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Speaker 1: Film Spotting is presented by Regal Unlimited, the all you

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Speaker 1: can watch movie subscription pass that pays for itself in

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Speaker 1: Regal app or at the link in our description and

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Speaker 1: use code film spot twenty six to receive fifteen percent off.

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Speaker 2: What kind of a show you guys putting on here today?

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Speaker 2: You're not interested in art?

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Speaker 3: Now? No, Look, we're going to do this thing. We're

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Speaker 3: going to have a.

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Speaker 4: Conversation from Chicago. This is film Spotting. I'm Adam m

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Speaker 4: Kempenard and I'm Josh Larson.

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Speaker 3: And the Oscar goes too. Are they playing us off?

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Speaker 2: Oh maybe, Honora.

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Speaker 4: It's Oscar's weekend and just in time to help you

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Speaker 4: screw up your office Oscars pool, We're here to tell

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Speaker 4: you who will win, who should win, and who should

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Speaker 4: have been nominated.

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Speaker 1: Joining us for that, our own Academy outsider Michael Phillips

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Speaker 1: will also kick off film Spotting Madness Best of the

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Speaker 1: nineteen forties. It's all ahead on film Spotting.

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Speaker 4: Welcome to film Spotting, and the winner is us Josh.

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Speaker 4: Because we are joined now by Michael Phillips. This week,

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Speaker 4: Welcome back to Film Spotting. Michael, how are you?

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Speaker 2: Oh? Thank you. It's an honor just to be nominated

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Speaker 2: to you know, to be back here. Yes, and thank

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Speaker 2: you very much. And also I think you you win

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Speaker 2: best Casting just alone.

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Speaker 5: Adam.

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Speaker 2: There you go, just a nice solo guy.

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Speaker 4: We'll take out. We'll take Josh.

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Speaker 1: It's already goodness.

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Speaker 2: It was a close call for you, Josh.

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Speaker 1: Yeah. I mean I voted against you being on this episode,

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Speaker 1: so I understand.

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Speaker 4: Later in the show we're going to kick off. We

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Speaker 4: left you out of these shenanigans, Michael, but certainly you'll

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Speaker 4: be a part of it. Later. We are going to

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Speaker 4: kick off the eleventh annual Film Spotting Madness, our bracket

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Speaker 4: style movie elimination tournament. This year's theme is the films

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Speaker 4: of the nineteen forties. So Michael, you have to admit

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Speaker 4: it sounds like a pip, doesn't it.

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Speaker 3: Yeah.

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Speaker 2: Oh, it's a card and a caution. I mean, I

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Speaker 2: get me in there. I'd love to do it.

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Speaker 4: Okay, you'll you'll join us later when we get down

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Speaker 4: to maybe the final four, the final two, the championship

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Speaker 4: match up. It'll be it'll be great. A reminder that

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Speaker 4: Film Spotting is now available as a video podcast. You

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Speaker 4: can watch the show on YouTube, YouTube dot com slash

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Speaker 4: film spotting, and you can find all of our episodes

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Speaker 4: on our website filmspotting dot net slash episodes. First up,

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Speaker 4: we are going to talk Oscars and we are going

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Speaker 4: to do it in the usual format here on the

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Speaker 4: show this time of year. Who will win, who should win,

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Speaker 4: and who should have been nominated? And when we share

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Speaker 4: who should have been nominated, that does mean we have

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Speaker 4: to cut someone out, and mikel right, we're gonna start

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Speaker 4: with you. So before before we get to the who

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Speaker 4: should have been and the cut, let's save that. Let's

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Speaker 4: just kind of go around and let's talk first about

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Speaker 4: who will win and who should win. And we're going

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Speaker 4: to start with the category of Supporting Actress. The nominees

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Speaker 4: are El Fanning Sentimental value, inga IBB's daughter Lilias for

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Speaker 4: sentimental value, Amy Madigan weapons one meme of Saku Sinners,

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Speaker 4: and Teana Taylor for one Battle after another. Michael, who

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Speaker 4: do you think will win? Who do you think should win?

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Speaker 2: Yeah, so it's not statistically the favorite. According to Hollywood

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Speaker 2: reporter because they're saying Amy Madigan's gonna win for weapons,

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Speaker 2: which would be a happy thing. I think like that

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Speaker 2: film a lot, and we'll talk about it more later,

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Speaker 2: but I still think it's gonna be Teianna Taylor for

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Speaker 2: one battle after another. I don't know if I even

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Speaker 2: think it's the best performance of the five, but god knows,

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Speaker 2: it was a key component of a great ensemble and

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Speaker 2: is the best performance in that size of role of

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Speaker 2: the year. I don't know, but we're going to talk

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Speaker 2: about that later. But that's that's my feeling. I'm so

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Speaker 2: usually at this point statistics driven about who's won along

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Speaker 2: the way and who.

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Speaker 4: You're an that guy.

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Speaker 2: Yeah, of course I gotta I gotta set solid seventy

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Speaker 2: in algebra in high school de minus the minus in algebra.

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Speaker 2: But but yeah, I'm still something tells me it's still

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Speaker 2: gonna be Taylor. That's my feeling. But you know, the

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Speaker 2: Amy Madigan thing haunts me. And maybe I'll hear that

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Speaker 2: name from one of you two. I don't know, but

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Speaker 2: that's that's where I said.

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Speaker 4: Right now, you think you think Tanna Taylor is going

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Speaker 4: to win?

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Speaker 1: Yeah?

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Speaker 4: I know, would you vote for if you could.

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Speaker 2: This is a really strong category. I mean, I mean,

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Speaker 2: I think, you know, lu We Masaku for Sinners is terrific.

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Speaker 2: I think I think Al Fanning for sentimental value was well,

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Speaker 2: you know, good, it's totally solid. But I actually would

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Speaker 2: give it to Inga. It was doctor Lilias for sentimental value.

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Speaker 2: It's a great performance. It's one of these performances that

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Speaker 2: the role on the page becomes more and more prominent

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Speaker 2: and important as this film that I try or made

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Speaker 2: becomes really the story of sisters, yes, very much in

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Speaker 2: the last forty five minutes. And I love that about

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Speaker 2: this whole year twenty twenty five, and that we had,

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Speaker 2: in all kinds of films kind of kind of unpredictable

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Speaker 2: focus shifts on just who's gonna kind of land this

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Speaker 2: story for us, or who becomes the protagonist or at

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Speaker 2: least becomes crucial to the to the to the the

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Speaker 2: real themes of the film. And you know, in one battle,

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Speaker 2: it's it's Chase Infinity suddenly becoming the protagonist of the story,

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Speaker 2: you know, as Willa, the young revolutionary who's running for

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Speaker 2: her life. And I think that I think that the

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Speaker 2: sentimental value works in a find a stealthy way to

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Speaker 2: kind of give lilyas a real major role. And she is,

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Speaker 2: I'm ashamed to say new to me. I've never seen

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Speaker 2: her in a film. She has done almost as much

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Speaker 2: film works as forgetting that rens Verricy for you know,

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Speaker 2: the lead who was wonderful and the Oscar nominee for

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Speaker 2: the worst person in the world. But she's she's just

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Speaker 2: as kind of popular and respected and you know, good

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Speaker 2: stage and film credits all over Scandinavia.

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Speaker 4: Uh.

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Speaker 2: And it's just a real gratifying thing to see her

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Speaker 2: fill out and just no problem handle a very tricky role.

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Speaker 2: It's more recessive in terms of the story and the

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Speaker 2: dramatics because she is the sort of stoic clean up

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Speaker 2: utility player in this screwed up family, having kind of

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Speaker 2: cleaned up other people's messes their whole life, starting from childhood,

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Speaker 2: and that's part of the plot.

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Speaker 5: But I love it.

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Speaker 2: I love that performance, and I think I think I'd

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Speaker 2: go with her personally.

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Speaker 1: Okay, Josh, look at Michael with his statistics coming in here.

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Speaker 1: With stats, I mean I have to offer my annual disclaimer,

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Speaker 1: which is that no research, no stats for me. I

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Speaker 1: haven't been following the pundits. I'm probably on social media

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Speaker 1: even less than I was at this time last year

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Speaker 1: when I said the same thing. However, However, just had

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Speaker 1: a film Spotty meet up in Copenhagen Saturday night and

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Speaker 1: the major topic of conversation was the oscars and who

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Speaker 1: we thought might win, who we wanted to win. It

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Speaker 1: was a blast. So I'm bringing that knowledge this group

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Speaker 1: thin group sourcing to our organization. I want to I

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Speaker 1: want to thank mikel Lar's Benjamin Debbie was there with

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Speaker 1: us too, who wide in had some strong Oscar opinions

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Speaker 1: everyone did. Thank them for the great night, the good commiseration,

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Speaker 1: and you know, blame them listeners if you follow our

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Speaker 1: advice and you goes up in flames. It was those guys,

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Speaker 1: you'll always.

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Speaker 2: Just be friends. You'll always have friends in Copenhagen.

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Speaker 1: If you have, you're being a good host. I mean,

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Speaker 1: you know, I wanted them to feel good, so I

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Speaker 1: pushed their choices forward. And none of what follows is

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Speaker 1: my fault. Okay, best supporting actress will win. I think

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Speaker 1: it's going to be Wumi Musaku from Sinners. We discussed

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Speaker 1: the sentimental value vote split possibly happening between those two

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Speaker 1: actresses dividing the people who are very excited about that movie.

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Speaker 1: I feel like, and here here's where you're showing I'm

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Speaker 1: way off, like Madigan. That sort of performance is so

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Speaker 1: out there for the Oscars. Actually, it's just out there

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Speaker 1: in every way that maybe it's like an honor to

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Speaker 1: be nominated type thing when people actually get down to

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Speaker 1: filling out their ballots. That's kind of my instinct. Again,

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Speaker 1: could be wrong. And maybe two in Wumi Musaku's favor

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Speaker 1: is that if one battle after another carries the day

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Speaker 1: in the bigger categories. Not saying that's going to happen,

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Speaker 1: but if it does, this is a chance for voters

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Speaker 1: to her sinners by giving this award to her, who

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Speaker 1: should win. I'm gonna stick with Musaku as well. I mean,

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Speaker 1: of these nominees of this batch. On my Chicago Film

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Speaker 1: Critics Association ballot, I had Musaku and Teana Taylor so

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Speaker 1: and just looking at my rankings, I had Massaku ranked

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Speaker 1: a little bit higher, though, Adam, when we rewatched and

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Speaker 1: had a second discussion about one battle, Taylor impressed me

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Speaker 1: even more so. I should also note I had not

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Speaker 1: seen Sentiment of Value before that CFCA Deadline. I'm not

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Speaker 1: sure Lilyus would have been at the top of my

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Speaker 1: list anyways. But I think, Michael, I really think you're

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Speaker 1: onto something low key. She might give the key performance

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Speaker 1: of the movie exactly in the way you describe. She's

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Speaker 1: just incredible in it, so totally understand anyone going that direction.

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Speaker 2: Remind me who took the Supporting Actress Award.

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Speaker 5: In Chicago for this Cargo Group.

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Speaker 4: Oh, that is a great question. I want to say

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Speaker 4: it might have been Madigan. Maybe, Josh, you can look

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Speaker 4: it up as we transition over to my will win.

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Speaker 4: I do think it's going to be I think it's

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Speaker 4: going to be Madigan just because she won the Actor

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Speaker 4: Award as it's now called, right, she is a respected,

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Speaker 4: acclaimed actress. I had not realized this, Michael, because I

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Speaker 4: do not remember this movie at all. A past Oscar nominee.

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Speaker 4: Do you recall twice in a lifetime from nineteen eighty.

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Speaker 2: Five, Yeah, I do, and I but I do not

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Speaker 2: remember that she. I did not remember that she had

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Speaker 2: been nominated for that.

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Speaker 1: Yeah.

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Speaker 2: I think I think that category of nominee when it's

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Speaker 2: that far back for a very minor film that didn't

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Speaker 2: make any kind of Dent, you know, particularly is essentially

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Speaker 2: like a lifetime. It's like it never happened, right, And

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Speaker 2: I almost wonder if people we'll talk about Sean Penn

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Speaker 2: in a bite, but I almost wonder if is that

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Speaker 2: sort of the feeling about Sean Penn. The guy's won

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Speaker 2: two oscars, but it's been a while, and I think

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Speaker 2: since COVID wiped everybody's sense of time and memory, you know,

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Speaker 2: halfway halfway clean it, it feels like, I mean two

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Speaker 2: lifetimes ago. So anyway, that's it's an interesting thing. Well,

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Speaker 2: I had I not remember that untild this all came.

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Speaker 4: Up, you know, Aunt Gladys somehow has become this cultural icon.

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Speaker 4: Unless my hairdresser was lying to me. He said, there's

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Speaker 4: a there's a sequel coming out, or there's an ant

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Speaker 4: Gladys like prequel that's in the works apparently. So you know,

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Speaker 4: when you take, when you take the impact somehow that

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Speaker 4: character has had and Madigan's respect in the industry. Feeling

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Speaker 4: like maybe it's overdue or she's due for some recognition. Anyway,

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Speaker 4: I feel like she is actually going to take it.

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Speaker 4: In terms of who should win. It's hard because with

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Speaker 4: supporting I find myself falling into a trap that maybe

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Speaker 4: a lot of people do, including voters. I don't know

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Speaker 4: which is weighing screen time or thinking about, you know,

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Speaker 4: how much how much supporting are they doing, how much?

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Speaker 4: How much work are they doing in the film. And

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Speaker 4: there's a part of me that feels like I wish,

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Speaker 4: I wish Masaku didn't get so sidelined in all the

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Speaker 4: chaos in the second half of Sinners. But then you

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Speaker 4: could argue, well, Amy Madigan doesn't really appear until the

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Speaker 4: second half of Weapons as it is, But then once

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Speaker 4: she does, what a mark right that she makes? I mean,

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Speaker 4: ain't Gladys is so over the top and I know

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Speaker 4: this is this heightened, demented fairytale world somehow, but is

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Speaker 4: also grounded in a reality that we recognize, and so

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Speaker 4: she is too. Somehow, She's completely over the top and believable.

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Speaker 3: Now listen, I know that it's inconvenient, but I really

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Speaker 3: needed to speak to you about our conversation yesterday.

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Speaker 4: Oh oh, Marcus Skidder glass A bowl please? A bowl? Yes,

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Speaker 4: a bowl.

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Speaker 2: It's a peculiarity of mine.

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Speaker 4: I don't even try to rationalize it anymore. I do

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Speaker 4: credit Madigan for that, and that's why I am voting

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Speaker 4: for her, or I would vote for her if I could,

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Speaker 4: even though I like all the other performances, and I might,

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Speaker 4: And I was gonna say, Michael, I think you are right.

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Speaker 4: I want to I want to corroborate what you said,

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Speaker 4: and Josh did as well, that Lilius is the is

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Speaker 4: the one performance that is just a steady presence throughout

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Speaker 4: her film, right and and and feels like she's doing

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Speaker 4: really important work. That character is doing really important work

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Speaker 4: for the narrative, but subtle, subtle, but important work the

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Speaker 4: entire time, whereas these these other characters kind of have

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Speaker 4: have really important scenes and and then they they may

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Speaker 4: disappear for for chunks of the film.

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Speaker 5: Right.

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Speaker 4: But that all said, I still would act give it

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Speaker 4: to Madigan.

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Speaker 2: I think I might take takes slight issue with and

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Speaker 2: I've used the characterization before, just a conversation. I don't

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Speaker 2: think what Madigan is doing is really over the top.

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Speaker 2: She does so much. She's very smart, yes, yes, decades

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Speaker 2: she knows how much that physical design work of what

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Speaker 2: she's wearing and that particular hair, you know, in all

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Speaker 2: the sort of makeup and hair that sort of adds

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Speaker 2: to the slightly. I mean, I mean, you know, maybe

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Speaker 2: radically off kilter is just a visual appearance of this

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Speaker 2: woman who has, you know, a few secrets to share

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Speaker 2: with the audience as the story goes. But it's it's

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Speaker 2: not a performance. It's like over the top in the

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Speaker 2: sense of, you know, Nicholas Cage or no.

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Speaker 4: I agree with you, Michael, I'm saying, and Lattice is

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Speaker 4: over the top. Yeah, ter character versus right, and she

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Speaker 4: counters that by not playing that at all.

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Speaker 5: All right, one.

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Speaker 2: Other and then sorry, okay, yeah, did you said your

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Speaker 2: your hairdresser was talking about Aunt Ladys. Do you have

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Speaker 2: any fears about going back to him based on if he's.

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Speaker 4: A little fan of weapons, so he's going to trust

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Speaker 4: vot that.

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Speaker 2: Sort of bowl cut look, because that if that redefines

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Speaker 2: her bowl cut is like a whole.

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Speaker 5: That's like two points.

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Speaker 4: I didn't think I actually should have specified he is

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Speaker 4: my former hairdresser.

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Speaker 1: I was gonna say when he when Adam shows up

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Speaker 1: on our next video show with orange hair, orange hair,

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Speaker 1: I'll have no questions.

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Speaker 4: We know what happened. Okay, Michael, the fun let me

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Speaker 4: follow up.

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Speaker 1: Real quick out to your question that actually Chicago Film critics.

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Speaker 1: The winner was Teana Taylor from that after another for

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Speaker 1: Best Parting Actress.

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Speaker 2: Yeah, okay, I pretty sure the votes I suspect will

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Speaker 2: be a close on this one.

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Speaker 4: But yeah, if you could have nominated someone instead, who

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Speaker 4: would that be, Michael? And who would you cut?

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Speaker 2: If you had to, I personal myself would I would

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Speaker 2: honestly go, I would dip into the same ensemble. And

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Speaker 2: I would have nominated Jason Finnity. And not just because

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Speaker 2: on the page the character of Willa, Who's who becomes

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Speaker 2: increasingly the focus of the story. And and I think

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Speaker 2: without pandering, I think I think the father daughter dynamic

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Speaker 2: in the picture and the fact that it actually means

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Speaker 2: something and there's no corollary at all in terms of

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Speaker 2: like true authentic sincerity and emotional feeling in the in

302
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Speaker 2: the in the Pension novel with with those with those

303
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Speaker 2: corollary characters, it's it's I think she's not just young

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Speaker 2: and promising or young and highly talented. I think she's

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Speaker 2: essentially really damn lucky that the part lets her lets

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Speaker 2: her do all she's completely capable of now, because that

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Speaker 2: that's that's what gets you over the line. I think

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Speaker 2: that's why it's one of the few films I saw

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Speaker 2: last year of any quality alone top tier that truly

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Speaker 2: does get better and better as it goes. And she's

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Speaker 2: I think the reason number one.

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Speaker 5: So that's my.

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Speaker 4: Pick, not to not to get too lost in the

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Speaker 4: semantics of it, though Michael was she was she someone

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Speaker 4: you really saw as appropriate for the supporting actress category

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Speaker 4: because I think she was being tossed around more for

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Speaker 4: Best Actress.

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Speaker 2: Well that would have raised us as many eyebrows I think,

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Speaker 2: you know, among a different crowd.

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Speaker 5: So no, I don't know.

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Speaker 2: Okay, hard to say, but that's again, like as I say,

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Speaker 2: I sort of find the the wilful sort of genre

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Speaker 2: mash up and like focus switcheroose with a lot of

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Speaker 2: my favorite movies last year, kind of stimulating. But no,

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Speaker 2: I don't think so. I think it's actually are it's

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Speaker 2: about right?

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Speaker 4: Okay?

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Speaker 1: Yeah, yeah, So who would you have kicked out?

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Speaker 5: Michael kicked out?

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Speaker 2: Oh Fanning?

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Speaker 5: I guess certainly.

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Speaker 2: Yeah, out of the five, I think that's it's a

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Speaker 2: very good performance, and it's not an unimportant role, and

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Speaker 2: it's it's it's but it's it's not it's not quite

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Speaker 2: as a special maybe it doesn't serve the same kind

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Speaker 2: of narrative purpose. It's you know, it's very good work.

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Speaker 2: It's also like it's it's really sharply written because it's

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Speaker 2: not just a stooge or a straw kind of adversarial

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Speaker 2: character of like, oh, you know, you know the imperious

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Speaker 2: American star coming in. No, it's much better than that.

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Speaker 2: The whole film was much better than So that's but

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Speaker 2: El Fanning next time Pal, I say, I call it.

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Speaker 1: Pal, it's good for you, all right, should have been

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Speaker 1: nominated for me. I mean, basically, when I do this

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Speaker 1: thought exercises, I try to stay I try to stay realistic.

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Speaker 1: So I don't go to my personal ballot and pick,

347
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Speaker 1: you know, someone who the Academy would never even consider

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Speaker 1: because it was a minor independent film or maybe even

349
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Speaker 1: a foreign language film that they're not going to recognize

350
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Speaker 1: the acting work. So I set those picks, even though

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Speaker 1: I may have made them aside from my personal list,

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Speaker 1: and look for someone who, huh, curious that the Academy

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Speaker 1: didn't go this way and they were, you know, close

354
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Speaker 1: to my favorite performances of the year. Odessa a Zion

355
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Speaker 1: from Marty Supreme falls squarely in that category. She's a

356
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Speaker 1: standout in a cast full of endlessly fascinating faces and characters,

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Speaker 1: and she holds her own with every one of them,

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Speaker 1: including Timothy Shellmy so would say she should have been nominated.

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Speaker 1: Really eager to watch her future work. Who am I

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Speaker 1: going to kick out? Yeah, this is like, this is

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Speaker 1: the really where you feel bad part of this is

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Speaker 1: now we're piling on because I would also choose out Fanning.

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Speaker 1: Totally with you, Michael, very good work, astutely performed. Agree

364
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Speaker 1: with you on your observation about the character being written.

365
00:19:58,365 --> 00:20:01,885
Speaker 1: It's a very richly conceived character. I don't know that

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Speaker 1: she necessarily brings much more to the part that isn't

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Speaker 1: on the page. There's so much on the page she

368
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Speaker 1: doesn't have to. So this isn't this isn't a critique.

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Speaker 1: We're just talking about the best of the best of

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Speaker 1: the year. And yeah, I would probably move her out

371
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Speaker 1: and move Odessa a zion in.

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Speaker 4: Yeah, I'm actually right with you, Josh, I would nominate.

373
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Speaker 4: The more I thought about again, reconsidered, rewatched Marty Supreme,

374
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Speaker 4: and fell in love with that entire movie all over again.

375
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Speaker 4: But on a deeper level, I also really appreciated that

376
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Speaker 4: a Zion performance, and I think you spoke to this

377
00:20:39,005 --> 00:20:41,605
Speaker 4: during our review, but also just now a little bit

378
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Speaker 4: the way that character and of course through A Zion's

379
00:20:46,165 --> 00:20:48,885
Speaker 4: spunky performance, I don't know what else to call it.

380
00:20:48,885 --> 00:20:51,565
Speaker 4: It's just so alive, it's so electric, the way she

381
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Speaker 4: challenges Marty, the way she's able as an actress to

382
00:20:56,485 --> 00:21:02,085
Speaker 4: challenge Shallabe. I don't know how many other performers who

383
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Speaker 4: maybe aren't as known as her would be up to

384
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Speaker 4: that challenge, and she stood out. There's no doubt about it,

385
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Speaker 4: and you now want to see whatever she's going to

386
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Speaker 4: be in next based on that performance. So I would

387
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Speaker 4: put in a Zion and with Fanning, well, it feels

388
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Speaker 4: like I'm not going to say slight work, it feels

389
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Speaker 4: like slight or work. But that is part of the character,

390
00:21:30,885 --> 00:21:33,925
Speaker 4: that's part of that's inherent to the character and how

391
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Speaker 4: it's written. And so there are some times where you're

392
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Speaker 4: watching the film and you're thinking, is el Fanning a

393
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Speaker 4: really good actress playing a bad actress or is she

394
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Speaker 4: a not very good actress who's also kind of playing

395
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Speaker 4: a not very good actress, or is she just a

396
00:21:51,525 --> 00:21:55,405
Speaker 4: good actress who's playing kind of an unformed actress, and

397
00:21:55,405 --> 00:21:59,685
Speaker 4: that's infiltrating our minds a little bit as we consider

398
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Speaker 4: the performance. In the end, I feel the same way

399
00:22:02,165 --> 00:22:04,125
Speaker 4: the two of you do. I think it's a really

400
00:22:04,165 --> 00:22:07,645
Speaker 4: smart performance, and I think it is a very nuanced performance,

401
00:22:07,645 --> 00:22:10,565
Speaker 4: and I think she knows the layers that she's playing

402
00:22:10,605 --> 00:22:15,125
Speaker 4: and it isn't a bad performance, even though that actress

403
00:22:15,765 --> 00:22:18,885
Speaker 4: maybe needs some more development, and that's who that character is.

404
00:22:19,325 --> 00:22:23,485
Speaker 4: But I do think of the five it's my least

405
00:22:23,525 --> 00:22:26,365
Speaker 4: favorite performance, and she's in a movie full of heavyweights,

406
00:22:26,405 --> 00:22:29,325
Speaker 4: so maybe that's a little bit unfair, but you're right.

407
00:22:29,445 --> 00:22:32,365
Speaker 4: It's we're talking about the best performances of the year,

408
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Speaker 4: so it doesn't it doesn't really need to be an

409
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Speaker 4: attack on el Fanning.

410
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Speaker 2: She's never gonna work in any tone again, I mean

411
00:22:43,005 --> 00:22:45,765
Speaker 2: never gonna you know, it's all her good work for nothing,

412
00:22:46,285 --> 00:22:48,965
Speaker 2: and the Oscar goes to Kieran Culkin.

413
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Speaker 4: Real Pin, Best supporting Actor, Benicio del Toro, One Battle

414
00:22:55,085 --> 00:23:00,685
Speaker 4: after another, Jacoba, Lordi, Frankenstein, Delroy, Lino, Lindo Sinners, Sean Penn,

415
00:23:00,805 --> 00:23:06,325
Speaker 4: one battle after another, Stellen Scars Guard, Sentimental Value, Michael

416
00:23:06,685 --> 00:23:08,125
Speaker 4: will and should.

417
00:23:08,005 --> 00:23:14,965
Speaker 2: Okay, Will Sean Penn shouldn't but will uh, I mean

418
00:23:15,045 --> 00:23:16,405
Speaker 2: should out of that bunch?

419
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Speaker 5: Holy crap.

420
00:23:17,605 --> 00:23:21,405
Speaker 2: I mean, I mean, you know, a Delta far As

421
00:23:21,845 --> 00:23:24,725
Speaker 2: just delightful. You know, He's I just love the way

422
00:23:24,725 --> 00:23:26,645
Speaker 2: he just sort of swims against the whole tide of

423
00:23:26,685 --> 00:23:30,245
Speaker 2: all the all the all the all the nervous, you know,

424
00:23:30,365 --> 00:23:33,605
Speaker 2: sort of social collapse going on around.

425
00:23:33,845 --> 00:23:36,645
Speaker 5: Uh and doing what he can uh with a few

426
00:23:36,645 --> 00:23:37,605
Speaker 5: small beers too.

427
00:23:37,805 --> 00:23:42,885
Speaker 2: But yeah, I mean, out of that bunch, I will

428
00:23:42,925 --> 00:23:46,845
Speaker 2: counter the trends and say the one who you know

429
00:23:47,005 --> 00:23:49,965
Speaker 2: won't win, But Delroy Lindo, I think for a swim. Now,

430
00:23:50,005 --> 00:23:53,445
Speaker 2: that's I've always loved that actor. A lot of people

431
00:23:53,445 --> 00:23:56,085
Speaker 2: feel like he got skipped over for any number of films,

432
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Speaker 2: including The Five Bloods and you know the other work

433
00:23:58,685 --> 00:24:01,085
Speaker 2: for you know, many other directors. I've seen that guy

434
00:24:01,165 --> 00:24:04,205
Speaker 2: on stage since I saw him with James Earl Jones

435
00:24:05,325 --> 00:24:07,605
Speaker 2: and Delroy Lindo and Master Harold.

436
00:24:07,285 --> 00:24:08,965
Speaker 5: And the Boys the Ethel flu Guard play.

437
00:24:09,005 --> 00:24:11,645
Speaker 2: I mean, it's like, could you get two better actors alive?

438
00:24:11,725 --> 00:24:12,445
Speaker 5: In English?

439
00:24:12,525 --> 00:24:15,445
Speaker 2: You know? I mean it was just stunning, this tale

440
00:24:15,485 --> 00:24:18,725
Speaker 2: of this South African sort of power play with the

441
00:24:18,765 --> 00:24:21,605
Speaker 2: three character play but man, oh man, I good and

442
00:24:22,005 --> 00:24:24,725
Speaker 2: so good in August Wilson's stuff. I've seen him so

443
00:24:24,805 --> 00:24:27,685
Speaker 2: Delroy Lindo, his best scenes got cut, like a lot

444
00:24:27,725 --> 00:24:30,165
Speaker 2: of people's you know got you know, there's plenty of

445
00:24:30,245 --> 00:24:33,285
Speaker 2: deleted scenes from Sinners that are you know, a couple

446
00:24:33,325 --> 00:24:35,685
Speaker 2: of them are online here and there, And I think

447
00:24:36,605 --> 00:24:40,525
Speaker 2: a couple of scenes for that character Lindo plays didn't

448
00:24:40,525 --> 00:24:42,765
Speaker 2: make the final cut. It's not as short movie as is.

449
00:24:43,285 --> 00:24:46,605
Speaker 2: And I suspect he felt at the time like, you know,

450
00:24:46,805 --> 00:24:49,725
Speaker 2: the big the big scenes toward the in the second half,

451
00:24:49,805 --> 00:24:51,165
Speaker 2: you know, where are they? But I don't think he's

452
00:24:51,205 --> 00:24:53,325
Speaker 2: the only actor who felt that way. And I still

453
00:24:53,325 --> 00:24:55,685
Speaker 2: think he registers great just for the voice he comes

454
00:24:55,765 --> 00:24:58,685
Speaker 2: up with in this part, because it's just it's perfect,

455
00:24:58,685 --> 00:25:01,485
Speaker 2: because it's at tension getting but it completely it feels

456
00:25:01,525 --> 00:25:04,325
Speaker 2: lived in, like he really has been down there in

457
00:25:04,365 --> 00:25:08,125
Speaker 2: that town, playing those songs, sitting on sitting on whatever

458
00:25:08,165 --> 00:25:11,445
Speaker 2: he's sitting on on the railway platform, and just you know,

459
00:25:12,525 --> 00:25:15,365
Speaker 2: being being the kind of cultural emissary for the for

460
00:25:15,405 --> 00:25:17,725
Speaker 2: the region that he is as a blues man. So

461
00:25:18,005 --> 00:25:18,845
Speaker 2: I love that performance.

