:45,920 --> 01:05:49,560
Speaker 2: and work the land. But it was an incredibly flawed

1201
01:05:49,560 --> 01:05:53,000
Speaker 2: system and super fucked up and usually was designed to

1202
01:05:53,080 --> 01:05:55,480
Speaker 2: keep people in poverty. So right off the bat, they

1203
01:05:55,480 --> 01:05:59,320
Speaker 2: would like lease equipment to their tenants and maybe give

1204
01:05:59,360 --> 01:06:02,720
Speaker 2: them tools and maybe buy them clothes, and so before

1205
01:06:02,760 --> 01:06:06,520
Speaker 2: you even plant a seed. Most sharecroppers were deeply indebted

1206
01:06:06,960 --> 01:06:10,680
Speaker 2: to their landlords. They also put in like these really

1207
01:06:10,800 --> 01:06:14,520
Speaker 2: arbitrary rules, like you couldn't sell your crops to anyone else.

1208
01:06:15,080 --> 01:06:17,400
Speaker 2: There were also things like what if you had a

1209
01:06:17,400 --> 01:06:21,080
Speaker 2: bad harvest and you can't give me what you owe me,

1210
01:06:21,120 --> 01:06:25,520
Speaker 2: so you're again going further into debt with me because

1211
01:06:26,120 --> 01:06:28,880
Speaker 2: you had a bad year. So it was really fucked.

1212
01:06:28,880 --> 01:06:33,040
Speaker 2: And again they're renting, like nobody owns the land that

1213
01:06:33,040 --> 01:06:35,720
Speaker 2: they're working, so the landlord's kind of got the benefit

1214
01:06:35,760 --> 01:06:40,120
Speaker 2: of like free work and free labor and free crops

1215
01:06:41,800 --> 01:06:46,720
Speaker 2: without giving anything to anyone beyond the comfort of you

1216
01:06:46,760 --> 01:06:48,840
Speaker 2: can live here for as long as I say you

1217
01:06:48,840 --> 01:06:50,680
Speaker 2: can live here. It was really fucked and it kind

1218
01:06:50,720 --> 01:06:53,760
Speaker 2: of went out of favor after the Great Depression in

1219
01:06:53,800 --> 01:06:57,439
Speaker 2: the forties. Sharecropping became like just kind of faded into

1220
01:06:57,680 --> 01:07:02,280
Speaker 2: oblivion because it's just been it was just not a

1221
01:07:02,320 --> 01:07:06,920
Speaker 2: healthy system, and it affected white and black people. Like

1222
01:07:06,920 --> 01:07:10,400
Speaker 2: two thirds I think a sharecroppers were white. I read

1223
01:07:10,440 --> 01:07:13,560
Speaker 2: on PBS, But it basically was a system to keep

1224
01:07:13,600 --> 01:07:14,440
Speaker 2: people impoverished.

1225
01:07:15,120 --> 01:07:19,200
Speaker 1: Yeah, I you know, it's funny. I was watching what

1226
01:07:19,320 --> 01:07:22,200
Speaker 1: is the ken Burns documentary about country music? I think

1227
01:07:22,240 --> 01:07:27,600
Speaker 1: it's called country music actually, but oh it's called ken

1228
01:07:27,600 --> 01:07:31,840
Speaker 1: Burn's Country Music. I'm an idiot, But are you really like?

1229
01:07:32,000 --> 01:07:34,240
Speaker 1: The thing that kept popping up about like all of

1230
01:07:34,240 --> 01:07:37,320
Speaker 1: these like older country music artists is that all of

1231
01:07:37,360 --> 01:07:41,560
Speaker 1: their families were sharecroppers, like right, Johnny Cash, like you know,

1232
01:07:41,600 --> 01:07:44,959
Speaker 1: anybody like And I was just like, wow, like that's

1233
01:07:44,960 --> 01:07:47,840
Speaker 1: so interesting, because yeah, I mean it's it's such a

1234
01:07:47,880 --> 01:07:51,360
Speaker 1: any time I hear sharecropping, I'm like poverty, right, because

1235
01:07:51,680 --> 01:07:53,919
Speaker 1: the system is so deeply.

1236
01:07:53,600 --> 01:07:58,880
Speaker 2: Fucked, completely fucked. And so you've got this family who's

1237
01:07:58,960 --> 01:08:02,360
Speaker 2: you know, a mad and again, because it still happens now,

1238
01:08:02,560 --> 01:08:06,360
Speaker 2: we don't call it sharecropping anymore, but imagine you're working

1239
01:08:06,400 --> 01:08:09,200
Speaker 2: the land, you're growing food, and you can't afford to

1240
01:08:09,200 --> 01:08:13,760
Speaker 2: feed your family, Like how fucked is this world that

1241
01:08:13,880 --> 01:08:16,360
Speaker 2: you're like, I'm growing food and I'm giving it to

1242
01:08:16,400 --> 01:08:20,240
Speaker 2: this fucking dude, and my family is starving. So after

1243
01:08:20,280 --> 01:08:23,320
Speaker 2: this hunt, when they wake up the next morning, miraculously

1244
01:08:23,600 --> 01:08:28,479
Speaker 2: there's sausage, there's breakfast, like David is sighted. He's like,

1245
01:08:28,720 --> 01:08:30,479
Speaker 2: I've got to go to school, but I didn't expect

1246
01:08:30,479 --> 01:08:33,960
Speaker 2: there to be any food, and there is. And Rebecca

1247
01:08:34,080 --> 01:08:37,160
Speaker 2: and Nathan kind of have a tense little moment that

1248
01:08:37,200 --> 01:08:39,960
Speaker 2: they don't go too far into, but Nathan's like, well,

1249
01:08:40,000 --> 01:08:42,240
Speaker 2: I had to do what I had to do. And

1250
01:08:42,280 --> 01:08:46,200
Speaker 2: what you find out later is that Nathan has basically

1251
01:08:46,320 --> 01:08:51,240
Speaker 2: stolen this food from a local business and he's caught.

1252
01:08:52,520 --> 01:08:55,840
Speaker 2: So David Lee goes to school. There's one point where

1253
01:08:55,960 --> 01:08:58,679
Speaker 2: Rebecca says, like, you know, it's six miles to school,

1254
01:08:58,720 --> 01:09:00,559
Speaker 2: you better get going, can you fuck it? Imagine like

1255
01:09:00,600 --> 01:09:04,840
Speaker 2: I do not respect my ancestors enough, like walking six

1256
01:09:04,920 --> 01:09:09,240
Speaker 2: miles to go to school and fucking then you get

1257
01:09:09,320 --> 01:09:13,719
Speaker 2: imagine imagine this, you're a sharecropper, you walk six miles

1258
01:09:13,760 --> 01:09:15,680
Speaker 2: to go to school, you're a little bit late, and

1259
01:09:15,680 --> 01:09:17,320
Speaker 2: the teacher kind of gives you a little side eye,

1260
01:09:17,320 --> 01:09:20,040
Speaker 2: and then when you get there, she's reading Huckleberry Finn,

1261
01:09:20,280 --> 01:09:24,120
Speaker 2: which is like the most racist text like in terms

1262
01:09:24,120 --> 01:09:27,799
Speaker 2: of the representation of black people. So this is his world.

