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Speaker 1: Hey, everybody, welcome to another episode of I Saw It Did.

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Speaker 2: My name is Millie to Jericho, I'm Danielle Henderson, and

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Speaker 2: we are filming for you once again.

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Speaker 3: How are you this week?

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Speaker 2: Do you want like the fake answer or do you

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Speaker 2: want the real answer?

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Speaker 3: The real answer? Give me that fake shit.

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Speaker 2: It's been like a strug. I think this time of year,

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Speaker 2: it's the holidays, right, and I don't know, like I

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Speaker 2: don't want, I don't want to believe this. Well, first

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Speaker 2: of all, I'll just preface all of this by saying that.

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Speaker 1: I just kind of came up on a couple of

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Speaker 1: really bummer anniversaries. So it's the one year anniversary of

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Speaker 1: me getting laid off. So I have officially been unemployed

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Speaker 1: for a year.

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Speaker 2: Boo yeah boo sucks.

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Speaker 1: Yeah, no shit, and haven't found a job obviously.

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Speaker 2: So that's been wonderful.

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Speaker 1: As I talked about a few weeks ago, I was like,

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Speaker 1: it's a source of constant anxiety in my life right now.

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Speaker 1: And the interviews that I had gone on a while

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Speaker 1: back have all come back. Oh no, so I'm like

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Speaker 1: back to.

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Speaker 2: The drawing board. Yeah, it's crazy.

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Speaker 3: So god, I'm so sorry that fucking blows, especially that

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Speaker 3: one I thought for sure you were a lock.

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Speaker 2: Uh yeah.

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Speaker 1: This is like the saddest part about all this is

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Speaker 1: that it's just this constant like dreams hopefully maybe will

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Speaker 1: come true, and then they just are so dashed. I

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Speaker 1: have a friend who is also looking for work. Actually,

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Speaker 1: I have a lot of friends looking for work, So

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Speaker 1: that is some kind of comfort at this moment. Is

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Speaker 1: that like a lot of people I know are in

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Speaker 1: my position, which sucks but also is maddening considering that

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Speaker 1: literally every time I turn on the news, they're like,

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Speaker 1: the job market is wonderful, everybody's working, everybody's prosperous. I'm like,

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Speaker 1: who the fuck are you talking about? Yeah, Like, I

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Speaker 1: don't understand what you're talking about. Where are you getting

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Speaker 1: your statistics? Are you only polling like five rich people

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Speaker 1: who don't ever experience the realities of actual.

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Speaker 3: Life, who don't have to work, they just find work fun. Yeah.

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Speaker 1: He So, he and I applied for the same We

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Speaker 1: applied at the same company, but it was a different

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Speaker 1: position because my friend is in news and I'm in entertainment.

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Speaker 1: But it's it was the same company, and he was

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Speaker 1: applying for a you know, higher time than I was

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Speaker 1: obviously because he's been in news for a very long time.

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Speaker 1: We got the same exact email, were the ESUS and

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Speaker 1: they and it was written quote unquote by a woman

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Speaker 1: named Alison or something like that. But it was the

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Speaker 1: and it was supposed to have been like some person

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Speaker 1: that was specific to each of our divisions, like some

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Speaker 1: kind of hiring manager ish thing, but it was the

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Speaker 1: same exact email, written exactly the same way, from the same.

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Speaker 2: Woman, from the same AI bot.

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Speaker 1: Yes, and we were both like what what the fuck?

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Speaker 1: Like we we we applied for two completely different jobs.

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Speaker 1: So it was I mean, that's just such a nice feeling,

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Speaker 1: don't you think.

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Speaker 2: After all the.

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Speaker 3: Time and effort and hopes and emotions that go into

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Speaker 3: applying for an interviewing for a job and then just

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Speaker 3: to get like bee booh blah beep, that is so fucked.

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Speaker 1: So just all that stuff is rolling out and I

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Speaker 1: I mean, it's just I've been going through waves of

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Speaker 1: this all year, so like a batch of applications.

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Speaker 2: I mean, I am trying.

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Speaker 1: By the way, I feel like Charlotte in Sects and

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Speaker 1: the City when like Carry stands up and is like

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Speaker 1: she's trying, That's who I am right now, like I

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Speaker 1: am applying for I have a spreadsheet of every job

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Speaker 1: that I've applied for that's very intricate and has like

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Speaker 1: status updates and dates and times and everything everything that.

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Speaker 2: I've applied for.

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Speaker 1: I go to coffee so much, you have no idea,

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Speaker 1: Like I constantly am taking people to coffee, networking all

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Speaker 1: that stuff, And so it feels like, you know, all

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Speaker 1: year I've been writing this thing where it's like applications, applications, interviews. Oh,

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Speaker 1: maybe something works out, and then nothing works out and

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Speaker 1: then a period of depression. Then you go back up

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Speaker 1: and you know, put your boots back on and try

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Speaker 1: it again, and then the same thing happened. So it's

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Speaker 1: this like cycle of like, oh my god, I just

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Speaker 1: am like so defeated.

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Speaker 2: Right now by it.

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Speaker 1: And I you know, I hesitate to talk about this

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Speaker 1: on the podcast because you know, it's very personal, right yeah,

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Speaker 1: And it is weird to talk about unemployment, like people

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Speaker 1: were uncomfortable by it.

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Speaker 3: Yeah, but it's also your life, So what are you

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Speaker 3: supposed to do?

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Speaker 1: I know, I mean, and it sucks because it's just

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Speaker 1: sort of like I just I didn't I gotta be honest,

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Speaker 1: I did not think I'd be unemployed this long.

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Speaker 2: I really didn't. I didn't either. I didn't either, but

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Speaker 2: just the odds, like I was.

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Speaker 1: Like, yeah, odds are that I could probably find a

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Speaker 1: job within a year. No.

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Speaker 3: So God, that makes me so sad for the world

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Speaker 3: because I think it's not you and you know that

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Speaker 3: other people are looking. You know that this is happening

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Speaker 3: to friends and yeah, people at large, and that the

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Speaker 3: news is absent lying about jobs being everywhere. But it

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Speaker 3: just makes me so sad to think that, Like, there

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Speaker 3: are so many talented and great and cool people who

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Speaker 3: are struggling right now.

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Speaker 2: Through really no fault of their own.

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Speaker 3: Yeah, it's not because you're not trying enough, not because

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Speaker 3: you don't know enough. It's not because you're not enough. Like,

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Speaker 3: it's just the weirdest job market of all fucking time.

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Speaker 1: So yeah, that's where I'm at, and it's like cool

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Speaker 1: now the holidays are coming, so I'm really really stoked

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Speaker 1: about that. I mean, to be honest, I was technically

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Speaker 1: unemployed last Christmas too, because the company I worked for

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Speaker 1: laid me off two weeks before Christmas. I think we've

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Speaker 1: talked about that before. But the other thing is that

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Speaker 1: a few weeks ago. I also remembered that it was

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Speaker 1: like five years since my whole medical debacle, my uh

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Speaker 1: emergency surgery thing that happened, which if you don't know,

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Speaker 1: you can listen to plenty of episodes in the past.

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Speaker 1: We've talked about it before. But in the same way,

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Speaker 1: I think of like this random thing happening to me

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Speaker 1: with like no prior warning. I'm like, what is up

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Speaker 1: with the holidays? Like I'm just sort of like the

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Speaker 1: holidays are cursed? And because between like I said, the

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Speaker 1: thing that happened to me medically like happened around Thanksgiving.

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Speaker 1: I got laid off around Christmas. Right now, there's a

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Speaker 1: lot a lot of my friends are going through some

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Speaker 1: pretty scary shit. Like I'm a friend of mine who's

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Speaker 1: really sick right now. A friend of mine's dog just died.

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Speaker 1: Like I mean, just people were kind of going through

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Speaker 1: some bad times besides all the unemployment stuff I just

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Speaker 1: spoke about. But then I thought back many years prior

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Speaker 1: and thought, but, oh, bad shit has always happened around

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Speaker 1: Thanksgiving and Christmas, Like I've had several people in my

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Speaker 1: life flat.

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Speaker 2: Out die around the time of the year. You know,

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Speaker 2: it's just not.

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Speaker 1: A good time, and I hate that it's not because

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Speaker 1: I used to love it when I was younger.

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Speaker 3: Yeah, I never like this time of year, Like I

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Speaker 3: basically from November first until January twod I'm in a

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Speaker 3: low grade hibernation because I fucking hate the holidays. He's

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Speaker 3: like I always have. It's very stressful. I usually when

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Speaker 3: I was younger, I never had money. I felt like

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Speaker 3: I couldn't buy anybody anything. I didn't have time to

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Speaker 3: make anybody anything because I.

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Speaker 2: Had three or four jobs.

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Speaker 3: Like it was just always a source of stress and

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Speaker 3: anxiety for me. And I don't have a family that

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Speaker 3: I'm close to, so I don't have anywhere to go,

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Speaker 3: and I hate it. I just hate, hate, hate this

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Speaker 3: time of year because it's it's so family heavy and

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Speaker 3: it's so money heavy, and like you said, it is

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Speaker 3: also the time of year when bad shit just happens

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Speaker 3: to most people like I just I'm I'm in the

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Speaker 3: same boat. Yeah, so this time of year is like

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Speaker 3: and especially the family heaviness of it, because I don't

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Speaker 3: care how much you have for me, like it doesn't matter,

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Speaker 3: Like I have a wide reaching, chosen family and friends

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Speaker 3: and like great like people in my life like, I'm

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Speaker 3: not worried about that at all. It takes a dive

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Speaker 3: around the holidays because they have their own families, like,

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Speaker 3: they have their own shit, and they have.

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Speaker 2: Their own commitments.

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Speaker 3: So no matter how close I am to anybody, they

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Speaker 3: always disappear this time of year because they have their

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Speaker 3: own stuff going on. So yeah, it's like the It's

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Speaker 3: a depressing, lonely, horrible time where if something bad can happen,

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Speaker 3: it usually does. People are sick, people are dying, pets

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Speaker 3: are ill. It's stress, it's anxiety. And I'm sorry if

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Speaker 3: you like love the holidays and this is bumming you

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Speaker 3: the fuck out. But I swear to God, this is

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Speaker 3: like ninety percent of the people I know feel this

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Speaker 3: way about the holidays.

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Speaker 2: As adults, I know, and.

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Speaker 1: Like, like I said, I think in my younger years, well,

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Speaker 1: it was funny because when I was younger, I obviously

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Speaker 1: loved getting presents, so it was like any holiday that

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Speaker 1: gives me presents, I'm down for. Then, at some point,

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Speaker 1: as a teenager and in my twenties, I thought the

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Speaker 1: holidays were a capitalist ploy to ruin all of our lives,

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Speaker 1: and so I was very anti holidays. And then I

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Speaker 1: don't know, Like recently, I kind of came back around

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Speaker 1: on the holidays, and I think when my nephews were born,

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Speaker 1: I started kind of liking them again because I was like, Oh,

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Speaker 1: there's kids around and they're so cute, and you know, like, yeah,

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Speaker 1: dress them up like elves and take pictures. But it's

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Speaker 1: just changed, Like the past couple of years have been

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Speaker 1: really really hard for me, and I'm like, I'm not

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Speaker 1: into it anymore, and I hate that. But it's also

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Speaker 1: like the thing about what you just said about this

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Speaker 1: this sort of like family heavy time, is that everyone

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Speaker 1: is going through major shit. Even if you have a

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Speaker 1: great family, there is gonna be drama. But there's also

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Speaker 1: this performance aspect to it, to where you go on

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Speaker 1: social media and everybody's wearing fucking matching pajamas and being goofy,

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Speaker 1: and you're just like, what the fuck.

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Speaker 2: I don't want to see this.

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Speaker 1: If I'm going through something hard, I don't want to

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Speaker 1: see people's mirth and Marria exactly exactly.

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Speaker 3: And it's also the time of year when you're most

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Speaker 3: likely to find out that people grew up rich because

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Speaker 3: you look at their houses and you're like, oh, that's

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Speaker 3: your family home.

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Speaker 2: You never knew you were fucking loaded.

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Speaker 3: You're all I curved around and I'll long banister on

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Speaker 3: a grand staircase and you're like, oh.

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Speaker 2: All right, that's your house.

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Speaker 3: Cool. But yeah, definitely, And I think it's it's you're right,

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Speaker 3: like as people get older, like we just definitely you know,

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Speaker 3: people in our lives are getting older and more shit

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Speaker 3: is happening in terms of illness, and you kind of

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Speaker 3: want to take advantage of and spend this time with

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Speaker 3: people because you're like, wow, I don't know how many

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Speaker 3: more Christmases I'll get or I don't know how much

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Speaker 3: time I'll get. But it doesn't make it easy to

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Speaker 3: be in that process of like possibly being in your

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Speaker 3: last Christmas with someone, or possibly facing hanging out with

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Speaker 3: people that you love after a year of extreme hardship.

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Speaker 2: So yeah, it is tinged.

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Speaker 3: I think holidays as adults are definitely tinged, possibly cursed.

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Speaker 3: I kind of I think what I'm what I'm trying

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Speaker 3: to do in my life is get to a point

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Speaker 3: where I can eventually just disappear from November until January,

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Speaker 3: like go to a fucking Jamaica or like just go to.

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Speaker 2: Some like a far away place where.

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Speaker 3: Like I'm not expected, Like, you're not going to hear

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Speaker 3: from me, You're not going to get any updates. I'm

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Speaker 3: going to read books and hang out with my cat

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Speaker 3: for two months and then just resurface in January. That

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Speaker 3: is the goal of my life right now, is like

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Speaker 3: to hopefully achieve that by fifty.

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Speaker 2: Where I can leave in November.

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Speaker 3: I don't have to mark any shitty anniversaries.

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Speaker 2: Like, yeah, that's the goal.

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Speaker 1: Yeah, I think that's a really good goal to have.

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Speaker 1: I Yeah, I'm trying. I've been trying to figure out,

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Speaker 1: like what will bride my spirits in any kind of way.

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Speaker 2: I mean, I think.

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Speaker 1: You know, when I go and see my family, which

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Speaker 1: you know usually happens obviously around Christmas, I feel okay

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Speaker 1: because I'm around people, right because normally I'm by myself

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Speaker 1: all the time, so it feels better. And also weather

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Speaker 1: wise is okay because it's a lot more temperate in

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Speaker 1: Florida than it is you know, pretty much anywhere north

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Speaker 1: of there. So it does help me a little bit

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Speaker 1: to be around my family during the holidays. But you know,

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Speaker 1: the issue I think is always going to come back

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Speaker 1: to where I'm at and my family is going to

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Speaker 1: be very in tune to where I'm at, and it

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Speaker 1: sucks because it's like, you want to feel happy, but

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Speaker 1: you know somebody is going through something, right, you know, but.

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Speaker 3: They're going to ask you about what you're going through.

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Speaker 1: Yeah, I mean, in my trust, me and my parents

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Speaker 1: have been completely freaked out about the fact that I've

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Speaker 1: been unemployed this entire year, and I just know that

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Speaker 1: it's going to be another year where they're just like

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Speaker 1: worried about me, and it sucks.

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Speaker 2: I don't want them to feel that. So I'm just

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Speaker 2: going to.

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Speaker 1: Try to stay positive in some kind of way and

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Speaker 1: just you know, try to lean into like the good

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Speaker 1: things in my life.

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Speaker 2: I know I have to do that.

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Speaker 1: Like sometimes I literally have to sit back in a

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Speaker 1: chair and go, Okay, what are things that make me happy?

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Speaker 1: Like remind myself that I've got like amazing things like

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Speaker 1: this podcast and my friends and my dog and my

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Speaker 1: family and you know, and I'm not dead quite honestly,

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Speaker 1: I'm about dead, right, But it's just yeah, it's just

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Speaker 1: this time of the year that gets really performative, really reflective.

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Speaker 2: The weather.

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Speaker 1: I just think it's cursed, man, And I don't want,

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Speaker 1: like I said, I don't want to think that. But again,

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Speaker 1: too many bad things have happened around this time of year.

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Speaker 1: I was like, can y'all spread this shit out a

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Speaker 1: little bit, like, maybe have a.

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Speaker 2: Like one bad thing happened in the spring, give.

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Speaker 3: Me a June hospit emergency hospital appointment, give me June. Also,

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Speaker 3: I love I love approaching it with gratitude this time

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Speaker 3: of year. I think that that's very healthy, and I

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Speaker 3: definitely want you to do that. But I'm going to

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Speaker 3: offer a counterpoint is that maybe you also give yourself

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Speaker 3: some built in time to just be stank and a

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Speaker 3: little hateful and just get that out of your system too,

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Speaker 3: like one day a week, two days a week, or

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Speaker 3: whatever you think you need to just be Like, I

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Speaker 3: ain't doing it today. I'm not gonna be happy about

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Speaker 3: any of this shit. I'm gonna just face the fact

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Speaker 3: that it sucks and move on.

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Speaker 1: Well, I'm so happy that you actually said that, because

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Speaker 1: that's another component to this whole thing that I think

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Speaker 1: I'm feeling.

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Speaker 2: Right now, is this.

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Speaker 1: I mean, of course I'm leaning into gratitude because I'm

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Speaker 1: just literally trying to.

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Speaker 2: Like feel good. Right.

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Speaker 1: Yeah, you want to stay positive and you want to

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Speaker 1: have healthy habits in order to help you get over

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Speaker 1: hard times, right. But there have been moments of absolute

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Speaker 1: stank in those past couple weeks, especially where I've been like,

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Speaker 1: I really hate that I'm feeling this way, but also

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Speaker 1: I can't help it.

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Speaker 2: It is like a bullet fucking train.

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Speaker 1: Like I go on LinkedIn obviously a lot because I'm unemployed,

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Speaker 1: and I swear to God, like there was a day where.

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Speaker 2: I went through the.

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Speaker 1: Feed and it was like ten people that I knew

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Speaker 1: were like announcing good things like jobs or like promotions

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Speaker 1: or like fucking this and that, And I was like

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Speaker 1: I could not be more pissed off, Like I am

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Speaker 1: so bitter, bitterly jealous and pissed off that I have

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Speaker 1: to delete the fucking app from my fucking phone.

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Speaker 2: Like I was like it is gone, Like Landon is

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Speaker 2: off my phone.

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Speaker 1: I just was sitting there going, I was like, I

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Speaker 1: feel terrible, but I also feel terrible that I'm feeling terrible,

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Speaker 1: do you know what I mean? Like I'm like I

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Speaker 1: feel I like am embarrassed that I'm this bitter and jealous. Yes,

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Speaker 1: that's why you got to give yourself a stank day. Yeah,

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Speaker 1: And I do that when it's not even the fucking holidays.

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Speaker 3: I ramp it up your holidays. I'll give myself a

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Speaker 3: stank week, a stank month, but I regularly have just

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Speaker 3: absolute stank days where I'm like, I'm gonna cry, Like

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Speaker 3: I just feel like crying. And that's sometimes a stank day.

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Speaker 3: Just it surprises you because you don't know what you're

329
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Speaker 3: gonna feel when. But I'm like, all right, today's the day.

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Speaker 3: Because I'm already in tears before ten am. It's my

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Speaker 3: stank day. So I'll watch things that make me cry

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Speaker 3: or make me sad. I'll journal about shit that makes

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Speaker 3: me angry. I'll call people and maybe I try not

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Speaker 3: to usually bring other people into my stank but like

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Speaker 3: you know, I just kind of like I have a wallow,

336
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Speaker 3: Like I think you need to have a wallow sometimes, yeah,

337
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Speaker 3: and not to the point where you know, for me,

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Speaker 3: where I'll do it for days on end and it

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Speaker 3: becomes depression, Like you have to be able to notice, oh,

340
00:18:44,840 --> 00:18:47,160
Speaker 3: this isn't healthy for me. This is actually turning into

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Speaker 3: some like an actual bigger psychological issue. But I love

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Speaker 3: a fucking stank day. Just stay in your pajamas, eat

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Speaker 3: whatever you want. Eat whatever you fucking want. There's no rules.

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Speaker 3: I don't care if you're having a diet coke at

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Speaker 3: ten pm, it does not matter.

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Speaker 2: Yeah, like don't drink any.

347
00:19:03,640 --> 00:19:07,280
Speaker 3: Water Like this is this is how I come up

348
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Speaker 3: with things like dirtbag June, because like, I just have

349
00:19:11,240 --> 00:19:13,840
Speaker 3: to have days where I'm not a human being in

350
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Speaker 3: the world who's expected to do anything.

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Speaker 2: I know, and that maybe the gratitude hit harder. You're

352
00:19:20,359 --> 00:19:23,480
Speaker 2: so right and like, because the impulse, at least for me,

353
00:19:23,760 --> 00:19:26,480
Speaker 2: is to you know, I don't want to.

354
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Speaker 1: I'm supportive of my friends. I'm supportive of people. I'm

355
00:19:29,880 --> 00:19:32,679
Speaker 1: I want people to thrive if you're a good person,

356
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Speaker 1: Like I don't want to be this like jealous ass

357
00:19:35,359 --> 00:19:38,240
Speaker 1: bitch that's sitting around being all negative and being like

358
00:19:38,320 --> 00:19:40,679
Speaker 1: I can't believe in this person, But goddamn, it feels

359
00:19:40,680 --> 00:19:42,439
Speaker 1: good to do that once in a while. Like the

360
00:19:42,520 --> 00:19:45,080
Speaker 1: stank day that I had the other day was literally

361
00:19:45,160 --> 00:19:51,359
Speaker 1: like me either leaving Marco Polos or voice memos because

362
00:19:51,720 --> 00:19:55,520
Speaker 1: when you know me when because we do this sometimes

363
00:19:55,560 --> 00:19:59,639
Speaker 1: when the message is extra important, it can't be contained

364
00:19:59,640 --> 00:20:02,760
Speaker 1: and it's you gotta do the voice of them.

