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Speaker 1: Yo, Well, what is up? Welcome to another episode of

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Speaker 1: I Saw What You Did. My name is Milly.

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Speaker 2: I'm Danielle. You guys don't know. Milly always makes me

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Speaker 2: laugh so hard right before it's intro.

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Speaker 3: I know, I think at this point I am trying

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Speaker 3: to crack you up.

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Speaker 2: Pleasant serious, It works every time?

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Speaker 1: Oh good.

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Speaker 3: The worst would be for me to do it and

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Speaker 3: you do absolutely nothing and like look at your watch

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Speaker 3: and be like, uh, when do I get off the

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Speaker 3: mic with this loser.

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Speaker 2: It's gonna be such a tragic day when I'm like

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Speaker 2: faking it and I'm like ha and you're like, oh no,

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Speaker 2: that's so death now. But it will never happen because

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Speaker 2: every week you crack me up every week.

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Speaker 1: Well you say that now, but in forty years, so

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Speaker 1: what's up?

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Speaker 2: Going to look like?

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Speaker 3: A start putting games in the first six months?

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Speaker 2: In forty years, this podcast is just gonna be microphones

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Speaker 2: pointed at our grave sites.

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Speaker 1: I mean, do you think we talk about farts now?

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Speaker 2: Yeah?

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Speaker 1: You just wait, wait until we're like ninety seven years old.

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Speaker 2: Oh yeah, you wait till the decomposition begins while we're

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Speaker 2: still breathing.

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Speaker 1: We're not even going.

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Speaker 3: To be able to get like every movie will just

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Speaker 3: be like one long fart noise that it'll just be

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Speaker 3: like today, it's out of fart noise. There can we

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Speaker 3: go Anally's out of fart noise and post. Anyway, enough

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Speaker 3: about that, though, I want to know what's up with you?

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Speaker 3: What's going on?

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Speaker 2: Oh my gosh, not too much is going on. This

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Speaker 2: week I did get an acupressure met which is basically

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Speaker 2: like a little bit of nails. My shoulders and back

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Speaker 2: are always killing me. And it's plastic like the it's

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Speaker 2: not nails. It's like a fluffy piece of fabric, kind

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Speaker 2: of like a flat cushion, and then there's all these

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Speaker 2: plastic spiky discs on top, and so you laid down

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Speaker 2: and there's also a plastic spiky pillow and I laid

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Speaker 2: down on it, and like, I do feel some of

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Speaker 2: the tension released in my shoulders. I think it's just

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Speaker 2: like a blood circulation thing.

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Speaker 3: But okay, I want to talk to you about this seriously,

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Speaker 3: because first of all, I have I have moved into

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Speaker 3: that realm slightly, which is that because I was never

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Speaker 3: really into like painful like you know when you go

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Speaker 3: and get massages or something. Back in the olden days

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Speaker 3: when you could be around people and they could maybe

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Speaker 3: touch you as a job or whatever.

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Speaker 1: But remember like like you know how when you're like

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Speaker 1: in the room and they're like, do you.

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Speaker 3: Want you know, hard pressure, like medium pressure, I'm like,

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Speaker 3: I want like a gentle touch.

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Speaker 1: I don't. I can't.

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Speaker 3: Like some people love it like that giant hard massage

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Speaker 3: type thing.

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Speaker 2: For me, it's I've never been the case. I want

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Speaker 2: you to like whisper over my back. That's how light

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Speaker 2: it has to be.

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Speaker 3: Yeah, But things have changed because now I think it's

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Speaker 3: a combination of age, the fact that our lives have

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Speaker 3: been upended by sitting at home all day. And so

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Speaker 3: I have these like weird neck and like, and I've

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Speaker 3: been reading kind of about it, you know how it

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Speaker 3: might be like a tension thing or it's based on

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Speaker 3: inactivity essentially from not like living a real life. And

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Speaker 3: so I was like reading about this device that you

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Speaker 3: can actually use for your neck that is basically like

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Speaker 3: hard plastic spikes of which you speak of, And I

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Speaker 3: got one and I've tried it once, and I was like,

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Speaker 3: is this helping? Like I was convinced it was helping,

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Speaker 3: but I haven't tried it enough to really like make

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Speaker 3: that decision. Yeah, but I'm curious, like does something like

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Speaker 3: that help?

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Speaker 1: Are you like into the plastic spikes?

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Speaker 2: Now? I'm into it because I'm usually I'm just like you.

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Speaker 2: I'm like, don't like, just look at my back. You

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Speaker 2: don't even have to touch me. I'd be fine. Like,

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Speaker 2: I don't want the heavy massage. I'm not into like

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Speaker 2: hardcore anything, and it's like my muscles, my back is

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Speaker 2: basically like a box, like a bag of rocks. And

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Speaker 2: people are like, you know, every time I've gone for

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Speaker 2: a massage, they're like, well, we have to do it,

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Speaker 2: give you more pressure, because that's how you get these

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Speaker 2: knots out, And I'm like, I don't agree, and I

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Speaker 2: don't want it. So I was shot a little surprised

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Speaker 2: at myself for buying the better nails. You know. Also,

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Speaker 2: I've seen the documentary Crumb and that's all I can

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Speaker 2: think about when I think about like spikes. But yeah,

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Speaker 2: I didn't know what to expect, so I felt like

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Speaker 2: if I could at least even get on it, that

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Speaker 2: would be an accomplishment for me. And it's not. It

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Speaker 2: doesn't feel like anything when you're on it, you really

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Speaker 2: feel it, Like when you're laying down, you can kind

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Speaker 2: of feel some pokes, but then once you are on

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Speaker 2: it and horizontal, it's cool. I didn't use the pillow

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Speaker 2: for as long because that was a little bit uncomfortable. Okay,

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Speaker 2: but what I have instead, I've also purchased and I'll

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Speaker 2: send I'll send you the links and we'll post it

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Speaker 2: on our socials if anyone's interested. I got this little

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Speaker 2: neck stretcher thing that looks like it looks like a

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Speaker 2: whales tail, almost like a little cartoon whales tail. And

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Speaker 2: you just kind of rest your you rest your neck

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Speaker 2: on it so that your HEA's kind of bent over it.

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Speaker 2: And I did that in combination with the acupressure Matt,

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Speaker 2: and I feel like my back feels looser.

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Speaker 1: Wait a minute, do we have the same Now?

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Speaker 3: I'm like frantically looking at my Amazon order history, being like,

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Speaker 3: did we get the same thing for our neck?

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Speaker 1: I wonder Wait a minute, So you're saying.

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Speaker 3: It looks like a whales tail, because I'm like, Mike,

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Speaker 3: kind of looks like that.

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Speaker 2: Yeah, Like it looks it's like a turquoise color, and

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Speaker 2: it's got these three little nubs in the middle.

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Speaker 3: Okay, maybe it is the same hold on something cute?

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Speaker 1: Are you kidding?

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Speaker 3: Yeah? I think mine is called Yeah, is it called

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Speaker 3: a da Vinci tool?

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Speaker 2: I don't know if mine had a name.

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Speaker 1: Can you say that? Oh my god, does it look

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Speaker 1: like that?

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Speaker 2: It kind of looks like that, except it's a little

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Speaker 2: more curved. Mine doesn't have the dip in the middle.

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Speaker 3: Okay, Yeah, that is the three pronged tool of death

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Speaker 3: that I'm about to start using more often.

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Speaker 2: I am into it. It helped, and mine is called

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Speaker 2: it's a cervical traction device, cervical cervical spine alignment.

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Speaker 3: Oh that's cervical.

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Speaker 2: Yeah. And then I got the acupressure map. But we'll

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Speaker 2: post it. We'll post it, we'll post it all. But

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Speaker 2: it is. I felt it. I've only done it a

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Speaker 2: couple of times this week, and I have felt a difference.

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Speaker 2: And I also feel like a part of me wanted

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Speaker 2: to do it because whenever we edit and listen. When

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Speaker 2: I listen back to the show, I'm just like, I'm

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Speaker 2: so hyper every time I talk to you, Like, maybe

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Speaker 2: I need to literally lay down before we record so

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Speaker 2: I can be slightly less hyper.

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Speaker 3: Okay, full disclose Okay, let's get serious here. You and

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Speaker 3: I have essentially when we get together to do this podcast,

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Speaker 3: it's after like a twelve hour work day.

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Speaker 1: Okay.

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Speaker 3: Usually, so what I'm doing in between the end of

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Speaker 3: my work day and this podcast is chugging like coffee

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Speaker 3: or diet cokes or diet Doctor Pepper's. So that's the

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Speaker 3: problem is that you and I are like try to

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Speaker 3: caffeinate ourselves as much as possible in a very small

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Speaker 3: period of time, and so when we get on this

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Speaker 3: fucking microphone, we're like, you know, literally about to punch

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Speaker 3: each other through.

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Speaker 2: The screen because we're so it's like virtual cornholio. It's

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Speaker 2: what's happening. And look, I'm gonna crack another diet diet coke.

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Speaker 2: Doo babe, do I cracked it?

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Speaker 1: I love?

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Speaker 2: It's truly it. It's like, yeah, I drink coffee in

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Speaker 2: the morning. But then before we do this show, you're right,

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Speaker 2: like I start slamming diet coke.

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Speaker 3: I mean, perhaps it's why we're so fucking tense, and

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Speaker 3: maybe these medieval tools, how dare you? Well?

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Speaker 1: Honestly too, Like I was the other day, I was like.

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Speaker 3: Dreaming of a massage, like I was dreaming of it,

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Speaker 3: Like I was going, Oh, my god, wouldn't it be

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Speaker 3: so fantastic to like get a full body massage like

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Speaker 3: in the massage place with somebody that knows what they're

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Speaker 3: doing without the threat of COVID Like man, I was

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Speaker 3: because remember, like remember it was like a million years ago.

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Speaker 3: I think it was for your birthday when we went

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Speaker 3: to that place in Silver Lake and I was like, yeah,

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Speaker 3: oh my god, that place was amazing.

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Speaker 1: I was like dreaming of something like that.

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Speaker 2: It's one of those kind of spa like massage places

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Speaker 2: where at the end of it, like they have a

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Speaker 2: little room for you to sit and they you a

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Speaker 2: plate with like cut fruit on it and a fig

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Speaker 2: and some water like some you know, mint water or whatever,

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Speaker 2: and it is it's very decadent. It's very and it's

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Speaker 2: not expensive. It's just decadent, like they really go all out.

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Speaker 1: I need that.

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Speaker 3: I need that decadence. I need that TLC I need

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Speaker 3: I need those. I need that tension release situation when

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Speaker 3: you know. Also to speaking of devices, I would love

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Speaker 3: it if someone just bought me this.

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Speaker 1: I'm kidding.

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Speaker 3: I'm not gonna ask anybody to just buy me a

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Speaker 3: very expensive device but you know those like have you

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Speaker 3: seen those like Thera gun things?

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Speaker 2: Yes, Okay, I was just gonna say that, like, look,

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Speaker 2: shoot your shot. Somebody might buy you a Thera gun.

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Speaker 3: You never know, U Listen, my birthday is this month.

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Speaker 3: I just wanted to throw that out there.

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Speaker 2: I know, because I've seeing those things. And here's what

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Speaker 2: I don't get if I would need it more for

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Speaker 2: my shoulders and neck. And I guarantee at this point

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Speaker 2: we've lost half our listeners, so like we can understand

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Speaker 2: why these old ladies keep talking about their fucking bodies.

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Speaker 2: But if I was gonna get it, because it's horizontal,

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Speaker 2: I don't understand how it would hit my back neck

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Speaker 2: spots like in the middle.

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Speaker 1: Yeah, I think it's more.

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Speaker 3: I don't know if there's attachments like on a mixer

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Speaker 3: or something like that.

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Speaker 1: I don't know if there's some shit going on like that.

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Speaker 3: All I know is that I've seen people use it

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Speaker 3: on their like legs and staff, and I've just been

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Speaker 3: like that looks insane and it's like expensive as shit.

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Speaker 3: I think it's like five hundred and six hundred dollars,

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Speaker 3: and so I've been like, yo, save up some money.

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Speaker 2: Save it up. But also I just want to say,

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Speaker 2: if you have a drill, let's come up with some hacks.

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Speaker 2: I guarantee someone that's come up with a theragun hack

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Speaker 2: by now that involves a drill and a generator. And

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Speaker 2: like your neighbor throwing a ping pong ball at your face,

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Speaker 2: like there's something.

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Speaker 1: I bet you it is a tennis ball at the

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Speaker 1: end of a drill.

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Speaker 2: But completely it doesn't go.

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Speaker 1: It doesn't go in and out though exactly.

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Speaker 3: Yeah, if you had made a home thearragun and want

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Speaker 3: to share a recipe with us, please email us.

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Speaker 1: I saw what you did, pot at gmail dot com.

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Speaker 2: Speaking of our email. Yes, actually perfect segue. Think a

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Speaker 2: trumpet sound in there on the lease, because that never

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Speaker 2: ever happens where we get a segue that works. I

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Speaker 2: saw that hole and I jumped into it.

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Speaker 1: Speaking of shooting or shot exactly.

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Speaker 2: You did well, Thank you. But we do have some

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Speaker 2: emails to read. We've been getting so many great emails

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Speaker 2: from so many people, and to the tune where I

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Speaker 2: wish we could just have a whole episode of reading emails,

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Speaker 2: and maybe one day we will, maybe when we're both

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Speaker 2: in traction because our backs have broken, we'll only be

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Speaker 2: able to read emails, and your dreams will come true.

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Speaker 2: But for now, we've got a couple that we want

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Speaker 2: to start with.

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Speaker 3: Okay, well, I guess yeah, I'll go first. This is

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Speaker 3: an email we got from Ellen. I'm assuming it's not

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Speaker 3: Ellen DeGeneres.

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Speaker 2: You don't know that.

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Speaker 1: I certainly don't.

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Speaker 2: Uh. It's Ellen Burston.

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Speaker 3: It's one of many famous Ellen's that we know personally.

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Speaker 3: So this email says my sister wishes that she could

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Speaker 3: see another.

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Speaker 1: Nora Ephron movie for the first time.

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Speaker 3: We regularly quote whole scenes from You've Got Mail and

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Speaker 3: Julie and Julia is her palate cleanser when she's been

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Speaker 3: watching murder shows for too long.

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Speaker 1: I hear that right. We think lighthearted and heartfelt.

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Speaker 3: Movies are just as important as the serious ones with

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Speaker 3: a point to make, especially now when comfort is so valuable.

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Speaker 3: I would love to give her recommendations for similar movies

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Speaker 3: from female directors.

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Speaker 1: Thank you, pals. Okay, so I'm not trying to.

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Speaker 3: You know, I don't want to pick apart the email

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Speaker 3: too much, but I just have to say I think.

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Speaker 1: Lighthearted movies also have points to make.

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Speaker 3: Usually a lot of times they have like kind of

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Speaker 3: interesting or serious points underneath all of the fluff.

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Speaker 1: So I'll just I just wanted to point that out.

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Speaker 2: Agree.

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Speaker 3: Agree, So here's my thing. Okay, so you're talking about

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Speaker 3: nor Efron. Big fan of nor Efron obviously, and I

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Speaker 3: was assuming that when you were kind of saying nor Efron,

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Speaker 3: you were kind of mentioning, you know, maybe like romantic

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Speaker 3: comedies made by female directors, as you said, but also

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Speaker 3: maybe that kind of take place in New York or

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Speaker 3: like a big.

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Speaker 1: City or something like that.

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Speaker 3: So, I mean, honestly, the first one that came to

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Speaker 3: mind is this movie called Crossing Delancey. It came out

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Speaker 3: in nineteen eighty eight. It was directed by Joan mcln silver.

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Speaker 3: She just passed away recently, and she's she's such a

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Speaker 3: great director and had a really interesting life. I mean,

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Speaker 3: she basically started making movies at forty, which is kind

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Speaker 3: of an incredible I mean, I think that's fantastic.

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Speaker 1: So isn't it great?

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Speaker 3: I love it when people like start doing things later

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Speaker 3: in life.

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Speaker 1: I just have to say.

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Speaker 3: And she's kind of self taught, like she kind of

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Speaker 3: just like watched movies and read a lot about them.

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Speaker 3: I don't think she went to like some fancy film school.

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Speaker 3: But Crossing Delancey is great. It's got Amy Irving and

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Speaker 3: Peter Regard and it's, you know, basically a rom com

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Speaker 3: that's set in New York City and it's great, such

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Speaker 3: a great one. I'm just trying to think of other

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Speaker 3: directors that you might be sort of similar to something

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Speaker 3: that you're looking for. So I would say that movie

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Speaker 3: maybe Elaine May So there's this movie she did called

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Speaker 3: a New Leaf from nineteen seventy one. It's with her,

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Speaker 3: Elaine may Is in it with Walter Mathow.

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Speaker 1: That might be a good one for you.

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Speaker 3: And honestly, like, I know, we've talked about Nicole Halloff

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Speaker 3: Center before, but I think her movies are absolutely perfect too.

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Speaker 3: They're like funny and witty and like self deprecating, kind

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Speaker 3: of in the North Efron way, and she's such a

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Speaker 3: great director.

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Speaker 1: I think a lot of her movies are would be

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Speaker 1: like kind of.

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Speaker 3: Perfect for this. I guess that's kind of it. I

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Speaker 3: mean that could probably go on for a long time.

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Speaker 3: I mean I could talk about.

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Speaker 1: Girlfriends and more on the serious tip.

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Speaker 3: This movie called Private Life that came out two years ago,

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Speaker 3: The Tamar Jenkins movie that with Catherine Hahn and Paul Giamanni.

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Speaker 1: Yes, that's a little like more on the serious.

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Speaker 3: I don't know if it's like lighthearted enough, but I

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Speaker 3: loved it. I loved it, loved it, loved it. Takes

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Speaker 3: place in New York, obviously female directors, So yeah, that

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Speaker 3: would be my recommendations.

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Speaker 1: But I understand. I understand, even though I was.

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Speaker 3: Trying to, like, you know, point out that like ron

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Speaker 3: comms are serious, man, but I get it, like I

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Speaker 3: need to escape frequently from the more serious stuff and

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Speaker 3: sometimes you just want to watch something that's just like effervescent.

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Speaker 2: These are great recommendations because it is also like Nora

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Speaker 2: Efron is a very specific kind of you know, like

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Speaker 2: her writing and her movies are very specific feeling. So

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Speaker 2: I love that you were able to come up with

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Speaker 2: so many that really do feel the same way. Like

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Speaker 2: that's lovely and I'm going to watch some of them myself.

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Speaker 2: Thanks for your question, Ellen, We appreciate it. Thanks Ellen Burston,

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Speaker 2: Ellen Cleghorn. Maybe anyway she knew how excited I would

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Speaker 2: be of Ellen Cleghorn got me too. She's like she

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Speaker 2: went back to school and like got her doctorate or

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Speaker 2: something like I was just reading about her a few

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Speaker 2: months ago, because I'm like, Ellen Cleghorn was so funny

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Speaker 2: I would flip out basically, So if her niece or

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Speaker 2: nephew is listening or anybody like, just let us know

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Speaker 2: that we love Ellen Klea.

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Speaker 3: If you were Ellen Cleghorn Junior, thank you for your email.

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Speaker 1: We love your mom.

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Speaker 2: E C.

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Speaker 1: Jr.

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Speaker 2: Ellen. Oh good, All right, all right, so I'm going

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Speaker 2: to read an email from Elizabeth. Elizabeth says, I feel

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Speaker 2: really bratty to be doing this, but I'm here to

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Speaker 2: ask for a custom recommendation. And here's where I'm going

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Speaker 2: to stop the email and just say not Brady at all.

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Speaker 2: As we've already established, this is the shoot your shot episode.

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Speaker 3: Yeah, if you want a custom bespoke movie recommendation, it's

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Speaker 3: the week to do.

