Speaker 1: What kind of a show you guys.
Speaker 2: Putting on here today?
Speaker 3: You're not interested in armed now? No, Look, we're going
Speaker 3: to do this thing.
Speaker 4: We're going to have a.
Speaker 5: Conversation from Chicago. This is film Spotting. I'm Adam Kempinar
Speaker 5: and I'm Josh Larson.
Speaker 3: So listen, here's the deal.
Speaker 2: This is what we should do.
Speaker 6: You should get off the train with me here in
Speaker 6: Vienna and come check out the town.
Speaker 2: What come on, it'll be fine.
Speaker 7: Thirty years ago, Jesse met Selene on the train to Vienna,
Speaker 7: and the rest is movie history.
Speaker 5: This week, we spend a night and a day with
Speaker 5: Ethan Hawks Jesse and Julie Delpy Selene as we revisit
Speaker 5: both nineteen ninety five's Before Sunrise in two thousand and
Speaker 5: fours Before Sunset.
Speaker 7: And our Andre Tarkowski marathon concludes with nineteen eighty three's Nostalgia.
Speaker 3: It's all ahead.
Speaker 5: You're going to miss that plane, Josh.
Speaker 7: I don't say that I actually have a plan to
Speaker 7: catch on film spotting.
Speaker 8: Just you man.
Speaker 5: Welcome to film Spotting. It's a nice bit of coincidence
Speaker 5: spotting this week, Josh, which we may get into more later.
Speaker 5: We're closing out our Andre Tarkovsky Marathon with Nostalgia, and
Speaker 5: we're embarking on a little bit of a nostalgia fest
Speaker 5: ourselves by revisiting two films from our past. Two films
Speaker 5: we love Richard Linklater's Before Sunrise and Before Sunset.
Speaker 7: And Nostalgia for our film spotted Fest, which is only
Speaker 7: a few months old.
Speaker 5: That's right, exactly. Back in March, we closed the first
Speaker 5: ever film Spotting Fest with a thirtieth anniversary screening of
Speaker 5: Before Sunrise. That was that the Music Box in Chicago,
Speaker 5: and that was pretty magically.
Speaker 3: You're right.
Speaker 5: I'm already reminiscing about that day. On a Sunday back
Speaker 5: in March after the movie, critic Scott Tobias from the
Speaker 5: Next Picture Show and The Reveal joined us along with
Speaker 5: our producer Sam Van Halgren to talk about the film.
Speaker 5: We'll share that conversation later in the show, along with
Speaker 5: the conclusion of our Tarkovski Marathon. All that and Massacre Theater.
Speaker 7: First, we're going to mess with the chronology a bit here.
Speaker 7: I don't think link Later would mind. He has a
Speaker 7: habit of doing that himself. Before Sunset it celebrated its
Speaker 7: twentieth anniversary last year and we're revisiting it now as
Speaker 7: part of our Pantheon project. This is our effort to
Speaker 7: review every film in the film spotting Pantheon. And I
Speaker 7: like how Sam is phrasing this here eccentricly assembled movie.
Speaker 3: Hall of Fame. I think that's accurate.
Speaker 7: And sounds sounds kind of nice. Before Sunset, along with
Speaker 7: the other two films in the Before trilogy, was added
Speaker 7: to the Pantheon back in twenty sixteen. That's when we
Speaker 7: did our Top five Richard Linkletter scenes. Three of your
Speaker 7: top five, Adam were from the Before trilogy, including two
Speaker 7: from Sunset. I think I had two picks from this
Speaker 7: trilogy in my top five. Before Sunset came to theaters
Speaker 7: in June two thousand and four, nine years after its predecessor.
Speaker 7: The movie went on to become one of the best
Speaker 7: reviewed of the year. Unlike the first film, which was
Speaker 7: written by Linklater and Kim Krizan, Sunset is credit I
Speaker 7: did to stars Hawk and Delpy along with Linklater. And
Speaker 7: although we may think of the first two films in
Speaker 7: the trilogy as having similar structures, there's a couple walking
Speaker 7: and talking over a single day or a night. In
Speaker 7: the case of Before, sunrise before sunset is meant to
Speaker 7: take place more or less in real time, basically the
Speaker 7: ninety or so minutes before Hawk's Jesse, now married and
Speaker 7: a successful author, is scheduled to catch his plane back
Speaker 7: home from Paris.
Speaker 3: Let's hear a clip. Look, I'm just so happy, all
Speaker 3: right to be with you, I am. I'm so glad
Speaker 3: you didn't forget about me.
Speaker 1: Okay, No, I didn't, and it pisces me off. Okay,
Speaker 1: you come here to Paris all romantic and married.
Speaker 3: Getting screw you.
Speaker 1: Don't get me wrong.
Speaker 2: I'm not trying to get you or anything.
Speaker 9: I mean, all I need.
Speaker 8: Is a married man.
Speaker 1: And there's been so much water under the bridge.
Speaker 9: It's not even about you anymore.
Speaker 1: It's at that time, that moment in time that is
Speaker 1: forever gone.
Speaker 10: I don't know you say on that, but you didn't
Speaker 10: even remember having sex, so sorry remembered.
Speaker 8: He did?
Speaker 11: Yes, women pretend things like that.
Speaker 1: I don't know they do.
Speaker 2: Yeah, what was I supposed to say that?
Speaker 4: I remember the wine in the park and us looking
Speaker 4: at the stars fading away as the sun came up.
Speaker 3: We had sex twice, you.
Speaker 5: Idiot, even though I was in full on pretentious film
Speaker 5: guy mode in nineteen ninety five, or aspired to be anyway,
Speaker 5: I couldn't claim to be a Richard linklater fan. I'm
Speaker 5: not one hundred percent sure I knew his name at
Speaker 5: that point. Growing up in Iowa, I definitely wouldn't have
Speaker 5: seen Slacker yet. And even though I surely had seen
Speaker 5: Days and Confused, I didn't know enough to know it
Speaker 5: was great. I probably plucked the Before Sunrise VHS case
Speaker 5: off the shelf of my local video store on the
Speaker 5: strength of that sexy cover Ethan Hawk and Julie Delpy
Speaker 5: facing each other, arms intertwined, and Hawk, who I remembered
Speaker 5: from Explorers, loved in Dead Poet Society and may have
Speaker 5: even enjoyed in Waterland when I was going through my
Speaker 5: Jeremy Irons phase. Yes, dear listeners, I swooned over it.
Speaker 5: In this age of endless IP, it's hard to imagine
Speaker 5: anymore getting over protective about movies and the sanctity of
Speaker 5: certain characters and stories. But when I heard that Link
Speaker 5: later planned to make a sequel, I was shaken. On
Speaker 5: one hand, by this point, I did know enough to
Speaker 5: know that Days and Confused was great, and yeah, Before
Speaker 5: Sunrise was brilliant and waking life blew my mind, so
Speaker 5: Linklater had earned the credibility to go back to that
Speaker 5: artistic well. Also, a major part of Before Sunrise's brilliance
Speaker 5: is how much you enjoy just hanging out with Jesse
Speaker 5: and Selene. Of course, I'll take any opportunity to spend
Speaker 5: more time with them. On the other hand, Before Sunrise
Speaker 5: was perfect, with an ending that was perfect. Why would
Speaker 5: link Later risk ruining perfection? All my fellow gen xers
Speaker 5: who were worried about George Lucas destroying their childhoods a
Speaker 5: few years prior, well, Linklater was possibly about to destroy
Speaker 5: this exer's young adulthood. The filmmaker frames the dilemma pretty
Speaker 5: well himself and before Sunset in the opening sequence, at
Speaker 5: the bookstore, Jesse, who has written about his personal experience
Speaker 5: with Selene, just as link Later had transformed his personal
Speaker 5: experience with a woman he met on a train traveling
Speaker 5: through Europe, naturally gets asked the big question, do the
Speaker 5: two characters get back together again in six months like
Speaker 5: they promised each other, to which Jesse evasively but eloquently replies,
Speaker 5: it's a good test, right if you're a romantic or
Speaker 5: a cynic. The implication seems clear enough. If you believe
Speaker 5: they met again in Vienna in six months, then you're
Speaker 5: a romantic. If you believe they didn't meet, then you're
Speaker 5: a cynic. I was sure they met again in six months,
Speaker 5: but I was also sure that I was perfectly content
Speaker 5: to let Jesse and Selene live on forever. In my imagination,
Speaker 5: the possibility of that affair to remember future meetup was
Speaker 5: satisfying enough, or so I thought, Josh, how did you
Speaker 5: fare on the before test? Are you a romantic or
Speaker 5: a cynic? And how grateful are you that Link Later
Speaker 5: and Delpy granted us more time with these two.
Speaker 7: Here's my level of cynicism, as best as I can
Speaker 7: recall seeing this in two thousand and four is I
Speaker 7: was less thinking about what I wanted, but thinking about
Speaker 7: what is link later? What is the answer link later
Speaker 7: is going to give in this movie that I'm currently
Speaker 7: watching that's going to be satisfying. I was too much
Speaker 7: in my own head and maybe not lost enough in
Speaker 7: the characters' heads, despite having loved Before Sunrise. I think
Speaker 7: at the time I was probably, you know, folding my
Speaker 7: arms a little bit about the sequel question you know,
Speaker 7: working at that point as as a film critic, and
Speaker 7: also you know, just wondering why is Link Later someone
Speaker 7: like Linklater doing this. But I do think the movie
Speaker 7: must have won me over pretty quickly, because the lead
Speaker 7: to my eventual review was when talk is an aphrodisiac
Speaker 7: who wants the conversation to stop. So whatever skepticism I
Speaker 7: had the movie overcame for sure. I think I still
Speaker 7: probably did not appreciate it as much as I should
Speaker 7: have at the time, and that's what made this revisit
Speaker 7: so wonderful, and the knowledge that there's still a before Midnight,
Speaker 7: which now I want to revisit again and likely discover
Speaker 7: that I underestimated that one, even though I liked it,
Speaker 7: but far less than these two installments. The first two installments. Yeah,
Speaker 7: they pull off something of a miracle here, and they
Speaker 7: do it so lightly, so seemingly effortlessly. Yet when you
Speaker 7: watch this conversation unfolding over these ninety minutes closely, you
Speaker 7: realize how intricate and strategic it is, and how it
Speaker 7: shifts and ebbs and flows in ways that I imagine
Speaker 7: improvisation was involved. But I think there had to be
Speaker 7: long discussions among the three of them about the superstructure
Speaker 7: and the journey that they want these characters to go
Speaker 7: on over the course of before sunset, and then just
Speaker 7: laying out how they're going to shift from one step
Speaker 7: to the other, and then maybe allowing the improvisation to
Speaker 7: get them there. But this is something of a miracle
Speaker 7: in the way they make it flow so naturally, rooted
Speaker 7: in the same characters we know so intimately, and achieve
Speaker 7: something so monumental and complete and cohesive coming down to
Speaker 7: this perfect ending as well.
Speaker 3: So yeah, that was that was my.
Speaker 7: Memory of my first encounter with it, and even appreciating
Speaker 7: it at the time, now realizing I underestimated it at
Speaker 7: the time.
Speaker 5: Yeah, how about that not only pulling off the miracle
Speaker 5: of making another masterpiece, and I think it is after
Speaker 5: making one with the first film, but another perfect ending,
Speaker 5: which is what happens here.
Speaker 7: Even a better ending, maybe even a better ending.
Speaker 5: And I realized this time too, it's the exception to
Speaker 5: the rule of sequels, which is and I'd forg this.
Speaker 5: I hadn't seen this film, I think since twenty thirteen,
Speaker 5: that's at least the last time I logged it. That
Speaker 5: was in preparation for before Midnight. I had forgotten that
Speaker 5: early on in the film we see flashbacks, we see
Speaker 5: cuts back to the first film, and that is a
Speaker 5: dead giveaway with sequels that if they're cutting back to
Speaker 5: footage from the first film, then you know it's a disaster.
Speaker 7: Let me tell you. After having just come out of
Speaker 7: Final Reckoning a few days before, to be reminded that
Speaker 7: this was an element in before Sunset, I was like, oh,
Speaker 7: boy or boy, yeah, but so lenage to even redeem that, I.
Speaker 5: Know, link later again just proving all those conventions wrong.
Speaker 5: But it really isn't by accident. It is all in
Speaker 5: the structure. And can I just say I love that
Speaker 5: there's a moment and I didn't clock where it exactly happens,
Speaker 5: but maybe it's about twenty minutes in on their walk
Speaker 5: they have not hit I think it's still before they
Speaker 5: finally hit the cafe that that Selene is ragging Jesse
Speaker 5: to where they're going to sit down and talk. After
Speaker 5: they've left the bookstore and they're talking, and finally Jesse
Speaker 5: just stops and says, you know, this is surreal. This
Speaker 5: is surreal that we're talking after all this time. And
Speaker 5: I love that the movie takes that beat, because for
Speaker 5: every one of us who have waited nine years to
Speaker 5: see these characters get back together, Surreal's the only way
Speaker 5: to describe it. We're feeling the same way those characters
Speaker 5: are right to see them back together having these kinds
Speaker 5: of conversations.
Speaker 7: Yeah, and confronting that is not just a meta element
Speaker 7: either reverberating the audience's desires. It's also how that conversation
Speaker 7: had to go, because this was not Jesse and Celine
Speaker 7: until they get to the point of brutal honesty, dropping
Speaker 7: off facads and just going at it. And this is
Speaker 7: another thing where watching this again and I'm looking up
Speaker 7: as you were talking, and I think I did revisit
Speaker 7: it for that list as well. Last time was about
Speaker 7: a little over ten years ago, but I had forgotten this.
Speaker 7: It starts a little shaky here for me at least,
Speaker 7: and it's a rough start maybe for any of us
Speaker 7: who thought Jesse was a bit pretentious in Before Sunrise,
Speaker 7: because we open just on him people fawning over him
Speaker 7: at his book signing as he waxes philosophical and I'm thinking,
Speaker 7: oh boy, this is like, this is like the worst
Speaker 7: of Jesse, and we're leading.
Speaker 3: With this but it's all a setup.
Speaker 7: It's all a setup, I believe, because it's making us
Speaker 7: realize that when Selene shows up, we see how integral
Speaker 7: she is to who he is, and that this is
Speaker 7: the magic of these movies. It's who they are together
Speaker 7: that is what matters. What is what these films are about.
Speaker 7: It's that chemical space between them. It's not about either individual.
Speaker 7: She You know, she starts to she's nice about his
Speaker 7: book release and everything, but also starts to call him
Speaker 7: out on his BS, but she also appreciates the dreamer
Speaker 7: who's behind the b right. She brings out the best
Speaker 7: in him, he brings out the best in her. He
Speaker 7: calls her on some of her bs. And then you see,
Speaker 7: here's the other element. The way he looks at her
Speaker 7: gets us to fall back in love with him. So
Speaker 7: I really think that link later is setting us up
Speaker 7: by shoving Jesse in our face in the beginning.
Speaker 3: And maybe you.
Speaker 7: Know, some people are more positive on him than others,
Speaker 7: and maybe it's not an issue for them, but at
Speaker 7: least for me, kind of setting me up for not
Speaker 7: and then reminding me of what the magic of these
Speaker 7: movies are about. And it's that honesty that you were
Speaker 7: getting to Adam when they their connection reignites when they
Speaker 7: get to the question of if either one of them
Speaker 7: went to the meeting spot. Right, these who have never
Speaker 7: been about niceties or pleasantries. It's about honesty. And yet
Speaker 7: here's where I'm talking about the ebbs and flows and
Speaker 7: the rhythms. So brilliant to have that moment come early
Speaker 7: on after the pleasantries. But then brilliant also picked them
Speaker 7: backing their way into it, right with him saying he
Speaker 7: did show up, then confessing you know when she says
Speaker 7: she didn't, Oh, no, he didn't either, and then admitting
Speaker 7: he did. Think of the mini drama.
Speaker 3: Over that to get to that truth.
Speaker 7: Because until they get to that truth, they're not Jesse
Speaker 7: and Celine. Yet that's when they become they are.
