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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did. My name is Millie to.

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Speaker 2: Jericho, I'm Danielle Henderson, and.

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Speaker 1: Happy Valentine's Day, Danielle.

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Speaker 3: Happy Valentine's Day. I actually I know that we our

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Speaker 3: theme is Valentine's Day as we would do it. But

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Speaker 3: I also have a little game for us to play

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Speaker 3: that I came up with.

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Speaker 1: Oh my god, I'm very intrigued.

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Speaker 2: In the spirit of the season.

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Speaker 3: So the rules of this game is that you have

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Speaker 3: to guess what my answer would be.

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Speaker 2: Okay, okay.

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Speaker 3: So I'm gonna give you some options, and then you

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Speaker 3: have to guess what my answer would be.

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Speaker 1: Okay, okay, all.

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Speaker 3: Right, And the game is serial killer or self Care?

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Speaker 1: Serial Killer or self Care? Yeah, okay, And I'm I'm

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Speaker 1: and I'm having to inhabit your being and your thought.

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Speaker 3: Processes exactly, and then we can talk about our answers.

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Speaker 1: Okay, let's go.

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Speaker 2: First ever game of serial killer or self Care?

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Speaker 3: Okay, first entry, rubbing moisturizer on your legs.

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Speaker 2: Serial killer or self care?

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Speaker 1: This is you talking, right?

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Speaker 2: Yeah?

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Speaker 1: No, I feel like I would say serial killer.

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Speaker 3: Absolutely, serial killer okay for you, that's true for me? No,

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Speaker 3: but I started moisturizing, and every time I do, I'm like,

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Speaker 3: this feels like a real serial killer move, like let's

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Speaker 3: get let's get this lady ready for me to take

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Speaker 3: the skin off.

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Speaker 1: But legs, it seems a little bit more common than like,

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Speaker 1: I mean, as we know, a moisturized face, an overly

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Speaker 1: moisturized face is definitely some serial killer shit, right, Yes,

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Speaker 1: but you just feel that way generally about like any moisturizing.

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Speaker 3: Yeah, anytime I moisturize, I'm just like, this feels real

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Speaker 3: serial killer ish to me. You're getting the skin supple,

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Speaker 3: just getting it pressed, transfer, getting it prepped for ed geen.

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Speaker 1: So okay, so.

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Speaker 3: We got one down and I've gotten it right, one

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Speaker 3: for walking out. Yes, Now the next entry is a

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Speaker 3: real thing. Serial killer or self care menstrual blood face

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Speaker 3: masks using your own period as a face mask.

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Speaker 1: Now, weirdly enough, because I'm you thinking about it, I

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Speaker 1: feel like that's self care.

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Speaker 3: Nope, total serial killer Okay, okay, serial killer move you're using.

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Speaker 3: I mean, look, you know I'm a hippie. You know

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Speaker 3: I'm using a Diva cup. You know, like, I absolutely

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Speaker 3: am not afraid of period blood.

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Speaker 2: I'm not rubbing it on my face?

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Speaker 1: Okay, But see that's that's what threw me off, is

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Speaker 1: because you're so you know, footloose and fancy free with

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Speaker 1: the diva cup shit that I was like, oh, well,

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Speaker 1: she may not even mind to have that anywhere, like

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Speaker 1: just out in the world. So, as it turns out,

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Speaker 1: it's you actually think it's for serial killers only.

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Speaker 3: I think it's I think that's like an entry level

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Speaker 3: serial killer move. Okay, Like you start with period blood

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Speaker 3: and then you're like, why don't I just get some

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Speaker 3: more blood? What other kind of blood can I get

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Speaker 3: out on his face? And the next thing you know,

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Speaker 3: you're killing your roommate.

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Speaker 1: Oh my god, I saw what's the movie that? I

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Speaker 1: literally just saw this movie? Is it The Worst Person

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Speaker 1: in the World?

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Speaker 2: Oh yeah, I haven't seen it yet.

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Speaker 1: There's a I think that there's a moment where period

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Speaker 1: blood gets smeared on a face.

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Speaker 3: So maybe that's where it started, because it then became

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Speaker 3: a TikTok thing. It did.

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Speaker 1: Why whoa wa, whoa whoa whoa whoa whoa Back the

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Speaker 1: fuck up?

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Speaker 2: Yes, what are you talking about?

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Speaker 3: It is a TikTok thing. And the reason I even

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Speaker 3: knew about it is I read an article I think

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Speaker 3: it was on The Cut or something that was like

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Speaker 3: is this hygienic? Like, well, we have a dermatologist way

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Speaker 3: in on whether or not you should be rubbing your

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Speaker 3: period blood on your face.

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Speaker 2: And I was like, wait, what this is a thing.

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Speaker 3: It's a big enough thing to write an article about

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Speaker 3: for the Cut.

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Speaker 1: Wait a second. Okay, So in the movie it's it's

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Speaker 1: like a warrior like thing where she just I think

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Speaker 1: it just like it's applied like under the eyes, like

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Speaker 1: an outfielder in baseball or something like that. Like is

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Speaker 1: that what they're doing. Is it just like a couple

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Speaker 1: of little streaks or is it like an entire mask?

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Speaker 3: This is a full fucking clown makeup mask base of

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Speaker 3: period blood.

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Speaker 1: Oh my god? What this is why I'm not on TikTok. Okay,

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Speaker 1: I gotta say, this is exactly why I don't get

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Speaker 1: on TikTok because I'm like, I don't even know what

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Speaker 1: the hell is going on. It's like a wild West

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Speaker 1: in that app It.

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Speaker 2: Truly is bonkers over there. It's bonkers.

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Speaker 3: But yeah, that's a total serial killer move. Okay, so

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Speaker 3: we're one for two.

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Speaker 1: Yes, I'm just shocked. That it's a TikTok thing anyway,

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Speaker 1: Oh my god, all.

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Speaker 3: Right, oh yeah, when we when we stop recording, you're

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Speaker 3: gonna read about it and it's gonna be hell yeah,

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Speaker 3: I am all right.

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Speaker 2: Entry three? Serial killer or self care?

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Speaker 1: Okay?

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Speaker 3: Green vitamin powder like the kind of shit they try

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Speaker 3: to sell sell me on Instagram all the time. Green

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Speaker 3: vitamin powder that you can like drink with water or

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Speaker 3: add to a shake.

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Speaker 1: Are all of these going to be real killer? I

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Speaker 1: feel like they will all be serial killer thing?

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Speaker 2: No, they will not all be serial killers.

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Speaker 1: Okay, okay, okay, then maybe I will I will go

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Speaker 1: the other way and say self care, no serial killer,

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Speaker 1: Damn god, damn A a sense to a sense to

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Speaker 1: hint of judgment in your voice as you were saying it.

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Speaker 1: And then I still decided on going the other way,

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Speaker 1: and it fucking failed. My strategy failed.

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Speaker 3: You got you, You played yourself. You played yourself. You

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Speaker 3: gotta go with the gut. So you're sting heard now.

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Speaker 1: Saying that drinking green vitamin powders is for serial killers.

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Speaker 3: Yes, for several reasons, prime primarily that it feels like

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Speaker 3: the kind of thing that somebody would prep if they're

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Speaker 3: just trying to keep you alive long enough, Like you

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Speaker 3: would lower a green vitamin powered power powder drink like

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Speaker 3: down a well and be like this is your meal

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Speaker 3: for the day. And that's what it feels like every

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Speaker 3: time Instagram is trying to sell me Athletic Greens is like,

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Speaker 3: you better fucking stay keep that scurvy at bay because

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Speaker 3: we need you for for killing later.

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Speaker 1: You think that Buffalo Bill is lowering down like Macha

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Speaker 1: powder to like that lady and her dog down there.

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Speaker 3: If Athletic Greens existed, or if any of these green

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Speaker 3: powder drinks existed, and Buffalo Bill was doing his thing

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Speaker 3: as a fictional character, but even real life serial killers,

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Speaker 3: I feel like his MO was so specific, like he

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Speaker 3: was looking for people based on size, So he's like,

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Speaker 3: I'm gonna put you in this well, but I don't

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Speaker 3: need you or want you to lose any weight because

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Speaker 3: I need that skin to be a certain size.

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Speaker 1: See. I like, I feel I don't know I have

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Speaker 1: the we maybe we need to make a distinction between

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Speaker 1: country serial killers and cities serial killers, but the ones

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Speaker 1: that I've heard about and movies and whatnot, I feel

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Speaker 1: like they're all about like half hawks and things like like,

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Speaker 1: I'm like, oh, powders suddenly, now they're they're they're feeding,

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Speaker 1: they're captured powders and vitamins and things.

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Speaker 2: It's cheaper than a hamhock, and it's quicker than a hamhock.

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Speaker 2: You just need some water.

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Speaker 3: You're like, there's a hose right next to you. Here's

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Speaker 3: some fucking powder. Go ape, shit, you can have as

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Speaker 3: much powder as you want.

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Speaker 1: You think you think leather Face was fucking with like

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Speaker 1: collagen and uh with like way proteins and shit. I

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Speaker 1: mean he is a power lifter.

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Speaker 3: After all, So maybe oh leather Face has a case

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Speaker 3: of muscle milk in his fucking house. Modern day leather

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Speaker 3: Face has a case of muscle milk in that house,

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Speaker 3: throwing some fucking green powder in there.

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Speaker 2: Like, let me just keep you.

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Speaker 3: I need to chop off an arm, but I'm not

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Speaker 3: taking the whole body yet, and I don't want you

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Speaker 3: to bleed out, So let's keep make sure that those

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Speaker 3: fucking statins stay up. Okay, See, if it was like

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Speaker 3: a powder a serial killer.

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Speaker 1: Okay, I I understand, I'm trying to look. I'm starting

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Speaker 1: to get the vibe a little bit of what this

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Speaker 1: this game is so hopefully I can redeem myself since

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Speaker 1: I've gotten too wrong in a row.

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Speaker 2: You got two more.

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Speaker 3: It's best of five okay, and well, and we will

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Speaker 3: play this game again because I have several entries.

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Speaker 1: Okay, cool, cool, Okay, So.

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Speaker 3: The fourth the fourth entry in serial killer or self

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Speaker 3: care owning more than ten pets.

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Speaker 1: Oh that's easy. Serial Killer?

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Speaker 2: Nope, self Care?

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Speaker 1: What the talking about? What are you talking about?

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Speaker 3: I feel like five is serial killer, Like five pets

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Speaker 3: a serial killer, but then once you cross over that hump,

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Speaker 3: then you're just like a sanctuary. You're just like I'm

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Speaker 3: like in this life now, this is my part time

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Speaker 3: job is saving pets, saving animals?

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Speaker 1: Oh my god.

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Speaker 3: So like five and under, between three and five you're

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Speaker 3: entering serial killer territory, but over five pets, I feel

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Speaker 3: like that's a purpose, Like you've given yourself a purpose

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Speaker 3: in life.

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Speaker 1: Okay. I kind of don't agree with you on this

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Speaker 1: because I really do not understand the fine point between

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Speaker 1: five and six even like five dogs versus six dogs.

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Speaker 1: Five dogs, you're a fucking maniac. Six dogs, You're like,

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Speaker 1: I don't know, you're doing good for the world.

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Speaker 3: I feel like it comes down to like the smell

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Speaker 3: and the level of shit. And at five, I feel

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Speaker 3: like you've just been collecting because you're sad, like you're depressed,

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Speaker 3: and you're like, got another dog, Just make me so

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Speaker 3: fucking happy. All I need is another ferret. But then

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Speaker 3: at six you're like, all right, I gotta get my

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Speaker 3: shit together because I have to. I have to take

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Speaker 3: the time to take care of all these animals.

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Speaker 1: Now I gotta say, and like, I don't want to.

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Speaker 1: I don't I'm not trying to piss off the cat

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Speaker 1: owning lobby, trust me. I do not want that kind

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Speaker 1: of pain. But I feel like, at least, if you've

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Speaker 1: got five dogs, okay, dogs running packs, right, you could

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Speaker 1: potentially be like you know, and I did a rod

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Speaker 1: driver or something like that. If you've got five dogs,

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Speaker 1: if you have five cats, five or more cats, ten cats,

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Speaker 1: I don't know, like that seems more. That seems in

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Speaker 1: the Serial Killer Vein more than having like five ten dogs.

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Speaker 1: Am I wrong about that?

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Speaker 3: No? I feel you from your perspective. I feel you

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Speaker 3: from my perspective. It's absolutely self care.

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Speaker 1: You think anything under five three to five? The three

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Speaker 1: to five window is so fascinating to me, this is.

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Speaker 3: It's very personally based because I'm considering getting more pets.

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Speaker 3: So I'm like, all right, knowing how I already am,

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Speaker 3: Like I'm alone in the woods and I have one

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Speaker 3: cat and that is whimsical. But if I get another

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Speaker 3: cat and a dog, people are gonna start looking at

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Speaker 3: me like, oh, she has given the fuck up on

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Speaker 3: her life, like she is now entering the space where

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Speaker 3: she's going pet heavy instead of dealing with her emotions.

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Speaker 1: Well, no, I think, Okay, here's what I think. Now

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Speaker 1: that we're talking about this. We gotta chop this up

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Speaker 1: because now I'm fucking can't stop thinking about it. Three

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Speaker 1: to five animals with a collection of cats and dogs

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Speaker 1: seems completely reasonable to me, Like I'm like, oh, you've

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Speaker 1: got two cats and a dog. Great, you've got two

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Speaker 1: dogs and two cats. Okay, that seems fine to me.

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Speaker 1: It's kind of like, okay, when you're starting to get

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Speaker 1: into like five cats, three dogs, two squirrels, a raccoon,

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Speaker 1: and you know, a fucking groundhog like that, when you

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Speaker 1: start getting like that variety in there, you start up

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Speaker 1: in the total, that to me feels like okay, Like

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Speaker 1: I mean, I get what you're saying. About it possibly

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Speaker 1: being like snow White esque to have like a coterie

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Speaker 1: of animals and they're all like in perfect harmony or whatever.

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Speaker 1: But like I I just think the interesting thing that

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Speaker 1: you should just share with us is that three to

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Speaker 1: five total animals is serial killer territory.

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Speaker 3: As a single woman who lives alone in the woods,

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Speaker 3: imagine this. I meet someone, we have a great date,

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Speaker 3: we're going out. It's time for you to come back

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Speaker 3: to my house one day, and I haven't told you

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Speaker 3: anything about how I live. You come back to my

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Speaker 3: house and all of a sudden, you see a cat

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Speaker 3: and you're like, all right, cool a cat, and then

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Speaker 3: you see another cat, and then you see another cat,

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Speaker 3: and then you see a dog, and then you see

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Speaker 3: another dog.

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Speaker 1: I think that's one too many dogs. Like my parents

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Speaker 1: had four cats at one point four cats.

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Speaker 3: Which and we know your dad probably killed someone. He

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Speaker 3: was in the military, serial killer man.

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Speaker 1: He fucking Ben gaz Arr and somebody out choked him out.

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Speaker 1: Actually we all know he didn't. He was a boring

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Speaker 1: office guy. Your dad was like a total deak guy.

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Speaker 1: And I'm like, he killed somebody, right because he was yes, no,

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Speaker 1: But that's like, that's definitely like a more interesting story.

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Speaker 1: He would probably love to tell that story. He's like,

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Speaker 1: I'm a fucking Mannac with four cats. I'm completely unpredictable man,

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Speaker 1: Like you don't know me, you don't know what I've done, and.

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Speaker 3: Said he was just like just the most boring guy

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Speaker 3: to ever live, but said he's like, I filed. You

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Speaker 3: know what I did.

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Speaker 1: Say, I filed.

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Speaker 2: I filed a lot. Yeah, and then I went home

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Speaker 2: in the handing of my four cat.

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Speaker 1: But the fore cats that was totally like it was

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Speaker 1: just you know, like he inherited two cats from a

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Speaker 1: family member and then he ended up getting two Okay,

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Speaker 1: I can't see.

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Speaker 3: Now that you're talking it through. Now that you're talking

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Speaker 3: it through, you're like Dad was on the brink.

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Speaker 1: But if he had gotten like two more cats, So

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Speaker 1: if he had six cats, I would still think that

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Speaker 1: was crazy. I wouldn't be like, oh my dad, he's

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Speaker 1: like a male snow white like.

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Speaker 3: But and maybe maybe I should add the caveat of

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Speaker 3: what if he was single?

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Speaker 1: Oh well, god, okay, see he changes pretty much everything.

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Speaker 3: That's the caveat then, like you're single and you own

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Speaker 3: three to five pets and single people listeners who have

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Speaker 3: three to five pets. You don't need to write in.

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Speaker 3: This is not a personal judgment. This is me just basic.

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Speaker 1: We are you. We're not being mean girls. We are you.

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Speaker 3: We are you, Like I'm not judging you, I'm judging me.

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Speaker 3: If I had three to five pets, I feel like

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Speaker 3: I would be real close to being like, well, anything's possible.

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Speaker 2: The fucking wheels are off of this life.

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Speaker 1: This is incredibly fascinating this game. We have to play

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Speaker 1: this game all the time because it feels like it's

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Speaker 1: just like cracks open your psyche in a way that

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Speaker 1: we've never we've never done before.

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Speaker 3: On this point, I want to play this again, but

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Speaker 3: I want you to come up with some entries too.

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Speaker 3: Oh god, I definitely have more, but I want you

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Speaker 3: to come hoose. Yeah.

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Speaker 1: Well okay, so I've gotten everything wrong but one but

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Speaker 1: you got one more chance, okay, one more chance to take.

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Speaker 2: One more chance to earn some points.

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Speaker 1: Yeah, I gotta get like twenty percent.

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Speaker 2: I know you can do it. I know you can

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Speaker 2: do it.

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Speaker 3: Because our last entry in serial killer or self Care

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Speaker 3: is owning a single solitary plant.

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Speaker 2: Self care serial Killer.

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Speaker 3: Okay, okay, yeah, owning a single solitary plant serial killer territory.

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Speaker 3: Why don't you have more plants? Get more plans. If

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Speaker 3: you like plants, If you have a plant that you've

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Speaker 3: been able to keep alive and you like it, get

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Speaker 3: another one.

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Speaker 2: It is not hard. You can get them at the

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Speaker 2: grocery store.

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Speaker 3: And if you have a single solitary plant that's on

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Speaker 3: the brink of death, you've already killed someone.

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Speaker 2: This is so if you're if you're.

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Speaker 3: Like just keeping it alive. Every couple of months, you

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Speaker 3: remember to like drop some water in there, and it's

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Speaker 3: just like got one leaf and it's just hanging on

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Speaker 3: by a thread.

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Speaker 2: I think you've already killed someone.

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Speaker 1: Look I this one. I gotta say this point. I

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Speaker 1: agree with you. I actually totally see why I on

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Speaker 1: this because I'm like, yeah, one plant means that you're like,

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Speaker 1: can I do this type Like you're just sort of

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Speaker 1: like either I have to put a plant in here

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Speaker 1: so that people don't think I'm a serial killer, right,

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Speaker 1: or I'm I'm a murderous person and I need to

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Speaker 1: prove it to myself that I can keep one thing alive. Exactly,

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Speaker 1: So I get it. I get I get what you're saying.

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Speaker 1: I don't know, like one plant I could, I can never,

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Speaker 1: I could never. Who the fuck can only have one plant?

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Speaker 3: One plant is sus I'm just it's it's us on

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Speaker 3: several levels, several levels, But for me, it also brings

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Speaker 3: in the question of have you killed.

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Speaker 2: If you have one plant, have you committed a crime?

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Speaker 1: Okay, let me ask you this, then, what is the

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Speaker 1: one plant that makes you the most serial killery.

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Speaker 2: A figly fern.

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Speaker 3: If you're keeping a fucking figly fern alive and hanging

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Speaker 3: on by the edge of death, that is a serial

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Speaker 3: killer move.

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Speaker 2: You are absolutely on your way.

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Speaker 1: I think it's apothos. I think it's like, what are

349
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Speaker 1: those plants you see in the middle of office buildings

350
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Speaker 1: that they don't even need real light, like the fucking

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00:18:50,119 --> 00:18:55,160
Speaker 1: artificial overhead lights. Some they like stay alive in them,

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Speaker 1: They stay alive in a crypt. They're like those types

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Speaker 1: of plants. I feel like if you have apothos, that

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Speaker 1: means that you're like you're trying to prove something, but

355
00:19:04,920 --> 00:19:06,920
Speaker 1: it's like that thing where you're like, well, this thing

356
00:19:06,960 --> 00:19:09,159
Speaker 1: is gonna stay alive no matter what you do, so

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Speaker 1: that doesn't even really count. It doesn't improve anything.

358
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Speaker 3: And apothos, especially when they get really like when you

359
00:19:14,440 --> 00:19:17,280
Speaker 3: don't prune them and they get really long and they

360
00:19:17,320 --> 00:19:19,439
Speaker 3: just have like those five foot tendrils that you're just

361
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Speaker 3: like hanging up with thumbtacks and shit.

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Speaker 1: Yeah you have killed Oh yeah, there's it's like, can

363
00:19:25,920 --> 00:19:30,480
Speaker 1: we get real science fiction with Kendrels. Well, this game

364
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Speaker 1: has been absolutely fucking fascinating.

365
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Speaker 3: We'll do it again.

366
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Speaker 2: I have another round.

367
00:19:35,520 --> 00:19:36,840
Speaker 3: I want you to prep a round so I can

368
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Speaker 3: get into your psyche. But that's where I'm at with

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Speaker 3: serial killer of self care. We got one self care.

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Speaker 3: Everything else is a serial killer move.

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Speaker 1: See. I was expecting it to be entirely serial killery,

372
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Speaker 1: but I didn't have that ten pets thing threw me

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Speaker 1: for a fucking loose through. You my god. Well, this

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Speaker 1: has been a fascinating game. Thank you for bringing it

375
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Speaker 1: to the podcast. I cannot wait to play it again.

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Speaker 3: Honestly, and speaking of wild Wild Territory, Wild Wild Territory,

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Speaker 3: this is definitely our most bonkers theme of twenty twenty

378
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Speaker 3: three so far, possibly the whole year. It's the most

379
00:20:25,760 --> 00:20:28,040
Speaker 3: bonkers theme of the first half of our year for sure.

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Speaker 1: Yes, so, as we alluded to at the very beginning

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Speaker 1: of the episode, it is Valentine's Day. I think you

382
00:20:36,160 --> 00:20:38,960
Speaker 1: know what's going to happen. We have a Valentine's Day

383
00:20:39,119 --> 00:20:42,440
Speaker 1: themed episode, but it has a very special name that

384
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Speaker 1: Danielle Henderson came up with. Why don't you tell them

385
00:20:46,000 --> 00:20:47,560
Speaker 1: what the name of the theme is this week?

386
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Speaker 3: So our theme this week is they don't get it

387
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Speaker 3: and they don't have to.

388
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Speaker 1: That's right. What would you say is what characterizes this theme?

389
00:20:58,040 --> 00:21:02,280
Speaker 1: Like what are these movies about? For the theme, we.

