WEBVTT - Good Morning, Baltimore! (Hairspray)

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<v Speaker 1>And that's what you really missed with Jenna.

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<v Speaker 2>And Kevin an iHeartRadio podcast.

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<v Speaker 1>Welcome to you, and that's what you really miss podcast.

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<v Speaker 1>It is another movie.

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<v Speaker 2>Musical, specifically another zach Efron movie musical. This is the

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<v Speaker 2>zach Efron Movie Podcast. Now next week we're doing seventeen again.

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<v Speaker 1>Don't say that we're not doing that.

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<v Speaker 2>Is there a musical number in seventeen again?

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<v Speaker 1>I don't think so.

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<v Speaker 2>But Shankman directed this and.

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<v Speaker 1>That also great film. What a director, that guy.

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<v Speaker 2>He's just got I feel like he's just got like

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<v Speaker 2>sleeper hits on hits on hits, meaning like he's not

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<v Speaker 2>super famous like out there.

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<v Speaker 1>Yeah, but he is. He he does it all. Wedding

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<v Speaker 1>planner walk to remember. Yes, I'm like, get out of hearing. Okay,

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<v Speaker 1>all right, well but today is hair Spray and there's

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<v Speaker 1>a lot of Glee over you know, crossover crossover, waterfalling, Shankman,

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<v Speaker 1>Zach Woodley, There's that's a lot of dancer friends we

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<v Speaker 1>have in this film. So what a stacked cast.

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<v Speaker 2>I just when we were talking about what we were

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<v Speaker 2>going to do with this podcast, and we were talking

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<v Speaker 2>about films and TV shows and things, I feel like

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<v Speaker 2>you know we're naming like Molan Rouge Chicago Cabaret. However,

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<v Speaker 2>when somebody brought up hair Spray, we were like, oh,

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<v Speaker 2>I have to be honest. I only want you to

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<v Speaker 2>be honest.

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<v Speaker 1>I don't remember watching this film and being like and

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<v Speaker 1>maybe this was because it was like in the in

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<v Speaker 1>like I was so deep in the musicals that like

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<v Speaker 1>everything just felt like, oh this is fun but whatever.

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<v Speaker 1>But watching it back now, like I was going in like, yeah,

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<v Speaker 1>sure we'll watch Hairspray. Unlike if we were to be like, oh, Chicago,

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<v Speaker 1>which I know we'll do. I'm like one of my

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<v Speaker 1>favorite films of all time, musical or not, Hairspray not

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<v Speaker 1>so much. But watching this film last night brought me

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<v Speaker 1>mm hmmm, immense joy and feeling correct. It was wow,

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<v Speaker 1>blown away.

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<v Speaker 2>When you're not a hater, the amount of joy that

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<v Speaker 2>you can let into your life. And I'm saying that

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<v Speaker 2>as a hater m because I think I probably I

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<v Speaker 2>remember thinking this movie was really good and you know,

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<v Speaker 2>having some critiques like oh, well, this person's not a

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<v Speaker 2>great vocalist or this like who cares?

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<v Speaker 1>This was so good, top to bottom, so good. I

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<v Speaker 1>didn't stop moving the performances were unreal. It was just

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<v Speaker 1>everybody was giving you You were texting.

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<v Speaker 2>We were texting each other last night because we were

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<v Speaker 2>both watching this. Yeah, and I think part of you know,

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<v Speaker 2>maybe why this one didn't stick out to you or

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<v Speaker 2>it was wasn't one of the first things that came

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<v Speaker 2>to mind. We were talking about musicals. Watch is because

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<v Speaker 2>we were sort of at that time, between like two

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<v Speaker 2>thousand and this Camp two thousand and seven, there were

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<v Speaker 2>a lot of great movie musicals or musical things happening.

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<v Speaker 2>We were done at a high level. We were a

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<v Speaker 2>bit spoiled, that's right, And I think we've sort of

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<v Speaker 2>gotten at that point we were. We were a little

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<v Speaker 2>desensitized to like how hard it is to make a

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<v Speaker 2>great sure musical, and like how to how it translates

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<v Speaker 2>from the stage to film, and also the journey of

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<v Speaker 2>this one. This was film to stage to film, right.

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<v Speaker 1>I When I saw this on Broadway, I really enjoyed it.

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<v Speaker 1>It was not these feel good musicals were not what

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<v Speaker 1>I was looking for at that time. I was looking

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<v Speaker 1>for an angsty musical that made me feel like I

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<v Speaker 1>wanted to cry. I was a teenager in my early twenties,

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<v Speaker 1>like I wanted Michelle Schoenberg opera style musicals like Miss

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<v Speaker 1>Saigone Lay, Miss like give Me the Big Ones. So

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<v Speaker 1>Hairspray at the time was like this, like wonderful ras

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<v Speaker 1>sort of like a musical that like came in and

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<v Speaker 1>was like it was powerful, the message was great and

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<v Speaker 1>it was also feel good, right, and I don't know

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<v Speaker 1>what it was. But I didn't like, turn on Hairspray

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<v Speaker 1>and listen to the cast album, right, But I'm turning

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<v Speaker 1>on the album snacked to the cast album.

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<v Speaker 2>Now you had a different point in your life.

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<v Speaker 1>Now, Wow, it's wonderful. You know, the music is great.

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<v Speaker 2>Yes, I have questions for you because I've never seen

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<v Speaker 2>the Stage Musical. And I was talking with Austin last

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<v Speaker 2>night because yeah, I came up after I watched it.

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<v Speaker 2>I was like, oh god, that movie's so good, and

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<v Speaker 2>he's like, it's amazing. He's like that being said, he's like,

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<v Speaker 2>I even like the Stage Musical more and he's and

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<v Speaker 2>he was saying he loves the movie. So what what

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<v Speaker 2>was what is the experience like? Because there are arson

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<v Speaker 2>differences between the movie and the musical. They changed some lyrics,

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<v Speaker 2>they had some songs for the movie do you see

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<v Speaker 2>that Morrison in it?

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<v Speaker 1>Yes, I did see that Marson in it. I actually

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<v Speaker 1>think I liked the movie more hmmm. I don't remember

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<v Speaker 1>vividly this Hairspray Broadway experience. I was also seeing, like

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<v Speaker 1>in volume I was seeing musicals at this point, and like, yes,

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<v Speaker 1>you had to be really spectacular for to like really

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<v Speaker 1>stick out of my mind. I enjoyed it. I remember that,

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<v Speaker 1>and I remember seeing that, but I don't remember it

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<v Speaker 1>being like life changing to me. And I think that

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<v Speaker 1>the camp was really harnessed in the film, yes, versus

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<v Speaker 1>the camp on musical on a musical theater stage can

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<v Speaker 1>come across as to musical theater e not campy. So

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<v Speaker 1>it felt a little too elevated without like the juxtaposition

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<v Speaker 1>of like what was going on in the world and

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<v Speaker 1>like creating the world more vividly in the movie.

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<v Speaker 2>I think that was one of the Yeah, because one

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<v Speaker 2>of my favorite parts of the movie. And I think

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<v Speaker 2>this is a testament probably to Adam Shankman who directed it.

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<v Speaker 2>The you're as an audience member, we're able to buy

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<v Speaker 2>into the absurdity and that camp that you're talking about

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<v Speaker 2>out of the movie immediately. Yes, there's a lot of

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<v Speaker 2>sensitive topics in this show. There's a lot of things

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<v Speaker 2>that feel like they haven't aged well necessarily. However, in

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<v Speaker 2>context with like the world that they have created in

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<v Speaker 2>this film and the show, it's all sort of when

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<v Speaker 2>something is said like out of pocket, there's a character

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<v Speaker 2>reaction acknowledging that in the movie, yes, and like that

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<v Speaker 2>feels very real and I and I feel like that's

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<v Speaker 2>such a delicate balance. And I feel like because you

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<v Speaker 2>have these ground, really grounded moments mixed with the complete

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<v Speaker 2>opposite in every single scene, and it's just so so impressive.

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<v Speaker 2>And I think technically this movie is done perfect so well,

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<v Speaker 2>it's perfect, Like the lighting is beautiful, it looks there's

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<v Speaker 2>some shots of Michelle Pfeiffer there's like a pan, Oh,

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<v Speaker 2>it's just Michelle Feiffer on film is also just like

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<v Speaker 2>stupid stunning. But there were some of these shots where

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<v Speaker 2>I was like this, if you had shown me this

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<v Speaker 2>movie and said this is from like the fifties or sixties,

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<v Speaker 2>I would have believed you right, Like how it's colored, Yes, yes,

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<v Speaker 2>it just looks really really stunning. I mean how they

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<v Speaker 2>did up like John Travolta, Oh my god, absolutely insane

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<v Speaker 2>like so good. I don't I don't understand how Shankman

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<v Speaker 2>was able to accomplish that.

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<v Speaker 1>I know, yeah, it's it's pretty amazing. I mean, a

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<v Speaker 1>good director or a fabulous director, a really great cast,

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<v Speaker 1>a great story, wonderful music, like you just have to

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<v Speaker 1>buy in, right, And obviously it takes a village, but

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<v Speaker 1>like all the pieces worked because they were all acting

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<v Speaker 1>at the highest level.

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<v Speaker 2>Right, It's just how much we love this for an hour?

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<v Speaker 1>No, I know. Okay, well, let's talk about some of

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<v Speaker 1>the things and then we can get deeper into it.

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<v Speaker 2>We fully got the number. You and I haven't like

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<v Speaker 2>to sit so into it. When we text each other

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<v Speaker 2>about these things, we really keep it limited because we

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<v Speaker 2>want to keep saving the past. And then we don't

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<v Speaker 2>do an intro.

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<v Speaker 1>We just go into it. I also watched this on

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<v Speaker 1>my computer last night because to save David usually watched

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<v Speaker 1>TV at the end of the night together. It's like

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<v Speaker 1>something we do or like, you know, we converse or whatever.

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<v Speaker 1>And I was like, I'm going to save you. I

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<v Speaker 1>have to watch Hairspray Musical on my computer. But all

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<v Speaker 1>I wanted was to watch this on big screen, like

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<v Speaker 1>so desperately. I was like, oh please.

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<v Speaker 2>It's it's sort of an insane movie, like as you

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<v Speaker 2>would say with an album. There's no skips, you know,

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<v Speaker 2>like you do this casting department, this casting director out

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<v Speaker 2>of their mind.

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<v Speaker 1>This is Hairspray and it premiered July twentieth, two thousand

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<v Speaker 1>and seven, and the number one song was Umbrella Byriama

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<v Speaker 1>featuring Jay Z and.

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<v Speaker 2>We've never been the same Never No, that honestly changed

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<v Speaker 2>the world.

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<v Speaker 1>Honestly, these number ones right now are hitting hard. Do

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<v Speaker 1>you know?

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<v Speaker 2>Two thousand and seven was a great year, great year

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<v Speaker 2>minus the Writer's strike, great year. Number one movie Harry

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<v Speaker 2>Potter and The Order of the Phoenix.

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<v Speaker 1>I mean, one of the best Harry Potter films.

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<v Speaker 2>My favorite Harry Potter book, so good.

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<v Speaker 1>This was released the week prior to Hairspray, the fifth

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<v Speaker 1>book and movie in the series. And there's no glean

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<v Speaker 1>news obviously since this is preakly, but here's some pop

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<v Speaker 1>culture snapshots. There was summer TV. It means a lot

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<v Speaker 1>of reality shows. So American Idol season six had just

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<v Speaker 1>wrapped in May with Jordan's Sparks as the winner. Can

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<v Speaker 1>you remember that?

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<v Speaker 2>Yep?

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<v Speaker 1>Ooh, and so you think you can Dance, one of

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<v Speaker 1>my favorite shows at the time, was a big summer staple.

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<v Speaker 1>Obviously I watched every episode. Shankin was eight was it

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<v Speaker 1>Judge on that as well? He's just in everywhere.

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<v Speaker 2>Disney Channel had Hannah Montana and Sweed Life, a second

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<v Speaker 2>Cody pre High School Musical two release which came out

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<v Speaker 2>in August, and Harry Potter and the Deathly Hallows, the

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<v Speaker 2>final book of the Harry Potter series, was released the

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<v Speaker 2>very next day at midnight, and I dragged my mom

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<v Speaker 2>to the.

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<v Speaker 1>Store, Oh, Burne's and Noble to.

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<v Speaker 2>Go get it. We're on vacation. Oh wow, which take me?

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<v Speaker 2>Oh yeah?

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<v Speaker 1>Yeah.

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<v Speaker 2>I was at Barnes and Noble for hours and I

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<v Speaker 2>read it in two days.

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<v Speaker 1>Hey, listen, if you're if you're trying to drag your

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<v Speaker 1>mother to a bookstore, Like if my child was like,

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<v Speaker 1>please take me to this bookstore, I'd be like willingly,

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<v Speaker 1>like you take sit what you do? Yeah? No, yeah.

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<v Speaker 1>Facebook was just beginning to explode beyond colleges. We had

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<v Speaker 1>talked about this in the previous episode Kevin, I Think

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<v Speaker 1>and and my Space was still very big.

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<v Speaker 2>Also, it was like the golden era of like gossip magazines, Paris, Hilton,

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<v Speaker 2>Lindsay Lowe and Britney Spears. For better or for Worse,

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<v Speaker 2>they were remember that everywhere, So as we've already been

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<v Speaker 2>talking about. Hairspray was directed and choreographed by Adam Shankman.

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<v Speaker 2>He is a director, a producer, a writer, a dancer

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<v Speaker 2>and author, and actor and obviously a choreographer. He began

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<v Speaker 2>in musical theater and was a dancer in music videos

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<v Speaker 2>for Paul Abdul and Janet Jackson. He's choreographed a bunch

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<v Speaker 2>of movies, including Hairspray. He directed The Wedding Planner, as

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<v Speaker 2>we said, a walkcher, remember bringing down the house, the pacifier,

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<v Speaker 2>cheaper Bary that doesn't two Rock of Ages, which I'm

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<v Speaker 2>sure we're gonna get to at some point too. I

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<v Speaker 2>was even more Glee crossover, Yeah, and disenchanted. He's also

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<v Speaker 2>produced the Step Up movies, the Step Up TV show.

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<v Speaker 2>That night was on seventeen again, the last song, And

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<v Speaker 2>as I was watching this movie and as we you know,

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<v Speaker 2>just got done recapping Glee, and how I keep coming

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<v Speaker 2>back to the rocky horror Glee show and how beautiful

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<v Speaker 2>it was and how it felt different than all the

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<v Speaker 2>other episodes in a way he shoots and watching this movie. Yeah,

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<v Speaker 2>it all just came together. That Shankman is the thing here.