Speaker 5: No, that's when the movie really takes off. With ever that,
Speaker 5: let me take a few things you said, and I'm
Speaker 5: gonna take it maybe a little bit further, because this
Speaker 5: was the revelation for me, if you will, maybe too
Speaker 5: strong of a word, but I'm gonna go with it
Speaker 5: for now. I didn't rewatch this movie back in twenty
Speaker 5: sixteen for the link later scenes list. I did in
Speaker 5: twenty thirteen again for midnight, And at that time I
Speaker 5: chalked up the conceit of the film to Jesse stalling.
Speaker 5: You know, I wrote on letterbox in twenty thirteen, I
Speaker 5: said it in twenty sixteen. During that top five, is
Speaker 5: it me or are Jesse's repeated attempts to delay his
Speaker 5: trip to the airport the equivalent of the knights gamesmanship
Speaker 5: in the seventh Seal, a condemned man's maneuvers to stave
Speaker 5: off death by prolonging the sublime. He just keeps saying, right, oh,
Speaker 5: fifteen more minutes now, I'll just take you here. We'll
Speaker 5: just go here. He's just trying to keep it going.
Speaker 5: And something struck me this time, Josh. What clued me
Speaker 5: in was the fact that early on there's multiple references
Speaker 5: to time and not being late and you got to
Speaker 5: catch your plane, all before they've even kind of stepped
Speaker 5: out of the bookstore. And she knows this, and yet
Speaker 5: they're talking about where they're going to go for coffee,
Speaker 5: and she says, I've got a spot and I don't
Speaker 5: know if she says it's nearby, but she says, you know,
Speaker 5: I've got a spot I want to take you to.
Speaker 5: And they start walking, and they must walk for a
Speaker 5: half an hour, right, And so that of course could
Speaker 5: be link later and Hawk and Dealthy being a little
Speaker 5: bit cheeky, and I wouldn't put that past them, but
Speaker 5: I think it does connect to what was the revelation
Speaker 5: for me, and what I think might tie to what
Speaker 5: the answer was in some way as you were getting
Speaker 5: at for link later, what made it interesting? What made
Speaker 5: it interesting for him to collaborate specifically with Hawk and
Speaker 5: with Delpy on and before anyone listening to this thinks, really, Adam,
Speaker 5: this is a revelation. You didn't pick up on this before,
Speaker 5: I'll just say I think this may have been my
Speaker 5: third viewing of the film. Only the second time was
Speaker 5: back in twenty thirteen, and in twenty thirteen, I wasn't
Speaker 5: watching it to discuss it. I was just prepping for
Speaker 5: before midnight. I was just refreshing myself. Also film spotting
Speaker 5: Pa Sophie Kempenar already chastised me. I got up the
Speaker 5: next morning all eager to share with her what I
Speaker 5: learned watching the film again, because she loves these films
Speaker 5: and actually had just been in Paris and followed all
Speaker 5: these steps took all of the picture she could from
Speaker 5: all of the places they go to. And here was
Speaker 5: her response, I'm a better film critic than you. This
Speaker 5: is before sinset one oh one. Wow, harsh kids say
Speaker 5: the regardest things. Okay, there is a major structural difference,
Speaker 5: and it's not just the temporal aspect, the real time
Speaker 5: or more real time approach, and I think it does
Speaker 5: change the overall experience of the two movies. And it
Speaker 5: goes back to what you're saying in terms of the
Speaker 5: reversal of the setup a little bit. Jesse really does
Speaker 5: drive the first movie. Yes, of course the first movie
Speaker 5: is great because of their honesty and that Delpy doesn't
Speaker 5: feel like she's playing second fiddle. But Jesse is the
Speaker 5: one who gets her off the train, who makes the
Speaker 5: first move, who does initiate most of the conversations and
Speaker 5: what happens here. Selene drives the second one. She drives
Speaker 5: this movie. She picks him up at the bookstore. She
Speaker 5: essentially gets him to leave the train. Otherwise he's just
Speaker 5: getting in the car and going to the airport.
Speaker 3: Right.
Speaker 5: She gets him to wander around Paris and Josh, she
Speaker 5: initiates almost all of the conversations. He is a responder
Speaker 5: largely in this movie. So, especially if you were someone
Speaker 5: who thought he was a little pretentious in the first film,
Speaker 5: you probably do prefer this movie. And he is. I
Speaker 5: had this same thing in my notes. Jesse Ethan Hawk
Speaker 5: is largely relegated, and I don't think this is a
Speaker 5: bad thing at all. I like the different dynamic between
Speaker 5: the two films. He is largely relegated to being a
Speaker 5: watcher in this movie, and that is fine because we
Speaker 5: got plenty of his pontificating in the first movie. Delpy
Speaker 5: is also so good and so incisive, and he is
Speaker 5: such a good listener. Also, the way he watches her
Speaker 5: is romantic as hell, which is how the movie ends,
Speaker 5: of course too, in that very sexy romantic exchange between them,
Speaker 5: where except for one word or two words, that two
Speaker 5: word phrase that he has, otherwise he's just looking at her.
Speaker 7: Yeah, And there's there's a structural reason for that, for
Speaker 7: that shift, but there's also a psychological emotional one, you know,
Speaker 7: because he's vulnerable here by admitting that he went back
Speaker 7: and that he's the romantic. He can try to play
Speaker 7: it off and she can try to play it off too,
Speaker 7: But it has revealed that he opened himself up more
Speaker 7: than she did. Bottom line, whatever the circumstances were, her
Speaker 7: grandmother's death and that, you know, it's it's all understandable.
Speaker 7: This isn't sane. One of them made the right decision,
Speaker 7: one of them made the bad decision, but he is
Speaker 7: now the more vulnerable one because of how things played out.
Speaker 7: And I think that's part of what's going into the
Speaker 7: dynamic as well. You know, as you were talking about,
Speaker 7: you know, time and the considerations of time, which is
Speaker 7: a huge linkinator thing, but just how it plays out
Speaker 7: in this I just want to throw in also about
Speaker 7: the ending the great Nina Simone song, it's actually a cover.
Speaker 7: She's you know, singing a jazz standard that's been on
Speaker 7: stage and in movies before.
Speaker 3: She covered it. Just in Time is the name of that.
Speaker 7: Stuff, of course, and I looked up the lyrics just
Speaker 7: out of curiosity.
Speaker 3: Just in time.
Speaker 7: You found me, just in time before you came. My
Speaker 7: time was running low.
Speaker 4: Before you came, I was lost.
Speaker 7: So the first the first two stanzas time mentioned three times,
Speaker 7: it's you know, clearly probably why it was chosen. It's
Speaker 7: also musically perfect for the moment and Delpi's performance in
Speaker 7: that moment. Since you touched our performance, let's go there,
Speaker 7: and I'm going to start at the ending because I'm
Speaker 7: here now. It's not only that it's seductive. But let's
Speaker 7: go back a little earlier, a few moments earlier, where
Speaker 7: she's playing her waltz. I think she calls it this
Speaker 7: waltz for him.
Speaker 5: It's that's how great is that?
Speaker 3: Yeah?
Speaker 7: And she's on the guitar, and you know, I think
Speaker 7: what I love about that little bit is that you
Speaker 7: see she's doing it for him, And there are moments
Speaker 7: where she'll look up at him and kind of self
Speaker 7: deprecatingly laugh.
Speaker 3: But there's also nice.
Speaker 7: Little moments in the performance where she gets lost in
Speaker 7: the music. You can tell like she's no longer thinking
Speaker 7: about him in these two seconds. She's thinking about how
Speaker 7: much she's enjoying doing this musical performance, and what does
Speaker 7: that point to. She's an artist too. This is related
Speaker 7: to the kind of shifts in the dynamic from the
Speaker 7: first film to this one. Listening to this again, maybe
Speaker 7: an obvious observation, we'll see if Sophia has something mean
Speaker 7: to say to me, But listening to her lyrics, you
Speaker 7: realize this waltz is her version of Jesse's book. He's
Speaker 7: written this book all about their relationship. She has been
Speaker 7: true to her nature, quietly alone in her apartment writing
Speaker 7: a song she will probably never perform to anyone else
Speaker 7: about her experience of their relationship because it is about
Speaker 7: someone who she, you know, basically missed out on or
Speaker 7: there was a fleeting moment, and that's that's her version
Speaker 7: of the book. So Delpy is wonderful in so many
Speaker 7: different registers in that final sequence, and then she just
Speaker 7: gets some great saline moments throughout because she gets, you know,
Speaker 7: more of the dialogue here in a sense I love
Speaker 7: one of my favorites might be I'm not getting angry,
Speaker 7: I'm not getting angry. Spitthead him twice, which is, you know,
Speaker 7: just kind of sums.
Speaker 3: Her character up in so many ways.
Speaker 7: But she's she's wonderful, He's great, She's wonderful. Together, there's
Speaker 7: something even better.
Speaker 2: Let me sing you I owes.
Speaker 3: Out of nowhere, out of my thoughts.
Speaker 2: Let me sing you O oldes.
Speaker 8: About this one night stand.
Speaker 2: Well, for me, that night.
Speaker 9: Everything I always drammed.
Speaker 7: On in line.
Speaker 5: What I love about that is I did register the
Speaker 5: bit of performance that it is. But I didn't make
Speaker 5: the connection back to the fact that he wrote a book,
Speaker 5: and this is sort of her version of that. And
Speaker 5: the reason that I registered the act of performance is
Speaker 5: I looked at my top five link later scenes. Sam
Speaker 5: had referenced it in our script notes, and so I figured, well, man,
Speaker 5: now that I've rewatched the movie, did I make the
Speaker 5: right choices? And we'll get to One of my choices
Speaker 5: was probably here in a little bit. My number two
Speaker 5: choice was that ending and baby, are you going to
Speaker 5: miss That plane? Which followed my number three choice, which
Speaker 5: was from before Sunrise where they do that whole fake
Speaker 5: phone call thing with each other. It's all about acting
Speaker 5: and performance where they finally get to say what they
Speaker 5: really are thinking about each other, but they get to
Speaker 5: do it under the guise of performance because they are
Speaker 5: sort of playing a role even though they really are
Speaker 5: being themselves. So there is that connection or that link
Speaker 5: between the artifice and what they're really exposing about themselves
Speaker 5: in the two films. I had never fully noticed this before, Josh,
Speaker 5: and it might be a really minor thing, but that
Speaker 5: last line here, I am again I think being a romantic,
Speaker 5: and I realized that maybe I need to temper it
Speaker 5: again and maybe not go full blown cynic, but just
Speaker 5: temper the romanticism a little bit. I always took that
Speaker 5: last line, baby, you're going to miss that plane as
Speaker 5: full on I'm not letting you go. You know you're
Speaker 5: not leaving. We both know we're meant to be together,
Speaker 5: and this is the romance of our lifetimes and our dreams,
Speaker 5: and we finally found each other again after nine years.
Speaker 5: Is in everything great? And I realized with Delpy's line
Speaker 5: delivery that you at least have to keep open the
Speaker 5: interpretation that it's just a statement of fact that at
Speaker 5: this point, baby, you're going to miss that plane, that
Speaker 5: he is almost certainly going to miss that plane, and
Speaker 5: the door, the door for him leaving is at some
Speaker 5: point is still open literally and metaphorically. And I love
Speaker 5: that there is that possibility dual meaning.
Speaker 7: Well, there's she has a level of defense before just
Speaker 7: coming out and saying it that you're going to miss
Speaker 7: that plane. I want you here, we want we should
Speaker 7: be together. Because she delivers that line as part of
Speaker 7: her Nina Simone impersonation, she's not delivering it as Selene.
Speaker 3: That's right.
Speaker 7: Conversation that is allowing them to be honest, but in
Speaker 7: the guise of performance. I think I read this similarly.
Speaker 7: She's being honest, she wants them to miss that plane,
Speaker 7: she wants them to stay romantically, but she's still buffering
Speaker 7: it with performance. There's just a little bit of safety there.
Speaker 7: She's you know again, how she's maybe distinct from Jesse.
Speaker 7: She's not allowing herself to be as vulnerable as she
Speaker 7: could by delivering the statement in that way.
Speaker 5: M hm, I love too. This is another thing I
Speaker 5: never really paid attention to. The shot and the scene
Speaker 5: right before they arrive, right before they get a to
Speaker 5: the apartment, the deliberation, the care that link later takes
Speaker 5: that they take. The performers as they walk up the stairs,
Speaker 5: that spiral staircase seems to take forever, and there is
Speaker 5: a sense of anticipation. There is a sense of anxiety
Speaker 5: too though, because I think they both they both know
Speaker 5: that they don't know what they're about to get themselves into.
Speaker 5: We don't know, and they are not aware fully of
Speaker 5: where this could take them. But I think they fundamentally
Speaker 5: get that once they cross sort of a threshold, that
Speaker 5: threshold being the door into her apartment, who knows where
Speaker 5: this could lead? But it's a place from which they
Speaker 5: maybe can never fully come back from. And I just
Speaker 5: the way you watch Hawk with his sort of wide
Speaker 5: eyed he almost looks like a kid, but there's also
Speaker 5: the kid on Christmas morning, but also a little bit
Speaker 5: afraid of what he's getting into. You see it all,
Speaker 5: and it's just a single steady cam shot that follows
Speaker 5: them up the stairs. It's really beautiful.
Speaker 7: It's to me a direct callback to one of my
Speaker 7: favorite link later scenes from before Sunrise, the listening booth,
Speaker 7: because what it is built upon are them taking turns
Speaker 7: looking at each other when the other one is not
Speaker 7: and looking away, and each note hits what you're describing,
Speaker 7: the hesitancy and the excitement. There are smiles and then
Speaker 7: there are smiles that suddenly fade. They do catch eyes,
Speaker 7: but not the entire time. They're not locked. And that
Speaker 7: exact back and forth is what happens in the Listening
Speaker 7: Booth in a very similar situation. It's where they're considering
Speaker 7: how serious is this? In that listening booth, they're asking
Speaker 7: themselves the same question in this staircase. And there are
Speaker 7: a couple other callbacks, or at least one other couple
Speaker 7: instances of a particular callback. I know we've talked about
Speaker 7: the touching, yes, or almost touching. I want to go
Speaker 7: Leen's hair in before sunrise, we talked about, you know
Speaker 7: how this is possibly stolen when we sense watched and
Speaker 7: discussed Agnes Vardis Clay from five to seven and Clo
Speaker 7: and Antoine that happens with them. I think it's on you. No,
Speaker 7: it's on the tram here and before sunrise where Jesse
Speaker 7: tentatively reaches out for Selene's hair and then takes his
Speaker 7: hand away. I love the moment where they're walking up
Speaker 7: some stairs and these leaves are falling around them. It's
Speaker 7: kind of like an outdoor staircase, and he reaches out.
Speaker 7: I rewounded a couple times, and I almost wonder if
Speaker 7: it's improvised, because he reaches out and it looks like
Speaker 7: a leaf maybe is falling behind her head, and you
Speaker 7: can't tell if he knocks it away or grabs it
Speaker 7: or just pulls his hand back. But then she does it,
Speaker 7: so now it becomes here. We're back to the dynamic
Speaker 7: flipping in the car. Near the end, she reaches out
Speaker 7: to just touch his head but stops. So just a
Speaker 7: lovely callback to one of this series's loveliest moments.
Speaker 5: Yes, and that really stood out to me this time.
Speaker 5: That was my number five. I referenced it earlier. My
Speaker 5: number five was the car scene link later scene. I
Speaker 5: was fine until I read your effing book. And what's
Speaker 5: so great about that scene is partly that that's where
Speaker 5: it really does get real. They're being honest with each
Speaker 5: other in different ways. It builds throughout, but it builds
Speaker 5: to this scene where they both get brutally honest with
Speaker 5: each other, where the emotions come out. Remember, she at
Speaker 5: one point really wants to get out of the car.
Speaker 5: He has to almost restrain her from getting out of
Speaker 5: the car. Right.