1263
01:09:27,880 --> 01:09:30,760
Speaker 2: Like David is living in a really he's kind of

1264
01:09:30,800 --> 01:09:33,080
Speaker 2: got one foot in each world and he's definitely not

1265
01:09:33,120 --> 01:09:33,880
Speaker 2: comfortable with it.

1266
01:09:35,400 --> 01:09:39,679
Speaker 1: Yeah, I mean that that whole part about like him

1267
01:09:39,760 --> 01:09:42,400
Speaker 1: going It's at some point in the film it's revealed

1268
01:09:42,439 --> 01:09:44,800
Speaker 1: that the landlord was the one that got him into

1269
01:09:44,840 --> 01:09:47,960
Speaker 1: this school anyway, which it's like it was such a

1270
01:09:47,960 --> 01:09:51,400
Speaker 1: struggle to go to it's it's far away, it's all white,

1271
01:09:51,920 --> 01:09:53,960
Speaker 1: and he's kind of set up to fail. I mean,

1272
01:09:54,040 --> 01:09:55,880
Speaker 1: he can't help it be late. And then when he

1273
01:09:55,920 --> 01:09:58,880
Speaker 1: shows up late, everyone's staring at him like, you know,

1274
01:09:59,360 --> 01:10:01,559
Speaker 1: he's a big idiot, and it's just sad. It was

1275
01:10:01,600 --> 01:10:03,679
Speaker 1: just it just made me very sad for the for him,

1276
01:10:03,720 --> 01:10:09,080
Speaker 1: because again, it's like a system that's making people fail,

1277
01:10:09,360 --> 01:10:11,519
Speaker 1: and it just was heartbreaking.

1278
01:10:11,080 --> 01:10:14,439
Speaker 2: You know, absolutely, and it it it also I think

1279
01:10:14,439 --> 01:10:17,120
Speaker 2: it's heartbreaking too because it really lands on this kid,

1280
01:10:17,439 --> 01:10:20,240
Speaker 2: like he's carrying a lot of psychic weight and a

1281
01:10:20,280 --> 01:10:23,559
Speaker 2: lot of the heft of I know that I'm trying

1282
01:10:23,600 --> 01:10:25,960
Speaker 2: to do something different. He did get me into this school,

1283
01:10:25,960 --> 01:10:28,240
Speaker 2: but also we are still poor, we still don't have enough.

1284
01:10:28,280 --> 01:10:31,439
Speaker 2: I feel obligated to my family, and it's just it's

1285
01:10:31,520 --> 01:10:33,800
Speaker 2: just so hard, like life is just hard for him.

1286
01:10:33,800 --> 01:10:35,320
Speaker 2: And then he you know, after school, he has to

1287
01:10:35,320 --> 01:10:38,479
Speaker 2: deliver laundry that his mother has been doing all day.

1288
01:10:39,720 --> 01:10:41,759
Speaker 2: And you know, we get to meet one of the clients,

1289
01:10:41,760 --> 01:10:44,519
Speaker 2: Missus Boatwright, who's this this white woman who's supposed to

1290
01:10:44,600 --> 01:10:47,400
Speaker 2: be like a good white woman, like a nice white woman,

1291
01:10:47,439 --> 01:10:50,840
Speaker 2: but she's still kind of employing these people and keeping

1292
01:10:50,880 --> 01:10:53,920
Speaker 2: them in a system where they're impoverished, and you know,

1293
01:10:54,000 --> 01:10:55,800
Speaker 2: but she's you know, she kind of gives David a book,

1294
01:10:55,800 --> 01:10:57,880
Speaker 2: the Three She gives them the Three Musketeers, and is like,

1295
01:10:58,000 --> 01:11:01,240
Speaker 2: let's talk about it, like she's trying, but in the

1296
01:11:01,280 --> 01:11:03,479
Speaker 2: way that we see a lot in this era and

1297
01:11:03,880 --> 01:11:07,240
Speaker 2: still and there's a moment I'll talk about in a

1298
01:11:07,240 --> 01:11:10,439
Speaker 2: little bit where she's kind of indicative of the fact

1299
01:11:10,439 --> 01:11:12,320
Speaker 2: that white people will go right up to the brink,

1300
01:11:12,360 --> 01:11:14,479
Speaker 2: but they will never go over the edge in terms

1301
01:11:14,479 --> 01:11:18,040
Speaker 2: of helping someone who's less fortunate or is helping someone

1302
01:11:18,040 --> 01:11:21,280
Speaker 2: who has a completely different class or racial status than

1303
01:11:21,320 --> 01:11:24,479
Speaker 2: they do. So she again is set up as kind

1304
01:11:24,520 --> 01:11:27,640
Speaker 2: of like the nice white woman character. But it's questionable

1305
01:11:27,640 --> 01:11:29,400
Speaker 2: to me, and I think that in my critical lens,

1306
01:11:29,439 --> 01:11:31,519
Speaker 2: I kind of still look at that character as you know,

1307
01:11:31,680 --> 01:11:32,200
Speaker 2: is she though?

1308
01:11:33,000 --> 01:11:33,200
Speaker 1: Is she?

1309
01:11:34,000 --> 01:11:37,599
Speaker 2: So you know, again, like I said, David is one

1310
01:11:37,640 --> 01:11:41,240
Speaker 2: of three children. You've got Earl and Josie May his

1311
01:11:41,280 --> 01:11:43,519
Speaker 2: brother and sister who are younger. And then you know,

1312
01:11:43,560 --> 01:11:47,360
Speaker 2: you get this great scene of seeing Nathan Lee playing

1313
01:11:47,400 --> 01:11:50,080
Speaker 2: baseball and he's so good at it and the family's

1314
01:11:50,120 --> 01:11:52,560
Speaker 2: having so much fun and they have all these friends.

1315
01:11:52,960 --> 01:11:55,120
Speaker 2: One of the friends is Ike, who's played by Taj

1316
01:11:55,200 --> 01:11:58,880
Speaker 2: Mahal who also did the music for the film, and

1317
01:11:58,920 --> 01:12:00,760
Speaker 2: he's just kind of walking and play guitar. But they're

1318
01:12:00,800 --> 01:12:03,920
Speaker 2: just like they have a system, they have a social system,

1319
01:12:03,960 --> 01:12:07,160
Speaker 2: they have a life, they have joy. It's not just

1320
01:12:07,280 --> 01:12:09,559
Speaker 2: all we're working on a farm and you don't get

1321
01:12:09,560 --> 01:12:11,360
Speaker 2: to see us as full people. Like they go to church,

1322
01:12:11,479 --> 01:12:14,599
Speaker 2: like they just have not just their family, but their

1323
01:12:14,600 --> 01:12:17,880
Speaker 2: extended family, which you can tell is very important to them. Yeah,

1324
01:12:18,240 --> 01:12:21,679
Speaker 2: and so at one point, you know, they come they're

1325
01:12:21,720 --> 01:12:24,639
Speaker 2: coming home from that baseball game and there are these

1326
01:12:24,640 --> 01:12:27,600
Speaker 2: two white guys on the porch and they're the sheriffs,

1327
01:12:27,720 --> 01:12:31,040
Speaker 2: and they're like fuck because this is when Nathan gets

1328
01:12:31,040 --> 01:12:33,400
Speaker 2: found out that he has stolen this food. They've already

1329
01:12:33,400 --> 01:12:36,520
Speaker 2: walked into their house. You know, there's no sense of ownership,

1330
01:12:36,880 --> 01:12:38,439
Speaker 2: so they just walked in and they're like, yeah, we

1331
01:12:38,479 --> 01:12:40,680
Speaker 2: saw the food, so we know you did it, and

1332
01:12:40,720 --> 01:12:41,719
Speaker 2: you're coming with us.

