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Speaker 1: Hey, Casey, how's it going.

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Speaker 2: Oh, Millie, just fine? How are you?

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Speaker 1: I'm fine, okay, Yeah, things are things are getting back

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Speaker 1: to normal. You know. I got back from Japan. I

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Speaker 1: was extremely jet lagged, like like was staying staying up

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Speaker 1: all night. I feel like things are evening out now

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Speaker 1: I'm going going to sleep at a normal hour. So

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Speaker 1: that's good.

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Speaker 2: That's sleep is so important. That's so great to hear, Millie.

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Speaker 2: We have a huge show today. We're talking about a

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Speaker 2: lot of music and band related stuff. Have you ever

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Speaker 2: been in a band?

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Speaker 1: No, I guess technically not. I remember when I was

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Speaker 1: in high school, my next door neighbor Daniel, who I

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Speaker 1: was really good friends with, he played guitar, and we

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Speaker 1: used to just like fuck around at his garage, Like

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Speaker 1: he would bring his guitar, and he learned that very

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Speaker 1: popular four non blonde song I forgot. I think it's

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Speaker 1: called What's Up?

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Speaker 3: Do you know?

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Speaker 1: That's all right? And he had to play that guitar

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Speaker 1: and that's all was really popular at the time, and

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Speaker 1: so I kind of like would sing along to it.

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Speaker 1: And then I think it's some point we decided to

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Speaker 1: name ourselves I see, and we had the stupidest name ever.

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Speaker 1: We were called Sour Lombarda love this. Oh god, it

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Speaker 1: was such I mean, this is the nineties. Every band

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Speaker 1: was named something stupid like green, yellow and fucking flaming

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Speaker 1: lips and everything, even though I love the flaming lips,

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Speaker 1: you know what I'm saying. So but I would not.

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Speaker 1: We never played anywhere. We only just did that one

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Speaker 1: song in his garage, and I think we might have

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Speaker 1: made a fake flyer for a show, but we never

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Speaker 1: played show. So no, I guess I wasn't in a

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Speaker 1: band technically.

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Speaker 2: Okay, what about you? Good to know I've been in

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Speaker 2: several bands that have kind of flamed out and never

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Speaker 2: worked out. And then I had this musical project called

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Speaker 2: the Popular Kids, which was kind of a band of

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Speaker 2: just me and I put out a little ept to it.

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Speaker 2: Yeah wait, what do you played it? Even know?

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Speaker 1: You played an instrument?

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Speaker 2: Yeah? I played the drums, I played the guitar, play

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Speaker 2: the bass. I'm I play a lot of instruments. Yeah.

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Speaker 2: I took drum lessons for a long time. I was

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Speaker 2: in youth symphony orchestra.

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Speaker 1: Wow, you know I took drum lessons to once.

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Speaker 2: Wow it was so fun. But Yeah, the drums are great,

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Speaker 2: very loud, a very loud instrument. I don't really play

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Speaker 2: them anymore.

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Speaker 1: How have I not known that you played music? And

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Speaker 1: then you put out a fucking EP that.

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Speaker 2: I'll send you. I'll send. I've done a lot of

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Speaker 2: music for my movie projects too, I've scored a lot

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Speaker 2: of stuff, so I I'll send you some stuff. It's

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Speaker 2: all very low fi, very guided by voices.

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Speaker 1: But you're such a renaissance man. What the fuck.

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Speaker 2: I'm a I'm a jack of all trades, master of none.

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Speaker 2: But Millie, we have a lot of band movie stuff

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Speaker 2: to talk about today. We're gonna be talking about fake

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Speaker 2: bands in movies, and specifically the movie The Commitments from

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Speaker 2: nineteen ninety one. We're kind of going back to Ireland.

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Speaker 1: I was gonna say, we're going back to Ireland. We're

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Speaker 1: going back to you know, maybe our a little bit

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Speaker 1: of our discussion we have with the softies about music movies.

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Speaker 1: So I don't know. I feel like, because you pitched this,

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Speaker 1: and I feel like it was near and dear, like

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Speaker 1: you've had Ireland in music on the brain or something.

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Speaker 2: I have kind of I forced you to want to

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Speaker 2: do these things, and I'm sorry, but I hope this

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Speaker 2: ends in a good, fruitful episode. Nonetheless, But in addition

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Speaker 2: to that, this is another thing I pitched. We're also

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Speaker 2: going to be talking about like favorite live music moments

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Speaker 2: in movies. I'll explain that more when that segment comes around.

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Speaker 2: But there's sort of a specific type of scene I'm

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Speaker 2: talking about where there's like a live musical performance or

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Speaker 2: just sort of a live performance of some kind in

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Speaker 2: a movie, and it doesn't necessarily need to be a

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Speaker 2: band movie, if that makes sense. But yeah, that's going

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Speaker 2: to be our upcoming episode.

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Speaker 1: Well, it's going to be very exciting and we hope

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Speaker 1: you will stay tuned. You're listening to Dear Movies. I

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Speaker 1: Love You, I Love you, and I've got to.

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Speaker 2: Love me to check the books.

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Speaker 1: Okay, folks, you are listening to Dear Movies, I Love You.

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Speaker 1: My name is Millie to Jericho.

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Speaker 2: And I'm Cassey O'Brien, and.

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Speaker 1: This is a film podcast for people who are obsessed

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Speaker 1: with movies, who can't stop thinking about movies, writing the

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Speaker 1: name of their favorite movies with a plus sign and

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Speaker 1: then their initials and then equals and like three.

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Speaker 2: Hearts, sure yep, and maybe a big heart around all

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Speaker 2: of that with like an arrow going through it.

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Speaker 1: Absolutely, and if you're me, just like a random S,

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Speaker 1: you know, those like s's that you would just see.

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Speaker 1: Wasn't this, wait a minute, isn't called a stuffy S.

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Speaker 1: I didn't know that.

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Speaker 2: Am I making that out? Hold on the cool s?

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Speaker 2: The stussy s? Yeah?

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Speaker 1: Well, the whole reason why I'm blown away by this

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Speaker 1: information is because I learned that when I was living

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Speaker 1: I was technically in elementary school, and I was in

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Speaker 1: South Carolina, and the high school that I would have

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Speaker 1: gone to was called Stratford High School, and that was

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Speaker 1: like the S that you would draw just to be like, hey,

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Speaker 1: I go to Stratford, and so I always called the

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Speaker 1: Stratford High school s. But then I realized everyone in

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Speaker 1: the country did that S.

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Speaker 2: Yes, that wasn't unique to your city. I remember it

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Speaker 2: being very difficult to draw that S, and I could

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Speaker 2: never figure it out. And I was always impressed by

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Speaker 2: the kids who could draw the stuffy S. That's what

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Speaker 2: we called the stussy Wow, what the history behind that is,

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Speaker 2: but that's what we called it.

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Speaker 1: I only knew how to draw two things all throughout,

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Speaker 1: probably even now. One is that S and the other

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Speaker 1: is Odie from Garfield.

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Speaker 2: Oh you could draw Odi. That's fun. The big old tone.

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Speaker 1: Well, it's because an older kid taught me this really

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Speaker 1: quick and easy way to draw them, and then I

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Speaker 1: just kept drawing all over and over and over.

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Speaker 2: So that's great. Well, Millie, we have to start every

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Speaker 2: show like we normally do, which is opening up the

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Speaker 2: film diary and seeing what we wrote down. You know,

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Speaker 2: the sound effect I made doesn't really make sense because

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Speaker 2: it sounds like a coffin opening, but I think that's okay.

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Speaker 1: And it's a heavy book.

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Speaker 2: It's a heavy It's a heavy book, very heavy.

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Speaker 1: Like two tablets bound together with spiles exactly. So my

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Speaker 1: film diary is really really small this week. But I

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Speaker 1: will say it was actually great because I cracked open

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Speaker 1: this series that was again on TCM, my former place

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Speaker 1: of employment, but I got started on it because I

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Speaker 1: had had all the stuff saved on my DVR from it.

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Speaker 1: So there was a series that just aired recently and

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Speaker 1: it was called Black Women Independence and it was a

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Speaker 1: night of programming that was hosted by Jacqueline Stewart, the

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Speaker 1: Grey Jacqueline Stewart, who is a wonderful, amazing host of

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Speaker 1: TCMs she's a professor. She used to be the president

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Speaker 1: of the Academy Museum, and she's like one of my

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Speaker 1: favorite people working in film. Honestly, she's so nice and

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Speaker 1: so smart. But she co hosted this Night of Movies

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Speaker 1: on the Channel with this woman, Maya Caid, And Maya

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Speaker 1: is like one of the most impressive young women who

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Speaker 1: are who was like doing anything film related right now,

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Speaker 1: So look her up. She created this thing called the

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Speaker 1: Black Film Archive. Oh and I think it's just called

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Speaker 1: I think if you go online, it's Blackfilmmarchive dot com.

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Speaker 1: And it's basically a way to preserve and you know,

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Speaker 1: provide context in history to black films. And she's so smart,

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Speaker 1: so poised in like interesting, she's young, like I said, like,

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Speaker 1: it's so impressive that she is the way she is,

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Speaker 1: knowing that she's not like, you know, like I don't know,

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Speaker 1: seventy five years old or how many you know, like

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Speaker 1: your sort of stereotypical like film scholar, like old film schola, right,

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Speaker 1: and she actually is like the I think she's a

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Speaker 1: scholar in residence at the Library of Congress right now.

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Speaker 1: So she's like doing hill amazing things. But she she

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Speaker 1: curated this programming theme on TCM with Jacqueline about basically

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Speaker 1: black female independent filmmakers, and they played all this great shit,

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Speaker 1: many things that had never played on TV before, which

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Speaker 1: was really great. And I saw this short film called

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Speaker 1: I Am Somebody from nineteen seventy. It was directed by

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Speaker 1: this woman, Madeleine Anderson, and she I think you know

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Speaker 1: her big the big portion of her career was that

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Speaker 1: she did a lot with like public television, and she

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Speaker 1: was like she worked on like old sort of children's

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Speaker 1: programming like Sesame Street and The Electric Company. But she

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Speaker 1: also made documentaries and she made this documentary in nineteen

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Speaker 1: seventy that was about the nineteen sixty nine workers strike

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Speaker 1: that happened in Charleston, South Carolina, which is where I

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Speaker 1: grew up. In fact, that's where I grew up, where

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Speaker 1: I would have gone to Stratford High School basically, And

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Speaker 1: it was basically this strike that was held by these

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Speaker 1: four hundred black female hospital workers and they wanted you know,

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Speaker 1: wage increases and other you know benefits, and it was

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Speaker 1: just like this amazing short film. I think it's probably

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Speaker 1: like almost like thirty minutes long. But then you see

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Speaker 1: this like historical footage of people like Andrew Young and Creta,

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Speaker 1: Scott King and Ralph Abernathy, who are all people who

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Speaker 1: are very important if you're in Atlanta, obviously because they're

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Speaker 1: Atlanta people, but also like civil rights pioneers and stuff,

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Speaker 1: and it was just like this really great, like moment

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Speaker 1: in time that was captured by Madeline Anderson, and I

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Speaker 1: don't know, it's just something that I was like, I

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Speaker 1: never like, I never sought it out, and I just

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Speaker 1: was like sitting there watching it, going like, wow, I

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Speaker 1: can't believe that this is like the first time I'm

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Speaker 1: watching this. This is so cool and it happened in

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Speaker 1: a town that I lived in. So yeah, anyway, that's

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Speaker 1: that's the only thing I watched this week. And I

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Speaker 1: got to say, I was, I really enjoyed it. You

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Speaker 1: guys should just great inspiring.

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Speaker 2: Yeah, that sounds great. I watched a movie sort of,

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Speaker 2: you know, in preparation for this episode, because I knew

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Speaker 2: we were going to be talking about fake band movies

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Speaker 2: and there's a movie that I've always wanted to watch

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Speaker 2: and haven't watched, and so I was like, I gotta

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Speaker 2: watch it this week in prep for this episode. So

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Speaker 2: I watched Sing Street. Have you seen Singh Street.

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Speaker 1: No, but everybody I know loves Oh Millie.

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Speaker 2: It was wonderful. I love It's the same director as Once,

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Speaker 2: Oh So, which is interesting because there's a lot of

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Speaker 2: can to It's by John Carney, who was the bassist

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Speaker 2: for the band The Frames, with Glenn Hansard who was

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Speaker 2: in the movie Once, and Glenn Hansard is in the

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Speaker 2: movie we're talking about today, The Commitments, so there's sort

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Speaker 2: of a connection there. And also the mother in Singh

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Speaker 2: Street is played by Maria Doyle Kennedy, who is one

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Speaker 2: of the backup singers in The Commitments as well. So

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Speaker 2: there's a lot of like kind of connective tissue there.

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Speaker 2: But it's basically it takes place in nineteen eighty five

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Speaker 2: in Dublin, and it's this schoolboy starts a band essentially

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Speaker 2: to impress a girl, and the band ends up being

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Speaker 2: really good. And I think the thing that makes this

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Speaker 2: movie work is that the music the band Rights is

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Speaker 2: so it's so good. Oh, the songs are so good.

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Speaker 2: And yeah, it's just a really cute, happy movie. And

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Speaker 2: I mean, we'll get more into it when we talk

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Speaker 2: about the main discussion today, but movies about bands forming

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Speaker 2: are it's one of my favorite genres, and yeah, I'm

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Speaker 2: just I can't wait to dive into it today.

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Speaker 1: Well I know, and now, knowing how closely tied you

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Speaker 1: are to making music, Ohan, this makes all the sense

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Speaker 1: in the world.

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Speaker 2: So mm hmm. But that was the only extracurricular film

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Speaker 2: activity that took place this week for me.

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Speaker 1: Well, this is the equivalent of when you write in

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Speaker 1: your diary the date and then write nothing happened, and

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Speaker 1: then you just shut.

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Speaker 2: It's hard to keep a diary because there's just some

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Speaker 2: stuff some days that just ain't hitting. You know, it's

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Speaker 2: not there's not juicy stuff, and you do think about

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Speaker 2: the future you reading and entry like nothing happened, and

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Speaker 2: you know it's kind of boring.

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Speaker 1: Oh yeah, I got depressed when I read that. When

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Speaker 1: I saw my younger self writing nothing happened, I was like, damn,

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Speaker 1: what the fuck?

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Speaker 2: Like I know, and I even I feel like when

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Speaker 2: I think back to like myself in high school, in

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Speaker 2: grade school, I am interested. I'm like, how did you

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Speaker 2: spend a day? When did you write that down? Like

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Speaker 2: a normal day? What did that look like? I can't

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Speaker 2: even really remember, so.

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Speaker 1: I can tell you I was probably being picked on

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Speaker 1: by a bunch of older boys. So really, really, well, whatever,

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Speaker 1: look at me, now, look at me?

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Speaker 2: Now, now you pick on boys, I got the last laugh.

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Speaker 2: All right. Well, let's close up those old diaries, all.

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Speaker 1: Right, So let's get to the meat of the episode.

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Speaker 2: The filet mignon of the episode.

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Speaker 1: The toferky if you're vegetarian readan. We are going to

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Speaker 1: talk a little bit about the movie The Commitments for

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Speaker 1: nineteen ninety one, but then also have a bigger discussion

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Speaker 1: around I don't know, movies about music.