390
00:21:02,160 --> 00:21:07,679
Speaker 3: Were looking to showcase relationships that are so out of

391
00:21:07,840 --> 00:21:10,120
Speaker 3: sync with what we would normally see on this kind

392
00:21:10,119 --> 00:21:12,880
Speaker 3: of day where it's like, you know, your cis had

393
00:21:12,920 --> 00:21:16,679
Speaker 3: couple going out with like flowers and dinner and wine,

394
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Speaker 3: And I'm like, oh, but what about the rest of

395
00:21:18,880 --> 00:21:22,800
Speaker 3: the world where that is not their mo on Valentine's

396
00:21:22,880 --> 00:21:24,600
Speaker 3: Day or any day where they spend most of their

397
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Speaker 3: relationship screaming. And this kind of came up for me

398
00:21:27,760 --> 00:21:31,199
Speaker 3: based on some old neighbors I used to have, Like

399
00:21:31,240 --> 00:21:33,879
Speaker 3: if you've ever lived next to a couple that fights,

400
00:21:34,400 --> 00:21:40,639
Speaker 3: it is eye opening. Yeah about the human fucking psyche.

401
00:21:40,840 --> 00:21:43,560
Speaker 1: Yeah, it's like remember when we were talking about how

402
00:21:44,880 --> 00:21:47,560
Speaker 1: it was on an episode from a while ago about

403
00:21:47,600 --> 00:21:50,520
Speaker 1: those couples that you would know in your twenties that

404
00:21:50,880 --> 00:21:55,480
Speaker 1: fought constantly but then they just stayed together forever. Yeah,

405
00:21:55,480 --> 00:21:57,960
Speaker 1: and you're just like, I don't question it. They have

406
00:21:58,040 --> 00:22:00,560
Speaker 1: some kind of there's some kind of thing that keeps

407
00:22:00,600 --> 00:22:02,800
Speaker 1: them in the relationship and you just gotta let it go,

408
00:22:03,160 --> 00:22:04,400
Speaker 1: try to figure it out.

409
00:22:04,280 --> 00:22:06,000
Speaker 2: Right, I'm like, I don't get it, but maybe I

410
00:22:06,000 --> 00:22:06,800
Speaker 2: don't have to get it.

411
00:22:07,880 --> 00:22:11,840
Speaker 1: Yeah, And maybe they're telling us that they're communicating to

412
00:22:12,119 --> 00:22:14,800
Speaker 1: everybody in their lives, like they don't get us and

413
00:22:14,840 --> 00:22:17,280
Speaker 1: they don't have to write because we're in our own

414
00:22:17,400 --> 00:22:21,880
Speaker 1: like little universe, and so if it's weird to everybody else, oh.

415
00:22:21,720 --> 00:22:22,800
Speaker 2: Well, exactly.

416
00:22:22,800 --> 00:22:24,760
Speaker 3: And this also came up for me because I've been

417
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Speaker 3: doing I'm writing a novel and I've been doing some

418
00:22:27,000 --> 00:22:32,560
Speaker 3: research and watching a lot of Intervention. Oh yeah, And

419
00:22:32,600 --> 00:22:34,800
Speaker 3: there are so many couples on Intervention that I'm like,

420
00:22:34,800 --> 00:22:36,199
Speaker 3: why are you all together? Why are you doing this?

421
00:22:36,240 --> 00:22:39,719
Speaker 3: Why do you have kids? What's going on here? Like

422
00:22:39,800 --> 00:22:42,520
Speaker 3: aside from the disease and the illness of the drugs

423
00:22:42,560 --> 00:22:45,480
Speaker 3: or the addiction, like take that out of the mix.

424
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Speaker 2: Even when you're sober. Why are you together?

425
00:22:47,960 --> 00:22:52,639
Speaker 1: Yeah? You know, I think I told myself, like after

426
00:22:52,680 --> 00:22:55,679
Speaker 1: I turned forty that I was no longer going to

427
00:22:55,800 --> 00:23:00,000
Speaker 1: question the marriages of the people in my life because

428
00:23:01,320 --> 00:23:03,400
Speaker 1: I don't want to know that shit is dark as fuck.

429
00:23:03,560 --> 00:23:05,840
Speaker 1: Every marriage is dark. I don't care who you are.

430
00:23:07,160 --> 00:23:10,000
Speaker 1: I don't care if you're Christy Teagan and John Legend

431
00:23:10,119 --> 00:23:14,439
Speaker 1: or whoever, like a famous married couple that do businesses together.

432
00:23:14,560 --> 00:23:17,880
Speaker 1: Like that marriage is dark. Every marriage is dark.

433
00:23:18,640 --> 00:23:21,040
Speaker 2: I look, I want to dig into this for seven hours.

434
00:23:23,920 --> 00:23:24,480
Speaker 3: It's true.

435
00:23:24,520 --> 00:23:32,160
Speaker 1: I mean, you know, to me, partnership is partnership is complicated.

436
00:23:32,760 --> 00:23:35,960
Speaker 1: It doesn't matter who you are, Like when you've decided

437
00:23:36,080 --> 00:23:40,960
Speaker 1: to like become a part of a unit with someone,

438
00:23:41,840 --> 00:23:44,360
Speaker 1: there's always going to be certain things that aren't perfect,

439
00:23:44,359 --> 00:23:46,600
Speaker 1: and there's always gonna be a lot of concessions that

440
00:23:47,080 --> 00:23:50,639
Speaker 1: people make to be with another person, right right, So,

441
00:23:52,119 --> 00:23:53,879
Speaker 1: And I think for a long time I used to

442
00:23:53,960 --> 00:23:57,960
Speaker 1: question couples that I knew, or even celebrity couples let's

443
00:23:57,960 --> 00:23:59,800
Speaker 1: get serious, which is sad, but you know what I mean,

444
00:23:59,840 --> 00:24:03,040
Speaker 1: It's it's like like our relationships are complicated. And I

445
00:24:03,119 --> 00:24:05,560
Speaker 1: used to really be like, why is that person with

446
00:24:05,640 --> 00:24:08,680
Speaker 1: this person, can't believe they're together. Why does her boyfriend

447
00:24:08,720 --> 00:24:11,040
Speaker 1: do this? Why is this her girlfriend? You know, whoever,

448
00:24:11,080 --> 00:24:15,399
Speaker 1: whoever it is. I was always like obsessed with the

449
00:24:15,480 --> 00:24:17,760
Speaker 1: logic of it or something, and then now I'm like,

450
00:24:17,840 --> 00:24:20,280
Speaker 1: I don't want to know. I like y'all. If y'all

451
00:24:20,280 --> 00:24:23,160
Speaker 1: have figured out how to stay together throughout the fucking

452
00:24:23,320 --> 00:24:28,639
Speaker 1: shittiness of this world and you're somehow functioning, God bless you.

453
00:24:28,720 --> 00:24:30,520
Speaker 1: I don't want to know how you do it.

454
00:24:31,160 --> 00:24:34,840
Speaker 3: I thought that you're like together and functioning is the baseline.

455
00:24:34,880 --> 00:24:36,800
Speaker 3: I don't even care if you're happy. I just will

456
00:24:36,840 --> 00:24:39,879
Speaker 3: stop together and functioning well, I.

457
00:24:39,920 --> 00:24:42,560
Speaker 1: Mean functioning in that you still call somebody your partner

458
00:24:42,680 --> 00:24:46,400
Speaker 1: or your husband or whomever. Like it's like if you're

459
00:24:46,480 --> 00:24:52,320
Speaker 1: like technically together and not manage that somehow, God bless you.

460
00:24:52,400 --> 00:24:54,960
Speaker 1: I don't want to know, though. That's the thing is

461
00:24:55,000 --> 00:24:56,480
Speaker 1: because it's always dark as hell.

462
00:24:56,720 --> 00:24:59,880
Speaker 3: It is dark, absolutely, And look, I'm here to tell

463
00:24:59,920 --> 00:25:02,040
Speaker 3: you that I think it's completely normal when you're a

464
00:25:02,040 --> 00:25:04,640
Speaker 3: single person to look at couples and be like, how

465
00:25:04,640 --> 00:25:07,760
Speaker 3: did that happen? Or just questioning it even for yourself,

466
00:25:07,800 --> 00:25:09,640
Speaker 3: like what would I need to do to get into

467
00:25:09,720 --> 00:25:13,520
Speaker 3: that relationship or like that kind of relationship, and every

468
00:25:13,560 --> 00:25:15,679
Speaker 3: time I question it, I'm like, I shouldn't be doing this.

469
00:25:15,720 --> 00:25:18,720
Speaker 3: I shouldn't be questioning this because I know the answer. Yes,

470
00:25:18,800 --> 00:25:21,600
Speaker 3: and I don't want to have these judgments.

471
00:25:21,320 --> 00:25:24,840
Speaker 1: And yes, and I trust me. I do know couples

472
00:25:24,840 --> 00:25:27,920
Speaker 1: that are so great and fun and equal and there's

473
00:25:27,960 --> 00:25:30,080
Speaker 1: all this, you know, like you're like, what is making

474
00:25:30,119 --> 00:25:33,520
Speaker 1: it work? How is they're perfect? How is their marriage

475
00:25:33,600 --> 00:25:36,840
Speaker 1: or relationship perfect? I'm like, nah, bitch, that shit is

476
00:25:36,920 --> 00:25:39,200
Speaker 1: dark too. Everybody.

477
00:25:39,440 --> 00:25:41,000
Speaker 3: It goes the other way, Like when I see a

478
00:25:41,000 --> 00:25:43,159
Speaker 3: great couple, I'm like, I wonder if then I'm like, no,

479
00:25:43,240 --> 00:25:45,960
Speaker 3: I can't go down this road because there's no answer.

480
00:25:46,040 --> 00:25:48,359
Speaker 3: There's no rhyme or reason for why people get together,

481
00:25:48,440 --> 00:25:52,840
Speaker 3: why they stay together, and any iteration happy said, you're

482
00:25:52,880 --> 00:25:55,760
Speaker 3: having Google fat removed, You're having like whatever it is

483
00:25:56,800 --> 00:25:58,320
Speaker 3: that's happened in a couple.

484
00:25:58,560 --> 00:25:59,879
Speaker 2: I don't get it, and I don't have to.

485
00:26:00,960 --> 00:26:03,479
Speaker 1: Yeah. I mean, sometimes people get together because they were

486
00:26:03,520 --> 00:26:06,360
Speaker 1: both attacked by bison separately.

487
00:26:07,760 --> 00:26:09,320
Speaker 2: Okay, but I do love stories like that.

488
00:26:09,640 --> 00:26:12,399
Speaker 3: Yeah, they're like too, Like we were on a fucking

489
00:26:12,520 --> 00:26:15,720
Speaker 3: cruise and then all of a sudden, a whale came

490
00:26:15,800 --> 00:26:18,840
Speaker 3: up and like docked itself on the fucking boat and

491
00:26:18,920 --> 00:26:21,439
Speaker 3: chomped off one each of each of our left legs.

492
00:26:22,520 --> 00:26:24,520
Speaker 3: And then while we were recovering the hospital, we fell

493
00:26:24,560 --> 00:26:27,040
Speaker 3: in love. Like I love that shit, but I still

494
00:26:27,119 --> 00:26:28,560
Speaker 3: don't get it. I still don't get it.

495
00:26:28,640 --> 00:26:31,200
Speaker 1: I know, but if you dig deep enough, you will

496
00:26:31,720 --> 00:26:34,879
Speaker 1: at some point find that the people that had the

497
00:26:34,880 --> 00:26:39,280
Speaker 1: most meet cute opportunity one of them likes weird porn

498
00:26:39,320 --> 00:26:42,720
Speaker 1: and the other person pretends to ignore it. And you're

499
00:26:42,800 --> 00:26:46,159
Speaker 1: like one person has like bad manners or something. You know,

500
00:26:46,200 --> 00:26:47,880
Speaker 1: it's just like that is what I'm talking about. It's

501
00:26:47,880 --> 00:26:49,880
Speaker 1: just sort of like I don't want to know that

502
00:26:49,920 --> 00:26:54,120
Speaker 1: stuff because it just like everybody has it. Nobody's perfect.

503
00:26:54,200 --> 00:26:58,240
Speaker 1: And I feel like in these two movies, right, the

504
00:26:58,359 --> 00:27:03,240
Speaker 1: dysfunction is out there, like they're like we're this is

505
00:27:03,240 --> 00:27:06,280
Speaker 1: who we are. I think the thing that unites our

506
00:27:06,320 --> 00:27:10,240
Speaker 1: movies is that they're both like all participants are high

507
00:27:10,359 --> 00:27:14,960
Speaker 1: key emotional in a way that's like kind of kind

508
00:27:14,960 --> 00:27:18,439
Speaker 1: of hilarious. Like even in my movie that's not technically

509
00:27:18,440 --> 00:27:23,120
Speaker 1: a comedy, but it's not theatrics. It's like the theatrics

510
00:27:23,200 --> 00:27:26,119
Speaker 1: of of of relationships.

511
00:27:25,440 --> 00:27:27,400
Speaker 2: Right, Yes, absolutely.

512
00:27:27,440 --> 00:27:29,840
Speaker 3: I was thinking about that too, like what's not beyond

513
00:27:29,840 --> 00:27:31,680
Speaker 3: the theme, like what's connecting our film? And I think

514
00:27:31,720 --> 00:27:34,200
Speaker 3: that is you nailed it, Like it is the high

515
00:27:34,320 --> 00:27:38,440
Speaker 3: key emotionality of these characters and how that is something

516
00:27:38,640 --> 00:27:41,840
Speaker 3: that brought them together, even if it's not the thing

517
00:27:41,840 --> 00:27:44,879
Speaker 3: that keeps them together. It's like, that's what brought them together,

518
00:27:44,920 --> 00:27:49,399
Speaker 3: is they're both like we are on ten at all times.

519
00:27:49,880 --> 00:27:52,080
Speaker 1: Yeah, your film, I hadn't seen it in a while.

520
00:27:52,119 --> 00:27:54,440
Speaker 1: It is such a fucking classic. I just love every

521
00:27:54,480 --> 00:28:01,320
Speaker 1: I love everything about it. It is great style, great acting,

522
00:28:02,240 --> 00:28:06,560
Speaker 1: camera work. Everything about it is so fucking fun and cool.

523
00:28:07,600 --> 00:28:09,480
Speaker 1: And I think I have to give a little warning

524
00:28:09,480 --> 00:28:11,879
Speaker 1: this week for my movie for people who have not

525
00:28:12,080 --> 00:28:15,439
Speaker 1: heard of the movie. It's I think it's it's an

526
00:28:15,480 --> 00:28:16,960
Speaker 1: advanced level flick.

527
00:28:17,320 --> 00:28:19,080
Speaker 2: Oh yeah, oh yeah.

528
00:28:18,760 --> 00:28:21,119
Speaker 3: I watched your film and then I was going to

529
00:28:21,119 --> 00:28:24,040
Speaker 3: do a true double feature, and I thought, Okay, I

530
00:28:24,040 --> 00:28:25,840
Speaker 3: hadn't seen your film in a while, but I know

531
00:28:25,920 --> 00:28:26,800
Speaker 3: that my film will be.

532
00:28:26,800 --> 00:28:29,440
Speaker 2: A good chaser, like it'll lift lift me up.

533
00:28:29,680 --> 00:28:33,199
Speaker 3: At the end of your film was so much bleaker

534
00:28:33,200 --> 00:28:34,959
Speaker 3: than I remember that I had to watch an episode

535
00:28:35,000 --> 00:28:36,080
Speaker 3: of Intervention to come up.

536
00:28:37,320 --> 00:28:40,160
Speaker 2: I watch that's how dark.

537
00:28:40,040 --> 00:28:40,800
Speaker 1: As a chaser.

538
00:28:41,120 --> 00:28:44,280
Speaker 3: I had an Intervention chaser. She has a shot that

539
00:28:44,440 --> 00:28:47,200
Speaker 3: was your movie. But oh my god, there was so

540
00:28:47,280 --> 00:28:48,240
Speaker 3: much about it that I forgot.

541
00:28:48,280 --> 00:28:48,640
Speaker 2: And you're right.

542
00:28:48,680 --> 00:28:52,640
Speaker 3: It's not technically a comedy, but it's it's it's out there, it.

543
00:28:52,640 --> 00:28:53,680
Speaker 2: Is, it's out there.

544
00:28:54,360 --> 00:28:57,640
Speaker 1: Yeah, there are moments that are so absurd that it

545
00:28:57,680 --> 00:29:00,160
Speaker 1: does make me laugh and I can't help that. I'll

546
00:29:00,200 --> 00:29:01,800
Speaker 1: I'll talk about it while we get to my movie.

547
00:29:01,800 --> 00:29:07,160
Speaker 1: But Happy Valentine's Day this is we're broken people who

548
00:29:07,240 --> 00:29:12,640
Speaker 1: have decided that these are Valentine's Day movies, Heavy Valentine.

549
00:29:12,440 --> 00:29:20,680
Speaker 3: Day, Like Happy Valentine's Day. Here's who we are.

550
00:29:24,160 --> 00:29:25,239
Speaker 1: Well, let's get into it.

551
00:29:25,880 --> 00:29:31,720
Speaker 3: My film was written by the Cohen Brothers, directed by

552
00:29:31,800 --> 00:29:35,320
Speaker 3: Joel Cohen, and it was released in nineteen eighty seven.

553
00:29:35,880 --> 00:29:41,120
Speaker 3: And my pick is Raising Arizona. Hear me. I'll give

554
00:29:41,120 --> 00:29:43,640
Speaker 3: a quick one sentence synopsis and then I'll really get

555
00:29:43,680 --> 00:29:47,520
Speaker 3: into it. My one sentence synopsis for Raising Arizona is

556
00:29:47,600 --> 00:29:51,400
Speaker 3: a newly married couple with fertility issues decides to steal

557
00:29:51,440 --> 00:29:56,480
Speaker 3: a baby, and all hell breaks loose. That's how I

558
00:29:56,520 --> 00:30:01,000
Speaker 3: can give you without ruining anything. This film is a

559
00:30:01,000 --> 00:30:04,600
Speaker 3: fucking ride. And it must be said that this is

560
00:30:04,800 --> 00:30:09,120
Speaker 3: the second film that the Coen Brothers released after Blood Simple.

561
00:30:09,800 --> 00:30:12,120
Speaker 3: So if you remember us talking about about Blood Simple

562
00:30:12,960 --> 00:30:15,479
Speaker 3: many episodes ago, where we get into the Coen Brothers

563
00:30:15,520 --> 00:30:19,160
Speaker 3: and their whole ubra and just how much I love them,

564
00:30:19,960 --> 00:30:23,080
Speaker 3: but imagine making Blood Simple. And then they go so

565
00:30:23,400 --> 00:30:26,840
Speaker 3: one to eighty and come out with Raising Arizona. And

566
00:30:26,880 --> 00:30:28,719
Speaker 3: I think it's important to remember that because a lot

567
00:30:28,760 --> 00:30:31,120
Speaker 3: of people think that Miller's Crossing.

568
00:30:30,800 --> 00:30:32,520
Speaker 2: Was their next film, but it wasn't.

569
00:30:33,160 --> 00:30:37,080
Speaker 3: This was, and I think it completely flexed their skill

570
00:30:37,160 --> 00:30:40,200
Speaker 3: set and it kind of showed that they were able

571
00:30:40,200 --> 00:30:43,240
Speaker 3: to go in such a different direction, which for a

572
00:30:43,320 --> 00:30:46,640
Speaker 3: second film after something that again was so noir and

573
00:30:46,760 --> 00:30:50,440
Speaker 3: dark as Blood Simple, I think that's a really brave,

574
00:30:50,560 --> 00:30:55,120
Speaker 3: weirdly brave move. And it's also like this story is,

575
00:30:55,320 --> 00:30:59,840
Speaker 3: you know, Raising Arizona is so deeply layered and overlapping,

576
00:31:00,360 --> 00:31:04,200
Speaker 3: and it's like it's as NonStop hilarious as it is thoughtful.

577
00:31:04,840 --> 00:31:08,240
Speaker 3: So I really feel like this film, we're seeing them

578
00:31:08,280 --> 00:31:10,600
Speaker 3: kind of break into a sprint in terms of like

579
00:31:10,640 --> 00:31:12,479
Speaker 3: what they can do with their storytelling and who they

580
00:31:12,480 --> 00:31:15,280
Speaker 3: are as storytellers, and I love that. I love that

581
00:31:15,360 --> 00:31:18,560
Speaker 3: this was their second film. There are lots and lots

582
00:31:18,680 --> 00:31:23,160
Speaker 3: of great articles out there about the making of the film.

583
00:31:23,640 --> 00:31:25,240
Speaker 2: I really liked one.

584
00:31:25,440 --> 00:31:28,240
Speaker 3: I read this art this one list on screen rant

585
00:31:28,560 --> 00:31:30,239
Speaker 3: about like like ten things you might not have known

586
00:31:30,240 --> 00:31:34,800
Speaker 3: about the movie. And Nicholas Cage's character h I McDonough

587
00:31:35,200 --> 00:31:39,000
Speaker 3: has a woody woodpecker tattoo, and I always wondered about that.

588
00:31:40,080 --> 00:31:43,320
Speaker 3: The way the Coen Brothers conceptualize this film was as

589
00:31:43,560 --> 00:31:47,680
Speaker 3: a live action Looney Tunes film, and they thought of

590
00:31:47,720 --> 00:31:51,120
Speaker 3: this character as a live action woody woodpecker, which I

591
00:31:51,120 --> 00:31:52,800
Speaker 3: think is fucking fascinating.

592
00:31:53,320 --> 00:31:53,560
Speaker 1: Yeah.

593
00:31:53,720 --> 00:31:58,320
Speaker 3: And the soundtrack, which is again just as classic as

594
00:31:58,320 --> 00:32:01,760
Speaker 3: the film, also kind is meant to mimic that Looney

595
00:32:01,760 --> 00:32:05,800
Speaker 3: Tunes energy. Yeah, So it's like the yodel and the

596
00:32:05,960 --> 00:32:09,200
Speaker 3: fucking yuke and like just like really high pitched, high energy.

597
00:32:09,240 --> 00:32:11,320
Speaker 2: So I just I love little details like that.

598
00:32:11,760 --> 00:32:13,360
Speaker 3: And when you think of it as a live action

599
00:32:13,400 --> 00:32:17,080
Speaker 3: woody Woodpecker, there are so many other things and other

600
00:32:17,120 --> 00:32:21,200
Speaker 3: scenes in the film that become immensely more pleasurable.

601
00:32:21,920 --> 00:32:23,320
Speaker 2: Yeah, when do you think of it that way?

602
00:32:24,400 --> 00:32:28,040
Speaker 3: And the cast is great. So you've got Nicholas Cage

603
00:32:28,240 --> 00:32:32,280
Speaker 3: playing h I McDonough. He is a repeat offender criminal

604
00:32:33,440 --> 00:32:37,640
Speaker 3: who enters this movie in a way that I have

605
00:32:38,560 --> 00:32:41,400
Speaker 3: never found Nicholas Cage to be more attractive than he

606
00:32:41,480 --> 00:32:42,160
Speaker 3: was in this film.