365
00:20:06,000 --> 00:20:07,840
Speaker 3: I love it because it's always like a bat signal

366
00:20:07,880 --> 00:20:09,760
Speaker 3: that like some shit's going down, good or bad.

367
00:20:11,160 --> 00:20:13,520
Speaker 1: When you get that little thing you're like, or that

368
00:20:13,680 --> 00:20:17,639
Speaker 1: line that's like something that you can play audibly, you're.

369
00:20:17,520 --> 00:20:21,840
Speaker 2: Like, oh fuck, the shit's went down. What happens?

370
00:20:22,640 --> 00:20:27,080
Speaker 1: But I I like and I literally, I literally apologize

371
00:20:27,160 --> 00:20:31,160
Speaker 1: to anybody that got one of these messages because I'm

372
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Speaker 1: sick of myself. Okay, so recognize that I understand that

373
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Speaker 1: I'm a broken record this year, and I complain about

374
00:20:39,720 --> 00:20:42,840
Speaker 1: the same shit, but I was like going.

375
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Speaker 2: Off, like I was like and it was like not great, you.

376
00:20:45,960 --> 00:20:49,080
Speaker 1: Know, And I was like doing the thing that I

377
00:20:49,160 --> 00:20:53,879
Speaker 1: hate to think about doing because it's so not productive

378
00:20:53,880 --> 00:20:54,960
Speaker 1: and it's very jealous.

379
00:20:55,000 --> 00:20:56,880
Speaker 2: And I don't think of myself as that kind of person.

380
00:20:56,920 --> 00:21:00,320
Speaker 1: You're not at all, but sometimes the emotions just hook

381
00:21:00,480 --> 00:21:01,840
Speaker 1: take over, you know what I mean.

382
00:21:01,920 --> 00:21:03,800
Speaker 3: And you're not that kind of person, but you have

383
00:21:03,840 --> 00:21:05,600
Speaker 3: to have the release so you can get back to

384
00:21:05,640 --> 00:21:09,560
Speaker 3: being yourself. Yeah, you gotta have you gotta have a

385
00:21:09,560 --> 00:21:13,040
Speaker 3: stank day, and there's no better time than the holidays.

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Speaker 1: You're so right, I mean, I'm so I'm so happy

387
00:21:17,080 --> 00:21:21,000
Speaker 1: that you have called it something because that way, it's

388
00:21:21,080 --> 00:21:23,800
Speaker 1: like a moment in time that I can say, Okay,

389
00:21:23,800 --> 00:21:25,000
Speaker 1: I'm having a stank day today.

390
00:21:26,119 --> 00:21:27,720
Speaker 2: No one is safe, YEP.

391
00:21:27,840 --> 00:21:30,639
Speaker 1: I am gonna go off on every single fucking person

392
00:21:30,720 --> 00:21:34,280
Speaker 1: that bothers me. I'm gonna fire off a couple of

393
00:21:34,840 --> 00:21:38,919
Speaker 1: shitty emails, two people who piss me off. I'm gonna

394
00:21:38,960 --> 00:21:40,720
Speaker 1: complain about something, and then I can.

395
00:21:40,640 --> 00:21:43,879
Speaker 2: Just move on, exactly, And truly it's it's for me.

396
00:21:43,920 --> 00:21:47,040
Speaker 3: It's about the not feeling bad about feeling bad, Like,

397
00:21:47,080 --> 00:21:49,360
Speaker 3: don't add the extra pressure on yourself that you have

398
00:21:50,119 --> 00:21:52,960
Speaker 3: a different human emotion that's not just pure happiness.

399
00:21:54,640 --> 00:21:57,960
Speaker 1: Yeah, because there is something as like toxic positivity.

400
00:21:58,200 --> 00:22:01,920
Speaker 2: Yeah, and you know you don't want that either.

401
00:22:02,160 --> 00:22:04,879
Speaker 1: No, in my position, you don't want to be toxically

402
00:22:04,880 --> 00:22:06,560
Speaker 1: positive or toxically negative.

403
00:22:06,640 --> 00:22:09,240
Speaker 2: So yeah, and especially not to yourself.

404
00:22:09,560 --> 00:22:13,480
Speaker 3: Not to yourself, Like you deserve some rest and kindness

405
00:22:13,520 --> 00:22:15,520
Speaker 3: and love. And if that's how you give it to

406
00:22:15,560 --> 00:22:17,920
Speaker 3: yourself in a moment, great, It's not who you are,

407
00:22:18,000 --> 00:22:20,639
Speaker 3: it's not going to be forever, but give yourself that

408
00:22:20,800 --> 00:22:23,479
Speaker 3: break to just kind of say, like, I don't have

409
00:22:23,560 --> 00:22:26,399
Speaker 3: to be anything to anyone today because I'm just feeling

410
00:22:26,480 --> 00:22:28,080
Speaker 3: bad and that's fine.

411
00:22:28,280 --> 00:22:32,560
Speaker 1: Yeah, well, listen, thank you so much for listening to

412
00:22:32,600 --> 00:22:35,439
Speaker 1: me about all of this, because, like I said, I

413
00:22:35,480 --> 00:22:37,600
Speaker 1: know the holidays are hard for you as well, but

414
00:22:38,040 --> 00:22:41,719
Speaker 1: we're gonna get through them. They're hopefully one day something

415
00:22:41,760 --> 00:22:44,919
Speaker 1: good will happen during the holidays that is going to

416
00:22:45,160 --> 00:22:47,280
Speaker 1: cancel out all this negative shit that's happened.

417
00:22:47,400 --> 00:22:51,000
Speaker 3: I mean, I will settle for just finding twenty dollars

418
00:22:51,040 --> 00:22:55,520
Speaker 3: on the street, but also maybe we'll have world peace,

419
00:22:55,800 --> 00:23:01,240
Speaker 3: or maybe we'll stop killing children that's so dark.

420
00:23:01,000 --> 00:23:03,440
Speaker 2: But like, maybe maybe we'll have.

421
00:23:03,280 --> 00:23:07,080
Speaker 3: A month of December where no children are shot and

422
00:23:07,200 --> 00:23:09,760
Speaker 3: killed in America or at large.

423
00:23:10,440 --> 00:23:11,080
Speaker 2: Yeah, I don't know.

424
00:23:11,119 --> 00:23:14,119
Speaker 3: I don't know what it'll take, but I'm holding that

425
00:23:14,240 --> 00:23:18,080
Speaker 3: hope that sometime in the future this won't be such

426
00:23:18,119 --> 00:23:20,040
Speaker 3: a hard time for us, a hard time of the

427
00:23:20,119 --> 00:23:22,040
Speaker 3: year for us and for other people. I know there

428
00:23:22,040 --> 00:23:24,960
Speaker 3: are people listening who are having just as hard a time,

429
00:23:25,520 --> 00:23:27,800
Speaker 3: And I think in the meantime, it's okay for us

430
00:23:27,840 --> 00:23:33,359
Speaker 3: to kind of dip, Like it's okay to dip yeah

431
00:23:33,400 --> 00:23:35,200
Speaker 3: and just say, you know what, I can't do. This

432
00:23:35,200 --> 00:23:38,520
Speaker 3: this time of year is particularly hard. It's not like

433
00:23:38,640 --> 00:23:41,840
Speaker 3: being depressed or sad or cranky in March.

434
00:23:42,040 --> 00:23:43,640
Speaker 2: It's a totally different thing.

435
00:23:43,680 --> 00:23:47,040
Speaker 3: There's a lot of pressure coming from all aspects of

436
00:23:47,080 --> 00:23:48,120
Speaker 3: life right now to.

437
00:23:48,080 --> 00:23:53,199
Speaker 2: Be happy and joyful and grateful, and sometimes you just

438
00:23:53,200 --> 00:23:53,800
Speaker 2: saying feel it.

439
00:23:54,800 --> 00:23:57,560
Speaker 1: Yeah, give yourself a stank, give yourself, give yourself the

440
00:23:57,600 --> 00:24:03,680
Speaker 1: stink that is words to live. Also, not for nothing,

441
00:24:04,280 --> 00:24:08,160
Speaker 1: but I have told myself that the only way for

442
00:24:08,680 --> 00:24:16,000
Speaker 1: the world to heal really truly, like the great equalizer aliens.

443
00:24:15,680 --> 00:24:19,920
Speaker 3: Absolutely nothing will band dow together more than just having

444
00:24:20,000 --> 00:24:22,280
Speaker 3: a whole other fucking life form and be like.

445
00:24:22,240 --> 00:24:23,600
Speaker 2: What's up, motherfuckers?

446
00:24:24,320 --> 00:24:26,480
Speaker 1: Dude, I'm telling you, I think about this often. I'm like,

447
00:24:26,640 --> 00:24:29,879
Speaker 1: what's the one thing that would literally just even the

448
00:24:29,920 --> 00:24:34,119
Speaker 1: playing field between every single person on the planet Aliens?

449
00:24:34,480 --> 00:24:35,920
Speaker 2: Dude, and you are not. Look.

450
00:24:35,960 --> 00:24:40,960
Speaker 3: Independence Day is a great movie. It's a blueprint. When

451
00:24:41,000 --> 00:24:45,400
Speaker 3: Aliens show up, everyone starts acting right and realizing, oh wait,

452
00:24:45,440 --> 00:24:48,120
Speaker 3: we're all on this goddamn planet together, maybe we should

453
00:24:48,160 --> 00:24:49,560
Speaker 3: stop this arbitrary bullshit.

454
00:24:50,320 --> 00:24:52,919
Speaker 1: Yeah, Listen, the day the Aliens show up is the

455
00:24:52,960 --> 00:24:54,800
Speaker 1: day that I'm like, I don't care about how I'm

456
00:24:54,800 --> 00:24:57,760
Speaker 1: gonna pay back my stone loans or anything like. It's

457
00:24:57,840 --> 00:25:00,840
Speaker 1: just like all of those like look, all of those

458
00:25:00,880 --> 00:25:03,879
Speaker 1: stress points that we just talked about go out the window.

459
00:25:04,080 --> 00:25:06,159
Speaker 1: Who gives a fuck if I'm unemployed, if there are

460
00:25:06,200 --> 00:25:08,040
Speaker 1: aliens coming down, I be just.

461
00:25:08,400 --> 00:25:10,280
Speaker 2: I think aliens have already been here.

462
00:25:10,720 --> 00:25:13,760
Speaker 3: I think they've gone through one season of holiday depression

463
00:25:13,840 --> 00:25:14,800
Speaker 3: and fucking bounced.

464
00:25:17,720 --> 00:25:18,440
Speaker 2: I think they've been.

465
00:25:18,320 --> 00:25:22,440
Speaker 3: Here for fucking years and they've been like I can't

466
00:25:22,520 --> 00:25:24,720
Speaker 3: handle for some reason November December. I just want to

467
00:25:24,760 --> 00:25:26,800
Speaker 3: go home, like I don't want to deal with Earth anymore.

468
00:25:26,840 --> 00:25:30,080
Speaker 2: And they just leave. Oh yeah, that like Mack and

469
00:25:30,160 --> 00:25:30,800
Speaker 2: me family.

470
00:25:30,960 --> 00:25:34,919
Speaker 1: Aliens, folks, they just threw up the fucking deuces and

471
00:25:34,960 --> 00:25:36,600
Speaker 1: were like, we're going back on the ship.

472
00:25:36,680 --> 00:25:38,119
Speaker 2: This place fucking sucks.

473
00:25:38,119 --> 00:25:42,320
Speaker 3: Fucking batteries not included the robot. Goddamn aliens. All of

474
00:25:42,359 --> 00:25:46,160
Speaker 3: them are just like goodbye.

475
00:25:50,359 --> 00:25:51,080
Speaker 2: Well we do.

476
00:25:51,600 --> 00:25:54,440
Speaker 3: In the meantime, have one thing making me happy, which

477
00:25:54,480 --> 00:25:56,359
Speaker 3: is this week's movies.

478
00:25:58,080 --> 00:26:00,800
Speaker 2: I am in love with this.

479
00:26:01,040 --> 00:26:02,680
Speaker 3: You came up with this, so I want you to

480
00:26:02,720 --> 00:26:04,600
Speaker 3: tell people what it is and what it means.

481
00:26:05,160 --> 00:26:10,960
Speaker 2: Wait, yes, you did, you did? No? No, that can't

482
00:26:11,000 --> 00:26:11,440
Speaker 2: be right.

483
00:26:11,680 --> 00:26:17,120
Speaker 1: No wow, okay, uh well then I guess I love

484
00:26:17,200 --> 00:26:17,920
Speaker 1: my own theme.

485
00:26:18,520 --> 00:26:18,840
Speaker 2: Weird.

486
00:26:19,200 --> 00:26:22,040
Speaker 1: I thought I totally thought this was you. So the

487
00:26:22,040 --> 00:26:28,959
Speaker 1: theme for this week is titled Grandpa's Muttering Again, and

488
00:26:29,440 --> 00:26:34,640
Speaker 1: we are focusing in on films that were made by

489
00:26:34,680 --> 00:26:39,080
Speaker 1: the director Robert Altman and starring his I don't know,

490
00:26:39,119 --> 00:26:41,920
Speaker 1: it's maybe one of his favorite actors to work with,

491
00:26:42,400 --> 00:26:43,959
Speaker 1: Elliott Gould.

492
00:26:44,000 --> 00:26:48,040
Speaker 2: I'd say, muse the muse Elliott Gould.

493
00:26:48,400 --> 00:26:51,720
Speaker 1: Yes, he's been in several Altman movies and they've all

494
00:26:51,720 --> 00:26:52,919
Speaker 1: been classics.

495
00:26:53,160 --> 00:26:57,119
Speaker 3: So and they work so fucking well together, and it

496
00:26:57,240 --> 00:27:00,639
Speaker 3: is always kind of a Sundays at Grandpa kind of

497
00:27:00,640 --> 00:27:03,159
Speaker 3: movie that they're they're always doing together.

498
00:27:04,320 --> 00:27:10,280
Speaker 2: Absolutely, and Elliott was on point in this era. Wouldn't

499
00:27:10,280 --> 00:27:10,640
Speaker 2: you say?

500
00:27:12,200 --> 00:27:20,879
Speaker 3: Listen, seventies Elliott Gould is always the prototype top of

501
00:27:20,880 --> 00:27:21,359
Speaker 3: the list.

502
00:27:22,119 --> 00:27:27,480
Speaker 2: Would destroy one hundred percent. I absolutely knew it. I

503
00:27:27,600 --> 00:27:29,159
Speaker 2: knew it always.

504
00:27:29,560 --> 00:27:33,359
Speaker 3: Although in your movie George Segal is not bad, but

505
00:27:33,480 --> 00:27:35,720
Speaker 3: he's more of a style icon to me, like a

506
00:27:35,800 --> 00:27:39,040
Speaker 3: chords and a sweater and like he's a style icon.

507
00:27:39,560 --> 00:27:43,520
Speaker 3: But seventies Elliott Gould is the reason I've made so

508
00:27:43,600 --> 00:27:45,359
Speaker 3: many bad dating decisions in my life.

509
00:27:48,240 --> 00:27:52,320
Speaker 1: There's an entire generation of men who have tried so

510
00:27:52,520 --> 00:27:55,520
Speaker 1: hard to ape his entire being.

511
00:27:55,800 --> 00:27:57,760
Speaker 2: And they don't even know it. That's the thing. I'm like,

512
00:27:57,800 --> 00:28:01,000
Speaker 2: could you please know it and then act the part?

513
00:28:02,320 --> 00:28:05,560
Speaker 1: Yeah, act the part listen. I mean not for nothing.

514
00:28:06,520 --> 00:28:11,040
Speaker 1: Elliott Gould is a lifelong king beyond this era. My

515
00:28:11,160 --> 00:28:14,480
Speaker 1: other favorite Elliott Gould is those fucking Oceans eleven movies

516
00:28:15,080 --> 00:28:19,040
Speaker 1: are those giant glasses and like the weird.

517
00:28:18,520 --> 00:28:22,520
Speaker 3: The tracks and the robes could get it in a

518
00:28:22,520 --> 00:28:26,360
Speaker 3: different way. Elliott Gould is is forever.

519
00:28:26,720 --> 00:28:28,199
Speaker 2: Is absolutely forever.

520
00:28:28,800 --> 00:28:31,520
Speaker 3: Also, the last time I saw my movie in a

521
00:28:31,600 --> 00:28:34,719
Speaker 3: theater was in a theater. We saw it together at

522
00:28:34,720 --> 00:28:37,560
Speaker 3: the New BEV and Elliott Gould was there.

523
00:28:38,920 --> 00:28:45,560
Speaker 2: Wow do you remember that? Yes? Holy shit, that was incredible. Yeah.

524
00:28:45,880 --> 00:28:48,360
Speaker 1: That is the reason to live in LA to be honest,

525
00:28:48,440 --> 00:28:50,440
Speaker 1: just to be like, oh, Elliott Gould is here in

526
00:28:51,320 --> 00:28:52,440
Speaker 1: fifty movie theater.

527
00:28:54,800 --> 00:28:59,840
Speaker 3: And again still I don't care about most celebrities. Immediately

528
00:29:00,200 --> 00:29:03,120
Speaker 3: in the knees, yeah, oh yeah, immediately weak in the knees.

529
00:29:03,920 --> 00:29:06,960
Speaker 1: It was like Channing Tatum popping and locking down the

530
00:29:07,000 --> 00:29:11,280
Speaker 1: aisles of the new event. When that happens, you wouldn't

531
00:29:11,320 --> 00:29:13,400
Speaker 1: get that in Poughkeepsie, I'll tell you that much.

532
00:29:13,720 --> 00:29:14,360
Speaker 2: You'll see it.

533
00:29:14,440 --> 00:29:17,520
Speaker 3: I'm sure don't oh, you get some change in leaves

534
00:29:17,520 --> 00:29:20,720
Speaker 3: you don't get Imagine like Channing Tatum on a parade

535
00:29:20,720 --> 00:29:25,280
Speaker 3: float doing pony up and down your personal block like

536
00:29:25,320 --> 00:29:27,640
Speaker 3: where you live. That's what it's like seeing Elliott Gooul

537
00:29:27,720 --> 00:29:29,320
Speaker 3: in a movie theater in La.

538
00:29:30,120 --> 00:29:30,960
Speaker 2: Oh god Well.

539
00:29:31,000 --> 00:29:33,640
Speaker 1: And like part of the joke about the name of

540
00:29:33,640 --> 00:29:37,920
Speaker 1: the theme Grandpa's muttering again is because he's essentially muttering

541
00:29:38,000 --> 00:29:41,280
Speaker 1: through both of these films, especially Yours Girl.

542
00:29:42,680 --> 00:29:46,080
Speaker 3: Most of his dialogue in my film is with himself, right,

543
00:29:46,720 --> 00:29:47,040
Speaker 3: And I.

544
00:29:47,000 --> 00:29:50,560
Speaker 1: Think that part of that is the characters that he plays,

545
00:29:50,600 --> 00:29:53,800
Speaker 1: which are kind of these like, you know, unassuming types

546
00:29:53,840 --> 00:29:55,920
Speaker 1: of guys, right, And that's why we love him because

547
00:29:55,920 --> 00:30:01,440
Speaker 1: he's not this like you know, dominating alpha bro type.

548
00:30:01,520 --> 00:30:04,640
Speaker 1: He's he's a different type of dude. But that also

549
00:30:04,920 --> 00:30:07,560
Speaker 1: the style of Robert Altman films. And if you've not

550
00:30:07,760 --> 00:30:09,600
Speaker 1: seen a Robert Altman film where you don't really know

551
00:30:09,680 --> 00:30:13,160
Speaker 1: much about his you know, his filmmaking style. He does

552
00:30:13,200 --> 00:30:16,680
Speaker 1: this thing where he basically, you know, equals out all

553
00:30:16,720 --> 00:30:20,760
Speaker 1: of the audio essentially in his films. That so that

554
00:30:21,240 --> 00:30:24,200
Speaker 1: there's people talking constantly throughout Robert Altman films, and they're

555
00:30:24,280 --> 00:30:25,960
Speaker 1: kind of all at the same volume, so you can

556
00:30:26,000 --> 00:30:30,080
Speaker 1: hear like background people talking, and it's kind of this

557
00:30:30,320 --> 00:30:34,840
Speaker 1: like interesting technique because it kind of makes the characters

558
00:30:34,880 --> 00:30:36,480
Speaker 1: feel like they're all in the same room together.

559
00:30:36,520 --> 00:30:39,360
Speaker 2: It feels kind of real in a lot of ways.

560
00:30:39,480 --> 00:30:41,120
Speaker 1: Like when you walk into a bar and you hear

561
00:30:41,160 --> 00:30:44,440
Speaker 1: like a bunch of people having different conversations, and you

562
00:30:44,480 --> 00:30:47,560
Speaker 1: know that's happening in this movie, and there are there'll

563
00:30:47,600 --> 00:30:51,200
Speaker 1: be like principal actors talking and having an important conversation

564
00:30:51,400 --> 00:30:55,400
Speaker 1: while you are hearing other people just talking bullshit exactly.

565
00:30:55,880 --> 00:30:58,120
Speaker 3: Now, there's a scene in your movie at a bar

566
00:30:58,440 --> 00:31:03,760
Speaker 3: where that happens, and it's just so stunning and hilarious

567
00:31:03,760 --> 00:31:06,240
Speaker 3: because it was I do notice this about myself when

568
00:31:06,240 --> 00:31:08,360
Speaker 3: I'm watching Robert Altman movies, which we've covered on the

569
00:31:08,360 --> 00:31:11,240
Speaker 3: pod before. You know, Three Women McKay and Missus Miller.