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Speaker 2: Yeah, fake band movies. I mean, I think we've discussed this.

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Speaker 2: We discussed this a lot with our dear friends Rose

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Speaker 2: and Gin of the Softies, about movies about bands and

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Speaker 2: like seeing bands form and even the process of like

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Speaker 2: writing music on screen is sort of an intoxic and

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Speaker 2: exciting thing to watch. And I don't know, I love

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Speaker 2: movies about forming bands and like bands coming together because

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Speaker 2: I feel like it really shows the creative process sort

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Speaker 2: of in action, you know, And all these movies about

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Speaker 2: bands forming always show that like, oh, we don't really

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Speaker 2: know how to play our instruments, but will learn on

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Speaker 2: the fly, which I think is a lot about being

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Speaker 2: an artist and a creative person who's putting stuff out

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Speaker 2: into the world. There's so much stuff you don't know

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Speaker 2: that you just have to kind of figure out in the fly,

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Speaker 2: and so it's fun to see that happen on screen,

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Speaker 2: you know, mm hmm.

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Speaker 1: I agree. I And it's funny because I think, you know,

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Speaker 1: most recently Oscar season, you know, with a Complete Unknown

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Speaker 1: and sort of like the So I don't know if

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Speaker 1: you read a lot about a Complete Unknown when it

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Speaker 1: came out and sort of reviews and other you know,

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Speaker 1: I of course I read Letterbox.

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Speaker 2: And yeah read I just want to say it was

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Speaker 2: a big deal in Minnesota because Timotay was doing a

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Speaker 2: lot of research here for Bob Dylan from Minnesota. So

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Speaker 2: he was like popping up at random high schools and

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Speaker 2: taking photos with like the drama clubs there, and it

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Speaker 2: was very exciting for the people of Minnesota.

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Speaker 1: Between that Love is Blind, you guys are on the map.

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Speaker 2: Right now, a huge season for us. Yeah.

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Speaker 1: Yeah, well, you know, I was reading, you know, a

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Speaker 1: couple of my Letterbox friends who were kind of complaining

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Speaker 1: about how it felt like, how how come this is

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Speaker 1: only this really one really specific moment in time for him, Like,

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Speaker 1: you know, why aren't we going into all these other things?

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Speaker 1: And why why don't we know about him before this

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Speaker 1: moment and everything like that. And it really kind of

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Speaker 1: got me thinking about like the time span of movies

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Speaker 1: that are about music or about bands, because it's like, yeah,

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Speaker 1: you just talked about how you like the concept of

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Speaker 1: there being like the early days, right, so like when

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Speaker 1: bands don't know what they're doing and they're clunking around

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Speaker 1: and nobody knows how to sing and all that shit.

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Speaker 1: Is there like any any movies where you feel like

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Speaker 1: you could like a you could like a smaller timeline

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Speaker 1: or like like it when you're not really seeing the

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Speaker 1: entire arc when you're just kind of saying like a

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Speaker 1: flash moment in a career or something like that. Is

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Speaker 1: there anything?

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Speaker 2: Yeah? I mean I think I like the movies about

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Speaker 2: the bands forming the most because it's kind of like

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Speaker 2: that's when like you don't know if it's gonna take off,

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Speaker 2: and I mean everyone's so many people have like tried

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Speaker 2: to be in a band and it not worked, you know,

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Speaker 2: and so you can relate to that portion of the

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Speaker 2: band's career. I think I much prefer that, you know,

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Speaker 2: like what some of the movies I sort of think

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Speaker 2: about when I think about band forming. Movies are the

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Speaker 2: commitments obviously, but like there's a movie from twenty thirteen.

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Speaker 2: It's a Swedish film called We Are the Best about

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Speaker 2: this little group of girls that are like, uh, starting

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Speaker 2: a band, and it sort of like shows them figuring

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Speaker 2: it out to their just first performance, you know, and

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Speaker 2: that's like a small amount of time there. But you know,

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Speaker 2: like with like musical bio picks, I feel like when

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Speaker 2: they do real bands, they do too much of the career.

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Speaker 2: I feel like, you know, like you think about the

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Speaker 2: Tupac movie All Eyes on Me that was like his

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Speaker 2: entire life in like an hour and a half, and

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Speaker 2: it felt as a horrible movie and it like didn't

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Speaker 2: work in my opinion, and it feels way too long

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Speaker 2: and sad when it like these musical biopics kind of

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Speaker 2: cover an entire lifetime or even years at a time.

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Speaker 2: I really just want to see when they want to

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Speaker 2: start and to their like first victory that sets them

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Speaker 2: on the course of their you know, musical trajectory.

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Speaker 1: Well, I was thinking, so I was thinking, like, Okay,

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Speaker 1: for example, I mean we talked about this in the

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Speaker 1: first episode A star is born right, or like spinal Tap,

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Speaker 1: where like the band is already very famous and popular, sure,

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Speaker 1: you know, yes, and so you don't see that like

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Speaker 1: early days trajectory. You're just kind of seeing them either

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Speaker 1: at the height of their career or maybe like on

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Speaker 1: their downward cline or something like that. I just think

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Speaker 1: that that's really interesting because it kind of says, you know, oh,

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Speaker 1: by the way, this band is super duper popular, and

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Speaker 1: now what like what like the characters are invariably like

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Speaker 1: I don't know what does it all mean? What does

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Speaker 1: my fame mean?

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Speaker 2: Or what?

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Speaker 3: You know?

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Speaker 1: How are we processing like you know, my my highs

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Speaker 1: and you know, am I like getting too famous and

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Speaker 1: I have too many indulgences or whatever?

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Speaker 2: You know, well, like almost famous is one that comes

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Speaker 2: to mind. Like from two thousand, the Camera Crow movie

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Speaker 2: about the band the Fake Band Still Water, like they're

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Speaker 2: famous and we only are with them for like two

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Speaker 2: weeks or whatever. And that's I feel like just those

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Speaker 2: movies function a little bit more. It's more exciting when

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Speaker 2: it's happening sort of in real you know, you're just

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Speaker 2: kind of dropped in the middle of the action in

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Speaker 2: medius ray, you know, or like a movie like even

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Speaker 2: like Bette Midler's The Roads.

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Speaker 3: Right.

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Speaker 1: I was just about to mention that, yeah.

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Speaker 2: You know, uh kind of the the they're famous but

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Speaker 2: now they're dealing with the famous. But I do like

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Speaker 2: those movies less though, I feel like than the Forming

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Speaker 2: the Band movie, I guess.

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Speaker 1: Yeah, see, I think I'm the opposite. Okay, I think

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Speaker 1: I like the like you're getting too hot baby, like

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Speaker 1: you're you know, you're you better clean up your act

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Speaker 1: or you're gonna lose your career. Yeah. I love that.

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Speaker 2: Kind of thing.

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Speaker 1: But you know, it's charming though, to watch these movies

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Speaker 1: about like the very beginning days, and I think they're

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Speaker 1: typically about younger people anyway, right, yeah, and so they're

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Speaker 1: kind of like clunking around trying to figure it out,

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Speaker 1: and there's a cuteness in that totally.

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Speaker 2: Well, I do you do you? Did you like the

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Speaker 2: Austin Butler Elvis movie. Have we talked about this? I

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Speaker 2: can't remember.

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Speaker 1: Did we talk about this on I Saw You? And

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Speaker 1: I can't remember?

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00:21:01,000 --> 00:21:02,520
Speaker 2: I can't remember, but I'll.

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Speaker 1: Tell you again. I loved it. I'm like one of

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Speaker 1: the only people that loved it.

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Speaker 2: I loved it too. Okay, maybe We've talked about this.

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Speaker 2: You know, Austin does have KLS, you know, kissable lip syndrome.

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Speaker 2: And I was so seduced by him in that movie,

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Speaker 2: and I just I thought he really. I mean, I'm

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Speaker 2: an Elvis fan, but I just was really, I was

390
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Speaker 2: really taken on a ride with that movie. And I

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Speaker 2: really loved Elvis from what was that when did twenty

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Speaker 2: twenty two?

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Speaker 1: Yeah, twenty twenty two, I mean. And so it's funny

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Speaker 1: because I feel like I like Elvis too. Am I

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Speaker 1: a huge mungoid Elvis fan, like throughout the generations? Now

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Speaker 1: I kind of like his end to end. So I

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Speaker 1: love the early Elvis days, like the Sun Records, he Elvis.

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Speaker 1: And then I like the Vegas uh you know, hunk

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Speaker 1: of hunkle burn In love fucking sure, ridiculous Elvis. So

400
00:22:00,520 --> 00:22:02,760
Speaker 1: those two things iu to be like we're very well

401
00:22:02,840 --> 00:22:07,480
Speaker 1: ironed out in the movie. And I've especially the later Elvis.

402
00:22:08,000 --> 00:22:12,600
Speaker 1: I when I saw him playing that like old Elvis,

403
00:22:13,160 --> 00:22:16,280
Speaker 1: I was like, this is fucking insane. Like I was

404
00:22:16,400 --> 00:22:23,080
Speaker 1: really like, he is doing something completely off the rails

405
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Speaker 1: right now, and like just the way he was acting,

406
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Speaker 1: and like that's what I think. I appreciated the most

407
00:22:29,160 --> 00:22:32,760
Speaker 1: about the about bos Laarman's Elvis movie is that it

408
00:22:32,880 --> 00:22:36,520
Speaker 1: was completely ridiculous and over the top. I think it

409
00:22:36,600 --> 00:22:38,560
Speaker 1: was supposed to be, because I.

410
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Speaker 2: Feel like that is how you remember Elvis though as

411
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Speaker 2: a person, as ridiculous and over the top, And so

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Speaker 2: I'm glad the movie went there, right.

413
00:22:46,280 --> 00:22:48,679
Speaker 1: I was literally about to say that, but you stole

414
00:22:48,720 --> 00:22:51,840
Speaker 1: it from me. No, I'm I was gonna say, like,

415
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Speaker 1: I feel like that was his life, His life was

416
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Speaker 1: being that ridiculous, over top, you know, megastar, And like,

417
00:22:59,760 --> 00:23:03,720
Speaker 1: I think that movie, you know, for whatever, certain certain

418
00:23:03,720 --> 00:23:08,480
Speaker 1: parts of it was fantastic. And I again, I guess

419
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Speaker 1: I'm a cult movie person. I love fucking weird, bloated,

420
00:23:12,400 --> 00:23:15,359
Speaker 1: crazy shit like that. But I also think Austin Butler

421
00:23:15,480 --> 00:23:18,639
Speaker 1: was doing this his old little magic in that and

422
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Speaker 1: that later Elvis period. I was like, man, this guy

423
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Speaker 1: is really going for it.

424
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Speaker 2: I love it. He truly was. Yeah, it was kind of.

425
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Speaker 1: A dare I say it was sort of Bradley Cooper esque.

426
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Speaker 2: It was, Oh yeah, I mean there is I feel

427
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Speaker 2: like you could make a film series with Maestro and

428
00:23:36,960 --> 00:23:39,359
Speaker 2: Boz Luhrman's Elvis. I'm trying to think of other movies

429
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Speaker 2: I could sort of fit into that category, but those

430
00:23:41,440 --> 00:23:44,760
Speaker 2: two could play in some sort of you know, programming.

431
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Speaker 1: I think by the way, sidebar, we haven't talked about this,

432
00:23:47,440 --> 00:23:49,560
Speaker 1: but if you I've not seen the first episode of

433
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Speaker 1: The Righteous Gemstones, this.

434
00:23:50,680 --> 00:23:52,200
Speaker 2: Song, oh I've seen it. Oh, I've seen it.

435
00:23:53,240 --> 00:23:56,000
Speaker 1: Well, we're gonna have to download on that, so okay.

436
00:23:57,200 --> 00:24:00,000
Speaker 2: But yeah, well, I think the thing I like about

437
00:24:00,119 --> 00:24:06,920
Speaker 2: the band's forming movies is that, you know, I feel

438
00:24:06,920 --> 00:24:09,679
Speaker 2: like I've always been looking for like my creative crew

439
00:24:09,920 --> 00:24:13,320
Speaker 2: of people where it's like my social life and my

440
00:24:13,440 --> 00:24:16,080
Speaker 2: creative life are kind of all together in one and

441
00:24:16,119 --> 00:24:18,879
Speaker 2: you're living in sort of like a create Your life

442
00:24:18,960 --> 00:24:23,600
Speaker 2: is just surrounded by creativity and like banding together with

443
00:24:23,640 --> 00:24:25,800
Speaker 2: other people to make something. And I've always been sort

444
00:24:25,840 --> 00:24:27,760
Speaker 2: of like seeking that out. I think I've sought that

445
00:24:27,760 --> 00:24:30,920
Speaker 2: out by like making movies and even doing podcasts and stuff,

446
00:24:31,160 --> 00:24:35,560
Speaker 2: and so I always love seeing that. I'm always inspired

447
00:24:35,560 --> 00:24:38,080
Speaker 2: by that when I watch it in a movie, you know, so.

448
00:24:38,920 --> 00:24:41,600
Speaker 1: A creative collabo. I'm the same way.

449
00:24:42,320 --> 00:24:43,840
Speaker 2: Yeah.

450
00:24:43,880 --> 00:24:45,720
Speaker 1: Well, and like to that point too, I feel like

451
00:24:46,080 --> 00:24:49,439
Speaker 1: I've never been in a band for real, but I

452
00:24:49,480 --> 00:24:52,400
Speaker 1: always loved the idea of being in a band versus

453
00:24:52,600 --> 00:24:55,680
Speaker 1: becoming like a solo star totally.

454
00:24:55,960 --> 00:24:58,640
Speaker 2: You know, yeah, that band life.

455
00:24:59,040 --> 00:25:00,320
Speaker 1: Got to have that band line.

456
00:25:00,880 --> 00:25:03,720
Speaker 2: Well, should we get into this movie a little bit

457
00:25:03,920 --> 00:25:05,040
Speaker 2: the commitments?

458
00:25:05,920 --> 00:25:08,080
Speaker 1: Yes, because I gotta say, it's the first time watch

459
00:25:08,119 --> 00:25:11,000
Speaker 1: for me. I didn't see is that right? Yeah, that's right,

460
00:25:11,480 --> 00:25:13,760
Speaker 1: And it's crazy because I'm a fan of the director

461
00:25:13,800 --> 00:25:17,280
Speaker 1: Alan Parker. Sure, And we've actually talked about Alan Parker

462
00:25:17,320 --> 00:25:19,160
Speaker 1: movies on I saw what you did. I think we did.

463
00:25:19,280 --> 00:25:23,840
Speaker 1: We definitely did Midnight Express. We talked about Fame. I

464
00:25:23,840 --> 00:25:26,240
Speaker 1: don't know, do you have any like, do you have

465
00:25:26,280 --> 00:25:30,120
Speaker 1: any affiliation or affection for Sir Alan Parker?