607
00:32:43,280 --> 00:32:47,480
Speaker 1: Yeah, I mean between this is like his like Moonstruck,

608
00:32:48,000 --> 00:32:50,680
Speaker 1: like Wild Hair era.

609
00:32:51,120 --> 00:32:53,160
Speaker 3: I look, it says a lot about me. It says

610
00:32:53,160 --> 00:32:53,840
Speaker 3: a lot about me.

611
00:32:54,000 --> 00:32:57,680
Speaker 1: Yeah, I definitely love the trajectory of his look through

612
00:32:57,760 --> 00:33:04,800
Speaker 1: like Valley Girl too, yeah, Moonstruck to Raising Arizona, although

613
00:33:04,800 --> 00:33:05,920
Speaker 1: I think Moonstruck.

614
00:33:05,600 --> 00:33:07,520
Speaker 3: Him out after him, Yeah, he came out after this.

615
00:33:07,640 --> 00:33:10,760
Speaker 1: Yeah, I definitely liked the trajectory of like Valley Girl

616
00:33:11,040 --> 00:33:14,960
Speaker 1: to Raising Arizona to Moonstrok. Like his eighties looks are so.

617
00:33:15,000 --> 00:33:18,240
Speaker 3: Good, iconic, and he's and I think I just love

618
00:33:18,280 --> 00:33:21,560
Speaker 3: his energy in this movie because he's so he's very

619
00:33:21,600 --> 00:33:24,360
Speaker 3: high key, but he's also really like worn out at

620
00:33:24,360 --> 00:33:26,560
Speaker 3: the same time, and I think a lot of that

621
00:33:26,640 --> 00:33:28,600
Speaker 3: just translated through his looks. So I just think that,

622
00:33:28,720 --> 00:33:31,560
Speaker 3: like the costuming and the way that this character looks

623
00:33:31,680 --> 00:33:33,520
Speaker 3: is so important to who the character is.

624
00:33:35,360 --> 00:33:38,080
Speaker 2: Holly Hunter again incredible actress.

625
00:33:38,080 --> 00:33:41,800
Speaker 3: She was originally who they went to to play the

626
00:33:41,840 --> 00:33:45,480
Speaker 3: Francis McDorman role in Blood Simple, and she wasn't available

627
00:33:45,520 --> 00:33:48,640
Speaker 3: in Francis mcdormant. She's like, oh, like, you should cast

628
00:33:48,640 --> 00:33:52,160
Speaker 3: my roommate Francis, And then Francis McDorman went on to

629
00:33:52,200 --> 00:33:53,360
Speaker 3: even marry Joel Cohen.

630
00:33:53,520 --> 00:33:56,360
Speaker 2: So look at that. Friends help and friends in many ways.

631
00:33:57,760 --> 00:34:02,640
Speaker 3: But Holly Hunter is so like again, she's very uptight

632
00:34:03,080 --> 00:34:06,640
Speaker 3: and like like reined in, but then just leaks emotion

633
00:34:07,000 --> 00:34:10,200
Speaker 3: all over the place. I just love, love, love her

634
00:34:10,239 --> 00:34:12,319
Speaker 3: in this role. And this movie came out when I

635
00:34:12,360 --> 00:34:15,440
Speaker 3: was like nine or ten years old, so imagine seeing

636
00:34:15,440 --> 00:34:18,960
Speaker 3: this movie at ten years old, Like it changed my life.

637
00:34:19,239 --> 00:34:20,720
Speaker 2: It changed my fucking life.

638
00:34:20,920 --> 00:34:22,359
Speaker 1: And I never saw it as a kid. I mean

639
00:34:22,400 --> 00:34:24,720
Speaker 1: I remember when it came out, I remember like seeing

640
00:34:24,719 --> 00:34:28,200
Speaker 1: the video at the video store, but I didn't see

641
00:34:28,200 --> 00:34:31,000
Speaker 1: it until I was probably in college.

642
00:34:31,200 --> 00:34:32,600
Speaker 2: Yeah, no, it it.

643
00:34:33,200 --> 00:34:34,839
Speaker 3: I mean, if you have a ten year old, maybe

644
00:34:34,880 --> 00:34:36,480
Speaker 3: show them this movie. I don't know, I'm not great

645
00:34:36,520 --> 00:34:39,080
Speaker 3: at parenting advice, but I will just say it changed

646
00:34:39,080 --> 00:34:41,640
Speaker 3: my view of the world in a very positive and

647
00:34:41,719 --> 00:34:45,200
Speaker 3: fun way. To see this movie as a kid. And

648
00:34:45,239 --> 00:34:48,080
Speaker 3: then again, the cast is just like the Coen Brothers

649
00:34:48,080 --> 00:34:49,799
Speaker 3: tend to use a stable of actors that they use

650
00:34:49,880 --> 00:34:53,680
Speaker 3: time and time again. You know, John Goodman, William Forsyth,

651
00:34:53,920 --> 00:35:01,200
Speaker 3: Sam McMurray, Francis McDormand it's just like a NonStop hit. Yeah,

652
00:35:01,560 --> 00:35:03,160
Speaker 3: just hits all over the place in terms of the

653
00:35:03,160 --> 00:35:07,200
Speaker 3: cast and John Goodman, I really what I really love

654
00:35:07,239 --> 00:35:10,080
Speaker 3: about this this film and his role in this film

655
00:35:10,120 --> 00:35:12,399
Speaker 3: is that he tends like you can kind of see

656
00:35:12,400 --> 00:35:14,080
Speaker 3: a trajectory with him as well. If you look at

657
00:35:14,120 --> 00:35:16,799
Speaker 3: John Goodman in this and then in Barton Fink and

658
00:35:16,840 --> 00:35:19,680
Speaker 3: then in like The Big Lebowski, you can kind of

659
00:35:19,680 --> 00:35:22,240
Speaker 3: see where they're giving him space to be a little

660
00:35:22,239 --> 00:35:25,359
Speaker 3: bit like he's just he's more amped up with every

661
00:35:25,440 --> 00:35:28,719
Speaker 3: role and kind of more I don't know, he's just

662
00:35:28,800 --> 00:35:33,080
Speaker 3: he's very pointedly and focused in terms of his his oddity,

663
00:35:33,160 --> 00:35:34,600
Speaker 3: Like you never know what he's going to bring to

664
00:35:34,640 --> 00:35:36,239
Speaker 3: the table in a Coen Brothers film.

665
00:35:36,280 --> 00:35:37,319
Speaker 2: And I absolutely love that.

666
00:35:37,800 --> 00:35:41,360
Speaker 1: But I know there was like that part where he's

667
00:35:41,719 --> 00:35:44,520
Speaker 1: there in the gas station bathroom or wherever it is,

668
00:35:45,000 --> 00:35:46,919
Speaker 1: after they just came out of jail, and he puts

669
00:35:47,000 --> 00:35:49,799
Speaker 1: that like Crown royal stuff in his hair and he'd

670
00:35:50,080 --> 00:35:53,720
Speaker 1: like you can just see him taking this huge chunk

671
00:35:53,800 --> 00:35:57,080
Speaker 1: of it and he just like slaps it, you know,

672
00:35:57,120 --> 00:36:00,759
Speaker 1: into his little pompadoor thing. And I was like the

673
00:36:00,800 --> 00:36:02,680
Speaker 1: only thing I could think about was like how long

674
00:36:02,719 --> 00:36:04,440
Speaker 1: did it take for him to wash that shit out

675
00:36:04,480 --> 00:36:04,839
Speaker 1: of his hand?

676
00:36:04,920 --> 00:36:06,920
Speaker 2: I know, like weeks?

677
00:36:07,480 --> 00:36:11,920
Speaker 1: Yeah, absolute weeks. He must have really went for it,

678
00:36:11,960 --> 00:36:13,919
Speaker 1: like he just picked it was like half a can

679
00:36:14,040 --> 00:36:16,319
Speaker 1: and he just like slapped it in the hair. And

680
00:36:16,360 --> 00:36:20,520
Speaker 1: I'm like, oh man, he was. His pillow cases were disgusting, were.

681
00:36:20,440 --> 00:36:23,239
Speaker 3: Like disgusting, Oh God, like like soaked right through to

682
00:36:23,280 --> 00:36:29,359
Speaker 3: the pillow, like down of the bones. But it is

683
00:36:29,640 --> 00:36:34,640
Speaker 3: like just again an incredible, incredible cast of actors, and

684
00:36:34,680 --> 00:36:37,080
Speaker 3: so we're entering this. Oh and then also we have

685
00:36:37,440 --> 00:36:39,439
Speaker 3: Rendell tex Cob who plays the bounty hunter.

686
00:36:39,520 --> 00:36:40,399
Speaker 2: We will get into him.

687
00:36:41,080 --> 00:36:43,279
Speaker 3: But what I love about this film too is that

688
00:36:43,600 --> 00:36:47,640
Speaker 3: there are so many memorable scenes that continue to be

689
00:36:47,719 --> 00:36:51,960
Speaker 3: funnier and for me, even get funnier over time. And

690
00:36:52,000 --> 00:36:54,399
Speaker 3: I just again, I love that this is a film

691
00:36:54,440 --> 00:36:57,520
Speaker 3: that is primarily a cult classic, but it's for things,

692
00:36:57,360 --> 00:36:59,680
Speaker 3: it's for specific reasons, like it is a cult classic

693
00:36:59,719 --> 00:37:03,520
Speaker 3: because it is so memorable and so great and funny,

694
00:37:03,520 --> 00:37:05,680
Speaker 3: and it's such a weird slice of life to look into.

695
00:37:05,880 --> 00:37:09,560
Speaker 3: So you've got again h I McDonough. People call him

696
00:37:09,640 --> 00:37:14,200
Speaker 3: high repeat offender. He's arrested as soon as you see him,

697
00:37:14,239 --> 00:37:15,479
Speaker 3: Like at the first time you see him on screen,

698
00:37:15,520 --> 00:37:19,000
Speaker 3: he's being arrested, and he kind of gives the he's

699
00:37:18,760 --> 00:37:22,759
Speaker 3: the brain of the movie, and that his thoughts are

700
00:37:22,840 --> 00:37:25,839
Speaker 3: kind of what carries the film, Like you hear from

701
00:37:25,880 --> 00:37:28,480
Speaker 3: him in a voiceover, and you really get into his

702
00:37:28,520 --> 00:37:30,960
Speaker 3: interior life because you get to hear his thoughts all

703
00:37:31,000 --> 00:37:35,920
Speaker 3: the time. Yeah, and ed again, very uptight police officer

704
00:37:36,440 --> 00:37:39,120
Speaker 3: who keeps taking his picture every time he's arrested, and

705
00:37:39,160 --> 00:37:40,960
Speaker 3: so you're getting this. It's such a weird way to

706
00:37:41,000 --> 00:37:43,680
Speaker 3: tell a story of how they've met. But they meet

707
00:37:44,239 --> 00:37:46,719
Speaker 3: and he's like, she's really pretty, and then he gets

708
00:37:46,800 --> 00:37:50,320
Speaker 3: arrested again. He released, gets arrested again, and she's crying

709
00:37:50,360 --> 00:37:52,839
Speaker 3: because her fiance broke up with her who she calls

710
00:37:52,840 --> 00:37:56,399
Speaker 3: her fiance, which I fucking love. And then the next

711
00:37:56,400 --> 00:37:59,360
Speaker 3: the third time you see him getting arrested, he proposes,

712
00:37:59,520 --> 00:38:01,600
Speaker 3: and again the writing is so.

713
00:38:03,120 --> 00:38:03,840
Speaker 2: Fucking great.

714
00:38:04,280 --> 00:38:06,520
Speaker 3: So he walks in and he like he walks in

715
00:38:06,640 --> 00:38:08,520
Speaker 3: a little suit jacket. He says, I'm walking in here

716
00:38:08,520 --> 00:38:10,640
Speaker 3: on my knees and like it's just a little shit

717
00:38:10,719 --> 00:38:13,960
Speaker 3: like that that just cracks me the fuck up. But

718
00:38:14,040 --> 00:38:16,960
Speaker 3: he proposes and she's like okay, and so they get

719
00:38:17,000 --> 00:38:19,640
Speaker 3: a house and they get he gets a job. You'll

720
00:38:19,640 --> 00:38:22,680
Speaker 3: notice if you look closely at his uniform that he

721
00:38:22,719 --> 00:38:26,920
Speaker 3: works for Hudsucker Industries. And we know that the Cohen

722
00:38:26,960 --> 00:38:30,200
Speaker 3: Brothers in nineteen eighty four release the film Hudsucker Proxy.

723
00:38:30,239 --> 00:38:32,520
Speaker 3: But they've been thinking about it since around this time.

724
00:38:32,560 --> 00:38:34,560
Speaker 3: They kind of wanted it to be their second film,

725
00:38:34,760 --> 00:38:36,239
Speaker 3: but it was kind of too big for them to

726
00:38:37,200 --> 00:38:39,640
Speaker 3: go for at the time. So but it's in there,

727
00:38:40,120 --> 00:38:43,799
Speaker 3: that little institutional memory. So he gets this job, and

728
00:38:43,840 --> 00:38:46,880
Speaker 3: then you know, next step adds like I want a baby,

729
00:38:47,760 --> 00:38:50,040
Speaker 3: and then she finds out she can't conceive, and a

730
00:38:50,160 --> 00:38:53,320
Speaker 3: hilarious scene, like a scene that it should be so heartbreaking,

731
00:38:53,360 --> 00:38:56,640
Speaker 3: ends up being so fucking funny because she just pulls

732
00:38:56,719 --> 00:39:00,319
Speaker 3: up with her siren going in her cop car like

733
00:39:00,480 --> 00:39:03,719
Speaker 3: I'm barren. And then he go to the doctor and

734
00:39:04,080 --> 00:39:09,160
Speaker 3: through the voiceover you hear I say, the doctor told

735
00:39:09,200 --> 00:39:11,480
Speaker 3: me that her insides were a rocky place where my

736
00:39:11,560 --> 00:39:15,520
Speaker 3: seed could find no purchase. Like it's just so weirdly

737
00:39:15,719 --> 00:39:17,520
Speaker 3: funny and like country and like.

738
00:39:17,480 --> 00:39:18,120
Speaker 2: I just I don't know.

739
00:39:18,160 --> 00:39:20,280
Speaker 3: I love the way he talks and the things he says,

740
00:39:20,400 --> 00:39:21,880
Speaker 3: and it's very very funny setup.

741
00:39:22,400 --> 00:39:24,440
Speaker 1: That's what I love about the script too, is that

742
00:39:24,480 --> 00:39:27,319
Speaker 1: it does I mean, I just know this because I

743
00:39:27,480 --> 00:39:29,600
Speaker 1: watch old movies all the time. But it feels like

744
00:39:30,560 --> 00:39:35,080
Speaker 1: the all the it feels like the characters are always

745
00:39:35,080 --> 00:39:38,279
Speaker 1: talking in this kind of vernacular that's like kind of

746
00:39:38,560 --> 00:39:44,480
Speaker 1: old country stuff like the mind it, don't cut yourself

747
00:39:44,560 --> 00:39:48,200
Speaker 1: Mordecai type of thing, like mind you this, and like yeah,

748
00:39:48,400 --> 00:39:50,720
Speaker 1: using all of the kind of I mean, it sounds

749
00:39:50,719 --> 00:39:55,080
Speaker 1: like they're in you know, like a nineteen forties you know,

750
00:39:55,200 --> 00:39:58,759
Speaker 1: like John steinbeck ish type of thing, you know what

751
00:39:58,760 --> 00:40:00,880
Speaker 1: I mean, where they're like it's a lot of like

752
00:40:00,920 --> 00:40:02,760
Speaker 1: that kind of thing, which I think is really charming

753
00:40:02,840 --> 00:40:06,200
Speaker 1: and funny, and I think it obviously like contributes to

754
00:40:06,200 --> 00:40:09,120
Speaker 1: the kind of a slapstickness of the movie in a way.

755
00:40:09,600 --> 00:40:12,800
Speaker 3: Yes, Oh, I could not agree more, especially the character

756
00:40:12,800 --> 00:40:16,600
Speaker 3: of Nathan Arizona, who again we will get to but

757
00:40:16,760 --> 00:40:19,359
Speaker 3: they they can't have kids, and so Ed is really

758
00:40:19,360 --> 00:40:22,680
Speaker 3: depressed and she quits her job, and then they they

759
00:40:23,280 --> 00:40:25,040
Speaker 3: you know, time's going on, and they're just kind of

760
00:40:25,080 --> 00:40:28,400
Speaker 3: in this low spot in their relationship, and then all

761
00:40:28,440 --> 00:40:30,520
Speaker 3: of a sudden, they read in the paper that a

762
00:40:30,560 --> 00:40:36,000
Speaker 3: local furniture salesman, Nathan Arizona, and his wife have had quintuplets,

763
00:40:36,040 --> 00:40:39,400
Speaker 3: the Arizona Quints, and they decide to steal one of

764
00:40:39,400 --> 00:40:41,920
Speaker 3: the babies. Ed's like, we're gonna take one of those babies.

765
00:40:42,560 --> 00:40:44,520
Speaker 3: And this is all before the credits. This is when

766
00:40:44,560 --> 00:40:48,640
Speaker 3: the credits roll, They're like, let's take this baby. So

767
00:40:48,680 --> 00:40:50,279
Speaker 3: the reason, one of the main reasons I picked this

768
00:40:50,360 --> 00:40:54,400
Speaker 3: movie for this theme is that there's so many ways

769
00:40:54,680 --> 00:40:57,000
Speaker 3: from the intro to the film that people would not

770
00:40:57,000 --> 00:40:59,920
Speaker 3: get this relationship. So it's like, why would a cop

771
00:41:00,280 --> 00:41:01,200
Speaker 3: marry a robber?

772
00:41:01,360 --> 00:41:01,760
Speaker 2: Essentially?

773
00:41:02,960 --> 00:41:07,080
Speaker 3: You know, why would they someone who usually steals from

774
00:41:07,080 --> 00:41:09,960
Speaker 3: convenience stores with no ammunition because then he knows that

775
00:41:10,040 --> 00:41:13,000
Speaker 3: sentence will be lighter. Why would he decide to then

776
00:41:13,040 --> 00:41:15,399
Speaker 3: steal a human being? Like, there's just so many ways

777
00:41:15,400 --> 00:41:17,640
Speaker 3: in where you're like, people don't get it or might

778
00:41:17,680 --> 00:41:20,080
Speaker 3: not get it, but the way it's presented, it makes

779
00:41:20,120 --> 00:41:22,480
Speaker 3: total sense on the screen that this is a logical

780
00:41:22,520 --> 00:41:24,680
Speaker 3: This is weirdly a logical step for them to take.

781
00:41:25,320 --> 00:41:31,960
Speaker 1: Yeah, yeah, I love Nathan Arizona like senior, like Troy

782
00:41:32,000 --> 00:41:36,880
Speaker 1: Wilson who plays him, Like it's so funny that he

783
00:41:37,120 --> 00:41:41,920
Speaker 1: his character is like to me, seems like kind of

784
00:41:42,520 --> 00:41:45,040
Speaker 1: a common character in that Cohen brother universe, which is

785
00:41:45,080 --> 00:41:48,359
Speaker 1: like the bit the country business guy or whatever, and

786
00:41:49,360 --> 00:41:52,120
Speaker 1: like it always cracks me up when he talks about

787
00:41:52,160 --> 00:41:58,000
Speaker 1: owning an unfinished furniture business, Like I I'm not sure

788
00:41:58,120 --> 00:42:00,399
Speaker 1: if this is a Southern thing or not. I mean,

789
00:42:00,680 --> 00:42:05,600
Speaker 1: but I knew a lot of people who bought unfinished furniture,

790
00:42:05,800 --> 00:42:07,640
Speaker 1: like and it was there was so many of those things,

791
00:42:07,680 --> 00:42:12,160
Speaker 1: like in my hometown, like warehouse is filled with unfinished furniture,

792
00:42:12,200 --> 00:42:16,000
Speaker 1: and I'm like, why do people buy it just because

793
00:42:16,000 --> 00:42:18,360
Speaker 1: they want to design it and like paint it themselves

794
00:42:18,440 --> 00:42:21,360
Speaker 1: or like it's cheaper. I don't understand what what the

795
00:42:21,400 --> 00:42:23,680
Speaker 1: appeal is of unfinished furniture.

796
00:42:24,080 --> 00:42:26,160
Speaker 3: That is very much a Southern thing, I think, because

797
00:42:26,160 --> 00:42:29,120
Speaker 3: I've never seen that in my life growing up in

798
00:42:29,160 --> 00:42:32,799
Speaker 3: the East Coast, like North Northeast, never saw that.

799
00:42:33,760 --> 00:42:37,520
Speaker 1: Yeah, I just assumed it was like a country thing,

800
00:42:37,719 --> 00:42:40,839
Speaker 1: like people's parents wanted to, like, you know, I don't know,

801
00:42:41,080 --> 00:42:43,680
Speaker 1: put stencils on their own fucking.

802
00:42:44,560 --> 00:42:47,880
Speaker 3: Chest of drawers, or I don't know, they wanted the

803
00:42:47,960 --> 00:42:51,319
Speaker 3: exact right stain for their cabinets. They're like, we need

804
00:42:51,360 --> 00:42:54,040
Speaker 3: it to be this exact shade of kind of orange red.

805
00:42:55,520 --> 00:42:58,640
Speaker 1: That's so puzzling. I don't know. Maybe it is even

806
00:42:58,719 --> 00:43:02,279
Speaker 1: more of a country look to unfinished furniture in your house.

807
00:43:02,320 --> 00:43:04,000
Speaker 1: I don't know, but anyway, it just cracks me up

808
00:43:04,000 --> 00:43:06,880
Speaker 1: because it's like his entire bread and butter as this

809
00:43:06,960 --> 00:43:09,840
Speaker 1: fucking unfinished furniture business.

810
00:43:09,640 --> 00:43:12,040
Speaker 3: And he's so successful and you're right, like he's he's

811
00:43:12,120 --> 00:43:14,600
Speaker 3: part of this again. The Coen Brothers love to present

812
00:43:14,719 --> 00:43:18,279
Speaker 3: this kind of character, this country businessman who's also kind

813
00:43:18,280 --> 00:43:22,239
Speaker 3: of a bombastic shithead, but also ends up bringing like

814
00:43:22,360 --> 00:43:25,560
Speaker 3: most of the comedy in every scene that they're in.

815
00:43:26,200 --> 00:43:28,560
Speaker 2: Yeah, Like he is just so fucking funny.

