1 00:00:00,520 --> 00:00:00,760 Speaker 1: Adam. 2 00:00:00,760 --> 00:00:02,840 Speaker 2: Wednesday is when we like to drop something from the 3 00:00:03,000 --> 00:00:07,600 Speaker 2: vast Film Spotting Archive, and we'll get to this week's 4 00:00:08,200 --> 00:00:11,160 Speaker 2: treat But first off, you know, if you want access, 5 00:00:11,160 --> 00:00:13,680 Speaker 2: if a listener wants access to that vast archive, listen 6 00:00:13,680 --> 00:00:18,920 Speaker 2: to everything in there, twenty plus years now of content. 7 00:00:19,320 --> 00:00:21,520 Speaker 2: You could join the Film Spotting Family. And you should 8 00:00:21,560 --> 00:00:24,239 Speaker 2: join the Film Spotting Family this month because it is 9 00:00:24,680 --> 00:00:29,000 Speaker 2: twenty percent off through January. Give me the details, give me, 10 00:00:29,480 --> 00:00:31,400 Speaker 2: give me the promo code. And how they can do 11 00:00:31,480 --> 00:00:32,120 Speaker 2: that again. 12 00:00:32,120 --> 00:00:34,680 Speaker 3: Well, we're talking about Marty Supreme this week, so we thought, 13 00:00:34,720 --> 00:00:37,800 Speaker 3: why not make that promo code Supreme and you'll get 14 00:00:37,800 --> 00:00:40,519 Speaker 3: a supreme discount twenty percent off all subscriptions. So it 15 00:00:40,520 --> 00:00:44,840 Speaker 3: could be the monthly approach to the Film Spotting Family, 16 00:00:45,280 --> 00:00:47,479 Speaker 3: or if you pay annually where you really get the 17 00:00:47,640 --> 00:00:50,519 Speaker 3: biggest discount. You can get twenty percent off that as well. 18 00:00:50,680 --> 00:00:54,800 Speaker 3: Just use promo code Supreme Film Spottingfamily dot Com. 19 00:00:55,080 --> 00:00:58,200 Speaker 2: There you go, So jump on that this week out 20 00:00:58,200 --> 00:01:00,680 Speaker 2: of our gracious hearts, we're going to give you for free, Adam. 21 00:01:00,680 --> 00:01:05,800 Speaker 2: It's your interview with Josh and Benny Safti about Uncut JEMs. 22 00:01:06,080 --> 00:01:10,240 Speaker 3: Yeah, and it's funny, Josh, I haven't listened to this yet. 23 00:01:10,480 --> 00:01:13,800 Speaker 3: Re listened to it, and I just went back and 24 00:01:14,200 --> 00:01:16,720 Speaker 3: looked at my notes for the interview and the questions 25 00:01:16,720 --> 00:01:18,880 Speaker 3: that I had jotted down. You'll never believe some of 26 00:01:18,880 --> 00:01:22,160 Speaker 3: the words and phrases that are littering the page in 27 00:01:22,200 --> 00:01:24,640 Speaker 3: front of me. As we just recorded our review of 28 00:01:24,640 --> 00:01:27,360 Speaker 3: Marty Supreme that's coming later in the week. I've got 29 00:01:27,360 --> 00:01:33,280 Speaker 3: things like single mindedly focused on their objective and spiraling 30 00:01:33,319 --> 00:01:37,880 Speaker 3: out of control and larger purpose. So there are some 31 00:01:38,000 --> 00:01:41,280 Speaker 3: themes that do reoccur. I'm talking there about Connie in 32 00:01:41,319 --> 00:01:45,000 Speaker 3: Good Time played by Robert Pattinson. I'm talking about Howard 33 00:01:45,160 --> 00:01:49,320 Speaker 3: played by Adam Sandler and Uncut Gems and yes that 34 00:01:49,800 --> 00:01:53,720 Speaker 3: is true as well of Timothy Shallomey as Marty and 35 00:01:53,840 --> 00:01:57,000 Speaker 3: Marty Supreme. So we thought, why not set the table, 36 00:01:57,760 --> 00:02:01,360 Speaker 3: set the table. Tennis's at the pink pong table, Josh, 37 00:02:02,160 --> 00:02:05,240 Speaker 3: is that close to a pun? Sure the tennis table 38 00:02:05,640 --> 00:02:09,160 Speaker 3: for our conversation, and we have a lengthy one about 39 00:02:09,200 --> 00:02:12,560 Speaker 3: Marty Supreme coming with this conversation with Josh and Benny 40 00:02:12,639 --> 00:02:17,120 Speaker 3: Safti about Uncut Gems. And this comes to you from 41 00:02:17,720 --> 00:02:19,400 Speaker 3: the year twenty nineteen. 42 00:02:23,120 --> 00:02:24,600 Speaker 2: I made a crazy risk. 43 00:02:24,760 --> 00:02:34,919 Speaker 1: We've gambled limbs about to pay off. So I want 44 00:02:34,919 --> 00:02:35,839 Speaker 1: to Celtics to cover. 45 00:02:35,960 --> 00:02:38,000 Speaker 2: I want to Celtics hand time. I want gone at 46 00:02:38,120 --> 00:02:39,200 Speaker 2: points and rebound. 47 00:02:40,200 --> 00:02:40,720 Speaker 4: What do you know? 48 00:02:41,720 --> 00:02:42,120 Speaker 2: I don't know. 49 00:02:42,240 --> 00:02:45,200 Speaker 4: I just know. Well, I'll tell you what I know. 50 00:02:45,280 --> 00:02:47,120 Speaker 4: That's the dumbest that I ever heard of. 51 00:02:48,280 --> 00:02:49,919 Speaker 2: I disagree. 52 00:02:50,720 --> 00:02:51,440 Speaker 1: I disagree. 53 00:02:51,480 --> 00:02:52,440 Speaker 2: Gary. 54 00:02:53,200 --> 00:02:56,720 Speaker 3: We last spoke for Good Time back in twenty seventeen, 55 00:02:56,840 --> 00:02:59,080 Speaker 3: and I think it's fair to say there's a lot 56 00:02:59,080 --> 00:03:02,600 Speaker 3: of Connie in Howard here in this film. They're both 57 00:03:02,680 --> 00:03:06,200 Speaker 3: kind of single mindedly focused on whatever their objective is, 58 00:03:06,240 --> 00:03:09,200 Speaker 3: though their objectives are very different, and we'll definitely get 59 00:03:09,240 --> 00:03:11,840 Speaker 3: in to that. But there's that sense of the urgency 60 00:03:11,880 --> 00:03:14,280 Speaker 3: of the moment always bringing out kind of the best 61 00:03:14,320 --> 00:03:16,440 Speaker 3: in them or the worst in them, which is something 62 00:03:16,480 --> 00:03:19,240 Speaker 3: we talked about. And I was wondering if you guys 63 00:03:19,280 --> 00:03:24,119 Speaker 3: are aware or how aware are you of a character's lineage, 64 00:03:24,160 --> 00:03:26,720 Speaker 3: if you will, when you're creating that character, are you 65 00:03:26,800 --> 00:03:29,720 Speaker 3: thinking about how similar Howard may be too? 66 00:03:29,880 --> 00:03:33,440 Speaker 4: Well, it's kind of not. No. 67 00:03:33,639 --> 00:03:36,320 Speaker 5: The answer answer is no, But the longer answer is 68 00:03:36,840 --> 00:03:39,800 Speaker 5: what happens when you spend ten years working on a project. 