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Speaker 2: It, do it now. And that's what our email is for. Honestly,

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Speaker 2: we love it. So Elizabeth continues, I need a movie

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Speaker 2: that touches on an ethically controversial subject that is also

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Speaker 2: related to medicine. It is for a term paper in

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Speaker 2: my medical ethics class. The movie our teacher suggested was Gatica,

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Speaker 2: which I did love as a kid. But I need

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Speaker 2: some fresh juice. I was thinking I could possibly make

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Speaker 2: the fly work for this purpose, but I figured it

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Speaker 2: was worth a shot to ask my movie guru Guardian Angels.

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Speaker 2: Thank you. This is a great question, and I hope

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Speaker 2: it's not too late. I don't have a date for

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Speaker 2: when this email came in this class because of us,

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Speaker 2: I will feel miserable if this came in too late,

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Speaker 2: but perhaps it will help another student in a medical

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Speaker 2: ethics class. Even if so, I was really thinking about this,

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Speaker 2: I feel like you could do seconds if you wanted

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Speaker 2: to listen to that episode again. That's a really good

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Speaker 2: older movie about medical ethics, I think, an interesting one.

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Speaker 2: But the list that I've come up with for you

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Speaker 2: is I wouldn't recommend anyone watch these back to back

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Speaker 2: unless you want to have what I'm now calling my

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Speaker 2: Breaking the Waves weekend where I watched like three horribly

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Speaker 2: depressing movies back to back. But they're all fantastics. So

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Speaker 2: I would first recommend The Diving Bell and the Butterfly

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Speaker 2: from two thousand and seven. Julian Schnabel directed it, and

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Speaker 2: that is the movie about the man who has a

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Speaker 2: stroke and then he suffers from locked in syndrome. So

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Speaker 2: it's about kind of him not just living in his memories,

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Speaker 2: but also learning how to speak with kind of nods

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Speaker 2: and body movements and how you know patient that process

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Speaker 2: has to be. But I also thought, on the more

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Speaker 2: controversial side, the Skin I Live in twenty eleven, which

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Speaker 2: is a Pedro Almodovar movie, and it is wild. This

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Speaker 2: movie is basically about a scientist who does transgenetic work

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Speaker 2: because he's created a synthetic skin, and then you find

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Speaker 2: out that he's through a series of stories, you find

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Speaker 2: out that the person he's holding captive in his home

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Speaker 2: is actually someone that he has experimented on and given

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Speaker 2: a sex change against their will for as punishment for

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Speaker 2: a crime that they possibly committed. So that is an

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Speaker 2: interesting medical ethics film from a controversial point of view,

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Speaker 2: as is I Think The Sea Inside, which is two

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Speaker 2: thousand and four. Alejandro Amanibar directed it, and how the

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Speaker 2: Air Bar dem stars in it, and it's the true

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Speaker 2: story of Ramon sam Pedro who after a diving accident,

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Speaker 2: he becomes a quadriplegic and after twenty eight years, he

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Speaker 2: decides he wants to end his life. So those are

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Speaker 2: all my suggestions, I think, if you want to top

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Speaker 2: off the list, just in case nobody else has already

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Speaker 2: picked this one. The Immortal Life of Henrietta Lax, which

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Speaker 2: was directed by George C. Wolfe, is on HBO. I Believe,

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Speaker 2: And that's about the he La cell. So this woman

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Speaker 2: unknowingly donated her cells and it was used for decades

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Speaker 2: after her death to fund a lot of scientific admancements.

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Speaker 2: So those are all my movies on controversial medical ethics.

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Speaker 2: We also got some nice some nice messages too. Do

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Speaker 2: you want to read your nice email? Or should I

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Speaker 2: read my nice email? Since I'm already talking, you should

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00:20:57,880 --> 00:21:01,840
Speaker 2: read yours? Okay, So we got this great email from Larry.

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Speaker 2: It was so nice, and I feel weird reading nice

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Speaker 2: things about myself, but I feel great reading nice things

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Speaker 2: about us. Yes, so I'm going to do it. Yes,

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Speaker 2: Larry says, I am so in love with your podcast.

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Speaker 2: I can hardly stand it. It's embarrassing how much I

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Speaker 2: bring up details of your conversations to my husband as

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Speaker 2: if I had actually been hanging out with my real

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Speaker 2: life friends who crack me up with everything they say.

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Speaker 2: There must be many people like me for whom you've

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Speaker 2: concocted the most perfect combination of all the things we

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00:21:34,000 --> 00:21:37,800
Speaker 2: like movies old and new, fucked up observations, raw and

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00:21:37,880 --> 00:21:42,640
Speaker 2: unfiltered talk, real knowledge and smarts, and truly tender, sincere introspection,

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00:21:42,880 --> 00:21:47,679
Speaker 2: revelation and honesty. I'm so happy to have found you, Larry.

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Speaker 2: We feel the same way. We follow you on Instagram.

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Speaker 3: Larry's a legend, so I'm like completely blown away.

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Speaker 1: That is so nice. I actually am like, Wow, I'm

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Speaker 1: touched by that. Me too.

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Speaker 2: It's very thoughtful. And I've bought Larry's book as well,

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Speaker 2: which I think that if we can help promote that.

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Speaker 2: I don't know legally what we're allowed to do.

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Speaker 3: Is this, Paola, If we bought a book from a

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Speaker 3: person that said something nice about us.

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Speaker 2: It's personal, Paola, it's personal. Payola. Which is also a

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Speaker 2: dish that is made in Argentina.

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Speaker 1: Don't send us the recipe. We have a ton that's awesome. Man,

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Speaker 1: that's so great.

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Speaker 3: Well, I'm actually going to read an email that was

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Speaker 3: pretty much sent to you, and it's so great and

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Speaker 3: you're just going to have to sit here and let

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Speaker 3: people love you.

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Speaker 1: So buckle up, baby. This is from Jen I believe

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Speaker 1: she was.

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Speaker 3: She sent us an email about the Bill Gunn episode

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Speaker 3: that we did last month for Black History Month, and

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Speaker 3: she writes, Danielle, I really want to thank you for

440
00:23:00,160 --> 00:23:04,200
Speaker 3: opening up about your experience and discovering what it means

441
00:23:04,400 --> 00:23:09,359
Speaker 3: to be black. I am almost forty and I'm just

442
00:23:09,400 --> 00:23:12,400
Speaker 3: now starting to figure it out for myself. I too

443
00:23:12,640 --> 00:23:16,119
Speaker 3: have shame around that, but listening to you speak to

444
00:23:16,160 --> 00:23:17,879
Speaker 3: it makes me feel like I'm not alone.

445
00:23:18,480 --> 00:23:20,480
Speaker 1: Thank you, thank you, thank you.

446
00:23:22,400 --> 00:23:25,880
Speaker 2: That is incredibly sweet. Jin thank you for writing in.

447
00:23:26,640 --> 00:23:29,840
Speaker 2: And You're not alone. You're definitely not alone. I think

448
00:23:29,880 --> 00:23:34,359
Speaker 2: that part of part of the joy of speaking up

449
00:23:34,400 --> 00:23:38,320
Speaker 2: about this kind of stuff is that I you inevitably

450
00:23:38,320 --> 00:23:41,960
Speaker 2: find like minded people to kind of be your chorus

451
00:23:41,960 --> 00:23:44,520
Speaker 2: and be in your corner. And I feel like it's

452
00:23:45,920 --> 00:23:49,600
Speaker 2: a really healing thing and a really kind thing that

453
00:23:50,280 --> 00:23:52,880
Speaker 2: you've said and given that to me. So I'm glad

454
00:23:52,920 --> 00:23:54,240
Speaker 2: that I could give that to you as well.

455
00:23:54,760 --> 00:23:58,560
Speaker 3: And yeah, nice, Yeah, I will say, she's I mean,

456
00:23:59,000 --> 00:24:03,040
Speaker 3: she's not the only part that has mentioned that. We

457
00:24:03,080 --> 00:24:06,320
Speaker 3: did get a lot of comments about that, and yeah,

458
00:24:06,440 --> 00:24:10,359
Speaker 3: I think you I think that you might have felt

459
00:24:10,400 --> 00:24:12,480
Speaker 3: like you're in a vulnerable place at the moment that

460
00:24:12,520 --> 00:24:14,679
Speaker 3: it was happening, but it resonated with people and they

461
00:24:14,720 --> 00:24:15,400
Speaker 3: appreciate it.

462
00:24:15,440 --> 00:24:17,560
Speaker 1: So they just love you.

463
00:24:17,800 --> 00:24:27,200
Speaker 3: Thanks friends, as do we. Well, Danielle, Let's talk about

464
00:24:27,200 --> 00:24:28,560
Speaker 3: the theme for this week.

465
00:24:29,240 --> 00:24:29,880
Speaker 1: What is it?

466
00:24:30,359 --> 00:24:33,560
Speaker 2: Our theme this week is prank phone calls.

467
00:24:33,960 --> 00:24:38,040
Speaker 1: Ooh, prank phone calls?

468
00:24:38,760 --> 00:24:43,320
Speaker 3: Ah right, what is your experience with prank phone calls?

469
00:24:43,440 --> 00:24:44,880
Speaker 1: Because I, you.

470
00:24:44,840 --> 00:24:47,560
Speaker 3: Know, I have my own. Everybody has their own. I'm

471
00:24:47,600 --> 00:24:48,680
Speaker 3: curious about yours.

472
00:24:49,520 --> 00:24:52,720
Speaker 2: I came of age and what one would call the

473
00:24:52,800 --> 00:25:01,720
Speaker 2: Jerky Boys era. They have an era. Holy shit, they

474
00:25:01,760 --> 00:25:05,040
Speaker 2: do now they do. Now we've crossed the fucking threshold

475
00:25:05,119 --> 00:25:08,359
Speaker 2: of time. And it was a whole era. This is

476
00:25:08,400 --> 00:25:11,879
Speaker 2: like pre crank yankers, pre all this stuff, like the

477
00:25:11,960 --> 00:25:17,560
Speaker 2: Jerky Boys defined a generation and we were making prank

478
00:25:17,600 --> 00:25:20,359
Speaker 2: phone calls prior to that. But what was weird about

479
00:25:20,359 --> 00:25:24,720
Speaker 2: prank phone calls is that, first of all, I could

480
00:25:24,760 --> 00:25:27,200
Speaker 2: not make a long distance call without fear of like

481
00:25:27,359 --> 00:25:29,639
Speaker 2: being murdered by my family because you used to have

482
00:25:29,680 --> 00:25:33,959
Speaker 2: to pay for long distance calls, guys, and long distance

483
00:25:34,000 --> 00:25:35,959
Speaker 2: could be the next town over from you. So if

484
00:25:35,960 --> 00:25:38,159
Speaker 2: YOU'RENNA slipper through the phone book, you can't just you know,

485
00:25:38,240 --> 00:25:40,639
Speaker 2: willy nilly, So you have to pick from the local

486
00:25:40,680 --> 00:25:43,760
Speaker 2: phone book, which also increased the chances in my town

487
00:25:43,960 --> 00:25:46,440
Speaker 2: that you would know the person you're calling. So that's

488
00:25:46,920 --> 00:25:49,359
Speaker 2: inevitably where it really came down to is that I

489
00:25:49,400 --> 00:25:52,240
Speaker 2: would prank call my own friends and their families.

490
00:25:52,640 --> 00:25:55,119
Speaker 3: Yeah, because it was basically like correct me if I'm wrong.

491
00:25:55,480 --> 00:25:59,359
Speaker 3: This was so long ago, it was long distance if

492
00:25:59,400 --> 00:26:01,800
Speaker 3: it had us a different area code, right, so if

493
00:26:01,800 --> 00:26:04,560
Speaker 3: your area code was different than it was technically long distance.

494
00:26:04,920 --> 00:26:07,240
Speaker 3: So you were only calling people basically who lived in

495
00:26:07,280 --> 00:26:08,720
Speaker 3: your town exactly.

496
00:26:08,800 --> 00:26:11,879
Speaker 2: Okay, gotcha, exactly. So we went through the Instead of

497
00:26:11,880 --> 00:26:14,399
Speaker 2: going through the Yellow Pages, we went through the White pages,

498
00:26:14,440 --> 00:26:17,560
Speaker 2: which is the local phone book. And it was wild

499
00:26:17,560 --> 00:26:19,840
Speaker 2: because we did when I was much younger, like nine

500
00:26:19,840 --> 00:26:22,520
Speaker 2: to ten. I only really did prank calls when I

501
00:26:22,560 --> 00:26:25,400
Speaker 2: was with my friends, you know, I was. You can

502
00:26:25,440 --> 00:26:27,119
Speaker 2: go back and listen to that bonus episode if you

503
00:26:27,119 --> 00:26:29,399
Speaker 2: want to know how I lived without a phone and

504
00:26:29,440 --> 00:26:31,439
Speaker 2: food and all that shit for a long time. But

505
00:26:32,080 --> 00:26:34,119
Speaker 2: we couldn't count on having a phone for a while.

506
00:26:34,320 --> 00:26:37,680
Speaker 2: So yeah, I would make phone calls with my friends,

507
00:26:38,160 --> 00:26:40,440
Speaker 2: and they would usually just prank people that they knew,

508
00:26:40,520 --> 00:26:43,840
Speaker 2: so they would like call their dad at work or something.

509
00:26:44,400 --> 00:26:48,879
Speaker 3: God yeah, and he's like, are you fucking kidding me?

510
00:26:50,600 --> 00:26:51,480
Speaker 2: Exactly?

511
00:26:51,760 --> 00:26:54,439
Speaker 3: I feel like because it's funny, because I mean, it

512
00:26:54,480 --> 00:26:56,920
Speaker 3: feels like prank phone calls are no longer thing because

513
00:26:56,920 --> 00:26:58,040
Speaker 3: everybody has cell phones.

514
00:26:58,200 --> 00:26:59,920
Speaker 1: Everybody's phone number is visible.

515
00:27:00,000 --> 00:27:02,560
Speaker 3: Well, I mean, I guess maybe if you're you know,

516
00:27:03,000 --> 00:27:05,440
Speaker 3: like a telemarketer or something, you could figure something out.

517
00:27:05,480 --> 00:27:09,359
Speaker 3: But it's that thing where you're like, that era doesn't

518
00:27:09,400 --> 00:27:12,720
Speaker 3: really seem to exist anymore. I mean, I remember, like

519
00:27:12,760 --> 00:27:17,000
Speaker 3: a pre Star sixty nine world, you couldn't even call

520
00:27:17,080 --> 00:27:20,199
Speaker 3: the number back, and you know, then you would have

521
00:27:20,280 --> 00:27:23,399
Speaker 3: to do the defensive move, which is Star sixty seven.

522
00:27:24,160 --> 00:27:26,359
Speaker 1: Yes, for those people were too young.

523
00:27:26,520 --> 00:27:31,320
Speaker 3: Essentially, like on a landline, if you dial Star sixty nine,

524
00:27:31,520 --> 00:27:34,080
Speaker 3: it would call the number back right, or you would

525
00:27:34,119 --> 00:27:35,000
Speaker 3: get the phone number.

526
00:27:35,119 --> 00:27:37,280
Speaker 2: Now you call the number immediately back yet.

527
00:27:37,160 --> 00:27:41,240
Speaker 3: Okay, But then they came up whards or somebody found

528
00:27:41,240 --> 00:27:44,360
Speaker 3: out I don't know who found this out, some some

529
00:27:44,800 --> 00:27:50,119
Speaker 3: pre Reddit person and other hero a Sun hero of

530
00:27:50,160 --> 00:27:53,920
Speaker 3: praying phone calls figured out that Star sixty seven blocks

531
00:27:54,040 --> 00:27:57,320
Speaker 3: the number from Star sixty nine. So then you always

532
00:27:57,359 --> 00:27:59,240
Speaker 3: got to do the Star six seven before you start,

533
00:27:59,320 --> 00:28:02,400
Speaker 3: you know, and then yeah, usually it was either like

534
00:28:02,720 --> 00:28:04,000
Speaker 3: two different techniques.

535
00:28:04,040 --> 00:28:08,280
Speaker 1: It was either like you dial random numbers or you went.

536
00:28:08,200 --> 00:28:12,159
Speaker 3: Through the phone book and picked out like names of

537
00:28:12,240 --> 00:28:17,520
Speaker 3: people who were weird, like you know, like in one

538
00:28:17,520 --> 00:28:19,600
Speaker 3: of the movies in my movie Today, they call a

539
00:28:19,600 --> 00:28:23,400
Speaker 3: guy named John Hamburger, and like that was a perfect name.

540
00:28:23,480 --> 00:28:25,720
Speaker 1: That's a perfect prank phone call name, right.

541
00:28:27,080 --> 00:28:30,080
Speaker 2: It's fantastic, And there was something that was so it

542
00:28:30,119 --> 00:28:32,520
Speaker 2: was the most I think the last era of like

543
00:28:32,760 --> 00:28:37,720
Speaker 2: harmless fun for kids in a way that like wasn't monitored,

544
00:28:38,280 --> 00:28:40,800
Speaker 2: had nothing to do with their parents. The jerky boys

545
00:28:40,840 --> 00:28:44,040
Speaker 2: again took it to like absurd levels and were kind

546
00:28:44,080 --> 00:28:47,600
Speaker 2: of disgusting whatever. But even just like just to call

547
00:28:47,640 --> 00:28:49,560
Speaker 2: someone that you didn't know when you were a kid

548
00:28:49,720 --> 00:28:51,600
Speaker 2: was like a thrill on its own. So even if

549
00:28:51,600 --> 00:28:53,000
Speaker 2: you didn't know what you were going to say, which

550
00:28:53,000 --> 00:28:55,640
Speaker 2: we rarely did. Like my grandmother would do prank phone

551
00:28:55,640 --> 00:28:58,239
Speaker 2: calls and ask like as your refrigerator running, well then

552
00:28:58,280 --> 00:28:59,000
Speaker 2: you should catch it.

553
00:28:59,200 --> 00:29:01,880
Speaker 1: Wait, your grandma other did prank phone calls when she.

554
00:29:01,800 --> 00:29:02,160
Speaker 2: Was a kid.

555
00:29:02,200 --> 00:29:03,520
Speaker 1: Yeah, oh, when she was a kid. I was like

556
00:29:03,560 --> 00:29:05,760
Speaker 1: with you, I'm like that's fucking awesome.

557
00:29:07,440 --> 00:29:08,080
Speaker 3: You're like that.

558
00:29:08,200 --> 00:29:13,480
Speaker 2: Phone incredible, like, oh my god.

559
00:29:14,600 --> 00:29:15,400
Speaker 3: It's a kid.

560
00:29:15,880 --> 00:29:18,320
Speaker 2: And she would say like because I would ask her

561
00:29:18,320 --> 00:29:19,880
Speaker 2: like have you ever done a prank phone call? And

562
00:29:19,880 --> 00:29:22,400
Speaker 2: she's like yeah. I used to ask, as your refrigerator running, well,

563
00:29:22,400 --> 00:29:23,920
Speaker 2: then you should go down the street and get it.

564
00:29:24,840 --> 00:29:27,400
Speaker 2: And another one that she had ready was, uh, do

565
00:29:27,480 --> 00:29:29,480
Speaker 2: you have Prince Albert in a can? Which I guess

566
00:29:29,520 --> 00:29:32,160
Speaker 2: was a type of food, And then she would say well,

567
00:29:32,160 --> 00:29:34,560
Speaker 2: then let them out like they were just so dumb

568
00:29:34,640 --> 00:29:35,440
Speaker 2: and cute, The.

569
00:29:35,600 --> 00:29:38,320
Speaker 1: Old faithfuls, the old faithfuls.

570
00:29:38,680 --> 00:29:40,560
Speaker 2: Yeah, we didn't have any old faithfuls. We would just

571
00:29:40,640 --> 00:29:44,960
Speaker 2: call and be like blood make sounds and just laugh

572
00:29:45,080 --> 00:29:46,840
Speaker 2: and yeah.