466
00:25:30,640 --> 00:25:34,920
Speaker 2: Not really to be honest, Well, I mean I've seen

467
00:25:35,160 --> 00:25:38,080
Speaker 2: some of those movies that you've just said, but I

468
00:25:38,119 --> 00:25:40,800
Speaker 2: don't really have like a connection to him other than

469
00:25:41,000 --> 00:25:44,879
Speaker 2: the commitments. It is funny in the movie, the main character,

470
00:25:45,359 --> 00:25:50,720
Speaker 2: Jimmy Rabbit is like selling bootleg VHS's on the subway. Yes,

471
00:25:50,840 --> 00:25:54,560
Speaker 2: and he's he's like I got Mississippi Burning here, which

472
00:25:54,600 --> 00:25:57,119
Speaker 2: is one of the movies that Alan Parker directed.

473
00:25:57,160 --> 00:26:00,240
Speaker 1: Oh yeah, I think you would like if you haven't

474
00:26:00,240 --> 00:26:03,199
Speaker 1: seen much of this stuff, we actually did Birdie nineteen

475
00:26:03,200 --> 00:26:06,040
Speaker 1: eighty four, Bertie, I saw what you did. That is

476
00:26:06,080 --> 00:26:09,000
Speaker 1: a great movie. And then also I got to say,

477
00:26:09,040 --> 00:26:12,960
Speaker 1: if you've never seen bugsy Malone.

478
00:26:12,760 --> 00:26:15,600
Speaker 2: I haven't seen that, but I'm very aware of this movie.

479
00:26:15,640 --> 00:26:19,360
Speaker 1: Oh my god, it is absolutely adorable. Like it's it's

480
00:26:19,400 --> 00:26:26,680
Speaker 1: basically a nineteen twenties gangster film that's completely acted by children,

481
00:26:27,040 --> 00:26:28,720
Speaker 1: and Jody Foster is one of them. I mean, it

482
00:26:28,760 --> 00:26:29,359
Speaker 1: is just like one.

483
00:26:29,280 --> 00:26:31,120
Speaker 2: Of thoseos in it as bugsy Malone.

484
00:26:31,119 --> 00:26:33,120
Speaker 1: Totally, it's one of the most adorable movies you will

485
00:26:33,160 --> 00:26:33,760
Speaker 1: ever see.

486
00:26:33,880 --> 00:26:35,919
Speaker 2: It's so good. Yes, it came out in the seventies.

487
00:26:36,400 --> 00:26:37,720
Speaker 2: I do want to see it, and I know that

488
00:26:37,840 --> 00:26:41,520
Speaker 2: like they put that play on at schools too, so

489
00:26:41,560 --> 00:26:45,560
Speaker 2: I think that's full us. But anyways, the commitments. We're

490
00:26:45,560 --> 00:26:48,120
Speaker 2: back in Ireland again. I'm sorry we're doing so much

491
00:26:48,200 --> 00:26:51,760
Speaker 2: Irish stuff. I'll cut it out. That's you, that's me.

492
00:26:52,359 --> 00:26:53,640
Speaker 2: I'm irish because.

493
00:26:53,760 --> 00:26:56,400
Speaker 1: The Irish content has gone up two hundred percent.

494
00:26:56,119 --> 00:26:58,800
Speaker 2: Since we started. As fuck, I'm sorry. I didn't really

495
00:26:58,840 --> 00:27:03,720
Speaker 2: even realize it until it happened and we're here so well,

496
00:27:03,520 --> 00:27:07,800
Speaker 2: I'll try to reduce that as we move forward. This

497
00:27:08,119 --> 00:27:12,439
Speaker 2: movie The Commitments from nineteen ninety one takes place in

498
00:27:12,720 --> 00:27:18,720
Speaker 2: northern Dublin, and it's funny there aren't any real big

499
00:27:18,760 --> 00:27:21,320
Speaker 2: stars in this movie. I would say cole Meani, who

500
00:27:21,800 --> 00:27:26,359
Speaker 2: was in Star Trek DS nine if anybody watched that,

501
00:27:26,560 --> 00:27:30,280
Speaker 2: and his last name is O'Brien Star Trek Ds nine,

502
00:27:30,320 --> 00:27:36,359
Speaker 2: So anyways, cole Meani's in it. But the basic premise

503
00:27:36,480 --> 00:27:39,960
Speaker 2: is that this guy, Jimmy Rabbit played by Robert Arkins,

504
00:27:40,200 --> 00:27:42,560
Speaker 2: he's a cocky little music fan and he's trying to

505
00:27:42,600 --> 00:27:46,720
Speaker 2: put a band together, and he is like the architect

506
00:27:46,720 --> 00:27:49,399
Speaker 2: of this band, and he says it's going to be

507
00:27:49,480 --> 00:27:52,560
Speaker 2: a soul band. It has to be a soul band because,

508
00:27:52,560 --> 00:27:55,240
Speaker 2: according to Jimmy, this is his quote, the Irish are

509
00:27:55,280 --> 00:27:58,439
Speaker 2: the blacks of Europe. Now he puts this bag, this

510
00:27:58,560 --> 00:28:02,200
Speaker 2: team together, this ragtag team of musicians, none of whom

511
00:28:02,359 --> 00:28:06,080
Speaker 2: really have any knowledge of soul music or like necessarily fans,

512
00:28:06,160 --> 00:28:08,280
Speaker 2: but they get into the spirit of it and they

513
00:28:08,359 --> 00:28:11,399
Speaker 2: do kind of become fans of the music. And you know,

514
00:28:11,440 --> 00:28:14,680
Speaker 2: there's a lot of conflicting personalities within the band, trying

515
00:28:14,680 --> 00:28:17,520
Speaker 2: to keep it together, trying to get live shows, and

516
00:28:18,040 --> 00:28:22,119
Speaker 2: after a while they get pretty good and will Jimmy

517
00:28:22,160 --> 00:28:25,000
Speaker 2: be able to get this band their big break? Well,

518
00:28:25,240 --> 00:28:29,760
Speaker 2: we'll see, won't we. But that's essentially I mean, it's

519
00:28:29,840 --> 00:28:32,240
Speaker 2: kind of a loosey, goosey kind of plot where it's

520
00:28:32,280 --> 00:28:34,439
Speaker 2: just kind of like putting this band together and then

521
00:28:34,440 --> 00:28:37,920
Speaker 2: trying to get gigs and then going from there. You know, yea,

522
00:28:38,840 --> 00:28:40,560
Speaker 2: what did you think about it? This was your first

523
00:28:40,840 --> 00:28:43,640
Speaker 2: time watching it? What did you Did you enjoy the music?

524
00:28:43,880 --> 00:28:45,680
Speaker 2: Did you enjoy the performances? What do you think?

525
00:28:45,760 --> 00:28:49,880
Speaker 1: It was very very charming, like you know, it was

526
00:28:50,040 --> 00:28:52,440
Speaker 1: like i mean, first of all, I love soul music,

527
00:28:52,520 --> 00:28:55,560
Speaker 1: so all of this stuff is very, you know, very

528
00:28:55,560 --> 00:28:57,480
Speaker 1: important to me. Like i mean, come on, I'm talking

529
00:28:57,480 --> 00:28:59,960
Speaker 1: about like Otis Redding and Sam Cook every five minutes.

530
00:29:00,000 --> 00:29:00,800
Speaker 1: I'm like, this is great.

531
00:29:01,520 --> 00:29:04,800
Speaker 2: Did you ever go to Funky Soul in Los Angeles?

532
00:29:04,840 --> 00:29:06,320
Speaker 2: The Soul Night at the Ecoplex.

533
00:29:07,160 --> 00:29:10,240
Speaker 1: No, I never went to that. It was cool, was it?

534
00:29:10,240 --> 00:29:12,600
Speaker 2: It was funky? Yeah? Cool? Yeah?

535
00:29:12,760 --> 00:29:16,360
Speaker 1: No? I you know, Georgia is the home of Otis

536
00:29:16,400 --> 00:29:20,720
Speaker 1: Redding and James Brown and so many other like really

537
00:29:20,760 --> 00:29:23,880
Speaker 1: important black soul artists. So I'm like, oh yeah, I mean,

538
00:29:23,920 --> 00:29:26,360
Speaker 1: of course, like here's a movie that's kind of like

539
00:29:27,280 --> 00:29:32,120
Speaker 1: worshiping all of this music. I loved that older guy

540
00:29:32,240 --> 00:29:34,720
Speaker 1: that had played with like all the greats. Like that

541
00:29:34,760 --> 00:29:37,720
Speaker 1: guy was so good. I can't remember his.

542
00:29:38,200 --> 00:29:41,840
Speaker 2: Joey the Lips Fagan. You know, he is the only

543
00:29:42,120 --> 00:29:46,080
Speaker 2: person in the entire movie that didn't play his instrument wow,

544
00:29:46,160 --> 00:29:49,200
Speaker 2: didn't actually do his own music wow, because they wanted

545
00:29:49,200 --> 00:29:51,920
Speaker 2: an actual like actor in the movie to kind of

546
00:29:52,520 --> 00:29:56,800
Speaker 2: hold things together. I guess. So, yeah, is it true?

547
00:29:58,160 --> 00:30:02,720
Speaker 1: Let me ask you this, is it true that there

548
00:30:02,760 --> 00:30:08,520
Speaker 1: were members of a real band that was in the

549
00:30:08,560 --> 00:30:12,200
Speaker 1: movie and they were called the Cores. Do you remember them?

550
00:30:12,880 --> 00:30:16,280
Speaker 2: Oh? The Cores like the girls the girl?

551
00:30:16,520 --> 00:30:18,360
Speaker 1: I think they're the girls? Right, wasn't there like a

552
00:30:18,440 --> 00:30:20,360
Speaker 1: guy feeling three girls?

553
00:30:21,000 --> 00:30:22,400
Speaker 2: We didn't the Cors do?

554
00:30:23,680 --> 00:30:24,400
Speaker 3: Uh?

555
00:30:24,440 --> 00:30:25,560
Speaker 2: What's their big hit?

556
00:30:26,880 --> 00:30:31,040
Speaker 1: It's like called come on maybe? Wait? Was it called

557
00:30:31,640 --> 00:30:32,080
Speaker 1: what's the name?

558
00:30:32,120 --> 00:30:34,240
Speaker 2: Because their career took off in nineteen o one. In

559
00:30:34,240 --> 00:30:37,760
Speaker 2: the audition for the film The Commitments, they had small

560
00:30:37,800 --> 00:30:41,280
Speaker 2: parts as musicians Jim Sharon and Carolyn So Yes, the

561
00:30:41,400 --> 00:30:42,960
Speaker 2: Cores were a part of this movie.

562
00:30:43,000 --> 00:30:44,760
Speaker 1: Hold on, let me okay, now we got to listen

563
00:30:44,800 --> 00:30:47,960
Speaker 1: to this. The Cores they had a really popular song.

564
00:30:48,480 --> 00:30:54,880
Speaker 2: Breadth Breathless, leave Me Breathless, hold On, old On, come On,

565
00:30:55,280 --> 00:30:58,800
Speaker 2: leave live breathes. Well, I remember when we were we

566
00:30:58,960 --> 00:31:01,440
Speaker 2: when that was on the radio, we made a parody song,

567
00:31:02,120 --> 00:31:05,360
Speaker 2: feed Me Breakfast. We thought that was fun.

568
00:31:05,560 --> 00:31:09,200
Speaker 1: Wow, what a what a weird al esque type of

569
00:31:09,240 --> 00:31:10,040
Speaker 1: thing that you did.

570
00:31:10,400 --> 00:31:11,320
Speaker 2: I never thought about that.

571
00:31:11,320 --> 00:31:13,720
Speaker 1: I don't think about, Oh, well, maybe you should maybe

572
00:31:13,800 --> 00:31:17,240
Speaker 1: if you're making music, start going the parody route.

573
00:31:17,800 --> 00:31:19,080
Speaker 2: It seems that they're a part of this, but I

574
00:31:19,120 --> 00:31:23,200
Speaker 2: don't think they're big members of the They're not like

575
00:31:23,240 --> 00:31:27,320
Speaker 2: the central even like the the backing vocalists, they're not

576
00:31:27,360 --> 00:31:27,960
Speaker 2: in it. Yeah.

577
00:31:28,000 --> 00:31:30,920
Speaker 1: I just remember the cores being like I kind of

578
00:31:30,960 --> 00:31:33,160
Speaker 1: remember them around the same time as like Natalie and

579
00:31:33,200 --> 00:31:37,080
Speaker 1: Bruglia and going like why are all women singing so hot?

580
00:31:37,680 --> 00:31:40,080
Speaker 2: Why are they hot on on the radio? Where are

581
00:31:40,080 --> 00:31:41,280
Speaker 2: they Celtic and hot?

582
00:31:42,880 --> 00:31:45,320
Speaker 1: But with the commitments, it's funny because that is like

583
00:31:45,360 --> 00:31:50,120
Speaker 1: one thing about both the commitments as the band in

584
00:31:50,160 --> 00:31:54,080
Speaker 1: the movie, but also like just bands who have like

585
00:31:54,240 --> 00:31:55,440
Speaker 1: tons of members.

586
00:31:55,920 --> 00:31:58,240
Speaker 2: Yes, there's a lot of members of this band. Goddamn

587
00:31:58,200 --> 00:31:59,000
Speaker 2: any horn section.

588
00:31:59,520 --> 00:32:02,560
Speaker 1: Yeah, And I'm always like, oh, they're playing like these

589
00:32:02,600 --> 00:32:06,160
Speaker 1: small pubs when they first start, like they're cramming like

590
00:32:06,240 --> 00:32:08,000
Speaker 1: I don't know, like eight nine of people on the

591
00:32:08,040 --> 00:32:10,880
Speaker 1: stage with a piano. Are you kidding me?

592
00:32:10,960 --> 00:32:13,160
Speaker 2: Yeah, it's like the Blues Brothers.

593
00:32:13,560 --> 00:32:18,000
Speaker 1: Yeah, well what like Okay? I want to know though,

594
00:32:18,360 --> 00:32:21,760
Speaker 1: So when did you discover this movie? When were you

595
00:32:21,760 --> 00:32:24,400
Speaker 1: you know, like, when did this come into your consciousness?

596
00:32:24,440 --> 00:32:27,520
Speaker 2: Ooom gosh, it had to be like probably ten years ago,

597
00:32:27,720 --> 00:32:30,640
Speaker 2: I would say. Again, I'm just such a I'm such

598
00:32:30,640 --> 00:32:34,880
Speaker 2: a simp for movies about people putting bands together.

599
00:32:35,160 --> 00:32:36,440
Speaker 1: Sure. Oh.

600
00:32:36,480 --> 00:32:39,680
Speaker 2: Another one that just popped into my head is called Linda, Linda, Linda,

601
00:32:40,080 --> 00:32:43,080
Speaker 2: and it's a Korean movie from two thousand and five.