69 00:03:39,800 --> 00:03:42,760 Speaker 5: That's how long we're working on Uncut Gems. So Connie 70 00:03:43,120 --> 00:03:46,040 Speaker 5: and his creation was basically was the whole film. Good 71 00:03:46,080 --> 00:03:49,200 Speaker 5: Time came about because Pattinson wanted to work with us 72 00:03:49,240 --> 00:03:51,360 Speaker 5: and he wasn't right for any role in Uncut Gems, 73 00:03:51,360 --> 00:03:53,920 Speaker 5: and it led to the creation of Good Time. And 74 00:03:54,000 --> 00:03:58,120 Speaker 5: actually Benny's character in Good Time was originally in Uncut 75 00:03:58,160 --> 00:04:01,360 Speaker 5: Gems and then we used for that one. So but 76 00:04:01,440 --> 00:04:05,520 Speaker 5: I do think that the single mindedness and the determination 77 00:04:05,680 --> 00:04:09,400 Speaker 5: to see a dream realized and prove your worth in 78 00:04:09,440 --> 00:04:13,360 Speaker 5: the world or maybe to the universe comes stems from 79 00:04:14,600 --> 00:04:18,280 Speaker 5: a decade long pursuit of a single entity, which is 80 00:04:18,720 --> 00:04:19,320 Speaker 5: Uncut Gems. 81 00:04:19,520 --> 00:04:21,479 Speaker 6: And I think it's it also makes sense to just 82 00:04:21,560 --> 00:04:24,640 Speaker 6: kind of see a character who you might not at 83 00:04:24,680 --> 00:04:28,200 Speaker 6: first see the beauty in or the understanding in, and 84 00:04:28,320 --> 00:04:31,520 Speaker 6: kind of trying to understand to see the love in 85 00:04:31,560 --> 00:04:34,560 Speaker 6: them or understanding And that's what Uncut Gems is, you know, 86 00:04:34,560 --> 00:04:36,239 Speaker 6: It's the rough on the outside of beautiful. 87 00:04:36,440 --> 00:04:41,720 Speaker 5: And the difference for me between Gems and Good Time, 88 00:04:42,440 --> 00:04:45,880 Speaker 5: you know, is that the Connie character was slightly more 89 00:04:45,920 --> 00:04:50,719 Speaker 5: anthropological in the sense that I can I've seen that 90 00:04:50,839 --> 00:04:54,520 Speaker 5: person before, I know people like that. There are tiny 91 00:04:54,600 --> 00:04:56,280 Speaker 5: little pieces of mean it, but it's for more or 92 00:04:56,360 --> 00:05:00,760 Speaker 5: less study. Whereas Gems there's a lot of me and 93 00:05:01,000 --> 00:05:03,159 Speaker 5: Howard there's a lot of you know, there's a lot 94 00:05:03,200 --> 00:05:07,440 Speaker 5: of personal stuff in that movie that maybe wasn't in 95 00:05:07,520 --> 00:05:09,520 Speaker 5: Good Time, not to denigrate Good Time in any way. 96 00:05:09,680 --> 00:05:11,760 Speaker 3: Well, I want to stay on this path for a second, because, 97 00:05:12,000 --> 00:05:14,440 Speaker 3: as you said, they're both kind of con men at 98 00:05:14,440 --> 00:05:17,840 Speaker 3: their core, right, self destructive, always the sense of things 99 00:05:17,880 --> 00:05:20,960 Speaker 3: kind of spiraling out of control around them. But Connie 100 00:05:21,640 --> 00:05:25,360 Speaker 3: is sympathetic and that we can definitely appreciate his larger purpose, 101 00:05:25,360 --> 00:05:27,279 Speaker 3: which is to keep his brother played by you Benny, 102 00:05:27,560 --> 00:05:29,920 Speaker 3: out of jail. We know he needs to be protected. 103 00:05:29,960 --> 00:05:31,359 Speaker 3: We're on board with that. So I feel like for 104 00:05:31,440 --> 00:05:34,800 Speaker 3: most viewers getting to a place where the end justifies 105 00:05:34,839 --> 00:05:39,200 Speaker 3: whatever insane means we're watching unfold, it's easier to get too. Probably, 106 00:05:39,240 --> 00:05:42,440 Speaker 3: I think it's a tougher proposition with Howard, and so 107 00:05:42,720 --> 00:05:43,200 Speaker 3: I'm curious. 108 00:05:43,320 --> 00:05:44,200 Speaker 4: It's the first time i've heard it. 109 00:05:44,200 --> 00:05:45,960 Speaker 3: I don't Well, so that's that's where I was going, 110 00:05:46,040 --> 00:05:48,359 Speaker 3: is that I feel like he's more irredeemable, And I 111 00:05:48,400 --> 00:05:50,240 Speaker 3: wondered if that was part of the challenge and fun 112 00:05:50,320 --> 00:05:52,960 Speaker 3: for you with this project, or if you discard that 113 00:05:53,040 --> 00:05:54,960 Speaker 3: completely and you see him as redeemable. 114 00:05:55,040 --> 00:05:58,280 Speaker 5: I see Howard as as the ultimate provider. I think 115 00:05:58,279 --> 00:06:00,880 Speaker 5: that he's a you know, Connie's kind of does a 116 00:06:00,920 --> 00:06:03,960 Speaker 5: lot of you know, really, he's. 117 00:06:03,360 --> 00:06:05,520 Speaker 6: Also the reason that the brothers in jail in the 118 00:06:05,520 --> 00:06:07,240 Speaker 6: first place, you know, true. 119 00:06:07,240 --> 00:06:08,839 Speaker 4: Yes, So it's like kind of a look. 120 00:06:08,960 --> 00:06:11,520 Speaker 5: I mean, Howard is such a this character Sandler place, 121 00:06:11,560 --> 00:06:15,760 Speaker 5: and also Sandler in general is a notoriously lovable person. 122 00:06:15,800 --> 00:06:18,839 Speaker 5: And I think that Howard is is. I think that 123 00:06:18,920 --> 00:06:21,400 Speaker 5: he's ultimately a righteous person. And I don't I don't 124 00:06:21,400 --> 00:06:22,880 Speaker 5: see him as a con man. I don't think that 125 00:06:22,920 --> 00:06:25,080 Speaker 5: he has any con that he's pulling he's trying to 126 00:06:25,080 --> 00:06:27,240 Speaker 5: pull off in this film. I think that he's he's 127 00:06:27,279 --> 00:06:30,560 Speaker 5: actually he's just trying the con might be to prove 128 00:06:30,600 --> 00:06:32,880 Speaker 5: that he belongs in a society that actually might say 129 00:06:32,920 --> 00:06:36,280 Speaker 5: you don't belong. Maybe your place is to be somewhat 130 00:06:36,279 --> 00:06:38,520 Speaker 5: towards the bottom and not some guy at the top. 131 00:06:38,560 --> 00:06:40,960 Speaker 5: And he's trying to cheat God. And and I think 132 00:06:41,000 --> 00:06:45,240 Speaker 5: that this the pay the patriarchal part of Howard is. 133 00:06:45,800 --> 00:06:47,800 Speaker 5: You know, uh, you know that he has all these 134 00:06:47,800 --> 00:06:49,640 Speaker 5: people who depend on him, that all these people that 135 00:06:49,680 --> 00:06:53,600 Speaker 5: he has to support, which makes him I think. I mean, look, 136 00:06:53,600 --> 00:06:56,719 Speaker 5: they're both, they're both the same sides of there's different 137 00:06:56,920 --> 00:06:58,680 Speaker 5: parts of our voice, but I do. 138 00:06:58,960 --> 00:07:00,760 Speaker 4: But it's funny though, because I do. You know. 139 00:07:00,800 --> 00:07:04,279 Speaker 5: I remember when Scott Ruden, who's one of the producers 140 00:07:04,320 --> 00:07:06,240 Speaker 5: of this film, when he read it, he said the 141 00:07:06,240 --> 00:07:08,560 Speaker 5: opposite when he read the script. He was like, you know, 142 00:07:08,560 --> 00:07:10,480 Speaker 5: the difference here is that you know, Howard's a guy 143 00:07:10,520 --> 00:07:11,040 Speaker 5: you can love. 144 00:07:11,320 --> 00:07:12,320 Speaker 4: Where's Connie you can't? 145 00:07:12,600 --> 00:07:15,560 Speaker 6: Thing, Yeah, And I think it's Howard does bring the 146 00:07:15,600 --> 00:07:17,720 Speaker 6: best out of the people around him. You know, he 147 00:07:17,760 --> 00:07:21,520 Speaker 6: creates this environment where everybody has to say in some ways. 148 00:07:21,520 --> 00:07:25,280 Speaker 6: And I think with him he also knows when he 149 00:07:25,760 --> 00:07:28,240 Speaker 6: does know when he's going to do something, how it 150 00:07:28,280 --> 00:07:31,440 Speaker 6: will affect other people. And I think he knows that 151 00:07:31,520 --> 00:07:33,720 Speaker 6: and then does it anyway, does it anyway. But the 152 00:07:33,760 --> 00:07:36,560 Speaker 6: thing is is, at least he is aware of that, 153 00:07:36,640 --> 00:07:38,720 Speaker 6: and like when he checks in with his daughter, he 154 00:07:38,800 --> 00:07:41,720 Speaker 6: knows he's affected the family in a deep, deep way, right, 155 00:07:41,800 --> 00:07:43,240 Speaker 6: And I think that's part of what we were talking 156 00:07:43,240 --> 00:07:45,720 Speaker 6: about with Sandler too, was here's a guy who does 157 00:07:45,760 --> 00:07:47,600 Speaker 6: some things that you might not be able to get behind. 