WEBVTT - Screen Time: V For Vendetta

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<v Speaker 1>Welcome back to Popcorn Book Club. This week we are

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<v Speaker 1>going in for some screen time talking the V four

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<v Speaker 1>Vendetta film adaptation from two thousand five, directed by James McTeague,

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<v Speaker 1>written by the Wachowski sisters and also a sort of

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<v Speaker 1>people and they know. I think it was sort of

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<v Speaker 1>shadow directed by the Wachowski sisters because it has some

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<v Speaker 1>of their sort of like visual flares and they were

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<v Speaker 1>like Unit two directors. But all that to say, vitam

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<v Speaker 1>movie starry Natalie Portman and Hugo Weaving s V and

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<v Speaker 1>I'll go on the record as saying it's my most

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<v Speaker 1>basic opinion, but I really like this movie. I also

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<v Speaker 1>like it. I will say though, since I've seen this

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<v Speaker 1>movie many times, including once a couple of months ago. Uh,

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<v Speaker 1>I think that after reading it, after reading the graphic novel,

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<v Speaker 1>it definitely shifted my perspective of it in terms of

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<v Speaker 1>looking at it as not just a movie that I like,

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<v Speaker 1>but also as an adaptation. And one of the things

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<v Speaker 1>that comes in very early on is the idea of

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<v Speaker 1>like romance. And in that very first opening scene where

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<v Speaker 1>we see Guy Fox being hanged, Uh, there's the like,

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<v Speaker 1>but what of the man? And we see the woman

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<v Speaker 1>who's like his wife or whoever in the crowd, and

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<v Speaker 1>I'm like, oh, I don't care for that. But like

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<v Speaker 1>watching it again, I was like, I don't think we

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<v Speaker 1>needed to start with this. I think we could have

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<v Speaker 1>started with the two of them getting ready. I think

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<v Speaker 1>that this was unnecessary. Yeah, I will say where I

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<v Speaker 1>think the biggest misstep of this movie is is the

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<v Speaker 1>little romance between V and e V. I don't think

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<v Speaker 1>it needs it, but felt felt very like an unnecessary

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<v Speaker 1>Hollywood thing. But other than that, I think this is

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<v Speaker 1>better than the book. I think it's cleaner. I think

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<v Speaker 1>it makes more sense than last week. I think that

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<v Speaker 1>it's better than the book, and I do stand by that.

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<v Speaker 1>But I definitely did see it in a different light

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<v Speaker 1>in terms of adaptation, And there were some things that

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<v Speaker 1>I was like, Oh, it makes so much sense that

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<v Speaker 1>they did this instead of that. There were other things

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<v Speaker 1>where I was like, that really does, Like Alan Moore

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<v Speaker 1>is kind of right. This does really change the way

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<v Speaker 1>that the thesis is perceived. And if you know, Alan

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<v Speaker 1>Moore at the end doesn't have his name in the credit,

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<v Speaker 1>It just says from the novel. Illographic novel illustrated by

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<v Speaker 1>David Lloyd, it doesn't He's like, no, yeah, he just

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<v Speaker 1>disavowed himself. He was like, I ain't write this. I

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<v Speaker 1>don't know what this trash is. But I did not

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<v Speaker 1>write it. I mean it's a bold stance, like i'd

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<v Speaker 1>be like, I hate it. He I didn't he I thought.

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<v Speaker 1>He refused. He didn't watch it either. He just read

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<v Speaker 1>the screenplay. I read it and like was like, I

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<v Speaker 1>hate this, Which it was funny to me because I

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<v Speaker 1>my reaction to this movie was I loved it. I

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<v Speaker 1>thought the script and the adaptation from a script perspective

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<v Speaker 1>was a plus, like just so like taking out all

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<v Speaker 1>of the ideas and streamlining and making it really compelling

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<v Speaker 1>and really making it about V. I thought the directing

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<v Speaker 1>was a little B movie, Like I think I wish

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<v Speaker 1>the Wachowskis didn't just shadow directed. I wish they directed

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<v Speaker 1>directed it. I know that you mean be like A

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<v Speaker 1>versus B. But I was thinking it was very a

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<v Speaker 1>lot of similarities to be movie storied, a lot of

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<v Speaker 1>the same motifs and themes. Um. Yeah, I think it

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<v Speaker 1>was like no offense to the director, but it felt

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<v Speaker 1>like almost a director trying to be the witch. How

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<v Speaker 1>skis and wasn't quite as adept to be fair, I mean,

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<v Speaker 1>James mctigue has not had a long career after this movie.

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<v Speaker 1>His biggest credit up until this movie was assistant director

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<v Speaker 1>on Star Wars Episode two, Attack of the Clones, a

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<v Speaker 1>beloved movie by all movie goer. This was this was

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<v Speaker 1>his first feature film. I think it was cool that

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<v Speaker 1>the wowskis when I looked it up, because I was like,

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<v Speaker 1>why did they direct this? And I got very up

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<v Speaker 1>in arms about it. I was like, Oh, they didn't

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<v Speaker 1>want to. They wanted a break and wanted to just

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<v Speaker 1>kind of direct from the side and maybe probably get

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<v Speaker 1>more sleep. Um, so they brought up their first a

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<v Speaker 1>d which is a cool thing to do. But h

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<v Speaker 1>I really like Alan Moore hated it so much when

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<v Speaker 1>I thought there were so many little love notes to

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<v Speaker 1>the book in this movie. They're just all these wonderful

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<v Speaker 1>easter eggs, like like the dolls in Prothrow Shower where

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<v Speaker 1>they don't talk about how he's an avidult calender, but

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<v Speaker 1>like if you've read the book, you know, and it's

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<v Speaker 1>a fun little nod. Or the show girls in their

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<v Speaker 1>show girl costume on Dirty d Tricks Show and you

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<v Speaker 1>also reference they reference, Um, there's a little tiny little

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<v Speaker 1>clip of Storm Saxon. Yeah, and I do. I think

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<v Speaker 1>if you watch it for a second, you see that

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<v Speaker 1>the villain is like a really um racist caricature of

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<v Speaker 1>an Arab person, which does feel like into thousand five,

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<v Speaker 1>And I mean that was a little more bush like

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<v Speaker 1>bush era what the racist villain absolutely would be on

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<v Speaker 1>a show like that. I particularly liked this adaptation for

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<v Speaker 1>the character choices that were made, like letting Ev have

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<v Speaker 1>a lot more agency, putting her in a position as

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<v Speaker 1>someone who works in the like state media news. UH station.

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<v Speaker 1>Also loved the choice of how V was directed and

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<v Speaker 1>how he's like much more charismatic, much more like kind

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<v Speaker 1>of devilish and fun. And I also liked the choice

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<v Speaker 1>that they made for Finch to to actually like let that,

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<v Speaker 1>like the very final panel in the book now feels

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<v Speaker 1>appropriate for the Finch that was depicted in the movie. Yes,

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<v Speaker 1>this person who is like has been working under the

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<v Speaker 1>thumb of this like this terrible authoritarian government and is

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<v Speaker 1>starting to see how bad they are and is trying

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<v Speaker 1>to piece together the puzzle and in the end makes

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<v Speaker 1>the choice to let e V send that train. Yeah,

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<v Speaker 1>I loved that, and like the fact that she frames

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<v Speaker 1>it as hope I think really gives me chills. I

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<v Speaker 1>will get to it, but I the end of this movie,

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<v Speaker 1>when everyone's removing their maths and we get which I

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<v Speaker 1>always whisper quick flashes of her parents and of a

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<v Speaker 1>Valerie and of Gordon. Oh, I'm getting chills just saying it.

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<v Speaker 1>I find such a such a whamp. I'm like, Oh,

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<v Speaker 1>it's so good. They're all there and he's there, and

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<v Speaker 1>there I am. And it's an idea, it's effective, effective,

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<v Speaker 1>it's super cathartics at the cathartic ending that we wanted

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<v Speaker 1>from that we talked about last week of just like

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<v Speaker 1>there's hope, and also V goes out the way that

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<v Speaker 1>V wants to go out. M yeah, So I really

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<v Speaker 1>love that they make e v older. I think it

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<v Speaker 1>is weird that she's sixteen in the graphic novel. I

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<v Speaker 1>am uncomfortable with it, especially when she gets into that

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<v Speaker 1>intense sexual relationship in book two. Uh. But something else

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<v Speaker 1>that I really like. I love the scene where VS

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<v Speaker 1>introduced and where EV is introduced to V. Because as

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<v Speaker 1>I was reading the latter half of the graphic novel,

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<v Speaker 1>I was like why why do I like V Like

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<v Speaker 1>I don't think I do. And in the movie watching

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<v Speaker 1>the movie again, I was like, oh, that's why I've

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<v Speaker 1>always liked this character, because he's definitely still a little

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<v Speaker 1>like not all they are all the time and doesn't

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<v Speaker 1>think the way that I think we would think, as

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<v Speaker 1>you're lay people who are not theater people who took

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<v Speaker 1>what cyclass. But like in that scene where he does

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<v Speaker 1>his like monologue with all the vs and in view

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<v Speaker 1>of thisissitude, but I did three vs, I cannot do

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<v Speaker 1>the whole thing. And there was a point I was like,

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<v Speaker 1>I'm gonna learn this when I was like twenty, I'm

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<v Speaker 1>not gonna learn. But I love like when Evie asks

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<v Speaker 1>him who are you? And he says who is? But

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<v Speaker 1>the form following the function what and what I am

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<v Speaker 1>is a man in a mask? And then she's like, right,

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<v Speaker 1>I can tell that He's like right, I'm just saying

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<v Speaker 1>mask who they are? Like I love that, Like it's

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<v Speaker 1>like the Brits say they got good Bana, yeah, and

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<v Speaker 1>sand totally right that. Like he is way more fun

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<v Speaker 1>and funny in this than he is in the graphic novel.

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<v Speaker 1>I also really we're talking character changes I really love

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<v Speaker 1>what they do with Gordon, who's played by my favorite.

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<v Speaker 1>He's basically an invention for the film. The only similarity

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<v Speaker 1>is he's, you know, an older man who Evie comes

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<v Speaker 1>to for like protection and safety. But in the film,

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<v Speaker 1>if you haven't seen, in that, Gordon is a host

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<v Speaker 1>of a television program and he's famous and as money. Yeah,

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<v Speaker 1>he's laurened Well and he but he hosts the show.

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<v Speaker 1>He's Stephen Colbert, he's more. He's more Stephen Colbert. Yeah,

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<v Speaker 1>and he In the first night that Eve's out on

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<v Speaker 1>the streets, she wasn't trying to work her first night

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<v Speaker 1>as a prostitute. She was going on a date to

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<v Speaker 1>visit uh Dad Gordon Dietrich at his house, Daddy Dtric

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<v Speaker 1>at his house. Um. But we find out that he

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<v Speaker 1>sort of invites her as a front, that he is

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<v Speaker 1>a closet gay man, and that he you know, is

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<v Speaker 1>a member of this party, but is um secretly rebellious.

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<v Speaker 1>He has a copy of the Koran, he has banned art,

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<v Speaker 1>and eventually he's arrested and killed in a way that

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<v Speaker 1>maybe if someone who works in media, I found so

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<v Speaker 1>affecting because you sometimes think that like money or fame

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<v Speaker 1>or at least like public attention will save you. It's

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<v Speaker 1>very much. I mean that he was like he thought

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<v Speaker 1>that he was going to have to do a boring

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<v Speaker 1>fund phraser of five fine after doing a show that

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<v Speaker 1>made fun of the Chancellor. And I know you will

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<v Speaker 1>note I think it's viscerally scary to see someone like

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<v Speaker 1>that then get his uh it's not come up, and

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<v Speaker 1>but then get it made. That was like the moment

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<v Speaker 1>where I'm like, oh, this government is fucking scary. And

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<v Speaker 1>I felt that fair so viscerally because he was someone

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<v Speaker 1>with what should have been power but then was made powerless. Yeah.

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<v Speaker 1>I do also feel like I should point out Daniel

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<v Speaker 1>where my husband works for a talk show. For a

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<v Speaker 1>very long time, he worked for Cool Bear, and every

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<v Speaker 1>time he has seen the show that Dietrich puts on,

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<v Speaker 1>he points out that it is a terrible show. It's

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<v Speaker 1>very dub and done to Benny Hill music, but it's effective.

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<v Speaker 1>It's very no. No, yeah, you know, I've seen Monny

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<v Speaker 1>Python like I could have done a lot better. Um

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<v Speaker 1>so yeah, So Danny Ditrice puts on this um appallingly

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<v Speaker 1>bad like vaudeville sketch making fun of the Chancellor, and

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<v Speaker 1>I think that's actually really effective because I think to

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<v Speaker 1>any modern audience, that show is very bad um and

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<v Speaker 1>everybody in their society loves it, like that is the

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<v Speaker 1>most rebellious thing they have seen in decades in the

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<v Speaker 1>wildly subversa by their standards. I think it's intentionally bad.

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<v Speaker 1>I know, my husband just thinks the people making this

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<v Speaker 1>movie had no idea what talk shows are in the

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<v Speaker 1>head indeed never It's interesting that you said decades because

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<v Speaker 1>what's really weird about this movie and watching it again,

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<v Speaker 1>the timeline for how long they've been under this dictatorship

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<v Speaker 1>was much shorter than I had imagined it in my head. Yeah,

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<v Speaker 1>they were still making regular No, it was less because

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<v Speaker 1>in Valerie's thing, because the years have been shifted obviously

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<v Speaker 1>for the film, because the film came out in two

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<v Speaker 1>thousand five, So they were like, we're not going to

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<v Speaker 1>set this in the nineties. This is I think it'll

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<v Speaker 1>resonate more if we said it in the future, which

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<v Speaker 1>is set in UM. So she says, in two thousand five,

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<v Speaker 1>I came out to my parents or whatever, and then

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<v Speaker 1>in two thousand I think fifteen was when she was

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<v Speaker 1>when she was taken but we know, but we know

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<v Speaker 1>that maybe they only came for gay people later, because

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<v Speaker 1>Evie's parents were taken when she was when she was twelve,

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<v Speaker 1>and we can assume that she's probably twenty two now

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<v Speaker 1>are younger. But so I I assumed maybe like they

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<v Speaker 1>came for political dissidents first and then it just got

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<v Speaker 1>worse and worse worse. And also I think we also

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<v Speaker 1>have to assume that Valerie was hiding for a while,

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<v Speaker 1>that they maybe weren't public about their relationship. I mean,

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<v Speaker 1>Valerie was also a movie star. Yea, Valerie might have

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<v Speaker 1>had the protection that comes from being a wealthy white

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<v Speaker 1>woman in almost any society for a while until she didn't.

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<v Speaker 1>Much Like Gordon Dietrich, that whole that whole thing made

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<v Speaker 1>me cry. It's so beautifully so the VALERIEU. The Valerie

0:13:06.440 --> 0:13:11.360
<v Speaker 1>sequence is maybe one that is the closest to the novel,

0:13:11.480 --> 0:13:14.000
<v Speaker 1>and I think it really works. What do you guys think?

0:13:14.280 --> 0:13:22.480
<v Speaker 1>I love verbatim from there were They were just like

0:13:22.559 --> 0:13:25.600
<v Speaker 1>slight changes that I noticed having read it very recently.