573
00:29:47,080 --> 00:29:52,200
Speaker 3: So it's so funny because I was terrible at making

574
00:29:52,240 --> 00:29:54,720
Speaker 3: prank phone calls. And I only did them with my

575
00:29:54,800 --> 00:29:58,400
Speaker 3: friends too, because first of all, now that you've entered

576
00:29:58,520 --> 00:30:02,000
Speaker 3: in the scenario, in my mind, I'm now just envisioning

577
00:30:02,160 --> 00:30:05,160
Speaker 3: like an eleven year old girl making prank phone calls

578
00:30:05,160 --> 00:30:06,080
Speaker 3: by herself.

579
00:30:06,680 --> 00:30:08,120
Speaker 1: That's crazy.

580
00:30:08,480 --> 00:30:10,040
Speaker 2: It's a weird endeavor.

581
00:30:11,240 --> 00:30:14,200
Speaker 1: Where is the movie? Is it a serial killer movie?

582
00:30:14,520 --> 00:30:15,760
Speaker 1: Who knows it is?

583
00:30:15,800 --> 00:30:18,360
Speaker 2: And she's a serial killer?

584
00:30:18,520 --> 00:30:21,520
Speaker 3: Yeah, But you know I was terrible at them because

585
00:30:21,560 --> 00:30:25,240
Speaker 3: I was always like it was a mix between Catholic guilt,

586
00:30:25,400 --> 00:30:29,479
Speaker 3: feeling guilty and then just being a bad just laughing,

587
00:30:29,680 --> 00:30:32,920
Speaker 3: just laughing through it. But there was a guy that

588
00:30:32,960 --> 00:30:35,800
Speaker 3: I was friends with. This was mostly like in high

589
00:30:35,840 --> 00:30:38,320
Speaker 3: school really when we were doing this, and his name

590
00:30:38,400 --> 00:30:42,320
Speaker 3: is John McCrae. He's a prank phone call legends.

591
00:30:42,960 --> 00:30:45,000
Speaker 2: Was he in the seven Deadly Monkey?

592
00:30:45,160 --> 00:30:47,960
Speaker 3: He was, No, he was not. He actually did not

593
00:30:48,120 --> 00:30:50,080
Speaker 3: go to my high school. He went to like a

594
00:30:50,200 --> 00:30:53,560
Speaker 3: much nicer high school. But he was like the king

595
00:30:54,240 --> 00:30:55,320
Speaker 3: of prank phone.

596
00:30:55,040 --> 00:30:58,320
Speaker 1: Calls to where I was like, how does he do it?

597
00:30:58,400 --> 00:30:59,040
Speaker 1: Like he had?

598
00:30:59,800 --> 00:31:03,880
Speaker 3: I mean, he would say the most outrageous shit and

599
00:31:03,920 --> 00:31:06,240
Speaker 3: he sounded like an adult, you know how like when

600
00:31:07,040 --> 00:31:09,400
Speaker 3: you're like when somebody is really good at prank phone calls,

601
00:31:09,440 --> 00:31:12,920
Speaker 3: they sound like, you know, the power company person, or

602
00:31:12,960 --> 00:31:14,200
Speaker 3: they said like a lawyer.

603
00:31:14,360 --> 00:31:16,400
Speaker 1: That was his. He did a lot of the lawyer stuff.

604
00:31:16,400 --> 00:31:20,640
Speaker 3: He'd be like, you know, this is John Hamburger calling

605
00:31:20,800 --> 00:31:24,960
Speaker 3: because you know we got the documents for the lawsuit.

606
00:31:25,080 --> 00:31:27,520
Speaker 1: And you know, it's like he was able to god.

607
00:31:28,000 --> 00:31:28,600
Speaker 1: I mean, he was.

608
00:31:28,600 --> 00:31:33,280
Speaker 3: A true connoisseur of the of the craft. And I

609
00:31:33,480 --> 00:31:35,640
Speaker 3: would just like all night long. I mean it was

610
00:31:35,720 --> 00:31:36,040
Speaker 3: kind of thing.

611
00:31:36,040 --> 00:31:38,960
Speaker 1: We're like we would make him call people, like we would.

612
00:31:38,720 --> 00:31:42,200
Speaker 3: Be like, yo, call that guy, you're the king, And

613
00:31:42,240 --> 00:31:43,200
Speaker 3: he was so good at it.

614
00:31:43,320 --> 00:31:47,080
Speaker 2: Instead of doctors without borders. It's like pranking against your will,

615
00:31:48,240 --> 00:31:49,840
Speaker 2: pranking without representation.

616
00:31:51,680 --> 00:31:54,640
Speaker 3: I remember like he would be like on the living

617
00:31:54,720 --> 00:31:58,080
Speaker 3: room phone, and I would like get on like some

618
00:31:58,200 --> 00:31:59,440
Speaker 3: other phone in the house.

619
00:31:59,760 --> 00:32:01,280
Speaker 2: How he did it, And then I'm.

620
00:32:01,160 --> 00:32:04,920
Speaker 3: Sitting there breathing, laughing, and you know, I'm just ruining

621
00:32:04,960 --> 00:32:06,120
Speaker 3: it for him because.

622
00:32:05,880 --> 00:32:11,400
Speaker 1: I'm just like John Hamberg group, you know, and ruined

623
00:32:11,440 --> 00:32:14,240
Speaker 1: it for him. But but I was, I was that.

624
00:32:14,200 --> 00:32:16,560
Speaker 3: Thing where like I always wanted to be good at

625
00:32:16,600 --> 00:32:19,160
Speaker 3: it and I loved people who were good at them.

626
00:32:19,600 --> 00:32:22,160
Speaker 2: Yes, it was a skill. It was a real skill.

627
00:32:22,240 --> 00:32:25,280
Speaker 2: Because that's also I mean, I wish that they taught

628
00:32:25,480 --> 00:32:27,560
Speaker 2: prank phone calls now as a way to get over

629
00:32:28,160 --> 00:32:32,040
Speaker 2: anxiety of public speaking, or you know, if like the

630
00:32:32,080 --> 00:32:37,080
Speaker 2: fucking toast Masters did it, like it really is like

631
00:32:37,160 --> 00:32:41,600
Speaker 2: a pressured scenario that you have to like refarm.

632
00:32:42,840 --> 00:32:45,479
Speaker 3: They are always there's always like back when we were

633
00:32:45,480 --> 00:32:48,720
Speaker 3: in the office, I'd always see the toast Masters group

634
00:32:48,800 --> 00:32:51,200
Speaker 3: at my work, and I was always like I don't

635
00:32:51,240 --> 00:32:53,640
Speaker 3: know about that. But now, if I knew that they

636
00:32:53,680 --> 00:32:56,480
Speaker 3: were teaching prank phone calls to people, I would join

637
00:32:56,560 --> 00:32:59,160
Speaker 3: that shit in five milliseconds.

638
00:32:59,280 --> 00:33:03,600
Speaker 2: I would be an ambassador if they took right phone calls,

639
00:33:03,680 --> 00:33:05,560
Speaker 2: because it like, that is the memory I have that

640
00:33:05,720 --> 00:33:07,719
Speaker 2: is that it was a lot of anxiety and the

641
00:33:07,760 --> 00:33:11,960
Speaker 2: payoff was the laughter because you're doing something so weird

642
00:33:12,080 --> 00:33:17,040
Speaker 2: and wild, and I just I can't say that I

643
00:33:17,080 --> 00:33:19,880
Speaker 2: miss it, because in order to be a pranker, you

644
00:33:19,920 --> 00:33:21,800
Speaker 2: have to be willing to occasionally be a prank ee.

645
00:33:22,440 --> 00:33:23,160
Speaker 1: Yeah, so I'm.

646
00:33:23,040 --> 00:33:24,960
Speaker 2: Glad that they're like I never got any of those

647
00:33:25,000 --> 00:33:25,800
Speaker 2: prank phone calls.

648
00:33:25,880 --> 00:33:27,400
Speaker 3: I was gonna say, I was going to ask you

649
00:33:27,440 --> 00:33:30,440
Speaker 3: the question next, which is did you ever get any

650
00:33:30,480 --> 00:33:31,480
Speaker 3: prank phone calls?

651
00:33:31,880 --> 00:33:33,840
Speaker 2: I did, and it was always from one of my friends,

652
00:33:33,920 --> 00:33:35,800
Speaker 2: so I knew who it was, Like, I'm like, and

653
00:33:35,840 --> 00:33:37,320
Speaker 2: then we would just end up talking about like Beverly

654
00:33:37,400 --> 00:33:39,000
Speaker 2: Hills nine O two Ie no, and I'm like, I

655
00:33:39,040 --> 00:33:40,480
Speaker 2: know what it's you, dummy, what's up?

656
00:33:42,320 --> 00:33:44,760
Speaker 3: I remember we got a prank phone call once, like

657
00:33:44,800 --> 00:33:47,560
Speaker 3: an actual legit prank call at the house.

658
00:33:48,120 --> 00:33:50,440
Speaker 1: This is when we were living in South Carolina.

659
00:33:50,400 --> 00:33:52,840
Speaker 3: And I was like, God, I was probably like seven

660
00:33:52,920 --> 00:33:55,880
Speaker 3: or eight years old, and I remember we got a

661
00:33:55,960 --> 00:33:59,240
Speaker 3: breather and I remember being like eight years old, and

662
00:33:59,320 --> 00:34:01,120
Speaker 3: it was a guy on the phone.

663
00:34:01,800 --> 00:34:03,520
Speaker 1: Could have been a girl, who knows, but it sounds

664
00:34:03,560 --> 00:34:05,480
Speaker 1: like a guy. And it was totally the.

665
00:34:05,520 --> 00:34:08,640
Speaker 3: Like horror movie thing where he's just like, I mean,

666
00:34:08,680 --> 00:34:13,400
Speaker 3: it sounded like no, yeah, And I was like traumatized.

667
00:34:13,640 --> 00:34:16,680
Speaker 3: I was like, oh my god, like this is what

668
00:34:16,760 --> 00:34:21,360
Speaker 3: they talk about on sixty minutes, these evil prank phone calls.

669
00:34:21,680 --> 00:34:24,759
Speaker 3: And I was traumatized by that. So, you know, I

670
00:34:24,800 --> 00:34:28,160
Speaker 3: should have learned my lesson, but I didn't. And I

671
00:34:28,280 --> 00:34:31,600
Speaker 3: was like, yo, I gotta get John and my friends

672
00:34:31,640 --> 00:34:33,960
Speaker 3: to do these prank phone calls because they're funny as shit.

673
00:34:34,120 --> 00:34:36,400
Speaker 2: Right, Sometimes only when you get over trauma is to

674
00:34:36,400 --> 00:34:40,880
Speaker 2: go through it, and to go through it, maybe you

675
00:34:40,880 --> 00:34:42,799
Speaker 2: got to perform a little trauma your own. I don't

676
00:34:42,800 --> 00:34:44,800
Speaker 2: know what I'm saying, but I feel like it's part

677
00:34:44,920 --> 00:34:47,880
Speaker 2: of the healing process and I'm okay with it.

678
00:34:48,880 --> 00:34:49,800
Speaker 1: Well, I'm excited.

679
00:34:49,880 --> 00:34:51,799
Speaker 3: I'm excited to talk about this, not only because it's

680
00:34:51,840 --> 00:34:55,080
Speaker 3: just such a big point of nostalgia, but you know,

681
00:34:55,120 --> 00:34:58,120
Speaker 3: also just because these movies are. I mean, both of

682
00:34:58,160 --> 00:35:01,160
Speaker 3: these movies are basically horror movies, but one is very

683
00:35:02,400 --> 00:35:03,360
Speaker 3: much i would.

684
00:35:03,200 --> 00:35:08,640
Speaker 1: Say, way more scarier than the other. But I also love.

685
00:35:08,520 --> 00:35:12,080
Speaker 3: That there's kind of this, you know, basically a collection

686
00:35:12,239 --> 00:35:15,920
Speaker 3: of prank phone call movies now that have existed from

687
00:35:16,280 --> 00:35:18,880
Speaker 3: you know, obviously like the sixties, at least the sixties

688
00:35:19,040 --> 00:35:21,040
Speaker 3: with one of the movies that we're talking about today,

689
00:35:21,560 --> 00:35:23,680
Speaker 3: you know, and now there's just so much sort of

690
00:35:23,920 --> 00:35:28,520
Speaker 3: film movie legacy behind these like prank phone call movies

691
00:35:28,560 --> 00:35:30,520
Speaker 3: because there's all this stuff now, like the call is

692
00:35:30,520 --> 00:35:32,440
Speaker 3: coming from inside the house. I mean, that's just kind

693
00:35:32,440 --> 00:35:35,320
Speaker 3: of like a thing that people say now. And I'm

694
00:35:35,440 --> 00:35:38,120
Speaker 3: just excited, especially your movie.

695
00:35:38,160 --> 00:35:40,320
Speaker 1: I'm really excited to talk about your movie.

696
00:35:40,600 --> 00:35:42,000
Speaker 2: I your movie.

697
00:35:42,000 --> 00:35:46,840
Speaker 3: It's well, am I going first this week?

698
00:35:47,120 --> 00:35:49,160
Speaker 2: I've been yeah, because I did Gleam in the Cube

699
00:35:49,160 --> 00:35:52,239
Speaker 2: and we talked for like an hour and a half about.

700
00:35:53,600 --> 00:35:56,520
Speaker 1: One of the high points of this podcast.

701
00:35:56,520 --> 00:36:00,040
Speaker 3: I'll have you know, it was completely so fucking I

702
00:36:00,040 --> 00:36:01,200
Speaker 3: want to talk about that movie.

703
00:36:00,960 --> 00:36:04,440
Speaker 2: When when the microphones were pointed at our graves in

704
00:36:04,520 --> 00:36:07,200
Speaker 2: forty years I'm also going to have that episode playing

705
00:36:07,239 --> 00:36:10,240
Speaker 2: on a loop. That will be my Headstone, just that episode,

706
00:36:10,239 --> 00:36:14,319
Speaker 2: and we'll say like daughter, aunt, lover whatever. It'll just

707
00:36:14,320 --> 00:36:17,200
Speaker 2: be like this was the proudest moment of her life.

708
00:36:17,360 --> 00:36:20,600
Speaker 2: She let it. Never laugh so hard, she never thought so.

709
00:36:20,640 --> 00:36:25,479
Speaker 3: Deeply, love thinking deeply about some dumb ass shit.

710
00:36:26,360 --> 00:36:26,879
Speaker 1: Am I right?

711
00:36:28,160 --> 00:36:29,359
Speaker 2: Oh good? All right?

712
00:36:29,520 --> 00:36:32,200
Speaker 3: So my movie this week for the theme of prank

713
00:36:32,200 --> 00:36:35,400
Speaker 3: phone calls is a movie from nineteen sixty five. It

714
00:36:35,480 --> 00:36:38,759
Speaker 3: was directed by one of my all time personal heroes,

715
00:36:39,280 --> 00:36:43,120
Speaker 3: William Castle, and it's called I Saw What You Did.

716
00:36:44,080 --> 00:36:47,920
Speaker 3: Don't answer it. Your name is in this book, it

717
00:36:48,000 --> 00:36:49,040
Speaker 3: could happen to you.

718
00:36:50,520 --> 00:36:54,240
Speaker 1: It starts as a game and there's no end in fright,

719
00:36:54,560 --> 00:36:57,680
Speaker 1: go ahead, close, pick a name, any name.

720
00:37:00,560 --> 00:37:03,640
Speaker 3: I Saw What You Did, and I know who you are.

721
00:37:05,000 --> 00:37:08,600
Speaker 3: You know this movie is the name of a podcast

722
00:37:09,160 --> 00:37:09,640
Speaker 3: I've heard.

723
00:37:09,800 --> 00:37:11,600
Speaker 1: Right off the bat, I should say that.

724
00:37:11,560 --> 00:37:13,520
Speaker 2: The one hosted by Leah Schreiber, right.

725
00:37:13,880 --> 00:37:17,760
Speaker 3: Yeah, and Ellen Cleighorn, I believe, but right out the gate.

726
00:37:18,080 --> 00:37:21,839
Speaker 3: I want to talk about William Castle because I love

727
00:37:21,880 --> 00:37:24,600
Speaker 3: him so much. So. He's best known for directing like

728
00:37:24,640 --> 00:37:30,320
Speaker 3: an entire slew of b movies, mostly from the nineteen

729
00:37:30,360 --> 00:37:33,440
Speaker 3: fifties and sixties. A lot of them are horror movies

730
00:37:33,760 --> 00:37:36,600
Speaker 3: and they were all pretty much promoted with these like

731
00:37:36,840 --> 00:37:41,600
Speaker 3: super fun and funny marketing gimmicks, and he was kind

732
00:37:41,600 --> 00:37:43,279
Speaker 3: of like the originator of this.

733
00:37:43,640 --> 00:37:45,319
Speaker 1: So, for example, he made this.

734
00:37:45,320 --> 00:37:49,040
Speaker 3: Movie in nineteen fifty eight called Macob and when it

735
00:37:49,480 --> 00:37:54,240
Speaker 3: was screening, he took out one thousand dollars life insurance

736
00:37:54,239 --> 00:37:58,240
Speaker 3: policies from Lloyd's of London for the audience in case

737
00:37:58,280 --> 00:38:03,760
Speaker 3: they died of fright during Oh yes, no, speaking of pranks,

738
00:38:03,800 --> 00:38:04,719
Speaker 3: he was a prank king.

739
00:38:05,480 --> 00:38:07,200
Speaker 2: Okay, that is a baller move.

740
00:38:07,520 --> 00:38:11,120
Speaker 3: Yeah, but he also put nurses in the lobby of

741
00:38:11,160 --> 00:38:13,520
Speaker 3: the movie theater and he had hearses outside of.

742
00:38:13,480 --> 00:38:16,640
Speaker 1: The movie theater while it was running. Just like the

743
00:38:16,800 --> 00:38:17,839
Speaker 1: King of gimmicks.

744
00:38:18,320 --> 00:38:20,360
Speaker 3: I mean, he was the guy that was basically like

745
00:38:20,440 --> 00:38:23,680
Speaker 3: he put buzzers in the movie theater seats and would

746
00:38:23,760 --> 00:38:28,160
Speaker 3: fly like skeletons over the crowd during like the scariest

747
00:38:28,200 --> 00:38:31,120
Speaker 3: parts of his movie. And he was the one that

748
00:38:31,200 --> 00:38:34,360
Speaker 3: kind of came up with that stuff like illusion oh,

749
00:38:34,640 --> 00:38:37,560
Speaker 3: which was kind of like a three D type of thing,

750
00:38:38,000 --> 00:38:40,879
Speaker 3: and he was doing like movie souvenirs so you'd get

751
00:38:40,920 --> 00:38:44,719
Speaker 3: like a coin after like one of his films and

752
00:38:44,960 --> 00:38:48,239
Speaker 3: audience participation where you got to like vote on the

753
00:38:48,360 --> 00:38:49,880
Speaker 3: ending that you wanted to see.

754
00:38:50,400 --> 00:38:52,640
Speaker 1: Like truly the funnest ever.

755
00:38:52,760 --> 00:38:56,000
Speaker 2: I love him and light years ahead of his time.

756
00:38:56,160 --> 00:38:58,959
Speaker 3: Yeah, and he's been I mean he's referenced a lot

757
00:38:59,080 --> 00:39:02,440
Speaker 3: with a lot of filmmakers like John Waters, Like obviously

758
00:39:02,480 --> 00:39:04,359
Speaker 3: when he did Polyester that was kind of like an

759
00:39:04,360 --> 00:39:05,760
Speaker 3: homage to William Castle.

760
00:39:06,200 --> 00:39:06,400
Speaker 2: You know.