570
00:31:11,760 --> 00:31:15,120
Speaker 3: But I was in this in this particular moment. I

571
00:31:15,160 --> 00:31:17,200
Speaker 3: was looking at your movie and was looking at this

572
00:31:17,280 --> 00:31:19,600
Speaker 3: scene and I was like, wait, I kind of don't

573
00:31:19,640 --> 00:31:22,560
Speaker 3: care what the main characters are saying. I'm focusing on

574
00:31:22,600 --> 00:31:24,760
Speaker 3: what this one woman is saying, who we're never going

575
00:31:24,800 --> 00:31:29,360
Speaker 3: to see again. And I know they're talking about something

576
00:31:29,440 --> 00:31:31,680
Speaker 3: or like we're miss I'm missing a moment here, but

577
00:31:31,800 --> 00:31:34,720
Speaker 3: it also feels like I'm getting enough of it to

578
00:31:34,800 --> 00:31:35,800
Speaker 3: kind of feel okay.

579
00:31:36,320 --> 00:31:38,440
Speaker 2: It felt like being in a bar. Yeah.

580
00:31:38,720 --> 00:31:42,360
Speaker 1: It creates this like weird kind of equity between all

581
00:31:42,400 --> 00:31:45,400
Speaker 1: of the characters in the films, meaning like the famous

582
00:31:45,400 --> 00:31:49,120
Speaker 1: people and the side characters are getting kind of equal time,

583
00:31:50,640 --> 00:31:54,360
Speaker 1: which I love. And to your point about McCay and

584
00:31:54,400 --> 00:31:56,880
Speaker 1: Missus Miller too, I mean, that's another movie where like

585
00:31:56,960 --> 00:31:59,760
Speaker 1: the guy is muttering to himself pretty much the entire time.

586
00:32:00,280 --> 00:32:03,800
Speaker 1: So I would say that the muttering guy is a

587
00:32:03,840 --> 00:32:07,040
Speaker 1: staple of a Robert Altman film, but I think Elliott

588
00:32:07,080 --> 00:32:09,600
Speaker 1: Gould probably does it the best.

589
00:32:10,200 --> 00:32:15,840
Speaker 3: The best, absolutely, he is so funny and so good

590
00:32:15,880 --> 00:32:17,600
Speaker 3: at it, and he's his muttering is the kind of

591
00:32:17,680 --> 00:32:21,520
Speaker 3: muttering where you understand if you can pay attention to

592
00:32:21,600 --> 00:32:26,120
Speaker 3: what he's saying, you come away with an instant, deep

593
00:32:26,240 --> 00:32:29,160
Speaker 3: understanding of who the character is because his muttering actually

594
00:32:29,200 --> 00:32:32,840
Speaker 3: makes sense in that landscape of Oh, now I get

595
00:32:32,840 --> 00:32:33,600
Speaker 3: who this guy is.

596
00:32:34,000 --> 00:32:37,200
Speaker 1: Yeah, And I will say, for the record, because I've

597
00:32:37,200 --> 00:32:39,720
Speaker 1: seen your film, I think this was my third time

598
00:32:39,880 --> 00:32:44,920
Speaker 1: seeing Belong Goodbye. I put on subtitles this time, and

599
00:32:44,960 --> 00:32:47,480
Speaker 1: it opened up a brand new world to me.

600
00:32:47,880 --> 00:32:55,960
Speaker 3: Yep, it's like having a Babelfish, like a Babbelfish in

601
00:32:56,000 --> 00:32:56,360
Speaker 3: your head.

602
00:32:57,840 --> 00:33:02,400
Speaker 2: It's like it's this foreign language that I can't understand.

603
00:33:03,720 --> 00:33:08,240
Speaker 3: Wait, I understand Spanish now, I totally understand what they're saying.

604
00:33:09,560 --> 00:33:13,640
Speaker 2: Well, you're going first this week, and I'm so excited. Yes.

605
00:33:13,840 --> 00:33:17,360
Speaker 3: And My film was released in nineteen seventy three. It

606
00:33:17,440 --> 00:33:20,400
Speaker 3: was written by Lee Brackett, based on the book The

607
00:33:20,440 --> 00:33:24,000
Speaker 3: Long Goodbye by Raymond Chandler and directed by Robert Altman.

608
00:33:24,120 --> 00:33:27,240
Speaker 2: My movie is The Long Goodbye. Listen, Harry, in case

609
00:33:27,280 --> 00:33:29,160
Speaker 2: you lose me in traffic. This is the address where

610
00:33:29,160 --> 00:33:31,160
Speaker 2: I'm going you. Thank you great, Harry.

611
00:33:31,160 --> 00:33:32,680
Speaker 1: I would straighten your tid.

612
00:33:32,800 --> 00:33:34,960
Speaker 2: Yeah, Harry, I'm proud to have you following.

613
00:33:35,360 --> 00:33:37,840
Speaker 3: So I love this movie and it's I will say,

614
00:33:37,880 --> 00:33:40,240
Speaker 3: it's not an easy movie to get into, Like if

615
00:33:40,240 --> 00:33:43,040
Speaker 3: you haven't watched Robert Altman movies before, I wouldn't say

616
00:33:43,760 --> 00:33:47,160
Speaker 3: to start with this one. But it's also not difficult

617
00:33:47,200 --> 00:33:48,960
Speaker 3: to understand. It's kind of a it's a no war

618
00:33:49,680 --> 00:33:55,840
Speaker 3: drama comedy about a private eye. And I do think

619
00:33:55,880 --> 00:33:59,920
Speaker 3: that Raymond that Robert Altman fucks with the genre enough

620
00:34:00,120 --> 00:34:03,560
Speaker 3: that it's an easier movie to understand than your typical

621
00:34:03,600 --> 00:34:04,320
Speaker 3: noir would be.

622
00:34:05,440 --> 00:34:06,800
Speaker 2: But it's not shouldn't be.

623
00:34:06,880 --> 00:34:09,000
Speaker 3: It's because it's fucking with the John Red don't think

624
00:34:09,280 --> 00:34:11,239
Speaker 3: if you've never watched noir before, this shouldn't be your

625
00:34:11,239 --> 00:34:16,280
Speaker 3: first your first one A one sentenced synopsis. A private

626
00:34:16,320 --> 00:34:19,080
Speaker 3: investigator gets thrown into a case when a friend accused

627
00:34:19,120 --> 00:34:24,360
Speaker 3: of murdering his wife is found dead by suicide. So,

628
00:34:24,480 --> 00:34:26,920
Speaker 3: right off the bat, what is fascinating me about this

629
00:34:27,000 --> 00:34:29,880
Speaker 3: movie is that it is based on a Raymond Chandler novel.

630
00:34:30,719 --> 00:34:35,360
Speaker 3: His detective Philip Marlow, has been represented on film by

631
00:34:35,680 --> 00:34:40,400
Speaker 3: many different people, including Humphrey Bogart, James Kahn, Rest in

632
00:34:40,440 --> 00:34:43,360
Speaker 3: Peace King, James Garner RESI in Peace King.

633
00:34:44,280 --> 00:34:46,480
Speaker 2: I know, yes, oh K.

634
00:34:48,080 --> 00:34:51,640
Speaker 3: The questions me, don't want to kill someone before their time?

635
00:34:51,719 --> 00:34:53,200
Speaker 3: Haven't heard from for a long time?

636
00:34:53,520 --> 00:34:54,320
Speaker 2: Well we don't.

637
00:34:54,880 --> 00:34:55,120
Speaker 3: We know?

638
00:34:55,840 --> 00:34:59,759
Speaker 2: John Amos is alive, Dann God, I know.

639
00:35:00,120 --> 00:35:04,240
Speaker 1: James Garner, he's no, he died twenty fourteen.

640
00:35:04,640 --> 00:35:08,000
Speaker 3: Rest and Pace King, Rest and Pace King, Robert mitcham

641
00:35:08,040 --> 00:35:09,279
Speaker 3: Old buttthhole Eyes.

642
00:35:09,719 --> 00:35:11,799
Speaker 2: Rest and Pace King for me, I know you have

643
00:35:11,840 --> 00:35:15,160
Speaker 2: different feelings, Robert Montgomery, Dick Owl.

644
00:35:16,000 --> 00:35:19,279
Speaker 3: So Elliott Gould is the youngest person at this time

645
00:35:19,400 --> 00:35:24,800
Speaker 3: to have portrayed Philip Marlowe and Lee Brackett, who was

646
00:35:24,840 --> 00:35:27,560
Speaker 3: a science fiction writer and a screenwriter. She was known

647
00:35:27,600 --> 00:35:30,040
Speaker 3: as the Queen of the Space Opera, which I didn't

648
00:35:30,080 --> 00:35:33,800
Speaker 3: know whoa either, So I was researching this for this film,

649
00:35:34,200 --> 00:35:38,880
Speaker 3: and she made a lot of changes to the plot,

650
00:35:39,440 --> 00:35:42,400
Speaker 3: so things that were not in the book. You know,

651
00:35:42,440 --> 00:35:43,759
Speaker 3: there are scenes that were not in the book that

652
00:35:43,800 --> 00:35:45,879
Speaker 3: are in the movie. There are things that she intentionally

653
00:35:46,520 --> 00:35:49,480
Speaker 3: kind of moved around from the book and kind of

654
00:35:49,560 --> 00:35:51,600
Speaker 3: changed the format. And I think it makes it a

655
00:35:51,640 --> 00:35:55,279
Speaker 3: more interesting movie than it would if you just went

656
00:35:55,360 --> 00:36:00,280
Speaker 3: straight through from you know, book plot to film. Sociate

657
00:36:00,360 --> 00:36:02,000
Speaker 3: that she was able to mess with it with it

658
00:36:02,120 --> 00:36:06,000
Speaker 3: as well, and I think that it's there's just some like, really,

659
00:36:07,680 --> 00:36:09,799
Speaker 3: I don't know, there's something really interesting about the way

660
00:36:09,800 --> 00:36:13,440
Speaker 3: that Elliott Gould plays marlow And it's not the muttering

661
00:36:13,520 --> 00:36:16,680
Speaker 3: is definitely key, but I feel like he.

662
00:36:18,280 --> 00:36:19,080
Speaker 2: You kind of don't know.

663
00:36:19,000 --> 00:36:21,239
Speaker 3: If he's good at his job when you first meet him,

664
00:36:21,640 --> 00:36:25,880
Speaker 3: because he's so like aloof, He's so aloof, You're like

665
00:36:26,000 --> 00:36:27,640
Speaker 3: I don't know if you even know what your job is.

666
00:36:27,719 --> 00:36:30,040
Speaker 3: I don't know if you're good at it. I read

667
00:36:30,160 --> 00:36:32,960
Speaker 3: Roger Ebert's review of this movie from nineteen seventy three,

668
00:36:33,200 --> 00:36:36,719
Speaker 3: and he says, and a quote, he wants to show

669
00:36:36,800 --> 00:36:39,880
Speaker 3: a private eye from the noir Arab blundering through a

670
00:36:39,920 --> 00:36:44,799
Speaker 3: plot he is perhaps too naive to understand unquote, And

671
00:36:45,080 --> 00:36:47,719
Speaker 3: you get that feeling throughout that, like there's something very

672
00:36:47,840 --> 00:36:53,640
Speaker 3: naive about this Goulded version of Marlow. But he also

673
00:36:54,239 --> 00:36:59,040
Speaker 3: is such a sarcastic shithead that you kind of wonder

674
00:36:59,120 --> 00:37:01,560
Speaker 3: if he even cares. Like he's aware of his own

675
00:37:01,640 --> 00:37:05,400
Speaker 3: naivete he's aware of his own shortcomings, but then he

676
00:37:05,480 --> 00:37:07,600
Speaker 3: fucks with people to the point where he actually gets

677
00:37:07,640 --> 00:37:09,880
Speaker 3: information out of them, so it kind of makes him

678
00:37:09,920 --> 00:37:13,880
Speaker 3: good at his job. Yeah, it's a really strange interplay

679
00:37:13,920 --> 00:37:15,120
Speaker 3: happening with his character.

680
00:37:16,239 --> 00:37:20,160
Speaker 1: Yeah, it's interesting because you know, I'm I'm a fan

681
00:37:20,200 --> 00:37:24,680
Speaker 1: of noir, a big fan of noir, and most of

682
00:37:24,719 --> 00:37:28,839
Speaker 1: those old classic noir guys are pretty sure footed, like

683
00:37:29,080 --> 00:37:33,960
Speaker 1: they pretty much know they're like they're more like the

684
00:37:34,000 --> 00:37:37,319
Speaker 1: Elliott Gould character in my movie, where they're kind of

685
00:37:37,400 --> 00:37:40,719
Speaker 1: like kings of the underground. They kind of know everybody

686
00:37:40,760 --> 00:37:43,160
Speaker 1: and know everything, right. They're very confident and they've got

687
00:37:43,280 --> 00:37:44,399
Speaker 1: kind of a swagger to them.

688
00:37:44,960 --> 00:37:45,840
Speaker 2: That's the difference.

689
00:37:45,880 --> 00:37:48,640
Speaker 1: I think you're right about the about this kind of

690
00:37:49,480 --> 00:37:56,160
Speaker 1: Philip Marlowe type is that he's aloof he kind of

691
00:37:56,239 --> 00:37:58,640
Speaker 1: believes in people when he shouldn't.

692
00:37:59,000 --> 00:37:59,879
Speaker 2: In a weird Yeah, he.

693
00:37:59,800 --> 00:38:02,880
Speaker 1: Does had that instinct to be like, oh this, you know,

694
00:38:02,960 --> 00:38:07,440
Speaker 1: he has a general instinct that maybe a crime that

695
00:38:07,600 --> 00:38:09,880
Speaker 1: is put on somebody may not have happened or something.

696
00:38:09,880 --> 00:38:15,200
Speaker 1: He's got kind of that general instinct, but he's often wrong. Yeah,

697
00:38:15,400 --> 00:38:20,720
Speaker 1: and he kind of like gets himself into scenarios because

698
00:38:20,760 --> 00:38:23,600
Speaker 1: he's just kind of like not paying attention or not

699
00:38:23,760 --> 00:38:25,120
Speaker 1: wise enough or something.

700
00:38:25,160 --> 00:38:29,120
Speaker 3: He's weirdly unquestioning about things that he should absolutely be

701
00:38:29,239 --> 00:38:30,279
Speaker 3: curious about.

702
00:38:30,440 --> 00:38:33,760
Speaker 1: Right, And you think as a private detective, he's probably

703
00:38:33,800 --> 00:38:36,920
Speaker 1: seen a few things, but for some reason it's not registering.

704
00:38:39,320 --> 00:38:42,600
Speaker 3: And he's so he's so at a place anyway, because

705
00:38:42,640 --> 00:38:45,000
Speaker 3: he's like he's at a place in the way he

706
00:38:45,080 --> 00:38:47,040
Speaker 3: looks like he wears a suit in this kind of

707
00:38:47,480 --> 00:38:52,200
Speaker 3: this early seventies time frame where we're at the tail

708
00:38:52,400 --> 00:38:55,160
Speaker 3: end of the hippie movement and the kind of you know,

709
00:38:55,200 --> 00:38:57,839
Speaker 3: the kind of cultural revolution that was happening, and he's

710
00:38:57,880 --> 00:39:00,560
Speaker 3: wearing a suit and driving this very very old car

711
00:39:01,040 --> 00:39:03,640
Speaker 3: and he kind of this is exemplified in different ways,

712
00:39:03,680 --> 00:39:06,480
Speaker 3: one of which is that he lives in this apartment

713
00:39:06,520 --> 00:39:10,120
Speaker 3: building next to what I can only describe is a

714
00:39:10,239 --> 00:39:13,760
Speaker 3: harem of naked women who do yoga all the time,

715
00:39:14,200 --> 00:39:17,239
Speaker 3: and he is so uninterested in them, Like everyone that

716
00:39:17,320 --> 00:39:19,160
Speaker 3: comes to his apartment is like, what the fuck is

717
00:39:19,200 --> 00:39:21,600
Speaker 3: going on over there? They're out on the porchnacan doing yoga,

718
00:39:21,640 --> 00:39:22,880
Speaker 3: and he's just like, don't worry about it.

719
00:39:22,880 --> 00:39:23,640
Speaker 2: They're vicious, like.

720
00:39:23,920 --> 00:39:25,920
Speaker 3: So he's had some kind of interaction with them in

721
00:39:25,960 --> 00:39:28,960
Speaker 3: the past that we haven't seen, but all we see

722
00:39:29,080 --> 00:39:34,480
Speaker 3: is him being completely uninterested in this weirdly fascinating group

723
00:39:34,520 --> 00:39:35,279
Speaker 3: of neighbors.

724
00:39:35,719 --> 00:39:38,400
Speaker 1: I really thought about this this time, probably too much,

725
00:39:38,560 --> 00:39:39,360
Speaker 1: I would argue.

726
00:39:39,960 --> 00:39:41,960
Speaker 2: There's actually two things about this that I want to

727
00:39:41,960 --> 00:39:42,680
Speaker 2: bring up with you.

728
00:39:43,239 --> 00:39:46,799
Speaker 1: Number one is that I had to look up the

729
00:39:46,840 --> 00:39:49,480
Speaker 1: actual apartment that that was because I was like, what,

730
00:39:49,680 --> 00:39:52,400
Speaker 1: this is an amazing apartment, Like they're like where is this?

731
00:39:52,600 --> 00:39:56,680
Speaker 1: Where is this right? And it's in la And as

732
00:39:56,719 --> 00:39:59,520
Speaker 1: of twenty fourteen. Actually you could actually rent it. There

733
00:39:59,560 --> 00:40:03,319
Speaker 1: was a Craigslist ad. It's like a one bedroom, one

734
00:40:03,360 --> 00:40:05,720
Speaker 1: bathroom and it was going for twenty eight hundred bucks

735
00:40:06,320 --> 00:40:10,960
Speaker 1: in twenty fourteen. Whoa, And so you know that's almost

736
00:40:11,040 --> 00:40:13,480
Speaker 1: ten years ago. I'm not even sure if it's still

737
00:40:13,480 --> 00:40:15,680
Speaker 1: there or if it is, it probably costs like five

738
00:40:15,719 --> 00:40:16,640
Speaker 1: thousand dollars a month.

739
00:40:16,960 --> 00:40:19,600
Speaker 3: But do they advertise it as the apartment from the Longabaye?

740
00:40:19,920 --> 00:40:21,839
Speaker 1: Yeah, there was when I when I looked it up,

741
00:40:21,880 --> 00:40:24,600
Speaker 1: there was a lot of like people saying, this is

742
00:40:24,719 --> 00:40:26,959
Speaker 1: Elliott Gould's apartment in the longa Bye, which I thought

743
00:40:26,960 --> 00:40:30,520
Speaker 1: was fascinating. Can you imagine renting that apartment number one?

744
00:40:30,560 --> 00:40:30,799
Speaker 2: I might.

745
00:40:30,880 --> 00:40:32,359
Speaker 3: I might still be in La if I could rent

746
00:40:32,360 --> 00:40:32,920
Speaker 3: that apartment.

747
00:40:33,120 --> 00:40:34,480
Speaker 2: I hell, I know.

748
00:40:35,200 --> 00:40:37,600
Speaker 1: But the second thing about it, and this is like

749
00:40:37,840 --> 00:40:40,759
Speaker 1: to your exact point about like how come he's unaffected

750
00:40:41,960 --> 00:40:44,560
Speaker 1: but everybody else is in trance? And I was like,

751
00:40:44,640 --> 00:40:48,080
Speaker 1: maybe that's by design. Maybe these women are like sirens,

752
00:40:48,200 --> 00:40:51,200
Speaker 1: Like we talked about the siren thing from you know,

753
00:40:51,440 --> 00:40:55,960
Speaker 1: a couple episodes ago, that he's in this like weird

754
00:40:56,040 --> 00:40:58,840
Speaker 1: business of having to like meet with unshady characters, and

755
00:40:58,880 --> 00:41:02,200
Speaker 1: maybe it's good that the women are there just being

756
00:41:02,280 --> 00:41:09,479
Speaker 1: weird and very la because then it distracts whoever's coming

757
00:41:09,520 --> 00:41:12,399
Speaker 1: to shake him down from exactly you know what I mean,

758
00:41:12,440 --> 00:41:13,920
Speaker 1: Like when he had there was like a scene in

759
00:41:13,960 --> 00:41:15,800
Speaker 1: the movie that you're probably gonna get to later about

760
00:41:15,840 --> 00:41:17,279
Speaker 1: these people that visit him.

761
00:41:17,480 --> 00:41:20,000
Speaker 2: That probably could have gone much worse if those women had.

762
00:41:20,040 --> 00:41:24,160
Speaker 1: Been topless and exactly shaking their tits on the balcony.

763
00:41:26,800 --> 00:41:30,279
Speaker 3: Absolutely, and they're not doing it to be provocative, which

764
00:41:30,320 --> 00:41:32,319
Speaker 3: is also interesting because you know, I'm always thinking of

765
00:41:32,360 --> 00:41:36,840
Speaker 3: like this, like the feminist viewpoint, and they're not put

766
00:41:36,880 --> 00:41:39,319
Speaker 3: in this film to be provocative and to be this

767
00:41:39,400 --> 00:41:43,840
Speaker 3: kind of you know, sexual enticement. But they are to

768
00:41:44,000 --> 00:41:49,080
Speaker 3: characters who are not as reserved as Marlowe. So their purpose,

769
00:41:49,120 --> 00:41:52,480
Speaker 3: like you said, could be two fold. Yeah, and that

770
00:41:52,680 --> 00:41:55,520
Speaker 3: exemplifies so much about him and his personality, but it

771
00:41:55,560 --> 00:41:57,920
Speaker 3: also is completely distracting to people who are trying to

772
00:41:57,960 --> 00:41:58,520
Speaker 3: fuck him over.

