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Speaker 1: What kind of a show you guys putting on here today?

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Speaker 2: You're not interested in armed now?

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Speaker 3: No, look, we're going to do this thing.

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Speaker 2: We're going to have a.

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Speaker 1: Conversation from Chicago. This is film Spotting. I'm Adam Kempinar

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Speaker 1: and I'm Josh Larson. I could go ahead and turn

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Speaker 1: buck into my normal said front now if you like.

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Speaker 1: It's not that different from how you see me already.

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Speaker 3: When Michael Sarah joined the Wes Anderson Players this year

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Speaker 3: in the Phoenician Scheme, there was much rejoicing, as the

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Speaker 3: two had long seem dustined to work together.

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Speaker 1: There may have been a little bit more rejoicing when

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Speaker 1: Leonardo DiCaprio appeared in his first Paul Thomas Anderson film.

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Speaker 1: Of course, One Battle after Another. This week, we'll try

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Speaker 1: to manifest more pairings like that with the top five

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Speaker 1: actor director combos we'd like to see, plus Benny Sapte's

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Speaker 1: The Smashing Machine and more ahead on film Spotting. See

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Speaker 1: what I mean, basically the same person?

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Speaker 4: No, you're different.

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Speaker 1: Welcome to Film Spotting. It's a new movie week, Josh.

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Speaker 1: But one Battle after another does seem to be still

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Speaker 1: dominating the movie conversation at least over in the Film

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Speaker 1: Spotting Family Discord.

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Speaker 3: A lot of chatter there about the movie, for sure.

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Speaker 3: I've also spent time catching up on written reviews, podcasts

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Speaker 3: all about the movie. As you know, I went dark beforehand,

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Speaker 3: and so yeah, now I'm really enjoying getting all the

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Speaker 3: different perspectives, including from among our listeners.

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Speaker 1: I have a lot of catching up to do still myself.

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Speaker 1: But this week we have a PTA adjacent show our

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Speaker 1: top five actor director combos. We'd like to see is

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Speaker 1: inspired by this long awaited pairing I think by a

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Speaker 1: lot of Cinophiles of Paul Thomas Anderson and Leonardo DiCaprio.

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Speaker 1: Later in the show, we will also have some results

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Speaker 1: of the latest deeply flawed film Spotting pole question. We

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Speaker 1: asked our listeners to choose one and only one, Paul

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Speaker 1: Thomas Anderson decade. This was another diabolical producer Sam pull question.

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Speaker 1: I can't wait to see how it comes out because

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Speaker 1: I haven't looked at the results in or how the

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Speaker 1: polling was going in about a week. I don't know

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Speaker 1: how it came out. It was really close.

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Speaker 3: Yeah, can't wait to see the results of this one.

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Speaker 3: A tough one Sam put to us for sure.

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Speaker 1: I will also weigh in on Benny Safd's The Smashing Machine.

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Speaker 1: I went to see that instead of reading all the

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Speaker 1: discourse on one battle after another. I don't know that

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Speaker 1: I made the right choice, but so.

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Speaker 3: Fun out in your review.

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Speaker 1: I guess we will find out. A quick reminder, Film

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Speaker 1: Spotting is now available as a video podcast. If you're

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Speaker 1: a Spotify listener, you get to toggle between seeing our

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Speaker 1: faces or not seeing our faces. Tough choice. You can

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Speaker 1: also watch the show over on YouTube YouTube dot com

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Speaker 1: slash film spotting, and you can find a link to

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Speaker 1: those video episodes by going to filmspotting dot net or

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Speaker 1: you can click on filmspotting dot net slash episodes.

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Speaker 3: Can we measure that somehow on Spotify, like exactly when

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Speaker 3: they toggle away? Like if I'm pulling a certain face

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Speaker 3: you every time? Oh no, I don't need to do that.

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Speaker 1: Yeah, you would think we have analytics for everything, right?

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Speaker 1: Why not that? First up are those actor director combos

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Speaker 1: we'd like to see. We speculated recently here on the

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Speaker 1: show Josh, that we would start with the actors, actors

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Speaker 1: we loved, maybe actors that we really liked to champion

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Speaker 1: here on the show, or maybe they need a little

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Speaker 1: bit more attention, and then we try to find the

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Speaker 1: right temperament in a director to pair with them. Is

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Speaker 1: that how you went about it.

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Speaker 3: Yeah, stuck with that process for sure. For some reason,

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Speaker 3: that led me to have a list mostly of younger actors,

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Speaker 3: so people in the first stages of their career, more

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Speaker 3: possibilities ahead of them, maybe, is what I was thinking about,

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Speaker 3: and imagining those directors who might be able to bring them,

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Speaker 3: in a lot of cases to that next phase. Though

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Speaker 3: I did pick one veteran who's having a moment, but

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Speaker 3: I think could still use that career to lead role,

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Speaker 3: so I think I found the filmmakers who can give

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Speaker 3: it to him.

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Speaker 1: I didn't necessarily think about it in terms of veteran

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Speaker 1: or rookie, though I believe I wanted to lean more

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Speaker 1: towards actors that were younger and that I wanted to

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Speaker 1: see in more films. Maybe needed a little bit more work,

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Speaker 1: Not that they're not working a lot, Josh, but I

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Speaker 1: wanted to see more of them on screen. And as

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Speaker 1: I look at my list, ironically, after saying that I

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Speaker 1: probably only got two young actors, I ended up with three.

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Speaker 1: Three that you would consider vets now you like to

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Speaker 1: give me grief here on the show, because when I

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Speaker 1: do a lot of top fives, even though I'm terrible

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Speaker 1: at math, I end up doing too much math, and

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Speaker 1: I end up with spreadsheets. And here I don't have

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Speaker 1: a spreadsheet, but somehow with my Google doc, I have

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Speaker 1: a row in two columns. What does that mean?

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Speaker 3: I guess. I guess that's not a spreadsheet technically, So

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Speaker 3: you're not technically eating yourself off the spreadsheets. Yes, yeah,

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Speaker 3: so I had a master list. I had a master list,

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Speaker 3: and just who came to mind? Directors I love, actors

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Speaker 3: I love, and then I just started putting them side

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Speaker 3: by side, you know, actors over here, directors over here.

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Speaker 1: And then I thought, okay, who fits? I started playing

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Speaker 1: matchmaker Matchmaker. That was the process, simple as you're at

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Speaker 1: the junior high dance and you're just there's a chaperone,

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Speaker 1: no one's dancing, and you're grabbing hands and saying get

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Speaker 1: out there, and and that's it. Make some magic happen kids, precisely. Now,

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Speaker 1: with that, with that perfect analogy, let's jump in. I

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Speaker 1: want to hear your number five.

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Speaker 3: All right, Let's start with my veteran and that is

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Speaker 3: Beniicio del Toro. Now, the last ten days since I

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Speaker 3: saw one battle after another Adam. Basically, social media clips

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Speaker 3: and memes of him in that film have been my lifeblood.

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Speaker 3: Some days, I think that's all that's keeping me going

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Speaker 3: is seeing another one go by on a feed. I

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Speaker 3: was thinking about those figures of saints, you know that

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Speaker 3: people put on their car dashboards, and I'm hoping that

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Speaker 3: I can find one for Sense Sergio, Saint Carlos. I

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Speaker 3: need you, brother, please, Sence, Sence, Please courage Bob Kurage,

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Speaker 3: I did del Toro in this part? I mean, he's

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Speaker 3: so good he probably doesn't need to do anything more

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Speaker 3: than this to cement his status as one of our

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Speaker 3: current acting treasures. But I do feel like he still

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Speaker 3: needs a leading man movie anchoring turn to really cap

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Speaker 3: his career. And some people who love the Phoenician scheme

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Speaker 3: are saying, did you see the Phoenician Scheme? And yes,

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Speaker 3: I did. As we've discussed on the show, it wasn't

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Speaker 3: the perfect match for me. Just wasn't it. As much

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Speaker 3: as I love Wes Anderson, I also realized that del

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Speaker 3: Toro was given something of this oppera years ago by

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Speaker 3: Steven Soderberg, who made a two part feature film on

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Speaker 3: Shi Guevera titled Shay with del Toro in that title role,

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Speaker 3: and he's very good in it. It's just a very

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Speaker 3: particular type of performance towards a particular goal end goal

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Speaker 3: of those films, and I'm thinking here, what I'm imagining

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Speaker 3: is something more along the lines, ironically enough of what

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Speaker 3: the Royal Tenenbaums was for Gene Hackman courtesy of Wes Anderson.

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Speaker 3: This career topping and reeling in a lot of ways,

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Speaker 3: persona distilling part that was just perfect for him. So

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Speaker 3: when it comes to del Toro, I'm thinking, who can

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Speaker 3: make the best use of his looseness, which is something

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Speaker 3: we talked about with one battle after another, that playfulness,

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Speaker 3: but also his somber center of gravity that he brings

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Speaker 3: to so many parts. Here's my idea. I'm really calling

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Speaker 3: on the movie gods for this one. Adam, Let's get

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Speaker 3: Joel and Ethan Cohen back together. Let's put them in Fargo.

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Speaker 1: Are they currently working? I'm sorry, I've never.

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Speaker 3: Heard of me. You know they're working, Yeah, technically working.

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Speaker 3: I want to get them back together in Fargo mode,

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Speaker 3: and I want them to build a story around Benicio

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Speaker 3: del Toro. I do think there's a model here. Fargo

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Speaker 3: is more of the model, maybe than Francis mcdormand's Marge

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Speaker 3: Gunderson in the movie. I'm thinking more about Fargo's tone.

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Speaker 3: But then the way they used Billy Bob Thornton in

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Speaker 3: The Man Who Wasn't There, which I think is one

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Speaker 3: of their most underrated films. Billy Bob Thornton gives a

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Speaker 3: career best turn there as this morose barber who's haunting

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Speaker 3: his own life. Essentially, I can see del Toro being

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Speaker 3: in that vein in a movie that has the tone

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Speaker 3: of Fargo. So let's get the brothers back together for Benicio.

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Speaker 3: Come on, Okay, we've been waiting.

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Speaker 1: Well long enough. Maybe maybe you'll have to pray on

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Speaker 1: that sense ay, Sir Geo Figurine to get the Cone

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Speaker 1: brothers whatever united, Josh, whatever it takes. I love in

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Speaker 1: this fantasy world. Not only will you get the actor

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Speaker 1: to work with this director, but this director in this

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Speaker 1: case is of the brothers who are no longer working together.

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Speaker 1: Why not? Why not? It's your dream.

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Speaker 3: I can do it all with this list.

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Speaker 1: And I am now hearing in my head and it's

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Speaker 1: it's a beautiful thing, Benicio del Toro saying, you bet,

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Speaker 1: you just like Marge Gunderson. Why not?

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Speaker 3: I don't know if that's exactly what I want?

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Speaker 1: Oh, okay, Also, I think just give me about twenty

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Speaker 1: four hours sense ay. Sergio Figurines now available filmspotting, dot Net,

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Speaker 1: slash Shop.

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Speaker 3: I love it, and especially because I scout.

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Speaker 1: So let's get to my number five, and I'll say

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Speaker 1: that my number five and my number four both are

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Speaker 1: picks that I have a little bit of help from

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Speaker 1: a listener, Justin R in Chicago. We have different picks.

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Speaker 1: But Justin our rode in with two pairings to suggest,

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Speaker 1: and we're just we're just off a little bit in

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Speaker 1: terms of who we want to pair one director and

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Speaker 1: one actor with. But I like the setup here that

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Speaker 1: Justin gives me. So for number five, this is one

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Speaker 1: of Justin's pairings, and it's actually the second one they suggested.

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Speaker 1: So Justin RR says, another interesting combo would be with

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Speaker 1: the Saftie Brothers. Robert Pattinson was a manic beauty in

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Speaker 1: good Time, which was something that we had not seen

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Speaker 1: from him before. So which actor could do an interesting

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Speaker 1: collaboration with the Safties. How about Sam Rockwell, he's played

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Speaker 1: chaotic characters in the past and has done so very well.

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Speaker 1: But what if he was thrown into the chaos of

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Speaker 1: a Safti film. Okay, great choice, in fact might be

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Speaker 1: even better than my number five. I'm taking not the Safties.

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Speaker 1: I'm going with Robert Pattinson, an actor that we have

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Speaker 1: both praised quite a bit here over the years of

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Speaker 1: doing film spotting. And when you think of the Saftes,

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Speaker 1: Justin called him a manic beauty his character in Good Time.

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Speaker 1: You think of the saf D's and that film in particular,

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Speaker 1: you think of intensity, intensity in terms of what they're

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Speaker 1: putting that character uncut gems of course, that Adam Sandler

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Speaker 1: character and others in that film. What they're putting their

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Speaker 1: characters through, for sure, but also what they're putting the

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Speaker 1: audience through that camera, the phrenetic pacing of it, the

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Speaker 1: editing my director really only fits the former. It's about

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Speaker 1: what the character is going through. And maybe even more intensely,

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Speaker 1: I think, Josh, because as we know from talking to

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Speaker 1: the Saftes here on the show, they love their characters.

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Speaker 1: They love all their characters, no matter how bad they

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Speaker 1: seem to be as people, no matter how much pain

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Speaker 1: they seem to be causing themselves or other people, and

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Speaker 1: so so you feel that, you feel that as a viewer,

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Speaker 1: and so you end up kind of rooting for them

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Speaker 1: no matter how bad they seem to be. My director

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Speaker 1: really only tortures his characters, and in some cases some

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Speaker 1: would say his audiences too. Whether or not we root

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Speaker 1: for them, whether or not there's any opportunity for redemption

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Speaker 1: with these characters, that's really kind of up for debate.

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Speaker 1: My director is Martin McDonough and with Robert Pattinson, Josh,

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Speaker 1: we know, we know he can play tortured. We have

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Speaker 1: seen it. That character in Good Time isn't just manic,

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Speaker 1: he is also a tortured character. But we see that

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Speaker 1: to some extent in Cosmopolis, we see it in Clardony's

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Speaker 1: High Life. We see it in Mickey seventeen, where not

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Speaker 1: only he's a goofy character, but he's tortured literally, he's

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Speaker 1: tortured figuratively as well. And the Batman, which every time

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Speaker 1: I think about The Batman, I hear Ben Folds in

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Speaker 1: my head saying he's all dressed up like the Cure,

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Speaker 1: which he is that entire film. He's just for me,

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Speaker 1: one of those actors who obviously has movie star looks

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Speaker 1: and doesn't want to just get by on those, isn't

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Speaker 1: interested in being that movie star. He clearly issues that,

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Speaker 1: and he turns every role into a character role. And

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Speaker 1: yet I never feel as if he's being overly self

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Speaker 1: conscious about it, or he's being overly mannered about how

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Speaker 1: he's approaching that role. And so when I envision this,

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Speaker 1: I envision him in one of these McDonough movies, just

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Speaker 1: completely bedraggled, and he's I don't know, he's been on

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Speaker 1: a bender for seven days. The shirt is unbuttoned barely

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Speaker 1: on him. He hasn't shaved. He's probably kneeling down in

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Speaker 1: a church pew, and who knows, he probably smells bad.

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Speaker 1: Two we get that sense, you know, wafting from the screen.

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Speaker 1: He's getting dirty looks from other church goers. He's in

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Speaker 1: full on bad lieutenant mode, basically. But it's Robert Pattinson,

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Speaker 1: and this movie's got a mordant wit, and I want

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Speaker 1: to see it. Robert Pattinson in a Martin McDonough film.

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Speaker 3: I mean, you've got the treatment, You're halfway to a treatment.

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Speaker 3: There for the two of them. I like it. Guess

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Speaker 3: I think you like McDonough a little bit more than me.

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Speaker 3: But when you think of something about like the Banshees

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Speaker 3: of An A Sharon, which I liked quite a bit,

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Speaker 3: I can see the match working.

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Speaker 1: So yeah, yeah, And I do want to acknowledge before

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Speaker 1: someone says, Adam, how could you not have pointed this out?

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Speaker 1: Sam Rockwell, of course, not only in Three Billboards, but

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Speaker 1: in Seven Psychopaths, a regular collaborator of Martin McDonough's, so

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Speaker 1: just works out. Coincidentally there that that was Justin R's

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Speaker 1: choice to work with the Stafti's again, I love that.

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Speaker 1: I love that pairing as well, But Robert Pattinson and

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Speaker 1: McDonough is my choice. I can't wait to hear your

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Speaker 1: number four, Josh.

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Speaker 3: All right, the actor I'm going to play matchmaker for

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Speaker 3: is Aaron Pierre. Now. He starred in Jeremy Sonier's rebel Ridge,

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Speaker 3: which was this smart little action thriller that showed Pierre

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Speaker 3: had had the chops to be a major major star.

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Speaker 3: He played there, this former marine who confronts a corrupt

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Speaker 3: small town police chief played by Don Johnson. Four two

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Speaker 3: days ago, I've never really been in a street fight. Well,

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Speaker 3: I've been in plenty. Yeah, I can feel it from you.

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Speaker 3: He's got a we can agree on that. What if

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Speaker 3: we just walk away?

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Speaker 2: Well, now you're starting to talk it out like that.

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Speaker 3: Pierre is just electric in rebel Ridge. We also appreciated

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Speaker 3: him Adam among the ensemble cast of Barry Jenkins miniseries

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Speaker 3: The Underground Railroad. We talked about that on the show.

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Speaker 3: He has a small part there, but really this mesmerizing presence.

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Speaker 3: Now we're fans of Jeremy Sonier here on the show.

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Speaker 3: Blue Ruin won our Golden Brick Award in twenty fourteen.

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Speaker 3: If you have not seen rebel Ridge yet, catch up

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Speaker 3: with it on Netflix. But I still will like to

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Speaker 3: get Pierre paired up with someone who's worked on the

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Speaker 3: biggest sort of canvas with the biggest stars and made

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Speaker 3: them shine. So let's go as big as you can

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Speaker 3: get and pair him with the director who has worked

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Speaker 3: with maybe the biggest star of all time, Tom Cruise.

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Speaker 3: I would love to pair Aaron Pierre with Christopher McCrory

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Speaker 3: in a non mission impossible properly, I.

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Speaker 1: Wondered if you were casting kim iss Ethan Hunt which

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Speaker 1: you know I would take.

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Speaker 3: I think we've done enough of that. I soured on

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Speaker 3: the last two Mission Impossible installments, but before that, and

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Speaker 3: a big reason I'm thinking of this pairing is because

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Speaker 3: before that the series was really probably our most reliable

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Speaker 3: delivery device for big screen thrills anchored by star power

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Speaker 3: that we've had I don't know, maybe the past decade

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Speaker 3: or so. Yeah, definitely not asking for another Mission Impossible film,

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Speaker 3: but something original in that vein with Pierre at the

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Speaker 3: center Macquarie directing. That sounds pretty good to me.

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Speaker 1: It does, and I will confess I strongly considered Aaron

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Speaker 1: Pierre just just based on those eyes, those hazel eyes,

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Speaker 1: they're they're the best eyes in the business possible, and

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Speaker 1: I wanted to find a fit and and my matchmaker

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Speaker 1: skills they just they just failed me for some reason.

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Speaker 1: And maybe it's because I didn't think about the the obvious,

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Speaker 1: and I don't mean that in a bad way. I

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Speaker 1: didn't think about he was so good in that action role,

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Speaker 1: why not just put him in a bigger action role.

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Speaker 1: It makes so much sense, Josh.

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Speaker 3: That's what unlocked it for me. I mean, we've had

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Speaker 3: our eye on him for a while, but yeah, seeing

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Speaker 3: him in Rebel Ridge. It doesn't mean it's the only

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Speaker 3: thing he has to always do, but man, that would

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Speaker 3: be a that would be a really exciting next step

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Speaker 3: for him.

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Speaker 1: Yeah, so you did. You did give the stamp of

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Speaker 1: approval to my number five, which I appreciate. I think

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Speaker 1: you're really gonna go for my number four. And I

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Speaker 1: had this director in mind because she was a Golden

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Speaker 1: Brick nominated director. The film was Saint Maud, her debut,

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Speaker 1: and then her follow up, Love Lies Bleeding, I believe

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Speaker 1: was my number seven film, Number seven or eight film

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Speaker 1: of twenty twenty four. So you know, I am a

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Speaker 1: fan of director Rose Glass. And I go back to

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Speaker 1: Justin R. From Chicago, who wrote in and said Rose

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Speaker 1: Glass is proving herself to have a strong vision and

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Speaker 1: voice over her first two films as director. Saint Maud

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Speaker 1: and Love Lies Bleeding both have strong female leads across

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Speaker 1: two different genres. How wonderful would it be to see

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Speaker 1: another female powerhouse lead in the next Rose Glass film,

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Speaker 1: namely Kirsten Dunst. She could bring whimsy and wait, power

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Speaker 1: and grace. Yes here again, Justin are I'm on board

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Speaker 1: with Kirsten Dunst. I'm on board with Kirsten dunt in anything,

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Speaker 1: but of course working with Rose Glass as well. And

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Speaker 1: I like this he's distinguishing there as I'll get to

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Speaker 1: more in a moment. There's there's so much grimness, there's

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Speaker 1: so much that's that's morose in love lies bleeding that

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Speaker 1: it's tempting to think of it almost like a horror film,

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Speaker 1: even though it's not. It's more of a thriller really,

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Speaker 1: yea more of a neo noir than it is a

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Speaker 1: horror film. But you know, so she has made two

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Speaker 1: different kind of films. But when I when I had

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Speaker 1: her in mind as a director and I was trying

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Speaker 1: to think of who would be that that great actor

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Speaker 1: or actress to pair with her. The name that came

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Speaker 1: to mind someone we recently talked about on the show

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Speaker 1: and joked, but we meant it someone we basically wouldn't

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Speaker 1: mind if she was just in every movie it's Keiky Palmer,

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Speaker 1: so hear me out. It's it's tempting to pare them

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Speaker 1: together and say say, well, Palmer can take Glass to

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Speaker 1: a different level and a level that maybe she's already

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Speaker 1: trending towards, which is more comedic, or at least slightly lighter. Now,

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Speaker 1: I don't know that I consider Love Lies of Leading

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Speaker 1: to be comedic, though there are more comedic. Though there

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Speaker 1: certainly are some absurdly comedic moments. There are moments or

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Speaker 1: images that you may laugh at in the film. I

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Speaker 1: would say that it's less kitchen sink oppressive than Saint Maud.

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Speaker 1: And it's more fantastical for sure, which then makes it

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Speaker 1: feel lighter, I suppose, But in many ways it might

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Speaker 1: be just as grim or more grim. And we also

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Speaker 1: know that Palmer, going back to your Aaron Pierre choice,

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Speaker 1: we know that Palmer can play comedy and has already

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Speaker 1: merged comedy and horror with Nope. So I feel like

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Speaker 1: this this could work. But I say, let's get grim,

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Speaker 1: Let's get dark. Let's see what happens when we try

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Speaker 1: to subdue some of Palmer's manic energy. Going back to

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Speaker 1: what Justin said about Robert Pattinson in Good Time, that

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Speaker 1: cleaglight level charisma that Keiki Palmer has. Let's see what

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Speaker 1: happens when we take it down a notch. I have

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Speaker 1: no doubt that she will still jump off the screen.