0:13:25.600 --> 0:13:27.600
<v Speaker 1>It was like, oh okay, But I think that they

0:13:27.640 --> 0:13:30.640
<v Speaker 1>were changes that were meant to honor and uplift the story,

0:13:30.880 --> 0:13:34.200
<v Speaker 1>not to take away from it. I think generally the

0:13:34.320 --> 0:13:36.560
<v Speaker 1>changes in the movie were made to honor and uplift

0:13:36.640 --> 0:13:41.680
<v Speaker 1>the story. To me, as people who really loved the graphic,

0:13:41.760 --> 0:13:44.800
<v Speaker 1>I love it. It's very clear they love it. I mean,

0:13:44.840 --> 0:13:47.560
<v Speaker 1>I love the choice to of like getting like going

0:13:47.600 --> 0:13:51.160
<v Speaker 1>back and forth between Valerie and also e V like

0:13:51.360 --> 0:13:54.839
<v Speaker 1>going through the motion or being tortured and like coming

0:13:54.920 --> 0:13:58.120
<v Speaker 1>back to the story every like. I loved that sequence.

0:13:58.520 --> 0:14:02.760
<v Speaker 1>Also loved the outfits that those lesbians wore to come

0:14:02.760 --> 0:14:04.720
<v Speaker 1>out to her parents. I was like, this is what

0:14:04.920 --> 0:14:12.920
<v Speaker 1>you think. This is amazing. These outs are insane, seeing

0:14:13.000 --> 0:14:18.000
<v Speaker 1>like when was this movie made two thou five, like

0:14:18.040 --> 0:14:21.800
<v Speaker 1>two thousand five dystopian lesbian clothes? I was like, nailed it,

0:14:22.080 --> 0:14:27.400
<v Speaker 1>loved it. There was a tiny thing that I realized

0:14:27.440 --> 0:14:29.760
<v Speaker 1>watching it again this time, because again this is probably

0:14:29.800 --> 0:14:34.680
<v Speaker 1>like the fifth or hey, the fifth v um but

0:14:34.760 --> 0:14:37.560
<v Speaker 1>at least the fifth time I've seen it. Uh, there was.

0:14:38.480 --> 0:14:42.080
<v Speaker 1>He says that the notes were passed to him the

0:14:42.120 --> 0:14:44.960
<v Speaker 1>same way that they were passed to her in the cell,

0:14:45.160 --> 0:14:47.200
<v Speaker 1>which I'm like, cool, cool, cool, And then I remember

0:14:47.800 --> 0:14:50.520
<v Speaker 1>that his entire body was burned in a fire. Where

0:14:50.520 --> 0:14:53.280
<v Speaker 1>were the notes made of toilet? Paper. He but he's

0:14:53.320 --> 0:14:56.080
<v Speaker 1>the one who set the fire, so maybe he oh yeah,

0:14:56.080 --> 0:14:59.480
<v Speaker 1>he set that fire. So and then he emerged through

0:14:59.560 --> 0:15:02.600
<v Speaker 1>it and his entire body was burnt. Maybe he'd been

0:15:02.680 --> 0:15:08.240
<v Speaker 1>it's paper, Maybe he hit nose pieces. He wanted to

0:15:08.280 --> 0:15:10.960
<v Speaker 1>say that, Remember I said, I imagine he read like

0:15:11.080 --> 0:15:14.040
<v Speaker 1>hundreds of times. I feel like put it in he

0:15:14.240 --> 0:15:16.320
<v Speaker 1>was collecting things. He put a little too. We put

0:15:16.320 --> 0:15:19.400
<v Speaker 1>the two of his butt right before the But I

0:15:19.440 --> 0:15:23.040
<v Speaker 1>will say into that end, I really liked the detail

0:15:23.800 --> 0:15:26.400
<v Speaker 1>of seeing these hands, Like I thought that was a

0:15:26.440 --> 0:15:33.080
<v Speaker 1>really good, creepy but perfect moment of like seeing the

0:15:33.200 --> 0:15:37.240
<v Speaker 1>hands and because that's all you need to understand is

0:15:37.280 --> 0:15:39.440
<v Speaker 1>like that he is not the man behind this mask.

0:15:39.560 --> 0:15:42.120
<v Speaker 1>And then it kind of puts that to rest and

0:15:42.240 --> 0:15:45.880
<v Speaker 1>in a way that is like delicate and like you

0:15:45.960 --> 0:15:48.640
<v Speaker 1>see her at first kind of strike back and then

0:15:48.720 --> 0:15:52.880
<v Speaker 1>have this sympathy and like wanting to know more, and

0:15:52.880 --> 0:15:54.720
<v Speaker 1>and it gives you that point of interest of like

0:15:54.800 --> 0:15:57.880
<v Speaker 1>what did happen to him? If you hadn't read the book. Um,

0:15:58.800 --> 0:16:02.360
<v Speaker 1>I really thought so many of the details that enriched

0:16:03.160 --> 0:16:06.840
<v Speaker 1>V in this in this movie really made me love

0:16:07.000 --> 0:16:09.000
<v Speaker 1>V a lot more. And to that end, I want

0:16:09.000 --> 0:16:18.000
<v Speaker 1>to talk about Hugo Weaving. Um we stand stand Hugo.

0:16:18.720 --> 0:16:20.920
<v Speaker 1>I feel like we were talking about this on our thread,

0:16:20.960 --> 0:16:23.960
<v Speaker 1>but just to bring listeners in that like who was it?

0:16:24.040 --> 0:16:30.040
<v Speaker 1>I haven't pulled up um that James pure Purifoy Purefoy

0:16:30.240 --> 0:16:32.600
<v Speaker 1>was hired to play V but then he couldn't get

0:16:32.600 --> 0:16:36.400
<v Speaker 1>into the mask stuff and was fired and now and

0:16:36.440 --> 0:16:39.200
<v Speaker 1>then he believing who played the villain in the matrix?

0:16:39.200 --> 0:16:42.240
<v Speaker 1>Who that in that performance in itself I think is

0:16:42.320 --> 0:16:48.280
<v Speaker 1>just completely underrated. Um and he was an LTR came

0:16:48.320 --> 0:16:50.760
<v Speaker 1>in and it was like I can take use my

0:16:50.880 --> 0:16:53.720
<v Speaker 1>mask work from and I'm like, great, we have a

0:16:53.880 --> 0:16:59.200
<v Speaker 1>nerdy theater theater major coming in playing V. It is perfect. Um.

0:16:59.680 --> 0:17:04.600
<v Speaker 1>I still felt the real theater major annoying theater major.

0:17:04.720 --> 0:17:07.919
<v Speaker 1>Flair I wrote at some point when he was fun,

0:17:08.040 --> 0:17:10.760
<v Speaker 1>he was putting up all those dominoes. I was like,

0:17:10.960 --> 0:17:13.680
<v Speaker 1>I was like, the dominoes are just for him, and

0:17:15.520 --> 0:17:18.800
<v Speaker 1>weeks weeks putting up those dominoes. Do you know how

0:17:18.880 --> 0:17:21.480
<v Speaker 1>long it takes putting up as it takes a really

0:17:21.520 --> 0:17:24.639
<v Speaker 1>long time. I read on the like Tribuna on IMDb

0:17:25.160 --> 0:17:28.280
<v Speaker 1>that it took thousands of hours for multiple people to

0:17:28.359 --> 0:17:35.639
<v Speaker 1>put together those dominantes. They were experts. They were domino experts.

0:17:35.840 --> 0:17:38.639
<v Speaker 1>Is to be a domino expert, I don't think so.

0:17:39.240 --> 0:17:42.040
<v Speaker 1>And also I will say the dominoes are lifted directly

0:17:42.200 --> 0:17:45.720
<v Speaker 1>from the graphic novel, but it was a much less

0:17:45.960 --> 0:17:49.240
<v Speaker 1>elaborate set up. In the graphic novel, they were like, oh,

0:17:49.520 --> 0:17:52.719
<v Speaker 1>we're just going to do the outline and then the circle,

0:17:52.920 --> 0:17:55.239
<v Speaker 1>like we're good. Yeah, they filled it in. I got

0:17:55.359 --> 0:17:59.399
<v Speaker 1>different colors filling it in, gonna knock it down, like

0:18:00.119 --> 0:18:02.560
<v Speaker 1>was in of hours. I mean, how many times I'm

0:18:02.600 --> 0:18:07.600
<v Speaker 1>just thinking proper prop work. He didn't even call Evie

0:18:07.640 --> 0:18:09.320
<v Speaker 1>in like, hey, even look at this, look at this,

0:18:09.440 --> 0:18:16.119
<v Speaker 1>this is gonna be really cool. Look look, I know

0:18:17.480 --> 0:18:19.720
<v Speaker 1>I know that I'm like I don't live my life

0:18:19.760 --> 0:18:22.720
<v Speaker 1>for other people, and like you should try like doing

0:18:22.800 --> 0:18:25.040
<v Speaker 1>things just for you more. But if I set up

0:18:25.040 --> 0:18:27.840
<v Speaker 1>all those dominoes, I would definitely like call my mom

0:18:28.680 --> 0:18:35.400
<v Speaker 1>like yeah, he did good job. I'd be proud of myself.

0:18:35.520 --> 0:18:37.960
<v Speaker 1>And it's like, I want to say, it's weird that

0:18:38.080 --> 0:18:40.800
<v Speaker 1>he doesn't just for himself. But in this particular instance,

0:18:40.840 --> 0:18:43.639
<v Speaker 1>I was like I don't get it, Like this is

0:18:43.800 --> 0:18:50.040
<v Speaker 1>elaborate Okay, I have to go set up thousands of

0:18:50.160 --> 0:19:03.920
<v Speaker 1>dominoes just for me. I'll be back slightly back to

0:19:04.040 --> 0:19:06.800
<v Speaker 1>the film. I think the movie makes a very strong

0:19:06.920 --> 0:19:09.480
<v Speaker 1>choice to want to tie everything up in a much

0:19:09.680 --> 0:19:13.240
<v Speaker 1>neater package than the book does, where first there's the

0:19:14.000 --> 0:19:16.879
<v Speaker 1>his first main announcement at Jordan Tower is like the

0:19:17.000 --> 0:19:19.879
<v Speaker 1>day after I guess, the day of November five, and

0:19:19.960 --> 0:19:22.640
<v Speaker 1>he says, in one year, this is what's going to happen.

0:19:22.680 --> 0:19:26.159
<v Speaker 1>I'm gonna do this. So the entire movie has the

0:19:26.400 --> 0:19:31.720
<v Speaker 1>entire timeframe of one year. But also and also maybe

0:19:31.760 --> 0:19:36.240
<v Speaker 1>they was smart and screenwriting just put a clock on it.

0:19:36.920 --> 0:19:40.760
<v Speaker 1>But also the most like come together thing that I

0:19:40.840 --> 0:19:43.920
<v Speaker 1>think they do is something totally different that's not in

0:19:44.040 --> 0:19:48.639
<v Speaker 1>the book. But the idea of this St. Mary's virus

0:19:49.080 --> 0:19:53.880
<v Speaker 1>that there was there there are these these testing facilities,

0:19:54.520 --> 0:19:57.960
<v Speaker 1>uh lark Hill, like these concentration camps, but at these

0:19:58.000 --> 0:20:00.399
<v Speaker 1>concentration camps, the thing that the test saying that they

0:20:00.440 --> 0:20:03.480
<v Speaker 1>were doing on v which wasn't really specified in the

0:20:03.560 --> 0:20:07.159
<v Speaker 1>graphic novel, if I recall, was we find out in

0:20:07.240 --> 0:20:12.200
<v Speaker 1>the film was genetic warfare, not genetic viral warfare, which

0:20:12.240 --> 0:20:15.760
<v Speaker 1>is like a now illegal under the Geneva convention, but

0:20:15.840 --> 0:20:17.680
<v Speaker 1>they were they were coming up with what they thought

0:20:17.720 --> 0:20:20.200
<v Speaker 1>would be the next Adam bomb, which was a a

0:20:20.520 --> 0:20:23.919
<v Speaker 1>virus as a weapon, So that is specifically what they

0:20:23.960 --> 0:20:26.800
<v Speaker 1>were testing at this place where v was. And then

0:20:27.200 --> 0:20:30.640
<v Speaker 1>we find out or the detective discovers that the government

0:20:30.800 --> 0:20:34.280
<v Speaker 1>actually used this St. Mary's virus on their own. People

0:20:34.760 --> 0:20:38.480
<v Speaker 1>said it was Islamic extremists and then used that to

0:20:39.800 --> 0:20:44.359
<v Speaker 1>overthrow the government, which is a not so I mean,

0:20:44.440 --> 0:20:46.639
<v Speaker 1>it's it's a little bush to nine eleven, but in

0:20:46.760 --> 0:20:50.359
<v Speaker 1>not so veiled uh connection though to like, well, when

0:20:50.400 --> 0:20:53.800
<v Speaker 1>there's an act of extreme terrorism from an outside force,

0:20:54.800 --> 0:20:59.400
<v Speaker 1>government consolidates power under nationalist identity, like that is something historically,

0:21:00.080 --> 0:21:02.320
<v Speaker 1>I mean. And also that they had the cure too,

0:21:02.640 --> 0:21:04.960
<v Speaker 1>that was the big part of it. It would be

0:21:05.000 --> 0:21:07.520
<v Speaker 1>crazy if they called it something like the China virus

0:21:07.680 --> 0:21:10.160
<v Speaker 1>or something, right, Oh yeah, well that would be topical.

0:21:10.320 --> 0:21:12.840
<v Speaker 1>I mean that whole part when they were showing the

0:21:12.960 --> 0:21:17.320
<v Speaker 1>newspapers and it was like it was eight thousand day,

0:21:17.960 --> 0:21:23.400
<v Speaker 1>the government today thousand, and it was just like, oh

0:21:23.560 --> 0:21:27.800
<v Speaker 1>even in like the wildest imagination of the wachowskis that

0:21:27.960 --> 0:21:31.480
<v Speaker 1>like eighty thousand dead to a government would would be

0:21:31.720 --> 0:21:37.359
<v Speaker 1>like ruining. Not imagine if people found out that the

0:21:37.400 --> 0:21:40.480
<v Speaker 1>government had done nothing and they were like, we loved

0:21:40.560 --> 0:21:45.800
<v Speaker 1>those guys, fought them in for another term. I literally

0:21:45.920 --> 0:21:47.720
<v Speaker 1>had to take a nap after I saw that. I

0:21:47.840 --> 0:21:49.720
<v Speaker 1>was like, I can't. I just paused the movie and

0:21:49.800 --> 0:21:53.439
<v Speaker 1>took a nap because I was like that to people

0:21:53.560 --> 0:21:57.680
<v Speaker 1>to like hearing a film to reference like you can't

0:21:57.760 --> 0:22:04.399
<v Speaker 1>leave quarantine, I was like, I know, a real bummer.

0:22:05.119 --> 0:22:07.680
<v Speaker 1>It also made me very sad because the government like

0:22:07.760 --> 0:22:11.240
<v Speaker 1>specifically probably like targeted the St. Mary's School because like, oh,

0:22:11.240 --> 0:22:16.720
<v Speaker 1>an attack on children is so Irish. Yeah yeah, yeah, yeah.

