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Speaker 1: Hey, everybody.

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Speaker 2: Continuing the Stuff You Should Know Summer movie playlist, This

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Speaker 2: episode from February twenty fifteen focuses on some movies that

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Speaker 2: changed filmmaking from the very beginning of the film industry

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Speaker 2: up to Star Wars and beyond. All these movies pushed

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Speaker 2: the whole thing forward that much more and got us

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Speaker 2: to where we are today. And as a bonus, Mystery

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Speaker 2: Science Theater three thousand makes a nice little cameo in here. Enjoy.

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Speaker 1: Welcome to Stuff You Should Know, a production of iHeartRadio.

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Speaker 3: Hey, and welcome to the podcast. I'm Josh Clark. There's

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Speaker 3: Charles w Chuck Bryant aka Siskel, and.

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Speaker 1: Ebert save us the I'll see.

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Speaker 3: And Jerry's over there. I guess she's Gene Shallatt. That's

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Speaker 3: the Stuff you Should Know triumph It.

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Speaker 1: I don't know why that tickled me so much, because

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Speaker 1: Jane's Oh, it's a funny looking I guess, yeah, Jerry's not.

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Speaker 1: I'm just picturing her with a big afro and a

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Speaker 1: mustache and like a tweet jacket and bad opinions about movies.

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Speaker 3: Jean shell It had a look for sure.

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Speaker 1: Still though, he's around right, Oh yeah, I think so. Yeah,

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Speaker 1: rip both Ciskel and Ebert so sad. I know. Have

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Speaker 1: you seen the Roger Ebert documentary?

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Speaker 3: No, I've heard nothing but good things.

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Speaker 1: Really really good, very touching. Yeah. What is it?

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Speaker 3: Something Life, Life like mine, Life with Me, Life on Top,

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Speaker 3: Life Itself, Life with thumbs, Life itself, Life.

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Speaker 1: Itself, Life with thumbs. It was really great. And I

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Speaker 1: watched it and made the mistake of watching on a plane,

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Speaker 1: and I was just like, my allergies were acting up.

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Speaker 1: Oh yeah, oh yeah, I was. I was watering because

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Speaker 1: of your allergies. No, because it was sad. I was crying.

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Speaker 1: Do you want me to say it? Oh? Yeah, crying

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Speaker 1: on a plane.

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Speaker 3: I was confused there for a second.

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Speaker 1: That's better than when I watch other movies that are

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Speaker 1: on my laptop that are like have like bad violence

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Speaker 1: or nudity or something. I'm always just like oh, and

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Speaker 1: I kind of lower the laptop and it's like I

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Speaker 1: didn't realize this was in here. And the lady next

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Speaker 1: to me, he's just like, ugh, you disgust me, Yeah,

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Speaker 1: because I don't. I want to be sensitive to people

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Speaker 1: around me. You know, I'm not one of those jerks

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Speaker 1: just like just lives in my own bubble. It's like

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Speaker 1: watching some sex scene on a plane. You're like elbowing

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Speaker 1: the ladies. So yeah, no, I hate it. That's it

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Speaker 1: was so embarrassed. That happened to me a couple of times.

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Speaker 1: I'm like, I needed to start going PG on movies. Yeah,

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Speaker 1: like airplanes.

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Speaker 3: Judd Apatow huh am, I right, he's unpredictable.

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Speaker 1: Yeah, all right, So Chuck, this is your episode to

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Speaker 1: shine Man, is it? Yes, you're a movie guy too, though.

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Speaker 3: I like movies, but I've I almost consciously don't let

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Speaker 3: myself watch movies on a like.

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Speaker 1: A film aficionado level. Oh right, you pure enjoyment.

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Speaker 3: Yeah, I don't ever want to see the individual shots

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Speaker 3: and just be like, oh well that could have been

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Speaker 3: better whatever, Yeah, and just missed the movie as a whole.

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Speaker 1: Yeah. I fall somewhere in the middle of that. I

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Speaker 1: try to let go. But like our our video producer

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Speaker 1: director Casey is is pretty bad about that, and our

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Speaker 1: buddy Scotty who shot our TV show, Uh oh he's

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Speaker 1: the worst. Yeah, he's just the camera working that lighting

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Speaker 1: in that scene.

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Speaker 3: Scott's awesome. Hey Scott, Hey Casey, they're all.

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Speaker 1: In here with us in spirit, and hey, this is

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Speaker 1: the last show in the studio. Yeah, last episode in

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Speaker 1: the old office. Yep, the murder Room.

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Speaker 3: Couldn't feel more neutral about it.

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Speaker 1: I actually feel less than neutral, less than zero. It's

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Speaker 1: it's weird. That was a good movie. Thank you, great shots. Yeah,

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Speaker 1: I say thank you as if I directed it.

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Speaker 3: A lot, right. I not only directed it, I also

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Speaker 3: played Andrew McCarthy.

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Speaker 1: Uh. Yeah, I'm ready to get the heck out of here, man.

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Speaker 1: I can't wait to get in that new office and

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Speaker 1: that Yeah, it's gonna be good, tiny little dedicated studio.

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Speaker 3: Whole new world.

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Speaker 1: All right, let's do this.

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Speaker 3: Okay, So, Chuck films, you've seen one or two of

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Speaker 3: them in your time? Sure, have you seen any of

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Speaker 3: the ones in this list? I know you've seen a

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Speaker 3: few of them, but have you seen like some of

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Speaker 3: the early ones I've seen.

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Speaker 1: Well, we'll just go piece by piece because I have

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Speaker 1: not seen Battleship Pataken Okay, but I do love Mandy Patankin.

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Speaker 1: It's a little.

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Speaker 3: Different, yes, in spelling pronunciation meaning the whole thing.

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Speaker 1: Uh huh.

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Speaker 3: But it's close, I guess.

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Speaker 1: But we're talking, of course, about films that change filmmaking

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Speaker 1: somewhere or another, and the first one on the list

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Speaker 1: is from nineteen twenty five, Battleship Patamkin. That's hard for

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Speaker 1: me to say.

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Speaker 3: Which is not the first movie, by the way. The

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Speaker 3: first screen movie was Workers Leaving the Lumieer Factory, which

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Speaker 3: is forty seven seconds long and the most boring piece

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Speaker 3: of celluloid anyone's ever put together.

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Speaker 1: But it was the first, that's right.

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Speaker 3: This was many years. That was a full thirty years

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Speaker 3: before Battleship Potempkin. By the time thirty years had passed, like,

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Speaker 3: we were doing like narratives and there was banning and

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Speaker 3: all sorts of great stuff. Yeah, and Battleship Patinkin fell

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Speaker 3: under both of those umbrellas. It was a narrative story.

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Speaker 3: It was a silent movie, that's right. But it told

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Speaker 3: a pretty clear story. And it was a bit of

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Speaker 3: Russian propaganda as well.

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Speaker 1: Yeah, it tells a story of a nineteen oh five

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Speaker 1: uprising in where there were Russian sailors. Basically, there was

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Speaker 1: a mutiny aboard a ship and then the bad guys,

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Speaker 1: the Cossacks, came in looking for revenge.

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Speaker 3: Yeah, nineteen oh five that would have been rising up

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Speaker 3: against tyranny, would have been rising up against the Romanov monarchy.

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Speaker 1: I guess nice.

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Speaker 3: But it was made in nineteen twenty five, so this

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Speaker 3: is a time when you know, Lenin and Trotsky and

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Speaker 3: all those dudes were running around trying to do the

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Speaker 3: great experiment. Yeah, and it ends up it turns out

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Speaker 3: that the Battleship Potemkin was banned in some countries. Some

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Speaker 3: countries are like, we don't want this Rusky propaganda, right,

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Speaker 3: But Russia itself later on banned when Stalin came to

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Speaker 3: power because he was a self aware dictator.

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Speaker 1: Was that the deal? Yeah, Okay, he knew this.

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Speaker 3: Could be a metaphor for rising up against my dictatorship.

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Speaker 3: So I'm going to just ban this, uhh yeah, even

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Speaker 3: though it's Russian propaganda.

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Speaker 1: Well, filmatically, I need to bring the history, by the way.

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Speaker 1: Filmatically speaking, it was a landmark film because of the montage,

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Speaker 1: most notably the Russian or Soviet theory of montage, which

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Speaker 1: is basically that your impact is going to come from

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Speaker 1: juxtaposition of shots and not necessarily a smooth sequence of shots, right,

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Speaker 1: and it should be rhythmic instead of necessarily being tied

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Speaker 1: to the story. It was like a rhythmic series of

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Speaker 1: shots and this one is popular. It was the Odessa

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Speaker 1: step sequence as one of the five acts, and it

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Speaker 1: is huge because it has been aped in mimic and

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Speaker 1: mocked and homaged probably more than about more but a

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Speaker 1: lot of times in film history.

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Speaker 3: Well, yeah, the montage, it's like a go to editing technique, right.

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Speaker 1: Oh yeah, well the montage in general, but specifically the

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Speaker 1: Odessa Steps. Oh. There are two notable parts in that sequence.

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Speaker 1: One is the you know, it's basically a big charge

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Speaker 1: on these these grand steps leading up to a building

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Speaker 1: in a big battle in Odessa, Odessa, Texas. And there's

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Speaker 1: a part of it where there's the old the old

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Speaker 1: baby carriage going down the steps. You know what's going

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Speaker 1: to happen to the baby And it sounds tired because

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Speaker 1: we've seen that in uh, you know, the Untouchables. Yeah,

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Speaker 1: notably that I did not find it tiresome Naked Gun

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Speaker 1: thirty three. And the third everything is Illuminated the Great

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Speaker 1: movie by leav Schreiber. That was from directly from the

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Speaker 1: Odessa Step sequence in Battleship Patinkin. The baby carriage. Yeah,

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Speaker 1: and the old shot through the shot in the eye

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Speaker 1: through the glasses, Oh cool, that comes from this movie too.

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Speaker 1: They were the first ones to do it. Yeah, and

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Speaker 1: you've seen that in Woody Allen's Love and Death and

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Speaker 1: Bananas and of course The Godfather. The great sequence where

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Speaker 1: Moe Green's getting the massage and he looks up and

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Speaker 1: puts on his glasses during a montage. Yeah, that's exactly

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Speaker 1: the whole sequence montage. Yeah, because there was an assassination

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Speaker 1: on the steps as well.

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Speaker 3: Oh yes, that was definitely was a double Who was that?

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Speaker 3: That was Francis Ford Coppola. Oh yeah, he was clearly

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Speaker 3: aware of battleship put tempkin clearly. I was trying to

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Speaker 3: think of other examples of montages and the only thing

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Speaker 3: I could come up with was the a team building something.

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Speaker 3: But that counts as a montage, right, Yeah.

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Speaker 1: Yeah.

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Speaker 3: It's like some related in some way related shots that

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Speaker 3: are kind of put together that a little bit transcend like.

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Speaker 1: A story in itself. Yeah, like Rocky training for a fight. Yeah,

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Speaker 1: that's another good A lot of times to set to music. Yeah,

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Speaker 1: I love that. That's the only one you can think of. Yeah,

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Speaker 1: and the Great movie Brazil Too has the shot through

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Speaker 1: the glasses bit, as I like to call it.

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Speaker 3: So that's Battleship of Tenkin, doesn't one of the Nazis

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Speaker 3: and Raiders of the Lost dar gets shot through the glasses.

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Speaker 1: Maybe that wouldn't surprise me. It's been it's been off homaged,

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Speaker 1: you know.

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Speaker 3: Yeah, so Battleship to Tempkin was a It made a

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Speaker 3: pretty big splash in nineteen twenty five. In nineteen twenty six,

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Speaker 3: the following year, the next movie on the list. It

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Speaker 3: wasn't his first, but it really solidified I think his

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Speaker 3: stardom buster Keaton stardom.

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Speaker 1: Yeah, the general rightfully so too. Yeah, he was one

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Speaker 1: of the great well some people calm, the greatest stuntman

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Speaker 1: to ever live it.

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Speaker 3: He's done some stuff that I think earns him.

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Speaker 1: That, Yeah, because I mean this is back in the

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Speaker 1: day too, where he was legitimately risking his life, right,

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Speaker 1: you know, like.

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Speaker 3: That the very famously where he's standing on the street

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Speaker 3: in front of a house and then the whole front

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Speaker 3: of the house falls over him and the window just

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Speaker 3: goes right around him.

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Speaker 1: Yeah.

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Speaker 3: I watched that again today. Yeah it is. I can't

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Speaker 3: believe he did that. And there's actually a half of

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Speaker 3: a second where his arm jerks up because he's startled

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Speaker 3: as the house finally makes its way like into his

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Speaker 3: peripheral vision. Yeah, and it has to be one of

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Speaker 3: the most dangerous things that human beings ever done on film.

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Speaker 1: Yeah, I'm sure the whole time before that was like

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Speaker 1: we did the math, right, he did the math. Do

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Speaker 1: the math again, do the math again, Show me the

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Speaker 1: math right, show me the math, because that's all it was.