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Speaker 1: I will say I may have screwed up though, with

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Speaker 1: his choice by not pairing her with another director who's

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Speaker 1: going to come up on my list, Because with that

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Speaker 1: charisma and that voice that she has as a singer,

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Speaker 1: and just her overall level of talent, how do I

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Speaker 1: not have Keiki Palmer making a musical? Nevertheless, Yeah, that

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Speaker 1: sounds pretty good too. Yeah, nevertheless, For now, she's making

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Speaker 1: a horror movie with Rose Glass, and it's absolutely going

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Speaker 1: to melt all of our faces.

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Speaker 4: All right, let's get into some safety precautions while we're

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Speaker 4: on set. Show number one, please refrain from making any

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Speaker 4: loud noise and sudden movements, and keep your cell phones off.

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Speaker 4: We'd really appreciate that too. If you see anything that

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Speaker 4: looks or feels unsafe, contact me, oh Ja, or your

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Speaker 4: second in chain of command. And three, let's have a

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Speaker 4: great shoot. And I'm Emerald Heywood. I direct, write, produce, act,

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Speaker 4: I do a little singing motorcycles. Baby, Look, I make

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Speaker 4: a meat girl cheese. If you look for crafty, just

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Speaker 4: high l me.

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Speaker 3: All right, I'm open to it, I'll say that. And

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Speaker 3: here's the reason. Not only because it just sounds plainly

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Speaker 3: quite intriguing in terms of an experiment, but you know,

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Speaker 3: Kiky Palmer. If going back to when she was a

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Speaker 3: young actor, like you know, tween teen actor, things like

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Speaker 3: Aquila and the Bee and even a movie you know,

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Speaker 3: I had forgotten existed, The long Shots. We're talking like

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Speaker 3: two thousand and six for Aquila and the Bee, and

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Speaker 3: The long Shots was two thousand and eight. The interesting

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Speaker 3: thing is she as a child actor has like a

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Speaker 3: rooted authenticity in both of those roles. That's probably the

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Speaker 3: best thing in both movies, but also is very different

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Speaker 3: from the persona that we think of her now, and

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Speaker 3: which is which is you know, so entertaining and smart

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Speaker 3: and quick witted. So I think there's there is a

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Speaker 3: wide range there, I guess, is what I'm saying, if

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Speaker 3: you look back over the course of her career, and

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Speaker 3: so why not be in a horror movie like the

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Speaker 3: one you're describing. I think it probably. I think it

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Speaker 3: probably could work.

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Speaker 1: If it's a case where you're saying, it feels a

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Speaker 1: little bit like it requires that wide range because it's

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Speaker 1: very much going against the type of character she's played before.

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Speaker 1: And I will admit I'm familiar with those roles, but

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Speaker 1: I haven't seen those early performances. So I'm I don't

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Speaker 1: I don't have any anything to go off of there

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Speaker 1: or to to jextapose this vision that I have in

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Speaker 1: my head against Right, if you're saying it's going against

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Speaker 1: a certain type, that's That's exactly why I'm doing it.

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Speaker 1: I want to see I want to see what would

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Speaker 1: happen with her in a role like this that that

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Speaker 1: requires just her to flex a few different muscles. Because

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Speaker 1: I'm not saying she she does the same thing every performance,

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Speaker 1: but I am showing these these roles call on her

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Speaker 1: to do something that she's shown she's particularly adept at,

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Speaker 1: and I want to see something just a little different.

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Speaker 3: Yeah, that's the fun of these lists too, like we

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Speaker 3: part of them are perfect matches and part of them

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Speaker 3: are throwing up challenges, right, is like, you know pretty

427
00:24:48,359 --> 00:24:51,040
Speaker 3: sure you could probably do this. I'd love to see

428
00:24:51,080 --> 00:24:54,360
Speaker 3: you try, so, Yeah, all right. At number three, I'm

429
00:24:54,359 --> 00:24:56,800
Speaker 3: going to go probably back to, you know, thinking more

430
00:24:56,840 --> 00:25:00,520
Speaker 3: of of like the match of things we've so seen

431
00:25:00,600 --> 00:25:03,199
Speaker 3: before on a director's part and an actress part, and

432
00:25:03,240 --> 00:25:07,040
Speaker 3: bringing them together. The actor is Lily Gladstone, who has

433
00:25:07,280 --> 00:25:10,040
Speaker 3: you know, put in stellar work for Kelly Reichert in

434
00:25:10,160 --> 00:25:13,600
Speaker 3: certain women and first Kyle. I've also appreciated her in

435
00:25:13,640 --> 00:25:16,560
Speaker 3: the series Reservation Dogs. She made a very small film

436
00:25:16,560 --> 00:25:19,439
Speaker 3: that she's quite good in called Fancy Dance, and of

437
00:25:19,480 --> 00:25:22,240
Speaker 3: course she broke out, broke out on an oscar level.

438
00:25:22,640 --> 00:25:26,320
Speaker 3: With Martin Scorsese's Killers of the Flower Moon from last year,

439
00:25:26,400 --> 00:25:31,320
Speaker 3: she was nominated but didn't win as Best Actress. There,

440
00:25:31,440 --> 00:25:36,600
Speaker 3: she played the osage wife of Leonardo DiCaprio's manipulated and

441
00:25:36,720 --> 00:25:40,280
Speaker 3: manipulating a World War One veteran. When it comes to

442
00:25:40,320 --> 00:25:43,240
Speaker 3: their work in that movie, I always think of the

443
00:25:43,280 --> 00:25:47,240
Speaker 3: scene where a storm has blown in. They're together in

444
00:25:47,280 --> 00:25:51,440
Speaker 3: this house and she encourages him. He's kind of this nervous,

445
00:25:51,680 --> 00:25:54,439
Speaker 3: conniving guy, and she just encourages him to be still

446
00:25:54,960 --> 00:25:56,439
Speaker 3: in the midst of a blowing storm.

447
00:25:57,119 --> 00:25:57,560
Speaker 2: Storm.

448
00:25:57,680 --> 00:26:01,960
Speaker 5: It's a.

449
00:26:01,880 --> 00:26:06,200
Speaker 4: Well, it's powerful, so we need to be quiet for

450
00:26:06,240 --> 00:26:16,520
Speaker 4: a while. It's good for the crops, that's for sure.

451
00:26:16,640 --> 00:26:17,560
Speaker 5: Just be still.

452
00:26:19,119 --> 00:26:24,200
Speaker 3: Gladstone has a serenity to her, for sure, but she

453
00:26:24,400 --> 00:26:26,320
Speaker 3: also has and you can see it in Killers of

454
00:26:26,320 --> 00:26:28,199
Speaker 3: the Flower Moon. She has this sense of humor that

455
00:26:28,240 --> 00:26:31,959
Speaker 3: catches you off guard because you don't expect that coming

456
00:26:32,080 --> 00:26:35,520
Speaker 3: from this serene presence. And so I wanted to find

457
00:26:35,520 --> 00:26:41,439
Speaker 3: a filmmaker who could foreground that lightness, maybe push in

458
00:26:41,480 --> 00:26:45,000
Speaker 3: that direction a little bit more without losing the rootedness,

459
00:26:45,960 --> 00:26:51,160
Speaker 3: and I thought of Jim Jarmush. I'm thinking Jim Jarmoush,

460
00:26:51,520 --> 00:26:55,800
Speaker 3: not in full blown early deadpan mode, so not like

461
00:26:55,880 --> 00:27:00,879
Speaker 3: Stranger than Paradise, but more of something like twenty sixteen Patterson.

462
00:27:01,119 --> 00:27:05,719
Speaker 3: This was his ode to everyday contentment. It starred Adam

463
00:27:05,800 --> 00:27:11,240
Speaker 3: Driver as a bus driver who also writes poetry. Patterson

464
00:27:11,320 --> 00:27:16,240
Speaker 3: had this wry contemplativeness to it that I think Gladstone

465
00:27:16,880 --> 00:27:22,560
Speaker 3: would be just perfect for now. Jarmush is interesting because

466
00:27:22,560 --> 00:27:25,600
Speaker 3: he also made Dead Man many years ago, and it's

467
00:27:25,600 --> 00:27:28,840
Speaker 3: interesting to think of dead Man within the context of Gladstone.

468
00:27:28,880 --> 00:27:31,920
Speaker 3: It featured Johnny Depp as a man on the run

469
00:27:31,960 --> 00:27:35,119
Speaker 3: in the American West who follows a Native American figure

470
00:27:35,160 --> 00:27:38,399
Speaker 3: on this this spiritual journey. I have not seen Dead Man,

471
00:27:38,800 --> 00:27:41,000
Speaker 3: which I loved when it came out in nineteen ninety five.

472
00:27:41,160 --> 00:27:44,280
Speaker 3: I've not seen it since. There's a good chance there's

473
00:27:44,280 --> 00:27:48,400
Speaker 3: something in there Gladstone would take rightful issue with, possibly,

474
00:27:48,480 --> 00:27:51,640
Speaker 3: you know, given her her background. I don't know, maybe

475
00:27:51,640 --> 00:27:54,159
Speaker 3: there's something in there that she would click with and

476
00:27:54,280 --> 00:27:56,960
Speaker 3: want to, you know, pursue with Jarmush. I do think

477
00:27:57,200 --> 00:28:00,240
Speaker 3: just in terms of artistic sensibilities, though I can see

478
00:28:00,680 --> 00:28:04,040
Speaker 3: Lily Gladstone and Jim Jarmish doing something really special together.

479
00:28:05,040 --> 00:28:08,720
Speaker 1: This is your most imaginative pick yet. I mean, I

480
00:28:08,760 --> 00:28:11,760
Speaker 1: know we're only on your third pick, but I think

481
00:28:11,800 --> 00:28:16,240
Speaker 1: you could have given me about two thousand chances to

482
00:28:16,400 --> 00:28:19,080
Speaker 1: guess one of your choices and I would have never

483
00:28:19,240 --> 00:28:23,439
Speaker 1: landed on Lily Gladstone in Jim Jarmish and I love it.

484
00:28:23,480 --> 00:28:26,399
Speaker 1: I certainly can't can't argue with it, and now I

485
00:28:26,520 --> 00:28:28,720
Speaker 1: want I want to see this film.

486
00:28:28,960 --> 00:28:31,120
Speaker 3: Yeah, you can't remember the process how I got there.

487
00:28:31,119 --> 00:28:33,200
Speaker 3: To be honest with you, I mean, you know he's

488
00:28:33,240 --> 00:28:35,639
Speaker 3: He's back in our minds because his recent film did

489
00:28:35,640 --> 00:28:37,840
Speaker 3: well at Venice Film Fest. Maybe that was it could

490
00:28:37,840 --> 00:28:38,320
Speaker 3: have just been that.

491
00:28:39,360 --> 00:28:43,920
Speaker 1: So I'm back with another match as well in terms

492
00:28:43,920 --> 00:28:47,280
Speaker 1: of I think sensibility, and I want to say I

493
00:28:47,320 --> 00:28:52,800
Speaker 1: think the Colin Farrell Koganada collaboration has been a fruitful

494
00:28:52,840 --> 00:28:57,080
Speaker 1: one with After Yang and a big, bold, beautiful journey.

495
00:28:57,120 --> 00:29:01,400
Speaker 1: But maybe we could talk Koganada into trying out a

496
00:29:01,440 --> 00:29:08,000
Speaker 1: different dark haired incredibly handsome Irish actor, and that would

497
00:29:08,000 --> 00:29:12,120
Speaker 1: be Andrew Scott, who I'm just gonna throw out there.

498
00:29:12,360 --> 00:29:18,240
Speaker 1: Andrew Scott. Is he, pound for pound our best actor

499
00:29:18,920 --> 00:29:22,680
Speaker 1: right now when we consider stage as well. And I

500
00:29:22,760 --> 00:29:25,000
Speaker 1: use that phrase pound for pound like they used to

501
00:29:25,080 --> 00:29:27,920
Speaker 1: throw around all the time and maybe still do in boxing.

502
00:29:27,960 --> 00:29:30,440
Speaker 1: Because you know, I'm not a tall man, Josh, but

503
00:29:30,480 --> 00:29:33,840
Speaker 1: I am taller. I am taller than Andrew Scott. And

504
00:29:33,920 --> 00:29:37,320
Speaker 1: I'm laughing only because I was thinking about this earlier

505
00:29:37,360 --> 00:29:40,520
Speaker 1: today in relation to Andrew Scott, and it's a it's

506
00:29:40,560 --> 00:29:43,160
Speaker 1: a meme now, but I remember when it came out,

507
00:29:43,520 --> 00:29:47,160
Speaker 1: the tweet that's got like twenty one million likes or something,

508
00:29:47,440 --> 00:29:49,360
Speaker 1: and it still makes me laugh every time I think

509
00:29:49,400 --> 00:29:52,160
Speaker 1: about it. I don't know if you've seen it's it's

510
00:29:52,280 --> 00:29:57,800
Speaker 1: a picture of Andrew Scott, Paul Meskal, Jonathan Bailey, and

511
00:29:58,400 --> 00:30:02,400
Speaker 1: Matt Bolmer, just the the way they're positioned in the shot,

512
00:30:03,200 --> 00:30:06,120
Speaker 1: the way they're dressed, the way the clothes fit them,

513
00:30:06,360 --> 00:30:14,120
Speaker 1: and the size of the men. The caption says the

514
00:30:14,160 --> 00:30:18,280
Speaker 1: Hobbits when the Shire got a Zara, and it's hilarious

515
00:30:18,760 --> 00:30:22,000
Speaker 1: because that's exactly what it looks like. It looks like

516
00:30:22,120 --> 00:30:24,960
Speaker 1: the Hobbits just you know, the Shire just got a Zara.

517
00:30:25,080 --> 00:30:29,200
Speaker 1: It just it couldn't be. It's it's worth Twitter was

518
00:30:29,240 --> 00:30:33,640
Speaker 1: worth it just for that, well right, just for just

519
00:30:33,680 --> 00:30:37,360
Speaker 1: for a tweet like that. And I had to at

520
00:30:37,400 --> 00:30:40,000
Speaker 1: least throw that out there because I think, I think

521
00:30:40,040 --> 00:30:43,560
Speaker 1: Andrew Scott is that good and he gave my favorite

522
00:30:43,600 --> 00:30:46,320
Speaker 1: lead performance of twenty twenty three and All of Us Strangers,

523
00:30:46,680 --> 00:30:50,600
Speaker 1: and no, I didn't conceive this pairing because Farrell and

524
00:30:50,640 --> 00:30:54,040
Speaker 1: Scott are both hunky irishmen, so I thought, why not

525
00:30:54,400 --> 00:30:58,520
Speaker 1: just take his place? It's because in part of the

526
00:30:58,600 --> 00:31:03,080
Speaker 1: connections between All of Us Strangers and Coganauta's work, as

527
00:31:03,120 --> 00:31:05,840
Speaker 1: we discussed a couple of shows ago, when we were

528
00:31:06,360 --> 00:31:13,160
Speaker 1: recommending a big, bold, beautiful journey, generational tension between fathers

529
00:31:13,200 --> 00:31:16,600
Speaker 1: and sons, mainly and sons trying to come to terms

530
00:31:16,640 --> 00:31:19,120
Speaker 1: with their identity. And I know people listening, a lot

531
00:31:19,120 --> 00:31:21,520
Speaker 1: of people unfortunately didn't see All of Us Strangers, but

532
00:31:21,640 --> 00:31:23,920
Speaker 1: trust me, if you didn't, that's very much what the

533
00:31:23,960 --> 00:31:27,160
Speaker 1: film's about. Even what I said about Koganata inviting his

534
00:31:27,320 --> 00:31:31,440
Speaker 1: characters to rediscover the familiar with fresh eyes in Strangers

535
00:31:31,960 --> 00:31:35,960
Speaker 1: Andrew Scott's character Adam is opening up doors to his past,

536
00:31:36,200 --> 00:31:39,160
Speaker 1: the literal doors to the home of his childhood, and

537
00:31:39,240 --> 00:31:42,400
Speaker 1: he's interacting with his father and mother.

538
00:31:42,800 --> 00:31:46,000
Speaker 3: Christ do you know who you remind me of? Who

539
00:31:48,640 --> 00:31:50,000
Speaker 3: you look just like my dad?

540
00:31:51,880 --> 00:31:55,920
Speaker 4: Goody hmm, I remember it many men when I was

541
00:31:55,960 --> 00:31:56,520
Speaker 4: a little girl.

542
00:31:58,320 --> 00:31:59,080
Speaker 6: What isn't that.

543
00:31:59,120 --> 00:32:05,960
Speaker 1: Matt's sight seeing you both excectly the same time, But

544
00:32:06,800 --> 00:32:10,880
Speaker 1: really what it is is the heightened sensitivity that they

545
00:32:10,920 --> 00:32:15,080
Speaker 1: both display. Coganata as a filmmaker Andrew Scott as an actor.

546
00:32:15,080 --> 00:32:19,000
Speaker 1: I've talked about Coganata as a maker of quiet cinema.

547
00:32:19,040 --> 00:32:21,600
Speaker 1: It doesn't mean there's an absence of drama or there's

548
00:32:21,600 --> 00:32:25,320
Speaker 1: an absence of stakes, but the volume with his movies

549
00:32:25,560 --> 00:32:31,479
Speaker 1: always stays relatively low throughout his films. Characters don't shout,

550
00:32:31,800 --> 00:32:36,400
Speaker 1: characters don't have to shout, the situations don't have to

551
00:32:36,400 --> 00:32:40,640
Speaker 1: be conventionally angsty or violent. And when I think of

552
00:32:40,680 --> 00:32:47,280
Speaker 1: an actor who matches that quiet intensity, that subtle power,

553
00:32:47,960 --> 00:32:52,920
Speaker 1: someone who does really understand speaking of the stage, how

554
00:32:52,960 --> 00:32:56,080
Speaker 1: to transfer what you do on the stage to the

555
00:32:56,080 --> 00:33:00,160
Speaker 1: screen and acting for the camera and how to bring

556
00:33:00,240 --> 00:33:05,400
Speaker 1: it down, it's Andrew it's Andrew Scott, and he's he's

557
00:33:05,480 --> 00:33:09,160
Speaker 1: checking off a couple of potential dream pairings for me

558
00:33:09,760 --> 00:33:13,680
Speaker 1: this fall, separate from Koganata. He's in Blue Moon, So

559
00:33:13,760 --> 00:33:16,600
Speaker 1: Andrew Scott's working with Richard link Later, one of my favorites.

560
00:33:17,000 --> 00:33:21,000
Speaker 1: And he's also working with Ryan Johnson. He's in Knives Out,

561
00:33:21,160 --> 00:33:24,479
Speaker 1: Wake Up dead Man. But I want to see him

562
00:33:24,520 --> 00:33:26,640
Speaker 1: potentially in a Koganata film.

563
00:33:28,160 --> 00:33:30,480
Speaker 3: Yeah, I have not seen enough of Andrew Scott to

564
00:33:31,040 --> 00:33:34,640
Speaker 3: make that bold claim about your best actor working today.

565
00:33:34,640 --> 00:33:37,719
Speaker 3: But I have seen all of us Strangers, which everything

566
00:33:37,760 --> 00:33:40,040
Speaker 3: you said a spot on about his performance there, and

567
00:33:40,080 --> 00:33:42,600
Speaker 3: it is a wonderful film if people haven't caught up

568
00:33:42,600 --> 00:33:44,160
Speaker 3: with it. And yeah, I think you're right about that

569
00:33:44,200 --> 00:33:48,680
Speaker 3: matching of sensibilities that that you know quietness but inner

570
00:33:48,760 --> 00:33:52,480
Speaker 3: drama that is still churning that you can detect. They do.

571
00:33:52,640 --> 00:33:55,200
Speaker 3: They do share that in common, one as actor, one

572
00:33:55,200 --> 00:33:59,640
Speaker 3: as filmmaker. All Right, my number two uh praised a

573
00:33:59,680 --> 00:34:02,280
Speaker 3: lot on the show here and there. When I get

574
00:34:02,280 --> 00:34:05,200
Speaker 3: the chance, Iowa Debris. I think one of our most

575
00:34:05,200 --> 00:34:08,719
Speaker 3: exciting young talents right now. And I still need to

576
00:34:08,760 --> 00:34:11,880
Speaker 3: catch up with this year's opus. I haven't heard great

577
00:34:11,880 --> 00:34:15,200
Speaker 3: things about that one, but I'm still curious to see

578
00:34:15,239 --> 00:34:18,640
Speaker 3: her in it. And I can testify to her years

579
00:34:18,680 --> 00:34:22,880
Speaker 3: of stellar work, which is more dramatic than comic, on

580
00:34:23,120 --> 00:34:27,640
Speaker 3: the series The Bear, and of course we did spend

581
00:34:27,680 --> 00:34:33,200
Speaker 3: time on this. She absolutely crushed the semi improvisational comedy

582
00:34:33,600 --> 00:34:36,720
Speaker 3: of Bottoms, where she starred opposite Rachel Sennett.

583
00:34:37,120 --> 00:34:42,920
Speaker 4: You're just still You're skinny too as well. I'm Josie

584
00:34:42,920 --> 00:34:45,760
Speaker 4: by the way, good evening. Yeah, you're skinny.

585
00:34:45,800 --> 00:34:47,960
Speaker 1: You're real skinny, many, aren't you.

586
00:34:47,960 --> 00:34:51,040
Speaker 3: You probably should eat and send you to the hospital.

587
00:34:51,080 --> 00:34:54,399
Speaker 4: How skinny you are? Oh, oh, call the doctor, skinny girl.

588
00:34:54,480 --> 00:34:58,960
Speaker 3: I see now in terms of where a talent like

589
00:34:59,000 --> 00:35:02,600
Speaker 3: a Debris can go now, especially one who is maybe

590
00:35:02,640 --> 00:35:06,960
Speaker 3: known mostly for comedy but has shown dramatic chops dramatic potential.

591
00:35:07,120 --> 00:35:10,600
Speaker 3: Usually the path then is go the dramatic route, right

592
00:35:10,719 --> 00:35:14,600
Speaker 3: is now get serious. That's where you get awards, that

593
00:35:14,640 --> 00:35:17,239
Speaker 3: sort of stuff. And again a Debris's work on The

594
00:35:17,239 --> 00:35:19,000
Speaker 3: Bear is shown she can do that. That's great, She's

595
00:35:19,040 --> 00:35:23,400
Speaker 3: fully capable. I'd be excited to see her in any drama,

596
00:35:23,600 --> 00:35:27,960
Speaker 3: but she's such a comic genius that I don't want

597
00:35:28,000 --> 00:35:32,040
Speaker 3: to see her leave that fully behind. So my director

598
00:35:32,320 --> 00:35:36,600
Speaker 3: is someone who has proven themselves in comedy importantly, I

599
00:35:36,640 --> 00:35:41,840
Speaker 3: think proven themselves in really smart comedy, and that's Janixa Bravo.