462
00:25:18,845 --> 00:25:21,245
Speaker 6: So that's how I would like to see when yeah,

463
00:25:21,325 --> 00:25:26,685
Speaker 6: bad one particular young man all day supposed to be

464
00:25:26,725 --> 00:25:30,325
Speaker 6: a bad blue man.

465
00:25:31,285 --> 00:25:33,125
Speaker 1: Boy were yet come on?

466
00:25:33,245 --> 00:25:35,725
Speaker 4: Yeah man, Josh.

467
00:25:35,765 --> 00:25:38,885
Speaker 1: This was a very divisive category for the Copenhagen crew.

468
00:25:39,125 --> 00:25:41,325
Speaker 1: We probably spent the most time on this one. There

469
00:25:41,405 --> 00:25:46,005
Speaker 1: was some strong support for Penn, and then Miko countered

470
00:25:46,045 --> 00:25:48,405
Speaker 1: with the good point that he and del Toro could

471
00:25:48,405 --> 00:25:51,484
Speaker 1: split the one battle of vote, so that, you know,

472
00:25:52,085 --> 00:25:55,325
Speaker 1: gave us pause. I personally was partial to Delroy Lindo

473
00:25:55,445 --> 00:26:00,205
Speaker 1: as well Michael, and also thought maybe the career achievement

474
00:26:00,285 --> 00:26:04,005
Speaker 1: factor might come into play here, which voters do take

475
00:26:04,125 --> 00:26:09,685
Speaker 1: into account in the end, and because Denmark at least

476
00:26:09,885 --> 00:26:12,325
Speaker 1: is still a democracy, we put it up to a vote.

477
00:26:13,085 --> 00:26:17,325
Speaker 1: Penn came out on top, so should win. I'm gonna

478
00:26:17,325 --> 00:26:20,485
Speaker 1: go a different direction. Will win? Will win is pen

479
00:26:21,205 --> 00:26:26,205
Speaker 1: when Benicio del Toro, I mean, since ay Sergio sa

480
00:26:26,325 --> 00:26:29,125
Speaker 1: Carlos still my patron saint for twenty twenty six, I'm

481
00:26:29,125 --> 00:26:31,085
Speaker 1: not going to abandon him now because he will never

482
00:26:31,125 --> 00:26:31,645
Speaker 1: abandon me.

483
00:26:35,005 --> 00:26:41,045
Speaker 4: Completely fair, Okay, who will win? I think it's going

484
00:26:41,085 --> 00:26:45,565
Speaker 4: to be Stellin Scarsguard. I think because of the Golden Globe.

485
00:26:46,205 --> 00:26:50,805
Speaker 4: When I think the potentially the narrative around being the

486
00:26:50,805 --> 00:26:55,605
Speaker 4: first Supporting Actor nominee from an international film because he's

487
00:26:56,165 --> 00:27:01,085
Speaker 4: international that that may explain why I would suggest unlike

488
00:27:01,085 --> 00:27:04,485
Speaker 4: an Amy Madigan, for example, he may not be considered

489
00:27:04,485 --> 00:27:08,405
Speaker 4: like a beloved Hollywood figure, but certainly a very well

490
00:27:08,445 --> 00:27:13,885
Speaker 4: respected actor. And I think you factor all of that together.

491
00:27:14,165 --> 00:27:17,845
Speaker 4: Even even if it could be seen as some kind

492
00:27:17,885 --> 00:27:21,445
Speaker 4: of lifetime achievement award or career achievement award, the fact

493
00:27:21,485 --> 00:27:23,525
Speaker 4: is the performance is deserving of it. And when all

494
00:27:23,605 --> 00:27:26,845
Speaker 4: of that, when all of that conspires, that feels to

495
00:27:26,925 --> 00:27:30,805
Speaker 4: me like a win. And I think you're right, Josh

496
00:27:30,845 --> 00:27:34,005
Speaker 4: as well, or the Copenhagen crew was right that the

497
00:27:34,085 --> 00:27:37,685
Speaker 4: split factor for one battle after another could really play

498
00:27:38,005 --> 00:27:40,245
Speaker 4: a role here as well. I think scars Guard is

499
00:27:40,285 --> 00:27:42,925
Speaker 4: the one who's going to take it, and in terms

500
00:27:42,925 --> 00:27:46,165
Speaker 4: of who should, here's the thing. We may have to

501
00:27:46,205 --> 00:27:52,645
Speaker 4: retire this show, this this episode, or reformat because the

502
00:27:52,765 --> 00:28:00,765
Speaker 4: Academy isn't making consistently terrible choices anymore. Two categories. I

503
00:28:00,805 --> 00:28:04,245
Speaker 4: wouldn't alter at all this year of the six we're

504
00:28:04,285 --> 00:28:07,565
Speaker 4: doing even if I could, And I'd probably be okay

505
00:28:07,605 --> 00:28:11,205
Speaker 4: with leaving intact another too. You may recall this, Josh,

506
00:28:11,205 --> 00:28:13,245
Speaker 4: if you haven't blocked it from your memory, because it

507
00:28:13,405 --> 00:28:17,085
Speaker 4: was such a heinous violation of the rules. In twenty

508
00:28:17,165 --> 00:28:20,725
Speaker 4: twenty four, there were two categories then where I refuse

509
00:28:20,845 --> 00:28:23,845
Speaker 4: to play the who should have been? Who do you cut?

510
00:28:23,885 --> 00:28:24,125
Speaker 3: Game?

511
00:28:24,445 --> 00:28:28,045
Speaker 4: Because the Academy was bang on supporting actor and director

512
00:28:28,365 --> 00:28:31,525
Speaker 4: And so you know, this entire exercise, the silly exercise

513
00:28:31,525 --> 00:28:35,205
Speaker 4: we're doing, is predicated on the understanding, like the fundamental

514
00:28:35,285 --> 00:28:40,725
Speaker 4: understanding that every year, every category, the Academy is going

515
00:28:40,765 --> 00:28:44,565
Speaker 4: to screw something up royally and we're gonna have something

516
00:28:44,605 --> 00:28:49,565
Speaker 4: to disagree with. But but when we don't, what are

517
00:28:49,565 --> 00:28:53,485
Speaker 4: we doing anymore? And that's my feeling about this category.

518
00:28:53,685 --> 00:28:57,685
Speaker 4: They got it exactly right. These are the nominees. I

519
00:28:57,685 --> 00:29:01,765
Speaker 4: have no notes, and that makes it very difficult. But yeah,

520
00:29:01,845 --> 00:29:02,725
Speaker 4: I think they did.

521
00:29:03,445 --> 00:29:06,245
Speaker 1: This guy's campaigning to become an Academy voter. That's what's

522
00:29:06,245 --> 00:29:06,765
Speaker 1: happening here.

523
00:29:06,925 --> 00:29:08,965
Speaker 4: I think I think it makes it. You can you

524
00:29:08,965 --> 00:29:11,245
Speaker 4: can question my integrity all you want, I'm saying these

525
00:29:11,245 --> 00:29:13,365
Speaker 4: are the five. It makes it very difficult for me

526
00:29:13,445 --> 00:29:15,845
Speaker 4: to pick a winner. It makes it almost impossible for

527
00:29:15,885 --> 00:29:21,005
Speaker 4: me to kick someone out unnecessarily. If so with all,

528
00:29:21,125 --> 00:29:23,125
Speaker 4: I said, I'll get to who I would, I would

529
00:29:23,245 --> 00:29:29,445
Speaker 4: kick out who I think should win. I am also

530
00:29:29,525 --> 00:29:31,725
Speaker 4: going to stick with who I had number one on

531
00:29:31,765 --> 00:29:34,125
Speaker 4: my CFCA ballot, as tough as it was, because it

532
00:29:34,165 --> 00:29:40,645
Speaker 4: was these five, I had Stellan Scarsguard at number one,

533
00:29:40,765 --> 00:29:44,805
Speaker 4: and I even though of course Benizio del Toro and

534
00:29:44,885 --> 00:29:49,125
Speaker 4: his character is my favorite character, I loved a Lordie.

535
00:29:49,165 --> 00:29:51,725
Speaker 4: I think he's the maybe the only real reason to

536
00:29:51,725 --> 00:29:55,685
Speaker 4: see Frankenstein and Lindo when I saw Sinners, Michael, I

537
00:29:55,805 --> 00:29:57,845
Speaker 4: was sure when I saw Sinners there would be a

538
00:29:58,005 --> 00:30:01,405
Speaker 4: no better supporting actor performance that year. And then at

539
00:30:01,445 --> 00:30:03,885
Speaker 4: the end of the year, I had already penciled Lindo

540
00:30:04,005 --> 00:30:07,125
Speaker 4: in as my number one, you know. So that's why

541
00:30:07,165 --> 00:30:12,405
Speaker 4: this is so hard. And yet I do think about

542
00:30:12,445 --> 00:30:17,645
Speaker 4: sentimental value. And besides the landscape of that film, like

543
00:30:17,685 --> 00:30:21,165
Speaker 4: the physical landscape of that film, the other physical goal

544
00:30:21,245 --> 00:30:24,565
Speaker 4: landscape I think about is Stellin scars Guard's face, and

545
00:30:24,725 --> 00:30:28,205
Speaker 4: I think about the toughness of that performance, but also

546
00:30:28,285 --> 00:30:31,845
Speaker 4: the gentleness that that character shows. There's there's all I

547
00:30:31,885 --> 00:30:33,845
Speaker 4: do think. There's a lot going on in a lot

548
00:30:33,845 --> 00:30:36,965
Speaker 4: of quiet moments with that character, and it is a

549
00:30:37,045 --> 00:30:40,965
Speaker 4: quiet performance ultimately, and I I was really drawn to it,

550
00:30:41,245 --> 00:30:43,805
Speaker 4: and I'm gonna stick with I'm gonna stick with my guys.

551
00:30:45,805 --> 00:30:45,885
Speaker 3: Ye.

552
00:30:46,005 --> 00:30:49,645
Speaker 1: Well, and in the predictive sense, you know, it's he

553
00:30:49,765 --> 00:30:52,485
Speaker 1: clearly has the most screen time of any of these.

554
00:30:52,445 --> 00:30:55,205
Speaker 4: Right, there's no doubt about that too. So some people

555
00:30:55,205 --> 00:30:57,725
Speaker 4: think he should have been nominated for Actor, not support me.

556
00:30:58,045 --> 00:30:58,365
Speaker 5: I could.

557
00:30:58,405 --> 00:31:00,485
Speaker 1: I can understand that. So so that works in his

558
00:31:00,525 --> 00:31:02,685
Speaker 1: favor in terms of, you know, a possible win.

559
00:31:03,205 --> 00:31:03,445
Speaker 5: Yeah.

560
00:31:03,885 --> 00:31:06,045
Speaker 2: And also we should not, I mean, I think because

561
00:31:06,045 --> 00:31:09,365
Speaker 2: it may be a factor with some us, you know,

562
00:31:09,405 --> 00:31:12,365
Speaker 2: Hollywood based voters, especially if they're sort of if they've

563
00:31:12,365 --> 00:31:16,005
Speaker 2: had a few decades behind him, like Scarshard has. You know,

564
00:31:16,045 --> 00:31:19,325
Speaker 2: he can't look he's recovered from a pretty serious stroke.

565
00:31:19,485 --> 00:31:21,725
Speaker 2: You know, he doesn't have all those memory read like

566
00:31:21,765 --> 00:31:24,085
Speaker 2: I was, and he's struggled with a few things. And

567
00:31:24,165 --> 00:31:26,605
Speaker 2: you know, he did made no bones about it. He

568
00:31:26,645 --> 00:31:29,285
Speaker 2: took an earpiece for the role, and he you know,

569
00:31:29,445 --> 00:31:32,205
Speaker 2: in that you fed the lines, you know, you know

570
00:31:32,285 --> 00:31:34,365
Speaker 2: through that and then you say them. And this is

571
00:31:34,405 --> 00:31:36,925
Speaker 2: not He's not the only actress to be doing this now.

572
00:31:38,285 --> 00:31:41,325
Speaker 2: Johnny Depp has been doing it for years and it's

573
00:31:41,365 --> 00:31:43,565
Speaker 2: all you know, it's on the record, And I mean

574
00:31:43,605 --> 00:31:45,485
Speaker 2: you can go back to Marlon Brando and The Godfather.

575
00:31:45,525 --> 00:31:47,285
Speaker 2: He wasn't wearing an ear piece yet.

576
00:31:47,485 --> 00:31:49,525
Speaker 4: But he read it off of Robert Duvall's chest.

577
00:31:50,165 --> 00:31:52,005
Speaker 2: Yeah, and it was right. It was like taped them

578
00:31:52,005 --> 00:31:55,525
Speaker 2: an actor or there was on a chalkboard, and somehow

579
00:31:56,765 --> 00:31:58,325
Speaker 2: if you have the actor.

580
00:31:58,645 --> 00:32:01,485
Speaker 5: Or actress, but you know the performer, who can who can?

581
00:32:02,245 --> 00:32:06,885
Speaker 2: Who's who's got everything going for them except an interest

582
00:32:06,965 --> 00:32:10,245
Speaker 2: in or an ability to memorize like they used to

583
00:32:11,325 --> 00:32:13,325
Speaker 2: in the old days, it does you do not notice

584
00:32:13,365 --> 00:32:15,285
Speaker 2: it while experiencing the performance.

585
00:32:15,325 --> 00:32:16,285
Speaker 5: If the film is good.

586
00:32:16,245 --> 00:32:17,845
Speaker 2: Enough, and that's what you have here.

587
00:32:17,885 --> 00:32:18,525
Speaker 5: I think cars go.

588
00:32:18,645 --> 00:32:20,285
Speaker 2: But a lot of people, I think a lot of

589
00:32:20,445 --> 00:32:24,805
Speaker 2: us care the men, let's say, or let alone. You know,

590
00:32:25,085 --> 00:32:27,725
Speaker 2: all the rest of the academy, you know, great actresses

591
00:32:27,965 --> 00:32:31,805
Speaker 2: and great symathar whatever they're not. You know they're gonna

592
00:32:31,805 --> 00:32:33,965
Speaker 2: look at that and say, you know, this guy came

593
00:32:34,005 --> 00:32:36,205
Speaker 2: back and he didn't just come back in some sentimental

594
00:32:36,645 --> 00:32:38,925
Speaker 2: do dad of a role. It's like it's like he's

595
00:32:39,045 --> 00:32:41,565
Speaker 2: you know, he's right in there. It's an organic piece

596
00:32:41,605 --> 00:32:44,925
Speaker 2: of ensemble work. All everybody's part of it, and he's

597
00:32:44,965 --> 00:32:47,205
Speaker 2: obviously a key part of Yeah, so I think that

598
00:32:47,205 --> 00:32:49,685
Speaker 2: that's a factor. If he wins, then that's maybe that's

599
00:32:49,685 --> 00:32:50,085
Speaker 2: a factor.

600
00:32:50,125 --> 00:32:54,125
Speaker 4: And why Okay, Michael, who should have been? It seems

601
00:32:54,165 --> 00:32:56,085
Speaker 4: like maybe you guys disagree with my take that these

602
00:32:56,085 --> 00:32:58,205
Speaker 4: are the right five. So it'll be very easy for

603
00:32:58,245 --> 00:33:00,445
Speaker 4: you to suggest someone who should have been and who

604
00:33:00,445 --> 00:33:01,245
Speaker 4: should have been cut.

605
00:33:01,565 --> 00:33:05,245
Speaker 5: Yeah, it's easy for me. It's okay, correct you on that, Adam.

606
00:33:05,325 --> 00:33:08,045
Speaker 2: I think always, I think I think that Jacob A

607
00:33:08,045 --> 00:33:12,325
Speaker 2: Lord is very good. I would flush this his participation

608
00:33:12,405 --> 00:33:14,965
Speaker 2: in this category this year. I don't think he's all

609
00:33:15,045 --> 00:33:18,645
Speaker 2: that in Frankenstein. I also maybe it's because I was struck.

610
00:33:19,805 --> 00:33:21,325
Speaker 2: I had to see it a second time. That had

611
00:33:21,365 --> 00:33:24,245
Speaker 2: been a few months, so the second time through Frankenstein,

612
00:33:24,805 --> 00:33:28,245
Speaker 2: I was struck. It's just how not just in terms

613
00:33:28,285 --> 00:33:30,325
Speaker 2: of story themes, but just in the way that del

614
00:33:30,365 --> 00:33:35,445
Speaker 2: Toro is filming and shaping the whole story. You know,

615
00:33:35,525 --> 00:33:37,965
Speaker 2: it really is like an unofficial remake of the Shape

616
00:33:37,965 --> 00:33:42,605
Speaker 2: of Water, and it's and I've seen that film and

617
00:33:42,605 --> 00:33:44,485
Speaker 2: and I don't know if A LORDI is really bringing

618
00:33:44,525 --> 00:33:50,285
Speaker 2: anything to that project that truly surprised me. And maybe

619
00:33:50,285 --> 00:33:56,685
Speaker 2: maybe he's he's a fastidious enough visualist as a director

620
00:33:56,685 --> 00:33:59,365
Speaker 2: that Del Toro just doesn't allow for necessarily a lot.

621
00:33:59,365 --> 00:34:01,805
Speaker 2: But on the other end, you got people go swinging

622
00:34:01,845 --> 00:34:04,005
Speaker 2: for the raft, you know, they're they're just like swinging

623
00:34:04,005 --> 00:34:05,965
Speaker 2: for the fences, and this will be like Oscar Isaac

624
00:34:06,365 --> 00:34:09,565
Speaker 2: with mixed results, you know, kind of going kind of

625
00:34:09,605 --> 00:34:13,524
Speaker 2: going bug house on the role, which is entertaining ish,

626
00:34:13,605 --> 00:34:16,325
Speaker 2: But I don't know, does a LORDI really deserve this nomination.

627
00:34:16,405 --> 00:34:17,165
Speaker 5: I don't think so.

628
00:34:17,165 --> 00:34:21,685
Speaker 2: So he's out. He's out, And I would put in either. Honestly,

629
00:34:22,045 --> 00:34:23,725
Speaker 2: I'm gonna I'm gonna split it. I know, I'm gonna

630
00:34:23,765 --> 00:34:26,605
Speaker 2: hate to pull on Adam. Isn't it more adams tendency?

631
00:34:26,765 --> 00:34:31,205
Speaker 1: Josh, Yeah, he's already suppose it's using to play by

632
00:34:31,205 --> 00:34:33,085
Speaker 1: the rules, all right.

633
00:34:33,485 --> 00:34:35,884
Speaker 2: I give it to Michael Sarah in The Phoenicians Scheme

634
00:34:35,925 --> 00:34:38,525
Speaker 2: for pulling through that movie, for pulling me through that

635
00:34:38,645 --> 00:34:43,444
Speaker 2: movie alive single hand. We uh, you know, getting last

636
00:34:43,485 --> 00:34:46,765
Speaker 2: where none were found anywhere else and uh, and also

637
00:34:47,045 --> 00:34:51,445
Speaker 2: honoring you know, Anderson's chosen esthetic and uh, but it's

638
00:34:51,445 --> 00:34:55,085
Speaker 2: a tie with the opposite. It's funny he could be

639
00:34:55,125 --> 00:34:58,405
Speaker 2: his grandson in terms of like sort of demeanor and

640
00:34:58,405 --> 00:35:00,725
Speaker 2: everything else. But William H. Macy and train dreams, he

641
00:35:01,045 --> 00:35:03,844
Speaker 2: really is kind of the best of that. And and

642
00:35:03,885 --> 00:35:06,005
Speaker 2: even in the scenes where he's sitting around the campfire

643
00:35:06,685 --> 00:35:12,765
Speaker 2: speaking some somewhat indigestible hunks of poetry disguised as human speech,

644
00:35:13,645 --> 00:35:15,605
Speaker 2: it took an actor as good as Macy to pull

645
00:35:15,645 --> 00:35:18,365
Speaker 2: it off. And I you know, it's it's probably his

646
00:35:18,445 --> 00:35:22,005
Speaker 2: best reform. It's one of the least mamm performances he's

647
00:35:22,045 --> 00:35:25,365
Speaker 2: ever given. That's fair, David Mammony's. It really feels like

648
00:35:25,405 --> 00:35:27,805
Speaker 2: he just knew how to play that guy because he's

649
00:35:27,845 --> 00:35:30,125
Speaker 2: about that age and he's looking back as much as

650
00:35:30,125 --> 00:35:31,325
Speaker 2: he's looking forward at this points.

651
00:35:31,525 --> 00:35:33,765
Speaker 4: Yeah, it's hardly to recognize him, actually, and I don't

652
00:35:33,805 --> 00:35:35,885
Speaker 4: just mean because of the beard in the age, Like,

653
00:35:36,165 --> 00:35:39,085
Speaker 4: it took me a good twenty thirty minutes to be like,

654
00:35:39,245 --> 00:35:40,085
Speaker 4: that's William H.

655
00:35:40,205 --> 00:35:40,565
Speaker 5: Macy.

656
00:35:40,765 --> 00:35:42,925
Speaker 4: Yeah, disappears into that character.

657
00:35:43,285 --> 00:35:43,605
Speaker 3: Yeah.

658
00:35:43,805 --> 00:35:47,525
Speaker 2: Yeah, And actually I was mistaken watching Weapons. I thought

659
00:35:47,525 --> 00:35:50,045
Speaker 2: William H. Macy who's playing Aunt Gladys. So maybe he's

660
00:35:50,085 --> 00:35:52,685
Speaker 2: more Maybe he's just more and more versatile and kind

661
00:35:52,685 --> 00:35:55,045
Speaker 2: of make ameleion than I thought. But that's the only

662
00:35:55,045 --> 00:35:56,884
Speaker 2: time I'm gonna throw. It's the only time I'm gonna

663
00:35:56,885 --> 00:35:59,765
Speaker 2: mention tonight with these categories, So that's my time.

664
00:36:00,125 --> 00:36:04,924
Speaker 1: Good William H. Macy also goes to Adam's hairdresser. Curiously enough,

665
00:36:08,125 --> 00:36:12,565
Speaker 1: Adam been traveling lately. Sometimes when I travel, I try

666
00:36:12,565 --> 00:36:14,725
Speaker 1: to catch a movie, you know, like to do that

667
00:36:14,805 --> 00:36:17,685
Speaker 1: in different cities, different places. It hasn't happened, so I

668
00:36:17,725 --> 00:36:20,325
Speaker 1: haven't been to a theater in quite a bit. It's

669
00:36:20,365 --> 00:36:22,765
Speaker 1: one of the reasons we haven't been able to review

670
00:36:22,805 --> 00:36:25,725
Speaker 1: The Bride, as we hope to a movie we've both

671
00:36:25,845 --> 00:36:31,045
Speaker 1: been anticipating. I'm back at my home base and I've

672
00:36:31,045 --> 00:36:33,125
Speaker 1: got some movies to catch up with in the theater,

673
00:36:33,245 --> 00:36:35,245
Speaker 1: and I can't wait The Bride. Of course, I'm also

674
00:36:35,285 --> 00:36:38,525
Speaker 1: interested in Hoppers new Pixar film. I don't think I

675
00:36:38,565 --> 00:36:41,885
Speaker 1: realized Pixar had a new film out this year, and

676
00:36:42,285 --> 00:36:46,485
Speaker 1: it's been getting some decent reception. So I'm gonna check

677
00:36:46,525 --> 00:36:50,525
Speaker 1: both of those out. With Regal Unlimited, I'm able to

678
00:36:50,605 --> 00:36:54,485
Speaker 1: see one of those titles for free. Regal Unlimited is

679
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Speaker 1: the all you can watch movie subscription pass that pays

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686
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Speaker 1: Sign up now in the Regal app or at the

689
00:37:33,205 --> 00:37:36,325
Speaker 1: link in our description code and use code film Spot

690
00:37:36,405 --> 00:37:37,325
Speaker 1: twenty six.

691
00:37:37,485 --> 00:37:38,685
Speaker 4: To receive your discout.

692
00:37:44,125 --> 00:37:45,885
Speaker 1: It's right, It's right, Michael. I'm going to help you

693
00:37:45,925 --> 00:37:48,605
Speaker 1: make the decision you refuse to. Who should have been

694
00:37:48,645 --> 00:37:53,525
Speaker 1: nominated Michael Sarah for the Phoenician Scheme? Holy moly, the

695
00:37:53,605 --> 00:37:57,525
Speaker 1: Academy got that one wrong. Who should have been kicked out?

696
00:37:58,805 --> 00:38:02,045
Speaker 1: I think I would remove Sean Penn. I love the

697
00:38:02,085 --> 00:38:05,844
Speaker 1: spot on impersonation of an insecure ice boy that gave

698
00:38:05,925 --> 00:38:09,685
Speaker 1: me so much pleasure. I still think, even after two viewings,

699
00:38:10,885 --> 00:38:13,565
Speaker 1: and while appreciating what he's doing, a little less of

700
00:38:13,645 --> 00:38:17,845
Speaker 1: Lockjaw would have been a little better for one the film,

701
00:38:18,045 --> 00:38:20,485
Speaker 1: so so for that reason, he's the one i'd probably

702
00:38:20,525 --> 00:38:21,525
Speaker 1: i'd probably removed.

703
00:38:22,125 --> 00:38:25,525
Speaker 4: Okay, Well, I said, well, I couldn't stand the judgment

704
00:38:26,125 --> 00:38:29,005
Speaker 4: from you guys if I didn't play along, even though

705
00:38:29,045 --> 00:38:30,924
Speaker 4: I think these are the right five. So I've got

706
00:38:30,965 --> 00:38:34,405
Speaker 4: I've got picks here, guys. Nice And I said, I

707
00:38:34,445 --> 00:38:36,605
Speaker 4: said they're the right five, and I had these right five.

708
00:38:36,645 --> 00:38:39,405
Speaker 4: But that's that's not technically true. I had left Sean

709
00:38:39,445 --> 00:38:43,645
Speaker 4: pennoff my ballot. Originally. I've only come around to be

710
00:38:43,725 --> 00:38:46,725
Speaker 4: a fan of that performance after reconsidering it when we

711
00:38:46,765 --> 00:38:50,245
Speaker 4: did our Sacred Cow review of that film a month

712
00:38:50,325 --> 00:38:54,645
Speaker 4: or six weeks ago or so. I'm getting it now.

713
00:38:54,725 --> 00:38:57,565
Speaker 4: I'm more on the wavelength with what Penn is doing

714
00:38:57,645 --> 00:39:02,445
Speaker 4: as Lockjaw, and I think it belongs in this category now.

715
00:39:02,685 --> 00:39:06,165
Speaker 4: At the time, though, I actually had snuck in the

716
00:39:06,205 --> 00:39:11,685
Speaker 4: work Paul Mescal's doing and Hamnett alongside Jesse Buckley. But

717
00:39:12,285 --> 00:39:15,125
Speaker 4: the the others that I was strongly considering and moving

718
00:39:15,205 --> 00:39:17,205
Speaker 4: in and out depending on what ballot I was filling

719
00:39:17,245 --> 00:39:21,325
Speaker 4: out were William H. Macy Michael for Train Dreams, Andrew

720
00:39:21,365 --> 00:39:24,485
Speaker 4: Scott as Richard Rodgers in Blue Moon, who I think

721
00:39:24,725 --> 00:39:27,805
Speaker 4: does some pretty incredible work there in a performance that

722
00:39:28,645 --> 00:39:31,765
Speaker 4: could be very much overshadowed by what Ethan Hawk is doing.

723
00:39:31,845 --> 00:39:35,885
Speaker 4: Is Lorenz's Heart, Michael Sarah, I honestly didn't think about

724
00:39:35,885 --> 00:39:37,845
Speaker 4: as much as you know, Josh, I love that performance.

725
00:39:37,845 --> 00:39:40,245
Speaker 4: I'm with you is the only thing I really enjoyed

726
00:39:40,365 --> 00:39:42,805
Speaker 4: about the Phoenician scheme. That one felt to me, I

727
00:39:42,845 --> 00:39:46,205
Speaker 4: guess a little bit like not a realistic option for

728
00:39:46,285 --> 00:39:48,725
Speaker 4: the Academy, and so maybe my brain didn't give it

729
00:39:49,005 --> 00:39:54,845
Speaker 4: full consideration. I am going nevertheless, since I am playing along,

730
00:39:55,045 --> 00:39:58,525
Speaker 4: I'm gonna cut Pen because he wasn't on my ballot originally,

731
00:39:58,965 --> 00:40:02,645
Speaker 4: and if I was going to put someone in, I'm

732
00:40:02,645 --> 00:40:04,885
Speaker 4: going to go with Andrew Scott. I'm going to go

733
00:40:04,925 --> 00:40:05,805
Speaker 4: with Andrew Scott.

734
00:40:05,525 --> 00:40:06,325
Speaker 2: As Richard Rodgers.

735
00:40:06,725 --> 00:40:10,325
Speaker 4: That performance just surprises me. It surprised me in the moment.

736
00:40:10,365 --> 00:40:12,925
Speaker 4: It surprises me when I rewatch scenes of it, the

737
00:40:13,445 --> 00:40:18,085
Speaker 4: depth of what he does with few scenes, actually with

738
00:40:18,165 --> 00:40:23,245
Speaker 4: relatively few scenes in that movie to counter the just

739
00:40:23,325 --> 00:40:27,485
Speaker 4: that avalanche you know of energy that Lorenz heart is,

740
00:40:27,885 --> 00:40:31,285
Speaker 4: but without being ever overwhelmed at all by it, like

741
00:40:31,325 --> 00:40:34,005
Speaker 4: he he somehow still gives as good as he as

742
00:40:34,005 --> 00:40:36,605
Speaker 4: he gets from from Hawk in that role. So Andrew

743
00:40:36,605 --> 00:40:39,085
Speaker 4: Scott would be my should have been if I had

744
00:40:39,125 --> 00:40:39,404
Speaker 4: to pick.

