Speaker 1: Adam.
Speaker 2: Wednesday is when we like to drop something from the
Speaker 2: vast Film Spotting Archive, and we'll get to this week's
Speaker 2: treat But first off, you know, if you want access,
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Speaker 2: that again.
Speaker 3: Well, we're talking about Marty Supreme this week, so we thought,
Speaker 3: why not make that promo code Supreme and you'll get
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Speaker 2: There you go, So jump on that this week out
Speaker 2: of our gracious hearts, we're going to give you for free, Adam.
Speaker 2: It's your interview with Josh and Benny Safti about Uncut JEMs.
Speaker 3: Yeah, and it's funny, Josh, I haven't listened to this yet.
Speaker 3: Re listened to it, and I just went back and
Speaker 3: looked at my notes for the interview and the questions
Speaker 3: that I had jotted down. You'll never believe some of
Speaker 3: the words and phrases that are littering the page in
Speaker 3: front of me. As we just recorded our review of
Speaker 3: Marty Supreme that's coming later in the week. I've got
Speaker 3: things like single mindedly focused on their objective and spiraling
Speaker 3: out of control and larger purpose. So there are some
Speaker 3: themes that do reoccur. I'm talking there about Connie in
Speaker 3: Good Time played by Robert Pattinson. I'm talking about Howard
Speaker 3: played by Adam Sandler and Uncut Gems and yes that
Speaker 3: is true as well of Timothy Shallomey as Marty and
Speaker 3: Marty Supreme. So we thought, why not set the table,
Speaker 3: set the table. Tennis's at the pink pong table, Josh,
Speaker 3: is that close to a pun? Sure the tennis table
Speaker 3: for our conversation, and we have a lengthy one about
Speaker 3: Marty Supreme coming with this conversation with Josh and Benny
Speaker 3: Safti about Uncut Gems. And this comes to you from
Speaker 3: the year twenty nineteen.
Speaker 2: I made a crazy risk.
Speaker 1: We've gambled limbs about to pay off. So I want
Speaker 1: to Celtics to cover.
Speaker 2: I want to Celtics hand time. I want gone at
Speaker 2: points and rebound.
Speaker 4: What do you know?
Speaker 2: I don't know.
Speaker 4: I just know. Well, I'll tell you what I know.
Speaker 4: That's the dumbest that I ever heard of.
Speaker 2: I disagree.
Speaker 1: I disagree.
Speaker 2: Gary.
Speaker 3: We last spoke for Good Time back in twenty seventeen,
Speaker 3: and I think it's fair to say there's a lot
Speaker 3: of Connie in Howard here in this film. They're both
Speaker 3: kind of single mindedly focused on whatever their objective is,
Speaker 3: though their objectives are very different, and we'll definitely get
Speaker 3: in to that. But there's that sense of the urgency
Speaker 3: of the moment always bringing out kind of the best
Speaker 3: in them or the worst in them, which is something
Speaker 3: we talked about. And I was wondering if you guys
Speaker 3: are aware or how aware are you of a character's lineage,
Speaker 3: if you will, when you're creating that character, are you
Speaker 3: thinking about how similar Howard may be too?
Speaker 4: Well, it's kind of not. No.
Speaker 5: The answer answer is no, But the longer answer is
Speaker 5: what happens when you spend ten years working on a project.
Speaker 5: That's how long we're working on Uncut Gems. So Connie
Speaker 5: and his creation was basically was the whole film. Good
Speaker 5: Time came about because Pattinson wanted to work with us
Speaker 5: and he wasn't right for any role in Uncut Gems,
Speaker 5: and it led to the creation of Good Time. And
Speaker 5: actually Benny's character in Good Time was originally in Uncut
Speaker 5: Gems and then we used for that one. So but
Speaker 5: I do think that the single mindedness and the determination
Speaker 5: to see a dream realized and prove your worth in
Speaker 5: the world or maybe to the universe comes stems from
Speaker 5: a decade long pursuit of a single entity, which is
Speaker 5: Uncut Gems.
Speaker 6: And I think it's it also makes sense to just
Speaker 6: kind of see a character who you might not at
Speaker 6: first see the beauty in or the understanding in, and
Speaker 6: kind of trying to understand to see the love in
Speaker 6: them or understanding And that's what Uncut Gems is, you know,
Speaker 6: It's the rough on the outside of beautiful.