600
00:35:42,719 --> 00:35:46,799
Speaker 3: Bravo made Lemon. That was her feature debut at Sundance,

601
00:35:46,880 --> 00:35:49,880
Speaker 3: and I liked it well enough. It showed promise. But

602
00:35:50,000 --> 00:35:53,600
Speaker 3: her follow up was Sola, and Zola made my Top

603
00:35:53,640 --> 00:35:57,080
Speaker 3: ten list of twenty twenty one. This was the wild

604
00:35:57,560 --> 00:36:01,640
Speaker 3: quote unquote adaptation of a Twitter thread that detailed this

605
00:36:01,800 --> 00:36:05,360
Speaker 3: trip to Tampa that a waitress slash stripper made with

606
00:36:05,400 --> 00:36:09,279
Speaker 3: another dancer she just met and two random men. It's

607
00:36:09,320 --> 00:36:16,520
Speaker 3: a lot, It's very funny. It's the sort of fast motion,

608
00:36:16,920 --> 00:36:21,360
Speaker 3: quick thinking, intelligent, observational comedy that I think a Debris

609
00:36:21,400 --> 00:36:27,680
Speaker 3: could do really well. And I promise you, Adam, I

610
00:36:27,719 --> 00:36:32,000
Speaker 3: thought of this pairing, had it down, put some notes together,

611
00:36:32,280 --> 00:36:34,640
Speaker 3: and then thought, you know, I got I got to

612
00:36:34,680 --> 00:36:37,759
Speaker 3: check the credits for all of them, just to make

613
00:36:37,760 --> 00:36:39,959
Speaker 3: sure if there's anything there I want to I want

614
00:36:39,960 --> 00:36:43,080
Speaker 3: to bring up. And sure enough I saw that Bravo

615
00:36:43,880 --> 00:36:46,480
Speaker 3: not only directed an episode of The Bear in its

616
00:36:46,480 --> 00:36:50,399
Speaker 3: most recent season, but she directed worms for listeners who

617
00:36:50,440 --> 00:36:54,720
Speaker 3: watched The Bear, which was A debris Sydney. Her character

618
00:36:54,960 --> 00:36:57,359
Speaker 3: was the main focus of it. In fact, adbris co

619
00:36:57,400 --> 00:36:59,160
Speaker 3: wrote that episode and to my mind, it was the

620
00:36:59,160 --> 00:37:02,160
Speaker 3: best episode of the scene. So so yeah, there's there's

621
00:37:02,200 --> 00:37:06,000
Speaker 3: just more more evidence that their sensibilities match. I'd love

622
00:37:06,040 --> 00:37:09,719
Speaker 3: to see them do a feature film together at some point.

623
00:37:09,920 --> 00:37:13,520
Speaker 1: And that was season three. This last season, yeah, I

624
00:37:13,520 --> 00:37:14,560
Speaker 1: think I think it's at four.

625
00:37:14,680 --> 00:37:17,360
Speaker 3: I think it might be four now, maybe four season

626
00:37:17,400 --> 00:37:18,480
Speaker 3: four episode.

627
00:37:19,560 --> 00:37:23,400
Speaker 1: Okay, I think I am two seasons behind. I devoured

628
00:37:23,719 --> 00:37:27,719
Speaker 1: one and two and then somehow got behind and I

629
00:37:27,800 --> 00:37:28,920
Speaker 1: need to do some catching up.

630
00:37:29,040 --> 00:37:31,000
Speaker 3: You know what. You could easily just jump ahead to

631
00:37:31,040 --> 00:37:33,600
Speaker 3: Worms and yeah, I mean I'm a fan of the show,

632
00:37:33,640 --> 00:37:36,520
Speaker 3: but there's there's a little there's some treading water we've

633
00:37:36,560 --> 00:37:39,319
Speaker 3: been doing. Let me just say that. So if you've

634
00:37:39,320 --> 00:37:43,160
Speaker 3: gotten that far, you could probably even watch Worms alone

635
00:37:43,160 --> 00:37:44,719
Speaker 3: and appreciate it. M hm.

636
00:37:45,239 --> 00:37:50,320
Speaker 1: Well, the director who's part of my number two pairing,

637
00:37:51,320 --> 00:37:54,279
Speaker 1: this will make sense, hopefully, This is the director who

638
00:37:54,320 --> 00:37:57,000
Speaker 1: I was thinking about who maybe I should have paired

639
00:37:57,360 --> 00:38:03,080
Speaker 1: with Kee Palmer to do the musical, Greta Gerwig. Greta

640
00:38:03,160 --> 00:38:07,399
Speaker 1: Gerwig has directed three movies. My adoration for the first

641
00:38:07,400 --> 00:38:10,520
Speaker 1: two has been well documented here on the show, in

642
00:38:10,640 --> 00:38:14,400
Speaker 1: case you weren't sure whether or not she's been focused

643
00:38:14,960 --> 00:38:18,000
Speaker 1: to date on telling female centered stories. The first one

644
00:38:18,040 --> 00:38:21,239
Speaker 1: has lady in the title, the second has women in

645
00:38:21,280 --> 00:38:24,640
Speaker 1: the title, and the third one is called Barbie Greta.

646
00:38:25,200 --> 00:38:29,560
Speaker 1: If you're listening, Hi, I really don't need you to

647
00:38:29,680 --> 00:38:33,279
Speaker 1: make a movie about a dude, but if you do,

648
00:38:35,400 --> 00:38:41,399
Speaker 1: I want it to star Josh O'Connor. Now I might

649
00:38:41,440 --> 00:38:44,560
Speaker 1: have had I might have had Josh O'Connor and Kelly

650
00:38:44,560 --> 00:38:47,719
Speaker 1: Reikert in this slot. Kelly Reikert one of our best

651
00:38:47,800 --> 00:38:52,359
Speaker 1: directors who also predominantly tell stories about women. But we're

652
00:38:52,360 --> 00:38:55,560
Speaker 1: gonna get to see that pairing soon. The Mastermind comes

653
00:38:55,560 --> 00:38:58,760
Speaker 1: out this month, and I was looking at some stills

654
00:38:59,000 --> 00:39:02,839
Speaker 1: from The Mastermind preparing for this list. It's set in

655
00:39:02,920 --> 00:39:05,680
Speaker 1: the seventies, I think actually nineteen seventy, and he's a

656
00:39:05,680 --> 00:39:09,279
Speaker 1: little scruffy Josh, but he's still looking pretty sexy. And

657
00:39:09,320 --> 00:39:13,960
Speaker 1: I realize this guy is Warren freaking Baby. But if

658
00:39:14,000 --> 00:39:17,640
Speaker 1: Warren Baty trained at the Bristol Old Vic Theater School

659
00:39:17,880 --> 00:39:21,920
Speaker 1: and was in Royal Shakespeare Company productions, he can play Romeo.

660
00:39:22,760 --> 00:39:26,320
Speaker 1: But just as easily play the kind of dim American

661
00:39:26,400 --> 00:39:30,000
Speaker 1: womanizer that he plays in Challengers, and he can play

662
00:39:30,000 --> 00:39:33,840
Speaker 1: Prince Charles. I didn't watch The Crown, but I watched

663
00:39:34,080 --> 00:39:38,439
Speaker 1: some scenes from The Crown, and his ability to make

664
00:39:38,480 --> 00:39:45,560
Speaker 1: me feel total contempt and revulsion and sympathy, sometimes within

665
00:39:45,680 --> 00:39:50,759
Speaker 1: the same sentence. Playing someone who would appear to have

666
00:39:51,440 --> 00:39:57,160
Speaker 1: as much humanity as my toaster is remarkable. You barely

667
00:39:57,200 --> 00:39:59,680
Speaker 1: find it in yourselves to hug your own I hug.

668
00:39:59,480 --> 00:40:04,080
Speaker 2: Who I want to, I hug who I love, particularly

669
00:40:04,239 --> 00:40:06,680
Speaker 2: when they are affected by the selfishness about there's any

670
00:40:06,719 --> 00:40:07,239
Speaker 2: tearing up.

671
00:40:07,280 --> 00:40:11,600
Speaker 1: Who are you referring to Camilla? Why would I care

672
00:40:11,680 --> 00:40:12,239
Speaker 1: about her?

673
00:40:12,400 --> 00:40:17,840
Speaker 2: Because I care about her morning, noon, and nights.

674
00:40:17,880 --> 00:40:23,879
Speaker 1: I care about her, and you've hurt her. There's an

675
00:40:24,000 --> 00:40:28,840
Speaker 1: aerudition to him that just seems like part of his

676
00:40:28,840 --> 00:40:35,000
Speaker 1: his persona that that is so appropriate. Here's another match

677
00:40:35,360 --> 00:40:40,840
Speaker 1: for Gerwig's sophisticated sensibility. But it works because it doesn't

678
00:40:40,880 --> 00:40:43,560
Speaker 1: come at the expense of emotion, and I think there's

679
00:40:43,600 --> 00:40:47,080
Speaker 1: a lack of pretension to both of them. There's an

680
00:40:47,120 --> 00:40:51,280
Speaker 1: affability to both of them that goes with that air audition,

681
00:40:51,800 --> 00:40:55,120
Speaker 1: and that comes through in their work anyway, I'm only

682
00:40:55,160 --> 00:40:57,080
Speaker 1: referring to their work, though, of course I've seen some

683
00:40:57,200 --> 00:40:59,880
Speaker 1: interviews with both of them, and that affability also come

684
00:41:00,160 --> 00:41:03,439
Speaker 1: through there. Here's another case where I might have said,

685
00:41:03,520 --> 00:41:06,360
Speaker 1: Josh O'Connor and Ryan Johnson is a pairing i'd like

686
00:41:06,400 --> 00:41:08,360
Speaker 1: to see. But I get to see Josh O'Connor with

687
00:41:08,440 --> 00:41:12,080
Speaker 1: Andrew Scott in a Ryan Johnson film in Knives Out,

688
00:41:12,200 --> 00:41:15,359
Speaker 1: Wake Up Dead Man. So Greta Gerwig was a lock

689
00:41:15,480 --> 00:41:18,040
Speaker 1: for this list. It was just a matter of what

690
00:41:18,719 --> 00:41:22,200
Speaker 1: actor or actress did I want to see work with her,

691
00:41:22,360 --> 00:41:25,480
Speaker 1: and Josh O'Connor ended up being the guy that I

692
00:41:26,160 --> 00:41:28,880
Speaker 1: felt the best about.

693
00:41:29,320 --> 00:41:33,960
Speaker 3: You've got me tantalized by the Keiki Palmer Greta Gerwig musical.

694
00:41:34,320 --> 00:41:37,680
Speaker 3: I'll just say that. But at the same time, let's

695
00:41:37,760 --> 00:41:41,680
Speaker 3: keep the Josh O'Connor love going because I thought this

696
00:41:41,760 --> 00:41:43,560
Speaker 3: might have happen to him. I want to see him

697
00:41:43,560 --> 00:41:45,600
Speaker 3: paired with anyone. As a matter of fact, it's my

698
00:41:45,719 --> 00:41:49,879
Speaker 3: number one choice here. He is the actor I went with,

699
00:41:50,239 --> 00:41:54,000
Speaker 3: and I will I'll put off the director just just

700
00:41:54,040 --> 00:41:57,400
Speaker 3: a little bit here, talk a little bit more about O'Connor,

701
00:41:57,440 --> 00:42:01,200
Speaker 3: because I think for my list at least he's probably

702
00:42:01,360 --> 00:42:04,200
Speaker 3: aside from del Toro. Of course, the newcomers, the relatively

703
00:42:04,239 --> 00:42:07,720
Speaker 3: new actors proven the most. As you said, Prince Charles

704
00:42:07,760 --> 00:42:11,880
Speaker 3: on the Crown. Totally same experience, Adam. When when Debbie

705
00:42:11,880 --> 00:42:15,200
Speaker 3: and I were watching that is like, here was my attitude?

706
00:42:15,280 --> 00:42:20,040
Speaker 3: Is man, what sucker got stuck playing Charles? Yeah? And

707
00:42:20,080 --> 00:42:25,319
Speaker 3: then you're like, oh, Charles is interesting, Like I want

708
00:42:25,360 --> 00:42:29,120
Speaker 3: to know about his life and his story, and the

709
00:42:29,160 --> 00:42:31,000
Speaker 3: writing had some of that to do with that, but

710
00:42:31,080 --> 00:42:34,760
Speaker 3: it was O'Connor absolutely. You know, he popped in Autumn

711
00:42:34,840 --> 00:42:37,759
Speaker 3: Dwild's Emma where he played mister Elton's that's the one

712
00:42:37,840 --> 00:42:42,200
Speaker 3: with Annya Taylor Joy. Yes, incredible and Challengers. I still,

713
00:42:42,480 --> 00:42:44,560
Speaker 3: you know here, I'm gonna come off as a fake fan.

714
00:42:44,680 --> 00:42:47,160
Speaker 3: I haven't seen Black Time Era yet, though I know

715
00:42:47,280 --> 00:42:51,200
Speaker 3: people love him in that. I did see recently History

716
00:42:51,239 --> 00:42:55,440
Speaker 3: of Sound largely because of him. I praised it largely

717
00:42:55,480 --> 00:42:58,640
Speaker 3: because of him. That is the recent period picture where

718
00:42:58,719 --> 00:43:03,120
Speaker 3: he stars opposite Paul Mescal and like Mescal, Josh O'Connor

719
00:43:03,120 --> 00:43:04,160
Speaker 3: even sings.

720
00:43:04,480 --> 00:43:12,760
Speaker 2: Oh who is this? That it my grain and will

721
00:43:13,640 --> 00:43:18,759
Speaker 2: not less melee.

722
00:43:19,120 --> 00:43:22,799
Speaker 3: So you mentioned the titles coming up for him The

723
00:43:22,840 --> 00:43:25,840
Speaker 3: Mastermind with Kelly Reikert Wake Up dead Man for Ryan Johnson.

724
00:43:25,840 --> 00:43:31,640
Speaker 3: O'Connor is in both of those, and I think, probably

725
00:43:31,640 --> 00:43:35,320
Speaker 3: what I'm waiting for, and maybe he's done it and

726
00:43:35,360 --> 00:43:38,040
Speaker 3: I haven't seen it, haven't seen everything he's done. But again,

727
00:43:38,280 --> 00:43:44,960
Speaker 3: is this knockout lead performance in the movie anchored around him?

728
00:43:45,000 --> 00:43:47,759
Speaker 3: Maybe Mastermind will be that I might have I might

729
00:43:47,800 --> 00:43:51,600
Speaker 3: have leaned towards Reikert as a person to pair him with. Actually,

730
00:43:51,640 --> 00:43:54,640
Speaker 3: if I didn't know, they were already working together. So

731
00:43:55,000 --> 00:44:01,680
Speaker 3: I'm thinking along these lines and intrigued by the wig possibility,

732
00:44:01,800 --> 00:44:05,360
Speaker 3: I think that could work out great. I went with

733
00:44:05,560 --> 00:44:12,680
Speaker 3: Jane Campion. That make another director known primarily but not exclusively,

734
00:44:13,280 --> 00:44:17,759
Speaker 3: for telling stories about women featuring women as main characters. Intriguingly,

735
00:44:18,000 --> 00:44:21,279
Speaker 3: I think the film that made me think about her

736
00:44:21,560 --> 00:44:25,440
Speaker 3: for O'Connor was her most recent one, which was anchored

737
00:44:26,080 --> 00:44:29,120
Speaker 3: around I would say, a male character, and that was

738
00:44:29,160 --> 00:44:33,000
Speaker 3: the power of the doc bet a Dick Cumberbatch playing

739
00:44:33,239 --> 00:44:35,440
Speaker 3: the main role. There the Power of the Dog my

740
00:44:35,560 --> 00:44:39,480
Speaker 3: number one film of twenty twenty one. And there's no reason, Adam,

741
00:44:39,840 --> 00:44:42,680
Speaker 3: that needs to be Jane Campion Swansong. I mean it

742
00:44:42,680 --> 00:44:45,279
Speaker 3: would be a great film to you know, sort of

743
00:44:45,360 --> 00:44:48,680
Speaker 3: do other things after or retire. But you know what

744
00:44:48,719 --> 00:44:52,440
Speaker 3: would be greater, get another grand work from Jane Campion,

745
00:44:52,520 --> 00:44:55,800
Speaker 3: one anchored as so many of her movies are around

746
00:44:55,840 --> 00:44:59,840
Speaker 3: a great performance. And I can I can easily imagine

747
00:44:59,880 --> 00:45:01,520
Speaker 3: just think about the power of the dog and the

748
00:45:01,560 --> 00:45:04,200
Speaker 3: way you were even describing some of O'Connor's work at him.

749
00:45:04,440 --> 00:45:07,200
Speaker 3: Can't you see him being just as good as Bennett

750
00:45:07,239 --> 00:45:08,040
Speaker 3: Cumberbatch was.

751
00:45:09,560 --> 00:45:14,879
Speaker 1: Yeah, even ambiguity and physically they're similar too, so it's

752
00:45:14,920 --> 00:45:18,560
Speaker 1: an easy fit to slide them in in your imagination. Yeah,

753
00:45:18,680 --> 00:45:20,439
Speaker 1: I think he would have worked really well there. I'm

754
00:45:20,440 --> 00:45:25,239
Speaker 1: sure Champion could put those qualities to good use in

755
00:45:25,280 --> 00:45:28,880
Speaker 1: another story. So my number one dream pairing Josh O'Connor

756
00:45:29,000 --> 00:45:32,239
Speaker 1: and Jane Campion, Okay, I would. I would definitely buy

757
00:45:32,239 --> 00:45:36,360
Speaker 1: a ticket for that as well. Let's hope that both

758
00:45:36,360 --> 00:45:40,359
Speaker 1: of our pairings come to fruition my number one. So

759
00:45:40,640 --> 00:45:43,280
Speaker 1: here's the thing with our top fives, all top fives,

760
00:45:43,280 --> 00:45:48,680
Speaker 1: not just this one. We're always trying to be idiosyncratic. Otherwise,

761
00:45:49,080 --> 00:45:51,360
Speaker 1: what's the point. There's no point to a top five

762
00:45:51,760 --> 00:45:56,480
Speaker 1: if we're trying to hit some kind of right answer

763
00:45:56,680 --> 00:46:04,000
Speaker 1: or some kind of prescribed choice. But maybe, and occasionally

764
00:46:04,040 --> 00:46:08,799
Speaker 1: this is true, sometimes there might just be a right answer, Josh.

765
00:46:08,840 --> 00:46:12,440
Speaker 1: And part of engaging in this little fantasy that this

766
00:46:12,640 --> 00:46:17,799
Speaker 1: is this entire exercise. Maybe we are manifesting. Maybe we

767
00:46:17,960 --> 00:46:23,040
Speaker 1: can manifest maybe we can help make this happen. And

768
00:46:23,440 --> 00:46:28,360
Speaker 1: my number one, it turns out, could very likely happen.

769
00:46:28,640 --> 00:46:31,760
Speaker 1: I didn't know this when I put it down on paper,

770
00:46:32,480 --> 00:46:35,799
Speaker 1: but then I started googling because I thought, well, wait,

771
00:46:36,440 --> 00:46:42,200
Speaker 1: this seems likely. Has this been talked about? And sure enough,

772
00:46:43,520 --> 00:46:48,400
Speaker 1: it could happen because these two giants are currently circling

773
00:46:48,480 --> 00:46:50,520
Speaker 1: each other. Now, of course, we know how things work

774
00:46:50,560 --> 00:46:53,040
Speaker 1: in the movie business. This does not mean it will happen.

775
00:46:53,600 --> 00:46:56,120
Speaker 1: It's not a lock. No one has agreed to anything.

776
00:46:56,320 --> 00:47:00,000
Speaker 1: They're not even talking about an exact or specific project

777
00:47:00,400 --> 00:47:04,640
Speaker 1: at this point, but they have talked about each other.

778
00:47:06,160 --> 00:47:10,839
Speaker 1: Who are they? They are Denzel Washington and the man

779
00:47:10,880 --> 00:47:17,680
Speaker 1: who partly inspired this top five, Paul Thomas Anderson. Paul

780
00:47:17,719 --> 00:47:22,760
Speaker 1: Thomas Anderson has probably earned the mantle of my favorite,

781
00:47:22,920 --> 00:47:27,560
Speaker 1: both my favorite and best American filmmaker not named Martin Scorsese.

782
00:47:28,000 --> 00:47:31,360
Speaker 1: And when you look at the list of the great

783
00:47:31,400 --> 00:47:35,200
Speaker 1: American actors he's worked with, but also just the great

784
00:47:35,239 --> 00:47:37,960
Speaker 1: American actors at least of the last twenty five to

785
00:47:38,080 --> 00:47:41,759
Speaker 1: thirty five years, Josh. They are the names that comprised

786
00:47:42,000 --> 00:47:44,960
Speaker 1: most of our picks when we did that draft of

787
00:47:45,000 --> 00:47:47,920
Speaker 1: the best actors of the last twenty five years. Philim

788
00:47:47,960 --> 00:47:55,400
Speaker 1: Seymour Hoffman, Joquin Phoenix, Daniel day Lewis, now Leonardo DiCaprio.

789
00:47:55,520 --> 00:47:58,880
Speaker 1: Who hasn't he worked with? From that list. The actor

790
00:47:58,920 --> 00:48:02,240
Speaker 1: that I took before DiCaprio when we did that draft,

791
00:48:02,560 --> 00:48:06,959
Speaker 1: Denzel Washington. I said, this very well could happen. Not surprisingly. Yeah,

792
00:48:06,960 --> 00:48:10,400
Speaker 1: they're on the record as wanting to work together. Washington

793
00:48:10,520 --> 00:48:13,200
Speaker 1: was asked in an interview last November when he was

794
00:48:13,239 --> 00:48:16,960
Speaker 1: promoting Gladiator two who he still wants to work with

795
00:48:17,160 --> 00:48:21,440
Speaker 1: before he retires, and he said this, I'm only interested

796
00:48:21,440 --> 00:48:24,280
Speaker 1: in working with the best. So I got Ryan Coogler,

797
00:48:24,360 --> 00:48:26,879
Speaker 1: I've been talking with, talked with him last night, had

798
00:48:26,880 --> 00:48:30,520
Speaker 1: a two hour conversation with Steve McQueen. Had a great conversation,

799
00:48:30,880 --> 00:48:33,279
Speaker 1: but I'm not making a film with him yet. With

800
00:48:33,400 --> 00:48:37,000
Speaker 1: Paul Thomas Anderson, that's the level I'm talking about. People

801
00:48:37,000 --> 00:48:42,359
Speaker 1: that inspire me. Pta just last month was asked about

802
00:48:42,400 --> 00:48:46,000
Speaker 1: the actors he's dying to work with, and he said, Denzel,

803
00:48:46,600 --> 00:48:50,120
Speaker 1: there's a white whale right there. The power, the scale

804
00:48:50,160 --> 00:48:53,480
Speaker 1: of his movie star power and range. That's very exciting

805
00:48:53,520 --> 00:48:56,080
Speaker 1: to think about working with. He then added one more name,

806
00:48:56,120 --> 00:48:59,600
Speaker 1: and it's an actress, no one who's been mentioned so far.