602
00:32:43,280 --> 00:32:46,960
Speaker 2: It's a little hard to find online. I don't think

603
00:32:46,960 --> 00:32:49,640
Speaker 2: it's streaming anywhere. But it's about not just schoolgirls who

604
00:32:50,000 --> 00:32:54,120
Speaker 2: come together to put together a they're they're like performing

605
00:32:54,160 --> 00:32:56,000
Speaker 2: at like a talent show at their high school, and

606
00:32:56,160 --> 00:32:58,959
Speaker 2: like kind of the dynamics of this like private school,

607
00:32:59,000 --> 00:33:01,080
Speaker 2: and it's fun and fun and have you ever seen

608
00:33:01,120 --> 00:33:06,440
Speaker 2: that Linda A great final scene of them playing the

609
00:33:06,520 --> 00:33:11,560
Speaker 2: song Linda Linda. But yeah, I just love movies about

610
00:33:11,600 --> 00:33:16,040
Speaker 2: bands coming together. And I think again, the music in

611
00:33:16,080 --> 00:33:19,440
Speaker 2: this I think like any movie where there's an artist

612
00:33:19,560 --> 00:33:21,480
Speaker 2: in it, you know, I don't know if you've ever

613
00:33:21,520 --> 00:33:23,720
Speaker 2: had this experience where you're like watching a movie about

614
00:33:23,800 --> 00:33:27,120
Speaker 2: an artist and their art sucks in the movie, or

615
00:33:27,240 --> 00:33:31,640
Speaker 2: like they're like supposed to be an amazing musician and

616
00:33:31,720 --> 00:33:35,400
Speaker 2: the music sucks, and you're like, I can't you know, yes,

617
00:33:36,240 --> 00:33:39,160
Speaker 2: I can't stretch my imagination that much. Where in this

618
00:33:39,280 --> 00:33:44,560
Speaker 2: movie the music is really good and the I think

619
00:33:44,600 --> 00:33:48,840
Speaker 2: I saw the try a Little Tenderness scene, which is

620
00:33:48,880 --> 00:33:50,920
Speaker 2: kind of a climax of the movie, where they're performing

621
00:33:50,960 --> 00:33:54,560
Speaker 2: that song, and I was just so bold over by

622
00:33:54,600 --> 00:33:58,640
Speaker 2: it because I love you know, obviously the original Otis

623
00:33:58,680 --> 00:34:03,520
Speaker 2: Redding version of that song, and I would never say

624
00:34:03,640 --> 00:34:07,080
Speaker 2: this version in this movie is better than the original version,

625
00:34:07,720 --> 00:34:10,000
Speaker 2: but I like what they do with this version where

626
00:34:10,000 --> 00:34:12,840
Speaker 2: they add backing vocals, which are like really good in

627
00:34:12,920 --> 00:34:16,600
Speaker 2: this and then also they extend the end part where

628
00:34:16,680 --> 00:34:19,319
Speaker 2: it's like really rocking out, which much longer than the

629
00:34:19,320 --> 00:34:23,640
Speaker 2: original song. So I was like very taken by that scene.

630
00:34:23,760 --> 00:34:29,040
Speaker 2: And yeah, I think the music was good and it's

631
00:34:29,080 --> 00:34:31,200
Speaker 2: Irish and it's about forming a band. I mean, it

632
00:34:31,239 --> 00:34:35,040
Speaker 2: was pretty pretty simple. Why I like Fell for this movie.

633
00:34:35,040 --> 00:34:36,879
Speaker 2: When I first watched it, Sure.

634
00:34:37,000 --> 00:34:40,120
Speaker 1: You know, I think I would be lying if I

635
00:34:40,160 --> 00:34:43,960
Speaker 1: said I wasn't feeling a little tingly in my tummy.

636
00:34:44,200 --> 00:34:47,600
Speaker 1: When I saw Jimmy Rabbit, he had such a like

637
00:34:47,760 --> 00:34:49,080
Speaker 1: great look, you.

638
00:34:49,000 --> 00:34:51,080
Speaker 2: Know, oh man, I mean they don't make guys like

639
00:34:51,120 --> 00:34:55,160
Speaker 2: that anymore. That's like such a nineties look, you know.

640
00:34:55,440 --> 00:34:55,919
Speaker 2: Oh yeah.

641
00:34:55,960 --> 00:34:58,560
Speaker 1: When he's like run it around with a cigarette hanging

642
00:34:58,560 --> 00:35:00,880
Speaker 1: out of his mouth, trying to like sell people cassette

643
00:35:00,880 --> 00:35:03,560
Speaker 1: tapes and ship, I was like, yeah, who is this?

644
00:35:03,760 --> 00:35:05,920
Speaker 2: He had sort of a Jarvis Cocker vibe, you know,

645
00:35:06,320 --> 00:35:10,239
Speaker 2: yeah to him with that slick back hair. But yeah, no,

646
00:35:10,320 --> 00:35:12,000
Speaker 2: I mean he's great.

647
00:35:12,719 --> 00:35:14,799
Speaker 1: Yeah, And I liked it because I was kind of

648
00:35:14,800 --> 00:35:16,479
Speaker 1: expecting that he was going to be like the lead

649
00:35:16,520 --> 00:35:18,640
Speaker 1: singer or something, and then he ended up being just

650
00:35:18,680 --> 00:35:22,080
Speaker 1: the manager. And then I kept thinking, could I be

651
00:35:22,120 --> 00:35:23,600
Speaker 1: a manager of a band?

652
00:35:24,040 --> 00:35:24,160
Speaker 2: Oh?

653
00:35:24,800 --> 00:35:25,920
Speaker 1: Have you ever thought about that?

654
00:35:26,520 --> 00:35:28,480
Speaker 2: I know, I've only I've always wanted to be the

655
00:35:28,560 --> 00:35:32,800
Speaker 2: lead singer of the band. But uh, I could totally

656
00:35:32,800 --> 00:35:34,200
Speaker 2: see you as a manager, and I.

657
00:35:34,160 --> 00:35:37,359
Speaker 1: Not gonna lie. I could too. I think I would

658
00:35:37,360 --> 00:35:39,000
Speaker 1: be a really good band manager.

659
00:35:39,120 --> 00:35:41,520
Speaker 2: I do too, Milly. You would because you have the vision.

660
00:35:41,719 --> 00:35:44,000
Speaker 2: I think you have the business sense. You could like,

661
00:35:44,400 --> 00:35:48,160
Speaker 2: you know, put some meat head and a headlock and

662
00:35:48,280 --> 00:35:51,319
Speaker 2: like at a at a gig if you needed, you know,

663
00:35:51,440 --> 00:35:53,360
Speaker 2: I could totally see you in the trenches.

664
00:35:53,440 --> 00:35:55,960
Speaker 1: And I'm also like a like, I'm kind of a

665
00:35:56,000 --> 00:35:58,000
Speaker 1: sort you know, not what. I don't want to call

666
00:35:58,040 --> 00:36:00,680
Speaker 1: myself a benevolent dictator necessarily. I don't really think I'm

667
00:36:00,680 --> 00:36:04,279
Speaker 1: a dictator, but I'm nice, I'm fair. I would never

668
00:36:04,600 --> 00:36:07,360
Speaker 1: abuse anybody or make people, put people on diets or

669
00:36:07,400 --> 00:36:09,440
Speaker 1: any of that shit are shitting me. I'd be like

670
00:36:09,480 --> 00:36:10,440
Speaker 1: a great manager.

671
00:36:11,000 --> 00:36:13,919
Speaker 2: I think this you we should look into this. Maybe

672
00:36:13,960 --> 00:36:16,560
Speaker 2: if we can get some sort of Atlanta K pop

673
00:36:16,640 --> 00:36:21,440
Speaker 2: group together that we could have you manage listen.

674
00:36:21,719 --> 00:36:24,560
Speaker 1: I would be a revolution in that space. I would.

675
00:36:24,600 --> 00:36:27,759
Speaker 1: I would not I would not shock people if they

676
00:36:27,760 --> 00:36:30,799
Speaker 1: didn't if they did, you know, messed up a dance move.

677
00:36:30,880 --> 00:36:34,480
Speaker 1: I would not force people to do things that they

678
00:36:34,680 --> 00:36:37,080
Speaker 1: want to do. I'd let them have girlfriends and boyfriends.

679
00:36:37,080 --> 00:36:37,880
Speaker 1: What are you kidding me?

680
00:36:38,520 --> 00:36:40,799
Speaker 2: Are they not allowed to have girlfriends or boyfriends? The

681
00:36:40,880 --> 00:36:41,440
Speaker 2: k pops?

682
00:36:41,680 --> 00:36:44,560
Speaker 1: Casey, No, they they are in love and married to

683
00:36:44,600 --> 00:36:45,400
Speaker 1: their fans.

684
00:36:45,840 --> 00:36:50,480
Speaker 2: I see. Have you been watching White Lotus. Black Pink's

685
00:36:50,600 --> 00:36:53,239
Speaker 2: Lisa is in it and she's great. Yeah.

686
00:36:53,360 --> 00:36:55,360
Speaker 1: No, I haven't seen it yet. I've been meaning to.

687
00:36:55,640 --> 00:36:59,120
Speaker 1: Obviously huge Mike White fan, so yeah I will. Yeah,

688
00:36:59,239 --> 00:37:01,440
Speaker 1: all those Black Pink girls, now, I don't know a

689
00:37:01,480 --> 00:37:03,520
Speaker 1: ton about them, but I do know that all of

690
00:37:03,560 --> 00:37:07,919
Speaker 1: them are like popping right now. Yeah, they're probably super

691
00:37:08,000 --> 00:37:12,239
Speaker 1: duper famous. But I yeah, I think I could be.

692
00:37:12,360 --> 00:37:13,919
Speaker 2: I mean, I'm a little the way I think you'd

693
00:37:13,960 --> 00:37:16,520
Speaker 2: be a good manager too, Millie. I feel like you

694
00:37:16,560 --> 00:37:19,640
Speaker 2: would be fun on the road. Hell yeah, in those

695
00:37:19,719 --> 00:37:22,680
Speaker 2: dog days of the road. I feel like you'd be fun.

696
00:37:23,239 --> 00:37:25,720
Speaker 1: Oh yeah, I'd like I'd be the kind of manager

697
00:37:26,080 --> 00:37:31,440
Speaker 1: that would like just go off and have my own drink, beau,

698
00:37:31,520 --> 00:37:33,520
Speaker 1: if you know what I mean. Like, I wouldn't like

699
00:37:33,560 --> 00:37:36,759
Speaker 1: want to party with the band. I'd like let them

700
00:37:36,840 --> 00:37:38,880
Speaker 1: have their time, and then I'd be like, I'm going

701
00:37:38,960 --> 00:37:44,600
Speaker 1: to go back to my like Ramata hotel and just

702
00:37:44,719 --> 00:37:46,480
Speaker 1: drink whiskey.

703
00:37:46,520 --> 00:37:48,200
Speaker 2: And count the money and count the money.

704
00:37:48,320 --> 00:37:51,920
Speaker 1: I'm not trying to party with y'all or like, you know,

705
00:37:52,040 --> 00:37:54,279
Speaker 1: get in on, horn in on. You know some of

706
00:37:54,320 --> 00:37:56,520
Speaker 1: the fans, you know, like I'm not trying to be

707
00:37:56,640 --> 00:37:58,240
Speaker 1: that manager. I want to be alone.

708
00:37:58,360 --> 00:38:00,600
Speaker 2: Jimmy Rabbit was I feel like he was sort of separate,

709
00:38:00,719 --> 00:38:03,160
Speaker 2: you know, he was trying to facilitate, trying to get

710
00:38:03,200 --> 00:38:04,279
Speaker 2: things off the ground.

711
00:38:04,120 --> 00:38:06,439
Speaker 1: Right, because I'm a grown up. That's the thing about

712
00:38:06,440 --> 00:38:08,279
Speaker 1: a band manager is you got to be the grown up.

713
00:38:08,320 --> 00:38:10,880
Speaker 1: You can't go out there and like be like, you know,

714
00:38:10,960 --> 00:38:13,480
Speaker 1: hanging out with people on the tour bus and being

715
00:38:13,480 --> 00:38:14,440
Speaker 1: a sleeves.

716
00:38:14,800 --> 00:38:18,080
Speaker 2: Yeah, got to keep min I do fear that if

717
00:38:18,120 --> 00:38:20,759
Speaker 2: you became a tour manager or you're just a band

718
00:38:20,760 --> 00:38:24,120
Speaker 2: manager on you're on tour, I do think cigarettes would

719
00:38:24,120 --> 00:38:28,879
Speaker 2: make a big reintroduction, and I welcome.

720
00:38:28,600 --> 00:38:32,560
Speaker 1: That quite frankly, I welcome it. I'm ready to play

721
00:38:32,600 --> 00:38:36,520
Speaker 1: the role again. I mean, I will say that I

722
00:38:36,600 --> 00:38:40,920
Speaker 1: feel like working in film for as long as I

723
00:38:40,960 --> 00:38:45,080
Speaker 1: have is pretty much. I feel like I have been

724
00:38:45,120 --> 00:38:49,160
Speaker 1: able to navigate the world of like weird dudes.

725
00:38:50,239 --> 00:38:52,360
Speaker 2: Yeah oh yeah, so that.

726
00:38:52,320 --> 00:38:54,839
Speaker 1: Can only be an asset for me if I were

727
00:38:54,880 --> 00:38:57,080
Speaker 1: to be a manager of a band, because I know

728
00:38:57,120 --> 00:38:59,719
Speaker 1: how to talk to weird dudes. I know how to like,

729
00:39:00,160 --> 00:39:04,799
Speaker 1: you know, get shit done. I can like stand toe

730
00:39:04,840 --> 00:39:08,360
Speaker 1: to toe with them, not maybe not in a drinking capacity,

731
00:39:08,360 --> 00:39:11,560
Speaker 1: because actually in pretty lightweight, but like I could have

732
00:39:11,680 --> 00:39:12,879
Speaker 1: a couple of drinks.

733
00:39:12,560 --> 00:39:14,520
Speaker 2: And not fall sure, you know.

734
00:39:14,960 --> 00:39:17,520
Speaker 1: But also like I said, I I can muscle when

735
00:39:17,560 --> 00:39:19,360
Speaker 1: I have to. I don't know. If you want to

736
00:39:19,440 --> 00:39:23,160
Speaker 1: hire me, you should email us at Deer Movies at.

737
00:39:23,040 --> 00:39:29,560
Speaker 2: Excite exactly right. Media. Yes, we'll be fielding resumes for bands, mixtapes,

738
00:39:29,640 --> 00:39:35,080
Speaker 2: send those in band camp links, all of that. But

739
00:39:35,400 --> 00:39:38,719
Speaker 2: you know, I think that the thing that I find

740
00:39:38,800 --> 00:39:41,799
Speaker 2: kind of intoxicating about like band movies is that it

741
00:39:41,840 --> 00:39:48,560
Speaker 2: is like a lifestyle. It's kind of these movies are

742
00:39:48,560 --> 00:39:51,000
Speaker 2: about a certain lifestyle, even if it's not about a

743
00:39:51,000 --> 00:39:54,759
Speaker 2: famous band. It's like you live music twenty four to

744
00:39:54,760 --> 00:39:58,640
Speaker 2: seven kind of it's like you're rehearsing, you're listening to music,

745
00:39:58,960 --> 00:40:02,080
Speaker 2: you're hanging out all the time. Whereas like other art forms,

746
00:40:02,120 --> 00:40:06,640
Speaker 2: I feel like it's very like hard to show the

747
00:40:06,680 --> 00:40:10,680
Speaker 2: process of making the art. Like a movie about a

748
00:40:10,719 --> 00:40:14,040
Speaker 2: painter isn't as exciting or intoxicating as like a band,

749
00:40:14,239 --> 00:40:18,120
Speaker 2: or even like a movie about a movie director. It's

750
00:40:18,160 --> 00:40:20,720
Speaker 2: like they they're on set and then they go home.