1333
01:12:42,600 --> 01:12:45,479
Speaker 1: And like, and the sheriff had like the ham in

1334
01:12:45,560 --> 01:12:49,000
Speaker 1: his hand or something. I'm like, like, this, bitch, what

1335
01:12:49,120 --> 01:12:51,400
Speaker 1: the fuck? Like you walked into these people's Like is

1336
01:12:51,400 --> 01:12:53,360
Speaker 1: there gonna take half of a handback? Like what is

1337
01:12:53,400 --> 01:12:55,000
Speaker 1: your what is your reasoning here?

1338
01:12:55,120 --> 01:12:58,040
Speaker 2: Like you could just leave them the fucking ham, Like

1339
01:12:58,280 --> 01:13:01,200
Speaker 2: is unreal. And so they kind of put him in

1340
01:13:01,200 --> 01:13:04,040
Speaker 2: the back of this truck and as they're taking them away,

1341
01:13:04,880 --> 01:13:08,000
Speaker 2: Sounder the dog starts chasing after his owner like they're

1342
01:13:08,120 --> 01:13:12,000
Speaker 2: very tight, and this bastard shoots Sounder, and Sounder takes

1343
01:13:12,000 --> 01:13:14,559
Speaker 2: the fuck off into the woods and for a few

1344
01:13:14,640 --> 01:13:16,800
Speaker 2: days they don't know if he's alive or dead. And

1345
01:13:17,800 --> 01:13:20,040
Speaker 2: it's really sad because you're like, all right, this is

1346
01:13:20,160 --> 01:13:22,840
Speaker 2: a connective point. If you're wondering why the movie is

1347
01:13:22,920 --> 01:13:26,080
Speaker 2: named Sounder, I think it's because there's a connective point

1348
01:13:26,080 --> 01:13:29,519
Speaker 2: between this dog, the father and the son, and he's

1349
01:13:29,560 --> 01:13:32,320
Speaker 2: really representative about like you know that the closest of

1350
01:13:32,360 --> 01:13:35,800
Speaker 2: that relationship and the continuance of that relationship through this dog.

1351
01:13:38,080 --> 01:13:44,280
Speaker 1: Absolutely, And when I tell you that this, when that

1352
01:13:44,560 --> 01:13:50,080
Speaker 1: sheriff takes that shot, I get sent into a tailspin

1353
01:13:50,160 --> 01:13:53,919
Speaker 1: of hatred for that motherfucker, Like I'm like, this character

1354
01:13:54,320 --> 01:13:59,040
Speaker 1: should fucking die. Sorry, Like, not only did he just

1355
01:13:59,040 --> 01:14:01,400
Speaker 1: take the fucking hamd, but now you're shooting a dog.

1356
01:14:01,520 --> 01:14:04,040
Speaker 1: I mean, I think we can all universally agree that

1357
01:14:04,120 --> 01:14:06,080
Speaker 1: if you shoot a dog, you're a piece of shit.

1358
01:14:06,400 --> 01:14:09,280
Speaker 1: But like a piece of shit, it's the beginning of

1359
01:14:09,320 --> 01:14:13,439
Speaker 1: this of that fucking aggression, because for the rest of

1360
01:14:13,439 --> 01:14:17,559
Speaker 1: the movie, he is a one and ten percent piece

1361
01:14:17,600 --> 01:14:20,559
Speaker 1: of shit. And it's like that moment where I just

1362
01:14:20,600 --> 01:14:23,639
Speaker 1: get so keyed up because I'm like, how fucking dare

1363
01:14:23,680 --> 01:14:24,040
Speaker 1: this guy?

1364
01:14:24,720 --> 01:14:26,920
Speaker 2: And it is it's it's a it's a it's a

1365
01:14:26,960 --> 01:14:30,200
Speaker 2: trauma point that's that sets off the story because the

1366
01:14:30,280 --> 01:14:32,519
Speaker 2: father has taken away, the food is taken away, and

1367
01:14:32,560 --> 01:14:35,479
Speaker 2: the dog runs away. It's like in one fell Swoop,

1368
01:14:35,600 --> 01:14:39,519
Speaker 2: this entire family's life and comfort and ability to survive

1369
01:14:39,720 --> 01:14:42,800
Speaker 2: is taken out. And I hate that fucking shriff. That

1370
01:14:42,880 --> 01:14:46,240
Speaker 2: character can go straight to hell. But this is also

1371
01:14:46,280 --> 01:14:51,479
Speaker 2: a moment where Rebecca starts shining and Rebecca comes to

1372
01:14:51,520 --> 01:14:57,080
Speaker 2: the forefront, so you see the fact that she is

1373
01:14:57,160 --> 01:14:59,360
Speaker 2: instantly worried. She's, you know, kind of she has the

1374
01:14:59,400 --> 01:15:02,360
Speaker 2: comfort her kid kids. You know, she comforts David and

1375
01:15:02,360 --> 01:15:04,040
Speaker 2: tells him like, you know, Sander will come back. He's

1376
01:15:04,040 --> 01:15:06,679
Speaker 2: probably just hurt. You know, he's going to heal himself

1377
01:15:06,680 --> 01:15:09,040
Speaker 2: and come back. But then she's also really concerned for

1378
01:15:09,080 --> 01:15:12,439
Speaker 2: her husband, so she goes into town and wants to

1379
01:15:12,479 --> 01:15:15,680
Speaker 2: see him, and the sheriff is just like, no, you

1380
01:15:15,720 --> 01:15:18,479
Speaker 2: can't see him, not only because it's not visiting David,

1381
01:15:18,479 --> 01:15:20,080
Speaker 2: because you're a woman, so we wouldn't let you see

1382
01:15:20,120 --> 01:15:23,519
Speaker 2: him anyway, and too bad for you. And she's like,

1383
01:15:23,680 --> 01:15:27,280
Speaker 2: what the actual hell, Like, I can't find I can't

1384
01:15:27,280 --> 01:15:31,360
Speaker 2: see my husband, I can't find my doll. Like she's

1385
01:15:31,400 --> 01:15:34,760
Speaker 2: just truly concerned. And she's also been told that he's

1386
01:15:34,760 --> 01:15:36,400
Speaker 2: going to be transferred to a labor camp and they

1387
01:15:36,439 --> 01:15:39,160
Speaker 2: won't give her the information about where or what that is.