Speaker 5: And the difference for me between Gems and Good Time,
Speaker 5: you know, is that the Connie character was slightly more
Speaker 5: anthropological in the sense that I can I've seen that
Speaker 5: person before, I know people like that. There are tiny
Speaker 5: little pieces of mean it, but it's for more or
Speaker 5: less study. Whereas Gems there's a lot of me and
Speaker 5: Howard there's a lot of you know, there's a lot
Speaker 5: of personal stuff in that movie that maybe wasn't in
Speaker 5: Good Time, not to denigrate Good Time in any way.
Speaker 3: Well, I want to stay on this path for a second, because,
Speaker 3: as you said, they're both kind of con men at
Speaker 3: their core, right, self destructive, always the sense of things
Speaker 3: kind of spiraling out of control around them. But Connie
Speaker 3: is sympathetic and that we can definitely appreciate his larger purpose,
Speaker 3: which is to keep his brother played by you Benny,
Speaker 3: out of jail. We know he needs to be protected.
Speaker 3: We're on board with that. So I feel like for
Speaker 3: most viewers getting to a place where the end justifies
Speaker 3: whatever insane means we're watching unfold, it's easier to get too. Probably,
Speaker 3: I think it's a tougher proposition with Howard, and so
Speaker 3: I'm curious.
Speaker 4: It's the first time i've heard it.
Speaker 3: I don't Well, so that's that's where I was going,
Speaker 3: is that I feel like he's more irredeemable, And I
Speaker 3: wondered if that was part of the challenge and fun
Speaker 3: for you with this project, or if you discard that
Speaker 3: completely and you see him as redeemable.
Speaker 5: I see Howard as as the ultimate provider. I think
Speaker 5: that he's a you know, Connie's kind of does a
Speaker 5: lot of you know, really, he's.
Speaker 6: Also the reason that the brothers in jail in the
Speaker 6: first place, you know, true.
Speaker 4: Yes, So it's like kind of a look.
Speaker 5: I mean, Howard is such a this character Sandler place,
Speaker 5: and also Sandler in general is a notoriously lovable person.
Speaker 5: And I think that Howard is is. I think that
Speaker 5: he's ultimately a righteous person. And I don't I don't
Speaker 5: see him as a con man. I don't think that
Speaker 5: he has any con that he's pulling he's trying to
Speaker 5: pull off in this film. I think that he's he's
Speaker 5: actually he's just trying the con might be to prove
Speaker 5: that he belongs in a society that actually might say
Speaker 5: you don't belong. Maybe your place is to be somewhat
Speaker 5: towards the bottom and not some guy at the top.
Speaker 5: And he's trying to cheat God. And and I think
Speaker 5: that this the pay the patriarchal part of Howard is.
Speaker 5: You know, uh, you know that he has all these
Speaker 5: people who depend on him, that all these people that
Speaker 5: he has to support, which makes him I think. I mean, look,
Speaker 5: they're both, they're both the same sides of there's different
Speaker 5: parts of our voice, but I do.
Speaker 4: But it's funny though, because I do. You know.
Speaker 5: I remember when Scott Ruden, who's one of the producers
Speaker 5: of this film, when he read it, he said the
Speaker 5: opposite when he read the script. He was like, you know,
Speaker 5: the difference here is that you know, Howard's a guy
Speaker 5: you can love.
Speaker 4: Where's Connie you can't?
Speaker 6: Thing, Yeah, And I think it's Howard does bring the
Speaker 6: best out of the people around him. You know, he
Speaker 6: creates this environment where everybody has to say in some ways.
Speaker 6: And I think with him he also knows when he
Speaker 6: does know when he's going to do something, how it
Speaker 6: will affect other people. And I think he knows that
Speaker 6: and then does it anyway, does it anyway. But the
Speaker 6: thing is is, at least he is aware of that,
Speaker 6: and like when he checks in with his daughter, he
Speaker 6: knows he's affected the family in a deep, deep way, right,
Speaker 6: And I think that's part of what we were talking
Speaker 6: about with Sandler too, was here's a guy who does
Speaker 6: some things that you might not be able to get behind.
Speaker 6: But it's very important that we root him in real
Speaker 6: emotions and feelings because you do need to love this guy.