Speaker 7: I think it's where she's her most vulnerable. It's why
Speaker 7: it gets so real is now she has put herself
Speaker 7: in the same position he was when he admitted he
Speaker 7: came back and tried to.
Speaker 5: Be Yeah, and at one point, I think earlier in
Speaker 5: that scene, he almost touches her to try to comfort her.
Speaker 5: It's not quite the gesture that she's going to make,
Speaker 5: and it's not quite the gesture he makes that everyone
Speaker 5: remembers from before Sunrise. But then after he finally exposes
Speaker 5: his vulnerability and reveals how rough his life is at
Speaker 5: the moment. That's when she reciprocates, reciprocates the uster from
Speaker 5: across almost a decade now and across movies to before
Speaker 5: Sunrise and Josh, what stands out about that is that
Speaker 5: it's not just link Later being clever and going well,
Speaker 5: Jesse did it in the first movie, So Selene's gonna
Speaker 5: do it here. Of course she's the one who's doing
Speaker 5: it here. She's the one who is driving the entire film.
Speaker 5: She's the more active, dominant presence. It makes sense that
Speaker 5: she would be the one who would almost comfort him
Speaker 5: in that moment. But there's more. Remember his line earlier
Speaker 5: in the film, and I'll just say this too. There
Speaker 5: is something I had also kind of put in the
Speaker 5: back of my brain about this film, thinking about it
Speaker 5: as purely romantic, even though knowing that there were moments
Speaker 5: of brutal honesty. There is a certain melancholy and bittersweetness
Speaker 5: that they bring up over and over again about the
Speaker 5: nine years they lost. I didn't really latch onto that,
Speaker 5: but that is real this why didn't we do this?
Speaker 5: And that regret those nine years being gone? And Hawk says,
Speaker 5: not too long before the scene in the car, if
Speaker 5: somebody would touch me, I would dissolve into molecules. That
Speaker 5: sign that then raises the stakes when she almost touches him. Right,
Speaker 5: it's not just that that it's reversed and that she's
Speaker 5: the one. It makes sense would do that as the
Speaker 5: dominant presence. But what if she does touch him there.
Speaker 7: Well, they have and they have that hug, and she
Speaker 7: asks him, doesn't she are you dissolving her something along?
Speaker 5: She calls back to it. She does. I wanted to
Speaker 5: ask you this or bring it up, and I'll throw
Speaker 5: it out to the listeners too, because I just ran
Speaker 5: out of time at the last minute, and I guess
Speaker 5: it's kind of silly to bring up something that I
Speaker 5: could just answer myself. But doesn't before Sunrise end with
Speaker 5: kind of a lovely little montage of the different locations.
Speaker 7: Visiting the travel Yeah, so here's another reversal.
Speaker 5: Doesn't before on set actually begin with hitting the spots
Speaker 5: that they go to. It's like it's foreshadowing. It's setting
Speaker 5: you up rather than looking back, which is lovely. And
Speaker 5: what clued me into that was I saw that they
Speaker 5: go to the cafe. I saw the sign of the cafe,
Speaker 5: and I started to realize oh, some of these spots
Speaker 5: are familiar, and of course those are the spots they
Speaker 5: end up going to. So something about the camera they're
Speaker 5: telling us ahead of time link later cluing us in
Speaker 5: ahead of time, as if this stuff maybe was almost
Speaker 5: faded in some way and laid out before us. Just
Speaker 5: seems so perfect, especially with all the conversations they're having
Speaker 5: about time and everything happening sort of simultaneously.
Speaker 7: Yeah, a nice touch and also a nice counter to
Speaker 7: how this movie ends, which is then a fade to
Speaker 7: black as action is still taking place, but it now
Speaker 7: becomes private.
Speaker 2: You know.
Speaker 7: It's like we we need to leave them to be
Speaker 7: together now, and this movie needs.
Speaker 5: To end another nice little flourish And this is what
Speaker 5: all clothes on that bookstore moment when they ask him
Speaker 5: a question about what he's working on next, and Jesse
Speaker 5: goes off on this thing he'd always had wanted to write,
Speaker 5: and he's waxing about how time is a lie and yeah,
Speaker 5: and the pop song, the pop song. Everything's happening within
Speaker 5: that moment somehow. But Josh, it really is a beautiful
Speaker 5: thing that I never fully hear again put together that
Speaker 5: he's narrating this story and what he's saying, is all
Speaker 5: his life is just folding into itself, and it's obvious
Speaker 5: to him that time is a lie, that it's all
Speaker 5: happening all the time, and inside every moment is another moment,
Speaker 5: all happening simultaneously. And at that moment, he's saying that
Speaker 5: is when he sees her, And so he's having this
Speaker 5: moment where he's thinking about a book that he might
Speaker 5: write at some point, but it's also a book that
Speaker 5: he's thought about many times throughout his life. He's seeing her,
Speaker 5: which is happening in the present, but then he's probably
Speaker 5: potentially thinking about, who knows, a future, a future with
Speaker 5: her that might even just be the next twenty minutes
Speaker 5: of them reuniting. But then he's thinking about the night
Speaker 5: they had nine years ago, and we always thinking about
Speaker 5: that because of course he is. But also Link later
Speaker 5: shows us those memories in his head. All of it's
Speaker 5: happening simultaneously, time collapsing in that moment.
Speaker 7: Yeah, and I like how she's you know, she's almost
Speaker 7: a vision there standing there where you do, which I
Speaker 7: think almost He does a little double take.
Speaker 3: Is she really there?
Speaker 7: Is this really like she's somehow transported through time? To
Speaker 7: be there, even though it's completely logical that she is.
Speaker 7: I said, I was going to close there. But two
Speaker 7: other just really quick things.
Speaker 5: At the beginning of Before Sunrise, they have that Mary
Speaker 5: couple that gets into a fight with each other, and
Speaker 5: then here you have Ethan Hawke saying that line about
Speaker 5: the couple being divorced at fifty two. And it's just
Speaker 5: interesting to think about those two encounters that exchange at
Speaker 5: the beginning of Sunrise and that line here in Sunset
Speaker 5: as we look forward to what may happen in Before Midnight.
Speaker 5: The other thing that is a totally random aside, but
Speaker 5: it just kind of strikes me as hilarious. And I've
Speaker 5: mentioned this one time on the show before. You may remember, Josh,
Speaker 5: that I discovered pretty randomly actually that back in twenty
Speaker 5: seventeen or something, PBS did a documentary about Richard Linklater
Speaker 5: looking at his career up to that point, and I
Speaker 5: found out that, unbeknownst to me, they used audio from
Speaker 5: the early days of sinecast that you can hear my
Speaker 5: voice in Sam's voice in this documentary. They don't ferent
Speaker 5: cynecastory thing. It's just part of a montage. But Sam
Speaker 5: has a couple lines. I have one line, and we're
Speaker 5: just dogging link Later, right, So I'm getting ready to
Speaker 5: watch before Sunset, and of course I'm doing what most
Speaker 5: of us do. Now, I'm about to bring it up
Speaker 5: on some VOD platform and then I go, wait a second,
Speaker 5: I have the Before Trilogy on Criterion. I should put
Speaker 5: the disc in. I watch it, and then I think, well,
Speaker 5: I've got the Criterion disc. I wonder what the bonus
Speaker 5: features are. I go to the supplements. The first supplement
Speaker 5: is this PBS documentary. Oh no, And I go, wait
Speaker 5: a second, are you kidding me? Is this no? Is
Speaker 5: this the thing? And I start fast forwarding through it,
Speaker 5: and there it is. At the seventy one minute mark,
Speaker 5: they're at the point where they're they're doing this montage,
Speaker 5: this really quick montage talking about how link Later was
Speaker 5: at this point in his career where he was kind
Speaker 5: of unbankable. He'd had some movies that weren't making money
Speaker 5: and critics weren't big on them, like Bad News Bears
Speaker 5: and Fast Food Nation. Though ironically I liked Fast Food Nation.
Speaker 5: I think Sam did too. And there it is. I'm
Speaker 5: finally on a Criterion collection disc. I'm featured not so featured.
Speaker 5: But you know what I mean. I'm included in a
Speaker 5: criterion collection disc of one of my all time favorite films,
Speaker 5: and it's me insulting the filmmaker because I'm tearing down
Speaker 5: the bad news bears. That not really fair, but there
Speaker 5: it is to hot then Before Sunset is currently available
Speaker 5: VOD on most platforms and in that shrink wrap Criterion
Speaker 5: collection edition of the Before trilogy you have in case
Speaker 5: of emergency.
Speaker 7: Listening is the number one thing you can do to
Speaker 7: support an independently produced show like film Spotting. There are
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Speaker 7: a minute to give us a rating or a review
Speaker 7: on Apple Podcasts or Spotify. Doesn't matter if you're a
Speaker 7: first time listener or have been listening for twenty years.
Speaker 7: Every new review helps us reach new listeners. Another way
Speaker 7: to support us the Film Spotting Family. At film spottingfamily
Speaker 7: dot com, we want to thank family member Susie in
Speaker 7: Saint Paul.
Speaker 5: Susie writes she's been listening for years. Her favorite review
Speaker 5: or segment Top five movies with beaches or did I
Speaker 5: Dream That Not a Dream? Josh Episode eight thirty four,
Speaker 5: Top five beach scenes inspired by m Knight Shamlan's Old,
Speaker 5: which it says we did not review, but I don't
Speaker 5: remember doing that Top five. I feel like you talked
Speaker 5: about Old and maybe maybe you had a guest.
Speaker 3: There might have been a guest.
Speaker 7: Yes, I know I've reviewed it, and I think I've
Speaker 7: talked about it on the show.
Speaker 5: A review we got wrong. You didn't get it wrong.
Speaker 5: But watch Josh O'Connor in God's Own Country and you
Speaker 5: will be enthralled.
Speaker 7: We believe we do. Can we just do a Josh
Speaker 7: O'Connor Mini mariyth. I feel like there's a handful we
Speaker 7: need to catch up with both of us.
Speaker 5: There are listeners around the world right now. Fist pumping,
Speaker 5: I hate you said that. A favorite that she revisited recently,
Speaker 5: Twelve Angry Men, a random film she loves, Scorsese's After
Speaker 5: Hours movie she credits with becoming a sinophile. I think
Speaker 5: this is one for a lot of people out there.
Speaker 5: Cinema Paradiso, and a book about movies that she loves,
Speaker 5: Get Happy, The Life of Judy Garland. Thank you, Susie
Speaker 5: for being part of the family and for all those
Speaker 5: years of listening. In addition to keeping us doing what
Speaker 5: we're doing. Your support comes with perks. You get to
Speaker 5: listen early in ad free, you get our weekly newsletter,
Speaker 5: you get exclusive opportunities like being part of the Film
Speaker 5: Spotting Family discord, and you get access to our monthly
Speaker 5: bonus shows. We did just drop in the feed our
Speaker 5: quarterly Film Spotting Advisory Board meeting and coming very soon
Speaker 5: the May bonus show that we just recorded our draft
Speaker 5: with Madness Bracket contest winner Ricky Kendall, directors who are
Speaker 5: no longer with us, which was a blast.
Speaker 3: A lot of fun.
Speaker 7: I think we mostly came away happy everyone, all of us.
Speaker 3: I feel like a.
Speaker 7: Recent draft went that way too. We've got to pick
Speaker 7: a more contentious topic for our next drive, maybe so
Speaker 7: we get some anger going.
Speaker 5: You can learn more about joining the Film Spotting Family
Speaker 5: at Filmspotting Family dot com.
Speaker 3: Our lives are the sum of our choices. This is
Speaker 3: we're calling your destiny.
Speaker 5: I have no regret ansession you. That's from the trailer
Speaker 5: for Mission Impossible, the Final Reckoning, which comes to theaters
Speaker 5: this weekend. We do plan to have a review of
Speaker 5: that on next week's show, but not with you, Josh,
Speaker 5: because you will be off in Japan with your lovely
Speaker 5: bride of how many years at this point are you
Speaker 5: here to share?
Speaker 7: I mean it long enough that it sounds very strange
Speaker 7: for you to say bride, But yes, I don't.
Speaker 5: That's why I asked you to clarify.
Speaker 7: Debbie and I have been married for thirty years. So
Speaker 7: we're doing it big and spending about two weeks in Japan. Really, Actually,
Speaker 7: the truth is I was not allowed to be on
Speaker 7: this show because I really strongly disliked the Final Reckoning.
Speaker 5: I was going to say, you have a reckoning with
Speaker 5: this installment of the Mission Impossible franchise.
Speaker 3: I hope, I hope. You know it seems mixed.
Speaker 7: So I'm hoping either you or Michael do go for
Speaker 7: it and have a good debate about it, because I
Speaker 7: know there are big fans of the series that this
Speaker 7: one did still work for.
Speaker 5: We will see. My guest host will be Michael Phillips
Speaker 5: from the Chicago Tribune. Along with a review of The
Speaker 5: Final Reckoning, we will share our top five movie stunts.
Speaker 5: That's a tie in with the Mi films, of course,
Speaker 5: but also with the recent ish announcement that the Oscars
Speaker 5: will be including a best Stunt category starting with the
Speaker 5: twenty twenty eight ceremony. Here's where I'm at, Josh, right now.
Speaker 5: I recently posted in the film Spotting discord what is
Speaker 5: a movie stunt? What qualifies learn? Are the parameters?
Speaker 3: Oh man?
Speaker 5: Are their technicalities?
Speaker 7: You're lost in the weeds already.
Speaker 5: I'm already lost in the weeds.
Speaker 2: You know.
Speaker 5: Does it have to be a human who's involved? Are
Speaker 5: we allowed to think of them as stunt sequences? Or
Speaker 5: is it a single event? It's tough.
Speaker 7: You're gonna have to get back to me on that,
Speaker 7: or I'll just listen on my flight back.
Speaker 3: Yeah.
Speaker 5: Also, next week, results from the current Film Spotting poll.
Speaker 5: We're asking you to choose the single greatest actor or
Speaker 5: actress from the last twenty five years currently in the lead.
Speaker 5: Apparently people were swayed by my choice the number one
Speaker 5: overall pick from our draft of the actors of the Century.
Speaker 5: You can vote in that poll and leave a comment
Speaker 5: at film spotting dot net, and if you would like
Speaker 5: to check out our schedule of future shows, visit filmspotting
Speaker 5: dot net slash episodes. Josh, you're out for two weeks.
Speaker 5: You're also going to have a meetup with a good
Speaker 5: group of film Spotting listeners in Japan, which will set
Speaker 5: the record for the farthest flung film spotting meetup congract.
Speaker 7: Wait, yeah, it's gonna be in Tokyo and we have
Speaker 7: I thought, what are the chances do we have anyone there?
Speaker 7: At least ten folks have signed up to join us,
Speaker 7: So yeah, we'll definitely be reporting back on that or
Speaker 7: follow us both on Instagram and I'll be sure to
Speaker 7: put up some pictures.
Speaker 5: If you go to film Spotting dot Net slash episodes,
Speaker 5: you'll see that after Michael, Aisha Harris is going to
Speaker 5: join the show really fun show plan with her Clueless
Speaker 5: for its thirtieth anniversary, and our top five movie quotes.
Speaker 5: Movie quotes in our lexicon like the phrases that we
Speaker 5: actually use or have used regularly in our lives. So
Speaker 5: it might be a lot of inside jokes and we'll
Speaker 5: just look at each other with blank faces like we
Speaker 5: don't know what you're referencing.
Speaker 7: We'll see your family's and close friends will get a
Speaker 7: kick out of it, so that's all that matters.
Speaker 5: That's exactly right. Again, that's Film Spotting dot Net Slash Episodes.
Speaker 7: Quick note about our sister podcast, The Next Picture Show
Speaker 7: looking at cinemas present via its past. It is part
Speaker 7: two of their Less than Hero pairings. So they're discussing
Speaker 7: the latest MCU installment, which is getting been getting pretty
Speaker 7: good reviews Thunderbolts. Previously they discussed nineteen ninety nine's Mystery Men,
Speaker 7: so they'll really do some of the compared and contrasting
Speaker 7: on this new latest episode. You can find those every
Speaker 7: Tuesday wherever you get your podcasts. Time now for Massacre Theater,
Speaker 7: where we perform a scene and you get a chance
Speaker 7: to win a film spotting prize. Last time we massacred.