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Speaker 1: It was math in measurements, right. But yeah, he could

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Speaker 1: have been squashed and killed very easily.

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Speaker 3: And he had a lot of faith in everybody who

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Speaker 3: was pulling off the stunt with him. You know, he

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Speaker 3: had to just stand there. That was his whole thing.

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Speaker 3: He had to just stand there, and his bit was

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Speaker 3: that he was he played it straight constantly. He was

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Speaker 3: a stonefaced actor.

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Speaker 1: Yeah, deadpan. Yeah, he kind of started that whole thing

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Speaker 1: because his big I was about to say rival, but

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Speaker 1: I guess just contemporary Charlie Chaplin, while similar in some ways,

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Speaker 1: was completely different because Chaplin was constantly mugging for the

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Speaker 1: camera and like asking for the audience sympathy, right, raising

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Speaker 1: his eyebrows or yeah, like look, what's happening to me?

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Speaker 1: Come on, come on, whereas Buster Keaton would just he

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Speaker 1: had that dead pan look the whole time.

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Speaker 3: Yeah, he would go from like a house falling around

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Speaker 3: him to jumping on a train or something like that

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Speaker 3: with just the same blank facial expression.

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Speaker 1: Yeah. And the reason this is a highly influential film

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Speaker 1: the generals because it kind of showcases the best of

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Speaker 1: both the amazing stunts that would be mimicked and throughout

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Speaker 1: the years and built upon, and then the deadpan style

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Speaker 1: that influenced everyone from obviously Bill Murray is one of

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Speaker 1: the great deadpan actors of all time. Yeah, Like you

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Speaker 1: can count the number of times Bill Murray even smiles

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Speaker 1: in a movie on like two hands, sure, much less

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Speaker 1: like apes or laughs or anything.

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Speaker 3: Michael Sarah's mentioned in here, and I'm like he, I

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Speaker 3: think he might have Bill Murray beat as far as

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Speaker 3: the dead panpan actor goes.

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Speaker 1: Yeah, well, Zach galafanactis is on the list. He's soon

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Speaker 1: for deadpan, Yeah, Leslie Nielsen, of course, Amy Poehler, I

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Speaker 1: think is Uh is a woman that's a very dead

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Speaker 1: pan has a deadpan style. Jason Swartzman, Yes, but people

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Speaker 1: say this is this all is a direct descendant of

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Speaker 1: Buster Keaton's work.

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Speaker 3: Yeah, And if you think we're overstating this, go watch

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Speaker 3: any Buster Keaton movie. Yeah, you will be thrilled and delighted.

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Speaker 3: And if your attention span has been shredded to ribbons

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Speaker 3: by the Internet, just go onto YouTube and type in

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Speaker 3: Buster Keaton and it'll bring up all sorts of clips

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Speaker 3: of his awesome stunts.

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Speaker 1: Pretty great.

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Speaker 3: He will be thrilled in a mace, I promise.

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Speaker 1: Yeah. And I think I made a note here by

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Speaker 1: the way, that we have a fatty arbuckle retraction to make.

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Speaker 1: Remember when we we called him out as the rapist murderer,

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Speaker 1: I didn't say murder, well, we said rapist at least, right,

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Speaker 1: but we were taking the task by fan he was.

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Speaker 1: He had, he was acquitted of all that stuff and

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Speaker 1: apparently didn't do either act and his career in life

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Speaker 1: and family name were room forever. So he was evidently

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Speaker 1: done a grave miss justice, and we sort of cavalierly

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Speaker 1: just still called him that to day.

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Speaker 3: Yeah, I need to look into it more, all right.

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Speaker 1: So next up we have the Jazz Singer, the nineteen

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Speaker 1: twenty seven edition, not the Neil diamond one. No, And

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Speaker 1: there was one in between two with Danny Thomas. I

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Speaker 1: believe I like Neil Diamonds. It's good.

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Speaker 3: I never saw.

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Speaker 1: Do you ever see it? No, No, it's not bad.

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Speaker 1: But this is the original from Alan Crossland, and it

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Speaker 1: is notable because it was the first feature link movie

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Speaker 1: that was at least twenty five percent spoken dialogue, right,

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Speaker 1: Does that make sense? Yeah, it's totally new. Yeah it was.

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Speaker 1: It wasn't the first talkie because they had short films

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Speaker 1: that were talkies, and there was a movie the next

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Speaker 1: year I'm sorry, Yeah, in nineteen twenty eight called Lights

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Speaker 1: of New York that had one hundred percent full spoken dialogue,

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Speaker 1: but the jazz singer had a mix of of music

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Speaker 1: and spoken dialogue. Right, the first big, big daddy feature

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Speaker 1: length film to do.

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Speaker 3: So right with substantial dialogue, right, Yeah. And they did

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Speaker 3: it in the most roundabout difficult way that you could

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Speaker 3: possibly do it, which is to record the audio and

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Speaker 3: the soundtrack, both the dialogue and the music, onto vinyl

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Speaker 3: records probably wax records really, and then the projectionist had

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Speaker 3: to sync the record up with the film strip so

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Speaker 3: everything was in sync.

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Speaker 1: Yeah. It was a device called a vitaphone that Warner

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Speaker 1: Brothers sunk about half a million into this company called

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Speaker 1: Western Electric who invented it, and it was actually physically

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Speaker 1: connected to the projector's motor, so they did while they

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Speaker 1: did have to sink it. It was a physical connection

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Speaker 1: between the phonograph player and the projection real, I guess.

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Speaker 1: And it went on to gross three and a half

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Speaker 1: million bucks for nineteen twenty seven and then Man, a

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Speaker 1: lot of dough.

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Speaker 3: That's a ton of dough. That's like five six million

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Speaker 3: dollars today at.

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Speaker 1: Least, yeah, at least, but was ineligible for the Best

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Speaker 1: Picture because they were just like, you can't compete with

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Speaker 1: the rest. It's not fair. Oh wow, because everything else

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Speaker 1: is silent and everyone's going to vote for you. Yeah,

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Speaker 1: So that changed the whole game for sure.

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Speaker 3: We will continue on with our awesome and engrossing list

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Speaker 3: right after this, So, Chuck, if you'll notice the first

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Speaker 3: three movies in our list, the first three films that

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Speaker 3: changed everything happened in nineteen twenty five, twenty six, and

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Speaker 3: twenty seven.

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Speaker 1: Things were changing fast, they really were.

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Speaker 3: I mean we by leaps and bounds, sure, but you

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Speaker 3: can also make the case that there was a lot

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Speaker 3: of new ground to cover. So just about anybody who

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Speaker 3: did anything new that was noteworthy of the innovation. Yeah,

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Speaker 3: it was a big innovation yeah, harder to innovate these days,

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Speaker 3: it is, and if you'll notice on the list, So

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Speaker 3: the earliest ones were like technical editing innovations. Now, starting

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Speaker 3: with Citizen Kane from nineteen forty one, we started to

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Speaker 3: get into innovations and storytelling, which is a lot more

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Speaker 3: nuanced than you know, doing your own stunts or using

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Speaker 3: a montage or something. It's figuring out how to tell

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Speaker 3: a story in a much less linear narrative fashion. And

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Speaker 3: Citizen Kme was one of the early ones to pioneer

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Speaker 3: a non linear narrative.

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Speaker 1: Yeah did you you saw this?

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Speaker 3: Yeah?

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Speaker 1: Yeah, I didn't see it untill I mean it was

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Speaker 1: probably like probably about fifteen years ago, but like way

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Speaker 1: later than you would think I would have seen. This

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Speaker 1: is a big film buff.

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Speaker 3: I saw it in college at a in a film class.

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Speaker 1: Yeah. Sure, often. Yeah, if you sign up for a

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Speaker 1: film class, you're going to study. Citizen came exactly pretty.

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Speaker 3: Much, and I finally found out what Rosebud was.

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Speaker 1: Don't ruin it.

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Speaker 3: I won't.

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Speaker 1: But it is a landmark film in every way, and

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Speaker 1: it has often been top of best Films of All

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Speaker 1: Time lists for great reasons, one of which, like you said,

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Speaker 1: the non linear narrative was a really unique thing at

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Speaker 1: the time. Although flashback wasn't brand new, it was the

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Speaker 1: first time it had been this extensive and effective in

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Speaker 1: the story.

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Speaker 3: Yeah, because I mean it's substantial enough that it really

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Speaker 3: cuts up the flow. Oh yeah, you know, it's not

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Speaker 3: like a quick flashback and they come back and the

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Speaker 3: actors like staring off into space to transition back.

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Speaker 1: Into the present again.

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Speaker 3: I mean like it was all over the place.

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Speaker 1: Yeah. Some of the more concrete cinematic landmarks. One was

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Speaker 1: using deep focus. Director of photography Greg Toland legend used

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Speaker 1: he had used deep focus before on a movie called

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Speaker 1: Long Voyage Home, but it's all over the place in

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Speaker 1: Citizen Kane. And that basically means if you see a

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Speaker 1: shot where something very far away is in focus in

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Speaker 1: the shot basically where everything's in focus, or.

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Speaker 3: The background in the foreground or yeah, in focus, so

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Speaker 3: you can press pause and look around exactly like you're

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Speaker 3: sticking your head into a box.

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Speaker 1: Yeah. That's called deep focus, and it was brand new

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Speaker 1: as far as Citizen Kane goes, is how extensive it

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Speaker 1: used it. One of the other things was off center framing.

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Speaker 1: It was a big, you know, pretty common thing to

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Speaker 1: just center whatever the main action was either the character

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Speaker 1: or the object, and Citizen Kane had a lot of

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Speaker 1: things where the main focus of the scene the character,

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Speaker 1: maybe even off screen, which was really weird at the time.

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Speaker 1: People didn't know what to think of it, right, expressionistic lighting,

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Speaker 1: uh back then everything they just lit it. They're like,

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Speaker 1: make sure everything's well lit.

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Speaker 3: But it was an auto premenger also like a big

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Speaker 3: pioneer with that.

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Speaker 1: Yeah, I think so.

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Speaker 3: With Dalin for Murder, I think he directed that.

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Speaker 1: Was that Hitchcock? I think that was Hitchcock? Was it? Okay?

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Speaker 3: Well, auto premature directed stuff like that, though, right, he

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Speaker 3: was very He used moody lighting and.

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Speaker 1: Chats and stuff a lot. I probably messed that up.

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Speaker 1: People are gonna be Dalin for Murder, I think it

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Speaker 1: was premiter okay, but orson Welles of course. I don't

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Speaker 1: think we even mentioned that who wrote, directed, and starred

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Speaker 1: and produced, and I think he even edited a Citizen Kane. Yeah,

380
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Speaker 1: I just assumed everybody knew that, you know. Yeah, he

381
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Speaker 1: came from the theater where you create mood with lighting

382
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Speaker 1: only certain parts of the stage, so he brought that

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Speaker 1: into the movies and it was very evocative and set

384
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Speaker 1: the mood well, and people like, man, why we lighten

385
00:20:01,520 --> 00:20:04,879
Speaker 1: everything all bright all the time? Look at Citizen Kane.

386
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Speaker 1: It really worked. Yeah. A couple of other things, One

387
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Speaker 1: of which I know you will appreciate, sir, is that

388
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Speaker 1: he pretty much invented the wipe. Oh the star wipe,

389
00:20:16,040 --> 00:20:19,480
Speaker 1: not the star wipe, but it followed. Yeah, the star

390
00:20:19,520 --> 00:20:22,480
Speaker 1: wipe followed, okay, which I know is your favorite transition

391
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Speaker 1: in cinema. Oh, it's all star.

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Speaker 3: Wis star because it almost makes a sound, you know.

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Speaker 1: Uh.

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Speaker 3: And by the way, I want to say, you're right, dall,

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Speaker 3: I'm for murderer. It was Hitchcock, Oh was it?

396
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Speaker 1: Yeah? Okay, what was premature? Did you look that up?

397
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Speaker 3: He did one called Laura the Man with the Golden Arm.

398
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Speaker 3: It's not who I'm thinking of. I'm thinking of a

399
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Speaker 3: director named Auto who directed in like the twenties or thirties,

400
00:20:44,840 --> 00:20:51,760
Speaker 3: and he directed like moody, like like moody movies.

401
00:20:51,400 --> 00:20:54,880
Speaker 1: Like yeah, murder movies. Yeah, like fil noir, Yes.

402
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Speaker 3: Film noir. That's exactly what I was going for. And

403
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Speaker 3: I don't remember who it was.

404
00:20:59,200 --> 00:21:03,679
Speaker 1: Maybe his name was a film noir He's French. And

405
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Speaker 1: then one final thing of course you could study Citizen

406
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Speaker 1: Kane for a week in the film class, so this

407
00:21:08,560 --> 00:21:13,800
Speaker 1: is an overview. But the low angle shots. People didn't

408
00:21:13,840 --> 00:21:15,560
Speaker 1: use a lot of lower high angle shots back then.