773
00:41:59,000 --> 00:41:59,839
Speaker 2: Yeah, or even like.

774
00:42:00,120 --> 00:42:02,960
Speaker 3: Come to his apartment, like he has time, he has

775
00:42:03,000 --> 00:42:04,960
Speaker 3: time to get the jump on everybody come into the

776
00:42:05,000 --> 00:42:07,320
Speaker 3: front door if they're just staring across the hall.

777
00:42:07,760 --> 00:42:09,000
Speaker 2: Yeah, and like and.

778
00:42:08,920 --> 00:42:13,560
Speaker 1: To me, you know, having lived in La now having

779
00:42:13,640 --> 00:42:14,680
Speaker 1: that experience, I'm.

780
00:42:14,560 --> 00:42:17,400
Speaker 2: Like, everybody in LA has a weird neighbor.

781
00:42:18,400 --> 00:42:21,280
Speaker 1: Like maybe if it's not these women, it's like somebody

782
00:42:21,280 --> 00:42:24,799
Speaker 1: else doing some other thing on their porch, you know.

783
00:42:25,239 --> 00:42:28,719
Speaker 1: So it's probably also a symptom of that too, of

784
00:42:28,760 --> 00:42:31,640
Speaker 1: just being like, it's La. There are weirdos kind of

785
00:42:31,760 --> 00:42:34,600
Speaker 1: doing their weird things all the time in plane sight,

786
00:42:35,480 --> 00:42:37,919
Speaker 1: and absolutely you live next to them and you can't

787
00:42:37,920 --> 00:42:39,319
Speaker 1: do a goddamn thing about it.

788
00:42:39,800 --> 00:42:42,959
Speaker 3: And the thing that's absolutely true that it's just part

789
00:42:43,000 --> 00:42:46,719
Speaker 3: of living in most major cities, but particularly New York

790
00:42:46,760 --> 00:42:49,880
Speaker 3: and LA particularly, You're like, all right, that's my neighbor.

791
00:42:49,960 --> 00:42:52,000
Speaker 3: That's what they do. They just go out in the

792
00:42:52,040 --> 00:42:56,160
Speaker 3: hallway and scream like a wolf at eleven thirty every

793
00:42:56,239 --> 00:42:58,520
Speaker 3: night and they go back into their apartment and there's

794
00:42:58,560 --> 00:43:02,719
Speaker 3: nothing I can do about it.

795
00:43:02,200 --> 00:43:05,680
Speaker 2: So true. But he also so it's kind of this.

796
00:43:05,840 --> 00:43:08,839
Speaker 3: You know, you see this character who's kind of you're

797
00:43:08,880 --> 00:43:11,560
Speaker 3: interested in right away because of his actions and the

798
00:43:11,600 --> 00:43:15,520
Speaker 3: things that he does, least of all of which is

799
00:43:16,280 --> 00:43:22,480
Speaker 3: this incredibly long opening scene that involves his cat. And

800
00:43:23,080 --> 00:43:25,319
Speaker 3: when you first watched the movie, you're like, why are

801
00:43:25,360 --> 00:43:28,239
Speaker 3: we watching this man talk to himself and deal with

802
00:43:28,280 --> 00:43:31,359
Speaker 3: this cat so much. But I think it's that exact thing,

803
00:43:31,400 --> 00:43:35,239
Speaker 3: is that you have to see flat out what he

804
00:43:35,320 --> 00:43:38,920
Speaker 3: actually gives a shit about, and what he trusts, and

805
00:43:38,920 --> 00:43:41,560
Speaker 3: what he talks like, what he talks about, what's on

806
00:43:41,600 --> 00:43:45,560
Speaker 3: his mind, how kind of weirdly focused he is, which

807
00:43:45,600 --> 00:43:47,120
Speaker 3: I think you have to be as a private eye.

808
00:43:47,120 --> 00:43:53,239
Speaker 3: He's very laser focused on certain tasks. And so at

809
00:43:53,239 --> 00:43:54,879
Speaker 3: first you're like, oh, this is just a funny scene

810
00:43:54,880 --> 00:43:56,239
Speaker 3: with this guy and his cat, But then when I

811
00:43:56,280 --> 00:43:58,200
Speaker 3: really think about it, I'm like, no, this is actually

812
00:43:58,239 --> 00:44:00,520
Speaker 3: kind of telling us a lot about Marlowe and this

813
00:44:00,640 --> 00:44:02,239
Speaker 3: version of marlow And I think it was a really

814
00:44:02,280 --> 00:44:04,480
Speaker 3: smart way to open the movie, even though it is

815
00:44:04,560 --> 00:44:07,959
Speaker 3: kind of confusing because you're just dropped right into the action.

816
00:44:09,239 --> 00:44:10,080
Speaker 2: But it's adorable.

817
00:44:10,120 --> 00:44:12,640
Speaker 3: Like his cat kind of wakes him up by hopping

818
00:44:12,719 --> 00:44:14,680
Speaker 3: on his chest and it's like three o'clock in the

819
00:44:14,680 --> 00:44:18,200
Speaker 3: morning and he's mumbling to himself, and you can kind

820
00:44:18,200 --> 00:44:20,440
Speaker 3: of see the way he lives, which is a mess.

821
00:44:20,480 --> 00:44:22,919
Speaker 3: Like he's sleeping when he wakes up on the bed,

822
00:44:22,960 --> 00:44:26,760
Speaker 3: he's sleeping next to a plate with like old food

823
00:44:26,800 --> 00:44:27,080
Speaker 3: on it.

824
00:44:27,600 --> 00:44:30,160
Speaker 2: He's chainsmoking, the entire movie.

825
00:44:30,520 --> 00:44:33,799
Speaker 3: Yeah, So anytime he's his eyes are open, he has

826
00:44:33,800 --> 00:44:37,040
Speaker 3: a cigarette, so he wakes up, lights a cigarette. He

827
00:44:37,200 --> 00:44:42,000
Speaker 3: uses strike anywhere matches, which is, you know, again just

828
00:44:42,040 --> 00:44:47,200
Speaker 3: like a beautiful character detail for Marlowe, and it gives

829
00:44:47,200 --> 00:44:50,120
Speaker 3: it kind of a noir edge as well, like that,

830
00:44:50,160 --> 00:44:52,600
Speaker 3: you know, striking a match in an alley in the dark,

831
00:44:52,640 --> 00:44:54,200
Speaker 3: and then all of a sudden you see the private

832
00:44:54,200 --> 00:44:57,960
Speaker 3: ezed face kind of kind of feeling, and he's obsessed

833
00:44:57,960 --> 00:45:00,800
Speaker 3: with the fact like he's pissed off, but also obsessed

834
00:45:00,840 --> 00:45:02,360
Speaker 3: with the fact that he has no cat food and

835
00:45:02,400 --> 00:45:04,839
Speaker 3: this cat is hung green and this is a cat

836
00:45:04,960 --> 00:45:09,080
Speaker 3: actor that to me belongs and the Barrymore Houston, that

837
00:45:09,280 --> 00:45:11,200
Speaker 3: actor level one.

838
00:45:12,840 --> 00:45:13,200
Speaker 2: Fact.

839
00:45:13,400 --> 00:45:15,759
Speaker 1: Like I was like, cat is a ham Where the

840
00:45:15,760 --> 00:45:21,600
Speaker 1: hell did you find this comedic acting cat? I wanted

841
00:45:21,600 --> 00:45:25,920
Speaker 1: to ask you, as an Orange cat owner, what is

842
00:45:26,120 --> 00:45:29,719
Speaker 1: what is the believability of because this is part I

843
00:45:29,800 --> 00:45:31,920
Speaker 1: wasn't sure if this is Hollywood magic or if this

844
00:45:32,040 --> 00:45:36,520
Speaker 1: was actually what Orange cats do. The whole idea that

845
00:45:37,080 --> 00:45:42,279
Speaker 1: he had to relabel the shitty cat food, yeah, and

846
00:45:42,400 --> 00:45:45,440
Speaker 1: then his and then his cat would know that it

847
00:45:45,560 --> 00:45:46,839
Speaker 1: wasn't the real cat food.

848
00:45:46,880 --> 00:45:49,600
Speaker 2: That he'd been eating this entire time. What is the

849
00:45:50,040 --> 00:45:54,520
Speaker 2: truth behind that life? Okay, that is real life. That

850
00:45:54,560 --> 00:45:55,759
Speaker 2: has happened to me.

851
00:45:56,000 --> 00:45:59,439
Speaker 3: Wow, it is real fucking life. I mean this cat

852
00:45:59,480 --> 00:46:02,080
Speaker 3: was also the cat was a phenomenal actor for sure,

853
00:46:02,400 --> 00:46:04,680
Speaker 3: but that is real life. And again just the funniest

854
00:46:04,719 --> 00:46:07,520
Speaker 3: fucking moment of him trying to trick his cat. He

855
00:46:07,640 --> 00:46:09,480
Speaker 3: knows his cat so well that he knows he will

856
00:46:09,480 --> 00:46:11,680
Speaker 3: only eat curry Brain cat food, like he will not

857
00:46:11,719 --> 00:46:13,960
Speaker 3: eat any other brand. So that he goes to the store.

858
00:46:14,280 --> 00:46:16,719
Speaker 3: They're out of the cat food. He's mumbling his way

859
00:46:16,760 --> 00:46:21,959
Speaker 3: through this purchasing process. He gets home, closes the door

860
00:46:21,960 --> 00:46:25,439
Speaker 3: behind him so the cat won't see switch it takes

861
00:46:25,440 --> 00:46:27,319
Speaker 3: an old can out of the garbage, puts the cat

862
00:46:27,360 --> 00:46:29,839
Speaker 3: food in it, and then the cat is like, nah,

863
00:46:29,960 --> 00:46:35,880
Speaker 3: I ain't having that carrot beans Backster Henderson already gets

864
00:46:36,520 --> 00:46:38,920
Speaker 3: the most spoiled level of cat food I can afford,

865
00:46:39,680 --> 00:46:42,080
Speaker 3: and I swear to you there is one flavor that

866
00:46:42,120 --> 00:46:45,240
Speaker 3: he will not eat. And it comes in a package,

867
00:46:45,280 --> 00:46:47,400
Speaker 3: like I have his food delivered to the house, and

868
00:46:47,400 --> 00:46:50,439
Speaker 3: so it comes in the package. And there was one

869
00:46:50,440 --> 00:46:52,880
Speaker 3: month where I forgot to say, don't send us the

870
00:46:52,880 --> 00:46:55,960
Speaker 3: beef one because he won't eat it, and they sent

871
00:46:56,080 --> 00:46:58,480
Speaker 3: like five packages and like, well, we're eating it. I

872
00:46:58,480 --> 00:47:00,759
Speaker 3: had to pay for this shit, when I tell you,

873
00:47:00,800 --> 00:47:04,560
Speaker 3: this motherfucker let that food sit in his bowl all

874
00:47:04,800 --> 00:47:08,520
Speaker 3: goddamn day. He was he would rather go on a

875
00:47:08,600 --> 00:47:13,640
Speaker 3: hunger strike than eat this one particular flavor of a

876
00:47:13,680 --> 00:47:17,400
Speaker 3: food that he loves. Yeah, very on brand for an

877
00:47:17,400 --> 00:47:17,960
Speaker 3: orange cat.

878
00:47:18,320 --> 00:47:18,719
Speaker 2: I thought.

879
00:47:18,760 --> 00:47:21,520
Speaker 1: So there was this other scene or there's other part

880
00:47:21,640 --> 00:47:24,800
Speaker 1: right before it where before he goes to the store

881
00:47:24,840 --> 00:47:28,640
Speaker 1: to get him the cat food, he puts like cottage

882
00:47:28,719 --> 00:47:31,320
Speaker 1: cheese with like a raw egg and mixes it around

883
00:47:31,360 --> 00:47:33,799
Speaker 1: and like a pie tin, and the cat just he

884
00:47:33,840 --> 00:47:34,600
Speaker 1: puts it on the counter.

885
00:47:34,680 --> 00:47:38,080
Speaker 2: The cat just like pushes wats it to the ground.

886
00:47:38,280 --> 00:47:40,680
Speaker 1: That I was like, that seems like a thing that

887
00:47:40,800 --> 00:47:42,640
Speaker 1: Carrot would do, but I would double.

888
00:47:42,480 --> 00:47:45,520
Speaker 3: Check swats it to the ground. That is orange cat

889
00:47:45,640 --> 00:47:49,839
Speaker 3: behavior to a tea. It's why we love them. They're

890
00:47:49,960 --> 00:47:52,440
Speaker 3: very vocal. You don't have to guess how they're feeling.

891
00:47:53,360 --> 00:47:55,839
Speaker 3: But yeah, that is carrot to a goddamn tea.

892
00:47:55,960 --> 00:47:59,160
Speaker 1: Yeah, listen, we're gonna have to do We're gonna have

893
00:47:59,239 --> 00:48:02,120
Speaker 1: to do our own like like maybe it would be

894
00:48:02,160 --> 00:48:04,440
Speaker 1: a special episode where we give out awards to like

895
00:48:04,480 --> 00:48:07,600
Speaker 1: the best pet actors and like, because we got to

896
00:48:07,640 --> 00:48:12,160
Speaker 1: talk about this cat from Long Goodbye Church, from pet Cemetery,

897
00:48:12,400 --> 00:48:17,760
Speaker 1: the rats from Graveyard ship, the dog from the lands.

898
00:48:18,200 --> 00:48:21,120
Speaker 2: Head, Sounds of the Lambs, add Sounds of the Lambs.

899
00:48:21,280 --> 00:48:23,799
Speaker 2: Right not to do like pet acting.

900
00:48:23,520 --> 00:48:27,640
Speaker 3: Awards, Oh god, we have to do that on a

901
00:48:27,680 --> 00:48:31,240
Speaker 3: bonus at we have to any animal that we've covered

902
00:48:31,360 --> 00:48:34,880
Speaker 3: in in this in this uh three years that we've

903
00:48:34,920 --> 00:48:38,000
Speaker 3: been doing this, we have to definitely, yeah, start giving

904
00:48:38,040 --> 00:48:41,200
Speaker 3: out awards. But again, like this scene, it's long and

905
00:48:41,239 --> 00:48:43,719
Speaker 3: it's weird and I love it and you get to know,

906
00:48:43,760 --> 00:48:45,799
Speaker 3: but you get to know. So so before we even

907
00:48:45,840 --> 00:48:48,680
Speaker 3: get to a crime, we already know who Marlowe is.

908
00:48:49,120 --> 00:48:50,959
Speaker 3: And again we're not sure if he's good at his job,

909
00:48:51,040 --> 00:48:52,800
Speaker 3: and we really never see the cat again, Like he

910
00:48:53,120 --> 00:48:54,959
Speaker 3: talks about the cat, but we never see the cat again.

911
00:48:55,360 --> 00:48:57,719
Speaker 3: But this scene is crucial to setting up who this

912
00:48:57,840 --> 00:49:02,640
Speaker 3: dude is. So I fucking love that scene. And again,

913
00:49:02,680 --> 00:49:04,319
Speaker 3: by the time we get to the crimes, I'm just like,

914
00:49:04,400 --> 00:49:07,920
Speaker 3: this guy is hilarious. He's hilarious and weird and mumbly

915
00:49:08,680 --> 00:49:11,400
Speaker 3: and I want to see what he does next. And

916
00:49:11,520 --> 00:49:14,200
Speaker 3: so what happens is we event we're kind of this

917
00:49:14,600 --> 00:49:17,880
Speaker 3: scene is interspliced with this guy who's leaving a place

918
00:49:17,880 --> 00:49:20,000
Speaker 3: called the Malibu Colony and he's leaving in a sports

919
00:49:20,080 --> 00:49:22,719
Speaker 3: car and he's got scratches on his face and he

920
00:49:22,760 --> 00:49:25,600
Speaker 3: shows up at Marlowe's house and it's his friend Terry,

921
00:49:25,719 --> 00:49:28,560
Speaker 3: Terry Lennox, and he kind of just says, oh, yeah,

922
00:49:28,560 --> 00:49:30,799
Speaker 3: I'm fighting with my wife again. And by the way,

923
00:49:30,840 --> 00:49:35,000
Speaker 3: I need a ride to Tijuana. And Marlowe, who is

924
00:49:35,040 --> 00:49:40,080
Speaker 3: a private detective and should absolutely be saying why, just says, okay.

925
00:49:40,760 --> 00:49:43,560
Speaker 3: So this guy leaves his car at his house and

926
00:49:43,600 --> 00:49:46,760
Speaker 3: he just marlow just drives him to Tijuana, literally drops

927
00:49:46,800 --> 00:49:48,600
Speaker 3: him at the border, which I don't think you could

928
00:49:48,600 --> 00:49:52,279
Speaker 3: even do anymore, Yeah, and just turns the car around

929
00:49:52,360 --> 00:49:54,200
Speaker 3: and comes back. And by the time he comes back,

930
00:49:54,200 --> 00:49:57,560
Speaker 3: there's two detectives at his door and they're like, yo,

931
00:49:57,960 --> 00:50:02,319
Speaker 3: do you know this guy Terry Lennox because ps, his

932
00:50:02,400 --> 00:50:05,320
Speaker 3: wife is dead, Like he finds out after they arrest

933
00:50:05,360 --> 00:50:09,200
Speaker 3: him and take him into the station. Because he's so resistant,

934
00:50:09,280 --> 00:50:11,000
Speaker 3: like he's such a dick in the scene, he's so

935
00:50:11,120 --> 00:50:14,640
Speaker 3: resistant he's so funny, and the interrogation scene is weird

936
00:50:14,680 --> 00:50:18,080
Speaker 3: and funny, and he's just not saying anything. But he'll

937
00:50:18,120 --> 00:50:20,640
Speaker 3: like he took all the black stuff on his fingers

938
00:50:20,640 --> 00:50:22,719
Speaker 3: from when the fingerprinted him, and he's like, oh yeah,

939
00:50:22,719 --> 00:50:25,359
Speaker 3: Like I'm gonna pretend to be al Joelson and sing

940
00:50:25,400 --> 00:50:28,600
Speaker 3: Swanny like he's just in his own fucking world, right,

941
00:50:29,000 --> 00:50:32,200
Speaker 3: but not saying anything. So when they tell him that Sylvia,

942
00:50:32,360 --> 00:50:35,720
Speaker 3: Terry's wife is dead, Marlow instantly is like, well, Terry

943
00:50:35,719 --> 00:50:37,879
Speaker 3: didn't do it, Like there's got to be something else

944
00:50:37,960 --> 00:50:40,200
Speaker 3: going on here. So that kind of he's not been

945
00:50:40,280 --> 00:50:42,359
Speaker 3: hired for this case, but it kind of makes him

946
00:50:42,400 --> 00:50:46,520
Speaker 3: interested enough to want to interrogate this case. He sits

947
00:50:46,520 --> 00:50:49,239
Speaker 3: in jail for three days and when he's let out,

948
00:50:49,800 --> 00:50:52,840
Speaker 3: he finds out that the case is closed because Terry

949
00:50:52,880 --> 00:50:55,600
Speaker 3: has been found in Mexico and he's committed suicide.

950
00:50:56,800 --> 00:50:58,520
Speaker 2: And he's like, none of this sits well with me.

951
00:50:59,440 --> 00:51:01,840
Speaker 3: I knew Terry very very well. We've been friends for

952
00:51:01,880 --> 00:51:04,600
Speaker 3: a long time. None of this is cool. So he

953
00:51:04,640 --> 00:51:07,000
Speaker 3: decides to kind of take it upon himself to investigate

954
00:51:07,040 --> 00:51:10,520
Speaker 3: the crime. But when he gets out, there's already this

955
00:51:10,640 --> 00:51:15,960
Speaker 3: guy named Martin waiting for him, Marty Augustine, who's this

956
00:51:16,280 --> 00:51:21,719
Speaker 3: like thug, but he's a very strange thug. He's a

957
00:51:21,800 --> 00:51:26,759
Speaker 3: very rich, high powered la version of a thug. And

958
00:51:27,239 --> 00:51:28,839
Speaker 3: he gets out. He's like, oh, by the way, your

959
00:51:28,880 --> 00:51:31,960
Speaker 3: friend Terry had like three hundred and fifty thousand dollars

960
00:51:31,960 --> 00:51:35,560
Speaker 3: of my money when he disappeared, So now I'm telling

961
00:51:35,600 --> 00:51:37,480
Speaker 3: you and kind of putting you on.

962
00:51:37,480 --> 00:51:39,319
Speaker 2: The job to find it.

963
00:51:41,360 --> 00:51:43,960
Speaker 3: And Marlow's like, well, I don't know what the fuck

964
00:51:43,960 --> 00:51:46,080
Speaker 3: has happening to your money. But he gets a call

965
00:51:46,080 --> 00:51:48,879
Speaker 3: from another woman at that moment. He gets a call

966
00:51:48,920 --> 00:51:50,920
Speaker 3: and it's this woman named Missus Wade and she's like, oh,

967
00:51:50,960 --> 00:51:54,319
Speaker 3: my husband is a writer and he's been missing for

968
00:51:54,360 --> 00:51:58,319
Speaker 3: a week, and he says yes to the case. At first,

969
00:51:58,320 --> 00:52:01,040
Speaker 3: you're not sure why in the middle of all this happening,

970
00:52:01,200 --> 00:52:04,960
Speaker 3: friend who possibly died by suicide after murdering his wife

971
00:52:05,320 --> 00:52:08,080
Speaker 3: owes to two hundred fifty thousand dollars. Now the criminal

972
00:52:08,160 --> 00:52:11,400
Speaker 3: underworld that he was part of is at your doorstep.