Speaker 3: This scene, I believe the most likely outcome will be
Speaker 3: our collective demise, not if we strictly follow the rules
Speaker 3: of time travel.
Speaker 10: It means no talking to our past selves, no betting
Speaker 10: on sporting events.
Speaker 2: I'm gonna stop you right there, Scott.
Speaker 10: Are you seriously telling me that your plan to save
Speaker 10: the universe is based on.
Speaker 3: Back to the future? No good.
Speaker 1: You have me worried there, because I'd be worship That's not.
Speaker 3: How quantum physics works, Tony.
Speaker 11: We have to take a stand.
Speaker 10: We did stand, and yet here we are. I know
Speaker 10: you got a lot on the line, got a wife,
Speaker 10: a daughter, but I lost someone very important to me,
Speaker 10: A lot of people did, and now now we have
Speaker 10: a chance to bring her back, to bring everyone back.
Speaker 1: And you're telling me that you won't need this, right.
Speaker 7: Scot, I will speaking of the MCU that was Robert
Speaker 7: Downey Junior and Paul Rudd, as well as a few
Speaker 7: others who we didn't perform. The scene comes from twenty
Speaker 7: nineteen's Avengers Endgame, written by Stephen mcpheeley and Christopher Marcus,
Speaker 7: directed by Anthony and Joe Russo.
Speaker 5: That massacre was part of our Top twenty five Films
Speaker 5: of the Century show a couple of weeks back. Endgame
Speaker 5: did not make either of our lists. In fact, not
Speaker 5: a single MCU film made our list. Josh, so, why
Speaker 5: that scene? Well, of course, listeners have answers.
Speaker 7: Here's Dylan dom in Blair, Nebraska, the highest grossing movie
Speaker 7: of the century, paired with the best.
Speaker 5: Robert Gibbons in Kaysville, Utah. Has a good answer. The
Speaker 5: connections are one, it is the top grossing or one
Speaker 5: of the top grossing movies in the last twenty five years,
Speaker 5: which ties into your best of lists. Yeah, And two
Speaker 5: you found a way to bring back the movies that
Speaker 5: were destroyed in film spotting Madness, just like the Avengers
Speaker 5: brought back the people snapped by Thanos.
Speaker 7: Indeed, here's Addison Alley from Salt Lake City, Utah time heist.
Speaker 7: I am expecting a brimming infinity go let of answers
Speaker 7: for this Avengers Endgame scene, a movie that was actually
Speaker 7: so good for its time that it retroactively made people
Speaker 7: believe the MCU had been nothing but masterpieces before that point,
Speaker 7: and prospectively mediocre and terrible. The charm of scene massive
Speaker 7: Superhero team ups has since faded, But g boy, howdy
Speaker 7: did this work in twenty nineteen?
Speaker 5: And here's Michael Rosch in New York, New York. Of course,
Speaker 5: the scene is from that obscure little film Avengers Endgame,
Speaker 5: the tie in besides the obvious oversight that kept the
Speaker 5: film off. Both Adam and Josh's Top twenty five of
Speaker 5: the last twenty five years include the MCU's own meta
Speaker 5: look back. Also, Downey Junior won an Oscar last year
Speaker 5: for a film by Christopher Nolan, a director who showed
Speaker 5: up on both of your lists. I also believe you
Speaker 5: renamed Scott Lang Peter as a nod to Paul Rudd
Speaker 5: being in the newer Ghostbusters films. Peter, of course, was
Speaker 5: Bill Murray's character, and you opened the show on a
Speaker 5: Murray monologue from Lost in Translation. Funny that didn't we
Speaker 5: go with Peter because we were just thinking about I
Speaker 5: love you man.
Speaker 7: I think that's a and Spider Man and Peter Parker.
Speaker 7: But but yeah, this works just as well.
Speaker 5: That works actually the best. We'll go with that, Michael.
Speaker 5: Thank you. Josh, go ahead and reach into that pretty
Speaker 5: brimming film Spotting hat and pick out this week's winner.
Speaker 7: Our winner is Dave Allen from Parts Unknown, who yeah
Speaker 7: joins in with the Thunderbolts praise, saying here, I'm not
Speaker 7: sure if you guys are planning to watch a review Thunderbolts,
Speaker 7: but I think it's the best Marvel movie since shan Che.
Speaker 5: How about that, Dave. We don't know where you're from,
Speaker 5: but we will if you send us your address, get
Speaker 5: you a film Spotting t shirt or a film Spotting
Speaker 5: tote bag, or a trial membership to the Film Spotting Family.
Speaker 5: Email us feedback at film spotting dot net.
Speaker 3: How did I come to this?
Speaker 10: Not again?
Speaker 3: Five natural one? Look at me? I want to say
Speaker 3: that stupid line one more time.
Speaker 5: We move on now to this week's edition of Massacre
Speaker 5: or a Theater. I'm gonna give everybody a hint, because
Speaker 5: I don't think the hat's going to be very brimming.
Speaker 5: We're apparently obsessed with this movie here on Bone Spot.
Speaker 5: I'm just gonna leave it out.
Speaker 7: In a little last minute research, we appear to have
Speaker 7: done a scene from this film about a year ago.
Speaker 3: So there's a clue for you.
Speaker 7: We didn't discuss this beforehand, but we need to swap
Speaker 7: in a name here in your last line.
Speaker 3: Do we want to go with?
Speaker 5: I got one?
Speaker 3: Okay, you got one? All right, We're gonna go surprise
Speaker 3: me there.
Speaker 5: I think I think that this is potentially another hint
Speaker 5: if people are really paying attention, I.
Speaker 7: Was actually going to suggest the same thing, okay, on
Speaker 7: the same page, on the same page there, and also here,
Speaker 7: I'll give another hint. If you have already listened or
Speaker 7: will soon listen to our film spoting family bonus episode
Speaker 7: about a draft of dead directors. This title, I believe
Speaker 7: is mentioned the film. Your absolute comes up quite a bit.
Speaker 7: We'll say that, okay, okay, I think we'll hopefully we've
Speaker 7: dropped enough our performances will be of no help at all.
Speaker 5: They will be of no help. And I am going
Speaker 5: to point out that I have once again been typecast.
Speaker 3: I mean this that or it's your your strength. Well, no,
Speaker 3: it's not your strength. We could just you're just.
Speaker 5: We could go with that. Okay, I'm gonna start it off.
Speaker 5: You're gonna give me the action and action. Oh but
Speaker 5: you have that look, dear, I can always tell now
Speaker 5: you haven't been doing anything foolish. M m, well, I
Speaker 5: do hope you've forgotten all about that silly little plan
Speaker 5: of yours, which one about blowing up the White House.
Speaker 7: Oh ma, I was only fooling. Besides, what would the
Speaker 7: president say?
Speaker 5: You're a naughty boy, Sasha. You can always make me laugh.
Speaker 5: Now get shaved before your father gets home.
Speaker 3: Wow, and see, man, I don't know it is.
Speaker 5: Maybe it is a position of strength.
Speaker 7: If you add giggling, I think it becomes a position
Speaker 7: of strength.
Speaker 5: Nicely do if you know what film we just massacred,
Speaker 5: email the movie's title and your name on location to
Speaker 5: feedback at film spotting dot net. The deadline is Monday,
Speaker 5: junifverse Robert Downey Junior last week, This this week, range
Speaker 5: course the winner randomly from all the correct entries and
Speaker 5: announce it in a couple of weeks.
Speaker 2: Ring ring, ring, Ring, Ring, ring, Pick up, pick up
Speaker 2: the phone. Hello, Hello, ven Selina, Seva bien et.
Speaker 5: Shows that quiet.
Speaker 10: I've been working on my English recently.
Speaker 4: You want to talk in English?
Speaker 6: Just for laughs?
Speaker 5: Yeah, okay, that's a good idea.
Speaker 1: I don't think I'm going to be able to make
Speaker 1: it for lunch today.
Speaker 7: Selene and Jesse again, this time in nineteen ninety five's
Speaker 7: before Sunrise. We revisited Sunrise just back in March. That
Speaker 7: was part of Film Spotting Fest. We closed out those
Speaker 7: wonderful three days Adam with a sold out Sunday morning
Speaker 7: screening at Chicago's Music Box, and then after the screening,
Speaker 7: we hauled ourselves back up on stage. You and I
Speaker 7: were quite exhausted, but we leaned on producer Sam and
Speaker 7: critic and friends Scott Tobias to talk about the film.
Speaker 3: Here is that audio.
Speaker 5: We're excited to have Scott Tobias, our friend from the
Speaker 5: Next Picture Show podcast and from the Reveal, joining us
Speaker 5: to talk about, as you heard, one of my all
Speaker 5: time favorite movies before Sunday. Scott, thanks for joining.
Speaker 2: Us thanks for having me. This is great.
Speaker 12: And look at all these people stick it around for
Speaker 12: your Q and I like a bunch of sickos.
Speaker 3: Yep.
Speaker 5: Funny I mentioned Friday Night with Ryan Johnson. You know
Speaker 5: how Brick is one of these films where it's all
Speaker 5: taking place in high school and there's one cell phone
Speaker 5: in the movie, and how different the movie would be. Now,
Speaker 5: this is the ultimate pre cell phone movie, right, pre
Speaker 5: social media film.
Speaker 12: I think you'd have to in order to I was
Speaker 12: thinking about that, and I think the only way to
Speaker 12: make it work is if they both somehow drop their
Speaker 12: cell phones into the Danube, and then I think maybe
Speaker 12: you could have this work.
Speaker 7: You do wonder how do the kids meet these days?
Speaker 7: Like if they don't carry around books that you can say,
Speaker 7: what are you reading? It's like what are you looking
Speaker 7: at on your phone while someone's dancing?
Speaker 3: I mean, you know, hey, yeah.
Speaker 5: So, before we dive into the movie a little bit further,
Speaker 5: we've been talking to all of our guests about kind
Speaker 5: of this is the twentieth year of the show, right,
Speaker 5: so reflecting a little bit and want to share with
Speaker 5: the audience our relationship actually to you, Scott, and I
Speaker 5: guess we'll get it a little bit, your relationship to us,
Speaker 5: but your tenure with the AV Club give us the
Speaker 5: years just so we can kind.
Speaker 12: Of I met my longtime partner and friend and editor
Speaker 12: and current cohort Keith Phipps in nineteen ninety seven at
Speaker 12: a junket for Goodwill Hunting and Scream two. I was
Speaker 12: in college graduate school, and he was working for the
Speaker 12: AV Club. He was part of what was a skeleton
Speaker 12: crew of three at the time, working out of Madison,
Speaker 12: and they were just starting up the Chicago edition and
Speaker 12: needed somebody to do the local part of that. I
Speaker 12: did not get that job, but I did start freelancing for.
Speaker 2: Them, and they came up in nineteen ninety nine.
Speaker 12: Was there I think until two thousand and twelve or
Speaker 12: twenty and fourteen, I can't remember. And then we started
Speaker 12: the Dissolve together, which lasted for a couple of years
Speaker 12: through Pitchfork and now we have The Reveal, which is
Speaker 12: their newsletter.
Speaker 2: Yeah.
Speaker 5: So between ninety seven and two thousand and five when
Speaker 5: our show started, all three of us are reading the
Speaker 5: AV Club, reading Keith reading Tasha Robinson reading you, and
Speaker 5: we're thinking about, man if we could ever get guests
Speaker 5: on the show. Would we ever get a guy like
Speaker 5: Scott Tobias to pay attention to us? Honestly, that what
Speaker 5: we thought undred percent, And I think you were maybe
Speaker 5: the second ever guest host that we had. You actually
Speaker 5: said yes and came on the show, but even before that,
Speaker 5: you listened to the show to decide whether or not
Speaker 5: you thought it was worth it, and then you wrote
Speaker 5: something very lovely about us in the av Club that
Speaker 5: we had no idea was coming, but for us back
Speaker 5: in six whenever it was, it was very validating. So
Speaker 5: thank you. It was.
Speaker 12: It was great, and I have to say you reached
Speaker 12: out to me at first, I think when it was
Speaker 12: cinecast and I was like, what is this I'm not
Speaker 12: gonna do, And so it was, you know, just a
Speaker 12: matter of you listening to the show and being completely
Speaker 12: blown away by how good the discussion was, the quality
Speaker 12: of the production, the quality of the insight, and of
Speaker 12: course it was something I was happy to recommend and
Speaker 12: then join for as a guest episode about Knocked Up.
Speaker 2: I believe was what we.
Speaker 5: Thought right, Sam was off you join joined me for
Speaker 5: that one twenty fifth anniversary. We'll sit down and have
Speaker 5: a conversation. We'll devote an entire panel just to the
Speaker 5: legal dispute that caused us to change our name to
Speaker 5: film Spotting, because I know everyone dying to hear that.
Speaker 5: But yes, we did start as sinecaster first one hundred episodes,
Speaker 5: so before Sunrise. What was your relationship to it at
Speaker 5: the time that came out. Tell us about your first experience.
Speaker 12: It's really kind of perfect because I am the same
Speaker 12: age as the characters in the movie. I think Selene
Speaker 12: says she's twenty three. I think that would have been
Speaker 12: when I saw it. I was one year out of school.
Speaker 12: It was kind of towny at that point in Athens, Georgia,
Speaker 12: and I saw the movie at a screening at college,
Speaker 12: like at college screening, and at the time link latter
Speaker 12: was extremely exciting. This was, you know, because yes, Slacker
Speaker 12: had come out while I was an undergrad, like it
Speaker 12: was ninety three.
Speaker 2: Was days to confused.
Speaker 12: You didn't mention, of course, I wasn't aware of his
Speaker 12: actual first film, which is what the uh?
Speaker 2: You can't learn to plow by reading books.
Speaker 12: But in any case, I was a bit of a
Speaker 12: ethan hawk skeptic at the time, but I was completely
Speaker 12: wowed by the movie and extremely moved by it, and
Speaker 12: I remain so this was powerful to see, and it's
Speaker 12: extraordinary to me that the sequels exists. That was one
Speaker 12: of those people where it was like, Oh, there's going
Speaker 12: to be another Before Sunrise movie.
Speaker 2: I think ten years later I was like, no, what
Speaker 2: are you doing.
Speaker 3: This is a horrible idea.
Speaker 12: Then, of course it turns out to it was not
Speaker 12: a horrible if anything, if anything at least is going
Speaker 12: to be even better than this one.
Speaker 2: So but I feel like, you know, I've grown with it.
Speaker 2: And one of the things that I really appreciate.
Speaker 12: About the film is that it is such a chronicle
Speaker 12: of a specific moment of a person's life. They have
Speaker 12: to be this age in order to have this kind
Speaker 12: of experience, in order to have that impulse to get
Speaker 12: off the train, in order to really engage not just
Speaker 12: in each.
Speaker 2: Other, but the idea of doing this, I think, is
Speaker 2: very specific.
Speaker 12: To that time and where they are in their lives,
Speaker 12: and this is a film that captures that feeling so intensely.
Speaker 5: I think I just saw it on DVD or VHS,
Speaker 5: maybe even at the time in ninety five, I had
Speaker 5: to wait. It was not coming to my small town
Speaker 5: theater in Iowa.
Speaker 2: What was your experience, guys.
Speaker 3: Yeah, for me, it was definitely a college movie.
Speaker 7: I was in college at the time, so would have
Speaker 7: seen it then, And you don't remember liking it, but
Speaker 7: probably having a little of that hawk skepticism even though
Speaker 7: so reality bites you were saying, Adam was just before,
Speaker 7: right just before.
Speaker 3: And which I liked.