807
00:49:00,000 --> 00:49:01,440
Speaker 1: I won't ask you to guess, because I don't think

808
00:49:01,440 --> 00:49:03,040
Speaker 1: in a million years you'd come up with it. But

809
00:49:03,160 --> 00:49:05,680
Speaker 1: it will make sense when you hear it. The second

810
00:49:05,760 --> 00:49:08,040
Speaker 1: name he mentioned was Olivia Coleman.

811
00:49:09,040 --> 00:49:11,000
Speaker 3: Oh gosh, yeah, how.

812
00:49:10,840 --> 00:49:13,840
Speaker 1: Good would that be? Olivia Coleswerless.

813
00:49:14,200 --> 00:49:15,440
Speaker 3: Yeah, yeah, he's.

814
00:49:15,280 --> 00:49:20,239
Speaker 1: Right, but Denzel, Yes, they both know it. They both

815
00:49:20,360 --> 00:49:23,080
Speaker 1: know that they need to work together. We all know

816
00:49:23,600 --> 00:49:25,480
Speaker 1: that they need to work together. I don't know how

817
00:49:25,560 --> 00:49:31,280
Speaker 1: Pta finishes telling whenever he finishes telling it, this crazy

818
00:49:31,280 --> 00:49:35,040
Speaker 1: American experience without harnessing that force, the force that is

819
00:49:35,080 --> 00:49:41,359
Speaker 1: Denzel Washington. Nobody questions his gravitas. But something we talked

820
00:49:41,360 --> 00:49:44,640
Speaker 1: about with one battle after another, and you use the

821
00:49:44,719 --> 00:49:48,319
Speaker 1: right word, the puncturing that Paul Thomas Anderson likes to do,

822
00:49:48,719 --> 00:49:52,000
Speaker 1: and that absurd sandbox that he likes to always play

823
00:49:52,040 --> 00:49:55,359
Speaker 1: in I'm not suggesting that Denzel had anything to prove

824
00:49:55,480 --> 00:49:58,879
Speaker 1: to us at at this point when Gladiator two came out,

825
00:49:59,000 --> 00:50:02,480
Speaker 1: especially because I think he's always shown a wicked sense

826
00:50:02,480 --> 00:50:05,680
Speaker 1: of humor or this year with highest to lowest, but

827
00:50:05,840 --> 00:50:10,439
Speaker 1: certainly after Gladiator two and highest to Lois this year,

828
00:50:11,200 --> 00:50:16,120
Speaker 1: his playfulness, his willingness to take risks, cannot be questioned.

829
00:50:16,360 --> 00:50:19,040
Speaker 3: You wish loyalty.

830
00:50:19,560 --> 00:50:20,400
Speaker 1: I own.

831
00:50:22,680 --> 00:50:26,279
Speaker 3: Your house. I want your loyalty.

832
00:50:26,840 --> 00:50:30,040
Speaker 1: With age, I feel like he's only gotten bolder. He

833
00:50:30,760 --> 00:50:34,520
Speaker 1: hasn't retreated inward. He hasn't gotten safer at all, as

834
00:50:34,520 --> 00:50:38,040
Speaker 1: he's about to turn or maybe has recently turned seventy.

835
00:50:38,440 --> 00:50:40,879
Speaker 1: And I also I want to be fair to this

836
00:50:41,640 --> 00:50:45,040
Speaker 1: esteemed actor because when I reference Gladiator too, I think

837
00:50:45,840 --> 00:50:49,600
Speaker 1: we all what comes to mind are the scenery chewing

838
00:50:49,920 --> 00:50:54,120
Speaker 1: scenes or how bizarre he acts in some moments, and

839
00:50:54,160 --> 00:50:58,160
Speaker 1: there are big moments. That's some of the playfulness and

840
00:50:58,160 --> 00:51:00,799
Speaker 1: the risk taking that I'm referring to. But I'm also

841
00:51:00,960 --> 00:51:04,600
Speaker 1: thinking of the subtle weight that he gives scenes, that

842
00:51:04,719 --> 00:51:07,960
Speaker 1: gravitas that he brings to scenes like the one in

843
00:51:08,000 --> 00:51:11,680
Speaker 1: the depths of the Colosseum Josh when he dispels for

844
00:51:12,120 --> 00:51:17,320
Speaker 1: Paul Meskal's Lucius, the myth of the Dream of Rome.

845
00:51:17,600 --> 00:51:22,560
Speaker 2: The greatest Temple, Rome of a builds the Colosseum because

846
00:51:22,560 --> 00:51:25,080
Speaker 2: this is what they believe in power.

847
00:51:25,920 --> 00:51:29,040
Speaker 3: They go either here to watch the strong strike down

848
00:51:29,040 --> 00:51:31,160
Speaker 3: that there has to be something else. There is nothing else.

849
00:51:31,239 --> 00:51:32,600
Speaker 1: It has to be another rogue.

850
00:51:32,600 --> 00:51:37,919
Speaker 3: There is no other room. The dream, the Dream of Rome.

851
00:51:39,040 --> 00:51:40,480
Speaker 3: It's an old man's fantasy.

852
00:51:41,840 --> 00:51:47,080
Speaker 1: That's just classic Denzel Washington, who is barely raising his

853
00:51:47,200 --> 00:51:50,319
Speaker 1: voice above a whisper in that scene, and he is

854
00:51:50,560 --> 00:51:54,960
Speaker 1: crushing the spirit of Mescal's character in that scene. We

855
00:51:55,080 --> 00:51:58,040
Speaker 1: deserve this. We as a people, we as a nation.

856
00:51:59,120 --> 00:52:03,120
Speaker 1: We deserve Denzel Washington and Paul Thomas Anderson making a

857
00:52:03,160 --> 00:52:05,800
Speaker 1: film together. We need it.

858
00:52:05,800 --> 00:52:11,680
Speaker 3: It's a compelling thought experiment because I would place Denzel,

859
00:52:11,960 --> 00:52:15,000
Speaker 3: you know, if there's if there's the trajectory from star

860
00:52:15,080 --> 00:52:18,239
Speaker 3: to actor, which isn't entirely fair, but let's just say

861
00:52:18,239 --> 00:52:22,040
Speaker 3: that's a continuum, I would place Denzel more towards Starr,

862
00:52:22,400 --> 00:52:24,920
Speaker 3: and I would play someone like Daniel d Lewis Mortward's actor.

863
00:52:25,719 --> 00:52:29,440
Speaker 3: Yet I can see Denzel Washington. It would be a

864
00:52:29,520 --> 00:52:35,000
Speaker 3: very different experience, but crushing the role of Daniel Plainview

865
00:52:35,400 --> 00:52:38,799
Speaker 3: and there will be blood, and that speaks to like

866
00:52:38,880 --> 00:52:43,560
Speaker 3: the American story aspect, right that that I think Denzel

867
00:52:43,600 --> 00:52:45,960
Speaker 3: Washington is capable and in a lot of his films

868
00:52:45,960 --> 00:52:50,160
Speaker 3: has been investigating, and that there will be blood absolutely investigates.

869
00:52:50,160 --> 00:52:53,520
Speaker 3: But there's the stature and the power that that role

870
00:52:53,600 --> 00:52:56,759
Speaker 3: requires Denzel has. That doesn't mean their pairing would look

871
00:52:56,800 --> 00:53:00,520
Speaker 3: like that. It might look like something more the lines

872
00:53:00,520 --> 00:53:03,759
Speaker 3: of what you were referencing with the lightness and the absurdity.

873
00:53:03,800 --> 00:53:06,200
Speaker 3: It could absolutely go that direction too, But there's a

874
00:53:06,200 --> 00:53:09,399
Speaker 3: lot of absurdity in Daniel Plainview. But yeah, I think

875
00:53:11,400 --> 00:53:14,920
Speaker 3: I think this could work. So the variety, the variety

876
00:53:15,000 --> 00:53:17,760
Speaker 3: term they're circling each other, huh, that's that's exciting.

877
00:53:18,480 --> 00:53:21,120
Speaker 1: Yeah, And I think we have to acknowledge going back

878
00:53:21,200 --> 00:53:24,160
Speaker 1: to where we started at the very beginning of this show,

879
00:53:24,280 --> 00:53:26,600
Speaker 1: you mentioned Daniel Plainview, and I don't know if you

880
00:53:26,680 --> 00:53:32,040
Speaker 1: were specifically speaking of that character or a character like that. Obviously,

881
00:53:32,080 --> 00:53:34,480
Speaker 1: Denzel Washington, he wouldn't play it the same way as

882
00:53:34,520 --> 00:53:36,840
Speaker 1: Daniel da Lewis, But he can play a character. He

883
00:53:36,840 --> 00:53:39,719
Speaker 1: could play a character of that stature. He couldn't play

884
00:53:39,800 --> 00:53:44,560
Speaker 1: Daniel plainview, because as a black man, he couldn't play character, right.

885
00:53:45,719 --> 00:53:49,319
Speaker 1: But that's that's where I'm going with this in light

886
00:53:49,400 --> 00:53:53,160
Speaker 1: of the discourse around one Battle after another Denzel Washington

887
00:53:53,239 --> 00:53:55,880
Speaker 1: playing the lead character in a Paul Thomas Anderson movie

888
00:53:55,920 --> 00:53:58,960
Speaker 1: begs the question of what would that Paul Thomas Anderson movie.

889
00:53:59,000 --> 00:54:02,120
Speaker 1: It's the story, what would the story be? I'm talking

890
00:54:02,160 --> 00:54:05,000
Speaker 1: about the American experience. I think Paul Thomas Anderson is

891
00:54:05,040 --> 00:54:08,759
Speaker 1: one of our great chroniclers in any medium of the

892
00:54:08,800 --> 00:54:12,600
Speaker 1: American experience, and he tells it in an expansive way

893
00:54:12,680 --> 00:54:15,480
Speaker 1: because of the periods that he covers. But he is

894
00:54:15,600 --> 00:54:20,200
Speaker 1: very clearly not even though he is touching on it

895
00:54:20,360 --> 00:54:23,360
Speaker 1: in one battle after another, He's very clearly not telling

896
00:54:23,440 --> 00:54:28,960
Speaker 1: the black American experience. And what might that be? Would

897
00:54:29,000 --> 00:54:33,839
Speaker 1: it be that if he cast Denzel Washington in his

898
00:54:34,000 --> 00:54:37,480
Speaker 1: next movie? That would be? That would be that would

899
00:54:37,520 --> 00:54:40,560
Speaker 1: have to be part of the speculation if if we

900
00:54:40,560 --> 00:54:44,840
Speaker 1: were really bringing this fantasy to life, and I suppose

901
00:54:44,880 --> 00:54:46,680
Speaker 1: I would like to see that, But that would also

902
00:54:47,200 --> 00:54:49,799
Speaker 1: that would also raise all sorts of interesting questions about

903
00:54:49,800 --> 00:54:53,360
Speaker 1: whether or not he has the right to write and

904
00:54:53,400 --> 00:54:55,959
Speaker 1: direct story. Yeah, I mean whether or not we want

905
00:54:56,000 --> 00:54:57,439
Speaker 1: to see that story from him.

906
00:54:58,160 --> 00:55:00,279
Speaker 3: Yeah, then you're talking about you're going to have to

907
00:55:00,320 --> 00:55:05,239
Speaker 3: bring in other collaborators as well to make it a

908
00:55:05,280 --> 00:55:08,680
Speaker 3: story that can meet the demands, that can make it

909
00:55:08,680 --> 00:55:13,359
Speaker 3: a movie that meet the demands of that sort of story.

910
00:55:13,400 --> 00:55:16,880
Speaker 1: Do you have any honorable mentions or any other picks

911
00:55:16,920 --> 00:55:19,120
Speaker 1: that you'd like to throw in, josh.

912
00:55:19,040 --> 00:55:22,840
Speaker 3: You know, for my honorable mentions, it's mostly the actors

913
00:55:22,920 --> 00:55:24,880
Speaker 3: that I wanted to get to, though I did not

914
00:55:25,000 --> 00:55:27,560
Speaker 3: have Olivia Coleman, and your mention of her makes me

915
00:55:27,600 --> 00:55:30,200
Speaker 3: think she should have maybe been one of my five.

916
00:55:30,800 --> 00:55:33,360
Speaker 3: So I was thinking of the likes of Dev Patel,

917
00:55:33,600 --> 00:55:38,280
Speaker 3: Rachel Sennett, Austin Butler, Keiky Palmer was one I would

918
00:55:38,680 --> 00:55:41,600
Speaker 3: had hoped to get to, Steven Young, and then Mike Feist,

919
00:55:41,920 --> 00:55:46,440
Speaker 3: Joshua Kinner's challenger's partner. I wanted to maybe get a

920
00:55:46,520 --> 00:55:48,520
Speaker 3: pairing with him. Here's a pairing I actually did have

921
00:55:48,520 --> 00:55:50,800
Speaker 3: as an honorable mention. So maybe my number six, you

922
00:55:50,840 --> 00:55:55,600
Speaker 3: could say, but Sondra Huler from Tony Erdman An Anatomy

923
00:55:55,640 --> 00:55:59,880
Speaker 3: of a Fall, of course, I thought it might be

924
00:56:00,120 --> 00:56:05,640
Speaker 3: fun to have yorgo slanthemous take a break from Emma

925
00:56:05,719 --> 00:56:10,720
Speaker 3: Stone and work with someone who might bring him back

926
00:56:11,920 --> 00:56:16,600
Speaker 3: a little bit closer to reality. You know, the fantasias

927
00:56:16,680 --> 00:56:21,799
Speaker 3: he and Stone have been exploring have been interesting, and

928
00:56:23,600 --> 00:56:26,400
Speaker 3: I do wonder if we could, you know, if that

929
00:56:26,480 --> 00:56:30,640
Speaker 3: might be an era or a period of filmmaking he

930
00:56:30,680 --> 00:56:34,120
Speaker 3: could set aside with someone like Sandra Huler, who has

931
00:56:35,320 --> 00:56:40,160
Speaker 3: just the inscrutability, the bravery, just a lot of the

932
00:56:40,239 --> 00:56:44,239
Speaker 3: qualities that I think make things like Dog Tooth, an

933
00:56:44,239 --> 00:56:49,080
Speaker 3: early lanthemous film, really work, and maybe get back to

934
00:56:49,160 --> 00:56:51,720
Speaker 3: that sort of tone for him.

935
00:56:51,960 --> 00:56:54,239
Speaker 1: I didn't have any other pairings. It was enough work

936
00:56:54,280 --> 00:56:56,640
Speaker 1: to come up with this top five. But I did

937
00:56:57,160 --> 00:57:01,720
Speaker 1: want to find a pair a partner for Juliet Binoche.

938
00:57:02,000 --> 00:57:04,839
Speaker 1: I wanted to find a partner for Adam Driver. I

939
00:57:04,880 --> 00:57:09,239
Speaker 1: wanted to find a partner for Oscar Isaac, but they

940
00:57:09,280 --> 00:57:13,120
Speaker 1: didn't quite make the cut. All close with this quick

941
00:57:13,160 --> 00:57:16,680
Speaker 1: one from Scott g in Skokie, Illinois. Among actors and

942
00:57:16,680 --> 00:57:19,600
Speaker 1: directors who have not yet worked together, one specific pairing

943
00:57:19,680 --> 00:57:23,760
Speaker 1: stands out to me. Amy Adams and Quentin Tarantino. Tarantino

944
00:57:23,800 --> 00:57:26,240
Speaker 1: has spoken frequently about his desire to only make one

945
00:57:26,280 --> 00:57:29,600
Speaker 1: more feature film before segueing into writing books about film

946
00:57:29,640 --> 00:57:31,920
Speaker 1: and other endeavors. I would hate for Adams, who has

947
00:57:31,920 --> 00:57:33,640
Speaker 1: been a favorite of mine for at least twenty years,

948
00:57:33,640 --> 00:57:35,960
Speaker 1: to miss the opportunity to really let it rip with

949
00:57:36,080 --> 00:57:38,640
Speaker 1: Quinton's dialogue. Actually, there are a number of actors, probably

950
00:57:38,680 --> 00:57:42,000
Speaker 1: one hundred, who I think would shine brightly under Tarantino's guidance,

951
00:57:42,240 --> 00:57:44,800
Speaker 1: but Adams tops my personal list.

952
00:57:46,000 --> 00:57:50,160
Speaker 3: So another man, Fustine one. Yeah, Tarantino back out of

953
00:57:50,440 --> 00:57:52,640
Speaker 3: semi retirement via this. I like.

954
00:57:53,480 --> 00:57:57,120
Speaker 1: Those are the top five actor director combos we'd like

955
00:57:57,200 --> 00:57:59,720
Speaker 1: to see. You can view that list over at film

956
00:57:59,760 --> 00:58:03,439
Speaker 1: spott just click on lists. We would love to hear

957
00:58:03,600 --> 00:58:06,120
Speaker 1: your picks or any other comments about the show. You

958
00:58:06,160 --> 00:58:09,360
Speaker 1: can email us feedback at filmspotting dot net.

959
00:58:10,440 --> 00:58:13,040
Speaker 6: This episode is brought to you by Peloton break through

960
00:58:13,080 --> 00:58:15,520
Speaker 6: the busiest time of year with the brand new Peloton

961
00:58:15,600 --> 00:58:19,280
Speaker 6: Cross Training tread Plus powered by Peloton Iq. With real

962
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Speaker 6: and go. Explore the new Peloton Cross Training tread Plus

966
00:58:33,280 --> 00:58:35,120
Speaker 6: at one peloton dot com.

967
00:58:35,400 --> 00:58:38,040
Speaker 3: Listening is the number one thing you can do to

968
00:58:38,200 --> 00:58:41,520
Speaker 3: support an independently produced show like film Spotting, but there

969
00:58:41,560 --> 00:58:43,920
Speaker 3: are a couple of other things you could also do.

970
00:58:44,000 --> 00:58:46,160
Speaker 3: You could take a minute to give us a rating

971
00:58:46,320 --> 00:58:49,960
Speaker 3: or a review on Apple Podcasts or Spotify. Doesn't matter

972
00:58:50,440 --> 00:58:53,520
Speaker 3: if you've only been listening for a few shows or

973
00:58:53,560 --> 00:58:56,200
Speaker 3: if you've been listening for twenty years. Every new review

974
00:58:56,360 --> 00:59:00,320
Speaker 3: does help us reach new listeners. The most substantial way

975
00:59:00,360 --> 00:59:03,800
Speaker 3: to support us, however, is to join the Film Spotting family,

976
00:59:03,840 --> 00:59:07,600
Speaker 3: and you could do that at film Spottingfamily dot com.

977
00:59:08,120 --> 00:59:11,160
Speaker 3: We want to thank family plus member. That's the highest

978
00:59:11,240 --> 00:59:15,680
Speaker 3: level you can join at Adam web from Minnesota. Adam

979
00:59:15,920 --> 00:59:19,560
Speaker 3: is on letterboxed as many of our family members are.

980
00:59:19,680 --> 00:59:22,200
Speaker 3: If you would like to follow him, just type in

981
00:59:22,600 --> 00:59:25,720
Speaker 3: a Wiebe thirty four.

982
00:59:26,800 --> 00:59:29,680
Speaker 1: Adam writes, I discovered the podcast while searching for movie

983
00:59:29,680 --> 00:59:31,680
Speaker 1: pods to listen to. I started listening at the same

984
00:59:31,680 --> 00:59:34,520
Speaker 1: time that I discovered the Bad Movie Podcast. How did

985
00:59:34,520 --> 00:59:37,200
Speaker 1: this get made? That's Paul Sheer, June, Diane Raphael, and

986
00:59:37,240 --> 00:59:41,800
Speaker 1: Jason Manzukus really fun show, favorite review or segment. The

987
00:59:41,920 --> 00:59:44,320
Speaker 1: timing of this could not be better. I swear, I

988
00:59:44,520 --> 00:59:47,320
Speaker 1: just am looking at this for the first time, and

989
00:59:47,360 --> 00:59:50,600
Speaker 1: this is this is the God's honest truth. This morning,

990
00:59:51,040 --> 00:59:54,200
Speaker 1: while getting ready for the day, I don't know why

991
00:59:54,240 --> 00:59:57,320
Speaker 1: it popped into my head. I was thinking about, Josh,

992
00:59:57,680 --> 01:00:00,680
Speaker 1: how few entries for Massacre Theater we have this week,

993
01:00:01,600 --> 01:00:06,680
Speaker 1: the most recent edition. M hmm, just it's it's just brutal.

994
01:00:07,280 --> 01:00:10,240
Speaker 1: And I was thinking once again about whether or not

995
01:00:11,640 --> 01:00:15,120
Speaker 1: we should have the conversation about dumping Massacre theater, and

996
01:00:15,160 --> 01:00:17,720
Speaker 1: how every time I bring that up, people think, people

997
01:00:17,800 --> 01:00:21,280
Speaker 1: think I want to, like I'm encouraging it and I

998
01:00:21,320 --> 01:00:24,960
Speaker 1: don't want to get rid of it. But but nobody enters.

999
01:00:25,400 --> 01:00:29,640
Speaker 1: And and here here Adam is saying I love Massacre Theater.

1000
01:00:29,880 --> 01:00:33,240
Speaker 1: It's like it's like Sam Adam, the universe knew that

1001
01:00:33,360 --> 01:00:34,640
Speaker 1: I needed reassurance.

1002
01:00:35,400 --> 01:00:38,360
Speaker 3: And and this is you know, here's the point. Adam

1003
01:00:38,600 --> 01:00:41,560
Speaker 3: may have never entered, it doesn't matter. This is what

1004
01:00:41,720 --> 01:00:43,360
Speaker 3: I This is what I always try to tell you,

1005
01:00:43,520 --> 01:00:46,960
Speaker 3: is like that the entries are not the measure some

1006
01:00:46,960 --> 01:00:50,000
Speaker 3: some people may just like enjoy hearing us make asses

1007
01:00:50,040 --> 01:00:53,200
Speaker 3: of ourselves. That's as far as it goes for them.

1008
01:00:53,360 --> 01:00:54,760
Speaker 3: That's okay, all right.

1009
01:00:54,840 --> 01:00:57,320
Speaker 1: I'm I'm like a politician. I need I need the

1010
01:00:57,360 --> 01:01:02,960
Speaker 1: ballot box stuff and votes. What review did we get wrong?