Speaker 4: You do need to.
Speaker 6: Root for him. And when people are yelling at the screen, oh,
Speaker 6: don't do that, don't do this, don't want him to
Speaker 6: do it. If you didn't like somebody or didn't love somebody,
Speaker 6: you wouldn't really be yelling at the screen to get
Speaker 6: them to stop.
Speaker 5: The film is called uncut Gems, Uh, you know, by
Speaker 5: design obviously, Uh, we don't just pick random words out
Speaker 5: of a hat. But you know, the concept of something
Speaker 5: being considered or deemed unvaluable on the outside because of
Speaker 5: rough impressions.
Speaker 4: Uh.
Speaker 5: And when you scope down underneath it and get to something,
Speaker 5: you get to the insides of of this of this gem,
Speaker 5: there's actually deep value there and that you can take
Speaker 5: in the sense that you know, certain people are you know,
Speaker 5: they might appear rough on the outside, but deep down
Speaker 5: inside there's something kind of great about them. And that's
Speaker 5: you know, the perseverance, the fact that it's a very
Speaker 5: egalitarian person. Everyone is equal in their regards someone like Connie.
Speaker 5: Not everybody was equal at all, he was actually very
Speaker 5: very condescending of a person. So there are these elements
Speaker 5: to to the character that that that I can that
Speaker 5: I disagree with.
Speaker 3: You on, but sure or experience, and I want to
Speaker 3: be clear, it's nuanced, right. We could dissect these two
Speaker 3: characters other similarities and differences, I think for a long time,
Speaker 3: and I think that's.
Speaker 4: I love them both, the rich characters. So yeah, and
Speaker 4: that comes through.
Speaker 3: And I think that was one of the surprises for
Speaker 3: me of the film, not knowing really anything about it.
Speaker 3: I try to go in with as much of a
Speaker 3: blank slate, not even watching trailers if I can avoid it.
Speaker 3: And I sort of expected, even after the first few
Speaker 3: minutes that I was going to watch kind of a
Speaker 3: standard movie tale of a gambler who is a loser, right,
Speaker 3: because that's what we usually see guys who are they're
Speaker 3: so that they owe so much money to someone, they're
Speaker 3: just trying to get out of this hole that they're
Speaker 3: in and they're willing to do anything to get out
Speaker 3: of it. But that's not really the character you guys
Speaker 3: have created. He's he's not just trying to get himself
Speaker 3: out of a hole. He's he's willing to dig whatever
Speaker 3: size hole he has to to achieve some kind of
Speaker 3: higher calling all the exactly right.
Speaker 4: Yeah, for sure.
Speaker 5: What's funny is, and I don't want to spoil the
Speaker 5: movie in any way, but for a guy who's a
Speaker 5: degenerate gambler, there's some pretty big bets in this movie.
Speaker 5: Yet he you know that he takes that he maybe make,
Speaker 5: so you know, it is I think the high calling
Speaker 5: element to it is is he's also don't forget he's
Speaker 5: a guy who was the man in the nineties, late
Speaker 5: nineties and early aughts. He was the guy and uh,
Speaker 5: you know, and he's starting to now see that fall
Speaker 5: away and that that life is full of cycles and
Speaker 5: that he's actually trying to kind of go against the
Speaker 5: grain of natural tides.
Speaker 7: Yeah, and I think just like we well, yeah, but
Speaker 7: because it's like I would rather hear from you, he's not. Yes,
Speaker 7: he he has he has lost, but he goes through
Speaker 7: life as a winner.
Speaker 2: You know.
Speaker 3: Yeah, you touched on the casting of Adam Sandler. So
Speaker 3: how important was it whether you love him or not
Speaker 3: or I'm being too harsh on Howard. He certainly does
Speaker 3: a lot of hurtful things to other people. How important
Speaker 3: was it to have a character like Sandler who brings
Speaker 3: just an affability and an amiability.
Speaker 4: To anything amount there wouldn't work. There's no other person.
Speaker 5: The only other person who I could ever see this
Speaker 5: movie functioning with is Rodney Dangerfield and and but that
Speaker 5: was that would have to be ten years before Easy Money.