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<v Speaker 1>Shankman also likes to put himself in his own films

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<v Speaker 1>and make a very very small cameo. Did you see him?

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<v Speaker 2>I sure did. There were a lot of cameos in

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<v Speaker 2>this movie.

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<v Speaker 1>Yes, yes, he also was he Yeah, he always makes

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<v Speaker 1>a cameo in his film. Maybe not in his TV show,

0:13:34.440 --> 0:13:37.240
<v Speaker 1>not in Glee, but in all of his movies. This

0:13:37.320 --> 0:13:41.760
<v Speaker 1>screenplay was by Leslie Dixon Smashed It Smashed and the

0:13:42.040 --> 0:13:47.760
<v Speaker 1>associate choreographers our very own Zach Woodley. And this was

0:13:47.800 --> 0:13:49.600
<v Speaker 1>based on the two thousand and two broad A musical,

0:13:49.640 --> 0:13:53.280
<v Speaker 1>which in turn was based on John waters nineteen eighty

0:13:53.320 --> 0:13:56.800
<v Speaker 1>eight film Hairspray The.

0:13:56.800 --> 0:14:00.839
<v Speaker 2>Year I Was Born Wow, which was also so it

0:14:01.040 --> 0:14:01.920
<v Speaker 2>starred Ricky Lake.

0:14:02.679 --> 0:14:03.199
<v Speaker 1>Mm hmmm.

0:14:03.400 --> 0:14:04.839
<v Speaker 2>And did you see Ricky Lake?

0:14:05.679 --> 0:14:05.760
<v Speaker 1>What?

0:14:06.080 --> 0:14:09.480
<v Speaker 2>No, I didn't see cameo sitting next to Adam Shankman.

0:14:12.400 --> 0:14:14.040
<v Speaker 2>Did you see John Waters cameo?

0:14:14.880 --> 0:14:16.040
<v Speaker 1>No, I didn't see that one either.

0:14:16.559 --> 0:14:20.400
<v Speaker 2>John Waters cameo was the flasher Flasher in the beginning

0:14:20.400 --> 0:14:27.840
<v Speaker 2>of the movie. And Jerry Stiller, Yes, Jerry Sailor, but

0:14:27.920 --> 0:14:32.360
<v Speaker 2>Jerry Stiller played Wilbur and the and the movie. Yep,

0:14:32.640 --> 0:14:35.200
<v Speaker 2>he's mister Pinky, the dress shop owner, and this Ricky

0:14:35.240 --> 0:14:41.440
<v Speaker 2>Lake Zach Zach Woodley played one of the smoking guys.

0:14:41.520 --> 0:14:46.680
<v Speaker 2>I loved this is so out of but when she

0:14:46.800 --> 0:14:50.040
<v Speaker 2>does go into the teacher's lounge and they're all smoking,

0:14:52.000 --> 0:14:56.160
<v Speaker 2>I loved it. I loved it. I don't have anything

0:14:56.160 --> 0:14:57.440
<v Speaker 2>else to say it beyond.

0:14:57.360 --> 0:15:09.120
<v Speaker 1>No notes, no notes. This cast is stacked.

0:15:09.280 --> 0:15:10.280
<v Speaker 2>This cast is dumb.

0:15:10.480 --> 0:15:14.240
<v Speaker 1>John Travolta, what in their minds was like, I know

0:15:14.320 --> 0:15:18.840
<v Speaker 1>who ed Na turn Blad should be, John Travolta, And

0:15:18.840 --> 0:15:19.360
<v Speaker 1>I feel.

0:15:19.160 --> 0:15:21.200
<v Speaker 2>Like John Travolta is probably knocking down their door to

0:15:21.240 --> 0:15:21.640
<v Speaker 2>play this.

0:15:23.760 --> 0:15:25.480
<v Speaker 1>You know what, I don't know. I don't know. Either

0:15:25.520 --> 0:15:28.320
<v Speaker 1>way it worked, they both clearly wanted to do it.

0:15:28.680 --> 0:15:34.120
<v Speaker 2>Harvey Firestein, who originated this role on Broadway, is a

0:15:34.160 --> 0:15:41.640
<v Speaker 2>goddamn national icon, hero icon and those are some big

0:15:41.640 --> 0:15:42.560
<v Speaker 2>shoes to fill.

0:15:42.560 --> 0:15:46.720
<v Speaker 1>Right and and Harvey is so one of a kind

0:15:47.600 --> 0:15:50.680
<v Speaker 1>to create a role like this, or to originate this

0:15:50.800 --> 0:15:54.800
<v Speaker 1>version of the role, like to then have somebody step

0:15:54.800 --> 0:15:57.400
<v Speaker 1>into it, like you were saying, like it's it's it's

0:15:57.440 --> 0:16:00.280
<v Speaker 1>a tough one and has to be made originally again

0:16:00.480 --> 0:16:04.800
<v Speaker 1>in a way, right, like you can't replicate Harvey's performance

0:16:04.960 --> 0:16:08.840
<v Speaker 1>or him, so yeah, you have to create this new thing.

0:16:08.880 --> 0:16:11.920
<v Speaker 1>And I was reading about John Javolta playing Edna Turnblatt,

0:16:11.960 --> 0:16:14.320
<v Speaker 1>and I was kind of curious about like having John

0:16:14.360 --> 0:16:16.800
<v Speaker 1>play this role and like what the people thought, and

0:16:16.880 --> 0:16:19.120
<v Speaker 1>like is this something that should have done and happened?

0:16:19.160 --> 0:16:21.360
<v Speaker 1>And of course, like this all started with a man

0:16:21.400 --> 0:16:27.280
<v Speaker 1>playing Edna in the original right, right, And as we've

0:16:27.320 --> 0:16:30.360
<v Speaker 1>gone through these different iterations of the film and musical,

0:16:30.520 --> 0:16:36.240
<v Speaker 1>like John said that he wanted to not not make

0:16:36.320 --> 0:16:39.280
<v Speaker 1>this an ode to drag like as it was originally

0:16:39.360 --> 0:16:42.200
<v Speaker 1>kind of created, but really played this as a woman,

0:16:46.160 --> 0:16:48.800
<v Speaker 1>not a not a man in drag like. It just

0:16:49.000 --> 0:16:52.880
<v Speaker 1>it was and that is his version that made this.

0:16:53.040 --> 0:17:00.600
<v Speaker 1>So this version is so there was something So I'm

0:17:00.640 --> 0:17:02.360
<v Speaker 1>trying to look for the right word.

0:17:03.640 --> 0:17:04.080
<v Speaker 2>Endearing.

0:17:04.920 --> 0:17:13.800
<v Speaker 1>Yeah, yeah, close, warming, endearing, joyful, like honest, Like I

0:17:13.880 --> 0:17:16.520
<v Speaker 1>just was like I sunk my teeth so deeply into

0:17:16.560 --> 0:17:20.159
<v Speaker 1>this character, and I was like, I am in, I'm in.

0:17:20.680 --> 0:17:23.480
<v Speaker 1>I love Edna. I think it is the sweetest. I

0:17:24.080 --> 0:17:28.239
<v Speaker 1>love their relationship. I both totally believed John, like it

0:17:28.320 --> 0:17:30.440
<v Speaker 1>was just everything it was everything.

0:17:30.760 --> 0:17:33.560
<v Speaker 2>And I believed I it makes sense that he would

0:17:33.600 --> 0:17:35.880
<v Speaker 2>say that because I think if you try to come

0:17:35.880 --> 0:17:37.800
<v Speaker 2>across what you can do on stage is one thing,

0:17:37.880 --> 0:17:39.639
<v Speaker 2>and what right I can do on film is a

0:17:39.680 --> 0:17:42.760
<v Speaker 2>completely different thing. Right, And I think if you had

0:17:42.800 --> 0:17:47.640
<v Speaker 2>someone playing it like they did on stage, it would

0:17:47.640 --> 0:17:50.040
<v Speaker 2>probably work. But it's a completely different feeling. And how

0:17:50.080 --> 0:17:53.240
<v Speaker 2>this role is written and how John Travolta played it

0:17:53.280 --> 0:17:58.240
<v Speaker 2>so sensitively yep, just works on film. And who is

0:17:58.320 --> 0:18:03.240
<v Speaker 2>better who have the capability more than John Travolta who

0:18:03.320 --> 0:18:07.080
<v Speaker 2>has been in numerous musical movies.

0:18:07.760 --> 0:18:10.720
<v Speaker 1>Is Danny Zuka, Yeah, exactly.

0:18:10.480 --> 0:18:13.679
<v Speaker 2>And like can dance, can sing and is also just

0:18:13.680 --> 0:18:14.439
<v Speaker 2>as good at acting.

0:18:14.840 --> 0:18:16.119
<v Speaker 1>Yeah. Yeah.

0:18:16.160 --> 0:18:19.520
<v Speaker 2>And there's not a lot of those triple threats around.

0:18:19.600 --> 0:18:21.520
<v Speaker 1>No, but clearly in here there are.

0:18:21.680 --> 0:18:23.680
<v Speaker 2>So they're all in this movie.

0:18:23.840 --> 0:18:27.680
<v Speaker 1>Michelle Viiffer, lis Velma, Christopher walk In. I mean one

0:18:27.720 --> 0:18:30.760
<v Speaker 1>and only Michelle Pfeiffer. So when I'm talking about someone

0:18:30.760 --> 0:18:35.080
<v Speaker 1>who's let's say not a vocalist, yep, Michelle Viiffer might

0:18:35.119 --> 0:18:40.919
<v Speaker 1>be that person actors first. Yeah, However, I every second

0:18:41.040 --> 0:18:42.960
<v Speaker 1>like you need a big vocalist for this role. No,

0:18:43.080 --> 0:18:45.520
<v Speaker 1>And I bought every minute of what she did.

0:18:44.920 --> 0:18:49.200
<v Speaker 2>Her presence is the most important thing. And she's such

0:18:49.200 --> 0:18:53.480
<v Speaker 2>an incredible actor, gorgeous. Again, when you are in this

0:18:54.320 --> 0:18:59.080
<v Speaker 2>hyped up musical, campy world, think about any scene she's in,

0:18:59.560 --> 0:19:02.919
<v Speaker 2>how that could have been a caricature? Totally and not

0:19:03.000 --> 0:19:06.719
<v Speaker 2>for one second do you feel Yes, all of them,

0:19:07.040 --> 0:19:09.640
<v Speaker 2>but I feel like especially her, like you know, like, yeah,

0:19:09.680 --> 0:19:12.200
<v Speaker 2>you're dressed. I think her John Travolta's rolls because it's

0:19:12.240 --> 0:19:14.160
<v Speaker 2>so easily been caricatures.

0:19:13.960 --> 0:19:22.600
<v Speaker 1>Totally, totally and the most elevated Christopher Walking Amanda Binds.

0:19:23.200 --> 0:19:25.120
<v Speaker 2>Christopher Hawking makes me laugh.

0:19:25.680 --> 0:19:30.760
<v Speaker 1>It's the toy Shop, uh musical number. I just was like,

0:19:31.040 --> 0:19:34.480
<v Speaker 1>this is actually everything I've ever Walking can do anything.

0:19:35.840 --> 0:19:40.000
<v Speaker 1>Just like I was watching this and David was watching

0:19:40.080 --> 0:19:42.760
<v Speaker 1>Dune and he popped up on the screen and I

0:19:42.800 --> 0:19:45.840
<v Speaker 1>was like, man, this really this guy really can do

0:19:45.880 --> 0:19:46.200
<v Speaker 1>it all.

0:19:46.960 --> 0:19:47.200
<v Speaker 3>Well.

0:19:47.440 --> 0:19:50.280
<v Speaker 2>I was just about to say the only time Christopher

0:19:50.280 --> 0:19:57.520
<v Speaker 2>walking doesn't really work for me watching Dune too, and

0:19:57.600 --> 0:20:00.359
<v Speaker 2>he pops up and he's just he's Christopher Walking, and

0:20:00.440 --> 0:20:01.280
<v Speaker 2>do you know what I mean?

0:20:01.400 --> 0:20:03.480
<v Speaker 1>Like you know, he's always Christopher.

0:20:03.600 --> 0:20:05.520
<v Speaker 2>It totally works in this It works. And catch me

0:20:05.560 --> 0:20:07.840
<v Speaker 2>if you can it works in everything he does, and

0:20:07.920 --> 0:20:11.879
<v Speaker 2>doone too, just like this is like, what's what's Chris walking?

0:20:14.160 --> 0:20:19.879
<v Speaker 2>I just picture Chord doing the accent. You have Timmy

0:20:19.880 --> 0:20:23.120
<v Speaker 2>shallow May who was like very serious and this whole

0:20:23.160 --> 0:20:28.760
<v Speaker 2>thing is so serious and Christopher walk stop. But I

0:20:28.800 --> 0:20:31.000
<v Speaker 2>feel like he doesn't necessarily get a chance to be

0:20:31.920 --> 0:20:34.800
<v Speaker 2>like when he's so sweet, like in this movie he

0:20:34.920 --> 0:20:40.760
<v Speaker 2>loves Edna adores and and he loves his daughter, and

0:20:40.880 --> 0:20:43.320
<v Speaker 2>like those moments are so touching, and I feel like

0:20:43.359 --> 0:20:45.440
<v Speaker 2>we don't get a lot of Christopher walking like that.

0:20:45.680 --> 0:20:47.280
<v Speaker 1>Correct, that's right, that's right.

0:20:47.160 --> 0:20:50.000
<v Speaker 2>And he's so sweet and heartbreaking in these moments. Like

0:20:50.160 --> 0:20:54.560
<v Speaker 2>everyone really makes so much of their time. And also

0:20:54.640 --> 0:20:56.200
<v Speaker 2>you know, of course that's a testament to the writing.

0:20:56.640 --> 0:21:00.760
<v Speaker 1>Yep. And yeah, it's a really big cast in a happens,

0:21:01.119 --> 0:21:03.600
<v Speaker 1>But none of it seems cut short, Like none of

0:21:03.640 --> 0:21:07.280
<v Speaker 1>it seems like you don't get the full picture right.

0:21:07.800 --> 0:21:11.480
<v Speaker 2>Amanda Binds hardly speaks in this movie. However, in the

0:21:11.520 --> 0:21:12.520
<v Speaker 2>back of my head.

0:21:12.560 --> 0:21:15.000
<v Speaker 1>She is a gigantary part part of this movie, huge part,

0:21:15.359 --> 0:21:15.880
<v Speaker 1>huge part.