1011
01:01:03,040 --> 01:01:05,240
Speaker 1: It's difficult to answer, as I find that I frequently

1012
01:01:05,360 --> 01:01:08,640
Speaker 1: disagree with Adam hm. I tend to agree much more

1013
01:01:08,880 --> 01:01:13,400
Speaker 1: with Josh. Now, how about this letterbox top four? No explanation,

1014
01:01:14,240 --> 01:01:16,640
Speaker 1: he just sends in one of the wackiest letterbox top

1015
01:01:16,680 --> 01:01:20,920
Speaker 1: four we've ever seen. It starts out, starts out perfectly normal,

1016
01:01:21,520 --> 01:01:26,120
Speaker 1: et the Extraterrestrial. Then we go to nineteen nineties teenage

1017
01:01:26,240 --> 01:01:30,400
Speaker 1: mutant Ninja Turtles, then The Door in the Floor, the

1018
01:01:30,440 --> 01:01:33,080
Speaker 1: two thousand and four adaptation of John Irving's nineteen ninety

1019
01:01:33,120 --> 01:01:35,800
Speaker 1: eight novel A Widow for one Year starring Jeff Bridges.

1020
01:01:37,040 --> 01:01:40,520
Speaker 1: In twenty seventeen's The Endless, directed by Aaron Moorehead and

1021
01:01:40,680 --> 01:01:41,280
Speaker 1: Justin Benson.

1022
01:01:42,640 --> 01:01:46,000
Speaker 3: Curious, let's just say curious. Now further proof than that

1023
01:01:46,080 --> 01:01:49,400
Speaker 3: Adam and I are on the same wavelength. However, I

1024
01:01:49,400 --> 01:01:52,200
Speaker 3: also am a fan of The Door in the Floor.

1025
01:01:52,320 --> 01:01:56,840
Speaker 3: As far as Endless, The Endless, I've got nothing for you.

1026
01:01:57,720 --> 01:01:59,720
Speaker 1: Well, he does say a random film or filmmaker that

1027
01:01:59,720 --> 01:02:02,600
Speaker 1: he loves Aaron Moorehead and Justin Benson. So there's some

1028
01:02:02,680 --> 01:02:07,880
Speaker 1: connection there. Ironically, I'm the big John Irving guy, and

1029
01:02:07,920 --> 01:02:10,680
Speaker 1: I love the novel A Widow for one year, but

1030
01:02:10,800 --> 01:02:13,440
Speaker 1: I've never seen the movie The Door in the Floor,

1031
01:02:13,640 --> 01:02:17,040
Speaker 1: and maybe this is why Sam actually picked or here

1032
01:02:17,080 --> 01:02:20,800
Speaker 1: it is again, the universe just coming together. This is

1033
01:02:20,840 --> 01:02:23,920
Speaker 1: the week of the Refocused Film Festival, and Michael Phillips

1034
01:02:23,960 --> 01:02:27,240
Speaker 1: and I are this is two days away, three days away.

1035
01:02:27,280 --> 01:02:29,600
Speaker 1: As we're taping this. Michael Phillips and I are going

1036
01:02:29,640 --> 01:02:32,920
Speaker 1: to be taping our segment on the top five movies

1037
01:02:33,040 --> 01:02:37,680
Speaker 1: adapted from works by Iowa writers, and that includes the

1038
01:02:37,680 --> 01:02:42,760
Speaker 1: Iowa Writers' Workshop. Well, John Irving famously attended and taught

1039
01:02:43,000 --> 01:02:45,800
Speaker 1: at the Iowa Writers' Workshop, so of course I will

1040
01:02:45,840 --> 01:02:49,960
Speaker 1: be considering adaptations of John Irving's work. And there is

1041
01:02:50,040 --> 01:02:53,560
Speaker 1: one in Adams. There you go, Letterbox Top four. A

1042
01:02:53,600 --> 01:02:57,480
Speaker 1: favorite movie he revisited recently is The Witch. He credits

1043
01:02:57,480 --> 01:03:01,560
Speaker 1: e t with becoming a sinophile. A favorite book about

1044
01:03:01,600 --> 01:03:04,520
Speaker 1: movies is A Year at the Movies by Kevin Murphy

1045
01:03:04,960 --> 01:03:08,160
Speaker 1: Mystery Science Theater three thousand fame. We thank Adam for

1046
01:03:08,240 --> 01:03:11,080
Speaker 1: joining the family and for all of those years of listening,

1047
01:03:11,520 --> 01:03:14,200
Speaker 1: in addition to keeping us what we're doing Your support

1048
01:03:14,400 --> 01:03:16,919
Speaker 1: comes with perks. You get to listen early in ed Free,

1049
01:03:16,960 --> 01:03:20,640
Speaker 1: you get the weekly newsletter, you get exclusive opportunities, including

1050
01:03:20,720 --> 01:03:24,320
Speaker 1: being part of the robust Film Spotting Family discord, and yes,

1051
01:03:24,400 --> 01:03:30,280
Speaker 1: you do get monthly bonus episodes. I keep seeing this

1052
01:03:30,400 --> 01:03:32,360
Speaker 1: and keep saying this, and it reminds me that I

1053
01:03:32,440 --> 01:03:36,320
Speaker 1: have to get out the email soliciting topics for the

1054
01:03:36,360 --> 01:03:40,080
Speaker 1: October bonus that we will do. A family member gets

1055
01:03:40,120 --> 01:03:45,480
Speaker 1: to draft live to tape with me, you and producer Sam.

1056
01:03:45,520 --> 01:03:47,080
Speaker 1: It's coming up. We have to tape that in a

1057
01:03:47,080 --> 01:03:48,840
Speaker 1: few weeks. So I got to get the email out.

1058
01:03:49,040 --> 01:03:52,240
Speaker 1: That will be fun. We always love engaging on air.

1059
01:03:52,320 --> 01:03:53,880
Speaker 1: So to speak with a family member.

1060
01:03:53,720 --> 01:03:57,000
Speaker 3: Josh, Yeah, We're We're a good weekend October, Adam. So

1061
01:03:57,560 --> 01:03:58,600
Speaker 3: let's get moving on that.

1062
01:03:58,760 --> 01:04:02,880
Speaker 1: I'm delinquent and learn more at Filmspottingfamily dot com. A

1063
01:04:02,960 --> 01:04:06,360
Speaker 1: quick addendum to our Film Spotting Family shout out. We

1064
01:04:06,920 --> 01:04:10,320
Speaker 1: wanted to give a congratulatory message to two very important

1065
01:04:10,320 --> 01:04:14,200
Speaker 1: family members, two very important friends of the show, Thomas

1066
01:04:14,240 --> 01:04:17,720
Speaker 1: Todd and Ashley McDonald Bennett. You've actually heard both of

1067
01:04:17,760 --> 01:04:20,480
Speaker 1: their names mentioned in recent years here on the show.

1068
01:04:20,520 --> 01:04:25,040
Speaker 1: Because Thomas Todd is our quiz master extraordinaire. And Ashley

1069
01:04:25,200 --> 01:04:29,960
Speaker 1: McDonald Bennett is the wonderful person who helped us put

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01:04:30,000 --> 01:04:34,200
Speaker 1: together Film Spotting Fest. Without her, that event would not

1071
01:04:34,760 --> 01:04:37,760
Speaker 1: have happened and would not have gone as smoothly as

1072
01:04:37,800 --> 01:04:40,280
Speaker 1: it did. So they've been very important parts of Film

1073
01:04:40,280 --> 01:04:43,840
Speaker 1: Spotting here, going back about five years. It was five

1074
01:04:43,920 --> 01:04:47,320
Speaker 1: years ago that Thomas Todd came up to us at

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01:04:47,680 --> 01:04:50,960
Speaker 1: the Music Box in Chicago, February twenty twenty. You might

1076
01:04:51,000 --> 01:04:54,680
Speaker 1: recall this is right before the world shut down and

1077
01:04:54,760 --> 01:04:59,000
Speaker 1: change forever. We were having a Film Spotting anniversary event

1078
01:04:59,160 --> 01:05:03,440
Speaker 1: fifteen years watching Rio Bravo on the big screen there

1079
01:05:04,000 --> 01:05:06,200
Speaker 1: at the Music Box, and before we were in the

1080
01:05:06,240 --> 01:05:08,680
Speaker 1: lounge having a couple drinks, and this guy had never

1081
01:05:08,680 --> 01:05:11,840
Speaker 1: met before, came up and introduced himself, and I thought

1082
01:05:11,840 --> 01:05:14,920
Speaker 1: it was crazy that he was driving across country. He

1083
01:05:15,000 --> 01:05:17,640
Speaker 1: was coming, I believe from the Bay Area, definitely California,

1084
01:05:18,040 --> 01:05:20,480
Speaker 1: and he decided to stop through. He planned his trip

1085
01:05:20,600 --> 01:05:23,440
Speaker 1: so he could stop through and hang out with us

1086
01:05:23,480 --> 01:05:26,400
Speaker 1: in Chicago and then make his way to New York

1087
01:05:26,800 --> 01:05:31,680
Speaker 1: where he was moving. And a little while later he

1088
01:05:31,760 --> 01:05:37,120
Speaker 1: emailed and pitched this idea of trivia when everybody was

1089
01:05:37,160 --> 01:05:39,480
Speaker 1: on zoom. He said, Hey, maybe we can get together

1090
01:05:39,520 --> 01:05:41,880
Speaker 1: as a film spotting community. Have you ever thought about trivia?

1091
01:05:42,320 --> 01:05:46,800
Speaker 1: I do this. I regularly run pub style trivia, do

1092
01:05:46,880 --> 01:05:49,600
Speaker 1: these quizzes. Maybe we could give it a try. And

1093
01:05:49,800 --> 01:05:51,560
Speaker 1: we had a conversation and we thought it was a

1094
01:05:51,560 --> 01:05:53,960
Speaker 1: great idea. And here we are five years later and

1095
01:05:54,040 --> 01:05:56,960
Speaker 1: we're still now doing these regularly with our film spotting

1096
01:05:57,000 --> 01:06:00,160
Speaker 1: family members. It's become a really, really important part part

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01:06:00,560 --> 01:06:02,720
Speaker 1: of the show. He's become an important part of the show.

1098
01:06:02,720 --> 01:06:05,840
Speaker 1: And as I mentioned, Ashley has as well. And of

1099
01:06:05,880 --> 01:06:09,200
Speaker 1: course that entire you've heard us reference at that entire

1100
01:06:09,280 --> 01:06:13,880
Speaker 1: trivia spotting mafia in New York has has burgeoned around

1101
01:06:14,440 --> 01:06:18,880
Speaker 1: Trivia Spotting and Thomas. So we love that group and

1102
01:06:19,160 --> 01:06:21,760
Speaker 1: we love Thomas and Ashley. And I'm so excited that

1103
01:06:21,800 --> 01:06:23,760
Speaker 1: they're getting married. Have I mentioned that yet? Why am

1104
01:06:23,760 --> 01:06:26,360
Speaker 1: I talking about them? They're getting married this weekend. Yeah,

1105
01:06:26,400 --> 01:06:29,240
Speaker 1: that's what's happening. And I wish I could be there.

1106
01:06:29,320 --> 01:06:32,320
Speaker 1: We have so much going on unfortunately here in Iowa

1107
01:06:32,400 --> 01:06:35,600
Speaker 1: City right now, but I am so excited for them. Again,

1108
01:06:35,640 --> 01:06:38,560
Speaker 1: I really, really really do wish I could have made

1109
01:06:38,560 --> 01:06:40,960
Speaker 1: the trip out there, But I'm really happy for them.

1110
01:06:41,360 --> 01:06:44,560
Speaker 1: I look forward to hearing all the stories about how

1111
01:06:44,600 --> 01:06:47,800
Speaker 1: the wedding and the reception went, and I look forward

1112
01:06:47,800 --> 01:06:52,080
Speaker 1: to many more years of working with them. So Thomas Ashley,

1113
01:06:52,920 --> 01:06:56,840
Speaker 1: all my best, congratulations, probably looking at my eyes.

1114
01:06:58,360 --> 01:06:59,160
Speaker 6: Howdn't that happen?

1115
01:07:02,880 --> 01:07:03,080
Speaker 2: Well?

1116
01:07:03,200 --> 01:07:06,480
Speaker 3: Have you ever heard of the Ultimate Fighting Championship the UFC?

1117
01:07:08,600 --> 01:07:12,800
Speaker 1: That's the bloody thing they're trying to ban. G john

1118
01:07:13,000 --> 01:07:14,640
Speaker 1: is the best he has ever seen.

1119
01:07:15,840 --> 01:07:19,280
Speaker 3: Do you hate each other when you fight? Absolutely not.

1120
01:07:20,760 --> 01:07:24,080
Speaker 3: The Smashing Machine is currently playing in wide release. It's

1121
01:07:24,120 --> 01:07:28,600
Speaker 3: the story of UFC fighter Mark Kerr, played by Dwayne Johnson.

1122
01:07:29,080 --> 01:07:32,880
Speaker 3: It's directed by Benny Safty, half of the Safty Brothers,

1123
01:07:32,920 --> 01:07:37,720
Speaker 3: the directing team that made Uncut, Gems and Good Time Now.

1124
01:07:37,720 --> 01:07:41,480
Speaker 3: The Smashing Machine premiered at the Venice Film Festival in September.

1125
01:07:41,520 --> 01:07:45,400
Speaker 3: That's where Safti won the Best Directing prize. Adam, you

1126
01:07:45,440 --> 01:07:49,360
Speaker 3: caught up with the movie over the weekend, and maybe

1127
01:07:49,400 --> 01:07:52,600
Speaker 3: you're uniquely qualified at this moment to talk about it

1128
01:07:52,640 --> 01:07:54,680
Speaker 3: not just as a movie, not just as a biopic,

1129
01:07:54,720 --> 01:07:59,680
Speaker 3: but as a sports movie. Are you teaching an entire course? Sun?

1130
01:08:00,640 --> 01:08:03,240
Speaker 3: Is it a section of another course, or I know

1131
01:08:03,280 --> 01:08:04,439
Speaker 3: you're up to something like that.

1132
01:08:05,320 --> 01:08:08,640
Speaker 1: Yeah, I am teaching a course and very much enjoying

1133
01:08:08,720 --> 01:08:13,200
Speaker 1: the course. It's called Sport and Film. And hopefully that's

1134
01:08:13,240 --> 01:08:15,040
Speaker 1: the last time I'll mention that on the show, because

1135
01:08:15,040 --> 01:08:17,519
Speaker 1: I feel like I've mentioned it in passing three or

1136
01:08:17,520 --> 01:08:19,759
Speaker 1: four times and people are going to start taking shots

1137
01:08:19,880 --> 01:08:23,599
Speaker 1: every time I mentioned sport and Film. I have a

1138
01:08:23,640 --> 01:08:26,639
Speaker 1: lot to say about it as a as a sports movie,

1139
01:08:26,840 --> 01:08:28,360
Speaker 1: and we're not in class, and I don't want to

1140
01:08:28,360 --> 01:08:32,880
Speaker 1: bore people with all of those thoughts. Here's what I'm

1141
01:08:32,880 --> 01:08:36,000
Speaker 1: gonna say to you, Josh, about The Smashing Machine. I

1142
01:08:36,240 --> 01:08:41,799
Speaker 1: violated one of my own principles when I reviewed this movie,

1143
01:08:42,360 --> 01:08:48,679
Speaker 1: and it came back to haunt me. The reason why

1144
01:08:48,720 --> 01:08:53,000
Speaker 1: I don't do this thing ended up proving to be true.

1145
01:08:53,360 --> 01:08:57,519
Speaker 1: And what I'm referring to is, you know that I

1146
01:08:57,560 --> 01:09:03,000
Speaker 1: have a rule about not consuming the thing the source

1147
01:09:03,120 --> 01:09:09,200
Speaker 1: material first, when I know I'm going to review a movie.

1148
01:09:09,320 --> 01:09:12,400
Speaker 1: Now if I have, if it so happens that I

1149
01:09:12,439 --> 01:09:15,080
Speaker 1: read the book once and then it's turned into a movie,

1150
01:09:15,120 --> 01:09:18,760
Speaker 1: well then okay, obviously I'm gonna watch the movie. And

1151
01:09:19,760 --> 01:09:21,920
Speaker 1: if I have the movie, or if I have the

1152
01:09:21,960 --> 01:09:24,320
Speaker 1: book in mind while I'm watching the movie, then that

1153
01:09:24,439 --> 01:09:26,960
Speaker 1: is what it is. I can't undo that. But I

1154
01:09:27,000 --> 01:09:29,880
Speaker 1: won't seek out the book just because it came out

1155
01:09:29,920 --> 01:09:34,120
Speaker 1: first and then watch the movie. I want to just

1156
01:09:34,240 --> 01:09:36,960
Speaker 1: experience the movie fresh and not compare them. We've talked

1157
01:09:36,960 --> 01:09:40,479
Speaker 1: about that before. Well, that includes anything that's the source material,

1158
01:09:40,520 --> 01:09:43,519
Speaker 1: if it's based on another movie, if it's based on

1159
01:09:43,920 --> 01:09:47,000
Speaker 1: another movie that happens to be a documentary, I don't

1160
01:09:47,040 --> 01:09:50,080
Speaker 1: want to know. I just want to take the movie

1161
01:09:50,240 --> 01:09:56,080
Speaker 1: as it is. But because of the sports movie class

1162
01:09:56,120 --> 01:10:00,360
Speaker 1: that I'm teaching and seeing a couple video was on

1163
01:10:00,400 --> 01:10:04,600
Speaker 1: my Instagram where Benny Saftie was talking about making this

1164
01:10:04,720 --> 01:10:08,719
Speaker 1: movie and what inspired it, my curiosity got the best

1165
01:10:08,720 --> 01:10:13,280
Speaker 1: to me. There's a documentary that exists that's called The

1166
01:10:13,280 --> 01:10:16,599
Speaker 1: Smashing Machine. I don't even know what year it's from,

1167
01:10:16,760 --> 01:10:22,000
Speaker 1: and it's Mark Kerr's life and I managed to find

1168
01:10:22,040 --> 01:10:24,719
Speaker 1: it online and it's only like seventy five or eighty

1169
01:10:24,760 --> 01:10:28,559
Speaker 1: minutes long. And the reason I watched it wasn't just

1170
01:10:28,640 --> 01:10:33,599
Speaker 1: because I was so curious, but just based on Benny

1171
01:10:33,680 --> 01:10:36,840
Speaker 1: safty as a director and some of the things that

1172
01:10:36,880 --> 01:10:39,120
Speaker 1: he was saying. Even though he wasn't necessarily referencing the

1173
01:10:39,120 --> 01:10:44,200
Speaker 1: documentary direct directly. I was sure that he was going

1174
01:10:44,280 --> 01:10:49,040
Speaker 1: to transform this material. It gave me the sense that

1175
01:10:50,080 --> 01:10:52,880
Speaker 1: I could watch this documentary and it wouldn't in any

1176
01:10:52,920 --> 01:10:59,000
Speaker 1: way impact my experience watching The Smashing Machine twenty twenty

1177
01:10:59,000 --> 01:11:04,000
Speaker 1: five in the theater. Except what I didn't count on.

1178
01:11:04,760 --> 01:11:07,680
Speaker 1: What I don't think I could have counted on, is

1179
01:11:08,960 --> 01:11:15,120
Speaker 1: the Smashing Machine mirrors the original doc so closely. It's

1180
01:11:15,160 --> 01:11:20,320
Speaker 1: more reenactment than reinterpretation. It is as if Josh the

1181
01:11:20,439 --> 01:11:25,800
Speaker 1: Rock and Benny Saftie we're so obsessed with I was

1182
01:11:25,840 --> 01:11:29,960
Speaker 1: gonna make an analogy like playing in my cover band.

1183
01:11:30,360 --> 01:11:34,000
Speaker 1: Sometimes you want to cover a song not because you

1184
01:11:34,120 --> 01:11:36,880
Speaker 1: like it so much and you want to reimagine it,

1185
01:11:37,560 --> 01:11:40,439
Speaker 1: reinterpret it for an audience. No, I want to cover

1186
01:11:40,520 --> 01:11:43,000
Speaker 1: it because I can't wait to play it just like

1187
01:11:43,080 --> 01:11:45,280
Speaker 1: the band plays it. I want to play the bassline

1188
01:11:45,360 --> 01:11:48,800
Speaker 1: just like that bass player plays it. That's the fun part.

1189
01:11:48,840 --> 01:11:52,320
Speaker 1: I want to play those notes exactly. That's what it

1190
01:11:52,360 --> 01:11:55,240
Speaker 1: seems like happened here. And not many people have seen this.

1191
01:11:55,280 --> 01:11:57,360
Speaker 1: It's really hard to find. I could only find it

1192
01:11:57,439 --> 01:12:01,120
Speaker 1: online a link online somewhere. It's not like streaming or

1193
01:12:01,160 --> 01:12:06,040
Speaker 1: on demand. It's as if the Rock and Benny Saftie

1194
01:12:06,040 --> 01:12:10,360
Speaker 1: were so obsessed with this movie and Mark Kerr's life

1195
01:12:10,640 --> 01:12:15,680
Speaker 1: that they decided to re enact the documentary as a

1196
01:12:15,720 --> 01:12:20,879
Speaker 1: feature film. Shoot the documentary, including mirroring its as it's esthetic,

1197
01:12:21,600 --> 01:12:25,719
Speaker 1: but with Dwayne Johnson as Mark Kerr and Emily Blunt

1198
01:12:25,760 --> 01:12:30,320
Speaker 1: as his girlfriend. And the entire time I was watching

1199
01:12:30,360 --> 01:12:33,760
Speaker 1: the film, Josh, all I could think about was that

1200
01:12:34,160 --> 01:12:36,840
Speaker 1: all I could think about was I can't believe they're

1201
01:12:37,320 --> 01:12:41,360
Speaker 1: they're recreating these scenes almost identically. I can't believe they

1202
01:12:41,400 --> 01:12:47,559
Speaker 1: took the dialogue straight from the documentary, right, Like, imagine

1203
01:12:47,560 --> 01:12:50,480
Speaker 1: that it's not just another film, It's it's a documentary,

1204
01:12:50,520 --> 01:12:53,080
Speaker 1: so it's real life happening, and they just transcribed it.

1205
01:12:53,640 --> 01:12:55,080
Speaker 5: Do you want me to throw this out, Duran and

1206
01:12:55,120 --> 01:12:55,519
Speaker 5: have this.

1207
01:12:57,280 --> 01:12:58,080
Speaker 3: Here's a skim milk?

1208
01:12:58,160 --> 01:12:58,280
Speaker 2: Right?

1209
01:12:58,520 --> 01:12:58,720
Speaker 5: Yeah?

1210
01:12:59,479 --> 01:13:01,720
Speaker 2: Last week I s what's the whole milk?