816
00:43:28,560 --> 00:43:30,520
Speaker 3: There's that scene where after the kid is stolen and

817
00:43:30,520 --> 00:43:32,880
Speaker 3: he's talking to the cops and the cops are like,

818
00:43:33,680 --> 00:43:36,759
Speaker 3: can you was he wearing anything when he went to bed,

819
00:43:36,760 --> 00:43:43,520
Speaker 3: and he's like, nobody sleeps naked in this house, and

820
00:43:43,560 --> 00:43:45,960
Speaker 3: then the cop persists and he's like well, what was

821
00:43:45,960 --> 00:43:46,319
Speaker 3: he wearing.

822
00:43:46,400 --> 00:43:47,880
Speaker 2: He's like, he was wearing a dinner jacket. What do

823
00:43:47,880 --> 00:43:48,480
Speaker 2: you think he was wearing?

824
00:43:48,560 --> 00:43:51,640
Speaker 3: He was wearing his jammy. He's like that.

825
00:43:51,760 --> 00:43:55,319
Speaker 1: That whole like Yoda thing too, always cracks me Upajamas,

826
00:43:55,920 --> 00:43:59,360
Speaker 1: I don't know they were jammys and Yoda's and shit

827
00:43:59,440 --> 00:44:01,080
Speaker 1: on them. Oh fucking funny to me.

828
00:44:01,520 --> 00:44:02,000
Speaker 2: Oh good.

829
00:44:02,400 --> 00:44:04,480
Speaker 3: And it's great too, because again in the spirit of

830
00:44:04,520 --> 00:44:07,080
Speaker 3: the film, it's like his child has just been kidnapped

831
00:44:07,600 --> 00:44:09,640
Speaker 3: and he has no time for these fucking cops. He's

832
00:44:09,680 --> 00:44:11,440
Speaker 3: like going around picking up after them, like, get your

833
00:44:11,440 --> 00:44:15,080
Speaker 3: feet off my fucking furniture, my unfinished furniture, and go

834
00:44:15,120 --> 00:44:17,800
Speaker 3: find my child. I don't have time for your shitty questions.

835
00:44:17,800 --> 00:44:20,880
Speaker 3: But he's such a he brings such a balance of

836
00:44:21,000 --> 00:44:23,640
Speaker 3: energy to this. You know, this Hi mcdonaugh character who's

837
00:44:23,680 --> 00:44:27,160
Speaker 3: kind of like floating through life in a way, whereas

838
00:44:27,239 --> 00:44:28,759
Speaker 3: Nathan Arizona's like, this is what I do.

839
00:44:28,840 --> 00:44:31,840
Speaker 2: This is who I am. I am this guy.

840
00:44:31,719 --> 00:44:33,480
Speaker 3: All the time, when I'm talking to my wife, when

841
00:44:33,480 --> 00:44:35,920
Speaker 3: I'm talking to my kids, when I'm making a commercial,

842
00:44:36,280 --> 00:44:37,000
Speaker 3: does not matter.

843
00:44:37,120 --> 00:44:37,919
Speaker 2: This is who I am.

844
00:44:38,600 --> 00:44:42,360
Speaker 3: So his confidence is so off putting compared to Hi.

845
00:44:43,480 --> 00:44:47,200
Speaker 3: But yeah, so they they they he and makes him

846
00:44:47,200 --> 00:44:51,960
Speaker 3: steal this baby, which again a scene that is so incredible.

847
00:44:52,760 --> 00:44:54,120
Speaker 2: It's just absolute mayhem.

848
00:44:54,280 --> 00:44:57,640
Speaker 3: It is. There is nothing that showcases Nicholas Cage as

849
00:44:57,680 --> 00:44:59,280
Speaker 3: a comic actor more than the scene.

850
00:44:59,320 --> 00:45:01,200
Speaker 2: In my like, he's.

851
00:45:00,960 --> 00:45:03,080
Speaker 3: Literally doing like the little ding ding ding ding ding

852
00:45:03,200 --> 00:45:05,840
Speaker 3: kind of cartoon walk to chase after the baby sometimes.

853
00:45:06,960 --> 00:45:09,680
Speaker 3: But he gets a baby and he grabs the Spock

854
00:45:09,760 --> 00:45:10,759
Speaker 3: book on the way out.

855
00:45:11,640 --> 00:45:12,040
Speaker 2: This book.

856
00:45:12,200 --> 00:45:13,960
Speaker 3: The fact, the fact that this book is a through

857
00:45:14,000 --> 00:45:16,920
Speaker 3: line in this film also cracks me up. Yeah, and

858
00:45:16,960 --> 00:45:19,320
Speaker 3: they have they hang this little Welcome Home Son banner

859
00:45:19,400 --> 00:45:22,880
Speaker 3: and play their record and bring this baby home. Meanwhile,

860
00:45:22,880 --> 00:45:27,280
Speaker 3: on the same night, Gail and Evel snowtes his former

861
00:45:27,920 --> 00:45:32,120
Speaker 3: prison inmates. Friends are breaking out of the same jail

862
00:45:32,320 --> 00:45:36,839
Speaker 3: where Hi was an inmate. This is one of those scenes. Again,

863
00:45:36,920 --> 00:45:38,759
Speaker 3: saw this when I was ten years old. This is

864
00:45:38,760 --> 00:45:40,359
Speaker 3: one of those scenes that is.

865
00:45:40,280 --> 00:45:41,640
Speaker 2: So fucking memorable.

866
00:45:41,680 --> 00:45:43,799
Speaker 3: And when I first saw this movie, I had no

867
00:45:44,080 --> 00:45:45,320
Speaker 3: idea what was happening.

868
00:45:45,840 --> 00:45:50,120
Speaker 2: So you have John Goodman busting out through.

869
00:45:49,880 --> 00:45:54,799
Speaker 3: The mud on a thunderstorm filled rainy night, just screaming.

870
00:45:54,840 --> 00:46:03,680
Speaker 3: The only dialogue in this scene is screaming, and he's

871
00:46:03,680 --> 00:46:06,000
Speaker 3: screaming his head off, and then he reaches down into

872
00:46:06,000 --> 00:46:08,880
Speaker 3: the mud and pulls his brother out by the leg

873
00:46:09,440 --> 00:46:12,319
Speaker 3: and then he's screaming, and it is just such a

874
00:46:13,040 --> 00:46:15,600
Speaker 3: it's so funny, but it's so freeing. Like it's just

875
00:46:15,640 --> 00:46:18,440
Speaker 3: like they've broken out of jail and they are just

876
00:46:19,200 --> 00:46:21,920
Speaker 3: fucking thrilled, and because of the thunderstorm, they're able to

877
00:46:21,920 --> 00:46:24,200
Speaker 3: just scream their way through all the mud and shit

878
00:46:24,200 --> 00:46:27,160
Speaker 3: they just tunnel through. They're able to just scream at

879
00:46:27,239 --> 00:46:30,760
Speaker 3: their own release. It just uh, such a great scene.

880
00:46:31,120 --> 00:46:34,120
Speaker 1: I mean, I mean, now I know that this movie

881
00:46:34,160 --> 00:46:36,880
Speaker 1: is about babies, but it's like they're being birthed in that.

882
00:46:37,640 --> 00:46:37,880
Speaker 3: You know.

883
00:46:37,960 --> 00:46:40,279
Speaker 1: It's like they're both like coming out of this like

884
00:46:40,760 --> 00:46:44,080
Speaker 1: hole this like and they're just like ah, and it's

885
00:46:44,160 --> 00:46:48,160
Speaker 1: like so so insane because I kept thinking, like, Okay,

886
00:46:48,360 --> 00:46:51,760
Speaker 1: I was trying to think about like the jail break plans.

887
00:46:51,800 --> 00:46:53,719
Speaker 1: I'm like, how did they get Okay, so they must

888
00:46:53,719 --> 00:46:55,719
Speaker 1: have come out through like a pipe or something or

889
00:46:55,920 --> 00:46:58,160
Speaker 1: but then how are they able to pull themselves up

890
00:46:58,239 --> 00:46:59,000
Speaker 1: out of whatever?

891
00:46:59,040 --> 00:46:59,440
Speaker 2: It is?

892
00:46:59,520 --> 00:47:02,240
Speaker 3: Like it was why was the brother upside down?

893
00:47:03,080 --> 00:47:07,400
Speaker 1: Why the brother was breach? Apparently I don't know, but

894
00:47:07,440 --> 00:47:09,200
Speaker 1: it was like that thing where I was like, how

895
00:47:09,239 --> 00:47:12,200
Speaker 1: the fuck did they get out of jail through like

896
00:47:12,280 --> 00:47:15,480
Speaker 1: a muddy hole? Like so crazy.

897
00:47:15,680 --> 00:47:17,520
Speaker 3: There's even a point where he says like, yeah, we

898
00:47:17,600 --> 00:47:19,759
Speaker 3: hit a sewer line unfortunately on the way out, Like

899
00:47:19,800 --> 00:47:22,000
Speaker 3: it wasn't that deeply planned. They were just like, we're

900
00:47:22,000 --> 00:47:24,319
Speaker 3: gonna tunnel out, and that's how we're gonna do it.

901
00:47:24,920 --> 00:47:25,320
Speaker 2: Wow.

902
00:47:25,520 --> 00:47:28,040
Speaker 3: Yeah, it's a fucking incredible, But I love that correlation.

903
00:47:28,120 --> 00:47:28,839
Speaker 2: You're absolutely right.

904
00:47:28,880 --> 00:47:33,280
Speaker 3: It's like they're being berthed into this world of absolute mayhem.

905
00:47:33,680 --> 00:47:35,160
Speaker 3: And then of course the first thing they do is

906
00:47:35,200 --> 00:47:38,960
Speaker 3: go to h I's house and Ed is not having it.

907
00:47:39,040 --> 00:47:40,920
Speaker 3: It's like, who the fuck are these friends? Why did

908
00:47:40,920 --> 00:47:42,920
Speaker 3: they smell so bad? We just and this is all

909
00:47:42,920 --> 00:47:45,399
Speaker 3: in the same night. They just stole this baby, and

910
00:47:45,840 --> 00:47:47,640
Speaker 3: she's like, we need to protect our kid, get them

911
00:47:47,640 --> 00:47:51,640
Speaker 3: the fuck out of here. And they're kind of like

912
00:47:52,360 --> 00:47:55,719
Speaker 3: they're a weird fly in the ointment because you think, well,

913
00:47:56,880 --> 00:48:01,480
Speaker 3: h I is also a convicted felon, and his friends

914
00:48:01,480 --> 00:48:03,960
Speaker 3: are all obviously going to be convicted felons in a

915
00:48:04,000 --> 00:48:06,400
Speaker 3: lot of ways. So the fact that Ed's kind of

916
00:48:06,400 --> 00:48:10,040
Speaker 3: surprised about it is an interesting story point, but it's

917
00:48:10,080 --> 00:48:11,640
Speaker 3: part of that they don't get it, and they don't

918
00:48:11,680 --> 00:48:16,399
Speaker 3: have to, because you know, Gail and Evel are like, why.

919
00:48:15,600 --> 00:48:16,319
Speaker 2: Are you with this woman?

920
00:48:16,400 --> 00:48:19,640
Speaker 3: Like she's cute, but she's a real ball breaker, and

921
00:48:20,560 --> 00:48:22,640
Speaker 3: she doesn't kind of get that this is what you

922
00:48:22,680 --> 00:48:24,000
Speaker 3: do when you get out of prison, as you go

923
00:48:24,000 --> 00:48:26,319
Speaker 3: and stay with your friends. They're just it's kind of

924
00:48:27,000 --> 00:48:30,520
Speaker 3: emphasizes the discord in the relationship a little bit.

925
00:48:31,800 --> 00:48:34,560
Speaker 1: I mean, it's basically like a keyed up version of like,

926
00:48:35,400 --> 00:48:37,920
Speaker 1: you know that kind of classic narrative of like the

927
00:48:38,000 --> 00:48:41,600
Speaker 1: wife has to like tell the husband to grow up,

928
00:48:43,000 --> 00:48:46,320
Speaker 1: and she's like, you can't bring your rough friends around here,

929
00:48:46,360 --> 00:48:48,719
Speaker 1: and you've got to be responsible. We got a baby now,

930
00:48:48,920 --> 00:48:50,440
Speaker 1: like can't be fucking around.

931
00:48:50,680 --> 00:48:50,880
Speaker 3: You know.

932
00:48:51,080 --> 00:48:54,440
Speaker 1: It's just basically like you know, that sort of classic

933
00:48:54,520 --> 00:48:58,600
Speaker 1: narrative of like men are terrified of fatherhood and the

934
00:48:59,080 --> 00:49:03,680
Speaker 1: wife has to them into being a responsible person. It's

935
00:49:03,719 --> 00:49:06,239
Speaker 1: just kind of like a keyed up, slapstick version.

936
00:49:05,920 --> 00:49:09,680
Speaker 3: Of that, right, completely right, And we see it play

937
00:49:09,719 --> 00:49:12,960
Speaker 3: out even further when when they do have company come over,

938
00:49:13,000 --> 00:49:14,440
Speaker 3: because she's like, you got to get these guys out

939
00:49:14,440 --> 00:49:16,480
Speaker 3: of here because we're having like real people come over

940
00:49:17,160 --> 00:49:21,279
Speaker 3: and Hi's foreman Glenn's played by Sam McMurray and his

941
00:49:21,320 --> 00:49:23,640
Speaker 3: wife Dot played by Frances McDorman.

942
00:49:23,840 --> 00:49:25,120
Speaker 2: Francis McDormand Is.

943
00:49:25,560 --> 00:49:27,840
Speaker 3: I mean, they're both incredible in this film. But she

944
00:49:28,120 --> 00:49:31,760
Speaker 3: is so over the top hilarious in her role is Dot,

945
00:49:31,920 --> 00:49:34,240
Speaker 3: that I cannot stop laughing every time she's on screen.

946
00:49:34,920 --> 00:49:38,160
Speaker 3: And they do they come over with their five kids,

947
00:49:38,840 --> 00:49:43,600
Speaker 3: and these kids are feral. It is the funniest fucking

948
00:49:43,640 --> 00:49:47,920
Speaker 3: scene I have ever saw. As a child, I'm like,

949
00:49:47,960 --> 00:49:50,920
Speaker 3: what is happening here? One kid has an eyepatch and

950
00:49:51,000 --> 00:49:54,719
Speaker 3: a head bandage and it's just chuck and jello. And

951
00:49:54,760 --> 00:49:57,680
Speaker 3: then you got Buford, who's just like a mouth breathing

952
00:49:57,719 --> 00:50:01,000
Speaker 3: little miscreant who's writing fart on the wall and crayon

953
00:50:02,480 --> 00:50:06,400
Speaker 3: so awesome, Like I want that. That's my next stattoo?

954
00:50:06,440 --> 00:50:08,160
Speaker 3: Is Buford running far on the wall?

955
00:50:09,480 --> 00:50:11,480
Speaker 1: I do that shit, believe me.

956
00:50:11,880 --> 00:50:15,279
Speaker 3: Oh my god, it is just the image of it.

957
00:50:15,400 --> 00:50:17,080
Speaker 3: I can conjure it up so quickly and it makes

958
00:50:17,080 --> 00:50:20,480
Speaker 3: me laugh so hard. But again it's this other layer

959
00:50:20,640 --> 00:50:23,000
Speaker 3: of we don't get it, maybe we don't have to,

960
00:50:23,160 --> 00:50:25,120
Speaker 3: Like why do they keep having all these kids. These

961
00:50:25,200 --> 00:50:30,799
Speaker 3: kids are like not normal. His children are feral, and.

962
00:50:30,719 --> 00:50:33,600
Speaker 2: They just keep having in want and wanting kids.

963
00:50:34,000 --> 00:50:36,840
Speaker 3: And that's a relationship that I just don't understand of

964
00:50:36,960 --> 00:50:39,040
Speaker 3: like you have all these kids that you can't control,

965
00:50:39,640 --> 00:50:41,719
Speaker 3: and you seem to still like love each other and

966
00:50:41,800 --> 00:50:42,359
Speaker 3: want more.

967
00:50:42,600 --> 00:50:43,200
Speaker 2: I don't get it.

968
00:50:43,880 --> 00:50:45,960
Speaker 1: Well, it's funny because, oh my god, I was just

969
00:50:46,000 --> 00:50:48,080
Speaker 1: having this conversation with my mom and dad the other

970
00:50:48,160 --> 00:50:52,920
Speaker 1: night because I have I have this like sneaking suspicion

971
00:50:52,920 --> 00:50:56,880
Speaker 1: and they might have actually said they may have actually

972
00:50:56,880 --> 00:50:59,719
Speaker 1: alluded to it in the film, but like they were

973
00:50:59,719 --> 00:51:03,719
Speaker 1: talking about how like they want a baby because when

974
00:51:03,760 --> 00:51:05,960
Speaker 1: the kids grew up, they're not as cuddly as.

975
00:51:05,840 --> 00:51:09,200
Speaker 3: Yes, you know, yes, that's what Glenn says.

976
00:51:09,680 --> 00:51:11,239
Speaker 1: Yes, And I was talking to my mom and dad

977
00:51:11,239 --> 00:51:13,400
Speaker 1: about this because you know, my nephews are getting older,

978
00:51:13,480 --> 00:51:15,719
Speaker 1: you know, and we were kind of like, you know,

979
00:51:16,640 --> 00:51:19,000
Speaker 1: we were kind of talking about how when they were babies,

980
00:51:19,000 --> 00:51:20,799
Speaker 1: they were so cute and they were all this, listen,

981
00:51:21,000 --> 00:51:22,640
Speaker 1: not that they're not cute anymore, but you know what

982
00:51:22,719 --> 00:51:24,759
Speaker 1: I'm saying, there's difference between like a three year old

983
00:51:24,840 --> 00:51:27,759
Speaker 1: and like a seven year old exactly, and the seven

984
00:51:27,840 --> 00:51:30,120
Speaker 1: year old is like just playing video games all day

985
00:51:30,120 --> 00:51:32,279
Speaker 1: and doesn't want to hug, like, don't you know, Like

986
00:51:32,920 --> 00:51:36,239
Speaker 1: it's like a different a different age of kid. And

987
00:51:36,280 --> 00:51:39,480
Speaker 1: so I kept thinking about that too, where I was like, well,

988
00:51:39,520 --> 00:51:41,480
Speaker 1: they just probably keep having kids just because they're just

989
00:51:41,480 --> 00:51:43,120
Speaker 1: getting the kids get older and then they're like, well

990
00:51:43,120 --> 00:51:45,200
Speaker 1: they're not cute anymore. We got to have another baby,

991
00:51:45,480 --> 00:51:47,680
Speaker 1: and then it just keeps happening over and over.

992
00:51:48,000 --> 00:51:50,640
Speaker 3: Though, like what we love is the baby part of babies,

993
00:51:51,280 --> 00:51:56,040
Speaker 3: not the child kid part of babies.

994
00:51:54,880 --> 00:51:56,840
Speaker 1: Which I was like, and I just kept thinking, is

995
00:51:56,840 --> 00:51:59,160
Speaker 1: that why people have like twelve kids?

996
00:51:59,440 --> 00:52:04,319
Speaker 3: Yeah, unless they're part of that quiverfull nation, it's usually

997
00:52:04,320 --> 00:52:07,000
Speaker 3: because they're like, well we have forgotten that they get

998
00:52:07,040 --> 00:52:09,799
Speaker 3: older and become more of a pain in the ass. Yeah,

999
00:52:09,840 --> 00:52:13,160
Speaker 3: we like the cute, cuddly part. It's so wild. It's

1000
00:52:13,280 --> 00:52:16,120
Speaker 3: absolutely wild. And they are also I mean, like look

1001
00:52:16,160 --> 00:52:17,880
Speaker 3: Glenn and Dot again wild.

1002
00:52:18,000 --> 00:52:19,160
Speaker 2: They're also swingers.

1003
00:52:19,320 --> 00:52:25,600
Speaker 3: So so as Gwen is saying these horrible jokes and

1004
00:52:25,719 --> 00:52:29,120
Speaker 3: like just being a again bombastic piece of shit, he

1005
00:52:29,320 --> 00:52:31,480
Speaker 3: also kind of, you know, h e is like he's

1006
00:52:31,520 --> 00:52:34,400
Speaker 3: having this like panic attack because he's just had this

1007
00:52:34,440 --> 00:52:36,959
Speaker 3: conversation with Dot and Ed where they're like, you gotta

1008
00:52:36,960 --> 00:52:39,160
Speaker 3: get him his diptet shots, you gotta get a doctor,

1009
00:52:39,239 --> 00:52:40,360
Speaker 3: you got to start saving.

1010
00:52:40,160 --> 00:52:43,520
Speaker 2: For college and orthodontia. And so Hi is having.

1011
00:52:43,320 --> 00:52:47,239
Speaker 3: Like a panic attack, and Glenn's solution is, well, we're swingers,

1012
00:52:47,320 --> 00:52:50,399
Speaker 3: so we should wife swap and that takes the edge off.

1013
00:52:50,960 --> 00:52:54,000
Speaker 3: So of course Hi just punches them right in the

1014
00:52:54,000 --> 00:52:56,600
Speaker 3: fucking face, which does some damage, but he does even

1015
00:52:56,640 --> 00:52:59,279
Speaker 3: more damage to himself when he runs away and runs

1016
00:52:59,360 --> 00:53:03,239
Speaker 3: right into attack. Is But that whole scene is so

1017
00:53:03,640 --> 00:53:06,400
Speaker 3: fucking great and funny, and it's like you can see

1018
00:53:07,040 --> 00:53:10,000
Speaker 3: Hi kind of processing like I don't know what I've

1019
00:53:10,000 --> 00:53:12,080
Speaker 3: gotten myself into. I just love my wife and want

1020
00:53:12,080 --> 00:53:15,400
Speaker 3: to make her happy. And he's it's very prophetic, like

1021
00:53:15,400 --> 00:53:18,560
Speaker 3: he's having these prophetic dreams throughout the movie and he's

1022
00:53:18,640 --> 00:53:21,640
Speaker 3: also like living a prophecy in that moment. It's so

1023
00:53:21,760 --> 00:53:22,440
Speaker 3: fucking funny.

1024
00:53:22,840 --> 00:53:24,719
Speaker 1: I gotta say too, Sam mc murray, I feel like

1025
00:53:24,760 --> 00:53:29,040
Speaker 1: it's such an underrated comedic actor. Like every time I

1026
00:53:29,040 --> 00:53:31,799
Speaker 1: would see him, even now, like when I saw when

1027
00:53:31,800 --> 00:53:34,400
Speaker 1: I in his later years, it always reminded me of

1028
00:53:34,440 --> 00:53:36,279
Speaker 1: seeing him on the Tracy Ollman show, which I was

1029
00:53:36,320 --> 00:53:40,839
Speaker 1: obsessed with when it was on TV, and I just

1030
00:53:40,960 --> 00:53:43,760
Speaker 1: every time I see him, he just makes me happy.

1031
00:53:43,800 --> 00:53:48,320
Speaker 1: His characters are always like so funny and.