409
00:21:15,600 --> 00:21:17,919
Speaker 1: It was kind of just shot from straight on and

410
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Speaker 1: Orson Wells even dug out cut out the floor a

411
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Speaker 1: lot of times to get the camera lower. And for

412
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Speaker 1: the first time we saw ceilings in view in a movie,

413
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Speaker 1: because quite often things were shot on a sound stage

414
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Speaker 1: where you don't have ceilings, and he wanted those low

415
00:21:32,920 --> 00:21:37,280
Speaker 1: angle shots, so they used fabric most times to act

416
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Speaker 1: as a ceiling, but very effective shots of from below

417
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Speaker 1: of Orson Wells. As I mean, it wasn't exactly William Randolphurst,

418
00:21:46,040 --> 00:21:49,480
Speaker 1: but it was an approximation of William Randolphurst, so very

419
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Speaker 1: effective low angle stuff that now, I mean, we take

420
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Speaker 1: for granted all these things, but you know, there would

421
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Speaker 1: be no pulp fiction in that non linear story telling.

422
00:22:00,320 --> 00:22:04,000
Speaker 1: If there was no well maybe somebody would have done it, but.

423
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Speaker 3: Maybe eventually, but even first he did the first and

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Speaker 3: that's why it was innovative.

425
00:22:08,520 --> 00:22:09,000
Speaker 1: Exactly.

426
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Speaker 3: It's Fritz Lang.

427
00:22:10,920 --> 00:22:14,280
Speaker 1: Yeah, there you go, Yeah, Fritz Lang Metropolis and am

428
00:22:15,119 --> 00:22:18,000
Speaker 1: just m that's okay, Yeah, it's all making sense now,

429
00:22:18,000 --> 00:22:20,320
Speaker 1: I get confused. Yeah, but you were right, You were

430
00:22:20,400 --> 00:22:20,800
Speaker 1: right there.

431
00:22:21,560 --> 00:22:23,080
Speaker 3: Fritz and Auto are not close.

432
00:22:23,119 --> 00:22:25,960
Speaker 1: I mean they're both German, but that's about it. Yeah,

433
00:22:26,000 --> 00:22:28,320
Speaker 1: but you know the difference between M and dial M

434
00:22:28,920 --> 00:22:34,159
Speaker 1: just a telephone. What's up next, Chuck Breathless one of

435
00:22:34,160 --> 00:22:34,720
Speaker 1: my faves.

436
00:22:35,080 --> 00:22:38,439
Speaker 3: So I am going to rely on you mostly for

437
00:22:38,480 --> 00:22:41,760
Speaker 3: this one because I looked up what the French New

438
00:22:41,800 --> 00:22:45,720
Speaker 3: Wave really did, what it accounted for. Yeah, and like

439
00:22:46,200 --> 00:22:50,040
Speaker 3: all of the essays I found were hard to they

440
00:22:50,080 --> 00:22:54,080
Speaker 3: were dense. Yeah, and I didn't really understand. I understood

441
00:22:54,080 --> 00:22:56,760
Speaker 3: that the French New Wave like changed everything, and that

442
00:22:56,880 --> 00:22:59,080
Speaker 3: a lot of the movies that I know and love

443
00:22:59,119 --> 00:23:02,960
Speaker 3: today are the offspring of the French New Wave, but

444
00:23:02,960 --> 00:23:07,000
Speaker 3: I still didn't get exactly specifically what the French New

445
00:23:07,000 --> 00:23:08,200
Speaker 3: Wave did.

446
00:23:08,720 --> 00:23:13,480
Speaker 1: And you're gonna allow me to summarize this, yeah, no pressure, No, Well,

447
00:23:14,040 --> 00:23:16,800
Speaker 1: for me, the French New Wave basically ushered in an

448
00:23:16,840 --> 00:23:20,960
Speaker 1: era of what now I think most people might associate

449
00:23:21,000 --> 00:23:22,119
Speaker 1: with indie filmmaking.

450
00:23:22,520 --> 00:23:24,320
Speaker 3: Okay, okay, like.

451
00:23:25,840 --> 00:23:28,560
Speaker 1: Handheld camera work and what some people at the time

452
00:23:28,600 --> 00:23:33,480
Speaker 1: considered amateurish camera work movies where maybe not a lot

453
00:23:33,520 --> 00:23:36,639
Speaker 1: seemingly happens. You know, nothing grand happens, which was the

454
00:23:36,680 --> 00:23:38,800
Speaker 1: case in Breathless. A lot of people didn't like it

455
00:23:38,840 --> 00:23:42,639
Speaker 1: at the time because it was like, you know, not

456
00:23:42,760 --> 00:23:45,720
Speaker 1: much happens. You know that the two leads in the movie,

457
00:23:46,920 --> 00:23:49,359
Speaker 1: Jean Paul Belmondo and Geene c Berg, weren't really like,

458
00:23:50,280 --> 00:23:52,520
Speaker 1: didn't show express a whole lot of deep love, and

459
00:23:52,680 --> 00:23:55,719
Speaker 1: there weren't these big moments of love and affection and

460
00:23:56,359 --> 00:24:00,320
Speaker 1: these huge action sequences. And it was described as flat

461
00:24:00,359 --> 00:24:02,720
Speaker 1: by a lot of people. And I think a lot

462
00:24:02,720 --> 00:24:04,680
Speaker 1: of indie movies do that, just kind of show life

463
00:24:04,680 --> 00:24:05,360
Speaker 1: as it happens.

464
00:24:05,560 --> 00:24:09,040
Speaker 3: Yeah, So without Breathless, who wouldn't have, like Bottle Rocket.

465
00:24:09,680 --> 00:24:12,920
Speaker 1: Maybe Wes Anderson's definitely a big French New wave guy,

466
00:24:13,000 --> 00:24:18,800
Speaker 1: Yeah for sure. But uh godar John lu Goodard who

467
00:24:18,840 --> 00:24:22,760
Speaker 1: directed it, and Trufau and some other French New wave

468
00:24:23,680 --> 00:24:27,080
Speaker 1: forefathers were film critics at first. Oh yeah, yeah, and

469
00:24:27,119 --> 00:24:29,400
Speaker 1: they decided as a group, like, we want to look

470
00:24:29,400 --> 00:24:33,760
Speaker 1: at cinnamon a new way and do something different, So

471
00:24:33,760 --> 00:24:35,320
Speaker 1: they went and started making their own movies.

472
00:24:35,800 --> 00:24:39,280
Speaker 3: That's like James Fenimore Cooper, Oh yeah, the guy who

473
00:24:39,320 --> 00:24:41,960
Speaker 3: wrote Last of the Mohicans. Oh really Yeah. He apparently

474
00:24:42,040 --> 00:24:45,520
Speaker 3: used to complain that, like nobody wrote good books anymore,

475
00:24:46,000 --> 00:24:48,560
Speaker 3: and so I think his wife or something said, well,

476
00:24:48,560 --> 00:24:50,080
Speaker 3: why don't you do it, big shot?

477
00:24:50,240 --> 00:24:50,880
Speaker 1: And he did.

478
00:24:51,240 --> 00:24:53,280
Speaker 3: In the books he wrote really weren't so great, but

479
00:24:53,359 --> 00:24:56,160
Speaker 3: he went and wrote him and he wrote a bunch

480
00:24:56,160 --> 00:24:56,640
Speaker 3: of them too.

481
00:24:57,080 --> 00:24:59,760
Speaker 1: One of my favorite foresides ever, is the second to

482
00:24:59,800 --> 00:25:04,080
Speaker 1: the to the Mohicans. It's just a line of Native Americans.

483
00:25:04,119 --> 00:25:06,359
Speaker 1: In the second to the last one, they're online facing away.

484
00:25:06,680 --> 00:25:09,240
Speaker 1: You just sort of turning around and waving a camera

485
00:25:10,040 --> 00:25:14,119
Speaker 1: I guess the camera at Gary Larson's hand. So Breathless

486
00:25:14,240 --> 00:25:16,080
Speaker 1: is notable for those reasons. It kind of kicked off

487
00:25:16,119 --> 00:25:19,119
Speaker 1: the French New Wave. But the use of jump cut editing,

488
00:25:19,560 --> 00:25:22,240
Speaker 1: which we see so much now, it was the first

489
00:25:22,240 --> 00:25:24,879
Speaker 1: movie and it was very jarring at the time to

490
00:25:24,920 --> 00:25:28,639
Speaker 1: see jump cuts in a movie. And that's when you're showing,

491
00:25:28,720 --> 00:25:31,840
Speaker 1: like I guess the best way to describe it as

492
00:25:33,440 --> 00:25:38,520
Speaker 1: multiple shots of the same subject or thing from different angles.

493
00:25:38,960 --> 00:25:43,280
Speaker 3: Right, It's like you indicate the progression of time or

494
00:25:43,320 --> 00:25:46,600
Speaker 3: movement or something by just cutting quickly rather than focusing

495
00:25:46,680 --> 00:25:50,399
Speaker 3: on somebody walking down the street for five minutes. Yeah,

496
00:25:50,520 --> 00:25:52,399
Speaker 3: you cut a couple of times and all of a

497
00:25:52,400 --> 00:25:54,399
Speaker 3: sudden they're just closer to the camera, then closer and closer,

498
00:25:54,440 --> 00:25:55,560
Speaker 3: and then they're past the camera.

499
00:25:55,720 --> 00:25:58,280
Speaker 1: It's a jump cut, yeah, or even as simple, something

500
00:25:58,320 --> 00:26:00,480
Speaker 1: as simple as like you're going to leave the house,

501
00:26:00,480 --> 00:26:01,960
Speaker 1: so you go and pick up your keys and you

502
00:26:01,960 --> 00:26:04,320
Speaker 1: put on your coat. Instead of showing all that you

503
00:26:04,359 --> 00:26:07,280
Speaker 1: come out of the bedroom, Boom, you're putting on your coat. Boom,

504
00:26:07,280 --> 00:26:08,480
Speaker 1: you're putting the keys in the door.

505
00:26:08,440 --> 00:26:11,240
Speaker 3: Right exactly, You're just showing the high highlights of this

506
00:26:11,440 --> 00:26:13,879
Speaker 3: progression of stuff where that would otherwise be boring to

507
00:26:13,920 --> 00:26:18,480
Speaker 3: watch the whole thing. But it also is used to

508
00:26:18,520 --> 00:26:23,280
Speaker 3: create tension too, because it's it's jarring. I guess it's

509
00:26:23,320 --> 00:26:26,800
Speaker 3: probably why it creates tension. And Scorsese famously used it

510
00:26:26,840 --> 00:26:29,640
Speaker 3: in Goodfellas. Oh yes, at the end when Henry Hill

511
00:26:29,760 --> 00:26:33,800
Speaker 3: is like trying to sell some guns to Nero. Yeah's

512
00:26:33,840 --> 00:26:36,159
Speaker 3: coat to the gills, right, and he's like trying to

513
00:26:36,160 --> 00:26:39,040
Speaker 3: sell some guns to Nero but they don't fit the silencers,

514
00:26:39,080 --> 00:26:42,320
Speaker 3: and like he's the helicopter's following them. He's got the

515
00:26:42,440 --> 00:26:45,760
Speaker 3: sauce going and all this stuff is being represented and

516
00:26:45,800 --> 00:26:49,080
Speaker 3: compressed in a very short amount of time by the

517
00:26:49,200 --> 00:26:50,199
Speaker 3: use of jump cuts.

518
00:26:50,400 --> 00:26:54,879
Speaker 1: Yeah, very effective, and for budding filmmakers, it's a great

519
00:26:54,920 --> 00:26:59,879
Speaker 1: way to hide mistakes of things you may not have

520
00:27:00,119 --> 00:27:03,000
Speaker 1: gotten that you thought you got. Jump cutting is a

521
00:27:03,040 --> 00:27:06,480
Speaker 1: really easy way to just sort of, yeah, to hide

522
00:27:06,480 --> 00:27:09,120
Speaker 1: your errors. Yeah. I did it a lot. In other words,

523
00:27:09,119 --> 00:27:09,880
Speaker 1: when I was making.

524
00:27:09,680 --> 00:27:13,720
Speaker 3: Those shorts, I I was I realized that in my head,

525
00:27:13,720 --> 00:27:18,560
Speaker 3: I was referencing the shot in Soul Taker. You know,

526
00:27:18,600 --> 00:27:20,560
Speaker 3: have you ever seen that mystery Sigence three thousand with

527
00:27:20,760 --> 00:27:24,920
Speaker 3: uh it's his last name is Estevez is Martin Sheen's brother,

528
00:27:25,720 --> 00:27:28,520
Speaker 3: and he is a soul taker and he's next to

529
00:27:28,560 --> 00:27:30,720
Speaker 3: this guy who's a soul taker.