158 00:07:47,920 --> 00:07:51,120 Speaker 6: But it's very important that we root him in real 159 00:07:51,120 --> 00:07:54,760 Speaker 6: emotions and feelings because you do need to love this guy. 160 00:07:54,800 --> 00:07:55,320 Speaker 4: You do need to. 161 00:07:55,360 --> 00:07:58,120 Speaker 6: Root for him. And when people are yelling at the screen, oh, 162 00:07:58,200 --> 00:08:00,760 Speaker 6: don't do that, don't do this, don't want him to 163 00:08:00,800 --> 00:08:03,360 Speaker 6: do it. If you didn't like somebody or didn't love somebody, 164 00:08:03,480 --> 00:08:05,400 Speaker 6: you wouldn't really be yelling at the screen to get 165 00:08:05,440 --> 00:08:06,000 Speaker 6: them to stop. 166 00:08:06,200 --> 00:08:08,920 Speaker 5: The film is called uncut Gems, Uh, you know, by 167 00:08:08,960 --> 00:08:13,840 Speaker 5: design obviously, Uh, we don't just pick random words out 168 00:08:13,880 --> 00:08:16,920 Speaker 5: of a hat. But you know, the concept of something 169 00:08:17,160 --> 00:08:21,560 Speaker 5: being considered or deemed unvaluable on the outside because of 170 00:08:21,760 --> 00:08:22,640 Speaker 5: rough impressions. 171 00:08:23,080 --> 00:08:23,400 Speaker 4: Uh. 172 00:08:23,440 --> 00:08:26,920 Speaker 5: And when you scope down underneath it and get to something, 173 00:08:27,000 --> 00:08:30,400 Speaker 5: you get to the insides of of this of this gem, 174 00:08:30,640 --> 00:08:32,880 Speaker 5: there's actually deep value there and that you can take 175 00:08:32,880 --> 00:08:36,680 Speaker 5: in the sense that you know, certain people are you know, 176 00:08:37,160 --> 00:08:39,679 Speaker 5: they might appear rough on the outside, but deep down 177 00:08:39,679 --> 00:08:41,720 Speaker 5: inside there's something kind of great about them. And that's 178 00:08:42,080 --> 00:08:44,640 Speaker 5: you know, the perseverance, the fact that it's a very 179 00:08:44,679 --> 00:08:48,760 Speaker 5: egalitarian person. Everyone is equal in their regards someone like Connie. 180 00:08:48,800 --> 00:08:51,240 Speaker 5: Not everybody was equal at all, he was actually very 181 00:08:51,360 --> 00:08:55,120 Speaker 5: very condescending of a person. So there are these elements 182 00:08:55,200 --> 00:08:58,320 Speaker 5: to to the character that that that I can that 183 00:08:58,360 --> 00:08:59,000 Speaker 5: I disagree with. 184 00:08:59,080 --> 00:09:01,199 Speaker 3: You on, but sure or experience, and I want to 185 00:09:01,200 --> 00:09:03,760 Speaker 3: be clear, it's nuanced, right. We could dissect these two 186 00:09:03,880 --> 00:09:07,120 Speaker 3: characters other similarities and differences, I think for a long time, 187 00:09:07,120 --> 00:09:07,720 Speaker 3: and I think that's. 188 00:09:07,760 --> 00:09:10,840 Speaker 4: I love them both, the rich characters. So yeah, and 189 00:09:10,880 --> 00:09:11,480 Speaker 4: that comes through. 190 00:09:11,640 --> 00:09:13,560 Speaker 3: And I think that was one of the surprises for 191 00:09:13,600 --> 00:09:15,679 Speaker 3: me of the film, not knowing really anything about it. 192 00:09:15,679 --> 00:09:17,160 Speaker 3: I try to go in with as much of a 193 00:09:17,160 --> 00:09:19,640 Speaker 3: blank slate, not even watching trailers if I can avoid it. 194 00:09:19,880 --> 00:09:22,160 Speaker 3: And I sort of expected, even after the first few 195 00:09:22,200 --> 00:09:24,160 Speaker 3: minutes that I was going to watch kind of a 196 00:09:24,200 --> 00:09:28,080 Speaker 3: standard movie tale of a gambler who is a loser, right, 197 00:09:28,120 --> 00:09:29,920 Speaker 3: because that's what we usually see guys who are they're 198 00:09:30,000 --> 00:09:32,320 Speaker 3: so that they owe so much money to someone, they're 199 00:09:32,320 --> 00:09:33,720 Speaker 3: just trying to get out of this hole that they're 200 00:09:33,760 --> 00:09:35,160 Speaker 3: in and they're willing to do anything to get out 201 00:09:35,160 --> 00:09:37,000 Speaker 3: of it. But that's not really the character you guys 202 00:09:37,080 --> 00:09:39,240 Speaker 3: have created. He's he's not just trying to get himself 203 00:09:39,240 --> 00:09:40,959 Speaker 3: out of a hole. He's he's willing to dig whatever 204 00:09:41,080 --> 00:09:44,000 Speaker 3: size hole he has to to achieve some kind of 205 00:09:44,160 --> 00:09:45,640 Speaker 3: higher calling all the exactly right. 206 00:09:45,720 --> 00:09:46,480 Speaker 4: Yeah, for sure. 207 00:09:47,520 --> 00:09:49,160 Speaker 5: What's funny is, and I don't want to spoil the 208 00:09:49,200 --> 00:09:51,280 Speaker 5: movie in any way, but for a guy who's a 209 00:09:51,280 --> 00:09:54,560 Speaker 5: degenerate gambler, there's some pretty big bets in this movie. 210 00:09:54,679 --> 00:09:57,240 Speaker 5: Yet he you know that he takes that he maybe make, 211 00:09:57,360 --> 00:10:00,600 Speaker 5: so you know, it is I think the high calling 212 00:10:00,600 --> 00:10:03,240 Speaker 5: element to it is is he's also don't forget he's 213 00:10:03,280 --> 00:10:05,880 Speaker 5: a guy who was the man in the nineties, late 214 00:10:05,960 --> 00:10:10,360 Speaker 5: nineties and early aughts. He was the guy and uh, 215 00:10:10,400 --> 00:10:12,280 Speaker 5: you know, and he's starting to now see that fall 216 00:10:12,320 --> 00:10:15,120 Speaker 5: away and that that life is full of cycles and 217 00:10:15,160 --> 00:10:19,920 Speaker 5: that he's actually trying to kind of go against the 218 00:10:19,960 --> 00:10:21,760 Speaker 5: grain of natural tides. 219 00:10:21,920 --> 00:10:25,240 Speaker 7: Yeah, and I think just like we well, yeah, but 220 00:10:25,280 --> 00:10:29,080 Speaker 7: because it's like I would rather hear from you, he's not. Yes, 221 00:10:29,240 --> 00:10:31,760 Speaker 7: he he has he has lost, but he goes through 222 00:10:31,760 --> 00:10:32,720 Speaker 7: life as a winner. 223 00:10:32,760 --> 00:10:32,920 Speaker 2: You know. 224 00:10:33,160 --> 00:10:36,040 Speaker 3: Yeah, you touched on the casting of Adam Sandler. So 225 00:10:36,080 --> 00:10:38,680 Speaker 3: how important was it whether you love him or not 226 00:10:38,840 --> 00:10:41,480 Speaker 3: or I'm being too harsh on Howard. He certainly does 227 00:10:41,480 --> 00:10:43,880 Speaker 3: a lot of hurtful things to other people. How important 228 00:10:43,960 --> 00:10:47,160 Speaker 3: was it to have a character like Sandler who brings 229 00:10:47,240 --> 00:10:50,160 Speaker 3: just an affability and an amiability. 