1032
00:53:47,120 --> 00:53:51,000
Speaker 3: Weird, absolutely right, like he's he definitely is underrated and

1033
00:53:51,600 --> 00:53:54,800
Speaker 3: brings an energy and a flavor to comedy and into

1034
00:53:54,840 --> 00:53:58,319
Speaker 3: his roles that is really unparalleled. Like I can't think

1035
00:53:58,360 --> 00:54:00,319
Speaker 3: of another person that I'm as soon as I see them,

1036
00:54:00,320 --> 00:54:01,640
Speaker 3: I'm just like viscerally happy.

1037
00:54:02,040 --> 00:54:04,040
Speaker 2: Yeah, oh he's so great.

1038
00:54:04,400 --> 00:54:06,640
Speaker 3: So and again, this movie is made up of these

1039
00:54:06,680 --> 00:54:10,400
Speaker 3: like kind of great scenes. So the next great scene

1040
00:54:10,400 --> 00:54:12,960
Speaker 3: that we see is when they're they're kind of you know,

1041
00:54:13,440 --> 00:54:15,520
Speaker 3: high in ed or or driving home and they have

1042
00:54:15,560 --> 00:54:20,120
Speaker 3: to stop for diapers and Hi kind of can't you know,

1043
00:54:20,160 --> 00:54:24,120
Speaker 3: get rid of his thieve and ways, and so he

1044
00:54:24,200 --> 00:54:27,880
Speaker 3: picks out a pair of pantyhose and a package of

1045
00:54:27,880 --> 00:54:31,359
Speaker 3: diapers and just like robs the store. And it is

1046
00:54:31,640 --> 00:54:35,560
Speaker 3: the fucking greatest scene because this scene is it's a

1047
00:54:35,560 --> 00:54:39,120
Speaker 3: car chase, it's a foot chase, and it's a shootout

1048
00:54:39,719 --> 00:54:42,279
Speaker 3: all around one neighborhood and it's it feels like a

1049
00:54:42,600 --> 00:54:45,120
Speaker 3: it's not, but it feels like a single shot scene,

1050
00:54:45,160 --> 00:54:48,040
Speaker 3: like the way that they're kind of going through the

1051
00:54:48,080 --> 00:54:52,080
Speaker 3: motions of how he's escaping. Once he's tried to rob

1052
00:54:52,120 --> 00:54:54,200
Speaker 3: this store and isn't getting away with it, and Ed

1053
00:54:54,320 --> 00:54:55,920
Speaker 3: just drives away. She's like, you're a son of a bitch.

1054
00:54:55,960 --> 00:54:57,480
Speaker 3: I can't believe you're doing this. We have a baby now,

1055
00:54:57,480 --> 00:54:59,400
Speaker 3: and she just leaves him. So you see him running

1056
00:54:59,400 --> 00:55:01,200
Speaker 3: through this neighborhoo trying to get away from the cops.

1057
00:55:01,239 --> 00:55:02,120
Speaker 2: The cops have been called.

1058
00:55:02,719 --> 00:55:04,880
Speaker 3: The clerk is shooting at him like it is just

1059
00:55:05,480 --> 00:55:08,040
Speaker 3: again in that Looney Tunes way. When you really look

1060
00:55:08,080 --> 00:55:10,000
Speaker 3: at the film from that perspective, you're like, Yeah, this

1061
00:55:10,040 --> 00:55:15,520
Speaker 3: feels very cartoonish but also simultaneously so wonderfully funny and

1062
00:55:15,600 --> 00:55:19,120
Speaker 3: so fresh. And the way that it's shot and the

1063
00:55:19,160 --> 00:55:22,360
Speaker 3: way that they kind of you get close ups of

1064
00:55:23,120 --> 00:55:26,160
Speaker 3: weird people who seem inconsequential, so like women running.

1065
00:55:26,280 --> 00:55:27,799
Speaker 2: I mean, there's a dog chase.

1066
00:55:27,760 --> 00:55:31,240
Speaker 3: Like you see you see like from the perspective of

1067
00:55:31,680 --> 00:55:33,560
Speaker 3: the woman being chased by a dog. You see from

1068
00:55:33,600 --> 00:55:36,399
Speaker 3: the perspective of the guy driving the truck that Hi

1069
00:55:36,520 --> 00:55:39,120
Speaker 3: tries to you know, kind of hijack, Like you're just

1070
00:55:39,200 --> 00:55:43,120
Speaker 3: seeing these perspectives that meld so perfectly. But the energy

1071
00:55:43,160 --> 00:55:46,080
Speaker 3: and the franticness and the hilarity just comes through in

1072
00:55:46,120 --> 00:55:47,960
Speaker 3: the way that they're shot, and those kind of close

1073
00:55:48,040 --> 00:55:49,799
Speaker 3: ups that as people are running.

1074
00:55:50,960 --> 00:55:51,920
Speaker 2: Is wonderful.

1075
00:55:52,320 --> 00:55:55,640
Speaker 1: Yeah, it almost seems like I mean, I don't I

1076
00:55:55,680 --> 00:55:59,680
Speaker 1: didn't read too too much about the way that the

1077
00:55:59,719 --> 00:56:03,960
Speaker 1: film was shot, but it feels very like evil Dead,

1078
00:56:04,280 --> 00:56:08,000
Speaker 1: like the camera mounted on a board and people running

1079
00:56:08,000 --> 00:56:10,760
Speaker 1: with it, because it's like traveling with people, like through

1080
00:56:10,800 --> 00:56:15,160
Speaker 1: the house and through the neighborhood, and that to me

1081
00:56:15,280 --> 00:56:18,319
Speaker 1: is so fun Like this is my favorite sequence of

1082
00:56:18,320 --> 00:56:21,400
Speaker 1: the film, is this entire sequence with the with the Huggies,

1083
00:56:21,880 --> 00:56:25,680
Speaker 1: and it just feels very activated.

1084
00:56:25,719 --> 00:56:27,480
Speaker 2: It's you know, yeah, there's a.

1085
00:56:27,440 --> 00:56:31,640
Speaker 1: Lot of stuff going on, moving through different you know

1086
00:56:32,560 --> 00:56:36,480
Speaker 1: frames with the people running like kind of following them,

1087
00:56:36,880 --> 00:56:40,040
Speaker 1: and I just it's so exciting and funny and you're

1088
00:56:40,040 --> 00:56:43,040
Speaker 1: seeing all this like crap just flying by and you're like,

1089
00:56:43,120 --> 00:56:45,480
Speaker 1: what the fuck? And so, I don't know, I love

1090
00:56:45,480 --> 00:56:46,080
Speaker 1: it so much.

1091
00:56:46,400 --> 00:56:49,040
Speaker 3: Yeah, it's really frenetic, Like it's a phrenetic energy that

1092
00:56:49,120 --> 00:56:52,480
Speaker 3: I just appreciate. And it is one of the quintessential

1093
00:56:53,280 --> 00:56:55,600
Speaker 3: scenes in this film that is referenced when people talk

1094
00:56:55,600 --> 00:56:57,920
Speaker 3: about this film because it is again it was so fresh,

1095
00:56:58,000 --> 00:57:01,680
Speaker 3: so funny, so wild, while also keeping the narrative going

1096
00:57:01,719 --> 00:57:05,400
Speaker 3: in an interesting way, like that's skill and use. They

1097
00:57:05,440 --> 00:57:08,280
Speaker 3: use the same energy when they are introducing and following

1098
00:57:08,320 --> 00:57:10,640
Speaker 3: the Bounty Hunters. So you kind of meet him first

1099
00:57:10,640 --> 00:57:13,800
Speaker 3: in one of Hi's dreams and he's kind of prophecy

1100
00:57:13,960 --> 00:57:16,200
Speaker 3: this person is coming to town to kind of chase him,

1101
00:57:16,880 --> 00:57:20,360
Speaker 3: and Randall Tech's Cob is like this huge man just

1102
00:57:20,480 --> 00:57:22,800
Speaker 3: covered in dirt and soil. He's got a tattoo that

1103
00:57:22,800 --> 00:57:24,760
Speaker 3: says Mama didn't love me, and he's got his baby

1104
00:57:24,760 --> 00:57:28,480
Speaker 3: boots like dangling from his waist. But he's just like

1105
00:57:28,640 --> 00:57:32,560
Speaker 3: dirty and like Hasley's like he's like a real weird gunslinger,

1106
00:57:33,560 --> 00:57:36,000
Speaker 3: but he's for hire, and so he goes there's a

1107
00:57:36,000 --> 00:57:38,120
Speaker 3: great scene where he goes to see Nathan Arizona and

1108
00:57:38,160 --> 00:57:42,040
Speaker 3: he's basically like, yeah, I can find your baby, but

1109
00:57:42,080 --> 00:57:45,040
Speaker 3: you're gonna have to pay me double what you're offering

1110
00:57:45,040 --> 00:57:48,760
Speaker 3: for the reward, and if you don't pay me, somebody will,

1111
00:57:48,920 --> 00:57:50,800
Speaker 3: Like he basically is threatening him, like I will sell

1112
00:57:50,840 --> 00:57:53,040
Speaker 3: your fucking baby on the black market because I was

1113
00:57:53,120 --> 00:57:55,000
Speaker 3: sold on the black market and I got more money

1114
00:57:55,000 --> 00:57:57,360
Speaker 3: than you're offering when I was a baby, and that

1115
00:57:57,400 --> 00:57:59,160
Speaker 3: was in nineteen fifty four. Like it is just such

1116
00:57:59,160 --> 00:58:02,760
Speaker 3: a wild scene. He's so threatening, mostly quiet, that's the

1117
00:58:02,800 --> 00:58:06,520
Speaker 3: only scene where you really hear him, but he is

1118
00:58:06,560 --> 00:58:09,840
Speaker 3: a really threatening, menacing presence. And he comes into town

1119
00:58:09,880 --> 00:58:14,040
Speaker 3: on like a fucking wave of fire and dust and dirt,

1120
00:58:14,080 --> 00:58:17,280
Speaker 3: and he's just really he's kind of he's really scary. Again,

1121
00:58:17,320 --> 00:58:18,720
Speaker 3: Like when I saw this movie as a kid, I

1122
00:58:18,760 --> 00:58:21,640
Speaker 3: was frightened of this character. I'm like, how to understand,

1123
00:58:22,080 --> 00:58:26,360
Speaker 3: like how how he's fitting into this really funny narrative

1124
00:58:26,400 --> 00:58:27,320
Speaker 3: he does later on.

1125
00:58:27,480 --> 00:58:30,680
Speaker 1: Yeah, he's very like Road Warrior like what you know,

1126
00:58:30,760 --> 00:58:35,080
Speaker 1: Like it's it's terrifying, like just the just like I

1127
00:58:35,080 --> 00:58:37,600
Speaker 1: don't know his whole look and like, yeah, he's like

1128
00:58:37,680 --> 00:58:39,720
Speaker 1: kind of I mean, honestly, kind of reminds me of

1129
00:58:39,760 --> 00:58:45,120
Speaker 1: like Twin Peaks. The Return meets like the Road Warrior

1130
00:58:45,240 --> 00:58:49,240
Speaker 1: just kind of this like weird like creature or something.

1131
00:58:49,320 --> 00:58:51,040
Speaker 3: You know. He's kind of mute and kind of he's

1132
00:58:51,080 --> 00:58:53,200
Speaker 3: not he feels like he's not of the world that

1133
00:58:53,280 --> 00:58:58,160
Speaker 3: we're in. Yes, exactly, and so but he's again fascinating

1134
00:58:58,160 --> 00:59:01,600
Speaker 3: to watch and lends a real gritty and strangeness to

1135
00:59:01,640 --> 00:59:04,440
Speaker 3: this movie, especially because again like Hi keeps kind of

1136
00:59:05,280 --> 00:59:08,439
Speaker 3: dreaming about being chased and this guy is chasing him,

1137
00:59:09,080 --> 00:59:12,720
Speaker 3: so all, like I said, all hell does break loose.

1138
00:59:13,520 --> 00:59:16,600
Speaker 3: Glenn finally puts two and two together and realizes because

1139
00:59:16,600 --> 00:59:18,320
Speaker 3: he's been asking like, how'd you get a baby so

1140
00:59:18,400 --> 00:59:23,240
Speaker 3: fast realizes that that Junior is one of the Arizona

1141
00:59:23,280 --> 00:59:25,800
Speaker 3: quins that's been stolen, and he comes over and he's like,

1142
00:59:25,840 --> 00:59:27,000
Speaker 3: so Dot wants a baby.

1143
00:59:27,800 --> 00:59:29,240
Speaker 2: I can't give her another baby.

1144
00:59:29,320 --> 00:59:31,320
Speaker 3: So we're just gonna give you a day to come

1145
00:59:31,360 --> 00:59:33,240
Speaker 3: to peace with this decision, and you're gonna give us

1146
00:59:33,280 --> 00:59:36,640
Speaker 3: this baby. Like we're not gonna turn you in, nothing's

1147
00:59:36,640 --> 00:59:39,560
Speaker 3: gonna happen, but we want this baby. And Gail and

1148
00:59:39,680 --> 00:59:43,640
Speaker 3: novelle overhear the conversation, and then they steal the baby

1149
00:59:43,680 --> 00:59:45,479
Speaker 3: because they're like, we want the ransom, like we're gonna

1150
00:59:45,520 --> 00:59:47,880
Speaker 3: rob this bank, but we also want the ransom, and

1151
00:59:47,880 --> 00:59:49,840
Speaker 3: then we'll be on easy street. We'll get like two

1152
00:59:49,880 --> 00:59:54,240
Speaker 3: payments for one job, essentially, but that leads to again

1153
00:59:54,280 --> 00:59:57,680
Speaker 3: another hilarious scene of them leaving the baby on the

1154
00:59:57,680 --> 00:59:59,959
Speaker 3: top of the car after they rob a convenience store,

1155
01:00:00,600 --> 01:00:05,280
Speaker 3: and they just communicate so much through screaming in this film,

1156
01:00:05,680 --> 01:00:07,840
Speaker 3: and it is like, are they fall in love with

1157
01:00:07,880 --> 01:00:10,440
Speaker 3: this kid? Like everyone who comes around this kid just

1158
01:00:10,440 --> 01:00:13,760
Speaker 3: falls in love with this kid. And they're just like

1159
01:00:13,960 --> 01:00:16,520
Speaker 3: heartbroken that they could have killed this baby. But they

1160
01:00:16,520 --> 01:00:18,280
Speaker 3: go back and he's just laying in the road, just

1161
01:00:18,280 --> 01:00:20,720
Speaker 3: sitting in his car seat, just kind of having a

1162
01:00:20,720 --> 01:00:24,720
Speaker 3: good old time. It's definitely a fucking hilarious scene. And

1163
01:00:24,760 --> 01:00:28,200
Speaker 3: then again, I'm not gonna ruin the end of the movie,

1164
01:00:28,240 --> 01:00:31,240
Speaker 3: but the bounty Hunter does catch up with everyone. We

1165
01:00:31,320 --> 01:00:36,800
Speaker 3: have another incredibly thoughtful and prophetic dream from Hi. There's

1166
01:00:36,800 --> 01:00:38,520
Speaker 3: a point where you think that maybe he and Ed

1167
01:00:38,560 --> 01:00:41,320
Speaker 3: are not gonna make it because this is just not

1168
01:00:41,360 --> 01:00:42,760
Speaker 3: turned out the way they expected.

1169
01:00:43,960 --> 01:00:45,240
Speaker 2: But I just I love this movie.

1170
01:00:45,240 --> 01:00:46,960
Speaker 3: I think this is one of those relationships that you

1171
01:00:46,960 --> 01:00:49,440
Speaker 3: don't get it, you don't have to. They've got something

1172
01:00:49,480 --> 01:00:53,360
Speaker 3: that works for them, and the lengths that they will

1173
01:00:53,400 --> 01:00:55,440
Speaker 3: go to to get a baby is something that I

1174
01:00:55,480 --> 01:00:57,400
Speaker 3: also don't get, but.

1175
01:01:00,040 --> 01:01:00,800
Speaker 2: It works for them.

1176
01:01:01,720 --> 01:01:05,080
Speaker 3: So yeah, just again, classic film, kind of a cult

1177
01:01:05,080 --> 01:01:08,960
Speaker 3: classic film and just so worth the watch.

1178
01:01:09,040 --> 01:01:11,160
Speaker 2: It is truly hilarious.

1179
01:01:11,440 --> 01:01:14,160
Speaker 1: Yeah, I love it. So much. It's like such a

1180
01:01:14,160 --> 01:01:17,640
Speaker 1: fun world to be in. And also like it's always

1181
01:01:17,720 --> 01:01:23,040
Speaker 1: interesting when like male filmmakers make movies about fatherhood. Yeah,

1182
01:01:23,120 --> 01:01:26,560
Speaker 1: you know, like because that kind of feels like, you know,

1183
01:01:27,680 --> 01:01:29,880
Speaker 1: it kind of feels like that's they might have been

1184
01:01:29,920 --> 01:01:33,360
Speaker 1: working through some ideas there when they badly you know

1185
01:01:33,400 --> 01:01:36,360
Speaker 1: what I mean, kind of in that like David Lynch

1186
01:01:36,360 --> 01:01:38,120
Speaker 1: erase her head kind of way. You're like, oh, I

1187
01:01:38,160 --> 01:01:42,200
Speaker 1: think they're trying to process some information as men. They're like,

1188
01:01:42,280 --> 01:01:44,800
Speaker 1: let's put it in a movie and let's make it

1189
01:01:44,840 --> 01:01:48,919
Speaker 1: like a Preston Sturgis esque romp or whatever, and.

1190
01:01:48,840 --> 01:01:50,800
Speaker 3: It kind of extends itself to that I don't get

1191
01:01:50,840 --> 01:01:52,480
Speaker 3: it and I don't have to way of like how

1192
01:01:52,520 --> 01:01:55,520
Speaker 3: most men are portrayed as approaching fatherhood, Like I don't

1193
01:01:55,560 --> 01:01:56,800
Speaker 3: know what this is going to mean for me. I

1194
01:01:56,800 --> 01:01:58,160
Speaker 3: don't know if I'm going to be good at it.

1195
01:01:58,240 --> 01:02:00,640
Speaker 3: I don't get it, but I should do it.

1196
01:02:01,400 --> 01:02:03,360
Speaker 1: Yeah, And it goes back to like what we're saying

1197
01:02:03,440 --> 01:02:05,600
Speaker 1: earlier about like the two people that fell in love

1198
01:02:05,720 --> 01:02:08,600
Speaker 1: by like getting attacked by bison. Like it's just sort

1199
01:02:08,600 --> 01:02:11,200
Speaker 1: of like two people who you would never expect to

1200
01:02:11,280 --> 01:02:13,080
Speaker 1: like kind of fall for each other. They're both kind

1201
01:02:13,080 --> 01:02:15,280
Speaker 1: of outlaws in their own way. I mean they actually

1202
01:02:15,280 --> 01:02:17,960
Speaker 1: becom outlaws because they steal a child. But you know,

1203
01:02:18,040 --> 01:02:19,960
Speaker 1: it's like one is a cop and the other is

1204
01:02:19,960 --> 01:02:24,680
Speaker 1: a criminal, which is always a fascinating narrative anytime that happens, right,

1205
01:02:25,200 --> 01:02:27,920
Speaker 1: But then just like this idea that they're like in

1206
01:02:27,960 --> 01:02:32,280
Speaker 1: their own insular world where they have rationalized stealing a

1207
01:02:32,360 --> 01:02:35,600
Speaker 1: child because she can't have a child, and they've kind

1208
01:02:35,600 --> 01:02:41,240
Speaker 1: of made this decision, you know, amongst themselves and where

1209
01:02:41,240 --> 01:02:44,040
Speaker 1: everybody is like, who would steal a baby? That's so,

1210
01:02:44,320 --> 01:02:46,040
Speaker 1: you know, but as it turns out, a lot of

1211
01:02:46,080 --> 01:02:47,960
Speaker 1: people actually want to steal a baby.

1212
01:02:48,400 --> 01:02:51,440
Speaker 3: I know, back when this came out, I wasn't aware

1213
01:02:51,680 --> 01:02:53,960
Speaker 3: of the of the amount of babies that were being stolen.

1214
01:02:54,120 --> 01:02:57,680
Speaker 3: Like I think kidnapping was definitely on the radar because

1215
01:02:57,680 --> 01:02:59,360
Speaker 3: the milk cart and kids started coming out.

1216
01:03:00,040 --> 01:03:01,720
Speaker 2: I know, my first name is Stephen was on.

1217
01:03:01,720 --> 01:03:05,600
Speaker 3: NBC, and like, I knew kids were getting taken, but

1218
01:03:06,840 --> 01:03:09,200
Speaker 3: they seeing it from the flip side of like why

1219
01:03:09,240 --> 01:03:11,120
Speaker 3: somebody would take a child and having it be for

1220
01:03:11,200 --> 01:03:14,160
Speaker 3: kind of an altruistic reason was never explored at that.

1221
01:03:14,200 --> 01:03:18,600
Speaker 1: Point, and to steal it from like this, like you know,

1222
01:03:18,920 --> 01:03:21,360
Speaker 1: hokey businessman who had five babies.

1223
01:03:21,400 --> 01:03:23,240
Speaker 2: Like that's the thing that they keep rationalizing to.

1224
01:03:23,240 --> 01:03:26,720
Speaker 1: Those well, he's got enough, he's got enough babies. He

1225
01:03:26,800 --> 01:03:29,520
Speaker 1: can't possibly like love all of them.

1226
01:03:29,120 --> 01:03:31,240
Speaker 3: You know. And they even says it. They referenced this

1227
01:03:31,400 --> 01:03:33,240
Speaker 3: article in the newspaper where he's like, it's more than

1228
01:03:33,240 --> 01:03:33,880
Speaker 3: we can handle.

1229
01:03:33,920 --> 01:03:35,880
Speaker 2: And it's kind of thing that somebody.

1230
01:03:35,560 --> 01:03:38,479
Speaker 3: Says and like just like a throwaway comment, and they're

1231
01:03:38,480 --> 01:03:40,480
Speaker 3: like they lock onto it. It's like, well, look, this

1232
01:03:40,520 --> 01:03:43,680
Speaker 3: is our reasoning, is that he's saying they can't handle,

1233
01:03:43,720 --> 01:03:45,040
Speaker 3: so we'll just take one off their hands.

1234
01:03:45,240 --> 01:03:48,160
Speaker 1: Exactly. It's given us this permission to do the thing,

1235
01:03:48,640 --> 01:03:49,000
Speaker 1: you know.

1236
01:03:49,320 --> 01:03:51,360
Speaker 2: Also to steal a baby and then just stay in

1237
01:03:51,400 --> 01:03:56,400
Speaker 2: the same town. It is a wild thought.

1238
01:03:56,960 --> 01:03:59,960
Speaker 1: Yeah, really it really is. But honestly, like a perfect

1239
01:04:00,120 --> 01:04:02,520
Speaker 1: movie for the theme. I mean, it really is like

1240
01:04:02,560 --> 01:04:06,480
Speaker 1: a fun just like to just get into the zone

1241
01:04:06,600 --> 01:04:09,640
Speaker 1: of who they are as characters and in their relationship.