1388
01:15:39,840 --> 01:15:42,200
Speaker 2: So the thing that was interesting to me about this

1389
01:15:42,280 --> 01:15:45,160
Speaker 2: and the reason why I absolutely understand why both Paul

1390
01:15:45,200 --> 01:15:48,640
Speaker 2: Winfield and Cecily Tyson were nominated for Oscars for this movie.

1391
01:15:48,800 --> 01:15:52,639
Speaker 2: If you're seeing all of the emotional work and everything

1392
01:15:52,640 --> 01:15:57,479
Speaker 2: that she's trying to keep down while also trying having

1393
01:15:57,520 --> 01:16:01,320
Speaker 2: to maintain her staff as as someone who's not a

1394
01:16:01,360 --> 01:16:04,719
Speaker 2: disagreeable black person right in a moment where you absolutely

1395
01:16:04,720 --> 01:16:09,360
Speaker 2: should be disagreeable. But she's acting her fucking face off

1396
01:16:09,520 --> 01:16:12,400
Speaker 2: in this instance where you're seeing her strength through the

1397
01:16:12,439 --> 01:16:16,519
Speaker 2: fact that she cannot she's helpless, she cannot reply, she

1398
01:16:16,600 --> 01:16:20,160
Speaker 2: cannot question, She just has to go with the flow

1399
01:16:20,200 --> 01:16:22,280
Speaker 2: of this moment. And I think she just acts this,

1400
01:16:22,800 --> 01:16:24,840
Speaker 2: not just this scene, but from this point on in

1401
01:16:24,840 --> 01:16:27,280
Speaker 2: the movie where we really start to focus on Rebecca.

1402
01:16:27,640 --> 01:16:29,760
Speaker 2: You see that come through time and time again in

1403
01:16:29,800 --> 01:16:33,760
Speaker 2: so many ways, and it's it's truly artistically wonderful. Yeah.

1404
01:16:33,800 --> 01:16:35,919
Speaker 1: I mean the scene where she goes into the grocery

1405
01:16:35,920 --> 01:16:39,160
Speaker 1: store and you know, it's just she's buying the ingredients

1406
01:16:39,200 --> 01:16:42,599
Speaker 1: to make a cake for her husband, who is in jail, right,

1407
01:16:43,200 --> 01:16:47,320
Speaker 1: and the owner of the store is basically like, well,

1408
01:16:47,400 --> 01:16:49,920
Speaker 1: your husband stole from me, so like, how can I

1409
01:16:49,960 --> 01:16:52,720
Speaker 1: even trust you? Like you're you know, you realize how

1410
01:16:52,800 --> 01:16:54,600
Speaker 1: much I've stuck up for you. All this crap is

1411
01:16:54,640 --> 01:16:57,040
Speaker 1: like this kind of like what poor me, poor me,

1412
01:16:57,240 --> 01:16:58,960
Speaker 1: Like you're such a bad person. And she's just like

1413
01:16:59,080 --> 01:17:02,640
Speaker 1: trying to keep it together, like she's just like you know,

1414
01:17:02,800 --> 01:17:05,439
Speaker 1: and that and that exactly what you said that moment

1415
01:17:05,479 --> 01:17:10,479
Speaker 1: of like Cecily Tyson's face and her reactions to this shit.

1416
01:17:10,720 --> 01:17:13,559
Speaker 1: She's just like, I can't say anything. I just have

1417
01:17:13,640 --> 01:17:18,200
Speaker 1: to like keep it moving. And oh, it's anguishing.

1418
01:17:18,240 --> 01:17:20,439
Speaker 2: It's complete anguish. And the owner of that store is

1419
01:17:20,479 --> 01:17:24,200
Speaker 2: the landlord. And so he's kind of like taunting her

1420
01:17:24,240 --> 01:17:26,160
Speaker 2: with like, well, how are you gonna get me my

1421
01:17:26,160 --> 01:17:29,479
Speaker 2: fucking crops if your husband's locked away and you already

1422
01:17:29,520 --> 01:17:32,160
Speaker 2: owe me money. And the way that she responds to

1423
01:17:32,200 --> 01:17:34,720
Speaker 2: that is with such grace and to kind of say, well,

1424
01:17:34,760 --> 01:17:37,160
Speaker 2: I didn't say I was gonna put this on credit,

1425
01:17:37,479 --> 01:17:39,800
Speaker 2: and I didn't you know, we're gonna we're gonna make

1426
01:17:39,840 --> 01:17:42,200
Speaker 2: sure that you get your crops, like my my family

1427
01:17:42,240 --> 01:17:44,920
Speaker 2: and I my kids, and I will make sure. Like

1428
01:17:44,960 --> 01:17:47,920
Speaker 2: she has to console this piece of shit while she's

1429
01:17:47,920 --> 01:17:50,280
Speaker 2: going through one of the hardest emotional moments of her

1430
01:17:50,280 --> 01:17:52,519
Speaker 2: life and the time of such uncertainty for herself, and

1431
01:17:52,560 --> 01:17:56,080
Speaker 2: I just think, oh God, she acted the hell out

1432
01:17:56,080 --> 01:17:58,360
Speaker 2: of that scene and you feel the emotion of it.

1433
01:17:58,439 --> 01:18:01,000
Speaker 2: And so as the story goes on, you kind of

1434
01:18:01,040 --> 01:18:04,600
Speaker 2: are seeing David having to make this tough decision. You know,

1435
01:18:04,720 --> 01:18:06,920
Speaker 2: can he actually go back to school because now he

1436
01:18:06,960 --> 01:18:11,439
Speaker 2: has to help with all the sharecropping, and he is

1437
01:18:11,479 --> 01:18:14,280
Speaker 2: really kind of fraught, and it's a fraught moment for

1438
01:18:14,360 --> 01:18:15,960
Speaker 2: him because he knows he has to help, but he

1439
01:18:15,960 --> 01:18:19,240
Speaker 2: also has his own goals and desires. He brings a

1440
01:18:19,280 --> 01:18:22,519
Speaker 2: cake to his dad in jail and still can't find

1441
01:18:22,560 --> 01:18:26,679
Speaker 2: out where he's going his dad is. It's such a again,

1442
01:18:26,840 --> 01:18:29,600
Speaker 2: such a weirdly sweet moment because it's so tense and

1443
01:18:29,680 --> 01:18:32,439
Speaker 2: so tough to see someone in that position. But you know,

1444
01:18:32,479 --> 01:18:36,120
Speaker 2: the way he carries himself, you know, you can tell

1445
01:18:36,200 --> 01:18:38,479
Speaker 2: that's because Rebecca has told him how to act and

1446
01:18:38,560 --> 01:18:40,200
Speaker 2: kind of told him like, you know, bring your dad

1447
01:18:40,240 --> 01:18:42,600
Speaker 2: this cake, and you know, don't stay too long and

1448
01:18:42,640 --> 01:18:44,640
Speaker 2: don't be a don't be a bother. Just give him

1449
01:18:44,640 --> 01:18:47,679
Speaker 2: this cake, find out where he's going. And she's standing

1450
01:18:47,680 --> 01:18:50,160
Speaker 2: outside with the other two kids, and it's just so