Speaker 7: But it's kind of, you know, you look at him
Speaker 7: kind of like she does in this movie, a little
Speaker 7: askance at first, even though you are mesmerized by what
Speaker 7: he's saying. And so it's probably a movie that I
Speaker 7: warmed up to. But I think that's the right relationship
Speaker 7: to have with this film. As wonderful as it is
Speaker 7: to see at a young age, it's when you're maybe
Speaker 7: a little closer to that couple on the train that
Speaker 7: this movie starts to kind of burrow deeper. And it was,
Speaker 7: you know, maybe not until I don't know, I'm teem
Speaker 7: viewing for when we talked about it. For some maybe
Speaker 7: it was one of those top five lists. I looked
Speaker 7: at it again, Adam, but realizing you, does she know
Speaker 7: when she gets up to move away from them, that
Speaker 7: in twenty years, you know, before midnight, you know that
Speaker 7: she's going to be playing a variation of that scene
Speaker 7: with him. So spoiler sorry for those who are just
Speaker 7: seeing this the first time, like a.
Speaker 5: Love little journey to go on everybody, Yeah, we promise.
Speaker 7: All that to say is it's a movie that's wonderful
Speaker 7: if you see it at you know, thirteen or whatever,
Speaker 7: but you're gonna love it a lot lot more down
Speaker 7: the road.
Speaker 3: When did you see it?
Speaker 1: So, so I would have been twenty. It came out,
Speaker 1: you said, a limited release in the summer, so I
Speaker 1: think I had kind of an ideal viewing. It actually
Speaker 1: did come to the small theater in my town in
Speaker 1: central New Hampshire, in the Lakes region, and probably it
Speaker 1: was a lovely, you know, summer evening, and my mom
Speaker 1: and I went to see it together. So I just
Speaker 1: feel like, you know, what I was thinking is I
Speaker 1: was here, is like, this is a film I've seen
Speaker 1: many times, but something was missing all of you, right,
Speaker 1: just like Delpy says, there was something special about seeing
Speaker 1: it here, deeply moving and of course you can't extract
Speaker 1: this from the entire before enterprise at this point, the
Speaker 1: three films and what they meant. I think the last
Speaker 1: time I saw it was maybe right on the heels
Speaker 1: of midnight, and I was thinking about it before this morning.
Speaker 1: You know, if any of us are in relationships that
Speaker 1: are at all stable, happy, however you want to talk
Speaker 1: about it, maybe the last emotionally risky thing we did
Speaker 1: was initiate that conversation, that first date with the people
Speaker 1: we're still with, right and this movie, and we'll get
Speaker 1: into maybe our favorite moment, so I'll save it next.
Speaker 1: But this is a movie all about those moments of
Speaker 1: taking little leaps, of embracing that risk. And so what
Speaker 1: it makes you think, you know, more than what makes
Speaker 1: it special as a movie is make it and how
Speaker 1: you end up reflecting on your life, My life at twenty,
Speaker 1: life at you know, at nearly thirty, at in my forties,
Speaker 1: and that's what makes this whole thing such a special thing.
Speaker 5: Yeah, for all you non gen xers out there, all
Speaker 5: you kids, you know, congrats on your youth, but you
Speaker 5: you didn't get to have Jesse and Saline mark the
Speaker 5: stages of your life the way we did, right, And
Speaker 5: I really do value that and feel that that's that's
Speaker 5: something really special. You set us up, Sam, I think
Speaker 5: we should we should talk about it. There are so
Speaker 5: many great moments to choose from. We did do a
Speaker 5: top five link later scenes. We should have just done
Speaker 5: scenes from this trilogy, and maybe we can revisit that
Speaker 5: at some point. What's your favorite moment in the film,
Speaker 5: What is your favorite scene? We can kind of go
Speaker 5: down the road same did one? Did one stand out
Speaker 5: this time? Is it different than what maybe you thought
Speaker 5: it was going to be going in?
Speaker 1: There are three and a right to not scenes moments,
Speaker 1: So these are moments, and these are all wordless moments.
Speaker 1: And I realized, actually very late that what made me
Speaker 1: be able to take in these moments is that there's
Speaker 1: no score. There's music, but no score. In fact the harpsichord.
Speaker 1: I was like, oh there is a score. No, no,
Speaker 1: it's a real harpsichord the garden apartment. So there are
Speaker 1: three moments and they all capture what I was getting
Speaker 1: at the terror of encountering the real Oh shit, this
Speaker 1: is real life. And the first moment is when Jesse
Speaker 1: decides to first say something to Suline, and there I
Speaker 1: don't think it's my imagination. There's a subtle push in
Speaker 1: of the camera right before he says something, so you
Speaker 1: see the choice he makes and It's like, these are
Speaker 1: the moments where you can't not be sincere. This is
Speaker 1: such a gen X movie. Sincerity was not something we
Speaker 1: were great at. We didn't love that still are.
Speaker 12: So.
Speaker 1: So there's that moment and you see it on his face,
Speaker 1: and again the camera really helps with that. There's that
Speaker 1: little push in the listening booth scene. Obviously great.
Speaker 5: So you're gonna take all of it.
Speaker 1: I'm not gonna take the scene. I'm not gonna take
Speaker 1: the scene. I'm just gonna There is a moment, so
Speaker 1: the music starts. God, what a great scene. God, But
Speaker 1: there is a moment the music started. As soon as
Speaker 1: we hear her voice, Selene is startled. There's a moment
Speaker 1: where she almost shakes because it's the voice again is
Speaker 1: singing with such sincerity that I think it wakes her
Speaker 1: up to the reality of the moment. And and we've
Speaker 1: all felt that that little shiver of what music can
Speaker 1: do and being in that moment with somebody. The third moment,
Speaker 1: right before the kiss, it's right before the first kiss.
Speaker 1: They're on what what is that called that they're on?
Speaker 1: It's like a it is a fairis wheel, Okay, it
Speaker 1: has a European name, probably but it's very famous.
Speaker 2: It's the way from the third man.
Speaker 1: Oh sure, right, of course, the moment right before they
Speaker 1: actually kiss, there's been that whole great exchange about like,
Speaker 1: you know, he's trying to make it cute. You see
Speaker 1: on his face. There's no other word for it. It's terror.
Speaker 1: He's like, this is real, We're really doing this, this
Speaker 1: is meaningful. And again, the lack of score. I think
Speaker 1: a score would erase those moments or your ability to
Speaker 1: connect with those moments. It's so nakedly exposed and they're
Speaker 1: so good at capturing it. Those are my three favorite.
Speaker 5: Moments between she talks about later you need it, and
Speaker 5: the music would ruin that great, great film.
Speaker 3: So yeah, lack of score.
Speaker 7: I'm going to talk about moments where there's lack of
Speaker 7: dialogue and there's an irony there with you know, Linklater,
Speaker 7: who is such a verbose filmmaker in so many great ways.
Speaker 7: But when we did our you mentioned ad on top
Speaker 7: five Ethan Hawk moments. This was episode six ninety six.
Speaker 7: I picked on the tram that early moment where he
Speaker 7: tentatively reaches out to fix Salim's hair and then stops
Speaker 7: himself because it's the pause for me.
Speaker 3: That's romantic.
Speaker 7: It's the it's the acknowledging of where we are right
Speaker 7: now and we're not there. And so I'm going to pause.
Speaker 7: And we when we did uh just talk about our
Speaker 7: Pantheon review Adam of Cleo from five to seventh of
Speaker 7: ARTI film, we were talking about how that extended tram
Speaker 7: scene between the two of them, there is, you know,
Speaker 7: obvious inspiration for this tram sequence.
Speaker 1: So and the Palm Reader, did you guys think of
Speaker 1: that too? That's right, the Palm Reader, which is opens
Speaker 1: ives of seven.
Speaker 3: Start to the Power. Yeah, yeah, I forgot about that.
Speaker 5: Sam.
Speaker 7: That's good, and so the other one. And I have
Speaker 7: the receipts for this, so I'm claiming this and I
Speaker 7: can prove it. Sorry, Scott, but we did link later
Speaker 7: scenes on five to eighty one. My number one all
Speaker 7: his filmography, listening Booth.
Speaker 3: It's the listening booth.
Speaker 7: And it's again no words, a word, one word. You're
Speaker 7: begging that no one says a word, because one word
Speaker 7: from two of them would ruin that.
Speaker 3: And the way we're allowed to read into their reactions.
Speaker 7: I don't know if there's any interviews that talk about
Speaker 7: rehearsals that went into that or did link later just
Speaker 7: throw them into the booth and trust them. You know,
Speaker 7: their chemistry is obviously one of the major elements of
Speaker 7: this movie. But yeah, to just to let that play out,
Speaker 7: and then the choice to end it, which I had
Speaker 7: forgotten again watching it today, but that it doesn't conclude,
Speaker 7: but that song continues as then we get a few
Speaker 7: shots across the city. So yeah, for me, it's always
Speaker 7: going to be the listening booth.
Speaker 2: I was like, Nobod's gonna take the listening booth, I'll salute.
Speaker 3: Yeah.
Speaker 12: I mean one thing another thing I will add about
Speaker 12: the listening booth before choosing something else is I think
Speaker 12: when you have that experience of just saying this is
Speaker 12: a really cool song, you want to listen to it.
Speaker 12: It's the most awkward thing in the world you could
Speaker 12: do just to stand around and listen to this. And
Speaker 12: this is still a reasonably they still don't know each
Speaker 12: other terribly well, but there is desire that and so
Speaker 12: you get all of that, You get that feel of
Speaker 12: you're so uncomfortable being in that space together, yet you're
Speaker 12: feeling the flirtiness and the desire and everything is all
Speaker 12: sort of done wordlessly, and the just as performance piece.
Speaker 2: Just watching those two actors in that scene is incredible.
Speaker 2: But I'm just go ahead and let that one go
Speaker 2: to me. It's the it's it's a phone call, uh,
Speaker 2: the because you know, it's it's.
Speaker 12: So funny and adorable and romantic. But I also love
Speaker 12: how that exercise allows them the opportunity to say how
Speaker 12: they really feel about each other and talk in whether
Speaker 12: they could not have accessed any other way and so,
Speaker 12: and it comes at a point, you know, a little
Speaker 12: bit later in the film where where they're feelings for
Speaker 12: each other have really intensified. And yeah, that's the one
Speaker 12: for me.
Speaker 5: I was sure thinking about this earlier today that I
Speaker 5: was going to say the listening booth as well, because
Speaker 5: it's it's incredible. Yeah, I have no other options here,
Speaker 5: thanks guys. But the the interesting thing too, I noticed
Speaker 5: this time. I never really thought about it before, but Sam,
Speaker 5: the kiss follows on the heels of that, and I
Speaker 5: don't think the kiss happens at least at that point
Speaker 5: in the movie, that point in their day, if we
Speaker 5: don't get the listening booth scined first.
Speaker 7: It's right, it't happen in the listening booth either. No,
Speaker 7: that's yeah, that would be be interruptive as a word said.
Speaker 5: We need to know, they need to know, they need
Speaker 5: to have that shared experience, that they both want it,
Speaker 5: even though they're they're not directly communicating it. And that's
Speaker 5: why I think he feels not only like he has to,
Speaker 5: you know, he needs to do it, but emboldened to
Speaker 5: actually try. I think it follows the listening booth. So
Speaker 5: I look back at my link later scenes and I
Speaker 5: thought again that would be number one or two, and
Speaker 5: actually that was an honorable mention, my first honorable mention.
Speaker 5: So my number one link later scene was the one
Speaker 5: you just mentioned, Scott. It's the fake phone call scene,
Speaker 5: and it is because of the honesty. And you think
Speaker 5: about those first dates, Sam, you've mentioned that when you
Speaker 5: build up the courage to ask someone out, most of
Speaker 5: us probably don't have first states that are quite like
Speaker 5: this in the movie.
Speaker 3: You know, they're being pretty.
Speaker 5: Open with each other, but you're not open, You're not honest,
Speaker 5: You're not truly honest on a first date. You're still
Speaker 5: presenting a version of yourself, the best version you can
Speaker 5: possibly present. And as honest as they are being with
Speaker 5: each other, that's the moment where they finally get to
Speaker 5: really understand how the other feels about them, and they
Speaker 5: only get to do it through the artifice. They only
Speaker 5: get to do it through the mechanism of play acting.
Speaker 5: It's theater, and the other element of it that I
Speaker 5: love is that she says, she reveals that, if she's
Speaker 5: being honest, the moment she really fell in love with
Speaker 5: him was when he was telling the story on the
Speaker 5: train about his grandmother passing away. And the thing is
Speaker 5: Link later. Of course, being the one who wrote the script,
Speaker 5: he shows us that. He tells us that go back
Speaker 5: and watch it that close up when they cut to
Speaker 5: that reverse shot of her, the camera is just slightly closer.
Speaker 5: We really haven't seen Delpy quite that close. We haven't
Speaker 5: seem Dealty that beautiful. There's something about just the way
Speaker 5: she's tilting her head. It's in the performance too, but
Speaker 5: between performance and what Link later is really subtly done
Speaker 5: with the camera.
Speaker 2: We see it on her face.
Speaker 5: We read that like, that's the moment she's.
Speaker 1: We not only see it, but we remember it when
Speaker 1: she mentions it later that that's the moment. We already
Speaker 1: knew it was.
Speaker 5: The moment so time I was I was shimed. I
Speaker 5: don't know why I was shocked by this, because I
Speaker 5: do love Richard link Later movies and would have thought,
Speaker 5: of course he's going to deal with time. But it's
Speaker 5: really like the basis of every conversation to have in
Speaker 5: this film isn't.
Speaker 1: Every twenty minutes it comes up. I mean, I think
Speaker 1: the first time is when he's talking about his documentary
Speaker 1: idea for cable access or whatever, and.
Speaker 5: I'm thinking about Boyhood and ead Evanquility go on to
Speaker 5: do something kind of like.
Speaker 1: It, but it's like, oh, yeah, just hits you capital
Speaker 1: t time and then it comes up over and over again. Yeah,
Speaker 1: that it's already very much on his mind.
Speaker 7: And this space they have because it's a limited time space.
Speaker 7: I think that's another reason for the honesty. It frees
Speaker 7: them up, you know, because they are constricted. They have
Speaker 7: time barriers, time constraints, and so they're not planning. I mean,
Speaker 7: they eventually start planning, but they're not planning for date two,
Speaker 7: I guess, and there's a freedom in that, but it's
Speaker 7: all because of the time constriction.
Speaker 2: Yeah.
Speaker 12: I mean that is the theme of link Latter's career.
Speaker 12: Time and memory, and I think memory is a part
Speaker 12: of this film as well.
Speaker 2: You know.
Speaker 12: But if you think about link Latter's career, the film
Speaker 12: he did before this was another Dusk till Dawn movie
Speaker 12: was Days and Confused, sort of based around his own
Speaker 12: memories of high school. This happened to him as well
Speaker 12: some version of this story. Your Boyhood is obviously an
Speaker 12: extension of time which we're following people in both a
Speaker 12: real way and Almoso documentary way as well, because these
Speaker 12: are real the actors are real people who are who
Speaker 12: are growing throughout this amount of time. And of course
Speaker 12: all these three films together also interesting to think about
Speaker 12: in terms of time. If you think about the amount
Speaker 12: of time that Justin and Seleen spend together, you know,
Speaker 12: it's just very little between this between the time they
Speaker 12: spend here, which is certainly less than twenty four hours,
Speaker 12: and then and then the little bit of time they
Speaker 12: get in before a sunset, which is kind of done
Speaker 12: in real time. The amount of actual time they spend
Speaker 12: together is very very small, which might also explain how
Speaker 12: much they're fighting and before midnight when they get to
Speaker 12: know each other.
Speaker 2: But and then of course with the memory part, I.
Speaker 12: Mean you get at the end of this movie, this
Speaker 12: beautiful montage of all the spaces that they've visited and
Speaker 12: recontextualized by their relationship. All of these spaces now have
Speaker 12: a meeting imposed upon them and imposed upon us due
Speaker 12: to their presence in them, and those spaces are going
Speaker 12: to be remember, are going to be burned in their
Speaker 12: memories and hopefully, I guess if we appreciate the movie
Speaker 12: burned in ours.
