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Speaker 5: It's very difficult to keep the line between.

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Speaker 6: The past and the christ who believe that someone out

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Speaker 6: of the past can enter and take possession of a

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Speaker 6: living being.

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Speaker 7: We may be through with the past, but the past

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Speaker 7: is not true with us. Welcome back to the next

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Speaker 7: picture show. A movie the Week podcast devoted to a

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Speaker 7: classic film in the way it's shaped our thoughts on

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Speaker 7: a recent release. I'm Scott Tobias here again with.

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Speaker 6: Genevieve Koski and Tasha Robinson.

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Speaker 7: Keith Gipps is off listening to the Grapes of Wrath

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Speaker 7: on a twenty two hour car ride, but he'll be

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Speaker 7: back next time. On the first half of this episode,

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Speaker 7: we discussed Ghost World, Terry's Wygoff's jaundice comedy about a

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Speaker 7: graduating senior who tries to sort out of her future. Now

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Speaker 7: we're going to bring in Lady Bird, Greta Gerwig's semi

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Speaker 7: autobiographical film about a Catholic schoolgirl from Sacramento who's also

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Speaker 7: looking to adulthood with plenty of trepidation. In the most

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Speaker 7: prominent of several great and unexpected casting decisions, the young

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Speaker 7: Irish actress Shirsha Ronan stars as Christine, but insists on

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Speaker 7: calling her Ladybird one of the comprehensive array of quirks

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Speaker 7: that she uses to separate herself from her peers. Ladybird

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Speaker 7: attends a private school, but unlike many of her classmates,

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Speaker 7: her parents can't easily afford to send her there. As

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Speaker 7: she dreams of fleeing Sacramento for an East Coast college,

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Speaker 7: her contentious mother played by Laurie Metcalf and her pushover

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Speaker 7: of a father played by Tracy Letts struggle to make tuition. Meanwhile,

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Speaker 7: she experiments in the theater, embarks on relationships with two

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Speaker 7: very different boyfriends, and tries to fit in with a

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Speaker 7: popular crowd. Like many teenagers, she's so wrapped up in

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Speaker 7: her own dramas that she fails to notice the pain

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Speaker 7: she's causing and the sacrifice is being made on her behalf.

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Speaker 7: But Ladybird is more about memories and observations than turns.

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Speaker 7: The plot. We'll get at all that after the break. Ladybird,

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Speaker 7: is that your given name?

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Speaker 5: Yeah?

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Speaker 7: Why is it?

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Speaker 2: I gave it to myself.

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Speaker 5: It's given to me by me.

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Speaker 2: Ladybird always says that she lives on the wrong side.

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Speaker 7: Of the tracks. Aways thought that there was like a metaphor,

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Speaker 7: but there are actual train tracks.

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Speaker 2: What you do is very baller.

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Speaker 4: It was very anarchist.

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Speaker 2: She has a big heart.

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Speaker 6: In your mom.

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Speaker 2: She's warm, but she's also kind of scary.

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Speaker 5: You can't be scary and warm.

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Speaker 4: I think you can.

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Speaker 2: Your mom is so You're not interested in any Catholic colleges.

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Speaker 7: No way.

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Speaker 6: I want schools like Yale, but not Yale because I

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Speaker 6: probably couldn't get in.

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Speaker 4: You definitely couldn't get in.

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Speaker 2: Does mom hate me?

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Speaker 6: Retired?

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Speaker 2: When you sit down, I'm not tying with drag in

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Speaker 2: your feet.

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Speaker 5: You are so infurious yelling.

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Speaker 4: I'm not yelling. Oh it's perfect, love it.

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Speaker 8: You both have such strong personalities.

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Speaker 4: When is a normal time to have sex.

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Speaker 7: You're having sex.

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Speaker 6: I just wanted it to be special.

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Speaker 9: Why you have so much on special sex in your life.

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Speaker 7: We're afraid that we will never escape our past.

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Speaker 6: Whatever we give you, it's never enough. It's never enough

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Speaker 6: is enough.

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Speaker 5: We're afraid of what the future will bring.

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Speaker 7: We're afraid we won't be loved.

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Speaker 8: They can't do anything unless for.

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Speaker 7: The set of attention. We won't be liked.

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Speaker 4: Yeah, well, you know your mom's hits, they're totally fish.

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Speaker 4: She meane, what that decision in ninety that decision, and.

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Speaker 7: We won't succeed.

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Speaker 8: I want you to be the very best version of

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Speaker 8: yourself that you can be.

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Speaker 3: What if this is the best version?

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Speaker 7: Okay, So, lady Bird, I have a sense of what

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Speaker 7: Genevieve thought of it because I saw it with her. Tasha,

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Speaker 7: you just saw it, not but a couple of hours ago.

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Speaker 7: What did you think?

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Speaker 2: Well, I mean, this was my second time seeing it.

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Speaker 2: I saw it at tiff where I enjoyed it, But honestly,

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Speaker 2: it didn't stand out for me hugely among the twenty

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Speaker 2: seven other films I saw there because it's got very

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Speaker 2: much that indie movie kind of roll to it, that incidents,

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Speaker 2: but impact light. I didn't feel like the arc was

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Speaker 2: that well defined. It is a bunch of stuff that

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Speaker 2: happened kind of movie. So I resaw it tonight just

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Speaker 2: sort of to remind me what those incidents were. And

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Speaker 2: I liked this movie quite a bit. I think Laurie

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Speaker 2: Metcalf in particular is heartbreaking and brilliant. It's Shirshamaronan. I'm

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Speaker 2: down for whatever she does. Like I've seen her in

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Speaker 2: some not great movies, but I still always love her performances.

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Speaker 2: So there's a lot to like here, and I think

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Speaker 2: it's a really strong movie, but I get the impression

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Speaker 2: that you guys are just completely over the moon for it.

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Speaker 6: Yeah, I love this movie. It's my favorite movie of

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Speaker 6: the year so far, easily. But this is one of

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Speaker 6: those movies, like it's hard for me to talk about

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Speaker 6: because this movie feels like it was made especially for me. God,

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Speaker 6: even just like preparing for this podcast, I kept like

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Speaker 6: welling up just even like thinking about this movie again.

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Speaker 6: So I don't know how useful I'm going to be.

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Speaker 2: But your mic cover is exactly the same color as

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Speaker 2: the cast that she wears on her arm for roughly

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Speaker 2: for fifty percent.

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Speaker 6: Of the movie. Yes, that's that's the main reason I identify. No,

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Speaker 6: But as to what you were saying about there like

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Speaker 6: not being a very defined arc, Like I don't really

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Speaker 6: agree with that. There is an arc that like really

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Speaker 6: really stuck with me and was my favorite part of

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Speaker 6: the movie, which is the mother daughter relationship. Gretegerwig's original,

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Speaker 6: like working title for this was Mothers and Daughters. Like,

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Speaker 6: I think the relationship between Ladybird and her mother, that

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Speaker 6: is the element of the film that really stuck with me.

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Speaker 6: And still sticks with me now, even a couple of

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Speaker 6: weeks after having seen it. In some of the incidents

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Speaker 6: that have maybe faded in the background, but the impact

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Speaker 6: of that moment at the end where Ladybird opens the

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Speaker 6: thelope full of letters that her mother tried to write

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Speaker 6: her and like it just their relationship and the meaning

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Speaker 6: behind it just coalesces. It is, let's see I'm getting

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Speaker 6: I really love this movie.

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Speaker 7: Yeah, we'll just get you talked about your mom a

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Speaker 7: little bit, Jena, even see where that goes. Yeah, I

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Speaker 7: love this movie too. And I don't know about a

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Speaker 7: well defined or I don't even really feel like it

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Speaker 7: needs it well to find art though it certainly has

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Speaker 7: strong characters and it does lead to this very powerful

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Speaker 7: place that Jennevie refers to. But one of the things

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Speaker 7: I liked about the movie as well as how it

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Speaker 7: is this just assemblage of very specific memories and the

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Speaker 7: way Gerwig incorporates those memories is so graceful and clever.

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Speaker 7: One thing that she really likes to do, and I

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Speaker 7: guess this is something that Bombach did as well and

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Speaker 7: Francis how is just to take tiny moments and just

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Speaker 7: make little montages out of them, So you get just

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Speaker 7: tiny little bits, you know, funny things, little observational details,

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Speaker 7: stuff that maybe moves the plot along in certain respects.

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Speaker 7: You get all that happening in a very quick series

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Speaker 7: of little mini vignettes. And that's something that the film

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Speaker 7: does really well. Overall, I really appreciate the film. And

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Speaker 7: if we're gonna get personal this thinking of as a parent,

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Speaker 7: you know, I mean the one constant with parenting is

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Speaker 7: that you're always trying to get your children to a

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Speaker 7: place where they're thinking about something other than themselves, and

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Speaker 7: all of them have different phases of that. I mean,

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Speaker 7: it can be as basic as is not wanting to

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Speaker 7: share their toys, but it also can be you know,

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Speaker 7: when you are a teenager and you are really wrapped

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Speaker 7: up and a lot of dramatic things in your own life,

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Speaker 7: you don't really see the larger picture. And being able

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Speaker 7: to get to a place where you can find some

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Speaker 7: perspective is important and it's a constant struggle. And so

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Speaker 7: when Lady Bird does finally get to that place and

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Speaker 7: does really see what her parents have had to go through,

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Speaker 7: I mean, that's in the sacrifices they've made for her

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Speaker 7: and the things that she's missed, like her father's depression,

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Speaker 7: for example. It just really hits you like a hammer,

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Speaker 7: does it.

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Speaker 10: Though.

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Speaker 2: I mean, like I think by the end of the

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Speaker 2: movie she's a little more woke than she is at

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Speaker 2: the beginning of the movie, but she still has doggedly

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Speaker 2: pursued this thing that she has wanted throughout the entire movie,

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Speaker 2: and that she's been told over and over and over

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Speaker 2: is going to destroy her mother, is not financially viable

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Speaker 2: for her family, and that she's pursued at all ends.

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Speaker 2: I mean, after a lifetime of movie training, especially with

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Speaker 2: movies for children, and follow your dreams. You know, you

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Speaker 2: have to follow your dreams. The importance of following your dreams,

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Speaker 2: I don't have any argument against that. Like, this is

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Speaker 2: important to her, and she pursues it, and she pursues

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Speaker 2: it in spite of being told in some fairly negative

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Speaker 2: and selfish ways at times that she shouldn't. But I mean,

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Speaker 2: in the end, it's not like she decides to stay

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Speaker 2: home because that's what her parents can afford, or because

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Speaker 2: she wants to help them out, or help with her

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Speaker 2: father's depression, or deal with anybody else's problems other.

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Speaker 6: Than her own.

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Speaker 2: I mean, her final act is kind of like this

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Speaker 2: selfish choice to go to the other side of the country,

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Speaker 2: get drunk and end up hospitalized because she doesn't quite

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Speaker 2: know what she's doing. And I don't think that the

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Speaker 2: movie judges her, and I don't think that the movie

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Speaker 2: should judge her. She's young and she's figuring herself out,

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Speaker 2: just like the Ghost World people. I'm saying is I'm

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Speaker 2: not necessarily sure that I see that arc towards seeing

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Speaker 2: her outside of herself and seeing other people quite yet,

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Speaker 2: But I.

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Speaker 6: Think the growth that we are seeing in Ladybird is

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Speaker 6: about her becoming aware of people outside of herself and

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Speaker 6: people's feelings outside of herself. And I think the line

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Speaker 6: that sticks out to me in this movie as kind

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Speaker 6: of like, I guess if you want an organizing principle

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Speaker 6: of the film is Lois Smith's nun, the Headmistress character,

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Speaker 6: when she's talking with her, who's a great character and

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Speaker 6: has so many great lines, but I think she also

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Speaker 6: does have one of the key lines of the movie,

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Speaker 6: which is when she's talking with Ladybird about her college

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Speaker 6: admission essay and she's which she's written about Sacramento and

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Speaker 6: saying that she was written about it so affectionately, and

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Speaker 6: Lady Bird like kind of box at that, and she

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Speaker 6: says that she just pays attention, and Lois Smith says,

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Speaker 6: don't you think they are the same thing, love and attention?

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Speaker 6: And that idea that like love is attention is I

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Speaker 6: think kind of the thesis of this movie or whatever.

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Speaker 6: And it's about Ladybird learning to give that attention to

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Speaker 6: something beyond herself.

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Speaker 2: I think that's a terrible message, love and attention being

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Speaker 2: the same thing. I think that's a terrible, terrible.

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Speaker 6: Well, I think it's beautiful.

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Speaker 7: I mean, I think I'm curious about why.

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Speaker 2: Yeah, because just noticing a thing doesn't imply an affection

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Speaker 2: for it.