530
00:27:32,320 --> 00:27:33,199
Speaker 1: You just have to see this.

531
00:27:33,320 --> 00:27:35,679
Speaker 3: But anyway, they're they're walking down the road in this

532
00:27:35,800 --> 00:27:39,160
Speaker 3: jump cut, like has this progression of them right, It's

533
00:27:39,240 --> 00:27:42,800
Speaker 3: so unnecessary, but it's like a great use of jump cut.

534
00:27:42,800 --> 00:27:44,720
Speaker 3: You could tell the director was like, I can't wait

535
00:27:44,760 --> 00:27:46,600
Speaker 3: to use a jump cut, and that's what she did.

536
00:27:46,920 --> 00:27:47,560
Speaker 1: She used it on.

537
00:27:48,359 --> 00:27:51,320
Speaker 3: But go watch the MSc three K it's a good

538
00:27:51,320 --> 00:27:52,280
Speaker 3: one man.

539
00:27:52,320 --> 00:27:54,560
Speaker 1: You did you see every single one of those episodes?

540
00:27:54,760 --> 00:27:57,879
Speaker 3: No, it's still I still run across ones that I

541
00:27:57,920 --> 00:27:58,400
Speaker 3: haven't seen.

542
00:27:58,480 --> 00:28:03,200
Speaker 1: Yeah, nice, hey, and then shout out to Bill Corbett,

543
00:28:03,200 --> 00:28:04,080
Speaker 1: who I know is a listener.

544
00:28:04,680 --> 00:28:05,639
Speaker 3: Oh yeah, he is, isn't he.

545
00:28:05,800 --> 00:28:07,040
Speaker 1: I don't know if he's going to hear this one,

546
00:28:07,080 --> 00:28:13,000
Speaker 1: but the great Bill Corbett, So take here. Next week,

547
00:28:13,000 --> 00:28:18,240
Speaker 1: are gonna move on to Frederico Fellini's Eight and a half.

548
00:28:18,520 --> 00:28:19,440
Speaker 1: Have you ever seen this one?

549
00:28:19,560 --> 00:28:19,639
Speaker 3: No?

550
00:28:19,720 --> 00:28:20,159
Speaker 1: I haven't.

551
00:28:20,359 --> 00:28:22,480
Speaker 3: It's good now I understand why it's called that though.

552
00:28:22,840 --> 00:28:25,160
Speaker 1: Yeah. It was one of the first, although not the first,

553
00:28:25,240 --> 00:28:29,959
Speaker 1: movies about movie making and starring the great Marcela Masteriania

554
00:28:30,880 --> 00:28:37,080
Speaker 1: Mastroiani from La Delceavita, a muse of Felini's over the

555
00:28:37,160 --> 00:28:40,840
Speaker 1: years too. And this one, this one really kicked off

556
00:28:40,880 --> 00:28:44,920
Speaker 1: the surrealist filmmaking and sort of saying you can play

557
00:28:44,960 --> 00:28:48,400
Speaker 1: around and shoot a dream sequence where the guy's in

558
00:28:48,440 --> 00:28:51,240
Speaker 1: traffic and then he leaves his car and floats up

559
00:28:51,240 --> 00:28:53,320
Speaker 1: in the air and is, you know, being pulled down

560
00:28:53,360 --> 00:28:55,520
Speaker 1: to the ground on the beach from a rope tied

561
00:28:55,560 --> 00:28:57,600
Speaker 1: around his ankle, just like go nuts.

562
00:28:57,880 --> 00:29:02,000
Speaker 3: Yeah, and successive filmmakers did go nuts, like Gondry did

563
00:29:02,520 --> 00:29:04,200
Speaker 3: Eternal Sun, The Spotless Mind.

564
00:29:04,280 --> 00:29:06,240
Speaker 1: Oh yeah, he's hugely influenced.

565
00:29:06,800 --> 00:29:09,960
Speaker 3: Darren Aronofsky did some weird stuff here or.

566
00:29:09,960 --> 00:29:13,640
Speaker 1: There, Yeah, David Lynch and Terry Gilliam of course. Yeah.

567
00:29:13,920 --> 00:29:18,240
Speaker 3: Just basically surrealism is what I'm taking Fellini introduced.

568
00:29:17,800 --> 00:29:23,760
Speaker 1: Into this, Yeah, for real. And besides the surrealism, that

569
00:29:24,040 --> 00:29:26,920
Speaker 1: opening sequence of Eight and a Half where the director

570
00:29:27,000 --> 00:29:30,840
Speaker 1: of he's the director in the movie Guido is stuck

571
00:29:30,840 --> 00:29:34,200
Speaker 1: in traffic. It's really claustrophobic feeling, and that's why he

572
00:29:34,200 --> 00:29:37,800
Speaker 1: floats away and escapes. You know that, that traffic jam,

573
00:29:37,840 --> 00:29:41,800
Speaker 1: but that was directly mimicked in like Rams Everybody Hurts video.

574
00:29:42,080 --> 00:29:45,440
Speaker 1: Oh yeah, and the beginning of the movie Falling Down.

575
00:29:45,520 --> 00:29:48,200
Speaker 1: Do you remember that huh that started with the traffic jam. Yeah,

576
00:29:48,240 --> 00:29:49,400
Speaker 1: Michael Douglass just left.

577
00:29:49,400 --> 00:29:51,680
Speaker 3: He doesn't float, he gets like an oozy.

578
00:29:52,080 --> 00:29:53,600
Speaker 1: I saw that again the other day. Most of it

579
00:29:53,720 --> 00:29:58,360
Speaker 1: to hold up. It's weird. It alternately felt way ahead

580
00:29:58,360 --> 00:30:03,280
Speaker 1: of its time and also very dated. Yeah, because the

581
00:30:03,320 --> 00:30:05,360
Speaker 1: stuff that Michael Douglas is doing felt way ahead of

582
00:30:05,400 --> 00:30:09,520
Speaker 1: its time. But then there was I just forgot about

583
00:30:09,560 --> 00:30:15,000
Speaker 1: that whole weird subplots with Robert Duvall retiring and he

584
00:30:15,080 --> 00:30:18,560
Speaker 1: had this wife that was Hnpecking them and like this

585
00:30:18,720 --> 00:30:20,560
Speaker 1: retirement party they were trying to throw them.

586
00:30:20,600 --> 00:30:21,560
Speaker 3: I forgot about that too.

587
00:30:21,680 --> 00:30:24,400
Speaker 1: Yeah. It was just so unnecessary and felt really weird

588
00:30:24,400 --> 00:30:26,280
Speaker 1: and out of place. The other day when I was

589
00:30:26,320 --> 00:30:27,200
Speaker 1: watching it was.

590
00:30:27,200 --> 00:30:29,720
Speaker 3: There like a jump cut montage where he's putting on

591
00:30:29,760 --> 00:30:31,760
Speaker 3: his watch, his gold retirement watch.

592
00:30:33,080 --> 00:30:35,960
Speaker 1: No, but then too, the Barbara Hershey, you know, is

593
00:30:36,240 --> 00:30:39,000
Speaker 1: in venice at home with the daughter, and he spends

594
00:30:39,000 --> 00:30:42,720
Speaker 1: a whole day coming there to grab them, basically, and

595
00:30:42,760 --> 00:30:44,760
Speaker 1: the whole time she just keeps calling the cops like no,

596
00:30:44,840 --> 00:30:46,920
Speaker 1: he's coming, and now he's coming. And I was watching

597
00:30:46,920 --> 00:30:49,560
Speaker 1: the other day it was like freaking leave. Oh, yeah,

598
00:30:49,600 --> 00:30:50,720
Speaker 1: what are you doing there?

599
00:30:50,880 --> 00:30:53,160
Speaker 3: Yeah, that's a movie character thing.

600
00:30:54,680 --> 00:30:54,920
Speaker 1: You know.

601
00:30:55,080 --> 00:30:58,160
Speaker 3: That's just bad writing, bad directing when you just walk

602
00:30:58,240 --> 00:31:03,360
Speaker 3: right past the ability to you missed a huge step.

603
00:31:03,640 --> 00:31:06,080
Speaker 1: Where were we falling down? Yeah? I think that pretty

604
00:31:06,120 --> 00:31:07,200
Speaker 1: much sums up eight and a half.

605
00:31:07,320 --> 00:31:10,440
Speaker 3: I think so too, falling down boom, so chuck. We

606
00:31:10,520 --> 00:31:12,600
Speaker 3: got a little more left, we got more films. Is

607
00:31:12,600 --> 00:31:14,120
Speaker 3: this making you want to watch films?

608
00:31:14,720 --> 00:31:15,640
Speaker 1: Yeah? Me too.

609
00:31:15,800 --> 00:31:20,080
Speaker 3: I feel like eating ice cream watching a film and

610
00:31:20,120 --> 00:31:21,840
Speaker 3: scratching from Poison ivy.

611
00:31:21,640 --> 00:31:23,480
Speaker 1: Lately, Yeah, and burning this office down.

612
00:31:24,960 --> 00:31:26,960
Speaker 3: You know, if that happens now, suspicion is going to

613
00:31:27,040 --> 00:31:29,720
Speaker 3: fall on you for saying that. That's all right, we'll

614
00:31:29,720 --> 00:31:51,880
Speaker 3: be right back after that. All right, So we're back

615
00:31:52,160 --> 00:31:55,400
Speaker 3: with our awesome jingles, which, by the way, we have

616
00:31:55,440 --> 00:32:02,360
Speaker 3: to thank John began, John begin begin. He even emailed

617
00:32:02,400 --> 00:32:05,400
Speaker 3: with the pronunciation on his name. But he the original

618
00:32:05,440 --> 00:32:08,320
Speaker 3: guy who did our jingle, the first jingle ever, Rusty

619
00:32:08,360 --> 00:32:13,280
Speaker 3: Mattias or Matthias Man, I'm not good with the pronunciation.

620
00:32:13,720 --> 00:32:16,920
Speaker 3: Uh well, anyway, Rusty who's banned the sheep Dogs are

621
00:32:16,960 --> 00:32:17,640
Speaker 3: on tour right now.

622
00:32:17,760 --> 00:32:19,840
Speaker 1: Yeah. Just because his.

623
00:32:19,880 --> 00:32:22,800
Speaker 3: Work was so original, we contacted him and said, hey,

624
00:32:22,880 --> 00:32:25,160
Speaker 3: we got this other guy who's done like covers of

625
00:32:25,240 --> 00:32:28,440
Speaker 3: your work. Can we use these It's like totally mash

626
00:32:28,520 --> 00:32:31,760
Speaker 3: it up. Yeah, and John's been making awesome like versions

627
00:32:31,760 --> 00:32:32,560
Speaker 3: of it ever since.

628
00:32:32,800 --> 00:32:34,320
Speaker 1: Yeah. They're both great and talented.

629
00:32:34,680 --> 00:32:35,520
Speaker 3: Thanks to you both.

630
00:32:35,600 --> 00:32:37,640
Speaker 1: And go check out I think that what you say.

631
00:32:37,680 --> 00:32:39,800
Speaker 1: They're on tour right yeah, the sheep Dogs. Yeah, go

632
00:32:39,880 --> 00:32:43,240
Speaker 1: check out the sheep Dogs. Yeah, in in town near you. Yeah.

633
00:32:43,440 --> 00:32:47,520
Speaker 1: All right, let's finish with these two in reverse order. Okay.

634
00:32:47,560 --> 00:32:52,400
Speaker 3: Toy story was a big one, hugely innovative, huge. And

635
00:32:52,440 --> 00:32:55,760
Speaker 3: again it's one of those things where now almost everything

636
00:32:55,760 --> 00:32:57,760
Speaker 3: about it seems pedestrian.

637
00:32:57,360 --> 00:32:59,640
Speaker 1: Su or what it did. Yeah, you see, it's still a.

638
00:32:59,600 --> 00:33:03,479
Speaker 3: Great movie, I'm sure. Oh yeah, but the innovations that

639
00:33:03,720 --> 00:33:06,840
Speaker 3: it undertook are it just seemed pedestrian. But at the

640
00:33:06,920 --> 00:33:09,240
Speaker 3: time it was totally groundbreaking.

641
00:33:09,320 --> 00:33:10,240
Speaker 1: Yeah, game changer.

642
00:33:10,360 --> 00:33:13,920
Speaker 3: It was the first, the first CGI movie, all CGI

643
00:33:14,000 --> 00:33:16,520
Speaker 3: movie ever. Yeah, that was enormous.

644
00:33:16,760 --> 00:33:19,360
Speaker 1: Well yeah, and I remember at the time seeing it

645
00:33:19,400 --> 00:33:23,400
Speaker 1: and just being like, Wow, this is the future of

646
00:33:23,440 --> 00:33:24,360
Speaker 1: animated films.

647
00:33:24,480 --> 00:33:27,760
Speaker 3: What's the best all CGI animated film you've ever seen?