0:22:16.760 --> 0:22:18.040
<v Speaker 1>It turns out there are gonna be a lot of

0:22:18.080 --> 0:22:21.520
<v Speaker 1>people being like you should open up St. Mary's like that.

0:22:22.400 --> 0:22:24.399
<v Speaker 1>I was thinking, like, oh, just like open up school.

0:22:24.400 --> 0:22:28.000
<v Speaker 1>It's no big deal. That's it's everything is worse than

0:22:28.119 --> 0:22:32.119
<v Speaker 1>any dystopian director coal To possibly imagined. Yeah, well I

0:22:32.200 --> 0:22:35.000
<v Speaker 1>thought it was interesting also how there was I mean,

0:22:35.320 --> 0:22:39.120
<v Speaker 1>Alan Moore complains that it's very American and not British

0:22:39.320 --> 0:22:41.439
<v Speaker 1>the way he wanted it to be. But I did

0:22:41.440 --> 0:22:46.920
<v Speaker 1>think I was just not a great not It's funny

0:22:47.000 --> 0:22:48.359
<v Speaker 1>to me that I used to think that like I

0:22:48.480 --> 0:22:50.520
<v Speaker 1>was like, yeah, she's doing it and watching it at

0:22:50.560 --> 0:22:54.160
<v Speaker 1>this time. I was like, she's trying, love you girl,

0:22:54.480 --> 0:22:57.920
<v Speaker 1>but that she needed a better dialect coach. Yes, But

0:22:58.040 --> 0:23:00.080
<v Speaker 1>what I was gonna say was there's this scene and

0:23:00.240 --> 0:23:04.200
<v Speaker 1>where Creedy is talking to Finch and he's basically accusing

0:23:04.280 --> 0:23:06.920
<v Speaker 1>Finch of doing his job poorly on purpose because he

0:23:07.000 --> 0:23:11.560
<v Speaker 1>sympathizes with the terrorists. And he's like, well, your family's Irish, right,

0:23:11.920 --> 0:23:14.720
<v Speaker 1>It's terrible what St. Mary's did to the Irish, And

0:23:14.800 --> 0:23:17.639
<v Speaker 1>there is like a lot of subtle not I mean

0:23:17.680 --> 0:23:20.400
<v Speaker 1>it's not subtle, but there's a lot of like racism

0:23:20.440 --> 0:23:23.680
<v Speaker 1>towards the Irish. Even before prothero dies, he's talking about

0:23:23.800 --> 0:23:28.920
<v Speaker 1>his Irish lighting director of photography Patty. Yeah, he calls

0:23:29.000 --> 0:23:30.800
<v Speaker 1>him a Patty. He's like, I don't want to see

0:23:30.880 --> 0:23:32.919
<v Speaker 1>him there. Get rid of him. He doesn't know how

0:23:32.960 --> 0:23:36.320
<v Speaker 1>to light me. If you don't get a new DP tomorrow,

0:23:36.960 --> 0:23:39.040
<v Speaker 1>things are gonna be bad for you. And I'm like,

0:23:39.680 --> 0:23:42.159
<v Speaker 1>things are about to be real bad for you. I mean,

0:23:42.440 --> 0:23:45.760
<v Speaker 1>you wish you weren't racist in your last moment to

0:23:45.840 --> 0:23:50.480
<v Speaker 1>find new people to be racist Melissa Place. Oh, just

0:23:50.640 --> 0:23:53.399
<v Speaker 1>while we're on Pro throw him in the shower with

0:23:53.680 --> 0:24:00.080
<v Speaker 1>his massive screens all around him, Like what, I just like,

0:24:00.200 --> 0:24:07.680
<v Speaker 1>does he loved it to himself? Yes? Right, he's probably

0:24:08.280 --> 0:24:14.760
<v Speaker 1>Musk has a bathroom like that, just like yeah, yeah, yeah,

0:24:14.880 --> 0:24:16.240
<v Speaker 1>why would you need it if you're not going to

0:24:16.359 --> 0:24:20.479
<v Speaker 1>jerk off in the shower exactly? I mean, even if

0:24:20.480 --> 0:24:24.240
<v Speaker 1>he's not physically jerking off, he is emotionally jerking off

0:24:24.320 --> 0:24:27.000
<v Speaker 1>to the idea of him being the voice of England

0:24:27.600 --> 0:24:31.840
<v Speaker 1>and but alternate idea that he is more charitable than

0:24:31.920 --> 0:24:34.440
<v Speaker 1>he deserves. Maybe he can't stand to be alone with

0:24:34.600 --> 0:24:37.840
<v Speaker 1>his own thoughts, um, Like you know, do you ever

0:24:38.080 --> 0:24:40.040
<v Speaker 1>have that thing for you have a lot of anxiety

0:24:40.280 --> 0:24:42.480
<v Speaker 1>about like things going on, like you just need the

0:24:42.480 --> 0:24:53.119
<v Speaker 1>television on in the backroom that he's mouthing the words

0:24:55.680 --> 0:24:58.040
<v Speaker 1>the thought of like you know, maybe he doesn't want

0:24:58.040 --> 0:25:03.920
<v Speaker 1>to be alone when he takes a huge ship. Maybe

0:25:04.000 --> 0:25:06.840
<v Speaker 1>he's he's guilty, Maybe he feels guilty and doesn't want

0:25:06.840 --> 0:25:09.120
<v Speaker 1>to think about I mean, I think you're not wrong

0:25:09.240 --> 0:25:11.639
<v Speaker 1>these I mean there are elements of trip to that

0:25:11.720 --> 0:25:13.960
<v Speaker 1>where it's like, yeah, these are people who don't want

0:25:14.040 --> 0:25:17.720
<v Speaker 1>to think critically. They want to distract themselves constantly well,

0:25:17.760 --> 0:25:19.680
<v Speaker 1>and I think that, like, it's interesting looking at this

0:25:19.800 --> 0:25:22.400
<v Speaker 1>from the perspective of it being made in two thousand five,

0:25:22.520 --> 0:25:26.120
<v Speaker 1>before social media was the behemoth that it is now.

0:25:27.040 --> 0:25:30.960
<v Speaker 1>Having all these screens in your bathroom does seem like bananas,

0:25:31.359 --> 0:25:34.639
<v Speaker 1>But usually most of us have a screen in the

0:25:34.680 --> 0:25:39.560
<v Speaker 1>bathroom with us now. Yeah, And like two thousand five,

0:25:39.880 --> 0:25:44.080
<v Speaker 1>my Space existed. Facebook was just about to like become

0:25:44.119 --> 0:25:47.920
<v Speaker 1>a thing, but only in collegests. Yeah, it was about

0:25:48.040 --> 0:25:49.919
<v Speaker 1>it was. It existed, but it was about to become

0:25:50.000 --> 0:25:56.640
<v Speaker 1>like a revolution and destroy democracies. Revolution. You're talking there

0:25:57.800 --> 0:26:02.000
<v Speaker 1>because I joined Facebook, I think in two thousand six. Yeah,

0:26:02.119 --> 0:26:03.600
<v Speaker 1>And that was when you still needed to be a

0:26:03.680 --> 0:26:05.360
<v Speaker 1>part of a network. And it was a big deal

0:26:05.440 --> 0:26:09.120
<v Speaker 1>to us when they when they introduced no network, when

0:26:09.280 --> 0:26:15.600
<v Speaker 1>anyone could join Facebook destroyed Facebook, did you guys? Yeah? Yeah,

0:26:16.040 --> 0:26:20.320
<v Speaker 1>did you guys? Like um when Evie Uh, A thing

0:26:20.440 --> 0:26:22.200
<v Speaker 1>that she does in the movie that she doesn't do

0:26:22.280 --> 0:26:24.399
<v Speaker 1>in the book is when she opens the window for

0:26:24.560 --> 0:26:27.440
<v Speaker 1>v for the pedophile priest that she's like, help me,

0:26:27.720 --> 0:26:30.639
<v Speaker 1>I'm the terrorists, I want immunity. Someone's gonna murder you,

0:26:30.840 --> 0:26:33.520
<v Speaker 1>and he thinks she's playing along. I thought that that

0:26:34.000 --> 0:26:38.199
<v Speaker 1>from a screenwriting point in the moment you're like, shut up, Evie,

0:26:38.600 --> 0:26:41.639
<v Speaker 1>But from a screenwriting standpoint and also from like a

0:26:41.720 --> 0:26:45.080
<v Speaker 1>narrative standpoint, it does it feels relatable where you're like, yeah,

0:26:45.119 --> 0:26:48.080
<v Speaker 1>she has no loyalty to this insane guy. And also

0:26:48.160 --> 0:26:50.240
<v Speaker 1>then it gives her like a chance to to grow,

0:26:50.359 --> 0:26:54.000
<v Speaker 1>to to get on board with his ideology because yeah,

0:26:54.080 --> 0:26:56.280
<v Speaker 1>that maybe is what I would do with you know,

0:26:56.359 --> 0:26:59.000
<v Speaker 1>he let me out and it's a murderer guy. I

0:26:59.160 --> 0:27:03.240
<v Speaker 1>think that was one example of how the screens play

0:27:03.320 --> 0:27:05.960
<v Speaker 1>really worked for me in points when the directing did not,

0:27:06.320 --> 0:27:09.080
<v Speaker 1>because I there was something about like the way it

0:27:09.200 --> 0:27:12.760
<v Speaker 1>was staged and directed and shot that I was like

0:27:12.920 --> 0:27:16.080
<v Speaker 1>not in it emotionally with her, Like you weren't just

0:27:16.320 --> 0:27:18.600
<v Speaker 1>with her in that moment. You didn't see moments of

0:27:18.680 --> 0:27:22.159
<v Speaker 1>her right before feeling terrified, Like it didn't tell that

0:27:22.359 --> 0:27:25.040
<v Speaker 1>story to me in that moment, So it felt very jarring.

0:27:25.160 --> 0:27:26.840
<v Speaker 1>And maybe it was also because I just read the

0:27:26.880 --> 0:27:30.520
<v Speaker 1>book and was expecting a different outcome, But like from

0:27:30.560 --> 0:27:33.159
<v Speaker 1>a storytelling perspective, it felt very grounded, like that's what

0:27:33.280 --> 0:27:35.159
<v Speaker 1>a young woman would do who felt trapped and had

0:27:35.200 --> 0:27:38.760
<v Speaker 1>no loyalty to this man. But uh, but yeah, I

0:27:38.800 --> 0:27:40.879
<v Speaker 1>didn't fully buy it. You're right. It would have been

0:27:40.960 --> 0:27:42.920
<v Speaker 1>so much better if we got like a moment where

0:27:43.000 --> 0:27:45.800
<v Speaker 1>she's like scared and like, yeah, so we see that

0:27:45.880 --> 0:27:50.440
<v Speaker 1>internal thing. A good point, thank you, rebuttal Uh. It

0:27:50.560 --> 0:27:54.800
<v Speaker 1>felt to me more calculated in terms of she had

0:27:55.840 --> 0:27:58.960
<v Speaker 1>Daddy Dietrick's address on a slip of paper in the

0:27:59.040 --> 0:28:00.840
<v Speaker 1>shadow gallery and we see her looking at it and

0:28:00.920 --> 0:28:02.399
<v Speaker 1>she's like, you know what, you can do this, and

0:28:02.480 --> 0:28:06.960
<v Speaker 1>then she takes a moment to try and then be like, oh,

0:28:07.160 --> 0:28:09.919
<v Speaker 1>v you know, I want to help more. How can

0:28:10.000 --> 0:28:13.280
<v Speaker 1>I help? So it felt more like a woman in

0:28:13.359 --> 0:28:17.640
<v Speaker 1>a domestic abuse situation trying to get out, and then

0:28:18.080 --> 0:28:21.000
<v Speaker 1>in that moment with the priest, she's like very hurried

0:28:21.040 --> 0:28:24.160
<v Speaker 1>because she's like, you have like twelve seconds to help

0:28:24.240 --> 0:28:26.360
<v Speaker 1>me get out, and I've been planning this very carefully

0:28:26.600 --> 0:28:28.880
<v Speaker 1>and I need you to be better than you are

0:28:29.080 --> 0:28:32.080
<v Speaker 1>in this moment and help me. But also why why

0:28:32.119 --> 0:28:37.760
<v Speaker 1>did she open the window for? Yeah? That felt confusing

0:28:37.840 --> 0:28:40.000
<v Speaker 1>to me. That was the one thing I couldn't wrap

0:28:40.080 --> 0:28:43.560
<v Speaker 1>my head around. Yeah, and I because yeah, I just

0:28:43.680 --> 0:28:46.920
<v Speaker 1>felt like I didn't buy it from an emotional perspective

0:28:47.000 --> 0:28:49.200
<v Speaker 1>like I wasn't with her and worried for her in

0:28:49.320 --> 0:28:52.240
<v Speaker 1>that moment. I was more like, Oh, this is a turn,

0:28:52.520 --> 0:28:57.040
<v Speaker 1>you know, and not a way that she also cres

0:28:57.200 --> 0:29:00.400
<v Speaker 1>on the news all the time, like when she's I

0:29:00.440 --> 0:29:05.120
<v Speaker 1>know she's wearing pigtails. But when she says ef Hammond,

0:29:05.680 --> 0:29:09.200
<v Speaker 1>presumably he has seen many pictures of Ef Hammon. I

0:29:09.320 --> 0:29:11.360
<v Speaker 1>love that His response is like, Oh, I like this

0:29:11.520 --> 0:29:15.200
<v Speaker 1>game this is. But it's also like I'm just gonna

0:29:15.400 --> 0:29:18.680
<v Speaker 1>keep pettified context thing where it's like, if you assume

0:29:18.800 --> 0:29:24.320
<v Speaker 1>someone came from the agency you're you're in that you're primed. Okay.

0:29:24.480 --> 0:29:27.960
<v Speaker 1>I've been in situations like that where it's like I've

0:29:28.000 --> 0:29:30.080
<v Speaker 1>seen a person's face a bunch of times. Dana, there

0:29:30.120 --> 0:29:32.080
<v Speaker 1>was a time in college where we were waiting for

0:29:32.160 --> 0:29:35.080
<v Speaker 1>a shuttle together and you were talking to this guy

0:29:35.200 --> 0:29:39.400
<v Speaker 1>who had just written a very controversial bed for the newspaper,

0:29:39.680 --> 0:29:41.640
<v Speaker 1>and the whole time you were talking to him, I

0:29:41.760 --> 0:29:43.920
<v Speaker 1>didn't realize it was him, and he kept looking at

0:29:43.960 --> 0:29:45.280
<v Speaker 1>me like he was scared I was going to get

0:29:45.360 --> 0:29:47.040
<v Speaker 1>him at him because a lot of black people were

0:29:47.080 --> 0:29:51.000
<v Speaker 1>managing at that point. Um The op ed basically implied

0:29:51.040 --> 0:29:53.120
<v Speaker 1>the only white men with land should be able to

0:29:53.160 --> 0:30:01.840
<v Speaker 1>He was like, yeah, we set that's like when he left,

0:30:01.920 --> 0:30:03.320
<v Speaker 1>and you were like, oh, that was I'm not going

0:30:03.400 --> 0:30:05.600
<v Speaker 1>to say his real name. I forgot his don't say

0:30:05.600 --> 0:30:07.920
<v Speaker 1>I know it, but I'm not going to say it.