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Speaker 6: I mean we kind of noticing it, though it's paying

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Speaker 6: attention to it. It's it's like recognizing that someone else

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Speaker 6: is a person and it has their own things went on,

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Speaker 6: Like her reconciling with her friend Julie is like her

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Speaker 6: learning to pay attention to Julie beyond how she fits

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Speaker 6: into her own life.

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Speaker 2: Is it again to me? To me, her paying attention

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Speaker 2: to Julie is not that much different from Enid going

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Speaker 2: to Seymour. It's she's tried out all of these other

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Speaker 2: things and they've kind of rejected her, and she goes

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Speaker 2: back act to the more familiar and more comforting and

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Speaker 2: more beloved.

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Speaker 9: Thing what she does, but what about But the moment

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Speaker 9: that she does that is like is hearing that that

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Speaker 9: song and you know, and kind of really getting.

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Speaker 7: A sense of like what's really important to her and

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Speaker 7: what you know, and she wants to go to prom

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Speaker 7: and and that crappy Dave Matthew song means something to

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Speaker 7: her and she doesn't want and she has a whole

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Speaker 7: different way of seeing the world that is that is

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Speaker 7: not in line with these pretentious, rich kids who happen

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Speaker 7: to be right about that song, which is really but

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Speaker 7: another part though, I think she has these wonderful moments

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Speaker 7: in the film where she actually kind of snaps out

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Speaker 7: of it. I'm thinking of one of the more moving

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Speaker 7: moments of the film is with Lucas Hedges, who is

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Speaker 7: her first boyfriend and who she catches with another boy

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Speaker 7: which shocks her and makes her very upset and angry

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Speaker 7: at him. And then he comes back to her at

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Speaker 7: the coffee shop and they share this moment where she

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Speaker 7: just instantly recognizes like how much pain is he's in

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Speaker 7: and how much and what he's sharing with her and like,

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Speaker 7: and it just kind of is it shakes her. You

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Speaker 7: think that's wrong.

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Speaker 2: I'm gonna say it again.

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Speaker 7: Does she does?

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Speaker 2: She really is, because I mean, what I love about

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Speaker 2: that scene is okay. So he comes in, she glares

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Speaker 2: at him, and she goes to take the trash out

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Speaker 2: and her the look on her face is all, thank god,

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Speaker 2: I escaped from him. But he runs out, runs around

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Speaker 2: the building and approaches her and she looks at him

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Speaker 2: with just this fury. She was trying to dodge him

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Speaker 2: and he made it impossible. And then he starts talking

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Speaker 2: about you know how, please don't tell I'm so upset,

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Speaker 2: and she reluctantly offers him a hug and he falls

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Speaker 2: on her and it starts and you can see her

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Speaker 2: face over his shoulder. It's such a beautifully acted moment.

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Speaker 2: But to me, what she's initially doing is just kind

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Speaker 2: of a I didn't ask for this. I'm still mad

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Speaker 2: at you. And she crumbles, but I don't see her

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Speaker 2: going to him to offer comfort.

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Speaker 6: But we see them, and I'll ask you because it's

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Speaker 6: been a while since I saw it, so I could

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Speaker 6: be wrong. But we see them again together we see

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Speaker 6: them together again after that, So I think that like

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Speaker 6: that conversation is the incident where the change happens, and

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Speaker 6: the fact that she does re establish this really meaningful

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Speaker 6: relationship with this friend now, I think, is that growth

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Speaker 6: that we're talking about and learning to see someone else

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Speaker 6: for who they are and not how they work in

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Speaker 6: your life.

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Speaker 2: I mean, there, I think you're exactly on the money.

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Speaker 2: What happens is that after graduation he runs across her

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Speaker 2: while she's out with her family, and he goes to

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Speaker 2: hug her, and she meets him in that case with

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Speaker 2: like enthusiasm and like recognition and friendship, and that does

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Speaker 2: feel like a moment where she's seeing outside her eyes.

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Speaker 7: I think at that moment in the back is she

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Speaker 7: instantly recognizes what the deal is with him and that

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Speaker 7: changes her in a heartbeat, which is part of what

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Speaker 7: makes that scene so powerful. Beyond beyond the fact that

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Speaker 7: just Lucas Hedges is such just a beautiful actor. He's

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Speaker 7: like so he's just such of open, vulnerable guy, you know.

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Speaker 7: I mean, you just really feel for him in this performance,

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Speaker 7: and of course in Manchester by the Sea is just

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Speaker 7: like everything is just so on the surface with him.

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Speaker 7: He's incredible.

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Speaker 2: He's really really good. But I mean, the funny thing is,

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Speaker 2: I think we both really like that scene behind the

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Speaker 2: coffee shop, but we're just both reading it very differently.

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Speaker 2: For me, like one of the best things about that

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Speaker 2: scene is the way he throws himself on her and

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Speaker 2: starts weeping, and like just the choreography of the footwork

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Speaker 2: where he's bigger than her, He's going into the hug

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Speaker 2: much more forcefully than she is, and he drives her

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Speaker 2: back like there's like visibly step by step as she

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Speaker 2: kind of tries to find her footing with this look

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Speaker 2: of incredulousness on her face. I love every part of it.

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Speaker 2: I just don't see it the way you see it.

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Speaker 6: I mean, the reading of that interaction is like kind

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Speaker 6: of of a piece with a lot of the interactions

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Speaker 6: with her and her mom, Like there is this like

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Speaker 6: clashing moment that does eventually bead to understanding, but it

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Speaker 6: comes in this very forward, like aggressive way, you know,

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Speaker 6: And that kind of fits with Ladybird as a character,

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Speaker 6: like she is strong headed, Like it takes a lot

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Speaker 6: to get through to her, you know, And I think

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Speaker 6: it's like the characters who do meet her head on

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Speaker 6: in that way that end up like breaking through her

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Speaker 6: own like self absorption into awareness.

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Speaker 2: Really, because I feel like the person that has the

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Speaker 2: most impact on her in that way is her father.

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Speaker 2: He doesn't resist anything that she does. He quietly goes along.

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Speaker 2: But it seems like it's that that sort of like

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Speaker 2: quiet cooperation that makes her see him as a person.

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Speaker 6: Well, it's also the moment of discovering his medication and

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Speaker 6: realizing that he is he's been struggling with mental illness

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Speaker 6: unbeknownst to her. That is, you know, a big catalyst

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Speaker 6: in their relationship, and that is a you're right, it's

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Speaker 6: not coming from him, but it is a similarly like

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Speaker 6: small scale world rocking moment.

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Speaker 7: There was a thing too with in that moment, and

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Speaker 7: then in the moment when she's called out for having

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Speaker 7: him drop her off before getting to the school because

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Speaker 7: she's sort of embarrassed about the car they're driving about,

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Speaker 7: just like where the mother's like, don't you see what's happening?

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Speaker 7: When your dad's been dealing with this for a long time,

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Speaker 7: He's not going to say anything to you about it,

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Speaker 7: but it hurts him, you know, And she needs to

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Speaker 7: have that message delivered and Marian has to be the

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Speaker 7: one to play the role of the bad guy and

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Speaker 7: give it to her straight and in kind of a

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Speaker 7: harsh way of just kind of shaking her and waking

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Speaker 7: her up to the fact. And in a way, I

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Speaker 7: almost feel like the movie itself is the perspective that

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Speaker 7: the character doesn't quite get right. I mean, like the

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Speaker 7: whole movie feels like an act of like a full

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Speaker 7: enlightenment that wasn't really possible. Maybe even at the very

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Speaker 7: end of this movie, she gets some of the way there,

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Speaker 7: and perhaps they're much of the way there, but not

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Speaker 7: all of the way there.

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Speaker 2: I mean, I think it's a movie about growth, not

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Speaker 2: a movie about a conclusion, which is why it has

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Speaker 2: such an open ended ending. But now that I think

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Speaker 2: about it, listening to your guys translations, I'm wondering if

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Speaker 2: what I've been missing all along as I was looking

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Speaker 2: for an arc in Ladybird, like I was looking for

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Speaker 2: a start to finish story in her and not seeing it.

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Speaker 4: I think we do get.

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Speaker 2: A pretty start to finish conclusion from her mother's arc

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Speaker 2: because the movie opens with you know, that touching moment

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Speaker 2: where they're both weeping over grapes of wrath and then,

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Speaker 2: like three seconds after they're not listening to it anymore,

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Speaker 2: her mother picks a fight with her out of the blue,

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Speaker 2: which Ladybird escapes by throwing herself out of a moving

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Speaker 2: car on the highway. Now, to me, that says that

403
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Speaker 2: she is she is not unaware that there was a

404
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Speaker 2: world around her that has an impact on her, but

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Speaker 2: she has already got a pretty forceful personality in terms

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Speaker 2: of escaping it. I feel like what we see with

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Speaker 2: Laurie Metcalf is her pushing harder and harder and in

408
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Speaker 2: an uglier and uglier ways on Ladybird. To me, the

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Speaker 2: most heartbreaking scene in the movie is where Lady Bird

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Speaker 2: is begging her to speak, to communicate anyway, and her

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Speaker 2: mother's completely phreesing her out. That scene made me cry

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Speaker 2: both times i saw this movie. It's it's heartbreaking, and

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Speaker 2: yet by the end, you know it's the mother who's weeping.

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Speaker 2: It's the mother who sees that she's been freezing her

415
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Speaker 2: daughter out and that in some ways it's too late,

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Speaker 2: and in other ways it's not. Because she she's been

417
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Speaker 2: trying so hard and the father's been enabling it. I

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Speaker 2: feel like the mom has more of a complete arc

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Speaker 2: of Change.

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Speaker 6: I mean, I love all the performances in this movie.

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Speaker 6: I love Ladybird as a character, but like in a

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Speaker 6: lot of ways, this is Laurie Metcalf's movie for me.

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Speaker 6: Like I've always really liked Laurie Metcalf and watching her

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Speaker 6: and this was just like my heart exploding the whole time.

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Speaker 6: The scene that did it for me is very close

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Speaker 6: to the scene you talk about, which is when they

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Speaker 6: are dropping Ladybird off at the airport and Marian does

428
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Speaker 6: not come in. She drops off Ladybird and her father

429
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Speaker 6: and then you know, drives around. You know, this is

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Speaker 6: right after nine to eleven two, which is a fun,

431
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Speaker 6: little observational moment about that moment in history. Yeah that

432
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Speaker 6: car gets towed, Yeah, yeah, totally. But the shot is

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Speaker 6: shot from the dashboard on Laurie Metcalf's face as she

434
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Speaker 6: drives around, and you just see this like internal conversation

435
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Speaker 6: she's having with herself and realizing what she's done, and

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Speaker 6: it's all there in the face, like just in the

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Speaker 6: span of going around the airport once. It's like a

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Speaker 6: whole monologue is given through her face. And I love,

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Speaker 6: I love that moment.

440
00:21:15,520 --> 00:21:16,160
Speaker 7: It's really great.

441
00:21:16,800 --> 00:21:19,640
Speaker 2: Can we talk a bit about Greta Gergwig, first time

442
00:21:19,720 --> 00:21:21,399
Speaker 2: director and just the.

443
00:21:21,160 --> 00:21:23,720
Speaker 6: First time solo director, first time solo director, and just like.

444
00:21:23,640 --> 00:21:27,560
Speaker 2: The remarkable assurance that she brings to this movie for sure.

445
00:21:27,600 --> 00:21:29,880
Speaker 7: I mean, I think you saw bits of I mean,

446
00:21:29,920 --> 00:21:32,119
Speaker 7: Francis Hi. You have to think about as this almost

447
00:21:32,119 --> 00:21:34,160
Speaker 7: as a prequel in a way, because you get bits

448
00:21:34,160 --> 00:21:37,879
Speaker 7: of her story later in life, her twenties. I suppose

449
00:21:37,960 --> 00:21:41,000
Speaker 7: wrote into Francis HA and there's some style of.

450
00:21:42,359 --> 00:21:45,080
Speaker 6: Ladybird and I didn't even think.

451
00:21:46,440 --> 00:21:47,920
Speaker 2: I want to think that. I want to think that

452
00:21:48,000 --> 00:21:50,919
Speaker 2: Lady Bird's a little further down her personal path of

453
00:21:51,040 --> 00:21:52,800
Speaker 2: competence than Francis.

454
00:21:53,040 --> 00:21:54,840
Speaker 7: She doesn't know about the hospital of the moment, she

455
00:21:54,920 --> 00:21:57,480
Speaker 7: is in college. But in any case, it has the

456
00:21:57,600 --> 00:22:01,200
Speaker 7: thing in common. But there's just something about this being

457
00:22:01,480 --> 00:22:06,040
Speaker 7: unmediated by Noah Bombaugh's sensibility, being entirely a Greta Gerwig

458
00:22:06,280 --> 00:22:08,720
Speaker 7: film that gives it its own quality.