761
00:39:06,440 --> 00:39:10,120
Speaker 3: Alfred Hitchcock even took some of his ideas and used

762
00:39:10,120 --> 00:39:13,080
Speaker 3: them when he did Psycho, which is actually funny because

763
00:39:13,080 --> 00:39:15,920
Speaker 3: there's kind of this like psycho esque moment in this

764
00:39:15,960 --> 00:39:18,680
Speaker 3: movie that we'll talk about in a second. But he's

765
00:39:18,680 --> 00:39:20,000
Speaker 3: so funny. He's one of my favorite people.

766
00:39:20,040 --> 00:39:23,080
Speaker 1: I just love the pranks, love the tricks, love the gimmicks.

767
00:39:23,160 --> 00:39:24,360
Speaker 1: It's super fun.

768
00:39:24,960 --> 00:39:29,040
Speaker 3: So as you know, I saw what you did. Stars

769
00:39:29,040 --> 00:39:31,520
Speaker 3: the very famous classic.

770
00:39:31,160 --> 00:39:32,760
Speaker 1: Movie star Joan Crawford.

771
00:39:33,320 --> 00:39:35,600
Speaker 3: I just have to say, for the record, she and

772
00:39:35,640 --> 00:39:40,040
Speaker 3: I have the same birthday, so she's basically like my powerstone.

773
00:39:40,080 --> 00:39:41,600
Speaker 1: She's like my source of energy.

774
00:39:41,960 --> 00:39:45,719
Speaker 3: Beautiful, I know, and like I just she She has

775
00:39:45,760 --> 00:39:48,200
Speaker 3: his career that went back to like the nineteen twenties.

776
00:39:48,200 --> 00:39:52,120
Speaker 3: It was legendary, but starting in the early nineteen sixties,

777
00:39:53,239 --> 00:39:56,960
Speaker 3: as she was moving towards middle age, she stopped kind

778
00:39:56,960 --> 00:40:00,239
Speaker 3: of like appearing in a lot of the Roman and

779
00:40:00,360 --> 00:40:02,799
Speaker 3: kind of drama movies that she had always been in

780
00:40:02,800 --> 00:40:07,160
Speaker 3: in her career, and she kind of started making a

781
00:40:07,200 --> 00:40:10,680
Speaker 3: lot of horror movies, a lot of thriller films. And

782
00:40:11,080 --> 00:40:14,880
Speaker 3: it kind of started with this movie called Whatever Happened

783
00:40:14,880 --> 00:40:18,000
Speaker 3: to Baby Jane that came out in nineteen sixty two,

784
00:40:18,520 --> 00:40:19,280
Speaker 3: which most.

785
00:40:19,120 --> 00:40:21,080
Speaker 1: People probably know of by this point.

786
00:40:21,160 --> 00:40:24,640
Speaker 3: I know, Feud has been on television, so most people know,

787
00:40:25,160 --> 00:40:28,360
Speaker 3: But basically it's this movie that was famous for starring

788
00:40:28,400 --> 00:40:32,960
Speaker 3: both Joan Crawford and Betty Davis, who were arguably like

789
00:40:33,040 --> 00:40:38,440
Speaker 3: the two biggest classic Hollywood era actresses, and they were

790
00:40:38,560 --> 00:40:40,520
Speaker 3: at this point in nineteen sixty two, they were looking

791
00:40:40,600 --> 00:40:42,560
Speaker 3: much older and they and you know, they were in

792
00:40:42,600 --> 00:40:45,160
Speaker 3: this movie. They were wearing crazy makeup and clothes and

793
00:40:45,160 --> 00:40:48,759
Speaker 3: they were doing crazy things, and this was kind of like,

794
00:40:49,120 --> 00:40:51,280
Speaker 3: you know what, I think a lot of people remember

795
00:40:51,400 --> 00:40:52,600
Speaker 3: as kind of the beginning of.

796
00:40:52,560 --> 00:40:53,640
Speaker 1: This for Joan Crawford.

797
00:40:53,920 --> 00:40:57,200
Speaker 3: But the reality is is that you know a lot

798
00:40:57,280 --> 00:41:02,600
Speaker 3: of these now kind of old are ex studio era stars.

799
00:41:03,440 --> 00:41:07,880
Speaker 3: We're doing horror movies, especially the women and there's this

800
00:41:08,040 --> 00:41:14,280
Speaker 3: term for it now called grand dom googenol, which like that, Yeah,

801
00:41:14,280 --> 00:41:17,520
Speaker 3: it's very I like it too. I've also heard it

802
00:41:17,640 --> 00:41:21,600
Speaker 3: called ha exploitation, okay.

803
00:41:21,400 --> 00:41:24,760
Speaker 2: And I'm falling so far from grace to have grand

804
00:41:24,880 --> 00:41:28,279
Speaker 2: dom googanol to exploitation. No.

805
00:41:29,719 --> 00:41:33,120
Speaker 3: And also it's I've heard it also called psycho biddy, which.

806
00:41:33,239 --> 00:41:34,000
Speaker 2: That's kind of funny.

807
00:41:34,120 --> 00:41:39,480
Speaker 3: That is funny, right, there's a high mid low of

808
00:41:39,560 --> 00:41:44,960
Speaker 3: the terms, right, But honestly, you know, I think a

809
00:41:45,000 --> 00:41:47,839
Speaker 3: movie like Sunset Boulevard, which I don't know if people

810
00:41:47,880 --> 00:41:49,719
Speaker 3: have seen it was probably one of the first of this,

811
00:41:49,880 --> 00:41:52,680
Speaker 3: and I would call this, I would call granddam googenol,

812
00:41:52,800 --> 00:41:56,239
Speaker 3: exploitation whatever, a micro genre. I mean, it's kind of

813
00:41:56,239 --> 00:41:59,160
Speaker 3: basically like a genre, you know, a small genre within

814
00:41:59,239 --> 00:42:02,600
Speaker 3: a bigger genre. But there were basically like a handful

815
00:42:02,600 --> 00:42:06,319
Speaker 3: of movies made during the sixties seventies, even even now.

816
00:42:06,440 --> 00:42:09,319
Speaker 3: I mean, I think people are talking about movies like

817
00:42:09,719 --> 00:42:12,440
Speaker 3: ma that came out was it last year or the

818
00:42:12,480 --> 00:42:15,680
Speaker 3: year before, But in this era, in the John Crawford era,

819
00:42:16,280 --> 00:42:18,600
Speaker 3: there was a ton of these like old actresses that

820
00:42:18,600 --> 00:42:19,600
Speaker 3: were doing stuff like this.

821
00:42:19,640 --> 00:42:20,160
Speaker 1: So it was like.

822
00:42:20,600 --> 00:42:24,520
Speaker 3: Gloris Wanson Joan and Betty, but also like Tulula Bankhead,

823
00:42:24,960 --> 00:42:30,080
Speaker 3: Olivia de Havilin, Elizabeth Taylor, Ruth Roman, Veronica Lake, and

824
00:42:30,160 --> 00:42:33,400
Speaker 3: of course my all time favorite Shelley Winters.

825
00:42:34,640 --> 00:42:38,840
Speaker 1: You know. But like basically these are middle aged.

826
00:42:39,239 --> 00:42:43,040
Speaker 3: Actresses and actors that were doing these kind of like

827
00:42:43,239 --> 00:42:48,960
Speaker 3: genre movies, so horror, thriller, science fiction, disaster movies, straight

828
00:42:49,000 --> 00:42:54,240
Speaker 3: up exploitation stuff. And in these kind of hag exploitation

829
00:42:54,840 --> 00:42:58,799
Speaker 3: psycho biddy movies, there was typically like a murder that's

830
00:42:58,800 --> 00:43:05,520
Speaker 3: stemming from some kind of like psychotic jealousy, usually some

831
00:43:05,640 --> 00:43:09,760
Speaker 3: kind of familial situation going on with like their kids

832
00:43:09,880 --> 00:43:12,800
Speaker 3: or a husband or whatever. And I mean, I'm telling you,

833
00:43:12,880 --> 00:43:14,880
Speaker 3: in this in this micro genre, there's a lot of

834
00:43:14,920 --> 00:43:19,600
Speaker 3: like psychotic moms, a lot of people trapping their relatives,

835
00:43:21,040 --> 00:43:26,280
Speaker 3: trapping their relatives, killing their boyfriends.

836
00:43:26,320 --> 00:43:27,800
Speaker 1: And it's a lot.

837
00:43:27,560 --> 00:43:31,160
Speaker 3: Of times these older female characters that are you know,

838
00:43:31,280 --> 00:43:35,520
Speaker 3: basically the catalyst for all this, and a lot of

839
00:43:35,560 --> 00:43:38,400
Speaker 3: times they're in the movie in the plot of the

840
00:43:38,440 --> 00:43:43,240
Speaker 3: movie processing their old age, dating like much younger men,

841
00:43:43,880 --> 00:43:48,320
Speaker 3: but just always sort of desperate and psychotic for love

842
00:43:48,520 --> 00:43:51,000
Speaker 3: in some way, either from like family members, you know,

843
00:43:51,120 --> 00:43:54,640
Speaker 3: spouses whatever. And I talked a little bit about this

844
00:43:55,920 --> 00:43:58,600
Speaker 3: during the All the Way Up episode with Leonardo DiCaprio,

845
00:43:59,080 --> 00:44:03,839
Speaker 3: Like what happened to you as an actor in Hollywood.

846
00:44:03,320 --> 00:44:04,040
Speaker 1: As you age?

847
00:44:05,000 --> 00:44:10,719
Speaker 3: But you know, we know Hollywood is like especially merciless

848
00:44:10,719 --> 00:44:14,200
Speaker 3: when it comes to women and when they deem them

849
00:44:14,320 --> 00:44:17,799
Speaker 3: too old, right, and you know, the basic understanding is

850
00:44:17,840 --> 00:44:23,160
Speaker 3: that you're suddenly no longer believable as a romantic lead and.

851
00:44:23,000 --> 00:44:25,120
Speaker 1: Now you're just relegated to the.

852
00:44:25,120 --> 00:44:29,480
Speaker 3: Genre movies, which are always seen as less prestigious. So

853
00:44:29,840 --> 00:44:33,719
Speaker 3: the absurdity of this is essentially what this micro genre is.

854
00:44:33,760 --> 00:44:36,239
Speaker 3: I mean, it's like it's crazy because well, first of all,

855
00:44:36,320 --> 00:44:39,000
Speaker 3: I have to say I I think I prefer grond

856
00:44:39,040 --> 00:44:44,759
Speaker 3: don googenall as the term because honestly, like there's a

857
00:44:44,800 --> 00:44:49,680
Speaker 3: lot of like adding the exploitation suffix to things, and

858
00:44:49,680 --> 00:44:52,080
Speaker 3: that just seems lazy to me. I just yeah, I

859
00:44:52,160 --> 00:44:53,680
Speaker 3: have to say it, like we got to it's like

860
00:44:53,719 --> 00:44:56,080
Speaker 3: when people add palooza to things.

861
00:44:56,120 --> 00:44:58,600
Speaker 1: I'm just like, come on, paople.

862
00:44:58,440 --> 00:45:00,600
Speaker 2: My parents started doing that and then and you're like,

863
00:45:00,640 --> 00:45:02,440
Speaker 2: you don't even know what it is. We don't even

864
00:45:02,480 --> 00:45:04,600
Speaker 2: know what it is, Like nobody knows what it is.

865
00:45:04,640 --> 00:45:05,960
Speaker 2: You can't just add palosa.

866
00:45:06,719 --> 00:45:09,000
Speaker 3: I mean, I'm still I'm at work sometimes and like

867
00:45:09,040 --> 00:45:12,200
Speaker 3: I get an email it's like a marketing palooza, and

868
00:45:12,239 --> 00:45:12,600
Speaker 3: I'm like.

869
00:45:12,640 --> 00:45:15,879
Speaker 1: What does that mean? Like poloosa, what is that?

870
00:45:16,680 --> 00:45:19,440
Speaker 2: You can take hag, you can take the hag of it.

871
00:45:19,600 --> 00:45:22,520
Speaker 2: I'm out, I get to tell you what I'm a hag.

872
00:45:23,239 --> 00:45:26,120
Speaker 1: Well, I'm gonna here's what I'll say about that too.

873
00:45:26,719 --> 00:45:29,719
Speaker 3: Honestly, whatever it's called, I really do feel that these

874
00:45:29,760 --> 00:45:33,640
Speaker 3: are terms of endearment, like, because when it comes down

875
00:45:33,680 --> 00:45:35,799
Speaker 3: to it, this micro genre really.

876
00:45:35,680 --> 00:45:39,719
Speaker 1: Is almost exclusively championed by gay men and women.

877
00:45:39,960 --> 00:45:43,400
Speaker 3: Right because let's face it, we're the only people in

878
00:45:43,440 --> 00:45:47,600
Speaker 3: this world who find value in women being older exactly, okay,

879
00:45:47,640 --> 00:45:51,960
Speaker 3: And we love women who take chances and aren't hiding

880
00:45:52,000 --> 00:45:57,040
Speaker 3: away as they age and are finding a power or

881
00:45:57,080 --> 00:46:02,000
Speaker 3: something in playing these complicated character right, And that's why

882
00:46:02,080 --> 00:46:05,759
Speaker 3: I think that these movies are fascinating, Like they're very entertaining,

883
00:46:05,920 --> 00:46:08,320
Speaker 3: and there are a lot of times they're actually bold

884
00:46:08,400 --> 00:46:09,799
Speaker 3: and daring, like I think what.

885
00:46:09,800 --> 00:46:13,800
Speaker 1: Betty Davis is doing in Baby Jane is amazing.

886
00:46:13,920 --> 00:46:16,880
Speaker 3: Yeah, but they're also fun and a little campy and

887
00:46:16,920 --> 00:46:20,760
Speaker 3: a little weird and that's all great too, Like it's

888
00:46:20,840 --> 00:46:24,479
Speaker 3: a thing, right. And as much as I'm like, yes,

889
00:46:24,560 --> 00:46:26,520
Speaker 3: I get to call myself a hag, you don't get

890
00:46:26,520 --> 00:46:30,040
Speaker 3: to call I do think it is at the end

891
00:46:30,080 --> 00:46:32,879
Speaker 3: of the day, like we love these movies, we love

892
00:46:32,920 --> 00:46:37,840
Speaker 3: these women. We love fucking old ass Shelley Winters trucking

893
00:46:37,880 --> 00:46:41,040
Speaker 3: it in an old movie, still acting, still working.

894
00:46:41,719 --> 00:46:42,160
Speaker 1: It's great.

895
00:46:42,239 --> 00:46:45,040
Speaker 2: I'm gonna start calling this genre the Sdragan Nona.

896
00:46:45,560 --> 00:46:51,360
Speaker 1: Yeah, so much prefer that. Are you fucking kidding? I

897
00:46:51,480 --> 00:46:52,200
Speaker 1: much prefer that.

898
00:46:52,880 --> 00:46:55,680
Speaker 2: Dragan Nonah is like, look, she's trying to tell you.

899
00:46:55,760 --> 00:46:58,120
Speaker 2: She knows what she's talking about. She's got the experience.

900
00:46:58,280 --> 00:46:59,680
Speaker 2: But you go ahead and do what you gotta do.

901
00:47:00,120 --> 00:47:01,560
Speaker 2: You can get away with this murder on your own.

902
00:47:01,680 --> 00:47:03,759
Speaker 2: Think you could trap a family member on your own

903
00:47:04,000 --> 00:47:04,680
Speaker 2: ain't gonna happen.

904
00:47:05,000 --> 00:47:06,840
Speaker 1: I absolutely love that.

905
00:47:06,920 --> 00:47:09,759
Speaker 3: I want somebody to write that into the Wikipedia right now.

906
00:47:10,600 --> 00:47:14,280
Speaker 3: I have friends at high high places. So whoever's whoever's

907
00:47:14,320 --> 00:47:18,359
Speaker 3: writing about film, please please add the Streganona movie. So

908
00:47:18,520 --> 00:47:21,280
Speaker 3: let me let me get back into the actual plot

909
00:47:21,520 --> 00:47:23,600
Speaker 3: of I Saw What You Did. First of all, so

910
00:47:23,840 --> 00:47:26,520
Speaker 3: it stars John Crawford, even though she's she's not in

911
00:47:26,600 --> 00:47:29,759
Speaker 3: it as much as some of the other characters, but

912
00:47:29,960 --> 00:47:33,800
Speaker 3: she's co stars in this movie with John Ireland, who

913
00:47:33,920 --> 00:47:37,440
Speaker 3: plays Steve Merrick. He was a Canadian American actor. They

914
00:47:37,440 --> 00:47:41,200
Speaker 3: actually had a little bit of a flaying at one point,

915
00:47:41,880 --> 00:47:44,239
Speaker 3: so they know each other, if you know what I mean.

916
00:47:44,680 --> 00:47:46,839
Speaker 3: And he's actually been in a ton of movies in

917
00:47:46,880 --> 00:47:51,080
Speaker 3: his career, but for me, he will always be Cherry

918
00:47:51,200 --> 00:47:56,560
Speaker 3: Valance from red River, which is this western with John

919
00:47:56,640 --> 00:48:01,839
Speaker 3: Wayne and Montgomery Cliff and John Ireland character has this

920
00:48:02,000 --> 00:48:04,799
Speaker 3: It's like this legendary scene that he has this like

921
00:48:04,840 --> 00:48:08,680
Speaker 3: really flirty thing going on with the Montgomery Cliff character

922
00:48:08,920 --> 00:48:11,319
Speaker 3: and Red River and it's kind of mind blowing and

923
00:48:11,360 --> 00:48:13,040
Speaker 3: it was talked about in sellly Lloyd closet.

924
00:48:13,120 --> 00:48:16,799
Speaker 1: It's like it's a lot that movie actually rules. I

925
00:48:16,800 --> 00:48:17,520
Speaker 1: love red River.

926
00:48:18,000 --> 00:48:20,680
Speaker 3: But so the plot of I Saw What You Did.

927
00:48:21,040 --> 00:48:23,560
Speaker 3: A brief synopsis is that there's these two teenage girls

928
00:48:23,680 --> 00:48:25,000
Speaker 3: named Libyan Kit and.

929
00:48:25,000 --> 00:48:26,600
Speaker 1: They're hanging out at Libby's house when.

930
00:48:26,440 --> 00:48:29,239
Speaker 3: Her parents areches like out for the night, Like the

931
00:48:29,400 --> 00:48:33,560
Speaker 3: dad I think it's Libby's dad is like, nothing is

932
00:48:33,600 --> 00:48:36,040
Speaker 3: gonna fuck up this night for me. I don't care

933
00:48:36,080 --> 00:48:38,840
Speaker 3: if you guys have to starve. I am leaving.

934
00:48:41,480 --> 00:48:43,920
Speaker 2: And they're not just going down the road. They're going

935
00:48:44,120 --> 00:48:48,560
Speaker 2: to Santa Barbara, like from the boonies of wherever they

936
00:48:48,600 --> 00:48:52,600
Speaker 2: live in, like Bakersfield. Who knows they're going to Santa Barbara.

937
00:48:53,000 --> 00:48:55,839
Speaker 2: And he's like, they're fine, honey, they're fine. She's remember

938
00:48:55,880 --> 00:48:58,319
Speaker 2: two years ago when she made one right decision, let's go.

939
00:48:58,960 --> 00:49:00,520
Speaker 3: It's like the mom is It's like, you know, the

940
00:49:00,560 --> 00:49:03,920
Speaker 3: babysitter called in sick, maybe we shouldn't go, and he's like,

941
00:49:04,080 --> 00:49:07,480
Speaker 3: fuck that, we went out. As far as we know,

942
00:49:07,600 --> 00:49:11,399
Speaker 3: they are orphans. There's a lot of scary older white

943
00:49:11,400 --> 00:49:13,160
Speaker 3: guys in this movie. I have to say, like a

944
00:49:13,200 --> 00:49:17,880
Speaker 3: lot of scary does so basically like it's Libby and

945
00:49:18,000 --> 00:49:21,279
Speaker 3: Kid and then like Libby's little sister, very precocious.