745
00:40:39,605 --> 00:40:42,125
Speaker 2: I don't know anybody who doesn't think that those are

746
00:40:42,125 --> 00:40:44,925
Speaker 2: the best scenes in Blue Moon. I mean is that

747
00:40:45,045 --> 00:40:47,605
Speaker 2: he's only got about fifteen seventeen minutes of screen time

748
00:40:47,685 --> 00:40:49,765
Speaker 2: in the film, and that's more than enough. And and

749
00:40:50,525 --> 00:40:53,005
Speaker 2: you do absolutely kind of just lean into him because

750
00:40:53,325 --> 00:40:58,404
Speaker 2: you're you're happy to see Heart has played by Ethan Hawk,

751
00:40:58,445 --> 00:41:00,685
Speaker 2: you know kind of you know, enter a dynas, you know,

752
00:41:00,765 --> 00:41:04,245
Speaker 2: a different kind of dynamic with He's got a great

753
00:41:04,285 --> 00:41:07,245
Speaker 2: actor to work off of, and it is it's very

754
00:41:07,245 --> 00:41:13,245
Speaker 2: good because it's a very casually self centered. Yes, casually

755
00:41:13,325 --> 00:41:15,645
Speaker 2: he is subtly insecured.

756
00:41:15,165 --> 00:41:17,685
Speaker 4: Right he should be really easily hale and he.

757
00:41:18,005 --> 00:41:20,365
Speaker 2: But also but also you know, like truly sort of

758
00:41:20,645 --> 00:41:25,125
Speaker 2: ex spiraightered at his at his longtime colleagues behavior and

759
00:41:25,205 --> 00:41:28,525
Speaker 2: dissolution and it's rightfully so, yeah, you know, those are

760
00:41:28,645 --> 00:41:29,365
Speaker 2: very good scenes.

761
00:41:29,565 --> 00:41:32,645
Speaker 4: They are Okay, let's go to I'm I'm so glad

762
00:41:32,685 --> 00:41:36,245
Speaker 4: you approve of me for once, Michael. I feel like

763
00:41:37,125 --> 00:41:40,045
Speaker 4: and you're you're Richard Rodgers in this scenario, and.

764
00:41:40,085 --> 00:41:41,085
Speaker 3: The Oscar goes to.

765
00:41:42,885 --> 00:41:49,165
Speaker 4: Adrian Brody. Let's go to lead actor. Speaking of Lorenz

766
00:41:49,205 --> 00:41:52,005
Speaker 4: hot Heart, because Ethan Hawk is nominated for Blue Moon

767
00:41:52,325 --> 00:41:56,685
Speaker 4: alongside Timothy Shalome, Marty Supreme, Leonardo DiCaprio, One battle after another,

768
00:41:56,725 --> 00:42:00,445
Speaker 4: Michael B. Jordan a dual performance in Sinners and Wagner

769
00:42:00,685 --> 00:42:04,805
Speaker 4: Wagner Mora, I should say for the Secret Agent, Michael

770
00:42:05,325 --> 00:42:07,205
Speaker 4: Will and should Michael B.

771
00:42:07,405 --> 00:42:10,565
Speaker 2: Jordan, I think will, And that sort of really seems

772
00:42:10,565 --> 00:42:12,285
Speaker 2: like it's only going to come up the last month

773
00:42:12,405 --> 00:42:15,965
Speaker 2: or so where's he seems more and more possible, And

774
00:42:15,965 --> 00:42:18,245
Speaker 2: that's just possible, maybe likely to win, but I think

775
00:42:18,245 --> 00:42:25,165
Speaker 2: he will. He's when I go Vagner Moora, actually I

776
00:42:25,165 --> 00:42:27,165
Speaker 2: think that was. You know, as long as he's been

777
00:42:27,245 --> 00:42:29,805
Speaker 2: working in film, some of us have seen him in

778
00:42:30,005 --> 00:42:35,245
Speaker 2: a few things. I think, you know, he's It doesn't

779
00:42:35,245 --> 00:42:37,805
Speaker 2: say much to say he's the key to why the

780
00:42:37,845 --> 00:42:43,725
Speaker 2: Secret Agent holds together in its unpredictable narrative. It's a

781
00:42:43,845 --> 00:42:45,565
Speaker 2: very and and like a lot of the work we're

782
00:42:45,605 --> 00:42:48,285
Speaker 2: talking about here, just like Andrew Scott, it's a very

783
00:42:48,445 --> 00:42:52,645
Speaker 2: it's a very sort of steady, fairly subtle performance. It's

784
00:42:52,685 --> 00:42:56,125
Speaker 2: not the character is not. He can't afford to be

785
00:42:56,285 --> 00:43:00,165
Speaker 2: an emotional extremist lest he give his good fall away.

786
00:43:00,685 --> 00:43:03,205
Speaker 2: So it's it's baked into it. But I just I

787
00:43:03,565 --> 00:43:06,685
Speaker 2: found him. It's maybe it's the same kind of discovery

788
00:43:06,685 --> 00:43:10,645
Speaker 2: people felt about Pedro Pascal. You know, it was seven

789
00:43:10,645 --> 00:43:13,965
Speaker 2: eight years ago when he started really hitting everybody's radar

790
00:43:14,005 --> 00:43:16,045
Speaker 2: because he just made so many movies, you know, or

791
00:43:16,405 --> 00:43:18,365
Speaker 2: or any number of other actors. But I love I

792
00:43:18,405 --> 00:43:21,725
Speaker 2: love that performance, and Michael B. Jordan also know, very

793
00:43:21,845 --> 00:43:25,005
Speaker 2: very good. If I had one reservation about what he's doing,

794
00:43:25,085 --> 00:43:29,965
Speaker 2: I wish that Kogler and Jordan together had figured out

795
00:43:30,005 --> 00:43:35,325
Speaker 2: a way to make those two twins, you know, one

796
00:43:35,365 --> 00:43:39,005
Speaker 2: of you know, just to make the characterization that just

797
00:43:39,245 --> 00:43:44,005
Speaker 2: slightly more surprising in terms of either one or.

798
00:43:43,965 --> 00:43:45,245
Speaker 5: The other, you know what I mean.

799
00:43:45,445 --> 00:43:48,205
Speaker 2: Yeah, I mean, I mean, I'm not saying like, may

800
00:43:48,485 --> 00:43:50,285
Speaker 2: you know you don't want to turn it into like

801
00:43:50,325 --> 00:43:53,325
Speaker 2: some sort of like flashy showcase for you know, you know,

802
00:43:53,445 --> 00:43:56,805
Speaker 2: like wild versatility, but just some it's about fifteen percent

803
00:43:57,925 --> 00:44:01,525
Speaker 2: the same. This is just in demeanor and personality, because

804
00:44:01,525 --> 00:44:04,364
Speaker 2: they're meant not to be the same personality obviously hot

805
00:44:04,405 --> 00:44:08,885
Speaker 2: head less hot headed, you know, volatile less volatile a

806
00:44:08,885 --> 00:44:10,925
Speaker 2: little more. And I know he was as an actor,

807
00:44:10,965 --> 00:44:12,245
Speaker 2: he would have been up to it. And I kind

808
00:44:12,245 --> 00:44:15,205
Speaker 2: of wish they would have juiced the movie this much more.

809
00:44:15,285 --> 00:44:17,445
Speaker 2: And the movie works as it is obviously. But anyway,

810
00:44:17,445 --> 00:44:18,325
Speaker 2: that's enough on that.

811
00:44:18,725 --> 00:44:21,685
Speaker 1: Yeah, No, I'm really with you there, Michael. It's just

812
00:44:21,725 --> 00:44:23,885
Speaker 1: it's a shading. It's a shading thing because it's a

813
00:44:23,885 --> 00:44:27,005
Speaker 1: great performance and you can see the potential for it

814
00:44:27,565 --> 00:44:30,325
Speaker 1: to elevate to the like the stratosphere if that shading

815
00:44:30,765 --> 00:44:35,765
Speaker 1: shading was there. So who will win? Man, I'm suckond

816
00:44:35,765 --> 00:44:38,485
Speaker 1: guessing this as you know, as you talk, Michael, but

817
00:44:39,045 --> 00:44:41,285
Speaker 1: we did end up going with Shalo May. And here's

818
00:44:41,325 --> 00:44:44,605
Speaker 1: where maybe being me personally not on social quite as

819
00:44:44,685 --> 00:44:48,845
Speaker 1: much hurts. Also, the timing of when voters actually submit

820
00:44:48,885 --> 00:44:52,045
Speaker 1: their ballots I think is crucial because not only did

821
00:44:52,085 --> 00:44:54,725
Speaker 1: Michael B. Jordan have this, you know, this kind of

822
00:44:54,765 --> 00:44:57,965
Speaker 1: like late push of of wins, but apparently, you know,

823
00:44:58,045 --> 00:45:00,085
Speaker 1: Challa May said something about the ballet. I don't know,

824
00:45:00,125 --> 00:45:00,965
Speaker 1: but maybe that was.

825
00:45:01,325 --> 00:45:03,485
Speaker 2: Opera and ballet. He was like saying, opera and ballet

826
00:45:03,485 --> 00:45:03,884
Speaker 2: are dead.

827
00:45:04,005 --> 00:45:04,245
Speaker 3: Movie.

828
00:45:04,325 --> 00:45:07,285
Speaker 1: Yeah, a lot of feathers, and then was that before

829
00:45:07,365 --> 00:45:09,805
Speaker 1: votes were due. Who knows, I don't know. We stuck.

830
00:45:09,965 --> 00:45:12,844
Speaker 1: We stuck in our conversation with Shallo May who should win?

831
00:45:14,645 --> 00:45:17,165
Speaker 1: I'm going to go and I'm kind of surprised by this, Adam.

832
00:45:17,205 --> 00:45:20,005
Speaker 1: This is due to our second watch of One Battle

833
00:45:20,525 --> 00:45:24,925
Speaker 1: and into that I'm going with DiCaprio. It just really

834
00:45:25,805 --> 00:45:31,485
Speaker 1: solidified the comic dexterity he shows there, and he's shown

835
00:45:31,485 --> 00:45:34,085
Speaker 1: this before, Like, I think that's one of the things

836
00:45:34,085 --> 00:45:36,125
Speaker 1: I've always appreciated about Wolf of All Street. As big

837
00:45:36,165 --> 00:45:38,645
Speaker 1: of our split is on that on that film, Adam,

838
00:45:38,685 --> 00:45:43,285
Speaker 1: like DiCaprio's comic dexterity there is undeniable here. It's just

839
00:45:43,685 --> 00:45:47,205
Speaker 1: maybe in a different register, more attuned with the film,

840
00:45:47,205 --> 00:45:49,205
Speaker 1: more aligned with the film for me. And then he

841
00:45:49,245 --> 00:45:52,285
Speaker 1: has all the emotional sincerity that the part needs, which

842
00:45:52,325 --> 00:45:54,325
Speaker 1: you touched on, Michael, in terms of the father daughter

843
00:45:54,325 --> 00:45:57,485
Speaker 1: element to this movie. So I'm going to go, should win?

844
00:45:57,605 --> 00:45:59,205
Speaker 1: I think it should be DiCaprio.

845
00:45:59,885 --> 00:46:03,885
Speaker 2: Okay, interesting, Okay, yeah, I think well, well, you know,

846
00:46:03,965 --> 00:46:05,565
Speaker 2: I mean I condncing argument.

847
00:46:05,685 --> 00:46:07,245
Speaker 1: That's sure, sure, I'll take it.

848
00:46:07,365 --> 00:46:10,045
Speaker 4: I think I do think, Michael, you're right. It just

849
00:46:10,085 --> 00:46:12,245
Speaker 4: seems like, and I don't know all the ins and

850
00:46:12,245 --> 00:46:14,445
Speaker 4: outs of the voting and the timing either, and that

851
00:46:14,565 --> 00:46:17,245
Speaker 4: could be really important, because it does seem like now

852
00:46:18,285 --> 00:46:21,805
Speaker 4: all of the momentum somehow is behind Michael B. Jordan,

853
00:46:21,845 --> 00:46:24,285
Speaker 4: And I don't mean somehow is and it's surprising. Really

854
00:46:24,325 --> 00:46:28,125
Speaker 4: it's deserved, I get it. But I somehow thought, until

855
00:46:28,125 --> 00:46:31,285
Speaker 4: I really started researching and paying a little bit more attention,

856
00:46:31,805 --> 00:46:34,005
Speaker 4: I really somehow thought this was Ethan Hawks. I thought

857
00:46:34,045 --> 00:46:36,765
Speaker 4: it was in the bag just due to the nature

858
00:46:36,805 --> 00:46:39,645
Speaker 4: of everyone's kind of collective appreciation for him as a

859
00:46:39,685 --> 00:46:46,165
Speaker 4: performer and that performance feeling like it was the perfect

860
00:46:46,165 --> 00:46:52,525
Speaker 4: application of his verbal dexterity. And apparently that's not the case,

861
00:46:52,605 --> 00:46:56,605
Speaker 4: because this whole time it's been Shalome and now Michael B.

862
00:46:56,725 --> 00:47:00,485
Speaker 4: Jordan and winning the Actor Award. The fact that he

863
00:47:01,125 --> 00:47:03,725
Speaker 4: seems now, like I said, he's kind of overtaken him

864
00:47:03,765 --> 00:47:09,205
Speaker 4: in the conversation Shalo May the Sinner's domination really of

865
00:47:09,325 --> 00:47:15,404
Speaker 4: the awards season to this point, taking the largest you know, nominations,

866
00:47:15,645 --> 00:47:20,045
Speaker 4: you know, to date with sixteen. There's there's just a

867
00:47:20,085 --> 00:47:23,485
Speaker 4: lot of buzz around this movie, and I think it

868
00:47:23,565 --> 00:47:26,885
Speaker 4: is extending to Jordan as well. I think he's gonna

869
00:47:27,085 --> 00:47:31,445
Speaker 4: I think he's gonna win it, and I I'm okay

870
00:47:31,485 --> 00:47:34,525
Speaker 4: with that if that's the case. Maybe I'm I'm blinded

871
00:47:35,045 --> 00:47:38,364
Speaker 4: by my appreciation for him as an actor and for

872
00:47:38,445 --> 00:47:42,405
Speaker 4: his entire career. But of these, Hawk's performance is my favorite,

873
00:47:42,485 --> 00:47:47,445
Speaker 4: and it's actually for how unhawksy and it is. I

874
00:47:47,485 --> 00:47:50,085
Speaker 4: don't think that Ethan Hawk relies on any of his

875
00:47:50,925 --> 00:47:53,725
Speaker 4: usual bag of tricks in that performance. I don't think

876
00:47:53,925 --> 00:47:58,245
Speaker 4: playing Loren's heart allows him to rely on his go

877
00:47:58,325 --> 00:48:01,685
Speaker 4: to kind of tools as a performer. So I'm gonna

878
00:48:01,725 --> 00:48:04,165
Speaker 4: I'm gonna stay. I'm gonna give Ethan Hawk the love

879
00:48:04,205 --> 00:48:06,845
Speaker 4: that I don't think the Academy apparently is willing to

880
00:48:06,885 --> 00:48:07,445
Speaker 4: give him.

881
00:48:07,965 --> 00:48:08,965
Speaker 5: And we will see.

882
00:48:09,605 --> 00:48:12,525
Speaker 1: I mean, he's got the in a normal year.

883
00:48:12,605 --> 00:48:12,844
Speaker 4: Ada.

884
00:48:13,925 --> 00:48:17,725
Speaker 1: It's the sensible pick because how many nominations does he

885
00:48:17,805 --> 00:48:19,965
Speaker 1: have without a win, And I know some of them

886
00:48:19,965 --> 00:48:25,805
Speaker 1: are in the writing category two acting, right, yeah, and

887
00:48:25,845 --> 00:48:29,325
Speaker 1: maybe two maybe two in writing as well. So and

888
00:48:29,325 --> 00:48:31,685
Speaker 1: and you know this is not to denigrate its element

889
00:48:31,765 --> 00:48:37,165
Speaker 1: in the performance though, though his look is quite jarring

890
00:48:37,245 --> 00:48:40,205
Speaker 1: in the movie, I will say, but just trying to

891
00:48:40,245 --> 00:48:44,925
Speaker 1: look objectively and Academy history, physical transformation is an element

892
00:48:45,485 --> 00:48:50,485
Speaker 1: that tends to get attention and awards. Now, to your point, Adam,

893
00:48:50,605 --> 00:48:53,685
Speaker 1: like that has maybe shifted in recent years where I

894
00:48:53,725 --> 00:48:57,364
Speaker 1: do think the voting membership has become more sophisticated, and

895
00:48:57,445 --> 00:49:01,565
Speaker 1: maybe we've seen less of that recently. But in academy

896
00:49:01,645 --> 00:49:03,645
Speaker 1: history that would work in his favor too. I think

897
00:49:03,645 --> 00:49:06,085
Speaker 1: it's just and personally, I think it's a very good

898
00:49:06,085 --> 00:49:06,844
Speaker 1: performance as well.

899
00:49:06,885 --> 00:49:07,685
Speaker 4: I think it's just.

900
00:49:07,725 --> 00:49:10,245
Speaker 1: Like maybe the wrong year for him to have given

901
00:49:10,285 --> 00:49:12,325
Speaker 1: this performance and get a win.

902
00:49:12,925 --> 00:49:15,085
Speaker 5: Yeah, yeah, I don't think.

903
00:49:15,205 --> 00:49:17,725
Speaker 2: Well, well, I don't agree for reasons we can get

904
00:49:17,725 --> 00:49:20,205
Speaker 2: to if we get to the categories.

905
00:49:20,325 --> 00:49:22,525
Speaker 4: Do it right now, let's let's talk about who should

906
00:49:22,525 --> 00:49:25,045
Speaker 4: have been cut and who you would like to insert instead.

907
00:49:25,085 --> 00:49:28,805
Speaker 2: Michael, Well, let's let's just call up the notes here

908
00:49:28,885 --> 00:49:31,165
Speaker 2: for you. I was looking at Ethan Hawk's five Oscar

909
00:49:31,245 --> 00:49:34,325
Speaker 2: nominations right now. I forgot about training Day.

910
00:49:34,605 --> 00:49:35,005
Speaker 4: That's the one.

911
00:49:35,045 --> 00:49:39,405
Speaker 2: I was thinking, yeah, and and Boyhood and uh, you know,

912
00:49:39,565 --> 00:49:42,884
Speaker 2: and and so this is his third. I would kick

913
00:49:42,885 --> 00:49:47,525
Speaker 2: out Ethan Hawk of the five. Uh. I think he's

914
00:49:47,525 --> 00:49:50,005
Speaker 2: done beautiful work here and there, and he and a

915
00:49:50,005 --> 00:49:53,165
Speaker 2: lot of it's been onto the television, and uh, and

916
00:49:53,205 --> 00:49:55,005
Speaker 2: I think he was excellent Boyhood. I think, you know,

917
00:49:55,285 --> 00:49:57,445
Speaker 2: I thought it was really good in First Reform because

918
00:49:57,445 --> 00:50:02,165
Speaker 2: you could feel that Paul Schrader gave him one piece

919
00:50:02,205 --> 00:50:06,725
Speaker 2: of direction, which is just you know, well a putting

920
00:50:06,765 --> 00:50:08,805
Speaker 2: a lot of it just in voiceover, and you know,

921
00:50:08,845 --> 00:50:11,045
Speaker 2: as as he's as the character is writing in his

922
00:50:11,165 --> 00:50:13,445
Speaker 2: journal at night, you know, you know, a dark and

923
00:50:13,525 --> 00:50:15,245
Speaker 2: dark Knight of the Soul after a dark Knight of

924
00:50:15,245 --> 00:50:19,685
Speaker 2: the Soul. But it's it's the only conspicuously restrained performance

925
00:50:19,685 --> 00:50:21,885
Speaker 2: he's ever given in his life. And Hawk has talked

926
00:50:21,925 --> 00:50:24,245
Speaker 2: about this on he was on Fresh Air with Terry

927
00:50:24,245 --> 00:50:27,205
Speaker 2: Gross talking about how he's just his over eagerness to

928
00:50:27,285 --> 00:50:30,445
Speaker 2: impress is sort of an albatross and he has to

929
00:50:30,445 --> 00:50:33,485
Speaker 2: watch out for it. And and I pray that one

930
00:50:33,565 --> 00:50:36,085
Speaker 2: day he really really will take care of that last

931
00:50:36,485 --> 00:50:40,045
Speaker 2: five seven percent too much, because I think.

932
00:50:40,445 --> 00:50:42,285
Speaker 4: The math again, Michael, well, yeah.

933
00:50:42,285 --> 00:50:45,485
Speaker 2: Exactly, I'm just going for it what the statisticians say.

934
00:50:45,525 --> 00:50:49,365
Speaker 2: But the you know, if you know he is the movie,

935
00:50:49,405 --> 00:50:52,884
Speaker 2: you know, he's he's talking throughout it constantly. He's he's

936
00:50:52,965 --> 00:50:56,364
Speaker 2: kind of a compulsive storyteller. And anything to fend off

937
00:50:56,405 --> 00:50:58,405
Speaker 2: the loneliness and security. And it's you know, it's a

938
00:50:58,485 --> 00:51:04,605
Speaker 2: very very it's a very accomplished and often very touching performance,

939
00:51:04,645 --> 00:51:07,845
Speaker 2: I think. But it's just if link letter is going

940
00:51:07,925 --> 00:51:10,365
Speaker 2: to shoot that close. You don't need that much, you

941
00:51:10,525 --> 00:51:12,885
Speaker 2: do not. I don't care. You know, he's right, you know,

942
00:51:12,965 --> 00:51:16,085
Speaker 2: I don't care. I don't think Larry Hart was necessarily

943
00:51:16,125 --> 00:51:20,725
Speaker 2: that sort of enormous presence in a room, you know,

944
00:51:21,005 --> 00:51:23,885
Speaker 2: even even with that talent or that that with or

945
00:51:23,925 --> 00:51:26,444
Speaker 2: that you know, that much alcohol. I just I don't

946
00:51:26,485 --> 00:51:28,924
Speaker 2: think so. And I just think caught a little less

947
00:51:28,925 --> 00:51:32,805
Speaker 2: pal so I call him pale as well, and so

948
00:51:32,885 --> 00:51:36,565
Speaker 2: many pals he's out, but I very good. But that's

949
00:51:36,605 --> 00:51:39,685
Speaker 2: just my personal something something about it a little much.

950
00:51:39,725 --> 00:51:41,165
Speaker 2: Any I know he's aware of it because I heard

951
00:51:41,205 --> 00:51:43,765
Speaker 2: about it on the on Terry Gross, you know, fresh air,

952
00:51:43,805 --> 00:51:46,645
Speaker 2: and I thought he's smart enough to know he knows

953
00:51:46,925 --> 00:51:48,645
Speaker 2: what he has to work on, and he's working on

954
00:51:48,685 --> 00:51:51,085
Speaker 2: it probably all the time. But I would probably roll

955
00:51:51,125 --> 00:51:54,205
Speaker 2: in leave young hung from no other choice. I think

956
00:51:54,245 --> 00:51:57,365
Speaker 2: he's you know, that's as he's not great work and

957
00:51:57,365 --> 00:51:59,725
Speaker 2: everything from stuff I don't care about, like squid game,

958
00:51:59,845 --> 00:52:02,605
Speaker 2: the stuff I actually care about. That film sort of

959
00:52:02,685 --> 00:52:06,964
Speaker 2: just got sidelined by a lot of good work, other

960
00:52:07,045 --> 00:52:10,685
Speaker 2: work from the international realm, which is kind of a

961
00:52:10,685 --> 00:52:12,845
Speaker 2: weird way to you know, I can't get comfortable with

962
00:52:12,885 --> 00:52:15,605
Speaker 2: that word, guys, with with the change in the county,

963
00:52:15,685 --> 00:52:18,525
Speaker 2: right item. I know it's better than foreign because foreign

964
00:52:18,725 --> 00:52:24,404
Speaker 2: is like judging and patronizing and narrowly kind of slightly racist. Uh,

965
00:52:24,525 --> 00:52:26,325
Speaker 2: international is just kind of like, oh yeah, well, you know,

966
00:52:26,365 --> 00:52:30,165
Speaker 2: he's it's it's an international film. It's like, can we

967
00:52:30,245 --> 00:52:30,925
Speaker 2: just say, is.

968
00:52:30,845 --> 00:52:34,805
Speaker 1: There another way to say that I won't have proposal

969
00:52:35,005 --> 00:52:39,925
Speaker 1: to the Academy. Well, I'm just in terms of terminology, Michael,

970
00:52:39,965 --> 00:52:42,205
Speaker 1: I'm I'm just thrown. I'm starting to think of you

971
00:52:42,245 --> 00:52:43,725
Speaker 1: now just as pal to the stars.

972
00:52:44,885 --> 00:52:51,404
Speaker 2: That well, let me just I'll just close on this.

973
00:52:51,645 --> 00:52:54,525
Speaker 2: Let's just let's just get with the times and just

974
00:52:54,605 --> 00:52:57,165
Speaker 2: call them there. It's an enemy film, you know, it's

975
00:52:57,205 --> 00:52:59,485
Speaker 2: a it's a film from an enemy country. You know,

976
00:52:59,605 --> 00:53:02,725
Speaker 2: it's not us. It's so if you're not with us,

977
00:53:02,925 --> 00:53:07,765
Speaker 2: you're of course I would go no other choices of film.

978
00:53:07,765 --> 00:53:10,205
Speaker 2: I hope people discover if they haven't seen it.

979
00:53:10,605 --> 00:53:11,605
Speaker 5: Uh, And it's.

980
00:53:11,445 --> 00:53:13,884
Speaker 2: It's another and it's one of the very best films

981
00:53:13,925 --> 00:53:18,405
Speaker 2: from last year that is utterly, totally unpredictable and goes

982
00:53:18,925 --> 00:53:21,205
Speaker 2: you know, it's a it's just it's a story that

983
00:53:21,405 --> 00:53:23,765
Speaker 2: just takes so many swerves you can't believe that it

984
00:53:23,885 --> 00:53:26,525
Speaker 2: all stays on the same road to the finish. It's

985
00:53:27,165 --> 00:53:30,605
Speaker 2: really really remarkable work. So anyways, and a great performance.

986
00:53:30,645 --> 00:53:35,645
Speaker 1: So yeah, yeah, Josh all right, Best Actor should have

987
00:53:35,685 --> 00:53:39,285
Speaker 1: been nominated for me. Josh O'Connor and Wake Up Dead

988
00:53:39,285 --> 00:53:42,325
Speaker 1: Man my favorite performance from a lead actor last year,

989
00:53:42,445 --> 00:53:44,765
Speaker 1: and I look forward to the day when the Academy

990
00:53:44,805 --> 00:53:48,005
Speaker 1: wakes up to the wonder of Josh O'Connor, who should

991
00:53:48,005 --> 00:53:50,045
Speaker 1: have been kicked out Man was as hard, I mean

992
00:53:51,125 --> 00:53:54,925
Speaker 1: so hard. Even with slight reservations I had about some

993
00:53:54,965 --> 00:53:58,045
Speaker 1: of these performances, I completely agree they're among the best

994
00:53:58,085 --> 00:54:02,605
Speaker 1: of the year, and this is unfair for me, just

995
00:54:02,685 --> 00:54:05,085
Speaker 1: being honest. It would probably be more up because The

996
00:54:05,125 --> 00:54:08,844
Speaker 1: Secret Agent is a movie that I did like quite

997
00:54:08,845 --> 00:54:13,005
Speaker 1: a bit and didn't like it to the degree most

998
00:54:13,045 --> 00:54:15,565
Speaker 1: people did, which means I need to watch it again,

999
00:54:15,725 --> 00:54:18,645
Speaker 1: and probably when I did so, Moro would be elevated

1000
00:54:18,685 --> 00:54:21,165
Speaker 1: even higher on this list. For me, but where I'm

1001
00:54:21,205 --> 00:54:23,364
Speaker 1: at right now, he's probably the one i'd take out

1002
00:54:23,405 --> 00:54:24,605
Speaker 1: in favor of Josh O'Connor.

1003
00:54:24,965 --> 00:54:27,285
Speaker 4: It's too bad we can't get more tension here because

1004
00:54:27,325 --> 00:54:32,325
Speaker 4: Michael is cutting my pick and I'm gonna cut Josh's pick. Actually,

1005
00:54:32,365 --> 00:54:35,605
Speaker 4: even though I love DiCaprio's performance in One Battle enough

1006
00:54:36,725 --> 00:54:40,485
Speaker 4: another yeah, because this is Caprio. Look, this is another case,

1007
00:54:40,805 --> 00:54:44,365
Speaker 4: like this is the other category. Even though I actually

1008
00:54:44,365 --> 00:54:47,765
Speaker 4: feel stronger about this category than best Supporting Actor. I

1009
00:54:47,805 --> 00:54:51,005
Speaker 4: think these are the five. This is this is another category.

1010
00:54:51,045 --> 00:54:53,965
Speaker 4: They got it right because there is no reason to

1011
00:54:54,005 --> 00:54:57,805
Speaker 4: pick anybody else than these five on my CFCA ballot.

1012
00:54:58,005 --> 00:55:00,485
Speaker 4: I had DiCaprio at six, and Michael, you know how

1013
00:55:00,525 --> 00:55:02,565
Speaker 4: I had on my list. I had Lee the Young

1014
00:55:02,645 --> 00:55:05,605
Speaker 4: hun for no other choice. Okay, so I had a

1015
00:55:05,645 --> 00:55:08,325
Speaker 4: great I had a great top six. Now I don't

1016
00:55:08,365 --> 00:55:12,845
Speaker 4: think he realistically stood a chance, And like you, Josh

1017
00:55:13,045 --> 00:55:16,525
Speaker 4: felt even more passionately about how good DiCaprio is after

1018
00:55:16,565 --> 00:55:18,885
Speaker 4: watching it again, so I bumped him up a spot.

1019
00:55:19,005 --> 00:55:24,525
Speaker 4: I think these are the best five lead actor performances.