459
00:22:08,880 --> 00:22:10,359
Speaker 6: It comes from a more like I mean, because Noah

460
00:22:10,359 --> 00:22:13,960
Speaker 6: Bombak is a very like kind of East Coast liberal

461
00:22:14,200 --> 00:22:17,240
Speaker 6: elite background and that you know frequently comes out in

462
00:22:17,240 --> 00:22:20,280
Speaker 6: as characters. And this is coming from I think a

463
00:22:20,320 --> 00:22:25,479
Speaker 6: more middle class, you know, suburban sensibility, like there's an

464
00:22:25,760 --> 00:22:30,640
Speaker 6: amazing characterization of Sacramento as in the midwest of California.

465
00:22:31,119 --> 00:22:33,520
Speaker 7: Yeah, that's a good point too. One of the things

466
00:22:33,560 --> 00:22:36,120
Speaker 7: that I can't We were thinking of pairings for this,

467
00:22:36,160 --> 00:22:38,040
Speaker 7: and we had sort of locked in on a ghost

468
00:22:38,040 --> 00:22:40,119
Speaker 7: World and felt that was a good one, which I

469
00:22:40,119 --> 00:22:43,040
Speaker 7: think it is. But I remember right after seeing this

470
00:22:43,080 --> 00:22:46,439
Speaker 7: movie in Toronto, texting one of you and saying that

471
00:22:46,520 --> 00:22:49,000
Speaker 7: we should pair this with slums of Beverly Hills. You

472
00:22:49,040 --> 00:22:52,680
Speaker 7: know these stories in which the trials of adolescents are

473
00:22:53,040 --> 00:22:58,360
Speaker 7: framed by financial difficulties and how that shapes the story

474
00:22:58,400 --> 00:23:01,919
Speaker 7: and really important ways. You know, that's really true here.

475
00:23:02,080 --> 00:23:04,160
Speaker 7: I mean, you know, in somems of Beverly Hills, it's

476
00:23:04,200 --> 00:23:07,120
Speaker 7: like that, you know, they're moving into these hose crummy

477
00:23:07,680 --> 00:23:12,080
Speaker 7: apartments to stay within the Beverly Hills Public school district,

478
00:23:12,560 --> 00:23:16,720
Speaker 7: and here they're just they're barely scraping together enough money

479
00:23:16,760 --> 00:23:20,120
Speaker 7: to keep from going to the Sacramento's high school where

480
00:23:20,160 --> 00:23:24,280
Speaker 7: someone got stabbed. But we didn't pair it with sums

481
00:23:24,320 --> 00:23:26,199
Speaker 7: of Beverly Hills. We paired it with ghost World. And

482
00:23:26,280 --> 00:23:28,879
Speaker 7: we'll get back to that pairing after the break and

483
00:23:28,920 --> 00:23:31,800
Speaker 7: talk about the connections between ghost World and Ladybird.

484
00:23:39,320 --> 00:23:42,639
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485
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486
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487
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488
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489
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Speaker 5: flavor to your backyard. Then set the scene with Hampton

490
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491
00:24:00,920 --> 00:24:03,600
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492
00:24:03,640 --> 00:24:06,520
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493
00:24:06,520 --> 00:24:07,600
Speaker 5: price match for details.

494
00:24:08,800 --> 00:24:11,879
Speaker 8: I want to go where culture is like, or at

495
00:24:11,960 --> 00:24:14,880
Speaker 8: least Connecticut or New Hampshire where writers live in the wood,

496
00:24:14,880 --> 00:24:18,440
Speaker 8: into those schools anyway, Mom, can't even pass your driver's studies.

497
00:24:18,600 --> 00:24:19,920
Speaker 4: You wouldn't let me practice.

498
00:24:19,960 --> 00:24:21,800
Speaker 8: Why did you work or the or the way that

499
00:24:21,880 --> 00:24:22,440
Speaker 8: you don't work.

500
00:24:22,480 --> 00:24:26,240
Speaker 4: You're not even worth state tuition. Christie, my name is Ladybird.

501
00:24:26,280 --> 00:24:30,560
Speaker 8: Well actually it's not, and it's ridiculous, lad State. You

502
00:24:30,600 --> 00:24:32,520
Speaker 8: should just go to city college, you know, with your

503
00:24:32,520 --> 00:24:34,679
Speaker 8: work ethic. Just go to city college and then to jail.

504
00:24:34,800 --> 00:24:36,680
Speaker 8: And then back to city college, and then maybe you'd

505
00:24:36,720 --> 00:24:40,080
Speaker 8: learn to pull yourself off and not expect everybody.

506
00:24:40,840 --> 00:24:43,640
Speaker 7: Now it's time for connections. When we bring these two

507
00:24:43,640 --> 00:24:46,119
Speaker 7: films together and talk about all the things they have

508
00:24:46,200 --> 00:24:48,320
Speaker 7: in common. I guess we want to I want to

509
00:24:48,320 --> 00:24:51,359
Speaker 7: start with a period detail that's put into both of

510
00:24:51,400 --> 00:24:55,640
Speaker 7: these films, because you have this interesting situation where they

511
00:24:55,680 --> 00:24:58,880
Speaker 7: both roughly take place around the same time. It goes

512
00:24:58,920 --> 00:25:03,000
Speaker 7: World those two thousand one, and this is two thousand

513
00:25:03,000 --> 00:25:05,960
Speaker 7: and two and three. But you know, Ghost World was

514
00:25:06,000 --> 00:25:08,320
Speaker 7: made in two thousand and one, and this was this

515
00:25:08,359 --> 00:25:11,440
Speaker 7: is kind of a nostalgia piece or a memory piece

516
00:25:11,520 --> 00:25:14,080
Speaker 7: about two thousand and two in two thousand and three.

517
00:25:14,119 --> 00:25:18,040
Speaker 7: So what was that experience like seeing these two films together,

518
00:25:18,440 --> 00:25:19,919
Speaker 7: one that was made in the period and one that

519
00:25:20,000 --> 00:25:20,919
Speaker 7: was about the period.

520
00:25:21,040 --> 00:25:23,159
Speaker 2: I mean, as I said earlier, so much of Ghost

521
00:25:23,160 --> 00:25:26,400
Speaker 2: World is kind of focused on like flashback ideas and

522
00:25:26,480 --> 00:25:28,520
Speaker 2: like people clinging all of these pieces of the past

523
00:25:28,880 --> 00:25:31,480
Speaker 2: that it apart from the music, it barely registered for

524
00:25:31,560 --> 00:25:34,800
Speaker 2: me as the period that it was in. In Lady Birge,

525
00:25:34,960 --> 00:25:37,800
Speaker 2: it seems so much more important that we're living in

526
00:25:37,840 --> 00:25:40,800
Speaker 2: a relatively recent post nine to eleven world. The camera

527
00:25:40,840 --> 00:25:45,359
Speaker 2: at one point focuses on a classroom bulletin board that's

528
00:25:45,480 --> 00:25:48,800
Speaker 2: just nine to eleven, Never Forget, and you know, red,

529
00:25:48,800 --> 00:25:51,840
Speaker 2: white and blue and the flag and whatnot, and just

530
00:25:52,000 --> 00:25:55,240
Speaker 2: Ladybird kind of makes the point that maybe she was

531
00:25:55,280 --> 00:25:58,000
Speaker 2: able to get into one of her New York colleges

532
00:25:58,320 --> 00:26:02,240
Speaker 2: because nine to eleven has people New York. And of course,

533
00:26:02,280 --> 00:26:04,080
Speaker 2: as you said, the thing about her mother not being

534
00:26:04,119 --> 00:26:06,600
Speaker 2: allowed to accompany her to the gate at the airport,

535
00:26:07,040 --> 00:26:09,600
Speaker 2: so like it keeps kind of poking us gently about

536
00:26:09,600 --> 00:26:14,679
Speaker 2: the period. The soundtrack seems a lot more contemporaneous, almost

537
00:26:14,680 --> 00:26:17,359
Speaker 2: as though we're focusing on music that was important to

538
00:26:17,400 --> 00:26:21,920
Speaker 2: Gretegerwig in that era, as opposed to focusing on music

539
00:26:21,960 --> 00:26:24,199
Speaker 2: that was important to terry's wig Off, as he was

540
00:26:24,240 --> 00:26:27,560
Speaker 2: like looking back into the past rather than the era

541
00:26:27,640 --> 00:26:28,640
Speaker 2: the Ghost World was set.

542
00:26:28,960 --> 00:26:32,560
Speaker 6: Yeah, although the music in Ladybird for the most part

543
00:26:32,640 --> 00:26:35,080
Speaker 6: comes from a few years before two thousand and two,

544
00:26:35,080 --> 00:26:37,080
Speaker 6: I think the only song we hear that is from

545
00:26:37,119 --> 00:26:40,560
Speaker 6: that year is justin Timberlake's crimea River, which is like

546
00:26:40,640 --> 00:26:43,600
Speaker 6: notably at like the cool Kids Party, you know, like

547
00:26:44,080 --> 00:26:47,800
Speaker 6: Ladybird's Taste and the music around her tends to be

548
00:26:47,960 --> 00:26:50,680
Speaker 6: like milanis Morris set, you know, or the stuff that's

549
00:26:50,680 --> 00:26:53,040
Speaker 6: on the on radio that hits from a few years

550
00:26:53,040 --> 00:26:56,000
Speaker 6: ago date Matthew's Crash Into Me, which is late nineties.

551
00:26:56,680 --> 00:26:59,280
Speaker 6: That I think kind of speaks to like a distinction

552
00:26:59,800 --> 00:27:01,760
Speaker 6: that you touched on Tash in terms of how these

553
00:27:01,760 --> 00:27:04,840
Speaker 6: two films approach era in that Ghost World is much

554
00:27:04,880 --> 00:27:08,560
Speaker 6: more focus on like esoterica and what was happening like

555
00:27:08,760 --> 00:27:12,400
Speaker 6: under the Radar, and Lady Bird is very much engaged

556
00:27:12,480 --> 00:27:16,479
Speaker 6: with the mainstream of the era. There's actually an interview

557
00:27:16,520 --> 00:27:19,560
Speaker 6: with Grete Gerwig, I believe in Rolling Stone where she

558
00:27:19,760 --> 00:27:21,760
Speaker 6: says it felt like the truth of growing up in

559
00:27:21,800 --> 00:27:24,399
Speaker 6: Sacramento in the nineteen nineties and early two thousands. It

560
00:27:24,520 --> 00:27:26,400
Speaker 6: was unless you knew the guy at the record store

561
00:27:26,400 --> 00:27:28,640
Speaker 6: who had the offbeat taste in the cool record collection,

562
00:27:29,040 --> 00:27:31,040
Speaker 6: you wouldn't know some of the things I think everybody

563
00:27:31,080 --> 00:27:34,720
Speaker 6: takes for granted today. Oh my god, So did she

564
00:27:34,800 --> 00:27:37,240
Speaker 6: know we were hearing Ravies right? So she's basically saying,

565
00:27:37,280 --> 00:27:39,919
Speaker 6: unless you were Enid in Ghost World, you wouldn't have

566
00:27:40,480 --> 00:27:44,200
Speaker 6: known about you know, what was necessarily you know, hip

567
00:27:44,200 --> 00:27:45,679
Speaker 6: and cool in two thousand and two.

568
00:27:45,880 --> 00:27:49,159
Speaker 7: I like how the film sort of explains to that

569
00:27:49,960 --> 00:27:52,199
Speaker 7: that she would listen to the things that she listens to,

570
00:27:52,400 --> 00:27:56,080
Speaker 7: because you know, when she gets to college, one of

571
00:27:56,080 --> 00:27:59,159
Speaker 7: her perspective boyfriends is like flipping through her CD collection.

572
00:27:59,280 --> 00:28:03,640
Speaker 7: It's all greatest Hits albums. Anythings are terrible, So these

573
00:28:03,680 --> 00:28:09,240
Speaker 7: are things. Yeah, it was a really nice touch. The

574
00:28:09,280 --> 00:28:12,720
Speaker 7: other point I would make two is about the associative

575
00:28:12,920 --> 00:28:18,280
Speaker 7: qualities of popular songs, even cheesy popular songs. I recall

576
00:28:18,359 --> 00:28:22,159
Speaker 7: that scene in Almost Famous, the Big Tiny Dancer scene

577
00:28:22,720 --> 00:28:24,919
Speaker 7: on the bus. It's like, all the characters in that

578
00:28:24,960 --> 00:28:28,280
Speaker 7: film are too cool for that song. At the time,

579
00:28:28,359 --> 00:28:30,840
Speaker 7: that would be pretty lame pop song, but they all

580
00:28:30,880 --> 00:28:33,600
Speaker 7: know the lyrics to it, and it has these strong

581
00:28:33,640 --> 00:28:36,119
Speaker 7: associative qualities to them. And I think you get that

582
00:28:36,200 --> 00:28:39,280
Speaker 7: in this movie too, where the Stave Matthews Band song

583
00:28:39,520 --> 00:28:42,560
Speaker 7: in particular brings back a lot of memories and it

584
00:28:42,680 --> 00:28:45,160
Speaker 7: is part of this deep friendship that she has with

585
00:28:45,200 --> 00:28:45,760
Speaker 7: her best friend.