751
00:40:20,760 --> 00:40:24,800
Speaker 2: But it's almost like music is kind of this all encompassing,

752
00:40:26,600 --> 00:40:31,839
Speaker 2: you know, creative lifestyle that makes movies about bands very

753
00:40:32,120 --> 00:40:33,080
Speaker 2: seductive to me.

754
00:40:33,719 --> 00:40:37,360
Speaker 1: Yeah, and so this listen, it's very primal. It's very primal, limal,

755
00:40:38,080 --> 00:40:40,600
Speaker 1: you know, whereas like, you know, if you're watching a

756
00:40:40,640 --> 00:40:44,800
Speaker 1: movie about an architect, perhaps you're not really watching the

757
00:40:44,840 --> 00:40:47,319
Speaker 1: brutalist If you're not watching the Brutalists, you're like, oh,

758
00:40:47,360 --> 00:40:52,520
Speaker 1: I'm not really feeling the feeling of him being in

759
00:40:52,560 --> 00:40:57,279
Speaker 1: the ramada having a whiskey in one of those like

760
00:40:58,200 --> 00:41:00,960
Speaker 1: you know, plastic cups with the plastic rap over it.

761
00:41:01,480 --> 00:41:03,839
Speaker 1: In that way, like he doesn't feel as direct as

762
00:41:03,840 --> 00:41:06,520
Speaker 1: it is for like, you know, watching a movie about

763
00:41:06,640 --> 00:41:08,560
Speaker 1: a rock and roll guy doing that or something I

764
00:41:08,560 --> 00:41:10,040
Speaker 1: don't know makes sense?

765
00:41:10,680 --> 00:41:16,520
Speaker 2: Absolutely absolutely? What else about the commitments? Anything else to cover?

766
00:41:16,840 --> 00:41:19,400
Speaker 1: No? I actually think it's like, have you heard of

767
00:41:19,440 --> 00:41:20,800
Speaker 1: the concept of a sleeper.

768
00:41:21,680 --> 00:41:24,439
Speaker 2: You've heard of a sleeper, right, A sleeper hit?

769
00:41:24,680 --> 00:41:27,279
Speaker 1: Yeah. I feel like this movie is a little bit

770
00:41:27,320 --> 00:41:29,359
Speaker 1: of a sleeper. I feel like when it first came out,

771
00:41:29,440 --> 00:41:32,000
Speaker 1: I feel like I remember it coming out. I was like,

772
00:41:32,239 --> 00:41:34,040
Speaker 1: you know, pretty young when it came out. But I

773
00:41:34,080 --> 00:41:36,600
Speaker 1: feel like as time has gone on, I feel like

774
00:41:36,640 --> 00:41:39,800
Speaker 1: it's gotten more and more appreciated, don't you think totally?

775
00:41:40,440 --> 00:41:41,480
Speaker 2: Yeah, totally.

776
00:41:41,480 --> 00:41:43,359
Speaker 1: People do get up a lot a lot.

777
00:41:43,480 --> 00:41:46,440
Speaker 2: Yeah yeah, But I don't think this was a big

778
00:41:46,600 --> 00:41:52,000
Speaker 2: hit when it came out. But it is kind of

779
00:41:52,040 --> 00:41:55,480
Speaker 2: a movie where not a lot like happens and there

780
00:41:55,520 --> 00:42:00,000
Speaker 2: aren't like big movie stars in it. You know. It's

781
00:42:00,000 --> 00:42:01,960
Speaker 2: it's just sort of about putting a band together and

782
00:42:01,960 --> 00:42:04,200
Speaker 2: trying to keep it together. You know. That's essentially what

783
00:42:04,239 --> 00:42:06,840
Speaker 2: the whole movie is about, like in fighting with the

784
00:42:06,880 --> 00:42:11,799
Speaker 2: band and like trying to balance your regular life with

785
00:42:12,040 --> 00:42:15,000
Speaker 2: being in a band. I mean, it's maybe not the

786
00:42:15,040 --> 00:42:20,600
Speaker 2: most I don't know, dramatic movie. It's not like A

787
00:42:20,640 --> 00:42:22,840
Speaker 2: Star is Born where we're dealing with like famous people.

788
00:42:23,280 --> 00:42:28,440
Speaker 2: You know. It's it's just a couple of blokes in Dublin,

789
00:42:28,680 --> 00:42:29,879
Speaker 2: you know, trying to figure it out.

790
00:42:29,920 --> 00:42:33,239
Speaker 1: Well, that's what I think. It's like, it's like focused

791
00:42:33,280 --> 00:42:36,000
Speaker 1: on the music, which is really strange because it's not

792
00:42:36,040 --> 00:42:40,799
Speaker 1: about the like huge, you know, dramatic character redemption arc thing.

793
00:42:40,880 --> 00:42:42,920
Speaker 1: It's basically just like, oh, it's a bunch of people

794
00:42:42,920 --> 00:42:46,280
Speaker 1: playing all this great stuff. You know. There's a ton

795
00:42:46,560 --> 00:42:47,720
Speaker 1: of songs in it.

796
00:42:47,920 --> 00:42:50,000
Speaker 2: Yeah, I was, and there isn't really a big arc.

797
00:42:50,280 --> 00:42:52,759
Speaker 2: You're right. There isn't like a character arc where like

798
00:42:52,840 --> 00:42:55,440
Speaker 2: anybody really learns anything.

799
00:42:55,600 --> 00:42:55,799
Speaker 3: You know.

800
00:42:56,600 --> 00:42:58,759
Speaker 1: I know, I kept thinking the licensing for this movie

801
00:42:58,880 --> 00:42:59,959
Speaker 1: must have been a fucking nighte.

802
00:43:00,520 --> 00:43:03,960
Speaker 2: That's true, But I think it's cheaper if they're performing covers,

803
00:43:04,120 --> 00:43:07,920
Speaker 2: they're not using the actual music, so I don't know,

804
00:43:08,000 --> 00:43:11,040
Speaker 2: maybe they saved a few bucks that way.

805
00:43:11,160 --> 00:43:13,560
Speaker 1: Yeah, sure, sure, well listen, I'm glad I got to

806
00:43:13,560 --> 00:43:15,320
Speaker 1: finally watch it. It was a good excuse.

807
00:43:15,719 --> 00:43:20,520
Speaker 2: So yeah, yeah, I love movies like this. I like

808
00:43:20,600 --> 00:43:23,440
Speaker 2: movies like people hanging out trying to figure out. Like

809
00:43:23,480 --> 00:43:26,400
Speaker 2: this is why I like the movie slap Shot, you know,

810
00:43:28,280 --> 00:43:30,960
Speaker 2: like it's just kind of like a hangout movie where

811
00:43:31,000 --> 00:43:35,760
Speaker 2: they're trying to accomplish something, but it's about the time

812
00:43:35,840 --> 00:43:37,279
Speaker 2: in between. You know.

813
00:43:37,719 --> 00:43:40,480
Speaker 1: If only the commitments had cussed as much as slap Shot.

814
00:43:41,320 --> 00:43:41,640
Speaker 3: Mmm.

815
00:43:42,160 --> 00:43:44,160
Speaker 2: Yeah, think about we'll have to do Slapshot. We'll have

816
00:43:44,239 --> 00:43:45,960
Speaker 2: to do a hockey episode because I have a lot

817
00:43:46,000 --> 00:43:47,719
Speaker 2: of thoughts about that.

818
00:43:47,960 --> 00:43:51,640
Speaker 1: Yeah, we can talk about the Cutting Edge, which I guess.

819
00:43:51,480 --> 00:43:52,960
Speaker 2: That's technically a hockey movie.

820
00:43:53,080 --> 00:43:57,080
Speaker 1: It is Doug Dorsey us Doug Dorsey like.

821
00:43:57,520 --> 00:44:01,640
Speaker 2: Thrill, I think he is a minut in that movie.

822
00:44:01,680 --> 00:44:02,359
Speaker 2: I could be wrong.

823
00:44:03,000 --> 00:44:04,840
Speaker 1: There's another figure state did good.

824
00:44:05,680 --> 00:44:10,760
Speaker 2: We've done good? All right, fabulous. Well, thanks for talking

825
00:44:10,800 --> 00:44:13,080
Speaker 2: about the commitments. Thanks for watching this movie. I love

826
00:44:13,160 --> 00:44:17,360
Speaker 2: this movie. I get when that that uh try a

827
00:44:17,400 --> 00:44:21,319
Speaker 2: little tenderness part at the end. I get thrilled every

828
00:44:21,320 --> 00:44:23,399
Speaker 2: time I get to watch that scene. It's so fun.

829
00:44:23,440 --> 00:44:24,080
Speaker 1: That's lovely.

830
00:44:25,600 --> 00:44:37,719
Speaker 2: All right, moving on, all right, we are back for

831
00:44:37,880 --> 00:44:42,480
Speaker 2: another segment. And because we're talking about bands and music

832
00:44:42,680 --> 00:44:46,759
Speaker 2: and stuff, I was sort of thinking about musical scenes

833
00:44:47,080 --> 00:44:50,960
Speaker 2: in movies that are not necessarily about bands, where there

834
00:44:51,040 --> 00:44:54,720
Speaker 2: is like sort of a musical performance of some kind

835
00:44:55,320 --> 00:44:58,880
Speaker 2: in a film, and these are something like I love

836
00:44:59,840 --> 00:45:03,400
Speaker 2: the these scenes in movies so much. There's some of

837
00:45:03,440 --> 00:45:07,719
Speaker 2: my favorite scenes in films, and I just wanted to

838
00:45:07,760 --> 00:45:11,959
Speaker 2: talk to you about that a little bit. Millie. Yeah,

839
00:45:12,000 --> 00:45:14,520
Speaker 2: I'll start things off so you get an idea of

840
00:45:14,560 --> 00:45:19,200
Speaker 2: what I'm talking about. There's a little movie called Muriel's

841
00:45:19,239 --> 00:45:23,359
Speaker 2: Wedding from nineteen ninety four starring Tony Collett. Abba is

842
00:45:23,520 --> 00:45:25,759
Speaker 2: a through line through this whole movie, and I love

843
00:45:25,800 --> 00:45:29,040
Speaker 2: the music of Abba. And there is like a lip

844
00:45:29,040 --> 00:45:32,080
Speaker 2: syncing scene where there's like a performance at a resort

845
00:45:32,600 --> 00:45:37,600
Speaker 2: with Tony Collett and Rachel Griffiths and they lip sync

846
00:45:38,120 --> 00:45:42,440
Speaker 2: dressed as Abba to the song Waterloo, And I watched

847
00:45:42,480 --> 00:45:46,680
Speaker 2: that scene over and over and over again. I just

848
00:45:46,800 --> 00:45:49,000
Speaker 2: I love it. It's so exciting, and it's sort of

849
00:45:49,360 --> 00:45:53,719
Speaker 2: emblematic of the whole movie of just being sincere and

850
00:45:54,200 --> 00:45:59,000
Speaker 2: expressing yourself as your true self and not being ashamed

851
00:45:59,080 --> 00:46:01,920
Speaker 2: of that. And I just love that scene. Are there

852
00:46:01,960 --> 00:46:04,840
Speaker 2: any scenes like that that come to mind for you, Millie? Oh?

853
00:46:05,000 --> 00:46:09,319
Speaker 1: Absolutely, one hundred percent. So my version of that, which is, like,

854
00:46:10,000 --> 00:46:12,640
Speaker 1: I don't know, my favorite, one of my maybe my favorite,

855
00:46:13,080 --> 00:46:16,560
Speaker 1: definitely one of my faves that I do watch over

856
00:46:16,600 --> 00:46:24,440
Speaker 1: and over again on YouTube is the scene from the

857
00:46:24,560 --> 00:46:28,160
Speaker 1: nineteen eighty eight film Coming to America featuring the band's

858
00:46:28,160 --> 00:46:29,120
Speaker 1: sexual chocolate.

859
00:46:29,719 --> 00:46:30,840
Speaker 2: Oh my god.

860
00:46:31,040 --> 00:46:38,680
Speaker 1: Yes, So I am obsessed with Mista Randy Watson. I'm upset.

861
00:46:38,719 --> 00:46:40,560
Speaker 1: I wish he was real. I wish he was a

862
00:46:40,600 --> 00:46:43,600
Speaker 1: real person. All these probably based on several real people,

863
00:46:44,320 --> 00:46:49,240
Speaker 1: but that shit is so fucking funny to me. It's like, honestly,

864
00:46:49,360 --> 00:46:52,040
Speaker 1: one of my favorite things that Eddie Murphy has ever

865
00:46:52,280 --> 00:46:56,279
Speaker 1: done in his career is that, Like what in a

866
00:46:56,320 --> 00:47:00,319
Speaker 1: couple of minutes scene or whatever where it's basically like,

867
00:47:00,719 --> 00:47:03,960
Speaker 1: you know, because as famously you know, coming to America.

868
00:47:04,040 --> 00:47:06,400
Speaker 1: You know, you've got Eddie Murphy in Ourcinio Hall and

869
00:47:06,400 --> 00:47:09,600
Speaker 1: they're playing like several different characters in the film, right.

870
00:47:10,120 --> 00:47:15,680
Speaker 1: Their main characters are basically, you know, Eddie Murphy plays

871
00:47:15,680 --> 00:47:20,720
Speaker 1: a prince from Africa and his and Arsenio Hall plays

872
00:47:20,760 --> 00:47:23,480
Speaker 1: his friend and sort of is like you know, assistant

873
00:47:23,560 --> 00:47:26,239
Speaker 1: or whatever. And they're in America. They are kind of

874
00:47:26,280 --> 00:47:29,000
Speaker 1: like learning the culture. They get you know, thrown into

875
00:47:29,000 --> 00:47:31,680
Speaker 1: the mix with this like one community, and like basically

876
00:47:31,960 --> 00:47:36,600
Speaker 1: they go to this rally, uh, and there's a fake

877
00:47:36,680 --> 00:47:41,920
Speaker 1: band on stage. They're called Sexual Chocolate. And Randy Watson

878
00:47:42,000 --> 00:47:44,319
Speaker 1: is played by Eddie Murphy and he's got like, you know,

879
00:47:44,400 --> 00:47:46,920
Speaker 1: a Jerry curl and he's wearing like a you know,

880
00:47:47,200 --> 00:47:51,399
Speaker 1: a fucking prom tuxedo from the seventies and he's got

881
00:47:51,400 --> 00:47:53,759
Speaker 1: this like little handkerchief in his hands and he's just

882
00:47:54,360 --> 00:47:57,720
Speaker 1: sweating and he's like, you know, he like looks so lovely.

883
00:47:57,719 --> 00:48:00,160
Speaker 1: Everybody looks so lovely, and he's like, you know, and

884
00:48:00,200 --> 00:48:02,640
Speaker 1: they and they launch into a cover of Winning. Hearson's

885
00:48:02,640 --> 00:48:07,080
Speaker 1: the Greatest Love of All and it is iconic, iconic.