230 00:10:49,480 --> 00:10:53,040 Speaker 4: To anything amount there wouldn't work. There's no other person. 231 00:10:53,040 --> 00:10:55,000 Speaker 5: The only other person who I could ever see this 232 00:10:55,160 --> 00:10:59,440 Speaker 5: movie functioning with is Rodney Dangerfield and and but that 233 00:10:59,520 --> 00:11:01,640 Speaker 5: was that would have to be ten years before Easy Money. 234 00:11:01,640 --> 00:11:03,680 Speaker 5: But then again, Easy Money came at a time in 235 00:11:03,720 --> 00:11:05,840 Speaker 5: his life when you know, he had a certain age 236 00:11:05,840 --> 00:11:11,680 Speaker 5: that made him lovable. Sandler's Sandler has an an uncanny 237 00:11:11,760 --> 00:11:15,560 Speaker 5: ability to root the most absurd scenarios in a weird 238 00:11:15,600 --> 00:11:18,199 Speaker 5: form of his own brand of realism. Yeah, you look 239 00:11:18,200 --> 00:11:21,160 Speaker 5: at those earliest lovable people love him and I love him, 240 00:11:21,280 --> 00:11:23,600 Speaker 5: I deeply love We grew up on his records before we. 241 00:11:23,600 --> 00:11:24,559 Speaker 4: Even saw the movies. 242 00:11:24,720 --> 00:11:26,240 Speaker 6: You look at you look at his early his like 243 00:11:26,720 --> 00:11:29,040 Speaker 6: so all of his comedies, really those early comedies, which 244 00:11:29,040 --> 00:11:31,679 Speaker 6: are so crazy and so absurd, and you really are 245 00:11:31,720 --> 00:11:34,120 Speaker 6: looking at the screen and saying, I want that guy 246 00:11:34,320 --> 00:11:35,960 Speaker 6: to win and I want him to succeed. 247 00:11:36,559 --> 00:11:39,240 Speaker 1: And it's just something inside of him. 248 00:11:39,120 --> 00:11:41,360 Speaker 6: You know, it's part of his soul that we knew 249 00:11:41,360 --> 00:11:44,760 Speaker 6: that that needed to be brought to the character in 250 00:11:44,800 --> 00:11:46,640 Speaker 6: a way that the film wouldn't work without. 251 00:11:46,679 --> 00:11:49,000 Speaker 3: That you know, And I wanted to ask about one 252 00:11:49,000 --> 00:11:50,960 Speaker 3: element of the performance. And I'm totally prepared for you 253 00:11:50,960 --> 00:11:53,120 Speaker 3: guys to tell me I'm wrong about this part too. 254 00:11:53,320 --> 00:11:55,160 Speaker 3: But the frenetic pace of the film, right, I don't 255 00:11:55,160 --> 00:11:58,080 Speaker 3: want to tell you you're wrong about anything. That's what's 256 00:11:58,080 --> 00:12:00,319 Speaker 3: great about movies is that they're your own. Yeah, the 257 00:12:00,400 --> 00:12:01,640 Speaker 3: viewers experience. 258 00:12:01,280 --> 00:12:01,640 Speaker 4: For sure. 259 00:12:01,640 --> 00:12:04,160 Speaker 3: But this is I know this word talk about cliches. 260 00:12:04,160 --> 00:12:08,160 Speaker 3: You've heard it four thousand times. It's intense, right, And 261 00:12:08,760 --> 00:12:11,160 Speaker 3: it struck me though fairly early on and throughout the film, 262 00:12:11,160 --> 00:12:14,280 Speaker 3: that Howard is never really overwhelmed by it, right, he 263 00:12:14,360 --> 00:12:16,680 Speaker 3: kind of thrives on it. Obviously, he's usually the one 264 00:12:16,720 --> 00:12:18,600 Speaker 3: causing it. But I think you actually see that in 265 00:12:18,640 --> 00:12:22,800 Speaker 3: Sandler's performance a little bit, and how relatively slowly he speaks. Right, 266 00:12:22,840 --> 00:12:25,720 Speaker 3: He's always in motion and he's always talking, that's for sure, 267 00:12:25,800 --> 00:12:27,640 Speaker 3: but it seemed to me almost like he's always slowing 268 00:12:27,640 --> 00:12:29,480 Speaker 3: down the pace a little bit, like a point guard, 269 00:12:29,760 --> 00:12:31,520 Speaker 3: you know, who's like, I'm I'm gonna bring it up. 270 00:12:31,800 --> 00:12:33,520 Speaker 3: It's a little bit too chaotic. I'm going to bring 271 00:12:33,520 --> 00:12:35,319 Speaker 3: it up deliberately and consider my options. 272 00:12:35,360 --> 00:12:39,840 Speaker 6: He's he's always listening it and feeling the conversations around him, 273 00:12:39,880 --> 00:12:42,360 Speaker 6: and yeah, that's the truth is there is like there's 274 00:12:42,360 --> 00:12:44,319 Speaker 6: a moment where it does kind of catch up with 275 00:12:44,440 --> 00:12:46,880 Speaker 6: him and he does feel the weight of it all. 276 00:12:47,280 --> 00:12:50,640 Speaker 6: But for the most part, he is trying. He's trying 277 00:12:50,679 --> 00:12:52,400 Speaker 6: as hard as you know. He's thinking, I guess what 278 00:12:52,440 --> 00:12:54,800 Speaker 6: makes it so stressful is so many decisions happening right 279 00:12:54,800 --> 00:12:56,320 Speaker 6: away and they're all like, oh my god, I wish 280 00:12:56,320 --> 00:12:58,400 Speaker 6: you did that, But he is trying to make the 281 00:12:58,400 --> 00:13:00,640 Speaker 6: best decision and that exact same thing. 282 00:13:00,800 --> 00:13:01,600 Speaker 1: Keep going from there. 283 00:13:01,679 --> 00:13:03,120 Speaker 4: The thing that I'm most. 284 00:13:04,280 --> 00:13:08,120 Speaker 5: Kind of moved by and encouraged by is in the 285 00:13:08,160 --> 00:13:10,640 Speaker 5: screening process of this movie since Tell Your Ide Toronto, 286 00:13:10,679 --> 00:13:13,040 Speaker 5: New York, et cetera, even last night in Chicago, he 287 00:13:13,280 --> 00:13:18,480 Speaker 5: is seeing how entertained people are by the stressful scenarios. 288 00:13:18,760 --> 00:13:21,199 Speaker 5: And that's taking a concept of, Hey, we're going to 289 00:13:21,280 --> 00:13:24,920 Speaker 5: make this comedic thriller or thriller, comedic drama, however you 290 00:13:24,960 --> 00:13:27,760 Speaker 5: want to peg this movie, but it's thrilling in its 291 00:13:27,800 --> 00:13:32,320 Speaker 5: in its soul, and we're going to include in the 292 00:13:32,440 --> 00:13:36,480 Speaker 5: thrill attention that is so lived in and real and 293 00:13:36,559 --> 00:13:39,199 Speaker 5: personal that and then we're going to have someone like 294 00:13:39,240 --> 00:13:41,640 Speaker 5: Adam Sandler come and add humor to it. 295 00:13:41,720 --> 00:13:42,920 Speaker 4: At moments, it's. 296 00:13:43,000 --> 00:13:47,560 Speaker 5: It's making, it's creating this new form of entertainment, if 297 00:13:47,600 --> 00:13:49,800 Speaker 5: you want to call it that, but it's the experience 298 00:13:49,880 --> 00:13:52,960 Speaker 5: is so immersive, and I think seeing it like we 299 00:13:53,000 --> 00:13:55,480 Speaker 5: saw last night in the theater, you can you know, 300 00:13:55,640 --> 00:13:58,240 Speaker 5: if you see a sad movie with an audience, hearing 301 00:13:58,240 --> 00:14:01,240 Speaker 5: someone cry might actually be distracting. Not taking anything away 302 00:14:01,240 --> 00:14:03,320 Speaker 5: from sad movies, but that is the truth. If you 303 00:14:03,320 --> 00:14:05,280 Speaker 5: see a scary movie with a bunch of people, the 304 00:14:05,360 --> 00:14:07,320 Speaker 5: collective fright is a huge. 305 00:14:07,120 --> 00:14:07,920 Speaker 4: Part of the experience. 