1211
01:13:03,200 --> 01:13:04,639
Speaker 1: Well, you got to tell me, he says something, get

1212
01:13:04,640 --> 01:13:08,559
Speaker 1: it wrong. If you don't, I'll just think another est. Now,

1213
01:13:08,600 --> 01:13:13,479
Speaker 1: it does deviate in certain ways, but the only thing

1214
01:13:13,479 --> 01:13:15,160
Speaker 1: I guess I can say about the movie is that

1215
01:13:15,439 --> 01:13:18,880
Speaker 1: the ways that it does deviate, I don't think are

1216
01:13:19,760 --> 01:13:25,439
Speaker 1: are interesting or justify the film and the experience of

1217
01:13:25,479 --> 01:13:28,960
Speaker 1: watching it. For me, I have no sense though, of

1218
01:13:29,000 --> 01:13:31,680
Speaker 1: how I would really feel about the movie if I

1219
01:13:31,880 --> 01:13:37,559
Speaker 1: wasn't so aware of how closely aligned it is with

1220
01:13:38,200 --> 01:13:42,320
Speaker 1: the documentary. And the last thing I'll say is that

1221
01:13:43,400 --> 01:13:46,599
Speaker 1: what's also curious to me about the choice is that

1222
01:13:48,320 --> 01:13:54,000
Speaker 1: Safty decides that he wants to make it a bit

1223
01:13:54,040 --> 01:13:58,080
Speaker 1: of a meta experiment. So the movie starts just like

1224
01:13:58,160 --> 01:14:02,280
Speaker 1: the documentary, starts with not only the same scene but

1225
01:14:02,960 --> 01:14:07,960
Speaker 1: with the square aspect ratio and a VHS esthetic because

1226
01:14:08,000 --> 01:14:10,280
Speaker 1: it looks more like video like it was shot back

1227
01:14:10,320 --> 01:14:12,960
Speaker 1: when this documentary was shot. This all takes place back

1228
01:14:13,000 --> 01:14:15,720
Speaker 1: around Mark Kerr was fighting in the late nineties and

1229
01:14:16,160 --> 01:14:19,040
Speaker 1: early two thousands, so it looks like that and that's

1230
01:14:19,080 --> 01:14:22,160
Speaker 1: how he shoots it. But then there's a point during

1231
01:14:22,240 --> 01:14:25,439
Speaker 1: the first match that we see where the aspect ratio

1232
01:14:25,560 --> 01:14:30,080
Speaker 1: widens out and it looks crisper, and we realize, okay,

1233
01:14:30,120 --> 01:14:32,519
Speaker 1: now we're you know, now it's a feature film. Now

1234
01:14:32,520 --> 01:14:34,760
Speaker 1: it's a narrative film. It's not trying to be like

1235
01:14:34,800 --> 01:14:38,640
Speaker 1: a documentary. And there's also a meta element to the

1236
01:14:38,760 --> 01:14:41,880
Speaker 1: ending of the film. That I won't spoil. So there's

1237
01:14:42,240 --> 01:14:47,719
Speaker 1: meta bookends to the movie. But Josh, once it goes

1238
01:14:47,760 --> 01:14:51,160
Speaker 1: from that documentary esthetic at the beginning, the thing is,

1239
01:14:51,320 --> 01:14:55,639
Speaker 1: it doesn't abandon the documentary aesthetic. It just looks better.

1240
01:14:56,320 --> 01:15:00,160
Speaker 1: The movie continues to try to be a documentary, and

1241
01:15:00,200 --> 01:15:02,879
Speaker 1: I don't mean just in terms of recreating the original

1242
01:15:02,920 --> 01:15:04,960
Speaker 1: film and the scenes and the dialogue from it. I

1243
01:15:05,040 --> 01:15:08,560
Speaker 1: mean it still tries to be in its form a documentary,

1244
01:15:08,760 --> 01:15:09,600
Speaker 1: the camera.

1245
01:15:09,640 --> 01:15:12,360
Speaker 3: Handheld shaking as a documentary.

1246
01:15:12,360 --> 01:15:15,280
Speaker 1: It's presenting itself as if He's he is going for

1247
01:15:15,400 --> 01:15:18,680
Speaker 1: a realist esthetic, a fly on the wall sort of

1248
01:15:18,680 --> 01:15:23,920
Speaker 1: cinema veritae aesthetic. So I I really struggle, I really

1249
01:15:23,960 --> 01:15:28,759
Speaker 1: struggle to understand the exercise here, and it does feel

1250
01:15:28,800 --> 01:15:31,559
Speaker 1: to me. The cover band analogy is the best thing

1251
01:15:31,600 --> 01:15:33,280
Speaker 1: I can say. It feels to me. And I know

1252
01:15:33,439 --> 01:15:35,839
Speaker 1: that I know from something I saw in an Instagram

1253
01:15:35,920 --> 01:15:37,760
Speaker 1: video that this was a project that The Rock had

1254
01:15:37,800 --> 01:15:39,960
Speaker 1: been eyeing for a long time, that he was he

1255
01:15:40,080 --> 01:15:43,439
Speaker 1: was really obsessed might be the right word. With Mark

1256
01:15:43,520 --> 01:15:47,000
Speaker 1: Kurr's life, and Benny Saftie was obsessed once The Rock

1257
01:15:47,080 --> 01:15:49,439
Speaker 1: showed it to him, with being the guy who got

1258
01:15:49,439 --> 01:15:52,479
Speaker 1: to direct the rock in it, and he'd break out

1259
01:15:52,920 --> 01:15:55,559
Speaker 1: videos of it on his phone, and I just want,

1260
01:15:55,760 --> 01:15:57,639
Speaker 1: I don't, I don't want to speculate about these things.

1261
01:15:57,640 --> 01:16:00,479
Speaker 1: But to me, it almost feels like they, at least

1262
01:16:00,479 --> 01:16:03,240
Speaker 1: Benny Saftie maybe became so obsessed with it that he

1263
01:16:04,640 --> 01:16:07,519
Speaker 1: it was about for him seeing how closely he could

1264
01:16:07,560 --> 01:16:11,960
Speaker 1: recreate it, and that that that isn't compelling for me

1265
01:16:12,000 --> 01:16:15,560
Speaker 1: as a viewer to watch how closely they recreated the documentary.

1266
01:16:16,400 --> 01:16:18,200
Speaker 3: Yeah, I was curious as you were talking, you know,

1267
01:16:18,320 --> 01:16:21,240
Speaker 3: where the project originated. My guess was going to be

1268
01:16:21,280 --> 01:16:23,600
Speaker 3: with Dwayne Johnson. Just the way you're describing it, So

1269
01:16:23,680 --> 01:16:27,479
Speaker 3: that's yeah, that is, you know, perhaps revealing, so you're

1270
01:16:27,600 --> 01:16:30,160
Speaker 3: it's you're not. It's not really a Gus Vincent psycho

1271
01:16:30,280 --> 01:16:37,160
Speaker 3: situation unless close in some ways, and unless on Saftie's part.

1272
01:16:37,360 --> 01:16:40,479
Speaker 3: The it was the experiment of it that was more

1273
01:16:40,520 --> 01:16:43,479
Speaker 3: interesting than the final product, you know, which which has

1274
01:16:43,640 --> 01:16:47,519
Speaker 3: been one defense of the Van saying psycho. But yeah,

1275
01:16:47,600 --> 01:16:50,960
Speaker 3: I did not realize that that either. And what a

1276
01:16:51,640 --> 01:16:54,240
Speaker 3: what a strange movie. This sounds like mm hmmm.

1277
01:16:54,479 --> 01:16:58,479
Speaker 1: And again I I imagine that most people, obviously most

1278
01:16:58,479 --> 01:17:01,679
Speaker 1: people coming to it didn't find this movie or didn't

1279
01:17:01,720 --> 01:17:06,120
Speaker 1: watch this movie. It's a small little documentary, and I

1280
01:17:06,120 --> 01:17:08,280
Speaker 1: suppose I can just recommend don't do what I did,

1281
01:17:08,360 --> 01:17:10,799
Speaker 1: don't seek it out. If you're gonna watch The Smashing Machine,

1282
01:17:10,840 --> 01:17:13,120
Speaker 1: go to it fresh, take it for what it is,

1283
01:17:13,160 --> 01:17:15,559
Speaker 1: and see what experience you have with the movie. But

1284
01:17:15,600 --> 01:17:18,679
Speaker 1: then I would recommend watching the documentary of the two.

1285
01:17:19,200 --> 01:17:22,400
Speaker 1: I prefer the documentary. I think it's more interesting to

1286
01:17:22,439 --> 01:17:25,160
Speaker 1: just take it as real life rather than a narrative

1287
01:17:25,200 --> 01:17:29,799
Speaker 1: film recreating real life. Sure, that's my take. The Smashing

1288
01:17:29,840 --> 01:17:33,640
Speaker 1: Machine is currently playing in wide release. Next week. On

1289
01:17:33,680 --> 01:17:37,439
Speaker 1: the show, we are planning to do Boy, I'd love

1290
01:17:37,479 --> 01:17:40,120
Speaker 1: another week, but right now we're planning to do our

1291
01:17:40,200 --> 01:17:45,400
Speaker 1: Robert Redford tribute. And this morning producer Sam asked me,

1292
01:17:45,520 --> 01:17:49,360
Speaker 1: how are we doing this again? Are we doing scenes

1293
01:17:49,479 --> 01:17:52,160
Speaker 1: or performances or movies? Because we talked about this two

1294
01:17:52,280 --> 01:17:54,320
Speaker 1: or three weeks ago in a production meeting and I said,

1295
01:17:54,560 --> 01:17:58,120
Speaker 1: you know what, I'm not sure, Josh and I can

1296
01:17:58,120 --> 01:18:00,600
Speaker 1: talk about it on air. That's what we're going to

1297
01:18:00,680 --> 01:18:03,360
Speaker 1: do now, Josh, because I think you know what we're doing,

1298
01:18:03,400 --> 01:18:05,439
Speaker 1: so why don't you tell me and our audience what

1299
01:18:05,439 --> 01:18:05,880
Speaker 1: we're doing.

1300
01:18:06,600 --> 01:18:09,040
Speaker 3: I mean, I know what I'm doing, and I'm just

1301
01:18:09,280 --> 01:18:12,559
Speaker 3: I'm just making the biggest tent. I'm making the biggest tent,

1302
01:18:12,680 --> 01:18:15,200
Speaker 3: so you can do whatever you want to do. I

1303
01:18:15,240 --> 01:18:19,400
Speaker 3: think it makes sense given Redford's you know, lengthy career,

1304
01:18:19,439 --> 01:18:22,320
Speaker 3: not only as an actor, but as a director and

1305
01:18:22,760 --> 01:18:26,160
Speaker 3: a you know, a film festival producer. Like this. This

1306
01:18:26,280 --> 01:18:28,240
Speaker 3: is almost like if you think about a sports Hall

1307
01:18:28,280 --> 01:18:30,439
Speaker 3: of Fame, a lot of times they'll consider not just

1308
01:18:30,479 --> 01:18:33,599
Speaker 3: their on field or on coret accomplishments, but other things

1309
01:18:33,600 --> 01:18:37,120
Speaker 3: they contributed to the field of that sport, and Redford

1310
01:18:37,160 --> 01:18:39,680
Speaker 3: is something similar. Now that doesn't mean one of my

1311
01:18:39,800 --> 01:18:42,240
Speaker 3: five picks is going to be as founder of the

1312
01:18:42,280 --> 01:18:44,799
Speaker 3: Sundance Film Festival. I'm not going to go that far afield,

1313
01:18:45,160 --> 01:18:46,719
Speaker 3: but I think I am going to try to find

1314
01:18:46,720 --> 01:18:49,479
Speaker 3: a place for a directorial effort. I've been able to

1315
01:18:49,479 --> 01:18:52,400
Speaker 3: do a little bit of homework, and I wouldn't say

1316
01:18:52,400 --> 01:18:54,640
Speaker 3: it's shaken up where completely where I thought I was

1317
01:18:54,680 --> 01:18:57,120
Speaker 3: going to go, but there may be a surprising pick

1318
01:18:57,120 --> 01:19:00,920
Speaker 3: in there for me that I wouldn't have expected. So yeah,

1319
01:19:00,920 --> 01:19:03,679
Speaker 3: I just think it makes sense again to like, if

1320
01:19:03,680 --> 01:19:06,639
Speaker 3: one of us wants to hone in only on acting.

1321
01:19:06,800 --> 01:19:09,600
Speaker 3: I think that's completely fair and just say, listen, the

1322
01:19:09,640 --> 01:19:11,759
Speaker 3: guy did a lot of good stuff as a director,

1323
01:19:11,840 --> 01:19:16,280
Speaker 3: but he should be known as an actor like that,

1324
01:19:16,280 --> 01:19:18,439
Speaker 3: that's what we should remember him as. I think that's

1325
01:19:18,479 --> 01:19:23,160
Speaker 3: completely valid. So yeah, I don't think there's too much

1326
01:19:23,240 --> 01:19:26,240
Speaker 3: concern about a lot of overlap because I've been able

1327
01:19:26,240 --> 01:19:29,160
Speaker 3: to do a little homework, and I know that was

1328
01:19:29,200 --> 01:19:31,519
Speaker 3: one thing we were worried about. Is he does have,

1329
01:19:31,840 --> 01:19:34,960
Speaker 3: as our poll question will reveal, yes, when we get

1330
01:19:35,000 --> 01:19:40,360
Speaker 3: to that, two incredibly iconic performances, it's hard to ignore.

1331
01:19:41,439 --> 01:19:43,840
Speaker 3: We probably neither of us will probably ignore either of those.

1332
01:19:43,880 --> 01:19:46,640
Speaker 3: But I think that still leaves room for a variety

1333
01:19:46,720 --> 01:19:47,439
Speaker 3: on our lists.

1334
01:19:47,920 --> 01:19:51,160
Speaker 1: Potentially. I haven't started to form my list yet. As

1335
01:19:51,200 --> 01:19:54,680
Speaker 1: I said during our top five earlier, there are some

1336
01:19:54,840 --> 01:19:57,120
Speaker 1: lists where maybe there are just right answers, and at

1337
01:19:57,200 --> 01:19:59,760
Speaker 1: least with my list, I may feel like there are

1338
01:20:00,240 --> 01:20:03,439
Speaker 1: some right answers. I don't know how idiosyncratic I'm going

1339
01:20:03,520 --> 01:20:05,720
Speaker 1: to get. The bottom line is it sounds like what

1340
01:20:05,720 --> 01:20:09,320
Speaker 1: you're saying, Josh, is we're not going with scenes, and

1341
01:20:09,360 --> 01:20:13,040
Speaker 1: we're not going with performances. We are going with movie titles.

1342
01:20:14,600 --> 01:20:16,639
Speaker 3: I think that gives us the most freedom.

1343
01:20:17,360 --> 01:20:20,479
Speaker 1: Okay, I will. I will follow your lead on that

1344
01:20:20,680 --> 01:20:24,960
Speaker 1: I can produce that top five. We would love your feedback,

1345
01:20:25,000 --> 01:20:29,559
Speaker 1: your suggestions, your favorite Robert Redford titles, but you can

1346
01:20:29,600 --> 01:20:33,519
Speaker 1: also send us performances or scenes. We might mention it

1347
01:20:33,840 --> 01:20:37,240
Speaker 1: during the top five feedback at film spotting dot Net.

1348
01:20:37,640 --> 01:20:41,200
Speaker 1: We may share other feedback as well, and we will

1349
01:20:41,240 --> 01:20:44,760
Speaker 1: play Massacre theater if I haven't decided to end that

1350
01:20:44,880 --> 01:20:47,719
Speaker 1: segment by that time.

1351
01:20:47,840 --> 01:20:51,479
Speaker 3: Boy, for our listeners, better you better enter. Just send

1352
01:20:51,520 --> 01:20:54,839
Speaker 3: in all those rough suggestions. Just yeah, the title comes.

1353
01:20:54,680 --> 01:20:56,920
Speaker 1: Into your wrong long entries, count.

1354
01:20:57,439 --> 01:20:59,120
Speaker 3: Send it in to make Adam happy.

1355
01:20:59,560 --> 01:21:02,320
Speaker 1: There you go for a current show schedule filmspotting dot

1356
01:21:02,360 --> 01:21:04,040
Speaker 1: Net slash episodes.

1357
01:21:04,280 --> 01:21:07,519
Speaker 3: Well, speaking of all the conversation around one battle after

1358
01:21:07,560 --> 01:21:09,679
Speaker 3: another which we mentioned at the top of the show, Adam,

1359
01:21:10,200 --> 01:21:12,720
Speaker 3: part of that conversation is taking place right now on

1360
01:21:12,760 --> 01:21:16,160
Speaker 3: our sister podcast, the Next Picture Show, looking at Cinema's

1361
01:21:16,240 --> 01:21:20,439
Speaker 3: present via its past. They are yes, going to consider

1362
01:21:20,479 --> 01:21:23,680
Speaker 3: one battle after another, but only after first looking at

1363
01:21:23,840 --> 01:21:28,480
Speaker 3: Sydney Lumet's running on empty. And you started our conversation,

1364
01:21:29,160 --> 01:21:31,720
Speaker 3: Adam by mentioning this was one of the films that

1365
01:21:31,760 --> 01:21:36,800
Speaker 3: Paul Thomas Anderson explicitly referenced as inspiration and influence at

1366
01:21:36,880 --> 01:21:40,880
Speaker 3: least an influence on one battle after another. So they're

1367
01:21:40,920 --> 01:21:44,639
Speaker 3: going to dig into that further on the next Picture Show.

1368
01:21:45,040 --> 01:21:48,639
Speaker 3: New episodes drop every Tuesday and you can find them

1369
01:21:48,720 --> 01:21:50,160
Speaker 3: wherever you get your podcasts.

1370
01:21:50,479 --> 01:21:53,920
Speaker 1: One more plug for the fourth annual Refocused Film Festival,

1371
01:21:53,960 --> 01:21:57,000
Speaker 1: celebrating the art of adaptation. I would have liked more

1372
01:21:57,080 --> 01:22:01,280
Speaker 1: adaptation in The Smashing Machine this week weekend October night

1373
01:22:01,360 --> 01:22:04,200
Speaker 1: through the twelfth, So if you're hearing this, the show

1374
01:22:04,240 --> 01:22:08,880
Speaker 1: drops the podcast version, of course Friday at midnight, So

1375
01:22:09,120 --> 01:22:12,760
Speaker 1: it's possible you're hearing this before Michael Phillips and I

1376
01:22:12,800 --> 01:22:18,679
Speaker 1: decide to share our top five films adapted from Iowa writers,

1377
01:22:18,720 --> 01:22:21,240
Speaker 1: but more likely it's already happened. That doesn't mean you

1378
01:22:21,240 --> 01:22:24,240
Speaker 1: have to miss out on all the fun of the

1379
01:22:24,320 --> 01:22:28,559
Speaker 1: Refocus Film Festival, and if you want to come out,

1380
01:22:28,560 --> 01:22:31,679
Speaker 1: Iowa Cities a great time and film scene is amazing. Josh,

1381
01:22:31,880 --> 01:22:35,400
Speaker 1: you've been there, You've participated in one of those top fives.

1382
01:22:36,200 --> 01:22:39,240
Speaker 3: The great both I can plug both at them. The

1383
01:22:39,280 --> 01:22:42,880
Speaker 3: fest was great, but Iowa City like really lovely town.

1384
01:22:43,000 --> 01:22:45,760
Speaker 3: To visit, especially this time of year. That was my

1385
01:22:45,800 --> 01:22:48,960
Speaker 3: first time there and thoroughly enjoyed it. So yeah, get

1386
01:22:48,960 --> 01:22:51,120
Speaker 3: out there for the fest and for the city as well.

1387
01:22:52,040 --> 01:22:56,599
Speaker 1: More information at Refocus Film Festival dot org. You may

1388
01:22:56,760 --> 01:22:59,599
Speaker 1: just see you probably will see myself and Michael Phillips

1389
01:22:59,600 --> 01:23:04,519
Speaker 1: hanging round. Also coming very soon. Speaking of festivals, the

1390
01:23:04,600 --> 01:23:09,720
Speaker 1: sixty first Annual Chicago International Film Festival. It runs October

1391
01:23:09,800 --> 01:23:13,799
Speaker 1: fifteenth through the twenty sixth. We will have a preview

1392
01:23:14,160 --> 01:23:17,519
Speaker 1: of the fest on next week's show. For tickets and

1393
01:23:17,600 --> 01:23:22,680
Speaker 1: more information Chicago Film Festival dot com. And one of

1394
01:23:22,720 --> 01:23:26,640
Speaker 1: the highlights of the festival, not in terms of the programming,

1395
01:23:27,040 --> 01:23:33,599
Speaker 1: but incillary to the film festival the Criterion Collection. Josh,

1396
01:23:33,680 --> 01:23:38,439
Speaker 1: they have the Criterion Mobile closet just like it is

1397
01:23:38,520 --> 01:23:42,280
Speaker 1: dropping in. I may or may not be lucky enough

1398
01:23:42,920 --> 01:23:47,160
Speaker 1: to have a slot at the Criterion Mobile Closet, and

1399
01:23:47,200 --> 01:23:52,040
Speaker 1: I at stressing out about how I'm going to approach it,

1400
01:23:52,640 --> 01:23:55,240
Speaker 1: what my picks are going to be. But this must stay.

1401
01:23:55,280 --> 01:23:58,280
Speaker 1: Thank you, it might break me. Stay tuned to the

1402
01:23:58,320 --> 01:24:01,720
Speaker 1: film spotting Instagram. The film's abouting Facebook. I'm gonna shoot it.

1403
01:24:01,720 --> 01:24:04,000
Speaker 1: I'm gonna put it out there It'll be fun.

1404
01:24:04,080 --> 01:24:10,120
Speaker 3: Wow, incredible, good luck. I'm jealous and at the same

1405
01:24:10,200 --> 01:24:13,640
Speaker 3: time a bit relieved that that I don't have to

1406
01:24:13,680 --> 01:24:18,240
Speaker 3: take all that on love. The festival go every year,

1407
01:24:18,280 --> 01:24:20,720
Speaker 3: but a little hired for me this year being in Scotland.

1408
01:24:21,280 --> 01:24:25,080
Speaker 1: Yeah again. Chicago Film Festival dot com for more information.

1409
01:24:27,000 --> 01:24:34,720
Speaker 5: Money morning, what would you like to order? M hm

1410
01:24:36,200 --> 01:24:44,120
Speaker 5: A Welsh rabbit with a poachteak on top, please not

1411
01:24:44,200 --> 01:24:57,840
Speaker 5: too runny, and bacon scones, butter cream jam not strawberry.

1412
01:24:59,760 --> 01:25:04,400
Speaker 1: It's time for some deeply flawed film spotting poll results.

1413
01:25:04,600 --> 01:25:06,360
Speaker 1: A couple of weeks ago, we asked you to choose

1414
01:25:06,400 --> 01:25:11,120
Speaker 1: one and only one, Paul Thomas Anderson Decade. The options

1415
01:25:11,120 --> 01:25:15,240
Speaker 1: were we'll go in order here, the nineties that includes

1416
01:25:15,479 --> 01:25:20,559
Speaker 1: Hard Eight, Boogie Knights, Magnolia, the two thousands, Punch Drunk Love,

1417
01:25:20,880 --> 01:25:24,280
Speaker 1: There Will Be Blood, or the twenty tens, The Master,

1418
01:25:24,760 --> 01:25:29,760
Speaker 1: Inherent Vice, Phantom Thread, Josh. How did it come out?