648
00:33:27,880 --> 00:33:31,200
Speaker 1: Visually? Uh, well, I haven't seen a lot of them

649
00:33:31,240 --> 00:33:34,440
Speaker 1: these days because Emily doesn't like those. So I probably

650
00:33:34,440 --> 00:33:37,479
Speaker 1: wouldn't be the best person to ask Holly from Stuff

651
00:33:38,160 --> 00:33:40,560
Speaker 1: Sovius in history class, she'd probably be the one to

652
00:33:40,600 --> 00:33:42,360
Speaker 1: ask for my money.

653
00:33:42,680 --> 00:33:44,280
Speaker 3: Have you seen The Adventures of ten Tin?

654
00:33:44,880 --> 00:33:49,840
Speaker 1: Oh? Yeah, that was amazing, mind blowing. Yeah, I saw

655
00:33:49,840 --> 00:33:52,040
Speaker 1: that on your recommendation. Really really liked it. Yeah.

656
00:33:52,200 --> 00:33:55,400
Speaker 3: The story was great, the action was great, the characters

657
00:33:55,440 --> 00:34:00,520
Speaker 3: were great. But the CGI, the computer animation, is I

658
00:34:00,560 --> 00:34:02,160
Speaker 3: think possibly the best ever done.

659
00:34:02,640 --> 00:34:04,880
Speaker 1: Yeah, and that's a bit of a different style than say,

660
00:34:04,920 --> 00:34:08,360
Speaker 1: like up or The Incredibles. It's not nearly as cartoons.

661
00:34:08,440 --> 00:34:11,160
Speaker 1: It's like the I. I think it's the motion capture. Yeah,

662
00:34:11,280 --> 00:34:12,360
Speaker 1: I think that's what they did for that.

663
00:34:12,440 --> 00:34:16,000
Speaker 3: Oh yeah, with UP, it would strictly be totally just animation.

664
00:34:15,640 --> 00:34:19,440
Speaker 1: Right, yeah, but I mean they're both animation, right. But yeah, Man, Tintin,

665
00:34:19,480 --> 00:34:21,240
Speaker 1: that was really good. It was good. I was surprised

666
00:34:21,280 --> 00:34:21,960
Speaker 1: how much I like that.

667
00:34:22,200 --> 00:34:24,560
Speaker 3: But UP was good too, and Toy Story was good too.

668
00:34:24,840 --> 00:34:26,920
Speaker 3: But all of these things came as a result of

669
00:34:27,080 --> 00:34:28,759
Speaker 3: the ground that Toy Story.

670
00:34:28,440 --> 00:34:32,400
Speaker 1: Broke absolutely in nineteen ninety five. Like you said, what

671
00:34:32,480 --> 00:34:35,919
Speaker 1: seems like a common thing today. I mean, you don't

672
00:34:35,960 --> 00:34:38,719
Speaker 1: see cell animation anymore. It's almost I know, I kind

673
00:34:38,719 --> 00:34:40,600
Speaker 1: of miss it. I totally miss we Like the new

674
00:34:41,320 --> 00:34:44,839
Speaker 1: Mickey Mouse is all weird in CG like stuff from

675
00:34:44,880 --> 00:34:47,839
Speaker 1: our generation should have just been discontinued. Yeah, and then

676
00:34:47,880 --> 00:34:50,120
Speaker 1: you just come up with all new stuff that's CGI.

677
00:34:50,280 --> 00:34:53,640
Speaker 1: Strawberry Shortcake not supposed to be CGI. It just all

678
00:34:53,680 --> 00:34:57,320
Speaker 1: looks weird. Now. Yeah, I wish there would have people

679
00:34:57,360 --> 00:35:00,640
Speaker 1: would have done a little bit of both still, because

680
00:35:00,640 --> 00:35:03,680
Speaker 1: I think sell animation, like I think the Iron Giant

681
00:35:03,719 --> 00:35:06,200
Speaker 1: came out after Toy Story, and they did sell animation

682
00:35:06,680 --> 00:35:09,239
Speaker 1: and that was great, great movie. I haven't seen that.

683
00:35:09,400 --> 00:35:12,680
Speaker 1: Oh it's really good. You'd like it, like it's a

684
00:35:12,800 --> 00:35:15,399
Speaker 1: movie for grown ups. And Toy Story sort of laid

685
00:35:15,400 --> 00:35:17,960
Speaker 1: the way for that because it was one of the

686
00:35:18,000 --> 00:35:22,160
Speaker 1: first movies, I guess cartoony kids movies to really have

687
00:35:22,200 --> 00:35:24,799
Speaker 1: a lot of dialogue that flew over kids heads that

688
00:35:24,840 --> 00:35:28,040
Speaker 1: adults got a little nod in a wink. What Toy Story. Yeah,

689
00:35:28,360 --> 00:35:30,839
Speaker 1: not like dirty humor, but it's not like Fritz the Cat,

690
00:35:30,960 --> 00:35:32,799
Speaker 1: no no, no, but a little entendre here and there

691
00:35:32,840 --> 00:35:35,840
Speaker 1: that adults might appreciate the kids won't understand. Those are

692
00:35:35,880 --> 00:35:36,400
Speaker 1: the best.

693
00:35:36,280 --> 00:35:36,880
Speaker 3: Jokes, right.

694
00:35:40,440 --> 00:35:45,040
Speaker 1: And now we have you know, best Animated Feature in

695
00:35:45,120 --> 00:35:48,960
Speaker 1: the Oscars, which definitely came straight out of the original

696
00:35:49,000 --> 00:35:52,640
Speaker 1: Toy Story. Because movies started being considered before they created

697
00:35:52,680 --> 00:35:55,840
Speaker 1: its own category. Up and Toy Story three were actually

698
00:35:55,840 --> 00:35:59,279
Speaker 1: nominated for regular Best Picture, and I think everyone was like, oh,

699
00:35:59,320 --> 00:36:01,400
Speaker 1: we need to get to their own category, because yeah,

700
00:36:01,480 --> 00:36:03,799
Speaker 1: you can't have an animated movie when best Picture it came.

701
00:36:03,800 --> 00:36:09,040
Speaker 3: Well up would have come after the Best Animated Picture

702
00:36:09,360 --> 00:36:12,480
Speaker 3: category came out. Oh really, So that kind of GHEs

703
00:36:12,680 --> 00:36:15,600
Speaker 3: as a testament to just how amazing that movie is.

704
00:36:15,680 --> 00:36:16,520
Speaker 1: Yeah, that's right. That was that.

705
00:36:16,560 --> 00:36:18,320
Speaker 3: It was still for Best Picture.

706
00:36:18,520 --> 00:36:19,280
Speaker 1: Oh, it was both.

707
00:36:19,960 --> 00:36:21,560
Speaker 3: I don't know if it was up for it probably

708
00:36:21,640 --> 00:36:23,640
Speaker 3: was up for Best Animated as well, but it was

709
00:36:23,640 --> 00:36:26,560
Speaker 3: definitely also up for Best Picture. Wow, while there was

710
00:36:26,600 --> 00:36:27,800
Speaker 3: an animated category.

711
00:36:27,920 --> 00:36:31,080
Speaker 1: Yeah, I never considered that. Bam, that was a good movie.

712
00:36:31,360 --> 00:36:32,720
Speaker 3: Yeah, I was sweet.

713
00:36:34,000 --> 00:36:35,600
Speaker 1: So I got nothing else on toy story.

714
00:36:36,080 --> 00:36:37,640
Speaker 3: Well then what about the last one?

715
00:36:38,840 --> 00:36:42,720
Speaker 1: Yeah, two thousand and one of Space Odyssey. Man, quite

716
00:36:42,760 --> 00:36:43,200
Speaker 1: a film.

717
00:36:43,280 --> 00:36:48,480
Speaker 3: You sent this essay on Criterion I think Criterion dot com,

718
00:36:48,520 --> 00:36:49,880
Speaker 3: but you know the Criterion collection.

719
00:36:50,200 --> 00:36:51,080
Speaker 1: Yeah.

720
00:36:51,160 --> 00:36:54,000
Speaker 3: It was written, I guess in nineteen eighty eight. Even

721
00:36:54,000 --> 00:36:56,279
Speaker 3: though it says posted in nineteen eighty eight. It's like

722
00:36:56,320 --> 00:36:58,600
Speaker 3: there wasn't an internet to post it on in nineteen

723
00:36:58,640 --> 00:36:59,000
Speaker 3: eighty eight.

724
00:36:59,040 --> 00:37:01,200
Speaker 1: Maybe it means posted like in the mail.

725
00:37:01,480 --> 00:37:08,160
Speaker 3: Maybe. But I realized, like I can read film essays

726
00:37:08,200 --> 00:37:10,839
Speaker 3: about Stanley Kubrick's work all day long.

727
00:37:10,920 --> 00:37:12,399
Speaker 1: Yeah, me too. Like I love that.

728
00:37:12,440 --> 00:37:17,360
Speaker 3: Documentary Room two to two seven. It was two three seven,

729
00:37:17,440 --> 00:37:22,320
Speaker 3: two four six, you know, the one about the shining

730
00:37:22,360 --> 00:37:23,279
Speaker 3: conspiracy theory.

731
00:37:23,400 --> 00:37:25,760
Speaker 1: Yeah, the number of the room is amazing. I can't remember,

732
00:37:25,760 --> 00:37:27,719
Speaker 1: though I read a bunch.

733
00:37:27,440 --> 00:37:31,080
Speaker 3: Of articles is I think two thirty seven. I read

734
00:37:31,120 --> 00:37:34,520
Speaker 3: a bunch of articles around the release of that documentary,

735
00:37:34,600 --> 00:37:38,520
Speaker 3: which we're basically like film essays on the shining. I

736
00:37:38,560 --> 00:37:42,720
Speaker 3: read this one amazing one from several years ago about

737
00:37:42,760 --> 00:37:47,360
Speaker 3: Eyes Wide Shut about how it's like a masterpiece of sociology,

738
00:37:47,840 --> 00:37:48,919
Speaker 3: studying sociology.

739
00:37:48,960 --> 00:37:50,280
Speaker 1: A lot of people hate that movie.

740
00:37:50,360 --> 00:37:53,560
Speaker 3: Yeah, and then now this like two thousand and one.

741
00:37:53,680 --> 00:37:55,840
Speaker 3: I'm sure there's tons out there to consume, but I

742
00:37:56,120 --> 00:37:57,880
Speaker 3: can just read that stuff all day long because that

743
00:37:57,920 --> 00:38:02,760
Speaker 3: guy was so just amazingly detailed as a director.

744
00:38:02,960 --> 00:38:06,000
Speaker 1: Yeah, I agree. I can read more about his work

745
00:38:06,360 --> 00:38:09,000
Speaker 1: critical essays on his work than any other director. Right,

746
00:38:09,160 --> 00:38:12,080
Speaker 1: it's just unbelievable. It's almost like it's its own genre.

747
00:38:12,239 --> 00:38:14,440
Speaker 1: It is, you know, Kubrickian. Yeah, it's got a word

748
00:38:14,480 --> 00:38:18,440
Speaker 1: named after it, and well it should so. Two thousand

749
00:38:18,480 --> 00:38:22,320
Speaker 1: and one. A Space Odyssey nineteen sixty eight blue minds

750
00:38:22,360 --> 00:38:26,719
Speaker 1: back then blows minds today one for it's just the

751
00:38:26,760 --> 00:38:31,640
Speaker 1: amazing look and the technical achievement ages really well. I mean,

752
00:38:31,640 --> 00:38:34,000
Speaker 1: if you see a movie from nineteen sixty eight about

753
00:38:34,000 --> 00:38:36,120
Speaker 1: outer space, it still looks like the future. Yeah, he

754
00:38:36,160 --> 00:38:39,000
Speaker 1: don't expect it to hold up well, but it totally does,

755
00:38:40,280 --> 00:38:42,160
Speaker 1: so much so that a lot of the you know,

756
00:38:42,239 --> 00:38:45,479
Speaker 1: George Lucas and Ridley Scott were just like it's done right,

757
00:38:45,560 --> 00:38:46,640
Speaker 1: Like we might as well give up.

758
00:38:46,760 --> 00:38:49,839
Speaker 3: Yeah, George Lucas when Star Wars came out, said Star

759
00:38:49,880 --> 00:38:53,200
Speaker 3: Wars is technically comparable, but for my money, two thousand

760
00:38:53,200 --> 00:38:54,840
Speaker 3: and one is by far the better movie.

761
00:38:55,080 --> 00:38:57,799
Speaker 1: Yeah, everyone was sort of intimidated, I think by how

762
00:38:58,080 --> 00:38:59,160
Speaker 1: talented Kubrick was.