306 00:14:08,120 --> 00:14:10,440 Speaker 5: Seeing a thriller like this with a bunch of people, 307 00:14:10,640 --> 00:14:12,920 Speaker 5: I'm telling you, I've seen it in every theater. You 308 00:14:12,920 --> 00:14:16,959 Speaker 5: can feel the entire audience lean towards the screen as 309 00:14:17,000 --> 00:14:18,920 Speaker 5: if they want to reach out to the screen and 310 00:14:19,000 --> 00:14:22,760 Speaker 5: grab Howard Adam Sandler and just shake some sense into him. 311 00:14:22,840 --> 00:14:23,240 Speaker 1: Right there. 312 00:14:24,760 --> 00:14:26,600 Speaker 6: It's popping in my head right now. There's a very 313 00:14:26,600 --> 00:14:30,320 Speaker 6: funny scene in the Buster Key movie Steamboat Bill. Yeah, 314 00:14:30,360 --> 00:14:34,160 Speaker 6: and he like he's his whole boat is sinking and 315 00:14:34,240 --> 00:14:38,320 Speaker 6: he's holding all all of the holes water's pouring in. 316 00:14:38,360 --> 00:14:39,000 Speaker 1: He doesn't know what to do. 317 00:14:39,080 --> 00:14:40,280 Speaker 4: So he realized, Okay, I got it. 318 00:14:40,520 --> 00:14:42,400 Speaker 6: He then picks up a hammer. He's in the bottom 319 00:14:42,400 --> 00:14:44,080 Speaker 6: of the boat, picks a hammer and some nails, and 320 00:14:44,120 --> 00:14:47,120 Speaker 6: he goes to nail in over the hole inside the boat. 321 00:14:47,120 --> 00:14:49,280 Speaker 6: And in the moment you're thinking, that's a great idea, 322 00:14:49,560 --> 00:14:51,960 Speaker 6: cover up the hole. The moment the hammer hits the 323 00:14:52,040 --> 00:14:56,040 Speaker 6: nail more water. But that's the essence that you're trying 324 00:14:56,040 --> 00:14:56,960 Speaker 6: to kind of create here. 325 00:14:57,400 --> 00:14:59,960 Speaker 3: When we were here last time, we talked about pattinson 326 00:15:00,160 --> 00:15:03,240 Speaker 3: performance and I asked you guys to talk about a 327 00:15:03,280 --> 00:15:05,960 Speaker 3: moment or a scene in the film where he really 328 00:15:06,000 --> 00:15:08,200 Speaker 3: surprised you with something where it wasn't how you envisioned 329 00:15:08,240 --> 00:15:10,440 Speaker 3: it at all when it was on the page. And Benny, 330 00:15:10,480 --> 00:15:13,440 Speaker 3: you had a great moment which was a moment between 331 00:15:13,480 --> 00:15:16,000 Speaker 3: the two of you, the hug and I Love you 332 00:15:16,080 --> 00:15:18,960 Speaker 3: scene in the elevator, and Josh you talked about that 333 00:15:19,000 --> 00:15:21,480 Speaker 3: great line he has when he says to the younger girl, 334 00:15:21,720 --> 00:15:23,760 Speaker 3: you know, don't don't be confused, s He'll just make 335 00:15:23,800 --> 00:15:25,800 Speaker 3: it harder for me. And also that that kind of 336 00:15:26,320 --> 00:15:29,280 Speaker 3: that story he tells Jennifer Jason Lee in the taxi cab. 337 00:15:29,400 --> 00:15:32,840 Speaker 3: So I'm wondering if there's a similar story with Sandler, 338 00:15:32,960 --> 00:15:35,960 Speaker 3: is there, they're an example for each of you. He 339 00:15:36,040 --> 00:15:37,320 Speaker 3: really surprised you with something. 340 00:15:37,680 --> 00:15:39,720 Speaker 5: I think that the I think that there's a big 341 00:15:39,760 --> 00:15:42,320 Speaker 5: scene between him and Kevin Garnett towards the end of 342 00:15:42,320 --> 00:15:45,880 Speaker 5: the film. It's about a six page scene and it's 343 00:15:45,960 --> 00:15:47,920 Speaker 5: you know, it's a it's the scene we spent the 344 00:15:47,920 --> 00:15:49,760 Speaker 5: most time writing, in the most time editing, and the 345 00:15:49,840 --> 00:15:53,720 Speaker 5: least time shooting. But that's largely because of the testament 346 00:15:53,800 --> 00:15:57,200 Speaker 5: of the two performers. Garnett blew us away, but Sandler 347 00:15:57,440 --> 00:16:02,400 Speaker 5: the way that he was able to give the moral 348 00:16:02,480 --> 00:16:05,480 Speaker 5: compass and the meaning of the movie essentially in one 349 00:16:05,560 --> 00:16:08,720 Speaker 5: scene without it feeling like naked exposition and just like 350 00:16:08,760 --> 00:16:10,480 Speaker 5: it's from his soul and you kind of feel bad 351 00:16:10,480 --> 00:16:12,640 Speaker 5: for him in that moment, and it's and that was 352 00:16:12,960 --> 00:16:15,360 Speaker 5: that was unbelievable. Another moment that, you know, it's like 353 00:16:15,400 --> 00:16:18,840 Speaker 5: a tiny scene. There's a scene with the sports radio 354 00:16:19,000 --> 00:16:22,400 Speaker 5: show host persona Mike Frantz has a where Sandler delivers 355 00:16:22,440 --> 00:16:22,920 Speaker 5: this line. 356 00:16:22,960 --> 00:16:25,400 Speaker 4: I they use it in the trailers. I disagree the 357 00:16:25,440 --> 00:16:26,440 Speaker 4: way that he said it. 358 00:16:26,560 --> 00:16:28,160 Speaker 5: You know, first of all, he has this motor mouth 359 00:16:28,240 --> 00:16:30,120 Speaker 5: quality throughout the whole scene and then he pauses at 360 00:16:30,120 --> 00:16:30,320 Speaker 5: the end. 361 00:16:30,360 --> 00:16:33,480 Speaker 4: He just looks at me, goes, I disagree. I disagree Gary. 362 00:16:33,760 --> 00:16:34,880 Speaker 4: The way that he said it. 363 00:16:35,720 --> 00:16:38,360 Speaker 5: From a as a Sandler fan too, it was just like, oh, 364 00:16:38,400 --> 00:16:39,840 Speaker 5: there's the iconic Sandler moment. 365 00:16:40,000 --> 00:16:43,320 Speaker 6: Yeah, and it's there's so many moments, like it's hard 366 00:16:43,360 --> 00:16:44,240 Speaker 6: to justify one. 367 00:16:44,200 --> 00:16:46,240 Speaker 4: Because I know what's one you want to do though 368 00:16:46,280 --> 00:16:46,760 Speaker 4: with the guard. 369 00:16:48,080 --> 00:16:52,560 Speaker 6: Yeah, when he's with the Dina in that in that conversation. 370 00:16:52,880 --> 00:16:54,680 Speaker 4: Menzell's that's a big scene. 