973
00:52:11,440 --> 00:52:13,839
Speaker 3: Why is he taking this case from this woman? But

974
00:52:13,880 --> 00:52:15,920
Speaker 3: then you find out as he drives up to her

975
00:52:15,960 --> 00:52:18,640
Speaker 3: house that she lives in the Malibu colony, so he's

976
00:52:18,680 --> 00:52:24,880
Speaker 3: kind of simultaneously looking at Terry's case and Missus Wade's case,

977
00:52:25,719 --> 00:52:29,759
Speaker 3: and the Wades are interesting because.

978
00:52:30,960 --> 00:52:33,080
Speaker 2: Missus Wade is basically.

979
00:52:32,680 --> 00:52:34,880
Speaker 3: Like she's paid by Nieda van Palante, and she's like,

980
00:52:35,040 --> 00:52:36,759
Speaker 3: you know, her name's e Lee, and she's like, my

981
00:52:36,800 --> 00:52:38,920
Speaker 3: husband's been missing for a week. He goes away sometimes

982
00:52:38,920 --> 00:52:43,640
Speaker 3: for a few days, but never this long. Marlowe actually

983
00:52:43,680 --> 00:52:47,280
Speaker 3: finds him, and Roger Wade is played by the actor

984
00:52:47,360 --> 00:52:53,000
Speaker 3: Sterling Hayden, and Sterling Hayden if you were if you've

985
00:52:53,120 --> 00:52:55,600
Speaker 3: never heard of him before. First of all, is six

986
00:52:55,719 --> 00:52:59,319
Speaker 3: foot five and a former marine. Yes, he was in

987
00:52:59,360 --> 00:53:02,880
Speaker 3: The Godfather, he was in Johnny Guitar, and he played

988
00:53:03,640 --> 00:53:08,440
Speaker 3: doctor Jack d Ripper in Doctor Strangelove. He's had a wildlife.

989
00:53:08,480 --> 00:53:10,760
Speaker 3: He had a wildlife and career, but he was huge.

990
00:53:11,080 --> 00:53:12,160
Speaker 2: So when we do meet.

991
00:53:12,040 --> 00:53:15,840
Speaker 3: Roger Wade, it's like this booming almost like Ernest Hemingway

992
00:53:15,920 --> 00:53:23,880
Speaker 3: type of like blustering alcoholic maniac. And he eventually does

993
00:53:24,120 --> 00:53:28,960
Speaker 3: die by suicide by walking into the ocean while Eileen

994
00:53:29,239 --> 00:53:32,359
Speaker 3: and Marlowe are having a conversation in a window and

995
00:53:32,400 --> 00:53:34,440
Speaker 3: I think, again, this is where Robert Altman is so

996
00:53:35,680 --> 00:53:38,920
Speaker 3: wild as a director because you're kind of seeing the

997
00:53:38,960 --> 00:53:43,239
Speaker 3: reflection of this man walking into the water as they're

998
00:53:43,239 --> 00:53:47,640
Speaker 3: talking about nonsense, like there's nothing that they're talking about

999
00:53:47,640 --> 00:53:51,200
Speaker 3: that that can wait, that can't wait. Yeah, but they're

1000
00:53:51,239 --> 00:53:53,719
Speaker 3: just having a normal conversation. Because at the same time,

1001
00:53:53,760 --> 00:53:55,680
Speaker 3: you're wondering, like, is she like trying to put the

1002
00:53:55,719 --> 00:53:58,200
Speaker 3: moves on Marlowe, Like you're kind of questioning her motives

1003
00:53:59,080 --> 00:54:01,359
Speaker 3: while her husband is walking into the ocean. And then

1004
00:54:01,360 --> 00:54:03,480
Speaker 3: they both catch win of the fact that he's doing

1005
00:54:03,520 --> 00:54:05,520
Speaker 3: this and they run after him, but it's too late.

1006
00:54:05,960 --> 00:54:06,919
Speaker 2: They can't catch him.

1007
00:54:07,239 --> 00:54:10,759
Speaker 1: Yeah, this is again I think part of like what

1008
00:54:11,400 --> 00:54:16,359
Speaker 1: is kind of like what Altman is borrowing from that

1009
00:54:16,480 --> 00:54:20,240
Speaker 1: kind of noir traditions because she, you know, Eileen Wade

1010
00:54:20,280 --> 00:54:21,440
Speaker 1: seems like a very.

1011
00:54:21,520 --> 00:54:22,920
Speaker 2: Femfittal character to me.

1012
00:54:23,760 --> 00:54:26,200
Speaker 1: She kind of has that like Barbara Stanwick from Double

1013
00:54:26,200 --> 00:54:29,040
Speaker 1: Indemnity type of vibe to her, like, you know, she's

1014
00:54:29,120 --> 00:54:32,000
Speaker 1: kind of like, you know, she's got this husband and

1015
00:54:32,080 --> 00:54:34,880
Speaker 1: I don't really know what her thoughts are behind him

1016
00:54:34,920 --> 00:54:37,200
Speaker 1: and whether or not she actually like wants him dead

1017
00:54:37,400 --> 00:54:39,320
Speaker 1: or wants him to just be out of the picture,

1018
00:54:40,000 --> 00:54:43,040
Speaker 1: and she wants this like third party guy to come

1019
00:54:43,040 --> 00:54:46,840
Speaker 1: in and maybe help a little bit with that. Yeah,

1020
00:54:46,880 --> 00:54:49,080
Speaker 1: And also to your point about Sterling Hayden, I mean

1021
00:54:49,120 --> 00:54:51,279
Speaker 1: he was a huge noir actor. I mean he was

1022
00:54:51,320 --> 00:54:54,360
Speaker 1: in The Killing, Stanley Kubrick's The Killing, so like, you know,

1023
00:54:54,680 --> 00:54:56,960
Speaker 1: beyond a lot of other things. But you know, so

1024
00:54:57,080 --> 00:54:59,440
Speaker 1: having Sterling Hayden in this movie too, I think is

1025
00:55:00,120 --> 00:55:02,600
Speaker 1: good kind of throwback to that kind of classic noir era.

1026
00:55:03,040 --> 00:55:05,520
Speaker 1: But you're absolutely right about him as an actor, Like

1027
00:55:05,560 --> 00:55:07,719
Speaker 1: he's one of my favorite actors, and like towards the

1028
00:55:07,800 --> 00:55:09,920
Speaker 1: end of his life, he just got weird.

1029
00:55:10,000 --> 00:55:11,200
Speaker 2: Like he was a nine to five.

1030
00:55:11,280 --> 00:55:12,880
Speaker 1: Do you remember when when he showed up at the

1031
00:55:12,960 --> 00:55:15,600
Speaker 1: end of nine to five and he's like sweating, Yeah,

1032
00:55:15,960 --> 00:55:18,480
Speaker 1: And that's like that was kind of like this to me,

1033
00:55:18,760 --> 00:55:22,120
Speaker 1: like his kind of seventies and eighties era. He was

1034
00:55:22,200 --> 00:55:27,120
Speaker 1: just like sweating and yelling, and he had like weird

1035
00:55:27,200 --> 00:55:30,440
Speaker 1: facial hair and canes and weird clothes.

1036
00:55:30,440 --> 00:55:33,160
Speaker 2: He was just kind of this like maniac.

1037
00:55:34,000 --> 00:55:37,359
Speaker 3: I love it. I aspire to be that in my

1038
00:55:37,640 --> 00:55:40,440
Speaker 3: later years, just like yeah, I'm gonna do whatever I want.

1039
00:55:40,920 --> 00:55:44,400
Speaker 3: All the pit hairs grow now, I'm fucking rocking a cane.

1040
00:55:44,600 --> 00:55:46,160
Speaker 3: I'm shouting everywhere I go.

1041
00:55:46,480 --> 00:55:48,799
Speaker 2: I'm yelling it at a dog. I'm like in a

1042
00:55:48,840 --> 00:55:49,520
Speaker 2: dog space.

1043
00:55:52,640 --> 00:55:55,480
Speaker 3: I'm gonna keep offering this dog. This is the other

1044
00:55:55,520 --> 00:55:57,520
Speaker 3: thing that's so so interesting to be about this movie.

1045
00:55:57,560 --> 00:56:00,799
Speaker 3: There's so many repetitive moments where he keeps saying, like,

1046
00:56:00,800 --> 00:56:03,760
Speaker 3: you know, do you want a dog? Marlow constantly says

1047
00:56:03,800 --> 00:56:06,080
Speaker 3: it's okay with me, like that's kind of his response

1048
00:56:06,120 --> 00:56:08,040
Speaker 3: as he's talking to himself and as he's talking to

1049
00:56:08,080 --> 00:56:12,040
Speaker 3: other people. And then there's also this one very clear

1050
00:56:12,080 --> 00:56:15,080
Speaker 3: repetitive moment that comes directly from Robert Altman, which is

1051
00:56:15,080 --> 00:56:17,120
Speaker 3: the fact that the theme.

1052
00:56:16,920 --> 00:56:21,480
Speaker 2: Song, the Long Goodbye, is the only song in the movie.

1053
00:56:21,520 --> 00:56:22,560
Speaker 2: You hear it everywhere.

1054
00:56:22,600 --> 00:56:26,160
Speaker 3: You hear it at funeral processions, it's playing on the radio,

1055
00:56:26,520 --> 00:56:28,720
Speaker 3: if somebody rings a doorbell, it's the Long Goodbye.

1056
00:56:28,760 --> 00:56:30,040
Speaker 2: You hear it in the supermarket.

1057
00:56:30,600 --> 00:56:32,840
Speaker 3: And I was reading through again like this Robert, this

1058
00:56:32,960 --> 00:56:37,719
Speaker 3: Roger Ebert review from seventy three, and he thinks it's

1059
00:56:37,840 --> 00:56:39,880
Speaker 3: just that he just did that because it kind of

1060
00:56:39,920 --> 00:56:44,480
Speaker 3: made Altman laugh. Because he had the orchestra, which was

1061
00:56:44,880 --> 00:56:47,600
Speaker 3: directed by John Williams, Yes, the same John Williams who

1062
00:56:47,640 --> 00:56:50,520
Speaker 3: did all the music for Star Wars, including the Imperial March.

1063
00:56:51,600 --> 00:56:53,759
Speaker 3: He had John Williams, you know, kind of write and

1064
00:56:54,200 --> 00:56:56,560
Speaker 3: create this song, and I think it just made him

1065
00:56:56,640 --> 00:56:58,640
Speaker 3: laugh to hear it in so many different ways, like

1066
00:56:58,640 --> 00:57:01,080
Speaker 3: to hear a mariachi band playing it and then hearing

1067
00:57:01,120 --> 00:57:04,400
Speaker 3: it in a doorbell. But there's all these repetitive moments

1068
00:57:04,440 --> 00:57:07,120
Speaker 3: in the movie that you kind of key into as

1069
00:57:07,280 --> 00:57:09,360
Speaker 3: again I think a way of building a character, like

1070
00:57:09,360 --> 00:57:12,080
Speaker 3: because people do say the same things a lot.

1071
00:57:12,280 --> 00:57:12,480
Speaker 2: You know.

1072
00:57:12,640 --> 00:57:12,839
Speaker 3: Yeah.

1073
00:57:13,280 --> 00:57:16,320
Speaker 1: The other recurring thing that happens in the movie is

1074
00:57:16,360 --> 00:57:20,880
Speaker 1: that security guard at the Malibu colony who always does

1075
00:57:20,960 --> 00:57:23,320
Speaker 1: an impression of like a classic film actor.

1076
00:57:24,040 --> 00:57:27,000
Speaker 3: Yes, and he does it's so good too, You're not

1077
00:57:27,120 --> 00:57:27,760
Speaker 3: good at it.

1078
00:57:27,920 --> 00:57:30,240
Speaker 1: Even when he did Barbara Standwick, I was like, holy shit,

1079
00:57:30,320 --> 00:57:31,480
Speaker 1: this guy nailed it.

1080
00:57:32,640 --> 00:57:34,920
Speaker 3: He's good at and people humor him like they let

1081
00:57:35,040 --> 00:57:36,920
Speaker 3: him do it. They almost look forward to it, where

1082
00:57:36,920 --> 00:57:38,280
Speaker 3: I think in another movie it would have been a

1083
00:57:38,280 --> 00:57:39,120
Speaker 3: point of annoyance.

1084
00:57:39,160 --> 00:57:41,000
Speaker 2: People really are like, yeah, do you go ahead do

1085
00:57:41,040 --> 00:57:45,840
Speaker 2: your thing? That's la. Maybe that's la for you man.

1086
00:57:46,400 --> 00:57:49,200
Speaker 3: So it was again in an Altman style, but also

1087
00:57:49,240 --> 00:57:53,280
Speaker 3: in true Raymond Chandler's style, Eventually all of these stories

1088
00:57:53,320 --> 00:57:58,720
Speaker 3: are connected. The wads are tied into you know Marty Augustine,

1089
00:57:59,360 --> 00:58:02,040
Speaker 3: you know Terry. He may or may not be dead

1090
00:58:02,480 --> 00:58:06,080
Speaker 3: because Marlo receives something in the mail from him. He

1091
00:58:06,120 --> 00:58:08,800
Speaker 3: doesn't know if you wrote it before he died, supposedly,

1092
00:58:09,080 --> 00:58:13,440
Speaker 3: or after he's back and forth to Mexico. It becomes

1093
00:58:13,480 --> 00:58:17,560
Speaker 3: like a very complicated maze of a story. But it

1094
00:58:17,600 --> 00:58:19,880
Speaker 3: does all shake out in the end and you do

1095
00:58:20,040 --> 00:58:23,320
Speaker 3: get answers to everything, and the end is still kind

1096
00:58:23,320 --> 00:58:26,520
Speaker 3: of shocking to me, even though I know what to expect.

1097
00:58:26,560 --> 00:58:29,320
Speaker 3: It's still kind of the way that it's developed is

1098
00:58:29,520 --> 00:58:31,520
Speaker 3: such a because the movie is such a slow roll,

1099
00:58:32,080 --> 00:58:34,320
Speaker 3: and again, throughout the whole film, you're like, you don't

1100
00:58:34,320 --> 00:58:38,720
Speaker 3: see Marlow as a competent character, a competent figure in

1101
00:58:38,760 --> 00:58:41,360
Speaker 3: his own life. So the end is still kind of

1102
00:58:41,360 --> 00:58:44,240
Speaker 3: interesting in shocking to me. The one thing they don't

1103
00:58:44,280 --> 00:58:46,480
Speaker 3: explain but that you can't help but notice, is that

1104
00:58:46,640 --> 00:58:51,680
Speaker 3: Arnold Schwarzenegger plays one of Marty Augustine's bodyguards. A'm very

1105
00:58:51,720 --> 00:58:55,160
Speaker 3: young Arnold Schwartzenegger, and he has the craziest mustache and

1106
00:58:55,240 --> 00:59:00,400
Speaker 3: he looks wild and he instantly gets an It like

1107
00:59:00,400 --> 00:59:01,880
Speaker 3: the whole point of him being in the scene is

1108
00:59:01,880 --> 00:59:05,200
Speaker 3: that like everyone's taking their clothes off, and yeah, for

1109
00:59:05,280 --> 00:59:08,160
Speaker 3: not sexy reasons, they're taking their clothes off, and he's

1110
00:59:08,240 --> 00:59:10,040
Speaker 3: just like, here is my body.

1111
00:59:10,120 --> 00:59:13,880
Speaker 2: I'm Arnold, don't make me talk. Yeah. That is such

1112
00:59:13,880 --> 00:59:15,120
Speaker 2: a That is such.

1113
00:59:14,920 --> 00:59:17,800
Speaker 1: A weird scene of like all this like you know

1114
00:59:17,840 --> 00:59:20,440
Speaker 1: this like mob Boss and his and his thugs like

1115
00:59:20,520 --> 00:59:22,520
Speaker 1: getting in their underwear.

1116
00:59:23,560 --> 00:59:25,240
Speaker 2: Like it so it is.

1117
00:59:25,320 --> 00:59:30,400
Speaker 1: It is black briefs, like he's Eric Roberts from Star eighty, Like,

1118
00:59:30,400 --> 00:59:32,200
Speaker 1: what in the fuck is this guy doing.

1119
00:59:33,840 --> 00:59:37,520
Speaker 2: It's so wild. It's so wild. I love that scene.

1120
00:59:37,600 --> 00:59:40,400
Speaker 3: I also just love that that Henry Gibson, the great

1121
00:59:40,400 --> 00:59:42,600
Speaker 3: actor Henry Gibson is in this movie, and he's just

1122
00:59:42,680 --> 00:59:45,600
Speaker 3: Henry Gibson in every movie. Like he's playing doctor Behringer this,

1123
00:59:45,760 --> 00:59:50,320
Speaker 3: you know, kind of a secondary character, but every time

1124
00:59:50,320 --> 00:59:52,080
Speaker 3: you see him, you're like, oh, yeah, there's Henry Gibson

1125
00:59:52,120 --> 00:59:54,600
Speaker 3: being Henry Gibson. Like it's just very sweet and funny,

1126
00:59:54,640 --> 00:59:56,080
Speaker 3: and I think it's well cast.

1127
00:59:56,280 --> 00:59:57,560
Speaker 2: It's really funny.

1128
00:59:58,120 --> 01:00:01,360
Speaker 3: Yeah, it's super interesting, very Sunday with Granddad kind of movie.

1129
01:00:01,760 --> 01:00:05,080
Speaker 3: But one of Elliott Gould's finest roles and one of

1130
01:00:05,120 --> 01:00:06,480
Speaker 3: my favorite of his movies.

1131
01:00:06,920 --> 01:00:07,440
Speaker 2: Yeah.

1132
01:00:07,680 --> 01:00:10,439
Speaker 1: Have you have you ever seen Inherent Advice, the Paul

1133
01:00:10,480 --> 01:00:11,479
Speaker 1: Thomas Anderson movie.

1134
01:00:11,520 --> 01:00:14,440
Speaker 2: Yeah. Yeah. I feel like in Hair Advice is a

1135
01:00:14,520 --> 01:00:16,920
Speaker 2: nod to the long Goadbye or just this kind of

1136
01:00:17,000 --> 01:00:20,560
Speaker 2: like LA based.

1137
01:00:21,640 --> 01:00:29,240
Speaker 1: Detective story where like the detective is sort of a bumbly,

1138
01:00:29,360 --> 01:00:32,320
Speaker 1: fumbly kind of California.

1139
01:00:31,720 --> 01:00:32,640
Speaker 2: Type, you know.

1140
01:00:33,440 --> 01:00:35,600
Speaker 3: I think Can't Kiss Kiss Bang Bang is a nod

1141
01:00:35,680 --> 01:00:35,960
Speaker 3: to this.

1142
01:00:36,320 --> 01:00:41,560
Speaker 2: Yeah, And it's a lot of a lot of the.

1143
01:00:41,560 --> 01:00:46,320
Speaker 1: Story is based on sort of who's in the environment,

1144
01:00:46,640 --> 01:00:50,080
Speaker 1: Like who are these weird characters that just pop up

1145
01:00:50,120 --> 01:00:53,800
Speaker 1: in the story, And they're all kind of quirky and

1146
01:00:53,800 --> 01:00:55,920
Speaker 1: and have their own like weird isms, you know.

1147
01:00:55,960 --> 01:00:58,200
Speaker 2: So, I don't know, I enjoy stories like this.

1148
01:00:58,320 --> 01:01:02,320
Speaker 1: Like I enjoy that kind of feeling of like I

1149
01:01:02,360 --> 01:01:04,200
Speaker 1: don't know if it's like a stranger and a strange

1150
01:01:04,240 --> 01:01:07,080
Speaker 1: land type of feeling, but also like, you know, a

1151
01:01:07,160 --> 01:01:11,240
Speaker 1: kind of peek into California in the seventies and sort

1152
01:01:11,240 --> 01:01:13,680
Speaker 1: of like what are these people doing and how do

1153
01:01:13,680 --> 01:01:15,800
Speaker 1: they know each other? And everybody lives in these like

1154
01:01:15,880 --> 01:01:19,040
Speaker 1: weird kind of apartments and with these big windows, and

1155
01:01:19,160 --> 01:01:22,280
Speaker 1: everyone's wearing like flowing clothes and the women are naked,

1156
01:01:22,400 --> 01:01:25,240
Speaker 1: and you know, it's like this whole this whole thing.

1157
01:01:25,280 --> 01:01:28,960
Speaker 3: I love it completely. H I love this movie so much.

1158
01:01:29,160 --> 01:01:30,840
Speaker 3: I'm so glad we got to watch it. And I

1159
01:01:30,880 --> 01:01:33,280
Speaker 3: cannot wait to talk about your movie. I have never

1160
01:01:33,360 --> 01:01:36,560
Speaker 3: wanted to be drunk with two movie characters so much

1161
01:01:36,560 --> 01:01:37,040
Speaker 3: in my life.

1162
01:01:37,600 --> 01:01:40,800
Speaker 1: Oh, I love I love it. It's it's a romance, if

1163
01:01:40,800 --> 01:01:46,360
Speaker 1: you will. So my movie for the theme, Grandpa's Mutoring Again,

1164
01:01:47,600 --> 01:01:52,400
Speaker 1: is from nineteen seventy four. It was written by Joseph Walsh.