886
00:48:10,120 --> 00:48:10,719
Speaker 2: Uh yeah.

887
00:48:10,760 --> 00:48:13,040
Speaker 1: And it's like he's got that little whistle in his

888
00:48:13,400 --> 00:48:15,400
Speaker 1: voice in the say he does a little whistle, and

889
00:48:15,480 --> 00:48:19,080
Speaker 1: I'm like, I scream laughing every single fucking time I

890
00:48:19,160 --> 00:48:19,400
Speaker 1: see it.

891
00:48:19,560 --> 00:48:23,080
Speaker 2: So that's so good. I maybe I just like this.

892
00:48:23,400 --> 00:48:25,640
Speaker 2: You know, we're talking about scenes where the music is

893
00:48:25,719 --> 00:48:29,680
Speaker 2: coming from. It's within, there's things, there's there's a term

894
00:48:29,760 --> 00:48:35,080
Speaker 2: called diagetic music and non diegetic music. Diegetic music in

895
00:48:35,280 --> 00:48:38,640
Speaker 2: movies is where the music is happening in the world

896
00:48:38,800 --> 00:48:43,040
Speaker 2: of the movie, like the characters can hear the music.

897
00:48:43,840 --> 00:48:48,120
Speaker 2: Non diegetic music is like in the movie The Royal

898
00:48:48,200 --> 00:48:51,360
Speaker 2: Tenebaum's when Margot Tenenbaum gets off the bus and we

899
00:48:51,520 --> 00:48:56,120
Speaker 2: hear Nico's these days, the characters don't hear that. That's

900
00:48:56,160 --> 00:48:59,840
Speaker 2: in the soundtrack. That's the score. That's non diegetic music.

901
00:49:00,280 --> 00:49:03,399
Speaker 2: So what we're talking about now is diegetic where it's

902
00:49:03,440 --> 00:49:07,040
Speaker 2: like happening within the world of the movie. Another scene

903
00:49:07,080 --> 00:49:11,360
Speaker 2: I watch a lot is did you ever see this

904
00:49:11,480 --> 00:49:15,560
Speaker 2: movie called The Skeleton Twins with Bill Hayter and uh

905
00:49:16,600 --> 00:49:17,319
Speaker 2: Christopher winn Wi.

906
00:49:17,480 --> 00:49:20,080
Speaker 1: Yeah, I saw it fairly recently. Actually, I didn't see

907
00:49:20,080 --> 00:49:21,359
Speaker 1: it when it came out, even though I reread.

908
00:49:21,440 --> 00:49:23,880
Speaker 2: It came on twenty fourteen, and it's kind of to

909
00:49:24,040 --> 00:49:28,640
Speaker 2: a strange brother and sister who reconnect and there is

910
00:49:28,719 --> 00:49:33,759
Speaker 2: a lip syncing scene to Jefferson Starships, Nothing's going to

911
00:49:33,840 --> 00:49:38,800
Speaker 2: stop us now, and it's just so silly. It's just silly,

912
00:49:38,840 --> 00:49:41,840
Speaker 2: and it's heartwarming and it brings them closer together.

913
00:49:42,280 --> 00:49:44,160
Speaker 1: Why did I think that you would like that?

914
00:49:44,440 --> 00:49:49,240
Speaker 2: Actually, I don't know. I'm just a stupid simp. Mush.

915
00:49:49,560 --> 00:49:52,000
Speaker 2: I just like that kind of stuff. I didn't say that.

916
00:49:52,360 --> 00:49:54,480
Speaker 1: I'm just telling you. I feel like I'm getting to

917
00:49:54,680 --> 00:49:57,200
Speaker 1: know you a lot more now through the course of

918
00:49:57,239 --> 00:49:59,160
Speaker 1: this podcast. I feel like that is something you would like.

919
00:50:00,000 --> 00:50:03,520
Speaker 2: It's also sort of similar. But I love the scene

920
00:50:03,800 --> 00:50:08,319
Speaker 2: in Napoleon Dynamite, the dance scene to Jamiroque. I love

921
00:50:08,440 --> 00:50:10,440
Speaker 2: that's not really a musical performance, but it is a

922
00:50:10,520 --> 00:50:17,520
Speaker 2: performance to music. And I love a movie where the

923
00:50:17,680 --> 00:50:20,719
Speaker 2: climax can be like a musical scene in a non

924
00:50:20,880 --> 00:50:23,000
Speaker 2: musical movie. Yeah, you know, I hear you.

925
00:50:23,120 --> 00:50:25,400
Speaker 1: I hear you. I only have a couple more. I mean,

926
00:50:25,440 --> 00:50:27,080
Speaker 1: actually I have a lot more. But I'm trying to

927
00:50:27,200 --> 00:50:29,279
Speaker 1: keep this short and brief because I know we don't

928
00:50:29,320 --> 00:50:31,600
Speaker 1: have a ton of time. First of all, I will

929
00:50:31,640 --> 00:50:34,040
Speaker 1: say that one of the speaking of Coming to America,

930
00:50:34,239 --> 00:50:36,160
Speaker 1: but also a movie that came out a couple of

931
00:50:36,239 --> 00:50:42,160
Speaker 1: years after that was another like formative musical performance moment

932
00:50:42,840 --> 00:50:49,360
Speaker 1: was seeing Crucial Taunt play in Wayne's world. And Crucial

933
00:50:49,520 --> 00:50:54,759
Speaker 1: Taunt was the band that was created by Cassandra who

934
00:50:54,960 --> 00:50:56,200
Speaker 1: was unt.

935
00:50:56,440 --> 00:50:58,080
Speaker 2: Name was Cassanda.

936
00:50:59,239 --> 00:51:02,200
Speaker 1: It was a Wayne Campbell's love interest was played by

937
00:51:02,239 --> 00:51:08,640
Speaker 1: Tia Carrera. Fucking Filipino Royalty, okay, And I remember seeing

938
00:51:08,680 --> 00:51:12,560
Speaker 1: that as a kid, being like, she's like the hottest

939
00:51:12,600 --> 00:51:14,920
Speaker 1: Filipina I've ever seen in my life. I was like,

940
00:51:15,040 --> 00:51:19,080
Speaker 1: she's wearing like all red lace with those like gloves,

941
00:51:19,440 --> 00:51:23,840
Speaker 1: and she's playing the bass, which is so cool, like

942
00:51:24,400 --> 00:51:27,680
Speaker 1: female bass players, like who are like sexy looking like that.

943
00:51:27,760 --> 00:51:29,960
Speaker 1: I'm like, holy shit, it like blew my mind when

944
00:51:30,000 --> 00:51:30,440
Speaker 1: I saw that.

945
00:51:31,000 --> 00:51:34,000
Speaker 2: I love the fake bands in that movie. Who's on

946
00:51:34,239 --> 00:51:38,040
Speaker 2: right now? The Shitty Beatles? Are they any good? They suck?

947
00:51:38,080 --> 00:51:39,839
Speaker 2: It's not just a clever name.

948
00:51:40,800 --> 00:51:43,160
Speaker 1: I do love the Shitty Beetles.

949
00:51:46,000 --> 00:51:46,760
Speaker 2: The whole lineup.

950
00:51:46,880 --> 00:51:49,399
Speaker 1: I think it's Chris Farley who says that, right isn't

951
00:51:49,400 --> 00:51:50,040
Speaker 1: that the characters?

952
00:51:50,080 --> 00:51:50,919
Speaker 2: No, it's meat loaf.

953
00:51:51,200 --> 00:51:52,400
Speaker 1: Oh, it's meat loaf, Okay.

954
00:51:52,520 --> 00:51:57,000
Speaker 2: Chris Farley is the security guard at the Alice Cooper concert.

955
00:51:57,040 --> 00:52:00,720
Speaker 2: I feel like they go outside for briefly cruse old Tons.

956
00:52:00,800 --> 00:52:04,360
Speaker 2: What a great band name? Yeah, they sing Ballroom Blitz.

957
00:52:04,640 --> 00:52:07,400
Speaker 2: I feel like that was like one of the songs

958
00:52:07,440 --> 00:52:08,160
Speaker 2: they played.

959
00:52:07,920 --> 00:52:09,680
Speaker 1: And it was a very silly, like, you know, it

960
00:52:09,800 --> 00:52:12,400
Speaker 1: was like a caper towards the end where they had

961
00:52:12,440 --> 00:52:14,919
Speaker 1: to like, you know, that whole thing about mister Big

962
00:52:15,120 --> 00:52:16,040
Speaker 1: or whatever his name is.

963
00:52:16,200 --> 00:52:19,600
Speaker 2: Yes, I don't even remember what he takes the limousine everywhere.

964
00:52:19,840 --> 00:52:22,520
Speaker 1: Yeah, but I love that. And then there's a movie

965
00:52:22,920 --> 00:52:25,800
Speaker 1: that came out a couple well probably like almost like

966
00:52:25,880 --> 00:52:29,640
Speaker 1: a decade before that. I really loved when I was

967
00:52:29,719 --> 00:52:33,719
Speaker 1: growing up, this movie called Eddie and the Cruisers from

968
00:52:33,840 --> 00:52:36,920
Speaker 1: nineteen eighty three, and they had there's a fake band

969
00:52:37,239 --> 00:52:41,000
Speaker 1: called Eddie and the Cruisers, right, and it's uh. The

970
00:52:41,239 --> 00:52:45,799
Speaker 1: lead singer Eddie is played by Michael pare who don't

971
00:52:45,840 --> 00:52:49,120
Speaker 1: even get me started on eighties Michael Parrey, I will die.

972
00:52:49,960 --> 00:52:52,760
Speaker 1: I will die. Because he was also in Streets of Fire,

973
00:52:52,840 --> 00:52:57,120
Speaker 1: which is another big, you know, kind of fake band

974
00:52:58,160 --> 00:53:04,400
Speaker 1: music movie, but they do basically then, yes, of course

975
00:53:04,480 --> 00:53:08,759
Speaker 1: the King Willem Dafoe, But basically, the actual song was

976
00:53:08,920 --> 00:53:12,839
Speaker 1: released by a band, and the band was called John

977
00:53:12,920 --> 00:53:15,000
Speaker 1: Cafferty and the Beaver Brown Band, and they were it

978
00:53:15,120 --> 00:53:17,040
Speaker 1: was on the radio, like it played on the radio

979
00:53:17,080 --> 00:53:18,960
Speaker 1: all the time. But in the movie it was being

980
00:53:19,080 --> 00:53:22,560
Speaker 1: sung by you know, obviously Michael Paree and all these

981
00:53:22,600 --> 00:53:25,160
Speaker 1: actors who were being you know, the band Eddie and

982
00:53:25,200 --> 00:53:28,000
Speaker 1: the Cruisers, and like, I love that, Like they're on

983
00:53:28,200 --> 00:53:30,800
Speaker 1: stage and he's got this like tight little T shirt

984
00:53:30,840 --> 00:53:32,600
Speaker 1: on and he's just like rocking out him Like, oh

985
00:53:32,680 --> 00:53:35,360
Speaker 1: my god, this is incredible.

986
00:53:36,280 --> 00:53:36,799
Speaker 2: That's great.

987
00:53:37,160 --> 00:53:37,359
Speaker 1: Yeah.

988
00:53:38,680 --> 00:53:41,040
Speaker 2: One last one that just came to mind was the

989
00:53:41,960 --> 00:53:45,759
Speaker 2: from the two thousand film Oh Brother Art thou Man

990
00:53:45,840 --> 00:53:46,840
Speaker 2: of Constant Sorrow.

991
00:53:47,000 --> 00:53:47,160
Speaker 1: Yes.

992
00:53:47,280 --> 00:53:49,080
Speaker 2: I feel like that's another one where it's like, oh,

993
00:53:49,200 --> 00:53:51,480
Speaker 2: this is a good song, you know. I feel like

994
00:53:51,600 --> 00:53:54,920
Speaker 2: it was. I think they played it was on the radio, yes,

995
00:53:55,360 --> 00:53:59,600
Speaker 2: And I think it is hard to because you want

996
00:53:59,640 --> 00:54:02,280
Speaker 2: to make if you're making a movie about a popular band,

997
00:54:02,960 --> 00:54:05,960
Speaker 2: the music has to be good, yeah, you know, and

998
00:54:06,120 --> 00:54:08,239
Speaker 2: that's that can be difficult, I feel like.

999
00:54:09,000 --> 00:54:11,279
Speaker 1: So yeah, I mean honestly, I could really go on.

1000
00:54:11,480 --> 00:54:12,600
Speaker 1: I have so many on my.

1001
00:54:14,080 --> 00:54:15,840
Speaker 2: It's, but it's just one of my it's like I

1002
00:54:16,160 --> 00:54:19,680
Speaker 2: love I think I'm a fan of musicals, but I

1003
00:54:19,840 --> 00:54:25,080
Speaker 2: just think that movies that are able to utilize music

1004
00:54:25,280 --> 00:54:29,279
Speaker 2: and performance. It's what makes movies so great is that

1005
00:54:29,440 --> 00:54:35,280
Speaker 2: you can use those tools all together in that medium,

1006
00:54:36,160 --> 00:54:39,320
Speaker 2: you know, in a way that is just so exciting.

1007
00:54:40,239 --> 00:54:43,359
Speaker 2: And yeah, it's like my favorite thing.

1008
00:54:43,640 --> 00:54:44,360
Speaker 1: So I love it.

1009
00:54:44,440 --> 00:54:46,319
Speaker 2: Anyways, brought it up, this is this is the thing

1010
00:54:46,520 --> 00:54:51,320
Speaker 2: for indulging. Indulging me on that. Uh Okay, moving on

1011
00:54:51,480 --> 00:54:54,200
Speaker 2: to our film advice segment. First of all, I just

1012
00:54:54,280 --> 00:54:56,600
Speaker 2: have to say a quick thing about this. We've gotten

1013
00:54:56,680 --> 00:55:00,200
Speaker 2: a lot of very important letters from people as asking

1014
00:55:00,280 --> 00:55:03,239
Speaker 2: me specifically about Love is Blind. So I'm just gonna

1015
00:55:03,239 --> 00:55:07,399
Speaker 2: address those very quickly. Liz, thank you for Liz, Thank

1016
00:55:07,440 --> 00:55:09,200
Speaker 2: you for trying to set up my brother with your

1017
00:55:09,239 --> 00:55:12,280
Speaker 2: friend on a date. I'm just too afraid to follow

1018
00:55:12,400 --> 00:55:15,040
Speaker 2: through it, so I'm just gonna have to say pass,

1019
00:55:15,120 --> 00:55:18,879
Speaker 2: but thank you. I really appreciate it. Holly. To answer

1020
00:55:18,920 --> 00:55:21,239
Speaker 2: your question, I do feel like the men of Love

1021
00:55:21,360 --> 00:55:26,680
Speaker 2: is Blind represented a certain type of uncultured, suburban Minnesota man.