0:30:08.040 --> 0:30:11.360
<v Speaker 1>But like that was writing mcgriderson and I was like, oh, yeah,

0:30:11.440 --> 0:30:14.240
<v Speaker 1>that was so that. I think I'll give him that.

0:30:14.400 --> 0:30:19.000
<v Speaker 1>He was expecting a child prostitute in that moment and

0:30:19.120 --> 0:30:23.760
<v Speaker 1>not a terrorist. I mean, yes, I also think that

0:30:24.160 --> 0:30:27.160
<v Speaker 1>is a little bizarre because in the book, v actually

0:30:27.320 --> 0:30:29.600
<v Speaker 1>is very young, Like the fact that she's sixty means

0:30:29.720 --> 0:30:32.400
<v Speaker 1>that she is a child. She would still look like

0:30:32.440 --> 0:30:38.600
<v Speaker 1>a child. Badily Portman looks twenty five and she cures pedophilia.

0:30:38.960 --> 0:30:44.880
<v Speaker 1>She's very pretty, and she's dressed in pigtails. Sure yeah,

0:30:45.440 --> 0:30:48.800
<v Speaker 1>and he's like this is great. When that camera whips

0:30:48.840 --> 0:30:51.800
<v Speaker 1>to reveal I was like that this is this is

0:30:51.840 --> 0:30:55.080
<v Speaker 1>a stretch. I'm sorry, but this is actually this is

0:30:55.120 --> 0:30:59.600
<v Speaker 1>too five. Did have that costume ready to go? Yeah,

0:31:00.040 --> 0:31:04.440
<v Speaker 1>that's ready to go. And then there's that moment later

0:31:04.560 --> 0:31:07.400
<v Speaker 1>in the movie where he dresses up like another person

0:31:08.040 --> 0:31:10.840
<v Speaker 1>and it's like surprised, like it felt very much like

0:31:10.960 --> 0:31:14.320
<v Speaker 1>he's the master of disguise. It also felt like he Yeah,

0:31:15.480 --> 0:31:18.520
<v Speaker 1>not only Portman's pigtail output. It felt like it was

0:31:18.560 --> 0:31:20.800
<v Speaker 1>from another movie, Like I was like, oh, this is

0:31:20.840 --> 0:31:23.760
<v Speaker 1>like a Hunger Game style where I was like, didn't

0:31:24.640 --> 0:31:29.640
<v Speaker 1>like American Pie, Like what movie is that? I will say,

0:31:30.720 --> 0:31:33.680
<v Speaker 1>I will defend the movie by saying that is an

0:31:33.760 --> 0:31:39.200
<v Speaker 1>almost exact replica of the outfit that wears, but it

0:31:39.280 --> 0:31:43.960
<v Speaker 1>doesn't fit the aesthetic. This graphic novel was written in

0:31:44.040 --> 0:31:50.080
<v Speaker 1>the eighties. I also feel like her betraying him in

0:31:50.200 --> 0:31:56.640
<v Speaker 1>that way does change the like his motive, like the

0:31:56.720 --> 0:32:00.880
<v Speaker 1>way he betrays her later by like tricking her into

0:32:00.960 --> 0:32:05.400
<v Speaker 1>thinking she's held prisoner, Like there is something. I don't

0:32:05.560 --> 0:32:08.320
<v Speaker 1>have a strong opinion of whether that's good or bad,

0:32:08.480 --> 0:32:12.200
<v Speaker 1>but it is like it's not just this. Yeah, the

0:32:12.360 --> 0:32:16.240
<v Speaker 1>change of him, of her trying to betray him is like,

0:32:16.400 --> 0:32:20.240
<v Speaker 1>and then it feels a little vindictive that v did

0:32:20.320 --> 0:32:24.400
<v Speaker 1>this thing to her until little punishment. The fact that

0:32:24.520 --> 0:32:28.120
<v Speaker 1>she did actively run away and then he captures her

0:32:28.160 --> 0:32:32.480
<v Speaker 1>back and tortures her just in the abstract is gross. Yeah,

0:32:33.800 --> 0:32:38.240
<v Speaker 1>you say that in those words in that order, because

0:32:38.240 --> 0:32:40.240
<v Speaker 1>it also and this is why I also didn't like

0:32:40.360 --> 0:32:44.320
<v Speaker 1>this choice. Is I really liked in the movie after

0:32:44.560 --> 0:32:48.560
<v Speaker 1>she goes through the process of false imprisonment and shaves

0:32:48.600 --> 0:32:50.560
<v Speaker 1>her head and is freed, and the rain and all

0:32:50.640 --> 0:32:53.640
<v Speaker 1>that stuff is the rain is beautiful and that whole sequence.

0:32:54.240 --> 0:32:57.880
<v Speaker 1>Um when she leaves on her own volition, is like,

0:32:58.000 --> 0:33:00.360
<v Speaker 1>I'm what are you gonna do? You're a one to woman,

0:33:00.360 --> 0:33:02.720
<v Speaker 1>and she's like, I'm not afraid anymore, and she just

0:33:02.800 --> 0:33:07.520
<v Speaker 1>walks away without a real plan. Did she go? Yeah?

0:33:07.560 --> 0:33:10.320
<v Speaker 1>Where does she go? I don't know where she goes?

0:33:10.480 --> 0:33:12.720
<v Speaker 1>But but I but I felt like, to me, the

0:33:12.800 --> 0:33:17.320
<v Speaker 1>more emotionally honest thing for her to do is to

0:33:17.560 --> 0:33:21.400
<v Speaker 1>stay under v and not try to escape with the

0:33:21.480 --> 0:33:24.320
<v Speaker 1>priest because she is this wanted woman and she was

0:33:24.400 --> 0:33:27.640
<v Speaker 1>afraid then. So I don't know, I actually agree with

0:33:27.760 --> 0:33:30.400
<v Speaker 1>you where I think a better way to have played

0:33:30.480 --> 0:33:32.840
<v Speaker 1>it is that she is in on the plan. She

0:33:33.120 --> 0:33:35.400
<v Speaker 1>did not prep it. She's not going to betray him

0:33:35.600 --> 0:33:37.960
<v Speaker 1>with Gordon. You know, Gordon's dad dressed the way they

0:33:38.160 --> 0:33:41.120
<v Speaker 1>prep that. But in the moment when she's with the priest,

0:33:41.200 --> 0:33:43.640
<v Speaker 1>she has a freak ap. Yes, But then I think

0:33:43.680 --> 0:33:46.760
<v Speaker 1>they could have played that a little more grounded in

0:33:46.840 --> 0:33:48.479
<v Speaker 1>a way that still makes her feel like she has

0:33:48.520 --> 0:33:52.280
<v Speaker 1>agency and she's a three dimensional character. But I mean

0:33:52.360 --> 0:33:54.120
<v Speaker 1>to go back to what you said. When she does

0:33:54.280 --> 0:33:58.120
<v Speaker 1>leave V's lair and finds in a like where did

0:33:58.200 --> 0:34:00.600
<v Speaker 1>she go? How did she get that other apartment? How

0:34:00.720 --> 0:34:03.360
<v Speaker 1>did she get the like cinder block bookcase that she

0:34:03.440 --> 0:34:06.400
<v Speaker 1>put together? She does say fake, I D. We just

0:34:06.480 --> 0:34:08.320
<v Speaker 1>don't know how she gets says fake idea and that

0:34:08.480 --> 0:34:11.680
<v Speaker 1>people don't I think there's she's they said something like,

0:34:11.880 --> 0:34:16.680
<v Speaker 1>oh when people people don't see me as e V anymore,

0:34:16.760 --> 0:34:19.640
<v Speaker 1>I think you changed more of me than you know.

0:34:20.040 --> 0:34:25.080
<v Speaker 1>Her work friend hands her her wallet and doesn't recognize her. Yeah,

0:34:25.680 --> 0:34:28.160
<v Speaker 1>the logistics of it, I mean, if you live in

0:34:28.200 --> 0:34:30.640
<v Speaker 1>a city long enough, you know where you can go

0:34:30.760 --> 0:34:32.200
<v Speaker 1>to get a fake. I D like I know where

0:34:32.239 --> 0:34:35.799
<v Speaker 1>to go in l A to get a fake. I gad,

0:34:35.960 --> 0:34:37.880
<v Speaker 1>I've lived in Chica. I mean I grew up in

0:34:38.080 --> 0:34:40.960
<v Speaker 1>l A. Also, so like I was a teenager, I

0:34:41.120 --> 0:34:43.359
<v Speaker 1>knew where people would go to get fake. I did

0:34:43.480 --> 0:34:45.720
<v Speaker 1>get a fake, I D when I was a teenager,

0:34:45.840 --> 0:34:48.239
<v Speaker 1>when I was like nineteen. But I don't know where

0:34:48.320 --> 0:34:50.480
<v Speaker 1>that guy is. He's I don't think I don't know.

0:34:52.040 --> 0:34:56.000
<v Speaker 1>I mean there are places anyway, regardless, I'm not encouraging

0:34:56.080 --> 0:34:59.719
<v Speaker 1>anyone to get Where would I go to get a fake?

0:35:00.040 --> 0:35:04.920
<v Speaker 1>You tell me how to do cry, Well, you go

0:35:05.080 --> 0:35:10.320
<v Speaker 1>to fake? I d in my city dot org. But

0:35:10.800 --> 0:35:12.600
<v Speaker 1>what I want to say my take on the priest thing,

0:35:12.800 --> 0:35:15.040
<v Speaker 1>and then I want to definitely move us away from that.

0:35:15.080 --> 0:35:16.479
<v Speaker 1>I don't want to harp on it too much longer.

0:35:16.600 --> 0:35:21.279
<v Speaker 1>But for me, the thing about the graphic novel one

0:35:21.880 --> 0:35:24.799
<v Speaker 1>six team, and she is not aware that V has

0:35:24.960 --> 0:35:29.279
<v Speaker 1>killed anyone other than the Fingerman at that point. Um. Also,

0:35:29.320 --> 0:35:32.320
<v Speaker 1>he didn't kill pro Throw in the graphic novel, he

0:35:32.520 --> 0:35:41.160
<v Speaker 1>just made him definitely, so she in the movie she

0:35:41.480 --> 0:35:44.680
<v Speaker 1>knows that he killed pro Throw. So she's like, oh,

0:35:44.960 --> 0:35:49.360
<v Speaker 1>I'm with a murderer, okay. And I think for me,

0:35:49.920 --> 0:35:52.000
<v Speaker 1>her making that choice to try and extricate herself in

0:35:52.080 --> 0:35:53.759
<v Speaker 1>this situation, like it was one thing when he was

0:35:53.800 --> 0:35:57.360
<v Speaker 1>blowing up a building and like doing news broadcasts for

0:35:58.040 --> 0:36:01.799
<v Speaker 1>for like a revolution, but this is a whole other level.

0:36:01.880 --> 0:36:04.680
<v Speaker 1>So I need to get out. And for me, the

0:36:04.800 --> 0:36:06.719
<v Speaker 1>reason that she opened the window because you asked that,

0:36:06.760 --> 0:36:08.800
<v Speaker 1>and I did have to think about it. But me,

0:36:09.000 --> 0:36:10.560
<v Speaker 1>for me, the reason that she opened the window is

0:36:10.640 --> 0:36:13.960
<v Speaker 1>because she needs v to be able to come inside

0:36:14.000 --> 0:36:16.760
<v Speaker 1>so that they can take him. So she is able

0:36:16.840 --> 0:36:20.359
<v Speaker 1>to help with the capture of then she can get

0:36:20.400 --> 0:36:23.000
<v Speaker 1>the amnesty that she's asking for. I'm not saying it

0:36:23.080 --> 0:36:25.040
<v Speaker 1>was the best choice, but I'm saying this is how

0:36:25.080 --> 0:36:28.759
<v Speaker 1>it makes sense. Makes sense. Thank you, It makes sense. Yeah.

0:36:29.160 --> 0:36:31.319
<v Speaker 1>I think that is very grounded that someone who has

0:36:31.440 --> 0:36:33.920
<v Speaker 1>lived within a system her entire life and works for

0:36:34.000 --> 0:36:37.440
<v Speaker 1>this system would not want to immediately throw that all

0:36:37.480 --> 0:36:41.279
<v Speaker 1>away for a murder stranger. And she also does have

0:36:41.400 --> 0:36:44.000
<v Speaker 1>the moment where she realizes that she makes the police

0:36:44.040 --> 0:36:46.160
<v Speaker 1>officer the detective and she was like, why did I

0:36:46.239 --> 0:36:49.160
<v Speaker 1>do that? So she she kind of has her moments

0:36:49.200 --> 0:36:51.680
<v Speaker 1>of helping him. She was unwitting in the beginning. She

0:36:51.800 --> 0:36:52.920
<v Speaker 1>was like, I'll just go on a walk with this

0:36:53.000 --> 0:36:55.080
<v Speaker 1>man that saved me from being raped by the police,

0:36:55.640 --> 0:36:57.560
<v Speaker 1>and then he blows some stuff up, and then she

0:36:57.880 --> 0:37:02.080
<v Speaker 1>actually assists him with time, and then he kidnaps her

0:37:02.360 --> 0:37:04.040
<v Speaker 1>and then she finds out that he used her I

0:37:04.200 --> 0:37:06.759
<v Speaker 1>d to go and murder the Voice of England, So

0:37:06.880 --> 0:37:09.400
<v Speaker 1>I think that there's a progression there. Oh yeah, he

0:37:09.520 --> 0:37:12.960
<v Speaker 1>used her idea I forgot. I forgot about that, Karama.

0:37:13.200 --> 0:37:20.000
<v Speaker 1>I'm back on board. Yeah yeah, I'm here too. Okay,

0:37:20.080 --> 0:37:23.560
<v Speaker 1>I gotta really quick put my hair in pigtails and

0:37:23.640 --> 0:37:38.080
<v Speaker 1>seduce the priest. I'll be back in the plot. Then

0:37:38.160 --> 0:37:40.640
<v Speaker 1>she goes to stay with Gordon, which is a sequence

0:37:40.719 --> 0:37:45.440
<v Speaker 1>that I genuinely love. I love I really like him

0:37:45.560 --> 0:37:52.239
<v Speaker 1>as he's very funny. He's one of the characters in

0:37:52.360 --> 0:37:54.480
<v Speaker 1>this who is kind of a rare character in this

0:37:54.560 --> 0:37:56.760
<v Speaker 1>who seems to have a really lovely sense of humor.

0:37:57.080 --> 0:37:59.600
<v Speaker 1>He makes her the eggs. What do you guys call that?

0:37:59.719 --> 0:38:01.480
<v Speaker 1>In my family, we always called it hole, egg in

0:38:01.520 --> 0:38:03.399
<v Speaker 1>a basket, called it hole in the eye, which doesn't

0:38:03.440 --> 0:38:06.320
<v Speaker 1>make any sense. But never I have been in the basket.

0:38:06.400 --> 0:38:08.919
<v Speaker 1>That sounds terrified. We called it egg in a bird's

0:38:08.960 --> 0:38:11.920
<v Speaker 1>nest in my house. You no, I've never had that.