0:21:16.280 --> 0:21:18.960
<v Speaker 2>And I feel like she doesn't speak for like the

0:21:19.000 --> 0:21:20.800
<v Speaker 2>first twenty minutes of this movie and when she does,

0:21:20.840 --> 0:21:21.760
<v Speaker 2>it's like a word.

0:21:22.760 --> 0:21:25.040
<v Speaker 1>Like but with the lollipop and the hair and the

0:21:25.080 --> 0:21:28.080
<v Speaker 1>looks and the reactions and the physical comedy and.

0:21:28.000 --> 0:21:31.560
<v Speaker 2>Like the whole thing is just and she just really

0:21:31.600 --> 0:21:37.280
<v Speaker 2>sticks out. Amanda Binds again not a vocalist, genius casting

0:21:37.440 --> 0:21:41.119
<v Speaker 2>because she is a she is a community. Yeah, like

0:21:41.760 --> 0:21:44.440
<v Speaker 2>absolutely brilliant and what she can bring to that role

0:21:45.080 --> 0:21:47.480
<v Speaker 2>like that is that's what she brought.

0:21:47.480 --> 0:21:50.800
<v Speaker 1>Was like Amanda to Penny and it worked beautifully.

0:21:51.680 --> 0:21:54.880
<v Speaker 2>Oh my god, we talked, but her Alison Janny plays

0:21:54.880 --> 0:21:59.000
<v Speaker 2>her mom stupid every time I say stupid. By the way,

0:21:59.000 --> 0:22:00.280
<v Speaker 2>for those of you who don't know me, it's a

0:22:00.359 --> 0:22:04.320
<v Speaker 2>huge compliment. Alison Janny and Amanda Bynes his mother and daughter.

0:22:04.440 --> 0:22:05.280
<v Speaker 2>Are you kidding me?

0:22:05.440 --> 0:22:07.960
<v Speaker 1>Alison Jenny's in about three scenes in this movie, and

0:22:08.880 --> 0:22:10.080
<v Speaker 1>is also makes a big.

0:22:09.920 --> 0:22:13.359
<v Speaker 2>Splash when she falls over that coffee table.

0:22:13.440 --> 0:22:20.639
<v Speaker 1>Oh my god, it's Alison God. Everybody like you get

0:22:20.680 --> 0:22:22.000
<v Speaker 1>like you get there.

0:22:22.160 --> 0:22:23.159
<v Speaker 2>Sorry to everyone listening.

0:22:23.160 --> 0:22:25.960
<v Speaker 1>I just keep saying, you get their revenge, you know,

0:22:26.320 --> 0:22:31.399
<v Speaker 1>like all these characters like the Michelle Pfeiffer, like Velma

0:22:31.600 --> 0:22:36.120
<v Speaker 1>and Prudy, you know, Prudy and all these characters that

0:22:36.200 --> 0:22:39.800
<v Speaker 1>are like the evil characters Britney Snow's character, you know Amber,

0:22:40.119 --> 0:22:47.400
<v Speaker 1>they're all they say such outlandish, terrible, inappropriate things. They're mean,

0:22:47.640 --> 0:22:51.760
<v Speaker 1>they're not good, but like you still they're still human

0:22:52.200 --> 0:22:57.680
<v Speaker 1>to this movie, Like they're still human and their comedic

0:22:58.560 --> 0:23:02.640
<v Speaker 1>moments are funny and they're the revenge of like them

0:23:02.720 --> 0:23:06.800
<v Speaker 1>not winning at the end is it's fulfilling, and it's

0:23:06.960 --> 0:23:11.760
<v Speaker 1>just really well like all the arcs are well played

0:23:11.800 --> 0:23:15.040
<v Speaker 1>out and seen and shown displayed in like such a

0:23:15.080 --> 0:23:15.800
<v Speaker 1>beautiful way.

0:23:16.359 --> 0:23:19.320
<v Speaker 2>It reminds me of high school musical of where good

0:23:19.560 --> 0:23:23.120
<v Speaker 2>just always wins, right, And this obviously has a bit

0:23:23.200 --> 0:23:28.040
<v Speaker 2>more of as some dialogue and story that would never

0:23:28.160 --> 0:23:31.720
<v Speaker 2>be on a Disney Channel movie, right, But at the

0:23:31.760 --> 0:23:35.359
<v Speaker 2>end of the day, we don't like we don't really

0:23:35.440 --> 0:23:39.440
<v Speaker 2>drill down into those too far before we can get

0:23:39.440 --> 0:23:41.080
<v Speaker 2>ourselves out of it. And so at the end of

0:23:41.119 --> 0:23:44.600
<v Speaker 2>the day, like our good people, our good characters constantly

0:23:44.640 --> 0:23:47.720
<v Speaker 2>are winning, even when Christopher Walkin gets accused of doing

0:23:47.720 --> 0:23:50.440
<v Speaker 2>something bad, you know, like that's the least bad thing

0:23:50.480 --> 0:23:51.920
<v Speaker 2>to happen in this movie.

0:23:51.760 --> 0:23:55.080
<v Speaker 1>Right, right exactly. But and the thing was that like

0:23:55.200 --> 0:23:58.840
<v Speaker 1>Tracy knows the good, like she sees the good in

0:23:58.960 --> 0:24:01.199
<v Speaker 1>him and is like she didn't. You have to know

0:24:01.240 --> 0:24:03.840
<v Speaker 1>he would never do that, right, Like there's this like

0:24:04.240 --> 0:24:09.960
<v Speaker 1>level of trust and giving people the benefit of the

0:24:10.080 --> 0:24:13.919
<v Speaker 1>doubt in this way, like Tracy in particular in this

0:24:14.080 --> 0:24:18.040
<v Speaker 1>character that like she just believes so deeply and knows

0:24:18.080 --> 0:24:20.320
<v Speaker 1>who they are and is like, but they would never

0:24:20.359 --> 0:24:24.639
<v Speaker 1>do that, like she I like it pulls everybody else

0:24:24.680 --> 0:24:25.200
<v Speaker 1>out of it.

0:24:25.600 --> 0:24:29.040
<v Speaker 2>Our main character is someone we can trust, yes, and

0:24:29.080 --> 0:24:32.000
<v Speaker 2>she's smart, Like she's not stupid at any turn. No,

0:24:32.920 --> 0:24:37.120
<v Speaker 2>it's not just blind optimism exactly like she happens. It's

0:24:37.119 --> 0:24:41.240
<v Speaker 2>sort of like she's she's like anything she wants and

0:24:41.280 --> 0:24:45.000
<v Speaker 2>she sees or envisions happens, and it's always a positive thing.

0:24:45.000 --> 0:24:47.360
<v Speaker 2>It's always a good thing. And it's like even her

0:24:47.560 --> 0:24:51.680
<v Speaker 2>love for Link, it's like it just happens and it's easy,

0:24:51.880 --> 0:24:54.439
<v Speaker 2>and it's like we love her for it.

0:24:55.480 --> 0:24:59.280
<v Speaker 1>Before we get too deep in theos again. James Marsden,

0:24:59.359 --> 0:25:05.359
<v Speaker 1>Corney Collin, Queen, Latifa Motormouth, Maybell, Britney snow and Raman Telsa,

0:25:05.440 --> 0:25:11.200
<v Speaker 1>zac Efron, Link, Elijah, Kelly Seaweed, Alison, Jenny Nicki, Blonsky,

0:25:11.320 --> 0:25:16.800
<v Speaker 1>are Star, Taylor Parks, Lily Nez, Jane Eastwood, Miss w Lindsay,

0:25:17.359 --> 0:25:21.399
<v Speaker 1>Paul Dooley, and just I could go on and on

0:25:21.440 --> 0:25:22.240
<v Speaker 1>about these actors.

0:25:22.280 --> 0:25:24.200
<v Speaker 2>We should probably do a whole separate episode just.

0:25:24.119 --> 0:25:26.879
<v Speaker 1>Talking about this cast list, honestly.

0:25:27.520 --> 0:25:32.840
<v Speaker 2>So, I saw something on I think it was TikTok

0:25:32.880 --> 0:25:35.280
<v Speaker 2>a couple of weeks ago about Britney Snow talking about

0:25:35.280 --> 0:25:40.120
<v Speaker 2>getting cast in this movie. Yeah, and how she auditioned

0:25:40.119 --> 0:25:42.600
<v Speaker 2>the first time and didn't get it and she's like,

0:25:42.640 --> 0:25:45.240
<v Speaker 2>I know this sounds crazy. Yeah, She's like, I know

0:25:45.280 --> 0:25:47.200
<v Speaker 2>this sounds crazy. She went to a psychic or something

0:25:47.240 --> 0:25:49.840
<v Speaker 2>like that. Sam, did you see this too? Am I Right?

0:25:51.000 --> 0:25:53.000
<v Speaker 2>So she went to a psychic and the psychic told

0:25:53.040 --> 0:25:56.040
<v Speaker 2>her it was her part, so she like fought for

0:25:56.200 --> 0:26:00.320
<v Speaker 2>and went back in and did it again, and you

0:26:00.359 --> 0:26:03.800
<v Speaker 2>know the rest is history. Hey, and I also loved

0:26:03.840 --> 0:26:08.399
<v Speaker 2>as a huge fan of American Dreams, where her and

0:26:08.440 --> 0:26:12.080
<v Speaker 2>Vanessa Lunji starred, which is also in this era. Yeah,

0:26:12.119 --> 0:26:16.359
<v Speaker 2>it feels just right seeing Britney Snow in the sixties.

0:26:16.600 --> 0:26:18.600
<v Speaker 1>Right, Oh, yes, yes, yes, I see what you're saying.

0:26:19.400 --> 0:26:23.600
<v Speaker 1>I I can't I can see other people playing this role.

0:26:23.640 --> 0:26:26.600
<v Speaker 1>This is probably the most castable role of them all

0:26:27.080 --> 0:26:29.480
<v Speaker 1>in a way that's like the Regina George and the

0:26:29.680 --> 0:26:34.240
<v Speaker 1>you know, Ameron Tusslo, like the beautiful blonde villain, right.

0:26:35.040 --> 0:26:44.160
<v Speaker 1>But Brittany, I don't. She's so likable even in this

0:26:44.280 --> 0:26:47.000
<v Speaker 1>character of like I think that's what I was talking about,

0:26:47.000 --> 0:26:50.280
<v Speaker 1>like the human side of it, right, even though she's

0:26:50.359 --> 0:26:52.679
<v Speaker 1>the villain and she says all these awful things and

0:26:52.800 --> 0:26:56.960
<v Speaker 1>is in the wrong and is not a good person, right, Like,

0:26:57.080 --> 0:27:01.439
<v Speaker 1>she's still human and I still like want to watch

0:27:01.440 --> 0:27:03.880
<v Speaker 1>her and I want to see what happens, and I'm

0:27:03.960 --> 0:27:07.240
<v Speaker 1>still like invested in it versus like somebody that you

0:27:07.359 --> 0:27:09.320
<v Speaker 1>a character that you hate so deeply that you're like,

0:27:09.359 --> 0:27:11.639
<v Speaker 1>I don't even I can't watch this movie. You know,

0:27:13.119 --> 0:27:15.440
<v Speaker 1>she does such a really good job with it. But

0:27:15.480 --> 0:27:18.320
<v Speaker 1>that's so interesting. I love when people actors like campaign

0:27:18.560 --> 0:27:21.160
<v Speaker 1>for things that they really believe because they're like, yeah,

0:27:21.640 --> 0:27:23.760
<v Speaker 1>I'm like, get.

0:27:23.240 --> 0:27:29.520
<v Speaker 2>It, genius, genius move from all sides of zach Efron

0:27:29.560 --> 0:27:32.840
<v Speaker 2>going from my school musical to this singing it's his

0:27:32.880 --> 0:27:37.359
<v Speaker 2>real singing voice. Oh good, like cut being one of

0:27:37.359 --> 0:27:42.359
<v Speaker 2>the sort of bigger male characters in this movie. And

0:27:42.440 --> 0:27:47.200
<v Speaker 2>also I feel like when we write to high school musical.

0:27:48.640 --> 0:27:53.080
<v Speaker 2>The way he's able. I think he's such a good

0:27:53.119 --> 0:27:58.560
<v Speaker 2>actor mm hmm. And he's able to do heightened things

0:27:58.600 --> 0:28:01.800
<v Speaker 2>like anything with Disney or even this, yes, where it's

0:28:01.800 --> 0:28:04.560
<v Speaker 2>not easy to sort of be like the well, your

0:28:04.560 --> 0:28:07.480
<v Speaker 2>whole character trait, we were one character trait is that

0:28:07.520 --> 0:28:07.920
<v Speaker 2>you're hot.

0:28:08.760 --> 0:28:09.840
<v Speaker 1>Yeah, yeah, right, like.

0:28:09.760 --> 0:28:12.280
<v Speaker 2>There's nothing else to you other than oh, he's just

0:28:12.320 --> 0:28:16.679
<v Speaker 2>really good looking and he's nice, Like that's that that

0:28:16.680 --> 0:28:21.480
<v Speaker 2>can get tired. It's like a superhero. Yeah. And he's

0:28:21.520 --> 0:28:25.080
<v Speaker 2>so charismatic and you never see the doubt in his

0:28:25.200 --> 0:28:27.439
<v Speaker 2>eyes or the corniness in his eyes of like what

0:28:27.520 --> 0:28:31.520
<v Speaker 2>he's doing. He's so fully invested and committed. And you

0:28:31.560 --> 0:28:33.640
<v Speaker 2>can tell the difference obviously when you see someone who's

0:28:33.680 --> 0:28:36.600
<v Speaker 2>not naturally as good as he is, and he was

0:28:36.600 --> 0:28:40.200
<v Speaker 2>super young when he's doing these things and it's so good. Yeah.

0:28:40.480 --> 0:28:42.600
<v Speaker 2>I wish there were more opportunities for people to do

0:28:42.760 --> 0:28:46.960
<v Speaker 2>movies like this, because you get to see other sides

0:28:47.000 --> 0:28:50.200
<v Speaker 2>of actors like this, and so many actors can do

0:28:50.280 --> 0:28:52.280
<v Speaker 2>what he's able to do. I don't know if they're

0:28:52.280 --> 0:28:54.880
<v Speaker 2>as good as him, but he's.

0:28:55.360 --> 0:28:59.120
<v Speaker 1>He's very i mean excellent what he does, and he

0:28:59.160 --> 0:29:02.600
<v Speaker 1>does it all right, but this is Yeah.