946
00:49:21,520 --> 00:49:24,480
Speaker 2: At one point, she says like they're taking her temperature

947
00:49:24,480 --> 00:49:28,080
Speaker 2: because she's just getting over a cold, and she keeps saying, look,

948
00:49:28,120 --> 00:49:31,000
Speaker 2: I'm normal, like to indicate that her temperature is normal.

949
00:49:31,040 --> 00:49:33,040
Speaker 2: She's like, I'm normal, I'm normal, and then she proceeds

950
00:49:33,080 --> 00:49:34,839
Speaker 2: to do nothing normal for the rest of the movie.

951
00:49:36,120 --> 00:49:37,520
Speaker 2: She's such a little weirdo.

952
00:49:38,440 --> 00:49:40,879
Speaker 3: This movie goes from a zero to one hundred real

953
00:49:40,960 --> 00:49:44,359
Speaker 3: quick when it comes to these kids, because essentially they

954
00:49:44,560 --> 00:49:46,279
Speaker 3: the minute the parents are gone, they start going through

955
00:49:46,280 --> 00:49:48,760
Speaker 3: the phone book and they're just pranking people at random,

956
00:49:48,800 --> 00:49:52,440
Speaker 3: and honestly, it is not your grandmother's era of like

957
00:49:52,600 --> 00:49:56,160
Speaker 3: is your refrigerator running? Like the first phone call that

958
00:49:56,200 --> 00:49:59,120
Speaker 3: they make, one of the girls pranks a house where

959
00:49:59,120 --> 00:50:01,520
Speaker 3: she pretends to be this guy's mistress.

960
00:50:03,680 --> 00:50:05,160
Speaker 1: Like I'm like, what the fuck?

961
00:50:05,880 --> 00:50:10,000
Speaker 2: They go for the jug? They go for the jug.

962
00:50:10,520 --> 00:50:13,120
Speaker 3: I mean the opening scene of this, like the opening sequence,

963
00:50:13,280 --> 00:50:15,000
Speaker 3: like the title sequence of this movie, You're like, oh,

964
00:50:15,000 --> 00:50:18,440
Speaker 3: this is so cute, this very sixties teen movie.

965
00:50:18,120 --> 00:50:19,640
Speaker 1: Very gidgety or whatever.

966
00:50:19,760 --> 00:50:22,040
Speaker 3: But then it just goes from that to this where

967
00:50:22,040 --> 00:50:27,319
Speaker 3: it's like, Hi, I'm so desperate to talk to you,

968
00:50:27,360 --> 00:50:28,359
Speaker 3: and like I'm a sitting here a girl.

969
00:50:28,400 --> 00:50:30,640
Speaker 1: There's like a seven year old in this room right now?

970
00:50:30,680 --> 00:50:31,440
Speaker 1: What is going on?

971
00:50:31,880 --> 00:50:34,239
Speaker 2: And she's she's like their secretary. She's going through the

972
00:50:34,239 --> 00:50:36,520
Speaker 2: phone book and picking out the next number. She's ready

973
00:50:36,520 --> 00:50:36,799
Speaker 2: to go.

974
00:50:38,320 --> 00:50:41,120
Speaker 3: It's like this is nuts, and you know, and then

975
00:50:41,120 --> 00:50:44,640
Speaker 3: they're just like calling certain people and they're saying to people, they're.

976
00:50:44,480 --> 00:50:46,080
Speaker 1: Just like I thow what you did?

977
00:50:46,719 --> 00:50:49,239
Speaker 3: And I know you are. And the funny thing is

978
00:50:49,239 --> 00:50:52,160
Speaker 3: is that most people that they call when they're doing this,

979
00:50:52,239 --> 00:50:52,759
Speaker 3: they're just.

980
00:50:52,680 --> 00:50:55,560
Speaker 2: Like fuck you and they just like hang up like.

981
00:50:55,560 --> 00:50:59,840
Speaker 3: It's not a big deal, right, But of course the

982
00:51:00,200 --> 00:51:04,360
Speaker 3: fucked with the wrong guy and they call Steve Merrick

983
00:51:04,680 --> 00:51:06,680
Speaker 3: that they just find in the phone book a Steve

984
00:51:06,800 --> 00:51:09,360
Speaker 3: Merrick and his girlfriend or.

985
00:51:09,360 --> 00:51:11,480
Speaker 1: Wife or somebody answers the phone and while.

986
00:51:11,320 --> 00:51:14,880
Speaker 3: They're waiting because they've they've said hello, can we speak

987
00:51:14,920 --> 00:51:18,120
Speaker 3: to Steve? And the girlfriend's like who the fuck and

988
00:51:18,160 --> 00:51:21,359
Speaker 3: then goes into the bathroom to get Steve as he's

989
00:51:21,400 --> 00:51:26,120
Speaker 3: taking a shower, and then he decides to murder his

990
00:51:26,400 --> 00:51:31,560
Speaker 3: girlfriend slash wife in the shower and throws her through

991
00:51:31,960 --> 00:51:32,759
Speaker 3: the shower door.

992
00:51:33,400 --> 00:51:35,960
Speaker 2: I mean, that was I don't like being interrupted in

993
00:51:36,000 --> 00:51:37,920
Speaker 2: the bathroom. That was an escalation.

994
00:51:39,680 --> 00:51:43,719
Speaker 3: I was like Gesus Christ and you know, speaking of

995
00:51:43,760 --> 00:51:46,000
Speaker 3: the Psycho moment, I was like, this is very psycho

996
00:51:46,120 --> 00:51:47,840
Speaker 3: like there's it's in black and white.

997
00:51:47,880 --> 00:51:49,200
Speaker 1: It's like, you know, the.

998
00:51:49,360 --> 00:51:52,040
Speaker 3: Arm movements, you know, is very violent scene in Psycho

999
00:51:52,120 --> 00:51:53,879
Speaker 3: with gently you know, it was that thing.

1000
00:51:53,960 --> 00:51:55,320
Speaker 1: We're like, oh, well.

1001
00:51:55,520 --> 00:51:59,960
Speaker 3: It's funny because basically Alfred Hitchcock borrowed from William care

1002
00:52:00,440 --> 00:52:03,840
Speaker 3: and I guess now William Castle is paying him back

1003
00:52:04,080 --> 00:52:04,520
Speaker 3: for like.

1004
00:52:04,560 --> 00:52:06,879
Speaker 1: Thank you for honoring me, I will now honor you.

1005
00:52:07,400 --> 00:52:09,920
Speaker 1: I don't know. I just was like, okay, so this

1006
00:52:10,000 --> 00:52:11,600
Speaker 1: is weird. Here's the craziest part.

1007
00:52:11,640 --> 00:52:13,440
Speaker 3: So you're like, oh my god, this guy murdered just

1008
00:52:13,880 --> 00:52:15,920
Speaker 3: randomly did it? But then you know, it gives you

1009
00:52:15,960 --> 00:52:18,160
Speaker 3: a little bit more after the fact because it turns

1010
00:52:18,160 --> 00:52:20,279
Speaker 3: out she was gonna leave him because he's like a

1011
00:52:20,440 --> 00:52:24,120
Speaker 3: serial philanderer. And this is where Joan Crawford comes in,

1012
00:52:24,160 --> 00:52:26,640
Speaker 3: because apparently she's his neighbor. And she walks in like

1013
00:52:26,719 --> 00:52:30,960
Speaker 3: right after this happens, this grisly fucking murder happens, and

1014
00:52:31,000 --> 00:52:33,920
Speaker 3: she's just sort of like, what's up, Like I love you,

1015
00:52:34,120 --> 00:52:36,040
Speaker 3: Like let's run away together.

1016
00:52:36,760 --> 00:52:41,080
Speaker 2: I put on my biggest statement necklace. Like her statement

1017
00:52:41,160 --> 00:52:45,040
Speaker 2: necklace is like power cords hanging around her neck.

1018
00:52:46,200 --> 00:52:49,920
Speaker 3: I was like, cover that chest, just cover it with

1019
00:52:50,080 --> 00:52:53,839
Speaker 3: bejeweled goodness. And now here we got another instance though

1020
00:52:53,880 --> 00:52:57,239
Speaker 3: this moment, we have another instance of the move of

1021
00:52:57,320 --> 00:53:01,080
Speaker 3: the guy kissing somebody to avoid or knowing what he's

1022
00:53:01,200 --> 00:53:01,440
Speaker 3: up to.

1023
00:53:02,280 --> 00:53:04,439
Speaker 1: The old shyster trick.

1024
00:53:04,600 --> 00:53:07,960
Speaker 3: I fucking hate because now he has a dead body

1025
00:53:07,960 --> 00:53:08,400
Speaker 3: to hide.

1026
00:53:08,520 --> 00:53:09,520
Speaker 1: He just killed somebody.

1027
00:53:09,760 --> 00:53:11,920
Speaker 3: The funny thing is is that so this all happens,

1028
00:53:11,920 --> 00:53:13,719
Speaker 3: and then the girls call him back and is basically like,

1029
00:53:13,719 --> 00:53:15,200
Speaker 3: I saw much you did and I know who you are.

1030
00:53:15,520 --> 00:53:18,960
Speaker 3: And of course now Steve Merrick has killed somebody, so

1031
00:53:19,200 --> 00:53:23,680
Speaker 3: that dumb phrase that they pranked somebody with suddenly has

1032
00:53:23,800 --> 00:53:25,080
Speaker 3: higher stakes.

1033
00:53:25,000 --> 00:53:27,600
Speaker 1: Than when they uttered it earlier in the film.

1034
00:53:28,000 --> 00:53:30,200
Speaker 3: And this is when it goes to zero to one

1035
00:53:30,280 --> 00:53:33,880
Speaker 3: hundred because now they've hung up with Steve Merrick and

1036
00:53:33,880 --> 00:53:37,000
Speaker 3: they're fantasizing about him being some dreamy hunk, and they

1037
00:53:37,000 --> 00:53:41,040
Speaker 3: starts scheming to meet this guy. So they steal their parents'

1038
00:53:41,040 --> 00:53:45,320
Speaker 3: car with the little girl. They go to his house

1039
00:53:46,239 --> 00:53:48,200
Speaker 3: and they're like, oh my god, I can't wait to

1040
00:53:48,239 --> 00:53:50,680
Speaker 3: meet Steve. Where I'm like, where is this coming from?

1041
00:53:50,719 --> 00:53:53,640
Speaker 3: Like these girls are horny for Steve Errick.

1042
00:53:53,960 --> 00:53:56,080
Speaker 2: They're like, I just have to see him, and I'm

1043
00:53:56,080 --> 00:54:02,319
Speaker 2: like why let it go, Like don't you go? He

1044
00:54:02,360 --> 00:54:05,439
Speaker 2: actually sounds like a fucking serial killer. Let this one go.

1045
00:54:05,960 --> 00:54:08,759
Speaker 3: I thought one of the rules of praying phone calls

1046
00:54:08,880 --> 00:54:11,000
Speaker 3: was that you don't like follow up like you don't

1047
00:54:11,000 --> 00:54:13,920
Speaker 3: go to the second location, Like, don't go with Steve

1048
00:54:14,000 --> 00:54:17,480
Speaker 3: Merrick to a second location, like come on, and like,

1049
00:54:18,280 --> 00:54:21,279
Speaker 3: of course, when they show up, Joan Crawford, who is

1050
00:54:21,560 --> 00:54:25,440
Speaker 3: frantic in trying to, you know, receive the love of

1051
00:54:25,560 --> 00:54:29,799
Speaker 3: this murderer, is like, get away from my man, and

1052
00:54:29,840 --> 00:54:33,040
Speaker 3: she scares them away and she steals the registration card

1053
00:54:33,120 --> 00:54:35,680
Speaker 3: from the mom from the parents car and.

1054
00:54:35,640 --> 00:54:37,960
Speaker 1: Then basically goes back into.

1055
00:54:37,680 --> 00:54:41,279
Speaker 3: Steve's elson is like, by the way, bitch, I know

1056
00:54:41,640 --> 00:54:46,000
Speaker 3: about the murders and infidelities, and you better marry me

1057
00:54:46,840 --> 00:54:52,239
Speaker 3: or else, like blackmails him into marrying her, and it's

1058
00:54:52,280 --> 00:54:53,520
Speaker 3: like don't you see why I have to do this?

1059
00:54:53,600 --> 00:54:59,680
Speaker 3: And I'm like, damn, this psycho bitty is really psycho.

1060
00:55:00,680 --> 00:55:03,960
Speaker 2: And this is why we named our podcast after this film.

1061
00:55:04,719 --> 00:55:07,719
Speaker 3: Yeah, I won't even get into that, like let's not

1062
00:55:07,880 --> 00:55:09,000
Speaker 3: read too much into that.

1063
00:55:09,280 --> 00:55:11,120
Speaker 1: But it's like, you know, he's so here.

1064
00:55:11,120 --> 00:55:13,880
Speaker 3: What is like the scenario of like here's a guy

1065
00:55:13,920 --> 00:55:16,600
Speaker 3: who's murdering women left and right now these like two

1066
00:55:17,000 --> 00:55:19,920
Speaker 3: three young girls are involved and it all stems from

1067
00:55:19,960 --> 00:55:23,280
Speaker 3: a fucking prank phone call night where they were left

1068
00:55:23,320 --> 00:55:27,880
Speaker 3: alone when the babysitter called in sick, and it's just

1069
00:55:27,920 --> 00:55:29,960
Speaker 3: sort of like. The funny thing is that I'm not

1070
00:55:30,000 --> 00:55:32,160
Speaker 3: going to ruin the ending, but I swear to god,

1071
00:55:32,239 --> 00:55:35,160
Speaker 3: this movie is way darker than what you think it's

1072
00:55:35,200 --> 00:55:37,000
Speaker 3: gonna be in the first like fifteen minutes.

1073
00:55:37,640 --> 00:55:40,240
Speaker 1: And I have to say that I won't give away.

1074
00:55:40,000 --> 00:55:43,080
Speaker 3: The ending, but the ending to this movie is straight

1075
00:55:43,200 --> 00:55:43,960
Speaker 3: up bananas.

1076
00:55:44,480 --> 00:55:45,279
Speaker 1: I just have to say.

1077
00:55:45,360 --> 00:55:50,040
Speaker 3: It's just so bananas in the in the most sixties

1078
00:55:50,880 --> 00:55:55,840
Speaker 3: bullshit like awesome horror movie way ever, It's such a

1079
00:55:55,880 --> 00:56:00,279
Speaker 3: fucking insane movie and I love it.

1080
00:56:00,680 --> 00:56:05,640
Speaker 2: I love the soundtrack. The soundtrack adds to the weirdness

1081
00:56:05,719 --> 00:56:08,440
Speaker 2: of all those twists and turns because you're like, oh,

1082
00:56:08,480 --> 00:56:13,200
Speaker 2: a peppy song. They're having fun. What what it's like?

1083
00:56:13,360 --> 00:56:16,479
Speaker 3: This is an Austin Powers movie. It's just a big joke.

1084
00:56:16,520 --> 00:56:19,400
Speaker 3: And then it's like, whoa, holy shit.

1085
00:56:20,280 --> 00:56:23,040
Speaker 2: Oh good. I love it. I love this movie. I

1086
00:56:23,080 --> 00:56:24,799
Speaker 2: thought this was such a good choice for prank phone

1087
00:56:24,800 --> 00:56:27,880
Speaker 2: calls because it also shows a different time of the

1088
00:56:27,880 --> 00:56:31,000
Speaker 2: prank phone call, where like her her parents were frantic, like, well,

1089
00:56:31,000 --> 00:56:32,880
Speaker 2: the mom was I won't say the dad was. The

1090
00:56:32,960 --> 00:56:35,120
Speaker 2: mom was like I have been trying to call them

1091
00:56:35,160 --> 00:56:37,920
Speaker 2: for three hours and the phone is busy and now

1092
00:56:37,960 --> 00:56:39,879
Speaker 2: I'm calling and no one's answering because that was when

1093
00:56:39,880 --> 00:56:42,120
Speaker 2: they had they were doing prank phone calls for hours,

1094
00:56:42,320 --> 00:56:44,520
Speaker 2: but then they left to go see Steve Merrick and

1095
00:56:44,520 --> 00:56:46,799
Speaker 2: she's like something is clearly up and the dad's like, nope,

1096
00:56:46,840 --> 00:56:50,360
Speaker 2: let's back to the party. He's like, I'll call the

1097
00:56:50,400 --> 00:56:52,799
Speaker 2: cops and like have them swing around and check and

1098
00:56:52,840 --> 00:56:53,120
Speaker 2: it's all.

1099
00:56:53,239 --> 00:56:55,359
Speaker 3: And a lot of these prank phone call movies, too,

1100
00:56:55,440 --> 00:56:57,439
Speaker 3: is a lot about the cops, which you.

1101
00:56:57,360 --> 00:56:59,560
Speaker 1: Know, that's that's kind of a thing.

1102
00:56:59,640 --> 00:57:03,280
Speaker 3: Maybe a trope of prank phonecal movies is like who's

1103
00:57:03,320 --> 00:57:05,880
Speaker 3: the cop that's gonna like tap the line or like

1104
00:57:06,040 --> 00:57:08,880
Speaker 3: come and the you know, come and save them. It's crazy,

1105
00:57:09,000 --> 00:57:12,359
Speaker 3: but it's it's funny because it's like an era where

1106
00:57:12,360 --> 00:57:14,240
Speaker 3: there was only five digit phone numbers.

1107
00:57:14,600 --> 00:57:17,120
Speaker 1: Did you notice that where I was, Oh my god,

1108
00:57:17,160 --> 00:57:18,040
Speaker 1: that is wild.

1109
00:57:18,440 --> 00:57:20,240
Speaker 2: Have you ever seen those numbers where it's like my

1110
00:57:20,320 --> 00:57:23,440
Speaker 2: number is bk L And I'm like, wait, what yeh,

1111
00:57:23,480 --> 00:57:26,640
Speaker 2: where are these letters coming from? B k L O five?

1112
00:57:26,680 --> 00:57:29,040
Speaker 2: And I'm like, huh. Like sometimes I watch old movies,

1113
00:57:29,080 --> 00:57:31,720
Speaker 2: I'm like it's very jarry, I know, and.

1114
00:57:33,280 --> 00:57:35,160
Speaker 1: I swear they're probably on rotary phones.

1115
00:57:35,200 --> 00:57:37,240
Speaker 3: I'm like, yo, the stuff you had to do back

1116
00:57:37,240 --> 00:57:39,520
Speaker 3: in the sixties to make prank phone calls.

1117
00:57:39,520 --> 00:57:41,560
Speaker 2: It was a lot, a lot of cardio went into

1118
00:57:41,600 --> 00:57:46,080
Speaker 2: those calls. The phone doll was like the wheel on

1119
00:57:46,560 --> 00:57:49,880
Speaker 2: a wheel of fortune. They had to like spin it

1120
00:57:49,920 --> 00:57:50,560
Speaker 2: with all their might.

1121
00:57:52,000 --> 00:57:55,120
Speaker 3: Yeah, and I will say, for the record, I've heard

1122
00:57:55,600 --> 00:57:58,760
Speaker 3: the gimmick the movie gimmick for this movie they let

1123
00:57:58,920 --> 00:58:01,800
Speaker 3: William Castle was originally going to hand out like giant

1124
00:58:02,040 --> 00:58:05,840
Speaker 3: plastic telephones to everybody, but apparently like Liberty Bell or

1125
00:58:05,880 --> 00:58:09,120
Speaker 3: whoever was that owned the phone company back then, was like, no,

1126
00:58:09,480 --> 00:58:12,480
Speaker 3: don't attach ar, don't sully our name with this bullshit,

1127
00:58:12,680 --> 00:58:14,320
Speaker 3: like do something else.