586
00:28:45,880 --> 00:28:49,040
Speaker 2: So it's interesting to note that in Ladybird. I mean,

587
00:28:49,640 --> 00:28:52,480
Speaker 2: I've talked already a couple times about ghost worlds reaching

588
00:28:52,520 --> 00:28:54,680
Speaker 2: back to the past, Lady Bird feels like it has

589
00:28:54,760 --> 00:28:57,120
Speaker 2: a little of that as well, in sort of these

590
00:28:57,120 --> 00:29:01,000
Speaker 2: little chunks that feel outside their era specific because they're

591
00:29:01,040 --> 00:29:05,560
Speaker 2: going to a parochial school where where the nuns say

592
00:29:05,600 --> 00:29:07,360
Speaker 2: things like six and just for the Holy Spirit and

593
00:29:07,400 --> 00:29:10,160
Speaker 2: when people are dancing too close. You know, there is

594
00:29:10,440 --> 00:29:14,160
Speaker 2: this somewhat timeless quality about a parochial school. And some

595
00:29:14,240 --> 00:29:17,200
Speaker 2: of the ways we get that include that bizarre homecoming

596
00:29:17,280 --> 00:29:21,320
Speaker 2: dance that's apparently super cowboy themed and everybody has their

597
00:29:21,360 --> 00:29:25,840
Speaker 2: full cowboy costumes, like there's nobody rock in the sexy

598
00:29:25,960 --> 00:29:29,479
Speaker 2: cowboy kind of offshoot of it. Julie has like a

599
00:29:29,520 --> 00:29:33,880
Speaker 2: full on prairie girl like outfit, and Ladybird has that

600
00:29:34,560 --> 00:29:36,440
Speaker 2: I don't even know what you call those super super

601
00:29:36,440 --> 00:29:40,240
Speaker 2: spankly cowboy shirts. You know, there are the uniforms, there's

602
00:29:41,120 --> 00:29:44,240
Speaker 2: check the skirt check. There's getting called on the carpet

603
00:29:44,240 --> 00:29:46,840
Speaker 2: by the nun to be, you know, scolded about possibly

604
00:29:46,840 --> 00:29:50,080
Speaker 2: having a bit of a performative streak, which is a

605
00:29:50,080 --> 00:29:52,760
Speaker 2: moment I love, just because you know, she means it

606
00:29:52,840 --> 00:29:56,480
Speaker 2: as a as a negative, and Ladybird so clearly hears

607
00:29:56,480 --> 00:29:59,200
Speaker 2: it as a positive. But there are again, just all

608
00:29:59,200 --> 00:30:02,640
Speaker 2: of these little ways in which the story sometimes doesn't

609
00:30:02,680 --> 00:30:05,640
Speaker 2: feel quite of its time, because it's tied to this

610
00:30:05,720 --> 00:30:08,800
Speaker 2: world where things don't move on until you escape from them.

611
00:30:09,160 --> 00:30:12,840
Speaker 7: One thing I wanted to talk about is the characters

612
00:30:12,920 --> 00:30:16,240
Speaker 7: and their relationship with their hometown. The settings of the

613
00:30:16,240 --> 00:30:19,280
Speaker 7: two films are so important and so sharply defined, but

614
00:30:19,400 --> 00:30:21,880
Speaker 7: quite different in their own way. Any thoughts on that.

615
00:30:22,200 --> 00:30:26,720
Speaker 6: The biggest difference is that Ghost World's town is not defined,

616
00:30:26,800 --> 00:30:29,680
Speaker 6: as you know, it's not named as a specific city,

617
00:30:30,400 --> 00:30:35,280
Speaker 6: whereas Ladybird is very very specifically about Sacramento, which is

618
00:30:35,600 --> 00:30:40,000
Speaker 6: Gregwig's hometown. And to go back to that Rolling Stone interview,

619
00:30:40,000 --> 00:30:41,600
Speaker 6: I quote it before, it's really full of a loon.

620
00:30:41,680 --> 00:30:43,520
Speaker 6: Growig's so smart, you guys. She has like so many

621
00:30:43,560 --> 00:30:46,040
Speaker 6: good things to say about this movie. She says that

622
00:30:46,120 --> 00:30:48,680
Speaker 6: she wanted with this movie to examine the concept of

623
00:30:48,720 --> 00:30:51,120
Speaker 6: home and how it only really comes into focus as

624
00:30:51,160 --> 00:30:55,160
Speaker 6: it's receding. And I thought that was a beautiful way

625
00:30:55,160 --> 00:30:58,440
Speaker 6: to describe Ladybird's approach to its setting in particular. But

626
00:30:58,480 --> 00:31:01,240
Speaker 6: I think it also does a to a certain extent

627
00:31:01,280 --> 00:31:03,480
Speaker 6: to Ghost World, because you know, at the end of

628
00:31:03,520 --> 00:31:07,600
Speaker 6: the film, Enid does leave, and she leaves after spending

629
00:31:07,600 --> 00:31:11,360
Speaker 6: the whole movie nitpicking everything about this place where she

630
00:31:11,480 --> 00:31:14,080
Speaker 6: lives and like hating everything about it. But like in

631
00:31:14,280 --> 00:31:16,680
Speaker 6: Enid's world, it kind of goes back to like that

632
00:31:16,720 --> 00:31:20,000
Speaker 6: love and attention thing, you know, Like in being so

633
00:31:20,160 --> 00:31:24,520
Speaker 6: critical of this place, she is showing how much attention

634
00:31:24,560 --> 00:31:26,600
Speaker 6: she has paid to that place, you know, and how

635
00:31:26,640 --> 00:31:27,520
Speaker 6: well she knows it.

636
00:31:28,040 --> 00:31:28,240
Speaker 7: Yeah.

637
00:31:28,440 --> 00:31:31,520
Speaker 6: I mean, they obviously both hate where they live to

638
00:31:31,920 --> 00:31:34,720
Speaker 6: some extent or another, but through that hatred a certain

639
00:31:34,760 --> 00:31:36,040
Speaker 6: sort of affection emergence.

640
00:31:36,440 --> 00:31:38,080
Speaker 7: I would make a couple of points. I mean, one,

641
00:31:38,120 --> 00:31:40,680
Speaker 7: I think the end of Lady Bird strikes me as

642
00:31:40,800 --> 00:31:43,400
Speaker 7: a I don't know if it's an homage or a swiper.

643
00:31:43,520 --> 00:31:46,920
Speaker 7: It reminded me a lot of the end of Before Sunrise.

644
00:31:47,160 --> 00:31:50,360
Speaker 7: If you were calling Before Sunrise, you get this montage

645
00:31:50,400 --> 00:31:53,520
Speaker 7: at the end of all of the places in Vienna

646
00:31:53,600 --> 00:31:57,160
Speaker 7: that they visited. In all those places that they were

647
00:31:57,240 --> 00:32:01,360
Speaker 7: at are now changed by they have a new context

648
00:32:01,440 --> 00:32:03,560
Speaker 7: based on the relationship that they've had in the moments

649
00:32:03,600 --> 00:32:06,440
Speaker 7: they've had in those spaces. And that's kind of a

650
00:32:06,440 --> 00:32:11,080
Speaker 7: similar effect in Sacramento, where where all these locations have

651
00:32:11,640 --> 00:32:15,760
Speaker 7: they're colored by meaning based on her experiences living in

652
00:32:15,760 --> 00:32:18,400
Speaker 7: that town. So those two things sort of combined. So

653
00:32:18,440 --> 00:32:20,080
Speaker 7: there's that and the other thing. The point I would

654
00:32:20,080 --> 00:32:22,680
Speaker 7: make about Ghost World is that, I mean, for one

655
00:32:22,680 --> 00:32:24,880
Speaker 7: of the Zo white Off really did want it to

656
00:32:24,920 --> 00:32:27,840
Speaker 7: be in every town, and in fact fact, on the

657
00:32:27,880 --> 00:32:31,200
Speaker 7: commentary he talks about how there was a shot where

658
00:32:31,840 --> 00:32:35,360
Speaker 7: you could see the word Los Angeles and how it

659
00:32:35,480 --> 00:32:38,360
Speaker 7: was too expensive for them to try to digitize it

660
00:32:38,400 --> 00:32:39,880
Speaker 7: out of there or get it out of the shot,

661
00:32:40,160 --> 00:32:42,200
Speaker 7: which tells you just how important it was that it

662
00:32:42,400 --> 00:32:45,600
Speaker 7: be not in every town. And I think the reason

663
00:32:45,640 --> 00:32:48,760
Speaker 7: why he wanted to do that is to suggest in

664
00:32:48,800 --> 00:32:53,640
Speaker 7: a way that there's no real escape for Enid, that

665
00:32:53,720 --> 00:32:56,040
Speaker 7: this is the This is not just in every town.

666
00:32:56,040 --> 00:32:58,200
Speaker 7: This is what America is like. You know, if she

667
00:32:58,280 --> 00:33:00,960
Speaker 7: goes from one place to another, they're all going to

668
00:33:00,960 --> 00:33:01,600
Speaker 7: look like this.

669
00:33:02,600 --> 00:33:04,520
Speaker 6: The mainstream culture is always going to be there.

670
00:33:04,440 --> 00:33:10,280
Speaker 7: Exactly right. It's yeah, this this kind of consumerist hell escape.

671
00:33:10,280 --> 00:33:13,800
Speaker 7: I mean, even her high school graduation as corporate sponsors.

672
00:33:14,760 --> 00:33:17,840
Speaker 7: You know, it's just it's inescapable, which brings me to

673
00:33:17,920 --> 00:33:20,440
Speaker 7: the ending. Is so interesting to that movie about like

674
00:33:20,440 --> 00:33:22,800
Speaker 7: where is she going in that bus? Where does the

675
00:33:22,840 --> 00:33:25,400
Speaker 7: bus lead to? But I guess that's something a little

676
00:33:25,400 --> 00:33:27,320
Speaker 7: bit off the track, But I think.

677
00:33:27,120 --> 00:33:29,320
Speaker 2: That bus is a metaphor. Yeah, I'm glad that you

678
00:33:29,400 --> 00:33:32,440
Speaker 2: brought love of the attention back in because I really

679
00:33:32,440 --> 00:33:35,880
Speaker 2: wanted to look at that concept in relationship to the

680
00:33:35,920 --> 00:33:38,040
Speaker 2: two of these films, and I think it fits best

681
00:33:38,400 --> 00:33:40,960
Speaker 2: under this kind of rubric of hometowns and what people

682
00:33:41,040 --> 00:33:43,400
Speaker 2: think of it, because I feel like Enid and Rebecca

683
00:33:43,920 --> 00:33:46,080
Speaker 2: pay a great deal of attention to the every town

684
00:33:46,120 --> 00:33:48,560
Speaker 2: that they're living in, that they know an awful lot

685
00:33:48,560 --> 00:33:51,280
Speaker 2: about it, and they pick it every single detail of it.

686
00:33:51,320 --> 00:33:53,320
Speaker 2: But it's because they hate it, it's not because they

687
00:33:53,320 --> 00:33:56,920
Speaker 2: love it. And I feel like, regardless of what one

688
00:33:57,000 --> 00:33:59,040
Speaker 2: nun says, I feel like Ladybird kind of feels the

689
00:33:59,080 --> 00:34:01,800
Speaker 2: same way about Sacrament and she doesn't see it until

690
00:34:01,840 --> 00:34:03,840
Speaker 2: she's on the other side of the country and then

691
00:34:03,880 --> 00:34:07,320
Speaker 2: she can talk about it poetically and her appreciation of it.

692
00:34:07,600 --> 00:34:09,600
Speaker 2: But I think that there's a really big difference about

693
00:34:09,600 --> 00:34:14,280
Speaker 2: the ways that you talk, like nostalgically and sentimentally about

694
00:34:14,320 --> 00:34:17,120
Speaker 2: a place that you've managed to escape. I think that

695
00:34:16,840 --> 00:34:21,120
Speaker 2: that process is accelerated for her by homesickness and loneliness

696
00:34:21,120 --> 00:34:23,200
Speaker 2: and what she's just been through with the hospital. But

697
00:34:23,239 --> 00:34:25,160
Speaker 2: I do think that there's also a degree to which

698
00:34:25,440 --> 00:34:28,120
Speaker 2: she couldn't look back on Sacramento and love it until

699
00:34:28,160 --> 00:34:29,880
Speaker 2: she had managed to escape it and be where she

700
00:34:29,920 --> 00:34:30,360
Speaker 2: wants to be.