0:29:02.560 --> 0:29:07.040
<v Speaker 2>Did you know I know Elijah Kelly. No, I grew

0:29:07.080 --> 0:29:08.000
<v Speaker 2>up with Elijah Kelly.

0:29:08.520 --> 0:29:10.440
<v Speaker 1>Oh my god, wow.

0:29:11.040 --> 0:29:12.080
<v Speaker 2>My boy band days.

0:29:14.880 --> 0:29:16.080
<v Speaker 1>So Elijah was out in La.

0:29:16.760 --> 0:29:20.320
<v Speaker 2>Yes. And Elijah Kelly was always maybe the most talented

0:29:20.320 --> 0:29:23.920
<v Speaker 2>person I've had ever known. I mean, like I remember

0:29:23.960 --> 0:29:27.080
<v Speaker 2>meeting him. I heard him saying we were in the

0:29:27.080 --> 0:29:29.360
<v Speaker 2>recording studio. Actually, I don't know why he was there.

0:29:29.960 --> 0:29:33.880
<v Speaker 2>I don't know who he knew. He got on the drums,

0:29:33.920 --> 0:29:36.200
<v Speaker 2>he started playing the drums like he is just so

0:29:36.480 --> 0:29:41.480
<v Speaker 2>musically gifted. Wow, I saw him. I saw him like

0:29:41.480 --> 0:29:43.760
<v Speaker 2>a year and a half ago, two years ago, first

0:29:43.760 --> 0:29:45.800
<v Speaker 2>Simon a while and I remember when he got this,

0:29:45.960 --> 0:29:49.400
<v Speaker 2>and I it just made so much sense. I need

0:29:49.440 --> 0:29:52.600
<v Speaker 2>to know he acted, and I knew him as like

0:29:52.600 --> 0:29:56.560
<v Speaker 2>a musician and yeah, of course, of course he's gonna

0:29:56.600 --> 0:29:59.120
<v Speaker 2>be incredible in this. And it was like at the

0:29:59.160 --> 0:30:01.360
<v Speaker 2>time zac Efron had blown up and it's John Travolta,

0:30:01.400 --> 0:30:04.920
<v Speaker 2>Michelle Pfeiffer, Like Elijah Kelly is on these billboards like

0:30:05.880 --> 0:30:08.000
<v Speaker 2>Hollywood where we all used to like hang out, and

0:30:08.080 --> 0:30:13.280
<v Speaker 2>like there's Elijah. He's seaweed, yes, and he's a standout

0:30:13.320 --> 0:30:17.920
<v Speaker 2>in this movie talk about one of my naturally gifted

0:30:17.960 --> 0:30:22.040
<v Speaker 2>and charismatic Yeah, like, he's up there. I don't doubt

0:30:22.040 --> 0:30:25.040
<v Speaker 2>for one second that he does not belong with Zach

0:30:25.080 --> 0:30:29.280
<v Speaker 2>Effron and Michelle Pfeiffer and John Travolta and Christopher Walking

0:30:29.400 --> 0:30:30.320
<v Speaker 2>and Queen Latifa.

0:30:30.480 --> 0:30:32.200
<v Speaker 1>Oh he held his own for sure. I mean he

0:30:32.360 --> 0:30:40.440
<v Speaker 1>was that. He was extraordinary. He's so good, He's so good,

0:30:40.640 --> 0:30:42.560
<v Speaker 1>and his voice is something else.

0:30:43.480 --> 0:30:46.800
<v Speaker 2>Oh my god, have you seen the original movie, the

0:30:46.840 --> 0:30:48.920
<v Speaker 2>John Waters version of this movie.

0:30:49.440 --> 0:30:53.840
<v Speaker 1>No, I am not. I should. I have either no

0:30:54.000 --> 0:30:57.120
<v Speaker 1>need to watch it. I barely have time to watch

0:30:57.280 --> 0:30:59.600
<v Speaker 1>the movies for this podcast, so I guess.

0:31:01.160 --> 0:31:02.920
<v Speaker 2>We'll have to make it an official assignment.

0:31:02.960 --> 0:31:05.600
<v Speaker 1>So then yeah, yeah, yeah, for sure. No, but I

0:31:05.640 --> 0:31:09.760
<v Speaker 1>can imagine in the eighties what this musical movie was.

0:31:09.960 --> 0:31:13.000
<v Speaker 1>I mean I've seen pictures, you know, film styles from it.

0:31:13.040 --> 0:31:18.040
<v Speaker 1>But like, h even more so, I think this musical

0:31:18.080 --> 0:31:20.600
<v Speaker 1>probably meant it was a lot of it was so

0:31:20.800 --> 0:31:26.840
<v Speaker 1>relevant to the political times and to the I'm sure

0:31:26.960 --> 0:31:33.640
<v Speaker 1>that some of the other topics were a little more

0:31:34.520 --> 0:31:40.680
<v Speaker 1>digestible at that point as well, in terms of like

0:31:41.360 --> 0:31:44.560
<v Speaker 1>having Tracy Turnblad be a Kurby girl as the lead

0:31:44.640 --> 0:31:50.080
<v Speaker 1>of this musical, right, and having I'm sure having uh

0:31:50.760 --> 0:31:53.160
<v Speaker 1>Edna be played by a man also because it was

0:31:53.200 --> 0:31:57.480
<v Speaker 1>always played by a male actor. Right, Yes, it was

0:31:57.520 --> 0:31:59.360
<v Speaker 1>the drag queen and actor Divine.

0:32:01.040 --> 0:32:05.840
<v Speaker 2>Wait, Divine was in the original Hairspray. Yeah, good god, Jenna,

0:32:06.320 --> 0:32:07.360
<v Speaker 2>we are bad gays.

0:32:07.400 --> 0:32:10.280
<v Speaker 1>We have to go watch that now, I know. Wow.

0:32:15.480 --> 0:32:18.360
<v Speaker 3>Hi, I'm Terry Hatcher and you may remember me as

0:32:18.400 --> 0:32:20.280
<v Speaker 3>Susan Meyer from Desperate Housewives.

0:32:20.400 --> 0:32:22.959
<v Speaker 4>I'm Andrea Bowen, though you may know me as Terry's

0:32:22.960 --> 0:32:24.600
<v Speaker 4>on screen daughter Julie Meyer.

0:32:24.640 --> 0:32:27.040
<v Speaker 5>And I'm Emerson Tenney, Terry's real life daughter.

0:32:27.200 --> 0:32:31.480
<v Speaker 3>And this is desperately devoted a rewatch podcast dedicated to

0:32:31.520 --> 0:32:36.280
<v Speaker 3>the iconic series Desperate Housewives, with two actors and a writer, one.

0:32:36.120 --> 0:32:38.920
<v Speaker 1>Of whom is watching the show for the very first time. Yes,

0:32:39.080 --> 0:32:40.280
<v Speaker 1>that's me Andrea.

0:32:40.320 --> 0:32:42.400
<v Speaker 3>Can you imagine if I had let her watch it

0:32:42.440 --> 0:32:43.360
<v Speaker 3>as a six year old.

0:32:44.240 --> 0:32:46.880
<v Speaker 1>We will dive into all the behind the scenes stories

0:32:46.880 --> 0:32:47.960
<v Speaker 1>of Osteria Lane.

0:32:47.880 --> 0:32:51.080
<v Speaker 5>And look at how the show continues to inform conversations

0:32:51.080 --> 0:32:53.800
<v Speaker 5>about relationships, identity, and culture today.

0:32:54.160 --> 0:32:57.360
<v Speaker 3>So, whether you are a diehard fan or you're watching

0:32:57.480 --> 0:33:00.560
<v Speaker 3>it Mike Emerson for the very first time. We are

0:33:00.640 --> 0:33:03.840
<v Speaker 3>so excited to welcome you back to Hysteria Lane because

0:33:03.840 --> 0:33:06.760
<v Speaker 3>we are desperately devoted to you.

0:33:07.280 --> 0:33:11.080
<v Speaker 5>Listen to desperately devoted on the iHeartRadio app, Apple podcasts,

0:33:11.160 --> 0:33:15.040
<v Speaker 5>or wherever you get your podcasts.

0:33:16.360 --> 0:33:19.080
<v Speaker 1>I was thinking about like kind of the all the

0:33:19.120 --> 0:33:23.720
<v Speaker 1>different things that didn't age as well right in this movie.

0:33:24.040 --> 0:33:30.680
<v Speaker 1>But I'm sure how meaningful it is to have Tracy

0:33:30.800 --> 0:33:36.320
<v Speaker 1>term blad be this adorable young like curby girl is

0:33:36.360 --> 0:33:40.440
<v Speaker 1>not what you normally see as a young angenou in

0:33:40.480 --> 0:33:44.280
<v Speaker 1>a movie or a musical leading a show, and how

0:33:45.960 --> 0:33:49.560
<v Speaker 1>you know that's like it's another part of like having

0:33:49.680 --> 0:33:53.680
<v Speaker 1>such representation for women out there saying like young girls

0:33:53.720 --> 0:33:57.480
<v Speaker 1>out there saying, Wow, that's looks like me. That's me.

0:33:57.760 --> 0:34:01.080
<v Speaker 1>I can do things just like anybody else, even though

0:34:01.120 --> 0:34:08.040
<v Speaker 1>I'm not this like leading lady m mirror thing that

0:34:08.080 --> 0:34:09.320
<v Speaker 1>we've created, right.

0:34:09.560 --> 0:34:12.160
<v Speaker 2>And she's like complex, she doesn't fall fall. I feel

0:34:12.160 --> 0:34:16.520
<v Speaker 2>like when you have like stereotypes and cliches of certain

0:34:16.520 --> 0:34:21.880
<v Speaker 2>types of people as characters, there's obviously certain archetype features

0:34:21.880 --> 0:34:24.920
<v Speaker 2>that you fall into, and I feel like she doesn't

0:34:27.080 --> 0:34:28.640
<v Speaker 2>that balance and like no.

0:34:28.760 --> 0:34:32.000
<v Speaker 1>Question that like link just falls like falls for her, right,

0:34:32.120 --> 0:34:37.360
<v Speaker 1>She's so charming, she's she's outspoken, she's smart, she sees

0:34:37.400 --> 0:34:40.839
<v Speaker 1>the world like in a different way, Like she's exciting,

0:34:41.120 --> 0:34:43.759
<v Speaker 1>and like there's no question that, Like, yeah, he's with

0:34:43.920 --> 0:34:47.520
<v Speaker 1>like ambervon Tussle, but like she's also a terrible person.

0:34:47.640 --> 0:34:51.160
<v Speaker 1>So he just naturally gravitates for Tracy and that's it.

0:34:51.239 --> 0:34:55.239
<v Speaker 1>Like there's no huge ifans or butts about it, which

0:34:55.280 --> 0:34:55.880
<v Speaker 1>I get loved.

0:34:56.239 --> 0:34:59.120
<v Speaker 2>I wanted to talk about some of the the behind

0:34:59.120 --> 0:35:02.000
<v Speaker 2>the scenes of how this movie actually got made real quick.

0:35:02.040 --> 0:35:03.400
<v Speaker 1>Okay, great, great.

0:35:03.719 --> 0:35:06.040
<v Speaker 2>Obviously, the movie came out eighty eight. The musical was

0:35:06.080 --> 0:35:08.960
<v Speaker 2>in two thousand and two and won eight Tonies, no

0:35:08.960 --> 0:35:14.440
<v Speaker 2>big deal, and the New Line started developing the film

0:35:14.480 --> 0:35:17.319
<v Speaker 2>project in two thousand and four because Chicago did so

0:35:17.400 --> 0:35:20.239
<v Speaker 2>well and had the same producers. But it took a

0:35:20.320 --> 0:35:26.560
<v Speaker 2>year to find Shankman to choreograph and direct this. And

0:35:26.600 --> 0:35:29.200
<v Speaker 2>in the meantime, the original book writers for the stage

0:35:29.200 --> 0:35:33.239
<v Speaker 2>show wrote the first draft and this is why I

0:35:33.320 --> 0:35:37.440
<v Speaker 2>think this is probably so good, as we keep saying,

0:35:37.800 --> 0:35:42.800
<v Speaker 2>they brought in Leslie Dixon to rewrite it, and Leslie

0:35:42.800 --> 0:35:47.439
<v Speaker 2>Dixon famously wrote Missus, Doubtfire and Freaky Friday. Yeah, talk

0:35:47.520 --> 0:35:53.120
<v Speaker 2>about being able to be funny, heartfelt, satirical, all these

0:35:53.160 --> 0:35:56.080
<v Speaker 2>things all at once, and warm, which also I feel

0:35:56.080 --> 0:36:01.279
<v Speaker 2>like matches Adam's directing style so well where I was.

0:36:01.400 --> 0:36:05.000
<v Speaker 2>Whoever decided to call up Leslie Dixon to write this

0:36:05.080 --> 0:36:09.799
<v Speaker 2>thing just absolutely brilliant. M Did you also notice there

0:36:09.800 --> 0:36:13.120
<v Speaker 2>were several cameos. We saw Zach but Jamal Simms, I

0:36:13.239 --> 0:36:17.160
<v Speaker 2>noticed he's in it a lot. Really, Yes, Jamal Sims

0:36:17.160 --> 0:36:19.480
<v Speaker 2>a US for drag Race. Jenna and I worked with

0:36:19.560 --> 0:36:23.640
<v Speaker 2>him Celebrity drag Race. He's all in this movie. And

0:36:23.680 --> 0:36:28.240
<v Speaker 2>then Anne Fletcher also had a cameo.

0:36:28.400 --> 0:36:31.640
<v Speaker 1>And Anne and Adam are like via Fax and so

0:36:31.760 --> 0:36:32.800
<v Speaker 1>they always worked together.

0:36:33.600 --> 0:36:37.360
<v Speaker 2>They were all on as assistant choreographers all in this movie.

0:36:38.640 --> 0:36:40.840
<v Speaker 1>Pause for a second. Do you also remember the open

0:36:40.920 --> 0:36:47.879
<v Speaker 1>casting call, uh for like the little nationwide search for

0:36:48.080 --> 0:36:49.000
<v Speaker 1>Tracy startin Blood?

0:36:49.560 --> 0:36:52.000
<v Speaker 2>Yes, I remember when that was happening, do you I.