Speaker 5: But then again, Easy Money came at a time in
Speaker 5: his life when you know, he had a certain age
Speaker 5: that made him lovable. Sandler's Sandler has an an uncanny
Speaker 5: ability to root the most absurd scenarios in a weird
Speaker 5: form of his own brand of realism. Yeah, you look
Speaker 5: at those earliest lovable people love him and I love him,
Speaker 5: I deeply love We grew up on his records before we.
Speaker 4: Even saw the movies.
Speaker 6: You look at you look at his early his like
Speaker 6: so all of his comedies, really those early comedies, which
Speaker 6: are so crazy and so absurd, and you really are
Speaker 6: looking at the screen and saying, I want that guy
Speaker 6: to win and I want him to succeed.
Speaker 1: And it's just something inside of him.
Speaker 6: You know, it's part of his soul that we knew
Speaker 6: that that needed to be brought to the character in
Speaker 6: a way that the film wouldn't work without.
Speaker 3: That you know, And I wanted to ask about one
Speaker 3: element of the performance. And I'm totally prepared for you
Speaker 3: guys to tell me I'm wrong about this part too.
Speaker 3: But the frenetic pace of the film, right, I don't
Speaker 3: want to tell you you're wrong about anything. That's what's
Speaker 3: great about movies is that they're your own. Yeah, the
Speaker 3: viewers experience.
Speaker 4: For sure.
Speaker 3: But this is I know this word talk about cliches.
Speaker 3: You've heard it four thousand times. It's intense, right, And
Speaker 3: it struck me though fairly early on and throughout the film,
Speaker 3: that Howard is never really overwhelmed by it, right, he
Speaker 3: kind of thrives on it. Obviously, he's usually the one
Speaker 3: causing it. But I think you actually see that in
Speaker 3: Sandler's performance a little bit, and how relatively slowly he speaks. Right,
Speaker 3: He's always in motion and he's always talking, that's for sure,
Speaker 3: but it seemed to me almost like he's always slowing
Speaker 3: down the pace a little bit, like a point guard,
Speaker 3: you know, who's like, I'm I'm gonna bring it up.
Speaker 3: It's a little bit too chaotic. I'm going to bring
Speaker 3: it up deliberately and consider my options.
Speaker 6: He's he's always listening it and feeling the conversations around him,
Speaker 6: and yeah, that's the truth is there is like there's
Speaker 6: a moment where it does kind of catch up with
Speaker 6: him and he does feel the weight of it all.
Speaker 6: But for the most part, he is trying. He's trying
Speaker 6: as hard as you know. He's thinking, I guess what
Speaker 6: makes it so stressful is so many decisions happening right
Speaker 6: away and they're all like, oh my god, I wish
Speaker 6: you did that, But he is trying to make the
Speaker 6: best decision and that exact same thing.
Speaker 1: Keep going from there.
Speaker 4: The thing that I'm most.
Speaker 5: Kind of moved by and encouraged by is in the
Speaker 5: screening process of this movie since Tell Your Ide Toronto,
Speaker 5: New York, et cetera, even last night in Chicago, he
Speaker 5: is seeing how entertained people are by the stressful scenarios.
Speaker 5: And that's taking a concept of, Hey, we're going to
Speaker 5: make this comedic thriller or thriller, comedic drama, however you
Speaker 5: want to peg this movie, but it's thrilling in its
Speaker 5: in its soul, and we're going to include in the
Speaker 5: thrill attention that is so lived in and real and
Speaker 5: personal that and then we're going to have someone like
Speaker 5: Adam Sandler come and add humor to it.
Speaker 4: At moments, it's.
Speaker 5: It's making, it's creating this new form of entertainment, if
Speaker 5: you want to call it that, but it's the experience
Speaker 5: is so immersive, and I think seeing it like we
Speaker 5: saw last night in the theater, you can you know,
Speaker 5: if you see a sad movie with an audience, hearing
Speaker 5: someone cry might actually be distracting. Not taking anything away
Speaker 5: from sad movies, but that is the truth. If you
Speaker 5: see a scary movie with a bunch of people, the
Speaker 5: collective fright is a huge.
Speaker 4: Part of the experience.
Speaker 5: Seeing a thriller like this with a bunch of people,
Speaker 5: I'm telling you, I've seen it in every theater. You
Speaker 5: can feel the entire audience lean towards the screen as
Speaker 5: if they want to reach out to the screen and
Speaker 5: grab Howard Adam Sandler and just shake some sense into him.