371 00:16:54,760 --> 00:16:57,800 Speaker 6: Yes, But Sandler starts doing this kind of thing where 372 00:16:57,800 --> 00:16:59,920 Speaker 6: he's like ex haling this a lot of mouth movement 373 00:17:01,840 --> 00:17:04,240 Speaker 6: and he's like you can feel the uncomfort like that 374 00:17:04,280 --> 00:17:06,400 Speaker 6: he's he's really trying to get it out, but he's 375 00:17:06,440 --> 00:17:08,760 Speaker 6: not saying it. But yeah, in general, it was just 376 00:17:08,840 --> 00:17:12,960 Speaker 6: watching him make these micro decisions as Howard. It's like 377 00:17:13,000 --> 00:17:16,639 Speaker 6: I wasn't watching Adam perform it. I was watching Howard 378 00:17:16,680 --> 00:17:18,600 Speaker 6: in these scenes doing it. There's like a very little 379 00:17:18,640 --> 00:17:22,040 Speaker 6: one where it's like when Garnett says to his manager, just. 380 00:17:22,040 --> 00:17:24,080 Speaker 4: Wait right here, we'll be right back. 381 00:17:24,160 --> 00:17:27,679 Speaker 6: Howard just instinctively owns that idea and looks at the 382 00:17:27,680 --> 00:17:30,280 Speaker 6: manager and does the same exact hand motion that Garnett 383 00:17:30,280 --> 00:17:32,000 Speaker 6: does like a half a second later, just. 384 00:17:31,960 --> 00:17:33,040 Speaker 4: To be like, oh, yeah, that was my idea. 385 00:17:33,040 --> 00:17:33,360 Speaker 1: This is good. 386 00:17:33,960 --> 00:17:36,880 Speaker 5: I also I also really love the you know, he 387 00:17:36,880 --> 00:17:40,080 Speaker 5: he would add improvised jokes all the time, like little 388 00:17:40,119 --> 00:17:42,720 Speaker 5: things that he felt like Howard could do, you know, 389 00:17:43,840 --> 00:17:47,000 Speaker 5: in particular, like tiny weird borsch belty things like when 390 00:17:47,000 --> 00:17:49,760 Speaker 5: he when he goes and is gonna pawn a ring 391 00:17:49,840 --> 00:17:51,400 Speaker 5: to these two real jewelers. 392 00:17:51,560 --> 00:17:52,880 Speaker 4: He goes, I'd shake your hand, but I know where 393 00:17:52,880 --> 00:17:55,280 Speaker 4: it's been, right, just like it's such a bad joke, 394 00:17:55,400 --> 00:17:56,639 Speaker 4: but it's such a Howard. 395 00:17:56,680 --> 00:17:58,760 Speaker 5: It's such a jeweler joke that he did, and it 396 00:17:58,800 --> 00:17:59,960 Speaker 5: was really great. 397 00:18:00,200 --> 00:18:02,399 Speaker 4: And the movie is filled with stuff like that. 398 00:18:02,520 --> 00:18:05,920 Speaker 3: Yeah, you talked about the immersive quality the film. Sound 399 00:18:06,000 --> 00:18:09,520 Speaker 3: obviously has a big part in that, and I know 400 00:18:09,600 --> 00:18:11,840 Speaker 3: Altman is a big touchstone for you guys, and there's 401 00:18:11,840 --> 00:18:13,800 Speaker 3: that element to it. I think anyone watching it will 402 00:18:13,920 --> 00:18:15,640 Speaker 3: get a little bit of a sense of whether it's 403 00:18:15,760 --> 00:18:18,040 Speaker 3: belong Goodbye or mcayn Missus Miller. But when I think 404 00:18:18,040 --> 00:18:20,480 Speaker 3: about those films in particular, which I love, there's that 405 00:18:20,600 --> 00:18:22,960 Speaker 3: sense of kind of hanging out in the space with 406 00:18:23,000 --> 00:18:25,080 Speaker 3: all those multiple voices, you're just kind of it's very 407 00:18:25,119 --> 00:18:27,040 Speaker 3: laid back and you can kind of eavesdrop on the 408 00:18:27,040 --> 00:18:29,320 Speaker 3: conversations and decide which one you're going to poke your 409 00:18:29,359 --> 00:18:31,399 Speaker 3: head in on. There's nothing really laid back at all 410 00:18:31,440 --> 00:18:32,520 Speaker 3: about how you guys are doing it. 411 00:18:32,640 --> 00:18:36,800 Speaker 5: California Split another Altman film, you know, in about gambling. 412 00:18:37,119 --> 00:18:40,400 Speaker 5: All the gambling dens are filled with all of these 413 00:18:40,480 --> 00:18:43,760 Speaker 5: kind of you know, again more down and out players, 414 00:18:44,119 --> 00:18:46,600 Speaker 5: but there is You're right, there's a great story about 415 00:18:46,880 --> 00:18:49,040 Speaker 5: more and Batty. At the premiere of McKay and Missus Miller, 416 00:18:49,040 --> 00:18:51,520 Speaker 5: you sit next to Robert Altman and twenty minutes into 417 00:18:51,560 --> 00:18:54,120 Speaker 5: the movie, Warren Batty turns to Altman and he goes, 418 00:18:54,240 --> 00:18:56,520 Speaker 5: is a whole movie sound like this? And Altman turned 419 00:18:56,600 --> 00:18:59,200 Speaker 5: him with smiling he goes, yeah, how cool is that? 420 00:18:59,440 --> 00:19:02,320 Speaker 5: And Altman's and babies just like, oh, I can't handle 421 00:19:02,359 --> 00:19:04,240 Speaker 5: this because it was he was so ahead of his time. 422 00:19:04,440 --> 00:19:07,080 Speaker 6: The thing, and you're pointing out something interesting, which is, yes, 423 00:19:07,160 --> 00:19:10,520 Speaker 6: if you let it exist in kind of more laid 424 00:19:10,560 --> 00:19:11,200 Speaker 6: back feeling. 425 00:19:11,720 --> 00:19:12,280 Speaker 1: It's one thing. 426 00:19:12,320 --> 00:19:14,080 Speaker 6: What we're trying to do here is we're trying to 427 00:19:14,160 --> 00:19:18,679 Speaker 6: kind of really capture the points of view of everybody 428 00:19:18,760 --> 00:19:21,959 Speaker 6: in the scene at almost exactly the same time, and 429 00:19:22,400 --> 00:19:25,400 Speaker 6: we're very, very like, the shot verse shot is so important, 430 00:19:25,560 --> 00:19:28,320 Speaker 6: and to get a shot reverse shot within that environment 431 00:19:28,680 --> 00:19:33,000 Speaker 6: from a production standpoint is almost physically impossible, but we're 432 00:19:33,280 --> 00:19:37,400 Speaker 6: so so tuned into kind of making that impossibility of reality. 433 00:19:37,600 --> 00:19:39,639 Speaker 6: And what it does for the actors I think is 434 00:19:39,680 --> 00:19:43,200 Speaker 6: something kind of incredible, because you if you give people 435 00:19:43,240 --> 00:19:46,239 Speaker 6: the ability to speak over one another and not have 436 00:19:46,320 --> 00:19:49,320 Speaker 6: to wait, you're going to create a performance that's a 437 00:19:49,359 --> 00:19:51,840 Speaker 6: lot freer. And it's like, yes, it's like, we're going 438 00:19:51,920 --> 00:19:54,640 Speaker 6: to make that work afterwards, no matter how hard it's 439 00:19:54,640 --> 00:19:57,680 Speaker 6: going to be. But yeah, what Altman did there, which 440 00:19:57,840 --> 00:20:01,879 Speaker 6: I found a little so so important, was the realism 441 00:20:01,960 --> 00:20:05,280 Speaker 6: of the performances in these situations that aren't real. And 442 00:20:05,280 --> 00:20:06,960 Speaker 6: then I guess what we're trying to do now is 443 00:20:07,040 --> 00:20:11,000 Speaker 6: just take that and then create the appearance of a 444 00:20:11,040 --> 00:20:13,360 Speaker 6: two camera cutting, even though it's not positive that we're 445 00:20:13,359 --> 00:20:15,840 Speaker 6: not doing that, but to create this kind of single 446 00:20:15,880 --> 00:20:18,640 Speaker 6: camera point of view shift at any moment in time. 447 00:20:19,000 --> 00:20:20,840 Speaker 5: I'm surprised that Benning is able to actually get that 448 00:20:20,880 --> 00:20:24,040 Speaker 5: all across, because to prove a point, right now I'm 449 00:20:24,240 --> 00:20:28,280 Speaker 5: messing with the volume modulation on his Vsfron and it's 450 00:20:28,320 --> 00:20:32,080 Speaker 5: going from blasting to complete zero. And that's and that's 451 00:20:32,119 --> 00:20:34,520 Speaker 5: something that life is all about. Sometimes you have these 452 00:20:34,560 --> 00:20:37,919 Speaker 5: cacophony noises that you have to ignore, and as an actor, 453 00:20:38,280 --> 00:20:39,439 Speaker 5: I think it's very freeing. 