1242
01:04:09,680 --> 01:04:13,080
Speaker 1: You're just like, wow, yeah I don't get it, and

1243
01:04:13,240 --> 01:04:15,200
Speaker 1: I guess I don't have to, but it's fun.

1244
01:04:15,240 --> 01:04:18,440
Speaker 2: It's still fun, exactly, still fun to watch. And then

1245
01:04:18,440 --> 01:04:19,520
Speaker 2: there's your movie.

1246
01:04:20,360 --> 01:04:26,880
Speaker 1: Oh, we're taking a dark mack. What's the opposite of slapstick?

1247
01:04:28,840 --> 01:04:32,320
Speaker 1: My movie for the theme they don't get it and

1248
01:04:32,400 --> 01:04:36,480
Speaker 1: they don't have to is a movie from nineteen eighty one.

1249
01:04:36,680 --> 01:04:41,920
Speaker 1: It was written by Frederick Tuten and Andrea Zuowski, directed

1250
01:04:41,960 --> 01:04:47,680
Speaker 1: by Andrea Zuowski, and it's called Possession. You have someone, Yeah,

1251
01:04:48,840 --> 01:04:55,320
Speaker 1: do you sleep with him? Okay? I I really have

1252
01:04:55,360 --> 01:04:58,200
Speaker 1: to be careful because we could go like four and

1253
01:04:58,240 --> 01:05:01,760
Speaker 1: a half hours on this movie easily. Easily. There is

1254
01:05:01,800 --> 01:05:05,120
Speaker 1: a lot to talk about in process in this film,

1255
01:05:05,480 --> 01:05:08,880
Speaker 1: but I'll just say for me, like how I found

1256
01:05:08,960 --> 01:05:11,880
Speaker 1: how I came to this movie. Not sure if you

1257
01:05:11,920 --> 01:05:15,800
Speaker 1: guys are interested, but I'll tell you anyway. So I

1258
01:05:15,840 --> 01:05:21,000
Speaker 1: am thank you. Is this self care or serial killer?

1259
01:05:21,080 --> 01:05:22,160
Speaker 1: So just tell me right.

1260
01:05:22,040 --> 01:05:23,840
Speaker 2: Now, that's on your answer.

1261
01:05:26,320 --> 01:05:29,240
Speaker 1: So you know, I heard about this movie in college, right,

1262
01:05:29,800 --> 01:05:36,480
Speaker 1: and it was really because I was obsessed with video nasties.

1263
01:05:37,480 --> 01:05:42,560
Speaker 1: I don't know if you're unaware of the term video nasties, Okay.

1264
01:05:43,440 --> 01:05:49,680
Speaker 1: It's a reference to an assortment of home video titles

1265
01:05:50,320 --> 01:05:56,400
Speaker 1: that were regulated by the UK government in the eighties.

1266
01:05:56,760 --> 01:05:58,600
Speaker 1: I mean, even though I think a version of it

1267
01:05:58,640 --> 01:06:00,680
Speaker 1: still exists, but it was. It's kind of like an

1268
01:06:00,720 --> 01:06:05,959
Speaker 1: eighties thing, at least from my very basic understanding of it. Right.

1269
01:06:07,040 --> 01:06:09,720
Speaker 1: So it was just this list of movies, and there

1270
01:06:09,720 --> 01:06:13,480
Speaker 1: were different tiers to the list, right, But basically the

1271
01:06:13,560 --> 01:06:17,880
Speaker 1: gist was these are movies that were incredibly violent and

1272
01:06:18,040 --> 01:06:22,479
Speaker 1: had a lot of content. And for example, in this day,

1273
01:06:22,640 --> 01:06:25,640
Speaker 1: if you owned a video store and you were caught

1274
01:06:25,720 --> 01:06:28,760
Speaker 1: renting one of these video nasties, then you could be

1275
01:06:28,800 --> 01:06:32,880
Speaker 1: prosecuted by you know, the cops or whatever. And it

1276
01:06:32,960 --> 01:06:35,640
Speaker 1: was really just like an effort to get I think

1277
01:06:35,720 --> 01:06:38,400
Speaker 1: everybody was really freaked out in the eighties about kids

1278
01:06:38,480 --> 01:06:40,720
Speaker 1: watching weird VHS stapes.

1279
01:06:41,000 --> 01:06:43,720
Speaker 2: Oh, Satanic panic was in full swing.

1280
01:06:43,760 --> 01:06:47,720
Speaker 1: Absolutely, And again this had a lot to do more

1281
01:06:47,760 --> 01:06:50,720
Speaker 1: with home video and not theatrical, because theatrical has its

1282
01:06:50,760 --> 01:06:54,680
Speaker 1: own censorship. You know they had in America it's the MPAA,

1283
01:06:55,160 --> 01:06:58,080
Speaker 1: you know, Britain, all countries have their own system of

1284
01:06:58,160 --> 01:07:01,120
Speaker 1: rating films when they're released movie theaters. But I think

1285
01:07:01,120 --> 01:07:05,280
Speaker 1: the key was people were gonna have home video equipment,

1286
01:07:05,320 --> 01:07:08,600
Speaker 1: they were gonna watch like fucked up Italian cannibal movies,

1287
01:07:08,600 --> 01:07:12,960
Speaker 1: and we can't have that, Let's create this video Nasty's list, right,

1288
01:07:14,200 --> 01:07:19,160
Speaker 1: and because of this restriction, right, a lot of these

1289
01:07:19,200 --> 01:07:22,600
Speaker 1: movies ended up getting like recut, and there was like

1290
01:07:22,760 --> 01:07:27,480
Speaker 1: many iterations of these films in distribution. So like, and

1291
01:07:27,520 --> 01:07:30,480
Speaker 1: I gotta admit, a lot of them were Italian, a

1292
01:07:30,600 --> 01:07:33,480
Speaker 1: lot of Italians making some fucked up movies.

1293
01:07:33,840 --> 01:07:37,600
Speaker 3: You're cannibal, You're cannibal movie, cannibal.

1294
01:07:37,200 --> 01:07:41,080
Speaker 1: Movies, your you know. It was a lot of like face,

1295
01:07:41,200 --> 01:07:44,240
Speaker 1: you know, the usual suspects cannibal films, faces of death,

1296
01:07:44,840 --> 01:07:48,280
Speaker 1: really gory, violent slashers, some animal cruelty, which we know

1297
01:07:48,360 --> 01:07:50,760
Speaker 1: is not good, but you know whatever, it's that thing

1298
01:07:50,760 --> 01:07:54,600
Speaker 1: of like they were like, oh, these are terrible violent films,

1299
01:07:54,600 --> 01:07:56,960
Speaker 1: we can have the kids watching them. And like, you know,

1300
01:07:58,320 --> 01:08:04,520
Speaker 1: I have to say, as a budding movie maniac, I

1301
01:08:04,720 --> 01:08:06,720
Speaker 1: was like, I mean, I was just wanting to see

1302
01:08:06,720 --> 01:08:09,600
Speaker 1: any kind of transgressive film. So I told myself, well, shit,

1303
01:08:09,680 --> 01:08:12,880
Speaker 1: if they're being banned, these must be like really crazy.

1304
01:08:13,280 --> 01:08:15,280
Speaker 1: So I just was obsessed with trying to watch as

1305
01:08:15,280 --> 01:08:17,679
Speaker 1: many as I could, right, And when I went to college,

1306
01:08:17,720 --> 01:08:20,040
Speaker 1: I went down to the you know, the video store

1307
01:08:20,040 --> 01:08:21,400
Speaker 1: that I used to go to in the city called

1308
01:08:21,400 --> 01:08:23,200
Speaker 1: blast Off, and they they would have like all the

1309
01:08:23,439 --> 01:08:27,559
Speaker 1: you know, uncut you know, uh, you know, unrated versions

1310
01:08:27,600 --> 01:08:31,920
Speaker 1: of you know, fucking Cannibal Apocalypse, And so I just

1311
01:08:32,040 --> 01:08:35,559
Speaker 1: was like a maniac looking for weird stuff to watch, right,

1312
01:08:35,720 --> 01:08:38,919
Speaker 1: So this was like Possession was on the Video Nasty's

1313
01:08:38,960 --> 01:08:42,920
Speaker 1: list and I never I never saw it back then,

1314
01:08:43,000 --> 01:08:45,559
Speaker 1: but then about twelve fifteen years ago, I somehow found

1315
01:08:45,560 --> 01:08:47,680
Speaker 1: a copy. I finally saw it, and I just was

1316
01:08:47,760 --> 01:08:53,080
Speaker 1: like I was fascinated ever since, because I this movie

1317
01:08:53,120 --> 01:08:55,360
Speaker 1: is sort of indescribable in a lot of ways. I

1318
01:08:55,400 --> 01:08:58,600
Speaker 1: mean I programmed it many years ago on TCM for

1319
01:08:58,720 --> 01:09:01,760
Speaker 1: TCM Underground. It might have actually been the first time

1320
01:09:01,760 --> 01:09:03,719
Speaker 1: that had played on American TV in like a really

1321
01:09:03,760 --> 01:09:06,960
Speaker 1: long time. I mean I wrote about it for our book.

1322
01:09:07,280 --> 01:09:10,519
Speaker 1: So it was like, this just has this like maybe

1323
01:09:10,560 --> 01:09:14,000
Speaker 1: I'm possessed with Possession in a lot of ways, but

1324
01:09:15,640 --> 01:09:18,160
Speaker 1: I so for when I watched it for this episode,

1325
01:09:18,200 --> 01:09:21,040
Speaker 1: I actually watched the director's cut of it, which is

1326
01:09:21,120 --> 01:09:24,880
Speaker 1: like over two hours long. I'm not sure what version

1327
01:09:24,960 --> 01:09:26,760
Speaker 1: is out there right now, like because I know it's

1328
01:09:26,800 --> 01:09:31,360
Speaker 1: on Shutter and I know that there are like Blu

1329
01:09:31,560 --> 01:09:34,160
Speaker 1: rays of it, Like I think Mondo Digital has a

1330
01:09:34,520 --> 01:09:37,200
Speaker 1: has the like the two hour version of it, But

1331
01:09:37,920 --> 01:09:40,799
Speaker 1: like I said, because it was cut so many times,

1332
01:09:41,680 --> 01:09:44,439
Speaker 1: it's hard to know which version you're actually watching. Sometimes,

1333
01:09:44,439 --> 01:09:45,920
Speaker 1: like if you just see it on a streaming site,

1334
01:09:45,960 --> 01:09:48,479
Speaker 1: you're like, oh, I don't know if it's ninety seven

1335
01:09:48,520 --> 01:09:51,240
Speaker 1: minutes versus like one hundred and twenty five minutes or whatever.

1336
01:09:51,720 --> 01:09:55,080
Speaker 1: The director's cut is is very hardcore. If you have

1337
01:09:55,280 --> 01:09:57,439
Speaker 1: never seen it and you've only seen a cut version,

1338
01:09:58,080 --> 01:10:01,080
Speaker 1: it just adds a lot more to it. So, like

1339
01:10:01,120 --> 01:10:04,040
Speaker 1: I said, I don't know, I've only.

1340
01:10:03,920 --> 01:10:06,400
Speaker 3: Ever seen the director's cut because I've only seen this

1341
01:10:06,520 --> 01:10:08,800
Speaker 3: couple of times, and so I don't know if you

1342
01:10:08,880 --> 01:10:11,280
Speaker 3: know what they would cut to make it, like try

1343
01:10:11,320 --> 01:10:12,360
Speaker 3: to make it more palatable.

1344
01:10:13,479 --> 01:10:15,280
Speaker 1: It's hard to say, Like I know that there's a

1345
01:10:15,320 --> 01:10:21,439
Speaker 1: couple of like you know, like fight sequences, and maybe

1346
01:10:22,479 --> 01:10:25,200
Speaker 1: I don't know, like I don't know exactly what was

1347
01:10:25,280 --> 01:10:26,960
Speaker 1: cut because I think it's been a long time since

1348
01:10:26,960 --> 01:10:30,679
Speaker 1: I've seen a cut version. But like, yeah, the director's

1349
01:10:30,720 --> 01:10:33,639
Speaker 1: cut is, like it's just there's just a lot extra

1350
01:10:34,360 --> 01:10:37,479
Speaker 1: extra long scenes and just stuff that you're like, oh, shit,

1351
01:10:37,600 --> 01:10:40,000
Speaker 1: like that is that's pretty hardcore.

1352
01:10:40,640 --> 01:10:44,000
Speaker 3: I also cannot believe this movie wasn't called what about

1353
01:10:44,000 --> 01:10:51,720
Speaker 3: Bob truely missed opportunity. I mean, and we eventually got

1354
01:10:51,720 --> 01:10:55,120
Speaker 3: a one about Bob movie, but this should have been called.

1355
01:10:54,880 --> 01:10:55,719
Speaker 2: What About Bob?

1356
01:10:56,240 --> 01:10:59,519
Speaker 1: Yeah, oh, one hundred percent. We will definitely talk about,

1357
01:10:59,840 --> 01:11:04,080
Speaker 1: like maybe there's another like theme that unites these two movies,

1358
01:11:04,080 --> 01:11:11,439
Speaker 1: and it's like blonde boys in Peril, a little blonde

1359
01:11:11,439 --> 01:11:12,280
Speaker 1: boys in Peril.

1360
01:11:12,720 --> 01:11:14,760
Speaker 2: Well when somebody think of the children.

1361
01:11:14,479 --> 01:11:14,920
Speaker 3: Is that the.

1362
01:11:18,520 --> 01:11:21,240
Speaker 1: Well look like? Because I can talk about this movie forever,

1363
01:11:21,240 --> 01:11:23,080
Speaker 1: I mean, I think the important thing to know though,

1364
01:11:23,240 --> 01:11:25,360
Speaker 1: if you've never seen Possession or if you're kind of

1365
01:11:25,360 --> 01:11:30,000
Speaker 1: like new to this film. It was a really personal

1366
01:11:30,040 --> 01:11:36,040
Speaker 1: project for the director, right because Zowowski grew up in Poland,

1367
01:11:36,960 --> 01:11:40,240
Speaker 1: you know, back when Poland was a communist country, and

1368
01:11:40,560 --> 01:11:42,920
Speaker 1: right before he made this movie, two things happened to

1369
01:11:42,960 --> 01:11:47,839
Speaker 1: him that I feel like heavily influenced the film. Number One,

1370
01:11:47,920 --> 01:11:52,000
Speaker 1: he was going through a really bad divorce where he

1371
01:11:52,160 --> 01:11:56,800
Speaker 1: also had a child, so I would say, like a

1372
01:11:56,880 --> 01:12:01,559
Speaker 1: movie about divorce is probably related to his personal life

1373
01:12:01,800 --> 01:12:05,000
Speaker 1: at the time. And the second thing is that his

1374
01:12:05,120 --> 01:12:09,719
Speaker 1: prior film, which was this like huge kind of epic

1375
01:12:09,840 --> 01:12:13,479
Speaker 1: science fiction film, was actually shut down by the government,

1376
01:12:14,800 --> 01:12:18,400
Speaker 1: so he had that kind of professional failure. He was

1377
01:12:19,200 --> 01:12:23,240
Speaker 1: obviously kind of processing the failure of his own marriage,

1378
01:12:23,400 --> 01:12:27,760
Speaker 1: and this is why we have Possession, right, And I'll

1379
01:12:27,800 --> 01:12:30,240
Speaker 1: say this too. I mean, I feel like if you

1380
01:12:30,479 --> 01:12:32,920
Speaker 1: if you're a fan of his films, I think they

1381
01:12:33,080 --> 01:12:36,519
Speaker 1: generally have kind of a keyed up theatrical kind of style.

1382
01:12:37,360 --> 01:12:39,880
Speaker 1: But I have to say I think Possession, knowing what

1383
01:12:39,880 --> 01:12:43,080
Speaker 1: we know about him and what he was going through

1384
01:12:43,080 --> 01:12:45,160
Speaker 1: at the time, I feel like there is extra like

1385
01:12:45,320 --> 01:12:48,480
Speaker 1: there's some extra drama going on in Possession.

1386
01:12:49,400 --> 01:12:51,759
Speaker 3: I feel like possibly some of the fights he really

1387
01:12:51,800 --> 01:12:55,160
Speaker 3: had with his ex like were just directly translated into

1388
01:12:55,200 --> 01:12:56,520
Speaker 3: dialogue for this film.

1389
01:12:56,960 --> 01:12:59,400
Speaker 1: One hundred percent. And I mean, just like I mean,

1390
01:13:00,160 --> 01:13:01,840
Speaker 1: dare I say this might be the most all the

1391
01:13:01,840 --> 01:13:07,280
Speaker 1: way up film that we've ever talked about, Yes, because

1392
01:13:09,840 --> 01:13:14,160
Speaker 1: I think once you press play and you see kind

1393
01:13:14,160 --> 01:13:17,840
Speaker 1: of the style of the acting, you you kind of

1394
01:13:17,960 --> 01:13:21,599
Speaker 1: understand what we're talking about. It's just it's very hyper

1395
01:13:21,680 --> 01:13:25,000
Speaker 1: keyed up and emotional and you know. And I also

1396
01:13:25,040 --> 01:13:27,559
Speaker 1: think what's really interesting too, is that they filmed the

1397
01:13:27,640 --> 01:13:30,439
Speaker 1: movie in West Berlin right at the time it was

1398
01:13:30,479 --> 01:13:34,240
Speaker 1: still divided, and I think that has everything that is

1399
01:13:34,320 --> 01:13:36,479
Speaker 1: part of the messaging of this film, because this film

1400
01:13:36,520 --> 01:13:42,519
Speaker 1: is essentially about division, right division and marriage political division,

1401
01:13:43,000 --> 01:13:44,920
Speaker 1: and you know, there's lots of shots of the Berlin

1402
01:13:45,000 --> 01:13:46,880
Speaker 1: Wall and a lot of shots that like the barb

1403
01:13:46,920 --> 01:13:48,840
Speaker 1: wire and the guards and stuff, and that just I

1404
01:13:48,880 --> 01:13:52,720
Speaker 1: think adds to the theme of the film, which is

1405
01:13:52,720 --> 01:13:55,519
Speaker 1: that this is a film about a couple who works

1406
01:13:55,600 --> 01:13:58,800
Speaker 1: going through a divorce or going through a separation, and

1407
01:13:59,479 --> 01:14:06,080
Speaker 1: the emotional component to that, right, it's like watching two

1408
01:14:06,080 --> 01:14:09,240
Speaker 1: people break up in the most intense way possible.

1409
01:14:10,080 --> 01:14:13,880
Speaker 3: Hell, you know, so just to.

1410
01:14:13,840 --> 01:14:18,720
Speaker 1: Give you kind of a rundown of who's in the movie, Okay,

1411
01:14:18,880 --> 01:14:25,160
Speaker 1: you've got as the couple. You've got Isabelle Ajanni, classic

1412
01:14:25,360 --> 01:14:28,679
Speaker 1: French actress. Everybody go see Peter von Khan. Did everybody

1413
01:14:28,680 --> 01:14:30,800
Speaker 1: see that movie when it came out last year? It

1414
01:14:31,160 --> 01:14:34,080
Speaker 1: was like my favorite movie. But she's in that movie.

1415
01:14:34,080 --> 01:14:37,240
Speaker 1: But she's she's obviously been in so many things, and

1416
01:14:38,120 --> 01:14:44,599
Speaker 1: this might be I mean, she in this movie is

1417
01:14:44,880 --> 01:14:48,760
Speaker 1: going for broke, like both of the both of them,

1418
01:14:48,800 --> 01:14:52,280
Speaker 1: like both Isabelle all Johanni and Sam Neil who plays

1419
01:14:52,360 --> 01:14:55,879
Speaker 1: her husband in the film. I mean, I've read accounts

1420
01:14:55,880 --> 01:15:00,759
Speaker 1: where they were both like completely spent after making this movie.

1421
01:15:01,040 --> 01:15:02,639
Speaker 1: I mean, oh, I would need like a.

1422
01:15:02,600 --> 01:15:06,640
Speaker 3: Five month recuperation period after making something like this. And

1423
01:15:06,680 --> 01:15:10,160
Speaker 3: you can tell in every scene, especially Isabella Johnny just

1424
01:15:10,200 --> 01:15:11,280
Speaker 3: goes so hard.

1425
01:15:11,920 --> 01:15:14,240
Speaker 1: Oh my gosh. I mean, we're gonna talk about the

1426
01:15:14,240 --> 01:15:16,960
Speaker 1: infamous scene in the subway because it's become sort of

1427
01:15:17,000 --> 01:15:20,760
Speaker 1: a classic scene in like a you know, it gets

1428
01:15:20,800 --> 01:15:24,679
Speaker 1: referenced a lot, and there's been a lot of like

1429
01:15:25,600 --> 01:15:29,719
Speaker 1: homages to it. But she and this film that both

1430
01:15:29,760 --> 01:15:34,040
Speaker 1: of them are just they're just acting their asses off,

1431
01:15:34,080 --> 01:15:37,280
Speaker 1: and it's just I mean, it's just such a spectacle

1432
01:15:37,320 --> 01:15:40,400
Speaker 1: to watch, honestly. But you know, Sam Neel plays Mark,

1433
01:15:40,880 --> 01:15:48,160
Speaker 1: Isabelle All Johnny plays Anna. They are living in West Berlin, right,

1434
01:15:48,920 --> 01:15:52,080
Speaker 1: and they're they're going through problems. And at the beginning

1435
01:15:52,120 --> 01:15:56,479
Speaker 1: of the movie, like Mark comes home from a job.

1436
01:15:56,560 --> 01:15:59,280
Speaker 1: He's some kind of spy or investigator. He comes home

1437
01:15:59,320 --> 01:16:02,040
Speaker 1: at the beginning of the movie, and you quickly understand

1438
01:16:02,080 --> 01:16:03,960
Speaker 1: that things are really tense between the two of them,

1439
01:16:04,080 --> 01:16:07,439
Speaker 1: Like she's just like over it and he kind of

1440
01:16:07,439 --> 01:16:12,480
Speaker 1: don't know why. She's kind of like weirdly like repulsed

1441
01:16:12,600 --> 01:16:15,920
Speaker 1: by the sight of him. Yeah, which is very interesting,

1442
01:16:15,920 --> 01:16:19,840
Speaker 1: and you just kind of are in the relationship problems immediately.

1443
01:16:19,880 --> 01:16:21,679
Speaker 1: You're like, I don't know what happened, but these two

1444
01:16:21,720 --> 01:16:26,040
Speaker 1: fucking people hate each other, and she really wants out

1445
01:16:26,080 --> 01:16:31,599
Speaker 1: of it. He is distraught, so essentially, you know, he

1446
01:16:31,720 --> 01:16:34,560
Speaker 1: keeps saying to her at the beginning of the film,

1447
01:16:35,080 --> 01:16:37,680
Speaker 1: is there somebody else? Are you seeing another person? Have

1448
01:16:37,760 --> 01:16:40,680
Speaker 1: you been cheating on me? She says no, you know.