1165
01:01:52,440 --> 01:01:54,280
Speaker 1: It was directed by Robert Altman, of course, and it's

1166
01:01:54,280 --> 01:01:56,120
Speaker 1: called California Split You Sell.

1167
01:01:56,040 --> 01:01:59,320
Speaker 2: Us, You do drain the play Well, my Pardner, here's

1168
01:01:59,360 --> 01:02:01,320
Speaker 2: the player, and I guess I'm the drinker. Okay, So

1169
01:02:01,400 --> 01:02:03,600
Speaker 2: one sensing synopsis right off the bat.

1170
01:02:04,160 --> 01:02:10,600
Speaker 1: Two compulsive gamblers are relentless in their pursuit of a

1171
01:02:10,640 --> 01:02:11,920
Speaker 1: great big payday.

1172
01:02:12,400 --> 01:02:15,440
Speaker 2: Change change, change absolutely, and this.

1173
01:02:15,720 --> 01:02:18,160
Speaker 3: When I started watching this, I was like, oh, it

1174
01:02:18,200 --> 01:02:21,120
Speaker 3: made me think this is Millie what some of Millie's

1175
01:02:21,120 --> 01:02:24,880
Speaker 3: two favorite things. And I didn't realize this, but you

1176
01:02:25,320 --> 01:02:28,800
Speaker 3: love gambling movies, and you love movies where people have

1177
01:02:28,840 --> 01:02:36,520
Speaker 3: their original teeth, and this has both.

1178
01:02:39,880 --> 01:02:42,400
Speaker 1: There's a lot of OT's original teeth in this film.

1179
01:02:43,440 --> 01:02:46,320
Speaker 1: You're absolutely right, and I love that you know that

1180
01:02:46,400 --> 01:02:50,080
Speaker 1: about me. That's a very astute observation.

1181
01:02:51,360 --> 01:02:59,440
Speaker 2: It only took nearly two hundred movies well to that point.

1182
01:03:00,120 --> 01:03:03,600
Speaker 1: Isn't it interesting that California Split in nineteen seventy four

1183
01:03:03,720 --> 01:03:06,080
Speaker 1: came out the same year as The Gambler, which we've

1184
01:03:06,120 --> 01:03:10,240
Speaker 1: covered the James conn movie. Right, But you know what,

1185
01:03:10,880 --> 01:03:13,480
Speaker 1: You're right about it only in the sense that I think,

1186
01:03:13,520 --> 01:03:17,080
Speaker 1: because like you, I'm risk averse. So is it fascinating

1187
01:03:17,160 --> 01:03:21,160
Speaker 1: to watch people fucking piss their life away at a casino?

1188
01:03:22,720 --> 01:03:26,280
Speaker 3: Yeses just make bad decision after bade.

1189
01:03:26,640 --> 01:03:29,520
Speaker 1: I know I wish I had Like that's the thing,

1190
01:03:29,560 --> 01:03:32,680
Speaker 1: is that I wish I had the switch that said

1191
01:03:33,400 --> 01:03:36,120
Speaker 1: let it ride, like like just let life ride, Like

1192
01:03:36,120 --> 01:03:38,320
Speaker 1: who cares if you have the money, just gamble it,

1193
01:03:39,600 --> 01:03:41,440
Speaker 1: because I'd be like a completely different person.

1194
01:03:41,840 --> 01:03:44,320
Speaker 2: Right, I've had that. I was that.

1195
01:03:44,600 --> 01:03:46,680
Speaker 3: I was that in my twenties. I don't regret No,

1196
01:03:47,200 --> 01:03:48,960
Speaker 3: I don't regret it. That's how I ended up moving

1197
01:03:49,240 --> 01:03:50,880
Speaker 3: to all those different places. I was like, fuck it,

1198
01:03:51,240 --> 01:03:52,720
Speaker 3: if I'm gonna be broke, I might as well be

1199
01:03:52,720 --> 01:03:53,720
Speaker 3: broking California.

1200
01:03:54,160 --> 01:03:57,880
Speaker 1: Uh see, that is intriguing to me, which is also

1201
01:03:57,960 --> 01:04:00,720
Speaker 1: why I love you telling your stories about fighting bears

1202
01:04:00,720 --> 01:04:05,080
Speaker 1: in Alaska and dating murderers and shit, because I've lived

1203
01:04:05,200 --> 01:04:11,080
Speaker 1: such a simple, boring life in comparison, So you know,

1204
01:04:11,240 --> 01:04:14,360
Speaker 1: it does deep in my psyche by saying that, I'm

1205
01:04:14,400 --> 01:04:18,240
Speaker 1: just saying perfect, perfect, well and like, but here's the

1206
01:04:18,240 --> 01:04:20,160
Speaker 1: thing about Californi's but it's like one of these things

1207
01:04:20,200 --> 01:04:22,680
Speaker 1: where it's like the package is that it's like this

1208
01:04:23,600 --> 01:04:27,320
Speaker 1: fun kind of comedy between these like two like lovable

1209
01:04:27,360 --> 01:04:29,960
Speaker 1: loser types. But it is going to be a bit

1210
01:04:30,040 --> 01:04:33,880
Speaker 1: dark because it's a gambling movie, right and because of

1211
01:04:34,040 --> 01:04:35,960
Speaker 1: sort of I guess what we just talked about with

1212
01:04:36,680 --> 01:04:38,000
Speaker 1: the Lngabaye and Altman.

1213
01:04:38,160 --> 01:04:41,240
Speaker 2: Generally, it this movie kind.

1214
01:04:41,040 --> 01:04:44,840
Speaker 1: Of captures the nuance of these people, even the people

1215
01:04:44,880 --> 01:04:49,560
Speaker 1: who are not like principal characters. It's and everyone's kind

1216
01:04:49,560 --> 01:04:51,320
Speaker 1: of the same, everyone's kind of down on their luck.

1217
01:04:51,400 --> 01:04:52,200
Speaker 2: In a way.

1218
01:04:52,840 --> 01:04:55,760
Speaker 1: It kind of reminds me slightly of Fat City, which

1219
01:04:55,760 --> 01:04:58,560
Speaker 1: we talked about on this podcast, and a movie that

1220
01:04:58,600 --> 01:05:01,920
Speaker 1: I absolutely love despite it being such a bummer of

1221
01:05:01,960 --> 01:05:05,800
Speaker 1: a movie. But that's what we're talking about in California Split.

1222
01:05:05,880 --> 01:05:08,520
Speaker 1: Is this kind of world of uh, like the kind

1223
01:05:08,560 --> 01:05:11,640
Speaker 1: of lovable losers they you know, the people who are

1224
01:05:11,680 --> 01:05:13,360
Speaker 1: kind of living on the fringes.

1225
01:05:12,960 --> 01:05:14,440
Speaker 2: If you will. So.

1226
01:05:14,720 --> 01:05:19,560
Speaker 1: California Split is a movie about two men, Bill who

1227
01:05:19,600 --> 01:05:22,280
Speaker 1: is played by George Segal and Charlie, who is played

1228
01:05:22,280 --> 01:05:25,800
Speaker 1: by our King Elliott Gould. And at the very beginning

1229
01:05:25,800 --> 01:05:29,040
Speaker 1: of the movie, they see each other at this poker

1230
01:05:29,120 --> 01:05:33,240
Speaker 1: club or this like poker society or something that's happening.

1231
01:05:33,720 --> 01:05:36,120
Speaker 1: I have never been to something like this before, have you?

1232
01:05:36,280 --> 01:05:38,120
Speaker 2: I don't know, No, I never have.

1233
01:05:38,320 --> 01:05:40,320
Speaker 3: It looks like a like a like a modern day

1234
01:05:40,320 --> 01:05:42,000
Speaker 3: bingo hall but poker.

1235
01:05:42,040 --> 01:05:47,080
Speaker 1: Yes, And it is like primarily filled with like old

1236
01:05:47,120 --> 01:05:50,160
Speaker 1: weird people, wouldn't she say, I mean, there's a couple

1237
01:05:50,200 --> 01:05:52,040
Speaker 1: of young guns in there, but it's mostly like.

1238
01:05:52,840 --> 01:05:57,640
Speaker 3: Loud Grandma's absolutely, there's an air of real desperation, yes,

1239
01:05:57,680 --> 01:06:01,000
Speaker 3: and that hangs like people really need to It's one

1240
01:06:01,040 --> 01:06:03,600
Speaker 3: of those kinds of poker places.

1241
01:06:03,400 --> 01:06:06,680
Speaker 1: And a lot of like people who have seen some things,

1242
01:06:06,720 --> 01:06:08,160
Speaker 1: if you know what I mean, Like they're just like

1243
01:06:08,400 --> 01:06:11,000
Speaker 1: you can't pull a fast one on them, even if

1244
01:06:11,040 --> 01:06:12,840
Speaker 1: you wanted to even if the woman is eighty five

1245
01:06:12,920 --> 01:06:16,480
Speaker 1: years old, like she's she's gonna clock you bitch, like

1246
01:06:16,560 --> 01:06:20,000
Speaker 1: she's very wise. But they see each other at this

1247
01:06:20,080 --> 01:06:23,080
Speaker 1: place and then you know, afterwards, they're at the bar

1248
01:06:23,160 --> 01:06:25,840
Speaker 1: and they just become friends because they share this mutual

1249
01:06:25,880 --> 01:06:26,800
Speaker 1: love of gambling.

1250
01:06:26,880 --> 01:06:27,120
Speaker 2: Right.

1251
01:06:27,640 --> 01:06:30,400
Speaker 1: But here's the thing. So Bill, the George Sagall character,

1252
01:06:31,160 --> 01:06:33,680
Speaker 1: a little bit of background about him in the film.

1253
01:06:33,720 --> 01:06:36,600
Speaker 1: He's a magazine writer by day, but he will literally

1254
01:06:36,680 --> 01:06:39,880
Speaker 1: use any excuse that he can to leave work and gamble.

1255
01:06:41,480 --> 01:06:46,560
Speaker 1: Like he's technically employed, but he really doesn't want to be.

1256
01:06:46,600 --> 01:06:51,600
Speaker 2: He wants to be gambling all day, every day. Perfect description.

1257
01:06:51,960 --> 01:06:55,800
Speaker 1: Yeah, but this is going back to what you said

1258
01:06:55,840 --> 01:06:59,160
Speaker 1: earlier about his clothes in this film. I think it's

1259
01:06:59,200 --> 01:07:03,040
Speaker 1: really important to notice the way Bill is dressed because

1260
01:07:03,120 --> 01:07:05,320
Speaker 1: it kind of suggests that he is still like one

1261
01:07:05,400 --> 01:07:07,080
Speaker 1: foot in this professional world.

1262
01:07:07,240 --> 01:07:07,880
Speaker 2: Right.

1263
01:07:08,280 --> 01:07:11,440
Speaker 1: He's wearing like colored shirts and sweaters and pea coats

1264
01:07:11,480 --> 01:07:14,400
Speaker 1: and you know, like cool sunglasses. I mean, I think

1265
01:07:14,600 --> 01:07:17,240
Speaker 1: that is an important distinction to make when we talk

1266
01:07:17,280 --> 01:07:20,560
Speaker 1: about Bill and Charlie's characters. Because they are in a romance,

1267
01:07:20,600 --> 01:07:23,760
Speaker 1: don't get it twisted. They're in a romance, at least

1268
01:07:23,800 --> 01:07:27,200
Speaker 1: in my mind. But they're just different people with different

1269
01:07:27,760 --> 01:07:29,200
Speaker 1: needs and different approaches.

1270
01:07:29,600 --> 01:07:29,800
Speaker 2: Right.

1271
01:07:30,320 --> 01:07:34,040
Speaker 1: So Bill, Bill is kind of the more professional guy.

1272
01:07:34,120 --> 01:07:36,560
Speaker 1: He separated from his wife again, he's always trying to

1273
01:07:36,600 --> 01:07:39,800
Speaker 1: leave work. Charlie, on the other hand, though, is this

1274
01:07:39,960 --> 01:07:42,160
Speaker 1: like real kind of died in the wool type of guy.

1275
01:07:42,320 --> 01:07:44,880
Speaker 2: Like he's a gambler. He's like a real gambler.

1276
01:07:45,720 --> 01:07:48,560
Speaker 1: He's the guy who is like wearing the wacky shirts,

1277
01:07:48,960 --> 01:07:51,960
Speaker 1: who knows all the low lifes in town, and he's

1278
01:07:52,000 --> 01:07:56,000
Speaker 1: like shit talking his way through every poker game in town. Right.

1279
01:07:56,920 --> 01:08:02,200
Speaker 3: He has a sheen of sweat covering his body at

1280
01:08:02,240 --> 01:08:02,800
Speaker 3: all times.

1281
01:08:03,080 --> 01:08:08,200
Speaker 1: Yes, he to me, Charlie is a real Charles Berkowski type,

1282
01:08:08,400 --> 01:08:12,200
Speaker 1: if you know what I mean. Like he's he's like

1283
01:08:13,120 --> 01:08:16,960
Speaker 1: on an endless pursuit of like good times, but he

1284
01:08:17,720 --> 01:08:22,080
Speaker 1: also seems that he's probably gotten his ass handed to

1285
01:08:22,160 --> 01:08:24,400
Speaker 1: him a few times in his life, like in the

1286
01:08:24,400 --> 01:08:27,160
Speaker 1: pursuit of the good times, he's gotten his ass kicked, right,

1287
01:08:28,040 --> 01:08:30,760
Speaker 1: And he's just this kind of like big character in

1288
01:08:30,800 --> 01:08:35,599
Speaker 1: this kind of world that he's in. And so that's

1289
01:08:35,640 --> 01:08:38,240
Speaker 1: kind of the thing about Bill and Charlie. Like, of course,

1290
01:08:38,280 --> 01:08:41,559
Speaker 1: when you start any new relationship, right, You're just obsessed

1291
01:08:41,560 --> 01:08:44,120
Speaker 1: with each other. And Bill is enchanted by a guy

1292
01:08:44,160 --> 01:08:47,200
Speaker 1: like Charlie because Bill thinks Charlie is this big winner

1293
01:08:47,520 --> 01:08:49,880
Speaker 1: and he's just kind of an exciting guy, right.

1294
01:08:50,560 --> 01:08:52,040
Speaker 2: He Charlie is like.

1295
01:08:52,600 --> 01:08:54,879
Speaker 1: He's always walking around with like some kind of broken

1296
01:08:54,960 --> 01:08:57,800
Speaker 1: nose or like a bandage on his face, and he

1297
01:08:57,920 --> 01:09:01,040
Speaker 1: teaches Bill, like very early on in the movie, they

1298
01:09:01,040 --> 01:09:04,160
Speaker 1: get their asses kicked, of course, and then he teaches

1299
01:09:04,160 --> 01:09:06,400
Speaker 1: Bill how to use like, I guess hot shaving cream

1300
01:09:06,479 --> 01:09:08,559
Speaker 1: to put on your torso after you've been like kicked

1301
01:09:08,560 --> 01:09:13,800
Speaker 1: in the ribs by someone, and that's exciting to Bill.

1302
01:09:13,920 --> 01:09:15,559
Speaker 1: Like even though Bill's like I just got my ass

1303
01:09:15,640 --> 01:09:17,000
Speaker 1: kicked with this guy, He's like, oh, this guy like

1304
01:09:17,080 --> 01:09:19,320
Speaker 1: kind of knows a few things about life.

1305
01:09:19,360 --> 01:09:21,519
Speaker 2: And they're kind of in the movie.

1306
01:09:22,320 --> 01:09:24,360
Speaker 1: As the movie progresses, they're kind of going around town

1307
01:09:24,439 --> 01:09:28,760
Speaker 1: and they're gambling everywhere. They're like on horses, on boxing casinos,

1308
01:09:29,040 --> 01:09:32,920
Speaker 1: poker games. Even when they're literally sitting at a bar, yep,

1309
01:09:32,960 --> 01:09:35,280
Speaker 1: they're they're betting each other, like if they can name

1310
01:09:35,920 --> 01:09:38,120
Speaker 1: all the seven Dwarfs.

1311
01:09:38,160 --> 01:09:41,240
Speaker 3: So fucking funny to watch them drink together. They're so

1312
01:09:41,240 --> 01:09:41,920
Speaker 3: so funny.

1313
01:09:42,280 --> 01:09:48,320
Speaker 1: Yes, and Charlie is friends with these two sex workers

1314
01:09:48,360 --> 01:09:51,760
Speaker 1: who are played by Gwen Wells and a Princes, right,

1315
01:09:52,200 --> 01:09:54,720
Speaker 1: And these two women live in an apartment and this

1316
01:09:54,760 --> 01:09:56,719
Speaker 1: is kind of their apartment is kind of where Charlie

1317
01:09:56,800 --> 01:10:03,720
Speaker 1: seems to retreat constantly, like who knows if he's seeing either.

1318
01:10:03,439 --> 01:10:03,920
Speaker 2: One of them.

1319
01:10:03,960 --> 01:10:06,479
Speaker 1: Seriously, he kind of just comes in and out. But

1320
01:10:06,560 --> 01:10:09,360
Speaker 1: they always kind of nourish him with beer and fruit

1321
01:10:09,360 --> 01:10:12,280
Speaker 1: loops and kind of you know, after a hard night

1322
01:10:12,280 --> 01:10:16,320
Speaker 1: of gambling and getting your stomach kicked in, they kind

1323
01:10:16,360 --> 01:10:17,840
Speaker 1: of heal him in this weird way.

1324
01:10:18,280 --> 01:10:21,720
Speaker 3: Well, Barbara at one point says she's like, well, she

1325
01:10:21,800 --> 01:10:24,960
Speaker 3: was talking to Bill, and she's like, well, he just kept,

1326
01:10:25,000 --> 01:10:26,840
Speaker 3: you know, spending so much money on us here.

1327
01:10:26,680 --> 01:10:27,840
Speaker 2: We thought he might all stay.

1328
01:10:29,160 --> 01:10:32,120
Speaker 3: So you get the impression that he was there first

1329
01:10:32,120 --> 01:10:34,920
Speaker 3: as a patron, yes, that they kind of grew to

1330
01:10:35,000 --> 01:10:36,480
Speaker 3: love him, Yes.

1331
01:10:36,240 --> 01:10:39,200
Speaker 2: And now they're just kind of this little family unit.

1332
01:10:39,240 --> 01:10:41,920
Speaker 1: And this is the thing, is that Bill now that

1333
01:10:42,080 --> 01:10:45,000
Speaker 1: him and Charlie are really good friends, you know, they

1334
01:10:45,240 --> 01:10:47,400
Speaker 1: kind of become this like little foursome, this kind of

1335
01:10:47,400 --> 01:10:48,080
Speaker 1: weird family.

1336
01:10:48,240 --> 01:10:48,439
Speaker 2: Right.

1337
01:10:48,880 --> 01:10:50,960
Speaker 1: But I will say that I think that there's a

1338
01:10:51,080 --> 01:10:53,439
Speaker 1: difference between Bill and Charlie and that Charlie this is

1339
01:10:53,520 --> 01:10:58,040
Speaker 1: Charlie's life Bill, this feels like an escape or something,

1340
01:10:58,600 --> 01:11:03,120
Speaker 1: this kind of world of weirdos and edges of society

1341
01:11:03,200 --> 01:11:06,680
Speaker 1: type of things. Like Charlie is way more aloof and

1342
01:11:06,800 --> 01:11:09,280
Speaker 1: kind of comes in and out of it. At one point,

1343
01:11:09,320 --> 01:11:12,320
Speaker 1: like Charlie goes missing for a few days and Bill's

1344
01:11:12,360 --> 01:11:13,760
Speaker 1: trying to look for him, and then it turns out

1345
01:11:13,800 --> 01:11:15,920
Speaker 1: he was just gambling in Mexico, he just left town.

1346
01:11:16,400 --> 01:11:19,240
Speaker 2: And then when he gets back, though, Bill is upset.

1347
01:11:19,600 --> 01:11:22,200
Speaker 1: He's like upset that he didn't ask him to go

1348
01:11:22,280 --> 01:11:25,720
Speaker 1: with him, And to me, that's like, you know, I

1349
01:11:25,800 --> 01:11:27,960
Speaker 1: keep calling it a romance, but it's also like, yeah,

1350
01:11:28,000 --> 01:11:29,519
Speaker 1: in this moment, you know, Bill was like.

1351
01:11:29,520 --> 01:11:32,160
Speaker 2: Where have you been? Like what is take me? And

1352
01:11:32,760 --> 01:11:34,840
Speaker 2: you're my new friend, You're my everything.

1353
01:11:35,360 --> 01:11:38,879
Speaker 3: It's definitely the reaction of somebody who's like, who's jealous

1354
01:11:38,920 --> 01:11:42,400
Speaker 3: and concerned and all the things that like a partner

1355
01:11:42,439 --> 01:11:44,439
Speaker 3: would be if you went missing for three days.

1356
01:11:44,720 --> 01:11:48,400
Speaker 1: Yes, but you know, but that also that he doesn't

1357
01:11:48,479 --> 01:11:50,720
Speaker 1: understand that, you know, this is Charlie's life, Like this

1358
01:11:50,840 --> 01:11:53,000
Speaker 1: is just the way he moves through the world and

1359
01:11:53,040 --> 01:11:56,200
Speaker 1: Bill feels like, you know, I don't know, like in

1360
01:11:56,240 --> 01:11:58,360
Speaker 1: a weird way, doesn't really know that about him yet

1361
01:11:58,400 --> 01:12:00,960
Speaker 1: and was kind of surprised that made this guy, wasn't

1362
01:12:01,040 --> 01:12:02,559
Speaker 1: is going to you know, and find him to his

1363
01:12:02,680 --> 01:12:04,080
Speaker 1: Mexico gambling trip.