1451
01:18:50,280 --> 01:18:56,960
Speaker 2: touching and heartbreaking. So and it's just again like moments

1452
01:18:56,960 --> 01:18:59,920
Speaker 2: of injustice that just punctuate the story in quiet way,

1453
01:19:00,160 --> 01:19:02,320
Speaker 2: Like the way that the sheriff pokes through the cake

1454
01:19:02,400 --> 01:19:04,800
Speaker 2: before he gives it back to him. He's like, oh,

1455
01:19:04,800 --> 01:19:06,360
Speaker 2: I got to make sure there's no files in here,

1456
01:19:06,400 --> 01:19:09,280
Speaker 2: and he just like destroys this fucking cake before he

1457
01:19:09,320 --> 01:19:13,440
Speaker 2: gives it back. So these moments of injustice are perpetual,

1458
01:19:13,680 --> 01:19:17,200
Speaker 2: and you can see that Rebecca has to stand up

1459
01:19:17,200 --> 01:19:20,840
Speaker 2: to this and for this all the time. So there

1460
01:19:20,920 --> 01:19:22,800
Speaker 2: is a bit of good news because Sounder comes back

1461
01:19:22,840 --> 01:19:27,120
Speaker 2: and he's definitely her, but he comes back, and you know,

1462
01:19:27,120 --> 01:19:29,360
Speaker 2: they're kind of just going on with their life and

1463
01:19:29,520 --> 01:19:31,559
Speaker 2: doing exactly what she said they were going to do,

1464
01:19:31,600 --> 01:19:34,240
Speaker 2: which is they're farming, like they're taking care of the crops.

1465
01:19:34,720 --> 01:19:37,840
Speaker 2: And so you see them harvesting and you see all

1466
01:19:37,840 --> 01:19:40,439
Speaker 2: the kids pitching in and you see them, you know,

1467
01:19:40,479 --> 01:19:43,000
Speaker 2: Rebecca again in a show of real strength, like you know,

1468
01:19:43,080 --> 01:19:45,600
Speaker 2: she's doing her ironing and she's doing her mending, and

1469
01:19:45,600 --> 01:19:47,800
Speaker 2: she's keeping up with her job and then also doing

1470
01:19:47,840 --> 01:19:52,720
Speaker 2: her husband's job and doing it with a quiet, quiet resilience,

1471
01:19:53,080 --> 01:19:56,200
Speaker 2: like it's really remarkable. But David does go back to

1472
01:19:56,200 --> 01:19:58,680
Speaker 2: missus boat right, delivers some laundry and he's like, hey,

1473
01:19:58,680 --> 01:20:00,400
Speaker 2: wait a minute, like you're a white lady and you

1474
01:20:00,439 --> 01:20:02,040
Speaker 2: know people in town, maybe you can find it where

1475
01:20:02,120 --> 01:20:04,840
Speaker 2: my dad is and she's like, I don't know. And

1476
01:20:04,880 --> 01:20:06,639
Speaker 2: then as he's walking away, she's like, all right, fine,

1477
01:20:06,680 --> 01:20:08,519
Speaker 2: I'll do it like, I'll find where your dad is.

1478
01:20:09,040 --> 01:20:11,240
Speaker 2: They go down to the jail together. The sheriff is like,

1479
01:20:11,280 --> 01:20:14,800
Speaker 2: I am not telling you that at fucking all. And

1480
01:20:14,840 --> 01:20:19,559
Speaker 2: then this boat right does a move that is like

1481
01:20:19,600 --> 01:20:23,160
Speaker 2: a real g of a move to her credit, where

1482
01:20:24,160 --> 01:20:26,479
Speaker 2: the sheriff leaves the room and she just goes to

1483
01:20:26,520 --> 01:20:29,559
Speaker 2: the file cabinet and is like, I'm gonna find out

1484
01:20:29,560 --> 01:20:32,200
Speaker 2: where the fuck he is. And the sheriff comes back

1485
01:20:32,240 --> 01:20:34,439
Speaker 2: and threatens her and it's like I could basically ruin

1486
01:20:34,479 --> 01:20:36,920
Speaker 2: your life and tell people that you're here trying to

1487
01:20:36,920 --> 01:20:39,840
Speaker 2: help a black person and I could ruin your life

1488
01:20:39,840 --> 01:20:42,080
Speaker 2: in this town. And she's like, wow, you really would

1489
01:20:42,120 --> 01:20:44,280
Speaker 2: do that, wouldn't you. And he's like I absolutely fucking would.

1490
01:20:45,760 --> 01:20:48,720
Speaker 2: But when they leave, David's like, I know you saw

1491
01:20:48,800 --> 01:20:51,160
Speaker 2: what was on that paper and she's like, yeah, I

1492
01:20:51,160 --> 01:20:53,080
Speaker 2: can't tell you, Like, let's pretend I didn't say anything.

1493
01:20:53,680 --> 01:20:55,519
Speaker 2: But then again, she comes back to the house a

1494
01:20:55,560 --> 01:20:59,960
Speaker 2: few days later and has a map and is like,

1495
01:21:00,000 --> 01:21:01,600
Speaker 2: all right, I really do know where your dad is

1496
01:21:01,640 --> 01:21:04,200
Speaker 2: and here's he's in this this work camp called the

1497
01:21:04,200 --> 01:21:08,240
Speaker 2: Wishbone Camp, and he's in this town. And this is

1498
01:21:08,720 --> 01:21:10,840
Speaker 2: probably the funniest scene in the movie to Me where

1499
01:21:10,840 --> 01:21:14,519
Speaker 2: she's trying to read this map and absolutely cannot read

1500
01:21:14,560 --> 01:21:15,960
Speaker 2: this map. But she's like, you know what I'm saying,

1501
01:21:15,960 --> 01:21:18,240
Speaker 2: and re Beca's like yeah, yeah, sure. And then five

1502
01:21:18,280 --> 01:21:20,040
Speaker 2: minutes later she's talking to Ike and I was like,

1503
01:21:20,080 --> 01:21:26,600
Speaker 2: all right, here's how you get there. She's like, you

1504
01:21:26,640 --> 01:21:28,400
Speaker 2: do not know how to read a fucking map. I

1505
01:21:28,439 --> 01:21:31,400
Speaker 2: got this, Let me ask Ike. But again, she finds

1506
01:21:31,400 --> 01:21:34,560
Speaker 2: out where her husband is and then has the fortitude

1507
01:21:34,600 --> 01:21:38,479
Speaker 2: to send her young son to go find him. Yeah,

1508
01:21:38,520 --> 01:21:42,040
Speaker 2: and she has to have that again, that resilience to

1509
01:21:42,080 --> 01:21:45,040
Speaker 2: say like, all right, my husband is already gone, but

1510
01:21:45,120 --> 01:21:47,880
Speaker 2: I'm now sending one of my children out into this

1511
01:21:47,920 --> 01:21:51,719
Speaker 2: world to try to find him. And he kind of does,

1512
01:21:51,800 --> 01:21:54,559
Speaker 2: Like he goes to this camp and he doesn't see

1513
01:21:54,600 --> 01:21:56,680
Speaker 2: his father, but he gets hit on the hand and

1514
01:21:57,080 --> 01:21:59,479
Speaker 2: gets harmed. But you know, some of the prisoners are like, yeah,

1515
01:21:59,479 --> 01:22:03,280
Speaker 2: he's here, but don't bother us. But because of this injury,

1516
01:22:03,520 --> 01:22:05,559
Speaker 2: he's trying to help him. You see him trying to

1517
01:22:05,560 --> 01:22:07,720
Speaker 2: really like take care of it himself and dipping his

1518
01:22:07,760 --> 01:22:10,759
Speaker 2: hand in the stream and he's just it still hurts.