1020
00:55:24,725 --> 00:55:27,285
Speaker 4: I'm great with this list. I don't want to swap

1021
00:55:27,285 --> 00:55:31,605
Speaker 4: anybody in or out. If I had to DiCaprio because

1022
00:55:31,605 --> 00:55:34,844
Speaker 4: he was number six originally for me, I guess that's

1023
00:55:34,845 --> 00:55:37,924
Speaker 4: why I'm gonna I'm gonna move him out. And I'm

1024
00:55:37,925 --> 00:55:39,805
Speaker 4: with you that it would be josh O'Connor. It'd be

1025
00:55:39,885 --> 00:55:43,884
Speaker 4: Josh O'Connor as my pick to put in for Wake Up,

1026
00:55:44,365 --> 00:55:47,285
Speaker 4: Dead Man, the Knives Out Mystery, and I think he

1027
00:55:47,485 --> 00:55:49,645
Speaker 4: is an actor. I mean, look, at the end of

1028
00:55:49,685 --> 00:55:53,045
Speaker 4: the day, it's not going to really make your career

1029
00:55:53,125 --> 00:55:55,805
Speaker 4: or validate you as a as a performer. Of course,

1030
00:55:55,845 --> 00:55:58,005
Speaker 4: I know we don't feel this way if you ever

1031
00:55:58,045 --> 00:56:00,685
Speaker 4: get Oscar nominations or an Oscar win. But I'd be

1032
00:56:00,725 --> 00:56:05,165
Speaker 4: shocked if josh O'Connor doesn't end up with multiple Oscar

1033
00:56:05,205 --> 00:56:07,885
Speaker 4: nominations over the course of his career. I think that,

1034
00:56:08,125 --> 00:56:12,245
Speaker 4: I think that seems likely. And when I think back,

1035
00:56:12,365 --> 00:56:14,605
Speaker 4: this was easy for me to put him in because

1036
00:56:14,645 --> 00:56:17,525
Speaker 4: I think back to us, you know, doing our rap

1037
00:56:17,565 --> 00:56:21,325
Speaker 4: party and thinking about the the movie and the moments

1038
00:56:21,405 --> 00:56:25,404
Speaker 4: that moved us the most. And yes, Ryan Johnson had

1039
00:56:25,445 --> 00:56:28,404
Speaker 4: a lot to do with it. Ryan Johnson probably had

1040
00:56:28,405 --> 00:56:31,165
Speaker 4: the most to do with it because of his writing

1041
00:56:31,445 --> 00:56:34,245
Speaker 4: and directing with that movie, but they were both moments

1042
00:56:34,765 --> 00:56:39,645
Speaker 4: that Josh O'Connor gave us, his performance gave us. We

1043
00:56:39,765 --> 00:56:44,725
Speaker 4: can't overlook that, and that that that performance and that

1044
00:56:44,805 --> 00:56:47,924
Speaker 4: movie I think are I don't know if it's fair

1045
00:56:47,925 --> 00:56:51,165
Speaker 4: to say that they're underappreciated or not, but obviously we

1046
00:56:51,245 --> 00:56:54,924
Speaker 4: felt that it was much more than just the really

1047
00:56:54,965 --> 00:56:58,045
Speaker 4: good mystery that it is. There's a lot of mysteries

1048
00:56:58,085 --> 00:57:00,045
Speaker 4: within that mystery to unpack.

1049
00:57:00,565 --> 00:57:03,605
Speaker 1: Yeah, I think underappreciated in award circles, which you know,

1050
00:57:03,925 --> 00:57:06,085
Speaker 1: maybe would come up for me at least a little

1051
00:57:06,085 --> 00:57:07,285
Speaker 1: bit further down the line.

1052
00:57:07,445 --> 00:57:09,965
Speaker 2: Also, O'Connor is so good in The Mastermind. I mean

1053
00:57:09,965 --> 00:57:12,965
Speaker 2: that was which was my guest very late, right under

1054
00:57:13,005 --> 00:57:14,725
Speaker 2: the wire for you know, the first time for the

1055
00:57:14,765 --> 00:57:17,525
Speaker 2: first kind of viewer discussions, and I mean that, you know,

1056
00:57:17,605 --> 00:57:19,965
Speaker 2: that's right, That's one of Rekord's best and so it's

1057
00:57:19,965 --> 00:57:23,645
Speaker 2: the perfect actor in the right in that that material

1058
00:57:24,165 --> 00:57:27,365
Speaker 2: and for her way of just sort of sitting with

1059
00:57:27,565 --> 00:57:29,805
Speaker 2: and slowly brewing into a character.

1060
00:57:29,885 --> 00:57:31,205
Speaker 5: Yeah, it's great, and.

1061
00:57:31,245 --> 00:57:34,405
Speaker 1: Just doing something completely different than what's happening and wake

1062
00:57:34,485 --> 00:57:34,965
Speaker 1: up that man.

1063
00:57:35,045 --> 00:57:35,245
Speaker 3: Yeah.

1064
00:57:35,565 --> 00:57:40,805
Speaker 7: Yeah, And the oscar goes to Mikey Madison.

1065
00:57:42,685 --> 00:57:45,245
Speaker 4: We have lead actress now I don't know if we

1066
00:57:45,325 --> 00:57:47,765
Speaker 4: really need to even weigh in on who will win.

1067
00:57:48,325 --> 00:57:51,245
Speaker 4: Jesse Buckley is first up because she has a bee

1068
00:57:51,525 --> 00:57:54,045
Speaker 4: in her name and it comes before burn for him,

1069
00:57:54,125 --> 00:57:56,165
Speaker 4: that rose Byrn if I had legs, i'd kick you.

1070
00:57:56,285 --> 00:57:59,125
Speaker 4: Kate Hudson's song sung Blue right out at Rites a

1071
00:57:59,325 --> 00:58:03,845
Speaker 4: sentimental value, and Emma Stone for Bougonia. Maybe we can

1072
00:58:03,885 --> 00:58:05,605
Speaker 4: just get this out of the way. Do we all

1073
00:58:05,645 --> 00:58:09,565
Speaker 4: agree that if Buckley doesn't win this it would be

1074
00:58:10,285 --> 00:58:12,245
Speaker 4: the shock of all shocks.

1075
00:58:12,285 --> 00:58:13,725
Speaker 2: The shock of the night for sure.

1076
00:58:14,005 --> 00:58:16,405
Speaker 1: Yeah, yeah, yeah, yeah, I agree, And also for what

1077
00:58:16,405 --> 00:58:18,165
Speaker 1: it's worth, unanimous in Copenhagen.

1078
00:58:18,925 --> 00:58:24,085
Speaker 4: Okay, well, then the Copenhagen doctrine, you know, the they

1079
00:58:24,085 --> 00:58:28,405
Speaker 4: spoke and this is no questioning.

1080
00:58:28,325 --> 00:58:34,965
Speaker 2: That this is going to be accords. That's important historical

1081
00:58:35,085 --> 00:58:37,325
Speaker 2: group you've established there.

1082
00:58:38,325 --> 00:58:41,125
Speaker 4: I just I think about, you know, the the fact that,

1083
00:58:41,165 --> 00:58:43,445
Speaker 4: of course the movie Too is the Best Picture nominee,

1084
00:58:43,925 --> 00:58:49,525
Speaker 4: Chloe Jao got a nomination, the cross branches, you know,

1085
00:58:49,605 --> 00:58:53,845
Speaker 4: the support that it's gotten, that all that all points to,

1086
00:58:53,925 --> 00:58:58,805
Speaker 4: of course, the win, but also the adulation. I mean,

1087
00:58:58,845 --> 00:59:02,405
Speaker 4: of course all these performances that are nominated, co stars

1088
00:59:02,605 --> 00:59:04,965
Speaker 4: and directors and people in the industry are going to

1089
00:59:05,005 --> 00:59:08,045
Speaker 4: speak highly of a performance, but I don't know that.

1090
00:59:08,125 --> 00:59:11,605
Speaker 4: I have seen so many people not even associated with

1091
00:59:11,725 --> 00:59:15,005
Speaker 4: the movie speak is highly of a performer and a

1092
00:59:15,045 --> 00:59:19,085
Speaker 4: performance as I have with Jesse Buckley and Hamnet. People

1093
00:59:19,165 --> 00:59:23,885
Speaker 4: seem other actresses and actors seem who are really good,

1094
00:59:24,125 --> 00:59:26,165
Speaker 4: who I really respect, and seem like they're at the

1095
00:59:26,165 --> 00:59:29,085
Speaker 4: top of their craft, seem genuinely in awe of the

1096
00:59:29,125 --> 00:59:31,885
Speaker 4: work Jesse Buckley is doing in Hamnet. And I'm going to,

1097
00:59:32,245 --> 00:59:33,605
Speaker 4: I suppose, take them at their word.

1098
00:59:34,165 --> 00:59:36,645
Speaker 1: Yeah, so we all have that she should win as well.

1099
00:59:36,885 --> 00:59:37,165
Speaker 3: I have.

1100
00:59:37,325 --> 00:59:39,925
Speaker 4: I have that she should Michael, I do.

1101
00:59:40,565 --> 00:59:43,125
Speaker 2: I do, And it's so reluctant because I have I

1102
00:59:43,125 --> 00:59:46,085
Speaker 2: have wildly mixed feelings about that film, but I don't

1103
00:59:46,125 --> 00:59:49,325
Speaker 2: have wildly mixed feelings about what right what she does

1104
00:59:49,365 --> 00:59:54,965
Speaker 2: to make me to make me just sideline my my

1105
00:59:55,085 --> 00:59:57,285
Speaker 2: old index feelings. I just appreciate what she's up to.

1106
00:59:57,605 --> 00:59:59,125
Speaker 2: It's not her fault. She has to kind of do

1107
00:59:59,445 --> 01:00:04,325
Speaker 2: you know that particular kind of roundedly of grief and anguish.

1108
01:00:04,565 --> 01:00:09,325
Speaker 2: The way it's treated, it couldn't be more authentic from

1109
01:00:09,325 --> 01:00:13,445
Speaker 2: a performance point of view. Uh And and for me.

1110
01:00:14,085 --> 01:00:16,925
Speaker 2: You know, it could have been handled a different way,

1111
01:00:17,005 --> 01:00:18,765
Speaker 2: even with the same thing. And there's something about the

1112
01:00:18,805 --> 01:00:22,245
Speaker 2: film that I will I have yet to locate exactly

1113
01:00:22,285 --> 01:00:26,885
Speaker 2: why I resisted some of it. It just felt a

1114
01:00:26,885 --> 01:00:31,765
Speaker 2: little like I was, it was discreetly assaultive in terms

1115
01:00:31,845 --> 01:00:36,965
Speaker 2: of it's you know, it's kind of full bore, you know,

1116
01:00:37,125 --> 01:00:40,365
Speaker 2: go for the throat pathos, and I mean that's not Chloe's.

1117
01:00:40,005 --> 01:00:40,925
Speaker 5: Jaw by temperament.

1118
01:00:40,965 --> 01:00:44,165
Speaker 2: But somehow, I mean, this is you know, this is

1119
01:00:44,245 --> 01:00:48,045
Speaker 2: just stupid, kind of like maybe patronizing guesswork. But it's

1120
01:00:48,085 --> 01:00:51,085
Speaker 2: like the minute I saw Spielberg and Sam Mendy's come

1121
01:00:51,165 --> 01:00:54,685
Speaker 2: up as on the opening credits as executive producers, I thought, oh,

1122
01:00:55,885 --> 01:01:00,685
Speaker 2: in the same way that Spielberg's best work wasn't The

1123
01:01:00,765 --> 01:01:05,405
Speaker 2: Color Purple? You know that Sam Mende's has done very

1124
01:01:05,405 --> 01:01:11,965
Speaker 2: slick work, sometimes sometimes adapting, sometimes not in emotional human drama. Right,

1125
01:01:12,725 --> 01:01:16,125
Speaker 2: that just feels a little engineered to me. And there's

1126
01:01:16,125 --> 01:01:19,125
Speaker 2: something about it, but not jest Buckley man, I mean,

1127
01:01:19,165 --> 01:01:21,605
Speaker 2: this is she is she you know, she is the

1128
01:01:21,685 --> 01:01:26,125
Speaker 2: last twelve fifteen movies she's made, she has been, you know,

1129
01:01:26,165 --> 01:01:28,725
Speaker 2: a reason enough to go and and yeah, I think

1130
01:01:28,765 --> 01:01:30,525
Speaker 2: she it's will and should.

1131
01:01:31,005 --> 01:01:35,645
Speaker 4: Okay, then who would you have nominated instead in this

1132
01:01:35,685 --> 01:01:37,445
Speaker 4: category if you could have Michael and who would.

1133
01:01:37,285 --> 01:01:45,485
Speaker 2: You cut Jesse Buck? No, I wouldn't. I like I

1134
01:01:45,525 --> 01:01:48,405
Speaker 2: really like Kate Hudson in Song Song Blue. I don't

1135
01:01:48,405 --> 01:01:50,805
Speaker 2: think a movie, don't don't love the movie, but it's

1136
01:01:51,045 --> 01:01:56,325
Speaker 2: it's she's good. She's good, and but there you go,

1137
01:01:56,525 --> 01:02:00,765
Speaker 2: and to make room for the very unlikely to be nominated.

1138
01:02:00,805 --> 01:02:04,205
Speaker 2: But I've already touted her publicly in other reason.

1139
01:02:04,285 --> 01:02:06,525
Speaker 5: I just you know, I saw one.

1140
01:02:06,405 --> 01:02:10,245
Speaker 2: Of them days and and Kiki Palmer just in there.

1141
01:02:10,285 --> 01:02:13,885
Speaker 2: There you go, moving like a pro, a comic pro

1142
01:02:14,005 --> 01:02:16,605
Speaker 2: who knows how to just like propel and sort of

1143
01:02:17,205 --> 01:02:20,765
Speaker 2: push a scene in the best way. She works like

1144
01:02:21,085 --> 01:02:23,725
Speaker 2: a tiger, you know. And it's not just about size

1145
01:02:23,845 --> 01:02:27,365
Speaker 2: of performance or like the willingness to go big or whatever.

1146
01:02:27,525 --> 01:02:30,125
Speaker 2: She just has a great year for where how is

1147
01:02:30,165 --> 01:02:32,525
Speaker 2: scenes rhythm should sort of like go And even when

1148
01:02:32,525 --> 01:02:36,045
Speaker 2: the director is kind of kind of struggling to keep

1149
01:02:36,125 --> 01:02:37,805
Speaker 2: up with her, you know, it's just a it's just

1150
01:02:37,845 --> 01:02:41,125
Speaker 2: a moderately well made film at best. But Kicky Palmer

1151
01:02:41,205 --> 01:02:44,445
Speaker 2: is like great A of course, comedy never gets you know,

1152
01:02:44,685 --> 01:02:47,885
Speaker 2: just just just a kind of a zingy, unpretentious comedy.

1153
01:02:47,965 --> 01:02:50,965
Speaker 2: Doesn't get props from the from the Academy much, but

1154
01:02:51,045 --> 01:02:52,845
Speaker 2: it's yeah, Kicky Palmer.

1155
01:02:52,925 --> 01:02:55,525
Speaker 1: Yeah, I mean that was Michael. That's who I had

1156
01:02:55,645 --> 01:02:59,045
Speaker 1: as should have been nominated. She was on my CFCA ballot.

1157
01:02:59,045 --> 01:03:00,765
Speaker 1: One of them days, was on my top ten films.

1158
01:03:00,805 --> 01:03:02,165
Speaker 1: I mean, I think it's a better film than you

1159
01:03:02,245 --> 01:03:04,765
Speaker 1: described top ten films of the year, but it's so

1160
01:03:04,965 --> 01:03:07,285
Speaker 1: unrealistic it's not my official pick.

1161
01:03:09,165 --> 01:03:10,725
Speaker 2: No chance to hell, you mean no.

1162
01:03:10,645 --> 01:03:17,885
Speaker 1: Chance with the Academy Again, this has changed, and I

1163
01:03:17,925 --> 01:03:19,245
Speaker 1: want to be fair. I want to be fair. I

1164
01:03:19,605 --> 01:03:21,525
Speaker 1: was about to say, what is that? What are the

1165
01:03:21,605 --> 01:03:24,645
Speaker 1: chances any Academy Award voter saw one of them days?

1166
01:03:24,645 --> 01:03:27,165
Speaker 1: But I will retract that and say in recent years,

1167
01:03:27,205 --> 01:03:29,765
Speaker 1: I bet that has changed, and a lot of them have.

1168
01:03:29,885 --> 01:03:31,485
Speaker 1: But I still don't think we're at a point where

1169
01:03:32,045 --> 01:03:35,565
Speaker 1: a comic performance, even with some very serious dramatical airs

1170
01:03:35,565 --> 01:03:38,165
Speaker 1: to it, which I think Keiki Palmer brings, is going

1171
01:03:38,205 --> 01:03:40,965
Speaker 1: to be recognized for the Oscars. So you know, there

1172
01:03:40,965 --> 01:03:45,005
Speaker 1: are other less Academy friendly performances on my ballot, like

1173
01:03:45,605 --> 01:03:48,045
Speaker 1: eve a Victor for the Golden Brick winning. Sorry, baby,

1174
01:03:48,765 --> 01:03:50,645
Speaker 1: you know, I don't think that would ever happen. So

1175
01:03:50,725 --> 01:03:53,205
Speaker 1: what I'm actually going to go with is one I

1176
01:03:53,245 --> 01:03:55,725
Speaker 1: was surprised to not see happen, which was Tessa Thompson

1177
01:03:56,565 --> 01:03:57,285
Speaker 1: for HEADA.

1178
01:03:57,885 --> 01:03:59,365
Speaker 4: That's my pick too, Josh.

1179
01:04:00,485 --> 01:04:03,605
Speaker 2: Michael, it seems like, I mean, that's not my top

1180
01:04:03,645 --> 01:04:05,405
Speaker 2: five for the year. So as a.

1181
01:04:05,405 --> 01:04:08,885
Speaker 1: Fellow, yeah, no, I know, I mean that's where you

1182
01:04:08,885 --> 01:04:12,485
Speaker 1: should have gone. I just think it's it's similar the

1183
01:04:12,565 --> 01:04:16,005
Speaker 1: way you describe Michael B. Jordan's performance in Centers. Michael,

1184
01:04:16,085 --> 01:04:17,805
Speaker 1: I feel is how I felt here, is like it's

1185
01:04:17,965 --> 01:04:22,005
Speaker 1: really good and there's something there's like that shading or

1186
01:04:22,485 --> 01:04:25,445
Speaker 1: ten percent of something that would have put it on

1187
01:04:25,485 --> 01:04:28,805
Speaker 1: my balllet of top five rather than say top eight,

1188
01:04:29,005 --> 01:04:32,685
Speaker 1: which is where she landed. So so yes, she should

1189
01:04:32,685 --> 01:04:34,485
Speaker 1: have been nominated. I would have been fine with that,

1190
01:04:34,925 --> 01:04:36,965
Speaker 1: and I would have kicked out, you know. Emma Stone,

1191
01:04:37,525 --> 01:04:40,725
Speaker 1: speaking of petitions to the Academy, I'm waiting to hear

1192
01:04:40,765 --> 01:04:44,445
Speaker 1: back on my petition that Stone Lanthemos there's a temporary ban,

1193
01:04:44,685 --> 01:04:47,525
Speaker 1: let's say five years, and we can get back to

1194
01:04:47,565 --> 01:04:49,485
Speaker 1: them after that point. But haven't heard back.

1195
01:04:49,805 --> 01:04:53,245
Speaker 4: I'll let you know, yeah, I would co sign and

1196
01:04:52,685 --> 01:04:55,125
Speaker 4: that will come up later, but it doesn't come up

1197
01:04:55,165 --> 01:04:57,605
Speaker 4: in this category. As I said Tessa Thompson for Heda

1198
01:04:58,765 --> 01:05:01,405
Speaker 4: that was in my top five, a remarkable performance and

1199
01:05:01,445 --> 01:05:05,485
Speaker 4: that would be in for me. Hard to decide which

1200
01:05:05,525 --> 01:05:08,445
Speaker 4: one of these I would kick out, And it's tempting

1201
01:05:08,525 --> 01:05:10,645
Speaker 4: to go with Emma Stone Josh because I'm not a

1202
01:05:10,645 --> 01:05:14,365
Speaker 4: fan of Pogonia. I am actually going to go with

1203
01:05:14,445 --> 01:05:16,325
Speaker 4: rose Burn and it's not because I don't like the

1204
01:05:16,365 --> 01:05:19,645
Speaker 4: performance and I don't think rose Burn is very good. Okay, again,

1205
01:05:19,645 --> 01:05:22,565
Speaker 4: I'm having to pick between the five, but I think

1206
01:05:23,085 --> 01:05:28,245
Speaker 4: of all of those performances, the movie is a bit oppressive,

1207
01:05:28,885 --> 01:05:33,125
Speaker 4: and the performance then also takes on that quality. It

1208
01:05:33,205 --> 01:05:37,045
Speaker 4: has to, right. But if I'm weighing, for example, actually

1209
01:05:37,045 --> 01:05:40,205
Speaker 4: what Kate Hudson does in Song Sung Blue versus what

1210
01:05:41,085 --> 01:05:44,365
Speaker 4: rose Byrne does and if I had legs, there's a

1211
01:05:44,365 --> 01:05:48,125
Speaker 4: part of me that actually appreciates a little bit more

1212
01:05:49,005 --> 01:05:54,605
Speaker 4: Hudson having to balance the kind of wild swings, emotional

1213
01:05:55,125 --> 01:05:58,765
Speaker 4: melodramatic moments of that of that movie and not make

1214
01:05:58,805 --> 01:06:01,445
Speaker 4: them feel like that, like making that character feel like

1215
01:06:01,485 --> 01:06:05,605
Speaker 4: a real human being. That impresses me almost a little

1216
01:06:05,645 --> 01:06:10,885
Speaker 4: bit more than the heaviness that Roseburn has to bring,

1217
01:06:10,925 --> 01:06:13,765
Speaker 4: but brings to that character and if I had legs.

1218
01:06:13,845 --> 01:06:17,685
Speaker 4: So that's my best explanation for why I'm I'm kicking

1219
01:06:17,685 --> 01:06:19,845
Speaker 4: her out. There's not really a good explanation.

1220
01:06:20,525 --> 01:06:22,405
Speaker 3: And Oscar goes to.

1221
01:06:24,965 --> 01:06:30,765
Speaker 4: Sean Baker, We go to director, and we have Hamnett,

1222
01:06:30,885 --> 01:06:34,245
Speaker 4: Chloe Jao is the director. Josh Safti for Marty Supreme

1223
01:06:34,685 --> 01:06:39,365
Speaker 4: Pta One Battle after Another, Yoakam Treer sentimental value, Ryan

1224
01:06:39,725 --> 01:06:43,325
Speaker 4: Kugler for Sinners. Michael, do you have a pick for

1225
01:06:43,365 --> 01:06:45,565
Speaker 4: who will win? And is it the same director who

1226
01:06:45,605 --> 01:06:46,405
Speaker 4: you think should win?

1227
01:06:47,325 --> 01:06:50,765
Speaker 2: It is Paul Thomas Anderson, And so not a lot

1228
01:06:50,805 --> 01:06:55,485
Speaker 2: and need be said except that when when a film

1229
01:06:55,485 --> 01:06:57,885
Speaker 2: of his comes along that I like less than the

1230
01:06:57,885 --> 01:07:01,645
Speaker 2: ones I really love, it tends to be all about

1231
01:07:02,565 --> 01:07:06,525
Speaker 2: what I might have questions about in the writing, whether

1232
01:07:06,565 --> 01:07:09,805
Speaker 2: it's an original screenplay, is or you know, in a

1233
01:07:09,805 --> 01:07:14,125
Speaker 2: couple of cases adaptations twice on Pension, you know, and

1234
01:07:14,245 --> 01:07:16,885
Speaker 2: very loosely with this one, which is which is a

1235
01:07:17,005 --> 01:07:19,725
Speaker 2: very good move, just like There Will Be Blood is

1236
01:07:19,725 --> 01:07:23,085
Speaker 2: an adaptation in a loose sense, and that they're just

1237
01:07:23,165 --> 01:07:27,205
Speaker 2: using a bit of the original novel oil and here

1238
01:07:27,325 --> 01:07:30,285
Speaker 2: you know they're using a bit more of Vineland the

1239
01:07:30,325 --> 01:07:33,805
Speaker 2: source material for One Battle. But I think Paul Thomas

1240
01:07:33,845 --> 01:07:41,085
Speaker 2: Anderson is truly inspired visual master and and and his

1241
01:07:41,285 --> 01:07:45,485
Speaker 2: directing instincts are often a little ahead of his writing.

1242
01:07:45,525 --> 01:07:48,445
Speaker 2: And I think he's actually a director who would profit

1243
01:07:48,525 --> 01:07:52,165
Speaker 2: from just not writing, is from directing somebody else's scripts

1244
01:07:52,685 --> 01:07:56,125
Speaker 2: for a little bit for part of his career. And

1245
01:07:56,125 --> 01:07:59,365
Speaker 2: and just I mean, he's he's every every film he's made,

1246
01:07:59,365 --> 01:08:01,685
Speaker 2: he's he's got shots that I would see it again

1247
01:08:02,325 --> 01:08:04,805
Speaker 2: just for that eight seconds or minute and a half

1248
01:08:04,885 --> 01:08:10,005
Speaker 2: or whatever. But One Battle is one of his best screenplays.

1249
01:08:10,165 --> 01:08:12,365
Speaker 2: And and this is certainly one of his two or

1250
01:08:12,365 --> 01:08:16,604
Speaker 2: three best directorial sort of like resume tours.

1251
01:08:16,604 --> 01:08:20,205
Speaker 5: I love it. Good work. I mean, what can you say?

1252
01:08:19,724 --> 01:08:21,965
Speaker 2: It was the easiest will be to see twice in

1253
01:08:21,965 --> 01:08:25,125
Speaker 2: a hurry this year last year, especially when the second

1254
01:08:25,125 --> 01:08:28,725
Speaker 2: time was on seventy millimeter film at the Music Pucks.

1255
01:08:29,205 --> 01:08:29,485
Speaker 1: Wow.

1256
01:08:29,644 --> 01:08:30,684
Speaker 5: Yeah here in Chicago.

1257
01:08:31,245 --> 01:08:35,764
Speaker 1: Yeah, it's I'm with you, Michael. Fourteen nominations for Paul

1258
01:08:35,805 --> 01:08:41,765
Speaker 1: Thomas Anderson across various categories, zero wins. It's time who

1259
01:08:41,765 --> 01:08:46,365
Speaker 1: should win? Paul Thomas Anderson. It's time and his work

1260
01:08:46,405 --> 01:08:48,645
Speaker 1: on One Battle I think deserves it.

1261
01:08:48,805 --> 01:08:52,005
Speaker 4: So I'm with you, Okay, Well, we are all aligned

1262
01:08:52,005 --> 01:08:55,684
Speaker 4: though obviously, or it seems obvious anyway that the who

1263
01:08:55,725 --> 01:08:57,925
Speaker 4: will win battle, I mean, it is going to be

1264
01:08:58,005 --> 01:09:01,965
Speaker 4: a battle between Pta and Coogler. Coogler very clearly could

1265
01:09:02,005 --> 01:09:07,245
Speaker 4: win this because for sure, the strength of sinners the

1266
01:09:07,645 --> 01:09:12,325
Speaker 4: sixteen nominations too. I believe One battles thirteen. They have

1267
01:09:12,325 --> 01:09:15,165
Speaker 4: similar profiles in terms of the categories that they're being

1268
01:09:15,205 --> 01:09:19,285
Speaker 4: nominated in, and how they they're both filmmakers who are

1269
01:09:19,285 --> 01:09:22,325
Speaker 4: also you know, writers on on that film, and of

1270
01:09:22,365 --> 01:09:26,725
Speaker 4: course you know interesting even just that they're coming from

1271
01:09:26,765 --> 01:09:31,485
Speaker 4: the same studio right in this case this year, all

1272
01:09:31,485 --> 01:09:34,605
Speaker 4: those things together just it seems like it obviously is

1273
01:09:34,605 --> 01:09:36,845
Speaker 4: coming down to these two movies, and I think it's

1274
01:09:36,885 --> 01:09:39,325
Speaker 4: going to be those two directors. And could it be

1275
01:09:39,365 --> 01:09:45,845
Speaker 4: a case where because this filmmaker, the one we're talking about,

1276
01:09:46,085 --> 01:09:48,365
Speaker 4: may not be the one who wins Best Picture, is

1277
01:09:48,445 --> 01:09:53,525
Speaker 4: Best Director going to be his primary consolation prize? Perhaps?

1278
01:09:54,085 --> 01:09:57,764
Speaker 4: I think PTA will win. I do think that PTA

1279
01:09:58,085 --> 01:10:02,564
Speaker 4: should also win, And I think about again, Josh our

1280
01:10:02,565 --> 01:10:07,605
Speaker 4: fairly recent Sacred cow discussion of that film, where we

1281
01:10:07,765 --> 01:10:11,644
Speaker 4: noted that it ended up being maybe the longest review

1282
01:10:12,045 --> 01:10:14,125
Speaker 4: we've ever had in the history of the show, which

1283
01:10:14,165 --> 01:10:16,885
Speaker 4: we didn't plan. It just ended up being like a

1284
01:10:16,965 --> 01:10:21,125
Speaker 4: seventy or eighty minute conversation about that film. And and

1285
01:10:22,245 --> 01:10:24,805
Speaker 4: how much of that what percentage of that time I

1286
01:10:24,845 --> 01:10:27,005
Speaker 4: was looking back through my notes, it had to be

1287
01:10:27,005 --> 01:10:30,644
Speaker 4: at least three quarters of that runtime was spent talking

1288
01:10:30,645 --> 01:10:34,485
Speaker 4: about the choices Pta made as a filmmaker. It wasn't

1289
01:10:34,525 --> 01:10:37,205
Speaker 4: about Yes, we did talk about the politics. We talked

1290
01:10:37,205 --> 01:10:41,604
Speaker 4: about its relevance, the timeliness, things that matter to us personally.

1291
01:10:41,685 --> 01:10:43,925
Speaker 4: That was part of it, but it wasn't the brunt

1292
01:10:44,085 --> 01:10:46,525
Speaker 4: of the conversation. We talked about the filmmaking. We talked

1293
01:10:46,565 --> 01:10:49,685
Speaker 4: about what Pta was doing as a director. So for me,

1294
01:10:49,805 --> 01:10:52,564
Speaker 4: it's it's a no brainer that it's I mean it

1295
01:10:52,645 --> 01:10:54,165
Speaker 4: is because even though I like a lot of the

1296
01:10:54,165 --> 01:10:56,125
Speaker 4: films that are nominated for Best Picture, and I like

1297
01:10:56,485 --> 01:10:58,805
Speaker 4: the films that are nominated in this category, four of

1298
01:10:58,845 --> 01:11:02,525
Speaker 4: them in particular, quite a bit, I still think that

1299
01:11:02,765 --> 01:11:06,885
Speaker 4: One Battle is the best of the bunch by far. Michael,

1300
01:11:07,605 --> 01:11:10,125
Speaker 4: what film would you like to have put in place

1301
01:11:10,165 --> 01:11:12,765
Speaker 4: instead of one of these, and I think it's fair

1302
01:11:12,805 --> 01:11:15,485
Speaker 4: to say that you would you would kick out Hamnett.

1303
01:11:16,045 --> 01:11:16,885
Speaker 2: Well, I felt, we're not.

1304
01:11:17,965 --> 01:11:19,405
Speaker 5: We're talking about the director, right.