454 00:20:39,520 --> 00:20:40,880 Speaker 4: I think for a lot of the actors it. 455 00:20:40,840 --> 00:20:42,520 Speaker 3: Was I wanted to yeah, I wanted to touch on that, 456 00:20:42,600 --> 00:20:45,679 Speaker 3: because you talk about maybe how they felt in that space. 457 00:20:46,520 --> 00:20:48,680 Speaker 3: My first reaction was as an actor, I would find 458 00:20:48,720 --> 00:20:51,320 Speaker 3: it so distracting and so chaotic that maybe I couldn't 459 00:20:51,359 --> 00:20:53,199 Speaker 3: fully get into the character. But imagine it is just 460 00:20:53,240 --> 00:20:55,560 Speaker 3: the opposite. It's kind of freeing. It led itself to 461 00:20:55,600 --> 00:20:58,000 Speaker 3: an authority. You're not performing as much. 462 00:20:58,040 --> 00:21:01,200 Speaker 6: Yeah, you're not thinking about the construct of the scene. 463 00:21:01,280 --> 00:21:04,000 Speaker 6: You know, you're thinking about, okay, this is you're this 464 00:21:04,040 --> 00:21:05,120 Speaker 6: is all really happening. 465 00:21:05,200 --> 00:21:06,520 Speaker 4: So just just think that. 466 00:21:06,560 --> 00:21:09,120 Speaker 5: I think that as some as you know, I think, 467 00:21:09,320 --> 00:21:11,880 Speaker 5: as somebody who's acted briefly in a couple of things, 468 00:21:11,920 --> 00:21:14,800 Speaker 5: I think a big thing that you know sometimes you know, 469 00:21:14,920 --> 00:21:20,040 Speaker 5: is that suspension, disbelief and being able to basically disappear 470 00:21:20,200 --> 00:21:23,160 Speaker 5: into into the character, you know, in a specific scene, 471 00:21:23,160 --> 00:21:25,920 Speaker 5: and a scene between Sandler and Lakeith Stanfield. There's a 472 00:21:25,960 --> 00:21:27,399 Speaker 5: scene early on in the movie where they have a 473 00:21:27,400 --> 00:21:31,399 Speaker 5: conversation about fake Rolex's and you know, that conversation is 474 00:21:31,400 --> 00:21:35,119 Speaker 5: supposed to be a private one amongst a group of 475 00:21:35,760 --> 00:21:38,439 Speaker 5: people in a small showroom on seventh floor and on 476 00:21:38,480 --> 00:21:41,120 Speaker 5: forty seventh Street in New York City. Now, I hate 477 00:21:41,119 --> 00:21:43,760 Speaker 5: it in movies and TV when you see people have 478 00:21:43,800 --> 00:21:46,440 Speaker 5: a private conversation that's clearly can be heard. 479 00:21:46,800 --> 00:21:47,960 Speaker 4: So we encourage all the. 480 00:21:47,920 --> 00:21:51,320 Speaker 5: Extras to actually speak and have their own experience, And 481 00:21:51,400 --> 00:21:55,080 Speaker 5: I think for Lakeith and Sandler that was that was 482 00:21:55,320 --> 00:21:57,920 Speaker 5: really informing, and it allowed them to actually feel like 483 00:21:57,960 --> 00:22:00,760 Speaker 5: they were having a private conversation that fell like it 484 00:22:00,800 --> 00:22:03,960 Speaker 5: had high stakes because you have you know, and also 485 00:22:04,080 --> 00:22:06,840 Speaker 5: don't forget that if the general din of the audio 486 00:22:07,000 --> 00:22:10,480 Speaker 5: of people speaking a rose a certain amount, they could 487 00:22:10,800 --> 00:22:12,680 Speaker 5: increase the volume of their voice, so there was no 488 00:22:13,200 --> 00:22:14,080 Speaker 5: pretending in. 489 00:22:14,000 --> 00:22:14,520 Speaker 4: A certain way. 490 00:22:14,560 --> 00:22:16,280 Speaker 6: And then on our end, it's a matter of like, 491 00:22:16,280 --> 00:22:18,639 Speaker 6: like you're working with somebody like Skip Livesay, who was 492 00:22:18,680 --> 00:22:22,520 Speaker 6: mixing it, he has to kind of keep it in 493 00:22:22,640 --> 00:22:25,840 Speaker 6: a relative reality. You know, we were working with the 494 00:22:26,359 --> 00:22:29,479 Speaker 6: confines of that as our basis. So when you have 495 00:22:29,680 --> 00:22:32,960 Speaker 6: that audio, it's a matter of working it in and 496 00:22:33,000 --> 00:22:35,160 Speaker 6: working like we would actually be listening to certain parts 497 00:22:35,200 --> 00:22:37,760 Speaker 6: and when there was a break in the dialogue, like, oh, 498 00:22:37,800 --> 00:22:40,560 Speaker 6: let's bring in that adr that we recorded in the background. 499 00:22:40,720 --> 00:22:42,640 Speaker 6: Let's raise it up so you can hear that person there. 500 00:22:42,840 --> 00:22:45,320 Speaker 6: And it is kind of a woven fabric of sound there. 501 00:22:45,440 --> 00:22:47,560 Speaker 3: I want to close, though, There's so much more to 502 00:22:47,560 --> 00:22:49,240 Speaker 3: get to with this movie, with our kind of rapid 503 00:22:49,280 --> 00:22:51,159 Speaker 3: fire film Spotting five, You guys were nice enough to 504 00:22:51,160 --> 00:22:53,280 Speaker 3: play last time. The first two questions the same as 505 00:22:53,320 --> 00:22:54,879 Speaker 3: last time. What's the last movie you saw in a 506 00:22:54,920 --> 00:22:56,240 Speaker 3: theater other than your own? 507 00:22:56,640 --> 00:22:58,520 Speaker 4: Last week? Saw on a last movie I saw in 508 00:22:58,520 --> 00:22:58,920 Speaker 4: a theater? 509 00:23:00,200 --> 00:23:03,000 Speaker 5: I mean, we've been having to promote so much. Might 510 00:23:03,040 --> 00:23:04,000 Speaker 5: have been parasite. 511 00:23:04,440 --> 00:23:07,040 Speaker 1: Yeah, for me, it might have been what. 512 00:23:07,000 --> 00:23:08,520 Speaker 4: Are we talking about? I just went to go see 513 00:23:08,520 --> 00:23:10,280 Speaker 4: Lost Highway two days ago in l A. 514 00:23:10,400 --> 00:23:13,680 Speaker 5: Yeah, at Tarantino as a theater and yeah, and then 515 00:23:13,720 --> 00:23:16,080 Speaker 5: before that, I did three every break that I had 516 00:23:16,080 --> 00:23:19,840 Speaker 5: in l A to New Beverly, I saw a murder 517 00:23:19,920 --> 00:23:23,680 Speaker 5: by Contract and the one before that was dolomite Ise 518 00:23:24,080 --> 00:23:27,040 Speaker 5: and uh and then yeah, and then I did, uh, 519 00:23:27,160 --> 00:23:30,159 Speaker 5: and then I did. But the most recent new release 520 00:23:30,240 --> 00:23:33,480 Speaker 5: I saw, I guess was Dolomite Yeasite before. 521 00:23:33,320 --> 00:23:35,480 Speaker 1: And I saw I saw the Lighthouse in Parasite. 522 00:23:35,520 --> 00:23:39,760 Speaker 3: Okay, the movie a movie that you revisited recently, something 523 00:23:39,760 --> 00:23:40,200 Speaker 3: you love. 524 00:23:40,240 --> 00:23:44,920 Speaker 5: In a lonely place. Great film, Nicholas, Yeah, and oddly 525 00:23:45,280 --> 00:23:46,840 Speaker 5: relevant for this movie for sure. 526 00:23:47,480 --> 00:23:50,800 Speaker 6: I want to say that I revisited because I actually 527 00:23:51,680 --> 00:23:55,000 Speaker 6: the one. Uh, it's it's it's hard because I I 528 00:23:55,760 --> 00:24:03,080 Speaker 6: revisited a bunch of stuff in pieces. But I guess 529 00:24:03,400 --> 00:24:04,080 Speaker 6: Hole in the Head. 530 00:24:04,240 --> 00:24:05,520 Speaker 1: I've watched that again recently. 