0:38:12.000 --> 0:38:14.840
<v Speaker 1>Was like I saw that. I was confused by what

0:38:14.960 --> 0:38:18.239
<v Speaker 1>it was like, what which really I thought? The first

0:38:18.320 --> 0:38:19.960
<v Speaker 1>time that V made it, I was like, well, this

0:38:20.080 --> 0:38:25.840
<v Speaker 1>is a cool dystopian breakfast to yourself. It's fun. You

0:38:26.040 --> 0:38:28.960
<v Speaker 1>use like a little glass and you cut up and

0:38:29.000 --> 0:38:32.600
<v Speaker 1>then it's very easy to do it. One slice of

0:38:32.640 --> 0:38:36.759
<v Speaker 1>bread and one egg, okay, great and a cookie cutter

0:38:38.239 --> 0:38:40.440
<v Speaker 1>fun shape if you want, what's it called hole in

0:38:40.520 --> 0:38:46.680
<v Speaker 1>the Eye's family understand, could be a lot of things, okay.

0:38:47.040 --> 0:38:51.960
<v Speaker 1>I also really liked the storytelling of this storyline where it's,

0:38:52.000 --> 0:38:54.960
<v Speaker 1>you know, in the beginning, you think he's a creepy

0:38:55.120 --> 0:38:58.520
<v Speaker 1>older man that's trying to have sex with e V

0:38:59.000 --> 0:39:02.920
<v Speaker 1>and like Daddy d trick, and it's like, as soon

0:39:03.000 --> 0:39:04.840
<v Speaker 1>as that was said, I'm like you, Like, I just

0:39:05.000 --> 0:39:08.239
<v Speaker 1>was a meeting them, and then I saw him like

0:39:08.840 --> 0:39:12.000
<v Speaker 1>that guy and then they go over and you know,

0:39:12.239 --> 0:39:14.319
<v Speaker 1>and I'm like, oh, he's actually really sweet and when

0:39:14.440 --> 0:39:16.320
<v Speaker 1>is he going to be a creep And I was like, oh, no,

0:39:16.480 --> 0:39:20.720
<v Speaker 1>he's not, agree and then it just became so lovely

0:39:20.840 --> 0:39:24.040
<v Speaker 1>in such a sort of surprising relationship within this movie.

0:39:25.480 --> 0:39:27.279
<v Speaker 1>In many ways, he's like a version of Fee that

0:39:27.520 --> 0:39:31.279
<v Speaker 1>continues to operate within this society. He secret room to

0:39:31.600 --> 0:39:34.840
<v Speaker 1>where he has art in the Koran and things that

0:39:35.120 --> 0:39:37.839
<v Speaker 1>would get him killed if anybody found out about them,

0:39:38.000 --> 0:39:43.239
<v Speaker 1>and then does unfortunately does. I did also wonder though,

0:39:43.520 --> 0:39:46.360
<v Speaker 1>like did he have this secret room built first and

0:39:46.520 --> 0:39:49.520
<v Speaker 1>then put the things in it? Or did he have

0:39:49.760 --> 0:39:52.520
<v Speaker 1>the things and then put them in a secret room

0:39:52.560 --> 0:39:55.120
<v Speaker 1>that he then had built. Like what was the progression

0:39:55.320 --> 0:39:57.680
<v Speaker 1>and like, how did he explain to the contractors what

0:39:57.760 --> 0:40:00.400
<v Speaker 1>he was getting got He gotta have a secret first,

0:40:00.520 --> 0:40:02.600
<v Speaker 1>you don't. You don't get this stuff unless you have

0:40:02.680 --> 0:40:05.080
<v Speaker 1>the secret room ready to go. That's what I'm thinking.

0:40:05.160 --> 0:40:06.840
<v Speaker 1>But then what do you say to the contractors? Do

0:40:06.920 --> 0:40:08.759
<v Speaker 1>you say, like, this is my play room, like you're

0:40:08.840 --> 0:40:14.560
<v Speaker 1>Christian Gray, Like what's the A lot of people panic

0:40:14.600 --> 0:40:18.040
<v Speaker 1>Crimson room. Yeah, I didn't even think or just make

0:40:18.080 --> 0:40:20.000
<v Speaker 1>it a regular room and put a big bookshelf in

0:40:20.080 --> 0:40:23.680
<v Speaker 1>front of it. Yeah. Yeah, these are things that you

0:40:23.719 --> 0:40:26.320
<v Speaker 1>think about in a dystopia. You gotta prep your secret

0:40:26.400 --> 0:40:29.320
<v Speaker 1>Keran room. Did we ever get a sense of what

0:40:29.440 --> 0:40:33.320
<v Speaker 1>his show was like before the No. I think just

0:40:33.480 --> 0:40:40.040
<v Speaker 1>like bad like Carson, Yeah, like British panel show. Yeah,

0:40:41.000 --> 0:40:44.120
<v Speaker 1>like a bad version of the Graham Norton Show. Yeah,

0:40:46.840 --> 0:40:50.879
<v Speaker 1>like perfect. Yeah. I love Graham Norton. I loved all

0:40:50.920 --> 0:40:53.279
<v Speaker 1>the teeth. I loved all the portrayals of TV and

0:40:53.440 --> 0:40:57.360
<v Speaker 1>media in this because like the reporters as well, just

0:40:57.480 --> 0:40:59.719
<v Speaker 1>to like kind of tangentially but like the report, like

0:40:59.760 --> 0:41:03.600
<v Speaker 1>the his reports felt very box news vibes, which like

0:41:04.120 --> 0:41:10.200
<v Speaker 1>she she blinks a lot when she does a story. Yeah. Um.

0:41:10.520 --> 0:41:13.040
<v Speaker 1>But I also loved and it's such a minor detail

0:41:13.080 --> 0:41:15.600
<v Speaker 1>of this movie. I love the shots of people watching

0:41:15.680 --> 0:41:18.799
<v Speaker 1>television in their homes because you get to see how

0:41:19.040 --> 0:41:22.360
<v Speaker 1>normal their homes look. And I think a lot of

0:41:22.400 --> 0:41:24.400
<v Speaker 1>people think that, you know, if we lived in the dystopia,

0:41:24.600 --> 0:41:26.719
<v Speaker 1>it would look like soil and green, like everything would

0:41:26.719 --> 0:41:29.440
<v Speaker 1>be terrible and falling apart. And no, their homes look

0:41:29.480 --> 0:41:31.640
<v Speaker 1>really lovely, like at least one couple is some really

0:41:31.719 --> 0:41:34.920
<v Speaker 1>nice built in bookshelves. It looks really pleasant and normal.

0:41:35.640 --> 0:41:40.160
<v Speaker 1>And that happens right, and autocracy grows up around you

0:41:40.480 --> 0:41:43.160
<v Speaker 1>and things keep looking normal for a lot of people

0:41:43.800 --> 0:41:47.920
<v Speaker 1>unless you're a minority, or a reporter, or not straight

0:41:48.120 --> 0:41:51.399
<v Speaker 1>or not sis, and then everything looks horrify. I think

0:41:51.400 --> 0:41:54.120
<v Speaker 1>that's a really good point, And because it was connected

0:41:54.160 --> 0:41:57.000
<v Speaker 1>to something that I like the change of e V

0:41:57.239 --> 0:42:01.840
<v Speaker 1>having this job because she as like a young, pretty

0:42:02.360 --> 0:42:05.120
<v Speaker 1>white woman, she would have a job in this society,

0:42:05.320 --> 0:42:10.680
<v Speaker 1>and it does feel like she has that privilege even

0:42:10.760 --> 0:42:13.439
<v Speaker 1>if and it is like comfortable for her, even if

0:42:13.680 --> 0:42:16.719
<v Speaker 1>she is living in this authoritarian regime, and it does

0:42:16.800 --> 0:42:21.799
<v Speaker 1>feel like in the book the options for women are

0:42:21.880 --> 0:42:26.239
<v Speaker 1>a lot more limited. She has a female boss in

0:42:26.320 --> 0:42:28.880
<v Speaker 1>the movie. Yeah, And that's why this feels more grounded

0:42:29.000 --> 0:42:32.799
<v Speaker 1>and more relatable, especially to today, because it's like, oh,

0:42:33.040 --> 0:42:37.040
<v Speaker 1>you can still have creature comforts in regimes that are

0:42:38.239 --> 0:42:41.960
<v Speaker 1>very scary. And I like the choices of seeing thee

0:42:42.160 --> 0:42:44.640
<v Speaker 1>like the families at home, because you don't get that

0:42:44.719 --> 0:42:46.560
<v Speaker 1>in the book really, like you don't get to see

0:42:46.600 --> 0:42:48.680
<v Speaker 1>the effects of like what V is doing or what

0:42:48.800 --> 0:42:52.040
<v Speaker 1>EV is doing, and what essentially what the government is

0:42:52.080 --> 0:42:54.960
<v Speaker 1>doing either. But I love seeing like that one scene

0:42:55.080 --> 0:42:58.280
<v Speaker 1>where the young girl starts to realize that the news

0:42:58.440 --> 0:43:00.520
<v Speaker 1>is then she gets up and is like bullocks, And

0:43:00.600 --> 0:43:03.880
<v Speaker 1>I'm like, this is such a great tiny detail just

0:43:04.040 --> 0:43:07.680
<v Speaker 1>to show that, like what he the idea that vas

0:43:07.800 --> 0:43:11.960
<v Speaker 1>pushing is starting to like seep its way into people's consciousness.

0:43:12.400 --> 0:43:15.000
<v Speaker 1>And I think the movie makes a very smart choice

0:43:15.160 --> 0:43:19.239
<v Speaker 1>of taking the core climax of the novel, which is

0:43:19.280 --> 0:43:22.800
<v Speaker 1>that V is purposely sewing chaos to tear down this

0:43:22.960 --> 0:43:27.400
<v Speaker 1>totalitarian government. Sending out the masks to people is like

0:43:27.520 --> 0:43:31.080
<v Speaker 1>a tangible that's very smart, where it's like, yeah, if

0:43:31.120 --> 0:43:35.680
<v Speaker 1>you want to sell better than poetry, if you want

0:43:35.680 --> 0:43:39.640
<v Speaker 1>to sew chaos, and he does. Don't send people weird poems,

0:43:39.920 --> 0:43:43.000
<v Speaker 1>send them symbolic masks that kind of make them feel

0:43:43.000 --> 0:43:47.120
<v Speaker 1>empowered to do things they maybe otherwise wouldn't. And also

0:43:47.160 --> 0:43:50.040
<v Speaker 1>it makes it harder to identify him, and it makes

0:43:50.120 --> 0:43:52.560
<v Speaker 1>it more like this isn't just me. I'm not the

0:43:52.640 --> 0:43:55.200
<v Speaker 1>only one. Anyone who puts on this mask is a

0:43:55.280 --> 0:43:58.120
<v Speaker 1>part of this. Oh yeah, and that's why I love that.

0:43:58.239 --> 0:44:00.480
<v Speaker 1>Like Spider Man, I was gonna say, it's like Spider

0:44:00.520 --> 0:44:02.720
<v Speaker 1>Man into the Spider Verse, anyone can wear the masks

0:44:03.120 --> 0:44:08.600
<v Speaker 1>that at the newsroom where he broadcasts, and then he

0:44:08.719 --> 0:44:11.000
<v Speaker 1>puts his mask and all those people. It's such a cool,

0:44:11.280 --> 0:44:18.280
<v Speaker 1>um like cinematic scene. But it also how the mask

0:44:18.480 --> 0:44:21.359
<v Speaker 1>shifts in the movie is like in the beginning, it's

0:44:21.440 --> 0:44:25.440
<v Speaker 1>like essentially hostages are wearing these masks so that the

0:44:25.480 --> 0:44:28.960
<v Speaker 1>police doesn't know who who is who, And then thousands

0:44:29.000 --> 0:44:31.520
<v Speaker 1>and thousands of people are wearing these masks because they're

0:44:31.600 --> 0:44:33.560
<v Speaker 1>all him, and so I feel like that's a really

0:44:33.640 --> 0:44:39.359
<v Speaker 1>cool device within the movie. Another small logistic thing though,

0:44:39.520 --> 0:44:44.200
<v Speaker 1>he said, like seventy mask and this is like, I guess,

0:44:44.560 --> 0:44:46.279
<v Speaker 1>did you see in two thousands five when it was

0:44:46.400 --> 0:44:51.600
<v Speaker 1>made for me. It was about the logistics of getting

0:44:53.680 --> 0:44:58.200
<v Speaker 1>those masks, and like also just people are different sizes

0:44:58.440 --> 0:45:00.640
<v Speaker 1>in their bodies. And he didn't just said masks. He

0:45:00.760 --> 0:45:05.239
<v Speaker 1>also sent like caps and hand and I have a

0:45:05.520 --> 0:45:09.040
<v Speaker 1>very large head. Most hats do not fit in my head.

0:45:09.520 --> 0:45:11.040
<v Speaker 1>So I'm just like, where did he get all these

0:45:11.120 --> 0:45:14.200
<v Speaker 1>one size fits all hats and cakes? They're like baseball

0:45:14.280 --> 0:45:18.319
<v Speaker 1>hatsened by the hats. I just know that the sending

0:45:18.360 --> 0:45:20.520
<v Speaker 1>out the mass, I assume that everyone just like went

0:45:20.560 --> 0:45:24.000
<v Speaker 1>out and bought those tips. No, you can see the

0:45:24.920 --> 0:45:28.640
<v Speaker 1>when it's open. Yeah, he said the cakes. Well, I

0:45:28.719 --> 0:45:31.040
<v Speaker 1>will say there is something about this movie that I

0:45:31.640 --> 0:45:35.200
<v Speaker 1>enjoy in terms like in terms of the heightening of

0:45:35.320 --> 0:45:38.160
<v Speaker 1>it to make me a little bit of a superhero,

0:45:38.400 --> 0:45:41.040
<v Speaker 1>like not a full superhero. And he does die, he

0:45:41.200 --> 0:45:45.320
<v Speaker 1>is mortal, but like he is like those matrix he

0:45:46.560 --> 0:45:51.240
<v Speaker 1>and whatever, like with the knives and the swishing swishing

0:45:51.320 --> 0:45:54.560
<v Speaker 1>of the knives because in the book he is larger

0:45:54.640 --> 0:45:57.520
<v Speaker 1>than life. He is like it does feel kind of

0:45:57.560 --> 0:46:00.239
<v Speaker 1>like a demi god. And so it is all of

0:46:00.320 --> 0:46:03.400
<v Speaker 1>these moves then feel of a piece. It's like, I

0:46:03.520 --> 0:46:06.200
<v Speaker 1>believe the way you can move around a room, makes

0:46:06.239 --> 0:46:08.480
<v Speaker 1>me believe you can set up those dominoes and makes

0:46:08.520 --> 0:46:11.160
<v Speaker 1>me believe you couldn't figure out how to ship seventy masks.

0:46:11.360 --> 0:46:15.080
<v Speaker 1>He does. They do mention in like a tiny aside

0:46:15.520 --> 0:46:19.960
<v Speaker 1>that during during the experiments that subject five got heightened

0:46:20.200 --> 0:46:25.920
<v Speaker 1>reflexes and like they give him superpowers and super it's

0:46:25.920 --> 0:46:31.080
<v Speaker 1>a little X Man. Yeah, he's not very I liked

0:46:31.120 --> 0:46:33.719
<v Speaker 1>me either. I think maybe some executive was like, he's

0:46:33.880 --> 0:46:36.160
<v Speaker 1>very good at dodging knives? How did he do that?