0:36:51.920 --> 0:36:54.520
<v Speaker 1>Remember this very vividly because this was around that time,

0:36:54.640 --> 0:36:56.920
<v Speaker 1>Like I think they had done it for Annie as well,

0:36:58.400 --> 0:37:00.440
<v Speaker 1>back in the day when we were a little bit younger,

0:37:00.480 --> 0:37:02.560
<v Speaker 1>and so, like I remembered, they were doing like the

0:37:02.600 --> 0:37:06.240
<v Speaker 1>legally Blonde one for finding the star for the musical,

0:37:06.920 --> 0:37:12.080
<v Speaker 1>and I remember Nikki worked at a cold streamery on

0:37:12.120 --> 0:37:16.480
<v Speaker 1>Long Island. Really yeah, And when Shangrin called her that

0:37:16.560 --> 0:37:20.759
<v Speaker 1>she got the job, she was working at Coltstone. I

0:37:20.800 --> 0:37:24.239
<v Speaker 1>remember like she was wearing her uniform and like they

0:37:24.280 --> 0:37:27.800
<v Speaker 1>called her, and I remember like, I don't remember, I

0:37:27.840 --> 0:37:30.080
<v Speaker 1>don't know, it messed up, been in the news. I guess.

0:37:30.280 --> 0:37:32.680
<v Speaker 1>I don't think it was like a show of Uddy Start.

0:37:32.760 --> 0:37:35.040
<v Speaker 1>But I always remember being like, oh, yeah, she's from

0:37:35.080 --> 0:37:36.080
<v Speaker 1>Long Island, that's right.

0:37:36.560 --> 0:37:41.000
<v Speaker 2>They filmed it over four months in two thousand and

0:37:41.000 --> 0:37:44.200
<v Speaker 2>six in Toronto and Hamilton, Ontario.

0:37:47.640 --> 0:37:47.920
<v Speaker 1>Wow.

0:37:48.080 --> 0:37:51.359
<v Speaker 2>The opening clouds plus news newspaper drop are the only

0:37:51.400 --> 0:37:56.120
<v Speaker 2>shots actually from Baltimore. And they made it for seventy

0:37:56.160 --> 0:37:58.799
<v Speaker 2>five mil. Wow it made. It ended up making two

0:37:58.840 --> 0:38:02.040
<v Speaker 2>hundred and three million dollars, and Don made for a

0:38:02.080 --> 0:38:03.800
<v Speaker 2>Golden Globes two hundred and three million.

0:38:04.239 --> 0:38:08.200
<v Speaker 1>We have a couple of Hairspray Glee crossovers. We had

0:38:08.200 --> 0:38:11.359
<v Speaker 1>some songs that we covered on Glee from Hairspray, one

0:38:11.400 --> 0:38:13.839
<v Speaker 1>of them being you Can't Step the Beat, which we performed.

0:38:13.480 --> 0:38:17.160
<v Speaker 2>Which I feel so stupid because I sing the apart.

0:38:17.239 --> 0:38:23.920
<v Speaker 2>Elijah sings and last night. I last night. My thoughts

0:38:24.040 --> 0:38:26.160
<v Speaker 2>in this morning, my thoughts were about how cool is

0:38:26.160 --> 0:38:30.000
<v Speaker 2>it that Elijah and I saying the same parts? And

0:38:30.040 --> 0:38:33.960
<v Speaker 2>I am so dumb because I never realized it. Oh,

0:38:34.440 --> 0:38:38.279
<v Speaker 2>and then because I'm seeing it with Chris and like

0:38:38.360 --> 0:38:42.320
<v Speaker 2>Kurt says Artie instead of Seaweed. And then I was

0:38:42.400 --> 0:38:45.400
<v Speaker 2>thinking about, oh, does any other character in Glee get

0:38:45.440 --> 0:38:49.920
<v Speaker 2>their name put into so many songs? Larti is mentioned

0:38:50.000 --> 0:38:54.239
<v Speaker 2>in several songs you do yeah mentioned? Anyway, That's where

0:38:54.239 --> 0:38:55.760
<v Speaker 2>I was going last night, falling asleep.

0:38:57.320 --> 0:39:01.080
<v Speaker 1>There's also uh, the icon I know where I've been

0:39:01.200 --> 0:39:03.200
<v Speaker 1>sung by Unique in season six.

0:39:05.360 --> 0:39:10.640
<v Speaker 2>Which makes me want to talk about Queen Latifa, who

0:39:10.680 --> 0:39:14.040
<v Speaker 2>Shankman you know, worked with on Bringing Down the House,

0:39:14.080 --> 0:39:23.120
<v Speaker 2>which was a classic movie. Yeah, yeah, died laughing. Chicago, obviously,

0:39:24.480 --> 0:39:27.200
<v Speaker 2>there's such a Yeah, there's such a good amount of

0:39:27.239 --> 0:39:31.680
<v Speaker 2>crossover from different things happening here. There's Chicago, there's Grease, Yeah,

0:39:32.320 --> 0:39:38.040
<v Speaker 2>there's high school musical. Yeah, there's Grease too between Michelle Pfeiffer,

0:39:38.440 --> 0:39:43.400
<v Speaker 2>right right, And it's just so like Shankman is so

0:39:43.560 --> 0:39:47.359
<v Speaker 2>good at doing these intentional things, and he does them

0:39:47.400 --> 0:39:51.560
<v Speaker 2>tastefully and it's not just like, oh, we have cameos,

0:39:51.640 --> 0:39:54.319
<v Speaker 2>or we have these people that you know have been

0:39:54.360 --> 0:39:56.360
<v Speaker 2>a famous musical. They're also right for these roles and

0:39:56.400 --> 0:40:01.880
<v Speaker 2>they're making this story even better. Yeah, there was supposed

0:40:01.880 --> 0:40:04.920
<v Speaker 2>to be a sequel that ended up not happening. It

0:40:04.960 --> 0:40:06.879
<v Speaker 2>was announced in two thousand and eight and John Waders

0:40:06.960 --> 0:40:10.160
<v Speaker 2>actually wrote a treatment and it's going to be set

0:40:10.640 --> 0:40:14.040
<v Speaker 2>in the late nineteen sixties. It would talk about British

0:40:14.040 --> 0:40:17.600
<v Speaker 2>invasion and psychedelic hippie culture in the Vietnam War, and

0:40:17.640 --> 0:40:21.600
<v Speaker 2>Shankman was supposed to direct again, and then it got

0:40:21.600 --> 0:40:22.759
<v Speaker 2>canceled in twenty ten.

0:40:23.160 --> 0:40:26.120
<v Speaker 1>While I would have loved a second Hairspring, I'm also like,

0:40:27.000 --> 0:40:32.279
<v Speaker 1>don't touch it. Don't touch it. I'm just the way

0:40:32.320 --> 0:40:37.440
<v Speaker 1>I feel about sequels in general that have really strong

0:40:38.600 --> 0:40:42.360
<v Speaker 1>original pieces that like, I just don't touch it. What

0:40:43.920 --> 0:40:46.319
<v Speaker 1>why you said you wanted to talk about all the

0:40:46.360 --> 0:40:48.320
<v Speaker 1>Queen Latifa did? We cover everything?

0:40:49.160 --> 0:40:53.640
<v Speaker 2>Queen Latifa has been a staple our entire lives. Can

0:40:53.680 --> 0:40:54.880
<v Speaker 2>do everything.

0:40:55.200 --> 0:40:56.120
<v Speaker 1>She raised us.

0:40:56.360 --> 0:41:01.520
<v Speaker 2>Is there anybody else who has done why variety of things?

0:41:01.600 --> 0:41:02.680
<v Speaker 2>And successfully? Is her?

0:41:05.560 --> 0:41:05.680
<v Speaker 5>Like?

0:41:06.000 --> 0:41:08.760
<v Speaker 2>Do you know what I mean? Like, she's an iconic

0:41:09.160 --> 0:41:14.120
<v Speaker 2>hip hop artist, She's an Oscar nominated actor. She's an

0:41:14.160 --> 0:41:21.960
<v Speaker 2>incredible singer, Like what can't she do? She's hosted TV shows.

0:41:22.560 --> 0:41:26.280
<v Speaker 2>It's just it's I love that we keep her around

0:41:26.320 --> 0:41:29.880
<v Speaker 2>and I feel I hope as a public she knows

0:41:29.920 --> 0:41:33.719
<v Speaker 2>how grateful we are, and I don't think you can

0:41:33.760 --> 0:41:34.880
<v Speaker 2>cast her too often.

0:41:37.760 --> 0:41:40.600
<v Speaker 1>I have a question, isn't that people didn't like John

0:41:40.640 --> 0:41:41.600
<v Speaker 1>Child's casting?

0:41:43.480 --> 0:41:47.279
<v Speaker 2>Yeah, people didn't like it. Do they not like it

0:41:47.320 --> 0:41:50.120
<v Speaker 2>because of him or because of the role itself?

0:41:50.719 --> 0:41:52.480
<v Speaker 1>Like casting him as a woman.

0:41:53.280 --> 0:41:56.120
<v Speaker 2>People want to cast a drag queen, which I understand,

0:41:56.840 --> 0:42:01.279
<v Speaker 2>especially when Divine originated the original role.

0:42:01.520 --> 0:42:03.360
<v Speaker 1>Yes, yes, yes.

0:42:03.160 --> 0:42:05.600
<v Speaker 2>I think that's a fair complaint. I think I think

0:42:05.640 --> 0:42:07.120
<v Speaker 2>if John Travolta was trying to.

0:42:07.120 --> 0:42:09.200
<v Speaker 1>Do drag, that would be a different story.

0:42:09.239 --> 0:42:11.319
<v Speaker 2>That would be an issue. It's also not for us

0:42:11.320 --> 0:42:14.279
<v Speaker 2>to say either way, but right right, I know John

0:42:14.320 --> 0:42:17.279
<v Speaker 2>Waters was heavily involved in this, and John Waters gave

0:42:17.320 --> 0:42:22.000
<v Speaker 2>Adam Shankman the blessing to like put his spin on it, right, right,

0:42:22.120 --> 0:42:24.640
<v Speaker 2>So I feel like if John Waters is co signing

0:42:24.719 --> 0:42:28.799
<v Speaker 2>this this version of it, yeah, yeah, I think if

0:42:28.800 --> 0:42:30.200
<v Speaker 2>he was trying to do drag and it was going

0:42:30.239 --> 0:42:33.880
<v Speaker 2>to be compared and being you know, those performances. I

0:42:33.920 --> 0:42:37.120
<v Speaker 2>think that's a whole different story, right, And maybe I

0:42:37.120 --> 0:42:39.280
<v Speaker 2>also feel like I'm wondering if people were more upset

0:42:39.400 --> 0:42:42.040
<v Speaker 2>speculating about it until it came out, or once it

0:42:42.080 --> 0:42:43.360
<v Speaker 2>came out they were also no.

0:42:43.440 --> 0:42:45.560
<v Speaker 1>I'm sure that when I came out there was some issues.

0:42:45.800 --> 0:42:49.040
<v Speaker 1>I think also because John was in the costume and

0:42:49.080 --> 0:42:51.880
<v Speaker 1>given a fat suit, and also in prosthetics. There's just

0:42:51.920 --> 0:42:55.000
<v Speaker 1>a lot of things that I think, no long like

0:42:55.040 --> 0:42:58.880
<v Speaker 1>we've learned from and so I think that it's definitely

0:42:59.480 --> 0:43:04.000
<v Speaker 1>not something that would have happened now given the situation

0:43:04.160 --> 0:43:06.640
<v Speaker 1>that he was in with what he had. I thought

0:43:06.640 --> 0:43:09.799
<v Speaker 1>he didn't want job, and I loved it, but I

0:43:09.920 --> 0:43:15.080
<v Speaker 1>understand the the pushback, of course. And I would have

0:43:15.120 --> 0:43:20.359
<v Speaker 1>loved to see a drag queen do this. Oh yeah,

0:43:20.560 --> 0:43:24.120
<v Speaker 1>Like there's a lot of there's a lot of really

0:43:25.000 --> 0:43:28.400
<v Speaker 1>incredible drag queens that are It's like some of our

0:43:28.440 --> 0:43:31.520
<v Speaker 1>favorite stars that I think would be really good. Maybe

0:43:31.520 --> 0:43:32.680
<v Speaker 1>there's another version of this.

0:43:33.320 --> 0:43:38.520
<v Speaker 2>Who played who played that role in the NBC was

0:43:38.560 --> 0:43:41.399
<v Speaker 2>the NBC did the live version of it NBC Live

0:43:42.239 --> 0:43:45.759
<v Speaker 2>with Ariana and Christian Shannaman. Oh was Harvey Firesteine. Oh,

0:43:45.760 --> 0:43:48.720
<v Speaker 2>Harry Firesteine came back and did it okay? Hell yeah?

0:43:48.800 --> 0:43:51.520
<v Speaker 1>Then yeah, that's fine. There's so much music in this

0:43:51.600 --> 0:43:53.000
<v Speaker 1>I'm not even to name on these songs.

0:43:53.080 --> 0:43:56.080
<v Speaker 2>None of these musical members are filmed, simply that most

0:43:56.080 --> 0:43:59.600
<v Speaker 2>of these musical numbers take place in multiple locations. Yes,

0:44:00.680 --> 0:44:03.560
<v Speaker 2>and it's not a lazy shot. There's not a lazy

0:44:03.560 --> 0:44:05.000
<v Speaker 2>shot to be seen, right.

0:44:05.480 --> 0:44:10.960
<v Speaker 1>I know that this last number of you can't stop

0:44:10.960 --> 0:44:13.680
<v Speaker 1>the beat like Hairspray, So you can't stop the beat

0:44:13.840 --> 0:44:17.840
<v Speaker 1>took like days to film, like multiple days.

0:44:18.040 --> 0:44:20.759
<v Speaker 2>Yeah, that makes sense. There's so many moving parts in that.

0:44:21.080 --> 0:44:22.799
<v Speaker 1>Yeah. There's a lot of friends that we have in

0:44:22.840 --> 0:44:28.720
<v Speaker 1>this show, in this movie. And so I actually texted

0:44:28.719 --> 0:44:32.520
<v Speaker 1>our wonderful friend JP Faery, who was in one of

0:44:32.520 --> 0:44:33.080
<v Speaker 1>the dancers.

0:44:33.360 --> 0:44:35.560
<v Speaker 2>I don't know JP was in this, and when he

0:44:35.680 --> 0:44:39.760
<v Speaker 2>came on, I started screaming. It was just like baby Jp,

0:44:40.280 --> 0:44:44.600
<v Speaker 2>Baby Spencer neat baga Like what? Yeah?

0:44:44.920 --> 0:44:50.320
<v Speaker 1>So I texted Jp, our dear friend, and he wanted

0:44:50.360 --> 0:44:54.040
<v Speaker 1>to say Hi, Hi Jenna, Hi Kevin.