1305
01:11:20,285 --> 01:11:21,845
Speaker 4: So Chloe is where I was going.

1306
01:11:23,285 --> 01:11:27,285
Speaker 2: I know, I know, I know, maybe Chloe Joao I

1307
01:11:27,405 --> 01:11:29,885
Speaker 2: or walk them we walk them three or maybe in

1308
01:11:29,925 --> 01:11:32,525
Speaker 2: a way. And I mean his work is excellent and

1309
01:11:32,605 --> 01:11:35,765
Speaker 2: her work is all right, Chloe Jao goes out there.

1310
01:11:35,805 --> 01:11:39,644
Speaker 2: But you know, I don't if somebody made the number

1311
01:11:39,725 --> 01:11:42,245
Speaker 2: one film of a certain year not too many years

1312
01:11:42,285 --> 01:11:45,724
Speaker 2: ago for me, and that was Chloe Jao and The Rider,

1313
01:11:46,725 --> 01:11:50,485
Speaker 2: I can't kick that director off a list under your

1314
01:11:50,685 --> 01:11:53,165
Speaker 2: stupid premise that we have to lose them.

1315
01:11:53,165 --> 01:11:55,965
Speaker 4: But everybody's human ups and downs.

1316
01:11:56,005 --> 01:11:59,205
Speaker 2: Michael, all right, then all right, walk on th enemy country,

1317
01:11:59,525 --> 01:12:05,125
Speaker 2: go home. That's it. Uh, he's out and in you know,

1318
01:12:05,245 --> 01:12:08,005
Speaker 2: this is a Taiwe man, And yes, would have ever

1319
01:12:08,045 --> 01:12:12,085
Speaker 2: happened realistic in Josh's realm of uh realism for some

1320
01:12:12,165 --> 01:12:14,605
Speaker 2: reason you know, well, they would never do that. Well, yeah, no,

1321
01:12:14,685 --> 01:12:17,965
Speaker 2: they The Academy wouldn't have nominated Nia the Costa as

1322
01:12:18,005 --> 01:12:21,685
Speaker 2: Best Director for Heda. But for me, I mean it's

1323
01:12:21,685 --> 01:12:23,885
Speaker 2: one of the one of the very best stage to

1324
01:12:24,045 --> 01:12:28,165
Speaker 2: screen adaptations I've ever seen. I think this is a

1325
01:12:28,645 --> 01:12:33,125
Speaker 2: I've always thought her work was sharp and very interesting

1326
01:12:33,205 --> 01:12:38,965
Speaker 2: and character driven and also visually, you know, quite beautiful.

1327
01:12:39,325 --> 01:12:42,445
Speaker 2: This is a new fluidity for her. In had a

1328
01:12:42,525 --> 01:12:47,125
Speaker 2: movement kind of activing all these different sort of like subterranean,

1329
01:12:47,765 --> 01:12:49,885
Speaker 2: you know, all this sort of secrecy and gossip in

1330
01:12:50,005 --> 01:12:53,085
Speaker 2: this going on within this sort of nineteen thirties manor

1331
01:12:53,165 --> 01:12:53,845
Speaker 2: house and all.

1332
01:12:55,605 --> 01:12:57,205
Speaker 5: In her adaptation of Since I.

1333
01:12:57,205 --> 01:13:00,485
Speaker 2: Had a Gabbler, so Nead Coosta on you know hand

1334
01:13:00,485 --> 01:13:02,245
Speaker 2: if I had to do another tie and be Kelly

1335
01:13:02,285 --> 01:13:04,604
Speaker 2: Reichert and the Master rind So you know, Kelly richer

1336
01:13:05,405 --> 01:13:08,564
Speaker 2: so good. And this is one of her best films.

1337
01:13:08,605 --> 01:13:11,564
Speaker 2: So that's my second that's my second time.

1338
01:13:12,125 --> 01:13:16,405
Speaker 4: Da Costa obviously unrealistic to an extent, but not shockingly

1339
01:13:16,485 --> 01:13:18,644
Speaker 4: so like I could see it happening that film. Yeah,

1340
01:13:18,685 --> 01:13:21,845
Speaker 4: that film was in conversations around the ward season, so yeah,

1341
01:13:21,965 --> 01:13:22,245
Speaker 4: I like.

1342
01:13:22,285 --> 01:13:25,365
Speaker 2: Also it did have like you know, everywhere from geographically,

1343
01:13:25,445 --> 01:13:29,005
Speaker 2: Amy Nicholson at the La Times loved it. Richard Brody

1344
01:13:29,045 --> 01:13:32,485
Speaker 2: and the New Yorker a huge champion and so it

1345
01:13:32,565 --> 01:13:36,205
Speaker 2: has its yes, it has It's not just defenders, but

1346
01:13:36,285 --> 01:13:39,765
Speaker 2: like passionate champions, and I'd like to think I'm one

1347
01:13:39,845 --> 01:13:41,724
Speaker 2: of them. So yeah, you know it's it's great work.

1348
01:13:43,005 --> 01:13:47,884
Speaker 1: Yeah, Tacosta and Reikert both good substitutes, Michael, which I considered,

1349
01:13:47,925 --> 01:13:50,564
Speaker 1: I'm actually going who should have been nominated for Best Director?

1350
01:13:50,605 --> 01:13:53,205
Speaker 1: I'm going to go with Zach Kraiger for Weapons. I mean,

1351
01:13:53,965 --> 01:13:56,965
Speaker 1: if Amy Madigan got a nod, why not her director?

1352
01:13:57,685 --> 01:14:02,005
Speaker 1: Just the precision and the control behind the camera in

1353
01:14:02,045 --> 01:14:05,485
Speaker 1: that movie, and the way if you saw that movie

1354
01:14:05,485 --> 01:14:08,885
Speaker 1: with a pack theater, you were in the palm of

1355
01:14:08,965 --> 01:14:12,925
Speaker 1: its hand. You know, That's There's a lot of factors

1356
01:14:12,965 --> 01:14:15,725
Speaker 1: that work there. Absolutely the director is one of them.

1357
01:14:15,845 --> 01:14:18,165
Speaker 1: So so that's who I think should have been nominated.

1358
01:14:18,365 --> 01:14:20,925
Speaker 1: And man kicking out, this is a really hard one.

1359
01:14:21,885 --> 01:14:26,045
Speaker 1: Unlike you, Michael, I'm I'm a bit more on board

1360
01:14:26,085 --> 01:14:29,085
Speaker 1: with what jow is doing as a director in Hamnet.

1361
01:14:30,725 --> 01:14:33,685
Speaker 1: You know, it didn't make my top ten, so it's not,

1362
01:14:34,005 --> 01:14:36,205
Speaker 1: you know, at that level for me, but I don't

1363
01:14:36,245 --> 01:14:38,725
Speaker 1: have as many quibbles with it, so I don't think

1364
01:14:38,765 --> 01:14:39,165
Speaker 1: I'm going.

1365
01:14:39,085 --> 01:14:39,765
Speaker 3: To go that way.

1366
01:14:39,925 --> 01:14:43,445
Speaker 1: I guess I guess Safty for Marty Supreme and that's

1367
01:14:43,445 --> 01:14:47,125
Speaker 1: only because you know, if I'm looking at this category,

1368
01:14:47,245 --> 01:14:49,764
Speaker 1: the best director in the movie is represented, i'd probably

1369
01:14:49,885 --> 01:14:54,445
Speaker 1: rank Marty Supreme the lowest. So that's the logic I'm

1370
01:14:54,525 --> 01:14:57,525
Speaker 1: leaning on for removing him, even though it's, you know,

1371
01:14:58,285 --> 01:15:00,445
Speaker 1: also a movie that keeps you in the palm of

1372
01:15:00,485 --> 01:15:03,165
Speaker 1: its hand, and the director Safty deserves credit for that.

1373
01:15:03,645 --> 01:15:06,565
Speaker 4: I love the writer too, Michael. I think it's a masterpiece.

1374
01:15:07,085 --> 01:15:08,805
Speaker 4: I'm not as high a nomad Land, but that's not

1375
01:15:08,845 --> 01:15:12,804
Speaker 4: factoring into my thought process here at all. The simple

1376
01:15:13,445 --> 01:15:17,485
Speaker 4: fact of the matter is that Hamnet is using your logic, Josh,

1377
01:15:17,485 --> 01:15:19,125
Speaker 4: and that's usually what I go by here with mess

1378
01:15:19,125 --> 01:15:23,885
Speaker 4: director Hemn. It is my least favorite film of these five,

1379
01:15:24,045 --> 01:15:29,365
Speaker 4: and by quite a distance now I feel more preferential

1380
01:15:29,365 --> 01:15:31,725
Speaker 4: towards it than you do, Michael, by a little bit.

1381
01:15:32,125 --> 01:15:34,925
Speaker 4: I don't like it nearly as much as you do, Josh,

1382
01:15:35,005 --> 01:15:37,405
Speaker 4: so it's pretty easy for me against these other four

1383
01:15:37,845 --> 01:15:42,125
Speaker 4: to remove it, even though again you're right, the writer

1384
01:15:42,205 --> 01:15:44,765
Speaker 4: is an incredible film, and I think Joao's obviously a

1385
01:15:44,885 --> 01:15:47,845
Speaker 4: very talented filmmaker. It's out though, and I think the

1386
01:15:48,085 --> 01:15:51,525
Speaker 4: film that I would put in its place the director

1387
01:15:51,645 --> 01:15:54,365
Speaker 4: I would put in its place. I would just kind

1388
01:15:54,365 --> 01:15:58,245
Speaker 4: of follow the logic here of some of the other nominations.

1389
01:15:58,445 --> 01:16:00,925
Speaker 4: I'm going for realism, but it's not just realism. I'm

1390
01:16:00,925 --> 01:16:05,445
Speaker 4: going for the film another film that I actually loved,

1391
01:16:05,525 --> 01:16:09,604
Speaker 4: that I had in my top ten and that has

1392
01:16:09,645 --> 01:16:12,605
Speaker 4: been recognized in at least one other major category deservedly

1393
01:16:12,645 --> 01:16:16,005
Speaker 4: so that we've touched on. I would have put in

1394
01:16:16,005 --> 01:16:20,325
Speaker 4: instead of Chloe Jiao, Kleiber Mendoza Filio for the Secret

1395
01:16:20,405 --> 01:16:26,965
Speaker 4: Agent Agents if it's going to get a Best Picture nomination, right,

1396
01:16:27,085 --> 01:16:29,685
Speaker 4: if an More is going to get the Best Actor nomination,

1397
01:16:30,285 --> 01:16:32,525
Speaker 4: why not go ahead and also put him in for

1398
01:16:32,605 --> 01:16:35,485
Speaker 4: Best Director. And I do think that film is is

1399
01:16:35,885 --> 01:16:38,285
Speaker 4: a significantly better one than Hamnet, So that's a pretty

1400
01:16:38,325 --> 01:16:39,525
Speaker 4: easy choice right.

1401
01:16:40,125 --> 01:16:46,325
Speaker 3: In this case, And the Oscar goes to are they

1402
01:16:46,365 --> 01:16:46,965
Speaker 3: playing us all?

1403
01:16:48,365 --> 01:16:51,205
Speaker 2: Maybe Anora.

1404
01:16:53,525 --> 01:16:58,005
Speaker 4: That brings us to finally Best Picture. We have nine

1405
01:16:58,045 --> 01:17:04,644
Speaker 4: films in alphabetical order, F one, Frankenstein, Hamnet, Marty Supreme,

1406
01:17:04,805 --> 01:17:10,644
Speaker 4: Won Battle The Secret Agent, Sentimental Value, Sinners, and Trained Dreams.

1407
01:17:11,125 --> 01:17:18,165
Speaker 2: We probably don't. You're right, I'm sorry they went as they.

1408
01:17:18,125 --> 01:17:21,525
Speaker 4: Don't know where I had nine. They went ten. I

1409
01:17:21,565 --> 01:17:24,445
Speaker 4: don't think we need to belabor the fact that we

1410
01:17:24,525 --> 01:17:28,844
Speaker 4: all think one Battle after another should be the best picture.

1411
01:17:29,965 --> 01:17:33,005
Speaker 4: Do we all think, however, that it's actually going to

1412
01:17:33,125 --> 01:17:36,485
Speaker 4: be Sinners that wins it or not?

1413
01:17:36,805 --> 01:17:40,005
Speaker 2: Where you at, Michael, Yes, I think it's going to

1414
01:17:40,045 --> 01:17:44,045
Speaker 2: be I think it's Will and should m Yeah, I

1415
01:17:44,085 --> 01:17:46,205
Speaker 2: gotta say I I struggled a moment there.

1416
01:17:46,565 --> 01:17:49,845
Speaker 4: Just again your confound it's your number one film of

1417
01:17:49,845 --> 01:17:50,165
Speaker 4: the year.

1418
01:17:50,325 --> 01:17:54,525
Speaker 2: But I love this. You know, they see these things twice,

1419
01:17:54,565 --> 01:17:56,765
Speaker 2: and you know I love the secarett as, I really do,

1420
01:17:56,805 --> 01:17:59,684
Speaker 2: and I like your That's the great reason for working

1421
01:17:59,685 --> 01:18:02,205
Speaker 2: in the director, you know, because it's somebody directed it.

1422
01:18:02,245 --> 01:18:06,365
Speaker 2: And but yes, no, I think I think One Battle.

1423
01:18:08,085 --> 01:18:11,285
Speaker 2: I've long in recent years, I've given up the idea

1424
01:18:12,605 --> 01:18:17,365
Speaker 2: that you can't have substantial reservations about a film you love.

1425
01:18:18,125 --> 01:18:19,725
Speaker 2: I don't know why I might have. I might have

1426
01:18:19,805 --> 01:18:22,245
Speaker 2: been fussy about that when I was younger. And I

1427
01:18:22,285 --> 01:18:24,525
Speaker 2: think a lot of the stuff I've liked the best

1428
01:18:25,045 --> 01:18:27,765
Speaker 2: in recent years has been sort of the not just

1429
01:18:27,805 --> 01:18:31,325
Speaker 2: the most ambitious and but and not just arguably messy,

1430
01:18:31,365 --> 01:18:36,805
Speaker 2: but you know, just sort of some substantial misjudgments within it. Nonetheless,

1431
01:18:36,845 --> 01:18:39,684
Speaker 2: One Battle has all that for me, but it also

1432
01:18:39,765 --> 01:18:43,285
Speaker 2: has so much in it that that again, it was

1433
01:18:43,925 --> 01:18:46,604
Speaker 2: I happily saw that twice in the same week and

1434
01:18:46,965 --> 01:18:50,445
Speaker 2: just just to kind of see what I missed or

1435
01:18:50,565 --> 01:18:52,885
Speaker 2: just or I couldn't wait to see certain things again,

1436
01:18:52,965 --> 01:18:57,005
Speaker 2: or moments between actors, and just how it all came together.

1437
01:18:57,085 --> 01:19:00,365
Speaker 5: So, yeah, should will pta one battle?

1438
01:19:00,645 --> 01:19:02,965
Speaker 4: You don't think it's Sinners? Okay, So Josh, what do

1439
01:19:03,045 --> 01:19:03,445
Speaker 4: you think?

1440
01:19:04,085 --> 01:19:08,605
Speaker 1: Yeah, So this one battle versus Sinners question is fascinated

1441
01:19:08,685 --> 01:19:11,965
Speaker 1: to me, and and I think I think it's really

1442
01:19:12,005 --> 01:19:16,165
Speaker 1: a question of how political the academy actually wants to get,

1443
01:19:16,205 --> 01:19:19,564
Speaker 1: which is a thorny question because let me be absolutely clear,

1444
01:19:20,245 --> 01:19:22,685
Speaker 1: Sinners is political.

1445
01:19:23,685 --> 01:19:23,965
Speaker 3: Clear.

1446
01:19:24,085 --> 01:19:28,485
Speaker 1: I mean, it's inherently political what it's addressing, but it's

1447
01:19:28,525 --> 01:19:31,965
Speaker 1: sort of political within the safeness of the past and

1448
01:19:32,005 --> 01:19:35,965
Speaker 1: the safeness of history again, even though the dynamics it

1449
01:19:36,005 --> 01:19:39,365
Speaker 1: explores are still at play today and relevant today. So

1450
01:19:39,405 --> 01:19:41,525
Speaker 1: I don't mean to imply that at all one battle

1451
01:19:41,565 --> 01:19:45,005
Speaker 1: after another, however, is political. It was political when it

1452
01:19:45,045 --> 01:19:49,605
Speaker 1: came out, it's political now, and unfortunately it's going to

1453
01:19:49,605 --> 01:19:51,885
Speaker 1: be political for the near future. So it is the

1454
01:19:51,925 --> 01:19:56,125
Speaker 1: more dangerous pick in a way which seems ridiculous, but

1455
01:19:56,205 --> 01:20:02,005
Speaker 1: this is where we are. Also, I think it's worth

1456
01:20:02,005 --> 01:20:06,285
Speaker 1: pointing out, which Mikael did at our Copenhagen group, that

1457
01:20:06,405 --> 01:20:11,245
Speaker 1: the Academy doesn't generally like horror, and Sinners definitely takes

1458
01:20:11,285 --> 01:20:13,644
Speaker 1: a severe turn towards horror at the end. That might

1459
01:20:13,645 --> 01:20:16,805
Speaker 1: be worth considering here. So at the end of our

1460
01:20:16,805 --> 01:20:20,925
Speaker 1: deliberations with all of this, we did say one battle

1461
01:20:21,085 --> 01:20:25,485
Speaker 1: after another is going to win, with a hesitation that

1462
01:20:25,485 --> 01:20:28,485
Speaker 1: there could be a classic director picture split here right.

1463
01:20:28,525 --> 01:20:29,445
Speaker 4: I think you alluded to.

1464
01:20:29,405 --> 01:20:33,525
Speaker 1: This already, Adam Paul Thomas Anderson getting director and Sinners

1465
01:20:33,525 --> 01:20:37,285
Speaker 1: getting picture. I can clearly see that happening. But official

1466
01:20:37,285 --> 01:20:39,405
Speaker 1: pick is going to be one battle should win. Yeah,

1467
01:20:39,925 --> 01:20:42,165
Speaker 1: one battle. You set it outa my favorite movie of

1468
01:20:42,165 --> 01:20:46,885
Speaker 1: the year, the Academy anointing it right now. It's not

1469
01:20:46,925 --> 01:20:50,445
Speaker 1: going to change anything about our political reality, let's be

1470
01:20:50,485 --> 01:20:53,445
Speaker 1: honest about that. But I think it will plant a

1471
01:20:53,605 --> 01:20:57,684
Speaker 1: historical flag that I do think is important to have

1472
01:20:57,805 --> 01:21:01,525
Speaker 1: this movie win Best Picture in twenty twenty six, looking

1473
01:21:01,605 --> 01:21:04,245
Speaker 1: back ten twenty years from now, I think that would

1474
01:21:04,245 --> 01:21:08,045
Speaker 1: be important. So that's the movie I think should win

1475
01:21:08,125 --> 01:21:08,644
Speaker 1: Best Picture.

1476
01:21:09,685 --> 01:21:12,045
Speaker 2: I think I would actually argue that sitters would be equally,

1477
01:21:12,125 --> 01:21:15,445
Speaker 2: if not more dangerous and not dangerous, but like a

1478
01:21:17,845 --> 01:21:23,005
Speaker 2: path breaking selection just because of the fact that it

1479
01:21:23,085 --> 01:21:27,325
Speaker 2: is such a complicated embrace of black life and culture

1480
01:21:27,485 --> 01:21:32,325
Speaker 2: in twentieth century America and twenty first Yeah, I think

1481
01:21:32,405 --> 01:21:35,445
Speaker 2: I think there's something to that and and the you know,

1482
01:21:35,525 --> 01:21:39,365
Speaker 2: my uneasiness about three you know, middle aged WWHITKEI sitting

1483
01:21:39,365 --> 01:21:42,725
Speaker 2: around talking about the issue of whether or not and

1484
01:21:42,765 --> 01:21:46,365
Speaker 2: I've read an awful lot of good debate, really thoughtful

1485
01:21:46,405 --> 01:21:49,885
Speaker 2: and excellent, you know, sort of necessary debate about whether

1486
01:21:49,965 --> 01:21:54,925
Speaker 2: or not one Battle and PTA are not together? Are not?

1487
01:21:55,565 --> 01:22:00,684
Speaker 2: Are they fetishizing black women sort of in a way

1488
01:22:00,685 --> 01:22:05,045
Speaker 2: that actually feeds in a little bit to the Colonel Lockjaw.

1489
01:22:04,565 --> 01:22:05,205
Speaker 5: Point of view.

1490
01:22:05,685 --> 01:22:08,925
Speaker 2: Uh, I mean, I mean, you know, is it is it? Really?

1491
01:22:09,725 --> 01:22:13,125
Speaker 2: Is it enough to have hired and written half a

1492
01:22:13,165 --> 01:22:16,085
Speaker 2: dozen not just decent, but you know, juicy roles for

1493
01:22:16,365 --> 01:22:21,285
Speaker 2: excellent you know, black female performers when the perspective has

1494
01:22:21,325 --> 01:22:24,685
Speaker 2: struck many different people in many different countries, and not

1495
01:22:24,765 --> 01:22:27,725
Speaker 2: just black women writing, but all kinds you know, as

1496
01:22:27,925 --> 01:22:30,485
Speaker 2: like a little off or a lot off. So it's

1497
01:22:30,805 --> 01:22:34,485
Speaker 2: something to consider. I think I did the second time through,

1498
01:22:34,925 --> 01:22:37,085
Speaker 2: you know, as again, I only saw it twice in

1499
01:22:37,205 --> 01:22:39,885
Speaker 2: a quick lump and then and then I've been reading

1500
01:22:39,885 --> 01:22:42,205
Speaker 2: all this stuff since, and it's been you know, it's

1501
01:22:42,205 --> 01:22:45,604
Speaker 2: been a good thing to kind of check yourself on.

1502
01:22:46,085 --> 01:22:48,725
Speaker 2: So anyway, Yeah, yeah, the Sinners would have been a

1503
01:22:48,725 --> 01:22:52,125
Speaker 2: different a different kind of risk for them if it wins.

1504
01:22:52,165 --> 01:22:54,965
Speaker 2: And I'm frankly great either way with it, even if

1505
01:22:54,965 --> 01:22:56,885
Speaker 2: I happen to prefer one battle in many ways.

1506
01:22:56,885 --> 01:23:00,005
Speaker 1: So in yeah, so I think those are all those

1507
01:23:00,045 --> 01:23:03,165
Speaker 1: are all obviously fair questions to consider and entertain, and

1508
01:23:03,445 --> 01:23:06,405
Speaker 1: we did that in our you know second look at

1509
01:23:06,445 --> 01:23:10,045
Speaker 1: one battle after another, we addressed some of those. And

1510
01:23:10,085 --> 01:23:13,245
Speaker 1: I'd agree with you, Michael in the sense that I

1511
01:23:13,285 --> 01:23:15,684
Speaker 1: don't know, yes to your point, white guy speaking here,

1512
01:23:15,765 --> 01:23:19,005
Speaker 1: I don't know that Black History Month like ever felt

1513
01:23:19,005 --> 01:23:21,725
Speaker 1: as vital in the last five years as it did

1514
01:23:21,765 --> 01:23:24,885
Speaker 1: in twenty twenty five and again recently in twenty twenty six,

1515
01:23:25,045 --> 01:23:27,965
Speaker 1: like this is, you know, this is something we need

1516
01:23:27,965 --> 01:23:30,765
Speaker 1: to fight for in the United States of America. That

1517
01:23:30,805 --> 01:23:33,925
Speaker 1: Black History Month is a thing. So so I don't

1518
01:23:34,005 --> 01:23:37,724
Speaker 1: say that lightly to say that Sinners is a safer

1519
01:23:37,765 --> 01:23:42,205
Speaker 1: political choice. I only mean in that it is a fictional,

1520
01:23:42,565 --> 01:23:50,205
Speaker 1: historical setting, and the distance allows voters to you know,

1521
01:23:50,285 --> 01:23:56,205
Speaker 1: to go that direction when you have And actually the

1522
01:23:56,325 --> 01:23:58,805
Speaker 1: issues you raise, Michael are part of the point of

1523
01:23:58,845 --> 01:24:02,845
Speaker 1: why One Battle is more dangerous is is it is

1524
01:24:02,885 --> 01:24:06,725
Speaker 1: a movie that's, you know, throwing to at us a

1525
01:24:06,725 --> 01:24:08,604
Speaker 1: lot of things in a lot of different ways that

1526
01:24:08,765 --> 01:24:12,205
Speaker 1: need to be reconciled. And I don't mean to say

1527
01:24:12,245 --> 01:24:16,685
Speaker 1: it's more political, to mean it's more perfect necessarily, but

1528
01:24:16,765 --> 01:24:22,525
Speaker 1: it's more challenging and more disturbing. And if Academy voters

1529
01:24:22,525 --> 01:24:25,685
Speaker 1: of any persuasion feel that and still vote for it,

1530
01:24:26,485 --> 01:24:30,045
Speaker 1: I feel like that's actually saying something. Here's a succinct

1531
01:24:30,085 --> 01:24:32,684
Speaker 1: way to say say it. I can see Sinners winning

1532
01:24:32,725 --> 01:24:36,684
Speaker 1: Best Picture five to ten years ago. I can't imagine

1533
01:24:36,685 --> 01:24:41,125
Speaker 1: one Battle after another being made or needed to be

1534
01:24:41,245 --> 01:24:46,005
Speaker 1: made five or ten years ago, and within that context

1535
01:24:46,045 --> 01:24:49,405
Speaker 1: for it to win, I think says something different. So

1536
01:24:49,765 --> 01:24:50,445
Speaker 1: we'll see what happened.

1537
01:24:50,485 --> 01:24:51,844
Speaker 4: What about what about Sinners?

1538
01:24:51,885 --> 01:24:52,085
Speaker 3: Though?

1539
01:24:52,285 --> 01:24:56,125
Speaker 4: As a challenge, just in terms of the business side

1540
01:24:56,485 --> 01:24:59,165
Speaker 4: of Hollywood, and I want to be clear, this is

1541
01:24:59,205 --> 01:25:04,125
Speaker 4: the part of the movie commentary industry that we're in

1542
01:25:04,205 --> 01:25:07,165
Speaker 4: that I don't really pay attention to. And know very

1543
01:25:07,205 --> 01:25:09,645
Speaker 4: little about, but you know, I have the headlines in

1544
01:25:09,645 --> 01:25:11,885
Speaker 4: front of me. I do remember seeing them, like from

1545
01:25:11,965 --> 01:25:15,564
Speaker 4: Vulture in April Hollywood Execs Sphere, Ryan Coogler Sinners deal

1546
01:25:15,605 --> 01:25:18,005
Speaker 4: could end the studio system. You know, is this a

1547
01:25:18,045 --> 01:25:23,844
Speaker 4: case where Hollywood is embracing the thing that is actually

1548
01:25:23,925 --> 01:25:28,085
Speaker 4: sort of destroying them or that is actually negative for

1549
01:25:28,125 --> 01:25:30,245
Speaker 4: them in some ways, But in the end they're gonna

1550
01:25:30,365 --> 01:25:33,005
Speaker 4: They're gonna go against it because they actually see it

1551
01:25:33,045 --> 01:25:37,165
Speaker 4: as too much of a subversion of the status quo

1552
01:25:37,525 --> 01:25:38,525
Speaker 4: that they want to maintain.

1553
01:25:39,725 --> 01:25:41,764
Speaker 2: I mean not just the film you made, but but

1554
01:25:41,765 --> 01:25:43,405
Speaker 2: but Cougler's deal, which.

1555
01:25:43,205 --> 01:25:45,925
Speaker 4: Is I'm talking about everything about the actual process of

1556
01:25:46,005 --> 01:25:51,405
Speaker 4: how it was made exactly and Coogler's Coogler's power.

1557
01:25:51,805 --> 01:25:55,325
Speaker 2: Yeah, that's the final cut, the bus and and look

1558
01:25:55,365 --> 01:25:59,965
Speaker 2: everything everything interesting about Centers was absolutely cemented by whatever

1559
01:26:00,045 --> 01:26:02,325
Speaker 2: contrary you know that I would. I'm sure you could

1560
01:26:02,405 --> 01:26:06,125
Speaker 2: dramatize the contract negotiations, but uh, I mean there's scenes,

1561
01:26:06,165 --> 01:26:09,644
Speaker 2: whole scenes you could pick out that no studio Uh well,

1562
01:26:10,285 --> 01:26:13,125
Speaker 2: most studio heads would have said you no, no, it's

1563
01:26:13,165 --> 01:26:16,645
Speaker 2: we don't have time for time more money for a

1564
01:26:16,725 --> 01:26:19,365
Speaker 2: four or five minute fantasia that sort of deals with

1565
01:26:19,525 --> 01:26:22,645
Speaker 2: sort of you know this the you know, the generational

1566
01:26:23,005 --> 01:26:25,365
Speaker 2: power of black music and will have you know that

1567
01:26:25,365 --> 01:26:28,405
Speaker 2: that dance sort of fantasy sequence in the club, right,

1568
01:26:28,445 --> 01:26:31,525
Speaker 2: I mean that's but I I've seen that film with

1569
01:26:32,165 --> 01:26:35,525
Speaker 2: a student audience at the University of Illinois and there

1570
01:26:35,525 --> 01:26:37,805
Speaker 2: were I mean there were people coming out of that saying,

1571
01:26:37,885 --> 01:26:40,405
Speaker 2: I've never seen a scene like that in my life.

1572
01:26:40,845 --> 01:26:41,445
Speaker 5: I love it.

1573
01:26:42,045 --> 01:26:46,485
Speaker 2: And and it's uh, you know, yes, it's it's why

1574
01:26:46,525 --> 01:26:48,765
Speaker 2: we it's the one thing it has in common with

1575
01:26:49,485 --> 01:26:53,365
Speaker 2: One Battle. I think it's it's not it's the film made.

1576
01:26:53,205 --> 01:26:56,125
Speaker 5: With with rare freedom, you know.

1577
01:26:56,285 --> 01:26:58,245
Speaker 2: And actually, of the two, Sinners is the one that

1578
01:26:58,325 --> 01:26:59,965
Speaker 2: made a little money. You know, it didn't it wasn't

1579
01:26:59,965 --> 01:27:03,205
Speaker 2: a huge hit, but it was a hit, and you know,

1580
01:27:03,365 --> 01:27:06,085
Speaker 2: to the degree any of the money matters, as we're

1581
01:27:06,125 --> 01:27:09,285
Speaker 2: talking about, you know, One Battle lost about one hundred

1582
01:27:09,325 --> 01:27:11,285
Speaker 2: million in the end, right, A lot.