1519
01:22:10,760 --> 01:22:13,160
Speaker 2: He's not able to care for himself because he's just

1520
01:22:13,240 --> 01:22:16,400
Speaker 2: a fucking child. So he does this, really I think,

1521
01:22:16,400 --> 01:22:18,880
Speaker 2: what's a really smart move where he goes to a

1522
01:22:18,920 --> 01:22:24,960
Speaker 2: schoolhouse and this is where he meets missus Johnson and

1523
01:22:25,200 --> 01:22:31,559
Speaker 2: she is the teacher at the school and she's black

1524
01:22:32,400 --> 01:22:34,800
Speaker 2: and every kid in the school is black, and he

1525
01:22:34,920 --> 01:22:37,920
Speaker 2: is fucking stunt like. He walks in and is like

1526
01:22:40,240 --> 01:22:45,479
Speaker 2: the right place. Yeah, blows his mind, right, yeah, totally

1527
01:22:45,520 --> 01:22:47,440
Speaker 2: blows it. He doesn't even know this is a possibility

1528
01:22:47,479 --> 01:22:49,400
Speaker 2: in the world. And she's like, don't you go to

1529
01:22:49,400 --> 01:22:51,360
Speaker 2: school and he's like, yeah, but it is not like this.

1530
01:22:52,160 --> 01:22:55,160
Speaker 2: So she she takes care of his hand and then

1531
01:22:55,200 --> 01:22:56,840
Speaker 2: invites him to stay for the night and kind of

1532
01:22:56,840 --> 01:22:59,120
Speaker 2: like have some comfort. And then she says, you know, well,

1533
01:22:59,200 --> 01:23:01,320
Speaker 2: I'll we'll fix your hand, give you a hot meal,

1534
01:23:01,360 --> 01:23:04,240
Speaker 2: and help you find a way home. And this is

1535
01:23:04,240 --> 01:23:07,280
Speaker 2: a really pivotal scene for David because this is where

1536
01:23:07,280 --> 01:23:09,200
Speaker 2: he when he gets to her house and he sees

1537
01:23:09,200 --> 01:23:11,360
Speaker 2: how she lives and it's like this really nice house

1538
01:23:11,400 --> 01:23:13,920
Speaker 2: and it's full of books, and she gives him a

1539
01:23:13,960 --> 01:23:16,639
Speaker 2: bunch of books to take with him, and he does

1540
01:23:16,680 --> 01:23:18,320
Speaker 2: make it back home and he tells his mom this

1541
01:23:18,479 --> 01:23:21,880
Speaker 2: story of like, you know, me and Sounder went on

1542
01:23:21,880 --> 01:23:25,000
Speaker 2: this fucking journey and didn't find dad, but I did

1543
01:23:25,040 --> 01:23:28,880
Speaker 2: find a life and I found a future, and I

1544
01:23:28,960 --> 01:23:33,080
Speaker 2: was not expecting that shit. So what I really love

1545
01:23:33,439 --> 01:23:36,639
Speaker 2: about this whole structure and the introduction of miss Johnson

1546
01:23:36,720 --> 01:23:38,599
Speaker 2: is we get to see not only these two different

1547
01:23:39,280 --> 01:23:41,719
Speaker 2: perceptions of what black women could be in this time,

1548
01:23:42,439 --> 01:23:46,519
Speaker 2: but Rebecca instantly makes a choice, and again through Ciccily

1549
01:23:46,560 --> 01:23:50,559
Speaker 2: Tyson's acting, we get the best of this. You're watching

1550
01:23:50,640 --> 01:23:53,280
Speaker 2: her really make a choice between you know, do I

1551
01:23:53,360 --> 01:23:56,120
Speaker 2: send my son out into the world and let another

1552
01:23:56,160 --> 01:23:58,080
Speaker 2: black woman raise him in a way that I can't

1553
01:23:58,120 --> 01:24:02,280
Speaker 2: do it? Yeah, and she does. She's like, yeah, you

1554
01:24:02,280 --> 01:24:05,160
Speaker 2: should maybe go to the school, and maybe you should

1555
01:24:05,160 --> 01:24:07,840
Speaker 2: move far away, and maybe that's what's best for you.

1556
01:24:08,960 --> 01:24:12,080
Speaker 2: And I don't want to ruin the end of the

1557
01:24:12,280 --> 01:24:17,680
Speaker 2: end of the movie, but I will say that it

1558
01:24:17,720 --> 01:24:20,680
Speaker 2: brings me to tears every time for reasons that you're

1559
01:24:20,720 --> 01:24:22,840
Speaker 2: not like. I can't say because I don't want to

1560
01:24:22,880 --> 01:24:27,719
Speaker 2: ruin it. But there is just such a real sense

1561
01:24:27,760 --> 01:24:33,800
Speaker 2: of love and devotion from Rebecca and a real commitment

1562
01:24:34,000 --> 01:24:38,200
Speaker 2: to the emotional life of her children and making sure

1563
01:24:38,240 --> 01:24:41,599
Speaker 2: that they don't develop that kind of hardness about the world.

1564
01:24:42,840 --> 01:24:44,880
Speaker 2: And I think both Nathan and Rebecca do that for

1565
01:24:44,960 --> 01:24:47,439
Speaker 2: their kids, but you see it more with Rebecca because

1566
01:24:47,439 --> 01:24:50,360
Speaker 2: she's more present in the film, because Nathan is sent away,

1567
01:24:51,720 --> 01:24:56,040
Speaker 2: you know, for a year. And it's just remarkable. I

1568
01:24:56,040 --> 01:24:59,000
Speaker 2: think that the fact that she wanted to play a

1569
01:24:59,080 --> 01:25:01,760
Speaker 2: character with dignity and then when you see her in

1570
01:25:01,800 --> 01:25:04,080
Speaker 2: this role, you're like, yeah, she absolutely did it, and

1571
01:25:04,120 --> 01:25:05,559
Speaker 2: I can see why she waited, and I can see

1572
01:25:05,560 --> 01:25:08,680
Speaker 2: why she didn't want to play the typical roles. And

1573
01:25:08,720 --> 01:25:13,360
Speaker 2: she really showed Hollywood that there was a way to

1574
01:25:13,560 --> 01:25:16,599
Speaker 2: write black women differently, there was a way to portray

1575
01:25:16,680 --> 01:25:20,479
Speaker 2: blackness differently. And I don't think she gets enough credit

1576
01:25:20,479 --> 01:25:22,160
Speaker 2: for that. I don't think this movie gets enough credit

1577
01:25:22,240 --> 01:25:24,640
Speaker 2: for They was nominated for four Academy Awards, but I

1578
01:25:24,680 --> 01:25:27,360
Speaker 2: will say that I think it doesn't get enough credit

1579
01:25:27,400 --> 01:25:31,680
Speaker 2: for changing the structure of how blackness is viewed on screen. Yeah.