1364
01:12:04,760 --> 01:12:05,160
Speaker 2: Yeah.

1365
01:12:05,200 --> 01:12:08,479
Speaker 3: Well, there's such a dichotomy between the two of them

1366
01:12:09,080 --> 01:12:11,800
Speaker 3: that starts to become apparent to the viewer, even if

1367
01:12:11,800 --> 01:12:15,599
Speaker 3: it doesn't immediately become apparent to Bill, and none more

1368
01:12:15,640 --> 01:12:18,840
Speaker 3: than that scene where they decide to get together to

1369
01:12:18,920 --> 01:12:20,480
Speaker 3: go gamble and reno.

1370
01:12:20,680 --> 01:12:24,320
Speaker 2: Yes, and the way that they prepare is so different. Yeah.

1371
01:12:24,360 --> 01:12:26,400
Speaker 3: It's like Charlie's like, I'm going to go to the

1372
01:12:26,439 --> 01:12:29,600
Speaker 3: basketball courts and hustle people. Yeah, And Bill is like,

1373
01:12:29,600 --> 01:12:31,439
Speaker 3: I'm going to go to the pawn shop and sell

1374
01:12:31,479 --> 01:12:33,040
Speaker 3: some of my very expensive things.

1375
01:12:33,439 --> 01:12:36,400
Speaker 2: Yeah, any car. Yes. And even when they actually get there,

1376
01:12:36,680 --> 01:12:37,960
Speaker 2: Charlie's like, let's have a drink.

1377
01:12:38,000 --> 01:12:40,640
Speaker 1: Bill's like nope, Like it's coffee for me, Like I

1378
01:12:40,680 --> 01:12:43,599
Speaker 1: got to keep my brain in the game type of thing.

1379
01:12:44,240 --> 01:12:47,599
Speaker 2: And that's I think, when it comes down.

1380
01:12:47,439 --> 01:12:49,519
Speaker 1: To it, that is the real difference between Bill and

1381
01:12:49,560 --> 01:12:53,559
Speaker 1: Charlie is that Bill seems more generally kind of more

1382
01:12:53,600 --> 01:12:58,840
Speaker 1: troubled than Charlie is. I think that Bill's reason to

1383
01:12:59,520 --> 01:13:03,720
Speaker 1: gamble is more about kind of desperation or like maybe

1384
01:13:03,800 --> 01:13:06,120
Speaker 1: a search for something, and you know, Charlie is just

1385
01:13:06,160 --> 01:13:07,080
Speaker 1: like having a good time.

1386
01:13:07,800 --> 01:13:08,879
Speaker 2: Yeah, Bill's an addict.

1387
01:13:08,960 --> 01:13:12,120
Speaker 3: Bill's an addict, and Charlie doesn't feel like an addict

1388
01:13:12,160 --> 01:13:12,439
Speaker 3: to me.

1389
01:13:12,960 --> 01:13:16,120
Speaker 1: Right, And what's interesting to me is that I do

1390
01:13:16,160 --> 01:13:19,120
Speaker 1: feel that Bill, I think at times in the film,

1391
01:13:19,640 --> 01:13:22,719
Speaker 1: questions whether or not he can actually like fully commit

1392
01:13:22,800 --> 01:13:24,519
Speaker 1: to the lifestyle in the in the.

1393
01:13:24,520 --> 01:13:27,240
Speaker 2: Way that Charlie has. Like there's this scene.

1394
01:13:27,000 --> 01:13:31,040
Speaker 1: Where Bill is at the apartment with Susan, who's one

1395
01:13:31,080 --> 01:13:33,920
Speaker 1: of the sex workers, and they kind of seem to

1396
01:13:33,920 --> 01:13:36,280
Speaker 1: really like each other, and there's this kind of conversation

1397
01:13:36,360 --> 01:13:38,080
Speaker 1: where she's like, do you like me for real?

1398
01:13:38,320 --> 01:13:41,160
Speaker 2: Or is this like a John type of thing? And

1399
01:13:41,439 --> 01:13:43,120
Speaker 2: you know Bill's like, no, I really like you.

1400
01:13:43,560 --> 01:13:47,120
Speaker 1: And you know, at the last minute, though, he kind

1401
01:13:47,120 --> 01:13:49,200
Speaker 1: of pulls away and then just leaves almost kind of

1402
01:13:49,240 --> 01:13:53,559
Speaker 1: like in a weird like what am I doing? Am

1403
01:13:53,560 --> 01:13:56,760
Speaker 1: I really about to like engage in a relationship with

1404
01:13:56,840 --> 01:13:59,439
Speaker 1: this sex worker? And maybe this isn't who I am?

1405
01:13:59,600 --> 01:14:02,519
Speaker 1: And bhlah blah, so that's you know, that scene I

1406
01:14:02,520 --> 01:14:04,760
Speaker 1: think is really telling to the Bill character, meaning that

1407
01:14:04,840 --> 01:14:07,000
Speaker 1: he's kind of again like kind of one foot out

1408
01:14:07,040 --> 01:14:07,639
Speaker 1: in that way.

1409
01:14:08,800 --> 01:14:12,519
Speaker 3: Absolutely, absolutely, whereas Charlie is constantly looking for ways to

1410
01:14:12,560 --> 01:14:18,760
Speaker 3: insert himself in situations that could be dangerous or that

1411
01:14:18,840 --> 01:14:23,280
Speaker 3: could be detrimental to his health, and he's kind of

1412
01:14:23,320 --> 01:14:25,400
Speaker 3: seeks those out more often than not.

1413
01:14:26,040 --> 01:14:28,240
Speaker 1: Yeah, And I think it's interesting too because there's like

1414
01:14:28,320 --> 01:14:32,639
Speaker 1: this this whole sequence where Bill obviously is in debt

1415
01:14:32,680 --> 01:14:34,479
Speaker 1: and he can't pay off his bookie. Who's this guy

1416
01:14:34,600 --> 01:14:38,120
Speaker 1: named is Sparky, And Sparky looks like he's in fucking

1417
01:14:38,280 --> 01:14:43,800
Speaker 1: Seales and Croft or some some seventies yacht rock band, right,

1418
01:14:44,520 --> 01:14:46,760
Speaker 1: and like they made at this restaurant and the guy

1419
01:14:46,880 --> 01:14:49,320
Speaker 1: orders chili, which I think is so weird.

1420
01:14:49,880 --> 01:14:53,719
Speaker 2: Uh just just chili. He's like, you want a chili?

1421
01:14:54,000 --> 01:14:57,040
Speaker 2: Like dude, what? Oh good?

1422
01:14:57,439 --> 01:15:01,800
Speaker 1: But uh, But in that moment, it's tense because Bill

1423
01:15:01,960 --> 01:15:05,840
Speaker 1: is like, you know, he, if it was Charlie, Charlie

1424
01:15:05,880 --> 01:15:08,599
Speaker 1: with should talk his way through the scenario, but Bill can't.

1425
01:15:08,680 --> 01:15:10,160
Speaker 2: He's he feels.

1426
01:15:09,840 --> 01:15:13,400
Speaker 1: Something, right, And it's kind of a tense, tense scenario

1427
01:15:14,120 --> 01:15:17,080
Speaker 1: because you know that it's the desperation for him, right.

1428
01:15:18,160 --> 01:15:21,360
Speaker 1: And then of course you've got this reno thing towards

1429
01:15:21,400 --> 01:15:24,799
Speaker 1: the end of the film, which is literally my favorite

1430
01:15:25,560 --> 01:15:29,160
Speaker 1: sequence in the movie, because for so many reasons, they

1431
01:15:29,200 --> 01:15:31,840
Speaker 1: decide they want to get in on this private poker game,

1432
01:15:32,400 --> 01:15:36,840
Speaker 1: and you realize that there's probably a lot writing on

1433
01:15:36,880 --> 01:15:41,040
Speaker 1: this game because of again the sequences that you saw

1434
01:15:41,080 --> 01:15:44,960
Speaker 1: prior with Sparky and just sort of like Bill's need

1435
01:15:45,080 --> 01:15:47,720
Speaker 1: to like win big type of thing. And it is

1436
01:15:47,760 --> 01:15:50,680
Speaker 1: actually pretty tense even though they're in this kind of

1437
01:15:50,800 --> 01:15:53,759
Speaker 1: ridiculous environment. Like Bill at one point, Bill tells Charlie

1438
01:15:53,840 --> 01:15:56,599
Speaker 1: like he's up eleven k and he's and he's.

1439
01:15:56,439 --> 01:15:59,360
Speaker 2: Got that heat. I'm like, oh god, I hope he

1440
01:15:59,400 --> 01:16:01,960
Speaker 2: does actually have that heat. And it isn't just the

1441
01:16:02,000 --> 01:16:03,680
Speaker 2: attic talking, you know what I mean.

1442
01:16:04,160 --> 01:16:05,200
Speaker 3: I hope he walks away.

1443
01:16:06,160 --> 01:16:09,559
Speaker 1: Yeah, and like and Charlie and like, and Bill's doing

1444
01:16:09,640 --> 01:16:12,200
Speaker 1: all the gambling, right, he is the clear headed, sober one,

1445
01:16:12,560 --> 01:16:15,519
Speaker 1: you know. Charlie's like restless in the casino, he's got

1446
01:16:15,520 --> 01:16:18,719
Speaker 1: nothing to do, and he's and Bill's in a trance.

1447
01:16:18,800 --> 01:16:21,479
Speaker 2: I mean, it's just you're very much like, what is

1448
01:16:21,560 --> 01:16:22,160
Speaker 2: gonna happen.

1449
01:16:22,400 --> 01:16:26,479
Speaker 1: It's it's kind of tense for you know the movie prior, right,

1450
01:16:27,160 --> 01:16:29,880
Speaker 1: But my favorite part of this reno seat is just

1451
01:16:30,040 --> 01:16:35,639
Speaker 1: truly the ambiance of everything around them. Like, first of all,

1452
01:16:35,680 --> 01:16:39,920
Speaker 1: this entire movie, I have to say, is this very

1453
01:16:40,920 --> 01:16:46,120
Speaker 1: like nineteen seventies maximalist medieval kind of look.

1454
01:16:48,360 --> 01:16:48,960
Speaker 2: Do you like?

1455
01:16:49,000 --> 01:16:54,360
Speaker 1: Do you remember like if you see like seventies interior decorating,

1456
01:16:55,400 --> 01:16:58,519
Speaker 1: and it's like every place had decore, Like it was

1457
01:16:58,600 --> 01:17:00,439
Speaker 1: like the fucking nights of the round table.

1458
01:17:01,080 --> 01:17:01,599
Speaker 2: Oh Mike.

1459
01:17:01,680 --> 01:17:06,080
Speaker 3: When I think of seventies decor in public, I think

1460
01:17:06,120 --> 01:17:10,120
Speaker 3: of those red candles that were always on tables at

1461
01:17:10,160 --> 01:17:12,920
Speaker 3: restaurants that had some kind of strange design, but they

1462
01:17:12,960 --> 01:17:15,960
Speaker 3: were shaped like eggs that were cut at the top. Yes,

1463
01:17:16,800 --> 01:17:20,000
Speaker 3: every restaurant had those. I think of those speaking of medieval,

1464
01:17:20,400 --> 01:17:26,040
Speaker 3: those gigantic hanging lamps that were everywhere that had chains, yes,

1465
01:17:26,160 --> 01:17:28,600
Speaker 3: that hooked the electric to the ceiling and then the

1466
01:17:28,640 --> 01:17:30,800
Speaker 3: hook to the hook and like no one was putting

1467
01:17:30,840 --> 01:17:35,479
Speaker 3: a plug nearby, there was always a chain dangling on

1468
01:17:35,600 --> 01:17:40,680
Speaker 3: these huge iron wrought fucking lamps. Yes, And it was

1469
01:17:40,760 --> 01:17:45,759
Speaker 3: just like welcome to Perkins or welcome to a castle.

1470
01:17:45,960 --> 01:17:49,400
Speaker 3: You can't tell Welcome to a Lion in Winter or

1471
01:17:50,200 --> 01:17:51,759
Speaker 3: Perkins or ihop.

1472
01:17:52,600 --> 01:17:56,800
Speaker 2: Yes, it's like, what's that hotel in Vegas? That was that?

1473
01:17:56,960 --> 01:18:00,120
Speaker 2: Like Excalibur or something like that. It's like this, hur.

1474
01:18:02,720 --> 01:18:03,679
Speaker 2: I have to say.

1475
01:18:05,479 --> 01:18:09,280
Speaker 1: Not to make this a podcast about design trends, but

1476
01:18:11,880 --> 01:18:14,639
Speaker 1: when I watched this movie again and I think, because

1477
01:18:14,680 --> 01:18:17,760
Speaker 1: we have been in a period of very like low

1478
01:18:17,840 --> 01:18:22,719
Speaker 1: key blonde wood Brooklyn bullshit for the past couple of years,

1479
01:18:22,880 --> 01:18:26,000
Speaker 1: that I'm like, listen, I think we need to bring

1480
01:18:26,040 --> 01:18:26,720
Speaker 1: this shit back.

1481
01:18:26,960 --> 01:18:30,600
Speaker 2: Let's bring back these giant, huge.

1482
01:18:30,360 --> 01:18:34,120
Speaker 1: Chandeliers that look like actual candles are being lit on them.

1483
01:18:34,920 --> 01:18:36,479
Speaker 2: Let's bring back these.

1484
01:18:37,880 --> 01:18:43,519
Speaker 1: Tufted brown leather club chairs and red light everything, red

1485
01:18:43,600 --> 01:18:44,479
Speaker 1: lights and red.

1486
01:18:44,320 --> 01:18:47,840
Speaker 3: Carpet everything, red lights, mustard colored lights. It was just

1487
01:18:47,920 --> 01:18:50,640
Speaker 3: red and mustard. Yes, we need to bring back the

1488
01:18:50,640 --> 01:18:51,840
Speaker 3: big fork and spoon.

1489
01:18:51,640 --> 01:18:56,040
Speaker 2: For the wall. We a giant wicker fan, a giant

1490
01:18:56,040 --> 01:19:00,640
Speaker 2: wicker fan shaped like a spade. Yes, absolutely so.

1491
01:19:01,840 --> 01:19:05,679
Speaker 1: One of my favorite things about this Reno poker place,

1492
01:19:05,720 --> 01:19:08,160
Speaker 1: so this casino that they go to, is that when

1493
01:19:08,200 --> 01:19:11,320
Speaker 1: they arrive at the backroom poker game, there's this hallway

1494
01:19:11,360 --> 01:19:13,200
Speaker 1: that leads to the backroom that's lined with.

1495
01:19:13,360 --> 01:19:16,920
Speaker 2: Taxi dermy behind velvet ropes.

1496
01:19:19,920 --> 01:19:23,400
Speaker 3: It's like, and you know they did that because somebody

1497
01:19:23,479 --> 01:19:26,880
Speaker 3: tried something at some point, Yes, like.

1498
01:19:26,920 --> 01:19:29,400
Speaker 2: Put these dead animals behind velvet ropes.

1499
01:19:30,840 --> 01:19:33,479
Speaker 1: And then when they show up there they you know,

1500
01:19:33,520 --> 01:19:36,600
Speaker 1: they walk into the room and everybody is wearing like

1501
01:19:36,640 --> 01:19:39,679
Speaker 1: a giant cowboy hat, and the bartender's like, what can

1502
01:19:39,680 --> 01:19:42,920
Speaker 1: I do you for? When you hear that phrase, you

1503
01:19:42,960 --> 01:19:47,840
Speaker 1: know you're in a place that is heaven essentially. And

1504
01:19:47,880 --> 01:19:50,559
Speaker 1: then there is a One of the best things about

1505
01:19:50,600 --> 01:19:53,840
Speaker 1: this movie is that there's this incredible lounge singer and

1506
01:19:53,920 --> 01:19:57,360
Speaker 1: her name was Phyllis Shotwell, and she's just like at

1507
01:19:57,360 --> 01:20:00,639
Speaker 1: the piano, like making shit up as she goes. She's

1508
01:20:00,680 --> 01:20:03,520
Speaker 1: like doing some Dean Martin stuff. And you can just

1509
01:20:03,600 --> 01:20:06,320
Speaker 1: saddle right up to her and blow cigarette smoke in

1510
01:20:06,360 --> 01:20:11,519
Speaker 1: her face and put a dollar in her glass. I mean,

1511
01:20:11,560 --> 01:20:13,880
Speaker 1: it's so great. It's so great.

1512
01:20:14,479 --> 01:20:17,240
Speaker 3: The giant shibli glass at the top of the piano.

1513
01:20:21,080 --> 01:20:21,479
Speaker 2: I like that.

1514
01:20:21,560 --> 01:20:24,280
Speaker 3: Yeah, this is a seventies ass movie for sure.

1515
01:20:24,560 --> 01:20:27,479
Speaker 2: Oh my god. I mean it was intoxicating this time.

1516
01:20:27,520 --> 01:20:30,240
Speaker 1: Like I've seen this movie a few times and I

1517
01:20:30,320 --> 01:20:32,439
Speaker 1: was like, I don't know what it is. I feel

1518
01:20:32,479 --> 01:20:34,960
Speaker 1: like I want to be in this world of like

1519
01:20:35,960 --> 01:20:40,400
Speaker 1: tacky medieval my teen seventies casino bullshit, and I'm like,

1520
01:20:41,120 --> 01:20:41,639
Speaker 1: how do I.

1521
01:20:41,600 --> 01:20:42,559
Speaker 2: Do this in my own home?

1522
01:20:42,720 --> 01:20:46,160
Speaker 1: Like take all these shelves out of here, Let's put

1523
01:20:46,200 --> 01:20:51,320
Speaker 1: some like faux castle architecture in here.

1524
01:20:52,040 --> 01:20:56,280
Speaker 2: A drawbridge, perhaps that leads to the kitchen. I don't know, something.

1525
01:20:56,040 --> 01:20:58,120
Speaker 3: You're gonna have to start with a disgusting carpet, and

1526
01:20:58,160 --> 01:21:01,160
Speaker 3: you know it, the.

1527
01:21:00,960 --> 01:21:03,920
Speaker 2: Carpet will set the mood for sure. He got into

1528
01:21:03,960 --> 01:21:07,960
Speaker 2: a shag, a red shag. Fuck. But this, you know,

1529
01:21:08,040 --> 01:21:12,760
Speaker 2: this movie though, you know, ultimately, the writer Joseph Walsh

1530
01:21:13,560 --> 01:21:16,760
Speaker 2: wrote this script about his own gambling addiction, you know,

1531
01:21:16,880 --> 01:21:19,320
Speaker 2: so this is very true to life for him. From

1532
01:21:19,360 --> 01:21:20,040
Speaker 2: what I've.

1533
01:21:19,840 --> 01:21:22,880
Speaker 1: Read, there's actually this really cool like featurette They used

1534
01:21:22,880 --> 01:21:26,080
Speaker 1: to call them featurettes, but these like kind of teaser

1535
01:21:26,439 --> 01:21:28,519
Speaker 1: kind of behind the scenes films that they used to

1536
01:21:28,520 --> 01:21:33,120
Speaker 1: make for Hollywood movies. But there's one on YouTube about

1537
01:21:33,120 --> 01:21:36,559
Speaker 1: California Split and Elliott Gould I think, talks about how

1538
01:21:36,640 --> 01:21:38,080
Speaker 1: Robert Altman loved to gamble.

1539
01:21:38,360 --> 01:21:41,280
Speaker 2: So I think everybody involved was into gambling generally.

1540
01:21:41,880 --> 01:21:44,559
Speaker 1: So this movie feels very authentic, like you don't have

1541
01:21:44,680 --> 01:21:49,200
Speaker 1: to know anything about gambling at all, but you're gonna

1542
01:21:49,200 --> 01:21:54,360
Speaker 1: listen to a bunch of people mumble terminology and kind

1543
01:21:54,360 --> 01:21:58,240
Speaker 1: of shorthand for gambling, and you're just it's just going

1544
01:21:58,320 --> 01:22:00,400
Speaker 1: to intoxicate you promise.

1545
01:22:00,920 --> 01:22:03,960
Speaker 2: There's that scene with Charlie.

1546
01:22:04,200 --> 01:22:07,280
Speaker 3: He's taking the bus to the horse races, yeah, and

1547
01:22:07,320 --> 01:22:09,960
Speaker 3: he meets that woman and they're talking about this horse

1548
01:22:10,120 --> 01:22:15,360
Speaker 3: and he's kind of telling her all this bullshit, like

1549
01:22:15,400 --> 01:22:17,640
Speaker 3: he's just making up stuff, and she's like, you can

1550
01:22:17,680 --> 01:22:19,160
Speaker 3: read all that from the paper and he's like, yeah,

1551
01:22:19,320 --> 01:22:20,920
Speaker 3: you know how to read it. You could find out

1552
01:22:20,920 --> 01:22:22,639
Speaker 3: all kinds of stuff. But then you realize, like, nah,

1553
01:22:22,640 --> 01:22:25,240
Speaker 3: he's just kind of leading her on, and he ends

1554
01:22:25,320 --> 01:22:27,559
Speaker 3: up betting on that horse and telling her not to,

1555
01:22:27,840 --> 01:22:31,640
Speaker 3: and the horse wins, and she is attacking them on

1556
01:22:31,680 --> 01:22:35,599
Speaker 3: the escalator like you wouldn't believe, like throwing oranges, throwing

1557
01:22:35,600 --> 01:22:37,720
Speaker 3: her purse, throwing her hat. It is just one of

1558
01:22:37,760 --> 01:22:43,080
Speaker 3: the weirdest, funniest little scenes that is so seventies and

1559
01:22:43,200 --> 01:22:48,080
Speaker 3: so like, again, this world of gambling is so specific

1560
01:22:48,200 --> 01:22:50,600
Speaker 3: and you have to know so many things. You have

1561
01:22:50,640 --> 01:22:53,679
Speaker 3: to be smart about it in order to potentially win anything,

1562
01:22:54,080 --> 01:22:56,240
Speaker 3: but you're also probably never gonna win, no matter how

1563
01:22:56,320 --> 01:22:58,800
Speaker 3: much you know. It's just such an interesting look at

1564
01:22:58,800 --> 01:22:59,320
Speaker 3: that world.