1128
00:58:14,400 --> 00:58:15,600
Speaker 1: We don't want to deal with it.

1129
00:58:15,680 --> 00:58:17,800
Speaker 3: And I think, I don't know what it ended up happening,

1130
00:58:17,840 --> 00:58:20,200
Speaker 3: But yeah, it's so funny.

1131
00:58:20,280 --> 00:58:22,880
Speaker 2: This is a wonderful choice for this film. I really

1132
00:58:22,960 --> 00:58:25,240
Speaker 2: liked it because it does go bonkers. And I think

1133
00:58:25,360 --> 00:58:27,440
Speaker 2: we'll talk about this too with with my movie. But

1134
00:58:28,280 --> 00:58:32,560
Speaker 2: these movies are usually based around the concept of like

1135
00:58:32,720 --> 00:58:35,840
Speaker 2: teen girls in peril. Yes, you know, so, it's very

1136
00:58:35,920 --> 00:58:39,800
Speaker 2: much like the that angle is played here in a

1137
00:58:39,920 --> 00:58:41,960
Speaker 2: very interesting way because they're you know, they're kind of

1138
00:58:42,040 --> 00:58:44,800
Speaker 2: tag team in it, and they're making bad choices, but

1139
00:58:44,840 --> 00:58:46,200
Speaker 2: they doesn't mean they should be killed.

1140
00:58:47,120 --> 00:58:50,120
Speaker 3: Yeah, there's a moment where I think, are these girls

1141
00:58:50,200 --> 00:58:51,440
Speaker 3: just simply too horny?

1142
00:58:52,240 --> 00:58:52,439
Speaker 2: Two?

1143
00:58:52,760 --> 00:58:54,400
Speaker 1: I mean they need to be told not to be

1144
00:58:54,440 --> 00:58:55,520
Speaker 1: in his horny? Am I right?

1145
00:58:55,560 --> 00:58:58,200
Speaker 3: Like they're like, oh my god, his voice sounds so

1146
00:58:58,560 --> 00:59:01,800
Speaker 3: sexy and I love it, And I'm like, uh, a girl,

1147
00:59:02,000 --> 00:59:04,960
Speaker 3: like not in this era in nineteen sixty five, you

1148
00:59:05,040 --> 00:59:05,600
Speaker 3: can't do that.

1149
00:59:05,760 --> 00:59:08,480
Speaker 2: Now. He just killed four people in one night. Like

1150
00:59:08,520 --> 00:59:11,280
Speaker 2: you can't be like does a horn You gotta have

1151
00:59:11,320 --> 00:59:13,360
Speaker 2: a different outlet, like have someone to kiss or make

1152
00:59:13,400 --> 00:59:15,920
Speaker 2: out with or dry hump or something to get this

1153
00:59:16,080 --> 00:59:18,000
Speaker 2: out of your systems and you don't go chasing down

1154
00:59:18,000 --> 00:59:18,560
Speaker 2: a murderer.

1155
00:59:19,000 --> 00:59:19,280
Speaker 1: Yeah.

1156
00:59:19,320 --> 00:59:21,480
Speaker 3: I mean, honestly, the first thing I thought of was like,

1157
00:59:21,880 --> 00:59:24,520
Speaker 3: this is the Internet, like where people are like, oh

1158
00:59:24,560 --> 00:59:28,320
Speaker 3: my god, he's so hot. He sounds really muscular, like

1159
00:59:28,880 --> 00:59:31,480
Speaker 3: his aim a chat was really muscular.

1160
00:59:31,560 --> 00:59:32,320
Speaker 1: And I have to be.

1161
00:59:34,200 --> 00:59:37,880
Speaker 3: Just be careful whether you're making pray phone calls or

1162
00:59:37,920 --> 00:59:40,720
Speaker 3: you're on AOL instant messenger does that even exist?

1163
00:59:40,800 --> 00:59:41,400
Speaker 1: I don't even know.

1164
00:59:44,480 --> 00:59:47,600
Speaker 2: Be careful on g chat be careful across the board

1165
00:59:47,640 --> 00:59:49,920
Speaker 2: because these dudes are out there and they're getting away

1166
00:59:50,040 --> 00:59:51,840
Speaker 2: with it. Yeah.

1167
00:59:51,880 --> 00:59:55,520
Speaker 1: Well, uh, I'm glad you liked the movie. I love that.

1168
00:59:55,800 --> 00:59:59,120
Speaker 3: You know, we did name our podcast because of this film.

1169
00:59:59,360 --> 01:00:03,200
Speaker 3: I won't say there's a thematic connection, but we love

1170
01:00:03,280 --> 01:00:04,000
Speaker 3: Joan Crawford.

1171
01:00:04,640 --> 01:00:06,520
Speaker 1: I personally, like I said, we have the.

1172
01:00:06,520 --> 01:00:09,800
Speaker 3: Same birthday, so I feel her power, especially in the

1173
01:00:09,880 --> 01:00:13,400
Speaker 3: statement necklace Desperate.

1174
01:00:12,960 --> 01:00:18,200
Speaker 1: For Love Era. We wish to let you I'm ready

1175
01:00:18,440 --> 01:00:19,160
Speaker 1: for your film.

1176
01:00:19,440 --> 01:00:23,120
Speaker 2: My movie for our theme of prank Phone Calls was

1177
01:00:23,160 --> 01:00:27,520
Speaker 2: released in nineteen seventy nine, directed by Fred Walton, and

1178
01:00:27,560 --> 01:00:32,360
Speaker 2: it is when a stranger calls.

1179
01:00:32,880 --> 01:00:35,680
Speaker 1: Jill, we priced a call. It's coming from in China house.

1180
01:00:36,080 --> 01:00:37,160
Speaker 1: Just out of that house.

1181
01:00:37,240 --> 01:00:40,080
Speaker 2: Every babysitter's knife manage beclun to or.

1182
01:00:41,880 --> 01:00:43,160
Speaker 3: When a stranger call.

1183
01:00:43,880 --> 01:00:47,520
Speaker 2: So I'm gonna give you a brief synopsis of this film,

1184
01:00:48,840 --> 01:00:52,120
Speaker 2: for which many many, many other films after it have

1185
01:00:52,320 --> 01:00:56,480
Speaker 2: taken things from it and built tropes about. But the

1186
01:00:56,640 --> 01:01:01,840
Speaker 2: overall synopsis of this film is a babysitter named Jill

1187
01:01:01,920 --> 01:01:07,200
Speaker 2: Johnson goes to a home to babysit when the parents

1188
01:01:07,240 --> 01:01:11,680
Speaker 2: go out to a restaurant. She starts getting phone calls

1189
01:01:11,840 --> 01:01:17,240
Speaker 2: immediately from some man who keeps saying five creepy words,

1190
01:01:17,920 --> 01:01:21,480
Speaker 2: have you checked the children? And then by the time

1191
01:01:22,440 --> 01:01:25,400
Speaker 2: she gets to a frenzied like call, the cops, call

1192
01:01:25,480 --> 01:01:29,040
Speaker 2: the restaurant, call the parents. She is freaked out so

1193
01:01:29,320 --> 01:01:32,640
Speaker 2: much the cops call her back and are like, we

1194
01:01:32,760 --> 01:01:35,160
Speaker 2: trace the call and it's coming from inside the house.

1195
01:01:35,840 --> 01:01:40,080
Speaker 2: She panics, runs to the front door, sees a figure

1196
01:01:40,080 --> 01:01:43,320
Speaker 2: at the top of the steps, opens the front door

1197
01:01:43,840 --> 01:01:47,200
Speaker 2: Charles Dirning's face, which is like, you do not want

1198
01:01:47,200 --> 01:01:49,960
Speaker 2: to see that face when you open a door, whether

1199
01:01:50,040 --> 01:01:52,840
Speaker 2: you're panicked. That shit.

1200
01:01:53,200 --> 01:01:56,480
Speaker 3: I've seen this movie like five times. Every time that

1201
01:01:56,560 --> 01:01:57,880
Speaker 3: shit scares the shit out of me.

1202
01:01:57,960 --> 01:01:58,840
Speaker 1: I'm like, I mean.

1203
01:02:00,680 --> 01:02:03,160
Speaker 2: That man, I don't ever want to if he ever

1204
01:02:03,320 --> 01:02:05,440
Speaker 2: punished children, all he would have to do is look

1205
01:02:05,480 --> 01:02:08,080
Speaker 2: at them. He has that kind of face. Charles Dirting

1206
01:02:08,080 --> 01:02:12,320
Speaker 2: has had a remarkable career, incredible actor, but he has

1207
01:02:12,400 --> 01:02:15,240
Speaker 2: one of those faces that's like, do not and don't

1208
01:02:15,240 --> 01:02:20,720
Speaker 2: even think about it. His resting face is nope. So

1209
01:02:21,560 --> 01:02:24,680
Speaker 2: that's the first The first twenty minutes of this film

1210
01:02:24,920 --> 01:02:28,560
Speaker 2: are legendary for this reason, because this is this all

1211
01:02:28,640 --> 01:02:31,280
Speaker 2: happens in the first twenty minutes where the action is built,

1212
01:02:31,400 --> 01:02:34,920
Speaker 2: the narrative is built, and essentially what has happened is

1213
01:02:35,000 --> 01:02:38,080
Speaker 2: that this random English guy he used to be a

1214
01:02:38,160 --> 01:02:42,840
Speaker 2: merchant marine, washes up on the shores of la and

1215
01:02:43,960 --> 01:02:45,880
Speaker 2: just comes to this house and kills these two kids.

1216
01:02:45,960 --> 01:02:48,520
Speaker 2: He rips them apart with his bare hands. His name

1217
01:02:48,640 --> 01:02:52,400
Speaker 2: is a Kurt Duncan. So Kurt Duncan's just out here

1218
01:02:52,520 --> 01:02:56,320
Speaker 2: killing people for literally no reason. So at the end

1219
01:02:56,440 --> 01:02:59,720
Speaker 2: of that scene he is sent to an assane asylum

1220
01:03:00,440 --> 01:03:03,120
Speaker 2: instead of going to jail, and then he escapes and

1221
01:03:03,200 --> 01:03:05,600
Speaker 2: the rest of the movie takes place seven years later

1222
01:03:06,120 --> 01:03:10,520
Speaker 2: and is essentially about his escape. Tony Beckley, who plays

1223
01:03:10,840 --> 01:03:13,960
Speaker 2: Kurt Duncan, died like six months after this was filmed,

1224
01:03:14,560 --> 01:03:17,920
Speaker 2: which is kind of sad. And then Jill Johnson is

1225
01:03:17,960 --> 01:03:22,080
Speaker 2: played by Carol Caine, who is another actress who's had

1226
01:03:22,080 --> 01:03:23,200
Speaker 2: a remarkable career.

1227
01:03:23,760 --> 01:03:25,960
Speaker 1: So many good people in this movie, man.

1228
01:03:26,000 --> 01:03:28,440
Speaker 2: So many And this was also it was written by

1229
01:03:28,480 --> 01:03:32,000
Speaker 2: Fred Walton and Steve Feck. It was based on a

1230
01:03:32,160 --> 01:03:34,520
Speaker 2: short film that they did call The Sitter, which is

1231
01:03:34,560 --> 01:03:36,840
Speaker 2: why the first twenty minutes feels so compact, because I

1232
01:03:36,920 --> 01:03:39,880
Speaker 2: think that was the basis of their short film. But

1233
01:03:39,960 --> 01:03:42,080
Speaker 2: there are so many things I want to talk about

1234
01:03:42,120 --> 01:03:44,560
Speaker 2: with regards to this, because, first of all, is this

1235
01:03:44,720 --> 01:03:47,440
Speaker 2: really a prank call movie? If the prank is murder?

1236
01:03:49,400 --> 01:03:50,800
Speaker 2: Like I fought with that a little bit.

1237
01:03:52,640 --> 01:03:55,560
Speaker 3: I mean it is the prank phone call can exist

1238
01:03:56,280 --> 01:03:58,880
Speaker 3: with or without the murder when it comes down to it, right,

1239
01:03:59,200 --> 01:04:02,200
Speaker 3: So like the fact that he is calling the house

1240
01:04:03,280 --> 01:04:07,200
Speaker 3: is independent of whether or not he actually follows through

1241
01:04:07,680 --> 01:04:10,120
Speaker 3: with the bullshit and his prank phone call.

1242
01:04:10,280 --> 01:04:13,560
Speaker 2: Right, this is real, you know, because he does at

1243
01:04:13,600 --> 01:04:14,040
Speaker 2: one point.

1244
01:04:14,640 --> 01:04:18,240
Speaker 1: But I understand it's it's it's a semantic issue.

1245
01:04:18,360 --> 01:04:20,400
Speaker 2: Yes, it is a semantics thing. But I'm saying that's

1246
01:04:20,400 --> 01:04:23,320
Speaker 2: a prank call because he pranked her to the point

1247
01:04:23,320 --> 01:04:28,280
Speaker 2: where he ruined her fucking life. The cultivate prank. That

1248
01:04:28,480 --> 01:04:33,120
Speaker 2: is the ultimate prank to me. But what's what's wild

1249
01:04:33,320 --> 01:04:36,000
Speaker 2: is that, like again, the five words that are so

1250
01:04:36,200 --> 01:04:40,560
Speaker 2: creepy that have solidified this film in history, I think,

1251
01:04:40,720 --> 01:04:43,880
Speaker 2: or have you checked the Children? I really want to

1252
01:04:44,080 --> 01:04:48,480
Speaker 2: interrogate for a moment the concept of babysitting as a

1253
01:04:48,560 --> 01:04:54,560
Speaker 2: psychotic endeavor. Yeah, period, it is absolutely bonkers. I started

1254
01:04:54,640 --> 01:04:56,960
Speaker 2: watching children when I was twelve.

1255
01:04:57,200 --> 01:04:58,400
Speaker 1: Yeah, me too, Me too.

1256
01:04:58,800 --> 01:05:01,520
Speaker 2: I did not know anything beyond nine one one. I

1257
01:05:01,600 --> 01:05:03,240
Speaker 2: did not know how to put out a fire. I

1258
01:05:03,360 --> 01:05:05,480
Speaker 2: did not know what to do in a rainstorm. I

1259
01:05:05,600 --> 01:05:07,680
Speaker 2: did not know how to unplug a drain. I didn't

1260
01:05:07,720 --> 01:05:11,080
Speaker 2: know anything. And I was in charge of children. So

1261
01:05:11,240 --> 01:05:15,280
Speaker 2: babysitting in general is the wildest endeavor. I know, parents

1262
01:05:15,360 --> 01:05:19,000
Speaker 2: need a break. I feel like the singular babysitter is

1263
01:05:19,360 --> 01:05:21,080
Speaker 2: something that should never have happened.

1264
01:05:22,560 --> 01:05:23,640
Speaker 1: It was a different era too.

1265
01:05:24,000 --> 01:05:25,920
Speaker 3: Let me just tell you, I think about this all

1266
01:05:25,960 --> 01:05:28,320
Speaker 3: the time when it comes to like my friends or

1267
01:05:28,400 --> 01:05:31,160
Speaker 3: my sister, like, who have kids now? Like, when we

1268
01:05:31,320 --> 01:05:34,280
Speaker 3: were eleven and twelve years old, it was totally fine

1269
01:05:34,760 --> 01:05:37,160
Speaker 3: for an eleven or twelve year old to be taken

1270
01:05:37,240 --> 01:05:41,320
Speaker 3: care of sometimes two three children all day long.

1271
01:05:41,960 --> 01:05:43,480
Speaker 1: I did that when I was twelve.

1272
01:05:43,960 --> 01:05:49,040
Speaker 3: My babies had three kids almost every single day during

1273
01:05:49,080 --> 01:05:51,520
Speaker 3: a summer, and I was left alone.

1274
01:05:51,280 --> 01:05:55,240
Speaker 1: With them from like nine to five. Basically, yeah, I'm

1275
01:05:55,320 --> 01:05:57,760
Speaker 1: like that shit would never happen now.

1276
01:05:57,760 --> 01:06:01,240
Speaker 2: It would never happen, and you earned ten dollars a

1277
01:06:01,400 --> 01:06:05,040
Speaker 2: day to do that. It was a different era of folks.

1278
01:06:05,160 --> 01:06:07,640
Speaker 2: It was a different time. And then also the notion

1279
01:06:07,760 --> 01:06:10,520
Speaker 2: of babysitting for strangers, Like, she shows up and she

1280
01:06:10,600 --> 01:06:14,040
Speaker 2: has never met this family before. So when he keeps

1281
01:06:14,120 --> 01:06:16,240
Speaker 2: asking her, have you checked the children, it's kind of

1282
01:06:16,280 --> 01:06:19,040
Speaker 2: a legit question because she doesn't ever check on the

1283
01:06:19,160 --> 01:06:23,360
Speaker 2: children and like, not once has she checked on them. Now, granted,

1284
01:06:23,440 --> 01:06:25,400
Speaker 2: it probably saved her life because he also said he

1285
01:06:25,480 --> 01:06:28,680
Speaker 2: wanted her blood all over him. But she just showed

1286
01:06:28,720 --> 01:06:31,520
Speaker 2: up to this house that she for people she's never met,

1287
01:06:31,600 --> 01:06:34,440
Speaker 2: children she's never seen, and is getting these call, these

1288
01:06:34,480 --> 01:06:37,640
Speaker 2: creep calls, and it is just it is intense right

1289
01:06:37,680 --> 01:06:39,960
Speaker 2: off to that, And again it is one of those

1290
01:06:40,080 --> 01:06:43,920
Speaker 2: movies that contributes to this trope of preying on the

1291
01:06:44,040 --> 01:06:47,240
Speaker 2: fears of young women and setting up this kind of

1292
01:06:47,360 --> 01:06:51,520
Speaker 2: cautionary tale of young women who do things that get

1293
01:06:51,600 --> 01:06:55,040
Speaker 2: them caught in these webs of horror. And I'm like,

1294
01:06:55,120 --> 01:06:56,600
Speaker 2: all she did was show up in a house that

1295
01:06:56,680 --> 01:07:00,240
Speaker 2: had a phone. Like, it's not her fault, man, I

1296
01:07:00,320 --> 01:07:00,480
Speaker 2: was like.

1297
01:07:00,520 --> 01:07:02,560
Speaker 3: Listen, she ate a popsicle, she put it in an

1298
01:07:02,560 --> 01:07:07,080
Speaker 3: ash tray. I mean, she was bringing some study materials.

1299
01:07:07,880 --> 01:07:09,320
Speaker 3: Why why is this happening?

1300
01:07:09,600 --> 01:07:12,200
Speaker 2: No book bag, just holding her books, just holding the

1301
01:07:12,240 --> 01:07:16,080
Speaker 2: binder and that popsicle was strugs to funk. That thing

1302
01:07:16,320 --> 01:07:19,640
Speaker 2: was just wrapped in paper and put in the freezer.

1303
01:07:20,240 --> 01:07:22,560
Speaker 2: Freezer bird be damned. I was like, don't put that

1304
01:07:22,640 --> 01:07:24,320
Speaker 2: in your face, girl. You don't know how long that's

1305
01:07:24,360 --> 01:07:24,720
Speaker 2: been there.

1306
01:07:25,480 --> 01:07:27,360
Speaker 3: Well, and this is so funny that you mentioned this too,

1307
01:07:27,440 --> 01:07:29,320
Speaker 3: because I was thinking about this movie the other day

1308
01:07:29,360 --> 01:07:31,720
Speaker 3: and I was like reading about it. So in the

1309
01:07:31,840 --> 01:07:34,720
Speaker 3: original this happens actually in the original short too. Did

1310
01:07:34,800 --> 01:07:37,400
Speaker 3: you notice that, like when she first came in and

1311
01:07:37,640 --> 01:07:41,240
Speaker 3: the husband or the dad or whatever says to her,

1312
01:07:41,960 --> 01:07:45,080
Speaker 3: we got some low fat yogurt in the refrigerator. Yes,

1313
01:07:45,400 --> 01:07:50,120
Speaker 3: and I'm like, what's that about. It's because she's a woman. Yes,

1314
01:07:50,360 --> 01:07:54,880
Speaker 3: she's a teenage woman. She needs low fat yogurt. Okay, motherfucker.