1583
01:27:11,965 --> 01:27:14,165
Speaker 4: Yeah, a lot of a lot of a lot of

1584
01:27:14,205 --> 01:27:16,725
Speaker 4: elements to this conversation. I ultimately do think Sinners is

1585
01:27:16,725 --> 01:27:19,685
Speaker 4: gonna win. I'm going Sinners. I think the sixteen nominations,

1586
01:27:20,125 --> 01:27:23,165
Speaker 4: I think, you know, obviously, the breadth of the categories

1587
01:27:23,165 --> 01:27:27,765
Speaker 4: it's nominated in and those specific categories the precursor awards,

1588
01:27:27,845 --> 01:27:30,445
Speaker 4: that it's one at this you know, at this juncture,

1589
01:27:30,525 --> 01:27:34,085
Speaker 4: Critics Choice, the BAFTA. You know the fact that I

1590
01:27:34,085 --> 01:27:37,445
Speaker 4: think I saw this on IMDb. More math for you, Michael,

1591
01:27:37,485 --> 01:27:40,645
Speaker 4: you'll appreciate this. You actually have to do any calculations

1592
01:27:40,685 --> 01:27:45,325
Speaker 4: a creating to IMDb across global critics groups and guilds,

1593
01:27:45,365 --> 01:27:47,845
Speaker 4: Sinners is in the top spot with three hundred and

1594
01:27:47,965 --> 01:27:51,085
Speaker 4: ten wins and four hundred and ninety four total nominations.

1595
01:27:51,325 --> 01:27:54,205
Speaker 4: Now that may or may not factor into the Academy's

1596
01:27:54,285 --> 01:27:58,445
Speaker 4: ultimate voting, but it feels it feels like it's a

1597
01:27:58,485 --> 01:28:01,604
Speaker 4: Jugger not and I think it's Sinner's Year.

1598
01:28:02,005 --> 01:28:05,365
Speaker 2: So for you its Sinners Will and yes, One Battle

1599
01:28:05,365 --> 01:28:06,205
Speaker 2: should should.

1600
01:28:06,405 --> 01:28:10,565
Speaker 4: Yeah, One Battle's my favorite film of the bunch, absolutely,

1601
01:28:10,965 --> 01:28:15,765
Speaker 4: but I think Sinners Will. I don't think it's going

1602
01:28:15,805 --> 01:28:17,965
Speaker 4: to be hard for us. I don't want to presume

1603
01:28:18,085 --> 01:28:20,365
Speaker 4: too much here, Michael, but I don't think it's going

1604
01:28:20,405 --> 01:28:22,525
Speaker 4: to be too difficult to find one or two movies

1605
01:28:22,565 --> 01:28:25,245
Speaker 4: that we'd like to kick out. I definitely want to

1606
01:28:25,285 --> 01:28:28,644
Speaker 4: hear what you would have preferred to nominate instead, So

1607
01:28:28,645 --> 01:28:29,644
Speaker 4: so give us both.

1608
01:28:29,565 --> 01:28:32,644
Speaker 2: Well, f one, you know, I mean whatever, so I'll

1609
01:28:32,765 --> 01:28:35,325
Speaker 2: you go, you know, I mean I don't hate it,

1610
01:28:35,525 --> 01:28:39,885
Speaker 2: you know, just right Look in kindergarten, I was there

1611
01:28:39,925 --> 01:28:42,525
Speaker 2: for front row watching Grand Prix with James Gardner, and

1612
01:28:42,565 --> 01:28:43,805
Speaker 2: I got an eye infection.

1613
01:28:43,565 --> 01:28:44,965
Speaker 5: That KEM home from school for a week.

1614
01:28:45,045 --> 01:28:47,525
Speaker 2: So not only did he get the racing scenes I wanted,

1615
01:28:47,765 --> 01:28:48,165
Speaker 2: I got.

1616
01:28:48,005 --> 01:28:48,804
Speaker 5: A week off school.

1617
01:28:48,845 --> 01:28:49,925
Speaker 4: The movie got bad.

1618
01:28:50,365 --> 01:28:53,925
Speaker 2: No an eye infection, Hey man, John Franken Iron that

1619
01:28:54,005 --> 01:28:56,045
Speaker 2: split screen. I don't that will change your life at

1620
01:28:56,085 --> 01:28:58,605
Speaker 2: age five? I mean, so anyway, f one, you know

1621
01:28:58,645 --> 01:29:00,845
Speaker 2: I like the racing scenes. Fine, but no, o't you go?

1622
01:29:01,085 --> 01:29:03,805
Speaker 2: I would, and I would put in head of absolutely

1623
01:29:04,365 --> 01:29:07,885
Speaker 2: you know, honorable mention on that weapons because I love

1624
01:29:07,965 --> 01:29:09,845
Speaker 2: I just love the success of it. I love the

1625
01:29:09,845 --> 01:29:13,485
Speaker 2: fact that, I mean, that's a movie that Jordan Peel,

1626
01:29:13,605 --> 01:29:16,525
Speaker 2: who's been writing his own stuff, you know, was was dying.

1627
01:29:17,045 --> 01:29:19,604
Speaker 2: They bid the Moon for that film and he got

1628
01:29:19,645 --> 01:29:23,725
Speaker 2: aced out. So there's something about that thing that's just

1629
01:29:23,805 --> 01:29:25,965
Speaker 2: kind of plain works. And the fact that it turns

1630
01:29:26,005 --> 01:29:29,285
Speaker 2: into this nutty I mean, if it was Hour of

1631
01:29:29,405 --> 01:29:31,885
Speaker 2: solimn really kind of grim premise, and then you get

1632
01:29:32,005 --> 01:29:36,445
Speaker 2: like just this little tiny burst of zombie slapsticks at

1633
01:29:36,445 --> 01:29:39,285
Speaker 2: the end that actually works. You know, you just can't

1634
01:29:39,285 --> 01:29:42,485
Speaker 2: believe it's all working. So you know, yes, uh, run

1635
01:29:42,525 --> 01:29:44,765
Speaker 2: over there, But I had a i'd throw head in

1636
01:29:44,805 --> 01:29:47,485
Speaker 2: there instead of F one because they're so similar.

1637
01:29:48,445 --> 01:29:52,165
Speaker 1: Yeah it's true, it's true. Miah, Yeah, I you know,

1638
01:29:52,725 --> 01:29:55,245
Speaker 1: I think the only other Academy friendly movie that was

1639
01:29:55,285 --> 01:29:58,525
Speaker 1: on my top ten list which did include weapons Michael.

1640
01:29:58,565 --> 01:30:00,445
Speaker 1: So maybe I should have given that some thoughts. But

1641
01:30:00,565 --> 01:30:02,885
Speaker 1: for me, it seemed to be possibly Wake Up dead Man.

1642
01:30:03,565 --> 01:30:05,725
Speaker 1: You know, but knives out Glass sung y in. They

1643
01:30:05,725 --> 01:30:09,085
Speaker 1: only got screenplay nods. Maybe that ship has sailed, but again,

1644
01:30:09,165 --> 01:30:12,604
Speaker 1: that puts them in the that puts Ryan Johnson's mystery

1645
01:30:12,605 --> 01:30:16,805
Speaker 1: series in the Oscar conversation. So not unthinkable that Wake

1646
01:30:16,885 --> 01:30:19,445
Speaker 1: Up dead Man could have gotten a nomination. I would

1647
01:30:19,445 --> 01:30:20,325
Speaker 1: have liked to have seen that.

1648
01:30:21,085 --> 01:30:21,645
Speaker 2: Yeah.

1649
01:30:21,765 --> 01:30:24,845
Speaker 1: F one man, what a chore. I can't even defend

1650
01:30:24,845 --> 01:30:27,885
Speaker 1: the racing scenes. I felt like I was binging an

1651
01:30:27,885 --> 01:30:31,325
Speaker 1: eight episode Netflix series about formula one in one sitting,

1652
01:30:31,965 --> 01:30:35,165
Speaker 1: and beyond that, I had to sit through a smug

1653
01:30:35,245 --> 01:30:39,845
Speaker 1: brad Pit performance, which I never find myself sitting through.

1654
01:30:39,925 --> 01:30:44,725
Speaker 1: I'm generally more appreciative of his on screen presence than not.

1655
01:30:44,925 --> 01:30:47,765
Speaker 1: And this one was a rough go. So I'm with you.

1656
01:30:48,365 --> 01:30:49,205
Speaker 1: F one out.

1657
01:30:50,325 --> 01:30:52,604
Speaker 4: I'm not going F one even though I don't love

1658
01:30:52,725 --> 01:30:57,684
Speaker 4: F one by any stretch. But while I can say

1659
01:30:57,725 --> 01:31:00,525
Speaker 4: that the movie I'm about to mention is a greater

1660
01:31:00,885 --> 01:31:06,205
Speaker 4: artistic endeavor, it's striving for something greater than F one is,

1661
01:31:06,285 --> 01:31:11,205
Speaker 4: which is mere entertainment, Josh and Michael name of my

1662
01:31:11,285 --> 01:31:18,125
Speaker 4: next podcast, mere entertainment. But it's successful as mere entertainment.

1663
01:31:18,245 --> 01:31:21,005
Speaker 4: And this is what you said earlier. I am ready

1664
01:31:21,245 --> 01:31:23,765
Speaker 4: to put I'm ready right now. I think to put

1665
01:31:23,765 --> 01:31:31,725
Speaker 4: the moratorium on Lanthemos nominations. Okay, Bigonia is not a

1666
01:31:31,765 --> 01:31:36,325
Speaker 4: movie I feel like I need to wrestle with again.

1667
01:31:36,885 --> 01:31:39,724
Speaker 4: I'm good, I'm good. I don't think it deserved a nomination.

1668
01:31:40,085 --> 01:31:42,445
Speaker 4: I know it is dealing with some big topics. I

1669
01:31:42,445 --> 01:31:46,724
Speaker 4: think we had a perfectly reasonable, hopefully intelligent discussion about

1670
01:31:46,725 --> 01:31:48,525
Speaker 4: the film. I'm not saying it's a film that you

1671
01:31:48,565 --> 01:31:53,564
Speaker 4: write off completely. It doesn't deserve some significant consideration. And

1672
01:31:53,605 --> 01:31:55,365
Speaker 4: I actually think I'm a Stone is very good in it.

1673
01:31:55,685 --> 01:31:59,285
Speaker 4: I certainly think that Plemons, Jesse Plemmons is very good

1674
01:31:59,685 --> 01:32:03,445
Speaker 4: in the film. But it is the one of these

1675
01:32:03,645 --> 01:32:05,885
Speaker 4: ten that I would kick out in the film. I

1676
01:32:05,925 --> 01:32:08,405
Speaker 4: would put in pretty easy for me. It would be

1677
01:32:08,445 --> 01:32:10,804
Speaker 4: the film that I actually had just above one battle

1678
01:32:10,805 --> 01:32:12,605
Speaker 4: after another on my end of year top ten. It

1679
01:32:12,605 --> 01:32:15,604
Speaker 4: would be Jafar Panahi's It was just an accident, which

1680
01:32:16,485 --> 01:32:19,605
Speaker 4: is not actually that much of a stretch when you

1681
01:32:19,685 --> 01:32:22,485
Speaker 4: consider that. I do you know that Variety had it

1682
01:32:22,885 --> 01:32:25,845
Speaker 4: on its list of Best Picture contenders, like in the

1683
01:32:25,845 --> 01:32:29,725
Speaker 4: top ten all year after it came out. It was

1684
01:32:29,765 --> 01:32:32,325
Speaker 4: a possibility. But beyond that, it did get the Original

1685
01:32:32,405 --> 01:32:36,685
Speaker 4: Screenplay nomination for Panahi, and it did get the International

1686
01:32:36,845 --> 01:32:39,085
Speaker 4: Feature nomination, so there was a chance.

1687
01:32:39,485 --> 01:32:44,564
Speaker 1: Yeah, well, if The Secret Agent got Best Picture, why

1688
01:32:44,605 --> 01:32:45,844
Speaker 1: not it was just an accident?

1689
01:32:45,925 --> 01:32:47,485
Speaker 4: Yeah, yeah, I thought it. I thought it might have

1690
01:32:47,605 --> 01:32:49,765
Speaker 4: when when when you knew there were ten slots, I

1691
01:32:49,805 --> 01:32:51,885
Speaker 4: thought it was just an accident, could be there. So

1692
01:32:52,925 --> 01:32:54,965
Speaker 4: it wasn't there. And it's the one that I would

1693
01:32:55,045 --> 01:32:58,285
Speaker 4: put in, certainly in place of Bogonia, also in place

1694
01:32:58,325 --> 01:33:01,045
Speaker 4: of F one there there's no doubt about that. But

1695
01:33:01,325 --> 01:33:03,644
Speaker 4: if I had to pick one, I would I would

1696
01:33:03,725 --> 01:33:09,405
Speaker 4: go Bogonia. So those are our Oscar picks. I am

1697
01:33:09,485 --> 01:33:12,765
Speaker 4: sure that we did not help you at all in

1698
01:33:12,925 --> 01:33:15,605
Speaker 4: finishing up your Oscar ballots, but we certainly had a

1699
01:33:15,605 --> 01:33:17,565
Speaker 4: lot of fun doing it. And what we're going to

1700
01:33:17,645 --> 01:33:21,564
Speaker 4: do right now is we're going to share how our

1701
01:33:21,725 --> 01:33:27,485
Speaker 4: listeners put together their Oscar ballots. We gave them over

1702
01:33:27,525 --> 01:33:30,685
Speaker 4: at filmspotting dot net a survey where they had all

1703
01:33:30,725 --> 01:33:34,045
Speaker 4: ten films and they could rank those films and then

1704
01:33:34,125 --> 01:33:37,965
Speaker 4: Josh that produced a weighted rank where the lowest number

1705
01:33:38,045 --> 01:33:42,805
Speaker 4: then means the winner, who's ever closest to one right

1706
01:33:43,045 --> 01:33:46,485
Speaker 4: is the top film. So is it going to be

1707
01:33:46,485 --> 01:33:48,604
Speaker 4: sinners here? Is it going to be one battle?

1708
01:33:48,685 --> 01:33:48,965
Speaker 2: Here?

1709
01:33:49,365 --> 01:33:53,045
Speaker 4: You do the honors? How did the listeners rank choice

1710
01:33:53,045 --> 01:33:54,165
Speaker 4: Best Picture vote come out?

1711
01:33:54,245 --> 01:33:57,045
Speaker 1: I'm all a tingle that you want to be clear

1712
01:33:57,885 --> 01:34:02,285
Speaker 1: the should win category. This is who they want to

1713
01:34:02,325 --> 01:34:06,525
Speaker 1: win and they don't want f one to win. It

1714
01:34:06,725 --> 01:34:12,965
Speaker 1: was in last place. Frankenstein came next, then Begonia. We

1715
01:34:13,085 --> 01:34:16,805
Speaker 1: have a batch together of closer scores. I'll just say

1716
01:34:16,845 --> 01:34:19,845
Speaker 1: without giving you all the math, but this group includes

1717
01:34:20,125 --> 01:34:27,085
Speaker 1: the Secret Agent, than Hamnet, then Train Dreams, then Sentimental Value.

1718
01:34:27,405 --> 01:34:31,205
Speaker 1: The next tier here that listeners voted for that included

1719
01:34:31,645 --> 01:34:35,685
Speaker 1: Marty Supreme and yeah, so this leaves us with the

1720
01:34:35,685 --> 01:34:40,645
Speaker 1: two big pictures, Sinners and one battle after another. According

1721
01:34:40,925 --> 01:34:44,684
Speaker 1: to Film Spotting listeners, the OSCAR this year for Best

1722
01:34:44,725 --> 01:34:49,485
Speaker 1: Pictures should go to one battle after another. Sinners came

1723
01:34:49,525 --> 01:34:53,085
Speaker 1: in second place. Adam, you know the math better than

1724
01:34:53,085 --> 01:34:56,085
Speaker 1: me how this actually works. This totally blows my mind

1725
01:34:56,125 --> 01:34:58,645
Speaker 1: that the ranking and the categories. Maybe you can give

1726
01:34:58,725 --> 01:35:00,845
Speaker 1: us a sense of how close this actually was.

1727
01:35:01,245 --> 01:35:04,205
Speaker 4: Well, I thought it would be closer than it is.

1728
01:35:04,285 --> 01:35:06,485
Speaker 4: Let me put it that way, because one battle after

1729
01:35:06,485 --> 01:35:09,845
Speaker 4: another's weighted rank was one point nine to eight, so

1730
01:35:09,965 --> 01:35:12,445
Speaker 4: we could just call it two Sinners was three point

1731
01:35:12,565 --> 01:35:16,165
Speaker 4: four to three, so that is a pretty healthy jump

1732
01:35:16,205 --> 01:35:19,085
Speaker 4: after that Marty Supreme was four point sixty seven. Then

1733
01:35:19,125 --> 01:35:22,405
Speaker 4: we're in the fives f ones at eight point eighty eight.

1734
01:35:22,565 --> 01:35:26,085
Speaker 4: So I am a little bit surprised actually that that

1735
01:35:26,445 --> 01:35:29,885
Speaker 4: one battle and Centers weren't maybe more somewhere within that

1736
01:35:30,005 --> 01:35:33,765
Speaker 4: two ranking together, you know, within a point of each other,

1737
01:35:34,005 --> 01:35:37,165
Speaker 4: whereas right now they're about a point and a half separated.

1738
01:35:37,405 --> 01:35:41,605
Speaker 4: But they still are clearly the two choices that separated

1739
01:35:41,645 --> 01:35:44,724
Speaker 4: themselves from all of the others. And that makes sense.

1740
01:35:44,765 --> 01:35:47,445
Speaker 4: That's how we that's how we would have expected it

1741
01:35:47,485 --> 01:35:51,205
Speaker 4: to go yep. Okay. We thank everyone who voted in

1742
01:35:51,245 --> 01:35:54,045
Speaker 4: that poll, and we do remind you as always you

1743
01:35:54,045 --> 01:35:55,725
Speaker 4: can find all of our picks, as you can with

1744
01:35:55,765 --> 01:35:58,564
Speaker 4: all of our top five lists for this Oscars show.

1745
01:35:58,605 --> 01:36:00,724
Speaker 4: You can find all of them over at film spotting

1746
01:36:00,765 --> 01:36:03,805
Speaker 4: dot net. Just click on lists right there at the

1747
01:36:03,845 --> 01:36:06,764
Speaker 4: top of the page. Michael, do you have any grand

1748
01:36:06,845 --> 01:36:08,644
Speaker 4: plans for the Oscars this year?

1749
01:36:10,165 --> 01:36:12,684
Speaker 2: Well, I'm not nominated, so what the hell do I here?

1750
01:36:12,725 --> 01:36:15,325
Speaker 2: But you know, no, I think I think I'm going

1751
01:36:15,405 --> 01:36:17,964
Speaker 2: to go over to Copenhagen. It sounds like a fun group.

1752
01:36:18,205 --> 01:36:19,765
Speaker 2: I think I'll head over there and keep it going.

1753
01:36:19,925 --> 01:36:21,645
Speaker 2: You know, you can you hook me.

1754
01:36:21,725 --> 01:36:27,085
Speaker 1: Up or yeah, go to hoven Havn. And then that

1755
01:36:27,285 --> 01:36:32,285
Speaker 1: is an incredible array of beer on tap, like twelve options.

1756
01:36:32,605 --> 01:36:36,045
Speaker 1: I think between the what's five six of us we sample,

1757
01:36:36,445 --> 01:36:39,285
Speaker 1: you know, at least eight of them, and yeah, I

1758
01:36:39,285 --> 01:36:41,684
Speaker 1: would say, I would say check it out. I'm actually

1759
01:36:42,045 --> 01:36:44,205
Speaker 1: still here in Saint Andrew's, Scotland. This will be the

1760
01:36:44,205 --> 01:36:47,684
Speaker 1: first time I don't watch the Oscars live. I'm sure

1761
01:36:47,685 --> 01:36:49,405
Speaker 1: there's a time I missed it in my life, but

1762
01:36:49,445 --> 01:36:50,325
Speaker 1: I can't remember it.

1763
01:36:50,605 --> 01:36:54,525
Speaker 4: So Oh wow, I'll wake up to the results. You're

1764
01:36:54,565 --> 01:36:57,724
Speaker 4: not very good. Good Josh, what you need your sleep

1765
01:36:58,285 --> 01:36:59,684
Speaker 4: more than the Oscars live?

1766
01:36:59,965 --> 01:37:01,485
Speaker 1: Yeah, I mean, if I'm not staying up for the

1767
01:37:01,605 --> 01:37:04,165
Speaker 1: NBA Adam over here, I'm not staying it up for

1768
01:37:04,245 --> 01:37:04,845
Speaker 1: the Oscars.

1769
01:37:04,845 --> 01:37:09,965
Speaker 4: Sorry, Okay, okay, Michael. It was a pleasure. I hope

1770
01:37:10,005 --> 01:37:10,965
Speaker 4: you enjoyed yourself.

1771
01:37:11,205 --> 01:37:14,605
Speaker 2: Yes, just to make sure to delete all extraneous opinions

1772
01:37:15,405 --> 01:37:18,725
Speaker 2: so it'll be like a four or five second appearance

1773
01:37:18,765 --> 01:37:19,125
Speaker 2: this year.

1774
01:37:19,205 --> 01:37:21,125
Speaker 4: So yeahs.

1775
01:37:23,205 --> 01:37:25,845
Speaker 1: As always, Michael. Obviously you've never heard a show that

1776
01:37:25,885 --> 01:37:27,125
Speaker 1: you've actually been on.

1777
01:37:29,325 --> 01:37:33,564
Speaker 2: Where I have heard them, I occasionally actually listened through them,

1778
01:37:33,605 --> 01:37:34,245
Speaker 2: you know, all the.

1779
01:37:34,165 --> 01:37:35,604
Speaker 5: Way to the bitter end.

1780
01:37:35,685 --> 01:37:35,845
Speaker 3: You know.

1781
01:37:36,605 --> 01:37:40,445
Speaker 4: Uh, where can our listeners find more about you?

1782
01:37:40,485 --> 01:37:42,564
Speaker 2: Mikee Well, you know, the most interesting thing about me

1783
01:37:43,005 --> 01:37:45,525
Speaker 2: is that I'm I'm over on w f MT now

1784
01:37:45,605 --> 01:37:48,965
Speaker 2: as a straight announcer on the classical music station here

1785
01:37:49,005 --> 01:37:51,765
Speaker 2: in Chicago, the classical w FM T I do you know,

1786
01:37:51,805 --> 01:37:54,045
Speaker 2: I got some I got some shifts over there, and

1787
01:37:54,205 --> 01:37:57,445
Speaker 2: it is a real pleasure to just actually tee up

1788
01:37:57,485 --> 01:37:59,685
Speaker 2: a bunch of great music, some of which I know,

1789
01:37:59,765 --> 01:38:02,205
Speaker 2: so which I'm getting to know and uh, you know,

1790
01:38:02,285 --> 01:38:07,565
Speaker 2: in addition to doing the weekly film music program soundtrack,

1791
01:38:07,605 --> 01:38:09,805
Speaker 2: which I introduced every Saturday at nine am. But you

1792
01:38:09,805 --> 01:38:12,644
Speaker 2: can catch all this stuff online at w FMT dot com.

1793
01:38:12,685 --> 01:38:15,005
Speaker 2: So that's someone I'm doing. I'm writing here and there.

1794
01:38:15,045 --> 01:38:17,845
Speaker 2: I write for the San Francisco Chronicle a bit, done

1795
01:38:17,885 --> 01:38:19,965
Speaker 2: a few things for Roger Ebert dot com. But you know,

1796
01:38:20,165 --> 01:38:22,685
Speaker 2: I like this new shift, and it's nice to talk

1797
01:38:22,725 --> 01:38:26,045
Speaker 2: to you guys, and this podcasting game is I think

1798
01:38:26,045 --> 01:38:27,725
Speaker 2: it's going to catch on, and I think I may

1799
01:38:27,805 --> 01:38:29,325
Speaker 2: you know, who knows, I may look into it in

1800
01:38:29,685 --> 01:38:30,445
Speaker 2: a larger way.

1801
01:38:30,645 --> 01:38:31,085
Speaker 5: Who knows.

1802
01:38:31,645 --> 01:38:31,845
Speaker 3: Yeah.

1803
01:38:31,845 --> 01:38:34,045
Speaker 4: I like to hear your voice some more. Thank you

1804
01:38:34,045 --> 01:38:35,765
Speaker 4: as always, Michael, Thanks.

1805
01:38:35,485 --> 01:38:36,445
Speaker 2: Michel, Thanks guys.

1806
01:38:36,485 --> 01:38:37,085
Speaker 5: I appreciate it.

1807
01:38:37,965 --> 01:38:41,205
Speaker 1: Adam, let's thank a couple of Film Spotting family members,

1808
01:38:41,245 --> 01:38:44,765
Speaker 1: those folks who support the show and help us to

1809
01:38:44,845 --> 01:38:46,445
Speaker 1: keep doing what we're doing. We want to thank a

1810
01:38:46,485 --> 01:38:49,845
Speaker 1: couple of family plus members actually this week, Tory Lightcap

1811
01:38:50,405 --> 01:38:54,684
Speaker 1: in Topeka and Kurt Hansman in Lagrange, Illinois. I want

1812
01:38:54,685 --> 01:38:59,485
Speaker 1: to say I met both Tory and Kurt at the

1813
01:39:00,045 --> 01:39:04,285
Speaker 1: cinema interrupt this this Phantom Thread event a while back.

1814
01:39:04,365 --> 01:39:06,925
Speaker 1: If I have the wrong Kurt. I apologize, Kurt, but

1815
01:39:06,965 --> 01:39:09,685
Speaker 1: I think that's you at any rate. Kurt is a

1816
01:39:09,725 --> 01:39:12,245
Speaker 1: long time listener, came to the show via word of

1817
01:39:12,245 --> 01:39:17,325
Speaker 1: mouth EARLI episodes that Kurt remembers Atonement zero, Dark thirty,

1818
01:39:17,725 --> 01:39:22,805
Speaker 1: The Road, and Winter's Bone. As Tory. Tory said he

1819
01:39:22,885 --> 01:39:25,325
Speaker 1: was searching for film podcasts while working in the yard

1820
01:39:25,405 --> 01:39:29,205
Speaker 1: during the pandemic July twenty twenty one, landed on the

1821
01:39:29,245 --> 01:39:33,285
Speaker 1: wangkar Wy Marathon and suddenly needed to know everything about it.

1822
01:39:34,205 --> 01:39:37,365
Speaker 4: Tory's favorite episode the Godfather at fifty That was a

1823
01:39:37,365 --> 01:39:40,045
Speaker 4: good one episode eight fifty nine. He says, it was

1824
01:39:40,085 --> 01:39:42,604
Speaker 4: a cool new set of lenses for seeing things I'd

1825
01:39:42,645 --> 01:39:45,845
Speaker 4: been taking for granted for too long. Movies they credit

1826
01:39:45,885 --> 01:39:49,564
Speaker 4: with making them cinephiles. Kurt says the Seventh Samurai and

1827
01:39:49,645 --> 01:39:53,445
Speaker 4: Alan Pacoola's The Sterile Cuckoo from nineteen sixty nine. I

1828
01:39:53,445 --> 01:39:55,885
Speaker 4: think it's possible Kurt's just messing with us. Did you

1829
01:39:55,965 --> 01:39:58,045
Speaker 4: just make that up? Was that like a Man Lives?

1830
01:39:58,565 --> 01:39:59,445
Speaker 1: I couldn't tell you.

1831
01:39:59,965 --> 01:40:02,005
Speaker 4: I am not familiar with that movie. I love it

1832
01:40:02,045 --> 01:40:05,005
Speaker 4: when our listeners pull out movies I've actually never even

1833
01:40:05,325 --> 01:40:10,085
Speaker 4: heard of. Tory says, something I am familiar with the movie.

1834
01:40:10,125 --> 01:40:12,805
Speaker 4: It's actually been discussed on this show. I saw a

1835
01:40:12,805 --> 01:40:14,805
Speaker 4: shadow of it out in a college film course and

1836
01:40:14,845 --> 01:40:17,085
Speaker 4: realized there was a lot going on there.

1837
01:40:17,285 --> 01:40:21,564
Speaker 1: Indeed, how about favorite books about movies or movie making?

1838
01:40:21,685 --> 01:40:25,125
Speaker 1: For Kurt, it's Seymour Chapman's What Novels Can Do That

1839
01:40:25,205 --> 01:40:30,724
Speaker 1: Films Can't and vice versa. Also VF Perkins film as film.

1840
01:40:31,125 --> 01:40:34,125
Speaker 1: Tory recommended final cut, art, money and ego in the

1841
01:40:34,165 --> 01:40:37,965
Speaker 1: making of Heaven's Gate, the film that Sank United Artists

1842
01:40:38,285 --> 01:40:39,125
Speaker 1: by Stephen Bach.

1843
01:40:39,685 --> 01:40:41,765
Speaker 4: I've always wanted to read that Heaven's Gate book. Thank

1844
01:40:41,765 --> 01:40:44,885
Speaker 4: you Tory and Kurt for being family plus members and

1845
01:40:44,965 --> 01:40:47,405
Speaker 4: for all of those years of listening. You can follow

1846
01:40:47,485 --> 01:40:52,285
Speaker 4: Tory on letterboxed at Lightcap, Kurt is at Kurt Runs

1847
01:40:52,445 --> 01:40:54,725
Speaker 4: all one word. In addition to keeping us doing what

1848
01:40:54,765 --> 01:40:56,845
Speaker 4: we're doing, membership does come with perks. You get to

1849
01:40:56,885 --> 01:40:59,365
Speaker 4: listen early, you get to listen ad free, You get

1850
01:40:59,365 --> 01:41:02,245
Speaker 4: our weekly newsletter, You get exclusive opportunities like being part

1851
01:41:02,285 --> 01:41:05,724
Speaker 4: of the film Spotting Family Discord. You get monthly bonus shows,

1852
01:41:06,765 --> 01:41:11,604
Speaker 4: early opportunities or exclusive opportunities. How about participating in trivia

1853
01:41:11,685 --> 01:41:17,525
Speaker 4: spotting like you could do coming up Thursday night, March nineteenth.