701
00:34:30,560 --> 00:34:33,200
Speaker 6: Yeah, well, I mean, I think nostalgia is the key

702
00:34:33,320 --> 00:34:37,160
Speaker 6: that turns the attention from one of hate to one

703
00:34:37,200 --> 00:34:40,440
Speaker 6: of love, you know. And I think that maybe the

704
00:34:40,520 --> 00:34:42,840
Speaker 6: idea of love and attention is maybe something that applies

705
00:34:42,880 --> 00:34:46,040
Speaker 6: more to Gerwig in making this film than you know,

706
00:34:46,160 --> 00:34:49,120
Speaker 6: Ladybird's state of mind at the end of the film.

707
00:34:49,360 --> 00:34:52,399
Speaker 6: And I think there's also a little bit of that

708
00:34:52,520 --> 00:34:55,160
Speaker 6: nostalgia reading you can apply to a lesser extent to

709
00:34:55,600 --> 00:34:58,640
Speaker 6: Ghost World and how Enid is feeling at the end,

710
00:34:58,680 --> 00:35:01,520
Speaker 6: and that idea that like, you don't begin to value

711
00:35:01,520 --> 00:35:03,920
Speaker 6: something until you are pulling away from it.

712
00:35:04,360 --> 00:35:06,640
Speaker 7: That perspective is so interesting to me because you think

713
00:35:06,680 --> 00:35:09,560
Speaker 7: about personally, like the places that you've lived in the

714
00:35:09,640 --> 00:35:13,239
Speaker 7: certain periods of your life, and what those places end

715
00:35:13,320 --> 00:35:15,200
Speaker 7: up looking like in the rear of your mirror are

716
00:35:15,320 --> 00:35:17,680
Speaker 7: so different from what they felt like at the time,

717
00:35:17,760 --> 00:35:21,160
Speaker 7: and like, well that's consistent, is that perspective or is

718
00:35:21,200 --> 00:35:25,520
Speaker 7: it some weird way that you have of compartmentalizing these

719
00:35:25,680 --> 00:35:28,760
Speaker 7: places and events that maybe isn't that truthful.

720
00:35:29,120 --> 00:35:32,279
Speaker 2: I mean, so many truths are subjective, and I think

721
00:35:32,320 --> 00:35:36,720
Speaker 2: all truths about like your personal experience of your world

722
00:35:37,040 --> 00:35:41,400
Speaker 2: are subjective. So like does it matter, I mean ultimately,

723
00:35:41,520 --> 00:35:43,640
Speaker 2: like whether you've hit upon a truth about that place

724
00:35:43,719 --> 00:35:46,279
Speaker 2: or not. Like your truth about the place where you

725
00:35:46,320 --> 00:35:49,640
Speaker 2: grew up is inherently going to be subjective to you.

726
00:35:50,160 --> 00:35:52,959
Speaker 2: And whether you see it in a rosy light and

727
00:35:53,080 --> 00:35:55,399
Speaker 2: or whether you see it in a negative light. It's

728
00:35:55,400 --> 00:35:58,480
Speaker 2: all about your emotional framework and your relationship to the place.

729
00:35:58,520 --> 00:36:00,920
Speaker 2: So there's not really a true or not true there.

730
00:36:01,239 --> 00:36:04,200
Speaker 7: Yeah. Maybe. So. One thing that plays a major role

731
00:36:04,480 --> 00:36:08,680
Speaker 7: in Lady Bird and maybe a subtler one in Ghost

732
00:36:08,719 --> 00:36:12,799
Speaker 7: World is a relationship between our protagonists and their parents'

733
00:36:13,000 --> 00:36:16,320
Speaker 7: domestic problems. So that's an interesting connection between the two films.

734
00:36:16,320 --> 00:36:18,720
Speaker 2: Now, oh yeah, for sure. I don't think you should

735
00:36:18,800 --> 00:36:24,680
Speaker 2: undersell the degree to which Enid's father's separation from a

736
00:36:24,719 --> 00:36:27,120
Speaker 2: woman who was apparently very important in his life for

737
00:36:27,160 --> 00:36:30,879
Speaker 2: a long time is important to that story. I think

738
00:36:30,920 --> 00:36:34,640
Speaker 2: that it really underlines the degree to which, like, by

739
00:36:34,640 --> 00:36:37,759
Speaker 2: the end, she has nobody that she doesn't feel to

740
00:36:37,840 --> 00:36:41,359
Speaker 2: some degree rejected or abandoned by her dad is played

741
00:36:41,360 --> 00:36:45,160
Speaker 2: by Bob Balaban, who just can never have enough screen

742
00:36:45,200 --> 00:36:48,040
Speaker 2: time in any movie as far as I'm concerned, I'm

743
00:36:48,080 --> 00:36:50,000
Speaker 2: ready to just watch the Bob Balaban show where he

744
00:36:50,080 --> 00:36:53,000
Speaker 2: just hangs around in his hym But she seems to

745
00:36:53,040 --> 00:36:57,000
Speaker 2: have a like a not necessarily super closer relationship with him,

746
00:36:57,160 --> 00:36:59,839
Speaker 2: but a very dependent one where she depends on him

747
00:36:59,840 --> 00:37:03,600
Speaker 2: being there. And when he very gently goes out and

748
00:37:03,640 --> 00:37:06,120
Speaker 2: starts spending time with a woman that he who seems

749
00:37:06,200 --> 00:37:10,520
Speaker 2: reasonably nice and who he feels clearly strongly about as

750
00:37:10,680 --> 00:37:12,959
Speaker 2: gentle as he tries to be with her about it,

751
00:37:12,960 --> 00:37:16,520
Speaker 2: it clearly wrecks her. Like there's no reason that we

752
00:37:16,560 --> 00:37:18,480
Speaker 2: really see in the movie for her to hate this

753
00:37:18,520 --> 00:37:21,000
Speaker 2: woman so much, except that this woman comes between her

754
00:37:21,000 --> 00:37:24,400
Speaker 2: and her father. And I find that what sort of

755
00:37:24,440 --> 00:37:27,120
Speaker 2: watching that play out is they kind of try to

756
00:37:27,160 --> 00:37:29,400
Speaker 2: tiptoe around her and be kind to her and it

757
00:37:29,600 --> 00:37:33,239
Speaker 2: still hurts her. Just sort of fascinating, and then sort

758
00:37:33,280 --> 00:37:37,479
Speaker 2: of watching Ladybird experience what her parents are going through

759
00:37:37,560 --> 00:37:40,120
Speaker 2: and in both interpret it and experience it in a

760
00:37:40,200 --> 00:37:42,920
Speaker 2: very different way I think is equally interesting and effective.

761
00:37:43,000 --> 00:37:45,400
Speaker 7: But I think you could also say in both cases

762
00:37:45,480 --> 00:37:48,399
Speaker 7: that Eden and Lady Bird are being unfair. Oh yeah,

763
00:37:48,520 --> 00:37:51,719
Speaker 7: to their parents and to Terry Garr I guess who

764
00:37:51,719 --> 00:37:52,920
Speaker 7: would not be a parent.

765
00:37:53,160 --> 00:37:56,480
Speaker 2: But although she does make that point about like that's

766
00:37:56,560 --> 00:37:59,080
Speaker 2: our only indication I think of how long she was

767
00:37:59,160 --> 00:38:02,360
Speaker 2: in their life is she says something about, like, you know,

768
00:38:02,400 --> 00:38:05,120
Speaker 2: I feel partially responsible for how you came out, Like

769
00:38:05,160 --> 00:38:07,240
Speaker 2: it's great to see you having turned into a young woman.

770
00:38:07,640 --> 00:38:10,200
Speaker 7: Sure, that's true. I kind of like how the film

771
00:38:10,760 --> 00:38:13,920
Speaker 7: only sketches that partly, doesn't really go all the way

772
00:38:13,960 --> 00:38:14,480
Speaker 7: with it, agreed.

773
00:38:14,840 --> 00:38:18,799
Speaker 6: Mean, I mean you're talking about parental relationships in the house,

774
00:38:18,840 --> 00:38:22,080
Speaker 6: but in Ladybird there is another like domestic pairing in

775
00:38:22,120 --> 00:38:25,160
Speaker 6: her life, which is her brother and her brother's girlfriend,

776
00:38:25,160 --> 00:38:30,120
Speaker 6: which is another like interesting. It's not an aspirational relationship

777
00:38:30,160 --> 00:38:33,239
Speaker 6: by any means, but it is like something that you

778
00:38:33,320 --> 00:38:36,120
Speaker 6: can see kind of like mirror itself and how she

779
00:38:36,600 --> 00:38:40,200
Speaker 6: approaches relationships with other people's.

780
00:38:39,520 --> 00:38:42,759
Speaker 7: And they see her mother in a different light. They're

781
00:38:42,800 --> 00:38:46,440
Speaker 7: a little older and they've been part of the working world,

782
00:38:46,480 --> 00:38:50,799
Speaker 7: and they can understand her mother's perspective a lot with

783
00:38:50,880 --> 00:38:53,360
Speaker 7: a lot more clarity than that Ladybird can at this

784
00:38:53,400 --> 00:38:54,080
Speaker 7: point in their life.

785
00:38:54,239 --> 00:38:58,680
Speaker 6: Just their presence in that home says a lot about

786
00:38:59,200 --> 00:39:02,319
Speaker 6: their parents, about Marian in particular, like that they are

787
00:39:02,600 --> 00:39:06,040
Speaker 6: providing shelter to their unemployed son and his girlfriend who

788
00:39:06,120 --> 00:39:07,600
Speaker 6: is kicked out of her home.

789
00:39:07,680 --> 00:39:10,760
Speaker 2: You know, like there's he's not unemployed. They've put good jobs.

790
00:39:10,960 --> 00:39:15,560
Speaker 6: That's right, I'm sorry, meagerly employed, have.

791
00:39:15,600 --> 00:39:19,120
Speaker 2: Very important job standing behind the same cash register and

792
00:39:19,200 --> 00:39:22,399
Speaker 2: otherwise abandoned store gently touching each other's facial rank.

793
00:39:22,480 --> 00:39:24,880
Speaker 6: Yes, as you do. But I mean, I think it

794
00:39:25,440 --> 00:39:28,080
Speaker 6: does say something about Marion that she does that, and

795
00:39:28,120 --> 00:39:30,640
Speaker 6: like it says something about the kind of parent she

796
00:39:30,840 --> 00:39:34,399
Speaker 6: is and how that doesn't like get through to Lady

797
00:39:34,520 --> 00:39:35,920
Speaker 6: or is in notice by Ladybird.

798
00:39:36,080 --> 00:39:39,000
Speaker 2: I do think that's a really interesting scene where Shelley

799
00:39:39,680 --> 00:39:42,319
Speaker 2: spells out to Lady Bird, like, look, I think your

800
00:39:42,320 --> 00:39:44,680
Speaker 2: mother's cool. She's been very kind to me. And it's

801
00:39:44,800 --> 00:39:48,040
Speaker 2: very clear that Shelley comes from a much more oppressive

802
00:39:48,040 --> 00:39:51,759
Speaker 2: and unpleasant home that she was kicked out of, and

803
00:39:52,000 --> 00:39:53,920
Speaker 2: the fact that she has such a different perspective I

804
00:39:53,960 --> 00:39:56,880
Speaker 2: think is really interesting. I hadn't really thought about the

805
00:39:56,920 --> 00:40:00,400
Speaker 2: degree to which her relationship with Miguel is kind of

806
00:40:00,480 --> 00:40:04,439
Speaker 2: a like almost a proto parental relationship. You know, it's

807
00:40:04,680 --> 00:40:09,360
Speaker 2: given Ladybirds the troubled love life essentially, the fact that

808
00:40:09,400 --> 00:40:12,520
Speaker 2: she's got this couple like literally living in her household

809
00:40:12,520 --> 00:40:15,600
Speaker 2: that seems to be like a stable, happy relationship of

810
00:40:15,760 --> 00:40:19,520
Speaker 2: very simpatico people. It does become a really interesting model,

811
00:40:19,800 --> 00:40:22,400
Speaker 2: especially when her parents aren't that It's almost like Gerwick

812
00:40:22,480 --> 00:40:24,440
Speaker 2: is saying, you know, it is okay to be in

813
00:40:24,480 --> 00:40:28,160
Speaker 2: a relationship, like not all relationships are fraught and miserable.