0:44:54.400 --> 0:44:57.040
<v Speaker 4>It's crazy to think now because this upcoming July, it's

0:44:57.080 --> 0:45:00.239
<v Speaker 4>going to be twenty years since we started rehearsal. And

0:45:00.280 --> 0:45:04.480
<v Speaker 4>filmed it. So one thing, You Can't Stop the Beat

0:45:04.520 --> 0:45:07.560
<v Speaker 4>I remember took about I think two to three weeks

0:45:07.600 --> 0:45:10.680
<v Speaker 4>just to film that whole number in the entirety because

0:45:10.719 --> 0:45:13.480
<v Speaker 4>there were so many moving parts and other scenes involved.

0:45:15.480 --> 0:45:16.719
<v Speaker 1>Started off with the whole.

0:45:16.520 --> 0:45:20.719
<v Speaker 4>Hairspray and the whole Miss Hairspray pageant, all of that,

0:45:21.000 --> 0:45:24.400
<v Speaker 4>and then into the actual you Can't Stop the Beat number,

0:45:26.120 --> 0:45:28.360
<v Speaker 4>and I remember we were filming all the way, you know,

0:45:29.920 --> 0:45:31.920
<v Speaker 4>all the way until you know, four o'clock in the

0:45:31.920 --> 0:45:33.520
<v Speaker 4>morning towards the end of the week, and.

0:45:35.680 --> 0:45:36.760
<v Speaker 1>Yeah, it was crazy.

0:45:38.760 --> 0:45:40.960
<v Speaker 4>One thing for me that was cool was that I

0:45:41.640 --> 0:45:44.480
<v Speaker 4>remember Adam Shankman telling me that I was one of

0:45:44.560 --> 0:45:48.600
<v Speaker 4>the first or yeah, I was the first dancer to hire,

0:45:49.000 --> 0:45:53.560
<v Speaker 4>which was kind of crazy to me. But yeah, Hairspray

0:45:53.640 --> 0:45:56.760
<v Speaker 4>it's going to be twenty years and twenty twenty seven,

0:45:56.760 --> 0:46:00.320
<v Speaker 4>which is kind of crazy to me. But but yeah,

0:46:00.680 --> 0:46:02.360
<v Speaker 4>I love you guys.

0:46:03.360 --> 0:46:09.479
<v Speaker 1>Grandma we call him Grandma, but we love Grandma. JP

0:46:09.640 --> 0:46:13.439
<v Speaker 1>was one of the council members, and JP is also

0:46:13.480 --> 0:46:19.600
<v Speaker 1>an amazing dancer. Was also in Newsy's the Musical and uh,

0:46:20.400 --> 0:46:22.879
<v Speaker 1>I can't believe that it was in the days it.

0:46:22.800 --> 0:46:28.799
<v Speaker 2>Was weeks weeks, which again makes sense. You get two

0:46:28.840 --> 0:46:31.560
<v Speaker 2>thousand and seven different time, you have budget, you have

0:46:31.680 --> 0:46:36.719
<v Speaker 2>the time. I mean that opening number, Good Morning Baltimore, Like,

0:46:36.800 --> 0:46:39.680
<v Speaker 2>think about all the places Tracy goes, all the little

0:46:39.680 --> 0:46:42.840
<v Speaker 2>things that are the hijinks, all these.

0:46:42.760 --> 0:46:43.919
<v Speaker 1>Numbers so long.

0:46:44.960 --> 0:46:47.240
<v Speaker 2>Oh god, I love that Tuck.

0:46:48.280 --> 0:46:52.719
<v Speaker 1>It got me so good. He's so good, you know what.

0:46:52.840 --> 0:46:56.439
<v Speaker 2>Some of those moments reminded me of like the Truman Show,

0:46:56.880 --> 0:47:00.080
<v Speaker 2>Yes right where like the garbage truck drivers, like, what

0:46:59.920 --> 0:47:01.240
<v Speaker 2>the hell is happening?

0:47:01.360 --> 0:47:05.000
<v Speaker 1>No, no, no, no, I thought she was gonna get hit. Yeah,

0:47:05.040 --> 0:47:06.680
<v Speaker 1>And there she is on top of the world.

0:47:07.600 --> 0:47:12.640
<v Speaker 2>Oh man, James Marsden when the nicest kids in town,

0:47:12.760 --> 0:47:13.919
<v Speaker 2>like who knew?

0:47:14.000 --> 0:47:17.600
<v Speaker 1>What a what a heart throb you have? Don zach

0:47:17.680 --> 0:47:23.840
<v Speaker 1>Efron in one movie What heart? What heart Throbs?

0:47:23.880 --> 0:47:24.319
<v Speaker 2>I gave her.

0:47:25.480 --> 0:47:29.840
<v Speaker 1>Also, I can hear the bells. It's just it's Tracy's

0:47:29.880 --> 0:47:32.520
<v Speaker 1>I want song, right, And she comes out of the

0:47:32.520 --> 0:47:38.560
<v Speaker 1>classroom and the spotlight on her in the hallway and beautiful,

0:47:38.719 --> 0:47:40.480
<v Speaker 1>my gosh, her voice.

0:47:41.080 --> 0:47:43.560
<v Speaker 2>Oh she's she's incredible in this, you see.

0:47:43.600 --> 0:47:47.239
<v Speaker 1>It's just the tone is just like, oh, it's so good.

0:47:48.040 --> 0:47:52.000
<v Speaker 2>So Lady's choice which is zach Efron's song they wrote

0:47:52.040 --> 0:47:55.359
<v Speaker 2>for this movie. They wrote Lady's Choice, they wrote Come

0:47:55.440 --> 0:47:59.640
<v Speaker 2>So Far, Got So Far to Go, and the New

0:47:59.640 --> 0:48:02.640
<v Speaker 2>Girl in Town, which was originally written for Broadway but

0:48:02.719 --> 0:48:03.120
<v Speaker 2>it got.

0:48:02.960 --> 0:48:07.400
<v Speaker 1>Cut and then they brought it into the film. Is

0:48:07.440 --> 0:48:09.040
<v Speaker 1>the Dynamites numbers?

0:48:09.160 --> 0:48:12.520
<v Speaker 2>Yeah, I loved all those things as well. I loved

0:48:13.160 --> 0:48:16.240
<v Speaker 2>using the dynamites. I loved all the interaction in different

0:48:16.280 --> 0:48:20.520
<v Speaker 2>musical numbers with TVs or looking at the picture that moved.

0:48:20.480 --> 0:48:27.560
<v Speaker 1>Yes when in link song. Also how funny, like the

0:48:27.560 --> 0:48:31.040
<v Speaker 1>physical comedy again with a man of mines, Like when

0:48:31.200 --> 0:48:34.680
<v Speaker 1>Tracy ends up on the show and she's running home,

0:48:35.160 --> 0:48:42.120
<v Speaker 1>running to Tracy's parents' house, She's like, yes, it's so good,

0:48:42.160 --> 0:48:49.520
<v Speaker 1>it's so memorable. Yeah, these numbers obviously I know where

0:48:49.520 --> 0:48:55.440
<v Speaker 1>I've been. So beautiful. It's also a really nice moment

0:48:55.680 --> 0:49:02.760
<v Speaker 1>to slow the film down because it moves so fast.

0:49:02.840 --> 0:49:06.440
<v Speaker 1>It's not too fast, but it's like, I think this

0:49:06.760 --> 0:49:09.399
<v Speaker 1>music takes up half the film, if not more.

0:49:10.080 --> 0:49:15.600
<v Speaker 2>Right, Oh yeah? Do you think that's because for something

0:49:15.640 --> 0:49:20.040
<v Speaker 2>to get to Broadway and then to work on Broadway,

0:49:20.520 --> 0:49:24.520
<v Speaker 2>it has to go through so much, right, like so

0:49:24.600 --> 0:49:28.399
<v Speaker 2>much sort of like vetting, workshopping and previews. All these

0:49:28.400 --> 0:49:32.600
<v Speaker 2>things get so much attention to make sure it works properly,

0:49:32.640 --> 0:49:35.600
<v Speaker 2>and you're getting real feedback from audience and from producers

0:49:35.600 --> 0:49:39.239
<v Speaker 2>and the director, you know, all these different departments. And

0:49:39.280 --> 0:49:43.319
<v Speaker 2>because this show probably works so well on stage, do

0:49:43.400 --> 0:49:46.759
<v Speaker 2>you think that's why, like in movie form, it is

0:49:46.800 --> 0:49:49.759
<v Speaker 2>able like that pacing is so great or are they

0:49:49.960 --> 0:49:51.720
<v Speaker 2>not necessarily directly correlated?

0:49:51.840 --> 0:49:51.960
<v Speaker 3>Now?

0:49:52.000 --> 0:49:54.040
<v Speaker 1>I don't think the directly correlated. I think it's all

0:49:54.239 --> 0:49:58.280
<v Speaker 1>based upon the director and the pace of the filming

0:49:58.360 --> 0:50:01.000
<v Speaker 1>because I think you can mess up paste very easily,

0:50:01.239 --> 0:50:04.480
<v Speaker 1>I think. Yeah, And like getting the beats in between

0:50:04.520 --> 0:50:07.400
<v Speaker 1>the music is just as important, if not more important,

0:50:07.440 --> 0:50:10.000
<v Speaker 1>because that's part of you know, that's the story lead

0:50:10.040 --> 0:50:13.120
<v Speaker 1>into the bigger you know, the elevated story of the music.

0:50:13.880 --> 0:50:14.400
<v Speaker 2>Yeah.

0:50:14.480 --> 0:50:16.759
<v Speaker 1>I think it's just like the magic of having a

0:50:16.800 --> 0:50:22.000
<v Speaker 1>really great musical that has really good story, really good characters,

0:50:22.360 --> 0:50:25.800
<v Speaker 1>really great pacing. Really like all the pieces come together

0:50:25.840 --> 0:50:29.000
<v Speaker 1>in a way that's like this will make for a

0:50:29.040 --> 0:50:31.520
<v Speaker 1>really great film if it translates and you do it well,

0:50:31.680 --> 0:50:35.040
<v Speaker 1>but like it could also just fall flat. So like

0:50:35.600 --> 0:50:40.160
<v Speaker 1>imagine like Spring Awakening, which is so such an incredible musical.

0:50:40.480 --> 0:50:45.920
<v Speaker 1>The music is so good. The the music is a

0:50:45.960 --> 0:50:50.080
<v Speaker 1>bit superior to the story because the story is so

0:50:50.400 --> 0:50:54.000
<v Speaker 1>old and it's it's more about the duxtaposition of the

0:50:54.840 --> 0:50:58.920
<v Speaker 1>you know, the time in which that was happening, all happening,

0:50:59.040 --> 0:51:02.200
<v Speaker 1>and then like the the modern music, right, and the

0:51:02.320 --> 0:51:04.600
<v Speaker 1>lights and the neon lights and the microphones and all that.

0:51:07.560 --> 0:51:10.920
<v Speaker 1>I mean, you really need to like, I don't know

0:51:10.960 --> 0:51:14.960
<v Speaker 1>that that would translate correctly, Like I think stage might

0:51:15.000 --> 0:51:18.120
<v Speaker 1>be the place that that actually should live forever, right.

0:51:18.000 --> 0:51:20.600
<v Speaker 2>Especially because of the ages of the kids doing these

0:51:20.640 --> 0:51:23.040
<v Speaker 2>things right, right, that'd be very complicated.

0:51:23.120 --> 0:51:27.040
<v Speaker 1>No, no, exactly exactly, And it's all about that, right, the awakening,

0:51:27.120 --> 0:51:31.640
<v Speaker 1>the exploration, you know, all of that. So yeah, no,

0:51:31.719 --> 0:51:33.680
<v Speaker 1>I do think that there's a part of it that like,

0:51:33.719 --> 0:51:37.200
<v Speaker 1>of course, if you get a musical, right, it's because

0:51:37.200 --> 0:51:39.000
<v Speaker 1>of all the work that went into the workshopping of

0:51:39.040 --> 0:51:42.160
<v Speaker 1>it again it right, But I don't know that translates

0:51:42.200 --> 0:51:45.799
<v Speaker 1>to like the film inevitably being really good.

0:51:46.440 --> 0:51:50.279
<v Speaker 2>But there are plenty of instances of stage musicals that

0:51:50.360 --> 0:51:54.680
<v Speaker 2>are great and they do not necessarily work on film, right,

0:51:54.920 --> 0:52:07.759
<v Speaker 2>We won't we won't mention those, but should we rate

0:52:07.840 --> 0:52:09.439
<v Speaker 2>some of these performances while we're here.

0:52:09.719 --> 0:52:11.480
<v Speaker 1>Well, we just talked about Good Morning Baltimore, and I

0:52:11.520 --> 0:52:12.520
<v Speaker 1>give them an A plus.

0:52:12.239 --> 0:52:19.200
<v Speaker 2>Plus, absolutely a plus plus. And uh, is this just

0:52:19.239 --> 0:52:20.400
<v Speaker 2>gonna be a's all around.

0:52:20.560 --> 0:52:24.400
<v Speaker 1>Saying nicest Kidston Town. Yeah, it takes two. I can

0:52:24.440 --> 0:52:27.880
<v Speaker 1>hear the bells. Yeah, I feel like across the board today,

0:52:27.920 --> 0:52:30.000
<v Speaker 1>like obviously I know where I've been. Gets like an

0:52:30.040 --> 0:52:34.879
<v Speaker 1>A plus plus plus for me, actually, definitely.

0:52:34.520 --> 0:52:38.279
<v Speaker 2>I was just thinking about me miss Baltimore Crabs. The

0:52:38.440 --> 0:52:44.280
<v Speaker 2>choreography in this movie. The choreography in this entire movie

0:52:44.960 --> 0:52:50.120
<v Speaker 2>is incredible, and everybody is so clean. Obviously, JP said

0:52:50.160 --> 0:52:52.560
<v Speaker 2>they started rehearsing in July. They didn't start shooting n

0:52:52.560 --> 0:52:57.080
<v Speaker 2>till September, so they had months of choreography. And obviously

0:52:57.160 --> 0:52:59.920
<v Speaker 2>there are so many musical numbers, and their long musical numbers,

0:53:00.120 --> 0:53:04.600
<v Speaker 2>many of them. It just it makes so much sense. Yeah,

0:53:04.600 --> 0:53:07.600
<v Speaker 2>And I think you also coming off of watching High

0:53:07.600 --> 0:53:12.560
<v Speaker 2>School Musical, where this obviously is a much bigger budget.