1022
00:55:28,120 --> 00:55:31,600
Speaker 2: So it's not inaccurate, you know. But I I feel

1023
00:55:31,680 --> 00:55:34,640
Speaker 2: like Minneapolis and Twin Cities in general is a very

1024
00:55:34,680 --> 00:55:40,000
Speaker 2: cultured place with people who are very thoughtful and intellectual,

1025
00:55:40,120 --> 00:55:43,080
Speaker 2: and I don't think that the show totally represented that

1026
00:55:43,320 --> 00:55:47,000
Speaker 2: type of man that also exists here. So but and

1027
00:55:47,239 --> 00:55:50,360
Speaker 2: I also did not like when Joey longboarded down the

1028
00:55:50,480 --> 00:55:53,040
Speaker 2: aisle during his wedding, especially if he didn't want to

1029
00:55:53,200 --> 00:55:56,560
Speaker 2: pick Monica. Anyways, that's just my quick wow love is

1030
00:55:56,640 --> 00:56:00,279
Speaker 2: blind aside. I just wanted to address those people very quickly.

1031
00:56:01,360 --> 00:56:06,160
Speaker 2: I'm glad we have a voicemail from Gene your goos.

1032
00:56:06,400 --> 00:56:09,120
Speaker 3: Hi Millian Casey. I just want to say thanks for

1033
00:56:09,640 --> 00:56:13,360
Speaker 3: the show. I really enjoy each episode. My question is

1034
00:56:13,400 --> 00:56:17,480
Speaker 3: to do with scores and soundtracks. For me, the score

1035
00:56:17,560 --> 00:56:19,200
Speaker 3: and the soundtrack and make or break the movie or

1036
00:56:19,239 --> 00:56:22,840
Speaker 3: the experience of the movie. I think of like Miles

1037
00:56:22,960 --> 00:56:26,520
Speaker 3: Davis doing the score of the soundtrack for Elevator to

1038
00:56:26,520 --> 00:56:30,879
Speaker 3: the Gallows. I think of like Cat Power covering Nina

1039
00:56:30,880 --> 00:56:34,439
Speaker 3: Simone for the Disappearance Fellow or Rigby soundtrack. I think

1040
00:56:34,560 --> 00:56:37,840
Speaker 3: of like even the Gross point blank soundtrack, which is

1041
00:56:37,880 --> 00:56:40,359
Speaker 3: probably one of the one of the occasions where people

1042
00:56:40,400 --> 00:56:43,520
Speaker 3: actually maybe even learned about the soundtrack and then watch

1043
00:56:43,600 --> 00:56:46,000
Speaker 3: the movie. Just kind of wanted to get your take

1044
00:56:46,080 --> 00:56:49,600
Speaker 3: on the importance of the scorers soundtrack and if you've

1045
00:56:50,280 --> 00:56:51,920
Speaker 3: either of you or both of you have had an

1046
00:56:51,960 --> 00:56:55,200
Speaker 3: experience where the soundtrack. I know, Casey you mentioned that

1047
00:56:56,640 --> 00:56:59,880
Speaker 3: you know the soundtrack to Garden State was impactful for you.

1048
00:57:00,000 --> 00:57:01,880
Speaker 3: But I'm just looking to see if you know what

1049
00:57:02,000 --> 00:57:04,560
Speaker 3: you guys think about the score of the soundtrack of

1050
00:57:04,600 --> 00:57:04,959
Speaker 3: a movie.

1051
00:57:05,280 --> 00:57:08,880
Speaker 2: Thanks, thank you, Jane, what a great question on our

1052
00:57:09,000 --> 00:57:13,120
Speaker 2: Kind of Music episode. I think, yeah, Millie, did anything

1053
00:57:13,160 --> 00:57:14,720
Speaker 2: come to mind, Yes.

1054
00:57:14,640 --> 00:57:19,080
Speaker 1: Of course, So listen. When I was growing up, I mean,

1055
00:57:19,120 --> 00:57:21,560
Speaker 1: obviously it was super new music. I worked in college radio,

1056
00:57:21,640 --> 00:57:24,360
Speaker 1: I was at DJ for many years, and like so,

1057
00:57:24,760 --> 00:57:28,440
Speaker 1: soundtracks were just such a huge part of my life period,

1058
00:57:28,640 --> 00:57:31,200
Speaker 1: and I have several, By the way, I think my

1059
00:57:31,400 --> 00:57:33,520
Speaker 1: favorite of all time. If I had to name my

1060
00:57:33,680 --> 00:57:37,960
Speaker 1: favorite movie soundtrack of all time, it's probably The Harder

1061
00:57:38,040 --> 00:57:41,280
Speaker 1: They Come, which is a movie from nineteen seventy two.

1062
00:57:42,440 --> 00:57:45,600
Speaker 2: Huge soundtrack in our house. Huge used to listen to

1063
00:57:45,680 --> 00:57:47,800
Speaker 2: that all the time. I've never seen the movie.

1064
00:57:48,040 --> 00:57:49,040
Speaker 1: You've never seen the movie.

1065
00:57:49,080 --> 00:57:51,560
Speaker 2: It's actu but I've listened to the soundtrack a million times.

1066
00:57:51,640 --> 00:57:54,040
Speaker 1: Yeah, it's great, and the movie is actually great. I

1067
00:57:54,120 --> 00:57:58,720
Speaker 1: mean it's it's kind of like really independent and is

1068
00:57:59,040 --> 00:58:01,880
Speaker 1: kind of exciting get parts, and it's cool, like I mean,

1069
00:58:01,960 --> 00:58:04,280
Speaker 1: Jimmy Cliff in the Heart of They Come is so

1070
00:58:04,480 --> 00:58:06,640
Speaker 1: fucking cool, and we're making like want to go to

1071
00:58:06,760 --> 00:58:10,040
Speaker 1: Jamaica and just like run around and you know, listen

1072
00:58:10,080 --> 00:58:12,520
Speaker 1: to music and all this stuff. But it's that soundtrack

1073
00:58:12,960 --> 00:58:16,720
Speaker 1: was like I've discovered in high school, absolutely obsessed with

1074
00:58:16,800 --> 00:58:19,160
Speaker 1: it to this day. I mean, I'm sorry, but the

1075
00:58:19,280 --> 00:58:22,440
Speaker 1: Rivers of Babylon, that song by the Melodians on that soundtrack,

1076
00:58:22,640 --> 00:58:25,800
Speaker 1: The Melodians are one of the greatest reggae groups to

1077
00:58:25,960 --> 00:58:30,080
Speaker 1: ever do it. I listened to them constantly and it's

1078
00:58:30,200 --> 00:58:34,280
Speaker 1: just like the best most chillist like rock steady, early

1079
00:58:34,360 --> 00:58:37,080
Speaker 1: reggae whatever music. I mean, it's just so it's so good.

1080
00:58:37,120 --> 00:58:39,680
Speaker 1: But that is my favorite soundtrack to this day. But

1081
00:58:39,920 --> 00:58:42,640
Speaker 1: like if I had a name more like well, first

1082
00:58:42,640 --> 00:58:46,760
Speaker 1: of all, I think there are two, definitely two directors

1083
00:58:47,680 --> 00:58:53,439
Speaker 1: whose soundtracks, over the course of their career have I've

1084
00:58:53,520 --> 00:58:55,760
Speaker 1: listened to and have meant a lot to me. One

1085
00:58:55,840 --> 00:58:58,840
Speaker 1: of them is John Hughes. The other is Quentin Tarantino.

1086
00:58:58,920 --> 00:59:02,160
Speaker 1: I think I'd be lying if and say Tarantino both

1087
00:59:02,440 --> 00:59:06,080
Speaker 1: both those directors have put the best music in their films. Like,

1088
00:59:06,200 --> 00:59:08,760
Speaker 1: let's just be honest. But if I think about other

1089
00:59:09,040 --> 00:59:13,560
Speaker 1: movie soundtracks that I love, love, love, I mean, obviously

1090
00:59:13,720 --> 00:59:15,680
Speaker 1: you've got stuff like Purple Rain, which I don't have

1091
00:59:15,720 --> 00:59:17,200
Speaker 1: to talk about period.

1092
00:59:17,600 --> 00:59:19,919
Speaker 2: Yeah, I mean that seems like it's almost its own.

1093
00:59:20,640 --> 00:59:23,320
Speaker 1: It's its own thing, it really own things. But I

1094
00:59:23,840 --> 00:59:26,360
Speaker 1: love I mean, if you want to go in chronological

1095
00:59:26,480 --> 00:59:28,960
Speaker 1: order from like my youth to my you know, as

1096
00:59:29,040 --> 00:59:31,360
Speaker 1: I've grown through the years. I mean I loved the

1097
00:59:31,440 --> 00:59:33,960
Speaker 1: Dirty Dancing soundtrack when it came out. I was obsessed

1098
00:59:34,000 --> 00:59:38,800
Speaker 1: with it when it came out. Definitely loved Trainspotting in

1099
00:59:38,960 --> 00:59:43,080
Speaker 1: high school, Dazed and Confused in high school. I was

1100
00:59:43,120 --> 00:59:47,640
Speaker 1: really into the single soundtrack. Then I got into Rushmore

1101
00:59:47,880 --> 00:59:50,760
Speaker 1: Russ Anderson's Rushmore when it came out. And then come on,

1102
00:59:51,640 --> 00:59:53,600
Speaker 1: there's a soundtrack. I might have talked about this on

1103
00:59:53,720 --> 00:59:55,680
Speaker 1: I saw which did. But there's a soundtrack for a

1104
00:59:55,760 --> 00:59:58,840
Speaker 1: movie that came out and I think it was probably

1105
00:59:58,840 --> 01:00:01,800
Speaker 1: the late nineties. It was the movie is called Angus.

1106
01:00:02,960 --> 01:00:06,160
Speaker 2: I love Angus. Okay, oh my god.

1107
01:00:06,400 --> 01:00:08,880
Speaker 1: I never saw the movie until like maybe a year

1108
01:00:09,000 --> 01:00:13,640
Speaker 1: or two ago, and on my letterbox review, I wrote,

1109
01:00:13,720 --> 01:00:15,680
Speaker 1: I think it took me like twenty seven years or

1110
01:00:15,720 --> 01:00:18,160
Speaker 1: something to see this movie finally, and like people were

1111
01:00:18,240 --> 01:00:20,880
Speaker 1: messaging me be like, I also just recently saw Angus,

1112
01:00:20,920 --> 01:00:23,600
Speaker 1: but i'd been listening to the soundtrack for like two decades,

1113
01:00:23,880 --> 01:00:24,280
Speaker 1: and I'm like.

1114
01:00:24,280 --> 01:00:26,400
Speaker 2: That was on TV a lot. I think that's how

1115
01:00:26,480 --> 01:00:29,120
Speaker 2: I watched it. It's from it's from nineteen ninety five,

1116
01:00:29,200 --> 01:00:31,600
Speaker 2: and it's kind of a teen movie. It's sort of

1117
01:00:31,680 --> 01:00:34,320
Speaker 2: like Welcome to the Dollhouse a little like a lighter

1118
01:00:34,440 --> 01:00:36,920
Speaker 2: version of that, about a bullied kid, and it's got

1119
01:00:37,040 --> 01:00:41,360
Speaker 2: James Vanderbeek in it and the Sherminader from American Pive.

1120
01:00:41,400 --> 01:00:41,880
Speaker 2: I ever saw that?

1121
01:00:42,040 --> 01:00:43,880
Speaker 1: Yeah, yeah, yeah, no, I never saw like and I

1122
01:00:43,960 --> 01:00:45,439
Speaker 1: saw it and again I saw it in the past,

1123
01:00:45,520 --> 01:00:46,920
Speaker 1: like year or two ago, and I'm like, okay, well

1124
01:00:46,920 --> 01:00:48,560
Speaker 1: that's a yeah, it's a good teen movie, I guess.

1125
01:00:48,800 --> 01:00:50,240
Speaker 1: But that soundtrack, dude.

1126
01:00:50,440 --> 01:00:57,000
Speaker 2: Oh my god, like iconic, iconic, amazing. It's funny because

1127
01:00:57,040 --> 01:01:00,560
Speaker 2: the soundtrack back in the olden times, you'd see a

1128
01:01:00,640 --> 01:01:02,080
Speaker 2: movie and you're like, there's a lot of good music

1129
01:01:02,120 --> 01:01:04,560
Speaker 2: even if you didn't like like the movie, and you're like, oh,

1130
01:01:04,640 --> 01:01:07,360
Speaker 2: this is a good collection of music. I'm gonna buy

1131
01:01:07,400 --> 01:01:10,880
Speaker 2: the soundtrack, Like I remember. It's funny because I remember

1132
01:01:10,960 --> 01:01:13,720
Speaker 2: watching this is a movie I just brought up on

1133
01:01:14,600 --> 01:01:19,000
Speaker 2: the show. But Orange County, Mike White's Orange County that

1134
01:01:19,200 --> 01:01:25,480
Speaker 2: had like a good, like SoCal like soundtrack to it,

1135
01:01:25,600 --> 01:01:29,240
Speaker 2: and like it had Phantom Planets California before it was

1136
01:01:29,320 --> 01:01:32,919
Speaker 2: the theme song of Orange County the ODOC the show.

1137
01:01:33,440 --> 01:01:36,400
Speaker 2: So I mean, yeah, that was a big one. Rushmore

1138
01:01:36,520 --> 01:01:39,680
Speaker 2: was a huge one for me too, and still is.

1139
01:01:39,720 --> 01:01:43,440
Speaker 2: I'll still pop that yeah bad boy on. Yeah, I'm

1140
01:01:43,440 --> 01:01:45,000
Speaker 2: trying to think of you know, it's funny like the

1141
01:01:45,280 --> 01:01:48,760
Speaker 2: soundtrack and like the score, that's like a different thing. Yes,

1142
01:01:50,480 --> 01:01:53,960
Speaker 2: score is a very different thing. But speaking of the

1143
01:01:54,040 --> 01:01:56,840
Speaker 2: Brutalist that won Best Score, and I do feel like

1144
01:01:56,920 --> 01:02:03,439
Speaker 2: that score really elevated that movie a lot, and I've

1145
01:02:03,440 --> 01:02:07,600
Speaker 2: been listening to that score since then, yeah, to get

1146
01:02:07,640 --> 01:02:09,240
Speaker 2: me motivated, you know.

1147
01:02:09,400 --> 01:02:11,600
Speaker 1: Yeah, scores are like, yeah, I definitely think a score

1148
01:02:11,640 --> 01:02:14,120
Speaker 1: a soundtrack are two separate things. Like when I was

1149
01:02:14,160 --> 01:02:17,880
Speaker 1: in Japan, I went to see the Ruishi Sakamoto exhibit

1150
01:02:18,080 --> 01:02:21,440
Speaker 1: at the Museum of Contemporary Art in Tokyo, and it

1151
01:02:21,560 --> 01:02:26,040
Speaker 1: was it's amazing, Like his scores are incredible, and there

1152
01:02:26,080 --> 01:02:29,640
Speaker 1: are some amazing there are like certain you know musicians

1153
01:02:29,680 --> 01:02:32,240
Speaker 1: that only do scoring, and you know, of course we're

1154
01:02:32,440 --> 01:02:35,480
Speaker 1: thinking like Johnny Greenwood and you know, Mark Mother's Ball

1155
01:02:35,560 --> 01:02:37,640
Speaker 1: and that kind of stuff. But you know, like that

1156
01:02:37,800 --> 01:02:39,960
Speaker 1: to me, I feel like is separate from like a

1157
01:02:40,080 --> 01:02:43,200
Speaker 1: soundtrack that has like hit like some hits, some you know,

1158
01:02:43,720 --> 01:02:44,720
Speaker 1: bands and that kind of thing.