1854
01:41:17,685 --> 01:41:20,045
Speaker 4: We'll put a link in this show, at least the

1855
01:41:20,085 --> 01:41:22,365
Speaker 4: episode that's going to our family members, Josh, because it

1856
01:41:22,445 --> 01:41:26,564
Speaker 4: is an exclusive opportunity just for our family members. We

1857
01:41:26,605 --> 01:41:30,405
Speaker 4: look forward to seeing many of them on the nineteenth,

1858
01:41:30,445 --> 01:41:33,125
Speaker 4: and if you're interested in more information about joining the family,

1859
01:41:33,525 --> 01:41:36,445
Speaker 4: you can find it at film Spotting Family dot com.

1860
01:41:36,525 --> 01:41:38,564
Speaker 4: We always do like to mention that there is another

1861
01:41:38,605 --> 01:41:40,485
Speaker 4: way you can support the show, and that's just giving

1862
01:41:40,565 --> 01:41:43,844
Speaker 4: us a rating or a review on Apple Podcasts or Spotify.

1863
01:41:43,885 --> 01:41:46,845
Speaker 4: I think we're a four point nine on Spotify, Josh,

1864
01:41:46,845 --> 01:41:49,965
Speaker 4: which not bad to take it. I'll take it. You know,

1865
01:41:50,165 --> 01:41:54,245
Speaker 4: perfection is hard to attain these days, so it's true.

1866
01:41:54,485 --> 01:41:57,445
Speaker 4: Maybe maybe you can help us get even closer if

1867
01:41:57,485 --> 01:41:59,805
Speaker 4: there is such a thing to that that five point zero.

1868
01:42:00,565 --> 01:42:04,045
Speaker 4: Every new review and rating does hopefully help us reach

1869
01:42:04,245 --> 01:42:06,925
Speaker 4: new listeners. You're something on your neck?

1870
01:42:07,285 --> 01:42:10,325
Speaker 2: Yeah right, I'm not falling for that one chance there

1871
01:42:10,365 --> 01:42:12,405
Speaker 2: is something on your neck to leach.

1872
01:42:13,005 --> 01:42:13,804
Speaker 3: Le Joe.

1873
01:42:16,845 --> 01:42:22,125
Speaker 4: Now, Josh. Producer Sam appropriately wants me to say, I

1874
01:42:22,165 --> 01:42:24,165
Speaker 4: never had any friends later on like the ones I

1875
01:42:24,205 --> 01:42:27,644
Speaker 4: had when I was twelve? Does anyone? And it's a

1876
01:42:27,685 --> 01:42:30,525
Speaker 4: great sentiment. But you know what, I may be just

1877
01:42:30,685 --> 01:42:34,325
Speaker 4: exceptionally lucky. I still talk to and often hang out

1878
01:42:34,325 --> 01:42:37,045
Speaker 4: with the guys I was friends with when I was twelve.

1879
01:42:37,525 --> 01:42:39,525
Speaker 1: I mean, isn't that how it goes in Iowa?

1880
01:42:39,925 --> 01:42:43,485
Speaker 4: That's just maybe so that's just the way there you go.

1881
01:42:43,605 --> 01:42:44,604
Speaker 4: It's small town thing.

1882
01:42:45,485 --> 01:42:48,885
Speaker 1: I wish I could say the same, Joshua Gore wherever

1883
01:42:48,965 --> 01:42:51,085
Speaker 1: you are, if you're out there listening to this, Hello,

1884
01:42:51,205 --> 01:42:55,125
Speaker 1: it's been too long, probably yeah, at least ten years

1885
01:42:55,165 --> 01:42:57,925
Speaker 1: since we've run into each other. But I think the

1886
01:42:57,965 --> 01:43:02,845
Speaker 1: sentiment stands. Yeah, that's any friendship at that time is

1887
01:43:03,205 --> 01:43:04,245
Speaker 1: a very special one.

1888
01:43:04,685 --> 01:43:08,165
Speaker 4: That's absolutely true. Next week will give Rob Reiner stand

1889
01:43:08,165 --> 01:43:11,765
Speaker 4: by Me the Sacred Cow treatment. It turns forty this year,

1890
01:43:11,845 --> 01:43:14,685
Speaker 4: we're going to pay tribute to Rob Reiner, and that

1891
01:43:14,725 --> 01:43:19,165
Speaker 4: film returns to theaters for a limited engagement later this month.

1892
01:43:19,525 --> 01:43:21,605
Speaker 4: What is your history with this movie, josh Is it

1893
01:43:21,645 --> 01:43:23,045
Speaker 4: a film you've seen more than once?

1894
01:43:23,805 --> 01:43:24,005
Speaker 3: Oh?

1895
01:43:24,085 --> 01:43:26,405
Speaker 1: Man, Yeah, I've seen it more than once. When did

1896
01:43:26,445 --> 01:43:29,085
Speaker 1: I first see it? It's fuzzy and I just texted

1897
01:43:29,085 --> 01:43:32,604
Speaker 1: my dad asking this because you know, twelve years old,

1898
01:43:32,605 --> 01:43:36,485
Speaker 1: speaking of that age, that's for me when it came out.

1899
01:43:36,805 --> 01:43:40,564
Speaker 1: Yeahle's stand by me rated R at the time, and

1900
01:43:41,405 --> 01:43:44,125
Speaker 1: I wasn't, you know, going to see a lot of

1901
01:43:44,205 --> 01:43:48,965
Speaker 1: rated R movies with my parents' permission at twelve, He said,

1902
01:43:49,365 --> 01:43:53,005
Speaker 1: pretty sure. He took me that. He didn't really start

1903
01:43:53,045 --> 01:43:56,285
Speaker 1: coming down hard on the ratings for me until, you know,

1904
01:43:56,645 --> 01:43:59,205
Speaker 1: I was dating in Silence of the Lambs and longtime

1905
01:43:59,245 --> 01:44:02,965
Speaker 1: listeners know that story. So yeah, maybe I saw it

1906
01:44:03,005 --> 01:44:04,725
Speaker 1: in theaters with my dad. It sounds like that was

1907
01:44:04,725 --> 01:44:05,125
Speaker 1: the case.

1908
01:44:05,485 --> 01:44:08,965
Speaker 4: Okay. I think I. I had just turned eleven when

1909
01:44:09,005 --> 01:44:10,765
Speaker 4: it came out, and I do remember seeing it in

1910
01:44:10,805 --> 01:44:15,525
Speaker 4: my small town, Iowa movie theater summer, end of summer,

1911
01:44:15,565 --> 01:44:18,884
Speaker 4: and it's an end of summer movie, right, or feels

1912
01:44:18,925 --> 01:44:22,205
Speaker 4: that way, as they're going back to school, this last

1913
01:44:22,725 --> 01:44:27,764
Speaker 4: mournful hurrah for these these boys. And I don't remember

1914
01:44:27,805 --> 01:44:29,445
Speaker 4: who I saw it with. It was not my father,

1915
01:44:29,565 --> 01:44:31,485
Speaker 4: it was not a parent. I don't know how we

1916
01:44:31,565 --> 01:44:34,684
Speaker 4: snuck in or how they led us in. They weren't

1917
01:44:34,765 --> 01:44:38,965
Speaker 4: checking IDs. I guess too carefully there, Josh, or too rigorously.

1918
01:44:39,045 --> 01:44:42,005
Speaker 4: I remember seeing it with some friends and being really

1919
01:44:42,045 --> 01:44:44,045
Speaker 4: moved by it. I don't know that I have seen

1920
01:44:44,645 --> 01:44:46,165
Speaker 4: It's one of those films. I don't think I have

1921
01:44:46,245 --> 01:44:49,325
Speaker 4: seen stand by Me from start to finish since nineteen

1922
01:44:49,365 --> 01:44:52,045
Speaker 4: eighty six. I think it's just one of those films.

1923
01:44:52,405 --> 01:44:55,405
Speaker 4: You know. It comes on TV every now and again

1924
01:44:55,605 --> 01:44:58,765
Speaker 4: over the past forty years or however many years it's been,

1925
01:44:59,165 --> 01:45:02,005
Speaker 4: and I have seen parts of it, and I've enjoyed

1926
01:45:02,005 --> 01:45:04,925
Speaker 4: parts of it, but I haven't taken it in and

1927
01:45:04,965 --> 01:45:08,925
Speaker 4: so yes, it will be fun to revisit this film.

1928
01:45:09,445 --> 01:45:11,485
Speaker 4: We also did want to give you an update. We

1929
01:45:11,525 --> 01:45:14,245
Speaker 4: had planned and we had I think promised, or certainly

1930
01:45:14,245 --> 01:45:16,285
Speaker 4: at least teased that we were going to talk about

1931
01:45:16,285 --> 01:45:19,445
Speaker 4: the Bride this week. Didn't work out for your schedule.

1932
01:45:19,565 --> 01:45:21,805
Speaker 4: Trying to see that in Scotland this week and with

1933
01:45:21,885 --> 01:45:24,325
Speaker 4: some of your travel just didn't end up working out

1934
01:45:24,325 --> 01:45:26,604
Speaker 4: with my schedule, even though it was playing in multiple

1935
01:45:26,645 --> 01:45:31,564
Speaker 4: theaters near me where I'm located. We're going to see it.

1936
01:45:31,685 --> 01:45:35,045
Speaker 4: We're both eager to see it, and at some point

1937
01:45:35,245 --> 01:45:36,925
Speaker 4: we're going to talk about it, whether it's been out

1938
01:45:36,925 --> 01:45:39,525
Speaker 4: for a couple of weeks or not. I promise that

1939
01:45:39,605 --> 01:45:41,405
Speaker 4: I think it's a film, or let me say this,

1940
01:45:42,085 --> 01:45:43,604
Speaker 4: I promise that we're going to give it a few

1941
01:45:43,645 --> 01:45:46,285
Speaker 4: minutes I know we both think it's a movie that

1942
01:45:46,405 --> 01:45:50,085
Speaker 4: deserves a few minutes, and that's not based on knowing

1943
01:45:50,125 --> 01:45:52,485
Speaker 4: really much about it at all, other than that we

1944
01:45:52,605 --> 01:45:55,925
Speaker 4: want to see it and give Maggie Gillenhall's film it's due.

1945
01:45:56,205 --> 01:45:59,325
Speaker 1: Yeah, and it's coming my way here around St. Andrews

1946
01:45:59,605 --> 01:46:02,645
Speaker 1: this weekend, so I'm definitely going to be catching up

1947
01:46:02,645 --> 01:46:04,805
Speaker 1: with it, and yeah, looking forward to talking about it

1948
01:46:04,845 --> 01:46:06,724
Speaker 1: with you at some point in the near future.

1949
01:46:07,445 --> 01:46:10,085
Speaker 4: Back to Rob Reiner. Next week we will also have

1950
01:46:10,165 --> 01:46:14,885
Speaker 4: results from our Rob Reiner poll. We have been asking

1951
01:46:14,925 --> 01:46:18,365
Speaker 4: you to choose one and only one eighties Rob Reiner movie.

1952
01:46:18,845 --> 01:46:21,885
Speaker 4: Very tough when you've got the likes of this spinal Tap,

1953
01:46:22,165 --> 01:46:26,005
Speaker 4: stand by Me, The Princess Bride, or When Harry Met Sally,

1954
01:46:26,205 --> 01:46:28,005
Speaker 4: you could only pick one. If you can only pick

1955
01:46:28,045 --> 01:46:30,804
Speaker 4: one of these to watch for the rest of your life,

1956
01:46:30,845 --> 01:46:34,445
Speaker 4: and all the other ones they're gone. They're in the incinerator, Josh,

1957
01:46:34,485 --> 01:46:38,605
Speaker 4: which one do you pick? Results so far show that

1958
01:46:38,645 --> 01:46:41,405
Speaker 4: there is a definitive winner. It's not running away with it,

1959
01:46:41,525 --> 01:46:44,844
Speaker 4: but there is a definitive winner based on the poll comments,

1960
01:46:44,885 --> 01:46:47,644
Speaker 4: though that that certainly doesn't account for the metrics don't

1961
01:46:47,645 --> 01:46:51,045
Speaker 4: account for how difficult the decision seems to be.

1962
01:46:51,285 --> 01:46:54,325
Speaker 1: Yeah, I believe that. Can I guess? Can I guess you?

1963
01:46:54,445 --> 01:46:56,605
Speaker 1: Can you tell me if I'm right or wrong? Or

1964
01:46:56,605 --> 01:46:58,685
Speaker 1: are you afraid that might skew votes from here on?

1965
01:46:58,685 --> 01:46:58,885
Speaker 3: Ass?

1966
01:46:59,005 --> 01:47:00,245
Speaker 4: No, No, let's let's do it.

1967
01:47:00,285 --> 01:47:03,765
Speaker 1: Okay, Princess Bride. I think Princess Bride, it is the

1968
01:47:03,805 --> 01:47:04,845
Speaker 1: definitive winner so far.

1969
01:47:05,365 --> 01:47:08,965
Speaker 4: Yep. Okay, it's all right. It's definitely looking like the

1970
01:47:09,005 --> 01:47:12,445
Speaker 4: Princess Bride may take it. But your voice can still

1971
01:47:12,485 --> 01:47:15,285
Speaker 4: be heard at film spotting dot net. Vote in that

1972
01:47:15,325 --> 01:47:18,085
Speaker 4: poll and leave a comment there. And if you'd also

1973
01:47:18,125 --> 01:47:20,245
Speaker 4: like to check out what we have planned for future episodes,

1974
01:47:20,285 --> 01:47:23,325
Speaker 4: go to film spotting Net and click on episodes right

1975
01:47:23,325 --> 01:47:24,564
Speaker 4: there at the top of the page.

1976
01:47:25,005 --> 01:47:27,724
Speaker 1: If you're looking for more Oscars Talk on the Eve

1977
01:47:27,845 --> 01:47:30,525
Speaker 1: of the Ceremony, we have it for you. Actually, our

1978
01:47:30,565 --> 01:47:33,685
Speaker 1: sister podcast, The Next Picture Show has it for you.

1979
01:47:33,845 --> 01:47:38,684
Speaker 1: It is there if we picked the Oscar Winners episode. Now,

1980
01:47:38,725 --> 01:47:41,365
Speaker 1: this just came out for me today, so I haven't

1981
01:47:41,405 --> 01:47:44,724
Speaker 1: had a chance to dig in. I understand though it's

1982
01:47:45,205 --> 01:47:48,485
Speaker 1: a debate towards consensus, where they're trying to come together,

1983
01:47:48,565 --> 01:47:52,365
Speaker 1: the four of them over who they think should win,

1984
01:47:52,645 --> 01:47:55,724
Speaker 1: So there should be some good back and forth there

1985
01:47:55,885 --> 01:48:00,085
Speaker 1: among Keith, Scott, Tasha and Genevieve. New episodes of the

1986
01:48:00,125 --> 01:48:02,445
Speaker 1: Next Picture Show drop every Tuesday and you can find

1987
01:48:02,485 --> 01:48:06,925
Speaker 1: them wherever you get your podcasts. Time now for mascar Theater,

1988
01:48:07,085 --> 01:48:10,564
Speaker 1: or at least a Massacre Theater winner. This is where

1989
01:48:10,565 --> 01:48:12,765
Speaker 1: Adam and I perform a scene and you get a

1990
01:48:12,805 --> 01:48:15,085
Speaker 1: chance to win a Film Spotting prize. Last time we

1991
01:48:15,205 --> 01:48:16,525
Speaker 1: massacred this scene?

1992
01:48:16,725 --> 01:48:17,564
Speaker 3: Can you see me a six?

1993
01:48:17,645 --> 01:48:17,805
Speaker 2: There?

1994
01:48:18,045 --> 01:48:18,885
Speaker 3: Could you sing a six?

1995
01:48:19,565 --> 01:48:20,005
Speaker 2: Everybody?

1996
01:48:20,045 --> 01:48:29,525
Speaker 3: One? Yep? Oh? Sorry ahead? No, you have problem on

1997
01:48:29,565 --> 01:48:32,165
Speaker 3: the bridge? No, I was gonna say, can I switch?

1998
01:48:32,205 --> 01:48:37,605
Speaker 3: Can I change out of my costume? Costume? Are you hot? Yeah?

1999
01:48:37,645 --> 01:48:40,724
Speaker 3: But also I have a warner for a month.

2000
01:48:41,605 --> 01:48:44,405
Speaker 7: You know the policy we all gotta wear. We all

2001
01:48:44,445 --> 01:48:46,564
Speaker 7: gotta wear the uniform until we're ready to take it off.

2002
01:48:46,925 --> 01:48:48,644
Speaker 7: I think you're real close. I just don't think you're

2003
01:48:48,685 --> 01:48:50,805
Speaker 7: quite there yet. I mean, you did not sing that six.

2004
01:48:50,885 --> 01:48:52,885
Speaker 7: Then I want to see you sing that six.

2005
01:48:53,125 --> 01:48:56,405
Speaker 1: That was John Michael Higgins and Christopher moynihan in two

2006
01:48:56,485 --> 01:49:00,125
Speaker 1: thousand and threes. A Mighty Wind, written by Christopher Guest

2007
01:49:00,205 --> 01:49:03,805
Speaker 1: and Eugene Levy, directed by a guest our masacre of

2008
01:49:03,805 --> 01:49:06,005
Speaker 1: that scene was part of our Top five Catherine O'Hara

2009
01:49:06,365 --> 01:49:09,885
Speaker 1: Characters tribute. There's always a tie in, So why that

2010
01:49:10,005 --> 01:49:11,885
Speaker 1: scene from a Mighty Wind.

2011
01:49:12,285 --> 01:49:15,125
Speaker 4: One of our more obvious tie ins? Perhaps Jack and

2012
01:49:15,205 --> 01:49:17,845
Speaker 4: Sat Cloud, Minnesota writes it's a mighty win. I just

2013
01:49:17,885 --> 01:49:19,485
Speaker 4: recently caught up with this one in the wake of

2014
01:49:19,485 --> 01:49:22,605
Speaker 4: O'Hara's passing and absolutely loved it. And while O'Hara is

2015
01:49:22,645 --> 01:49:24,925
Speaker 4: the heart and soul of the movie, I personally found

2016
01:49:25,005 --> 01:49:27,885
Speaker 4: John Michael Higgins to be the funniest player involved. The

2017
01:49:27,965 --> 01:49:30,564
Speaker 4: clear connection to this massacre is Catherine O'Hara, to whom

2018
01:49:30,565 --> 01:49:33,285
Speaker 4: you devoted a wonderful Top five character segment. And I'm

2019
01:49:33,285 --> 01:49:36,525
Speaker 4: starting to laugh only because Jack and Saint Cloud, Minnesota

2020
01:49:36,605 --> 01:49:39,725
Speaker 4: might be right about John Michael Higgins. I did just

2021
01:49:39,805 --> 01:49:45,005
Speaker 4: Rewatch a Mighty Wind, ironically, just after we prepared for

2022
01:49:45,125 --> 01:49:47,885
Speaker 4: and recorded and published this show. You can check out

2023
01:49:47,885 --> 01:49:51,644
Speaker 4: my log on Letterbox and my short review there. And

2024
01:49:52,525 --> 01:49:57,205
Speaker 4: what actually might be my favorite funniest bit in the movie,

2025
01:49:57,365 --> 01:50:00,805
Speaker 4: like I'm just I'm dying just thinking about it right now,

2026
01:50:01,365 --> 01:50:06,165
Speaker 4: is when Jane Lynch, his wife, is talking to the

2027
01:50:06,165 --> 01:50:10,725
Speaker 4: camera about her whole colors thing, you know, the mysticism

2028
01:50:10,765 --> 01:50:13,885
Speaker 4: around the colors, and guests, who's so good at this? Right,

2029
01:50:13,925 --> 01:50:15,644
Speaker 4: And so many of his films, they'll get that moment

2030
01:50:16,125 --> 01:50:21,085
Speaker 4: where the camera captures the other character in a scene

2031
01:50:21,165 --> 01:50:26,285
Speaker 4: who who we believe is bought into whatever their partner

2032
01:50:26,685 --> 01:50:30,645
Speaker 4: is selling and acts like they're bought in wholeheartedly. But

2033
01:50:30,925 --> 01:50:33,685
Speaker 4: the facade cracks just for a second, and there's a

2034
01:50:33,805 --> 01:50:36,165
Speaker 4: cut to a close up where you just see the

2035
01:50:36,365 --> 01:50:39,285
Speaker 4: terror in John Michael Higgins's eyes, like the way he

2036
01:50:39,445 --> 01:50:43,245
Speaker 4: shows that terror, like I can't believe what she is spouting.

2037
01:50:43,485 --> 01:50:45,925
Speaker 4: I can't believe that this is my life. I want

2038
01:50:45,965 --> 01:50:49,045
Speaker 4: to run out of here so fast. Everything he conveys

2039
01:50:49,405 --> 01:50:52,405
Speaker 4: just with that like two second close up is the best.

2040
01:50:53,085 --> 01:50:54,845
Speaker 1: Yeah, and they have to play that right too. It

2041
01:50:54,885 --> 01:50:57,085
Speaker 1: can't be wide eyes from the beginning. It has to

2042
01:50:57,125 --> 01:50:59,804
Speaker 1: be as you described it, a slow crowd.

2043
01:51:00,925 --> 01:51:03,325
Speaker 4: Yes, it just kind of builds to it, You're right,

2044
01:51:03,645 --> 01:51:05,005
Speaker 4: Uh huh, All right.

2045
01:51:05,045 --> 01:51:09,085
Speaker 1: We also heard from Adam Hoffer from Memphis, Tennessee. I'll

2046
01:51:09,085 --> 01:51:11,365
Speaker 1: start off my guests by confessing that the sen y'all

2047
01:51:11,405 --> 01:51:13,325
Speaker 1: masacre does not ring a bell at all with me.

2048
01:51:13,565 --> 01:51:15,845
Speaker 1: Even though I saw the movie for the first time

2049
01:51:15,965 --> 01:51:18,445
Speaker 1: just a couple of years ago, but knowing it was

2050
01:51:18,445 --> 01:51:21,005
Speaker 1: a Catherine O'Hara episode is my clue, and Adams saying

2051
01:51:21,005 --> 01:51:23,045
Speaker 1: and he was going to use his guitar, I had

2052
01:51:23,085 --> 01:51:25,684
Speaker 1: a strong feeling what it was before we'll even said action.

2053
01:51:26,245 --> 01:51:28,485
Speaker 1: When the dialogue started and it was clear the scene

2054
01:51:28,565 --> 01:51:33,285
Speaker 1: was a Christopher Guest film. What other director continually hilariously

2055
01:51:33,325 --> 01:51:36,765
Speaker 1: features characters being pedantic and overly committed to something that

2056
01:51:36,845 --> 01:51:39,285
Speaker 1: really is not that big of a deal. From best

2057
01:51:39,325 --> 01:51:42,565
Speaker 1: Insto to waiting for Guffman to mascots, there's a consistency

2058
01:51:42,925 --> 01:51:46,125
Speaker 1: in the psychology of his characters that includes the ones

2059
01:51:46,125 --> 01:51:48,405
Speaker 1: featured in this week's film, A Mighty Wind.

2060
01:51:48,765 --> 01:51:51,205
Speaker 4: It's a good insight. Thank you Adam, thank you Jack,

2061
01:51:51,245 --> 01:51:53,565
Speaker 4: Thank you to everyone who entered. I gave Sam a

2062
01:51:53,605 --> 01:51:57,245
Speaker 4: little grief that this was one of the lowest entered

2063
01:51:57,285 --> 01:52:01,605
Speaker 4: massacre theaters of all time, maybe just a little too obscure,

2064
01:52:01,645 --> 01:52:05,085
Speaker 4: even as obvious as the tie in was, that was

2065
01:52:05,085 --> 01:52:08,604
Speaker 4: a little bit unfair. Josh. We got a few more

2066
01:52:08,685 --> 01:52:11,684
Speaker 4: than I had originally suspected. Still low, still very low.

2067
01:52:12,285 --> 01:52:14,445
Speaker 4: But we'll see what we can do. When we bring

2068
01:52:14,525 --> 01:52:16,165
Speaker 4: Mascer Theater back after the break.

2069
01:52:16,645 --> 01:52:19,005
Speaker 1: I think the real problem was I mean, it was

2070
01:52:19,005 --> 01:52:21,005
Speaker 1: a problem for the episode overall. Now they'll think about

2071
01:52:21,325 --> 01:52:24,405
Speaker 1: as soon as we started singing, Yeah, everyone just put

2072
01:52:24,845 --> 01:52:29,405
Speaker 1: right played, that's right, left the up entirely and moved.

2073
01:52:31,045 --> 01:52:33,205
Speaker 4: I think it's because we didn't hit the sixth. If

2074
01:52:33,205 --> 01:52:35,845
Speaker 4: we had just hit the sixth, it was properly the.

2075
01:52:37,405 --> 01:52:37,604
Speaker 5: Right.

2076
01:52:38,245 --> 01:52:41,045
Speaker 4: Reach into the not so brimming Film Spotting hat and

2077
01:52:41,085 --> 01:52:42,125
Speaker 4: pick out this week's winner.

2078
01:52:42,565 --> 01:52:45,205
Speaker 1: Our winner is Mike Brown from Los Angeles.

2079
01:52:45,485 --> 01:52:48,885
Speaker 4: Congratulations Mike, email feedback at filmspotting dot net. We will

2080
01:52:48,885 --> 01:52:51,165
Speaker 4: set you up with your very own film Spotting t shirt,

2081
01:52:51,445 --> 01:52:55,205
Speaker 4: tote bag, or trial membership to the Film Spotting Family. Sadly,

2082
01:52:55,925 --> 01:52:59,285
Speaker 4: no singing this week, No no terrible acting of any kind.

2083
01:52:59,565 --> 01:53:03,005
Speaker 4: We are putting Masker Theater on hiatus, as we do

2084
01:53:03,165 --> 01:53:06,685
Speaker 4: this time of year. It will return after the conclusion

2085
01:53:07,005 --> 01:53:09,005
Speaker 4: of Film Spotting Madness in April.

2086
01:53:10,285 --> 01:53:14,965
Speaker 2: This lasting, this is madness, This is absolute madness.

2087
01:53:15,045 --> 01:53:18,485
Speaker 4: This is mad madness. Madness.

2088
01:53:18,525 --> 01:53:22,205
Speaker 2: But this is absolute madness, Ambassador, Why should you build

2089
01:53:22,285 --> 01:53:24,805
Speaker 2: such a thing that is.

2090
01:53:27,645 --> 01:53:27,765
Speaker 4: Us?

2091
01:53:28,245 --> 01:53:29,125
Speaker 3: Hot Off?

2092
01:53:30,605 --> 01:53:34,845
Speaker 4: There it is, Josh, It's official, It's here. The film

2093
01:53:34,885 --> 01:53:38,724
Speaker 4: Spotting Madness Intro is back. That means Film Spotting Madness

2094
01:53:38,765 --> 01:53:40,844
Speaker 4: is back. It is time to get a little crazy

2095
01:53:41,125 --> 01:53:45,804
Speaker 4: and start our eleventh annual bracket style movie elimination tournament.

2096
01:53:46,405 --> 01:53:49,445
Speaker 4: This year's theme is custom made for the Turner Classic

2097
01:53:49,525 --> 01:53:52,845
Speaker 4: Movies and Criterion Channel obsessive out there. It is the

2098
01:53:52,965 --> 01:54:00,045
Speaker 4: best of the nineteen forties and we hope that these

2099
01:54:00,805 --> 01:54:04,485
Speaker 4: little tournaments, especially as we go back through the decades

2100
01:54:04,485 --> 01:54:07,045
Speaker 4: here and we have suggested the forties is probably where

2101
01:54:07,085 --> 01:54:09,365
Speaker 4: we'll leave off that it really is about what the

2102
01:54:09,405 --> 01:54:12,405
Speaker 4: show has always been about. It's been about and it

2103
01:54:12,445 --> 01:54:16,644
Speaker 4: will continue to be about discovery and homework in the

2104
01:54:16,685 --> 01:54:21,125
Speaker 4: best way possible, giving you an excuse, a mechanism to

2105
01:54:21,205 --> 01:54:23,485
Speaker 4: check out films that maybe you've always wanted to, maybe

2106
01:54:23,525 --> 01:54:25,805
Speaker 4: in some cases you didn't know you always wanted to,

2107
01:54:26,325 --> 01:54:28,125
Speaker 4: and now you have a reason to, you have an

2108
01:54:28,165 --> 01:54:32,805
Speaker 4: incentive to. And we just actually, maybe twenty four hours

2109
01:54:32,845 --> 01:54:37,405
Speaker 4: ago or less, Josh got this wonderful email from Maria

2110
01:54:37,845 --> 01:54:41,645
Speaker 4: in Kent, UK that really couldn't have made us feel

2111
01:54:41,685 --> 01:54:45,205
Speaker 4: better about embarking on this enterprise yet again.

2112
01:54:45,565 --> 01:54:48,005
Speaker 1: Yeah, don't take Adam's word for it. Here, Listen to

2113
01:54:48,045 --> 01:54:50,525
Speaker 1: Maria I just wanted to say a massive thank you

2114
01:54:50,565 --> 01:54:53,125
Speaker 1: for choosing to do film spotting Madness with the best

2115
01:54:53,125 --> 01:54:55,925
Speaker 1: films of the nineteen forties. When you first suggested this,

2116
01:54:56,045 --> 01:54:58,245
Speaker 1: I was really worried, as it's not a decade of

2117
01:54:58,285 --> 01:55:00,445
Speaker 1: cinema I know. I thought it was going to be

2118
01:55:00,485 --> 01:55:03,565
Speaker 1: a chore to try and fill all my blind spots.

2119
01:55:03,925 --> 01:55:04,525
Speaker 3: But not so.

2120
01:55:05,285 --> 01:55:08,405
Speaker 1: I am enjoying immensely watching the films on the list

2121
01:55:08,485 --> 01:55:12,005
Speaker 1: on letterbox. I am discovering amazing films which I would

2122
01:55:12,005 --> 01:55:16,685
Speaker 1: never ever watch otherwise. I'm discovering incredible noir films, comedies,

2123
01:55:16,765 --> 01:55:20,165
Speaker 1: classic westerns, etc. And I can't believe I have never

2124
01:55:20,205 --> 01:55:23,565
Speaker 1: seen some of these masterful films before. That's why I

2125
01:55:23,685 --> 01:55:25,645
Speaker 1: love you guys. You are making me a better cinephile

2126
01:55:25,685 --> 01:55:28,725
Speaker 1: and you are opening up my very limited experience. I'm

2127
01:55:28,765 --> 01:55:31,045
Speaker 1: looking forward to the film Spotty Madness. It will be

2128
01:55:31,125 --> 01:55:33,285
Speaker 1: very difficult to pick a winner as there are so

2129
01:55:33,445 --> 01:55:37,765
Speaker 1: many many amazing films alongside classics such as Casablanca.