1449
01:16:40,800 --> 01:16:44,280
Speaker 1: At first, they have a son named Bob, who like,

1450
01:16:44,280 --> 01:16:50,480
Speaker 1: like we talked about maybe seven or eight years old, blonde,

1451
01:16:51,920 --> 01:16:57,080
Speaker 1: little you know, Village of the damned looking child, and

1452
01:16:57,439 --> 01:17:04,080
Speaker 1: this kid is true in the middle of this of

1453
01:17:04,120 --> 01:17:09,599
Speaker 1: this craziness, like and it's like, if you think about

1454
01:17:09,640 --> 01:17:15,040
Speaker 1: it too long, you're like, they are definitely not allowed

1455
01:17:15,080 --> 01:17:18,519
Speaker 1: to have this kid around, Like they gotta that kid

1456
01:17:18,560 --> 01:17:20,400
Speaker 1: needs to go to grandma's house and live there.

1457
01:17:21,160 --> 01:17:24,360
Speaker 3: There's a scene where Mark comes home after like being

1458
01:17:24,400 --> 01:17:28,120
Speaker 3: in a hotel for three weeks and comes home and

1459
01:17:28,160 --> 01:17:30,439
Speaker 3: Bob is just sitting down in a corner like covered

1460
01:17:30,520 --> 01:17:33,719
Speaker 3: in jam. Yeah, and you're like, who has been taking

1461
01:17:33,720 --> 01:17:35,320
Speaker 3: care of this kid? And then you realize no one

1462
01:17:35,320 --> 01:17:36,320
Speaker 3: has been taking.

1463
01:17:36,040 --> 01:17:38,519
Speaker 1: Care of this kid, And you're like, what the fuck?

1464
01:17:38,680 --> 01:17:39,880
Speaker 3: Dude.

1465
01:17:40,120 --> 01:17:42,639
Speaker 1: Yeah, yeah, yeah. It's like that episode of Mister Show

1466
01:17:42,680 --> 01:17:44,479
Speaker 1: of the bob La Monta story where the kid's like

1467
01:17:44,479 --> 01:17:46,559
Speaker 1: got the the pot over his head and he's like,

1468
01:17:46,560 --> 01:17:48,960
Speaker 1: I've just been eating frozen peas or whatever. Like that's

1469
01:17:49,000 --> 01:17:51,320
Speaker 1: like what this kid is doing. It's like he's been

1470
01:17:51,360 --> 01:17:54,200
Speaker 1: on his own for some questionable amount of time. He's

1471
01:17:54,320 --> 01:17:58,519
Speaker 1: like gone feral. He's just smearing food on his face

1472
01:17:58,560 --> 01:18:01,400
Speaker 1: because he's like doesn't know how to be alone obviously,

1473
01:18:02,200 --> 01:18:06,280
Speaker 1: and like that's the thing. So here, So here's the situation.

1474
01:18:06,760 --> 01:18:11,599
Speaker 1: You know, Mark has gone into a hotel to devolve,

1475
01:18:11,880 --> 01:18:16,599
Speaker 1: Like he has flipped the fuck out. He's like can't

1476
01:18:16,680 --> 01:18:20,640
Speaker 1: understand why she wants to leave them. He wants his

1477
01:18:20,680 --> 01:18:23,720
Speaker 1: family together. He can't accept it, and he just like

1478
01:18:24,240 --> 01:18:27,559
Speaker 1: goes into this like altered state for a couple of weeks.

1479
01:18:28,000 --> 01:18:30,160
Speaker 1: Then he comes back home discovers that his son has

1480
01:18:30,160 --> 01:18:33,240
Speaker 1: been left alone for god knows how long, and he's

1481
01:18:33,360 --> 01:18:38,439
Speaker 1: just like lost his shit, and he eventually they eventually get,

1482
01:18:38,600 --> 01:18:41,160
Speaker 1: you know, have a conversation and he I mean the

1483
01:18:41,200 --> 01:18:44,400
Speaker 1: whole time, you're like, and these are very keyed up people.

1484
01:18:44,439 --> 01:18:47,760
Speaker 1: They're like emotional. Like the way that it shot it

1485
01:18:47,800 --> 01:18:49,840
Speaker 1: almost feels like, well, I know they shot it with

1486
01:18:49,880 --> 01:18:52,080
Speaker 1: a wide angle lens, but it's like that just really

1487
01:18:52,160 --> 01:18:56,799
Speaker 1: creates more trauma for these people, is that you're seeing

1488
01:18:56,840 --> 01:19:01,599
Speaker 1: these people in these like wide angled perspectives. Their their

1489
01:19:01,680 --> 01:19:05,719
Speaker 1: eyes are popping out of their heads, they're screaming, they're

1490
01:19:06,320 --> 01:19:13,000
Speaker 1: emphatic about everything, Like every conversation is tense and emotional,

1491
01:19:13,040 --> 01:19:16,040
Speaker 1: and you're just like, wow, this is very very very

1492
01:19:16,120 --> 01:19:18,479
Speaker 1: high key emotions right now, right Yeah.

1493
01:19:18,640 --> 01:19:21,559
Speaker 3: What that wide angle, the way that it's shot in

1494
01:19:21,600 --> 01:19:23,839
Speaker 3: that wide angle way for so many of the scenes,

1495
01:19:24,080 --> 01:19:28,599
Speaker 3: like it really compounds the isolation that each character seems

1496
01:19:28,600 --> 01:19:30,400
Speaker 3: to be feeling as well, which is it's like it's

1497
01:19:30,479 --> 01:19:34,120
Speaker 3: very sparse. The world just kind of floats between this

1498
01:19:34,200 --> 01:19:37,439
Speaker 3: really sparse and like overly saturated kind of way.

1499
01:19:37,880 --> 01:19:41,240
Speaker 1: Yeah, oh one hundred. So what ends up happening is,

1500
01:19:41,240 --> 01:19:43,360
Speaker 1: you know, they're they're kind of just going back and

1501
01:19:43,400 --> 01:19:48,719
Speaker 1: forth about this this scenario, and then as it turns out,

1502
01:19:49,640 --> 01:19:53,080
Speaker 1: Mark finds out that she actually has been seeing somebody,

1503
01:19:53,800 --> 01:19:57,040
Speaker 1: and it's this man named Heinrich who's played by German

1504
01:19:57,080 --> 01:20:03,400
Speaker 1: actor named hein Spinnett, and and Mark goes to Heinrich's

1505
01:20:03,400 --> 01:20:07,240
Speaker 1: house to pay him a visit because he's got to

1506
01:20:07,280 --> 01:20:10,479
Speaker 1: go meet the guy that has been cheating on with

1507
01:20:10,560 --> 01:20:15,360
Speaker 1: his wife. And this entire sequence is unbelievable to me.

1508
01:20:15,560 --> 01:20:19,280
Speaker 2: Oh my god. Look tries to warn him.

1509
01:20:19,320 --> 01:20:21,040
Speaker 3: He's like, we don't have to fight, we don't have

1510
01:20:21,080 --> 01:20:25,320
Speaker 3: to be like adversaries, like I'm fucking your wife, but.

1511
01:20:25,439 --> 01:20:26,240
Speaker 2: In and not be like that.

1512
01:20:27,000 --> 01:20:30,760
Speaker 1: Right. He comes in, Mark comes into this guy's apartment

1513
01:20:31,080 --> 01:20:34,599
Speaker 1: flat whatever. This guy's got four buttons on his shirt

1514
01:20:34,600 --> 01:20:37,719
Speaker 1: and button from John Like, He's like, my shirt's open,

1515
01:20:37,880 --> 01:20:39,280
Speaker 1: you're seeing my bear chest.

1516
01:20:41,720 --> 01:20:45,240
Speaker 3: And I live with my mom and my mom and.

1517
01:20:45,320 --> 01:20:48,000
Speaker 1: He basically says, I fuck your wife in front of

1518
01:20:48,040 --> 01:20:50,320
Speaker 1: my mom. Like when my mom is here, he's like,

1519
01:20:50,360 --> 01:20:52,120
Speaker 1: we've been seeing each other for a year. Yes, we

1520
01:20:52,240 --> 01:20:54,519
Speaker 1: fuck in this apartment, and my mom is here and

1521
01:20:54,560 --> 01:20:57,240
Speaker 1: she knows it's happening. By the way, you can see

1522
01:20:57,240 --> 01:21:01,040
Speaker 1: my bear tanned chest. And when you walk through the door,

1523
01:21:01,080 --> 01:21:04,120
Speaker 1: I'm gonna just start caressing you. I'm gonna caress you

1524
01:21:04,280 --> 01:21:09,000
Speaker 1: the minute you walk in the door. Can you imagine

1525
01:21:09,120 --> 01:21:13,240
Speaker 1: the ship, Dude, if you went to like go confront

1526
01:21:13,560 --> 01:21:16,920
Speaker 1: you know, somebody that's been cheating on with your partner

1527
01:21:17,000 --> 01:21:18,919
Speaker 1: and This is the fun this is the vibe.

1528
01:21:19,280 --> 01:21:20,760
Speaker 2: It is a fucking genius move.

1529
01:21:20,840 --> 01:21:23,759
Speaker 3: The next time I have any conflict with anybody in person,

1530
01:21:23,760 --> 01:21:25,040
Speaker 3: I'm just gonna start caressing them.

1531
01:21:25,120 --> 01:21:26,439
Speaker 2: It is so off putting.

1532
01:21:28,920 --> 01:21:31,680
Speaker 1: And it's like, Samuel is so fucking funny because you

1533
01:21:32,560 --> 01:21:36,040
Speaker 1: talk about Looney Tunes. His eyeballs are like popping out

1534
01:21:36,040 --> 01:21:38,360
Speaker 1: of his skull in this moment. He's like, who the

1535
01:21:38,439 --> 01:21:41,000
Speaker 1: fuck does this guy think he is right now? And

1536
01:21:41,080 --> 01:21:44,240
Speaker 1: like they're moving through the apartment and it's like, you know,

1537
01:21:44,439 --> 01:21:47,120
Speaker 1: it's just like this insane scene where like Heinrich is

1538
01:21:47,160 --> 01:21:50,960
Speaker 1: like basically like, but she's my woman, and like, but

1539
01:21:51,040 --> 01:21:53,320
Speaker 1: I haven't seen her lately, but guess what, you know,

1540
01:21:53,680 --> 01:21:58,120
Speaker 1: this is just how it is. Like it's very very crazy.

1541
01:21:58,439 --> 01:22:01,479
Speaker 3: Well, it's also a very strange way of Heinrich kind

1542
01:22:01,560 --> 01:22:05,600
Speaker 3: of it's maybe this is a little bit too esoteric,

1543
01:22:05,680 --> 01:22:07,240
Speaker 3: but it's it's it seems to me a way of

1544
01:22:07,400 --> 01:22:11,040
Speaker 3: Heinrich kind of saying like with the touching and the

1545
01:22:11,040 --> 01:22:14,120
Speaker 3: way that they're moving and choreographing themselves around this apartment,

1546
01:22:14,160 --> 01:22:16,240
Speaker 3: like he's they're doing this dance and he's kind of

1547
01:22:16,360 --> 01:22:18,599
Speaker 3: kind of he seems to be saying.

1548
01:22:18,400 --> 01:22:21,400
Speaker 2: Like I can own you too, like you're yes, you're not.

1549
01:22:21,479 --> 01:22:24,240
Speaker 3: You don't have any ownership here, Like I can touch you,

1550
01:22:24,280 --> 01:22:26,800
Speaker 3: I can do whatever I want. Because of my relationship

1551
01:22:26,840 --> 01:22:30,960
Speaker 3: with Anna, I kind of I kind of possess you.

1552
01:22:31,960 --> 01:22:33,880
Speaker 2: Oh she went there, she went there.

1553
01:22:34,360 --> 01:22:38,200
Speaker 1: Listen you. I love it, any I love this kind

1554
01:22:38,200 --> 01:22:41,320
Speaker 1: of high level discourse come home.

1555
01:22:41,479 --> 01:22:43,479
Speaker 3: Well, and he kind of does because he's like, look,

1556
01:22:43,600 --> 01:22:45,880
Speaker 3: you've been in a hotel room for three weeks going

1557
01:22:46,160 --> 01:22:50,439
Speaker 3: mad because of me, Like I you've given me that power,

1558
01:22:50,600 --> 01:22:52,080
Speaker 3: like I own your thoughts.

1559
01:22:52,800 --> 01:22:55,840
Speaker 1: Yeah, And basically, like I saw an interview with Dwawski

1560
01:22:56,000 --> 01:22:58,760
Speaker 1: Well who was basically like yeah, you know, in my

1561
01:22:59,160 --> 01:23:04,320
Speaker 1: actual life, my wife was seeing a man who was

1562
01:23:04,439 --> 01:23:09,360
Speaker 1: very similar to this character, right, So think about him,

1563
01:23:09,520 --> 01:23:13,000
Speaker 1: his character being like the manifestation of like his ultimate nightmare,

1564
01:23:13,120 --> 01:23:18,080
Speaker 1: which is just like smooth, fucking well read you know,

1565
01:23:18,160 --> 01:23:21,320
Speaker 1: European hunk. And he just like gets in your face

1566
01:23:21,760 --> 01:23:25,639
Speaker 1: like he's like I'm cooking you, like you wouldn't fucking believe.

1567
01:23:25,680 --> 01:23:30,559
Speaker 1: Like he's got no problem, he's got no, he's not sorry,

1568
01:23:30,680 --> 01:23:35,559
Speaker 1: He's just like yes, and there's nothing more like this

1569
01:23:35,720 --> 01:23:38,440
Speaker 1: cracks me the fuck up when this happens, but basically,

1570
01:23:38,680 --> 01:23:42,080
Speaker 1: he kicks his ass. Heinrid kicks his ass in his apartment,

1571
01:23:42,240 --> 01:23:46,800
Speaker 1: and then he does this like little back kick. He's like, yeah,

1572
01:23:47,120 --> 01:23:50,879
Speaker 1: like in your fucking face, bitch, and you're.

1573
01:23:50,720 --> 01:23:54,680
Speaker 3: Like wow, He's like, I'm gonna kick your ass so

1574
01:23:55,160 --> 01:23:57,639
Speaker 3: quickly you don't even know what's happening. And then I'm

1575
01:23:57,680 --> 01:24:01,559
Speaker 3: gonna like do a ballet pose because that's how limber

1576
01:24:01,720 --> 01:24:03,400
Speaker 3: and cool I am.

1577
01:24:04,120 --> 01:24:07,880
Speaker 1: I mean, I just like, oh my god, it's unbelievable.

1578
01:24:08,200 --> 01:24:11,519
Speaker 1: I mean, it's just the whole sequence is just so unreal.

1579
01:24:11,600 --> 01:24:15,439
Speaker 1: But like, so here's what happens, Okay, because I'm I'm

1580
01:24:15,439 --> 01:24:17,760
Speaker 1: gonna try to not spoil this movie, but.

1581
01:24:17,720 --> 01:24:20,080
Speaker 3: It feel like I feel like you have to say something.

1582
01:24:20,520 --> 01:24:23,000
Speaker 1: Yeah, I have to reveal a little bit of information.

1583
01:24:24,000 --> 01:24:26,599
Speaker 1: I won't give you like the full Monty, but I'll

1584
01:24:26,640 --> 01:24:29,280
Speaker 1: just tell you I'm going to spoil like some key

1585
01:24:29,280 --> 01:24:31,400
Speaker 1: component of the film. Sorry if you don't want, If

1586
01:24:31,439 --> 01:24:35,479
Speaker 1: you won't want it, fast forward until the end. But

1587
01:24:37,240 --> 01:24:41,519
Speaker 1: so here's the deal. Mark is now like, okay, well

1588
01:24:41,920 --> 01:24:44,880
Speaker 1: she's been missing, she's left our son alone for a

1589
01:24:44,920 --> 01:24:48,000
Speaker 1: really long time, and if she hasn't been with Heinrich

1590
01:24:48,160 --> 01:24:53,639
Speaker 1: then she's seeing maybe somebody else on top of this guy. Okay,

1591
01:24:54,120 --> 01:24:57,559
Speaker 1: so what a hands up doing is hiring a private investigator.

1592
01:24:57,760 --> 01:25:00,360
Speaker 2: The least private private investigator all the time.

1593
01:25:00,840 --> 01:25:09,360
Speaker 1: Yes, And this investigator finds out that she has an

1594
01:25:09,439 --> 01:25:14,040
Speaker 1: apartment in a really sketchy part of town and she's

1595
01:25:14,080 --> 01:25:16,559
Speaker 1: been hanging out there, and so he goes to the

1596
01:25:16,600 --> 01:25:21,760
Speaker 1: apartment and this place is scary as shit. Like it's

1597
01:25:21,760 --> 01:25:24,639
Speaker 1: like the paint's peeling off the walls. There's no fucking furniture,

1598
01:25:24,720 --> 01:25:27,280
Speaker 1: it's a mattress on the floor, like it ain't like

1599
01:25:27,320 --> 01:25:29,759
Speaker 1: all the all of the windows are drawn.

1600
01:25:29,840 --> 01:25:33,080
Speaker 3: I mean, it's scary, but in the same vein of

1601
01:25:33,160 --> 01:25:36,360
Speaker 3: someone who has been like traumatized by real estate in America.

1602
01:25:36,560 --> 01:25:40,080
Speaker 3: Like those doors, those ceilings are tall, that front door

1603
01:25:40,200 --> 01:25:43,920
Speaker 3: is immense. That shit looks cool as hell. It could

1604
01:25:43,960 --> 01:25:46,200
Speaker 3: be so great. What TOI upper?

1605
01:25:46,880 --> 01:25:52,679
Speaker 1: Yes, the caveat being this is in beautiful West Berlin, right,

1606
01:25:52,760 --> 01:25:57,880
Speaker 1: Like the architecture is classique, you know, So imagine a

1607
01:25:57,920 --> 01:26:03,400
Speaker 1: shithole in a really nice building normally for by American standards. Okay,

1608
01:26:04,479 --> 01:26:12,080
Speaker 1: so here's what happens. A private investigator shows up and

1609
01:26:12,160 --> 01:26:15,880
Speaker 1: he goes in this apartment and then he see he's

1610
01:26:15,880 --> 01:26:18,760
Speaker 1: basically pretending to be some building inspector. He's like, oh,

1611
01:26:18,840 --> 01:26:20,640
Speaker 1: let me check your windows or whatever. And he's like,

1612
01:26:20,680 --> 01:26:22,200
Speaker 1: I gotta go to your bathroom. She's like, there's no

1613
01:26:22,240 --> 01:26:25,920
Speaker 1: windows in there. You know, she's acting real sketchy, and uh.

1614
01:26:26,040 --> 01:26:27,800
Speaker 1: He's like, but I gotta go in that bathroom because

1615
01:26:27,800 --> 01:26:29,400
Speaker 1: I got to inspect the building. And then he goes

1616
01:26:29,439 --> 01:26:33,280
Speaker 1: in the bathroom and guess what he sees a creature.

1617
01:26:33,600 --> 01:26:37,519
Speaker 3: Just a pulsating clot on the wall and it is

1618
01:26:37,560 --> 01:26:42,000
Speaker 3: like black and gooey, and it's like it looks like

1619
01:26:42,160 --> 01:26:46,800
Speaker 3: an alien being and it's just sitting there. Now for me,

1620
01:26:47,080 --> 01:26:49,000
Speaker 3: at that point, I dropped the charade. I'm like, look,

1621
01:26:49,000 --> 01:26:50,960
Speaker 3: I'm actually a private investigator. I'm just gonna get the

1622
01:26:50,960 --> 01:26:53,800
Speaker 3: fuck out of here. Yes, I have seen enough.

1623
01:26:56,400 --> 01:27:00,920
Speaker 1: But here's what happens. She's like like, well, you saw

1624
01:27:01,000 --> 01:27:05,320
Speaker 1: the creature. Now I gotta kill your ass. So she

1625
01:27:05,479 --> 01:27:08,320
Speaker 1: kills the fucking private investigator because she's like, he's seen

1626
01:27:08,400 --> 01:27:11,400
Speaker 1: too much. I told him not to go into the bathroom.

1627
01:27:11,800 --> 01:27:15,680
Speaker 1: So now there's this missing private investigator. Okay. At the

1628
01:27:15,720 --> 01:27:20,360
Speaker 1: same time, Mark, you know, is still on one trying

1629
01:27:20,360 --> 01:27:22,960
Speaker 1: to figure out, like what's going on with Anna, who

1630
01:27:23,040 --> 01:27:26,880
Speaker 1: is she seeing? And he goes to his son's school

1631
01:27:27,200 --> 01:27:30,880
Speaker 1: and he meets his son's teacher. The teacher looks exactly

1632
01:27:30,960 --> 01:27:34,840
Speaker 1: like Anna. Okay, I mean that is part of like

1633
01:27:35,640 --> 01:27:38,240
Speaker 1: this is where the movie kind of moves into this

1634
01:27:38,479 --> 01:27:43,520
Speaker 1: like kind of supernatural realm, if you will, because basically,

1635
01:27:43,600 --> 01:27:46,599
Speaker 1: you know, this teacher is the doppelganger of Anna, and

1636
01:27:46,640 --> 01:27:51,559
Speaker 1: the teacher is everything Anna is not. She's pretty and

1637
01:27:51,640 --> 01:27:57,200
Speaker 1: demurror and helpful and you know, very even keeled, I guess.

1638
01:27:57,439 --> 01:28:01,240
Speaker 1: And so she likes Bob. She likes Bob, she takes

1639
01:28:01,280 --> 01:28:04,480
Speaker 1: care of Bob, and you know, Mark is like fascinated

1640
01:28:04,520 --> 01:28:07,559
Speaker 1: by her because he's like, I mean, imagine like a

1641
01:28:07,600 --> 01:28:11,400
Speaker 1: more perfect version of my wife standing here. And so

1642
01:28:11,720 --> 01:28:14,240
Speaker 1: they develop kind of a little bit of a relationship.

1643
01:28:14,680 --> 01:28:19,080
Speaker 1: So meanwhile, so that's happening, then you've got another private

1644
01:28:19,120 --> 01:28:21,160
Speaker 1: investigator that comes through to find the first one. As

1645
01:28:21,200 --> 01:28:25,400
Speaker 1: it turns out, it's his boyfriend. So ostensibly you have

1646
01:28:25,439 --> 01:28:29,880
Speaker 1: a gay private investigator couple, one of whom is now

1647
01:28:30,880 --> 01:28:34,040
Speaker 1: dead in this disgusting apartment, and so his boyfriend comes

1648
01:28:34,080 --> 01:28:39,080
Speaker 1: looking for him. Right then we get the second time

1649
01:28:39,200 --> 01:28:44,519
Speaker 1: we go into this apartment, and then you get the

1650
01:28:44,600 --> 01:28:49,040
Speaker 1: much better view of this creature getting bigger. It's getting bigger,

1651
01:28:49,360 --> 01:28:53,799
Speaker 1: it's growing, and it's like kind of got a face.