1580
01:25:32,040 --> 01:25:35,240
Speaker 1: Yeah, I don't want to give away the movie either,

1581
01:25:35,439 --> 01:25:37,800
Speaker 1: but maybe I'll dance around it because I just want

1582
01:25:37,840 --> 01:25:42,240
Speaker 1: to talk about, like literally my favorite part of the movie, Yeah,

1583
01:25:42,280 --> 01:25:46,400
Speaker 1: which is the scene of Cecily Tyson running mm hm

1584
01:25:47,200 --> 01:25:50,960
Speaker 1: and it's kind of like at a wide shot, so

1585
01:25:51,439 --> 01:25:56,559
Speaker 1: you're just kind of seeing her run like through a field. Again,

1586
01:25:56,680 --> 01:25:59,040
Speaker 1: Like I don't want to give the context because you know,

1587
01:25:59,080 --> 01:26:00,800
Speaker 1: whatever I want. You guys see the movie if you

1588
01:26:00,840 --> 01:26:06,040
Speaker 1: haven't seen it, But like, I cry, yeah, so hard

1589
01:26:06,800 --> 01:26:10,040
Speaker 1: every time I see that part. I cry every fucking time,

1590
01:26:10,720 --> 01:26:12,880
Speaker 1: Like I'm I'm tearing up just thinking about it because

1591
01:26:12,880 --> 01:26:16,440
Speaker 1: I'm just like, it's just like just the most wonderful,

1592
01:26:16,520 --> 01:26:21,000
Speaker 1: emotional like moment and I just am like, yeah, I mean,

1593
01:26:21,080 --> 01:26:24,800
Speaker 1: it's such an iconic moment of the film and of

1594
01:26:24,840 --> 01:26:27,080
Speaker 1: her career, and I just feel like that, oh my god,

1595
01:26:27,560 --> 01:26:30,040
Speaker 1: it's like everything I love about the movie, and like one.

1596
01:26:30,320 --> 01:26:34,000
Speaker 2: Scene completely, oh, from the realization to the moment where

1597
01:26:34,000 --> 01:26:37,519
Speaker 2: she's running, it just takes me away. It just takes

1598
01:26:37,560 --> 01:26:39,840
Speaker 2: me out every time. And it's you're right, like it's

1599
01:26:39,880 --> 01:26:42,280
Speaker 2: the encapsulation of the film in a scene, and it's

1600
01:26:42,360 --> 01:26:48,160
Speaker 2: also we're seeing the range of her acting abilities and

1601
01:26:48,200 --> 01:26:50,200
Speaker 2: her emotional life on the screen in that moment too,

1602
01:26:50,400 --> 01:26:53,960
Speaker 2: and it's just it's really stunning. It feels so like

1603
01:26:54,439 --> 01:26:56,679
Speaker 2: it's rare that I feel so connected to a character

1604
01:26:56,720 --> 01:26:59,880
Speaker 2: who's lived such a different experience, but I think that

1605
01:27:00,200 --> 01:27:02,160
Speaker 2: her acting is what really brought it to life and

1606
01:27:02,200 --> 01:27:05,120
Speaker 2: brought it to brought it to life in a way

1607
01:27:05,160 --> 01:27:09,080
Speaker 2: that made it impossible to not have that connection with

1608
01:27:09,120 --> 01:27:10,080
Speaker 2: her that in that moment.

1609
01:27:10,600 --> 01:27:14,880
Speaker 1: Yeah, totally totally agree, and not for nothing. I mean,

1610
01:27:15,120 --> 01:27:19,519
Speaker 1: I absolutely love Kevin Hooks in this movie. He's just

1611
01:27:19,640 --> 01:27:24,960
Speaker 1: so precocious and sweet and like just really like loves

1612
01:27:24,960 --> 01:27:26,120
Speaker 1: his family and.

1613
01:27:26,040 --> 01:27:28,040
Speaker 2: Loves his dad, you know completely.

1614
01:27:28,080 --> 01:27:30,640
Speaker 1: And I don't know if anybody's the way that I

1615
01:27:30,760 --> 01:27:33,920
Speaker 1: knew him as an actor was actually through a different movie.

1616
01:27:33,960 --> 01:27:36,840
Speaker 1: Like there's a movie called Aaron Loves Angela, yeah, from

1617
01:27:37,280 --> 01:27:40,600
Speaker 1: nineteen seventy five, where he's in the movie with Irene Kara,

1618
01:27:40,680 --> 01:27:44,600
Speaker 1: and so I saw him first in that film and

1619
01:27:44,640 --> 01:27:46,439
Speaker 1: then I and then of course I watched Sounder, and

1620
01:27:46,479 --> 01:27:49,719
Speaker 1: I was like, I mean, he's just such a good actor,

1621
01:27:49,800 --> 01:27:51,960
Speaker 1: even like as a little kid, he's just he's so

1622
01:27:52,080 --> 01:27:54,519
Speaker 1: wonderful and he's like the heart of the film and

1623
01:27:54,560 --> 01:27:57,120
Speaker 1: he you know, he obviously like kind of are on

1624
01:27:57,160 --> 01:28:00,960
Speaker 1: the journeys with him, and it's it's amazing. And I

1625
01:28:01,720 --> 01:28:05,679
Speaker 1: can't help but love a dog, like an extremely loyal dog,

1626
01:28:05,720 --> 01:28:07,960
Speaker 1: and people who love their dog I mean, come on

1627
01:28:08,360 --> 01:28:11,120
Speaker 1: like that, and this movie is so good.

1628
01:28:11,280 --> 01:28:14,000
Speaker 2: It's so good. It's so good. And Kevin Hooks, by

1629
01:28:14,000 --> 01:28:15,559
Speaker 2: the way, has gone on to be a director and

1630
01:28:15,600 --> 01:28:18,200
Speaker 2: a producer and he you know, directs television and just

1631
01:28:18,280 --> 01:28:22,360
Speaker 2: has had a wonderful career and just really carried this film.

1632
01:28:22,400 --> 01:28:25,320
Speaker 2: Like you said, he really was the beating heart. He

1633
01:28:26,120 --> 01:28:29,479
Speaker 2: was the narrative of the film. I think Cicily Tyson

1634
01:28:29,560 --> 01:28:30,559
Speaker 2: was the beating heart of the film.

1635
01:28:30,760 --> 01:28:35,120
Speaker 1: Yeah, yeah, answer, it's that. I revised my answer. That's

1636
01:28:35,160 --> 01:28:39,280
Speaker 1: that's that's what I think. And she's I mean, this

1637
01:28:39,400 --> 01:28:43,479
Speaker 1: is like her iconic role. I feel like completely, I'm

1638
01:28:43,520 --> 01:28:46,280
Speaker 1: so glad have we got to watch it again? This?