2130
01:55:38,445 --> 01:55:41,605
Speaker 4: How about that, thank you, Maria. We will share the

2131
01:55:41,645 --> 01:55:45,125
Speaker 4: complete sixty four film bracket next week. That is also

2132
01:55:45,165 --> 01:55:47,565
Speaker 4: when we will launch the bracket contest, so you'll have

2133
01:55:47,885 --> 01:55:50,925
Speaker 4: a week to get your picks in and you will

2134
01:55:50,925 --> 01:55:54,285
Speaker 4: compete against us and other Film Spotting listeners. If you're

2135
01:55:54,325 --> 01:55:57,805
Speaker 4: the winner, there will be some prizes at the end

2136
01:55:58,005 --> 01:56:00,085
Speaker 4: of it all. But first the play and round. We

2137
01:56:00,125 --> 01:56:03,765
Speaker 4: have to get it down to sixty four films, Josh,

2138
01:56:03,765 --> 01:56:05,685
Speaker 4: we have to get it down to that tidy sixty

2139
01:56:05,725 --> 01:56:08,485
Speaker 4: four the Big Dance. We have twenty nine films vying

2140
01:56:08,565 --> 01:56:11,845
Speaker 4: to advance to the Big Dance, thirteen play in matchups

2141
01:56:12,285 --> 01:56:14,525
Speaker 4: to highlight here this week, we're going to go through

2142
01:56:14,565 --> 01:56:17,365
Speaker 4: them pretty quickly. Maybe we can just kind of alternate here.

2143
01:56:17,805 --> 01:56:20,045
Speaker 4: These are the films that we felt like, man, they

2144
01:56:20,205 --> 01:56:22,925
Speaker 4: really deserve This selection committee felt like they really deserve

2145
01:56:23,285 --> 01:56:26,365
Speaker 4: some acclaim. They need to be part of Film Spotting

2146
01:56:26,365 --> 01:56:28,605
Speaker 4: Men as best in the nineteen forties. But we couldn't

2147
01:56:28,645 --> 01:56:34,045
Speaker 4: necessarily justify a place an automatic bid to the tourney.

2148
01:56:34,285 --> 01:56:38,645
Speaker 4: So we've found some common ground here, some themes as

2149
01:56:38,685 --> 01:56:41,285
Speaker 4: we like to do. And these are the matchups we're

2150
01:56:41,285 --> 01:56:41,765
Speaker 4: given to you.

2151
01:56:42,525 --> 01:56:45,405
Speaker 1: And this is the fun part. Kudos to the selection committee,

2152
01:56:45,405 --> 01:56:45,845
Speaker 1: you insane.

2153
01:56:45,925 --> 01:56:46,205
Speaker 4: Thank you.

2154
01:56:46,525 --> 01:56:48,485
Speaker 1: I not a part of the selection committee, but this

2155
01:56:48,525 --> 01:56:51,245
Speaker 1: is the fun part of the play. Are the pairings

2156
01:56:51,325 --> 01:56:55,925
Speaker 1: that you find and the thematic connections, which honestly oftentimes makes

2157
01:56:55,925 --> 01:56:58,565
Speaker 1: it harder. So which is, you know, of course, the

2158
01:56:58,605 --> 01:57:00,725
Speaker 1: ultimate point. But yeah, some of these are fun, So

2159
01:57:01,285 --> 01:57:02,365
Speaker 1: let's jump into them.

2160
01:57:02,365 --> 01:57:04,685
Speaker 4: Here, go ahead, start us off, all right.

2161
01:57:04,725 --> 01:57:09,365
Speaker 1: The first pairing is a disneywand Dumbo versus Fantasia. So

2162
01:57:09,445 --> 01:57:14,245
Speaker 1: you have Dumbo kept the studio afloat during wartime. Fantasia

2163
01:57:14,245 --> 01:57:19,605
Speaker 1: flopped but eventually became a prestige cornerstone. You have some

2164
01:57:19,925 --> 01:57:24,445
Speaker 1: avant garde versus minimalism maybe going on here, maybe the

2165
01:57:24,485 --> 01:57:29,845
Speaker 1: most intimate Disney feature versus the studio's most ambitious I

2166
01:57:29,845 --> 01:57:32,925
Speaker 1: don't know. Do you have an emotional Sometimes with Disney

2167
01:57:32,965 --> 01:57:35,285
Speaker 1: films like this Adam that we saw for the first

2168
01:57:35,325 --> 01:57:38,725
Speaker 1: time as kids, there's an emotional response when you're forced

2169
01:57:38,765 --> 01:57:41,245
Speaker 1: to choose one. I think if you're leaning on emotion,

2170
01:57:41,845 --> 01:57:44,725
Speaker 1: there's maybe an obvious way to go, But as an

2171
01:57:44,725 --> 01:57:46,845
Speaker 1: adult you might add some more objectivity to it.

2172
01:57:47,125 --> 01:57:49,925
Speaker 4: I'm just going off of the heart and Dumbo. If

2173
01:57:49,965 --> 01:57:52,805
Speaker 4: I'm if I'm going to vote in this play and matchup?

2174
01:57:52,845 --> 01:57:56,325
Speaker 4: How about this one screwball Comedies. We have Adam's rib

2175
01:57:56,605 --> 01:58:00,405
Speaker 4: versus Balifier versus the Palm Beach Story. That's a lot

2176
01:58:00,405 --> 01:58:04,485
Speaker 4: of chaos. You've got balifier Billy Wilder as writer before

2177
01:58:04,485 --> 01:58:08,245
Speaker 4: he really became Billy Wilder. Adam's Rib gives you Tracy

2178
01:58:08,285 --> 01:58:12,885
Speaker 4: Hepburn chemistry like full legal sparring strength. I guess we

2179
01:58:12,885 --> 01:58:16,245
Speaker 4: could phrase it that way, Josh. The Palm Beach Story,

2180
01:58:16,405 --> 01:58:19,245
Speaker 4: A lot of people have said this is like a

2181
01:58:19,365 --> 01:58:23,445
Speaker 4: lethal dose of sturgist chaos. So take that for what

2182
01:58:23,485 --> 01:58:27,045
Speaker 4: it's worth as you consider these films in the screwball

2183
01:58:27,085 --> 01:58:31,765
Speaker 4: comedy Triumvirate. Next up, Reporting for Duty. This is one

2184
01:58:31,805 --> 01:58:35,685
Speaker 4: close to my heart. All journalism based all the King's men,

2185
01:58:36,205 --> 01:58:41,605
Speaker 4: gentlemen's agreement versus foreign correspondent gentlemen's agreement, moral crusade, journalism,

2186
01:58:41,685 --> 01:58:44,805
Speaker 4: all the King's men, you know, journalism drifting into corruption,

2187
01:58:44,965 --> 01:58:49,365
Speaker 4: foreign correspond at those journalism as foreign thriller spectacle. Of course,

2188
01:58:49,405 --> 01:58:52,765
Speaker 4: that's Hitchcock. So you've got two Best Picture winners against

2189
01:58:52,765 --> 01:58:55,845
Speaker 4: a Hitchcock thriller. You're going to go prestige best picture,

2190
01:58:56,165 --> 01:58:59,965
Speaker 4: or you're gonna go Hitchcock fun in Reporting for Duty.

2191
01:59:00,205 --> 01:59:03,005
Speaker 4: That's the question. You know how I sor about this

2192
01:59:03,045 --> 01:59:06,925
Speaker 4: next matchup? Josh, Okay, I don't know how you feel

2193
01:59:06,965 --> 01:59:08,205
Speaker 4: though this will be interesting.

2194
01:59:08,245 --> 01:59:09,965
Speaker 1: Oh yeah, yeah, this will be easy for you, back

2195
01:59:10,005 --> 01:59:13,085
Speaker 1: to back best pictures. So yes, How Green was My

2196
01:59:13,205 --> 01:59:17,765
Speaker 1: Valley versus Missus Miniver, you know, Wales versus England. That

2197
01:59:17,965 --> 01:59:20,205
Speaker 1: of course you could look at it that way. These

2198
01:59:20,205 --> 01:59:23,765
Speaker 1: are prestige heavyweights, both of them. Ford's film, which we

2199
01:59:23,925 --> 01:59:27,005
Speaker 1: just talked about recently as part of our Pantheon project,

2200
01:59:27,205 --> 01:59:30,165
Speaker 1: very nostalgic but at the same time very mournful. Wilers

2201
01:59:30,405 --> 01:59:36,285
Speaker 1: is morale boostin patriotic, you would probably say propagandistic, which

2202
01:59:36,325 --> 01:59:40,285
Speaker 1: is why you're voting for How Green Strong Was My

2203
01:59:40,365 --> 01:59:42,205
Speaker 1: Valley Strong? And you know what, that warms my heart

2204
01:59:42,205 --> 01:59:44,365
Speaker 1: at them. I just it's still one of the favorite

2205
01:59:44,365 --> 01:59:46,885
Speaker 1: things that's happened on the show recently is how much

2206
01:59:46,925 --> 01:59:49,285
Speaker 1: you embraced How Green Was My Valley. I would have

2207
01:59:49,325 --> 01:59:52,245
Speaker 1: been very sad if you had just not not enjoyed

2208
01:59:52,245 --> 01:59:55,565
Speaker 1: that at all. So I think, yeah, between the two,

2209
01:59:55,605 --> 01:59:57,805
Speaker 1: I much higher in Missus Miniver, But between the two,

2210
01:59:57,805 --> 02:00:00,565
Speaker 1: How Green Was My Valley is, you know, much more

2211
02:00:01,245 --> 02:00:02,485
Speaker 1: the masterful work.

2212
02:00:02,605 --> 02:00:06,405
Speaker 4: So I would vote that way as well. Okay, Crosby,

2213
02:00:06,725 --> 02:00:10,765
Speaker 4: the Kelly, the Cagney going my way VI on the Town,

2214
02:00:10,925 --> 02:00:15,565
Speaker 4: the Yankee Doodle Dandy, Bing Crosby, charm, Gene Kelly, athleticism,

2215
02:00:16,005 --> 02:00:20,925
Speaker 4: James Cagney just being Cagney, that raw energy of Cagney.

2216
02:00:21,845 --> 02:00:24,885
Speaker 4: Comparing On the Town and Yankee Doodle Dandy, I'm definitely

2217
02:00:24,925 --> 02:00:29,245
Speaker 4: picking Yankee Doodle Dandy, but again, can't compare those right

2218
02:00:29,285 --> 02:00:30,605
Speaker 4: now against going my way.

2219
02:00:30,965 --> 02:00:35,565
Speaker 1: Next category another Orson the Lady from Shanghai versus The Stranger.

2220
02:00:35,685 --> 02:00:39,605
Speaker 1: The stranger was Wells trying to play studio ball and

2221
02:00:39,925 --> 02:00:43,205
Speaker 1: Shanghai maybe shattering the ball. You've got a solid noir

2222
02:00:43,365 --> 02:00:46,005
Speaker 1: versus funhouse mirror shootout.

2223
02:00:46,205 --> 02:00:49,405
Speaker 4: And of course you know also Rita Hayworth another Orson,

2224
02:00:49,445 --> 02:00:52,485
Speaker 4: because you could certainly expect that at least one Orson

2225
02:00:52,485 --> 02:00:55,645
Speaker 4: Wells is going to be part of the bracket. Probably

2226
02:00:56,365 --> 02:01:01,325
Speaker 4: a high seed classic monsters, Josh, where you on your

2227
02:01:01,725 --> 02:01:05,965
Speaker 4: classic monsters like Bud Abbott and Luke Costello meet Frankenstein

2228
02:01:06,485 --> 02:01:09,965
Speaker 4: the the Wolfman. So you've got the Wolfman, you know, legit,

2229
02:01:10,245 --> 02:01:15,325
Speaker 4: solid universal horror. Abbitt In Costello's like horror comedy mashup

2230
02:01:15,965 --> 02:01:18,525
Speaker 4: both of us. Give us an ensemble that features Lon

2231
02:01:18,605 --> 02:01:20,645
Speaker 4: Cheney Junior and Bello Lugosi.

2232
02:01:20,805 --> 02:01:23,885
Speaker 1: Ye I mean the Wolf Man. It's it's not like

2233
02:01:23,965 --> 02:01:28,165
Speaker 1: a masterpiece, but it's one of those that still earns

2234
02:01:28,165 --> 02:01:33,965
Speaker 1: its classic status. And my blind spot area is horror comedy,

2235
02:01:34,045 --> 02:01:37,805
Speaker 1: especially horror comedy this old. I didn't end up doing

2236
02:01:37,805 --> 02:01:41,045
Speaker 1: a chapter in my horror book fear Not on horror

2237
02:01:41,125 --> 02:01:43,365
Speaker 1: comedy as a subgenre. It was in the initial plan

2238
02:01:43,525 --> 02:01:46,285
Speaker 1: till my word count got cut down. That would have

2239
02:01:46,285 --> 02:01:49,045
Speaker 1: been a great opportunity to catch up on movies like

2240
02:01:49,285 --> 02:01:54,285
Speaker 1: Abbott and Costello Meet Frankenstein, sadly didn't happen. I can't

2241
02:01:54,325 --> 02:01:56,565
Speaker 1: encourage people enough though to see The Wolf Man.

2242
02:01:56,605 --> 02:02:02,845
Speaker 4: If you haven't, okay we have? Is it tournier? I

2243
02:02:02,885 --> 02:02:07,325
Speaker 4: believe it's that's right, okay. Cat People versus I Walked

2244
02:02:07,525 --> 02:02:11,565
Speaker 4: with a Zombie Both films written by val Lewton Repression

2245
02:02:11,605 --> 02:02:17,565
Speaker 4: and Desire on Display and Cat People colonialism spiritual ambiguity

2246
02:02:17,645 --> 02:02:19,325
Speaker 4: in I walked with a Zombie.

2247
02:02:19,685 --> 02:02:24,285
Speaker 1: These two I did deeply consider for fear Not for

2248
02:02:24,365 --> 02:02:27,645
Speaker 1: the horror book, and I came away adam, I know

2249
02:02:27,725 --> 02:02:29,885
Speaker 1: Cat People is the better known. It's the one I

2250
02:02:29,885 --> 02:02:34,885
Speaker 1: had actually seen before researching for the book. It's probably

2251
02:02:34,925 --> 02:02:38,045
Speaker 1: the better regarded. I really like I walked with a

2252
02:02:38,125 --> 02:02:41,765
Speaker 1: zombie more. I think some of the ideas it's digging

2253
02:02:42,045 --> 02:02:45,045
Speaker 1: into there are richer, not that cat people doesn't have them.

2254
02:02:45,405 --> 02:02:48,085
Speaker 1: But yeah, this is maybe a bit of a counterintuitive

2255
02:02:48,125 --> 02:02:50,445
Speaker 1: vote for me, But I'm going with I walked with

2256
02:02:50,485 --> 02:02:51,165
Speaker 1: a zombie.

2257
02:02:51,325 --> 02:02:51,805
Speaker 4: I like it.

2258
02:02:52,325 --> 02:02:56,605
Speaker 1: Fatale Fems is our next fatal.

2259
02:02:56,205 --> 02:02:58,725
Speaker 4: Josh in this game, I was thinking, I was thinking.

2260
02:02:58,885 --> 02:03:00,485
Speaker 1: I thought this was like a play on words. You

2261
02:03:00,605 --> 02:03:05,965
Speaker 1: two were up to fatale. Sure, yes, I got to

2262
02:03:05,965 --> 02:03:08,845
Speaker 1: get on this selection committee and fix some of this stuff,

2263
02:03:09,045 --> 02:03:13,085
Speaker 1: all right, Fems Fatale or fatal Femmes. The movies Our

2264
02:03:13,165 --> 02:03:16,645
Speaker 1: Detour versus Leave Her to Heaven, two distinct visions of

2265
02:03:16,685 --> 02:03:22,165
Speaker 1: doom the Bleakest Fatalism versus technicolor Nuan Our Detour. We

2266
02:03:22,245 --> 02:03:24,085
Speaker 1: discussed on the show, Adam.

2267
02:03:24,205 --> 02:03:27,925
Speaker 4: Both liked quite a bit. Yes, I remember, I think, yes,

2268
02:03:28,205 --> 02:03:30,325
Speaker 4: I think we like it. Might have been our favorite

2269
02:03:30,325 --> 02:03:33,805
Speaker 4: film of that marathon. Call Me Larry. That is in

2270
02:03:34,685 --> 02:03:40,645
Speaker 4: that as in Lawrence Olivier Hamlet, The Henry the Fifth,

2271
02:03:40,685 --> 02:03:44,645
Speaker 4: of course, two forerunners of Kenneth Branna and his films,

2272
02:03:44,925 --> 02:03:47,645
Speaker 4: two takes on masculinity. I suppose you could look at it, Josh,

2273
02:03:47,685 --> 02:03:52,165
Speaker 4: Henry the Fifth is you know, stirring jingoism really, and

2274
02:03:52,165 --> 02:03:56,085
Speaker 4: then Hamlet you've got the brooding main character there and

2275
02:03:56,485 --> 02:04:01,645
Speaker 4: then the psychology unraveling. I have seen these, but it

2276
02:04:01,685 --> 02:04:06,325
Speaker 4: has been a long time for both, and I'm really

2277
02:04:06,405 --> 02:04:09,965
Speaker 4: not a fan of Olivier's Henry the Fifth. I find

2278
02:04:09,965 --> 02:04:16,445
Speaker 4: it far too jingoistically stirring. So I'm inclined to go Hamlet.

2279
02:04:16,605 --> 02:04:18,925
Speaker 1: All right, I'm gonna take your word for that. I'm this,

2280
02:04:18,925 --> 02:04:22,565
Speaker 1: this is this is your realm. So our next category

2281
02:04:22,565 --> 02:04:27,965
Speaker 1: wounded Men, Drunken Angel versus Eyeshot Jesse James. So here

2282
02:04:28,085 --> 02:04:30,525
Speaker 1: just to show we have been doing our homework, Adam

2283
02:04:30,925 --> 02:04:35,085
Speaker 1: Drunken Angel. We just recently saw and talked about the

2284
02:04:35,125 --> 02:04:41,245
Speaker 1: early Kurosawa Maffune picture, the James the Samuel Fuller picture,

2285
02:04:41,285 --> 02:04:45,245
Speaker 1: his first feature, I believe, not one I've seen yet. No,

2286
02:04:45,805 --> 02:04:47,085
Speaker 1: so that's more homework for me.

2287
02:04:47,725 --> 02:04:52,045
Speaker 4: Yes, indeed, two director breakouts though, and both of them

2288
02:04:52,085 --> 02:04:55,405
Speaker 4: with you know, some broken men, So that should be fun.

2289
02:04:55,885 --> 02:05:01,805
Speaker 4: All have a Guinness great expectations, the kind hearts and coronets,

2290
02:05:02,365 --> 02:05:05,805
Speaker 4: prestige literary classic versus a cult favorite. And you get

2291
02:05:05,805 --> 02:05:07,485
Speaker 4: to decide, Josh, do you want just one pint of

2292
02:05:07,525 --> 02:05:10,565
Speaker 4: Guinness Alec that is, or do you want eight? Because

2293
02:05:10,565 --> 02:05:14,285
Speaker 4: he plays eight characters in kind Hearts and Coronets, Kind

2294
02:05:14,325 --> 02:05:16,005
Speaker 4: Hearts and Cornets. I think was part of a marathon.

2295
02:05:16,125 --> 02:05:19,125
Speaker 4: Was that pre dating you here on the show, Josh?

2296
02:05:19,485 --> 02:05:23,525
Speaker 1: Pre dating me? But yeah, but I've seen it and

2297
02:05:23,525 --> 02:05:26,525
Speaker 1: and like it quite a bit more than great expectations. Actually,

2298
02:05:26,765 --> 02:05:29,285
Speaker 1: I'm still trying to determine if this is Is this

2299
02:05:29,325 --> 02:05:31,965
Speaker 1: a pun you guys are pulling here? Do I allow this?

2300
02:05:32,085 --> 02:05:34,125
Speaker 4: It's a it's a title, though I thought you were.

2301
02:05:34,805 --> 02:05:37,725
Speaker 4: I kind of like it. Okay, it's good, it's good. Okay,

2302
02:05:37,765 --> 02:05:39,405
Speaker 4: last one give it to us.

2303
02:05:39,925 --> 02:05:42,125
Speaker 1: Psycho thriller case casa?

2304
02:05:42,285 --> 02:05:46,205
Speaker 4: Is that is that? Come on, talking heads guy, Psycho.

2305
02:05:45,885 --> 02:05:50,085
Speaker 1: Thrillers, kescs. There we go, let's go with that.

2306
02:05:50,565 --> 02:05:51,525
Speaker 4: Yeah, what what are you?

2307
02:05:51,565 --> 02:05:55,405
Speaker 1: What are you two up to here? This is Spellbound versus.

2308
02:05:55,365 --> 02:06:00,805
Speaker 4: Suspicions Suspicion to Psycho Thrillers. Yes, prestige.

2309
02:06:02,045 --> 02:06:05,685
Speaker 1: I'm imaginings as we're going here that like this slack

2310
02:06:05,765 --> 02:06:09,445
Speaker 1: thread started at about eleven PM and finished at about

2311
02:06:09,485 --> 02:06:10,565
Speaker 1: three thirty.

2312
02:06:10,725 --> 02:06:12,925
Speaker 4: I actually came up with that title all on my own,

2313
02:06:13,125 --> 02:06:16,725
Speaker 4: and Sam Hilton shut it down. So explains it even more,

2314
02:06:17,125 --> 02:06:19,085
Speaker 4: you know, yeah, I mean spell Bound is I think

2315
02:06:19,125 --> 02:06:23,005
Speaker 4: considered more like prestige hit Carry Grant, Joan Fontaine from

2316
02:06:23,005 --> 02:06:25,645
Speaker 4: the mid forties. And then you've got Ingrid Bergman and

2317
02:06:25,725 --> 02:06:29,685
Speaker 4: Gregory Peck in more of a paranoid thriller from the

2318
02:06:29,765 --> 02:06:33,565
Speaker 4: early forties, so to two different types of Hitchcock just

2319
02:06:33,605 --> 02:06:37,405
Speaker 4: a few years apart, and both do involve a little

2320
02:06:37,405 --> 02:06:42,685
Speaker 4: bit of psychosis, and they're definitely thrillers. Josh, hence the title.

2321
02:06:43,045 --> 02:06:44,725
Speaker 4: Do you have a clear winner there for you?

2322
02:06:45,245 --> 02:06:48,885
Speaker 1: I mean, it's hard not to think about more than

2323
02:06:48,925 --> 02:06:54,005
Speaker 1: the stars here and Bergmann or Grant. You're choosing between

2324
02:06:54,085 --> 02:06:55,325
Speaker 1: Ingrid Bergman or Kerry.

2325
02:06:55,085 --> 02:06:59,405
Speaker 4: Grant, I know. And you know gregorat spell doown's really good?

2326
02:06:59,805 --> 02:07:02,445
Speaker 1: Gregory Peck, you know is I don't want to just

2327
02:07:02,565 --> 02:07:05,605
Speaker 1: kind of set him aside. But Joe and Fontaine and

2328
02:07:05,685 --> 02:07:09,565
Speaker 1: Carry Grant. Now you're really now you're really cooking. No,

2329
02:07:09,765 --> 02:07:11,885
Speaker 1: I can't decide this is I'm gonna put in my

2330
02:07:11,925 --> 02:07:13,005
Speaker 1: refusal to vote here.

2331
02:07:13,445 --> 02:07:17,245
Speaker 4: Okay, fair enough, you get one every round, Josh, you

2332
02:07:17,365 --> 02:07:21,205
Speaker 4: got the schedule. Play in polls are live right now.

2333
02:07:21,965 --> 02:07:24,805
Speaker 4: Don't bother us. We've got viewing to do. The play

2334
02:07:24,805 --> 02:07:28,165
Speaker 4: and polls close at noon Central time on Monday. That's

2335
02:07:28,205 --> 02:07:32,685
Speaker 4: our usual routine, So Monday, March sixteenth is when they close.

2336
02:07:32,725 --> 02:07:35,085
Speaker 4: After that, every week moving forward they'll close, a new

2337
02:07:35,125 --> 02:07:37,325
Speaker 4: round will open, and that new round will open on

2338
02:07:37,405 --> 02:07:41,165
Speaker 4: Tuesdays at noon Central time, and the bracket contest is

2339
02:07:41,245 --> 02:07:46,285
Speaker 4: coming starting Monday the sixteenth through the following Tuesday, the

2340
02:07:46,365 --> 02:07:49,285
Speaker 4: twenty fourth. I think, I think, Sam, we're contradicting ourselves.

2341
02:07:49,325 --> 02:07:51,405
Speaker 4: There is it just next week? It starts on a

2342
02:07:51,405 --> 02:07:53,765
Speaker 4: Monday and then tuesdays after that. We've got to get

2343
02:07:53,805 --> 02:07:56,885
Speaker 4: ourselves in gear here. It's it's early, Josh. The selection

2344
02:07:56,965 --> 02:07:59,965
Speaker 4: commit clear next week. Go wobbly. I promise you it'll

2345
02:07:59,965 --> 02:08:02,605
Speaker 4: be clear next week. You can you can rest assured

2346
02:08:02,645 --> 02:08:04,485
Speaker 4: that we're going to give you the matchups in round

2347
02:08:04,525 --> 02:08:08,285
Speaker 4: one and the bracket contest will be live next week

2348
02:08:08,445 --> 02:08:10,365
Speaker 4: on the show. That's really all you need to know.

2349
02:08:10,645 --> 02:08:13,485
Speaker 4: So again, play in polls are live right now. Vote

2350
02:08:13,525 --> 02:08:17,125
Speaker 4: in those at film spotting dot net slash madness, film

2351
02:08:17,165 --> 02:08:21,565
Speaker 4: spotting dot net slash madness. You've got a till Monday

2352
02:08:21,605 --> 02:08:26,445
Speaker 4: at noon to get your votes in, and that's our show, Josh.

2353
02:08:26,645 --> 02:08:28,245
Speaker 1: If you want to connect with Adam and the show

2354
02:08:28,365 --> 02:08:33,725
Speaker 1: on social media. You can find him on Instagram, Facebook, letterbox, YouTube, YouTube,

2355
02:08:33,765 --> 02:08:36,805
Speaker 1: as film Spotting, I'm on all those places as Larsen

2356
02:08:36,925 --> 02:08:40,805
Speaker 1: on film. We are independently produced and listeners supported. You

2357
02:08:40,885 --> 02:08:43,605
Speaker 1: can support the show by joining the film Spotting Family

2358
02:08:43,645 --> 02:08:46,245
Speaker 1: at filmspottingfamily dot com. That way you'll be able to

2359
02:08:46,285 --> 02:08:49,885
Speaker 1: listen early and ed free. You'll also get a weekly newsletter,

2360
02:08:49,925 --> 02:08:53,525
Speaker 1: monthly bonus episodes, and access to the entire show archive.

2361
02:08:54,085 --> 02:08:56,365
Speaker 1: For show t shirts and other merch go to film

2362
02:08:56,445 --> 02:08:58,485
Speaker 1: Spotting dot dot slash shop.

2363
02:08:58,925 --> 02:09:02,005
Speaker 4: In limited release out now, Josh, you can see an

2364
02:09:02,005 --> 02:09:06,205
Speaker 4: insecure Chinese American teenager undergoes experimental surgery to appear white,

2365
02:09:06,325 --> 02:09:10,045
Speaker 4: hoping to secure the prom queen title and peer acceptance.

2366
02:09:10,085 --> 02:09:14,285
Speaker 4: That's slanted and Letterbox. Mia Lee Viccino says, it's blunt

2367
02:09:14,365 --> 02:09:17,525
Speaker 4: satire with sharp teeth. That's my favorite kind of satire.

2368
02:09:17,805 --> 02:09:21,685
Speaker 4: In wide release Reminders of Him, adapted from the Colleen

2369
02:09:21,765 --> 02:09:27,205
Speaker 4: Hoover novel starring Micah Munroe and Tyreek Withers. And this

2370
02:09:27,405 --> 02:09:31,445
Speaker 4: does sound fascinating, Josh, the host of a popular paranormal podcast,

2371
02:09:31,485 --> 02:09:37,325
Speaker 4: becomes haunted by terrifying recordings mysteriously sent her away. It's undertone.

2372
02:09:37,365 --> 02:09:41,245
Speaker 4: Our friend Brian Tallerico gave it four stars on Letterboxed

2373
02:09:41,605 --> 02:09:44,085
Speaker 4: from this year's Sun Dance and said, I knew podcasting

2374
02:09:44,165 --> 02:09:46,845
Speaker 4: was evil, so it's coming from inside the house.

2375
02:09:48,765 --> 02:09:52,005
Speaker 1: Yeah, this is the film Spotting origin story, right.

2376
02:09:52,165 --> 02:09:56,165
Speaker 4: I think so undertone? Look for it now next week

2377
02:09:56,525 --> 02:10:00,285
Speaker 4: stand by Me at forty and Film Spotting Man is

2378
02:10:00,325 --> 02:10:01,605
Speaker 4: Best to the Forties Round one.

2379
02:10:01,805 --> 02:10:04,405
Speaker 1: Film Spotting is produced by Golden Joe Desso and Sam

2380
02:10:04,525 --> 02:10:07,565
Speaker 1: Van Hogren. Without Golden Joe and Sam, I'm gonna switch

2381
02:10:07,605 --> 02:10:09,725
Speaker 1: it around this week, this shure and go why not?

2382
02:10:09,765 --> 02:10:11,325
Speaker 1: Actually that doesn't work, does it?

2383
02:10:11,325 --> 02:10:12,365
Speaker 4: It doesn't sound as good.

2384
02:10:13,045 --> 02:10:16,725
Speaker 1: Our production assistant is Sophie Kampanar Special Thanks to everyone

2385
02:10:16,765 --> 02:10:20,685
Speaker 1: at wb easy Chicago. More information is available at wbeaz

2386
02:10:21,325 --> 02:10:24,045
Speaker 1: dot org. For a film Spotting nine, Josh Larson.

2387
02:10:23,925 --> 02:10:26,005
Speaker 4: And I met him Kempinar. Thanks for listening.

2388
02:10:26,205 --> 02:10:34,005
Speaker 6: This conversation can serve no purpose any more, but bye,