1159
01:02:44,880 --> 01:02:48,000
Speaker 2: So I do think it's a different time. Like some

1160
01:02:48,160 --> 01:02:52,480
Speaker 2: directors really utilize pop music, and I'm using pop music

1161
01:02:52,560 --> 01:02:57,000
Speaker 2: in a larger sense, like you know, Quentin Tarantino, Wes Anderson,

1162
01:02:57,040 --> 01:03:03,160
Speaker 2: they're using modern music as kind of like the framework

1163
01:03:03,360 --> 01:03:08,240
Speaker 2: of their movies, you know, And so you're gonna wanna

1164
01:03:08,760 --> 01:03:12,320
Speaker 2: get that soundtrack because they're so fun, like fundamental to

1165
01:03:12,440 --> 01:03:16,160
Speaker 2: the movie and they're they're they're so thoughtful in the

1166
01:03:16,920 --> 01:03:19,880
Speaker 2: songs that are going into it. You know, not every

1167
01:03:19,960 --> 01:03:22,160
Speaker 2: director is that way. A lot of directors aren't.

1168
01:03:22,600 --> 01:03:27,000
Speaker 1: Ye. Yeah, I always put Boogey Knights on my list

1169
01:03:27,120 --> 01:03:31,640
Speaker 1: because I like Paul Thomas Anderson has great music in

1170
01:03:31,680 --> 01:03:35,640
Speaker 1: his films too, Like actually rewatched Inherent Vice, like not

1171
01:03:35,720 --> 01:03:38,760
Speaker 1: too long ago, and when he uses that can song

1172
01:03:38,880 --> 01:03:41,120
Speaker 1: Vitamin C at the beginning of Inherent Vice, was like, Yo,

1173
01:03:41,280 --> 01:03:44,080
Speaker 1: this is fucking brilliant. I'm like, and I thought he

1174
01:03:44,080 --> 01:03:47,480
Speaker 1: couldn't top himself when he did Sister Christian for Boogie

1175
01:03:47,520 --> 01:03:48,200
Speaker 1: Knights and I was.

1176
01:03:48,200 --> 01:03:50,520
Speaker 2: Like, oh man, this can song is hitten.

1177
01:03:50,720 --> 01:03:51,440
Speaker 1: This is great.

1178
01:03:52,000 --> 01:03:54,400
Speaker 2: Another director I feel like does a great job with

1179
01:03:54,600 --> 01:03:58,000
Speaker 2: her soundtracks is Sophia Coppola. I've listened to the Marie

1180
01:03:58,000 --> 01:04:05,000
Speaker 2: Antoinette soundtrack ton and the Lost and Translation soundtrack a ton.

1181
01:04:05,120 --> 01:04:09,360
Speaker 2: She uses music really weus.

1182
01:04:09,920 --> 01:04:11,280
Speaker 1: She was and Mary Chain is one of my favorite

1183
01:04:11,280 --> 01:04:15,600
Speaker 1: bands of all time. Okay, And that song that she

1184
01:04:15,760 --> 01:04:18,680
Speaker 1: uses in Loss and Translation, just like Honey, is literally

1185
01:04:18,720 --> 01:04:20,760
Speaker 1: one of the most romantic songs I've ever heard in

1186
01:04:20,880 --> 01:04:23,840
Speaker 1: my life. And I'm like when she used it in

1187
01:04:24,000 --> 01:04:27,240
Speaker 1: Hers in her movie, there was a moment where I'm like,

1188
01:04:28,480 --> 01:04:31,680
Speaker 1: this is dangerous. This is a dangerous game you play, Sophia,

1189
01:04:32,160 --> 01:04:36,520
Speaker 1: because if the wrong people don't get how important this

1190
01:04:36,640 --> 01:04:39,919
Speaker 1: song is in this moment, I'm gonna freak out dead.

1191
01:04:40,320 --> 01:04:43,440
Speaker 1: I'm going to freak the fuck out. That's what the

1192
01:04:43,520 --> 01:04:47,280
Speaker 1: power of music and movies can totally right, totally.

1193
01:04:49,640 --> 01:04:52,360
Speaker 2: Wonderful, Jean, I have nothing else to add.

1194
01:04:53,120 --> 01:04:55,000
Speaker 1: I love it. Thanks for sending that voicemail.

1195
01:04:55,560 --> 01:04:58,040
Speaker 2: Thank you for sending that in just so appropriate in

1196
01:04:58,120 --> 01:05:01,360
Speaker 2: our music episode to be talking about. Mm hmmm, I

1197
01:05:01,400 --> 01:05:04,720
Speaker 2: feel like we've really covered music from damn. We hit

1198
01:05:04,800 --> 01:05:07,160
Speaker 2: it soup to nuts. We hit it hard, we hit

1199
01:05:07,240 --> 01:05:10,720
Speaker 2: it hard. Oh my gosh. Well, if anybody wants to

1200
01:05:11,120 --> 01:05:15,480
Speaker 2: ask seek our advice, our film advice, please write into

1201
01:05:15,640 --> 01:05:18,280
Speaker 2: Dear Movies that exactly wrightmedia dot com. You can write

1202
01:05:18,560 --> 01:05:22,680
Speaker 2: an email, keep that short too, keep all correspondence short,

1203
01:05:24,320 --> 01:05:26,160
Speaker 2: and you're more likely to get it read on the show.

1204
01:05:27,240 --> 01:05:29,240
Speaker 2: But you can also send it in a voicemail, keep

1205
01:05:29,320 --> 01:05:31,720
Speaker 2: that under sixty seconds, and record in a quiet place

1206
01:05:32,640 --> 01:05:35,280
Speaker 2: so that we can play that on the show too,

1207
01:05:36,440 --> 01:05:38,440
Speaker 2: And you can send those into Deer Movies at exactly

1208
01:05:38,480 --> 01:05:39,280
Speaker 2: wrightmedia dot com.

1209
01:05:39,560 --> 01:05:42,360
Speaker 1: That's right. And then we're on social media. We're at

1210
01:05:42,480 --> 01:05:45,000
Speaker 1: Deer Movies. I love you on Instagram and Facebook. Guess what.

1211
01:05:45,280 --> 01:05:48,760
Speaker 1: I reactivated my blue Sky account, so there might be shit.

1212
01:05:48,880 --> 01:05:50,360
Speaker 2: I gotta get on there and I got to start

1213
01:05:50,400 --> 01:05:50,840
Speaker 2: blue Sky.

1214
01:05:51,280 --> 01:05:53,560
Speaker 1: Yeah, I think we might have a Blue Sky count soon,

1215
01:05:53,760 --> 01:05:56,480
Speaker 1: so okay, you know, more details to follow on that,

1216
01:05:56,680 --> 01:05:58,240
Speaker 1: but definitely unlike, I got to.

1217
01:05:58,200 --> 01:05:59,760
Speaker 2: Get on there, make sure Millie is not talking shit.

1218
01:06:00,800 --> 01:06:05,080
Speaker 1: I started an anti Casey O'Brien account, so.

1219
01:06:05,240 --> 01:06:07,320
Speaker 2: See, I got to monitor this stuff. I got to

1220
01:06:07,320 --> 01:06:08,080
Speaker 2: be on top of these things.

1221
01:06:08,720 --> 01:06:12,000
Speaker 1: I make memes of you constantly. And we also wanted

1222
01:06:12,120 --> 01:06:16,040
Speaker 1: to remind you, if you haven't figured this out already,

1223
01:06:16,120 --> 01:06:20,120
Speaker 1: we are going to do an Instagram live tomorrow. That's right, tomorrow,

1224
01:06:20,600 --> 01:06:25,120
Speaker 1: April April night ninth, that's right, eight pm Eastern time,

1225
01:06:26,000 --> 01:06:29,560
Speaker 1: so please join us. You'll see us pop up as

1226
01:06:29,560 --> 01:06:32,320
Speaker 1: a little bubble at the top of your Instagram homepage,

1227
01:06:32,680 --> 01:06:34,919
Speaker 1: be like they're going live, and then you can click

1228
01:06:35,000 --> 01:06:36,960
Speaker 1: it and you can look at us, and you know,

1229
01:06:37,240 --> 01:06:39,760
Speaker 1: maybe we'll wear a costume. Maybe we'll have a beer.

1230
01:06:39,920 --> 01:06:41,160
Speaker 1: I don't know what's gonna be fun.

1231
01:06:41,240 --> 01:06:43,680
Speaker 2: Maybe And you know, this would make your life so

1232
01:06:43,800 --> 01:06:46,600
Speaker 2: much easier if you just followed us on social media

1233
01:06:46,840 --> 01:06:49,640
Speaker 2: at Dear Movies, I Love You on Instagram and then this,

1234
01:06:49,800 --> 01:06:51,320
Speaker 2: you know, this would be just so much easier to

1235
01:06:51,360 --> 01:06:53,680
Speaker 2: know about the Instagram Live. That's right, I recommend doing that,

1236
01:06:54,080 --> 01:06:54,520
Speaker 2: that's right.

1237
01:06:54,840 --> 01:06:57,959
Speaker 1: But also Letterbox of course, our handles are at Casey,

1238
01:06:58,040 --> 01:07:00,200
Speaker 1: Leo O'Brien and at m to chair go.

1239
01:07:01,440 --> 01:07:04,080
Speaker 2: That's right, and please listen to Dear Movies, I Love

1240
01:07:04,120 --> 01:07:06,840
Speaker 2: You on the iHeartRadio app, Apple podcasts or wherever you

1241
01:07:06,960 --> 01:07:12,360
Speaker 2: get your podcasts, and also rate and review our show positively,

1242
01:07:12,520 --> 01:07:16,800
Speaker 2: please please, if you would so mind, because those reviews

1243
01:07:17,240 --> 01:07:20,440
Speaker 2: help to push our show out in front of other

1244
01:07:20,520 --> 01:07:24,600
Speaker 2: people's eyeballs and when people are like, oh, it's this

1245
01:07:24,600 --> 01:07:26,360
Speaker 2: show good, I should check it out. Oh people really

1246
01:07:26,480 --> 01:07:28,200
Speaker 2: like this show. Yeah, I should listen to it. We

1247
01:07:28,240 --> 01:07:32,080
Speaker 2: would appreciate, so yeah, rate and review if you wouldn't mind, please,

1248
01:07:32,320 --> 01:07:32,760
Speaker 2: that's right.

1249
01:07:33,080 --> 01:07:35,040
Speaker 1: Just think of us as like a struggling indie band

1250
01:07:35,160 --> 01:07:37,000
Speaker 1: that needs your support much.

1251
01:07:37,240 --> 01:07:39,120
Speaker 2: We're much like a struggling indie band, or like.

1252
01:07:39,160 --> 01:07:44,520
Speaker 1: The commitments at the very beginning, mm hmmm mm hmm exactly. Okay,

1253
01:07:44,600 --> 01:07:48,120
Speaker 1: So Casey, I'm thinking we got to tell the folks

1254
01:07:48,200 --> 01:07:50,560
Speaker 1: what we're doing next episode. What do you think?

1255
01:07:50,640 --> 01:07:52,280
Speaker 2: I think that's a great idea. We're going to start

1256
01:07:52,360 --> 01:07:54,800
Speaker 2: doing that. And it's odd that this is what we're

1257
01:07:54,800 --> 01:07:58,480
Speaker 2: talking about. This is not planned, but we were just

1258
01:07:58,560 --> 01:08:01,640
Speaker 2: talking about her, the movie we're talking about next week

1259
01:08:01,880 --> 01:08:05,240
Speaker 2: is the Virgin Suicides from two thousand and we're gonna

1260
01:08:05,280 --> 01:08:07,680
Speaker 2: talk about all those damn Copola kids.

1261
01:08:07,920 --> 01:08:10,640
Speaker 1: Yeah. And in fact, I feel like that's that's gonna

1262
01:08:10,640 --> 01:08:13,160
Speaker 1: be another like it's an anniversary or something of the

1263
01:08:13,240 --> 01:08:14,439
Speaker 1: Virgin Suicides. Yeah.

1264
01:08:14,680 --> 01:08:17,640
Speaker 2: Yeah, came out twenty five years ago, which makes me

1265
01:08:17,720 --> 01:08:19,479
Speaker 2: sick to my stomach. Oh god, that that came out

1266
01:08:19,520 --> 01:08:20,240
Speaker 2: twenty five years ago.

1267
01:08:20,240 --> 01:08:21,000
Speaker 1: I feel like cutting.

1268
01:08:21,040 --> 01:08:22,800
Speaker 2: I want to gots out.

1269
01:08:23,520 --> 01:08:23,760
Speaker 3: I know.

1270
01:08:24,160 --> 01:08:27,480
Speaker 2: We also have a very great guest. Oh, Eric Edelstein

1271
01:08:27,600 --> 01:08:33,479
Speaker 2: is on that episode. He is the greatest, the greatest man.

1272
01:08:34,800 --> 01:08:37,760
Speaker 2: I uh, it's a great chat with him. Yeah, and

1273
01:08:38,160 --> 01:08:40,479
Speaker 2: uh yeah, So watch the Virgin Suicides, watch all the

1274
01:08:40,840 --> 01:08:43,800
Speaker 2: Coppola movies. I get anything that has copel on it,

1275
01:08:43,880 --> 01:08:45,320
Speaker 2: drink some Copola wine.

1276
01:08:45,479 --> 01:08:45,599
Speaker 1: Ye.

1277
01:08:46,720 --> 01:08:47,840
Speaker 2: Yeah, it's gonna be great.

1278
01:08:48,000 --> 01:08:51,960
Speaker 1: Well, on that note, Casey can't wait for next week.

1279
01:08:52,080 --> 01:08:56,719
Speaker 1: Thank you for the fun chat this week. Thank you, Millie,

1280
01:08:57,600 --> 01:09:01,679
Speaker 1: and we will see all of you next time. Bye, goodbye.

1281
01:09:03,840 --> 01:09:06,960
Speaker 1: This has been an exactly right production hosted by me

1282
01:09:07,439 --> 01:09:11,080
Speaker 1: Milli to Cherico and produced by my co host Casey O'Brien.

1283
01:09:11,280 --> 01:09:15,040
Speaker 2: This episode was mixed by Tom Bryfogel, our associate producer

1284
01:09:15,120 --> 01:09:18,439
Speaker 2: is Christina Chamberlain, our guest booker is Patrick Cottner, and

1285
01:09:18,520 --> 01:09:20,400
Speaker 2: our artwork is by Vanessa Lilac.

1286
01:09:20,560 --> 01:09:23,439
Speaker 1: Our incredible theme music is by the best band in

1287
01:09:23,520 --> 01:09:25,360
Speaker 1: the entire world, The Softies.

1288
01:09:25,640 --> 01:09:29,560
Speaker 2: Thank you to our executive producers Karen Kilgareff, Georgia Hardstark,

1289
01:09:29,720 --> 01:09:32,560
Speaker 2: Daniel Kramer and Millie. To Jericho, we love you.

1290
01:09:32,680 --> 01:09:35,440
Speaker 1: Goodbye Beker