0:46:41.080 --> 0:46:43.000
<v Speaker 1>A little aside, It's like he loves and I like

0:46:43.160 --> 0:46:45.319
<v Speaker 1>that in the movie. Another thing that we don't get

0:46:45.320 --> 0:46:47.400
<v Speaker 1>in the book is he he loves the Count of

0:46:47.480 --> 0:46:50.840
<v Speaker 1>Monte Cristo, which is just like kind of fun and

0:46:50.960 --> 0:46:53.279
<v Speaker 1>for like a little personal detail, and he likes that

0:46:53.400 --> 0:46:58.000
<v Speaker 1>it's romantic and its sweet. Yeah, if you get your sweet. Yeah,

0:46:58.520 --> 0:47:00.239
<v Speaker 1>it makes me seem like a lot more fun to

0:47:00.280 --> 0:47:02.920
<v Speaker 1>hang out with. You you can eat like anabasca, to

0:47:03.000 --> 0:47:07.640
<v Speaker 1>watch a movie with. If he's always quoting Alistair Crowley

0:47:07.800 --> 0:47:12.800
<v Speaker 1>at cross, I mean, I love that cat power on

0:47:13.040 --> 0:47:17.760
<v Speaker 1>this jukebox practice Antony and the Johnson's I was like, Okay,

0:47:17.880 --> 0:47:21.040
<v Speaker 1>he's he's got a great He's got great taste in music.

0:47:21.440 --> 0:47:27.240
<v Speaker 1>Practicing cat power another point in that he's getting you right, Anthony,

0:47:27.520 --> 0:47:32.600
<v Speaker 1>very Anthony practicing his sword work against the night. That

0:47:32.960 --> 0:47:37.800
<v Speaker 1>armor is adorable, adorable, while quoting the movie at the

0:47:37.880 --> 0:47:41.759
<v Speaker 1>same time pretty cute. I mean, that's afraid of that guy.

0:47:42.040 --> 0:47:44.759
<v Speaker 1>This V is so great, And this V to me

0:47:44.960 --> 0:47:47.560
<v Speaker 1>gets the ending that I wanted in the book, which

0:47:47.640 --> 0:47:51.200
<v Speaker 1>is like he shows up to a to a situation

0:47:51.320 --> 0:47:54.160
<v Speaker 1>that he will not win. Obviously, it's like all of

0:47:54.280 --> 0:47:58.359
<v Speaker 1>Prothero's men, and so to have him like take all

0:47:58.400 --> 0:48:01.080
<v Speaker 1>these bullets and then be like, Okay, now my turn,

0:48:01.200 --> 0:48:04.120
<v Speaker 1>I was like, this, this is the ending that I

0:48:04.200 --> 0:48:07.000
<v Speaker 1>wanted for him. Yeah, he gets to hear and I

0:48:07.160 --> 0:48:09.239
<v Speaker 1>forgot this is the first time you've seen the movie

0:48:09.360 --> 0:48:12.080
<v Speaker 1>because I was waiting for them my turn, and like

0:48:12.239 --> 0:48:15.040
<v Speaker 1>waiting I wish I could experience that the first time again.

0:48:15.200 --> 0:48:20.680
<v Speaker 1>He's like him describing how he was going to kill Creedy.

0:48:23.280 --> 0:48:26.479
<v Speaker 1>It was so fun, and it was like exactly because

0:48:26.480 --> 0:48:29.399
<v Speaker 1>I'm so used to watching like superhero superhero movies where

0:48:29.400 --> 0:48:31.920
<v Speaker 1>they actually can't die, and so it is so fun

0:48:32.000 --> 0:48:35.360
<v Speaker 1>to see him have these like cool higher level moves.

0:48:35.480 --> 0:48:38.239
<v Speaker 1>But then he is still a mortal man, Like that

0:48:38.680 --> 0:48:42.640
<v Speaker 1>is what was so satisfying about it to me, Yeah,

0:48:43.040 --> 0:48:47.040
<v Speaker 1>two things. One, I the scene where he's like, this

0:48:47.200 --> 0:48:49.759
<v Speaker 1>is how I'm going to kill you reminded me of

0:48:50.160 --> 0:48:54.560
<v Speaker 1>the scene in Charlie's Angels the film where Drew Barrymore's

0:48:54.640 --> 0:48:56.480
<v Speaker 1>character is like, I'm gonna tackle all of you and

0:48:56.480 --> 0:48:58.319
<v Speaker 1>then I'm gonna moon walk out of here. And then

0:48:58.400 --> 0:49:00.239
<v Speaker 1>she does it, and I'm just like, I love when

0:49:00.280 --> 0:49:03.680
<v Speaker 1>you set up a goal, a hypothesis and then use

0:49:03.719 --> 0:49:07.880
<v Speaker 1>alved it with your experiment. It's like that there and

0:49:08.680 --> 0:49:10.879
<v Speaker 1>that scene which you were like, yeah, it's the ending

0:49:10.960 --> 0:49:13.960
<v Speaker 1>I wanted. I totally agreed. And it also to me

0:49:14.120 --> 0:49:18.480
<v Speaker 1>felt like the best example of the screenwriters taking an

0:49:18.600 --> 0:49:21.160
<v Speaker 1>element from the book and then translating it into being

0:49:21.239 --> 0:49:24.279
<v Speaker 1>satisfied where what they took was like, what VI's plan

0:49:24.480 --> 0:49:26.799
<v Speaker 1>was is he knows that in this system there's going

0:49:26.880 --> 0:49:30.360
<v Speaker 1>to be backstabbing and discord among the party members. But

0:49:30.800 --> 0:49:34.560
<v Speaker 1>rather than do this like weird elaborate puppet master ruse

0:49:34.640 --> 0:49:39.640
<v Speaker 1>that wouldn't make sense, he literally goes to Creedy, sets

0:49:39.719 --> 0:49:42.440
<v Speaker 1>up this backstab, and then reaps the results like we

0:49:42.520 --> 0:49:44.520
<v Speaker 1>see the cause and effect in a very clear way,

0:49:44.560 --> 0:49:47.360
<v Speaker 1>where even though the pieces are the same as they

0:49:47.400 --> 0:49:49.080
<v Speaker 1>were in the book and the point is the same,

0:49:49.600 --> 0:49:53.040
<v Speaker 1>the cause and effect is much cleaner, much clearer. And

0:49:53.080 --> 0:49:55.759
<v Speaker 1>then we get this fun moment which we get a

0:49:55.840 --> 0:49:59.720
<v Speaker 1>dramatic death. Yeah, I love the creaty does not understand

0:49:59.760 --> 0:50:02.839
<v Speaker 1>the oncept the bullet froof bulletproof best, just like why

0:50:02.880 --> 0:50:07.480
<v Speaker 1>are you dying? Also the best if I mean, I've

0:50:07.960 --> 0:50:10.799
<v Speaker 1>knock on wood, never gotten hit by one. They would

0:50:10.880 --> 0:50:14.080
<v Speaker 1>knock you down. They don't stop. They stopped you from dying,

0:50:14.239 --> 0:50:18.400
<v Speaker 1>but they also you'll like be bleeding or bruised. Right, No,

0:50:18.560 --> 0:50:20.520
<v Speaker 1>it wasn't perfect. But also he was like, but I

0:50:20.560 --> 0:50:23.440
<v Speaker 1>don't understand how you are still alive, And I'm like,

0:50:23.600 --> 0:50:28.319
<v Speaker 1>it's clearly a bullet proof situated. You are a cop.

0:50:28.520 --> 0:50:31.480
<v Speaker 1>You should know me. I mean that ending too, of

0:50:31.640 --> 0:50:36.239
<v Speaker 1>having Um the High Chancellor being killed by Creedy felt

0:50:36.239 --> 0:50:38.480
<v Speaker 1>really satisfying too, instead of I mean, I know they

0:50:38.760 --> 0:50:43.440
<v Speaker 1>intentionally streamed blind Rosemary out and Helen Higher out of this,

0:50:44.880 --> 0:50:46.680
<v Speaker 1>and I think it. I think it worked. I think

0:50:46.719 --> 0:50:50.080
<v Speaker 1>the addition of the good reason, I think for good reason. Yeah, no,

0:50:50.400 --> 0:50:53.279
<v Speaker 1>the problem in this dystopia is not the patriarchy and

0:50:53.560 --> 0:50:58.279
<v Speaker 1>I do feel like that's different the book, where, yeah,

0:50:58.640 --> 0:51:01.640
<v Speaker 1>the powerlessness of women in that society is a big

0:51:01.680 --> 0:51:04.040
<v Speaker 1>part of the book. Yeah, so like not having those

0:51:04.120 --> 0:51:06.919
<v Speaker 1>two I think was again a great a great choice

0:51:06.960 --> 0:51:11.839
<v Speaker 1>on the on the Wachowski sisters to like not add

0:51:12.040 --> 0:51:15.919
<v Speaker 1>any more extra extraneous stuff just to honor the book.

0:51:15.960 --> 0:51:17.680
<v Speaker 1>I thought that was a great choice. And the only

0:51:17.800 --> 0:51:23.200
<v Speaker 1>time we even get the other body parts of the

0:51:23.320 --> 0:51:27.880
<v Speaker 1>Norse Fire Party are during like when Adam h his

0:51:28.000 --> 0:51:30.759
<v Speaker 1>name is it's not Adam Susan, Adam Sutler and this

0:51:31.440 --> 0:51:34.439
<v Speaker 1>they made it sound more like, oh oh, I didn't

0:51:34.440 --> 0:51:36.560
<v Speaker 1>think about that, but yeah they did. I read that

0:51:36.680 --> 0:51:40.520
<v Speaker 1>on IMDb. That was not an organic realization. I thought

0:51:40.560 --> 0:51:45.279
<v Speaker 1>they were just like the last name Susan, that's yeah. Yeah,

0:51:45.480 --> 0:51:47.080
<v Speaker 1>I thought the same thing where they were like it's

0:51:47.080 --> 0:51:49.000
<v Speaker 1>sort of weird. But I was saying, there's like the

0:51:49.360 --> 0:51:52.680
<v Speaker 1>the only time we get like, um, that's the names

0:51:52.680 --> 0:51:55.000
<v Speaker 1>like Dascom and Etherd just he's like Bethridge, how are

0:51:55.080 --> 0:51:58.560
<v Speaker 1>things at the year you know that I could say.

0:51:58.960 --> 0:52:01.640
<v Speaker 1>The only thing about the ending that was a little

0:52:01.719 --> 0:52:06.880
<v Speaker 1>unbelievable was well, little tiny Natalie Porman being able to

0:52:06.960 --> 0:52:09.160
<v Speaker 1>pick up the like she did. She was not working out,

0:52:10.520 --> 0:52:16.680
<v Speaker 1>she didn't do foreshadowing of strength being used. Can I

0:52:16.840 --> 0:52:20.520
<v Speaker 1>pick up the Bleeding Man? Last week? I promised that

0:52:20.560 --> 0:52:22.960
<v Speaker 1>there was more I wanted to say about the destruction

0:52:23.000 --> 0:52:25.520
<v Speaker 1>and creation two sides of anarchy, And I think that

0:52:25.600 --> 0:52:29.239
<v Speaker 1>we get this lovely scene where Evie is like God

0:52:29.360 --> 0:52:30.960
<v Speaker 1>is in the rain, and she's gone out to the

0:52:31.120 --> 0:52:35.680
<v Speaker 1>rain to sort of like have her renaissance moment literally

0:52:35.800 --> 0:52:40.360
<v Speaker 1>rebirth moment um. But they enter they like intersplice it

0:52:40.480 --> 0:52:43.400
<v Speaker 1>with the scenes of the coming out from the fire

0:52:43.520 --> 0:52:45.960
<v Speaker 1>and fires used to destroy and rain is used to create.

0:52:46.280 --> 0:52:48.640
<v Speaker 1>And I thought that was really interesting. There we go

0:52:50.400 --> 0:52:54.560
<v Speaker 1>said the moment. I was just going to say. Then

0:52:54.680 --> 0:52:57.719
<v Speaker 1>the end where he gives her the choice to pull

0:52:58.040 --> 0:53:01.080
<v Speaker 1>the I think it's great because you know, the choice

0:53:01.120 --> 0:53:04.520
<v Speaker 1>should be to the people. What I didn't love was

0:53:05.040 --> 0:53:07.600
<v Speaker 1>m I don't mind a kiss. I think a kiss

0:53:07.680 --> 0:53:09.880
<v Speaker 1>to a mask can be sweet and can be earnest.

0:53:10.160 --> 0:53:12.480
<v Speaker 1>I didn't love the I love you. We don't need

0:53:12.920 --> 0:53:17.239
<v Speaker 1>them to love you can okay, But Valerie loves everyone

0:53:17.400 --> 0:53:21.879
<v Speaker 1>like I think the movie and the kids they don't,

0:53:22.200 --> 0:53:23.960
<v Speaker 1>they don't play it. I would have That's why I

0:53:24.080 --> 0:53:25.879
<v Speaker 1>was okay with the kids. I kissed to me would

0:53:25.880 --> 0:53:28.239
<v Speaker 1>have played like a Valerie love but the way they

0:53:28.320 --> 0:53:31.439
<v Speaker 1>play it feels like a play it as a love story,

0:53:31.520 --> 0:53:35.600
<v Speaker 1>especially like that moment when he when Evie leaves and

0:53:35.880 --> 0:53:39.480
<v Speaker 1>he is left alone and he like throws his mask

0:53:39.600 --> 0:53:44.359
<v Speaker 1>and cries. It's like Beauty and the Beast. It's very

0:53:44.400 --> 0:53:48.360
<v Speaker 1>Beauty and the Beast where he's like, I just wanted

0:53:48.440 --> 0:53:50.840
<v Speaker 1>to see your face one last time. That's like a

0:53:50.920 --> 0:53:53.160
<v Speaker 1>line actually out of Beauty and the Beast. And he's like,

0:53:53.239 --> 0:53:58.560
<v Speaker 1>I promise, I promised, too good mess and make it

0:53:58.680 --> 0:54:06.160
<v Speaker 1>like a little weirder, I promise. He really does such

0:54:06.160 --> 0:54:08.200
<v Speaker 1>a good job of bringing life to that mask. Like

0:54:08.239 --> 0:54:11.120
<v Speaker 1>I know we joke around like the Juggle, but like

0:54:11.800 --> 0:54:17.160
<v Speaker 1>he really did. He's very expressive, crazy, he's clicking his

0:54:17.280 --> 0:54:21.000
<v Speaker 1>hair around all the time. And also what's wild to

0:54:21.080 --> 0:54:24.480
<v Speaker 1>me is that the whole all of his audio was

0:54:24.600 --> 0:54:29.160
<v Speaker 1>done in post. Oh we didn't know that. That's so cool.

0:54:30.200 --> 0:54:32.520
<v Speaker 1>I mean, he was saying things while he was there.

0:54:32.640 --> 0:54:35.440
<v Speaker 1>Obviously he wasn't like miming, but they had to redo

0:54:35.600 --> 0:54:38.960
<v Speaker 1>everything in post and so it was a great physical

0:54:39.440 --> 0:54:42.759
<v Speaker 1>performance and then a great voiceover perform and then voice

0:54:42.800 --> 0:54:45.200
<v Speaker 1>over a little bit that was from the first guy.