1419
01:25:30,280 --> 01:25:33,000
Speaker 3: You know what? The results went chronological as well. The

1420
01:25:33,080 --> 01:25:36,080
Speaker 3: nineties were in third place with twenty nine percent, the

1421
01:25:36,120 --> 01:25:40,840
Speaker 3: two thousands received thirty four percent for second place, and

1422
01:25:40,920 --> 01:25:45,519
Speaker 3: the twenty tens took this poll. It was close thirty

1423
01:25:46,080 --> 01:25:52,760
Speaker 3: eight percent. I'm a little surprised, just given the stature

1424
01:25:52,880 --> 01:25:57,160
Speaker 3: that people talk about There will be Blood, that that

1425
01:25:57,320 --> 01:25:59,439
Speaker 3: wasn't enough to put it over the top, and that

1426
01:25:59,840 --> 01:26:02,479
Speaker 3: the master Inherent Weiss and Phantom Thread as a trio

1427
01:26:03,040 --> 01:26:05,479
Speaker 3: managed to take this ball. I'm delighted that's where my

1428
01:26:05,560 --> 01:26:07,759
Speaker 3: vote went. But but yeah, a little bit surprised.

1429
01:26:08,479 --> 01:26:11,360
Speaker 1: I know that there are fans out there of Inherent Vice.

1430
01:26:11,400 --> 01:26:13,880
Speaker 1: I mean, I'm one of them, but I wouldn't put

1431
01:26:13,880 --> 01:26:16,800
Speaker 1: it above maybe three or four of the films at

1432
01:26:16,880 --> 01:26:18,800
Speaker 1: least on this list. I was gonna ask you, Josh,

1433
01:26:18,840 --> 01:26:21,080
Speaker 1: whether or not Phantom Thread was maybe the film that

1434
01:26:21,160 --> 01:26:23,599
Speaker 1: put the twenty tens as a decade over the list.

1435
01:26:23,600 --> 01:26:25,559
Speaker 1: But I don't have to ask you. I can go

1436
01:26:25,640 --> 01:26:29,000
Speaker 1: right to the feedback from our listeners. Here's Alex Torres.

1437
01:26:29,479 --> 01:26:31,880
Speaker 1: Sam is really outdone himself with this one. But then again,

1438
01:26:32,040 --> 01:26:34,439
Speaker 1: I should blame Paul Thomas Anderson for having such an

1439
01:26:34,439 --> 01:26:37,840
Speaker 1: incredible filmography, maybe to the evolution of his output, or

1440
01:26:37,880 --> 01:26:40,240
Speaker 1: maybe he's just that darn talented, but it's hard to

1441
01:26:40,240 --> 01:26:42,519
Speaker 1: identify a peek in his career. He hasn't made a

1442
01:26:42,520 --> 01:26:45,120
Speaker 1: week film, and my favorites are fairly spread out. Do

1443
01:26:45,200 --> 01:26:47,880
Speaker 1: I go with the cocaine energy of Boogie Knights and Magnolia?

1444
01:26:48,040 --> 01:26:50,519
Speaker 1: How about the more demure and mature filmmaking of Phantom

1445
01:26:50,560 --> 01:26:53,439
Speaker 1: Thread and The Master I want to defy Sam and

1446
01:26:53,479 --> 01:26:56,040
Speaker 1: save all of these films. Yes, you should always defy Sam.

1447
01:26:56,080 --> 01:26:58,320
Speaker 1: But if I have to pick, I think Anderson's Two

1448
01:26:58,360 --> 01:27:01,679
Speaker 1: Thousands film are an incredible bridge between the two poles

1449
01:27:01,720 --> 01:27:04,360
Speaker 1: of his evolution as a filmmaker. There Will Be Blood

1450
01:27:04,400 --> 01:27:07,240
Speaker 1: was my Pta entry point, and its status as a

1451
01:27:07,240 --> 01:27:10,080
Speaker 1: great American film makes it hard to put in the incinerator.

1452
01:27:10,360 --> 01:27:13,719
Speaker 1: More importantly, though, Punch Drunk Love is my favorite Anderson film,

1453
01:27:14,040 --> 01:27:17,960
Speaker 1: capturing pure romance through his unique cinematic lens. So Alex

1454
01:27:18,600 --> 01:27:22,120
Speaker 1: going against the grain, going with the two Thousands?

1455
01:27:22,640 --> 01:27:26,160
Speaker 3: All right, here's Jonathan Anderson in Denver. On my last

1456
01:27:26,240 --> 01:27:29,920
Speaker 3: rewatch of all of PTA's films, I found myself less

1457
01:27:29,960 --> 01:27:32,280
Speaker 3: interested in the nineties output. That's not to say that

1458
01:27:32,320 --> 01:27:35,400
Speaker 3: Boogie Knights and Magnolia aren't impressive and packed full of

1459
01:27:35,439 --> 01:27:38,519
Speaker 3: great stuff. But Punch Drunk Love is the moment when

1460
01:27:38,560 --> 01:27:41,560
Speaker 3: I feel like Pta came of age as a filmmaker,

1461
01:27:41,880 --> 01:27:44,880
Speaker 3: and There Will Be Blood is still his masterpiece. And

1462
01:27:44,920 --> 01:27:46,800
Speaker 3: one of the greatest films of all time.

1463
01:27:47,160 --> 01:27:50,120
Speaker 1: Okay, here's Jeffrey Overstreet. I can't cope with the thought

1464
01:27:50,120 --> 01:27:53,120
Speaker 1: of throwing Philip Seymour Hoffman's phil Parma or Daniel da

1465
01:27:53,200 --> 01:27:56,400
Speaker 1: Lewis's Reynolds Woodcock into an incinerator. But then I can't

1466
01:27:56,439 --> 01:27:58,200
Speaker 1: imagine living in a world where I can no longer

1467
01:27:58,200 --> 01:28:00,920
Speaker 1: revisit the singular wonder of Barry and Lena's love story,

1468
01:28:01,160 --> 01:28:05,040
Speaker 1: or Daniel plaine use harrowing plunge into America's heart of darkness. Okay,

1469
01:28:05,080 --> 01:28:07,160
Speaker 1: I'm casting my vote for the two thousands. That's my

1470
01:28:07,240 --> 01:28:10,000
Speaker 1: final answer. Don't argue I have a competition in me.

1471
01:28:10,320 --> 01:28:13,680
Speaker 1: I want no other pta decade to succeed. Still, this

1472
01:28:13,760 --> 01:28:16,160
Speaker 1: poll caused me such emotional distress that I beat up

1473
01:28:16,200 --> 01:28:18,639
Speaker 1: the bathroom. I'm sorry, I'm gonna go out of town.

1474
01:28:18,880 --> 01:28:20,840
Speaker 1: I'm gonna go out of town for two days. Don't

1475
01:28:20,840 --> 01:28:22,920
Speaker 1: tell my sisters, all right.

1476
01:28:23,120 --> 01:28:26,840
Speaker 3: One more comment here from Henry Murphy. After seeing one

1477
01:28:26,840 --> 01:28:30,360
Speaker 3: battle after another, and given how much I love licorice pizza,

1478
01:28:30,840 --> 01:28:32,760
Speaker 3: I think I'm already willing to call my shot and

1479
01:28:32,760 --> 01:28:36,200
Speaker 3: give my vote to the unlisted. This poll is deeply flawed.

1480
01:28:36,280 --> 01:28:40,240
Speaker 3: After all option of the twenty twenties, PTA's two most

1481
01:28:40,240 --> 01:28:42,479
Speaker 3: recent efforts are so great that I'll throw the rest

1482
01:28:42,520 --> 01:28:44,680
Speaker 3: in the incinerator and put my chips on whatever he's

1483
01:28:44,680 --> 01:28:46,920
Speaker 3: got in store for us in the next four years.

1484
01:28:47,880 --> 01:28:52,080
Speaker 3: You know, Henry, maybe not a bad butt. Actually maybe not.

1485
01:28:52,280 --> 01:28:55,000
Speaker 1: I guess all the votes for the twenty tens they

1486
01:28:55,080 --> 01:28:58,360
Speaker 1: just spoke for themselves. We got no feedback there supporting it.

1487
01:28:58,479 --> 01:29:00,760
Speaker 1: Or maybe Sam just didn't think it was interesting enough.

1488
01:29:01,000 --> 01:29:03,840
Speaker 1: No offense to everyone who wrote in, Thank you to

1489
01:29:04,000 --> 01:29:06,640
Speaker 1: everyone who wrote in. It is now time for a

1490
01:29:06,720 --> 01:29:09,840
Speaker 1: new deeply flawed poll. As we mentioned, we plan to

1491
01:29:09,840 --> 01:29:12,519
Speaker 1: honor the passing of Robert Redford on next week's show.

1492
01:29:12,760 --> 01:29:15,479
Speaker 1: So with that in mind, we're asking you what is

1493
01:29:15,520 --> 01:29:19,920
Speaker 1: the definitive Robert Redford performance? And we kick this around

1494
01:29:19,920 --> 01:29:23,960
Speaker 1: a little bit, and we ultimately decided that the least

1495
01:29:24,360 --> 01:29:28,880
Speaker 1: deeply flawed options seem to be to just keep it simple.

1496
01:29:28,960 --> 01:29:33,600
Speaker 3: Josh, Yeah, Let's let's make the two that come to

1497
01:29:33,680 --> 01:29:37,640
Speaker 3: everyone's mind first, duke it out. So two options you

1498
01:29:37,680 --> 01:29:39,320
Speaker 3: have to choose. One is it going to be Bob

1499
01:29:39,320 --> 01:29:43,000
Speaker 3: Woodward and all the President's men or the Sundance Kid

1500
01:29:43,520 --> 01:29:46,000
Speaker 3: in Butch Cassidy and the Sundance kid.

1501
01:29:46,640 --> 01:29:48,479
Speaker 1: I mean other?

1502
01:29:48,640 --> 01:29:49,880
Speaker 3: Should we let them do other two?

1503
01:29:50,560 --> 01:29:52,439
Speaker 1: You know, it's a it's a great thought. I'm going

1504
01:29:52,520 --> 01:29:56,800
Speaker 1: to open up the poll mechanism right now to see

1505
01:29:56,800 --> 01:30:01,160
Speaker 1: if Sam gave them that option, because yeah, it looks

1506
01:30:01,200 --> 01:30:04,000
Speaker 1: like he did give them other. I don't know that

1507
01:30:04,080 --> 01:30:06,000
Speaker 1: I would have. I don't know that I would have.

1508
01:30:06,040 --> 01:30:08,519
Speaker 1: And actually, you know what, the newsletter hasn't gone out yet,

1509
01:30:08,520 --> 01:30:11,479
Speaker 1: so let's we can override Sam. I mean, it would

1510
01:30:11,560 --> 01:30:13,120
Speaker 1: make it more deeply flawed.

1511
01:30:14,520 --> 01:30:18,200
Speaker 3: You, hey, I'm not getting into this. You can override Sam.

1512
01:30:18,400 --> 01:30:21,439
Speaker 1: Hey, it's two out of three. It's a democracy here, right.

1513
01:30:22,439 --> 01:30:26,000
Speaker 1: We could make it more deeply flawed by leaving in other,

1514
01:30:26,240 --> 01:30:28,320
Speaker 1: or we could keep it. We could keep it more

1515
01:30:28,400 --> 01:30:32,320
Speaker 1: perfect by just just putting those two. What do you

1516
01:30:32,320 --> 01:30:33,759
Speaker 1: actually think is the best poll?

1517
01:30:34,960 --> 01:30:39,280
Speaker 3: I think the best poll is to force people to choose,

1518
01:30:39,360 --> 01:30:43,200
Speaker 3: don't give them any wiggle room. Polls are about pain,

1519
01:30:44,080 --> 01:30:48,559
Speaker 3: and that's a film spotting mug way to inflict the

1520
01:30:48,600 --> 01:30:52,439
Speaker 3: most pain in this instance is to remove other.

1521
01:30:53,360 --> 01:30:55,559
Speaker 1: I agree with you, and that's what we're going to do.

1522
01:30:56,160 --> 01:30:59,800
Speaker 1: I can control the poles, and Sam wants to fight

1523
01:30:59,840 --> 01:31:03,240
Speaker 1: with us he can, So that's what we're going with.

1524
01:31:03,439 --> 01:31:05,720
Speaker 1: It's Bob Woodward or it's the Sun Dance Kid, Bob

1525
01:31:05,760 --> 01:31:09,760
Speaker 1: or Butch. That's it now. I suppose you can be

1526
01:31:09,880 --> 01:31:12,679
Speaker 1: mad that you can't write in Johnny Hooker in the Sting,

1527
01:31:13,000 --> 01:31:15,360
Speaker 1: or Joseph Turner in Three Days at the Condor, or

1528
01:31:15,400 --> 01:31:18,200
Speaker 1: Bill McKay and the Candidate. There's no way any of

1529
01:31:18,200 --> 01:31:21,000
Speaker 1: those three are as good as Bob or Butch. But

1530
01:31:22,120 --> 01:31:24,639
Speaker 1: that's fine. There are lots of good options to consider.

1531
01:31:24,720 --> 01:31:28,080
Speaker 1: Maybe some of them will come up in our Robert

1532
01:31:28,120 --> 01:31:30,360
Speaker 1: Redford Top five next week. You can vote in that

1533
01:31:30,400 --> 01:31:34,000
Speaker 1: poll and leave a comment. Your comment you could yell

1534
01:31:34,040 --> 01:31:36,160
Speaker 1: at us for changing Sam's pole.

1535
01:31:36,800 --> 01:31:38,120
Speaker 3: We'll probably get a lot of that.

1536
01:31:38,720 --> 01:31:40,960
Speaker 1: We probably will. We will share your results and your

1537
01:31:41,000 --> 01:31:45,800
Speaker 1: feedback in a couple of weeks. Speaking of feedback, we

1538
01:31:46,560 --> 01:31:49,160
Speaker 1: recently had a very fun top five. Here's where we

1539
01:31:49,240 --> 01:31:52,280
Speaker 1: try to get back in Sam's good graces. A recent

1540
01:31:52,320 --> 01:31:55,760
Speaker 1: top five was all his doing, and it was so

1541
01:31:55,920 --> 01:31:58,479
Speaker 1: much fun for both of us to put together, and

1542
01:31:58,560 --> 01:32:01,080
Speaker 1: so much fun for our listeners based on their feedback

1543
01:32:01,320 --> 01:32:05,400
Speaker 1: to hear and respond to. It was the five Movies

1544
01:32:05,840 --> 01:32:10,839
Speaker 1: five Years top five, effectively kind of a Desert Island

1545
01:32:11,040 --> 01:32:13,880
Speaker 1: top five movies. But the catch was they all had

1546
01:32:13,920 --> 01:32:17,840
Speaker 1: to come from the same five year span. And if

1547
01:32:17,840 --> 01:32:20,840
Speaker 1: you haven't heard that top five from I don't know

1548
01:32:20,840 --> 01:32:25,080
Speaker 1: what was it, three or four shows ago. We took

1549
01:32:25,240 --> 01:32:28,839
Speaker 1: pretty different approaches. You took a more more serious approach,

1550
01:32:28,880 --> 01:32:33,240
Speaker 1: maybe a more cinophile approach, but movies you genuinely do

1551
01:32:34,080 --> 01:32:36,960
Speaker 1: love personal favorites. You went back what was it, was

1552
01:32:37,000 --> 01:32:38,920
Speaker 1: it fifty one to fifty.

1553
01:32:38,640 --> 01:32:42,479
Speaker 3: Five, Yeah, that sounds right, fifty one to fifty five, yeah.

1554
01:32:42,479 --> 01:32:46,080
Speaker 1: And I went back more based on nostalgia movies. That

1555
01:32:46,120 --> 01:32:49,120
Speaker 1: were the films that got me to fall in love

1556
01:32:49,160 --> 01:32:51,240
Speaker 1: with movies in the first place, even though obviously I

1557
01:32:51,280 --> 01:32:54,240
Speaker 1: wasn't a quote unquote cinephile at that point. Nineteen seventy

1558
01:32:54,320 --> 01:32:59,000
Speaker 1: nine to nineteen eighty three. Here's some of the feedback

1559
01:32:59,600 --> 01:33:02,640
Speaker 1: we got, and Josh, if you would like, you can

1560
01:33:02,680 --> 01:33:06,839
Speaker 1: do the honors, starting us off with Michael in Keel, Germany.

1561
01:33:07,160 --> 01:33:09,200
Speaker 3: Michael says, a little bit late, but here's my five

1562
01:33:09,240 --> 01:33:11,640
Speaker 3: Desert Island movies from a five year period. This was

1563
01:33:11,720 --> 01:33:15,000
Speaker 3: quite easy for me. I just sorted my IMDb ratings

1564
01:33:15,040 --> 01:33:17,400
Speaker 3: by best rating and looked at the top spots and

1565
01:33:17,479 --> 01:33:21,040
Speaker 3: no surprises here. I guess my teenage years when I

1566
01:33:21,120 --> 01:33:24,679
Speaker 3: became a cinophile emerged as the period that has most

1567
01:33:24,680 --> 01:33:27,840
Speaker 3: of my favorite movies. So this is my list in

1568
01:33:27,960 --> 01:33:32,040
Speaker 3: chronological order. Fight Club nineteen ninety nine, Lord of the Rings,

1569
01:33:32,040 --> 01:33:34,960
Speaker 3: The Fellowship of the Ring two thousand and one, Eternal

1570
01:33:34,960 --> 01:33:38,080
Speaker 3: Sunshine of the Spotless Mind, Finding Nemo, and Sean of

1571
01:33:38,120 --> 01:33:41,080
Speaker 3: the Dead. Those last three all came out in two

1572
01:33:41,120 --> 01:33:45,240
Speaker 3: thousand and four, A bit two mainstream. Michael says, maybe,

1573
01:33:45,240 --> 01:33:48,080
Speaker 3: but these are the films that I can watch over

1574
01:33:48,320 --> 01:33:48,760
Speaker 3: and over.

1575
01:33:49,040 --> 01:33:52,160
Speaker 1: Didn't even need two or three? Three from four?

1576
01:33:52,479 --> 01:33:52,920
Speaker 3: How about that?

1577
01:33:53,000 --> 01:33:53,160
Speaker 2: Yep?

1578
01:33:53,320 --> 01:33:57,479
Speaker 1: Okay, here's Frederick from Norway. My quick top five was

1579
01:33:58,080 --> 01:34:00,200
Speaker 1: put together by looking at my year end top ten

1580
01:34:00,240 --> 01:34:03,400
Speaker 1: lists on letterbox, sorted chronologically, which reminds me I have

1581
01:34:03,439 --> 01:34:05,000
Speaker 1: yet to thank you for turning me on to this

1582
01:34:05,080 --> 01:34:08,040
Speaker 1: invaluable resource that I had somehow ignored dismissed for way

1583
01:34:08,080 --> 01:34:11,120
Speaker 1: too long. I quickly realized this was an impossible task,

1584
01:34:11,439 --> 01:34:14,600
Speaker 1: and to avoid spending my entire afternoon, I started in

1585
01:34:14,720 --> 01:34:17,160
Speaker 1: nineteen ninety nine, one of my favorite years in movies,

1586
01:34:17,240 --> 01:34:20,120
Speaker 1: and maybe maybe not coincidentally, the year the World of

1587
01:34:20,200 --> 01:34:23,759
Speaker 1: R rated movies became available to me. Magnolia, Fight Club

1588
01:34:23,800 --> 01:34:26,759
Speaker 1: being John Malkovich, the Iron Giant, some of my favorites

1589
01:34:26,760 --> 01:34:29,280
Speaker 1: from that year. Scanning up and down the years surrounding this,

1590
01:34:29,400 --> 01:34:32,240
Speaker 1: I landed on nineteen ninety eight to two thousand and

1591
01:34:32,280 --> 01:34:36,720
Speaker 1: two with the following five films. Number five Adaptation. I

1592
01:34:36,760 --> 01:34:38,960
Speaker 1: love Kaufman and his films from the early two thousands

1593
01:34:39,040 --> 01:34:41,479
Speaker 1: were formative in my early days as a sinophile, and

1594
01:34:41,520 --> 01:34:43,840
Speaker 1: he continues to blow me away with such recent work

1595
01:34:44,240 --> 01:34:46,599
Speaker 1: such as I'm Thinking of Ending Things. That was probably

1596
01:34:46,600 --> 01:34:49,920
Speaker 1: my favorite film of twenty twenty. Number four Magnolia still

1597
01:34:49,960 --> 01:34:53,080
Speaker 1: my favorite, pta though I admittedly have some blind spots.

1598
01:34:53,160 --> 01:34:56,680
Speaker 1: Number three Memento. I remained steadfast in my opinion that

1599
01:34:56,720 --> 01:34:59,080
Speaker 1: this is one of the greatest nonlinear films of all time.

1600
01:34:59,439 --> 01:35:03,639
Speaker 1: Number two the Big Lebowski Desert Island Incinerator rules apply,

1601
01:35:03,720 --> 01:35:05,320
Speaker 1: so I want to be able to laugh my ass off.

1602
01:35:05,320 --> 01:35:10,360
Speaker 1: It's something. And Number one spirited away Meazaki Magic. What

1603
01:35:10,479 --> 01:35:12,640
Speaker 1: else is there to say as always keep up the

1604
01:35:12,680 --> 01:35:15,040
Speaker 1: good work, and I hope you are settling in nicely

1605
01:35:15,120 --> 01:35:15,880
Speaker 1: in Scotland.

1606
01:35:15,960 --> 01:35:21,000
Speaker 3: Josh, thank you, Frederick, and I like that process. Picking

1607
01:35:21,080 --> 01:35:23,080
Speaker 3: one of the great movie years and working out from

1608
01:35:23,120 --> 01:35:26,599
Speaker 3: that makes a lot of sense. Here is Jack Dittheart

1609
01:35:26,600 --> 01:35:29,920
Speaker 3: from Milwaukee, Wisconsin. I sent in a five years five

1610
01:35:30,000 --> 01:35:33,120
Speaker 3: movies list to you. It was very close to Adam's list,

1611
01:35:33,200 --> 01:35:36,880
Speaker 3: based on comfort movies from the nineteen eighties. I'd like

1612
01:35:36,960 --> 01:35:40,519
Speaker 3: to revise my list to include French films, including the

1613
01:35:40,560 --> 01:35:43,800
Speaker 3: new wave. Okay. Updated list from Jack here. It is

1614
01:35:44,479 --> 01:35:49,200
Speaker 3: from nineteen fifty eight to nineteen sixty two. Nineteen fifty

1615
01:35:49,200 --> 01:35:52,200
Speaker 3: eight mon Uncle by Jacques Tati. I've seen this half

1616
01:35:52,200 --> 01:35:55,120
Speaker 3: a dozen times and it is also a comfort movie

1617
01:35:55,439 --> 01:35:57,680
Speaker 3: nineteen fifty nine. Some like it hot, like Josh. I

1618
01:35:57,720 --> 01:36:01,160
Speaker 3: appreciate nineteen fifties Maryland, but I don't need musical nineteen

1619
01:36:01,240 --> 01:36:06,040
Speaker 3: sixty He's Going with Psycho by Alfred Hitchcock, nineteen sixty

1620
01:36:06,400 --> 01:36:10,320
Speaker 3: Breathless Jean Luke Godauer. When I finally saw this, I

1621
01:36:10,400 --> 01:36:14,800
Speaker 3: saw Quentin Tarantino's inspiration so great to rewatch the conversation,

1622
01:36:14,920 --> 01:36:17,839
Speaker 3: the editing cuts, the stylishness, and still in black and white.