763
00:38:59,239 --> 00:39:02,440
Speaker 3: Well. Plus all, so you have to take into account

764
00:39:02,520 --> 00:39:05,719
Speaker 3: that he made this movie at a time when other

765
00:39:05,800 --> 00:39:10,120
Speaker 3: sci fi movies were just pure shlock. So not only

766
00:39:10,160 --> 00:39:14,640
Speaker 3: to make the movie in this way this visually amazing

767
00:39:14,719 --> 00:39:20,040
Speaker 3: and amazing with an audio soundtrack and just totally innovative,

768
00:39:20,320 --> 00:39:23,520
Speaker 3: it also took like that mindset can just completely go

769
00:39:23,560 --> 00:39:26,120
Speaker 3: in a different direction that everybody else has as well.

770
00:39:26,560 --> 00:39:28,719
Speaker 1: Yeah, of course I think about Ridley Scott saying that,

771
00:39:28,760 --> 00:39:30,279
Speaker 1: and then he goes on to make Alien and Blade

772
00:39:30,360 --> 00:39:34,480
Speaker 1: Runner after that. So I mean he helped Prometheus. Man.

773
00:39:35,040 --> 00:39:37,040
Speaker 3: Yeah, people don't like Prometheus.

774
00:39:37,080 --> 00:39:39,319
Speaker 1: I don't care. It's a cool movie. No, I liked

775
00:39:39,320 --> 00:39:44,000
Speaker 1: it too, I thought, Okay, one flaw, the big flaw

776
00:39:44,080 --> 00:39:44,759
Speaker 1: to me was.

777
00:39:46,520 --> 00:39:49,319
Speaker 3: And I'm sure it's like part of the subtext or

778
00:39:49,320 --> 00:39:54,799
Speaker 3: the context or one of the texts, but the engineer

779
00:39:55,360 --> 00:39:58,080
Speaker 3: coming back to life or coming out of hibernation after

780
00:39:58,200 --> 00:40:02,040
Speaker 3: however long and just immediate, like inflicting violence on these

781
00:40:02,920 --> 00:40:07,280
Speaker 3: pea brained humans who are showing him no threat whatsoever. Yeah,

782
00:40:07,600 --> 00:40:12,080
Speaker 3: I just thought it was a little, uh, it wasn't

783
00:40:12,160 --> 00:40:14,400
Speaker 3: explained well enough, I think for my taste.

784
00:40:14,480 --> 00:40:15,880
Speaker 1: Yeah, I think i'd agree with you.

785
00:40:16,080 --> 00:40:18,719
Speaker 3: But when I'm watching a Ridley Scott movie, I just

786
00:40:18,760 --> 00:40:22,120
Speaker 3: assume if I'm missing something, he has an explanation for it.

787
00:40:22,160 --> 00:40:24,960
Speaker 1: I'm just not catching it. Yeah, I know what you mean.

788
00:40:25,400 --> 00:40:28,400
Speaker 1: I'd like I think I read some stuff about how

789
00:40:28,400 --> 00:40:33,000
Speaker 1: it tied into the alien cannon and realized I need

790
00:40:33,040 --> 00:40:35,440
Speaker 1: to go see it again with all this knowledge that

791
00:40:35,560 --> 00:40:37,560
Speaker 1: I wasn't really thinking about. Yeah, and maybe i'd like

792
00:40:37,600 --> 00:40:39,920
Speaker 1: it more. Yeah, but I haven't done that yet. So

793
00:40:40,000 --> 00:40:42,440
Speaker 1: back to two thousand and one. Oh Yeah. It was

794
00:40:42,800 --> 00:40:47,520
Speaker 1: also notable for being bookended basically with thirty minutes of

795
00:40:47,560 --> 00:40:50,320
Speaker 1: silence on both ends of the movie. The first thirty

796
00:40:50,320 --> 00:40:52,839
Speaker 1: minutes or and when I say silent, I mean no dialogue, right,

797
00:40:53,080 --> 00:40:55,359
Speaker 1: and the last thirty minutes have no dialogue. Yeah.

798
00:40:55,400 --> 00:40:57,799
Speaker 3: The last line comes like a full thirty minutes before

799
00:40:57,840 --> 00:40:58,160
Speaker 3: the end.

800
00:40:58,400 --> 00:41:00,480
Speaker 1: Yeah, And over the one hundred and forty six minutes,

801
00:41:00,480 --> 00:41:02,879
Speaker 1: there are only forty minutes of dialogue and the whole thing.

802
00:41:03,680 --> 00:41:08,200
Speaker 1: And that's why I just when people compare something like Interstellar,

803
00:41:09,600 --> 00:41:12,560
Speaker 1: then call it Kubrickan. I just want to smash do

804
00:41:12,600 --> 00:41:15,320
Speaker 1: you know like Interstellar? Not really?

805
00:41:15,400 --> 00:41:16,239
Speaker 3: Oh, I liked it.

806
00:41:16,320 --> 00:41:17,760
Speaker 1: I was super letdown.

807
00:41:17,480 --> 00:41:23,319
Speaker 3: Despite McConaughey doing Waterson in the future. I still liked it.

808
00:41:23,320 --> 00:41:24,360
Speaker 3: I even liked him in it.

809
00:41:24,520 --> 00:41:26,440
Speaker 1: I liked a lot of the parts of it. But

810
00:41:27,600 --> 00:41:32,279
Speaker 1: to me, it's anti Kubrickian because every ten minutes they're

811
00:41:32,320 --> 00:41:35,320
Speaker 1: explaining everything that's going on over again. That was a

812
00:41:35,640 --> 00:41:36,920
Speaker 1: thing just like Inception.

813
00:41:37,760 --> 00:41:41,120
Speaker 3: Ellen Page's entire character was written in to explain what

814
00:41:41,200 --> 00:41:42,680
Speaker 3: was going on every ten minutes.

815
00:41:42,920 --> 00:41:44,680
Speaker 1: Yeah, and I felt like Interstellar was the same way.

816
00:41:44,680 --> 00:41:47,080
Speaker 1: It's like Christopher Nolan needs to just trust his audience

817
00:41:47,120 --> 00:41:49,480
Speaker 1: a little bit like kubrick did, and so you figure

818
00:41:49,520 --> 00:41:52,520
Speaker 1: it out or don't. Yeah, no, I'm not going to

819
00:41:52,520 --> 00:41:55,399
Speaker 1: stop every ten minutes just to explain everything. Yeah, here's

820
00:41:55,400 --> 00:41:58,399
Speaker 1: just going on. I remember if you didn't get it right.

821
00:41:58,480 --> 00:41:59,600
Speaker 1: Here's what's going on again.

822
00:41:59,719 --> 00:42:03,120
Speaker 3: Well, I think if they are labeling something like Interstellar

823
00:42:03,480 --> 00:42:05,920
Speaker 3: is Kubrickian, right, one of the ways that you can

824
00:42:05,960 --> 00:42:10,520
Speaker 3: interpret that is that he was he rooted his two

825
00:42:10,560 --> 00:42:15,680
Speaker 3: thousand and one in science fact right, So like the

826
00:42:15,760 --> 00:42:18,880
Speaker 3: stuff that the astronauts are like dealing with and the

827
00:42:18,920 --> 00:42:22,000
Speaker 3: things that are going on and the conditions of space,

828
00:42:22,360 --> 00:42:26,520
Speaker 3: it was all factual. Whereas with Interstellar, same thing. They

829
00:42:26,560 --> 00:42:29,240
Speaker 3: went to really great lengths to do what they could

830
00:42:29,320 --> 00:42:33,080
Speaker 3: to make everything scientifically factual. Aside from the fact that

831
00:42:33,719 --> 00:42:35,799
Speaker 3: the idea that you could go into a black hole

832
00:42:35,840 --> 00:42:37,920
Speaker 3: and then come back out or something like that, Sure,

833
00:42:38,160 --> 00:42:41,200
Speaker 3: drifting in space that's not gonna happen. But for the

834
00:42:41,239 --> 00:42:44,799
Speaker 3: most part, Interstellar was scientifically accurate. So maybe that's what

835
00:42:44,840 --> 00:42:48,080
Speaker 3: they meant when they called it Kubrickian, because you're absolutely right,

836
00:42:48,200 --> 00:42:51,879
Speaker 3: like they did explain a lot and went to great

837
00:42:51,920 --> 00:42:54,239
Speaker 3: links to explain a lot, whereas with two thousand and

838
00:42:54,280 --> 00:42:57,120
Speaker 3: one you just watch it the first five times like

839
00:42:57,239 --> 00:43:00,680
Speaker 3: what just happened? And apparently Carrie Grant had that same

840
00:43:00,880 --> 00:43:01,839
Speaker 3: reaction as well.

841
00:43:02,200 --> 00:43:04,520
Speaker 1: That was Rock Hudson, Rock Hudson, that's right. Yeah, the

842
00:43:04,560 --> 00:43:07,600
Speaker 1: original screening that Roger Ebert was at in La Rock.

843
00:43:07,680 --> 00:43:09,880
Speaker 1: Hudson just left and said, can somebody tell me what

844
00:43:09,920 --> 00:43:11,759
Speaker 1: the hell that was about? Yeah, and it wasn't even

845
00:43:11,800 --> 00:43:18,400
Speaker 1: over yet. Yeah. Yeah. Well the reason it it has

846
00:43:18,440 --> 00:43:21,600
Speaker 1: science fact and not science fiction is because Kubrick and

847
00:43:21,719 --> 00:43:24,600
Speaker 1: Arthur C. Clark, who it wasn't actually a book that

848
00:43:24,640 --> 00:43:26,640
Speaker 1: was made into a movie. It was a movie or

849
00:43:26,680 --> 00:43:30,520
Speaker 1: book made after a movie, and they collaborated on both.

850
00:43:30,560 --> 00:43:35,560
Speaker 1: And they went to Carl Sagan of course of Cosmos

851
00:43:35,600 --> 00:43:36,160
Speaker 1: and said.

852
00:43:36,360 --> 00:43:40,719
Speaker 3: He said, you're going to make billions And that was

853
00:43:40,760 --> 00:43:41,920
Speaker 3: pretty good, was it?

854
00:43:42,000 --> 00:43:44,520
Speaker 1: Yeah, that sound a lot like them. They went to

855
00:43:44,560 --> 00:43:48,680
Speaker 1: Carl Sagan said, hey, we want to portray these extraterrestrials.

856
00:43:50,360 --> 00:43:54,000
Speaker 1: Are they maybe the Star Child is or they turned

857
00:43:54,080 --> 00:43:56,520
Speaker 1: Dave into the Star Child? Are they humanoids? What are

858
00:43:56,520 --> 00:43:58,759
Speaker 1: they going to look like? And Sagan was like they

859
00:43:58,800 --> 00:44:02,400
Speaker 1: were very unlikely to be humanoid. So Kubrick did the

860
00:44:02,400 --> 00:44:04,439
Speaker 1: smart thing and was just like, well, we just won't

861
00:44:04,440 --> 00:44:07,000
Speaker 1: show him right at all, instead of making a fool

862
00:44:07,040 --> 00:44:10,799
Speaker 1: of myself like signs and making some dumb looking out

863
00:44:10,800 --> 00:44:15,640
Speaker 1: Oh man, man, let me just not show the aliens.

864
00:44:15,880 --> 00:44:22,359
Speaker 1: Very smart move. Getting back to the story of two

865
00:44:22,440 --> 00:44:23,200
Speaker 1: thousand and one.

866
00:44:23,719 --> 00:44:25,920
Speaker 3: Although I think the Village is underrated.

867
00:44:27,920 --> 00:44:31,440
Speaker 1: Yeah, I can stomach that one. What about well, you

868
00:44:31,520 --> 00:44:32,319
Speaker 1: like the sixth sense? Right?

869
00:44:32,360 --> 00:44:35,400
Speaker 3: Everybody like the sixth sense? Sure, I guess that was

870
00:44:35,440 --> 00:44:35,920
Speaker 3: it for him.

871
00:44:36,120 --> 00:44:37,120
Speaker 1: I loved Unbreakable.

872
00:44:37,280 --> 00:44:40,680
Speaker 3: Unbreakable, Yeah, that was one where like, yeah, I think

873
00:44:40,680 --> 00:44:42,439
Speaker 3: it was maybe even better the second time.

874
00:44:42,520 --> 00:44:45,719
Speaker 1: Yeah, I still like that movie. But then he also

875
00:44:45,760 --> 00:44:49,160
Speaker 1: made that Lady in the Water movie and the the

876
00:44:49,239 --> 00:44:52,680
Speaker 1: one with Marky Mark the people were jumping off.

877
00:44:52,640 --> 00:44:58,000
Speaker 3: Four brothers, no, three kings? Is it the one in

878
00:44:58,040 --> 00:44:58,719
Speaker 3: the Elevator?

879
00:44:59,440 --> 00:45:01,480
Speaker 1: No, he just produced that. Oh I know what you're

880
00:45:01,480 --> 00:45:03,360
Speaker 1: talking about, the one where people like jumping off of

881
00:45:03,360 --> 00:45:07,000
Speaker 1: buildings and stuff inexplicably. Yeah, I didn't even I didn't

882
00:45:07,000 --> 00:45:09,000
Speaker 1: see that. You couldn't get through ten minutes of that movie.