Speaker 1: Right there.
Speaker 6: It's popping in my head right now. There's a very
Speaker 6: funny scene in the Buster Key movie Steamboat Bill. Yeah,
Speaker 6: and he like he's his whole boat is sinking and
Speaker 6: he's holding all all of the holes water's pouring in.
Speaker 1: He doesn't know what to do.
Speaker 4: So he realized, Okay, I got it.
Speaker 6: He then picks up a hammer. He's in the bottom
Speaker 6: of the boat, picks a hammer and some nails, and
Speaker 6: he goes to nail in over the hole inside the boat.
Speaker 6: And in the moment you're thinking, that's a great idea,
Speaker 6: cover up the hole. The moment the hammer hits the
Speaker 6: nail more water. But that's the essence that you're trying
Speaker 6: to kind of create here.
Speaker 3: When we were here last time, we talked about pattinson
Speaker 3: performance and I asked you guys to talk about a
Speaker 3: moment or a scene in the film where he really
Speaker 3: surprised you with something where it wasn't how you envisioned
Speaker 3: it at all when it was on the page. And Benny,
Speaker 3: you had a great moment which was a moment between
Speaker 3: the two of you, the hug and I Love you
Speaker 3: scene in the elevator, and Josh you talked about that
Speaker 3: great line he has when he says to the younger girl,
Speaker 3: you know, don't don't be confused, s He'll just make
Speaker 3: it harder for me. And also that that kind of
Speaker 3: that story he tells Jennifer Jason Lee in the taxi cab.
Speaker 3: So I'm wondering if there's a similar story with Sandler,
Speaker 3: is there, they're an example for each of you. He
Speaker 3: really surprised you with something.
Speaker 5: I think that the I think that there's a big
Speaker 5: scene between him and Kevin Garnett towards the end of
Speaker 5: the film. It's about a six page scene and it's
Speaker 5: you know, it's a it's the scene we spent the
Speaker 5: most time writing, in the most time editing, and the
Speaker 5: least time shooting. But that's largely because of the testament
Speaker 5: of the two performers. Garnett blew us away, but Sandler
Speaker 5: the way that he was able to give the moral
Speaker 5: compass and the meaning of the movie essentially in one
Speaker 5: scene without it feeling like naked exposition and just like
Speaker 5: it's from his soul and you kind of feel bad
Speaker 5: for him in that moment, and it's and that was
Speaker 5: that was unbelievable. Another moment that, you know, it's like
Speaker 5: a tiny scene. There's a scene with the sports radio
Speaker 5: show host persona Mike Frantz has a where Sandler delivers
Speaker 5: this line.
Speaker 4: I they use it in the trailers. I disagree the
Speaker 4: way that he said it.
Speaker 5: You know, first of all, he has this motor mouth
Speaker 5: quality throughout the whole scene and then he pauses at
Speaker 5: the end.
Speaker 4: He just looks at me, goes, I disagree. I disagree Gary.
Speaker 4: The way that he said it.
Speaker 5: From a as a Sandler fan too, it was just like, oh,
Speaker 5: there's the iconic Sandler moment.
Speaker 6: Yeah, and it's there's so many moments, like it's hard
Speaker 6: to justify one.
Speaker 4: Because I know what's one you want to do though
Speaker 4: with the guard.
Speaker 6: Yeah, when he's with the Dina in that in that conversation.
Speaker 4: Menzell's that's a big scene.
Speaker 6: Yes, But Sandler starts doing this kind of thing where
Speaker 6: he's like ex haling this a lot of mouth movement
Speaker 6: and he's like you can feel the uncomfort like that
Speaker 6: he's he's really trying to get it out, but he's
Speaker 6: not saying it. But yeah, in general, it was just
Speaker 6: watching him make these micro decisions as Howard. It's like
Speaker 6: I wasn't watching Adam perform it. I was watching Howard
Speaker 6: in these scenes doing it. There's like a very little
Speaker 6: one where it's like when Garnett says to his manager, just.
Speaker 4: Wait right here, we'll be right back.
Speaker 6: Howard just instinctively owns that idea and looks at the
Speaker 6: manager and does the same exact hand motion that Garnett
Speaker 6: does like a half a second later, just.