1565
01:23:00,040 --> 01:23:02,479
Speaker 1: The horse's name Egyptian femme, and they say it probably

1566
01:23:02,520 --> 01:23:05,760
Speaker 1: about thirty five times in this one scene. Also, my

1567
01:23:05,840 --> 01:23:09,840
Speaker 1: favorite line of that escalator scene is George Sagal.

1568
01:23:09,600 --> 01:23:11,920
Speaker 2: Says, you don't throw oranges on an.

1569
01:23:11,920 --> 01:23:17,479
Speaker 1: Escalator, yes, And I'm like, that's that's a mantra for life.

1570
01:23:18,040 --> 01:23:19,840
Speaker 3: You don't throw oranges on an escalator.

1571
01:23:20,160 --> 01:23:23,439
Speaker 1: You do not throw oranges. I mean throwing an orange.

1572
01:23:23,439 --> 01:23:26,280
Speaker 1: That's a heavy fruit that could hurt somebody.

1573
01:23:26,400 --> 01:23:26,719
Speaker 2: Lady.

1574
01:23:27,280 --> 01:23:29,840
Speaker 1: Also, I would be remiss if I did not mention this.

1575
01:23:31,120 --> 01:23:34,519
Speaker 1: Jeff fucking gold Bloom makes a cameo in this film,

1576
01:23:35,360 --> 01:23:39,600
Speaker 1: which leads me to believe that he has been planted

1577
01:23:40,760 --> 01:23:44,000
Speaker 1: by Hollywood as an easter egg in every film that

1578
01:23:44,040 --> 01:23:46,400
Speaker 1: we talk about on this podcast.

1579
01:23:47,400 --> 01:23:50,400
Speaker 3: And I don't know why they started his whole career

1580
01:23:50,479 --> 01:23:52,400
Speaker 3: started in the seventies so that we could reach this

1581
01:23:52,479 --> 01:23:54,200
Speaker 3: moment and be like, Yep, there he is again.

1582
01:23:54,680 --> 01:23:58,720
Speaker 1: Yes he I swear if you go back in our episodes,

1583
01:23:58,800 --> 01:24:02,400
Speaker 1: there's probably like a least six or seven times we're like,

1584
01:24:02,439 --> 01:24:04,439
Speaker 1: oh yeah, and Jeff Goldblum has a cameo in this

1585
01:24:05,240 --> 01:24:09,280
Speaker 1: He's like the guy that owns the five and dime shop,

1586
01:24:09,479 --> 01:24:12,759
Speaker 1: or he is the guy that is in the background

1587
01:24:12,760 --> 01:24:13,560
Speaker 1: in an office.

1588
01:24:13,640 --> 01:24:17,240
Speaker 2: I'm just like, how is that possible? How?

1589
01:24:17,360 --> 01:24:19,920
Speaker 3: I didn't even know his career was that intense until

1590
01:24:19,960 --> 01:24:21,320
Speaker 3: the eighties, until The Fly.

1591
01:24:21,920 --> 01:24:25,320
Speaker 1: I know, we have talked about him so often. We're

1592
01:24:25,320 --> 01:24:27,519
Speaker 1: gonna have to tally him like we've talked about him

1593
01:24:27,560 --> 01:24:30,559
Speaker 1: so often. He might be the one we've talked about

1594
01:24:30,560 --> 01:24:30,920
Speaker 1: the most.

1595
01:24:30,960 --> 01:24:33,559
Speaker 3: Who knows, But I refuse, I refuse to let him

1596
01:24:33,640 --> 01:24:35,320
Speaker 3: unseat Modine in that way.

1597
01:24:35,600 --> 01:24:39,160
Speaker 1: Listen, I'm sick of it. I don't want him showing

1598
01:24:39,200 --> 01:24:42,240
Speaker 1: up in any other movie we talk about. But listen,

1599
01:24:42,280 --> 01:24:45,439
Speaker 1: I love this film so much. Like I said, I

1600
01:24:45,439 --> 01:24:49,800
Speaker 1: think it is a romance between two guys who have

1601
01:24:49,920 --> 01:24:53,120
Speaker 1: this common goal, which is to win big. They come

1602
01:24:53,160 --> 01:24:55,960
Speaker 1: at her from different ways. But also I feel like

1603
01:24:56,000 --> 01:24:59,040
Speaker 1: this film kind of sets the table for so many

1604
01:24:59,120 --> 01:25:01,479
Speaker 1: other films about game. I mean, you wouldn't have Uncut

1605
01:25:01,520 --> 01:25:04,640
Speaker 1: Gems if it wasn't for this film, in my opinion.

1606
01:25:05,960 --> 01:25:06,719
Speaker 2: Of it, for sure.

1607
01:25:07,240 --> 01:25:10,160
Speaker 1: Yeah, And I just I think it's just again like

1608
01:25:10,320 --> 01:25:16,559
Speaker 1: a immersive world that is partially because of the Robert

1609
01:25:16,600 --> 01:25:19,720
Speaker 1: Altman thing of all these characters kind of having kind

1610
01:25:19,720 --> 01:25:23,120
Speaker 1: of that audio equity of hearing bits of conversations.

1611
01:25:23,800 --> 01:25:26,240
Speaker 2: Elliott Gould is the Muttering King.

1612
01:25:26,960 --> 01:25:30,080
Speaker 1: Once again, and it's just a it's a it's like

1613
01:25:30,120 --> 01:25:32,439
Speaker 1: a fun rom I mean, it's dark at parts, but

1614
01:25:32,520 --> 01:25:34,120
Speaker 1: it's actually very fun to watch.

1615
01:25:35,200 --> 01:25:40,080
Speaker 3: I could not agree more is it's absolutely hilarious and

1616
01:25:40,320 --> 01:25:43,839
Speaker 3: it does get dark, but they always balance that levity

1617
01:25:44,000 --> 01:25:46,679
Speaker 3: very very well. And I'm thinking too of that scene

1618
01:25:46,880 --> 01:25:50,400
Speaker 3: where Barbara and Susan are getting ready for a date

1619
01:25:51,320 --> 01:25:53,280
Speaker 3: at home and they're kind of all dressed up and

1620
01:25:53,280 --> 01:25:55,080
Speaker 3: the like, oh, I wonder where we're going, and we're like,

1621
01:25:55,240 --> 01:25:59,519
Speaker 3: it's where we're got to go. And it's right after

1622
01:25:59,640 --> 01:26:02,679
Speaker 3: Bill and Charlie win Big, and they want to kind

1623
01:26:02,680 --> 01:26:05,200
Speaker 3: of go and razzle dazzle, like take the girls out,

1624
01:26:05,600 --> 01:26:07,280
Speaker 3: but they're like, no, we have a date. So they

1625
01:26:07,320 --> 01:26:10,160
Speaker 3: kind of peek in the window at this date and

1626
01:26:10,240 --> 01:26:13,479
Speaker 3: it ends up being this person named Helen Brown who's

1627
01:26:13,520 --> 01:26:17,880
Speaker 3: a man dressed in women's clothing. And we don't get

1628
01:26:17,880 --> 01:26:21,080
Speaker 3: the full story, but I always get so nervous when

1629
01:26:21,120 --> 01:26:23,519
Speaker 3: I watch old movies, like oh God, here it comes

1630
01:26:23,520 --> 01:26:28,679
Speaker 3: like the disenfranchisement and the the you know, the fucking violence,

1631
01:26:28,720 --> 01:26:30,640
Speaker 3: but it's so but they're not like that. Like, I

1632
01:26:30,640 --> 01:26:32,640
Speaker 3: think it says a lot about these characters. They kind

1633
01:26:32,640 --> 01:26:35,000
Speaker 3: of bust in and pretend to be cops so they

1634
01:26:35,000 --> 01:26:36,919
Speaker 3: can like just go on a date with their friends,

1635
01:26:36,960 --> 01:26:38,920
Speaker 3: Like they just want to take these girls out. But

1636
01:26:39,479 --> 01:26:42,080
Speaker 3: I also think it's nice that the women, you know,

1637
01:26:42,120 --> 01:26:44,599
Speaker 3: these sex workers, are like, okay, Helen, like you look great,

1638
01:26:44,920 --> 01:26:46,400
Speaker 3: like she's you know, you look wonderful, but be like

1639
01:26:46,400 --> 01:26:49,080
Speaker 3: your dressed, like they're treating her with such kindness, right,

1640
01:26:49,800 --> 01:26:51,840
Speaker 3: And then these guys who could walk in and be

1641
01:26:51,920 --> 01:26:55,120
Speaker 3: just absolute shitheads are just kind of like, you know,

1642
01:26:55,280 --> 01:26:57,240
Speaker 3: pretending to be cops. They like, we're not going to

1643
01:26:57,320 --> 01:26:59,519
Speaker 3: arrest you, you get out of here. We'll just arrest

1644
01:26:59,600 --> 01:27:00,040
Speaker 3: these two.

1645
01:27:00,040 --> 01:27:01,360
Speaker 2: And they go out for a night on the town with

1646
01:27:01,400 --> 01:27:01,960
Speaker 2: their friends.

1647
01:27:02,240 --> 01:27:04,960
Speaker 3: Yeah, but yeah, Like I don't know, I just think

1648
01:27:05,000 --> 01:27:07,840
Speaker 3: that it's an interesting look at the chaos of their

1649
01:27:07,920 --> 01:27:12,479
Speaker 3: lives and how much they'll commit to gambling and how

1650
01:27:12,520 --> 01:27:14,760
Speaker 3: little they'll commit to everything else. And you don't really

1651
01:27:14,760 --> 01:27:18,360
Speaker 3: get a full backstory about Bill's marriage, but like his

1652
01:27:18,439 --> 01:27:20,880
Speaker 3: whole life, we're watching it fall apart, like the rest

1653
01:27:20,920 --> 01:27:21,920
Speaker 3: of his life fall apart.

1654
01:27:22,400 --> 01:27:23,360
Speaker 2: So I think that I don't know.

1655
01:27:23,600 --> 01:27:25,439
Speaker 3: I like the way this movie kind of messes with

1656
01:27:25,520 --> 01:27:29,000
Speaker 3: like the commitment aspect of it and what they take seriously,

1657
01:27:29,040 --> 01:27:31,760
Speaker 3: what they don't take seriously. How they fall into this

1658
01:27:32,400 --> 01:27:35,400
Speaker 3: relationship with each other, which I also think is very

1659
01:27:35,439 --> 01:27:38,640
Speaker 3: much a romance. They fall into with each other, and

1660
01:27:38,680 --> 01:27:41,320
Speaker 3: it's the same way that romance works. You're kind of

1661
01:27:41,320 --> 01:27:43,760
Speaker 3: watching people be enchanted by each other and just going

1662
01:27:43,760 --> 01:27:46,120
Speaker 3: along for the ride, but the ride just happens to

1663
01:27:46,160 --> 01:27:46,719
Speaker 3: be gambling.

1664
01:27:47,240 --> 01:27:53,519
Speaker 2: Yeah, it's like you know that Bill is Bill is

1665
01:27:53,520 --> 01:27:54,120
Speaker 2: not like.

1666
01:27:55,600 --> 01:28:00,439
Speaker 1: He's not picking the right partner. We're gonna keep using

1667
01:28:00,479 --> 01:28:04,479
Speaker 1: this relationship metaphor, but like he's doing the thing that

1668
01:28:04,520 --> 01:28:06,679
Speaker 1: we're not supposed to do when we're out there looking

1669
01:28:06,720 --> 01:28:09,960
Speaker 1: for love, which is to find somebody who is like

1670
01:28:11,600 --> 01:28:18,439
Speaker 1: this idealized person that is somebody that you can get

1671
01:28:18,439 --> 01:28:21,479
Speaker 1: wrapped up in in terms of like a fantasy, right, because.

1672
01:28:21,280 --> 01:28:25,480
Speaker 2: That's who Charlie is to him. He's just like fun winner.

1673
01:28:27,000 --> 01:28:30,320
Speaker 1: And Bill is like a little bit less that, and

1674
01:28:30,400 --> 01:28:32,720
Speaker 1: he thinks that Charlie is his everything, and he's like

1675
01:28:32,880 --> 01:28:35,080
Speaker 1: just really on the ride. But that's what makes the

1676
01:28:35,160 --> 01:28:37,080
Speaker 1: ending of the film, which I would never give away,

1677
01:28:37,840 --> 01:28:40,519
Speaker 1: so interesting, is because I think it clicks for him.

1678
01:28:40,560 --> 01:28:43,080
Speaker 1: Finally he's in that mode where he's like, Okay, like

1679
01:28:43,200 --> 01:28:46,639
Speaker 1: who am I? Who is this guy that I'm obsessed

1680
01:28:46,680 --> 01:28:51,160
Speaker 1: with and want to be like so much? And what

1681
01:28:51,320 --> 01:28:53,200
Speaker 1: is this thing that we do? What is this passion

1682
01:28:53,240 --> 01:28:55,559
Speaker 1: that we share? And is it something that's important to

1683
01:28:55,560 --> 01:28:56,519
Speaker 1: me at the end of the day.

1684
01:28:57,200 --> 01:28:57,479
Speaker 2: Yeah?

1685
01:28:57,920 --> 01:29:00,320
Speaker 3: Yeah, yeah, Oh I love it. I'm so way you

1686
01:29:00,320 --> 01:29:03,840
Speaker 3: picked this movie again. Could not think of two film

1687
01:29:03,880 --> 01:29:05,639
Speaker 3: characters I'd want to get drunk with more.

1688
01:29:06,120 --> 01:29:09,120
Speaker 1: Yeah, And to be honest, both of these We talk

1689
01:29:09,160 --> 01:29:12,280
Speaker 1: about rich texts on this podcast a lot. It is

1690
01:29:12,320 --> 01:29:14,680
Speaker 1: like my favorite thing to do is to just like

1691
01:29:15,280 --> 01:29:20,639
Speaker 1: sync my teeth into like two films that are like

1692
01:29:20,840 --> 01:29:22,960
Speaker 1: there's a lot going on in them, and there's a

1693
01:29:23,000 --> 01:29:26,719
Speaker 1: lot to kind of you know, look at and study

1694
01:29:26,920 --> 01:29:31,120
Speaker 1: and wonder about, you know, and I don't know. I

1695
01:29:31,160 --> 01:29:33,240
Speaker 1: think that's why Robert Altman has always been one of

1696
01:29:33,240 --> 01:29:36,160
Speaker 1: my favorite filmmakers, because there's just so many layers to

1697
01:29:36,280 --> 01:29:41,320
Speaker 1: the things that he does. And also like with Elliott Gould,

1698
01:29:41,320 --> 01:29:43,680
Speaker 1: I mean Elliott Gould and Robert Alman. That pairing is

1699
01:29:43,720 --> 01:29:46,240
Speaker 1: just so great, and you know there's a lot like

1700
01:29:46,280 --> 01:29:48,439
Speaker 1: if you look up Elliott Gould on the internet talking

1701
01:29:48,439 --> 01:29:52,200
Speaker 1: about working with Robert Altman was just like a joy

1702
01:29:52,439 --> 01:29:55,160
Speaker 1: and I don't know, just love love this pairing this

1703
01:29:55,280 --> 01:29:59,040
Speaker 1: week obviously like a couple of classics, couple of seventies

1704
01:29:59,160 --> 01:30:01,519
Speaker 1: original tea classics.

1705
01:30:02,080 --> 01:30:08,120
Speaker 2: Very different from our films next week. But before we

1706
01:30:08,200 --> 01:30:08,960
Speaker 2: get to that.

1707
01:30:09,800 --> 01:30:13,760
Speaker 1: That's right, Listen, folks, if you want to email us,

1708
01:30:14,560 --> 01:30:17,360
Speaker 1: we are at esod pot at gmail dot com. Please

1709
01:30:17,360 --> 01:30:20,040
Speaker 1: send us questions for bonus episodes. We also have a

1710
01:30:20,040 --> 01:30:24,840
Speaker 1: po box if you want to send us handwritten screeds, or.

1711
01:30:24,840 --> 01:30:26,799
Speaker 3: You can leave us a voicemail to play on the show.

1712
01:30:27,200 --> 01:30:28,960
Speaker 3: All you have to do is record a voicemaila on

1713
01:30:29,000 --> 01:30:30,720
Speaker 3: your phone and email it to you. I saw what

1714
01:30:30,760 --> 01:30:33,679
Speaker 3: you did, pod at gmail dot com. Make it sixty

1715
01:30:33,720 --> 01:30:36,360
Speaker 3: seconds or less, and please record it in a quiet

1716
01:30:36,360 --> 01:30:37,280
Speaker 3: space in your all set.

1717
01:30:38,360 --> 01:30:38,760
Speaker 2: That's right.

1718
01:30:38,840 --> 01:30:41,360
Speaker 1: Please also find us on our social media accounts. We

1719
01:30:41,400 --> 01:30:44,599
Speaker 1: are at I saw pod on Instagram, Blue Sky and Twitter. Also,

1720
01:30:45,280 --> 01:30:48,240
Speaker 1: I would be remiss if I didn't mention we have

1721
01:30:48,439 --> 01:30:53,080
Speaker 1: merch So go to exactly right store dot com and

1722
01:30:53,120 --> 01:30:56,400
Speaker 1: you can find our give me the b of the

1723
01:30:56,479 --> 01:30:59,960
Speaker 1: d T shirt and now crew neck sweatshirt.

1724
01:31:00,160 --> 01:31:03,240
Speaker 2: It's in black. It will hide all the spaghetti sauce

1725
01:31:03,240 --> 01:31:05,400
Speaker 2: stains that you get. It's great.

1726
01:31:06,479 --> 01:31:10,920
Speaker 3: Ah and our bonus episodes come out on the main

1727
01:31:11,160 --> 01:31:14,519
Speaker 3: feed now every third Thursday of the month.

1728
01:31:15,720 --> 01:31:21,200
Speaker 2: Absolutely listen, Danielle, Please tell them what the movies are

1729
01:31:21,240 --> 01:31:22,200
Speaker 2: for next week.

1730
01:31:22,840 --> 01:31:27,679
Speaker 3: We are jumping out of the seventies like Florence Griffith

1731
01:31:27,800 --> 01:31:31,640
Speaker 3: Joiner ha where Jackie Joiner Krissy.

1732
01:31:34,080 --> 01:31:35,679
Speaker 2: Our movies for next week.

1733
01:31:36,560 --> 01:31:41,280
Speaker 3: Last episode of the year, yeap die Hard from nineteen

1734
01:31:41,320 --> 01:31:45,120
Speaker 3: eighty eight and Eyes Wide Shut from nineteen ninety nine.

1735
01:31:45,800 --> 01:31:48,800
Speaker 2: Holee shit. Guess the theme?

1736
01:31:49,280 --> 01:31:51,640
Speaker 3: What a double feat And if you've listened to this

1737
01:31:51,760 --> 01:31:54,559
Speaker 3: episode from the beginning or for the last couple of years,

1738
01:31:54,600 --> 01:31:56,800
Speaker 3: the theme will be evident to you. It's the one

1739
01:31:56,840 --> 01:31:59,240
Speaker 3: time of year that you can probably get the theme.

1740
01:31:59,360 --> 01:32:03,360
Speaker 2: Absolutely, Hi, you gotta shot this time.

1741
01:32:04,320 --> 01:32:07,200
Speaker 1: Well listen Teddyille as always a fucking pleasure to do

1742
01:32:07,280 --> 01:32:08,200
Speaker 1: in this podcast with you.

1743
01:32:08,320 --> 01:32:10,519
Speaker 2: Thank you for being a good friend to me. I

1744
01:32:10,560 --> 01:32:12,599
Speaker 2: really appreciate it. Thank you for being a good friend

1745
01:32:12,640 --> 01:32:16,840
Speaker 2: to me. I love this and I love you. See

1746
01:32:16,920 --> 01:32:17,320
Speaker 2: ya later.

1747
01:32:18,000 --> 01:32:18,640
Speaker 1: Bye.

1748
01:32:18,800 --> 01:32:23,480
Speaker 2: Bye.

1749
01:32:25,720 --> 01:32:27,240
Speaker 3: This has been an exactly right production.

1750
01:32:27,479 --> 01:32:30,240
Speaker 2: Produced by Casey O'Brien, episode mixing and.

1751
01:32:30,200 --> 01:32:33,840
Speaker 3: Theme music by Tom Bryfogel, artwork by Garrett Ross. Our

1752
01:32:33,880 --> 01:32:37,479
Speaker 3: executive producers are Georgia hart Start, karenkile Gareff, and Daniel Kramer.

1753
01:32:37,840 --> 01:32:40,160
Speaker 2: You can follow us on Instagram and Twitter at I

1754
01:32:40,280 --> 01:32:43,000
Speaker 2: Saw pod, and you can email us at I Saw

1755
01:32:43,000 --> 01:32:44,479
Speaker 2: What You Did Pod at gmail