1652
01:28:56,040 --> 01:28:58,680
Speaker 1: And then he discovers that his boyfriend is chopped up

1653
01:28:58,680 --> 01:29:04,920
Speaker 1: in the refrigerator. Talk about serial killer, and so you're going, okay,

1654
01:29:05,000 --> 01:29:10,880
Speaker 1: so Anna is basically protecting this thing, and she's I

1655
01:29:10,920 --> 01:29:13,439
Speaker 1: don't know, like I don't know what the what the

1656
01:29:13,439 --> 01:29:15,479
Speaker 1: creature does, I don't know if he feeds off of

1657
01:29:15,560 --> 01:29:17,640
Speaker 1: human flesh. I don't know what the hell's going on.

1658
01:29:17,720 --> 01:29:22,840
Speaker 1: But she is in another world right now, like she's

1659
01:29:23,000 --> 01:29:26,280
Speaker 1: I mean, we just thought she was cheating on Mark

1660
01:29:26,360 --> 01:29:30,400
Speaker 1: with the fucking ballet guy. It's like this whole other thing.

1661
01:29:31,280 --> 01:29:35,000
Speaker 1: And so that that's kind of about about as much

1662
01:29:35,000 --> 01:29:39,559
Speaker 1: as I can reveal without telling you exactly what's going

1663
01:29:39,560 --> 01:29:42,680
Speaker 1: on at the end, right because the bottom line is

1664
01:29:42,680 --> 01:29:46,920
Speaker 1: that you know, as much as this movie you know

1665
01:29:47,080 --> 01:29:49,880
Speaker 1: is called possession, I mean, she is being possessed, at

1666
01:29:49,960 --> 01:29:52,760
Speaker 1: least sexually by this creature, and we don't really know

1667
01:29:52,920 --> 01:29:55,920
Speaker 1: why or how and what this thing ends up being.

1668
01:29:56,360 --> 01:30:01,479
Speaker 1: I know that, like Carlo Rimbaldi, who you know, is

1669
01:30:01,479 --> 01:30:04,719
Speaker 1: a very famous visual effects artist he did the Alien movies,

1670
01:30:04,760 --> 01:30:07,680
Speaker 1: he actually worked on the monster and so, I mean

1671
01:30:07,720 --> 01:30:10,000
Speaker 1: it was like a lot went into this creature, and

1672
01:30:10,080 --> 01:30:15,479
Speaker 1: I think Zuwowski had a really specific vision for what

1673
01:30:15,520 --> 01:30:16,600
Speaker 1: this thing was supposed to be.

1674
01:30:17,160 --> 01:30:17,559
Speaker 2: M hm.

1675
01:30:18,040 --> 01:30:22,080
Speaker 1: And so I think that's very interesting because you know, again,

1676
01:30:22,439 --> 01:30:24,679
Speaker 1: knowing what you know about him and his personal life

1677
01:30:24,680 --> 01:30:26,559
Speaker 1: at the time, you're like, okay, like this is like

1678
01:30:26,720 --> 01:30:29,280
Speaker 1: him sort of like working through all this stuff. And

1679
01:30:29,320 --> 01:30:31,920
Speaker 1: he's like, my wife is actually sleeping with a creature,

1680
01:30:32,960 --> 01:30:36,080
Speaker 1: and like, you know, that's that's it.

1681
01:30:36,280 --> 01:30:38,680
Speaker 3: She must be possessed in order to be ripping our

1682
01:30:38,680 --> 01:30:41,519
Speaker 3: family apart and ripping our lives apart, right.

1683
01:30:41,400 --> 01:30:44,519
Speaker 1: And so and that's the thing is that, like, you know,

1684
01:30:44,600 --> 01:30:46,960
Speaker 1: part of why I picked this movie for the theme

1685
01:30:47,160 --> 01:30:51,600
Speaker 1: is because a something is wrong with me obviously, but

1686
01:30:51,880 --> 01:30:55,960
Speaker 1: b like this is a relationship again. It's like, you know,

1687
01:30:56,160 --> 01:30:58,519
Speaker 1: it's the theme being you know, they don't get it,

1688
01:30:58,560 --> 01:31:02,720
Speaker 1: and they don't have to. You know, there there are

1689
01:31:02,800 --> 01:31:06,040
Speaker 1: people who are like really struggling to understand why this

1690
01:31:06,200 --> 01:31:10,679
Speaker 1: relationship is not working right, And at a certain point

1691
01:31:10,680 --> 01:31:14,240
Speaker 1: you don't understand whether these are legit things happening or

1692
01:31:14,240 --> 01:31:16,799
Speaker 1: if these are just like fears within the other person.

1693
01:31:17,360 --> 01:31:18,639
Speaker 1: And like I said, I don't want to give away

1694
01:31:18,680 --> 01:31:23,000
Speaker 1: the ending, but it becomes like, yeah, sort of a

1695
01:31:23,200 --> 01:31:26,920
Speaker 1: it becomes sort of a film more about like who

1696
01:31:27,000 --> 01:31:31,000
Speaker 1: are better people are in the relationship and whether or

1697
01:31:31,000 --> 01:31:35,559
Speaker 1: not you know, we could be better for other people?

1698
01:31:36,000 --> 01:31:37,200
Speaker 2: Yeah, like what's the ideal?

1699
01:31:37,800 --> 01:31:38,759
Speaker 1: Exactly exactly?

1700
01:31:38,760 --> 01:31:39,679
Speaker 2: And it's also it's.

1701
01:31:39,600 --> 01:31:42,840
Speaker 3: Kind of interesting too to think of it as like

1702
01:31:42,840 --> 01:31:45,960
Speaker 3: like I don't get why Anna and Marker together, but

1703
01:31:46,000 --> 01:31:48,800
Speaker 3: I also don't get why because there's no origin story

1704
01:31:48,840 --> 01:31:51,200
Speaker 3: for this creature, so you don't get why Anna has

1705
01:31:51,240 --> 01:31:54,599
Speaker 3: become possessed or why she's become obsessed with this thing.

1706
01:31:54,920 --> 01:31:56,960
Speaker 3: And I like that. I think it gives like a weird,

1707
01:31:58,120 --> 01:32:00,320
Speaker 3: like mystical kind of air to the film of like

1708
01:32:00,360 --> 01:32:02,040
Speaker 3: we don't have to get into the backstory of the

1709
01:32:02,080 --> 01:32:04,800
Speaker 3: creature to understand that something's happening with her. It like

1710
01:32:04,880 --> 01:32:08,679
Speaker 3: focuses the movie on her experience more right.

1711
01:32:09,200 --> 01:32:11,960
Speaker 1: And I will say this, and I don't know if

1712
01:32:11,800 --> 01:32:13,880
Speaker 1: I don't know if this again is a spoiler or not.

1713
01:32:13,960 --> 01:32:17,080
Speaker 1: I don't really think it is. But I think part

1714
01:32:17,120 --> 01:32:20,320
Speaker 1: of what makes this movie very memorable to people is

1715
01:32:20,360 --> 01:32:25,040
Speaker 1: that she is having sex with this creature.

1716
01:32:26,560 --> 01:32:26,960
Speaker 3: And.

1717
01:32:28,760 --> 01:32:32,040
Speaker 1: I mean it is there are times who are like,

1718
01:32:32,200 --> 01:32:37,599
Speaker 1: holy shit, like you're just like wow. And in the

1719
01:32:37,640 --> 01:32:40,559
Speaker 1: famous scene of her in the subway, which I'm sure

1720
01:32:40,560 --> 01:32:42,439
Speaker 1: if you went on YouTube, if you've never seen it,

1721
01:32:42,560 --> 01:32:43,960
Speaker 1: or you don't know what I'm talking about, go on

1722
01:32:44,000 --> 01:32:46,760
Speaker 1: YouTube and you will just google possession subway scene and

1723
01:32:46,800 --> 01:32:49,240
Speaker 1: you don't know exactly what I'm talking about, there's a

1724
01:32:49,320 --> 01:32:53,880
Speaker 1: moment where she is in the subway and it is

1725
01:32:54,520 --> 01:33:00,519
Speaker 1: I assume she is miscarrying maybe some kind of offspring

1726
01:33:01,640 --> 01:33:02,719
Speaker 1: from this creature.

1727
01:33:04,120 --> 01:33:06,000
Speaker 2: Yeah, that's how she conceptualizes it.

1728
01:33:06,720 --> 01:33:09,080
Speaker 3: And look, I lived in New York City for several

1729
01:33:09,160 --> 01:33:14,800
Speaker 3: years and seeing something like this as a regular fucking scenario.

1730
01:33:17,800 --> 01:33:21,280
Speaker 1: Were you seen people smash gallons of milk against the wall? Oh?

1731
01:33:21,360 --> 01:33:21,760
Speaker 2: Hell yeah.

1732
01:33:21,760 --> 01:33:23,360
Speaker 3: There have been so many moments Where'm like, is this

1733
01:33:23,400 --> 01:33:27,080
Speaker 3: person possessed and miscarrying a demon baby or what? But

1734
01:33:27,960 --> 01:33:32,200
Speaker 3: just screaming and flailing and yeah, oh yeah this.

1735
01:33:32,439 --> 01:33:35,880
Speaker 1: I mean, like, I feel like it's been like I said,

1736
01:33:35,920 --> 01:33:38,479
Speaker 1: there's been a lot of homages to it, like it like,

1737
01:33:38,760 --> 01:33:41,240
Speaker 1: I think that there's been a few bands that have

1738
01:33:41,479 --> 01:33:44,000
Speaker 1: like used this scene as part of their music videos.

1739
01:33:44,040 --> 01:33:46,559
Speaker 1: I feel like one of them was like Rosmund Pike

1740
01:33:46,680 --> 01:33:49,240
Speaker 1: or somebody played the Anna character.

1741
01:33:50,080 --> 01:33:50,200
Speaker 3: Uh.

1742
01:33:50,280 --> 01:33:52,519
Speaker 1: I think it's like a massive attack song or something.

1743
01:33:52,600 --> 01:33:58,400
Speaker 1: But anyway, this scene, I think alone is what draws

1744
01:33:58,439 --> 01:34:01,920
Speaker 1: people to the film because they just like, what the

1745
01:34:02,000 --> 01:34:05,280
Speaker 1: hell is going on? And Isabelle Augianni in this moment

1746
01:34:05,479 --> 01:34:08,000
Speaker 1: is I mean she is possessed as an action, like

1747
01:34:08,040 --> 01:34:12,800
Speaker 1: she is possessed by some something to I mean, her

1748
01:34:12,920 --> 01:34:18,599
Speaker 1: physicality in this scene is so unreal, and I mean,

1749
01:34:20,040 --> 01:34:22,040
Speaker 1: like you said, she I would have had to take

1750
01:34:22,160 --> 01:34:25,639
Speaker 1: like a really long vacation after I did this one scene,

1751
01:34:25,720 --> 01:34:27,680
Speaker 1: let alone the entire movie. I mean it's like this

1752
01:34:27,720 --> 01:34:30,160
Speaker 1: one scene she gave everything.

1753
01:34:30,560 --> 01:34:32,920
Speaker 3: This is an after she took a fucking electric knife

1754
01:34:32,920 --> 01:34:36,519
Speaker 3: to her throat and like, yeah, all kinds of shit

1755
01:34:36,600 --> 01:34:39,040
Speaker 3: has already happened in this film. And then she goes

1756
01:34:39,280 --> 01:34:41,720
Speaker 3: real heavy in this scene and it's what I like.

1757
01:34:41,880 --> 01:34:47,280
Speaker 3: I it's disturbing naturally, but it's also you know, once

1758
01:34:47,320 --> 01:34:49,599
Speaker 3: you know that the director was kind of writing through

1759
01:34:49,640 --> 01:34:53,519
Speaker 3: his own divorce, You're like, hmm, shades of misogyny here.

1760
01:34:53,600 --> 01:34:56,040
Speaker 3: Maybe that like the only way a woman could leave

1761
01:34:56,080 --> 01:34:57,439
Speaker 3: you as if she's fucking possessed.

1762
01:35:00,160 --> 01:35:02,559
Speaker 1: Part of the conversation. I mean, it's been talked about so.

1763
01:35:02,760 --> 01:35:04,599
Speaker 3: And then you see this scene and you're like, but

1764
01:35:04,640 --> 01:35:06,760
Speaker 3: then again, like you can't help but react to the

1765
01:35:06,760 --> 01:35:11,880
Speaker 3: physicality of Isabella Johnny in this scene because it doesn't

1766
01:35:11,880 --> 01:35:14,560
Speaker 3: feel there's a moment where it kind of feels overwrought,

1767
01:35:14,600 --> 01:35:16,439
Speaker 3: but it goes on for so long that you're like,

1768
01:35:16,479 --> 01:35:19,360
Speaker 3: oh no, oh no, like what's gonna happen? Like she

1769
01:35:19,439 --> 01:35:22,160
Speaker 3: kind of takes it over the top and moves it

1770
01:35:22,200 --> 01:35:24,640
Speaker 3: from a place where it could be pure farce to

1771
01:35:24,800 --> 01:35:29,120
Speaker 3: just being very disturbing and interesting and like tense.

1772
01:35:29,640 --> 01:35:32,360
Speaker 1: Yeah, because I think Isabelle al Gianni at this moment,

1773
01:35:32,400 --> 01:35:34,600
Speaker 1: she she was very like long limbs, she kind of

1774
01:35:34,720 --> 01:35:37,120
Speaker 1: she you know, there's this I think that there was

1775
01:35:37,160 --> 01:35:40,240
Speaker 1: a sequence it might have been cut from one of

1776
01:35:40,280 --> 01:35:45,840
Speaker 1: the versions, but where she's a ballet instructor, and you

1777
01:35:46,479 --> 01:35:50,000
Speaker 1: do feel like she has that kind of ballet dancer's body.

1778
01:35:50,000 --> 01:35:52,960
Speaker 1: She's got she's very fond, like, you know, very long limbs,

1779
01:35:53,400 --> 01:35:57,000
Speaker 1: and so when you see her, you know, physical presence

1780
01:35:57,640 --> 01:36:01,360
Speaker 1: like that doing this stuff in a subway, especially like

1781
01:36:01,400 --> 01:36:05,240
Speaker 1: towards the end where she's just literally sitting in a

1782
01:36:05,320 --> 01:36:11,640
Speaker 1: pile of Viscera Jaii and the Viscera. You're just like,

1783
01:36:13,360 --> 01:36:16,400
Speaker 1: it's You're just completely shocked by it. And like I said,

1784
01:36:16,520 --> 01:36:19,240
Speaker 1: I mean, I brought this one to the table this

1785
01:36:19,280 --> 01:36:22,439
Speaker 1: week because again, like we're talking about Valentine's Day, we're

1786
01:36:22,439 --> 01:36:25,320
Speaker 1: talking about couples. You've never seen a divorce movie as

1787
01:36:25,360 --> 01:36:29,000
Speaker 1: hardcore as this, I guarantee it. But you know, to me,

1788
01:36:29,640 --> 01:36:35,120
Speaker 1: it's it's It is one of the most visually arresting

1789
01:36:35,960 --> 01:36:39,680
Speaker 1: movies I've ever seen. I cannot stop thinking about it,

1790
01:36:40,040 --> 01:36:42,919
Speaker 1: even now that it's become kind of a cult classic

1791
01:36:42,960 --> 01:36:45,519
Speaker 1: and lots of people talk about it, lots of people

1792
01:36:45,640 --> 01:36:48,559
Speaker 1: reference it. You know, it has come a long way

1793
01:36:48,600 --> 01:36:51,000
Speaker 1: from like my college days, where no one could see

1794
01:36:51,040 --> 01:36:52,800
Speaker 1: it and no one know what the fuck it was

1795
01:36:53,040 --> 01:36:55,160
Speaker 1: to this, Like I think it's gotten its flowers in

1796
01:36:55,200 --> 01:37:00,280
Speaker 1: a weird way, but I can't shake it. And I've

1797
01:37:00,280 --> 01:37:02,080
Speaker 1: seen it probably like eight or nine times. I mean,

1798
01:37:02,120 --> 01:37:03,360
Speaker 1: you know, I had to watch it a bunch to

1799
01:37:03,400 --> 01:37:05,760
Speaker 1: write the book, so I was like, I don't know,

1800
01:37:05,880 --> 01:37:08,720
Speaker 1: even to this day, it still hits. Like I'm telling you,

1801
01:37:08,760 --> 01:37:10,519
Speaker 1: I watched that director's cut like two nights ago, and

1802
01:37:10,520 --> 01:37:14,240
Speaker 1: I was like, holy fucking shit. Like this movie is

1803
01:37:14,360 --> 01:37:16,559
Speaker 1: all the way up truly, but.

1804
01:37:16,680 --> 01:37:18,799
Speaker 2: It does not stop going hard, that's for sure.

1805
01:37:19,040 --> 01:37:22,600
Speaker 1: Well, and like, and then I'm saying this, like on

1806
01:37:22,680 --> 01:37:25,720
Speaker 1: top of the fact that Sam Neil looks like he's

1807
01:37:25,840 --> 01:37:28,639
Speaker 1: enjoyed a vision, Like it's a very like early eighties

1808
01:37:28,800 --> 01:37:32,879
Speaker 1: like style. I mean, it's like everyone's looking real cute.

1809
01:37:33,080 --> 01:37:37,000
Speaker 1: Like there's a lot of like great outfits, great looks,

1810
01:37:37,640 --> 01:37:40,240
Speaker 1: Like I said, Sam Samuel looks like he's in like

1811
01:37:41,520 --> 01:37:43,960
Speaker 1: a krout rock band or something, you know what I mean.

1812
01:37:44,040 --> 01:37:48,400
Speaker 1: And like it's just so so there's a lot, a

1813
01:37:48,439 --> 01:37:52,280
Speaker 1: lot of reasons why people find it so memorable. But honestly, like, yeah,

1814
01:37:52,400 --> 01:37:54,439
Speaker 1: I mean, if you're going through something, if you're going

1815
01:37:54,479 --> 01:37:58,960
Speaker 1: through a breakup and you watch Possession, I don't know,

1816
01:37:59,000 --> 01:38:00,880
Speaker 1: if you're not going through a break if you've just

1817
01:38:01,080 --> 01:38:04,720
Speaker 1: met someone special and this is your first Valentine's Day

1818
01:38:04,720 --> 01:38:07,840
Speaker 1: together and you watch Possession with them, I feel like

1819
01:38:08,280 --> 01:38:10,200
Speaker 1: I don't want to say it like implicitly, but you

1820
01:38:10,280 --> 01:38:12,120
Speaker 1: might be like my kind of people.

1821
01:38:16,520 --> 01:38:22,200
Speaker 3: So well, that was fantastic as always. Yeah, what a

1822
01:38:22,240 --> 01:38:26,559
Speaker 3: double feat. What a double feature. And Happy Valentine's Day, y'all.

1823
01:38:26,840 --> 01:38:31,760
Speaker 1: Happy Valentine's day. We love you of course, all right,

1824
01:38:31,880 --> 01:38:33,920
Speaker 1: So if you want to email us for any reason,

1825
01:38:34,000 --> 01:38:35,519
Speaker 1: we are at I Saw What You Did Pod at

1826
01:38:35,520 --> 01:38:39,839
Speaker 1: gmail dot com Again send us questions for the bonus episodes,

1827
01:38:39,840 --> 01:38:41,639
Speaker 1: because that's what we do on those bonus and now

1828
01:38:41,680 --> 01:38:43,800
Speaker 1: everybody can hear them, so you might you might be

1829
01:38:43,840 --> 01:38:45,439
Speaker 1: featured on a bonus if you're right.

1830
01:38:46,200 --> 01:38:48,120
Speaker 3: And you can also find us on our socials. We

1831
01:38:48,160 --> 01:38:50,839
Speaker 3: are at I Saw Pod on Instagram and Twitter.

1832
01:38:52,280 --> 01:38:54,760
Speaker 1: That's right. We have merch as well. Go to the

1833
01:38:54,840 --> 01:38:56,640
Speaker 1: I Saw What You Did section of the exactly right

1834
01:38:56,680 --> 01:38:59,559
Speaker 1: shop to find our merch and.

1835
01:38:59,560 --> 01:39:02,519
Speaker 3: Our bonus episodes. We have new bonus episodes are dropping

1836
01:39:02,680 --> 01:39:06,120
Speaker 3: on the main feed now every third Thursday of the month.

1837
01:39:06,840 --> 01:39:09,839
Speaker 3: Plus the old bonus episodes are going to be slowly

1838
01:39:09,880 --> 01:39:13,479
Speaker 3: trickling into your main feed every couple of weeks on Wednesdays.

1839
01:39:13,880 --> 01:39:16,879
Speaker 1: That's right. Well, listen, we do not have an episode

1840
01:39:16,880 --> 01:39:19,920
Speaker 1: next week, but Danielle, would you like to give them

1841
01:39:19,960 --> 01:39:21,200
Speaker 1: the films for the week after.

1842
01:39:22,040 --> 01:39:25,200
Speaker 3: I will our films next for the week after our

1843
01:39:25,520 --> 01:39:29,200
Speaker 3: Sounder from nineteen seventy two and The Heart is a

1844
01:39:29,240 --> 01:39:33,400
Speaker 3: Lonely Hunter from nineteen sixty eight, And if you can

1845
01:39:33,479 --> 01:39:36,679
Speaker 3: believe it. That episode is going to be our one

1846
01:39:36,760 --> 01:39:45,120
Speaker 3: hundred episode. Whoa, holy shit, one hundred episodes, two hundred

1847
01:39:45,160 --> 01:39:47,080
Speaker 3: movies that we have made y'all.

1848
01:39:46,920 --> 01:39:51,880
Speaker 1: Want, oh, my god, two hundred films, My goodness. Well,

1849
01:39:52,160 --> 01:39:56,120
Speaker 1: we will definitely have some fun and yeah, we really

1850
01:39:56,200 --> 01:39:59,080
Speaker 1: appreciate all of you guys. Danielle always a fucking pleasure

1851
01:39:59,120 --> 01:40:01,559
Speaker 1: doing this podcast with every single week.

1852
01:40:01,640 --> 01:40:04,080
Speaker 2: Love it bye, all right.

1853
01:40:10,560 --> 01:40:13,639
Speaker 3: This has been an exactly right production. Produced by Casey O'Brien,

1854
01:40:13,840 --> 01:40:17,000
Speaker 3: mixed by Edson Choi. Our theme song is by Tom Bryfogel.

1855
01:40:17,360 --> 01:40:21,080
Speaker 3: Artwork by Garrett Ross. Our executive producers are Georgia Hartstart,

1856
01:40:21,160 --> 01:40:23,800
Speaker 3: Karen kile Gareff, and Daniel Kramer. You can follow us

1857
01:40:23,800 --> 01:40:26,720
Speaker 3: on Instagram and Twitter at I Saw Pod, and you

1858
01:40:26,760 --> 01:40:28,960
Speaker 3: can email us at I Saw What You Did Pod

1859
01:40:29,080 --> 01:40:29,679
Speaker 3: at gmail