0:54:46.280 --> 0:54:51.160
<v Speaker 1>Oh yeah, could you tell could tell I was looking?

0:54:51.640 --> 0:54:53.640
<v Speaker 1>I think it would. I think they probably just used

0:54:53.680 --> 0:54:55.759
<v Speaker 1>it for like like fill our shot, you know what

0:54:55.800 --> 0:54:58.239
<v Speaker 1>I mean, like some basic shots that they couldn't read. Well. No,

0:54:58.360 --> 0:55:00.239
<v Speaker 1>he worked for like six weeks before were he like,

0:55:00.480 --> 0:55:02.000
<v Speaker 1>but we don't know what they saved and what they

0:55:02.040 --> 0:55:05.680
<v Speaker 1>didn't they you know, call it Eric Stoltz worked for

0:55:05.760 --> 0:55:12.719
<v Speaker 1>six weeks on Back to the Future before they fired him. Yeah. Yeah,

0:55:12.920 --> 0:55:17.080
<v Speaker 1>in her it wasn't supposed to be Scarlett Johansson. It

0:55:17.200 --> 0:55:22.799
<v Speaker 1>was someone else, Samantha Mors, Samantha Morton, and they were

0:55:23.000 --> 0:55:28.520
<v Speaker 1>like all of Joaquin Phoenix's um acting is against Samantha Morton.

0:55:29.120 --> 0:55:35.200
<v Speaker 1>Oh that's very interesting. I didn't know that. A lot

0:55:35.200 --> 0:55:39.359
<v Speaker 1>of fun voice over and casting facts that we're getting here. Um,

0:55:39.600 --> 0:55:41.600
<v Speaker 1>what was I going to say? I do think this

0:55:41.760 --> 0:55:43.120
<v Speaker 1>is This is the one time where I was like,

0:55:43.200 --> 0:55:46.600
<v Speaker 1>I think this is that other dude the scene where

0:55:46.640 --> 0:55:49.759
<v Speaker 1>it's the show within the Yeah, I was like, I

0:55:49.880 --> 0:55:52.680
<v Speaker 1>think it's that other guy there where he's being he's

0:55:52.719 --> 0:55:54.839
<v Speaker 1>like being a little scamp and he's got his little

0:55:56.040 --> 0:55:59.879
<v Speaker 1>I think it's neither I think it's just a rand

0:56:00.040 --> 0:56:04.239
<v Speaker 1>him guy. You think that was just like a bubble. Well,

0:56:04.280 --> 0:56:07.120
<v Speaker 1>I also think what's interesting about this is like he

0:56:07.560 --> 0:56:09.760
<v Speaker 1>did such a good job with it, but it also

0:56:10.040 --> 0:56:14.120
<v Speaker 1>is a character that lends itself to such great physicality

0:56:14.320 --> 0:56:19.120
<v Speaker 1>because this character is so theatrical and like so there

0:56:19.200 --> 0:56:22.640
<v Speaker 1>is so much body movement. I think about in comparison

0:56:23.239 --> 0:56:27.239
<v Speaker 1>The Mandalorian, where I get very frustrated with that show

0:56:27.440 --> 0:56:30.080
<v Speaker 1>because it's just like Pedro pascal is behind that mask.

0:56:30.160 --> 0:56:34.759
<v Speaker 1>Why can't we just see Pedro pascal um And it's like, oh,

0:56:34.840 --> 0:56:37.320
<v Speaker 1>there's just a lead character that gives us nothing. But

0:56:37.440 --> 0:56:40.239
<v Speaker 1>that's because it's a stoic man behind a mask and

0:56:40.400 --> 0:56:45.879
<v Speaker 1>that's boring. But a theatrical man behind a mask is great. Yeah,

0:56:45.920 --> 0:56:48.799
<v Speaker 1>he like flips his hair like an anime character all

0:56:48.840 --> 0:56:53.560
<v Speaker 1>the time. Very fun. Love it stars to come out,

0:56:55.360 --> 0:56:57.960
<v Speaker 1>It's great. I love the hair. Also. Yeah, I don't know.

0:56:58.000 --> 0:57:01.680
<v Speaker 1>I always really enjoyed the like help me to I'm Chic,

0:57:01.840 --> 0:57:06.160
<v Speaker 1>I work I work close from Chico. I really loved

0:57:06.200 --> 0:57:09.279
<v Speaker 1>the Shadow Gallery. I thought it was like better than

0:57:09.360 --> 0:57:12.000
<v Speaker 1>I could have imagined. And I feel like whatever location

0:57:12.120 --> 0:57:14.600
<v Speaker 1>that was was so cool. It wasn't like I was.

0:57:14.840 --> 0:57:17.480
<v Speaker 1>I guess since this two thousand five, it wouldn't have

0:57:17.600 --> 0:57:20.800
<v Speaker 1>been as but like nowadays, that probably would have been

0:57:20.880 --> 0:57:24.840
<v Speaker 1>some kind of green screened situation of some like magical

0:57:25.000 --> 0:57:26.880
<v Speaker 1>sort of place. But I like that it just felt

0:57:26.920 --> 0:57:32.360
<v Speaker 1>like a real um cool, old English uh built it.

0:57:32.760 --> 0:57:37.400
<v Speaker 1>It also to me feels much more um homy and

0:57:37.520 --> 0:57:40.880
<v Speaker 1>exciting than the shadow gallery that we get in the book,

0:57:41.160 --> 0:57:43.960
<v Speaker 1>which like I can't picture its dimensions, but the shadow

0:57:44.000 --> 0:57:47.040
<v Speaker 1>gallery in the movie, like I want to listen to.

0:57:49.560 --> 0:57:52.600
<v Speaker 1>They just invent new dimensions. In the third book, did

0:57:52.640 --> 0:57:55.360
<v Speaker 1>you know there was an elevator here? Well here it is?

0:57:56.880 --> 0:58:02.000
<v Speaker 1>Uh yeah. In the end, I think Creedy's journey, which

0:58:02.120 --> 0:58:05.360
<v Speaker 1>doesn't involve LSD, but he still figures out he somehow

0:58:05.440 --> 0:58:11.680
<v Speaker 1>without LSD figures out where uh these hideout is sorry,

0:58:11.760 --> 0:58:16.240
<v Speaker 1>not creaty Jesus Christ. Uh uh, Finch figures it out

0:58:16.320 --> 0:58:19.640
<v Speaker 1>even without l s D gets there. But let's e

0:58:19.760 --> 0:58:22.200
<v Speaker 1>v pull it because at this point he had come

0:58:22.240 --> 0:58:25.560
<v Speaker 1>on this journey and realized that this government needed to fall,

0:58:25.640 --> 0:58:28.120
<v Speaker 1>and I think that that is a very hopeful and

0:58:28.240 --> 0:58:32.160
<v Speaker 1>cathartic moment. And then it's paired with this tear jerker

0:58:32.200 --> 0:58:38.240
<v Speaker 1>of a finale. Yeah, I think what I like the

0:58:38.320 --> 0:58:42.120
<v Speaker 1>best is that the shots of Gordon and Valerie and

0:58:42.200 --> 0:58:47.960
<v Speaker 1>the audience are so fast it doesn't it doesn't make it,

0:58:48.320 --> 0:58:53.040
<v Speaker 1>you know, it doesn't condescend, yes, and it does blend

0:58:53.120 --> 0:58:56.760
<v Speaker 1>them with the other people that we've been watching watch television,

0:58:56.840 --> 0:59:01.800
<v Speaker 1>the family, the little girl. Like I think that's really yeah,

0:59:03.040 --> 0:59:07.360
<v Speaker 1>what you were saying, we never talked about the little Yes.

0:59:09.040 --> 0:59:12.640
<v Speaker 1>Uh she be describes it in voiceover or someone else

0:59:12.680 --> 0:59:15.560
<v Speaker 1>does that with all this like finished does that with

0:59:15.640 --> 0:59:19.000
<v Speaker 1>all this chaos, someone is going to do something and

0:59:19.080 --> 0:59:21.200
<v Speaker 1>people are going to boil over. And what happens is

0:59:21.560 --> 0:59:25.440
<v Speaker 1>this girl wearing a v mask is spray painting and

0:59:25.640 --> 0:59:30.360
<v Speaker 1>upside down anarchy symbol which I obviously immediately recognized. If

0:59:30.560 --> 0:59:34.840
<v Speaker 1>the vehiclego and uh, he shoots her, he's a plain

0:59:34.960 --> 0:59:39.080
<v Speaker 1>clothes finger minute turns out, but the crowd is furious,

0:59:39.160 --> 0:59:41.000
<v Speaker 1>and the crowd moves on him in a way that

0:59:41.120 --> 0:59:44.640
<v Speaker 1>shows that everyday people are rising up against the government.

0:59:44.760 --> 0:59:47.520
<v Speaker 1>And uh, yeah, I'm just gonna say, I think when

0:59:47.840 --> 0:59:53.360
<v Speaker 1>um policeman shoot unarmed young people, people absolutely should rise

0:59:53.480 --> 0:59:56.640
<v Speaker 1>up against them. I mean, I think it's also it

0:59:56.800 --> 1:00:00.640
<v Speaker 1>was a very hopeful ending that like all of the

1:00:00.800 --> 1:00:05.400
<v Speaker 1>folks in the v masks are walking towards like the

1:00:05.560 --> 1:00:10.400
<v Speaker 1>wall of military men and they put their guns down,

1:00:10.440 --> 1:00:15.400
<v Speaker 1>and I was like, this is such a hopeful choice,

1:00:15.840 --> 1:00:19.360
<v Speaker 1>but it's seeing but it's the orchestrated because all the

1:00:19.560 --> 1:00:23.600
<v Speaker 1>hierarchy are all dead, can't follow orders, Like it's like

1:00:23.720 --> 1:00:26.200
<v Speaker 1>they're just there. I was just following orders people, but

1:00:26.240 --> 1:00:29.480
<v Speaker 1>there are no orders. So it's because they're like what

1:00:30.080 --> 1:00:31.920
<v Speaker 1>They're like, Adam Seller is not coming through and there

1:00:31.920 --> 1:00:33.640
<v Speaker 1>will go to Creating and they're like, Creating is not

1:00:33.720 --> 1:00:36.640
<v Speaker 1>coming through, you know, like it's like he figured out

1:00:36.680 --> 1:00:39.200
<v Speaker 1>the system where it's like with no orders to obey.

1:00:39.840 --> 1:00:42.640
<v Speaker 1>They just were like, oh we don't. It's like toys

1:00:42.680 --> 1:00:45.240
<v Speaker 1>without anyone to play with. I mean, I still think

1:00:45.240 --> 1:00:51.360
<v Speaker 1>it's a very hopeful. Yeah, it's very optimistic. I want

1:00:51.400 --> 1:00:54.280
<v Speaker 1>to go back to the young woman who died um.

1:00:54.880 --> 1:00:56.880
<v Speaker 1>I think that it's really interesting. In the news reports

1:00:56.920 --> 1:01:00.040
<v Speaker 1>after that, they talk about riots in Brixton and and

1:01:00.440 --> 1:01:02.520
<v Speaker 1>I was like, I don't know a lot about England,

1:01:02.720 --> 1:01:05.480
<v Speaker 1>clearly because I asked the other day, like in one

1:01:05.520 --> 1:01:08.800
<v Speaker 1>of our previous recording sessions, does England have just the bbs,

1:01:10.800 --> 1:01:14.000
<v Speaker 1>so clearly not very in the note about England. So

1:01:14.040 --> 1:01:16.280
<v Speaker 1>I looked up more about Brixton because it's a place

1:01:16.360 --> 1:01:19.880
<v Speaker 1>I had heard of in like grime music. I'm like, yeah,

1:01:20.000 --> 1:01:22.560
<v Speaker 1>Brixton blah blah blah blah blah. Like I was like, okay,

1:01:22.560 --> 1:01:24.920
<v Speaker 1>I don't know what that means. So, and Brixton was

1:01:24.920 --> 1:01:27.840
<v Speaker 1>actually the site of riots in the eighties, So I

1:01:27.960 --> 1:01:30.640
<v Speaker 1>thought that was a really interesting nod to the origins

1:01:30.720 --> 1:01:34.600
<v Speaker 1>of the story. Look at that, right, I learned that.

1:01:34.760 --> 1:01:38.240
<v Speaker 1>Thank you. Yeah. I think where the book, you know,

1:01:38.360 --> 1:01:41.840
<v Speaker 1>Ellen Moore was mad that they, you know, didn't make

1:01:41.880 --> 1:01:46.040
<v Speaker 1>it specifically about Margaret Thatcher and anarchy. I think that

1:01:46.200 --> 1:01:49.760
<v Speaker 1>it the movie working so well and resonating so well,

1:01:49.840 --> 1:01:53.120
<v Speaker 1>I do think speaks to the universality of the themes

1:01:53.160 --> 1:01:55.960
<v Speaker 1>and it is it feels very weird that an author

1:01:55.960 --> 1:01:59.760
<v Speaker 1>wouldn't be like excited about that. I think it's so

1:02:00.040 --> 1:02:05.040
<v Speaker 1>it's cratchy. It also seems like we're talking it seems

1:02:05.040 --> 1:02:07.640
<v Speaker 1>like an author that is too precious with their work.

1:02:07.720 --> 1:02:09.680
<v Speaker 1>That's what I mean what it comes down to, because

1:02:10.360 --> 1:02:12.880
<v Speaker 1>we're talking about all the changes that we really like

1:02:13.080 --> 1:02:15.400
<v Speaker 1>that we felt like made the story better, and I

1:02:15.480 --> 1:02:19.120
<v Speaker 1>feel like for Allen Moore, it's basically like every every

1:02:19.200 --> 1:02:22.080
<v Speaker 1>change is a comment and a criticism on his work.

1:02:22.160 --> 1:02:25.640
<v Speaker 1>I would assume, is I mean, you're allowed to feel

1:02:25.680 --> 1:02:27.959
<v Speaker 1>that way, Like there are lots of writers who don't

1:02:28.000 --> 1:02:30.600
<v Speaker 1>want to watch movie adaptations off their work because they

1:02:30.640 --> 1:02:34.200
<v Speaker 1>just want it. That's fine. Yeah, taking his name, for

1:02:34.960 --> 1:02:41.240
<v Speaker 1>taking his name on so much and vocal about it,

1:02:41.360 --> 1:02:44.280
<v Speaker 1>and you're like, I don't I hate it. I wonder

1:02:44.360 --> 1:02:47.720
<v Speaker 1>what he thinks of the current Watchman because I I

1:02:47.720 --> 1:02:50.680
<v Speaker 1>think he probably likes it more. I bet not. I

1:02:50.800 --> 1:02:55.360
<v Speaker 1>bet like this is a good movie, yeah, the show

1:02:55.560 --> 1:02:58.800
<v Speaker 1>or the movie the show I'm talking about the show,

1:02:58.960 --> 1:03:04.600
<v Speaker 1>which is also good to go, Yeah, the movie of

1:03:06.040 --> 1:03:08.040
<v Speaker 1>the movie is bad, but this is a good movie

1:03:08.120 --> 1:03:10.080
<v Speaker 1>and he hates it, which leads me to believe that,

1:03:10.240 --> 1:03:13.400
<v Speaker 1>like the Watchman TV show is so good, but probably

1:03:13.440 --> 1:03:15.480
<v Speaker 1>Alan Moore and he's like where the Wizard Cave is like,

1:03:15.840 --> 1:03:18.320
<v Speaker 1>but in my imagine sequel it goes like this, Like

1:03:18.440 --> 1:03:20.560
<v Speaker 1>he doesn't seem like someone who can let go of

1:03:20.720 --> 1:03:24.680
<v Speaker 1>his characters. It's just his right and he's still letting

1:03:24.760 --> 1:03:28.160
<v Speaker 1>them make It's like he's like, if the people want

1:03:28.240 --> 1:03:30.280
<v Speaker 1>this thing. I'll let them have it, but I'm not

1:03:30.360 --> 1:03:33.120
<v Speaker 1>going to say that I condone it. Yeah, I think

1:03:33.160 --> 1:03:36.920
<v Speaker 1>it's kind of funny. I like the I like the

1:03:37.120 --> 1:03:40.400
<v Speaker 1>quirkiness of it. And it's like, oh, Alan Moore, you're

1:03:40.520 --> 1:03:43.320
<v Speaker 1>just like letting these kids run around with their books.