1639
01:28:46,439 --> 01:28:47,639
Speaker 2: Uh what? So what did you think?

1640
01:28:47,720 --> 01:28:49,680
Speaker 1: I mean, we did, you know, a couple episodes for

1641
01:28:49,760 --> 01:28:54,000
Speaker 1: Black History Month. Thoughts on the month, Thoughts on the experience.

1642
01:28:54,680 --> 01:28:56,639
Speaker 2: Yeah, I like that we focused on legacy and came

1643
01:28:56,640 --> 01:28:59,280
Speaker 2: at it from a couple of different ways and just

1644
01:28:59,360 --> 01:29:02,719
Speaker 2: really I always left February. I always love talking about

1645
01:29:03,320 --> 01:29:05,639
Speaker 2: I always love Black History Month and talking about films

1646
01:29:05,720 --> 01:29:10,000
Speaker 2: and really seeing the swath of how blackness is represented

1647
01:29:10,000 --> 01:29:12,479
Speaker 2: in film, which again we do all year long. But

1648
01:29:13,360 --> 01:29:15,160
Speaker 2: I just I love it. I think it's it's really

1649
01:29:15,200 --> 01:29:18,599
Speaker 2: important to focus on these these cultural moments that revolve

1650
01:29:18,600 --> 01:29:19,360
Speaker 2: around legacy.

1651
01:29:19,960 --> 01:29:22,559
Speaker 1: Yeah, agreed, And like you know, with the Ala episode,

1652
01:29:22,600 --> 01:29:25,400
Speaker 1: I mean we talk about two black women and one

1653
01:29:25,439 --> 01:29:29,040
Speaker 1: whose career was very short and one whose career was

1654
01:29:29,120 --> 01:29:31,600
Speaker 1: very long, and so I like that too. It's a

1655
01:29:31,640 --> 01:29:33,519
Speaker 1: good it's a good contrast, and I like the month.

1656
01:29:33,720 --> 01:29:36,639
Speaker 1: So if you guys have any thoughts or just want

1657
01:29:36,640 --> 01:29:38,760
Speaker 1: to email us, we are at I Saw What You

1658
01:29:38,800 --> 01:29:41,440
Speaker 1: Did Pod at gmail dot com.

1659
01:29:42,120 --> 01:29:43,800
Speaker 2: And we also have a po box if you want

1660
01:29:43,800 --> 01:29:45,960
Speaker 2: to send us handwritten letters, which you can find on

1661
01:29:45,960 --> 01:29:49,480
Speaker 2: our socials. We are at I Saw Pod on Instagram

1662
01:29:49,520 --> 01:29:51,759
Speaker 2: and Twitter, that's right.

1663
01:29:51,600 --> 01:29:54,960
Speaker 1: And we have merch so if you want some, go

1664
01:29:55,040 --> 01:29:56,760
Speaker 1: to the I Saw What You Did section of the

1665
01:29:56,800 --> 01:30:01,080
Speaker 1: Exactly Right Shop to fine everything you'd possibly want.

1666
01:30:01,680 --> 01:30:04,760
Speaker 2: Get yourself a wall hanging kid, give yourself something to

1667
01:30:04,760 --> 01:30:06,680
Speaker 2: do while you're watching the movies that we're giving you

1668
01:30:06,680 --> 01:30:09,000
Speaker 2: every week. I mean, it's such a great kid. I

1669
01:30:09,000 --> 01:30:12,560
Speaker 2: love that bar jellow kid. And we also have bonus episodes.

1670
01:30:12,880 --> 01:30:15,760
Speaker 2: Our new bonus episodes are now dropping on the main

1671
01:30:15,880 --> 01:30:20,400
Speaker 2: feed every third Thursday of the month, plus the old

1672
01:30:20,439 --> 01:30:23,720
Speaker 2: bonus episodes are gonna slowly trickle out onto the main

1673
01:30:23,800 --> 01:30:27,640
Speaker 2: feed every couple of weeks on Wednesdays. If you have

1674
01:30:27,760 --> 01:30:31,599
Speaker 2: wonder a plus, keep subscribing because you get our main

1675
01:30:31,640 --> 01:30:35,760
Speaker 2: feed episodes a week early. So thank you for being

1676
01:30:35,760 --> 01:30:38,720
Speaker 2: a subscriber, and thank you for helping us get to

1677
01:30:38,720 --> 01:30:39,760
Speaker 2: one hundred episodes.

1678
01:30:40,080 --> 01:30:42,360
Speaker 1: I know it's gonna say, it's a fucking pleasure to

1679
01:30:42,400 --> 01:30:43,840
Speaker 1: do one hundred episodes with you.

1680
01:30:44,560 --> 01:30:45,680
Speaker 2: One hundred years.

1681
01:30:46,000 --> 01:30:48,840
Speaker 1: All right, Well then, so what are the movies for

1682
01:30:48,840 --> 01:30:49,760
Speaker 1: our next episode?

1683
01:30:49,920 --> 01:30:53,720
Speaker 2: The movies for our next episode are I think going

1684
01:30:53,760 --> 01:30:56,639
Speaker 2: to make it impossible to guess the theme, truly, truly,

1685
01:30:57,600 --> 01:31:01,280
Speaker 2: because we are asking you to watch From which was

1686
01:31:01,320 --> 01:31:05,360
Speaker 2: released in twenty fourteen, and The Baby, which was released

1687
01:31:05,360 --> 01:31:08,400
Speaker 2: in nineteen seventy three, and Just a Sign of the Cross.

1688
01:31:08,439 --> 01:31:11,040
Speaker 2: If you can guess this theme, you should play the lotto.

1689
01:31:13,160 --> 01:31:17,639
Speaker 1: Yeah, don't be too rocked by these choices, by the way,

1690
01:31:19,720 --> 01:31:26,440
Speaker 1: or do be too rocked? Oh gosh, well, congratulations, Danielle.

1691
01:31:26,680 --> 01:31:29,200
Speaker 1: We made it to one hundred and I can't wait

1692
01:31:29,240 --> 01:31:29,720
Speaker 1: to do more.

1693
01:31:29,960 --> 01:31:31,320
Speaker 2: Here's two one hundred more.

1694
01:31:31,840 --> 01:31:38,520
Speaker 1: Say later everyone.

1695
01:31:40,160 --> 01:31:43,200
Speaker 2: This has been an exactly right production produced by Casey O'Brien,

1696
01:31:43,439 --> 01:31:45,960
Speaker 2: mixed by Edson Choi. Our theme song is by Tom

1697
01:31:46,000 --> 01:31:49,760
Speaker 2: bry Fogel, artwork by Garrett Ross. Our executive producers are

1698
01:31:49,840 --> 01:31:52,880
Speaker 2: Georgia Hartstart, Karen tile Gareff, and Daniel Kramer. You can

1699
01:31:52,880 --> 01:31:55,599
Speaker 2: follow us on Instagram and Twitter at I Saw pod,

1700
01:31:56,000 --> 01:31:58,040
Speaker 2: and you can email us at I Saw What you

1701
01:31:58,080 --> 01:32:02,400
Speaker 2: Did Pod at gmail