Speaker 7: I think that connects with your the opening thing you
Speaker 7: mentioned Adam about you know, the camera phones and the technology.
Speaker 7: It's when they say when he says I'm going to
Speaker 7: take a picture, you know, and then doesn't, but he
Speaker 7: stands there we're getting Those are the pictures they might
Speaker 7: have taken of those spots, Scott when we get back
Speaker 7: to it.
Speaker 3: So yeah, I like that that connects with.
Speaker 12: This you know selfie sticks at that time, which was.
Speaker 1: Well, not only that, but you realize there are the
Speaker 1: moments when the conversation dies. That's where I was like,
Speaker 1: I wanted to throw my phone into the equivalent of
Speaker 1: the Danube because it's like we fill those moments. Those
Speaker 1: are the moments we'd reach for our phone or be
Speaker 1: like check my texts or check my email. They have
Speaker 1: to sit in those moments of discomfort. The conversation has
Speaker 1: has kind of gone into a little bit of a
Speaker 1: lull and they have to reignite it. It's a nice bridge,
Speaker 1: and it's yeah, and it's like we don't we yeah,
Speaker 1: put it, you know.
Speaker 2: It's like, I like this bridge.
Speaker 1: Exactly, we even see that exactly. I got nothing, but
Speaker 1: I realized there needs to be something here.
Speaker 3: How about the bridge.
Speaker 1: Identifying with those moments in a different way. It's like,
Speaker 1: we don't, we don't do that anymore, And it made
Speaker 1: me long for those moments.
Speaker 12: Yeah, there's a really significant small thing that happens in
Speaker 12: the movie, at least something that I caught when watching it,
Speaker 12: is when the palm reader comes over and says something
Speaker 12: to Selene about how she believes in the power of
Speaker 12: the moment.
Speaker 2: And I think that's really a critical.
Speaker 12: Thing about a film like this, or film like Days
Speaker 12: to Confused, where it's just in its memory based of
Speaker 12: just like these really critical moments out of time that
Speaker 12: just stay with you and are so important, and that
Speaker 12: these two people believe in so sincerely that they're able,
Speaker 12: that they're willing to jump off this train, to get
Speaker 12: off this train together and do something impulsive because they
Speaker 12: want they believe in the power of the moment, and
Speaker 12: they're willing to pursue this moment is as passionately as
Speaker 12: they can without regard to the consequences, without having caution
Speaker 12: about what, you know, the reality that there is an
Speaker 12: endpoint to all of this, where where she's going to
Speaker 12: get back on train, He's going to take the plane
Speaker 12: back to America, and this this is going to end.
Speaker 2: They disregard that thought.
Speaker 5: I'm glad that you mentioned memory in addition to time,
Speaker 5: because I guess enough time had passed since I last
Speaker 5: seen this film. I had forgotten about the coda at
Speaker 5: the end the post. I kind of thought it ended
Speaker 5: there at the train station, and the fact that we
Speaker 5: get link later just kind of reminding us of the
Speaker 5: different spots that they hit. But then we also get
Speaker 5: cuts back to each of them reflecting, and you can't
Speaker 5: imagine in that moment that that's what they're doing, is
Speaker 5: they're replaying the night, that's their vision, reimagining, you know,
Speaker 5: what they experienced together. So I forgot to do this earlier.
Speaker 5: You can trust Ethan Hawk is going to have an
Speaker 5: original idea. We kept overlapping on our favorite scenes, but
Speaker 5: I did have a chance. Still my favorite interview ever,
Speaker 5: and it was because of Ethan Hawk one hundred percent
Speaker 5: what he gave to the interview. Best conversation I've had
Speaker 5: on the show a few years back. That's not with Josh,
Speaker 5: Yeah exactly. Okay, well said, if then can win, that's fine.
Speaker 5: And at the end of the conversation, we were out
Speaker 5: of time, and I was going to go through with
Speaker 5: him these scenes and these moments and just get him
Speaker 5: to talk about them, but we were out of time.
Speaker 5: As you'll hear, he still decided to share with us
Speaker 5: what his favorite moment is in the film. So I
Speaker 5: think Ali's going to help us out and play it.
Speaker 5: There's so much more we could get to. We did
Speaker 5: our top five wink Later scenes a while back, I
Speaker 5: think when Everybody Wants Some came out and I just
Speaker 5: looking at Nist again, realized that four of my five
Speaker 5: scenes had you in it. Go and maybe you're Maybe
Speaker 5: another time we'll be able to go through those.
Speaker 1: Yeah, I have to do my favorite that I've ever been.
Speaker 6: He is talking Julie to get off the train before summer.
Speaker 6: Oh yeah, you know, I'm telling her that she was
Speaker 6: going to be a time traveler, and I was going
Speaker 6: to make her feel better about her present marriage by
Speaker 6: revealing to her how what a loser I want.
Speaker 1: He was a loser. That's the thing. Isn't that the
Speaker 1: big secret in this movie? He almost blows it like
Speaker 1: a half a dozen times at least.
Speaker 5: Yeah, I mean he's still He's still Ethan Hawk, And
Speaker 5: I'm going to say that that two film run with
Speaker 5: reality bites in this maybe the most gorgeous man ever
Speaker 5: on screen. So at least that's you know, my predilections.
Speaker 5: But you know, I like that that as well because
Speaker 5: it brings up the time travel aspect of it and
Speaker 5: saying you're right that maybe every twenty minutes time is
Speaker 5: explicitly referenced, but every single conversation is either them thinking
Speaker 5: about the future, even imagining a future that they may
Speaker 5: have together, even though I don't think either of them
Speaker 5: in that moment actually believe that, or they're reflecting on
Speaker 5: their past, right.
Speaker 7: I do think the deflation of Jesse is key to
Speaker 7: this movie though. It's really why it works. But it's not,
Speaker 7: you know, making him into a joke at all. It's
Speaker 7: allowing him to be a truer sense of himself it's
Speaker 7: allowing him to be more than that guy who is
Speaker 7: telling that time travel story, which is a great one,
Speaker 7: but it's a bit of a performance, right, And so
Speaker 7: he needs someone like her who's willing to prod and
Speaker 7: poke at that affectionately so that he can become more genuine.
Speaker 3: And then she needs him.
Speaker 7: She needs a sparring partner. She needs someone to, like,
Speaker 7: you know, provide her with some ideas she can push
Speaker 7: back against. And he's definitely do that and doing that,
Speaker 7: and in a way they become this couple that is
Speaker 7: self giving. I think Jesse says a couple of times
Speaker 7: when he talks about love, who are giving each other
Speaker 7: something else that they need. It might just be for
Speaker 7: these eighteen hours or whatever. But Delpy reminded me watching
Speaker 7: it today of another great nineties woman character, actually Elaine
Speaker 7: in Seinfeld. I was getting so many Julia Louis Dreyfus,
Speaker 7: because especially that one line where she goes he says, what.
Speaker 3: Bothers you, and shees, I hate everything. It's just like
Speaker 3: and then you can see her going off.
Speaker 7: I was picturing how there's this same sort of like
Speaker 7: going to take the world on and not worry about
Speaker 7: the consequences, and he provides her that space to do
Speaker 7: it for these couple of hours.
Speaker 1: Well, I love too that link Later and his writing
Speaker 1: partner clearly had learned a few things, but they were
Speaker 1: still able to write for who these characters were at
Speaker 1: that time, which were two people that had a lot
Speaker 1: of ideas and no experience. They were full of shit basically,
Speaker 1: you know when when kind of us when we start exactly,
Speaker 1: but when Hawk says something like what is love? But
Speaker 1: two selfish people just don't want to be lonely, I'm like, Nope,
Speaker 1: not actually at all. You're totally wrong, And that's that's okay,
Speaker 1: Like he's twenty two, twenty three, and that those characters
Speaker 1: feel authentic in what they don't know and have only
Speaker 1: thought about. Yeah, it's just movies so special.
Speaker 5: Well that's actually a perfect note to go out on.
Speaker 5: But I'll open it up to the panel here because
Speaker 5: we do have to Unfortunately, like we ran out of
Speaker 5: time with Ethan Hawk, we're out of time here to
Speaker 5: talk about Ethan Hawk in this film. Any closing thoughts,
Speaker 5: anything else you want to impart to the crowd.
Speaker 2: M hmm, well I want to. I want to let
Speaker 2: me impart this this.
Speaker 12: It's not even related to Before Sunrise because this is
Speaker 12: the end of your this is your yeah film Festival.
Speaker 2: At film Festival, when.
Speaker 12: We talk about film discourse, usually the word discourse we
Speaker 12: put in scare quotes and I and I think that
Speaker 12: as a critic, the best thing that you can do
Speaker 12: is to inspire curiosity, passion, thought, conversation, deepen the experience
Speaker 12: for people. And I think that is something that Film
Speaker 12: Spotting has done throughout its twenty years and continues to
Speaker 12: do and has cultivated this extraordinary crowd. And so I
Speaker 12: just wanted to tip my hat to film Spotting at twenty.
Speaker 5: Thank you very much, Thanks Scott, Thank you. From March.
Speaker 5: That was our post screening Film spotting Fest conversation about
Speaker 5: Before Sunrise with Scott Tobias and producer Sam recorded live
Speaker 5: at Chicago's Music Box Theater. If you'd like to take
Speaker 5: a look back and learn a little bit about Film
Speaker 5: Spotting Fest, you can go to filmspotting dot net slash
Speaker 5: film Spotting dash Fest. One more piece of business. These
Speaker 5: revisits of the first two before movies. This really is
Speaker 5: a jam pack show, Josh. Those revisits were part of
Speaker 5: our Pantheon project for titles in the Pantheon that have
Speaker 5: never received a proper review, we're giving them their due,
Speaker 5: and this is going to be ongoing, tying them in
Speaker 5: with different anniversaries over the next few years. Before Sunrise,
Speaker 5: Before Sunset safe to say still Pantheon worthy.
Speaker 3: Josh Absolutely, yep. Okay.
Speaker 5: The third film in the trilogy, twenty thirteen's Before Midnight,
Speaker 5: is also in the Pantheon. It was a package deal
Speaker 5: that did get a review on the show way back
Speaker 5: on episode four forty nine, so we can consider its
Speaker 5: ticket to the Pantheon already punched. And the answer is,
Speaker 5: we are going to consider it's ticket punch but we're
Speaker 5: also going to take another look at it in twenty
Speaker 5: twenty eight. Why not for its fifteenth anniversary.
Speaker 3: Yeah.
Speaker 7: Yeah, As I think I mentioned when we were talking
Speaker 7: Before Sunset is, I can only imagine my appreciation will
Speaker 7: rise for it and as it did for Sunset on
Speaker 7: a revisit. So it would be fun to do that.
Speaker 5: But we felt like we'd be remiss if we didn't
Speaker 5: use this occasion all this Pantheon talk to induct one
Speaker 5: more film. We're doing a special exemption. We're not going
Speaker 5: to induct anymore Pantheon films until next year when it's time.
Speaker 5: We've decided that we're not going to willy nilly in
Speaker 5: duck movies into the Pantheon. There will be a time
Speaker 5: every year, the same month when we'll do it. There's
Speaker 5: a process now, Josh. But there's a special exemption and
Speaker 5: this movie is worthy and we're going to give you
Speaker 5: its bona fides. That movie is Paul Thomas Anderson's There
Speaker 5: Will Be Blood.
Speaker 7: Why you may recognize it as the champion of film
Speaker 7: spotting madness just a few weeks ago, the best films
Speaker 7: of this century so far. Yeah, There Will Be Blood
Speaker 7: came out on top. And what other madness did it win?
Speaker 3: Adam? Didn't it win a previous tournament.
Speaker 5: Back in twenty nineteen. It won the best of the
Speaker 5: two thousands, So that makes sense, right. If it's going
Speaker 5: to be the best film of the last twenty five years,
Speaker 5: probably should be the best film of the first ten
Speaker 5: years of this quarter century. It also made my list
Speaker 5: of the top twenty five Films of the century list.
Speaker 5: I think it narrowly yours, fair to say, John.
Speaker 7: Yeah, definitely a consideration, and I think it's taken. I
Speaker 7: don't know how many film spotting polls over the years
Speaker 7: on various subjects, whenever it came up, whether that's favorite
Speaker 7: Paul Thomas Anderson film or you know, having listeners also
Speaker 7: vote in these sorts of rankings of the decades. So
Speaker 7: this is a movie that is routinely revered on the
Speaker 7: show and would be the obvious pick if we needed
Speaker 7: a Paul Thomas Anderson film in the Pantheon. I think
Speaker 7: would be an obvious consensus pick. And yes, I will
Speaker 7: say that again, we do not have a Paul Thomas
Speaker 7: Anderson's problem in the pantheon, which is a travesty of
Speaker 7: its own that we are going to be correcting now.
Speaker 5: And yet as obvious as it is, and as obvious
Speaker 5: as it is to have a PTA movie in it,
Speaker 5: I know you'd lobby for Phantom Thread, I could lobby
Speaker 5: for The Master, and I'd even potentially lobby for Boogie Nights.
Speaker 5: So it's a tough choice. But with those credentials it
Speaker 5: has to be. There will be blood. It is going
Speaker 5: into the pantheon.
Speaker 10: Ry, what is this your farewell speech going home, your
Speaker 10: farewell to the troops.
Speaker 3: I'm not going on going with friends, have a good trick.
Speaker 5: More about The film Spotting Pantheon is available at Filmspotting
Speaker 5: dot Net slash Pantheon.
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Speaker 1: Helora, Sure to.
Speaker 2: Hell Bizierier.
Speaker 7: That's for Andre Tarkowski's Nostalgia from nineteen eighty three. It
Speaker 7: is the final film in our Tarkowski Marathon and the
Speaker 7: final Tarkowski film, Adam, you needed to see to become
Speaker 7: a completist. We each had different blind spots as part
Speaker 7: of this marathon, and this was a big one for
Speaker 7: you and now you have seen it the film spotty marathons.
Speaker 7: We do these about once or twice a year. There
Speaker 7: are opportunities to do just that fill in cinematic blind spots.
Speaker 3: Now.
Speaker 7: Nostalgia follows chronologically the film we talked about last week,
Speaker 7: nineteen seventy nine's Stalker. Unlike Stalker, not any metaphysical sci
Speaker 7: fi going on. Instead, this is about a Russian writer
Speaker 7: who is traveling to Italy with a translator to conduct
Speaker 7: research for a project about an eighteenth century Russian composer
Speaker 7: who spent some time in this area of Italy. Nostalgia
Speaker 7: premiered in competition at the nineteen eighty three can Film Festival,
Speaker 7: where Tarkowski shared the Best Director prize with another cinematic heavyweight,
Speaker 7: Robert Broussan, for what ended up being Brosson's final film, larjen.
Speaker 5: If letterbox can be trusted. Josh, it looks like you
Speaker 5: last saw Nostalgia about ten years ago October twenty fifth.
Speaker 5: Was that in advance of our Top five can Best
Speaker 5: Director winners Top five in November twenty fifteen or maybe
Speaker 5: another occasion At the time you wrote it would take
Speaker 5: many viewings to get a more specific handle on Tarkovsky's
Speaker 5: thematic aims. I think you could write that about every
Speaker 5: Tarkovski film, and you could write this as well. Yet
Speaker 5: I was more than content to simply swim in the
Speaker 5: movies mysteries and possibilities. Swim an apt word considering all
Speaker 5: the water imagery. It's not many viewings later, It's just
Speaker 5: one at this point. So how was your handle on
Speaker 5: Tarkovsky this time?
Speaker 7: Getting there with this one? You know, in those times
Speaker 7: talking about Stoker, when I referenced other denser works of Tarkovsky,
Speaker 7: I think I was maybe thinking most about nostalgia. Perhaps
Speaker 7: the sacrifice can be a little bit that way. I
Speaker 7: think this viewing has helped me understand a little better
Speaker 7: what I sawce Off in that first view, and it's
Speaker 7: the theme of motherhood. We can maybe spend some time
Speaker 7: talking about that. I still have questions about that theme.