814
00:40:28,520 --> 00:40:32,040
Speaker 7: Before we kind of close out, I wanted to address

815
00:40:32,360 --> 00:40:37,120
Speaker 7: a big question that hangs over both Edd and Ladybird's mind,

816
00:40:37,160 --> 00:40:39,480
Speaker 7: which is what does the future hold? I mean, they're

817
00:40:39,600 --> 00:40:43,759
Speaker 7: both either graduating high school seniors, are about to graduate,

818
00:40:43,880 --> 00:40:46,560
Speaker 7: and they're clearly thinking about what the next step is,

819
00:40:46,760 --> 00:40:49,279
Speaker 7: and there's a lot of anxiety that goes along with that.

820
00:40:49,600 --> 00:40:51,280
Speaker 7: How does that compare In contrast.

821
00:40:50,960 --> 00:40:53,359
Speaker 2: I'm pretty sure that Ena gets on that bus, goes

822
00:40:53,360 --> 00:40:55,080
Speaker 2: all the way back to the bus and sits down

823
00:40:55,080 --> 00:40:57,960
Speaker 2: between a very uncomfortable looking young man and woman. The

824
00:40:58,000 --> 00:41:01,440
Speaker 2: woman's wearing a bridle gown veil. Well, the man is

825
00:41:01,520 --> 00:41:04,359
Speaker 2: like still carrying the remnants of a splintered cross. They

826
00:41:04,360 --> 00:41:07,160
Speaker 2: look super uncomfortable and really relieved to have somebody sit

827
00:41:07,239 --> 00:41:09,400
Speaker 2: down between them, and then they head forward into an

828
00:41:09,480 --> 00:41:10,560
Speaker 2: uncertain future together.

829
00:41:10,880 --> 00:41:14,480
Speaker 7: You've done it. You've cracked it wide open, as at

830
00:41:14,520 --> 00:41:17,319
Speaker 7: least say in Pollock, Well, yeah, what is that the road?

831
00:41:17,440 --> 00:41:20,799
Speaker 7: Is that the road to uncertainty or transcendence or where

832
00:41:20,840 --> 00:41:21,799
Speaker 7: is that? Where does that road go?

833
00:41:22,000 --> 00:41:24,360
Speaker 2: I'd really rather see it as the road to an

834
00:41:24,440 --> 00:41:28,520
Speaker 2: uncertain future than what she literally describes it, where she's like,

835
00:41:28,680 --> 00:41:31,120
Speaker 2: I mean, she's she's getting on the golden Cadillac at

836
00:41:31,120 --> 00:41:33,800
Speaker 2: the end of the apple and flying off into the sky.

837
00:41:34,200 --> 00:41:37,360
Speaker 2: I think it's much more interesting if she has no

838
00:41:37,480 --> 00:41:39,640
Speaker 2: idea where she's going, but she's getting on a literal

839
00:41:39,719 --> 00:41:41,920
Speaker 2: bus out of town and she's going to take it

840
00:41:41,960 --> 00:41:44,719
Speaker 2: as it comes. Then it is if it is just

841
00:41:45,160 --> 00:41:47,240
Speaker 2: a giant, metaphorical magic bus.

842
00:41:47,400 --> 00:41:49,759
Speaker 7: Can we, though, say that it is a rare destiny

843
00:41:49,840 --> 00:41:52,160
Speaker 7: that she is pursuing in a way though, I mean

844
00:41:53,160 --> 00:41:54,840
Speaker 7: the fact that it's an out of service bus that

845
00:41:54,880 --> 00:41:58,160
Speaker 7: this guy has been waiting for for a really long time,

846
00:41:58,239 --> 00:42:00,440
Speaker 7: and that that isn't supposed to turn not. I mean,

847
00:42:00,440 --> 00:42:03,840
Speaker 7: it's a special bus. It's not just some regular old bus.

848
00:42:04,080 --> 00:42:05,480
Speaker 6: It's the bus a metaphor.

849
00:42:06,040 --> 00:42:07,320
Speaker 2: I think the bus is a metaphor.

850
00:42:07,400 --> 00:42:08,920
Speaker 6: I just don't want the bus to be What do

851
00:42:08,920 --> 00:42:10,720
Speaker 6: you think about the bus is a metaphor.

852
00:42:10,320 --> 00:42:13,080
Speaker 2: For I don't know, probably I'm a metaphour for death.

853
00:42:13,320 --> 00:42:17,440
Speaker 6: Yeah, that's what I thought too. Yeah, I mean this

854
00:42:17,520 --> 00:42:19,960
Speaker 6: old guy sitting around waiting for a bus to come,

855
00:42:20,000 --> 00:42:22,080
Speaker 6: and then it comes and he's gone forever.

856
00:42:22,600 --> 00:42:24,120
Speaker 7: H right.

857
00:42:24,440 --> 00:42:27,239
Speaker 2: And her, as I say, her whole thing about you know,

858
00:42:27,400 --> 00:42:29,040
Speaker 2: she just wants to get get on a bus and

859
00:42:29,080 --> 00:42:31,880
Speaker 2: go away from the world and never be seen again.

860
00:42:32,080 --> 00:42:35,959
Speaker 2: Like that's sounds like death. I just what I'm saying

861
00:42:36,040 --> 00:42:36,960
Speaker 2: is I don't want that.

862
00:42:37,520 --> 00:42:39,800
Speaker 6: Yeah, yeah, I don't want to be that. But it

863
00:42:40,200 --> 00:42:42,239
Speaker 6: was kind of hard for me to ignore that possibility.

864
00:42:42,280 --> 00:42:46,040
Speaker 6: But to go back to the comparison between these two films,

865
00:42:46,080 --> 00:42:49,880
Speaker 6: like these are both characters who just want to be away.

866
00:42:50,120 --> 00:42:52,880
Speaker 6: They want to be away from the situation they are in.

867
00:42:52,960 --> 00:42:53,160
Speaker 7: Now.

868
00:42:53,560 --> 00:42:57,560
Speaker 6: One character has a very distinct idea of how she's

869
00:42:57,600 --> 00:42:59,560
Speaker 6: going to do that. She does not deviate from that

870
00:42:59,640 --> 00:43:02,280
Speaker 6: Planladybird knows that she is going to go to school

871
00:43:02,560 --> 00:43:04,720
Speaker 6: out east, and that is how she is going to escape.

872
00:43:05,200 --> 00:43:09,080
Speaker 6: Enid just knows that she's going to escape, But there

873
00:43:09,160 --> 00:43:14,279
Speaker 6: is no I think greater uncertainty in Enid's future than

874
00:43:14,320 --> 00:43:16,600
Speaker 6: there is in Ladybirds, Like I mean, in the end

875
00:43:16,640 --> 00:43:18,920
Speaker 6: of that film, like she's at college, but there's no

876
00:43:19,080 --> 00:43:22,160
Speaker 6: sense that like she's gonna make it all four years,

877
00:43:22,680 --> 00:43:24,960
Speaker 6: you know, or knows what she's doing, like it's the

878
00:43:25,000 --> 00:43:27,279
Speaker 6: beginning of the rest of her life. It's like it's

879
00:43:27,320 --> 00:43:33,319
Speaker 6: a lot, right, it's a very like Now, what kind

880
00:43:33,360 --> 00:43:37,400
Speaker 6: of Paris trip in Francis.

881
00:43:36,960 --> 00:43:41,279
Speaker 2: Has is still the saddest thing, Yeah, I mean, to

882
00:43:41,320 --> 00:43:44,680
Speaker 2: some degree, it's funny. The place where these two movies

883
00:43:44,760 --> 00:43:48,319
Speaker 2: most conflate for me is the idea that Ladybird so

884
00:43:48,360 --> 00:43:50,440
Speaker 2: desperately wants to go to an art college, one of

885
00:43:50,480 --> 00:43:53,719
Speaker 2: those liberal arts colleges. Is how she puts it, She

886
00:43:53,760 --> 00:43:57,640
Speaker 2: wants to go to a place where art happens, and

887
00:43:57,680 --> 00:44:00,720
Speaker 2: it's some kind of vague, undefined idea.

888
00:44:00,320 --> 00:44:01,239
Speaker 6: Of what art is.

889
00:44:01,560 --> 00:44:03,840
Speaker 2: And she seems to be like a fairly artsy person,

890
00:44:04,000 --> 00:44:07,160
Speaker 2: just judging by her room, you know, which is full

891
00:44:07,200 --> 00:44:09,719
Speaker 2: of like fragments of writing and poetry written on the

892
00:44:09,760 --> 00:44:13,920
Speaker 2: walls and all of these like interesting collages. But she

893
00:44:13,960 --> 00:44:17,120
Speaker 2: doesn't really express a deep burning interest in art. In fact,

894
00:44:17,120 --> 00:44:20,880
Speaker 2: she walks away from theater because she doesn't think that

895
00:44:20,920 --> 00:44:22,920
Speaker 2: she's good at it or that she's respected in it.

896
00:44:23,320 --> 00:44:26,719
Speaker 2: So it's interesting to see like Enid's grasping for approval

897
00:44:26,800 --> 00:44:31,480
Speaker 2: from like the only living artistic role model in her

898
00:44:31,520 --> 00:44:35,720
Speaker 2: life who's producing terrible art and pushing Enid to produce

899
00:44:35,840 --> 00:44:39,840
Speaker 2: terrible art, while we have another character who's literally crossing

900
00:44:39,880 --> 00:44:42,440
Speaker 2: the country to go to what she sees as an

901
00:44:42,600 --> 00:44:45,879
Speaker 2: arty or artistic school without having any kind of really

902
00:44:46,040 --> 00:44:47,319
Speaker 2: clear defined goals for that.

903
00:44:47,680 --> 00:44:50,719
Speaker 7: See. Now I'm thinking about what would Enid make of

904
00:44:52,360 --> 00:44:57,360
Speaker 7: Ladybird's art. Probably would hold it in contempt that she

905
00:44:57,400 --> 00:44:58,560
Speaker 7: does many many things.

906
00:44:59,320 --> 00:45:01,440
Speaker 2: I wonder what they would make of each other. I mean,

907
00:45:01,480 --> 00:45:05,040
Speaker 2: I think by the end the like jaded, self aware

908
00:45:05,120 --> 00:45:08,200
Speaker 2: Ladybird who's drinking way too much booze but identifying as

909
00:45:08,239 --> 00:45:11,360
Speaker 2: Christine at this point, might just about be ready to

910
00:45:11,400 --> 00:45:16,560
Speaker 2: tackle tackle her literally no, like to tackle a conversation.

911
00:45:16,000 --> 00:45:18,560
Speaker 7: With Yeah, I think I think it would cut her

912
00:45:18,560 --> 00:45:21,160
Speaker 7: down pretty pretty swiftly, and honestly think they would get

913
00:45:21,160 --> 00:45:22,120
Speaker 7: it get along very well.

914
00:45:22,320 --> 00:45:26,120
Speaker 6: That is some fanfic I would like to read, some crossover, say.

915
00:45:26,120 --> 00:45:27,160
Speaker 2: I will read that fanfic.

916
00:45:27,400 --> 00:45:30,800
Speaker 7: You can do that fan fiction on your own. Ghost

917
00:45:30,920 --> 00:45:34,160
Speaker 7: World is available for rent through various streaming services, and

918
00:45:34,560 --> 00:45:38,160
Speaker 7: is available via Blu ray on a particularly great Criterion

919
00:45:38,320 --> 00:45:41,960
Speaker 7: edition with a commentary track deliad scenes in a fine liner,

920
00:45:42,000 --> 00:45:46,480
Speaker 7: notes Siba Howard Hampton. As of this recording, Ladybird notched

921
00:45:46,520 --> 00:45:49,640
Speaker 7: the highest purse screen average of any film in twenty seventeen,

922
00:45:49,680 --> 00:45:52,560
Speaker 7: not its opening weekend nice, so it should expand and

923
00:45:52,600 --> 00:45:55,480
Speaker 7: stick around all winter long. We'll be right back with

924
00:45:55,520 --> 00:46:08,960
Speaker 7: our usual recommendation segment. Your Next Picture Show.

925
00:46:04,840 --> 00:46:07,879
Speaker 10: Now at McDonald's. Mcdouble is two fifty, so you can

926
00:46:07,920 --> 00:46:11,239
Speaker 10: get your gym gains on or just get lunch for

927
00:46:11,400 --> 00:46:14,479
Speaker 10: only two fifty, getting more value upon the under three

928
00:46:14,520 --> 00:46:15,000
Speaker 10: dollar menu.

929
00:46:15,160 --> 00:46:15,799
Speaker 4: Let me time only.

930
00:46:15,840 --> 00:46:17,840
Speaker 2: Prices and participation may very Prices may be higher for

931
00:46:17,880 --> 00:46:19,200
Speaker 2: delivery bottom up book.