1:03:43.360 --> 1:03:48.479
<v Speaker 1>Be like, I, oh, those stupid kids have it frimas. Yeah.

1:03:49.640 --> 1:03:51.840
<v Speaker 1>So yeah, Alan Moore has said he wants nothing to

1:03:51.920 --> 1:03:56.720
<v Speaker 1>do with HBO stand Watchman's love that for him. That's

1:03:57.160 --> 1:04:00.320
<v Speaker 1>that's I was ready to let him be like, yeah,

1:04:00.480 --> 1:04:03.120
<v Speaker 1>people like this, this is cool, but he's He's consistent

1:04:03.240 --> 1:04:08.400
<v Speaker 1>if nothing else except for from hell he loves Stopwatch.

1:04:08.600 --> 1:04:15.760
<v Speaker 1>Really really, we were like, wow, Helen Whore is happy.

1:04:15.880 --> 1:04:20.080
<v Speaker 1>We just want him to be happy with something. But question, So,

1:04:20.240 --> 1:04:23.280
<v Speaker 1>this movie was made in two thousand five, a thing

1:04:23.360 --> 1:04:26.440
<v Speaker 1>that we have said multiple times. But my question is

1:04:26.960 --> 1:04:32.800
<v Speaker 1>the world now is very noticeably different than it was

1:04:32.960 --> 1:04:36.760
<v Speaker 1>in two thousand five, and arguably two thousand five is

1:04:37.240 --> 1:04:40.200
<v Speaker 1>more similar in the way that the world was to

1:04:40.400 --> 1:04:43.360
<v Speaker 1>the nineteen eighties when when we forbid that it was written,

1:04:43.720 --> 1:04:48.520
<v Speaker 1>then two five is to now. Even so, if this

1:04:48.760 --> 1:04:52.800
<v Speaker 1>movie were to be made today, how do you think

1:04:53.640 --> 1:04:56.120
<v Speaker 1>it would be different? Like are there things that you're like, Oh,

1:04:56.200 --> 1:04:58.920
<v Speaker 1>there's no way this would fly in an adaptation today,

1:04:59.160 --> 1:05:03.080
<v Speaker 1>or this feels very dated, Like I'm curious about like

1:05:03.360 --> 1:05:06.040
<v Speaker 1>looking at this in for some of you, having seen

1:05:06.080 --> 1:05:09.520
<v Speaker 1>it for the first time, how that feels. Okay, I

1:05:09.640 --> 1:05:12.800
<v Speaker 1>saw this in theaters and I don't remember people thinking

1:05:12.840 --> 1:05:18.320
<v Speaker 1>it was a hyper political statement. Um, like maybe they did. Um,

1:05:18.520 --> 1:05:21.160
<v Speaker 1>but there are so many alright, guys who have a

1:05:21.280 --> 1:05:26.800
<v Speaker 1>profile picture of v for Vendetta. Um, so apparently there

1:05:26.880 --> 1:05:28.720
<v Speaker 1>was a way to like watch this movie and be

1:05:28.920 --> 1:05:32.280
<v Speaker 1>like I love Donald Trump Andrey for Vendetta, and I

1:05:32.360 --> 1:05:34.680
<v Speaker 1>don't know how those two things fit together in your break.

1:05:34.720 --> 1:05:37.680
<v Speaker 1>I mean, I was gonna say, I think that it

1:05:37.960 --> 1:05:41.760
<v Speaker 1>probably will be adapted again very soon, and it will

1:05:41.800 --> 1:05:44.440
<v Speaker 1>be a limited series for HBO. Like I think this

1:05:44.640 --> 1:05:47.560
<v Speaker 1>kind of movie if they were made now, I think

1:05:47.640 --> 1:05:51.240
<v Speaker 1>most of these kinds of like big idea movies are

1:05:51.440 --> 1:05:55.720
<v Speaker 1>now limited series or or several or like Hyman's Tale Washman,

1:05:56.440 --> 1:05:59.320
<v Speaker 1>and I think they would include all of the other characters.

1:05:59.320 --> 1:06:02.160
<v Speaker 1>I think they wouldn't include Rosemary and Helen Higher And

1:06:02.240 --> 1:06:06.960
<v Speaker 1>they would be all of these um different sort of

1:06:07.000 --> 1:06:10.880
<v Speaker 1>storylines wrapping together and uh and it would probably add

1:06:11.040 --> 1:06:14.000
<v Speaker 1>more story than it would subtract. Think it would be

1:06:14.200 --> 1:06:16.920
<v Speaker 1>also dark as hell, like I can imagine that it

1:06:16.960 --> 1:06:20.320
<v Speaker 1>would be. The adaptation for this in Your in the

1:06:20.440 --> 1:06:24.840
<v Speaker 1>limited mini series would be like very bleak given what

1:06:25.000 --> 1:06:27.320
<v Speaker 1>we're experiencing, right, I think we are going to get

1:06:27.400 --> 1:06:34.240
<v Speaker 1>a sad cabaret if they love I feel like a

1:06:34.360 --> 1:06:38.840
<v Speaker 1>prestige drama loves like sad sexualization, like when it can

1:06:38.920 --> 1:06:41.920
<v Speaker 1>something can be both very sexy and very sad. Yes

1:06:42.040 --> 1:06:46.440
<v Speaker 1>atab oh yeah, West World, or I think of Natalie

1:06:46.480 --> 1:06:51.600
<v Speaker 1>Portman in Closer, um yeah, where she's like, oh, lying

1:06:51.720 --> 1:06:53.760
<v Speaker 1>is the most fun a girl can have without taking

1:06:53.800 --> 1:06:56.080
<v Speaker 1>her clothes off, but it's better if you do. Obviously

1:06:56.160 --> 1:06:58.880
<v Speaker 1>that was a play first, great adaptation. I love that

1:06:59.040 --> 1:07:02.400
<v Speaker 1>movie up and also if it were made into an

1:07:02.520 --> 1:07:05.520
<v Speaker 1>HBO limited series, Alan Moore would want nothing to do.

1:07:06.600 --> 1:07:09.080
<v Speaker 1>That's the one thing we go through line Taylor's all

1:07:09.120 --> 1:07:14.600
<v Speaker 1>this time. The thing that very famously happened was Natalie

1:07:14.680 --> 1:07:17.439
<v Speaker 1>Portman actually shaved her head and that was the real

1:07:17.480 --> 1:07:20.240
<v Speaker 1>footage that they used. I just kept thinking, like what

1:07:20.360 --> 1:07:22.160
<v Speaker 1>if they fucked up? Like she has to be crying

1:07:22.320 --> 1:07:24.200
<v Speaker 1>for that, and I was just like, oh, my god,

1:07:24.280 --> 1:07:30.080
<v Speaker 1>they only get one shot. I know entertainment baby hadn't

1:07:30.160 --> 1:07:33.400
<v Speaker 1>seen that clip in pop culture, just like reused over

1:07:33.480 --> 1:07:35.800
<v Speaker 1>and over and over again. To see it in the film,

1:07:36.400 --> 1:07:39.480
<v Speaker 1>I will say it made me laugh. I know that

1:07:39.520 --> 1:07:42.360
<v Speaker 1>will not the intended purpose and that he had like

1:07:43.000 --> 1:07:47.200
<v Speaker 1>having yeah, just having seen this like crying Natalie Portman,

1:07:48.200 --> 1:07:50.840
<v Speaker 1>and then it did not have the effect that I

1:07:50.960 --> 1:07:53.040
<v Speaker 1>think it would have had if I had not seen

1:07:53.200 --> 1:07:56.960
<v Speaker 1>all the other crying Natalie Portman's that's kind of the

1:07:57.080 --> 1:08:00.240
<v Speaker 1>danger with seeing media, not danger, but kind of the

1:08:01.480 --> 1:08:05.240
<v Speaker 1>collateral damage of seeing media later than it actually, like

1:08:06.000 --> 1:08:10.480
<v Speaker 1>later than immediately, because we memify and like make things

1:08:10.520 --> 1:08:14.280
<v Speaker 1>into gifts so quickly and turn them into something else.

1:08:14.360 --> 1:08:17.720
<v Speaker 1>And like, I haven't seen Marriage Story. I never will

1:08:17.840 --> 1:08:22.800
<v Speaker 1>watch Marriage Story, but that scene where um Adam driver

1:08:23.040 --> 1:08:25.519
<v Speaker 1>punches a wall has just been I'm not going to

1:08:25.640 --> 1:08:28.600
<v Speaker 1>take it seriously if I watch the movie. Yeah, it

1:08:29.000 --> 1:08:31.800
<v Speaker 1>is better than the meme. The meme made me not

1:08:32.040 --> 1:08:34.120
<v Speaker 1>want to watch the movie because I'm like, there's a

1:08:34.200 --> 1:08:35.920
<v Speaker 1>dumb movie. And then I was like, oh, it's actually

1:08:36.000 --> 1:08:39.000
<v Speaker 1>much better than that, right, and things are better in context.

1:08:39.160 --> 1:08:41.599
<v Speaker 1>But something I wanted to say about the shaving scene.

1:08:41.760 --> 1:08:43.559
<v Speaker 1>Is that it's like in The Four year Old Virgin

1:08:43.640 --> 1:08:46.400
<v Speaker 1>when they need to do the waxing scene. They really

1:08:46.520 --> 1:08:49.240
<v Speaker 1>did that to Steve Carrell, and they had one shot

1:08:49.439 --> 1:08:53.840
<v Speaker 1>because you cannot fook waxing, Like I mean, there's a

1:08:53.920 --> 1:08:56.519
<v Speaker 1>lot of those one shot things you know, done in

1:08:56.680 --> 1:08:59.280
<v Speaker 1>certain movies, and it is I feel like everything comes

1:08:59.360 --> 1:09:02.800
<v Speaker 1>down to camera focus. It's like, because that's a lot

1:09:02.880 --> 1:09:05.920
<v Speaker 1>of the time why things get you know, they need

1:09:06.000 --> 1:09:09.360
<v Speaker 1>to go again as you know, it's actually depending on

1:09:09.400 --> 1:09:13.479
<v Speaker 1>the director, but like acting comes last to it usually,

1:09:14.240 --> 1:09:16.880
<v Speaker 1>and it would I would just laugh so much if

1:09:16.960 --> 1:09:19.920
<v Speaker 1>it's like they did the scene she was cropped full

1:09:20.040 --> 1:09:23.080
<v Speaker 1>crying shaved. It's like, oh god, we're yeah, we're a

1:09:23.120 --> 1:09:29.320
<v Speaker 1>little soft on the focus cameras. They used three cameras

1:09:29.360 --> 1:09:34.160
<v Speaker 1>for that makes sense. One one has to get them. Yeah. Um,

1:09:34.400 --> 1:09:37.439
<v Speaker 1>So before we wrap, any final notes on be for

1:09:37.560 --> 1:09:43.160
<v Speaker 1>Vendetta the film A plus adaptation good, really enjoyed it.

1:09:43.800 --> 1:09:48.000
<v Speaker 1>Would suggest it to all friends the best adaptation of

1:09:48.760 --> 1:09:51.360
<v Speaker 1>the ones that we've watched. I would say, yes. I

1:09:51.520 --> 1:09:55.759
<v Speaker 1>mentioned last week there are a small handful of films

1:09:55.840 --> 1:09:58.160
<v Speaker 1>that I think are better than the books they're based on.

1:09:58.720 --> 1:10:01.280
<v Speaker 1>The Vendetta I think is one of them. Fight Club

1:10:01.400 --> 1:10:03.559
<v Speaker 1>is another, and it's a it's a pretty small list.

1:10:04.600 --> 1:10:06.680
<v Speaker 1>And then there's a very very short list. I e.

1:10:06.880 --> 1:10:09.840
<v Speaker 1>One film that is exactly true to the book. They're

1:10:09.880 --> 1:10:13.040
<v Speaker 1>exactly the same, and that is Holes. Holes is a

1:10:13.120 --> 1:10:16.080
<v Speaker 1>perfect adaptation. I've said it before, I think I said it.

1:10:16.200 --> 1:10:19.800
<v Speaker 1>We were talking about like normal people, you'll have not

1:10:20.040 --> 1:10:23.400
<v Speaker 1>seen Holes and read the book. It is perfect. Like

1:10:23.560 --> 1:10:25.960
<v Speaker 1>I will not I will die on that hill, I

1:10:26.000 --> 1:10:29.160
<v Speaker 1>will die in that hole. Um well, on that note,

1:10:29.439 --> 1:10:31.840
<v Speaker 1>I've been wanting to say van Archy in the UK

1:10:32.120 --> 1:10:34.439
<v Speaker 1>this whole time and have now found a reason to say,

1:10:38.560 --> 1:10:51.280
<v Speaker 1>oh no, perfect but Vanarchy in the UK. That's our

1:10:51.320 --> 1:10:53.479
<v Speaker 1>show for the week. Thank you so much for listening.

1:10:53.680 --> 1:10:55.800
<v Speaker 1>I'm Danish Schwartz and you can find me on Twitter

1:10:55.920 --> 1:10:58.599
<v Speaker 1>at Danis Schwartz with three z s. You can follow

1:10:58.680 --> 1:11:02.320
<v Speaker 1>Jennifer Wright at jenn and Ashley Wright Karama, Donqua is

1:11:02.360 --> 1:11:06.240
<v Speaker 1>at Karama Drama, Melissa Hunter is at Melissa f t

1:11:06.520 --> 1:11:09.160
<v Speaker 1>W and Tan Tran is smart enough to have gotten

1:11:09.240 --> 1:11:11.920
<v Speaker 1>off Twitter, but she is on Insta at Hank Tina.

1:11:12.080 --> 1:11:15.719
<v Speaker 1>Our executive producer is Christopher Hessiotes were produced and edited

1:11:15.760 --> 1:11:19.400
<v Speaker 1>by Mike Johns special thanks to David Wasserman. Popcorn Book

1:11:19.400 --> 1:11:21.200
<v Speaker 1>Club is a production of I Heart Radio