1623
01:36:18,040 --> 01:36:20,080
Speaker 3: This is a new movie, but it was made sixty

1624
01:36:20,120 --> 01:36:23,360
Speaker 3: five years ago. I can watch it again and again.

1625
01:36:23,960 --> 01:36:27,920
Speaker 3: Final pick from Jack comes from nineteen sixty two Clayo

1626
01:36:28,040 --> 01:36:30,559
Speaker 3: from five to seven by Agnes Varda, another French new

1627
01:36:30,560 --> 01:36:33,920
Speaker 3: wave movie, and this one inspired Before Sunrise, and this

1628
01:36:33,960 --> 01:36:37,200
Speaker 3: one ends with a shock, heralding an era of shock endings,

1629
01:36:37,240 --> 01:36:40,759
Speaker 3: including Bonnie and Clyde, The Graduate, Easy Rider, Vanishing Point,

1630
01:36:41,040 --> 01:36:44,080
Speaker 3: and Neither the Living Dead. Thanks so much for suggesting

1631
01:36:44,120 --> 01:36:48,280
Speaker 3: this list. I really had fun making several of them.

1632
01:36:48,320 --> 01:36:51,400
Speaker 1: That is a great list. We go to Jason Carey

1633
01:36:51,479 --> 01:36:55,960
Speaker 1: in New York State the Year's sixty one to sixty five,

1634
01:36:56,040 --> 01:36:59,960
Speaker 1: nineteen sixty one, Yo, Jimbo sixty two Jewels and Jim

1635
01:37:00,360 --> 01:37:04,080
Speaker 1: sixty three. Here's some more Hitchcock The Birds sixty four

1636
01:37:04,160 --> 01:37:08,559
Speaker 1: and Tonioni's Red Desert. Okay, that's an outlier choice in

1637
01:37:08,640 --> 01:37:11,559
Speaker 1: sixty five a different guitar film and a bit of

1638
01:37:11,560 --> 01:37:15,160
Speaker 1: an outlier, but a good one. Alphaville, Yes, I'm being

1639
01:37:15,160 --> 01:37:17,920
Speaker 1: a bit offbeat, but come on, I could have made

1640
01:37:17,920 --> 01:37:20,640
Speaker 1: this a guitar list, so you're lucky I didn't do that.

1641
01:37:22,880 --> 01:37:26,280
Speaker 3: Malcolm Cook wrote in from Surrey, UK. Another great show

1642
01:37:26,320 --> 01:37:29,000
Speaker 3: this week, with a discussion on five years five movies

1643
01:37:29,040 --> 01:37:32,519
Speaker 3: a particular highlight. Fascinating to see how your differing approach

1644
01:37:32,560 --> 01:37:35,200
Speaker 3: has led to such wildly different lists. You asked for

1645
01:37:35,240 --> 01:37:36,880
Speaker 3: listeners to send their on list, so I thought I'd

1646
01:37:36,920 --> 01:37:39,040
Speaker 3: chip in. I can see how for many people this

1647
01:37:39,040 --> 01:37:43,000
Speaker 3: would be a fiendishly complicated challenge to figure out, but

1648
01:37:43,040 --> 01:37:45,880
Speaker 3: for me it turned out to be extraordinarily easy. My

1649
01:37:46,000 --> 01:37:48,960
Speaker 3: chosen timeframe two thousand and four to two thousand and

1650
01:37:49,000 --> 01:37:53,400
Speaker 3: eight comprises these films in chronological order, Eternal Sunshine of

1651
01:37:53,400 --> 01:37:58,080
Speaker 3: the Spotless Mind, Inland Empire, The Diving Belt, and The

1652
01:37:58,120 --> 01:38:02,360
Speaker 3: Butterfly SENECTI Key, New York Wor I've loved you so long.

1653
01:38:03,160 --> 01:38:05,120
Speaker 3: I'm sure that you won't get any other lists that

1654
01:38:05,160 --> 01:38:07,160
Speaker 3: look like this, but I think it has a nice balance,

1655
01:38:07,160 --> 01:38:11,400
Speaker 3: some darkness, some levity, some experimentalism, some exquisite beauty. I'll

1656
01:38:11,439 --> 01:38:14,240
Speaker 3: admit that I'm missing some laughs, but you can't have everything.

1657
01:38:14,760 --> 01:38:16,720
Speaker 3: I have to admit that my chosen timeframe of two

1658
01:38:16,760 --> 01:38:19,120
Speaker 3: thousand and four to two thousand and eight directly coincides

1659
01:38:19,120 --> 01:38:21,920
Speaker 3: with the period when I was really becoming a fully

1660
01:38:21,960 --> 01:38:24,760
Speaker 3: fledged cinophile, So perhaps this is part of the reason

1661
01:38:24,800 --> 01:38:27,400
Speaker 3: why these picks hold such a special place in my heart.

1662
01:38:28,160 --> 01:38:30,479
Speaker 3: Great work. As always with the show, guys, we really

1663
01:38:30,520 --> 01:38:33,760
Speaker 3: appreciate your efforts. Thank you very much.

1664
01:38:33,800 --> 01:38:38,519
Speaker 1: Malcolm Sinecticy, Diving Bell, and Eternal Sunshine. Those are three

1665
01:38:38,560 --> 01:38:42,240
Speaker 1: movies that I do absolutely adore, So no arguments from

1666
01:38:42,280 --> 01:38:45,679
Speaker 1: me there. Malcolm Kyle Christie says, I heard the honorable

1667
01:38:45,720 --> 01:38:48,519
Speaker 1: mention about the nineteen nineties and that was immediately where

1668
01:38:48,560 --> 01:38:51,320
Speaker 1: my mind went reading the question. Originally, maybe I went

1669
01:38:51,360 --> 01:38:53,080
Speaker 1: that way because I was born in the nineties, but

1670
01:38:53,120 --> 01:38:55,880
Speaker 1: after looking at other runs, I think I would still go.

1671
01:38:56,000 --> 01:38:59,559
Speaker 1: Nineteen ninety three to nineteen ninety seven, ninety three, Three

1672
01:38:59,600 --> 01:39:02,519
Speaker 1: Colors Blue, one of my all time saves, ninety four,

1673
01:39:02,680 --> 01:39:05,640
Speaker 1: Pulp Fiction, ninety five Heat. We've covered a lot of

1674
01:39:05,640 --> 01:39:08,600
Speaker 1: bases already in just three years. Ninety six, Breaking the

1675
01:39:08,640 --> 01:39:12,160
Speaker 1: Waves my favorite movie from my favorite movie making Siko

1676
01:39:12,479 --> 01:39:17,519
Speaker 1: Lars nineteen ninety seven, Boogie Nights Thinking Desert Island Style.

1677
01:39:17,600 --> 01:39:20,480
Speaker 1: This covers a ton of moods, all have incredible rewatchabilities,

1678
01:39:20,479 --> 01:39:22,960
Speaker 1: save for waves unless getting hurt is your thing. And

1679
01:39:23,040 --> 01:39:28,679
Speaker 1: it's full of heavyweight directors and actors Binoche, Paccino, Watson, Scars, Guards, Seymour, Hoffman,

1680
01:39:28,800 --> 01:39:32,400
Speaker 1: Julian Moore, Pta, Tarantino. The list just keeps going. The

1681
01:39:32,479 --> 01:39:35,120
Speaker 1: only thing missing is some Sandler, because in this house,

1682
01:39:35,160 --> 01:39:39,479
Speaker 1: we do not tolerate Sandler slander. I'm glad I got

1683
01:39:39,479 --> 01:39:43,120
Speaker 1: that out. I deserve a cookie or something. Picking heat

1684
01:39:43,160 --> 01:39:47,479
Speaker 1: over Billy Madison nearly killed me. He says, Wow, thank you, Kyle.

1685
01:39:48,400 --> 01:39:51,080
Speaker 3: You know I I that interesting approach. I don't know

1686
01:39:51,160 --> 01:39:54,080
Speaker 3: if if we or many people thought about it being

1687
01:39:54,280 --> 01:39:58,920
Speaker 3: actor driven. You know what actors now you need to retain, right,

1688
01:39:59,120 --> 01:40:02,679
Speaker 3: So I like that, Kyle. Here's Bill van Zandt started

1689
01:40:02,680 --> 01:40:04,920
Speaker 3: working on this list the other day, ended up with

1690
01:40:04,960 --> 01:40:07,599
Speaker 3: the same years nineteen fifty one to nineteen fifty five

1691
01:40:07,680 --> 01:40:10,439
Speaker 3: and a couple of the same choices as josh. I knew.

1692
01:40:10,439 --> 01:40:12,200
Speaker 3: I had to have nineteen fifty two for Singing in

1693
01:40:12,240 --> 01:40:15,280
Speaker 3: the Rain, probably my favorite of all time. And if

1694
01:40:15,320 --> 01:40:17,479
Speaker 3: I can only have five movies for the rest of

1695
01:40:17,520 --> 01:40:20,439
Speaker 3: my life, I need at least one that radiates pure joy.

1696
01:40:20,840 --> 01:40:22,920
Speaker 3: Can't wait to share it with my seven year old daughter.

1697
01:40:23,400 --> 01:40:26,360
Speaker 3: I'm double dipping in nineteen fifty two because I also

1698
01:40:26,439 --> 01:40:29,920
Speaker 3: need Ikiu, my favorite Krosawa and when I'm overdue to

1699
01:40:30,000 --> 01:40:35,559
Speaker 3: revisit so why nineteen fifty one another personal favorite Scrooge. Yes,

1700
01:40:35,640 --> 01:40:38,880
Speaker 3: I need a Christmas movie on my desert island. Alistair

1701
01:40:39,000 --> 01:40:43,200
Speaker 3: sim is delightful and nails the redemptive nature of the material,

1702
01:40:43,520 --> 01:40:46,559
Speaker 3: the hilarious joy. There's that word again. He brings to

1703
01:40:46,600 --> 01:40:49,000
Speaker 3: the born again Ebenezer Scrooge is one of the reasons

1704
01:40:49,080 --> 01:40:52,759
Speaker 3: I go back to this movie almost every holiday season.

1705
01:40:53,200 --> 01:40:56,000
Speaker 3: On the other end of the bracket, nineteen fifty fives

1706
01:40:56,080 --> 01:40:58,559
Speaker 3: or debt, I'm glad you didn't spoil the ending to

1707
01:40:58,600 --> 01:41:01,200
Speaker 3: a seventy year old movie because people need to see

1708
01:41:01,240 --> 01:41:03,840
Speaker 3: it for themselves. So that leaves me with one choice

1709
01:41:03,840 --> 01:41:06,680
Speaker 3: from nineteen fifty three or nineteen fifty four. Plenty of

1710
01:41:06,720 --> 01:41:11,679
Speaker 3: great candidates, more Kursawa with seven Samurai Roman Holiday, Shane

1711
01:41:11,720 --> 01:41:14,559
Speaker 3: on the Waterfront. I nearly went with Wages of Fear,

1712
01:41:14,600 --> 01:41:18,519
Speaker 3: but my final answer nineteen fifty four is go here

1713
01:41:19,479 --> 01:41:22,640
Speaker 3: otherwise or known here as the States as Godzilla. I

1714
01:41:22,680 --> 01:41:26,280
Speaker 3: get my fifties monster movie with fun, practical effects, but

1715
01:41:26,320 --> 01:41:28,880
Speaker 3: also a film with far more chill's heartbreak dare I

1716
01:41:28,920 --> 01:41:31,920
Speaker 3: say gravitas? Then a guy stomping around in a rubber

1717
01:41:31,920 --> 01:41:35,920
Speaker 3: suit would normally engender a thinly veiled lament for post

1718
01:41:35,920 --> 01:41:39,720
Speaker 3: war Japan, like Germany Year zero with radioactive breath, and

1719
01:41:39,760 --> 01:41:44,000
Speaker 3: that roar haunts me like few other horror movie sounds.

1720
01:41:44,400 --> 01:41:47,679
Speaker 3: So there you go. Thanks for a fun topic. Yeah.

1721
01:41:47,800 --> 01:41:49,760
Speaker 1: Like I said, you can tell from the entries we

1722
01:41:49,880 --> 01:41:52,960
Speaker 1: got such a good batch of feedback. I think I

1723
01:41:53,000 --> 01:41:55,640
Speaker 1: even left I know I left a few out. My

1724
01:41:55,720 --> 01:41:58,679
Speaker 1: apologies to those we didn't get too. It's always great

1725
01:41:58,680 --> 01:42:02,960
Speaker 1: when a top five does engender that much feedback, so

1726
01:42:03,080 --> 01:42:05,479
Speaker 1: we hope to get to more in the coming weeks.

1727
01:42:05,520 --> 01:42:09,880
Speaker 1: Hopefully our top five actor director combos will solicit some

1728
01:42:10,080 --> 01:42:14,200
Speaker 1: great feedback like that as well. Josh, we did it.

1729
01:42:14,439 --> 01:42:15,080
Speaker 1: That's our show.

1730
01:42:15,400 --> 01:42:17,719
Speaker 3: If you want to connect with us via social media,

1731
01:42:17,760 --> 01:42:21,800
Speaker 3: you can find Adam and the show on Instagram, Facebook, letterbox,

1732
01:42:22,200 --> 01:42:25,839
Speaker 3: and YouTube. As film Spotting, I'm at all those places.

1733
01:42:25,920 --> 01:42:29,959
Speaker 3: As Larsen on film we are independently produced and listeners supported.

1734
01:42:30,040 --> 01:42:33,759
Speaker 3: You can support the show by joining the film Spotting Family.

1735
01:42:33,960 --> 01:42:36,760
Speaker 3: Do that at film spottingfamily dot com. That way you

1736
01:42:36,800 --> 01:42:40,280
Speaker 3: can listen early in ad free. You'll get a weekly newsletter,

1737
01:42:40,479 --> 01:42:44,479
Speaker 3: monthly bonus episodes, and access to the entire show archive.

1738
01:42:45,080 --> 01:42:47,719
Speaker 3: For show t shirts and other merch go to film

1739
01:42:47,760 --> 01:42:52,920
Speaker 3: spotting dot net slash shop. Those sense figurines should be

1740
01:42:52,960 --> 01:42:54,479
Speaker 3: available by the time this heirs.

1741
01:42:55,320 --> 01:42:57,840
Speaker 1: Yes and the new Film Spotting mugs that say what

1742
01:42:58,160 --> 01:43:01,400
Speaker 1: polls should equal pain? Polsy is that which you said,

1743
01:43:01,760 --> 01:43:04,439
Speaker 1: poles equal paint? In the film Spotting Archive, you can

1744
01:43:04,439 --> 01:43:07,160
Speaker 1: find two interviews that I did with the Safti Brothers,

1745
01:43:07,200 --> 01:43:10,519
Speaker 1: one related to Good Time episode six forty five, one

1746
01:43:10,800 --> 01:43:15,320
Speaker 1: for Uncut Gems. That's episode seven fifty seven. Out streaming

1747
01:43:15,439 --> 01:43:19,320
Speaker 1: or available vod this weekend. The Alabama Solution, an expose

1748
01:43:19,600 --> 01:43:23,080
Speaker 1: of one of America's deadliest prison systems, conducted by inmates.

1749
01:43:23,320 --> 01:43:26,960
Speaker 1: This is directed by Charlotte Kaufman and Andrew Jarecki. He,

1750
01:43:27,200 --> 01:43:29,439
Speaker 1: of course part of the team that did Capturing the

1751
01:43:29,479 --> 01:43:33,200
Speaker 1: Freedman's and the Jinks that's on Max John Candy, I

1752
01:43:33,520 --> 01:43:35,759
Speaker 1: Like Me. This is the documentary about the late comedian

1753
01:43:35,880 --> 01:43:40,160
Speaker 1: that's on Amazon Prime in limited release. Orwell two plus

1754
01:43:40,160 --> 01:43:43,280
Speaker 1: two equals five, a documentary about George Orwell, directed by

1755
01:43:43,360 --> 01:43:46,080
Speaker 1: Raoul Peck that's at the Gene Siskel Film Center and

1756
01:43:46,439 --> 01:43:50,479
Speaker 1: at the Refocused Film Festival in Iowa City in wide release.

1757
01:43:50,880 --> 01:43:53,759
Speaker 1: An adaptation of Kiss of the Spider Woman, an adaptation

1758
01:43:53,840 --> 01:43:56,559
Speaker 1: of the Broadway musical based on the nineteen eighty five

1759
01:43:56,640 --> 01:44:00,799
Speaker 1: Oscar winning film, which was itself adapted from the seventy

1760
01:44:00,800 --> 01:44:03,760
Speaker 1: six novel of the same name. Diego Luna stars with

1761
01:44:03,840 --> 01:44:07,639
Speaker 1: Jennifer Lopez. It's directed by Bill Condon. Roofman is out,

1762
01:44:07,640 --> 01:44:10,280
Speaker 1: based on the true story of a former Army ranger

1763
01:44:10,320 --> 01:44:13,000
Speaker 1: and escape convict, Channing Tatum, who hides out and a

1764
01:44:13,080 --> 01:44:16,679
Speaker 1: Toys r us and Rob's McDonald's restaurants via the roof

1765
01:44:16,880 --> 01:44:19,960
Speaker 1: of the title good cast Kirsten Dunst with Channing Tatum,

1766
01:44:20,000 --> 01:44:23,599
Speaker 1: Leakeith Stanfield and Ben Mendelssohn, and it's directed by Derek

1767
01:44:23,640 --> 01:44:28,760
Speaker 1: sin France. Tron Ares is out this well, it's a

1768
01:44:28,760 --> 01:44:30,880
Speaker 1: Tron movie, Josh. We had Tron and eighty two with

1769
01:44:30,960 --> 01:44:33,920
Speaker 1: Jeff Bridges. We had Tron Legacy in twenty ten with

1770
01:44:34,000 --> 01:44:36,960
Speaker 1: Jeff Bridges and others, and tron Aries apparently is the

1771
01:44:37,000 --> 01:44:37,880
Speaker 1: third one.

1772
01:44:37,920 --> 01:44:41,599
Speaker 3: With Deep does your your Tron commitment go ad him?

1773
01:44:41,640 --> 01:44:43,680
Speaker 3: I know you saw Tron nineteen eighty two. I think

1774
01:44:43,720 --> 01:44:47,040
Speaker 3: I think that was one of your five movie years considerations.

1775
01:44:48,200 --> 01:44:51,120
Speaker 1: I don't watch that. No, I don't think I've ever seen,

1776
01:44:51,160 --> 01:44:53,720
Speaker 1: ever see the original tront No, even though I'm sure

1777
01:44:53,760 --> 01:44:55,840
Speaker 1: it was on HBO all the time, and I for

1778
01:44:55,880 --> 01:44:58,680
Speaker 1: some reason always went past it. And I don't know why.

1779
01:44:58,880 --> 01:44:59,720
Speaker 1: I can't explain it.

1780
01:45:00,240 --> 01:45:02,439
Speaker 3: We need to plumb those depths. Are you a point?

1781
01:45:04,040 --> 01:45:07,080
Speaker 3: I think the eighty two tron which you know I

1782
01:45:07,520 --> 01:45:10,719
Speaker 3: saw at that age, but I revisited it as an adult.

1783
01:45:10,800 --> 01:45:14,559
Speaker 3: I think it's really good. Actually also also did like

1784
01:45:14,800 --> 01:45:17,519
Speaker 3: tron Legacy, but that's as far as it goes. I did.

1785
01:45:17,720 --> 01:45:21,040
Speaker 3: I didn't see, you know the other one, and we'll see.

1786
01:45:22,240 --> 01:45:24,559
Speaker 1: Tron Aries is the third one. Josh, you've seen it.

1787
01:45:24,600 --> 01:45:28,920
Speaker 3: You need to finish, the need to be I need

1788
01:45:28,920 --> 01:45:31,200
Speaker 3: to be a completist. All right, I'll get back to you.

1789
01:45:31,320 --> 01:45:35,280
Speaker 1: I'll get back to Aris. Jeff Bridges, is there also

1790
01:45:35,360 --> 01:45:38,519
Speaker 1: Jared Leto, Grette Lee, Jody Turner, Smith, Gilly and Anderson. Come on,

1791
01:45:38,760 --> 01:45:39,720
Speaker 1: you have to finish it.

1792
01:45:40,000 --> 01:45:40,640
Speaker 3: I'll do what I can.

1793
01:45:40,720 --> 01:45:43,799
Speaker 1: I expect. I expect a letterbox to review and comments

1794
01:45:43,800 --> 01:45:46,519
Speaker 1: on the show. Next week, well, we'll see if Josh

1795
01:45:46,560 --> 01:45:48,840
Speaker 1: is going to talk about tront Aris. We otherwise are

1796
01:45:48,840 --> 01:45:51,320
Speaker 1: going to talk about Robert Redford with our top five,

1797
01:45:51,439 --> 01:45:55,160
Speaker 1: and we'll have a preview of the Chicago International Film Festival.

1798
01:45:55,360 --> 01:45:58,160
Speaker 3: Film Spotting is produced by Golden, Joe Desso and Sam

1799
01:45:58,280 --> 01:46:00,920
Speaker 3: Van Halgren. Without Sam and gold than Joe, The show

1800
01:46:00,960 --> 01:46:06,240
Speaker 3: wouldn't go our production assistant, that's Sophie Kempinar Special thanks

1801
01:46:06,280 --> 01:46:10,800
Speaker 3: to everyone at wbeazy Chicago. More information is available at

1802
01:46:10,880 --> 01:46:15,240
Speaker 3: wbeaz dot org for film spotting, I'm Josh Larson.

1803
01:46:14,920 --> 01:46:16,839
Speaker 1: And I'm Adam Kempinar. Thanks for listening.

1804
01:46:17,040 --> 01:46:20,040
Speaker 4: This conversation can serve no purpose anymore.

1805
01:46:20,880 --> 01:46:21,640
Speaker 2: The fine.

1806
01:46:37,880 --> 01:46:40,880
Speaker 1: Film spotting is listeners supported. Join the film Spotting Family

1807
01:46:40,920 --> 01:46:43,439
Speaker 1: at film spotting family dot com and get access to

1808
01:46:43,600 --> 01:46:47,080
Speaker 1: ad free episodes, monthly bonus shows, our weekly newsletter, and,

1809
01:46:47,200 --> 01:46:49,479
Speaker 1: for the first time, all in one place, the entire

1810
01:46:49,760 --> 01:46:52,200
Speaker 1: film spotting archive going back to two thousand and five.

1811
01:46:52,520 --> 01:46:57,879
Speaker 1: That's a film Spotting Family dot com panically