932
00:46:19,280 --> 00:46:26,800
Speaker 7: Finally, it's time to catch each other up on films

933
00:46:26,880 --> 00:46:29,239
Speaker 7: or film related items. We've seen the interims. It's our

934
00:46:29,320 --> 00:46:32,239
Speaker 7: last podcast. We call it Your Next Picture Show, and

935
00:46:32,280 --> 00:46:35,600
Speaker 7: the hopes that we'll put some interesting choices on your radar. Genevieve,

936
00:46:35,840 --> 00:46:37,840
Speaker 7: what in the film world has been good for you lately?

937
00:46:38,200 --> 00:46:41,160
Speaker 6: So thor Ragnarok is in theaters now and I enjoyed

938
00:46:41,160 --> 00:46:42,759
Speaker 6: the hell out of it. But if you're at all

939
00:46:42,760 --> 00:46:44,840
Speaker 6: inclined to see Thor Ragnarok, you probably don't need me

940
00:46:44,960 --> 00:46:46,319
Speaker 6: to push you to do so, so that is not

941
00:46:46,440 --> 00:46:48,640
Speaker 6: my recommendation. I am going to use this as an

942
00:46:48,640 --> 00:46:52,640
Speaker 6: opportunity to recommend an earlier film from Thoragnarak's director, Taikowa

943
00:46:52,640 --> 00:46:55,960
Speaker 6: tit Aka, my director crush of the moment. I believe

944
00:46:56,000 --> 00:46:58,440
Speaker 6: we previously recommended by TV's last film, Hunt for the

945
00:46:58,440 --> 00:47:00,520
Speaker 6: Wilder People on this podcast, so I want to go

946
00:47:00,920 --> 00:47:03,280
Speaker 6: a little further back to his twenty ten film Boy.

947
00:47:03,960 --> 00:47:06,240
Speaker 6: I recently caught up with this one and was thoroughly

948
00:47:06,320 --> 00:47:09,720
Speaker 6: charmed by it, and it only intensified my feeling that Ytiti,

949
00:47:09,800 --> 00:47:13,440
Speaker 6: who wrote and directed this one, is a really special

950
00:47:13,480 --> 00:47:16,839
Speaker 6: and distinctive storyteller. It's set in nineteen eighty four and

951
00:47:16,880 --> 00:47:20,080
Speaker 6: follows a rambunctious Maori preteen known as Boy, who lives

952
00:47:20,080 --> 00:47:22,560
Speaker 6: on a farm in New Zealand with his grandmother and cousins,

953
00:47:22,920 --> 00:47:25,920
Speaker 6: and who idolizes Michael Jackson and his absentee father in

954
00:47:25,960 --> 00:47:29,800
Speaker 6: equal measure. When his father, played by Watt himself, returns home,

955
00:47:30,000 --> 00:47:32,480
Speaker 6: Boy has to reckon the reality of the man who's

956
00:47:32,520 --> 00:47:35,800
Speaker 6: become a mythical figure in his mind. And it's hilarious

957
00:47:35,800 --> 00:47:38,000
Speaker 6: and just a little bit heartbreaking to watch father and

958
00:47:38,120 --> 00:47:41,160
Speaker 6: son and nepturally figure out how they, as well as

959
00:47:41,160 --> 00:47:44,359
Speaker 6: Boy's younger brother, relate to each other. It's a really

960
00:47:44,400 --> 00:47:47,759
Speaker 6: wonderful movie that highlights much of the filmmaking sensibility that

961
00:47:48,040 --> 00:47:50,640
Speaker 6: witit brought to Thor on a much smaller and more

962
00:47:50,640 --> 00:47:53,480
Speaker 6: personal scale. If you have Amazon Prime, you can watch

963
00:47:53,480 --> 00:47:55,880
Speaker 6: it for free there, and it's easily rentable via the

964
00:47:55,960 --> 00:47:57,120
Speaker 6: usual streaming services.

965
00:47:57,400 --> 00:47:57,680
Speaker 9: Boy.

966
00:47:57,960 --> 00:48:02,520
Speaker 7: Okay, I've not seen Boy. I have seen the previous

967
00:48:02,520 --> 00:48:04,759
Speaker 7: two films and enjoyed them, so we should check that out.

968
00:48:04,800 --> 00:48:06,319
Speaker 6: Yeah, if you'd like Hunt for the Wilder People, I

969
00:48:06,320 --> 00:48:08,080
Speaker 6: can't imagine you're not liking boys.

970
00:48:08,120 --> 00:48:14,480
Speaker 7: Mixed feelings Wilder People, but get out. I know it's

971
00:48:14,480 --> 00:48:16,320
Speaker 7: a little cutesy for my taste.

972
00:48:16,719 --> 00:48:18,880
Speaker 6: Tasha, you will love Boy.

973
00:48:19,800 --> 00:48:21,560
Speaker 2: I've been needing to catch up with it for a

974
00:48:21,560 --> 00:48:24,359
Speaker 2: long time because I'm such a fan of Watiti's. As

975
00:48:24,400 --> 00:48:26,279
Speaker 2: a matter of fact, I you know, I might as

976
00:48:26,320 --> 00:48:29,040
Speaker 2: well just jump in. Scott, I was seriously planning on

977
00:48:29,280 --> 00:48:33,080
Speaker 2: talking about Hunt for the Wilder People again. So Thor Ragnarak.

978
00:48:33,120 --> 00:48:35,960
Speaker 2: If you're planning on seeing Thor Ragnarok, you've probably already

979
00:48:35,960 --> 00:48:38,680
Speaker 2: seen Throw Ragnarok. But I'm still gonna throw in and

980
00:48:38,680 --> 00:48:41,200
Speaker 2: say you should see Thor Ragnarok because it's a really

981
00:48:41,239 --> 00:48:45,000
Speaker 2: fun movie. I mean, I think anybody who loathes superheroes

982
00:48:45,239 --> 00:48:49,000
Speaker 2: or this franchise in general is not This is not

983
00:48:49,000 --> 00:48:51,680
Speaker 2: gonna be a movie that changes your mind necessarily. But

984
00:48:51,719 --> 00:48:53,560
Speaker 2: I have talked to a number of people about how

985
00:48:53,640 --> 00:48:56,920
Speaker 2: much I liked it and encountered like surprise and shock

986
00:48:56,960 --> 00:48:59,560
Speaker 2: from them. And these are nerd people in my life,

987
00:48:59,640 --> 00:49:02,719
Speaker 2: you know, who do like superheroes, but who like me,

988
00:49:02,920 --> 00:49:05,520
Speaker 2: were really down on the first two Thor movies and

989
00:49:05,560 --> 00:49:06,480
Speaker 2: didn't care for them.

990
00:49:06,760 --> 00:49:07,600
Speaker 6: So same here.

991
00:49:07,800 --> 00:49:10,040
Speaker 2: Yeah, even if you didn't like Thor the Dark World,

992
00:49:10,120 --> 00:49:11,799
Speaker 2: and I don't blame you, Even if you think that

993
00:49:11,840 --> 00:49:14,200
Speaker 2: the first Thor was the weakest of the MCU movies,

994
00:49:14,239 --> 00:49:18,200
Speaker 2: and I don't blame you, see Thor Ragnarak. But if

995
00:49:18,200 --> 00:49:20,360
Speaker 2: you like Thor Ragnarak, I really think you're gonna like

996
00:49:20,440 --> 00:49:23,719
Speaker 2: Hunt for the Wilder People. However, I've written about that

997
00:49:23,719 --> 00:49:26,520
Speaker 2: one extensively and my love for it, and I believe

998
00:49:26,560 --> 00:49:28,640
Speaker 2: that I was probably the one that recommended it earlier,

999
00:49:29,000 --> 00:49:31,160
Speaker 2: so I want to recommend something else, which is a

1000
00:49:31,200 --> 00:49:34,720
Speaker 2: little film called A Radius, which I saw at Austin's

1001
00:49:34,719 --> 00:49:39,000
Speaker 2: Fantastic Fest. It's directed by a married couple, Caroline Lebrush

1002
00:49:39,080 --> 00:49:42,200
Speaker 2: and Steve Leonard. I interviewed them at Fantastic Fest and

1003
00:49:42,400 --> 00:49:44,840
Speaker 2: hopefully that interview will be up later this week. I

1004
00:49:44,880 --> 00:49:46,759
Speaker 2: also have a review of it that I did out

1005
00:49:46,760 --> 00:49:49,520
Speaker 2: of the fest at The Verge. And it's an interesting

1006
00:49:49,560 --> 00:49:51,520
Speaker 2: film to try to talk up. Because I kind of

1007
00:49:51,520 --> 00:49:53,239
Speaker 2: don't want to tell people too much about it, I

1008
00:49:53,239 --> 00:49:55,799
Speaker 2: will give you the log line sort of where it

1009
00:49:55,880 --> 00:49:59,040
Speaker 2: starts is a man crawls out of a car wreck

1010
00:49:59,440 --> 00:50:02,200
Speaker 2: and discover that anything living that comes within fifty feet

1011
00:50:02,239 --> 00:50:06,960
Speaker 2: of him instantly drops dead. So it's a movie in

1012
00:50:07,000 --> 00:50:11,000
Speaker 2: some ways about isolation. It's a movie also about responsibility,

1013
00:50:11,120 --> 00:50:15,560
Speaker 2: like how responsible is he for keeping people alive when

1014
00:50:15,560 --> 00:50:17,920
Speaker 2: people keep going out of their way to enter this

1015
00:50:18,120 --> 00:50:20,719
Speaker 2: radius of death and drop dead. It's sort of a

1016
00:50:20,760 --> 00:50:25,040
Speaker 2: Twilight Zone movie, and a lot of things happen from there,

1017
00:50:25,120 --> 00:50:27,440
Speaker 2: and a lot of them are very surprising. And this

1018
00:50:27,560 --> 00:50:30,759
Speaker 2: movie had one twist that just about had my jaw

1019
00:50:30,840 --> 00:50:33,640
Speaker 2: dropping on the floor at Fantastic Fest, which I thought

1020
00:50:33,680 --> 00:50:36,080
Speaker 2: was really cool. But I don't want to spoil anything.

1021
00:50:36,440 --> 00:50:39,080
Speaker 2: Do not watch the trailer. The trailer will spoil the

1022
00:50:39,080 --> 00:50:43,640
Speaker 2: first I don't know three big plot twists. But if

1023
00:50:43,719 --> 00:50:48,319
Speaker 2: you enjoy Twilight Zone asque stories, if you enjoy like small, independent,

1024
00:50:48,440 --> 00:50:52,479
Speaker 2: thought driven science fiction stories, I think that you will

1025
00:50:52,560 --> 00:50:55,880
Speaker 2: dig this movie. It's on vod as of I believe

1026
00:50:56,160 --> 00:51:00,280
Speaker 2: November the tenth, just in a like on a variety

1027
00:51:00,320 --> 00:51:03,920
Speaker 2: of platforms. I'm told it will eventually beyond Netflix, but

1028
00:51:04,080 --> 00:51:06,680
Speaker 2: they didn't have a date for that just yet, but

1029
00:51:06,840 --> 00:51:09,280
Speaker 2: fairly soon you should be able to find it fairly widely.

1030
00:51:09,600 --> 00:51:11,560
Speaker 2: It's called Radius, and I think it's really fun.

1031
00:51:11,640 --> 00:51:12,480
Speaker 6: Meat.

1032
00:51:12,719 --> 00:51:15,600
Speaker 7: Yes, so I'm going to cheat a lot here doing

1033
00:51:15,680 --> 00:51:19,640
Speaker 7: a little a lot by recommending something that at the

1034
00:51:19,680 --> 00:51:23,440
Speaker 7: time this podcast was recorded hasn't happened yet, but it

1035
00:51:23,480 --> 00:51:25,879
Speaker 7: will be available to all of us by the time

1036
00:51:25,920 --> 00:51:30,400
Speaker 7: it drops to do. Podcasts from Maximum Fun called Switchblade Sisters,

1037
00:51:30,800 --> 00:51:34,200
Speaker 7: hosted by Ellie Weekly's lead film critic, April Wolf. The

1038
00:51:34,200 --> 00:51:36,680
Speaker 7: premise of the show is that April brings on women

1039
00:51:36,840 --> 00:51:39,680
Speaker 7: filmmakers to discuss the genre film of their choice, which

1040
00:51:39,719 --> 00:51:42,640
Speaker 7: has come on, this is like the show is made

1041
00:51:42,640 --> 00:51:42,840
Speaker 7: for me.

1042
00:51:43,280 --> 00:51:44,520
Speaker 2: The show up and take my money.