883
00:45:09,520 --> 00:45:13,799
Speaker 1: So two thousand and one Back to Good Movies had

884
00:45:13,800 --> 00:45:17,759
Speaker 1: a three acts, three part structure, but not a conventional

885
00:45:17,800 --> 00:45:20,760
Speaker 1: three act structure that you might be used to in movies,

886
00:45:20,880 --> 00:45:24,239
Speaker 1: which is why it confounded people like Rock Hudson. The

887
00:45:24,239 --> 00:45:27,080
Speaker 1: first they call the movements. The first movement was the

888
00:45:27,560 --> 00:45:32,680
Speaker 1: Dawn of Man sequence with the apes with a Monolith,

889
00:45:34,400 --> 00:45:37,319
Speaker 1: and he has that great part where he throws his

890
00:45:37,320 --> 00:45:39,399
Speaker 1: little bone tool up in the air, right, and then

891
00:45:39,440 --> 00:45:42,400
Speaker 1: it morphs into all lot morphs, but it maybe is

892
00:45:42,440 --> 00:45:46,640
Speaker 1: a dissolve into the spinning in outer space.

893
00:45:46,800 --> 00:45:47,960
Speaker 3: It's called the match cut.

894
00:45:48,080 --> 00:45:52,279
Speaker 1: Yeah, match cut, and of the rotation of what we

895
00:45:52,400 --> 00:45:55,880
Speaker 1: now know was a nuclear warhead. Because I read that

896
00:45:55,880 --> 00:45:58,280
Speaker 1: little article twenty Things you Didn't Know about two thousand

897
00:45:58,280 --> 00:46:00,880
Speaker 1: and one, I didn't know those were nuclear heads necessarily

898
00:46:00,920 --> 00:46:03,280
Speaker 1: in outer space. They made it a little more vague,

899
00:46:03,320 --> 00:46:06,640
Speaker 1: and initially it was going to be more explicit and

900
00:46:06,680 --> 00:46:08,759
Speaker 1: they were going to explode it in outer space, right,

901
00:46:09,080 --> 00:46:10,920
Speaker 1: but he said, now it's a little too close to

902
00:46:11,760 --> 00:46:15,880
Speaker 1: the ending of Stranger. Yeah, so let's not do that. Yeah,

903
00:46:15,920 --> 00:46:16,840
Speaker 1: probably good choice.

904
00:46:17,000 --> 00:46:20,359
Speaker 3: Yeah, But as a result, some people have taken it

905
00:46:20,400 --> 00:46:23,440
Speaker 3: to mean that like it was. That match cut was

906
00:46:23,440 --> 00:46:26,759
Speaker 3: supposed to show how far humans have come from using

907
00:46:26,760 --> 00:46:30,920
Speaker 3: a bone to murder somebody to satellites in space. But

908
00:46:31,040 --> 00:46:33,759
Speaker 3: if you know that the satellite is actually loaded down

909
00:46:33,760 --> 00:46:38,240
Speaker 3: with nuclear warheads, that match cut demonstrates how little humans

910
00:46:38,280 --> 00:46:41,080
Speaker 3: have changed from using a bone to murder somebody to

911
00:46:41,520 --> 00:46:44,960
Speaker 3: using satellites to murder somebody. The motif is still the

912
00:46:44,960 --> 00:46:46,000
Speaker 3: same and it's murder.

913
00:46:46,360 --> 00:46:49,239
Speaker 1: Yeah, he was going for some deep things. Oh yeah,

914
00:46:49,320 --> 00:46:50,960
Speaker 1: a lot of metaphor happening. Yeah.

915
00:46:51,120 --> 00:46:53,799
Speaker 3: I mean supposedly in every single shot, because he started

916
00:46:53,840 --> 00:46:57,120
Speaker 3: out as a still photographer, right, Yeah, supposedly every frame

917
00:46:57,200 --> 00:47:01,080
Speaker 3: of a Kubrick movie. You there is nothing that isn't

918
00:47:01,800 --> 00:47:04,600
Speaker 3: unintentional in placed there by him. He did a lot

919
00:47:04,600 --> 00:47:05,880
Speaker 3: of his own set decorating.

920
00:47:06,040 --> 00:47:08,640
Speaker 1: Yeah, Like the pencil holder on the desk in the

921
00:47:08,680 --> 00:47:11,000
Speaker 1: office of the guy at the Shining Hotel, right was

922
00:47:11,040 --> 00:47:12,200
Speaker 1: where it's supposed.

923
00:47:11,800 --> 00:47:13,920
Speaker 3: To be, right, and if like if it has like

924
00:47:13,960 --> 00:47:16,839
Speaker 3: a picture of a goat head inscribed on it, that

925
00:47:16,920 --> 00:47:19,440
Speaker 3: means something, right, it's not accidental.

926
00:47:19,920 --> 00:47:22,600
Speaker 1: Yeah, although we'll say room two thirty seven, which I

927
00:47:22,600 --> 00:47:25,080
Speaker 1: think may have been the point is a little bit

928
00:47:25,239 --> 00:47:28,480
Speaker 1: like these people are crazy, not like, oh man, I

929
00:47:28,880 --> 00:47:31,040
Speaker 1: just see what they're saying in all this, Right, I

930
00:47:31,040 --> 00:47:32,799
Speaker 1: was just thinking, these people are nuts.

931
00:47:32,560 --> 00:47:35,239
Speaker 3: Right, It's it was just kind of enjoyable to hear

932
00:47:35,280 --> 00:47:37,080
Speaker 3: their interpretations of it well, and.

933
00:47:37,040 --> 00:47:38,960
Speaker 1: I think it had It was a comment on obsession

934
00:47:39,680 --> 00:47:43,040
Speaker 1: and fandom more so than the Shining.

935
00:47:42,760 --> 00:47:45,640
Speaker 3: For sure, But there I thought there are some of

936
00:47:45,640 --> 00:47:48,839
Speaker 3: their ideas were oea interesting, totally. I said, room too

937
00:47:48,880 --> 00:47:52,440
Speaker 3: two seven, didn't I like one with conspiracy theorists like, may.

938
00:47:54,840 --> 00:47:57,120
Speaker 1: What in room two two seven? Like a sitcom?

939
00:47:57,200 --> 00:47:58,520
Speaker 3: Yeah, it was just called two two seven.

940
00:47:58,560 --> 00:48:00,960
Speaker 1: Okay, yeah, gotcha. I remember it was Jack Kay.

941
00:48:01,200 --> 00:48:04,640
Speaker 3: She'd be like me, oh, okay, that's what my impression was.

942
00:48:04,760 --> 00:48:06,040
Speaker 3: What'd you think I was doing? Well?

943
00:48:06,040 --> 00:48:09,440
Speaker 1: I wasn't sure what she meant being a weirdo. Yeah, yeah, okay.

944
00:48:10,200 --> 00:48:14,480
Speaker 1: The second movement was, of course the House sequence, the computer,

945
00:48:14,640 --> 00:48:20,080
Speaker 1: the how was it? The How nine thousand? Yeah, really creepy,

946
00:48:20,120 --> 00:48:22,800
Speaker 1: and How ended up being a lot of people's favorite character,

947
00:48:22,840 --> 00:48:25,680
Speaker 1: even though it was just a voice the supercomputer on

948
00:48:25,719 --> 00:48:28,600
Speaker 1: the Discovery ship. Rememberies like what are you doing today?

949
00:48:28,960 --> 00:48:32,120
Speaker 1: It's so creepy. I had the Mad Magazine spoof of

950
00:48:32,160 --> 00:48:33,400
Speaker 1: two thousand and one when I was a kid. It

951
00:48:33,440 --> 00:48:36,359
Speaker 1: was great. Yeah. And then the third movement is when

952
00:48:36,440 --> 00:48:41,760
Speaker 1: Dave moves on to the next stage of human development

953
00:48:41,840 --> 00:48:48,160
Speaker 1: with these extraterrestrials that you only hear, and basically it's

954
00:48:48,200 --> 00:48:51,759
Speaker 1: when it comes full circle the third movement.

955
00:48:52,280 --> 00:48:55,719
Speaker 3: And the third movement is the one that has almost well,

956
00:48:55,760 --> 00:48:59,000
Speaker 3: it's really just the second movement that has a dialogue.

957
00:48:59,280 --> 00:49:02,840
Speaker 1: Yeah, some of the alternate titles for two thousand and

958
00:49:02,880 --> 00:49:07,760
Speaker 1: one Journey Beyond the Stars terrible, Universe not bad, Yeah, okay,

959
00:49:08,280 --> 00:49:13,680
Speaker 1: Tunnel to the Stars so great, Planet Fall that sounds bad.

960
00:49:13,719 --> 00:49:15,320
Speaker 3: It sounds like a James Bond movie.

961
00:49:15,360 --> 00:49:18,200
Speaker 1: And then How the Solar System was one as a

962
00:49:18,520 --> 00:49:20,080
Speaker 1: play on how the West was won.

963
00:49:20,120 --> 00:49:24,160
Speaker 3: Yeah, which, like movie geeks would find that appealing, but

964
00:49:24,360 --> 00:49:27,360
Speaker 3: everybody else would say, that's you ruined everything.

965
00:49:27,800 --> 00:49:30,319
Speaker 1: Yeah, And Kubrick was this is the last thing I have.

966
00:49:30,440 --> 00:49:35,560
Speaker 1: He was so obsessive with protecting his material that he allegedly,

967
00:49:36,400 --> 00:49:38,799
Speaker 1: I don't think allegedly. I think he did have all

968
00:49:38,840 --> 00:49:42,479
Speaker 1: the sets and props and miniatures destroyed after he shot

969
00:49:42,520 --> 00:49:44,279
Speaker 1: it so they would never be reused, which is a

970
00:49:44,320 --> 00:49:46,520
Speaker 1: common thing at the time. Yeah, okay, we're doing a

971
00:49:46,560 --> 00:49:49,440
Speaker 1: space movie. Go get that Go get that space ring

972
00:49:49,560 --> 00:49:53,040
Speaker 1: from Stanley set. Yeah, let's reuse it for Planet Fall.

973
00:49:53,560 --> 00:49:58,160
Speaker 3: He also destroyed all of the footage that didn't make

974
00:49:58,200 --> 00:50:02,360
Speaker 3: it into the original theat release. Yeah, destroyed it's gone.

975
00:50:02,640 --> 00:50:05,080
Speaker 1: Yeah, so they wouldn't one day after his death recut it,

976
00:50:05,280 --> 00:50:07,479
Speaker 1: which they invariably probably would have done.

977
00:50:07,640 --> 00:50:08,960
Speaker 3: Yep, he's a smart man.

978
00:50:09,719 --> 00:50:12,440
Speaker 1: Yeah, I could. We should just do a podcast on Kubrick.

979
00:50:13,120 --> 00:50:16,480
Speaker 3: Okay he was I'm down for that challenge.

980
00:50:16,520 --> 00:50:22,440
Speaker 1: He'd be a dude. Yes, one of my heroes. Yeah. Cinematically,

981
00:50:22,680 --> 00:50:24,319
Speaker 1: you got anything else? I got nothing else.

982
00:50:24,880 --> 00:50:26,880
Speaker 3: If you want to know more about movies. If you

983
00:50:27,000 --> 00:50:30,080
Speaker 3: like this one, you probably also love our exploitation episode

984
00:50:30,360 --> 00:50:32,959
Speaker 3: Exploitation movie episode fun one. What else have we talked

985
00:50:32,960 --> 00:50:35,120
Speaker 3: about movies and Cannonball Run?

986
00:50:35,520 --> 00:50:38,520
Speaker 1: Oh yeah, I had a lot to do with the movie. Yeah.

987
00:50:38,520 --> 00:50:41,640
Speaker 1: Our James Bond episode. Yeah yeah. We've had a few

988
00:50:41,640 --> 00:50:43,840
Speaker 1: of these, and people always respond to these real like

989
00:50:43,880 --> 00:50:45,160
Speaker 1: you guys should have a spin off.

990
00:50:45,160 --> 00:50:47,879
Speaker 3: Should do an all movie podcast. Sure, maybe one day.

991
00:50:48,040 --> 00:50:48,400
Speaker 1: Maybe.

992
00:50:48,560 --> 00:50:52,000
Speaker 3: Remember if you're looking for any of these, press control

993
00:50:52,160 --> 00:50:54,840
Speaker 3: F or Apple F in your web browser and search

994
00:50:54,920 --> 00:50:58,400
Speaker 3: that way. On our podcast archive page. You can also

995
00:50:58,840 --> 00:51:03,400
Speaker 3: search for the article on how Stuff Works by typing

996
00:51:03,480 --> 00:51:06,040
Speaker 3: movies in and seeing what comes up. And since I

997
00:51:06,120 --> 00:51:08,520
Speaker 3: said how stuff works, it is time for a listener mail.