Speaker 4: To be like, oh, yeah, that was my idea.
Speaker 1: This is good.
Speaker 5: I also I also really love the you know, he
Speaker 5: he would add improvised jokes all the time, like little
Speaker 5: things that he felt like Howard could do, you know,
Speaker 5: in particular, like tiny weird borsch belty things like when
Speaker 5: he when he goes and is gonna pawn a ring
Speaker 5: to these two real jewelers.
Speaker 4: He goes, I'd shake your hand, but I know where
Speaker 4: it's been, right, just like it's such a bad joke,
Speaker 4: but it's such a Howard.
Speaker 5: It's such a jeweler joke that he did, and it
Speaker 5: was really great.
Speaker 4: And the movie is filled with stuff like that.
Speaker 3: Yeah, you talked about the immersive quality the film. Sound
Speaker 3: obviously has a big part in that, and I know
Speaker 3: Altman is a big touchstone for you guys, and there's
Speaker 3: that element to it. I think anyone watching it will
Speaker 3: get a little bit of a sense of whether it's
Speaker 3: belong Goodbye or mcayn Missus Miller. But when I think
Speaker 3: about those films in particular, which I love, there's that
Speaker 3: sense of kind of hanging out in the space with
Speaker 3: all those multiple voices, you're just kind of it's very
Speaker 3: laid back and you can kind of eavesdrop on the
Speaker 3: conversations and decide which one you're going to poke your
Speaker 3: head in on. There's nothing really laid back at all
Speaker 3: about how you guys are doing it.
Speaker 5: California Split another Altman film, you know, in about gambling.
Speaker 5: All the gambling dens are filled with all of these
Speaker 5: kind of you know, again more down and out players,
Speaker 5: but there is You're right, there's a great story about
Speaker 5: more and Batty. At the premiere of McKay and Missus Miller,
Speaker 5: you sit next to Robert Altman and twenty minutes into
Speaker 5: the movie, Warren Batty turns to Altman and he goes,
Speaker 5: is a whole movie sound like this? And Altman turned
Speaker 5: him with smiling he goes, yeah, how cool is that?
Speaker 5: And Altman's and babies just like, oh, I can't handle
Speaker 5: this because it was he was so ahead of his time.
Speaker 6: The thing, and you're pointing out something interesting, which is, yes,
Speaker 6: if you let it exist in kind of more laid
Speaker 6: back feeling.
Speaker 1: It's one thing.
Speaker 6: What we're trying to do here is we're trying to
Speaker 6: kind of really capture the points of view of everybody
Speaker 6: in the scene at almost exactly the same time, and
Speaker 6: we're very, very like, the shot verse shot is so important,
Speaker 6: and to get a shot reverse shot within that environment
Speaker 6: from a production standpoint is almost physically impossible, but we're
Speaker 6: so so tuned into kind of making that impossibility of reality.
Speaker 6: And what it does for the actors I think is
Speaker 6: something kind of incredible, because you if you give people
Speaker 6: the ability to speak over one another and not have
Speaker 6: to wait, you're going to create a performance that's a
Speaker 6: lot freer. And it's like, yes, it's like, we're going
Speaker 6: to make that work afterwards, no matter how hard it's
Speaker 6: going to be. But yeah, what Altman did there, which
Speaker 6: I found a little so so important, was the realism
Speaker 6: of the performances in these situations that aren't real. And
Speaker 6: then I guess what we're trying to do now is
Speaker 6: just take that and then create the appearance of a
Speaker 6: two camera cutting, even though it's not positive that we're
Speaker 6: not doing that, but to create this kind of single
Speaker 6: camera point of view shift at any moment in time.
Speaker 5: I'm surprised that Benning is able to actually get that
Speaker 5: all across, because to prove a point, right now I'm
Speaker 5: messing with the volume modulation on his Vsfron and it's
Speaker 5: going from blasting to complete zero. And that's and that's
Speaker 5: something that life is all about. Sometimes you have these
Speaker 5: cacophony noises that you have to ignore, and as an actor,
Speaker 5: I think it's very freeing.
Speaker 4: I think for a lot of the actors it.
Speaker 3: Was I wanted to yeah, I wanted to touch on that,
Speaker 3: because you talk about maybe how they felt in that space.