Speaker 7: But let's jump back to start, at least by jumping
Speaker 7: back to our conversation about Stalker, because with that fresh
Speaker 7: in my mind and that being my most recent viewing,
Speaker 7: I notice that nostalgia in a way has a version
Speaker 7: of the room that is in Stoker. I don't think
Speaker 7: this is the dominant theme, but it is interesting that
Speaker 7: it's there, and it's actually there at the start, when
Speaker 7: we do see the interpreter played by Domesiana Giordano going
Speaker 7: into this chapel, it looks like some sort of chapel
Speaker 7: and she's observing what's going on and the sacristan working there.
Speaker 7: I think she asked him what's supposed to happen here,
Speaker 7: and he says, whatever you like, whatever you need most,
Speaker 7: and right there I was like, oh wow, we're discussing
Speaker 7: the room. And then he says, how about this, but
Speaker 7: you should at least kneel down, which connects to the
Speaker 7: idea I pulled out about the room being where you
Speaker 7: encounter the divine. I like how he also says that
Speaker 7: earlier on there he says if there are casual lookers
Speaker 7: meaning her at the chapel, nothing happens, so it's kind
Speaker 7: of like how serious what is the faith of the
Speaker 7: professor and the writer in Stalker? And then there's that
Speaker 7: bizarre visit that the poet, this main character makes to
Speaker 7: this abandoned abbey, San Gugano. And as he's wandering around
Speaker 7: this edifice with no roof, nothing in the windows, grass
Speaker 7: growing on the ground, but it has this, you know,
Speaker 7: the structure of an abbey. We hear a man and
Speaker 7: a woman talking about the man seeking God, but God
Speaker 7: not responding, and so you know, these are all through
Speaker 7: lines to what I think is the main concern of
Speaker 7: Stalker and a side concern here, but definitely because we
Speaker 7: watched discuss Stoker, I feel like I was able to
Speaker 7: draw that out a little bit more. So That's where
Speaker 7: I was at with this second viewing. But yeah, for
Speaker 7: your first viewing, was there something that stood out to
Speaker 7: you as a prominence or preeminent concern of all the
Speaker 7: things Tartskovsky is dipping his toes in with this film.
Speaker 5: Well, before I try to answer that I mentioned earlier,
Speaker 5: the coincidence spotting of watching this film after watching and
Speaker 5: also talking about before sunset and sunrise on this show,
Speaker 5: it is not just the nostalgia thing. What did it
Speaker 5: for me. Josh was at some point seeing a close
Speaker 5: up of Domisiana Giordano Eugenia as you mentioned, and seeing
Speaker 5: that strawberry blonde hair, the curly long lock. She's doing
Speaker 5: something with her hair, and it was like I was
Speaker 5: looking at Julie Delpy from before, from before Sunset and Sunrise,
Speaker 5: and they're having these philosophical conversations. Is they're kind of
Speaker 5: sitting and strolling around, and he's a writer, like Jesse's
Speaker 5: a writer. And I was just flashing back to Sunset
Speaker 5: and Sunrise as I was watching this movie, even being
Speaker 5: in a foreign country for the writer in this case
Speaker 5: as well. So that was in my mind as I
Speaker 5: was watching this film. But what was really in my
Speaker 5: mind watching it as the culmination of this marathon was
Speaker 5: how perfect it was. Whether or not it's the last
Speaker 5: film from Tarkovski, it's not, We have the Sacrifice. It
Speaker 5: is a perfect closing film to this marathon, because the
Speaker 5: opening of this movie is a kind of Tarkovski one
Speaker 5: oh one. We have this shot where you've got this
Speaker 5: misty haze fog sweeping across. You've used this word, I
Speaker 5: think I've used it before, maybe back when we talked
Speaker 5: about mirror, like something's been conjured, that is that is
Speaker 5: sweeping across the landscape. We have a pond, so we've
Speaker 5: got the water, got to have that. We have a dog,
Speaker 5: and we have a white horse. They're all there, All
Speaker 5: our main characters are here. We also have actual people,
Speaker 5: and they're doing that thing that Tarkovsky characters often do
Speaker 5: and do a lot in this film, which is looking
Speaker 5: back at the camera, looking at us, often kind of
Speaker 5: breaking the fourth wall, and it gives us that sense
Speaker 5: of the point of view of a dreamer, the point
Speaker 5: of view of someone who is having a memory. And
Speaker 5: it even ends with a freeze frame. And this is
Speaker 5: something Tarkovsky has done in other films, and he's done
Speaker 5: in other films in this marathon. Now, I can't completely
Speaker 5: rely on my notes here, but I know that in
Speaker 5: other films I have written down, Wait a second, is
Speaker 5: that a subtle? Is that a freeze frame there? And
Speaker 5: I went back to my notes for Stalker and I
Speaker 5: swear to God and my notes for Stoker I have
Speaker 5: does it freeze frame on them?
Speaker 3: Just before the rain?
Speaker 5: And then I went back to Andre Rubelev and Josh
Speaker 5: I would not have copied and pasted this for any reason,
Speaker 5: It says, does it freeze frame on them just before
Speaker 5: the rain? So is it possible that exactly the same moment,
Speaker 5: there's a freeze frame before rain starts to fall in
Speaker 5: those two films, and here again he uses a freeze frame.
Speaker 5: So it's all of these Tarkovsky images and ideas kind
Speaker 5: of co mingling just at the beginning of the film,
Speaker 5: and it's it's haunting and it's beautiful, and I felt
Speaker 5: like I was right in the headspace I needed to
Speaker 5: be in at the beginning of this film. The other
Speaker 5: thing that I guess I'm going to keep harping on
Speaker 5: because he is going to keep harping on it the
Speaker 5: character of the Holy Fool that this movie is largely
Speaker 5: built around. We meet Domenico, and here we get a
Speaker 5: great definition of it. I think if you're going to
Speaker 5: ask ultimately what Tarkovsky means by the Holy Fool, we
Speaker 5: have the main character Andre Gorchakov. We have his definition
Speaker 5: what he says to Eugenia, says, they're troublesome, inconvenient, they're alone,
Speaker 5: but they're certainly closer to the truth. I think that
Speaker 5: goes for Andre Rublev, that goes for the main character
Speaker 5: in Stalker. It goes for other characters that we've seen
Speaker 5: throughout this entire marathon. And isn't that ultimately, by the
Speaker 5: end of this film, we're gonna jump ahead. We have
Speaker 5: to get to the end of this film. By the
Speaker 5: end of this movie, isn't that ultimately what we see
Speaker 5: Gortchakov become. Now what happens to our actual holy fool,
Speaker 5: the character who starts as our holy fool, Well, that's
Speaker 5: that's a pretty awful demise. Yeah, And the way Tarkovsky
Speaker 5: depicts it is horrific. In the sound design, he cuts
Speaker 5: out the music Beethoven at one point to give us
Speaker 5: the screams we hear, the screams of pain as he
Speaker 5: has self immolated. And yet Tarkovsky finds a way to
Speaker 5: go from some thing terrible, something brutal, to something kind
Speaker 5: of beautiful, the flames that have engulfed him to the
Speaker 5: flame of the candle, almost a match cut the flame
Speaker 5: of the candle that Andrea is holding as he is
Speaker 5: now going to try to do what Domenico asked him
Speaker 5: to do, which is show his faith walk across the
Speaker 5: water with this candle. And at first I thought, I thought,
Speaker 5: is this another case of Tarkowski asking us as an
Speaker 5: audience to have a certain amount of faith ourselves, because
Speaker 5: it seems like he's walking across the water pretty easily,
Speaker 5: but we don't see his legs and we don't really
Speaker 5: see a wide shot, and so is he doing it
Speaker 5: or is he not doing it? And then you realize, well, okay,
Speaker 5: it's all dried up and so there's really no water there,
Speaker 5: and so it's a little bit of an easy way out,
Speaker 5: but it's not so much of an easy way out
Speaker 5: because he still has to walk across and keep that
Speaker 5: flame intact. And I don't know how long that sequence is,
Speaker 5: but it feels like I didn't have time to go
Speaker 5: back in time. It Josh, that's a long sequence. Okay,
Speaker 5: seven minutes. It feels like an unbroken take has to
Speaker 5: be an unbroken take, right, we have to we have
Speaker 5: to experience that entire journey. That has to feel like
Speaker 5: his entire lifespan shrunken down to seven minutes. And it does. Yeah,
Speaker 5: And as he walks across, he ultimately gets across, and
Speaker 5: I think in that moment does finally prove that he believes,
Speaker 5: proves his faith. And for me, that felt like that
Speaker 5: ending felt to me as close to the pinnacle or
Speaker 5: the ideal of a Tarkovsky ending as you could possibly have.
Speaker 7: It's an astonishing sequence that is comprised of, yes, little
Speaker 7: more than this man trudging across the length of a
Speaker 7: drained natural pool with a candle, hoping it won't go
Speaker 7: out because of the wind coming through or whatever. Yeah,
Speaker 7: this would have been my scene of the year if
Speaker 7: it came out in nineteen eighty three. It's just one
Speaker 7: of these sustained but quiet instances of slow cinema being
Speaker 7: mesmerized by that and you get lost in the effort.
Speaker 7: You get Time takes on a different meaning if you
Speaker 7: allow yourself to give into it. Is it him expressing
Speaker 7: his faith? I can see that I'm still uncertain of
Speaker 7: what's going on in that scene, even though I submit
Speaker 7: to its power. I think that I think that would
Speaker 7: make sense. This is something the Holy fool has asked
Speaker 7: him to do. It is something that he didn't do.
Speaker 7: I forget if he tells him at one point that
Speaker 7: he did it before he's done it. I suggests that
Speaker 7: he suggests that he's done and he has it, So
Speaker 7: it is he's he's circling back to follow through on
Speaker 7: something he promised, which is interesting, and yeah, what is
Speaker 7: maybe this is him entering the room to bring it
Speaker 7: back to Stalker is by doing this, he's taking that
Speaker 7: step that the writer and the professor wouldn't take. So
Speaker 7: that coincides with what you're talking about in terms of
Speaker 7: an expression of faith. So yeah, I like that, but
Speaker 7: it is also his last I read it as his
Speaker 7: last gesture on earth because I too, and.
Speaker 5: That supports my theory to me. Yeah, he makes it
Speaker 5: that expression, that ultimate expression of faith.
Speaker 7: It also transports him to because it's not literally the
Speaker 7: final scene. What we then get is that like it
Speaker 7: is a freeze frame shot, I think, but the camera
Speaker 7: is still pulling back again. One of these definitive Tarkowsky
Speaker 7: images that you know, if you just google his name,
Speaker 7: it's one of the images that will come credible of
Speaker 7: the poet. This is we're in black and white. Now,
Speaker 7: we haven't really talked about the shifts too much of
Speaker 7: color and black and white, but we're in black and white,
Speaker 7: which has been suggested to be his visions or dreams
Speaker 7: or memories, and the shack we've seen in these visions
Speaker 7: and dreams and memories is there yet it is somehow
Speaker 7: inside this abandoned abby I've described which quick note and
Speaker 7: speaking of you know as it came up earlier in
Speaker 7: the show Debi iron Off on a thirtieth anniversary trip.
Speaker 7: Tenth anniversary trip was to Italy and we went to
Speaker 7: this abbey, son Gealganok Abbey. Yeah, it is one of
Speaker 7: the most unsettling places I've been on Earth, in the
Speaker 7: sense that you don't know what it's supposed to be
Speaker 7: because it is completely It has this edifice. It is
Speaker 7: an abbey, but it looks like a cathedral. It wasn't
Speaker 7: a cathedral. It was, you know, a place where monks
Speaker 7: worshiped and lived, but it has the edifice of a
Speaker 7: massive cathedral, and yet nature has taken over inside and
Speaker 7: there's no roof. And it's just so perfect that a
Speaker 7: place like that would show up in a Tarkaff movie
Speaker 7: because it exists here on Earth, but it seems like
Speaker 7: it'd be one of these art installations he would create
Speaker 7: for one of his movies at any rate. At this shot,
Speaker 7: we have the poet sitting in the middle of this abbey.
Speaker 7: Miniature work had to be involved to get this, to
Speaker 7: pull this off, and he's sitting there with the dog
Speaker 7: again looking at the camera. Snow begins to fall. So
Speaker 7: here's the question, as you described the earlier image like that,
Speaker 7: if he's been the viewer previously in these visions, when
Speaker 7: characters look back, we assume they're looking back at him,
Speaker 7: even though they're looking at us. Now he is looking
Speaker 7: at us.
Speaker 3: Is that you know?
Speaker 7: I think we talked about this in Stalker? Is that
Speaker 7: the point where Tarkowsky is now challenging us? What are
Speaker 7: you going to do with this presence that's been presented
Speaker 7: to you? What is your response going to be? Is
Speaker 7: that what the poet is saying to us as the
Speaker 7: only viewers left? But also where is he now? Is
Speaker 7: he in his memories? Is he in his visions? Because
Speaker 7: we both read it as that he has died in
Speaker 7: that pool. Yes, so thematically, there's so many possibilities. It's
Speaker 7: just as a composition of its own, it's a master work.
Speaker 5: Well yeah, just purely as a composition. You're exactly right.
Speaker 5: But I'm reading it as he is transcending whatever plane
Speaker 5: of existence he's on when he's in the pool, he
Speaker 5: is into another realm, whatever you want to characterize that
Speaker 5: realm as, whatever name you want to put on it.
Speaker 5: I do associate it, I suppose, with a sort of
Speaker 5: heaven in the sense that it it seems to be
Speaker 5: based on how we can find parallels with the other
Speaker 5: imagery and with the dog there in the water and
Speaker 5: the home. It feels like it's his childhood home. It
Speaker 5: feels like it's that nostalgic, warm place.
Speaker 2: Now.
Speaker 5: I don't know what to do with the abbey and
Speaker 5: what it's wrapped in, I really I don't fully, but
Speaker 5: it feels like it feels like it is comforting to
Speaker 5: him in that moment. Yeah, and so that's why I
Speaker 5: read that whole ending as as a positive thing from
Speaker 5: a faith perspective.
Speaker 7: And you have to also read these visions as memories
Speaker 7: of his childhood, right, because you know, I don't. I
Speaker 7: was wondering is this his wife that he's seen or
Speaker 7: is this his mother?
Speaker 3: And of course that's a tricky could be both in
Speaker 3: different points.
Speaker 7: Yeah, in mirror there's a figure where it's the same
Speaker 7: actress plays the main figures ex wife and mother. So yeah,
Speaker 7: so that's hard to say, but I think I lean
Speaker 7: with you as these are memories of childhood, right, and
Speaker 7: a childhood home. And yeah, another thing I was going
Speaker 7: to point out, is you were in one of these
Speaker 7: visions the use of camera work. Here we have these
Speaker 7: women figures, I think there's three of them, that they're
Speaker 7: looking at the camera and the camera is kind of
Speaker 7: tracking sideways across their faces. And this is a trick
Speaker 7: Tarkovsky has pulled in other films too, where an actor
Speaker 7: will look at the camera and then the camera slides
Speaker 7: past them to meet another actor. They must run behind
Speaker 7: the camera to position themselves in the scene. Further, so,
Speaker 7: as the camera continues to track, they reappear. And it
Speaker 7: seems that this goes back to the conjuring and the
Speaker 7: breaking of temporal space. We're like, wait a minute, how
Speaker 7: did they were just to my left? He does it
Speaker 7: with andre in Domenico's Dwelling too. Yes, yeah, it's such
Speaker 7: a suttle effective trick. And then in that same shot
Speaker 7: it comes to a still point and the horses in
Speaker 7: there and the dog is in there. I could have
Speaker 7: sworn to your question about the freeze frame. Somehow they
Speaker 7: managed to freeze frame the horse. So we see that
Speaker 7: the women either wind is blowing their hair or they
Speaker 7: move a little bit. The dog moves its position. But
Speaker 7: if you Notice the horse in the background has completely frozen.
Speaker 7: Why how Who knows? But the immediate fact is like
Speaker 7: we're in a time and space that you've never been
Speaker 7: in before.