998
00:51:11,040 --> 00:51:13,000
Speaker 1: I'm going to call this Mike coul DuPont really clear

999
00:51:13,040 --> 00:51:16,759
Speaker 1: something up for us on scientific method. Hey guys, it

1000
00:51:16,800 --> 00:51:19,719
Speaker 1: was a great well, actually, he doesn't say it was great.

1001
00:51:19,760 --> 00:51:21,680
Speaker 1: I think I just made that up. Hey, guys, your

1002
00:51:21,680 --> 00:51:25,200
Speaker 1: scientific method podcast has a consistent misuse of what a

1003
00:51:25,200 --> 00:51:28,200
Speaker 1: scientific law is in relation to the working of the

1004
00:51:28,239 --> 00:51:31,120
Speaker 1: scientific method. It appears that you believe that a law

1005
00:51:31,200 --> 00:51:34,200
Speaker 1: e g. Newton's law of gravity is held in higher

1006
00:51:34,320 --> 00:51:38,000
Speaker 1: esteem than theory, that eventually a theory matures into a law.

1007
00:51:39,000 --> 00:51:42,200
Speaker 1: I think I probably did think that because of politics. Right,

1008
00:51:42,360 --> 00:51:45,160
Speaker 1: you know, bill becomes a law, right exactly, he says,

1009
00:51:45,160 --> 00:51:47,799
Speaker 1: when in fact, theory is considerably more robust than a law.

1010
00:51:48,280 --> 00:51:52,120
Speaker 1: A law is a mathematical model that describes observed behavior,

1011
00:51:52,480 --> 00:51:57,480
Speaker 1: does not answer the why. Theory does answer why something happens.

1012
00:51:57,640 --> 00:52:00,640
Speaker 3: Did we not say that? I thought we did well,

1013
00:52:00,719 --> 00:52:03,120
Speaker 3: Like I knew that. I remember finding that out from

1014
00:52:03,160 --> 00:52:05,000
Speaker 3: the research. I just can't believe it didn't come out

1015
00:52:05,000 --> 00:52:05,680
Speaker 3: of my mouth.

1016
00:52:05,840 --> 00:52:08,759
Speaker 1: He claims. We did not, And I feel like I'm

1017
00:52:08,800 --> 00:52:11,200
Speaker 1: learning this so I definitely did not. Okay, go ahead,

1018
00:52:11,200 --> 00:52:13,800
Speaker 1: but you may have. For example, Newton's law of gravitational

1019
00:52:13,840 --> 00:52:17,000
Speaker 1: attraction describes the action of two bodies that can be

1020
00:52:17,080 --> 00:52:20,440
Speaker 1: used for pretty much everything. It is perfect for describing

1021
00:52:20,480 --> 00:52:22,319
Speaker 1: what happens, but it cannot tell you why the two

1022
00:52:22,400 --> 00:52:25,520
Speaker 1: items are attracted or drilled down to the underlying mechanism.

1023
00:52:25,600 --> 00:52:27,360
Speaker 3: Yeah, A law is like much more succinct.

1024
00:52:27,960 --> 00:52:31,000
Speaker 1: It just is what it is, Nor is the law

1025
00:52:31,120 --> 00:52:34,319
Speaker 1: even universal, and could not be used to explain the

1026
00:52:35,239 --> 00:52:42,000
Speaker 1: Parahelian procession of Mercury's orbit burn. In comparison, Einstein's theory

1027
00:52:42,000 --> 00:52:45,320
Speaker 1: of general relativity was eventually used to solve the mercury issue.

1028
00:52:45,440 --> 00:52:49,280
Speaker 1: Oh yeah, the mercury issue and the standard model, along

1029
00:52:49,320 --> 00:52:52,200
Speaker 1: with the recent discovery of the Higgs boson my cern can

1030
00:52:52,280 --> 00:52:56,799
Speaker 1: answer the why do these two masses attracted to each other?

1031
00:52:56,840 --> 00:52:59,239
Speaker 1: A question? I think what you mean is why are

1032
00:52:59,320 --> 00:53:02,960
Speaker 1: these two mass is attracted to one another? Mike, it's

1033
00:53:02,960 --> 00:53:07,239
Speaker 1: pretty teleological theory is considerably more developed and richer than

1034
00:53:07,239 --> 00:53:09,359
Speaker 1: a scientific law, which is more of a tool that

1035
00:53:09,520 --> 00:53:11,880
Speaker 1: is applicable to a wide range of applications. Keep up

1036
00:53:11,920 --> 00:53:13,719
Speaker 1: the good work that is, Mike DuPont.

1037
00:53:13,920 --> 00:53:16,800
Speaker 3: Thanks Mike, thanks for that of the Valley Forge.

1038
00:53:16,880 --> 00:53:20,760
Speaker 1: DuPonts. I think, so, huh have you seen Fox Catcher?

1039
00:53:21,200 --> 00:53:25,120
Speaker 1: Oh no, I've heard it's good. Is it good? No? Really?

1040
00:53:25,200 --> 00:53:27,160
Speaker 1: I don't think so. No. I've heard it's kind of slow.

1041
00:53:27,800 --> 00:53:28,840
Speaker 3: It's beyond slow.

1042
00:53:29,080 --> 00:53:29,440
Speaker 1: Really?

1043
00:53:29,719 --> 00:53:36,160
Speaker 3: Oh yeah, I can understand why the Academy loved it,

1044
00:53:36,280 --> 00:53:39,400
Speaker 3: or sure a lot of people I'm sure do like it.

1045
00:53:39,520 --> 00:53:41,120
Speaker 3: I was not a fan of Fox.

1046
00:53:41,440 --> 00:53:43,880
Speaker 1: I think people generally seeing like a turn by an

1047
00:53:43,880 --> 00:53:46,279
Speaker 1: actor like Steve Curl doing something really different, they're knocked

1048
00:53:46,280 --> 00:53:49,560
Speaker 1: out by that. No, I still can't believe you didn't

1049
00:53:49,560 --> 00:53:53,000
Speaker 1: like Birdman. No spoiler alert for people who have not

1050
00:53:53,040 --> 00:53:56,760
Speaker 1: seen Birdman. The following conversation is full of spoilers. Yes,

1051
00:53:57,160 --> 00:53:58,239
Speaker 1: what didn't you like about it?

1052
00:54:00,680 --> 00:54:00,759
Speaker 2: So?

1053
00:54:00,840 --> 00:54:01,280
Speaker 1: I thought?

1054
00:54:01,680 --> 00:54:03,040
Speaker 3: I thought Michael Keene was good?

1055
00:54:03,120 --> 00:54:08,000
Speaker 1: Okay? Who plays his daughter Emily Blunt? Is that? Who

1056
00:54:08,080 --> 00:54:11,520
Speaker 1: that is? Emma Stone? Emma Stone? Excellent? Okay?

1057
00:54:12,760 --> 00:54:13,839
Speaker 3: Ed Norton even pretty good?

1058
00:54:13,880 --> 00:54:17,320
Speaker 1: Okay, so the acting was fine? Who is Naomi Watson

1059
00:54:17,400 --> 00:54:18,839
Speaker 1: was in it? Yeah? She did great?

1060
00:54:19,560 --> 00:54:21,839
Speaker 3: Okay, So yes the acting. The acting was fine. Sure

1061
00:54:21,920 --> 00:54:25,880
Speaker 3: that the acting was fine. I thought the photography was amazing.

1062
00:54:26,000 --> 00:54:29,000
Speaker 1: Yeah, the whole seemingly one take thing kind of knocked

1063
00:54:29,000 --> 00:54:29,200
Speaker 1: you out.

1064
00:54:29,200 --> 00:54:32,080
Speaker 3: Probably I didn't even pick up on that, but yes

1065
00:54:32,320 --> 00:54:36,920
Speaker 3: it did. It was more the uh the for me,

1066
00:54:37,080 --> 00:54:43,680
Speaker 3: the juxtaposition of the story, which was pretty boring and

1067
00:54:44,200 --> 00:54:46,719
Speaker 3: realistic in everyday life. Even though it was about a

1068
00:54:46,760 --> 00:54:49,040
Speaker 3: Broadway production, it was still about the everyday.

1069
00:54:48,719 --> 00:54:49,160
Speaker 1: Life of it.

1070
00:54:49,280 --> 00:54:54,440
Speaker 3: Sure, against the surrealism that's like threaded and embedded in

1071
00:54:54,480 --> 00:54:57,040
Speaker 3: it throughout the whole movie. I didn't like that. Okay,

1072
00:54:57,200 --> 00:54:58,680
Speaker 3: it was like choose one or the other man?

1073
00:54:59,080 --> 00:55:03,640
Speaker 1: Gotcha? It irked. And then just so that.

1074
00:55:03,600 --> 00:55:06,279
Speaker 3: One part with the critic where Michael Keaton tells off

1075
00:55:06,320 --> 00:55:06,680
Speaker 3: the critic.

1076
00:55:06,760 --> 00:55:07,960
Speaker 1: I thought Michael Keaton.

1077
00:55:07,719 --> 00:55:11,239
Speaker 3: Did a wonderful job, but just the whole point that

1078
00:55:11,320 --> 00:55:15,200
Speaker 3: it was in there of like the director, you know,

1079
00:55:15,640 --> 00:55:18,480
Speaker 3: using Michael Keaton's character to tell off all the critics he's.

1080
00:55:18,320 --> 00:55:20,040
Speaker 1: Ever wanted to tell off in his movie.

1081
00:55:20,120 --> 00:55:23,040
Speaker 3: Yeah, I just thought it was pretentious and I thought

1082
00:55:23,040 --> 00:55:25,520
Speaker 3: it was kind of clumsy in that sense too, and

1083
00:55:25,560 --> 00:55:26,319
Speaker 3: it was enough that it.

1084
00:55:26,440 --> 00:55:31,839
Speaker 1: It attainted it. Yeah, and then the ending. I did

1085
00:55:31,920 --> 00:55:35,960
Speaker 1: not like the ending at all at all. That'll ruin

1086
00:55:36,000 --> 00:55:36,400
Speaker 1: a good.

1087
00:55:36,280 --> 00:55:39,960
Speaker 3: Movie because it was it completely went contrary to all

1088
00:55:40,000 --> 00:55:42,000
Speaker 3: the other stuff that he went out of his way

1089
00:55:42,040 --> 00:55:45,560
Speaker 3: to point out was fake or fraudulent or not real,

1090
00:55:45,960 --> 00:55:49,120
Speaker 3: and then all of a sudden, it is what Yeah,

1091
00:55:49,600 --> 00:55:53,200
Speaker 3: no choose one or the other. The director refused to

1092
00:55:53,280 --> 00:55:55,880
Speaker 3: make very important decisions, and I think that that ruined

1093
00:55:55,880 --> 00:55:56,240
Speaker 3: the movie.

1094
00:55:56,680 --> 00:56:00,320
Speaker 1: That is a very well thought out the criticism.

1095
00:56:00,120 --> 00:56:04,040
Speaker 3: Thank you, thank you very much. Sure, uh man, that

1096
00:56:04,160 --> 00:56:05,920
Speaker 3: was the end of listener mail even, wasn't it.

1097
00:56:06,600 --> 00:56:08,839
Speaker 1: Yeah, Because now I'm not like Chez Josh is weird

1098
00:56:08,840 --> 00:56:10,880
Speaker 1: he didn't like Birdman. Now I'm like, just didn't like Birdman.

1099
00:56:10,960 --> 00:56:12,520
Speaker 1: He has good reasons. Thank you, Thank you.

1100
00:56:13,600 --> 00:56:18,399
Speaker 3: I like justifying my opinions, don't we all? So if

1101
00:56:18,440 --> 00:56:20,120
Speaker 3: you want to get in touch with Chuck and I

1102
00:56:20,760 --> 00:56:25,359
Speaker 3: or Jerry who I apparently just spoiled Birdman for, you

1103
00:56:25,480 --> 00:56:29,160
Speaker 3: can contact us via Twitter at s ysk podcast. You

1104
00:56:29,160 --> 00:56:31,360
Speaker 3: can join us on Facebook dot com, slash Stuff you

1105
00:56:31,360 --> 00:56:33,320
Speaker 3: Should Know. You can send us an email This Stuff

1106
00:56:33,360 --> 00:56:35,960
Speaker 3: podcast at HowStuffWorks dot com, and as always, joined us

1107
00:56:35,960 --> 00:56:37,840
Speaker 3: at our home on the web. Stuff you Should Know

1108
00:56:37,960 --> 00:56:41,160
Speaker 3: dot com.

1109
00:56:41,280 --> 00:56:44,160
Speaker 1: Stuff you Should Know is a production of iHeartRadio. For

1110
00:56:44,239 --> 00:56:48,440
Speaker 1: more podcasts my heart Radio, visit the iHeartRadio app, Apple Podcasts,

1111
00:56:48,560 --> 00:56:50,400
Speaker 1: or wherever you listen to your favorite shows.