0:53:12.600 --> 0:53:14.440
<v Speaker 2>They have much more time to do these things. You

0:53:14.480 --> 0:53:16.480
<v Speaker 2>see the difference in that the scale of it is

0:53:16.480 --> 0:53:20.120
<v Speaker 2>obviously very different. Yeah, and so even you can a

0:53:20.280 --> 0:53:22.799
<v Speaker 2>be it with Zach Efron's performance because he's in both

0:53:22.840 --> 0:53:25.759
<v Speaker 2>of them. And see he's a great dancer in high

0:53:25.800 --> 0:53:29.399
<v Speaker 2>school musical, but in Hairspray he's just as good as all.

0:53:29.280 --> 0:53:30.880
<v Speaker 1>The professional dancers totally.

0:53:32.160 --> 0:53:35.880
<v Speaker 2>And you have that with time, I mean Adam Shankman,

0:53:36.000 --> 0:53:40.200
<v Speaker 2>and you have all those those three incredible choreographers as

0:53:40.200 --> 0:53:44.040
<v Speaker 2>assistant choreographers on this movie. Bryan Fletcher jamals so like.

0:53:44.000 --> 0:53:46.680
<v Speaker 1>The way you shoot people, you make them look good.

0:53:46.760 --> 0:53:50.200
<v Speaker 1>You play into their strengths, you play into what's going

0:53:50.280 --> 0:53:52.399
<v Speaker 1>to make them look really good, right, And he.

0:53:52.360 --> 0:53:55.760
<v Speaker 2>Had a beautiful balance of shooting choreography and also shooting

0:53:55.840 --> 0:53:58.120
<v Speaker 2>stories where he did fit in a lot of close ups,

0:53:58.120 --> 0:54:01.320
<v Speaker 2>but you also did get a lot of beautiful wides

0:54:01.360 --> 0:54:05.880
<v Speaker 2>about this choreography. Yeah, yeah, I'm sorry, I got distracted.

0:54:06.239 --> 0:54:08.040
<v Speaker 1>No, no, no, I think you're right though. I think

0:54:08.080 --> 0:54:12.680
<v Speaker 1>they all go across the board as like as.

0:54:12.040 --> 0:54:14.560
<v Speaker 2>So Lady's Choice, how do you feel about that?

0:54:15.160 --> 0:54:21.480
<v Speaker 1>You know, I actually gave Lady's Choice a B and

0:54:21.560 --> 0:54:26.680
<v Speaker 1>I don't know why. I just feel like it. It

0:54:27.440 --> 0:54:31.160
<v Speaker 1>didn't push the story along as much as like some

0:54:31.200 --> 0:54:34.000
<v Speaker 1>of these other ones that also had such a great

0:54:34.040 --> 0:54:36.880
<v Speaker 1>hook in the song and was like a bigger number.

0:54:37.320 --> 0:54:40.959
<v Speaker 1>I think it kind of it's great, but I don't

0:54:41.160 --> 0:54:44.360
<v Speaker 1>I don't know that I necessarily was like, oh I should,

0:54:44.640 --> 0:54:46.239
<v Speaker 1>I should just give it an A because it's great.

0:54:46.320 --> 0:54:49.280
<v Speaker 2>Right as far as songs written for a movie musical,

0:54:50.160 --> 0:54:52.279
<v Speaker 2>I feel like it fits in pretty seamlessly. But I

0:54:52.320 --> 0:54:59.120
<v Speaker 2>think you are pointing out the reasons why it may bump. Yeah, right, yeah, yeah,

0:54:59.400 --> 0:55:02.960
<v Speaker 2>because every something else does further the story a lot. Yes,

0:55:03.480 --> 0:55:08.960
<v Speaker 2>New Grown Town I loved. I also thought it was so,

0:55:09.920 --> 0:55:13.920
<v Speaker 2>for lack of a better word, up how detention had

0:55:13.960 --> 0:55:16.760
<v Speaker 2>all the black kids?

0:55:16.920 --> 0:55:18.719
<v Speaker 1>Yeah, I mean, I think that one of the critics

0:55:19.280 --> 0:55:22.000
<v Speaker 1>issues in some of the things, the qualms that they've

0:55:22.000 --> 0:55:24.200
<v Speaker 1>had with this film in general, which I agree with,

0:55:24.320 --> 0:55:29.840
<v Speaker 1>is like it undermines the story of the civil rights

0:55:29.880 --> 0:55:33.920
<v Speaker 1>movement and segregation and how you know it wasn't so

0:55:34.040 --> 0:55:37.040
<v Speaker 1>easily fixed, right, There wasn't just a march and everything

0:55:37.120 --> 0:55:43.120
<v Speaker 1>is seemingly right. You know, people are hugging and together right, like, Yes,

0:55:43.360 --> 0:55:45.759
<v Speaker 1>the journey and the experience.

0:55:45.200 --> 0:55:47.319
<v Speaker 2>Feels like this is the white version of it, right,

0:55:47.400 --> 0:55:50.839
<v Speaker 2>with a white lead. Yes. Part of it though, did

0:55:50.880 --> 0:55:54.960
<v Speaker 2>feel like a little satirical though to me, because there's

0:55:55.000 --> 0:55:58.600
<v Speaker 2>those moments where Queen Latifa's like, you know, you're like

0:55:58.680 --> 0:56:00.560
<v Speaker 2>chipping away once up at a time. But it also

0:56:00.680 --> 0:56:05.799
<v Speaker 2>feels like this movie isn't that serious, right, where like

0:56:06.280 --> 0:56:07.520
<v Speaker 2>it feels.

0:56:07.040 --> 0:56:09.520
<v Speaker 1>Like they're making it trying to be.

0:56:10.040 --> 0:56:12.160
<v Speaker 2>It feels like they're making fun of how easy they're

0:56:12.160 --> 0:56:15.279
<v Speaker 2>making it seem right. But maybe that's me doing a

0:56:15.280 --> 0:56:18.440
<v Speaker 2>lot of work as an audience member. Yeah, but I

0:56:18.480 --> 0:56:21.640
<v Speaker 2>felt like I felt like it was a little edgyar

0:56:21.719 --> 0:56:26.319
<v Speaker 2>in that way mmmm or like, you know, there's other

0:56:26.360 --> 0:56:26.839
<v Speaker 2>things to do.

0:56:27.160 --> 0:56:35.480
<v Speaker 1>I appreciate, like Tracy being the the like the one

0:56:35.520 --> 0:56:38.080
<v Speaker 1>who kind of sways back and forth and does the

0:56:38.120 --> 0:56:41.400
<v Speaker 1>right thing. I just I really like that hero aspect

0:56:41.480 --> 0:56:42.480
<v Speaker 1>from her. I don't know.

0:56:42.560 --> 0:56:44.600
<v Speaker 2>I just and it wasn't a love story, Like her

0:56:44.640 --> 0:56:48.000
<v Speaker 2>story wasn't didn't have to be right about.

0:56:48.239 --> 0:56:51.120
<v Speaker 1>Her finding a man right right right, that was.

0:56:51.080 --> 0:56:54.280
<v Speaker 2>Just part of her story. Run until that A plus plus,

0:56:55.719 --> 0:56:59.879
<v Speaker 2>Like come on, Elijah doing Olympics. He's like hurdling, he's

0:57:00.160 --> 0:57:03.560
<v Speaker 2>big things. It does the splits on the grass, get

0:57:03.719 --> 0:57:09.200
<v Speaker 2>out of here, big blonde and beautiful. Yes, just yes, yes, everybody.

0:57:09.200 --> 0:57:10.640
<v Speaker 2>I feel like we said like it's.

0:57:10.440 --> 0:57:14.560
<v Speaker 1>All gonna be A's right, and like everything is it

0:57:14.560 --> 0:57:16.840
<v Speaker 1>has been great, but like we love it.

0:57:17.720 --> 0:57:20.320
<v Speaker 2>We like, don't get a troupe number because I feel

0:57:20.360 --> 0:57:23.000
<v Speaker 2>like we're going to be doing a lot of movies

0:57:23.040 --> 0:57:25.120
<v Speaker 2>and TV shows. Not everything is going to be all

0:57:25.120 --> 0:57:28.360
<v Speaker 2>peachy like this. No, but like when it's good, it's good.

0:57:29.640 --> 0:57:33.360
<v Speaker 1>And this one was great. Yeah, like all of it

0:57:33.480 --> 0:57:38.959
<v Speaker 1>your time lists to me at the sweetest cutest number ever,

0:57:40.640 --> 0:57:41.120
<v Speaker 1>I can't get.

0:57:41.760 --> 0:57:42.560
<v Speaker 2>I can't get enough.

0:57:42.960 --> 0:57:46.920
<v Speaker 1>No, you know, honestly, as for all of these, I

0:57:46.960 --> 0:57:49.360
<v Speaker 1>know and like a special shadow for I know where

0:57:49.360 --> 0:57:53.400
<v Speaker 1>I've been a plus plus plus plus. I can't believe

0:57:53.440 --> 0:57:55.760
<v Speaker 1>it's you know, hairspray. You can't stop. The beat took

0:57:55.840 --> 0:58:00.400
<v Speaker 1>like weeks. I can well, it's just the way that

0:58:00.480 --> 0:58:03.720
<v Speaker 1>we record and shoot and do things. That was like

0:58:04.400 --> 0:58:06.920
<v Speaker 1>in a half a day, and you're like, oh, what

0:58:07.000 --> 0:58:10.120
<v Speaker 1>is it like to have weeks to like do something

0:58:10.160 --> 0:58:12.480
<v Speaker 1>and perfect? Are you sick of it? Are you? It's like,

0:58:12.520 --> 0:58:15.200
<v Speaker 1>don't stop believing that took us, you know, three days

0:58:15.240 --> 0:58:17.560
<v Speaker 1>to do, but like, are you sick of it?

0:58:17.560 --> 0:58:20.120
<v Speaker 2>At that point? We it took us for forever, but

0:58:20.200 --> 0:58:22.360
<v Speaker 2>it was a much shorter sequence. You can't stop the

0:58:22.360 --> 0:58:25.080
<v Speaker 2>beat isn't just the number, there's no like JP said,

0:58:25.080 --> 0:58:28.560
<v Speaker 2>there's a huge scene before and there's a lot going on.

0:58:28.600 --> 0:58:30.400
<v Speaker 2>I mean, how many minutes of the movie is that?

0:58:30.920 --> 0:58:32.160
<v Speaker 1>And also a big part.

0:58:32.600 --> 0:58:37.200
<v Speaker 2>Shankman was shooting this out of this and I mean

0:58:37.200 --> 0:58:39.680
<v Speaker 2>that in a positive way. Yeah, well, like it was

0:58:39.720 --> 0:58:43.040
<v Speaker 2>almost shocking to see. I know where I've been. There's

0:58:43.080 --> 0:58:46.360
<v Speaker 2>probably the simplest number in the entire movie, but they

0:58:46.920 --> 0:58:50.480
<v Speaker 2>go and it's perfect. Yeah, but like that's how intricate

0:58:50.720 --> 0:58:53.640
<v Speaker 2>I think, you know, Shankman was doing it, and it's

0:58:53.680 --> 0:58:55.840
<v Speaker 2>like when we get to Chicago Mulan Rouge, think about

0:58:55.840 --> 0:59:00.120
<v Speaker 2>how intricate those things are. And so I know I

0:59:00.200 --> 0:59:07.520
<v Speaker 2>can without Love a perfect number, truly perfect because talk

0:59:07.560 --> 0:59:13.520
<v Speaker 2>about comedy, the acting, singing, like everything is just wonderful.

0:59:14.520 --> 0:59:18.440
<v Speaker 2>A plus that Without Love is one of the things

0:59:18.440 --> 0:59:23.320
<v Speaker 2>that has always stuck with me. Yeah, I think because

0:59:23.360 --> 0:59:25.960
<v Speaker 2>I just thought, like Amanda Binds especially, I feel like

0:59:25.960 --> 0:59:29.120
<v Speaker 2>it's sort of like her moment to shine, like her

0:59:29.160 --> 0:59:31.920
<v Speaker 2>comedy genius really comes.

0:59:31.720 --> 0:59:34.880
<v Speaker 1>Through there and it's so funny.

0:59:35.480 --> 0:59:37.520
<v Speaker 2>It's also like, you know, it's it's turning point in

0:59:37.520 --> 0:59:42.120
<v Speaker 2>the movie for me or to me where like the

0:59:42.200 --> 0:59:46.720
<v Speaker 2>kids are finally like coupled up like finally doing what

0:59:46.800 --> 0:59:50.080
<v Speaker 2>they set out to do in like a more meaningful way.

0:59:51.680 --> 0:59:55.880
<v Speaker 1>It's cute. Yeah, I loved it.

0:59:57.840 --> 1:00:01.520
<v Speaker 2>Did you like doing you Can't Stop the beat? On Glee?

1:00:02.640 --> 1:00:05.720
<v Speaker 1>Aside from the fact that I could never remember the words,

1:00:05.760 --> 1:00:09.480
<v Speaker 1>like even up until we were recording, like filming on

1:00:09.600 --> 1:00:14.560
<v Speaker 1>the day, like something about those words can will not

1:00:14.680 --> 1:00:18.160
<v Speaker 1>stick for me. But I remember doing that ugly and

1:00:18.200 --> 1:00:25.080
<v Speaker 1>it was so much fun with uh, with the Heather's

1:00:25.120 --> 1:00:28.280
<v Speaker 1>face that she had that character she was doing for Stolets,

1:00:28.320 --> 1:00:32.000
<v Speaker 1>and like, yeah, I had the best time doing that.

1:00:32.040 --> 1:00:33.640
<v Speaker 1>I mean, I don't know that you can sing that

1:00:33.720 --> 1:00:36.480
<v Speaker 1>song and jump up and down and dance to that

1:00:36.600 --> 1:00:38.920
<v Speaker 1>number and not have a good time, do you know

1:00:38.920 --> 1:00:40.720
<v Speaker 1>what I mean? Even if you're like, oh, I hate

1:00:40.720 --> 1:00:42.439
<v Speaker 1>this song, it's kind of like how I felt about

1:00:42.480 --> 1:00:43.760
<v Speaker 1>ABBA for a long time.

1:00:43.840 --> 1:00:45.240
<v Speaker 2>Correct, But.

1:00:46.720 --> 1:00:48.080
<v Speaker 1>Now I'm like, yeah, I.

1:00:50.720 --> 1:00:54.840
<v Speaker 2>Still Yeah, there's like a second hook section that I

1:00:54.880 --> 1:00:55.520
<v Speaker 2>will never know.