Speaker 5: Yeah, this entire film feels that way. You said that
Speaker 5: as you were setting this up, right, And there are
Speaker 5: no traditional sci fi elements. This isn't a science fiction film.
Speaker 5: It definitely is not, and certainly not in the way
Speaker 5: Stalker is or Solaris is. And yet you are in
Speaker 5: all of these liminal spaces. The entire film is a
Speaker 5: liminal space. At one point. To go back to what
Speaker 5: you said too about time and space breaking down. Remember
Speaker 5: he thinks it's time for lunch, and she says at
Speaker 5: seven am. We have no sense we as viewers, the
Speaker 5: characters have no sense of what time it is. And
Speaker 5: yes I had in my notes. The camera pans left,
Speaker 5: and all of a sudden you're in a different place.
Speaker 5: The characters are in different places within the room, the
Speaker 5: fog coming in the way when the camera moves. You
Speaker 5: have characters who are in that water in the canal,
Speaker 5: and they're perfectly still. It feels like an alien landscape almost.
Speaker 5: You have missed oozing up from the ground, right, So
Speaker 5: there is something that feels alien about it, and you
Speaker 5: have to almost wonder, like in Stalker, what kind of
Speaker 5: world are we in? Is this the world of the mind?
Speaker 5: Is it an imaginary place? Is it some kind of dystopia? Honestly?
Speaker 8: Is it?
Speaker 5: Who knows? It doesn't feel like the real world, even
Speaker 5: though there are aspects of it that feel very much
Speaker 5: like our everyday world. But all of the characters are
Speaker 5: fluctuating within it and within this time in space, which
Speaker 5: is why when Tarkovsky breaks it in various ways and
Speaker 5: shocks us, it's so striking. One of those moments is
Speaker 5: when Eugenia goes into the church and that I don't
Speaker 5: know what you exactly call it, not a statue, but
Speaker 5: Mother Mary is before her.
Speaker 7: Yeah, they call it the Madonna of childbirth. I think childbirth.
Speaker 5: And when when that woman kneels down in front of
Speaker 5: her and the gown opens and those birds fly incredible, right,
Speaker 5: I mean, it's it's a it's a stunner. And as
Speaker 5: if that wasn't stunning enough, the next shot is the
Speaker 5: feathers from the birds cascading down, floating down on top
Speaker 5: of the candles. That that is also gorgeous, And then we.
Speaker 7: Get like that could happen, but it's tiptoeing towards things
Speaker 7: where you're like.
Speaker 3: How could that ever happen? Right?
Speaker 2: Right?
Speaker 5: So yeah, I guess if you want to use these words,
Speaker 5: it's secular and spiritual colliding, which that collision seems to
Speaker 5: happen all of the time in these films. And then
Speaker 5: we get to the hotel, and I know, especially coming
Speaker 5: off of Stalker, this is kind of almost silly to say,
Speaker 5: but what filmmaker, and I'm gonna say even even better
Speaker 5: than Kubrick, what filmmaker uses rooms and uses doorways better?
Speaker 2: Yeah?
Speaker 5: Ute uses doorways like their portals to other worlds all
Speaker 5: the time. They're constantly these imposing forces behind almost almost
Speaker 5: imposing forces behind characters. As they're talking, we feel the
Speaker 5: presence behind them, like they're they're drawing them in. Or
Speaker 5: what about that shot? I think it's when he's going
Speaker 5: into Domenico's home for the first time and he parts
Speaker 5: the doors. They're like barn doors that he parts, and
Speaker 5: when he does, what's on the other side black and white.
Speaker 5: He's going into a dream, He's going into a memory
Speaker 5: when he opens that door. That's that reality and fantasy
Speaker 5: or memory world. Directly, they're colliding with each other. But
Speaker 5: then when we go into the hotel, that room, that
Speaker 5: room that he is in, Josh with that bed in
Speaker 5: the middle and the light on the window and the
Speaker 5: bathroom on each side of it. Here again, I'm gonna
Speaker 5: say nothing sci fi about it directly, and yet it
Speaker 5: almost feels like something out of two thousand and one,
Speaker 5: the way the bathroom is bathed in that white sterile light,
Speaker 5: and the way the rain is coming in through the window,
Speaker 5: and then of course talk about memory, world and reality
Speaker 5: clashing with each other. All sorts of weird stuff starts
Speaker 5: to happen over the course of that long shot.
Speaker 7: I think that shot, you know, if you wanted to
Speaker 7: give a shot to maybe explain Tarkowski, you might choose that,
Speaker 7: even though it's not quite as rivera as the final one.
Speaker 7: It's this art installation idea where he places the camera
Speaker 7: and lets the production design and the lighting. That light
Speaker 7: you described in the bathroom shifts a little bit, and
Speaker 7: I noticed this time the window to the left of
Speaker 7: the bed. It's raining outside, as you said, and the
Speaker 7: way it's raining on the wall beyond of the building
Speaker 7: beyond it kind of makes the paint of that building
Speaker 7: peel off and fall down.
Speaker 3: So it's it's almost this, you know.
Speaker 7: Esoteric art piece. You're just watching shapes and colors change.
Speaker 7: And then the water is not only coming through the window,
Speaker 7: but it's seeping through the floor in a way. All
Speaker 7: of a sudden, there's a puddle by the bed, and
Speaker 7: then this is probably where you were going.
Speaker 3: But suddenly the dog who comes out of the shows yeah.
Speaker 7: And just it's the same dog from the black and
Speaker 7: white visions and calmly walks to the side of the
Speaker 7: bed and lays down. And I love how the poet.
Speaker 7: I think this is the touch that connects it to
Speaker 7: a temporal space, because initially we might be thinking, well,
Speaker 7: that's maybe another dog, what's going on? We're trying to
Speaker 7: stay in the real world. He just gently reaches out
Speaker 7: his hand and strokes the dog. So it's even though
Speaker 7: it shouldn't be there, he should be concerned about this.
Speaker 7: That links the dog not only because the same kind
Speaker 7: of dog, but to his memories. Because of his response
Speaker 7: to it. It's like he's drifting off now into this
Speaker 7: dream or this vision, and the dog has we've talked
Speaker 7: about the dog in stock or the dog has led
Speaker 7: him there, or the dog represents in this case. In
Speaker 7: that case, you talked about how the dog represents this
Speaker 7: really happened because he came out of the zone. Here,
Speaker 7: the dog is like, well, something metaphysical is really happening,
Speaker 7: because I came out of the metaphysical into the real world.
Speaker 5: The dog almost brings him back into the scene, because
Speaker 5: the way it's lit, it feels like Andrea is sinking
Speaker 5: into the bed, into the darkness. He's disappearing, and you
Speaker 5: feel like he might actually be disappearing, like some kind
Speaker 5: of magic act is happening as we're watching it. A
Speaker 5: couple of their small touches that I noticed throughout the marathon.
Speaker 5: We've referenced a few times, the birches. I think we
Speaker 5: both probably assumed that for them to be a recurring motif,
Speaker 5: that there had to be something in his childhood that
Speaker 5: he was fond of, and he liked to include that image.
Speaker 5: And we have a line here where a character says
Speaker 5: the birches. He loves the birches and the air of
Speaker 5: my childhood, so we must have grown up around them.
Speaker 5: There's a lot of autobiographical elements in all of his films,
Speaker 5: but here, like mirror. He even references the poet his father, Tarkovsky,
Speaker 5: so we have that. I think she's reading his poems, right,
Speaker 5: I believe I think Eugenia is reading Tarkovsky. I think
Speaker 5: we can take him at his word here this character,
Speaker 5: even though it is a character, that those birches are
Speaker 5: something from his childhood, and this is maybe even I
Speaker 5: was gonna say, maybe it's unintentional, but I don't think
Speaker 5: it is. It's just too good. I love when Domenico
Speaker 5: says to Andre when they're talking, Andre takes out a
Speaker 5: cigarette and Domenico says something like, I also smoke when
Speaker 5: I don't know what to say. And you realize how often,
Speaker 5: even in movies, that's exactly what a cigarette is, right.
Speaker 5: A cigarette is such a perfect diversion. It allows you
Speaker 5: to buy time. That's how they function. When you don't
Speaker 5: know what to do, you don't know what to say,
Speaker 5: you can at least stall and light up a cigarette.
Speaker 5: And later after Eugenia has said on the phone to him,
Speaker 5: you know, I have a boyfriend. Now I have my man, Vittorio.
Speaker 5: We're gonna do this, We're gonna do that. There's a
Speaker 5: pretty good sense that that isn't that happy of a
Speaker 5: relationship anyway, just based on how that scene is shot
Speaker 5: and how cold it detached he seems. But what happens
Speaker 5: at the very end of that scene. The camera is
Speaker 5: fixated on her, but we know she's talking to him,
Speaker 5: and there's no sound, there's nothing coming from him whatsoever.
Speaker 5: He doesn't seem to really even notice her. And what
Speaker 5: does she say. She says, I'm gonna go out and
Speaker 5: buy some cigarettes, And it felt to me like a
Speaker 5: direct callback to that scene where it's her saying, clearly,
Speaker 5: we have nothing to say to each other and all
Speaker 5: she can think to do is God and get some cigarettes.
Speaker 7: Yeah, she's really good throughout. She kind of fades away
Speaker 7: from the film a little bit in the middle section.
Speaker 7: But I think I'm not sure if we've mentioned Oleg
Speaker 7: Yankovski as Andre, This main character a really a hard part,
Speaker 7: I would think, to pull off where you're not responding much,
Speaker 7: so much of this is taking place in his head.
Speaker 7: Yet he you know, he's compelling enough on his own
Speaker 7: as this figure to hold our attention, our interests, and
Speaker 7: our sympathy, and especially he's able to pull off that
Speaker 7: long take at the end where it has to be
Speaker 7: all about his physicality and his perseverance. Right, he doesn't
Speaker 7: say anything there. And then Dominico, who you were describing
Speaker 7: the holy fool here Eerlyn Josephson, who would later start
Speaker 7: in Tarkovski's The Sacrifice. Yeah, playing this somewhat wild character,
Speaker 7: but I also love you know, he's notorious, this character
Speaker 7: Dominico for having locked his family up years before. I
Speaker 7: think was it seven years today?
Speaker 5: Seven years?
Speaker 7: Yeah, seven years because it's unclear he thought it was
Speaker 7: the end of the world or was he just jealous
Speaker 7: because some man was looking at his wife and he
Speaker 7: didn't want her to be around men. But he locks
Speaker 7: his entire family up. We get a black and white
Speaker 7: flashback to when the family escapes the home, and that
Speaker 7: I think ties us more closely to Dominico as a
Speaker 7: sympathetic character and not just this raving lunatic so and
Speaker 7: Josephsin's performance, of course helps with that. And as you
Speaker 7: were mentioning the autobiographical stuff, just thought probably worth noting.
Speaker 7: And this is tied to the theme of motherhood we've
Speaker 7: touched on here and there. Clearly the Madonna of Childbirth
Speaker 7: statue sequence at the beginning is tied to that. But
Speaker 7: at the end of this film dedicated to the memory
Speaker 7: of my mother. So you know, clearly a primary concern
Speaker 7: of nostalgia is not only this general notion of motherhood,
Speaker 7: but specifically Tarkovsky's mother as well.
Speaker 5: Nostalgia is currently available vod My Tarkovsky rank list should
Speaker 5: be coming in hot on letterbox. Do you already have yours?
Speaker 3: There?
Speaker 1: Yeah?
Speaker 7: No, because I got to give some time with you know,
Speaker 7: having these it's tougher than it was before, and not
Speaker 7: just because now I've seen every film.
Speaker 5: We will have one more bit of Tarkovsky business to
Speaker 5: attend to when you get back from your trip. We
Speaker 5: have to share, as we conclude every marathon, we have
Speaker 5: to share our Tarkovsky Awards. We need a name. I'm
Speaker 5: gonna throw out the Birches.
Speaker 2: But.
Speaker 7: Yeah, it's I feel like that's kind of got to
Speaker 7: be the Holy Fool.
Speaker 5: It may have to be the Holy Fools, but you
Speaker 5: know what, We'll still take other suggestions, and if we
Speaker 5: eat our special category, it seems obvious to go with
Speaker 5: something like just even the single shot best image.
Speaker 3: Yeah, that might be.
Speaker 7: That might be a good one to kind of force
Speaker 7: us to really narrow in. I mean, we've talked about
Speaker 7: water so much. It could be water image if we
Speaker 7: wanted to at least give ourselves some constraints, but a
Speaker 7: couple places we could go.
Speaker 5: Email us feedback at filmspotting dot net with your suggestions
Speaker 5: and if you would like to learn more about this
Speaker 5: marathon or past marathons. I think this is our fifty first.
Speaker 5: You can visit filmspotting dot net slash marathons, Josh, that
Speaker 5: is our show.
Speaker 7: If you want to connect with us on social media,
Speaker 7: you can find Adam and the show at Instagram and
Speaker 7: Facebook and letterboxed. He's at film spotting. I'm at those
Speaker 7: places as well as Larsen on film We are independently produced.
Speaker 3: And listener support it.
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Speaker 7: you could go to film spotting dot net slash.
Speaker 5: Shop in that Film Spotting archive lots so link later.
Speaker 5: Last year's hit Man nine to seventy, Apollo ten and
Speaker 5: a half, eight sixty seven, Where'd You Go? Bernadette seven
Speaker 5: forty one, Everybody Wants Some five eighty one. Boyhood. That
Speaker 5: was a film Spotting Fix episode dedicated just to Boyhood
Speaker 5: Before Midnight four forty nine, Bernie three ninety nine and
Speaker 5: more outstreaming this weekend. Fear Street prom Queen. The It
Speaker 5: girls are fighting to win prom Queen, but when someone
Speaker 5: new enters the race, others start to disappear without a trace.
Speaker 5: Susannah Soon from Red Rocket, Arianna Greenblatt from Barbie, Lily Taylor,
Speaker 5: and Katherine Waterston star also Fountain of Youth, treasure hunter
Speaker 5: John Krasinski and a strange sister, Natalie Portman, assemble a
Speaker 5: team for an adventure in search of the object the
Speaker 5: location of the title. We'll have to see or not, Josh,
Speaker 5: it's directed by Guy Ritchie on Apple TV plus. You
Speaker 5: can to fit that in before heading off to Japan.
Speaker 7: I mean sort of sounds like a plane movie, but
Speaker 7: I I don't know how the logistics of that work.
Speaker 5: I like Sam's note here, does this movie actually exist?
Speaker 5: Impossible to exactly now. I know you're curious about this one.
Speaker 5: Pee Wee as Himself, a two part documentary about Paul
Speaker 5: pee Wee Herman Rubens. That's on Max Yeah, very interesting Limited.
Speaker 5: You can see Jane Austen Wrecked My Life. An aspiring
Speaker 5: author finds herself in some austin Esque romantic entanglements at
Speaker 5: a writer's retreat. To be weird if they were Dostaievsky esque.
Speaker 5: Aaron Newarth, our friend says, a charming French romantic comedy
Speaker 5: out wide. Leelo and Stitch, the live action edition directed
Speaker 5: by Dean Fleischer Camp, who directed Marcel the Shell with
Speaker 5: Shoes on Mission Impossible. The Final Reckoning is the big Dog.
Speaker 5: Though out this weekend, Tom Cruise has reckoned for the
Speaker 5: last time, or so we are led to believe. Next week,
Speaker 5: Michael Phillips is here. Am I The Final Reckoning and
Speaker 5: our top five movie stunts.
Speaker 7: Film Spotting is produced by Golden Joe Desso and Say
Speaker 7: I'm Van Haggren without saying m and Golden Joe, this
Speaker 7: show would it go? Our production assistant is Sophie Kempinar
Speaker 7: Special thanks to everyone at wbeazy Chicago. More information is
Speaker 7: available at wbeazy dot org. For Film Spotty nine, Josh
Speaker 7: Larson and I'm Adam Kempinar.
Speaker 5: Thanks for listening.
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