1043
00:51:44,719 --> 00:51:47,279
Speaker 7: The premiere episode has Emily Gordon, the co writer of

1044
00:51:47,320 --> 00:51:50,760
Speaker 7: The Big Sick, talking about Bone Tomahawk, the future debut

1045
00:51:50,800 --> 00:51:54,160
Speaker 7: by s Craig Zaler, who recently did My Beloved Brawl

1046
00:51:54,239 --> 00:51:58,359
Speaker 7: on Soablock ninety nine. Future guests include Karen Kusama, who

1047
00:51:58,360 --> 00:52:02,040
Speaker 7: directed Girlfight and Invitation, Heather Montarazzo, who is best known

1048
00:52:02,040 --> 00:52:04,120
Speaker 7: as a lead in Welcome to the Dollhouse. Maybe the

1049
00:52:04,120 --> 00:52:06,840
Speaker 7: show will be a total disaster, but I love the

1050
00:52:06,880 --> 00:52:10,680
Speaker 7: concept and April's criticism and maximum funds. It's a high

1051
00:52:10,680 --> 00:52:13,160
Speaker 7: standard for podcasts, So I'm looking forward to that. And

1052
00:52:13,239 --> 00:52:16,320
Speaker 7: if you need something for me to recommend that actually exists,

1053
00:52:16,440 --> 00:52:19,799
Speaker 7: I would recommend the Jack Hill movie Switchblades Sisters, which

1054
00:52:19,920 --> 00:52:24,120
Speaker 7: the title references, in which Quentin Tarantino helped reissue a

1055
00:52:24,120 --> 00:52:24,959
Speaker 7: couple of decades ago.

1056
00:52:25,440 --> 00:52:27,239
Speaker 2: I'm both looking forward to that and looking forward to

1057
00:52:27,600 --> 00:52:29,759
Speaker 2: getting big enough that they get Patty Jenkins on.

1058
00:52:30,560 --> 00:52:32,879
Speaker 7: I think, yeah, I think, I mean she's in LA

1059
00:52:32,960 --> 00:52:34,080
Speaker 7: she can get anybody she wants.

1060
00:52:34,160 --> 00:52:36,840
Speaker 6: Especially this thing takes off that is intriguing enough to

1061
00:52:36,880 --> 00:52:39,319
Speaker 6: me that I will allow your cheating like.

1062
00:52:39,280 --> 00:52:41,560
Speaker 7: This is the things that we've experienced in the interim

1063
00:52:41,920 --> 00:52:44,680
Speaker 7: nothing was. The only thing I was experienced was this

1064
00:52:44,800 --> 00:52:49,040
Speaker 7: really awesome trailer that April recorded Scott promote this.

1065
00:52:49,080 --> 00:52:50,839
Speaker 2: Do you think there's anything we could do to help

1066
00:52:50,840 --> 00:52:51,879
Speaker 2: this podcast take off?

1067
00:52:52,160 --> 00:52:54,040
Speaker 7: Well, just by recommending it on the show.

1068
00:52:53,920 --> 00:52:56,719
Speaker 2: Oh, you know, and subscribing and listening to it. What

1069
00:52:56,800 --> 00:52:57,799
Speaker 2: was the name of that thing again?

1070
00:52:57,960 --> 00:52:59,280
Speaker 7: Oh, it's called Switchblade Sisters.

1071
00:52:59,360 --> 00:53:00,359
Speaker 2: Well I'm looking for it.

1072
00:53:00,480 --> 00:53:07,640
Speaker 7: Yeah. And that's it for this week's edition of the

1073
00:53:07,640 --> 00:53:11,040
Speaker 7: Next Picture Show. Our next episodes come out November twenty

1074
00:53:11,080 --> 00:53:14,000
Speaker 7: eighth November thirtieth, Tasha, what are we discussing?

1075
00:53:14,200 --> 00:53:14,319
Speaker 5: So?

1076
00:53:14,480 --> 00:53:17,920
Speaker 2: London born playwright, screenwriter and film director Martin McDonough only

1077
00:53:17,920 --> 00:53:20,360
Speaker 2: has a few films under his belt two thousand and fours,

1078
00:53:20,400 --> 00:53:23,640
Speaker 2: six Shooter, two thousand and Eights in Bruges, twenty twelve,

1079
00:53:23,840 --> 00:53:28,640
Speaker 2: Seven Psychopaths, and now twenty seventeen's Three Billboards Outside Emming, Missouri,

1080
00:53:28,920 --> 00:53:31,960
Speaker 2: an extremely dark, profane, small town drama about a woman

1081
00:53:32,000 --> 00:53:35,160
Speaker 2: on a crusade. Fargo star Francis McDormand, one of my

1082
00:53:35,200 --> 00:53:38,319
Speaker 2: favorite actresses of all time stars as Mildred, a foul

1083
00:53:38,360 --> 00:53:41,160
Speaker 2: mouthed foul tempered family woman whose teenage daughter was raped

1084
00:53:41,200 --> 00:53:43,440
Speaker 2: and murdered, a crime that was largely ignored by a

1085
00:53:43,480 --> 00:53:46,680
Speaker 2: police force headed by characters played by Woody Harrelson and

1086
00:53:46,719 --> 00:53:50,000
Speaker 2: Sam Rockwell. She puts up a series of billboards calling

1087
00:53:50,040 --> 00:53:52,480
Speaker 2: the town's attention to their failings, and then the entire

1088
00:53:52,520 --> 00:53:55,760
Speaker 2: town takes sides. At the suggestion of our old friend

1089
00:53:55,800 --> 00:53:58,880
Speaker 2: and non podcast listener Noel Murray, we're pairing it with

1090
00:53:58,960 --> 00:54:02,160
Speaker 2: David Mammett's tooth one thousand Comedies State in Maine, starring

1091
00:54:02,200 --> 00:54:05,840
Speaker 2: mcdorman's Fargo partner William H. Macy as an embattled director

1092
00:54:05,880 --> 00:54:08,359
Speaker 2: trying to complete an indie film with a hapless crew

1093
00:54:08,440 --> 00:54:11,720
Speaker 2: in a small Vermont town. As Nol notes, both films

1094
00:54:11,719 --> 00:54:14,320
Speaker 2: are full of quotable dialogue, they both have cast packed

1095
00:54:14,320 --> 00:54:17,799
Speaker 2: with top tier character actors in quirky rolls, and they're

1096
00:54:17,800 --> 00:54:20,080
Speaker 2: both set in small towns that aren't as idyllic as

1097
00:54:20,120 --> 00:54:22,680
Speaker 2: they seem. But they're also both expressly about the way

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00:54:22,680 --> 00:54:26,000
Speaker 2: individual people's failings can make a group effort fall apart,

1099
00:54:26,200 --> 00:54:29,120
Speaker 2: and how creative solutions an individual struggle can rescue a

1100
00:54:29,160 --> 00:54:32,640
Speaker 2: failing enterprise. They're both painful but brilliantly act in movies,

1101
00:54:32,680 --> 00:54:36,040
Speaker 2: and they're both immensely lively, entertaining and surprising in the writing.

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00:54:36,400 --> 00:54:39,440
Speaker 7: I'm excited by that pairing, So thank you NOL for

1103
00:54:39,520 --> 00:54:42,000
Speaker 7: that suggestion. In the meantime, we'd love to hear your

1104
00:54:42,000 --> 00:54:44,959
Speaker 7: feedback on this week's discussion of Ghost World, Lady Bird,

1105
00:54:45,000 --> 00:54:47,520
Speaker 7: and anything else film related. We want to include your

1106
00:54:47,560 --> 00:54:49,920
Speaker 7: thoughts on future episodes of the show. You can leave

1107
00:54:49,960 --> 00:54:52,799
Speaker 7: a short voicemail at seven seven three two three four

1108
00:54:53,440 --> 00:54:56,279
Speaker 7: nine seven three zero, or email us at comments at

1109
00:54:56,280 --> 00:54:59,840
Speaker 7: Next Picture Show dot net. Finally, before closing out the

1110
00:55:00,000 --> 00:55:03,080
Speaker 7: this week's episodes, where can do you find everyone these days?

1111
00:55:03,120 --> 00:55:05,640
Speaker 6: Genevievecoski you can find me at the culture section at

1112
00:55:05,680 --> 00:55:08,160
Speaker 6: Box dot com and on Twitter at Genevievecoski.

1113
00:55:08,520 --> 00:55:11,280
Speaker 2: Tasha you can find me leading the film and TV

1114
00:55:11,360 --> 00:55:14,240
Speaker 2: section and writing about film and TV at The Verge

1115
00:55:14,280 --> 00:55:17,480
Speaker 2: dot com. You can find me on Twitter at Tash Robinson.

1116
00:55:17,520 --> 00:55:20,360
Speaker 2: You can occasionally find me writing about books at NPR Books.

1117
00:55:20,560 --> 00:55:21,760
Speaker 6: Scott you can.

1118
00:55:21,600 --> 00:55:24,600
Speaker 7: Find me on Twitter at at Scott Underscore Tobias, and

1119
00:55:24,640 --> 00:55:28,400
Speaker 7: you can find my work at such young worthy publications

1120
00:55:28,440 --> 00:55:33,759
Speaker 7: as The New York Times, Washington Post, NPR, Vulture, Variety,

1121
00:55:33,960 --> 00:55:37,160
Speaker 7: and I'm also the editor in chief of a Soilloscope's

1122
00:55:37,239 --> 00:55:40,120
Speaker 7: musings blog. You can stay updated on the Next Picture

1123
00:55:40,120 --> 00:55:42,720
Speaker 7: Show by visiting Next Picture Show dot Net, via Twitter

1124
00:55:42,719 --> 00:55:45,200
Speaker 7: at Next Picture Pod, and via Facebook at Facebook dot

1125
00:55:45,200 --> 00:55:47,840
Speaker 7: com slash Next Picture Show. If you haven't subscribed to

1126
00:55:47,880 --> 00:55:50,920
Speaker 7: the show on Apple Podcasts already, please consider it. Apple

1127
00:55:50,960 --> 00:55:54,239
Speaker 7: podcast subscriptions are important part of getting podcasts more prominence

1128
00:55:54,520 --> 00:55:57,479
Speaker 7: and more listeners. And while you're there, we appreciate every

1129
00:55:57,560 --> 00:55:59,839
Speaker 7: rating and review. Every thumbs up helps us find new

1130
00:55:59,840 --> 00:56:02,640
Speaker 7: listeners and keep the show going. Now, this would normally

1131
00:56:02,640 --> 00:56:04,960
Speaker 7: be the time we'd thank Colin the Animal Griffith for

1132
00:56:05,000 --> 00:56:08,000
Speaker 7: his assistance producing the show, but Colin has stepped down

1133
00:56:08,000 --> 00:56:11,359
Speaker 7: after a great two year run for us. Without eulogizing him,

1134
00:56:11,360 --> 00:56:14,799
Speaker 7: He's very much alive. You'll be happy to know I

1135
00:56:14,840 --> 00:56:16,640
Speaker 7: did want to say a word about how much Colin

1136
00:56:16,719 --> 00:56:19,279
Speaker 7: is meant to us. We've worked with Colin on every

1137
00:56:19,400 --> 00:56:22,319
Speaker 7: venture we've done together, first tot av Club, then at

1138
00:56:22,360 --> 00:56:24,760
Speaker 7: the Dissolve, and finally here on the Next Picture Show.

1139
00:56:24,960 --> 00:56:27,240
Speaker 7: He's not the type of guy who calls attention to himself,

1140
00:56:27,320 --> 00:56:29,920
Speaker 7: which is a blessing in a quiet office setting. Let

1141
00:56:29,960 --> 00:56:32,719
Speaker 7: me tell you, but we always knew that when we

1142
00:56:32,760 --> 00:56:34,839
Speaker 7: gave him something to do, he would get it done

1143
00:56:34,880 --> 00:56:38,000
Speaker 7: and done well every single time. And so thanks to

1144
00:56:38,200 --> 00:56:41,239
Speaker 7: Colin the Animal Griffith for his assistants in producing the

1145
00:56:41,239 --> 00:56:43,279
Speaker 7: show for as long as he did, and best of

1146
00:56:43,360 --> 00:56:46,120
Speaker 7: luck to him on future adventures. Thank you, and thanks

1147
00:56:46,160 --> 00:56:49,160
Speaker 7: this week to Genevieve Coski for providing recording space at

1148
00:56:49,160 --> 00:56:52,560
Speaker 7: her home base, Genevieve Coski's Apartment. The Next Picture Show

1149
00:56:52,600 --> 00:56:54,319
Speaker 7: is proud to be part of the Film Spotting family

1150
00:56:54,360 --> 00:56:57,399
Speaker 7: of podcast and the Panaple Network. Please tune in next

1151
00:56:57,400 --> 00:56:57,600
Speaker 7: time

1152
00:57:06,239 --> 00:57:06,479
Speaker 8: Back