1:00:56.960 --> 1:00:59.760
<v Speaker 1>Yeah, no, we'll never know it. I think there was

1:00:59.760 --> 1:01:01.440
<v Speaker 1>a lot of head turning on that one.

1:01:01.600 --> 1:01:04.000
<v Speaker 2>Oh yeah, I was so confident. I was at a

1:01:04.000 --> 1:01:07.160
<v Speaker 2>gay bar a couple of weeks ago, and you know,

1:01:07.200 --> 1:01:10.440
<v Speaker 2>they played like the musical theater things and they played

1:01:10.760 --> 1:01:13.160
<v Speaker 2>that from the movie and I was like, oh, I

1:01:13.200 --> 1:01:15.280
<v Speaker 2>know this one, and I was like, Nope, still don't

1:01:15.320 --> 1:01:17.480
<v Speaker 2>know the same sections. I never know when we shot.

1:01:17.280 --> 1:01:21.920
<v Speaker 1>It, never know it. No, what was he gonna My love?

1:01:22.000 --> 1:01:22.439
<v Speaker 1>Is your Love?

1:01:25.320 --> 1:01:28.880
<v Speaker 2>That one? I know? No, I don't know, but it's

1:01:28.880 --> 1:01:30.600
<v Speaker 2>only because I sang a lot of it.

1:01:30.880 --> 1:01:34.880
<v Speaker 1>Yeah, so I had to you did, Okay, fair enough, Okay,

1:01:34.960 --> 1:01:36.000
<v Speaker 1>let's do some tarty takes.

1:01:36.160 --> 1:01:36.840
<v Speaker 2>Okay, great?

1:01:37.520 --> 1:01:43.680
<v Speaker 1>U Ow, she's I think the you know, the Treval's

1:01:43.760 --> 1:01:46.840
<v Speaker 1>casting was, while it was controversial, I thought what he

1:01:46.880 --> 1:01:49.560
<v Speaker 1>did with the choices he made and what he went

1:01:49.640 --> 1:01:52.640
<v Speaker 1>into doing like I think actually was he was. We

1:01:52.720 --> 1:01:57.920
<v Speaker 1>loved clar but like, you know, the costuming and the

1:01:57.960 --> 1:01:59.800
<v Speaker 1>fat suit of it all and the whole thing, Like

1:01:59.840 --> 1:02:03.720
<v Speaker 1>I think that's not you know, it doesn't still work.

1:02:03.840 --> 1:02:06.880
<v Speaker 1>But yeah, yeah.

1:02:06.600 --> 1:02:11.440
<v Speaker 2>If you can isolate him as an actor.

1:02:11.360 --> 1:02:16.320
<v Speaker 6>As an actor within the movie, great work, Yeah, great work.

1:02:17.560 --> 1:02:25.960
<v Speaker 6>Best dance move Seaweed, Seaweed, Peyton's Place after Midnight, honest.

1:02:26.080 --> 1:02:29.360
<v Speaker 2>Best single dance move I think is Elijah jumping into

1:02:29.360 --> 1:02:31.000
<v Speaker 2>that half split mmmm.

1:02:32.600 --> 1:02:35.280
<v Speaker 1>Yes. And also little and as solo and you can

1:02:35.280 --> 1:02:39.160
<v Speaker 1>stop the beat. Yes, I like teared up when that

1:02:39.600 --> 1:02:40.160
<v Speaker 1>moment came.

1:02:41.160 --> 1:02:46.280
<v Speaker 2>So also like vocals, oh yeah, vocals.

1:02:47.400 --> 1:02:52.520
<v Speaker 1>All the choreography though, like Shankman and and Zach, everybody

1:02:52.600 --> 1:02:53.560
<v Speaker 1>really a plus.

1:02:53.320 --> 1:02:58.040
<v Speaker 2>Place outstanding every it was so clean and nothing looked

1:02:58.960 --> 1:03:02.680
<v Speaker 2>how do I say this respect Actually nothing looked musical

1:03:02.680 --> 1:03:07.360
<v Speaker 2>theater it all. This is my problem. I'm going to

1:03:07.400 --> 1:03:11.680
<v Speaker 2>bring it up as we watch these movies when shows

1:03:11.720 --> 1:03:16.640
<v Speaker 2>don't have a definitive style or like dance language.

1:03:17.000 --> 1:03:17.840
<v Speaker 1>Yeah, yeah, yeah, yeah.

1:03:18.640 --> 1:03:22.560
<v Speaker 2>All of this fit so perfectly within the setting and

1:03:22.600 --> 1:03:25.720
<v Speaker 2>the story and the time period. You don't even notice

1:03:25.760 --> 1:03:28.960
<v Speaker 2>it right, like it's all part of the scenes and

1:03:29.040 --> 1:03:32.600
<v Speaker 2>it works so well, and that I think is usually

1:03:32.640 --> 1:03:35.480
<v Speaker 2>not the case. But that's because Shankman and Zach and

1:03:35.560 --> 1:03:38.720
<v Speaker 2>it are like they're incredible and they have great taste

1:03:38.880 --> 1:03:42.200
<v Speaker 2>and they really understand how to use dance as a.

1:03:42.240 --> 1:03:49.040
<v Speaker 1>Lang story exactly. Best song, you know, I will say

1:03:49.080 --> 1:03:52.919
<v Speaker 1>without Love really now that I yes, is like really good.

1:03:53.000 --> 1:03:55.000
<v Speaker 1>I was thinking about it because like on its own,

1:03:55.080 --> 1:03:57.600
<v Speaker 1>the song alone, like it's a really good song. It

1:03:57.720 --> 1:04:00.880
<v Speaker 1>is also I know where I've been obviously mm hmm.

1:04:01.320 --> 1:04:05.160
<v Speaker 1>And I will say when we when the when when

1:04:05.200 --> 1:04:10.440
<v Speaker 1>the show opened with Good Morning Baltimore. I was like, oh, okay,

1:04:10.880 --> 1:04:14.320
<v Speaker 1>I'm here. I think something about that milk.

1:04:14.520 --> 1:04:17.040
<v Speaker 2>I think good Morning Baltimore and you Can't Stop the

1:04:17.040 --> 1:04:20.600
<v Speaker 2>Beat are like the biggest earworms. Yeah, yeah, yeah, those

1:04:20.640 --> 1:04:27.480
<v Speaker 2>songs will stay in your head for days. But I

1:04:27.520 --> 1:04:30.600
<v Speaker 2>think I'll run until that is probably I know where

1:04:30.600 --> 1:04:31.960
<v Speaker 2>I've been. Are probably my favorite song.

1:04:32.000 --> 1:04:36.120
<v Speaker 1>Okay, fair enough, fair enough? Uh performance by a prop

1:04:37.000 --> 1:04:39.440
<v Speaker 1>Oh my god, there's so many.

1:04:39.840 --> 1:04:41.600
<v Speaker 2>This is gonna be very hard doing movies with this.

1:04:42.120 --> 1:04:43.200
<v Speaker 1>I mean the hairspray.

1:04:45.840 --> 1:04:50.360
<v Speaker 2>I want to ask Shankman about how do you get

1:04:50.400 --> 1:04:54.200
<v Speaker 2>that spray for film? You're like, that's a good spray.

1:04:54.360 --> 1:05:00.640
<v Speaker 2>I feel like it's like, is that just water? Maybe

1:05:00.680 --> 1:05:04.760
<v Speaker 2>they it's a beautiful spray. Yeah, I don't know. That's

1:05:04.800 --> 1:05:05.400
<v Speaker 2>a good question.

1:05:05.520 --> 1:05:12.439
<v Speaker 1>Well say that the giant hairspray bottles were pretty great.

1:05:12.560 --> 1:05:13.280
<v Speaker 1>Oh beautiful.

1:05:13.760 --> 1:05:18.320
<v Speaker 2>Also the yeah, the giant hairspray bottle that Britney snow

1:05:18.400 --> 1:05:20.040
<v Speaker 2>eventually gets caught in.

1:05:20.320 --> 1:05:25.920
<v Speaker 1>Yes, exactly. I think those are great speaks to the movie. Yes,

1:05:26.120 --> 1:05:30.440
<v Speaker 1>or then the show best line.

1:05:31.080 --> 1:05:32.360
<v Speaker 2>I don't know if this is the best line, but

1:05:32.400 --> 1:05:36.240
<v Speaker 2>it's one of my favorites. You see, if I let

1:05:36.240 --> 1:05:38.040
<v Speaker 2>you leave the house right now, you'd be in prison

1:05:38.040 --> 1:05:44.800
<v Speaker 2>fighting horse or cigarettes. That Tracy term but always was

1:05:44.840 --> 1:05:50.640
<v Speaker 2>a bad influence. Well, you never are ever sorry. You

1:05:50.680 --> 1:05:55.400
<v Speaker 2>are never ever gonna see the beehived Harlot again. It's

1:05:55.440 --> 1:05:56.000
<v Speaker 2>so good.

1:05:58.240 --> 1:05:59.040
<v Speaker 1>Oh no.

1:05:59.720 --> 1:06:05.040
<v Speaker 2>I also think Penny says, oh no, and Tracy goes what.

1:06:05.240 --> 1:06:08.440
<v Speaker 2>Thenny goes your hair deflated and Tracy goes, oh, let it.

1:06:08.440 --> 1:06:10.439
<v Speaker 2>It was just a symbol of my conformity to the man.

1:06:10.600 --> 1:06:12.560
<v Speaker 1>Yeah, that was a good fun That was a really

1:06:12.600 --> 1:06:14.680
<v Speaker 1>good one. I also don't know how I'll right this

1:06:14.720 --> 1:06:17.040
<v Speaker 1>one is either, but this is America. Baby, gotta think

1:06:17.080 --> 1:06:20.400
<v Speaker 1>big to be big. Big, ain't the problem in this family?

1:06:20.440 --> 1:06:26.080
<v Speaker 1>Wil b oh Man, Oh god, the show is great,

1:06:26.680 --> 1:06:31.880
<v Speaker 1>right right? Okay? It really is so good? Uh performance

1:06:32.200 --> 1:06:38.920
<v Speaker 1>MVP oh Man. I mean it's gotta be Nicky. She

1:06:39.080 --> 1:06:43.200
<v Speaker 1>carried this She really did with ease. I mean you

1:06:43.200 --> 1:06:43.960
<v Speaker 1>wouldn't even know.

1:06:45.120 --> 1:06:49.000
<v Speaker 2>Social media star Nicky Blonski carried this movie so.

1:06:49.000 --> 1:06:51.919
<v Speaker 1>Good on her shoulders, but I mean shoulders.

1:06:51.960 --> 1:06:54.440
<v Speaker 2>Everyone was incredible. Yeah, truly mean that.

1:06:56.720 --> 1:06:59.560
<v Speaker 1>Okay, Okay, what you got for me? Camon Genta?

1:07:00.280 --> 1:07:04.080
<v Speaker 2>Mmmm we found on TikTok oh No, Yes, Jen I

1:07:04.120 --> 1:07:07.400
<v Speaker 2>get into it, Get into it. It is a shot

1:07:07.480 --> 1:07:16.400
<v Speaker 2>for shot remake, Run Joey Run, Oh my gosh, Corona Films.

1:07:16.400 --> 1:07:18.960
<v Speaker 2>All right, listen, So Jenny doesn't care about Glee, then

1:07:18.960 --> 1:07:21.320
<v Speaker 2>explain why we did this as our film degree project

1:07:21.440 --> 1:07:24.960
<v Speaker 2>and it is a shot for shot Listen.

1:07:25.040 --> 1:07:30.080
<v Speaker 1>I am not one to hate on a good a

1:07:30.120 --> 1:07:35.200
<v Speaker 1>good project, and this the effort was there. They did

1:07:35.240 --> 1:07:38.800
<v Speaker 1>it like good work, you guys, I run jo Anyone

1:07:38.960 --> 1:07:41.520
<v Speaker 1>may not be my cup of tea, but this project

1:07:41.840 --> 1:07:42.960
<v Speaker 1>was unbelievable.

1:07:42.960 --> 1:07:46.680
<v Speaker 2>Look at the when he sits up and Betty the curtain.

1:07:46.560 --> 1:07:52.360
<v Speaker 1>The editing of this all, yeah, it's very good. Kevin,

1:07:52.400 --> 1:07:59.600
<v Speaker 1>guess what our guest Adam Shankman h all You're dying

1:07:59.640 --> 1:08:01.320
<v Speaker 1>clash will be answered.

1:08:01.760 --> 1:08:03.720
<v Speaker 2>I'm so excited me too.

1:08:04.840 --> 1:08:06.240
<v Speaker 1>I guess like I feel like we get to talk

1:08:06.240 --> 1:08:07.800
<v Speaker 1>to him about Glee all the time and stuff, but

1:08:07.880 --> 1:08:09.160
<v Speaker 1>like to be able to talk to him about a

1:08:09.160 --> 1:08:11.560
<v Speaker 1>completely different project is very exciting.

1:08:12.760 --> 1:08:17.120
<v Speaker 2>I also, I'll never mind. I'll save it for the pod.

1:08:17.280 --> 1:08:20.040
<v Speaker 2>All right, Okay.

1:08:19.960 --> 1:08:20.880
<v Speaker 1>Thanks for this.

1:08:20.960 --> 1:08:24.920
<v Speaker 2>Was Hairspray. I loved it so much. Beyond If you

1:08:24.960 --> 1:08:26.479
<v Speaker 2>haven't seen it a long time, or if you've never

1:08:26.479 --> 1:08:29.040
<v Speaker 2>seen it. Please do yourself a favor and go watch

1:08:29.080 --> 1:08:29.880
<v Speaker 2>it immediately.

1:08:30.000 --> 1:08:31.719
<v Speaker 1>I hope this made you want to watch it, because

1:08:32.040 --> 1:08:34.440
<v Speaker 1>I would watch it again absolutely.

1:08:34.560 --> 1:08:36.599
<v Speaker 2>This is now going to be added to my comfort

1:08:36.640 --> 1:08:37.160
<v Speaker 2>movie list.

1:08:37.520 --> 1:08:39.000
<v Speaker 1>Yes, who knew?

1:08:41.200 --> 1:08:44.200
<v Speaker 2>And that's what you really missed. Thanks for listening and

1:08:44.320 --> 1:08:46.960
<v Speaker 2>follow us on Instagram at and that's what you really

1:08:46.960 --> 1:08:49.120
<v Speaker 2>miss pod. Make sure to write us a review and

1:08:49.240 --> 1:08:51.160
<v Speaker 2>leave us five stars. See you next time.