1315
01:07:55,120 --> 01:07:58,160
Speaker 2: I mean he's like, I put this heffer on a diet.

1316
01:07:58,200 --> 01:08:02,600
Speaker 2: You might as well take advantage of it too, Boyfriend.

1317
01:08:03,880 --> 01:08:06,640
Speaker 2: We got some cottage cheese and blueberries in there, and

1318
01:08:06,720 --> 01:08:08,760
Speaker 2: that's all you're allowed to eat. Fucking cow.

1319
01:08:10,960 --> 01:08:12,120
Speaker 1: He should have never met.

1320
01:08:12,280 --> 01:08:14,400
Speaker 2: They've never met. He felt like you can say that

1321
01:08:14,520 --> 01:08:14,760
Speaker 2: to her.

1322
01:08:15,360 --> 01:08:17,920
Speaker 1: Yeah, no shit, man, no, oh my god.

1323
01:08:19,120 --> 01:08:21,360
Speaker 2: But yeah, so his kids get ripped apart is basically

1324
01:08:21,479 --> 01:08:25,479
Speaker 2: what happened pretty much Kurt and Duncan. That's his his

1325
01:08:26,360 --> 01:08:31,559
Speaker 2: punishment for misogyny his kids. You eventually find out more

1326
01:08:31,560 --> 01:08:34,120
Speaker 2: about this killer, which again, like the tension was so

1327
01:08:34,360 --> 01:08:37,439
Speaker 2: heightened in this film because it is just this young

1328
01:08:37,560 --> 01:08:39,880
Speaker 2: woman alone in this house. You don't even see the killer,

1329
01:08:39,920 --> 01:08:41,840
Speaker 2: you don't see anyone else but her for twenty minutes,

1330
01:08:42,560 --> 01:08:45,320
Speaker 2: and when you do start to learn his story, it's

1331
01:08:45,400 --> 01:08:47,920
Speaker 2: that like he didn't use any tools. He just kind

1332
01:08:47,920 --> 01:08:51,400
Speaker 2: of like ripped and bit them apart, like these little kids,

1333
01:08:51,479 --> 01:08:54,000
Speaker 2: for no reasons. So that's kind of weird. So Charles

1334
01:08:54,080 --> 01:08:56,760
Speaker 2: Dirting does show up to the scene. He's a cop,

1335
01:08:56,960 --> 01:08:59,800
Speaker 2: he's in charge. When we cut to seven years later,

1336
01:09:00,080 --> 01:09:05,280
Speaker 2: he's a private investigator and the father, the low fat

1337
01:09:05,360 --> 01:09:11,920
Speaker 2: yogurt father, has now hired him to be a private

1338
01:09:12,000 --> 01:09:16,040
Speaker 2: investigator and find Kurt Duncan, who's just escaped from this institution.

1339
01:09:17,240 --> 01:09:20,320
Speaker 2: How long I'm just curious, like, how long would it

1340
01:09:20,400 --> 01:09:22,479
Speaker 2: take you to formulate an escape plan if you were

1341
01:09:22,479 --> 01:09:24,040
Speaker 2: put into a mental institution?

1342
01:09:24,320 --> 01:09:27,080
Speaker 1: How long would it? Yeah, I'm really bad at.

1343
01:09:27,000 --> 01:09:30,800
Speaker 2: That, So six years? Is it bad that I don't

1344
01:09:30,800 --> 01:09:32,519
Speaker 2: even think I would try to escape? I just be

1345
01:09:32,680 --> 01:09:34,680
Speaker 2: like just keep the drugs coming. I'm going to take

1346
01:09:34,680 --> 01:09:35,639
Speaker 2: a nap. Bye.

1347
01:09:36,360 --> 01:09:36,559
Speaker 1: Yeah.

1348
01:09:37,000 --> 01:09:38,880
Speaker 2: If I had some crafts, I'm good. Give me some

1349
01:09:38,960 --> 01:09:42,080
Speaker 2: popsicle sticks and some like like, I don't think it's

1350
01:09:42,080 --> 01:09:44,720
Speaker 2: a vacation. I'm not saying that at all, But I

1351
01:09:44,760 --> 01:09:47,000
Speaker 2: don't think I have it in me to fight a

1352
01:09:47,120 --> 01:09:50,160
Speaker 2: wrongful imprisonment in an institution. I'd be like, yeah, I'm

1353
01:09:50,200 --> 01:09:52,120
Speaker 2: going with it. I had forty good years. Let's roll.

1354
01:09:55,439 --> 01:09:57,680
Speaker 2: But he does. He escapes, and then this is where

1355
01:09:57,720 --> 01:10:00,200
Speaker 2: we get to this middle part of the film where

1356
01:10:01,080 --> 01:10:05,200
Speaker 2: Colleen Doers comes on the scene and he meets Colleen

1357
01:10:05,240 --> 01:10:08,800
Speaker 2: Dewhurst in a bar called Torches, which apparently used to

1358
01:10:08,800 --> 01:10:11,479
Speaker 2: be a bar here in La and she has such

1359
01:10:11,640 --> 01:10:13,360
Speaker 2: great instincts. She's like, I just want to read my

1360
01:10:13,439 --> 01:10:16,200
Speaker 2: magazine and smoke my cigarette and drink my drink. And

1361
01:10:16,320 --> 01:10:19,360
Speaker 2: he comes sideling up and with his creepy eyes and

1362
01:10:19,560 --> 01:10:21,840
Speaker 2: is like hey, and she moves a stool away and

1363
01:10:21,920 --> 01:10:24,840
Speaker 2: he follows her, and then he gets beat up. And

1364
01:10:25,000 --> 01:10:26,760
Speaker 2: this is where I want to also note because the

1365
01:10:26,800 --> 01:10:29,439
Speaker 2: guy who beats him up is just like another patron

1366
01:10:29,520 --> 01:10:31,920
Speaker 2: in the bar who's like, hey, the little lady wants

1367
01:10:31,960 --> 01:10:34,559
Speaker 2: to be on her own. I would rather get punched

1368
01:10:34,600 --> 01:10:36,920
Speaker 2: in the face than have someone spit on me. Spit

1369
01:10:37,120 --> 01:10:41,800
Speaker 2: is the most disgusting thing I've ever seen in my life. Like,

1370
01:10:41,920 --> 01:10:45,880
Speaker 2: I hate watching scenes where people get spit on. I

1371
01:10:46,040 --> 01:10:46,720
Speaker 2: cannot stand it.

1372
01:10:46,920 --> 01:10:49,559
Speaker 1: Not in this post COVID economy, certainly now.

1373
01:10:49,960 --> 01:10:53,479
Speaker 2: No, hell no, I can't stand spit and I cannot.

1374
01:10:53,520 --> 01:10:56,240
Speaker 2: I don't. I cannot explain it. I cannot stand it

1375
01:10:56,320 --> 01:11:00,479
Speaker 2: in movies when people brush their teeth or in real

1376
01:11:00,560 --> 01:11:02,800
Speaker 2: life or in real life, like seeing the foam and

1377
01:11:02,920 --> 01:11:05,160
Speaker 2: the stuff and the city, like it makes me want

1378
01:11:05,200 --> 01:11:05,639
Speaker 2: to puke.

1379
01:11:05,800 --> 01:11:07,920
Speaker 3: I feel like it's rare that you actually do see

1380
01:11:08,000 --> 01:11:10,439
Speaker 3: actors and actresses brushing their teeth, though, because a lot

1381
01:11:10,479 --> 01:11:12,960
Speaker 3: of times I noticed this in movies a lot. I've

1382
01:11:13,000 --> 01:11:18,000
Speaker 3: seen a few where they actually don't use the toothpaste

1383
01:11:18,080 --> 01:11:20,280
Speaker 3: and they don't they they do the whole faky thing

1384
01:11:20,280 --> 01:11:22,479
Speaker 3: where they're just like like, I'm like, you know, you

1385
01:11:22,600 --> 01:11:25,280
Speaker 3: didn't put toothpaste on that toothbrush, and then now you're

1386
01:11:25,479 --> 01:11:27,640
Speaker 3: dre a drink in the water because we all know

1387
01:11:27,760 --> 01:11:30,840
Speaker 3: why you don't want you're on Hollywood makeup, like you're

1388
01:11:30,840 --> 01:11:33,080
Speaker 3: not gonna brush your fucking teeth, because if you're like me,

1389
01:11:33,200 --> 01:11:35,560
Speaker 3: it's all over you and they don't want to have to,

1390
01:11:36,479 --> 01:11:37,880
Speaker 3: you know, figure that part out.

1391
01:11:38,280 --> 01:11:41,120
Speaker 2: But yeah, I hear you, Kit, I can't. When he

1392
01:11:41,240 --> 01:11:45,560
Speaker 2: spit on him, I was like, no, oh God, so disgusting,

1393
01:11:45,840 --> 01:11:50,320
Speaker 2: so disgusting. So then Colleen Dours goes home. Uh, and

1394
01:11:50,400 --> 01:11:53,880
Speaker 2: again her instincts have been great right up until the

1395
01:11:53,960 --> 01:11:57,240
Speaker 2: moment where Kurt Duncan shows up in her hallway having

1396
01:11:57,360 --> 01:12:00,400
Speaker 2: followed her home, and then just kind kind of makes

1397
01:12:00,439 --> 01:12:03,200
Speaker 2: himself at home in her house, and she's like, she

1398
01:12:03,320 --> 01:12:05,640
Speaker 2: basically lives at like the hotel Cecil and it's like

1399
01:12:05,760 --> 01:12:08,639
Speaker 2: kind of run down and like, but you would notice

1400
01:12:08,640 --> 01:12:12,040
Speaker 2: if someone got murdered there, Like you would see that.

1401
01:12:12,200 --> 01:12:14,720
Speaker 2: So it's very strange that she's just kind of she's

1402
01:12:14,880 --> 01:12:17,560
Speaker 2: very nonchalant about it. But I also, I don't know,

1403
01:12:17,680 --> 01:12:21,000
Speaker 2: just made me wonder, like he's just escaped from this institution,

1404
01:12:21,600 --> 01:12:23,920
Speaker 2: how did he have money to even offer to buy

1405
01:12:23,960 --> 01:12:26,800
Speaker 2: her those drinks? And where did he get clothes? Yeah,

1406
01:12:27,000 --> 01:12:28,680
Speaker 2: like there's he looks, you know, and now he's got

1407
01:12:28,720 --> 01:12:30,439
Speaker 2: so he's beat up. He's got these weird clothes on,

1408
01:12:30,520 --> 01:12:34,400
Speaker 2: he's got these weird shoes. On he just looks rough.

1409
01:12:34,760 --> 01:12:37,439
Speaker 2: He's looking rough. He's sleeping at a shelter, and like

1410
01:12:38,160 --> 01:12:40,760
Speaker 2: everyone at the shelter calls him creepy Kurt, which I love.

1411
01:12:41,600 --> 01:12:43,880
Speaker 2: Within a day he got that nickname, Like that says

1412
01:12:43,920 --> 01:12:46,560
Speaker 2: something about you. So the rest of the movie is

1413
01:12:46,640 --> 01:12:49,040
Speaker 2: kind of like this cat and mouse between Charles Dirning

1414
01:12:49,120 --> 01:12:52,200
Speaker 2: and Kurt Duncan and Colleen Dourst has it's kind of

1415
01:12:52,280 --> 01:12:54,600
Speaker 2: a short lived middle part of the movie because she,

1416
01:12:55,439 --> 01:12:57,439
Speaker 2: you know, he does come back to her apartment and

1417
01:12:57,680 --> 01:13:00,719
Speaker 2: threaten her and it's weird. But then Charles Durning cheeses

1418
01:13:00,720 --> 01:13:04,280
Speaker 2: of away, but she's just kind of like this forgotten

1419
01:13:04,400 --> 01:13:07,280
Speaker 2: cautionary tale in the middle of this larger cautionary tale.

1420
01:13:07,760 --> 01:13:08,479
Speaker 1: Well, and it's funny.

1421
01:13:08,520 --> 01:13:11,679
Speaker 3: I was gonna ask you about this because the pacing

1422
01:13:11,800 --> 01:13:14,479
Speaker 3: of this movie, I think a lot of people have,

1423
01:13:14,920 --> 01:13:17,080
Speaker 3: like if there are if there is a chief complaint

1424
01:13:17,160 --> 01:13:19,320
Speaker 3: about when a stranger calls, it's.

1425
01:13:19,240 --> 01:13:22,799
Speaker 1: That because the first twenty minutes are so keyed.

1426
01:13:22,680 --> 01:13:26,479
Speaker 3: Up and so terrifying that I think a lot of

1427
01:13:26,520 --> 01:13:30,960
Speaker 3: people feel like disappointed maybe when the second part arrives,

1428
01:13:31,040 --> 01:13:35,120
Speaker 3: because it is like there are just literally minutes of

1429
01:13:35,680 --> 01:13:42,040
Speaker 3: scenes of just calling do Her smoking cigarettes walking around, right, Which, now,

1430
01:13:42,120 --> 01:13:45,200
Speaker 3: if you're me, I fucking love shit like that.

1431
01:13:45,360 --> 01:13:46,799
Speaker 1: Like I'm like, if I will.

1432
01:13:46,640 --> 01:13:51,280
Speaker 3: Watch a four hour French movie about calling do Her

1433
01:13:51,439 --> 01:13:56,000
Speaker 3: smoking cigarettes, like give me that geon deal mean movie, right,

1434
01:13:56,280 --> 01:13:57,640
Speaker 3: But it's that thing where like I think a lot

1435
01:13:57,640 --> 01:13:59,920
Speaker 3: of people are like, yo, what's up with this whole?

1436
01:14:00,000 --> 01:14:03,600
Speaker 3: Well first section and then there's this slow section and

1437
01:14:03,720 --> 01:14:07,479
Speaker 3: maybe it's not as good. I mean I personally, my

1438
01:14:07,840 --> 01:14:10,680
Speaker 3: take is that I like that it is. It is

1439
01:14:10,800 --> 01:14:13,439
Speaker 3: like a little mini section within a larger section, and

1440
01:14:13,560 --> 01:14:17,400
Speaker 3: it has some merit to it, and I don't find

1441
01:14:17,439 --> 01:14:20,240
Speaker 3: it as jarring as I think maybe some other people do.

1442
01:14:20,360 --> 01:14:22,599
Speaker 1: But I just wanted to know what you thought of them.

1443
01:14:22,720 --> 01:14:24,280
Speaker 2: Yeah, no, I feel the same way. Like I didn't

1444
01:14:24,280 --> 01:14:26,080
Speaker 2: find it tedious, and I read a lot of the same,

1445
01:14:26,320 --> 01:14:28,599
Speaker 2: you know, reviews and articles that said the same thing

1446
01:14:28,720 --> 01:14:31,160
Speaker 2: about how like it's a great movie for the first

1447
01:14:31,240 --> 01:14:34,160
Speaker 2: twenty minutes, like people are really sore about it, And

1448
01:14:34,520 --> 01:14:37,040
Speaker 2: I think that it's like this is where this movie

1449
01:14:37,439 --> 01:14:42,360
Speaker 2: is kind of foraging in new grounds because they were

1450
01:14:42,439 --> 01:14:46,120
Speaker 2: taking the traditional horror film in this instance, like Fred

1451
01:14:46,160 --> 01:14:48,720
Speaker 2: Walton was taking the traditional horror film and adding this

1452
01:14:48,920 --> 01:14:51,960
Speaker 2: narrative layer to it, which makes you care more about

1453
01:14:52,000 --> 01:14:54,800
Speaker 2: what happens to people. So I don't think that it

1454
01:14:55,040 --> 01:14:58,519
Speaker 2: was It wasn't at all jarring to me or you know,

1455
01:14:58,560 --> 01:15:00,960
Speaker 2: I didn't find it boring or disturb because now I've

1456
01:15:01,000 --> 01:15:02,680
Speaker 2: been a nerd in that, you know, like we've been

1457
01:15:02,720 --> 01:15:05,200
Speaker 2: a nerd in that kind of narrative horror. But I

1458
01:15:05,280 --> 01:15:07,040
Speaker 2: think it was kind of a departure at the time

1459
01:15:07,600 --> 01:15:11,080
Speaker 2: where it wasn't just NonStop threat threat threat, kill, kill,

1460
01:15:11,160 --> 01:15:11,760
Speaker 2: kill right.

1461
01:15:12,120 --> 01:15:15,919
Speaker 1: Well, and then the third section I think is even scarier.

1462
01:15:16,040 --> 01:15:16,840
Speaker 1: I know a lot of ways.

1463
01:15:16,880 --> 01:15:19,240
Speaker 3: I mean, the first section is legendary, the first twenty

1464
01:15:19,320 --> 01:15:23,479
Speaker 3: minutes is true horror legend but that third section where

1465
01:15:23,920 --> 01:15:27,360
Speaker 3: I mean, you got to know if you have experienced,

1466
01:15:27,400 --> 01:15:31,240
Speaker 3: if you're a babysitter, and if you experience this trauma. Okay,

1467
01:15:32,439 --> 01:15:35,880
Speaker 3: now you have your own kids, why you hiring a babysitter,

1468
01:15:36,120 --> 01:15:36,559
Speaker 3: Like I'm.

1469
01:15:36,520 --> 01:15:39,760
Speaker 2: Just saying, thank you. This is my question because the

1470
01:15:40,160 --> 01:15:42,439
Speaker 2: last part of the movie, we're catching up with Jill.

1471
01:15:42,920 --> 01:15:46,320
Speaker 2: The murderer has found her pictures in the paper, and

1472
01:15:47,240 --> 01:15:50,160
Speaker 2: she has two kids who are literally the same age

1473
01:15:50,160 --> 01:15:51,880
Speaker 2: as the kids who were murdered when she was a

1474
01:15:51,960 --> 01:15:56,200
Speaker 2: babysitter and ps. At the end of that scene where

1475
01:15:56,200 --> 01:15:59,600
Speaker 2: those kids are killed, the cops are like, how's the babysitter,

1476
01:16:00,120 --> 01:16:03,280
Speaker 2: and Charles Dorning's like, ash, She'll be fine if you

1477
01:16:03,520 --> 01:16:06,240
Speaker 2: look at her. Seven years later, the sheer amount of

1478
01:16:06,360 --> 01:16:09,519
Speaker 2: wicker baskets hanging from the ceiling in her kitchen indicate

1479
01:16:09,600 --> 01:16:13,160
Speaker 2: that she is not okay, and then she would believe

1480
01:16:13,240 --> 01:16:16,360
Speaker 2: her children with a babysitter is not okay. How do

1481
01:16:16,479 --> 01:16:19,400
Speaker 2: you do that? This is I know, I just said

1482
01:16:19,400 --> 01:16:21,320
Speaker 2: it in this episode that sometimes the only way to

1483
01:16:21,360 --> 01:16:23,640
Speaker 2: get over trauma is to go through it. This is

1484
01:16:23,760 --> 01:16:26,479
Speaker 2: not trauma that you go through or around or over.

1485
01:16:26,640 --> 01:16:30,920
Speaker 2: This is like lockdown, bat in the hatches. I was

1486
01:16:31,160 --> 01:16:33,920
Speaker 2: babysitting two kids who got killed, and now I'm here

1487
01:16:34,040 --> 01:16:36,960
Speaker 2: having a babysitter when the same man who killed them

1488
01:16:37,000 --> 01:16:37,759
Speaker 2: has escaped.

1489
01:16:39,160 --> 01:16:41,080
Speaker 3: I'd be like, I am taking these kids to this

1490
01:16:41,320 --> 01:16:43,479
Speaker 3: fancy restaurant on Valentine's Day.