531 00:24:05,600 --> 00:24:09,320 Speaker 3: Is there a current movie obsession you have a director, 532 00:24:09,359 --> 00:24:10,760 Speaker 3: an actor, an actress. 533 00:24:11,960 --> 00:24:17,439 Speaker 5: Yeah, I recently wanted to rewatch every talk Fujamoto lensed 534 00:24:17,520 --> 00:24:21,600 Speaker 5: movie and it leads you down a pretty like extensive 535 00:24:21,720 --> 00:24:26,280 Speaker 5: eighties hole of filmmaking. But yeah, I wanted to look 536 00:24:26,320 --> 00:24:27,879 Speaker 5: at every talk foto movie. 537 00:24:28,400 --> 00:24:30,880 Speaker 3: Last question, actually two more real quick movie that made 538 00:24:30,880 --> 00:24:31,680 Speaker 3: you want to become. 539 00:24:31,440 --> 00:24:38,879 Speaker 5: A director, that woul maybe want to become a director, Yeah. 540 00:24:37,119 --> 00:24:41,520 Speaker 4: It might. Weirdly enough, it was probably the movie Kids. 541 00:24:42,440 --> 00:24:45,119 Speaker 5: I mean, Kramer Versus Kramer was the first movie that 542 00:24:45,160 --> 00:24:47,680 Speaker 5: showed the power of cinema When we were little kids, 543 00:24:47,960 --> 00:24:49,840 Speaker 5: but kids. I saw when I was fifteen and I 544 00:24:49,880 --> 00:24:52,000 Speaker 5: was in a scenario where there was whippits happening, and 545 00:24:52,600 --> 00:24:55,000 Speaker 5: I saw the scene on a VHS tape and it 546 00:24:55,119 --> 00:24:56,359 Speaker 5: just felt like life led. 547 00:24:56,280 --> 00:24:58,680 Speaker 4: Onto the screen. And I was so curious about how 548 00:24:58,680 --> 00:24:59,680 Speaker 4: that could be done. 549 00:25:00,080 --> 00:25:00,600 Speaker 1: Yeah, it was. 550 00:25:00,760 --> 00:25:03,199 Speaker 6: I was going to go to school to be a 551 00:25:03,200 --> 00:25:07,399 Speaker 6: physicist and then film in addition. And I went to 552 00:25:07,600 --> 00:25:10,320 Speaker 6: Josh said, oh, come over to Boston University and watch this. 553 00:25:10,560 --> 00:25:13,119 Speaker 6: Watch we're looking at the neo realists, the Italian realist 554 00:25:13,440 --> 00:25:17,040 Speaker 6: and I saw you'll posto and totally changed. 555 00:25:17,200 --> 00:25:18,880 Speaker 1: Really yeah, I couldn't. 556 00:25:18,520 --> 00:25:19,359 Speaker 4: Believe that you could do. 557 00:25:19,720 --> 00:25:21,159 Speaker 6: And then, of course then you dig deeper into that 558 00:25:21,160 --> 00:25:21,600 Speaker 6: whole era. 559 00:25:21,600 --> 00:25:23,040 Speaker 1: Of course. Yeah, mind blowing. 560 00:25:23,119 --> 00:25:24,960 Speaker 3: So this one's a more timely question, with it being 561 00:25:24,960 --> 00:25:26,119 Speaker 3: not only the end of the year, but the end 562 00:25:26,160 --> 00:25:27,720 Speaker 3: of the decade. I'm sure you're seeing a lot of 563 00:25:28,080 --> 00:25:30,760 Speaker 3: shows like mine and critics sharing their best films of 564 00:25:30,800 --> 00:25:32,840 Speaker 3: the decade. Do you have one that immediately comes to 565 00:25:32,840 --> 00:25:34,440 Speaker 3: mind as the best film of the twenty tens? 566 00:25:34,960 --> 00:25:38,240 Speaker 6: That's right, I mean good to that top ten list 567 00:25:38,320 --> 00:25:38,880 Speaker 6: was pretty good. 568 00:25:38,960 --> 00:25:42,000 Speaker 1: Which one the twenty ten for the was for the Kye. 569 00:25:41,880 --> 00:25:43,199 Speaker 4: Yeah, but I didn't end up sending it up. 570 00:25:43,200 --> 00:25:44,760 Speaker 5: You didn't, okay, because I don't like to do the 571 00:25:44,880 --> 00:25:48,159 Speaker 5: top ten because there's you see so much I forgot 572 00:25:48,240 --> 00:25:48,640 Speaker 5: what what? 573 00:25:48,640 --> 00:25:48,720 Speaker 3: What? 574 00:25:48,880 --> 00:25:52,080 Speaker 5: Ended up reaching pretty high? Do you remember what I 575 00:25:52,119 --> 00:25:53,200 Speaker 5: had on there when I sent it to you? And 576 00:25:53,240 --> 00:25:54,479 Speaker 5: I was like, guy, should I send this? And then 577 00:25:54,480 --> 00:25:55,920 Speaker 5: I ended up not sending it. 578 00:25:57,359 --> 00:25:58,960 Speaker 1: There's so many. I don't know. 579 00:25:59,600 --> 00:26:01,399 Speaker 4: It's hard because it's like you of course you know 580 00:26:01,480 --> 00:26:03,159 Speaker 4: the list in front of you. Yeah, yeah, you know 581 00:26:03,160 --> 00:26:03,800 Speaker 4: what you want me to pull. 582 00:26:05,359 --> 00:26:06,440 Speaker 1: Phantom thread was on there. 583 00:26:06,480 --> 00:26:08,760 Speaker 4: Phantom Dread was way up. It was on there. Yeah, yeah, 584 00:26:08,760 --> 00:26:09,400 Speaker 4: that makes sense. 585 00:26:09,480 --> 00:26:11,159 Speaker 5: Phantom thread was way up on there. Let me just 586 00:26:11,200 --> 00:26:12,640 Speaker 5: pull it up because you can just edit this. 587 00:26:12,680 --> 00:26:13,440 Speaker 4: End the favorite. 588 00:26:13,480 --> 00:26:14,480 Speaker 1: The favorite was on there. 589 00:26:15,160 --> 00:26:17,600 Speaker 4: The favorite was way up. Yeah, all right. This was 590 00:26:17,640 --> 00:26:20,800 Speaker 4: my U This was my top ten that I had 591 00:26:20,840 --> 00:26:22,440 Speaker 4: that I that I never sent to the kis. 592 00:26:22,480 --> 00:26:29,040 Speaker 5: This is an exclusive here exclusive Phantom Thread, Uh, the Favorite, Lanthemos, 593 00:26:29,080 --> 00:26:33,720 Speaker 5: Margaret Lonigan, Beyond the Candle, Ober Sodenberg, Under the Skin 594 00:26:33,800 --> 00:26:36,879 Speaker 5: by Glazer, Wolf of Wall Streetscorsesey Inside, Lewin Davis at 595 00:26:36,920 --> 00:26:40,400 Speaker 5: Coen Brothers, The Act of Killing Josh Oppenheimer, Bitter Lake 596 00:26:40,400 --> 00:26:42,760 Speaker 5: by Adam Curtis and Parasite Bay Bonkuan. 597 00:26:42,440 --> 00:26:45,560 Speaker 3: Who those are some great choice. I'm in locked up 598 00:26:45,600 --> 00:26:47,160 Speaker 3: with you on more than a few of those guys. 599 00:26:47,160 --> 00:26:49,520 Speaker 3: This was a lot of fun. I encourage everyone out 600 00:26:49,520 --> 00:26:51,520 Speaker 3: there to see the film if they get a chance. 601 00:26:51,560 --> 00:26:53,000 Speaker 4: Thank you so much, best of luck, Thank thank you, 602 00:26:53,160 --> 00:26:53,720 Speaker 4: appreciate it. 603 00:26:56,160 --> 00:26:57,160 Speaker 3: Yeah, having a good time. 604 00:26:58,200 --> 00:27:07,159 Speaker 2: Yeah, this is me. 605 00:27:08,680 --> 00:27:09,720 Speaker 4: This is how I went. 606 00:27:11,280 --> 00:27:14,600 Speaker 3: Hope you enjoyed that trip into the time capsule there 607 00:27:14,680 --> 00:27:18,720 Speaker 3: with Josh and Benny Safti. 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