Speaker 3: My first reaction was as an actor, I would find
Speaker 3: it so distracting and so chaotic that maybe I couldn't
Speaker 3: fully get into the character. But imagine it is just
Speaker 3: the opposite. It's kind of freeing. It led itself to
Speaker 3: an authority. You're not performing as much.
Speaker 6: Yeah, you're not thinking about the construct of the scene.
Speaker 6: You know, you're thinking about, okay, this is you're this
Speaker 6: is all really happening.
Speaker 4: So just just think that.
Speaker 5: I think that as some as you know, I think,
Speaker 5: as somebody who's acted briefly in a couple of things,
Speaker 5: I think a big thing that you know sometimes you know,
Speaker 5: is that suspension, disbelief and being able to basically disappear
Speaker 5: into into the character, you know, in a specific scene,
Speaker 5: and a scene between Sandler and Lakeith Stanfield. There's a
Speaker 5: scene early on in the movie where they have a
Speaker 5: conversation about fake Rolex's and you know, that conversation is
Speaker 5: supposed to be a private one amongst a group of
Speaker 5: people in a small showroom on seventh floor and on
Speaker 5: forty seventh Street in New York City. Now, I hate
Speaker 5: it in movies and TV when you see people have
Speaker 5: a private conversation that's clearly can be heard.
Speaker 4: So we encourage all the.
Speaker 5: Extras to actually speak and have their own experience, And
Speaker 5: I think for Lakeith and Sandler that was that was
Speaker 5: really informing, and it allowed them to actually feel like
Speaker 5: they were having a private conversation that fell like it
Speaker 5: had high stakes because you have you know, and also
Speaker 5: don't forget that if the general din of the audio
Speaker 5: of people speaking a rose a certain amount, they could
Speaker 5: increase the volume of their voice, so there was no
Speaker 5: pretending in.
Speaker 4: A certain way.
Speaker 6: And then on our end, it's a matter of like,
Speaker 6: like you're working with somebody like Skip Livesay, who was
Speaker 6: mixing it, he has to kind of keep it in
Speaker 6: a relative reality. You know, we were working with the
Speaker 6: confines of that as our basis. So when you have
Speaker 6: that audio, it's a matter of working it in and
Speaker 6: working like we would actually be listening to certain parts
Speaker 6: and when there was a break in the dialogue, like, oh,
Speaker 6: let's bring in that adr that we recorded in the background.
Speaker 6: Let's raise it up so you can hear that person there.
Speaker 6: And it is kind of a woven fabric of sound there.
Speaker 3: I want to close, though, There's so much more to
Speaker 3: get to with this movie, with our kind of rapid
Speaker 3: fire film Spotting five, You guys were nice enough to
Speaker 3: play last time. The first two questions the same as
Speaker 3: last time. What's the last movie you saw in a
Speaker 3: theater other than your own?
Speaker 4: Last week? Saw on a last movie I saw in
Speaker 4: a theater?
Speaker 5: I mean, we've been having to promote so much. Might
Speaker 5: have been parasite.
Speaker 1: Yeah, for me, it might have been what.
Speaker 4: Are we talking about? I just went to go see
Speaker 4: Lost Highway two days ago in l A.
Speaker 5: Yeah, at Tarantino as a theater and yeah, and then
Speaker 5: before that, I did three every break that I had
Speaker 5: in l A to New Beverly, I saw a murder
Speaker 5: by Contract and the one before that was dolomite Ise
Speaker 5: and uh and then yeah, and then I did, uh,
Speaker 5: and then I did. But the most recent new release
Speaker 5: I saw, I guess was Dolomite Yeasite before.
Speaker 1: And I saw I saw the Lighthouse in Parasite.
Speaker 3: Okay, the movie a movie that you revisited recently, something
Speaker 3: you love.
Speaker 5: In a lonely place. Great film, Nicholas, Yeah, and oddly
Speaker 5: relevant for this movie for sure.
Speaker 6: I want to say that I revisited because I actually
Speaker 6: the one. Uh, it's it's it's hard because I I
Speaker 6: revisited a bunch of stuff in pieces. But I guess
Speaker 6: Hole in the Head.
Speaker 1: I've watched that again recently.
Speaker 3: Is there a current movie obsession you have a director,
Speaker 3: an actor, an actress.