1491
01:16:43,520 --> 01:16:45,719
Speaker 1: I don't give a fuck. We don't leave these kids

1492
01:16:45,800 --> 01:16:46,479
Speaker 1: with anyone.

1493
01:16:47,680 --> 01:16:50,519
Speaker 2: These kids have never seen another human being without us

1494
01:16:50,560 --> 01:16:53,880
Speaker 2: being right next to them. Because she's laying to play

1495
01:16:53,920 --> 01:16:57,160
Speaker 2: in the yard, and like, you wanna believe that like, oh,

1496
01:16:57,240 --> 01:17:00,160
Speaker 2: this is this is a survivor tale, because you know

1497
01:17:00,280 --> 01:17:02,720
Speaker 2: she's gotten through her whatever, her grief and trauma is

1498
01:17:02,760 --> 01:17:04,719
Speaker 2: to the point where when she does have her own kids,

1499
01:17:04,760 --> 01:17:07,720
Speaker 2: she's not scarred or worried or traumatized. You've got a

1500
01:17:07,840 --> 01:17:11,200
Speaker 2: hundred baskets hanging from your fucking kitchen ceiling. You're repressing something.

1501
01:17:11,720 --> 01:17:13,000
Speaker 1: There is something going on.

1502
01:17:13,520 --> 01:17:17,559
Speaker 2: There's something going on. And it proves to be true

1503
01:17:17,680 --> 01:17:21,880
Speaker 2: because he does catch up with her and he does

1504
01:17:22,000 --> 01:17:24,880
Speaker 2: call that restaurant while she's out having this fancy dinner

1505
01:17:24,920 --> 01:17:28,919
Speaker 2: with her kids and says, have you check the children?

1506
01:17:29,880 --> 01:17:32,760
Speaker 2: And she hears that voice and loses it. So the

1507
01:17:32,920 --> 01:17:34,360
Speaker 2: end of the movie, which I do not want to

1508
01:17:34,400 --> 01:17:37,639
Speaker 2: spoil at all, but this last part of the film

1509
01:17:37,760 --> 01:17:43,160
Speaker 2: is basically a reckoning between these two Yeah and her kids. Yeah,

1510
01:17:44,160 --> 01:17:46,760
Speaker 2: it is bizarre, but I, for the life of me,

1511
01:17:47,120 --> 01:17:49,120
Speaker 2: this is why I think that the concept of babysitting

1512
01:17:49,200 --> 01:17:52,120
Speaker 2: is like a psychotic endeavor, because you hit a point

1513
01:17:52,160 --> 01:17:54,439
Speaker 2: of parenting where you're like, I genuinely don't care if

1514
01:17:54,479 --> 01:17:56,320
Speaker 2: somebody comes in here and murders all of you. I

1515
01:17:56,439 --> 01:17:58,800
Speaker 2: have to go to the movies for two hours. It's

1516
01:17:59,000 --> 01:18:01,439
Speaker 2: like I cannot take it anymore.

1517
01:18:01,920 --> 01:18:05,400
Speaker 3: Yeah, it's so funny because it's like, you know, to

1518
01:18:05,520 --> 01:18:08,479
Speaker 3: go back to your earlier point about whether or not

1519
01:18:08,960 --> 01:18:13,000
Speaker 3: a prank phone call means, like whether I guess maybe

1520
01:18:13,120 --> 01:18:17,720
Speaker 3: the mutual exclusivity of a prank phone call and a murder, right, Like,

1521
01:18:18,320 --> 01:18:22,280
Speaker 3: I it's so true because this guy, I think that

1522
01:18:22,479 --> 01:18:26,240
Speaker 3: part of the thrill of making a prank phone call

1523
01:18:26,600 --> 01:18:30,800
Speaker 3: initially is that it's like you're gonna just you're disruptive.

1524
01:18:30,920 --> 01:18:32,000
Speaker 1: You're doing something to.

1525
01:18:32,080 --> 01:18:35,320
Speaker 3: Freak somebody out. Okay, even when it's innocuous, even when

1526
01:18:35,320 --> 01:18:40,120
Speaker 3: you're just going or even when you're just going Hamburger, like,

1527
01:18:41,360 --> 01:18:42,719
Speaker 3: you're disrupting something.

1528
01:18:43,240 --> 01:18:43,400
Speaker 2: Right.

1529
01:18:44,320 --> 01:18:48,160
Speaker 3: So it's like there's a whole legacy of films now

1530
01:18:48,280 --> 01:18:52,800
Speaker 3: where like somebody's making a call and you know, in

1531
01:18:52,920 --> 01:18:53,800
Speaker 3: these horror.

1532
01:18:53,520 --> 01:18:57,519
Speaker 1: Movies it ends up being the deadly phone call.

1533
01:18:58,360 --> 01:19:00,920
Speaker 3: Yes, you know, but I'm saying it's like you don't

1534
01:19:00,960 --> 01:19:02,920
Speaker 3: think this when you're making them, you know, like or

1535
01:19:03,000 --> 01:19:06,120
Speaker 3: even when you get them once in a while, especially now,

1536
01:19:06,400 --> 01:19:09,240
Speaker 3: like sometimes you get like a telemarketing or a spam risk,

1537
01:19:09,400 --> 01:19:12,680
Speaker 3: a spam risk call, You're like, certainly this is not

1538
01:19:12,880 --> 01:19:15,759
Speaker 3: ending in a murder. This is just my auto warranty

1539
01:19:16,920 --> 01:19:18,479
Speaker 3: expiring or some shit.

1540
01:19:19,080 --> 01:19:21,200
Speaker 2: Good, But you know, they want to know if I

1541
01:19:21,240 --> 01:19:23,920
Speaker 2: want to change my insurance, and I don't, like. I

1542
01:19:24,040 --> 01:19:25,720
Speaker 2: don't think I'm gonna have to be looking over my

1543
01:19:25,760 --> 01:19:27,760
Speaker 2: shoulder for the rest of the night, like I can't

1544
01:19:27,800 --> 01:19:29,920
Speaker 2: take a shower, I can't eat dinner. Like it's not

1545
01:19:30,040 --> 01:19:33,400
Speaker 2: that deep. But this was a different time. And also

1546
01:19:33,520 --> 01:19:35,840
Speaker 2: I noticed, this is such a weird detail. And these

1547
01:19:35,840 --> 01:19:37,280
Speaker 2: are the kind of details that I pick up on

1548
01:19:37,360 --> 01:19:39,679
Speaker 2: that make me wonder if there's something wrong with my brain,

1549
01:19:40,080 --> 01:19:41,720
Speaker 2: because I did this when I watched The Hours. I

1550
01:19:41,840 --> 01:19:45,160
Speaker 2: noticed that the kid's pajamas were the same as the

1551
01:19:45,840 --> 01:19:48,920
Speaker 2: curtains in Ed Harris's apartment. So that's how I knew

1552
01:19:48,920 --> 01:19:50,840
Speaker 2: they were the same kid before the end of the movie.

1553
01:19:51,479 --> 01:19:55,479
Speaker 2: And Jill in this film, when she's going out to

1554
01:19:55,520 --> 01:19:58,200
Speaker 2: dinner with her husband, this is the babysitter. Now seven

1555
01:19:58,280 --> 01:20:02,360
Speaker 2: years later, she puts on the same exact shawl that

1556
01:20:02,960 --> 01:20:08,840
Speaker 2: the doctor mandrac is his wife had that. And it's

1557
01:20:08,880 --> 01:20:10,960
Speaker 2: probably just like a movie budgeting thing. They're like, we

1558
01:20:11,080 --> 01:20:12,400
Speaker 2: got a shawl, let's use it.

1559
01:20:12,640 --> 01:20:18,200
Speaker 3: But hey, sometimes that launches a million conspiracy ships, right, Just.

1560
01:20:18,280 --> 01:20:20,719
Speaker 2: That that is a murder shawl.

1561
01:20:21,160 --> 01:20:26,120
Speaker 1: Yeah, holy shit, man.

1562
01:20:27,080 --> 01:20:29,320
Speaker 2: But I love this movie because I think it it

1563
01:20:29,479 --> 01:20:34,000
Speaker 2: brings me back to this time where the world probably

1564
01:20:34,479 --> 01:20:37,800
Speaker 2: was just as scary as it is now, but we

1565
01:20:37,920 --> 01:20:42,240
Speaker 2: didn't have to think about everything ending in death, whereas

1566
01:20:42,320 --> 01:20:44,120
Speaker 2: now it's just like, well, I'm probably gonna die. I'm

1567
01:20:44,160 --> 01:20:45,639
Speaker 2: gonna go go down the street to get some milk.

1568
01:20:45,760 --> 01:20:48,439
Speaker 2: I might die. I love you by Yeah, Like it

1569
01:20:48,560 --> 01:20:50,920
Speaker 2: was a different time and this is I like that

1570
01:20:51,000 --> 01:20:53,160
Speaker 2: this is a different kind of prank phone call because

1571
01:20:54,720 --> 01:20:58,360
Speaker 2: it really hits at the fear that's cultivated in US

1572
01:20:58,520 --> 01:21:00,920
Speaker 2: as a culture. You know, it's not based on a

1573
01:21:01,000 --> 01:21:04,439
Speaker 2: fear that you should you should not think someone's upstairs

1574
01:21:04,479 --> 01:21:07,080
Speaker 2: in your house about to kill you. Sure, you know,

1575
01:21:07,200 --> 01:21:09,760
Speaker 2: like that's not a fear that most people have. But

1576
01:21:09,880 --> 01:21:12,320
Speaker 2: I think that it is kind of a fun, a

1577
01:21:12,400 --> 01:21:16,519
Speaker 2: fun twist on what is a culturally instilled fear because

1578
01:21:16,520 --> 01:21:18,320
Speaker 2: this is a time when, you know, when this movie

1579
01:21:18,439 --> 01:21:20,720
Speaker 2: was made in nineteen seventy nine, this is when a

1580
01:21:20,760 --> 01:21:23,600
Speaker 2: lot of serial killers were ramping up, and like you know,

1581
01:21:24,040 --> 01:21:26,920
Speaker 2: Nightstalker and the Hillside Stranglers.

1582
01:21:27,800 --> 01:21:29,960
Speaker 1: Son of Sam is that set, like Sam.

1583
01:21:30,680 --> 01:21:33,880
Speaker 2: Yeah, Son of Sam was late seventies, so this is

1584
01:21:33,960 --> 01:21:37,839
Speaker 2: like definitely a time when you know that was becoming

1585
01:21:37,880 --> 01:21:41,640
Speaker 2: more prevalent. So I think they this is probably one

1586
01:21:41,640 --> 01:21:44,720
Speaker 2: of the first films that capitalized on that that cultural fear.

1587
01:21:45,040 --> 01:21:48,600
Speaker 3: Well, I have to say it's iconic. And there's so

1588
01:21:48,680 --> 01:21:51,080
Speaker 3: many people I love in this movie. I you know,

1589
01:21:51,320 --> 01:21:54,559
Speaker 3: love calling do Hers. Rachel Roberts is in this movie briefly,

1590
01:21:54,800 --> 01:21:58,400
Speaker 3: like she's a fave, and you know, love that Charles Jerning,

1591
01:21:58,520 --> 01:22:03,679
Speaker 3: love that he is, you know, flying over kitchen Islands

1592
01:22:03,800 --> 01:22:05,920
Speaker 3: or whatever it was, and he's just like fuck it,

1593
01:22:06,400 --> 01:22:08,920
Speaker 3: like taking this old bod out for a spin.

1594
01:22:09,000 --> 01:22:10,960
Speaker 1: I don't give a shit I'm doing. I'm chasing this

1595
01:22:11,040 --> 01:22:11,479
Speaker 1: guy down.

1596
01:22:11,800 --> 01:22:14,200
Speaker 2: There's the part where he busts through a door like

1597
01:22:14,280 --> 01:22:17,840
Speaker 2: the kool Aid Man, and you can so visibly tell

1598
01:22:17,920 --> 01:22:20,120
Speaker 2: that it's his stunt double, but it doesn't even matter.

1599
01:22:20,400 --> 01:22:21,800
Speaker 2: It's wonderful.

1600
01:22:22,560 --> 01:22:23,800
Speaker 1: I mean, I love it.

1601
01:22:24,120 --> 01:22:26,320
Speaker 3: Like there are moments where he's running where he's like,

1602
01:22:26,400 --> 01:22:27,960
Speaker 3: let me take a breath. It's like when we talked

1603
01:22:27,960 --> 01:22:31,000
Speaker 3: about John Wick, like I was basically like love it.

1604
01:22:31,160 --> 01:22:35,679
Speaker 3: That's fucking real life. I'm not running through a halfway house,

1605
01:22:36,280 --> 01:22:37,720
Speaker 3: up and down staircases.

1606
01:22:38,000 --> 01:22:39,599
Speaker 1: And just doing it all willy nilly.

1607
01:22:39,680 --> 01:22:44,040
Speaker 3: I'm like, give me a second, all right, steps, there's

1608
01:22:44,120 --> 01:22:47,840
Speaker 3: two flights here, fuck this, so I love I love

1609
01:22:47,920 --> 01:22:50,320
Speaker 3: it flights And I'm Charles Dirting.

1610
01:22:51,000 --> 01:22:53,600
Speaker 2: He's like, look, I'm Charles Dirting. Okay, I don't need

1611
01:22:53,640 --> 01:22:57,280
Speaker 2: to run up two flights steps after anybody. I have

1612
01:22:57,439 --> 01:23:01,680
Speaker 2: the gravitas. You let me take a damn break. Oh

1613
01:23:01,800 --> 01:23:03,920
Speaker 2: it's great. And Carol Caine was just so great in

1614
01:23:04,040 --> 01:23:07,559
Speaker 2: this and it's a great movie. It's a great movie,

1615
01:23:07,880 --> 01:23:08,400
Speaker 2: great movie.

1616
01:23:08,479 --> 01:23:11,960
Speaker 1: I'm so glad you picked it as always and such

1617
01:23:11,960 --> 01:23:12,439
Speaker 1: a good one.

1618
01:23:12,760 --> 01:23:17,200
Speaker 2: Well, that was our show, Stray and Nona, Well, I'm.

1619
01:23:17,040 --> 01:23:19,960
Speaker 3: So glad that we got to the bottom of prank

1620
01:23:20,000 --> 01:23:24,400
Speaker 3: phone calls. And I don't know, what do you think

1621
01:23:24,479 --> 01:23:27,320
Speaker 3: about next week? We don't have a show, Am I

1622
01:23:27,439 --> 01:23:27,960
Speaker 3: right about that?

1623
01:23:28,600 --> 01:23:30,640
Speaker 2: We don't have a show next week, but we're going

1624
01:23:30,720 --> 01:23:35,360
Speaker 2: to pick up with a bonus episode on Thursday. They're great.

1625
01:23:35,560 --> 01:23:37,000
Speaker 2: I love our bonus episodes. Yeah.

1626
01:23:37,040 --> 01:23:40,840
Speaker 3: We basically it's a real loose hang. You know, we're

1627
01:23:40,880 --> 01:23:45,040
Speaker 3: not really going like one hundred hours into you know,

1628
01:23:45,640 --> 01:23:47,240
Speaker 3: the history of a movie.

1629
01:23:47,400 --> 01:23:49,320
Speaker 1: We're just riffing. It's fun.

1630
01:23:49,920 --> 01:23:53,720
Speaker 2: It's a fun time. And we laugh. And if you've

1631
01:23:53,800 --> 01:23:58,040
Speaker 2: ever heard me reference the Seven Deadly Monkeys, you want

1632
01:23:58,080 --> 01:24:00,400
Speaker 2: to listen to the bonus episodes to understand what that's about,

1633
01:24:01,960 --> 01:24:04,799
Speaker 2: because that is a run. That is a running inside

1634
01:24:04,880 --> 01:24:07,800
Speaker 2: joke that I want you to get. We want everyone

1635
01:24:07,840 --> 01:24:08,760
Speaker 2: to be inside that joke.

1636
01:24:09,320 --> 01:24:12,200
Speaker 1: Oh lord, oh my god.

1637
01:24:12,360 --> 01:24:14,000
Speaker 2: Well do you want to tell them where they can

1638
01:24:14,040 --> 01:24:16,559
Speaker 2: find us on our social Yeah, so.

1639
01:24:16,840 --> 01:24:21,680
Speaker 3: We are in the middle of our bracket for is

1640
01:24:21,720 --> 01:24:25,320
Speaker 3: it good or was I horny? So check that out

1641
01:24:25,360 --> 01:24:30,360
Speaker 3: on our Instagram stories. We are I saw pod on Instagram.

1642
01:24:30,960 --> 01:24:33,600
Speaker 3: Also where I saw pod on Twitter? And if you

1643
01:24:33,640 --> 01:24:35,920
Speaker 3: want to email us, I saw what you did pod

1644
01:24:35,920 --> 01:24:36,679
Speaker 3: at gmail dot.

1645
01:24:36,640 --> 01:24:39,400
Speaker 2: Com and email us your personal recommendations. Do not email

1646
01:24:39,479 --> 01:24:42,080
Speaker 2: us your votes because they will not be counted. Everything

1647
01:24:42,120 --> 01:24:45,600
Speaker 2: for the bracket is haben on Instagram, so go to it.

1648
01:24:45,960 --> 01:24:48,519
Speaker 3: Yes, all right, So, yeah, I guess we'll see you

1649
01:24:48,800 --> 01:24:52,160
Speaker 3: in two weeks. What are the movies for that episode?

1650
01:24:52,760 --> 01:24:55,400
Speaker 2: You have two weeks to watch What I think are

1651
01:24:55,479 --> 01:24:59,800
Speaker 2: some of the most crowning achievements in film. Our films

1652
01:24:59,840 --> 01:25:04,120
Speaker 2: are Carrie from nineteen seventy six and Coal Miner's Daughter

1653
01:25:04,439 --> 01:25:08,160
Speaker 2: from nineteen eighty. Oh, I can try to guess that theme.

1654
01:25:08,800 --> 01:25:11,200
Speaker 2: Hit us up on Twitter and Instagram to try to

1655
01:25:11,240 --> 01:25:15,599
Speaker 2: guess the theme. Uh, it is probably not as obvious

1656
01:25:15,640 --> 01:25:18,320
Speaker 2: as you think, but maybe it is shoot your Shot.

1657
01:25:18,520 --> 01:25:21,360
Speaker 2: This is the shoot your Shot episode Shoot Awesome.

1658
01:25:21,479 --> 01:25:23,200
Speaker 1: So yeah, we'll see you in a couple of weeks.

1659
01:25:23,520 --> 01:25:23,760
Speaker 2: See.

1660
01:25:23,880 --> 01:25:28,479
Speaker 1: Yeah, thanks for listening. Stop calling me.

1661
01:25:37,479 --> 01:25:40,000
Speaker 2: This has been an exactly right production. Our producer is

1662
01:25:40,000 --> 01:25:43,559
Speaker 2: Alexis a Maresi. Our engineers Annalise Nelson. Our social media

1663
01:25:43,640 --> 01:25:46,839
Speaker 2: manager is Taren Maza. Our theme songs by Tom bry Fogel,

1664
01:25:47,160 --> 01:25:50,800
Speaker 2: artwork by Garrett Ross. Our executive producers are Georgia hart Stark,

1665
01:25:50,880 --> 01:25:54,000
Speaker 2: Karen Till, Gareth and Danielle Kramer. Follow us on Instagram

1666
01:25:54,120 --> 01:25:56,840
Speaker 2: and Twitter at I saw pod email us at I

1667
01:25:56,920 --> 01:25:59,200
Speaker 2: saw what you did pod at Gmail and please don't

1668
01:25:59,200 --> 01:26:03,120
Speaker 2: forget to listen, subscribe, leave us a review on Apple Podcast, Stitcher,

1669
01:26:03,280 --> 01:26:04,320
Speaker 2: or wherever you listen.