Speaker 5: Yeah, I recently wanted to rewatch every talk Fujamoto lensed
Speaker 5: movie and it leads you down a pretty like extensive
Speaker 5: eighties hole of filmmaking. But yeah, I wanted to look
Speaker 5: at every talk foto movie.
Speaker 3: Last question, actually two more real quick movie that made
Speaker 3: you want to become.
Speaker 5: A director, that woul maybe want to become a director, Yeah.
Speaker 4: It might. Weirdly enough, it was probably the movie Kids.
Speaker 5: I mean, Kramer Versus Kramer was the first movie that
Speaker 5: showed the power of cinema When we were little kids,
Speaker 5: but kids. I saw when I was fifteen and I
Speaker 5: was in a scenario where there was whippits happening, and
Speaker 5: I saw the scene on a VHS tape and it
Speaker 5: just felt like life led.
Speaker 4: Onto the screen. And I was so curious about how
Speaker 4: that could be done.
Speaker 1: Yeah, it was.
Speaker 6: I was going to go to school to be a
Speaker 6: physicist and then film in addition. And I went to
Speaker 6: Josh said, oh, come over to Boston University and watch this.
Speaker 6: Watch we're looking at the neo realists, the Italian realist
Speaker 6: and I saw you'll posto and totally changed.
Speaker 1: Really yeah, I couldn't.
Speaker 4: Believe that you could do.
Speaker 6: And then, of course then you dig deeper into that
Speaker 6: whole era.
Speaker 1: Of course. Yeah, mind blowing.
Speaker 3: So this one's a more timely question, with it being
Speaker 3: not only the end of the year, but the end
Speaker 3: of the decade. I'm sure you're seeing a lot of
Speaker 3: shows like mine and critics sharing their best films of
Speaker 3: the decade. Do you have one that immediately comes to
Speaker 3: mind as the best film of the twenty tens?
Speaker 6: That's right, I mean good to that top ten list
Speaker 6: was pretty good.
Speaker 1: Which one the twenty ten for the was for the Kye.
Speaker 4: Yeah, but I didn't end up sending it up.
Speaker 5: You didn't, okay, because I don't like to do the
Speaker 5: top ten because there's you see so much I forgot
Speaker 5: what what?
Speaker 3: What?
Speaker 5: Ended up reaching pretty high? Do you remember what I
Speaker 5: had on there when I sent it to you? And
Speaker 5: I was like, guy, should I send this? And then
Speaker 5: I ended up not sending it.
Speaker 1: There's so many. I don't know.
Speaker 4: It's hard because it's like you of course you know
Speaker 4: the list in front of you. Yeah, yeah, you know
Speaker 4: what you want me to pull.
Speaker 1: Phantom thread was on there.
Speaker 4: Phantom Dread was way up. It was on there. Yeah, yeah,
Speaker 4: that makes sense.
Speaker 5: Phantom thread was way up on there. Let me just
Speaker 5: pull it up because you can just edit this.
Speaker 4: End the favorite.
Speaker 1: The favorite was on there.
Speaker 4: The favorite was way up. Yeah, all right. This was
Speaker 4: my U This was my top ten that I had
Speaker 4: that I that I never sent to the kis.
Speaker 5: This is an exclusive here exclusive Phantom Thread, Uh, the Favorite, Lanthemos,
Speaker 5: Margaret Lonigan, Beyond the Candle, Ober Sodenberg, Under the Skin
Speaker 5: by Glazer, Wolf of Wall Streetscorsesey Inside, Lewin Davis at
Speaker 5: Coen Brothers, The Act of Killing Josh Oppenheimer, Bitter Lake
Speaker 5: by Adam Curtis and Parasite Bay Bonkuan.
Speaker 3: Who those are some great choice. I'm in locked up
Speaker 3: with you on more than a few of those guys.
Speaker 3: This was a lot of fun. I encourage everyone out
Speaker 3: there to see the film if they get a chance.
Speaker 4: Thank you so much, best of luck, Thank thank you,
Speaker 4: appreciate it.
Speaker 3: Yeah, having a good time.
Speaker 2: Yeah, this is me.
Speaker 4: This is how I went.
Speaker 3: Hope you enjoyed that trip into the time capsule there
Speaker 3: with Josh and Benny Safti. You get complete access to
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Speaker 1: Panically